鐔津文集 19.4

19.4

昔賢首菩薩。於華嚴會中。以偈答文殊大士。讚菩薩能示同世間云。雅思淵才文中王。歌舞談說眾所欣。信乎文之能顯道濟物也。豈獨今之然乎。自往古他方佛世。無不然耳。始余年少時。走四方叢林尋訪師友務道專學。有效古高世僧萬里求師之志。於稠人中沈沈自策其氣志。若上將軍負所欲建立邦家之意。前邁敵國而且戰且行。不遑食息也。聞所謂東山明教禪師之高文卓行道邁識遠。凡獲見其所著文畫莫不錄敘而祕藏之。及於錢唐靈隱山。得嘉禾陳令舉所撰師之行業記石刻。末云。師自定祖圖而下謂之治平集。又有嘉祐集。總六十萬餘言。而其甥沙門法澄克奉藏之。以信後世。繼聞其廣本。除已入藏正宗記輔教編外。餘皆在姑蘇吳山諸僧室藏之。余固累遣人至彼山諸僧居歷訪之。而寂然無知其所在者。往往所委不得其人失於護藏。而為好事者竊移他所也。大觀初。余居儀真長蘆之慈杭室。於廣眾中得湖南僧景純上人者。入予室一日投一大集於席間曰。此老嵩之全集也。祕之久矣。聞師切慕其遺文。願以獻師。余獲之且驚且喜。念茲或天所相而授我耶。若獲至珍重寶。自皇極中庸而下總五十餘論。及書啟敘記辯述銘贊武林山志與諸雜著等。約一十六萬餘言。皆舊所聞名而未及見者。雖文理少有差誤。皆比較選練詮次。幾始成集。庶可觀焉。更冀善本較詳。莫由得也。後又遇周格非出守虔州。回得其非韓文三十篇三萬餘言。又緣兵火失之。遂未能就其集。近又得本於禦溪東藍彥上人。乃與余昔於匡山所得別本較之。文字亦甚疎謬。乃以韓文條理而正之。然師之著述不得其傳而散落多矣。如天竺慈雲法師行狀曲記。長水暹勤二師碑誌。行道舍利述。匡山暹道者碑。定祖圖序。皆余自獲石刻而模傳之。今總以入藏正宗記定祖圖與今文集等會計之。纔得三十有餘萬。其餘則蔑然無聞矣。如令舉所記謂有六十萬餘言者。今則失其半矣。吁嗟惜哉。今以令舉所撰行業記標之為卷首。貴在見乎師之世系嗣祖出世去留之迹。奇節偉行高才勝德邁世之風焉。乃以輔教編上中下為前三卷。以師所著之文。志在通會儒釋以誘士夫。鏡本識心窮理見性。而寂其妬謗是非之聲也。又以真諦無聖論。綴于輔教編內壇經贊後。以顯師之志在乎弘贊吾佛大聖人無上勝妙幽遠淵曠之道。不存乎文字語言。其所謂教外別傳之旨殆見乎斯作矣。故其贊末云。示法非文字。故至人之宗尚乎默傳也。又曰。聖人如春陶陶而發之也。至人如秋濯濯而成之也。此謂終歸乎靜默焉。故真諦無聖論結云。凡聖知覺者真諦之影響。妄心之攀緣耳。然有志於外文字之學者。覽此二說。豈不少警于中乎。其輔教集舊本以累經鏤板。故雖盛傳于世。而文義脫謬約六十有餘處。今皆以經書考正之。覽者可以古本參讀之。則其疎謬可審矣。今自論原而下至于贊辭。約為十二卷。次前成一十五卷。昔題名嘉祐集者是也。其非韓文昔自分三十章。今約為三卷。次前成一十八卷。又得古律及山遊唱詶詩共一百二十四首。分之為二。總成二十卷。命題鐔津文集。示不忘其本也。然師嘗自謂。人生世間閑為第一。蓋其自得閒中之趣。故其所為之詩。雖不甚豐濃華麗。而其風調高古雅談。至其寫志舒懷。有邁世凌雲之風。亦可想見其人也。觀師與月公晦書。自言余志在原教而行存孝論。余詳考其書。則功在於原教非韓。行在於書僧（即僧也者）孝論。德在於志尚遠公。而題其影堂文道在於壇經贊真諦無聖論。其文之高拔勝邁絕出古今。則見乎武林山志。故後敘謂因風俗山川之勝。欲拋擲其才力。以收其景趣也。乃作武林山志。然求世之知言審音者。不亦難其人哉。師自携書謁天子宰相而下。凡所見則止以正宗記輔教編而投之。至於文忠公則特獻之新撰武林山志焉。嗚呼。文忠公謂文章如精金美玉市有定價。非人輒可以口舌輕重之也。其重讀徂徠集云。待彼謗焰熄。放此光芒懸。人生一世中。長短無百年。無窮在其後。萬世在其前。得長多幾何。得短未足憐。惟彼不可朽。名聲文行然。讒誣不須辯。亦止百年間。百年後來者。憎愛不相緣。公議然後出。自然見媸妍。故師之於慶曆間。始以文鳴道於天下。然當是時也。宗儒束教輩。是非之鋒謗罵之焰紛然。而師終以是道發而著之。為高文至論乘風而殄之蔑如也。故後世學者。有聞其風務其道而矚其文者。若脫冥遊望北辰仰昭回也。然茲姑以師之經世文章。恢弘輔贊吾如來至聖之教之道。涉人間世而然也。若其自所履蘊操守。則瑩然若珠光玉采日精月華。而不足以方其溫潤高潔明淨也。故令舉記其行業云。師之所以自得而樂諸己者。蓋不與於此中間。雖以護法遭難。然其所謂珠光玉采日精月華者。世雖見其有烟雲水火焚溺蔽虧之患。而其光采精華固瑩如也。故師之自携書西上獻之　天子。事畢將東歸山林。而大覺璉禪師。賦白雲謠以將師之行云。白雲人間來。不染飛埃色。遙爍太陽輝。萬態情何極。嗟嗟輕肥子。見擬垂天翼。圖南誠有機。去當六月息。寧知絪縕采。無心任吾適。天宇一何遼。舒卷非留迹。然則師之風貌聲容。其所以出處斷可見也矣。紹興改元之四年甲寅重陽後一日。書于禦溪東郊草堂之北軒。

Formerly, in the Avataṃsaka assembly, the Bodhisattva Bhadramukha answered the Great Being Mañjuśrī in verse, praising how bodhisattvas can manifest similarity to the mundane world, saying: "Refined thoughts and profound talent make them kings among writers; / In song, dance, discourse, and preaching, they are delighted in by the multitude." Truly, writing is capable of illuminating the Way and aiding living beings! How could this be so only today? From ancient times, in other worlds, and in the eras of past Buddhas, it has never been otherwise. When I was young, I travelled to the monasteries of the four directions in search of teachers and friends, devoted to the Way and dedicated to learning, having the ambition of ancient eminent monks of transcendent virtue who sought masters ten thousand li away. Among the dense crowds, I silently spurred on my inner resolve, like a grand general bearing the intent to establish a state, advancing against a hostile realm, fighting as he marches, with no leisure to eat or rest. Hearing of the noble writings, outstanding conduct, transcendent Way, and far-reaching vision of Chan Master Mingjiao of Dongshan, whenever I obtained any of his writings or paintings, I never failed to copy, record, and secretly treasure them. Then, at Mount Lingyin in Qiantang, I obtained the stone inscription of the Master’s record of conduct composed by Chen Lingju of Jiahe. At the end it stated that what the Master wrote from the Dingzu tu onward was called the Zhiping ji, and there was also the Jiayou ji, totalling over six hundred thousand words, which his nephew, the śramaṇa Facheng, was able to preserve and treasure to inspire trust in later generations. Later, I heard that apart from the Chuanfa zhengzong ji and Fujiao pian which had already entered the canon, the remainder of his expanded collection was treasured in various monks' quarters on Mount Wu in Gusu. I repeatedly sent people to visit the monks' dwellings on that mountain to inquire extensively, but it was completely quiet and no one knew their whereabouts. It was often because the entrusted individuals were not the right persons and failed to protect and store them, so meddlesome people secretly moved them elsewhere. In the beginning of the Daguan era, while staying in the Cihang Chamber of Changlu in Yizhen, among the great assembly I met a monk from Hunan, the Venerable Jingchun. One day he entered my chamber and cast a large collection onto the mat, saying: "This is the complete collection of Old Song; I have kept it secret for a long time. Hearing of your eager yearning for his remaining writings, I wish to present it to you." When I received it, I was both surprised and joyful, thinking: could Heaven have aided me and bestowed this upon me? It was as if I had obtained the most precious treasure. From Huangji and Zhongyong onward, there were over fifty treatises in total, as well as letters, petitions, prefaces, records, debates, accounts, inscriptions, eulogies, the Wulin shan zhi, and various miscellaneous writings, amounting to some one hundred and sixty thousand words, all of which I had formerly heard of by name but had not yet seen. Although the literary style contained some errors, I collated, selected, polished, and arranged them, and it almost became a collection that could be read. I wished further for a better edition to collate in more detail, but had no way of obtaining one. Later I met Zhou Gefei when he went out to govern Qianzhou; on his return I obtained his Fei Han writings in thirty essays of over thirty thousand words, but due to wartime fires they were lost, and so I was unable to complete the collection. Recently I again obtained an edition from Venerable Lan'yan of Dongxi in Yuxi. Comparing it with another edition I had previously obtained on Mount Kuang, the text also had many gaps and errors. I therefore used the flow of Han Yu's prose to correct it. However, many of the Master’s writings failed to be transmitted and were scattered. For instance, the detailed record of the conduct of Dharma Master Ciyun of Tianzhu, the stele inscriptions of the two masters Xian and Qin of Changshui, the account of the relics from his practice of the Way, the stele of Practitioner Xian of Mount Kuang, and the preface to the Dingzu tu were all stone inscriptions I obtained myself and made rubbings to transmit. Now, taking together the Chuanfa zhengzong ji and Dingzu tu that entered the canon, along with this present collection of writings, they barely amount to over three hundred thousand words; the rest have vanished without trace. As Lingju recorded over six hundred thousand words, half of them are now lost. Alas, how lamentable! Now I place the record of conduct composed by Lingju at the head of the volume, valuing the fact that it shows the Master's lineage, succession to the patriarchs, traces of his public life and retirement, his extraordinary integrity, great conduct, high talent, supreme virtue, and world-surpassing spirit. I then take the upper, middle, and lower parts of the Fujiao pian as the first three fascicles, because the writings composed by the Master were intended to harmonize Confucianism and Buddhism to guide scholar-officials, reflect the original nature and recognize the mind, exhaust principle and see one’s nature, and silence the sounds of envy, slander, right, and wrong. Furthermore, I append the Zhendi wusheng lun after the Tanjing zan within the Fujiao pian to show that the Master’s intent lay in widely praising the supreme, wondrous, profound, and vast Way of our Buddha, the Great Sage, which does not abide in written words or spoken language; the meaning of what is called the special transmission outside the teachings can almost be seen in these works. Therefore, at the end of his eulogy, he says: "Manifesting that the Dharma is not words, / The lineage of the utmost man values silent transmission." He also says: "The sage is like spring, flourishing and bringing forth; / The utmost man is like autumn, clear and bringing to completion." This means ultimately returning to quietude and silence. Therefore, the Zhendi wusheng lun concludes: "The awareness of ordinary beings and sages is merely the shadow of the ultimate truth, the clinging of the deluded mind." Now, if students who aspire to that which lies beyond words examine these two discourses, how could they not be somewhat alerted within? Because previous woodblocks of the Fujiao ji had been recarved repeatedly, although it was widely circulated in the world, omissions and errors in meaning numbered around sixty places. I have now collated and corrected all of them against the scriptures; readers may consult old editions to read them, and the discrepancies will become evident. Now, from Lun yuan downward to the eulogies, I have condensed them into twelve fascicles, which, following the preceding, makes fifteen fascicles; this is what was formerly entitled Jiayou ji. His Fei Han writings were formerly divided into thirty chapters; I have now condensed them into three fascicles, which, following the preceding, makes eighteen fascicles. I also obtained ancient-style and regulated verses, as well as matching poems from mountain excursions, totalling one hundred and twenty-four poems, which I divided into two fascicles, making twenty fascicles in all. I entitled it the Tanjin wenji to show that he did not forget his roots. However, the Master once said of himself: "In human life in the world, leisure comes first." Because he found joy in leisure itself, although the poems he composed were not overly lush or ornate, their style was lofty, archaic, refined, and serene; when expressing his intent and voicing his feelings, they had a spirit that surpassed the world and soared above the clouds, from which the man himself can also be imagined. Observing the Master's letter to Yue Gonghui, he himself said: "My intent lies in the Yuanjiao, and my conduct abides in the Xiaolun." When I carefully examine his writings, his achievement lay in the Yuanjiao and Fei Han; his conduct lay in the letter on monks (that is, "monks are...") and the Xiaolun; his virtue lay in emulating Master Huiyuan, as seen in his inscription for his portrait hall; his Way lay in the Tanjing zan and the Zhendi wusheng lun; and his writings' lofty superiority and matchless excellence, surpassing both ancient and modern times, are seen in the Wulin shan zhi. Therefore, in his postface he stated that, due to the scenic excellence of the local customs, mountains, and rivers, he wished to pour out his literary talent to capture their vistas; thus he composed the Wulin shan zhi. Yet to find those in the world who understand his words and discern his tone—is it not difficult to find such persons? From the time the Master carried his books to petition the Emperor and the Prime Minister downward, whenever he had an audience, he presented only the Zhengzong ji and Fujiao pian; as for Duke Wenzhong, he specially presented him with the newly composed Wulin shan zhi. Alas! Duke Wenzhong said that literary writings are like fine gold and beautiful jade, having a fixed price in the market, not something that people can arbitrarily devalue or praise with their tongues. In his poem "Re-reading the Cuolai Collection," he wrote: / "Wait for the flames of their slander to be extinguished, / And this radiance will hang suspended. / In a person’s lifetime, / Long or short, it does not reach a hundred years. / The boundless lies after it, / Ten thousand generations lie before it. / How much more does a long life gain? / A short life is hardly to be pitied. / Only that which cannot decay— / Reputation, writing, and conduct—remains so. / Slander and false accusations need no dispute; / They too cease within a hundred years. / For those who come after a hundred years, / Hatred and love will have no connection; / Only then will public opinion emerge, / And beauty and ugliness will naturally be seen." / Therefore, during the Qingli era, the Master first made his Way resound throughout the realm through his writing. Yet at that time, among those who strictly upheld Confucianism and were bound to doctrine, the barbs of right and wrong and the flames of slander and abuse flared up in confusion; yet the Master ultimately brought forth and manifested this Way, composing lofty writings and supreme treatises, which dispersed them like riding the wind, reducing them to nothing. Thus, among later students, those who hear of his style, dedicate themselves to his Way, and behold his writings are like those emerging from darkness looking up at the North Star and gazing at the radiant Milky Way. Yet these are merely instances of the Master’s statecraft writings broadly promoting and assisting the Way and teachings of our Tathāgata, the Supreme Sage, as he engaged with the human world. As for what he personally practiced, accumulated, and maintained, it was as luminous as the lustre of pearls and the color of jade, or the essence of the sun and the radiance of the moon, which are insufficient to match his gentle richness, lofty purity, and clear brightness. Therefore, Lingju wrote in his record of conduct: "That which the Master attained for himself and took joy in within was not involved in these matters." Although he encountered difficulties in protecting the Dharma, what is called the lustre of pearls, the color of jade, the essence of the sun, and the radiance of the moon—though the world saw them suffer the hazards of smoke, clouds, water, fire, burning, drowning, obscuration, and eclipse—their brightness and essence remained inherently luminous. Therefore, after the Master carried his writings westward to present them to the Emperor and the matter was accomplished, he was about to return eastward to the mountain forests; Chan Master Dajue Lian composed the "Song of the White Clouds" to see off the Master's departure, saying: / "The white clouds come into the human world, / Unstained by the color of flying dust. / From afar they glitter with the sun’s brightness; / How boundless are their myriad manifestations and emotions! / Alas for the youths who wear light furs and ride fat horses, / Comparing themselves to wings that drape the sky! / Journeying to the south indeed requires the proper moment; / They must wait for the six-month wind to depart. / How could they know the misty colors / Follow no mind, drifting wherever they please? / How vast the vault of heaven! / Rolling out and curling up, they leave no trace." / Thus, from this, the Master’s demeanor, voice, countenance, and manner of taking office and retiring can definitely be seen! Written on the day after the Double Ninth Festival in the fourth year, jiayin, of the Shaoxing era, in the north veranda of the thatched hut in the eastern outskirts of Yuxi.