That state of mind perceived that all skandhas are empty. That's not perceiving in an ordinary state of mind. In an ordinary state of mind the five skandhas are not empty. You can kind of intellectually get the idea that they might be empty but to know it you have to be in a different state of mind. And if you know that You never suffer in the same way again. You suffer, you feel things, but it's always accompanied by calmness and joy.

[01:01]

Now that's the first four lines. Which of those words would you eliminate? Okay. That's quite a lot, don't you think, what we just did? Does anyone want to say anything about it? Yes, Luigi? Can you say a little bit what you mean with self? When you say all this is not self, I lack an image for the self. Can you give me one? Can you say that in some other way?

[02:13]

I don't know what you mean by it. You don't see the idea of self in form or you don't see where self exists. When you say form is not self, do you mean form is caused by something else? Form is caused by something else. It doesn't exist per se in the sense that If I look at this stick, let's call this form. there's a mutuality involved in it.

[03:15]

In other words, this stick has emerged. Something here has emerged. And we are present simultaneously. And we're not only present emerged, we're merging. We're present simultaneously and there's a mutuality to that simultaneity. And that mutuality is generated in participation with the form and with whatever this form is. Okay. So we can say that that form exists in this mutuality.

[04:26]

And we can say that without any idea of self. In other words, it exists in the realm of self, but not only in the realm of self. And this is the sense that your existence is larger than self. Self, if you perceive the stick through self, it becomes a version which is narrower than just form.

[05:28]

Now it depends how you define self and ego and so forth. And so if I think of it as my stick or your stick or a stick I like, then that's what I mean by self. But I don't have to perceive it that way. I can perceive it outside the boundaries of whether it's mine, yours, or how it exists, or what use it is to me, or so forth. So maybe we could say that each of these five skandhas has a subset of self-perceived.

[06:44]

That's why it says here in their own being, the five skandhas in their own being. Because in this sense, Each skanda has its own self independent of yourself. Maybe we could say it that way. It's like, Luigi, when we talked about in Rostenberg, that each thing has its own past, present and future. So form has its own past, present and future independent of self. And your feelings have their own past, present and future or their own self independent of the organizing self. Now, if this doesn't make much sense, then just think of this as another way of exploring self.

[08:03]

And if that doesn't make much sense, imagine that it's just another way to explore the self. Somebody else? Yes. Yes. I would like to ask you a question in this direction as well, but for me it is like this, that without self there is no form, that is, without me or that I perceive myself as a self, there is no form that I perceive as full self. So, full self exists insofar as I exist as myself. And if I let go of all appearances, then there is no self, but there is no connection between these two things. If I apply the sense of self, then there is my self and the forms of the self.

[09:30]

If I apply the sense of self, then I am selfless and the forms are selfless. This is my view of the self. Can you help me a little? My perception of forms is that if there is no reason, when I take reason, then there is a constitution of self, myself, then form has a self, himself. But when I don't take reason, There is no self in things or in forms. It's nothing. And there is no transcendence? Yeah, I think so. Well, let's try to put it another way.

[10:34]

Because these things don't actually exist very well in language. So we have to approach this in various ways. Now self mostly walks around within your perceptions and walks around within the history of your feelings. And self walks around differently in your feelings than in your perceptions. Your self in your perceptions and thoughts is more acculturated than in your feelings. There's more of a wild person walking around in your feelings.

[11:37]

Who the thought person tries to control a bit. You've gone too far, don't get drunk again. And so you can, practicing in this way, you can begin to shift into areas where self functions less. And the more you have that kind of experience, self has less of a hold on you and becomes just one way that you function. Okay. Now, what is your name, your first name? Bernhard. Bernhard, that's right. Okay.

[12:37]

Now, from the point of view of Buddhism, Bernhard sort of exists. And rich, hard sort of exists. Maybe it should be Bernsoft and Richsoft. So we don't know whether Bernd Soft or Bernd Hard or Rich Soft or Rich Hard is here. So in any case, something or other is here. But when I perceive Bernhard, when I apply my five skandhas to Bernhard, something arises between us which is Bernrich or Rich Bern.

[13:56]

And for a moment, Bernrich exists. And that has more reality than either Bernhard or Richard. But there's no simple idea of self in that. When the perception Bernhard Richard arises, it's not just Richard's self and Bernhard's self. Something arises which is new. And yet that which arises, which is new, which is part of the karmic chain of events, you have no reality except the interrelationships. Your reality appears when you relate to something. Your reality appears when your heart beats. And when various amino acids go do this and that in your body.

[15:13]

But if all that stopped, there'd be no Bernard. So right now, your identity arises in the midst of the five skandhas. So what actually exists is neither Bernhard nor Richard, but Bernrich and Rich Bern. And Bernrich is a little different than Rich Bern. But there's an interesting play in there. And that's the way teacher-disciples understood. I'm not the teacher and you're not the disciple. But if we have a real connection, a teacher arises which is that connection. And then you're the teacher and I'm the teacher. And I'm the student and you're the student.

[16:27]

But that's not an ordinary idea of self anymore. In other words, I don't know what I'm teaching. I'm just working on my Dharani memory. And you're making the teacher appear. And yet that which appears, Bern rich and Bern hard, no one can put in a box, no one can get hold of, you can't do anything with it, and as soon as we look the other way, it disappears. So the simple idea of self is not there. So that's another way of looking at it, is having... So the self that exists that's your self, when you really study it, is always appearing as something else.

[17:29]

And the more you notice that and become conscious of that, the more self and something else which is not self become a pulse of a larger kind of self. And then when you can shift out of consciousness, which is the territory, the walking around territory of self, And you shift into awareness, dropping body and mind. In awareness, there's no foothold for self. There's nothing to get hold of. So it often says, the Zen stories say, what about when there's nothing to get hold of?

[18:47]

It's Zen language for how do you function in the realm of awareness where self can't find a foothold. Okay. Now, a few minutes ago I said we've done enough. And what we just did from then to now was a separate teaching. Did any of you get it? And if you did, can you not try to understand it, just have a feeling for it? That's more important. Then if you can stay with that feeling and bring it back into other situations, That's using Dharani memory.

[20:03]

Which developing Dharani memory is essential if you're really going to understand something that goes beyond ordinary thinking. How are we doing? Okay. Still you have your body. Or something has your body. And still you have your mind or something has your mind. Or your mind has something. And you're quite safe. You're very comfortable. Just underneath every uneasy thought is a completely undisturbed thought. So you can kind of move from the disturbed thought into the undisturbed thought.

[21:08]

And if you really know that, you don't ever have to be disturbed in the same way again. So why don't we, before we have a break, take a moment of undisturbed thought, if it's possible. And remember once you feel settled, you're moving into a place where there's no movement. I'm trying to give you an imagination which doesn't sound so logical.

[22:32]

And an imagination that's useful. You're not not moving. You're moving into a place where there's no movement. Where no matter what happens, there is silence. Let that silence take hold of you.

[23:36]

Let the realm of no movement draw you into no movement. This realm of no movement exists within you and exists everywhere you are. So give into it. It doesn't hurt. But you just keep sitting or sit?

[27:19]

Ka Hanya Haramita Shinjo SONG CONTINUES ārā-mīta-dīśo-ken-go-aṅkāi-gu-dōi-saiku-yaku-śāri-shī-shikī-fū-hikū-kū pui shiki shiki soku zei ku ku soku zei shiki ju sokyo shiki yakubu nyo zei

[28:31]

vi shi ze sho ho ku so fu sho fu metsu fu ku fu jo fu so fu gen ze ko ku chu mu shi ki Sāgyāshikī mūgannībīzacchini mūshikishokāmi sakuha mūgankāināishī mūi Shikikai mua mua myo yaku mua mua myo jinnai shi mua ro YAKUMUROSHI JENMUKUSHU METSUDOMUJI YAKUMUTOKUIMUSHOTOKO BODAISATAE HANYA

[29:57]

NITAKOSHIN MUKEGE MUKEGE KOMU KUFU ANRI ISAITENDO MUSOKU GYONE HANSANZE Butsu e Hanyahara Mitako Tokuanokutara Samyakusambodai Kochi Nya hara mitas, hei dai jen shu, hei dai myo shu, hei mu jo shu, hei mu to do shu no.

[31:07]

isaiku shinjutsu fukokosetsu hanyahara mitashu sokusetsu shuotsu gyate gyate ara gyate haraso gyate Bo-ji-sa-wa-ka-han-ya-shin-gyo Please sit any way that is comfortable for you.

[32:17]

But not right now. What I'd like us to do is to look at the Japanese-Chinese version. You can see that this kind of mixture of Japanese-Chinese Sanskrit is basically syllabic. Syllabic means that each unit is one vowel and one consonant, making ka, ki, ku, ke, ko, ma, mi, mo, me, mo, etc.,

[33:28]

So maha becomes in this maka. And prajnaparamita becomes hanyaharamita. And sutra is shingyo. Okay, now I'm going to say each syllable or each word and just look at it for now. It's pronounced virtually exactly as it's written. And in Japanese, or in this kind of chanting, each syllable is about the same weight.

[34:42]

There's not an emphasis on one syllable more than the other. And... Okay. Kanji saibou satsukyo jinhanya hara mitaji. Can go... No, don't say it, please. Don't say it. Just let me say it. Go... Kanji, Zaipo, Satsugyo, Jin, Hanya, Hara, Mita, Jisho, Kengo, Onkai, Kudo, Issaiku, Yaku,

[35:47]

So it's quite obvious. So, and generally you can hold it anywhere you want, but in general, everything has a yogic posture to it. We usually hold it with our two thumbs and small fingers, and you hold it up. But with this piece of paper, I don't know, hold it any way you like. And we usually hold it so that, like in Zazen, there's about an egg egg-sized space under your arm.

[37:05]

If you could support an egg in your armpit. A raw egg without dropping. Okay. So I'll do the introduction. And then you guys start. And I may use the mokugyo. This is called the heartbeat of it. I didn't bring the hitter somehow, so I'll have to use this. Okay. Maka Hanya Haramita Shingyo Hanji Saibosatsu Kyoji Hanya Haramita Kisho Kendo

[38:20]

Kaiku Doris Paiku Yakusha Shishiki Kurikuku Kurishikishiti Soku Tei Kuku Soku De shikidu sokyo shikiyaku bunyo de shari shi shi shoku shoku shoku desu fu I want to be a priest I want to be a priest I want to be a priest

[39:32]

Thank you for watching. Thank you for watching. Let's know who she is, [...] who she is. He took a shield to take away from the Lord.

[40:48]

Satsang with Mooji Satsang with Mooji Nyaku Sampo Daikoshi Hanyaragi Taseyani Shin Shusei Daikyo Shusei Mujo Shusei Motodo Shunojo He's a good shit. That's a good girl. Oh, yeah. Oh, yeah.

[41:58]

Oh, yeah. Oh, yeah. Oh, yeah. You must have been Buddhist in previous lives. He really did that like pros, like professionals. Now, a quality of chanting in this tradition is you don't form the words with, or you very little form the words with your lips.

[43:03]

And you're not projecting the sound out. You're more or less chanting inside your mouth And you're chanting with an energy that comes up from the lower part of your body up through your chest and into your mouth. So it's sort of... I feel it in here. It's in my mouth. Do you hear it in my mouth? And that's actually what... The practice of overtones is about... Buddhist chanting is really about producing overtones. If you get good at it, the overtones are the definitive level of the chanting, and the chanting itself produces the basis for the overtones.

[44:13]

So it's not like Gregorian chanting, it's not singing. And it's monotone. And it's monotone. And it's meant to create a certain kind of state of mind. It's not a thinking state of mind. So it's good to after a while know the Heart Sutra by heart. So know it through your body or by your body, so you don't have to think when you chant.

[45:30]

And most Japanese people don't know what all this stuff means anyway, so don't think they understand it and you don't. And as you probably heard me, you just breathe in the middle. If the breath comes, you just breathe. You just breathe into what you're doing. So I always have to tell you, you also cough, sneeze and snort into it. You're not trying to make special, just what you are is in it. Man versucht es also nicht zu etwas Besonderem zu machen. Das, was man is, das bringt man hinein.

[46:36]

So, for example. You don't have to translate that. Thanks. So you get a bunch of people just chanting, everybody's blowing their nose, you know. Now, also, one other point to make is that you hear You don't merge your voices with everyone else.

[48:06]

You chant quite independently. You chant with your ears so you can hear each other person. I should be able to hear each individual person in the midst of the whole. So your voice doesn't disappear into the hole. The hole is created by my being able to hear each independent voice. And you just sort of forget who you are and you just throw yourself into it. Losing all self-consciousness. You're gone, gone, gone beyond. Okay, so we'll chant it again.

[49:07]

But not just now. Maybe we'll end the day. If anybody, by the way, has the proper hitter at home, you could bring it to me. Otherwise, I have to Federal Express send...

[49:40]

@Transcribed_UNK
@Text_v005
@Score_75.05