the evloution of Ch'an. A southerner by background,
he incorporates Taoist elements into Buddhism
doctrine as a means of expressing his unique-and
culturally influenced-interpretations of Dharma. He
even is credited with attracting Taoists to his
sermons. Although tradition holds that Hui-neng was
illiterate, this obviously posed no obstacle for him
in the composition of classical five character
verse. In the Platform Suutra he used the stock
Buddhist technique of intergrating poetic exposition
into his lectures to summarize and underscore
important points. (37)
Poetry had a particularly seminal role to play
in the progress of Hui-neng's career in the Ch'an
school. His case reveals a dimension of dynamism and
poetic interplay in terms of what might be termed a
duel played out with gaathaas as "weapons." His
poetic opponent, Shen-hsiu, thus takes on the role
of presenting the first level of awareness against
which Hui-neng reacts, then building upon the
insight evoked to realize the final stage. The stage
is set by the Fifth Patriarch, Hung-jen, in the
context of a poetry contest, with transmission of
the Ch'an leadership as the prize. Although he
cautions his disciples that "deliberation is quite
unnecessary and will be of no use." Shen-hsiu's
entry betrays the hyperreflection of its author:
Our body may be compared to the Bodhi-tree;
While our heart (hsin) is a mirror bright;
Carefully we cleanse and watch them hour by
hour,
And let no dust collect upon them.
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(37) Passages quoted here are from Suutra Spoken by
the Sixth patriarch, Wong Mou-lan trans., rev.
Dwight goddard, included in Vol.I of Suutras
and Scriptures, pp.337-446.
P.365
Certainly these lines demonstrate that Shen-hsiu has
learned his lessons well. Shen-hsiu was in fact
Hung-jen's star pupil and assumed heir apparent.
Unfortunately, as Hui-neng recognized, there is
nothing more than intellectual awareness reflected