Hongshan said, I'm always close to this. He didn't, he didn't, you know, give some answer to the question. He said, I'm always close to this. And I'm always intimate with this. So just kind of as a kind of footnote really, the three Buddha bodies technically, and again, there will not be a test, but for those who care about such things, there's a teaching in later Mahayana that there are three aspects or bodies of the Buddha. One is the incarnate body of the Buddha in Sanskrit, for those who are interested in this, nirmanakaya. Those are actual, like human bodies of Buddha, like Shakyamuni Buddha, who lived 2,500 years ago, more or less, in what's now northeastern India. He was a incarnated, manifested Buddha body. Okay, and there are predicted to be future bodies of Buddha, human bodies of Buddha, and there are said to have been previous bodies of Buddha.

[01:04]

That's one kind of body of Buddha. There's also Dharmakaya body of Buddha. There's a huge statue. There's actually a picture back there on the wall of one of these, an image of this, the great body, the great Buddha in Nara. This is the body of Buddha that is the whole universe. All of reality, all of phenomena as Buddha, as awakened. That's another body of Buddha. the Dharmakaya Buddha. And then there's something called the Sambhogakaya Buddha in Sanskrit, which is the reward body of Buddha. And this is like kind of cosmic Buddha bodies. These are heavenly bodies. This is like Amida Buddha, who's the Buddha of the Pure Land School in East Asia, or the Medicine Buddha, or some of you might have visited our monthly reading of the Flower Ornament Sutra, where it describes many, many, many Buddhas.

[02:13]

Those are Sambhogakaya Buddhas, reward body Buddhas. So in that sutra, the Flower Ornament Sutra, it talks about Buddha's everywhere. And on the tip of a blade of grass, there are innumerable Buddhas. In every atom, there are bodies of Buddha. So these are kind of, I don't know, you could call them heavenly bodies of Buddha. And they're very close to us and they help us. This is how it's understood in Bodhisattva Buddhism in Asia. But we could understand this question more as among the various aspects of Buddha, which one doesn't fall into any category? Now this is a funny question because he's talking about categories of Buddha. Which category of Buddha doesn't fall into any categories? So there's a lot going on in this question. A lot of Dong Shans

[03:15]

stories and teachings are about not falling into stages of accomplishment. So again, at the beginning of the song of the Jewel Marrow Samadhi, he says, the Dharma suchness is infinitely transmitted by Buddhists and ancestors. Now you have it. So, um, Buddha bodies is not something that one accomplishes. So Dogen, later in Japan, would talk about the oneness of practice and realization. Buddha is not something that you need to struggle to accomplish or attain. Buddha is something that's always present. Buddha nature is, in some sense, the nature of reality.

[04:16]

the ground which we sit on. It's the air we breathe. This is, anyway, this is one way of talking about Buddha. Dong Shun doesn't say that. Dong Shun doesn't say, oh yeah, Buddha's everywhere. That would be kind of a cop out. That would be too easy. Buddha just says, I'm always close from this. Dongshan says, I'm always close with this. I'm always intimate with this. He doesn't even say, I'm always intimate with this question. He just says, I'm always close with this. So this is also a story about Zen intimacy. This is a story about what Zazen is about. How do we not fall into categories? How do we not fall into some particular definition of who we are?

[05:22]

Of course, the world is made up of categories. Us and them and them and those. We are constantly dividing, dissecting the world into subjects and objects. you know, our usual way of thinking, our conditioned way of thinking is about that. Dongshan just says, I'm always close for this. And part of what happens when we sit, when we develop a zazen practice, where we continue to come back to just facing this situation just facing the wall just facing this breath this thoughts and feelings and body and passing thoughts and this suchness um we get close we get very intimate with what

[06:39]

To call it a self, it's a little off. To call it something other is a little off. We're caught now in a world, in a country where we're always othering. There's my party and the other party. I mean, this is what's happening in our country now. Self and other. we have trouble going beyond categories, or seeing that there's something that is not subject to categories. So this question is not just an abstract theoretical question. Which aspect of Buddha does not fall into, as the monk said, Which one does not fall into any category, does not fall into any stage, does not fall into some level or stage of accomplishment?

[07:47]

So this is the question, and Dongshan suggests this. I'm always close to this. So that's just the case. The koan, case 98, also consists of Hongzhe's verse comment, the introduction to the whole case, the comment on the case, and the comment on the verse. So there's a whole lot more to say just about the case, but I want to get a little further into the Book of Serenity case. So, Wade, could you put up the... PowerPoint, I want to look at the first comment by Hongxue. So you see, first is the case, a monk asked, which of the three bodies of Buddha does not fall into any category? Dongshan responded, I'm always close to this. Then Hongxue's first comment, this is one of my very favorite poems. Not entering the world, not following conditions.

[08:53]

In the emptiness of the pot of ages, there's a family tradition. White duckweeds breeze gentle, evening on an autumn river. An ancient embankment, the boat returns, a single stretch of haze. So this is, again, Hongzhou was the great teacher a century before Dogen who picked the cases and pick the version of the case, because there are longer versions of a lot of these stories, dialogues. And then he wrote first comments. So not entering the world, not following conditions. This is an expression of not falling into any category, not falling into conditioning, going beyond all of the worldly separations.

[10:02]

Hongzhe lived on a, as Dogen did later, lived in a mountain monastery far up in China. As it happens, he also, when there was a famine, This pandemic is not the first time there's been difficulties for Zen communities. There was a famine at the foot of the mountain, and Hongxue gave a lot of the monastery's store and food to his parishioners at the bottom of the mountain. He's talking about this case, not falling into it, not always being close to this question, not falling into any category, not entering the world, not following conditions. In the emptiness of the pot of ages, there's a family tradition. So he's talking about a particular

[11:09]

a particular tradition, a particular lineage. The word tradition here is the same as the word for transmission. And the emptiness of the pot of ages. Strange phrase. How can we be nourished from an empty pot? The pot of ages. It's literally the pot of Kalpas. many ages and the emptiness of the pot of ages is a family tradition. What, um, what is this, uh, legacy, this transmission that we've received that we're practicing here in, um, the emptiness of, uh, the pandemic here? What's this pot of ages? Hongshu calls it emptiness.

[12:20]

Maybe it's this teaching of emptiness that allows us this family legacy. Dogen has a poem in which he uses the same So emptiness, the word for emptiness, it's the same emptiness as form and form is exactly emptiness. Emptiness is exactly form that we say in the Heart Sutra, but that word also can mean sky. So, so Dogen has a line in his extensive record, outside the window, plum blossoms open in secret encompassing spring. You can catch the moon in the pot of ages in the sky. And that pot of ages in the sky is the same as this emptiness of the pot of ages.

[13:23]

Same characters. So in this poem, it's autumn. In that poem of Dogen's, it's spring. And its plum is blossoming on the same branch as last year. Anyway, in the emptiness of the pot of ages, there's a strange phrase, there's a family tradition that we're part of, that Hongshuo's part of, that Togen's part of. White duckweeds breeze gentle evening on an autumn river. Things are passing and we've entered autumn here in Chicago. An ancient embankment, the boat returns, a single stretch of haze. I love this line, an ancient impactment. Any ideas what the ancient impactment is? Just call out. I can't see everybody because we're sharing this.

[14:25]

Ed, any ideas? You're smiling. Anyone? Is it the other shore? It's the other shore, an ancient impactment. So the other shore is, well, sometimes, so we sometimes call it nirvana. And when we say, beings are numberless, I vow to free them or save them, literally, the characters used there is to carry, and the character for Paramita, transcendent practice is to carry to the other shore, an ancient embankment. the boat returns. So I imagine a ferry boat, a bodhisattva, carrying the boat to the other shore again and again and again, a single stretch of haze. It's a little dim. Maybe it's from the fires and climate fires in California.

[15:30]

Yes, Ed. Thank you. I'm curious about the term in ancient about the use of the word ancient? Yeah, it's ancient. It's, it's been, you know, we're talking, we're reading a poem from the 1100s. And, you know, this is and we're talking about Dong Shan, who was in the 800s. That's pretty ancient. So it's, it goes way back. And of course, to the Buddhas before Buddha. So anyway, there's much, much more to say about this poem. I like it a lot. Not entering the world, not following conditions. In the emptiness of the pot of ages, there's a family tradition. White duckweeds, breezed gentle, evening on an autumn river. So there are, there's more to say about all these images like the duckweeds, but I'll go to that for now. Can you scroll down on this?

[16:31]

Oh, wait. I want to get into some of Wansong's commentary, and then just open this up for discussion. Okay, so first a little bit about Wansong's comments on the case. And there's actually a lot more. So in the Book of Serenity, again, it's the cases and the verses, but there's also, Wansong was a really interesting person. I found out that one of his, And this is research I did thanks to Paula and her telling me about Shaolin, which is a center for martial arts. But actually, that was because one of Wansong's disciples, he had several really interesting disciples. One of his disciples became the abbot of Shaolin. like in the early 1300s. And because of civil wars at that time, he brought martial artists there.

[17:33]

And that's when it became the martial arts center of China. Anyway, that's one of the successors of Wansong. Anyway, Wansong wrote the, and he has some other really interesting successors, but okay, he wrote the commentary to Hongxia's cases and verses. And there's included in the much longer commentary on the case by Wansong. He quotes a verse by another master named Bao Ming. This closeness is heart-rending if you search outside. Why does ultimate familiarity seem like enmity? From beginning to end, the whole face has no color or shape. Still your head is asked for by Sao Chan. So maybe I'll get to Sao Chan, but this closeness is heart-rending if you search outside. Why does ultimate familiarity seem like enmity?

[18:38]

So as I said, this whole story, this whole case is about, you could say this is about Zen intimacy. One starts In Zen, intimacy starts with looking inside, becoming intimate with oneself. Through Zazen, seeing one's own, Joan Amaral was talking about this some yesterday, seeing one's own fear and anger and emotions and accepting them, not repressing them. being with them, not necessarily reacting to them, but actually feeling one's own fear, acknowledging it to oneself, not acting out based on it necessarily, but getting to know, becoming intimate with oneself. This is part of the process of Zazen. It's not all of Zazen, but then one becomes intimate with oneself. And when one is intimate with oneself,

[19:42]

be then intimate with some so-called other. In relationship, in interaction with friends, neighbors, in interaction with others in terms of trying to act to be helpful in the world, to respond appropriately. But this closeness is heart-rending if you search outside, if you try and Just look outside for closeness. Why does ultimate familiarity seem like enmity? So some of you may think about the people you are closest to and how sometimes with teachers, with spouses, with children or parents, people who are closest to us, it seems like enmity. It's difficult. and sometimes with oneself.

[20:46]

One fights with oneself as one becomes intimate. So these two lines are powerful teachings on intimacy. And actually this is the commentary on the case that is just before the first comment by Hongzhe about about not entering the world, not following conditions. So that's how Wanzhong introduces Hongzhi's verse about the emptiness of the pot of ages. I don't want to, there's so much in the commentary that I want to leave time for discussion, but I'll just mention, Cao Shan is one of, Dongshan's close successors. He's not the successor from whom our lineage and Dogen's lineage comes, but he's one, and there's a story about him.

[21:53]

A monk asked Xiaoshan, what is the meaning of Dongshan saying, I am always close to this? And Cao Shan just said, if you want my head, cut it off and take it, and he leaned over to let him cut off his head. So there's a whole discourse amongst the successors of Dong Shan about not answering directly. And the nation's taboo, there's a whole thing about not saying the name of the emperor in China, that that was taboo. And they use that as a metaphor for not answering directly. So I'm always close to this, Dongshan says. So that's the reference to Saoshan in this. Still your head is asked for by Saoshan. Actually, he offered his head, but so Baoming is turning it around. And then I'll just, so there's a whole long, interesting commentary on the case by Wansong.

[23:02]

And there's a commentary on on the verse by Wansun, including another, a different verse about white duckweed. But I'll just mention Wansun's introduction to the whole case. where he also mentioned Shaoshan cutting off his head. Zhifeng cutting off his tongue made a sequel to Xishuang, and that's about a story about a guy named Zhifeng who would not speak directly, refused to talk, refused to answer. Shaoshan cutting off his head didn't turn away from Dongsheng. Then there's this line, the ancient sayings were so subtle. Where is the technique to help people? So I wanted to end with that from the introduction. The whole point of this is how to help people, how to relieve suffering. So these are not, these stories which seem theoretical and maybe abstruse, the point of them, Wansung is saying in the introduction to the story is, what is the way to help people?

[24:15]

So, Wade, you can take away this attachment now. Thank you. So, OK, that's the story. And again, these koans in the elaborate literary format of them in the Book of Serenity and in the Book of Record, you know, complicated literary events. But I just wanted to introduce the story to you and the whole, and the issue here of not falling into separation, not falling into categories. And, you know, this is relevant to us. It's relevant, and it's not, it's relevant to us in this particular time, but it's also relevant to us as humans with human consciousness. Our usual way of thinking is, and our usual grammar is subject, verb, object, and we try to verb objects out there and manipulate them to get what we want.

[25:19]

or we try and protect ourselves from subjects out there so they won't verb us. This process of separation and making categories and trying to find stages of accomplishment and advancement is how we think. And it's part of the dilemma we're all caught in now in our country in terms of all this separation. So there's a lot going on in the story, but I wanted to present this to you as one of the seminal stories in our tradition. So we have some time. Are there comments, questions, responses? You can raise your hand. Please feel free. If I can't see you, I can't quite see you, Debra. People can go to the participants link and just raise your hand if you want to comment.

[26:21]

So raise hand at the bottom. And any comment or response or question is welcome. Mike. Thank you for your talk, Taigen. Yeah, there's so much depth in all of these, and I'm always amazed by what can get drawn out. The line from Hangzhi's commentary, Not Entering the World, reminded me of the line from, I think, from Genjo Kōan, to go forth and experience things is delusion. and that many things should come forth and experience themselves. I don't know if there's a tie between those, but I just made that connection in my head, and I don't know if it's just that or if there's anything to that. Yeah, no, that's interesting.

[27:22]

I hadn't thought of that. But yeah, not entering the world, not pushing oneself into the world. Yeah. Yeah, that's good. So what Mike's referring to is the line by Dogen's in Kencho Koan that delusion is when we project our, paraphrasing, to project ourselves out into the world, put ourself into the world, and see the world in terms of ourself, as opposed to awakening, which is when everything just arises together and experiences itself, including us, but not controlled by ourselves. So yeah, I think that is relevant. I hadn't thought of that connection before, but that's good. Thank you. Other connections or comments or literary reflections or whatever? Yes, Ed.

[28:24]

Thank you very much. I'm very struck by the pairing of the idea of intimacy with the idea of enmity. Yeah. And how they are linked in that second commentary. and how they're directly addressed or implied in the verse itself. Yeah. When the Buddha says that he is close to this question of a categorical nature. Well, that's Dongshan who says that, but you can call him an old Buddha. OK. It can complicate the question of obligation and caring and familiarity, such an awareness of that dichotomy. Yeah, it is really interesting. Those we are, not necessarily, but sometimes anyway, people we are most intimate with, parents, children, spouses,

[29:33]

good friends, there's tension there sometimes, or even if he says it feels like enmity. And I don't know, maybe that's not true for all of you, but for some of us anyway, at times it can be like that. And that's really interesting. Ed, go ahead. And so the comparison you're drawing out as regards the relationship of individuals to individuals, certainly that's parallel as regards to relationships we have with other things, period, and certainly with ourselves, categorically, right? And is there some material there? I mean, if in fact this relationship, what you're describing is a value or an ethical stance, as regards how to manage enmity, but we're acknowledging the existence of enmity as a primary aspect of intimacy, whatever the hell intimacy is, I'm not sure.

[30:42]

Well, this is talking about intimacy, and I don't know that it's the primary aspect, but it feels like it sometimes. And I think one of the things that's involved here is teacher and student relationships, spiritual friends. And that happens sometimes that one may feel that some enmity with one's teacher or with one's student, but it's also internal. It's also the struggles we have internally with parts of ourselves. There are things often Again, I don't want to generalize or assume anything, but for some people, there are parts of oneself that one struggles with, to put it that way, or that one, you know, wants to repress or doesn't want to acknowledge. You know, so we haven't found a format for that in Zoom.

[31:47]

We used to do it regularly in our services. Maybe we should do that at the beginning of our service, the chant, all my ancient twisted karma from beginningless greed, hate, and delusion, for in two bodies, which in mind are now fully avowed. We haven't found a place for that in our Zoom program, but anyway. Yeah, acknowledging that internal struggle. So again, What is intimacy is the question here. One final very brief statement. So what you're saying is that intimacy is in fact found on the landscape of enmity. Again, enmity is involved in, you know, traversing that landscape. There may be no enmity at times, but it's part of what one... Yeah, it's found there.

[32:51]

Yeah, okay. One may cross the planes of enmity and get to some other terrain at times, but yeah. Doug, did you have a comment? Yes. I have a sense of... And thank you very much. I really appreciate your talk. And at first I wasn't following, but now I'm getting a real sense of an inner struggle that I've had with whether or not to compete. And the whole concept of competing applied in this, like competition, especially in this country, we seem to be so competitive all the time. And that aspect of it, as an inner struggle about winning and not winning, and it just really got me. The poem was just incredible, too. Yeah, I love that poem. There are other stories about Dongshan that even more than this story emphasize the whole emptiness of stages and our ideas of progress and accomplishment and getting to some

[34:09]

elevated state or something like that. And I think for in our culture, you know, we're conditioned to, you know, make personal progress and, you know, to go through grades and try and get degrees or get, you know, how we make resumes to get better jobs or, you know, anyway, there's the whole this whole training in, in, you know, accomplishment and And part of what Dongshan emphasizes in many of his stories is not getting caught in stages. So that's part of this story, but it's much more explicit in some of his other stories. I was seeing something that felt like Not making the other person a loser though, specifically winning, you know. Right, right, that's there too. Yes, yes, yes. Yeah, just great. Yeah, so how do we see, yeah, so the whole idea of separation of, yeah, when you think of categories of different Buddhas,

[35:24]

And we have to make judgments about where we are in relationship to others. Yeah, that's what we do. And our culture encourages that. As you were saying, yes. Yeah, thank you. Other responses or questions? Maybe we're almost time to stop, but Ian, last comment. I was wondering if you could speak about the introduction a little bit more. There's some aspects like cutting off tongues and cutting off heads that seem a bit esoteric. I was wondering if you could help. Yeah, part of the whole koan literature is that the more you read these stories, the more they relate to other stories. And there's often references to other stories.

[36:30]

And particularly Hongxue is very, was very literate. Sometimes he refers to classical Chinese stories. So as well as other Buddhist stories, but those stories, Saoshan was, I mentioned the story about Saoshan offering his head. So that's what that story is about. Zhefeng, Where's the story about Zhefeng? I mean, there's some really funny stories. I'll just, but, oh, just briefly, the story about Zhefeng is in the commentary. Zhefeng's teacher, Xueshuang, and there's much more to say about him, was asked about the meaning of Bodhidharma's coming from the West, and Xie Xun just gnashed his teeth. That was it. And the monk didn't understand, and after Xie Xun's death, asked Xie Feng what he had meant by gnashing his teeth, and Xie Xun said, I'd rather cut off my tongue than violate the nation's taboo.

[37:42]

So that's what that's a reference to. I'll tell one more story, because it's just so funny. One of Dongshan's other men, he had numbers of notable successors. One of them was named Shushan Guangren. And he asked Dongshan, please teach me a word which doesn't yet exist Dongshan said, no, no one would agree. Xushan said, then can it be approached or not? Dongshan said, can you approach it right now? Xushan said, if not, still, there's no way to avoid it. And Dongshan agreed with him. But I wanted to mention the story about Xushan Guangran. He was apparently, I don't know what the word is, he was very short. maybe a dwarf or whatever. And there's a story that when Dongshan was giving Dharma transmission to Saoshan, Sushan hid under Dongshan's chair so he could hear what was going on.

[39:01]

And he was caught and there was a big scandal. But he did later get transmission from Dongshan. It is sort of time to stop, but if anyone... I believe, Taigan, that Douglas and Amina have had their hands up. I don't know if we have time for them. Oh, I'm sorry. Let me call on Amina first, because it's been so long since you've been here. Amina. Hi. Thank you so much, Taigan. Hi. I don't have much to say. It's funny. I have not been with these verses for so long. Yeah. I'll just say that it feels very good to be with them again, and something in me responds so strongly. I mean, not in this logical way, but just to, especially these conversations to these questions, you know, and this thing about not categorizing and being close to it.

[40:02]

And so I'll just say that. I don't know that there's much for me to say right now, but just to kind of be with them again. And I appreciate that. It's great to have you here. Please come again. Amina is a very fine novelist, published novelist, by the way, and I recommend her works. And it's great to have you. Please come again. She used to live in Chicago and be active at Ancient Dragon, but now with Zoom, people come from all over. Great. Douglas? I'd like to go back to our chant and come at the story from the first line of the Jewel of the Precious Mirror Samadhi, that the Dharma thusness is intimately transmitted. Now you have it, preserve it well. And a similar poem about the harmony of difference and sameness, where we see difference and conflict and contradiction.

[41:02]

It's not true that that conflict and contradiction is resolved in in thusness, that in, we can say in a way, it's not quite that, but that the world of differences and identities and separate, reified, static things is dissolved in the understanding of emptiness, and then they reappear, sort of like the boat going across to the other shore, disappearing in the mist, and then reappearing again as it comes back. So, you know, the idea of you have Dharmakaya, Sambhogakaya, Nirmanakaya, which one is really real? But the whole point of this is Buddha, those are all names for views of aspects, ways of looking at Buddha. That's not Buddha, they're not real things. Buddha encompasses all sorts of ways of seeing and being. And Dongshan himself, I think, when he says, well, I am always close to this, he's not just close to it, he is embodying suchness by dropping off categories, dropping off trying to fix things with labels and descriptions and analysis and

[42:23]

descriptions of how things are supposed to be. So he's not, he's close to the question, he's close to the issue all the time, but he's really identical with it. He's a, he is himself an aspect of the world, the aspect of, of thusness or aspects of, or suchness. So that, um, You know, in a practical sense, we can look at it at the way we come to the world and we keep trying to label things and fix things in categories and make judgments about them. And this is who I am. You know, I am I, which is the real Douglas, the Zen student, the father, the lawyer. Yeah, that's an insufficient number, but it's not contradictory. There's a harmony of the different aspects of Douglass in that. And we live an authentic life through Zazen and learning to drop off, getting stuck in those labels and categories and coming to the world in a different way.

[43:34]

Not that we don't see difference, but it's not a fundamental real difference with distinction. So, you know, I think that's what the poem is also getting at a little bit with the idea of the enmity And what is the phrase? It's the enmity and the intimacy, that there is an intimacy and suchness that overcomes the difference. There's the harmony of difference and sameness and suchness. So there's the intimacy and the enmity, are dissolved in a way. So I'll just leave it at that. Just aspects of the story and the verse to think about. Good. Thank you. Yeah. So, yes, the point is, so the point isn't to get rid of differences.

[44:35]

The point isn't to merge everything into one, you know, gloppy sameness. That's not the point. It's to realize the suchness of both, and it's not just both, it's all the different sides of the categories and the beyond categories. Yeah, beyond categories doesn't deny the categories. Yeah, and the all-encompassing reality of the world or the universe or beyond is not subject to categories because the categories both as a matter of being and condition, interconditioning and intercausality, and also logically and conceptually are interdependent.

[45:44]

So there is no nirmanakaya without sambhogakaya and dharmakaya. No dharmakaya without sambhogakaya and nirmanakaya. The terms have no meaning except in relation to the other terms. There may be guides on how to engage with the world, but they're not real, they're not things. And so, you know, it's a thought that carries over to everything as well. Everything we encounter in our lives, everything we think about, how we see ourselves, how we see others, we are not separate because of our mutual conditioning, our inner penetration, and even conceptually, we can't exist one without the others. So, anyway. Yeah, so it's not about rejecting the world, and it's not about rejecting that which goes beyond the world.

[46:45]

Right, but seeing it and coming at it in a different way, not necessarily seeing it, but coming at it in a different way. Yeah, it's very intimate. Intimacy itself being a claim on category. Right. Right. Okay. Well, with that, we're a little behind time. So, Wade, could you lead us in the 446 of vows, and then we'll have announcements. Sorry, one moment. Let me mute people so it's not a horrible cacophony. Maybe it won't let me. Difficulties today. We're all muted anyway, I think, Wade. OK. Beings are numberless. I vow to free them.

[47:48]

Delusions are inexhaustible. I vow to end them. Dharma gates are boundless. I vow to enter them. Buddha's way is unsurpassable. I vow to realize it. Beings are numberless, I vow to free them. Illusions are inexhaustible, I vow to end them. Dharma gates are boundless, I vow to enter them. Buddha's way is unsurpassable, I vow to realize it. Beings are numberless, I vow to free them. Delusions are inexhaustible, I vow to end them. Norma gates are boundless, I vow to enter them.

[48:51]

Buddha's way is unsurpassable, I vow to realize it.

[48:58]

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