Yeah, of course, each of us has to discover practice within us. We can mean so many things by the word practice. But what I'm talking about is the source from which we engage the world. It is the feeling with which we engage the world. And first you bring it in from the outside. From practicing with others and from studying and so forth.

[01:09]

And at some point it actually starts to arise within you. Yuan Wu says, whole, entire being arises within you and nowhere else. And before he says that, he says, without omitting anything. Enter, notice the heights and depths. And whole entire being will appear before you. And then you'll feel like you're acting within this whole entire being. So always in the background and foreground of what I'm speaking about is how this Dharma Sangha, Johanneshof Quellenweg, will continue in the future.

[02:28]

We The patterns we form now will mostly form what happens in the future. I mean, things will change. They'll have to revolutionize things some. But the more the patterns we establish now are the real patterns of practice, the more this place can creatively contribute to the assimilation of Buddhism in Europe.

[03:38]

Yeah, so you heard yesterday what I'm always trying to see, what emphasis in our practice is so-called monastic, and what emphasis is monastic. what Yuan Wu calls active meditation. When he says enter the heights and depths without omitting anything. He's talking about what he calls active meditation in the ordinary circumstances of living.

[04:42]

without admitting anything. Yeah, okay. So yesterday I defined this shared practice as discovering a mutual presence through the shared language of appearances. And now let me try to say what I mean. And by the way, you know, I think yesterday's lecture was more for me than for you.

[06:00]

Looks like everyone agrees. No, my Anja, she's always on there. Oh, my Anja. So I'd like to today try to make it more for you, but it sounds like it's already more for me. Yeah. Yeah. a culture is a shared way of seeing things.

[07:05]

And subcultures and dialects are shared ways of seeing things within a larger way of seeing things. And what we're trying to do is to look at, from a Western perspective which sees things, To look at it in regard to an Asian perspective, which sees relationships, not things so much. And within that, a subculture of Buddhism and a further subculture of Zen.

[08:08]

Das auch in Beziehung zu sehen zu der Subkultur des Buddhismus und darin in der Subkultur des Zen. So I find that I have no other choice but to try to share with you, practice, discover together a Zen dialect. Let's call it that. Okay, so if we discover together how to know the world through appearances, and know the world as appearances, Yeah, that reminds me, you know, somebody said sort of half-jokingly about a painting of Cezanne. That it wasn't a painting of a landscape, it was a landscape. And I think there's more truth to that than probably the commentator who said that.

[09:41]

There's more truth to that than the commentator knew, probably. Because it's landscape painters who have taught us how to see landscapes. What to notice. And Cezanne's paintings were so exceptional for other painters that Monet had about 15 of them and kept two in his bedroom. Pissarro had 15 of them. And Gauguin traveled with one and put it up wherever he was. And they all were asking him, how does he do it? How does it become a landscape? Well, something like this is going on.

[10:53]

And I say, Yuan Wu says, the whole entire being appears before you as you. Yuan Wu says, the whole entire being appears before you as you. So if we in this kind of intensified practice setting of Johanneshof-Quellenweg... And by the way, we pretty much are going to be able to meet the last payment. No, we still have a bank loan, but we can cover that with our monthly expenses, income. So this facility and this campus is now our future. And so the better we understand the relationship between the potentiality of these facilities and our lay practice, the more likely this will be a creative part of Buddhism in the future.

[12:30]

And the better we understand the potential of this building and also the potential of the lay practice, the more likely it is that this will be a creative part of Buddhism in Europe. And it's very difficult, you know, you'll find it just being in ordinary lay life, to try to be a Buddhist in a situation where everyone else is not. I always think of Brian DeCamp, who's now more or less living. He's built, helped build, built, paid for, built, we'll see what happens, a house, he's run out of money, but anyway, a house at Crestone.

[13:38]

And he and Nicole number three will live there. There's also Nicole number four, by the way. But he met with a men's group sort of once a month. And he decided to practice doing things with two hands. So he passed the salt with two hands, he passed the coffee cup or whatever in their meetings. And after about three years, one of the persons said, what the hell are you doing, Brian, passing everything with two hands? And after about three years, one of the participants said, Brian, what the hell are you doing?

[14:41]

You always reach the things with both hands. Ja, what? You're practicing appearances. Ja, wie bitte du praktizierst Erscheinungen. So somehow together we can discover the world as appearances. Irgendwie können wir miteinander die Welt als Erscheinungen entdecken. Wave follows wave. and when we discover the world through appearances together it reinforces at a very deep level the truth of it and through discovering the world of appearances together the modality of Dharma practice, we also begin to notice the mutual appearance that arises between us and among us.

[15:59]

And that mutual appearance that we feel when we hear, more than other times probably, is the kernel and essence of Sangha. And when we know this mutual appearance with each other, mutual presence with each other, we can more likely and we will more likely notice it in ordinary lay life with others who are not practitioners. Okay. Now, I've contrasted that shared experience through monastic practice Ich habe diese durch die klösterliche Praxis gemeinsame Erfahrungen im Gegensatz gestellt zu.

[17:35]

With the three phrases of Bao Ling. Oder kontrastiert mit den drei Sätzen von Bao Ling. And the three phrases of his Dharma brother Deshan. Und den drei Sätzen seines Dharma brothers Deshan. Okay. Now, usually the phrases I've given you just now is enough already connected just this no place to go and nothing to do I would call these wisdom phrases. And the whole practice, the emphasis in Zen of these wisdom phrases is you repeat them until they are your presence and are injected into or inseparable from the way you know the world.

[18:47]

But there are also, in addition to wisdom phrases, we could say there's realisational phrases or enlightenment phrases. Aber zusätzlich zu den Weisheitssätzen könnten wir auch sagen, dass es Verwirklichungssätze gibt oder Erleuchtungssätze. And realisational phrases are like coral moon. Und Verwirklichungssätze, das ist so etwas wie Korallenmond. Or I like, instead of what is the Kanadeva school, what is old lady Zen? Now the characteristic of enlightenment phrases is that you have unusual juxtapositions. Paratactical or something like that, juxtapositions.

[19:47]

They're just beside each other. You don't understand why. Yeah, like coral moon. What the hell is that? Or what is the way? A clear-eyed person falls in a well. So, you know, you try this on. Now, let me speak about trying it on. There is always some kind of mindset with which we function. Mindset or mind forms.

[20:53]

If we don't have some kind of basic mind form, you can't walk in and out of doors, you can't recognize the difference between a dog and a person and so forth. So if you want to work with the mental formations you live with all the time, You have to cut them off in some way. You take the names off things. Or you have to replace them with another kind of mental formation. And replacing them with another form of mental formation is one way to limit or almost eliminate the self-referencing mindset.

[22:13]

Yeah, so really, you know, I'm not trying to, you know, I'm just telling you the way I think it is. And I hope I'm convincing enough in how I tell you the way it is that you do something about it. But basically, I don't want to tell you what to do about things. You lead your life. Don't bother me. But if you're going to let me bother you, let me say a few things. Okay. So let's say that you... What could be a bigger question than what is the way? So I said yesterday, the Zen Yogi, Nagarjuna or Kanadeva, their mind is focused on noticing inner independence.

[23:38]

deren Geist ist darauf fokussiert, die wechselseitige Bedingtheit zu bemerken. Yeah, it'd be like noticing for Ivan Illich Jesus. Or it'd be like noticing for most of us how this affects ourself. A sense of self. So you're replacing the continuous activity of self-referencing. Likes and dislikes and comparisons. ersetzt du das normale Kontinuum des Selbstbezugs, Vorlieben und Abneigung und so weiter, mit der Frage, was ist der Weg? This is like another phrase instead of another phrase. mental posture instead of inter-emergence.

[25:02]

Yeah. I asked Suzuki Roshi, how do I find the way? In a Shosan ceremony, he said, under your feet. And you know, what could be a more obvious answer, response? But I'm still trying to find it under my feet. It hasn't left me. So what is the way? All right, so Ba Ling says, A clear-eyed man falls in a well. So if you took this on as a mental posture, and it sounds kind of childish, but it works.

[26:12]

You think, what is the way? Where's the well? I don't want to fall in a well. So every time you say, what is the way, you think, hmm, where's the well? Maybe it makes you quite careful. So, and we're, one of our mental postures is to find certainty. Eine unserer geistigen Haltung ist, Sicherheit zu finden. We want to make sure everything's real and predictable and true and so forth. Wir wollen sicherstellen, dass alles wirklich und vorhersehbar und wahr ist. So Deschan came up with the phrase Covering heaven and earth. So this is a kind of antidote to our need for certainty. So you have to practice with covering heaven and earth.

[27:21]

What covers heaven and earth? It means somebody would say everything is one. But in Zen we'd say everything is all, allness, not oneness. But so you have to start with what is present everywhere you look? Well, what is present everywhere you look? Everywhere you look, what is present is mind. There's nothing more present than mind. So covering heaven and earth is a way to begin noticing everything is mind.

[28:22]

Now, we primarily live in a named world. And when did we name things? We named them in the past. We learned the names in the past. So when you live in a world categorized by names, you're living in a world that completely Keep bringing up your past. A named world is a world that arose in the past. And if you live in a named world that arose in the past, you're not living in the present. You know, in English we have this phrase, your birthday suit.

[29:35]

You might say, the little kids all ran down to the lake in their birthday suits. It means they had no clothes on. It's your birthday suit. Okay, so somehow we have to live in the nameless birthday suit of the present. The nameless, naked present. If you read Yuan Wu, every page of his wonderful little book that was translated by the Clancy's by O'Leary.

[30:54]

I'm sorry. Cleary? Cleary. I know Cleary's a legend. Cleary. Tom and Chris Cleary, I think it is. They translated it together. Yeah. All the way through it, he's really talking about how to live in a nameless, naked world. Not in a world categorized through names. Not in an entity named world. So how do you take that away? One way is... covering heaven and earth.

[31:58]

Young man's phrase. Another is cutting off myriad streams. If you decide to practice with these three phrases, I would say you alternate among them as you wish. One day one works better than the other. So what is the great antidote to all the thinking and naming about things we do? Is cutting off myriad streams. So you take the posture, cutting off myriad streams. Now you've already developed, we're assuming, developed the skill of knowing the world in appearances.

[33:09]

But even then, appearances have names clinging to them and associations and, you know. So every appearance can be a stream that leads you somewhere. So you spend a day just to say, okay, today I will cut off a myriad of streams. Maybe you better not go to work that day. So every appearance that comes up, you cut it off. Come, cut it off. She's cut off, cutting off. Maybe just, whoo, like that. Yeah, so... You didn't translate that.

[34:18]

It spoke for itself. Whoa! Can't argue with that. And then we want things to have continuity. So, young men and Deschamps, the antidote to continuity His wave follows wave. Like in Bao Ling saying, somebody asking him, what is the Oryoki meal? He said, watching the waves, arms and hands gone. Er hat gesagt, die Wellen betrachtend sind Arme und Hände verschwunden. Everything just becomes waves.

[35:22]

Appearances. Alles wird einfach zu Wellen. Erscheinungen, Erscheinungen. So wave follows wave. So you take that for a day or two. Welle folgt auf Welle. Und dann nehmt ihr das für einen Tag oder für zwei. And these three... covering heaven and earth, wave follows wave, and cutting off myriad streams, begin to be one attitude with three faces three dynamics so this is what Deshan and young men are trying to give us from a thousand years ago what a thing and now we have this place to practice it with each other I'm so grateful.

[36:28]

Thank you very much.

[36:29]

@Transcribed_UNK
@Text_v005
@Score_74.3