What does, what does control, the word control mean? But, I see a difference, I see a difference between Chinese control or American control. I see a difference between Chinese control and American control. I see a difference between American control and American control. What does control mean? The word control, if you use control, control mind, control the breath, control mind. I think you would say, it seems to me that, you know, you make something, you make something level, you make something level, which is out of order.

[01:21]

And then, you start to handle them together into a kind of, a sort of a store, which is called concentration, concentration. Then first you make something plain or level, which is out of order. When you sit in meditation, you find, first of all, how awful your mind is, how awful your body, the posture of your body is. Because your mind is very busy, like a monkey's mind. You are surprised at looking at this, to look at this. Then, you try to make them, make them level, anyway, at any cost.

[02:29]

Concentration, by your great energies, what is called concentration. Then you try to always handle, not handle, handle, you know. Handle many things in your mind, many divisions of the busy body, busy mind, busy breath. Anyway, handle them together into the store, which is called concentration, which is called zazen. Then you, after practicing zazen for a while, you find, you feel how wonderful zazen is. At that time, it means all you had to do was just to handle them into the store, which is called concentration, that's all.

[03:38]

But actually, it is impossible to do that. Because your body is living, your mind is living, you know, your breathing is living, actually. It's very impossible, it's pretty difficult. Even though you can, you could do that. And then you feel how wonderful it is, how wonderful zazen is, how wonderful my concentration is. But I think it means that something is settled, something is settled just for a while at the store, in the store, which is called concentration. But this story is questionable, always. You ask yourself, what kind of stores do you have?

[04:40]

This store is very, you know, movable, and unstable, unstable. Any time, anywhere, the door of this store is open, suddenly to open, suddenly half open, and something coming out. Even this store, which is called concentration, is very unstable. Then, the cho in Chinese, the letter cho is not to have something together into the store to make them peaceful.

[05:44]

The cho is, in Chinese, I think, whatever they are, whatever they are, whatever they are, you know, your body, your mind, your breath, whatever they are. Each thing, each must settle completely, each of itself settle down on itself as it is. This is cho, this is cho. Not to huddle, huddle many things together into a certain store. You know, for instance, in Japanese, in Japan, there is a very interesting idiom, not idiom, this is a word,

[06:56]

Gariwo Tensei, in Japanese, ga means paint, ryo means dragon, ten is that, se is to clear, to become clear, clear. So, Gariwo Tensei means the finishing touch of the painting dragon, painting dragon. This is Gariwo Tensei. For Japanese painter, for Japanese painter, they, now when they draw paint, draw a dragon on the canvas, they put this great importance on the hungering, just that,

[08:05]

which is placed on the dragon's eye, the last, this eye is painted, the last. The painter draw, draw a picture, the head, the scale, the legs, the tail, whispers. Then last, they try to, they put all energies on putting just that. Then this, that, maker, you know, the maker, the painting dragon alive.

[09:08]

And the painter, a painter, they try to find out the living, pulsating, the painting dragon, and if it lived, lived. When he, when he puts just that on his eye, that time the total, the total being of painting dragon absolutely is living. So, that is not merely that for the painting. This, that is very important for the Japanese painter, particularly when he tried to paint dragon.

[10:18]

So, then his practices always directed to learn how to put that, how to put that. But, what is, what is the most opportune, opportune, opportune, the, opportune to say, the time and space to put, to get to the distance regarding as dragon's eye, which will make painting dragon alive, pulsate. So, the, for a long time, he tried to, he tried to practice again and again, day in and day out.

[11:34]

He must spend his whole life to put this, this, that. I think for him, he doesn't care. He doesn't care that he tried, he tried to construct astrological chart, chart to find out what is the most, you know, the opportune time to get to the new permanent, to get the new permanent.

[12:47]

And, try to proud himself, how wonderful to get, how wonderful the intuition he has. He doesn't care. Of course, this, that is incredible. Painting, the painting of this, that is very incredible. In other words, it is very difficult to, to find out that this, that of itself, settle on itself as it is, as the dragon's eyes. It's too difficult, anyway. But, practices, for practice for him, even though it is difficult, must be, must be continued.

[14:04]

In his whole life, in his life, day in and day out, to learn how to, how to put, how to put this, that on the canvas. I think the general speaking, the Cho in Japanese, in Chinese, which we translate it into the English, we call it control. Anyway, control is, I think, the finishing touch of the painting dragon. You should learn, you should learn your body posture, you should learn posture. It is not necessary to make every effort to how the busy, busy appears, to get it into the store, which is called concentration.

[15:22]

It's impossible, it's very difficult. Instead of this, this effort, instead of this effort, you try to learn the finishing touch of your hand, which is called Mura, Hokkaido-in. You should learn the finishing touch of the head, how your head is going on now. The finishing touch of your body, back, mouth, teeth. Of course, it's really difficult to settle them, to make them settle, you know, completely. From the beginning, it's impossible. But this is, this is practice.

[16:25]

It's not necessary to be crazy about a foreign culture. In a sense, it's very interesting, because, you know, they're constructing... Someone gave me the astrological chart, for me. You ask me, where are you born? January 19th. Oh. His mind, his mind started to be interested in the date, times of my birth. Then his mind started to construct, as for the chart, to get a new permanent. Then, here it is, as your, you know, fortune tells.

[17:27]

This is your fortune. This is very good, you know. Because always good things is placed in front of you. Astrological chart always gives something good to you. But Zazen practice doesn't give anything good to you. Always how terrible my Zazen is. I'm sorry for you, but this is practice. This is practice. Then, like a painter, who is trying to, who is painting, drawing a dragon. The important point is to learn the finishing touch of painting a dragon.

[18:34]

Finishing touch of your hand, legs, head, breath, mind. Finishing touch of your hand, head, breath, mind, legs, is that they of themselves settle on themselves as they are. Which, you know, the other day, the last session I said the basho, the pole. The basho, the title, its title is Mono-minati-sho. I translate it into English. Everything of itself, settle on itself as it is.

[19:39]

This is Mono-minati-sho, Mono-minati-sho. So your hand is your hand. Your hand is your hand means your hand of itself settle on itself as it is. Regardless of whether it is difficult, regardless of whether you understand, you practice, it is difficult to practice or not. But practice means to learn the finishing touch of your hand when you have hokkai joy, the mood. Maybe someone looks at your mood or your mood is not so good, that's alright, that's alright, don't worry about it.

[20:41]

And when someone gives a suggestion or your mood is not so good, all you have to do is ok, quit, that's all, that's enough, nothing more. Then you learn the finishing touch of your hand as a mood. When you sit, this is the feeling of impotence. Tomorrow, Yoshida Roshi will describe how to, Zazen, how to work in meditation tomorrow morning. He has practiced Buddhism under the outstanding Zen master which is called Hashimoto Roshi for about 45 years, since 15 years old.

[22:04]

This Zen master risked his life to learn the Zazen, what is proper way of Zazen, what is proper way of keeping the Buddhist law of Kesa. When I was in Eiji Monastery, fortunately I met, I had the chance to meet this Zen master and learn Buddhism and him. Yoshida Roshi will give lecture tomorrow morning on Zazen, on working meditation.

[23:10]

Today he said, after Doksan, everything that has happened in Zen center, in Tathagata maybe, for her it is very strange, because in her life she said today, she said, I have never suffered before like the students of Zen center. Since 15 years old, I just followed the suggestion given by the hermit.

[24:27]

You should do this, Hai! Your hand is not good, Hai! But in the beginning of becoming a priest, he always made the charcoal rice. Even cooking rice was very difficult for her. But always the Zen master gave suggestion, you should do this, she said Hai! All you have to do is just to sit meditation. When you sit meditation, Hai! So she said, I have never suffered before.

[25:35]

One of our students came and I asked her, can I ask you a question? She said, I can't ask you a question. I have enjoyed very much Ruki-Oshi and Yoshida-Oshi and many other priests. Nothing more. Yoshida-Oshi, the state of your mind is wonderful. I think for her, she has never suffered. These students also have never suffered before. They just come to the Zen center and sit to see the Zen priest, to see the Ruki-Oshi, to see the Yoshida-Oshi.

[26:44]

That's all. When the time comes to sit, she comes to the Zen door and sits. Then after that, Yoshida-Oshi said, how busy American students are. Okay. Why is the artist suffering that way? I don't understand. And she asked me, Ruki, do you answer to such questions sincerely? Always? I said, yes.

[27:46]

Oh, I'm sorry for you. Why? I think so. I think so. I'm sorry for myself. Because your questions always make me upset, you know. What shall I do? I can't answer completely. I can't take a right answer to your question. I would like to tell you, please stop thinking anyway. At least during the session, please. After the session, that's all right, you think something.

[28:53]

Please during the session, don't think, okay? Your all energies, your effort is directed to take care of your hand, your posture, your breathing, your mind. So as to settle down, settle on themselves. Your hand, your motor, your head, your mouth, your teeth, your stomach, your mind, your breath. Even though they are, in the present situation, your breathing is not so good, that's all right. If you think my posture is not so good, please try to pass every possible effort to correct it without suffering.

[30:02]

The session is to learn the finishing touch of posture, to learn all organs, eight senses. How many of your senses, how many of your nerves you have, all nerves, all senses, must settle themselves on themselves, as they are. In the domain of bad posture, you should learn the finishing touch of your posture. In the domain of bad posture, that's it, that's all, nothing more.

[31:12]

So, then someone greets you, you should say hi and greet. This is session. Please open your mind, listen to the practice, your practice. Tomorrow, please listen to the lecture given by Yeshe Dalai.

[31:48]

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