lights on if they're not too draining for the shot. I can't see your faces. . [...]

[01:52]

Good morning, everyone. This is all. Or is it just recording and not amplifying? I want to make sure you can hear me because my voice sometimes is low. It's got a red light. Does that mean it's working? Is it working now?

[02:56]

Is it working now? What is the sounds of the valley stream? It's working now. It's always the case. It's working now. And those in the back here. So I'm going to take a first class of the practice career. It's a little strange to be on this side. The last summer I was on this side. All right, let's look through it. Let's look through it. Let's look through it. bring this forward to the alphabet.

[04:07]

Maybe I'll start with a second a little bit about the value of textual domain study, because they know people have a different relationship to study, text, and so on. And actually, it's important to, you know, to actually go into this particular study of science review, which is not easy to text and to And you have probably heard the most coffee-curtive, I think, phrase of Dogen is the study of the Bhagavad Gita itself. And one last step of studying Bhagavad Gita is the study of the Dharma, that is the actual teachings of the Bhagavad Gita. Other teachings who have tried to offer coffee-training and sedation, not a little bit of the stuff that Bhagavad Gita is pointing to. And so the Citrix and Countries do this, we're constantly trying to try to offer a different facet. And you're studying a facet that's going to be very pertinent in building this facet world. You may not work into the news.

[05:09]

You can never see the whole thing at night. You can build glimpses here and there. And so when you continue to maybe collectively go, or see if there is any facet, you're getting the sense of a larger expression of the reality of the truth. And so studying in Texas when they were doing that. And the study began, as you probably know, in Buddhist time when Buddhist teachings were actually orally recorded, they were memorized, they weren't written down. I think it was 300 years after the fact, they actually finally written down. So my question is, what changed? You know, if you don't play telephone, did anything change between the time that Armando said, well, this is what I heard, I mean, a time that they actually got ripped in the eye and they sort of took away. So there's always a part of the book. What I use exactly those words is what did they get kind of filtered, you know, even just a little bit, through this process that I am looking at.

[06:15]

To what to read is that now? It's also kind of a question about health. Because, again, just because the Buddha said it doesn't mean it's true for you. My point to this is what is true for you and your experience. And you put us to that on the subject. Be your own right. Discover what is true for you and live that truth. So this is how we approach any study of sutra or text. And it's interesting that later on in the Mahayana tradition, the teachings of Buddha, the words of the Buddha themselves, actually began to be understood as the body of the Buddha, the very dullness of the Buddha actually says in some places. The Loda Sutra, for example, one of the key texts in Mayanai Buddhism, is often described as the very thought of the Buddha. So when we're reading a chant in the Loda Sutra, we're actually engaging with a real relic of the Buddha himself.

[07:21]

So it's a whole different way to relate text and two words. These words of the body, what is that? How is that true? You probably understand how we go out to that, but we go out to that way. And then, as you probably know, there's this kind of long-signing tension between this idea of studying subjects and texts. You know, there are a lot of texts, despite this kind of thing by a comic I put down at the drama is beyond words and letters, the reality is that in Zen we have lots of words and letters and all pointing to it. So there's a tension between studying these words and letters and trying to figure out what is being said here and how are we trying to elucidate or eliminate the many facets of reality through these teachings and at the same time recognizing that our tendency to mistake

[08:22]

these words are approached from a purely intellectual understanding and therefore missing in some way. And if we only come from the mind, we're not actually getting just the truth, the essence of the teacher. This is just one way to enter into what's not the truth itself. So we constantly play with this tension. You might find it in your own practice over the years. Sometimes you really go, like, oh, I'm going to read everything, all the Zen texts, and you're just going to consume, consume, consume. And at some point, you get to the point where you're like, I'm not entirely reading the Zen. I'm entirely reading the Bible text. I want to engage with these teachings in a different way, entering a different way, expressing a different way. So that's what happens sometimes. But Dogen himself actually fiercely defended the new to honor at studying the sutras. So according to him, there was a reciprocal relationship between the Buddha, sutras, and the lives of the individual practitioners.

[09:32]

For Dogen, quote, studying the sutras is studying life. Studying life is studying the sutras. So he emphasized that textual studying of sutras and commentators is grounding grounded in the living practice of the teachings. So, this is one of the very key to this particular sutra. As we're studying the sutra, how is it that we're studying life? Are we still doing the same about the words of the sutra and how does they point the reality of our life and how do we apply this to our life and our understanding of our life? And that's, at the time, if you need to put If we don't turn these words, if we don't turn the teaching in ourselves, they don't come alive. So how is it that you bring them to life? Through your own control of change, whatever it is. And it may be for you this locked box for a long time, a coin that you just can't enter into, and was a task of support for you to be a locked box.

[10:41]

And here, what's the key to open this? Now we're at the Rubik's Cube, keep kind of turning, turning, turning. When does it line up and in some way it actually makes sense? Something comes together and wholeness comes through and begins to reveal itself in a new way. So I think that in Shingi that we read, it said you're welcome to study, dark text to read the study for it. And also, you know, when you're going to practice is fine, to just keep your romance novels on the shelf for the practice period, or in the period of time, that's not going to be dormant. You're also encouraged to study the particular classical that we are talking about in the sport in this particular practice period. Try to put those in there. It may not be something to you that you feel yourself can fully enter into, So I just want to say, uh,

[12:07]

Even though the request is not to up to your coffee, I actually am afraid to be a big brother here, because I think it's a good joke. It's part of the citron. So it's a pretty outlaw to be so hard to pick. And that's the last one. So what's our approach to studying the sound here? The mountains of river sutra is one of those most beautiful, profound essays, and it's easy to understand how it navigates. And we're certainly not going to be able to thoroughly expound or explain in this particular sutra. But our departure is going to be deeply into what it is that that has come to express. The best way to really study this text is to sit.

[13:10]

To sit as the presence of a mountain. To sit in the presence of a mountain. To embody the mountain body in your own meaning. So, presence in your body is the same form, which is presence in your soul. Water is presence in your soul from your soul, just as it is. So the sittings are in the presence of the sittings, the sittings are in the presence of the sittings. The sittings are in the presence of the sittings. The sittings are in the presence of the sittings. What is that? So we're going to need to read the text contemplative, basically. Contemptative. I almost did it. Thank you. I have a little bit of oral dysrexia. So when the music comes out with a public speaker, so if I not make you sound so rich, and if I get wrong words, you know, that feels like.

[14:20]

They're all dysrexia. I feel like I could follow it. So we're not going to assume what little groups sound like. So give that up. And don't worry about trying to understand it. And, um, but over time, something is going to come forth. Something in you is going to come forth that makes the text, and the text is going up before the regime is going to take it away. So while our original concepts and ideas and things that we already know, all things that's sort of going to be affirmed, Dorland is trying to say what he wants to say in a way that's not to vote for the same tradition. So he's coming very much for the same tradition. They're traditional ways. And at the same time, he's trying to go beyond it in order to deeper express his own weirdness of himself, which is what all of you are doing. We're taking the teachings and trying to understand it, get a sense of what this tradition is pointing to, and that if I were to teach it, if I were to express it, how would I express it?

[15:29]

And that's a good thing to always try when you read something. And then sometimes, after you read it, just do a summation of what you understood. And then the third kind of turning would be, like, how would you teach it? So that helps you kind of get it at a much deeper level in some way. And it makes it worse. So all the time, even though we're going to understand, we're going to get a feeling for this particular situation. What is the felt sense? What is it that we feel and felt knowing that we're taking away as we walk through this particular class of book together? I think that's the most important aspect. Because that felt sense is what we're going to draw later as we engage the world. So we're going to be using Dr. Morris commentary. as our principal springboard for our conversation.

[16:31]

It's a very authoritative, and it competes, and it's beautiful. But if you don't have a chance to read anything by Charlotte, please do. You know, this man is billions of good ways. He has to possibly take things that are very complicated and simplifies them and be able to announce it in a way that's clear and straightforward. So his graduate program is also good for work. Living by Val is also amazing. And this one, too. So I highly encourage you to learn, but explore this writing. He's a very good, different, fine teacher. And I appreciate that. It's actually subtitled by Practitioners. So this isn't meant to be a scholarly analysis. It's really us practitioners, partly picking up this proposal. Are we supposed to enter into it? And that's, again, the heart of what we're trying to do. This book is actually based on a series of teachings that we gave in 2002 at City Center.

[17:38]

I found my notebook the other day, and I was like, I have the original notebook of my notes that I took, you know, from the Genjo Pound in 2002. It was the first time that a Genjo Pound was offered in the United States. There is one. The Genzoe! The Genzoe has been offered in the U.S. And the Genzoe is actually... It started my understanding in 1905 for the 650th anniversary of Dōken's book. And so the Japanese decided to honor Dōken and they had... It was, I believe, a 3D event where they were studying Dōken's teachings. Lying by Roddy. It's a line-by-line study. And so the fact that this tradition now is allowed here in the United States, and I hope it continues, it's pretty amazing.

[18:40]

So gazare means a gathering for studying shavokensal, and building shavokensal. And it's a combination of salsa and twice-daily index classes. to this beautiful mix of sitting and studying, and so on. And in case you want to see it, Jaakura Komara is coming to City Center. Let's call us to offer another transfer. And he's not going to offer that anymore. He basically said, this may be the last. There may be one more. So if you have an opportunity and want to experience his teaching life, please visit. And By the way, there will be a book order. And Zatanna is going to make an announcement about how to order this book, as well as other books, at a 40% discount, which is pretty crazy.

[19:40]

And we should be able to get these within 10, 15 weeks. So if it happens in two weeks, we don't really help us. And I'm going to also be paying off a little bit further on in this particular class today, a triple version, a triple translation of the science of the book here. So you will have a side-by-side version of three translations for you to reference. So if for some reason you decide not to cut the book, I think it's about the class for you to engage with. There also is going to be a reference shot from here. It'll be a listing of the bibliography or reference books that I'm recommending, as well as narrative books that show that they want to reference during the year 2002 by Drugs-O-Left. So we may add for this as we go. And the particular translation that Okimori used is by Karl Rierfeldt.

[20:45]

who has been a professor of religious studies at Stanford since 1980, and has also been a member of working on something called the Certified Text Culture, which is basically translating the entire shuttle Genzo. So it's online, although it's not currently accessible to try to get to through the daylight. The goal is about really important, so I'm not sure what's going on and how they're going to offer it, but for a long time it wasn't going to be able to access it too. So, in Poikomora's first appendix of the book here, he talks, or Guilford talks about Kampujato Sahara, maybe Suzuki Roshi, and in a conversation with Suzuki Roshi about, well, I'm going to try out my translating skills. Suzuki Roshi said, we wanted to start with the Martin Zuniga Sutra. So, therefore, do. And he ended up actually using that sutra as this thesis. And we have in our library a copy of D.A.F.O. 's theses, called Super-Eat Nautism and Welles, with anything more than one.

[21:51]

So if you have a chance and you'd be curious, you could triple it as well. And it also opens up this particular text in D.A.F.O. 's work that is called Gary Snyder, whose Nautism and Rivers are called Opus Hunt. is dates on, basically, Bilbo's classical. It's just an amazing piece, so if you have a chance to dip into it, please do it. And I'll be doing that just a little bit further during the practice period. Once I looked at something about translations, and that is that there are a variety of translations of the Shepard games of, and also of this particular classical. And it's hard to get active translations. You're never going to get the exact translation. So if you're ever able to read something in its original language, that's the best way to do it. Because any translation we have is going to be skewed in some way. There can be either literal word-for-word translations.

[22:54]

And I think the nation to do a cross has a tendency to be, if you're reading, this is the three that I'm giving you, this will be the separate line. has a tendency to be a little bit more literal, from what I understand. While Kaz Tanahashi, he has it translated in Women and Deer Drops, and there's another version in this one, this book, a collection about double-classicals, has a tendency to be more poetic, so take a little bit more license with things, to kind of express a little bit nuance to it. So there's both ways of entering in and just be aware of them. You can see how there's different ways of trying to pick up aspects of a particular class of work. And what it shows us is that translation, what basically it shows us is the lack that's important in words. We're some cells part in each particular. We're empty. There's nothing you can really grab onto.

[23:57]

So what is the felt sense, again, that's being trying to go up and he brought it forward. And speaking to me, to compare two or three more translations, we've been up to study what is it between the words, between the lines, that's being said. There's another meaning that's coming up between the translations. An example of a translation of two, several characters. This is a line phrased in the song of the Jomera Samadhi. Like a Horse of Shands Down Dead. You guys remember that? So here are six translations of that particular series of characters. A grey jumper. A tail pachmanon. A silver mare. An old horse. A double filly.

[24:58]

and a light muscle. They're all very different. So when you're reading these different translations, you're like, okay, which is it? What am I supposed to, which one of these am I supposed to kind of focus in on? So the elusiveness of the translations means that, again, you have to find out for yourself what's the felt sense of what it is that the particular author is trying to come to. And another thing to do, if you know I hear it, is actually come up with a language. Do your own translation or synthesize the translations and come up with something that you feel is active. This is something you can do with the precepts. When you go up multiple areas of expressing the precepts, one of the things I like to encourage people to do when you're saying the precepts is that you come up with your own version. You're only going to understand that is the precepts in a very kind of perfect way. So it's alive for you. kind of from your own practice.

[26:03]

So we're going to be looking at nature drawn to principles and practices that are points that don't bring sport in the classical. And again, the first question for us all the way through is, how does this teaching inform my own practice? And let that be your charm, carry it close with you. And how do I understand it to how these understandings of how does it engage practice in Zen? And what does this particular class look to tell me about how to live my human life? How are you going to live this very precious life? What is the future that you're going to do? And particularly in a way that's super tough, in a way that frees you from suffering. So I confess, I'm a German scholar, but I'm not an academic. So some of you may be deleted, some of you may be particularly disappointed. I'm sorry. So I do love academic, reading academic work, to a certain degree, but it's not the way that I'm expressing what I just say.

[27:12]

So I think it's important to understand that I'm coming as a novice to the study you're doing, and maybe a few of you might identify yourselves in the same way, and if you did that, could be right. It's wonderful to understand that dogon is difficult to understand, even for those people who have studied dogon before for a long time. I've heard Charles Hanhashi and Bokumara and Norman Fisher, who did his thesis on dogon, say, you know, it's hard sometimes to understand what dogon is from yourself. So these are, you know, pretty esteemed Zen teachers, you know, for going, huh? and try to get it. So you're into company. You yourself are quite puzzled by what's going on. I think the main thing is each of us is discovering, and I'm trying to share some aspect of my own discovery with this text, and one of the greatest ways for all of us can give us what we're discovering as we're walking through this.

[28:22]

So this class is not meant to be a teacher's own perspective. I'm not trying to sit up here talking next to the client while I record with myself, I record with there too. And I really want it to be kind of an interactive image of exploration, how can we bring this alive? And again, each of us is a classic, an offensive classic to this. I'm going to try a few different things, even though we'll kind of go through this, and then I'll say a few discursive things, and what this will also be experiential. So there'll be a mix of discussion about meditation and some group activities. I might get a lot of goings, and we'll do a few other things to expand the so-called classroom outside of these four walls. Oops, yeah. I think I don't understand. Is that going to be too much noise?

[29:35]

I think the recorder is here. Okay. I want to make sure we guys are not hearing you, so we think it's too loud. So I'm going to hang out onto the steward. So there are multiple ways to take up study. So thinking of this idea, there are multiple ways to approach study. and a particular text. And this bookmark, if you will, offers a variety of suggestions about how you might take it up. And one of the ways at the top is listed learning by sharks. So one thing here is memorize the whole piece.

[30:41]

And I'm kind of curious if there's anyone, if I'll ask you a little bit, if there's anyone who wants to I'll permit you to memorize the first section, the first paragraph, as a way to take off this particular practice. Pat wants to know, anyone want to memorize just the very first section? And another way is to chant it. You can actually in your room or go out into the building desk and chant sections of the magazine and water sutra. To give it a verbal expression, you feel the sense of the words reverberating through your whole body in some way. And to focus on the sounds that the words make water in your meaning. Copy. Copy is a very popular way to copy sutras.

[31:43]

There's just a very assuming way um, for centuries to actually copy the whole thing out. I think Valerie Deer was probably, wasn't she a copy? It was all of the sutra. [...] It was all of the sut So we have copies of these in the library, so we can speak to it, but some of it is actually a copy. Very good with that. So, reading for content, of course, trying to understand, like, as I was going to say, contentive, contriculatively, you know, dharma contentation, and this is a process in which you read a word or a phrase, and then you pause with it, you sit with it, you... Allow it to kind of enter into you and reverberate in some way.

[32:44]

And then that phrase, you kind of, you could offer a word or some expression that helps you kind of say, what does this particular phrase or word be wrote for you in some way? So it's a way, again, to turn it, taking it in, suggesting it, and then re-expressing it inside of it, building the level. Breathing a phrase. People say it and read it in and then read it out. Journaling is a great way to take a phrase or a section and to write in your particular, your understanding or your relationship or what it works or things up for you or some way that it has resonance in your own life. Playing with arts. I know some people, and I think this happened And then I worked on a practice bit when we were studying the Lotus Sutra. She did watercolors of lotuses, and Gilead wanted to be took a residence here. So her way of expressing Lotus Sutra was to paint lotuses and then half of it.

[33:49]

So you could do the same thing, particularly conducting the Lotus Sutra, as Gilead, you know, how it sits up in many ways to kind of visual the interpretation of expression. while you can read culture that relates, that deepens your understanding of this particular text, or, um, again, offers a fuller expression movement. I got to see, for stick my, a interpretive dance of the Autism Brothers Sutra, I hope someone will come forward with that. You alright? So, and I know, uh, Joey and maybe others will offer yoga, and so what is the yoga of an artist? So these are all different ways that we learn and explore.

[34:56]

I threw up a practice for the parties to take what this particular sutra. And so that's why we have an effort to sit and be over this. When I go to the bathhouse, I sit in the window of time, and now I've actually go sit and get this window of time to create a sitting with the witch in the body of the blood, experiencing the sutra and of the body. Any questions about that? So we have other ideas that are developing. Okay, a little bit about the rhythm. Beethoven was a priest, philosopher, mystic, and taught, who was born, it's really easy to remember his date, and was born and died of the truth. So there's only 50 people who died, and died of the truth.

[35:57]

And although he was born and well-adjudicated aristocrats, and someone who was personally tutored, and that was the lead school that was in high school, so he actually got tutors. So he was a tutor, and he was tutored in Chinese and Japanese. He was born for a genius. He was born out of Budok. And so that was a bit, at that time, he put a remark against him that he was born out of Budok. And then later, he was perfect at a young age. So, his father apparently was a well-known clerk at the time, and it was opposition of the minister. But his father died when he was two years old. And his mother died when he was eight, even when they were born before. And it's said that his mother was a devoted for the slave practitioner, and she recommended to her that before she died that she should be king enough in order to save all things. So, if you weren't in that age, I heard that play.

[36:59]

I asked you, if you used to call my mother, if you said that, do you ask? What are you going to do with this question? What are you going to do with this question? And I don't know, the twist and tact of using not one to both of your parents. Does anyone want to play with this? Or even like, I could say I didn't, so far as my mother disappeared when I was five. Yeah, I was a journalist in Pulse of the Rings, so I was 10. So losing parents are not right. So if you have something not just to death, but to disappearance or absence, any kind of loss, how does that shape one? How does that become one aspect of the ones that are all in a great city life? And this was very much been taught for Dogen, that during his mother's funeral, as he watched the smoke from the innocence was enough, right? He understood in that moment the teaching of the practice and decided to live the life of practice.

[38:04]

He goes on understanding the image of the practice and committing himself to live the life of practice. He said later, you know, realizing the importance of life, I began to arise ways of living. So how these events came together at a very long point, a little point. and manifested the rest of his life for the deep place of a bad intention. After his mother died, he subsequently went to work with his uncle. And then, I'm not sure what I've talked about, with a neighboring monk. And then his dad died almost at the age of 13. So if you become a monk at the age of 15, that's a very little bit too, really. And spent time formal training in Mount Eli. which was at the time, the second ten-night Buddhism. And if you want to think of ten-night Buddhism at that time, it was kind of like the Prophet Church's paragraph of its height of power and influence. And that's where I was going to end up Buddhism like that now.

[39:07]

But it was just beginning at that point to lose its power and influence. And so, and started to kind of take on a bit of practices, really aspects of China was there. So, At 14, 15 years old, Dargan had a very primitive key question that came up for me about the money and the teachers. And they were, if you already have Buddha nature, why do we have to study for this? If you're already good at, why are you doing this? Why are you studying? Why are you studying for us? Why? Why do you have to do this? Why don't you have to do this? Why don't you have to do that before in the morning? Well, that's all right. Why don't you have to do that? Why don't you have to do that? Why do all this before I already do that? And then when I got a question, why are you doing this? It's already good. You already know, great. But it was a very fundamental question, you know, about faith.

[40:09]

And deeper, I think it's a deeper question. What is this life? How do I let this life? Underneath that. So, he went around and he was talking to a member team of our masters, and he wasn't satisfied with the answers he received. He met his crew in a way that he really felt available still. So, we ended up at 15 years old going to Kenanji Monastery, and he practiced with his office there for like six or seven years. He got a particular name, a teacher named Nerozan. Although he pursued monastic practice and training, he still wasn't satisfied with what he experienced in Japan. So it possibly was missing out that he wasn't around. So he decided at the age of 23 to go off to China. Go to the land of Zen and practice to find out, or maybe I'll just go there.

[41:18]

Notice he doesn't go to India. the birth was also the birthplace of Buddhism, because it was already understood that Buddhism was waning in India at that time and was beginning to disappear. So he goes to China, and again, his motivation, the fact that it actually gets on the boat, which in those days, the travel of the ocean was kind of very dangerous in the view. You could use your life very easily to stay on the boat when you travel to the last seas. But he takes this rifle and endurance because he's able to put it to him. So when he goes with this teacher, and he, if you remember, while he's waiting on the boat to get permission to offload, he actually encounters, he has that famous encounter with the head cook by the time he's out. Which again points to what is it that we practice?

[42:22]

What is it that power is that you practice? So apparently Durban was this black as part of the point of the story of each other. You go all this way, and you get there, you get to the end of the ground or the zen, and you're like, huh? Really? This is it? He's like, what's going on here? We were so disappointed with that, didn't we? He didn't just adopt from the books. He's like, why bother? But at some point, he was encouraged to read about this particular teacher that was really good. And so he ended up going and needing his teacher to be. It ended up being that at that time, Song Dynasty of China, the government was actually taught to do this. So be careful. Well, once the government tried to do this in the United States, you know, that's not a good sign, right? And the monastics at that time were cultivating connections to literary and nobility classes. So it's kind of more of a horror stuff thing. You know, a thing to do if you were someone in society, where oftentimes Buddhism was about turning away from society.

[43:30]

And somehow it got co-opted by the... At the uppercuts, if you will. So, thank you, kitchen. So, Dory was kind of a tight spot, and he didn't appreciate developments in Chinese then, at the time. So, he decided to wait until he found something that really was alive for him. I wonder, interesting question. Yes, and he wasn't an easy person to be with. You know, so it's... So, you know, something to take in mind.

[44:39]

So, he met his teacher, Tantian, Mujing, who we know here as Tano Mujo, and he felt that Mujing was expressing that it was that Dovin really wanted to discover. And Rujin actually recognized the seriousness and the capacity that Dogen had decided to take him on his attention. He was kind of a neutral person. He was a foreigner, right, from another land. And to be able to take him on his student was pretty important. And you're probably, you know, they are only going to explore the particular teaching in which Dogen Kier is sort of a part of Zaza and Rujin Giao. So don't be excited in China for five years.

[45:53]

So you travel to this growing country, playing your teacher dies in the week of 8 to 5. So in 1927, after five years ago, he returns to Japan to the same tempo as the inside temperature you're at thin at. Feeling satisfied with the question, what can you have? Take a note there, and they finally answered. Now it's curious, so when other astronauts ask them, what do you bring back? He said, and he asked him, what did you discover? And then he replied, I came back with empty hands. I came back with empty hands. So rest assured, if you reach us, all right, with empty hands, you're the good stuff. And then not too long after that, he wrote, if it comes out, it's under universal rules for the fact that it's all, I said, only the person that wrote. He came back not as a T9 master, but as a Zen person. And this was the people in the exact practice that you did. So when Jordan was around, he wanted to establish a genuine Zen practice.

[47:00]

So he wrote a Zen for his life for his life. He wanted to bring his own Zen, a true Zen, and establish a voice without a Zen practice. But this was threatening to pretend how he's selfish. And so they basically gave him a lot of trouble for the rest of his life. And there was so much trouble that he, at the time, kind of fled Kyoto and went to a small hermitage for a period of time, kind of on the outskirts, where he wrote that book all over the way. And then he, in 1933, at the age of 33, he moved even further out to Ichizen, where he salvaged his own monastery, which is Koshouji, and he began his career as a teacher. So, Dr. Moro says that Swansuikyo was written by Kiyoshi Koshouju in 12-fold. At the age of 40, this classical was written in Sisweski-Galimikism's most creative years, which extended to about 1945, so about five words of this, most of the years.

[48:08]

And Swansuikyo is also visible in one of his most eloquent writings. Kogan eventually founded the A.G. Tree, which translates as the temple of eternal peace, in 1943, leaving there to again get away from the tunnel, like, and flows, and political threats. And he continued teaching and practicing until 19... ...19, English. Uh, 12.52, when he got sick, he fell ill. He ended up going back to Curie to, uh, get some treatments, but he, uh... He basically died by an hour before he was actually aged. And he died later, typically. So that was a short, high life I teach in 20 years and 20 days. And we had Suzuki Roshi to it on the top of the United States. So that was a relatively short period of time.

[49:13]

And he was very, very productive. I can't believe that. They're prolific people in that time. One thing to note, there were no female practitioners all of Egypt, and kind of been glad to have the culture at the time. However, he discovered the passing of the Cyprus, and he wrote a number of festivals of Amash and Men, a festival of Amash and Men, who were unable to recognize women as practitioners. So he was, in his own way, a fundus and very much trying to change the culture at the time. So he has a very unique voice in Buddhism, and he's trying to express something that's different than what you hear in North South. The thing is, he wasn't trying to be original or innovative. There are things that he set out to say, I'm going to be special, I'm going to do something different. He basically was trying to just express what he learned from his teaching using as he was in China, and then cast it on in the way that it would be vital in Japan.

[50:18]

So he really set up to do something special. And he also didn't think that Buddhism was a process of the goal. This idea that you're going to go from ignorance on samsara to nirvana. You wouldn't see it in that way. It's a linear game. And he actually called Buddhism as a great life. And that enlightenment was already there, and he was simply fully participating in our whole heart, with our whole heart, without anything more thought that will fit us fully. So this is why this idea of whole childhood practice is so important. Your whole being, your whole heart, what is it to practice in such a way and bring forward your life in such a way? So Shoborganzo is a little bit about the entire work in which this particular class book comes from.

[51:23]

Shoborganzo, and Dr. Morse says a little bit more in his Appendix 3 in the book about the term Shoborganzo. The first part Shoborganzo translates as true going at eye. and meaning the Buddha's wisdom which sees all things as we are without distortion. And the Zoh, the last part, the last character here, translates as treasure. But it also means a kind of container, including a basket, a storehouse, a container, or a room, for simplicity. So Shobha Ganso is translated usually as treasure of the true grandma I. I think Okamura says he prefers a two-dollar treasure. As a day, trying to say that. And for my money, I'm going to give you, Shepo Ganser can also be used Marjami as a sentiment for the god. And there's, Shepo Ganser is actually, even though...

[52:28]

It's referred to as 95 classicles, apparently. That's the Mayan version. There were a number of different versions. There were a 75 version. There was a 60 version, a 12 version, a 28 version. Collections of various classicles that were named at the Tom to show again. More and more, most of the translations that we get now start based on the 95 version, which includes the 75, the 4, and the 5 version. And Shobu Genza can also refer to some of his other writings, including his collection of poems, the Shinji Shobu Genza, and also a collection of the lectures, which is Shobu Genza of Suyuman Keeb. And the Shobu Genza, the main part of the passage of their book is called Kana Shobu Genza. So that's the piece that this comes from. And it's interesting to look at that. Durden kind of went into obscurity not too long after he got it.

[53:29]

His works kind of went underground and were kind of, you know, put away into a deep process, I mean, that only a few months access occasionally. And it took almost 30 years or more for his work to resurface again. This was kind of at the time when, in the 1700s, there was a movement to form such as in Japan. And it kind of started with that. And I don't think that full kind of re-engaging that I would start with is what I'm actually saying. And it's a lot more by Tarleton Park language when I study the dirty place again. Okay. San Sui Kyo. What does that mean? San Sui Mountains and Waters. San is mountain. sweet as waters. So punchlines it as yours. And kyo is sutra, or sutras.

[54:30]

So you could interpret this title as a sutra about mountains and waters, or mountains and waters are sutras. Another way I interpret it. But the thing that Dogen's trying to say here is Sanskrit kyo is not a sutra about mountains and waters. Now that Dogen's saying that mountains and waters are themselves sutras, of our sutra. And they consistently expound the Buddhist teacher. They are the Buddhist's very words. They tell us, when you study the sutra, you're studying the nature. And the source of inspiration for Dogan Sanji Kiyo was a poem by a Chinese poet, Xu Shir, in Japanese, Xu Dong Po. And the title of the poem was A Verse of Keisei San Shoko. which translates as Sounds of Valley Streams, Color, or Farms of Mountains. Ngovan also wrote a classical on this particular poem called Keisei Sonshoku, which translates as Valley Sounds and Mountain Colors.

[55:39]

And this is that particular classbook. It's the first time that he actually equates mountains and waters as the body of the Buddha. And here's a few translations of that particular. So the murmuring work is the Buddhist long, broad tongue and is not the shaping that in the body of purity. Through that night, I listened to 80,000 doctors. When dawn breaks, how will I explain it to others? Here's another version. The sound of the stream is his long, broad tongue. The mountain is immaculate body. These evenings, 84,000 verses, how will I tell them tomorrow? For mother, the sounds of the valley streams are his long, broad tongue.

[56:42]

The forms of the mountain are his pure body. At night, I heard the myriad sutra verses uttered. How can I relate to others what they say? Valley sounds of the long, wild tongue. Mountains' colors are no other than the unconditioned valley. Eighty-four thousand verses are heard throughout the night. What can I say about this at future time? And finally, the voices of the valley are the river valley of the brooder's wide and long tongue. The form in the mountains is nothing other than his pure body. Through the night, 84,000 verses. On another day, how can I tell them to others? So, Shohaku follows this out by saying, studying the differences among these five translations of one poem can tell us something about what the yoga is saying in Slam Street Kyo, that our views are limited based on our common consciousness.

[57:48]

For example, if you read only one of the translations, We understand Susha's expression only through Tao-translator's interpretation. And even if two people read the same translation, their understanding might vary based on their karma and on their different experiences with valley streams and mountains. Understanding this, what is the true color from the mountains? And what is the valley stream really saying? Which understanding is correct? Is there any absolute true understanding when each of us hears differently? This is the very important point of this answer here. So when you're faced with multiple views, multiple interpretations of reality, and each of us has a multiple different interpretations of reality, which one is the truth?

[58:51]

Which one is the true reality? What is the true color or interpretation of the mountain, of the waters, of each of you? When you each have a story about each other, an interpretation about someone's behavior and way of being, is that true? Is that true about them? When someone has a different understanding about person's behavior and way of being, is that true? And you have your own understanding and interpretation about your own behavior. Is that true? Where does truth lie? Where does reality lie? From these various interpretations of classics. So what does he leave us with for these uncertainty? What is truth? And a certainty is a very real kind of element in our experience of life. And it's an important aspect of the teaching that we teach. You might be known.

[59:53]

You can't know. You can't grab off. Our truth is not the truth. It's a truth from this particular position. We've talked about this now. It's what I'm experiencing. So it's this particular being's truth. Okay. Well, it's not the truth. So how are you going to hold your truth in a way that doesn't create suffering for yourself and others? And this is what Dogen is going to be pointing to again and again, how to hold our understanding lightly, knowing that it's only one version of the octave. So I like to think that our view, our lens, our time conditioning is kind of like a filter for coloring on glasses, maybe spirit glasses, right? And our life experiences and our social condition have given us a particular tint to these gases.

[60:56]

And we see the world through this particular tint or obscuration. Most of the time, the glasses pick up a lot of fun house mirrors. They're distorting everything that we see. And so it's distortions upon distortions upon distortions. What practice is trying to do is help us to first see that our way of seeing our views are distorted. They're colored. they're biased, they're conditioned, they're not sure. And it's hard to accept that when you first read that, right? They're like, uh-uh, no, I can't write, right? But to actually really take that on and suspend your view, you know, and be willing to say, well, I'm willing to take this, I'm willing to believe that there are other possible goals, specific stories, right? And to say that each time we are talking about particular classes, it's kind of like blind, you know, that analogy of a metaphoric blind man feeling an outfit.

[61:58]

You know, one feels the trunk and says, this is a giant snake. You know, another feels the side of the body and says, this is a mountain wall. Another feels, you know, the foot's covered in the legs and says, this is a tree. Each of them has something that's true in their experience. and that they're only getting no part of it. So what is it for us all to come together and share our mutual views and see how it is that we can kind of offer a wider understanding, a wider experience of reality in this particular way. And as we do so, how is it to experience everything that has been done? And Voodoo care doesn't mean we're just going with the weather. Voodoo care means we're looking at it. Tawake awareness. Awareness. Awareness. How is it that all experience, everything, is just this alumnus awareness that's happening moment by moment.

[63:02]

And what we're able to do is just touch everything we see is a modulation of awareness. It's a different facet. Manifesting itself. Taking shape. by wearing and taking shape in multiple ways. A tree, a mountain, a person, a bird. And all we're doing is seeing this dance of emptiness before us and in us. So how can we appreciate this dance of emptiness, taking different shapes, arising, passing away, arising, passing away? What is it to see and gauge our reality as that dance of emptiness? There's a poem that was inspired by Dogen, a poem by Dogen inspired by the Lotus Sutra, where she says, covers in the mountain peak and echoes of the valley streaming. All of them, as they are, are nothing other than shocking in its voice and appearance.

[64:06]

So everything in nature is the body, the voice, and the appearance and teaching of the day. And then, never offering thought of the moral. He says, in the final paragraph of Kese Sonshoku, the other classical, when we find Dogenweiss, bring me a true bipartisan, the sounds and the colors of the valley streams, the colors and the sounds of the mountains. all unbegrudgingly expound of 84,000 verses. This means that the sounds of the valley streams and the color of mountains do not hide the Dharma, the teaching, the truth, the reality of all beings. The reality is always revealed. Nothing is hidden. What's important is the condition of the person. Are we ready to listen to what the valley stream is really saying to us?

[65:09]

Are we ready to see the Buddhist body, through the form of Nathans, through the form of people. Are you ready to listen? It's awesome. It makes you ready to listen. It makes you ready to truly see the forms and hear the teachings of the Nathans and the verse. I'm not going to say that. All reality is right here. It's right here. It's just that we're not able to see it because of the condition. So here, this points to the importance of that practice to transform our view, to understand how our views are conditioned, and then to kind of obstinate our experience of reality. I've said this already. Basically, we see everything for itself. Past everything is incomplete, I like it.

[66:12]

Because we see all reality through this dual duality, mind care, everything is over there, we experience separation and we engage well from this place of love. And to actually practice in such a way that we're clarifying that perception of reality so we're able to see reality basically part of the truth and I. which is by Shabbat doing it's a part. And this is actually the practice, you know, what was developed by the Buddha and on and on through millennia, including giant training in Japan, was how to be trained to decondition ourselves, uncondition ourselves to see the true materiality. So the the Zen training that came into China and in Japan was particular to the condition of that particular culture in time.

[67:16]

It was crafted to meet those particular movements in that particular era, living under those conditions. So the question for us is, does that training work for us now? We're not training 1,500 in Japan. We are not and developing this culture at that time ago. We're here now in this particular time, in culture, in this particular value, in this particular situation. So what is training, exam training that's appropriate and applications for now? And that's our type of experiment here that we're doing. We're taking what worked for plenty of years, thousands of years in some cases. We're trying it on. We're trying to embody it. We're trying to see, with these particular forms, how they affect the transformation of the machine learning, helping us to rebuild ourselves. And if they don't work, what do we let go of?

[68:18]

That's a very key question. And the reason I let go of is that continues to be put here in the United States. And what new forms are we going to create to take up? because we actually find that these uniforms are more alive and actually support us better in the nature of our particular conditioning to be liberated. So when we start talking about studying race and privilege and conditioning of gender and so on, that's what it's disappointing to. How does that lay up a condition in these particular ways, study that conditioning And what forms help us to unpack and reveal that condition? Or see that condition as just condition and we're not to see it as a reality? Can we see our limited view, understand how we're acting out of that limited view, understand how that limited view impacts ourselves and others and feelings of suffering, and what can we do to change that condition so that we're not perpetuating suffering in some way?

[69:24]

So we're up at... in here in the U.S. with new facets, new ways to kind of tease apart in our tangible recognition by being introduced. Psychology. That's another way of framing to understand how does any recognition and how can we find unconditional selves. Sutra. The meaning of the word sutra traditionally is a collection of the Buddha's teachings. And just for the Buddha's own words, and anything that he directly spoke, the word sutra means thread or string using a volume of flowers. So kind of tying together, stitching together a collection of flowers or teachings. And again, the mountains and waters are a sutra. who stitch into water the expression of reality and the delivery of themselves of the food in its own wisdom.

[70:36]

You could say that nature is the universe showing its real thought. Okay. So I want to give you, before we wrap up, Shini, These are the tripart translation of the fascicle. Thank you very much. Thank you very much. I have to thank Peg Sargister and Armada for the pocket.

[71:42]

Does everyone have a pocket? So let's look at the beer filled version, the column on the far left, is the one that is in the book that Shobhoku is the one that uses. And it's the one that I'll probably most be referring to because of that reason. And again, let's read the first one, the first paragraph there. It sorts these mountains and tomatoes. These mountains and waters are the present of the expression of the old Buddha's. Each as I had in its own time to say, fulfills its obstetric virtues. Because they are the circumstances inspired by all the entities, they are the best life of the present.

[72:48]

Because they are self before the generation of any subtle sign, they don't have a degree in their actual converses. So I would encourage you, in which of us, to actually read this aloud to yourself, or to each other, [...] sometimes it's a very friendly life that's weird. I'd like to thank you to those, Sasha, Justin, and Kleken. We were going to memorize that first section and we'll start remembering next week. And again, treat this, when you read this, treat it as poetry. Allow it to wash over it. Relate to this poem.

[73:51]

So you can relate to it and take it apart and analyze it, yes. But at the same time, it's poetry. Allow it to kind of enter in that way for you. And allow yourself to be a quick short story. It's okay to be depressed. I'm going to give policy homework. And the homework is to please read, if you have Okamura's book, please read the first book. in the introduction to the first chapter, 1 through 36. And you also might want to start on chapter, the second chapter, oh, sorry, start with the introduction, and then this actual first formal chapter is called Mountains and Waters of Expression of World Budas, and they're flat from page 39 to 75. If you don't have the text, you can enter the three copies on the bookshelf. There's one.

[74:53]

There's one. So let me see. And, or just read the whole classical in queue. Well, at least the entry to it. So if you have Opemore's book, read the introduction, which is pages one through 36. And you might want to start by also reading the first formal chapter, which is paid distributing money to some product. On express is a week for today. So it gives you a week to do that. And if you don't have the book, then please read the book classical. Maybe it's a week for two. Yes. That's the part name on it. Yeah. Thank you. Don't make anything that's in this room out of the room.

[76:02]

Another exercise I'd like you to consider. And you thought you were just going to sit around the whole time. That's true. So one of the things I'd like us to do is try to find how to enter into this particular teaching in a way that's person who's in gear up there in the kitchen. It's sweet.

[77:04]

We'll turn it to this. It's beautiful. You can't study with us and teach us. And eat the flowers out there. The gardener is so perfectly taken care of. So if you see there, number two, it says, spend about 15 minutes of writing. So identify something in your life that has been a mountain and reflect on it. So it might be a big event, a person, a situation, a condition. Well, anything that represents a mountain for you. And then briefly, install this mountain. So for me, that's a little bit of a story that I'm going over about my father and how my father was in the form of a mountain. you know, kind of in some ways a very enclosing, a disciple-able figure that was hard to kind of connect to and kind of try him out to and relate to. And he was both there and not there, you know, I'm not going to disappear in a crowd sometimes.

[78:05]

And so, and now in this, it's not something that we just felt is never going to change. It's always going to be a sort of way, right? Kind of fixed idea. It's not going to move. It's always going to be this fixed person, how he relates to me. and how I built him. And now over his lifetime, particularly near the end of his life, you know, when he was dying of cancer, and even more so after he had died, and I learned stories about my father, about his childhood and what my father had experienced going on in terms of his learning disabilities, situations with his own father, and dynamics of the military in Oxford. But I began to see a more nuanced picture of this being who was, for a long time, I didn't really know and understand. And how it kind of began to soften my fixed view of my father and how he began to be something that was more accessible, that I felt more empathy for, that I could relate to, to understand the conditions

[79:14]

about how he was that he was. And this is one of the power of ways to be marginalized. When we hear those thoughts, we get a sense of people, just in our day-to-day activity, of how we engage with them, but there's some context that's missing. And when we hear the ways to be marginalized, suddenly the context comes forward. And we actually see a particular parent in a person's life that has shaped them and made them how they are. So we begin to understand how a person, how they move the particular way they move, Well, if it's speech for particular, if it's speech, how it is that they kind of dress and engage themselves, you understand the conditioning of that particular matter, meaning, right? And soon we know a better sense of, oh, I understand the environment which you grow up in. And because I don't understand that better, I can soften my foot's knees apart in the same way. And so, What in your life has been a fixed, permanent thing that you for many years couldn't enter into?

[80:20]

Couldn't get a sense of needing or climbing up while jockeying, et cetera. How has that changed? So some of the questions here. What is your understanding about this mountain? How is an expression of ancient food? So using those aspects. How does it fulfill exhaustive virtues? What do you understand about the meaning of what virtue is there? How is it past the past circumstances? How is the product of past circumstances? How is the light of the present? How is the land present now? How is it liberated? How is the universe? How is it liberated itself? And how is it through this mountain that you gain the spiritual power to ride the clouds in part of the universe? What does that even mean? So these are all things that we want to tackle a bit more as we studied over this first verse. And what I want to do is next week, I have an exercise in which we tend to take some time to actually share a little bit about each of these lessons, such as thoughts, and other people, so things that try out, and talk about these particular questions, and what we've studied about when we did this exercise.

[81:36]

Any questions about that? So, thank you for... your patients, and presence, and taking our full study, and what other way forth and well-being to me. And of course, I love the feedback on how it is that we can help to continue this study together. And I think with that, Here are the detectives of everything we will be against.

[82:13]

@Transcribed_UNK
@Text_v005
@Score_50.65