I tried. But in a similar way, you don't... Generally, you don't notice someone's mistake until they've done it three or four times. And then you try to correct them by your body or by some intuition for a while. And then finally, when there doesn't seem to be any other alternative, And they haven't made five mistakes, only one. And they haven't made five mistakes, because then it's hopeless to try to correct them. But they've made, say, one, so it's not so hard to correct one. And you venture to correct it. And then they argue with you. So then you don't correct them anymore.

[01:03]

So anyway, this kind of trying to let things teach, let the world teach you, is part of this, my teacher only revealed half. So there's a sense of finding... What word can I use? The other day when I talked about the four immeasurables, I talked about swimming. These four immeasurables, the Brahma, Vihara, the practice is to radiate them.

[02:18]

So it doesn't mean you have to do friendly things. First of all, you just have a feeling in yourself, a vision of radiating friendliness and kindness. And then if something, if there's an activity possible, the activity comes as an expression of that which you have this feeling or presence, sense of radiating. And so there's a... So as I said, you create an atmosphere of feeling that you can almost swim in. And so there's a feeling in this Zen yoga culture of swimming in a subtle physical world.

[03:37]

So the Doan always knows that he or she is hitting the bell in everyone's head. And the Doan feels the mood of the day. Every morning is different, every afternoon is different. And feels the mood of the doshi. And the doshi shouldn't be like an automaton. The doshi should let his or her feelings be present and they should be different, a little different in each service. So each service has a kind of unique but similar characteristic. It's actually understood as a kind of allowing the uniqueness of each dharma and simultaneously preparing the flow for a similar dharma.

[04:55]

preparing the flow for a similar Dharma. And the world looks the same, not only because it is the same, but because each Dharma makes it possible for a similar Dharma to flow. Without taking away the uniqueness. So the services and things we do are always tied to a person or persons and how they are at that moment. Sometimes the service is a little wrong. It's not important. What's important is that it has this uniqueness.

[06:13]

A moment-by-moment uniqueness but still allows for a similarity to flow in the next dharma. And this is not just a philosophy. It's a real feeling of something like swimming or floating. So it's not just the physical feeling. objects because all this world is momentary and is appearing in our own perception and our deeper knowing which is not limited to perception.

[07:34]

Which is flowing, this is this deeper karma flow, as I spoke about. And this material is not just solid, as we spoke about. From this subtlety of material, mind appears, like I said, in the bedrock of the present. So all these Zen rules about details, where you put the gamachio and stuff, are really a kind of efficiency and common sense. When you have a feeling for living in the world so it flows together and interpenetrates. In the monasteries, they even had a keeper of the Avatamsaka Sutras.

[08:44]

And that's one of the positions in the monastery. And there would be another person who was the keeper of the Prajnaparamita Sutras. Books were very precious in those days and you had to keep the bugs out and everything. And particularly for Zen, the Prajnaparamita is the teaching primarily of emptiness. And the Aventam Saka Sutra is the teaching of interdependence and interpenetration. And everything is empty and interpenetrating is the feeling of what this so-called material world is. And the teaching is not so much to make things clear or pure. But to return things to their original purity.

[10:06]

Or return things to their original clarity. Again, it's this way of seeing the so-called physical world as our embodied space that we flow in and walk in where each step is unique And sometimes when I walk out, for example, I'm walking out down an aisle. And I feel the presence of the aisle which is in my walking. And sometimes I feel that... I'm stopping at each person.

[11:11]

I walk out the same way both times. But sometimes I feel I'm stopping for a while at each person. And each step feels unique and is unique. This is unique, but it's not just one more step. And coming into this kind of feeling is part of the ordinary teaching. It's nothing special of Zen monastic life. Where the world is felt to be alive and moving, where you have a feeling that the world is alive and moving?

[12:18]

Recently I was looking at several flower arrangements and one was kind of all, I don't know what, stuffed together, organized. And others were bunches of flowers. But one was arranged in such a way where each flower had its own space. So there were 20 or 30 flowers, but somehow it was like there were 20 or 30 separate flowers. Each flower had a feeling of it. It was much bigger than just its blossom. It extended. And each other flower penetrated and respected the other's space.

[13:28]

And of course, as you can tell, I liked the latter one the best. Again, Dogen used to say, Dogen said, but Sukhriya always used to repeat, We should be like milk and water together. It's one of the hardest things to do. But the ideal, like the four immeasurables, is to come into a feeling of being like milk and water. Now I'll end with a koan that Dogen liked a lot. One I've given you occasionally. Yang Yan, who was Dogen's teacher. And his brother Dawu.

[14:36]

Yang Yan said, you know, there's that beautiful young woman there dressed in white. It's sometimes depicted with a thousand arms and a thousand eyes. So Yang Yen said to Dao, why does Avalokiteshvara have so many arms and eyes? And there's an eye often in the palm of each hand. And Dawa said, oh, it's like searching for your pillow at night with your hands behind your back. You know, when you're in bed, the pillow goes, you know?

[15:42]

And Yan Yan said, oh, oh, good, I understand. What do you understand, says Dawu? He says, Avalokiteshvara's body is covered with hands and eyes. Dawu says, Oh, you hit the mark. And Jungian said, Well, how would you understand it? He understood that hit the mark is a compliment, but... And Dao said, the whole body is hands and eyes. And Dogen comments what they were trying to say, both of them.

[16:47]

They were trying to feel out with each other. Everything you see is hands and eyes. This is our human and Buddha world. Everything is hands and eyes. And Dogen said we should know nocturnal eyes. We should know the eyes that are in the back. We should know the eyes that are in everything. Dogen also spoke, you know in the Prajnaparamita literature it says, it talks about the other shore. Dogen, the Bodhisattva is going to the other shore.

[17:48]

Dogen says, the other shore is always arriving. So this is another phrase you can use. The other shore is always arriving. Thank you very much. Should your own hands take on the Lord? Alleluia, alleluia, alleluia.

[18:49]

The leading gestures are countless. I do not ask you to hear them. The words are completely extinguished. I ask you to prepare them for an end. The dharmas are endless. I ask you to master them. I ask you to achieve the goal of the Buddha. Satsang with Mooji Satsang with Mooji

[20:40]

I don't know what's going on. I don't know what's going on. Yeah. Oh, I should say something, a little bit, a follow-up on our To Be Restored Buddha.

[22:31]

Now maybe while this Buddha is in the process of being restored, we should all realize each of us is a to-be-restored Buddha. So maybe it takes two months, so you have two months to be restored as a Buddha. This is a very good idea. I just thought of it now. So... Marie-Louise, the other day called the museum in Zurich. What is the name? Zurich? Rietberg. Rietberg Museum. To see if they, why is that museum, what is that museum for?

[23:37]

Because it only has Asian sculptures, Buddhist sculptures. So it has only Asian and Buddhist sculptures in this museum, that's why it's important. So she called and found out there was a man who's partially retired who might want to repair it. And then she had several people or another person recommend that he was one of the best in Europe, Switzerland, to restore such a building. Yes, he's one of the best in Switzerland. He has to be one of the best in Europe. It's not in the EU. I'm not going to argue with you. We have some Swiss people here now. Be nice. Not translated. Oh, not translated, I see.

[24:38]

So he's willing to see it next week sometime, so we'll bring it to him to look at. My feeling is that each of you has done this Sashin or been in the Sashin in a very good way. And I think the pain has been Some quite useful for some of you.

[25:50]

On the one hand, I often feel rather badly that it's so painful often for you. Although I think it's good to develop a warrior mentality, I don't think that should be the criterion for practicing Zen. But still I find even those of you without a warrior mentality who are almost crushed by the pain. Find out something through trying to deal with it. Find out something that I think is almost impossible to find out in some other way.

[26:56]

And it seems that the lectures have been, you've been able to make use of the lectures. So I don't particularly, maybe I shouldn't add anything more to what's been said and what we've done so far. The important thing is that you continue working with what you have discovered. And if you can have the the higher you can give

[28:33]

the higher priority you can give practice in your life, the more successful you'll be in integrating practice with your usual life. In fact, your usual life can become the very text and texture of your practice. In fact, it is even the case that the daily life of the text and the tissue can also become for the practice. You know, I spoke yesterday about the Gamacchio bowls. In addition to where you put them on the tray, there's also which way the spoon handles. So they don't bump into the person's stomach and stuff. Now again, I find it funny that Zen emphasizes these things so much.

[29:49]

But I also find it, for me, completely makes a physical sense. When you pick up something like these gamachio bowls, You're picking up or relating to the server and every other person who's in there. Now, you can understand this sort of intellectually. But to get a feel for this swimming in this a physical world.

[30:56]

Sukhiyoshi's teacher gave him a scroll once. And it said... Excuse me. Scroll, scroll. And it said, both in calmness. And the kanjis meant both in peace. And he had this role with the kanjis, both in peace. So here's a phrase you can use, both in calmness. And you also, you know, it's rooted in questions. And there was no explanation.

[31:59]

What is both? What is calmness? So, Sukhyoshi, this becomes some practice, both in calmness. So I look at you and say, you're sitting there. Ah, what is it? Are we both in calmness? Or if I feel this, does it make you more calm? Or does it mean to see each thing in its original purity and clarity? Or does it mean to see the mind that sees each thing? You find the mind in calmness and clarity. Whatever you see in calmness.

[33:05]

Or you feel the possibility in every situation of both in calmness. So these kinds of statements or how we take care of passing the gomashya or also the shift out of our mental space into our world of shared karma. into the world of our shared karma. where we can actually feel ourselves. Russell Smith, who was the director at Crestone, just called me from Japan.

[34:17]

And he's finding some kind of experience like this just walking around in Kyoto and Osaka. He's feeling somehow a shared physicality to the world. Not just in the monasteries, but in the streets. But to really catch this, you have to have some shift in yourself. I can speak about these things, but I'm speaking about them to see if they give you some clue. We have the same word, but I don't know if it's exactly the same meaning.

[35:34]

A clue, like in a mystery or something. Or the key, same key. That sounds good enough, though. And that maybe you find this ease and relaxation. And find yourself and the world both in calmness. You know how we chant sometimes and it suddenly comes together.

[36:37]

And we almost find one voice. And yet each voice moves the whole thing. It's some kind of song like that we feel in the world. This both in calmness is like everything starts to sing along. Everything can be seen straight through. Now in our lineage we emphasize practice before enlightenment and practice after enlightenment. And we emphasize understanding and developing your practice completely.

[37:41]

And not thinking too much about whether your enlightenment is complete or not. Sukhyusha would say, when you start thinking whether your enlightenment is complete or not, you're lost. Oh, I've had several experiences, but the big one is waiting. This is one way to practice, but it's not the way Suzuki Roshi practiced. Just to practice. And as Dogen said, if you're practicing the way, and haven't attained enlightenment, it's because you're holding too tightly to your views. He says, no one knows where we got these views from.

[39:05]

But we think the mind is thought and discernment. And that the Buddha is some subtle, glorious experience. But if the tradition and your teacher tells you that the... Mind is grasses and trees. Or the Buddha is pebbles and tiles. You should understand it in this way. And give up your previous convictions.

[40:13]

If you're able to see, if you're able to practice with, the Buddha is pebbles and tiles. And the Buddha in the mind is grasses and trees. Now you you may, in the course of your practice and living, attain enlightenment. If you can really give up your convictions, to find your composure in I don't know, I don't know who I am I don't know what I am I don't know what you are and in this we still find our composure I thought maybe I should explain why I spoke about myriad holes all pierced.

[41:22]

On the first night and the last night. And I was passing on to you one of these old sayings. And Dogen used this saying when he first met Eijo. And Eijo was slightly older than Dogen and had practiced with various teachers. Including one of the teachers in the so-called Bodhidharma school. Which is, you know, somehow I have a fondness for the Bodhidharma school. And in fact, many of... Dogen's disciples came from this school and he incorporated some of its teachings and attitudes in his way of teaching.

[42:37]

So Ejo was visiting various teachers because he became dissatisfied with the way he'd been practicing. And he went to, at some point, went to see Dogen. And Dogen could see that he was seeking. And Dogen cited this old saying, a single hair myriad holes. And Ejo was quite open. wasn't holding to his own views.

[43:52]

And he was ready to hear that the Buddha is tiles and pebbles. And instead he heard this single hair, myriad holes. And so he silently accepted Dogen. And just kept practicing with him. And when Dogen moved to another part of Japan... Ejo went with him. And one day, well, he practiced, as it's said, accepting and observing and investigating.

[45:02]

Day and night, observing and investigating. And never careless with his actions. And this practice can go on in any life, doesn't have to be in a monastery. And one day opening his bowl, he experienced enlightenment. So he went to, as it's said, full ceremony to see Dogen. Which means It means you come in and do three bows and so forth. And Dogen said, oh, what have you understood? And Ejo said, I don't ask about a single hair, but what are myriad holes?

[46:17]

And Dogen said, pierced. And so Ejo stayed with Dogen then. And it says he never was absent from his seat beside Dogen except a dozen or so days when he was sick. So in various ways I tried to share during the other lectures as well this sense of myriad holes all pierced. Thank you very much.

[47:07]

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