When I’m at home

Mixed-media image Copyright©2024 Hoko Karnegis.

I vow with all beings:

When I’m at home

In the training temple, there are four-line verses (Skt. gathas, Jp. ge) to be chanted for a variety of daily activities.  Everything from waking up in the morning to brushing the teeth to eating a meal is an opportunity to remember to practice what Buddha taught.  These gathas are based on teachings from Volume 14 (Purifying Practice) of the Avatamsaka Sutra.  Hoko takes a look at these sutra verses to investigate what they’re pointing to and how we can include them in our own daily practice.

When I’m at home,
I vow with all beings
to realize that “home” is empty
and escape its pressures.
[1]

The first verse in the sutra starts where we all start—at home.  What could be more basic and foundational?  Chances are, you haven’t considered simply being at home as a practice in itself.  Yet, of course, there is home and “home”—the home made up of doors and dishes and dresses, and the “home” we inhabit when we settle into non-attachment.

When we receive lay precepts, the ceremony is sometimes called zaike tokudo 在家得度: staying home and acquiring (the practice).  That’s in contrast to ordination as a novice, which is called shukke tokudo 出家得度: leaving home and acquiring (the practice).  Traditionally, laypeople did their practice in the context of family and job responsibilities, while the clergy left those obligations behind and devoted the entirety of their time and attention to sitting and study.  Today in North America, few practitioners live in a temple full time; almost all of us are managing home lives for ourselves regardless of what kind of commitment we’ve made to the Three Treasures.  If we don’t do our own laundry, cook our own meals, go get the mail and cut the grass, those things aren’t going to happen.  The cat box isn’t going to clean itself.

The daily round of home life is made up of both tedious chores and special memories.  It’s where the den is full of keepsakes and the basement is full of clutter.  It’s where your toddler learns to crawl and where you wait up on prom night.  Taking care of infants and elders, taxes and temperatures, guinea pigs and groceries becomes a moving, changing mosaic of activity.  Days are full and closets are full and mouths are full.  But wait—”home” is also empty?

Home, like everything inside and outside of it, is the very embodiment of emptiness, or suchness.   Emptiness in this case means that none of it has a permanent self-nature to which we can cling.  That’s because nothing comes into existence randomly.  Everything arises from causes and conditions.  Some kind of energy moves somewhere, or karma unfolds, and there’s the potential for something to arise.  However, without the right conditions, things will go in another direction.  If you try to plant a seed on a rock, it won’t grow and flower.  If you have a patch of lovely soil but no seed to plant, again no flower will grow.  Both causes and conditions are necessary for any particular thing to happen.

The Buddha taught that all things are impermanent, including causes and conditions and the things to which they lead.  If causes and conditions are themselves changing, it stands to reason that the things that arise from them are also constantly changing.  That means we really can’t cling to anything—even as something as important to us as home. 

We take a lot of our self-image from our homes, and we likely consider our homes and home lives to be both expressions and explorations of who we are.  Not clinging to the beliefs and belongings we associate with our homes is a tall order.  There’s little more personal to us than where we live and what we own.  I think it’s no accident that the sutra verses start here.  If we can see the emptiness of home, we’re on our way to seeing the emptiness of this one unified reality.

But why would we want to do this?  Why disenchant ourselves from something as wholesome and comforting as home?  Why seek another “home” when this one seems perfectly fine?

Not having a place to call home can indeed be disconcerting.  I lived in the Twin Cities for the first 45 or so years of my life.  Then all at once I rented out my house, put everything I owned in storage, quit my government job of 16 years, and went to train in Japan.  I didn’t know how long I’d be there or what I’d be doing when I came back.  When I returned I immediately went to run the Zen center in Milwaukee, I city in which I’d never lived before.  From there, two years later I went to work at Hokyoji in southern Minnesota, just off the Iowa border, and after another three years I came to Sanshin in Indiana.  Along the way, I realized that I felt like I no longer had a permanent home.  After nearly five decades in one place, suddenly I was pulling up sticks and moving over and over again.

Not only was I now leading a nomadic life, when I went back to the Twin Cities I didn’t recognize the old, familiar places I was used to.  Time and people had moved on.  Buildings had been put up, renovated and torn down.  My old office building was now a condo.  The house in which I’d grown up had long since been sold to another family.  Rural residential areas were now zoned for higher density housing and urban sprawl was worse than ever.  My old home was well and truly gone.

That bothered me some for awhile.  If we don’t know where we come from, we lose some sense of who we are.  My family isn’t from Minnesota originally, but it was the only place I knew for many years.  I envied those of my friends who had several generations in the state and felt a real connection to Minnesota culture.  When I began work on my genealogy at the age of 14—long before the age of the internet, when everything had to be done by paper letters—I suspect I was trying to get a sense of where I come from.  As it turns out, I had to go back six or seven generations to find ancestors and their families with deep roots in any one place.  Even so, their places weren’t my places.  I’d never been to them and hardly felt like I could lay claim.

After I’d been in Indiana for about a year, a sangha member asked me whether Bloomington felt like home now.  I had to say no, but I also couldn’t say where home was for me now.  It’s become a moment-by-moment concept for me.  In Japan, home was the storage room above the kitchen in the training temple that my roommate and I cleared out for ourselves.  In Milwaukee it was the lovely little teacher’s apartment up on the second floor of the turn of the century house that serves as the temple.  At Hokyoji, I lived entirely in a room of about 170 square feet over the workshop and tractor garage.  All were home briefly before it was time to follow the dharma somewhere else.

All of those places are part of my story, but I don’t think I take any identity from them now.  Looking back, I can see that the universe has been handing me a teaching about the emptiness of “home.”  We can exist without the need to pin down home as a physical location, and on that basis we can “escape its pressures.”  We can be equally at home in samsara and nirvana, living with equanimity whether we encounter shrieking cats and leaky sinks or comfy beds and perfect cups of Keemun Black.  Home is where our feet are right now, because there’s nowhere else we can be.

Nonetheless, home is a charged concept.  We carry a lot of shoulds about home.  It should be a place of safety and security, a familiar “comfort zone,” a manifestation of self-respect, a place where we belong because we’re surrounded by other like-minded people.  If we don’t associate some or all of those things with the situation in which we find ourselves, then home is somewhere else—somewhere we long to reach, where everything would be better.  There’s no place like home, and this sure isn’t it.

One way to define suffering is that we want things to be other than they are, and we can’t settle down anywhere while we’re chasing after what we want and running away from what we don’t want.  These are the pressures we escape when we realize what and where “home” really is.  In his Zazen Yojinki (Points to Watch in Practicing Zazen), Keizan Zenji reminds us, “The Buddha said, ‘Listening and thinking are like being outside of the gate; zazen is returning home and sitting in peace.’  How true this is!  When we are listening and thinking, the various views have not been put to rest and the mind is still running over.  Therefore other activities are like being outside of the gate.  Zazen alone brings everything to rest and, flowing freely, reaches everywhere.  So zazen is like returning home and sitting in peace.”

Finding the way “home” is as simple and as difficult as opening the hand of thought.  That’s when we can deeply understand that we’ve never really left the place where we belong, nor do we need to in order to find some perfect place to settle.  “Why leave behind the seat in your own home to wander in vain through the dusty realms of other lands?” asked Dogen Zenji.  “If you make one misstep, you stumble past what is directly in front of you.”

When we’re at home, whether in the midst of family uproar or focused solitude, let’s vow with all beings to realize that our actual “home” is empty of all of our ideas about it, all of our shoulds and attachments and stories.  Let’s escape the pressures of home that come either from clinging to the one we have or restlessly looking for another.  Let’s remember to practice what Buddha taught.

—•—

Next time:
Serving my parents,
I vow with all beings
to serve the Buddha,
protecting and nourishing everyone.

—•—

[1] Translations are based upon Thomas Cleary’s translation of the Avatamsaka Sutra, and have been recast by Hoko in the form of standard Sotoshu gathas.

— • —

Commentary by Hoko Karnegis

The Dōgen Institute offers a monthly series of posts by Hoko Karnegis, Senior Dharma Teacher at Sanshinji, in Bloomington, Indiana.

— • —

For further study:

> Other posts from this series


Copyright © 2024 Sanshin Zen Community

A Hairy Turtle on Zhaozhou’s Single Staff

Copyright©2024 Misaki C. Kido

Dōgen’s Chinese Poems (76)

A Hairy Turtle on Zhaozhou’s Single Staff
429.  Dharma Hall Discourse

狗子佛性」 (Dog’s Buddha-nature)

龜毛兎角非同類 (龜毛兎角と同類に非ず。)
春日花明如月開    (春日、花明かにして月の開くが如し。)
業識性將諸佛性 (業識性と諸佛性と、)
趙州主杖一條來    (趙州の拄杖、一條に來る。)

A turtle with hair and a rabbit with a horn
are not of the same kind.
On a spring day a flower’s brightness
is like the moon opening.
The nature of karmic consciousness
together with all Buddha natures,
Zhaozhou’s single staff arrives.[1]

This is verse 75 in Kuchūgen, and the Dharma hall discourse (上堂, jōdō) 429 in Volume 6 of Eihei Kōroku. This was given between the 8th day of the 4th month and the 27th day of 5th month in 1251. This verse in Manzan’s version is the same as Monkaku’s version.

A Hairy Turtle on Zhaozhou’s Single Staff
Dharma Hall Discourse

This is a short Dharma hall discourse given during the three-month summer practice period in 1251. Dōgen simply introduces the kōan of Zhaozhou’s dog and presents this poem.

To understand this poem, we need to understand Dōgen’s unique interpretation of this famous kōan story. To do so, it is helpful to investigate how this kōan had been understood before Dōgen. In the Recorded Saying of Zen Master Zhaozhou (趙州禅師語録, Jōshū Zenji Goroku), there are two dialogues regarding a dog’s buddha nature.

(1)
問、「狗子還有佛性也無。」
師云、「無。」
學云、「上至諸佛下至螘子。皆有佛性。狗子為什麼無」。
師云、「為伊有業識性在。」
A monk asked: “Does a dog have Buddha-nature or not?”
The master said, “Not [mu]!”
The monk said, “Above to all the Buddhas, below to the crawling bugs, all have Buddha-nature. Why is it that the dog has not?”
The master said, “Because he has the nature of karmic delusions.”[2]

(2)
問、「狗子還有佛性也無」。
師云、「家家門前通長安」。
A monk asked, “Does a dog have Buddha-nature or not?”
The master said, “The door of every house leads to the capital (Chan-an).”[3]

In the first dialogue, Zhaozhou said “Not (無, mu), and in the second dialogue, he said the dog has buddha-nature, because all roads lead to the capital. The name of the capital in the Tang dynasty was Chan-an (長安), meaning “eternal peace.”

It seems this kōan was developed in two ways. In the Song dynasty, the first case of the Mumonkan (無門関, Gateless Barrier), created within the Rinzai (Linji) tradition, took only the first part of the first dialogue:

問、「狗子還有佛性也無。」
師云、「無。」
A monk asked: “Does a dog have Buddha-nature or not?”
The master said, “Not [Mu]!”[4]

This is the most well-known form of the dog’s buddha-nature kōan. Even today, this is one of the most important kōans for beginners in Hakuin’s kōan system. Zenkei Shibayama Rōshi said in his teishō on this kōan:

“The experience of the Buddha Nature is creatively expressed here by “Mu.” Although literally “Mu” means No, in this case it points to the incomparable satori which transcends both yes and no, to the religious experience of the Truth one can attain when he casts away his discriminating mind. It has nothing to do with the dualistic interpretation of yes and no, being and nonbeing. It is Truth itself, the Absolute itself.”[5]

In the Caodong (Sōtō) tradition, Hongzhi Zhengjue (宏智正覚, Wanshi Shokaku, 1091–1157) collected one hundred kōans and composed verses on each of them. Case 18 of his collected kōans is Zhaozhou’s Dog. It is longer than the Mumonkan version:

僧問趙州、「狗子還有佛性也無」。
州云、「有」。 
僧云、「既有、爲甚麼卻撞入這箇皮袋」。 
州云、「爲他知而故犯」。
又有僧問、「狗子還有佛性也無」。
州曰、「無」。
僧云、「一切衆生皆有佛性。狗子爲什麼卻無」。
州云、「爲伊有業識在」。
A monk asked Zhaozhou, “Does a dog have a buddha-nature or not?”
Zhaozhou said, “Yes.”
The monk said, “Since it has, why is it then in this skin bag?”
Zhaozhou said, “Because he knows yet deliberately transgresses.”
Another monk asked Zhaozhou, “Does a dog have a budhha-nature or not?”
Zhaozhou said, “No.”
The monk said, “All sentient beings have buddha-nature – why does a dog have none, then?”
Zhaozhou said, “Because he still has impulsive consciousness.”[6]

Hongzhi’s version added the first half about Zhaozhou’s answer “Yes (有, U).” Later, in the 13th century, Wansong Xingxiu (万松行秀, 1166–1246) gave teishō on Wanshi’s collection of kōans and made the Book of Serenity (従容録, Shōyōroku). Wansong said in his instruction to this kōan, “A gourd floating on the water – push it down and it turns.” A dried gourd (bottle gourd) was used as water container. When we push a floating bottle gourd, it turns and shows a different part of itself. In this case “有, u” and “無, mu” are the way one floating gourd can be seen depending upon how we see it. Hongzhi interpreted that Zhaozhou offered “有, U” to the first monk because he might be a beginner, and to the second monk “無, Mu” because he might be mature enough. It was like Mazu’s skillful means—to give a yellow leaf to the crying baby saying that it was a coin, and after the baby stopped crying, to take it away.

In Shōbōgenzō Buddha-nature (佛性, Busshō), Dōgen discusses this kōan in a unique way, different from the Mumonkan and the Book of Serenity. He used Hongzhi’s version of the dialogue, but changed the order. To the first monk, Zhauzhou replied “無, Mu,” and to the second monk “有, U” . Therefore, Dōgen does not allow us to think that Zhaozhou first gave buddha-nature and then took it away.

In the beginning of the Busshō fascicle, Dōgen says that the entire-being of all living beings are buddha nature (悉有佛性, shitsuu busshō). Buddha-nature is not something like ātman (a permanent Self), owned by every sentient being but hidden. Therefore, the question “if a dog has buddha-nature or not” does not make sense to him. Buddha-nature is how all beings are, as true reality. Dōgen interprets the monk’s question as,

[The monk] is neither asking if [a dog] has buddha-nature, nor if [a dog] lacks buddha-nature. He is asking if an iron man also studies the way.[7]

An iron man is a strong, determined bodhisattva, thus the question means, “Does the dog, the determined bodhisattva, still practice?” And the answer is, of course, it does.

Shakyamuni Buddha taught the Middle Way avoiding two extremes, “the view of existing (有見, u-ken) and “the view of non-existing (無見, mu-ken),” that is, all beings are neither being (有, u) nor non-being (無, mu). In Mahāyāna Buddhism, this way of being is called the middle way, emptiness, and the “true reality of all beings (諸法実相, shohō jissō).” Dōgen named this way of all beings as buddha-nature. Negation of being (有, u) is hi-u (非有), that is mu (無), and negation of non-being (無) is hi-mu (非無), that is u (有). From one way of viewing it, each being is u (有) and from another way of viewing each being is mu (無). Being and non-being completely interpenetrate each other.

In the same logic, each thing is u-buddha-nature and at the same time mu-buddha-nature. That is what Dōgen discusses in Shōbōgenzō Buddha-nature. It can be also said that the dog is completely buddha-nature and at the same time, completely karmic-consciousness-nature. Buddha-nature and karmic-nature are not a dichotomy, not half and half. When the dog is karmic-nature, there is no buddha-nature; and when the dog is buddha-nature, there is no karmic-nature. The dog, the iron man, needs karmic consciousness to practice and walk with all beings in samsara, where all beings are.

The first bodhisattva vow is, “beings are numberless, I vow to free them.” If we are a bodhisattva, we vow to help all beings to cross over the river between this shore of samsara and the other shore of nirvāṇa. To work with all beings, we need to stay on this shore, because all beings are suffering on this shore of samsara. Bodhisattvas vow not to enter nirvāṇa until all living beings have entered nirvāṇa. To stay on this shore, bodhisattvas need karmic consciousness. According to Dōgen, Zhaozhou’s dog is an iron-man, a determined bodhisattva. The dog needs karmic consciousness to work in the world of dogs. Buddha-nature needs to enter the dog’s skin-bag and to use dog’s karmic-consciousness. Buddha-nature is intentionally born as a dog to work as a bodhisattva. This is the summary of what Dōgen says about the dog’s buddha-nature in the fascicle of Shōbōgenzō Buddha-nature.

A turtle with hair and a rabbit with a horn are not of the same kind.
On a spring day a flower’s brightness is like the moon opening.

The expression, “a turtle with hair and a rabbit with a horn (亀毛兎角) is from the Mahāyāna Nirvāṇa Sutra in which the Buddha said that living beings’ buddha-nature is not “being (有)” and is not “non-being (無)”:

The Buddha-Nature is “not-is,” but it is not as with the horn of a hare [i.e. it is not that it does not exist]. Why? Even with innumerable expedients, the hair of a tortoise and the horns of a hare cannot come about. The Buddha-Nature can come about. So, though “not-is,” it is not the same as the horn of a hare. So, the Buddha-Nature is neither “is” nor “not-is”; it is “is” and “not-is.”[8]

Buddha-nature is not like turtle’s hair or rabbit’s horn, which are only names. Buddha-nature is how turtle and rabbit are—as emptiness, middle way, or interdependent origination, neither being (有, u) nor non-being (無, mu).

According to Dōgen, Buddha-nature is not something hidden somewhere in the five aggregates, our body and mind. As he wrote in Tenzo Kyōkun, it is not hidden, and it is always revealed as clear as the brightness of a flower on a spring day, or like the moon revealed when clouds disperse in the autumn night.

The nature of karmic consciousness together with all Buddha natures,
Zhaozhou’s single staff arrives.

The third line shows karmic-nature and Buddha-nature as two names of the same thing. Even when I arouse bodhi-mind, take the bodhisattva vows, and receive the bodhisattva precepts, my karmic nature as “Shohaku” who was born in 1948 in Japan, three years after the world War II cannot be deleted. While I was growing up, I could not reject the influences from my family, neighbors, friends, or from the way people lived and worked in Japanese society; all those things happening around me became elements of my personality. After I became a teenager, I wanted to make myself in the way I wished, but it was not possible beyond a certain degree. When I became a Buddhist priest, the only thing I could use was what I had studied and experienced from my circumstances since my babyhood. By studying Buddhist teachings and practicing Buddhism, my way of thinking, making decisions, and acting might be changed certain degree, but still, the karmic-nature of the boy who grew up in Osaka, Japan is there. This is the only thing I can use for the sake of the Dharma.

“Zhaozhou’s single staff arrives” came from Zhaozhou’s poem at the end of the Recorded Sayings of Zen Master Zhaozhou, entitled “Song of the Twelve Hours of the Day.” In this long poem, Zhaozhou describe his day-to-day simple life with neighboring people as an aged monk at a poor village temple. In the last line of “Sun down. The ninth hour of the day,” Zhaozhou wrote:

一條拄杖麤棘藜,不但登山兼打狗一條の拄杖、麤棘藜、但だ山に登るのみならず、兼ねて狗を打つ。)
A staff of rough bramble wood;
It’s not just for mountain climbing but also to chase off dogs.[9]

Zhaozhou used rough bramble wood as his staff. He used the staff not only for climbing the mountain of the Buddhadharma of ultimate truth, but also to chase off dogs’ duality of u and mu in the day-to-day affairs of ordinary living. Citing this usage of a staff from Zhaoshou’s poem and his simple way of life, Dōgen says that Zhaozhou used one staff to show the non-duality of the dog’s karmic-nature and the dog’s buddha-nature.

It is interesting that, following Zhaozhou, Dōgen composed his own Verses for the Twelve Hours and included it at the end of Dōgens Extensive Record (永平広録, Eihei Kōroku). In Dōgen’s verse, he describes the monks’ practice in the monks’ hall during twelve hours.

In the verse on Twilight; Hour of the Dog [about 7–9 P.M.], Dōgen mentions dog’s nature:

How could a dog not have dog nature?
A frog’s whole body is like a frog.
A barefoot Chinaman learns Chinese walking,
Persians from the southern ocean offer ivory.[10]

Twilight in the monks’ hall is the time for evening zazen. To practice zazen is to be peacefully settled down in our own nature; that is, buddha-nature is karmic-nature; karmic-nature is buddha-nature; buddha-nature is nothing other than buddha-nature, karmic-nature is nothing other than karmic-nature.

[1] (Dōgens Extensive Record volume 6, Dharma hall discourse 429, p. 381–382) © 2010 Taigen Dan Leighton and Shohaku Okumura, Dōgens Extensive Record. Reprinted by arrangement with Wisdom Publications, Inc., www.wisdompubs.org.
[2] The Recorded Sayings of Zen Master Joshu (by James Green, Shambhala,1998) #132, p.53. “Crawling bugs” (螘 Jp. ari) refers to ants.
[3] Ibid., # 363, p. 116.
There is another dialogue regarding buddha-nature, but it is not about a dog’s buddha-nature, but about an oak tree’s buddha-nature. A monk asked, “Does the oak tree have Buddha-nature or not?” The master said, “It does.” The monk said, “When will it become Buddha?” The master said, “When the sky falls to the ground.” The monk said, “When will the sky fall to the ground?” The master said, “When the oak tree becomes Buddha.” (#305, p.101)
[4] James Green’s translation. Another translation is in Zen Comments on the Mumonkan: The authoritative translation, with commentary, of a basic Zen text. (Zenkei Shibayama, translated by Sumiko Kudo, Harper & Row, 1974), p.19.
[5] Ibid., p.21–22.
[6] Translation by Thomas Cleary in Book of Serenity (Lindisfarne Press, 1990), p.76. “Impulsive consciousness” is a translation of gosshiki (業識), literally “karmic consciousness.”
[7] Okumura’s translation. Another translation is in Treasury of the True Dharma Eye: Dōgen’s Shōbōgenzō Vol. I (Sōtōshū Shūmuchō, 2023), p.108.
[8] Nirvana Sutra: A Translation of Dharmakshema’s Northern Version (translated by Kosho Yamamoto), p.313.
[9] Okumura’s unpublished translation.
[10] Dōgens Extensive Record (Wisdom Publications), p. 645.

— • —

Translation and commentary by Shōhaku Okumura Roshi.

— • —

For further study:
See Dōgen’s Extensive Record.

> More of Dōgen Zenji’s Chinese Poems


Copyright©2024 Sanshin Zen Community

In Stagnant Water a Dragon Hides

Flickr, San Diego Museum of Art, Public domain, via Wikimedia Commons

Dōgen’s Chinese Poems (75)

In Stagnant Water a Dragon Hides
Dharma Hall Discourse on the Fifteenth Day of the Second Month [Parinirvāna Day, 1246]

「涅槃」 (Nirvāṇa)

別人面掛瞿曇眼      (別人の面に瞿曇の眼を掛け、)
拳手槌胸空懊懊      (拳手、胸を槌ちて空しく懊懊たり。)
尀耐天魔生死魔      (尀耐たり、天魔と生死の魔。)
七顛見佛八顛倒      (七顛して佛を見、八顛して倒る)

On various people’s faces hang Gautama’s eyes,
but still they beat their breasts with fists in empty grieving.
I cannot bear the heavenly demon, or the demon of life and death,
who roll around on the floor with laughter seven or eight times at seeing Buddha [dying].[1]

This is verse 74 in Kuchūgen, and the final part of Dharma hall discourse (上堂, jōdō) 146 in Volume 2 of Eiheikōroku. Manzan’s version of the verse is the same as Monkaku’s version.

In Stagnant Water a Dragon Hides
Dharma Hall Discourse on the Fifteenth Day of the Second Month [Parinirvāna Day, 1246]

This Dharma hall discourse was given in 1246 on Parinirvāṇa Day, the 15th day of the second month. Dōgen’s six Dharma hall discourses on Parinirvāṇa Day are included in Dōgen’s Extensive Record. This is the second one. In the 7th month of 1243, Dōgen and his sangha moved from Kyoto to Echizen. They stayed at Yoshimine-dera and Yamashibu until their new temple Daibutsuji was constructed in 1244. They moved to the new temple in the fall of the year. In 1245, they held the first three-month summer practice period in Echizen. This discourse was given in the second month of 1246. During this year, Dōgen wrote only one fascicle of Shōbōgenzō, Leaving Home (出家, Shukke) but gave seventy-four Dharma hall discourses. On 15th day of the 6th month of this year, Dōgen publicized Chiji Shingi (知事清規) and on the same day, he changed his temple’s name from Daibutsuji to Eiheiji. It seems he had completed the preparation for establishing a monastic system and that practice in accordance with the traditional monastic regulations (清規) was ready to begin.

Verse 47 of Kuchūgen, which I introduced in December 2021, was the final dharma discourse on Nirvāṇa Day, given in 1252, a year before Dōgen’s death. In that discourse, Dōgen said nirvāṇa is neither departing nor entering the world, neither birth nor extinction, neither coming nor going. The buddha entered nirvāṇa but he always abides on Vulture Peak. In other words, nirvāṇa is the intersection of the impermanence of his rūpa-body and the eternity of his dharma-body.

In verse 47, Dōgen put himself on the side of not-yet enlightened disciples such as Ānanda and lay people and said:

Amid love and yearning, what can this confused son do?
I wish to stop these red tears, and join in wholesome action.[2]

In the current discourse, he says that at midnight of this day, not only the Buddha enters nirvāṇa, but also all buddhas, ancestors, and bodhisattvas enter nirvāṇa. He is talking about nirvāṇa in their practice here and now, the only actual moment both impermanence and eternity are completely manifested. At this intersection, all the various bodhisattvas are working, expressing form and emptiness in their unique ways. He said:

Stagnant water hides a dragon; in the entire earth there is no person. Clods of mud or lumps of earth may break someone’s front teeth or sever one’s left arm. Today we exist, tomorrow there’s nothing. At midnight, holding this with empty hands is called practice for three immeasurable kalpas and another hundred kalpas. With full exertion lift up this single stone, and call it the lifespan of as many ages as the atoms in five hundred worlds.[3]

“Stagnant water” is a translation of shisui (死水). The literal meaning of this expression is “dead water,” but it commonly refers to water which does not flow, like puddle water. In case 20 of the Blue Cliff Record (Hekiganroku), we find the expression, “Stagnant water cannot conceal a dragon (死水不蔵龍).” This means that a live dragon does not stay in a puddle of dead water, instead it goes to “where vast swelling billows of foamy waves flood the heavens.”[4] But here in this discourse, Dōgen twists the meaning and says, “stagnant water hides a dragon. (死水蔵龍)” He means that in dead water there is a live dragon. Last month I introduced the dialogue between Zhaozhou and Touzi. Zhaozhou asked, “What is it like to gain life within death?” (死中得活時如何) Within death, there is life; within life, there is death. This is the meaning of nirvāṇa in this discourse. This is also what Dōgen meant in Shōbōgenzō Life and Death (生死):

Just cast aside and forget your body and mind and throw them into the house of buddha; then all is done by buddha. When we go on following this [practice] we are released from life-and-death and become buddhas without using our strength or consuming our mind.[5]

When he says that at midnight of Nirvāṇa Day, all buddhas and bodhisattvas enter nirvāṇa, he meant that they cast aside and forget their body and mind and throw themselves into the house of buddha; then all is done by buddha. They lose their life as individual beings, and attain life in nirvāṇa together with all beings.

“In the entire earth there is no person. (尽地無人),” means that the entire earth is only the entire earth; all people and other beings disappear and become part of the earth. Therefore, there are no people. The entire ten direction world (the entire network of interconnectedness) is beyond life and death and yet includes life and death. There are all the different individual beings and yet only one world, the house of buddha. That is what “to enter nirvāṇa” means. All buddhas and bodhisattvas are in this nirvāṇa of all is one, and one is all.

However, that does not mean people can live without any difficulty; rather, they may have more difficulties. They need work with “clods of mud or lumps of earth.” For example, it is said that someone threw a stone and broke Bodhidharma’s front teeth, and that the Second Ancestor Huike cut off his left arm.[6] These ancestors worked in samsara facing impermanence and various difficulties. That was their life in no-abiding nirvāṇa (無住処涅槃, mujūsho-nehan). Their wholehearted practice here and now is interpenetrated with eternity. “Three immeasurable kalpas” is the time bodhisattvas need to practice from the time of arousing bodhi-mind until attaining Buddhahood through the fifty-two stages. “The lifespan of as many ages as the atoms in five hundred worlds” refers to the Shakyamuni’s immeasurable life-span mentioned in the Chapter 16 of the Lotus Sutra.

After saying this, Dōgen continued that there is a more essential point, and presented this verse:

On various people’s faces hang Gautama’s eyes,
but still they beat their breasts with fists in empty grieving.

Within the completely-one reality of nirvāṇa, there are all different beings; all bodhisattvas work in their unique ways. As Dōgen often quotes, Rujing said that when Shakyamuni attained awakening, he lost his eyeballs. This means the dichotomy of “he” as “the subject” and the bright star, mountains, rivers, the great earth and all beings “as objects” dropped off. And now, the eyes the Buddha lost are hanging in people’s faces. They see things as Shakyamuni saw them. But still, they are sad and beat their breasts and cry. They are sad not only with Shakyamuni’s passing away, but also with all other beings’ suffering in samsara. This is the same as Dōgen said in Genjōkōan, “Therefore, flowers fall even though we love them; weeds grow even though we dislike them.”

I cannot bear the heavenly demon, or the demon of life and death,
who roll around on the floor with laughter seven or eight times at seeing Buddha [dying].

The third line is a translation of “尀耐天魔生死魔.” “Heavenly demon” and the “demon of life and” death are translations of ten-ma (天魔) and shoji-ma (生死魔).These are the two of four names of the demon (Mara). At the end of Shōbōgenzō Arousing bodhi-mind (発菩提心) Dōgen quotes Nāgarjuna’s commentary on the Prajñā-pāramitā Sutra, Daichidoron (大智度論):

一煩悩魔、二五衆魔、三死魔、四天子魔。 (一には煩悩魔、二には五衆魔、三には死魔、四には天子魔なり。)
The first is the demon of delusive desires, the second is the demon of the five aggregates, the third is the demon of death, and the fourth is the celestial demon.

After explaining each of them, Nāgarjuna asks a question and answers by himself:

問曰、「一五衆魔攝三種魔。何以故別説四。」( 問うて曰く、一の五衆魔に三種魔を攝す。何を以ての故に別して四と説くや。)
Question: “One category, the demon of the five aggregates, covers the other three kinds of demon. Why do you separate them and say that there are four kinds?”

答曰、「実是一魔、分別其義故有四」。(答て曰く、実に是れ一魔なり、其の義を分別するが故に四有り。)
The answer: “Truly it is one demon. [But] for the purpose of analysis, there are the four kinds.”[7]

Nāgarjuna said that actually there is only one demon, our five aggregates. When our five aggregates become five aggregates of attachment (五取薀, pañca upādāna skandhas), it functions as the demon (Mara). I think here, when Dōgen says that heavenly demon and demon of life-and-death, he means our five aggregates. That is, those people who wear the Buddha’s eyes and these demons are both our selves. In Saṃyutta Nikāya, Shakyamuni said our five aggregates are Mara.[8] What Nāgarjuna said about Mara is in accordance with the Buddha’s teaching: Mara (demon) is our self, body and mind. Even though the Buddha conquered Mara when he attained awakening, he did not kill Mara. Mara lived together with the Buddha as his body and mind. Shortly before his passing away, Mara visited the Buddha and requested that the Buddha enter nirvāṇa.[9] On the surface, it seems as if Mara was delighted because Shakyamuni died as he requested; Mara thought that this time he had conquered the Buddha. Another possibility might be that since it was hard work for Mara to function as the Buddha’s body and mind for forty years, Mara was happy to be released from this difficult task.

The final line of this verse is “who roll around on the floor with laughter seven or eight times at seeing Buddha [dying]. (七顛見佛八顛倒)” literally, “Those demons fall down seven times seeing buddha, and the eighth time fall down. “With laughter” is not in the original sentence. Commonly 七顛八倒 (shichi-ten, ha-tto, falling down seven times and eight times) means “tossing oneself about in great pain,” so the demons are suffering. But in our translation, Taigen and I added “with laughter” because of what Dōgen says in another Nirvāṇa Day discourse (311) in 1249:

死魔見仏仏魔笑。悩乱人天哭未休。莫怪山僧不笑哭。十方諸仏亦低頭。
“The Māra of Death saw Buddha [passing away], and both the Buddha and Māra laughed. Human and heavenly beings were disturbed and could not stop crying. Do not have doubts about this mountain monk [Dōgen] neither laughing nor crying. All buddhas in the ten directions also nod their heads.[10]

The Buddha and the demon laugh, people cry, Dōgen neither laughs nor cries, and all buddhas nod their heads showing their gratitude and respect. There are various, different actions with regard to Nirvāṇa; it is dying, it is departure, and yet it is also becoming liberated from the rūpa-body and attaining the eternal dharma-body. We need to investigate life and study death, by both letting go and taking hold. The Buddha’s Nirvāṇa day is the occasion we remind ourselves that life-and-death is samsara but it is also Buddha’s Life, nirvāṇa.

— • —

[1] Dōgen’s Extensive Record volume 2, Dharma hall discourse 146, p. 173 © 2010 Taigen Dan Leighton and Shohaku Okumura, Dōgen’s Extensive Record. Reprinted by arrangement with Wisdom Publications, Inc., www.wisdompubs.org.
[2] Dōgen’s Extensive Record, p.433.
[3] Ibid., p.174.
[4] The Blue Cliff Record (Thomas Cleary, Shambhala, 1992), p. 135.
[5] Okumura’s unpublished translation.
[6] I cannot find the original story of Bodhidharma’s broken teeth. But in the Recorded Sayings of Yangqi Fanghui (楊岐方會, 992–1049), Fanghui said, “Great Master Bodhidharma did not have front teeth. (達磨大師無當門齒)” (T. No. 1994A, Vol. 47, p.640).
[7] Okumura’s unpublished translation.
[8] Saṃyutta Nikāya, part III, section 23 Rādhasaṃyutta (Connected Discourses with Rādha), p.984.
[9] The Long Discourse of the Buddha: A Translation of the Dīgha Nikāya (Maurice Walshe, Wisdom,1987), p. 246.
[10] Dōgen’s Extensive Record, p. 287.

— • —

Translation and commentary by Shōhaku Okumura Roshi.

— • —

For further study:
See Dōgen’s Extensive Record.

> More of Dōgen Zenji’s Chinese Poems


Copyright©2024 Sanshin Zen Community

Practice That Continues Beyond Magical Offering

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Image credit: Cleveland Museum of Art, CC0, via Wikimedia Commons

Dōgen’s Chinese Poems (74)

Practice That Continues Beyond Magical Offering
313. Dharma Hall Discourse

「百鳥銜花」(百鳥花を銜む; Hundred Birds Carrying Flowers)

含花百鳥獻牛頭 (花を含んで百鳥牛頭に獻ず。)
投子當初儀賣油 (投子當初賣油を儀う。)
才不才三十五里 (才と不才と三十五里。)
古今道得進將修 (古今道得す進と修と。)

Carrying flowers, hundreds of birds made offerings to Niutou.
Touzi [Datong] appeared to be selling oil.
Talented and untalented are thirty-five miles apart.
People in the past and present have expressed progress and practice.[1]

This is verse 73 in Kuchūgen, and the final part of Dharma hall discourse (上堂, jōdō) 313 in Volume 4 of Eiheikōroku. The short speech prior to this verse is introduced below. This discourse was given between the 15th day of the second month and the 8th day of the 4th month in 1249. Manzan’s version is slightly different from Monkaku’s version in the first and third lines:

花百鳥獻牛頭 (花を銜んで百鳥牛頭に獻ず)
Holding flowers in their beaks, hundreds of birds made offerings to Niutou.
銜 (fukumu) means “to hold something in one’s mouth.”

不才三十里 (才と不才と三十里)
Talented and untalented are thirty miles apart.
The character 與 means “and.” To change “thirty-five miles” to “thirty miles,” one character is subtracted.

Practice That Continues Beyond Magical Offering
313. Dharma Hall Discourse

 This is a short discourse. Before the poem, Dōgen simply introduces a kōan story:

I can remember that before Niutou had met the fourth ancestor [Dayi Daoxin], hundreds of birds brought Niutou flowers in their beaks as offerings. After their meeting, the birds brought no more flowers.

This poem is about the comparing two stories. The first story is about Niutou Farong (牛頭法融, Gozu Hōyū, 594–657) before and after his meeting with the Fourth Ancestor, Dayi Daoxin (大医道信, Daii Dōshin, 580–651). Farong was the founder of Niutou school of Chinese Zen. Historically, it was an independent school, together with Northern and Southern schools. But later, when the orthodox Zen lineage was established, the connection between Daoxin and Farong was made up.

According to the Record of Transmission of the Lamp (景徳伝灯録, Keitoku Dentōroku, compiled in 1004), after Daoxin transmitted the Dharma to the Fifth Ancestor, Daman Hongren (大満弘忍, Daiman Kōnin, 602–675), he visited Mt. Niutou and met Farong. The story says that before he met Daoxin, Farong was always sitting alone on the mountain. Even when other monks approached him, he did not respond. Hundreds of birds holding flowers in their beaks came to offer them to him. Around Farong’s hermitage, some tigers and wolves were walking around. Upon seeing the animals, Daoxin raised his hands as if he feared them.

Farong said, “Is a Zen master like you still afraid of animals?”
Daoxin said, “What did you just see?”
Then, Daoxin wrote the character for “Buddha (佛)” on the rock on which Farong always sat.
Farong looked fearful.
Daoxin said, “Are you still afraid of Buddha?”
Farong did not understand what Daoxin meant, so he made a full prostration to show that he was ready to listen to Daoxin.

This story shows there was some difference between Daoxin and Farong at that point in time. However, the story continues: after he met Daoxin, Farong was transformed.

After hearing the Ancestor’s long dharma discourse, Farong asked a few questions and listened to Daoxin’s answers. Then the Ancestor gave dharma transmission to him. They met only this once in their lifetimes. One important point in Daoxin’s teaching was that there are no triple worlds of samsara to escape from, and no awakening or nirvāṇa to seek after; the great Way is empty and vast: “This being the Dharma you have now come to, without anything lacking, how is it different from Buddha?” Daoxin taught that to practice meditation chasing after some valuable thing was still samsara, even if that valuable thing was awakening (which was Farong’s practice). Instead, Daoxin offered the teaching of sudden enlightenment without gaining anything.

After this story, the Record of Transmission of Lamp text introduces a note about a conversation between a monk and Nanquan Puyuan (南泉普願, Nansen Fugan, 748–835) concerning Farong’s transformation.

有僧問南泉。「牛頭未見四祖時爲什麼鳥獸銜華來供養」。
A monk asked Nanquan, “Before Niutou met the Fourth Ancestor, why did birds and animals come holding flowers to offer them to him?”
南泉云、「只爲歩歩踏佛階梯」。
Nanquan said, “It is only because [Niutou] walked step by step on the stages to the buddhahood.”
僧云、「見後爲什麼不來」。
The monk asked, “After meeting [him], why did they stop coming?”
南泉云、「直饒不來猶校王老師一線道」。
Nanquan said, “Even though they did not come, still, compared with Wang Rōshi, there is a little difference.”[2]

In the original story in the Record of Transmission of the Lamp, it does not say that the birds stopped coming to offer the flowers to Farong after he met Daoxin. But in another version of the same story in Zutanji [祖堂集, Sodoshu] made in 952, it is said that after Farong met Daoxin, mysterious spiritual beings, demons or spirits stopped coming to make offerings to him.[3] Farong was practicing meditation by himself seeking after the attainment of awakening. He was supported by spiritual beings, demons or gods, and animals which came to make offerings to him. But after receiving Daoxin’s teaching, Farong did not seek anything. Then the spiritual beings could not see him, and animals stopped coming to offer things to him. Because his practice became nothing special, nothing mysterious, those beings could not see him.

Dōgen wrote in Points to Watch in Studying the Way (学道用心集, Gakudō-Yōjinshū):

A practitioner should not practice buddha-dharma for his own sake, in order to gain fame and profit, or to attain good result, or to pursue miraculous power. Practice the buddha-dharma only for the sake of the buddha-dharma. This is the Way.[4]

The second story is about Zhaozhou Congshen(趙州従諗, Jōshū Jūshin, 778–897)’s encountering with Touzi Datong (投子大同, Tōsu Daidō, 819–914). While Zhauzhou was traveling, he visited Touzi Datong living in Mt. Touzi. When Zhauzhou arrived at the nearby town of Mt. Touzi, Touzi also came down into the city. They met accidentally, but they did not recognize each other.

Zhauzhou asked a local person if that was Touzi. The person said “Yes.”
When he caught up Touzi, he asked, “Are you the master of [the temple] in Touzi mountain?”
Touzi said, “Please give me a coin for tea and salt.”

Touzi was pretending that he was a beggar and not an enlightened Zen master.

Zhauzhou went to Touzi’s hermitage before Touzi returned.
Touzi returned carrying a jar of oil.
Seeing him, Zhauzhou said, “Having admired Touzi for a long time, when I come, I see only an old oil seller.”

Zhauzhou was teasing Touzi, saying he looked like an ordinary old oil seller, not like a great Zen master.

Then Touzi said, “You see only an old oil seller, but you do not yet know Touzi.”

Touzi meant that Zhauzhou only saw his karmic body and mind (which was not different from a beggar or an oil seller), he did not see his true face as a Zen master.

Zhauzhou asked, “What is Zen master Touzi like?”
Touozi said, “Oil! Oil!”

This time, Touzi pretended to be an oil seller and made a hawker’s cry. I think Touzi is saying that Touzi seeming to be a beggar or an oil seller and Touzi the Zen master are the same but different; different but the same.

Zhauzhou asked, “What is it like to gain life within death?” (死中得活時如何)
Then Touzi said, “It is not allowed to walk in the night, but you should arrive before dawn.” (不許夜行投明須到)[5]
Zhauzhou said, “I am like Houbai, and you are like Houhei. (我早侯白伊更侯黒)”[6]

Zhauzhou praised Touzi, saying he was as mature as himself.

Zhauzhou lived for 120 years and Touzi lived for 96 years. Zhauzhou was 41 years older than Touzi. When Zhauzhou was 81 years old, Touzi was 40 years old. It is said that Zhauzhou traveled after his teacher Nancuan’s death when he was 60 years old and settled at Kannonin temple in Zhauzhou, when he was 80 years old. It might have been possible they met each other, but Touzi was still a young Zen master. In this story, it sounds as if Touzi was as mature as Zhauzhou.

Touzi and Zhauzhou discussed the same point as Daoxin did with Farong. In both stories there is nothing like a mysterious power which attracts a spiritual being or animals. Touzi and Zhauzhou are very much ordinary and down to earth. On the surface, it seems they are just joking with each other except for the final question and answer.

In the first two lines of Dōgen’s verse, he is referring to the difference between Farong before and after meeting Daoxin, and also the difference between young Farong before meeting Daoxin and the two Zen adepts:

Carrying flowers, hundreds of birds made offerings to Niutou.
Touzi [Datong] appeared to be selling oil.

The first line is about the story of Nitou Farong and Dayi Dioxin. Farong was practicing meditation, seeking awakening to become a buddha. He had a mysterious power that attracted spiritual being and animals, so that they made offerings to him. But after Farong attained the Way, they could not see him and stopped making offerings. This is an important point in Dōgen’s teaching and practice. Dōgen introduces several more examples like Farong in Shōbōgenzō Gyōji (行持, Continuous Practice). The first one is Yunju Daoying (雲居道膺, Ungo Dōyō, ? – 902), the main heir of Dongshan, the founder of Chinese Sōtō School of Zen:

Great Master Hongjue of Mount Yunju, when long ago he was staying at the Sanfeng Hermitage, was sent food from the kitchen of the devas. Once, the Great Master visited Dongshan, ascertained the great way, and then returned to the hermitage. The emissary of the devas, once again sending food, sought the Master for three days but was unable to see the Master. No longer dependent on the deva kitchens, he took the great way as his basis. We should give thought to his spirit confirms [the way].[7]

The other examples are Jingqing Daofu (鏡清道怤, Kyōsei Dōfu, 864–937), Sanping Yizhong (三平義忠, Sanpei Gichū, 781–872), Nanquan Puyuan (南泉普願, Nansen Fugan, 748–835), and Hongzhi Zhengjue (宏智正覺, Wanshi Shōkaku, 1091–1157). About the reason why mysterious beings could not see the Zen masters after they attained the Way, Dōgen wrote:

Among past buddhas and ancestors there were many who received offerings from the devas. However, once they gained the way, the eye of the devas did not reach them, and the spirits lacked means [to contact them]. We should be clear about this point. When the devas and spirits follow the conduct of the buddhas and ancestors, there is a path for them to approach the buddhas and ancestors; when the buddhas and ancestors transcend the devas and spirits everywhere, the devas and spirits have no means of looking so far up to them and cannot approach the vicinity of the buddhas and ancestors.

These sayings came from Dōgen’s basic point of his practice, that is, continuous diligent practice without gaining-mind (無所得の常精進). His practice is not to go to some better place within the triple worlds of samsara without escaping from samsara. He finds nirvāṇa within samsara right in his continuous practice because samsara and nirvāṇa are not two separate places.

Talented and untalented are thirty-five miles apart.
People in the past and present have expressed progress and practice.

“Talented and untalented are thirty-five miles apart,” is taken from a non-Buddhist, classic Chinese story quoted in a Buddhist text by a Tendai master. In the original story, while two people are traveling, they saw a puzzling sentence by the side of the road. One of them, a talented person, understood right away, but the other person understood only after they walked thirty miles. In the quotation in the Buddhist text, it says thirty-five miles, instead of thirty-miles. That was the difference between Manzan’s version and Monkaku’s version.

In any event, the point is that we practice based on the ultimate principle, beyond dichotomy between deluded living beings and enlightened Buddha. Our practice is not to seek buddhahood. Still, there are differences among practitioners.

In the final line, Dōgen says that buddhas and ancestors in the past and present maintain that the differences are caused by whether we make diligent effort and practice. The original expression Dōgen used is 進 (shin) and修 (shu). The character進 (shin) means “to progress,” or it can be abbreviation of 精進 (shōjin), which means “diligent effort” (virya pāramitā), one of the six pāramitā. This is interesting logic; we don’t practice seeking progress in order to gain awakening or to become buddha, we practice based on the ground of oneness of living beings and buddhas. Still, to understand this point, we need diligent effort to practice. In this logic, we see the interpenetration of difference and unity. Within our diligent practice without seeking anything, buddhahood, or Dharmakaya Buddha is always present and indestructible.

— • —

[1] Dōgen’s Extensive Record volume 4, Dharma hall discourse 313, p. 289 © 2010 Taigen Dan Leighton and Shohaku Okumura, Dōgen’s Extensive Record. Reprinted by arrangement with Wisdom Publications, Inc., www.wisdompubs.org.
[2] Nancuan’s family name was Wang (王); Wang Rōshi refers to himself. This means that even though we don’t need to seek after awakening, still there is some difference between Farong and Nancuan. I think Nancuan is expressing the interpenetration of difference and unity.
[3] 是れより霊恠鬼神は供須するに地無し。
[4] Okumura’s translation in Heart of Zen: Practice without Gaining-mind (Sōtōshū Shūmuchō,1988), p.16.
[5] Zhauzhou’s question and Touzi’s answer later became a famous kōan which appears in both Blue Cliff Record case 41, and Book of Serenity case 63.
[6] Houbai (侯白) and Houhei (侯黒) were both skilled thieves. See Book of Serenity case 40: Yunmen, Houbai and Houhei.
[7] The translations from Gyōji are from Treasury of the True Dharma Eye: Dōgen’s Shōbōgenzō, Volume II (Sōtōshū Shūmuchō, 2023). p.6–56.

— • —

Translation and commentary by Shōhaku Okumura Roshi.

— • —

For further study:
See Dōgen’s Extensive Record.

> More of Dōgen Zenji’s Chinese Poems


Copyright©2024 Sanshin Zen Community