Following his translation of just over half the original text in 2014, Norman Waddell presents the complete teaching record of Zen master Hakuin, now available in English with extensive explanations, notes, and even the wry, helpful comments that students attending Hakuin’s lectures inscribed in their copies of the text With this volume, Norman Waddell completes his acclaimed translation of the teaching record of one of the greatest Zen masters of all time, Hakuin Ekaku (1685–1769). Hakuin lived at a time when Japanese Buddhism as a whole and his own Rinzai sect in particular were at low ebb. Through tremendous force of character and creative energy, he initiated a reform movement that swept the country, and today, all Rinzai Zen masters trace their lineage through him. This outcome is all the more extraordinary because Hakuin’s base of operations was a small temple in the country town of Hara, where he grew up, not in one of the nation's political, cultural, or commercial centers. This book represents the first full publication of the Keisō Dokuzui in any foreign language. Inspired by the enthusiastic reception that greeted his 2014 selections from the text, Waddell returned to work and now gives us the opportunity to examine the entirety of Hakuin's record and to benefit as never before from the example and instruction of this exuberant personality and remarkable teacher. Poison Blossoms contains a highly diverse set of materials: formal and informal presentations to monastic and lay disciples, poems, practice instructions, inscriptions for paintings, comments on koans, letters, and funeral orations. While most items are brief, easily read in a quick sitting, the book also includes extended commentaries on the Heart Sutra, one of Mahayana Buddhism’s central texts; on the famously difficult Five Ranks of Tung–shan; and on the accomplishments of his eminent predecessor Gudō Tōshoku. Having devoted himself for more than three decades to the study and translation of Hakuin's works, Norman Waddell is peerless when it comes to conveying into English the vital, sometimes elegant, often earthy voice of this outstanding teacher. His command of the subject enables Waddell to elucidate the vast array of idioms and images that Hakuin employed to enliven his poetry and prose—historical and mythological elements, street slang, doctrinal and cultural allusions that would otherwise place these writings beyond the grasp of anyone but a specialist. Waddell's five previous Hakuin translations, each important in its own right, can now be recognized as stepping stones to this towering achievement.

Hakuin Ekaku Zenji (1686–1769) was one of the greatest Zen masters ever to live. Originator of the famous koan "What is the sound of a single hand?" he is credited with reviving the Rinzai sect of Zen in Japan, and today all masters of that sect trace their lineage back to him. Through his numerous descendants, his influence is now felt worldwide, with his "Song of Zazen" chanted daily in temples around the globe. Norman Waddell has spent decades reading and translating Hakuin's vast writings. He has published several previous selections, all leading to his work on this monumental gathering, the Keiso Dokuzui, little known in Japan and never before translated into any foreign language. Interpreting such a text requires immersion in the material in its original language, as well as complete mastery of the available commentary. Probably no one alive is as fully prepared for this important and difficult task as Dr. Waddell. For this collection, Hakuin gathered together an enormous number and variety of pieces—commentaries, memorials, poems, koans, teisho (lectures), letters, and more. Having presented many of them live to the throng of students residing in and around his temple as well as to other audiences around the country,

Hakuin Ekaku (1685–1769) is one of the most influential figures in Zen Buddhism. He revitalized the Rinzai Zen tradition (which emphasizes the use of koans, or unanswerable questions, in meditation practice), and all masters of that school today trace their lineage back through him. He is responsible for the most famous of all koans: "What is the sound of one hand clapping?" He is also famous for his striking and humorous art, which he also regarded as teaching. This book provides a rare, intimate look at Hakuin the man, through his personal correspondence. Beating the Cloth Drum contains twenty-eight of Hakuin's letters to students, political figures, fellow teachers, laypeople, and friends. Each letter is accompanied by extensive commentary and notes. They showcase Hakuin's formidable, thoughtful, and sometimes playful personality—and they show that the great master used every activity, including letter-writing, as an opportunity to impart the teachings that were so close to his heart.

The Letters of Chan Master Dahui Pujue offers a complete annotated translation, the first into English, of a Chan Buddhist classic, the collected letters of the Southern Song Linji Chan teacher Dahui Zonggao (1089-1163). Addressed to forty scholar-officials, members of the elite class in Chinese society, and to two Chan masters, these letters are dharma talks on how to engage in Buddhist cultivation. Each of the letters to laymen is fascinating as a document directed to a specific scholar-official with his distinctive niche, high or low, in the Song-dynasty social-political landscape, and his idiosyncratic stage of development on the Buddhist path. Dahui is engaging, incisive, and often quite humorous in presenting his teaching of "constantly lifting to awareness the phrase (huatou)," his favored phrases being No (wu) and dried turd. Throughout one's busy twenty-four hours, the practitioner is not to perform any mental operation whatsoever on this phrase, and to "take awakening as the standard." This epistolary compilation has long constituted a self-contained course of study for Chan practitioners. For centuries, Letters of Dahui has been revered throughout East Asia. It has exerted a formative influence on Linji Chan practice in China, molded S

A fresh translation and commentary on a classic collection of 100 koans from thirteenth-century China. The Record of Empty Hall was written by Xutang Zhiyu (1185-1269), an important figure in Chinese Linji Chan (Japanese Rinzai Zen) Buddhism and in its transmission to Japan. Although previously little-known in the West, Xutang's work is on par with the other great koan collections of the era, such as The Blue Cliff Record and Book of Serenity. Translated by Zen teacher Dosho Port from the original Chinese, The Record of Empty Hall opens new paths into the earthiness, humor, mystery, and multiplicity of meaning that are at the heart of koan inquiry. Inspired by the pithy, frank tone of Xutang's originals, Port also offers his own commentaries on the koans, helping readers to see the modern and relatable applications of these thirteenth-century encounter stories. Readers familiar with koans will recognize key figures, such as Bodhidharma, Nanquan, and Zhaozhou and will also be introduced to teaching icons not found in other koan collections. Through his commentaries, as well as a glossary of major figures and an appendix detailing the cases, Port not only opens up these remarkable koans but also illuminates their place in ancient Chinese, Japanese, and contemporary Zen practice.

This book provides a translation and critical bilingual edition on the Verse Comments on the Treasury of the True Dharma Eye. The Verse Comments by Giun (1253-1333), the fifth abbot of Eiheiji temple, is an important early medieval Japanese commentary on the 60-chapter edition of the Treasury of the True Dharma Eye (Shobogenzo), one of the main versions of the masterwork written by Eihei Dogen (1200-1253), the founder of the Soto Zen sect in Japan who established Eiheiji in the mid-1240s. Giun's Verse Comments was one of only two commentaries of the Treasury written during the Kamakura era, with the other being a prose analysis of the 75-chapter edition, called Prose Comments on the Treasury of the True Dharma Eye, often abbreviated to Distinguished Comments (Gosho). While Distinguished Comments fell into disuse rather quickly and was only revived nearly three hundred years later, the Verse Comments was circulated widely from the time of its composition and read by many Soto monks over the next couple of centuries. Offering poems and cryptic expressions that seek to capture the spiritual flavor and essential meaning of Dogen's thought as suggested in each chapter, the Verse Comments is crucial for understanding how Dogen's Treasury was received and appropriated in the religious and literary context of medieval Japan. In this book, Steven Heine's careful interpretations, historical investigations, and theoretical reflections demonstrate the significance of Giun's writings in light of the history of pre-modern and modern commentaries on Dogen's masterwork, the Treasury of the True Dharma Eye.

Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. The most comprehensive compendium of short medieval Japanese fiction in English, Monsters, Animals, and Other Worlds illuminates a rich world of literary, Buddhist, and visual culture largely unknown today outside of Japan. These stories, called otogizōshi, or Muromachi tales (named after the Muromachi period, 1337 to 1573), date from approximately the fourteenth through seventeenth centuries. Often richly illustrated in a painted-scroll format, these vernacular stories frequently express Buddhist beliefs and provide the practical knowledge and moral education required to navigate medieval Japanese society. The otogizōshi represent a major turning point in the history of Japanese literature. They bring together many earlier types of narrative—court tales, military accounts, anecdotes, and stories about the divine origins of shrines and temples––joining book genres with parlor arts and the culture of itinerant storytellers and performers. The works presented here are organized into three thematically overlapping sections titled, “Monsters, Warriors, and Journeys to Other Worlds,” “Buddhist Tales,” and “Interspecies Affairs.” Each translation is prefaced by a short introduction, and the book features images from the original scroll paintings, illustrated manuscripts, and printed books.