Anyway, it's great to see. So the point of what we're doing here is really just to learn it together. The best we can. Now, I've also heard a number of questions like, why are we chanting, why do we use incense, and so forth. Well, it's pretty much the same reason we hit glasses together when you toast. If you have a glass of wine,

[01:03]

You know, you have the feel of the glass. You have the color of the wine. You have the smell of the wine. You have the taste of the wine. You have all the senses but hearing. So you hit the glasses together, which makes a sound, and then all the senses are engaged. And then there's a complete feeling when all senses are involved. There's other explanations why it's called a toast and things like that. But this explanation I gave you is similar to why we have incense in the zendo.

[02:31]

And why we chant. So we're not just sitting silently. There's also the chanting. There's also the smell of the incense and so forth. And the bowing is not so much you're bowing to something. Bowing is really understood as something like bringing your feet up to your head. Making the body a kind of circle. But unless you're a gymnast, it's pretty hard to bring your feet up to your head. We could all try that in the morning, nine times. Quite a sight. Crash!

[03:46]

A whole new tradition would be started. But it's easier to bring your head down to your feet. But the point is to not have this sense of feet down there and head up here. Now, for a bunch of amateurs, we went pretty far yesterday. Maybe we have to take a break for a few days to absorb what we did yesterday. We can't expect to go so far today. Yeah, but But I can try to say some things related to what we spoke about yesterday.

[05:01]

Hakuin Zenji, along with Dogen Zenji, are the two major figures since the 12th century, since the 13th century. Hakuin Senji, der gemeinsam mit Dogen Senji so die Hauptfiguren im 13. Jahrhundert waren. Hakuin is a few hundred years after Dogen. Hakuin ist einige Jahrhunderte nach Dogen. Sie sind seit dem 13. Jahrhundert. Hakuin said that the the light of the great mirror wisdom is pitch black. Now this is a way of speaking about the transformative practice taught in the Sandokai.

[06:20]

And the Sandokai has implicit in it this teaching of the five ranks. Again, this is not philosophy, but a practice that gets you somewhere. Now, it doesn't get you somewhere like you have a goal. But gets you somewhere because there's no choice but to get somewhere. Everything is changing. Dogen, to try to give you a feeling of fundamental time versus derivative time, Derivative time is the time we share when we say, I don't have any time.

[07:33]

Derivative time is comparative time. Diese abgeleitete Zeit ist so etwas wie vergleichende Zeit. Drivative time is past, present and future. Diese abgeleitete Zeit ist der Vergangenheit, Gegenwart und Zukunft. Drivative time is the sense that time is streaming by us. Diese abgeleitete Zeit ist dieses Gefühl, das wir haben, weil wenn wir glauben, Zeit schwimmt dahin. Fundamental time, we can say, is more like a feeling of timelessness. Or a feeling of eternity on each moment. And more specifically, to give you a practice entrance into it,

[08:35]

Dogen calls it the not-yet-arrived moment. Each moment, no moment arrives. The best you can say about it, each moment is the not-yet-arrived moment. Today is Monday, right? In derivative time, today is Monday. Okay, now, it's okay, let's call this Monday. We are in the midst of the not yet arrived Monday. Isn't that true? You can't say Monday's fully arrived yet. Yeah, and even tonight at midnight, you can say, whoa, did Monday arrive or not?

[09:56]

So when you look at it in a big unit, you can see that Monday has not yet arrived. Wenn man das sich in einer großen Einheit anschaut, dann kann man erkennen, dass der Montag ja noch gar nicht angekommen ist. Well, we could say Monday is in the process of arriving. Aber wir können sagen, dass der Montag im Prozess des Ankommens ist. But is it arriving independent of us? Aber kommt der Montag jetzt unabhängig von uns an? We can only say it's arriving independent of us if we say it's not yet arrived. Because Monday isn't arriving until you feel a juncture with Monday. What do I mean by a juncture? I spoke about this the other day.

[11:10]

Say there's a big storm. In the middle of a storm, you wake up in the night, maybe. And you feel the black rain on the roof. Or you feel the wind. in the building, around the building. And you feel the storm. And it's almost like there's an aperture or a juncture with the storm. The storm comes into your body. Der Sturm kommt hinein in euren Körper. You feel yourself going out into the storm. Und ihr spürt, wie ihr hinausgeht in diesen Sturm. This tiny little experience is not to be brushed off. Diese kleine, klitzekleine Erfahrung, die soll man nicht einfach so abschütteln.

[12:15]

It may be thrilling. Das kann richtig aufregend sein. Then you go back to sleep. Dann schlaft ihr wieder. And you say to someone else, Oh, did you notice the storm last night? They say, no, no, a storm? It wasn't raining this morning. Well, they didn't have that juncture with the storm. Yeah, or maybe you hear fire... whistle, siren in the middle of the night. Or you hear the doves cooing around here. And I used to hear them all the time in Japan, very similar to here. And there's a kind of juncture or aperture and I feel opened up to

[13:24]

Japan and here simultaneously. And the ordinary sense of time disappears. Your mind and body can be filled with these junctures. It's actually tremendously satisfying. You don't have to wait for a vacation. Usually when we're thinking and all that, we don't notice these things. You don't have to wait for a big storm. Every moment is a juncture. A not yet arriving juncture. which arrives in you when it's a junction.

[14:44]

And you can have junctures with other people. Not just junctures with storms, but with a person you see them. This is similar to your feeling your continuity run through Dr. Berry. Or running through the doves. So if we take this day and say, this not yet arriving day, it arrives as us. Moment after moment.

[15:59]

So we can shrink this day down and say half a day, the not yet arriving half day. And we can say the not yet arriving noontime pretty much now. You can also shorten that down to a fraction of time, the not yet arriving, not yet arrived fraction of time. What arrives when you have a juncture with it? And then it's no longer time. Just this actualizing existence. So this poem, the Sandokai, is speaking about how you have this actualizing existence, which we can think of as branching streams flowing in darkness, simultaneously lit by enlightenment.

[17:23]

how this can be this ancient way of being which was ancient in Shido's time too. It's not just ancient for us, it's always ancient. So we can bring The Sandokar is a poem about how to realize this ancient way of being. Ancient way of being. In your life. Not someone else. Not somebody in the past. Everything is working everywhere to make this possible for you.

[18:50]

And this bringing attention in a way that establishes the mindfulness of this moment. This location, this place. Which any of you can do. This is the direct method of entrance. Okay, that's enough. Thank you. Thank you for translating. Mögen Sie sich in der Welt umarzen, jedes Wesen und jeden Halt durchbrennen, der sich nur halten kann, ist es oder weh ist.

[20:01]

Schub, schub, [...] schub. It would be essential for us, each of you, of this district, the people here in St. Augustine, each of you, to be prepared. There must be a reason for us, each of you, of this district, The way it is put, that is so unpretentious. It's the way it is so unpretentious.

[21:13]

Good morning, dear Noah. Yaku sen haba no nio ai lo koto gatashi wa arei ma en nishi jyuti sabro koto etari Ne ala kuwa nai no shin jitsu ni o deshi tate matsuran. Mr. Chairman, we have received a message from the Prime Minister of the United Arab Emirates.

[22:16]

We have received a message from the Prime Minister of the United Arab Emirates. We have received a message from the Prime Minister of the United Arab Emirates. Thank you for all coming back today for a tea show. I feel like a Southwest Airlines stewardess. I'd like to say thank you for flying Southwest. We know you have a choice of other airlines. But if you're flying with me, I'm glad you're here.

[23:18]

Okay. The same fellow person I spoke about earlier, who had this experience with the bear stare, He studied architecture. And he studied, one of his teachers was the wife of Moholy-Nagy. Moholy-Nagy was a Hungarian-born American who founded the Chicago Art Institute. And he was famous for experimenting with art and style and so forth.

[24:22]

And his widow seemed to continue the... this experimental mode. And she would come and give a lecture. I guess she did several times, lectured at this person's university. and sometimes while she was lecturing she'd have a slide projector going and she'd be sort of in a dim room speaking and the slides would be going But the slides were completely random.

[25:43]

They had nothing to do with what she was talking about. Other times she would come and she'd have a particularly beautiful orange and she'd put it right beside her and then she'd start talking. And I think he feels he learned more from her than any other teacher. Of some kind of field of attention. A contextual field. It was more than just the subject being discussed. I can't resist telling you another bear story, though.

[26:44]

There's nothing to do with what we're doing. A friend of mine who wrote the book Trout Fishing in America was camping up in the Sierra. And he woke up. There was a friend with him, and they were on two sides of the tent. And he woke up, and there was a bear in the middle of the tent. And at the far end of the tent there was a, not very far, but at the end of the tent there was a refrigerator. And the bear proceeded to open the refrigerator. And then looked around and found a big can of peaches.

[27:45]

And then proceeded to sit down on my friend's sleeping bag with his bottom between my friend's legs. And the bear proceeded to take this can of peaches. and bite it right down the middle and then rip it open. And then he sat there dripping peaches and eating them all. And my friend was lying there. And at this moment his friend woke up. And he went, And the bear jumped up and started running out of the tent.

[29:01]

And proceeded to drag the two of them and the refrigerator and the tent for about 30 feet through the camp. He said he waited about a year before he went camping again. Yeah. So somehow we've gotten ourselves into during this week How to do things in a yogic practice. So we're also looking at this text as something you do rather than something you understand.

[30:14]

Mm-hmm. So I gave you some examples of the background of the text. That its title is meant to say it shares but transforms Taoist ideas. And that it's assumed that the reader understands experiences that consciousness is a construct. And that also the text also assumes that you understand This is a dialectical and dialogical text.

[31:29]

Now, dialogical, by that I mean it's a kind of conversation with you. Which means everything's not at the same level. It's like you make a phone call. And you want to talk about something. So first you just say, I'm here. Particularly if you're in one of these portable phones with a bad connection. Are you there? Yeah, I'm here. Yeah, so first of all, you're establishing you're both on the phone. Then you have some sort of little thing like, how's the weather there in Dusseldorf or whatever. Yeah, so you do that so you can hear the person's voice.

[32:45]

Yeah, and then after you've kind of got the person's voice in your feeling, you may bring up some other topics or related topics just to get into what you're really going to talk about. Yeah, and maybe what the inconsequential things you say also have a kind of hidden consequence. So this poem starts out with, you know, the mind of the great sage of India. So clearly this poem is meant to bring us back to the source of Buddhism. Yeah, but it's also just giving a little history of this started in India.

[34:02]

Yeah, and we have things good and bad, and there's no good and bad in the lineage, etc. So this is a way of just getting the conversation started. Then you have to look at where the conversation really starts. And then you have to go back and see if, now that you know where it really started, if it actually really started in the beginning. That's what I mean by a dialogical or even conversational kind of approach to a text. Because it's trying to engage you. And then the text tries to establish a foreground.

[35:12]

In this case, by foreground, I mean the way you contact the text. The way I contact the seminar is through each of you persons. I'm not contacting I mean, there's a subject, but I really find out the subject after I introduce it and then I feel it coming back to me. So I don't really have a subject when I start the seminar.

[36:12]

I have a subject in search of a subject. Ich habe ein Thema in der Suche nach einem Thema. I start out with some subject, but then I see if you give me the subject back. Also ich fange mit einem Thema an, und dann warte ich oder schaue ich, ob ihr mir dieses Thema zurückgebt. What you give me back. Oder was ihr mir zurückgebt. So the text is doing something similar. Also der Text macht etwas Ähnliches. There are certain words which establish... the foreground. The most obvious ones that you picked up on right away are light and darkness.

[37:14]

But they're established, they're presented in ways which are not really clear what they mean. So first what you have to do is find out what those words mean to you. Now, not intellectually. Not by a dictionary. But how you actually use the words. Which means you have to make a kind of inventory of the words. Like I often suggest that you learn to make a distinction between feeling and emotion. Now, Chris, I don't really know how you use those words in German, but in English they're, for most people, virtually identical.

[38:33]

How are you feeling today? Well, I'm pretty angry today. But anger is not really a feeling. Anger is an emotion. But because we feel emotions, we confuse emotions with feelings. But because we feel emotions, we confuse emotions with feelings. And if you rather identify feelings and emotion, you can't understand the five skandhas. So the first step is to really notice how you use the word feeling, how you use the word emotion, and begin to see in yourself

[39:41]

a degree of difference. Once you see a difference in the way you use it, you can begin to peel the words apart and begin to use them differently. You can separate. When Marie-Louise gets acquainted with a new word, she can look it up in the dictionary, the English or German dictionary. But that doesn't really help too much. What helps is in the next weeks I see her using the word.

[40:50]

Sometimes she uses it in a very funny way. It sort of makes sense, but... But it's a stretch. But then she gets the way the word changes meanings in different contexts. Celtic. So when you come across what I'm calling a foreground word or a turning word in a text. You don't go back into the text until you've inventoried the word in your own experience. So really, you don't even read any more of the text for a while.

[42:00]

You just play with the words light and darkness for a while. What are your associations with it? And once you're clear how you mean the words, how you use the words, then you go back to the text and see if the text fits your meaning of the words. And it's more feeling than mentation. Mm-hmm. And somehow in this process you begin to understand what Shido means.

[43:09]

Because even if you have a Chinese dictionary, a Japanese dictionary, you can't tell what Shido really meant by the words. Words are contextual. The other day, some months ago, one of the persons who'd been practicing with me a long time, He gave quite a good lecture. He didn't make the mistake of having notes or something like that. But it was absolutely clear to me that he'd prepared the lecture and more or less memorized it before he came into the lecture.

[44:25]

And this person's had a lot of experience in business and foundation work and so forth. He's used to helping businesses develop their business plan and things like that. So he brought this skill to his lecture. And it was intelligent. But it didn't engage anyone. Yeah. And I spoke to Marie-Louise afterwards because she had to translate it. And what did you say? I said it's very difficult to translate because I can't feel him.

[45:38]

I have to translate with my ears and my mind what he's saying. I find when I have lectured in Holland, Where English is almost a first language, it's certainly a second language. They really want me to speak in English and not Dutch, obviously. I'd really make a mess speaking in Dutch. But they don't want to be translated. It's certain pride. But they don't understand what I'm talking about. So I stopped teaching in Holland, and I couldn't explain to them.

[46:48]

But unless they let me be translated, I will not teach in Holland. And I had this experience pretty strongly some years ago with Gerhard Knows, this group of Austrian psychotherapists I had been meeting with for, I don't know, 10 years or more. Most of them spent the whole day doing it, I stopped. Because I didn't know what to say. I couldn't feel them understanding me. They understood mentally, but they didn't grow up with the words, and the words weren't really in their body. They may have thought they understood.

[47:50]

But I didn't know what to say next. Because I don't prepare what I'm saying. I say the next thing I say comes from you. And if I can't feel you hearing what I say, I don't know what to say because I have no plan. I have a general idea. I might talk about this or that. People know I repeat myself often, particularly when there's new people. But I don't know what I'm going to repeat. You know, you may have heard it before, but I didn't know which of many things I might repeat.

[49:00]

I mean, sometimes I start out, Marie-Louise knows, I said, well, maybe I'll speak about such and such. The third sentence, I'm off in a totally different direction. Because for me, I only want to give a talk that arrives from this situation. Denn ich möchte wirklich nur einen Vortrag halten, der aus dieser Situation hervorgeht. Aus Respekt vor euch. Ich möchte euch keinen toten Vortrag bringen, den ich in meinem Kopf ausgedacht habe. But this sense of no cross-cultural, cross-contextual coherence is hard to really get.

[50:07]

Of course, sometimes you want to do things in a manner that has cross-contextual coherence. But not in Zen practice. Neither does the I think it's in David Chadwick's book, The Story of Sukershi, bringing tea into a guest. Into a guest. Bringing tea in for a guest who's into a room for a guest. It might not be in there, but maybe it is. It's in there. So Sukhiroshi, as a young monk, opens the door and brings tea in. And his teacher was a little bit rude and tough. And as he put the tea down and cookies or whatever it was, his teacher said, stupid, you opened the wrong door.

[51:57]

So he went out. So next day, he comes And brings tea to another guest. And these are sliding paper doors, you know. So he opened the other one. And his teacher said, Dumbkopf! You opened the wrong door. And later he said, What did I do wrong? He says, before you open the door, you should know where the guest is sitting. But you can't see into the room. Well, you don't learn this mentally.

[52:57]

You have to put yourself in a situation where you trust some feeling. So, I mean, I'm not making... There's some similarity to what I try to do, like giving lectures. If I have no plan in giving a lecture, I have to have sometimes the experience of failing sometimes in front of a thousand people. And if I'm not willing to take that chance, I'll never learn. And I've done that a few times. It's, I tell you, very, very, very uncomfortable.

[54:21]

There's a huge audience and lots of people and lights and I'm sitting there sweating. I don't know what to say. And that's the way it is. There are a thousand people and a lot of light on everyone. And I'm sitting there on the stage and I'm sweating and sweating. And I don't know what to say. I can't speak. Does anyone have a question? So I noticed, excuse me for saying so, that some of you have had little charts of how to do the bells, you know. Even after yesterday's lecture.

[55:21]

Even after I said the soto shu has made a huge mistake in writing down the sandalwood. You know, there's about 25,000 Zen priests in Japan. They're nice guys. I would be surprised if 10 or 30 do zazen regularly. And they probably have little charts with how to hit the bell. Because they've lost the embodiment. Naturally they're in contemporary Japanese culture.

[56:39]

Yeah, and most of them want to do it right. It's wonderful to want to do it right. But then you have cross-contextual coherence. I can say to you, I would rather you do this and I hear you learning while we're all here. You know, in the... Sandokai says, don't make standards of your own. If I say to you, just go out and do it. But you say, I want to do it right, that's standards of your own. That standard outside this situation.

[57:50]

Technically speaking, that means you believe in God. Because it means you believe there's an outside reality. There's some outside truth you want to conform to. Or a truth in some other person's mind about what's right and wrong. I asked Suzuki Roshi once, how many real Zen masters, Roshis, are there in Japan? And he was speaking about the 30s and 40s in Japan. And maybe the 50s, but he left Japan in the 50s.

[59:03]

And he said, maybe 10. Probably less than 10, he said. The spirit or practice of Zen means you have to be free of your culture and free of ideas like, I'm going to do it right or wrong or something. You just put yourself in the situation. You see what happens. Most people don't have the courage to do that anymore. They've all gotten, all over the world, our productive mentality.

[60:05]

So then it's hard to read a text like the Sandokai. Which might take you some months actually to actually do it, not understand it. But I would say that this sense of immersing yourself in a situation. It still exists in Japan, but particularly in the arts and in certain cultural things. But it's clear, mostly in the Zen schools, they've tried to formulate everything because very, very few of the monk priests are trained.

[61:26]

are trained. That's the problem with institutionalizing Buddhism, which is happening very rapidly in America and probably in Germany, I don't know. What are the forces of institutionalization? You've got 25,000 temples sitting in villages. All the villages want a priest. Someone has to perform the funeral ceremonies. So the Zen schools send somebody out there. You get your license at a hajj in about three months. And in other schools, six months or some length of time.

[62:51]

But it's generally thought, if you really want to do this, it's about ten years of incubation. Some people do do this. But often then you give up your temple or you give up, and there's a lot of money in temples, so it's a lucrative job actually, nowadays. When you went to visit Yamada Momon Roshi, if you just went in the temple, you left a hundred dollars. One man. That's good. If you talked with him and he actually saw you, you left ten man, about a thousand dollars. I haven't instituted that here in the States. No one would be here.

[63:53]

So the money piles up. And if you stay in the monastery 10 years or you stay with your teacher 10 years, the temple you could have had is given to someone else. Don't get me wrong. I love Japan and I like living there, I think, most of all. But it's easy for Zen itself to become formalized. And institutionalized.

[64:55]

And what often happens is a young man gets to be 30 or 35. He doesn't want to be a student anymore. He wants a brown robe in his temple. And for his own ego, you have to give it to him. Or he feels weak in comparison to other men. So very few people can actually say, I'm going to give up my career, I'm going to give up my job and just do this, whether it's successful or not. Now, most of you don't have the opportunity to just give up everything, particularly if you have children and things like that. But, and also I think as lay people you may have, because it's not your career, You may have more opportunity to enter practice in a pure way.

[66:12]

Just to do it. And when you have a chance to do it, you just do it without any goal. And if you had to inherit a temple and things like that, maybe you wouldn't have that freedom. So what I'm emphasizing is the way to practice is just to put yourself in the situation of practice. When you have the opportunity to do it. Just see what happens. It's one area where you don't have to plan or try to do it right. Yeah, you're informed, as I say, in this posture, you're informed by the ideal posture.

[67:18]

But mostly you just accept whatever posture you have. Maybe in this larger context where there's an orange or slides of the world gone by. You find yourself In another kind of world. Where the Sandokai is trying to get you to go. One of the things I've been pointing out is a lot of non-things.

[68:20]

Can someone tell me what time it is? I have one minute. I better plan. But we don't eat till one o'clock, right? Oh, okay. Yeah. Okay. Like a percept object. That's a non-thing. I mean, this is an object, but a percept object, you can't grasp.

[69:21]

When you practice with yourself as a six-fold object, you notice that you hear things. dann bemerkt ihr, dass ihr Dinge hört. You notice that you feel things. Ihr bemerkt, dass ihr Dinge fühlen könnt. There's a taste in your mouth. Es gibt einen Geschmack in eurem Mund. But is there anybody there? Aber ist da jemand zu Hause? You notice there's some kind of consciousness. Ihr bemerkt, dass es eine Art von Bewusstsein gibt. But there's nothing you can grasp really. Even though we call it a six-fold object. Let's see the Portuguese poet, Pessoa. See if I can remember what he said. He says, I am older than time and space. Ich bin älter als die Zeit und Raum.

[70:37]

I like that. Time and space don't age. Denn Zeit und Raum altern nicht. And Dogen says, fundamental time doesn't accumulate. Und Dogen sagt, die fundamentale Zeit, die häuft sich nicht an. It's always stopping. Die hält immer an. Now this idea of not yet come time. This is a non-object. A non-thing. For instance, if I say this is a non-book. Yeah, it's a non-book, but it's still a something. So a non-thing is not a no-thing. Yeah. So I don't say that a percept object is nothing. It's a non-thing.

[71:46]

It's a something that you can't grasp as a thing. Forget about the philosophical way of explaining it. If this is a percept object, you can sense that you can't grasp it. And for each of you, it's a different percept object. And originally, supposedly, it was a back scratcher. And as a back structure, it reaches anywhere. So it became a teaching staff because it reaches anywhere. Okay. So, intimately communicated, says the Sandokai,

[72:48]

And it speaks about many and one. One person, one person, many people. All of the things in the world. And then each particular. This means Something in between. Its intimacy is simultaneously one and many. That's a non-thing. Zhaozhou asked Nanzhuan, And what is the way?

[74:10]

Yeah. And Nanchuan said, not Buddha. Not persons. Not things. He doesn't mean, Nanchuan doesn't mean that it's in some other category than Buddha, things and persons. He says not Buddha, not mind, not things. So he doesn't mean some other category. He means not Buddha is the way. Okay. And I say not mind. I always say to you, everything points at mind. But if you grasp at his mind, that's not right.

[75:17]

So now, not mind. Not thing. So if you think of this as a thing, you're not on the path. If you think of it as a not thing, you're on the path. But again, let's make it more practical. Just think of it as a percept object. That's a not thing. So we could think of the not yet come time. Or maybe think of it as a bubble. A bubble of unrealized time. For the not yet arrived moment arrives as a bubble. Ready to be time. Here, I'm here, I'm ready to be time.

[76:54]

So you say, beautiful, and you grab it and it pops. And it's gone, it's no longer time. Where did it go? So it's always not, time isn't something you can grasp, it's always appearing and disappearing. Anyway, so Pessoa says, I am older than time and space. Because I am conscious. And he says, things derive from me. Isn't that true? This staff arrives from me because I see it as a staff and not only a backstretching. It has no name.

[77:56]

It's only as I use it, it has any reality. I'm older than time and space. Aren't you relieved? Because I'm conscious. Things derive from me. If I said to you, what is it? You should just pick it up. And if you want, you give me a hit with it. I don't care. You might give me a hit back. Okay. And then he says, the whole world appears in my sensations. Isn't that true?

[79:01]

Home world appears in my sensation. But everywhere I seek, I can't find me. Says Pessoa. He didn't study Buddhism. But he knew this. And you know it, not intellectually, but because he sought and he couldn't find me. Sought is to search. So maybe we're making a little progress here. One step here. I hope not. Ich hoffe nicht. Vielen Dank.

[80:01]

Thank you. I want to go first. I want to go further. Oh, say can you see, by the dawn's early light, You're so low, you're so, so low. If you have made sense of this, I'd love to see some of it. If you've given some of us the strength, I'd love to see some of it.

[81:07]

I would like to send you to the Lord with all my heart and soul, because the Lord is good enough to reach you through your problems. Ujo jenjen mimyo no wa Yaku senman wo niyo wa yo Goto katashi Satsang with Mooji Satsang with Mooji negawa kuwa nyorai wo shin jitsu nyo geshi tate matsuran

[82:24]

And we'll give you a few of them. We'll give you a few of them. We'll give you a few of them. We'll give you a few of them. I wish I could make my words not understandable to you. I'm grateful that we start chanting in Japanese, which no one understands. There was a time when I changed everything into English. But it felt so dead, I could hardly give a lecture.

[83:29]

Because everyone's minds went toward understanding. Yeah, I went into the groove of understanding. Which is the groove of our particular history. And I want us to get us out of our history. Out of the history, this particular flesh we generate. Flesh. Yeah, when you start out chanting, you know, in German or English only,

[84:34]

Then your mind expects my words to be understandable. Then I don't know what to say. So I'd like to put barricades around my words. Piles of big stones, so Even if you climbed in, you couldn't find the word. And maybe two or three fences around each word. I'd like to make it work for each word. But I have to use words you partly understand or I couldn't speak at all. But we have such a tendency to want to understand. Without knowing Without relying on today's situation, how can we understand yesterday's dream?

[86:13]

We understand understanding as something like putting away. We understand something, oh now that's over. You understand a mathematical problem and then it's solved. So you can put it away or put it behind you. So maybe rather than understand, we want to stand away. Stand away. I don't know what it means, to push away. Maybe the Latinate word in English, comprehend... which is more like to encounter and stay in the midst of.

[87:41]

I would like to understand the mean to lead you forward. Yeah, maybe appreciate is a good word for understand, a better word. Or to absorb. Yeah. So, I mean, when I use the word silence, I mean fine sand. sand in which each grain is a whole world.

[88:42]

Or sand in which each grain lifts you up. So if I say silence, You don't understand that? You don't have time to understand. Silence, yes, I know. No sound. But by silence I mean a world in which everything is held in velvet, maybe black velvet. Or silence is a space in which everything has its own time. Space for its own time. And through practice we notice, many of us will notice, that each thing has its own time.

[90:16]

And one of the fruits of mindfulness is that we are filled with appreciation. To notice something is to appreciate it. Yeah, and when I use the word time, I don't mean coordinated time. Machine clock time. A mechanical time. Which we all, so many of us, regulate ourselves by. And it tends to kill our human time. It locks us away from the many kinds of human time. As well as the time of other beings.

[91:31]

Ivan Ilyich has a... home by a Spanish poet that Illich likes a lot. Which goes, he says, the poet says, the poem says, I'm a bit moon and traveling and a bit traveling salesman. Already this is taking us out of our usual way of thinking of ourselves. I'm a bit moon and a bit traveling salesman. And my specialty is finding those hours which have lost their clock.

[92:42]

I know some hours which drown themselves. And I know a cannibal which eats them. And a bird which eats them too, swallows them. I know another bird which writes singing commercials. So part of our practice is to find those hours which have lost their clock. So I'm not interested really in synchronized time.

[93:47]

I'm interested in unsynchronized time. Do you think your childhood was really only seven or eight or nine years long? Think about what percentage of your life your childhood seems. And how present childhood can even shine in today's hours. Do you really think the parents in the child Growing up with the parents, have the same length of time?

[94:53]

No, this is human time, not clock time. Human beings have a flicker rate of something like 20. What's a flicker rate? The rate at which you can see something. Hawks have a flicker rate of something like 75.

[95:28]

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