《龍吟Song of the Dragon》 永平道元禪師 (英譯)
舒州投子山慈濟大師因僧問：“枯木裡還有龍吟也無？” 師曰：“我道髑髏裡有獅子吼。” 枯木死灰之談，本是外道之所教。然則，外道所言之枯木與佛祖所言之枯木，當遙異。外道雖談枯木而不知枯木，況聞龍吟哉？外道以為枯木是朽木，參學其不可逢春。佛祖道之枯木，則參學是海枯也。海枯者，木枯也；木枯者，逢春也。木之不動著，枯也。而今之山木、海木、空木等，是枯木也。萌芽亦是枯木之龍吟也。有百千萬圍者，亦是枯木之兒孫也。枯之相、性、體、力，是佛祖道之枯椿也，亦是非枯椿也。有山谷木，有田裡木。山谷木，世稱松柏；田裡木，世稱人天。依根葉分佈，稱之佛祖。本末須歸宗，即是參學也。如是則枯木之長法身，枯木之短法身也。若非枯木，則不龍吟；若非枯木，則不打失龍吟。“幾度逢春不變心”，是渾枯之龍吟也。雖不與宮、商、角、徵、羽為群，然則，宮、商、角、徵、羽，則是龍吟前後之二三子也。
舒州投子山慈濟大師因僧問：「枯木裡還有龍吟也無？」 師說：「我道髑髏裡有獅子吼。」(《景德傳燈錄》卷十五 投子大同章) 枯木死灰的談論，本是外道所教的。然而，外道所說的枯木(二元性，是所對的無情法)與佛祖所說的枯木(一元性，法性相一如的公案現成)，當遙異。外道雖談枯木而不知枯木，況聞龍吟呢(不知枯木是依真如法的緣起法，更何況公案現成中的識性)？外道以為枯木是朽木，參學其不可逢春。佛祖道的枯木(『枯』指佛性恁麼起的識性、法性)，則參學是如海枯。海枯，即是木枯(指佛性真如的識、法性)；木枯，是可逢春。木的不動著(真如識未轉識落入三界，即指威音王以前的真如法界)，是枯。而今的山木、海木、空木等，即是枯木。萌芽亦是枯木的龍吟。有百千萬圍的，亦是枯木的兒孫。枯(識性、法性)的相、性、體、力，是佛祖道的枯椿(指緣起法相)，亦是非枯椿(指所依真如法體)。有山谷木(指無情的法性)，有田裡木(指有情識)。山谷木，世稱松柏；田裡木，世稱人天。依根葉分佈(即由所轉變三界識心依真如法緣起萬法)，稱為佛祖。本末須歸宗，即是參學。如是則枯木的長法身，枯木的短法身(萬法的依真如法緣起的差別相)。若非枯木，則不龍吟；若非枯木，則不打失龍吟(即因是識、法性，才能恁麼緣起滅法相)。『幾度逢春不變心』(《景德傳燈錄》卷七 大梅章)，是渾枯的龍吟。雖不與宮、商、角、徵、羽為群，然而，宮、商、角、徵、羽，則是龍吟前後的二三子(即識性依真如法緣起法相，然是因三界識性的不同，緣起法所現也不同)。
Once a monk asked the Chan Master Ciji of
Mt. Touzi in Shuzhou, “Is there the song of the dragon in the dried tree?” The master said, “I say there’s the roar of the lion in the skull.” Talk of “dried trees and dead ashes” is
originally a teaching of the alien ways. Nevertheless, there should be a big
difference between the “dried tree” spoken of by the alien ways and the “dried
tree” spoken of by the buddhas and ancestors. While the alien ways talk of “dried
trees,” they do not know “dried trees,” much less do they hear “the
song of the dragon.” The alien paths think that the “dried
tree” is a rotted tree; they study that it cannot “meet
the spring.” The “dried trees” that the buddhas and ancestors speak of is
the study of “the ocean drying up.” The ocean drying up is the tree drying
out; the tree drying out is “meeting the spring.” The tree
not moving is “dried.” The present mountain trees, ocean trees,
sky trees, and the rest— these are the “dried
tree.” The “germination of a sprout” is the “song of the dragon in the dried tree”;
though it may be a hundred, thousand, myriad in circumference, it is the
progeny of the dried tree. The mark, nature, substance, and power of “dried” is “a
dried post” and “not a dried post,”
spoken of by the buddhas and ancestors. There are trees of mountains and
valleys; there are trees of paddies and villages. The trees of mountains and
valleys are known in the world as pines and cypress; the trees of paddies and
villages are known in the world as humans and devas. “The
leaves are spread based on the root”: this is called the buddhas and ancestors;
“root and branch return to the source”: this is our study. Being like this is the
dried tree’s long dharma body, the dried tree’s
short dharma body. One who is not a dried tree does not make the song of the
dragon; one who is not a dried tree does not lose the song of the dragon. “How
many springs has it met without changing its mind?”—this
is the song of the dragon entirely dried. Though it may not be versed in the
notes of the scale, the notes of the scale are the second or third sons of the
song of the dragon.
然則，這僧道之“枯木裡還有龍吟也無”者，乃無量劫中始于問頭現成，話頭之現成也。投子道之“我道髑髏裡有獅子吼”者，有什麼掩處？“屈己推人”也，“髑髏遍野”也。
然而，這僧說的『枯木裡還有龍吟也無』，乃是無量劫中始於問頭現成，話頭的現成。投子說的『我道髑髏裡有獅子吼(法相中有識性)』，有什麼掩處？是『屈己推人(既貶低了自己又貶低了別人，即萬法都是公案現成)』(《景德傳燈錄》卷十五 投子大同章)，是『髑髏遍野』(《景德傳燈錄》卷十八 長慶章)。(即掩處是『捨父逃逝』，僧徒不知身心是依佛性真如法的緣起)
Nevertheless, this monk’s
saying, “is there the song of the dragon in the dried tree?” is
the first appearance of the question in countless aeons; it is the appearance
of a topic. Touzi’s saying, “I say there’s the roar of the lion in the skull” is “what’s been
concealed?” It is “never ceasing to subdue oneself and promote
others”; it is “skulls fill the fields.”
香嚴寺襲燈大師因僧問：“如何是道？” 師云：“枯木裡龍吟。” 僧曰：“不會。” 師云：“髑髏裡眼睛。”
後有僧問石霜：“如何是枯木裡龍吟？” 霜云：“猶帶喜在。” 僧曰：“如何是髑髏裡眼睛？” 霜云：“猶帶識在。”
香嚴寺襲燈大師因僧問：「如何是道？」 師說：「枯木裡龍吟。」 僧說：「不會。」 師說：「髑髏裡眼睛。」 後有僧問石霜：「如何是枯木裡龍吟？」
霜說：「猶帶喜(指第六意識)在。」 僧問：「如何是髑髏裡眼睛？」
霜說：「猶帶識(三界識心)在。」
A monk once asked the Great Master Xideng
of Xiangyan zi, “What is the way?” The master said, “The
dragon song in the dried tree.” The monk said, “I don’t
understand.” The master said, “The eyeball in the skull.” Later, a monk asked Shishuang, “What is the dragon song in the dried tree?” Shuang said, “Still harboring joy.” The monk said, “What is the eyeball in skull?” Shuang said, “Still harboring consciousness.”
又有僧問曹山：“如何是枯木裡龍吟？” 山曰：“血脈不斷。” 僧曰：“如何是髑髏裡眼睛？” 山曰：“乾不盡。”
僧曰：“未審還有得聞者麼？” 山曰：“盡大地未有一個不聞。” 僧曰：“未審龍吟是何章句？” 山曰：“也不知是何章句。聞者皆喪。” 今此擬道“聞者”、“吟者”，不與吟龍吟者相齊。其曲調者，龍吟也。
又有僧問曹山：「如何是枯木裡龍吟？」 山說：「血脈不斷(萬法是識性依真如法緣起的)。」 僧問：「如何是髑髏裡眼睛？」 山說：「乾不盡(法性常在)。」 僧說：「未審還有得聞者麼？」 山說：「盡大地未有一個不聞。」 僧問：「未審龍吟是何章句？」 山說：「也不知是何章句。聞者皆喪(即心法一如的不落慮知)。」 (《聯燈會要》卷八 香嚴智閑章) 今此擬說『聞者』、『吟者』(佛性恁麼而有的識心)，不與吟龍吟者(真如佛性)相齊。其曲調，是龍吟(恁麼緣起公案現成一元性)。
Again, a monk asked Caoshan, “What
is the dragon song in the dried tree?” Shan said, “The blood vessel not severed.” The monk said, “What is the eyeball in the skull?” Shan said, “Not entirely dried up.” The monk said, “Well, can anyone hear it?” Shan said, “On the whole earth, there isn’t one
who can’t hear it.” The monk said, “Well,
what passage does the dragon sing?” Shan said, “I don’t know
what passage it is. Everyone who hears it loses his life.” The
hearer and singer spoken of here are not equal to the singer of the dragon’s
song; this tune is the dragon’s singing.”
“枯木裡”、“髑髏裡”者，此非內外，非自他，而今而古也。 “猶帶喜在”者，更是頭角生也；“猶帶識在”者，“皮膚脫落盡”也。
曹山道“血脈不斷”者，道不諱也，語脈裡轉身也。 “乾不盡”者，即海枯不盡底也；不盡是乾，故乾上又乾也。道著“有聞者麼”者，如言有不得者麼。
『枯木裡』、『髑髏裡』，是此非內外(無我相)，非自他(無人相)，是而今而古(一元性的無時間相)。 『猶帶喜在』，更是頭角生(指有意識分別的萬法)；『猶帶識在』，是『皮膚脫落盡』(指不落分別的識性，《禪宗頌古聯珠通集》卷十四 「藥山侍奉馬祖三年。一日祖問。子近日見處作麼生。師曰。皮膚脫落盡。唯有一真實。」)。 曹山說的『血脈不斷』，是道不諱，是語脈裡轉身。 『乾不盡』，即是海枯不盡底；不盡是乾，故是乾上又乾。說『有聞者麼』，是如說有不得的麼。
“In the
dried tree,” “in the skull”—these are not about inside or outside, not about self or
other; they are the present and the past. “Still harboring joy” is a further
“horn growing on the head”; “still harboring consciousness” is “skin entirely
shed.” Caoshan’s saying, “the blood vessel not severed,” is
speaking without avoidance; it is “turning the body in the stream of words.” “Not
entirely dried up” is “when the ocean dries up, it does not
entirely [dry] to the bottom.” Since “not entirely” is “drying up,” there is “drying up” beyond “drying
up.” His saying, “can anyone hear it?” is like saying, “is
there anyone who can’t?”
謂“盡大地有一個不聞”，當更問：未有一個不聞且不管，未有盡大地時，龍吟在什麼處？速道！速道！
“未審龍吟是何章句？”當以此問為問。龍吟自在泥裡作聲舉拈，在鼻孔裡出氣也。 “也不知是何章句”者，即章句裡有龍也。謂“聞者皆喪”，可惜許也！
所謂『盡大地有一個不聞』，當更問：未有一個不聞且不管，未有盡大地時(即恁麼緣起的向上處)，龍吟(指識性的真如法身)在什麼處？速道！速道！(這是『佛向上事』，道不得也！) 『未審龍吟是何章句？』當以此問為問。龍吟自在泥裡作聲舉拈，是在鼻孔裡出氣(即識性依真如法的緣起相，因三界識心而異)。 『也不知是何章句』，即是章句裡有龍。說『聞者皆喪(即性因相顯而隱)』，是可惜許！
About “on the whole earth, there isn’t one
who can’t hear it,” we should ask further: leaving aside “there
isn’t one who can’t hear it,” when there isn’t any
whole earth, where is the song of the dragon? Speak! Speak! “Well,
what passage does the dragon cry?” should be made a question. The crying
dragon is itself raising its voice and bringing it up within the mud, is breathing
it out within its nostrils. “I don’t know what passage it is” is a
dragon within the passage. “Everyone who hears it loses his life”: what
a pity!
今（舉）香嚴、石霜、曹山等之“龍吟”來作云、作水；不道道，不道眼睛髑髏，只是龍吟千曲萬曲。猶帶喜在也蝦蟆啼，猶帶識在也蚯蚓鳴。依此而血脈不斷，葫蘆嗣葫蘆也。以是乾不盡故，露柱懷胎生也，燈籠對燈籠也。
今舉香嚴、石霜、曹山等的『龍吟』來作雲、作水；不說道，不說眼睛髑髏，只是龍吟千曲萬曲。猶帶喜在也蝦蟆啼，猶帶識在也蚯蚓鳴(《如淨語錄》收的『淨慈寺語錄』：「上堂。霖霪大雨。豁遠大晴。蝦蟆啼蚯蚓鳴。古佛不曾過去。發揮金剛眼睛。咄。葛藤葛藤。」)。依此而血脈不斷，是葫蘆嗣葫蘆。因是乾不盡，故是露柱懷胎生，燈籠對燈籠。(這裡道元是說：萬法的緣起(不管無情法、有情識)，都是佛性依真如法而緣起的，是『此有故彼有、此無故彼無』。而這所有緣起的有時界，都是一元性。)
This song of the dragon of Xiangyan,
Shishuang, and Caoshan forms clouds and forms water. It does not talk about the
way; it does not talk about the eyeball or skull: it is just a thousand tunes,
ten thousand tunes of the song of the dragon. “Still harboring joy” is “the
croaking of frogs”; “still harboring consciousness” is “the
murmuring of worms.” By these, “the blood vessel is not severed,” “the
bottle gourd succeeds the bottle gourd.” Since it is “not entirely dried up,” the
columns conceive and give birth, the lanterns face the lanterns.
參考資料：
(1) 《正法眼藏》
道原 著 ， 何燕生 譯註， 宗教文化出版社
(2) 《Shōbōgenzō》
http://web.stanford.edu/group/scbs/sztp3/translations/shobogenzo/translations/bussho/intro.html
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