So if we can come into some way to be present to the uniqueness of each moment, we can bring some structure into each moment. And that structure can be a Buddha field. In fact, Being present, I get bored with myself saying uniqueness each moment, but I don't know what else to say. If I say uniqueness too often, it's no longer unique. But still, how to make the moment make it? So we can re-address it.

[01:09]

And dress also means to dress or to direct. And the word direct in English means the rect part means the realm. And to guide in the realm is to direct. Are we in the realm then of Buddha? Are we in the realm of our thoughts? Yeah, I'm talking about Buddha, but I'm also talking just about breaking open the now.

[02:16]

If you can really get a feeling for this breaking open now, freeing this moment from its habitual address, If you can really free the, find the, be present to the absolute non-repeatability of each moment. You've already climbed in the window of the Buddha realm. But you know, we need to practice, you know, you need some skill and mindfulness to slow things down enough.

[03:24]

Yeah, it takes some effort to notice your nose when both eyes are open. I don't think you want to waste your time doing that. But somehow, something like that we... It's not so easy to notice the uniqueness of each moment. Or notice isn't the right word because it's already too late if you notice it. Again, you know, basic Buddhism, the best practice best process, the best entry is your breath.

[04:35]

And even though the word spirit, breath, inspiration are all versions of the word breath as is soul and spirit, so forth. Without being spiritual, let's just be practical. The heck with spiritual. Let's just be practically present to our breath. It's the front door to the Buddha realm. It's certainly the past. Certainly the path. Auf jeden Fall der Weg. And it's, you know, it can absorb your thinking.

[05:43]

And bring a quality of mindfulness to your activity. And the more you get a habit of bringing a quality of mindfulness to your activity, you move into a slower world. Your life will be longer. I mean, you'll experience it as longer. You want to take some Special herbs for longevity. This is easier. Want to take special herbs for longevity? Herbs. Herbs. Sorry, we don't pronounce H. Herbs.

[06:46]

Herbs. Herbs, I could say, but herb is a name. Herbert. Yeah, this is the best longevity herb. Yeah, just to slow your life down. And once you get a feeling for that, To commit yourself to it. I often say, Don't sacrifice your mind, state of mind. And let me put it now, don't sacrifice your breath mind. Ed Simpson, Tommy Dorsey, his son, who some of you know through his book, book about him called Street Zen.

[08:01]

Is that right? Yeah. He said to me once, you know, I heard you speak about 20 years ago, I heard you speak about breath mind. But it took me 20 years to recognize you don't sacrifice breath mind. If you don't sacrifice breath mind, it means you don't get ahead of your moods and emotions. You don't let your emotions get ahead of you. the place where you are. So breath mind has a lot to do with the place where you are. It's part of this form. This rupakaya form body, the floor, the ceiling, our breath.

[09:27]

And if you get, again, familiar with breath mind, As I said, things slow down. And you can get somehow into the dressing room of the monk. Und ihr könnt gewissermaßen in den Ankleideraum des Augenblicks gelangen. Bevor der Augenblick sich ankleidet oder angekleidet wird, um auszugehen. Also, je ein nackter Augenblick. Bitte, zieh etwas an. But we want to know whether to put his robe on the moment or not. Your practice is like this.

[10:29]

Yeah, I mean, you want to be down in this realm. You can be here without being down in this realm without any special studying of Buddhism. Yeah, the realm of form. Yeah. But to really be present in the realm of form, as soon as it's not unique, you're not present in the realm of form. But if you are present in the realm of form, then the practices start making sense. There starts being a territory for practice. There's many ways to get us there. You know, in Buddhism, Tibetan Buddhism especially, they chant OM AH OM.

[11:55]

It can be three syllables. OM AH OM. And you can understand those in various ways. But let's be practical again. What does it feel like? These are basic body sounds. Yeah, and Sophia again, who I promised Marie-Louise I wouldn't mention. Well, I didn't promise her. But she asked Paul to keep track of how many times I mentioned her to embarrass me.

[12:59]

But she's got all kinds of little sounds. There's a sound we very know that's just before she goes to sleep. And this sounds she coos when she nurses. Like a dove. Drinks. Drinks, yeah. Drinks, yeah. Then we tend to, you know, pretty soon she'll learn to keep her saliva in her mouth and she'll learn to stop going around going to the world.

[14:03]

But still there's these basic body sounds. So a bird flies in the window. Oh. Oh, yeah. Something new happens. Oh. Then you accept it. Ah. Then you wonder what it means. And um is a very penetrating sound. Um penetrates. Ah accepts. Oh is whoa, what is it? So you can see, you don't have to have some spiritual meaning to this, just if you let your body speak, You can find this uniqueness with a sense of awe.

[15:05]

Oh, okay, ah. And when you do that, you're actually bringing structure into the moment. A process of recognition or noticing, accepting, wondering. Penetrating. Now that requires a certain kind of pace.

[16:10]

That pace, I mean, first of all, it's rooted in a breath mind pace. So if you discover a breath mind pace, Again, we're trying to come into the territory of Buddha and abbeys. That's a moment. And it can be Condensed OM. But it's still... Once you again have this breath moment, sort of you're undressed the moment from its usual

[17:32]

invisible clothes. You're accustomed to it, you expect it. It already has an address. So we're taking the address off each moment. Where shall we send the moment? Where is it sending us? Again, I'm emphasizing, I don't know if this is Buddhism, this is just how we exist. In this sense, Buddhism is a a practice of noticing how we exist. There's a word in Japanese Buddhism, kill guy. And in Japanese Buddhism there is a word K-Y-O-G-A-I.

[19:00]

K-Y-O-G-A-I. K-Y-O-G-A-I. And it means place or world. But it also means consciousness. These things like place and consciousness aren't so separated in Buddhism. And the sense of place as consciousness also shares I think it may have been Horry pointing this out, shares

[20:07]

sense of privacy. Yeah. You know, little kids were asked once, what is thinking for? What is consciousness for? They all had different answers. But they all agreed on one point. It's for keeping secrets. Oh, that's how I can keep a secret. So consciousness has a quality of privacy. We can feel each other, but there's still an area we hope is private anyway. So Yamada Mumanroshi, who was my teacher in Japan, says only a sparrow can know the kill guy of a sparrow. Yeah, the consciousness place of a sparrow is consciousness place of a sparrow.

[21:26]

Der Bewusstseinsort oder der Bewusstseinsplatz eines Spatzes ist der Bewusstseinsplatz eines Spatzes. Was er tatsächlich meinte war, nicht mal ein anderer Spatz kann das kennen. Und sicherlich können wir nicht den Bewusstseinsplatz oder Ort eines Spatzes kennen. Wir würden so von einer Minute vom Baum fallen. This branch is much too thin. Yeah, he also says, you know, you may feel sorry for the fish in the cold monastery pond. Yeah, my God, that water's cold. Those poor fish. But don't try to put them in warm water or you'll kill them. Yeah. So maybe, what's the kyogai, the consciousness space of a Buddha?

[22:39]

And someone asked me last night about enlightenment, satori and kensho and things like that. Yeah, and traditionally until fairly recently, The word used for Kensho and Satori was something like body space. And so somebody would say, how are you going to Kensho that? Meaning, how are you going to body space that? And these words took on a kind of intellectual experience meaning in Western Buddhism. I like, you know, that in the tea ceremony, in the, no, in the, Yeah, there's a tea ceremony based on sencha or gyokuro tea, leaf tea, not powdered tea.

[23:56]

And when you have the very best tea, you make it in a very tiny pot, in little tiny cups, about as big as a thimble. A thimble, you know? For sewing? Fingerhood. Yeah, a fingerhood, yeah. I live next to Bald's Hood, you know. You drink a little fingerhood. I've... of tea. And you let a little drop of it be in your tongue. And it's called a sparrow's tear. So here we're in a very precise and detailed world.

[25:07]

The kill guy of a sparrow. The privacy of this immediate unique moment. Which is naked. It can't be shared. You have to dress it up in habit. In a costume. And then you don't even notice it. But it's more like everyone else's moment. Now I've said, you know, one of the qualities of The understanding of time in yoga culture is you're each in your own time. We're not in generalized clock time. You're in a clock which has lost its hours.

[26:08]

You're all Again, like I said, Sophia, the baby, is in a different time. And you were when you were a baby. But you dressed up your life in clock time. But you're... the way you're aging, the way you're ill or healthy, the way your psyche, your spiritual life is maturing, is unique to you. It's not following the same clock. You're all in your own unique ripening time.

[27:18]

Which we can sense. Like I said last night, sensing the actual body. Yeah, but we can't share it, fully exactly share it. We can be open to each other, the other people knowing it, but it requires their power to know it. If you don't want this nakedness or privacy, then you turn the world into clock time.

[28:35]

There's no proportionality then, it's all one line. Yeah, and likewise as each of us is in his or her own absolute time, that's part of the uniqueness of each moment. We're also in an absolutely unique place. So sind wir auf einem absolut einzigartigen Fleck oder Raum oder Platz. Kyogreis Platz. And a teacher assesses a student, a disciple, on the basis of their kyogreis. Und wenn ein Lehrer einen Schüler auf der Basis dieses kyogres anspricht, do you feel how fully of the cycle is in his or her own absolute time and space. And then how do they also fold that in, fold that out into the shared space?

[29:52]

I think that's enough until we have a break. So let's sit for a moment or so and then we'll have a break. I can't remember. One, to screw it in, and two, to experience it, or something like that. Anybody want to bring anything up?

[31:22]

Yes. I have one question because I didn't quite understand what it means to sacrifice and to sacrifice the breath mind. Don't sacrifice the breath mind. Same question. We're starting from form. And that form is the floor, the ceiling and your breath. And you can physically feel your breath. As I can feel my breath now and speaking. And feel the body, my body is part also of my speaking.

[32:46]

If I start speaking so fast that I can't feel it with my body, I've sacrificed my breath mind. Yeah. And we do it all the time. We lose our actual rupakaya. Our usual sense of the world. We use the moment. We use the world. And we use it, not in a way that we don't notice it. Oh, it's just the usual day. We used it, but we didn't notice it. So we say in English, notice what's right under your nose.

[33:49]

Right, yeah. But usually we don't even notice our nose, let alone... Something else? Someone else? A question about the habitual nature of having an address or addressing. I find in a practice like a breath practice, it's not so difficult to disengage from the content of the address. But in the awareness, there's still a knowledge that there is an address.

[34:50]

So maybe there's a kind of body remembering of this address. And I find when I have that body knowing, that there's a memory of body knowing, there's an awareness of body knowing, and my thinking collapses around that. So I begin to notice the actual body through a memory of the actual body. How can you, what would you suggest we do when we notice that there's that collapsing into a memory? What did you mean by the content of the address?

[36:06]

What's the content? The content may be related to I'm in a room, a place, there are people, and I may relate to a specific memory of people. When I'm free of that memory of people, but I'm more present with the feeling of the field, there's still a knowledge that there's a field. I go into a knowing through memory of experience. I don't quite understand why it's a problem. Maybe problem is not so accurate, but what I find is there's a collapsing. It isn't the openness free of the memory.

[37:12]

The remembering of the process, not the content, is another kind of limitation sometimes for me. Now, if I understand, what's this word, augenblick? An eye look. So maybe we need a body look. So that if you keep having a body look, maybe memory doesn't habituate. But of course there's always a pulse moving in and out of a field or through a field. And 99% of it has to be a kind of memory. Because you can only really bring attention to one thing at a time.

[38:34]

That's all I can say. Yes? Yes? You had your hand up a minute ago. Didn't you? Okay. Sometimes when I sleep and someone opens the window, I wake up, not because someone was drunk or drunk, but the feeling that I am in the presence of this person. Now my question is whether in sleep the actual bodies of the person can touch me more easily. That's quite a lot, but maybe your father can remember everything you say. When I'm asleep and someone comes into the room, I wake up, not because there's a noise or some disturbance, but because the presence of the person entering the room is felt.

[39:47]

And my question is... Does this presence and my presence, or these actual bodies, meet? Do they meet then? Yes. Better than when you're awake. What's the difference between being awake and asleep? The question was, is it easier when she sleeps? And Roshi asks, what is the difference between waking and sleeping? When you're awake, you're conscious. And again, what is the root of the word conscious? It's scissors. S-C-I, conscious, is the same as scissors to cut, to separate. So consciousness separates us. So the trick of Zen practice is to be conscious without separation.

[40:48]

So I mean, if you see that, if you sense that, you can begin to Feel your world rather than think your world. So after a while you have more or less the same experience you might have while you're asleep. As you're more aware of the presence of the person in the room, than what they're doing or saying. And then you can feel whether what they do and say is... consonant with their presence. There's more sense of the Truth or authenticity of a person.

[42:01]

And if you feel the presence of a person, it's much harder for them to, for example, lie to you. Okay. It's all quite simple. Yes. Actualizing it is not so easy. Someone else, yes. My question is about, so to speak, the communication. It is not so difficult to perceive the actual body of another person or of persons in a field.

[43:05]

I find it complicated too, but for me it's more about communication. I don't have so much the problem of feeling, sensing the actual body of a person. And how can I with my actual body react and get into contact with the other person's actual body? Or even more difficult, with my normal consciousness react to the actual body and is there a connection? Because once I'm in my normal consciousness again, the noticing of the actual body is normally gone.

[44:33]

It has not really disappeared. The actual body. Yeah, it's less. Weniger. I don't know if it's disappeared. Let's hope it's only less. The most you can do or usually The most you can do. It would be rare circumstances when you want to do more. Because you don't want to interfere with others' privacy. Because you can intend fully to do.

[45:36]

notice, to be aware, to feel, but that's all. You just intend it. But whether it works or not, you just notice. Whether it happens or not, you just notice. But you don't do more yourself than intended. Sitting here, I intend to feel a kind of topography of each of you separately. And then I notice, to some extent I feel that, sometimes I don't, sometimes momentarily I feel it quite clearly.

[46:45]

So I used Sophia the other, last night, as an example of attention. And I don't think I can say in any way, there's nothing I can say that will approach the there's no way I can, no matter how strongly I spoke, that I can approach, give you a sense of the real power of attention. And we usually try to disempower our attention. And maybe it's useful in an elevator.

[48:07]

You know, if you go into an elevator and there isn't Muzak on, isn't Muzak, this kind of Muzak, they pipe into... If you actually walk into an elevator with full attention, the other people in the elevator get quite nervous. You're supposed to be tuned out in an elevator and tuned in to the music. I noticed it. I've walked in an elevator and been present. The women especially get very nervous right away. And they pull their purses up close to me. And the men start going... Because you're not supposed to.

[49:34]

You're supposed to put your tail between your legs. Yeah. But in any case, much of our culture is about disempowering attention. So you have to be kind of careful with it. And you know, you have to actually kind of keep your eye beams cool. And in olden times, they thought the eye shot out power, and it does. It's too simple to think the eyes in a scientific center just sitting there receiving. So, but I can give you an example of... with Sophia of intention.

[50:40]

Because these are the real territories of power, attention and intention. Sophia has decided that she hates being horizontal. Some months ago she started arching her back, doing everything possible to get up. You kind of look at her and lean a little forward and she goes... But she is determined to get herself up and do things. And a few weeks ago she learned to sit up finally by herself. Within two or three days that turned into crawling.

[51:42]

It's interesting, with crawling comes fear too. You start being a little afraid of the world when you start to crawl. But she wants to crawl. So last night when I got in bed, As I got in bed, I kind of bumped her head. She was sound asleep. I bumped her head, she jumped up and started to crawl. Laughter She was sitting there full of the intention to crawl, and all you had to do was touch her and say, okay. Yeah, we had to tie a rope to her, you know, a rope to my foot and a rope to her foot. So practice is to have intention like that. And she's learning, she'll learn language that way, she'll learn to walk that way, etc.

[52:57]

Okay, something else? Yes. I had the feeling, or the experience, that when I enter the body field of the other, that I also feel a kind of permission. My experience is when I enter another person's body, I feel that I have to feel a certain permission. Or non-permission. Yes, right, you do. I agree. This is really a whole new territory in our culture. We don't actually have social rules for it. And a person who practices begins to be inside other people in a way none of us are used to.

[54:07]

And we don't have the skills of... the expectations, the skills of having a kind of, you know, something like a shamanic presence touching us. So you also have to learn to kind of hold this presence in abeyance. Something else? Yes. Oh, I'm sorry.

[55:11]

But you have a chance because you work with people's bodies. You have a chance to, you have permission to do that. But certain aspects of it. If you deny it, maybe you lose it. But I think if you hold it in abeyance, you don't lose it. If you meditate regularly, you exercise it every day. Okay. Now, what I'm trying to speak about here is the medium of the moment. We're alive. Something connects this aliveness. You know, we have a sense of continuity for most of us through our thoughts.

[56:56]

And establishing the sense of continuity through thoughts is one of the primary delusions. In the sense that it deludes you about the actual world. Even though it gives you a seamless... seeming sense of reality. So if you begin to have a sense of continuity that isn't in your thoughts, and now not even perhaps a sense of continuity, but a sense of extended place.

[58:07]

That you don't use. So it's not usual. Yeah. Is that bothering you, her noises? Really? It doesn't bother me. I mean, you can tell me if it bothers you. I think it sounds like music to me. Hi, Sophia. So what is this medium? So I'm talking about some kind of medium, some kind of awareness, aliveness that's present. There's hardly words that even point to this, let alone

[59:09]

Name it. But we can say it's a Buddha field or something like that. Okay, so what's this medium? This fluid medium. The fluidity of the moment. If you undress it, you take away its address. You take away its familiar structure, its familiar costume. And it's just there, kind of fluid. What are you going to do with it? I've got another one of those fluid moments. Give me a towel. What did, Paul, what did... His Holiness the Dalai Lama, can you give us a brief headline of what he said to the American clown, I mean the American president?

[60:51]

He offered his sympathies to the American people. And he said that he hoped that the response wouldn't necessarily be the easy one, which would be more violence. He was very polite in offering the advice and said that he trusted that President Bush and the American people would do the right thing. Yeah, okay. I think it's wonderful that His Holiness decided to say something to the U.S.

[62:15]

President. And we can understand, I mean, I don't want to, I mean, we should just let that rest, what His Holiness said. But I'd also, since it's, you know, I'd also like to look at it as a typical archetypal, shall we say, bodhisattva response. Now you can understand his saying, but I know that you and the American people will do the right thing. You can understand that as a political statement.

[63:28]

to kind of encourage him to do the right thing, which means to do what you want him to do. But in Bodhisattva talk, it actually means, I'll go along with what you do, even if it's wrong. Okay, I mean, let me take this from some extraordinary situation we're in. To something very pedestrian. To give you, you know, to try to... express this bodhisattva kind of weird, and in a way weird attitude in a more pedestrian context.

[65:03]

I was just in Portugal this last weekend. My daughter has been living there 15 years, a long time anyway, and she's married to a Portuguese man. And I have a Portuguese grandson who tried to explain to his kindergarten teacher that he had a who was only six months old. An aunt, is that right? And the kindergarten teacher told my daughter, kids have such fertile imaginations. My daughter didn't explain.

[66:19]

Anyway, I went out to dinner with them. And one of the persons eating with us is a quite strict vegetarian with a strong moral feeling about it. Not only is it healthier, but he's extremely aware of how commercial meat and so forth is produced. So if you eat meat, he hears the screaming of the animals. I mean, really he does. So every time I eat something, I hear, he's over there hearing the screams, you know. So, you know, but I think he's right. Yeah, if he had to eat he'd rather eat something a hunter had shot.

[67:53]

But anyway, yeah. But you know, I mean, I've This is so stupid, I feel dumb talking to you about it, but I'm not suggesting any of you behave this way. But in every situation there's a moral, amoral and immoral aspect. But in every situation there is a moral and immoral aspect. Amoral, immoral and moral. This is the difference between Unmoralisch und amoralisch.

[69:09]

You can't say amoral? Yeah, but it means immoral. You say unmoral actually. You don't say immoral. Without moral and against. Unmoralisch, moralisch und amoralisch. So, So I ordered gazpacho and melon without ham. Yeah, to go along with my friend. Yeah. And at home and at our two centers, we're vegetarian. But some long time ago, I decided, you know, I could... after five years or so of being a complete vegetarian, I decided it was actually hard in those days especially to have people cook special meals for you all the time.

[70:17]

Nowadays it's more common, people are more accepting of vegetarian food. But there's still a little edge. If you don't eat meat, you're a little bit taking a superior position. My friend got that intuitively when he went to dinner for Thanksgiving at somebody's house, a turkey dinner. As he came in the door, they were cutting the turkey. Oh, look how good this turkey is.

[71:20]

And they gave him a piece of turkey to try before the meal. He hasn't even smelled meat for 30 years, practically. But he took the piece, said, thank you very much, it looks wonderful. went in the other room and gave it to someone else. Yeah, that's not bad. That's a good thing to do. But anyway, I ordered melon and gazpacho for him. Yeah, but then I knew that my two daughters wouldn't finish their meal because it would be a quite large portion as usual in Portugal.

[72:30]

One had chicken, one had duck. Halfway through the meal, I'm eating chicken and duck. This was sort of an amoral position. I'm sort of going along with them. And I went along with my friend. And then there should be a certain amount of indulgence in a meal too. And so I had a creme brulee at the end of the meal. But there should be a moral position too. So I didn't have veal. Because I really don't like the way veal is made.

[73:31]

But if my daughter had veal, I probably would have eaten veal. Because the point is, from the point of view of bodhisattva practice, To really go along with what people do, even if it's wrong. Of course, it depends how wrong it is, a little bit long. So the Buddha position in a sense is not to touch alcohol. The Bodhisattva position is to be able to drink alcohol, but drink in a way that you don't get intoxicated.

[74:38]

You don't sacrifice your consciousness or breath mind to the alcohol. Now, I understand that this attitude is in each situation you go along with the situation as well as comment on the situation. And the character for Aum, it looks something like a three. And it's also sometimes understood to be the three minds of waking, dreaming and non-dreaming deep sleep.

[75:40]

And then it has a little dot to the far upper right with a little crescent moon beside it. And that's meant to represent something like the fourth mind or the mind that includes the other three. Which means the mind of meditation. Yeah, so we're born with three minds, waking, dreaming, and non-dreaming deep sleep. And through meditation and mindfulness practices, we develop or become aware, awaken our fundamental mind, which includes or overlaps the other three, Yeah.

[77:09]

But the little curve means it's mediated. The little moon crescent means it's always mediated. So in every situation, you're kind of going along with the situation. At the same time, you have a little bit of distance from it. And so you establish a, it's more, rather than bring your values to the table, you establish a connection with what's happening at the table. Both are okay. I mean both positions are okay. I'm just saying one bodhisattva position is this going along with and space around it at the same time. Isn't that feeling expressed in the German expression, he or she is someone I'd like to steal horses with?

[78:37]

Yeah. Again, all I'm trying to do by this somewhat superficial example is to express again this sense of a moment, whether the moment is a meal at a table. If you look at somebody who's practicing Buddhism, you'll probably see they order food in a relationship to what everybody else is ordering, not so much in what they want to eat. Because what they want to eat is somehow quite a lot less important than the feeling you have of each other. So we can begin to look at the fluidity of a moment.

[79:57]

And what structure it might have. So I said, oh, ah, um. That's a kind of structure of this fluid moment. Um. And it's dependent on feeling the uniqueness of each moment or you can't do that. So we have to also have a practice which takes the structure of how we use each moment away. Or we notice that the usual way is a using practice. Okay, so this fluidity is first of all texture or contextual.

[81:08]

Now, another quality is, we can express trying to use English. Each, every, all. For us, each glass is quite independent from every glass. For us, every single glass is independent of every glass, in the sense of one glass. We have jeden means all glasses. We don't have a separate each.

[82:27]

The same, the same. It's singular or unique. So one way to open up in using English words in the fluidity of a moment I can only say how it feels in English. But you must have some way to notice the same feeling. If I say each, I can almost rest in it. Time almost stops when I say each. If I say each moment, it's separate from all other moments. Yeah. Each Pfefferinger is free of sand.

[83:43]

Is what? Free of sand. Is what? Pfeffering. Pfeffering. Pfeffering. Every pfeffering? Oh, I don't know. But each is. That means you have to wash each one separately. Most restaurants, they don't. So you don't want to hire somebody who washes each tooth carefully. Also möchte man nicht jemanden anstellen, der jeden einzelnen zu sorgfältig wischt. Oh, I'm still washing this one pfifferling. Der sagt dann irgendwie, oh, ich wasche immer noch diesen einzelnen pfifferling. So that each, also jeder einzelne, die Eigenschaft hat, es gibt nichts anderes. But every puts it in a context. Aber jeder stellt es in einen Zusammenhang.

[84:45]

Yeah. But all is something not true. You can't say anything true about all pfifferling. Even every is on the edges of what's going to be true. But we tend to think in terms of all. All Italian restaurants are such and such. It's just not true. You can say every Italian restaurant is usually or something like that. You must be getting your lunch in these examples. Yeah. Okay, but each Italian restaurant in Berlin is such and such. That's a different kind of statement than every Italian restaurant.

[85:46]

So you can say you're sitting at a table. You can look at each thing. You can each glass, and each glass is independent of the other glass. So when you first sit down at a table, for instance, It's not every chair, it's each chair. You're sitting on one chair, not every chair. You can't sit on every chair. You can't sit on each chair. But you can let your mind be like that. It's a kind of slow... slower mind but doesn't look slower to the outside.

[86:52]

So let's just say you're going to go have lunch pretty soon. When you come into the restaurant, you have a feeling of each table, each chair, each person, etc. You don't let your mind slip into every chair. And when you sit down at the table, You have a feeling each setting, each napkin, each salt and pepper, whatever it is. Then you might let it come into, well, every person in the restaurant seems to be eating spaghetti or something. So you can sort of feel the mind shift from each to every.

[88:04]

A shift from the particular to the context. But you don't want to shift to a generalization like all. Now, all I'm trying to do is try to use, in this case, because I can't speak German, English as a way in these common words, to use them not just as some sort of grammatical use, but use them as the shape of our mind. The mind that sees eaches instead of every or all is a different mind.

[89:11]

So it's each, each, and let your mind rest in each. Move into the context of every. But as soon as you come into all or generalizations, you... Try to withdraw yourself from that. And it says you think in terms of all. You lose contact with what's actually happening. All Germans are such and such.

[90:20]

It's nonsense. You can't say that. All Americans are such and such. You can't say that. You can say, every time Portuguese people, you know, they like to go to dinner at 9 o'clock. 9.30 or 10. Yeah, you can still go to a restaurant and get served at 12.30 at night. Yeah, so I can say it seems like every Portuguese likes to eat about the middle of the night. But I can't say all Portuguese like to do that. For one thing, my grandson doesn't like to do that. So you actually have to kind of train yourself to avoid all statements, generalizations. So you can use these words to see what you do to a moment.

[91:36]

And this is somewhat related to is. should be and could be. In each situation it is a certain way. It could be, it should be, maybe it should be some way too. But But it also, it's not going to be that way, but what could it be?

[92:36]

Okay, let's go back to eating with my two daughters and this friend. Maybe it should be that we're all Vegetarians. It's not going to be that way. Maybe it is the way the people are eating. It could be somewhat different. So you're working in any situation with the way it is, the way it should be and the way it could be. Maybe we should all be Buddhists. But we're not going to be. But what could we be? What are we at each moment? So with each moment, you're accepting One part of you, or all of you, 100% of you accepts the way a person is.

[93:58]

And 100% of you also knows the way it could be. And you can feel the person in front of you both integrating and disintegrating. actually respond to the integrative qualities or the disintegrative qualities. And there's always the pressure or the direction of how it should be as well as how it could be. So this Bodhisattva practice is also working in Is, could be and should be.

[95:03]

And these are somewhat different energetic ways of being. So somehow you're with someone and you completely accept the way they are. And there's not a trace of could be or should be. At the same time you love the person and you feel how they could be. So without any criticism or anything, you also feel in yourself how it could be.

[95:47]

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