So, as I said previously, a lot of the talks are commentaries and koans or old Zen stories, teaching stories. A lot of them are just kind of general encouragements to the monks. A lot of them are for special occasions, like 189 is the mid-autumn festival, so that's the day of the harvest moon, the most beautiful moon that's celebrated in East Asia. There are others that are for New Year's or for Enlightenment Day or Buddha's birthday or winter solstice. So, okay, who would like to read? Can somebody please read 189? I'll read. Okay, thank you. Dogen said,

[01:02]

In the heavens the moon is round and vast as the ancient mirror. In the middle of the month in the human realm, the full moon extends over the entire world. In the dark it rolls up two or three thousand. In the light it unfolds to pervade throughout seven or eight. Seeing the moon as like the eyeballs of the seven Buddhas produces joyful laughter. Seeing it as like yunmen sesame cake brings an uproarious clamor. Having arrived at such a field, can you enjoy your practice like this or not? After a pause, Dogen said, Illuminating hundreds of grasses and many lands. Everywhere a toad is jumping around with vigor. Thank you. So, as the note says, we talk about the man in the moon.

[02:10]

In East Asia they talk about the rabbit that's in the moon, or sometimes about the moon as a toad. So, this image of the toad jumping around is like the moonlight, you know, kind of sparkling around, sparking in various places. But it's this other image of a toad hopping around. Does the toad have any other kind of connotation to it in the Chinese culture? I know Boggs said that connotation in his book last week, being interested in... No, I think... Well, we know that Suzuki Roshi liked toads, so there's, you know, I think there's that feeling about the toad. I don't know if any of you have any particular feelings about toads. It's not as symbolic an animal as the fox in Asia. Or even the rabbit, but... I have another question, too. The line where it refers to blowing up two or three thousand

[03:14]

and then pulls the bait seven or eight, does that refer to anything that we know about? Is it expressing something that we actually know? I think it's just an expression of... They talk about the ten thousand things, so it's the relationship to the phenomenal world. The dharmas, in other words. Yeah, dharmas, but also just phenomena. And also, speaking of phrases, hundreds of grasses? So grasses represent beings or phenomena. Not necessarily delusion. Well, it's the karmic world, the phenomenal world, but not necessarily delusion. It's not negative, particularly. Any comments? Any guesses? So...

[04:18]

Yes, so unfolding, gathering in and letting go. So that rhythm is referred to there. But also the dark and light is, like in Sandokai, the darkness of... Well, dark and light work as images in lots of different ways. Dark and light also just represents time, day and night. But rolls up as kind of gathering in, and that's the image of merging. And in the light of the phenomenal world, where we see the distinctions between different things, it unfolds to pervade seven or eight. But, you know, the key... In a way, the key here is the moon. So he's talking about enlightenment. He's talking about wholeness or this image of... Well, not just an image, but the full moon represents completion. It represents kind of this ultimate beauty.

[05:21]

And especially the October harvest moon. So vast is the ancient mirror. The ancient mirror is an image that Dogen uses. It's used in Zen a lot. It's the kind of reflection of our lives in the lineage, in the tradition, or just in the reality, the timeless reality. So all of that is implied there. So this is, in some ways, one of the more poetic ones. And these kind of images are things that he uses a lot. In a way, he's kind of celebrating just being at Eheji, being in the monastery, doing this practice together, where they are. And the moon...

[06:25]

So in Genjoko, and some of you may know the moon, the moon reflected in the dew drops, the moon reflected in a puddle, the moon reflected in all water. That's kind of there too. So in the human realm, the full moon extends over the entire world. So he's kind of expressing his feeling of joy or complete misery. Here we are. It's beautiful. So this is a kind of poetic way of expressing it. And there's also this kind of identification of nature with the Buddha, and with the Buddha way, the eyeballs of the seven Buddhas, when it's compared to that. Or Yunmen Sesame Cake, so the story that this refers to a monk asking Great Ancient Master Yunmen, what is it that goes beyond the talk of Buddhas and ancestors?

[07:29]

And he said cake, sesame cake. So it's kind of like rice cakes in the sky. So he's kind of playing with that image a little bit. Is that just like any ordinary object? No, this is the full moon in mid-autumn. This goes beyond... It's not an ordinary object. Of course, it's... Sure, in a way it's all ordinary objects, but it's this ordinary object that is totally transcendent. But it's right there in the hundred grasses. What an interesting question. Can you enjoy your practice like this or not? It's too busy. Too much going on. Hard to enjoy. What do the sesame cakes look like? Who cares?

[08:30]

Why do you care? Because it's mentioned in here. I'm wondering what the imagery is. They're round. You know that? They might be... like those round manju cakes with sesame on top. I don't know what exactly they used then, in Young Men's time or in Dogen's time. But some round cake with sesame. But I think, you know, think of the rice cakes down in the Tenzo's office. That's good enough. Now, we don't usually look up at the moon and think of it as... When you see the full moon, what does it remind you of? What does it look like to you? Like God. Okay.

[09:32]

It's really easy to see how people imbued it with spiritual power. Good. So the toad is like a god. There's this toad jumping around with a figure with energy. In Rep's class, we've been talking about being playful in a way to connect. So if you lose your self-concern or idea of self. And it seems like it's sort of playful. That last part about seeing it as eyeballs or a sesame cake. And whether you enjoy a practice like this or not, it reminds me of what we're talking about in his class.

[10:36]

Also, we're talking... It's like Yangshan's... There's 97 circles. You might be familiar with that. A little bit, but... The moon, in a way, is like one of those circles. Yes, right. Good. It's like connection. Mm-hmm. There is this whole tradition. You're doing K77? It's a wonderful place. I've been studying English recently. We don't have so much information about Yangshan's circles, but there are places in Soto Zen where they continue. It's a way of talking about the integration. This is about integration. He's talking about how do you express your life with vigor. Definitely he's playing, so the playful side is very much there. That's right. He's playing with how do you express... Can you enjoy your practice like this? So there's the full moon,

[11:43]

and then there's all the ways in which... There's also a Book of Serenity koan where it talks about the difference between the full moon and the crescent moon. So how do we integrate fullness, the wholeness, the wonderfulness of the full moon with ordinary, our ordinary busyness, the ordinary world. So this is what this is about, and it's playful, and he's kind of... kind of celebrating this and talking about it in this poetic way and using images that are fairly familiar from a lot of Dogen and in other contexts too. So that thing about rolling up and... unrolling and rolling up, and dark and light. These are kind of familiar motifs. But he's... It's a little bit unusual, even in the Heikuroko,

[12:44]

for him to talk about joyful laughter or an uproarious clamor. He's... It feels to me like a playful mood, this one. If it's the harvest moon, it's probably a time of celebration in and of itself. Sure. Yeah, so this is one of the big celebration days of the year. But it's a celebration about the beauty of nature, fullness of harvest. So I imagine it was already pretty cold in Eheji, by the time of the harvest moon, way up in the mountains. Snowed in throughout the winter. I saw the last full moon that night. Well, it just came out of the clouds. And it was orange. So I think it's not... I think it's just the clouds. It's just cotton. Orange is a color.

[13:46]

So it's a map. And as it goes higher, it lost that orange, and it became yellow, and it became a brown. I think perhaps that's similar to the harvest moon, because I think I've seen it also in the fall, similar to that. That type of color. Yeah. Does it look like a sesame cake? I don't know what a sesame cake is. So if we were writing this now, we'd say a pumpkin. In a way, there's maybe not so much to say about this one. But partly, just that question, can you enjoy your practice like this or not? And the toe jumping around with vigor and vitality and energy, kind of putting that together. So again, these are these short

[14:50]

little encouragements, and then they go from here back to the zephyr. Let's do another one. ... Yeah, he's talking about the realm of the ancient mirror and the human realm. But it kind of feels like it's connecting. You know, it connects us with something that's beyond. Yet it's right here jumping around. The light. Reflected all around. For some reason,

[15:52]

I'm leaping to, instead of appreciating the connection that it's going to, I'm abstracting it to the rest of the map. In the heavens, the moon is always round, but it's only in the world around. In the human realm, it's round. ... Right. So, yeah. He's not saying that, you know, the rest of the month is a waste of time and we should just, you know, enjoy the full moon and the rest of the month is, there's no awakening. Check out the dialogue in the commentary in case 37 talks about various

[16:53]

dialogues about the full moon and the present moon. Is the present moon there when the full moon's there? Is the full moon there when the present moon's there? It's playing with that same idea that you're talking about. Let's do let's do it slightly longer and a little more a little less simple. Let's try 194. My late teacher, Chantam Rujin, Dogen's teacher, said, the question about the steep cliff in the deep mountains was answered in terms of large and small

[17:56]

rocks. The cliff collapsed, the rocks split, and the empty sky filled with a noisy clamor. Dogen said, although these two venerable masters said it this way, Ehye has another utterance to convey. If someone were to ask, is there Buddhadharma or not on a steep cliff in the deep mountains, I would simply say to him, the lifeless rocks nod their heads again and again. The empty sky vanishes completely. This kind of expression is an affair existing within the realm of the Buddha ancestors. What is the reality of such an affair within the steep cliff in the deep mountains? Dogen pounded his staff once and descended from his seat. So there's one reference in here that's part of the context. The thing about the rocks nodding their heads again and again, it's in the note here,

[18:57]

but one of Kamanojiva's disciples, Daoxing, a great early Chinese Buddhist scholar and translator, he saw in the Mahaparinirvana Sutra that all beings can become Buddhist, so once he went up to the mountain and expounded the Dharma to the rocks and the story goes that the rocks nodded in response. So there's sort of a reference there too. Dogen says the lifeless rocks nod their heads again and again. So... The steep cliff. The steep cliff is like an image of the wall or like a barrier or some act of life and death. But it's also, you know, well, there are lots

[19:59]

of stories that, you know, there's the story about the man on the steep cliff who's hanging on to a shrub by his teeth and somebody down below asks him to say something. He says something he'll lose his life if he doesn't say it because he's a Buddhist. Anyway, that's not directly related here but this image of the cliff, it's remote and it's also kind of this sternness that the barrier and difficulty is that kind of image. So what do you think of this first answer? Is there Buddhadharma or not on this steep cliff in the deep mountains? So this is a reference to his own... He's not such an ominous figure but he's later sung about. Anyway, he said a large rock as well just falls. What do you think?

[21:20]

What do you think of this image? Don't waste time. ... [...]

[22:23]

... ... What was that you're saying? Large rock is large, small rock is small. That's better than I think. Thank you. Thank you. Tell me this one. What was that?

[23:52]

What was that? [...] that he had this terrible despair. So this is, so I don't know, maybe Chantam Rujing didn't like that one's answer either,

[25:26]

maybe he was like on, he said, the question about this deep pit is, the deep mountain was answered in terms of large and small rocks. And then down from there, he just said, the pit collapsed, the rocks split, the empty sky, the building is miserable. How does that, the response to the deep pit collapse? Yeah. Do you feel like this is like what Rujing says?

[27:03]

In what way do you think it does that Rujing's statement about the collapse response to the deep pit collapse? I don't know. Thank you.

[28:11]

Thank you. [...]

[29:29]

Thank you. [...]

[30:50]

Thank you. Thank you. Thank you.

[31:56]

Yes, she's got it. I'm not sure that he's making an evaluation about that, but there's certainly, the issue is there, you know, there's this dramatic, you know, rocks splitting apart, the empty part about large rocks, large rocks, large, small, small, which is, you can see it's discrimination

[33:04]

in the city center, but it's interesting to see it both ways, what does it mean both ways. Now, one way that these things work is that often Dogen will give a couple different, you know, give a couple different responses to a question and then he'll say what he said. So let's look at what he said and see if that, if that clarifies where Dogen's coming from But, but, you know, but I think what, what all of you have done before that to look at the different ways of seeing the first part is the way to work with these things. How does this reveal issues in practice? So these kind of, and I, and I feel Dogen is presenting these, again, we have to see the context. He's sitting up there on the seat and there's, there's, there's students who are standing there, you know, listening to him and he's kind of putting out these perspectives and we don't, there are places, this one it doesn't, but sometimes it says after, I said this before, after a pause, sometimes it's just pausing, but it may be that there were some responses

[34:07]

by some of the students in between. But anyway, in this case, let's come back to it, let's, bearing in mind the different interpretations of what Dogen says, although these two venerable masters said it this way, as another utterance people think, so sometimes we'll say, we'll say that, they said it this way, I don't believe they said it that strongly. Most of you say, well, I don't know. Sometimes they'll say, say it kind of in a foolish fashion. Thank you.

[35:52]

Thank you. Thank you. Oh, no, I'm sorry. That's not the same. No, I thought you were just going to say that. I'm not. Okay. Thank you. What is, what is this on, this there?

[36:59]

No, it doesn't say. It's a secret. Okay. You want me to sit down? Yeah, of course. Okay.

[38:51]

Okay. [...] Thank you. Okay. Okay. That's right, that's the way of saying exactly, that's not just by using this form of it.

[41:00]

That's right, that is a concrete form. So, you know, again, there are these planks and these stones and planks and these things, that's concrete, but if you take it from the floor, that's a different story. That's right. That's right. That's right. And these collapsing dwellings, these really spiky things in the dwellings, that's the first thing that one is usually doing. That's right.

[42:02]

Well, it's one of the best places to do that. That's the second part of the story. Pretty, pretty, you know, the sky, rocks, the sky. That's the second part of the story. That's the third part of the story. Press it. Yeah. Press it. [...]

[43:11]

Yeah, he has a lot of them. So. Sure. Why is that? Why does that make that would make sense? Look. So. What about the image of the rocks, not necessarily, you know, kind of amazing. We're going to go back to the story about the master. We're going to go back to the rocks. Just. I spoke too much. Right. Huh. Yeah.

[45:23]

Well, that's. Yes. Okay. Yeah, now I think we. So this is now we're really starting to get into it. Where is the student coming from when he asks this question? Is she. So.

[48:12]

So. But. Visit. Visit. That's right. We can't, you know, now you might settle in one place. But until you can't really do that. So I interrupted you. Alex, you were. Yeah.

[49:45]

Yeah. Well. So. Right. Right. Yeah. Yeah. Got it. Yeah. Yeah.

[51:00]

Yeah. [...] But that idea of just everything.

[52:16]

Right. Is that. Well, I think. Yeah. [...]

[53:24]

Yeah. Yeah. In a way, those last two sentences are another way, or maybe a more informed way, of asking questions. It's exactly in a way the same structure as the first question, if you don't get a stanch one. And in these two sentences, and I think the first one he's saying, this matter which as John said, it includes the question itself, this whole discussion, this is what he's saying. So, you know, we don't have to interpret it, and then take each part of it on in that way.

[56:01]

That would not be the point. But to raise all the questions that you've raised, and all the perspectives that you've raised, actually helps us look at what, so this is not about what's going on up at Hope College, it's about what is the practice in our lives. So everything he's been saying about it is about how, what is our orientation towards practice. Is there Buddhadharma or not in the Wheelwright Center? And there's Prabhupāda. He invited me to stop the turning, but I just wanted to thank you for everything you said. Thank you. Thank you.

[57:44]

I'm getting all messed up. I see Nagarjuna more as being interested in breaking down mental problems. Right. Well, Golukha is a wonderful system of the Dalai Lama school of really having this theater philosophy on the books. It's wonderful. But Zen style, and particularly Dogon style, you know, if you don't have to do it with a question, then... And so just looking at this, looking at the issues of this and seeing how he's turning, the one thing that I don't feel like we've looked at enough is the difference between what happens to emptiness or the empty sky for Rujing and for his student Dogon.

[58:47]

I'm going to turn back to the left. You know, there's, but there's also that for Dogon, it's just like, you know, the rocks are just kind of gone. Close to what Rujing says, it collapses, the rocks just fall apart. But you have this special noise that is kind of roaring. And so, is there some... Yes. You want this guy?

[60:01]

Yes. Yes. And yet, you're saying that the first one isn't, it's empty, it's filled, and the rocks are not rocks, they're collapsed and they're split.

[61:18]

You're right. Good. Good, good. Very good. So the first one, so Rujing says form is emptiness, emptiness is form. Dogon says, maybe this is what you were trying to say, form is emptiness. I think that's great. It's great, it looks great. But there's also, but there's also just a power. So it's not just Rujing, that's Dogon. Yes. Yes. Yes. I think that part of that is...

[62:29]

I mean, you know, again, the difference between Tibetan Buddhism and Indian Buddhism and East Asian Buddhism is, in Indian Buddhism, they develop this all very clearly, very precisely, very carefully, like conversion and philosophically. And then, you know, they kind of give up and say, let's just tell some poetry and they have all these images which express the same thing. But it's coming from this, there's this other side to it, which is this, the impact of it. So I feel like there's this... I think that's great. Thank you. Thank you. You know, I don't know what to say about that.

[63:36]

That's a really good question. I wonder... I think that's a wonderful thought. Obviously, you have this... Actually, this is the way this works a lot. Thank you. Thank you for your time. She was there. I don't know if he had... I also have a lot of... He was poor out, but he probably got this, I don't know, but he probably got this lucrative business.

[64:36]

And there's actually one of the journalists who talks about this. He's not popular for a record in the future. He's like nearly ecstatic and does all kinds of things. So I don't know, but it may have been for something he didn't talk about with his client. I don't know. But at any rate, he knows the story about the, about the, about asking this question to Thao Chuan. He knows we're doing so good. I don't, I am not... But maybe he may have had part of this. I'll find it. What I do. What's part of it?

[65:55]

The situation with the family. I said this the last time, but it's important. There's something going on between him and that guy. Going. The other side. I don't know.

[67:00]

So. Yeah. Yeah. Right. That's right. And he. No, I don't know. Five or ten and he may have paused. And there may again, there may have been some responses. I don't think in this one. I don't know. And there's actually a few places where there's actually a response. Certainly five of these. And there's 530 of them altogether. So, we're still working on it.

[68:05]

The purpose of the one, two, three, three, duality. So, that's a method of teaching rather than a receptionist approach. Sure. There's various. Right. And I think. Really spend a lot of time. Really getting it. But what that philosophical system is. How that's. There's a lot of different methodologies. So. Teaching about this. You know, I think what the way you described this a little more.

[69:09]

One of the main ways, which is. You're trying to break through. Feel like. That's part of it, but it's not like some particular breakthrough. It's more like what we've been doing tonight. Just turning it. How does this bring up. For you, these issues. What's going on? So, he's asking questions. What is the reality? Right. Right here. Right. Yeah. Awesome. Yeah. So, it's not so much. Yeah. in the story like this, just the way we're doing it tonight, turning it and seeing the

[70:33]

different aspects of the Dharma arising and seeing these different perspectives, I feel like that's what Dogen does with koans all the time. And Shobo gets it, too, where he'll take a theme and he'll work with different koans. He'll take one koan and he'll turn it and look at it from all these different angles and say all the things it's not. And, but it's partly a way of just through some image of a story, which in some ways these stories are kind of easy to remember. You know, there's some narrative. There's some kind of structure to it. And yet, when we think about it in all the ways that everybody has commented on tonight, it turns and the drama becomes a lot. Yeah, it's frustrating. Well, the frustration may be part of being alive. Part of it is to make the question alive in a certain way. I've never read Dogen before. I'm reading this for the first time.

[71:35]

It's a long question. What arises, and what sort of freedom as you read deeper and then try to figure things out in a certain way. How do you do that? Yeah, and it's really great. Well, you could see it as breaking down. You could see it as just including lots of views. And it seems like Dogen does both of those at different times. He does, you know, he is, he sometimes he does, he really wants to say something, but he's really trying to pass it to them. And if you don't get it, go back and say it. And the other time it's like, okay, he's playing with it and it's just kind of controlling. So, I feel really good about everything everybody's got their head in, the mind vanishes.

[72:59]

Great. The mind vanishes. Okay, that's right. There's so there's, there is this kind of, the empty sky vanishes completely. That's one of the turning places in this for me. There's a bunch of them. There's a lot of rocks nodding their heads. There's, I mean, there's a lot of them. So, in poems, I talk about turning words, turning phrases, but then there's just, they're just all over the place. But that's one of them. I'll tell you, I can feel it. I mean, it's just very easy. I can feel it. I can feel it. Good, and that's a comment on large rocks, large rocks are large, small rocks are small. It's not just that large rocks are large and small rocks are small. The rocks are nodding their heads. Yeah, right. Good. Good question. It's very like a Taoist, kind of like a mimetic, and it's not like the rocks are nodding their heads again.

[74:00]

And then it's just completely like being brain nature. Uh-huh, absolutely. I mean, that's the whole thing about Zen images and poetry and painting is that it's Nagarjuna informed by this Taoist sense of nature and using that, but then using that to express his teachings and formative teachings and awakening and, you know, everything that everybody's. Yeah, it's not paradoxical in any manipulative way. I mean, there's one interpretation of co-op. That co-ops are kind of paradoxes

[75:02]

to kind of get right through our logic or, you know, get us out of our reasoning thinking mind. And I think that maybe some teachers work with it that way, but in both things, I assert that it's a paradox. It's a demonstration. That's the conventional way, and it may be that some people put it in that way, but that's

[77:02]

not what they're doing. He's showing that there is actually something going on here, it's not just one thing. It's not to get you, it's to muse your, it's not figuring out, it's kind of, it's like the grasshopper jumping around with the grasshopper. It's the play of the living. Of course, with everything that's going on all the time, it's playing time, but you can only see as far as your mind goes, but there's a lot going on. Again, I think I mentioned in the last class that I've had this, I've been wanting to Good.

[78:16]

See, there we go. Okay. Good. It's not just in the sense of merely, it's completely. What good is it? It's the everyday rice and tea of today. It's good. Whatever it is, it's something else. What do you mean something else? Okay. Okay. Okay.

[79:20]

Oh, I see. I see. Okay. Okay. Yeah, but I don't. I don't think... Yes, and we do think of it that way. We do see that... What I heard is that she was making a script of the next... of the next season. It starts around... I don't... So, okay, I don't see... There is a question. Okay, this is... What is this? What is this? What is this? That's the best part.

[80:23]

I see. I'm doing it. I'm starting to see it right now. Right. But... I'm still getting there with the... It's starting to make... Yes. Yes. Sometimes... Yes, it's very... It's the odd... It's the odd... It's the dominant... Separate or other... It's the structure of the script. That's... But... And it's a real question. I think that's a real question. I don't see it that way myself. But I can see how you see it. But... There's still lots of questions. I want to keep working on it as well.

[81:27]

Because it's really... We're going to cut... We're going to cut here. Cut that part. Oh, good. Okay. Okay, the reality. Now I understand what you're saying. Okay, is there a difference between this film... So one thing... Is there a difference for the development of all these stories? And all these answers. And all these thoughts. And all these sayings. And all these questions and responses. And right here... Give me another song. Let's see. Yeah, okay. Right, so that's even more challenging. Okay, fine. I just got it, what you're saying. Okay, thank you. So there is that there. Yes, that's right. The more we keep talking about this... You see, it's too late. It's too late. There's...

[82:43]

Yeah, there's... There's the... We kept talking about... We talked about a lot. So it's time that there's... It's time to look. It tells a lot about going beyond... Going beyond any particular... So... So ending with a question. Part of... Part of this. So whatever... Understanding... Together... Developed by... Adopting stories. All the different aspects of it. Yeah. Yeah, all the different... And still... That's always there. And we have not talked about the most important part of this case yet at all. Oh, very sad. So Dogen, you know, has his staff. And it's... It represents the teaching.

[83:44]

So he asks a question. He doesn't just get... He sits down just at when he says, What is the reality of such an affair within this deep cliff and the deep mountains? Then he gets down. So... Sometimes he holds up his whisk. Sometimes he pounds his staff. Sometimes he throws down his whisk. So what about... So we've done really well on this whole story, but what about his pounding his staff? He's not pounding his staff at other columns. He's pounding his staff at this one. Good. That's where that comes from. Yes. Okay. That's good. I can ask that question.

[84:46]

Over and over in my mind. What is this deep cliff and the deep mountains? Over and over and over. I remember when you brought up that as a question. Oh, yeah. What is it? It's like the king of Darwin's is the... Bang! And he just leaves. So he's saying, Forget everything I just said. It's not forget everything I just said. It's not that. I don't think. I mean... You can hear it that way. You're welcome to hear it that way. But it's... But I think it's like... Get to work on it. Also. Or it's just yes. It's just a kind of affirmation. Or it's just... Hear the Dharma between the Dharma between the Dharma... Is that. Yes.

[85:48]

Go to the noisy clamber. Okay. I have an answer for that. Thank you, Alex. All night I've been wanting to read this other Dharma discourse which is not one of the ones I gave you. But it's an answer to that question. So I'm going to read it to you. So thank you. I'll pay you afterwards. I'm just throwing this out to you all. And it's not even one of the ones that is... What is it? Did I include this in here? I might have. If I didn't, it's amazing that I didn't. Because it's one of my favorites in here. But I might... No, it's in here. It's on page 14. So we'll talk about this in the beginning. We'll talk about it. It's number 239. Did we talk about this already?

[86:49]

I don't think so. No. Okay. We'll start with this next time. Next Tuesday. Same time, same place. Different universe. The courage of patch road monks. Entering the water without avoiding deep sea dragons is the courage of a fisherman. Traveling the earth without avoiding tigers is the courage of a hunter. Placing the drawn sword before you and seeing death is just like life. It's the courage of a general. What is the courage of a patch road monk? Anyone? One ball. Okay. Okay. Okay. After a pause, Dogen said, spread out your cushions and sleep. I think actually that should be false. I have to look that up. But it's spread out your sleeping cushions and sleep. Set out your balls and arise. Exhale through your lungs. Exhale through your lungs.

[87:49]

Radiate light from your eyes. Do you know there is something that goes beyond? With vitality, eat a box of rice and then eat the pudding. That's sending your personal courage to do the other thing. We'll start with that next time. The courage of patch road monks. That's the courage of a patch road monk. That's the courage of a patch road monk. After a pause, Dogen said, spread out your cushions and sleep. I think actually that should be false. Dogen is like his current or his longest great Taoist philosopher and storyteller. Is he, right? Yes. Well maybe it's a lot too, but anyway. The courage of a patch road monk.

[88:46]

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