In our group, we first read aloud and try to do it with our body, not only with the language, but also try to feel it in our bodies. In our group we read the text loud and we try to get a feeling for the text in our body, not just the speech, but a feeling for speaking and the language. How is the German translation? Strange. Strange? Yeah. I think it's not bad. Dieter, what do you think? Since he knows Chinese and Japanese. In Karin's it's very strange what she does and it differs quite a lot from Karin's translation. I think she has especially difficulties to translate when it comes to translate self.

[01:14]

How she does strange things when the character for self appears. We all do. So, I really... could work with the more with the English name and base. Yes, in German, please. Yes, the way he translated it into German, which he partly translated very rarely, but especially when the word itself appeared after the 1980s, rather alien constructions came out, and in comparison with Kahrs, he translated it very differently. It was interesting, in our group, Aline read the English text and all of us, the other ones read the German text, and it was almost impossible to follow the German text when she was reading it in English.

[02:25]

We all said, where is she, where is she? It differs really a lot. Have we made a translation of Kaz's text ever into German? We had a study group once and we started to do that. But you started to translate it from Japanese, didn't you, into English? Yes. The question is whether we have translated the text of Kars Tanahashi into German. As far as I know, we started with that, but it somehow fell asleep. Well, it's sometimes interesting to work with a bad translation. I'm not saying it's bad, but... When we first started translating, when Sukyoshi first started translating,

[03:26]

lecturing on the Blue Cliff Records, we only had a translation by a man named R.D.M. Shaw. And I think he was a Christian missionary or something. And it, yeah, somehow it became sort of Christian, the text, or certainly Western. And Suzuki Roshi had to keep re-translating things. So I got asked a woman, a German woman I knew, Loli Rosset, To translate from the German Blue Cliff records, who's that translation?

[04:41]

Gundert, yeah. To translate each case one at a time, and we paid her something per case. And then Cleary's translation came out. And after she'd done about five cases. And his translation was so good, we arranged to support Cleary for some years. Yeah, anyway, but it was interesting to work with Mr. Shaw's translation, the Reverend Shaw's translation. Anyway, so please, I didn't mean to interrupt you so much. Go ahead. Yes, and after we had read through it, we first did a flash round, which touched us very much from the text and how we understood it as a whole.

[05:48]

And after we read the text that way, we kind of made a fast response on that text, how we are moved by the text and also how we see the text as a whole, as something unique. And then we went into the first three sections, and there we found exactly the same thing, that the English text is very different from the German, because we did not understand the German at all. And because we didn't understand the German translation at all, we started with the first three sentences and to look at it in a more particular way. And it was a great discussion to not understand it and how it is not to understand it. And what tools we have to understand it physically, we then asked ourselves.

[06:54]

And what kind of tools we have to understand it with the body. Mm-hmm. Marie mentioned that we should be clear about this, that we could understand it at any time and just be ready for the understanding. Luna, do you have anything to add? I had, also because of a reaction from Marie, who said that every single section touches her in her own way, I suddenly had the impression that in the method in which he writes, namely section by section, like an appearance, that in the method he expresses what he wants to say. Can you say something?

[08:14]

Then English is better than mine. No. Marie said that each chapter has a beauty and she understands each in itself. And then I had the idea that maybe the method how he writes teaches at the same time what he wants to say. Yes, I understand. That's the idea, yes. That's about the German translation. I like it because it's kind of German way to say it. Like it should be said. You wanted to say something, Alexander? No. She said, chapter, and I understood. Paragraph. Each little section or paragraph.

[09:16]

And, Gerald, you can pitch in and help translate if you want, anytime. Okay. If there's, you know, like, how to... Okay, someone else. We had a wonderful discussion about how it is possible to come from the self to the other side, to be seen by things. I don't know which part of the text that is. The question is, how do I achieve this in everyday life, or how does it work at all? We had a great discussion about the shift from seeing things and to being seen by the things.

[10:33]

And the discussion went on how we can work and practice with that in our daily activities. instead of grasping at the things, to be grasped. And this one point in the text, there we have the element of the birds in the air and the element of the fish in the water, which is our element. We have been looking for this for a long time. Not to grasp things, to absorb things and to be grasped by the things. And reading the sentence about the fish in the water and the birds in the air, what is our element? Our medium. Our medium we walk in or sitting or something like that. Yeah, that's the idea.

[11:33]

On the example... For example, walking Kinhin in the Zen, where it's like the fish never sees the end of the ocean. What do we see? How do we experience walking Kinhin in the Zen? Walking nestle, we never reach the end. I'm on the way to Berlin. Well, the best way to work with a text like this, particularly when you're not sure about the translation, is to... is to, in any case, is to find a phrase or a particular section that touches you or

[12:40]

makes a connection with you, and then just work with that phrase. And that's what he intends in a way, what Lohne implied, is that each of these little sections, you really have to... If I say meditate on, that's not quite right. But immerse yourself in for some time. And what Lohne has already said, this is the intention of every section, every sentence, that you work with it and immerse yourself in it. Yeah, and so that's what I gave you, this one phrase, to cultivate and authenticate the 10,000 things.

[13:43]

By conveying the self to them, is getting lost in things, is delusion. And this sentence doesn't, if you take this sentence, just this sentence without even going to the And if you only take this sentence without going to the second part, as already mentioned, then you have to be in this activity. before you can understand it.

[14:50]

Even before you go to the next sentence. But this is true of sutras, too. I mean, I read the Lankavatara Sutra over a period of something close to two years. Every morning I read one sentence or so. And then at lunchtime I would go out. I was working at the University of California. And usually at lunch I went out and sat somewhere in the or under a tree or by a stream. And then I'd read the paragraph or sentence, sentences again. And then I would explore to what extent I understood the sentence. Or could feel, yes, I know this in my own experience.

[16:10]

And if I didn't, then I did the same thing with the same sentence the next day. And I didn't proceed until I felt I either understood it or could enact it. And that's hard to translate. Or I thought, hey, this is, I can't get, this is beyond me, this is crazy. And then I would say, okay, I put that aside, I go to the next paragraph. And sometimes A week or month later I'd go back to that paragraph or back to other paragraphs and proceed. And that process took me, as I say, about two years. But I had the feeling at the end that I'd swallowed, digested, incorporated

[17:14]

And it says in it somewhere, for instance, to understand that you should, when you hear a sentence speaking, you should understand or feel, know, in this case realize, the syllable body, the name body, and the phrase body. So, you know, just a little sentence like that would stay out, and that's quite a lot to do that for, you know, to do that when I'm hearing.

[18:30]

So even though I don't understand the German that Judita just spoke, I do hear the syllable body. In other words, each syllable, she says, has a physical presence and I stay present to that. And if you So English, then I hear the name too. Not the word, just the name. And then I hear the name turned into a word as part of a phrase. So this is again typical of the... Buddhist way of looking at and studying a text.

[19:35]

There's syllables, there's the names, and then there's the phrase. And each has its own presence. And again, you can try when you hear somebody, and of course it helps you if you want to pun, the lowest form of wit. the lowest form of wit. What is wit? It's not a high form of humor, but if you hear the syllable body all the time, you keep hearing connections between the sounds, which independent of the words.

[20:48]

Okay. Yeah, which is, of course, important, especially in poetry. In particularly contemporary poetry, which doesn't have end rhymes so much, but internal rhyme, internal patterns of sound. Okay, someone else want to say something? Self-development and the development of the world throughout the individual happens at the same time and both is necessary.

[21:50]

So what do you mean by development throughout the world? Those 10,000 things that happen to us and go through us, they look for us to happen. And we found, or I mentioned this term, world's development. Instead of the more common form of self-development, that's something we often find. I think the same thing. I don't know if I understand it exactly the way you do, but maybe we'll see. Okay. Anyone else?

[22:53]

So I'm in the same group and I just wanted to add that we read the The whole text, it looked as if every group did that. But we were confused with the first sentences, but we never took the English text as a comparison. So we just stayed with the German text and it was like, it seemed to us as if it was a way, Dogen, takes as a pedagogical tool everything away in the first three or four lines. So he adds to the confluence, so to speak. He starts the confusion, then he adds to it.

[23:56]

Deception is when we force ourselves to willingly practice the 10,000 things and awakening is when the 10,000 things practice us. So he says confusion is, or delusion is, when we force ourselves to realize the ten thousand things, and awakening is when we let the ten thousand things go. Yeah, live us, so to speak. So after he confused us completely, he just opened it completely and says, in the end, what we see is, so to speak, half the world. The other half is in the dark all the time. It's there, but it's in the dark. And then he says later, if we do it this way, then we see the world only in half, the other half is in the dark, but it is there all the time.

[25:27]

And that was something with which I could work in the text, and that was also something that we could possibly transfer into everyday life. And that's something that opened. an understanding for us, and also in the direction of maybe that's something we can practice in everyday life. Okay, let me come back to you in a minute. You know, sometimes I think, oh, it's, you know, I don't know how, I guess I suggested this, reading it, And sometimes I think, geez, it's a mistake to ask you to read this. Because it's discouraging maybe for some of you. On the other hand, if... If through looking at this you learn something about how to read a text like this,

[26:29]

Yeah, then it's quite worthwhile to do this. Yeah, maybe it's a little bit like going to a museum and you look, one day you see one painting and you go another day and you notice another painting. Or as my middle daughter, Elizabeth, said, found, discovered. She found that when she did find a painting, she really caught her and she went back to the museum to look at it. She would sit down and spend an hour or two drawing it. And in drawing it, she really saw the painting much more thoroughly than just looking at it. So in a way you want to come to it if a particular paragraph touches you.

[27:42]

You want to go back to it and maybe draw it. And you can go back there and maybe show that. And ask yourself, what does he mean by that? How would I say that? And I write the things down sometimes. I write down words and I say to myself, this is how I would say it. I mean, you want to... As Dogen says, don't let the text turn you, you turn the text.

[28:45]

So we really don't want to study Buddhism so much as recreate Buddhism through our own practice. So from that point of view, one phrase or one section can be the whole of your study, for years even. There's no rush. You're not trying to read, study lots of Buddhism unless you're a scholar and you have to do it to pass tests. Da gibt es keine Eile. Solange du da kein Gelehrter bist, kannst du einen Satz immer wieder lesen. Okay, so, Gerald, now the first three sentences you mean are the very first three sentences of the Genjo Koan. Could you translate the German to me into English?

[29:47]

Also die Übersetzung, die Frage, ob Gerald die ersten drei Sätze aus dem Deutschen ins Englische übersetzen kann. If we think of all dharmas as the Buddha dharma, then we have illusion and enlightenment, we have practice, life and death, Buddhas and sentient beings. And then we have words like concepts. And now you're not reading the English translation, you're reading the German. Okay, so the next sentence. When we realize the ten thousand things, dharmas, as separate from us,

[30:53]

Or see or... Perceive. Perceive them as separately. Separate, yeah. Then there is no illusion, no enlightenment, no Buddhas, no sentient beings, no life and no death. That doesn't sound like such a good version, but go ahead. The Buddha... Buddha truth is from the beginning, beyond rich and poor. Rich and poor? Okay. Yeah, well. Yeah, it's a social problem, I understand. We Buddhists, we want to be beyond rich and poor, but preferably rich and beyond poor. And because of that we have, from moment to moment, life and death, illusion and awakening, living beings and buddhas.

[32:08]

Yeah, and the last line? Even if everything is like that, flower petals fall and although we regret the weeds grow even if we don't like it. That's true. Big working in the garden. Okay. You know, I tried for, you know, in the morning, we didn't chant now, though I thought of doing it. In the morning we chant in Japanese, then in English, in German, before I start to talk. Excuse me. In the morning... Can you please repeat that?

[33:11]

Before the day show, we chant in Japanese and German. And in America we do the same thing, except, of course, in English. But there was a period of time for six months or so that I tried... Just chanting in English and not in Japanese. And it was harder for me to give lectures. Because there's some benefit for you to only chant something you don't understand. It makes some break. It breaks the continuity of your thinking in German or English. Yeah. Because when I speak, let's just say in America, if I'm speaking in English, as far as I'm concerned, I'm not speaking in English.

[34:19]

I'm speaking in Buddha-glish. And so if you think I'm speaking in English, you don't understand me. So the chanting in the Japanese helps. And I don't care. We could chant in mumbo-jumbo. I don't know. Yeah, if you all understood Japanese, then we'd have to do a Darani. And a Darani would say, flash, blue, emerald, leap. And then you'd go, oh, great. And a... So Dogen starts this fascicle.

[35:21]

That's right there. Basically he's taking three points of view. He's saying, when all things are the Buddha Dharma. Okay, right there you have a problem. Are all things the Buddha Dharma for you? Well, until it is, don't go any further.

[36:23]

That's how you study a text like this. Now say, what is the title? The Genjo Koan. Okay, so how do we understand from a practice point of view, Genjo Koan? So I think the best practice translation of the title is to say, Genjo means to complete that which appears. And the koan, to know that things are simultaneously particular and all at once. Or particular and simultaneously interpenetrating. Okay, so now we've taken, we have to go back from the first phrase, when or as all things are the Buddha Dharma.

[37:46]

And to practice with... to complete that which appears. Okay, then you have to practice with appear. Do you experience things as appearing or do you experience things as implicitly continuous? Okay, now let's take an example. You look at a painting. Gehen wir zu dem Beispiel, man schaut sich ein Gemälde an. Yeah, my daughter Elizabeth is looking at a painting. Meine Tochter Elisabeth schaut sich ein Gemälde an. And she studies, say, this corner. I've used this example before. Und sagen wir, sie guckt sich genau diese Ecke an. And after she studies this corner.

[38:47]

Und nachdem sie sich diese Ecke angeschaut hat. Looking at it very carefully. Schaut sie sich das ganz genau an. She goes down and looks at this corner. Schaut sie sich eine andere Ecke an. And after this spending five or ten minutes on this, she goes back to this. Now, she might assume that the upper corner is waiting for her while she looks at the lower corner. That's not all things appear. That's assuming that the world is waiting for us and is semi-permanent. If she's a Buddhist, she thinks, oh, when I go back to the upper corner, it's going to be different. Of course, if she looks carefully, it will be different, somewhat different.

[39:54]

If it's a painter, if it's a good painter, like Cezanne or someone. Because Cezanne is the painter that I've studied the most who actually paints movement. After a while, you can feel the leaves moving in the tree. At least there's enough visual complexity for it to be different each time in a good painter. We can only take in so much at a time. And there's more there. And a good painter, then you can take in at one time. So if you have a good painting in your house, every time you see it, it's refreshing.

[40:56]

It doesn't get, oh, I've completely exhausted that painting. Okay. So this is the kind of world Dogen wants us, and I want us, and Buddhism wants us to live in. Not a plastic, reproducible, duplicatable world. Okay. So, When all things are the Buddhadharma, let's take that as a challenge. Buddhism is, Dharmasm is probably a better name for Buddhism than Buddhism.

[42:07]

Dharma means to see things as appearing. Now this is one of the basics. And you have to find simple, primitive even, ways to experiment with this. Okay, so I've got this lovely woman sitting in front of me. It must be. It must be you, I mean. So I can look at her and when I look over at this lovely hair, no, hair, man, I close my eyes and then I open them. Because I can see you in my peripheral, barely peripheral vision.

[43:11]

Can you help me with that? Peripheral vision. But when I look at you, I physically let my eyes rest on you. Sorry, I mean it's embarrassing for me to say this. And that's different than peripheral vision where I can see things but my eyes aren't actually physically resting on you. They're physically resting on you. Okay. And actually it is the kind of like placing of the eyes, the center of the eyes.

[44:34]

And when I look at you, I place the center of my eyes on you. In normal situations, this is called flirting. Yes. Anyway, so now I can emphasize this feeling by closing my eyes and opening them again when I see you. Then I have the experience of you appearing. The closing of the eyes breaks the sense of continuity. Well, then I close my eyes and I look at you and I open my eyes and you appear. There's a feeling of you appearing. You weren't there until I opened my eyes. Now you practice in a primitive way like this.

[45:38]

Until, you know, it just happens, you have this feeling without closing your eyes. Bis es wirklich passiert, dass du dieses Gefühl auch hast, ohne dass du deine Augen schließt. And I don't know exactly how it happens, but it does happen. Ich weiß nicht genau, wie das passiert, aber ich weiß, dass es passiert. So if I look at Frank now, I have a feeling when I look at him, oh, he suddenly appeared. Wenn ich Frank anschaue, dann habe ich das Gefühl, plötzlich erscheint er. I felt Frank there, I can feel his presence, but when I look at him, There's a fuller experience of him than just, you know. So there's a kind of fullness in each appearance. Now the Dogen says here, And what Kaas has numbered is section three.

[46:56]

When you see forms or hear sounds, fully engaging body and mind, you grasp things directly. Unlike things and their reflections in the mirror. So he's saying in this section, just what I mean, by to let things appear. If I see things the way I see them in my peripheral vision, say, I might as well be seeing them in a mirror or as just a reflection. And unlike the moon and its reflection in the water, when one side is illuminated, the other side is dark.

[48:17]

Okay, now that may sound confusing. But... When I look at Judita or Alexander or Frank, what am I seeing? I'm seeing my own seeing of Frank or Judita or Frank. I know that my seeing, hearing, smelling proprioceptive presence is only What's in my sensorium?

[49:24]

Frank and Judita and Alexander go beyond just what I see. That's the side that's dark. That's the side that's dark. I see the moon. I don't see the other side of the moon, but I know the other side is there. The full moon is only half the moon. So we should remember the full moon is only half the moon. The other side is dark. Okay. Am I making any sense here? But in fact... Frank has enough now.

[50:39]

Frank says, use someone else. Look at someone else now. I'm taking my dark side out of here. I have the feeling it's kind of seeing, it's the difference of seeing something with a focus inside. So I have kind of one, I focus from inside and I look outside, or I'm more open and something looks into myself, yeah. That's more the opposite way. It's kind of changed the direction. That's good too, yeah. That's good too, yeah. You know, with our senses and our mind, we're only seeing five or six slices of the pie.

[51:44]

You know, again, we have this phrase, in the eyes it's called seeing. In the ears, it's called hearing. What is it called in the eyebrows? Eyebrowing. But eyebrowing covers this territory that the senses don't reach to, but is still present. So, now, if we have, again, a basic is to get in the habit of feeling, seeing things as appearing. is to get the feeling, the sense of things, as appearing.

[53:02]

And that means you have to develop an initial mind. And that means you have to develop develop the paratactic pause. Or as I say, the pause for the particular. Where you just let things appear without thinking about them. oder du lässt Dinge erscheinen, ohne über die Dinge nachzudenken. Now, our social body... shapes our perception. Our self-inflected, self-referential thinking shapes our perception.

[54:14]

So Dogen is saying, step out of your social body. Your initial mind should be outside the social, cultural mind. Now, we're not talking some absolute sense. We're talking about in practical sense. There's some kind of human being, so... born in a particular culture, etc., with a particular capacity. But within those capacities, there can be more social and self-awareness. or less social and self-reflection. And there's a difference if there's less.

[55:16]

The dynamic is different if there's less than if there's more. No kidding. All right. So the title of the Genjo koan says, you practice with feeling things appear. Now, the basic fact of Buddhism is all of Buddhism is based on the fact that everything changes. Die grundlegende Annahme im Buddhismus ist die Tatsache, dass sich alles ändert. Now that's just an idea unless you enact it in your acting.

[56:20]

Und das ist nur eine Idee, solange du das nicht ausagierst in deinem Tun. And so enacting it is to experience things as appearing. Und das heißt, die Dinge als... If you just know everything's changing, that doesn't change you. But if you feel everything appearing and a little gap between everything, then you feel everything changing. Then... I didn't get the last part of the sentence. Then you feel everything changing. You experience everything changing. And something happens in the gap. All things advance in the gap. And you know things as appearing.

[57:35]

And in what categories does this appearing appear? It appears in an absolute particularity, uniqueness. and it appears simultaneously as part of the whole. And the whole, I don't mean oneness, I just mean the interrelatedness of everything all at once. Okay, so now if you've practiced the title, then you can go on to the first three sentences. And you can say, ah, when all things in the Buddha Dharma, I know when all things are the Buddha Dharma.

[58:40]

Because knowing all things are the Buddha Dharma is to know things as appearing. All things are dharmas when they are a continuous appearance. Then, from that point of view, there's delusion, realization, practice, etc. So this is the point of view of existence. Everything exists. The second sentence Which has nothing to do with whatever it says there, rich and poor or something.

[59:53]

No, what's the first sentence? Something. When you're separate from things. Yes, the second sentence, when you feel yourself separate. That's not good. I think Dogen Kaz is better here. When myriad things are without an abiding self, Okay, so that means the first is the point of view of existence. The second is the point of view of non-existence. Emptiness. And the third, leaping clear of the many and the one, Which I don't know where the rich and the poor get in there, but anyway.

[61:00]

Leaping clear of the many and the one. Now, this is the third point of view, which is not in any categories. Yeah, again, we have a version of it when Dung Shan is asked. Among the three bodies, the Buddha. And we have a version of it when Dung Shan asks, Which one does not fall into any category? Well, you can't answer this. Because you fall into a category. So how does Dung Shan answer it?

[62:03]

He says, I'm always close to this. Clever guy. Okay, so, but isn't this a little bit like the enlightenment or insight in E.E. Cummings' poem? Somewhere I've never traveled, gladly beyond any experience, Your eyes have their silence. In your most frail gesture are things which enclose me. In deinen Handeln sind Dinge, die mich mit einschließen. Which I cannot touch because they are too near.

[63:08]

Oder die ich nicht berühren kann, weil sie zu nah sind. What? What is it in the eyebrows? I'm always close to this. So the third is this point of view. It does not fall into any category. Or simultaneously is both existence and non-existence. Yet still, when we're attached, flowers fall. So the first three sentences set the three points of view you can take in relationship to existence and non-existence. Does that make any sense?

[64:20]

If not, who cares? All right. Let me try to give you another something or other. How do you translate that? Okay. Okay. When you sit. Try to... I have the feeling of opening the body, opening each part. And then I have the feeling of relaxing or... So you have the feeling of opening each part of the body. I don't know. Whatever word works, you open your backbone. For me, if I want to open my backbone, I lift my backbone. There's something about standing up straight or sitting up straight that feels opening.

[65:43]

And these clothes, for instance, these robes like I wore this morning, if I bow, I have to put my arms like this. You have to open your arms to bow. And I have to lift my arms to keep the robes, give some space to the robes. So in a way, when I sit, I'm opening my arms, opening my back, my shoulders. bringing it together in a circle. And then another circle in the thumbs and forefinger and hands. Then you relax. And then in the context of this seminar, I would suggest you clarify each thing you notice.

[67:03]

I don't know, what do I mean by clarify? I'm using a word to point to something, suggest something. So you've sat down and you've opened... the body. It's vulnerable. I like to watch, to look at Sophia when she's asleep. She sleeps completely like this, completely open. She's not protected or anything. So there's that feeling in the sitting.

[68:09]

And then a relaxation. And you let each part do its own zazen. You're not doing zazen. Shoulders do zazen. Hip bone does zazen. Stomach does zazen. And you relax. Yeah. And then... And clarify is like letting each part do its own zazen. Or notice what you... Notice what you... can name.

[69:13]

So you notice your nose, say. The nostrils are clear, perhaps, and breathing is going on. Let noticing notice itself. Oder lass das Bemerken das Bemerken selber merken. So you notice your eyelid, perhaps. You notice your... Eyelid. Du bemerkst deine Augenlider, vielleicht. And the resting of the eyelid on the wet surface of the eye. Und wie die Augenlider auf der feuchten Oberfläche des Auges ruhen. Mm-hmm. Or you notice your knee or leg or stomach, whatever you can name. And then start to notice what you can't notice. For example, the other day, just before the seminar started, I had a tooth removed from here. And although they put in... What did they put in?

[70:31]

Not nicotine, not codeine, novocaine. Heroin. Heroin. But even with that stuff in there, When he pulled the tooth out, I could feel my skeleton kind of going... You know, he was yanking something out of my skeleton. If I'm not cremated, they'll find my body sometime and say, oh, look, this poor guy had his tooth pulled out. Anyway, so I'm sitting zazen.

[71:38]

And I stop noticing what I can name and just notice whatever happens, what noticing leads to. And I notice there's some feeling here. And then here. And so forth. And I begin to find there's a whole conjunction of noticings which aren't on this side of my head. Things that are connected. Joined. Conjunction. And there's actually a circle here of effect from the tooth being pulled out. It's a kind of flattened sphere.

[72:40]

And the center of it seems to be right here, actually. Yeah. There's feelings in the muscles, and it actually goes down into my shoulders. So in a way, your heart is not just your heart, it's your cardiovascular system. So my tooth is not just here, my tooth is here and here and here. Whatever my tooth is and what happened to my jawbone is in this whole area. And so feeling that, I can begin to kind of bring an attention to that whole little flattened sphere that's here.

[73:49]

And each day this sphere has shrunk. And I can direct a kind of healing to it, to the whole sphere, not just to the tooth area. Now, I noticed this. I can't name this. I could only... Discover this by following a process of noticing. This is letting things advance and come toward me. So the lived body includes what can't be noticed or can't be named or can only be noticed through a process of

[74:57]

following noticing. So at each moment, there are aspects of this situation which I can only notice through letting a process of noticing occur. So there's always the unnameable present with the nameable. And the more you notice... allow a process of noticing occur which is not nameable. This is also what he means by the other side is dark. Silence was a

[76:24]

Emptiness from which all things appear. Allows us also to notice. And then there's no delusion, there's no things, etc., as he said. Mm-hmm. Well, I've said too much, I think. Well, maybe we can stop. I'm almost not on time. I'm always close to this. Yeah. I should have my little bell here. We could sit for a moment. Bing!

[77:33]

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