Kyōzan Points to Snow

Banshō's commentary on the case

When the ancients met the occasion and encountered things, they disclosed one great affair from before the empty kalpa. The Lotus Sutra says, “Pure and unmixed, complete in the character of clear white brahma-conduct.” Expositors take this to mean that white is the basis of the many colors and the one vehicle the source of the various vehicles. Yet they do not say there is a further affair beyond white.³ Therefore Kyōzan pointed to the snow lion and instructed the assembly, “Is there anyone who can surpass this color?” White is the basis of the many colors, and snow's color is the utmost white. How could there be someone who surpasses it? Banshō says: once it is called color, it necessarily confronts the eye. The color beyond white is only no-color, which does not confront the eye. Thus Unmon said, “At the time I would immediately have pushed it over.” But if you recognize the point where utmost white has no white, this is precisely falling into the formless realm.¹ Therefore Setchō separately pointed out a living road: at the place of pushing over, he instead has one help it up. Foyan said, “If it is supported and raised here, what an order of affairs is produced!” Banshō says: if this were another lineage or different school, one could not say his words were inadmissible. Yet one must further know the style of the Dongshan house: at the very time of falling, it immediately rises; at the very time of rising, it immediately falls. Then rising and falling are simultaneous, and neither rising nor falling is established. Buy straw sandals again and travel on foot for thirty years. You still have not seen it. Fojue versified: Pointing out the one color none surpasses, he stretches repeatedly in a world of white silver. Transcendently push it over, then help it rise— how could that compare with east wind and warming sun made new? Banshō says: after sunrise, one whole scene of embarrassment. One class of students sees Unmon push over and Setchō help up and understands this as switching encounter devices and great function without fixed direction. They see it in terms of the side of one color and the side where color cannot be obtained, and take this for the source's bloodline. Fojue already serves as their witness. If you do not believe it, ask Tendō further. Unmon makes one fall; Setchō one rise; Kyōzan points to the lion and demands surpassing this color. The three are the legs of a tripod: not one can be omitted. The three mysteries and three essentials are all present here. Kyōzan feared people would sit within lucid clarity. Is this not being cautious of transgression and cherishing humanity? He pointed it out to people and made them surpass this color. Is this not courage in action and seeing what is right? The Analects says, “Seeing what is right and failing to act is lack of courage.”⁴ Unmon also feared people would sit on the side of one color. Is this not caution toward transgression and cherishing humanity? He immediately pushed it over. This too is courage in action and seeing what is right. Setchō feared people would know only pushing over, and therefore was cautious of transgression and cherished humanity. Further able to help it up, he had courage in action and saw what was right. Have you not heard Jōshū say, “This old monk is not within lucid clarity”? Indeed, clear light striking the eyes still resembles losing one's home; turning within lucid clarity cannot avoid falling into rank. Knowing only how to push over and not how to help up—what is that fit to do? A patch-robed monk true to type is like a pearl running on a tray. Though dying and living together, he does not dwell in life and death. Though there is neither other nor this, he provisionally establishes other and this. The final two lines are sometimes beneath the gate of the sun, sometimes before the hall of the bright moon: eternal empty sky, one morning's wind and moon; dawn mushroom and summer cicada. Tell me: what season is it now? For the moment, follow the old tree in its cold leanness. In time, follow the spring wind into the burned scar.⁵