Professional Documents
Culture Documents
by
SONJA AHNTZEN
B.A., U n i v e r s i t y of B r i t i s h Colombia, 1966
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-/\f^A h)
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is understood
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ABSTRACT
To begin
Chinese.
Although
poetry i t s e l f - w i t h Ikkyu, o r i g i n a l i t y tends to make f o r o b s c u r i t y makes the u n r a v e l i n g of sources a thorny problem sometimes.
Thus, i t i s
no wonder that few attempts have been made by scholars, even i n Japan,to
w r i t e commentaries f o r these poems.
To my knowledge, t h i s i s the f i r s t
This t h e s i s t h e n j i s really-
thesis.
Japanese
However, i t i s w i t h
emotions,,
Ikkyu's
Table of Contents
I.
Introduction
II.
H i s t o r i c a l Background
III.
IV.
P h i l o s o p h i c a l Poems
25
V.
C r i t i c a l Poems
69
VI.
Love Poems
83
VII.
Footnotes
115
VIII.
Bibliography
120
(ill)
I.
Introduction
Thus,it
The
indeed;
evolved
This
was
Thus,
w i t h Motoori Norinaga, a movement against Chinese language and l e a r n i n g "took momentum. The great scholar Motoori Norfcaga was the f i r s t scholar i n Japan
to apply himself to things purely Japanese, h i s great work being the
e l u c i d a t i o n of the e a r l i e s t Japanese H i s t o r y , the K o . j i k i , on the b a s i s
of which he drew conclusions about Japanese language and Japanese
sensibility.
2
a Chinese r e l i g i o n and, thus, not s u i t a b l e f o r the Japanese soul which
found i t s true f u l f i l l m e n t i n Shinto.
So
Western
3
Kyounshu i s r e a l l y the only work of Ikkyu which expresses h i s unique
personality) and a l s o the only work which contains d e f i n i t e personal
references, dates and d i a r y - l i k e d e s c r i p t i o n s of noteworthy events i n
Ikkyu's l i f e .
w r i t t e n i n Chinese.
comprehensive
A detailed
The Yamato
II.
H i s t o r i c a l Background
H i s t o r y , the rule,
war,
hard-pressed
was
two
They c u l t i v a t e d q u i t e c o n s c i e n t i o u s l y the l e a r n i n g
Thus^ the
Having l i t t l e or no
was transmitted
Thus, the
However, t o an A r t H i s t o r i a n i t i s exceedingly
Muromachi Period i n Japan mirrors the Western view of the European Middle
Ages that p r e v a i l e d from the Renaissance through the Age of Enlightenment
i n t o q u i t e modern times.
rejuvenated
A similar
Thus, we
see karaki Junzo quoting scholars who are of the opinion that there are
s i m i l a r i t i e s between t h e ^ I t a l i a n Renaissance i n so f a r as the growth of
2
i n d i v i d u a l i s m and a k i n d of humanism are concerned.
Such words
In r e a l i t y , i t i s an i n e f f a b l e q u a l i t y
7
imported r e l i g i o n t o Japan.
Zen ( i n Chinese Ch'an) was imported from China.
Ch'an i n China
Something of these
Ch'an i n China and Zen i n Japan. For example, Ch'an was never as c l o s e l y
associated w i t h the v i s u a l a r t s as Taoism was, while i n Japan i t was Zen
which acquired an intimate connection w i t h a e s t h e t i c s .
At any r a t e , from i t s i n t r o d u c t i o n during the Eamakura p e r i o d ,
the Zen sect of Buddhism s t e a d i l y grew i n numbers and i n f l u e n c e . The
Muromachi P e r i o d marks the z e n i t h of Zen's power and i n f l u e n c e i n Japan.
At t h i s time, Zen was h e a v i l y supported by the Shogunate and the court.
The Gosan J i s s a t s u - " F i v e Mountains Ten Temples''were but a few of the
great monasteries f l o u r i s h i n g a t t h a t time.
freely involving i t s e l f i n
8
There are many reasons f o r t h i s .
III.
With Ikkyu t h i s
own
Somewhere
This t r a d i t i o n a l
own poems.
Thus,
I t i s q u i t e probable t h a t
during the dispute between the Northern and Southern c o u r t s , she was
accused of having treasonous i n t e n t i o n s toward the emperor and so was
banished t o a l e s s e r d w e l l i n g i n Kyoto where Ikkyu was born.
I n the t r a d i t i o n a l biography, there i s a l a s t testament
-
supposedly
w r i t t e n by Ikkyu's mother
hoben '
"expedient means,"
-that
KBCI
11
a genre t h a t he had studied and p r a c t i s e d since boyhood.
he took h i s f i r s t r e a l master, Keno
At seventeen
However, he i s
prayed f o r seventeen days before the Ishiyama Kannon but could not f i n d
any c o n s o l a t i o n and so r e s o l v e d to drown himself i n Lake Biwa.^
However,
Versions of t h i s s t o r y vary s l i g h t l y
Finally,
12
move t o go away.
E v e n t u a l l y Ikkyu came t o be
the Heike monogatari on the Biwa and suddenly grasped a koan of Unmon's.
At t h i s p o i n t Kaso gave Ikkyu h i s name; p r i o r t o t h i s Ikkyu had been
known as Shuken.
philosophical implications;
from.the realm of i l l u s i o n s ,
uroji yori
Ve r e t u r n t o the realm of no i l l u s i o n s ,
muroji e kaeru
One restt,
hitoyasumi
I f i t rains, l e t i t rain.
i t blow
The
13
Ikkyu s a i d , "Then I am
"Now you are a r e a l master,"
The poem he i s
I t was only a f t e r h i s
I t i s recorded
His few
14
A f t e r t h a t time, he became q u i t e a frequent and welcome v i s i t o r to the
court; the emperor himself was supposed to have been very fond of Ikkyu's
13
manner of e x p l a i n i n g Zen.
His
the b r o t h e l s and sakejshops that are another frequent theme i n the Kyounshu,
although about t h i s the t r a d i t i o n a l biographies have very l i t t l e to say.
, T h i s i s not to imply t h a t b r o t h e l s and sakeshops were the only
items on Ikkyu's u n o f f i c i a l i t i n e r a r i e s .
He spent a great p o r t i o n
I t seems
15
one of the reasons why D a i t o k u j i was unbearable to Ikkyu was the presence
of one p r e l a t e c a l l e d Yoso.
been a student of Kaso's.
evil in
t n
church.
extreme,
f e e l i n g s more d i r e c t l y :
16
Dwelling
i s very l o n g .
Ikkyu i n a
News of t h i s came t o
The e d i c t s a i d :
How
transmission.
17
Kaso had decided on the occassion of Ikkyu's enlightenment to make him
his
son/'
and was dated A p r i l of the year 1421, the same year as the a f o r e 19
mentioned
did
enlightenment.
F i n a l l y i n the
Ikkyu i s
of Zen.
18
s u i t a b l e p l a c e f o r r e s t and renewal.
The
remained
25
19
Ikkyu apparently s u f f e r e d g r e a t l y from the heat i n h i s l a s t years and
took every opportunity he could t o r e t r e a t t o T a k i g i and h i s beloved
Shuonan.
have had t h i s sense of himself; since the name he gave himself was Kyoun,
"Mad Cloud".
himself crazy.
biographies
20
Ikkyu'8 r e p u t a t i o n as a great monk
i t was unfortunate that Ikkyu, who
that
had no t r o u b l e r i d d i n g himself of
necessary.
was
Many of
was a l s o r i f e .
For
Zen,as a branch of
"enlightenment'
Suzuki, i n h i s book on
"What i s
28
i s Nirvana".
that
.
This means that there i s no n i r v a n a t o be sought outside
this worldly l i f e .
expresses i t :
"Just as the l o t u s flowers do not grow i n the dry-land, but i n the
dark c o l o r e d watery mire, 0 son of good f a m i l y , i t i s even so [ w i t h
I n t e l l i g e n c e (prajna or b o d h i ) J . I n n o n - a c t i v i t y and e t e r n a l
a n n i h i l a t i o n which are cherished by the Cravakas and Pratyekabuddhas
there i s no opportunity f o r the seeds and sprouts of Buddhahood t o
grow. I n t e l l i g e n c e can grow only i n the mire and d i r t of passion
21
and s i n . I t i s by v i r t u e of passion and s i n t h a t the seeds and
sprouts of buddhahood are able to grow,"29
Suzuki himself i s very eloquent i n the e l u c i d a t i o n of t h i s most s u b t l e
point:
"Nirvana i s not to be sought i n the heavens nor a f t e r a departure
from t h i s e a r t h l y l i f e nor i n the a n n i h i l a t i o n of human passions and
a s p i r a t i o n s o On the contrary, i t must be sought i n the midst of
w o r l d l i n e s s , as l i f e w i t h a l l i t s t h r i l l s of p a i n and pleasure i s
no more than Nirvana i t s e l f . " 3 0
This conception has inherent i n i t a more p o s i t i v e a t t i t u d e toward the
phenomenal world.
This i s not t o
Then l a t e r i n l i f e , he
However,
22
there seems t o have been more u n i t y t o h i s p e r s o n a l i t y than t h a t *
C e r t a i n l y , the same s p i r i t runs through a l l h i s poems whether s e c u l a r or
religious.
This may be
I t w i l l be remembered
I t was
23
speak of enlightenment with John Donne.
ceased i n h i s mind.
and be
So i t i s t h a t a f r e e r
24
Translations:
1 have roughly d i v i d e d the t r a n s l a t e d poems i n t o the categories
of p h i l o s o p h i c a l , c r i t i c a l , and love, simply t o introduce some
o r g a n i z a t i o n i n t o the presentation.
I have
N.B.
IV.
P h i l o s o p h i c a l Poems
However,
proper word.
r i n z a i shiryoken
Hinzai's
a.
Four P o i n t s of View
R i n z a i Gigen ( L i n - c h i I-hsiian)
$u
fit
hi
belonged.
7^" ^ I I .
Although i t i s
I n essense,
Ikkyu takes
26
comments on them.
if
f*\ |
4-
<L &
& *
&
and water b u f f a l o b u l l .
a. ^Hyakujo "was a Zen monk of the T'ang Dynasty, born 720, died 814; h i s
f u l l name i s Hyakujo Ekai (Po-chang Huai-hai)
studied Zen w i t h Baso Doitsu (Ma-tsu Dao-i)
He
He i s
27
communities, one of the most b a s i c miles being "a day of no working i s a
3
day of no e a t i n g " .
b. Isan"is another monk of the T'ang dynasty, d i e d 813.
H i s f u l l name
l i s t e n e d everyday to
The
One day he
Boko s a i d , No,
l
of great t r a i n i n g f a l l i n t o the c h a i n
as a f o x .
Now,
Hyakujo
At t h i s the o l d
...
understand."^
View" provided comments f o r each one and these are given at the end of
each of Ikkyu's poems for the sake of comparison, Kudu's cotwnenHW Os):
9
&
w
f
>i
$ if
if
A .
l |
* ftfl *L*^
*
i.
&
Mfif.
Straw sandals, bamboo walking stick, I ' l l be a friend of wind and stream*
29
Monk's c h a i r s , wooden beds,
a,
sick
Re had c a l l e d h i s f a v o r i t e d i s c i p l e t o h i s bedside
came and
it
/l
30
U5J
If t *. I il it
#
A.
ifc tt'ii ft /$
L
if
if & a
ninkyo
itf
<9
& M
gudatsu
e h i e i kisho mi
chanten
mae
the t o r t o i s e i s scorched,
one i s
obstructed.
R e v o l t s i n P i n and Fen, b e l i e f i s cut o f f
yet people c h a t t e r .
a.
I t i s a metaphor
for a distressing s i t u a t i o n .
b.
31
oracles by p a t t i n g a hot i r o n t o a t o r t o i s e s h e l l and then i n t e r p r e t i n g
the cracks thereby produced.
sought.
c.
a time of misfortune.
This i s a d i r e c t quote
(see f o l l o w i n g ) . The
commentary t o the R i n z a i ' s Roku says that P i n and Fen were two provinces
of the T'ang empire who r e v o l t e d against the dynasty under the leadership
of Go Gensai (Wu Yuan-chi)
lw .
That i s , i t i s no longer p o s s i b l e
This i s an i r o n i c
# ft ifc ft
if k - *
The r e v o l t s of Ron and Fan cut o f f b e l i e f ,
He i s alone, s t a y i n g i n one corner.
(16)
A. A A r- 4
i t H
it ^ & tf i
to
ii
&* ^%
ninkyo gufudatsu
i u nakare s a i r a i sen hanmon t o
inbo shushi n i kokun a r i
tada h i t o no Sojo ga katsu o wa su n i y o t t e
chodan su k i n d a i nippo no kumo
thirst:
a.
He was
^-
content w i t h h i s wife and h i s !koto, Sojo never had t o want f o r wine again.
b.
f f
if
it
Jt i& i !
33
The King goes up to h i s treasure house
In the f i e l d an o l d man
sings
in
of the word n i n A
; he maintains t h a t i t i s not
"man"
correspond to
12
\ while
"negating",
Suzuki a l s o says
He
34
" I " or the e g o - s e l f , while the object i s the world at l a r g e , the o b j e c t i v e
universe.
nature,win
B i n z a i ' s s p r i n g f i e l d of f l o w e r s .
Thus,
enlightenment.
own
consciousness.
K i n z a i ' s comment f o r t h i s one seems to r e f e r t o Confucianism.
His
35
%-
"Justice," and
C e r t a i n l y the a t t e n t i o n of the
Ikkyu a s s e r t s h i m s e l f , h i s
s t a t e i s known as pudgaladharmanairatmya
(here ho
has the same meaning as kyo i f j ) "the egol essness of both the i n d i v i d u a l
15
soul and e x t e r n a l o b j e c t s " .
l6
i n anything."
36
universe presupposes, however, that the opposite p o s i t i v e statement i s a l s o
true since nothing can be absolute not even negation.
However, c e r t a i n l y both R i n z a i ' s comment and Ikkyu's poem have a
gloomy aspect about them.
was
bad
one
This
and
s i n g i n g i n the f i e l d .
Ikkyu's
He a l s o advocates l i v i n g at
each moment and not worrying f o r the future. So, i f you have only a l i t t l e
money now,
of saying
37
(7)
A t
*
On -f
ii
P r a i s i n g Monk Kido
b
The master of YH-wang
(Hsu-t'ang Chih-yu)
it ^
(&Vn-an)
|f_ ^
was a
He
, a master of the R i n z a i
38
line.
very unpredictable,,
i s as f o l l o w s :
E i g h t y - f i v e years
Not even knowing the P a t r i a r c h s ,
Rowing w i t h elbow, s e r v i n g , going,
17
Erasing my t r a c k s i n the Great V o i d .
be "Yu-wang"- This i s one of the many mountain temples t h a t Kido served
at.
p e r i o d s t a r t i n g i n 1258.
Ikkyu o f t e n found encouragement and c o n s o l a t i o n i n studying the
teachings and e x p l o i t s of the great Zen masters of the T'ang and Sung
periods.
I t w i l l a l s o be remembered
between soulmates.
compliment.
Ikkyu p r a i s e s
39
of R i n z a i , something which was probably debated at great length i n the
temples that Ikkyu was accustomed t o .
(9)
*> #[ I
^
;f f f
&
* A ?$ %
I - % & @ Ik
hi
f IL
i k a n a m ka kore R i n z a i ka no j i ,
k i s e n no i k k a t s u t e t s u c h i kuzuru
gogyaku ganrai noso n i a r i
t o r i shun^pu seien no yube
hansei hahsui shu j o no gotoshi
lecturing said,
40
a. "The F i f t h P a t r i a r c h " - Gunin
(Hung-jen)
>1
i s the F i f t h
He was reported
Patriarch.
\i
b.
anJ one.
,,
to k i l l one's f a t h e r ,
I think,
but
a t t a i n i n g enlightenment.
R i n z a i was famous f o r shouting at the r i g h t time to push h i s
students to sudden enlightenment.
At the breaking p o i n t , a l l d i s t i n c t i o n s
Above a l l , the
(10)
+ n L
A. c
-V + *
?? &
a i-
i n $ n
- f i ? M
*
i* ? $
^
i
4.
What i s i t l i k e , Unmon's
sect?
He l e c t u r i n g s a i d ,
"The r e d f l a g
a.
fl
Seppo Gizon
42
^
was h i s master.
He was founder of
nature of enlightenment.
c. ''One word b a r r i e r " - This r e f e r s t o a s t o r y i n which Unmon i s i n v o l v e d .
I t goes, "At the end of the summer, Suigan s a i d t o a gathering, 'For one
gammer now, I have been e x p l a i n i n g the Dharma t o you students
s t i l l have eyebrows?'
See, do I
are
growing.'
Unmon s a i d ,
l!l
kan
tl
(barrier).
"There's a t r a p here."
d. "Three phrase body of Knowledge"refers t o three famous phrases of Unmon's.
The f i r s t being kangai kenkon,
earth;
l^l
>Ll / ^ c u t t i n g o f f ,
ft.
it
ii.
>L
I have decided
Accordingly, the
or expression i n words.
"True R e a l i t y d e f i e s understanding
(That i s ,
24
appearances are completely r e l a t i v e ;
....)"
The r e d f l a g c a l l s
(11)
h w L <h W t
:
\L
*
t
Jdf
ft
fa L * i ,
#j
1 >t %r
)$ *
H #f ft i
44
Ika n a m ka kore Igyo shu, en iwaku danbi koro n i yokotau
Ejaku wa shaka Reiyu wa u s h i
himo sabutsu mata furyu
kohi michi tayu chokei no kaku
bansei no seimei koyv> no a k i
ft
What i s i t l i k e , t h i s Igyo
c
became a monk, Heiyu became a cow;
a.
Igyo
(Wei-yang) sect - During the T'ang dynasty the Zen sect was
Southern branch.
Ling-yu)
i*
%_
(Wei-shan
(Yang-shan H u i - c h i )
$f
<b
between the years 806 t o 820. The Igyo sect was not l o n g - l i v e d
however, and by the beginning of the Sung dynasty, i n 960, i t was
25
amalgamated i n t o the R i n z a i sect.
b.
Ejaku-The aforementioned Ryozan Ejaku was born i n 814 and died i n 890.
45
the
cow.)
d. ''man
(Tsu-t'ing shih-yuan)
v a l l e y of Fukushu
(Fu-chou)"
the second part of the t i t l e about the o l d stone marker l y i n g on the road
r e f e r s to t h i s f a c t .
The
(12)
- $
# #-
iSL A
46
i k a nam
en iwaku j u n n i n yo o okasu
i t t e k i no Sogen, i t t e k i fukashi
j u n n i n nyonyo yo c h i n c h i n
s e i z a n manmoku kore nan no ho zo
kashu nao hoshin o manabu ga gotoshi
a.
The Hogen
F i v e Dynastj^js p e r i o d .
jC-
(Fa-yen Wen-i)
a form of s u t r a Buddhism than any other of the great T'ang Zen masters
b. "One drop at the source of the Ts'ao r i v e r " - There i s a s t o r y about
Hogen i n the Sha s h i t s u k i n (Shin s h i h t'ung chien) $ f
ifL -4f.
which
29
The
the year 502, there was a monk named Chih-yao who s a i l e d i n a boat u n t i l he
47
VIM - cVlot>
reached issssfea and the waters of the Ts'ao r i v e r .
"/vc i*
(T&
It
I n essence^ i t
I t w i l l be remembered that
48
understand.
The
(8)
&
<
*$ ft q
M k '<' M 4
f
f& >t
M f
U
fL
?i f
&
It
jfi
it*
mae
nen
a.
49
abbrieviation for
b.
jt j^.
Daitokuji.
it
ti
if
I think i t
Daito l i v e d
"
&
% i
h
h
f #
%
Gojo
50
&
&
*q
1
4
il
/A
ft
*1 h
JL
&
fL L
)k
>L
1 &
I n t h i s world, those
Therefore, I
a.
1311)
Hi
to
ft % H)
L *
IB
I f >$ %
!J 1
18. A
&
ifc.
% i\
innen
t e r a s h i miru B a s e l zangetsu no a k a t s u k i
themselves;
b
c
Was Genso's reminder of what happened at Ma-wei.
(Hsuan-tsung)
"Kin.
f o r h i s f a v o r i t e concubine Y o k i h i ( Y a n g - k u e i - f e i ) .
whole seems to a l l u d e to the l i n e i n PbjChu-i's poem
iJ
h h %
The l i n e as a
"The Long G r i e f " ;
&
35
"At the temporary palace, see the moon, c o l o r of a wounded heart,"
This l i n e describes Genso s t i l l i n e x i l e a t a temporary palace a f t e r
Y o k i h i i s dead, l o o k i n g at the moon.
b. "Genso's reminder"- The T'ang Emperor Genso was so i n f a t u a t e d w i t h
the concubine Y o k i h i t h a t he shamefully neglected the a f f a i r s of s t a t e .
Because of t h i s neglect and a l s o the l a v i s h amounts of money Genso
spent i n b u i l d i n g palaces and gardens f o r Y o k i h i , the country was c l o s e
to f i n a n c i a l r u i n .
(Anwas
At
Y o k i h i himself.
This p a c i f i e d h i s troops.
and
killed.
(312;
A
t
/>'L>
I it A : t
& i %
1 * t
t- & >f
kagen^mi t a r e b i t o ka ryodatsu
su
comprehends i t ?
H i n z a i ' s shout.
ifL-
teaching,
WL
(Te-shan Hsiian-
stick.
b. " R i n z a i ' s shout"- The Zen master R i n z a i Gigen was e q u a l l y famous f o r
shouting a t the r i g h t occassions.
(313)
& A
%4
*ii
it
\\ *
iL
i l
f u r y u no s h i f u n mata kosho
Tomyo no Nyorai dancho o ikansen
shinnu kore Bakaisen ka no haku
r i k o n no senjo fuso n i takuseraru
54
1 .' at 2 f
%-
ft
s h i n j i n sadamarazu ka t o s h i n t o
yokkai no shujo kushin n i shizumu
shumu sansho r o k u j i k k o
gokku raushiki Bakai no kami
a.
as,
cubic stone i f she touched i t w i t h her garments once every three years^"
which means t h a t i t i s a very long p e r i o d of time.
30
55
karma so much as examples of people i n l o f t y p o s i t i o n s f a l l i n g
grace at a s i n g l e blow,,
from
Genso
too, was i n the same p o s i t i o n , having found a woman who pleased him more
than anything i n the world, he was f o r c e d t o k i l l her the next moment.
The second poem b r i n g s the r e s o l u t i o n t o t h i s seemingly
untenable
The f o u r t h poem
..fQfinless; there
56
(73)
I ft <5 f I * f
lb tfC *
* ^ ^ if i
f.
fli
*f
iii
&
ii-
*v
ft
ushi
i r u i kochu kore waga so
no wa kyo n i y o r i mata kyo wa no n i yoru
shussho bokyaku su r a i j i no michi
s h i r a z u tonen t a ga u j i no so
The
Cow
a.
Iruikochu
^
1
<t*
i s a s p e c i f i c Buddhist term f o r a
39
Thus, noke ht> iLi i s the teacher who transforms and shoke
ft\.
i s the
57
Here,I chose p e r c e i v e r and perceived because i t i s a case of Ikkyu's
seeing the cow which occassions t h i s poem.
The s t o r y
the cow might say. . The next day the cow d i e d and when the owner of
the cow saw Ikkyu,he teased him, saying "Your poem k i l l e d my cow." and
Ikkyu l a u g h e d . ^
The second l i n e r e f e r s t o the f a c t t h a t t o the farmer the cow was
j u s t a cow but t o Ikkyu i t was a memory of Isan and a v e h i c l e f o r
r e f l e c t i n g on the nature of karma. Hence,what was seen depended on the seer,
and the seer,Adepended on what was seen f o r h i s i n s p i r a t i o n .
(18)
($ >
fk
n. ff
>%
<-
ff
)%
:*
V) H
'ft
t
c
58
l i v i n g on a boat
^two poems)
a.
Ganto Zenkatsu
^Yen-t'ou Ch'uan-huo)
He was
42
Hui-ch'ang era, 845.
59
The cuckoo c a l l i n g through the moonlit night over the water, i s reminiscent
of the c o n d i t i o n s surrounding Ikkyu's own enlightenment.
(362)
&
*
^ f$ H h
i
H % h L
**
ft
P r a i s i n g S a i n t Honen
Honen, I heard, was a l i v i n g Buddha;
P e a c e f u l l y s i t t i n g on the highest rank of the Lotus d a i s ,
Teaching learned men as though they were nuns and l a y followers.**
c
Honen's One Sheet Document, how marvelous!
a.
Honen 1133 - 1212 was the founder of the Jodoshu, Pure Land s e c t , of
Buddhism i n Japan.
60
b.
illiterate.
C o "Honen's One Sheet Document"contains the essence of h i s d o c t r i n e .
"The method of f i n a l s a l v a t i o n t h a t I have propounded i s n e i t h e r a s o r t
of m e d i t a t i o n , such as has been p r a c t i s e d by many s c h o l a r s i n China and
Japan, nor i s i t a r e p e t i t i o n of the Buddha's name by those who have
s t u d i e d and understood the deep meaning of i t .
Those who
H i s t o r i c a l l y as
w e l l , there have been i n c i d e n t s i n which Zen and the Pure Land sect
have been l i n k e d .
61
school.
However, i t i s not that Ikkyu i s p r a i s i n g Honen's doctrine here,
but r a t h e r Honen's overwhelming genuineness, as compared w i t h some of the
phoney Zen monks w i t h whom Ikkyu was acquainted.
(20)
&f
&.
n it
fa
^ '
f
h
ft
ft
Ni So o sansu
Taito konko zenji
nashi
P r a i s i n g the Second P a t r i a r c h
From China, now and since o l d times, there are no Zen masters.
No one knows the legend of Danpi;
c
Only Nanzan Dosen's story i s allowed:
J u s t as i f a needle had been a p p l i e d to a p a i n f u l spot.
a.
(Hui-k'o)
C- $L
*\
was
supposed
62
to have been born i n 487 and d i e d at the age of a hundred and seven i n
593.
F i r s t P a t r i a r c h Bodhidharma.
(see f o l l o w i n g s t o r y )
arm".
(Wu-men-kuan), i s as f o l l o w s :
arm,
The Second
'There,'
46
Nanzan Dos en
enlightened.
(Nan-shan Tao-hsuan)
J-i
jjL
596-667, was
He rewrote the s t o r y of
H i s v e r s i o n of the s t o r y i s as
follows:
"The Great P a t r i a r c h Keika met robbers and had h i s arm cut o f f .
C o n t r o l l i n g h i s mind w i t h Buddha's law, he didn't f e e l any pain; with
f i r e he burned the wound, and bound i t up w i t h c l o t h .
had been on h i s way begging, he didn't t e l l anyone.
As though he
Later, a priest
He shouted
through the n i g h t ; Keika came and tended h i s wounds, and begged food t o
give to him.
Keika s a i d
'You
63
have r i c e cakes i n f r o n t of you, -why don't you wrap them up?'
s a i d , 'I've l o s t an arm, don't you know?
Rin
Nanzan Dosen's v e r s i o n i s
Yet, i t
Danpi's a c t , i t s e l f , though
U i Hakuju argues t h i s
way,
f i r s t by c i t i n g an i n s c r i p t i o n recorded by H o r i n ( F a - l i n )
!_
iLS
ife
^
M
64
he backs up h i s argument w i t h p s y c h o l o g i c a l reasoning.
He maintains
In
He says people
'>
K i d o Osho santibengo
( l i t e r a l l y "three turn-around
Ikkyu
Kido.
(25)
6 Ik t
]|: t
A i$
fl *
t ft
f #I
< t & i- *
ft
* 4 *
One's own eyes not yet c l e a r , how w i t h empty space make cotton
breeches t o wear?
a
P a i n t e d r i c e - c a k e s , c o l d stomach hungry, never f u l l ;
Born from woman w i t h eyes of f l e s h seeing as though b l i n d .
In the c o l d h a l l s , one n i g h t , t h i n k of c l o t h e s :
Figured gauze, a thousand f o l d s , i n the darkness
appears.*'
66
a.
b.
(26)
i-j
JL
e
ih h
it. * i
& i
ii
L L %r & 5
k- %
chi n i
JtL i
Divide the earth, make a cage, how i s i t that you penetrate but
do not pass through?
How i s i t that i n s p r i n g - r e v e l r y , my i n t e r e s t i s never exhausted?
People's minds are j u s t l i k e the bow i n the guest's cup.
Heaven a t t a i n e d , H e l l i s destroyed.
Long day amid f a l l i n g f l o w e r s , w i l l o w f l u f f .
a.
cup of wine.
wine.
i n the cup.
F i n a l l y he
cup.^The snake was not r e a l , and yet the man had become i l l .
xV
The
(27)
x #
^
*
fe
it %
AS
ft
if If- ft
*f ii
s..
>t
Go t o the sea and count the sand, how do you stand t i p t o e on the
head of a needle?
S c a t t e r the e a r t h and count the sand, i t b u i l d s up great m e r i t ,
Stand t i p t o e on the p o i n t of a needle and paranormal powers appear,
Among the mountain monks, there i s no one of a b i l i t y ,
The son of the Eastern Sea i s of Kido's s t y l e .
a.
From t h i s
preoccupation
(74)
ft 4? % .fe * - 4
&
^
if *>k $
f/f
1
#
/f
ft fa
ft
it
-ft
L
*
The poems
70
a
keigei o t s u r u n i narete warai i c h i j o
deisha n i ho o k i s h i r i t e hanahada hobo
awaremubeshi s e i t e i n i sondai to shosu
tenka no noso mina Shiyo
The
frog
people who
boast
Shiyo
sun Shu)
ib
( ? - 36)
(Kung-
He
expression.
(75)
A. ^
ii *- /V tf.
< x p%
fr
# n *
ft
&
it
shakuhachi
i s s h i no shakuhachi urami tae gatashi
f u i t e koka s a i j o no g i n n i i r u
j u j i g a i t o t a ga u j i no kyoku zo
Shorin mooka c h i i n o zessu
Shakuhachi*
Music from the shakuhachi, sorrow d i f f i c u l t t o bear.
Blowing i n t o the b a r b a r i a n flute,** a song a t the f r o n t i e r ;
At the crossroads, whose piece does he play?
Among the students of Zen , I have few f r i e n d s .
72
a.
a very s h r i l l sound.
as he
It
for fingering.
( S h a - l i n ) , Shorin
This i s a d e s c r i p t i o n of Ikkyu's l o n e l i n e s s .
umfamiliar song played on a shakuhachi
He hears an
A further
(76)
73
kairai
ippo t o j o n i genshin o genzu
aruiwa oko-to ka-shi aruiwa shomin
moknzen s h i n no mokuketsu o hokyakn s h i t e
c h i j i n wa yonde honrai no h i t o to nasu
Puppets
On the s h e l f , appear whole bodies,
Sometimes they are transformed i n t o kings and nobles, sometimes commoners,
F o r g e t t i n g t h a t before t h e i r eyes there are r e a l l y only wooden s t i c k s ,
I d i o t s c a l l them r e a l people.
(101,108)
Prose i n t r o d u c t i o n :
i\
&
L h
I f1
i -
<f
ta
A
it i i if i _ f
t %*
$ A !
it * f
4 4
Ii M
i^
74
i i
t % A ftt 1
*k
IL
# ih i
ti
L $
if t
1$
% *
&
S c a n d a l - l o v i n g monks made
So, i n connection w i t h t h i s c a l a m i t y
This was s u f f i c i e n t
As t h i s happened t o
l have
(101)
tff
&
|if
* 1 &
U l l f
75
%t
J% 1 t
L%
a.
This
The
is,
the King of Demons does not have the unique character of being i n
absolute opposition to
Ui's
76
(108)
% A
i| *
fa k) iL
K {
* H
US * f
A., 4
*f
(fit.
a.
home-made.
These poems and the prose passage record the i n c i d e n t over which
Ikkyu i s supposed t o have resolved t o starve himself t o death i n p r o t e s t .
As can be seen, Ikkyu himself makes no d i r e c t reference t o the idea of
s u i c i d e . However, i t i s obvious i n these poems that i t was a deeply
depressing s i t u a t i o n f o r him.
77
c o r r u p t i o n w i t h i n the church.
(130)
f t * 1k t h if
n t $
-
fa
#
&
iiihfi
>tj^
jisan
Kaso no j i s o n Zen o s h i r a z u
Kyoun menzen t a r e ka Zen o toku
sanju nenrai kenjo omoshi
i c h i n i n katansu Shogen no Zen
Self-praise
The descendents
of Kaso
b
I have c a r r i e d the burden of Shogen s Zeno
1
78
a.
introduction)
b.
(Sung-yuan Ch'ung-yo)
|t
was a E m z a i master of the Sung Dynasty A died 1209 at the age of seventy4
one.
(134,
(134)
4 1
**
jL
ix
- it. n
79
zehi ninga issho
kamabisushi
a.
b.
U35)
koan s a n j i k i t a t t e mei r e k i r e k i
kyokin kanpa sureba an konkon
onzo s h i s h i n i i t a r u made bokyakushi
gatashi
dark.
80
(136)
4 4
ft
f-
if
A.
|,
it
^
9
*
55
which wo,s
not meant to be i n t e l l e c t u a l l y
rationalized.
b. "Tusks of Tozan' - Tozan i s a mythical mountain i n h e l l , a mountain
5
of sharp edges.
7
81
These three poems are i n t e r e s t i n g because they are examples of
the k i n d of lessons Ikkyu gave t o h i s f o l l o w e r s . A l l three poems are
q u i t e severe i n tone, but perhaps the t h i r d one e s p e c i a l l y so.
The
of a koan.
The second
Intellectual-
well-meant c o u n c i l of f r i e n d s i s annoying.
Daitokuji.
i n t e l l e c t u a l understanding
M f
*
>*-
{ 1 M
4
I If if . t if
i t
ft ii
)%
<.
"diploma
82
poems on the s u b j e c t )
The temples are wealthy, but the Five Mountains are degenerating,
There are only f a l s e masters, there are no t r u e masters?
1 would l i k e t o take a f i s h i n g r o d and go f i s h i n g :
But these days, on the r i v e r s and l a k e s , a c o n t r a r y wind blows.
VI.
(89
and 90)
% =- n
Sankyo n i shu
Dwelling i n the mountains
(89)
&
ilL
&i
VI.
(89
and 90)
Sankyo n i shu
Dwelling i n the mountains
(89)
ii
M
Jf
f ft
%%
id
&
l l
t' # f 1
i% )%
84
Ten years spent i n b r o t h e l s , e l a t i o n d i f f i c u l t t o exhaust.
Now, f o r c e d t o l i v e amid empty mountains, gloomy v a l l e y s ,
30,000 m i l e s of cloud
The wind i n the t a l l pines around the house grates upon my ears.
a.
a r h e t o r i c a l exaggeration
(90)
a.
See poem 8.
85
b. "cloud-rain ' - One of Ikkyu's most frequent metaphors f o r lovemaking
1
He
T h e r e a f t e r i n China,
"the r a i n of
a p o l i t e expression'for d r i n k i n g a l o t of sake.
and "black mountains"j on the contrary, they only arouse i n him, an acute
longing f o r the warm company, drink)and song of the b r o t h e l s .
One might
of n a t u r a l images i n these
86
i n the pines grated, h i s ears.
the waka world, such extreme emotions were not encompassed within the
gentle s e n s i b i l i t y of t r a d i t i o n a l Japanese poetry.
ThiSj perhaps, was one of the basic reasons why Ikkyu chose to
express his most profound and intense subjective moods and thoughts i n
Chinese forms rather than Japanese ones; the range of possible
emotions,
deal e x c l u s i v e l y with
r e a l l y poetic i n the same sense as the waka i n that they are not concerned
at a l l with the expression of a subjective state of mind, nor with the
poetic d e s c r i p t i o n of nature, nor even with the manipulation of
of language.
subtleties
That i s ,
Buddhist f a i t h .
Blytb,
'
2
honest perhaps to be a great l y r i c a l poet."
his
However,it i s p r e c i s e l y i n
revealed.
87
(94)
3-
4-
it 4t # ^
n *$
it
4t
it if
Once a long time ago there was an o l d woman, who f o r twenty years
supported the head of a hermitage.
She d i d so
;| >1 # fl H
f
U
U
^.H
U ih i t t I #
Then
88
robashin zoku no tame n i kakehashi o kasu
shojo no shamon n i nyosai o atau
konya b i j i n moshi ware n i yakuseba
koyo. haru o i t e sara n i nikobae o shozu
Ikkyu
C l i n g i n g t o anything whatsoever,
represented
{lkk)
>i
89
i & $ t b %
g.
K % it
Inbo n i daisu
b i j i n no unu aiga fukashi
r o s h i rozen r o j o no g i n
ware n i h o j i sofun no kyo a r i
t s u i n i kajushashin no kokoro nashi
Inscription f o r a brothel
A b e a u t i f u l women's c l o u d - r a i n , 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 o l d monk s i n g .
I f i n d i n s p i r a t i o n i n embraces and k i s s e s ,
Thus, I don't t h i n k a t a l l of abandoning my body as though i t were a
heap of f i r e .
a.
of f i r e " here, i s t o be
were an accumulation
of f i r e , t h i s i s c a l l e d s e l f - r i g h t e o u s n e s s "
TEhat i s , regarding
The i d e a
develop-
I n other words, i t
90
Edward
For the simple reason that one cannot use the same force twice,
_
This point of view i s the most prevalent i n Hinayana
connotations
there.
The s t o r y
On
the contrary, the Mahayana doctrine of the "great d e l i g h t " , which has
already been discussed i n Chapter I I I , sees i n the sexual experience a
profound experience of the non-dual nature of the universe.
This more
experience.
I n p o i n t of f a c t ,
(255)
.S a
A
>
% % i%
>*) &
>
* J
<_ H
x A
y% 4
SL
_ tf i f %b ?fc
P i c t u r e of an arhat
reveling i n a brothel
enlightenment.
attained
(263)
if
ii fh
. # 1
It H %
93
Shi
n i iwaku
I t was a s t o r y
Such
Yet, i t i s i t s very f l e e t i n g
94
(264)
4$
4
ii
.#
J.
#.
ie-
*i fj
. %
%- b.tt
i f
if
h i
'*$ $f
JU-
*l
ft
i -it i 4 A <t
z o k u j i n inbo monzen n i s h i o gi*\jite kaeru
r o s h i mushin kare ushin
s h i n i i n s u shikaku i r o nanzo i n s u
shukuu n i s h i n i haru shoka no kure
t a j o aisubeshi mon n i y o t t e
ginzu
95
a.
6
no mind i n t h i n g s are you vacant and s p i r i t u a l , empty and marvelous."
6A the p a r t of Ikkyu.
Yet, i t
Ikkyu,
I t i s strange
It is
She
There i s one p o r t r a i t
(548)
Prose i n t r o d u c t i o n :
it
4t 0 # 46
it
JL
97
fate. I % % * f f
I
it I ft %
% ftf % $ f f a
& ^ k % t*.
I t r a v e l e d l e i s u r e l y t o Yakushido
and r e j o i c e d there;
S t i l l , a poisonous s p i r i t l i n g e r s i n my v i s c e r a ;
Ashamed I am, not t o be concerned w i t h my hoary h a i r ;
S i n g i n g t i l l exhaustion, severe c o l d , the melancholy note r i n g s long.*
a.
b.
but i n a l l e d i t i o n s of
The c l o s e s t character
98
I t i s reasonable
(549)
Prose i n t r o d u c t i o n :
% %
D * " *
&
ft %
W *
1L t) &
The attendent
& <t
f.
f- t - %
if
if! .*{/ Sf
ii-
j f
&
fi
I r e c a l l the o l d times l i v i n g a t T a k i g i ,
You heard of the renown of the king's descendent
we
and^loved.' K.
a.
T h i s r e f e r s t o Ikkyu's r o y a l b i r t h .
b.
"The j e w e l l e d s t a i r s r e p i n e " .
1L L
if 1
ft &
M
*. a
100
(54U)
it t
%& U
%L I
ft
L ft-
fe.
However,
101
Lady Mori r i d e s i n a c a r t
In the phoenix c a r t , the b l i n d g i r l o f t e n goes on s p r i n g outings.
When my heart i s oppressed, she l i k e s t o comfort my melancholy.
Even though most people make f u n of her,
I love t o see M o r i , so f a i r a beauty she i s .
There i s
a l s o an i n d i c a t i o n i n t h i s poem t h a t people d i d
(5k6)
>
ft
"jj
ft
&
\%
**, k
%. & ->& 1
i I-
102
and p r e t t y , l o v a b l e .
it
4i
& * & | #
*4 t
If
tt
&
jH'ftj
shosha t a r i
fair^
-a.
tantamount t o someone p r a i s i n g the beauty o f / t g i r l i n blue jeans.
Yet,
The tone of
anxiousness
103
(544)
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a.
11
104
of Genso and Y o k i h i .
the
In the middle
fa
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&
lives.
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105
Here the s i x
(537)
11 %
$.
i f
Ift #
i-
b i j i n no i n s u i o suu
R i n z a i j i s o n Zen o s h i r a z u
shoden shinko katsuro hen
unu sansho r o k u j i k k o go
shufu i c h i y a hyakusen nen
106
This poem i s the t h i r d poem of three poems under the t i t l e :
Sipping a b e a u t i f u l woman's l a s c i v i o u s f l u i d s
R i n z a i ' s descendent's don't know Zen.
Correct transmission of the t r u t h , t h i s i s t o a b l i n d donkey.
C l o u d - r a i n , past, present and f u t u r e 60 kalpas,
Autumn wind, one night a 100,000 years.
a.
U4-)nste a.<
So here again, i k k y u
(542)
&& t t & f
107
>l u f i s
RJ
b i j i n no i n , snisenka no ka a r i
a.
Extended from
KingCWWs h i l l - r e f e r
poem 90.
This elegant
108
to t r a d i t i o n a l Japanese p o e t i c imagery,
(538 and
539)
Prose i n t r o d u c t i o n :
t.
* k
4 * M
ifc
fe
She i s
(538)
iL
ft
109
In Hyakujo's hoe, my t r u s t i s e x t i n g u i s h e d .
R i c e money, the Old Man of H e l l i s never generous.
The b l i n d g i r l ' s love songs laughed a t by the p a v i l i o n g i r l s .
Chu's h i l l , evening r a i n d r i p s lonesomely.
(539)
ift.
ii
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ii i $i
k
#
a.
15
110
I t i s c l e a r from
No e a t i n g i s not always a r e s u l t of no
(550;
if.
&
>t
Ill
k i shibomi ha ochite sara n i haru o kaesu
ryoku o c h o j i ban a o s h o j i t e kyuyaku a r a t a n a r i
Shin y a ga|shinon mo shi
bokyakuseba
The t r e e budded leaves that f e l l but once more round comes springeGreen grows, flowers bloom, o l d promises are renewed.
Mori, i f 1 ever f o r g e t my deep bond to you,
Hundreds of thousands of kalpa_^s without measure, may I be born as a beast.
(1049;
i & tm 4
iL
% &
it I t- k
For t h i s
& & If
I * C fl[ ft
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113
(1060)
*f
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- 1 1 i i . ft -ft
** *j A 9
it * f n
* *
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j i s e i no s h i
junen hana no s h i t a hoiuei o osarau
i c h i d a n no f u r y u mugen no j o
sekibetsusu c h i n t o j i n y o no h i z a
y o r u fukakushite unu sansho o yakusu
114
The
The second i s
To c a l l one more
I t i s i n f a c t , to t r u s t i n one's Buddha
VII.
Footnotes
Introduction
1. H. H. B l y t h , "Ikkyu's Doka," The Young East, I I . 2 t o
I I I . 9, 1952-54.
2, Kaneko Matabee and N i s h i o k a Shin, "Kyounshu chukai,"
Kokubungaku, (Kansai Daigaku Eokubungaku K a i ) . no. 21-28,
1958-1960.
II.
H i s t o r i c a l Background
1.
2.
I b i d . , pp. 227-28.
III.
Takashima Daien,
3.
I b i d . , P- 58.
4.
Ibid.
5o
I b i d . , P. 59.
6.
I b i d . , P- 60.
I b i d . , PP<, 60-61.
7.
8.
9.
10.
I b i d . , P- 62.
I b i d . , P- 64.
I b i d . P,
< 67.
116
11.
I b i d . , p. 69.
12.
I b i d . , p. 72.
13.
Ibid.
14.
I b i d . , p. 80.
16.
17.
I b i d . , p. 86.
18.
Ibid.
19.
I b i d . , p. 89.
20.
Ibid.
21.
I b i d . , p. 93-
22.
I b i d . , p. 95.
23.
I b i d . , p. 96.
24.
I b i d . , p. 100.
25.
I b i d . , p. 101.
26.
I b i d . , p. 103.
27.
28.
IV.
30.
31.
32.
33.
I b i d . , p. 344.
P h i l o s o p h i c a l Poems
1.
2.
5.
117
6.
7.
8.
9.
10.
11.
12.
I b i d . , pp. 424-25.
13.
I b i d . , p. 425.
14.
U i Hakuju, Japanese-English
15.
16.
I b i d . , p. 360.
Buddhist D i c t i o n a r y , p. 288.
Ibid.
19.
20.
24.
Ibid.
27.
Ibid.
30.
Kaneko, op. c i t .
31.
Dumoulin, op_. c i t . , p. 8.
32.
33.
Ibid.
118
36. A f t e r the d e s c r i p t i o n i n P'o Chu-i's aforementioned poem
and more p a r t i c u l a r l y , Morohashi T e t s u j i , Daikanva j i t e n , v. X I ,
pp. 672-73.
37. H e i n r i c h Dumoulin, The Development of Chinese Zen, p. 47,
c i t i n g Goto Egen, Bk. V I I , Dainihon zokuzokyo, p. 116.
38.
39-
40.
41.
42.
Ibid.
46.
U i , op. c i t . , p. 38.
51.
52.
I b i d . , v. X V I I I , p. 199.
53.
U i , op_. c i t . , p. 39..
55.
119
V.
VI.
C r i t i c a l Poems
1.
2.
4.
5.
6.
Love Poems
1.
Morohashi T e t s u j i , Daikanwa j i t e n , v
X I I , p. 16.
6.
-j
8.
12.
13.
VIII.
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