17. Translated by Keene, Landscapes and Portraits, p. 235. Professor Keene (personal communication) has provided a revised and, he believes, more fully accurate translation of this verse as follows:
After ten days of living in this temple my mind's in turmoil;
If one day you get around to looking for me,
Try the restaurants, the drinking places or the brothels.
He notes that the "red strings" of the second line refer to the ties of physical attachment to women that drew Ikkyu from the temple to the pleasure quarters.
18. Jon Covell and Yamada Sobin, Zen at Daitoku-ji (New York: Kodansha International, 1974), p. 36.
23. Ibid., pp. 253-54. A translation may also be found in Cleary, Original Face; and in R. H. Blyth and N. A. Waddell, "Ikkyu's Skeletons," The Eastern Buddhist, N.S. 7, 3 (May 1973), pp. 111-25. Also see Blyth, Zen and Zen Classics, Vol. 7.
24. Sanford claims ("Zen-Man Ikkyu," p. 341) that Ikkyu's prose is "almost totally unknown" in Japan.
27. Jan Covell (Zen at Daitoku-ji, p. 38) says, "Ikkyu's own ink paintings are unpretentious and seemingly artless, always with the flung-ink technique. His calligraphy is ranked among history's greatest . . ."
32. Sanford, "Zen-Man Ikkyu," p. 342. 33.
21. HAKUIN: JAPANESE MASTER OF THE KOAN 22.
1. Yampolsky, Zen Master Hakuin, p. 116. This is undoubtedly the definitive work by and about Hakuin in English and has been used for all the quotations that follow. Another translation of some of Hakuin's works is R. D. M. Shaw, The Embossed Teakettle (London: George Allen & Unwin, 1963). A short translation of Hakuin's writings may be found in Cleary, Original Face. Perhaps the most incisive biographical and interpretive material may be found, respectively, in Dumoulin, History of Zen Buddhism; and Isshu and Sasaki, Zen Dust.
17. The "great ball of doubt," known in Chinese as i-t'uan, was a classic Zen phrase and has been traced by Ruth Fuller Sasaki (Zen Dust, p. 247) back to a tenth-century Chinese monk, who claimed in a poem, "The ball of doubt within my heart/Was as big as a big wicker basket." Hakuin's analysis of the "great ball of doubt" is translated in Zen Dust, p. 43.
18. Hakuin's invention of his own koans, which were kept secret and never published, is a significant departure from the usual technique of simply taking situations from the classic literature, and demonstrates both his creativity and his intellectual independence. It also raises the question of whether they really were "koans" under the traditional definition of "public case" or whether they should be given a different name.