The master Ikkyu, a breath of fresh air in the stifling, hypocritical world of institutionalized Zen, seems almost a reincarnation of the early Ch'an masters of the T'ang.12 However, his penchant for drinking and womanizing is more reminiscent of the Taoists than the Buddhists. Historical information on Ikkyu and his writings is spread among various documents of uneven reliability. The major source is a pious chronicle allegedly compiled by his disciple Bokusai from firsthand information. Whereas this document has the virtue of being contemporaneous with his life, it has the drawback of being abbreviated and selectively edited to omit unflattering facts. Then there is a collection of tales from the Tokugawa era (1615-1868) which are heavily embellished when not totally apocryphal. The picaresque character created in the Tokugawa Tales led one commentator to liken Ikkyu to the fabulous Sufi philosopher-vagabond Nasrudin, who also became a vehicle to transmit folk wisdom.13 These tales seem to have developed around Ikkyu simply because his devil-may-care attitude, combined with his antischolarly pose, made him a perfect peg on which to hang all sorts of didactic (not to mention Rabelaisian) anecdotes. Finally, there is a vast body of his own poetry and prose, as well as a collection of calligraphy now widely admired for its spontaneity and power.
Bokusai's chronicle identifies Ikkyu's mother as a lady-in-waiting at the imperial palace of Emperor Gokomatsu, who chose from time to time to "show her favor." When she was discovered to be with child, the empress had her sent away, charging that she was sympathetic to a competing political faction. Consequently, the master Ikkyu was born in the house of a commoner on New Year's Day of the year 1394, the natural son of an emperor and a daughter of the warrior class.
At age five his mother made him acolyte in a Zen monastery, a move some suggest was for his physical safety, lest the shogun decide to do away with this emperor's son as a potential threat. His schooling in this gozan era was aristocratic and classical, founded on Chinese literature and the Buddhist sutras. By age eleven he was studying the Vimalakirti Sutra and by thirteen he was intensively reading and writing Chinese poetry. One of his works, written at age fifteen and entitled "Spring Finery," demonstrates a delicate sensibility reminiscent of John Keats:
How many passions cling to this wanderer's sleeves?
Multitudes of falling blossoms mark the passion of Heaven and Earth.
A perfumed breeze across my pillow; Am I asleep or awake?
Here and now melt into an indistinct Spring dream.14
The poet here has returned from a walk only to find the perfume of flowers clinging to his clothes, confusing his sense of reality and place. It recalls Keats' nightingale—"Fled is that music:—Do I
wake or sleep?" In this early poem we catch a glimpse of the sensualist Ikkyu would one day become.
At age eighteen he became a novice to a reclusive monk of the Myoshin-ji branch of Zen in Kyoto; but when his mentor died two years later he wandered for a time disconsolate and suicide-prone. Then at twenty-two he decided to try for an interview with Kaso Soton (1352-1428), the Daitoku-ji-trained master known to be the sternest teacher in Japan. As was traditional, the master at first shut him out and refused an audience. Ikkyu resolved to wait outside until death, "taking the dew for his roof and the grasses for his bed." He slept at night under an empty boat and stood all day in front of Kaso's retreat. After Kaso repeatedly failed to discourage him, even once dousing him with water, the master relented and invited Ikkyu in for an interview. They were made for each other and for many years thereafter Ikkyu and Kaso "pursued deep matters tirelessly."