| 词条 | Wuzhen pian |
| 释义 |
The Wuzhen pian ({{zh|c=悟真篇|p=Wùzhēn piān|w=Wu-chen p'ien|l=Folios on Awakening to Reality/Perfection}}) is a 1075 Daoist classic on Neidan-style internal alchemy. Its author Zhang Boduan (張伯端; 987?–1082) was a Song dynasty scholar of the Three teachings (Confucianism, Daoism, and Buddhism). AuthorZhang Boduan, or Zhang Ziyang 張紫陽, was a native of Tiantai 天臺 in present-day Zhejiang. After passing the Imperial examination, he began a career as a civil servant, but was banished to the frontier in Lingnan, where he served as a military commissioner. Zhang was later transferred to Guilin and Chengdu, where in 1069 he allegedly experienced sudden realization from a Daoist Master who instructed him in Neidan internal alchemy. Zhang wrote the Wuzhen pian, its appendices, and a few other texts, including the Jindan sibai zi 金丹四百字 "Four hundred words on the Golden Elixir" (tr. Davis and Chao 1940). He was additionally an authority on Chan Buddhism. Biographical sources agree that Zhang Boduan died in 1082 CE during the reign of Emperor Shenzong of Song, but disagree whether he was born in 983, 984, or 987. Zhang was honorifically called Ziyang Zhenren 紫陽真人, ranking him as a Daoist zhenren 真人 "real/true/authentic person; perfected/authentic person" (the zhen in the Wuzhen pian), one rank higher than a xian 仙 "transcendent; immortal" in the celestial hierarchy. The Quanzhen School of Daoism originated in the 12th century with the Five Northern Patriarchs (Wang Chongyang and his successors). In the 13th century, Zhang Boduan posthumously became the second of the Five Southern Patriarchs in the so-called Nanzong 南宗 "Southern Lineage", which Boltz (1987:173) refers to as "ex post facto". In Shaanxi, Hong Kong, and Singapore, there are Zhenren Gong 真人宮 "Real/Perfected Person Temples" dedicated to Zhang Boduan. TextsThe received Wuzhen pian text contains a preface dated 1075 and a postface dated 1078, both under the name Zhang Boduan. The Daozang "Daoist Canon" includes several textual editions of varying lengths. The core of the Wuzhen pian comprises 81 poems: 16 heptasyllabic lüshi 律詩 "regulated poems", 64 heptasyllabic jueju 絕句 "stopped-short line" quatrains, and one pentasyllabic verse on the Taiyi 太一 "Great Unity". Both 16 (= 2 x 8) and 64 (= 8 x 8) have numerological significance, the former denotes two equal "8 ounce" measures of Yin and Yang (alchemical allusions for mercury and lead) totaling "16 ounces" (one jin 斤 "catty"), and the latter correlates with the 64 Yijing hexagrams. Zhang later appended the Wuzhen pian text with 12 alchemical ci 詞 "lyrics" that numerologically correspond to the 12 months, and 5 verses related with the Wu Xing 五行 "Five Phases". Baldrian-Hussein describes the text. The verses of the Wuzhen pian are a work of literary craftsmanship and were probably intended to be sung or chanted. They teem with paradoxes, metaphors, and aphorisms, and their recondite style allows multiple interpretations. The verses are widely accepted as an elaboration of the Zhouyi cantong qi, but their philosophical basis is in the Daode jing and the Yinfu jing. Life, says Zhang Boduan, is like a bubble on floating water or a spark from a flint, and the search for wealth and fame only results in bodily degeneration; thus human beings should search for the Golden Elixir (jindan 金丹) to become celestial immortals (tianxian 天仙). (2007:1082) The Wuzhen pian is one of the major scriptures of Daoist Neidan "Inner Alchemy " and metaphorically uses the vocabulary of Waidan "External Alchemy", which involved compounding elixirs from minerals and medicinal herbs. The text proposes that External Alchemy is unnecessary because the human body contains the essential components. These Three Treasures are jing 精 "essence; refined, perfected; extract; sperm, seed", qi 氣 "vitality, energy, force; vapor; breath", and shen 神 "spirit; soul, mind; god, deity". Through alchemical refinement of bodily jing and qi, one can supposedly achieve integration with one's spiritual shen nature. CommentariesThe intentionally abstruse and highly symbolic language of the Wuzhen pian is open to diverse interpretations. Many commentators, both Daoist and otherwise, have explicated the text. The Daoist Canon includes a dozen commentaries (zhu 主) and sub-commentaries (shu 疏) to the Wuzhen pian (see Baldrian-Hussein 2007:1082-3). Major commentaries are by Ye Shibiao 葉士表 (dated 1161), Yuan Gongfu 遠公輔 (dated 1202), and several (dated 1335 and 1337) by Weng Baoquang 翁葆光 and Dai Qizong 戴起宗. In addition, there are numerous later commentaries to the text. Two notable examples are by Qiu Zhao'ao 仇兆鰲 (dated 1713), who quotes from 25 commentaries, and by Liu Yiming 劉一明 (dated 1794), who was 11th patriarch of the Quanzhen Longmen 龍門 "Dragon Gate" Lineage. TitleWuzhen pian combines three Chinese words.
The Chinese character wu 悟 "awaken; realize", which is written with the "heart/mind radical" 忄and a phonetic of wu 吾 "I; my; we; our", has a literary variant Chinese character wu 寤 "awake; wake up" with the "roof radical" 宀, qiang 爿 "bed", and this wu 吾 phonetic. Compare the given name of Sun Wukong 孙悟空, the central character in Journey to the West, which literally means "Awaken to Emptiness". The ambiguity of the Wuzhen pian title, and by extension the text itself, is illustrated by these English renderings:
TranslationsThe Wuzhen pian has full and partial translations into English. Tenney L. Davis and Chao Yün-ts’ung, who collaborated on several groundbreaking studies of Daoist alchemy, published the first English version (1939). Paul Crowe (1997) wrote a detailed study of the Wuzhen pian text and a full annotated translation. Thomas Cleary (1997) fully translated the text and Liu Yiming's commentary. Partial translations are given by Livia Kohn (1993:314-319) and Eva Wong (1997:87-94). Fabrizio Pregadio (2009) translates the first 16 poems, with annotations on individual verses and selections from Liu Yiming's commentary. Louis Komjathy (2004:7-9) uses Cleary's version to illustrate the importance of "linguistic competency" in translating Daoist texts. Komjathy describes the Wuzhen pians content as "so highly symbolic that it is all but impenetrable without commentaries or oral instructions." For instance, the Chinese original of the third stanza is written in four paired heptasyllabic verses: 學仙須是學天仙、 The first translation is by Davis and Chao. If you are learning to be a hsien (immortal), you should learn to be a heavenly hsien. The most accurate means (for this purpose) is chin tan (gold medicine). The two things, when put into contact with each other, will indicate harmonious properties. The Tiger and the Dragon locate at the places where the wu hsing 五行 (five elements) are perfected. I desire to send wu ssu 戊巳 as a matchmaker to make them husband and wife and to bring them into a union from which real happiness will arise. Wait for the success of the compounding, and you will return to see the north gate of the Imperial palace. You will be able to ride on a phoenix's back, to fly high into the cloud and the light of the sky. (1939:103-104) Cleary idiosyncratically translates in capital letters to distinguish the text from his translation (1987:29-32) of Liu's commentary: IF YOU ARE GOING TO STUDY IMMORTALITY, YOU SHOULD STUDY CELESTIAL IMMORTALITY; ONLY THE GOLD ELIXIR IS WORTHWHILE. WHEN THE TWO THINGS JOIN, SENSE AND ESSENCE MERGE; WHEN THE FIVE ELEMENTS ARE COMPLETE, THE TIGER AND DRAGON INTERTWINE. STARTING WITH HEAVEN-EARTH AND EARTH-EARTH AS GO-BETWEENS, FINALLY HUSBAND AND WIFE CONJOIN HAPPILY. JUST WAIT FOR THE ACHIEVEMENT TO BE COMPLETED TO PAY COURT TO THE NORTH PALACE GATE; IN THE LIGHT OF NINEFOLD MIST YOU RIDE A FLYING PHOENIX. (1987:28) Komjathy criticizes both the style and language of Cleary’s translation, noting, "Except for punctuation, Cleary’s format gives the reader little indication that he or she is reading poetry." He also says, "Cleary’s translation choices for various technical terms deviate from more standard renderings, and thus without knowledge of Chinese and the Chinese text one cannot easily identify the relevant correlates." One example concerns two Celestial stems. Cleary translates the most technical section of this stanza, line five, as “Starting with Heaven-Earth and Earth-Earth as go-betweens.” With no annotation, the reader wonders what Chinese phrases Cleary is translating. An educated reader’s initial guess might be Yijing hexagrams. As it turns out, the Chinese text has the characters wu 戊 and ji 己, the fifth and sixth of the ten Celestial Stems (tiangan 天干), respectively. Cleary does not provide an explanation for or introduction to such choices, although Understanding Reality, unlike his later publications, contains a glossary of terms. (2004:8) He suggests a "more accurate and technical translation": [If you wish to] study immortality, you should study celestial immortality (tianxian); Komjathy (2004:8-9) concludes, "Although Cleary’s translation has certain deficiencies, he seems intent on staying close to the text and rendering it in a way that generally respects the work’s complexity." Compare how Paul Crowe translates this same stanza: [If you are going to] study immortality then it must be celestial immortality, For translating the thorny wuji expression, Crowe notes, "Wu 戊 and ji 己 refer to the fifth and sixth of the ten celestial stems (tiangan 天干) which, in combination, correspond to the earth phase which occupies the central position." There is also a poetic translation by Richard Bertschinger (2004) which is being updated on-line (2009- ). It includes his commentary based upon classical sources. Here is his translation of the same stanza with commentary:
Reality is all around us... all around in the natural world. The tender dusk; the beautiful dawn; an unfolding flower; the soaking mist; a snowfall; the moon rise, all is evidently unique. Two Materials are involved in this delicate dance of living water and flame - the central lines of Kan (water) and Li (fire); the one source essence (yuan jing), the other source spirit (yuan shen). As what we feel and are within meld, body and mind are one, tumbling Dragon and Tiger - Wood and Fire, Gold and Water amixed. Praise be to the Soil! Dear Kun-mother, match-maker, breasted woman, Dark Female! She stands as go-between, protecting our happy home. The Elixir born, dawn breaks at the Northern Gate of Kan, the sun rises on a chilly dawn - its first warm rays bless our cold bodies; the clouds ablaze, the sandals on our feet strong. Hold back your fabulous steeds . . . it does not bode well to release too soon." And finally, here is how Fabrizio Pregadio (2009: 23) translates the same verses:
In his notes, Pregadio remarks that the imagery of the final four verses is similar to the one found in a passage of the Zhouyi cantong qi (see also the French Wikipedia page):
The last line of the Cantong qi passage refers to receiving consecration as an Immortal. References
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