Into the world of Buddhist Literature.VIETNAMESE TRANSLATE ENGLISH BY=VIETNAMESE BUDDHIST NUN=THE WOMEN OF THE SAKYA CLAN CHAN TANH. In any Buddhist literature, we can find that, wherever one begins, all inspiration is attributed to the personality and life of the Buddha. This is something that we cannot forget, when entering the world of Buddhist literature. If in the original, the personality of Thich Ton was the image of a human being, then all literary inspiration originates from impermanence, from the fragile nature of life. In Mahayana, the Buddha is a transcendent personality, so literary inspiration is also derived from the transcendent world. It all depends on the concept of the Buddha body. I. Limits of Buddhist Literature The first thought of a person who has just stepped into Buddhist literature, of course, will consider this to be just a religious literature, nothing more, nothing less, in the character of "religious literature and religion". " its. For this indifferent thought, such a literature has only content, and the form of expression is only a matter of dependence…; Good wine doesn't matter in the tank. The structure of literature is not as important as the established religious truth: the truth of prejudice. Since only the content, the form is not very necessary, so the truth of religion will be freely displayed by borrowing whatever literary genres are already in use. The author will not be required to have a unique style of presentation; he does not have to strive to use all his creative abilities to the extreme, which is the unique value of a pure-literary author. Thus, once the content of religious experience is expanded, the literary genre is further narrowed. Until a time comes, when religious experience is extended to infinity and ends in absolute agnosticism, one is forced to renounce all means of expression through literary genres. This is a dualism of the means (literature) and the end (religion). Deploying the means to the end, the end will be absent. On the contrary, if we come to the absolute end, the means will cease to be a means. In other words, it seems that the religious end, with its biased truths, is always ready to betray all literary creativity. Literature is not a vehicle of any ultimate truth, biased or unbiased, even the truth about life and life; The problem will open to another dimension: what is the means and what is the end of literature? Here we have two areas where literary expression can reach. First, two typical quotes, often prompted a lot: First, the Samyutta - Nikaya: "The sage does not argue with the world. What the wise in the world say is no, he also says no. What the wise in the world say is yes. , he also said yes". In this quote, no expression of language is allowed to go beyond the limits of empirical knowledge. Truth is only absolute in itself, but relative in the realm of linguistic expression. Therefore, it is customary for Buddhist writers to open their works with a humble attitude: what they are going to present has nothing to do with the truth itself to which they are intended. One cannot confuse a finger with the moon. Language here works, of course, in ordinary minds. Its consequence will be the template for analyzing and categorizing the facts of experience. That is, the language of philosophy. Second, the Prajnaparamita Sutra (Prajnàpàmità-sùtra): "Indestructible pseudo-realism theory". Impersonation, i.e. symbols and quotations in their conventional character. These things have nothing to do with absolute truth, or real meaning. To reach this absolute truth, therefore, must overcome all possibilities of language and symbols, just as one needs to take the eye off the finger to look directly at the moon. However, our quote says: it is in symbol and language that truth itself can be perceived. And this is the ideal of Mahayana literature. Because, according to this ideal, in short, it is not because the speaker has said it so, and then the listener listens to it, and the truth so displayed should have such meaning; But, that's the truth. Those who are familiar with Prajna literature will not wonder too much about such a style of expression. In this spirit, the inspiration that leads to the formation of a work, regardless of the mode of presentation, must be a total inspiration, in which there is no distinction between a vision - an idea - to be shown and the form of presentation. All, from the author to the reader, must be placed in an indistinguishable relationship, like the reflection between opposite glasses, reflected in a world of endless coincidences. Therefore, the Prajnaparamita scriptures often choose those who have not yet realized the truth of emptiness but are qualified to preach about emptiness. Of course, in this case one has to understand that emptiness manifests itself, from which the speaker, the truth being preached, to the hearer, it's all just sunshine, dreams, illusions. … From here, it evokes the idea that a work, whether ideological or purely literary, cannot go beyond the limits of language. But, it is the overwhelming inspiration from beginning to end of the work that gives it a spacious size, a limitless capacity. Of course, inspiration cannot be driven by any idea, but explodes with a magical world that suddenly appears. Another way, we say, And then, reaching out from the ground with the bustling foliage of a world in endless wormholes. In this sense, a work worthy of its vast dimensions, it must arise from the inspiration of reality; because, right there, one will see realistically what is the voice of reality and which is the voice of the heart: reality is the heart of man. And from there, people will find out where the deep aspiration is hidden in people's hearts. A work that doesn't move people enough to open up such a world cannot be called a literary work. Because, for a narrative, philosophical work, etc., just an idea, a concise content is enough; Everything worth saying has been said. The form of show is just a means of chance. But a literary work must put all its heart and emotions right in the form of display; and these are not sentiments and emotions aroused by some biased truth. Thus, right in a literary work, without distinguishing between content and form, but in its performance in the field, is a constantly real world. Like Buddha Vien Ngo Zen Master (Bich Nham Luc); "Hidden full foot, confront the witness". That is the starting point and also the goal of Mahayana Buddhist literature. Our view will be summarized as follows: 1. Early Buddhist literature did not deny its "missionary" role. That is, the truth of this religion, depending on the case, is freely displayed in all literary genres, and considers literature only as a means, secondary, not as important as the content. 2. But, truth here is intrinsic and personal to each person, so its display also begins as the beginning of a literary work, that is, from inspiration. unfold before a world of spiritual experience. 3. From a religious perspective, realized truth is a reflection of a living world. In terms of literary expression, it is the spontaneous inspiration of a particular love. Therefore, taking emptiness as the substance, taking the world of endless coincidences as the text. Literature and mutual reflection form the comprehensive world of Buddhist literature. Thus, we can recall the spokesman Sengzhao (Title of Vimalakirti): Holy Place senseless pediatric grammar cu projection France itself formless pediatric allotropes translational applications Accrued transportation no words pediatric suspensions walking area Ming the right to inadvertently stir up the society. II. The Beginning of Buddhist Literature: Inspiration from Individual Life Individual life is the most prominent image in the scriptures of Theravada Buddhism. Such is the image of the solitary monk in the mountains, because, always, "a bhikkhu should go alone like a rhinoceros". The original monastic system did not allow a bhikkhu to live among crowds, in bustling cities, and in private possessions. They didn't live too far from the village, but they weren't too close either. Private property consists of only a few necessary items: three robes, a bowl, a water filter, a towel, a razor, and a needle. Except for emergencies, they don't settle down anywhere; and the image of the Buddha is described as: A bowl with rice to eat. Alone, wandering all over the road. The only purpose of life is to solve the problem of life and death. A sole mission is to take off all ties to beings: Most natural bowl in Sanskrit She laments of travelers States microbial death the Liberation of pants passion. This image is an inexhaustible source of inspiration for Theravada Buddhist literature. And also in the Mahayana, but with a fiercer and more extreme intensity: "Needless fearless, one path to birth and death"; All fearless beings, no longer afraid, the only way to go is to cross the shores of life and death. Across the shore is the realization of the passing away of Nirvana, where this is the world of absolute solitude. Indeed, the flamboyant expression of later Mahayana literature, with its endless overlapping worldviews, and its ability to be said to be unabashedly eloquent, all only made the Buddha's image of solitude all the more wonderful. fiercely opposite. The Saddharma-Pundarika Sutra, an important Mahayana work, is a prime example for us. The Buddha appeared in the world like a lion among wild animals, fearing nothing. But as lonely as an elderly father living among his entourage, only waiting for the return of his bastard son. When they meet, they still have to use many means, and have to wait for many opportunities before the bastard realizes that this is really his old father. According to that ideal image, a monk, before realizing the absolute truth of life, had to strive for a "lonely" life: "He sits alone, lies alone, walks alone. he is not bored by himself; he loves to seek pleasure in the depths of the forest." (Dhammapada, 306). This is an expression, of a life of solitude, most unique in the early Buddhist literature. Then, what is the flavor of the Dharma? It is that loneliness. The Dharma is the cool and sweet stream of life, washing away all the impurities of life. Therefore, a soul, when it has entered the Dharma, is as clear and cool as that sweet stream. The Dhammapada has a saying: "Whoever has tasted the taste of solitude, the more he likes to taste the taste of the Dharma." Because, the Dharma is the quiet Nirvana. In this inspiration, all arguments about Nirvana, that this is nothingness, this is immortality, this is and so forth, are all irrelevant. In short, it can be said, What is Nirvana? It is a place of deep silence, where there is no defilement and all disturbances, all worldly disputes of life. Of course, this is the image of Nirvana of stillness or extinction in literary inspiration, not in philosophical reflection. And so, the same passage in the Dhammapada: "Like a deep, clear, and silent lake, so the wise after hearing the Dharma, are likewise profoundly silent." What is this silence, if not the solitude of solitude? So, lonely in their practice, the former Buddhists, like a rhinoceros, were alone in the middle of life on a lonely road from beginning to end. Pang Uan, a lay disciple of Chinese Zen Buddhism, during the Tang Dynasty, asked: "Who is a lonely person who does not go with Wan Fa as a companion?" In that life, loneliness is a friend. But, at the same time it is a mortal enemy. How to endure the lonely life in the wild mountains? This question was posed by a Brahmin named Janussoni. The Buddha replied, "All hermits, whose actions of body, mouth, and mind are impure, when they live in the solitude of the mountains, because of their impure deeds, make them famous. I was overcome with fear and trembling. As for me, whose deeds are pure, I live in the solitude of the mountains and forests. If there are Saints whose deeds are all pure, live in solitude. of the mountains, I am one of them. Behold, Brahmin, when I live the life of purity of my deeds, the taste of solitude penetrates me." So, a lonely life is not only a path to practice, but also the result of actions that have washed away all impurities. As we see clearly, much of the early Buddhist literature is filled with images of solitude. However, the purpose is not to present some kind of individualism, but the life of the monk must withdraw from the world, immersed in nihilism. But because the truth is reminded in the original scriptures which is considered to be intrinsic and individual acquired. "Be a lamp to yourself, a refuge for yourself", this is the last teaching of the Buddha, recorded in the Mahaparinirvana Sutra. We can quote a little longer: the sutra says, when Ananda asked the Buddha to leave his final teachings, the Buddha replied: "Ananda, the Tathagata does not think: 'I will be the one to take the hold. the head of the community of bhikkhus", or "the assembly of bhikkhus subject to my instruction", then, Ananda, Theravada or Hinayana literature does not stop here. Although, this was the period when the only Buddhist life was the monastic life; all efforts are aimed at conquering suffering and human consequences; liberation and Nirvana is the ultimate goal; and the life of lay disciples has nothing to do with Buddhism, except for the work of protecting the path. But in some places, the original scriptures have also made room for secular activities. At this point we must mention first the Jataka literature and then the Avadana literature. Jataka or Birth Story are examples of the predecessors of Shakyamuni Buddha, who spent many lives with acts like a great heroic knight appearing in the world, always giving his life for the benefit of everyone. . These stories, apart from Shakyamuni Buddha's desire for liberation to benefit the whole world, do not contain any essential teachings. Because here, Bodhisattva (Bodhisattva) - a title before Shakyamuni attained enlightenment, lives in the world, does all that the world needs, not for the sake of ultimate liberation, but for the well-being in life. live everyday. He is a model of a knight who saves suffering, in the midst of the common people, weak, helpless under all injustices. On the other hand, Avadana literature or Examples, which are short stories describing the evils and foolishness of people in ordinary life; nor have much to do with the essential teachings of Buddhism. These are two typical Buddhist literatures in human life. They have the same properties as popular literature. Their role is not unimportant. Because, in the beginning, the priestly life was in the midst of the human world, neither too far nor too close; not characteristic of urban life. Depending on the occasion, the monks compose moderate stories to remind people to lead a good life. For those who are less vulnerable to subsistence, the scriptures give them a more active role of guardian. In their lives, in addition to the duty of being a father in the family, citizens of a country, they also have the duty to uphold the Dharma, and to find favorable opportunities to learn the Dharma, sow good seeds in their lives. Dharma so that when the time comes, they will devote themselves completely to the ultimate goal of liberation and Nirvana. The passage quoted below shows that. The sutra describes the Buddhist condition of Mr. Anathapindika, a rich man of the time, in the world. The elder Anathapindika, in Rajagaha, Magadha country, one day, at dawn, visited a relative. This man, waking up early in the morning, was busy with his servants, apparently preparing some kind of party. Anathapindika thought to herself: "In the past, when I used to come here, this householder put aside all his work, did nothing, exchanged greetings with me. But now he seems busy, enjoying himself with me. servants, learn to get up early in the morning and cook a lot of dishes. Are they having a wedding feast? Or are they preparing some great sacrifice, or tomorrow morning they invite King Tanba-sala (Seniya Bimbisara) of Magadha, with the king's entourage?" Then he asked the householder. This person replied: "There is no wedding feast, nor an invitation to King Seniya Bimbisara and his entourage. But I am preparing a great ceremony to make offerings to the bhikkhus and to the Buddha." "You mean Buddha?" "That's right, I said Buddha." Three times asked, and three times answered the same. Anathapindika wanted to meet the Buddha. The householder said, "Not today, but tomorrow morning." Then Anathapindika recited the Buddha so much that he woke up three times during the night thinking that it was morning. When he reached the city gate to go to Thanh Luong cave, there were non-human goods open for him. But when he was out of the city, the light disappeared and the darkness appeared, and then there was terror, terror in his heart, that made him want to return. But the yakkha named Sivaka, the invisible god, uttered these words: A hundred elephants, horses or chariots with mules, One hundred thousand maidens adorned with earrings, It's not the sixteenth part of a long stride. Come on, rich man, step forward. You should step forward, don't retreat ." Instantly, the darkness disappeared, light appeared, and Anathapindika's great terror and terror dissipated.Then he went to the Thanh Luong cave and while the Blessed One was going up. Descending into space, he saw him, and immediately got down from where he was going up and down, he called Anathapindika: "Come, Sudatta." Sudatta is Anathapindika's proper name. He thought, "The World-Honored One calls me by my own name." He bowed his head at the feet of the Blessed One, hoping that he would live in peace. The World-Honored One replied: "Yes, the pure conduct who has reached Nirvana always lives in peace. He is not defiled by craving, is no longer afraid, is no longer reborn. Having let go of all bonds, Abandoning the mind of craving, he lived quietly in peace, having attained peace of mind." Then the World-Honored One explained many things to the elder Anathapindika; about Thi, about gender, about meditation; he explained the danger, the futility, the corruption of sensual objects, the benefit of getting rid of them. When the World-Honored One knew that Anathapindika's mind was mature, pliable, free from obstructions, sublime, and peaceful, that he preached to him the Dhamma that the Buddhas had enlightened themselves. : suffering, practice, cessation and path. And just as a clean shirt without black stains is easily dyed, so from this very seat, with the Dharma eye, unstained, arose in the snob Anathapindika, saying, "Whatever is born of all things there is cessation," Then, having seen the Dharma, realized the Dharma, knew the Dharma, penetrated the Dharma, having overcome doubt, put an end to uncertainty, personally believed in the teachings of the Guru, " Or rather, World-Honored One. It is like a man who raises up what is fallen, uncovers what is hidden, shows the way to the lost, shines a lamp into the dark, so that those with eyes may see it. see; in the same way, the Dharma was taught by the World-Honored One with many parables.World-Honored One, now I take refuge in the World-Honored One, and rely on the Dharma and the order of bhikkhus. I am a layman from now on for the rest of my life. And, World-Honored One, may you receive a meal at my house tomorrow morning together with the Order of Bhikkhus. " The Blessed One accepted the silence. After that, Anathapindika bought Prince Jeta's forest, set up a monastery for the Buddha to stop and preach. This is one of the largest and famous monasteries during the time of Shakyamuni Buddha in the world, called Jetavana or Jetavana. People like Anathapindika, whose minds are open enough to perceive the Dharma. But only up to a certain limit. Their lives are not considered to be in the heart of the Dharma. In fact, the original literature is mostly for monastic people, with the ideal of absolute rejection. Because the Dharma can only be realized in the quiet places of the mountains and forests. The ideal personality that this literature describes is the Arhat, the Tathagata. And we know, that is the personality of a life of absolute solitude: I practice the Way without a teacher, I practice the Way alone, without any friends Accumulating one virtue, but becoming a Buddha Naturally understanding the path to enlightenment. Following that example, the aspiration of the Buddhists at that time was: "As in the midst of a deep sea without ripples, but in complete silence, so too, bhikkhus, should be quiet, not slacking off wherever you are." Thus, it suffices for us to summarize that, from the fountain of individual life because possessions are individual and intrinsic, the inspiration of early Buddhist literature emerges: - From personality to life of the Buddha; - From the Dharma, the sublime truth about the suffering of life and about the tranquility of Nirvana. Above all, the taste of absolute solitude. Because the taste of Dharma is the lonely taste of life. III. Inspiration in Mahayana Literature Mahayana thought began to appear with prajna literature. The contents of the sutras belonging to Prajna literature all expound on the meaning of emptiness. This thought is the philosophy of action of the bodhisattva ideal. In the bodhisattva ideal, there are two related concepts: Great Wisdom and Great Compassion (or Dai Hanh). Dai Tri indicates the ability to transcend the nature of all beings. Great Compassion or Great Action is the effect of that transcendent wisdom in a worldview that is described as endless. Thus, the bodhisattva's chariot (Bodhisattva vehicle) has two wheels, Wisdom and Compassion, and moves in parallel (Bi-Truth and dual destiny) to reach ultimate liberation. Because the function of Wisdom is the ability to penetrate the nature of existence, therefore, take emptiness as the basis. However, in terms of philosophical doctrine, we know that emptiness has two effects: destructive and constructive. Both effects are focused on one relationship: the relation of existence or dependent origination. Existence is related, so existence is not intrinsic. This is a destructive effect. And because there is no essence, only being can have a relationship to arise. This is a constructive effect. The Old Tomb Sutra describes the application of Great Wisdom and Great Compassion of the enlightened that: The world is separated from birth and death, Due to space, flowers, knowledge, impermanence, existence, and nihil, Great compassion, Necessary Dharma is like an illusion, Vien separates the mind of Wisdom. Unwilling to be without Nhi Hung Great Compassionate Heart Far away from the ordinary, the world is like a dream. Tri is helpless, immeasurable, and has great compassion. The existence of the world is like a flower spotted in the sky, without arising, without destruction. All dharmas are illusory, beyond all mental influences; beyond any sense of permanence and discontinuity, for that is like a dream. Therefore, in the attainment of True Wisdom, there is no meaning of being or not. From the wisdom that is no longer attached to being or not, enlightened beings, or those who are on the path to enlightenment, generate the aspiration of great compassion. They see and know well that all existence has no intrinsic nature, substance or substance. Defilements and tri-obstacles are inherently pure and formless. From that compassionate view, they aroused the great compassion aspiration. Necessarily non-Nirvana Nirvana Non-existent Nirvana Buddha Non-existent Buddha Nirvana Far away from the perception of weakness, weakness, weakness, non-being, Thi Nhi, all sentences. There is absolutely no such thing as Nirvana. There is not a single Buddha who has attained Nirvana, nor is there any Nirvana that the Buddha has entered. Beyond the enlightened personality and enlightened truth. Being or non-being, both are transcended. In other words, in the ideal of action, the bodhisattva must first observe in order to realize emptiness. That is, the appearance of the world is like a flower spotted in the sky, its nature is not bound by the meaning of appearing or disappearing. From that evidence, Wisdom is not bound between being or not, and it is here that the bodhisattva can express his great compassion. If so, does the bodhisattva practice the path in the world of nothingness and fantasy? This world is nothingness, and fantasy is almost an indisputable vision, for that is the dominant image in the Mahayana works, the Vajrayana Sutra says: Necessary existence is beyond dharma Like dreams, illusions , plan, photo, Like highway, heron like electricity Improvise like a vision. All interrelated existences are the same as dreams, illusions, bubbles, shadows in dew; like dew, like lightning. How to manifest the aspiration of Great Compassion in such a world filled with imaginary, unspoiled personality? This problem cannot be ignored. The expression in the Prajnaparamita scriptures is not conventional. Thus, initially, one accepts all internal contradictions for granted. For example, birth means no birth, and so on. The reasoning of emptiness was initially conventional, but at a time it became indescribably extreme. That is, first of all, people can also borrow what has been witnessed in the colloquial experience to describe: like sunshine, like dreams, like stars, like flowers spotted in the sky... Finally, is the Dharma ear like exam: Thus is it. One of the Buddha's titles, the Tathagata, which only gives this meaning. The Great Wisdom Sutra said: "As the dharma generals understand. As the dharma generals preach. As the peaceful path of the Buddhas come... so called Tathagata." In short, the Tathagata means coming like that and going like that. This is really the ideal action of the bodhisattva. That industry would be described as the footprints of birds in the sky. The same goes for Bodhisattvas who come to the world. All the works that have been done and left to the world are like the accumulation of many footprints of birds flying in the sky. This expression indeed has a special literary flavor. In terminology, this action is known as the useless conduct: action that does not require effort, such as space. This is the meaning: "As a dharma sign understands, like a dharma sign teaches". The meaning of the (literary) composition of Mahayana also follows. The Prajnaparamita Sutra says: "The Buddha's disciples don't have to preach. It's all because of the Buddha's power. Because they follow what the Buddha taught and study, thereby realizing the dharma signs. After they have witnessed it, everything they say is not contrary to the dharma mark. Because it is the power of the dharma sign.” The gist of this passage is that the teaching of the Buddha's disciples is not because they want to express a certain point of view, but it is a natural outburst of what they have realized. Normally, isn't this the ideal of any author, not even the Mahayana ones? A literary work must emerge from a sincere and spontaneous inspiration. Above, we take Emptiness as the starting point of literary inspiration in Mahayana Buddhism. However, this inspiration largely goes in the direction of philosophical interpretation, rather than literary sensibility. Then, from that foundation of emptiness, one can open one's eyes to the world of endless overlap, which is the true literary style, in the colloquial sense of the word. In any Buddhist literature, we can find that, wherever one begins, all inspiration is traced back to the personality and life of the Buddha. This is something that we cannot forget, when entering the world of Buddhist literature. If in the original, the personality of Thich Ton was the image of a human being, then all literary inspiration originates from impermanence, from the fragile nature of life. In Mahayana, the Buddha is a transcendent personality, so literary inspiration is also derived from the transcendent world. It all depends on the concept of the Buddha body. There are two main conceptions of the Buddha body: the birth body and the dharmakaya. Born only for the innate body of the parents. The dharmakaya is the embodiment of truth. In the original place, or Hinayana as a whole, the Dharma includes the Four Noble Truths and Nirvana. Indeed, this is the Dharma of dependent origination. This dharma of dependent origination was taught by the Buddha to lead to the realization of the sublime truths of Suffering, Origin, Cessation, and Path, and ultimately to liberation and Nirvana. The later Mahayanas brought to the Dharma many new explanations for dependent origination. Especially Nagarjuna's philosophy of emptiness. Roughly, originally, Dependent Origination is responsible for explaining the origin of suffering, to reveal the impermanent and non-self characteristics of life, and thereby to determine the path to the cessation of suffering. But the Mahayanists rely on Dependent Origination to prove that the intrinsic nature of all things is Emptiness. That is, due to dependent origination should not be self-nature. Thus, at first, Dependent Origination proves that all existence - necessarily dharma - is false, devoid of true nature. Then in the end, there is no truth but that illusion. As a result, the Mahayanas assert that what the Buddha said is all conventional truth, temporary, because ultimate truth transcends knowledge and transcends speech. It is imperative that we cannot forget this question: with the title of Tathagata, the Mahayana explains that Such Dharma is taught by the Buddha Thus, why is the truth not included in Such character? there? We can find several explanations, directly in the Mahayana sutras. First, the Lotus Sutra declares: "The nature of dharmas is to be devoid of all traces of knowledge and speech. But it is by means, out of boundless great compassion, that the Buddha preaches the dharmas called. is the noble truth such as suffering, practice, cessation, and Tao. In fact, the ultimate truth is not in it." The Prajnaparamita Sutra (small piece), more drastic: Even if there is any Dharma greater than Nirvana, it is also Emptiness. This is about the correlation between what is said and what cannot be said. Tang Due, in his preface to the translation of the Zhongguo Comments (a work of Nagarjuna), explains this correlation: "It's not true, it's not true, it's true. Commenting on the truth of Minh Chi, the truth of signing the declaration, the period of signing the contract, the bodhisattva sitting on the Dao Truong Chi Chi projection of the natural and the exhilarating." Accordingly, Truth or Truth, ultimate truth, without Speech, there can be no path to enlightenment. Therefore, relying on the middle way to publish. The middle way is the way free from transcendence and immanence, between the possible and the unspeakable. That is the way of silence in speech and speech in silence. And then, as such, the discourse must be interpreted in order to be fully comprehended. Therefore, borrow the form of a treatise to express. Finally, once the Truth has been proclaimed in the Speech, and the Speech has been thoroughly revealed in the quiet realm, then, in the moment of absolute enlightenment, the Bodhisattva shines through all. relationship between Name and Reality. The above explanation may justify the work of a Buddhist author. Knowing that what we are talking about has nothing to do with the Absolute Truth, it is nevertheless possible to say and not contradict the truth. That is, every author has the ability to lie, but in that lie can reflect the Truth. There is no distinction between the True and the False. From the point of view just mentioned, we have an extremely important corollary to see the performance of Mahayana authors. Language is not absolute truth, but language itself is the symbol of absolute truth. If so, not only language, but any thing is a symbol of absolute truth. That is, according to a maxim of the Mahayana: samsara is nirvana. According to this corollary, we will encounter in the Mahayana works two styles of expression. Either in language, or in images. And we are assigned to two ways of teaching the Dharma of the Buddha. Or preach while he is in samadhi. Or preach while he comes out of meditation. When entering samadhi, light radiates from the Buddha's body. Through this light, the superiors immediately realized the profound Dharma that the Buddha wanted to teach. When he came out of his meditation he would use language, Two ways of teaching the Dharma are consistent with the concept of Buddha. The manifestation body (another name for the birth body) appears in the world, subject to all the conventions of the world, so the preaching of the Dharma must choose the language path: it must be said in the order of the beginning, the middle, and the end. , et cetera. The dharmakaya, which is the self of the transcendent truth, therefore the teaching is also transcendent. Since the transcendental truth is the total reality, the speaker and the hearer also correspond in the totality. Here, the Dharma is not revealed in a conventional order, but as a full-blown, or direct, arising. Therefore, we often encounter typical descriptions such as: on the head of every hair of the Buddha, when he entered right concentration, all the worlds of the ten directions appear, not only the existing worlds, but also the worlds that exist. in the past and future. That is, all worlds in infinite time and infinite space. Then in each world, of these countless worlds like the sands of the Ganges, in each world there is a Buddha sitting in Right Concentration, and on each of those hairs also appear all the ten directions of the past worlds. , present, future. It is the immense totality that is present in the very microscopic individuality: One is All and All is One. This description is at the heart of the Dharmadhatu of Dependent Origination. In Mahayana thought, there are two distinctive conceptions of dependent origination. The first concept, he follows dependent origination to attain Dharma Emptiness, demonstrating his ability to transcend non-dual existence, as seen. Another view, y based on the dharma of dependent origination to enter the world of interdependence in the endless coincidence, that is, the dharma world of dependent origination. Here, also the existence correlation is explained. But each existence is conceived as a total reality - for samsara is Nirvana - so the relation of existence is also comprehensive. For example, the relationship between two opposite panes of glass. A glass is not just a glass; it includes all that is not it but related to it. Thus, the two mirrors that reflect each other are not only two, but All, and All. The term Dharmadhatu means that all the boundless and total limits of reality are right there in that particular truth. So, Tantric Buddhism calls the Dharmakaya, or Dharma, with the Body as the Dharma Realm, the wisdom nature, and the symbolism is the Sun: Great Sun Tathagata. Sunlight is inherently equal and universal. So is the dharma. It only takes eyes to see. When you see the sun, you can see all things. Zen masters often say: Bamboo is blue and green, everywhere is the dharma body. Dense yellow flowers, everywhere is Prajna. Thus, the Mahayana ideal is not just to learn the Dharma from the scriptures. They learn anywhere, from the trifles of everyday life. For this to be possible, it is necessary to undergo periods of spiritual formation, so that the mind is ready to open to receive the sublime truths preached in every speck of dust. They say: Breaking the ceiling to export the sutras. Split two grains of dust and you will find an inexhaustible treasure of truth. Our soul may be just a pebble, but it must be trained until a breeze, like an endless sermon, is the pebble nodding its head. Then after that, it was my turn: Gia Lai preached the Dharma, obedient stone put the head, when it was my turn to speak, the (other) cobblestone(s) nodded in response. This is the ideal of Mahayana literature. It may be unthinkable, but just such a vast desire is enough to extend our hearts over and over to the entire universe. The Universal sage Sutra vows to remind that ideal: "Endless space, infinite self vows". Void can no longer have an end, but our aspiration (Great Compassion) can never end. If we do not know anything about that great compassion and wish to enter the world of Mahayana literature, this is a utopia above all utopias. This utopia is revealed too openly and grossly when one judges a Mahayana work by its so-called discovery of worlds beyond this, the infinite, the infinite, which the authors Mahayana works often describe, whether it is true or not is of no concern. If our minds don't expand to the infinite world depicted, then even if it were the truth, it would only be the reality of the shadow. That is, in short, the taste of Dharma is still the lonely taste of life. And this is really the essence of the whole Buddhist literature, covering all its tendencies, all its sects.END=NAM MO SHAKYAMUNI BUDDHA.( 3 TIMES ).WORLD VIETNAMESE BUDDHIST ORDER=BUDDHIST DHARMA WHEEL GOLDEN MONASTERY=VIETNAMESE BUDDHIST NUN=THE WOMEN OF THE SAKYA CLAN CHAN TANH.AUSTRALIA,SYDNEY.2/1/2022.