I thank God how he takes the truth and that it does not get worse. Good morning. I don't know if you can hear me better with the door closed. It should come up closer.

[01:02]

That's right. We can move all this forward. The closer the better. Anyway, because the people on the side can't see. But even though the people on the side can't see, you have it all here in front of you. So, but it helps if I put the diagrams on the board in order to talk about them. So, page 31. I assume everybody has their, if you don't, who does not have a book? Could somebody who's close to the box pass out? Books to people with their hands raised. Now I expect that at a certain point everyone will have paid for the book.

[02:20]

If anybody doesn't have any money to pay for their book, it's okay. You can pay $1, but the books are $10. But you should pay something, maybe with blood. Anyway, pay something. If you don't have the $10, whatever you can afford is okay. And the payment will go to my Anja, I mean my Tisha, Joan. So today we've come, I just want to say a little bit about this book. This is a very comprehensive workbook. And I can't tell you how much I appreciate Charlie, all the work he's done to put this together.

[03:32]

And all the things that I was going to Xerox myself are all in here, and more. So I'm very pleased with it. And it's far more than you will want to use. And because it's so full of stuff, it can be bewildering and overwhelming. So I'm making it as simple as possible so that most of the stuff would just be reference for you. So I encourage you to read it during study. And I keep finding stuff that I did here. Just a few minutes ago I found a thing, something that I put together. And I realized that not very many people have given commentaries on this. Charles Luck, and Sheng Yan, and very few people.

[04:39]

So he's using a lot of my quotes. And I had no idea that was what was in here. But it kind of reminds me of what I was talking about in 99, I think. And I still have the same ideas, so that's pretty good. So here we come to the part about the five, so-called five ranks, which is the heart of the Jewel Mirror Samadhi, which is in the illumination hexagram, apparent and real interact. Piled up, they become three. The permutations make five. like the taste of the five-flavored herb, like the five-pronged vajra." This is all mysterious stuff. So, I'm going to, at the bottom of page 31, you see this diagram on the right, and the explanation on the left.

[05:49]

He says, the master, Tosan, Dongshan, used trigrams from the I Ching system to explain the real and the seeming, or the absolute and the relative, or form and emptiness, or however you want to say it. Is there anyone here who does not know what the I Ching is? Good. I beg your pardon? I sort of know what it is, but if you could explain it a little bit. Yeah, but I will. I just want to know if you know about it. Yeah. I don't expect that you know the whole thing in all its permutations. But the I Ching, of course, is one of the five, considered one of the five wisdom books of China, and it's about 3,000 years old, give or take, a few hundred. I don't know how much has been augmented in that time, but it goes back to the time of the turtle bones, the turtle shell bones.

[07:03]

So the master used trigrams from the I Ching system to explain the Real and Seeming. So Dongshan was Chinese. And as I said before, about the sixth ancestor, Hui Neng, he was considered the original Buddha in China. That's why this platform sutra is called a sutra, because all the sutras were apparently supposed to be authentic and from India. Of course, as the sutras became, as one sutra after sutra started pouring into China from India, and a lot of them contradicting each other, a lot of confusion, people began to realize, Maybe these weren't all written by the Buddha. As a matter of fact, none of them were written by the Buddha. Sutras weren't really written down in sutras until 400 years or so after Buddha passed on.

[08:15]

So it was all an oral tradition up to that time. And so the oral tradition transmuted into the sutras, became the sutras, basis for the sutras. And then, of course, inspired by Buddha's teachings in the oral tradition, various anonymous authors created the sutras. This is called Sambhogakaya, according to Suzuki Roshi's explanation, it was the spirit of Buddha, the spiritual aspect of Buddha, which is inspired to bring forth that quality which creates the sutras.

[09:21]

through ordinary human Buddhas, beings, Buddha beings. We have, I'm diverging like crazy here, but we have Dharmakaya, Sambhogakaya, and Nirmanakaya. So dharmakaya is the uncreated potential. It's the emptiness. They're real. And everything comes forth out of dharmakaya, the matrix. And nirmanakaya is the personification of Buddha, that one who walks and talks. and has a body, the embodiment. Sambhogakaya is in between and faces both ways.

[10:31]

So Sambhogakaya draws inspiration from Dharmakaya and embodies it in Nirmanakaya. So the master used trigrams from the I Ching system to explain the real and the seeming. So you could say that Tosan was a kind of Sambhogakaya Buddha. Let me go back to the illumination hexagram. for the heart or mind is a trigram consisting of two single lines with a divided line between. I'm just going to read this. Between them, two Li trigrams placed one upon another are called a Chong Li or double Li hexagram, of which the six lines are interlaid to set up a triple basis, ABC, transformable into five positions, one, two, three, four, five.

[11:50]

The triple basis is transformable into five positions, tasting like the five flavored herbs and having the shape of the thunderbolt as follows. Now, I don't expect you to grok all that. Now I'll explain it to you. If you look at page 77, unfortunately, the author split these two pages. They really appear on one page in Charles Luck's Chan and Zen teaching. Page 77. The numbers are at the bottom of the page. You just have a number? Okay. 77 at the top of the page. You see the symbols, the circles, and then on the left you see the I Ching trigrams and hexagrams. The trigrams have three lines, the hexagrams have six lines.

[12:56]

So, Charles' luck starts from the bottom and goes to the top, sometimes, and goes from the top to the bottom some other time. Anyway, so you see on the left you have this trigram, and then another trigram, and then you have a hexagram, a hexagram, a hexagram. The hexagram at the bottom is the Chung-Li hexagram. It has two Li trigrams, and I'll explain that in a little bit. The unbroken line is Yang. The broken line is Yin. kind of like male and female, or active and passive, or according to the old way of thinking.

[14:00]

So, if you go to the bottom here, you see that there are two Lie trigrams put together. Dash, dot, dot, dash, dash, dot, dot, dash, So that's the Chung-Li hexagram and it's the illumination hexagram. It stands for illumination or fire. And so in the illumination hexagram, apparent and real interact. So if you look at the top, if you look at this little sandwich of A broken line and a straight line of the trigram, that's like the active and the passive. The passive is in the middle.

[15:06]

This stands for emptiness or the real. And the two unbroken lines stand for phenomenal. the phenomena, or what's called the seeming. It seems to be real, but the phenomenal has no real basis in its individuality. As we know, everything is dependent on everything else. So that's called the seeming. So one trigram on top of the other, you could say that the top trigram of the chung lit hexagram is, the top one is the absolute and the bottom one is the phenomenal, and they fit together like a box and its lid, as it says in the Tsongkhai, like two arrow points meeting.

[16:15]

So I want to go back to page 31. If you look at that figure, to me, it looks like my Rorschach. My Roshar consciousness says, this is a cow with his tongue sticking out, but he's a little cross-eyed. So, here we have one, two, three, four, five. Green is going to be black, stand for black.

[17:23]

And so we're using black and white, just look at the diagram, for the symbols. So then we have here one, and we have here two. And we have here three, and four, and five. And, so these are the five positions, but then we have A, B, and C. So, the three, I mean A, B, and C, are the three, what are they called? piled up, they become three.

[19:04]

These are the three piles. The three, there's a word in Sanskrit that means heaps or piles, but actually it means connections. So, these two are a pair. The A is a pair. B is singular, and C is a pair. And so the two pairs and the single make five positions. So I think that the reason they're called ranks, I've just figured this out. Why are they called ranks? Because they're really positions. But ranks is like the absolute and the relative. There's the rank of the absolute and there's the rank of the relative.

[20:10]

So it's like prince and minister. They're sometimes called prince and minister. So that's ranking. You know, the king and his servant, those are different ranks. I think that's probably why they're called, one reason why they're called five ranks, the positioning of the prince and the minister, the five different positions of the prince and the minister, or the relative and the absolute. You mean like the relationship? Relationship, yeah, by ranking relationships. I just want to say that I'm not going to go into this in detail today, because I want to go through the whole Hokyo Zamae before coming back to this, because this is the biggest part of the study. So I think it's better to just go through the whole thing and then come back to this. But this is where we are now in the thing.

[21:14]

So I'll talk some more about it. So the guest and host That is pretty good. I like upright and inclined. That's another way of speaking about it. Upright is like this. And inclined is like this. So upright means totally still. It's like balance. When you sit upright in zazen, that's this. It's like great dynamism in uprightness, but there's no movement. This is dharmakaya, kind of. All the potential is there, and the dynamism is there, and the energy is there, but it's simply still.

[22:17]

And this is like the prince, or it's like the absolute. And then, when there's movement, then the world begins. One movement creates a reaction. So an action creates a reaction, and then the world starts up and everything starts moving. Is that like the very beginning of the Tao Te Ching? The beginning of? The Tao Te Ching. There's the one, and then one becomes two, and two becomes many. Yeah, you could say that. So, I think all creation stories probably start out this way, in one way or another. In the beginning, the Congress, and then, boom, the Word. I think word is pretty good because word means delusion.

[23:23]

It means action. It means naming things creates things. That's why in Buddhism we talk about the signless. The signless means not creating signs. In other words, not sticking to signs. Like, oh, I know what that is. That's a window. That's a sign, what's called a sign, or naming. Well, for convenience's sake, we say, please open the window. So we identify these, but it's not a window. We just call it a window. So this is the world of delusion, where we create a scenario about life and stick to it and believe in it. So this is what makes it difficult to realize reality in its more profound form.

[24:39]

But, you know, the inclined is also the upright. They belong to each other. It's just simply that the upright starts to move. It reminds me of a shadow. Yes, you could say it's a shadow. It does look like a shadow. Confucius talks about the unwobbling pivot. It's a little bit Confucian, I think, because Confucianism and Tao all played a part in the development of Buddhism in China. Taoism wasn't so much of an ism, but it was a way of thinking and philosophy, and so was Confucianism, of course, was what ran China. So naturally, it's included in Buddhism.

[25:43]

And you see all this Confucian stuff The minister serves the Lord, and the child obeys the parent. He used to say father, but now I said it should be parent. The child obeys the parent, and so forth. That's very Confucian. But I like the idea. the Confucian idea of the unwavering pivot, and then when it moves, the world comes into play. So those are two sides, and I like to think of it as the upright and the inclined, which is one way that people do think about it, because it gives you the feeling of action and stillness, and dharmakaya and nirmanakaya,

[26:45]

without using these ancient metaphors, hierarchical metaphors. The prince doesn't do anything. The minister is always busy. That's right. The prince doesn't do anything. The minister is always busy. That's right. Well, the minister serves the Lord. That's Christianity. The minister serves the Pope. That's the way it should be. So then back to page 77. So, the way Charles Luck has done this, to me it's upside down, because, I'll tell you why.

[27:51]

If we start at the top, the first one, on the right, the dark is the absolute, and the light is the relative. So absolute and relative. I use these terms because they are meaningful. The absolute is emptiness, and the relative is what's going on here on Earth, in the universe. So, the action. So the first symbol is the real, which is the dark, as you know, all things are one in the dark, comprising the seeming. So this is where the real is, or emptiness, is in the ascendancy.

[29:03]

And the seeming is hidden within it. It's latent within it. The number two is the light where everything is revealed in the comparative world. All of our comparative values. Yes? I have a question about the word comprising. So I'm wondering if that is meant to say like either illuminating or pointing to or indicating or something like that. Because comprising to me means I'm just confused by it. Well, I think comprising means enclosing or including. Yeah. But also indicating. Indicating. Well, no, comprising means taking in or including. Part of it's makeup, yeah. Right, okay, so other than the actual definition of the word, what I'm asking is, is this also meant to say

[30:10]

not only composed of or improving that, but also indicating it. Well, it's like form is emptiness and emptiness is form. That's what this is saying, simply put. Form is emptiness. The first one is form is emptiness. The second one is emptiness is form. So I like to explain it that way. Nobody else does particularly, but I think that way you can understand it from how our practice is oriented towards the heart sutra. And then the third one is called the resurgence of the real. The real, of course, being the black dot. That's dharmakaya. That's the absolute. within the absolute, within the relative, equally.

[31:14]

In other words, it's not falling into one or the other. So it's called, for some reason, called the resurgence of the real. So the first one is called the host. The second is called the guest. The guest being the phenomenal. And then host coming to light. In other words, I see the third one as taking a middle position. Well, I'll explain it later. Then the fourth one is simply a white circle, right? This is like just phenomena, the phenomenal world where the Bodhisattva is working real hard to save beings, but you only see the phenomenal side.

[32:32]

In other words, this is working in the world. When you go out to work, you're not thinking about the Absolute. You're just working, right? You're just doing what you're doing. But, of course, in this kind of understanding, it's about the Bodhisattva. It's about how you work in enlightenment. I remember what Suzuki Roshi used to say, when you leave the zendo, you don't think about anything but what you're doing. Don't think about, how is this practice, or how am I, you know, where is emptiness, and all that. Just work, just do what you're doing. Just be one with your activity. Totally be one with your activity. Then the fifth one is black, is total That's called the host within the host. That's the end of the Hokyo Zamai.

[33:35]

This is the fool. This is the idiot. In other words, you don't even think about Zen or what's good for people or what's bad, because whatever you do, it helps people. Whatever you do is beneficial. But you don't have to try to do anything. And this is what Suzuki Roshi used to talk about also. He had a very high standard. He talked about the Haukyo Zamai without ever mentioning it. As a matter of fact, all of his teaching is about this without ever mentioning it. He mentioned it once. He would say, you know, if you really practice hard, totally and sincerely, all you have to do is just be with people. You don't have to do anything special. Just be with people. It will be enough. If your practice is total and... He's talking about a totally enlightened person.

[34:37]

So, these are the five positions. Yes? When we're re-reading Chögyam Trungpa, But at the end of it, Bodhisattva never intends doing good. He just is. Like the sun. Yes. Well, you know, this is not... He didn't... Tathagata didn't invent this. He's just making these diagrams to assimilate the teaching in order to express it. So it's not... He didn't invent this. is simply making it available through this kind of teaching. So yeah, Buddhism is Buddhism. Peter? So you said one is form is emptiness and two is emptiness is form.

[35:45]

So would four and five be form is form and emptiness is emptiness? Form is form and emptiness is just this. Everything is just as it is. That's really important. That little middle one. Everything, the whole thing, in my view, the whole thing rotates around the middle one. Because this is, the middle one, this is where you are. You are here. And these are, the other four are aspects of you can see the other four from each position. So, some people see it as a progression, but Hakuin sees it as a progression. You know, you start with one and go to two and three and four and five, and you end up with five. That's Kakuin's progressive way of thinking about practice.

[36:48]

But I don't think Tozan, well Tozan may have, as a matter of fact, Tozan does have a progressive way also. But it's not, this is not necessarily progressive in that sense. It's like from each, you don't necessarily progress one, two, three, four, five. You may just find yourself in four. Or you may find yourself in one. And from 4, 4 includes 1, 2, 3, and 5. And 1 includes 2, 3, 4, and 5. So you find yourself in a certain place. You may find yourself in 5 without ever having gone from 1, 2, 3, 4. That's the 5-pronged vajra. Yes. Thank you for reminding me of that. So he says it's like the five flavors of the hysop plant, or like a five-point vajra.

[37:56]

The hysop plant apparently is a plant, a leaf that has five different flavors, or seems to have five different flavors. It has like good wine or something. It's five flavors. So it's just a kind of simile, you know. And the Vajra, of course, has five points. This is looking at it from the top. One, two. That's looking at it from the top. It has the five prongs. Five is integration, which is like having both form and emptiness. So that would be, you know, the most you can say is not two, right? Well, they're all integrated in a certain way. Every one of them is integrated in a certain way.

[38:57]

It's just a matter of how they're integrated. So five is integrated in such a way that there's no self-consciousness at all. So what is three? Three is perfect balance. I would say that three is the unwavering pivot. But I'm not sure that I could say that. It sounds good. But in a sense, I would say that it's the pivot point. But there may be a little wobble because, I think it does have wobble, because it's action within stillness and stillness within action. That's very important.

[40:01]

So this is Zazen in daily life. Zazen is action within stillness. And daily life, your ordinary activity, is stillness within activity. So within all of our activity, we should always be rooted in stillness. That's how we conduct our daily activity, is rooted in stillness. Otherwise, we're just wasting our time. I'm trying to distinguish the difference between 3 and 5. I don't have a feeling yet for the contrast. Well, 3 is called the resurgence of the real. In other words, it's like... See, the first two balance each other out.

[41:05]

See, the reason I say it's upside down is because the first two are like the legs. And number three is like the body, like the hara, you know? And the other two are the refinement of our activity. So I see one and two as being like the two balance points, you know, form is emptiness, emptiness is form. And they're the foundation. It's like when you sit in zazen, it's like those are the roots, your legs. But I see the third is like the hara. It's like your activity rotating around your center in perfect harmony. And number five is like you just forget all about practice.

[42:12]

It's just doing, just eating, sleeping, the old man is snoring. When we study the five ranks, I want to study Hakuin's commentary, because to me that's the most amusing, I mean, amazing. Amusing and amazing. He references so much that it becomes very interesting in that way, because he references all kinds of things, which I can point out. And he has a great style. And that's on page 102. But I'm not going there yet. I just wanted to tell you that. So that when you... That's what I'd like you to study, to read. Of course, you know, the whole thing you wanted to read, but... You should look at his Hakuin's commentary on page 102.

[43:25]

My notes are on page 101. Peter? Well, number three looks like Emptiness within form, or stillness within activity. It does look that way, yes. Is that a way of describing what three is? Well, the way it's usually described is as the balance, like equality. So they should be, in a sense, equal in the drawing. Yeah, but they're not equal in the drawing. I know. And so I'm wondering then, why is there not a black one with a little white circle in the middle? Which would be? Well, because they're equal. So that's both of them. Yeah, and for some reason it's not drawn that way. Maybe because it's not. Maybe because it's not equal, maybe because it's not drawn that way. Maybe it's because it's not drawn that way. So in following his question there, when you mix all this together, I keep thinking of that symbol,

[44:31]

that has a nest with the dots and the yin and yang. It seems like if you stir them all together, you get something like that. Well, that's right. So that's the yin-yang symbol. It means all of those? Well, the yin-yang symbol is this. Well, they're independent, but they have a similar meaning. Because the straight line is yang, and the dotted line broken line is yin. That's the way it's drawn, something like that, in Korea. It's part of the Korean flag. Yeah, there's a circle on the thing. That's right. And there's also four trigrams on the flag. And then four trigrams, that's right, four trigrams on the flag.

[45:33]

So... Do you think our neurosis or our stress, our trying to do too many things at once, that moves us quickly? Well, that's a good question because we shouldn't do too many things at once. We just do one thing at one time. You know, when we're carrying something, we just totally be carrying that one thing. what we do, and then we put stuff under here, and then all this stuff, you know. That's not practice. Just do one thing at one time. I know that we do want to accomplish something. The thing about the wonderful opportunity we have at Tassajara is that although there are things that have to get done, the practice is more important. How you do something is more important. So these two are always vying for first place. How you do something is number one, and then getting something done, accomplishing it, is number two.

[46:42]

But sometimes number two becomes number one, because that has to happen. we have to build a building, we have to get something done on time, right? The food has to come out on time. So the food coming out on time, how do you work around time? You know that food has to come out on a certain amount of time, and then you have all these unusual jobs, and you have all this stuff to do, and the people are milling around. How do you maintain just the right balance, the right calmness, the right pace to make everything come out just right. So that's perfect practice within activity. And if you tell yourself, I have so much time to do this activity and it's got to be at that time, then just forget about that and just do the work.

[47:42]

And if you trust yourself, everything will come out on time. If you don't trust yourself and you keep looking at your watch, nothing will come out on time. I'm going to check to make sure I'm hearing. Don't quote me! Don't quote me! It sounds like, so within stillness there's no self-consciousness. With no self-consciousness there's not the energies coming up, emotional energies that sort of drag us around. Well, I'm not trying to make a... generalization around self-consciousness. I did say that within the fifth rank, that's the realm of no self-consciousness. That's what I said about self-consciousness. Self-consciousness may or may not arise during your activity. I mean, it's nice if it doesn't. But the more we're focused on the activity and less on ourself,

[48:44]

Except for, you know, breathing is not me. Breathing is just breathing. I don't have anything to do with it. Stop it. Go ahead. No, breathing just happens. I am breathed. The universe is just universal activity. We're all sitting here and the universal activity is pumping the lungs back and forth, you know. But we're not breathing. It's not a volitional action. So you can stay with this universal activity, and the universal activity supports you. You're just supported by this wonderful universal activity. And it's not even you. It's the blood, and the limbs, and the brains, all supported by this universal activity. So there's really no you there. We think, and there is a you, you know, But it's true that there is one, but the less of it there is, the better, the easier it is to harmonize.

[50:00]

Not being a real Zen student myself, my practice has always been, I don't experience it as always being in my heart. It still is instant, even though you don't always experience it. It's very hard to stay with reality. And you mentioned that if, you know, it's short, to let it be short, not to control it, but if it's high or low... Oh yes, that's good, that's a good point. If it's high or low, get it down. That's not control. That's just allowing your breath to go where it belongs. It's not control. ways to do it. One is to push it down and the other is to allow it to settle. Yeah, you always have to allow it. Pushing is just, that's you. Allowing is allowing. It's like getting out of the way. So, when we're fearful, when we have anxiety, when we, you know, have obstacles, the breath comes up.

[51:09]

I mean, it can come up. And the point is to keep it down within that Within the fear, within the anxiety, within the problems, to keep the breath centered. That will help you through all your problems. That calms down the blood, it calms down your mind, it calms down your emotions. and gives you some subtleness. So, very important. You know, and this is what you learn in Zazen. Your legs are killing you, you don't know whether to leap off the tan or, you know, whatever. And you can't stay and you can't leave. This is the wonderful koan of Zazen, in the middle of Sashin.

[52:12]

Place like that. You can't leave and you can't stay there. What are you going to do? You get into your breath. One breath at a time. Here. That's your salvation. And when you really learn that and appreciate it, then you'll never leave this. You'll breathe here all the time because that's called the rice paddies. The sea of ki. This is the place where you find your true comfort. When there's nothing else you can do in this world to find peace, this is where you go. I'm sorry, you called it the sea of ki? Yeah, ki. This is the ki. Breath.

[53:14]

The key is k-i. Like the key of C. The C of key. Yeah. Well, tranquility is like the ocean when there's no wave. Suzuki Goshi always talked about settled mind, finding a settled mind. So tranquility is to be able to allow the waves to subside.

[54:35]

But, you know, there's also tranquility within turbulence so to be able to find your balance balance is good because tranquility is balance it's like you know So the teeter-totter is straight. That's tranquility. So we tend to go like this, and then to find our balance all the time is tranquility. I don't know about insight meditation, but balance is... and this is where the balance point is. This is the balance point. And that's how we come back to tranquility.

[55:41]

Finding that balance. So that nothing can upset you. Even though upsetting things appear, and you become upset, you find your balance. In my mind, that's the insight. The upsetting things come and find your balance. That's the insight. Well, yeah, it's... I think that... He was talking about specifically something called insight meditation. Yeah, so of course our zazen includes all those things. Zazen includes vipassana, includes samatha, includes all that. It's all included in zazen. But we don't talk about it the same way. I just wanted to mention that Khe Sanh Chokhin, his son-in-law, spoke extensively about the breath.

[56:47]

Yeah. Anything is wrong. Check your breath. Yes. Yeah. Yeah. Yeah. I'm sure if you're following this, you can agree. Check your breath. Yeah. So how do you not reify the breath? What do you mean by reify? Objectify. Oh, that's a good point. You know, when you pay attention to your breathing, often, it's like in Zazen, you can't objectify it. And it becomes, you don't know whether you're controlling it or not. Am I controlling, am I setting a rhythm, or am I following the rhythm? So, in Zazen, we follow the breath. The mind follows the breath. And that's very subtle, to allow the mind to follow the breath without controlling it. But then eventually, we start controlling it.

[57:48]

So, at that time, I would say, start paying attention to your posture. And then come back to your breath. You know, let go of that control. Come back to your breath. I mean, to your posture. Posture is first, breathing is second. The main thing is to establish your posture. That's the main thing. Sitting straight as you can. And then you pay attention to your breath. One of the many subtleties. I'll talk about that sometime. I find that when my posture is really upright, the breath breathes itself. Well, that's right. And otherwise I have to work at it. Yeah, when your posture is right, then the breath naturally falls to the right place. Is the posture an absolute idea? Because I've had a spinal fracture and I can't quite get up straight and I'm wondering if I'm at a disadvantage because of that or... Well, straight is relative to your ability. Somebody's in a wheelchair like this, you know, and their posture is... that's their posture.

[58:57]

Straight posture. So, okay, I have introduced the five ranks. And I think that's enough right now. And then I'll go on and finish, we'll finish the Hokyos and then we'll come back to the five ranks and study it more inclusively. I ate a piece of it. And was it good? Better than cheese. Is this cheese or is it chalk? You know that one? Oh, here it is. I only ate part of it. Good night.

[60:26]

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