But the emphasis is on, yes, there is articulation and maturation of the unborn. But it happens through the sudden approach. Each moment, this. This and thus. And rising mind again. As everything appears, as everything arises, rising mind is there. So rising mind is also the mind of Samantabhadra, or this mind of emptiness is form. Form appears and you, it's not separate from emptiness, but it appears. And then the Samantabhadra mind is this as absorption, form is form, is the truth. So it's this practice of acceptance. I am just this.

[01:01]

That's Samantabhadra. But being open to what happens and having this astuteness to see the gates is Manjushri. And we're both at the same time and sometimes we're more one or the other. In Sashin, we're more Samantabhadra. And our basic attitude and practice is to accept. That has to come first. And that acceptance can get deeper and deeper and deeper until it is a mind as vast as space. If you let it go deeper Then everything appears. But what is it that appears? Death now, the mind of Manjushri. What is it that has appeared?

[02:02]

So, samatha, vipassana, sameness and difference. So let's go back to Sukhiyoshi speaking about new experiences. We have some new experience, sometimes very tiny, sometimes more noticeable. We feel things differently. Now again, as long as you're caught by thinking which has edges. Thinking is edges. It's not centers. Thinking, our mind tends to notice things which are either or. or have edges. Do you understand what I mean? We don't notice things. I gave the example of the television set in the bar, right? Yes? Was that before the Sashin?

[03:07]

Okay. You're in a bar, or a restaurant, or a fast food place. This was a fast food place where it really annoyed me the other day, somewhere. And I'm trying to have a conversation with somebody, and there was a television set up above me. So that was, you know, I kept So I tried to look away, and then there was another one over there. So that was a nuisance. So then I looked over there while I'm trying to talk with this person here, and there's a damn television set that was in the mirror. So it catches you. You know, it's very different. And your thinking is like that. You know, you're trying to be a nice samadhi, and thinking appears, and your mind goes... So this is a bad habit of our mind, to notice edges. And television and all these producers, they are smart enough to make the edges more sharp and grabbing, especially for commercials, than my friend's conversation.

[04:11]

How can my friend compete with an army of high-paid producers trying to make something interesting? to fill the bars of the world with zombies. Excuse me. A critical moment. Puff fish poison. That's what they make zombies with, is puff fish poison, except it's not from puff fish. Blowfish. Boy, I'm digressing here. So part of practice is to develop a mind which notices centers without edges. Which notices feelings that don't fall into the category of emotions and the service of self.

[05:18]

To notice a kind of long swell in the waves. The more you develop the sensitivity to notice these things, then the courage to act on them or to make them part of your view of the world. So that's what Sukershi was talking about and then he said the final stage is when you find those experiences, you recognize them fully enough, you begin to be familiar with them and stay with them, and you find they're the experiences of the Buddha. You find they're the experiences of Samantabhadra, Manjushri. You find they're the experiences that our lineage has brought to us and said, okay now

[06:26]

Let this go. Develop a mind which lets this go in a certain way. When your new experience is confirmed by the Buddha, then your practice is developing in this way in which we can continue a lineage for generations. So I last night gave you this wonderful thing of Dogen and Pao Che. You know. Why are you fanning yourself? When the nature of the wind is permanent and reaches everywhere, Pao Che says, well, you know that the nature of the wind, or the nature of the original mind, is permanent, but

[07:30]

Permanent is not exactly the right word, but okay. But you don't understand it reaching everywhere. And so the monk says, well, what is the then, what does it mean that it reaches everywhere? And as I told you last night, Dacha just fans himself. And Sukershi says, he'll be much cooler than the monk. And then Dogen says, the mind of the Buddha, the wind of the Buddha, something brings forth the gold of the earth and ripens the milk of the long river.

[08:37]

In the Gandhaviuhasutra, suppose this is the milk. There's a river, it's just milk. And it won't become cheese unless you fan it. And you won't discover gold unless bring out the gold in situations, the jewel hidden in the mountain of form, unless we also know how to be this wind of Buddha. Just to say the mind of Buddha reaches everywhere, you must become. Enter the pores of Samantabhadra. Enter the fan, the wind of the Buddha. So this is our practice. Thank you very much. May our intention equally penetrate every being and place.

[09:45]

May the true merit of the way He is the creator of the universe. He is the creator of the universe. O Lord, have mercy on us sinners, who have sinned against the Lord, who have sinned against the Lord, who have sinned against the Lord, and an unsurpassed, penetrating and perfect Dharma.

[10:51]

It is rarely met with, even in a hundred-thousand-year-old populace. And how you need to see and listen to, to remember and accept. I am able to taste the truth of all of these words. For some reason, all the, not much, but a little commotion from our visitors going on made me, reminded me of the early sashins at Bush Street, which was a, often we had, because the Japanese congregation, it was a converted synagogue.

[12:01]

old building in the middle of a tenement slum area and sometimes we couldn't use the kind of zendo we made on the second floor and we had to use a little back room in the basement and it was right in this backyard with all these tenements and we could hear fighting and kids and shouts and it was going on for the whole week it was quite hard to just sit there and then in uh San Francisco, we were in one of the two most dangerous neighborhoods in the city, at least at that time. And one of my first experiences there, when we first moved in, I just came back from Japan, was hearing pop-pop coming out and the grocery man running up the street, shooting at somebody who had robbed the store. And I was standing in front of the pillars. And this had been a converted Jewish... women's home, a home for Jewish women away from home.

[13:04]

So we have good history. And the bullets were actually bouncing off the pillars, and I was kind of looking, you know, quite exciting, you know. And we had a rule in the Zendo in the morning that during the worst period, that if we could hear an assault going on out in the street, you know, at 5 or 4, which was quite common. In fact, at least two students were killed in the neighborhood. At least two. One Chinese fellow and one Chris Persig, whose father wrote Zen and the Art of Motorcycle Maintenance. His son was killed. Anyway, we'd hear... So there were usually one or two people assigned, if we could hear an assault, to jump up and run out. And everybody else just sat there and not be disturbed. And if it was real bad, then we all went out. Sometimes like a hundred people would come running out in the street.

[14:06]

And I took pictures of one guy once. I don't know. And he demanded the film. And I wouldn't give it to him at first, but he said he would burn our house down, which I thought was probably correct. So I said, look, we want this territory. You stay out, and we'll not bother you, and here's the film. It seemed like the wiser course at that point, since I had a family of children in the house. But our visitors aren't that disturbing. And you guys are just ignoring it. It's great. I'm impressed. You know the story of the joke, you know, the little boy comes home from fishing with his father.

[15:09]

And he comes in the house and he says, Mommy, we caught a fish this big, didn't we, Daddy? Well, I wonder which story is true. Because, you know, the boy is expressing his excitement at having gone fishing with his father and all the work that went up to it and getting up at four in the morning and driving out to some lake and all that stuff. So maybe, you know, this might be true, you know, really more true. So what I've been speaking about during this session has turned out to be a commentary, partially on Blue Cliff Records 1, and then more particularly on Blue Cliff Records 47, if you want to study it, and partially and quite a bit on Shoyuroku, Book of Serenity, Case 70.

[16:25]

Now the six don't, this one, 47, it starts out, and I use some of the lines in the evening hot drink poem or statement. What does the sky say? Then it says, comma. What does the sky say, comma? The four seasons go on there. What does the earth say? And it says, comma, and it says, the myriad things are born there. In the four seasons, he or she perceives the essence. In the... In the myriad things being born, he or she perceives the action.

[17:28]

And it says, what kind of person is this patched-robed monk? We're all patched-robed monks, but in a few days... I don't think he's going to run away. Atmar will become formerly a patched robe monk. It's wonderful. We thought he might run away, but Melita and Jutta and Richard, Herman came to prevent this. Oh, you did? I sometimes consider it. Once during one sesshin, about my fortieth sesshin, and it was really hurting, I thought, is my life going to be nothing but this?

[18:34]

I sat there and I thought, maybe I should go. But then I thought, where am I going to go? So I just stayed. Got better. Yeah. So it says, with throat blocked, without acting, and walking, sitting, standing, and lying with reclining with throat blocked, how are you going to perceive this patched road mark? Now this may not be so clear to you what this is about. So I'll try to make it a little more understandable. What does the sky say?

[19:45]

The four seasons go on there. What does the earth say? Myriad things are born there. He, she perceives in the four seasons, perceives the essence. In the myriad things being born, knows the action, the activity. Okay. Now I'd like to give you a feeling for how Again, Buddhism is meditation, wisdom and discipline. We're doing the meditation and the discipline means you keep doing it. It's like washing your face in the morning or going to bed at night. It just becomes something you do as routine as washing your face or sitting.

[20:46]

That is if you want to come into this adept practice. You have to begin exercising, because you're always exercising the minds of waking, dreaming and non-dreaming deep sleep. You also, if you want to become mature in the mind and body of a Buddha, you have to start exercising this fourth mind. And that is to just do it, just continue. That's the discipline, to just continue. So again, I want to emphasize that Buddhism is a, what do I call it, a no-brainer. Once you get the picture, if you just do it, now you have to do it with a certain alertness. You have to do it with a rising mind and a ready mind, a mind ready for anything. ready for things to appear or disappear.

[21:48]

Not an indulgent personal nihilistic mind, which tends to sink. into a kind of nihilism. Nothing matters, nothing's real, nothing validates me, nothing. But by being born, you're validated. By being breathing, you're validated. So, a rising mind is also emptiness mind. Rising mind, a rising mind is emptiness mind. Not nihilism, but emptiness mind. because things appear and disappear. Now let's go back again to the images of the case one of the Blue Cliff Records, which Marcus Chousseau responded to.

[23:02]

It starts out with these two main images. Where there's smoke on the other side of the mountain, you immediately, right away, know there's fire. There's no delay. And when you see the horns of an ox on the other side of a fence, immediately, when you see the horns on the other side of the fence, you immediately know an ox is there. Now this comes out of imagistic thinking. Now we've come to be quite familiar with turning words, wado, which is essential to our practice, the way Zen practice, sudden Zen practice is developed, is to work with these intrusions into your thought stream. But also, very particularly Chinese is, we don't have a word for it, but let's say, imagistic thinking.

[24:05]

Now, we don't do imagistic thinking. It's not something that's common to us. But it can be, and you can discover how to come into this presence of mind that is imagistic thinking. And it's rather exciting for us if you start doing it. So instead of just having turning words, maybe we have turning images or expanding images or transforming images. I don't have a word for it. Now, it's related to this sense for the Chinese that the past goes from here back into your history and returns to the present. But the present itself is not time, but is space. And that's another way of thinking about the world. The present is space. It's not time. You're not rushed by time. You're at ease in the space of the present.

[25:09]

And the image, the feeling, the knowing of the present as space is conducive to imagistic thinking. Now, again, this is also unfamiliar. While unfamiliar to us, it's also... in our lineage, and again, I've given you the example that was so important for me of struggling with why Ezra Pound and those folks called their poetry imagism. I thought, as I've told you, all poetry is about images, until I realized they were making a contrast to received form and form that arises through an image. In other words, they had the previous poetry they wanted to break with, you received like the sonnet, and then you poured your feelings into this shape. And they didn't want to write poetry like that anymore. They said a single word, if you unpack it, or if you stay with a single word, a single image, it will open into a poem.

[26:20]

That the form is in the image if you stay with it. This is very, this is basically Buddhist thinking. So if you want to practice with impermanence and the quality of presence in impermanence, you practice with holding this image, and the secret of all Buddhist practice is to hold the practice in mind and body, to hold the skandhas in front of you, to hold the diamond citra in front of you, to hold the wadau in front of you, within you. So you hold this image of fire, causation, transformation, things being burned up or so forth, a kind of causal karmic impermanence,

[27:25]

interdependence and at the same time the presence of the mountain. So imagistic thinking is to feel the mountain and at the same time sense the interdependent impermanence. So this is not a turning phrase like just now is enough or just now arriving or I'm always close to this. This is an image you work with which is also part of the koans, you work with in the same way as a phrase, but you hold the image. And if I'm holding that image right now, I would feel the interdependence of all of us this afternoon, kind of chilly, the weather as it is. At the same time, and a kind of causation, you know, here, Chorale being here from Europe and various things that influence us.

[28:28]

The upcoming ordination ceremony, lay ordination and raksa ordination and priest ordination, monk ordination. And at the same time I would feel myself as a mountain. I'd feel my body, my spinal cord. The image allows me to come into this mountain-like feeling. And you can see that the altar's a mountain. The basic base of it's supposed to be Mount Sumeru. Get a little bigger and then, and you can see the shape of the Buddha is a mountain triangle. The temples, all temples are called mountains. You're supposed to sit like a mountain. So these are images. It's not just a feeling of solidity, you know. And I love Sukershi's to say, a rock at the top of a mountain is not the same as a rock at the bottom of a mountain. A scientist might say it's the same, but Sukershi said, no, a rock at the top of a mountain, it's something different.

[29:37]

So you have this feeling of the solidity, the dharmic solidity of mountain-like being, and yet in the presence of impermanence and interdependence. So that's working with an image. And likewise, the horns and the ox is just to know that as well as farmer, The ox is the main beast of agrarian cultivation and of burden and so forth, and of the flute player, you know. But it's also the image of enlightenment. So to know wherever you see anything arise, the horns of whatever arrives, the horns means something appears. you also know enlightenment is there.

[30:44]

So if I look at any one of you, if I work with this image, as soon as I see Ulrika appear, I know enlightenment is there. Or Marlena. Or Randy. Walt. Now, this isn't thinking. Immediately I know it. I don't think, oh, yes, there's this study in Buddhism, yes, about it, where there's original enlightenment and so forth. No. This image has this power of an all-at-onceness of the present as space. So if you practice with this image... It helps you bring a teaching, a tenet of Buddhism into your mental daily activity. Okay.

[31:52]

Now what I would like to do, and coming back to where I was a few minutes ago, I'd like to try to make clear that if you stay with something basic, how Buddhism opens up front. Now, what's the most basic thing in Zazen? Zazen means sitting absorption. I actually think that's the best translation. Sitting absorption. Zen meaning absorption or jhana. the sitting absorption. The basic physical posture is uplifting back and some stability, possible cross-legged. That's the posture. And you work with the posture. And the posture is always a dialogue between an ideal posture

[33:02]

and your posture you accept. And the basic mental posture, basic mental posture is uncorrected mind. Uncorrected mind. So what you're doing is you're trying to find that place where you let your mind be. Even if you start correcting it, you let correcting it be. You can't kind of cut off correction, because then you're correcting. So it's a kind of subtle place. You have to leave your mind profoundly alone. Okay, so we do zazen, we sit cross-legged, and you, or Seiza, or Carl has his own special posture, and he tries to practice, and we each try to practice uncorrected mind, which takes quite a while to develop.

[34:23]

Now, if you think of the present as space. Uncorrected mind is something that can begin to identify with the present. As you discover uncorrected mind and develop it and mature it, uncorrected mind becomes very stable. We could say stable, absorbent mind. Maybe like the sky or the mountain. Stable, absorbent mind. So if you just keep practicing uncorrected mind, the most simple thing, how simple it is that you're actually saying, don't invite your thoughts to tea. This is uncorrected mind. Don't invite your thoughts to tea. So you stop inviting your thoughts to tea, but you don't interfere with your thoughts.

[35:28]

They're wandering around, that's okay, but I'm not going to invite them to tea. slowly you begin to develop a mind that is outside the usual framework of thinking. I think the Yogacara has a technical term, conditioned mentation. So outside of conditioned mentation, you begin to find a mind. If you try to correct your thoughts or try to get rid of your thoughts, this doesn't work. Is it an elephant behind me? You know, I'd rather you not.

[36:30]

OK, for a few minutes. All right? Actually, I'd rather you not, just from the back, OK? Thanks. We don't want your mother to see you in the hospital. We have to protect the identity. I had an uncle once who was a sea captain. Actually, he preferred to be a first mate, because as a sea captain, you have to stay on your ship. But as the first mate, you can get on and off ship. And he was quite connected with the Irish mafia. One day he called me up, John Ginley. One day he called me up. He looked a little like you, actually. And Wayne. And quite a lot.

[37:33]

He was a nice guy. I liked him. When I left New York, he said, Dick, if you ever need anything, call me up. I'll always send you money. My parents never said that, but he said I liked him. And he said one day, he said, I got a guy who's got to lay low for a while. He said, would your center like $15,000 for a month if somebody could stay at Tassajara for a month? I said, if he wants to come and do Zazen, he can. We don't want the $15,000. The guy never showed. I liked it, you know.

[38:34]

It was actually, he was trying to help us. We got a guy that needs to lie low for a while. So, okay. What happens if you just stay with this practice? His uncorrected mind, we could say, becomes stable, absorbent mind. Uncorrected mind is a practice, but it generates what we could call stable, absorbent mind. Now, stable, absorbent mind, what does it do?

[39:36]

Stable, absorbent mind allows you to open up the curtains of the present. It allows you to slow down each, each moment continuity. So you don't feel rushed by things. You feel more the presence of the present. So that's one thing that this stable, maturing, absorbent mind does. So you have a kind of sequence from the practice of uncorrected mind to stable, absorbent mind, which is sometimes called the tathagatagarbha practice. which means a mind which is both womb and embryo. Okay.

[40:48]

So the first thing this mind does is it allows you to really enter into this each moment continuity so that the present is your own presence and it doesn't rush you. We could say it makes you feel like the present belongs to you, belongs to you and feels like you belong in it, if I'm making sense. You're basically constructing a different kind of person. It's an alchemy. This is a kind of shamanic alchemy, this practice. Okay, the second thing it does is it changes the quality of the mind. Now, the usual quality of our mind is the curtains of thought. Our mind becomes the quality of thought.

[41:51]

Now as you, now in this Kalamaka it says, what about the monk who blocks speech and action in walking, sitting, lying, etc. This is the mind that no longer is conditional meditation. And when you do that you're actually changing the quality of the mind. So the mind ceases to have the quality of thought and begins to have, sometimes it's like liquid gold, sometimes it's like liquid silver, sometimes mercury perhaps, sometimes light itself, sometimes it's the blue, black, somatic emptiness. of our Samantabhadra Tanka. Now, when Sukhriyasi spoke about new experiences, he means the ability to have that readiness of mind to notice these things that don't fall into our usual category of thought.

[43:06]

And it takes, I tell you, quite a long time to notice these things. Because our mind notices the television set, notices our thinking. And we say, well, that was a kind of funny little experience. I had this kind of blue sensation. But we don't realize that that is a thread, a little piece of fabric that if you start paying attention to, if you can gently bring yourself to it, it becomes the color of the whole mind. So... stable, absorbent mind, the second thing it does is it has a different quality, a new kind of absorbent quality, and mainly what it absorbs is the body. So it's a mind which allows the body a kind of somatic vibrancy, a somantic vigor, a somantic vitality,

[44:13]

to come into the mind, and then we can really speak about a body-mind or mind-body as an actual fact of the way you are, like a sponge filled with water. So breath is one way we weave body and mind together. But it really begins to flow together through this tathagatagarbha, absorbent, stable mind that also opens up the present, absorbs the body, and begins to absorb the subject-object dualism. Isn't it simple? All you do is start with uncorrected mind and you relax into it and let go of your usual way of thinking.

[45:17]

Be open to these experiences that have center but no edges. These experiences that are not noticed because they're not usually in the categories of our thought and mentation. Now the third thing it does is it begins to align us with, attune us to the world. Now I think what I have to do here is say one of the givens of Buddhism is what I call the three non-containments. The three non-containments are that the world is not contained in the self. Your self, which is a useful thing, necessary.

[46:21]

The functioning of a self, the self functions are necessary. But we know from experience that the world is not contained in the self. The world is much bigger than the self. The flow of the world will not go through this little narrow... The world is much bigger than the self. The flow of the world will not go through this little narrow opening we call the self. So the self does not contain the world. Okay? That's one. Second is the five or six senses do not contain the world. And there's specific koans, one in we went into at some length, which I love the line, in the eyes it's called seeing, in the ears it's called hearing.

[47:23]

What is it called in the eyebrows? What is it called when it doesn't fall into these categories of the senses? I mean, we see things and we think, oh, yeah, everything's there. And we hear things, and we think that what we... But there's a big gap between hearing and seeing. And as we've discussed, if you had... Everybody in the world was blind, and you could hear and smell. You could pick up something and, well, it's nice and soft and... But you'd have no idea. There would be no way to imagine what it looked like. Absolutely none. or vice versa, hear it. And as I pointed out right now, even in this remote place, there's hundreds of cellular phone calls in this room. You just don't have the sensory equipment to notice it. So there's a lot going on outside our five or six senses.

[48:28]

That's a given of Buddhism. And the third non-containment is this seemingly three-dimensional reality that our mind produces does not contain what's going on here. So the world flows in a much wider scope, range, register than in this seemingly three-dimensional world of self and senses. Now in Chinese culture this is called the hidden order. And in Buddhist culture, it's something like the hidden order. And the practice of the way is to come in tune with the hidden order. Your three-dimensional mentation, conditional mentation, cannot come into alignment with the hidden order.

[49:35]

I have a big supply here. Since I have an allergic nose. Okay. Now, the understanding here is that this stable absorbent mind which opens up the present, which opens up the dharmic each, which opens up each, this, and which absorbs the body and absorbs dualism and is not conditioned by mentation,

[50:42]

is the mind which can align you, attune you with the world, with the hidden order. Now you can't think, am I in tune with the hidden order? I mean, it doesn't work that way. A kind of new kind of trust comes in. And the fourth thing it does is it creates a new kind of causal nexus. Because being in tune with the sacred order, you'd say in Chinese culture, or with the hidden order, you come in tune with specifically the vow to know, save all sentient beings. which isn't a vow that can arise from the self.

[51:47]

Now, maybe a better translation would be to... Sentient beings are... I make them up every month or so in new translations. Sentient beings are without number, are beyond number, I vow to come into accord with their numinous being." Or something like that. I vow to come into accord with the numinosity of each being. Why not? That sounds like a good thing to do. Do you have something better to do? Talisa doesn't. Now this is really what the beginning of this poem of 47 is saying.

[53:00]

What does the sky say? Can you hear the sky? The four seasons go on there. What does the earth say? Myriad things are born there. What does... What is the adept pastoral monk supposed to do? He or she within the four seasons knows the essence. This means the hidden order. Within the birth of myriad things knows the means the hidden order. That's why it says the six don't take it in. The six don't take it in means the six senses or these three non-containments. That the world does not fall into the categories of self, senses, and three-dimensional, seemingly three-dimensional reality.

[54:04]

We have to function in these. But the world flows right past through around it. The six don't take it in. The self doesn't take it in. But absorbent, stable mind takes it in. OK. Now back to the fish. If you're in a culture which thinks imagistically. When you recognize that the, that, you see, there's another common, there's a jewel hidden in the mountain of foam.

[55:05]

And what I had lost track, whether we're on daylight saving or not yet, or we're on half hour late time, I should stop soon, huh? Okay. You don't want me to stop, Rebecca? Okay. And hold up your cup. Okay. Okay. I wish I could hold up my book. When you have this corn, there's a jewel hidden in the mountain of form. There's lots of meanings to this, but one of the meanings is the jewel is more important than the mountain of form. The jewel is what it's really about, not the mountain of form.

[56:07]

So in this way of thinking, the absorbent mind transcends you as a person. So we call it buddha mind. Or in this case, Samantabhadra's mind. So now I'm trying to give you a sense with this fish story. Look at the big fish we caught, Daddy. You know? If you want to convey to somebody the power of this mind, this absorbent mind which opens up the present, we call it a small fish. No, you say it's glorious bodhisattva, sitting on a six-tusked elephant, sometimes sitting on four white elephants at once. We can expand this image. It's an expanding image. And the image of the elephant, it's a bit like Gary Snyder and the Native Americans' tortoise island, turtle island, that the whole universe, the earth, sits on a turtle.

[57:14]

It's a nice image. So here we have the earth supported by this elephant, which you don't know what it is. This is a palm tree or whatever. This glorified elephant, which lifts you high enough to see the Buddhas like Vajracana Buddha that can't usually be seen. It's another way of speaking of the hidden order. So here you have a mind which the Chinese embody in this glorified bodhisattva and this extraordinary elephant because it's a mind which is a jewel hidden in the mountain of form, a jewel hidden in yourself, if you start practicing uncorrected mind. Until it matures, is discovered, developed and matures into this absorbent mind, ocean seal samadhi, this multi-dimensional mirror that reflects, absorbs, and transforms the world and brings you into alignment with the hidden order, which is how you let your body guide your practice.

[58:30]

That was a little jump to that conclusion, but we've run out of time. And I think that's enough for now. Thank you very much for letting me go on like this. You know, I had no idea I was going to talk about all this stuff. I've never talked about Fugen or Samantabhadra like this before. I have a little old burnt Samantabhadra. It must have been in a temple fire. Someone gave it to me. It's about this big. It's all crusty. It sits on Hotan's Tokonoma. It's got a little figure on it. I like it. I've had it for years. I've never talked about, but one of you must be sitting on an elephant. Or somehow the scent, the fragrance of the scent-bearing elephant that crosses the river and disappears into the Dharmakaya.

[59:37]

Perhaps I, somehow you brought me this fragrance. Thank you very much. We are in Penn State, equally Penn State every day.

[59:55]

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