Yes? . I've been thinking about to think non-thinking and that brought me to the question what is thinking anyway and I realized certain images or sensations appearing in my sense fields and so can you say something about that? Yeah, it's a good question, but I think you have to be cautious because you want to understand things too much.

[01:28]

And I think rather than understanding you, more of a feeling of trust would be better. And you want to have some feeling of understanding before you go ahead with something. And I think you should practice with more faith. So, something comes up, it comes up. And if you don't have the activity of thinking, that's good. And if you don't have the activity of thinking, then that's good. I'd like to know also from some of the newer people, maybe this is your first seminar or something, is this kind of, because it's rather unusual to teach a koan in this way, did you find this useful or in what way did you find it helpful or discouraging or what?

[02:51]

So you had no effect on you. I think the first day was a bit confusing, because my feeling was advanced teaching, first day. Now, if you could turn it around, start with this, and then go on with advanced teaching, it would be better for our mind, because we're used to thinking. Yeah, maybe you're right. Thanks. For me it has been very helpful because it helps me to connect several experiences I had in my life which remain kind of isolated and through being here I can kind of connect them.

[04:15]

Okay, good. Gaurav, do you have some feeling about this in relationship to being at Crestone or something like that you talked about? For one thing, I had a hard time to jump into teaching my own way on Friday evening. That was... I really had to concentrate. Friday evening, not Saturday morning? I'd be thrown into it right away. It'd be amazing. And another thought was just how, and that's a question to ask everyone more or less, how does this work for you? How do you receive it and how do you work with this information from this medium? And I felt really And they're grateful, kind of, because they don't teach that way there.

[05:38]

More Shikantaza there. More work. And I felt like a field which was ready to be... Ploughed? Ploughed. It was ploughed, but it was... But you mean that the plow didn't go in very far at first Saturday and Sunday. The ground was a little hard, you mean. Yes. On the one hand, it is very difficult at the beginning to learn how to become a teacher with EGH. It is very difficult [...] to become a teacher with EGH.

[06:42]

It is very difficult to become a teacher with EGH. [...] And For those of you who were together last week and now this week, like Peter, do these two work together for you? Yeah. I didn't feel it so hard on Friday evening and Saturday morning. It was, for me, just going on continually. I don't really know anything in my brain from Friday evening, but my body knows there happened something like opening. For me, it's hard to say, but Friday evening, Saturday morning, it was just there where I am.

[07:51]

Thank you. And it continued from the work last weekend on breathing. I'm just happy to have the session next week. I just can't notice what's happening by the way I'm sitting. My legs aren't working. Do you want to say it in German? And I no longer know in my head what he said the next day, but I mean that my body knows that I have felt something from the opening of my body.

[09:09]

And I feel how it progresses simply in the way I sit, that my legs get a little bit of weight. Okay, thank you very much. Yes? . I don't have much experience or exposure to Zen so far and the way I practiced was I would study and then sit and study and sit. For me this weekend was a very lively or alive experience of things I've already sort of had in my head.

[10:15]

Okay. Yeah. Help me. And yesterday evening I was very, very tired by the storm. And I wondered why I hadn't done very much. I was meditating and I was listening and I had a nice walk outside, writing advice to him. But this morning it was the explanation he gave me. I think I was very, very tired. Last night. And this morning, what? You felt even more tired? Working in... The way of thinking. Yeah. try to avoid to write it down.

[11:29]

Fluid. Yes. German? Last night I was very tired, like a rock, and I actually thought, where am I? I hadn't done anything yet. I sat down and listened, and I went for a walk. But this morning I thought, I don't think we can cut that. We'll accept it. Mm, good.

[12:31]

Thanks. I don't know. I have a mixture of that. I put Christianity in it or whatever. But it's an image to be mastered with dust from outside creation and gestures. So this outside creation, I don't know, it's kind of confusing me. Yeah, well, you want to say that in Deutsch? Yeah. OK.

[13:36]

These koans expect you to know certain teaching devices and so forth. And even the ordinary teachings, excuse me, the ordinary question that monks ask the teacher in these koans are usually pretty sophisticated questions. They're usually based on an understanding of these teachings, and they're carrying it a step. And so the koans are written in a kind of language based on the teaching devices developed in the 9th, 10th, 11th centuries in China. And in some ways it's a little complex, but basically it's pretty simple. All the teaching devices are based on form and emptiness.

[15:20]

And different gates to form and emptiness. And different ways of understanding form and emptiness as form is form, emptiness is emptiness, emptiness is form, emptiness is form. You don't have to translate that. And of course the three bodies. And of course the three bodies, yeah. Now, so in this poem, the boundless spring on the hundred plants. Boundless spring is, if spring is boundless, it means it's also timeless. It's the age outside time. As the previous koan says, what do they call it? The state before the beginning of time. Or the clear mind produces vast eons. Now this timeless state or the state of another kind of being sometimes expressed a wooden horse romps in the spring.

[16:36]

Here it says the boundless spring. Okay, we can take that to mean personally the Dharmakaya. And on the hundred plants means everything is fertile. In this state of mind, everything comes alive. Now, like you brought up about how can you these things that pop up, is it thinking, you're not thinking, and can you trust it? Here with complete trust, picking up what comes to hand. He uses it knowingly. And the 16-foot golden body. And down here it says, picked a blade of grass and used it as a 16-foot body of gold. Now, you're not painted gold.

[18:08]

I squint, you look kind of gold. But Buddhist statues are painted gold. So that means it's an exalted body or a realized body. So this means, this 16-foot golden body means the Sambhogakaya body. And this, so, all right, let me stop there. Host and guest, do you understand host and guest? Okay, host represents the absolute, guest represents the relative. Again, these are teaching devices that come up in the koans constantly.

[19:13]

Now, what's the quality of the host? The host is always at home. So it means, this is a way of looking at absolute and relative, meaning you should always be at home in the absolute. And when the guest comes, you welcome the guest. But sometimes you're the guest. So these terms are used to refer to sometimes two people meet as guest and guest. Sometimes two people meet as host and host. And sometimes host, etc. Okay, so in this says, from outside creation a guest shows up. And this refers to the Nirmanakaya Buddha.

[20:23]

Because the boundless spring is also from outside creation. So it means in some absolute or state of mind. Or the absolute or emptiness. And the guest appears. But this is a guest that's born from, not form, but born from emptiness. And then it says, everywhere life is sufficient. So after explaining this rather complicated thing, and golden bodies, you know, etc., It says, actually, all of this is just as it is. And you don't even have to be clever to practice this.

[21:26]

So it's just a way of talking about the guest from the point of view of the Dharmakaya. Because this is in what you see. But if I explain it this way, it's not, you know, it sounds rather funny, I think. But it's a way that was developed in China to talk about emptiness and form and so forth. The advantage of it is this infiltrates your language like a virus. Der Vorteil davon ist, dass es deine Sprache infiltriert wie ein Virus. If you begin to have this way of thinking, you begin to feel it in all your ordinary language. Und wenn du anfängst zu denken, dann fängst du das in deiner Sprache überhaupt zu spüren. It's not so interesting in this poem, but it's quite interesting when it appears in the poetry of your own mind and body.

[22:31]

Und so ist das nicht so interessant in dem Gedicht, aber wirklich viel interessanter, wenn es in deiner eigenen Sprache in deinem eigenen Körper erscheint. So the basic practice here in this koan is to really see if you can feel that everything appears in each moment of perception. Now this is not so much a, again like in the last koan, we went through many different kinds of breathing practices. This is about, can you perceive the world a certain way? It's not just, is the world this way or not?

[23:43]

But can you change the container by which you usually view your body and the world? So you view the whole earth as contained in each moment. And in each object you perceive, you feel the subject, object, unity includes the whole world. In other words, there's many ways to view the world. This koan is suggesting this is a very powerful way to view the world. And it arises from mental stabilization and from emptiness. So it's not so much a practice as an attitude toward the world. And a teaching about how to develop this attitude toward the world.

[24:57]

So that you feel everywhere, not just in this wonderful spot that a sanctuary is built. And it's actually possible to live this way. To have this feeling at least as an undercurrent in your daily life. And maybe with these distinctions like between immediate consciousness and borrowed consciousness and secondary consciousness, you can notice like on the wonderful walk we took yesterday, How maybe being in immediate consciousness isn't satisfying, you're drawn out of it.

[26:09]

Even on a beautiful walk, you're drawn into thinking about things. And then drawn into talking with people. And that talking is often based on a kind of affection for or interest in liking for the person you're talking to. But you can also have affection for somebody or express affection through immediate consciousness. So when you conceive these distinctions between these three consciousnesses we talked about, It may help you begin to see a kind of, as I say, interior topography, which you can notice in one kind of consciousness, probably immediate consciousness.

[27:13]

When you find you're able to rest there with a richness, not a narrow feeling, that it's much easier, or almost spontaneous, or is spontaneous, that the whole earth appears in a mote of dust. It's not just poetry. It's a kind of new continuum that's underneath your thinking and feeling. And it's possible both to realize this continuum and to cultivate this continuum. So why don't we, I think we, Sunday afternoon, it's nice if we can get on the road, so why don't we sit a little bit and stop.

[28:30]

Does anyone have any questions about this equipment? I already know Gertz did so. I have noticed this before, that the more I travel around the world, the more I talk schwerer, immer unglücklicher wird, also dass ich im Bereich Graal eigentlich nur in Werbung sprechen könnte, gehe, trinke, stehe und im Moment vier eigentlich nur Anregungen stattfinden. Das sprechen gar nicht mehr mit fast unverständlichem Sinne denkbar.

[29:45]

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