So it feels like you had a lively discussion. So enliven me. So enliven me. I can't, you know, I saw so many cowboy movies when I was a kid. And the Indians are always saying, how? So whenever you do that, I say, how? It seemed to have disappeared completely, the cowboy movies. But there's a revival now. Is there? New cowboy movies. Didn't arrive in your order. They're just being made, I bet. Good. But we can all go together. Oh, I would like that, yeah. You give it a... Watch out! Like you did in Ken's movie. Watch out! He's behind you. What? Oh, really, yeah. The Union troops are always arriving, you know.

[01:00]

The translator's getting ahead of me. Okay, well, how? Yes. Of course, a lot of things were said. Of course, I would say that the key points were actually, first of all, access to the core. They were also very different. I have to look at my paper a little bit. First of all, One person said where it took place and with whom it took place was just so important. And that, now it's not all one person, but it's important that I can understand it as my story, so to speak. Not that two people are walking around, I look at them, but I can relate it to myself.

[02:04]

And that's important. What was very important was the introduction. in several respects. The first, the second sentence, has opened up something for some of us, so that a bit of duality also fell away, that with the other sentence also something like a freedom arose, suddenly a feeling of freedom, to be able to move freely, to come back to his pillow and so on. I have to translate a little bit, otherwise I get ahead of myself. I feel like a parrot. I'm sitting on the thing. And I hear everyone speaking, and I don't quite know what it means.

[03:14]

Peace today. Peace today. So it was about the entry to the core. Where it happened and was important and with whom it happened and also that... Okay. Yeah. Not just as being – not just a story. Yeah, with Matsu or someone. Yeah. And also to be able also to see myself in the story, not just have it at a distance, but be able to see myself in the story too. And altogether the opening was – But for several people, the introduction was very important in many ways. Just first lie, the first sentence or the second sentence, you know, that just duality dropped away, more freedom was experienced and just being, the impression was, the landscape was sort of drawn already, but the idea, you know,

[04:37]

It was about the group, about us as a group. Studying for a long time, coming together as a group, what kind of effect it has in the sense of what comes together, what also arises in addition, how it condenses and what makes it possible for Roshi to say something that might not be possible otherwise or individually. So this common, so to speak, but also common with our teacher. It's about the group here The group coming together, aggregating something, the experience of the group and makes the entry easier and also makes it possible for you to tell and teach certain things.

[06:03]

which might not have been possible in other situations. So this is a mutual thing which is for many of us, most of us, a good entry too. So it's very much about the whole group together with you. Yeah. Yeah, that's the main thing. I should be signing now. I just couldn't help but think of this. When I was in college, it's just a dumb thing to tell you, but when I was in college, I was in a... play by John Ashbery, who's a pretty well-known poet, but it was his first play. It's called Poet's Theatre. Yeah, so anyway, I played, believe it or not, the Indian chief's son. And my main line was, but nobody thinks of the group anymore.

[07:12]

And I spent the rest of my life doing it. Okay. So who else? I'd like to ask something. And you offered a way of looking into the koan that between those two in the koan it's about the lineage, succession. And quite to the ground I ask myself, where do you know that from? No, it's serious.

[08:13]

Is there a commentary? Is there a background story? Because we on ourselves wouldn't have been able to come to this conclusion. So where could I learn more? Well, you could come to this conclusion. The obvious is, you know, the obvious should not be ignored. So the obvious is that this is Matsu and this is Baizhang. And this is And Bai Zhang is Matsu's most famous and primary disciple.

[09:18]

And the custom of these lineage stories is very, very often to show the point at which the the mind-body of the teacher was inherited. So on the whole, the main stories that are saved are stories about historical personages. The main stories, I mean, for instance, Yuan Wu wrote his own 100 cases. Many teachers wrote 100 cases or something like that.

[10:29]

So Heikigan Roku is the Blue Cliff Roku record. But there's many Rokus. We could have a Suzuki Roshi Roku. I was a little more diligent. We could have a Zentatsu Roku. Okay. Out of all these Rokus, which are thousands of stories, certain ones have been collected and organized into primarily three famous collections. The Mumonkan, which is conceptually quite different than the Heikiganroku and the Shoyuroku. But still, there's a great overlap in these 148 or so stories. There's a very big overlap of who the stories are about,

[11:31]

And the tropes, as I said the other day, the tropes that are used repeatedly in all three collections. So these three main, most well-known and used collections are about establishing the lineage. And they're still now today vital because they're establishing the lineage in us. Now these are clearly literary, philosophical, religious constructs. Mm-hmm. They were composed in the Song Dynasty.

[13:06]

But they're based on anecdotes from the Tang Dynasty. And figures, personages from the Tang Dynasty. But it's pretty clear the character of these personages wasn't necessarily who they were in the Tang Dynasty, their literary inventions in the Sung Dynasty. Yes, so these are not just kind of True biographical stories. For example, Matsu is the most famous of all Zen masters, other than Bodhidharma perhaps.

[14:09]

And I mentioned this before, but if you look at Matsu's lectures that we actually know he gave in the Tang Dynasty, They're pretty ordinary, traditional lectures, not particularly outstanding compared to anyone else. But somehow he was chosen by the Sung Dynasty compilers and by through the anecdotes that developed over decades and centuries to be the outstanding representative of dramatic zen-like sayings.

[15:19]

Now, if you do a linguistic analysis of the stories, the kind of koan Zen stories attributed to Matsu and compared them to a linguistic analysis of his lectures we know he gave, They're not written by the same person. And they're written in a language that wasn't used in the Tang Dynasty. But you know all this, right? No.

[16:21]

Because the importance of knowing it is yes, people can really do these things. And things like this happen. And I've seen it with living teachers. But the shaping of it into a teaching... with the commentary and introduction, etc. I do that with Sukhiroshi stuff. I take things he said and shape it so that the point is clearer. And some people have noticed that in Zen Mind Beginner's Mind. They've gone back to the original lectures and say, hmm, after Baker edited them, they're somewhat different.

[17:26]

I haven't in any fundamental way changed anything. In fact, Sukriya used to say to me, you write it. Because he would say it, but I'm the one receiving it, so I can write how I received it, which helps other people receive it. And that's my permission as his disciple. Now, some modern scholars might say, well, it's not exactly right. What's he doing? Plagiarizing or something? But in the lineage, I can treat his language as my own.

[18:28]

And my disciple can treat my language as his own. So these are created teaching stories that you make your own. So this is about the two main stories that are carried on. about Matsu and Baizhang. This one. And the one where he picks up the whisk and then hangs it back on the chair. And then Matsu shouts at him. These two stories illustrate the main enlightenment experience that occurs between

[19:29]

Now, the enlightenment experience you have on your own through circumstances Symbolically, the trope is, you hear a, so we get used to the word trope, you hear a tile hit a bamboo. Tile falls off the roof, hits a bamboo tree, and you're enlightened. Gelegentlich klettert Otmar aufs Dach, bringt einen Ziegel und schmeißt ihn runter, wenn jemand vorbeigeht, aber das hat noch nicht funktioniert. Aber dank seiner großen Freundlichkeit hat er immer einen Vorrat von Ziegeln auf dem Dach.

[20:39]

Now, that's a story we've just created. But it'll go down in history, you know. Atmar, the tile thrower. Okay, so... So the difference between the enlightenment realized by the sound of a tile hitting bamboo, and the enlightenment realized, say, through reading a poem, are considered to be intrinsically different than the enlightenment realized through the interaction of the teacher and disciple.

[21:56]

And what really strengthens the lineage and makes you really have deep permission to teach is when there's a simultaneous enlightenment recognized by both And if you live with your teacher 20 years? And when you go to hundreds of lectures and encounters and doksan, it's probably going to happen. But amusingly enough, if you were so stupid after such an experience to go up to your teacher and say, we achieved enlightenment together. He would say, you idiot, get out of here.

[22:56]

If you in any way suggest you need it recognized, It's not real. There's still some self left lurking in the background. Okay. So that's how I know. You're welcome. But also, it's clear within the text. As I pointed out, that the image of the trope of or the image of the cloud on the mountain, not above the mountain, and the moon over the water, which always means the moon shining on the water. And the image of the clouds on the mountain, not above the mountain, and the moon above the sea, what does it mean that it shines on the sea?

[24:15]

My mother sent me a little piece of paper. Excuse me for saying this. This was not an enlightenment experience. But we lived on a lake when I was young. My mother wrote down, supposedly when I was three and a half, the moon was shining on the lake. And I said, Mama, look how the moon comes running to us. So she wrote it down. She thought it was amusing. So that image alone tells you. that it's about ducks, mountains, distance, et cetera, disappearing. So it's about what is this relationship between Bajang And Matsu, that continues the lineage.

[25:27]

Okay. Someone else. Of your discussion. See, I shouldn't talk. Cut off discussion. I'm sorry. Don't scratch your head, Manuel. Good. Good. I was just getting ready to leave, so it's good, yeah. Good. What did? We had a little discussion about the archaic... Archaic?

[26:28]

Archaic. Archaic? Yeah. Was that brutality? Violence. Violence. It was also present in that koan. On the one hand, it was approved because it was said... One side was agreed, because when you're at the point where it just needs this extra little... This is where this might be needed, this violence. But... But on the other hand, it was also, how should I put it, discouraging and On the other side, it was sort of considered a little repulsive. Repulsive? Repulsive. Perhaps to be understood out of that time, but today this wouldn't be done.

[27:41]

What's repulsive? Blowing someone else's nose? It's bodily violence. Such has it been felt. And it feels like violence too. Here, would you like to blow your nose? it should be understood being in the same group carolina says that it was connected also as with the personal experience of violence and so this should probably be additionally understood of somebody in the group yeah was i violent with somebody Wasn't me, was it? Oh, it's good.

[29:02]

I used to hit people with a stick. Sometimes in duksan. But, you know, didn't go over too well. I found people ten years later who remember, you hit me with a stick. So I stopped. But you know, I don't think it's violence at all. I mean, So let me say something about that. First of all, there's the context of their living in sort of cowboy and Indian times. And the relationship to... to Shaolin as the center of martial arts as well as Bodhidharma's temple.

[30:19]

It's rather different periods, but still, even now, Shaolin temple, they do martial arts for the tourists. And there's a small Zen group small Zen school in Japan that practice it, that their main practice is a kind of martial arts throwing each other in confrontation. But this was a time in the Tang Dynasty when it wasn't safe to walk, you know, there were robbers and highwaymen and bandits and, you know, the... And there was a whole range of weapons, stones on the end of ropes and things like that, that you used to protect yourself that were part of a monk's equipment.

[31:22]

I don't have them myself. And partly for the monks, martial arts was the least violent way to be able to protect yourself. But it was expected in those days, particularly if you lived in remote places, that you had to have the capability to protect yourself if you were going to stay alive. The government's authority didn't extend to all these countryside areas. Nor even much in the cities. So it was expected, just like in Europe, gentlemen carried little swords in their umbrella and stuff like that.

[32:39]

I don't have one of those either. I have an umbrella. But also there's a So the general images often were military images used in the koans. But it was just the way people thought in those days. But also, one of the things I discovered in Japan, that what's really considered violent is verbal abuse. If you abuse someone, If you verbally make fun of somebody or embarrass somebody, I know this happened in the Heiji, the monks went after one westerner and wanted to try to kill him.

[33:48]

And some other monks took it upon themselves, because the attitude is, by the top people, we let the monks take care of themselves, they figure this out. Yeah, there's less overall control and more group control. You can't complain to higher-ups. It doesn't work. So several other monks took it upon themselves to walk around and protect this foreigner, Westerner, because he was in some danger from another group of monks. Believe it or not, this is true.

[35:00]

So this is kind of... I don't know. Have you seen that movie... with Sean Connery about a Catholic monastery and The Name of the Rose. Brother David says, there are still monasteries in Austria which are like this. Brother David Steindl-Rath. You take your life in your hands. But people are... just simply more physical in Japan, and I'm sure it was true in China too.

[36:03]

So you can kind of poke people and hit them and stuff. It's just sort of normal. Yeah. You know, I found in America, if you do that, it's kind of like you don't do that. But, you know, people, there's just immensely more physical contact. You just walk people in the halls of a business. They walk up and down, they hit each other. You can get into an elevator in Tokyo. and there'll be a pregnant woman there you've never seen before, and you can just put your hand straight on her stomach and say, hey, how many months is it now? Hey, you did that in Germany, you might be in trouble.

[37:06]

We all have bodies, and you know, as you know, whole villages are out in their underwear all day long. Nobody puts clothes on. It's just... It's just... Yeah, we all have bodies and who cares? You dress up for a funeral. Or a wedding. Yeah. Okay. So anyway, it's just different. And this kind of physicality, twisting a guy's nose, is just affectionate. Plus they had much smaller noses, so they're much...

[38:07]

Much harder to get hold of it. You look at me special. It wasn't with my fear. No, I didn't say so. Are you defending yourself? No, no. I always, you know, they kill the messenger, you know. The messenger, the messenger, the messenger. All right. What are we doing here? What else? Yes. Could you then say, könnte man dann sagen, dass sozusagen dieses, der zweite Teil mit dem Nasen drehen und dem Schrei so ein bisschen wie eine Wiederholung des ersten Teils war, des Dialogs mit den Enten, nur jenseits der Sprachebene sozusagen, als Frage. Could you say that the second part, this twisting of the nose, was in a way a sort of repetition of the first part, the talk about the ducks flying away?

[39:23]

Beyond the level of language. Sure. Sure. Sure. Okay. Yeah. Richard. Yes, in our group, we first of all got closer to the core. It is in the direction that individual sentences have been perceived as significant. What is significant? Individual sentences are, so to speak, especially in the foreground. Some have described how they We approached the koan in that way that several in our group said that single sentences were meaningful to them and that they worked with single sentences.

[40:25]

That's good, yeah. Verknüpfung untereinander mit den Sätzen. Ja, genau. Also Hinweise, wo wir wirklich eigentlich zusammenhängen. And passing on in the discussion, we found links between single sentence through the koan and where we discovered connections. Yeah, resonance. Yeah. And the result for me, which was new, out of the discussion came... And we found Bajang living or being in two truths, and he living or being exactly at this edge, Between the two?

[41:59]

He's between the two truths, like the connection with being before a donkey but behind a horse, that he's sort of in between. Mm-hmm. that it could be a pointer not just looking or seeking for the fundamental truth, but also to consider this fundamental truth more precisely and to look at both in the same way. But looking more closely at conventional truths and have both truths in the same view equally. And that's what might be written that we should study by Zhang because he's sort of in the middle, he's between these two truths.

[43:03]

That's good, yeah. You're exactly right. Suzuki Rishi in his commentary on this koan said Matsu admired his disciples innocent answer Suzuki Roshi had in his comment to the Koran said, Matsu had admired the innocent answer of his student when he said, they flew away. Yeah. I mean, you don't want a disciple, every time you ask, how are you feeling today, they go, quats! You think, oh. I just want to know how you were. They would like to put a question to that. Mm-hmm. If this is a good possibility to study the Kahn in that way.

[44:19]

Of course. That's what I said. I think I said yes. Because it might look as an intellectual approach. Well, those approaches are good too. If you can get a intellectual grasp of the emotional realities of the Quran, this is good. You know, I really want to know Each time I do these winter branches, if this is useful to you, shall we continue with koans? Is it useful to your practice? I don't know. I mean there's no reason for me to do this unless somehow these obscure ancient texts are of practical value to you. Because each winter branches is the last. And I continue it only when I say it obviously has to be continued.

[45:36]

I'm certainly not going to continue it out of momentum or inertia. In fact, Frank is complaining to me that there's no seminars next year. It's all winter branches, and there's no chance for anybody else to come here except winter branches. Yeah. Yes, Lona. I would like to say yes. Oh, yes, okay. I'll take my orders. The image came up in me that it's like a lump of clay, which you open up, then you knead again, then you open it up in a different way, and again and again like this. Yeah, like that, yeah. And sometimes there's a jewel in it that surprises you. I'm very much forward to continuing this because I think it's a gift.

[47:00]

And before I didn't have any access to koans up until now. Well, I hope that the door has opened a bit. And the center of our group discussion was the relationship between teacher and disciple. And a question came up that it's important to take care of your succession. In the knowledge that more lineage died out than survived.

[48:02]

Thank goodness. I've got enough to study. Someone brought up the idea that the sangha itself is a kind of successor. Yeah, for sure. And then we spoke about the relationship Sangha-teacher-teacher-Sangha. The three jewels being Buddha, Dharma and Sangha, it looks at the moment as if Sangha would be the most precious jewel. What we can see in this koan is that the teacher is not a guru in Zen practice.

[49:12]

I always say the teacher is the relationship between the teacher and the disciple. And what we can see in this koan, it's the development, the mutual development of the relationship which teaches. And so these two guys are developing the relationship. And that makes the teacher. And Sukhiroshi says, the high rock of Zazen is also always offering us teachings. Mahakali?

[50:36]

I'm just missing your voice. We also talked about taking single sentences to give us access to the koan. And in the pointer it was pointed out that the ancients have a place from where they act. Yes, good. Let's go back to the idea of tropes. We can say that these stories are constructed from Tropes, images, tropes, various ingredients.

[52:04]

Okay, now these images in each koan are glued together to tell a particular story. So you have a kind of storyline. A little scenario. Okay. But there also, if you read them carefully... They're not completely glued together to tell the story of conventional reality. So as you can take every koan to be asking, what is Buddha? And asking related questions, what is realization?

[53:12]

What is the teacher-disciple relationship? What is the round ball of reality? Which ball? The round? Which ball? The round ball of reality. In addition, they're all enacting the two truths. So they're all written on two levels, the conventional level and the ultimate level. And so the storyline, each koan holds the ingredients. You take all these ingredients. The ingredients are held together by a storyline that is simultaneously presenting the two truths.

[54:28]

So first you read it getting the conventional storyline. And then as you feel into it, because it's not intellectually presented often, you begin to feel the gaps And in the gaps, you begin to feel the fundamental storyline. Now, these ingredients are presented in each koan to illustrate the interaction and simultaneity of the two truths. But the ingredients are also put into the koan in ways that relate to other koans. So if you look carefully at the two hands, the two koans,

[55:34]

Ingredients, we call these our ingredients. If you look carefully at the two ingredients, the two streams of ingredients, they're not always hands, they're sometimes feet. And the feet are walking in other koans. Okay, so now the ingredients have three roles. The ingredients are meant to illustrate both the conventional and fundamental truths. And third, the ingredients create resonances with other koans and stories and teachings and practices. And fourth, these ingredients in both their fundamental and conventional dimensions are meant to fly loose and enter your own life.

[57:01]

This is a very sophisticated literature to pull this off in fairly simple strokes. So there's such fundamental themes, both conventionally and fundamentally, such basic themes, both conventionally and fundamentally, and the koans are composed so that the ingredients are held by the story but kind of like radiation their molecules are kind of loose and they break loose

[58:05]

break loose of the story and enter you. And you get radiation sickness. Radiant sickness. Then they call up your own stories and call up experiences you had in your own practice that are submerged and haven't risen to the surface. So the more you practice, the more these koans reach into your own practice and bring up, you know, kind of sunken pirate ships full of gold. You find wrecks of previous Zazen experiences at the bottom of your sea. See, now, I never would have said all these things if you hadn't... I mean this isn't new to me but I've never said it like this you know so as someone said this buried treasure so you let these sentences lines come loose

[59:30]

and begin to work in you. Okay. You didn't translate that. I know, I read it. Sorry. Yes. And the report from our group is adding to that. And we had the difficulties of trying to understand the koan intellectually and finding it difficult and sticking to things when you don't understand anything in fact. You have to switch from this understanding and understanding the koan emotionally to and fro.

[60:58]

And then there was one person said she had worked with this first sentence, the whole world doesn't hide it. And I found it impressive how she in fact worked with it, like sitting in the Taisho and a larger person, a taller person sitting before her and she couldn't see you. And that she then worked with this sentence, the whole word doesn't hide it. She practiced with her sentence. And she became completely peaceful. It didn't matter whether she saw you or not. Oh, good.

[62:11]

I couldn't imagine how to concretely work with this koan, but I found this just a great example how to work practically with a koan. You know, the koans are not really meant to be understood. They are based on fairly simple images, usually. Like getting up and taking your seat and getting back down. Or two guys walking along with some wild ducks overhead. And you just bring this simple image in. You don't have to be smart to do it. You bring simple or educated or informed about koans. You just bring this image in and feel it when you're walking around. And you sort of feel it stopped in time. Like it was all like a movie was going along and it just stopped.

[63:42]

The ducks are frozen and the people are frozen and you just kind of feel that in yourself. And this immense selection process from thousands of stories to be brought down to a Couple hundred. So that a thousand years later now, these images still have archetypal power in us. Okay. Yes, Beate. I would like to describe my work with the koan. And for me it was like that this image arose, these ducks and these two guys walking through nature.

[65:00]

This image doesn't disappear, it comes again and again and pops up. With this image in me and the feeling that it creates in me, it is possible for me to read this Koran. And there was a moment when I had the feeling that every single word was in its place during the reading. And this image in me and the feeling I have in that, with this feeling reading the koan, I had once this experience of every word is exactly right in its place. Okay. Thank you. Now, I have five minutes. Or something like that. Okay. So we could just stop now or I could riff a little bit if you like.

[66:06]

What do your dimples say, Saskia? No, you said riff. Ripple and wimple. Do you know what wimple means? Wimple? Yeah. Wimple is that headdress that medieval ladies wore that they tied under their chin. It's kind of like this and nuns wore it too, you know. I don't know why I'm saying that. I just thought of it, looking at your dimple. What do you call dimples in German? Now she's trying to hide her dimples. When I was about... 12 or 13 or 14, I thought that my chin was too recessive.

[67:07]

So for a few days I went around like this. But people treated me very funny, so I stopped doing it. So you can't hide your dimples. Okay. Yuan Wu, the main compiler of these stories, said on his own, in his own teachings, that aren't part of the, show you, the Bluetooth records, A quotation I've given you many times. But I'll give it to you again this time reading it. And you'll see how it reflects the center of this koan.

[68:12]

Realize Buddhahood right where you stand. Even if it takes a nose twist. Sorry? Even if it takes a nose twist. He doesn't say that. You know, when I read stories to Sophia, I always add sentences in between. And he's quite good at telling when I do it. I say, Papa, that's not in the book. And I'll say, well, okay, you're right. But sometimes I fool her. So realize Buddhahood right where you stand. Reign in, reign in. like R-E-I-N, pull a horse in. Reign in your thoughts and concentrate your awareness for a while. And no longer set up before and after.

[69:27]

Or here and there. And you will experience the unborn. Okay. It's a prescription. It's a prescriptive teaching. Medicine. Like a prescription, you have to take it. Reign in your thoughts. And concentrate your awareness. We can understand this. Settle attention on attention. Now, attention is sometimes a watchdog. For instance, if somebody gave the example, you're driving along and you see a goat in front of you, which can happen around here, and so you brake.

[70:32]

And your intention has saved the goat's life and maybe your life. Okay. And this involuntary side of attention... For instance, you can experiment watching television ads, something I do sometimes. Ads are designed to catch your attention. By a pretty girl or a pretty boy or something. Or, for instance, they show a volleyball game and they show one sort of person leaping up in the middle and hitting the ball. So on CNN where I watch the news, or the BBC, they repeat these ads repeatedly. So I see if I can control my attention and not direct it where they want me to direct it.

[71:56]

I try to look at the ugly girl instead of the pretty girl. But I try to look at the volleyball player over in the corner and not the volleyball player leaping up. And you know what they do? They create this volleyball player leaping up, for example. And in the next frame, the product they're advertising is right where the body of the volleyball player was. The Pepsi or the suntan lotion or whatever it is, is right there. So you try to look at something else, and then the next frame, you don't see what they're advertising. So this rain in your thoughts also means rain in your attention. One of the strong rules in Zen practice is you don't look around.

[72:57]

And in a Roryoki practice. And some people sit there and they look around, this is not Zen practice. Or in Kinyin you look around. The Eno and the Abbot are allowed to look around for some kind of practical reasons. But you don't look around because you learn to rein in your attention. And all, let's just say all, all Zen Buddhist rituals are trying to teach you the physical dimension of each action and thought, and the simultaneous bio-entrainment of that with others.

[74:26]

You said a massage, the translation. It's good, yeah. Shall I define the word bioentrainment? Please. Okay. It's a common term in English. And it's sort of like in the same building, Grandfather clocks swing together. In women's dormitories, women tend to have their periods at the same time. If you're running a race with bicycles or physically, you do better times because you're bio-entrained with the other person and you can go faster than you can on your own.

[75:56]

So what's the group of, in the Tour de France, what's the group of bicycles called? What? The Peloton. The Peloton. The whole... The drugstore. The drugstore, yeah. Nowadays. But the Peloton is all about bioentrainment. The whole group gets bioentrained and it's very difficult to break out of that. And if you do break out of that, you work with another person to keep yourself going. Mark Covey is a bicyclist. I think that's the idea, right? It's very hard if you lose it. If you lose the group, then you... It's the wind.

[77:11]

Yeah, you break the wind. But if I say that, that sounds funny. You wouldn't say synchronization? You synchronize yourself biologically, but to entrain is to train things together, like trains. So the word is, in English, at least in the sports world, is bioentrainment. Yes, you synchronize yourself, but this word, bioentrainment, I don't think anyone has found a German word for it yet. Yes, yes, what it says is clear, but that German word, biorythm, you say, biological entrainment. In biological entrainment. Okay, so if you study Buddhist rituals, and Zen in particular, and all the things we do, why we do it together is to develop bioentrainment that in other circumstances with people who don't practice, you can actually, without their knowing it, it's not too fair, bioentrain them.

[78:25]

Like a good teacher can see someone in a lecture or a restaurant or walking along the street. and realize they have the capacity to practice. And if the conditions are right, you can engage that person in a bio and training kind of way, and then they start to practice. So a teacher often chooses decades earlier, the student, he or she, is going to practice with. But it's not forcing.

[79:29]

The resonance has to be in the person or they don't make the connection. If they make the connection, then they stay. And to some extent, we've all made this connection. With me and with each other. Okay, so... I have quite a bit more to go to here, but I think we're only going to get that far. We have a lifetime now. The last third of our mutual lives. So reign in your attention.

[80:29]

Concentrate attention on itself. Because when the watchdog of attention is reined in, it becomes awareness within consciousness. And that then is confirmed by no longer setting up before and after. Or here and there. Doesn't that sound like this koan? What Matsu is doing is getting Bai Zhang not to set up here and there, before and after, over there and here.

[81:32]

They haven't gone away. And if you do, you will then experience the unborn or fundamental mind. See how simple this all is? All you have to do is find a way in your thinking to sometimes not set up the categories of before and after and here and there. In homeopathic doses. And it's right in front of you. Right in front of you. Where else could it be? Thanks.

[82:17]

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