瑞州洞山良价禪師語錄 1.106

1.106

師因曹山辭，遂囑云：「吾在雲巖先師處，親印寶鏡三昧，事窮的要，今付於汝。」詞云：「如是之法，佛祖密付，汝今得之，宜善保護。銀怨盛雪，明月藏鷺，類之弗齊，混則知處。意不在言，來機亦赴，動成窠臼，差落顧佇，背觸俱非。如大火聚，但形文彩，即屬染污，夜半正明，天曉不露。為物作則，用拔諸苦，雖非有為，不是無語。如臨寶鏡，形影相覩，汝不是渠，渠正是汝。如世嬰兒，五相完具，不去不來，不起不住，婆婆和和，有句無句，終不得物，語未正故。重離六爻，偏正回互，疊而為三，變盡成五。如荎草味，如金剛杵，正中妙挾，敲唱雙舉。通宗通塗，挾帶挾路，錯然則吉，不可犯忤。天真而妙，不屬迷悟，因緣時節，寂然昭著。細入無間，大絕方所。毫忽之差，不應律呂。今有頓漸，緣立宗趣，宗趣分矣，即是規矩。宗通趣極，真常流注，外寂中搖，係駒伏鼠，先聖悲之，為法檀度，隨其顛倒，以緇為素。顛倒想滅，肯心自許，要合古轍，請觀前古，佛道垂成，十劫觀樹，如虎之缺，如馬之馵。以有下劣，寶几珍御，以有驚異，貍奴白牯，羿以巧力，射中百步，箭鋒相直，巧力何預？木人方歌，石女起舞，非情識到，寧容思慮。臣奉於君，子順於父，不順非孝，不奉非輔。潛行密用，如愚若魯，但能相續，名主中主。」師又云：「末法時代，人多乾慧。若要辨驗真偽，有三種滲漏：一見滲漏，謂機不離位，墮在毒海；二情滲漏，謂滯在向背，見處偏枯；三語滲漏，謂究妙失宗，機昧終始，學者濁智流轉，不出此三種，子宜知之。」又綱要偈三首：一、敲唱俱行。偈云：「金針雙鎖備，挾路隱全該，寶印當風妙，重重錦縫開。」二、金鎖玄路。偈云：「交互明中暗，功齊轉覺難，力窮忘進退，金鎖網鞔鞔。」三、不墮凡聖（亦名理事不涉）。偈云：「事理俱不涉，回照絕幽微，背風無巧拙，電火爍難追。」

When Caoshan was taking his leave, the Master instructed him, saying: "While at the place of our late master Yunyan, I was personally imprinted with the Baojing sanmei, which exhaustively penetrates the essential pivot; now I entrust it to you." The text said: / The Dharma as such, / Has been secretly transmitted by Buddhas and ancestors; / Now that you have obtained it, / You should protect it well. / A silver bowl filled with snow, / A bright moon concealing an egret; / When categorized they are not the same, / Yet blended together their places are known. / The intent is not in words, / Yet it responds to the coming capacity; / Movement creates a trap, / Hesitation leads to a lapse. / Turning away and touching are both wrong, / It is like a great mass of fire; / As soon as pattern and adornment appear, / It falls into defilement. / In the dead of night it is brightly illuminated; / At daybreak it does not appear. / Serving as a model for beings, / It is used to pull out all sufferings; / Though not saṃskṛta, / It is not without words. / Like facing a precious mirror, / Form and reflection gaze upon each other; / You are not it, / It is precisely you. / Like an infant in the world, / Fully endowed with the five aspects; / Neither going nor coming, / Neither arising nor abiding. / Babbling and babbling, / With words and without words; / In the end obtaining no thing, / Because the speech is not yet correct. / In the six lines of the Double Li, / The crooked and upright interact; / Stacked to make three, / Fully transformed to make five. / Like the taste of the chicao grass, / Like the vajra; / Wonderfully flanked within the upright, / Striking and singing are both raised together. / Opening the principle and opening the path, / Flanking the belt and flanking the road; / Interlaced, it is auspicious, / It must not be violated. / Naturally authentic and wondrous, / It belongs neither to delusion nor awakening; / When the conditions and season arrive, / In stillness it shines clearly. / In minute detail it enters the interval-free, / In greatness it transcends all locations. / The deviation of a hair's breadth / Fails to accord with the musical pitch. / Now there are the sudden and the gradual, / Therefore the fundamental objectives are established; / Once the fundamental objectives are divided, / There are rules and standards. / When the principle is penetrated and the objective is fully reached, / True constancy flows and pours; / Outwardly still while inwardly churning, / Like a tethered colt or a crouching rat. / Former sages took pity on them, / Bestowing the gift of the Dharma; / Following their viparyāsa, / Taking black for white. / When inverted thoughts are extinguished, / The affirming mind consents of itself. / If you wish to accord with the ancient ruts, / Please observe the ancient times: / The Buddha Path on the verge of completion, / Ten kalpas contemplating the tree; / Like a tiger's missing [tooth], / Like a horse's white fetlock. / Because of the base and inferior, / There are jewel tables and precious garments; / Because of the strange and astonishing, / There are the house cat and the white ox. / Yi used his skillful strength / To hit the target at a hundred paces; / When two arrowheads meet point to point, / What does skillful strength have to do with it? / The wooden man begins to sing, / The stone woman rises to dance; / Beyond the reach of emotion and consciousness, / How could it admit of thought? / The vassal serves the sovereign, / The child obeys the father; / Not obeying is not filial, / Not serving is not supportive. / Sneaking along and functioning in secret, / Appearing foolish, like a simpleton; / If you can only maintain uninterrupted continuity, / This is called the host within the host. / The Master also said: "In the final dharma age, people mostly possess dry wisdom. If one wishes to distinguish the true from the false, there are three kinds of leakage: first, the leakage of view, meaning that the capacity does not leave its position and falls into a sea of poison; second, the leakage of feeling, meaning that one is stuck in turning toward or away, and one's viewpoint is partial and withered; third, the leakage of speech, meaning that one probes the subtle but loses the principle, and the capacity is obscure about beginning and end. The flowing and turning of students' defiled intellect does not step outside these three kinds; you should know this." He also gave three verses on the essential guidelines. The first, "Striking and singing moving together," had the verse: / The golden needles and double lock are prepared, / Flanking the path, secretly embracing everything; / The precious seal faces the wind wonderfully, / Layer upon layer of brocade seams open up. / The second, "The dark path of the golden lock," had the verse: / Interlocking dark within bright, / Equal in efficacy, turning becomes difficult; / Strength exhausted, forgetting advance and retreat, / The net of the golden lock is tightly drawn. / The third, "Not falling into ordinary or sagely (also called non-involvement of principle and phenomena)," had the verse: / Neither phenomena nor principle are involved, / Turning the illumination around cuts off the profound and minute; / Back to the wind, devoid of skill or clumsiness, / The flash of lightning is difficult to pursue.