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The Poetics of Ch'an:Upaayic Poetry and Its Taosist(19)

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     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

     ────────────

     (28) Translated  by  Charles  Wei-hsun Fu and Sandra

       A.Wawrytko.

 

 

              P.359

 

     the ultimate sinification of Buddhist philosophy and