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object:1.02 - The Ultimate Path is Without Difficulty
book class:The Blue Cliff Records
class:chapter



SECOND CASE

The Ultimate Path is Without Difficulty

POINTER

Heaven and earth are narrow; sun, moon, and stars all at once
go dark. Even if blows of the staff fall like rain and shouts roll
like thunder, you still haven't lived up to the task of the fun
damental vehicle of transcendence. Even the Buddhas of the
three times can only know it for themselves; the successive
generations of patriarchs have not been able to bring it up in its
entirety. The treasury of teachings of the whole age cannot
explain it thoroughly; clear eyed patchrobed monks cannot
save themselves completely. When you get here, how will you
ask for more instruction? To say the word "Buddha" is trailing
mud and dripping water; to say the word "Ch'an" is a face full
of shame. Superior people who have studied for a long time do
not wait for it to be said; latecoming beginners simply must
investigate and apprehend it.

CASE

Chao Chou, teaching the assembly, said,1 "The Ultimate Path
is without difficulty;2 just avoid picking and choosing.3 As
soon as there are words spoken, ,this is picking and choosing,"
,this is clarity."4 This old monk does not abide within clarity;5
do you still preserve anything or not?"6
At that time a certain monk asked, ,Since you do not abide
within clarity, what do you preserve?117
Chao Chou replied,

11

1 don't know either."8

The monk said, "Since you don't know, Teacher, why do
you nevertheless say that you do not abide within clarity?"9
Chao Chou said, ,It is enough to ask about the matter; bow
and withdraw."10

10


Second Case

11

NOTES
1. What's the old fellow doing? Don't create complications!
2. Not hard, not easy.
3. What's in front of your eyes? The Third Patriarch is still alive.
4. Two heads, three faces. A little boasting. When a fish swims

through, the water is muddied; when a bird flies by, feathers fall.
5. His thieving intent already shows; where is the old fellow going?
6. He's defeated. Still there's something, or a half.
7. The monk presses him well; his tongue is pressed against the roof

of his mouth.
8. (The monk) crushed this old fellow dead; he has to fall back three

thousand miles.
9. Look! Where is he going? He's chased him up a tree.
10. Lucky thing he has this move; the old thief!

COMMENTARY

Chao Chou always used to bring up this saying; that is, "Just
avoid picking and choosing." This is from the Third Patriarch's
Seal of Faith in the Heart, which says,
The Ultimate Path is without difficulty;
Just avoid picking and choosing.
Just don't love or hate,
And you'll be lucid and clear.
As soon as you have affirmation and negation, "this is picking
and choosing," "this is clarity." As soon as you understand this
way, you have already stumbled past. When you're riveted
down or stuck in glue, what can you do? Chao Chou said,
"This is picking and choosing, this is clarity." People these
days who practice meditation and ask about the Path, if they do
not remain within picking and choosing, then they settle down
within clarity. "This old monk does not abide within clarity;
do you still preserve anything or not?" All of you people tell
me, since he is not within clarity, where is Chao Chou? And
why does he still teach people to preserve?
My late master Wu Tsu often would say, "I reach my hand
down to show you, but how do you understand?" But tell me,


12

THE BLUE CLIFF RECORD

where does he reach down his hand? Perceive the meaning on
the hook; don't stick by the zero point of the scale.
This monk coming forth was undeniably extraordinary; he
got ahold of Chao Chou's gap and proceeded to press him:
"Since you do not abide within clarity, what do you preserve?"
Chao Chou never used the staff or the shout; he just said, "I
don't know either." When being pressed by that (monk), any
one but this old fellow would time and again be at a loss.
Fortunately this old fellow Chao Chou had freedom to turn
himself around in, so he answered him like this. Many follow
ers of Ch'an these days will also say when asked, "I don't know
either; I don't understand." Nevertheless, though they are on
the same road, they are not in the same groove.
There was something special about this monk; only thus
could he ask, "Since you don't know, Teacher, why do you
nevertheless say that you do not abide within clarity?" An
other good rejoinder! If it had been someone other than Chao
Chou, he never would have been able to explain. But Chao
Chou is an adept; he just said to him, "It's enough to ask about
the matter; bow and withdraw." As before, the monk had no
way to cope with this old fellow; all he could do was suck in
his breath and swallow his voice.
This is a very capable teacher of our clan; he does not dis
cuss the abstruse or the mysterious, he does not speak of men
tality or perspectivesa with you-he always deals with people
in terms of the fundamental matter. Thus he would have said,
"When we're reviling each other, I let you clamp beaks with
me; when we're spitting at each other, I let you spew me with
slobber." It is hardly known that while Chao Chou ordinarily
never used beating or shouting to deal with people, and only
used ordinary speech, still no one in the world could handle
him. It was all because he never had so many calculating
judgements: he could pick up sideways and use upside-down,
go against or go with, having attained great freedom. People
today do not understand this, and just say that Chao Chou did
not answer the question or explain it to the man. How little
you realize that you've stumbled past it.

VERSE

The Ultimate Path is without difficulty:
A triple case. A mouthful of frost. What is he saying?




Second Case

13

The speech is to the point, the words are to the point.
**When the fish swims through, the stream is muddied.
A profusion of confusion; he smeared it. *
In one there are many kinds;
**You should open it up; what end will there be in just
one kind*
In two there's no duality.
**How could it sustain four, five, six, seven
Why create complications*
On the horizon of the sky the sun rises and the moon sets;
**It's presented right to your face; above the head
and beneath the feet it extends boundlessly. Don't
lift or lower your head.*
Beyond the balustrade, the mountains deepen, the waters
grow chill.
**Once dead, you don't return to life again. Do you feel
the hairs on your body stand on end in a chill*
When the skull's consciousness is exhausted, how can joy re
main
**He twinkles his eyes within his coffin. Workman Lu
(Hui Neng, the Sixth Patriarch) is a fellow student of
his.*
In a dead tree the dragon murmurs are not yet exhausted.
**Bah! The dead tree blooms again. Bodhidharma
travels through the eastern land.*
Difficult, difficult!
**A false teaching is hard to uphold.
An upside-down statement. What place
is this here, to speak of difficulty or ease*
Picking and choosing Clarity You see for yourself!
**Blind! One might have thought it depended on some
one else, but luckily (he says) 'See for yourself.' It's
none of my business.*

COMMENTARY

Hsueh Tou knows where Chao Chou comes down; therefore
he versifies like this: "The Ultimate Path has no difficulties."
Then immediately following this, he says, "The speech is to
the point, the words are to the point." He raises one corner, but


14

THE BLUE CLIFF RECORD

doesn't come back with the other three; when Hsueh Tau says,
"In one there are many kinds; in two there's no duality," this is
like three comers returning to one. But tell me, where is it that
words are to the point, and speech is to the point? In one, why
are nevertheless many kinds, yet in two there is no duality? If
you don't have eyes, where will you seek?
If you can penetrate these two lines, this is the basis of the
ancient saying, "Fused into one whole, as of old you see that
mountains are mountains, rivers are rivers, long is long, short
is short, sky is sky, and earth is earth." But sometimes we call
sky earth and earth sky, sometimes we say that mountains are
not mountains and rivers are not rivers. Ultimately, how to
attain imperturbable tranquility? When the wind comes, the
trees move; when the waves swell, the boats ride high. In
spring it sprouts, in summer it matures, in fall it is harvested,
in winter it is stored; with uniform equanimity, everything
disappears of itself.
Thus this four-line verse abruptly cuts off; but Hsueh Tau
has extra ability, so he opens up the closed bag and gives a
summary account. As he said at first,
The Ultimate Path is without difficulty;
Speech is to the point, words are to the point.
In one there are many kinds;
In two there is no duality.

Though there aren't so many things, when the sun rises over
the horizon the moon goes down, and when the mountains
beyond the balustrade deepen, the waters grow cold. When you
get here, speech is indeed to the point, words are indeed to the
point, everything is the Path and all things are completely real.
Isn't this where mind and objects are both forgotten, fused into
one whole? At the beginning of the verse Hsueh Tau was too
solitary and steep; at the end, though, he is quite indulgent. If
you can bore right through and see and penetrate, naturally it
will be like the excellent flavor of ghee. If you don't forget your
emotional interpretations, then you'll see a profusion of confu
sion, and you definitely won't understand this kind of talk.
"When the skull's consciousness is exhausted, how can joy
remain? In the dead tree, dragon murmurs are not yet ended."
This is just a bit of combination. These are from public cases of
ancient questions about the Path, which Hsueh Tau has drawn


Second Case

15

out, pierced through and strung on the same thread to use in
versifying "The Ultimate Path is without difficulty; just avoid
picking and choosing." People these days don't understand the
Ancient's meaning, and only chew on the words and gnaw on
the phrases; when will they ever be done? If you are an adept
who is a master of technique, only then can you understand
this kind of talk.
Haven't you read how a monk asked Hsiang Yen, "What is
the Path?" Hsiang Yen said, "In a dead tree, dragon murmur
ings." The monk asked, "What is a man of the Path?" Hsiang
Yen said, "Eyeballs in a skull." Later the monk asked Shih
Shuang, "What are 'dragon murmurings in a dead tree'?" Shih
Shuang said, "Still having joy." The monk asked, "What are
eyeballs in a skull?" Shih Shuang said, "Still having con
sciousness." The monk also asked Ts'ao Shan, "What are
'dragon murmurings in a dead tree'?" Ts'ao Shan said, "The
blood line is not cut off." The monk asked, "What are 'eyeballs
in a skull'?" Ts'ao Shan said, "Not dried up." The monk asked,
"Who can hear this?" Ts'ao Shan said, "In the whole world,
there is no one who does not hear it." The monk asked, "What
book is 'dragon murmurings' taken from?" Ts'ao Shan said, "I
don't know what book it's from, but all who hear it die." He
also had a verse which said,
In a dead tree the dragon murmurs and truly sees
the Path;
When the skull has no consciousness, only then are
the eyes clear.
When joy and consciousness come to an end, all
happenings are ended;
How can such a one discriminate the pure in the

midst of impurity
Hsueh Tau can be said to possess great skill in combining all
this at once in his verse. Though he has done this, there's been
no duality at all.
Hsueh Tau had help for people at the end of the verse when
he added "Difficult, difficult!" It's exactly this "difficult, dif
ficult," that you must penetrate through in order to attain.
Why? Pai Chang said, "All words and speech, mountains, riv
ers, and the great earth, each come back to oneself." Whatever
Hsueh Tau offers and takes back must ultimately be returned


16

THE BLUE CLIFF RECORD

to oneself. Tell me, how did Hsueh Tou help people when he
said, 11Picking and choosing? Clarity? See for yourself!"? He
had already created this complicated verse; why then did he
say 11See for yourself"? Tell me, what was his true meaning?
Don't say you can't understand. At this point, even I simply
cannot understand either.

'
TRANSLATOR S NOTES

a.

Chi and ching, rendered in this instance as 'mentality and
perspective,' are very common technical terms, to be met with
many times in this book, used individually and as a pair. Both are
used in referring to both subjective and objective phenomena; in
Ch'an meditation they sometimes speak of 'forgetting' or 'merg
ing' subject and object; likewise, as 'turning words' or 'pivotal
words,' these terms produce, individually and together, an effect
which cannot be rendered conveniently in a single English ex
pression.

Chi is used for 'potential' (as of a student, or a situation),
'capability,' or a 'device' used to illustrate a point or state; it also
means mental activity or state in general. Sometimes the first, or
primary chi is contrasted to the secondary chi; this is like 'cogni
tion' followed by 'recognition.'

Ching is a mental object, an object, a state, a realm or
sphere, a perspective (or perception). A common question is what
a master's ching is like (i.e. what does he 'see,' what is his sphere
or state of realization), and what the person in that 'realm' is like.
When Ch'an students experienced purity or bliss, or perceived
Buddhas and bodhisattvas in their meditations, they were told
these were merely ching, mental objects or 'states' which should
not be acknowledged as desirable or approved as real attainments,
lest one become intoxicated by one's state. Similarly, all kinds of
hallucinations were called

mo

ching or 'demon states,' illusory

objects or perceptions caused by 'demons' or 'devils' (whether
these are inside or outside the mind is a pointless question here),
obstructing the path of meditation.
As examples of chi-ching, Japanese commentaries conven
tionally refer to such things as 'twinkling the eyes,' 'raising the
eyebrows,' 'raising the staff, the whisk, or the gavel,' gestures
frequently met with in Ch'an records as replies to questions, or


Second Case

17

teaching devices of the masters. Chi-ching thus means the men
tality, or mental working, and the perspective, or object it em
braces; an act and the state it manifests, a device and the ob
ject(ive) it intends to convey. Ultimately, it seems that these
terms can refer to any action or speech and the implication or
impression it presents or represents, especially the intentional
gesture or remark of the teaching master.


24

THE BLUE CLIFF RECORD

sixteen-foot golden body (of Buddha); sometimes I take the
sixteen-foot golden body and use it as a blade of grass.
Originally Te Shan was a lecturing monk, expounding the
Diamond Cutter Scripture in western Shu (Szechuan). Accord

ing to what it says in that teaching, in the process of the
knowledge attained after diamond-like concentration, one
studies the majestic conduct of Buddhas for a thousand aeons
and studies the refined practices of Buddhas for ten thousand
aeons before finally fulfilling Buddhahood. On the other hand,
the "southern devils" at this time were saying "Mind itself is
Buddha." Consequently Te Shan became very incensed and
went travelling on foot, carrying some commentaries; he went
straight to the South to destroy this crew of devils. You see
from how aroused he got what a fierce keen fellow he was.
When he first got to Li Chou (in Hunan), he met an old
woman selling fried cakes by the roadside; he put down his
commentaries to buy some refreshment to lighten his mind.
The old woman said, "What is that you're carrying?" Te Shan
said, "Commentaries on the Diamond Cutter Scripture." The
old woman said, "I have a question for you: if you can answer it
I'll give you some fried cakes to refresh your mind; if you can't
answer, you'll have to go somewhere else to buy." Te Shan
said, "Just ask." The old woman said, "The Diamond Cutter
Scripture says, 'Past mind can't be grasped, present mind can't

be grasped, future mind can't be grasped': which mind does the
learned monk desire to refresh?" Te Shan was speechless. The
old woman directed him to go call on Lung T'an.
As soon as Te Shan crossed the threshold he said, "Long
have I heard of Lung T'an ('Dragon Pond'), but now that I've
arrived here, there's no pond to see and no dragon appears."
Master Lung T'an came out from behind a screen and said,
"You have really arrived at Lung T'an." Te Shan bowed and
withdrew. During the night Te Shan entered Lung T'an's room
and stood in attendance till late at night. Lung T'an said, "Why
don't you go?" Te Shan bade farewell, lifted up the curtain, and
went out; he saw that it was dark outside, so he turned around
and said, "It's dark outside." Lung T'an lit a paper lantern and
handed it to Te Shan; as soon as Te Shan took it, Lung T'an
blew it out. Te Shan was vastly and greatly enlightened. Im
mediately he bowed to Lung T'an, who said, "What have you
seen that you bow?" Te Shan answered, "From now on I will


Second Case

17

teaching devices of the masters. Chi-ching thus means the men
tality, or mental working, and the perspective, or object it em
braces; an act and the state it manifests, a device and the ob
ject(ive) it intends to convey. Ultimately, it seems that these
terms can refer to any action or speech and the implication or
impression it presents or represents, especially the intentional
gesture or remark of the teaching master.



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