Yeah, yeah. Yeah, it is. If you just can expect it.

[01:03]

There is a second camera angle. Two is the one on the mantle base. One is the one that's dead center. Yeah, the upper curve. Yep, you don't need this. You can't, if you like. There's two different Tibetan approaches. And then you shall say. Yep, yep. Okay, let's do all that stuff as usual. No, it's interesting. You need a coach? Yeah. You need a coach? Yeah. You need a coach. Yeah, I was just saying. I've got inside a ticket next week. It's amazing. Everyone needs a coach team. Is that awesome? It's interesting, Alan, we've got something, it's like, our only speaker is still, it's like, will you take attention about this?

[02:03]

I don't want to say anything. It's like, I don't want to talk to you about it. It's like, I don't want to talk to you about it. It's like, I don't want to talk to you about it. [...] I don't want to talk to developed thick horses. Yeah. Well, could they are inspired for a sport? Yes. Probably. In this particular because they're I don't know what to say.

[03:29]

Thank you. I'm just joking, yeah, I wouldn't have heard you about this. We're using our material. Before the party starts!

[04:37]

I'm going for a second. I'm just [...] going for a second. I'm going for a second. I'm going for a second. I'm going for a second. I'm going for a second. It's a summer. It's a summer. It's a summer. I have two. I have two. Don't worry. I have two. Don't worry. I have two. Don't worry. It looks like I missed again. Right. It's not happening. But yeah, we should say it's given. Yeah, there's such a different thing. I guess it's true. [...] I guess it's I will stay away just by having something. Right. It's all right.

[05:46]

It's all right. [...] I mean, like, well, I guess it's definitely worth something. You know, because they'd be us or one of them. It's exciting. I feel like Tuesdays, Tuesdays, Tuesdays, Saturdays, Saturdays. Lots of kids. They're actually throwing sex. It was nice to do sex. Many people would not understand sex. Well, I think the word is that word. It's a great topic. It's actually in a separate class. Is it? Yes. Grab yourself a cup of tea. Get a nice full cup of tea before you can stick together.

[07:03]

This wasn't the deal, it'd be really enjoyable. We are sitting directly in front of the speaker, just sitting around. Make it easier to hear. I have just two legs. So anywhere. We're talking about here, there. We're going to get along with them. All right, get some tea. Did you have some tea? Grab a cup of tea. Grab a cup of tea. Grab a cup of tea. We'll show them the people out of the way. Come grab the seats. We're casual here. Is there any more information that you like? A smaller picture on there. Yes, yeah. Are there more information mentioned?

[08:15]

Yeah, there's a closet. Thank you. Do you know what it is? It's really what? It smells short.

[09:19]

All right, so could you turn this light out behind the door right now? Thank you. Hi, how are you? I'm going to touch something. There's green tint. It's pretty nice. You don't know anybody to do that unless you always need to do that.

[10:21]

Mostly it just was nice. But the man, I don't say what's on the back. Do you have it? [...] We do tea in the zen, but they're in such a unique fashion. It's not done totally across. Oh, yeah, yeah, yeah. You see it? Sure, nothing. Cheers. [...] Do you know how you put the marriage?

[11:50]

Thank you. Thank you. Now play. Yeah, let me pass and we see what we're doing. We're listening to it as long as we can. I think that's a big one. Grab some tea before you come and sit down.

[12:51]

Grab some tea before you come sit down again. Do you want to get some tea before you come sit down? Because we're going to probably knock it up. Yeah, I'll do it first. Yeah. That was a seat. Okay, everyone, we're going to get started. Yes, we're on now. Great. So, my name is Tim Wicks, and I'm a priest here at City Center. And this is, what's your name? Kim Kogan Daiho Hart, Kim. And, uh, I am no longer resident here, but I was resident here for a number of years, so now I live across the street.

[13:53]

And this is? I'm Dan Gudgel. I am also a resident priest here at San Francisco Zen Center in this very temple. Great. I want to welcome everyone who's joining us online. Thank you very much for joining us. This is a brand new thing to do. Mako Vogel, the teacher, Abbott of City Center, wanted several months ago to have something that she called a salon. And so... Is that being too loud? Yeah. Tabriz, could you turn us down just a little bit? We're getting a little... It's ringing a little bit, right? Just on the edge of feedback. And so this is a salon. Now, what is a salon? There's the beauty salon, of course, which is not what this is. This is not a beauty salon, although you're all very beautiful. A salon was something that started in the turn of the 19th to the 20th century.

[14:57]

Intellectuals and artists and philosophers would meet together and talk about ideas and oftentimes in the house of a leading socialite like Gertrude Stein. So this is sort of along those lines. Mostly what Mako wanted is to have some dialogue and to have interaction. So that's what it is that we're trying to do tonight. So we're sort of... developing this as we go. And yes. It's going to be quite informal. I'll give you a quick layout of how the evening is actually going to be structured. So five minutes for sort of house cleaning, like what we're doing right now. Then for 10 minutes this evening for week one, Timbo and I will talk a little bit about the context and history around Bushock. And then there'll be just another 10 minutes where the three of us discuss how we discovered Dogen and sort of stuff like that. We will then pass it over to you guys, where for 20 minutes, you'll get into kind of medium-sized groups, say six to eight people, probably three groups, I would say, for around 20 minutes, where you can just talk about Busho, your understanding here, the prompts that we sent out.

[16:09]

And you can also just have a reference those. And then for sort of the last 10 minutes, we'll come back and... have a loose and open kind of popcorn-style discussion about Dogen's bushel. Please make sure that you have some tea. It's very important to Kim that we know how much tea we use this week so that we have enough next week. That's right. And if you need to get up and go to the restroom, please feel free to do that. So the idea is that this is casual. Okay. And just one piece that I'll add. We do have... you are able to sign up for this if you want to get emails or have sort of additional PDFs, readings, things like that sent to you. It is not required. You're welcome to just show up and drop in and undoubtedly there will be people showing up and dropping in who are coming for what they think is the regularly scheduled Dharma talk. So we'll enfold those people as they arrive.

[17:09]

But if you are interested in having a sort of online discussion area, getting PDFs, things like that. You can actually sign up through the website. If you go to our calendar and find any of the listings for this, the next four Wednesdays for this Boucho discussion, you can sign up and get on the mailing list for that. And I've already sent out the readings. So each of us are gonna do specific readings each week. And so I've sent those out already. So if you wanna get those, Sign up for the class, it's free. Yeah. Okay. Yes, let's do it. Look, 734. It's perfect. Do you want to start or shall I? You start. So Dogen, Ehe Dogen, was alive in the 13th century. He was born conveniently in what is for us the year 1200.

[18:11]

and died in the year 1252. So you can sort of tell how old he is when each thing gets written as it's dated, and he was prolific, no question about it. But during the time that he was alive, it was called Mappo, or the time of degenerate Buddhism. So according to Buddhist studies, Writing the first either 500 or 1,000 years after the Buddha, depending on who it is that you read, is the time of true Dharma. Then the second 500 or 1,000 years is the time of imitation Dharma. And then the third, either 500 or 10,000 years, is the time of degenerate Dharma. And there were a lot of people at the time of... Dogen, who really thought that it was the time of degenerate dharma.

[19:14]

And there were a lot of catastrophes and wars, civil wars going on in Japan. There were a lot of difficulties and a lot of people blamed it on the fact that it was the time of Mapo. What else was I going to say? Age of decline. The age of decline, yeah. Go right ahead. Well, like Tim said, very conveniently, Dovan was born in 1200, so we were able to tell exactly how old he was when he came back from China. He was around 27 or 28 years old, so a young man. And I'm just going to outline what was happening at the time that he actually wrote Busho. So he came back from China when he was around 28 years old, and a few years later, in 1231, he settled at a small monastery. It was an abandoned monastery, an abandoned Tendai monastery. Its name is lost to time. But he settled in there, and he had a kind of a motley crew of students with him, one of whom was Eijo, who was his number one student and his...

[20:25]

His successor, thank you, his successor. In the early years, while Dogen was at this particular temple that has not yet got a name, Ajo was writing down his lectures. He was giving talks. And he ended up compiling a bunch of those lectures into what was referred to as the Shobogenzu Zui Monkey. Now, this is not the Shobogenzu we're talking about here, which is the Kana Shobogenzu. But the Shobogenzu Zui Monkey is a wonderful little book, which is a compilation of Dogen's lectures and a bunch of question and answers with his students, too. And it's a little book about this big. And it's an absolute jewel, an absolute gem. He stayed at this temple and built the first sodo. So this was a monk's hall. He built it in the Chinese style, which was the first time it had been done, brought it over from China, built it in the same style, which is still done today in Japan. These traditional style monk's halls or zendos were built according to the Chinese and the Chan style. And he then had the first angoo in about 1234.

[21:27]

At this point, after the first angoo, the first practice period, he changed the name. It became named colloquially as Koshouji. It had a bit of a longer name, but it was known kind of as Koshouji. And as a result of having this first soudo, this monk's hall, he got a lot of wealthy benefactors who were delighted to see him pursuing this traditional Chinese Zen tradition. approach to Buddhism. And with that money, he built a hato, which is a lecture hall at Koshoji, at this temple. And it was in this lecture hall in 1241 that he gave the lecture that is busho on Buddha nature. A couple of years later, he, together with this now expanded group of priests, monks, were obliged to leave. Now we don't know exactly What happened? Some drama. It seems like it was under a bit of a cloud. From what I read, it seems like perhaps, you know, this monastery had originally been a Tendai monastery, and the Tendai folks were a bit annoyed that Nard was turning into a Zen one, and Dogen was treading on toes, and what have you.

[22:41]

And so sort of under a cloud of, like, unhappiness, they left and ended up establishing Aheji. They left in 1243 and headed off. So that's kind of the context of when Busho was written, Ajo listening, Is there anything you want to add to the historical context, Dan? It must have been a long lecture. Bouchot is a long fascicle. So the idea of him actually reading this from the teaching seat has always kind of amazed me. It's actually his longest fascicle. That he would read something so long that the monks would sit through it. There's something about that kind of the actual physical image of him reading this out that makes it a little more personal for me somehow. And painful. And painful, yeah. I doubt they had the invitation to move and get a cup of tea.

[23:41]

I would be interested back in those days if they read it. I doubt he read it. I imagine he was talking and somebody was furiously scribbling. And then they took the scribbles and they were like, okay, we've got to try and put this together in a fascicle. And then he wrote it down. Because I've been with a Zen master like that who talks and talk for hours. So Dogen was probably at that school. Okay. So obviously this first meeting is sort of background and to speak generally about Dogen. And then for the... three succeeding weeks, we're gonna specifically, Dan's gonna be next week, I believe. Next week is Kim, and then the following week is Dan, and then I've finished up. And we will give specific page numbers. So in the reading that I sent out, I falsely claimed that I sent out the entire show of Ogenza. I did not. I sent out the entire Blue Show, which I'm glad about, because we have proprietary concerns about

[24:48]

just sending stuff around, entire works. So you all have, or those of you who signed up anyway, have the Bouchot, the fascicle, and then on Monday I will be sending out Bouchot. The page numbers. Actually, I should probably send it out on the weekend. I'll send it out on the weekend. And also just to say that we're actually all going to be working from three different translations, which just naturally were the ones we happen to have at home. We just naturally had the three distinct ones, which was awesome. And what I've sent out is a comparative translation. So it has all three of the translations that we've used. And they're really well organized, so you can actually go back and forth and look at, see what exactly it is that was being said and translated. And there's some very interesting things going on that we'll talk about. Yeah, yeah, yeah.

[25:51]

Okay. Anything else on background, on history? We can talk about how each of us personally kind of discovered Dogen, right? Yeah, let's do that. I can't remember. It seems like Dogen just sort of grew out of my practice. I don't remember being introduced to Dogen and thinking anything specific. It just totally made sense that someone as incomprehensible and difficult would be sort of a really major writer. in this wacky school that I was fascinated with. It didn't make much sense to me at first, but I knew there was something really heavy there that I wanted to find out about. I understand it. My time with Dogen was, the first time I discovered Dogen was in the, what do we call them, the noughties?

[26:55]

I don't know, 2006, 2004. The arts. The arts. The arts. And I was training in Italy at Fudengi, and they were studying the Schobogenzo in Italian. And as you can tell, Italian is not my first language. And I was really struggling. And if you think Schobogenzo is difficult in English, you should try it in the second language. And that was when I was like, OK, look, I can't understand this at all. I want to get the English version. That's, of course, when I realized, OK, so what's the English version? And they're like, wow. There's a lot of translations. So I got hold of the Nishijima cross one, which is the one I still reference today, and we started reading that. And I was like, okay, so it's not actually easier in English. It's just as impenetrable. But, like, brilliant. Because I realized that if I spent enough time on any one of the sentences, something grew out of it. And this is one of the things I really appreciate about Doga.

[27:56]

And it seems like, much like a koan, and I think this is...

[27:59]

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