Tonight, I would like to explain the way of sitting, the way of zazen. I think you are sick of hearing instructions on how to sit. But I think even though how many times you listen to instructions on how to sit, I think it will be very helpful for you. Our zazen, our practice of zazen is called shikan taza, shikan taza, which is a remarkable different point from Rinzai school,

[01:14]

which they put the emphasis on. It is said that Rinzai put the emphasis on labor over the question, zen question, koan, in zazen. In Soto school, we never labor over the koan in zazen. All we have to do is just to concentrate on doing zazen. So, it is called, this is zazen, this is zazen which is called shikan taza, shikan taza.

[02:19]

I have translated shikan in Japanese into English using the word wholeheartedness. But the word wholeheartedness, easy as it may be understood, but it is not easy to understand what the wholeheartedness is. Shikan refers to, I think, effort, effort in Buddhism,

[03:27]

not according to a general sense. Shikan refers to effort, which is called shojin in Japanese, shojin. In Buddhism, the effort has a very profound contamination, a profound meaning of the effort. But shojin, in Japanese, we call it shojin. The character sho is the well-chosen rice,

[04:36]

which you completely free rice of sand. In other words, this is the well-chosen rice, or pure rice. There is nothing too adulterate, nothing too mixed in it. This is sho, this is sho. The jin is literally meaning to advance one step further.

[05:53]

Advance one step further. This is jin, to go ahead, in other words. But in Buddhism, the jin, to go or to advance one step further, is not merely to go forward, or to take one step forward. But to, not to regress, not to regress, this is to advance one step forward, one step further. This is a very interesting point, which you have to take into account. So, to go ahead is not to merely go ahead blindly. To go ahead is not to regress, not to regress.

[06:55]

This is jin. So, jin is not to regress, represent the state of the mind, in whatever you practice, you follow. Whatever kind of motion, movement, in practice, you follow. So, this movement is undefiled, undefiled action or deed. Or, there is nothing to mix in it.

[07:58]

We translate the undefiled practice, undefiled attention, usually we translate it as the concentration. So, shikantaza is to concentrate on Zazen itself. Zazen itself. But concentration, I don't know exactly what the concentration in English,

[09:00]

the word concentration in English means. But anyway, when you say concentrate on something, I think it seems to me that it is just the business that the mind, the only mind deal with, you know, whatever you do. So, concentrate on breathing, okay, concentrate. Mind concentrates. Only the only mind concentrates on the breathing or the Zazen itself.

[10:03]

But shikantaza, in terms of the meaning of the word shikantaza, is not the business, is not merely business that the only mind deal with. Of course, it is important for the mind to concentrate exactly or pure impurity. But at the same time, you know, you have to adjust or correct, you have to orient the state of internal or external organs. This is important point too. Not only the business which the mind deal with.

[11:08]

Concentrate is not the business that the only mind deal with. So shikantaza is to concentrate on Zazen itself with mindfulness, the orientate, the correcting your posture, the regulating the breathing, controlling, adjusting the state of mind. This is important. So, the effort, the effort in Buddhism is that we have to concentrate on,

[12:18]

that the mind concentrates on something, and at the same time, your body, the external or internal organs, internal organs and external object, including the many things, circumstances, must be arranged in much better condition, much better condition. What is the state of mind, what is the attitude? What the mind exactly concentrate on Zazen, and at the same time, internal organs and external object, must be arranged in much better condition.

[13:20]

This attitude is called effort in Buddhism, or in Japanese, shojin. Shojin means, as mentioned before, the unadulterated concentration, unadulterated concentration without regression, without regression, without regression. You see, let's imagine that the top is spinning, top is spinning. Let's imagine the state of top which is spinning exactly, completely. When the top shows the full function of itself,

[14:27]

the top is completely, keep staying at the same point, without moving in all direction, any direction, just stay, it just stays at the same point, and showing, expressing, expressing full function of self. This state of top, spinning top, is called unadulterated concentration, concentration, unadulterated, anyway, unadulterated or undefined concentration without regression, regression.

[15:33]

So, just it, just it, spinning, just spinning. This is, this is in the domain of complete spinning, complete spinning, complete unadulterated concentration, it is, it rise in the unadulterated concentration. There is nothing to mix the energy, mix the energy, just do it, just do it. There is no amount of discretion, discretion. You know the, let's imagine the many colors is put on the top, you know, put on the top, seven colors, red, white, black, blue, green, something like that,

[16:40]

then top is, top start to spin, you know, you can't, there is no discretion, no amount of discretion, what's kind of color, you know, completely, many colors completely are one with each other. The same is to be said to all the state of functioning which spinning top ensures. This is unadulterated concentration. So, unadulterated concentration is pure the practice, pure practice. Refined practice, refined practice. The erasical refined practice is called in Japanese, shugyo, shugyo. In English, we translate it as just a practice, just a practice.

[17:45]

But in Japanese, we call shugyo. Shugyo is lift up, profound, same thing, profound, yeah, refined, [...] refined practice. Refined, refined, refined practice. So, the, the, at least the effort in Buddhism is not the merely conception which is usually support, supported, you know. Supposed. So, many, very often you ask the Zen Master, what is right effort?

[18:54]

What is right effort? Because I think the, you always, you think the, you always make effort, make effort in right way. In the practice of zazen, in the practice of chanting sutra or whatever you do. But you find, you, you find the reality, you find the reality is, you know, that there is nothing to gain, nothing to gain. There is nothing to give for great instruction to you, through your effort. So, you always have some doubt, what's the right effort? So, shojin is right effort, right effort. So, in Buddhism, the effort is not merely conception of effort.

[19:59]

In Buddhism, the effort is right effort, which means unadulterated concentration. A complete, a complete expression of the full functions, the full function of spirit of, anyway, something like that. There is nothing mixed, nothing mixed in it. This is shojin. The shikan is, mentioned before, shikan is the effort. So, I think you understand, I hope you understand, you have understood what the effort is, what the shikan is. So, in zazen, of course, it is very important point, in what, in what situation your mind, your mind goes on, goes on.

[21:15]

But, at the same time, we should remember that, how internal organs and external object deal with, must be dealt with. In attempt to, attempt to make them, make them, make them be exercised, in, at, the way, in the, in, in their just wholeness, or as they are, as they are.

[22:24]

For instance, breathing, or what, you know, breathing must be going and coming as it is, as it is, as it goes. Your hands, your eyes, your mouth, your tongue, your heart, your intestines, your back, your spines, your bones, all things, all part of your whole, the whole part of your body, must be exercised as they go, as they go. For this, for this, you have to put them, you have to orient them, orient them in right direction, in right position, in right position, in right position, in right directions.

[23:35]

You know? If you want to, if you want to feel comfortable, through the sitting, through the posture of sitting, on the round cushion or chair, on the round cushion anyway, I think, you think, you think, oh, this posture, you know, this posture is comfortable, this posture is comfortable for you, I think it is, it is comfortable for you just for a while, but try to sit like this, like this, for one hour, two hours. You find some troubles. You can, you can feel comfortable through this posture of yours. You feel pain from back.

[24:39]

So, the back, back is, back is, back must be something, back must be something, something is straightened upright, you know. Spine, also, you know, if your spine is crooked even a little bit, you find some trouble on your spine, feeling pain, you can't bend your back like this, the moment when you try to bend like this, you feel pain. So, your spine, spine must be something, something straightened upright. So, if you want to feel comfortable, you have to all into your spine, spine, ah, spine straightened, straight upright, straightening upright.

[25:49]

The same is to be said to all part of your body, including breathing, including mind. So, this is shikan, this is shikan tada. So, mind is, the attitude, state of mind is important, and at the same time, the state of internal organs or external objects are also important, how they are going on. So, you have to correct your posture, you have to correct your bad posture. Ah, this is shikan, you know, this is shikan which means effort, or, or right effort.

[26:55]

Ah, based on, ah, based on unadapted concentration. Ah, then, the, and that's why we need teacher to give some instruction to your zazen. Because each of us has a bad posture, bad habit, bad customs, accumulated from the past up to now. Ah, so, I think the, the this, the habits and the customs are, are completely different from individuals.

[28:08]

Because individuals' growth has, has grown, ah, brought up in different, various different situations or circumstances. Ah, so it is different, how long, how long it take you, how long it take you, it takes you, it will take you to correct your customs, your habit. So, I think, particularly old, the old man, the, it should take, it should take so long.

[29:16]

It should take old, old man, ah, ah, so long time, long time to correct his posture, his bad habit, bad customs. But, that's okay. Step by step, try to correct. Ah, then, the, this is our practice, which is called Shikantaza. Ah, next, the how to sit, which is how to sit. Hmm. Hmm. Ah, the other day, as I said, ah,

[30:25]

ah, if you are ready to sit, to do that, then, ah, first, ah, ah, step in Zendo with calmness. And, come up to your seat, stand up, calm up. And, do Gassho, bow to the students sitting next to you. And, turn around, make bow again to the students sitting in front of you. Regardless of whether students, ah, sitting or not, students, ah, ah, present, ah, present or absent.

[31:46]

Ah, you should make bow, ah, because the spirit of the old students, invisible and invisible, ah, helps, helps your practice greatly. Ah, so, that's why we make bow first. Then, I take a seat. Hmm. Ah, don't sit like this, don't sit like this. Ah, I find, I find that there is someone who sits like this, you know.

[32:51]

Come to the, step in Zendo and come to the, his seat and like this. It shows that your mind is uneasy. Okay? If your mind, if your mind is calm, comfortable, in comfortable, you should stand up first. And, with Chashu, and bow, and Gassho. So, ah, eh, if you stand up, when you stand up in front of your Ramakrishna, such as you, such as you feel like having the just slightest pause, just slightest pause.

[33:55]

Okay? Stand up. Gassho. Stand up, Gassho, like this, you know, not like this. Stand up first, and Gassho, bow. Also, Gassho, Gassho is, Gassho is, you must, you must have the posture of Gassho. Okay? Ah, the observing modulation, okay? In dealing with the all-Kingdoms, now like this, arms, the whole, whole arms, and including shoulders.

[35:02]

Okay? So, not like this. Observing modulation in dealing with whole fingers, and arms, shoulders. Not like this, not like this. Not like this. Not like this. Not like this. Okay? It is very important. The Shikan, so Shikan Gassho, Shikan Gassho. If you can do Gassho, the, the, on the basis of observing modulation in dealing with whole fingers, arms, shoulders. It is called Shikan Gassho. It is called Gassho in pure effort, right effort.

[36:05]

It is called Gassho in unadulterated concentration. Defined practice, this Gassho. Not like this, not like this. You should get some space in your arm, just you feel like whole that void, that little hole. And bow, not like this. Not like this. Not like this. Okay? Straight your head, bend your back, and about 30 degree. Okay? About 30 degree. This is 40 degree, this is 90 degree.

[37:10]

About 30 degree. Then turn around. Bow. And sit. At that time, the, you don't wear the long robes with long sleeve. If you wear the robes with long sleeve, you have to tuck up like this. Don't sit like this, you know. If you sit like this, the bottom of your robe is like the skirt of ballerina. Beautiful, eh?

[38:13]

Beautiful. But if you sit like this, you know, it's pretty hard to arrange your bottom of your clothes. You know, then it follows you open your front like this. Okay? So, please tuck in, tuck in with both hands like this. Okay? Completely, completely. Okay? Like this. Don't like this. Like this. Okay? And then sit. Like this. And then, you can spread out your leg, not like this, little bit.

[39:19]

And hold up, hold up the bottom, hold up the bottom of the robe. Little bit. With the both hands like this. To make the space. Okay? To make your leg easy to... Ah, what is this? Take? Take. I found many people, you know, many students, first open your front, open your front like this. If you come to the Datsan, there are always students first open the front in front of me. And then,

[40:23]

it seems, it seems not to be graceful. It's not beautiful. So, first hold up the bottom of the robe, little bit. To make your leg easy to stick in, tuck in. Okay? Okay? And then, next, when you, with your left leg, try to put on your left side, please hold up the robe, bottom of the robe on your left side, on your left side. Just little bit like this. Then, then, put your right leg on the left side.

[41:38]

It's easy. But if you don't do that, you know, you have to first open your front like this and then, Okay? Okay? Tuck out all the bottom of the clothes, robe, first. And then hold up the bottom of the clothes. And then, tuck in your leg. And you hold. The bottom of the robe on your left side and put your right leg on the left side. Next, hold up the bottom of the robe on your right side. Like this. And then, put your left leg on the left side.

[42:43]

Okay? Then, tuck out all clothes again. Like this. In front. And then gather in front like this. Can you see it? Your robe, tuck out your robe, the bottom of your robe. And get together, gather. And then, rolling, rolling. Okay? Rolling. That's pretty good. Okay. So...

[44:01]

So the... You feel comfortable, you feel comfortable with the bottom of your robe. Uh... Then, next. Uh... In Zazen-gi, in the chapter of Zazen-gi of Shogo Gendo, Dogen Zen says, Zafu, Zafu is a round cushion. Zafu, or a round cushion, must not, mustn't occupy the whole part below. Tie, tie a bow with the inside, inside a foot.

[45:06]

Do you believe in it? It is. Anyway, I will read whole. It must be placed a little bit back from the center of the insteps, put upon the thighs. In front, huh? Yeah, I will explain later. I found naturally that therefore, a thong or a square cushion comes to be beneath the crossed part of the legs. And the bottom of the spine on the Zafu, Zafu, initiates the way of doing Zazen as Buddha and Patriarch said. Zafu mustn't occupy the whole part beneath the thighs, upon which the insteps are put.

[46:13]

Okay. Which means, this is Zafu, okay? Zafu must not occupy the whole part of thigh, I said. Whole part of thighs, upon which your legs, the insteps, insteps are put. Did you understand? Good. Okay? This part, this part, okay? Don't sit like this. It seems comfortable, but it's not. It's very unstable.

[47:15]

Unstable. If you push someone with one finger, you are fell down backwards. So, don't sit in that way. It must be placed a little bit back from the center of the insteps. Put the palm aside. This is very delicate point. Unique point. Okay? Alright. It must be placed a little bit back from the center of the insteps. Instep. Instep is here. The center of the instep, okay? The Zafu, the Zafu, the end of the Zafu, must be placed a little bit back from the center of the instep.

[48:17]

Okay? Did you understand? So, from this point, it doesn't mean that. Zafu is here. It follows naturally that therefore, a futon or a square cushion comes to be beneath the crossed part of your legs. So, the crossed part, crossed part is here. Okay? Crossed part. The crossed part of your leg, just beneath, just beneath the crossed part of your legs, is there a square cushion, not round cushion.

[49:18]

And the bottom of the spine on the Zafu, the, so, if you sit like this, I think your spine, bottom of your spine, are mostly, mostly in the center of your round cushion. Round cushion. Little bit backward. It depends on the size of the round cushion. Ah, this is the way of doing Zazen as Buddha and Patriarchs sit. No, no, I understood what you were saying. It's just that I couldn't figure out how on earth the Zafu and the instep, like, they have to get off to the side and see where the instep, but I understand that.

[50:22]

Then, next, I think when you cross leg, the Dogenzin says, there is Zazen in half-crossed-legged posture, and in full-crossed-legged posture. In the full-crossed-legged sitting, put your right, put the right leg upon your left thigh, and the left leg on the right thigh. The tip of your toe, tip of your toe must go parallel to the outside thigh. Do you understand? Ah, you should not cross your legs deeply too much.

[51:39]

Ah, this is also very important. Don't cross like this, you know. It's not so good. You can do Zazen for one week Sesshin that way. It's pretty hard. So, the tip of your toes, tip of your toes, ah, must be in the same line as the outside thigh. Okay? Do you understand? Outside thigh. Outside thigh. Outside thigh. Ah, so not like this.

[52:41]

Not like this. Ah, if you do sit like this, your toes, the tip of the toes, ah, they are placed inside, you know. Like this. It's pretty hard. You feel pain pretty soon. Right after the Zazen. Right after starting to do Zazen. So, anyway, you have to put your leg, ah, put your leg on your left thigh, ah, so that the tip of the toes and the outside tip of the toes

[53:45]

ah, runs parallel to the outside thigh. Yes. This is important point too. Ah, you should not cross, you should not cross legs deeply too much. In half, cross the sitting, the only your left, only your left leg is put on your right thigh. Then, ah, Dogen says, ah, prepare for wearing that robe loosely

[54:48]

and being of a symmetrical, symmetrical? Symmetrical arrangement of the body. Ah, prepare for wearing the Kesa and the robe loosely. In Fukan Zengi, ah, in Fukan Zengi says, Yuruku etai wo kakete, seisei narashimu beshi. Yuruku etai wo kakete, etai means, E is robe. E is robe or cloth, cloth. Robe. Etai is, etai meaning is belt. Ah, so, some students, when some students sit Zazen,

[55:51]

you, all of you wear the Zazen pants, Zazen pants, special pants. Then, they are completely make it loose. Make it loose. You know, the string, and completely loose. Completely loose. Sometimes I go around with Kyosaku, I can't see the back from the pants. You know, it's not good. It doesn't, to wear the robe loosely is not to loose completely. Nyojo Zenji,

[56:55]

Nyojo Zenji, the, the Dogen's master, said to Dogen, you know, now belt, I think we have, I have the obi, garu, garu, belt, they call it garu obi. Yeah, obi. You know, obi, ah, it doesn't mean to loose completely obi. You have to gird, you have to gird your obi firmly. You always says,

[57:57]

you know, gird your belt, gird your belt, to make important resolution. See? This is important. So, the, the, I always gird the white cloth of the six feet, six feet length or so, the round, the bottom of the belly. The Nyojo Zenji says, two word, the obi firmly, ah, it enable you, ah, to, to be easier, you know, ah,

[58:57]

to enable, enable you to maintain the power, the energy, maintain energy, concentrate, without loose, without loose. Ah, which means, which means, ah, the two gird the obi firmly. Firmly is, ah, not too easy to get exhausted, not too, not too easy to get loose, get loose your energy, not too easy to get exhausted, because, ah, if, if you, if you ah, the gird the obi firmly, ah, you feel comfortable,

[60:00]

the bottom of the belly, there. You feel always, some, the energies, always. When you are, the energies, in, in the bottom of the belly, it shows that, your attitude is, in total composure, like a, the Japanese toy, Japanese toy of Dharma, Japanese of, Japanese toy of Dharma, if you try to push it, Dharma is rolling, and immediately stand up, this. If you have, the energies strong, if you have gravity, on the bottom of the belly, always,

[61:01]

your attitude is, always, in, in total composure, this is true, this is true, like a Japanese toy of Dharma, immediately stand up. Ah, the inner flower arrangement, you try to flower arrangement, the, three kind of flower, or four kind of flower, mostly three kind of flower, are made, arranged, arrangement, in, certain base, according to, certain rules. Mostly, the top of the flower, is, light color, light color, you use, you try to use, the light, light color flowers, on the top, on the top,

[62:04]

and gradually, ah, when the, the next bottom, next, the, next flower, this is top, this is, ah, second flower, this flower, is little bit, the, darker, darker color, of flower. Then, bottom, the, on the bottom, you should use, completely, darkest color of flower. The darkest flower, darkest color of flower, the make, the, make, all, for, whole, the situation, of flower, on, in the base, be, alive, alive, ah, much better. If you, if you use, the darkest, darkest color of flower,

[63:06]

on the top, the, it looks like, the upside down. So, the darkest color of flower, is, ah, you know, the gravity, gravity of, the world of flower arrangement. So, gravity, must be, always, the bottom, your belly. So, in, ah, if you are, if you try to make, an important resolution, first, first, you will melt. So, not, lose your pants. Lose your pants. That's why, Joachim, then says, ah, the being, ah, be, of, ah, symmetric, symmetrical, arrangement, of the body, of the clothes,

[64:08]

ah, well balanced, form. The, this is very important. Not to tie, kesa, if you wear the kesa, I think, not to tie like this. If you, tie, ah, if you make a knot, tightly, excessively, you know, you will have, ah, stiffness, on your shoulder. In zazen. So, don't, tie, don't make a knot, tightly. So you should wear, the, the robe, or pants, or, suit, or shirt, shirt, also. Ah, don't use, tight, fit, pants. Anyway,

[65:12]

important point is, ah, the, everything, the body, your cloth, ah, must be, of, symmetrical, arrangement. And then, ah, ah, ah, ah. Ten minutes more. Tonight, I will make my talk short. Just eat. Ah, then, put your hand, ah,

[66:14]

on your thigh, and deep, ah, breathing. Ah, close your mouth. Ah, let the breath in, fully, ah, in the bottom of your belly. Let the inhaled breath, breath out, such as you feel like, let, let it, push out. Several times, take deep, breathing. Ah, paying attention, achieve the movement, of your, muscle of the belly, in and out. Then, next,

[67:40]

ah, try to, ah, move your body, right to left, ah, going, from large motion, to small. The, ah, that time, the, first, your attention, ah, is, placed, the, bottom of your truck, trunk. Okay? Here. The weight you, ah, bent, fully. Did you find? Did you notice? The, at that time, as much as possible, your posture must be straight. And gradually, your tension, your tension gradually coming up. Each time, you, your movement,

[68:43]

goes, from large motion, to small. Ah, this is very important, ah, practice. Because, it, ah, make your back posture, your, spine, and, pelvis. The, and over pelvis. Pelvis? Correct. Pelvis is, ah, liable to, ah, to form back shape. The weight you, weight you sit, in the back posture, your pelvis is, crooked. If you sit, if you sit like this, your pelvis is, like this.

[69:45]

The pelvis, ah, it, the pelvis, forms like, something like a triangle. You know? Like this. If you sit, the, back posture, like this, and, like this, you know? That's why your body, lean toward this side. The each of us, has, a certain back posture. On the pelvis, on the spine, on your neck, your hand, and on your shoulder, too. So this practice, ah, make back posture of, pelvis. Correct.

[70:48]

Correct. Then, this. This. Then your posture, ah, seems, seems to be supported by the, the top of the triangle. The triangle. So it's pretty easy, pretty easy to lean, in all directions, this way or this way. This is, please, please, please. So, first, try to move, like this. And also, this practice, ah, make you, ah, make you, ah,

[71:51]

feel comfortable, in the relation, ah, with, cushion, and body. The, back. So it's look as if, as if, the stick, ah, moved, to the right, to the left, in attempt to, ah, make it, ah, make it, ah, steady. Make it steady. Then, this practice, make your body, steady, on the round cushion. Then, ah, Dogen says,

[72:52]

put your, put the right hand, on the left leg, and the left hand, upon the right hand. The thumbs, are made, to prop each other. The both, hand, disposed, in that way, should keep, ah, touching to the belly. Ah, the tip of the, thumbs, being in contact, contact with each other, must be placed, facing the, belly button. So, your, right hand, put on your, ah, left heel. Then your left hand, right hand, left hand,

[73:53]

put on your right palm. That time, the, the, you should put your, right hand, on the left hand, so that, the second line, second line of middle fingers of your left hand, may put on, ah, and may be put on, the second line, of the middle, middle hand, the middle finger of your right hand. Try to, ah, get together, like this. Okay? Then, Which is the second line? Middle finger. Middle finger.

[74:58]

Middle finger. Like this. Ah, then, then thumbs, ah, try to, make your thumbs, touch, each other. If so, if so, your thumbs, ah, touch, you know, the thumbs, don't press, press, you know, too much, like this. If you, if your right hand, and left hand, put on your right palm, like this, you know, deeply, too much, you know, it's pretty hard. The, it follows the bumps of your, bumps of your thumbs,

[76:00]

are pressed to each other, you know, it's flexible, like this. If you cross your hand, like this, it's pretty hard to touch each other. You know? So, it's, it follows, that your thumbs, naturally, hanging down, like this. So, originally, originally, you should remember, you should remember, the second line of your middle finger. Middle fingers, get together. Get together. And then, your thumbs, are made to trap each other. So, your mudra, or kokkai-join, is made naturally. See?

[77:02]

Not like this. Not like this. But, if your finger, if your fingers, if your fingers are so long, try to adjust, how much, how much deep, how much deeply, your hands are crossed. Crossed. Across. It depends on the length of your hand, and your fingers, and your hand. Okay? And then, the both hands must be touched to the bottom of the belly. Always. And also, at that time,

[78:05]

the point, the point of the both the tip of, tips of the thumbs touching each other is facing, is in the same, in the vertical line. In the vertical line, with belly button. Okay? Not here. Okay? Not here. So, the belly button indicates where it is, where it is center of your body. The bottom belly is telling you the center of your body. The Hokkaidoin,

[79:06]

the center of the Hokkaidoin is here. Okay? This point. So, this point is very important. Not like this. Don't stick out your thumbs. Not like this. Don't stick in too much. Like this. Okay? So, your thumbs must be placed just above, just above middle finger. Just above middle finger. And also, the tips of, tips of both thumbs must be placed just in the vertical, being in vertical with belly button. Okay? But if your body, if your body is

[80:09]

crooked toward right side, toward left side, like this, you know, your belly button moves toward this way. See, it's free arm. Free arm, your thumbs the center of the hand is put on the center of your belly, of the body. So, that's why you are, you have to correct crooked posture of your body. Okay? The, Anne Duginton says, you should have the right posture to do Zazen first. Do not lean to the left. To the left, to the right, forward and backward.

[81:11]

Not lean, not lean to the left. Right, or back, forward and backward. Ah, just a sit upright. And ears, the important point at that time, ears and shoulders, ears and shoulders must be in vertical line and nose and belly button in same line. Okay? Same straight line. Ah, it's not so easy. It's not so easy to make your nose and belly button ah, be in the straight,

[82:14]

straight line. Because your neck is already like this. Your head is hanging forward. Or, then when the master says, straighten your head, and pull your chin, like this, you know. Hand is, hand backward, leaning backward. So, the, ah, straighten your, straighten your head and back so that your nose and belly button, the ears and shoulders are maybe in same straight line. This is very important. So if you, if your head hung down

[83:16]

with this ears, it's not in same straight line and shoulders. Ah, and the nose and navel in same straight line. The tongue should be attached to the inside of the upper jaw. Ah, the teeth and lips. Ah, the, your tongue, your tongue should be attached to inside of your upper jaw. The, your tongue is, ah, ah, flittering

[84:17]

in your mouth. It shows that your mind is flittering. Over there, here and there. So, you always, your tongue must be attached to the inside of your upper jaw. At the same time, lips, ah, lips are put together and teeth are put together. Ah, ah, this time, I will explain regulating the breath. That's all. Thank you.

[85:12]

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