We didn't start 25 last time, did we? I think I feel like we need to work on case 24 some more. And the reason for that is that The reason I feel that is because I feel the case is really asking people to, well, it says, you know. It says, bring it out in front. You may not be up to it, but at least I want to give you a chance. Because the next case is going to ask the same thing. you might get used to it. Hey, Stuart, would you move so I can see your face, or can you sit next to me or something?

[01:03]

Anybody else didn't? Rob's kind of didn't. Thank you. That's much better, Stuart. Here comes John. There's a place up here, John. Another thing I want to point out is that in both these cases, case 24 case 25, but also case 21.

[02:10]

These last few cases are a similar family, except that 25 is a new group. But the commentators in case 25 are part of the same family group. But these last two cases in particular, the issue of the hand is using your hands, handling things. Getting hold of things and releasing things. And the handle of authority. Handle of fan. There's a lot of hand at handling. And things like that are really... The hand that gets a hold, that captures a dragon. We're talking about the hand that captures a dragon, right? Green dragon temple, right?

[03:10]

So these cases are talking about the hands. Hands. Hand. Get it in your hand. Bring it out front. Bring it into your life. Bring it face to face. And then another thing in both these cases is the horns. These horns in both cases. And again, you know, although I think we dealt with irony and the irony of certain kinds of criticism that occurred, I still feel like you can sit up here if you want, Taigen.

[04:27]

Want to sit up here? You can sit here. You can sit up here. You can sit up here. I can't see you. You can sit where you're sitting. I couldn't see you. Now I can't sit. Let's do it again. Stuart spilled his tea. Turn up, Tim. OK, so is that all right? Can you guys stand? I'd love to go a little bit more fluent with this case. So I feel, I sense, see, one of the problems is that sometimes I sense that, you know, we have a group insight here, you know.

[05:44]

We have all insight, and I feel, oh, good. I feel, okay, now we can go on. But then I look at the case again and say, oh, there's more. That's what happened. I think we have this story, okay? Here's the story. The story is, This teacher, his name is Shui Fung. Is that OK? Shui Fung, is that OK, Andy? He says to his monk, he says, you know, better watch out because there is a terminal snake on South Mountain. And from new people, terminal snake is a snake that eats people. It eats people, eats sentient beings.

[06:48]

It eats people who have ideas about enlightenment and excretes people who understand what delusion is. And then his senior monk says, there are certainly people in this assembly who are losing their bodies and lives And when Shrensha heard about this, he said, elder brother Chongqing can do this. And for him, it's right for him to act like this. But I don't agree. And the monk said, well, what would you say, teacher? And he said, why you, South Mountain? And in the original scene, I think, when elder brother Chong Ching said, there are certainly people here who are losing their bodies and lives. The younger brother, the other man, threw down his staff and turned the dead snake into a living snake and made a gesture of right.

[07:52]

And that activity was also referred to in case 21. the versifier says that what Shrenshad did Shrenshad did by saying that's right for brother elder brother Chongqing but I don't agree why you South Mountain is referred to as his great strength and brother Chongqing's little courage has been referred to And that's what the versifier, the poet who collects the cases said, can't talk. And the commentator says again, which we already read, but I want to say it again, that Chongqing only knew how to push the boat along with the current, saying, today in the hall there are many losing their lives.

[09:03]

Now, if I, I is the commentator, 10,000 pints, If 10,000 pines... Oh, excuse me. If he had known how to steer the rudder against the wind, Shui Fung would have had to enter the Hall of Extinction. So when Shui Fung... heard this quoted. He said what I just said before. And then the commentator said, here there's a little difficulty. Here there's a little difficulty. Here there's a little going against the current. If you say Shrenshai is approving Chongqing, why does he then say, I do not concur? He not only propels the boat along with the current, he also knows how to steer the rudder against the wind. Now, the monk, heedless of danger and death, he asked Xuanzang what he would say.

[10:15]

Xuanzang just said, why use South Mountain? Here, we see the hand that manages to bring the snake to life. So, in one sense, what he's saying here is, the master says there's a There's a dragon, there's a turtleneck snake on South Mountain. Better watch out. And Chongqing says, going along with this, Chongqing says, there are people who are being devoured by this snake right now here. I am. This is going along with the flow. Then Chuanchao says, okay, that was right for him to go along with the flow. I agree. I agree. But I'm not like that. I also go against the flow and say, why are you self-knowing? Now, jumping ahead...

[11:25]

Do you have to go against the flow to bring the snake to life? For you to bring the snake to life, yes. What's the matter, Grace? Well, part of me feels like it's really hard to feel where I resonate because I'm not actually thinking it. And part of me then thinks that a lot of this is about the difference between words as action and action that's not mediated by words. You know, he talks about the hand that brings the snake to life. It's the action, but it's not mediated by words.

[12:35]

Because for me, I realize when I listen to people, I'm listening with two ears. One is to the word, and the other is to whatever else is there. The commentary starts to fill it out, but... This is really about relationships. I mean, these people are having... the case itself is a series of people reacting to one another. And it's kind of monotonic when you read the words. And then the commentary is trying to get, sort of, put three-dimensionality to that. But I find myself getting really, sort of, And I find myself sort of siding with action as the way of making the snake come alive, but it's just partly, I think, if there were real living human beings on it. You know, if there was Bob and Sue and Carolyn Analog sitting in this room finding this out, I might have a totally different reaction to exactly the same set of words.

[13:40]

Right. So that's what I was told in this case. to see what Alice and Bob and Bill do and then see what you do. Stuart? Yeah. I just also have trouble opening Chongqing. I understand that a series of commentators from his Dharma brother, I guess to the president, have authored Chong Chin, but it's difficult for me to share in that, because it seemed to me that although he didn't ask the question, why use South Mountain, he immediately abandoned South Mountain and brought the issue to light right in the hall today.

[14:40]

Srensha said, even though he's right, I don't agree. So he's saying he's right, he's not faulting you. But he doesn't agree, so it's fine, that's okay. Now, how can you not agree? Do you have no disagreement? And if you have no disagreement, then perhaps, well, I shouldn't say if you do, but if one has no disagreement, then perhaps one is what we call a gobbler of dregs, case 53. Drinking the dregs of the ancestors. Well, I've taken Schrenshaw's remark in the translation literally as concur. I don't run along. I don't go along with this. That's just going a different way.

[16:03]

And that seems that it's just a matter of difference. One goes along one way, and one goes along another. But in some respects, young men, it seems, emerges as the Dharma hero of the story. And it seemed that what he was doing wasn't anything dramatizing what Chongqing said. He was dramatizing the presence of a snake in the hall today. Uh-huh. All right. And this is from here. We have somewhere to go. Now, I would like... Also, someplace it says here, by the way, that... What does it say? Chang Po. Chang Ching went along with the misdirection.

[17:09]

So, Ten Thousand Pines is saying that the old master... Shui Feng misdirected Chongqing. I don't know where it says it, but someplace in the commentary after the verse it says, Chongqing went along with the misdirection and said, there are many people losing their lives. And Ten Thousand Pines says, he did not know how to spring back like a lion. This is truly a case of seeing what is proper Not doing it is a lack of courage. Please, defend him, Stuart. Whenever you wish. Bill? I'll defend him. Oh, okay. I concur with Stuart's position based on the blueprint. Because it's a little bit different.

[18:13]

It says... that why make use of South Mountain. The note on that says, boat fishing, the third song of the .. Only this wild fox bird has obtained a little. He lost his body and his life and doesn't even realize it. It doesn't actually say in the line before that that he doesn't concur. It says, it takes Elder Brother Chongqing to be like this. Nevertheless, I am not this way. Right? Which is not disagreeing at all. It doesn't sound... It seems to support Stewart's... Are you saying that Shventra doesn't disagree with Chongqing? Excuse me? It says that... Correct me. Doesn't disagree with Chongqing at all. Just says, I'm not this way.

[19:14]

I'm a different sort of guy. Fine. Fine. We still have to deal with this other guy named 10,000 Pines who says that our friend, elder brother Chongqing, has been misdirected. And he, where is he? Goes along with the misdirection. He goes along with the misdirection, but even though he's not misdirection himself, he's misdirection. And he does not know how to spring back like a lion. This is truly a case of seeing what is proper. Not doing it is a lack of courage. This is what 10,000 Pines says about Brother Chongqing. Now, Up above there, it says that Shre Pong says, haven't you heard it said that, you know, there's another little story here, okay? So Shren Cha sent a message to his teacher, Shre Pong.

[20:19]

Shre Pong opened it and saw three pieces of blank paper. He showed them to the messenger monk and said, Understand? The monk said, No. Shreya Pong said, Haven't you heard it said that nobles are the same all over? The monk reported this to Shrensha who said, The old teacher on the mountain has stumbled past without realizing it. Shrensha succeeded to Shreya Pong. He always, quote, bore witness to his father's stealing sheep. This refers to an old story where a son bore witness to his father stealing a sheep and in benevolence did not defer. I think of, of course, King Lear. The true daughter did not agree with her father when he was mistaken about his plan, and she told him so.

[21:21]

Maybe we have here, perhaps, a little bit of Shui Fung, Snowy Summit, in a King Lear situation, with his three sons there. Yes? I disagree with his plan. Lear tested him. And she, instead of flattering him as it were with her sisters, she said simply, I'd like to accord it to my father more than that. Right. Well, I was confusing that with a male version of this called Ron, where the warlord had this plan of giving away his authority to his sons, and the younger son saw that that wouldn't work and disagreed with them and got banished like she did. So maybe it wasn't a plan in her case. It was actually a plan of a part of the two older daughters, which was to take away the power.

[22:34]

They had to tap in and submit their power. Right. So out of benevolence, she did not defer. Out of benevolence, he did not defer. He didn't defer to anybody. Right? Or do you disagree with that? Maybe 10,000 hives are his favorite. Who are his favorites? Shrensha? Shrensha and Yunmeng? He likes Yunmeng. He's been liking Yunmeng for quite a while. Even though Shrensha is right, I don't have any... Why use a turtle among snakes? Well, if you go here further, that's what he does. Then he turns around on Sway Du, who comments in the Blue Cliff Record. And Sway Du says, at the end of his comment, at the end of his verse, he says, you know, his name of his mountain was Mount Roo.

[23:41]

So he says, now hidden here on Mount Now it is hidden here on Rue Peak. This is Sway Du, the commentator in Blue Cliff Record. Not the commentator, the poet. Those who come, one by one, observe expedient methods. And then he shouted, look right here. Look right where you are, or look right under your feet. Snakes right under your feet. And then 10,000 Pines says, I say Sway Du indulges in looking where he... looking where he is, not realizing it has pierced his skull. Tien Tung rends people with his cold mouth. Clear people don't muddle things. If I had been Yuen Mun at the time, instead of throwing down the staff, I would have thrust it in Shui Peng's chest And if he hesitated without coming forth, I would follow up behind and teach him to accept himself, what he had done himself, and personally get bitten.

[24:56]

Why so? Now it is the second day of the second month. For the moment, we let dragons rear their heads. Let dragons rear their heads? Rear. I'm perfectly happy for everything you've all said. I'm just trying to build on what you've said so far to bring some hands out in front here And if there are enough material now for somebody to get a hold of something, or something we can have now, either people who can grasp and release, or perhaps people who can summon and send back.

[25:57]

Snakes are easily summoned and hard to send back. So I think it's time. What do we say? In the next case, it says, try to make her present it face to face. In this case, it says, only one who always brings the verse to oneself and brings it out in front. So please, bring it out in front. And bring it Face to face. It seems like a matter of giving the snake not to be satisfied until you have a dragon. It seems like a case. This is a situation presented with the snake being dissatisfied until it becomes a dragon.

[27:05]

I'm not dissatisfied. I just see some further work to do here. But I was perfectly happy with what's gone before. It's just fine with me. No dissatisfaction over here, really. Although it's very bright in this room. Yes? When I read on South Mountain there's a turtle and a snake and people must watch out for it, I sense him with a hands-off, with the kind of hands-off resistance you need. South Mountain, you people over there, You better watch out for them. So when you talk about hands, it's like, I'm okay, you're not okay. So right away you feel like somebody's pushing something away? Yeah. Not only for himself. I mean, Stuart said somewhat the same thing. He said the same thing about Snowy Summit? Are you talking about Snowy Summit?

[28:07]

Yeah. Chongqing actually brought it to the present, and there are people here actually putting their bodies in one. So was Snowy Summit, the great teacher, misdirecting us, setting a bad example? Maybe he was misdirecting because there was no way to say it correctly. I had a really different understanding of what was going on. You have a different understanding? Well, how convenient. We've been looking for you. I don't know if it holds up to some of the comments I made later, but in life it's different. Should I say it? Please, yes. When, um, Shwen... Shwen Shah?

[29:12]

Is that right? Shwen Shah? Shwen Shah. Shwen Shah. How would you say his name, Marjorie? I would say Shwen Shah. How would you say it, Andy? Shwen Shah. Okay, go ahead. When Shwen Shah says, Why you South Mountain? It seems what I understood that he was saying was that Xue Feng is using South Mountain intentionally, or perhaps if pointing out, as Martha was saying, sort of pushing away or not. not being in the present as... Anyway, he's using... When he says, why use South Mountain, what I heard him saying was, why do you think the teacher was pointing to South Mountain? You know, he didn't have to.

[30:13]

He could have said something else. And my sense was, the teacher knows enough to know that people are losing their bodies and minds right now. But why does he point out there? And my sense of it was the reason that he points out there is so that we can all see what we do all the time, which is look out there. So he's sort of setting it up for us and saying, hey, look out there. And I go, oh, yeah, like we do all the time anyway. That's kind of what Lloyd said, in a way, that his misdirection was, how did you put it? Well... Because I deal with music a lot, this happens all the time. Something is played and it misses the point or somebody has a different idea. So they say, it's like a flower. And the person or the group that plays it, and it's fine.

[31:13]

But of course it's not like a flower. And he couldn't have a word to say what he wanted. So he picked something to catch, and it works. And so here is the teacher who's got something inexpressible which he's attempting to communicate somehow, and so he uses whatever hand. I think each of these people are talking about what they mean. My feeling about it is that the teacher was saying something about where he met the snake. He didn't let that snake on South Mountain walk into the hall and say, hey, there's a snake on South Mountain. And then each person would turn, testify to his or her need. He'd put why in phrase one and just phrase another.

[32:16]

What is Srenshaw saying? Why does he say, why you, South Mountain? Because that isn't what Srenshaw meant, that's it. It's just, he's just testified. Srenshaw is not meeting the sentence in this example. I think the task is for each individual to raise points on their own head. I didn't already get the name of that. Because Chongqing refers outward, people in the hall. And he goes with the misdirection, perhaps. And Chuenshao does not go with the misdirection, but he does not bring the horns to his own head. He shows an understanding of why you use South Mountain, because it is everywhere. If he doesn't bring it, enlightenment. So there are three different levels of response. One completely external, that's enlightenment. in which you show understanding of the universality, and when you repeat to yourself and take another step, you'll be on the right way.

[33:23]

And that's our task, and that's my task. It's not easy. Wins and Claude meet. Horns on the head are born. After all, we see Yunmen pitching into play. What's his horns on the head of Yunmen? Could I ask if there is... a cultural thing in that time in China about horns, which is different from that? You know, I don't know. Because, I mean, you know, horns can mean you're cuckolded. It can also mean that you're a devil. What does it mean? Yeah, and I mentioned to Don the other day, somebody mentioned to me that in Michelangelo's statue of Moses, who threw down staff which turned into a snake, He has horns on his head. The hair comes up like horns. Also, you know, he mentions a unicorn in this book, and I didn't know that.

[34:26]

And I was wondering if the rhinoceros is... A rhinoceros is kind of like a unicorn, isn't it? But they all... They might be referring to a rhino... One horn might be a rhinoceros, another may be a rhinoceros. Yes. Grace. I'm just struck by you and the fan tonight. Is there a particular reason why you bought the fan? Case 25. This is a rhinoceros fan. It has a case, too. Ha, ha, [...] ha. When I ask for it, you can tell me what the condition of the pan is.

[35:28]

I didn't yet ask. I thought maybe Stuart was suggesting that everybody, all these monks are really doing just fine. Are you saying that? I think there's a Buddha in every corner. Yeah. Yes, Manik. I think that the misdirection, it has to do with leading you toward moving your mind, whereas in the reference back to yin-yang sleeping on the ground, that was getting us to try to stop our mind. That's kind of a more productive route, actually. You know, that's the only place where the stopping comes in. What's the only place where stopping comes in? It's the only place it's mentioned.

[36:34]

When indicating, or misdirecting even, towards the movement of the mind, is that movement or not movement? Movement. Was that movement or not movement? Was that movement or not movement? Was that face to face? What's that face look like? Are you ready to pass the mantle to somebody? Who are you going to give it to? Everybody's doing fine, so who doesn't agree here?

[37:41]

Everybody gets a chance. I'm not doing fine. I don't understand this at all. Well, what do you understand? Well, that I feel really terrible because I don't understand this at all. I feel like I'm swallowed by a snake and in this black tunnel and I don't see anything and I don't understand anything and the words don't mean anything. You feel like you're in a black tunnel? When I start trying to think about any of these words, I do. It's upsetting to not understand. What are you breathing by? Well, she's looking at me at the face. I was also sighing because of the pain that comes through the snake.

[38:47]

us being aware and also relating this case to the prior case. Because the other case, Lucy faces the wall, also meant looking at our pain, looking at my pain. All week since we discussed this case. Which case? 24. I've been looking at my pain and how I relate in the world. I practice law. And it's real hard to do that. And look at this stuff. It causes pain. There's something that's not true to my nature about what I do for a living. And so I've been eating myself all week. How about the week before?

[40:18]

Yes, but I probably wasn't aware. Because you've been on this case for more than one week. Did you hear the week before? Yes. But it didn't happen after the first week so much? Yeah. It didn't? It didn't. So... It sounds like your breathing had some sympathy with Carolyn. Yes. I did, because a lot of the words I don't understand either. I just feel. And I don't understand what I'm... I don't... It's like you want to attach labels. I want to attach labels. Because it's easy. But I still don't feel. You still are feeling? I still have a feeling. Yeah. I grasp for labels to perhaps explain the feelings, but I'm still left with the feelings.

[41:24]

Yeah, right. I thought you said something about, also, I don't know if you meant it to say it, but something about, I'm aware, so I'm in pain. Did you say something like that? Yes. So he says, you should know there are people in this hall who are losing their lives. So you should know there are people in this hall who are in black tunnels. You're not the only one. And if not understanding the words on this page, make you realize you're in a black tunnel. I'm not saying this to get you out of the black tunnel, but I'm just saying that rather that the words then are helping you realize where you are.

[42:42]

And if you understood the words and then thought you were in the black tunnel, where would you be at that time? Where would anybody be at that time? If I asked you, I don't mean that to be a hypothetical question. But I would suggest to you that when people walk around in this world, where are they? Do they understand the words? When they walk down a hallway, the word is walking down the hallway. Do they understand what those words mean? What do those words mean? My feet are touching the ground. I hear the sound of my footfalls. Here is a door, here is a... I'm opening the door now, I'm going in this room. Do people understand what that means? They don't even think about whether they understand what it means. If someone comes up suddenly and says, what does it mean that you come in here? Well, what do they do? They don't know what to do, usually. They're not ready, they're not prepared to bring it out in front at that time.

[43:46]

And then if we discuss it for a while, they'll even feel worse. This is a normal situation for most people, as far as I can tell. Isn't it? Do you disagree? Please say so, if you don't, if you disagree. I disagree. Okay, what's a normal situation? Well, it feels like what's really difficult about it for me is that the words, there's like, on some ground I can play with the words and try to understand the words and so on. And then there's another realm that is, as Carolyn was just describing, and you were describing, of pain. And what really feels additionally painful in that is that they're not connected. What aren't connected? The words and the understanding and the pain. So it feels like the... Why aren't they connected? How could they be separate? My sense was that the case was just played out right here, between those two people, ending with the staff being thrown down in his side.

[44:56]

It was like that gentleman's fright, and that the words had to precede it. There was sort of the case, and then the agreement, and some differences. I'm not exactly there with you, but I understand you. I just felt this case just It just was right there in front of me. What do you say? I feel a little embarrassed that maybe I missed it. No, no. No, that's what was going on. Well, now that you've been embarrassed for missing it, now what? Now I sort of want to go to my room and cry. Stay here and cry. If you want.

[46:01]

This is... This class is this case. There's a lot about fear. There's a lot about fear. About fear here in the room and in the case. Fear of what'll happen if I open my mouth and I say something really stupid. Or here, if I sit here and don't say something, that's even stupider. But the snake is fearful. Losing your life is fearful. Being criticized is fearful. And to simply come up front With that, maybe is part of what this case is about. Yeah, that's part of what this case is about. That's part of what the class is about. It's also about something else, too. It's about something else. It's about not coming up front with it.

[47:12]

And that that actually is the biggest problem that this graph is about. And I keep studying this case now. This case, I think, is saying to me in a way, going over it again and again, saying, can you people bring this back to yourself? Bring this wind and clouds back to yourself. and bring it out in front. And you're doing it. That's what you're doing. That's what you did. That was good. That's what you did. That's what you did. That's what you're doing. You're bringing it out in front. That's what you're doing. If you see yourself doing it, that doesn't mean you're doing it anymore. If you catch yourself doing it, Martha thought you saw something. That's OK. If you didn't see yourself doing it while you were doing it, that's OK.

[48:18]

That's what I'm asking you to do. I'm asking you to bring it out in front. I'm asking you to present it face to face. And I'm not saying I'm asking you to do something you're not already doing. That's one thing. You're already doing it, so do it. And do it, if you want to, in relationship to what people have been doing here. I forgot the names of the people you mentioned, Alice and whoever it is. Do it in relationship to these people or do it in relationship to their ancestors. Disagree. Agree. Express your suffering. But understand, what are you bringing out in front? What are you presenting? What are you bringing out here into this life? Do you hear what I'm saying? What are you bringing out here into this life? We're working at that here.

[49:21]

What is it bringing out here? What is the manifestation of the koan now? We work at it for a few weeks, now we can... manifest the koan now. You're doing it. Keep it up, Rob. I wonder, could anything we say be wrong? This is not a matter of right or wrong. And since it isn't, we don't cross off being wrong. If it's a matter of right and wrong, we shouldn't have wrong here. Since it's not a matter of right or wrong, please, Be wrong. Be right. Enjoy yourselves. We can do that dance, too. But the bias toward the right and wrong, that's going to make it hard for you to come out in front. Kind of feel the way to the end.

[50:24]

All the various stuff that's going on from if the people feel sick, like the digestive, various digestive fluids. Yeah. The snake is sort of roiling around and all this various things there. In the next case, in the commentary, it talks about a future emperor coming to study with Yan Guan. After studying for some while, Yang Guan said, you've been curled up in the mud long enough. Do you feel anything in your hands, ladies and gentlemen? One part of what I was getting ready to say was like sort of like it was also like sort of like grasping and letting go sometimes for me it's sort of like grasping at something that I think it's you know ideas I think it's just getting by and then just kind of grasping at it and then letting go

[51:41]

Is that what's happening for you? Is that what's happening for you now? Are you grasping or letting go? Carolyn, do you have hands? How are they? Do you understand your hands? Can you use them? Can you capture a dragon with those hands? Do you understand this koan? Nope. What koan am I talking about? I'm talking about this one. Do you understand this koan? Not that one, this one. I understand sitting right here.

[52:46]

Do you understand having hands? Oh, God. Until I started thinking about it. Well, before you start thinking about it, do you understand having hands? Before you start thinking about it, do you understand? I don't understand anything. Before you start thinking. Do you understand? Before I start thinking? Wonderful. It's okay. Okay, now what do you have to... Can you bring something up from there? Oh, I don't know. I'm going to take my clothes off. Is Hugo there? This is just, you know, this is called the koan of the moment. These stories tell us to make it a koan of the moment.

[54:09]

That's the story telling us. Make it koan now. Free of understanding and not understanding. And yet, free of understanding and not understanding does not mean we don't study what these words are and try to understand what's going on. But I ask you, do you have hands? And do you feel, are these somebody, whose hands are these? Are these any different from the hands of the ancestors that get a hold of dragons, that capture dragons, that reach for fans and bring fans, or not? No, they were the same hands. Huh? They were the same hands. Yeah, do you feel, do you feel, I, I, I, it's okay with me for you to have hands. You can use these hands for the rest of your life. Go ahead. Take them. Use them. But you have to remember to use them.

[55:12]

Again, these koan hands are used moment after moment. They're not used yesterday or in some book. They're used now. Now, I don't know. You have to watch carefully the relationship between having hands and horns on your head. Okay? Are you ready for case 25 now? Oh, no. OK, so this is called Yan Guan's Rhinoceros Fan. Oceans of lands without bound are not apart from right here. The events of infinite eons past are all in the immediate present.

[56:21]

Try to make him or her present it face to face, and she won't be able to bring it out in the wind. But tell me, where is the fault? The case. One day, Yan Guan called to his attendant, bring me the rhinoceros fan. Attendant said, the fan is broken. Yan Guan said, if the fan is broken, then bring me the rhinoceros. The attendant had no reply. Later, Zhi Fu drew a circle and wrote the word rhino inside of it. In the actual book of Serenity, it doesn't say the word for rhino. It actually wrote the character for ox.

[57:24]

But the word for rhino is a character I don't remember what the character means, but it's a character that looks kind of like... Could you draw the character on the board, Marianne? Draw a kind of diagonal line. Up high, Marianne, up high. Draw a diagonal line. A diagonal line like this. Now draw from the top of that line, draw a horizontal line. That's enough? That's too much. Okay, that's okay. There, okay. That's better, okay. Now from the tip of that, draw a vertical line. But it's about two inches long. Okay, now bring it back to the other line. Bring the tip of the line you just finished back to the original line, straight horizontally. Okay. Now draw a vertical line from the center of the line you just drew.

[58:28]

The same line you just finished, draw from the center a vertical line about two inches long. Now, on one side of it, draw two horizontal lines, one on top of the other. That's right. One, two. But separate them. Don't connect them. Have them floating in air. Separate them from that line. Don't connect them. A little bit more. Separate them. And make them a little longer. Okay, and do the same on the other side. Okay, now, under there, under there, draw a horizontal line about as long as both of those put together. Horizontal line, horizontal line, this one. Look at me, look at me. Here, that's it. Horizontal. Got it. Okay, now draw another one under there.

[59:34]

Okay, now put a vertical one through both of those and down about five inches below that. That's right. Above the line a little bit, too. Okay. Now, the tip of the upper one, a horizontal line on the tip. Here? Yeah, over on this side. Yeah, horizontal line. That's right. Now, diagonal. This side. This side over here. Not horizontal, but I'm in the stick. Cross that out. A diagonal line. At the tip of this one. How does this end? This is a rhinoceros. That's good. That's good. Good. This is the character of an ox. These two characters are together. These two characters are together.

[60:45]

You can write that. Osiris. In the center of the circle, you wrote this character. It's also underneath this one. These two together, we write Osiris. Those two? Is that right? This and this. What about that? I don't know. But the entire thing. The entire character. Those two are the same. No. Underneath, they are the same. This is the character we can make Os. And this character, Ox, is on your head. It's part of it. Right now. Right now. It's rhinoceros. This whole thing plus this. It's two characters. And both characters have Ox in them. One character is the character for Ox. The other character has the character for Ox embedded in it. The two characters together are rhinoceros. Okay? He wrote that character for Ox.

[61:46]

He drew a circle. When he heard the story, he drew a circle and he wrote the character for Ox in the center of it. That's the case. Yes? Is putting the character for Ox within the circle, is that representative of Ox being embedded in a character? It could be that. It's also putting an ox in a circle. And also it says live in circles. They live in the side of a circle, right? And you also see the 10 ox herding pictures, right? The ox is in a circle, right? There's some relationship between these things. And they stare at the full moon. Right? They stare at the full moon. Yes, and we have what's called a cloud rhino. Remember case three, talking about this breathing practice of Bodhidharma's teacher?

[62:50]

And it starts off by saying, a cloud rhino gazes at the moon, engulfed in its radiance. Wooden horse who romps in the springtime, free and unbridled. In the subtle round mouth of the pivot, the spiritual works turn. That's another thing that's going on in this class. When the dry mouth snake eats you, you can turn. And as someone pointed out in a cartoon or the drawing on the snack kitchen, snack area, golden board, even an earthworm can turn into a dragon. You've got to be able to turn now. You've got to pivot. Pivot around there in the circle. Right? You've got to bring it up to now.

[63:55]

OK, so that's the case. Now, our job is to present it face to face. Right? That's what this case is. This case is offered to help us present it face to face. And the teacher says, bring me the rhinoceros fan. And then there's some debate here as to actually what this rhinoceros fan was like. You know, was it a rhinoceros horn? Was it a fan that had a rhinoceros drawn on it? Perhaps this rhinoceros looking at the moon on the fan, a little painting of a little rhinoceros. Actually, Pat is a rhinoceros fan. Did you know? She likes him a lot. Yeah, she's a rhinoceros fan, but she didn't bring her rhinoceros tonight.

[65:01]

I'll bring it next time. And her friends are rhinoceros fans, too. Rhinoceros is also a characteristic of solitary Buddhists. What's his business? Why did his attendant say that the rhinoceros fang was broken, do you imagine? What's that about? Maybe it was broken. He was lazy. Maybe it was, we're tired of this story, teacher, tell us a new one. I'm not sure if that's true, but in the film, maybe the ghost is going crazy. The rhinoceros is what stabs out the fire. When there is a fire, they come. So maybe I don't have to break it.

[66:04]

Maybe the fire, the rhinoceros fire, has something to do with fire, too. Can't get fire or bring it out. It made me think about the fan in the end of this koan, at the end of the genja koan. Yes. About the master fan himself. Yes. It might be a means that the young native fan is making way with karma itself, in fact, in violent bringing. They definitely understand that, according to the genja koan. Is that what you're going to say, Lorraine? It's the same thing that Pam was speaking about koan. She said... If the nature wins firmly, then why do we have to ban ourselves and end up to die just because we don't understand the nature of the wind? So in this column, what this case is saying, maybe he has understood the nature of the wind. The attendant?

[67:05]

Yeah. So the teacher says, bring me the rhinoceros. Yeah. No, maybe it's like, bring me, my mind is troubled, well, bring me your mind. The fan is broken, well, bring me your analysis, but paint it on the fan without even bringing me the fan. The attendant thinks the fan is broken because... Yang Guan has, by asking for the fan, has given form to the fan, has given form to it, breaks, and this is what it thinks at first. Then when he's faced with bringing the knots, he realizes that the form is not actually breaking the fan, it's the part where the fan is. Not that beautiful fan.

[68:12]

What about this beautiful fan? Not that one either. fan. I would dare to break the fan case. That's another story. Would it help if the Marx Brothers did the script team? Well, if Harlow would adopt you. All right. Well, I'll bring it in right now. Well, the Marx Brothers did this routine a lot, and I wonder if it helped. Why is that? Come on. Why is that?

[69:13]

What's the name of the thing? How are your hands? How are your hands? What's so skillful about drawing a rhino in a circle? What's so skillful about it? What is the meaning? Is there some reason for this? I mean, I'm not saying that. I've heard it said that there's some meaning in this, that they think this is pretty good, this ox character being drawn in a circle. I didn't get the sense that it was meaning so much, but it was something very skillful about his execution of that.

[70:18]

Well, here we have, according to what Greg said, teacher kind of, first of all, the teacher kind of like The earth wrecked the fan by asking it to be brought, which the attendant, pretty good, spotted. Then the teacher recovered his hands and asked for the rhino. And zipped with bread. But he brought the symbol for emptiness. He also did that. That's what really lets rhinos come into the room. It's because of emptiness that we can talk like this. It's also because of emptiness some of you can be quiet. But I hope you're quiet in a bold way. I hope so. I hope you're boldly quiet, those of you who are quiet. I hope you have hot quiet, warm quiet, living quiet.

[71:23]

Just like those hands that you have now which can catch dragons hope your quietness is like that because sometimes we should be listening to what people are saying we should listen to the cries of the world with hot ears or whatever warm living listening Where are we on this? Pass it to me. I'll see if I can find where we are. This lineage chart was made by the kind hands of Martha Wax.

[72:27]

But when she made it, she had never heard of Yan Guan. Therefore, Yan Guan is not on this chart. Neither of them are on here. But next week, I'll tell you where they are. I will research the matter. In my books. And if anybody else can find it, I'll give you a dollar. A whole dollar? A whole dollar. Yes, sir. With a picture of a great president on it. In a circle. In a circle. Aren't you paying $10 for yourself? Oh, yeah. Of course, there's that standing offer there, too. What's that? Anybody who brings me a self, I'll give you $10. Mm-hmm. What will you do with it? What will I do with the self? Yeah. I'll tell you what, Lord.

[73:33]

I'll call you up and show you. Deal. Any self is okay. Any self is okay. Any self is okay. This is just a short little verse. Let's read it. As the fan is broken, he seeks the rhino. The word in the circle has a reason. The word in the circle has a reason. Who would have known the thousand-year light of the full moon? would subtly make a pervasive luminous spot of autumn. Now this verse is kind of a problem because I studied it.

[74:38]

And now I have some other translations that are quite different. And I'm going to tell you these so you can struggle with this. Here's another translation. Break the fan and look for the rhino. The word within the hoop net has a prior significance. Who knows the thousand years' darkness of the new moon? It subtly turns into an autumn's harvest moon. It subtly turns into autumn's harvest moon.

[75:45]

Break the fan and look for the rhino. The word within the hoop net has prior significance. Who knows a thousand years' darkness of the new moon? It suddenly turns into autumn's harvest moon. So suddenly turns into autumn's harvest moon is not that different from would suddenly make a pervasive luminous spot of autumn. But the line before is quite different. Now, Actually, this character, the key character is, who knows, and this is another way to translate it. This is kind of literal, okay? Who knows the plant that grows in the moon contains the thousand-year spirit? That's another translation. Who knows the plant that grows in the moon contains the thousand-year spirit?

[76:56]

a thousand years spirit. This character, which is translated as, in one case, new moon, and another case as full moon, and in one case translated as light, and another case translated as darkness, and another case translated as there's a plant, a certain kind of plant, which in Japanese is pronounced katsura. And this plant is the plant that grows in the moon. It's this plant that's being referred to. Literally, it's this plant that's being referred to. And in Cleary's translation, he calls it the full moon. In another translation, it can be called new moon. And the spirit can be called darkness or light. Now, if you look at the commentary, the line-by-line commentary, it seems to go along sort of with this plant interpretation, because he says, who would have known the thousand-year light of the full moon burying the root 10,000 feet?

[78:13]

And then it says, would subtly make a pervasive spot a pervasive luminous spot of autumn, and he says, in the present age it produces sprouts. Another translation could be, in this world, a growing young plant. Could you read the plant version of the adverse system? Yeah, he could say, who knows that the plant that grows in the moon contains a thousand-year spirit? And then the comment would be, burying the root 10,000 feet deep. A wondrous action penetrates the luminous spot of autumn. In this world, a growing young plant. Okay. I don't quite get it. It's kind of like... It's...

[79:15]

how this turns, I kind of don't see, I see Cleary's second line, of your luminous, what, what does he say, pervasive luminous spot of autumn, literally it says autumn and bright spot and pervading and subtly, so that makes sense to me, although I translate it twice differently, but This, who would have known the thousand-year light of the full moon? It doesn't say full moon in there any place. And it does say thousand-year, and it doesn't say light. It says spirit, it's character is spirit. But also it could be translated as darkness, like a demon. So, you got all that information, this may be helping you meditate on what this verse is trying to talk about here. There's some kind of planting planet here, and it's growing in the dark.

[80:29]

It's got a deep root. The Katsura, if my memory is correct, is a very large tree. Yeah. Very large. Now, it's not a little tree. Yeah, it's a tree. And it grows in the moon. I don't know if they see it in the moon or... Or see the moon through the tree? Or grows through the tree? Or, I don't know, a tree grows through the moon? Anyway, there's some allusion to the moon and the tree. It's definitely a large tree. Well, I don't know. If anybody wants to do research on the Katsura tree, I can show you. There's a flower that they cultivate in Japan which only blossoms. Well, but it might be, you know, as some people say, you know where they got it.

[81:30]

A lot of trees that are in Japan came from China, especially those ones that have to do with the moon. The tree is bathed in the light of the moon, and that's because it's formed in the light. And remember, the poet here wrote the cloud rhino thing in case three. So we've got a cloud rhino here again. What's a cloud rhino? What's a rhino fan? And what is a rhino? And please bring it to class next week. Bring the rhino. Bring the rhino, please. How about just the horn? Huh? Just the horn? You can get it off the rhino. You guys are always welcome to come empty-handed. But I would like to meet this rhino face-to-face.

[82:32]

And I'd like to have a rhino fan. And a rhino fan club. Okay. And everybody in the club would have hands to touch the rhino, give rhino massages with the living hands of the Buddha, which just happened to be coming right into your hands at this very moment. This is my understanding of the Buddha's teaching anyway. He's not holding back his hands from being your hands. So please meditate on this rhino business, and we can study, we can discuss it more next week. And I guess that'll be our last class. Is that right? Before the session? Before the session. What did you think of class, John?

[83:53]

I had a shot. Thanks for dropping me off.

[83:57]

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