第十三則 夾山上堂(示眾)
Case 13: Jiashan Ascends the Seat(Addressing the Assembly)
示眾云。呼聚喝散。妙用無方。把住放行。權衡在手。不必正偏兼到。何消理事該羅。未開口時誰能會得。試說道看。
The master addressed the assembly, saying: To gather with a call and disperse with a shout— the subtle function is without fixed form. To hold firm or let go— the scale is in your own hand. There’s no need to reach both the absolute and the relative; why bother to include both principle and phenomena? Before a single word is spoken, who can understand? Try to speak of it now.
舉夾山上堂云。明不越戶。穴不栖巢(爭肯坐着)。目不頋他位裏。脚不踏地位裏(翻身獅子大家看)。六戶不掩。四衢無蹤(解行不觸今時道)。學不停午。意不立玄(七步成章渾小事。肯將閑事挂心頭)。千劫眼不借舌頭底。萬劫舌頭不頋眼中明(一言道斷處。千古意分明)。峻機不假鋒鋩事(誰敢尖頭利腦)。到這裏有甚麼事(你便不道)。闍黎(喏)。竿頭絲線從君弄。不犯清波意自殊(一曲離騷歸去後。汨羅江上獨醒人)。
Master Jiashan ascended the platform and said: The light does not cross the threshold; the cave does not house a nest. The eye does not gaze into another's domain; the foot does not tread upon a fixed ground. The six gates are not closed; the four paths leave no trace. Learning does not pause at noon; the mind does not cling to mystery. For a thousand kalpas, the eye does not borrow the tongue's words; for ten thousand kalpas, the tongue does not rely on the eye's clarity. The sharp opportunity does not depend on the edge of the blade. When you reach this point, what matter remains? O disciple! The silk thread atop the pole—you may play with it as you will, Yet without touching the clear waves, the meaning stands apart.
師云。上堂踞坐乃祖庭說法之清規。集眾晚參寔宗門示徒之洪範。明不越戶。太陽門下要辨三秋。穴不栖巢。明月堂前令知九夏。目不頋他位裏。雖是偏處不逢。其奈玄中不失。脚不踏他位裏。勑遍天下。王不流行。後天童立四借借。一曰借位明功。二曰借功明位。三曰借借不借借。四曰全超不借借。若非久參曹洞正宗。往往觸途成滯。故六戶不掩。四衢無蹤。信乎入息不居陰界。出息不涉眾緣。恁麼看來。眼耳鼻舌身意關他甚事。乃至見聞覺知覔甚來由。直饒學不停午。意不立玄。已是不快漆桶。何必向千劫萬劫口角舌端眉尖眼底明來暗謝處智起惑亡者哉。端的峻機捷辯豈犯鋒鋩。玄唱玄提了無痕跡。所以道。到這裏有甚麼事。雖本無事。不見道。莫將無事為無事。往往事從無事生。若不呼召指示明白。切恐一向尋言逐句情識卜度。是他夾山曾於華亭江上紅蓼灘頭口傳心授葉綴花聯道。竿頭絲線從君弄。不犯清波意自殊。恰似臨濟囑三聖云。㳂流不止問如何。真照無邊說向他。離相離言如不稟。吹毛用了急須磨。林泉道。任伊蓋覆將來。不管傷鋒犯手。只如隱顯全該。枯榮自異一句。須假丹霞分明頌出。頌曰。
The master said: Ascending the dais and sitting cross-legged is the pure tradition of teaching in ancestral halls. Gathering the assembly for evening instruction truly embodies the great model of guiding disciples in our school. The light does not pass through the door—yet beneath the sun-gate, one must discern the three autumns. The nest does not lodge in the cave—yet before the hall of bright moonlight, one is made to know the nine summers. The eye does not glance at other positions—though it may seem to miss the partial, it never loses the profound. The foot does not tread in other positions—though the imperial decree spreads throughout the world, the king does not circulate.
Later, Tiantong established the four borrowings: first, borrowing the position to clarify the function; second, borrowing the function to clarify the position; third, borrowing the borrowing without borrowing; fourth, completely transcending without borrowing. Unless one has long studied the authentic tradition of Caodong, one will often encounter obstacles along the way. Therefore, the six gates are not closed, the four crossroads leave no trace. Truly, the in-breath does not dwell in the realm of shadows, the out-breath does not involve conditioned phenomena. Seen in this way, what concern are the eyes, ears, nose, tongue, body, and mind? Even seeing, hearing, sensing, and knowing—what reason is there to seek them? Even if one studies without pause, with intention not establishing the mysterious, one is already an unenlightened dullard. Why must one, through countless kalpas, in the tip of the tongue, the corner of the mouth, the edge of the eyebrow, the bottom of the eye, in places where light comes and darkness recedes, where wisdom arises and confusion perishes...?
Indeed, sharp opportunity and swift discernment do not clash with edges. Profound expression and profound guidance leave no trace at all. Therefore it is said: Arriving here, what matter is there? Though fundamentally there is no matter, have you not heard? Do not take no-matter as no-matter—often, matter arises from no-matter. If not summoned and clearly pointed out, I fear one will merely chase words and phrases, speculate with emotional consciousness.
It was Jiashan who, on the Huating River at Red Smartweed Beach, transmitted mind to mind, linking leaves and joining blossoms, saying: "The silken thread on the pole tip—play with it as you will. Without touching the clear waves, the meaning is naturally distinct." Just as Linji instructed Sansheng: "Flowing on without cease—what about it? True illumination boundless—speak it to him. Leaving form, leaving words, if not received, the sharp blade, once used, must urgently be whetted."
Linquan said: "Let them cover it over as they will—regardless of wounding edges or offending hands." Just as the phrase "hidden and revealed all included, withered and flourishing naturally different" must rely on Danxia to clearly chant it out. The chant says:
月沉碧海龍非隱(大小明白)。霧鎻蒼梧鳳不知(却最親切)。劫外森森無影木(根非生下土)。垂陰自有未萌枝(葉不墜秋風)。
The moon sinks into the emerald sea, yet the dragon is not hidden. Mist veils the ancient parasol tree, but the phoenix remains unaware. Beyond the kalpas stands a vast, shadowless tree, Its roots not born from earthly soil. Its shade extends from branches yet to sprout, Leaves untouched by autumn winds.
師云。有句非宗旨。無言絕聖凡。暗中通一線。雲影上東巖。雖是月沉碧海霧鎻蒼梧。龍非隱而或躍在淵。鳳不知而了無依倚。玄微莫測。幽奧難明。空劫外靈木迢然。朕兆前意根豁爾。由是高懸日月森森鬱鬱而別有壺天。暗度春秋密密嚴嚴而非同世境。所以道無影樹下永劫清凉。不響山中長年普應。未萌枝清陰匝地。沒蒂花殊色輝天。唯除具眼人。方省其中意。只如底事合作麼生分析。不是知音徒側耳。悲風流水豈相干。