Top 10 Analytical Essays on the Work "Announcing Illness, Advising Everyone" by Mãn Giác Thiền Sư

Nguyễn Trường, also known as Mãn Giác Thiền Sư, was a scholar well-versed in Confucianism, Taoism, and Buddhism, leaving behind renowned works, including "Announcing Illness, Advising Everyone." This piece reflects an optimistic spirit and a vigorous will to rise above challenges.

With a profound and authentic perspective, he observed even the slightest changes in the world around him, believing that all transformations follow a natural order.

Spring passes, flowers fall,

Spring arrives, flowers bloom.

This cycle of nature, unchanged since ancient times, signifies the rhythm of the seasons. Trees sprout, flowers bloom, and nature rejuvenates, only to fade as spring departs. The poet captures this eternal cycle, emphasizing the beauty and vitality of spring, which he seeks to preserve in his work.

Time moves forward relentlessly, indifferent to human concerns. As years pass, people age, their hair turning gray, a stark reminder of life's fleeting nature. Unlike nature's cyclical patterns, human life is linear, with each individual journeying toward its inevitable end. Yet, within this inevitability lies an indomitable spirit, both in nature and humanity.

Do not say that spring ends with fallen flowers,

Last night, a plum branch bloomed in the front yard.

These lines, seemingly about nature, carry a deeper meaning. The plum blossom, resilient against winter's chill, symbolizes purity and perseverance. The poet uses this imagery to convey humanity's ability to rise above challenges and transcend the natural order of life and death.

The poem radiates optimism, as seen in its vivid portrayal of nature's beauty and endless vitality. It begins with spring and concludes with a plum branch, mirroring the poet's own life. Written during his illness, the verses reflect his unwavering spirit and profound understanding of life's truths, offering readers a glimpse into his resilient and enlightened mind.

Literature from the Lý-Trần period not only flourished with works celebrating the heroic spirit of Đông A, patriotism, and the national pride of generals and wise rulers but also included contemplative poetry by Zen masters reflecting on life and humanity. Among these, the renowned poet and Zen master Mãn Giác stands out with his famous poem, "Cáo tật thị chúng" (Announcing Illness, Advising Everyone). The original Chinese text of the poem reads:

“Xuân khứ bách hoa lạc,
Xuân đáo bách hoa khai.
Sự trục nhãn tiền quá,
Lão tùng đầu thượng lai.
Mạc vị xuân tàn hoa lạc tận,
Đình tiền tạc dạ nhất chi mai.”

During the Lý dynasty (1009-1225), Vietnam was a prosperous and thriving nation. People lived in abundance and warmth. Buddhism became the state religion, and monks held significant positions in society and the court. They were individuals of great virtue and talent, skilled in poetry and literature, their names shining brightly in history. Mãn Giác Thiền Sư was one such figure. "Cáo tật thị chúng" was written shortly before his passing.

The work follows the kệ form—a type of verse composed by monks to summarize Buddhist teachings or convey profound insights. Thus, kệ often carries deep philosophical meanings. However, "Cáo tật thị chúng" feels refreshing and poetic. The opening lines depict the natural order of life:

“Xuân khứ bách hoa lạc,
Xuân đáo bách hoa khai.”
(Spring departs, flowers fall,
Spring arrives, flowers bloom.)

These lines illustrate the cyclical nature of the seasons, the eternal rhythm of creation. The repetition of “spring” and “flowers” emphasizes a universal law: each spring, flowers bloom (bách hoa khai), showcasing their vibrant colors and fragrances. The imagery of “bách hoa khai” (a hundred flowers blooming) symbolizes the vigorous vitality of life. As spring fades, “bách hoa lạc” (a hundred flowers falling) follows the natural order.

In just eight words, these lines encapsulate timeless philosophical truths about nature and life: the cyclical nature of the universe, or in Buddhist terms, the impermanence of life and the cycle of rebirth. Yet, Mãn Giác’s brilliance lies in his optimistic perspective: spring departs but returns, flowers wither but bloom again. Life always moves toward beauty, and existence is eternal, perpetually renewing itself. From this reflection on nature, the poem shifts to human life:

“Sự trục nhãn tiền quá,
Lão tùng đầu thượng lai.”
(Before our eyes, events pass by,
Above our heads, old age arrives.)

Life is ever-changing; what was recent quickly becomes the past, as “before our eyes, events pass by.” Similarly, humans are subject to the same laws, experiencing birth, aging, sickness, and death. Unlike nature’s cycles, human life is linear, moving inevitably toward its end. The contrast between blooming flowers and the arrival of old age highlights Mãn Giác’s awareness of life’s brevity in the face of time’s infinity.

The poem speaks of life’s finitude and the inevitability of death with a light, accepting tone. The Zen master faces death as a natural law, embracing it with calmness and readiness—a mindset of one who deeply understands life. This acceptance culminates in the final lines, radiating optimism and faith:

“Mạc vị xuân tàn hoa lạc tận,
Đình tiền tạc dạ nhất chi mai.”
(Do not say that spring ends with fallen flowers,
Last night, a plum branch bloomed in the front yard.)

While the universe cycles endlessly, human life is fleeting:

“Trước sau nào thấy bóng người
Hoa đào năm ngoái còn cười gió đông.”

Yet, this does not lead to pessimism. The phrase “mạc vị” (do not say) serves as a gentle yet profound reminder. The kệ’s structure is cyclical, using contrast: it begins with “flowers falling” but ends with “a plum branch blooming.” The “nhất chi mai” (a plum branch) is a recurring motif in classical poetry, symbolizing resilience and unwavering spirit. Unlike other flowers, the plum blossom thrives in harsh conditions.

Here, the plum branch at the end of spring is an artistic metaphor. Through the flower, the poet speaks of himself, seeing his own reflection in it: life is impermanent, yet humans can rise above, like the plum blossom that defies nature’s laws to bloom as the most radiant and beautiful flower of life. The poem brims with faith and optimism, reflecting a serene attitude and noble character in the face of life’s inevitable laws. The kệ concludes with two exquisite lines, celebrated as a timeless gem in classical poetry.

“Cáo tật thị chúng” is not merely the reflections of a man nearing life’s end but also an optimistic outlook and a determination to live meaningfully. It reveals the noble character and soul of a virtuous and talented Zen master. The poem is imbued with Buddhist philosophy yet remains accessible, its profound ideas expressed through simple, precise, and evocative language that captivates readers.

This kệ has endured nearly a millennium, through countless springs and fading flowers, yet its value and philosophical depth remain intact. “Cáo tật thị chúng” continues to enlighten readers across generations, a timeless piece of classical poetry.

Zen Master Mãn Giác, a devoted scholar well-versed in both Confucianism and Buddhism, was favored by King Lý Nhân Tông and brought to the palace for education from a young age. He was a renowned Zen master, and his poem "Cáo tật thị chúng" (Announcing Illness, Advising Everyone) delves into profound philosophical insights.

Time is an eternal obsession for humanity. Recognizing its passage, people grow anxious, aware of life's brevity and fragility. Thus, the poet Xuân Diệu expressed an intense longing: "Hurry, my love, I fear tomorrow/ Life flows, but our hearts are not eternal." Humans strive to hold onto time, to delay life's progression. Yet, for Zen Master Mãn Giác, understanding nature's laws means accepting them with peace, cherishing each moment rather than racing against time. This perspective is revealed in "Cáo tật thị chúng."

Xuân khứ bách hoa lạc,
Xuân đáo bách hoa khai.
Sự trục nhãn tiền quá,
Lão tùng đầu thượng lai.
Mạc vị xuân tàn hoa lạc tận,
Đình tiền tạc dạ nhất chi mai.

Originally a kệ, this poem serves to propagate and explain Buddhist teachings. Kệ often carries deep meanings, using metaphors and subtle expressions, written in verse with literary value. "Cáo tật thị chúng" was likely composed during a period of illness in the Zen master's 44-year life, yet it reflects a serene soul unafraid of sickness, aging, or death—a soul of great enlightenment.

The first four lines describe the natural and human cycles of life: flowers, like people, are in constant motion and change. Life is a cycle of rebirth. As spring passes, flowers wither; as spring arrives, they bloom anew. The poet uses the imagery of falling and blooming flowers to illustrate this endless cycle: flowers fall before they bloom, symbolizing the wheel of life. "If one says flowers bloom and then wither, it only captures one lifetime in the cycle." (Trần Đình Sử)

However, placing humans within this cycle of blooming and falling evokes deep reflection. The next two lines depict the human life cycle, distinct from nature's laws. As time passes, people age. Gray hair symbolizes old age. There is a contrast between humans and flowers: while "a hundred flowers bloom," humans face "old age approaching." This contrast highlights time's endless flow—"before our eyes, events pass by"—life is but a fleeting illusion. The poem reflects the Buddhist concept of birth, aging, sickness, and death.

The tone of the first four lines is both calm and slightly wistful. Calm in accepting life's natural cycle, yet wistful in sensing time's relentless passage. This sentiment arises not from a nihilistic Buddhist view but from an awareness of human existence. Recognizing this existence, one cannot live meaninglessly. The final two lines express Buddhist philosophy's belief in transcending ordinary life and death.

“Mạc vị xuân tàn hoa lạc tận
Đình tiền tạc dạ nhất chi mai.”

These lines are not merely about the transition from spring to summer but symbolize a greater concept. Enlightened individuals return to an eternal state, beyond birth and death, like the plum branch blooming despite spring's end. In ancient thought, the plum blossom endures winter's cold, blooming amidst frost to herald spring. It represents purity and resilience, rising above harsh circumstances.

Through the image of the plum branch, the poet uses nature to symbolize the belief in eternal life. The plum transcends life, death, prosperity, and decline—it embodies the unchanging nature of thought, emotion, and will. The "plum branch" is a beautiful artistic symbol, representing optimism and steadfastness amid life's changes.

Though written during illness, "Cáo tật thị chúng" radiates calm acceptance of life, with a tone of ease and freedom. While life's cycle is birth, aging, sickness, and death, the poem begins with "spring's end" and concludes with a blooming plum branch, symbolizing optimism. "The poem reaches readers as an expression of sensitivity to life's vitality, overcoming circumstances to rise, and a love for life's beautiful, delicate aspects." (Đinh Gia Khánh)

The poem's rhythm is unique: the first four lines are concise five-word verses, balancing emotions. The final two lines expand to seven words, transcending joy and sorrow to reach a state of serene enlightenment. Written during illness, the poem remains optimistic and positive.

"Cáo tật thị chúng" by Mãn Giác Thiền Sư inspires resilience, faith, and optimism. Life flows and changes endlessly, an infinite cycle, while human life is finite—yet this is life's natural law. What matters is living fully and meaningfully, with optimism. This is the philosophy the author conveys: living with peace and contentment.

Zen Master Mãn Giác (1052 - 1096), born Lí Trường, lived during the reign of King Lý Nhân Tông. He became a revered monk at the age of 25 and was frequently consulted by the king on state affairs. In 1096, he fell ill and composed this poem to announce his condition to others. He passed away the same year. The poem "Cáo tật thị chúng" reflects the monk's contemplations on life.

The poem is divided into two parts: the first discusses the natural cycle of life and death, while the second expresses the author's optimistic outlook. The poem is clear and bright yet carries the profound philosophical depth of Zen poetry, blending a love for life with Buddhist enlightenment as the monk neared his final moments. Humans cannot escape the natural cycle of birth, aging, sickness, and death.

Everyone must go through these stages. Zen Master Mãn Giác reaffirms this natural law in "Cáo tật thị chúng." The poem also reflects the Buddhist spirit of engagement with the world. The monk's thoughts resonate with the universal human experience of facing nature's predetermined cycles. Using the imagery of blooming and withering flowers, the poem begins with:

Xuân khứ bách hoa lạc,

Xuân đáo bách hoa khai.

These lines describe nature's cyclical rhythm but in a slightly unconventional way. Typically, flowers bloom before they wither, but here the poet mentions withering first, then blooming. Perhaps this reflects the perspective of someone nearing the end of life, anticipating loss before renewal. As a Buddhist monk, the author views life as an endless cycle of rebirth, where the end of one life marks the beginning of another.

The imagery of "flowers" and "spring" is central to the poem, emphasizing both rhythm and visual contrast. The arrangement of opposing images heightens the tension between loss and renewal. Placing "hoa lạc" (flowers falling) before "hoa khai" (flowers blooming) underscores the cyclical nature of existence. "Withering" is the prelude to "blooming," suggesting that endings are not final. This cyclical view fosters optimism, a core tenet of Buddhist thought.

The poem's structure reflects Zen philosophy. Time flows naturally and indifferently, and humans must adapt to its changes. From the natural cycle, the poem shifts to the human experience:

Sự trục nhãn tiền quá,

Lão tòng đầu thượng lai.

Like all things, humans change according to nature's laws. Yet, unlike other beings, humans understand these laws and can act with purpose. While plants experience rebirth, humans do not, despite the Buddhist belief in reincarnation. The imagery of withering and blooming flowers symbolizes loss and renewal, while gray hair represents aging. Humans cannot escape the cycle of birth, aging, sickness, and death, nor can they be reborn. Thus, people often lament the passage of time:

Spring's arrival means its departure,

Youth implies eventual old age,

And spring's end means my own demise...

Though the world remains, I will not,

So I mourn the passing of all things.

(Xuân Diệu, Hurry)

A similar sentiment underlies Mãn Giác's poem. However, this melancholy is quickly dispelled by the sudden appearance of a plum branch at the end of spring:

Mạc vị xuân tàn hoa lạc tận

Đình tiền tạc dạ nhất chi mai

The plum branch is the brightest, most vibrant element in the fading spring scene. Its sudden emergence symbolizes resilience. This branch exists both in reality and in the poet's mind, representing enduring vitality. Though spring has passed and "flowers have fallen," the plum branch remains. In traditional thought, the plum is one of the "Four Gentlemen" (pine, chrysanthemum, bamboo, plum), symbolizing nobility.

It is no ordinary flower but a plum branch, emblematic of spring, the season of blooming and renewal. The unexpected appearance of this branch may have inspired the poem, or the poet may have imagined it to convey optimism and faith in the enduring beauty of life.

In either case, the plum branch symbolizes human resilience, the ability to rise above nature's harsh laws. The final two lines contrast sharply with the first four in both form and content. The opening lines affirm the immutable laws of life—everything is born and dies, and nothing can resist this, especially humans. The closing lines, however, assert the opposite—a plum branch blooms defiantly at the end of spring, defying natural law. Its sudden appearance suggests that nothing is truly fixed.

And humans, with their extraordinary willpower, can transcend these laws. "Lão tòng đầu thượng lai" (old age approaches) seems like the end of life. Yet optimism, determination, and religious faith allow the monk to see "Đình tiền tạc dạ nhất chi mai" (last night, a plum branch bloomed in the courtyard). "Cáo tật thị chúng" is a Zen poem, naturally embedding Buddhist philosophy.

Mãn Giác wrote this poem as he neared death, expressing his enlightenment. Buddhism holds that humans can overcome the natural cycle of life and death by achieving enlightenment, conquering personal desires, and attaining wisdom. As a kệ poem from a time when national literature lacked extensive artistic achievements, "Cáo tật thị chúng" stands as a proud artistic crystallization. Despite its brevity, the poem conveys profound philosophical insights.

This value stems from the poet's skillful use of language, imagery, and structure. Each word carries deep meaning: "bách hoa lạc" (a hundred flowers fall), "bách hoa khai" (a hundred flowers bloom). The word "hoa" (flower) symbolizes all things and the arrival and departure of spring. The art of parallelism enhances the poem's depth, with each pair of lines representing opposing forces—birth and death, the swift and indifferent passage of time.

The first four lines and the final two form a contrast: one side represents nature's relentless, seemingly unconquerable laws, while the other shows the defiant bloom of a plum branch despite "hoa lạc tận" (all flowers fallen). Nature's spring may have passed, but the spring and vitality within each person remain strong and unyielding.

The concluding seven-word lines create a firm stance, symbolizing the enlightened human spirit: while nature's laws govern all things, with optimism and iron will, humans can rise above these harsh laws.

The flourishing of Buddhism during the Lý dynasty, along with its proactive engagement with the world, produced talented monks dedicated to building and protecting the nation and contributing to the national literature with works of profound philosophical value. "Cáo tật thị chúng" marks a proud beginning for Vietnamese literature.

A Zen master once said, "In the face of death, the only wise thing a person can do is willingly accept it." However, reaching such a psychological state requires a profound shift in consciousness toward wisdom.

Xuân khứ bách hoa lạc

Xuân đáo bách hoa khai

Sự trục nhãn tiền quá

Lão tùng đầu thượng lai

Mạc vị Xuân tàn hoa lạc tận

Đình tiền tạc dạ nhất chi mai.

Translation:

Spring departs, a hundred flowers fall,

Spring arrives, a hundred flowers bloom.

Events before our eyes pass by,

Old age approaches from above.

Do not say that spring ends with all flowers fallen,

Last night, a plum branch bloomed in the courtyard.

(Mãn Giác Thiền Sư)

Time, with its endless journey, carries an immutable attribute of change. Transformation is the basis for both creation and destruction; growth and decay coexist. Such is the law, and the foundation of life itself. The poem transcends traditional poetry, which merely praises or describes beauty or fleeting emotions. Instead, it elevates to timeless values, presenting a worldview and, more importantly, a vibrant philosophy of life. "Spring departs, a hundred flowers fall."

A seemingly simple statement, yet few truly grasp and accept it. We grieve when someone passes, feel hollow after a sudden separation or a day of mourning. We know that beginnings and endings are inevitable, yet we still wish for "time to stop" or "childhood to return." We often contradict even our most basic understanding. In this, the poem serves as a profound wake-up call.

"Spring arrives, a hundred flowers bloom." This is the eternal inevitability. Humans have always sought to enjoy and accept only what aligns with their desires, rejoicing when spring brings blossoms and lamenting when winter brings desolation. Yet, they fail to realize that winter is the foundation for spring's fresh and radiant arrival.

Without night, there is no day; without winter, there is no spring. This duality highlights both contrast and foundational philosophy. Pain compounds when, alongside physical suffering, we add layers of regret, longing, or fear. Suffering multiplies, and it is pitiable for those who wish for the impossible—eternal youth or immortality.

Thus, the blooming and falling of flowers are part of a cycle, an inevitable rhythm. From a dialectical perspective, they are not contradictory but two organic and complementary aspects. From this broad view, the Zen master brings the focus to the human condition, something everyone must face: "Events before our eyes pass by, old age approaches from above." The laws of nature are cold and absolutely fair. Confucius, Laozi, and Zhuangzi held the view: "Heaven and earth endure, but even they have their end... Heaven and earth are not benevolent..." Here, "not benevolent" means impartial, favoring no one or anything. This is the natural law.

One day, a scholar and sage of the Central Plains bid farewell to his departed companion with a serene and carefree tune. "The shadow of a bird passes the window, the dream of a golden rooster, life is but a dream..." These are common metaphors for change. Yet, nothing is truly fast or slow; the pace remains constant. It is humans who impose their psychological time, regretting the past and longing to prolong what they cherish:

Beyond thirty, fate runs its course,

A lost chess game casts the evening shadow.

(Vũ Hoàng Chương)

Events continue to flow, and people age in turn. Aging follows youth, and youth will age. Time leaves its mark on every living being, and while we cannot alter this, our minds can. Understanding life, living harmoniously with birth, aging, sickness, and death as a natural progression, we can face old age with optimism. Is this not possible?

"Do not say that spring ends with all flowers fallen, last night, a plum branch bloomed in the courtyard." Humans tend to fixate on the present, stubbornly clinging to fleeting phenomena with rigid, non-dialectical minds. This stubbornness shapes their worldview and perception. When the Zen master says, "do not say...," he points out the one-sidedness of humanity's flawed thinking. These internal conflicts arise from a lack of accurate perspective, leading to a chain reaction of consequences, much like nuclear radiation.

This line can be seen as an "opening," offering a new, accurate, and practical perspective. "Last night, a plum branch bloomed in the courtyard." Free yourself from stubbornness, and you will see the wonders of life more clearly. The plum branch from yesterday may be gone, and you might claim there is no plum. The Zen master is not speaking of a specific branch at a specific time; he speaks of the eternal plum branch, the essence of existence.

This can be called the "revealing" part, compared to the "opening" above. From a dialectical perspective, nothing disappears, and nothing appears out of nowhere. There is only transformation from one form to another. I am not my father, yet my father lives on in me, even though he passed long ago. Different yet the same, the same yet different. Understanding that change is a phenomenon and eternity is the constant, we see that the laws belong to heaven and earth, while psychology and the psychological world belong to us.

Living in harmony with the laws of nature means accepting them, merging with them on the path of impermanence, which we cannot resist. A Zen master once said, "In the face of death, the only wise thing a person can do is willingly accept it." But achieving such a psychological state requires a mature shift in consciousness toward wisdom.

One of the criteria of Zen is to penetrate the timeless within time and the spaceless within space. Simply put, the mind is no longer bound by the ordinary limits of time and space, the two standards that define the existence of phenomena. The Zen master's serene composure in the face of death (thị tịch) is a profound expression of this. Instead of being an object of pity, he becomes the active force calming his disciples, those still young and healthy.

Facing his departure, he remained resolute, delivering Dharma verses infused with poetic artistry and deep philosophical meaning. After a lifetime of serving the Dharma and delivering countless teachings, even in his final moments on earth, confronting what humans fear most—death—the Zen master transformed it into his final Dharma lesson, immortalizing it as a timeless poem in the nation's literary tradition.

We thank the Zen master for leaving us an extraordinary image of the heroic spirit of the Lý-Trần era, a glorious chapter in our ancestors' history.

Traveling back in time to the glorious era of the Lý-Trần dynasty, a golden age for our nation and the peak of Buddhism's flourishing, we find a period where Buddhism was regarded as the state religion. From royalty to commoners, everyone studied and followed the teachings of the Buddha, guided by deeply enlightened Zen masters who preserved and transmitted these teachings. Typically, before departing from their physical forms and leaving this illusory world, these Zen masters would leave behind a verse—a final exhortation, a last testament to their disciples, and a testament to their own realization of truth.

Each verse is profound and subtle, conveying the truths of life. Yet, even after closing the book, the image of "last night, a plum branch bloomed in the courtyard" from Mãn Giác's "Cáo tật thị chúng" lingers in my mind, leaving me in deep contemplation. Today, I humbly seek to share the thoughts of a novice on this verse.

Upon reading the lines:

“Xuân khứ bách hoa lạc

Xuân đáo bách hoa khai.”

(Spring departs, a hundred flowers fall,

Spring arrives, a hundred flowers bloom.)

One immediately notices something unusual. Typically, we speak of beauty and splendor before mentioning decay and separation. This is understandable, as everyone prefers and desires beauty, cherishing perfection rather than dwelling on misfortune or imperfection. Here, Mãn Giác reverses this norm. He speaks of "falling" before "blooming."

These two lines describe a natural truth: when spring departs, flowers wither and fall; when spring arrives, flowers bloom in vibrant colors. This truth has become a universal law and resonates deeply within every heart. By presenting this truth in reverse, Mãn Giác seems to remind us: if spring arrives, it must also depart—this is the law of the universe. We must live in such a way that we remain serene amidst life's ups and downs.

Returning to the reality of life, the Zen master observes:

“Sự trục nhãn tiền quá

Lão tùng đầu thượng lai.”

(Events before our eyes pass by,

Old age approaches from above.)

Life flows ceaselessly before our eyes, day turns to night, and night to day. Countless changes occur, and landscapes transform. Most people are swept away by life's currents, chasing external circumstances, controlled by them until they lose themselves. Few can truly master themselves, observing the changes within their own bodies moment by moment.

Thus, the Zen master awakens us: "Old age approaches from above." Look at your own head—gray hairs have appeared, old age has arrived. It is time to stop chasing fleeting external phenomena and return to nurturing your own being, cultivating compassion and meditative practice, and fostering a moral life imbued with humanity.

Do not wait until old age to study the Dharma or cultivate your mind, for by then, the body weakens, the spirit falters, and the mind is no longer as sharp as in youth. "A strong spirit cannot reside in a weak body." In old age, no matter how hard one tries, it is difficult to achieve one's goals, as "the spirit is willing, but the flesh is weak." Moreover, the ancients taught:

“Mạc đãi lão lai phương học đạo

Cô phần đa thị thiếu niên thân.”

(Do not wait until old age to study the Dharma,

Many graves belong to the young.)

Thus, with boundless compassion, Mãn Giác dedicated his life to the happiness and peace of all beings. Even in his final moments, he earnestly urged and encouraged everyone to courageously advance on the path to enlightenment, returning to the eternal, beautiful homeland. The first four lines of the verse, expressed in conventional terms, are relatively easy to understand and accept. However, the lines:

“Mạc vị xuân tàn hoa lạc tận

Đình tiền tạc dạ nhất chi mai.”

(Do not say that spring ends with all flowers fallen,

Last night, a plum branch bloomed in the courtyard.)

Leave many astonished and bewildered. This astonishment is natural, as they encounter an unconventional perspective: spring has passed, yet a plum branch still blooms. From a conventional viewpoint, this is incomprehensible. But for those familiar with Buddhism and Zen language, these lines convey a deeper meaning.

Here, the Zen master uses language to express a reality beyond words and concepts—a state, a realm of those who have attained enlightenment, tasted liberation, and live in boundless happiness, an eternal state transcending time and space. Mãn Giác lived in this state, always feeling the presence of "spring" and seeing the "plum branch" in the courtyard.

The plum branch in this context is no longer a physical entity but a spiritual one. This is the shared state of the enlightened, a truth only those who have entered this realm can fully grasp. These lines also reveal that amidst the constant changes of existence, there is something unaffected by the laws of birth, growth, decay, and death—an eternal, unchanging essence within all beings.

Through the final lines of "Cáo Tật Thị Chúng," Zen Master Mãn Giác advises his disciples and all people: Do not fear the "falling of flowers and leaves," but fear that you lack the awareness to control your own body and mind. Live in such a way that every gesture, action, and word brings happiness and peace to others, and each step brings you closer to liberation. Strive diligently, and everyone will one day live in the eternal spring of the heart.

Reflecting on the entire verse, we see it as a distillation of the essence of liberation, the culmination of Mãn Giác's practice and realization. Though he may not have attained perfect enlightenment like the Buddhas, he took miraculous steps and reached a spiritual state few achieve. His verse leaves many in contemplation, and the only way to resolve this contemplation is through personal experience.

Thus, his verse becomes a guiding light, leading people back to a life of truth, goodness, and beauty, and to the eternal truths of existence. It also inspires people to seek true happiness in life. It is certain that Zen Master Mãn Giác and his verse will live on eternally in the hearts of those who love and seek the truth.

Time, with its endless journey, carries an immutable attribute of change. Transformation is the foundation for both creation and destruction; growth and decay coexist. Such is the law, and the foundation of life itself. The poem transcends traditional poetry, which merely praises or describes beauty or fleeting emotions. Instead, it elevates to timeless values, presenting a worldview and, more importantly, a vibrant philosophy of life.

"Spring departs, a hundred flowers fall." A seemingly simple statement, yet few truly grasp and accept it. We grieve when someone passes, feel hollow after a sudden separation or a day of mourning. We know that beginnings and endings are inevitable, yet we still wish for "time to stop" or "childhood to return." We often contradict even our most basic understanding. In this, the poem serves as a profound wake-up call.

"Spring arrives, a hundred flowers bloom." This is the eternal inevitability. Humans have always sought to enjoy and accept only what aligns with their desires, rejoicing when spring brings blossoms and lamenting when winter brings desolation. Yet, they fail to realize that winter is the foundation for spring's fresh and radiant arrival. Without night, there is no day; without winter, there is no spring. This duality highlights both contrast and foundational philosophy.

Pain compounds when, alongside physical suffering, we add layers of regret, longing, or fear. Suffering multiplies, and it is pitiable for those who wish for the impossible—eternal youth or immortality.

Thus, the blooming and falling of flowers are part of a cycle, an inevitable rhythm. From a dialectical perspective, they are not contradictory but two organic and complementary aspects. From this broad view, the Zen master brings the focus to the human condition, something everyone must face:

Before our eyes, events pass by,

Old age approaches from above.

The laws of nature are cold and absolutely fair. Confucius, Laozi, and Zhuangzi held the view: "Heaven and earth endure, but even they have their end... Heaven and earth are not benevolent..." Here, "not benevolent" means impartial, favoring no one or anything. This is the natural law.

One day, a scholar and sage of the Central Plains bid farewell to his departed companion with a serene and carefree tune. "The shadow of a bird passes the window, the dream of a golden rooster, life is but a dream..." These are common metaphors for change. Yet, nothing is truly fast or slow; the pace remains constant. It is humans who impose their psychological time, regretting the past and longing to prolong what they cherish:

Beyond thirty, fate runs its course,

A lost chess game casts the evening shadow.

(Vũ Hoàng Chương)

Events continue to flow, and people age in turn. Aging follows youth, and youth will age. Time leaves its mark on every living being, and while we cannot alter this, our minds can. Understanding life, living harmoniously with birth, aging, sickness, and death as a natural progression, we can face old age with optimism. Is this not possible?

"Do not say that spring ends with all flowers fallen, last night, a plum branch bloomed in the courtyard." Humans tend to fixate on the present, stubbornly clinging to fleeting phenomena with rigid, non-dialectical minds. This stubbornness shapes their worldview and perception. When the Zen master says, "do not say...," he points out the one-sidedness of humanity's flawed thinking. These internal conflicts arise from a lack of accurate perspective, leading to a chain reaction of consequences, much like nuclear radiation.

This line can be seen as an "opening," offering a new, accurate, and practical perspective. "Last night, a plum branch bloomed in the courtyard." Free yourself from stubbornness, and you will see the wonders of life more clearly. The plum branch from yesterday may be gone, and you might claim there is no plum. The Zen master is not speaking of a specific branch at a specific time; he speaks of the eternal plum branch, the essence of existence.

This can be called the "revealing" part, compared to the "opening" above. From a dialectical perspective, nothing disappears, and nothing appears out of nowhere. There is only transformation from one form to another. I am not my father, yet my father lives on in me, even though he passed long ago. Different yet the same, the same yet different. Understanding that change is a phenomenon and eternity is the constant, we see that the laws belong to heaven and earth, while psychology and the psychological world belong to us.

Living in harmony with the laws of nature means accepting them, merging with them on the path of impermanence, which we cannot resist. A Zen master once said, "In the face of death, the only wise thing a person can do is willingly accept it." But achieving such a psychological state requires a mature shift in consciousness toward wisdom.

One of the criteria of Zen is to penetrate the timeless within time and the spaceless within space. Simply put, the mind is no longer bound by the ordinary limits of time and space, the two standards that define the existence of phenomena. The Zen master's serene composure in the face of death (thị tịch) is a profound expression of this. Instead of being an object of pity, he becomes the active force calming his disciples, those still young and healthy.

Facing his departure, he remained resolute, delivering Dharma verses infused with poetic artistry and deep philosophical meaning. After a lifetime of serving the Dharma and delivering countless teachings, even in his final moments on earth, confronting what humans fear most—death—the Zen master transformed it into his final Dharma lesson, immortalizing it as a timeless poem in the nation's literary tradition.

The literature of the Lý-Trần period stands as a brilliant pinnacle of Vietnam's medieval literary tradition. Within this deeply Zen-infused literary stream, Mãn Giác Thiền Sư (1052-1096) is a prominent figure, despite his limited body of work. He was a highly virtuous monk, deeply respected for his spiritual practice, and also a Zen master with the soul and talent of a poet. With his kệ (verse) "Announcing Illness, Advising Everyone" (Cáo tật thị chúng), Mãn Giác Thiền Sư is regarded as a poet who laid the foundation for Zen poetry during the Lý dynasty.

Spring departs, a hundred flowers fall,

Spring arrives, a hundred flowers bloom.

Before our eyes, events pass by,

Old age approaches from above.

Do not say that spring ends with all flowers fallen,

Last night, a plum branch bloomed in the courtyard.

(Translated by Ngô Tất Tố)

"Announcing Illness, Advising Everyone" is a kệ, a form of Buddhist scripture, originally composed in classical Chinese. The poem was recited by the Zen master to his disciples during his illness. Through the poem, readers can grasp the profound philosophy of Zen and the author's positive outlook on life. Despite his advanced age and severe illness, he remained optimistic, thinking positively, and deeply in love with life. The poem begins with two five-word lines, their rhythm gentle and serene, like the eternal passage of time:

Spring departs, a hundred flowers fall,

Spring arrives, a hundred flowers bloom.

These contrasting images reflect a law that seems beyond debate. For eternity, spring comes and goes, flowers bloom and wither in an endless cycle. However, not everyone is mindful enough to notice, let alone summarize this law so succinctly and effortlessly. We all cherish spring and delight in blooming flowers, so it's natural to feel regret and sorrow when spring passes and petals fall. Poetess Hồ Xuân Hương once sighed: "I tire of spring's departure, only for it to return." Later, poet Xuân Diệu also lamented:

Though heaven and earth remain, I will not,

So I mourn the passing of all things.

Thus, generations of poets have pondered and regretted the indifferent laws of nature. Only those who have experienced life's ups and downs, who understand the laws of heaven and earth, and who are deeply imbued with profound philosophies can live serenely amidst the cycles of spring, summer, autumn, and winter; birth, aging, sickness, and death; creation, existence, decay, and emptiness... A Zen master like Mãn Giác surely understands this eternal law best and remains "unmoved" by it—"Facing phenomena without attachment, do not ask about Zen."

But Mãn Giác was also a monk living in an era where religion was not entirely separate from national and worldly affairs. During the Lý dynasty, Buddhism was the state religion, and many monks played significant roles in safeguarding the nation. With a proactive spirit of engagement, Zen Master Mãn Giác also paid attention to the laws of human life:

Before our eyes, events pass by,

Old age approaches from above.

The flow of time is immutable, and all things in life drift away with it. The marks of time on one's hair are unavoidable. These two lines, still in the gentle rhythm of five-word verse, carry a hint of sentiment from an elder who is acutely aware that his time is running out. Old age is a law that no one can resist. Moreover, the Zen master, with his wisdom, understands and accepts this as inevitable. However, as an active member of society and his era, who wouldn't feel that there are still many tasks left unfinished, many contributions yet to be made to the nation and its people? This is not mere ordinary desire for life but a noble sense of responsibility from one who has dedicated his life to all beings, or more narrowly, to the people. A touch of melancholy gives way to a surge of optimism in the final two lines:

Do not say that spring ends with all flowers fallen,

Last night, a plum branch bloomed in the courtyard.

Transitioning smoothly from five-word to seven-word verse, the rhythm reveals a passionate love for life and an admirable optimism. Notably, within the poem's emotional flow, these final lines leave a powerful impression. If the first four lines acknowledge the immutable laws of nature and life, the last two seem to reverse that law.

This reversal is not illogical but persuades readers brilliantly. Everyone understands that when spring ends, flowers fall, but everyone rejoices upon unexpectedly encountering a late-blooming plum branch. This is especially precious, like a gift from nature, and from it emerges a philosophy of positive, meaningful, and beautiful living, regardless of one's age. It is even more valuable as advice from a Zen master in his days of illness and suffering.

"Announcing Illness, Advising Everyone," originally a kệ to instruct disciples, has become a concise, profound poem, uniquely using scenery to express the heart. The poem not only conveys the philosophy of Zen Buddhism but also embodies a noble and beautiful outlook on life. Its deep content is wrapped in elegant, harmonious, and gentle poetic form, easily touching readers' hearts and leaving behind the finest emotions. Through this poem, generations of readers have realized the truths of life, learning to accept eternal laws while choosing an optimistic and positive perspective that aligns with these laws and enhances their own strengths.

During the Lý dynasty (1009-1225), Thăng Long became the capital of Đại Việt. After the victory at the Như Nguyệt River (1076), the nation's independence was solidified, and national consciousness grew strongly. Education flourished, and agriculture and handicrafts prospered. Buddhism became the state religion. Temples were built, bells cast, statues carved, and Buddhist scriptures printed enthusiastically across the land. Many Zen masters were revered by the court. They were exceptional individuals of great virtue and talent, skilled in poetry and literature, their names shining brightly in history.

Among them, Mãn Giác Thiền Sư (1052-1096) was a high monk with the soul of a poet. His poem "Announcing Illness, Advising Everyone" (Cáo tật thị chúng) was recited to his disciples during his severe illness, shortly before his passing. Originally a kệ (Buddhist verse) containing profound Buddhist philosophy, it is refreshing, evocative, and poetic. The original was written in classical Chinese, and here is the poetic translation:

"Spring departs, a hundred flowers fall,

Spring arrives, a hundred flowers bloom.

Before our eyes, events pass by,

Old age approaches from above.

Do not say that spring ends with all flowers fallen,

Last night, a plum branch bloomed in the courtyard."

(Translated by Ngô Tất Tố)

The kệ-poem speaks of the laws of life and nature, expressing the Zen master's mindset toward the laws of birth and death in the human realm, the transient and the eternal in the universe. "Announcing Illness, Advising Everyone" consists of six lines, with every two lines forming a harmonious couplet, leaving a lasting impression. The first two lines describe the cycle of the four seasons, particularly the transition of spring. Each spring, a hundred flowers bloom (bách hoa khai), competing in color and fragrance.

The image of "a hundred flowers blooming" symbolizes the vigorous vitality and beauty of nature and spring. What could be more beautiful than the life force and fragrance of spring? As spring passes, time swiftly moves through summer, transitions to autumn, and then to winter, soon returning to spring... Plants, flowers, and all things change, grow, or wither with the seasons.

When spring departs, "a hundred flowers fall" (bách hoa lạc) according to nature's law. These two lines carry a philosophical tone, summarizing the laws of nature and the passage of time. Spring, like life, is in constant motion: "spring departs" and "spring arrives," "flowers bloom" and "flowers wither." Spring is eternal. Plants, flowers, and all things, including humans, are governed by nature's harsh laws:

"Spring departs, a hundred flowers fall,

Spring arrives, a hundred flowers bloom."

The movement of spring—"departs... arrives"—and the flowers—"fall... bloom"—is expressed with deep emotion, transforming the dry kệ into beautiful and meaningful poetry. Through this, we see the Zen master's beautiful soul! The next two lines speak of human life. In the human realm, all things are in constant flux, moving with time: "Before our eyes, events pass by..." Like humans, there is birth and death, health and sickness, youth and old age.

Such is the law of life, as it has always been! The Zen master, lying on his sickbed, recited this kệ to his disciples. He wanted to remind them with serenity: he was old, ill, and would soon pass away (die). This is natural, nothing to fear or worry about. The idea and philosophy of the kệ are profound. Love life with tranquility—master your existence:

"Before our eyes, events pass by,

Old age approaches from above."

The kệ concludes with two exquisite lines, celebrated as a gem of classical poetry:

"Do not say that spring ends with all flowers fallen,

Last night, a plum branch bloomed in the courtyard."

The phrase "do not say" (mạc vị) is a gentle, profound reminder. The poem's structure is cyclical and contrasting: "all flowers fallen" and "a plum branch blooming." The image of "a plum branch" (nhất chi mai) is a common motif in classical poetry. "By the stream: a plum branch"—Hồ Chí Minh... The plum branch symbolizes purity, nobility, and the splendor of nature and humanity.

In this poem, the plum branch blooming at the end of spring is an artistic metaphor. The poet uses it to speak of himself, expressing a Zen master's philosophy: all things are born, exist, and then perish, following the cycle of birth, growth, aging, sickness, and death... But a true, enlightened monk can transcend this cycle, like the plum branch blooming when all other flowers have fallen! Thus, the Zen master's illness is natural, following the laws of nature—nothing to fret over. "The body perishes, but the spirit remains" (Truyện Kiều).

Beyond the profound Buddhist philosophy embodied in the image of the plum branch, the poem also conveys a beautiful meaning: the monk is optimistic and loves life. For him, nature is vibrant and fragrant, full of vitality, fresh and youthful, and life continues to rise powerfully with the flow of time.

"Announcing Illness, Advising Everyone" reflects the noble character and beautiful philosophy of a highly virtuous Zen master. Buddhist thought blends with poetic beauty, and the depth of Buddhist philosophy is adorned with beautiful, evocative, and emotional language.

The kệ has become a classic, enduring for a millennium. Reading "Announcing Illness, Advising Everyone," we appreciate the Zen master's love for life and nature, and we cherish the pristine beauty of the plum branch blooming at the end of spring. The poem's lingering essence is a gentle reminder: master nature, master life, and master yourself, to love life passionately, to work and study with enthusiasm.

In Buddhism, before departing this life, Zen masters often compose a kệ (verse), encapsulating the philosophies they have realized in their lives and offering teachings to their disciples. The poem "Cáo tật thị chúng" was composed by Mãn Giác Thiền Sư while he lay on his sickbed. The poem expresses profound philosophies of life. In the opening lines, Mãn Giác evokes the state of flowers as they wither and bloom:

“Xuân khứ bách hoa lạc

Xuân đáo bách hoa khai”

Translation:

(Spring departs, a hundred flowers fall,

Spring arrives, a hundred flowers bloom.)

In these first two lines, we sense a unique expression. Typically, we speak of beauty and glorious moments before mentioning decay and fading, as this is a common human tendency—we all prefer beauty and perfection over decline and separation. In these lines, Mãn Giác speaks of the withering of flowers before their blooming beauty. The lines reflect the laws of nature: as spring departs, flowers wither and fade; as spring arrives, it brings life to the flowers.

The author's reverse phrasing seems to convey a message: spring comes and goes, an unchangeable law of nature. Therefore, humans must maintain a calm mindset to face life's fluctuations. In Xuân Diệu's poetry, we also encounter the concept of the cyclical flow of the universe:

“Spring’s arrival means its departure,

Youth implies eventual old age.”

Returning to the poem, we see that humans are constantly swept up in life's rhythms. Life is full of changes, and these external shifts often consume us, making us forget ourselves.

“Sự nhục nhãn tiền quá

Lão tòng đầu thượng lai”

Translation:

Life’s events rush before our eyes,

Old age approaches from above.

Humans chase the ceaseless rhythms of life, often forgetting themselves until old age arrives. Mãn Giác seems to convey a philosophy: stop chasing fleeting fame and instead focus on self-cultivation, striving to live ethically and compassionately.

Do not wait until old age to study the Dharma, for the mind is no longer as sharp as in youth. As the saying goes, "A strong spirit cannot reside in a weak body." In old age, even with determination, one may lack the strength to achieve their goals.

“Mạc vị xuân tàn hoa lạc tận

Đình tiền tạc dạ nhất chi mai”

Translation:

(Do not say that spring ends with all flowers fallen,

Last night, a plum branch bloomed in the courtyard.)

Some may find this puzzling: spring has ended, yet the plum branch remains. Here, Mãn Giác uses language to convey profound Buddhist philosophies. This image may not be literal but symbolizes enlightenment. For those who have awakened to life's truths, they can perceive beauty and the intangible that ordinary consciousness cannot grasp.

In the final lines, the Zen master seems to advise his disciples: do not fear life and death, but fear failing to awaken to your actions and mindset. Live in a way that your words and deeds bring joy and happiness to yourself and others.

Thus, "Cáo tật thị chúng" not only describes the laws of nature but also conveys deep life philosophies, offering readers valuable lessons about existence and the present moment.