Not moving to mean a kind of interior repression. And that's usually a result of people too much self-taught then or bad teaching. Now, of course, the architect has to take into consideration the carpenter. But the fact that there are carpenters is a given. But the carpenters don't know what to do until the architect's there. The architect at the level of, well, we should build a house.

[01:02]

The decision to build a house is architecture. So practically speaking, the architecture or views come first. The decision to do something or the intention to do something comes first. So again, practice starts with views and intentions. Right views, right intentions, and then into your conduct. And conduct means, as we talked about yesterday, conduct appears both in the eightfold path and in the six parameters. And it's sometimes translated as discipline. And Neil said yesterday, People have a lot of trouble with that word and idea.

[02:16]

But it also includes a sense of practice. And it really means just how you express yourself in the world. And what are the guidelines or discipline of that expression? And that discipline or conditions of that expression is to increase wholeness or increase goodness or to increase the likelihood of enlightenment. Okay. Now, you brought up And the Zen mind covers a lot of territory. And a characteristic of Zen terms is they can mean everything.

[03:24]

but usually when they mean everything they expand from a particular starting point because you might use compassion and wisdom to mean the same thing and they cover everything but as soon as you start narrowing the definition Wisdom goes down this way and compassion goes down this way. Does that make sense? So you have to become aware in the literature and in a talk, something like me talking, is that you have to be aware whether these terms are used to cover everything or to cover some things or to be used in terms that are opposite or to be used very specifically. But if we use the word Zen mind in a fairly specific sense, it actually means the body mind. You can also say it means the mind body, It means both, but it means the body-mind a little more than the mind-body.

[05:07]

So, are we really talking about the... This just sounds like a nuance, but it's actually a little different way of practicing. Are we talking about the sand suffused with the water of the mind? Are we talking about the sand that's wet with the mind? And most of the practice of Zen starts from the sand that's wet with the mind. That's why we start with physical posture and so forth. And then you begin to notice how the stuff of you is wet with mind. And then wet with? the spiritual dimensions of life.

[06:15]

So mind and spirit in Buddhism can both mean the same thing. And then when you realize that, so it's a little bit like most of us identify with a sense of I in our mind. in practice you move it down into your body then beginning to realize mind as the wetness of the body then you begin to be able to move that sense of mind much more into the water But now it's a water which has its base in the body and is not the same I that you started with before you moved the sense into the body. Now, I don't know, was that picture fairly clear?

[07:16]

I don't want to think about it. Okay, but I try to create these pictures because I think if you have them they'll actually answer a lot of your questions and help you practice with confidence. Okay, so we should take a break but what I want to talk about and bring up and you can think about it is, and I think we have to, because if you're talking about wholeness and mystery and unity, you also have to talk about diversity. So if you talk about wholeness, you also have to talk about the parts.

[08:20]

And if we're going to talk about the parts, then you talk about the sense of an observer or an identity or a location. So the Buddhist sense of that And how that arises in the body is something we should talk about a little bit. Okay, so we're just warming up a little bit on Sunday morning. Why don't we take a 20-minute break till 11.30? Now we're looking at some vocabulary and practices within the, through the theme of wholeness and intactness.

[09:45]

Vocabulary and carpentry. And what is your name? No, yeah. Jörg. Jörg. Okay. Could you just as simply as you asked me or mentioned to me at the break, could you bring it up? I don't know what. What you said about the difference between sitting at the hotel and sitting here. I said that I feel a difference in meditation here and in the hotel room, that there is a stronger energy here. That's a pretty simple question, isn't it?

[10:52]

And the basic problem, actually, of practice. We could treat it rather simply and just say, yes, when you have more experience, you find it in yourself. Or it helps to sit with others and it's good to sit with others. But we can also look at it more instrumentally. And that's what a lot of the koans are about. And that was the emphasis of the koan we discussed in Sashin of the rhinoceros gazing at the moon.

[11:52]

Big moon. So if we look at it more instrumentally, which is actually the emphasis of Samantabhadra... And it's sort of strange that Samantabhadra, who... who represents primordial mind should also represent practice and instrumentality. Now, you may say, well, jeez, if Samantabhadra is primordial mind, what is Dharmakaya as

[12:56]

mind as space. Well, actually these are little different ways of looking at something and practicing with something. Mind as space emphasizes the inclusivity of everything, and the all-at-onceness. And primordial mind doesn't represent the all-at-onceness, it emphasizes more something that's a seed that needs to be discovered. And anyway, so forth. Okay. So another way to look at this question that Georg brought up is... Like Herman's question of counting to ten in awareness, is when you're practicing, when you're counting to ten in awareness, you're actually learning a new language of non-graspable entities.

[14:50]

that you have to be very gentle with. You can put them in a big basket, but you can't grab hold of them. You can catch them in a kind of field, like a net, but you can't grab hold of them. Now, all of this, we do all of this stuff all the time, But we haven't really developed it as a language. Again, for example, as I said to Jörg at the break, if I say the word horse to you, you can say the word horse tomorrow to somebody else. Some guy said horse to me, so I'll say it to you, horse. But if while we were standing there, I communicated a feeling to you about how zazen can be the same in the hotel room.

[16:04]

You might feel it for a moment. But you don't really know how to notice it. Everyone. And if someone asks you tomorrow, you can't reproduce it as easily as a horse. Does that make sense? It's a kind of language. So if you can begin to speak the language, you don't have to wait in your hotel room until you're more experienced. You can actually reproduce the feeling that you caught from this sitting together. and use it as a seed to open up your sitting. Now, again, we do this all the time, but we don't develop it.

[17:19]

We always tend toward the graspable and kind of avoid the non-graspable. And practice is to move more and more primarily in the non-graspable and then sometimes in the graspable. Does that make sense? That's the kind of skill you learn and that's the instrumentality of primordial mind. Or practice. Now, learning this kind of language, this non-graspable language, It's kind of useful to be able to pick up something again and let it open up in you.

[18:43]

But it also becomes a language of the topography of the spiritual world. A language of your more subtle life in the midst of situations. And the part of this is kind of letting your body do things. I mean, that's one way to start doing it. But still, it's not just a matter of the body. It's a matter of recognizing intention and decision as it's expressed in the body. Okay? You had something before? Raj? I asked before, or have been asked, because Roshi Baker said that that while sitting, when feelings come up, there is the possibility to stay seated and to give these feelings more and more space.

[20:22]

That's very nice. And many stay, or the second thing he said, The danger is that if you have read a wrong teaching or had no good teacher or misunderstood something, that you now use this sitting to sit on your feelings, so to speak, so not to allow them at all. Not that you give them more space, but that you actually suppress them through this sitting still. And my question to him was, Yeah, it's a little longer than it was before. How do you notice the difference if you are sort of just feeling, expressing your emotions and suppressing them? How do you notice the difference yourself? Well, if you have ideas when you're sitting, like...

[21:24]

this is a, I don't like this, or this is bad or good, then you're involved in some kind of suppression. As you are observing, but you're not judging. But to practice amplification. Because we have so much tendency to minimize things. And so if you notice something's a little funny, or that you're a little concerned about, or could be, or you might feel that, but you're not sure whether you feel that, you say, well, my ego would rather, I didn't feel that, so maybe I'll amplify it.

[22:31]

So say you feel a little bit angry at somebody, but, oh, no, I'm not really angry. You say, okay, really get angry. And you let this, and you kind of, come on, more. Until you get quite familiar with the range of it. But for me, it's more and more the physical, which is strengthening. The pain here in the neck, or my breathing, I've tried to strengthen it with various paintings. My body, this is more expressed in my body, I get pains in my throat and the breathing is blocked in a way and I tried this out before.

[23:33]

But with the counting, to be honest, I didn't get the idea to do this with the counting. I always concentrate on different colors or shapes that I have in front of me. It's very nice and I can look at it and then I think sometimes, I didn't actually practice with counting. Before, when I see a color or something, I watch it. And I wonder sometimes if it's just passing my time with this, you know, and have a straight back. Yeah. Well, that's the problem. You may be just passing your time. But you have to be willing to just pass your time. No. It's actually... If your practice is going to be deep, you have to practice...

[24:34]

as much as possible every day and whether you want to or not that's very important to do whether you want to or not and just trust the posture and you can make various kinds of efforts and you can amuse yourself with thinking about things if you want But still, underneath that, your sense is to let it be, to leave yourself alone. Our education and our habits have a real grip on us, and it takes time. And one of the ways we protect ourselves is to create a kind of surface which we can't get underneath. So it feels like, oh, we're just, you know, passing our time, etc.

[25:50]

But this surface is very strong. And all these things, it helps to sit with others and it helps to have a teacher. But, you know, we have to do the best we can. Okay, so it's getting close to lunchtime. So let me see if I can say a little something. This morning I seem to be feeling mostly practical details. One thing that you have to be aware of is a certain kind of errancy. Do you know the word errancy? E-R-R-A-N-C-Y errant it means sort of necessary error.

[26:55]

A certain kind of errancy may be in our life. There's the image of the knight errant who protects the poor but also kind of makes mistakes and is a Hermes-like figure that connects the worlds. Like Don Quixote. Don Quixote. Don Quixote. But this is not a sublime example of a topic Do you know the word sublime? Yeah. But a friend of mine's uncle was arrested in a public jaunt for peeing in the sink.

[27:58]

And as far as seems to be the case, this wasn't typical behavior for him. And he wasn't senile. And he didn't hang around men's rooms. But he did pee in a sink right next to a urinal. Did he? Do you mean what, actually? He peed in the sink. In the sink, yeah, yeah. I wonder if I had it right. Yeah, you had it right. I said it wasn't a sublime topic. Yeah, but... Yeah, er, [...] er I mean, he didn't do any harm. But his life was pretty ruined after that.

[29:18]

He had to go to court and explain to everybody what, you know. It's, you know, if you walk in the forest and you decide to pee on a tree instead of somewhere else, you know, nobody cares. But true, it's strange to use a sink in a public junk. But it's kind of errant behavior. And I don't think it arises from some deep psychological problem, you know. It's more, I think, people feel a pressure of all these rules we have to follow in society, and sometimes you just do something stupid. And usually it has no consequences. But sometimes you get arrested. For nothing, you know.

[30:34]

Or some equivalent, you know, I don't know. So I'm just saying that this sense of practice also includes a kind of tolerance for yourself. And a tolerance for other people. And that tolerance actually reduces errant behavior. So you're trying not to put yourself in a box all the time. But if you don't put yourself in a box all the time, then sometimes you're not in the box and it doesn't make sense what you do to other people. And a certain kind of confusion is part of creativity in your life.

[31:42]

So the sense of unity isn't so much an emphasis on getting everything in order again, but it's rather allowing a certain amount of disorder. In the way you think and feel and not always expecting yourself to be a certain way. Now, how do you decide what you do? Now, last year here in Berlin didn't Did I speak about the Vijnanas? Or I... I think it was after that, wasn't it? It was here. Quite extensively.

[32:44]

Yeah, okay. So, some of you weren't here last time, though, right? You wrote it even down. Yeah. But this sense of opening up your sense consciousnesses, the various fields of sense consciousness... As a way of getting free of a sense of I-ness of being tied to one sense. So, one sense of I-ness is in Buddhism is understood to be primarily the seventh vijnana. And the seventh vijnana is that is where your sense of intention resides. And it's also the conveyor between the events of the phenomenal world and your memory bank or storehouse consciousness.

[34:09]

It's a little bit an hourglass image. You have all of the events of the phenomenal world that appear in your senses. And you have all the events of your history and associations in another sort of bell. And they're connected by a fairly narrow channel. Which is your intention and what can pass through it. through here. So that's one sense of I-ness. But another sense of I-ness is what maintains continuity for us. Where do we find continuity? And usually we find it in the I-vijnana, of conceptual consciousness.

[35:22]

So, by developing the other sense fields, you're trying to move that sense of I-ness out of the I-field, into your body and your taste and your hearing and so forth. Much like some animals, I imagine, have their sense of continuity and eyeness in their nose. Or perhaps whales have it in their ears. Like that. So sometimes you have to be more of a dog or more of a whale. This actually helps to evolve a more differentiated and wider sense of self. But still, if your sense of continuity, and you need a sense of continuity, resides in your eye consciousness, E-Y-E, and your ego,

[36:38]

then no matter what happens to you, as I said the first evening, you tend to not notice it because you keep your continuity in this conceptual consciousness. So one of the techniques of Buddhism, or a first stage technique, is to move that sense of continuity out of conceptual consciousness into your body. And that's one of the main reasons, and the usual spot chosen is this spot just below your navel and your gut. Unless you do Tai Chi or something like that, it's pretty hard to develop because we are so much in our shoulders and head. So you actually have to start feeling your belly walking towards somebody.

[38:05]

So instead of feeling your mind is walking your shoulders or arms, you're feeling your belly walking towards you. And when you meet someone else, you say, hi, belly. And if you do that silly stuff for a while, you begin to get more settled. He says, we went from Nelly to Belly. So, okay. Now... Part of that, and what's related to that, is a sense, as I said yesterday, of intactness. So, when you're going to lunch today, for example, this is just an example, not what I'm going to suggest.

[39:06]

Also, ich schlage das jetzt nicht vor, das soll wirklich nur ein Beispiel sein. If you notice you're gritting your teeth or squeezing your jaw, you can relax it. Wenn ihr also zum Beispiel feststellt, dass ihr mit den Zähnen knirscht oder euer Kiefer zusammenspannt, dann könnt ihr die entspannen. Noticing it helps, and then you relax it. Es hilft, dass ihr das also feststellt, und dann entspannt ihr es. Okay, now what I'm going to suggest is, when you go to lunch, when you start walking down the street, also wovon ich jetzt spreche ist, also wenn ihr jetzt zum Essen geht, wenn ihr also durch die Straße entlang geht, The street begins to tell you things. Stand a certain way. The people around you begin to tell you things about how you're supposed to be. And we have a tremendous amount of subconscious physical gossip that goes on in our body. That's about how we're supposed to be, etc. And so, when you go out, stop for a minute before you actually walk down the street.

[40:20]

You know, it can be just like that long. A finger schnapp, yeah. I'm learning German. So... So... Stop for a moment and see if you can feel a certain sense of intactness. Now, you don't have to all stop yet. Are you feeling intact? Let's go. Let's set sail. No. You stop for a moment and have a certain sort of feeling. And maybe you lift a little through your body and shoulders. And... as if the city was gone.

[41:27]

As if you were surrounded only by space. And your only way of locating yourself was locating yourself through how you feel. And it helps to have a certain flexibility in your body so maybe you feel like a lion or some cat or some animal maybe more like an animal or you feel the feel your there's a certain pride in this it's not pride in in pride in being alive. And part of all this is a kind of, at the core, is a certain sense of intactness. And this requires trust and honesty. If there's doubt in yourself, or you feel deceptive, or you don't feel straight with the people around you, you can't, you know, you get... So the sense of intactness also arises in a certain clarity of your basic intentions in the world and with other people.

[43:02]

but this sense of intactness when you develop it and it remains pretty much continuous and this sense of intactness is no longer your body or your hara that's part of it but it's the whole body-mind-mind-body feels intact. Now, when you begin to know this, you actually shift a sense of continuity to it. You've come a long ways toward developing a much bigger reference point for how you exist. Because the observer or the ego is actually a reference point, a kind of reference point.

[44:24]

And ego is, as you know, very necessary. It's a way of functioning. It doesn't have to be your only reference point. And this sense of intactness or ease is a much deeper reference point and a sense of continuity. So you can see it when we have lunch. Or anytime right now, if you're able to feel a certain intactness. And feel it as a reference point in how you do things, what food you order, when you're ordering your food at the restaurant. There may be many ways in which you decide to order something.

[45:30]

But the most basic is, does it make you feel intact? Does it allow you feeling intact? So, when you start to order food through a sense of intactness, you actually are not using your ego in the usual way. Through a sense of intactness, you actually are not using your ego in the usual way. Your psychology is still affecting you because your psychology is part of your ability to feel intact. But our psychology... influences us much more subtly through the feeling of intactness than it does by just pushing us around through anxieties, ego anxieties.

[46:37]

So this sense of intactness is a real discovery in your life if you get to know it. Okay, again it's 12.35. Was an hour and almost an hour and a half enough time yesterday? Okay, so let's meet at 2 o'clock. Thank you very much. Hmm. It came up a couple of times, could we chant, so I thought, why not? And I thought some of you might be interested in the German translation we have of the Heart Sutra.

[47:39]

But I'd like to chant it in the Japanese-Chinese first and then in German. And... Not all of you are familiar, I think, with Buddhist chanting. Or the Heart Sutra. How many of you have never chanted the Heart Sutra in Japanese? Okay. And... So I'll go slowly the first time. Now there's two emphases in chanting. One is to chant with energy and the other is to chant hearing the sound within you. And of course both are present in whatever tradition you chant from.

[48:55]

But in my tradition the emphasis is more on hearing the sound within you. Or we say chant with your ears. And you chant, of course, with energy, but it's more a feeling of physical concentration rather than projecting the sound. So you hear the sound or you make the sound within you. And you let some of that sound come out. But you're not projecting it out. It's a little like this helicopter we just had. The practice is more like Well, let me give you another example.

[50:06]

If you want to practice direct perception, or sense through the eye, this sense of intactness I mentioned, one way is to put your sense of seeing at the back of your eyes. That makes sense. Or you feel your eyes sort of soft in their sockets. So maybe the physicalness of seeing is emphasized. And in a similar way like this sound you hear right now, don't hear it out there, hear it inside you. Now, if your consciousness is very educated, sounds are going to disturb you more.

[51:18]

As you can remember when we had our rebirthing opera, or a workshop led by the Marquis de Sade, from a distance. From a distance, yes. From a distance, yes. Anyway, some of you at first thought, geez, what an annoyance. But when you start, particularly if you're practicing zazen, you start hearing it from different points of view. It may become a chorus of disturbed angels. So in that kind of sense you chant with the feeling of the sound being within you. So I'll start out kind of slowly at first.

[52:26]

I haven't done this in a long time, lead chanting, so I'll do my best. So the first line there that's in darker print I say is introduction and then you start. Satsang with Mooji Thank you. Satsang with Mooji

[53:40]

Satsang with Mooji Satsang with Mooji kumyo jendai shi muro shi yakumuro shi jenpu kushumetsu domu shi yakumutokui usho tokobodai satayam Satsang with Mooji Satsang with Mooji

[55:08]

Satsang with Mooji Very good. Sounded very nice. The sense is also to, I don't know if this is helpful to tell you these things, Oh, did it?

[56:55]

Yes, right next door, I'm sorry. Okay. And also the sense is to let a common sound start to join and float. that you participate and keep making happening, but actually the common sound takes over. And it's not like singing like Gregorian chanting or something with melodic line of some sort. It's pretty much just a monotone. Except that when you're taking an inhale, you can come out with more it will come out with more energy than at other times. You let your breathing affect it. And it doesn't exclude any sounds. If you have to cough or sneeze, you just keep chanting right through the cough. So, kanji zai.

[58:04]

You just keep going. We practice that. Yeah, you don't. You just do it, you know, whatever it is. Okay, let's try it once more, and I'll go. Was the level of tone all right? Was it too low for some people? A little low? Sorry. Sorry. Satsang with Mooji Shiki Fui Kuku Fui Shiki Shiki Sokusei Kuku Sokusei Shiki Ju Sokyo Shiki Akupu Nyosei Shagishi Seisho Okuso Fujofu Metsufuku Fujofu Zofu Genzei Kokuchu Muchikimuchi

[59:35]

Chant Chant Chant Satsang with Mooji Satsang with Mooji You're hired.

[60:53]

OK. So let's try the Deutsch. This really should say, you see the one on the right, it's in English, says the title is in Sanskrit, Maha Prajnaparamita Hridaya Sutra. But in the German side, it's in Sanskrit with one German word, Maha Prajnaparamita Herz Sutra. which is a little peculiar, but otherwise we'd have to raise the flag for whether we're going to sing it in German or English.

[61:55]

Okay. So now I can't do anything but the beginning, then after that I have to kind of stumble along with you. Was the second time that level better for chanting? Oh, by the way, we don't use this during the... Maha-prajñā-pāramitā-hera-sūtra Bodhisattva Amritishthara can think deeper about Ajna Paramita, that all five can be empty of their own being, free from all suffering. O Shaliputta, form does not differ from teaching, teaching does not differ from form, form is really teaching, teaching is really form,

[63:03]

Das Gleiche gilt für Empfindung, Wahrnehmung, Impulse, Bewusstsein. O Shalikutra, Kennzeichen aller damals ist Leere. Sie entstehen nicht und vergehen nicht, sind weder unrein noch rein, hin nicht zu und nicht ab. Da gibt es in Ehe keine Form, keine Empfindung, keine Wahrnehmung, keine Impulse, kein Bewusstsein. Thank you very much. In the absence of all deception, they remain in nirvana.

[64:12]

In the three realms, all buddhas are Pajñāpāramitā and reach the highest enlightenment, completely unimpeded. From then on, Pajñāpāramitā is the most transcendent mantra, is the greatest radiating mantra, is the highest mantra, is the unimpeded mantra that can free one from suffering. Does it sound strange in German? A little like in the church. It sounds churchy? In Japan it sounds Japanese.

[65:14]

It sounds like in a cloister. Sounds good. Sounds good? Okay. I don't know. It sounds like German to me. It's better than before? the last line, or what meaning does it have? Because I don't find it in the Japanese. Oh yeah, there it's... That's how the Japanese pronounce the Sanskrit. See at the end? ... [...] I don't know, just think about it.

[66:23]

Everyone does it differently. Well, no, we should do it one way, but there's different ways. I said I haven't done this in 20 years or something. Okay. Well, at least the... you can read it in German and get a sense of its meaning more. And we used to try to chant the English with the Mokugyo. So it was the same is true of feelings, perceptions, impressions, It really does damage to the rhythm in English. And to do that in German would be... So, I don't know. We'll have to find our own way of chanting. We'll have to put it into hexameter and it will probably work.

[67:24]

Well, that's enough, unless you'd like to chant it in German again or English or Japanese or something. No, it's enough. Anyway, I just wanted you to be familiar with it. And everybody just had lunch. Would you like a little break now? For the toilet and things like that? No? Well, we can print more for the Sashin, but we couldn't print more for another seminar that wanted to chant.

[68:38]

But we could keep one and you could, if you really want one, you could ask Neil and he could send you a Xerox or a copy or something. Few more come up. Makes me think of a time a friend of mine... A friend of mine published the... did the Whole Earth Catalog. Have any of you seen it? What do you need one for? And it was priced at what he thought was a fair price if it sold like 10,000 copies.

[70:06]

But it was the best-selling book, fiction and non-fiction, in the world for two years. But it was too late to lower the price, so all this money came in. And my friend thought it didn't belong to him because the price of the book should have been cheaper if it sold so many. So he did two things. One is he set up a foundation and asked several of his friends to give it away over several years. So there were six or seven or eight of us and we each had $60,000 to $100,000 a year to give away for two or three years. Another thing he did was he got everyone together and he took, I don't remember, about $35,000.

[71:17]

And they had a big party all day. And they were all going to decide who had the best idea, got the $35,000. So after they had the party, they all sat down, and the money sat in this big stack of $10 bills in the middle. There must have been 200 people there or something, and they all had ideas about this and that, right? You know, give it to the poor, give it to this person to do this project and so forth.

[72:18]

And finally about 10 o'clock at night there was still no agreement. So finally they decided, let's just pass it out among ourselves. So all the $35,000 disappeared into the crowd. And everybody felt kind of deflated. And everybody was a little gloomy and depressed and, you know, with just a little more money in their pocket. So they said, let's put it all back in the center. So it all went back to the center. Except for about $6,000. I thought of that because the cards were kind of mean. But that was all right, too. And then they decided to give it to some guy to do something.

[73:27]

Now I'm trying to sense how to give you more of a sense of this, what I implied on Friday evening. But, you know, what I talked about Friday evening in some ways was pretty complete. But to go into much more detail, like the structure of consciousness developed from the inside and outside, I think isn't probably helpful. Because, you know, Your practice has to really be at that point for it to be useful. But I think the idea that consciousness is educated and structured is an important one to notice.

[74:57]

And again, using the example of our upstairs opera, it's the structure of your consciousness which dealt with that sound, liked it or disliked it or absorbed it or didn't absorb it and so forth. So that's an example of the And that's how it reacts to things, how it absorbs things. How it understands things. And from inside it's more, as I said, the ability of consciousness to have the quality of clarity. and brightness and energy and to be able to bring that energy into your consciousness not just into what you do but into the field of awareness and if you know that much

[76:26]

That's enough to be present in your background mind and eventually you'll notice this is the case. I also said that it's the development of your interior consciousness which absorbs the alaya-vijnana or the storehouse consciousness. Now to call it the storehouse consciousness isn't very helpful. Partly it's the word consciousness applied to the interior consciousness and applied to the storehouse consciousness But we don't have words. And what's useful when you have different words, like vijnana, then you see that aspect of consciousness called vijnana, in contrast to an aspect of consciousness called something else,

[77:53]

The different names allow you to see some differences in how it functions. And then allows more unity. I mean, it's as simple as if you were in love with someone. And they're nothing but a projection of your anima. Or animus. Or there's some celebrity you hardly know. Trying to spend time with them, it doesn't work. Because you don't see their differences. It's when you really know the differences of the other person that you begin to have an interactive relationship that there can be unity.

[79:12]

So you're beginning to see the these interactive differences at a, as I've said, a rather subtle and non-graspable level. It's like much of the world you can't look at directly. Some things you have to look at a little bit from the side of your eyes. And that's particularly true of interior things. You have to kind of Notice them, but don't look at them too clearly. Okay, so... The alaya-vijnana, I'll call it that, the storehouse consciousness, is, as I think we discussed last year, everything, non-conscious, unconscious,

[80:36]

Every association, contact you've ever had has left any traces in you. And usually, this is under... Much of this is under the surface of our structured outer consciousness. But in Buddhism you're attempting to develop more of an interior consciousness that accepts this non-conscious or unconscious material And it's directly connected with the exterior consciousness. Now, in order for this to happen, there has to be a certain trust or honesty in the person. And if you don't know how to negotiate your way through self-doubt and self-criticism, you can't have much access to yourself in any deep way.

[81:48]

It doesn't mean you don't have a sense of shame or embarrassment, but you notice these things and go on. But as I said earlier, you accept a certain errancy. I mean, in the United States now, you can't be a political candidate and ever had an errant moment in your life. As you know, Clinton said he'd never smoked marijuana in America. He said, in this country, finally somebody said, well, anywhere else in the world?

[82:49]

And he said, in England. But I didn't inhale. But maybe he didn't inhale. But I would rather have a president that inhaled. So it's nuts, you know. We're human beings and some of our life is not entirely in our control. And it should be that way. And particularly when you're young. Okay, this... borderline and I'll just describe it this way this borderline this interface between your developing interior consciousness which can absorb energy and non and unconscious materials and your exterior consciousness your educated exterior consciousness

[84:03]

which has become more fluid and absorbent and able to listen to the world. Perhaps this playing field, this border that's a kind of playing field, is best described as the territory of the six paramitas. Which is considered the main practice of the Bodhisattva. Okay, so the first is generosity. And I mentioned these to you yesterday. And generosity means something like generosity, but also maybe recognition.

[85:20]

It means to recognize everything. And I think, you know, the idea of compassion I brought up in Sashin that there's three kinds of compassion. And one kind of compassion, I mean, if somebody says, oh, be compassionate, you say, sounds good, but what do you do? But the first form of compassion is to be compassionate for the ego of the other person. For the form they appear in. And when you start practicing that, some of the most unattractive people start being interesting. Because you actually say, oh, jeez, you know... We all have this problem of our ego and we should be compassionate with others and with ourselves.

[86:35]

And the second aspect is to be compassionate with the stuff of the other person. The physicality of it. That also means to give somebody food or something. But more subtly it means to be aware of their five skandhas. which are in the Heart Sutra, the Heart Sutra, form, feeling, perceptions, impulses, consciousness. And these five are, in contrast to the ego, they're a way of seeing how we exist independent of ego. So you're also compassionate for or recognize or are generous toward this possibility or this way of the person's five skandhas.

[87:43]

And this is in... developed senses, the whole structure of consciousness, the vijnanas and so forth. It means that when you're relating to a person, you feel their ego and so forth. But you also feel them in terms of their intentions, their sense feels and so forth. You're feeling them at some other level than just their ego personality. And the third is you're compassionate for those things that you can't see in the person.

[88:46]

For example, the sense that a person is already enlightened but doesn't know it. Or that none of us are separated from primordial mind, it's just we don't know how to notice it. So your compassion for them is to recognize their primordial mind, even if they don't. So this gives you something to keep you busy when you're practicing compassion. Makes it more interesting. So this practice of generosity is... recognizing other as oneself. So there's no holding back. It's being able to step out of your shell and be bare and vulnerable.

[90:04]

Mm-hmm. And then when I say something like that, people always say to me, Yeah, I try that every now and then I get smashed. You're schmettered. I was schmettered in the head. I was really schmettered. Nothing schmetters anymore. So then I have to give you teachings about how to seal yourself, but I can't do everything in one day.

[91:05]

This is the short course on Buddhism. Okay.

[91:08]

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