VII
GENSHA ON THE: THREE INVALIDS[1]
Preliminary Remark
When gates and courts are established, then there are twos, there
are threes, there is a realm of multiplicities; when a deep discourse
is carried on on the highest subjects of intuition a world of sevens
and eights is thoroughly broken through. In whatever ways views and
opinions may be presented, they are crushed to pieces so that the
barricades even when they are of golden chains are successfully
brushed aside. When orders are given from the highest quarters, all
traces are wiped off, leaving nothing whereby trailing is made
possible. When do we come across such a koan? Let one who has
an eye on the forehead see to it.[2]
Illustrative Case
Gensha gave the following sermon:
"It is asserted by all the worthy masters of the present time
that they are working for the benefit of all beings. [--Each keeps a
shop according to his means.--Some are rich and others are poor.]
"This being the case, what will you do if there suddenly
appear before you three kinds of invalids? [--By beating up the weeds,
we mean to frighten snakes out.--As for me, it makes my eyes open wide
and my mouth close.-We all have to beat a retreat even for three
thousand 1i.]
"Those who are blind fail to see you even when you
[1. Hsuan-sha, 835-908. The following is a literal translation of
Case LXXXVIII of the Pi-yen Chi, which is one of the most
important and at the same time the most popular of Zen texts. The
words in brackets in the "Illustrative Case" and in Seccho's
verse are those of Yengo. As to the nature and composition of the
Pi-yen Chi, see my Zen Essays, Series II, p. 237 et seq.
2. The Remark purposes to make the reader abandon his usual
relative point of view so that he can reach the absolute ground of all
things.]
hold up a mallet or a hossu. [--Blind to the very
core.--This is no other than 'benefiting all beings'.--Not necessarily
failing to see.]
"Those who are deaf fail to hear you even when you talk
volubly enough. [--Deaf to the very core!--This is no other than
'benefiting all beings'.--Not necessarily altogether deaf.--That
something is still unheard.]
"Those who are dumb fail to speak out, whatever under.
standing they may have inwardly. [--Dumb to the very core!--This is no
other than 'benefiting all beings'.--Not necessarily altogether
dumb.--That something is still left untold of.]
"What treatment are you going to accord to such people? If you
do not know how to go on with them, Buddhism must be said to be
lacking in miraculous works." [--Quite true, this world-I am
ready to give myself up with my hands folded.--"Benefiting"
already accomplished!--"He then struck."]
A monk asked Ummon (Yun-men) to be enlightened. [--It is also
important to go about and inquire.--Hit!]
Said Ummon, "You make bows." [--As the wind blows, the
grass bends.--Ch'ua!]
When the monk rose from making bows, [--This monk's staff is
broken!]
Ummon poked him with a staff, and the monk drew back. Said Ummon,
"You are not blind then?" [--Blind to the very core!--Do not
say that this monk has a failing eye-sight.]
Ummon now told him to approach, and the monk approached. [--Washed
with a second dipperful of dirty water.--Kwan-non is come! To give a
"Kwatz!" was better.] Said Ummon, "You are not
deaf then?" [--Deaf to the very core!--Do not say that this monk
is deaf in his ears.]
Ummon further continued, "Do you understand?" [--Why does
he not feed him with the right forage?--Pity that he then uttered a
word at all.]
"No, master, I do not," was the reply. [--A double koan!--What
a pity!]
Ummon said, "You are not dumb then?" [--Dumb is to the
very core!--What eloquence!--Do not say that this monk is dumb.]
The monk now grasped the point. [--Stretching the bow when the
burglar is off.--What old bowl is he after?]
Commentary Notes
Gensha gives this sermon from his standpoint where he is now able
to sit, after years of his study of Zen, in absolute nakedness with no
trumpery trimmings about him, altogether shorn of imaginations and
free from conceptualism. In those days there were many Zen monasteries
each of which rivalled the others. Gensha used to give this sermon to
his monks:
"It is asserted by all the worthy masters of the present time
that they are working for the benefit of all beings. This being the
case, what will you do if three kinds of invalids suddenly appear
before you here? Those who are blind fail to see you even when you
hold up a mallet or a hossu. Those who are deaf fail to hear you even
when you may talk volubly enough. Those who are dumb fail to speak out
whatever understanding they may have inwardly. What treatment are you
going to accord to such people? If you do not know how to go on with
them, Buddhism must be said to be lacking in miraculous works."
If people understand him here as merely making reference to the
blind, to the deaf, to the dumb, they are vainly groping in the dark.
Therefore, it is said that you are not to search for the meaning in
the words which kill; you are requested to enter directly into the
spirit itself of Gensha, when you will grasp the meaning.
As Gensha ordinarily tested his monks with this statement, a monk
who was staying for some time with him one day accosted him when he
came up to the Dharma-hall, and asked: "Will you allow me to
present my way of reasoning about your sermon on the three
invalids?" Gensha said, "Yes, you may go on." Whereupon
the monk remarked, "Fare thee well, O master!" and left the
room. Gensha said, "Not that, not that." We can see that
this monk has fully grasped Gensha.
Later on, Hogen (Fa-yen, died 958) made this statement: "When
I listened to Master Jizo (Ti-tsang) making reference is to this
monk's remark, I was enabled to understand Gensha's sermon on the
three invalids."
I ask you now. "[Here is a puzzle for you, O monks!] If that
monk did not understand Gensha, how was it that Hogen made this
statement of his? If that monk understood Gensha, why did the latter
declare, 'Not that, not that'?"
One day Jizo said to Gensha, "I am told that you have given a
sermon on the three invalids, is that so?" Gensha answered,
"Yes." Jizo then said, "I have my eyes, cars, nose, and
tongue; what treatment would you give me?" Gensha was quite
satisfied with this request on the part of Jizo.
When Gensha is understood, you will realize that his spirit is not
to be sought in words. You will also see that those who understand
make themselves naturally distinguishable from the rest.
Later when a monk came to Ummon (Yun-men, died 949) and asked him
about Gensha's sermon, Ummon was ready to demonstrate it in the
following way, for he thoroughly understood Gensha. Said Ummon to the
monk, "You make bows." When the monk rose from making bows,
Ummon poked him with a staff, and the monk drew back. Said Ummon,
"You are not blind then?" Ummon now told him to approach,
and the monk approached. Said Ummon, "You are not deaf
then?" Finally, he said, "Do you understand?" "No,
master", being the reply, Ummon remarked, "You are not dumb
then?" This made the monk grasp the point.
If this monk of Ummon's had any sort of understanding about Gensha,
he would have kicked up the master's chair when he was told to make
bows, and no more fussing would have been necessary. In the meantime
let me ask you whether Ummon and Gensha both understood the problem in
the same way, or not. I tell you that their understanding is directed
to one point. That the ancient masters come out among us and make all
kinds of contrivance is because they wish to see somebody bite their
hook and be caught up. They thus make bitter remarks in order to have
us see into the great event of this life.
My own master Goso (Wu-tsu, died 1104) had this to say: "Here
is one who can talk well but has no understanding; here is another who
understands but is unable to talk about it. When these two present
themselves before you, how will you distinguish the one from the
other? If you cannot make this discrimination, you cannot expect to
free people from their bondage and attachment. But when you can, I
will see to it that, as soon as you enter my gate, I put on a pair of
sandals and run through the inside of your body several times even
before you realize. In case, however, you fail to have an insight in
this matter, what is the use of hunting around for an old bowl? Better
be gone!"
Do you wish to know what is the ultimate meaning of these
complications in regard to the blind, deaf, and dumb? Let us see what
Seccho says about it.
Seccho's Remarks in Verse
Blind, deaf, dumb! [--Even before any word is uttered.--The three
sense-organs are perfectly sound.--Already finished is one paragraph!]
Infinitely beyond the reach of imaginative contrivances! [--Where
do you wish to hunt for it?--Is there anything here which permits your
calculations?--What relationship have they after all?]
Above the heavens and below the heavens! [--Perfectly free is the
working of Truth.--Thou hast said!]
How ludicrous! How disheartening! [--What is it that is so
ludicrous, so disheartening?--Partly bright and partly dark.]
Li-lou does not know how to discriminate the right colour. [--Blind
fellow!--A good craftsman leaves no trace.--Blind to the very core!]
How can Shih-k'uang recognize the mysterious tune? [--Deaf in his
ears!--There is no way to appreciate the greatest merit.--Deaf to the
very core!]
What life can compare with this?--Sitting alone quietly by the
window, [--This is the way to go on.--Do not try to get your
livelihood in a cave of ghosts.--Break up all at once this cask of
coal tar!]
I observe the leaves fall and the flowers bloom as the seasons come
and go. [--What season do you think it is now?--Do not regard this as
doing-nothingness.--Today, morning is followed by evening; tomorrow,
morning is followed by evening.]
Seccho now remarked: "Do you understand, or not?"
[--"Repeated in the gatha."I
An iron bar without a hole! [--Coming up with your own
confession!--Too bad that he was released too easily,--"Then he
struck."]
Yengo's Comment on Seccho
"Blind, deaf, dumb!
Infinitely beyond the reach of imaginative contrivances!"
In this, Seccho has swept everything away for you what you see
together with what you do not see, what you hear together with what
you do not hear, and what you talk about together with what you cannot
talk about. All these are completely brushed off, and you attain the
life of the blind, deaf, and dumb. Here all your imaginations,
contrivances' and calculations are once for all put an end to, they
are no more made use of this is where lies the highest point of Zen,
this is where we have true blindness, true deafness, and true
dumbness, each in its artless and effectless aspect.
"Above the heavens and below the heavens!
How ludicrous! how disheartening!"
Here Seccho lifts up with one hand and with the other puts down.
Tell me what he finds to be ludicrous, what he finds to be
disheartening. It is ludicrous that this dumb person is not after all
dumb, that this deaf one is not after all deaf; it is disheartening
that the one who is not at all blind is blind for all that, and that
the one who is not at all deaf is deaf for all that.
'Li-lou does not know how to discriminate the right colour."
When he is unable to discriminate between blue and yellow, red and
white, he is certainly a blind man. He lived in the reign of the
Emperor Huang. He is said to have been able to discern the point of a
soft hair at a distance of one hundred steps. His eye-sight was
extraordinary. When the Emperor Huang had a pleasure-trip to the River
Chih, he dropped his precious jewel in the water and made Li fetch it
up. But he failed. The Emperor made Ch'ih-kou search for it, but he
also failed to locate it. Later Hsiang-wang was ordered to get it, and
he got it. Hence:
"When Hsiang-wang goes down, the precious gem shines most
brilliantly;
But where Li-lou walks about, the waves rise even to the sky."
When we come up to these higher spheres, even the eyes of Li-lou
are incapacitated to distinguish which is the right colour.
"How can Shih-kuang recognize the mysterious tune?"
Shih-kuang was son of Ching-kuang of Chin in the province of Chiang
in the Chou dynasty. His other name was Tzu-yeh. He could thoroughly
distinguish the five sounds and the six notes, he could even hear the
ants fight on the other side of a hill. When Chin and Ch'u were at
war, Shih-kuang could tell, by merely quietly playing on the strings
of his lute, that the engagement would surely be unfavourable for Chu.
In spite of his extraordinary sensitiveness, Seccho (Hsueh-t'ou)
declares that he is unable to recognize the mysterious tune. After
all, one who is not at all deaf is really deaf in his ears. The most
exquisite note in the higher spheres is indeed beyond the ear of Shih-kuang.
Says Seccho: "I am not going to be a Li-lou, nor to be a Shih-kuang,
but
"What life can compare with this?--Sitting alone quietly by
the window,
I observe the leaves fall, the flowers bloom as the seasons come and
go."
When one attains this stage of realization, seeing is no-seeing,
hearing is no-hearing, preaching is no-preaching. When hungry one
eats, when tired one sleeps. Let the leaves fall, let the flowers
bloom as they like. When the leaves fall, I know it is the autumn;
when the flowers bloom, I know it is the spring. Each season has its
own features.
Having swept everything clean before you, Seccho now opens a
passageway, saying: "Do you understand, or not?" He has done
all he could for you, he is exhausted, only able to turn about and
present to you this iron-bar without a hole. It is a most significant
expression. Look and see with your own eyes! If you hesitate, you miss
the mark for ever.
Yengo (Yuan-wu, the author of this commentary note) now raised his hossu
and said, "Do you see?" He then struck his chair and said,
"Do you hear?" Coming down from the chair, he said,
"Was anything talked about?"
VIII
THE TEN OXHERDING PICTURES
Preliminary
The author of these "Ten Oxherding Pictures" is said to
be a Zen master of the Sung Dynasty known as Kaku-an Shi-en (Kuo-an
Shih-yuan) belonging to the Rinzai school. He is also the author of
the poems and introductory words attached to the pictures. He was not
however the first who attempted to illustrate by means of pictures
stages of Zen discipline, for in his general preface to the pictures
he refers to another Zen master called Seikyo (Ching-chu), probably a
contemporary of his, who made use of the ox to explain his Zen
teaching. But in Seikyo's case the gradual development of the Zen life
was indicated by a progressive whitening of the animal, ending in the
disappearance of the whole being. There were in this only five
pictures, instead of ten as by Kaku-an. Kaku-an thought this was
somewhat misleading because of an empty circle being made the goal of
Zen discipline. Some might take mere emptiness as all important and
final. Hence his improvement resulting in the "Ten Oxherding
Pictures" as we have them now.
According to a commentator of Kaku-an's Pictures, there is another
series of the Oxherding Pictures by a Zen master called jitoku Ki (Tzu-te
Hui), who apparently knew of the existence of the Five Pictures by
Seikyo, for jitoku's are six in number. The last one, No. 6, goes
beyond the stage of absolute emptiness where Seikyo's end: the poem
reads:
"Even beyond the ultimate limits there extends a passageway,
Whereby he comes back among the six realms of existence;
Every worldly affair is a Buddhist work,
And wherever he goes he finds his home air;
Like a gem he stands out even in the mud,
Like pure gold he shines even in the furnace;
Along the endless road [of birth and death] he walks sufficient unto
himself,
In whatever associations he is found he moves leisurely
unattached."
Jitoku's ox grows whiter as Seikyo's, and in this particular
respect both differ from Kaku-an's conception. In the latter there is
no whitening process. In Japan Kaku-an's Ten Pictures gained a wide
circulation, and at present all the oxherding books reproduce them.
The earliest one belongs I think to the fifteenth century. In China
however a different edition seems to have been in vogue, one belonging
to the Seikyo and Jitoku series of pictures. The author is not known.
The edition containing the preface by Chu-hung, 1585, has ten
pictures, each of which is preceded by Pu-ming's poem. As to who this
Pu-ming was, Chu-hung himself professes ignorance. In these pictures
the ox's colouring changes together with the oxherd's management of
him. The quaint original Chinese prints are reproduced below, and also
Pu-ming's verses translated into English.
Thus as far as I can identify there are four varieties of the
Oxherding Pictures: (1) by Kaku-an, (2) by Seikyo, (3) by Jitoku, and
(4) by an unknown author.
Kaku-an's "Pictures" here reproduced are by Shubun, a Zen
priest of the fifteenth century. The original pictures are preserved
at Shokokuji, Kyoto. He was one of the greatest painters in black and
white in the Ashikaga period.
The Ten Oxherding Pictures, I.
by Kaku-an
I
Searching for the Ox. The beast has never gone astray, and what
is the use of searching for him? The reason why the oxherd is not on
intimate terms with him is because the oxherd himself has violated his
own inmost nature. The beast is lost, for the oxherd has himself been
led out of the way through his deluding senses. His home is receding
farther away from him, and byways and crossways are ever confused.
Desire for gain and fear of loss burn like fire; ideas of right and
wrong shoot up like a phalanx.
Alone in the wilderness, lost in the jungle, the boy is searching,
searching!
The swelling waters, the far-away mountains, and the unending path;
Exhausted and in despair, he knows not where to go,
He only hears the evening cicadas singing in the maple-woods.
II
Seeing the Traces. By the aid of the sutras and by inquiring
into the doctrines, he has come to understand something, he has found
the traces. He now knows that vessels, however varied, are all of
gold, and that the objective world is a reflection of the Self. Yet,
he is unable to distinguish what is good from what is not, his mind is
still confused as to truth and falsehood. As he has not yet entered
the gate, he is provisionally said to have noticed the traces.
By the stream and under the trees, scattered are the traces of the
lost;
The sweet-scented grasses are growing thick--did he find the way?
However remote over the hills and far away the beast may wander,
His nose reaches the heavens and none can conceal it.
III
Seeing the Ox. The boy finds the way by the sound he hears; he
sees thereby into the origin of things, and all his senses are in
harmonious order. In all his activities, it is manifestly present. It
is like the salt in water and the glue in colour. [It is there though
not distinguishable as an individual entity.] When the eye is properly
directed, he will find that it is no other than himself,
On a yonder branch perches a nightingale cheerfully singing;
The sun is warm, and a soothing breeze blows, on the bank the willows
are green;
The ox is there all by himself, nowhere is he to hide himself;
The splendid head decorated with stately horns what painter can
reproduce him?
IV
Catching the Ox. Long lost in the wilderness, the boy has at
last found the ox and his hands are on him. But, owing to the
overwhelming pressure of the outside world, the ox is hard to keep
under control. He constantly longs for the old sweet-scented field.
The wild nature is still unruly, and altogether refuses to be broken.
If the oxherd wishes to see the ox completely in harmony with himself,
he has surely to use the whip freely.
With the energy of his whole being, the boy has at last taken hold
of the ox:
But how wild his will, how ungovernable his power!
At times he struts up a plateau,
When lo! he is lost again in a misty unpenetrable mountain-pass.
V
Herding the Ox. When a thought moves, another follows, and then
another-an endless train of thoughts is thus awakened. Through
enlightenment all this turns into truth; but falsehood asserts itself
when confusion prevails. Things oppress us not because of an objective
world, but because of a self-deceiving mind. Do not let the
nose-string loose, hold it tight, and allow no vacillation.
The boy is not to separate himself with his whip and tether,
Lest the animal should wander away into a world of defilements;
When the ox is properly tended to, he will grow pure and docile;
Without a chain, nothing binding, he will by himself follow the oxherd.
VI
Coming Home on the Ox's Back. The struggle is over; the man is
no more concerned with gain and loss. He hums a rustic tune of the
woodman, he sings simple songs of the village-boy. Saddling himself on
the ox's back, his eyes are fixed on things not of the earth, earthy.
Even if he is called, he will not turn his head; however enticed he
will no more be kept back.
Riding on the animal, he leisurely wends his way home:
Enveloped in the evening mist, how tunefully the flute vanishes away!
Singing a ditty, beating time, his heart is filled with a joy
indescribable!
That he is now one of those who know, need it be told?
VII
The Ox Forgotten, Leaving the Man Alone. The dharmas are one
and the ox is symbolic. When you know that what you need is not the
snare or set-net but the hare or fish, it is like gold separated from
the dross, it is like the moon rising out of the clouds. The one ray
of light serene and penetrating shines even before days of creation.
Riding on the animal, he is at last back in his home,
Where lo! the ox is no more; the man alone sits serenely.
Though the red sun is high up in the sky, he is still quietly
dreaming,
Under a straw-thatched roof are his whip and rope idly lying.
VIII
The Ox and the Man Both Gone out of Sight.[1] All confusion is
set aside, and serenity alone prevails; even the idea of holiness does
not obtain. He does not linger about where the Buddha is, and as to
where there is no Buddha he speedily passes by. When there exists no
form of dualism, even a thousand-eyed one fails to detect a loop-hole.
A holiness before which birds offer flowers is but a farce.
All is empty-the whip, the rope, the man, and the ox:
Who can ever survey the vastness of heaven?
Over the furnace burning ablaze, not a flake of snow can fall:
When this state of things obtains, manifest is the spirit of the
ancient master.
IX
Returning to the Origin, Back to the Source. From the very
beginning, pure and immaculate, the man has never been affected by
defilement. He watches the growth of things, while himself abiding in
the immovable serenity of nonassertion. He does not identify himself
with the maya-like transformations [that are going on about him], nor
has he any use of himself [which is artificiality]. The waters are
blue, the mountains are green; sitting alone, he observes things
undergoing changes.
[1. It will be interesting to note what a mystic philosopher has to
say about this: "A man shall become truly poor and as free from
his creature will as he was when he was born. And I say to you, by the
eternal truth, that as long as ye desire to fulfil the will of God,
and have any desire after eternity and God; so long are ye not truly
poor. He alone hath true spiritual poverty who wills nothing, knows
nothing, desires nothing. "--(From Eckhart as quoted by Inge in Light,
Life, and Love.)]
To return to the Origin, to be back at the Source--already a false
step this!
Far better it is to stay at home, blind and deaf, and without much
ado;
Sitting in the hut, he takes no cognisance of things outside,
Behold the streams flowing-whither nobody knows; and the flowers
vividly red-for whom are they?
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