My basic idea in giving lectures, teishos, is to say enough that that you have enough to work with in your daily life and also your meditation practice? Because, I mean, really, these things mean nothing unless you do them yourselves, figure them out, make them part of your life. And we have the bad habit, we human beings, of thinking when we understand something that we have realized it. And I think it's so... comment for us to try to understand it and then say, ah, we can put that behind us, we've understood it.

[01:25]

And so I find myself unintentionally often trying to present things with a complexity which doesn't make them easy to understand. Well, I always try to be as clear as I can be, but how the various things I say, I hope they're clear, fit together, I want you to figure that out. Because this stuff is pretty simple, really. But doing it, not so easy. Okay.

[02:44]

The Diamond Sutra says, not abiding anywhere, mind arises. Okay, now, we have a little problem with the word mind. And arising, well, that maybe helps us define what mind is. But not abiding anywhere. That's simple and not so simple. You know... I gave you yesterday an example of Sukhiroshi telling me to put my mind in my hands. And I said, in the end, he meant, I'm quite sure, something like put the feel of mind as a field in your hands.

[03:48]

No, I don't think Suzuki Roshi sat on his couch in his office. I used to often see him in his office. He was right beside his endo. And he had a desk and an old couch. Yeah. I don't think he sat there on his couch and thought, I'm going to tell... dick to put the field of mind in his hands i mean i yeah things you take for granted you don't you know uh create special terms for but when he was sitting in his office I've been there so often with him and in so many circumstances I'm quite sure he had this sense of a I mean

[05:15]

even smooth, even awareness. No, I would think that I've never formally practiced a martial art. Some of my close friends have been martial arts teachers and I've hung out with them, but still I don't know really much about it. But my guess is that in our culture, martial artists are more likely than most people to have the sense of this field of mind. that if you're in a situation where somebody is going to do something surprising might do something surprising you want to sort of be aware of everything going on

[06:43]

And you don't want to focus on some particular thing. Just to be open to everything that might arise. There are already appearances, but something else may appear. So there's a kind of, Sukhya used to describe the Mind is a mind of readiness. It's always ready. Yeah. And the feeling of that is something like feeling your mind is everywhere but starts in the back of the body. The front of the body participates in it but it's not the source of it.

[08:05]

Sometimes it's sort of like the back of the eyes but actually the whole back of the body. And to develop that feeling I found it useful sometimes to back my way through my rooms or something like that, now and then. So far I haven't knocked over too many things. But if that's the way you think, I mean, if that's the way you're, if that's the condition of mentation for you,

[09:17]

I mean, I guess Sukhiroshi could have said, put the back of your body in your hands. But he wouldn't have said that either. But I think he took for granted that the way we take discursive thinking for granted, when he was sitting on the couch in his office, he took for granted that his whole body was sitting there and the field of mind was part of his whole body. Yes, so if I came into the office, then there was an appearance in this field of mind.

[10:21]

And when I left, the appearance ceased. But the field of mind stayed. and that's a very important experience that the appearance goes away dissolves etc but the field of mind stays and maybe while I'm there someone else comes in or perhaps the sun the cloud passes and the sun comes in the window These are all appearances. And you feel each as an appearance. And you feel each as an appearance of that doesn't affect that doesn't disturb the field of mind in which they appear.

[12:00]

And you may notice that if you practice this and I'm suggesting you practice it In fact, we're all going to make a pilgrimage to Suzuki Roshi's couch and we'll all take turns sitting on it. Actually, you can use any old couch. Now, when there's an appearance Sometimes that appearance is very clear. Even, I mean, as if nothing else existed but that appearance. And sometimes it even feels like it's a kind of brightness.

[13:08]

And sometimes going a little further, it's even auric. There's a kind of white light around each object. Now, when that happens, what we would say, I mean, trying to... I'm talking about actual experiences. I'm also talking about teachings. And these descriptions I'm giving you are actual experiences we can have. We do have. But they're also teachings. The many teachings I've received But when you have these experiences, they are also teaching you.

[14:16]

Maybe I can explain what that means in a moment. Okay, so when you feel a kind of clarity or precision or brightness on an appearance, It usually means you're in the third skanda, percept only mind. And there's no association. When there's associations... the appearance is tied to a lot of things. And if it's tied to a lot of things, it's kind of stuck in the field of mind. Now, of course, sometimes there are associations. Oh, gosh, it's time to go eat. Remember the story about... I can't think of his name right now, but he comes downstairs with his Orioki bowls.

[15:42]

That guy, yeah. I mean, the Japanese and Chinese names that. Anyway, he comes down, a famous guy. And the monk sees him and says, Oh, the meal bell didn't occur yet. It's not mealtime yet. So he goes and turns and goes back up. the stairs, it goes up, and the corn, I know what's going on in there, but actually, these, other people, they went upstairs, So, when a wave appearance has this Clarity and precision.

[17:06]

So it's pair. It's momentary. It only lasts a moment. Sometimes it feels as if it doesn't. And the good practitioner is to another person, but... to another person, but to disappear by designing one. So the teacher takes his sidecar and takes your one car and let him and people disappear. And he wants to disappear for him, and he wants to just walk, and he can't. He wants to disappear.

[18:11]

But after he reappears, when he reappears, he wants to appear again, [...] I've also used this example of an orchestral test. I've also used this example of an orchestral test. I've also used this example of an orchestral test. When they... When I was in Hanover, one of the... ...said she had an experience in him, for example.

[19:15]

of finding yourself coming off the body and walking. And present steps. She feels the whole line of people doing kinyin. And she said, I feel I've entered the most field of the hope of the mutual body. I don't write. She says, I don't. I find it myself in a corner of my book. So fine. I'm walking. It's so fine. So [...] fine.

[20:31]

So fine. [...] I find the entry and I enter into the... Resonation. Continuing with the key in Freud's cut. No. I figure she's called Freud. um what time If I come and want this, when the day I ask, want this, I can have this after me or at the same time.

[21:40]

Same time. Can follow me or at the same time. Can follow me. Can follow this body. It's this mutual body, the two or three or four. It's made part of the two. And not feeling it. This. Uh, meeting body. The souliness was ready for that. Because the ready field of mind wasn't just like the field of, but also the field of all the men and women. the feeling mind well not just sensorial in the sense of seeing and hearing and so forth but it also had the depth or volume of resonance with all that there was there.

[22:51]

Okay. Now, what do I mean by a teaching or a doctrine? I would call something a teaching when you can't, the way I'm using it now, is when you can't see its results. You cannot see its results. For example, in a seed you can't see the plant. And in the plant you can't necessarily see the flower. And in the flower, you can't necessarily see the fruit. And in the fruit, you can't necessarily see the next plant or the soup.

[23:54]

I mean, Uli could see the soup. Okay. So it's very important to sense when an insight or a noticing is the seed of the teaching. You sense there's unseen But you don't know what they are, so you don't even know how to get there. But you have to know how to plant the seed or incubate the seed. Or take care of the seed. Now, someone told me the other day that Trungpa Rinpoche said that You folks, he meant Westlers, are like spiders.

[25:08]

You're all arms and legs. And this, you know, this is the other day I said, I don't want to tell you, you have to have a different body. But there is something different. Why don't you just come closer? The other day I said, you know, I'm a little embarrassed about suggesting maybe you're here to find another body, not someone else's, your own. Yeah, you just came to practice zazen. But you know, we don't, we hide. We have written up there so you can't see it. Dogen's saying, shed body and mind. Wir haben das hier so weit oben hinaufgeschrieben, dass ihr es nicht lesen könnt, aber da steht Dogen's Ausspruch, haltet ab den Körper und den Mind.

[26:27]

So, when we do K'in Hin, you walk in the field of the body. You walk in the field. feel of the field of the body. If you do have to run or for some reason there's some problem, I don't know, your feet may go out beyond the field of the body. But when you're used to staying within the field of the body, the field of the body runs with you. I don't know what I'm talking about. But I'm trying. Maybe if you say you have a sweater on and you pull your arms out of the pullover so your arms are under your sweater on your body.

[27:37]

And the arms, maybe they almost feel like they're part of the body. They're disappearing into the body. And the sweater sleeves just hang, you know. But if you need to, you can take your arm and put it in the sleeve. But that feeling of the arms disappearing into the body is to have a sense of that is what Trungpa Rinpoche meant, I'm sure. Okay. Oh, I forgot my watch so I can talk forever. I don't know where I am, where I'm going. It's fine. You better stop me. Ina better stop me. Okay. I spoke the other day about a feeling of intactness.

[28:50]

You have a mouth that tastes. You have lungs that are breathing lungs. You have a heart that's a beating heart. You have a face which does various things. But there's also an overall feeling that includes mouth and lungs, etc., but it's more than and other than just mouth, lungs, etc., And that overall feeling, you know, is... Something like the essence of being alive.

[30:00]

And that overall feeling is something you can maybe taste most purely in zazen. It's almost like your body disappears in its parts into this overall feeling. And that feeling is what I meant by intactness. And intactness, which is also a feeling of completeness. Okay, now say that you have this feeling of integrated feeling or feeling of intactness. And that comes up in zazen.

[31:08]

Now, when you get up for kin hin, a part of kin hin is to see if you can walk in a way. That's it. and maintain that feeling of integration. Or maintain that feeling of intactness. It's like a It's going to fall apart almost immediately, but yeah, you can sort of keep it. You can hold it if you walk from the lower part of your body. Or you can hold it as in your chest. Or you can hold it as the a condensed feeling of the field of mind.

[32:29]

And it can be wider than the body or it can be compact within the body. Or it's like a little baby you're holding and taking care of. That you don't want to drop. You're seeing if you can hold it in a way that allows a calmness to be between you and the baby. Now out of such feelings through practice the different bodhisattvas arise. The Sambhogakaya body arises which we we enter with the food after Dharmakaya and then we say we're ready at Dharmakaya and we come in at Sambhogakaya.

[33:45]

This is because for one thing we're all The tendency is to start, but to allow the chanting to get started before you come in, just to respect the chanting. Yeah, that's enough to say. But we also do it because the Dharmakaya is everywhere. And so then the food appears, the Sambhogakaya appears. And the Sambhogakaya is the experience of the clarity of emptiness.

[34:50]

Or the subtle body which teaches you. So you're walking in kinhin and you're feeling the accord within your own body. And you feel your foot footing. Now, why do I say it that way? Because in this kind of walking within kinhin the first skanda. The foot appears. And when I say flooring, the floor appears. So you're in the process of discovering your foot.

[36:05]

It appears at the end of your leg. It's been there all the time, but now it appears. And may I say that your foot has, she has a problem with her big toe? It sounds like a joke. She's got a problem with her big toe. But it's serious. She can't bow. So she's going to disappear tomorrow and have an operation. She might come home with a whole new foot. So she knows what footing is about because her big toe won't let her foot. And the floor appears differently to her. one foot than the other foot.

[37:11]

Is that true? I know what I'm talking about. So then the forward foot appears. And then the other foot comes forward and the heel goes where the arch is. and then the other foot comes forward and the heel It comes where the arch is. The heel goes where the arch is. And then it becomes the forward foot. It's appeared as the forward foot. So this is, you know, you see these Thai, you know, statues of slow walking and things. This is all part of the practice of really noticing the minutia of the pyramids.

[38:16]

Could someone tell me what time it is? Könnte mir jemand sagen, wie spät es ist? You're not supposed to have a watch. This is very good. Ihr sollt doch keine Uhr haben. Das ist sehr gut. Three past five. I'm already late. And I really want to get us to the café. Und eigentlich wollte ich uns ins Café bringen. Because we've got a floor and foot our way all the way to a café. Boden und Füßen bringen uns genau ins Café. But I run out of time in which to floor and foot. So maybe this will be continued.

[39:17]

I mean, it definitely will be continued. Thank you very much for translating. Thank you.

[39:23]

@Transcribed_UNK
@Text_v005
@Score_50.32