And I went to a few places to try and get the filming. It's probably not appropriate. I haven't seen it for 20 years. I just remember it wrongly. So we'll have to be our own Mars brothers. Instead of in your mouth. Okay. She says she's watching this. Last week we stopped on page 7, which this old monk was mistaken, and mistakes are our abundant jobs as taboo. Okay.

[01:10]

It's a reference. Abundant Jobs' Temple Masters is a reference to the Golden Fish Collar, where essentially, I don't remember which history it was, It's challenged a bit, and there's a document I love back and forth, and the student says, oh, you can't say anything, you know, what's the matter with you? And the teacher says, my duties as an advocate are not making any sense. Sorry. So, what it's saying here is, this old monk was mistaken actually.

[02:32]

Another way of saying that is... I was reading the introversy of the practice of perfection. And he was talking about forbearance, what it was, how to do things. And there are many examples of someone comes up to you and says, oh, you did this, or they challenge you or whatnot. And the examples we're often given Is that so? And sort of go with it and not defend yourself. It's very hard sometimes to defend yourself.

[03:39]

Actually, I happen to be reading this because my wife and I have been watching the issues and rather unexpectedly she got really mad at me. I felt justly accused, and obviously wrong. And I got really, really mad. I didn't say anything. I finished washing the dishes. I went back to my room, and I opened up the kid's grocery book. And it opened up to the poor bear. And I was kind of like, this isn't the one I want. I want righteous invitation. I want righteous invitation. But this is coming in the context of Sansho's sort of nushin, seppu.

[04:42]

I'll go back. Sancho's saying, that which is eternal cannot be named. We're so dead in the earth that we're not conscious of the story. And at a certain point, Sancho goes, I'm sold on this. So one way of responding to and have In fact, a very good way of responding is to admit your imperfections. You always have to admit your imperfections. This comes up in the context of Regardless, I do not know who is in the stands before me.

[05:59]

In a certain profound way, in this being itself, in this past moment of transition, we don't know what we're doing. We don't know what our life is about. How can we possibly understand? It's impossible. Sort of knowing, not knowing. Like thinking, not thinking. And that's a very good note.

[07:01]

It's one of the paradoxes. When we admit to our incompleteness, we're complete. Right. Well, it's one of these. On the one hand, nothing is a mistake because everything is visualized. A reflection in each mirror is a mirror of ourselves as well. On the other hand, at the same time, we make mistakes. All the time. So I'm a part of a different job system than I was supposed to be.

[08:04]

It's really strange. Now, Cliff, I mentioned dispatching you because I was in instruction. So let me ask you, you're sitting and your head is going. Is that a schedule? It's a very complex dance, which is why the mirror is a good image. So on the one hand, it is a mistake. Your head goes like this, and you go, oh, and you adjust.

[09:11]

Actually, I think it's good practice sometimes to not adjust. Sometimes, you can just say, OK, for this period of Zazen, What happens is what happens. Oh, I found out like this. Whoops. No voluntary action. It's very interesting. And it's actually rather difficult. And to just drop it. This is what's here, this life. Just be the mirror for yourself. I found that as sort of an antidote to too much self-expectation.

[10:15]

Maybe we should rotate things and try... I didn't... I said sometimes. What the heck is going on here? It's also a way of... I can probably have my hands in the air. It's funny. It's a way of just simplifying the notion that what it means allows kind of the naturalness of communication. That's not exactly a voluntary movement. It's the body wanting to be with you. That's right. It's like a thread that binds you. Exactly, exactly. Yeah, it feels better when you're all alone. But that's letting the Sazen be the city rather than you being the Sazen. But it's also good for you to do the zazen.

[11:20]

And ideally, it's two hour points meeting in the day. Zazen means you meeting the zazen. Absolutely. This is the beginning of that. And the master, the temple master is the master in oneself. The true master. And not one where there's a master at this way, but a close to guess.

[12:22]

But not either possessing it or being possessive of it. Yes, yes, that's a wonderful one. Actually, it does.

[13:50]

I have to go to the court with a certain notice. I hope with the only sent of an English and one Indian. Anyway, so move it. Mr. Duggan then talks about, one must remember, Seko was a disciple of Tokusawa, and Sanjo was a disciple of Uesawa. These two distinguished priests, both from excellent lineage, both from Seigei, both from Nandakura, they've been dwelling in a continuity for a number of years. There are two paradigms we should study. And through much of the previous dialogue, Dogen criticized one, then seemed to criticize the other. They seem to be criticizing each other. And here he's saying, hey, they're both expressing truth.

[14:51]

So Sempo once said to his disciples, if the world were 10 feet wide, each human earth is 10 feet wide. If the world were one foot wide, each human earth is one foot wide. This time, Gensho pointed to the bhakti. So how wide is the bhakti, Sempo says, as wide as each human earth? And Gensho said, my old masters, you know, have not landed on the ground. But the masters began to build masters. When Seppel calls ten feet the world, the world is ten feet. He sees one foot as the world. The world is one foot. He describes the ten feet and one foot of the present, never any other unfamiliar foot than those ten feet.

[16:05]

OK. This is, a little later on, we're going to be talking about scopeful means with a few paragraphs. Perhaps that's referred to as not being able to do complex things. Well, figure it out. In Moon in a Few Drought, Douglas says, The entire moon is reflected in a single reflective, and the depth of the drop is the height of the moon. This is the same thing, basically. The Apabhachi is the whole world. It fills this universe completely in its botchiness.

[17:15]

We're each ourselves, we feel it. Every moment, it wasn't there. Another way of saying it is, The width of the body is the depth of the body. And it's the, from Arsaz, how long is it truly exhausted? When you say 40 minutes, it totally misses the point. But if you don't say 40 minutes, and your time is short, people are going to get really Exactly.

[18:16]

Exactly. And that's what this next paragraph is about. When people study this story, they usually think of Dharmawars as limitless, boundless, and innumerable. And we can't. Dharma, Ganesha, are boundless. And it sort of gives you the impression of, oh, it's big and it's wide. But this boundlessness is eight and a half by 11 inches. It's like eternity doesn't mean a lot of time. And boundless doesn't mean pleasant anymore. Well, that's why they say the gate will stay. So dharmagate, you have to be able to enter dharmagate function. So it's a teapot. Have you ever seen a pot of dharma?

[19:25]

Actually, if you look into your teapot, well, it's not going to work here. Sometimes if you look into your teapot, you can see your face reflected. It's just faster than your eardrum. And then there's a, in Phaidon, there's a story where a person is about to drink in a teapot, and he looks, and there's another person in the teapot. He looks around. He looks in the teacup. And he drinks it. I won't spoil the rest of the story for you. Is that in the movie? It is in the movie, yes. I'm sorry, can I ask you a question? Yes. I think I get a sense of, I think of the driver as limitless, boundless, and you want more of it then, and just cling to that when you're in the center.

[20:35]

Exactly. How vast it is, the space of the center. But what do people think he's saying when he says, he describes the 10 feet, I wonder if he wasn't referring to the 10 feet. Just again, referring to the space of the center. Certainly that, but also, if you remember, the eternal memory is one which when a foreigner appears, the foreigner is reflected. When an American appears, the American is reflected. So, he's not going to show someone there's anything about their work more than they are.

[21:36]

So, it's not just here now, this moment of specificity, which it is. The problem with saying, you know, this is it, is you can separate yourself from him. So, it's these ten feet. There's another way of saying it, it's my ten feet. That's what you're doing, right? That's right. If you're... A lot of this is the genja koan you visited. If you're rowing on a boat in the middle of the ocean, the ocean looks limitless, round.

[22:40]

But that's, it's the limits of your mind. But those limits are that line. So, when we learn these ten fields, here and now, where you can see one concrete part of the world. In other cases, when people, this goes on, this ten-foot width of the eternal mirror is enwinding to the complete world. Then he goes, the eternal mirror is not like the true mirror, and we should not conceive of it as bright or dull, square or round.

[23:52]

Even if the whole universe in ten directions were one bright jewel, it would not equal the eternal north. So the eternal mirror, regardless of the coming and the going of the four chunnis, just reflects everything that happens through the length and the breadth of this state of brilliance. There is no relationship to many or large, no relationship to size. Well, here it's kind of interesting. On the one hand, it's 10 feet, and on the other hand, it's no relationship at all. Another way of saying this is, don't get stuck in Eternamur as something abstract, and also don't get stuck in it as something concrete. Concrete and abstract. abstract are concepts.

[24:55]

And the eternal mirror is your life, life and death, before life and death, the unborn. Words don't really capture Is this a jaw thing? I was looking in the mirror, seeing if there was another meat, another internet. Well, it's a, you know, it's a jaw thing. Is that, what do you call it? Well, it's an interesting question. Well, it says it's not like a tree. Another translation, which is usually simple.

[26:14]

What does he give me? A solar detour, maybe some idea. There's a pearl in there somewhere. It's a mirror. A silver bowl filled with snow. No, I don't think there is a pearl. Somewhere there's an image of a pearl swirling around a bowl. But isn't the concept when it was integrated the same? It's very similar. I don't know if going from that image and that tradition, whether they say when that jewel appears and another jewel appears, they both disappear.

[27:43]

I think it's a little more concrete. It doesn't capture both sides of four pendants quite so much. It's easier to get. association that it might have, in terms of, instead of thinking of reflections visually, I think of it in terms of sound. And I once, in a music library, found a record, modern music, and the record was a voice of a man who could do a

[28:47]

I am sitting in a room different from the room you are in now. I am playing my voice. I'm going to record my voice in this room. I am then going to play my voice through the speakers and record that. As I do this, the resonances of the room will become amplified each time, and after several generations of this, all symbols of my voice will be destroyed. And so then, It starts again, him sitting in a room, and he's trying to do this by his butt. Then on the fifth or sixth time, it's hard to make out the voice because it's in his ear. And what happens is, exactly what I said, the resonances of the room come through, and so you hear his room, and eventually his voice disappears entirely.

[30:03]

in a way, when you have a reflection in a reflection in a reflection of a reflection of a reflection, at a certain point, reflecting manifests itself. So... It's not fluffed around with. He doesn't modify anything. He doesn't put in two filters or anything.

[31:08]

All he does is he takes tape recording of his voice, he plays it in the room and has a microphone sitting there to hear the recording. And he takes that tape, puts it on the other tape recorder, plays it again, records it on a new tape, does it for generation after generation. Or just like you pass on information, you know, what's written in here. Kind of? It's equally important. OK. Width refers to this real quantity, OK? No relationship to many or large, no relationship to size. Width refers to this real quantity. It does not have an extent. A real quantity has no extent. It has its reality. When we talk of size, we usually mean two or three inches, seven or eight. But in calculating Buddha's truth, when numbers appear in the realm where you are no longer attached, even to enlightenment, they transcend their numbers, whether it's two or three or whatever.

[32:24]

Not being attached is very important here. So in terms of Buddha's ancestors, realizing five feet of things, realizing ten feet of things, realizing ten times ten feet of things, realizing ten times ten feet of things, plus one unit of ten feet is eternal order, and is eternally merged with, is complete. What are the koans? What is Buddha? What is Buddha? It doesn't help to understand this intellectually. Let me read another verse for you.

[33:30]

The calculation of the Buddhist truth, when we calculate it in terms of great realization or non-realization, we clarify a weight of two times or three times. When we calculate it in terms of the Buddhas and their ancestors, we realize five things in ten. my fingers realize your full self. This is a figure of the truth. And this is a figure of the truth. How do these two get along? And what happens if you stay and lock the fingers?

[34:40]

who gave one finger, saying the words. Anybody would ask the question, he'd hold up the... Anybody would ask him a question, he'd hold up one finger. So someone came to the temple, and the little kid, who served in the temple, stopped doing this. I was around, and Tay wasn't. I thought that Tay wasn't. And the person asked him a question, so he didn't do it. And when Tay saw it, the kid took his finger and chopped it off. And the kid goes, oh, [...] and he runs out of the room. And Tay says, hey! And the kid turns around, and he goes, I wished one. Why is it deep, though?

[35:44]

That was experience. Yeah, it's a deep experience. Oh, he's really pissed. He goes to get some sleep, or takes in what I can contain. Yeah. But there actually is a relationship with that, and what we're talking about here. In order for five things to be realized, as five things can take place, And as you complete enlightenment, you need to let go of attachment to any concept, desire, or grasping on the five things. Letting go of enlightenment. Cutting off your finger. When you cut off your finger, you no longer point at the root. It's no longer a thing of pointing at the root.

[36:47]

It's the thing itself. So, it goes on and on, I think. It explains things a bit more. So Gensche's question is, how big is the thought is an unconcealed expression of the truth. It's unconcealed. This is really crucial. Instead, we don't believe that there's anything in the truth. There's no secret truth. It's not an essence, character. It's all right here. I mean, I don't want to get into putting a word here.

[37:57]

Another way of saying it's not And Steele is saying, it's never a question. It's never not here. You don't have to pay money to practice, Sam, unless you become a member of the state. That's right. That's right. in a very profound way, in a way so that even if you pay money for it, it's still free. It's an unconceived expression of the truth that we should study forever and ever.

[38:58]

So to look into the hibachi is to look into it as a person who is true. This is a very interesting picture. We'll look into the body as a person who is who. So who is this teapot? Who am I?

[40:05]

To look into anything deeply is to look into the nature of identity. And fortunately, when we say, who is this? We tend to get out of our things mind. We don't think of things as things. When we think of the teapot or the tebashi as a thing, we've lost the universe. When you look into it, right, when you look into this food, And it becomes eternal mirror.

[41:05]

You see yourself in the teapot. Of course, it's not very tea-polished. When you look into the identity, is this real? Well, that's a very good question. And it's not answerable. without being able to say who you are, but you can't say... You can't say who you are, but the teapot can tell you. That's right. That's right. You can't... You can't grab your own mind. The mind can't grab the mind. which is why we need color.

[42:06]

So, Gogen, in many places, says things like, if you're looking at rice or vegetables, treat them as if they're your own eyes. But he doesn't just mean, be really, really careful, obsessive sort of way. I mean, he means these actually in a very real way. They are your eyes. And your eye is the eye of the fruit. Everything. So when we do zazen, we're constantly, when we bow to the cushion before we sit down, we're looking at the bhaji. As who? Who is his pusher? That's a good question. Who is his pusher? Or, you know, if you're facing somebody at the end of the tunnel, and you look back at each other, or you're sitting in the server, you know, on the server, and you look at each other, who's this?

[43:19]

Who's right? And who's wrong? This story is not a tale of agitation and attachment. It's about the realization of a singular state. It's about the fact that realization of a singular state is a fresh situation. Unity, the host within the host, is never still. It's constantly refreshing. Well, our Zen practice is very much treating everything as it is. being.

[44:25]

I once heard Mel say one of the ways he tries to get some sense of humor is by watching other people kill people, which will probably increase my obsessive emotion substantially for the next year. Oh, so you take care of your things to take care of yourself. That's right. I think that my knees and everything were like that when I was a kid. I mean, I sort of have the knees, and the little, the eyes got real big and round. No, they tell me more the truth of what they really wanted me to do.

[45:32]

So the question involves an answer. And besides what the Bhakti already thought. But when we think of the expression of science as we now communicate it to one another, the concept of science expresses a transcending principle which we must not doubt, doubt the fact of the liberation of this unknown place. Thank you. You must realize the fundamental point of Genshi's teaching, that devācī is beyond aspects and dimensions.

[46:36]

Think credible in what way? Uh-huh. That's right. It was even more ordinary for him, because the hibachi was just what you cooked on. So yeah, it actually might be kind of nice, because this one is the stove. How wise is God? With gold and silver, and kettle and stove, and foot. Old universe. You don't usually think like that.

[47:40]

Maybe he does. That's just silly. You realize it's Completeness, naturally. We'll get into this more as it deals with touching the ground. Don't idly allow the one dumpling leaf going down to fall into the ground. Break it open! This is the effort. Another translation is, don't become attached to the expression pravaci. We should break down our attachment. This should be our practice.

[48:47]

Right? several have said, as wide as the eternal mirror, we should be quietly reflect on these words, not wanting to say that the Bhakti is so deep-wide that it speaks like this. To say that the answer 10 feet is right and the answer as wide as the eternal mirror is wrong is an error. I would add, to say that the answer as wide as the eternal mirror is right and the answer 10 feet is wrong is an error. The key point here is we should explore actions that are as wide as these. All of our actions should be just this wide. And when we try too hard, they're wider than they really are.

[49:50]

or we don't try enough, they're narrower than they really are. So, uh... Yeah, and it's me against it. So, uh... I took a little bit of liberty in translating. But considering the kind of characters we're unsure of as we think about it in the game world, I think it's probably the best choice. They should diligently consider the independence of the world. They should reflect the future of the world.

[50:51]

At the same time, they should think that they should not let action change the reality of the past. Don't let real action pass as byways of earnest scrutiny of unworthy and innocent, betraying the world. Never let it. This has to do with the term, zeal. Zeal, right after. One translation. furnished to the attainment of happiness. But you know, it has this, quote, my version of the term, which has this kind of Japanese mantra, sadistic ring. I like the Rishijima cross translation.

[51:53]

Manifest behavior in the way of the eternals, never-falling beings. you know, if you, if you act with actions of wisdom, you turn the mirror. You won't get depressed. And you won't get mad at people. Well, this all sounds good, except that now, again, she says, well, old master's heels have not landed on the ground. So the point here is whether you call him the old priest or the old master, we don't necessarily accept, but rather an old one, a real person. As to the meaning of heels, we should ask where they are in mastery practice.

[53:03]

because it made the I a treasure of the true law of the universe, the whole realm, or the life realm to be described. Existence is a yield. One half of a thousand years is the series of a thousand years. Sometimes, I think I'm teaching a relaxation class in Kaiser, of people scanning their body. And at a certain point, you get to the heel. And if you've ever done a body scan, something kind of interesting happens in that you sort of think you know where your heels are, but then to really be able to feel them exactly where they are, you have to go into the heels. And when you go into the heels, become as wide as your mind can be.

[54:18]

So there's that big oneness sort of thing. At the same time, this heel, every time we walk, our heel comes down and it takes The whole weight of our body, I don't know what the physics are exactly, but if you weigh 150 pounds, it's probably taking something like 800 pounds of pressure. And it does this again, and again, and again, and again. And so it cushions us. It protects us. And we take it for granted. It's good to be really appreciative of our humility. I mean, how fortunate we are to have them. So on the one hand, you know, it's just, ah, healed. On the other hand, it's, oh, good.

[55:24]

Very concrete and specific. The foot before and the foot behind the wall is a very profound So again, the experience of all its myriad ramifications and its blindingly brilliant singleness of experience. And he said, I've not landed on the ground. What is this ground? A really good question. Just like you asked, who is it to say that? Actually, you have to know.

[56:29]

What do I rely on? You call it the great earth ground. But, it could be seen as the dharma gate to the wonderful world. So, this ground is a dharma gate. The sky is a dharma gate. We're going through one dormitory after another all the time. So what kind of ground is this? He's going to expand on this here.

[57:31]

On the one hand, this real, physical, palpable sense of the ground. And I have to say, I agree. I think that one of the problems we have with modern day culture is there's too much asphalt and concrete. If there's just something about walking on ground, it connects you in a way that walking with me here is just great. It's almost dry, but after a while, something shifts in the water, or it's giving itself a sense. Yes, yes. Yes, absolutely. And when I was in Nepal, I was in a quarter of a circle,

[58:41]

You walk. And I'm wearing my hiking boots, and it's a tough ground. And they're wearing clogs, like shower clogs, or barefoot, or tennis shoes. And I'm going down this steep hill. And I realized I was using my eyes to walk and not my feet. And so I started practicing by looking ahead and letting my feet find the ground and letting the ground tell me how to walk. And it took a lot of concentration. I was amazed at how poorly I did in terms of being familiar with this type of practice. But it's very doable. I mean, it's clear that if you really did this all the time, that they weren't cooperative relations.

[59:47]

That's right. I agree. Yeah. There's something about the pastors. He is not a teacher. Right. So I'm reminded of that phrase, and I forget what it's from. Part of the phrase goes, I'm not a head, I'm not a single tile in the room. I'm alone, not a teacher. It certainly folks the image of being in a hut, where the wind is blowing through and there's no roof, windows don't have glass in them, and there's freedom.

[60:47]

I guess we can bring in the tiles of the roof. I'm not talking about polishing tile. But it is talking about the ground. And it says it doesn't touch the ground. What kind of ground does it touch? Is it the real state of being? Does it exist or not? We should ask ourselves and ask others again and again, tell ourselves, in a great way, is there even a speck of what is genuinely called the ground? Heels touch the ground, heels do not touch the ground. Which is the right state? Where does the view? Heels have not landed on the ground originally, which is another way of asking, what's the real ground? When the Earth's straightaway is without a speck of soil, touching the ground isn't possible, and not touching the ground isn't an option.

[61:56]

So this is sort of classic science, right? If you go to the top of the 10-foot pole and keep on going, If you have a staff, I'll give one to you. If you don't have a staff, I'll take it away. These are just ways of saying, find the ground everywhere. It's easier in some places, in some ways than others.

[63:03]

And, uh... It's easier practicing Satsang in the form of the Satsang. In the sense of doing it in a tunnel. You can do it in a tunnel. It's harder. Um... I just saw a cartoon at work today, and it shows a doctor sitting behind a desk, and a patient floating three feet in the air, arms crossed by the doctor, saying, Another way of looking at heels do not touch the ground.

[64:22]

This is actually a really wonderful sort of poem which can shimmer in many different ways. You talk about somebody who's sort of head in the air, up in the air, not present if someone whose feet don't touch the ground. Not grounded. Our job as Zen students, on one hand, is to be really grounded, but not at all attached to it. Because the ground is always shifting. And grounded. So on the one hand, to be very, very concrete form, and on the other hand, to be deeply immersed in objects.

[65:28]

A monk asked, what's the eternal mirror like for the Republic? What's it like after doing college? I don't know. This is the introduction, basically, to College Road Talk. We went back to the classroom. We've talked a bit about time before and after. being in our person's clock time, linear in our person's existence time. So let's not worry about before and after. In fact, that's real good, because that's an instruction. Don't worry about before and after.

[66:30]

Don't worry about what life is going to have, or getting what it needs, or falling into delusion. How long is this session going to be? Now just plunge into the eternal. When we are polishing, we're polishing the eternal mirror image entirely. not by mixing and matching or anything else, not by anything, but in particular what we're doing, the eternal mirror is polished by nothing other than the eternal mirror. This is neither polishing the self, nor the self-polishing. It is the eternal mirror's actualization of itself in polishing. I think even if you study the self, to study Buddhism is to study the self, to study the self is to connect the self, to connect the self is to be actualized in the way that you're doing things.

[67:48]

Our practice is practice enlightenment. We don't practice becoming enlightened. It has an expression along in what we're doing. The enlightenment practices through us. I have a practice which I don't understand. Sometimes in the morning, I'm waking up, and it's time to get out of bed. But I don't do Suzuki Roshi's practice. I'm as soon as one of those three days out of bed. It's time to get out of bed. I'm sort of half-awake right now. I sort of go back and forth. Then all of a sudden, I wake up. And there's just a certain moment. OK. And I sort of look at that moment and think, how did that happen? How did I wake up?

[68:50]

It's really mysterious and wonderful. And you can count on it. You can count on it. But it's not like I woke myself up. Something woke up. Something, you know. And that's actually the gift of the darkness, this mystery. Yeah, sometimes I'm really sleepy at night. You know, sometimes walking by, and if you have a headache, you know, I just, you know. So it's like not me waking up, I don't feel like somebody's there. So before being punished, the turn order is not wrong. It's just a function of the turn order, in fact, if it's taken. So... for understanding anything about this fascicle?

[69:52]

No. It just functions as a determinant of my state of mind. Pure possibility. No, I don't know. It's not yours. There's the rock. I'm the center of the rock. And then there's part of you. It's not yours. And here's a very compassionate statement. Here's a very compassionate statement. And it's worth remembering that there are times when it's possible to And we cannot make anything. And there are times where we can possibly make something, but we are unable to polish it.

[70:55]

I think we've all had times where we feel like, oh my, I just can't do something today. And we go into the same building. My attention is lousy. My posture is lousy. And there you are. You can't polish, but you can make it. And then there's other times you just can't get into the zen. Your car has to go into a shop. And it burns down or something. You can't get into the zen. You can't make it there. And you're polishing just your sasaengs great, even without sitting down. And being human beings, we want to be able to say, when I go to this session, I'm going to have great sasaengs.

[72:03]

And maybe. Sometimes it is, sometimes it's not, sometimes they come together, sometimes it's this other aspect, but as Noah says, all equally are. And by practicing limitlessly, with no gaining or idea, our everyday life is one with the deeds of the Promised One. There's an easy way to become a Buddha.

[73:13]

Just be kind to everyone, and respectful to your elders, and teach people who need to be taught, and give up any grasping ideas. But it's true. And there's going to be days when you're going to try and be kind to everyone, and say, You mean to say something as, oh, that's such a beautiful sweater you're wearing. Jeez, that's little. Oops, whoops. And there's other days you're going to go, oh, let me get that little. So they don't. always come together, quite the way we think, but you can trust yourself, knowing you're

[74:26]

So the famous one, the Vasa Siddhicasa. This is what you do it. Vasa. All right. Oops. Polish it, polish it, polish it. I'm sorry. Yeah. Thanks so much. So this is college retired. Yeah, that's how Ray and I developed my system. Basso sounds a little like, a little macho. I can sit here in a fast hut on a rainy night.

[75:42]

Cold doesn't get to me. I'm going to just do my best. That was his personality. I don't think Basso's out there going, oh, it's cold. What am I doing here? I mean, probably all of that. But he never let up. But he didn't let up. As long as you don't commit suicide, you can kill yourself. You can die. But that's good. But committing suicide is not the same thing. As long as you don't commit suicide, You're not really one, even though you may think you are. Well, once you commit suicide, the whole picture.

[76:44]

I have no idea what happens from there, but... Do not civicsazen. Do not polishen. At least do not polishen. Bob, leave the polishing to Bob. Maybe I'll pop it in the grass. I don't know. So Nampaku takes out the tile and just polishes it. What are you doing? polishing the tile to make a mirror. Polishing the tile to make a mirror. It's awesome. It's really good. I was just wondering, why don't we teach children to make them do the iron and to needle and to, you know, stop teaching about being diligent. Uh-huh. And don't give up hope of work. Right. Well, that's the other side.

[77:45]

So, in the Genja-O-Ran, who is that hand who is bending the sun? I think the student said, Master, the nature of the wind is that it reaches everywhere. Why do you fan yourself? The nature of the wind is that it's eternal. Why do you fan yourself? You understand that the nature of wind is eternal, but you don't understand that it reaches everywhere. So the fanning manifests the nature of wind. And in order to realize something, you have to make it real. So the other side of this is, of course, 6,000. Polish the time. And Dogen talks about the power of this teaching.

[78:53]

And relating back to the Theravadji, teaching methods other than common tools and everyday utensils are not transmitted in a healthy way. Our way is the way of the Theravadji and Krishan and the team. It's ordinary stuff. Clearly, in truth, when polishing a tile becomes a mirror, Vāso becomes Buddha. When Vāso becomes Buddha, Vāso directly becomes Vāso. When Vāso becomes Vāso, Vāso immediately becomes Vāso. The eternal mirror is always made from a tile. It's made from flesh and runny noses, aching backs, deep grafts, and worn trenches.

[80:01]

Though we've polished the mirror, it has never been cleaned, so as you can see, we've wiped the windows because we're old people. Tiles are not dirty. We just polish a tile as a tile for its own sake. In this, the virtue of the human being is realized. It's just a practice. If polishing a tile does not make a miracle, polishing a mirror can't make a miracle. Don't behold it. Nothing sacred. Who understands this? In the action itself of polishing is the realization of the mirror and the actualization of the mirror. If we doubt this, then when we polish the mirror, aren't we mistaking it in polishing it as a tile? So, if we don't understand, just make tea, then when we bow to Buddha,

[81:14]

We'll be going to a place of action. Now polishing the tile. Now feeling the tile. Thus knowing about these teachings and completely expressing the truth. Polishing the tile to be self-placed in the world. And know that it concludes. Pick up the tiles of the present. He doesn't mean, or it doesn't only mean, the tiles of February, Valentine's Day, 2002. He means, pick up the tile of this present moment. Polish them. It will be under We despise tiles, lumps of blood, and we might also despise people whose lives are burned.

[82:23]

And this is so important. It goes back to seeing George Bush as the Buddha. As the mirror. See George Bush as a tile. And if we see George Bush as a child, we'll see the rest of the world. And if we see it as a lump of mud, we run the list of seeing ourselves as lumps of mud. And it's easier to form the self-image of a child just as a child. So, if a human being has a moment, and a child, of course, has a moment, it melts in my memory.

[83:30]

If you're in my memory, it's stable. Who knows that when a child comes, when a child appears, there's a very true moment. You could put a question mark on it. Who knows? Or you could make it as a statement. Who knows? Only a child knows. A child is here. It's a mirror. And who can recognize when a mirror appears? There is always has, is, will be. And none of the above. There is a miracle to be found. I just want to thank all the members for giving me the opportunity to talk about this with you.

[84:43]

Thank you. So let's do it.

[84:58]

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