11. One of the best political histories of this era is Sansom, History of Japan. For the history of Zen, the best work appears to be Martin Collcutt, The Zen Monastic Institution in Medieval Japan (Cambridge: Harvard University Press, in press), a revised version of the dissertation cited above.12. English sources on Ikkyu are less common than might at first be supposed. The most exhaustive study and translation of original Ikkyu writings to date is certainly that of James Sanford, "Zen-Man Ikkyu" (Ph.D. dissertation, Harvard University, 1972). There is also a lively and characteristically insightful essay by Donald Keene, "The Portrait of Ikkyu," in Archives of Asian Art, Vol. 20 (1966-67), pp. 54-65. This essay has been collected in Donald Keene, Landscapes and Portraits (Palo Alto: Kodansha International, 1971). Another work of Ikkyu scholarship is Sonja Arntzen, "A Presentation of the Poet Ikkyu with Translations from the Kyounshu 'Mad Cloud Anthology'" (Unpublished thesis, University of British Columbia, Vancouver, 1966).13. See Thomas Cleary, The Original Face: An Anthology of Rinzai Zen (New York: Grove Press, 1978), p. 13. An example of a Nasrudin-esque parable told about Ikkyu is the story of his approaching the house of a rich man one day to beg for food wearing his torn robes and straw sandals. The man drove him away, but when he returned the following day in the luxurious robe of a Buddhist prelate, he was invited in for a banquet. But when the food arrived Ikkyu removed his robe and offered the food to it.14. Sanford, "Zen-Man Ikkyu," p. 48.15. Ibid., p. 68.16. Ibid. pp. 80-81.17. Translated by Keene, Landscapes and Portraits, p. 235. Professor Keene (personal communication) has provided a revised and, he believes, more fully accurate translation of this verse as follows:After ten days of living in this temple my mind's in turmoil;Red strings, very long, tug at my feet.If one day you get around to looking for me,Try the restaurants, the drinking places or the brothels.He notes that the "red strings" of the second line refer to the ties of physical attachment to women that drew Ikkyu from the temple to the pleasure quarters.18. Jon Covell and Yamada Sobin, Zen at Daitoku-ji (New York: Kodansha International, 1974), p. 36.19. Sanford, "Zen-Man Ikkyu," p. 221.20. Ibid., p. 226.21. Ibid., p. 235.22. Ibid., p. 225.23. Ibid., pp. 253-54. A translation may also be found in Cleary, Original Face; and in R. H. Blyth and N. A. Waddell, "Ikkyu's Skeletons," The Eastern Buddhist, N.S. 7, 3 (May 1973), pp. 111-25. Also see Blyth, Zen and Zen Classics, Vol. 7.24. Sanford claims ("Zen-Man Ikkyu," p. 341) that Ikkyu's prose is "almost totally unknown" in Japan.25. Ibid., pp. 326-27.26. Ibid., p. 172.27. Jan Covell (Zen at Daitoku-ji, p. 38) says, "Ikkyu's own ink paintings are unpretentious and seemingly artless, always with the flung-ink technique. His calligraphy is ranked among history's greatest . . ."28.Sanford, "Zen-Man Ikkyu," p. 342.18.HAKUIN: JAPANESE MASTER OF THE KOAN1. Yampolsky, Zen Master Hakuin, p. 116. This is undoubtedly the definitive work by and about Hakuin in English and has been used for all the quotations that follow. Another translation of some of Hakuin's works is R. D. M. Shaw, The Embossed Teakettle (London: George Allen & Unwin, 1963). A short translation of Hakuin's writings may be found in Cleary, Original Face. Perhaps the most incisive biographical and interpretive material may be found, respectively, in Dumoulin, History of Zen Buddhism; and Isshu and Sasaki, Zen Dust.2. Yampolsky, Zen Master Hakuin, p. 117.3. Ibid., p. 18.4. Ibid., pp. 118-19.5. Ibid., p. 119.6. Ibid., p. 121.7. Ibid., pp. 31-32.8. Ibid., p. 33.9. Ibid., p. 49.10. Ibid., p. 33.11. Ibid., pp. 52-53.12. Ibid., p. 53.13. Ibid., p. 58.14. Ibid.15. Ibid., p. 35.16. Ibid., pp. 63-64.17. The "great ball of doubt," known in Chinese as i-t'uan, was a classic Zen phrase and has been traced by Ruth Fuller Sasaki (Zen Dust, p. 247) back to a tenth-century Chinese monk, who claimed in a poem, "The ball of doubt within my heart/Was as big as a big wicker basket." Hakuin's analysis of the "great ball of doubt" is translated in Zen Dust, p. 43.18. Hakuin's invention of his own koans, which were kept secret and never published, is a significant departure from the usual technique of simply taking situations from the classic literature, and demonstrates both his creativity and his intellectual independence. It also raises the question of whether they really were "koans" under the traditional definition of "public case" or whether they should be given a different name.19. Yampolsky, Zen Master Hakuin, p. 164.20. The koan system of Hakuin is discussed by Yampolsky in Zen Master Hakuin, p. 15; and by Sasaki, in The Zen Koan, pp. 27-30.21. Yampolsky, Zen Master Hakuin, p. 32.22. See D. T. Suzuki, Sengai: The Zen Master (Greenwich, Conn.: New York Graphic Society, 1971); Burton Watson, Ryokan: Zen Monk-Poet of Japan (New York: Columbia University Press, 1977); and John Stevens, One Robe, One Bowl: The Zen Poetry of Ryokan (New York: Weatherhill, 1977).BIBLIOGRAPHYAnesaki, Masaharu. History of Japanese Religion. London: Kegan Paul, Trench, Trubner, 1930 (reissue, Rutland, Vt.: Tuttle, 1963).Arntzen, Sonja. "A Presentation of the Poet Ikkyu with Translations from the Kyounshu 'Mad Cloud Anthology.' " Master's thesis, University of British Columbia, Vancouver, 1966.Baskin, Wade, ed. 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11. One of the best political histories of this era is Sansom, History of Japan. For the history of Zen, the best work appears to be Martin Collcutt, The Zen Monastic Institution in Medieval Japan (Cambridge: Harvard University Press, in press), a revised version of the dissertation cited above.
12. English sources on Ikkyu are less common than might at first be supposed. The most exhaustive study and translation of original Ikkyu writings to date is certainly that of James Sanford, "Zen-Man Ikkyu" (Ph.D. dissertation, Harvard University, 1972). There is also a lively and characteristically insightful essay by Donald Keene, "The Portrait of Ikkyu," in Archives of Asian Art, Vol. 20 (1966-67), pp. 54-65. This essay has been collected in Donald Keene, Landscapes and Portraits (Palo Alto: Kodansha International, 1971). Another work of Ikkyu scholarship is Sonja Arntzen, "A Presentation of the Poet Ikkyu with Translations from the Kyounshu 'Mad Cloud Anthology'" (Unpublished thesis, University of British Columbia, Vancouver, 1966).
13. See Thomas Cleary, The Original Face: An Anthology of Rinzai Zen (New York: Grove Press, 1978), p. 13. An example of a Nasrudin-esque parable told about Ikkyu is the story of his approaching the house of a rich man one day to beg for food wearing his torn robes and straw sandals. The man drove him away, but when he returned the following day in the luxurious robe of a Buddhist prelate, he was invited in for a banquet. But when the food arrived Ikkyu removed his robe and offered the food to it.
14. Sanford, "Zen-Man Ikkyu," p. 48.
15. Ibid., p. 68.
16. Ibid. pp. 80-81.
17. Translated by Keene, Landscapes and Portraits, p. 235. Professor Keene (personal communication) has provided a revised and, he believes, more fully accurate translation of this verse as follows:
After ten days of living in this temple my mind's in turmoil;
Red strings, very long, tug at my feet.
If one day you get around to looking for me,
Try the restaurants, the drinking places or the brothels.
He notes that the "red strings" of the second line refer to the ties of physical attachment to women that drew Ikkyu from the temple to the pleasure quarters.
18. Jon Covell and Yamada Sobin, Zen at Daitoku-ji (New York: Kodansha International, 1974), p. 36.
19. Sanford, "Zen-Man Ikkyu," p. 221.
20. Ibid., p. 226.
21. Ibid., p. 235.
22. Ibid., p. 225.
23. Ibid., pp. 253-54. A translation may also be found in Cleary, Original Face; and in R. H. Blyth and N. A. Waddell, "Ikkyu's Skeletons," The Eastern Buddhist, N.S. 7, 3 (May 1973), pp. 111-25. Also see Blyth, Zen and Zen Classics, Vol. 7.
24. Sanford claims ("Zen-Man Ikkyu," p. 341) that Ikkyu's prose is "almost totally unknown" in Japan.
25. Ibid., pp. 326-27.
26. Ibid., p. 172.
27. Jan Covell (Zen at Daitoku-ji, p. 38) says, "Ikkyu's own ink paintings are unpretentious and seemingly artless, always with the flung-ink technique. His calligraphy is ranked among history's greatest . . ."
28.Sanford, "Zen-Man Ikkyu," p. 342.
18.HAKUIN: JAPANESE MASTER OF THE KOAN
1. Yampolsky, Zen Master Hakuin, p. 116. This is undoubtedly the definitive work by and about Hakuin in English and has been used for all the quotations that follow. Another translation of some of Hakuin's works is R. D. M. Shaw, The Embossed Teakettle (London: George Allen & Unwin, 1963). A short translation of Hakuin's writings may be found in Cleary, Original Face. Perhaps the most incisive biographical and interpretive material may be found, respectively, in Dumoulin, History of Zen Buddhism; and Isshu and Sasaki, Zen Dust.
2. Yampolsky, Zen Master Hakuin, p. 117.
3. Ibid., p. 18.
4. Ibid., pp. 118-19.
5. Ibid., p. 119.
6. Ibid., p. 121.
7. Ibid., pp. 31-32.
8. Ibid., p. 33.
9. Ibid., p. 49.
10. Ibid., p. 33.
11. Ibid., pp. 52-53.
12. Ibid., p. 53.
13. Ibid., p. 58.
14. Ibid.
15. Ibid., p. 35.
16. Ibid., pp. 63-64.
17. The "great ball of doubt," known in Chinese as i-t'uan, was a classic Zen phrase and has been traced by Ruth Fuller Sasaki (Zen Dust, p. 247) back to a tenth-century Chinese monk, who claimed in a poem, "The ball of doubt within my heart/Was as big as a big wicker basket." Hakuin's analysis of the "great ball of doubt" is translated in Zen Dust, p. 43.
18. Hakuin's invention of his own koans, which were kept secret and never published, is a significant departure from the usual technique of simply taking situations from the classic literature, and demonstrates both his creativity and his intellectual independence. It also raises the question of whether they really were "koans" under the traditional definition of "public case" or whether they should be given a different name.
19. Yampolsky, Zen Master Hakuin, p. 164.
20. The koan system of Hakuin is discussed by Yampolsky in Zen Master Hakuin, p. 15; and by Sasaki, in The Zen Koan, pp. 27-30.
21. Yampolsky, Zen Master Hakuin, p. 32.
22. See D. T. Suzuki, Sengai: The Zen Master (Greenwich, Conn.: New York Graphic Society, 1971); Burton Watson, Ryokan: Zen Monk-Poet of Japan (New York: Columbia University Press, 1977); and John Stevens, One Robe, One Bowl: The Zen Poetry of Ryokan (New York: Weatherhill, 1977).
Anesaki, Masaharu. History of Japanese Religion. London: Kegan Paul, Trench, Trubner, 1930 (reissue, Rutland, Vt.: Tuttle, 1963).
Arntzen, Sonja. "A Presentation of the Poet Ikkyu with Translations from the Kyounshu 'Mad Cloud Anthology.' " Master's thesis, University of British Columbia, Vancouver, 1966.
Baskin, Wade, ed. Classics in Chinese Philosophy. Totowa, N. J.: Littlefield, Adams, 1974.
Berry, Thomas. Buddhism. New York: Thomas Y. Crowell Co., 1975.
Bingham, Woodbridge. The Founding of the T'ang Dynasty. New York: Octagon, 1970.
Birch, Cyril. Anthology of Chinese Literature. New York: Grove, 1965.
Blofeld, John. The Secret and Sublime: Taoist Mysteries and Magic. New York: E. P. Dutton, 1973.
Blofeld, John, trans. The Zen Teaching of Huang Po. New York: Grove, 1958.
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