There is a schedule for seven days. During seven days, the disciple copied the teacher's three things by handwriting. It is called ke-gyo in Japanese. This is the first day of DEMPO-E, the first day of teaching the DEMPO-E to the teacher. This is the beginning of the DEMPO-E KANKI. DEMPO-E, the ceremony of receiving the Dharma from the teacher. The first day, it starts from HO-E KANKIN.

[01:20]

Could you explain what HO-E KANKIN means? The disciple makes prostration, showing the gratitude that he can receive the Dharma, which has been transmitted from teacher to teacher, up to his own teacher. After the first day of DEMPO-E KANKIN, the person who receives the Dharma from the teacher does it himself.

[02:38]

The person who is going to receive the Dharma transmission practices this HO-E KANKIN. On the first day of DEMPO-E KANKIN, the master goes to the front of the hall to receive the Dharma. On the first day, the disciple follows the teacher to make prostration. After this HO-E KANKIN, the master and the disciple make prostration to each other again.

[04:04]

This time, the teacher sits with a cross-legged full lotus position, and the disciple makes DAI-TEN-SAN-PAI, the most respected way of prostration. Stretching the ZAGU full instead of unfolding as we do at the morning service. So it's the highest form of showing gratitude. So the disciple makes this prostration to the teacher. It's not only within the Buddhism, but in general, when we ask someone to do something,

[05:33]

first we have to make a request. At the end of DAI-TEN-SAN-PAI, the master sits with a cross-legged full lotus position and makes DAI-TEN-SAN-PAI. At the end of DAI-TEN-SAN-PAI, the master makes BUDZU-BUDZU-SO-SO, a prostration to the teacher. While the disciple is making this prostration, the teacher receives the prostration on sitting posture with GASH-SHO. After three prostrations, the teacher recites this phrase, the Dharma Gate of Buddha to Buddha, Ancestral Teacher to Ancestral Teacher, has been actualized or has been completed.

[06:52]

It's a phrase. So after the teacher receives three prostrations, the teacher recites this phrase. At the beginning of the meeting with the Ancestral Teacher, Dogen-Zenji is worshipped. Then the Ancestral Teacher says, BUDZU-BUDZU-SO-SO, and the Ancestral Teacher says, BUDZU-BUDZU-SO-SO, and the Ancestral Teacher says, BUDZU-BUDZU-SO-SO.

[08:09]

At that time, Nyojo-Zenji said this phrase, I literally translated the same phrase, Buddha and Buddha, Ancestral Teacher and Ancestral Teacher, the face-to-face Dharma Gate has been completed or has been actualized. The first day the teacher recites this phrase is coming from this episode, which happened in China between Dogen-Zenji and Nyojo-Zenji. My explanation now is to make it clear about vertical succession and horizontal succession on the text.

[09:38]

In English. There are many stories about the martial artist, Budo. Budo in Japan, that disciple practice so hard to get scroll from the teacher.

[10:46]

And the final stage of this practice, there is a ceremony to receive or to confer those scroll to the disciple. The flower arrangement or tea ceremony, the student wants to receive the innermost teaching of this tradition, like flower arrangement or tea ceremony. Both teacher and student work so hard.

[11:51]

To have the ceremony of Dharma transmission during five days, this disciple has to finish making copy of three things by handwriting. On the fifth day, after night sitting, the ceremony for transmitting precept is held on the fifth day. On the sixth day, at midnight, there will be held the ceremony for transmitting Dharma.

[13:26]

The ceremony for transmitting Dharma is held on the sixth day. In Japanese. So on the first day, disciple make prostration asking teacher's help to fulfill this Denkai transmitting precept, Denpo transmitting Dharma. The meaning of prostration on the first day is asking teacher his help to finish those important ceremony on fifth day or sixth day without problem.

[14:41]

But as the answer to this prostration, the teacher said, already the Dharma gate of face-to-face has completed now. That means the heart, mind of Buddha or Bodhidharma is already manifested or completed today or this moment. There is ceremony for transmitting Dharma, but in the first prostration, the Dharma gate of face-to-face has already been transmitted. So the work to make copy three things by handwriting or the ceremony conferring those three things to disciple or receiving ceremony of receiving will be held later, not the first day.

[16:21]

But already on the first day, the transmission of Dharma between teacher and disciple has completed on the first day. If otherwise, and also that transmission has to be proved on the first day before they have those ceremonies, otherwise there cannot be transmission of Dharma precept. There cannot be transmission in a Soto school. What we are practicing at the Dojo here, each of the activities is following the Buddha's instruction and also following the Bodhidharma.

[17:50]

So each of the activities are accord with the teaching of Buddha and ancestral teachers. The practice of this special seven days is one of the forms with which we are practicing. With which we try not to off the track of the Buddhism. So in general, whatever we do, we make effort, we are going to reach the final stage.

[19:28]

For example, as for Buddhist practice, the final goal is to become Buddha. To become Buddha, we make practice. Or to enter the university, we study very hard. Or to get a certificate of graduating the college, we study. We think the goal and means in this way, but this case is pretty different from that type of effort. This kind of thing is well described in the volume of Shobo Genzo, such as Shisho or Menju.

[20:37]

Shisho is writing of transmission, Menju is face to face transmission. So in this seven days, from the beginning, both teachers and disciples are already Buddha. And they meet and practice this seven days schedule. I am helping the kindergarten in Japan.

[21:57]

I often have a talk for the parents, for the mothers. Sometimes I talk about this kind of thing. When children receive something from someone else, they have a pose like this. This is someone put present or gift on children's hand. This is a form of receiving something from the other person. This form of hand is a form of receiving something from the Buddha. This form of hand comes from Hokkaido.

[23:07]

That means this form of hand is a form of the Buddha. So I explain for the mothers like this. When we receive the food in the morning, with Oryoki, we hold Oryoki like this. It's the same form as the children's form and this Hokkaido one. It's the same thing. In Japan, when we eat, we say Itadakimasu. Itadakimasu comes from this pose.

[24:11]

In Japan, when we start eating, we say Itadakimasu. Which means the respective expression I receive. It comes from this form. This is not a form of choosing and taking what you have. It's a form of being put on top of this. We are not picking up, but we just receive from other person on my hands. So we don't know what will be put on my hand.

[25:20]

We don't know what's going to be on my hand. So this way of receiving, we don't know what's going to be on my hand and whatever it is, we receive it. Otherwise, it cannot be called the way, Buddha's way of receiving. The way of living has to be like that, has to be same as this attitude. Because life does not go as we wish. I don't think we should forget that it flows from the root.

[26:35]

After this O-Hai, we will go around each building in order. In each building, there will always be a Buddha. We will go in front of the Buddha statue. We will pray for this ceremony to end safely. After the prostration, the disciples visit each building, each hall. And each hall has the Buddha's or Bodhisattva's. So the disciples pray for each Buddha's or Bodhisattva's.

[28:04]

Pray for that this seven day practice will be finished without any problem or difficulties. After this, we will chant the last prayer of Ryo-Gon-Shu. We will chant the last prayer of Ryo-Gon-Shu. On Onori, Shachi, Bira, Hojara, Tori, Hodo, Hodo, Nio, Hojara, Fumian, Kutsuro, Yohan, Somokon. This prayer is for the Buddha's or Bodhisattva's power to remove all obstacles. We will go around in order to do this. Obstacles for the practice by the power of Buddha or Bodhisattva.

[29:27]

So while visiting buildings, disciples recite this mantra. After finishing visiting halls, then disciples request the master and receive all the instruments or tools necessary for making copies of three things by handwriting. So he receives all the necessary stuff from the teacher.

[30:31]

The paper is big, so the teacher gives the disciple also instructions how to deal with those things. Maybe it's not necessary to explain these things because most of you have finished this kind of thing, making copies of the teacher's three things. Maybe it's not necessary here. The first is to make a copy of Kechi-Myaku. Before making a copy of Kechi-Myaku, there is a ritual to worship Buddha or Bodhisattva.

[31:49]

It's called Butsu-So. Butsu means Buddha, So means ancestor, and Rai means prostration. With Dai Hishindarani. It takes a long time to worship Buddha or Bodhisattva. So we divide the day into three parts, morning, noon, and evening. This is how we worship Buddha or Bodhisattva. We recite one name of the Buddha or teachers and bow one time.

[33:19]

For example, in Roshi's case, he has to bow 81 times. It's too many, so usually it's divided into three sections. Morning, daytime, and night. Disciples practice prostration three times. One name, one prostration. Of course, there are people, some are very fast making copies, some are very slow. So even this prostration, it depends on the person's speed, fast or slow.

[34:39]

Usually at the dojo, the daily schedule may be from 4am to 9pm already fixed. But during these seven days, the disciples focus on making copies of three things by handwriting. For this reason, it is convenient to take a break from all other activities. So even during these seven days, the disciple has to join Zazen or service three times a day.

[36:14]

By joining those activities, in addition to joining the daily schedule, the disciple has to finish making copies of three things. On the first day, if you look at this Wakechimaku, on the second day, you fold the long paper. You learn how to fold it directly from the master. And at the end, you take out the blood of the master and the disciple's little finger. Little by little, you take out the blood of the master and the disciple's little finger. Then you mix it with the red ink. And then you mark it with a mark that the two are perfectly aligned. Then you fold the big paper.

[37:31]

And at the end, both the teacher and the disciple cut the little finger. And you use the blood mixed up and using a brush. It's called Goin. Both the disciple and the teacher make a seal by drawing a crossing line. You can see this in the description of the Shobo Genzo Shisho.

[38:37]

The Shobo Genzo Shisho says that this manner is already done in China and it came to Japan. Before I came here, I had a kind of pain in the left part of my head. Fortunately, there is an acupuncturist from France, so she treated him with a needle. She put a lot of needles on my feet, hands and ears.

[40:11]

Last night, she put a lot of needles on this part of my head and it bled. Blood came out. She said, don't worry about it, because that blood is bad blood, stagnated blood, so it's okay. Don't worry. The blood for making this seal must not be that kind of bad blood. Blood is a symbol of the oneness between the disciple, teacher and Buddha.

[41:28]

There are people who say, because to get blood, we have to cut the feet. It's very painful, so we don't have to do it. Just with the mind, we can use red ink instead of blood. There are people who say this. After the second day, the focus is making the seal. The next day, the third day, most of the practice is the same as the first day. But on the third day, the focus is making a copy of Daiji, which was the Great Mother.

[42:58]

After making a copy of the Great Mother, the next day, the focus is making a copy of Daiji. The fifth day is the highlight of the seven days. The disciples make a copy of Shisho, the writing of transmission.

[44:02]

This Shisho is transmitted to Eheiji directly from Nyojo Zenji in China. There is a Shisho at Eheiji which Dogen Zenji received directly from Nyojo Zenji in China. We are trying to transmit this Shisho to Dogen Zenji so that he can receive the heart of Dharma and Buddha. After transmitting the Shisho, the Shisho does not become his own.

[45:14]

This way of making a copy is very different from receiving a copy of the Great Mother. It is not like receiving a graduation certificate or something like that. After we finish making a copy, that Shisho becomes mine. Not like that. Exactly on the process of making a copy, we already feel the oneness with the Buddha. So it's not separated. The result and the process is not separated. Like you study and receive the certificate.

[46:28]

On the process already, there is no separation between the process and the result. This is what Dogen Zenji has shown in his Shobo Genzo. In China, in Rinzai and other temples, he has shown various Shishos. It is the same feeling, but it is only a certificate that he has transmitted the Dharma to you. This is what is said. In Shobo Genzo, Dogen wrote his experience in China, visiting various places which belong to Rinzai school and so on. He could see several Shishos. But he said all those Shishos are something like a certificate which was given from the teacher that you receive the Dharma.

[47:42]

Like a certification. And it is different from Shisho in Dogen's sense. Even though the name is the same, the content and the way of thinking are completely different. This is what Dogen Zenji has explained. So the volume of Shisho is emphasized as for Zazen practice too. For example, if we practice Zazen aiming at attaining enlightenment, or Kensho, or Satori. In this case, Satori is the main thing.

[48:47]

And there is a difference between Zazen before enlightenment and after enlightenment. So there is two different Zazen. If we practice Zazen aiming at enlightenment. I want to talk more about transmitting precepts or transmitting Dharma. But then I cannot talk about the text.

[49:51]

So I want to move into the text about the vertical succession and horizontal succession. Vertical succession and horizontal succession means overlapping the age of teacher and disciple. Vertical succession, the Zag overlaps this way.

[50:55]

Horizontal succession, the Zag overlaps this way. If there is a ceremony for transmitting precepts, then on the sixth day there is a ceremony for transmitting Dharma. And on this ceremony, vertical succession or horizontal succession is performed.

[52:07]

Vertical and horizontal succession is a part of the ceremony of transmitting Dharma. At that time, the master recites the phrase. The master recites the phrase which means succeeding to the Dharma extends horizontally in the ten directions. And vertically to the end of the three periods. In this case, vertical refers to the three periods of past, present and future in terms of time. And horizontal refers to the world in the ten directions, kind of space.

[53:39]

I would like to explain this in a different way. When we recite the Venerable's name every day, we always recite the three lines of the Buddha's name. These three lines are included in the Venerable's name. As for the Venerable's name, the Dogen Zenji kindly explains it in the Dalarani of the Shobo Genzo.

[54:49]

As for prostration, the Dogen Zenji explains it very well in the volume of the Dalarani. In this volume, the Dogen Zenji explains about prostration. When we do Tate-tsugi and Yoko-tsugi, the bows overlap just a little bit. But it means we have to understand this overlapping. Not just this much, but the whole bow's zagu overlaps 100%.

[55:53]

It becomes one zagu. In appearance, it overlaps just this much. But in our mind, we have to understand that it overlaps 100%. When we do Tate-tsugi, the disciple's zagu overlaps first, and then the master's zagu overlaps on top of that. This is how it looks. This symbolizes the hierarchy that the disciple is under the teacher.

[57:01]

The disciple is under the teacher. If the teacher and disciple overlap their zagu 100%, they can't make prostration. For practical reasons, they just overlap this much. In this case, the disciple made 9 prostrations. But the teacher received those prostrations with gassho, or just one prostration.

[58:03]

This symbolizes the hierarchy that the disciple is under the teacher. There is a hierarchy or discrimination between teacher and disciple. Tate-tsugi is implying this kind of difference between master and disciple. The master and the disciple make a horizontal connection. In this way, the master and the disciple become one.

[59:37]

They make prostrations towards each other. At that time, the master is at the bottom. The disciple's zagu overlaps on top of the master's zagu. In this way, the master and the disciple make a line of prostrations. The master and the disciple make a line of prostrations. The master and the disciple make a line of prostrations. The horizontal connection is very different from the Tate-tsugi. This time, they make prostrations facing the same direction, all together. They make prostrations towards three things. Three things is the symbol of the master and disciple being one.

[60:40]

Also, in this case, the master's zagu is under the disciple's zagu. Of course, in this case, in the mind, we have to understand that it overlaps 100%. But also, in this case, for practical reasons, they overlap just a little bit. When they make a line of prostrations, the master and the disciple make a line of prostrations towards each other. So, facing towards three things, the master and the disciple make prostrations, all together, nine times. So, through practicing and performing this Tate-tsugi-yoko-tsugi,

[62:02]

we realize the oneness with Buddha and ancestral teachers. It's time to stop my talk. Still, there are a couple of times, so feel free to ask questions. Regarding the six days of Tate-tsugi and Tate-tsugi-yoko-tsugi, this is during the Denbo ceremony, and in the Tenkai ceremony, you said that facing the Kechinyaku, you have to make a bow or something like that, but you're supposed to be facing the Shisho and make a bow.

[63:07]

So, some people might be confused. Yes, I understand. During the Tate-tsugi-yoko-tsugi, you said that the Shisho and the Buddha are one, so you have to make a bow towards them at the same time. But in this case, instead of three things... Yes, the Shisho. Yes, the Shisho. At the same time, not towards Samotsu, but towards the Shisho, because the Shisho is a symbol of the oneness or equality with the Buddha and ancestral teachers. So already the disciple received the Kechinyaku on the fifth day

[64:16]

at the ceremony of transmitting precepts. Also, during the Denbo ceremony, regarding the Tate-tsugi and the Yoko-tsugi, you said that when you go horizontally, it extends ten directions, and vertically, three times. How fast does it extend? You said that the master incites, but we don't incite. This is just the Kudenpa, the oral transmission part of the description. Could you check it? The Shisho doesn't say it verbally, does he? No, he doesn't say it in particular, but it's his feeling. Maybe I translate. The teacher recites a phrase,

[65:20]

like succeeding to the Dharma, extend horizontally in the ten directions, something like that. The teacher does not recite this, but keeps it in his mind. Nagahiro said that during the Menju-no-hari, the teacher sits on the floor, but in this country, we have a chair. Is it permissible to sit on the floor? Or is it more desirable to sit on the floor? When you receive the Menju-no-hari, in Japan, of course, the teacher sits on the floor,

[66:21]

but in this country, when you receive the Menju-no-hari, do you sit on the chair? Or is it more desirable to sit on the floor? Is there such a thing? This is the most basic principle. In Japan, there is something called Jojo, which is made of this kind of clay. There are very few places to use it. You can sit on the floor, or you can sit on the futon. You can sit on the futon. There are places to use such a thing. So if you receive the Menju-no-hari, you don't have to sit on the floor? No, you don't have to sit on the floor. So even if you look at the Ema Kimono, the Nyojo Zenji is in a position where you don't have to sit on the floor. In that sense, I think it's better to sit on the floor.

[67:24]

So the Menju-no-hari is better to sit on the floor? Yes. So it's better to sit on the floor? Yes. It's okay to use the chair, but it's desirable to sit on the Zen posture for the teacher to sit on the Zen posture. There is a scroll which illustrates the story of Dogen Zenji's experience in China. So when Dogen Zenji made a prostration and Nyojo Zenji was receiving his prostration, Nyojo Zenji sat on the chair. But it's desirable to sit on the Zen posture, even on the chair. In Japan, there is a ceremony

[68:59]

in which the priest sits on the altar where Buddha was enshrined. In Japan, there is a ceremony and do question and answer. So the teacher is taking a role, playing a role as Buddha, so it's desirable to do it with the Zen posture. In Japan, the priest uses Kyosaku

[70:19]

to respond to the question with sitting posture, but that's not so graceful or beautiful. Using Kyosaku with sitting posture If the teacher is sitting on a high altar, the Kyosaku should not reach him. That's why it's not so graceful. It's already a corruption or off track. There is an episode of Hata Zenji,

[71:45]

the former abbot of Eiheiji, when he has a ceremony of installation ceremony. He was sitting on the altar, but he came down to the floor and asked the monk who made a question, what did you say? Then he hit the monk. Because if he keeps sitting on the altar, he cannot do this. Yesterday, you were explaining why Bajin broke some of the rules. There were reasons why he thought.

[72:48]

One of the reasons was because he said that many monks were going around kind of seeking, you know, the best, special teachers that received transmission. So I don't understand, what is it about writing the Samosahita that helped that situation, or did it change that situation? I didn't understand. I don't understand that. This abbot said this, and this abbot said that. There was a tendency to choose the abbot and then use him. That was one of the major reasons. But when you write the Samosahita, why does it change? I don't understand the connection. There are many reasons.

[73:52]

I can't explain it in one word. I can't explain it in one word. But the human mind, after all, likes this abbot. Well, it's strange to say that I like him. I like this person. I want to go to this temple. Things like that come up. We have the preference as a human psychology. If the relationship with this teacher is strong, it becomes difficult to change the teacher. If the person says,

[74:56]

this Samosahita, you have inherited my Dharma, and if you are proven to do so, it's easy to change to another person. Even if we put that on top of our feelings, it's difficult to do. it becomes more difficult for disciple to change the teacher so there are people who once received some more different particular teacher and in order to change the master they return those three things to the master and

[76:02]

then get new samutsu from another teacher so there was this kind of people In Rinzai, you get the proof that you have completely received the teachings of my teachings. If you don't acknowledge the power of these teachings, there is no meaning in receiving them. It's a certificate that you got the same enlightenment as mine. So if the samutsu doesn't have that kind of authority, the samutsu is the same as the certification. So in Rinzai school, the certification is most valued.

[77:15]

So in that way, in the Soto school, the samutsu has to be valued like a certificate in Rinzai. Of course the idea and the content of samutsu and inka-shobu is different, but in terms of value, it has to be the same. In Rinzai tradition, the disciples receive a master's portrait or a calligraphy poem or some sentences written by the teacher. Those things have the same authority or value like samutsu in Soto tradition.

[78:25]

There is an episode or a story which explains why he wrote the samutsu-hiben. The story is that he wrote the samutsu-hiben and handed it over to the master and his disciples at night. There was a person who criticized this samutsu-hiben.

[79:38]

He was receiving and conferring the samutsu, saying it doesn't make sense just receiving written paper secretly at night. He criticized the whole ceremony which he explained this morning. There was a person who criticized and said we should receive the authentication directly from the Buddha Shakyamuni. We don't need this kind of ceremony. We can get the certificate directly from the Buddha Shakyamuni. The way of thinking of the person who criticized this samutsu-hiben is very similar to that of Rinzai. He criticized this samutsu-hiben and asked what would happen if we received the certificate secretly. It doesn't make sense.

[80:51]

It's not just the mind. We receive it on our body. This is the kind of ceremony. This is what he said. Samutsu is not just a certificate. Through performing those seven days of ceremony, not only in mind but also through our body, we realize and actualize the oneness with Buddha and ancestral teachers. That's his point. There is a ceremony where we print a lot of written papers and give them to the believers.

[82:26]

There is a ceremony where we give the written papers and give them to the believers. But the main point is that we have to print the written papers and give them to the believers. If we don't have this kind of content, even if we give the certificate to the believers, it won't make any difference. We can make a copy and hand it out to the believers at the ceremony of conferring the precepts. But if we make a copy by handwriting and performing prostration between the teacher and disciple,

[83:28]

if we lack the deep understanding of these things, just handing out the paper does not make sense. It's time to stop, so please ask if you have a question the second time. His name was Tenkei Denson.

[84:03]

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