bird "pines" while the fish "mourns." We then see
the poet liberated from the "worldly web" in his
third and final stage, having gone back to Nature in
his rural seclusion. Here "worldly confusion" has
been dispelled, supplanted by the tranquility that
overflows in emptiness (paralleling the
"No-thingness" of wu yu). T'ao Ch'ien has seen both
the way of the worldings and the way of the Sage.
The way of the world left him discontented, so he
returned to his true roots. He did not need to
acquire tzu-jan, only to remove his temporary
alienation from it, just as Ch'an awakening is not
an attainment, but a realization.
Consistent with Taoist thought, T'ao Ch'ien
emphasizes the "returning" (fu) action involved
here, the return to the root that is Tao itself. He
also makes several allusions to passages in the Tao
Te Ching, most specifically the utopian vision
described in chapter 80:
Although the neighboring country is within
sight,
And the crowing of cocks and barking of dogs
there can be heard,
The two peoples never are in touch with one another,
Throughout their lives.(28)
References to tzu-jan and tranquility point to the
same inspirational source, while T'ao Ch'ien himself
became a model emulated by later poets.
III THE CH'AN SYNTHESIS
The Threefold Process of Enlightenment (29)
Building upon both the indigenous and imported
traditions, Chinese Buddhists gradually adapted
doctrines to their own cultural context, in accord
with Buddhism's long-standing emphasis on upaaya or
pragmatic adaptability. The Ch'an school is
particularly noteworthy for its expansion of
traditions, as well as its infusion of Taoist
elements. The result was a creative synthesis
representing
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(28) Translated by Charles Wei-hsun Fu and Sandra
A.Wawrytko.
P.359
the ultimate sinification of Buddhist philosophy and