So I'm going to assume that we're all here to try to understand Buddhism together. Obviously, we're here to practice something together. Might as well be Buddhist. Yeah. Maybe you came here to sort of step out of your life for a while. That's probably a good reason to come here. Or maybe you came here to step into the waters of the Sangha for a little while, a week. And that's also a good enough reason to come here for a Sesshin. But, yeah, we might as well also at the same time see what we can understand together.

[01:03]

And it's clear that for some reason, understanding proceeds more fully when we practice with others. Then when we practice by ourselves. Why this is true is not entirely clear. But I'll try to make some of what seems to me reasons why clear. That wasn't English, but it was translatable. Yeah. So the last, I mean recently, maybe the last couple of years, I've been trying to make emptiness practicable.

[02:41]

Among the, what, maybe big five or something like that, zazen, mindfulness, samadhi, when we understand it as concentration, mind, emptiness, Among these five, maybe emptiness is the most difficult to understand. Or we think it's the most difficult. And maybe mind is more difficult. But we think we understand what mind is, or sometimes we do. But we can get a feeling for mindfulness practice right away.

[04:11]

Zazen, it's something we do. And again, samadhi, we know what concentration is and they're closely connected. But emptiness, that comes from somewhere else. But, you know, maybe I've spoken about emptiness enough. And we should come back to Zazen itself. As I spoke the other day of merging with the particular. Of merging with your own posture.

[05:16]

Mm-hmm. But what is the particular and what is merging? Partly in your sitting it's just letting go. And not following your thoughts. And letting... something like your body take over. I want to bring a phrase into our session this time, which is, this very mind is Buddha. Now that's a, there's a koan, there are koans around this phrase.

[06:43]

But I mean, I must have gotten it from a koan, but it seems so natural to me that it's a phrase I practiced with in the early part of my practice. And I remember I gave it to someone who was quite devoted to practice. But he couldn't make use of it. So I gave it to him again. Couldn't make use of it. And I actually found it hard to believe he couldn't make use of it. Yeah, because it seemed, it seemed, it had been useful to me and it seemed so natural to me. If this practice of Buddhism is real for us in your life, in this generation, Buddha has to be somewhere around here.

[08:07]

And if it's you who's practicing, it must be somewhere around you. And the traditional Mahayana Buddhism says it's already you. So where are you going to look for it? If it's around you, somewhere near, or already part of you, You know, if I take the right posture, I look like a Buddha statue. I mean, maybe. After Geralt straightens my posture, and Beate paints me gold, I'd probably perish if you painted me gold. So I have to try something else.

[09:17]

So I tried this very mind is Buddha. Now it does make a difference if you bring some phrase like that into your sitting. This is called in early Buddhism, Bodhidharma's time, merging with principle. In the earliest alchemy of Zen, you have to merge a view of practice with practice. Yeah, so such a view could be this very mind is Buddha. And this phrase is like a jewel, a gem.

[10:20]

Und dieser Satz ist wie ein Juwel. Your activity shines off it. Eure Aktivität scheint von ihm, aus ihm heraus. Your attitudes shine, reflect in it. Und eure Ansichten, die reflektieren sich in ihm. That is if you hold it and repeat it. Das ist wenn ihr es halten könnt und wiederholt. Now this fellow I gave this phrase to, at some point I realized he did practice. I mean, he did practice, yes. He did practice as an activity. No, he did practice, but in English that just means he practiced. He did practice as an activity. Er praktizierte, als ob praktizieren eine Handlung, eine Aktivität sei.

[11:59]

But he didn't have the ability or the interest or something to see the ingredients, the numerous ingredients in the repetition of a simple phrase. Aber er hat nicht die Fähigkeit gehabt oder... Well, in this case, in a phrase, yeah. So I recently gave you Zazen instruction, which I suggested that you feel your body as a series of spaces.

[13:01]

And I think if you try it with a little different language describing what you do, You'll feel your posture differently. So you have a kind of alchemy here. We can't separate ourselves from it. or we can't avoid it. So we're maybe looking for a slightly different way to describe ourselves to ourselves. So we change the alchemy. So I said imagine your body as the space of your body.

[14:17]

Your foot as the space of your foot. And perhaps make your foot into space. See if you can increase the spaciousness of your foot. Your sole goes... Your sole? S-O-L-E goes outward. The tops of your foot go... Well... Downward on my foot right now and upward if you're standing. Take the space of your legs as a unit. And feel the space of your legs folded together if they are. and then lift that feeling of space into your hips and then widen your hips a little and widen your gut and back a little

[15:37]

to receive the space of the legs and then bring that space of your hips up into your stomach area And likewise, all the way through your body. You yourself can discover what areas you want to open up. Chest, ribcage. The backbone can open the space of the backbone, sideways and lengthwise. You can open the shoulders.

[17:00]

You can open the lungs up into the shoulders. Your neck and then the face. And then, as I pointed out a couple of times, the cheekbones are for some reason very important. And then the skull. You can visualize your skull as imagining a skull of a skeleton. Feel the space of the eye sockets. And up to the top of the head. Even feeling a space opening out from the crown of the head. And though I didn't mention it, don't forget the arms and the space of the arms and hands.

[18:08]

Strangely, at least strangely to me, the way you think of your body changes your experience of your body. And the experience of your body changes your body. So such a simple thing affects your body. affects your body and the experience of your body and your body itself. And affects the way you can penetrate your body. And affects the way, well, mind can penetrate your body.

[19:09]

or permeate your body. Now, one of the things in the Prajnaparamita Sutras, they speak about the signs of space. What they mean is the various experiences of space. And beyond that, experiences of space that you have never had before. So you begin to notice ways in which you experience space. Which are signs of your developing practice. Signposts even of the direction of your practice. So if you

[20:25]

say, and just now as we went through that or at some period of zazen, you open up your posture in this way, you'll also find there's a simultaneous greater penetration of your body by mind. And if you develop your posture in this way, move into your posture in this way several times over a week or something, You'll find unexpectedly your zazen changes a bit. And you'll move into your zazen, into your body in a...

[21:46]

Yeah, a little bit new way, perhaps. Okay. Now, one of the differences between Yogacara practice and Do you think she should have a blanket over? If she wants to do it, she's all right. One minute. One of the differences between... I'll go on, okay?

[23:34]

Okay. Maybe someone walks with you? Dieter, will you bring her her glasses? One of the differences between Yogacara practice and Madhyamaka practice is Yogacara practice tends to merge experience with mind.

[24:48]

In Madhyamaka practice tends to merge, dissolve experience into emptiness. Just dissolve. Dissolve experience into emptiness. An emptiness practice is really the entry to it is to see things as impermanent. Now to do that you need some applied thought. And again the Prajnaparamita Sutras talk about the first stage is applied and discursive thought. The first stage of practice is applied in discursive thought.

[26:22]

So if you want to have an entry into emptiness, you applied thought means you bring to each experience a wisdom phrase or a thought. You bring to each experience a thought. And you make a choice of what thoughts you bring to it. So in this case the main entry is the thought of impermanence. So I have a habit of seeing this floor as permanent. I mean, I may know as knowledge it's not permanent. It was hidden under a dirty rug here for years.

[27:32]

And we took the rug up and found this permanent floor. But I still can know it's permanent. I mean, I can know it's impermanent. But in fact, I always treat it as permanent. And the knowledge that it's impermanent means almost nothing. You have to treat it as impermanent. That means when you step down onto it, you step down onto it as if it might not be there. And you can see that people who practice and have some mature practice walk in a little different way than other people.

[28:40]

And one of the things that is reflected in the way they walk is there's a sense that the floor might not be there as I step down on it. And then this develops a lot of trust. Because if it's not there, you now get to trust it is there, so you develop trust with each step. Well, you just remind yourself in any way you can that everything is impermanent. And after a while, with such a habit, the world always looks fluid.

[29:42]

It looks like it's coming together all the time. It always looks like possibilities. It could always be a little different, but it is the way it is. Okay, so Majamaka practice has that kind of emphasis. Of course, Majamaka and Yogacara are very similar, but the emphasis in practice is different. Yoga chara practice would tend to see my mind seeing the floor. Then I see the sameness of my mind seeing this, that and the other thing. And I tend to merge objects with mind rather than dissolve them into emptiness.

[30:56]

Because practice, when you go beyond just seeing things impermanent, you actually dissolve them into emptiness. But I've talked about the varieties of that kind of practice enough. So now I'm staying with this phrase, at least for much of the session, I hope, of this very mind is Buddha. Now you wouldn't say mind is Buddha. It's not interactive. Mind is Buddha? No, that's probably not true. but this mind at this moment and very I don't know if you have the same feeling of the word very in German because very in English has the meaning of same this very book means the same book

[32:46]

And very also has the word vow in it, or faith. And it also has a sense of truth. It's true. And it also has a feeling of truth and it is true. So when you say this very mind is Buddha, in English you feel faith, something that's same and something that's true. So when you say this very mind is Buddha, it contains something of faith, faith and truth. And it's the same as, it's the same and it's true. So mind is the same as Buddha, mind is true, mind is a kind of activity, a vowing.

[33:49]

Sorry. Okay, it makes the, when you say this mind is Buddha, it's just an equation. At least in English, if you say this very mind is Buddha. And if you say this book, that doesn't have, that's just pointing out the book. But if you say, this very book implies an activity, a relationship to it. So a phrase like this works in English? I don't know. You might have to find your own phrase in German. It does work in German? Yes. Okay. How do you say it in German? I'd say something like, exactly this mind is Buddha.

[34:57]

Okay, good. Something like that. Yeah. So when you do qin hin, you're just walking slowly. And some of you are new to qin hin, I noticed this morning. And, you know, we step forward on our exhale. Half a foot. And we lift up with our heel on our inhale. And step forward on our exhale. And we keep our feet that far apart. And when you do that You're bringing breath and body into coordination, of course. But you're bringing your mind into your body.

[36:05]

You're bringing your feet from down there up into your body, into your mind. And then when you bring energy into your posture, so by feeling, tightening up the back of your leg and feeling energy going up the back of your leg into your head, then you're bringing energy you're intentionally bringing energy into your body. So in a way, the practice of kin hin, slow, regular kin hin, is a practice of, in a way, this very mind is Buddha. You're beginning to discover or experience mind in the whole of your posture while you're walking.

[37:16]

And it sometimes makes your eyes cry. Your eyes are very wet after K'in Him. Many people have this experience anyway. So I think the last thing I would like to say is we bring our attention to our activity. To our kin hin posture. And it's slow enough to be outside normal thinking behavior. And since it's not the way we habitually walk, Outside of habitual walking, we can penetrate the posture with fresh mind.

[38:31]

Not our usual habitual mind. So you can feel mind in your posture. But then we start missing our usual mind. And we hope, because we're getting a little bored, we hope that Eno says, fast walking, Keaton Eno. Because then we can distract ourselves and our habitual mind can be more present. So it's good if we need the energy to do fast or regular walking qin hin.

[39:31]

Yeah, but the practice of bringing mind into our posture is more powerful in regular slow qin yin. And finding how we can suffuse our posture with mind Or with energy or with both. What's suffuse? Suffuse means to soak, to penetrate. Trinking? Yes. Okay. So to suffuse? Our body with mind or energy or both. So if we can find out how we can drink our body with spirit, energy or with both, Now, in a similar manner we can bring our attention to our breath.

[40:48]

And I want to point out that we can bring our mind loosely to our breath. Or we can bring our mind strongly to our breath. Or we can bring our mind fully to our breath. Yeah, now if we're honest and practical, that's actually what we're doing. And please notice that that's what you do and it's okay. Don't think, I failed because my mind isn't fully in my breath. No, this is quite normal and natural. Sometimes our attention or our mind is loosely in our breath. Sometimes strongly.

[41:57]

We can feel that. And sometimes fully or exactly. Now, in fact, there's a kind of dynamic to the three. And it's somewhat similar to in the Ginn in the Prajnaparamita Sutras. modes of penetration, described as weak heat, medium heat, and strong heat. So in here I'm trying to give you the feeling of your mind being loosely in your breath. Strongly, sometimes, and sometimes exactly, fully. Now, if we emphasize one, say, like being strongly in your breath, The I-person is still there.

[43:16]

The I-person is doing it. Now, as long as the I-person is doing it, you're still in the realm of the I-person. What we want to get to is 1 plus 2 equals C. Where we want to go is 1 plus 1, 1 plus 1 or 1 plus 2. So 1 plus 1 or 1 plus 2 is equal to C. Or 1 plus 2 is 3. Yeah, but that's boring. We want to change categories. And one plus two equals seven, that's interesting. And it's more interesting when one plus two equals G. Or maybe A plus B equals 43.

[44:24]

So we're trying to, if you find yourself in these three of loosely, strongly, and exactly, at some point the breath itself takes over. And the breath becomes the agent of the activity. And the I-person sort of disappears or gets less. And then you begin to be directly. So just notice as you're practicing. Notice loosely in your breath, sometimes strongly, intentionally, and sometimes precisely, fully.

[45:39]

Now, in a similar way in each situation, Notice when you're loosely present in a situation. When you're more strongly present in a situation. And when you're exactly, not more than fully, exactly in the situation. Exactly in the present situation. This is also merging with the particular. So I'd like you to discover what happens when you notice these three. Ich möchte, dass ihr entdeckt, was passiert, wenn ihr diese drei bemerkt.

[46:51]

Then when you occasionally taste being exactly present. Und wenn ihr gelegentlich schmeckt, wie das ist, wenn ihr exakt... And then when you also feel the dynamic of shifting to being loosely present or more strongly present. And you let that start to breathe you, start to live you. Some effort like this I'd like you to make this week. And I brought up a lot of things this afternoon. Which are kind of dangling. And I'll try to tie up a few of them in the next days. Maybe you can tie up a few. Maybe we'll leave some untied. That's more fun maybe. Anyway, I'm glad to have seven days with you.

[48:10]

We have a chance to let things percolate. Percolate? Anybody know? By coffee percolates, it comes up and bubbles through. Yeah. Okay. Thank you very much. May Christ the Father, who is in heaven, have mercy on us, on all beings, and on all things, and on all things, and on all things. And I think that's a very important thing.

[49:32]

I think that's a very important thing. I think that's a very important thing. Choir singing.

[50:43]

Choir singing. O Rai, O Shem, Shetzel, Yehosh, Geshi, Itake, Matsuran, Adon, Shethol, Yehosh, [...] How do we engage with practice?

[52:29]

I want to find some way for us to engage our practice. And of course, by sitting Sashin, we're doing that. How can we also engage the practice which has led us here? Your own life and also the tradition of practice which has drawn us to it. You know, I feel something in my own practice. And I feel something in your practice, not just today, but in the Dharma Sangha practice over months or years even.

[53:44]

And of course I feel something in the Sashin in particular. So having these various feelings coming together in the Sesshin, I then wonder how can I engage these feelings with our traditional practice, with the tradition of practice. So often I pick a koan or I... pick a sutra and sort of rummage around in it for some engagement. A sutra.

[54:47]

And this time I chose to rummage. You know the word rummage? It's like walking around? No, no, no. Rummage is like you go in the garage and rummage around in the junk trying to find... Yeah, it's not like drinking a lot of rum. Yeah, you're pretty rummagey. So this time I chose this koan, which I think is number 30 in the Mumonkan. And I picked the Prajnaparamita Sutra in 18,000 lines. I figured 18,000 lines gives me enough territory to look around. Yeah, so we can start with... Well, let me say, sometimes I meet somebody, I find myself talking to someone who's a relative stranger.

[56:21]

Yeah, I hardly know the person. But during the conversation, I suddenly find I feel a bond with this person. I feel some trust of the person. And it's usually not something I'm doing. It might be, but mostly I feel it from the other person. So I try to notice, what's happening here? So it may be different things, but one thing, for example, is the person is standing in some upright, confident or relaxed way. And they're taking their time.

[57:32]

And they're actually listening to what I'm saying. They listen in the middle and there's even a listening after I finish speaking and before I finish speaking. And there's an actual response to what I said. So suddenly there's some kind of contact. And because Because the person takes the time to actually listen. And not go rushing ahead because they understand.

[58:36]

I had a friend once, I don't see him much anymore because he lives in California. Who is extremely intelligent. And it's fun to talk with him. But it's often annoying. And it's fun, but you rarely have the experience of being understood. Because literally, I mean, two words of a sentence are out of an 18-word sentence, and he's responding to it. And he usually knows 17 of the 18 words before I say them. It's really like that. I mean, it's just amazing. He barely can say something and he's responded. And it's interesting because it's, you know, what he says is interesting.

[59:53]

But finally after 20 minutes I said, but you know, you haven't understood a single thing I said, wanted to say. Because understanding rushes ahead. into understanding and stays in the same mind so if you want to put a bend in a sentence which pulls you into another mind this person never gets that So this person almost could never practice Zen. Because you need the patience of doing, or as I've been saying recently, enacting the idea. So you need patience for the doing or for the embodiment, for the action.

[61:16]

I'll come back to this sense of teachings are understood through doing them, not through understanding them. So I tried to think about what would I say about this conversation with someone where you begin to feel trust or a bond. And then I thought, well, yes, there's some kind of interface. Or interface surface. There's some surface that appears in the contact with the person that both attend to.

[62:38]

So I thought, well, this is a kind of interface surface. It's not just the interacting, interfacing, but there's a surface that's created, too. So I created a new word. One to test Marie-Louise's imaginative translation. Which would be intersurface. Intersurface. Now I wanted to say that because an inter-surface or inter-surface is the nub or territory of bodhisattva practice.

[63:57]

Okay, now let me go back a moment to just some orioke things. Yeah, we do the orioke pretty well. And overall the feeling established is good. But I notice some little things people are confused about. For example, when you're served food, The first person served puts the bowl down and just stays in gassho. So one person, the second person served bows with the bowl and the first person bows with gassho.

[65:05]

And the logic of that is, the second person is also going to put his or her bowl down. But when you have water, when you receive the cleaning water, you both hold the bowl with the water. Because you're both immediately going to clean the bowl. Okay. And when you bow at breakfast and lunch, when you bow with the bowl with water in it, you put the Setsu in the bowl. And when you, in the evening, because it's too tippy, you just hold the Setsu beside the bowl and bow. And these are little ways of doing things together, of course.

[66:32]

And when you clean your Setsu, like everything, there's a pattern. If your Setsu is really dirty, you can clean it, scrub it, lick it, whatever you want. But in usual times it is just normally dirty. You put it in the water. and with your left hand you wipe the stick and you take it out and with your right hand you squeeze it and you put it back in and squeeze it a second time and then you turn it and squeeze it from the other side and then you put it in the cloth

[67:34]

And you dry it? And then you run it through the... If you don't get it right tomorrow morning, I won't mind. But there's a pattern. That's one of the things I notice most people don't have. They spend years squeezing. They get both hands squeezing. I've never seen anybody sort of do that. But you could if you wanted to. And you usually only, you don't do it with both hands, you just one. And if you have a huge set-suit, you might want to use both hands. And likewise, when you do the, clean the, if you have a little lacquer folding table, if there's a lot of

[68:40]

water on it or something, then you really clean it, but otherwise it's just three strokes and then one stroke. It's really not about whether it's wet or not, it's a kind of relationship. And those of you who have sort of something close to traditional Oryoki bowls. And your second bowl is about the same size as a traditional second bowl in the Oryoki. You should do the Maybe if you don't have the little mat, you don't have to, but you should do the putting away the Buddha bowl and just having two bowls.

[69:57]

In the evening. In the evening. Then you keep this cloth or... Well, if you have the, I guess if you have, if you don't have the little mat, then probably you should use the cloth. And you can just put your Buddha bowl to the side. But otherwise you wrap the cloth around the Buddha bowl and put it to the side. This is respecting. It's kind of like an appendix, a vestige of an ancient tradition of not eating in the evening. So we don't use the Buddha bowl in the evening. An appendix? I said something stupid.

[71:09]

Oh, yeah. Okay, sorry. The first time ever. Okay. Want me to start over? The last bit, yes. It's a kind of vestige from... Oh, this I got. Okay, that's all. Okay. Like our appendix is in a vestige. I know, that's why I translated it. Okay. Yeah, with the kinhin practice, I forgot to mention that our hands are held. Like that? With your elbows level to the floor. And the hands turned up a little bit. Or there's a more feeling of energy and mind in your hands. But we don't do it way up. Okay, that's all. Now, when I put on my okesa, you know, you do it with your body.

[72:31]

And when I take off the koromo, if I don't hang it on a hanger, there's a way of rolling it up and putting it down. So these are things which you do with your body, typical of a yogic culture. But there's a concept hidden in it. In other words, there's a concept of how the robe is made that is... that... that controls, of course, how it's folded up. So if I put the robe down and I pick it up any place, I end up with a completely mixed up robe and don't know how to put the thing on.

[73:45]

So I have to pick it up in a particular way so when I lift it, the robe opens up so I can put it on. My point here is that although you do it with your body, and you're not thinking, there's still a concept hidden in it. And if you don't pick it up right, you can see what happens. But if you pick it up right, the hidden concept is revealed. So a lot of teachings, most teachings are like this. unless you do them you don't discover the concepts hidden in them yeah you don't understand the teachings hidden in them so all these things I'm talking about you actually have to do

[74:58]

And do usually many hundreds of times, many hundreds of moments. So you have to pick what practices you want to do. And if you pick one, usually many other things are understood. So again, I realize you can't do all the practices. Not in one seven-day Sesshin. But you can take one and just pick one and do it. You have to discover what doing it means.

[76:15]

So we have this very mind is Buddha. Matsu said it. Somebody recorded one of his lectures. Said you must believe that mind is Buddha. That's the starting point. And then he said, and that this very mind is Buddha. Yeah, he said that the Lankavatara Sutra says Buddha is the essence of mind. Essence of mind. Buddha is essence of mind. Buddha is the essence of the mind. So all these are efforts to give you suggestions of how to do this very mind is Buddha.

[77:22]

Like I said, this phrase is like a jewel or a gem. Wie ich gesagt habe, dass dieser Satz ist wie ein Juwel oder ein Edelstein. Wie die Diamantensutra. Das Interessante an einem Diamant ist, was er in Licht macht. Was er macht, wenn man ihn sieht. So somehow a phrase like this, even if we're not already enlightened, if we're not enlightened, there is this teaching and fact that we are already enlightened. It's a little bit like we're all lightbulbs. And there's no electricity going through the light bulbs.

[78:33]

But they could light up maybe. Maybe in an electrical storm, light bulbs light up briefly. So you can think of bodhisattva practice as bringing electricity around to the light bulbs. Or taking a phrase like this, even in a moonless night, it might discover a couple rays of moonlight. It might discover ways in which we really are already enlightened. So, first of all, it's the turning of a phrase like this. Maybe you get bored with this.

[79:45]

You've got more interesting things to do than say a phrase over and over to yourself. But it's the main skill of sudden Zen practice. The pedagogy of sudden enlightenment. Just now enlightenment. Something happens when you do the phrase. When you do the phrase. In this talk of Matsu's, he went on to say that this mind is Buddha.

[81:04]

There is no other gate. There is no Dharma gate. So there is no entrance except this mind is Buddha. It doesn't mean you have to practice with this phrase, but the larger understanding of what he means is there is no gate. Now again, I don't know if I have enough sesshins with you to make clear what no gate means. But you could start doing a phrase like that. Don't understand it, turn it into a phrase. And then repeat it. It's a weird kind of faith.

[82:05]

No gate, no gate. And he says, Matsu says, when you understand the emptiness of forms, you realize there's no birth or rebirth. So he says, just live according to your times. Dress in the natural way people dress. Eat food and sleep. And pass your time. And uphold the Bodhisattva life. Well, this is all you have to do. And believe and practice this mind is Buddha.

[83:24]

I added that last part. He just says, live according to your circumstances and spend your time thus. And spend your time thus. Okay. Okay. Now I'd like to speak about death, bodhisattva practice and some other things. But we only have maybe ten minutes. Maybe your legs wouldn't like all these things to be discussed. Mm-hmm. Basui, when he died, he sat up and crossed his legs in the lotus posture.

[84:41]

And he said to the people who practiced with him, he said, don't be fooled. Just look at this. What is it? Then he said it again. Don't be fooled. In a loud voice he said, just look at this. What is it? And then he calmly died. So death is a defining moment in any culture.

[86:09]

And there's a brilliant book by a man, a French man named Philippe Ariès, Ariès, something like that, called The Hour of Our Death. And he looks at a thousand years of Western culture's attitudes toward death. The concept of death, preparation for death, the hour of death, and so forth. And it changed a lot. Okay. One of the things that's happening with this phrase, this very mind, is Buddha. If we understand where Matsu was speaking from, because early Buddhism defined enlightenment and death as the same thing almost,

[87:16]

That in your lifetime you are enlightened with a remnant. with a corporal reminder. In other words, you still had a body and the traces of karma and stuff in your body. But what Buddhism did is define, say the defining moment wasn't death, it was enlightenment. And then when you died, you then had enlightenment without a remainder, without a corporal remainder. So enlightenment and nirvana were identified at death.

[88:37]

Now what Matsu has done in the period of Buddhism for him He pulled the enlightenment away from death into life and even pulled the idea of the completely enlightened person of a Buddha into this living moment. So we're now looking at the defining moment of our life is not death, not the sum of your actions, But enlightenment and Buddha is just now this very mind.

[89:48]

So it's a huge change in the way societies define themselves. And it's central to bodhisattva practice. So I think I should leave it at that. Because I want to speak about bodhisattva practice. and give you a sense of what a huge shift it is in the general concept of the world and even within Buddhism. And at the same time how simple it is. And what a natural idea. And how compatible for us. And simultaneously the basis for a Buddha life. Yeah. Thank you.

[91:14]

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