No. 1302-A焭絕老人頌古直注序
禪宗頌古有四家焉。天童雪竇投子丹霞是已。而寔嗣響於汾陽。夫古者。古德悟心之機緣也。頌者。鼓發心機使之宣流也。故其義或直敷其事。或引類況旨。或興惑發悟。以心源為本。成聲為節。而合契所修為要。然非機輪圓轉。不昧現前。起後得智之親境。不能作也。昔人以雪竇天童。比之孔門游夏。擬為頌聖。有以也哉。顧諸古在燈錄。以燈錄行一為頌本。則以頌重。蓋其所激揚當時主賓玄要。皆形於頌也。胡得不尋而繹之。窺禪道之幽微乎。釋頌者。自栢山大隱圓通覺海二集外。不啻數十家。質野者旨近。支離者意疎。若佛果萬松林泉諸尊宿。采經傳之蘊。滙諸家之長。纂修成集。稱四家評唱。佐四頌之盛。略該五宗之微言。而大隱覺海等集弗克並踪矣。今去古益遠。受道之緣豈能盡同。且所謂頌古。已遶路之禪。挾緣之智矣。須不援餘論直抉靈源。庶古德悟心機緣。鼓發宣流。而乃可以契禪道幽微於無際。此煢絕老人之頌古直註所由作也。老人退休林阿。明窓碧篆無所施其婆心。因取頌古直揭大意。淨剗群疑。標題結案不費辭飭。廼為斯注。校諸評唱。實謂過之。雖然此猶以注稱也。其體非注。如以注則曲中理玅。如疏注者不少矣。故雖注而尚直。此猶以直稱也。其趣非直。如以直則了無餘致。如世語者不少矣。故雖直而尚古。況其間釋事寔。必目擊意曉。而不牽陳言枝蔓之繁。明理體。必親證現行。而不落陰界離微之窟。解語句。必投機展事。而不墮實法與人之過。顯照用。必玅叶同時。而不溺留情轉位之偏。至如別提眼目。若明鏡之孤懸。潛通血脉。如金針之暗度。如斯類例未易枚舉。洵禪關之樞鈕。後學之指南也。惜是書出正嘉間。藂林秘護。至有名字不聞。今越百有餘年。遺珠復還。埋光再耀。寔菩曇自禪師力也。禪師證寶鏡三昧。以入世智。化瓦礫成寶坊。又以護法愍俗之慈。傳斯頌注。余與禪師為同學。而遊相好。頃遺書慰存。且索言以弁其首。余因得詳煢絕著書之概。而復徧告諸禪林學士。夫寶鏡三昧。傳自洞上。而光炤五宗。今禪林學士。有不欲證寶鏡者乎。務先究四家之頌古。有不究頌古者乎。務先習焭絕之直注。由直注而明頌古。頌古明而寶鏡證。始不負禪師之教也。吾將觀鏡光炤耀叢林於無窮哉。
Within the Chan tradition, there are four masters renowned for their "Songs of Ancient Cases": Tiantong, Xuedou, Touzi, and Danxia. In truth, they all inherited and amplified the style of Fenyang. These "ancient cases" refer to the pivotal moments when ancient masters awakened to the mind. The "songs" are verses that stir the mind's potential, allowing it to flow forth freely. Therefore, their meaning may directly narrate the event, draw analogies to illustrate the principle, or provoke doubt to spark awakening. They are rooted in the mind's source, formed into rhythmic sounds, and essential for aligning with one's practice. However, unless one's inner mechanism turns smoothly and remains undimmed in the present, intimately engaging the wisdom that arises afterward, one cannot compose such works. Past scholars compared Xuedou and Tiantong to Ziyou and Zixia of the Confucian school, likening them to sages of verse—and with good reason.
Considering that these ancient cases are recorded in the Transmission of the Lamp, and since the Transmission circulates widely, the songs themselves gain importance. For they vividly capture the profound exchanges between masters and disciples of that era, all expressed through verse. How can one not seek to unravel them and glimpse the subtle depths of the Chan way? As for commentaries on these songs, aside from the two collections by Baishan Dayin and Yuantong Juehai, there are no fewer than several dozen others. Those that are rustic in style tend to be shallow in meaning, while those that are fragmented tend to be loose in intent. Masters like Foguo, Wansong, and Linquan, however, drew upon the essence of sutras and commentaries, synthesized the strengths of various schools, compiled and edited them into collections known as the "Four Masters' Commentaries and Appraisals." These works complemented the flourishing of the four songs, broadly encompassing the subtle teachings of the five schools, surpassing collections like Dayin and Juehai.
Now, we are even further removed from antiquity. How can the conditions for receiving the Way be entirely the same? Moreover, what we call "Songs of Ancient Cases" is already Chan that takes a winding path, wisdom that relies on circumstances. One must not rely on extraneous discussions but directly point to the spiritual source. Only then can the awakening moments of ancient masters stir and flow freely, allowing one to merge with the boundless subtlety of the Chan way. This is the reason for the creation of Old Man Qiongjue's *Direct Commentary on the Songs of Ancient Cases*.
In his retirement among the forested hills, with a bright window and green-clad mountains, the old man had no other outlet for his compassionate heart. Thus, he took the Songs of Ancient Cases and directly revealed their essential meaning, thoroughly clearing away all doubts. His headings and conclusions are concise, without wasted words, resulting in this commentary. Compared to the various commentaries and appraisals, it is truly superior. Yet, although it is called a "commentary," its form is not that of a conventional commentary. If it were treated as such, there are many detailed annotations that delve into subtle principles. Therefore, though it is a commentary, it remains direct. And though it is called "direct," its essence is not mere straightforwardness. If it were only direct, it would lack lingering depth, like many worldly sayings. Thus, though direct, it retains an ancient flavor.
Moreover, when explaining events, it ensures clarity through direct insight, without entangling in verbose, clichéd explanations. When clarifying the principle, it is based on personal verification and present functioning, without falling into the pitfalls of obscure, abstract realms. When interpreting phrases, it engages opportunistically and unfolds the matter, without succumbing to the error of fixating on concrete dharmas or persons. When revealing illumination and function, it subtly aligns with simultaneity, without drowning in biases of lingering attachment or shifting positions. As for separately highlighting key points, it is like a lone mirror hanging bright; secretly connecting the lifeblood, it is like a golden needle passing unseen. Examples like these are too numerous to list. It is truly the pivotal hinge of the Chan gate, a guide for later learners.
It is a pity this book emerged during the Zhengde and Jiajing eras and was secretly guarded within monastic communities, to the extent that its name was scarcely heard. Now, after more than a hundred years, this lost pearl has returned, its buried light shining once more—all due to the efforts of Master Shi Putan. Master Shi verified the Samadhi of the Precious Mirror and, with worldly wisdom, transformed rubble into a treasure monastery. Moreover, with compassionate intent to protect the Dharma and benefit beings, he transmitted this commentary on the songs. I am a fellow student of the Master and share a cordial friendship. Recently, he sent a letter with kind regards and requested a preface. Thus, I have come to understand the general outline of Old Man Qiongjue's work and now broadly inform all Chan forest practitioners: The Samadhi of the Precious Mirror was transmitted from the Dongshan line and illuminates all five schools. Are there any Chan practitioners today who do not wish to verify the Precious Mirror? They must first investigate the Songs of the Four Masters. Are there any who do not investigate the Songs? They must first study Qiongjue's *Direct Commentary*. Through the *Direct Commentary*, one clarifies the Songs; through clarifying the Songs, one verifies the Precious Mirror. Only then will they not辜负 the Master's teaching. I look forward to witnessing the mirror's light shining endlessly throughout the Chan forest.
順治辛卯夏台山後學受登槃譚撰