how I feel is really not that important to mention, except that I might be misunderstood. So I just want to tell you, just so you don't misunderstand me, that I'm very happy to be sitting this session with you. And It's a miraculous sashin. And we don't compare, of course, in the Buddha way, but it is the best sashin of all time. Why? Why? I don't answer why questions. Yet you might think I'm going to tell you some examples now.

[01:13]

We sat here and planted seeds, seeds of goodness, seeds of our intention to observe sentient beings with eyes of compassion. And the rain came and watered these seeds and these seeds are sprouting. We came into the room and the great Bodhisattva Manjushri was sitting there and then he gave birth to Shakyamuni Buddha. And now Shakyamuni Buddha has given birth to a little Manjushri Bodhisattva. Did you see? Do you see the Manjushri sitting in the palm of Shakyamuni's hand? You get to go look at it up close if you want to. It wouldn't be disrespectful, but please approach with your right shoulder to the altar and get up close and look at what has sprouted in Shakyamuni Buddha's hand.

[02:32]

Just a little miracle. Bodhisattvas give birth to Buddhas, and Buddhas give birth to Bodhisattvas, and Bodhisattvas give birth to Buddhas. This is what happens. Buddha has given birth to you bodhisattvas and you bodhisattvas will give birth to Buddhas. So up in the altar now you can see this scenario brought to life in the form of three gorgeous statues. Unfortunately, all male, pretty much, looking male. But if you look at that Manjushri in a little one, perhaps you women can feel close to it. It's pretty, it's not real, you know, it's pretty, got a lot of feminine energy.

[03:38]

So I tell you I'm happy because I don't want to have to look happy. So if I don't look happy, if I enact a wrathful deity, it's not because I'm not happy and it's not because I'm not extremely pleased with your effort. It's just because sometimes that's what happens. It's nothing to do with me. Somebody told me the other day that he really loves everybody, but he holds himself back because the way he loves people is kind of freaky. And he wants to let the freak flow. So I said, let the freak flow. Check occasionally with other people to see how it is for them. And if the freak flowing means that you're not going to follow the schedule, please talk to Tayo. This is the freak of love, of course.

[04:51]

So this week we have been walking around the radiant center of goodness with eyes of compassion. We've been walking around and around the ungraspable true Dharma. We've been staying close to the Buddha's practice. And Buddha's practice this way, they walk around, nothing can be grasped, all things have no abode. No definite locus can be found. This is where Buddhas live. This is where they sit unwaveringly.

[05:59]

We walk around this Buddha. We walk around this old-time tower again and again. Not asleep, not interested, not turning away, not touching, just respectfully, devotedly walk around the ungraspable, unsurpassable, complete, perfect awakening. We would like to reach into the center and get a hold of the little thing and take it home. But you'll get burned if you try to get it. And sometimes if we say, well, if I can't get it, I'm going to leave, then you'll freeze.

[07:04]

So stay close. Don't do anything with it. This is what we've been doing, trying to do, though it's hard to balance the centripetal and the centrifugal. The best focus is to be diffused. The best diffusion is to be focused. And I've been talking about the first pure precept. We've been walking around staying close to the first pure precept of avoiding all evil and trying to understand what it means to not turn away from this precept and not touch it. This precept about the forms of practice which help us avoid evil

[08:15]

Forms of practice would give us a way to avoid evil, form a canopy over this ungraspable light. So I think I want to go even deeper into the proper attitude towards this first pure precept. And I want to walk around it some more with you. Part of me wants to go on, but that's my cowardly impulse.

[09:22]

We haven't completed this. Like Rilke says, I go around this ancient tower. I've been doing it for a thousand years. I don't know if I'll ever complete the last circle. I don't know if we'll complete this study, but I want to try a little more. say beforehand that in the fulfillment of the forms of practice, the dignified forms of practice, this fulfillment naturally goes into the fulfilling of all good dharmas. Maybe this will become clear. And also when we walk around, of course when we walk around the first pure precept, we walk around the second pure precept and the third pure precept, walking around avoiding all evil, walking around fulfilling all forms of practice.

[10:46]

We also walk around all goodness and we walk around saving all beings. walking around the first pure precept, we walk around the truth body of the Buddha. But we also walk around the bliss body of Buddha, and we walk around the transformation body of Buddha. And when we walk around these three pure precepts, and when we walk around these three bodies of Buddha, we also walk around that which doesn't fall into any of these three bodies and that which does not fall into any of these three pure precepts. So I'll give you some examples.

[12:13]

And also before we do the examples, I'll give you an ancient instruction on staying awake and not being interested. It is futile. effort to linger in thought over the action of a thunderbolt. When the sound of thunder fills the sky, you will hardly have time to cover your eyes or ears. To unfurl the red, white, and blue flag of victory over your head and to whirl twin swords behind your ears.

[13:20]

If not for discriminating eyes and a familiar hand, how could anyone be able to succeed? Some lower their heads and linger in thought, trying to figure it out with their intellect. They hardly realize that they are seeing ghosts without number in front of their skulls. Now tell me, without falling into intellect, without being caught up in gain or loss, when suddenly there is such a demonstration to awaken you, how will you reply? To test, I cite this to see.

[14:26]

imparted these words to his group. There is nothing in the world where can mine be found. You didn't need to hear that, but now you should listen to what I'm going to say. Last night at the end of Zazen where we do our refuges and stuff, I was standing here bowing and then after we bowed I looked down at the row of people here and I saw these hands together. This is called ga-sho, right, in Japanese? Ga-ga means together. Sho means hands.

[15:35]

Hands together are palms, actually palms, palms together. I saw all these palms together in a row. And guess what I thought? What did you think I thought? You. Too late. I thought, how beautiful. They were really beautiful. Don't look, but they were really beautiful. Little row. I was impressed. I was inspired. There was one person in the row who had baby fingers sticking out like this. Maybe not that far, but it was sticking out. And my eye got it.

[16:38]

Still, it was really beautiful, the whole thing was beautiful, but that one finger was sticking out there, and I wondered about that finger. After practicing with these forms for many years, I noticed these things. And now I'm getting old, but I just got some glasses. So I can see now with these on, you know, Tom Lomax is back there. He's waving at me. Wow, look at those people back there. Jim has a subtle smile on his cheeks. You can see Donna's eyes sticking up above David Shawn's shoulder. These are my glasses, which I actually don't need. So anyway, that's what I saw.

[17:44]

And I really was very happy to see it. I just thought I'd mention something to you, which I think you already know about. A friend of mine, I went to a movie a few months ago about, I think it was about art in Nazi Germany. You may not know this, but Adolf Hitler was something of an artist and architect. And he was an energetic guy and spent a lot of time, in addition to doing other things he was known for doing, he spent a lot of time doing architectural drawings. And a lot of his other friends did, too. They made drawings of, for example, what Berlin would look like. They had a plan for Berlin. They had beautiful drawings. And basically, the drawings were a lot like making Berlin look like Rome. They even... They even designed pictures of ruins to see and project what Berlin would look like a thousand years later in ruins.

[19:08]

They designed it so that it would look good in ruins. These people were architects and they had a vision of a beautiful state. At least they thought it was beautiful. And as part of that beautiful state was, they wanted to keep everything clean. And anything that didn't fit in there, get rid of it. They wanted all the people to be, you know, tall and light-skinned with blonde hair to go with the furniture. They didn't want any gypsies or Jews. They didn't want any retarded people or deformed people. They didn't want any black people. They didn't fit in with the decorum of the place.

[20:17]

And if that would be hard on those people, well, that's just too bad. So this canopy of forms, of beautiful forms that surround the ungraspable radiant goodness in this world, these forms we have to be careful of not to hurt anybody in the process of working with these forms. Still, this morning I talked to this guy about these baby fingers. And I said, you know, I said, what about those baby fingers? Could you bring them in closer to the other ones? And he said, well, I can do that, but I have a problem. I want to actually. He said, no. And I said, why not? He answers why questions. He said, because if I bring my finger in line, I have a problem with my neck.

[21:20]

I said, well, just mentioning it, you know, whatever. Just, you know, consider it. Think about it. I said, it doesn't hurt my neck to do that. I really don't mind if that baby finger's sticking out there. I just want to know, what about that baby finger sticking out there? What's that doing out there? Hmm? One time I was being served at Tassajara by a very neat guy, and every time he served me, I noticed instead of his feet being kind of like this, you know, or like this, or like this, they were consistently like this. It wasn't once in a while that they were like this. It wasn't like they were this one day and that way. They're always like this. So I said to him one time, do you know that your feet are like that when you stand in front of me? And he said, no, what about it?

[22:22]

I said, I just wondered if you knew. It's okay. I just wondered if you knew. So I was just wondering if you noticed that, if that was intentional or just sort of happened that way every time. And he said, well, I don't know. I'll check it out. And after that, his feet were always like this. I don't know what happened, but anyway. I always wondered what, how come is this... That's all I'm just checking, just wondering. I'm not trying to get everybody's feet lined up and all the fingers in there. I'm not really. I just want to know. Is this toe? Is this finger? Is this eyeball? Is it asleep or awake?

[23:25]

I just want to know, that's all. Is it alive or dead? Just checking. And I got to be careful when I check because I know we have complicated relationships and somebody might think I'm trying to get them to line up. I'm not, really. I mean, sometimes I am, and I'll tell you about some examples of that, but basically that's not my intention. My intention is to try to find out what's going on here. One time, one of the monks here was fulfilling the position of shusso, head monk, in a practice period here. And he said, I think he said something like, well, today I'm going to take off from work to prepare for a lecture I'm going to give. And I said, why don't you follow the schedule? Something like that.

[24:27]

And he said, well, I won't be able to prepare for my lecture then. I said, why don't you follow the schedule? And later I noticed he was angry at me about something. And during it, formal question and answer period, he came up and he talked to me. And the way he talked to me, I said, are you angry at me? And he said, yes. And he said, treat me more gently. So since that time, I've been more gentle. Things are going pretty well. Doesn't mean I still don't say, well, could you possibly consider maybe following the schedule? Just a spoonful of sugar makes the medicine go down.

[25:35]

Sometimes maybe more than one spoonful. Anyway, this priest now is not living in Zen Center anymore, so he and I have to figure out how he's going to practice with the forms of practice in a new situation. And hopefully, if we learn how to work with the... if when we're in a formal situation like this, if we can learn how to relate to the forms with the right touch, not too tight, not too loose, then when we get out into the big world, we might have a sense of, how do you talk to a salesperson at Macy's? What's the right attitude there? So we have a bamboo tube formal practice, and knowing how to fit into that, then when you take the tube off, when you jump in the ocean, you know how to swim with a sense of discipline, hopefully.

[26:55]

So now I ask him to think of ways that he can practice where we can work together even when he's not around. formal situation. And when I ordain priests, I ask them to stay around Zen Center for about five years so I can work with them on how they work with the forms. And then after they leave, then maybe they can figure out how to continue that sense, that taste of sincerity even when these forms are not there anymore. One time I was at tea at Tassajara and Suzuki Roshi came up to me and he said, I'd like to teach you a little bit about how to walk when you carry the stick, this big stick. We used to carry the stick at Zen Center more, this big one.

[28:01]

We actually got to the point where we were carrying this stick, sometimes two people carrying this stick in the zendo, during every period. And it was pretty noisy, you know? And we used to hit people even when they didn't ask if they were asleep or if they could possibly be asleep. I'm not so sure about the stick, but one thing I feel good about is that although we're not carrying it anymore, people sleep less than they used to. We used to use a stick a lot and everybody would sleep all the time. Someone theorized that sleeping was a way for people to get contact. Anyway, when I was a young monk, I was carrying the stick and the Zendo and Sukershi watched me and he noticed something about my feet. So he told me about how to use the feet during kin hin.

[29:11]

And at that time, I thought, well, this is really nice. This is a way for him to express his love for me. He didn't ever come up to me. Maybe some people he did, but he didn't ever come up to me and say, hi, everybody, I love you. He didn't do that. He didn't even ever come and put his arm around me and say, how are you, kid? Once in a while, he would say, you did a good job at that. And that was great. I really appreciated it. He could come up to me and show me how to walk when I'm carrying the stick, and I really could feel his love in showing me how to use my feet. And in one sense, I noticed that when he did that, that I could have felt like I'd been reprimanded or that I'd been corrected. But I didn't feel like I was being corrected. I felt like I was being loved and that Dharma was being transmitted to me. So that's a formal thing, right?

[30:24]

He was training me at a formal monastic practice, which he knew something about. But he also didn't spend that many years in monasteries in Japan. He mostly was a temple priest, and he had to figure out how this feeling of carefulness and attention to the little details of monastic life, the little details of how you put your hands together, how you bow, how you sit, how you offer incense, how you use orioke, how you wear your robes, what time you get to the zendo. All this stuff, he learned enough of that to get a feeling for how to extend that into daily life situations, which was our good fortune that he wasn't actually just a monastic priest. And so one time, his attendant were going to Portland, Oregon on an airplane.

[31:32]

And as the airplane took off, he said, now I'm going to teach you to count people in Japanese. He had already asked me to start learning Japanese because he was going to send me to Japan. So now he's going to teach me how to count people in Japanese. And again, running through my little brain was, okay, now here's this Zen master. Why is he spending his time teaching me about how to count people in Japanese? Why doesn't he teach me about the treasury of true Dharma eyes or the secret essence of just sitting or et cetera? Why do that? And also, why waste his time talking to me about something so kind of like mundane? Anyway, that thought occurred to me.

[32:41]

Then he says, okay, now here's how you do it. How many people have not heard this story? Oh, good. Well, as you'll see from the story, repetition is the name of the game. So he says to me, okay, so here's how you do it. One person is Shtori or Hitori. Shtori. Two people is Futari. Three people is Sanin. Four is Yonin. Five is Gonin. Six is Rokunin. Seven is Shichinin. Eight is Hachinin. Nine is Kunin. And ten is To. Or Junin, but he said To.

[33:41]

Now, I just parenthetically mention that as a result of him giving me that instruction, I still know how to count people in Japanese. But it's not just that instruction. It's also that I've told the story over several times. So every year or two, I get to review my Japanese. And so when I go to Japan, I can impress Japanese people by counting them. Ah, story. Tatari. Sannin. So anyway, he said, now you do it. So I went. He said, keep going. So I did. And then he fell asleep. And when he fell asleep, I stopped. And when I stopped... he woke up, or he opened his eyes and said, So I started again.

[34:57]

And then he fell asleep again. So I stopped again. And when I stopped, he opened his eyes and said, So then I continued for approximately 600 miles in the air, chanting, this sutra which he had just transmitted to me. There it was, you know, a form, a form for us to relate, for him to show me that he loved me. Loved me enough to waste his time talking about this to this guy, this kid next to him. And while we were in Portland, Oregon, he got very sick. We didn't know at the time, but the symptoms of a cancerous gallbladder manifested on his body.

[36:05]

And on the way back, I was with my sick teacher, and he wasn't teaching me to count Japanese anymore, count people in Japanese anymore. he was suffering. And then I counted the number of times I tried to escape from being with my teacher. I watched my mind try to get out of that place and run away from being with him. But his training of me helped because I could see myself run away between staying with what's happening and running away from it. And that's what Sashin can teach you. The difference that it makes between when you stay here and when you try to get away. You can learn how that works. I'm walking around

[37:16]

the ungraspable true Dharma. I don't know what it is. Nobody does. But we can be devoted to it and stay close to it all the time, walking around and around. One of the labors of psyche in the myth, the Greek myth, amor and psyche, love and the mind, was that she had to collect the golden fleece from golden rams. And as she approached the field where the rams were, where this golden fleece was, she was going to walk up to these rams and try to go up and get a hold of that fleece. And the reeds... along the path or whatever, said to her, don't go directly at the rams.

[38:21]

Go around the edge of the pasture and collect the fleece from the brambles. And also, do it not at high noon, do it at dusk. If you approach them at high noon, they will butt you. walking around the Golden Fleece, which we must collect at dusk, subtly collecting our mind. In this process, it is possible to untangle the incredible mess that we sometimes get into We are such complex beings and we have such complex relationships with each other that we can get incredibly stuck and entangled.

[39:27]

This kind of careful meditation of walking around can help us become free. Someone told me about a really intense and difficult entanglement that she got into with her daughter. It actually was typical of the mother-daughter situation. The mother-daughter situation is a really complex thing because Not only do they have to separate, not only does the daughter have to separate herself from the mother, but she has to identify too. It's really, how do you separate and identify?

[40:33]

It's very complex. So it's really difficult. You have to develop a real subtle touch to pull that off. Both people do. So when the situation is described, I said to her, in a mess like this, what is the practice? And she said, let go. And I said, right, but isn't there something before letting go? And she couldn't think of anything besides let go. Well, I agree, let go is good, but let go is kind of like the last thing that happens. And then things get untied. And there's a lot of stuff that actually might precede the letting go.

[41:35]

But what's the first thing you do when you're in a mess like that? The first thing. And she couldn't tell me, so I said, you're a bad student. Just kidding. But you're a bad student. I had to say just kidding over many, many times. Because I really was just kidding. But anyway, the first thing you do when you're in a mess like that is what? Sit still, yes. Breathe. Stay close. Admit. Admit. Admit you're grabbing. Admit you're grabbing. You're in a mess because you're grabbing. Either you're grabbing by trying to get a hold of it or you're grabbing by saying, okay, I'm leaving. This is enough. Hinayana or Mahayana again, right? Okay, I'm going to fix this. I'm going to get involved or this is not wholesome. I'm getting out of here.

[42:37]

Those kinds of actions sometimes are right, as I said before, but when they come, they should come from a place where you're awake and not interested. Then you can grab or believe. But first of all, almost always, there's something to be confessed, and that is, I am grabbing something. In the process of trying to bring up that the first practice is confession of attachment, this person also said, well, realize that this entanglement is empty. Yes, that's right. Realize that this entanglement is empty. Realize that the mother is empty, the daughter is empty, the relationship's empty. Realize the whole thing's empty. That would release you, it's true. But how do you realize emptiness? the first thing you have to do to realize emptiness is you have to confess that you do not think this is empty.

[43:42]

That in fact, you think you really are real. You think your daughter really is real. You think the relationship is real. You think this attachment is real. You think this mess is real. You believe it has inherent existence. At that time, you do not believe the Heart Sutra at all. you completely think the Heart Sutra is totally inapplicable. Once you admit that you don't believe Buddhist teaching, and you're putting that disbelief into wholehearted practice, that's the beginning of release. And that's also what I think you can discover in Sashin, is that you really do believe that your body exists. Of course, what you need to do is just let it go. Drop it off. That's the point. But in order to drop it off, I need to admit I can't drop it off because it is an indestructible, inherently existing reality.

[44:50]

That's what I think. I don't want to say that out loud because I know that that's a heresy. But admit you're a heretic deep down you're a deeply trained heretic, then you can be released. Then you can drop your body. Then you can laugh at yourself. I didn't think that would make you sad, but I'm not surprised that it did. I didn't mean to do that, make you sad, but anyway, we have to admit that we actually do think things are inherently existent.

[46:04]

When people hear the teaching about emptiness, they think they should go around and say, that's empty, that's empty, that's empty. Then I can let go. But to say that's empty, you shouldn't go around saying things are empty. Bodhisattvas don't go around and say things are empty. They realize that things are empty. And what they realize is empty are things that they think are not empty. So you shouldn't go around telling yourself that, I don't think. You should go around admitting that you don't think things are empty. And again, empty means... I'm not saying you shouldn't do that, but actually, I'm kind of saying you shouldn't do that. Rather than go around and say everything's interconnected, why don't you go around and say, I don't think things are interconnected. I don't think they're interconnected. I think everything's not connected. I think everything's separate. Because you do. That's the problem. Emphasize the problem. And don't say I said that. Here's a thunderbolt.

[47:44]

Don't linger in thought over this, okay? The greetings that we do to each other, or do with each other, these greetings, with or without the hands together, These greetings are the utmost mantram. All the Dharanis come from these morning and evening greetings that we do. That's just a thunderbolt. That is just a lightning bolt. Don't think about it. The Daishindrani comes from these greetings that human beings do with each other. The remembrance of great compassion, the invocation and expression of great compassion comes from these greetings, comes from real greetings.

[49:06]

It's just a lightning bolt. Don't worry. It's not a truth. It's just a natural phenomenon produced by the food I've been eating this week and so on. And I was just quoting Dogen Zenji anyway. Yesterday I was walking behind a monk and at a certain point I turned off, and he went on ahead. And I waved goodbye, but he didn't know.

[50:19]

And I looked up at the moon in the clouds, and he didn't know. And I waved at the moon too. I didn't really mind that the monk didn't turn around and bow goodnight to me. It was really lovely the way it happened. And the moon testified to our friendly departing. This morning, the monk gave me a poem by Lee Bo called Taking Leave of a Friend.

[51:28]

Lee Bo is the same guy who wrote that poem about this river merchant's wife, that letter, yesterday. Blue mountains to the north of the walls. White river winding about them. Here we must make separation and go out through the thousand miles of dead grass. Mind like a floating white cloud, sunset like the parting of old friends who bow over joined palms at a distance. Our horses neigh to each other as we are parting. We never know what's going on to the full extent of it.

[52:56]

So complicated, our relationships. But with the right attitude, we can enjoy the wonder of it. even though we may have to go into hell to visit a friend. Now for aesthetic purposes, I think I should stop now.

[54:09]

But I want to tell you that I have one more story about Jerome and me, which is a real killer. But maybe I can tell that some other day. How many people want to hear this story now? How many people want to hear it later? Well, those who want to hear it later, please make yourself comfortable. Lie down if necessary. So Jerome and Mel and I, and I think some other people too, did their first practice period together. And that practice period was blessed by lots of rain, so much rain that the road was washed out, and our diet got very simple.

[55:23]

And we never missed a meal. As a matter of fact, Our head cook, Ed Brown, always gave us at least three bowls, too, for every meal. Sometimes what was in those bowls was very simple. But we always had three bowls. And sometimes the soup was very simple. So once in a while, during that time when we had such a simple diet, there would sometimes be in the soup croutons, which were, at that time, in that valley, a great delicacy, something which people were interested in. They were not asleep. But they were interested.

[56:24]

They were not turning away, but they were definitely wanting to touch. So on one of these occasions, I was one of the people who was eating, and Jerome was a server. And... I wanted some of those croutons. And I was on the end of the row. And so as the server came up towards me, I was hoping that the server would give me some croutons. There's two ways to serve. by sticking the dipper down to the bottom where the croutons were, or you can serve from the top where it's basically like water. Green water. Zender was divided in two parts, and I was on one side and Jerome was serving on the other side.

[57:37]

And the server coming up the row, I could see this server's method was to go to the bottom, come up with the goodies, croutons filling the ladle. This server was getting closer and closer to me. And I looked on the other side of the zendo, I could see Jerome was coming around the corner. And on the intimacy of the practice period, you learn how people serve. And Jerome in those days, I'm not saying I know now, but Jerome had a tendency to serve from the top. So I had a feeling like if Jerome was going to serve me, I was going to get this green liquid. And I was watching the server come up this row and I was watching Jerome come around the corner. And Jerome still is pretty fast moving sometimes. And he came around in lightning speed, sort of tilting on one, two wheels.

[58:40]

And he came around and he got to me before the other server did. I was not real happy at that time to see Jerome. And he reached down and came up with no croutons. Even though by the time he finished serving me, there was nothing but croutons left. This is a true story. I was not happy with what he gave me and he departed to the server's meal. I was not happy with what I had to eat. But then a wave of something else came over me. A wave of I don't know what you want to call it.

[59:47]

But anyway, I became aware that I had come across the continent of the United States, and I had tried three times to get across the continent before I made it in order to study Zen. And finally I got into the monastery, and in the middle of the winter practicing there, I had become concerned with croutons. And I was actually really upset with myself for my getting off the track of why I came to study Zen. I did not actually come for the food. But I forgot all about that. In the form of practice, the form of practice is you let the server serve you, right?

[60:50]

I could have said, Jerome, give me the ladle. Give me the ladle, Jerome. Let go of the ladle. I'm going to serve myself. I want croutons. Or I could have said, Jerome, give me croutons. But I observed the traditional form And the bodhisattva helped me wake up to my greedy mind, which had somehow become so strong and so clear. So it was a great learning experience for me, that practice. And Jerome really helped me. So it was to my horror to have reported to me that some people in this room are telling the servers what to serve. Give me, I'd like three croutons and six mushrooms and a little bit more tofu there, please.

[61:57]

No, no, that's enough. And it was to my horror. I actually, not kidding, I was horrified. My stomach churned. But then I realized this is my attachment to the form. And the reason why I have attachment to the form is because I've seen it work so well. But all the more reason when you see that the practice works well, all the more reason you have to be careful not to be attached to it. So those who have used the form for many years have to be very careful, once they realize how helpful this can be, to be soft about it. Those of you who have not yet realized how useful the forms are. For you, it's quite easy for you to be soft about the forms. In fact, you'd be happy to get rid of them. Once they start working for you, you'll be as bad as me, or maybe worse for a while, until you perhaps hurt some people by holding them to the form.

[63:00]

So I'm not trying to hold you to the form. I'm not trying to get you to love the forms. I'm just telling you, some stories as I walk around this old-time tower, this center of radiance of the ungraspable Dharma. And I'm having a really good time, and I really appreciate that you people are walking around it too. I'm just telling you stories as I walk. There is nothing in the world How can the mind be grasped? White clouds form a canopy. Flowering spring makes a lute. One tune, two tunes, no one understands.

[64:05]

When the rain has passed, The autumn water is deep in the evening pond.

[64:14]

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