How was your discussion? Who will tell me something about it to begin with? Or tell all of us something about it? Oh, okay. What were you pointing at? Okay. I'm the report person from our English-speaking group with Paul. Was Paul? With Paul, yeah. Oh, you're the spokesman for the English-speaking group? There were two English-speaking groups. Oh, there were two, okay. One was with Paul. Okay. Okay. And we discussed the two questions, of course, that you asked us to discuss.

[01:01]

And first of all, the phrases that stick out to us. And I just, I mean, I have all these notes here. I just name a few of them. And if the people who were in the group with me want to add something, feel free to do that. One phrase. You're saying that in Deutsch to people? Oh. Thank you. That was the first phrase that stuck out. [...]

[02:02]

And it stuck out because it has this experiential quality for this one person that there's irreversibility about things, that they happen and then you can't reverse them. Yeah, and then there were the sentences that Roshi also mentioned in Teisho, which were mentioned a few times, with the guest from outside the creation and the host in the dust. So I'm not going to repeat them all now, but just what might be interesting for the practice. That there are also certain relationships between the sentences, for example, that the host in the dust is connected with the guest from outside the creation. And also with the Buddha who shows on the ground. And now I just choose those that may be interesting for practice. And one is that we found a relationship of phrases with the host within the dust and then the guest from outside creation and Buddha pointing to the ground, that there was a relationship between those.

[03:18]

Because what we have discussed is, of course, how does the conceptual understanding inform the practice or influence the practice. And we first talked a lot about And then to the second question, how does conceptual understanding affect practice? We had a few examples of how putting things into categories can have a limiting effect. effect. And also that it is something addictive, something that seeks, that you can still be addicted to it. And also that it has an addictive quality, that you can get really caught up into putting things into categories and then relating them with each other. And then we made a distinction between the conceptual understanding itself

[04:32]

And then we distinguished between conceptual understanding itself and the process that follows when you have put something into a category and then when associations are being brought to that. And we understood that as two different things. So, one is that there is a conceptual understanding that is really only a resonance between an experience space or an experience quality and a concept. And where the concept can also open up the experience space or even create it by repeating the concept over and over again. And on the other hand, that the experience space also flows into the concepts and the concepts in general only ensure that they are brought into the language.

[05:38]

So we have these two things that we looked at. There's first of all just the conceptual understanding which meant just this moment of resonance where a concept resonates with some experiential quality that you can fill it with. and then the conceptual understanding can trigger the experiential quality or it can even cultivate that experiential quality if you repeat the concept. And the other thing then would be the associative process that is more a conceptual thinking or actually often even a discursive thinking then, which is different from just the moment of conceptual understanding. And this conceptual understanding has an influence on the practice insofar as it is related to the practice.

[06:41]

The practice informs and clarifies and then just the conceptual understanding affects practice in the sense that it has a relationship with practice or with the experiential realm in the sense that it shapes experience and makes experience more precise. Okay. Thank you. Yes? Fritz? I'm speaking for the second English group. Okay. I agree if the gaps will be filled in afterwards for Ulrike. Okay. So I'm, before I go into the, he, his, this, that, me.

[07:47]

Fritz, übersetzt du dich selber? All right, go ahead. Can you leave out the ha-ha and he-he, though? Können Sie das ha-ha und he-he vielleicht rauslassen? The last remark I made, because I was challenged on that one, and not speaking from experience but from concepts, conceptual understanding. So that's why I now try to take the opportunity and speak from zero mind about what I realized and witnessed the last few hours. Then you have to take a break when I'm supposed to translate. So I was told that I would have written it out of a conceptual mind with the ha-ha-hi-hi and so on, right? Did you say that from the beginning?

[08:50]

I didn't understand you very well, to be honest. Not only that, but the whole lecture. Okay, the whole lecture, yes. And now I would like to take the opportunity to speak from an experience point of view. And first I want to say what stuck out, which sentences, that was repairs won't be easy. They're able to be master in the dust. But the main thing was from outside creation a guest shows up. And that's the critical point where I was talking about and now I try to talk again about that space. Because I said, we have the rare opportunity to have our teacher sit in front of us, in that space, telling us, look, if you can contact with me on the non-conceptual, experiential way of being,

[10:34]

Because we have the extraordinary possibility that the teacher is sitting in front of us, he takes contact with me in the experience room. And it was the sound of the water. And if the ripples, they can feel the ripples when they're being taken. So that is only similar to what we are now without water, but still having the possibility to contact the space where the teacher is showing us to enter in or to assimilate or get in contact in order to taste it. So we had this example or this sentence where we imagined the room to be filled with water and to feel the rough surface of the water.

[11:45]

And that's actually a synonym for how we now have the opportunity to sit in the room with the teacher who is still sitting in front of us. And... And this being the entrance to that part of the teaching, of the practice, which cannot be reached by intellectual understanding? But being the crucial point in understanding what's being transmitted here, what the transmission is in this room, in this lineage, in Buddhism as a whole. And I would like to point out

[12:51]

I'm sorry, I honestly didn't understand you. Maybe you can say it again in German. The last part. Do you say it in German yourself? This is my feeling. This is a valuable situation that the audience and we can get a taste of the feeling quality from the entrance door to the artichoke, so to speak. And the second part was the concept of how to grow as a person. And the second part was how concepts affect practice. And then we were saying, as you were saying, we also had different opinions, that the one opinion says, first sit and practice, then learn, or the other say, no, we learn and then your experience, when it happens, you'll be informed what she's going through.

[14:18]

The other way is, you know, you learn something about meditation, while it happens, you're informed with that moment, ah, it goes, right? My own opinion is like this famous picture of the bird which has two wings. and flies only if the wings are developed equally. One wing is the Pandita approach, needs studying. The other one is the yogic side experience, so it should be balanced in a way that the bird can take off.

[15:21]

No, they don't harm each other, they complement each other. And die stören sich gegenseitig nicht, sondern die sind komplementär zueinander. Thank you. Are the German-speaking groups particularly shy today? Sind die deutsch sprechenden Gruppen heute ganz besonders schüchtern? So, Katrin's group and we also spoke about the two questions.

[16:29]

Everywhere in life is sufficient in its way. And the one sentence that hasn't been named so far but that was important to us is the sentence he just said, everywhere is sufficient in its way. We, like the other groups, spent some time with this guest shows up outside of creation. Like the other groups talked about before too, we also spoke about the sentence, a guest shows up from outside creation for a while. And we agreed upon that we can't understand creation in the sense that there is a creator.

[17:34]

And for me the lecture today was very precious to understand that. So that we look more precisely at host and guest. To the second question, I would say something similar to what Fritz said. Experience and conceptual understanding are like a pulse that continuously pulses back and forth.

[18:40]

That would be the summary. That's good, thanks. I was in the same group and our discussion inspired me to think about what I think about concepts, not conceptual thinking, but concepts. I like concepts. And it seems to me that concepts are important for our reason, but just like a surface on which reason can walk upon. But that actually concepts can't be understood.

[20:00]

Because as soon as I approach terms or concepts and dive into these concepts deeper and deeper, it seems to go into the infinite. So they must have a different function as well. One is that they are there to calm the reason. Is that a part of the mind? Reasoning? Yeah, to calm your reasoning. To calm? To calm, yeah. To make calm? Because reasoning gets agitated. Oh, okay. And if I look at why I like them, it's because they have a figurative aspect. And when they are good concepts, then they have a kind of aesthetic.

[21:11]

And one thing is that they cause joy, but the other thing is also that you can operate with them. And then, of course, they serve as a reminder, or a mnemonic device, I guess you call them, because they are compact and concise. And they are something like supports or edges on which the experience, I now have a picture of the sea or the river, can make a sound. And they are supportive in the sense that I have this image of a shore and the waves come and they can smash against the cliff or something.

[22:39]

There are borders in the experience. Yes, I think so. And there is also this penetration, of course. And I think they are, they don't precise the practice because they are understandable, but they precise the practice because they enable a certain interaction and activity. And I think that they do not make practice more precise because they are understandable, but I think they make practice more precise because they create a certain possibility for interaction and activity. What would be an example of a concept? What would be an example for a concept? An example would be, I was not there last winter and I read the lectures and there was this suggestion, as I remember it, to have a holistic view, to be connected to the species and to leave the background spirit in the foreground, with all the requirements and so on. I wasn't here for the last winter branches, and I read through the lectures, and from what I understood by reading through it, there was this idea, and that's the example for the concept, that you...

[23:59]

There is a holistic attitude on the mind. And then a connection with breath. and that you then let background mind with the vows and everything, let that step into the foreground. I tried that and I actually don't know what background mind is. When I look at that term and when I try it out, I really actually don't know what background mind means. But trying it out worked just fine. And it gave me the chance to gather and to connect with my breath better than I did before.

[25:28]

So background mind as a concept was a kind of door. Okay, thanks. Yes. Isabelle? Yes. Ella? Bella. I know, Isabelle. In English, it's Isabelle. Yes, I have that. Isabelle. She's the belle of the ball. Don't confuse me. Sorry. I just like the name, Isabelle. I wish my name was Izzerichu. I was in David's group and it's funny, we also had this sentence

[26:30]

But in the comment to the verse where the second half says, you too can be a guest in the dust at this very moment and will first come from outside creation. But in the commentary, so we also worked with this phrase that has been talked about, in the commentary there's a second part to this phrase which says, you too can be host within the dust right now and come from outside of creation. so that we were wondering what can we do at this particular moment to be host within the guest uh no And then we tried to reconstruct what you said in the Teisho about these two sentences. And except for David, nobody remembered.

[27:33]

But it turned into an interesting discussion on how teishos are working. And that's very different. There was one experience with a sense of physical overwhelming that there's too much from a particular point on. Oh, I'm sorry. I've heard this before, though. And there's the experience of having understood everything and not remembering anything afterwards. That's what I hope. And then also there was the experience that when a person remembers a Teishu from 10 years ago, that then without having thought about what happened in the Teishu or what was said at all, but still a while later something has developed and all of a sudden you find you understand.

[29:21]

From 10 years ago? Not to remember. Yeah. Yeah. Well, that's wonderful. Yeah. Oh. Let the lotus bloom. Yes, and there was also an experience that it somehow makes you afraid. Do you want to say something about it, Susanne? I can't say exactly what it was that made me afraid, because we talked about the fear. I don't know exactly what it is anymore, but I think the fear is somewhere. I don't entirely remember either, but I think that the fear is somehow, somewhere present.

[30:26]

In the case or in one's experience of a teisho? Also in dem Fall des Goans oder in deiner Erfahrung im Teisho? For me it is very new, very open. And before I go into this opening, I have a kind of fear what could come out of it. For me this is very new and very opening, and before I step into this opening, I have a kind of fear about what might come out of this.

[31:35]

I understand, yes. Yes, I understand. And the fear stops there, where I... or the wall is like a wall, and... And with this fear, it's like there's a wall and something stops there and it's when I have the feeling I don't suffice for that. I don't what? I don't suffice. Suffice, you're not equal to it. That's the fear. But I also have That would be the fear, but also during Taisho I experienced something else. It's important in practice to, once you notice that wall, that feeling, stand close to the wall.

[32:40]

And that's usually expressed, that fear is usually expressed as knowing doubt or great doubt. It's the kind of doubt you're not up to it, you're not sufficient. But it's also a doubt you don't know if it's worth it or what would happen and so forth. So to stay in the midst of that doubt or that fear is a very important part of so-called sudden practice. So-called sudden practice. Do you have the phrase in German, something like the aha experience? Aha-Effekt.

[33:51]

Aha-Erlebnis. How do you say it in German? Aha-Erlebnis. Aha-Erlebnis. You guys are more complicated. We just say aha. Okay. So sometimes, you know, practice in the whole idea of right views or complete views is they're up against our incomplete views or our deluded views. And usually the deluded views are the boss. So practice is to kind of bring these complete views or perfecting views up against our deluded views. gegen oder auf unsere verblendeten Sichtweisen treffen zu lassen.

[35:15]

And this is supported by the return of the repressed. In this case it's the repression of our innermost requests. So when I'm speaking in Tesho, my intent is to speak to your experience and not to your understanding. Or to speak to your repressed innermost requests. So your innermost, as Isabella said, your innermost requests have the experience of understanding everything, or some, or much, but because it's your repressed innermost requests that are understanding,

[36:24]

You don't remember anything. Something like that's going on. Okay. So it's like you come up to an aha experience. And you only get as far as the ah. And it becomes ah, ouch, ouch. Well, you know, the ha part doesn't quite happen. It's hee, hee, ha, ha, you know. By the way, Lona, you said you read through the lectures from the last winter branches? Two thirds I heard and one third I read. There's a transcript maybe? I don't know what's going on around here. Who the heck makes the transcripts? Quite a few people. It's a lot of work. Oh, okay. Thank you. Okay.

[37:42]

Who else? Well, I don't know. David, do you? Oh, Tara. It would be interesting to know where this question of the inner most hurt best comes from. Because it is very centrally connected to the pain that I have just spoken about. And I would be interested in hearing where does the question of this deepest innermost request come from because that for me is very much connected with the pain that I've also mentioned the other day.

[38:44]

And that actually it's not a pain in the sense of fear, but it's more a pain about something being lost. Well, I don't know what to say about that, but I hear you. Maybe somebody else wants to say something, which I hope. I'll say something about the koan. Yes. Manuel? Yes. For me, picking out sentences is not so easy. Because... Oh, now I speak English.

[39:58]

For me, it's not so easy to pick out sentences. Because there's a dynamic in it. And there's one sentence that really always helps me when I am of the opinion that I'm missing something here. But it's not the sentence that really produces the work or the tension within me. And so all these phrases really have entirely different jobs.

[41:11]

Sometimes the sentence will help me to understand another person better. Or a situation, first of all. And sometimes the phrase gives me the opportunity to change my views. And what I find very confronting is simply no repairs. and what I find to be very confronting is this, no repairs. That's like a hammer and it connects with another phrase for me which is getting the beginning. When I experience a situation where I realize Finished, yes.

[42:15]

No matter if it's positive or negative, it's also good. I mean, either it confronts me with that or with even worse things. Or it is healed. When I experience a situation, for example, and I... Now I didn't understand it or forgot it again. So the situation with no repairs that may either confront me with something or something that's even worse or something that feels like a healing. And with no repairs then the work is done, it's fulfilled.

[43:21]

But then still there is the doubt whether this is really the case. But anyway, this sentence for me is often the beginning. And I find it fascinating with these sets here, especially in these choirs. Otherwise, it would only have been one or two sentences in the other choirs that were really totally there. Quite a long time. And here it has an incredible dynamic. It's quite surprising. And I, particularly with this koan, I find it to be very fascinating with the dynamic of the sentences. Usually in other koans there have been maybe one or two sentences, but in this koan it's the fullness and the dynamic of sentences that I'm really struck by.

[44:24]

Okay. So you started out saying that it was hard to... for you to pick out a phrase or something like that? It would stroke me most. All of them did, huh? And there's no favorite sentence. I discover something new every day. Well, great. What a treasure. Yeah, I just love the humor of repairs will be different. It's like a big ancient laughter at the whole of Buddhism. I'm going to plant a blade of grass.

[45:26]

Look at the beautiful temple. It's going to be hard to repair. Oh, yeah. He knows. He knows. Just to say something about concepts, you know, words, every word is a concept. Every word is a, and in that is a generalization. I'm just presenting this as a little, one of the ways to explore our relationship to concepts. Certainly, host and guest are complex concepts. But Dignaga, who's the originator of much of the Buddhist epistemology,

[46:27]

He says, you know, a cow is a concept. We have to learn what a cow is. So Emily learns what a cow is, and it's different than a horse. So she can identify cows. But every cow is different. So the word cow is a generalization, obviously, about cows. But every cow is very particular. So the word cow points at the particularity of the cow but doesn't describe the particularity of the cow. So if you're going to wait, if you're going to allow, let the lotus bloom,

[47:47]

You have to let the word point to the particularity of the cow and then the particularity of the cow is what you experience. You let the particularity flow into you. Okay. It seems to have been a good choice just to go from koan 3 to koan 4, don't you think? I was wondering whether we should go to some other koan, but it seems to be okay. I mean, it seems to have been fruitful. So I want to look at the second part of the koan, the commentary on the verse.

[49:01]

Why are you laughing? And her comments are pretty funny. Why don't you give that back? Let's read the whole thing. This sounds more interesting. This is like Ulrike and Dagmar's skit. Yeah. Whole new approach to the Torah. Now, Wonsang here in this commentary tries to give you the key to working with the koan. So he says, Chendong first versifies the case with four lines. Okay, so he redoes paraphrases the koan in these first four lines.

[50:32]

The boundless spring on the hundred plants. And this is the whole sense of the sky of spring, which is a term in Buddhism. Spring occurs because of the sky of spring. Or in here, on every plant is spring. And there's no limit to this spring. This is again like the book of our lineage, the timeless spring. And the hundred plants just means all plants. And this as soon as a single mote of dust arises. Of course for any English speaker who went to school it calls up William Blake's poem to see a world in a grain of sand and a heaven in a wildflower.

[51:52]

To hold infinity in the palm of your hand. And eternity in an hour. Now, that Blake's experience is, I would say, what Blake, the experience in Blake that led to these four lines is Yeah, very similar experience to what Tien Dong and Wan Song are talking about. But it would be interesting, but I'm not going to do it, to go into how their formulation and their culture make it rather different. But you can certainly see the parallel. As soon as a single molt of dust arises, the whole earth is contained. But here it's not a description, but an action.

[53:20]

Okay, so these first four lines of Tien Dong's poem, you can see it's an action. Picking up what comes to hand, he uses it knowing it. The 16-foot tall golden body. No, I don't know for sure, but I'm pretty sure that that comes from this statue in the early Chinese, during the entry of Buddhism into China. One way it entered was through visual art, through painting sculptures. Yeah, I would like to sort of, it would be interesting to study the parallels between European Middle Ages, how, for most people, Christianity was expressed in the paintings, the altars and the statues.

[54:50]

But here's this, anyway, story about this Buddha, which was a sanctity that actually existed. And they had to requisition a whole bunch of copper to make the bronze to do it. They had to requisition the whole bunch of copper from some military something or other to turn it into the bronze that made the And then the statue, as I told you the other day, was supposed to walk into town and preach the Dharma in town to the ordinary people.

[55:56]

And it glowed with light and walked. That would convince anyone to be a Buddhist. Can't repair it, but hell, I'm a Buddhist. Okay, so in this one, the 16-foot tall golden body casually leads him by the hand into the dust. And that's parallel to going into the village and into the weeds and teaching the Dharma. So a collection of virtuous qualities goes into the dust, that's the host within the dust. So the 16-foot Buddha going into the village is parallel to the single horse with a single lance, etc.

[57:07]

Or pointing to the ground with your finger. Okay, so if you read the case, so as I said, first you just read the case and see what comes up. And it's wonderful if it calls up some of your own biography. So the koan exists first on a kind of superficial reading. Not a surface reading. a surface reading in the sense that it then calls up surfaces in yourself then you want to see if the things it calls up the surfaces in yourself those surfaces kind of merge

[58:33]

Okay, then you want to go back to the koan and read it and see what phrases stick out. And then you want it real. Still without thinking about the koan, you let those phrases call forth act in your activity. Function within your activity. And ideally, functioning in your activity There's a merging of subject and object. As the Koran says, they occasion a non-dual appreciation or experience. The occasion, cause, A non-dual experience.

[59:50]

Okay. Then you go back and look at the koan with the... experience of your biography and the experience of the what the phrases call forth functioning in your experience in your activity and then you look at the yeah content of the koan And the content of the koan, as I said, the main point is the sufficient moment. The moment which you experience is sufficient. And the moment which is sufficient to pass the dharma, transmit the dharma. For the safety of the world.

[61:05]

And if you can do this, you as an ordinary person, you know, it says in here, an ordinary person, can do this, then you're doing things that the gods ought to do. Or at least the government. So the gods are in there representing what really the world should be about, the Buddha as a god and, you know, Indra, etc. In other words, this is the job of gods and government, etc. But how can you realize a sufficient moment in your own activity with others? Thank you. Okay.

[62:10]

So, identifying the focus of the koan is this sufficient moment, which is not just to understand how things actually exist, the truth of how things exist, not just to understand the truth of how things exist, but to be able to transmit the truth of how things actually exist. Yeah. Okay. So, one way you can then kind of get feel for that with Tien-Dung's help and Wan-Sung's explanation is that the case is then restated, paraphrased.

[63:13]

So you have the relationship between the paraphrased case in the verse and the case. So that gives you the resonance and dissonance of two points of view. Do you have the expression, two heads are better than one? In Germany, too. Is that true in Germany? It depends on the head. Yeah. Two heads are better than one because they're capable of two different locations. They're capable of two different locations. In space and time. Yeah, so two different people are going to have a different kind of resonant-dissonant dynamic.

[64:19]

zwei unterschiedliche Menschen werden eine andere Art von resonanter und dissonanter Dynamik haben. So you have this case and it's paraphrased and it's not they have a kind of dialogical music going on. Also hast du da diesen Fall und der wird neu nochmal aufgearbeitet und dann hast du da diese Art von Musik, die stattfindet. Okay, so now we've got the paraphrase. And then, and then Wang Sang sends, he sets up the main beam. And this is basically he's saying, then the next two lines give you the key. Get beam in on this. beam in like a light beam yeah okay but the first was not like a light beam right the first was like these guys here main beam no beam is set up yeah it can be either way to set up the main beam of the house or to focus on something okay and it expresses the enlightening way

[65:52]

Okay. And that? Yeah, I'm sure the koan means the main, probably if it's translated in German it would be different. It would be the beam of the foundation, the main beam. And in Japan, setting up the main post and then the ridge pole is very much, I think in Europe, there's a celebration when you do that. So he gives us instructions on how to really find the key into the koan. And the beam sense expresses the enlightening way.

[67:26]

Okay. So then, if you follow one song's instructions, Which are actually Tien Dung's instructions, except one song points them out to us in case we happen to miss it. And Tien Dung's verses often do this. The first lines do one thing, the second lines do another thing, and so on. So the main beam and the enlightening way is able to be master in the dust. From outside creation a guest shows up. Okay, so this then means you've got to spend some time, if you're getting used to working with koans, as I said in the tissue, to work with these concepts of host and guest.

[68:59]

and to point somehow into your own particularity in experiencing these things. And for us, the most basic and easiest way is to notice the difference between zazen mind and usual mind. Or the mind that knows, the mind that can go to sleep and the mind that wakes up. And to respect then the mind that goes to sleep the way we respect Zazen mind as a mind which can know through dreaming. Images or metaphor. The use of a metaphor like the basket to use the image excuse me, to use the image, is to call forth dreaming mind in the midst of conceptual mind, usual mind.

[70:29]

Yeah, because you're, because Dreaming mind works primarily through images and feelings. So when you use a metaphor, an image, actively, functionally in your mind, your consciousness, thinking consciousness, you're calling forth the mind of zazen or the mind of dreaming into your activity. And the verticality of dreaming and not so much the horizontality of dreaming. Now maybe I'm getting a little complicated right here.

[71:30]

But I'm really trying to say how this is all integrated in our actual experience. Okay, then the next two lines express the enlightening way. Everywhere life is sufficient in its way. So now he suggests not bringing this key to the koan. Let's call it the experiential key to the koan. Or the yogic experiential key. Then the last two lines suggest the attitude that arises from enlightenment. Which is here, everywhere life is sufficient in its way.

[72:44]

So if you see that line, then you start practicing for a while, if you're working with this koan, with the mind of acceptance, or the mind of just now is enough. And then, no matter if one is not as clever as others, without any idea of smart or dumb, to really feel... Well, let me tell you a story I've told you before. Which is, I think, a good example of this, what this has meant. And then we'll stop. And this was very important for me, this funny story. Because I was... sitting on a sloping roof over a doorway of a house where I realized I was an American.

[74:05]

And then I realized I wasn't. It was just one little porch that was over the entry and it sort of sloped, but it was the only place to go out in the sun in this little house. So I was out on this little slopey shingled roof. Asphalt shingles. This was many years before I started practicing Zen. And I was reading a book by William Faulkner.

[75:08]

And he has sentences that can even be pages long. Anyway, I'm reading it and I read some sentence and I'm trying to think about the sentence and I couldn't understand it. And I thought, you know, this is... I just can't understand this. And I thought, I'm just not smart enough. I'm not clever enough. This book is written for clever people, not me. That's what I was thinking that way, you know. And then I thought, this book was written for human beings. I'm a human being, I think. So I must be able to understand it. So then I read it just feeling, it's written for human beings, I'm a human being.

[76:13]

So I read it that way and it was completely clear. This sounds like nothing at all, right? But I've never not understood anything since. I mean, that can't be quite true, but it's so true. In other words, if I don't understand it, now it's an experience of understanding. Because the non-understanding becomes... becomes an aspect of understanding or something. So there was a shift in attitude rather than an attempt to understand.

[77:15]

So the koan is pointing out this attitude. You just do not have in your mind thoughts, I'm not clever enough. Of course, all of us, there's always smarter people than we are. But if you think that way, it really, if you think I'm smarter than others, that inhibits your thinking. If you think I'm dumber than others, that inhibits your thinking. If you don't have thoughts like that, everything is much more. But the problem is, if you have such ideas, You read it and understand it and think, oh, this means I'm smart.

[78:17]

Or you read it and think, this means I'm... Both of those don't let you really understand. Because that's your personality, you're self-reading it. And subtle texts like this can't, in a sense, be read by the self, by the comparative self. You have to read it with a sense that this is the activity of my life, this koan. Not, oh, koans are difficult and they're for smart people or something like that. If you read with, this koan is the activity of my life, even if it was written a thousand years ago, that attitude will make your activity of your life flow into the koan and vice versa.

[79:25]

Diese Einstellung wird die Aktivität des Koans in dein Leben fließen lassen und auch umgekehrt. Okay. How wonderful. Wie schön. Thank you very much.

[79:53]

@Transcribed_UNK
@Text_v005
@Score_66.84