鏡の瑕もまた鏡なり | Scars creates a scarless mirror.

禅問答はもしかしたら、漫才のルーツじゃないだろうか。| Zen talks are suspected to be a root of modern Manzai, an art of Japanese cross talk comedy.

噛み合わない問いと答え、意味が複数あるような言葉の選択、常識と非常識の混合。それらの要素をボケとツッコミに分化させて笑いの芸に作り上げた、とか。

(雪峰)見てみい、猿が古鏡もっとるで。

(三聖)何やらわからんもんを、なんで古鏡古鏡いいますねん。

(雪峰)あかん、古鏡に瑕きずがついてしもた。

(三聖)口のきき方に気をつけなはれ。

(雪峰)すまんなぁ、わしが悪かった。寺の仕事が忙しいんや。

笑いにはまだ遠い。でも気配くらいはあるかもしれない。雪峰からすれば、ここは三聖が「猿」でつっこんでくるだろうと思ったら、古鏡の「名付けることの不可能」という一般論で来た。雪峰はそこで臨済(三聖の師匠)のように一喝するかわりに、完璧なはずの鏡が「瑕」になったと訴える。道元の説明によると、これは語義矛盾だ。瑕さえも鏡面の一部にしてしまうのが究極の鏡=古鏡だからだ(「古鏡の瑕生は全古鏡なり」)。「口のきき方」に「気をつけてくれ」とは、高度な芸への称賛を非難の言葉で言った。「わしが悪かった」、うっかり漫才の極意をこんなに早く見せてしまった。千年後の芸人らにあやまらなアカン。そら忙しいやろな。

 

Elements such as mismatched exchanges, double meanings, and apparently absurd uses of words hinting at deep insights are reorganized into a system of talk with differentiation of two functions –– irregularity (boké) and counter-irregularity (tsukkomi).

Xuefeng: Look! Monkeys over there are carrying Old Mirrors on their backs!

Sansheng: Are you permitted to name them “Old Mirrors” which all the ancestors since antiquity described as un-namable?

X: Damn! The Old Mirror got scarred.

S: Be careful with your speech.

X: Sorry, I was wrong. I’m too busy with my temple’s work.

In the dialog above you might feel a touch of comedy blended with a Buddhist discourse. Xuefeng, starting with an irregular remark on monkeys with mirrors, might have expected a reply how a monkey, rather than a monk, could carry a mirror at all. Sansheng, however, came up with a traditionalist remark on its un-namability that was a typical issue in Buddhism. Instead of giving him a bark as Linji would have done, Xuefeng pointed out that a scar over the scarless Old Mirror was generated. It seems to me that his response created a sense of paradox over the whole session. A possible solution would be that the Old Mirror was an ultimate accumulation of ‘scars’. Sansheng’s word of caution was probably a disguised respect for Xuefeng with his high skill in thinking and speaking. He was “wrong” because he let out the very dharma of Manzai too early and must apologies to all the modern performers. No wonder he was so busy.

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