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Two Precious Scroll Narratives of Guanyin and Her ... - Khamkoo

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Introduction 3<br />

cerned with the conflicting dem<strong>and</strong>s <strong>of</strong> religious salvation <strong>and</strong> filial<br />

piety. Religious salvation requires the individual to break with all<br />

social bonds <strong>and</strong> obligations in order to achieve his or her personal<br />

liberation, while the dem<strong>and</strong>s <strong>of</strong> filial piety insist on the subordination<br />

<strong>of</strong> the child to the family because <strong>of</strong> all the grace <strong>and</strong> favors<br />

the parents bestow on a child by raising it. The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong><br />

Good-in-Talent <strong>and</strong> Dragon Girl, borrowing from popular lore <strong>and</strong><br />

legend, pokes fun at the common tendency <strong>of</strong> people to forget the<br />

favors they have received <strong>and</strong> at the fact that their greatest desire<br />

is not for religious salvation, but rather for personal gain <strong>and</strong> satisfaction.<br />

But as The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense Mountain shows, the<br />

desire for religious salvation, which appears initially as utterly selfish<br />

<strong>and</strong> antisocial, proves in the end to be the most filial act <strong>of</strong> all, as<br />

it results not only in the salvation <strong>of</strong> a single individual, but also the<br />

salvation <strong>of</strong> her parents, when Princess Miaoshan donates her eyes<br />

<strong>and</strong> arms to rescue her father from a wasting disease.<br />

In presenting these translations <strong>of</strong> The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense<br />

Mountain <strong>and</strong> The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Good-in-Talent <strong>and</strong> Dragon<br />

Girl, I hope to make a contribution to the study <strong>of</strong> both Chinese<br />

Buddhism <strong>and</strong> Chinese literature. Through my discussions in this<br />

Introduction, I also hope to point out some aspects in which these<br />

texts may be <strong>of</strong> interest to students <strong>of</strong> comparative studies. While<br />

The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong> Incense Mountain <strong>and</strong> The <strong>Precious</strong> <strong>Scroll</strong> <strong>of</strong><br />

Good-in-Talent <strong>and</strong> Dragon Girl are clearly set in a Chinese world,<br />

<strong>and</strong> grapple with problems phrased in Chinese terms, some <strong>of</strong> the<br />

motifs underlying these narratives would appear to be far more<br />

widespread, if not universal.<br />

Avalokiteśvara <strong>and</strong> <strong>Guanyin</strong><br />

<strong>Guanyin</strong> is only one <strong>of</strong> the several common translations <strong>of</strong> the Sanskrit<br />

name Avalokiteśvara. The precise meaning <strong>of</strong> the name Avalokiteśvara<br />

is not clear; most modern scholars suggest the name<br />

means roughly ‘‘the lord who looks down.’’ The early Chinese translators<br />

<strong>of</strong> Buddhist scriptures apparently based themselves on the<br />

alternative form Avalokatasvara (He who sees sounds), <strong>and</strong> accordingly<br />

translated the name as <strong>Guanyin</strong> (He who contemplates the<br />

sounds) or Guanshiyin (He who contemplates the sounds <strong>of</strong> the<br />

world). The famous seventh-century monk <strong>and</strong> translator Xuanzang<br />

(600–664) strongly argued that the correct translation should be

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