Вордсмит — Книга 2: Трудные места школы «Ум только», занятие 9

[Speaker 1]
Hey, Homer. Yeah. Okay.

Let's do this. What is the karmic status of the foundation consciousness. And yeah, one more adjective.

[Speaker 2]
was not predicted by Lord Buddha.

[Speaker 1]
That's not an adjective. I don't think what I'm thinking of is quite an adjective either. It's descriptive though.

It's neutral and it doesn't blankety blank blank. It's not an obstacle. Oh, how much money did I get.

Yeah, that's okay. Ask Allison. All right.

Why is this status important to its ability. Or its ability. I don't know.

Or its ability to hold and perceive. Ripen seeds. Is this just kind of like open to interpretation.

Good question. I was just about to say it's, it's kind of not in the text, but we discussed it, I believe in the golden key along with this and it's, it's very, it makes a lot of sense. It's not that big of a leap.

I don't think it's directly in the text though. Good question. Well, then is it because if it, because then no good seed that ripened in it could be totally good, if it were negative or something like that, like it would affect the.

[Speaker 2]
Like, wouldn't affect the seeds.

[Speaker 1]
It would somehow affect the seeds that were planted or, as you perceive them and so forth. Exactly, Sir Nicholas. Okay.

Okay. What does the word Sam Chan mean the context of defining foundation consciousness. And what Texas this usage.

What text is the usage of this term from, and by whom.

[Speaker 3]
All that but sometimes the one who has the mind.

[Speaker 1]
That's what the word usually means. What does it mean it's a rare you. Nope.

[Speaker 3]
Might have consciousness.

[Speaker 1]
It's weird you have to, it's very particular to the text.

[Speaker 2]
Powers in the mind stream of ourself or other people. Thank you.

[Speaker 3]
Sense power person.

[Speaker 1]
Yes, sense power. Yes. Power, whoever said it's right.

Good. And what thing. Okay, I understand.

Good job. Yay.

[Speaker 2]
What Texas the usage of this term from Master Vasubandhu's Not Master Vasubandhu, his I think, I think Nick said it.

[Speaker 1]
Between the middle, between the middle and the extremes or whatever is it.

[Speaker 2]
Yeah.

[Speaker 1]
That one.

[Speaker 2]
He was in both of them, but okay.

[Speaker 1]
I don't know what you're saying. Okay.

[Speaker 2]
Yay, whoever said Also had the quote from Master Vasubandhu's text.

[Speaker 1]
Okay, whatever you say. Cool. What is my long my 10 mean Non-obstacular non profit.

Neutral not creating obstacles. Very good. Nick, you should be a translator.

What is Oh, Tom, Tom. I'll refrain Separating the middle from the extremes. Yes, Nicholas.

And far on trial or trial ones in That's a hard one. Yeah, no, we did it in the golden key a bunch. And I don't know.

I like it. We did. We did.

We had a whole like The effulgence Yeah, that's great. I didn't use that exact word, but it's exactly what it means a little mind bright. Perfect.

Woo hoo. We did it. Okay.

All right. Welcome back to reality. What a reality.

Okay. I want to review a bit because I did some homework. Okay.

You're right. Okay. So here it said He said the fact that a preta and an animal and a human and a god, deva, can look at the same thing like a glass of water and see separate things is proof that they don't exist.

And then we have to supply as outer objects. Okay. In the mind only school.

Okay. We finished that. Yep, we did.

Then we said, if you don't agree to this, you're kind of giving up your basic belief as a mind only person that emptiness means there's no outer objects. Okay. Then he says, well, but we see a discrepancy between what appears to the sense awarenesses and what appears to the kunshi.

Okay. And we say, no, no, no. Kunshi is holding kunshi when it sees outer objects.

Okay. Kunshi is looking at a part of kunshi when it perceives it. And there's a, so you've got du du nangway nangpa shepa.

You have a consciousness appearing as an outer object. Okay. As blue, for example.

Okay. And he quoted a book. Right.

He quoted a book. And we went and found the book and it was a commentary on the examination of objects by Master Dignaga. Okay.

And then I went and got you the examination of objects by Master Dignaga. And I copied it from Gopher. And sometimes Gopher copies the previous thing you copied.

Okay. It's a bug. Oh, is that what happened?

Is that why? Yeah, which is really irritating, because I was working on Sugeng's text before your text. Oh, yeah.

So it pasted in, it actually pasted in his sutra on the 12 links. Okay.

[Speaker 2]
Oh, okay.

[Speaker 1]
So, which happens to be as short as the Mipthaka. So I thought, okay, that's fine. Now the examination of objects is only a single page.

Okay. And there's a very interesting, you know, here's the quotation by the commentator to Dignaga. And he says, look, Dignaga talks about the essence of the object.

Okay. Dignaga's text talks about the essence of the object. Okay.

Then it talks about mutual causes. Dignaga talks about time with, and then it gives the quotation we're interested in, which is consciousness arises in the aspect of its object. Okay.

Okay. And this is the part of Dignaga that's interesting for our argument. Okay.

Consciousness arises in the form of its object. Is somebody playing music?

[Speaker 2]
Okay.

[Speaker 1]
Now, so now that we have the real Dignaga text, I thought let's look at it. Okay. Okay.

And it's down here in the different font. Okay. It's down here in the different font.

And guess what? He's quoting the final lines. He's quoting the final verse.

And then that's the end of the book. Okay. It's a short book, but it's interesting that he's quoting the final, the final lines.

Okay. So, DE LTAR YUL KYI NGOL DANG, therefore the essence of the object, and right, remember we're talking about objects as manifestations coming out of the kunshi, like blue. Okay.

Like blue occurring in the refrigerator and not outside. Okay. So, the potential of the object is mutually causal.

Okay. And it has been happening for time with no beginning. And the commentary is so beautiful, and that's the commentary that Tsongkhapa quotes.

Okay. So, I want to take you back to that word, and then you can give a really nice explanation in your footnote of why Tsongkhapa was so entranced by this quotation. Okay.

So, let's go back to the query. Okay. And it's not very long.

It's a few sentences. Okay. Let's start here.

The big print is what Tsongkhapa quoted. Okay. Hang on.

Oh, no, let's not cut it there. Let's cut it here. Who's your checker, Warren?

[Speaker 3]
Checker picker?

[Speaker 1]
Your checker picker? Checker picker. Oh.

Venerable Upala, do you feel like doing it? Okay, here we go. Start here.

This is... Okay, let's start here, actually. Okay.

Oh, no. Isn't there an a-o missing from that? Yeah, you're absolutely right.

I must have cut it off.

[Speaker 2]
Okay.

[Speaker 1]
Okay. Okay, good. So, if the sense power has some capacity to trigger an awareness of sense power, if the eye can trigger the visual consciousness, if it has that power, what gives it that power?

Where did that power come from? If you ask, juk tuway tab gyi de tenpay chir, Dignaga is closing his composition, and he uses the conclusion of his book to discuss this question. Dignaga uses the end of his book to discuss this as an excuse, tab, skillful tab, to discuss this very question.

Okay, and then I've put the pieces of the final lines in big letters. All right, who's your checker? Ben wants to check me.

Go. Okay, no problem.

[Speaker 2]
You said law.

[Speaker 1]
Sorry. Okay, no problem. Okay.

Okay. Okay. Okay.

You asked me, what gives the sense powers the power to trigger an awareness of blue? Well, my answer is in the final verse of Dignaga, and that mentions the essence of the object, yul gyi ngo. What that means is, jita nampa shepa, the awareness of blue has arisen from the power of the sense power.

The awareness of blue has been triggered by the power of the eye, E-Y-E, the eye power, eye sense power. In the same way, if you ask me, where did the power of the sense power come from? Who gave the sense power the power to trigger a consciousness?

Who gave the sense power the power to trigger a consciousness? Who gave the eye sense power the power to trigger a visual awareness? Well, it was the thing that created the wangpo, which threw the wangpo into existence, the sense power.

Well, what threw the sense power into existence? It was the last awareness. Got it?

What's the job of the sense power to trigger an awareness? What triggers the sense power? The awareness before.

Because it comes from the kunshi. Okay, got it? It's born out of seeds that were created by awareness.

Maybe in your last life or ten minutes ago. Okay, got it? And Lungkin, well, and then there's a cute thing.

The guy says, well, where did that previous awareness come from? What's he saying? What's the answer?

wangpo nupa nga maliki From the ability of the sense power. Yeah, yeah, yeah. So it's a circle.

It's a circle. Who threw the blue up to my eyes? The sense power.

Well, what gave the... How did I know? Well, I had an awareness of blue.

Well, what triggered the awareness of blue? Well, the sense power, my eye did. Well, what triggered the eye?

Well, the awareness of the life before, the ten minutes before. Well, what triggered that? The sense power of the life before.

Okay, got it? All right. And that's the nature of objects, okay?

Yul ki ngo, okay? All right, let's keep going. Please read.

By the way, you're the one who noticed I had accidentally put a Wheel of Life text here. And if you had just shut up, you wouldn't have to be going through this. We could be continuing.

Most of my problems in life come from the Wheel of Life. Please read. No, actually, I'm quite grateful.

Let's go. Okay. Te tar na di...

Oh, who's checking, who's checking, who's checking? Ben can do it again. He did a good job last time.

Te tar na di tatek wangpoe nupa thang. Yul ki nampa chengi nampa shepa di nini. Pen sun gi gyuchen.

Dun jukla gyut thang djebuy gyupa di gu. Kyi tokpa yang mepe di nini. Tokpa mepe du par thawar jau.

Good. Te tar na di tate. And so, this is the way it is.

Wangpoe nupa, the power of... How do we say capacity? The capacity of the sense power to trigger an awareness.

And the awareness of the object that the sense power triggers, they are therefore causes for each other. Yeah, mutual causes. Yeah, they are cause holders, meaning each one's cause is the other.

Gyu chen. Each one's cause is the other. Therefore, and that's the way they operate, juk.

Therefore, this gyupa of gyut thang djebus. This stream of causes and results. Yeah, he even uses the word for...

Lineage. Yeah, lineage, okay? Student, teacher, student, teacher.

The student becomes the teacher. This lineage of cause and effect has been going on tokpa mepa ne. From time with no beginning.

Yay! And you should understand them, thawar jau, as being things of time with no beginning. Beginningless stuff?

Yeah, as beginningless stuff. Let me see if it's worth it to go on. I think that's enough, okay?

And here's the actual lines from the mikpa takpa, okay? Here's the actual lines. That's the essence of the object.

The capacities are mutually caused, and it's been that way for time with no beginning. It's been operating that way for time with no beginning. Now, why didn't Tsongkhapa use this quotation?

Okay, let's tie it up, okay? Then we can go on. Way, way up here.

He said... So, the guy was asking, is there a difference between the... Appearance and the actual operating?

Yeah, the appearance in the kunshi and the sense awareness, okay? Is there a difference? And Tsongkhapa says, no, it's the same thing.

Because Dignaga said that, okay? And that came from a long argument about... I mean, that flowed out of the glass of water discussion.

That flowed out of the glass of water discussion. Because if you don't believe that, then you're not a mind-only person, and you cannot accept that different beings would have a different perception of an outer object, okay? Cool.

I mean, Tsongkhapa, if you really try to follow his teachings, it takes you like three days, right? All right. Then he quoted himself and said, I already talked about this, which was very modest.

Oh, yeah. He did a lungi drubje by quoting his own book, which I've rarely seen such a thing. Okay.

What was the last class we had? Let me see. 10.1. Oh, by the way, I got you some dessert here. Ooh. Oh, yeah. 12.

Well, he mentions two kinds of constructs. He mentions two kinds of constructs. The yenlak chu nyi, and the de, denpa, tatha, maungpa.

Yeah, the past, present, future. Yeah. Then he's asking, what's the status of these kind of objects?

I understand blue is ripening inside the kunshi. I can deal with that. But how is it that you have highly conceptual ideas and constructs like past, present, and future?

Is that also coming out of the kunshi? Or the divisions of the Buddha's teachings, the 12 divisions? By the way, there's two famous yenlak chu nyi, right Sugeng?

Yeah. You got to be careful when you see yenlak chu nyi in a scripture. You got to make sure which one it is.

Yes. The most common one is yours. The most uncommon one is words, because he's so uncommon.

Which is the 12 divisions of the Buddha's teaching. I thought you might like to go through those quickly. Yay, let me try.

You're going to have to write a footnote about them anyway. By the way, the reason I'm doing this exercise is I want you to get a feeling for how arbitrary they are.

[Speaker 2]
Yeah.

[Speaker 1]
They are not very defensible. They are really just what the guy made up. That's why Tsongkhapa uses them as an example of a construct, because it could have just as well been anything else.

They are not self-evident divisions of scripture. They are highly subjective divisions. That's why they were chosen for the question.

It was an interesting choice by Tsongkhapa. All right. Please, who's the checker?

Bertha. Yay, Bertha.

[Speaker 2]
Great, thank you.

[Speaker 1]
Okay. Okay, Bertha, I'm going to make one mistake, okay?

[Speaker 2]
Okay.

[Speaker 1]
One on purpose. Maybe another one, but not on purpose. He's going to make a second one not on purpose.

Okay. Okay. Dupa de.

Doi de. Jang ki. Chek.

Jang. Jang.

[Speaker 3]
Oh my god. Jang.

[Speaker 1]
Jang.

[Speaker 3]
Jang.

[Speaker 1]
Ki. Ne pe de. Lung du ten pe de.

Tik su che pe de. Che du ju pe de. Leng si de.

Tok pa ju pe de. De tabui. Tab hu.

Chung we de. Ke pe rap ki de. Shin tu.

Ke pe de. Me du. Chung we de.

Ten lap pap pe de yo. Nice. Nice.

By the way, this is from the Great Dictionary, and I repeat that it would be a great achievement of our group if we could translate it. You know, there was a group in England tried to translate it, and there were some fights. The professor who sponsored the scholars got in a fight with the scholars from Tibet, and actually the scholar from Tibet was a Chinese congressman.

So I think he's a member of the Communist Party. And there was a disagreement, and the author is a great, great scholar. And so the book was never published.

The translation was never published. And when pieces came out, it was very heavily criticized, I think unfairly, by Tibetan scholars in the West. So I think it would be very interesting.

I believe the owner of the dictionary is like People's Publishing House in Beijing. It's a Chinese government publishing house. And I think it would be a great achievement if we could make a deal for us to translate it.

Because it's a great, it's an incredible dictionary. Okay, so anyway, that's my sales pitch. I would do it myself if I had more days.

Yeah, I'm almost done the input. Say again? I'm almost done.

[Speaker 2]
Oh, yeah.

[Speaker 1]
Same. It's an incredible dictionary, and it would be a great contribution to scripture. Okay.

The 12 divisions. And by the way, you've done a great job. I think it's four years or something, right?

Of work, right? Thanks. Yay.

The 12. Okay. Now, the reason I praise the author, look how sensitively he defined the 12.

He didn't say, He said, You want to take a shot at that? That he is speaking, not that he spoke. These divisions of the...

Okay, normally we say Middle Way, Prajnaparamita, Abhidharma, Laze, Vinaya. That's yuja. And he very sensitively says, This division is by yuja.

Oh. The subject? No, that's yuja.

Oh, right. You just said... The division into Vinaya, Madhyamika, Abhidharma, that's by subject matter.

But turn it around. This is by... The object.

What was said in each particular part of the text? No, that's subject. Give me the opposite of subject.

Oh, the object? Meaning, how do they express? What's the style used to give the teaching?

What genre of writing is used to express subjects? And this division into 12 is not made by subjects. It's made by style of writing about the subjects.

It's a very cool division. And this dictionary author caught it. By the way, I tried to find a good Gelugpa description of these 12, and I thought the dictionary did a better job, which doesn't happen very often.

But anyway, let's divide it into these 12. They can be grouped into these 12. First is dode.

Sutras. What do you guess might be the style of writing about a do? Like how...

Ndo. Ndo. Like how...

I mean... Oh, what, brief, you mean? Yeah, good.

Yang gi ngepa. What if we use yangs to do the expression? Songs of utterance?

Yeah, so somehow musical, maybe? We're just guessing. I'm going to give you the definitions later.

Okay. How about lung du den? Prophecies.

Good. Nice, nice, nice. How about sik jes?

In verse? Yeah, expressed in verses. Perfect.

De du gyupa. For a particular audience? Great.

Wow, you're on a roll, man. Leng shi. Incidences.

Yeah, stories of what happened, okay? Tokpa gyupa is avadana. Oh.

Avadana? Isn't that stories of saints? Yeah, exactly, exactly.

The word is very complicated, okay? Okay. De tabo jung.

It's a category called de tabo jung. That's what they did? This is what happened.

Let me tell you what happened. I can, there's something happened, all right? Then there's gyuraps.

Past life stories? Yeah, jatakas, jatakas. Of the Buddha specifically, right?

Usually, and the difference is, dok chos are about non-Buddhas in that life, and gyuraps are about our Buddha in his past life. Then shintu gyupa, you can guess. Shintu gyupa.

The opposite of doi de? Doi de? Yeah, these are really go on very long.

What might this include? Prajnaparamita in 25,000. Exactly, and that's the classic example of shintu gyupa.

Then methatuwa, Nick, Mozart. Sorry, yeah, Mozart. Yeah.

Amazing. Amazing. Wondrous teachings.

Yeah, wondrous, like unbelievable stories, okay? Sorry, I was having a computer issue. Oh, sorry.

And then tenpa papa means... Implementations? Yeah, like kind of boring outlines of things, okay?

Okay. Now, I thought you might like to read the definitions from the Great Dictionary of the groups that are not obvious. Okay.

So I didn't give you all 12. I just gave you the ones that are not very easy to understand, okay? And I would start with...

What's that? Is sikshuche the same as karika? Exactly.

Oh. Exactly, yeah. Okay, now, this one's a little confusing.

Something to do with a song or something? Mm-hmm. Nyepa means expressed.

Yeah, we had it. Expressed in song. Okay.

Let's read the definition. Who's checking? Bertha should again.

She has to redeem herself. Yay. Thank you.

Word, you could start out with the same mistake. I was thinking... Okay.

Jang ki... Yang. Oh!

She'll never forget that one. Very good. Okay.

Yeah. Yeah, it kind of means ornamented by music. And what it means is, this is the second group, nyipa, among the 12 groups of styles of teaching, right?

And in the middle of the text, or at the beginning or end, at the two ends, right? You'll get a song, meaning some verses. This, okay?

And it will be used, the sutra will have those as part of its style or its expression, okay? And you see this in the Partsik. You see great lamas who will, they'll throw in a verse after each chapter.

You know, that's the chapter about this, that was so amazing. Let's go on to the other, okay. Okay, and by the way, the 12 groups can be grouped into the Pitakas, and they can be grouped into Mahayana and Hinayana, and then crossovers, okay?

So he says, group number two belongs to Nyanta. That's nice. Yeah, it's a Hinayana category.

You'll see it in Hinayana sutras, okay? Okay, this style, this kind of style. Okay, I thought you might want to do the Shloka, or the Karika, Karika.

Okay, here we go. Who's checking? We will have Jewel.

Yay, Jewel. Ooh. All right.

Sikhsukhchepe de Sungrabhyalakshuni ki shipa Sikhsukhchepe ni la sokpe thunpa perna somthang do de gen ki sikche thapui te Nyantu ki do deyi do nu tsu thopa shik go. Good. So what is the first category?

Okay, what is the first category? It's the fourth of the 12 styles of scripture. You might have two or more lines.

So sikche can also mean line, and Sanskrit is typically two. And then it comes out as four in Tibetan, usually, like Abhidharmakosha, okay? So it might be two lines.

It might be more. And those are used to express the meanings, okay? Express some meaning, okay?

Then thunpa. For example, we could point to the Tsong. These are these versed summaries.

Cheduljube Tsong is the most famous one. Enzymes? Udana-varga, they use poetry to teach people, okay?

And the do de gen is a very famous example, he says. And all the five works of Maitreya are versed, okay? So he says, you could take the Sutra Alankara, or you could take other ones.

These are written in verses. Now the YANG GI NYES PA'I DE had verses sprinkled through it to make it pretty, but that ZIGS SU BYED PA'I DE is completely written in verse. The whole text is written in verse, okay?

And that, again, is considered part of the NYAN THOS KYI DO DE. Listener. Yeah, the Hinayana Sutras.

This is a style that you will see in the early sutras. Okay. Uh, who's up?

Uh, let me see. What about Timmy? What are you doing out there, Timmy?

He's asleep. He's sleeping? I don't blame him.

He doesn't feel well. You okay, Timmy? Right there?

I'm not gonna bother him. I think his head is on the keyboard. Eiji, Eiji, Eiji, you wanna criticize me?

Always. I know you do. DE TA BU CHUNG WAY DE that's Sanskrit.

Oh no. It's probably ITI VARTIKA. Yeah, ITI VARTIKA.

But a lot of those Sanskrit's in the Great Dictionary are messed up, so I wouldn't worry too much about them.

[Speaker 2]
Okay.

[Speaker 1]
Yes, they are messed up. I noticed. Just don't even go there, okay?

No problem. Sumra bienlak chini ki tepa nyungi tamgyu ki jorwa thang denpar tunpa perna. Do de le ngyapa ntapu dulwe denu t'hu tok.

Good. So, it happened like that. The category called, it happened like that, okay?

This is the eighth group of the twelve kinds of expression that you find in the Buddhist teachings. And you will see ngyungi tamgyu means stories of past events, okay? Jorwa.

You will see compositions based on previous stories, okay? And that's the way the teaching is done. And we can point to the Hundred Rites, the sutra called the Hundred Rites, Vinaya Rites, which is part of the Vinaya Pitaka.

So now he's, rather than putting it into Mahayana or Hinayana, he's putting it into one of the three Pitakas, which is what the galupas do, okay? All right. And now, who's up?

Let's try to finish these twelve. Yay! We got three to go.

We got three to go. Catherine, are you busy? Oh, Catherine Nguyen.

She's very shy to criticize.

[Speaker 3]
She's translating now.

[Speaker 1]
Oh, she is. Oh, that's why she's shy. Okay.

That's okay. I can find, there's many other people who want to criticize me. Yeah.

I'll criticize you anytime.

[Speaker 2]
I wonder if Linda's there. Is Linda there?

[Speaker 1]
Is she? I don't know. Oh, she's down here.

What about, wait, Linda went last time. Penny Wong. Hey, Penny.

Yay, Penny Wong. Yes. You're such a good headshot.

You should criticize. Okay. Okay.

Thank you so much for inviting me. Thank you. DE PHAR ROL DU CHIN PA'I CHOS SOGS DGE BAR DUN PA'I PHER NA YUM RGYAS DRING DU TSUM THAB BU THEG CHEN GYIS DO DE'I DE'I NUS TU THOG PA'I ZHIG Nice.

You guessed this one already correctly. Oh yeah. SHIN TU RGYAS PA means what?

Very extensive. Yeah, very extensive. This is one of the 12 styles of scripture.

NANG TSE means what? It's a member of the group. Now it's interesting he didn't number it, okay?

Maybe he was tired. By the way, that dictionary is so huge. It would be very difficult to maintain consistency in a dictionary that big, okay?

It's pretty good, but sometimes... They did an amazing job. Amazing, yeah.

PA'I ROL DU CHIN PA'I CHOS SOGS For example, the... The Prajnaparamita in 10? No, it's just Parchin.

Oh, Parchin. Oh, the lower middle way? No, the six perfections.

Oh, 10. Oh, the 10. Yeah, okay.

I suppose it's the six. And it's a funny example. He's not giving his example yet, but he's already giving his example.

Why? He's not giving his example yet, but he's being cute. He's showing off.

I don't know, because it's extensive. He expanded the six. Oh, yeah.

Okay, got it? It's funny. So, these are expanded presentations.

Oh. It's like the 10 perfections.

[Speaker 2]
Yeah.

[Speaker 1]
He's joking, okay? For example, there's the RGYAS, RGYING, and RGYUD versions of the YU. Of the mother books?

Oh, the mother. Oh, it means the perfection of wisdom, right? Yeah, exactly.

Yeah. And this belongs to the THEG CHEN GYI RTOG TE. It belongs to the Sutras of the Mahayana.

Yeah, I'm interested, you know? It'd be interesting to go through the whole KANGYUR and split them up. I bet there's extensive Hinayana scriptures, but anyway.

But the huge ones are Mahayana, we have to admit. Okay, we got two more. We got to finish them.

Let's go. Let's do it. Who's up?

Who's up? Uh, TANG TANG. Uh-oh, are you there?

Yes. You're not doing 16 things or something?

[Speaker 3]
No, I'm not.

[Speaker 1]
Only 15. Only 15. She can do more.

Okay. Okay, you criticize me, okay?

[Speaker 3]
Will do.

[Speaker 1]
Okay. Um, okay. Oh, cap.

Yeah, good. Yeah, you're right. Sorry.

Okay, so MED DU CHUNG BA means what? The amazingness. Super amazing style.

Super amazing style, okay? This is one of the 12. He didn't say which one.

Uh, and it is describing the NGOT SAR and MED DU CHUNG BA and SANG GYI MI KHYAB PA. It's describing the amazingness and the amazingness. Amazing, miraculous, unbelievable, inconceivable, SHING GI YON TEN GOS PA.

The qualities of the Buddha paradises. Yay, and the YON TENS of the Sanghis. And the great qualities of the Buddhas.

And let's throw in the NYON TENS and the CHUNG SEMS. And the listeners and the bodhisattvas too. What sutra might be thrown into this group? The Medicine Buddha Sutra.

Yay, okay. Lots of amazing stuff, amazing descriptions, okay? All right, finish this one and we're done.

Okay. Who's checking? Uh, uh, TANG TANG again.

Ooh. Happy to. She did good.

Good, okay. By the way, she's your sister, you know that? She, little sister.

She took a lot of money from me. She took a lot of money. Good job, TANG TANG.

Thank you. You guys are the hole in my left pocket and the hole in my right pocket. Perfect.

Okay. Okay. Yeah, if you translate, we can finish your class.

You translate. Okay. The presentation section.

Good. Of those 12, it's the 12th. Teachings.

RANG CHI'I TSE NI And those teachings are, give extensive definitions of You gotta read it as RANG DANG CHI'I TSE NI. Oh, it gives self and general definitions? It gives the, like we just had the general description of the heaps and then we had the definition of each of the five heaps, right?

Right, it gives general presentations and then it gives more particular presentations. Yeah, and that was called TAK YA and ZAY YA, right? Right, substantials and more.

And nominal, good. Just the name. They're kind of talking about the distinction between nominal and substantial, okay?

Cool. DGE BAR DANG Like RANG TSE NI and CHI'I TSE NI. Exactly.

Oh, cool. Now I get it, okay. PER NA, for example, Stanley's books.

Yeah. Abhidharma, Abhidharma Pitaka, Abhidharma Basket. Yeah, and by the way, the Pitaka is the one by the Buddha, right?

Right.

[Speaker 3]
Books on Buddhism.

[Speaker 1]
Yeah, all the Abhidharma teachings by the Buddha, okay? Yay, we finished this class. I can go to dinner.

Yay. That's my last class for this term, Geshe-la. Wah.

Yay, wah, yay. Exactly, it's a mixed reaction. Thank you.

You're welcome very much. Thank you for being so smart. Thank my mom.

Here she is. Say hi, Mommy. Hey, Mom.

You did a good job, Mom. Yay, thank you. Thank you.

[Speaker 2]
Can we get to see her? Yeah, we want to see her.

[Speaker 1]
Yay, Mom. I'm done up. You want to show your head, Mommy?

Come here. Just your head. Let me show it.

Yay, Mom. Yay. It's got to be genetic.

It's got to be genetic.

[Speaker 2]
Wow.

[Speaker 1]
My mom is extremely smart. She's a math genius here. Oh, my gosh.

Yeah. Okay. That's why you're so good at stealing money from me.

[Speaker 2]
Okay.

[Speaker 1]
Yay. Hey, Tongtong, I'll send you an email when I get home tonight, okay?

[Speaker 3]
Thank you, Geshe-la.

[Speaker 1]
Okay, don't worry. We'll figure it out. Yay.

Nice job, Word. Thank you. Thank you, Geshe-la.

[Speaker 2]
Thank you, Geshe-la. Thank you, Word. Thank you, Geshe-la.

Thank you, Word.

[Speaker 1]
Thanks.