Hsiang-yen cannot resist the temptation to expound
on his experience in stereotypically Ch'an jargon,
displaying a misguided conformity to non-conformist
expressions. The remonstrance of his fellow monk
forces him to reconsider, and his response is
accordingly less flamboyant. However, only the final
poem shows that he has exorcised the demons of lan
guage and conceptualization, as he fully recognizes
the futility of verbalizing enlightenment.
Enlightenment is for him no longer an object of
intellect but rather a fact of being. The Ch'an
strategy behind this process has been described as
follows:
The Zen experience is centripetal, the artist's
contemplation of subject sometimes referred to
as 'mind-pointing'. The disciple in an early
stage of discipline is asked to point the mind
at (meditate upon) an object, say a bowl of
water. At first, he is quite naturally inclined
to metaphorize, expand, rise imaginatively from
water to lake, sea, clouds, rain. Natural
perhaps, but just the kind of 'mentalization'
Zen masters caution against. The disciple is
instructed to continue until it is possible to
remain strictly with the object, penetrating
more deeply, no longer looking bold it but, the
Sixth Patriarch Hui-neng maintained essential,
bold it..so close an identification with the
object that the unstable mentalizing self
disappears.(44)
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(44) Lucien Stryk, The penguin Book of Zen Poetry,
p.23.
P.372
IV. AN EPISTEMOLOGICAL ANALYSIS OF THE THREEFOLD
EXPERIENCE OF AWAKENING:THE CASE OF CH'ING-YUAN
WEI-HSIN
To explore this process more closely, let us
consider antoher set of enlightenment poems, perhaps
the most famous of all, illustrating the dawning of
Ch'an awareness for Ch'ing-yuan Wei-hsin. His three
stage process of understanding has often been quoted