陆毅,这是怎么了?
3月28日,陆毅晒出一张照片,只见他身穿白衬衫,大背头和红色领带非常抢眼。不仅如此,陆毅还配文:“愿天下再无贪腐。”
原来今天是《人民的名义》播出5周年的日子,2017年3月28日晚上八点,《人民的名义》在湖南卫视和全网首播,播出效果成为2017年“十大社会事件”。
没想到《人民的名义》居然都有5年了,网友们对其中的台词和剧情还念念不忘:
“公生明,廉生威”、
“现在这是怎么了,清正廉洁,倒成了异类”、
“我们不能让老百姓白养活”
让你印象最深的剧情和台词是什么呢?
3月28日,陆毅晒出一张照片,只见他身穿白衬衫,大背头和红色领带非常抢眼。不仅如此,陆毅还配文:“愿天下再无贪腐。”
原来今天是《人民的名义》播出5周年的日子,2017年3月28日晚上八点,《人民的名义》在湖南卫视和全网首播,播出效果成为2017年“十大社会事件”。
没想到《人民的名义》居然都有5年了,网友们对其中的台词和剧情还念念不忘:
“公生明,廉生威”、
“现在这是怎么了,清正廉洁,倒成了异类”、
“我们不能让老百姓白养活”
让你印象最深的剧情和台词是什么呢?
#双语阅读#【古文里的高级审美词汇,怎样翻译成英文?】品佳作,赞盛景,本想脱口而出,奈何词穷无言。中华文化广而博,这里整理了一些古文中高级审美词汇表达,学起来吧!
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
1.洗炼 Terseness / Make Writing Succinct
精简词句,提炼要义。洗炼是一种文字干净、主旨鲜明的文学风格。
This term means that wording should be refined to highlight the essential message. Terseness is a mark of neat and thematically explicit writing.
▌引例
不洗不净,不炼不纯。惟陈言之务去,独戛戛乎生新。(孙联奎《诗品臆说》)
Nothing will be clean until it is cleansed. Nothing will be pure until it is refined. Only by ridding ourselves of any banality, can we become truly original.
2.雄浑 Powerfulness
指雄健有力、浑厚自然的艺术风格与审美气象。
This term, which literally means power and splendor, refers to a natural and powerful artistic style and aesthetic taste.
▌引例
大力无敌为雄,元气未分为浑。(杨廷芝《 <二十四诗品> 浅解》)
Powerfulness means invincible power and indivisible mass of vital energy.
3.纯素 Pure and Unadorned
纯粹而素朴。指纯然素朴、不加人工雕饰的本色之美。
This term refers to natural, unadorned beauty.
▌引例
纯素之道,惟神是守。守而勿失,与神为一。 (《庄子·刻意》)
Within spiritual being lies the value of pure simplicity. If you retain your spirit without fail, you became one with it.
4.隐秀 Latent Sentiment and Evident Beauty
诗歌与文章既隐含丰富的思想感情,又有秀美的名言佳句。
This term means that prose and poetry may contain latent sentiments and thoughts, as well as expressions and sentences that present an apparent sense of beauty.
▌引例
情在词外曰隐,状溢目前曰秀。 (张戒《岁寒堂诗话》卷上引刘勰语)
Latency happens when feelings and thoughts are hidden between the lines of a literary work. Evident beauty occurs when messages of sentiment and feelings are vividly portrayed by the images the author creates.
5.飘逸 Natural Grace
指诗歌作品中所表现出的逍遥自适、超凡脱俗、无拘无束的审美情趣和艺术风格。
Natural Grace refers to free and unconstrained aesthetic style and artistic appeal in poetic works.
▌引例
子美不能为太白之飘逸,太白不能为子美之沉郁。 (严羽《沧浪诗话·诗评》)
Du Fu could not write as freely and unconstrained as Li Bai, while the latter did not possess the style of melancholy and profoundness typical of Du Fu’s poems.
6.空灵 Ethereal Effect
空灵用笔洗练,重在传达神韵,具有空灵特点的作品澄澈透明、飘逸灵动,能使人体悟到自由超脱的审美愉悦。
The notion of ethereal effect values simple layout and economical use of details, seeking to convey character and imagination. Works that make use of ethereal effect convey a wonderful lucidity, and possess openness, freedom, and natural grace. Such works enable viewers to appreciate the aesthetic joy of free imagination.
▌引例
古人用笔极塞实处愈见空灵,今人布置一角已见繁缛。(恽格《南田画跋·题画》)
When painting, classical artists made use of ethereal effect all the more where a dense collection of objects normally was required. However today’s artists no sooner begin to paint than they fill the space with elaborate details.
7.枯淡 Dry Plainness
指诗文作品所呈现的质朴干枯、平和清淡的艺术风格。
This refers to a literary style that appears plain and dry, mild and moderate.
枯淡不是枯涩寡味、平庸浅薄,而是指外表看似干枯平淡、内里丰腴醇厚的一种表现手法,旨在用质朴平淡的语言和描写来表现丰富深刻的思想内容,创造出含蓄深邃、醇厚高远的意境。
▌引例
所贵乎枯淡者,谓其外枯而中膏,似淡而实美,渊明、子厚之流是也。(苏轼《评韩柳诗》)
I value the style of dry plainness because it looks withered and dry outside but is rich inside; it appears plain but is in fact beautiful. Poetry by such writers as Tao Yuanming and Liu Zongyuan is like this.
8.畅神 Free Flow of One's Mind
指精神与自然合一时所达到的自由舒畅的一种审美状态。
The term describes a state of mind one achieves when appreciating an artwork, in which process one's inner feelings interact freely and joyfully with nature.
▌引例
圣贤映于绝代,万趣融其神思,余复何为哉?畅神而已。(宗炳《画山水序》)
As sages of remote past already discovered the philosophical wisdom inherent in nature through imagination and contemplation, what more do I need to do now? All I have to do is relishing the joy when my mind interacts freely with the depicted landscape.
9.高古 Unadorned Antiquity
高远古朴,高雅简古。用于文艺批评,主要指文艺作品中所体现出的意蕴高远古朴、情志高雅,凝重而又深具历史感的艺术风格。
This term describes the quality of loftiness or primitive simplicity, and is used primarily in literary criticism to refer to an ancient nobility, an aspiration or sentiment, or an artistic style of historical gravity.
它有时也指高人雅士独具的一种人格境界。
This term is also used to refer to an elevated state of being attained by noble-minded persons.
▌引例
汉人诗文,存于今者,无不高古浑朴。(章学诚《文史通义·内篇五·妇学篇书后》)
Prose and poetry by Han Dynasty authors, so long as they have survived to this day, all show a lofty adherence to an unadorned antiquity and a charming rusticity.
10.气象 Prevailing Features
原是自然界中景色物候的总称,也指某个时期社会的总体精神风貌。
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time.
具体到艺术领域,指艺术作品所呈现出的风格与气概,内涵偏重于宏伟壮大,多用“雄浑”(heroic)“浑厚”(immense)“峥嵘”(sublime)等来修饰。
▌引例
盛唐诸公之诗,如颜鲁公书,既笔力雄壮,又气象浑厚。(严羽《答出继叔临安吴景仙书》)
Works of many poets during the prime of the Tang Dynasty struck readers with their powerful expression, just like the calligraphy of Yan Zhenqing.(内容来源于中国日报网英语点津)
卷六
青原下五世石霜诸禅师法嗣大光居诲禅师潭州大光山居诲禅师,京兆人也。初造石霜,长坐不卧。麻衣草屦,亡身为法。霜遂令主性空塔院。一日,霜知缘熟,试甚所得。问曰:“国家每年放举人及第,朝门还得拜也无?”师曰:“有一人不求进。”霜曰:“凭何?”师曰:“他且不为名。”霜曰:“除却今日,别更有时也无?”师曰:“他亦不道今日是。”如是酬问,往复无滞。盘桓二十余祀,众请出世。僧问:“祇如达磨是祖否?”师曰:“不是。”祖曰:“既不是祖,又来作甚么?”师曰:“祇为汝不荐。”曰:“荐后如何?”师曰:“方知不是祖。”问:“混沌未分时如何?”师曰:“时教阿谁叙?”上堂:“一代时教,祇是整理时人手脚,直饶剥尽到底,也祇成得个了事人,不可将当衲衣下事。所以道四十九年明不尽,标不起,到这里合作么生?更若忉忉,恐成负累。珍重!”九峰道虔禅师瑞州九峰道虔禅师,福州人也。尝为石霜侍者。洎霜归寂,众请首座继住持。师白众曰:“须明得先师意,始可。”座曰:“先师有甚么意?”师曰:“先师道:休去,歇去,冷湫湫地去,一念万年去,寒灰枯木去,古庙香炉去,一条白练去。其余则不问,如何是一条白练去?”座曰:“这个祇是明一色边事。”师曰:“元来未会先师意在。”座曰:“你不肯我那?但装香来,香烟断处,若去不得,即不会先师意。”遂焚香,香烟未断,座已脱去。师拊座背曰:“坐脱立亡即不无,先师意未梦见在。”住后,僧问:“无间中人行甚么行?”师曰:“畜生行。”曰:“畜生复行甚么行?”师曰:“无间行。”曰:“此犹是长生路上人?”师曰:“汝须知有不共命者。”曰:“不共甚么命?”师曰:“长生气不常。”师乃曰:“诸兄弟还识得命么?欲知命,流泉是命,湛寂是身。千波竞涌,是文殊境界。一亘晴空,是普贤床榻。其次,借一句子是指月,于中事是话月,从上宗门中事,如节度使信旗相似,且如诸方先德,未建许多名目指陈已前,诸兄弟约甚么体格商量。到这里不假三寸试话会看,不假眼耳试采听看,不假试辨白看。所以道:声前抛不出,句后不藏形。尽乾大地都来,是汝当人个体,向甚么处安眼耳鼻舌?莫但向意根下图度作解,尽未来际亦未有休歇分。所以洞山道:“拟将心意学玄宗,大似西行却向东。”珍重!”问:“承古有言,向外绍则臣位,向内绍则王种,是否?”师曰:“是。”曰:“如何是外绍?”师曰:“若不知事极头,祇得了事,唤作外绍,是为臣种。”曰:“如何是内绍?”师曰:“知向里许承当担荷,是为内绍。”曰:“如何是王种?”师曰:“须见无承当底人,无担荷底人,始得同一色。同一色了,所以借为诞生,是为王种。”曰:“恁么则内绍亦须得转?”师曰:“灼然!有承当担荷,争得不转?汝道内绍便是人王种,你且道如今还有绍底道理么?所以古人道:绍是功,绍了非是功。转功位了,始唤作人王种。”曰:“未审外绍还转也无?”师曰:“外绍全未知有,且教渠知有。”曰:“如何是知有?”师曰:“天明不觉晓。”问:“如何是外绍?”师曰:“不借别人家里事。”曰:“如何是内绍。”师曰:“推爷向里头。”曰:“二语之中,那语最亲。”师曰:“臣在门里,王不出门。”曰:“恁么则不出门者,不落二边。”师曰:“渠也不独坐世界,里绍王种名,外绍王种姓。所以道:绍是功,名臣是偏中正。绍了转功,名君是正中偏。”问:“诞生还更知闻也无?” 师曰:“更知闻阿谁?”曰:“恁么则莫便是否?”师曰:“若是,古人为甚么道诞生王有父?”曰:“既有父,为甚么不知闻?”师曰:“同时不识祖。”问:“古人云:直得不恁么来者,犹是儿孙。意旨如何?”师曰:“古人不谩语。”曰:“如何是来底儿孙?”师曰:“犹守珍御在。”曰:“如何是父?”师曰:“无家可坐,无世可兴。”问:“诸圣间出,祇是个传语底人,岂不是和尚语?”师曰:“是。”曰:“祇如世尊生下,一手指天,一手指地,云:天上天下,唯我独尊。为甚么唤作传语底人?”师曰:“为他指天指地,所以唤作传语底人。” 僧礼拜而退。问:“九重无信,恩赦何来?”师曰:“流光虽遍,阃内不周。”曰:“流光与阃内相去多少?”师曰:“绿水腾波,青山秀色。”问:“人人尽言请益,未审师将何拯济?”师曰:“汝道巨岳还曾乏寸土也无?”曰:“恁么则四海参寻,当为何事?”师曰:“演若迷头心自狂。”曰:
“还有不狂者么?”师曰:“有。”曰:“如何是不狂者?”师曰:“突晓途中眼不开。”问:“如何是学人自己?”师曰:“更问阿谁?”曰:“便恁么承当时如何?”师曰:“须弥还更戴须弥。”问:“祖祖相传,复传何事?”师曰:“释迦悭,迦叶富。”曰:“如何是释迦悭?”师曰:“无物与人。”曰:“如何是迦叶富?”师曰:“国内孟尝君。”曰:“毕竟传底事作么生?”师曰:“百岁老人分夜灯。”问:“诸佛非我道,如何是我道?”师曰:“我非诸佛。”曰:“既非诸佛,为甚么却立我道?”师曰:“适来暂唤来,如今却遣出。”曰:“为甚么却遣出?”师曰:“若不遣出,眼里尘生。”问:“一切处觅不得,岂不是圣?”师曰:“是甚么圣?”曰:“牛头未见四祖时,岂不是圣?”师曰:“是圣境未忘。”曰:“二圣相去几何?”师曰:“尘中虽有隐形术,争柰全身入帝乡。”问:“古人道:因真立妄,从妄显真。是否?”师曰:“是。”曰:“如何是真心?”师曰:“不杂食是。”曰:“如何是妄心?”师曰:“攀缘起倒是。”曰:“离此二途,如何是本体?”师曰:“本体不离。”曰:“为甚么不离?”师曰:“不敬功德天,谁嫌黑暗女。”问:“尽乾坤都来是个眼,如何是乾坤眼?”师曰:“乾坤在里许。”曰:“乾坤眼何在?”师曰:“正是乾坤眼。”曰:“还照瞩也无?”师曰:“不借三光势。”曰:“既不借三光势,凭何唤作乾坤眼?”师曰:“若不如是,髑髅前见鬼人无数。”问:“一笔丹青为甚么邈志公真不得?”师曰:“僧繇却许志公。”曰:“未审僧繇得甚么人证旨,却许志公?”师曰:“乌龟稽首须弥柱。”问:“动容沈古路,身没乃方知。此意如何?”师曰:“偷佛钱买佛香。”曰:“学人不会。”师曰:“不会即烧香供养本爷娘。”师后住泐潭而终,谥大觉禅师。
青原下五世石霜诸禅师法嗣大光居诲禅师潭州大光山居诲禅师,京兆人也。初造石霜,长坐不卧。麻衣草屦,亡身为法。霜遂令主性空塔院。一日,霜知缘熟,试甚所得。问曰:“国家每年放举人及第,朝门还得拜也无?”师曰:“有一人不求进。”霜曰:“凭何?”师曰:“他且不为名。”霜曰:“除却今日,别更有时也无?”师曰:“他亦不道今日是。”如是酬问,往复无滞。盘桓二十余祀,众请出世。僧问:“祇如达磨是祖否?”师曰:“不是。”祖曰:“既不是祖,又来作甚么?”师曰:“祇为汝不荐。”曰:“荐后如何?”师曰:“方知不是祖。”问:“混沌未分时如何?”师曰:“时教阿谁叙?”上堂:“一代时教,祇是整理时人手脚,直饶剥尽到底,也祇成得个了事人,不可将当衲衣下事。所以道四十九年明不尽,标不起,到这里合作么生?更若忉忉,恐成负累。珍重!”九峰道虔禅师瑞州九峰道虔禅师,福州人也。尝为石霜侍者。洎霜归寂,众请首座继住持。师白众曰:“须明得先师意,始可。”座曰:“先师有甚么意?”师曰:“先师道:休去,歇去,冷湫湫地去,一念万年去,寒灰枯木去,古庙香炉去,一条白练去。其余则不问,如何是一条白练去?”座曰:“这个祇是明一色边事。”师曰:“元来未会先师意在。”座曰:“你不肯我那?但装香来,香烟断处,若去不得,即不会先师意。”遂焚香,香烟未断,座已脱去。师拊座背曰:“坐脱立亡即不无,先师意未梦见在。”住后,僧问:“无间中人行甚么行?”师曰:“畜生行。”曰:“畜生复行甚么行?”师曰:“无间行。”曰:“此犹是长生路上人?”师曰:“汝须知有不共命者。”曰:“不共甚么命?”师曰:“长生气不常。”师乃曰:“诸兄弟还识得命么?欲知命,流泉是命,湛寂是身。千波竞涌,是文殊境界。一亘晴空,是普贤床榻。其次,借一句子是指月,于中事是话月,从上宗门中事,如节度使信旗相似,且如诸方先德,未建许多名目指陈已前,诸兄弟约甚么体格商量。到这里不假三寸试话会看,不假眼耳试采听看,不假试辨白看。所以道:声前抛不出,句后不藏形。尽乾大地都来,是汝当人个体,向甚么处安眼耳鼻舌?莫但向意根下图度作解,尽未来际亦未有休歇分。所以洞山道:“拟将心意学玄宗,大似西行却向东。”珍重!”问:“承古有言,向外绍则臣位,向内绍则王种,是否?”师曰:“是。”曰:“如何是外绍?”师曰:“若不知事极头,祇得了事,唤作外绍,是为臣种。”曰:“如何是内绍?”师曰:“知向里许承当担荷,是为内绍。”曰:“如何是王种?”师曰:“须见无承当底人,无担荷底人,始得同一色。同一色了,所以借为诞生,是为王种。”曰:“恁么则内绍亦须得转?”师曰:“灼然!有承当担荷,争得不转?汝道内绍便是人王种,你且道如今还有绍底道理么?所以古人道:绍是功,绍了非是功。转功位了,始唤作人王种。”曰:“未审外绍还转也无?”师曰:“外绍全未知有,且教渠知有。”曰:“如何是知有?”师曰:“天明不觉晓。”问:“如何是外绍?”师曰:“不借别人家里事。”曰:“如何是内绍。”师曰:“推爷向里头。”曰:“二语之中,那语最亲。”师曰:“臣在门里,王不出门。”曰:“恁么则不出门者,不落二边。”师曰:“渠也不独坐世界,里绍王种名,外绍王种姓。所以道:绍是功,名臣是偏中正。绍了转功,名君是正中偏。”问:“诞生还更知闻也无?” 师曰:“更知闻阿谁?”曰:“恁么则莫便是否?”师曰:“若是,古人为甚么道诞生王有父?”曰:“既有父,为甚么不知闻?”师曰:“同时不识祖。”问:“古人云:直得不恁么来者,犹是儿孙。意旨如何?”师曰:“古人不谩语。”曰:“如何是来底儿孙?”师曰:“犹守珍御在。”曰:“如何是父?”师曰:“无家可坐,无世可兴。”问:“诸圣间出,祇是个传语底人,岂不是和尚语?”师曰:“是。”曰:“祇如世尊生下,一手指天,一手指地,云:天上天下,唯我独尊。为甚么唤作传语底人?”师曰:“为他指天指地,所以唤作传语底人。” 僧礼拜而退。问:“九重无信,恩赦何来?”师曰:“流光虽遍,阃内不周。”曰:“流光与阃内相去多少?”师曰:“绿水腾波,青山秀色。”问:“人人尽言请益,未审师将何拯济?”师曰:“汝道巨岳还曾乏寸土也无?”曰:“恁么则四海参寻,当为何事?”师曰:“演若迷头心自狂。”曰:
“还有不狂者么?”师曰:“有。”曰:“如何是不狂者?”师曰:“突晓途中眼不开。”问:“如何是学人自己?”师曰:“更问阿谁?”曰:“便恁么承当时如何?”师曰:“须弥还更戴须弥。”问:“祖祖相传,复传何事?”师曰:“释迦悭,迦叶富。”曰:“如何是释迦悭?”师曰:“无物与人。”曰:“如何是迦叶富?”师曰:“国内孟尝君。”曰:“毕竟传底事作么生?”师曰:“百岁老人分夜灯。”问:“诸佛非我道,如何是我道?”师曰:“我非诸佛。”曰:“既非诸佛,为甚么却立我道?”师曰:“适来暂唤来,如今却遣出。”曰:“为甚么却遣出?”师曰:“若不遣出,眼里尘生。”问:“一切处觅不得,岂不是圣?”师曰:“是甚么圣?”曰:“牛头未见四祖时,岂不是圣?”师曰:“是圣境未忘。”曰:“二圣相去几何?”师曰:“尘中虽有隐形术,争柰全身入帝乡。”问:“古人道:因真立妄,从妄显真。是否?”师曰:“是。”曰:“如何是真心?”师曰:“不杂食是。”曰:“如何是妄心?”师曰:“攀缘起倒是。”曰:“离此二途,如何是本体?”师曰:“本体不离。”曰:“为甚么不离?”师曰:“不敬功德天,谁嫌黑暗女。”问:“尽乾坤都来是个眼,如何是乾坤眼?”师曰:“乾坤在里许。”曰:“乾坤眼何在?”师曰:“正是乾坤眼。”曰:“还照瞩也无?”师曰:“不借三光势。”曰:“既不借三光势,凭何唤作乾坤眼?”师曰:“若不如是,髑髅前见鬼人无数。”问:“一笔丹青为甚么邈志公真不得?”师曰:“僧繇却许志公。”曰:“未审僧繇得甚么人证旨,却许志公?”师曰:“乌龟稽首须弥柱。”问:“动容沈古路,身没乃方知。此意如何?”师曰:“偷佛钱买佛香。”曰:“学人不会。”师曰:“不会即烧香供养本爷娘。”师后住泐潭而终,谥大觉禅师。
✋热门推荐