I promise to start with space space-time years tension Now that I've fulfilled my obligation, please let me say that around the time of a Matsu, he lived in the 8th century, around his time in Zen, the study started to shift

[01:15]

from the sutras to the sayings and doings of the Zen adepts. So we've been, these talks have been partly sutras and partly stories, so we're just talking about the dharma, we're going to hear about the dharma, and in Zen, telling these stories is put forth as the dharma, instead of having it to see and listen to, can you say see and listen to? Hear and listen to? Can you say hear and listen to? What? See and listen to?

[02:15]

See, that's unregal. Anyway, you can't see it with your eyes and you can't hear it with your ears, that's what they say, right? And yet, we're encouraged to listen, you can't see it but we're encouraged to stare. I want to review one story for reference, and that is when Sekito, Shuto, when I do

[03:51]

that, do you know what I'm doing? Does everybody know what I do digits in? I said it in the same name twice, Sekito, Shuto, Japanese, Chinese. When Shuto went to see Seigen, Seigen is Chingyuan, they both had been, they both studied in the And Seigen said, where are you coming from, and he said, I'm coming from the south, I'm from Zaoshi, and Seigen raised his whisk, he came from there too, but he says, is this at Zaoshi, and Shuto said, not only is it not there, but not even in India, and he said,

[05:06]

have you been in India, and he said, if I were there, you would be there too, he said, that's not enough, say more, he said, you should say, have to, don't rely entirely on me, and Seigen said, I don't decline to speak to you, I don't decline to speak to you, but I'm afraid later there would be no one who would get it. That line was the line I wanted you to hear, but Seigen said to him, it's not that I decline to speak to you, but I'm afraid if I do, that later there would be no one to get it.

[06:10]

And then Shuto said, getting it is not what's missing, no one can say it, and Seigen hit him with the whisk, thereupon Shuto was greatly awakened. So then Sekito taught Yaoshan, Yakusan, and Yaoshan was a monk who had the good fortune to live at a time when Sekito lived, and he got to meet him, and he also lived at the same time as Matsu, and he got to meet him too,

[07:16]

he also lived at the same time as Laman Pan, Laman Pan also got to meet Sekito and Matsu. It was the conditions were such that Yaoshan could meet Sekito, and how Sekito had a conversation like that, where I didn't know the one about just being so won't do, and then he got sent to Matsu, and Matsu said, sometimes I make him raise his eyebrows and wink. At that time, you don't remember that one? He went to see Matsu, and Matsu said, sometimes, he said, I've studied the canonical teachings, I know a little bit about the canonical teachings, the canonical Dharma, you know, the books that you can open up and look at,

[08:21]

but what about, I heard that some places actually point to what a human being is. He asked that question first to Sekito, and Sekito said, and then Matsu said too, I heard that they point right to what a human being is, and that they realize Buddhahood, and please teach me, and then Matsu said, sometimes I make him raise his eyebrows and wink. Sometimes I don't make him raise his eyebrows and wink. Sometimes the eyebrows and the blinking of the eyes is right, sometimes raising the eyebrows and blinking the eyes is not right. How about you? Yashan didn't say anything, but he did wake up at that time.

[09:37]

So, he met Shito, who referred to Matsu, and attained awakening with Matsu, and went back to Shito and became Shito's successor. So, I'm bringing this up again to refresh your mind, but also to point to the conditions. Can you imagine meeting Matsu, and then get to meet Sekito also? I'm not saying this exactly, but I'm feeling how many people got to meet those two people.

[10:40]

Some, in the history of the world, but again, I'm not really saying this, but the thought occurs to my mind. I don't really necessarily even like this thought, but it comes up in my mind. Even if one of us maybe had the background such that we got to meet Sekito and we got to meet Matsu, maybe we'd wake up too. I don't know. But anyway, this monk, Yashan Weiyan, had really good luck to meet these two people and thereby to wake up. She told me yesterday about the Celestial Seasons Sutra, have you seen that one?

[11:47]

Well, you know, Suzuki Roshi's quote on Celestial Seasons, and there's a Thomas Jefferson quote on there, which is, I'm a firm believer in luck, and I notice that the harder I work, the more luck I get. Or the luckier I am. But it's also good luck to be able to work hard. The more thoroughly I practice the precepts, the more thoroughly I get a chance to practice the precepts. Although I can't even control my ability to practice the precepts in the first place. Yashan, I didn't mention this before, but he was very austere with himself

[12:55]

and very compassionate with his students. His students were, his main students were Yuen Yuen, Hungan, Hungan's brother, Dawu, or Dogo, the boatman. He had quite a crew. His main students were, you know, a mixture of lay and priest. He mostly had a boatman and he had a novice gao and worker gan and liao. Liao is a governor.

[13:58]

Yuen Yuen and Dogo and the boatman never never laid down for 40 years. Another ancestry says that people don't do that kind of stuff unless there's enlightenment in the community. So now I come to this monk, this ancestor named Yuen Yuen. Yuen Yuen means cloudy cliffs

[15:04]

and Yuen Yuen was ordained, I think, when he was about 15 years old. And then he went to study with the Zen teacher Baijong Waihai. Hyakujo is the name of the mountain that he finally sat on. Hyaku means a hundred, jo means about 10 feet. Jo is the size of a Vimalakirti's room. Vimalakirti lived in a room 10 by 10, which as you may know could be expanded if necessary, if guests came. But the basic official format that they got approval for from the city planners of Vaishali

[16:18]

was a 10 by 10 room. And when 32 trillion bodhisattvas came to visit and the room got bigger, the rest of Vaishali backed up to make room for it. So that's a jo, 10 feet. So it's a hundred times 10, a thousand foot. He lived on Hyakujo, the name of the place was a thousand feet, or Baijong. So Baijong was a disciple of Matsu. So this monk goes to study with Baijong and he studied with him for 20 years. He is, it looks like his brother, actually blood brother, but I never really can figure it out.

[17:21]

But anyway, it's his Dharma brother, or it's definitely a Dharma brother, and maybe also his blood brother is Dawu. Dawu means great enlightenment. They studied with Baijong together and they say that this man, Yuen Nien, his ancestor of ours, studied with Baijong for 20 years without success. And we don't say that Baijong wasn't a great teacher, because after all he had some other disciples who were successful. For example, Guishan. Guishan was there with Baijong when Yuen Nien was there.

[18:26]

Guishan was successful. So here's a case where even though Yuen Nien went to a situation with a great teacher and also other great teachers were studying there with him, he still wasn't successful. The conditions, the proper conditions for his awakening had not yet formed. For 20 years they didn't form. So he was Baijong's jisha, attendant, right? And in one of the traditional setups for Zen Master, the abbot sits like over there and the attendant sits next to the abbot, like on a little stool.

[19:27]

Like we have one in the corner now, but it should be right there, should have little piled stools over there. So while Baijong was sitting in Zazen one day, he spit. And Yuen Nien said, what was that about? Baijong said, it's not your realm. This monk, Yuen Nien, for me anyway, he's a poignant figure in our history.

[20:33]

And the other day when I was thinking about him, I said poignant, and I looked up poignant and I found it had some meanings that I didn't know actually. I thought poignant meant like touching, and it does. It means that to be a poignant figure is somebody that touches you, touches your heart, makes emotion come. But another meaning of poignant is piercing, or physical pain, or mental distress. There's a little of that too in his story. Now 20 years with a great teacher and not awakening, that's pretty sad. But in some ways it's even sadder that he became enlightened later. Well, it's kind of sad that this enlightened person took so long in a way. Even a successful person has to be dumb for so long.

[21:42]

But I feel from him that the poignancy of his life I think in a certain way pervades off and on, sometimes it's in the background, pervades the lineage. Before him, I don't see too much poignancy. I ask you, who before him do you feel this kind of poignancy about? Who in the lineage do you... Yeah? Ananda. Right, Ananda. And her ancestors. Because he had leprosy? Uh-huh. Who else? I feel, you know, Sagan a little bit, although he was, you know, in some sense he was the leader, he was the leader of the Sixth Ancestors Sangha. There's something about his quietness that touches me in a similar way. But still, maybe after Ananda, there's almost nobody in the lineage that strikes me with

[22:54]

this kind of pain or touches me in this way that this monk does. And there's story after story about him, you know, where he's just kind of bungling. You know, he just doesn't get it. And not only doesn't he get it, but the other monks do. He's just kind of a figure for me. He's not only like Ananda, but another figure later that's like this is Ejo. So with Dogen, you can hardly see any poignancy, very little poignancy. Just like, it's kind of like this huge spotlight gets turned on and just stays on the whole time. And next to him is this Ejo.

[23:56]

Dogen was a very, very critical person before he became enlightened. Critical? Yeah. And I think there was something underneath that which made him so critical. Oh, sure. But I mean, he was 24 or 26 when he was enlightened. He studied for a couple of weeks with his teacher before he was awakened. But sure, he had problems before that. And part of what I'm suggesting, he had problems maybe for incalculable lifetimes. So if you look at Junyuan's life, you see, oh, here's this guy, you know, he becomes a monk. For 20 years, he studied with a great teacher without success, and then he goes to study with Yaoshan and things start working out better. So it looks touching. I mean, it is.

[24:59]

It is. I'm not saying it isn't. You look at other people who walk in the door and it's not so touching in some ways. It's more startling and brilliant. But how many lifetimes before that, a practice had to lead up to this event? What were the conditions that made it happen, apparently, in such short space? We don't know what the conditions are. We don't know. That's this thing about, you know, bringing your energy forward and just letting it flow and getting a response. You keep bringing your energy forward day after day, year after year, and something's responding. This is the formation of the conditions.

[26:00]

But sometimes it takes a long time before the conditions are right. That's also the thing about the carved dragon and the real dragon. We sit here carving our little dragons in the zendo, and we're carving them in different ways. Meantime, while we're carving these dragons, at the same time, there's a real dragon swooping and diving in the skies. Waiting, also, for the time when it should come to visit. Maybe it's too big to fit in the zendo door.

[27:11]

Maybe it's afraid it'll crush the roof if it lands. Maybe it's waiting for one of us to walk out into open space, or maybe near the door of the helicopter landing pad, or someplace like that, where it can meet us. But Dogen's teaching, literally, and teaching going back from him, is that while we're on this little stage here, acting out this little drama, another drama's going on, a full-scale drama, that is responding to us, dancing with our little story. Every time we make an effort, it responds.

[28:17]

So, Dogen Zenji said, don't esteem or despise the Nier. Namely, Nier is carving your little dragon here in the zendo, carving your little dragon out on the walk, carving your little dragon wherever you are. Don't esteem that, or despise it. Rather, become adept at what you're doing, at what you've got on your plate. Also, don't esteem or despise that huge dragon that's flying around in the sky. Rather, become adept at it.

[29:39]

Now, on one side, what we're doing here, this little activity we're doing here, on one side, the profound thing about what we're doing is triviality. We are doing things which are deeply trivial. Or, we are doing things which are profoundly vain, if we wish that they would do anything. That's one side. Namely, everything we're doing, everything I'm saying is empty of any inherent existence

[30:53]

even, not to mention that it's not important. It's less than important, it's extinct. That's one side, that's one truth, that's one thing that really exists. Namely, the complete vanity of all of our efforts. Now, on the other side is the constant production of illusion. The other side is called the whole works. In other words, the whole works. Where does the whole work? What is that? What have you got there? If you're pointing at yourself, the whole works over there. The whole works by constantly producing illusion.

[32:00]

The only way the whole can work is through the unreal. So, the whole works through our little effort. If we, making our effort, think that there's something real about this, well, then that's another thing that the whole is working through. And yet, following from what I just said is complete devotion to the trivial.

[33:23]

To the small, to the limited, to the world of illusion. That is to become proficient at the near. And, becoming proficient at the near is the way to become proficient at the far. When we become proficient at the near, the dragon does a nose dive. And then, just before it smashes into the zendo, it pulls out. But this becoming proficient, isn't that real reverence? Is it real reverence?

[34:24]

Isn't that really reverence? That's really reverence, yes. So, why do we get told not to do this? Why? I don't answer why anymore. Do not esteem your reverent activity. Do not esteem your devotion. And do not despise your reverent activity. Do not despise your devotion. Okay? That's all. Today, anyway. But, be devoted, be reverent, be respectful, be loving, be careful, and be adept at everything

[35:32]

you do. Be adept at brushing teeth, be adept at opening doors, be adept at sitting, be adept at putting glasses on your face. Be devoted to everything you do. And the more devoted you are, the bigger the response. Because the whole gets to work through you more, the whole works through you more thoroughly, more intensely, more completely. Of course, it does anyway. This is just talking about how to enjoy Buddhahood. This is just about how to let the conditions accumulate for a meaning that somebody would

[36:32]

be able to notice. If you really, and again, becoming proficient at the far promotes becoming proficient at the near. Becoming proficient at the near promotes being proficient at the far. They, you know, they help each other. Karl comes to mind who got very proficient at the far and didn't help him much at the near. I know what you mean, but I don't think Karl got proficient at the far, and I don't think he got... I think actually Karl got proficient at some of the near, like he got proficient at, you

[37:33]

know, he got proficient at speaking English, got proficient at speaking German it looks like. He got proficient at going to holy men all over the world and getting them to give him something so he would go away, but not proficient at more, you know, so-called mundane nears. So when I say become proficient at the far, the only way you can become proficient at the far is with the near. Because what I was hearing, what I was saying is, I know people who had some big experience and they got very confused. Right. So, what I mean by far is not something that... it's not an experience. Like... Albert. No, you're not sitting in a very good seat, but try it anyway.

[38:35]

Tell about Gensha's teaching. This story? Yeah. A monk came to Gensha and said, I understand you have a teaching. The whole world in ten directions is one great jewel. How is a student to understand this? And Gensha said, the whole world in ten directions is one great jewel. What does that have to do with understanding? So the whole world is one great pearl. That's the far. And my understanding of that, or my not understanding of that, that's the near.

[39:45]

So I should become proficient at my understanding of it or my not understanding of it, but also my not understanding of it I should become proficient at. I should look into and watch what it's like for me to be a not understanding monk. I should look at, you know, how I feel about orange buckets, the responses I have to orange buckets, sometimes known as yellow buckets. That is the near, and I shouldn't esteem or revere that, I mean, esteem or despise that, but I should become proficient at my own delusion. But my own delusion is also that I have an understanding, my understanding of the one great pearl, the one great pearl, that's my near thing too, that's my card dragon too. So I think what Karl did is that he split the near into two parts, the far and the near,

[40:53]

or the holy and the stuff that women should do. And that, of course, that keeps the far really far away. Every time you go like this and say, that's for women, and this is for men, women can't do it. Every time you do that, the dragon goes, you know, back to Salinas, and that's his spiritual crisis is that he's yearning to meet this wonderful greatness, this totality, which is so nice for us suffering creatures, to meet it, to dance with it, to be nurtured by it. This is what we all want, that's what he wants too. And when he brought energy to us, we responded, and that's what he liked. But every time he turned away from these lowly activities, we all backed away, you know,

[41:56]

and the big dragon backed away too. So I don't think Karl really ... we're all trying to relate to the totality, but we relate to it through the phenomenal limited activity. Each one of which is unreal, however, the bigness is constantly sponsoring more illusion. It never stops producing illusion, this is our connection. But if we confuse, you know, if we start splitting up the world of illusion into upper and lower and going for the upper and disregarding the lower, then we're, you know, esteeming part of it and despising another part of it and missing the point. What we should do is become adept at the upper and lower of the limited, the good and bad.

[43:00]

In other words, the adeptness is beyond the good and bad. It's just whatever it is, take care of it. If you really love totality, you'll take care of the limited. If you really want help, if you really want the conditions for your awakening to arrive, then we say, take care of the details. What details? The details of the world of illusion, the details of unreality, the details of that which doesn't exist. If Carl would back away from something and we would back away, that also means something else. Even that's an opportunity too. Yes. The opportunity. For both sides. For both sides. Did you see it working?

[44:02]

Yep. It was working. The whole was working. Completely. Totally. Happily. There's so many men, probably women too, in the world, who do the same thing, who split up the reality into, there's this whole, I mean a lot of people are doing that. Yeah. And they're creating something. And Carl was also creating something. I mean, he had some shininess to him sometimes. Yeah. So how do you explain that to me? What that is about? Study Carl. Carl. Just study it. Look at it. Watch how it's created. Watch how it works. It's not to be explained, it's to be studied. You want me to explain it so you don't have to study it?

[45:03]

No. No. You have to study the actual things that are created. Study them. See how they're created. That's our job. And studying them is not revering or esteeming. I mean, or despising. Studying is to study, is to take care. It's very difficult not to shift over into, if you're taking good care of something, it's very difficult not to get into esteeming it. And then also, if you don't take care of things, it's hard to avoid despising them. How do you take care of everything equally, with your whole life energy, each moment, without slipping off into these extremes? Because if you slip off into these extremes, you have a tendency to forget, in both cases, that what you're working with is empty. What do you say? That it's not real. Yeah. See, if you don't like it, you're saying it's real too.

[46:04]

If you say this is low class, you're making it real too. If you say it's high class, you make it real too. But if you avoid those two, and take care, and then even avoiding those two, and putting your whole life into it. Some people avoid them, and then they shrink into a ball. They say, well, I can't do either, I'm not going to do anything. But to put your whole energy forth in something, and not take either of these alternatives, that's not so easy. So, again, Suzuki Roshi says, practice Zazen without or free of gaining idea. Not maybe without, because it's almost impossible for us not to sometimes get it, but gaining idea means to esteem or despise. Despise, get away from it, esteem, go for it. And again, it's not so hard to not have a gaining idea when you don't make any effort. But to do a Sashin like this without a gaining idea, that's hard.

[47:06]

To put a lot of energy into something without a gaining idea, that's pretty hard. So make a great effort, and then also avoid those extremes, those two versions of gaining. That's something you have to work at, to get adept at, to get proficient at. I mean, everything we do has many subtleties to it. Putting a top on a garbage can, looking at a Buddha statue. How do you look at a Buddha statue? With blinders? Maybe so. Because when you look at it, what do you see? Do you see something over there? Do you see yourself? When you look at a garbage can, what do you see? Do you see yourself or something other? It's kind of subtle. Now you could say, well, when I offer incense, I'm not even going to look at the Buddha.

[48:10]

Well, that's a little bit of a cop-out. Can you look at the Buddha and face the fact that you have a tendency to say, well, it's me or it's not me, that I'm bowing to Buddha. But what's the sense of that? Well, it's really me, but it's not. It is and it isn't. And garbage cans are too. I have a pretty good feeling of how to work on the near in order to become proficient at the far, but I still don't see how you can work on the far to become proficient at the near. How can you work directly on the big picture? It makes perfect good sense that what is in front of my nose is what I have to pay attention to and look. Well, my first response is, in this school, I don't think you can work directly on the far,

[49:19]

but I think you do work on the far, in the sense of, how do you think you would have been able to do this practice all this time? Because you've been doing this practice, the far has been worked on and the far has helped you continue. Sometimes when you do something in your practice, formal practice or in your life, because you took good care of it, something met you. You don't know what it is, but something was there. It wasn't you, but it was you. You were working on the far, but you can't know you work on the far, because as soon as you know you're working on the far, it's the near. So, you work on the one bright pearl by working on this delusion, by not esteeming or revering greed, hate and delusion.

[50:23]

That's how you work on the far. And because you work in that correct way on the near, in that careful way on the near, you're working on the far, and the far helps you even work more on the near. The fact that you can continue to take care of the near shows that you have been working on the far. And the better you take care of the near, the better you take care of the far. But it would also be not correct, it would be esteeming the near, to think that the near was all that was going on. Because the near is transitory, undependable, a source of all kinds of suffering. That's what they say. Can you say that and also not despise the near? Yes, you can say it's undependable, transitory, painful, all those things, and I take care of it.

[51:27]

I don't despise it. But to esteem it and say it's permanent, it's pleasurable, it's dependable, this is also not going to work. Because again, then the reason why you're taking care of it is because it's all those good things. No, you don't take care of it for that reason. You take care of it just to take care of it. So you sit to sit. And if you sit to sit, then he sits to sit. And he loves that you're sitting to sit, and he loves that you're stupid to do something that you don't understand, day after day, year after year. And therefore, since you do something you don't understand, day after day, year after year, he or she keeps sending you support. You get these little supports. You don't even know you're getting them, except by the fact that you continue your practice.

[52:31]

What is your practice? Well, it's taking care of illusion. It's unshakable commitment to illusion. Like the illusion of sitting still. The illusion of a body, with crossed legs, sitting. Or, if you can't sit, then stand. If you can't stand, then lie down. For whatever you're doing, whatever your conditions are, become adept at them. You're actually doing them completely, moment by moment, anyway, because the whole is working through this thing. It doesn't mean you don't cry when you're doing it. Sometimes when I'm doing calligraphy, like for ordinations or something, I'm writing my name. I mean, I'm writing on the rocks or something, or on lineage papers.

[53:34]

And I write some really ugly characters. And then I write my name. The whole works. And I say, oh, thank you. The whole was also responsible for this. This is how the whole is working. The whole is making these ugly characters. It doesn't mean I let myself off. It's still ugly. And I'm still crying. But I can go on and make another ugly character. And maybe a cute one. My name is always a relief from what I'm doing. And always an encouragement to go on. Try again. Let the whole work again. As a matter of fact, when I'm doing calligraphy, I've found that feeling like I'm about to cry helps me write.

[54:37]

It relaxes me. It takes away the feeling that I'm going to do it perfectly. And if I try to do it perfectly, it doesn't work very well. So again, try again. Doing it perfectly means what? Esteeming it. Write your name, write your characters. Do your zazen without esteeming your zazen. Or despising your zazen. Can you sit that way? Can you do your best job without esteeming it? Without saying, this is perfect. Without saying anything against it. And just do your best to take care of it. Well if you can, then I say yay. I'd say this is called becoming adept at the near. And if you do this, this is called the arrival of energy. This is called the inquiring impulse. Knocking on the door of the big house by carefully taking care of your life

[55:41]

without esteeming or despising it. Without saying, this is a perfect knock. This is right on. Or, that was a lousy knock. Every knock is right on. What does it say? Inquiry and response come up together. As soon as you knock on the door, the response happens. Listen. Hear the response? You never miss. But don't call it a good or a bad hit. Good or bad is too much. It's extra. It's just the hit. Taking care without saying you're doing a good job, without saying you're doing a bad job, that comes after and before. It's just always, how now?

[56:43]

And now how? That's all you have to do. That's not esteeming or despising your actions. This is what we call just sitting, or just walking, or just whatever. So, yin and yang, after 20 years with Baizhang, goes and studies with Yaoshan. And so, Yaoshan is the disciple of who? Sikhi-tok. And Baizhang is the disciple of who? So these guys are both interested in each other because they, they're the main disciples, or two of the main disciples of really important teachers. And they want to know about how the other guy is teaching. So when yin and yang came over to study with Yaoshan,

[57:46]

Yaoshan was always asking yin and yang, what was Baizhang like? What did he teach? So, there's lots of questions like that. Well, what else did he teach? What else did he teach? What else did he teach? So, Yaoshan said, what else did he teach? And it's kind of like people come here and say, well, what did Suzuki Roshi teach? And Suzuki Roshi's students say, well, sometimes he said this, sometimes he said that. And one day he said, well, what else did he teach? And he said, well, one time he came up to the, up to the hall to give a lecture, and, and he, dispersed the assembly with his staff. And we don't exactly know how he did that. Would he sort of swung it like this? Or just holding it like this and sort of running at them like he was doing a pole vault? Or what? But anyway, with the aid of the staff, he dispersed the assembly. In other words, they weren't running for the doors. Bhajan apparently was kind of a skinny little guy.

[58:56]

But he had lots of big fat disciples, so they're all these big fat bugs. And then just as they got to the doors, he said, hey, what is it? And, so this is the story. Yaoshan said, Yuen Yuen told Yaoshan, and Yaoshan said, why didn't you say this before? Today, through you, I could finally see Brother Bhajan. At that time, Yuen Yuen, the sad boy, finally woke up.

[60:00]

Finally. After many, many years in that lifetime of sincere effort, very sincere effort, he was willing to ask the dumbest questions. He was willing to be the one who didn't know. Finally, he woke up too. So, we may be dumb for a long time, and we're really dumb, and we're not, we shouldn't pretend to be smart when we're not. Not to mention we shouldn't pretend to be enlightened when we're not. Even Suzuki Roshi didn't pretend to be enlightened. He didn't like to admit that he wasn't. He wouldn't get, he wouldn't get, I'm not enlightened out of him easily. But if he pushed and pushed, he wouldn't lie. But anyway, nobody's enlightened, except at a moment, sometimes, when somebody says, why didn't you say this before? Now, through you, I get to see Shakyamuni Buddha. I get to see

[61:05]

Brother Bhajan. So, it's through you people that people will get to see Buddha. Someday. Through your little activity, through your little storytelling, people will be able to see and to hear that which you can't hear with your ears. Through you, through your weird little body and mind, you keep being totally dedicated to the near, which is sometimes called

[62:07]

the mobile seat. That has nothing to do with sitting or lying down. Thank you. I intentionally creep and create every medium place where the true

[63:09]

merit of Buddha's way should go and stay unto one origin stay unto one form of pure state of truth. But so mutual state of truth is harmless I bow to awaken with them Illusions are inexhaustible I bow

[64:09]

to end them Karma is harmless I bow to end them Buddha's way is Illusions are inexhaustible I bow to end them is

[64:31]

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@Score_JJ