And I like to come in the room and see you all sitting there. And it makes me think I don't have to do everything. You can do it by yourself. Okay, so... Let me read this to you in English first, so you can look at the English. So you're at least familiar with the words. At least the words in English. The Maha Prajnaparamita Hridaya Sutra. Avalokiteshvara Bodhisattva, when practicing deeply the Prajnaparamita, perceived that all five skandhas in their own being are empty and was saved from all suffering.

[01:05]

Does everybody know English well enough to follow that or should we translate it? Helps to translate it? Okay. Okay. Avlokiteshvara Bodhisattva, as er tief das prajnaparamita praktiziert hat, erkannte er oder sie, dass alle fünf skandhas auf ihre eigene Weise leer sind und wurde von allen Leiden befreit. Okay. Another seminar just appeared. Stay here. Yeah. Well, I think I'll read it through and then I'll come back and decide which of the things I should say something about. Oh, Shariputra, form does not differ from emptiness. Emptiness does not differ from form. That which is form is emptiness, that which is emptiness, form.

[02:18]

The same is true of feelings, perceptions, impulses, consciousness. Osariputra. Form does not differ from emptiness. Emptiness does not differ from form. What is form is emptiness, and what is emptiness is form. The same applies to feelings, perceptions, impulses, consciousnesses. Okay, now, that explains what the five skandhas are. Because the five skandhas, they are seen in there being empty, and form is the first of the five skandhas, where it says, O Shariputra, form does not differ from emptiness. And the last line there is the remaining four, feeling, perceptions, impulses, consciousness. The five skandhas are a name for Five skandhas are the Buddhist name for self which allows you to practice non-self.

[03:42]

So, I'll come back. Oh, Shariputra, all dharmas are marked with emptiness. They do not appear nor disappear, are not tainted nor pure, do not increase nor decrease. Therefore, in emptiness, no form, no feeling, no perception, no impulses, no consciousness. No eyes, no ears, no nose, no tongue, no body, no mind. No color, no sound, no smell, no taste, no touch, no object of mind.

[05:02]

No realm of eyes until no realm of mind consciousness. No eyes, no ears, no nose, no tongue, no body, no mind. No color, no sound, no smell, no taste, no touch, no object of the mind. No level of the eyes until there is a level of mind consciousness. Can you translate more than I said? Yes. One line more. One line more? No, one line more. Huh? One line. But the written is so strong, it just takes it away. Yeah. I'm glad I knew what you were telling me. Oh, I turn off now. No ignorance and also no extinction of it.

[06:07]

Can you imagine that? No ignorance and also no extinction of it. What's that? Until no old age and death and also no extinction of that either. I always translate it like that. I'm sorry. Okay. No suffering, no origination, no stopping, no path, no cognition, also no attainment. You can go completely ahead of me and I can follow you. With nothing to attain, the bodhisattva depends on prajnaparamita and her mind is no hindrance.

[07:11]

Without any hindrance, no fears exist. Far apart from all and every perverted view, she dwells in nirvana. These great bodhisattvas now are smart enough to be women. In the three worlds, all Buddhas depend on prajnaparamita. and attain unsurpassed, complete, perfect enlightenment. Therefore know the prajnaparamita is the great transcendent mantra, is the great bright mantra, is the utmost mantra, is the supreme mantra. which is able to relieve all suffering and is true, not false.

[08:19]

So proclaim the Prajnaparamita mantra. Proclaim the mantra that says, OK. Is that reasonably or unreasonably clear? Could you translate the last line, please? means gone, gone, gone beyond, completely gone beyond enlightenment.

[09:30]

And svaha is a feminine evocative, meaning you, you know, you're out there. Does this feel pretty strange to anyone? Yes. I've only been chanting it every day for 30 years. It still seems strange to me. In what way does it seem strange to you? The promise that is true, not false, and it relieves all suffering, that feels a little strange to me.

[10:34]

You think there couldn't be such a thing? It's a big promise that when you chant, that only through chanting this is going to happen. Who said about only through chanting? If you started chanting this, night and day for the next 10 years without interruption, it would probably end most suffering. If you did nothing else but that, it might cause a lot of suffering to your family and your friends. So anybody else have something to say about it? When you look at it, it's actually often negative. It's not. And it's Apparently, you went up that little thing to stop you taking the next step.

[12:00]

Yeah, that's good. Why not? Good now. Good now. OK, anybody else? . Yeah, this is interesting. So this seems harder than what I talked about, or more impenetrable than what I talked about last night and this morning. When you talk about this, you use so many pictures that are... rather easy to grasp than this relatively abstract language. So when I hear your pictures, I can paint them in my mind, and then I think I know what you are talking about.

[13:10]

While when I read this text, I have no idea what it is all about, and all that comes up is fear. Anybody, does it scare anyone else? Yeah, why don't you say that in German. . When he talks about it, I get so many pictures of how I can paint my inner self and my understanding of what he's saying. When I read this text, it's so abstract that it's like a cold horror in me. Hmm... What?

[14:24]

What do you think? I think it needs a lot of words. The emptiness is filled up. Too many words. Yes. What words would you eliminate? All of them. Except the last life. That's actually, you can do that. If I eliminated all of them, you would even not know that the possibility or practice of something like emptiness exists. Well, this is what somebody chose for the title of this seminar. So I can actually not talk about the sutra much.

[15:35]

I mean, I don't have to deal with the sutra. I can deal with the sutra the way I've been dealing with it this morning and last night. This is the heart and mind teaching. I've actually taught this fairly successfully two or three times in Europe. Sometimes just sort of by accident. In other words, somebody wanted to chant it or something, so we chanted it and then people began asking me questions and pretty soon we really got into what it meant. So I would like to give you a little bit of feeling for it as a text so that

[16:37]

Well, I don't think this should all be easy. And the ability to read texts or to understand how to read texts is an important part of, you know, how to be alive, actually. And... I think that if I say something about it, it will be, I hope it will be, plant some seeds which will be useful. Okay. Avlokiteshvara, the Bodhisattva, it means the Bodhisattva who sees from on high. and bodhisattva means enlightenment stuff enlightenment stuff enlightenment suchness person and prajnaparamita as I explained means wisdom that has gone beyond wisdom

[18:13]

Now the five skandhas is this is form. And then you have some feeling about it. It's a nice stick or it's some kind of something. You have a general feeling and then you shape that feeling into a perception. Then you do something with that perception. You put it into the overall patterning of your mind. And then that's impulses. And then you have some consciousness about it. Now this is the... the simple way in which, or one way to look at how consciousness is generated.

[19:38]

Now practice consists of, practicing the five skandhas, is to concentrate sometimes on just seeing form and trying to keep it from turning into feelings and perceptions, just sort of as if you can see bare form. As if you could hold back the feelings for a while and just see form. And then you release it and let feelings appear. And use lots of feelings about a presence that's there. Like the presence of the person across the room or across a restaurant who you can't see quite because your glasses aren't on. That's feelings. And then you make it, you put your glasses on and it becomes a perception.

[20:56]

And then you do something with that, you think, oh, that person's nice or not nice or something. That's impulses. And it's also sometimes translated as confection or putting something. It's what you make the gatherers. It's the point at which you gather the information into the conceptual framework of your mind. And then this little blip is like a bubble that comes up, you know, like a bubble that comes up from a glass of mineral water puffs up to the surface, goes boom. And it makes consciousness. So you have these bubbles coming up into your... all the time making consciousness.

[21:57]

And when you... practice the five skandhas, you begin to be able to track the bubbles. You can watch the bubble form at the bottom of the glass. It starts to form and then says, hey, I'm a bubble. It says, hey, if I'm a bubble, I can float. Here I go. And then it releases itself and comes up. And then it hits the surface of the water and discovers it's empty. Gone. And then it hits the surface of the water and discovers it's empty. Gone. So if you practice five skandhas, you get into the habit of practicing the five skandhas, you begin to have a kind of craft-like feeling of how your consciousness, your states of mind are put together.

[23:14]

For example, if I hit this bell. Now, I announced to you I was going to hit the bell, so you already, you know, something's happening there. So the announcement that I was going to hit the bell with one bubble. And the sound of the bell is another bubble. Can you just hear it and not think, oh, that's a bell or something like that? So just the form. Yes. Just immerse yourself in the form.

[24:18]

And you can allow some feeling about the bell to appear. But you can rest in the feeling and not go any further. And then you can turn into a perception, oh, that's a bell. So you can stay right there for a bit. It's a bell. And the Roshi is hitting it. Now you're in the realm of impulses. Why did he hit the bell? Does it mean we're starting zazen?

[25:24]

Those are perceptions that have turned into motivations or impulses. Then all of that together you can allow to happen simultaneously and that's consciousness. And you can say that you have often a moment of difficulty is more vivid to study. So you notice that this bell makes you feel a little anxious. And you can say to yourself, why does it make me feel anxious?

[26:26]

Maybe it's because you're going to the session next week and you think you're going to be hearing it for seven days. And you're not sure you can sit for seven days. So you hear this bell and it doesn't make you want to go to Sashin, it makes you want to go home. Mm-hmm. But you don't know quite why it makes you anxious actually, perhaps. You can begin to follow it back. Did it make me anxious at the point of impulses? Or did it make me anxious at the moment of perception? Or before I even formed a perception, was I anxious with the general feeling?

[27:38]

And of course, usually, the degree of anxiety disappears as you go back toward the source or toward form itself. But the form itself may also cause you some anxiety. Or you may be generally in a bad state of mind. So he perceived he, she, avalokiteshvara. This is avalokiteshvara. The feminized form is called in China and Japan kannon or kanzeon. So when you Kansiyon sees sees everything everyone and what he saw when he she saw was the five skandhas And why did he only see five skandhas?

[29:05]

Because everything in our human world that you can point out falls into the category of one of the five skandhas. There's nothing that you can point out, think of, that isn't one of the five skandhas. Okay. There's no idea of self in the five skandhas. Is that understandable? Yes, go ahead. There's no idea of self in the five skandhas. Form is not self. Feelings is not self. Perceptions are not self. They may be shaped by, have a shape within them that's self, but it's not self.

[30:10]

And impulses, gatherers are not self. And consciousness is not self. So if you begin to practice seeing things, form, feelings, perceptions, impulses, consciousness. You begin to be freer from the idea of self and freer in the way self operates, how you function as a self. And when you begin to start functioning when the territory of your functioning is the five skandhas that's a kind of self.

[31:23]

Now you may not want to carry this all as far as I'm talking about But if you just remember the five skandhas and begin to see when something bothers you, I think that's the best time. Did it bother me when I first saw it? Did it bother me when I first felt something? Did it bother me when I first started thinking about it? Did it bother me when I started relating it to other things? hat es mich dann erst gestört, als ich anfing, einen Bezug zu anderen Dingen herzustellen.

[32:26]

Like that. If you begin to do that, you can pinpoint the trigger of something bothering you quite quickly. Und auf diese Art und Weise kann man also ganz schnell diesen Trigger feststellen, der irgendetwas hervorbringt, was einen stört. Entschuldigung, nee. Man kann den Trigger finden von irgendetwas, das einen stört, ja. And when you are bothered by something, even if you can't find the trigger of it, it doesn't necessarily flood your whole territory of consciousness. Because you can see it's not in the realm of form or feelings, but maybe it's only in the realm of perceptions. So you can say to yourself, geez, I've had enough problems. I've had enough trouble with those thoughts. I'll shift my attention to just seeing form to take a little vacation for a while from those thoughts.

[33:27]

Do you begin to see why even in the beginning that Avalokiteshvara might be free from suffering? And then this guy, Mr. Avalokiteshvara, Miss Avalokiteshvara, She sees that everything that she looks at in all sentient beings in the whole planet are five skandhas. are the five skandhas and they have no substantial identity, no substantial reality.

[34:50]

So she says, great, I'm on vacation. Then she can look at it and says, ah, form, feeling, perceptions. Ah, but I need a vacation. Empty. So it's like I say, you should practice with the mood of the day. The mood of the day. And then you should practice with the mood of yourself, the music of yourself. And then third practice to add to that is you can throw it all away. Yeah. So you can have a because it's not substantial. Or there's no because, you can throw it all away.

[36:10]

In the realm of because, you can't throw it away. So, it doesn't mean that it doesn't mean that All that exists is throwing it away. The mood of the music, the mood of your day, the mood of yourself still exists. It means you can also have the feeling of throwing it away. So Dogen, who is the most well known teacher in my lineage from Japan, Who I have to remind you is right now, at this moment, in your lineage too.

[37:17]

Because I've brought this ancient hose that the Buddha has been passing along from person to person. And Dogen back there is holding on to it. And the Buddha has the one end. And it's sort of like a garden hose and I'm lightly spraying water on you. The sweet Dharma water. Dogen says his central thing in practice is casting off body and mind. Now this is not just an idea or something philosophical. It's a tangible experience. Now if you can get free of always thinking things have meaning, And get rid of your self-importance.

[38:31]

I didn't say it was easy. But it can happen to you just sitting zazen. As a tangible experience you may be sitting Suddenly you don't know where your body is and you don't know where your mind is. You're vaguely aware someone's there but you don't know who. That's the taste of casting out body and mind. If you went and said, no one's there, I don't know where my body is, I don't know where my mind is, I don't know where I am, and you leapt into that, just didn't taste it, that's casting off body and mind.

[39:41]

You don't know whether you'll come back or not, though. You understood? Sort of? Okay, so in Ulrika this morning, you want to say how that experience started for you inside of that, when I walked? Yes, so this observation that I told you this morning, that my physical existence is bigger than this body, so I noticed that. when Roshi walked past me to sit on his lap. Suddenly this feeling, now he really went through me. And I was completely surprised and this experience stayed with me. That was an amazing experience. And then I noticed it and tried to see him. Now that's a hard thing to recognize because everything about ourselves tells us not to recognize such things, to just recognize this.

[40:54]

So just to recognize such a thing or say, what am I feeling? This is already a kind of courage and practice. It means her ordinary sense of body and mind is not what she thought. It's not only what she thought. Now, if she says to herself, and this experience happens occasionally, And she casts off the idea of body and mind. Cast off, throw away.

[41:54]

This is the experience, Dogen says, is central to really beginning practice, casting off or throwing away body and mind. Doesn't mean you lose your body and mind. Just means you have a more subtle and less mental idea of what body and mind is. Now, do you remember when I walked in the room in the morning? And I started walking around between you and said, this is how I want to get to know you. I decided before the seminar started that I was going to come in and walk around the room on your extended bodies and see what happened. See if any of you could feel it.

[43:03]

So when I walked behind her she felt it. What do you think of that? Are you ready to imagine the world isn't quite what you think? It's easier than believing in God. So this sutra is sort of like trying to get you to let go of the usual way you think about yourself.

[44:25]

And so it says, no eyes, no ears, no nose, no tongue, no body, no mind, no color, no sound, no smell, no taste, no touch, no object of mind, no realm of eyes, no realm, etc. Because what we're talking about can't be known through your eyes, ears, nose, etc. So the sutra is saying, if you want to really study yourself, you can't only study yourself through eyes, ears, nose, etc. If you want a subtle study of yourself, it can't only be done through perception. Then what is left over if you don't do it through eyes, ears, nose, mouth, etc.? There's prajna paramita, wisdom that's gone beyond wisdom, wisdom that's gone beyond perception. And how do you do that?

[45:41]

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. Now that's the first four lines.

[46:46]

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? Maybe a few words, and then I'll ask you concepts. These are small things, not selfs. You felt I'm being in this self. 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?

[47:48]

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 something else makes it. That's what I'm saying. Yeah, yeah. If I look at the stick, let's call this form, There's a mutuality involved in it. In other words, this stick has emerged. My something here has emerged. And we are present simultaneously.

[49:05]

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 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.

[50:30]

Self, if you perceive the stick through self, it becomes a version which is narrower than just form. Now it depends how you define self and ego and so forth. And so if I think of it as... Since I think it was 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.

[51:58]

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.

[53:12]

Does somebody else want to say something? Yes. Yes, I have a question in this direction as well. To deepen it a little. For me it is like this. Without myself, there is no form. Without me perceiving myself, there is no form that I perceive as form-self. Form-self exists in such a way that I myself exist. And when I myself, when I have, and this is concentrated in the reason, and when I let go of the reason, when I let go of all phenomena, then there is nothing, then, yes, you might say, there is no self, but there is no connection between these two things. So when I use reason, when I use reason, then there is my self, and the form has its self. When I use reason, And when I am selfless, the things and the forms are selfless.

[54:38]

This is my own approach to self. Ivan, would you please help me a little? My perception for us is that, what is reason? Reason, when I take reason, then There is a constitutional self, myself, and then form has a self, himself. But when I don't take reason, there's either a self for me, no self in things or in forms. It's nothing. And there is no transcendence. Yeah, I think so. Let's try to put it another way, because these things don't actually exist very well in language. So we have to approach this in various ways.

[55:41]

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 and your perceptions and thoughts is more acculturated than in your feelings There's more of a wild person walking around in your feelings Yeah, 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.

[57:21]

Okay. Now, what is your name, your first name? Bernhard. Bernhard, that's right. Okay. Now, from the point of view of Buddhism, Bernhard sort of exists. And rich, hard sort of exists. Maybe it should be bairn soft and rich soft. So we don't know whether bairn soft or bairn 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.

[58:24]

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.

[59:44]

And when various amino acids go do this and that in your body. 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 you know 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.

[61:00]

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, Baron Rich and Baron 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. And the more you notice that and become conscious of that, the more...

[62:02]

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 that Zen stories say, what about when there's nothing to get hold of? It's Zen language for how do you function in your realm of awareness where self can't find a foothold.

[63:16]

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.

[64:20]

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 It's a completely undisturbed thought.

[65:24]

So you can kind of move from the disturbed thought into the undisturbed thought. 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 and an imagination that's useful.

[66:41]

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. Let the realm of no movement draw you into no movement.

[67:44]

This realm of no movement exists within you And exists everywhere you are. So give into it. Doesn't hurt. Thank you.

[69:10]

But you just keep sitting? Maka hanyā hara-mīta-sīn-gyo ho kanjī-sai bho satsū-gyo-jīn-hān āra-mīta-diṣa-ken-go-aṅkāi-kūdau'i-saiku-yakushāri-siṣikī-fūhi-kūkū Puhi Sikhi Sikhi Sokzei Kukwa Sokzei Sikhi Juh Sogyo Sikhi Yakubunyozei

[72:13]

vishishe soho kusofu shofu metsufu kufu jofusofu genzeko kuchumushiki Sāgyāshikī mūgannī bīzacchinnī mūshikī shokāmi sakuha mūgann kāināishī mūi SHIKI KAI MUA MUA MYO YAKU MUA MUA MYO JIN NAI SHI MUA RO YAKUMU ROSHI JINMU KUSHUMETSU DOMU CHI YAKUMU TOKUI MU SHOTOKO BO DAI SATA E HANYA

[73:33]

Mithakoshin mukhege mukhege komukhufu anrihisaitendo musokgyone hansanze Butsuwe 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

[74:38]

isaiku shenjutsu fukoko satsu hanyahara mitashu soku satsu shuotsu gyate gyate ara gyate, haraso gyate, bhoji-savaka-hanya-shingyo Please sit any way that's comfortable for you.

[75:43]

Okay. Okay. What I'd like us to do is to look at the Japanese-Chinese version. And 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, mu, me, mo, etc.

[76:51]

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. And 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. There's not an emphasis on one syllable more than the other.

[78:03]

And... Don't say it, please. Don't say it. Just let me say it. Vavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavavav 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.

[79:35]

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-sized space under your arm. If you could support an egg in your armpit. A raw egg without dropping it. Okay, so I'll do the introduction. Maka Hanya, the title. And then you guys start with me. And I may use the mokugyo.

[80:41]

This is called the heartbeat of it. I didn't bring the hitter somehow, so I ought to use this. Okay. Satsang with Mooji [...] They call push-up push-kicks.

[82:23]

Push-ups are yaw-shiki. [...] Thank you. Satsang with Mooji Satsang with Mooji Satsang with Mooji

[83:28]

He taught us in the kingdom of God. Satsang with Mooji [...]

[84:40]

You must have been Buddhists 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 You very little form the words with your lips. 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. I feel it in here. It's in my mouth.

[86:12]

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. 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.

[87:34]

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. 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've probably heard me, you just breathe in the middle. If a 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.

[88:45]

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. So, for example. You don't have to translate that. You know, really, it's just kind of... So you get a bunch of people just chanting, preaching, everybody's blowing their nose, you know. You know. Also, one other point to make is that you hear

[89:59]

You don't merge your voices with everyone else. 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 whole. The whole 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.

[91:24]

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 it.

[91:54]

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