Медитации на пустоту: объяснение шагов к пониманию того, что ничто не является самим собой, занятие 22

[Speaker 2]
SANGYE CHENG DU MIKTAY UWARDI RIGA BLINK CHEN GYEN PADI SANGYE CHENG DU MIKTAY UWARDI

[Speaker 1]
DO KUN NAMDAK CHENG LA CHUG PAR SHOK

[Speaker 2]
YIDAM GURU RANAM ANDALAKAM CHEN YATAYAMI SANGYE CHENG DU MIKTAY UWARDI RIGA BLINK CHENG DU MIKTAY UWARDI RIGA BLINK CHENG DU MIKTAY UWARDI

[Speaker 1]
DO KUN NAMDAK CHENG LA CHUG PAR SHOK

[Speaker 2]
SANGYE CHENG DU MIKTAY UWARDI RIGA BLINK CHENG LA CHUG PAR SHOK SANGYE CHENG DU MIKTAY UWARDI

[Speaker 1]
DO KUN NAMDAK CHENG LA CHUG PAR SHOK

[Speaker 2]
YIDAM GURU RANAM ANDALAKAM CHENG YATAYAMI SANGYE CHENG DU MIKTAY UWARDI

[Speaker 1]
RIGA BLINK CHENG LA CHUG PAR SHOK

[Speaker 2]
SANGYE CHENG DU MIKTAY UWARDI

[Speaker 1]
It's way more than I asked for, but that's good.

[Speaker 2]
Is that not what you're asking about?

[Speaker 1]
In simple terms, the lower schools think we call it what it's called.

[Speaker 2]
Your critique is that your text is successful. Blue is blue itself. You said the same thing.

Except for the last, the part about the, that's the part we're not exactly sure about. The weed and wasabi. About Geshe-la yesterday and the rest of us, but maybe he does now.

We'll learn about it, but yesterday it was unclear about that last part. In my mind. Ah.

So simply speaking, the lower schools think a thing should be called what it's called, and the minority school doesn't. Yeah. Is there a reason, did Trinidad give us a reason why lower schools think the way they do?

Hmm. Hmm. What was the, um.

This must have happened yesterday. Because, for example, when an eye consciousness sees something correctly, the thing should exist. What you think, what you call it, by definition.

She, she. Hmm. Ah.

Ha, ha, ha.

[Speaker 1]
Okay. I remember these being backwards from our Rang-ten and Chi-ten, so.

[Speaker 2]
The Rang-dok was the expression of, the Shin-dok was the archetype. Opposite. It was the opposite, yeah, that's right.

The Shin-dok was the expression.

[Speaker 1]
It was the expression.

[Speaker 2]
It was the cup that we're drinking out of right now versus the archetype of the cup.

[Speaker 1]
The Rang-dok is the archetype. Rang-dok is the archetype, yeah.

[Speaker 2]
Which is reversed from Rang-ten and Chi-ten, which is why it's confusing.

[Speaker 1]
When you're saying Shin-dok, did you mean Shi-dok or?

[Speaker 2]
Shin. Shin-dok. I'm not, I'm not Shin-dok.

You got it. I was looking at the one that said Shen-Chi. Shin-dok.

Shin-dok. Oh, the object as you feel about it. You're feeling about it.

The object of wrong thinking. The way it lays.

[Speaker 1]
Oh, the way it lays. Literally.

[Speaker 2]
The way it be.

[Speaker 1]
Oh, okay, thank you. You done? How you feel about the object?

Oh man, couldn't you take a little longer? No. Okay, here we go.

I went back and worked on this. It was uncomfortable for me. And I got some more understanding of it.

Some more understanding of it. So we're here, right? I don't know.

[Speaker 2]
Sorry.

[Speaker 1]
It's a mystery. I mean, we're here because it's here. It's not here, no.

Okay. Yeah, I did look up Shindog and I found a nice reference to it, actually in the Signs of the Chenmo. It was pretty clear.

Okay, so the Shindog, he said, is like a glaze made of gold. The actual manifestation, the actual expression. And then Rangdok, by logic, is the archetype.

Okay, so. And then I worked on, oh, this is words text or your text?

[Speaker 2]
I can't find where you put my text.

[Speaker 1]
I think I'm in the wrong text, I'm sorry.

[Speaker 2]
No, you're not. No, that's your text.

[Speaker 1]
You're in the correct text.

[Speaker 2]
It's just because it's in my only Galilee book. I saw a Shindog Pakchak up there, too. Are we here, though?

I don't know. I can't find it in my text.

[Speaker 1]
So this is the words text?

[Speaker 2]
The Shindog Pakchak, no, this is my text.

[Speaker 1]
I can't find that location in my text. You want to search for? We were supposed to start with Nam Rigve.

Nam Rigve? Nam Rigve. Nam Rigve.

[Speaker 2]
Maybe here. Nam Rigve ni nikshay sok. How about this one here?

[Speaker 1]
Oh, here you go.

[Speaker 2]
Okay. All right, interesting. But we can, you know, go back over.

[Speaker 1]
Oh, yeah, I just wanted to go over that. Roughly, the manifestation of the thing, right? According to the sutras, okay, the cup, and not the archetype, the cup.

Is it real? Ranggit-sannidhi-gupa. Does it exist in and of itself?

[Speaker 2]
It does.

[Speaker 1]
It does, okay. What do they say does not exist in and of itself?

[Speaker 2]
The label. The name. No, the archetype.

The archetype.

[Speaker 1]
The archetype, okay, the cup. For them, it's unchanging, and it's not a solid thing. It's just an idea in your head, okay?

So for them, that's not real. And this is real. This is the manifestation of it.

Now, so we just got to get the feeling of the difference between the mind-only school. In the mind-only school, the cup is, the appearance of the cup is not real. Because it's not outside as you think it is.

Or it's not called cup in and of itself. And we're going to have in some of these texts today, some of these mind-only texts, you guys got married for a week or something. Your texts are intersecting, and they help each other.

The two texts help each other, which is kind of convenient, okay? So that's the main difference, okay? Mind-only school, is this real?

No. No, because it appears to be outer, and I'm just watching my own mind.

[Speaker 2]
That's all.

[Speaker 1]
Is it real according to the sutra school?

[Speaker 2]
Yes.

[Speaker 1]
Yeah, what's not real?

[Speaker 2]
The archetype.

[Speaker 1]
Yeah, the archetype. That's all. I mean, it's helpful.

And the mind-only school, is it real because it's mind? I mean, there's still function. Well, it's not rāṅkītsenīti-gīpā.

It's not what it seems to be, or something like that, because you're just watching your own mind. But it's, as an outer form, it's not what it seems to be. All right, all right, that's all right.

The shin one is rāṅkītsenīti-gīpā. Yeah, okay. dengē tse niyānyete.

Please read. You've got the plane.

[Speaker 2]
dengē tse niyānyete. lo de pēng ni wāngshē deng tūn la de tār sārwār de nukhōi nei tsu. Remember that phrase we just had?

Gī sārwār du la.

[Speaker 1]
Yeah, by the way, this has to be the one, right? Gī, kīs. I think it comes below, and it's also a little near.

Okay. Your text is really a mess. You've got to get a better typing on it, because it's driving me crazy.

I don't have time to go check the scan. You've got to work, somebody has to re-type it, okay? And it's not bad, the scan's not bad.

When we typed it originally, we used a worse scan. I see.

[Speaker 2]
You were just going to re-scan?

[Speaker 1]
If you ask her to re-type this book, you'll get a better typing nowadays, okay? If you use the scan we have. Because we didn't even have that scan before.

We had a much worse scan. This one's a low-grade scan, but it's much better than what we did.

[Speaker 2]
This is the one we found last year. The one that we put in the Dropbox at the beginning.

[Speaker 1]
I don't remember. Okay. The scan she has now will get you a better result than this.

[Speaker 2]
Okay.

[Speaker 1]
Yeah, I believe.

[Speaker 2]
Is it the one in the Dropbox?

[Speaker 1]
Also, they're more experienced now. It was book number 27. I mean, we did it a long time ago.

All right. So, what's the reason why they would say the manifestation, or the example you want to say, does exist in and of itself, which the mind only wouldn't accept. The cup, according to the sutras, does exist in and of itself.

Now, when they discuss why, de gyu tse yang yod te, I'll tell you why. Why what. In the sutra school, the cup is real.

It exists in and of itself. Then they say, do depa ni. Those do depa guys, those sutras, they're talking about a wang che, a visual perception, a visual consciousness.

Okay? And they're careful to say, gyun ter. Correct.

They're careful to pre-posit, pre-a priori, a priori. We're starting with a correct perception. It's not, you're seeing two moons because you drank too much or something.

So, first they want to eliminate mistake and prejudice. You're not drunk, you're not jealous. It's a normal perception, normal sense of perception.

Gyun ter means normal sense. Yeah, it's a reasonable word, it's accurate. I wouldn't go as far as accurate.

It's an okay sense of perception.

[Speaker 2]
It's a power of perception.

[Speaker 1]
He didn't say sema. He's not going to sema. They're not talking about sema.

They're just saying, he's looking at a cup and the cup's okay. There's no gross problems with the perception. Okay.

[Speaker 2]
Should we put that in the dictionary, the alien dictionary?

[Speaker 1]
You can do that. So, okay. You find a word.

It's not as strong as pramana. But it means, okay, no, the guy's not drunk. The guy's not overcome with jealousy or anger.

He's having a normal, you can say normal. Something like that. I don't know, okay.

So, because if we were talking about, if we didn't say normal, okay, he sees two moons or he sees, the famous example is he has jaundice and he sees the moon is yellow. We're not talking about those. RGYUD ZIN LA BZHAG BA Then by the nature of the thing, Möbetsu ne tsuki, okay, ne tsuki, by the nature of the thing, it appears, okay.

It appears. And so it's RANG GI TSE NI KHYAD RGYUG PA for them. It exists in and of itself.

It's not like the mind-only idea where you think you see something outside, but you're not, or you think it has to be called kath, but it's not. We're not talking about that, okay. Now, now a namrkpa walks into the room.

Yeah, a mind-only dude walks into the room. And he says, when it appears, when the kath appears to the visual consciousness, okay, it does not, min, okay, min, it does not appear, ne tsu wang ki, by some inherent power of its own, okay. It doesn't appear by its nature to the mind, okay.

Well, what's going on? Marikpa ba chak gi wang ki. It is appearing due to the ba chak of marikpa.

The seeds of misunderstanding. No, due to the seeds of, one of those two guys fish in the refrigerator, sticking up the kuchi, okay. I'm sure you're going to translate that, right?

Okay. Then what does ma-tse mean?

[Speaker 2]
To be not worn out, or not worn out. And that's not it.

[Speaker 1]
That's not all, okay.

[Speaker 2]
And that's not all, okay. Ma-tse. There's more.

[Speaker 1]
And it's very common in colloquial Tibetan, you know. He did this, and he did this, and he did this. And everybody's like, wow.

And then you say, ma-tse. He also did this. And you're like, wow.

Okay, ma-tse. Often it's followed by ki. Ma-tse ki.

Not only that, but, okay. Airplane. Go.

Go.

[Speaker 2]
LHAG PA MED PA MED BI NI GZUGSO BI NI GZUGS I'm going to show you how to make a good Kepa.

[Speaker 1]
I'm going to show you how to make a good Kepa. Good. Not bad.

How long have you been doing this?

[Speaker 2]
Not this. Not this.

[Speaker 1]
It's an idiom.

[Speaker 2]
Not perverse?

[Speaker 1]
No.

[Speaker 2]
No, from beginningness.

[Speaker 1]
So yeah, over time there's no beginning.

[Speaker 2]
Oh right, yeah, yeah, yeah.

[Speaker 1]
Okay, it's an idiom. It just comes off your mouth. I know, over time there's no beginning.

What? Just... The mind, actually the awareness of the thought, which is the main motor in this school, the mind-only school, has been talking, has been saying things about things.

This is a visible thing. This is a visible thing. Okay, don't translate it as physical.

It's visible.

[Speaker 2]
Talking about visible.

[Speaker 1]
This is a visible thing. Or maybe not. Anyway, and that's the law, right?

It talks about natures and qualities. It talks about natures and qualities. This is, maybe it does physical.

This is suk, okay? This is rupa. And then it goes on to kepas.

Then it goes on to fishas. Oh, and this is the starting of suk. And this is the ending of suk.

And we understood in between there's some kind of nepas. Sustain.

[Speaker 2]
Moments of it.

[Speaker 1]
Then he mentions, he reaffirms it. The first one is lol. And those last two are kepas.

That's nice. And it dopas, tanyas. It applies names.

It applies names to things. Nitya-namasattva. In the Mind-Only School.

It's applying names to things.

[Speaker 2]
Are we in the Mind-Only School at the moment?

[Speaker 1]
Yeah. Why are we in the Mind-Only School?

[Speaker 2]
Just for all the distance learning.

[Speaker 1]
Yeah, we're specifically in the Mind-Only School's presentation of the lack of a self-nature to things. Okay, tanyas. And now, yang, yang, kom.

Over and over. And that's why you need the eyebrows. That's why.

If you said gom, if you did what most of the people in this room did when you said gom because you saw a G, then it would be because you meditated over and over again. That's not where it says. Over and over.

You got used to it. You've been naming these things cops since forever. So you kom.

You're used to it. And you made a bachak. You made seeds to keep doing this little thing.

Okay? Alright? Your mind's been applying names to things and it got used to it.

And every time you applied a name, that made a bachak to apply more names. And your mind keeps doing it. That's why the cup is appearing.

That's why the cup is appearing. There is no cup appearing. You're just in the habit of calling it a cup.

It's just a piece of your mind.

[Speaker 2]
Alright? And you would just translate wang gi as that's why, right?

[Speaker 1]
Yeah, due to. Wang gi here is just due to. Don't say the power or blah blah.

It's just because of. Wang gi here just means because of. And I'm very, very happy about this next line.

Go. It solved a problem for me.

[Speaker 2]
That he caused.

[Speaker 1]
Everyone's responsible for the weird things in their own texts. Yours is the worst. Very bad.

Yeah, yours is the worst. You're already in West Sedona. West Sedona is.

Where's the... Okay. That's pretty right on.

School name. That bharta we call the bharta for number jupa. For direct.

We have it in the text. For direct. What do we call it?

Labeling. Expression. Abhi expression.

It just means abhi expression. It's the x in expression. Expressing the hell out of it.

It's the x in expression. Don't try to make it more than an expression. Verbalization I think you call it.

Verbalization. Mental verbalization. I think verbalization is pretty cool.

I went back because I remember your number jupa. It bothered me at the time. So I went back and found it and looked at it and it helped me.

Because your text said read this part. The bolded part. You got the plane.

Try the plane. Don't look up across the...

[Speaker 2]
,GYUR ZHIG DENG NYID RUNG BAR GYUR PA DANG, ,BDAG DU BRAL BA DANG, ,SRID PA'I YANG LAG GI BAG CHAGS NAMS, This is a list from words text.

[Speaker 1]
The underlying part is Tsongkapa. Tsongkapa's difficult words. ,'ONG STOD This is a list of things that do appear to the kunshin.

And then we had a list of things that the kunshin couldn't see. Name any of them. ,THAI ,DEM DUSHI Two kinds.

Collections of words. ,ZHIG DOR MING ,ZHIG ZHIG ZHIG ZHIG ,ZHIG ZHIG ZHIG ZHIG ZHIG Very nice. So that was a short list of things the kunshin can't see.

You can't blame it on the kunshin. But verbalization was one of the things it could see along with duns and wongs. Sense powers.

Objects. Yeah, which are so basic, so easy. Cup.

The color of a cup. And the eye cells that see it. But they threw into that list at verbalization.

And it bothered me. I'm like, what the hell? What are you talking about?

And then here we have a clarification from your text. Your author was nice enough to give us you want to know what we call that bak chak that's created when you call it cup since the beginning of time? That's called the bak chak for verbalization.

Cool, so her text connected with his text. Now we understand your text better. The bak chak for verbalization.

So apparently this is something the kunshi can experience. Verbalization. It can call things things.

Due to infinite past lives. Due to komba.

[Speaker 2]
Getting used to it.

[Speaker 1]
From infinite past lives. So we solved one mystery of your text, in my opinion. And it took me a while to go back and find your verbalization.

[Speaker 2]
I thought we decided that the yugi nomba should do it.

[Speaker 1]
The yugi nomba should, it doesn't, but it is an object of the kunshi. The kunshi can perceive it. Probably the names and the verbalization itself.

Not the fact that it's verbalizing. That's problematic. Okay, here we go again.

Alright, you brought it up.

[Speaker 2]
Ta-da!

[Speaker 1]
I'm going to split this to make your life easier. Adam, drive the plane.

[Speaker 2]
De na.

[Speaker 1]
Because de na means already. De na means therefore.

[Speaker 2]
NGON PO NGON PO NANG BA DANG NGON PO CHI RO DUN DU NANG BA DANG NGON PO NGON PO SHES PAS THA NI YIN ZHUGS PAS SHES RANG GI SHES SHES What did I say?

[Speaker 1]
You were not sure.

[Speaker 2]
In my mind I was telling you to slow down. SHES RANG GI TSE NI KYI DRUG PAR NANG BA SEMS RANG GI TSE NI KYI DRUG PAR NANG BA SEMS Give me those key. Key.

[Speaker 1]
Key. Alright, good. De na, therefore, PAR CHAG PAR DEN DRUNG This word bothered me.

I was going to let it go and then I couldn't let it go. I couldn't sleep. My dinner took longer than expected.

I don't remember what I meant. Something. Anyway, and I had time sitting at the kitchen table.

I said, I got to figure out what's this tension. This is bothering me. We talked about it the other day.

DEN means firm. So I went and found it. This is from Kyuh Tsang.

Kyuh Tsang is a famous lama from lineage from Sarah Mae. Kyuh Tsang lineage. They're cool.

They're cool. And I would like to read this with you. You know, let's just kick ass on the Mahayana school.

Let's not be satisfied if we don't understand something. Let's slow down, look it up, figure it out, and then sooner or later they'll run out of weird words. We'll get used to the words.

So our knowledge will go deeper. And it's not as fast, but we'll speed up later because we know what it's talking about. So please read.

[Speaker 2]
Good, nice.

[Speaker 1]
Go means to smear a seed. Go means to pollute. It means to imprint a seed.

Go means to imprint a seed. Isn't that a different story? Sorry?

No, it's just a different story. It's more like a present tendency. It's actually a part of it.

Goshi means to smear a base. What is it? And goa is like if you have a perfume in your purse for a couple weeks and then you take it out and everything in your purse smells like perfume.

It retains the scent. That's go. It kind of means to smear, to imprint, to spread, to infuse.

Infuse. It's not bad. So this author, Kitson, says, guess what?

The goshi, meaning the part of the kunshi where the seeds sit in, where the seeds infuse, where the seeds are infused, it has five characteristics.

[Speaker 2]
Okay.

[Speaker 1]
He says it has five characteristics. First of all, it's damp.

[Speaker 2]
It's firm. Neutral.

[Speaker 1]
Secondly, it's luma-damp. It's neutral. The gocha or go or cheta, smearable.

[Speaker 2]
Something which can be smeared. Smeary.

[Speaker 1]
I'm not sure where the division is. Let's go. No, he's going to give it to me.

He's going to explain his own verse. Döni. Please re-hear it.

It's referring back, don't worry.

[Speaker 2]
Döni. Bap chok go way shi de la kye bar nga dang denpa shi gul aw lay.

[Speaker 1]
Okay, let's do that much. Döni. Now I'm going to explain my little poem to you about the five qualities.

Bap chok go way shi. Now he spread it out here, you see. He didn't say go shi.

He said the shi which is go up. The foundation which is infused with the Bap chok. With the perfume.

The smell of the perfume. Shi de la kye bar nga dang denpa shi. It must have.

It must be. Something. Which possesses five different characteristics.

It must be. First one is denpa. Read that much.

[Speaker 2]
Denpa te.

[Speaker 1]
Now te.

[Speaker 2]
Denpa te.

[Speaker 1]
This is a heavy one and it's unreasonable and that's the way it is.

[Speaker 2]
Like a ring tone. Denpa go shi ni rung kye.

[Speaker 1]
By the way, this is a really elegant explanation of denture. I was excited when I got to hear it. It doesn't take much when you live in Rimrock.

Wow, that's an interesting explanation of denpa. It must be firm. It must be stable.

Why? Why? Rung de gyun chepa mepa.

Rung ja means sustained of the same type. A sustained presence of the same type. It's an Abhidharma word.

Sustained same type. Rung ja. That flow of the same type of thing should not be interrupted.

Chepa mepa. There shouldn't be an interruption in the flow of a single identity. We're getting there.

So gyun chepa. It must be sustained. It must have a sustained quality.

Don't interrupt me yet. It should be like a tilth.

[Speaker 2]
A drop. Sesame seed.

[Speaker 1]
Who's Telotama?

[Speaker 2]
Partner.

[Speaker 1]
Yeah, Lord Buddha's partner is called Ultimate Sesame Seed. Sorry, like Telopa. Sesame seed grinder.

Naropa's teacher? Naropa's teacher. Naropa's.

Naropa's teacher also, yeah. Naropa was Naropa's teacher. His name was Telopa.

He disguised himself as a miller. Tilthabushiguki. So it must be something like solid, like a sesame seed.

And it shouldn't be something ephemeral. Like sound or look. Yeah, nice.

Did you... We had it in... Yeah, okay.

So it shouldn't be something that comes and goes quickly. It must be something that has a sustained quality to it. Like a wood or something like that.

Mittembe. It shouldn't be like sounds. Remember why sounds didn't get to be in the Gombudzege?

[Speaker 2]
They're too old. Yeah, they're too expensive. They're not ten.

[Speaker 1]
They were too... They just... Mittembe.

Because sound and lightning for example are so ephemeral, they don't qualify as the place where you get to smear your seeds. That should be kind of a stable place. This is mind only school.

[Speaker 2]
So room here is qualified?

[Speaker 1]
Miru. Miru would not be appropriate. As...

[Speaker 2]
There's your grammar.

[Speaker 1]
Things like sound and lightning are unstable things. They wouldn't be good. Miru.

As shiru. As a smeared place. As a purse.

They wouldn't be appropriate. They're too fleeting. They go around too fast.

Keep going. This is where your text meets Sugeng's text. I love this interaction.

As we go deeper, if you guys survived, your text will start to form highways between them. There's this beautiful building in Beijing, right? Just near Tiananmen Square.

There's five skyscrapers. Each one is a different color. Red, white, basically primary colors.

There's bridges across them on the 50th floor or something. I think a ballet class up there. All glass.

Like you're... You know. Scary.

The bridges are glass. And you're walking in the air. Why did I mention that?

[Speaker 2]
Our texts are all connected.

[Speaker 1]
Yeah, you're going to have these connections between your texts. It's really beautiful. In the end, it'll all be one gongbu.

One big ball of sugar. Gorky. Gorky?

It's only the first of the five colors. And I'm not going to divert to the other four.

[Speaker 2]
Undiverted.

[Speaker 1]
I just wanted to get the ten down because it was bothering me. This is such a beautiful explanation of the ten. Maybe that's a mind-only text that we should do someday.

Because he's so clear. Or maybe you want to go to something else. Like Tantra or something.

Anyway. Mi tenpa la. If something is unstable, we wouldn't agree, min du, that a bak chak could chak there.

Chak means to form. This spelling is not desired. Du chak.

It's not du chak. Although probably they're related. This chak means to form.

A bak chak would not form there in an unstable foundation. And chuk here is an idiom preceded by the Daini grammar case. Preceded by the Daini grammar case.

And even if we were to allow it to chak, chak su chuk kyang, even if you were to say it could chak, that's exactly what it means. Chak su chuk means even if you were to posit chuk, that it could form, there'd be another problem. First of all, it can't form there, because we say bak chaks can't form in places that are not stable.

And even if it did form in a place that was unstable, there'd be a second problem. And then we go to Sugen's text. Chuk su.

Chuk su. Chusawa. It would not just fade away.

It would not just end. Probably the memory of this word chusawa. No, it would just fade away.

[Speaker 2]
Yeah, yeah, yeah.

[Speaker 1]
The memory of the word didn't chusawa. Yeah, it couldn't just fade away. But if the bak chak koshi was mitemba, unstable, if the place where it was planted was unstable, well, then you could have this thing where things you did could not have consequences.

Because the place where it was planted is coming and going, like sound or like lightning. Therefore, bak chak ten chu.

[Speaker 2]
I like that.

[Speaker 1]
Now we can go back to your text. We have an explanation of ten. Stability, as far as bak chaks.

[Speaker 2]
Once again, the first chuk.

[Speaker 1]
Yeah, and I'm not going to the other four. Okay. We have to control our detours.

[Speaker 2]
Fair enough.

[Speaker 1]
I mean, we could detour forever. But we didn't even separate them into a clear list of five because we were going down there to see what he said about them. Yeah, all I wanted was the first one.

[Speaker 2]
But if she's going to write a footnote, does she need all five of them? No, I don't.

[Speaker 1]
I'm going back. If you want to keep going on that, I give you permission.

[Speaker 2]
I mean, we could.

[Speaker 1]
We could, and it would be fun. But your book would get too long. By the way, sometimes you have to respect the limitation that your author put on the discussion.

If he had wanted to list the five, he would have. So is it fair to him to make his book so long that no one wants to read it? I thought you did list them.

[Speaker 2]
That's another person. Keep going.

[Speaker 1]
Okay, let's go. Please, did you read this already, right? I think so.

[Speaker 2]
Let's just go.

[Speaker 1]
DE NA, BAG CAR BSTAN CING GI DBANG PHYIR LA'ANG CIG LA'ANG If you have a... Now, I have to deal with this. If you have a visual, if you have a sensory consciousness which has derived from a stable seed or something like that.

BSTAN CING A visual, a sense consciousness, which is... I would get out of it and say involved with a stable seed or something like that. BSTAN CING means came out of stability.

BSTAN CING came out of stability. It's not the seed that's stable though. It's the place where the seed is.

[Speaker 2]
It has arisen.

[Speaker 1]
And what I think the point is, Utpala, is that there's certain patterns in your life such as your eyes which are coming out of stable seeds and you have eyes for your whole life. You see what I mean? I believe that's what he's saying.

Like, to have a good income, that's not BAG CAR BSTAN CING. That just comes and goes, okay? But I believe that what he's referring to is some kind of stable sense consciousness.

LAM And I'm assuming he spelled this right. I'm assuming the carving is right. If it were B, it would all change.

But I don't think it is. I think it's referring to a stable seed. Or a stably planted seed.

If you take a single... Now, when he said single, he means you're not thinking about it. It's not like you see blue and then you have thoughts about it.

In a single instant, three appearances are making their way in the mind on this goal. We already went through them. We're comfortable with them now.

And here's the same old list. Number one, blue is appearing as blue. When blue appears to the sensory consciousness, a single instant of sensory consciousness, he wants to emphasize that all three appearances are happening at the same moment.

It's not that you're reflecting on it and you decide, oh, this must have been called what it was called automatically. It's not that. It's all instinctual.

It's all happening in a single moment of sensory consciousness. A single example of sensory consciousness. What happens?

Three things. We had this already. LUM PO LUM POR Yeah, blue is appearing as blue.

Is there a problem in the mind-only school with blue appearing as blue? No, nobody has this problem. Second, LUM PO is appearing as a chilu-dun.

Yeah, as an other object. Third, LUM PO LUM POR SHES PA'I THA GNYIS BYAS PA'I GZUGS SHES RANG GI TSE NYID RGYUD PA'I RNAM PAR Yeah, blue is appearing as if it was something called blue in and of itself. It's a sort of blue.

SHES RANG GI TSE Now it's an interesting thing. He clarifies STOB PA, which we've been kind of flirting with. He clarifies STOB PA.

Please read. You got the plane. I got the chai.

[Speaker 2]
STANG DE DE DE CHANG PE TOK PA PANG SUNG YUD PANG DE CHANG PE TOK PA PANG SUNG YUD PA RE NA MA NA MA RE RE DUNG PE PA PA PA RE Nice!

[Speaker 1]
I love your G. I love your G. NA MA PE PE I have finished with a little little bit.

CI MA NYID SU NANG BA LTAR DROD PA LOB PA NYIN TE BYAS PAR MYUR Nice. This is the thing where you just get it right and you speed up later. So don't feel stupid that you're saying things slowly because you will speed up later, but it will be accurate.

Like to take the time to make a good bibliography interview. You know, it'll speed up later, just do it right. There's this principle, if you do it right, it speeds up later.

If you do it wrong, it never speeds up.

[Speaker 2]
Okay?

[Speaker 1]
All right. DE'I BYAMS PA'I RTOG PA DE'I BYAMS PA'I RTOG PA This is a very interesting idea. We were struggling a little bit with RTOG PA in the Mind Only School.

Because it doesn't have an S, it must be...

[Speaker 2]
Yeah, it's like idea. It's like the word idea.

[Speaker 1]
He has an idea that I don't like and so forth. It doesn't mean a good idea. It means some idea.

Some weird idea. So there are also three ideas that are RTOG PA by that.

[Speaker 2]
That are caused...

[Speaker 1]
Elicited. Yeah, pulled out. Pulled out.

RTOG PA. RTOG, like tongue in. By the way, spell it with a G, it becomes Sankhya.

[Speaker 2]
Yeah, counting.

[Speaker 1]
This is pull, RTOG PA. DE'I BYAMS PA'I RTOG PA Yeah, hold on. Guider.

So there are three ideas that are elicited by those three appearances. Three corresponding ideas elicited by the three appearances. SNGA MA NI RIGS BSTAN GYI BAG CHAG GYI SNA BA YIN PAS The first, the former.

It's kind of illegal to say former when you have three. But he did. The former, meaning the first, only the first.

That's coming from a RIGS BSTAN GYI BAG CHAG. This RIGS BSTAN is similar to DUN BSTAN.

[Speaker 2]
Not normal.

[Speaker 1]
An okay BAG CHAG. That's coming from an okay BAG CHAG. DUN BSTAN, reasonable.

No BUBU, no BUBU BAG CHAG. That's maybe a good name for a band also.

[Speaker 2]
BUBU BAG CHAG.

[Speaker 1]
That's coming from a harmony as we're in particular saying. BAG CHAG GYI SNA BA YIN PAS That's appearing due to a BAG CHAG which is reasonable. Therefore, we're not going to goke.

Yeah, nobody's denying that one. We're not trying to discredit him. That one's like, hey, he's okay.

Let him in. But the latter two. Now he's kind of like former and latter two.

It's kind of weird. The latter two, we want to deny, gokpa, that the latter two are as they seem, exist as they seem. SNANG BA LTAR GRUB Say SNANG BA LTAR GRUB That they are as they appear.

And the fact that things are not as they appear in Buddhism is called non-duality. That's the meaning of illusion in Buddhism. It's not that there's no subject and no object.

That's not non-duality. Non-duality means there's no discrepancy between how it appears and how it is. SNANG BA LTAR GRUB means as it appears, it is.

It's a very beautiful idiom. Maybe you want to throw that into your idiot dictionary. I'm not referring to you.

I'm referring to the questioner. SNANG BA LTAR GRUB It exists, GRUB, the way it looks like, SNANG BA LTAR. SNANG BA LTAR GRUB This is the GRUB in SHI GRUB.

[Speaker 2]
Exists.

[Speaker 1]
Exists, yeah. It exists the way it seems. Okay, bud?

And it's over time. What? I just started.

Yeah, you know.

[Speaker 2]
Don't blame me. Blame Word of the Chao Ping.

[Speaker 1]
Yeah. So I feel better about your text because I had some time to spend with it and I looked up there and I feel better about it. So anyway, the latter two appearances are false because there's a discrepancy.

And the first one is RIK DEN or DEN DEN. It's got some reasonableness to it. We're not denying that.

[Speaker 2]
And we do deny that. We, they do deny that.

[Speaker 1]
Yeah, we are denying or trying to disprove, GO. CHI PHAR MYUR ROL Oh, good point. I forgot to tell you that.

As I will explain, meaning he's promising to deal with it again later. Which sometimes they don't. It's like dishing Michael.

They end up promising you. CHI PHAR MYUR means we're going to talk about that. It means we're going to talk about that.

[Speaker 2]
It's coming.

[Speaker 1]
Yeah, don't worry about it. I'm getting to that.

[Speaker 2]
We'll talk about it.

[Speaker 1]
Now he's got some very... Now he goes to a nice section because I can understand it. He's going to explain why things cannot be naturally what they're called.

He's going to give three proofs why blue isn't called blue self-existently. That's why a rose couldn't be called any other name and it would still smell as blue. That's Shakespeare.

You could call a rose poopoo but it's just miracles.

[Speaker 2]
Thank you.