Again the nun shouted. The Master hit her.20
What Lin-chi also brought to Ch'an was a dialectical inquiry into the relationship between master and pupil, together with a similar analysis of the mind states that lead to enlightenment. He seems remarkably sophisticated for the ninth century, and indeed we would be hard pressed to find this kind of psychological analysis anywhere in the West that early. The puzzling, contradictory quality about all this is that Lin-chi believed fervently in intuitive intelligence, and in the uselessness of words—even warning that questions were irrelevant:
Does anyone have a question? If so, let him ask it now. But the instant you open your mouth you are already way off.21
Among his dialectical creations were various fourfold categorizations of the intangible. We have already seen his four categories of the shout. He also created the four categories of relationship between subject and object, also sometimes called the Four Processes of Liberation from Subjectivity and Objectivity. Some believe this served to structure the "four standpoints or points of view which Lin-chi used in instructing his students."22 Lin-chi's original proposition, the basis of all the later commentary, is provided in The Record of Lin-chi as follows:
At the evening gathering the Master addressed the assembly, saying: "Sometimes I take away man and do not take away the surroundings; sometimes I take away the surroundings and do not take away man; sometimes I take away both man and the surroundings; sometimes I take away neither man nor the surroundings."23
As Chang Chung-yuan describes these four arrangements, the first is to "take away the man but not his objective situation," i.e., to take away all interpretation and just experience the world without subjective associations.24 (This is quite similar to the approach of the Japanese haiku poem, in which a description of something is provided completely devoid of interpretation or explicit emotional response.)
The second arrangement is to let the man remain but take away objectivity. As John Wu interprets this, "In the second stage, people of normal vision, who see mountains as mountains and rivers as rivers, must be reminded of the part that their own mind contributes to the appearance of things, and that what they naively take for objectivity is inextricably mixed with subjectivity. Once aware of subjectivity, one is initiated into the first stages of Ch'an, when one no longer sees mountains as mountains and rivers as rivers."25 This is merely the Ch'an commonplace that "non-attachment or objectivity liberates one's self from bondage to the outside and thus leads to enlightenment."26 As Dumoulin describes these, "In the first and second stages, illusion departs first from the subject and then from the object; clinging to subjective intellectual perception and to the objective world is overcome."27
Lin-chi's third stage is to "take away both the man and his objective situation. In other words, it is liberation from . . . the attachments of both subjectivity and objectivity. Lin-chi's famous 'Ho!' . . . often served this purpose."28 In a blow of a master's staff or a shout there is nothing one can grasp, either objectively or subjectively. This is the next-to-last stage in the progression toward liberation from the mind's tyranny.
In the fourth stage we find the final condition, in which objectivity and subjectivity cease to be distinguishable. What this means is that there is no intellectuation at all, that the world simply is. As Dumoulin declares, "reality is comprehended in its final oneness."29 Or as the story says: Before enlightenment, mountains are mountains and rivers are rivers; during the study of Zen, mountains are not mountains and rivers are not rivers; but when there finally is enlightenment, mountains are again mountains and rivers are rivers. In this final state the distinction and confrontation of subject and object dissolve, as we are finally at one with the nameless world.