Good afternoon. If you have the only English version copy, page 6, the 6th Ancestor Kyoi-nen, or in Japanese, Rokuso-eno, This morning I talked on the three people, Shakyamuni Buddha and Mahakasyapa and the Venerable Said. Those are three Indian examples of continuous practice. And from here, I think all of them are Chinese, Chinese masters. fourth-generation Soto Zen master after Dogen, whose name was Keizan Jokin, he not wrote, but he gave a series of talks on the enlightenment stories of our lineage from, of course, Shakyamuni to his

[01:38]

teacher's teacher, Kōun Eijō. Kōun Eijō was Dōgen's major disciple. In that lecture, a series of lectures was recorded and made a book, and the title of the book was Denkō Roku, or Transmission, the Light. There are a few English translations, so you may have already read that text. In that text, you know, Keizan focused on enlightenment, transmission of this lamp of enlightenment in each generation. Only in our lineage, Soto lineage, from Shakyamuni to Keizan's teacher to teacher, You know, this Shobo Genzo Gyoji is a kind of a collection of masters, three Indian and about 20 Chinese masters' practice.

[02:52]

Dogen doesn't focus on our lineage. He picks the example from different lineages. And his focus is not enlightenment. but practice. About the style of practice or about the idea of enlightenment, there are some different styles or different ideas. That was how three schools were formed in Chinese Zen. But I think what Dogen tried to show us in this Shobo Genzo Gyoji, even though their idea or their style are different, but their practice is the same. I think that is the point of this writing.

[03:54]

So, he picked up from different lineages in Chinese Zen. And the first person he talks about is Rokuso Eno, or the sixth ancestor, Huinan. This person, Eno or Huinan, lived from 638 to 713. You know, according to the story, Bodhidharma came from India to China in 527. So this person, Eno, or Huinan, was about 100 years after Bodhidharma. And during these 100 years, according to the In traditional Zen history, there were five generations.

[05:04]

Bodhidharma, Taiso, Eka, or Huiko, and Sanso, Sosan. And the fourth ancestor was Doshin. And the fifth was Konin. And the sixth was Eno, or Huinan. These days, scholars, Zen scholars, they doubt everything. That is their job. So they doubt everything, and this lineage might be not true. And I guess that is true. A friend of mine is a professor. He teaches Chinese Zen. His name was John McRae. His first principle is, since it is not true, it is important.

[06:11]

So, you know, the lineage, this lineage is not really true, at least until the 6th ancestor, or maybe several generations after this Huinan. Actually, it was made around the time, I think, 9th to 10th century. After the five schools have established, they made their own history. Well, I'm not sure.

[07:26]

I'm not a scholar. But, Huenen, when he lived, Huenen was a very quiet person. He was not so well-known. But his students made him well-known. Then, you know, in the assembly or lineage of the fifth ancestor, You know, Huinan's opponent in the common story, Jinshu, I forget the Chinese pronunciation, but Jinshu, the person who composed the verse of polishing the mirror, he was much more well-known at that time than they lived. Eno, or Huinan, lived very remote from the central China.

[08:29]

So, not many people knew him. He was there. He existed. He taught, but Huinan was not so well-known, popular teacher, at least not nationwide popular teacher. He was not. But the Jinshu lineage, now we call that lineage the Northern School. And we think, not we, but traditionally said, Northern School put emphasis on gradual enlightenment, and Southern School or Huinan School put emphasis on sudden enlightenment. But this is a kind of story made up by one of the Huinan's disciples, whose name was Jinne. And I don't remember Chinese pronunciation.

[09:31]

In Japanese, we pronounce his name Jinne. You know, Jinshu was a teacher of the Emperor, so he was really established as a teacher in the capital. And this person, Jinne, was very young when Shuinan died. But later, he went to the capital and made a campaign. Eno was a legitimate successor of the Fifth Ancestor. So Eno is the Sixth Ancestor. Jinshu was not. That's why he made this story of Dharma competition. So this is a story. We don't need to believe it. If we need to believe it, it's a really strange thing. Here is the Plato's Home Sutra.

[10:46]

This is a record, a so-called record, of Huineng's sayings. Let me try to read the story. You know, I think you know the composition of the poems, so I'll try to read after that. You know, Jin Shu wrote his poem about our body is a tree of awakening. and our mind is a bright mirror, so we should always polish the mirror, not to allow the dust on the mirror.

[11:56]

And Eno wrote his own poem, but in this text there are two different versions. This is the oldest version of the Platon Sutra, translated by Philip Jampolsky said, the mind is a body tree. Body or awakening originally has no tree. And the mirror also has no stand. So there is no mirror. Buddha nature is always clean and pure. Where is the room for dust? So there is no dust. That is Huinan's poem. Or another poem is, The mind is the body tree. The body is a mirror stand. The mirror is originally clean and pure. Where can it be stained by dust?

[13:00]

So anyway, there's no dust, no mirror. That is what Huinan is saying. And after that, This is the story Eno, or Huina himself, is talking about his life, his experiences. The followers in the temple were all amazed when they heard my birth. Then I returned to the threshing room. The fifth patriarch realized that I had a splendid understanding of the cardinal meaning." You know, this is... Huinan is talking about himself. Usually, you know, people don't say about themselves in this way. Being afraid, lest the assembly know this, he said to them, this is still not complete understanding.

[14:07]

At midnight, the fifth patriarch called me into the hall and expounded the Diamond Sutra to me. Hearing it but once, I was immediately awakened. And that night, I received the Dharma. None of the others knew anything about it. Then he transmitted to me the Dharma of Sudden Enlightenment and the robe saying, I make you the sixth patriarch. The robe is the proof and is to be handed down from generation to generation. My Dharma must be transmitted from mind

[15:10]

to mind. You must make people awaken to themselves. This is what the fifth ancestor said to Huinan. Then, the fifth patriarch told me, from ancient times, the transmission of the Dharma has been as tenuous as a dangling thread. If you stay here, there are people who will harm you. You must leave at once. I don't believe this. In a Buddhist sangha, if someone receives a dharma transmission, other people harm that person. I cannot believe this. But no one said that thing didn't happen. But somehow, that's why he, I mean, let me read the following.

[16:17]

I set out at midnight, so Huinan escaped from the sangha with the rope and the Dharma. The Fifth Patriarch saw me off as far as Chuichuan Station. So the Fifth Patriarch went together with Huinan until a certain place. I was instantly enlightened. So he enlightened at least three times. Instantly. The Fifth Patriarch instructed me, Work hard. Take the Dharma with you to the South. For three years, do not spread the teaching, or else calamity will befall the Dharma. That means there is some, you know, fighting will occur.

[17:25]

Later, work to convert people you must guide deluded persons well. If you are able to awaken another's mind, he will be no different from me." After completing my leaving taking, I set out for the South. So he ran away from the monastery to the South. And after about two months, I reached Ta-Iwan-Rin, the high mountain. Unknown to me, several hundred men were following behind. Several hundred. Wishing to try to kill me and to steal my robe and dharma. I don't believe this. By the time I had gone halfway up the mountain, they had all turned back.

[18:32]

But there was one monk of the family name of Chen, whose personal name was Hui Min. Formerly, he had been a general of the third rank, and he was, by nature and conduct, coarse and violent. Reaching the top of the mountain, he caught up with me, so he was caught up, and threatened me. I handed over the Dharma robe, but he was not willing to take it. He said, I have come this long distance just to seek the Dharma. I have no need for the robe. So this person changed his mind. Then, on top of the mountain, I transmitted the Dharma to Huy Minh.

[19:33]

So there's another Dharma transmission that happened on the mountains. Hu, when he heard it, was at once enlightened. I then ordered him to return to the north and to convert people there. and Huinan hid himself somewhere, and he didn't appear for several years. And once he visited a temple in the south, there was a kind of ceremony, and two monks were discussing, seeing a banner, a temple banner, whether the banner is moving or the wind is moving.

[20:38]

Hearing this discussion, Huinan just heard the discussion and Huinan said, neither wind nor banner moving. Your mind is moving." And people admired this. He was still a layperson. Admired this layperson and asked who he was. And anyway, finally, Huinan was ordained by the priest of this temple and became a monk. And he started to teach in that area. That was the story. But I don't think this is really a true story. And, you know, this is a very kind of an early version of the story. Later, it becomes more and more interesting and dramatic, like a movie.

[21:44]

So, you know, Chinese people like to express their idea or thought by making stories, not in a logical, philosophical way like Indian, you know, Abhidharma scholars. So, all, you know, them people did was making stories. certain stories, if it was interesting, become more and more interesting, something added later. And, you know, after 11th century, those interesting stories were collected and made a collection of those stories. That is so-called a record of Dharma lamps. You know, they didn't have a tape recorder. But all the conversation between so many people in the record of Dharma Lamp, Keitoku Dento Roku, said there are 1,700 people.

[22:55]

1,700 people. Many more stories in there. and there's no tape recorder who listened to, who heard those conversations. I don't think people who made such conversations recorded by themselves. So these are all made-up stories, so you don't need to believe it. If it's interesting and if it's helpful for us to study and understand Dharma, we can use it. and it has been used in that way. Please. Sudden enlightenment? Yeah, I think it's possible for some people, not to me. Anyway, there are, you know,

[23:58]

many interesting stories about those Chinese Zen masters. And if I start to talk on this one person, Eno, you know, it takes more than one hour. So I just try to read what Dogen is writing here. And I talk if necessary. So if you have some questions, you know, please give me. You can give me any time. Please. Please disturb me. Honestly speaking, before this session started, I didn't have time to prepare this lecture. Yeah. Questions are always welcome. You know, I finished translation, you know, about one week before this session.

[25:02]

So I didn't have time to prepare the lecture. So I have nothing to say. I'm thinking. OK, let me continue to read. The sixth ancestor, Huinan, or Eno, was a woodcutter in Shinshu province. According to the bio story, his father was a government official in the capital, but somehow he was involved in some problems and he was exiled to the south. And his father died when Shuinan was very young. So he was raised by his mother. And after he had grown up, he supported his mother. by working as a woodcutter. And when he was selling the wood in the town, someone bought a bundle of wood and he delivered the wood to kind of an inn or lodge.

[26:20]

Someone was chanting the Diamond Sutra. That was the time he had the first sudden enlightenment. And he immediately visited the fifth ancestor to join the monastery. So, he was a udukata in Shinshu province. We cannot say he was a well-educated person. According to the story, he couldn't read any characters. He never studied anything, but somehow he understood everything. So this is a kind of ideal image of Zen masters for Chinese people. No nothing, no knowledge, but deep insight. Ever since he had lost his father in his childhood,

[27:24]

he had been raised by his mother, he made a living from woodcutting in order to support his mother. After hearing a phrase of a sutra on a crossroad, he immediately left his mother and sought after the great Dharma. Dogen Zenji valued this person. He was a great vessel of Dharma, rare in many generations, and that was a preeminent practice of the way. Then, Dogen said, even if we consider cutting one's arm, as Eka Washiwiko did, were easy, this abandoning beloved mother by Eno Washiwinen must have been extremely difficult.

[28:39]

His discarding his debt of parental love had not been done rightly. So Dogen said, you know, Eka, or the second ancestor of China, visited Bodhidharma sitting in the cave of Shaolin Temple in the snow. Bodhidharma didn't even pay attention to that person, so he was sitting in the snow. And until midnight, or later. After midnight, Bodhidharma came and tell something. And Hyoiko asked Dharma, Bodhidharma, to teach and help deluded beings. But Bodhidharma said, you should not seek the great Dharma with, I think, the word in the story is right-minded.

[29:46]

without serious determination. So, in order to show his determination, he cut off his arm and showed it to Bodhidharma. This is also a story. According to the older texts, Heiko cut his arm by a bandage or something. banned the thief not by himself. You know, Chinese people really like making stories. Anyway, even if that story was true, and even if Eika or Heiko cut his arm to show his determination, Dogen is saying to leave his mother was much more difficult for Hinan.

[30:58]

to cut off the bondage of family, especially in China. What do you say in English? It's the most important virtue of all people. Buddhism was often criticized by Confucianists that Buddhism forced people to cut off the bandage of family tie and encouraged people to left home. That was against of the common Chinese social ethics. So, they need to make some, how can I say, excuse.

[32:05]

I mean, not excuse, but some Chinese Buddhists create some theory, you know, to leave home and practice the Buddha way. It's a way to help their family. There is a saying that if one person left home and became a Buddhist monk and attained enlightenment, the nine generations of the family would be saved. This is a kind of excuse. Anyway, so Dogen's saying to leave the family, especially, you know, he was the only son, and his mother relied on his work, his job, as a woodcutter, so it must be really difficult.

[33:10]

And later, in the later story, in the Platon Sutra, it said, the person who bought the wood give him money to support his mother. So he gave that money with his mother and he left. This is another compliment. Anyway, he joined the assembly at Obai. or Hsian-mei, Obai is the name of the place or mountain where the monastery of the fifth ancestor is located. And pounded rice days and nights for eight months without resting or sleeping. So after he joined the monastery, before he was ordained, he practiced as a layperson.

[34:15]

And his job was pounding rice in a mill. And for, it said, for eight months, he was just working. He was still a lay worker there. In the middle of a night, he correctly transmitted the fifth ancestor's robe and bow. So Dogen omitted that story. And after attaining the Dharma, he wandered carrying the stone mill on his back and continued to pound the rice for eight years. I don't think this is true. Fat Dogen is saying that he was pounding the rice with the stone mill at his ancestor's monastery, and when he received the Dharma transmission, he escaped from the stone mill with the stone mill and kept pounding the rice.

[35:24]

Of course, this is Dogen's expression that he continued to work hard as he did as a layperson at his teacher's monastery. And even when he became a rabbi of a monastery and expanding the Dharma, to guide people, he never put aside the stone mill. So he always carried the stone mill and pounding the rice. That was his practice. That was what Dogen is saying. This was a rare example of continuous practice in the world. So Dogen Zenji valued these six ancestors very much. And next one is, any questions?

[36:30]

Please. I understand that you don't believe those things. I'm just interested to know how you believe everything about the program. Do you believe everything the program says? Me? Yes. No. No? I don't think. You know, carry the stone with you. I trust his teaching. I trust his teaching, but I don't believe everything he said. You know, he's an ordinary person, so he made mistakes. He could make mistakes. He didn't make it. He didn't make this story. He used the story made before him. Yeah, Dogen Zenja, I think, believed the story.

[37:35]

Yeah. I think. Maybe not. Okay, please. Pardon me? I think we need to understand The meaning of the story, the story itself is not true. It's like a movie or a TV show. It's like a movie. But movie can, you know, tell us something true, even though the story itself is fiction.

[38:41]

And so we need to understand the person who made the story wanted to tell us, I think. And why such a person, such people, wanted to make such a story, I think. And if that is helpful for our practice, as I said, we can use it. Any other questions? OK, let me go to the next one. Kōsei Basō, or Basō Dōitsu, or in Chinese, Mazu Daoi. Basō lived 709 to 788. So, another, after, let's see, 50 years after Huinan's death or so, Basō was disciple of Nangaku Ejo.

[39:53]

Nangaku Ejo was another disciple of Huinan. So two generations after the sixth ancestor. And Baso was a very great master. This guy might be interesting. The contemporary of Baso was in our lineage was Sekito Kisen. Sekito Kisen was the master who wrote Sandokai. And those two are very well-known, popular Zen teachers at the time. And yet, you know, those two are kind of a very opposite style. They had the opposite style. Baso was a great master, and he had many students.

[40:54]

And according to the record of transmission of the Dharma lamp, he had, I think, about 80 Dharma successors. 80. And after, you know, under Sekito Kisen, only several. Well, here is the chart of lineages. I think you know this chart made by Andy Ferguson. This is Baso, and this is Sekito. And those 13 people are Baso's dharmayas, and actually there are many more. And here are only three of dharmayas of Sekito Kisen.

[41:56]

So, although Sekito was a very well-known teacher, he only had a small number of disciples. And Sekito's dharmaya, one of the most important dharmaya was Yakusan Igen. We know him because of the famous koan about think of not thinking. How do you think of not thinking beyond thinking? And Yakusan's disciples are Ungan Bonjo and Dogo Enchi. and Dōgo originally practiced with Hyakujō, Hyakujō Eikai. Hyakujō was one of the major disciples, Dharma heirs of Basō. So, first, Dōgo Enchi left Hyakujō's monastery and visited Yakusan's.

[43:00]

and invited Ungan to come to the Yakusan's assembly. At that time, Dogo said, how can I say, Baso's style is like a department store or supermarket. He has everything. But Sekito's lineage was like the expression Dōgo used, was Shinkin. He used a vassal, he said, Zakkaho. home in the shop, zakka means miscellaneous stuff, things.

[44:10]

So the shop, fair, they have everything. And about the sector's lineage, Dogo said, shin-kin-ho. Shinkin is true gold. So in this shop, they only sell true gold. So not many people come. So this is a kind of a contrast. And this contrast, I think, is the same contrast as, you know, I talked this morning. you know, to keep the practice pure and strong, and to Dharma, to make the Dharma available to many people.

[45:17]

And I think in Buddhist, in any Buddhist tradition, there are those two sides. And two sides are sometimes contradicted, sometimes have a kind of a tension. But both, you know, helped each other, support each other. And some people go that way, and other people go another way. Of this Dogen Riten Gyoji, to keep the practice pure and strong, and yet we should strive to spread that Dharma. this kind of deepening the Dharma, deepening to make it deep and to make it wide. We need to work both directions, I think, and it's very difficult.

[46:19]

We need to find, you know, each person has different capability and different karma, so we cannot do everything. Some people are capable like Basho, and some people like Sekito want to, as I said, his birth of Songo's grass-roofed hermitage. I think he liked to be alone. And yet he couldn't reject people, so he started to teach. but he didn't want to, you know, so much, you know, travel around and teach and have many students. And Vassa has kind of opposite, and I think both are important.

[47:19]

Anyway, this is Vassa. And one of the most important, if you are interested in Vassal, this is a book, a translation of Vassal's teachings, Sun Face Buddha, if you want. And Dogen Zenji writes the story of, maybe I already told, about the polishing of the tile between Baso and his teacher, Nangaku. Anyway, Kosei Baso, or Joan C. Mazu, practiced Zazen for 20 years. he received the intimate seal from Nangaku or Nanyue.

[48:24]

After he had received Dharma transmission in guiding people, he never said that he put aside Zazen. When a practitioner visited him for the first time, he never failed to allow them to intimately receive the mind field. I think this Dogen referred to the story of the polishing tile. Actually, Dogen Zenji made a change to that story. In the original story of the polishing tile, Baso was sitting near from the Nangaku's temple, and he had not met with Nangaku yet.

[49:29]

But Nagaku had, you know, some young monk was sitting all day at the hermitage. Nagaku visited to examine what this person is doing. And he asked, what are you doing? I think I already told the story, so I won't repeat. And after that conversation, Baso received this mind seal from Nangaku. That was the original story. But Dogen Zenji put four Chinese characters before that story. And that makes the meaning of that conversation almost completely different. That is, before that conversation of polishing tile, Baso had already received this mind seal.

[50:33]

So Baso did already understand the true meaning of Zazen. And Dogen, based on that situation, Dogen Zenji interpreted the story of the polishing tile in Shobo Genzo Zazenshin, or Acupuncture Needle of Zazen. So Dogen is also a kind of a story maker. Anyway, this mind seal is the same mind seal or intimate seal. The same seal appeared in that story. And so he, Baso, Dogen said, Baso, put emphasis on the Zen, please.

[51:41]

I'm not sure. But sometimes, yes, sometimes not, I guess. It means, I don't think Baso received dharma transmission right after he visited. Or, I'm not sure, maybe no scholar, I'm not sure there are such things called dharma transmission as we have now. at the time of, you know, early Tang dynasty. So, I'm sorry, I don't know. I'm pretty sure there's no such kind of a ceremony. Of course, there's an idea, concept of Dharma transmission, like the story in Chuinan, or Six Ancestors. But I don't think Sixth Ancestor received, you know, the Kechimyaku or transmission chart, or Shisho.

[52:51]

But he just received Oryoki, Rōbu, Ukesa, and Oryoki. Anyway, and... He always, Baso, always went to the place of community work. This is samu, fushin samu, prior to other people. This fushin samu, or community work, is one of the important aspects of Chinese Zen practice. started around this time, Baso or his disciple Hyakujo. You know, those Zen masters in early history of Zen, Chinese Zen, they somehow entered mountains and established their own monasteries.

[53:58]

And in order to do so, they worked by themselves. And they tried to support their practice by themselves, by working, like growing rice or vegetables. And, you know, in the history of Buddhism, that was kind of a revolutionary thing, because cultivating, growing vegetables or farming was prohibited by Vinaya precept. Because when we work on the ground, we need to kill many living beings. But somehow these Zen masters intentionally break the precept. They became free from the precept and started to their own kind of practice style.

[54:59]

in which they worked on the field to support their practice. The first Zen master, according to tradition, who made that regulation of the monastery that is different from Vinaya precept, was Hyakujo Ekai, and he will appear later, so I'll talk about this, you know, community work later, when I talk about Hyakujo. But from the time of Basho, they had them in their community, they had community work. The original expression for community work is Fushin Samu.

[56:28]

Fushin Fū means universal or common. And shin is invitation, invitation or asking. So fushin means to ask all people, all the members of the community to come to work. And samu is, I think you know this word, samu means work. Samu is to make something. And Mu means to work or duty, responsibility. So, and still in Japanese, we use this Fushin, not only within Buddhist or Zen community, but in the common society, they still use this word, Fushin. This came out of Zen practice at Zen monasteries.

[57:30]

In certain villages, when someone needs to build a house, they ask all people in the village to help the person. That was called Fushin. asking all people in the community to come to work. So not only in Zen community but also the common community in Japan has this practice of fushin. So fushin still in modern Japanese means building a house or construction work. And even in his old age, he was untiring.

[58:35]

The current Rinzai, or Rinji school, came out of the stream from Kosei, or Vaso. Rinzai was a student disciple of Obaku, and Obaku was a disciple of Hyakujo. And Hyakujo was a disciple of Baso. So Rinzai was one, two, third generation from Baso. OK, next one is Ungan. Ungan Donjo. Please. It's probably not a very good question, but I don't understand I don't know.

[59:38]

I mean, in Japan, we only use Japanese names. You know, in China, they only use Chinese names. I mean, same, same, same Chinese characters, but because Japanese people cannot pronounce like Chinese, the sound changed. You know, we pronounce, in Japan, we pronounce this person's name, Jin-ne, but Chinese people, Chinese, original Chinese pronunciation are different. And, you know, Chinese word has four different kind of tones. So even the spelling is the same, if the tone is different, then it's a completely different word. So, you know, if you are not Chinese, you cannot pronounce Chinese word correctly.

[60:42]

So, depending upon when we receive this Chinese expression, we, in Japan, we pronounce different ways. And since, you know, Japanese people pronounce in Japanese way, and in the history of time passing, more and more Japanese, Japanized. So Japanese pronunciation and Chinese pronunciation of the same Chinese character are different. And when, you know, Zen was introduced to this country, American people think the Chinese person's name should be pronounced by Chinese pronunciation, I think. So they, instead of calling this Jinne,

[61:44]

Eno is a Japanese pronunciation for Huinam. So we call him the sixth ancestor Eno. But Chinese pronunciation of these same characters are Hui and Nen. I don't know that tone, so I can't really correctly pronounce these two. But because American people, especially scholars, think Chinese names should be written in original Chinese. So in this country, most books don't use Japanese pronunciation, but Chinese pronunciation. But, you know, because I don't, I cannot pronounce Chinese, you know, correctly, and even some Chinese, you know, words, I can't even pronounce.

[62:57]

So I try to keep using Japanese, because I'm sure that is correct Japanese pronunciation. So, I'm sorry, you know, this kind of confusion, but that is a problem only in this country or outside of Japan or China. No. I mean, yes and no. I mean, Sanskrit word, for example, Shakyamuni. I don't know the Chinese pronunciation of Shakyamuni. But in Japanese, we pronounce Shakyamuni as Sha-ka-mu-ni. Not Shakyamuni. Sha-ka-mu-ni. So pronunciation are different. But we, you know, try to Indian people's name as in Sanskrit, you know, spelling.

[64:00]

Please. Well, they don't have that problem. They use just Dogen. In the case of Dogen, they just use the Chinese characters. And probably they pronounce this as Dao Yuan or something. But in Japanese and Chinese, we don't have this problem. So, ungan donjo. or in Chinese, Yong Yang Tang Shen.

[65:10]

He lived 782 to 841. So... Hmm? Maso? I forget. Maybe I did. 709 to 788. So, Ungan was a person I talked about, you know, those two different kinds of shops. First, Ungan practiced with Hyakujo. And, here, Dogen says, Master Ungan practiced together with Dogo and Yaksan, Zen Master Yaksan. They took a vow together and never put their thighs on the floor for 40 years.

[66:17]

Again, there are other people who don't lie down. Anyway, this Unga and Dogo, In Japan, we had a stick to rest our chin when we sleep sitting. I saw a stick, such a stick, at Katagiri-roshi's room. I think he had that stick. We call it a benpan. But I'm not sure whether he used it or not. In China, yeah, they still do, in Chinese tradition. Yeah, I think 1975, first I visited this country, came to this country, I had a chance to visit the Golden Mountain Temple in Chinatown.

[67:20]

And I was told that some people there sleep sitting. I was really amazed. But when their teacher gave a talk, they were all sleeping. You know, it's very kind of convenient. They don't need to lie down to sleep. Sleeping boxes. So they sleep in a box? Wow. Wow. That's interesting. Anyway, this is Ungan and Dogo.

[68:22]

There are many different versions of the story. again. But it said they were real brothers. Dogo was an elder brother and Ungan was a younger brother. And Ungan became a monk first. I mean, yes, Ungan. And Dogo was trying to become a government official. But somehow, when Dōgo went to some place to take the examination to become official, somehow, Ungan and Dōgo met each other. And I didn't remember really what kind of conversation they had, but somehow, Dōgo changed his mind. and instead of going to take the examination, he became a Buddhist monk.

[69:26]

So, in the family, you know, Dōgo was the elder brother and Ungan was the younger brother. But in the Dharma community, Ungan was the elder and Dōgo was the younger. Kind of, you know, complicated relationship. And this is one of the key points of this story. But somehow Dogo was a very keen-witted person. And he attained enlightenment before Ungan. Ungan was a very steady, slow-moving person. and the story going on, but we don't have time to talk on that story. But anyway, those two, Ungan and Dogo, and another person whose name was Tokujo, practiced together under Gyakusan.

[70:38]

And this person, Tokujo, became a boatman to ferry people on the river. And last year I talked about this person and his Dharma successor. But anyway, those three people practiced together. And the boatman left, but those two, Ungan and Dogo, practiced together for a long time. And another story says that Ungan never attained enlightenment. I don't know if it's true or not, until his death. And it's kind of important for me. There was at least one Zen Master who didn't attain enlightenment.

[71:39]

Anyway, they practiced together in this way with single flavor, means wholeheartedly, single-mindedly. And Ungam transmitted and entrusted Dharma to the great master Tozan or Donshan, Gohon. Gohon or Uben is a title honorific title given by the emperor after this person's death. So, Ungan gave dharma transmission to Tozan, and Tozan, or Donshan, was the founder of our lineage in China, Chinese Soto school. So, Ungan was a very important master in our lineage.

[72:50]

And, you know, there are other interesting stories between Ungan and Tozan. And, Rogen Zenji wrote about Ungan and Tozan in a few verses of Shobo Genzo. So, if you are interested, please read it. It's kind of difficult. But now I don't have time to talk on those stories. Anyway, Tozan said, I wanted to become one piece and I have been engaging the way of Zazen for 20 years. So Tozan practiced with Ongan and received transmission and practiced Dazen for 20 years. And this expression, to become one piece, or Dajo Ippen, is also a famous or important expression.

[73:59]

Da literally means to hit, but in this case it has no meaning, but this makes this next word stronger. So, dajō is one word, and jō means, jō is a jō in genjō koan, jō, to become, or to complete. also to success, to be successful. And each is one. And pen or hen is peace. Become one peace. Means often our body and mind are separated. But by, you know, concentration, body, mind, and this entire world become one peace. That is an expression of kind of a summary.

[75:29]

So please. Da means to hit. Yes. And his way has been widely transmitted until today. So, Ungan and Tozan's way has been, you know, as a Sōtō tradition at the time of Dōgen. Actually, Dōgen said, at the time of Dōgen in China, only Rinzai tradition has spread, and not so many Sōtōzen teachers. But somehow, he said, it has been widely transmitted until today. But today, in the 21st century, in Japan and some parts of China, and in this country and Europe, Soto Zen has been really widely spread.

[76:46]

I think it's time to stop talking. Any questions? No questions, good.

[77:01]

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