thought, especially the meaning of enlightenment with respect to cause and effect. Dōgen's interpretation Dōgen articulated a doctrine called Genjōkōan which stressed “full participation in and through all phenomena” as the kōan bears on the immediate here-and-now. In this way, the stereotypical account of Dōgen as wholly in opposition to the use of kōans is in error. Dōgen drew upon kōans as an arbiter of philosophical authority and credence to grant his own ideas, often rooted in practical considerations, authenticity and importance. Dōgen's views on the wild-fox kōan underwent a transformation from the conventional interpretation to an embrace of causality, as can be seen in two writings contained in the Shōbōgenzō, a compilation of fascicles written between the years 1231 and 1253. In contrast to his appropriation of other significant kōans, Dōgen initially supported the conventional understanding of the wild-fox kōan and only later recanted his view. The "Daishugyō" fascicle, written in 1244 (less than a year after Dōgen left the capital Kyoto to build a monastery in Echizen), conforms to the conventional view of the nonduality of the two notions of causality: This view, which is in accordance with Wumen's position, notes the contingency of causality and non-causality and the need to transcend a limited perspective of cause and effect. However, Dōgen turns against this interpretation later in his life and stakes out a position in opposition to the conventional reading. The change in emphasis in the later part of Dōgen’s life came at a point when he had separated himself from secular politics and had determined the need to create a monastic ideal that would have appeal among lay people. This is a position endorsed by the Monastic View of Dōgen’s late career, which holds that by the late 1240s Dōgen had become "a genuinely innovative administrator and orchestrator of monastic ritualism" who crafted his teachings and rituals with a variety of audiences in mind, including lay people and monks. An important implication of the fact that Dōgen sought to cultivate a lay audience is that his emphasis on supernatural events at his monastery Eiheiji, which appears in his writings starting in the late 1240s and lasts until his death, was aimed at attracting lay followers. Dōgen's changing interpretation of the wild-fox kōan, which has clear supernatural themes, can be seen in this light. Indeed, by 1248, when Dōgen returned to Eiheiji from his Kamakura trip (in the