Zen practice, Buddhism in general, is a teaching that, like I think any great teaching should, comes together as you live your practice. as I think we find our life comes together as we live it. I was amused and enjoyed spending time with an old friend of mine in Mexico named Sam Keen. who's 65 or six now.

[01:03]

And he always had a fantasy when he was young of being a circus performer. So recently he, I don't know, five or six years ago, he just decided to do it and he put up a trapeze and everything and now he flies, as they say. And he brings kids, slum kids, out from the city and others, and they finally get up the courage to go from trapeze to trapeze and be caught and thrown back to another person and so forth. They have a net, they have a whole kind of circus set up. He looks about 40. And he has extremely now trim muscular body compared to 10 years ago when I knew him.

[02:30]

And we were talking too about how we both used to work on different kinds of construction. And he, as a young person, worked running a jackhammer. Where you dig in the street... And he was the only white person working with all blacks. And now the songs the blacks used to sing have become very important to him. Anyway, I'm just saying that sometimes so many odd things we do as we live, even the oddest somehow come together in what we do as an adult. And the same way, I think, if we're lucky, our life and our practice grows together.

[03:52]

Mm-hmm. No, I'd like to speak about something I brought up here in a small seminar we did, and then also in Kassel, let's put it under the heading of proportion. And I would like to speak about something I brought up here in a small seminar we did, and also in the seminar in Kassel, and that is under the heading of proportion. And as I mentioned then, it's also something I spoke for about a day and a half with, off and on with Ivan Ilyich. And...

[04:52]

I'm trying to think of examples about it because I think it's important for what we're doing here at Johanneshof and what each of us do in our practice. And proportion means, and I'm using it to mean, the ability to stay within your own experience. And this is not as obvious as it seems. It's quite possible to be outside your experience and making yourself suffer because you don't know how to stay inside your experience. And one of the examples that came up, and I've mentioned the other day, is Sakyurasi used to say when we chant the Heart Sutra, don't go, don't speed up the chant.

[06:13]

But in fact, you know, it does go faster. You start out, you know. And he would say, no, I'm not going faster. And he would say, no, I'm not going faster. I didn't think he was losing his mind, but, you know... But you are going faster. I didn't assume that he had lost his mind, but I was already worried and thought, he's going faster. But I think it comes up for us when we chant the Kanzeon chant.

[07:41]

I think it comes up for us when we chant the Kanzeon Darani. Because we think we're supposed to, by the seventh time, be going faster. But really we go faster because we can go faster. In other words, when you chant Kanzayon and you chant it a lot of times, it's almost impossible to keep it from going faster. In other words, if you recite Kanzion and do it several times in a row, then it is almost impossible not to get faster. So, Kanzion, Namobutsu, Yobutsu. And if you keep going together, pretty soon you go faster. Kanzion, Namobutsu, Yobutsu. Like that, you know. If you recite Kanzion together, then it will be quite fast to get faster.

[08:48]

But if you take something like negawakua, let's see, daisai, gedapuku, musufuku, denye, bu, and you can't do that faster. In fact, it tends to slow down each time you do it. And I'm bringing this up. It's a slippery idea. And I'm bringing it up again to get it across because we take certain things like speed, the idea of speed for granted. And we confuse measure and proportion. A speed was not an idea until trains came along, railroad trains.

[10:08]

In English, God's speed meant be with God in prosperity. That meant be with God in prosperity. The word speed until the 18th, until the 19th century meant prosperity. But everyone wants prosperity quickly, so it had some idea of quickness in it. And when trains came along, we had the idea an even speed, and the word came to mean its contemporary meaning.

[11:30]

Before that, horses didn't have speed. Horses went as fast as they went. Donkeys went as fast as they went. And there wasn't an idea of speed. So when you chant the Heart Sutra, you actually are starting out at a speed, at a... See, it's hard to not use the word. You're actually starting out bringing everyone together. And these... And you have to stay sort of a little ahead and a little behind and in the middle of everyone all at once. If you have some idea of speed, that there's a certain speed you should get, pretty soon you'll be ahead of everyone.

[12:53]

Every morning, the chant will be a little different. And we can hear it in the Sashin. The chanting the third day is different than the first and different from the sixth. And this isn't speed, it's proportion. So the Heart Sutra allows you to go to chant it a certain way, depending on who's chanting and the time of day and so forth. And in German it will have one proportion and in English another proportion.

[13:54]

And we shouldn't think that Somehow the Japanese-Chinese version and the English-German version should all go at the same rate. Now, I don't have any idea of westernizing Buddhism. I've practiced Buddhism at several Japanese monasteries. And in several centers in California. And in Santa Fe and Crestone and Hostestilla and Yohannesov. And each has its own proportion.

[15:04]

We're not trying to duplicate Crestone here or Eheji or Daitokuji. Or Tassahara. We'll try to do the same thing, but it will have its own proportion. You know, if you have a wine glass, The flute, which is like a bud, is for the champagne, to keep the bubbles in.

[16:04]

And the white wine glass is more to keep it cool, if it's cool. And the red wine glass is more open to let the wine breathe. And the stem is, where you hold it, is not touching the wine so your body heat doesn't affect the wine. And the flat part at the bottom is so it doesn't tip over. And wine, you know, you've had these conditions, the glass, the shape of it, the size of it, and so forth.

[17:15]

And then you have the mood of the waiter. Maybe he feels like pouring more or less. And then you have how he feels about the customers. Maybe the second or third glass he pours fuller. And maybe if the alcohol content is different, he might pour a different amount. That's all proportion. The occasion determines the amount. But the little mark on the glass which tells you how full to fill it is measured. And measure is not proportion.

[18:29]

This little mark is put by some outside absolute standard, which has nothing to do with the waiter, the mood, the situation, or anything. Now, measure once meant its roots were in moon and meal. Und die Wurzeln des Wortes Mars hatten etwas mit Mond und Mal zu tun. And menses, menstruation. Und menstruation. And it meant, but now measure has lost its moons and lost its round of meals.

[19:31]

Aber jetzt hat das Mars den Mond verloren und die Tafelrunde... And measure means measured by a standard. And standard in English literally means to stand hard. as if there's some absolute standard outside everything, which is some absolute truth. And I don't think we... I think we often get confused and measure ourselves by some standard somewhere out there, and it's not good for us. Sometimes our life is like the line on the wine glass, which tells us what it should be like.

[20:36]

This line on the wine glass goes against the whole spirit of what having a glass of wine is about. It's a reminder of some kind of economics. So maybe I hope by the example of Tsukiyoshi and this wine glass, I've given you some sense, tried to give you a feeling for the difference between measure and proportion.

[21:48]

We have a kind of moral economics now. I mean people were always concerned with what value does it have. I'll sometimes say Buddhism rests on deciding for yourself what's wholesome. And people will say to me, what value does it have? But you can't measure. Some things, honesty isn't a value. Honesty is honesty. Good is not a value.

[22:54]

Good is good. Do you understand what I mean? And this you have to decide within the proportion of your own life. If you have some idea of measure out there, you'll never write a poem, for example. A poem, if you think of poems as some kind of absolute condition you have to meet, A poem is the proportion of this moment. It can only be measured, discovered in the proportion of this moment.

[23:55]

And if it's a true poem, it can convey... Its proportion is true. It can convey this moment to another. I'm also talking here about timber. A note has volume, pitch, and timber. And I'm also talking about... Volume, pitch and timbre. Timbre is like the particular quality of a violin. You can transfer a violin's music to a piano, but you can't change the timbre of a violin note to a piano. So I'm talking about timbre, volume and pitch here.

[25:03]

And there's a timber to our life. There's a taste of each of you, a feeling of each of you, which doesn't belong to anyone else. I want myself to come to trust this timber of my own life and each of you of your own life. When you discover this note or this timber of your own life, your life will begin to grow together. When you begin to trust your own life in this way. Now this is, you know, as difficult as it is to see that horses don't have speed, it's difficult to discover What language do we use to discover the proportion of our own experience?

[26:29]

Shall I start over? So, as it is difficult to see that horses have speed, so it is also difficult, the second part. And just as difficult it is to find out when we are in proportion to our life or when we measure our life. Pessoa speaks of our life being a secret, our true life being a secret liquid, having a secret liquid quality. Fluid quality. And I would like us in Sashin to find this secret fluid place in our life. Okay, let me come back to this practice of...

[27:32]

discovering this waking moment. Now you may discover this in zazen as well as in waking up or at any moment. And I've also suggested at times, as some of you have practiced it, I know, to get the ability to hold something in your hand all night and still have it in your hand when you wake up. If you want to try something slightly more difficult, you put a coin or something in your forehead and see if it's there in the morning. This is a kind of mudra to hold something that teaches you how to bring a kind of consciousness through your sleeping.

[28:56]

a thread of consciousness through your sleeping. Yeah, you can also make one hand conscious and try to stay with that physical quality in that hand during the night. And all you can do is initiate it and hope that that initiation might carry through the night. And you discover what kind of initiation does carry through the night.

[30:15]

So you can, this waking moment, you can practice with a little mudra. Maybe it's easier to do with a nap, because we wake up from a nap with more gentleness sometimes. You have a feeling of you're waking up and you have a feeling, this feeling of regathering, as I said. You can take your hands if you want, put them on your breastbone. With a feeling of receiving, but letting yourself receive your regathered subtle body. When it regathers, you can then turn your hands like this and have a feeling of opening it out to the world.

[31:33]

And if you're right-handed, you can feel that maybe Buddha mind is in your left palm. and personal mind is in your right palm. And you can make those converge as if your two beams were coming out. It may seem very funny lying in bed with the covers. But these little mudras actually help you remind, and even if you do nothing but the mudra, the mudra carries something in itself.

[32:49]

Now we sit, and you've already had some experience of this, because when we put our right hand, which is our usual mind, and we put our left hand, which is Buddha mind, on top, and our thumbs together, So you already have an implicit physical knowledge in your hands of Buddha mind and ordinary mind coming together. Now, in this practice I started giving you yesterday, I'm emphasizing that which we share with others and with the world, and that is not our personality.

[34:11]

So the next step as part of this practice is in zazen, I would like you to practice with the four elements. Now I'm going to try to give you a feeling, simple feeling for this, which you can use I mean, I can give you only English words, but you can discover it through English words or a German word. And I've been talking about this a little. I'm going to try to give it to you a little more completely now. And this is a kind of spiritual physics psychology. And it's in both Western and Asian cultures, earth, water, fire and air. because it's what we share with the world.

[35:54]

And this is... So when you sit down, I would suggest first you review the earth element. But first let me imagine Zazen. You come into the room. Into the zendo. And again, you know, as I pointed out, in English the word entrance is entrance.

[36:57]

And there is, in ancient times, this feeling of when you enter something, it's a kind of trance. And in früheren Zeiten gab es dieses Gefühl, dass wenn man einen Raum betritt, dass das eine Art von Trance ist. In Japan, the entry is called the genkan, which means just ordinary word, genkan, entry, it means mystery gate. So maybe in Sashin you can have a little of that feeling as you step into this zendo. And then you go to your cushion and you bow to it and sit down. Bow to it in the room and sit down. And you turn around. And then you're probably maybe somewhat sleepy

[38:00]

But you settle into your posture. Lifting up and settling at the same time. Then you bring your attention to your breath. And you use your breath to weave yourself together. To weave body and mind together. And at some point, if you want, please feel your solidity. And then at a certain point, if you want to, please feel your firmness.

[39:25]

And this sense of solidity is like an arrow turning inward. And in relationship to the world, it's considered the West. Where the sun comes up. Where the sun comes up. Where the sun comes up. Comes up in the east. I'm sorry. Comes up in the east. Yeah. It's the east. It's identified the east. I'm glad you're correcting me. Where the sun comes up. And so in that sense, the sun touches the earth at that moment. So in this larger understanding of Buddhism, this moment of solidity is the light of day touching the earth.

[40:40]

And this is connected with the Buddha Akshobhya, which is called the immovable. in this Buddhist solidity. And it's connected with Shakyamuni putting his hand down to have the earth testify for him. So when the Buddha puts his hand down and the earth testifies for him, this is, in the way we're speaking, the same as the sun coming up the moment it comes over the horizon. And this teaching is entirely to help you discover your proportion in the world.

[41:46]

You feel differently in the morning than you do in the afternoon. And that difference between morning and afternoon is proportion. And when your subtle body begins to regather, your dream dispersed body begins to regather, it regathers into your solidity. There's some physical object lying there in bed that's waking up. So that moment you discover your solidity. And that again is an arrow turning inward. So you attempt in... to discover your solidity.

[43:24]

Any way you want, the stuff of you. So I think that that's, rather than go through the other three right now, I'd like to leave you with the feeling of this correlation between outer and inner. with your waking up in the morning, with the sun coming up in the morning, with your sitting down in zazen, in this liquid, fluid secret state.

[44:39]

And this is one way we begin to let the world also identify us Because everything discovers its solidity through other things. Everything starts to teach us in this way. Okay. Thank you. Yeah, seriously.

[45:52]

Satsang with Mooji Nibbāwa kuwa myōrai no shinjitsu giho geshi tate matsurān. Ainho hundratofune, puchlingune, and forklomene dāna, hindi ksishā hindi hundratasun, iwe yōinkai, dāsne sotun. Moving, dashing, they sit on time, where only heaven and the twilight can come. They will reach to my heart, just a tiny touch, but come. This room seems to be creeping closer and this side of the room seems to be getting farther away.

[48:46]

Yesterday I felt I wasn't too clear. Partly it's that I was trying to negotiate among those of you who've heard me talking recently about some of this or in the past or some of you who should know about this stuff and some of you are completely new to all of it. How do I find a path among that? But also my... practice in Sashin and practice with you brings me to some new confrontation with how to present a teaching.

[50:27]

All in all, in the last couple of months or so, I would say I've been working with the larger idea of karma. Overall, I would say that I have been working with the further idea of karma in the last few months. Karma being the encounter of us form beings, mental and physical form beings, with the world. But then yesterday, by bringing up Akshobhya... We say in baseball ease, I threw myself a curveball.

[51:44]

Then I went right by my bat. Yeah, because if I talk about Akshobhya, I really have to start talking about a kind of Buddhist mythology. That's intimately part of practice, but still it's a kind of mythology. And when I start, again, another curveball I gave you, I started talking about mudras. And mudras means that I have to start talking about perhaps we could call it yogic imagination. So bringing that up, I realized I can't speak about what I've been speaking about in the way I've been speaking about it.

[52:57]

Sorry to make you share in my problem, but you are my problem. And I suppose I'm your problem. But that's a nice way to beat up each other's problems. Sounds like most friendships. And I see that there's something I haven't been teaching and presenting, so maybe I can try today to start touching on this that came up implicitly yesterday.

[54:20]

Now there's some basic assumptions in the idea of proportion. And Ezra Pound, who actually was the writer, the poet who got me into Asia and Buddhism. discovered proportion when he began reading Chinese poetry, Confucius and so forth. No, proportion is an implicit given when there's nothing outside the system. Like there's no line on the wine glass.

[55:35]

No. The wine in the wine glass and this idea of an absolute outside the system can be useful. But at one time, time was considered to be an absolute throughout the universe, but now with Einstein it's not. You can't tie down the sky and the stars. Okay, now... Part of this sense of, well, let me start somewhere else.

[56:52]

There's no avoiding these great rhythms that we're part of. Es gibt keine Möglichkeit, diese großen Rhythmen zu vermeiden, von denen wir ein Teil sind. Sun and moon and stars. Sonne, mond und sterne. The movement of the sun westward during the day. Die Bewegung der Sonne in Richtung westen im Verlauf des Tages. And at night the stars in the five planets move westward. At least it looks that way to us on Earth. And it's very clear that you have to understand these things to know about these things if you're going to plant crops and so forth. Now it's also clear that we are a child of the sun and the moon.

[58:02]

Our procreative rhythms, both male and female, are tied to the moon and the daily rhythms. So I'm trying to give you a feeling of a certain aspect of Buddhism here. In other words, it was understood, felt, that our very source, our very fertility is tied to the moon and the sun. With other words, there was the perception that our origin, our fertility, is bound to the sun and the moon. Okay. Now... In the West, one of the things that happened in Europe particularly was these stone circles that are found in Spain and I guess Portugal and England and other places.

[59:32]

And what happened in Europe were these stone circles that you find in Spain, Portugal and England, for example. And we put, our ancestors put stones down in a pattern to somehow embody the movement of the stars and planets. And the sun. But in this yogic culture, our Asian ancestors put the stars and sun in us. Because they so completely, at least those of our ancestors, which are our Buddhist ancestors, So completely assumed that there is nothing outside the system, they assumed that we are part, that the moon and stars and sun are part of us.

[60:45]

And we're part of the moon and stars. Now this is a kind of mythology. It explains things. And it's based on facts. But at the same time, it's a view. And you don't try to prove it exactly, but you find it confirmed in your own experience. So, basic to Buddhism is an assumption that, and to much of Indian pre-Buddhist Indian culture, that macrocosm and microcosm are related. Now, of course I can say this, and many of you have heard me say this before, but to really

[62:01]

get this, grok it, in this science fiction term, take some time. If macrocosm and microcosm are related, how are they related? Of course, we can see the relationship in the tides and in the seasons of plants and beavers under the ice and so forth. beavers is that animal that builds dams and lives in the dark under the ice in the winter beaver they're called beavers in german beba oh okay yeah okay but

[63:16]

Are we passively the recipients of this or are we actively, creatively the partners in this? No. The word part in English, the root is equal, something like two things that are equal. Like pair, two pairs, pairs or peers, equals. And if you part your hair, I just have one big part. But if you part your hair and it's in two parts, then each part moves independently of the other. So parts have an independence as well as related to the whole.

[64:22]

Teile besitzen also eine Unabhängigkeit, sind aber auch mit dem Ganzen verbunden. So it's assumed that each in this Buddhist mythology, that each part is equal to the whole, and each part is equal to each other part. And each part can pivot the whole. can affect the whole. Now these are basic assumptions that underlie Buddhist view of the world, practice and so forth. And again, it's a kind of mythology. Okay. Now, The mandalas, the stupas, often have within them five Buddhas.

[65:39]

Vairocana in the center. And Akshobhya in the center. east, Amitabha in the west, Ratnasambhava in the south, and Amoghasiddhi in the north. Now, I don't expect you if you're not really in the Buddhism to remember these names. But I think it's useful to at least discuss them a little bit today. Now, they're physically represented that way, and sometimes I think, at least from a non-practice, from a practice point of view, carelessly thought of four realms.

[66:47]

Like Ratnasambhava is the Buddha who lives in the south or something like that. He'd be the Mexican Buddha. A big sombrero. I saw all these people coming back to Germany with huge sombreros. I don't know what they're going to do with them in the snow. The plane was, every seat was taken and not every seat had a sombrero, but many had these big silver and gold, you know, huge hats. And two or three sombreros take up about 15 seats luggage space. So Ratna Sambhavi is a huge sombrero.

[67:50]

But they're also called the four or five tathagatas. The tathagatas are the four directions, five directions. But, and this is loosely assumed to mean four directions from a center. Like in a compass. Yeah. But it actually, Vajrochana in the center is not in the center, he's in the zenith. Zenith is the path of the sun. Zenith is the path over. So Vajrachana is above and in the center. So these four Buddhas, five Buddhas, are the direction of the day.

[69:20]

They're the directions during the day. So, let's go back now to the moment of waking up. Augenblick, is that the waking up? Moment. The moment of waking up. I like that. Augenblick. I felt that way this morning. Augenblick. So I gave you this mudra of a sort of tent with dark under the hands in this shape. And I said, you can use the mudra to have a feel for... for... for... re-engaging your subtle body.

[70:29]

And then, waking into the day, you can have this kind of mudra, which is like the sun. And that's just a kind of, you can do what you want, this is a kind of practical mudra. The mudra of Amitabha is like this, I believe. Which is quite similar. And Abhidharma is the Buddha of light. That's quite similar. Now, the sun gets up and you get up. Now, it's assumed, and I've said this before, you don't get up because the sun gets up.

[71:51]

You get up because you get up. And the sun comes up because the sun comes up. You're on parallel, equal courses. high in the dark trees before dawn, insects and birds start to move even before the dew starts to sparkle with light. And the more you're living proportionately, you start to feel, particularly if you're out camping or something, start to feel the day coming before dawn. And in sâshin you may find yourself even coming awake, coming into augenblick before the clocker.

[73:00]

Now when the sun comes up, the earth appears. It's a moment of, mythologically, of renewal of creativity. We see the substantiality of the world. We see the world in its physicality appear. And when you wake up, your physicality also appears. And actually this kind of thinking informs Our morning zazen, kin hin, and service. Because you make your body again in the light of the mind as the sun makes the world again in its light. So there's an intentional rhythm in practice here, an intentional rhythm of your day.

[74:48]

And what I'm presenting here is how you make your body. Now, Akshobhya, this Buddha of the East, is iconographically connected with Shakyamuni Buddha. The historical Buddha. And we're lucky to have this Shakyamuni Buddha through a gift to Gerald and Gerald to the place for our altar. And this mudra is called the Bumi Sparsis Mudra, something like that.

[75:59]

And Bumi means land. So this hand is in meditation. And there's various stories of the episodes of the Buddha's life and how he had the earth witness, how the earth testifies to him. The Buddha decided not to move until he understood the truth. And although I don't expect you to not move until you understand the truth, I don't know if this building will last that long. Excuse me for being pessimistic. I actually have much more optimistic thoughts than that.

[77:26]

But we do need that kind of discipline. I will practice, boring, interesting, whatever, until I realize the truth. And Buddha called upon the earth to witness his resolve. And witness, the word witness means spontaneous seeing, spontaneous knowledge, spontaneous wisdom. Wisdom. And let me say as an aside here again, I'm giving you these teachings, but still, please remember, the basic teaching is uncorrected mind.

[78:44]

Which is not really so much natural mind as spontaneous mind. Natural, again, can be a kind of laziness. Our nature will find its way. Things will happen naturally. In Buddhism we don't understand it that way. You have to create the conditions for spontaneous mind and body. If you don't create the conditions for spontaneity of mind and body, karma will just control you under the guise of being natural.

[79:48]

Under the guise of being natural. Mm-hmm. Okay. So when you sit down, I said yesterday, sleepily, and then settling yourself with bringing your attention to your breath and through your posture. And then opening yourself to uncorrected mind.

[80:49]

And then perhaps trying for a little while some of these practices. By the way, I find it quite good sitting in a sendo. Do you feel okay sitting in a sendo? Getting better all the time. And I like it that the power plant is behind the Buddha. So you hear the Buddha kind of warming up? That's what I think of the Buddha as the power plant. Thank you, Buddha. Okay, the simplest I can say is that morning practice is making your body with your mind and intention.

[82:20]

So there's this moment of waking up when you've been lost in sleep and you discover your materiality again. And at first it's just stuff pressing down the mattress. You've left a dent. But even if you're dead, you'd leave a dent. So you bring this body to life with your mind and your intention. And you bring your mind, you bring your body to, you make your body in the four postures.

[83:26]

And the four postures are lying, reclining, reclining or lying. And so you wake up in this reclining posture which you bring into awareness. And then you come to the zendo and you bring sitting posture, you make your sitting posture. And then in kinhin you make your walking posture. In kinhin you make your walking posture. You make your body in walking. Now, all of you know the instructions, too many of them, for zazen, sitting posture, but you're not so familiar with the instructions for walking posture.

[84:45]

Und ihr kennt die Anweisungen für die Sitzhaltung, wahrscheinlich sogar zu viele, aber ihr seid nicht so vertraut mit den Anweisungen für die Gehhaltung. Now, it's in slow kinhin that you integrate mind and body in walking. And part of the way you do that is, you know, you create this shashu posture. And that's just a position when you put your hand this way. And it's a posture when you turn your hand up, a yogic posture, because some awareness comes in it to be like this, and it turns your elbows out slightly. And you feel a relationship between this posture position and the arms parallel to the floor.

[85:51]

It's a very energetic posture. And you feel some connection between this shashu and your hara. And you tie mind and body together In this practice, at the hara. So in kin hin, you push your breathing as you exhale down into the hara. And then you walk with the hara. Mm-hmm. And when you step forward, you step forward half a step. When you lift your heel of the back foot,

[86:54]

You feel your breath. Now, this is a kind of yogic imagination of mudra. You feel your breath coming in through your heel. Yeah, and then as you step forward, you feel your breath coming out through the hole of your body and back into the earth. Your physical breath and your subtle breath. And your imagined breath. And then you start again with the other heel. You feel breathing, it's called heel breathing, all the way up through your body. And this is based on this idea that this earth is part of us and we're part of it.

[88:04]

And all Taoist Qigong-type practices are based on this same view, this same vision. And this is exactly the same as Akshobhya and Buddha touching the earth. When there's a witness, it says the earth witnessed the Buddha, the Buddha witnessed the earth. And the witness is someone who says, I was there, I saw what happened. A witness is someone who signs a contract to say, this is the law. So this is probably the most famous, well-known mudra in Buddhism, this earth-touching gesture, it's called.

[89:20]

But when you wake up in the morning, this first waking your eyes, opening your eyes, is an earth-touching gesture. Aber auch wenn ihr am Morgen aufwacht und eure Augen öffnet, ist dies eine Geste der Erdberührung. I witness the earth, the earth witnesses me. This is the law. Now this is like being in mythological time or some fundamental time, not tied just to your personality. Something primeval. Yeah, source. Yeah, this is source. This is source. Your procreative rhythms are source.

[90:34]

Again, tied to the sun and tied to the moon. Just as entrainment is like when you hit a tuning fork and the other tuning fork, that's called entrainment. When all the pendulum clocks in a household start swinging together, that's entrainment. Resonance. And in fact, we are entrained with moon and sun and stars. And indeed.

[91:23]

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