[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [Taishō Tripiṭaka (Chinese Buddhist canon)](https://indike.org/pramana/in.bauddha.taisho) › [萬松老人評唱天童覺和尚頌古從容庵錄](https://indike.org/pramana/in.bauddha.taisho.2004) › 3.52 # 萬松老人評唱天童覺和尚頌古從容庵錄 3.52 萬松老人評唱天童覺和尚頌古從容庵錄 3.52 - **Language:** Classical Chinese ### [3.52](https://indike.org/pramana/in.bauddha.taisho.2004.3.52) 師云。失在弦上。不可不發。此頌雲門問處機鋒不可觸。網珠相對。此頌乾峯答處賓主交參問在答處。答在問處。百發百中。頌雲門某甲在遲。智覺道。如人射地無有不中之理。交光相羅。事事無礙。頌乾峯恁麼那。華嚴疏。帝釋殿貫珠成網。光影互現。重重無盡。此頌公案大意。不必句句配屬膠柱調絃也。雲門道。將謂侯白。更有侯黑。隋朝有侯白字君素。滑稽辯給之士也。大將軍楊素見知。撰旌異記。人神報應甚詳。亦可尚也。唐朝有李白。能詩。後有李赤效之。甚不類也。人傳為笑。今言侯黑。亦其類也。有本云。我早侯白。伊更侯黑。言更甚也。總持有三。多字一字無字。總持一切法門。三昧正定也。天童偏圓猶事理。也觀國師云。理圓。言偏。言生。理喪。天台止觀云。圓伊三點。非如點水之縱。亦非列火之橫。又竪窮三際名高。橫遍十方名廣。故法華云。其車高廣。天童傍通教海。洞貫義天。雲門乾峯。立無字碑。天童歌詠入無言詩。可謂。楊脩見幼婦。一覽便知妙。 > The Master said: When an arrow is on the bowstring, it must be shot. This versifies the unassailable dynamic of Yunmen's questioning. 'Pearls on the net reflect one another'—this versifies Qianfeng's reply, where guest and host intermingle: the question is in the reply, and the reply is in the question. 'Shooting a hundred times and hitting a hundred times' versifies Yunmen's 'I am late.' Zhijue said: 'Like a person shooting at the ground, there is no principle by which it would not hit.' Mutual interweaving of light, non-obstruction between phenomenon and phenomenon, versifies Qianfeng's 'Is it so?' The Avataṃsaka Commentary states: 'In the hall of Śakra, pearls are strung into a net, reflections appearing mutually, layer upon layer without end.' This versifies the general purport of the gong'an; one need not match it phrase by phrase, gluing the bridges to tune the zither. Yunmen said, 'I had thought of Hou Bai, but there is still Hou Hei.' In the Sui dynasty, there was Hou Bai, courtesy name Junsu, a man of wit and eloquence. General Yang Su recognized him. He composed the Jingyi ji, which details the retributions of humans and spirits, and is also commendable. In the Tang dynasty, there was Li Bai, who was skilled at poetry; later, Li Chi imitated him, but was far from equal, and people made a laughingstock of him. Now saying 'Hou Hei' is also of this type. One edition has: 'I was already Hou Bai; he is even more Hou Hei,' meaning even more extreme. Dhāraṇī has three kinds: many syllables, one syllable, and no syllables, holding together all Dharma gates. Samādhi is right concentration. Tiantong's 'partial and complete' is like phenomenon and principle. National Preceptor Qingliang said: 'Principle is complete, words are partial; when words arise, principle is lost.' Tiantai's Mohe Zhiguan states: 'The three dots of the perfect letter \[i\] are neither vertical like dots of water nor horizontal like aligned sparks.' Furthermore, extending vertically through the three periods is called high; pervading horizontally across the ten directions is called wide. Therefore the Lotus Sūtra says, 'Its carriage is high and wide.' Tiantong broadly comprehends the ocean of teachings and thoroughly penetrates the heaven of meaning. Yunmen and Qianfeng erected a wordless monument; Tiantong chanted poems entering into wordlessness. It can be said: 'Yang Xiu seeing the young woman—in one glance, he knew its wonder.' > — English (machine translation) (machine translation) - [Previous: 3.51](https://indike.org/pramana/in.bauddha.taisho.2004.3.51) - [Next: 3.53](https://indike.org/pramana/in.bauddha.taisho.2004.3.53) - [Up: 3](https://indike.org/pramana/in.bauddha.taisho.2004.3) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.2004~en-mt.3.52) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.2004.3.52](https://indike.org/pramana/in.bauddha.taisho.2004.3.52) · Pramāṇa