TEXTS IN RELATION TO DOGEN’S LIFE AND TRANSLATION CREDITS
IN THIS SECTION we present basic information on all the fascicles, including dates and original titles. We describe them in the context of Dogen’s teaching career to provide a timeline of his life as a Zen master.
All the dated fascicles are presented in this book in chronological order. (Undated pieces are placed at the end, in fascicles 85–96.) Dogen’s colophons—traditional inscriptions recording such information as date and place of writing—are included in this section as well as in the main text. In addition to the colophons, we drew on Kenzei’s Biography of Dogen for information about events in Dogen’s life. The number of formal talks Dogen gave each year, quoted in this section, is based on Dogen by Michio Takeuchi.
The texts in this book are translated from materials published in Doshu Okubo’s Dogen Zenji Zenshu (Entire Work of Zen Master Dogen). We have also referred to Dogen Zenji Zenshu, edited by Tokugen Sakai and colleagues.
“The Editor” in the translator credits refers to Kazuaki Tanahashi. All texts have been closely examined and edited by Peter Levitt and the Editor.
1227
RECOMMENDING ZAZEN TO ALL PEOPLE (FUKAN ZAZEN GI; APPENDIX 1)
Soon after returning from China to Japan, Dogen wrote “Recommending Zazen to All People,” which has become one of the most revered texts in the Soto School. This proclamation summarizes his intention to establish a single practice of Zen meditation in Japan. As the colophon states, he wrote this text in Chinese in 1227, the year of his return from China. The original manuscript, edited and handwritten by him in 1233, still exists. We present a translation of the later version.
Colophon: “Written at the Kannondori Monastery on the fifteenth day, the midyear [seventh month], the first year of the Tempuku Era [1233].”
Translated by Edward Brown and the Editor.
1228
On the seventeenth day, the seventh month, of this year, Rujing died. Monk Jiyuan from Mount Tiantong traveled to Japan to inform Dogen of Rujing’s death.
1230
When an unusual nationwide famine filled many cities with the dead, Dogen settled in a small temple in Fukakusa, a village to the south of Kyoto.
1231
1. ON THE ENDEAVOR OF THE WAY (BENDŌWA)
“On the Endeavor of the Way” is Dogen’s systematic elucidation of his understanding of Zen, based on the principle that practice and enlightenment are inseparable. Using a set of imaginary questions and answers, he responds to doubts and skepticism by those accustomed to conventional Buddhist practices. This essay reflects Dogen’s first attempt to express his thinking in the vernacular Japanese language. Until then Buddhist teachings had been studied and written almost exclusively in the Japanese form of Chinese.
“On the Endeavor of the Way” is highly respected in the Soto School as Dogen’s most comprehensive explanation of dharma. However, Dogen did not include the words Shōbō Genzō, “Treasury of the True Dharma Eye,” at the beginning of its title. When he later edited the Treasury of the True Dharma Eye, he did not include this fascicle in either the seventy-five-fascicle or the twelve-fascicle version. The reason why Dogen set aside this text may be that, addressed to an open audience, it reflects his intention to spread dharma broadly, while his teaching evolved toward training a small number of committed students as his community matured.
According to Menzan Zuiho’s Eliminating Wrong Views on the Treasury of the True Dharma Eye (Shōbō Genzō Byakujaku Ketsu, 1738), this text had been discovered in a courtier’s house in Kyoto. Manzan Dohaku included this piece in the appendix of his eighty-four-fascicle version of the Treasury of the True Dharma Eye in 1684. Abbot Kozen of the Eihei Monastery included this as the opening piece in his ninety-five-fascicle version of the Treasury of the True Dharma Eye, published by the monastery in 1690.
Colophon: “Midautumn day [the fifteenth day of the eighth month], in the third year of the Kanki Era [1231], by Dogen, who has transmitted dharma from Song China.”
Translated by Lewis Richmond and the Editor.
KOSHO MONASTERY PERIOD
1233
2. MANIFESTATION OF GREAT PRAJNA (MAKA HANNYA HARAMITSU)
Dogen’s first practice center, Kannondori (Avalokiteshvara’s Guiding Power) Monastery, where he was abbot, was established in the spring of 1233 in Fukakusa, south of Kyoto. His first three-month practice period started, as was customary, on the fifteenth day of the fourth month.
(At a summer practice period, traveling monks visit a monastery and join resident practitioners in concentrated meditation, much like the rains retreats established by Shakyamuni Buddha for the monsoon season. Those who complete the period gain one year of dharma age. In the Zen tradition this is the most important time of training. Dogen did not hold a winter practice period.)
Dogen delivered “Manifestation of Great Prajna” as a dharma talk to the Kannondori community, the first text in the series of Shōbō Genzō. The official title of the original text is “Shōbō Genzō Maka Hannya Haramitsu.” (The following fascicles of Shōbō Genzō are similarly titled.)
This is a commentary on the Prajna Heart Sutra, one of the most commonly recited scriptures in East Asia. The Heart Sutra is regarded as a brief condensation of the entire Mahayana teaching of shunyata (emptiness or boundlessness). Its mantra at the end was often believed to have wish-granting magical power in Esoteric Buddhism.
In this fascicle, Dogen challenges the traditional analytical views of phenomena, asserting that all elements are interrelated. Not mentioning the mantra, he hints at his own aversion for highly ritualized and benefit-oriented Esoteric practices. Dogen placed this text second in his seventy-five-fascicle version of the Treasury of the True Dharma Eye.
Colophon: “Presented to the assembly of the Kannondori Monastery on a day of the summer practice period in the first year of the Tempuku Era [1233].”
Translated by Edward Brown and the Editor.
3. ACTUALIZING THE FUNDAMENTAL POINT (GENJŌ KŌAN)
Completing his first practice period on the full-moon day (the fifteenth) of the seventh month, Dogen gave this text to his lay student Koshu Yo on the full-moon day of the following month. Koshu must have joined the practice period, and perhaps he was leaving for his home on the southwestern island of Kyushu.
Kōan—the original word for “fundamental point” in the title—usually means an exemplary Zen story given by a teacher to a student for spiritual investigation. But Dogen used the word here to point to the reality of all things that is to be realized.
“Actualizing the Fundamental Point” is probably the best-known and most studied text of all Dogen’s writings, both for its summary of his teaching and for its poetic beauty. While other fascicles are focused on the themes indicated by their titles, “Actualizing the Fundamental Point” covers multiple themes, including awakened ones and nonawakened persons, enlightenment and delusion, birth and death, the potential of enlightenment (buddha nature) and actualization of it.
Dogen used this text as the opening fascicle of the seventy-five-fascicle version of the Treasury of the True Dharma Eye. He revised this text nineteen years later. Consequently, this text covers a span between the beginning and the end of his monastic teaching. (The earlier manuscript of this fascicle no longer exists.)
Colophon: “Written around midautumn, the first year of the Tempuku Era [1233], and given to my lay student Koshu Yo of Kyushu Island. Revised in the fourth year of the Kencho Era [1252].”
Translated by Robert Aitken and the Editor. Revised at San Francisco Zen Center and later at Berkeley Zen Center.
1234
Ejo joined Dogen’s temporary monastery. Soon he started transcribing Dogen’s informal evening talks, creating a text that became known as the Treasury of the True Dharma Eye: Record of Things Heard (Shōbō Genzō Zuimonki). Ejo was to be Dogen’s lifetime disciple, editor, and dharma successor.
1235
Dogen gave Ejo the bodhisattva precepts. He also wrote a fundraising letter for construction of a monks’ hall at the Kannondori Monastery.
He put together a collection of three hundred Chinese Zen koans, titled the Treasury of the True Dharma Eye. Seen as a lifetime notebook for his teaching, this book is known as the Chinese-Language Treasury of the True Dharma Eye (Shinji Shōbō Genzō).
1236
The monks’ hall was opened at the monastery. Dogen renamed his practice center the Kosho (Raising Sages) Zen Monastery. (This name was mentioned by Sen’e in the Extensive Record of Priest Eihei Dogen.) Ejo was appointed head monk.
Dogen wrote Instructions for the Tenzo (Tenzo Kyōkun).
Occupied with establishing his monastery, Dogen put aside the writing of the Treasury of the True Dharma Eye for nearly five years.
1238
4. ONE BRIGHT PEARL (IKKA MYŌJU)
Dogen presented “One Bright Pearl” to the assembly of the Kannondori Kosho Horin (Avalokiteshvara’s Guiding Power, Raising Sages, Treasure Forest) Monastery on the fourth day of the practice period. In this essay he introduces the ancient Chinese Zen master Xuansha, takes up a set of dialogues by him with a student, and offers a thorough examination of the koan. It is the only fascicle Dogen wrote this year.
Colophon: “Presented to the assembly of Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, on the eighteenth day, the fourth month, the fourth year of the Katei Era [1238].”
Translated by Edward Brown and the Editor.
1239
5. REGULATIONS FOR THE AUXILIARY CLOUD HALL AT THE KANNONDORI KOSHO GOKOKU MONASTERY (KANNONDŌRI KŌSHŌ GOKOKU-JI JŪ’UN-DŌ SHIKI)
Only three years after the construction of a monks’ hall about seventy feet square, it apparently was too small, and an additional monks’ hall was built. Unlike most other fascicles of the Treasury of the True Dharma Eye, which are short teachings, “Regulations for the Auxiliary Cloud Hall” was intended as a guideline for newcomers who were not yet ready to reside permanently and practice in the main monks’ hall.
The monastery name Dogen used here—“Avalokiteshvara’s Guiding Power, Raising Sages, Treasure Forest, Protecting the Nation Monastery”—may reflect his wish to gain imperial patronage as a temple for protection of the country. Soon, however, he seemed to have abandoned the idea of seeking such patronage and thus dropped the name Gokoku (Protecting the Nation).
This piece was included in Kozen’s ninety-five-fascicle version of the Treasury of the True Dharma Eye in 1690. But it had not been included in Dogen’s seventy-five or twelve-fascicle version of brief essays.
Colophon: “This was written on the twenty-fifth day, the fourth month, the first year of the En’o Era [1239].”
Translated by Reb Anderson and the Editor.
6. THE MIND ITSELF IS BUDDHA (SOKUSHIN ZEBUTSU)
In the midst of the summer practice period’s scorching heat, Dogen delivered the talk “The Mind Itself Is Buddha” to his community. Here he discusses the Buddhist notion of “mind”—which is distinct from a “soul” believed to last after death. Mind is inseparable from body and from all phenomena. In this fascicle he introduces what can be called the “four pillars of buddha dharma”—aspiration, practice, enlightenment, and nirvana.
Colophon: “Presented to the assembly of Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, on the twenty-fifth day, the fifth month, the first year of the En’o Era [1239].”
Translated by Steve Allen and the Editor.
7. CLEANSING (SENJŌ)
One can assume that Dogen’s community members were disciplined in the monks’ hall, but relaxed outside the practice place and sloppy in the washroom. In this fascicle, completed in the winter, Dogen explains in detail how to be mindful in using the washroom. For Dogen, body, mind, and the environment cannot be isolated from one another; keeping them clean is an essential practice of dharma.
Colophon: “Presented to the assembly of Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, on the twenty-third day, the tenth month, the first year of the En’o Era [1239].”
Translated by Peter Levitt and the Editor.
8. WASHING THE FACE (SEMMEN)
“Washing the Face” is a lengthy text presented on the same day as the preceding text, “Cleansing.” Dogen offered this piece three times in eleven years, which underscores the importance of the practice of washing the face in his teaching. Kozen’s version places this text as the fifty-sixth fascicle, according to the date of its second presentation. Nonetheless, we place it here based on the date of Dogen’s first presentation.
Colophons: “Presented to the assembly of the Kannondori Kosho Horin Monastery on the twenty-third day, the tenth month, the first year of the En’o Era [1239].” “Presented again to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, on the twentieth day, the tenth month, the first year of the Kangen Era [1243].” “Presented once more to the assembly of the Eihei Monastery, Kichijo Mountain, Yoshida County, Echizen Province, on the eleventh day, the first month, the second year of the Kencho Era [1250].”
Translated by Linda Ruth Cutts and the Editor.
1240
9. RECEIVING THE MARROW BY BOWING (RAIHAI TOKUZUI)
Dogen’s writing of the Treasury of the True Dharma Eye seems to have accelerated around the year 1240. He wrote “Receiving the Marrow by Bowing” before the summer practice period.
Here Dogen focuses with amazing clarity on the equality of accomplished female and male practitioners. Although he had female students, and perhaps allowed them to join the practice, it is likely that, according to custom, they were seated in a low-status position. (In “Continuous Practice, Part Two,” Dogen speaks of a Daoist practitioner’s being seated lower than nuns in his teacher Rujing’s monastery. There is no evidence that Dogen seated nuns differently from his teacher.) So, it is possible to assume that there was prejudice against female practitioners in his community, and outside of it. Among his own students, he may have encountered reluctance to admit nuns to the practice period. On this issue of sexism, we can see that Dogen was radically free of prejudice. At the same time, however, since he was a traditional teacher in a sexist society, his treatment of his female students doesn’t seem to have been completely free of discrimination.
Colophon: “Written at the Kannondori Kosho Horin Monastery on the clear-bright day [the fifteenth day from spring solstice], the second year of the En’o Era [1240].”
Translated by Peter Levitt and the Editor.
10. VALLEY SOUNDS, MOUNTAIN COLORS (KEISEI SANSHOKU)
In every year, the summer practice period started on the full-moon (fifteenth) day of the fourth month. This text was presented on the nineteenth day of the fourth month in the form of jishu, which is a semiformal dharma talk. It is likely that Dogen’s jishu consisted of reading his draft to the group of practicing students.
In this text, Dogen focuses on stories of three ancient Chinese Zen practitioners who had spiritual breakthroughs in natural settings and expressed their realizations in verses. Dogen repeatedly cautioned his community not to look for such breakthroughs outside their daily practice.
Colophon: “On the fifth day of the practice period, the second year of the En’o Era [1240], this was presented to the assembly of the Kannondori Kosho Horin Monastery.”
Translated by Katherine Thanas and the Editor.
11. REFRAIN FROM UNWHOLESOME ACTION (SHOAKU MAKUSA)
One month after the end of practice period, on the full-moon day—the traditional day of repentance—Dogen delivered this text to those who were still at the monastery. His theme is basic, the “Seven Original Buddhas’ precepts.” Dogen presents a radically fresh and complete view of the precepts. Refraining from unwholesome or evil action is not a prohibition, but thorough practice, the experience of buddha dharma itself. Dogen had set up a monastic environment so that this would be possible. Of course, those who violated the monastery guidelines were asked to leave.
Colophon: “Presented to the assembly of the Kosho Horin Monastery, Uji County, Yamashiro Province, on the harvest moon day [the fifteenth day], the eighth month, the second year of the En’o Era [1240].”
Translated by Mel Weitsman and the Editor.
12. THE TIME BEING (UJI)
On the first day of the tenth month of 1240, Dogen completed this short but strikingly philosophical text. Deepening one’s meditation, one may grasp at once the unity of body and mind, practice and enlightenment, time and being, as well as that of time and self. Time, experienced simultaneously as momentary and timeless, is the essence of Dogen’s contemplation.
Colophon: “On the first day of winter [the first day, the tenth month], the first year of the Ninji Era [1240], this was written at the Kosho Horin Monastery.”
Translated by Dan Welch and the Editor.
13. POWER OF THE ROBE (KESA KUDOKU)
On the day Dogen completed “The Time Being,” he delivered this text, full of practical information about the Buddhist robe. Adorning one’s body with an authentic Buddhist robe is essential for actualizing enlightenment. Inverting secular values, he writes that an excrement-cleaning cloth (for cleaning a toilet) is the purest of all materials for making a robe. This is the first text where Dogen quotes extensively from Buddhist scriptures. He made this the third fascicle in his later twelve-fascicle version of the Treasury of the True Dharma Eye. Some parts of this fascicle are repeated in “Transmitting the Robe.”
Colophon: “This was presented to the assembly of the Kannondori Kosho Horin Monastery on the first day of winter, the first year of the Ninji Era [1240].”
Translated by Blanche Hartman and the Editor.
14. TRANSMITTING THE ROBE (DEN’E)
“Transmitting the Robe” has the same date as “Power of the Robe,” and there is much overlap between them. Possibly an original text was divided in two during the process of editing. “Transmitting the Robe” is included in the seventy-five-fascicle version.
Colophon: “This was written at the Kannondori Kosho Horin Monastery on the first day of winter, the first year of the Ninji Era [1240]. Dogen, Shramana who has transmitted dharma from Song [China].”
Translated by Jean Selkirk and the Editor.
15. MOUNTAINS AND WATERS SUTRA (SANSUIKYŌ)
Seventeen days after dating “The Time Being,” “Power of the Robe,” and “Transmitting the Robe,” Dogen presented this highly imaginative and poetic text late at night to his assembly of students.
Colophon: “Presented to the assembly at Kannondori Kosho Horin Monastery at the hour of the Rat [midnight], the eighteenth day, the tenth month, the first year of the Ninji Era [1240].”
Translated by Arnold Kotler and the Editor.
Dogen gave thirty-one formal talks between 1235 and 1240. Formal talks were short ceremonial discourses given in the dharma hall, recorded in Chinese by one of his senior students and later collected in the Extensive Record of Priest Eihei Dogen.
1241
16. BUDDHA ANCESTORS (BUSSO)
“Buddha Ancestors” marked Dogen’s tenth year of writing and compiling his monumental work. In the New Year, Dogen completed this text, which consists mostly of ancestors’ names up to that of his teacher, Rujing. These names have been recited daily by Dogen’s countless dharma descendants.
Colophon: “Written and presented at Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, Japan, on the third day, the first month, the second year of the Ninji Era [1241].”
Translated by Lewis Richmond and the Editor.
17. DOCUMENT OF HERITAGE (SHISHO)
Dogen took three months to prepare the “Document of Heritage.” He completed it at the end of spring, but, because of the secret nature of the theme, he did not deliver it to the community. Much of this piece describes his dialogues with monks, including abbots of famous monasteries in China. Demonstrating his extraordinary abilities of memorization and close observation, Dogen speaks of viewing treasured certificates of dharma transmission. He recalls being offered a document of heritage and politely declining the opportunity. He is very critical of the state of Zen in China at that time. He quotes Rujing’s words on documents of heritage but, perhaps out of modesty, does not speak of his experience of receiving authentication from Rujing. The second colophon below seems to imply that he continued to edit the text over two years after it was written.
Colophons: “On the twenty-seventh day, the third month, the second year of the Ninji Era [1241], this was written at Kannondori Kosho Horin Monastery by monk Dogen, who has transmitted dharma from China.” “On the twenty-fourth day, the ninth month, the first year of the Kangan Era [1243], I have hung my traveling stick at the grass-thatched hut in Yoshimine Village, Echizen Province. A written seal.”
Translated by Lewis Richmond and the Editor.
18. DHARMA BLOSSOMS TURN DHARMA BLOSSOMS (HOKKE TEN HOKKE)
In the spring of 1241, Monk Ekan, the main teacher of the Japan Daruma (Bodhidharma) School, joined Dogen’s community. This Zen school had been founded by Nonin a half century before. Ekan, who had earlier sent Ejo to study with Dogen, brought along many other students, including Gikai, Giin, and Gien.
Another person who joined the practice period was Etatsu, who seems to have been a newly ordained scholar of the Lotus Sutra. Possibly inspired by Etatsu’s aspiration for Zen practice, Dogen wrote this fascicle. In the exceptionally long colophon of this fascicle (quoted below), he compares the story of Huineng, the Sixth Chinese Ancestor, guiding a scholar of the sutra, to his own guidance of Etatsu.
“Dharma Blossoms” indicates the Lotus Sutra, which is referred to as the Dharma Blossoms Sutra in Chinese. It also means the blossoming of reality. In this fascicle, Dogen plays with the unfolding of this double concept.
Colophon: “This was written and given to Zen person Etatsu to celebrate his home leaving and entry into the practice of the way, during the summer practice period in the second year of the Ninji Era [1241]. Shaving the head is a good thing. To shave the head over and over again makes a true home leaver. Today’s home leaving is the natural fruit of the natural power of the dharma blossoms turning in the past. The dharma blossoms of this moment will certainly bear fruit as dharma blossoms in the future. They are not Shakyamuni’s dharma blossoms, nor all buddhas’ dharma blossoms, but the dharma blossoms’ dharma blossoms. Every day the turning of the dharma blossoms is as it is, beyond perception, beyond knowledge. Dharma blossoms emerge at this moment, beyond knowing, beyond understanding. Past moments are your breathing in and breathing out. Present moments are your breathing in and breathing out. Treasure these moments as dharma blossoms, wondrous and inconceivable. Monk Dogen, who has transmitted dharma from China, founder of the Kannondori Kosho Horin Monastery.”
Translated by Michael Wenger and the Editor.
19. UNGRASPABLE MIND (SHIN FUKATOKU)
After his story of a Lotus Sutra scholar giving up his extensive studies and directly experiencing the meaning of the sutra in the previous fascicle, Dogen here presents the story of a scholar of the Diamond Sutra.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, in the summer practice period, the second year of the Ninji Era [1241].”
Translated by Michael Wenger and the Editor.
20. UNGRASPABLE MIND, LATER VERSION (GO SHIN FUKATOKU)
It seems that after delivering an earlier version of “Ungraspable Mind” to the community, Dogen further edited and expanded the text. This later version was only “written,” rather than “presented,” during the same practice period.
Dogen included the earlier version in the seventy-five-fascicle version, but not the later version. Kozen included both versions in his Eihei-ji edition.
Colophon: “Written at the Kosho Horin Monastery on a day of summer practice period, the second year of the Ninji Era [1241].”
Translated by Michael Wenger and the Editor.
21. OLD MIRROR (KOKYŌ)
After the end of the practice period, many of the mature Zen students stayed on. This winter Dogen’s creative energy burst forth; he wrote six fascicles of the Treasury of the True Dharma Eye, beginning with “Old Mirror.”
The mirror in ancient China was a disk made of bronze, which needed polishing at times. Reflecting all things, it is a mysterious analogy for awakened mind, like the full moon, an eyeball, or a pearl. Dogen takes up a number of Zen stories, as well as Chinese and Japanese secular stories, on mirror disks, and comments on them with vigor.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery on the ninth day, the ninth month, the second year of the Ninji Era [1241].”
Translated by Lewis Richmond and the Editor.
22. READING A SUTRA (KANKIN)
Six days after delivering “Old Mirror,” Dogen offered this text to the assembly on the first full-moon day of winter. Contrary to the general Chinese Zen adage of “transmission outside the scripture,” Dogen emphasizes the invariable value of Buddhist scriptures. He quotes and comments on several Zen stories about scriptures and explains the rites of reading scriptures in a monastery, revealing his extraordinary capacity to observe and describe liturgy in detail.
Colophon: “Presented to the assembly of the Kosho Horin Monastery, Uji County, Yamashiro Province, on the fifteenth day, the ninth month in autumn, the second year of the Ninji Era [1241].”
Translated by John Daido Loori and the Editor.
23. BUDDHA NATURE (BUSSHŌ)
About a month after presenting “Reading a Sutra,” Dogen delivered this long and highly theoretical text. He examines and comments on a number of ancient Zen masters’ statements on the dilemma of the universality and inconceivability of enlightenment. He exerts himself to uncover the logic in seemingly illogical words on the subject found throughout the Zen tradition.
Dogen later placed this text third in the seventy-five-fascicle version of the Treasury of the True Dharma Eye, following “Actualizing the Fundamental Point” and “Manifestation of Great Prajna.”
Colophon: “Presented to the assembly of the Kosho Horin Monastery, Uji County, Yamashiro Province, on the fourteenth day, the tenth month, the second year of the Ninji Era [1241].”
Translated by Mel Weitsman and the Editor.
24. AWESOME PRESENCE OF ACTIVE BUDDHAS (GYŌBUTSU IIGI)
Contemplating the expression of buddhahood in “Buddha Nature,” Dogen must have been thinking about the aspect of action or practice of buddhas. Practice is what makes a person a buddha. “Awesome Presence of Active Buddhas” was completed about the same time as “Buddha Nature” but was not presented to the community.
Colophon: “Written in the middle of the tenth month, the second year of the Ninji Era [1241], at the Kannondori Horin Monastery by Monk Dogen.”
Translated by Taigen Dan Leighton and the Editor.
25. THE BUDDHAS’ TEACHING (BUKKYŌ)
Dogen’s students who had studied with other Zen masters must have been familiar with the Zen expression “transmission outside the scriptures.” Dogen asserts that it is a mistaken notion and explains the Buddhas’ expressions by laying out categories of scriptures in the Buddhist canon. The tone of his criticism has sharpened by now.
Colophons: “Presented to the assembly of the Kosho Monastery, Yamashiro Province, on the fourteenth day, the eleventh month, the second year of the Ninji Era [1241].” Presented again “On the seventh day, the eleventh month, the third year of the Ninji Era [1242].”
Translated by Peter Levitt and the Editor.
Two days after delivering “The Buddhas’ Teaching,” Dogen read “Miracles” to the residents of his monastery. For Dogen, the everyday practice of dharma is a series of miracles, while being free from desires is a miracle. Further, going beyond miracles is the ultimate miracle.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery on the sixteenth day, the eleventh month, the second year of the Ninji Era [1241].”
Translated by Katherine Thanas and the Editor.
Dogen gave fifty-eight formal talks in 1241.
1242
27. GREAT ENLIGHTENMENT (DAIGO)
“Great Enlightenment” is the first of seventeen fascicles Dogen wrote this year—the most prolific period of his writing career. He revised and presented this text a second time in Echizen Province exactly one year later.
Dogen calls the experience of going beyond the separation of enlightenment and delusion “great enlightenment.” In this teaching, enlightenment is not exclusive of delusion. Thus, for him, “great delusion” is not exclusive of enlightenment.
Colophons: “Abiding at the Kannondori Kosho Horin Monastery, I present this to the assembly on the twenty-eighth day, the first month, the third year of the Ninji Era [1242].” “Staying at the ancient Yoshimine Temple, I revise and present this to the assembly of humans and devas on the twenty-eighth day, the first month, the second year of the Kangen Era [1243].”
Translated by Blanche Hartman and the Editor.
28. THE POINT OF ZAZEN (ZAZEN SHIN)
In “The Point of Zazen,” Dogen speaks of the mind of meditation, commenting on two classical stories on the meaning of zazen. He offers sharp criticism of several Chinese writings that were supposed to express the rules and approach of zazen. Then, with great reverence, line by line, he interprets “The Point of Zazen,” a verse pointing to the heart of meditation, by Hongzhi Zhengjue. Hongzhi had been a prominent master of the Caodong School in the twelfth century—the lineage Dogen inherited. Hongzhi advocated “silent illumination Zen.” Dogen adapted the verse, changing several words and making a stunning improvement. He brought his manuscript to Echizen Province and presented it to his community there a year and a half later.
Colophons: “Written at the Kosho Horin Monastery on the eighteenth day, the third month, the third year of the Ninji Era [1242].” “Presented to the assembly at the Yoshimine Temple, Yoshida County, Echizen Province, in the eleventh month of the fourth year of the Ninji Era [1243].”
Translated by Michael Wenger and the Editor; Dogen’s poem translated by Philip Whalen and the Editor.
29. GOING BEYOND BUDDHA (BUKKŌJŌ JI)
Five days after completing “The Point of Zazen,” Dogen shared “Going Beyond Buddha” with his monastic community. In this fascicle, he describes the dynamic state of being a buddha by saying, “You reach buddha, and going further, you continue to see buddha.”
Colophon: “Presented to the assembly at the Kannondori Kosho Horin Monastery on the twenty-third day, the third month, the third year of the Ninji Era [1242].”
Translated by Mel Weitsman and the Editor.
30. THUSNESS (IMMO)
There was only three days’ difference between the delivery of the preceding fascicle, “Going Beyond Buddha,” and that of “Thusness.” The title, “Immo,” is the Japanese translation of the Chinese colloquial word renmo. Meaning “in this way,” “like this,” “like that,” “this,” or “that,” this word is a key term in Zen dialogues. Dogen shows some usages of the word and attempts to decode it with his own style of transcendental language.
Colophon: “Presented to the assembly of Kannondori Kosho Horin Monastery on the twenty-sixth day, the third month, the third year of the Ninji Era (1242).”
Translated by Mel Weitsman and the Editor.
In the spring of 1242, Dogen wrote an afterword to the Recorded Sayings of Priest Rujing, Sequel. (Rujing had passed away in 1228, one year after Dogen’s departure from the Tiantong Monastery. A two-fascicle book titled the Recorded Sayings of Priest Rujing was compiled by Wensu and others, and was published in 1229. This sequel was edited by Yuan, who may have asked Dogen to write this afterword because of the high regard in which Rujing’s students held him. The completed book was to be delivered in fall of the same year.)
31A. CONTINUOUS PRACTICE, PART ONE (GYŌJI, JŌ)
31B. CONTINUOUS PRACTICE, PART TWO (GYŌJI, GE)
Seven days after the delivery of “Thusness,” Dogen completed an exceptionally long text. It is noteworthy that Dogen first introduces his concept of the “circle of the way” at the beginning of this text.
This text is traditionally divided into two parts and bound into two volumes. In Part One, stories of three Indian ancestors are arranged in chronological order, followed by stories of nineteen Chinese teachers that seem to be thematically arranged. In Part Two, stories of eleven Chinese teachers from Bodhidharma to Rujing are presented, not necessarily in chronological order. Dogen merged these into one fascicle in the seventy-five-fascicle version of the Treasury of the True Dharma Eye.
Colophon (31a): “Editing completed on the eighteenth day, the first year of the Ninji Era [1243]. [Dogen]”
Colophon (31b): “Written at the Kannondori Kosho Horin Monastery on the fifth day, the fourth month, the third year of the Ninji Era [1242].”
Translated by Mel Weitsman and the Editor, with David Schneider.
32. OCEAN MUDRA SAMADHI (KAI’IN ZEMMAI)
Dogen had been away from the ocean for some years, residing in a monastery near the Uji River that runs through a flat valley, south of Kyoto.
And yet, the ocean’s depth was part of his meditation. In “Ocean Mudra Samadhi” he speaks of samadhi that is as vast and dynamic as an ocean.
Colophon: “Written at the Kannondori Kosho Horin Monastery on the twentieth day, the fourth month, the third year of the Ninji Era [1242].”
Translated by Katherine Thanas and the Editor.
33. CONFIRMATION (JUKI)
“Confirmation” is the second fascicle Dogen completed at the beginning of the summer practice period. The monastery had been busy preparing for and entering the practice period. Perhaps Dogen was occupied with daily writing and that is why he did not present “Continuous Practice,” “Ocean Mudra Samadhi,” and this piece to the community.
The title, “Juki,” is a Japanese translation of the Sanskrit word vyakarana, meaning “predicting enlightenment”—that is, the Buddha’s prediction that a disciple will attain enlightenment in the future. The word suggests a span of time the practitioner will have between receiving a prediction and realizing enlightenment. Dogen presents his view of “prediction” according to the principle of the inseparability of practice and enlightenment.
Colophon: “Written at the Kannondori Kosho Horin Monastery on the twenty-fifth day, the fourth month, in summer, the third year of the Ninji Era [1242].”
Translated by Lewis Richmond and the Editor.
34. AVALOKITESHVARA (KANNON)
“Avalokiteshvara” was the fourth fascicle Dogen wrote in the fourth month, and was read to the participants of the practice period. Dogen’s first small practice place was called Kannondori (Avalokiteshvara’s Guiding Power) Monastery. When it was renamed Kosho Horin Monastery, he still kept the original name, Kannondori, and at times used it for the beginning of the monastery name. It is possible to guess that Avalokiteshvara was his guardian bodhisattva. And yet, Dogen did not speak much about the guiding power of the bodhisattva. Instead, he used the dialogue between two Chinese dharma brothers to unfold the essential Zen understanding of Avalokiteshvara.
Colophon: “Presented to the assembly on the twenty-sixth day, the fourth month, the third year of the Ninji Era [1242].”
Translated by Joan Halifax and the Editor.
35. ARHAT (ARAKAN)
One month after the beginning of the practice period, on the day of the full moon, Dogen offered this teaching, “Arhat,” to participants. Arhats are known as sages of early Buddhism, disciples of the Buddha. Mahayana practitioners tended to look down on arhat practice, considering it to be Hinayana, compared with Mahayana bodhisattva practice. Dogen here fully values the arhats’ way.
Colophon: “Abiding at the Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, this was presented to the assembly on the fifteenth day, the fifth month, the third year of the Ninji Era [1242].”
Translated by Peter Levitt and the Editor.
36. CYPRESS TREE (HAKUJUSHI)
Six days after delivering “Arhat,” Dogen taught “Cypress Tree.” Much of this text reflects on the austere life of the Chinese Zen master Zhaozhou, whose enigmatic words pointing toward a cypress tree’s awakened nature are investigated here.
Colophon: “Presented to the assembly of Kannondori Monastery, Uji County, Yamashiro Province, on the twenty-first day, the season of Iris Festival, the fifth month, the third year of the Ninji Era [1242].”
Translated by Katherine Thanas and the Editor.
37. RADIANT LIGHT (KŌMYŌ)
Around the first day of the sixth month, at midpoint of the practice period, Dogen broke the schedule of communal zazen because of the fierce heat and humidity. (He resumed scheduled zazen on the first day of the ninth month, one and a half months after the practice period. Such a three-month break seems to have been common. Dogen mentioned it in his formal talks this year and in 1252.)
On the second day of the sixth month, Dogen delivered this text to the participants in the dark of midnight in the lingering rainy season. He implies that the radiant light of practice-enlightenment was, nevertheless, right there. As Yunmen said, one can find radiant light in the monks’ hall, the buddha hall, the kitchen, and the monastery gate.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery at the fourth segment of the third night period, the second day, the sixth month, the third year of the Ninji Era [1242]. It has been raining for a long time, and raindrops drip from the eaves. Where is the radiant light? The assembly must look and penetrate Yunmen’s words.”
Translated by Mel Weitsman and the Editor.
38. BODY-AND-MIND STUDY OF THE WAY (SHINJIN GAKUDŌ)
Soon after the practice period ended, on the fifth day of the eighth month, a copy of the newly published Recorded Sayings of Priest Rujing, Sequel was delivered from China to Dogen. On the following day he gave a formal talk about it.
According to Dogen, to study buddha dharma is to practice without separating body from mind. In this fascicle, however, he temporarily divides the practice into study with mind and study with body, spelling out these two aspects in detail.
Colophon: “This was taught to the assembly of the Horin Monastery on the ninth day, the ninth month, the third year of the Ninji Era [1242].”
Translated by Dan Welch and the Editor.
39. WITHIN A DREAM EXPRESSING THE DREAM (MUCHŪ SETSUMU)
In early winter, twelve days after the presentation of “Body-and-Mind Study of the Way,” Dogen delivered “Within a Dream Expressing the Dream” to his monastic community.
Here, Dogen uses the word “dream” to describe the enlightenment of the Buddha, and the meditative experience of all practitioners. Counter to the common notion that dreams are unreal and actual phenomena are real, he asserts that the awakened ones’ profound wisdom is concrete, the source of all teaching, while actual phenomena are transient and unreliable.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, on the twenty-first day, the ninth month, the third year of the Ninji Era [1242].”
Translated by Taigen Dan Leighton and the Editor.
40. EXPRESSIONS (DŌTOKU)
Twelve days after the presentation of “Within a Dream Expressing the Dream,” Dogen shared this text, “Expressions,” with his assembly. The “expression” here means words, or expressions beyond words, that emerge from one’s genuine understanding of reality, unique to the person. In this text, Dogen offers examples of speaking and not speaking.
Colophon: “Written and presented to the assembly of Kannondori Kosho Horin Monastery on the fifth day, the tenth month, the third year of the Ninji Era [1242].”
Translated by Peter Levitt and the Editor.
41. PAINTING OF A RICE CAKE (GABYŌ)
One month after “Expressions” was delivered, Dogen taught this text at his monastery in the middle of winter. Here, Dogen takes up Xiangyan’s famous words “A painting of a rice cake does not satisfy hunger,” meaning that descriptive scriptures are not a direct experience of reality. Dogen turns it around in an astounding way. He insists that a painted rice cake alone can satisfy hunger. Although it appears to be an impenetrable paradox, this may be a natural development from his discourse that Buddhist scripture is an entire expression of the Buddha’s teaching (as seen in the fascicle “The Buddhas’ Teaching”).
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery on the fifth day, the eleventh month, the third year of the Ninji Era [1242].”
Translated by Dan Welch and the Editor.
42. UNDIVIDED ACTIVITY (ZENKI)
Two days after presenting his “Painting of a Rice Cake,” Dogen taught “The Buddhas’ Teaching” to his monastic community for the second time.
In the following month, close to the end of the year, Dogen was invited to give a dharma talk at the Kyoto residence of Lord Yoshishige Hatanao, who was going to be his primary supporter. Yoshishige was a high-ranking officer in the Kyoto office of Minamoto Clan Shogun, then ruler of Japan. This office was close to the Rokuharamitsu (Six Paramita) Monastery, in the Rokuhara area—east of the Kamo River, between Gojo Dori (Fifth Avenue) and Shichijo Dori (Seventh Avenue) in Kyoto.
Addressing an audience of mostly laypeople, in this brief discourse Dogen stresses that each individual should live fully and actively. Possibly this presentation was decisive in Yoshishige’s invitation to Dogen to move to Echizen and found a monastery. (Dogen moved most of his community to Echizen seven and a half months later.) Did Yoshishige already have a strong commitment to build a full-scale monastery and support the community? The monastery opened one and a half years later, and Dogen described practice period in a full-scale monastery in “Practice Period” three years later, in 1245.
Colophon: “Presented to the assembly at the residence of the former governor of Izumo Province, next to the Rokuharamitsu Temple, Kyoto, on the seventeenth day, the twelfth month, the third year of the Ninji Era [1242].”
Translated by Edward Brown and the Editor.
Dogen gave twenty-six formal dharma talks in 1242.
1243 (IN KYOTO AREA)
43. THE MOON (TSUKI)
Back in Kosho Monastery, Dogen wrote a short piece, “The Moon,” soon after New Year’s Day, as the first of twenty-two fascicles to be completed this year.
Dogen spells the Japanese title, “Tsuki,” meaning “moon,” in a very unusual way, using two ideographs, tsu (entire) and ki (activity). (See “Moon, The” in the glossary for the ideographs.) Ki for “activity” also appears in the title of “Undivided Activity,” the preceding fascicle. The moon in Buddhism is a metaphor for enlightenment, often represented by a full moon. For Dogen, the moon represents meditation in each moment; the moon waxes and wanes, and yet it is always full. This is the dilemma Dogen explores in this text, which was not presented to the community.
Colophon: “Written at the Kannondori Kosho Horin Monastery on the sixth day, the first month, the fourth year of the Ninji Era [1243]. Monk Dogen.”
Translated by Mel Weitsman and the Editor.
44. FLOWERS IN THE SKY (KŪGE)
On the twenty-eighth day of the first month, Dogen delivered “Great Enlightenment” for the second time.
Although his writing was at its peak, he did not complete any other fascicles for two months. What was Dogen doing during this spring? What was more important and pressing than writing his life’s work? Was he possibly drawing plans for the construction of his new monastery?
“Flowers in the Sky,” meaning “illusion,” goes along with such previous fascicles as “Within a Dream Expressing the Dream” and “Painting of a Rice Cake,” turning negative images upside down and making them represent the realm of enlightenment.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery on the tenth day, the third month, the first year of the Kangen Era [1243].”
Translated by Dan Welch and the Editor.
45. OLD BUDDHA MIND (KOBUTSU SHIN)
As was customary, the summer practice period at Dogen’s monastery started in the middle of the fourth month. Unusually, he left the community for several days and presented “Old Buddha Mind” at a temple near Yoshishige Hatano’s residence, in the city of Kyoto. Perhaps this visit to the city of Kyoto was at the request of Yoshishige. They may well have discussed arrangements to move Dogen’s community to Echizen, and the construction of new monastery buildings. Perhaps speaking to his primary supporter, Yoshishige, in this brief presentation Dogen summarizes the mind of ancient buddhas.
Colophon: “Presented to the assembly at the Rokuharamitsu Temple [in Kyoto] on the twenty-ninth day, the fourth month of the Kangen Era [1243].”
Translated by Joan Halifax and the Editor.
46. BODHISATTVA’S FOUR METHODS OF GUIDANCE (BODAISATTA SHI SHŌHŌ)
Dogen wrote this text five days after his discourse, “Ancient Buddha Mind.” The colophon does not say where he wrote it. He may still have been in Kyoto. The fact that Dogen included a description of himself (“Monk Dogen, who transmitted dharma from China”), suggests that he gave the text to Yoshishige. The style is easy and straightforward, explaining the virtues common to lay and ordained practitioners in all Buddhist schools.
Colophon: “Written on the fifth day, the fifth month, the fourth year of Ninji [1243] by Monk Dogen, who transmitted dharma from China.”
Translated by Lewis Richmond and the Editor.
47. TWINING VINES (KATTŌ)
Back in his monastery eight days before the end of the practice period, Dogen gave this talk, “Twining Vines.” This was his last known dharma presentation in the vicinity of Kyoto.
Again in this text, Dogen takes up a negative phrase, “twining vines,” which normally means “entanglement of words and concepts,” and brilliantly turns it around, indicating an intimate and dynamic transmission of dharma.
Colophon: “Presented at the assembly of the Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, on the seventh day, the seventh month, the first year of the Kangen Era [1243].”
Translated by Mel Weitsman and the Editor.
As customary, the practice period at the Kosho Monastery ended on the fifteenth day of the seventh month. Several days later, Dogen and most of his community moved to Echizen Province on the Japan Sea.
1243 (IN ECHIZEN)
Leaving Sen’e in charge of the Kosho Monastery, Dogen walked with his students from Fukakusa (south of Kyoto) north, then east to Echizen Province, in early autumn, near the end of the seventh month.
On the seventeenth day of the same month, Yoshishige Hatano and Layman Sakingo, also known as Zen Practitioner Kakunen, found land suitable for Dogen’s monastery.
48. THREE REALMS ARE INSEPARABLE FROM MIND (SANGAI YUISHIN)
In the lunar calendar, sometimes an extra day is added to a month, and occasionally an extra month is added to a year. An intercalary seventh month was added in 1243. While Dogen and his community were settling in to a temporary practice place—most probably an ancient temple at the foot of Mount Yoshimine in Echizen—Dogen presented “Three Realms Are Inseparable from Mind” to his faithful students, at the beginning of the month.
The term “three realms” (sangai) is a Buddhist technical term, roughly meaning the entire world of phenomena and beyond. The last part of the original title, “Yuishin,” is often translated as “mind only.” This phrase refers to the teaching of the Avatamsaka Sutra that all things are expression of mind and there is nothing outside of mind. As shown in “Actualizing the Fundamental Point” and “Mind-and-Body Study of the Way,” Dogen did not stress “mind only,” but spoke of the inseparableness of body and mind, as well as that of mind and all phenomena.
Colophon: “Presented to the assembly on Mount Yoshimine on the first day, the intercalary seventh month, the first year of the Kangen Era [1243].”
Translated by Josho Pat Phelan and the Editor.
49. SPEAKING OF MIND, SPEAKING OF ESSENCE (SESSHIN SESSHŌ)
Dogen inscribed the place and year of presentation but did not put down a date, which was unusual, since he was a meticulous record keeper. Ejo copied this text on the eleventh day, the first month of the following year. Later, Dogen placed it between “Three Realms Are Inseparable from Mind” and “The Reality of All Things” in his seventy-five-fascicle version, which implies a chronological order. (And yet, no one knows exactly when this fascicle was presented.)
The phrase “speaking of mind, speaking of essence” was at times criticized in the Zen tradition as too theoretical. In fact, Dogen himself had said, “Turning circumstances and turning mind is rejected by the great sage. Speaking of mind and speaking of essence is not agreeable to buddha ancestors” (“Mountains and Waters Sutra”). Here, to the contrary, Dogen emphasizes the importance of expressions of mind and essence. He no longer would merely admire ancient Chinese Zen masters like Linji and Yunmen; he offers harsh criticisms of them. Dogen seems to have developed full confidence as the leader of a monastic community.
Colophon: “Presented to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, in the first year of the Kangen Era [1243].”
Translated by Peter Levitt and the Editor.
50. THE BUDDHA WAY (BUTSUDŌ)
Dogen had some mature Zen students in the Kosho Zen Monastery (as it was called by Sen’e in 1236; see above), who had moved to Echizen with him. Some of them, especially former followers of the Daruma School, such as Ejo and Giun, must have identified themselves as “Zen” practitioners. Dogen needed to say that his teaching did not belong to the “Zen School” or any other sect. He simply taught the “buddha way.” He intended to be a genuine disciple of the Buddha, not confined by sectarian limitations. This is a clear departure from his earlier view, presented in “On the Endeavor of the Way,” of the Five Schools of Zen as something fixed and authoritative.
Colophon: “Presented to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, on the sixteenth day, the ninth month, the first year of the Kangen Era [1243].”
Translated by Mel Weitsman and the Editor.
51. THE REALITY OF ALL THINGS (SHOHŌ JISSŌ)
On a late autumn day, whose date was forgotten by Dogen or Ejo, Dogen presented “The Reality of All Things” to his community. He criticizes the current state of Chinese Zen and the tendency to view Buddhism, Daoism, and Confucianism as being in accord. Perhaps he listened to the chirping of birds while writing that an ancient master and Rujing equally associated the chirping of birds as expressing the reality of all things.
Colophon: “Presented to the assembly of the Yoshimine Temple, Echizen Province, Japan, in the ninth month, the first year of the Kangen Era [1243].”
Translated by Lewis Richmond and the Editor.
52. INTIMATE LANGUAGE (MITSUGO)
“Intimate Language” was also read to Dogen’s practicing community in the temporary setting of the Yoshimine Temple in late autumn. For Dogen, “intimate” means direct, close, without gap, and without intermediary words and concepts. Here Dogen writes that the essence of Zen practice is something intimate between the self and the true self, as well as between master and disciple.
Colophon: “Presented to the assembly of the ancient Yoshimine Temple of Yoshida County, Echizen Province, on the twentieth day, the ninth month, the first year of the Kangen Era [1243].”
Translated by Michael Wenger and the Editor.
53. BUDDHA SUTRAS (BUKKYŌ)
“Buddha Sutras” is the last piece Dogen wrote and presented during the transitional four-month autumn. In this text, he asserts that no spiritual breakthrough is possible without the aid of Buddhist scriptures, again counter to the common Zen notion of “transmission outside the scriptures.”
Colophon: “Presented to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, in the ninth month, the first year of the Kangen Era [1243].”
Translated by Mel Weitsman and the Editor.
54. INSENTIENT BEINGS SPEAK DHARMA (MUJŌ SEPPŌ)
Dogen takes up three ancient Zen dialogues, none of which fully explain what “insentient beings speaking dharma” means. However, Dogen’s statement at the beginning, “This speaking dharma is spoken by dharma,” seems to offer an important clue. Could it be that dharma is a kind of an insentient being?
Colophon: “Presented to the assembly of the ancient Yoshimine Temple, Yoshida County, Echizen Province, on the second day, the tenth month, the first year of the Kangen Era [1243].”
Translated by Alan Senauke and the Editor.
55. DHARMA NATURE (HOSSHŌ)
In the short text “Dharma Nature,” Dogen discusses the paradox of enlightenment. Scriptures and teachers cannot bring the self to realization, because all realizations are actualized by the self, and yet without them the self cannot come to realization.
Colophon: “Presented to the assembly of the Yoshimine Temple, Echizen Province, in early winter [the tenth month], the first year of the Kangen Era [1243].”
Translated by Peter Levitt and the Editor.
56. DHARANI (DARANI)
Although the day and month of composition were not recorded, the fifty-sixth fascicle offers Dogen’s startling explanation of a key Buddhist practice. “Dharani,” a Sanskrit word meaning “upholding,” “support,” or “remembrance,” makes a case for chanting magical spells, the heart of Esoteric Buddhist practice. Dogen sees this practice as teacher and disciple bowing to each other.
Colophon: “Presented to the assembly of the Yoshimine Temple, Echizen Province, in the first year of the Kangen Era [1243].”
Translated by Joan Halifax and the Editor.
57. FACE-TO-FACE TRANSMISSION (MENJU)
On the twentieth day of the tenth month of 1243, Dogen presented “Washing the Face” to students for the second time, with some additions. On the same day he presented “Face-to-Face Transmission.” Here he emphasizes the authentic transmission of dharma from person to person.
Colophon: “Presented to the assembly of the Yoshimine Monastery, Yoshida County, Echizen Province, on the twentieth day, the tenth month, the first year of the Kangen Era [1243].”
Translated by Reb Anderson and the Editor.
58. RULES FOR ZAZEN (ZAZEN GI)
In the middle of the winter in snow country, Dogen delivered “Rules for Zazen” to his community. This fascicle offers the most basic teaching on zazen. It was probably aimed at monks and lay practitioners assembled to engage in preliminary work for construction scheduled for the following spring. This month he also redelivered “The Point of Zazen,” perhaps with his advanced students in mind.
Colophon: “Presented to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, in the eleventh month, the first year of the Kangen Era [1243].”
Translated by Dan Welch and the Editor.
59. PLUM BLOSSOMS (BAIKA)
In deep winter, anticipating the blooming of plum blossoms, Dogen wrote this fascicle, introducing and commenting on eight poems by Rujing. Earlier this year on the fifth day of the eighth month, the recently compiled Recorded Sayings of Zen Master Rujing, Sequel had arrived from China.
Colophon: “This was written on the sixth day, the eleventh month, the first year of the Kangen Era [1243], at the Yoshimine Temple, Yoshida County, Echizen Province. Snow is three feet deep all over the land.”
Translated by Mel Weitsman and the Editor.
60. TEN DIRECTIONS (JIPPŌ)
“Ten directions”—the eight compass points plus above and below—includes all the realms of awakening and luminosity. The snow-covered mountains around him must have inspired Dogen to write this text. But his community was planning to move to a lower altitude, where there was less snow.
Colophon: “Presented to the assembly of the Yoshimine Temple, Echizen Province, Japan, on the thirteenth day, the eleventh month, the first year of the Kangen Era [1243].”
Translated by Mel Weitsman and the Editor.
61. SEEING THE BUDDHA (KEMBUTSU)
In the mid-eleventh month, Dogen’s community was already in the grass-thatched hut at the foot of Yamashi Peak. He addresses in “Seeing the Buddha” the question of physically seeing Shakyamuni Buddha, or experiencing the heart of the Buddha without actually seeing him.
Colophon: “Presented to the assembly at Yamashi Peak on the nineteenth day, the eleventh month, the first year of the Kangen Era [1243].”
Translated by Gaelyn Godwin and the Editor.
62. ALL-INCLUSIVE STUDY (HENZAN)
Eight days after delivering “Seeing the Buddha,” Dogen read “All-Inclusive Study” to his community. The word in the Japanese title (Henzan) refers to a Zen student traveling all over to study with various masters. But Dogen uses this word to mean “studying thoroughly with a master (without needing to study with others).” This resonates with Xuansha’s words, “Bodhidharma did not come to China. Huike did not go to India.”
Colophon: “Taught in a grass-thatched hut at the foot of Yamashi Peak, Echizen Province, on the twenty-seventh day, the eleventh month, the first year of the Kangen Era [1243].”
Translated by Mel Weitsman and the Editor.
63. EYEBALL (GANZEI)
Eighteen days after “All-Inclusive Study,” Dogen delivered “Eyeball” and the following two talks on the same day. In line with “Plum Blossoms,” Dogen presents six quotations from the Recorded Sayings of Zen Master Rujing, Sequel as part of a monthly memorial day for Rujing.
Colophon: “Presented to the assembly, at Yamashi Peak, Echizen Province, on the seventeenth day, the twelfth month, the first year of the Kangen Era [1243].”
Translated by Peter Levitt and the Editor.
64. EVERYDAY ACTIVITY (KAJŌ)
“Everyday Activity” was delivered on the same day as the preceding text. Again in this fascicle Dogen discusses four quotations from the Recorded Sayings of Zen Master Rujing, Sequel.
Colophon: “Presented to the assembly at the foot of Yamashi Peak, Echizen Province, on the seventeenth day, the twelfth month, the first year of the Kangen Era [1243].”
Translated by Arnold Kotler and the Editor.
65. DRAGON SONG (RYŪGIN)
“Dragon Song” was the last of the nineteen fascicles Dogen wrote in Echizen during the first seven months of 1243, the most prolific time of his life. Strikingly, he does not reference building the monastery, although he must have been very busy preparing for its construction. In this text, he addresses the dynamism and joy of sitting still.
Colophon: “Presented to the assembly on the foot of Yamashi Peak on the twenty-fifth day, the twelfth month, the first year of the Kangen Era [1243].”
Translated by Mel Weitsman and the Editor.
Dogen gave five formal talks in 1243.
1244
66. SPRING AND AUTUMN (SHUNJŪ)
Although the month and day of “Spring and Autumn” were not recorded, it was possibly delivered in a hut at the foot of Yamashi Peak. It was spring, yet it was too cold to return to the Yoshimine Temple. Dogen’s theme is a single koan regarding the Zen way of facing cold and heat. Dogen examines and criticizes six Chinese masters’ responses to this koan.
The fact that this fascicle was presented twice hints that some of the residents were away, helping prepare for construction, performing tasks such as cutting wood.
Colophon: “Presented twice to the assembly in a deep mountain of Echizen in the second year of the Kangen Era [1244]. At the moment of meeting Buddha, the Unicorn Sutra is expounded. An ancestor [Qinquan commenting on Shitou] said, ‘Although there are many horns, a single horn is sufficient.’”
Translated by Katherine Thanas and the Editor.
67. THE MEANING OF BODHIDHARMA’S COMING FROM INDIA (SOSHI SAIRAI I)
As in the preceding fascicle, “Spring and Autumn,” the month and day were not recorded in the colophon, but one can assume that Dogen delivered “The Meaning of Bodhidharma’s Coming from India,” along with five others, in a hut at the foot of Yamashi Peak during the coldest time of the year. In this text, Dogen examines Xiangyan’s words on the impossibility of verbally expressing the experience of nonduality.
Colophon: “Presented to the assembly in a deep mountain of Echizen Province on the fourth day, the second month, the second year of the Kangen Era [1244].”
Translated by Wendy Egyoku Nakao and the Editor.
68. UDUMBARA BLOSSOM (UDON GE)
In midspring, when the snow began to melt, Dogen and his community returned to the Yoshimine Temple. Presumably, this brief fascicle is directed to a mixture of long-term students and those who had recently arrived for the monastery construction. Dogen speaks of the legend that Shakyamuni Buddha took up a flower and blinked as Mahakashyapa smiled—commonly considered the first Zen transmission. He explains that all awakened ones in the past, present, and future emerge from this exchange.
Colophon: “Presented to the assembly, while residing at the Yoshimine Temple, Echizen Province, on the twelfth day, the second month, the second year of the Kangen Era [1244].”
Translated by Chozen Jan Bays, Hogen Bays, and the Editor.
69. AROUSING THE ASPIRATION FOR THE UNSURPASSABLE (HOTSU MUJŌ SHIN)
Two days after delivering “Udumbara Blossom,” Dogen presented this and the following fascicles to his assembly. Some copied versions of these two fascicles have the same title, “Arousing the Aspiration for Enlightenment” (Hotsu Bodai Shin). To avoid confusion, this earlier fascicle was renamed later, possibly by Dogen himself.
Between these brief texts, this fascicle is more directed to lay practitioners of Buddhism, perhaps those who participated in monastery construction, not necessarily limited to Zen practitioners. (Some parts of the text are addressed to monks.) This text mentions virtues, including the construction of buddha images and stupas.
Colophon: “Presented to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, on the fourteenth day, the second month, the second year of the Kangen Era [1244].”
Translated by Steve Allen and the Editor.
70. AROUSING THE ASPIRATION FOR ENLIGHTENMENT (HOTSU BODAI SHIN)
Delivered on the same day as the preceding fascicle, “Arousing the Aspiration for Enlightenment” is addressed to bodhisattvas and practitioners of “beginner’s mind.” These two texts deal with a theme common to Buddhism in general.
Colophon: “Presented to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, on the fourteenth day, the second month, the second year of the Kangen Era [1244].”
Translated by Peter Levitt and the Editor.
71. TATHAGATA’S ENTIRE BODY (NYORAI ZENSHIN)
The day after the preceding fascicles were presented, Dogen delivered “Tathagata’s Entire Body” and the following fascicle, “King of Samadhis,” on the same day of the full moon. Again, this text runs counter to the common Zen expression “transmission outside the scriptures.” Dogen asserts that scriptures are no other than the entire body of the Buddha Shakyamuni.
Colophon: “Presented to the assembly of the Yoshimine Temple, Yoshida County, Echizen Province, on the fifteenth day, the second month, the second year of the Kangen Era [1244].”
Translated by John Daido Loori and the Editor.
72. KING OF SAMADHIS (SAMMAI ŌZAMMAI)
Delivered on the same day as “Tathagata’s Entire Body,” “King of Samadhis” reflects the height of Dogen’s creativity and brilliance. It discusses zazen, the heart of Zen practice, in the context of Buddhism in general.
Colophon: “Presented to the assembly of the Yoshimine Temple on the fifteenth day, the second month, the second year of the Kangen Era [1244].”
Translated by Norman Fischer and the Editor.
On the nineteenth day of the second month, four days after the delivery of “Tathagata’s Entire Body” and “King of Samadhis,” ground for the dharma hall of the new monastery was leveled. On the twenty-first day of this month, foundation stones were set and the pillars were erected. On the twenty-second day, the wooden framework of the dharma hall was raised. It was completed four months later.
73. THIRTY-SEVEN WINGS OF ENLIGHTENMENT (SANJŪSHICHI HON BODAI BUMPŌ)
In this long text, “Thirty-seven Wings of Enlightenment,” Dogen presents a comprehensive list of Buddhist virtues, not specific to Zen, perhaps addressing home leavers. He emphasizes the necessity of leaving one’s household.
Colophon: “Presented to the assembly of the Yoshimine Temple, Echizen Province, on the twenty-fourth day, the second month, the second year of the Kangen Era [1244].”
Translated by Peter Levitt and the Editor.
74. TURNING THE DHARMA WHEEL (TEMBŌRIN)
Still residing temporarily at the Yoshimine Temple, three days after presenting “Thirty-seven Wings of Enlightenment,” Dogen read this short text on a general Buddhist theme to his practicing and working community. Here he discusses the authenticity of the Shurangama Sutra.
Colophon: “Presented to the assembly of the Yoshimine Monastery, Echizen Province, on the twenty-seventh day, the second month, the second year of the Kangen Era [1244].”
Translated by Taigen Dan Leighton and the Editor.
75. SELF-REALIZATION SAMADHI (JISHŌ ZAMMAI)
Two days after presenting “Turning the Dharma Wheel,” Dogen read “Self-Realization Samadhi” to the assembly. In this text he revisits the Buddhist paradox of enlightenment, which he previously discussed in “Speaking of Mind, Speaking of Essence.” He explains that scriptures and teachers cannot create self-realization, because all realization is actualized by the self. Yet without them the self cannot be realized.
Colophon: “Presented to the assembly while residing at the Yoshimine Temple on the twenty-ninth day, the second month, the second year of the Kangen Era [1244].”
Translated by Mel Weitsman and the Editor.
76. GREAT PRACTICE (DAI SHUGYŌ)
Nine days later, Dogen read “Great Practice” to his community. This concluded a prolific time at the Yoshimine Temple and the hut on Yamashi Peak. In nine months after arriving in Echizen, Dogen completed twenty-two fascicles of the Treasury of the True Dharma Eye.
Here Dogen takes up the Zen parable of an old Zen master who was reborn as a wild fox. Dogen criticizes later Zen masters’ comments for not fully expressing the gravity of cause and effect. The subject of karma—one’s action and its effect—becomes a critical concern in his teaching from this point on. Some parts of the text in this fascicle overlap those in “Identifying with Cause and Effect.”
Colophon: “Presented to the assembly of the Yoshimine Temple, Echizen Province, on the ninth day, the third month, the second year of the Kangen Era [1244].”
Translated by Dan Welch and the Editor.
There is no record that Dogen held a practice period in 1244. His silence may reflect the intensity of monastery construction and organization. A number of monks arrived in the seventh month.
On the eighteenth day of the seventh month, one day after Rujing’s memorial day, Dogen moved from Yoshimine Temple to his new monastery. He opened its dharma hall and named it Daibutsu (Great Buddha) Monastery.
On the fourteenth day of the eighth month, Dogen made a vow to hand carve a Buddha image for the monastery.
On the first day of the ninth month, a ceremony marking completion of the dharma hall was performed.
On the third day of the eleventh month, a framework-raising ceremony for the monks’ hall was performed.
Dogen gave six formal talks in 1244.
DAIBUTSU MONASTERY PERIOD
1245
77. SPACE (KOKŪ)
After a year’s break, Dogen delivered a short text to his community as his first presentation of the Treasury of the True Dharma Eye at the Daibutsu Monastery. In this text, he presents his understanding of space as a boundless and indescribable state of meditation.
Colophon: “This was presented to the assembly of the Daibutsu Monastery, Echizen Province, on the sixth day, the third month, the third year of the Kangen Era [1245].”
Translated by Alan Senauke and the Editor.
78. EATING BOWL (HOU)
Dogen delivered “Eating Bowl” to students at the new monastery six days after “Space.” The Buddhist eating bowl is also a begging bowl. Along with the robe, it is a symbol of home leavers and dharma transmission. Here Dogen presents a Zen understanding of the bowl.
Colophon: “Presented to the assembly of the Daibutsu Monastery, Echizen Province, on the twelfth day, the third month, the third year of the Kangen Era [1245].”
Translated by Peter Levitt and the Editor.
79. PRACTICE PERIOD (ANGO)
The first summer practice period at the Daibutsu Monastery started, as was customary, on the full-moon day of the fourth month. It seems that a full-scale monastic compound had been completed by this time. Dogen offers meticulous descriptions of practice period activities in the monastery.
Colophon: “Presented to the assembly of the Daibutsu Monastery, Echizen Province, on the thirteenth day, the sixth month, during the summer practice period, in the third year of the Kangen Era [1245].”
Translated by Norman Fischer and the Editor.
80. SEEING OTHERS’ MINDS (TASHIN TSŪ)
In the heat of summer, close to the end of the practice period, Dogen expanded and edited a large section of “Ungraspable Mind” (later version), which had not been presented to the community. Then he delivered this text under a new title to his students. In this fascicle he focuses on the story of a Zen master challenging a miracle worker. He sharply criticizes different Chinese Zen masters’ comments on the story.
Colophon: “Presented to the assembly at the Daibutsu Monastery, Echizen Province, on the fourth day, the seventh month, the third year of the Kangen Era [1245].”
Translated by Michael Wenger and the Editor.
81. KING WANTS THE SAINDHAVA (ŌSAKU SENDABA)
In midwinter, three months after the end of the first practice period at the Daibutsu Monastery, Dogen delivered “King Wants the Saindhava.” He examines ancient Zen masters’ commentaries on the word saindhava. Its multiple meanings require mind-to-mind transmission for others to understand its implications.
Colophon: “Presented to the assembly of the Daibutsu Monastery on the twenty-second day, the tenth month, the third year of the Kangen Era [1245].”
Translated by Josho Pat Phelan and the Editor.
Dogen gave fifteen formal talks in 1245.
EIHEI MONASTERY PERIOD
1246
Dogen did not write or deliver any fascicle of the Treasury of the True Dharma Eye during the second practice period at the Daibutsu Monastery. It seems that his teaching focus shifted toward creating detailed monastic guidelines, and giving frequent formal talks for his practicing community.
On the full-moon day of the sixth month, Dogen renamed his training center the Eihei (Eternal Peace) Monastery. On this day he completed the Guidelines for Officers of the Eihei Monastery, Echizen Province, Japan.
82. INSTRUCTIONS ON KITCHEN WORK (JI KUIN MON)
Soon after the end of the practice period, at the beginning of autumn, Dogen delivered “Instructions on Kitchen Work” to his community.
Similar to his earlier “Guidelines for the Auxiliary Cloud Hall at the Kannondori Kosho Gokoku Monastery,” this was initially written as monastic guidelines but was later included in the Eihei-ji edition of the Treasury of the True Dharma Eye.
There is a section on duties of the head cook in Guidelines for Officers of the Eihei Monastery, Echizen Province, Japan, which he wrote in Chinese two months earlier. But this text, composed in Japanese, seems to be directed to monks and kitchen workers less experienced or educated than the head cook.
Introductory note: “Presented to the assembly on the sixth day, the eighth month, the fourth year of the Kangen Era [1246].”
Translated by Peter Levitt and the Editor.
83. LEAVING THE HOUSEHOLD (SHUKKE)
In midautumn Dogen presented “Leaving the Household” as the only fascicle of the Treasury of the True Dharma Eye delivered to his community at the Eihei Monastery.
This is the last-dated piece in the seventy-five-fascicle version (which is identified by Ejo as the “early written version”) of the Treasury of the True Dharma Eye. The grouping of this version was to be completed sometime after this.
Dogen begins with a Zen reference on receiving precepts and leaving the household, but relies on quotations from the larger body of Buddhist scriptures. He says, “Unsurpassable enlightenment is fulfilled at the moment you leave the household and receive the precepts. It is not fulfilled other than on this day.”
Colophon: “Presented to the assembly of the Eihei Monastery, Echizen Province, on the fifteenth day, the ninth month, the fourth year of the Kangen Era [1246].”
Translated by Peter Levitt and the Editor.
Dogen gave seventy-five formal talks in 1246.
In the third month, Tokiyori Hojo became the fifth regent of the Kamakura government. (After the death of the first Shogun, Yoritomo Minamoto, in 1199, successive members of the Hojo Clan became regents of the Kamakura government, gradually taking power. Tokiyori was the one who took full power.) One of the first things he did was to invite Dogen to Kamakura.
1247
Dogen was at the Eihei Monastery during the practice period.
He gave thirty-five formal talks this year. It is possible that he was working on restructuring of the Treasury of the True Dharma Eye—the seventy-five- and twelve-fascicle versions.
On the third day of the eighth month, he left for Kamakura to teach laypeople, primarily leaders of the samurai government.
Dogen gave the precepts to a number of people, including Tokiyori. Tokiyori asked Dogen to stay longer and open a monastery in Kamakura, but Dogen declined. Aside from the ten poems he gave Tokiyori’s wife, practically none of Dogen’s writings remain from this period.
1248
On the thirteenth day of the third month, Dogen returned to the Eihei Monastery, ready to lead the practice period.
He gave fifty-two formal talks this year.
1249
In the first month, Dogen completed the Guidelines for the Study Hall at the Kissho Mountain, Eihei Monastery.
He gave fifty-eight formal talks this year.
1250
On the eleventh day of the first month, Dogen delivered “Washing the Face” for the third time.
He gave fifty-one formal talks this year.
1251
Dogen gave sixty-nine formal talks this year.
Dogen revised “Actualizing the Fundamental Point.” He may have been still working on restructuring of the Treasury of the True Dharma Eye— the seventy-five- and twelve-fascicle versions.
He gave fifty-one formal talks this year.
He became sick in the autumn.
1253
84. EIGHT AWAKENINGS OF GREAT BEINGS (HACHI DAININ GAKU)
At the beginning of the year—the sixth day of the first month—Dogen wrote “Eight Awakenings of Great Beings.” The text consists largely of quotations from the Pari-nirvana Admonition Outline Sutra. He only added some simple interpretations of Shakyamuni Buddha’s last words. Clearly, as Ejo suggests in his colophon, Dogen intended to mirror the Buddha’s last words in his own final teaching.
Colophon: “Written at the Eihei Monastery on the sixth day, the first month, the fifth year of the Kencho Era [1253].”
Ejo’s colophon: “Now, on the day before the end of the practice period in the seventh year of the Kencho Era [1255], I have asked Secretary Gien to copy this. I have also proofread it today. This text was written by our late master during his last illness. He rewrote all [seventy-five] fascicles of the Treasury of the True Dharma Eye he had written in kana [mixture of ideographs and Japanese phonetics]. He wanted to add recently written fascicles and altogether create a one-hundred-fascicle version. He started writing this text as the twelfth fascicle [of the recently written pieces]. Then his sickness advanced, and the compilation of the entire text had to stop. Thus, this fascicle is the last teaching left behind by our late master. Unfortunately, we are unable to see the one-hundred-fascicle-version manuscript. It is indeed most regrettable. Those who long for our late master should not fail to copy and maintain this fascicle. It is the last admonition of Shakyamuni Buddha, as well as that of our late master.”
Translated by Reb Anderson and the Editor.
There is no record of Dogen’s formal talks in 1253.
On the eighth day of the seventh month, Dogen became sick again. Gikai attended to him.
On the fourteenth day of the same month, Dogen appointed Ejo the second abbot of the Eihei Monaster, giving him a robe Dogen himself had sewn.
On the fifth day of the eighth month, at Yoshishige Hatano’s request, Dogen left for Kyoto to treat his sickness.
On the fifteenth day of the eighth month, under a harvest moon, he wrote a poem.
In autumn
even though I may
see it again,
how can I sleep
with the moon this evening?
On the twenty-eighth day of the eighth month, Dogen passed away at his lay student Kakunen’s residence in the city of Kyoto.
FASCICLES NOT DATED BY DOGEN
85. KARMA IN THE THREE PERIODS (SANJI GŌ)
Dogen did not have time to complete and date this manuscript on the general Buddhist theme of karma. It was included, most likely by Ejo, in the twelve-fascicle version of the Treasury of the True Dharma Eye as a later manuscript than those in the seventy-five-fascicle version. (The twelve-fascicle version also includes some earlier texts that are strictly for home leavers.)
Ejo’s colophon: “This was copied at the head monk’s office at the Eihei Monastery on the ninth day, the third month, the fifth year of the Kencho Era [1253].”
Translated by Mel Weitsman and the Editor.
86. FOUR HORSES (SHIME)
A brief text commenting on some selections from pre-Mahayana and Mahayana sutras, “Four Horses” is known as part of the twelve-fascicle version text.
Ejo’s colophon: “On a summer practice day of the seventh year of the Kencho Era [1255], I have copied my late master’s draft.”
Translated by Peter Levitt and the Editor.
87. VIRTUE OF HOME LEAVING (SHUKKE KUDOKU)
Dogen radically expanded his text on a common Buddhist theme that he had brought up in 1246 with “Leaving the Household.” “Virtue of Home Leaving” was included in the twelve-fascicle version as the leading piece.
Ejo’s colophon: “A day during the summer practice period, the seventh year of the Kencho Era [1255].”
Translated by Paul Haller and the Editor.
88. MAKING OFFERINGS TO BUDDHAS (KUYŌ SHOBUTSU)
Dogen describes various offerings to buddhas, suggesting that such offerings are essential practice for enlightenment. This is one of the fascicles Ejo included in the twelve-fascicle version.
Ejo’s colophon: “[Edited during] The summer practice period, the seventh year of the Kencho Era [1265].”
Translated by Natalie Goldberg and the Editor.
89. TAKING REFUGE IN BUDDHA, DHARMA, AND SANGHA (KIE BUPPŌSŌ)
This fascicle is also called “Taking Refuge in the Three Treasures” (Kie Sambō). As Ejo says in his colophon, Dogen did not edit it. After Dogen’s death, it was put in the twelve-fascicle version as one of the “recently written pieces.”
Ejo’s colophon: “Copying of this draft written by our late master was completed on a day of the summer practice period in the seventh year of the Kencho Era [1255]. He could not revise and finalize the manuscript, although he would have made some additions and deletions in the process of editing. Since this is no longer possible, I have preserved his draft as it is.”
Translated by Gyokuko Carlson, Kyogen Carlson, and the Editor.
90. IDENTIFYING WITH CAUSE AND EFFECT (SHINJIN INGA)
Examining the same theme as “Great Practice,” and possibly written later, “Identifying with Cause and Effect” shows Dogen’s mature thinking about cause and effect. Undated and perhaps unedited by Dogen, this fascicle was collected in the twelve-fascicle version.
Ejo’s colophon: “During the summer practice period in the seventh year of the Kencho Era [1255], I copied our late master’s draft. There may be a second or final version edited by him, but I have used his draft for the time being.”
Translated by Katherine Thanas and the Editor.
91. MONK OF THE FOURTH-STAGE MEDITATION (SHIZEN BIKU)
This short piece, interwoven with quotations from pre-Mahayana and Mahayana sutras, is also undated and unedited. It is one of Dogen’s later pieces placed in the twelve-fascicle version.
Ejo’s colophon: “Copied from a draft [by Dogen] during the practice period of the seventh year of the Kencho Era [1255].”
Translated by Andy Ferguson and the Editor.
92. ONLY A BUDDHA AND A BUDDHA (YUIBUTSU YOBUTSU)
Basing his title on a phrase from the Lotus Sutra, Dogen explains in simple language that the full experience of dharma can be passed on only from a buddha to a buddha. This text was not found in either the seventy-five or the twelve-fascicle version. Perhaps Dogen gave it to one of his students in an early time but did not keep a copy of it. It was part of the twenty-eight-fascicle version, transmitted at the Eihei Monastery, and later known as the Secret Treasury of the True Dharma Eye. It was included in Kozen’s edition.
Translated by Edward Brown and the Editor.
93. BIRTH AND DEATH (SHŌJI)
“Life and death” are often described as “birth and death” in Buddhism, with the understanding that each individual is born and dies in each moment. Like “Only a Buddha and a Buddha,” this short fascicle was included in Kozen’s edition. It seems to be one of Dogen’s earliest pieces, as the writing style and vocabulary are similar to those in “Actualizing the Fundamental Point” and “Undivided Activity.”
Translated by Arnold Kotler and the Editor.
94. HEART OF THE WAY (DŌSHIN)
The short text “Heart of the Way” was originally titled “The Buddha Way” (Butsudō), but Kozen renamed it, since there was already another fascicle with that title. Here, Dogen refers to such lay practices as creating a buddha image and printing copies of the Lotus Sutra.
Translated by Peter Levitt and the Editor.
95. RECEIVING THE PRECEPTS (JUKAI)
In the twelve-fascicle version, the short undated text “Receiving the Precepts” is second, after “Leaving the Household.” Like some other fascicles of this version, it may have been written in the last part of Dogen’s life. Drawing examples from ancient Zen masters, Dogen explains the significance of receiving the precepts and describes the procedure for an ordination ceremony.
Translated by Michael Wenger and the Editor.
96. ONE HUNDRED EIGHT GATES OF REALIZING DHARMA (IPPYAKUHACHI HŌMYŌ MON)
Unlike other fascicles of the Treasury of the True Dharma Eye, most of “One Hundred Eight Gates of Realizing Dharma” is a long quotation from one sutra. This undated piece lacks a usual introductory section, and Dogen’s explanation appears very briefly at the end. It seems to be a rough draft written during the last part of his life. It is placed in the twelve-fascicle version immediately before Dogen’s last known text, “Eight Awakenings of Great Beings.” This text was not included in Kozen’s ninety-five-fascicle version. Because we have included it, our volume has one more fascicle than his seventeenth-century edition.
Translated by Peter Levitt and the Editor.
DOGEN’S LIFE AND TEACHING (APPENDIX 2)
There is a section on Dogen in Transmission of Light (Denkō Roku) by Keizan Jokin (1268–1325), completed in 1300, nearly half a century after Dogen’s death. Keizan’s book describes the lives and teachings of Shakyamuni Buddha and fifty-two dharma holders in a lineage through Dogen and Ejo. Keizan, a successor of Gikai and the founder of the Soji Monastery, widely disseminated Dogen’s teaching among priests and laity, and is regarded as the second founder of the Soto School.
Translated by Susan Moon and the Editor.