A Zen Forest, Sayings of the Masters

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/ F IU m ) i! I SiV can truly be called the quin- tessential philosophy of the Orient. Not just a puzzle to be unraveled by the intellect, Zen offers a challenge to both mind and spirit, calling on all our intuitive, social, and self-disciplinary powers. The distillation of this Oriental philosophy is contained in the Zen sayings—pithy phrases and poems handed down from a distinguished line of Chinese and Japanese masters. Over the centuries, their sayings and writings have been compiled into voluminous handbooks. The most complete of these are the various editions of Zemin Kushu, or the "Zen Forest Saying Anthology." Serious Zen students are still required to memorize hundreds of these sayings. In monasteries all over Japan, would-be priests can be found thoughtfully thumbing through their well-worn anthologies by the dim candlelight, looking for the perfect phrase to "cap" their Zen experience and activity. As their masters assign them increasingly difficult koans for contemplation and eventual solution, they re- spond with sayings culled from the anthologies, or they create their own phrases to add to the dynamic body of Zen literature. In the present book, for the first time, over 1,200 of these short sayings—from the comical, to the profound, to the downright mystifying— appear in vivid, poetic, English translation. From the thousands of sayings in existence, the author has compiled a representative selection, adding his own illuminating introduction on how to read the sayings. Each poem uniquely illustrates some (continued on back flap) (continued from front flap) aspect of Zen, from the nature of satori to the meaning of enlightened activity in the real world. These keys to Zen understanding are nov^ available to English speakers. Readers are encouraged to read the sayings, to ponder them, and eventually to apply to their own lives the wisdom found there. Included is a selection of the author's favorite sayings rendered in striking calligraphy by his father, abbot of the well-known Shogen-ji Zen temple in Shizuoka. For students with an interest in further study, the book also contains an appendix with the original Chinese characters and their Japanese romanizations. A glossary of people and places and a bibliographical source note complete this collection.

SOIKU SHIGEMATSU combines his duties as an active Zen priest at Shogen-ji temple with a full-time position as professor of English at Shizuoka University. He has long been interested in applying the Zen viewpoint to the study of American literature, from Emerson to Gary Snyder. In this volume he turns his efforts in the opposite direction, presenting a classic of Zen literature for the English-speaking audience.

Jacket design by Yoshihiro Murata Printed in Japan ZEN FOREST Sayings of the Masters

compiled and translated, with an introduction, by Soiku Shigematsu

foreword by Gary Snyder

First edition, 1981

Published by John Weatherhill, Inc., of New York and Tokyo, with editorial offices at 7-6-13 Roppongi, Minato-ku, Tokyo 106, Japan. Copyright © 1981 by SGiku Shigematsu; all rights reserved. Foreword: all rights reserved by Gary Snyder. Printed in Japan.

Library of Congress Cataloging in Publication Data: A Zen forest, sayings of the masters. / Translations of over 1,200 Zen phrases and koans. / 1. Zen Buddhism Quotations, maxims, etc. 2. Koan. / 3. Zen poetry. I. Shigematsu, SOiku, 1943- / BQ9267.Z46 294.3'927 81-31 / ISBN 0-8348-0159-0 Contents

Foreword, by Gary Snyder • vii

Acknowledgments • xiii

Introduction • 3

THE SAYINGS • 33

Appendix: Characters and Romanization • 123

Glossary • 171

Bibliographical Note • 177

ILLUSTRATIONS The Ten Oxherding Pictures, by Gyokusen, appear on pages 6-7,10-11,14-15,18-19, and 22-23. Sayings in calligraphy by KijU Shigematsu appear facing pages 50, 51, 66, 67, 82, 83, 98, and 99. A map of China appears on page 169.

Foreword

The Mohave Indians of the lower Colorado River put all the energy they gave to aesthetic and religious affairs into the recitation of long poetic narratives. Some of the epics are remarkably precise in describing the details of the vast basin and range deserts of die southwest, but the racon- teurs held that they were all learned in dreams. By another sort of inversion, the world of Ch'an/Zen Buddhism with its "no dependence on words and letters"—and unadorned halls, plain altars, dark robes—created a large and very specialized jiterary culture. It registers the difficulty of the play_be- tween verbaljind non-verbal in the methods of the training halls. The highly literate Zen people were also well acquainted with secular literature, and they borrowed useful turns of phrase from any source at all, to be part of the tool kit, to be employed when necessary, and often in a somewhat different way. A final step was the sifting of Ch'an texts, Chinese poems, Buddhist__sitfras, Taoist and Confucian classics, and proverbial lore one more time. This was done in Japan in the sixteenth and seventeenth centuries, and the result was the Zenrin Kushu, "Phrases from the Zen Forest." The greater part of the phrases gathered is from Chinese poetry, so that R.H. Blyth could say that the Zenrin Kushil is "the,Zen view of the world on its way through poetry to haiku." Ciive this book a glance. It's not quite like any collection of quotations or sclcctions from "great literature" that has been seen before. Eicho Zenji, who did the basic editing, and his successors obviously knew what they were looking for. Soiku Shigematsu's introduction tells about that. But the Zenrin Kushil selections could not have the terse power and vividness they do, were it not for the richness of the parent material. First, the terseness. It's all from Chinese. (Readings given in the appendix of this hook, to accompany the Chinese characters, are in a form of literary Sino- Japanese and do not represent the pronunciation of the Chinese or the word- vii order. They are read in this way by Japanese Zen students.) The Chinese language is mostly monosyllabic, with word-order grammar, and can be very economical. There is a long-established culture-wide delight in sayings and quotes, and there is a special lore of ambiguity and obscurity that plays on the many homonyms in the language. Early books such as the I Ching and the Taoist essays abound in "dark sayings." The Zen phrase anthologies do not draw on deliberately obscure sayings, tongue-twisters, traditional riddles, and the like. With the exception of quotes taken from the texts of their own school, they present us with selections from the public body of sayings and quotes. Poems are never quoted whole, so that in this case the obscurity (especially for the Western reader) is from the absence of context. When the Zen phrase is actually an old proverb, such as

To sell dog meat, displaying a sheep's head. (305) several levels of meaning are instantly clear. In Chinese this would literally be: "Hang sheep head sell dog meat." Another proverb that comes into the phrase book is

One who flees fifty steps Sneers at the other who's done a hundred. (330) English is a relatively parsimonious language, but the Chinese for this is literally "Fifty steps sneer him ahead one hundred." The context is running away from- battle. The most numerous type of Zen phrase is couplets borrowed from poems of five characters to a line. This section is called the "paired fives," and there are 578 such couplets in the Baiyo Shoin edition of the Zenrin Kushii. (Mr. Shigematsu has done away with the traditional arrangement of Zen phrases by number of characters. His original and personal sequencing makes the book perhaps easier to read straight through.) Seven-character lines, both single and paired, make up the next largest body of quotes, also from poetry. Chinese poetry takes the crisp virtue of the language and intensifies it a turn again. It is also the one area of the literature where personal sentiment— vulnerability, love, loneliness—is to be found in an otherwise dry and proper terrain. The very first teaching of Buddhism that Chinese intel- lectuals took to heart, in the fourth and fifth centuries A.D., was that of Impermanence. It fit well with the political experience of the times, the troubled Six Dynasties. The lyric poetry of the era is also full of woe and gloom. So almost from the beginning shih poetry has had a line to Bud- dhism. The Chinese (and almost everyone else) consider the I'ang poetry vill of the eighth century to be the crown of their literature. The poems of this period, infinitely superior to the weepy Six Dynasties lyrics, are the ones most often raided for Zen quotes. T'ao Ch'ien is a notable exception. We are speaking especially of the poets Wang Wei, Li Po, Tu Fu, Han Shan, and Liu Tsung-ylian. Although some were Buddhists, this does not matter to a Zen phrase. The power of image and metaphor, the magic of poetry, not ideology, is what counts. Contemporary with these poets were the great creative Ch'an masters Shen-hui, Nan-ylieh, Ma-tsu, Pai-chang, and Shih- tou. For whatever reason, the Golden Age of Chinese poetry is also the Golden Age of Ch'an. Twelfth-century Ch'an masters who gathered and edited koan books out of the anecdotes and lives of T'ang masters were also reading and quoting the T'ang poets. Many of the poems from which the Zen editors plucked quotes have been widely known by almost all Chinese and educated Japanese for centuries now. Some of them have entered the territory of su hua, or "common sayings." Such is Tu Fu's

The country is ruined: yet mountains and rivers remain. It's spring in the walled town, the grass growing wild. (377)

The context here is the destruction of the capital during the An Lu-shan rebellion. Tu Fu was not a Buddhist, yet his way of being and working came close to the essence. Burton Watson says of Tu Fu: "Tu Fu worked to broaden the definition of poetry by demonstrating that no subject, if properly handled, need be unpoetic. . . . There is evidence to suggest that he was versed in the lore of herbs and medicinal plants, and perhaps this knowledge gave him a special appreciation for the humbler forms of natural life. Some of his poems display a compassion for birds, fish, or insects that would almost seem to be Buddhist inspired. Whatever the reason, he appears to have possessed an acute sensitivity to the small motions and creatures of nature. . . . Somewhere in all the ceaseless and seemingly insignificant activities of the natural world, he keeps implying truth is to be found." The poets and the Ch'an masters were in a sense just the tip of the wave of a deep Chinese sensibility, an attitude toward life and nature that rose and flowed from the seventh to the fourteenth century and then slowly waned. The major Ch'an literary productions, Wu-men Kuan, Ts'ung-jung Lit, Pi-yett Lu, Hsii-t'ang Lu, are from the twelfth and thirteenth centuries. It was a second Golden Age of Ch'an and another era of marvelous poetry, one in which many poets were truly influenced by Ch'an. The most highly regarded Sung dynasty poet, Su Shih, was known as a Ch'an adept as well as poet and administrator.

XI Valley sounds: the eloquent tongue— Mountain form: isn't it Pure Body? (284)

This is part of a poem by Su Shih. The Japanese master Dogen was so taken with this poem that he used it as the basis for an essay, Keisei Sanshoku, "Valley sounds, mountain form." Sung-dynasty Ch'an had a training system that took anecdotes and themes from its own history and lore and assigned them as subjects of meditation. The tradition that emphasized this, the Rinzai sect, is also called the Zen that "looks at sayings." The comple- mentary school called Soto, which cut down on the use of old sayings, is also called "silent illumination Zen." They were both brought from China to Japan on the eve of the Mongol invasions. Japan inherited and added on to its own already highly developed sense of nature the world view of T'ang and Sung. Robert Aitken Roshi has described koans (and by implication the "phrases from the Zen forest") as "the folklore of Zen." Borrowed in part from the folklore of a whole people, their use as Zen folklore is highly focused. These bits of poems are not simply bandied about between Zen students as some kind of in-group wisdom or slangy shorthand for larger meanings. They are used sparingly, in interviews with the teacher, as a mode of reaching even deeper than a "personal" answer to a problem; as a way of confirming that one has tGuched base with a larger Mind. They are not valued for the literary metaphor, but for the challenge presented by the exercise of actu- alizing the metaphor in the present. They help the student bring symbols and abstractions back to earth, into the body. Zen exquisitely develops this possibility—yet it's not far from the natural work of poems and proverbs anyway. Someone has said proverbs are proverbs because they are so true. So if Zen has koans for folklore, the world has folklore for koans. Prov- erbs and short poems the world around are of like intensity and suggest equal depths. Though Mr. Shigematsu has chosen to eliminate the Zen phrases under four words long from his collection, it helps to know how they work, and why. What would be the power of a one-word Zen phrase? I think of Harry Roberts' account of Yurok Indian upbringing: if one did something foolish, all that Elder Uncle had to say was

Well! and a youngster would go off to ponder for hours. Let us lock eyebrows with the seventh-century B.c.Greek poet Archilo- chos, a mercenary soldier: x —So thick the confusion Even the cowards were brave —The crow was so ravished by pleasure That the kingfisher on a rock nearby Shook its feathers and flew away —Into the jug Through a straw (translated by Guy Davenport)

A Bantu riddle: A black garden With white corn the sky and stars. and the Philippines: The houseowner was caught; the house escaped through the window. —Fish net. and the Koyukon of the Alaskan Yukon: —Flying upward ringing bells in silence: the butterfly —Far away, a fire flaring up: red fox tail —We come upstream in red canoes the salmon. (R. Dauenhauer) and the Samoans: —When the old hen scratches, the chicks eat beedes. the Hawaiians: —Not all knowledge is contained in your dancing school.

XI and finally the people of Kentucky:

"My feet are cold" one says and the legless man replies: "So are mine. So are mine." (W. Berry)

But even beyond the fascinating Ch'an/Zen and world folklore implications of this collection, it stands on its own as a kind of "poem of poems/' We can read Mr. Shigematsu's excellent translations and follow his^cr^ative sequencing with an availability that has been earned for us by the modernist poetry of this century. Hugh Kenner speaks of "our renewed pleasure in the laconic and the expletive functions of language" in his introduction to Archilochos. Let this book be read then for the enjoyment of the far- darting mind, and skip for the time any notions of self-improvement. It is a new poem in English, winnowed out of three thousand years of Chinese culture, by some of the best minds of the East. It's also the meeting place of the highest and the most humble: the great poets and the "old women's sayings," as proverbs are called. Arthur Smith, speaking of mandarin officials of nineteenth-century China, said they were "wel^known to spice their conferences and their conversation with quotations froftpthe. o&A women' as naturally as they cite the Four Books." ' For this.book to exist, the Ch'an masters of the past, the poets of the twentieth century, and the old women must have joined hands.

Gary Snyder Acknowledgments

My first and sincerest gratitude goes at once and directly to Ciaran Murray, who now teaches American literature, as I do, at Shizuoka University. Devoting much time to discussion, he has carefully examined my English translations one by one and has generously given me many pieces of useful advice. But for his most friendly help, this work may not have progressed beyond draft form. It was Gary Snyder who first encouraged me to publish my translation when I visited him at his residence in August, 1978. I still remember each word he uttered as he turned the pages of my manuscript by the dim, shimmering light. I am really fortunate in having his foreword—more honor than I deserve. I wish to thank Robert Aitken Roshi for introducing me to Weatherhill; and the Weatherhill people, especially Mr. Meredith Weatherby and Ms. Ruth P. Stevens, for their kind and patient editing; and Gyokusen, a Zen follower, who drew her own Ten Oxherding Pictures, now treasured in our Shogen-ji Zen temple and reproduced in my introduction. I am very grateful to Kija Shigematsu, my father and teacher and the abbot of Shogen-ji Zen temple, who has written my favorite Zen sayings in black ink. He has taught me something of Zen and has brought me up to be a Zen priest. It would be fair, from a Zen viewpoint, to thank my wife Mieko for her indirect help. She has been wise enough not to share her husband's translation samadhi right on top of the sword mountain. To Sojun who helped his father with disturbances when this work started and now, five years later, really does help by keeping aloof; "thirty years later—" (no. 427) he will do so by understanding what his father truly wishes and what he has done. This book is to be dedicated to the late Sogen Asahina Roshi, one of the

xiii greatest Rinzai Zen masters in twentieth-century Japan. His sudden death has grieved me immeasurably because he was almost a grandfather, as well as a teacher, to me. His calligraphy on the wall has given me constant encouragement during my work on this book.

* * *

I wish to express my deepest and heartfelt thanks to all—in the ten directions and in the past, present, and future—that have made me complete this book, and I also wish to present this anthology to all that hoped, hope, and will hope to live in the Original Self, that is, in Zen. My wish can be summarized in Japanese in this way:

Jippd sanze issai no sho-butsu sho-son-bosatsu makasatsu maka-hannya-haramitsu.

Shogen-ji Zen temple, Shimizu February, 1981 A Zen Forest

Introduction

A word is a finger that points at the moon. The goal of Zen students is the moon itself, not the pointing finger. Zen masters, therefore, will never stop cursing words and letters.

A phrase completely to the point: The eternal donkey hitching post. (32)

Such abusive words are found everywhere in the writings of Zen masters. The essential principle of Zen is illustrated in the following sayings:

Teaching beyond teaching; No leaning on words and letters. (241)

Point straight at man's mind; See its nature and become Buddha! (795)

Zen experiences are not to be explained with words and letters. Only

The man who's drunk water Knows if it's cool or warm. (915)

Exactly!

3 Words fail. (307)

Nevertheless (indeed nevertheless!), many masters have left voluminous records. Why? Why did they leave so many "words" even against their own principles? This is certainly a contradiction. Indeed, Zen is paradoxical in every respect. However, careful examination of the phrase I have quoted first (no. 32) provides a clue to this question. The point is: however wonderful an expression it may be, it will be a stake that binds you unless you keep yourself always free from it. In order to attain Buddhahood, Rinzai Zenji (Lin-chi, ?-86y) stresses radically,

Meeting Sakyamuni, kill him! Meeting Bodhidharma, kill him, too! (1081)

Sakyamuni and Bodhidharma are other names for satori. Even this most sacred thing must be abandoned. Everyone can understand that illusion is an iron chain. But Zen regards even satori as a chain: a gold chain. It may be gold but is none other than a chain so long as it binds you. Jump over it; be free from it, and you will obtain the invaluable - treasure. No attachment, complete freedom: this is the true satori. It is every* kind of "hitching post" that Zen masters firmly drive away with blows and shouts. Once this fact is fully understood, words and letters are not to be given up as good for nothing. On the contrary, they are quite important in that they help us know what to avoid and what to do to attain the true satori. At the same time, no one can deny the fact that they are the only and in- dispensable way to universalize and eternalize human experiences. Thus, Zen masters find that the best way to express the unexplainable is to put their satori experiences in symbolic verse. In expressing what cannot be described, there is no choice but to rely on symbolism. On this point, verse is indeed akin to Zen. Anyone who has once gazed with awe at the round, round moon can grasp it only by the suggestion of a pointing finger. This is the very reason why the masters composed satori poems on many occasions during their lives. Especially important poems for them may fall into one of the following two categories. One is the tdkinogc, or poems in which they depict symboli- cally the moment of satori; the other is the yuige, or final farewell poems for their disciples, in which their whole Zen experience is condensed.

4 Together with these poems, their sermons were posthumously compiled by their disciples into a goroku (word record). Moreover, Zen history hooks and koan collections were also compiled and published, only to Hood the world with words. Against their own preachings, in this way many Zen masters made use of words and letters, which as a result have become a very important element in Zen. Paradoxically enough, it is nothing but these words and letters that have brought many memorable encounters beyond the realm of time and space. The two mirrors reflect each other. (1201)

Arrowhead and arrowhead hit one another. (704)

It is these word-records that have linked the great Zen masters in different a^cs. These encounters are in some cases evidenced by the later masters' practice of devising jakugo (capping words, or brief Zen comments) for their forerunners' records. Hekiganroku (The Blue Cliff Records), for example, is a typical c^se of jakugo. Sctcho Zenji (Hsiieh-tou, 980-1052), collecting one hundred old koans and adding his verse comment to each, compiled Hyakusoku-juko (One Hiftidred Koans with Verse Comments). A century later, Engo Zenji (YOan-wu, 1063-1135) added his introductions and prose commentaries to the koans and verse comments and "capped with words," to show his own view, each phrase or sentence in Setcho's book. The original koans with the various additions by Setcho and Engo were later compiled by the lattcr's disciples and called Hekiganroku. For instance, one of Setcho's verses goes:

A thousand peaks, winding, overlapping, look like indigo. (70s)

In go's jakugo to it is:

They're all Manjusri himself. Haven't you seen him?

5 THE TEN OXHERDING PICTURES

l. Searching for the Ox

Again, Setcho's verse runs:

Three-three in front, three-three behind. (480)

To it, Engo devises his jakugo:

Watch your step, please.

In the soft mud —a thorn. (1189)

A teacup dropped on the ground— # Seven or eight pieces.

In Japan, this jakugo exercise has been regarded as an important part of traditional koan study. Even today, needless to say, every student of the koan is expected to keep on hand at least one copy of the two major Zen jakugo handbooks: Zenrin Kushu (A Zen Forest Saying Anthology) and Zudokko (The Poison-painted Drum). Zenrin Kushii has its origin in Kuzdshi (A Saying Book), compiled in the late fifteenth century by the Japanese master Toyo Eicho Zenji (1428-1504). This collection was later enlarged by Ijushi (nothing is known about him) and published in 1688. Over the centuries, many different editions have been printed, sometimes with a slightly changed title or sometimes with some different entries. 6 This Zenrin Kushu contains about six thousand Zen words, phrases, and verses mostly taken from various Zen classics, sutras, and the poetry of T'ang and Sung China. All the entries are arranged according to the number of Chinese characters, in twelve sections from one character to parallel eight characters (sixteen characters). In no section, however, is any intended order found. They are arranged only at random, scattered with no clear organiza- tion. This cluelessness, paradoxically, may have had some significance in Zen training; but, on the other hand, it must have caused students a good deal of trouble. Every anthology of this kind today, therefore, has been edited in some order to meet the convenience of readers. In the days of stricter discipline, under the guidance of their foster priests all pupils had to memorize each saying in this book before they were sent to monastery life. This obligation was so burdensome for them that it has often been said: "Saying-book learning, three years—torture to every novice. Zudokko is a two-volume handbook edited by Genro Fujita (1880-1935). It contains many essential sutras and classics of Zen. In 1916 the first volume was published. The second, Zudokko: Zokuheny appeared in 1922. Its last section is given to a saying collection called "Zudokko Kushu." This anthology section was compiled in the same style as that of Zenrin KttsliQ and contains more than 2,400 entries, but quite a few are common to both. "Zudokko Kushu" has been, however, no less highly appreciated by /en followers since its publication. This may be because it is abundant in the fourteen-character (parallel seven-character) section, which includes many beautiful and valuable sayings. In koan study, the roshi (master), after having examined the students from various viewpoints, orders each of them to submit appropriate jakugo for

2. Seeing the Footprints

7 the koan. The students are required to express their own views of the koan in sayings chosen from these handbooks. Pulling out copies from the sleeves of their robes, they turn the pages repeatedly, from the beginning and from the end, trying to find the perfect saying from among the thousands of entries. In most cases, however, the novices will try it in the lavatory or under the shimmering candlelight at night, because reading is not openly allowed in monastery life. In fact, this jakugo exercise helps the students to understand their own koan experiences more distinctly and deeply. They are thus sure to have a more clear-cut view of the koan study they have undertaken. Zenrin Kushu and "Zudokko Kushu" have been in this way the essential companions to all Zen followers.

Mostly from these two handbooks, and partly from the other sources, I first selected and translated for my personal edition 1,700 Zen sayings because the total number of koans in existence is considered to be 1,700. I have carefully reselected, however, 1,234 sayings for the present anthology. All the entries in this book are basic, inspiring, and modern: basic for the understanding of Zen and naturally in frequent use by the Zen followers; inspiring for the |>ee£l£jô_v\^ thaêjejf; and modern, that is, not too old-fashioneJloTthe sensitivity of people in the twentieth century. I have left out those that burden the reader with too much knowledge of Oriental legends and historical facts, and I have also cut out the sayings of fewer than four characters. It is true that the shorter ones are essential in Zen, but their very brevity demands much additional explanation. To make this book more complete, I have added some other basic and useful sayings that are not found in either Zenrin Kushu or "Zudokko Kusha." Needless to say, each entry without exception reveals some phase of satori anctênjife. Many of them, roughly speaking, can be sorted according to the three traditional_ca^gorks^£^ddhist truth: tai (substaQce)^ (characteristic), and yU (activjtyj! This cbtfsificaHon, Iiowevcr, is only temporary and superficial. Indeed, the categories often overlap and intermingle closely with each other in the depths of truth. The fact is that they are nothing but three phases of one thing, satori, seen from three different angles. Besides, each saying can be interpreted differently according to the depth of the reader's Zen insight. 8 In order to help the reader's understanding, let me explain the sayings with examples from my translations, mainly from the shorter ones.

First, let us look at satori itself, or the substance (tai) of satori. This is the Reality of the universe and is called Buddha nature or Buddhahood. It is also equivalent to Nirvana, Dharma, and Suchness. Zen regards all these different Buddhist terms as finally ending in one thing: Original Self; or, as Rinzai Zenji calls it, ^^

One true man with no rank. (78)

The urgent business of Zen students is to realize this universal Self within the superficial self. Cast away, cast away, cast away your daily self always at the mercy of the waves of illusion! Behind it—deep in the depths of the mind—here it is! It is You. One of the last messages of Sakyamuni Buddha says: "Rely on yourself. Rely on Dharma." Zen is Individualism based on this Original Self. Unfortunately, however, it is invisible and formless. Therefore,

Red and blue paints draw it, only to fail. (763)

Call it- no answer; Watch it- no form. (182)

This Formless Self has no size.

Expanded, it covers the Dharma world; Pulled in, no room for a hair. (834)

It is impossible to put it into words, so there is no other way than to express it with some imagery. Sometimes it is compared to a pearl.

Bright pearls, fine gold: priceless. (996)

Sometimes, to iron.

The world of ten directions: one iron ball. (533)

9 Ten thousand miles— a single strip of iron— (980) Or, to the moon.

Whose house has no bright moon, no clear wind? (610) Winds drive all the clouds off the blue heavens; On the green mountain the moon rises —one round pearl. (1038)

From the viewpoint of mental state, these are metaphors of the oneness- and-equality that penetrates the universe. All is one. All is equal. Look ahead —agates! Turn back —pearls! (712)

Not only in front and back but everywhere around you, bright gems are rolling and rolling. Only the one glittering color dominates there—nothing else. Willows aren't green; flowers are not red. (1198)

IO 4- Catching the Ox

Fvery difference, every individuality returns to the original oneness. No willow, no flower; no green, no red. Here, there is no man, no woman. No dog, no cat. Indeed, there is no difference between man and woman because both are equal in this Nothing. So are dogs and cats. So are all. The fact is:

From the origins nothing exists. (1094) One universal Nothing—this Nothing is Formless Self: Original Self: the very You! To understand it, look at the example of the famous Ten Oxherding Pictures, seen in a modern version by Gyokusen in the pages of this In- troduction. They illustrate the ten stages of development in Zen practice. They are quite helpful for stu3entt~^fidliave long been used among Zen lollowers. The last three are especially valuable for our present study. Consider the eighth picture (page 19). This drawing is the Zen masters' favorite. This Nothing swallows up everything equally . . . without limit. Lyes wide, watch inside!

The ordinary and sacred live together; Dragons and snakes all mixed up. (109s) All is one, All is equal—because everything has Buddhahood. This is Zen Univcrsalism. Yet, seeing a student satisfied with this satori, the roshi will reprove him, saying: "It's only one-sided yet. It's flat and dead. It hasn't worked yet!"

IT Parched beans never put forth sprouts. (561) Dry skulls... on ... the field . . . everywhere . . . (884)

This Nothing may be a void, but it is the very void of complete freedom. Because it .is nothing, it presents material for any creation. Truly, less speaks more. And least speaks most. So we can expect that this Nothing will show and tell us all. It is, one could say, a magic box from which anything might be taken out.

Second, we must consider the manifestion of satori in this world of phe- nomena. This aspect of satori (sd) can be rather statically and beautifully depicted in a poetical way. To the enlightened eye, everything explains vividly the unexpkinable and transmits the untransmittabi^ All Nature, as it is, is seen as the manifestation ofsatoriT"

Rain bamboos, wind pines: all preach Zen. (92)

Zen, in fact, dislikes too much explanation. So cut out the third line! Rain bamboos, wind pines. This is enough. Again, less speaks more. Indeed, least speaks most. EveryTieadT^eaclTTiead reveals it; Each thing, every thing shows it. (863) Every snapshot of nature explains satori. The sounds of the valley stream wash your ears clean; The canopy-like pine trees touch your eyes green. (283)

The ceaseless murmur is Buddha's voice. The eye-piercing green is Bud- dha's color. Mountain flowers, like brocade; Valley water brimming, indigo. (410) This time, 12 Willows are green; flowers, red. (1199)

Now, look at the ninth of the Ten Oxherding Pictures (page 22). In contrast to the former oneness-and-equality (byddo), this is the world of difference (shabetsu). Willows and cedars are green, but roses and tulips are red. Grasp the green of the willows! Grasp the red of the flowers! Mountains are mountains; water, water. (429) A man is a man; a woman is a woman. Both are obviously different. A dog barks; a cat mews. A crow caws; a dove coos. Everything distinctly shows its own individuality. This is Zen Individualism.

A long one is the Long Body of Buddha; A short one the Short Body of Buddha. (780) Indeed this saying is basic to Zen. It insists on two facts: equality and difference. Everything has equal Buddhahood: the Body of Buddha. Simultaneously, each has its own individuality: some Long, some Short. Oneness-and-equality is the first truth. Difference is the second. Both are true in each respect, but seem to be incapable of coexistence. Here, however, the two subjects, apparently incompatible, have miraculously merged into one statement.

No pine has two colors, old and new; The bamboo's knot marks up and down. (5^9) Erich Fromm seems to understand some of Zen when he says in The Art of Loving about mature love that "the paradox occurs that two beings become one and yet remain two."

To heap a silver bowl with snow; To hide a white heron in the bright moon. (267)

"A silver bowl" and "snow" become one white, but they are originally different things. "A white heron" and "the bright moon" are no doubt different things, but both are the one color of white. This is equality in difference and difference in equality. Let me_explain this_deeper insight into satori wither ^""Ijaijnetaphor of die mirror, ThxTZen mind is a clear mirror. It perfectly keeps this subtle Zen activity

13 of the mind. If a man comes, it reflects him. If a woman, it reflects her. If a king, the king. If a beggar, the beggar. The mirror deals justly with all who come. It welcomes anyone, anything, quite impartially. It is perfectly fair; it is never prejudiced. Has it ever refused reflection to any particular thing? At the same time, however, the mirror at once discriminates perfectly. If a man comes, it reflects the man just as he is and no one else. If a woman, it reflects the woman as she is, not anyone else. If a king, the very king, not a beggar. If a beggar, the very beggar, not a king. The mirror discerns each individuality—one by one—separately. Has a flat mirror ever reflected the ugly thing as beautiful? The mirror maintains not only impartiality and discrimination simultaneously but also mindlessness and nonattachment; nothing at all is left on its surface, though it actually has reflected the image. This is the way Zen works. Equality in difference and difference jn^equality: enlightened eyes can sec through this truth instantly and easily. Then everything comes to life. Everything^shows its own nature. Everything becomes radiant. Everything begins throbbing. Each .matter of fact becon^ ^ irnrk-ofc+br universe. It is a wonder of worrtfers. And to see it in our everyday life is the Zen insight. ~ -—- "" Magical power, marvelous action! Carrying water, shouldering wood. ... (595)

It is nothing difficult. Truth is very simple.

14 Eat when hungry! Sleep when tired! (210)

Nothing more, nothing less. So is made human nature. It is Buddha's working, Buddha's activity. A monk asked Hyakujo (Pai-chang, 749-814): "What is the absolute thing?" HyakujS answered:

"Sitting alone on this Great Hero Peak!" (879)

This is a koan. Joshu (Chao-chou, 778-897) asked Nansen (Nan-ch'lian, 748-834): "What is Tao?" The latter's reply was:

Ordinary mind is the Way." (1054)

This is also a very famous koan—but no easy one.

The third group, yu, in contrast to the second, static, phase of satori, rep- resents the typically dynamic Zen activity of complete freedom, which springs out of the eighth Nothing in the Ten Oxherding Pictures. Consider the tenth picture, the goal of Zen practice (page 23). Satori in action: this is the third aspect of satori. Satori is moving and working freely in a visual way. Finally it leads to ritagyo (working to benefit others), which will be explained later. This group of sayings, called kigo (words of dynamic activity), includes

6. Riding Home on the Ox's Back

15 the most interesting phrases. Here every tenet of common sense is shattered to pieces. Any miracle might happen at any moment. Shot after shot of scent from pictured plum blossoms. (147)

A void sky laughs and bows. (231) A carp laughs, opening its mouth, on a treetop. (512)

A small fish swallows a big fish. (557) The eastern mountains walk on the waters. (833)

Similar sayings come one after another. You might easily come across this kind of miracle. Or, you might even enjoy the freedom of expression: humor, nonsense, hyperbole, something like American tall tales. Every- thing is free. Everything goes as you like. . . . But, please be very careful! The last one, for example, is one of the famous koans you can never skip over lightly. And I must insist, to avoid misunderstanding, that Zen indeed esteems freedom most highly, but it is far from sham, make-believe, and corny theatricality; yet farther from arrogance, rudeness, or bluff and bluster.

The stink of shit wraps him up. (470) On the contrary, it is the purity of the mind: the utmost sincerity, complete humility, and perfect piety—of absolute freedom. Above the heavens, below the heavens: Only I am holy. (831)

Then, what is this "I"?

Unfortunately, there are many more sayings left that elude my preceding explanation. Let's change the viewpoint, therefore, and examine some other aspects. 16 The main event in daily monastery life is nisshitsu (entering one's rdshi's room) and sanzen (a private interview with the rdshi). Every student medi- tates on the koan given by his roshi. The student is expected to present his own view of it each time he makes sanzen. The sanzen room is a battlefield often compared to a fierce animal's cave. Satori is hidden there. The rdshi is a tiger, a lion, or sometimes a dragon. Risking his life, every student, one by one, enters the cave to Pluck out the savage tiger's whiskers! Cut off the green dragon's horns! (971)

The student feels as if he were going to Climb barefoot a mountain of swords! (670) Mustering up all his courage, however, he enters the cave, and there he finds Crouched on the ground —a gold-haired lion. (23s)

Then, a fight for Dharma starts.

The dragon's eyes look sharp at the snake; The tiger's catching of the buffalo is perfect. (810) The rdshi's eyes are clear like a mirror. They reflect everything just as it is. The clear mirror, seeing the object, Instantly discriminates the beautiful and the ugly. (1123)

Everything depends on the rdshi. He seems to say to his student boastfully:

"Killing or vivifying is in these hands." (404) In order to rob his student of his last self, he dares to

Shave off iron from a needle's point! Scrape off meat from a heron's thigh! (396) The rdshi's urgent and ultimate business is nothing but to

17 Try and make a dead snake a live dragon. (1232) For this very purpose, sometimes he may attack his student and

Drill his nostrils! Gouge out his eyeballs! (701) Or he may

Pour dirty water right over the head! (4)

On the other hand, the student is like the cornered rat who has crawled into an old-fashioned bamboo money holder and can't get back out through the small opening.

Entering the money tube, the rat already at its wits' end. (716)

To express the uncxplainable, however, the student is also allowed to do everything as he will.

Under the staff blows, seeking satori— No concession to your roshi ^ at that moment. (1086)

7. Ox Gone, Person Alone

18 8. Ox, Person, Both Gone

The sanzen room is literally a battlefield. Thus, in spite of the repeated failures, he has to meet the rdshi again and again.

Under the fierce tiger's jaw —a golden bell! In the blue dragon's cave —a bright pearl! (1134) Doubtlessly, his courage to make another sanzen is based on his sincere and heartfelt wish for these precious jewels. It is quite interesting, in this connection, that his single-hearted devotion to satori and to the rdshi is compared to the dedication of a beautiful woman in love.

Wish I could undo my veil and pearl sash —for your sake! Wonderful singing, subtle dancing —for your sake! (1181)

After such long painstaking endeavors, the student finally arrives at the time for Pecking the eggshell at once from inside and out. (732) The baby chick, full grown inside the eggshell, feels it's time to get out. The hen knows it's high time she welcomed her baby. At the very moment when the two minds have become one, only soft pecking "at once from

19 inside and out" is enough. This is the moment when the fully condensed energy bursts with a cry of exultation.

Bricks shattered, ice melted! (142)

Indeed, only a stone-hitting click on a bamboo is enough to let a person attain satori (see no. 36). The moment

Chang drinks wine: Li gets drunk. (779)

Direct from mind to mind: this is the true teacher-student relationship in Zen. This is Zen Radical Humanism. Daito Kokushi's Admonition runs: "A man, making a plain living under a bundle of reeds in the wilderness and eating day after day the boiled vegetable roots in the pot with broken legs—if he devotes himself wholly to seeking the true Self, he is the one who, even after my death, is facing me and repaying Dharma every day." Zen transcends time and space. Only if you see with a satori eye can you face even Sakyamuni and Bodhidharma— directly—each day.

Three thousand miles away— another one who knows. (431)

An excellent Zen monk is the incarnation of kigo (words of dynamic activ-,^ ity). In complete freedom, he shows the great working of Zen. At one time he becomes a tiger or lion; at another, an elephant or cow, a dragon or giant roc. . . .

The giant roc, spreading its wings, covers ten countries. (737)

He is a superman and can quite easily Hold the great sea upside down! Topple over Mount Sumeru! (262) He is also an acrobat and shows us how to Turn a somersault on a needle point. (600)

20 Being master of himself, the Zen monk always concentrates on what he is doing. He never fails to do it thoroughly. His principle is Killing a man: do it till the blood gushes out. (403) He devotes all his energies to one shout. One roar of a lion Cracks the brains of a hundred beasts. (463) His dignity naturally subdues all. These rhetorical hyperboles are not so far removed from scientific truth. Through the analysis of brain waves, scientists have proved that during (and even after) zazen the trained Zen monk's brain waves are just as calm as those of a sleeping person, but still perfectly sensitive to each stimulus from outside. This discovery indicates that the Zen monk is a magician who can unify two contradictory extremes; he devotes himself to zazen, the imme- diate business, and simultaneously is equally aware of his surroundings. In other words, he is able to keep himself always in perfect tranquility— right in the midst of utmost activity. He is just like a top that, while spinning around at full speed, seems still and motionless. Or, he himself is exactly like a mirror, as I mentioned before. This superhuman ability is the natural fruit of Zen practice and is hyper- bolically expressed, as in the above-cited sayings. Another remarkable characteristic of Zen monks is that they are rather foulmouthed. They invent all sorts of names for those who are blind to Dharma. People addicted to words are the first victims and are always bitterly abused and cursed. They are just like

A group of mud-kneading men. (24)

A crazy dog chases a clod; A blind donkey pursues the herd. (242)

A word is a word. An experience is an experience. Both are different, f irst, attain satori! Then naturally come Zen words. The next example may be a tampankan, or a plank-shouldering fellow (110. 55) who sees things one-sidedly. Half the person's view is obstructed by a plank carried on one shoulder. Such a person may know equality but not difference; or difference, but not equality. Originally, both are one. 21 Look straight ahead. Then, turn back.

The vacant sky— no front, no back; The birds' paths— no east, no west. (233)

Is there anything that divides your view in two? The plank, that very plank is the cause of illusion! A tampankan must cast away the plank and see the one truth that is contained in the following two sayings:

Guest and host: interchangeable. (1010) Guest, host— obviously different. (1011)

The third example is:

On the crossroads, a pair of broken straw sandals. (529)

Is it any use? There are many more abusive terms of this kind. How about a no-hole flute?(See no. 1112.) An old dull-pointed gimlet? A broken mortar? Are these of any use? These are all useless, it is true. Nevertheless, Zen is, as I have said, paradoxical in every way; these are also the way the ideals of all Zen followers should be seen. As you will see later, an old dull-pointed gimlet is more highly admired than any satori-stinking, sharp-pointed tool. Zen is not philosophy. It is best explained by means of the parable of Indra's net in the Kegon (Hua-yen) sutra. Indra is the god who lives on the top of Mount Sumeru. In his heavenly palace is a huge net, every knot of which is adorned with a jewel. Jewels on Indra's net Reflect each other endlessly. (809)

This image suggests the perfect interdependence in the whole universe. This one-is-many and many-is-one, that is, each-in-.alLand all-in-each, is the Zen way aflunderstaricling ihe world. Each is contained in all, and all in each. Each is independent and interdependent at the same time. Up and down the pavilion, a light lights lights. In the busy traffic, a man meets men. (1230) The following image may help explain it:

One moon shows in every pool; In every pool the one moon. (37)

10. Entering the Town with Offering Hands

23 Or, the smallest is in the biggest, and the biggest in the smallest.

Inside the eye of a flea's flea: Five Mount Sumerus. (570)

A world is in a grain of sand, as William Blake saw. Or, it is better to leave out the "in": a world is a grain of sand, and a wild flower is a heaven. The fact is, all circumstances focus on a single existence. The whole universe concentrates all its innumerable conditions together on one crea- ture. Otherwise, namely, if this universal harmony should lack even one condition, nothing exists. In this sense, every existence is the very one possibility out of myriads of impossibilities. There is nothing to call it but a miracle. Still you say you are a perfectly separate and independent unit in this world? You insist you owe nothing to the universe? OK. Then come here. I'll ask you something, small things: pinch your nose and breathe no air for three minutes! Take no water. Don't stand on the earth! Never sit in the sunshine! . . . Whether you may admit it or not, you have already received limitless benefits from All. You have never even talked with the bright moon and the twinkling stars?

Ceaseless worries of my mind: One evening's talk unburdens it. (1111)

The universe is "the Great Chain of Being." Everything exists in perfect ecological harmony. Become one with the throbbing and rhythm of nature. Do meditate on biological facts, watching nature face to face with eyes wide. Japanese people say "Arigato!" to express their thanks. It literally means "difficult to exist." Older Japanese are still heard to say: "Don't drop and waste a grain of rice. Otherwise, you'll go blind!" Don't waste anything! Everything finds difficulty in existing. Treat each thing wholeheartedly. If you waste a drop of water, you will waste yourself and lose your life—because a drop of water is you. Everything is you. The Kegon parable ends in one basic term of Buddhism: shujd (all sentient beings). Buddhists believe in the ecological cycle of nature, part of which is human beings (see no. 635). There is no governing-governed relationship between men and the other animals and plants. All nature is one great circle, one great harmony. All is in brotherhood, as Emerson says: "The fields and

24 woods . . . nod to me, and I to them." I like Gary Snyder's expression, "earth house hold." In my terms, it's "universe house hold." At the same time, everything has its own individuality. Birds fly in the sky, and fish swim in the water. Humans walk on this great earth, sole and soil one. So do Zen monks. Remember the tenth drawing in the Ten Oxherding Pictures. Entering the town with offering hands is the natural consequence and the final goal of zazen. This is because the profound feeling of compassion originates in satori experience. With all people, share the complete freedom of Zen you have gained through zazen practice.

Watch all sentient beings with merciful eyes. (482) In other words, Hide yourself in each and every thing. (601)

In zazen, you should keep your eyes half open. This suggests the fact that Zen training by no means teaches devoting oneself to daydreams or shutting one's eyes off from the world. On the contrary, it is nothing but seeing the world "with merciful eyes."

The accomplished hermit hides in the town; The immature hermit hides in the mountain. (743)

It is the essential duty of the Zen monk to exercise, within society, the dynamic activity of Zen. This is the ritagyd I mentioned before, illustrated in the tenth drawing of the Ten Oxherding Pictures. A donkey matter's unsolved but— A horse problem's already come. (1224)

To benefit others, keep this hidden exercise with Ash-sprinkled head, soil-smeared face. (161) Praise sweat! Admire your dirty robes! Hyakujo Zenji's principle was One day no work, One day no food, (jo)

25 For example, weeding and cleaning the temple yard is one of the important daily tasks for a Zen monk.

^ Sweeping leaves by the valley in the evening sun —a monk. (2$7)

Why is he "sweeping leaves"? What on earth are the "leaves"? The answer is simple: the leaves are the illusions or the chains—of iron and of gold— that bind him. One by one, elaborately, he has to sweep up all the dead leaves from his own mind. Cast away all the stink of satori! And work for others without blowing your own trumpet.

Secret exercise, hidden work: Like a fool, like an idiot. (689)

It seems as silly as Hiring another holy idiot, Trying to fill up the old well with the snow they're carrying. (1177)

It may be endless and futile. Nevertheless, the monk with Bodhisattva's compassion, can never stop offering hands till he dies. This ritagyd is far beyond "the realm of the amateur study of Zen. *

Understanding poetry has been one of the chief qualifications for the professional Zen priest in Japan. He is inevitably obliged to be a poet for two reasons. One is because he must understand with a satori eye the voluminous Zen classics. The other is because he himself must quote suitable sayings on every ceremonial occasion. He has to keep, therefore, Zenrin Kushu and Zudokko in a permanent place on the desk. Just as he did in his monastery-student days, he has to turn the pages again and again and pick out some central words best suited to the poem he is going to recite. In the funeral service, for example, the professional Zen priest must read aloud the sayings cited from the anthologies. It is the final message for the deceased to enter Nirvana. This poem reading usually ends with a thundering 26 shout of "Kaaats!" (a favorite one-character saying of Rinzai Zenji) at the climax of the funeral ceremony. Again, in some cases, like the anniversary of the death of the temple's founder, he is to recite his own Zen poem in praise of the founder's achieve- ment and virtue. It is the main event of the ceremony. His poem, written with a fude (writing brush), is usually hung on one of the pillars in the hondd (main hall). Furthermore, Zen poetry has a very close connection with Japanese culture, above all with shodd (calligraphy), sadd (way of tea), zenga (Zen painting), and haiku. Zenrin Kushu has been a manual for the traditional calligraphers in Japan. They favor Zen phrases and sayings and often pick one from among them for their writing. In fact, most Zen priests have been simultaneously good calligraphers and good zenga painters. The dynamic Zen activity of the mind is best expressed through this art. So Zen priests are often asked to write a Zen poem in black ink on white paper or make a picture with verse. Then the work is mounted onto a roll of kakemono (hanging scroll). Visitors to any Zen temple in Japan will be sure to find at least one scroll hanging on the wall of the tokonoma (alcove) there. Sadd is no less deeply influenced by Zen. It can be said without exaggeration that a tea-drinking ritual is a kind of symbolism or an expression of Zen spirit through tea and cups. In this sense, the kakemono is doubtlessly the most important and essential element in the tea ceremony. A hanging scroll says:

Sit down, please. Have a cup of tea! (498) This motto is the first principle of the way of tea: beginning with it and ending with it. It is also supported by another basic saying:

One encounter: once for all. (27) No more encounter between the two—with this absolute spirituality, the I lost serves the guest and the guest receives the host's service. Traditionally, tea people indeed have treasured the calligraphy of Zen priests. So each time a tea ceremony is held, they take out and select the most suitable piece of calligraphy for the season and the occasion. In May, perhaps:

Fragrant winds come from the south: A slight coolness is brought into the palace. (279)

27 Or in fall:

My mind is like the autumn moon: Shining, bright, reflected on the clear creek. (331) Haiku is the most compact verse form of Japanese literature and is sometimes deeply influenced by the Zen spirit. On this topic, the reader is re- ferred to the many pioneering books of R. H. Blyth. Concerning Basho's Zen, see Robert Aitken's A Zen Wave, in which the author caps many of Basho's haiku with his own brief Zen poems. This book contains good examples ofjakugo in English. In this connection, I wish I could also intro- duce a book called Zenrin Segoshu (A Zen Forest Anthology of Secular Sayings), which is sometimes also used in koan study. Unfortunately, however, it has not yet been translated into English. In fact, it would be no exaggeration to say that the anthologies of Zen sayings are like a Bible, not only to Zen followers, but also to all students of Japanese literature and culture.

As has already been explained, the entries in this anthology come from* various sources. Strictly speaking, therefore, each saying has a different literary style and history. On the one hand, those derived from the Zen mondo (dialogues) must naturally be colloquial and lively. They are con- crete, powerful, and full of energy. On the other hand, those from Zen verses like tdkinoge and yuige (see page 4) or those from the T'ang and Sung poets boast the established prosody of Chinese poetry. These sayings are characterized by their refined rhyme and parallelism (and sometimes sentimentalism, in the case of the Chinese poetry). In Zen sayings, above all, the visual effects of Chinese characters are not to be overlooked.

HBH^ttS 0 0 0SS Day after day, day dawns in the east; Day after day, day's done in the west. (901) F3 means both "day" and "the sun." This repetition of F1 (d-sounds in my 28 translation) no doubt enhances our simultaneous feeling of both the mono- tony and the miraculousness of our repetitive everyday lives. To appreciate this feature of Zen poetry, readers are advised to learn Chinese characters and read the original. From the viewpoint of poetic rhythm in Chinese characters, in many cases two or three characters form a unit. To keep this original rhythm, therefore, I have made it a principle to divide the four-, five-, and six- character sayings into two-line English translations; seven into three; eight, ten, and twelve into four; and fourteen into six. I hope this invention of mine will be effective. In this connection, most of the ten-character sayings are the parallel five-character ones; the twelve are the parallel six; and the fourteen, the parallel seven. This means that most of the four- and six-line English translations keep their parallel character. It is true that, regardless of its original context, every saying has long been walking on its own feet. Each has already gained a new life of its own. I have given up, therefore, the idea of scrutinizing its source and context and pointing out these details from an academic point of view. That is not my work here. Instead, I have faced directly each saying, in other words, each koan, becoming one with it to create from it a new life.

At each step, the pure wind rises. (1063)

I have tried to be very careful in every process of this work just because it is the first attempt of this kind. My main purpose is, however, not to translate language, but to put the life and rhythm of Zen poetry into English and compile an English Zen saying anthology in dictionary form. That is why I may sometimes have gone beyond a faithful translator's territory. For example, I have often used, to stress the Zen character, the imperative mood even when it is not in the original. And sometimes the poems have been deliberately rendered into colloquial or slightly awkward English. I am afraid—no, I hope^-I may have composed, inevitably, my own English Zen poems—for the sole purpose of keeping the original alive and sometimes even creating new poetry. I feel it is time English Zen literature began its own history. From now on, it must be an important obligation for English-speaking Zen teachers to compose their own Zen experiences into English poetry. Regarding the order of the sayings in this book, all the entries are arranged in dictionary form, that is, in the Japanese a-i-u-e-o order according to the most common on-yomi Sino-Japanese phonetic reading) of the Chinese characters. I have chosen this arrangement chiefly because the original source— the only unchangeable thing about these sayings—is the Chinese characters.

29 People who wish to consult the appendix will most likely be familiar with Japanese and Chinese characters, and for them this order is the most con- venient. The Japanese readings are also, in a sense, my translations. Japanese rendering from the original Chinese is usually done by established methods. Chinese can usually be translated in a somewhat mechanical way, but there are always some areas that are left to the choice of a translator. In fact, various people read in slightly different ways, and because the sayings are all from different sources in different ages it is impossible to impose one standard on the whole. When perplexed as to which alternative to choose, I have always preferred one that maintains the poetic value. What has troubled me most is the peculiarity and variation in Zen readings, which are rather different from ordinary readings of the Chinese characters. I have chosen in many cases the traditional Zen readings—only because I cannot ignore the fact that they have long stood the test of time, even if some are technically wrong. In other cases, however, I have chal- lenged the traditional readings with new possibilities from an academic or poetic viewpoint. I hope readers will find in this anthology the Zen way of life: Zen Universalism, Individualism, and Radical Humanism for the coming new age. From among the sayings that stimulate and inspire your poetic imag- ination and religious insight, choose one and "cap" your life with it. Then, instead of the life of "a poor player that struts and frets his hour upon the stage," you will be sure to build your own world. Fortunately, Zen is no dogmatism. Zen goes beyond everything—even itself. * *

Be master of yourself —everywhere: All you do proves true. (636)

So, be a better Christian, if you are a Christian. Be a better scholar, if you are a scholar; a better merchant, if a merchant; a better farmer, if a farmer—through the Zen spirit.

Farmers sing in the field; Merchants dance at the market. (930)

If you have further interest in Zen sayings, don't hesitate to visit a true Zen master and make koan study under his guidance. With a saying selected from this anthology, do try the jakugo exercise and "cap with words" the 30 koan given by your rdshi. Then you will truly understand what Zen sayings are—because they are fully understood only through Zen experience. To some extent, I have already suggested with examples how to interpret the Zen sayings. And yet various things I left unmentioned—for example, the "Four Classifications" of Rinzai Zenji and the "Five Ranks" of Tozan Zenji—are rushing into my mind. To tell the truth, I feel a strong tempta- tion to put a brief comment to each one. I know it will much help the reader's understanding. But, as one saying goes:

A good explanation: never explain everything. (341)

I will leave, therefore, the sayings up to you readers. Now the following are your exercises. V The Sayings

A dumb man has eaten Sitting quietly a bitter cucumber, (l) in a hut— White clouds rising Shitting . . . over the mountain. (10) pissing ... (2) Slanting the pillow Water on the frog face, to hear the bell sounds bees on the deer horn. (3) from I-ai Temple; Rolling up the blind Pour dirty water to see the snow right over the head! (4) on Hsiang-lu Peak. (11)

Saying "fire" Easy to pick won't burn your mouth; a handful of dirt Saying "water" and turn it to gold; won't drown you. (12) But gold into dirt— Rob his function hard, hard. (3) with yours; Fight his poison Bite your middle finger with yours. (13) with your fist clenched. (6)

How many times have I To push down the ox's head entered for You and make him eat grass. (7) the green dragon's cave? (h) On the saddle, no man; Nothing has changed: Underneath it, the moon no horse. (8) over Ten-hundred-foot Mountain. Zazen Five hundred previous lives not always needs unborn mountains and rivers; —who are you ? (13) Mind and body discarded, even fire I've seen through you is cool. (g) already. (16)

35 Become the origin See his face of All, but once, Creator Remember his name of heaven and earth. (17) a thousand years. (26)

The soaring trees, One encounter: north of the Wei; once for all. (27) The evening clouds, east of the Yangtze. (18) Run five hundred miles *

Vimalakirti is unwilling —in one breath— to open his mouth; Without turning One cicada on a twig, your head. (28) chanting. ... (ig) This tune, another tune One shower no one understands; drenches the Billion Worlds. (20) Rain has passed, leaving the pond brimming A piece of dust in the autumn night. (29) in the eye: Illusory flowers A lump of gold turns dance'wildly. (21) into millions of golden bowls; Millions of golden bowls end One bud opens in a lump of gold. (30) its five petals: It naturally grows Finish preaching into fruit. (22) all the sutras —with one phrase! (31) One flower opens: spring everywhere. (23) A phrase

A group completely to the point: of mud-kneading men. (24) The eternal donkey hitching post. (32) Each time you show it, each time Settle in a phrase it's new. (23) the essence of Zen. (33) 51 One phrase One after another . . . coffin, Each moment Two refreshing. (34) corpses. (41)

The first stem, One call invites the second, crooked; one hundred comrades; The third, One smile beckons the fourth, slanting. (35) ten thousand admirers? (42)

One click makes him At one gulp, forget everything. (36) dry up West River! One moon The peony in Lo-yang shows emits in every pool; a new pistil. (43) In every pool the one Discerning moon. (37) the students' satori, angry thunder roars, See all Mount Sumeru jumps at one sight in fright and hides As if in a great in the North Star. (44) round mirror. (38)

One punch— See Buddha's intention punch down in incense smoke; Yellow Crane Pavilion! Steal tranquility One push— in the hustle and bustle. (45) push over Parrot Sandbank! (39) The tree splits the spring wind A word once in two— spoken Southern branches stretch Can't be caught to warmth; by rapid horses. (40) northern, to cold. (46)

37 Mountain ranges The sound one over of a flute another— from the high pavilion Talk out Scatters the full-blooming the mountain-cloud, plum blossoms ^ sea-moon feelings. (47) all over the ground. (33)

One One rooster's cry mind preaches lost in the plum; the heaven-and-earth dawn. The body, chanting, (54) now utterly frozen —unaware. ( 48) Shouldering the plank —till death. (55) A west wind passes A crash of thunder over the rain; opens Evening sun the crown of the head, focuses Revealing on the begonia. (49) Original Man. (36) A speck of dust flies up and hides the heavens; All your life A piece of trash falls down draw nails, and covers the earth. (30) Pull out stakes for others. (57) An inch of tortoise hair weighs seven pounds. (31) Thunder rolls once: a clear wind rises. (38) Cry after cry after cry of joy— One roar Not minding of thunder— the hair Burrowing worms all at once turning white, (32) open their doors. (39)

38 Every voice One, two, three, Buddha's; four, five, Every form No hesitation: Buddha's. (60) three, two, one. (68)

One arrow has flown One two three over the Western Sky. (61) four five six seven: One arrow hits The Blue-eyed Monk the core. (62) doesn't understand ' , ; : these. ... (69)

One arrow shatters three forts. (63) One day no work, The pair of eyes One day of a cormorant t^o food. (70) —goggling. (64)

One man's speech One pistil is a rapid stream; of a plum blossom: The other's, Its fragrance fills simple and artless. (71) the Billion Worlds. (63)

Hard to pick a handful Strolling together of willow leaves the same path matching the wind, along the mountainside, Streaming Each eye sees over the jeweled different balustrade. (72) wind and mist. (66)

One light, A single moon a million lights, on the sea: Light, light- People from many houses no limit. (67) climb the pavilion. (73)

39 A'speck of white Get all T'ang China cloud aboard the ship along the valley mouth: of a single leaf. (82) Many birds at night at a loss One leaf, fluttering, to find their nests. (74) tells of autumn over all the country Three snakes, nine rats— Store the whole world in one square yard. (75) in a grain of millet! Over the mountain, Boil dotted cloud . . . mountains and rivers In the valleys the water in a two-quart pot! murmurs down. ... (76) Between snipe and clam One staff's blow, the fight doesn't stop: one scar's streak. (77) Both fall into the fisherman's hands. One true man of no rank. (78) I'll explain in detail why Bodhidharma One blind man leads came to China: many blind men Listen to the evening Into the fire hole bell sounds. Watch hand in hand. (79) the setting sun. . . .

For one thing, Where sun and moon to better the view cannot reach— of this temple; There For another, is a wonderful sight. to build a guidepost for posterity. (80) Rain passes, clouds gather, One leaf, half dawn; one Buddha; Several peaks, One beard, rugged green, one Maitreya. (81) as if painted. (88)

40 Dead of night: Clouds hang a black hen on the peak bites iron ore. (89) —motionless; Rapid water runs in the valley Blue mountains —murmuring. (97) after rainfall —much bluer. (90) Clouds are set on ten thousand mountains; It rains: The moon climbs the earth wet. (91) the middle peak. (98)

Rain bamboos, Clouds gone, wind pines: the mountain shows. (99) all preach Zen. (92) Where the unsui moves— Watch the sun No attachment, in the rain! no mind. (100) Dip up clear water

from the fire! (93) Clouds, no-minded, go out of mountain caves; Clouds split open— Birds, tired of flying, the moon colors every house want to return home. (101) white; Spring is gone— Mindless clouds mountain flowers redden leave mountain caves; everywhere. (94) Water fills holes and flows over. (102)

Moon over the clouds: Cloud? always the same— Mountain? Valley moon, mountain moon Wu Kingdom or Yueh? different. ... (93) Sky and sea vaguely one: Clouds hang in the heavens; a distant hairlike horizon. water lies in the bottle. (96) (103)

41 Green Covering his nose, reflected on stairways to steal —spring; The scent— Bush warbler all point him out. (111) beyond the leaves —unheard music. (104) Clasping its young, a monkey goes home Kou Chien, King of Yueh, behind the green peak; having beaten Wu, Picking a flower, now returns home; a bird lands The faithful soldiers, in front of the blue cliff. back at home (112) all clad in brocade. (103)

Having embroidered Serve your guests mandarin ducks, with well-brewed wine f 11 leave them to you; —all get drunk. But don't give away Under the trees the gold needle mist is thick, toothers. (106) flowers red: red. (113)

A seagull floating quiet A parrot cries, on the distant waves; "Green tea!" A swallow flying slantways Give it to him, but he doesn't against the wind. (107) know what it is. (114)

Mist doesn't swallow up Meeting the warm spring, the fragrance of plum bush warblers' song blossoms. (108) is smooth; In peace, Covering one's ears, to steal the tinkling bell. men show 11 (109) dimples. ( 5)

Round Produce as the great void: Mind Nothing to add, Without attachment nothing to take away, (no) to anything. (116)

42 The king's order Flower's fragrance has governed comes everywhere in the country; into the remote gate; No general Birds' trilling on the frontier echoes lights a signal-fire, (l 17) in the distant forest. (123)

Flowers Village wine is good speak most— brought over the bridge; the smiling eyes of the Flowers are fragrant peach; from the far riverside. (124) No spring sunshine around Lotus leaves, decayed, the willows. (118) offer no shelter to keep the rain off; Chrysanthemum stalks, Flowers, openings surviving frost, meet wind and rain; still alive. (123) Human life is full of partings. (119) Pity! This vessel Flowers open Meets without the help no one to fill it. (126) of men, But thanks to the aid To display at last of the spring maturity of spirit. (127) winds. (12°)

Where flowers Blossoms open follow flowers, on a rootless tree; quails chirp; Fishes jump When the grass sends shot on a high mountain. (121) after shot of scent, a pair of mandarin ducks fly. Flower Mountain, (128) green to the heavens; Yellow River, Fire is hot; gold to the bottom. (122) water, cold. (129)

43 A lobster, leaping, never Coming gets out of the bushel. (130) out of the hoptoad's hole.

Under the tall pine, (136) bareheaded, crosslegged, Lotus leaves round, He sits staring hard round, with white eyes mirror-round; at the secular people. (131) Holly leaves point, point,

The servant asks me gimlet-point. (137) its deepest meaning: Spring's gone now— Smiling, I point outside she can't explain the silk-curtained window her longing for it: —the autumn moon. Sometimes (132) her stitching hands remain dead still. (138)

The sweet swordblade Pity! A man of a. lady's smile endlessly juggling Shreds a man's bowels the waves of the Buddha inch Sea by inch. I133) Finally falls in and dies. (139) Fire is hot even before sunrise; Wind is cool Summer stove, regardless of moonrise. winter fan. (140) 034) By the fireside: Toad, no guest, no host. (141) maggot, Dirty boar, Bricks shattered, itchy dog. (135) ice melted! (142)

44 I'll go Eyes wide, enter into the wild field; the boiling water You, too, go —with dignity! (151) into the remote village. (H3) A bowl of morality, if not perfect, A hungry dog bites Cannot hold a dry bone. (144) the water of Zen. (152)

An itchy dog doesn't My want rebirth in heaven, mind Instead, it sneers at Is a void sky. (145) white cranes in the clouds. (153)

Adding a foot The shining moon casts to the snake he drew. (146) no shadow on the sea; A traveling fish Shot after shot of scent goes astray. (154) from pictured plum blossoms. (147) The sea dries up and shows the seabed; A group of beauties: Man dies without moth-feeler eyebrows, ever knowing his mind. white-cicada foreheads, (155) Each with Open your mouth— a flowering twig, instantly wrong; brocaded shoulders. (148) Move your tongue— against the truth. (156) Pictured rice cakes dissolve hunger ? (149) Its function doesn't depend on the richness Broken tiles are or poverty of your house? radiant; The more robes you wear, True gold the more loses color. (150) elegant? (15l)

45 Spring winds Void, void have melted away void, void his ceaseless worries; finally all void. (164) He's now leaning against the north balustrade From outside the shoes, of the Fragrant Arbor. to scratch where you itch. 0S8) (165)

A cow in Huai-chou No cold spot eats rice plants: —in a boiling cauldron. The stomach becomes full (166) —of the horse in I-chou. U59) Blow off the hissing water The mud cow and flaming charcoal biting the moon, —with one puff! treads on the seabed; Shatter the sword trees The stone tiger and blade mountains holding its young, —with one shout! (167) snores by the cliffside. (160) Boiling water, burning charcoal: Ash-sprinkled head, a cool, refreshing world. soil-smeared face. (161) Blade trees, sword mountains: One word— a real playground. (168) to a wise man; One lash— A crane flies over to a bright horse. (162) a thousand feet of snow; A dragon breaks through Penetrate the nature of things, the iced-over creek. (169) making them your Self! (163) Fling the Dharma storehouse Outside void, open in your bosom inside void, And carry out inside-outside void; your own treasure! (170) 46 Bring back Gouge out the dead! every man's Kill eyes! (178) the living! (171) This brimming wine in the golden bowl: Jump out Don't hesitate—drink it of the word-twined to the last drop! (179) cave. i1!2) Heaven and earth Chill clouds shake and split; embrace the snow, making Mountains the twilight heavy; tumble and roll. (180) The mountain moon lights a plum, purifying Through heaven and earth the night color. (173) no place to set up a staff. A sweet melon How nice! has produced Man is void, a bitter gourd. (174) Dharma also. (181)

Han Kan's pictured horse Call it- whinnies no answer; by the grass-grown wharf; Watch it- Tai Sung's painted cow no form. (182) lies in the green willow's When cold, shade. (175) freeze him to the bone! When hot, Look! Look! boil him to the marrow! The last month ends! (176) 0*3)

Ants pull Quietly holding competingly a sutra, leaning the dragonfly's wings; against the pine tree, Swallows rest To ask, smiling, his guest, side by side "Hi! on the willow twig. (177) Where you from?" (184)

47 The cold pine How to describe it? keeps one color Evening clouds flying for a thousand years; in tatters . . . An old villager Distant mountains plucks a flower limitless blue, —spring all over. (183) range over range . . . (w)

Laugh at the man Cold plum blossoms reaching for show Bodhidharma's a tiger's whiskers! (186) exact intention: One petal flutters west— Five thousand forty-eight another, east— (192) volumes of sutras: roll up them all. (187) To open eyes wide, lying in the coffin. (193) The cold water Cold comes— waits for spring: double your robes! the ice is thinning— Heat comes— Dawn mountains fan it away! (194) meet a clear sky: the snowy peak soars— Eyes level, (188) nose vertical. (193)

An autumn cicada, Eyes sticking to the dry tree, southeast, Chirps and chirps Mind without moving its head. northwest. (196) 0*9) May I be a veil and cover When cold the slender waist! say cold; A bright mirror When hot to reflect say hot. (190) the coquettish smile! (197) 48 His eyebrows, Why don't you know like snowed-over banks; the moon under the creek His eyes, Originally hanging like autumn rivers. (198) in the sky above your house! (206) Wild geese have no mind to leave traces; His spirit gulps Water does not intend Buddhas and Patriarchs; to reflect shadows (199) His eyes devour heaven and earth. (207) Sand in the eyes, clay in the ears. (200) Leave through the mountain gate, Watch riding the Buddha hall. fountain murmur! (208) Hear mountain color! (201) Tortoise hair is long; hare horn, short. (209) Now back at home, unburden Eat when hungry! your shoulders— Sleep See, brushwood is when tired! (210) green; fire, red! (202) Sitting in the vacant room after coming back— Riding a cow The evening sun hangs to seek one. (203) to the west of me. (211)

The straight word Idly trying inspires him; to catch The staff tip the meaning: opens his eyes. (204) The valley is covered with clouds To chase a robber —only water murmuring. on the robber's horse. (203) (212)

49 Dip up water— Court ladies once the moon lies in your hands; gathered like flowers Touch a flower— in the spring palace; the fragrance fills your robes. Today (213) a flock of quail flies over. (220) Need fire? Best strike a flint. To move the mountain Water? by scooping water; Dig a well. (214) To banish the shore by setting sail. (221) Not liking her face to be soiled To bounce a ball with powder, on the rapids. (222) Drawing pale moth-feeler eyebrows, The water-dipping monk she meets the emperor. returns to the temple in the forest; (215) The ship-awaiting man stands on Grasp, instead, the sands by the wharf. the spearhead arid stab him! (216) (223)

A cornered rat A bow will bite a cat; mirrored in the guest-cup: A fighting sparrow a suspicion it's a snake. attacks a fellow. (224) On) A hunter saves A train of rings the sparrow or an earthworm, That found shelter which one is true? (218) at his chest. (223)

To feel the first rain Beauty eludes after long drought; the seeker; To come across an old friend Turns up in a foreign country. (219) unsought. (226) 50

Seeking subtle mind Crouched on the ground on a sheet of torn paper; —a gold-haired lion. (233) Convinced of Dharma in spoken words. (227) Last year's plum, this year's willow: Hard to carve Their color and fragrance in worm-eaten unchangeable. (236) wood; No point in painting Last year's poverty: the rotten fence no land, with turds. (228) but a gimlet. This year's— A thousand grasses no land, hold tearlike dew; no gimlet. (237) All pines humming in the winds. All vanity: (229) heaping a well with snow. Hundred years' illusion: The water a cow laps binding a rope turns into milk; with wind. (238) The water a snake licks changes into poison. (230) An old fisherman sleeping sound— A void sky laughs the spring creek is wide; and bows. (231) No swan flying- The void sky turns one ship lying. (239) a somersault. (232) Fish move, mud rises; The vacant sky— Birds fly, no front, no back; feathers fall. (240) The birds' paths— no east, no west. (233) Teaching beyond teaching; Grab the tiger's tail, No leaning riding its head. (234) on words and letters. (241)

51 / A crazy dog The hustle and bustle chases a clod; of the mind in karma: A blind donkey Within it is pursues the herd. (242) Nirvana. (249)

To have no posterity Walking, staying for fear of mourning. (243) sitting, lying . . . (250)

A butterfly, fluttering past and gone Strolling along up over the hedge; where the river ends . . . What spring color, Watching in zazen I wonder, the clouds rising . . . (2si) at the neighbor's? (244)

To look up Mirror discerns candlelight and never see the sky; in the gold palace; To look down Mountains answer the bell and never see the earth. sounds (252) from the moon pavilion. (245) Walking is Zen; Like drifting cloud— sitting, too. (253) like flowing water— (246)

The music over, Under the dawn moon no one is seen: to go away seeking flowers; Beyond the river, In the spring winds several blue mountains. to return smelling of wine. (254) (247)

Look up, The jewel remains clean it's far higher; in the mud; Cut it, The pine keeps its color much harder. (248) after the snow. (233) 52 In the jeweled palace Hold the great sea dead soundless upside down! midnight coming— Topple over A lone monkey Mount Sumeru! (262) shrieks in vain in the moonlight. (236) A gold-haired lion juggles Test gold a ball of brocade. (263) with fire; Man, The gold-haired lion with words. (257) turns into a dog. (264) The gold-winged roc splits the sea; A recent great success Roaring thunder in transmitting this Dharma shatters the mountains. (238) of freedom— Listen to the pine winds However priceless, from ten thousand valleys a piece of gold on your pillow. (263) In the eye is nothing but grit. (239) Chanting the distant eye-filling mountains, Come, To point at the lake an inch apart; in front of the gate. (266) Gone— one hundred and eight thousand miles. (260) To heap a silver bowl with snow; To hide a white heron Throwing over in the bright moon. (267) seas and mountains, look for the one who knows! A bitter gourd, Each closely examined: bitter to its root; a search for the North Star A sweet melon, in broad daylight. (261) sweet to its stalk. (268)

53 Drive off the ox Look at this from a farmer! flowering branch: Snatch the food Inside is from a hungry man! (269) fragrant wind and dew. (276)

Pleasure in sorrow, sorrow in pleasure. (270) Look at the color of my two eyeballs— Being silent, The vacant mountain, I seem without sorrow. the bright sun, (277) the ivy-twined window: Listen for the pine winds, Your poems, and the afternoon nap like autumn dew, is sound. (271) Wash illusory flowers from my eyes. (278) No one is seen deep in the mountain: Fragrant winds Only voices come from the south; resounding. . . . (272) A slight coolness is brought into the palace.

Hold a spade (279) with your hand empty! Ride an ox Can the valley while going on foot! (273) stream be stopped? It soon flows over Emptyhanded come, into the great ocean, emp tyhanded go! (2 74) turning into billows. (280)

A stone monument A rooster, feeling cold, alone goes up its tree; Eternally A wild duck, feeling chilly, on Swallow Mountain. goes down to the water. (275) (281) 54 One straight path The moon imprints the water; the water imprints the moon. through thorny bush. (290) (282)

Castle shadows cease The sounds of a valley stream under a high moon; wash your ears clean; Willow streamers are thinner The canopy-like pine trees in heavy frost. (291) touch your eyes green. (283)

Valley sounds: The moon buried in the eloquent the field water: tongue— the storehouse of light. Mountain form: An orchid emits— isn't it in the spring mountain Pure Body? (284) —the old Buddha mind. (292) Light as a hairtip, The moon does not borrow heavy as a mountain. white (285) from the pampas flowers. (m) Fragrant in the valley —a twig of plum blossoms. Moon falls, (286) crows cry, frost fills the heavens; Sweeping leaves by the valley Colored leaves of riverside in the evening sun maples, —a monk. (287) fishermen's fire—waken catnapping travelers. The whale swallows (m) up the sea Till a coral reef comes out. (288) The moon sets, leaving no shadow on the creek; Gcta teeth imprint The clouds come, dressing the green moss. (289) up the mountaintop. (293)

55 Swords leave Seeing never goes the jeweled box beyond seeing; for the hungry; Hearing never goes Medicine escapes beyond hearing. (303) the golden bottle for the sick. (296) To Buddha: the more incense the better? (304) Seeing illusion but not recognizing it: To sell dog meat, It collapses displaying a sheep's head. of itself. (297) (305)

A silk thread Words, binds up Mount Fuji. (298) words, words: fluttering drizzle and snow. Silence, Watch it and take it silence, silence: right now, a roaring thunderbolt. Or it's gone (306) for a thousand years. (299) Words fail. Ride your horse along Mind the edge of a sword! fails. (307) Hide yourself in the midst of flames! (300) The spearlike words, cool as ice; The eloquent tongue, On the sword edge, discuss hard as iron. (30S) killing and giving life! On the pole top, discern A lone monkey a chance for staff blows! cries the moon (301) down from the cliff; A guest goes on chanting, Seeing a hare, leaving the midnight to release the hawk. (302) lantern burning. .. . (309) Chase a fierce tiger, To call heaven earth riding a blind donkey. (310) makes it earth? To name earth heaven The void sky— makes it heaven? (319) what do you call it? (311) Grab the tiger's Here, there, head and tail everywhere it stands. (312) at the same time. (320)

The shimmering lake surface Easy to see charms the kingfishers; the tiger's stripes; The grass color makes Hard to see the dragonflies drunk. (313) the mind's shadows. (321)

One The old Buddhas are eternal Way: friends with bare pillars. Each man of satori (322) takes it. (314)

A grass-coat-clad old man A dead tree leaning on a solitary boat against an icy rock: Fishing alone No warmth for in the snowy river. (315) the three winter months. (323) A lone boat aboard the moon, The dead tree again Lake Tung-t'ing. (316) shoots blossoms. (324)

The old pine talks Zen; A withered tree The calm bird meets spring no more. (323) whispers satori. (317) A winter bird shrieks A baby tiger, on an old tree; born three days, A wild monkey screams Has the capacity on an empty mountain. to eat a cow. (318) (326)

57 The dragon humming Zen: in a withered tree ... no word, The eyeballs goggling no transmission. in a dry skull (327) Leave here and go to the Western Sky —eight thousand miles— The single moon (333) shines alone: rivers, mountains quiet. On Mount Five Plateaus A peal of laughter— clouds rise heaven and earth like steaming rice; surprised. (328) In front of the old Buddha hall a dog pisses at the sky. The flowers and grasses of Wu's palace (334) fill the dim lanes; The garments and crowns Mount Five Plateaus of Chin's high officials claps its hands: make an old hill. (329) Mount Moth Eyebrows laughs. (335)

One who'flees My servant doesn't know fifty steps the brocade bag Sneers at the other is heavy: who's done a hundred. (330) We return home, wrapping the blue mountains and evening color in it. My mind is (336) like the autumn moon: Shining, bright, reflected on the clear creek. (331) In front of Lo-yang's Five Phoenix Pavilion to ask where Lo-yang is: Kill your life To be answered to make it alive! with a golden whip pointing When utterly dead, far beyond the streets. Nirvana comes. (332) (337) 58 Red haze and blue mist A hundred fights fill on the yellow desert: high and low. my armor worn out— Fragrant flowers and grasses: Destory the enemy Lou-Ian; the same spring otherwise everywhere . . . (338) never return home! (345)

Beat the air Practice, practice —sounds! thirty more years! (346) Strike the tree —silence! (339) High mountains, Chanting, rolling high running water— the bamboo blind I'm waiting for To brew the thick the one who knows. (347) after-nap tea. (340) Princes, A good explanation: nobles never explain everything. under the fragrant tree; (341) Clear singing, With a sharp sword subtle dancing in your mouth, beside the falling blossoms. Kick away (348) the attacking halberds. (342) The good news hasn't Spring winds yet left the gate; have lulled The bad has gone the river country; a thousand miles. (349) Quails twitter A good thing: not so good deep inside the flowers. as Nothing. (35°) (343)

At dusk A skilled craftsman a rooster cries dawn; cuts wood At midnight Using his hatchet, the sun shines bright. (344) no measuring rope. (331)

59 One way Warned to satori: not to go A thousand saints along the mountainside: can't point it out. (352) Suddenly the bowel-cutting cries of monkeys! (358) The evening scene on the river— To gouge out holes really worth drawing: on good meat. (359) Clad in a grass coat a fisherman A bright sun goes home. (353) lights the sky; Clear winds whirl around the earth. Good snowflakes . . . (360) ... fall .. . Nowhere A dog biting else. (354) someone's shit-scraper Is not River and sky very clever. (361) one color, no^ fleck of dust; A man-eating Bright, bright— lion the solitary Doesn't display moon-wheel in the sky. its claws and fangs. (362) (355) Picking up another Bowing under the high sky; no-hole flute, treading gingerly on the Play leisurely ground. (356) thejoy of ten thousand years. (363) Yellow Head holds his tongue; Angry waves: Blue Eyes not so dangerous swallows his voice. (357) as man's mind. (364) Surging torrents The fire of catastrophe flood and swirl; has burned out White waves all; soar into the heavens. (365) Millions of miles— no mist, The made-up beauty not a grain of dust. (372) reflected against the clouds, wearing A black raven blows off A flaring skirt the black barrel. (373) of pomegranate color on the red and white horse. A black ball (366) walks on the snow. (374) River green, birds much whiter; The black ball Mountains blue, dashes flowers burning. (367) —dead of night. (375) Where to seek? Bring Birds print their tracks black water in the air! (368) into a black barrel. (376)

One snowflake falling The country is ruined: yet on a burning furnace. (369) mountains and rivers remain. It's spring in the walled town, The fragrance of plum blossoms the grass growing wild. (377) on the riverside path Reveals Bodhidharma's intention. A swan is white without dye; (370) A raven is black The world-perishing fire without paint. (378) has burned everything to ashes. . . . A falcon hides The blue mountains before attacking; soar as usual An inchworm shrinks into white clouds. (371) before stretching. (379)

61 Sitting motionless, Cut out nothing happening— every man's Spring coming, tongue! (387) grass growing— (380) Chop Vairocana's head off! I don't know Ignore where to stay Buddhas-and-Patriarchs! tonight; (388) The level desert ten thousand miles— While sitting, a cooking fire nowhere. if you have a guest (381) from south of the river, Hear from him No seam the chirp-beyond-chirp in chaos. (382) of a quail! (389)

Left eye, Best is half a pound; the landscape after March Right eye, —south of the river: eight ounces. (383) In the green trees on the blue mountains, Sitting in the monastery, yellow bush warblers sing. no-miftded, like the moon in (39o) water, Making ten thousand exercises, Drizzle moistens traceless, like illusory flowers. the robes (384) —invisible; Calm flowers fall Sit on the mountain rock— on the ground a cloud rises on your robe. —inaudible. (391) Scoop water from the spring— the moon enters the bottle. Fine rain drizzles on the flowers (385) a thousand tears; Shatter the paths Pale mist wraps of the thousand saints! the bamboo bush Destroy the mind with a weight of sorrow. swarming with devils! (386) (392) Picking a chrysanthemum Last night's cry by the east hedge, of a wild goose— Then gazing leisurely Clear winds, the thousand south on Hermit Mountain. miles of autumn. (399) (393) Last night's chill winds; Hands Morning's grab; earth-lifting frost. (400) Feet walk. (394) Last night the void sky, mouth wide, Never leaving laughed; home: The fire god right on the way. gulps up Having left Lake Tung-t'ing. (401) home: not on the way. (393) The golden crow last night jumped into the sea: To fit the shoes Dawn as usual— by cutting the feet; one wheel is To fit the crown red. (402) by chipping the head. (396)

Two mud oxen Yesterday's friend, fought one another today's into the sea last night: enemy; Nothing known Yesterday's flower, so today's far. (403) dust. (397) Killing or vivifying is in these hands. (404) The silly son takes the saddle Killing a man: do it For his father's till the blood gushes out! jawbone. (39*) (405) A man-killing sword, Through the Three Worlds a life-giving sword. (406) no safe place: Everywhere Kill your man like a burning house. (4*4) without blinking! (407)

The mountain shadow No Dharma enters the gate: in the Three Worlds: push it out? Where do you seek Moonbeams Mind? (415) cover the ground: sweep them off? (408) Mountain ranges linked to the heavens, Mountain cherry blossoms' emit green forever; fire flames bright; Deep valleys Mountain birds' singing matching the moon, echoes smooth. (409) carry the torrent of light. (416) Mountain flowers, like brocade; Valley water brimming, Mountain mist, indigp. (410) evening sun: good— Birds together Mountain blossoms laugh; return. (4*7) field birds speak. (411)

Mountain huts The carp, having climbed hoard silver: the surging Three Waterfalls, a thousand snowy trees. already a dragon; Fishermen Fools still try own a jewel: to scoop it up one grass coat. (412) from the night pond. (418)

Mountains and rivers and the great earth: Each coral branch Everything reveals holds the Body of Buddha. (413) the moon. (419) 64 On the coral Sanzen: pillow, make it sincere! two streams of tears: Satori: Half attached make it true! (426) to you, half grumbling at you. (420) Thirty years later— somebody Mountains are high, understands. (427) the sea is deep, no one dares measure; All Buddhas in the Three Blue- Worlds green— find no words: changeless. ( 421) They only hang their mouths on the wall. Dead of night: (42S) the moon shines outside the dim window. Mountains are mountains; Pines and bamboos water, water. (429) fresh and vivid, the green seems to overflow. The Billion Worlds, (422) a bubble on the sea; The mountain is high: All Buddhas and Patriarchs, the moon, late. (423) a flash of lightning. (430) Pines and bamboos. .. various- sized . .. the dense fog Three thousand miles away— takes their color away; another one Peaks upon peaks. . . over- who knows. (431) lapping . .. the moon All the earnings comes out late. (424) of a mountain monk: three acres of tea-field. A three-foot staff A fisherman's life stirs depends on— the Yellow River (423) one bamboo rod. (432) No calendar With the slightest on this mountain: yes and no, Winter is over, Mind is lost but I'm no older. (433) in confusion. (439)

Impress the paper On the mountain with a seal— the moon hangs— a sharp, red mark; Yun-men's sesame cake; Before discussion, In the back yard host and guest the pine wind boils— discerned. (440) Chao-chou's tea. (434) Cold soup, Three years' putrid rice: Even dogs painstaking endeavor won't touch. (441) to grow a bamboo— One night's effort Scything the grass: has turned it into a snake's head drops. (442) a plum! (435)

A purple swallow, Mountains darkening, a yellow nightingale clouds match the snow; Speak deeply Sky shivering, exact truth. (443) moon brightens the frost. (436) Riding so fast a horse— I find myself Not flattered by praise, in the mud. (444) not hurt by blame. (437)

This old man's A silkworm-raising woman white head— carries a basket: what a pity! vegetable colors— No doubt A village boy, he used to be stealing bamboo shoots, a pretty-faced youth. passes by the hedge. (438) (445) 66

Just enjoy it Wishing only to keep yourself: the king's It's not for giving affections, to anyone else. (446) Facing the mirror several times, drawing

A drop of water elaborate eyebrows. (453) from four seas; A hair To admire the meandering from nine cows. (447) valley, the zigzag paths, Not knowing himself in Paradise. (454) All the countries over the four seas, To watch only now quiet under the king; the sharp gimlet How dare any enemy Without seeing cross the square handle. (455) the three borders? (448)

Fallen autumn leaves Looking swept off, I saw, forward only, by the wind— Unknowing how What! The garden trees to turn back. (449) are now offering much shade! (45&) To realize at last

himself A single flickering in Paradise. (450) rushlight of ignorance— In the dead man: Knead from it an active soul. (451) a man of satori. (457)

Puppets dance freely Don't forget this word, on the stage: ever. (458) Behind them the puppeteer This word: controls. (452) most poisonous. (459) Chant poetry Lions won't touch to your best friend! a half-eaten eagle; Drink wine Nor hawks clutch with your true friend! (460) a dead hare. (467)

He's just Jiggling a dead snake, on this mountain: give it life! (468) In these thick clouds no one knows where. (461) The heavens are filled with the stink of shit. (469) Three hundred poems come to one thing:

"Think The stink of shit no evil!" (462) wraps him up. (470)

This Dead water: barrier: no dragon in it. (471) The greatest monk cannot jump. (463)

To go away, seeking In the lion's cave, fragrant grass . . . no other animal To come back, following can live; fallen blossoms ... (472) On the elephant's path, no fox leaves its tracks. (464) Only knowing a cow gets slender but not its horns, One roar Not knowing of a lion a man gets enlightened Cracks the brains and then his phrases. (473) of a hundred beasts. (463)

The lion Still a long roars: way to go— The elephant What a pity! Again looks back. (466) the evening twilight! (474)

68 Within Watch all sentient beings is the truth: with merciful eyes. (482) Already forgotten

the words to describe it. An errand-boy (475) with a bottle buying village wine, Easy is Back home, the way to satori: dressed up, becomes Just the master. (483) avoid choosing! (4 76)

Like a falcon To spear one's own brain catching a dove. (484) and put it in a basin. (477)

Again the question: Resolution sincere, where's the way to effort sincere; Flat Field Temple? Exercise deep, Over the mountain hut satori deep. (478) winds blow off the yellow-tinted leaves. Wheel of moon (485) fills this evening: Anywhere its beams Hard to realize it's do not reach? (479) the stink of his own shit! (486) Only Manjusri knows the meaning Wipe and polish it of this number: always diligently. (487) Three-three in front, three-three behind. (480) To sneer at myself being without Try and shake the snow life-long Zen: from the twig top: Mostly blown No doubt a blossom at the mercy of since last night. (481) karma winds. (488)

69 In the ripeness of time The small lamplight Dharma inside the room. (497) shows. (489) Sit down, please. Self and other Have a cup of tea! (498) are not two: Illusory One-foot-two eyebrows you and I. (490) sprout under the chin. (499) Drum beating on the ear, A peony Incense burning opens its flowers: in the nostrils. (491) a Bodhisattva's face. A hemp palm Ears listen scatters its leaves: like a deaf man; a devil's hair. (300) Mouths talk A priest like a dumb man. (492) of true discernment Doesn't take To ears: such tea and rice. (301) fountain murmur. To eyes': Only the one who mountain color. (493) has lain with him Knows where A child doesn't hate his nightgown is torn. (502) his mother's ugliness. (494)

A gem rolls, Well stored, a pearl turns: Mount Sumeru From eight angles, in my ear! clear and bright. (303) Well packed, the Four Seas To plant young rice in my eye! (493) expecting bean shoots. (304)

Money lost, Swallowed by a staff punished besides. (496) —heaven and earth. (503)

70 The staff is always In a thick wood in this hand! (506) the monkey's shrieks resounding; A pearl stored inside: Under the waveless water the swamp seems attractive. the wild geese deep reflected. A gem hidden somewhere: (514) the mountain keeps its glitter. (507) Where no common flowers found, Put a nose one pine soars to on Mount Sumeru! (308) a thousand feet— When flocks of birds clamor, The rootless one cry grass of a crane— (515) on Sumeru Peak Opens its flowers The autumn moon shines, without spring winds. brightening the eyes. (516) (509)

Straighten upright Buying fish your iron backbone! (510) direct from the boat— it tastes very good; Accept a misfortune Treading in the snow as if a blessing; to buy wine— Meet a surrender it goes down much better. like facing an enemy. (511) (517)

A carp laughs, Tall bamboos opening its mouth, keep off the heat. (318) on a treetop. (512)

Trees show Keep sun and moon the shape of the wind; inside your sleeves! Waves blur Clasp heaven and earth the spirit of the moon. (513) in your hand! (5*9)

71 Autumn sky— In Asura's hand, deserted field— grasp no one passes. heaven and earth! Look! A horse is coming Under Yaksa's feet, this way to east. trample Who is it? (520) the muddy dragon! (526)

Practiced all day: Open your hands— not a bit ten fingertips, achieved . . . eight crotches. (527) Preached all day: nothing spoken. ... (521) A beggar boy at the crossroads To waste all day Hangs from his waist in the busy town, an elegant Forgetting the treasure bag. (328) in his own house. (522)

On the crossroads, To a man in grief a pair of broken the night is long. (523) straw sandals. (329)

No guest The horse once through the year: wringing wet with perspiration the gate remains closed. —no one knows: No-minded Examine its overwhelming all day— accomplishments— feeling easy. (524) it's a must. (53°)

Autumn winds blow Not returning on the Wei River— for ten years: Falling leaves cover Forgot all Ch'ang-an city. (323) the path I came by. (331)

72 Ten years' dream The spring sun shines bright: on the pillow flowers open one by one of the struggling days: competingly. (538) One midnight by the lamplight— Spring mountains mind beyond matter. overlap green . . . (532) Spring water floats blue. . . . (539)

The world In the spring mountain, often directions: walking alone one iron ball. (533) only to see you— Woodcutting

Where ten eyes look— sounds, where ten fingers point— the mountain more quiet. (534) (540)

A spring evening: The famous swift horse half an hour worth can't catch a rat a thousand pieces of gold. So skillfully Flowers' as a limp kitten. (535) pure fragrance, moon shadowed. . . ., (541) Coming out of the gate, what else to see? Spring color Spring scenery has covered annoys men the grass-grown field! (336) awake; The moon transfers A spring river runs the flower shadows level up to the balustrade. (542) into the sea; The bright moon over the sea The green of spring— rises neither high nor low; with the flowing tide. The flowering branches— (537) some long, some short. (343) 73 Early spring— Spring comes: full rainfall, grass grows. (550) flowers earlier; Late autumn— Spring come: no frost attack, guests gather in the temple. leaves fall late. (344) Blossoms fallen: the priest closes the gate. Spring birds twittering (331) in the spring winds; Spring fish merry Everywhere truth, in the spring water. (545) everywhere truth; Dust, dust, all dust, Spring enters Original Man. (552) a thousand forests— flowers everywhere; Gods find no way Autumn sinks to send him flowers; into ten thousand waters— Outsiders find no gate houses reflected everywhere. to spy through. (333) (546) Everything is true Spring wind, just as it is: spring rain, Why dislike it? again flowers open; Why hate? (354) Spring fain,

spring wind, Walking placidly along, flowers fall again. (347) stop the murmur

Spring sleep— of running water . . . hard to notice it's dawn; Watching aimlessly, Birds already point at the trace chirping here and there. of a flying bird. . . . (548) (555)

Does a sharp hawk Everyone understands linger around wormwood is the hedge? sweeter than honey: In a blink it flies But did you know honey to the blue heavens is more bitter millions of miles— (549) than wormwood? (336)

74 A small fish swallows On the alcove lies a big fish. (557) a three-foot sword; In the bottle stands To think the fish eye a branch of plum blossoms. a bright pearl; (566) The orange skin a devouring fire! (558) Wheat turns to butterflies; Sutra chanting— Earthworms, flocks of sheep to lilies. (567) kneel down and listen; Samadhi practice— Pines are not straight; birds make a nest thorns, not crooked. (568) inside his robes. (559)

No pine has two colors, Watch your own old and new; steps! (560) The bamboo's knot marks up and down. (569) Parched beans never put forth sprouts. (561) Inside the eye of a flea's flea: Small mercies five Mount Sumerus. hinder greater. (562) '(570)

The pine is green In the eyes for a thousand years: of a flea's flea, No one now open a fair! understands it. (563) On the tongue of a tiger, Scorching tiles sit in a swing! (571) strike apart the ice frozen to the bottom. A smiling face (564) offers mercy; A troubled mind Pines are straight, contains vicious poison. thorns, crooked. (565) (445)

75 Always in my mind: To make up March— a brave man's face south of the river, with red powder. (579) Where quails chirp,

a hundred flowers Up, no roof shoot fragrance. (573) over your head; Down, no clod Mind is calm: for you to stand on. (580) rocks and trees much better . . . No Dharma Room is quiet: outside Mind: bubbling spring The eye-filling quite subtle. ... {574) blue mountains! (581)

Chao-chou's dog, no Mind eye, burning bright, Buddhahood; looks like the moon. (582) Thousands of blue mountain ranges Where to hide? hide in an old mirror. —in a needle's eye. (583) (575)

The true jewel Over the castle different in the mud. (584) the New Year's horn is already blown; In front of the window The mind-void last year's candle formless: still burning. . . . (576) Its subtle working pierces ten directions. (583)

Shattered and split— shimmering, dancing— Deep in the valley the moon on the rapids. no word (577) from the woodcutters; By the shadowy cliff Sprinkling piss a hunter on sacred soil. (578) shows up. (586) 76 A lone, round Magical power, mind-moon: marvelous action! Its rays Carrying water, swallow up everything. shouldering wood. . . . (587) (595)

Shave off iron Angry fists cannot beat from a needle's point! a smiling face. (588) Scrape off meat from a heron's thigh! (596) Merciful words come out of the merciful mouth. (5 89) Satan is his mind;

Candy in his mouth, The Devil, bitter herbs his face. (597) in his heart. (59°) A new bride, her face adorned Mind with dimples, when true Goes feels easy with Zen. (591) toward the brocaded curtain. Body and mind (598) shake off all their chains; Shake off the last chain— In the needle's shadow: body and mind! (592) ride the giant roc And push the moon leisurely Mind changes down with the circumstances: from the sky. Its way is (599) miraculously subtle. (593) Turn a somersault Walk forward— on a needle point. (600) you'll fall in a pit! Step back— Hide yourself in an angry tiger cats your feet! cach and every thing! (594) (tot) 77 No one knows No use covering your ears so deep a forest: —sudden thunder. (609) The bright moon shining on me. (602) Whose house has no bright moon,

The moonlight pierces no clear wind? (610) the thick forest— Heavily drunk, a chill monkey shrieks; lying flat on the sand An old nest, —don't laugh at me— shaken by winds— From the old days, the sleeping crane cries. very few return (603) from the battlefield. (611) Seeking words, chasing phrases: Waters, however rapid, When do you have never carry off the moon. time for satori ? (604) (612)

The moon by the window: Knock on the sky always the same, and listen to the sound! nothing much. (613) Put plum flowers there, Water originally and it looks contains no sound: different. (605) Touching a stone Scratch makes it murmur. (614) the great earth! See, no clod A tiger, even asleep, has in your hands! (606) one-hundred-step dignity! (615) On the vast earth— To serve a cup of wine nowhere to hide. (607) to a drunken man. (616)

Sudden thunder The thousand-foot shivers in pieces fishing line— the moon on the clear creek. His intention (60S) is deep in the creek. (617) 78 Water, running out Who hears of the bamboo bush, an empty bow is cool . . . and a falling goose's cry? Wind, coming (625) from the flowers' shade, is fragrant. ... (618) Water runs, digging gutters; Merciful Winds go, hands: flattening grasses. (626) a ten-thousand-foot cliff. (619) Water frozen, the fish cannot jump. (627) To push the empty gourd along the water. (620) Who says gold is a clot Lotus flowers color of dung? (628) the water white; Willows tinge Sleep is sweet— the mist green. (621) not knowing the rain passed over the mountain, Who knows? This Now awake to find clear, shallow stream the whole palace Runs at last is cool. (629) to the blue depth of the sea. (622) Water flows without paths' permission; Under this reed hat Paths run is a man without water's. (630) With old sorrow —who knows ? ( 623) The sharp sword in the box glittering The salt cold— in the water; Outsiders and devils The glue all bow before it in the paints. (624) —with reverence. (631)

79 No sharp sword Several clear sounds can cut it open; from the stone drum— No iron hammer beyond yes and no. strike it out. (632) One man of freedom— between heaven and earth. After killing, polish it quickly (639) —wonderful sword. (633)

Several dots Water runs of white cloud back to the ocean; wrap the old temple; The moon goes down, but A stream never leaves the heavens. of green water m) surrounds the blue mountain. (640) Does anyone know the wood and grass in this mountain, In this world Overcoming every difficulty, nothing to be turn finally into bound in a cage: men?, (635) Each independently soars— ten-thousand-foot peaks. Be master of yourself (641) —everywhere: All you do proves true. (636) The mercy-offerer and its receiver:

Recognize the true nature, Both following its stream— blind. (642) Neither any pleasure nor any sorrow. (637) Buddha preaches nothing but tells all; A straw dog runs Kasyapa hears nothing after an iron ox. (638) but understands all. (643)

80 Buddha proclaims A blue snake a silent word: climbs the bamboo Kasyapa accepts it —one color— —with a smile. (644) A yellow butterfly flutters over the hedge If no one —limitless emotion— discerns swords, (652) Even T'ai-a is mere iron. (645) Blue made out of indigo Not another: is bluer than indigo; this! (646) Ice from water, colder than water. (633) Where yes and no cross— Even saints The well watches the donkey; cannot understand. (647) the donkey watches the well. (654) Leave out yes! Cut out no! (648) Green pine trees won't hinder people coming and going; Ginger is hot Field water runs to the very end. (649) making pools, overflowing, no-minded. . . . (653) From the start blue mountains never move; White clouds In Si-ch'uan, cut at come and go. . . . (650) the statues in the drawing! In Shen-fu, all their heads drop. (636) Watch by yourself the way of life and death. One phrase An active soul before voice: is exactly in A thousand saints the dead man! (651) can't hand it down. (657)

81 A lifetime's wealth: A clear wind comes dew like an old friend. (665) on the grass blade; Posthumous elegance: Clear streams run a flower without any gap; by the road. (658) Evergreen trees drop no leaves. (666)

Nothing is wasted The stone, oppressing, in a splendid reign. (659) slants the bamboo shoots; The flower on the cliff The iron balance grows upside down. (667) bitten by a worm. (660) In a flint spark, discern Fill the blue heavens black and white; with roaring thunder! In a lightning flash, Roll great waves talk all about over the land! (661) the whole happening. (668) A wind Much quicker than from the west: a spark from flint; Falling leaves, Much faster than two or three. . . . (662) a flash of lightiling. (669)

The clear wind sweeps Climb barefoot off the bright moon: a mountain of swords! The bright moon sweeps Enter the fire off the clear wind. (663) wearing fur! (670)

One-handed Clear winds start: clapping. (671) a crow flies up from the tree. Stones stand A crescent rises: up against the sky; a dog Flames burn barks at the clouds. (664) down into the water. (672)

Stone men whisper Falling snow bridges in each other's ear. (673) the sides of the gorge; Mist hides and discloses The stone man the mountain hut. (680) bows: The bare pillar Hit! Hit! Hit! claps. (674) —with a lump of snow. (681) After a snowfall chastity is manifest Cutting —pine and cedar. the human At a serious crisis yes and no, bravery is shown To live with white clouds —man of courage. (675) deep in the mountain, the brushwood door shut. Once you preach, (682) the point is gone. (676) A speck of blood on the snowy garden: The snow melted: Grass buds coming out the mountain shows. —spring in Bodhidharma's The clouds gone: temple. (683)

the cave lightens inside. ! (677) Snow is cool on the northern peaks; Over the snow, Plum flowers, fragrant to add another on the southern branches. layer of frost. (678) (684)

Heap on heaps A butterfly, of snow— fluttering, a mournful monkey moves. drills the flowers deep. The cloud-clad peak A dragonfly, far and far away— darting and hovering, I've left my friend's home. dips its tail in the water. (679) (685) 83 One thousand eyes, watching, No birds cannot see it. (686) on a thousand mountains; No footprints An arrow on ten thousand paths. (693) released Will not Right now return. (687) in front,

A thousand oxen Next minute fail to draw it; behind. (694) A keen falcon chases it, in vain. (688) A fan jumps up and Secret exercise, dances to the music. (693) hidden work: Like a fool, Three bowls like an idiot. (689) of White Brand wine

A thousand years, from Fountain Town: a million years, Drinking up, he says, darkness all over— "My lips Stuffs every gutter, aren't wet yet!" (696) fills each valley —no one understands. Break open (690) the thousandfold gate —not easy. ( 697) On a thousand rivers, one moon— Murmur of a spring Ten thousand doors at midnight. . . meet the same spring. (691) Mountain colors in the evening twilight. . . . A thousand rivers (69s) brimming with water: a thousand river moons. .. Millions of miles Gingerly, carefully no speck of cloud: look in the abyss; millions of miles of sky. . . . Walk (692) on thin ice. (699) Leaf by leaf Virtue and vice, from the thick sandalwood: like floating clouds: a fragrant wind— (700) Rising or going Heaven knows where. . . .

Drill (707) his nostrils! All its activity Gouge out completely open. (708) his eyeballs! (701)

A good shot— Easy to gather wide of the mark! (709) a thousand soldiers; Hard to get In front, water; one general. (702) behind, water Over the eons On a thousand peaks runs ceaselessly. (710) the rain has stopped: Having preached the dew shimmers cold— Oneness before, Moonlight falls Now preaches on the pine roots Difference. (711) before the ivy-twined hut.

(703) Look ahead —agates! , Arrowhead and arrowhead Turn back hit one another. (704) —pearls! (712)

A thousand peaks, A good swimmer winding, overlapping, gets drowned; look like indigo. (705) A good rider falls. (713)

Cut a piece from the honeycomb Twigs mirrored and convert it into straight and crooked— a lion's den! the clear, shallow water. Transform the thorns Faint fragrance into a sandalwood drifts about— forest! (706) the twilight moon. (714) What is Bodhidharma's intention Seeing you off in coming east to China? by the gate, (715) a tall bamboo bush: From every rustling leaf Entering the money tube, pure winds the rat already rise for you. (723) at its wits' end: Its ten years' endeavor Nesting birds know wind; disappears burrowing insects know rain from the eyes. (716) (724)

Matching the dew, Wearing robes, the straw sandals are heavy. eating meals: (717) But these— no Zen. (723) In a blink it's gone. (718) Curse at one another: I'll bring a spare mouth!

A drop of water Sputter and splutter: from Hui-neng's Mountain. I'll bring extra spit! (726) (719) To face each other never knowing who . . . Grass grows wild: To address one another nobody seen. (720) never knowing names. . . . (727) To hang a medicine bag

at the back of the hearse. Right now, right here: (721) facing each other. (728)

Grass color Reach for it, and you'll miss; green green— let it loose, and it'll follow. willow color gold. (729) Peach blossoms bloom bloom— Catch plum flowers fragrant. the vigorous horse (722) of your mind! (730) 86 To bend a bow T'ai-a, after the robber's gone. (731) the wonderful sword: Originally Pecking the eggshell iron ore. (739) at once from inside and out. (732) A man sticking to a phrase —gets lost. (740) The many-mouthed magpie scholar Facing each other, finds himself dumb. (733) a thousand miles apart. (741)

A birds in a cage for many years, Everything manifested: Now flies with the clouds gold autumn winds— (742) on its back. (734) The accomplished hermit Strike the water: hides in the town; a fish's head aches. (735) The immature hermit hides in the mountain. (743) All mountains, all lakes: What if the great ocean should a thousand old Buddhas. be full— Mist-covered A hundred rivers would run trees on trees: —backward! (744) one Buddha pavilion. (736) A wide sea lets fish hop and leap; Taking a punch at A wide sky allows heaven and earth, birds to flutter and fly. (745) Walk alone in the blue heavens! (737) Man of great activity, of uncommon ability. (746) The Ts'ai-chou Castle broken up . . . Wu Yuan-chi, the Lord, The biggest bowl killed. ... (738) fills last. (747) Milk The great road and poison has no gate; work together. (748) A thousand crossings lead there. (756) Great skill looks like clumsiness. (749) The giant roc, spreading its wings,

A giant elephant covers ten countries; won't play in a hare's path; Around the hedge The deepest satori swallows and sparrows doesn't mind small matters. only crying "chi-chi-chi." (750) (757)

The whole earth: Polish the phrase all dark and dark. (751) and say the whole truth. (758) Throughout the earth— not a bit of dust. (752) A wide marsh swallows a mountain;

After all, A badger neatly the innate skin beats up a leopard. (759) is best: No lipstick, Bodhidharma, no powder, who's come to China, and quite elegant. (753) Has a mouth —but no tongue! (760)

A large vessel has a large Rob him of his life; robes and bowl A small vessel, And say, "How come a small they are in my hands?" (761) living. ( 754)

Rob the robber Every great way of the spear and kill him! leads to Ch'ang-an. (755) (762)

88 Short pants, A thick bamboo bush long robes, doesn't hinder white cambric scarfs: flowing water. The variously clad workers A soaring mountain push the moonlit wagon blocks with gallant shouts. (763) flying white clouds? (771)

To sell the water he brought The deer hunter to the riverside. (764) doesn't see the mountain; Nor the thief in heaps of gold, the watchman. (772) Red and blue paints draw it, only to fail. (765) See the sun in the day; watch the stars at night. A pleasant talk: (773) into it secretly Drop To steal Buddha's money poison! (766) and buy incense for him. (774) A broken stone monument lies on the old path. (767) A dragon-killing sword: How dare you attack A silly man makes a snake with it? (775) a silver mountain by heaping snow. (768) One moon hangs over Ch'ang-an; The earth fertile: Ten thousand houses emit eggplants large. (769) cloth-beating sounds. (776)

Bamboo shadows sweep Everywhere in Ch'ang-an the dust on the floor lighter than —moving nothing. in daylight: The moonlight Those guys go drills a creek feeling for the wall —leaving no trace. (770) as if it's midnight! (777)

89 The patter of rain, a suggestion In the morning of the cold days' end: to encamp at East Gate, Opening the gate, to find— In the evening many fallen leaves. (778) to reach North Bridge. ( 783)

Chang Sleep stretching drinks wine: out your legs: Li gets drunk. (779) No lie, no truth. (786)

A long one is Three thousand blows the Long Body of Buddha; in the morning; A short one, Eight hundred the Short Body of Buddha. in the evening. (787) (780) A clear creek Jump out of the world doesn't permit of satori! (781) a green dragon to linger. (788)

Jump out of Birds chirping, the life-and-death gate. no man in sight; Dash through Blossoms fallen, the forest of thorns. (782) the tree still fragrant. (789)

A lady from Chao Every night climbs the colored pavilion the wide sky is in spring merriment: clear like a mirror; The song from her mouth Ten thousand miles, fills the walled town no cloud, —with autumn. (783) the sole moon round. (790)

To sense an old temple, To reach the Western Sky hearing bell sounds; in the morning To know a hamlet, And return to the East Land seeing smoke. (784) by evening. (791)

90 Know truth in the morning, A poisonous bird die complete enters the water in the evening. (792) —all the fish die. (800)

Too long a whip Poisoned wine: one cup can't hit the horse's belly. instantly (793) staggers a man. (801)

Dawn coming— a thousand houses seen Fine, all in rain. (794) the Great Yuan soldier's three-foot sword! Point straight Only cuts at man's mind; the spring wind See its nature in a lightning flash. (802) and become Buddha! (795)

Leaving his carriage Straightforwardness: he enjoys the monastery. (796) the evening maple forest: The frost-surviving leaves Order a spirited are redder than thoroughbred— February flowers. (803) And there comes clumping a limp tortoise. (797) Garden trees are indifferent Pass at once through to people gone away. the ten thousand gates; Spring comes: Never stay even they open again in the blue heavens. (798) the same blossoms. (804)

Don't make The flower in the front garden: a ring alive or dead? (*°5) from a straight tree. Don't make a rafter The cedar in from a crooked one. (799) the front garden. (806)

91 In the front garden: To wash a mud pie the moon and in the mire. (814) the shadowless pine. Each drop of water: Beyond the balustrade: instantly a piece of ice. (815) no wind and the rustling bamboo. (807) So brilliant: the red blind lit by The midnight moon the bright sun— over the arbor; The eye-poppingly Calm bell sounds beautiful face from the pavilion. (808) elaborately made up. (816) Jewels on Indra's net Beside the railing Reflect each other the grass all eaten endlessly. (809) —by an iron ox. (817)

The dragon's eyes look The iron ox sharp at the snake; lays stone eggs. (818) The tiger's catching of the buffalo is perfect. The cast-iron ship (810) floats on the water. (819)

An iron hammer dances To distinguish dragons from with the spring breeze. (820) snakes, black from white: Iron cliff, The very business silver mountain of a true master. (811) —refuse men. (821)

Washing jewels Over the iron cliff in the mud. (812) shoot forth— dot after dot of cloud. More mud, Out of the black mountain the Buddha bigger; rolls up— More water, a round, round moon. the ship higher. (813) (822)

92 Shatter with an iron whip Above the heavens, the pearl on below the heavens: the dragon's jaw. (823) Only I am holy. (831) Impossible to add a phrase to it; Stars in the sky Impossible to take one all pay respects away. (824) north— All streams in China No one on earth g° knows its price. (825) east— (832)

The sky dawns with white clouds; Number the stars in the sky, The stream runs the sands on the earth! (833) with the bright moon. (826) Expanded, The day dawns: it covers the Dharma world; fire gets useless. (827) Pulled in, no room for a hair. (834) Clear far into the heavens: crowds of stars come near. Heaven, earth, and I: (828) the same root. Everything and I: Snow buries one thing. (835) the thousand-foot stone touching the sky. By the cave mouth, Paradise frozen and broken is not yet completed; —several pines. (829) Hell was finished first. (836)

The border of the sky— sun rises, moon sets. The heavens cannot Ileyond the handrail— cover it, mountains deep, water cold. Or the earth (830) give it a ride. (837)

93 No four walls Become a donkey in the heavens, at the eastern neighbor's, no gate on the earth: A horse Where at the western. (845) to bury Mother's body? (838) The scoop handle of the eastern neighbor is long; Lightning flashes, That of the western, thunder darts, short. (846) Mountains slide, stones crack. (839) Peach blossoms open their smiling eyes. (847)

Killing tigers and jaguars, Dash through the gates climb the mountain! of yes and no Slashing dragons and pythons, Not staying enter the water! (840) in the world of bondage. (848) A rabbit conceives

and bears a East winds tiger. (841) stoke my face softly ... Vomit .out Purple flowers, ten thousand; the wild fox's spit! red, a thousand Swallow again —spring all over. (849) the fresh spirit! (842) Casting a fishing line Rabbits and horses leisurely— have horns; A dragon in the blue creek Oxen and sheep, wakes in surprise. (830) none. (843) Go east, The Tofu Pavilion: go west, a glimpse of the color heaven and earth wide— of the rooftiles. Turn left, The Kannon Temple: turn right, only the bell a gem rolling on the tray. sounds. . . . (844) (ssi)

94 The rooster in the cold still Above your head, hasn't announced utterly filled; dawn over the houses. Under your feet, A traveler passes thoroughly stuffed. (858) the snow-covered mountain —no one sees. (852) Honey on the sword edge, poison in the wine. (859)

Reaching the river at the border land of Wu: North, south, Beyond the riverbank—the long east, west: stretch of the Yueh no gate. mountains. (853) Great earth, mountains and rivers: nothing ever hidden. Peach blossoms are pink, (860) plum flowers white, peonies red. A spring wind, The head is crowned asked why, with the midnight moon; will say, "I don't know." The feet step on the moon-colored earth. (854) (861)

The eastern mountains Pillowing your head walk on the waters. (853) on Sky Plateau Mountain, Stretch your feet You say on South Peak! (862) some grass is tall

and some short: Every head, each head Burn it off, reveals it; and you'll see the ground Each thing, every thing isn't flat. (856) shows it. (863)

Look up The moon overhead —the heavens! on a frosty night Look down Has fallen into —the earth! (857) the valley ahead. (864)

95 Coming back with satori Peach blossoms open in but everything the fire; just as before: The sun rises after Hermit Mountain's the sunset. (871) drizzle and mist, Crooked River's waves . . . Peach and plum blossoms (865) speak no word: Lines of admirers Having trodden tread a path under them. the limitless sky, (872) The iron ox is soaking with sweat. (866) One pine soars on the winter peak. (873) Tread on the moon in the clear creek; Drill open Perform a dance the blue heavens. (867) on a candle lantern! Hide yourself Sword within the bare pillar! (874) can't cut sword or water cut water; The garden lantern, leaping, Void sky enters the bare pillar; never, cuts The Buddha hall runs void sky. (868) out the mountain gate.

East winds have blown the snow A praying mantis, off the plum twigs: raising its pincers, In one night attacks the armored car. spring is (876) everywhere. (869)

The net-breaking dragon, The infant, not knowing hitting the bitterness against the heavens, of frost and snow, Gripping clouds, Grasps a broken grabbing fog, brick and gone at once. (870) beats the thick ice. (877) 96 On the same road, To crave the moon the different wheel tracks. in the heavens (878) And lose the pearl in his hand. (886) Sitting alone

on this Great Hero Peak! Gulp down (879) mountains-rivers-great- earth! (887) Sitting all alone— deep in the bamboo bush: A ship-gulping fish Playing the koto, doesn't linger or chanting long. . . . In the stream (880) a few feet deep. (888)

A single palm makes no sound. (881) Gulp it down, no good! Throw it up, no good! (889) A poisoned arrow hits the heart. (882) Clouds rise on southern mountains; These skulls Rain falls all of soldiers on northern. '(890) - who built the Great Wall: On the darkening desert scatter On the southern mountain, to ashes. (883) drumming: dancing on the northern. (891) Dry skulls . on

the field . . . North village, everywhere. . (884) south hamlet, one rainfall's rest: Pluck out A new bride serves lunch Sakyamuni's nose! to mother-in-law, and Wrench open father-in-law feeds the baby. Bodhidharma's eyes! (883) (892)

97 North, south, Day after day east, west, a very good day: let's all go home! Winds come Late at night— and trees bow. (900) seeing the same snow on a thousand peaks. Day after day, day (893) dawns in the east; Day after day, day's From north and south, done in the west. (901) from east and west, no road enters it: True Rugged gold: iron mountains much brighter in the fire. —shooting up. (894) (902)

To light a single lamp It enters fire: in broad daylight. (895) never burnt. Enters water: Sun and moon can't never drowned. (903) light it up; Heaven and earth never Enter a tiger's cave cover, it-all. ( 896) and stroke its whiskers!

(904) Sun and moon shining however bright A baby tiger, Can't throw light just born on the ground, under the upset tray. (897) has an ox-eating spirit

The sun has shown (905) and all shines bright; The rain has stopped In the willow, become green! and the mountains are bluer. In the flower, become red! (898) (906)

The sun arrives Listen to the dumb man who at the western peak: had a wonderful dream! shadows longer. (899) (907) 98

To walk in the dark The man who's in one's best clothes. (90S) drunk water Knows if it's cool or warm. (915) Having just thrown everything into West Lake— A man passing This clear wind cooling over the bridge my unburdened shoulders: Sees the bridge flowing with whom shall I share? —not the water. (916) (909) Life is but a hundred-year dream: Like cutting Nevertheless, one thread, a thousand-year sorrow. One cut cuts all. (910) (9*7)

For every man, Spring lies under his feet in flowers: A spot wide enough Its fragrance to stand on. (918) fills your robes. (911)

Every one originally Like the heavens owns it; covering everything; Each one has already Like the earth completed it. (919) supporting all. (912)

Human faces, peach blossoms Hot water reflect each other melts ice. (913) bright pink. (920)

A blade cuts Men things are gone but not itself; somewhere: Eyes see Peach blossoms everything smile as usual but themselves. (914) at the spring wind. (921)

99 Easy to reach Be master Nirvana; of everything, Hard to enter Keeping vigilant Difference. (922) at all times. (928)

Strike him on the head Holding with a gimlet from behind! a grass stalk, (929) Make it into a huge golden Buddha. Farmers sing (923) in the field; Merchants dance Twist at the market. (930) the monk's nose, And drill open Farmers talk Buddha's heart. (924) facing each other: No doubt this year, a good crop! (931) Snatch off the greasy hat! Cast away How can you hide the sweaty robes! (925) an auger in a bag? (932)

Family broken, Holding a tinged leaf, house ruined. (933) to write down the autumn feeling; The mirror, shattered, Picking up chrysanthemums, reflects never again; to serve them The fallen blossom never on the evening table. (926) returns to its twig. (934)

Every year, each year Grip him: flowers bloom clouds hide alike; the valley mouth. Each year, every year Release him: people the moon falls change. (927) on the cold creek. (933) IOO A beggar monk wanders Lucky to have met you, following the clouds . . . both on horseback The straw sandals go forward —no brush and paper here; tracing the path. . . . Please tell my family (936) of my safety —with words. (943) A pearl in the torn cloth bag: A man of wisdom To worship the baby badger; knows it's a treasure. (937) to salute the white ox. (944)

A limp turtle climbs Sky Plateau Mountain; In whiteness A blind tortoise clumps snow is superior into the vacant valley. (938) to plum blossoms; In fragrance A limp tortoise plum, with made-up eyebrows to snow. (945) stands in the evening breeze. (939)

Fewer plum flowers, Wrap a clear wind less of the spring; with a torn Wider garden, robe. (940) more of the moon. (946)

A no-ear banana, hearing thunder roar, opens its leaves; Layers of white cloud A no-eye sunflower, shut out seeing the sun, the blue mountain. (947) turns its head. (941)

Rain of no sorrow Deep in the white clouds, falls a monk on banana leaves: boils rice; A man, Under the green shade, hearing its pattering, a man calls feels his bowels cut. (942) for a boat. (948)

IOI Beyond White herons the white clouds— landing on the field: a blue mountain: a thousand specks of snow. A traveler A yellow bush warbler goes sitting in the tree: beyond that mountain. a cluster of flowers. (957) (949) North of White Wolf River: Over the white clouds, no letter reaches . . . my home village and South of mountains Red Phoenix Castle: —beyond words. (950) autumn night is long

One by one (958)

white clouds White waters wave fly over the peak. (951) on the blue hill ridges. (959)

White clouds embrace Don't dislike the stains the dim rocks. (952) on this military uniform you'll wear: White clouds, Beside the shimmering lantern running water: I stitched it for you no mind. (953) —with tears. (960)

A white horse enters Don't dislike it the pampas flower. (954) because it's tasteless and flavorless! White hair— Once you try it, thirty thousand feet long— you'll feel no hunger This long ever. (961) because of sorrow. (955) Don't say At dusk no one comes clouds holding this far. the mountain ranges: These eye-filling Tomorrow morning mountains: no doubt not your best friends? a pouring rain. (956) (962) 02 An iron bar Pluck out darts at him the savage tiger's whiskers! like a gust: Cut off All the illusory flowers the green dragon's horns! in his eyes (9 7i) gone out of sight. (963) To let crows and roosters The eight-angled free in the night. (972) iron bullet burning red: I've scooped the valley's This monk, pine winds for you— before biting it, Have a sip! (973) feels chilly. (964)

The sky moon An eight-angled on the ancient polished stone mortar green creek: runs in the sky. (963) Again and again and again scoop it— The eight winds of illusion you'll understand. (974) —still unmoved. (966) The ten thousand Eight ounces barriers , is open all at once. (973) half a pound. (967)

Ten thousand arrows Scooping the water hit the heart. (976) to catch waves. (968) Throughout the universe Angry and forgetting One Holy Body to eat meals . . . revealed. (977) Happy and forgetting

all sorrows. . . . (969) Ten thousand laws end in One: Extract the stakes Don't stick to from the eyes. (970) that, either! (978)

103 In the evening Kingfishers from the pavilion: shatter the dew Many people— on the lotus leaves. most casting nets. (979) White herons stir the mist Ten thousand miles— in the bamboo bush. a single strip of iron— (980) 0*7,1

Thousands of miles, Poison brings back and forth ^ man to life; all alone. (981) A sweet dewdrop kills him. (988) White clouds, ten thousand miles; Clad Wheel of the sun> in the lion's skin, burning. (982) To make the cry of a fox. (989) No clouds through ten thousand miles: Arms longer, a single round moon. sleeves shorter; (983) Feet more slender, straw sandals looser. (990) Ten thousand miles— not a bit of cloud: Yet beat that blue sky The North Star, —with a staff! (984) not moving, Makes the others circle it. (991) With poison he comes; With mercy Like a waving flag I accept it. (983) of gold brocade, In front, behind

He dies, —blossoms. (992) I die- Where can we Elbows can't be meet? (986) turned outward. (993)

104 Peel off every skin Vairocana to the last— favors Maitreya's One truth wine— remains. (994) Manjusri falls, drunken: Samantabhadra Drizzling like so many helps him up. (1002) threads from the sky— mist weaves the snow. Spring opens Cold winds rippling the water: a hundred flowers the wavering moon —for whom? (1003) sifts the plum. (993) A man sitting Bright pearls, on top of the pole fine gold: —of a hundred feet. priceless. (996) (1004)

A proud nose, On a hundred-foot three feet long. (997) pole top, step forward!

Rich food Man of freedom doesn't tempt shows up everywhere the man who has eaten. —in ten directions! (1005) (99S) People use it daily The dim pines ripple not knowing it. (1006) in a soft wind: Come closer— A plum the whisper is better. (999) dropped its fruit —seven. (1007) Eyebrows lie above the eyes. (1000) Again and again I've called my maid Snoring thunder for no purpose, ghaaaa—ghoooo— Only wishing you The dust on the crossbeam to notice all blown away. (1001) me. (1008)

105 The burning firewood The cloth drum set in a tripod knocking on the eaves: warms all around; Anyone Everyone forgets know the sound? (1016) wind and snow have reached the plum flowers. (1009) Seek satori within yourself! Where Guest and host: else? (1017) interchangeable. (1010)

Guest, host— No good thought, obviously different. (1011) no evil thought. (1018)

Without the winds Disregarding that clear away the drifting clouds, a bright pearl, How can we see Regarding it this long sky, as rubbish. (1019) ten thousand miles? (1012)

I don't know No rain falls the true face but a flower drops; of Hermit Mountain No wind blows Because I but willow seeds fly. (1013) live here on it. (1020) Never seek with mind!

Never seek Living on the mountain: without it! (1014) a few steps from the gate It helps you cross Gives a whole landscape a no-bridge river; of hundreds and thousands Helps you go back of mountains and rivers. to a no-moon village. (1015) (1021)

106 Without surviving Your nose, this marrow-piercing your parents' present, cold, Now lies in How can the plum blossoms another man's hand. (1029) shoot nose-hitting fragrance? The woman shakes her loom, (1022) rattling, clattering . . . The baby opens its mouth, aaaah, aaaah. . . . (1030) Not because the mouth is narrow: Not leaving Even word-packed, Satan's world, it cannot explain. (1023) enter Buddha's! (1031)

Beat him What is the color well! of the wind? Or you'll be beaten Where does the rain dead! (1024) come from ? (1032)

A wind, stirring Go a thousand miles the spraying stream, not moving sends out a cool murmur. afoot! (1025) On the opposite peak the moon rises, lighting Unless you enter the bamboo window. the tiger's cave, (1033) You'll never catch the tiger's cub. (1026) A gust whirls the butterfly down on the grass; A heavy shower surprises No praying the magpie on the twig. to Amitabha Buddha, (1034) To repeat "Almighty Shitscraper!" (1027) A wind comes: the trees bow. Father doesn't transmit it Each time they show or son write it down. (1028) its course. (1035)

107 Winds blow the willows The winds fallen, along the southern river; a flower yet drops; Rain hits the lotuses One bird's cry deepens on the northern pond. (1036) the silence of the mountain. (1042) Winds blow— the moon in the heavens doesn't move an inch. Buddha mouth, The valley pines, snake mind. (1043) though pressed by snow— never broken. (1037) Before the origins

Winds drive of Buddhas and Patriarchs: all the clouds No this, off the blue heavens; no that. (*<>44) On the green mountain the moon rises Walk around holding —one round pearl. (1038) the piss-filled pot! Nobody knows who Winds blow pissed first, who second. the willow: its seeds dart. (*°45) Rain hits the pear blossoms: Shattering your bones and body, a butterfly flies. (1039) offer them—yet impossible to repay him. Winds come One phrase of satori with fountain murmur instantly goes to the pillow; beyond ten billion words. The moon transfers (1046) the flowers' shadows to the window. (1040) Hearing one, Warm winds blur knowing ten. (1047) the twitter of birds; The high sun thickens the shadows of flowers. A mosquito bites (1041) an iron ox. (1048) Manjusri In the green-gemmed tray, pushes out a pearl. the man-killing sword; Over the emerald palace, Vimalakirti the moon. (^056) sticks out

the life-giving sword. Thunder from a clear sky (1049) over his head— he's still asleep. (1057) The sharp-cut

picture To get fire of Chang: by entering the smoke; With all your might To bring back spring water call him with the moon on it. (1058) —no answer. (1050)

The whole universe, Better see his face heaven and earth, than hear his name. (1051) all color lost; Mount Sumeru stands

Autumn foliage upside down fills the field; in the sky. (1059) The evening bell echoes

at the mountain foot. (1052) The whole universe: nothing ever hidden. (1060) Say one word

with your mouth shut! Turn the great earth U°53) into gold! Stir the long river Ordinary mind to butter! (1061) is the Way. (1054) Every step, each step —the monastery. (1062) To force out the moon by closing the gate; To drill the heavens open At each step, by digging a well. (1055) the pure wind rises. (1063)

109 Step by step, To throw a hook away tread around the world! trying to catch a giant whale: Green water, And on it blue mountains. . . . (1064) —this hoptoad. (1071)

Clasp your wife, Peonies and abuse Buddha! scarlet all day: Deadly drunk, People of the walled town strike Maitreya! (1072) all get drunk. (1065)

Reaching Jewel Mountain, Under the peony, open your eyes a sleeping wide! kitten. (1066) Don't go back home empty-handed! (1073) Glimpsing a flower behind the curtain, Sakyamuni sticks out I ask who— the three-inch A smile iron tongue: on her colored lips This world —no word. (1067) everywhere sword-scarred. (1074) The phoenix doesn't eat crows' and magpies' food. The treasury's (1068) just close by: One more step forward! (1075) Casting out the gold, to pick Cast away the broken brick. (1069) Dharma, Not to mention Hurt yourself non-Dharma. (1076) holding a sword blade! Who's Holding a stone, to blame? (1070) jump in the river! (1077) IIO Cries, "I didn't do it!" Under the staff blows holding the things he stole. seeking satori— (1078) No concession to your roshi at that moment. (1086)

Make the square of earth A clam offers a palanquin; the priceless jewel; River and sky, A dragon throws up a canopy. (1079) the pearl from its stomach. (1087) Throw mudpies The staff tip at everyone. (1080) has an eye: bright as the sun. (1088) Meeting Sakyamuni, kill him! Hide yourself Meeting Bodhidharma, —within the North Star. kill him, too! (1081) (1089)

A cowboy comes back Boil the Buddha! driving his calves; Broil the Patriarch! (1082) A hunting horse, heavy with fowl. (1090) The square wood goes through a round hole. (1083) Bring the bright moon into the bottomless bamboo basket. Seeing a cooking fire, Store the clear wind begging food, then returning. in the mindless (1084) cup. (1091)

All day long What's the original facing the mountain— purpose of zazen? under the thatched eaves: "To save the world." No bird's cry, Now at last the mountain I'm an Idiot much stiller. (1085) —anyone know? (1092) III Open your hand, To beat blindly it becomes a cloud; the poison-painted drum turn it over, rain. (1093) And lose one's offspring. (1101) From the origins nothing exists. (1094) His face smeared with dust, The ordinary and sacred soot, and ashes; live together; Hair Dragons and snakes shot with gray, all mixed up. (1093) ten fingers dark. (1102)

Worldly passions inseparable

from satori. (1096) The closed room never lets the wind pass. (1103) The last barrier, The final Send a ship stake. (1097) up Mount Sumeru! Run a horse on the Yangtze! (1104) Mouth'packed with ice and frost, frozen to the marrow: A bubble— Who can a miracle— share A thousand saints' eyes this experience? (1098) see it? (i*°5)

A fully packed treasury

tempts a robber; Hard to reach A voluptuous female the summit rouses desire. (1099) of Sumeru Peak: Only seeing Sky-covering nets: white clouds hundreds and thousands come and go. . . . overlapping. ... (1100) (1106) 112 In Nothing, Karma, everything is contained: cause of life and death limitless— from timeless ages: Flowers, An idiot moon, takes it for pavilions. ... (1107) Original Man. (1113)

To a man of satori Under the formless tree nothing happens. (1114) —a ferryboat; In the emerald palace A man, handless, —no one who knows. (1108) beats and strikes; A man, mouthless, shouts and cries. (1115) Without likes and dislikes,

eyes can see To bind oneself level; with no-rope. (1116) Not a hair hidden, mind is A dream of straightforward, (nog) shooting a flea's flea's nest; Now eyes On the foggy sea: wide, the compass pointing south. — — (1117) ; On a night trip: the North Star. (1110) The bottomless broken barrel. (1118)

Ceaseless The lotus leaves move worries though the wind has stopped: of my mind: A fish no doubt One evening's swimming under them. talk (1119) unburdens it. (1111) Never comparable to anything: Most difficult to play How can I the no-holc flute. (1112) preach it? (1120)

113 Where no Buddha, Clear and plain the Buddha works. (1121) on a hundred grass tops, Plain and clear the Patriarch's intention. A featherless falcon (1128) flies sticking to the heavens. (1122) On his face, oleander flowers; In his heart, The clear mirror, thorns. (1129) seeing the object, Instantly discriminates Watch the North Star, the beautiful and the ugly. your face to the south. (1123) (1130)

The bright moon reflects The skin of the face, the pampas flowers; three inches thick. (1131) The pampas flowers

reflect the bright moon. The unconquerable fire (1124) burns the caldron and boils and eats Buddha. The bright moon (1132) comes and goes alone. A fierce tiger paints No man coquettish eyebrows. (1133) leans

against the balustrade. Under the fierce tiger's jaw (1125) —a golden bell! In the blue dragon's cave You yourself watch it: —a bright pearl! (1134) the pampas flower

in the bright moon. Take the deer (1126) from a savage tiger's mouth! Pluck the hare Bright pearl from a hungry hawk's talon! —on this palm. (1127) (**35) 114 Lie down in front A wooden man of an angry tiger's mouth! doesn't fear Scratch where it itches the lion's roar. (1144) on a venomous snake! (use) At midnight the wooden man talks: The savage tiger sits No one —watching the path. (1137) understands. (1145)

The fiercest tiger A wooden horse doesn't eat its young. (1138) whinnies in the wind; A mud cow Fearless generals bellows at the moon. (1146) die at home? Asking for the east, Bees to be told, "There's the west!" abandon (**47) the rotten honeycomb. (**39) The fire has burned the surface of the field: A hair swallows up New shoots come out the giant sea! with the spring breeze. A speck of dust contains (1148) Mount Sumeru! (1140) A night trip: never A blind man's eyes step on a white thing! —to the point. (1141) It's a water hole, otherwise, a stone. (1149) A wooden rooster crows

at midnight; Night deepens: A straw dog barks the bright moon alone. as the sky lightens. (1142) (1130)

Sawdust soup, On the river through the field iron-nail rice: a small boat hovers; No gulping, By the dim creek no vomiting. (1143) purple reeds grow. (1151)

115 The night so quiet: A crazy valley murmur closer— gust The garden so cold: last night: moon color deeper— (*152) How many peach blossoms fallen? (1158) Night calm, water cold, no fish bites; Wind and snow The fisherman's boat bad last night: returns— One tree broken carrying moonlight. in front of the old rock. ("53) (1*59)

No one seen Cool at night, by the ferry: falling leaves rustle only a boat lying. (1154) around the well— What! Autumn's already on Dead of night— the paulownia! (1160) blown in the wind, something reaches the window: The gold bracelet Snowflakes on her arm or plum one inch looser: flowers? (**55) Nevertheless she says to everyone, "I'm not in love! A dead stag Not in love!" (1161) in the field: Grass Only night monkeys wraps it. (1156) know the traveler's loneliness— A file of wild geese, They send you disordered above the field: by the valley path soldiers lying in wait. the third saddest cry. ("57) (1162) II6 In high spirits, Plum blossoms— add the moon color deepens; more spirits! No bamboo— Inelegance the autumn lacks rustling. is also (1169) elegant. (1163) Wish we could face A man with eyes each other! has seen nothing; Live A man with ears with you, has heard nothing. (1164) one with you! (1170)

Every waterhole Scratch first, reflects the moon; itch later. (1171) Every mountaintop

is veiled with cloud. (1165) You want to go? —go!

All being Want to sit? is nothing; —just sit! (1172) Nothing is being. (1166) At last to know his father's mercy after raising his own child. A bird, hidden, ("73) chirping and twittering, Now leaves the clouds To go a long way for the meandering with a fine mountains. (1167) horse, At a crossroads, Taking up whip it a lute, hard! (**74) the lady I lalf hides Whether it's her face: true gold or not, most elegant. (it68) test it in fire! (1175)

TT7 When needed, A man coming it turns tiger; to preach yes and no: Not used, Only a it turns rat. (1176) yes-and-no man. (1183)

Hiring another A leprous horse hitched holy idiot, to the burned stake; Trying to fill up the old well A black ox lying with the snow they're on the dead water. (1184) carrying. (1177) Fallen flowers A sheep sleeps follow the stream on dry sheets; —with emotion. A donkey pisses The flowing water preferring wet places. (1178) sends them off —without emotion. Likely to rain: (1185) the mountain draws near. Falling mist (1179) and a single bird To climb one more floor fly as one— up the pavilion, Autumn water, Trying for long sky: a thousand-mile view. one color. (1186) (1180) Dry trees Wish I could undo on a thousand mountains, my veil and pearl sash the far, big sky— —for your sake! A shining river Wonderful singing, stretching straight, subtle dancing the bright, bright moon. —for your sake! (1181) (us?)

Cast a net at it, but Both leaning against it'll slip out; the same balustrade, Call it, but Only to see the mountains it won't turn its head. (1182) in different colors. (1188)

118 In the soft mud The running water, stuffing —a thorn. (11S9) gutters, filling valleys; The rugged mountains, pouring The sharp sword green, piling up blue. (1197) leaves no scar; Thoroughly depends on it Willows aren't green; —life and death. (11 go) flowers are not red. (ligS)

A sharp sword sometimes Willows are green, not so good as a gimlet. flowers, red. (1199) (ligi) From both sides Three inches away bowel-cutting cries from Roshi's fishhook: of monkeys— Why don't you say A small boat one phrase? (**92) shoots down through ten thousand mountains. A badger (1200) and a white cow emit divine rays. (1193) The two mirrors reflect each other. (1201) A dragon roars —clouds come; A pair of monkeys A tiger howls catching at —winds rise. (1194) the moon in the water. (1202) Willow color dull as gold; Fine goods stored deep Plum blossoms seem nothing. (1203) fragrant as snow, (1195) One monk is enough Running water— who's gone through the cold mountain's path; the last barrier: Thick clouds— Stretching out his legs, the old temple's bell sounds. lies full on the mat (ng6) in the zendo. (1204)

119 A skilled craftsman has Riverbanks lined with no material to waste; green willows, fragrant A bright king has grasses: no attendant to dismiss. A place not sacred? (1205) Where? (1211)

Ten dreamy years Having cut off in the forest— the two heads, yes and no, Now a new laugh The sword soars here by the lakeside. (1212) alone into the sky. (1206)

No one buys water Good medicine down by the riverside. tastes bitter (1213) —works well; Frank advice Meeting fierce tigers sounds irritating at the cliff edge. (1214) —helps a lot. (1207)

On the edge A small talk of a cliff with the east wind To push a man— on this question: doesn't help. (1215) This overwhelming spring color —for whose house? (1208) No one sells wood in the forest; No one sells fish Far and far— on the lake. (1216) between heaven and earth, One man standing With unparalleled —no limit— (1209) severe atmosphere and no overconfidence, The green tree casts He sits upright in his universe, a thick shadow: and discerns the summer day is long. dragons from snakes. (1210) (1217) 120 The sacred tortoise In the furnace, clumps over the land: fire sparkling How can it erase no-minded, a trail in the dirt? (1218) Shooting every— which— way— (1223) Mountain plums break beads of bud; River willows haven't Meeting on the way yet shot gold. (1219) a swordsman, present him with a sword; Meeting No ugliness a non-poet, in a loved child. (1220) present him not a poem. (1226) Surprised at the darkness with a long way to go, If you meet on the way At the weight of the baggage a man who knows, when the pole breaks. (1221) Don't speak a word, —don't keep silent! (1227) A donkey's dung comparable to jasmine? A rotten tree (1222) lies on the waves: a cold shadow rolling. A white heron stands Mist floats on the snow: on the field grass: but not one color. the evening sun darkened. The bright moon, (1228) a pampas flower: originally different. (1223) December snow heaps up A donkey matter's white to the heavens; unsolved but— Early spring winds A horse problem's blow already come. (1224) chilling every door. (1229) Up and down the pavilion, Try and make a light lights a dead snake lights. a live dragon. (1232) In the busy traffic, a man meets His wild spirit, men. (1230) a venomous wolf; His bold face, iron ore. (1233) In his advanced age in retirement, Old age deepens nothing happens: the love Sound asleep of mountain life. in peace, Dying by the cliffside: facing the blue mountain. my bones (1231) will be clean. (1234) APPENDIX

Characters and Romanization

a imstmmn Ew^.jirtfcftit 1. Asu kuka o kissu. 16. Sude ni shaken shi owareri. ffFUffffi BMlTtfe 17. Mammotsu no kongen to nari; 2. Ashi sonyo. Tenchi no taiso to naru. nmz&m 3. Amen-sui, rokkaku-h5. ftjzftttm 18. Ihoku shunten no ju; Kot6 nichibo 4. Akusui makuto tii sosogu. no kumo. 5. Tsuchi o nigittc kin to nasu koto wa, ilMfc#X* iI*B»» nao yasukarubeshi; Kin ohenjite tsuchi 19. Yuima kuchi o hiraku ni monoushi; to nasu koto wa, kaette mata katashi. ShijO issen ginzu. mmmmo m&m±wmm 20. Ichiu amaneku uruoshite shakai ni amaneshi. 6. Boshi o nigitte chQshi o kamu. 21. Jchiei manako ni areba, kflge ran- 7. Gozu o anjite kusa o kisseshimu. tsui su.

8. Anj5 hito naku; Anka urna nashi. 22. lchige goyQ o hiraki, kekka jinen 9. Anzcn wa kanarazu shimo sansui o ni naru. mochiizu; Shint5 mekkyaku sureba, hi mo onozukara suzushi. 23. Ikke hiraite tenga no haru. siPF&am* -m* T# 24. Ikka deidan o rO suru no kan. 10. Ancho shizuka ni taza sureba, hakuun hocho ni okoru. 25. Ikkai kojaku sureba. ikkai arata nari. -SH-Blf i 26. Ikkai omote o mite, senza'i na o' shiru. 11. Iaiji no kane wa, makura o sobada- -SBB^MWU* tete kiki; KSroho no yuki wa, sudare o 27. Ichigoichic. kakagete miru. sMt^mmtw 28. Ikki ni hashiru koto gohyaku-ri, ^mmmmfi sara ni kobe o megurasazu. 12. Hi to iu mo kuchi o yakazu; Mizu to iu mo mi o oborasazu. 29. Ikkyoku ryckyoku hito no e suru novmp nashi; Ame sugite yat5 shflsui fuka- 13. Ki o mottc ki o ubai; Doku o shi. mottc doku o scmu. mm® un&n 14. Kimi ga tame ikutabi ka kudaru, 30. Ikkin banki to nari; Banki ikkin to sOrydkutsu. naru. saarFff 15. Izcn tari, HyakujO-santO no tsuki; 31. Ikku ni IssaikyG o kOryO su. (lohyaku-shOzcn, nanji kore tare zo. -iom r

125 32. Ikku gatt5 no go; Mang5 no kero- ketsu. Kmum 47. Ichiju yama tsukite mata ichija; 33. Ikku ni kcjfl o sadamu. Katari tsukusu, san'un kaigetsu no j5.

34. Ikku mata ikku; Naji ni ka toki 5te mmmmmEte arata naru. 48. Isshin wa tada baika no ue ni ari; mmmmj Ginshin o toson suru mo mata shira- 35. Ikkei nikei wa magareri; Sankei zu. shikei wa naname nari. -mzmm -Emmm® 36. Ichigeki shochi o bOzu. 49. Ichijin no seiffl ame o fuite sugu; SekiyC wa subete kaidd no hana ni 37. Ichigetsu amaneku issai no mizu ni ari. genji; Issai no suigetsu ichigetsu ni -mmm&mm osamu. 50. Ichijin tonde ten o kakushi; Ikke —ewcji-jia ochite chi o 5u. 38. Ikken issai-ken; DaienkyC ni nozomu ga gotoshi. anas*®at 51. Issun no kim5 omoki koto shichi- kin. 39. Ikken ni kent5 su, KokakurO; Itteki ni tekihon su, Omusha. -m^mnnm 52. Issei issei mata issei; Kan sezu, nin- -ummmnm gen gimpatsu no shOzuru o. 40. Ichigon sude ni izureba, shime mo -»-*X-* oi gatashi. WAIWttt -sHwwuiia 53. Issei no gyokuteki k5r5 yori okori; 41. Ikko no kanzai; RyOko no shikan, RCzeki taru baika manchi ni kyti su. -mm 42. Ikko sureba, hyakudaku shite kita- 54. Issei tori wa tonau, kenkon no ri; IsshS sureba, bannin ga su. akatsuki. 43. Ikku ni kydjin su, Seiks no mizu; -WMMWM8 RakuyS no botan arata ni zui o haku. 55. Issho tampan. — OM^SO!* 56. Issei no hekireki chSmon hiraku; 44. Issatsu ki ni atatte dorai hoyu; Kanki su, jOzen no jiketei. Shami o kyOki shite Hokuto ni kakuru. -mwmmnn

xesmtM- 57. Issho hito no tame ni, tei o nuki 45. Isshu-enchu ni i o ete; Kydku-jinri ketsu o nuku. ni kan o nusumu. 58. Issei rai furutte seifa okoru. AmAikim 46. Ichiju no shumpa ryOhan ari; Nan- 59. Issei no rai hatsudo sureba, chikko shi wa dan ni mukai, hokushi wa ichiji ni hiraku. kan. 60. Issai no sh5 wa kore bussho; Issai no shiki wa kore busshiki. 76. IppO kumo hempen; Sskan mizu sensen. -us** 9tm*mm 61. Issen Saiten ni sugu. 77. Ichi bo ichijO no ato.

62. Issen kdshin ni ataru. 78. Ichi mui-no-shinnin.

— 63. Ichizoku ha-sankan. 79. IchimO shumO o hiki, ai hiite kakyO ni iru. 64. Ittsui no ganzei u ritsuritsu. 80. Hitotsu ni wa, sammon no tame ni 65. Itten baika no zui; Sanzen-sekai kyOchi to nashi; Futatsu ni wa, kojin kambashi. no tame ni hy5b5 to nasu. -WUirifMIS 66. IttG tomo ni yukuv sanka no michi; GantO kakuji ni filen o mini. 81. Ichiy5 ichi-Shaka; Isshu ichi- -»*frUiT K Miroku. •UM-SAJUB 67. IttO bant5, toto mujin. 82. IchiyS-shllchli ni dai-T5 o nosu.

68. Ichi ni san shi go; Jiki ni iu, san ni 83. IchiyO ko ni hirugaeru, tenga no ichi. aki. -HH0E iMHr:- 69. Ichi ni san shi go roku shichi; Heki- 84. Ichiryd-zokucha ni sekai okakushi; gan Kos5 mo sG o shirazu. Hansh5-sh5nai ni sansen o niru.

SBSiMS^ft 70. Ichinichi nasazareba, ichinichi kura- 85. Itsub© no arasoi yamazu; Tsui ni wazu. gyonin no te ni iru. -HW-B^* 71. Ichinin wa ben kenga no gotoku; 86. Ingin tame ni toku, seirai-i; Bor5 Ichinin wa kuchi bokutotsu ni nitari. no shoko, hi kokon. -AHMnBiW

72. Ippa no ryQslii shfl futoku; Kaze ni 87. In'yQ fut5 no tokoro; Ippen no wa shite tSzai su, gyokurankan. k5fflk5. imitomi ftftff&SIIT 73. Ippen no tsuki umi ni shoji; Ikuka u no hito ka r5 ni noboru. 88. Ame sugi kumo kotte, akatsuki 74. Ippen no hakuun kokk5 ni yoko- nakaba hirake; Sflh5 egaku ga gotoku tawari; Ikuta no kicho ka yoru su ni heki-saikai. mayou. KM 89. Ukei yahan ni santctsu o kamu. 75. Ippo no chi sanja kyQso.

127 90. Ugo no seizan sei utata sei. shunshoku; Ha o hedatsuru k<5ri muna- wimmm shiku kcin. 91. Ame futte chijo uruou.

92. Uchiku fflshc niina Zen o toku. 105. EtsuS K5sen Go o yabutte kaeru; mYsK&wtm Gishi ie ni kaette kotogotoku kin'i su. 93. Ucha ni kojitsu o mi; Kari ni seisen o kumu. 106. En*5 shd shi owatte, kimi ga miru 94. Kumo hirakete gesshoku kaka ni makasu; Kinshin o totte hito ni doyo shiroku; Haru sugite sanka shosho suru koto nakare. kurenai nari. ItSKTftS* mfc&m&A 107. En's mizu ni ukande shizuka ni; 95. Ungetsu kore onaji; Keizan ono- Keien kaze o ukete naname nari. ono kotonaru. 108. Enka baiks o saegirazu.- 96. Kumo ten ni ari; mizu hei ni ari. m&jiit-m 109. Miini o o5te suzu o nusumu. 97. Kumo wa reit5 ni atte kamputetsu; Mizu wa kanka o nagarete taibOsei. no. Madoka naru koto taiko ni onaji; •ftttmnqft kakuru koto naku, amaru koto nashi. IHKIici&MttftlK 98. Kumo bangaku ni osamari; Tsuki in. Hana o o5te ko o nusumu mo, chflh5 ni noboru. munashiku zaiseki ni au. ttftftssap* 99. Kumo kiete sangaku arawaru. 112. Saru ko o idaite, seishc no shirie mmmm ni kaeri; Tori hana o fukunde, hekigan 100. JJnsai no ato, mujd mushin. no mae ni otsu.

101. Kumo mushin ni shite motte shtt o ide; Tori tobu ni unde kaeru koto o shiru. o Sft'feUttM HkMMmtom 113. 0t6 sake juku shite, hito mina 102. Kumo mushin ni shite shd o ide; you; Rinka kemuri komayaka ni shite, Mizu wa ana ni michite aruiwa naga- hana masa ni kurenai nari. ru. graxiAew Sftshaku shite, Chink6-teihoku rankan ni shinson ni iru. yoru. affjs** ttxAaw (WW JK.&KS 144. Gaku korO o kamu. mamum 159. Esha no ushi ka o kissureba, Eki- 145. Waga shinshs, nao koka no goto- sha no uma hara fukuru. shi. 160. Kaitei no deigyfl tsuki o fukunde 146. Hebi o egaite shiite ashi o sou. washiri; Gant5 no sekko ji o idaite X&SSi&fi nemuru. 147. Gabai k5 fumpun. ^msmmKK 148. Gabi shinshu ichigun no onna; 161. KaitS domen. Ono-ono kashi o hasamu, kinshfl no kata. 162. Kainin no ichigon; Kaiba no ichi- ben. 1&A—H ttH—tt 149. GabyO ue ni mitsu. 163. Mammotsu o e shite jiko to nasu. Xlfcfttfl 150. Garyaku hikari o shoji; Shinkin 164. Geka naika nai-geka; Koka koka iro o shissu. hikkyO ka. xmsL% 151. Manako o hiraite d5d5 to shite kakutS ni iru. 165. Kutsu o hedatete kayugari o kaku. hm»S 152,. Kalki mattakarazareba, josui ta- 166. KakutS reijo nashi. kuwaerarezu. 167. KakutS rotan fiiite messeshime; 153. Kaiku shoten o negawazu; Kaette Kenju tozan kasshite sunawachi kudaku. unchfl no hakkaku o warau. m&fm&x mvmmmm* 168. Kakuto rotan, seirySkai; Kenju 154. Kaigetsu sunde kage naku; Yflgyo t5zan, yugejS. hitori mizukara mayou. mmmmm mmummmm 155. Umi karete tsui ni soko o miru 169. Tsuru wa tobu, senjaku no yuki; mo, hito shi shite shin o shirazu. Ryfl wa okoru, ittan no k5ri. ilttttt£K Al&Fto'b mm^Rm at a-** 156. Kuchi o hirakeba sunawachi aya- 170. Ky5kin no hozO o kakkai shite, mari; Shita o ugokaseba sunawachi jiko no kachin o unshutsu su. mMfommm somuku. mnzm mmm 157. Tsukai o ge suru wa, ie no faki ni 171. Shinin o katsujin shi; Katsunin o yorazu; FQryfl ani jakuc no Oki ni aran shijin su. ya. mm*EA KmrnA

130 172. KattS-kutsuri yori shut* 5 shi ki- YarO hana o nenzu, bankoku no haru. taru.

173. Kanun yuki o komete sekiy5 186. WarO ni taetari, hito no kitatte omoku; Sangetsu ume o terashite ya- koshu o nazuru koto o. shoku kiyoshi. mmmm^mm 187. Maki tsukusu, gosen-shijd-hachi. tiEfitA 174. Kanka kukoro o shsji ctari. 188. Kansui haru naran to hosshite hyGsai usuku; GyOzan hajimete harete 175. Kankan ga uma wa seiso no to ni sepp5 takashi. inanaki; Taisd ga ushi wa ryokuyS no kage ni fusu. mmmit^m 189. Kansen koboku o idaki, naki tsukushite kobe o megurasazu. 176. Miyo, miyo, rSgetsu tsuku. 190. Kan ni wa sunawachi kan to ii; 177. Kangi arasoi hiku, scitci no tsuba- Netsu ni wa sunawachi netsu to iu. sa; Shin'en narabi ikou, yoryd no eda. mmm nmstm 191. Tai suru ni taetari, boun no kaette *rMaJ8»fttt imada gassezaru ni; Enzan kagiri naki 178. Tenga no hito no ganzei o kan- heki s5s5. kyaku su. mttTAmm gmmmmmm 179. Kiini ni susumu, kinkusshi; Man- 192. Kambai tekiteki seirai-i; Ippen wa shaku ji suru o mochiizu. nishi ni tobi, ippen wa higashi. mmm^m? mm 180. Kenkon shinretsu shi; Sangaku 193. Kamboku-ri ni dogen su. y5ds summ®. m&m 181. Kenkon kokyo o taku suru ni chi 194. Kan kitareba e o kasane; Netsu nashi; Shaki suraku wa, nin kd h5 mo kitareba sen o ro su. mata kd. 195. Ganno bichoku. MFAffittJRS mmm 182. Kore o yobu ni koe naku;

183. Kanji wa jari o kansatsu shi; Ne- 197. Negawaku wa, keira to natte saiyO tsuji wa jari o nessatsu su. ni tsukan; Negawaku wa, meiky5 to natte kyQmen o wakatan. •frSBVIBIIK 184. Shizuka ni ky5kan oji shite matsu mnwmmm 111 yotte tachi, war5tc kaku ni tou, 198. Gambi yuki o yokotae; Kamoku izuko yori kitaru to. aki o fukumu. MfMGfttttaa 199. Kari ni ishc no i naku; Mizu ni 185. Kansho isshiki scnnen bctsu nari; chin'ei no shin nashi.

131 mmmmz* Mizu ni yoru wa sei o ugatsu ni shikazu. 200. Genri no suna, niri no tsuchi. muMwm IRX»¥X± 215. Kaette kirau, shifun no ganshoku 201. Genri wa sensei; Niri wa sanshoku. o kegasu o; Awaku gabi o haratte shison ni cho su.

ki 216. Kaette sOto o totte sakashima ni 202. Ie ni kaette tansu ryOtO dassu; hito o sasu. Shiba wa onozukara aoku, hi wa onozu- »JE*JH«WA kara kurenai nari. 217. Kakuhai no kyflyo jagi o shozu.

m^'xm 218. Kyiiin dandan izure ka kore shin. 203. Ushi ni notte ushi o motomu. mmmuk* 219. KyQkan shou ni ai; Takyo kydchi 204. Kizen gokatsu shi; Bote manako ni au. hiraku. mtras x^mam mmmto 220. Kyiljo hana no gotoku shunden ni 205. Zokuba ni notte zoku o ou. mitsu; Tadaima tada shako no tobu aru NfMAttK 206. Ani shiran ya, tantei no tsuki, nomi. moto okutO no ten ni aru koto o. K^mmmmr 221. Mizu o kunde wa, yama no ugoku 207. Ki busso o nomi; Manako kenkon ka to utagai; Ho o agete wa, kishi no o ou. yuku ka to oboyu. mmm m^ium JMMHMr 208. Butsuden ni notte sammon o ide 222. Kytlsui-jo ni kyusu o ta su. saru.'' WWffiUlPli 223. Mizu o kumu s5 wa rinka no tera 209. Kimo wa nagaku, tokaku wa mini kaeri; Fune o matsu hito wa toto no jikashi. suna ni tatsu.

210. Ue kitareba han o kisshi, konji kitareba nemuru. 224. Kyflso kaette neko o kami; TO- jaku hito o osorezu. 211. Kaeri kitatte kyoshitsu ni za sure- ihupwa ba, sekiy5 waga nishi ni ari. 225. Kyflchs futokoro ni ireba, sunawachi yokusha mo mata kore o su- 212. Tokan ni kono toki no i o utsusan kuu. to gi sureba, ikkei kumo tozashite mizu sensen. 226. Bi o motomureba sunawachi bi o ezu; Bi o motomezareba sunawachi bi -mmm^mm nari. 213. Mizu o kiku sureba, tsuki te ni ari; xmwrn Hana o r5 sureba, ka e ni mitu. 227. MyOshin o sOshi ni motome; 214. Hi o kou wa sui o toru ni shikazu; Shobo o kudan ni fu su.

132 243. SO o osorete jison o tsukusu. ftiEttfcp* 228. Kyflboku wa eru bekarazu; fundo 244. KyOchO tobi kitatte kaki o sugi no kaki wa nuru bekarazu. saru; Kaette utagau, shunshoku no rinka ni aru ka to. 229. Tsuyu ni naku, sempan no kusa; Kaze ni ginzu, ichiy5 no matsu. SB*Pte? ntftHSS 245. Kagami wa kinden no shoku o 230. Ushi no nomu mizu wa chichi to wakachi; Yama wa getsurO no kane ni nari; Hcbi no nomu mizu wa doku to kotau. naru. tt#&HM lugm® 246. KOun ryUsui. 231. Kokfl waratte tcnt6 su. mm 247. GyOgetsu hana o tazunete sari; 232. KokQ kinto o ta su. Shumptl sake o obite kaeru.

233. Kokfl haimen naku; Chads tOzai 248. Kore o aogeba iyo-iyo takaku; o zessu. Kore o kireba iyo-iyo katashi. asubxb waix mzMm 234. Koto ni notte kobi o osamu. 249. Gosshiki bobo to shite, naga- mtftmnstdem daijO naran. 235. Koji kimmO no shishi. mmfciarnxs. 250. GyOjfi-zaga. 236. Kyonen no ume, konsai no yanagi; Ganshoku keiks furuki ni yoru. 251. Yuite wa itaru, mizu no kiwamaru tokoro; Za shite wa miru, kumo no okoru toki. 237. Kyonen no hin wa, sui atte chi lr«*R* naku; Konnen no hin wa, sui mo naku 252. Men o aoide ten o mizu; Kobe o chi mo nashi. tarete chi o mizu.

253. GyO mo mata Zen, za mo mata 238. Kyomei banji, yuki sei o uzumu; Zen. Gen'yO hyakunen, kaze nawa o tsunagu. ft tm^tm 254. Kyoku oete hito miezu; KOjO wtttatm suho aoshi. 239. Gyoo nemuri omo shite shuntan mAPPS. flC±l»* hiroku; Hakucho tobazu, fune onozu- 255. Tama wa dcicha ni mukatte isa- kara yokotau. giyoku; Matsu wa setsugo o hete tei flMMUMM nari. 240. Uo yukeba mizu nigori; Tori EEAJS+* n&n&M 256. Gyokuden shinchin to shite, yoru tobeba ke otsu. masa ni nakaba naran to su; Dan'en 241. KyOge betsuden, furyQ monji. munashiku sakebu, getsumei no uchi. mmttic* m&mnw* 242. KyOku kai o oi; Katsuro tai o ou. 257. Kin wa hi o motte kokoromi; Hito wa gon o motte kokoromu.

133 Shofa kiki yande gosui komayaka nari. 258. Konji umi o tsunzaki; Dorai yama o yabum. •effKxrax emu 272. KOzan hito o mizu, tada jingo no 259. Kinsetsu tattoshi to iedomo, ma- hibiki o kiku. nako ni ochite ci to naru. supwia mxmm 273. KQshu ni shite joto o tori; Hok6 260. Chikakereba sunawachi h5sun o ni shite suigya ni noru. hanarezu; Tskereba sunawachi jOman- mm hassen. 274. Kashu ni shite kitari, kashu ni KWPFmJjIr shite saru. fltM+RAT ffl^Xfflftfc 261. Kaigaku o kempon shite chiin o 275. Munashiku todomu, ippenseki; motomu; Koko mi kitareba nitchfl no Banko Enzan ni ari. To. fflB-frB Xlif&iKlil mmmmnm 276. Kimi miyo, kono kashi; Naka ni faro no kambashiki ari. 262. Daikai o kempon shi; Shumi o wwtfEtt tekitS su. 277. Kimi miyo, sogan no iro; Kata- mmmm razareba urei naki ni nitari. 263. Kininio no shishi shokytl o kon su. 278. Kimi ga shi wa sharo no gotoshi; 264. Kimm5 no shishi henjite inu to Waga kttchage o arau. naru. mmmxm fo&^ii 279. Kumpa minnami yori kitari, den- 265. Kinrai tsutae etari, anjin no ho; kaku miry5 o shozu. Bangaku no shofu chinjO ni kiku.

, xcKMt±pa ke 266. Mammoku no seizan o ginga shi; Monzen no kosui o shiten su. 280. Keikan ani yoku todomuredomo, "MMiBffUi todomuru o en ya; Jiki ni daikai ni ki shite, hato to naru. 267. Gin wan ni yuki o mori; Meigetsu mmmmpm ni ro o kakusu. mmxmitm mmm mnm* 281. Tori sama shite ju ni nobori; Kamo sama shite mizu ni kudaru. ka 282. Keikyoku-rinchu ichijo no michi. 268. Kuko wa ne ni tsuranatte nigaku; Tenka wa hozo ni tesshite amashi. 283. Keisei mimi o arCte kiyoku; Sh5- wxaitts guMmst gai me ni furete midori nari. 269. Kofu no ushi o kari; Kinin no jiki mmftm o ubau. 284. Keisei sunawachi kore k5ch5ze- mm** »»iA* tsu; Sanshoku ani shcjoshin ni arazaran 270. Kucha no raku, rakuchQ no ku. ya.

271. Kazan hakujitsu rasO no moto;

134 285. Karoki koto g5matsu no gotoku, 301. Kennin-j6 ni sekkatsu o ronji; omoki koto yama no gotoshi. B5tC-j5 ni kigi o wakatsu. mm±mmm 286. Keibai ichi da kambashi. mm-m 302. To o mite taka o hanatsu. 287. Keihen s6y5 su, sekiyS no s5. warn mmm&mm 303. Ken ken o koezu; Mon mon o 288. Kujira kaisui o nomi tsukushite, idezu. sangoshi o roshutsu su. JWWE WPFfflM 304. Hotoke ni kenzuru ni k5 no oki o 289. Gekishi seitai ni in su. karazu.

290. Tsuki mizu ni in shi, mizu tsuki 305. Y5t5 o kakete kuniku o uru. o in su. m^mnmm J! »**»/! 306. Gon-gon-gon, hy5u saisetsu; Mo- 291. Tsuki tak5 shite j5ei tsuki; Shimo ku-moku-moku, raigS densei. omo shite ryttjo so nari. nwn&mmw nmmm mnwm •wvtmntK 292. Tsuki yasui ni shizumu, kCmyo- 307. Gongo d5dan; ShingyO shometsu. z5; Ran shunzan ni haku, kobutsushin. nmmm 308. GompS kOriyori mo hiyayaka ni; Rizetsu tetsu yori mo katashi. 293. Getsumei roka no shiroki o kara- whwh* msmmm zu. nwf fMHea ko 294. Tsuki ochi karasu naite, shimo ten ni mitsu; Kofu gyoka shflmin ni tai su. 309. Koen sakebi otosu, chflgan no flSUWtJKS^ tsuki; Yakaku ginji amasu, han'ya no QlttftAKftR t5. 295. Tsuki ochite tan ni kage naku; Kumo shcjite yama ni e ari. 310. Katsuro ni matagatte m5ko o ou. 296. Ken wa fiihei no tame ni hsks o KKMSSA hanare; Kusuri wa rySbyo ni yotte 311. Koka o yonde nan to ka nazuku. kimpei o izu. mtvpmmm 312. Koko tenjo ni ryCzai su. mmmft&m 297. Ke o mite ke to sezareba, sono ke 313. Kokc hisui o mayowashi; S5sho- onozukara e su. ku seitei o yowashimu.

298. Kenshi fugaku o musubu. 314. Kokon niro nashi; Tatsuja tomo mmzm ni to o onaja su. 299. Kore o mite torazumba, senzai ai gatashi. 315. Kosha saryO no o; Hitori tsuru, J^tt^SMKt kankc no yuki. 300. Kennin-j5 ni uma o washirashi; Kaen-ri ni mi o kakusu. 316. Kosha tsuki o nosu, Ddteiko. APS*** mmHM&m

135 317. Kosh5 hannya o danji; Yach5 nashi ;Koko o satte Saiten michi has- shinnyo o r5 su. sen. ihmmkb mmm 318. Tora umarete sanjitsu, ushi o ka itt^m^mAf- no ki ari. 334. Godai-sanjo kumo han o mushi; Kobutsu-d5zen inu ten ni ny5 su. 319. Ten o yonde chi to nashi; Chi o xmiu±mmm yonde ten to nasu. 335. Godai te o uteba, Gabi warau. 320. Kot5 kobi ichiji ni osamu. 336. Waga nu wa shirazu, kinn5 no 321. Kohan wa mi yasuku; Jimpan wa omoki o; Seizan boshoku o tsutsumi ete mi gatashi. kaeru. shj^M AH®a 322. Kobutsu to rocha to majiwaru. 337. Goh5-r5zen ni RakuyS o toeba, 323. Koboku kangan ni yoru; SantS kimben haruka ni sasu, gyogai ho naga- danki nashi. ki o. ziimirM&Hi 324. Koboku futatabi hana o shQzu. 338. K5ka hekiai kotei o kome; H5s5 325. Koboku haru ni awazu. yaka ichiyS no haru.

326. Koboku kancho naki; Kazan yaen naku. 339. Ka o tatakeba hibiki ari; Ki o uteba koe nashi. 327. Koboku-ri no ryagin; Dokuro-ri no ganzei, 340. Takaku gincha no sudare o maite, "m^mm^ wmmmrn komayaka ni suigo no cha o senzu. 328. Korin hitori tcrashite k5zan shi- tirnmm 341. KQgo toki tsukusu bekarazu. zuka ni; Jisho issei tenchi odoroku.

ase-JBe** 342. Kuchi s5jin o kami; Ashi hiho o harau. 329. Gokya no kaso yOkei o uzume; Shindai no ikan kokya to naru. p tmm jmm& E&immvm 343. Kokoku no shumpa fuki tatazu; Shako naite shinka-ri ni ari. 330. Gojippo ni shite, ta no hyappo ni sakidatsu o warau. mmjE® 7£M 344. Kskon tori akatsuki o hoji; Han'ya 331. Waga kokoro shflgetsu ni nitari; nittS akiraka nari. Hekitan kiyo shite ksketsu tari. K«mrm 5'MHstfl mm&m 345. K5sa hyakusen kinks o ugatsu mo, ROran o yaburazumba, tsui ni kaeraji. 332. Goshs wa subekaraku kore korosu beshi; Koroshi tsukushite hajimete ango. ttmm&pm m&mjot 346. Sara ni sanzeyo, sanja-nen. 333. Waga sha ni go naku, mata den 347- Kozan ryusui, tada chiin o tattobu. 363. Sara ni isshi no mukuteki o totte, tokan ni fuki idasu, mannen no 348. KSshi Cson hsju no moto; Seika kan. myobu su, rakka no mae. i* ffHaawrr mwnmitm 364. Koha no kewashiki mo ninshin ni 349. K5zu mon o idezu; Akuji senri o shikazu. yuku. ff^PFWPI SWfxTM 365. Kcha kdbyO; HakurQ t<5ten. 350. K5zu mo naki ni wa shikazu. JMPFSnfc 366. K5fun seiga Soun ni eizu; T5ka 351. KSsh<5 kinfu o megurashi, ki o bajQ sekiryflkun. kiru ni nawa o tsuruutazu. vimmfrft mewem 352. Kcj5 no ichiro, senshs fuden. 367. Ko midori ni shite tori iyo-iyo iRli-K^S^flf shiroku; Yama a5 shite hana moen to 353. Kojo banrai, egaku ni tactaru to- hossu. koro; Gyonin issa o hi shi ete kaeru. iimm flLL***M 368. Sara ni jimpeki suru tokoro nashi; mAm-mm Choseki kUchfl ni in su. 3 54. KSsetsu hempen, bessho ni ochizu. RnfrYc^mm 369. Koro-j6 itten no yuki. 355. Koten isshiki senjin nashi; KGkG mt±-i» tari, kQchfl no kogetsurin. 370. K5ro yabai no ka; Seirai-i o roei su. WKa+auiii zhkihhi 356. Koten ni segukumari, kschi ni 371. Gokka tSnen to shite gSmatsu tsu- nukiashi su. ku; Seizan fiiruki ni yotte hakuun no m^nmmm uchi. / 357. Ozu shita o musubi; Hekigan koe th'xmmum ( o nomu. 372. Gokka tOnen gOmatsu tsuku; Bati- 358. Saki ni iu, sanka no michi o yuku ri enjin itten mo nashi. koto nakare to; Kanen to shite saru wa sakebu, dancho no koe. ftMJHMHtt mmnmr® 373. Kokuu shittsO o fiiku. XiBWRMt mttikim 359. K5niku-jo ni kizu o eguru. 374. Kokushitsu no konron yuki o funde yuku. 360. Kojitsu ten ni kagayaki; Seifa chi mm&mmn o meguru. 375. Kokushitsu no konron yari ni washiru. 361. Hito no shiketsu o kamu, kore mxxxxmM koku ni arazu. 376. Kokushittsfl-ri ni kokujii o mora. RAKKTOMFfl mmm&m 362. Hito o kamu no shishi, s5ge o 377. Kuni yaburete sanga ari; Shiro arawasazu. haru ni shite sCmoku fukashi. ^AWT^BJIW 137 '378. Koku wa yoku sezu shite shiroku; zu; Kanka chi ni ochite, kikedomo koe A wa somezu shite kuroshi. nashi. m^m mmm&tts. 379. Kotsu no utan to hossuru toki wa hisomi; Kaku no nobin to hossuru toki 392. Saiu hana ni sosogu, senten no wa kussu. namida; Tan'en take o komu, ittai no MHMNV Mfc#*B urei. 3 80. Gotsunen to shite buji ni za sureba, mmmiz^&fc shunrai kusa onozukara shSzu. 393. Kiku o torn, t6ri no moto; YQzen 381. Ron ya shirazu, izuko ni ka shuku to shite nanzan o miru. sen; Heisa banri jin'en o zessu. f&mmiu 394. Te ni atte wa shisshaku shi; Ashi WHMBAB ni atte wa umpon su. 382. Konron hska nashi. 395. Tochu ni atte kasha o hanarezu; Kasha o hanarete tochfl ni arazu. sa

383. Sagan hangin; Ugan hachiry5. 396. Ashi o kezutte ri ni kanai; Ksbe o f SRAM soite kan ni ben ni su. 384. Suigetsu no dojo ni za shi; Kttge mzmmm no mangyo o sha su. 397. Sakujitsu no tomo, konnichi no enshfl; Sakujitsu no hana, konnichi no 385. Ishiniza sureba kumo n5ni shoji; jinai. Izumi o soureba tsuki hei ni iru. mem^m m^Exm ftBTE^BE^ 386. Sensh<5 no rot5 o zadan shi; Gum- 398. Ayamatte roankyS o tomete, ma no kyogai o taha su. yonde ya no agan to nasu. MBMKtt 399. Sakuya issei no kari; Seiffl banri 387. Tenga no hito no zettS o zadan su. no aki.

388. Biru-chonei o zadan shite, katsute 400. Sakuya kampa okoru; Koncho busso aru o mizu. katchi no shimo.

401. Sakuya koku kuchi o hiraite wa- 389. Zacha moshi KOnan no kyaku rau ; Shukuyu donkyaku su, DQteiko. araba, chosha seyo, shako shSge no sh5. KlkSiPiHISM 402. Sakuya kin'u tonde umi ni iri, mftmnmm gySten kyu ni yotte, ichirin kurenai 390. Mottomo ai su, KSnan sangatsu nari. no nochi; Seizan ryokuju ni kori o tenzu. H^ftB-itfl: •ftjU&HJitS 403. Sakuya dcigyQ tatakatte umi ni iri, jiki ni ima ni itaru made shOsoku 391. Saiu e o uruoshite, miredomo mie- nashi. 138 419. Sango shishi tsuki o t5jaku su. mm^mmM. mm&mmn 404. Sekkatsu shun ni ari. 420. Sango chinjS rySkC no namida; Nakaba kore kimi o omoi, nakaba kimi 405. Hito o koroshite wa subekaraku o uramu. chi o miru beshi. mmfcmnm

406. Setsunin-t5, katsunin-ken. 421. Yama takaku, umi fuks shite hi- SATJffiASJ to hakarazu; KoO konrai utata seihe- 407. Hito o korosu ni manako o sas- ki. sezu. &A Tfifcm 408. San'ei mon ni itte osedomo idezu; 422. Sank<5 tsuki wa terasu, yflso no GekkS chi ni shiite haraedomo tsukizu. soto; ShSchiku seisei to shite, midori mxrm^m nm&m^m nagaren to hossu. 409. San'o kaen kagayaki; Sanchs kasei mititm'frm nameraka nari. 423. Yama taks shite tsuki noboru koto 410. Sanka hiraite nishiki ni nitari; ososhi. Kansui tataete ai no gotoshi. 424. Shinshi taru shQchiku, kemuri Mikmm kotte usuku; Jaj5 taru hSran, tsuki 411. Sanka warai, yachs kataru. noboru koto ososhi.

412. Sanka no fdki gin senju; Gyofu no SMWiJdl fQryQ tama issa. 425. Sanjaku no j5su KSga o kakimi- uj^Msms* dasu.

413. Senga narabi ni daiji, mattaku 426. San wa subekaraku jissan naru H55shin o arawasu. beku; Go wa subekaraku jitsugo naru beshi. 414. Sangai-muan, yunyo-kataku. ^mmirnk^ 427. Sanja-nengo hito no shiru aran. 415. Sangai muliQ, izure no tokoro ni ka shin o motomen. 428. Sanze no shobutsu, kuchi hekijs ni kaku. 416. Sangaku ten ni tsuranatte, tsune ni midori o haki; Shinkei tsuki ni wa 429. Yama wa kore yama, mizu wa shite, utata hikari o nagasu. kore mizu.

mmmmm.% 430. Sanzen-sekai kaichu no awa; Issai 417. Sanki nisseki ka nari; Hichc ai no kenj5 denhotsu no gotoshi. tomo ni kaeru.

418. Sankyd nami take shite uo ryfl to 431. Sanzen-rigai chiin ari. kc su; Chinin nao kumu, yatOno mizu. ^mmmtm 432. SanzO ga kakkei cha sampo; Gyo- fu no shOgai take ikkan.

139 UrtHSM*^ tt beshi; Kore mukashi kSgan no bi- shdnen. 433. Sanchu rekijitsu nashi; Kan tsu- kuredomo toshi o shirazu. 446. Tada mizukara ietsu subeshi; Ji 434. Sants tsuki wa kaku, Ummon no shite kimi ni okuru ni taezu. mochi; Okugo matsu wa niru, J5sha RRretfeK Tfi^mm no cha. 447. Shikai no itteki; KyQgyQ no ichi- mmmmrw m5. m&nmmm mm-ffi 435. Sannen shinku shite sude ni take 448. Shikai kotogotoku koka no uchi o ue; Ichiya no kufu mata ume to naru. ni ki su; Samben tare ka aete h(5ky5 o okasan. Ftt mnamsLiat 436. Yama kurete kumo yuki ni wa shi; Ten samfl shite tsuki shimo o terasu. 449. Tada mae o miru koto o ge shite, Tzmnim shirie o kaerimiru koto o ge sezu. 437. Homuredomo yorokobazu; no- Rmmrnmrnk noshiredomo ikarazu. 450. Hajimete oboyu, zenshin Taiky5 e^jftit^* ni aru o. 438. Sampu ran o tazusaete saishoku Oku; Sond5 jun o nusunde son o su- 451. Shikan no uchi ni kattei ari. gu- JEH+tfifrE 452. Tada miru, hots ni kairai o ro suru nmmmm o; Chaken mattaku rit5 no hito ni yoru. 439. Wazuka ni zehi areba, funnen to Rummmm shite shin o shissu. 453. Tada negau, kunn5 no ai kaerimiru 440.* San'yoin kai shite, shuten soba- i o; Dai ni nozonde, ikutabi ka gabi o datsu; Imada gigi o irezaru ni shuhin egaku. wakaru. RH83E*BMt H«aH«B«i ISSSJtSJfil 454. Tada tani meguri, michi tenzuru o 441. Zank5 sShan, ku mo mata kaeri- mite, shirazu, mi no TSgen ni aru o. mizu.

442. Kusa o kireba jat5 otsu. 455. Tada suitQ no ri o mite, sakut5 «r wmm no ho o shirazu. Rmmm ^tawm* shi 456. Tada miru, rakko kaze no harai tsukusu o; Ani shiran ya, teiju ryokuin 443. Shien ksri, fukaku jiss5 o danzu. no 5ki o. ttSKNKKKffl riMtLfwrn 444. Tada hosha no hanahada suguru ni yotte, oboezu, tsflshin deisui. 457. Tada kono itten mumy5 no ho- noo; Ncri idasu, ningen no daijsbu.

445. Kono 6 hakutS shin ni awaremu ftliJAM*** 140 458. Kono go y5g5 ni wasurezu. 475. Kono uchi shin'i ari; Benzen to tt»*apR6 hosshitc sude ni gon o wasuru. 459. Kono go mottomo doku nari. ithSSS 476. ShidO bunan, yuiken kenjaku. 460. Shi wa kainin ni mukatte ginji; s&mtttft* Sake wa chiki ni 5te nomu. 477. N5 o sashite k5bon ni iru.

461. Tada kono sanchfl ni ari; Kumo 478. Kokorozashi mitsu nareba, gy5 fuks shite tokoro o shirazu. mo mata mitsu nari; K5 fukakereba, go mo mata fukashi. 462. Shi sambyaku, ichigon motte kore o ou; iwaku, omoi yokoshima nashi. 479. Kono yo ichirin miteri; Seiko izure no tokoro ni ka nakaran. 463. Tada kono ikkenren, tenga no n5s6 cho fushutsu. 480. Tada Monju nomi atte kono sQ o Rft-HW^TffHtBPFU shiru; Zen sansan to go sansan. 464. Shishi-kutchfl ni ijO nashi; Z65 R*3t*ftft ft yuku tokoro kosho o zessu. 481. Kokoromi ni shit5 no yuki o ugo- kase; Sadande yarai no hana aran. 465. Shishi ksku sureba, hyakuja n5- retsu su. 482. Jigen-ji-shuj5. SIMUMl 466. Shishi hinshin; Z55 kaiko. 483. Mizukara hei o tazusae satte son- shu o kai, kaette san o tsuke kitatte 467. Shishi chCzan o kurawazu; KaiyC shujin to naru. shito o ta sezu.

tawwE% 484. Kotsu no hato o torauru ni nitari.

468. Shija o rO shi ete kasseshimu. 485. Nikon mata tou, Heiden no michi; Sansha nakaba fuku, koyO no kaze. 469. Shishuki ten ni kunzu. ffi^XIBPFfflK mft^KKSK 470. Shishaki hito ni kunzu. M&MMA 486. Jishi kusaki o oboezu. 471. Shisui ryu o z5 sezu. SJPF** nt^mt1 487. Jiji ni tsutomete hosshiki seyo. 472. Hajime wa h5s5 ni shitagatte sari; ffMHMHt Mata rakka o 5te kaeru. 488. Mizukara warau, isshS jSriki naki ttxmrnm o; Gyozo 5ku wa goppu ni fukaru. 473. Tada shiru, ushi yasete tsuno yase- ant-s-Mmu zaru koto o; Oboezu, kokoro take shite ku mo mata takaki koto o. 489. Jisetsu itareba, sono ri onozujeira R^mn^m arawaru. f mmxm&m / 474. Tada toro no toki o shitte, oboe- 490. Jita funi, ayamatte ninga o sh5- zu, mata kckon. zu. r*n&m* riftfeT>r.»'kA*Jt 141 491- Jidari ni ku o uchi; Bikuri ni ko 508. Shumi ni bikd o anzu. o taku. ^ssftr® mimmm 509. Shumi-chojo no mukonsO; Shum- 492. Mimi kiite ro no gotoku; Kuchi pO o ukezu shite hana onozukara hiraku. toite a no gotoshi. ^mtnu nttins ^MWESM 510. TessekiryO o juki su. 493. Nitei wa sensei; Genzen wa sanshoku. smmvm 511. Sai o ukuru wa fuku o ukuru ga HRttfUUfe 494. Ji haha no minikuki o kirawazu. gotoku; K5 o ukuru wa teki o ukuru ga gotoshi. 495. Niri zo shi ctari, Shumisen;

Genri jaku shi etarif Shidaikai. 512. Jujo no rigyo kuchi o hiraite warau. ib wnmrnxm VUJft&HPg 513. Ju kaze no taitai o tei shi; Nami 496. Shissen s5zai. tsuki no shojin o r5 su.

497. Shitsunai issan no t5. mtnum 514. Ju mitsu ni shite ensei hibiki; Nami sunde gan'ei fukashi. 498. ShazMj&mxa kissa. rn&m® KSJimm 499. Shakuni no bim5 ganka ni sh5zu. 515. Shuka tsukuru tokoro, matsu senjaku; Guncho kamabisushiki toki, 500. Shakuyaku hana hiraku, Bosatsu tsuru issei. no men; Shuro ha wa sanzu, Yasha no to. *$mimmmm 516. Shuko manako o terashite akiraka nari. 501. Moshi kore hombun no n5s6 nara- ba, shahan no sahan o kissezu. 517. Fune ni tsuite kai ete, uo hitoe ni bi nari; Yuki o funde kai kitatte, sake masu-masu kambashi. 502. Moshi dosho ni fusezumba, ikade ttiaxflMMHg ka hitei no ugataretaru o shiran. ttmmsk 518. Shuchiku sho o ukezu. 503. Shu mawari, gyokutenzu; Hachi- I men reiro. 519. Shachu ni jitsugetsu o kakushi; AffiJMI ShOnai ni kenkon o nigiru. 504. Koku o uete zumyO o shozezu. tt+ieB/! m^rnm nm&nax 520. Shflten koya kojin tayu; Bashu 505. ShujOsu kenkon o nomu. tOrai suru wa, shinnu, kore tare zo.

506. Shuj5 tsune ni te ni ari. JSttXXfiiXJt 521. ShQjitsu gyOjite, imada katsute 507. Shu kakusarete sawa onozukara gyOzezu; ShQjitsu toite, imada katsute kobi; Gyoku tsutsumarete yama kaga- tokazu. yaki o fukumu. »RfriiB*-#fT #*0

142 522. Shfljitsu kojin ni washiri, jike no mnwBfft chin o shikkyaku su. 537. Shunko no ch(5sui umi ni tsuranattc tairaka ni; KaijO no meigetsu ushio to 523. Shojin yoru no nagaki o shiru. tomo ni shozu. ^tLrnxmrn2? 524. Shflnen kaku naku shite, nagaku mtwR&mzi kan o tozashi; Shfljitsu shin naku shite, 538. Shunko ramman to shite hana nagaku onozukara kan nari. arasoi hiraku. **MtfE«B ttBftfeJtaM 539. Shunzan ranjO o tatami; Shunsui 525. Shilfa Isui o fukeba, rakuyO kyoheki o tadayowasu. ChOan ni mitsu. 540. Shunzan tomo naku hitori ai mo- 526. Shura-shonai ni kenkon o nigiri; tomu; Batsuboku tOtO, yama sara ni yfl Yasha-sokka ni deiryU o fumu. nari. ftx&Tmfcm 527. Jikko no shitO, hachiko no a. 541. Shunshc ikkoku atai senkin; Hana +«WKA«r ni seiko ari, tsuki ni kage ari. 528. Jilji-gaitO no kydkotsuji; Yokan ni kono fdrytttai o kaku. 542. Shunshoku hito o nayamashimete nemuri ezu; Tsuki kaei o utsushite ran- 529. Jttji-gait5 no hasOai. kan ni noborashimu.

530. Jfizen no kamba hito no shiru nashi; Tada y5 su, kasanete gaidai no k5 543. Shunshoku k5ge naku; Kashi ono- o ronzen koto o. zukara tancho. -mffmmAm rEftgffift 544. Shunzen ame o ete, hana no hiraku 531. Juncn kaeru koto o ezareba, raiji koto hayaku; ShGgo shimo naku, ha no michi o bokyaku su. no otsuru koto ososhi.

532. Jtlnen chinjo jinchli no yume; tmmnmm Han'ya tCzen motsuge no shin. 545. Shuncho shumpll ni naki; Shun- gyo shunsui o ro su.

533. Jipp5-sekai ichidan no tetsu. 546. Haru wa senrin ni iru, shosho no hana; Aki wa bansui ni shizumu, kaka 534. Jamoku no miru tokoro; jisshu no no tsuki. yubisasu tokoro. ^ATttgfiSTE

535. Tatoi KaryQ mo so o torauru toki 547. Shumpfl shun'u mata kaika; Shun- wa, sunawachi hamyOji ni oyobazu. u shumpO mata rakka. tt^Mnui

536. Mon o idete nan no miru tokoro 548. Shummin akatsuki o oboezuOno- zo; Shunshoku heibu ni mitsu. sho tcicho o kiku. r

143 562. Shoji daiji o samatagu. 549. Shun'yO ani kore rihen ni tatan ya; Jiki ni tOru, seisho ban-banjin. 563. Shoju sennen no midori; Toki no hito no i ni irazu. mmmmm Kttl1** TfiAtifAM 550. Haru kitatte kusa onozukara sho- 564. ShOsen tajaku su, rentei no kori. zu. mwsmam*.

551. Shunrai yQji no kaku; Hana ochite 565. Matsu wa naoku; odoro wa maga- mon o tozuru no so. reri. imwinm ftKlfcffi 552. Shosho-shin, shosho-shin; Jinjin 566. Sh5t5 sanjaku no ken; Heiri is- kotogotoku honrainin. shi no ume. 567. Shobaku ke shite kochO to nari; KyGin ke shite hyakugO to naru. 553. Shoten hana o sasaguru ni michi 'Wium* naku; Gedo hisoka ni ukagau ni mon Masifbttwa nashi. 568. Matsu wa naokarazu; odoro wa magarazu. rtaMHttwi fifli^ft 554. Shoho jissO, nanzo itowan, nanzo 569. Matsu ni kokon no iro naku; Take nikuman. m&nmmm ni joge no fushi ari. 555. Omomuro ni yuitc todan su, ryG- 570. Shomei-genri no go-Shumi. sui no koe; Hoshiimama ni mite utsushi tmm^^m idasu, hikin no ato. 571. Shomei-genri ni yashi o hanachi; mmmm-m Daichfl-zetsujo ni shusen o ta su. mmtiiMK JAMRXttftffi 556. Masa ni omoeri, oren wa mitsu mm yori mo amashi to; Tare ka shiru, mitsu 572. Sh5men jihi o tare; Kushin aku- no 5ren yori mo nigaki o. doku o fukumu. MURJCSSHHX mtoxmx** 573. Tokoshie ni omou, KOnan sanga- 557. Shogyo daigyo o nomu. tsu no uchi; Shako naku tokoro hyakka kambashi. 558. Gyomoku o motte myoshu to mt nashi; Kitsubi o motte m5ka to nasu. na>mnitm SMUBfW* 574. Jokanni shite ganju mireba, iyo- mmvffok iyo yoku; Shitsu shizuka ni shite kansen 559. Ky5 o ju sureba, gun'yo kitari ki kikeba, utata ya nari. shite kiki; Jo o naraeba, tori csho no uchi ni sukuu. 575. JOshfl no kusu mu-bussho; Ban- jo no seizan kokyO ni kakuru. 560. Shoko kyakka. mm^mtm mmwr x«*uj wtttk 561. Shokoku me o shozezu. 576. JOjO sude ni fuku, shinsai no tsuno; SOzen nao tenzu, kyOnen no to. 144 594. Susumcba sunawachi kyo ni ochi, Mmmn&m^m zen ni otsu; Shirizokeba sunawachi 577. JOjo sosO suiri no tsuki. mOko ashi o fukumu. HE&M*WI mmmtmm 578. JOchi-jO ni a o sassu. mmvimw mttmi 595. Jinzfl narabi ni myOytl; Mizu o 579. Jobu-menjo ni kofun o tsuku. ninai, mata shiba o hakobu.

580. Kami henga no kobe o 5u naku; 596. Shinto ni tetsu o kezuri; Roko ni Shimo sundo no ashi o rissuru tokoro nikuosaku. nashi. *\mmm srma 597. Kokoro hajun no gotoku; Omote yasha ni nitari. 581. Shinge muhs, mammoku seizan. 598. Shimpu menjO shoen o soe, kaette 582. Shingen ranzen to shite tsuki no kinshfl-makuri ni mukatte yuku. gotoshi. ummmifi 583. Shingan-ri ni mi o kakusu. 599. ShimpO-yori taiho ni nori, tokan ni oshi otosu, tempen no tsuki. 584. Shingyoku deicha ni i nari. tMV9m*n

585. Shinkfl mus5 ni shite, sono myOyCl 600. ShimpO-tOjO ni kinto o hirugaesu. jipp5 ni tsdkan su. 601. Shinra-yori ni mi o kakusu. 586. Shinkei taete shoshi no go naku; Ingai kaette ryOjin no kitaru ari. 602. Shinrin hito shirazu; Meigetsu kitatte ai terasu. mmw^flkA* SttA^fti W/lfcfflM 587. Shingetsu koen, hikari manzO o 603. Shinrin tsuki o morashite kan'en nomu. sakebi; KyflsO kaze o ukete shukkaku

145 mautmmm 609. Jinrai mimi o 5u ni oyobazu. 626. Mizu itatte mizo nari; Kaze yuite kusa noefusu. su 627. Mizu kotte uo odori gatashi. 610. Taga ie ni ka meigetsu sciffl nakaran. 628. Tare ka iu, 5gon fundo no gotoshi BSftHJ!)fM to. 611. Y5te sajo ni fusu, kimi war5 koto nakare; Korai seisen ikutari ka kaeru. 629. Nernuri bi ni shite, shirazu, san'u no suguru o; Same kitareba, denkaku onozukara ryo o sh5zu. 612. Mizu kyQ ni shite tsuki o nagasazu. KH^ttaj mm

613. Rflo oshite hibiki o kiku. 630. Mizu michi o karazu; Michi mizu tt&MP okarazu. 614. Mizu moto koe nashi; ishi ni furete sunawachi naru. 631. Suim5-kcri reiko susamaji; Gedo temma mina te o tandaku su. 615. Suiko no manako hyappo no i ari. MWRfcET** 616. Suigo ni hai o sou. 632. Suimo kiredomo irazu; Rintsui ttftftS utedomo hirakazu. 617. Suishi senjaku, i shin tan ni ari. SH^fRiKftW* 633. Suimo mochii owatte, kyfl ni 618. Mizu wa chikuhen yori nagare subekaraku ma subeshi. idete hiyayaka ni; Kaze wa kari yori sugi kitatte kambashi. 634. Mizu nagarete moto umi ni iri; Tsuki ochite ten o hanarezu. *«tga® n^mn 619. Suishu kaette banjin no gai ni 635. Tare ka hakaran, kono sanchfl no onaji. somoku, kotogotoku yoku nan o hai m^mmmm shi, ke shite hito to naran to wa. 620. SuijO ni korosu o osu. *±jmi!MP mtmmitMA 621. Mizu wa kaka o obite shiroku; 636. Zuisho ni shu to nareba, rissho Kemuri wa yoryu ni wa shite aoshi. mina shin nari. wmmw mmttttAWH 622. Tare ka shiru, seisen no nagare, 637. Nagare ni shitagatte sh5 o nintoku betsu ni s5kai no fukaki aru koto o. sureba, ki mo naku, mata yu mo mm&m mmmm nashi. 623. Tare ka shiran, sekimo no moto, HMEfttt fcftfafc* moto kore sekishfl no hito. 638. Saku tetsugyG o ou. wmmT Tt^mx 624. SuichQ no emmi; Shikiri no kOsei. 639. SQsei no seikei zehi no hoka; &1W* Ikko no kanjin tenchi no kan. 625. Tare ka kiku, kokyd rakugan no wmmmitm koe. 146 640. Sahen no hakuun koji o kome; 654. Sei ro o mi; ro sei o miru. Ichijo no ryokusui seizan o meguru. #iuum# 655. Seisho hito no raid o saegirazu; -m^m^iu Yasui mushin ni shite onozukara kyo- ryU su. se

641. Seken mono no raro subeki nashi; 656. Seisen ni gaz5 o kireba, Sempu no Dokuritsu saga tari, banjin no mine. hito ksbe otsu. wnm^mn mmmm mmajhs 657. ShCzen no ikku, sensh5 fuden. 642. Seshajusha, futari tomo ni kakkan. 658. ShSzen no fflki sQt5 no tsuyu; 643. Seson fusetsu no setsu; Kasho Shingo no fflryfl hakujS no hana. fumon no mon.

644. Seson mitsugo ari; Kasho fuz5 659. Seiche ni kibutsu nashi. sezu. Igffl&iiSfe 660. Santetsu no shotsui mushi ni ha- 645. Yo ni ken o shiru hito nakereba, maru. Taia mo bontetsu ni konzu. n wmtoffiA ±wm)i» 661. Seiten ni hekireki o todorokashi; 646. Kono hoka ni betsuji nashi. Rikuchi ni hato o okosu. wtxam 647. Zehi kcketsu no tokoro; Sh5 mo 662. Sei fa ichijin kitari, rakuyS ry5- mata shiru atawazu. sampen. BiPPttft bhh*% mmm^K 648. Ze mo mata kezuri, hi mo mata 663. Seifa meigetsu o harai; Meigetsu kezuru. seifa o harau. , .

649. Sh6ky5 tsui ni karaki o aratamezu. 664. Seifa hassen to hosshite, karafcu ju ni hirugaeri; Ketsugetsu hajimete no- 650. Seizan moto fud5; Hakuun ono- botte inu kumo ni hoyu. zukara kyorai. mwmmnm mn^n^m 651. Shoji roto kimi mizukara miyo; 665. Seiffl kojin kitaru. Katsunin mattaku shinin no uchi ni ari. tfft^ftA 666. Seirya kan dan naku; Hekiju katsute shibomazu. 652. Seija take ni noboru, isshu no iro; mxnaam Kochs kaki o hedatsu, mugen no jo. 667. Ishi oshite jun naname ni ide; Ki- shi ni kakatte hana sakashima ni sh5- zu. 653. Ao wa ai yori idete, ai yori mo aosht; Kori wa mizu yori shojite, mizu 668. Sekka-kscha ni shiso o wakachi; yori mo samushi. Senden-kiri ni tangei o benzu.

147 669. Sekka mo oyobu koto naku; Dcn- 684. Yuki wa hokurei ni hiyayaka ni; k5 mo tsGzuru koto nashi. Ume wa nanshi ni kambashi. w*h» 670. Shakkyaku ni shite t5zan ni no- 685. Hana o ugatsu ky5chs shinshin to bori; M6 o hi shite kaju ni iru. shite mie; Mizu ni tenzuru seitei kan- fcHLhTJUl «€A*1SS kan to shite tobu. 671. Sekishu no onj5. 9immms1 M^trn B^clMIKIRM 672. Islii wa kflri yori tachi; Hi wa 686. Sengen miredomo miezu. suicha ni mukatte taku. 687. Ya sude ni gen o hanarete, henkai 673. Sekijin ai nigo su. no ikioi nashi. sa Keamnk&mm 674. Sekijin tents sureba, rochfl te o 685. Sengyfl hikedomo kaerazu; KaiyS haku su. oedomo oyobazu. HA asssssft^ 675. Setsugo ni hajimete shiru, shshaku 689. SengyS mitsuyd, gu no gotoku, no misao; Koto kat5 shite masa ni ro no gotoshi. miru, jobu no shin. mfr^fflitoMiP® Sftttfeittffitt 690. Senko banko koku mamman; Mizo ni michi tani ni fusagaru, hito no 676. Setsuji-ichimotsu soku fuchfl. e suru nashi. im-mvf* 677. Yuki kiete sankotsu araware; mmm^ma# Kumo idete tochu akiraka nari. 691. Senko doitsu no tsuki; Banko ko- mmants gujp*^ togotoku haru ni au. 678. Setsujo shimo o kuwau, mata ichija. 692. Senks mizu ari, senks no tsuki; Banri kumo nashi, banri no ten. 679. Yuki shinshin taru tokoro, shden ^PiPfr^ilJ! utsuri; Kumo en'en taru mine, kaku o xaikmi^ tote kaeru. 693. Senzan hichQ tae; Bankei jinshs mmt*»s* messu. 694. Kore o miru ni, mae ni aru ka 680. Yuki wa kcikyo no taetaru o tsugi; to sureba, kotsuen to shite shirie ni a- Kemuri wa sansha no kakururu o ara- ri. wasu. mmmmm mmm^m 681. Setsudan-ta, setsudan-ta. 695. Sensu botchQ shite "Sandai" ni mmtiswift mau. 682. Jinkan no ze to hi to o setsudan shite, hakuun fukaki tokoro saihi o 696. Sensha Hakke sake sansan; Kis- 5u. shi owatte nao iu, imada kuchibiru o uruosazu to.

683. Settei itteki no chi; Some idasu, mrmn*m Shsrin no haru. 697. SenjQ no kansa utedomo hiraki ga- SK—SftifiL tashi. 148 Tmummmu 713. Yoku oyogu mono wa obore; 698. Sensci chuya no nochi; Sanshoku Yoku noru mono wa otsu. sekiy5 no toki.

699. Sensen kyOkyO to shite, shin'en ni so nozomu ga gotoku, hakuhyo o fumu ga gotoshi. 714. Soei 5sha mizu seisen; Anks fudc tsuki kokon. 700. Sendan y5yo koftt okoru. femmnng 701. Hito no bikfl o ugachi; Hito no 715. Soshi seirai-i. ganzei o kau. BfliBXX £A*?L MARK 716. Nezumi sent6 ni itte, gi sude ni 702. Sempei e yasuku; Issho motome kiwamaru; Jflnen no shaseki gantS ni gatashi. kdzu. -mm* RABItttBft 703. SempO ame harete rokQ hiyayaka 717. S5ai tsuyu ni wa shite omoshi. ni; Tsuki wa otsu, shokon raoku no mae. *«i«m fmmmmtft 718. Manako o sassureba, sunawachi B&tmmmi saka. 704. Sembu ai sasau. »tus& 719. Sogen no ittekisui. 705. Sempo bankutsu shite, iro ai no gotoshi. 720. Kusa arete hito miezu. ^•HMBfefin* 706. Hobs o kitte shishikutsu to nashi; 721. S5sha-go ni yakutai o kaku. Keikyoku o henjite sendanrin to na- KVIIHilft 722. SOshoku seisei to shite, ryushoku su. ki nari; Toka rekiran to shite, rika kam- mimmhr« mmammt bashi. 1 707. Zen'aku fuun no gotoshi; Kime- wmn&iism tsu tomo ni tokoro nashi. mmtnm 723. Ai okutte mon ni atareba shflchiku 708. Zenki fuz5 sezu. ari; Kimi ga tame y5y5 seifu okoru. msttnum 709. Yoku iru mono wa mato ni atara- nmmm&m* zu. 724. Sukuu mono wa kaze o shiri, anasuru mono wa ame o shiru. 710. Zensui mata gosui; Kokon sozoku ftftHftftffi shite nagaru. 725. Ikade ka jakue-kippan ni shikan; Kono hoka sara ni busso nashi. 711. ZentS ni wa ittai to toki; Shari ni wa fud5 to toku. itt^KHntie mmm-te mn&fim 726. Ai ba suru koto wa nanji ni yu- 712. Zcmmen wa menO; Gomen wa rusu, kuchibashi o tsuge; Ai da mpp shinju. koto wa nanji ni yurusu, mizu orioso- ttBfflM &lfiiK** gc. / 149 mmmimn 743. Daiin wa chQshi ni kakure; Shsin mmmn®* wa sanrin ni kakuru. 727. Ai 5te ai shirazu; Tomo ni katatte na o shirazu. 744. Daikai moshi taru o shiraba, hyakusen subekaraku toryQ subeshi. 728. Sokkon ai tai su. mmmx ip 745. Daikai uo no odoru ni makase; 729. Toraureba sunawachi isshi, hana- Chskll tori no tobu ni makasu. teba sunawachi shitagau. mmmm 746. Daiki daiyu. 730. KySchfl no katsumerya o sokuhai su. 747. Daiki osoku mitsu. AlkN+iSMH 731. Zoku sugite nochi yumi o haru. 748. Daigo dokuyaku ichiji ni gyQzu. mmm-tiffi 732. Sottaku d(5ji. 749. Taiko wa setsu no gotoshi.

750. Daizo tokei ni asobazu; Daigo ta shosetsu ni kakawarazu.

733. Taku no ashi kuchibashi o kudashi 751. Daiji koku mamman. gatashi. x&mm! 752. Daiji sen'ai o zessu. 734. Tanen rSchfl no tori; Konnichi kumo o 5te tobu. 753. Taitei wa kano kikotsu no yoki ni kaesu; Ksfun o nurazaredomo onozu- 735. Mizu o ta sureba gyotQ itamu. kara fUryQ. j 73 6. Dada taru kosan sen-kobutsu; JOjO ^ttttttSME taru enju ichi-r5dai. 754. Daitei wa daitei no shdgai ari; Sh5tei wa shstei no kakkei ari. ftffJBttMRS 737. Kenkon o taha shite, seiten ni doppo su. 755. Daido ChOan ni t5ru.

738. Saisha no shiro o taha shi; Go 756. Daido munon; Sensha michi ari. Gensai o sekkyaku su. tim 757. Taihs tsubasa o nobete jisshn o 739. Taia no hoken, moto kore sante- 5u; Rihen no enjaku munashiku shushd. tsu. mmm^m 740. Ku ni todokSru mono wa ma- 758. Takku zenshin o arawasu. you. 759. Taku hiro shite yama o zo shi; Ri 741. Taimen senri o hedatsu. yoku hy5 o fuku su. MERITS wmmiu atettft 742. Tairo kimpfl. 760. Daruma seirai suru mo, kuchi atte ttS&R shita nashi. 150 775. ChQryQ no ken, ani ja ni furuu 761. Ehatsu o dakkyaku shite iwaku, beken ya. nan to shite ka soregashi ga shuri ni aru to. 776. ChOan ippen no tsuki; Banko e o utsu no koe. 762. Zokus5 o ubatte zoku o korosu. mmmrn 777. ChOan no fflgetsu, hiru yori mo 763. Tanko chSsan hakuchokin; Ii to akiraka nari; Nako no danji ka kabe shite gekka ni kyQ ni rin o osu. o mo shite yuku.

wmr&mffi vmrnwamf 764. Mizu o ninatte kat5 ni uru. 778. Ame o kiite kanks tsuki; Mon o MMefflKK hirakeba rakuyo 5shi. 765. Tansei egakedomo narazu. tfffS^tfc 779. Ch6-k5 sake o kissureba, Ri-rk5 766. Dansho-zacha, hisoka ni chindoku you. o oku. ^mmmzm mxsk+mmmn 780. Chsja ch5-hosshin; Tanja tan- j6j. Dampi koro ni yokotau. m nmm hosshin. 781. Kongoken o chQshutsu su. chi tttt&PM 782. Shoji no kan o choshutsu shi; 768. Chinin yuki o tsunde ginzan to Keikyokurin o bakka su. nasu. JRHI&eii mmmmt 783. Ch5jo haru ni jojite garo ni no- 769. Chi koete kyasu dai nari. bori; Issei uta wa hassu, manjS no aki. mmffitt tt*S*J:Slt 770. Chikuei kai o haratte, chiri d5ze- zu; Tsuki tantei o ugatte, mizu ni ato 784. Kane o kiite koji aru o shiri; Ke- nashi. muri o mite yason aru o oboyu. ttmmmmFW) mmtntt^ ft&W&M&flt jawMwra 771. Take mitsu ni shite, ryflsui no 785. Ashita ni Tomon no ei ni susumi; suguru o samatagezu; Yama tako shite Kure ni KayS no hashi ni noboru. ani hakuun no tobu o saegiran ya. mmmnn 786. Nagaku ryokyaku o nobete ne- ui mitm&mm mureba, gi mo naku, mata shin mo 772. Shika o ou mono wa yama o nashi. mizu; Kin o tsukamu mono wa hito o A#ntm mu^mm mizu. 787. Ch5da sanzen; Boda happyaku.

m&ptiIA 788. ChStan yurusazu, sSryQ no wada- 773. Hiru wa hi o mi, yoru wa hoshi o kamaru koto o. miru. KJIBft MM 789. Tori naite hito miezu; Hana o^JmcC 774. Bussen o nusunde bukkc o kau. ki nao kambashi. m&wm mmw 1 79<>. Chcten yaya kiyoki koto kagami 804. Teiju wa shirazu, hito sari tsukusu no gotoshi; Banri kumo naku, kogetsu o; Shunrai mata hiraku, kyQji no hana. madoka nari. x^iasmm Mmmmmnm 805. Teizen no hana, she ka shi ka. 791. Ashita ni Saiten ni itari, kure ni BiflU? Tsdo ni kaeru. 806. Teizen no hakujushi. mman* 792. Ashita ni michi o kikeba, yflbe ni 807. Teizen tsuki ari, matsu ni kage shi su tomo ka nari. nashi; Rangai kaze naku, take ni koe ari. 793. Ch5ben bafuku ni itarazu.

794. ChOrai onajiku miru, senke no 808. Teitai shin'ya no tsuki; Rskaku ame. seiji no kane. WfcRUIHKffi 795. Jikishi ninshin, kensh5 jobutsu. 809. TaimS jfljQ, shuban mujin.

796. Jikishin kore d6jo. 810. RyUda o sadamuru manako tada- feUEB* shiku; Koji o torauru ki mattashi. 797. Hiryflme o chokuten sureba, ha- jgmtmiE m&amk. betsu shuttS shi kitaru. 811. Ryflda o sadame,shiso o wakatsu; ws&mmm kk Subekaraku kore sakke no chishiki naru 798. Jiki ni banjtl no kan o t6ri, seish&- beshi. ri ni mo todomarazu. jEmmmm varan 799. Chokuboku wa motte wa to nasu 812. Deisui ni gyokuseki o arau. bekarazu; Kyokuboku wa motte kaku jjwcase to nasu bekarazu. 813. Doro Skereba, hotoke dai nari; Mizu maseba, fune takashi. m^F^anm 800. Chin'u mizu ni itte uo mina shi su. 814. Deiri ni dokai o arau.

801. Chinshu ippai tomen ni katamu- 815. Tekisui tekitS. ku. mm-^'Smm 816. Tekiteki taru shuren hakujitsu eiji; 802. Chinchs su, dai-Gen sanjaku no Gaga taru gyokugan kofon yosoou. ken; Denk5-y5ri ni shumpQ o kiru. fftttBEflfiltttt t&mmmm 817. TetsugyQ kisshi tsukusu, rampen no kusa. te mtnmmw

818. TetsugyO sekiran o sh<5zu. 803. Kuruma o todomete sozoro ni ai su, furin no kure; SCyO wa nigatsu no 819. Tessen suijS ni ukabu. hana yori mo, kurenai nari.

820. Tettsummn^m.i shumpf l ni mau.

152 821. Teppeki ginzan rai o o zessu.

822. Teppeki heikai su, kumo hem- 836. Tends imada narazaru ni, jigoku pen; Kokusan konshutsu su, tsuki dan- mazu naru. dan. 837. Tenmo 5ukotoatawazu;Chimo mmmftRmm nosuru koto atawazu. 823. Tetsuben kyakusai su, riryQ no tama. 838. Ten ni shiheki naku, chi ni mon mmmmtm nashi; Izure no tokoro ni ka, abo no 824. Ikku o souru mo mata ezu; Ikku o shin o uzumuru ni taen. genzuru mo mata ezu. H^imm* 839. Den tobi, rai washiri, yama kuzu- 825. Tenga no hito atai o shirazu. re, ishi saku. mmnMium^ 826. Ten wa hakuun to tomo ni ake; Mizu wa meigetsu ni wa shite nagaru. to

827. Ten akete hi o shikkyaku su. 840. Yama ni noboreba, sunawachi ko- hy5 o kiri; Mizu ni ireba, sunawachi 828. Ten takaku shite, gunsei chikashi. kSrya o kiru.

829. Tensai yuki wa uzumu, senjaku no xxm&m ishi; Tomon tSsetsu su, sQshu no matsu. 841. Tosu kaitai, daicha o san su. ^BSSS^PRS awras** mnmtnmm 842. Yakoen o toshutsu shi; Heiisan o 830. Tensai hi nobori, tsuki kudaru; saifuku su. Kanzen yama fiiks shite, mizu samu- ttttiFKm nm*** shi. 843. Tome ni tsuno ari; GyflyS ni tsuno 1 m nashi. 831. TenjS tenge, yuiga-dokuson. 844. Tofur5 wa wazuka ni gashoku o mi; Kannonji wa tada shCsei o kiku. 832. TenjS hoshi ari, mina kita ni tandaku; Jinkan mizu to shite higashi ni mwRmm s ch5 sezaru nashi. 845. Toka ni ro to nari; Seika ni me to naru. A MOkttFWt xxfm n^ftm 833. Ten no seistl, chi no sasfl. 846. Tska no shakuhei wa nagaku; Seika no shakuhei wa mijikashi. 834. Nobureba sunawachi hokkai ni **ft#f« mmftmm mirin shi; Osamureba sunawachi shi- 847. Toka shaken hiraku. hatsu mo rissezu. wttrnw mmmzR 848. Zehi no kan o tska shite, rar5ri mwmtt ni mo todomarazu. 835. Tenchi to ware to dokon; Mam- mmmn wzmnn motsu to ware to ittai. 849. Tokan ni shikitoku su,/%ofo no

153 omote; Banshi senko sO ni kore haru. 864. TOtO sOya no tsuki; Ninnun zen- eMKftXKB kei ni otsu. mmmftn mmm 850. Tokan ni itcho o tarete, hekitan 865. Itari ete, kaeri kitareba betsuji no ryQ o kyOki su. nashi; Rozan wa en'u, SekkO wa ushio. ^ws-ft K&mm 851. Toko seiko tenchi hiroshi; Saten mmmmmiLm uten tama ban ni washiru. 866. TaikokQ o toha shite, tetsugyfl mo mata ase o idasu. MKfcJftg a+ifeffW 852. Tokei iinada hozezu, karin no aka- 867. Chotan no tsuki o toha shite, tsuki; In'in to shite kojin sessen o sugu. hekiraku no ten o senkai su.

H»frA»*m 868. TO to o kirazu, mizu mizu o kira- 853. KO ni itatte Gochi tsuki; Kishi o zu, kokd koka o kirazu. hedatete Etsusan Oshi. TI^Mmtttm&ftspm&si nifllXJMl PWftKUJ* 869. Tofa fuki sanzu, baisho no yuki; 854. Toko rihaku shobishi; ShumpQ ni Ichiya ni bankai su, tenga no haru. monjaku suredomo, sO ni shirazu. XKfcftttffiS

ra*#wrraq 870. TOmO no kinrin ten o tsukan to 855. TGzan suijO-kO. yO su; Kumo o torae, kiri o tsukande, XU4*±?T honnen to shite saru. 856. TOsho tada iu, chigaya no chotan mm&m&m^ o; Yaki owatte masa ni shiru, chi no fuhei naru koto o. 871. TOri kachfl ni hiraki; Kokon-go ni hi izu.

857. ZujO wa kore ten; Kyakka wa 872. TOri monoiwazaredomo, shita o- kore chi. nozukara kei o nasu. ITFJft* w^nrmm 858. ZujO mamman; Kyakka mam- 873. TOrei shako no matsu. man. 874. TOrO-jO ni mai o nashi; Rocha-ri 859. Tojo no mitsu, shucha no chin. ni mi o kakusu. m±ft* 860. TOzai namboku monko nashi; 875. TOrO odotte rocha ni iri; Bu- Daiji senga fuzo sezu. tsuden washitte sammon o izu. nasm^nknp •xmmw^stm •ibfeffiiun 861. Kobe ni goya no tsuki o itadaki; 876. TOrO ono o hatte ryOsha ni ataru. Ashi ni Ogon no chi o fumu. wrpflui wKKAtt 877. Doji wa shirazu, sOsetsu no ku; 862. Kobe Tendai ni makura shi, ashi Tada garyaku o totte kampyO o utsu. Nangaku o fumu.

863. Zuzu kenro; Motsumotsu zenshin. 878. To o onaja shite, tetsu o onaja HKim m^k sezu.

154 Yoru fuk5 shite onajiku miru, sengan 879. Dokuza Daiyflh5. no yuki. SttXSSffi* 880. Dokuza yilks no uchi; Dankin mata chSsho. 894. Namboku tCzai michi no iru nashi; Tessen tOmen ikioi saikai. 881. Dokusho midari ni narazu. HMtxafcfcA mmnmmi*. 882. Dokusen mune ni ataru. ni 883. Dokuro kotogotoku kore ChojS no sotsu; Nichibo sajO tonde hai to 895. Nikka ni koto o kakagu. naru. HT*ME Mtt£Jttt? 896. Jitsugetsu mo shorin shi itarazu; H»iMi»fWR Tenchi mo gaifuku shi tsukusazu. 884. Dokuro ya ni amaneshi. nnmt&Fm MIWF j&mw 885. Shaka no bika o tosshutsu 897. Jitsugetsu shSmyC ari to iedomo, shi; Daruma no ganzei o kakkai fubon no moto o terasazu. su. bjjmiuh l *IHWfcfcT mmmm^m 898. Hi idete kenkon kagayaki; Ame 886. TenjO no tsuki o musabori mite, osamatte sangaku aoshi. shOchd no tama o shikkyaku su. 899. Hi saih5 ni itatte kage ySyaku 887. Senga daiji o donkyaku su. nagashi. wpwh** 888. DonshU no uo wa sujin no tani ni 900. Nichinichi kore kQnichi; Kaze asobazu. kitatte ju tents su. BBJMFB JtiKMttR 889. Nomedomo susumazu, hakedomo 901. Nichinichi hi wa higashi yori ide; , idezu. Nichinichi hi wa nishi ni bossu. BBBXtli BBBS& 902. Hi ni itte shinkin iro utata azayaka na nari. AAK&feUt* 890. Nanzan ni kumo okoreba, hoku- 903. Hi ni itte mo yakezu; Mizu ni san ni ame furu. itte mo oborezu. MUJjBWtUiT® A'X^m ATfrFffl 891. Nanzan ni tsuzumi o uteba, ho- 904. Koketsu ni itte koshu o nazu. kusan ni mau. miutsmtmn 905. Nyfiko chi ni ocliite, ki ushi o 892. Nanson hokuson ame ichiri; kurau. Shimpu wa ko ni karei shi, o wa ji ni ho su. 906. Yanagi ni itte wa midori, hana ni muttim-in itte wa kurenai. ^^^ mtm&mtt 893. Namboku tOzai kaerinan iza; 907. Asu no yume o uru ga gBtoshi.

155 SJBFT-fW ne 908. Nishiki o kite yoru yuku ga gotoshi. 922. Nehanshin akirame yasuku; Shabetchi iri gatashi. 909. Nyokon hoteki su, Seiko no uchi; mwmx Asai no seifa tare ni ka fuyo sen. 923. IkkyOsO o nenki shite, jOroku no in konjin to nasu. rmmm JfiiB-S* 910. Ichireishi o kiru ga gotoshi; Ichi- 924. NOsO no bikd o nenki shite, busso zan issaizan. no shinkan o senkai su.

911. Haru no hana ni aru ga gotoku, ka sono e ni tsuku. 925. Niji no mOsu o nenkyaku shi, kossha no fusan o dakkyaku su. 912. Ten no amaneku 5u ga gotoku; fcwm wkp Chi no amaneku sasaguru ni nitari. a ieua** 926. KOyO o nenji shite shOshi' o sho 913. To no kori o sho suru ga gotoshi; Koka o tsumi ete bansan ni atsu. shi. in®®* 927. Nennen saisai hana ai nitari; Sai- 914. Yaiba yoku sakedomo, mizukara sai nennen hito onajikarazu. sakazaru ga gotoku; Manako yoku miredomo, mizukara mizaru ga goto- WMWBHtt wat^x^n shi. snartBiPFaii no tnmmm^m 915. Hito no mizu ononde,reidanjichi 928. Yoku manzO no shu to natte, suru ga gotoshi. aUDblcMSft shiji o Ote shibomazu. 916. Hito kyojo yori sugureba, hashi mnMMLH mmtippn wa nagarcte mizu wa nagarezu. 929. NOgo ni issui o sou. mtm-m 917. Jinsei hyaku ni mitazu; Tsune ni 930. Nofu no ni utai; ShOnin ichi ni senzai no urei o idaku. mau. mxm 918. Ninnin kyakkonka ni, ichizagu no 931. Nofu ai tai shite kataru; Konsai chi ari. sadamete hoei naran. aabmt 919. Ninnin hongu; Koko enjO. 932. NOri ani sui o kakusu beken ya. » mt&mm 920. Nimmen toka ai eijite kurenai nari. ha AHttfEfflBJttt 921. Nimmen wa shirazu, izuko ni ka 933. Hake santaku. saru; Toka kyO ni yotte shumpfl ni teftlkt emu. 934. HakyO kasanete terasazu; Rakka Al^feMi eda ni nobori gatashi. wrt&mmR 1m^xm mmm tn 156 935- Haj o sureba sunawachi kumo kok- kashigi; Ryokuju-inchfl hito fune o ko ni yokotawari; HOge sureba mata yobu. tsuki kantan ni otsu. 1 fi5EM»M?n JJfFAJIB** 949. Hakuun tsukuru tokoro kore sei- 936. HanO kumo o Ote tobi; S5ai michi zan; KCjin sara ni seizan no hoka ni ari. ni shitagatte tenzu. mmm 937. Hafun5-ri no shinju; Shiru mono 950. Hakuun tayuru tokoro kasan my5 wa masa ni shiru, kore takara naru o. nari. ttttKEKft smmmm® 951. Hakuun hempen reijs ni tobu. 938. Habetsu Tendai ni nobori; Mski kukoku ni iru. 952. Hakuun yilseki o idaku. sBttMs 639. Habetsu mayu o haratte bampu ni 953. Hakuun ryflsui, tomo ni yflytl. tatsu. WLnmz&R 954. Hakuba roka ni iru. 940. Haransan-ri ni seifa o tsutsumu. mmvmomR 955. Hakuhatsu sanzen-j5; Urei ni yot- 941. Bash5 mimi naku shite, rai o kiite te kaku no gotoku nagashi. hiraki; Kika manako naku shite, hi ni shitagatte tenzu. 956. Hakubo sCran kumo koshi o yo -mmm&m su; Keibon no ichiu sadande my5ch5. mmmmtm nmmvmmm 942. Basho yojo ni shQu nashi; Tada mR-m^w® kore toki no hito kiite dancho. 957. Hakuro den ni kudaru, senten no yuki; Koo ju ni noboru, isshi no ha- R&tifA^mm na. 943. Bajo ai ote shihitsu naku; Kimi aiTHflw ni yotte dengo shite, heian o hoze- shimu. 958. Hakur5-kahoku insho tae; Tamp5-j5nan shaya nagashi. •WWBIM** tifomt^wm 944. Rinu o hai shi, byakko o issu. 959. Hakuro seishin ni okoru. 945. LJme wa subekaraku yuki ni sam- eseww bu no haku o yuzuru beshi; Yuki mo 960. KirO koto nakare, kinj6 hampan mata ume ni ichidan no k5 o yu su. no iro; Kore sh$ ga tSzen namida o tarete nuu. nmm±sat& 946. Ume yasete haru o shimuru koto sukunaku; Niwa hiro shite tsuki o uru 961. Kir5 koto nakare, reitan ni shite koto 6shi. jimi naki o; Ipp5 yoku mangS no ue o kesu. 947. Hakuun jfljS seizan o tozasu. XitftKfttt* ^

948. Hakuun fukaki tokoro, sO han o 962. Iu koto nakare, jin'on ni $»te hito

157 no itaru nashi to; Mammoku no seizan 978. Mamb5 ichi ni ki su; ichi mo mata kore kojin. mamorazu. XflMAN M&m—JPFtf iWBffUift&A 979. Banrai roj5 yori nozomeba, Sku 963. Bakuzen taru tetsubs kaze no go- wa kore uo o amisuru no hito. toku itari; Shikkyaku su, jflzen genri no hana. 980. Banri ichijC no tetsu.

981. Banri kuku to shite hitori 5kan su. 964. Hakkaku tsukS no tetsudangan; N5s5 imada kamazaru ni ha mazu sa- 982. Banri no hakuun; Ichirin no k5- mushi. jitsu. mm&m -mm 983. Banri kumo naku, kogetsu mado- 965. Hakkaku no maban kari ni wa- ka nari. shiru. AFTMFFLFCFE 984. Banri kumo naki toki, seitdn sube- 966. Happa fukedomo dSzezu. karaku b5 o kissu beshi. AJ 967. HachiryC ganrai kore hangin. hi 968. Mizu o haratte nami o motomu. 985. Kare wa doku o motte kitari; Ware wa ji o motte uku. 969. IkidQri o hasshite jiki o wasure; Tanoshinde motte urei o wasuru. 986. Kare shi shi, ware shi su; izure no tokoro ni mukatte ka awan. 970. GanchQ no ketsu o bakkyaku su. bjesweirH-m* tJtiPBR+tK 987. Hisui t5hon su, kayO no ame; Roji 971. Moko no hige o nuki; SGryQ no shoha su, chikurin no kemuri. tsuno o kiru. m^mmnmm mutm wmmn zmmmttttM 972. Han'ya ni ukei o hanatsu. 988. Hiso yoku hito o ikashi; Kanro mo mata hito o korosu. 973. Bangaku no shcffl issetsu ni ky5 m&mSA ij-***A su. 989. Kano shishihi o kite, kaette yakan- mei o nasu. 974. Banko no hekitan, kflkai no tsuki; Saisan rOroku shite, hajimete masa ni 990. Hiji nag5 shite sanshu mijikaku; shiru beshi. Ashi yasete s5ai hiroshi. JWrMffiffU «jt&Mfi wmmx n^mmitimto 991. Tatoeba, Hokushin no sono toko- 975. BanjQ no kansa ichiji ni hiraku. ro ni ite, shasei kore ni mukau ga go- xhrmh*m toshi. 976. Bansen shin ni atsumaru. JMfffll'k 992. Tatoeba, kinki o hirugaesu ga 977. Manzo-shichil dokuroshin. gotoku, hai men tomo ni kore hana.

158 993- Hihaku soto ni mukatte magarazu. atataka nari; Shirazu, fdsetsu no baika m^tmrn ni itaru o. 994. Hifu datsuraku shi tsukushite, tada ichi-shinjitsu nomi ari. 1010. Hinju gokan. 995. Biu ten ni tsumuide, kemuri yuki o ori; Kampfl mizu o hite, tsuki ume o 1011. Hinju rekinen. furuu. wmmizimm fa 996. Bigyoku seikin, muteige. 1012. Kaze no fuun o maite kiyC suru 997. BikQ nagaki koto sanjaku. ni yorazumba, ikade ka min, ch5kfl banri no ten. 998. Bishoku hojin no kitsu ni atarazu.

999. Bifa ydshc o fuku; Chikaku ki- 1013. Ame narazaru ni hana nao ochi; keba koe iyo-iyo yoshi. Kaze naki ni jo onozukara tobu. fflisjfeff yfmmm amesjic 1000. Bimo genjo ni yokotau. 1014. Ushin o motte u bekarazu; Mu- shin o motte motomu bekarazu. 1001. Birai ksk5, ry5jin furui tobu. *nmmmmmm 1002. Biru aiin su, Miroku no sake; 1015. Tasukete wa dankyQ no mizu o Monju suito sureba, Fugen tasuku. sugi; Tomonote wa mugetsu no mura ni kaeru. ^MllWSe 1003. Hyakka haru itatte, taga tame ni 1016. Fuko noki ni atatte utsu; Tare ka ka hiraku. kore chiin no mono.

1004. Hyakushaku-kantS ni za suru tei 1017. Jiko ni mukatte e sezumba,1 izure no hito. no tokoro ni mukatte ka e sen. A ftfHM* 1005. Hyakushaku-kant5 ni ippo o su- 1018. Fushizen, fushiaku. sume;Jippo-setsudo ni zenshin o genzu. 1019. Myoshu o shirazu; kaette garyaku to nasu. 1006. Hyakusei wa hi ni mochiite ai shirazu. 1020. Rozan shin no memmoku o shirazaru wa, tada mi no kono sanchfl 1007. Ochitc ume ari, sono mi nanatsu. ni aru ni yotte nari. TOMUJRGB 1008. Shikiri ni Sh5gyoku to yobu mo, moto buji; Tada y5 su, danrS no koe o 1021. Montei o idezu, san-goho; Mi nintoku sen koto o. tsukusu, k5zan sen-banjQ. mw'h^Ttmm

1009. Honji no saitO wai shite, masa ni 1022. Kore ichi ban kan honne/e m tesse-

159 'zumba, ikade ka en, baika no hana o fuki; Ame wa hokuchi no hasu o utsu. utte kambashiki o. mtsittox 1037. Kaze fukedomo dSzezu, tempen 9imim*m no tsuki; Yuki osedomo kudake gatashi, 1023. Kore tada kumon no semaki ni kantei no matsu. arazu; Manku ni tokite imada tsukusa- jm&pFnjzM zaru nomi. mmmmmk 1038. Kaze hekiraku o fuite fuun tsuki; Tsuki seizan ni noboru, tama-ichidan. 1024. Kore hito o tasetsu sezumba, hito Kkmmwm* ni tasetsu seraren koto jo sen. A W.Afjmj£. 1039. Kaze ryfljo o fukeba mCkyll wa- 1025. Ippo o dszezu shite senri o yuku. shiri; Ame rika o uteba kyScho tobu.

1026. Koketsu ni irazumba, ikade ka mnrnvsmm koji o en. 1040. Kaze sensei o okutte chinj5 ni kitari; Tsuki kaei o utsushite sdzen ni 1027. Midabutsu o nenzezu; "Namu itaru. Kanshiketsu!" Tf&mvtm mm&mm R&mvmxiit 1028. Chichi tsutaezu; ko shirusazu. 1041. Kaze atataka ni shite ch5sei ku- tfWJSflE dake; Hi take shite kaei omoshi. 1029. Fubo shosho no bikd; Kaette mejmhp B^vmn betsunin no shuri ni ari. 1042. Kaze shizumatte hana nao ochi; a Tori naite yama sara ni yfl nari. WFCTTMM JMIUKIH 1030. Fu wa ki o yo shite atsuatsu; Ji 1043. Bukku ni shite jashin. wa kuchi o r5 shite kaka. Mimmi ftmnmm 1044. Busso no minamoto, hi mo naku, 1031. Makai o hanarezu shite bukkai slii mo nashi. ni iru. 1045. Funki soso nenki shite sunawachi 1032. Kaze nan no iro o ka nasu; Ame yukeba, tare ka sengo o wakatan. izuko yori kitaru. nxxmttuMttna** RSfWfe 1046. Funkotsu saishin imada rnuku- 1033. Kaze hisen o midashite reisei o yuru ni tarazu; Ikku ryonen to shite okuri; Zemp5 tsuki nobotte chikusS hyakuoku o koyu. akiraka nari.

iu 1047. Ichi o kiite motte jfl o shiru. 1034. Kaze kurutte hotaru kusa ni ochi; •-WJ5D+ Ame niwaka ni shite kasasagi eda ni 1048. Bunsu tetsugyQ o kamu. odoroku. ffiRHKtt 1049. Monju tciki su, setsunin-t5; JQ- 1035. Kaze fuite ju ugoki, kotogotoku my5 chflshutsu su, katsunin-ken. raiki o benzu. 73 jufcwft m^m1H-A« 1036. Kaze wa nangan no yanagi o 1050. BummyO nari, shijQ no ChskO-

160 shi; Chikara o tsukushite, kosci ni 1064. H0I10 tOjaku su, ryokusui seizan. yobedomo kotaczu. 1065. Botan ichijitsu no kurenai; Man- mumw&Fm j5 kOshi you. 1051. Na o kikan yori omote o min ni ttfl-Bfc m wa shikazu. 1066. Botan-kaka no suimyOji. ttniz Tmm% 1067. Hana ni 5te to wan to hossu, ren- he chfl no shu; Issho no kcshin aete iwa- zu. 1052. Heigen shoju no iro; Saroku bosho no koe. 1068. HQ ani ujaku no jiki o kuwan 1053. Kuchi o tojite ikku o iu. ya. lltt*JMft* 1054. ByOjSshin kore do. 1069. Ogon o hekyaku shite garyaku o hirou. 1055. Mon o tozashite tsuki o suishutsu fttof&texn shi; Sei o hotte ten o sakkai su. 1070. Ken o idaite mi o yaburu; kore mrmm V&wn&Z taga toga zo. 1056. Hekigyoku-bancha no tama; Ruri-denjo no tsuki. 1071. Ko o nageutte kongei o tsuru; ir Tsuri etari, kono gama. 1057. Hekireki kobe o suguredomo nao m^mu m&mm kassui su. 1072. Tsuma o idaite Shaka o nono- smmmmmm shiri; Sake ni y5te Miroku o utsu. 1058. Hi o motomete wa kemuri ni wa mmmwrn mmttm® shite e; Izumi o ninote wa tsuki o obite 1073. Hosen ni itareba, mata subekara- kaeru. ku manako o hiraku beshi; Bobp $0 mmnm shite, kQshu ni shite kaerashimuru kot5 1059. Henkai kenkon mina iro o shissu; nakare. ' Shumi sakashima ni taku su, hanka no mmi&mmm uchi. •JMfcANffcfe 1074. RinnS sanzun no tetsu o hoshu- tsu shite, masa ni shiru, henkai kore t5s5 1060. Henkai katsute kakusazu. . naru o. mmm 1061. Daiji o henjite 5gon to nashi; ^•ffJftTJH Choga o kaku shite soraku to nasu. 1075. H5jo chikaki ni ari; sara ni ippo o susumeyo. *t*fmmm 1076. H6 sura nao masa ni sutsuru be- ho shi ; nanzo iwan ya, hiho o ya. mmBttflft^K 1062. Hoho kore dcjO. 1077. Ishi o idaite kawa ni t5zu.

1063. Hoho seifa okoru. 1078. Z5 o idaite kutsu to sakebjjr^*^ mmm /

161 1079* HOchi o yo to nashi; Koten o gai 1094. Honrai mu-ichimotsu. to nasu. £4MK flScfMH 1095. Bonshs dogo; Ryftda konza- 1080. Hito ni 5te wa hsteki su, ran- tsu. deidan. nmmm m&mm ^kummmm 1096. BonnC soku bodai. 1081. Butsu ni5te wa Butsu o koroshi; mmmm So ni 5te wa So o korosu. mm &bss ma 1082. Butsu o nite, So o niru. SKIMMfi 1097. Matsugo no r5kan; Saigo no 1083. Hsboku enku ni t6ru. ikketsu.

1084. Kemuri o nozonde jiki o k5te 1098. Manku no hy5s5 hone ni tesshite kaeru. samushi; Kono uchi no shSsoku, tare to tomo ni ka ronzen. 1085. BSen ai tai shite, za suru koto shujitsu; Itchs nakazu, yama sara ni yti nari. 1099. Manzo nusumi o oshie; Yay5 in o oshiu.

1086. Bska no mushonin; Ki ni no- 1100. Manten no mosu hyaku-sen- zonde shi ni yuzurazu. jo- #t»« mm*mm mim^^m 1087. B5 wa muge no takara o tei shi; hoi. Midari ni zudokku o narashite RyU wa fukuchil no tama o haku. jison o mms5 su. 1088. Boto ni manako ari; akiraka naru 1102. Mammen nojinkai, enka no iro; koto hi no gotoshi. Ryobin wa s5s5, jisshi wa kuroshi. ttltlMQ mmmKMtx& 1089. Hokuto-ri ni mi o kakusu. bmmtHMK

1090. Bokujin koushi o katte kaeri; mi RyCba tori o onde kaeru. ftAiia^ WMmmm 1103. Misshitsu ni kaze o tsOzezu. 1091. Mottei no ranji ni byakugetsu o 1104. My5k5-hCch5 ni fune o yari; mori; Mushin no wansu ni seifa o Yosu-kojo ni uma o washirasu. takuwau. tsmtVRftm ^Mft^tfiMi 1105. My5 wa ichi5 no mae ni ari; 1092. Moto shugyC wa hito o risai sen Ani senshc no manako o iren ya. ga tame nari; Tare ka shiran, kaette fushitsuryQ to naran to wa. ists^sm 1106. My5bu-koch5 hito itari gatashi; Tada miru, hakuun no tonde mata 1093. Te o hirugaeseba kumo to nari, kaeru o. te o kutsugaeseba ame. IWfllJIIIAfiJ 1121. Mubutsu no tokoro sabutsu. iMW 1107- Muichimotsu-cha mujinzo; Ha- 1122. MumC no y5su ten ni ch5 shite na ari, tsuki ari, rddai ari. tobu. mznmxm

1108. Muyo-juge no g5d5sen; Ruri- denja ni chishiki nashi. 1123. MyOkyO tachimachi dai ni nozo- mi, tCge ni kenshd o wakatsu.

1109. Kenjaku subeki nakumba, gankai MTFEME #T#0FBS tairaka ni; ShttgS o kakusazareba, 1124. Meigetsu roka ni eiji; Roka mei- shinchi naoshi. getsu ni eizu. mntewit mwmn 1125. Meigetsu onozukara kitari, mata 1110. Mukai no nanshin; Yato no onozukara saru; Sara ni hito no gyoku- Hokuto. rankan ni yoru nashi. mmzmt mi. Kagiri naki shincha fuhei no ji; E&AffiifflTF Issho no kanwa ni mata hei to naru. 1126. Meigetsu roka kimi mizukara fcR'fc^2!** miyo. -WBBKXffT mEmws as 1112. Mukuteki mottomo fuki gatashi. 1127. MySshu tanagokoro ni ari. mi VMM. 1113. Mushi-gCrai shcji no moto; Chi- 1128. Meimei tari, hyakusotS; Meimei nin yonde honrai no shin to nasu. tari, Soshi-i.

SA^fF*** 1129. MenjQ wa ky5chikut5-ka; Zuri 1114. Buji kore kinin. wa shintcn no keikyoku. . D5_b mmtt 1115. Mushu no hito ken o gy5ji; frmmm Muku no hito ky5kan su. 1130. Minami ni mukatte Hokuto o te^Aftm *SPA«WI miru. 1116. Muj5jibaku. H«rflit4 1131. Mempi atsuki koto sanzun. 1117. Mucha ni i otosu, shQmeika; Manako o hiraite mi kitareba h5ka nashi. v+jtsMMX mmmimm 1132. Moka sho o yaite Butsu JO nite 1118. Mutei no hashittsQ. kurau. SAftiRiXffliS 1119. Kaze naki ni kay5 ugoku; Ke- 1133. M5ko gabi o egaku. tsujS shite uo no yuku aran. ftKffiStt 1134. Msko-ganka no kinrei; S5ryQ- 1120. Mono no hirin ni taetaru wa na- kutsuri no mySshu. shi; Ware o shite ikanga tokashimen.

163 'ii35- Mcko-kScha ni roku o ubai; Kiy5-s5ka ni to o wakatsu. 1150. Yoru fuk5 shite meigetsu ko nari.

1136. M0ko-k5ri ni mi o yokotae; 1151. Yasui keisha o ukabe; Tan'en Dokuja-zuj5 ni kayugari o kaku. shijun o shozu. mm&rnn mtantim 1152. Yoru shizuka ni shite keisei chi- 1137. MQko michi ni atatte za su. kaku; Niwa samfl shite gesshoku fuka- KffltKg shi. 1138. Moko sono ko o kurawazu. 1153. Yoru shizuka ni, mizu samtl shite 1139. MCshs ani kachtl ni atte shi sen uo hamazu; Mansen munashiku getsu- ya; Koh5 kyuji no ka o kowazu. mei o nosete kaeru.

1m^mwom mm&Mnw® 1140. M5 kokai o nomi; Ke Shumi o 1154. Yato hito naku, fune onozukara iru. yokotau. immm smm Aft&m 1141. M5jin tanteki manako ari. 1155. Yahan kaze ni wa shite s5shi ni itaru; Shirazu, kore yuki ka, kore baika 1142. Mokkei shiya ni naki; SQku tem- ka. mei ni hoyu. tt^ftHanuft

1143. Mokusatsu-k5, tettei-han; Hito 1156. Ya ni shikin ari; hakub5 kore o o shite donto fuge narashimu. tsutsumu.

ffiASot^T 1157. Ya ni fukuhei areba ganko mida- 1144. Bokujin shishiku o osorezu. ru. ^APfmU^Vi IHMftiaifrR 1145. Bokujin yahan ni kataru;Genin 1158. Yarai ichijin ky5fQ okori, t5ka no chi o yurusazu. fuki otosu, shinnu, ikuta zo.

1146. Mokuba kaze ni inanaki; Deigyu tsuki ni hoyu. 1159. Yarai fasetsu ashi; Ki wa oru, kogan no mae. 1147. Higashi o toeba sunawachi nishi o kotau. Kttxmr 1160. Yoru hiyayaka ni shite, seihen ni rakuyo o kikeba, sude ni odoroku, ya shQshoku no got5 ni itaru o.

1148. Yaka yakedomo tsukizu; Shum- BllStfeSlfi* pu fuite mata shSzu. 1161. Hiji ni yaku suru Qgon yuruki koto issun; Hito ni 5te wa nao iu, ai 1149. Yako ni shiroki o fumu koto omowazu to. nakare; Mizu ni arazumba, sadandc kore ishi naran.

164 ya 1174. RyOku o shite end5 o yukashi- men to y5 seba, ki ni nozonde tada 1162. Tada yacn no kakkon o shiru ari; etari, itaku muchi o kuwauru koto o. EkiyS kciro dai-sansei. •ttRflMMIR mm k^hs 1175. Shinkin o shiran to y5 seba kari ni miyo. 1163. Iki aru toki iki o soe; FQryfl narazaru tokoro mata furyfl. 1176. Mochiureba sunawachi ko to nari; Mochiizareba sunawachi so.

1164. Manako atte katsute mizu; Mimi JFLFUJSFT ^JBMFL atte katsute kikazu. 1177. Kano chishGnin o yat5te, yuki o ninatte tomo ni sei o uzumu. 1165. Mizu ari, mina tsuki o fukumu; mmmA Yama to shite kumo o obizaru nashi. 1178. Hitsuji wa sunawachi kanjo ni fushi; Ro wa shissho o erande nyo su. 1166. Yu wa sunawachi kore mu; Mu MftflMl wa sunawachi kore yd. 1179. Ame naran to hosshite sanshoku chikashi. 1167. Yflcho go nannan; Kumo o ji ifefi shite rampo ni iru. 1180. Senri no me o kiwamen to hos- mtkmmm ffimx%m shite, sara ni noboru, issQ no r5. 1168. Nao biwa o totte nakaba omote o saegiru; Hito o shite miseshimezaru mo, utata fflryfl. ra mtmw^mm 1181. Raju hstai kimi ga tame ni toki; 1169. Ume ari, gesshoku o soe; Take Enka chobu kimi ga tame ni hiraku. no shite shflsei o kaku. mmmmmm • • #«M6/§fe mmmm mmmmnmw 1182. Rar8 suredomo aete toiomara- yo zu; Kokan suredomo kobe o megurasazu. 1170. Kimi to ai mukaite, utata ai shi- WFI§MI tashimi; Kimi to narabi sumite, isshin 1183. Kitatte zehi o toku mono wa, o tomo ni sen. sunawachi kore zehi no hito. WRffifflNMf* 1184. Raiba kot5 ni tsunagi; Kokugyfl 1171. Arakajime kaite kayugari o ma- shisui ni fusu. tsu. mmmm 1185. Rakka i atte ryflsui ni shitagai; 1172. Yukan to y5 seba sunawachi Ryflsui j5 n5 shite rakka o okuru. yuki; Za sen to yo seba sunawachi za mmmmm* su. 1186. Rakka to koboku to hitosliiku 1173. Ko o yashinQtc masa ni chichi no tobi; ShOsm chatcn to tomo ni isshiki ji o shiru. mi-m see

16 s 1187. Rakuboku senzan, ten ondai; 1201. Ry5ky5 ai terasu. Chok5 ichido, tsuki bummyo. 1202. RyQko no koson suigetsu o sa- guru. 1188. Rankan tomo ni yoru to iedomo, sanshoku miru koto onajikarazu. 1203. RySko wa fukaku zC shite muna- WITSfcfcffi tfJfe»*HI shiki ga gotoshi. 1189. Randei-ri ni ibara ari. 1204. RySji no nosQ ikko o sh5 su; ChSren-shojQ ashi o nobete fusu. tsp mm-m

1190. Riken kiru tokoro ato naku; 1205. RyCsho ni sutsuru zai naku; Sekkatsu kotogotoku kenka ni ki su. Meikun ni sutsuru shi nashi. fflAMtfefi tk&mmtt 1206. Ry5t5 tomo ni setsudan shite, 1191. Riken mo sui ni wa shikazu. ikken ten ni yotte susamaji. mtspfmm hhrmmt -mmm 1192. Tsuribari sanzun o hanarete, 1207. RySyaku kuchi ni nig5 shite, nanzo ikku o iwazaru. yamai ni ri ari; Chflgen mimi ni saka- rau mo, okonai ni ri ari. 1193. Rinu byakko gokG o hanatsu. ff 1194. Ryd ginzureba, kumo okori; 1208. Isasaka tofvi to kono ji o ronzu; Tora usobukeba, kaze shSzu. Jflbun no shunshoku, taga ie ni ka zoku su. 1195. RyQshoku 5gon monouku; Rika mrnxmrnm* hakusetsu kambashi. m&xiM mK&mm 1209. Ryory6 taru tenchi no kan; 1196. Rytlsui kanzan no michi; Shin'un Dokuritsu shite, nan no kiwamari ka koji no kane. aran.

1197. Ryusui mizo ni michi, tani ni 1210. Ryokuju kage komayaka ni, ka- fusagaru; Ranzan midori o sosogi, ao o jitsu nagashi. uzutakaku su. 1211. Ryokuyo h5s5 no kishi; Izure ILLUTTS** no tokoro ka son to she sezaru. 1198. Yanagi midori narazu, hana kurenai narazu. 1212. Rinka jQncn no yume; Kohen issho arata nari. 1199. Yanagi wa midori, hana wa kurenai. 1213. Kawa ni nozonde mizu o kawa- zu. 1200. RySgan no ensei naite yamazaru BWWH* ni, keisho sude ni sugu, bancho no 1214. Gai ni nozonde koji o miru. yama. 1215. Gai ni nozonde hito o osu, kore mABmMram kdshin ni arazu.

166 •UtA^ftfiF'fc 1216. Rincha ni takigi o urazu; KojO fiS^tSffit® ni sakana o hisagazu. 1226. Michi ni kenkaku ni awaba, subekaraku ken o tei subeshi; Kore shijin 1217. Rinrin taru koffl mizukara hoko- ni arazumba, shi o kenzuru koto nakare. razu; Kankai ni tango shite, ryflda o sadamu. 1227. Michi ni tatsudo no hito ni awaba, gomoku o motte tai sezare. wnmmm re 1228. Rcju nami ni fushite kan'ei ugoki; Yaen kusa ni ukande sekiyC kurashi. 1218. Reiki rikuchi o yuku; Ikade ka dei o hiku no ato o manukaren. 1229. RSsetsu ten ni tsuranatte shiroku; 1219. Reibai mazu tama o yaburu; ShumpO ko ni sematte samushi. KSryfl imada kin o ugokasazu. 1230. Rsdai j5ge hi hi o terashi; Shaba 1220. Ji o awarende minikuki o oboezu. Orai hito hito o miru. wft^itm »«±T XM'X

ro 1231. RCtC soy5 buji no hi; Ammin koga seizan ni tai su. 1221. Michi tsku shite, hi no kuraki ni MMfegH odoroki; Tan orete, shiba no omoki o shiru. 1232. Shija o ro shi ete katsuryti to nasu. 1222. Roshi jaks ni hi su. mm msiM MMJt^Sf 1233. Rodoku no kanchS; Santetsu no 1223. Roshi yuki ni tatsu, ddshoku ni memmoku. arazu; Meigetsu roka ta ni nizu. visum ^affii 1234. Rorai koto ni oboyu, sanchfl no nRwa&mni yoki o; Shi shite gankon ni araba, hone 1224. Roji miryo, baji tQrai. mo mata kiyoshi.

1225. Rochfl ni hi ari, mushin ni shite hanu; Shosho jfH5, i ni makasete asobu.

167

White f

ivpr ' Map of China

o \

Glossary

194 Amitabha Buddha The Buddha of China. Bodhidharma is said to have infinite light and life. practiced zazen there facing the wall Asura An evil god who confronts for nine years, when Eka (Hui-k'o, Indra and favors fighting. 487-593) visited this temple. Ac- cording to a legend, Eka asked Bo- bare pillar The bare pillars in the dhidharma for instruction, showing Buddha hall—typical things with no his earnest wish for satori by cutting sense, in contrast to sentient beings. off his own arm in the snowy gar- Billion Worlds One world consists den. Later he became the second of Mount Sumeru, sun and moon, patriarch, and a speck of blood sug- the Four Seas, and so on. One thou- gests the symbolic source of later sand worlds make the shdsen sekai Zen history. See map. (smaller thousand worlds); one Bodhisattva One who seeks satori, thousand shdsen sekai make the wishing to save others even before chilsen sekai (medium-sized thousand himself; consequently his features worlds); one thousand chUsen sekai are tender and merciful. make the sanzen (daisen) sekai—the Buddha hall The main building of Billion Worlds. the Zen temple. Blue Eyes Bodhidharma. Blue-eyed Monk Bodhidharma. Ch'ang-an The old capital of China, Bodhidharma The founder, that is, near modern Sian. Especially in the the first patriarch of Zen Buddhism. T'ang period (618-907), it flourished It is said that he came to China from as the biggest international city, with India around 520. a population of one million. The Bodhidharma's intention Why Bod- Ch'ang-an Castle, the walled town, hidharma came all the way to China, covered an area of about six miles by overcoming every difficulty—this five miles. question is interpreted as "What is Chao A mountain district in the Zen?" north of China. Bodhidharma's temple Built in 496 Chao-chou (JOsliQ Zenji, 778-897) A in the foothills of Sung Mountain in famous Zen mait?T"^who appcan often in many koans and sayings. away the surroundings, but not Chin Eastern Chin dynasty (317- man; (3) taking away both man and 419); its capital was located in mod- the surroundings; (4) taking away ern Nanking. neither man nor the surroundings. Crooked River A tidal river, noted Lin-chi devises jakugo to these four for its wonderful scenery of crashing cases respectively. For example, his tidal waves from the gulf. See map. jakugo to the second is no. 117. Lat- er, another Zen master showed his Daito Kokushi The honorific title of view of the third with no. 738. a Japanese priest, Shuho MySchS Four Seas The whole world; orig- Zenji (1282-1337), the founder of inally, the four oceans that circle Daitoku-ji temple, Kyoto. Mount Sumeru. See Mount Sumeru. Dhanna The Buddhist truth; equiva- Fragrant Arbor The arbor in the lent to satori or Zen. Ch'ang-an Castle. Dharma world The world of truth; the whole universe. giant roc A legendary giant bird of China; it goes ninety thousand miles East Gate Probably the East Gate of with one flap of its wings. the Lo-yang Castle. golden crow The name of the sun; a East Land China. legend tells us that there is a three- eight winds of illusion The eight legged crow in the sun. winds that lead the student astray: Great Hero Peak The Great Hero fortune, misfortune, backbiting, flat- means Buddha. This peak is also tery, admiration, abuse, affliction, called Ten-hundred-foot Mountain, and ease. where HyakujS Zenji (Pai-chang) lived. See map, Ten-hundred-foot fire of catastrophe It is said that in the Mountain. growth and transition of one world Great Wall The Great Wall of there are four periods and, at the end China. of the third, a great fire occurs and Great Yuan The Yuan dynasty burns everything to ashes. (1271-1368). Five Ranks Tozan Zenji (Tung-shan, 807-69), the founder of the S0t5 Han Kan A famous painter (701-61) sect, preaches the fivefold relation in T'ang-dynasty China, who was of the two—sho (the absolute) and noted for his drawings of horses. hen (the relative). Hermit Mountain Named after the Flat Field Temple Built in Sky Pla- hut left by a hermit in old Chou- teau Mountain by Heiden Zenji period China. The geographical fea- (P'ing-t'ien, 770-843). tures of the mountain are compli- Fountain Town Ch'tian-chou, a fa- cated, and it is famous for its scenic mous wine-producing center. See beauty. On it there are many tem- map. ples, including I-ai Temple. Four Classifications Lin-chi explains Hsiang-lu Peak The northern peak Zen, taking up the four cases, con- of the Hermit Mountain ; its shape cerning man (subject) and surround- resembles an incense burner. ings (object): (1) taking away man, Hui-ncng's Mountain Where the but not the surroundings; (2) taking sixth patriarch, En5 Zenji (Hui-

172 neng, 638-713), lived. One of the Mount Moth Eyebrows Mount O- most important and influential mei. The name suggests the moth- masters in the history of Zen, he feeler eyebrows of a beautiful was the "fountain" from which all woman. See map. later Zen streams flowed. Mount Sumeru Also Sumeru Peak. According to the cosmology of old I-ai Temple At the north of Hsiang- India and of Buddhism, Mount lu Peak of the Hermit Mountain. Sumeru soars in the center of one world, and the sun and moon re- Jewel Mountain The mountain of volve around its mid-slope; the four jewels, namely, the mind of man. oceans, in each of which lies a con- tinent, encircle Mount Sumeru. Kannon Temple A temple east of mountain gate Temples were gener- the Tofu Pavilion at Dazaifu on ally built on the mountains, so the Kyflsha island in Japan. Kannon in main gate of a temple was called Japanese is the Avalokitesvara Bo- sammon (mountain gate, or three dhisattva, which has great compas- gates). sion and mercy. Kasyapa Maka Kashs, one of the ten Nirvana The state of enlightenment major disciples of Sakyamuni. to be reached by extinguishing all illusion. last barrier The final koan in the North Bridge The bridge—a row of whole curriculum of koan study. boats—across the Yellow River, Lou-Ian A commercial area located northeast of Lo-yang. in the west of China; it flourished from before the second century B.C. Parrot Sandbank A sandbank on the and was ruined in the seventh Yangtze River. See map. century A.D. Patriarch Bodhidharma, the founder Lo-yang China's most historically im- of Zen Buddhism; or each Zen portant city, together with Ch'ang- master who stands in the genealogi-' an; the capital of China through cal chart of Zen lines, that is, who several dynasties. received the formal transmission of Dharma. Maitreya Maitreya Bodhisattva is phonenix A Chinese phoenix; the the future Buddha; in billions of bird of good omen. years he will succeed Sakyamuni, poison-painted drum A drum paint- the present Buddha. ed with poison to kill those who Manjusri Manjusri Bodhisattva is the hear it. Zudokku is the pronunciation personification of the wisdom of more natural to Zen usage. Buddha. Pure Body The pure body of Bud- moth-feeler eyebrow The feeler of a dha. moth resembles the slender, clear, crescent-shaped eyebrow of a Red Phoenix Castle The palace at beautiful lady. Ch'ang-an. Mount Five Plateaus Mount Wu- river country The district near the t'ai, noted for its many Buddhist mouth of the Yangtze River. temples. See map. roshi A Zen master and teacher— who has formally received the Ten-hundred-foot Mountain Hyaku- Dharma from his own teacher, or j5 (Pai-chang, which literally rdshi, and therefore is qualified to means "ten-hundred-foot") Zenji's appoint, from among his students, mountain soars a thousand feet high; some to be new masters as his suc- it is also called Great Hero Peak. cessors—is called shike, or, in hon- See Great Hero Peak, map. orific terms, rdshi Three Waterfalls On the Yellow River, a three-tiered waterfall Sakyamuni The historical Buddha, (Dragon Gate) was built, and the who founded Buddhism. Buddha carp that pass through this gate, it originally means "the enlightened is said, will become dragons. See one"; according to a legend, there map. were six Buddhas before Sakyamu- Three Worlds The world of the un- ni. enlightened people is divided into samadhi The state of mental concen- three: the world of desire, of five tration on one object; samadhi. senses; the world of form but of no Samantabhadra Samantabhadra Bo- desire; the formless world of no dhisattva symbolizes the teaching, form, no desire. meditation, and practice of Buddha. Tofu Pavilion A pavilion in Dazaifu, Sky Plateau Mountain Mount T'ien- Kyushu; tofu in Japanese means a t'ai. The many temples built there capital of the country. make it one of the most famous Ts'ai-chou Castle A walled city. See Buddhist centers in China. map. south of the river The area (several provinces) south of the Yangtze unsui A beautiful expression, literally River. Abundant in quails. "cloud and water," that means a staff A staff carried by Zen masters, Zen monk-student in the monastery sometimes used by the master to or a wandering monk. See no. give his student a chance for satori. 246. Sumeru Peak See Mount Sumeru. Swallow Mountain In the west of Vairocana Vairocana Buddha, the Mongolia, a general of the Later Han symbol of the eternal and limitless dynasty (25-220) defeated the enemy wisdom of Buddha. and built a monument on this Vimalakirti The main character of mountain. the Vimalakirti sutra; the rich man who has attained the deepest truth Tai Sung A painter in T'ang China of Mahayana Buddhism. famous for his skill in drawing cows. T'ai-a The name of the excellent Western Sky India. sword; the symbol of the sharp world-perishing fire See fire of ca- activity of Zen. tastrophe. T'ang China The T'ang dynasty Wu Wu kingdom (?-473 B.C.), near (618-907). the mouth of the Yangtze; or (229- ten directions The ten directions: 80), its capital was located in modern east, southeast, south, southwest, Nanking. west, northwest, north, northeast, Wu Yuan-chi Wu Yuan-chi (783- up, and down. 817) attempted a coup d'6tat against

174 the government, but he failed and Yuch Ytieh kingdom (601-334 B.C.), was killed. located in the coastal area of south Yaksa A devil, but sometimes re- China. garded as a protector of Buddhism. Yun-mcn Ummon Zenji (Yiin-men, Yellow Crane Pavilion A famous 864-949), the founder of the Um- pavilion looking over the Yangtze. mon sect. See map. Yellow Head Sakyamuni Buddha. zazen Sitting in meditation. yes and no Dualism. Zen sees things zendo Zendd, a zazen hall. in the original oneness, transcending Zenji An honorific title attached to dualism, such as yes and no, life and the name of a Zen master; oshd and death, good and bad. rdshi are its variations.

Bibliographical Note

Editions of Zenrin KushQ (A Zen Forest Saying Anthology):

Zetiritt KushQ. Kyoto: Baiy5 Shoin, 1894. This edition contains 4,380 entries. The present translation depends mainly on it. Zenrin Kushu (with Japanese readings and notes). Ed. Shungaku Yamamoto. Tokyo: Koyukan, 1920. With many mistakes, but a pioneering work. ZengoJii. Ed. JUan Nakagawa. Tokyo: Morie Shoten, 1935. With notes but with insufficient Japanese readings; mostly from Zenrin KushQ. Zenrin KushQ (with Japanese readings and notes). Rev. ed. Zenkei Shibayama. Kyoto: Kichilds, 1952,1972. Handy, helpful, and easily obtainable, this edition is most often used by beginners today in Japan; but unfortunately it is not free from errors.

Editions of "Zudokko Kushu" (Saying collection of The Poison-painted Drum):

Zudokko: Zokuhen. Ed. Genro Fujita. Kyoto: Baiy5 Shoin, 1922.1 have used this edition for my work. Shinsan Zengoshu. Ed. Etsudo Tsuchiya. Kyoto: Kichfldo, 1973. Mostly from "Zudokko Kushu."

General Zen sayings anthologies:

Zenrin Gokushd. Ed. Shado (Ozaki) Hekian. Tokyo: Nigensha, 1969. With Japanese readings. Zenrin Meiku Jiten. Ed. RigyC Iida. Tokyo: Kokusho Kankokai, 1975. Mostly from the classics of the SOtO sect. Zengo no Chagake: Ichigyd-mono. 3 vols. By Kflshirfl I laga. Kyoto: TanltOiha. 1973-77. With good commentaries, especially for tea people.

177 Zen dictionaries in Japanese:

Zengo Shdjiten. Ed. HoryU Sahashi. Tokyo: Shunjusha, 1978. Chiefly shorter phrases and sayings. Bukkyogo Daijiten. 3 vols. Ed. Hajime Nakamura. Tokyo: TokyQ Shoseki, 1975. The best Buddhist dictionary now available. Zengaku Daijiten. 3 vols. Ed. Zengaku Daijiten Hcnsanjo. Tokyo: Taishflkan Shoten, 1978. The most substantial Zen dictionary recently published.

English translations of Zen sayings:

Zen Dust. Ed. Isshfi Miura and Ruth Fuller Sasaki. Kyoto: The First Zen Institute of America in Japan, 1966. The most reliable English Zen sourcebook ever published. It contains 210 Zen sayings translated into English with accuracy, but with little poetry.

The weathermark" identifies this book as a produc- ^I^H^^ tion of John Weatherhill, Inc., publishers of fine books on Asia and the Pacific. Book design and typography: Meredith Weatherby and Ruth P. Stevens. Composition: Samhwa, Seoul. Printing: Toyo Printing Company, Tokyo. Binding: Makoto Binderies, Tokyo. The typeface used is Monotype Bembo. a new poem in English, winnowed out of three thousand years of Chinese culture, by some of the best minds of the East. It's also a meeting place of the highest and the most humble: the great poets and ... the proverbs..

-from the foreword by Gary Snyd