So basically just, there's no certainty as to where the mind is placed, just take it where it is attractive. So the way of maintaining the view and so forth is explained as before, as before in the prior exercises. So the next practice is kind of called the rubbing wheel or rubbing a wheel, the fire stick. So the vital point of the body is to squat. So as for the vital point of the mind, one should focus from the middle of the body, from the navel, until the crown on the central channel, which is

[01:30]

pink in color and it's about the size of a middling bamboo. Okay, so then focus on the also on the right and left Roma and Khyangma. just as were described below, and then at the meaning point of the three channels, at that point, it has the nature of fire. And it's also, so it's a drop, kind of like a drop of blood, the blood from the mother, in the nature of fire. So we have the vital point of the body, and then we have the vital point of the mind, which is what you focus on.

[02:54]

Now as for the vital point of the wind, through the joining of the winds, that's the kissing of the winds, which is the vase breath, the right and left channels vibrate. And through that, through kind of being close to the central channel, then it's kind of like honing a blade you know, like this, so you have the right and left channels, and of course the central channel, and like you hone a blade to sharpen it, then they rub together. Then through that, imagine that it, at the lower point of the central channel, where those three channels meet, that drop of blood there, imagine that it literally drills into it.

[03:56]

Yeah, so, I think we went through, we went through the, at that lower point of the central channel, at that drop of blood, imagine that it trolls into it. Is this the body, what is position for the body? No, we're squatting. I'm sorry. Is the blade being holed against that point? No, there's no blade being honed. Just like you hone it so we have the right much channel. And just like a blade is honed in that motion, the right much channel, the central channel drills into the drop of blood after the lower point. Thank you. So the maintenance of the view is like before. Now, fifthly, so again, the enumeration here refers to a prior order, which we can look up as in the blue book.

[05:06]

So fifthly, as for the yoga of the drop, there's the kissing of the sun and moon of the heart. There is the hero of the navel. There's the drop of bliss, the secret place. And then there's the kind of hair, the white hair, the seed of the white hair at the space between the eyes. And those all together make four practices. So firstly, as for the vital point of the body, one should cross-legged. So then as for the vital point of the mind, in the middle of one's heart, below, you have a, so for the middle heart, and then below that, one has a moon or moon disk.

[06:22]

And then on top of that, one has a great sun mandala. And that should be about the size round and about the size of a fingernail. Then if you want to make, so, sorry, I said not the great sun mandala, but if you want to make a great, if you want to make the large version, the economy size, then it's the size of a fingernail. And if you want to make it to a smaller size, then it's about half the size of a pea. I think you skipped a minute. So then stacked above and below, in the middle between those, is a white and red-colored drop about the size of a pea.

[07:41]

Now that was the economy size. If you want to do the smaller version, it should be about the size of a mustard seed. So the form is clear, the nature of that should be soft, and the intrinsic nature is bliss and emptiness. So it possesses these three characteristics, clear form, soft nature, and intrinsic nature of bliss and emptiness, those three. Okay, so think as follows through kind of concentrating the mind a little bit. From the drop, that's the drop in between the two mandalas, there's the sound of a sink.

[08:49]

literally sing sing that particular sound and arising from that through that cause it literally kind of penetrates the sun which is on top and it makes imagine that it makes a hole in about the size of a horsehair So then we have the vital point of the body. We just went through the vital point of the mind, which is the visualization now as for the vital point of the wind. As we're kind of squeezing the lower wind, or squeeze the lower wind, and then from the mouth, breathe without sound, and through filling or through inhaling, at the hole of the sun... Can you talk up into the feet of your arm?

[10:04]

Sure. That'd be great. Is anybody else in trouble coming here? What? I'm just way the heck down here at the end of the... Yeah. So... Because I lecture in a hall of 100 people. I'm not speaking much louder than this I asked about. Can you hear me in the back? OK. So anyway, ask for the vital point of wind through the squeezing of the lower wind, or squeeze the lower wind, and then draw the upper wind through the mouth without sound. Then when you're filled, it goes into the hole of the sun, the sun disk. And then imagine that it's absorbed into the drawing.

[11:14]

So, and then it goes down. And then, um, through kind of, means kind of literally viewing through the mind. So kind of imagine through your mind that you're viewing down that it goes down. And then from the Tigli, a thread of light, which is very fine, arises. Then from that... So then from that, imagine that this thread actually kind of ties together or binds the Sun and Moon six and a half times. So, if you can't hold the wind any longer, so, you know, you're doing this kind of base breath of upper and lower winds, and when you can't hold it any longer, then let it out slowly, and the thread that you cut out, the thread of light, it

[12:44]

slowly kind of retracts back, you know, back, imagine that it retracts back into the drop. So it's kind of like those retractable chords or something like you, you know, as you're exhaling, kind of the six and a half, kind of go back and jiggle. And then meditate as before. So the sun and moon are method and wisdom. And then that drop is the source of all consciousness or the alaya vijnana. And then that six wraps of the thread are literally the entering awareness. technical term from the Abhidharma.

[13:49]

And then that half knot are the afflictive thoughts or afflictive emotions. So through penetrating the vital points arising from that, the ultimate clarity of samadhi arises. And clairvoyance will arise quickly. And as for maintaining the view, that is just as before. So now it's for the next practice, which is the hero at the naval. The last time we had said that the red and white tigley met pink and it was red, like it was a pink color.

[15:02]

That wasn't a combination of red and white, it was actually a pink mixture of red. And the other thing is that in that lady's book You look down through the hole. When you look down through the hole, the light comes up. You look down through the hole. And then the view that we keep talking about is clarity, emptiness, and the two of them. So the red is the pinkish color? No, the pink is pink. It's not what it says. So now as for the practice of the hero at the Mabel, the rattle point of the body is cross-legged.

[16:10]

Okay, and then imagine, as for the vital point of the mind, imagine clearly that there's a white drop, a little bit smaller than a pea at the navel. So it has the nature of being soft. And then as for its intrinsic nature, its clarity, emptiness, excuse me, bliss, emptiness, two and one. So there's these three characteristics, the form of being smaller than a pea, of the nature being soft, and the intrinsic nature being bliss and emptiness, two in one. Sorry. Oh, I did it again. Yeah. OK, sorry. Like you're talking? Well, I'm good. No, no, actually. I can't hear it, but you, I'm talking. No, I'm just talking. OK. OK. Just be sure you mention it on your evacuation.

[17:16]

That's right. But I don't let my students have noisy laptops in class. Okay, so... So, as for the vital point of wind, the lower wind rides in its... place and then the upper wind kind of fill up with the upper wind kind of inhale and then having focused on the absorption of that into the drop then So you focus on the wind entering or absorbing into the drop, and then you focus on the drop itself.

[18:19]

So if you meditate on that again and again, then you generate a non-conceptuality which is kind of like a heavy sleep. or heavy sleep. And the maintenance of the view as before. And then as for the drop of bliss, so the next practice is the drop of bliss at the secret place. The The vital point of the body is . And the vital point of the mind is inside of the jewel of the body.

[19:25]

Inside the jewel of method. So basically it's referring to the tip of the penis. That's where the hole inside the tip of the penis. So then as for the channel of the vidya or the shirub or the consort, it is decorated at its tip by a drop, which is the color of the Padma Raga, I guess the loaded, oh, excuse me, ruby, which is red. And so the form is clear, the nature is soft, and the intrinsic nature is

[20:37]

and emptiness. So it has these three characteristics. Then imagine that it's kind of merely the size of a peak. Right. and then so as for the vital point of wind then again and again squeeze the lower wind and so it absorbs into the drop and then at that time the upper wind just leave it alone and then through kind of tightening a little bit the body And then through meditating on that arises a bliss as though the one's penis is bursting.

[22:06]

And then if you want to pervade your whole body with that bliss. So you kind of move the stomach around, turn your stomach around like that. Then through the kind of force of energetically or forcefully squeezing the lower winds, if you then release that... It could be a kind of condition or cause of the drop where you're semen releasing. so that she didn't do it right so then Douglas you see she kind of leave it loose relax gently relax and then the as for maintaining the view it is as before

[23:36]

So if you relax after you're very forcefully. So we're doing the squeezing. And if you relax after doing very forcefully. Right. So we're doing the squeezing. So basically, you should relax after going up the lower wind, you should relax it very slowly and gently, not suddenly. So as for the... The practice, which is the seed of the white hair between the eyes, that spot between the eyes.

[24:45]

So as for the vital point of body, there's being cross-legged. So as for the vital point of mind, there is at the space between the eyes, there is a white arm syllable which is a little crooked. And it's kind of like a fiber of white silk. At the root of the uvula, you know, that little thing that hangs down in your throat. There's a white sum, S-U-M syllable, which is full of nectar, which is the nature of nectar.

[26:00]

I see. And then it's upside down. And the foundation of the mind at the heart is in the nature of a blue hung syllable. And then one should think that those three are connected through the central channel. So there's the white, the three things that are connected are the white hair here, the sunsobo at the yule, and the hungsobo at the heart. Through the central channel. So as for the vital point of wind, one should add in the life and effort winds or like one should add in the practice of Ponyama.

[27:27]

so then imagine at the time that you're exhaling the wind from the back of the uvula it goes from the back of the uvula then it strikes the hung syllable and then It kind of refreshes. Imagine that it refreshes the hang. It kind of rejuvenates the hang. So, and then at the time of inhaling the wind inside, from the hang syllable, the nectar continuously drips, and then from the These two types combine together in your mental experience.

[28:30]

Your mental experience kind of combines these two together. And then it kind of drops down to the sung syllable at the yugla and fills it up. Then imagine that it drips down uninterruptedly. Then imagine that nectar drips down uninterruptedly from that. Then imagine that it's enjoyed or satisfies the hung syllable of the heart. Do you want to do the shifting? So then focus your awareness on that So then press against the Adam's apple with the chin And then press your tongue up against the palate

[29:51]

And then meditate on that. So do that again and again. And at that time, press the tongue against the... Oh, okay. Sorry. So the root of the tongue, so kind of move. Yeah, kind of shake it around a little. So that's really, so room chair is kind of, even though it's the base of the tongue, you reach it through the fingers here. Right. Right. Oh, and then you kind of massage your guns. And

[30:52]

then you swallow your saliva through meditating like that your saliva becomes thick and then eventually it becomes kind of like yogurt and then it becomes kind of abundant and when after that then one becomes kind of separated or transcends the desire for food You know, they're young.

[31:53]

They do this practice. They have a bubble kind of mouth. They chew that, you know. They stay in many hours. Camel, speak. Camel. They chew their cut. Something. So they survive. Something similar to that. uh so then your energy of your body increases so your body becomes as basically you can run as fast as a horse and all your white hair and wrinkles disappear So your awareness becomes very clear and kind of clarified or lustrous.

[33:05]

Yeah. And then the view of that is for maintaining the view which arises from that or follows that. It's just as before. We can stop there. What's better? That's why we stopped. 439.94. So now as for depend, now as for depend, sorry, so this is inside of a kind of table of contents and so now so the second big point There's a series of practices which depend on the wheels or the chakras. So as for those... So there's the one known as the sharp one, which depends on one chakra.

[34:10]

So there's the quick one, which depends on two chakras. So, and then there's the firm one, which depends on four chakras. So now, those make three different practices. As for the first of those. So as for the vital point of the body, squat. Oh, draw like an arrow. So as for the vital point of the mind, from one's anus, kind of draw like a bow. Imagine one draws like a bow with an anus.

[35:15]

So then imagine... that there's a triangle of fire, of wisdom at the place where the three channels join and kind of established by its own nature. So then in the middle, so there's a triangle kind of made out of the knots of the chakra. In the middle of the 64-pedaled or channeled chakra known as the emanation chakra at the navel.

[36:21]

And there is like an internal Vajranarachma. Well, there's something that's like... So it's a very subtle, kind of in the form of very subtle A-N-A-M syllable. so remember there are kind of these 64 channels and then in the 8 petals of the inner group so it doesn't get to 64 right away in the inner group there's 8 petals and imagine clearly that

[37:48]

So there's the eight classes, so the first of the eight classes of the consonants, and so that's this draw. So in Sanskrit, there are these eight classes of consonants, each of which have four letters. And so you take the first of those. And so the first of one class is A. And the first and second class is Ka. First of the next class is Cha. You have Tibetan, Sa. In Sanskrit, it would Cha. And then Ta. And then there was the rectal flex, Ta. And then the ordinary Ta. And Ta.

[38:49]

So those are in red going counterclockwise on those eight inner channels at the emanation chakra. So then imagine at the kind of outer wheel of 64, so it finally kind of spreads out to make 64, right? And imagine that at that outer kind of 64 pedals, there aren't any letters. Along is kind of, you know, the ring. So now we got through the rattle point of the body, we got through the rattle point of mind or of what you imagine, now it's the rattle point of wind.

[40:06]

At that lower door, which is basically the anus, that ring, you squeeze or join that together three times. and um so through drawing that up uh oh sorry at the end of that through that drawing uh you ignite ignite the fire at the confluence of the three three channels so that action ignites the fire and uh then through that striking to the on syllable uh which is with the navel So from that Aam Sobo arises a fire which has the color red. And it has the intrinsic nature of heat. And then it has the... And then it has the nature of being soft, or I guess pliable maybe, or soft.

[41:16]

And therefore it possesses these three characteristics. Red, warm and soft. So then in the beginning it just kind of blazes up one inch. And then two inches. And then three inches. So then imagine it goes up four inches kind of sharply and quickly. Imagine that. And then imagine that the wind gradually becomes joined in the vase breath?

[42:19]

Okay, so through that, at the lower point of the navel, Then arises heat and... Sensation of heat. Yeah, sensation of heat arises. And then kind of bring your awareness to that. Right? Yeah, kind of... Recognize that. Recognize that, yeah. Bring your awareness. So, the view which follows that is for maintaining that. That's just as before. So why is it called Sharp?

[43:32]

Well, because the experience arises very easily from focusing on that. It's called Sharp. No. Yeah, right there. Yeah, okay. Okay, stop in 440 line 3.

[43:59]

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