Вступление на срединный путь (текущий курс, Аризона), занятие 4

[Speaker 1]
Oh no, just kidding. Someone says he can barely hear you. Okay, let's do Cool.

I'm just going to jump into it because we've got to move a little faster than we have, or it would take us 60 more sections. Okay. We just finished the title, right?

Didn't we all jump in? Didn't we? Yeah.

Okay, so now... We're going to do... You know what?

This is a commentary on Gonda Debsa. Tsongkapa's text is a commentary on Umanajupa, right? Madhyamaka Amitabha.

Which is entering the middle way. So, you know, Jetsun Kapa says, well, what middle way are we entering exactly? Is it a book?

Is it the philosophy? Is it a state of mind? Is it a school?

And he says it's a book. We're talking about a book. It's not actually entering Madhyamaka per se.

It's entering into this certain text is what entering the middle way means in the title of Chandrakirti's work, okay? Which is what we have... Now, I like as I go to find out a quotation, so that's what the database is really cool for, okay?

So, again, in the old days, it would have taken us five hours to find it, look at your text, and let's see how long this one takes. I thought what I would probably do at this point, if I was on my own, I would pull out some of the common text that he'll be quoting and put them in a separate place where they're easy to get to. Like, we know he's going to be quoting that a lot.

Umanajupa, okay. He's already a fan of this guy there, Umanajupa. He's probably going to be quoting it.

So there, and then there's an auto-commentary. There's Chandrakirti's own commentary on his own work. So, we should probably get that also, okay?

So, but just as I'm curious, where did he pull this quotation out of? What text is he talking about? Let's see.

So, I'll show you how I would look for it. Okay, so I put a piece of the quotation in my search program, okay? Which is in order to enter, okay?

Which is all I've got room for. And then, I'll ask you, would I search in Kangyur, which is the translated ka of the Buddha, the Buddha's own words, or would I look in Tengur, which is common text from India, or would I look in Sindhu, which is common text from Tibet? Tengur, okay?

We're talking about Indian commentaries, right? Okay, so here I go. What's the A mean there?

It's a C jar, right? Right there. It's a C jar.

And then, I've called the database A. Why? I use it like two or three hundred times a day, and I don't want to type database two or three hundred times a day, so I just use A.

I just call that directory A, okay? And then, Tengur, okay? So here we go.

By the way, we can save time. Is it going to be like in any particular section in Tengur? Tengur is divided into pretty much the sections that the ACI courses are.

By the way, I'm learning that sometimes the Tibetans have memorized it, and when they write a book, they sort of change the quotation a little bit sometimes, and then you can't find it. Anyway, let's see. I was hoping for this one, because 6L, did you see it up at the top there?

Isn't that 6L? That's Chandrakirti's other commentary on emptiness. So he wrote Iman al-Juqba, and he wrote 6L, okay?

We'll get to that. How does it look? How does it compare to the quotations?

Do you think it's Iman al-Juqba? Same? Same as what Jensen Coffey just quoted?

Check it out. Is it the same as this? Iman al-Juqba.

Down here. Iman al-Juqba. Okay?

Got it? Now, unfortunately, he said, that's why the book said blah, blah, blah, blah, blah. So what's that mean?

This is somebody else's quoting it. It's not the source, okay? Somebody else is quoting the same quotation.

So we got to keep going. How about this one? Iman al-Juqba.

What's the first line here, you guys? Ali, read the first line. In the search program.

[Speaker 2]
Where my arrow is. See my arrow? See my arrow here?

[Speaker 1]
Yeah, that's what it means.

[Speaker 2]
What is that?

[Speaker 1]
Yeah, and that's the beginning of every book. So that's the very beginning of whatever book this is. And right away we got the same quotation.

Iman al-Juqba here. The first words of this book are in order to enter into the commentary on the Middle Way. That must be the book we're looking for.

So what's the title of this book? We have to tell our readers, right? We're going to have a footnote.

We can tell them... I'm going to put a dollar sign for footnotes. We'll remember them later.

The opening lines are... Iman al-Juqba shaypa. Since we have a database, you can just say ACIP Digital Texts.

Go get the number. 2D3816. It's on Folio 220A.

See where my arrow is? And now you're going to see who wrote it. Okay?

All right, so what you do now... I'm going to do this fast. You don't have to know it the first time.

The 150th time you should know it, okay? Who wrote... 3862.

Then you go to Reference Books, Catalogs. Actually, all the ACIP books are in an easy catalog called Cat. Not so easy.

Let's try harder. Written by... You guys got a guess?

Who wrote it? Let's see. It's coming up.

Tal al-Juqba. Chandrakirti. It's another explanation of Chandrakirti.

Okay? Just that footnote would have taken about an hour and a half in the office. Okay?

Really. By the way, isn't that not the same thing as the... Yeah.

Okay. Yeah, okay. So that's another commentary on Tal al-Juqba itself.

Okay? By Chandrakirti. All right?

Okay. Yeah. Um...

Oh. I'm doing paragraph by paragraph.

[Speaker 2]
Roughly.

[Speaker 1]
Oh. That... Double share is a major...

major section stop. Sometimes it's poetry staying, so you have to know the difference. Okay?

But the next thing isn't poetry inside me.

[Speaker 2]
Unfortunately, the people online are having trouble following this. They can't see. Can you explain that?

[Speaker 1]
They don't have, uh... I don't have visual yet. We just, uh...

Okay, we just translated a part which said... I'll do it in English. Just which way...

Just which middle way are we entering into when we talk about entering the Middle Way? And then Jetsun Kappa says, here, middle way is actually the classical commentary on the Middle Way. For us, the text says, in order to enter into the classical commentary on the Middle Way.

Okay? And then who said that? We went and looked it up in our database, and it was Chaniget himself who said that.

So if he thinks middle way refers to a book on the Middle Way, when he says, I'm going to name my book entering the Middle Way, he must know, because he wrote the book. Okay? So, when they say entering the Middle Way, it's not entering the Middle Way as a philosophy.

It's not entering the Middle Way as a school. It's not entering the Middle Way as a viewpoint. It's specifically entering a certain book.

Okay? That's the point right now. Okay?

We don't want to fall in that, in the, in the, as I doubt, as I could notice. And, moreover, um, see that left-hand reflex, save, save, save thing? Okay?

Let's read, I'll read this, I will explain to you. Okay? Moreover, in the commentary to this, he doesn't say what.

Um, the expression, it says in the Middle Way, it appears over and over, over and over, when they are using the root text on wisdom as a scriptural source to prove a point. As such, it's important to realize that Middle Way, in our context here, refers specifically to the root text on wisdom. You should not think that it refers to other great texts on the Middle Way, or to any other connotation that refers to Middle Way.

Okay? So it's not a philosophy, it's not a school, it's not an idea here. He's referring specifically, when he says, Uma La Jukpa, entering the Middle Way, as the tallest book, he's talking about entering this other book on emptiness.

Now, who came before Chandrakirti? Nagarjuna. And he wrote this famous book called, um, root text on wisdom, Mila Prajna, okay?

The root text on wisdom. This is like the mother book of all emptiness teachings. Okay?

Um, he's writing in 280, okay, and he wrote the mother book on emptiness. It's called the root text on wisdom. Okay?

So, when, when Master Chandrakirti, he lives 450 years later or something, says, I'm going to call my book Entering the Middle Way, he means entering the, what? The root text on wisdom by Nagarjuna. Okay?

Got it? This is a good debate point. Yeah.

What's the, what's the umlaan, umlaan jyutta? Somebody has made a ra-cha, so it's not a book, right? Is it an idea, is it a philosophy, or is it a school?

That's a really cool debate. Give them three wrong choices. You get up there and say, is it a philosophy, is it a school, or, is it a viewpoint?

You know, and they'll say, and then they'll, they'll, they'll say, diamond dealer question, right? They'll, they'll say, is it a philosophy, is it a viewpoint, is it a school, is it a viewpoint, So that's, that's where we're at now. Uh, and then Jetson Coppice is, uh, cool, so don't confuse it with other meanings in another way, okay?

It's not that. Mmm. Uh, that's the formula number of the original, uh, word print, word dot print, and I don't need them anymore.

Yeah, it's always typed in. They always type in the, the, each front page and back page. Uh, page one, page two, page three, okay?

It's useful if you have a problem and you have the scan of the original. Eventually we'd like to have all these typed inversions attached electronically to the original picture of the book. So we're working, like, with the people who are doing all the scanning, uh, to create programs.

Actually, uh, Andy is working on it, right? no, no, no, no, no, no, no, no, you could, you could, uh, you could, like, click and you would go to the actual scan of this text. In case you had a question about the typing, you'd see the picture of the text, which cannot be searched by itself, you see?

So those are important for archival purposes, these are important for research purposes, to have a searchable text. That's what the whole input project is all about.

[Speaker 2]
That's why it's an input project, not a scanning project, Is the root text on the Middle Way, mula prajna, text referred to here by Jain Sankarpa and Chalakirti Nagarjuna's text, Madhyamaka Shastra, and she texts on the Middle Way, also known as Fundamental Wisdom, Prajna Mula and Madhyamaka?

[Speaker 1]
Yeah, same thing, same thing. It's the Manu text that I am going to use to teach this. Okay, Madhyamaka Shastra.

Okay, here we go. Okay, I am still off visual, right? Okay, I will just read the translation of the next paragraph.

Working from the connotation of Madhyamaka, the reverse Sanskrit word here, also explains that the expression, quote, Middle Way, unquote, can refer either to the classical commentary on the Middle Way or to the Middle Way school of philosophy. So when you are saying Middle Way, this is some ancient commentary that said, when I say Middle Way, I am talking either about a book called Middle Way or I am talking about a school of philosophy called Middle Way. As such, says Jain Sankarpa, we should understand that Middle Way here in this context, meaning the title of Master Chalakirti's book, refers to the classical commentary on the Middle Way, even though there is nothing more written than just Middle Way.

Right? Jain Sankarpa had kissed it. He beats things to death, okay?

And then he like pulls you and turns you into dust, you know, and then he goes on to his next point. Why don't you see me right now for wisdom, just to make sure I am doing this. I will show you a cheap way, well, let's go this way.

Should I put dhru-me? How do you say that? This is good for people, this is for dance dressings, okay?

Sometimes people misspell dhru-me as dhru-ma, okay? Some people spell dhru-ma, some people spell dhru-me. Okay, it's a very common women's name nowadays, dhru-me, right?

But the cool thing about the search program is what? I just leave it off. And I hit it again, you see?

So you get to know these things, and then you work a lot faster, okay? So show up dhru-me. A lot of time for twice.

Okay, let's see, this might be easier than dhru-me. Not this one. It's going slow to my intent, I don't know why.

It's like a, oh, what? It's a title of a text. But this should be dhru-ma, dhru-ma, get it?

Gyal-chhe-gyal-pa. I think it's a commentary on dhru-me, so we don't want that one. Here's the same thing.

This is it, okay? Show up dhru-me, okay? So to find out the details of the text, who wrote it, et cetera, when did they write it, what do you do?

Yeah, go look for the account number. Or you can go to the back of the text and wander around in the color form, which is a drag. Sometimes they're, like, 20 pages long, okay?

So someone's already been on this one, 3853. It's hard to interrupt. Could I ask people, it seems like there's a lot of network activity going on in the room.

I don't know why. If anybody's doing any heavy-duty network activity, please stop it, because I can't get to Geshe Michael's computer, so I'm not able to record any of what's going on with the screen right now. It's probably not your fault, but it's just one less thing.

It'd be nice if it wasn't happening. The man from Wolfsburg? This is a footnote.

The ramp on this thing is a classical Indian commentary. What can I say even if I know nothing about this commentary? It's in the Uma section, okay?

See there? Uma. So it's a classical commentary on the literary philosophy written by Baba Viveka, Master Baba Viveka.

Where did he live? About 500 A.D., okay? Circa 500 A.D. Found at A.C.P. T.B. 2, in fact. Okay? Cool? If we had time, we could go far in where he said that, but I don't want to go into that level of detail, because if Jetsun Kappa had wanted, he could have done it and he didn't do it, and we'd have to finish in six years.

So no, you just make certain decisions when you're translating. That could be a principle, okay? Ready?

If your principle acts, I don't know what it is. What do we know? So does keeping number?

I don't know. Thirteen? Alright, it's like decide the level of detail in your work.

And stick to it. Okay? Like, how much new information do you want to add to this text?

We won't finish in six years unless we really go fast. But I'll do a three-year retreat. Then God knows.

So, I mean, so, we kind of make decisions. Are we going to go deeper or leave it for the next generation of translators? Let's leave it.

Okay? So you're deciding the level of depth that you want in your translation. Okay?

Okay, hang on. Whoa. I hope you didn't freeze up, my dear.

[Speaker 2]
It's getting cranky.

[Speaker 1]
Boop. Too bad. We'll see if this unfreezes.

But in the meantime, somebody says, okay, you've clarified what we're going to juke into, what we're going to enter into. Which meaning are we going to enter into? That Manchester book, I got that.

Now, how are we going to juke? You know? What does it mean when you say enter into that book?

Okay? What do you mean by that? Man, do I have to kill this thing?

Yeah, man. I think we've got to kill it.

[Speaker 2]
Does it work to make backup files while you're working on it?

[Speaker 1]
Yeah, it does, but... Well, I've been doing that left-hand thing, so I'm not so worried. Do you know the quick way to kill this thing?

Oh, right, there's a proper way, it does. I come from the old pull-out-the-bad-end days.

[Speaker 2]
Do you need a keyboard?

[Speaker 1]
Sorry?

[Speaker 2]
Do you need a keyboard?

[Speaker 1]
Doesn't look like it. Yeah, it's good to have a Microsoft person carrying it.

[Speaker 2]
Oh, what?

[Speaker 1]
PowerPoint. I'm not doing PowerPoint. It's been drawn already.

Already? It's been drawn already. Kishin, I'm coming for you, buddy.

Oh, hold on. You're not doing it? Shut down?

[Speaker 2]
Wait, wait. We think you're going to get a recovery. Well...

[Speaker 1]
See, you launched the PowerPoint, didn't you? What, this one? Yeah.

I have to get rid of this. No, it's not. No, it is.

[Speaker 2]
Multiple versions of PowerPoint. We're both getting control. What did you do?

I don't know.

[Speaker 1]
I say you just pick up the diary. I say die. Die.

Die. Die. I'm not getting paid for nothing.

Okay. Since it takes half an hour to boot up, what I'd say, yeah, how are you going to enter into this type? And I was going to say, some people say something wrong.

Which is kachinmami. Say kachinmami. Kam is what, you know?

Kam is no. In Sanskrit, what is it? What's dukkha, sukha?

Yeah. It's the same thing, see? It's the real opening.

So that one word is the same, but a bad mouth, right? Dukkha. And sukha.

Okay. So kachinmami, somebody's going to come and give an idea. And then Jetson Copp is going to say, sign my cigar.

Okay? And that's going to be very much a star. Somebody comes, and if you really research this, I mean, this is next generation.

You can find that idea in some other tradition's texts. Like, he's often too polite to mention these attacking. So he'll just say, you know, some people say such and such.

And then he'll, you know, if you look, you can find it somewhere in some other commentary. And he is critical, and there's times to be critical, and there's times not to be critical. You know?

Like he's saying this. I saw him in New York City. It was very funny.

What did he say? He was critical. Oh, somebody asked him, are there any non-Madanika schools left in Tibet?

And he said, you know, there's this one lineage that, I guess you could say it's pretty much that lineage. Oh, but of course, Venerable would know better than me. And there's like a head of one of those, one of the heads of that lineage was sitting there that night.

And he would never say that they're not Madanika, you know? But there's a time to say, you know, your group is just not Madanika. And then there's a time to say, your group is very interesting.

God bless you. I'm sure it helps people. You know?

And there's times when you have to be one or the other. I think in our world, the example of His Holiness is to, there's too much tension and there's too much split. So it's more important than accuracy sometimes to say, that's a very interesting viewpoint.

And I'm sure it's helpful for some people. You know, I mean, when you do it with your own translation class, and it's all your own guys, and you're trying to teach them a certain viewpoint, you're saying, frankly, that's quite wrong. You know?

And there's a time for each. I think we have to follow His Holiness' style. He doesn't pick fights.

He, like, tries to bring people together, and I think that's, that's what you need in the world right now. But when you're all together in a class out in the middle of nowhere, and, you know, you're giving up your lives to come here, I can tell you straight, I can tell you exactly what Joseph Coppola was saying. God, this is slow.

It's very slow. Somebody read me the next part. We'll have a chance.

Pronunciation. Let's do pronunciation. Just go with me.

I'm not going to embarrass anybody. Okay? Proudly.

First column. Down the column. So, one, two, three.

Ka, cha, ta, ba, sa. One more time. Ka, cha, ta, ba, sa.

Second column. Ka, cha, ta, ba, sa. One of these two columns does exist in English, and one of these two columns doesn't exist in English.

Which one? Which one does exist in English? Second.

So you don't have to say ka. Okay? It's just a ka and cop.

It's just a cha and chop. It's just a ta and top. It's just a pa and pop.

And it's just a ta and pizza. Okay? It's a dude in my heart.

So, okay? It's just that. You don't have to make extra effort.

We aspirate everything. Do you aspirate it? What do you sound like?

Give me a cup of tea, will you, Michael? And a pen. Do you sound like somebody from India?

Because they don't aspirate, you see? They're doing first columns all the time. That's how you can make an easy Indian accent if you write one.

Okay? All right. Do you want to take a glass of anything?

No. Do I want you? No.

Okay, I'm just going to... What is it? Should I try it?

Are you ready for third column? Now, I want to tell you a story about Rio de Janeiro. Like, I went to do dining business in Rio de Janeiro.

And there's this lady. She's probably the most famous lady in Brazil at that time. And she's the airport flight announcer.

And she goes, Flight number 773. Leaving for New York City. You know?

And that's a perfect voiced guttural. Okay? So, say, G as in, like, God, right?

Say, God. God. Then listen to this one.

Car. Okay? All right?

Do your eyebrows at the same time. Okay? So, ready?

Here it is. Da. Car.

All right. Okay? The second one is a perfect third column.

It doesn't exist in my language. No. We're going to go around saying, Gosh, are you good to see?

You know? Okay? It's called this because the voice box does this.

Put your hand on your voice box. Then say, Car. Car.

Hear it? Car. Car.

Okay? And it's working to me to learn Tibetan right. And I ain't going to do it again.

I've done it 562 times. I'm tired. Now, learn the pronunciation right.

Otherwise, ten words sound the same in your head. And you'll always be a lousy translator. You have to distinguish between different words.

Gai is not the same as kai. It's not the same as kai. It's not the same as gai.

Okay? Gai means pair. Kai means male.

Kai means male. Gai means a sallow. And gai means a couple.

You see? And you've got to be able to hear the difference. And I'll teach you.

And you'll do it. But the important thing is, you have to artificially force your throat into the right place for the first six months or so. Because it won't come naturally.

So, if it feels weird and uncomfortable, you're doing it right. Keep doing it that way. So, here we go.

Left column, right column, Right column is this. Ka-cha-ta-ba-cha. Yeah, good.

Right column is this. Da-cha-ta-ba-cha. Yeah.

Now, which one is this? Ka-cha-ta-ba-cha. So, it's third column.

But that's the third column. Okay? Very easy.

Like, you've just learned half the letters of the Tibetan alphabet. I'm not going to teach you the shapes. That's your problem.

Okay? Somebody has this nice little thing about which way the stroke goes and everything. Anybody have that?

Yeah, being like... I don't know how to make it too close. Okay?

It tells you how to draw it. Sometimes it's not the way you would normally draw it if you were just trying to pretend to draw it. You have to learn how to draw these things.

Okay? I can't learn it for you. I could sit here and teach it to you for the rest of time.

But now you know how to pronounce half the Tibetan alphabet. So, Ka-cha-ta-ba-cha. Ka-cha-ta-ba-cha.

Ka-cha-ta-ba-cha. Then you tell me. Ka-cha-ta-ba-cha.

Okay. Get this straight on. We're only 15 minutes now.

Can everybody... Do these little stupid note-card things. Fight about what the English is going to be on the other side.

A G, a K? A G-inch, a K-inch? That's your problem.

I'm not learning about it. Just so you know what it is. You can put eyebrows on top of the G.

Like that. It could be a new phonetic symbol. But I don't do that.

Okay?

[Speaker 2]
Can you read with your pronunciation one of the paragraphs from here, so that we can go back and listen? Because it's different when you do the letters in isolation, than when we try to understand it in focus.

[Speaker 1]
Okay. Let me see how much of this I need when we come in. Oh, that's okay.

Let's go to this one. What happens? Oh, okay.

Let's see how close I get to the other one. You may ask. Yeah, read it.

You may ask. Oh, okay, that's better.

[Speaker 2]
Just how is it that this text enters into the root text?

[Speaker 1]
Text enters. Oh, did I repeat text twice? Okay.

Now I get to go. Did anybody get their alphabet right? I mean, you know how to draw the first ten letters?

Yeah. Do the flashcard thing. It's very helpful.

Okay. Are we still live on the video? Yeah.

[Speaker 2]
You're not on the network.

[Speaker 1]
Oh, okay.

[Speaker 2]
We're typing in what you're typing.

[Speaker 1]
Oh, that's good. How do you get all this dumb thing to do and indent five spaces? Like, I know it on that side, but how do you get it to do it on this side?

You click the thing on the left. You do what?

[Speaker 2]
You have to click on this thing.

[Speaker 1]
Click on that?

[Speaker 2]
It's in the corner. See in the upper left corner.

[Speaker 1]
Up here? Is that it?

[Speaker 2]
Yeah, go down through there, that thing.

[Speaker 1]
That thing?

[Speaker 2]
Yeah. Isn't that it? Yeah.

[Speaker 1]
Is it for, I want to make a right tab.

[Speaker 2]
Yeah. Click on it a few times. Click one more time.

Okay, that's a right tab. Now drag it and place it.

[Speaker 1]
I have to do this over here?

[Speaker 2]
No, no, no, drag it over. That black tab that you just clicked on.

[Speaker 1]
Oh, drag it over here?

[Speaker 2]
There you go. It's wherever you want it.

[Speaker 1]
God, this is primitive.

[Speaker 2]
I think you left it over there.

[Speaker 1]
Oh, God.

[Speaker 2]
You're making such a smile, you can do the clock twirl. No, this is the way it's done. Here's a format you can do.

[Speaker 1]
I've been doing it. Teach me later.

[Speaker 2]
Can I try this one?

[Speaker 1]
Yeah, sure. Do you want to take the computer? Maybe for a second.

Okay. Drag it one more time.

[Speaker 2]
You just have to place it in the ruler.

[Speaker 1]
Okay, okay. No, I have to learn. The world changes word processors when they're in geometry.

Yeah. Word perfect. Somebody read me the proper translation of what the argument is.

How do you want to try?

[Speaker 2]
I can't remember.

[Speaker 1]
Which was in that commentary, classical commentary. What's kunzai mean, do you know? Yeah, kunzai means deceptive reality.

Where is deceptive reality? Anything in this room. Anything is deceptive reality.

Why is it called deceptive? Is that the way it looks? Okay, so it fools you.

It fools your mind. Deceptive reality. And then dum dum reality means ultimate reality.

That's emptiness. Is there any emptiness in this room? Yeah.

How many emptinesses? As many as there are things in this room. Like how many hairs I have in my eyeball, there's that many emptinesses in my eyeball.

Okay, like that. So, gepa ma shepa, is that what it says next?

[Speaker 2]
Gepa ma jepa.

[Speaker 1]
Gepa ma jepa. It says, is not extensively treated in that commentary. The question of realities, the two realities, deceptive reality and ultimate reality, is not extensively treated in that commentary.

In this commentary. Don't forget that real wisdom is also a denture. Okay?

Okay, I'm just talking about Nagarjuna. Okay? So, this is Kachina.

Therefore we have to enter into the middle way. In the sense of asking questions about deceptive and ultimate reality. That's the way in which you enter into Nagarjuna's text.

How? You ask questions about ultimate and deceptive reality that Nagarjuna didn't treat extensively. That's why we have to enter into his text.

That's what Umila Jigme means.

[Speaker 2]
Because it's unbiased.

[Speaker 1]
Of course, because it's already a dumb idea. You don't have to be a philosopher to know it sounds dumb already. Nagarjuna left something out.

And Nagarjuna forgot to say something. You know, the second Buddha. I mean, there are lots of things there, okay?

All right. Keep going.

[Speaker 2]
Go on.

[Speaker 1]
Yeah, whereas here, dear, right? As opposed to dare. Dare.

In that text. Here in this text, Master Chandrakirti's Umila Jigme, we're going to enter into that question extensively. Okay?

We're going to treat that question extensively. Sure, sir. Sir is that, in the old books, means they say.

But you've got to have that tone in your voice. They say, okay? All the way back to the third century this was used.

They say, okay? And what does it imply? I don't believe it.

That's why I used a good, what? Claim. Claim.

All right? That's why I said claim. So when you say sir, as opposed to sir, doesn't mean I'm going to be transverse.

It indicates a wrong position. He's quoting it. He's reporting a wrong position.

And he doesn't want to be, what do you call it? He doesn't want to be identified with it. He's like distancing himself.

Okay? On this question, I'm going to define a claim. He's obviously not me, okay?

Okay, got it? In that other classical commentary, meaning what? I am a gardener's original emptiness text, 200 A.D. The subject of the nature of deceptive reality and ultimate reality is not spoken about in depth. Here in this commentary, I mean, who's commentary? Yeah, Master Chanakirti's Inarjupa. Those two realities, the two realities are treated extensively.

That's what it means when you say that this commentary enters into the other one. Okay? Okay.

But the fact is that the root text I used in by I am a gardener is infinitely more detailed than entering the middle way by Master Chanakirti in terms of the variety of logical arguments that it uses to set forth the idea of suchness. As such, I don't see that this last explanation is a very good one. That's being polite.

He didn't say, oh, that's just dumb. Well, it doesn't seem so cool to me. All right?

Okay. Have we got beer? Maybe?

I'm going to start throwing in some reference. Like, they don't say Master Chanakirti's here, but we need to in English. Okay?

So, maybe this is a principle that I'm going to bunker in. When you have to add, add. To reference.

E-N-T-S. E-N-T-S. Look, in Tibetan, you can keep saying, be, be, be, be, be, be, be, be, be, that, that, that, that.

In English, you've got to start repeating what you're talking about or the reader gets lost. Okay, that book. What book?

We've got six books running here now. You know? I hate those braces.

No, I mean, they're just an obstacle to the reader. If it's necessary to, to achieve, you've got to quote this. If it's necessary to achieve the same quality it has in Tibetan, in English, you must add words, or else you have mistranslated.

You see? If your translation, without adding extra words, is less clear than the original, you have corrupted it. Now, most people would say, I guess you're lucky you added some words there that weren't in the original.

You've corrupted it. You see? I, I have the opposite approach.

I am very adamant on this. And if you don't follow the right school of translation, this is a big one. Add whatever words are absolutely necessary, and no more, to maintain the quality that the original has to the reader.

Okay, and then start putting in braces and stuff like that. Because then you just, you just make it, people can't read it. It's like putting stops in a song.

If you did a remake of some 60s song, and then you, you put three seconds of empty space in the middle so people are sure it's not a remake, you know? I mean, it's not the point. It should read smoothly.

It should be as clear and real as the Tibetan is to the Tibetans. And if you don't add words, and then it becomes obscure to an English reader, okay? You corrupted the text, not me.

Okay? Get out! Okay?

Uh, anyway. All of this is that Master Chiramekirti's work enters into, uh, the root text in two different ways. Um, okay?

By the way, how far are we into Master Chiramekirti's text so far? We're still in the title. We're in the, we're in the, we're in the fourth reading of the title.

We've been six hours, seven hours now, okay? Uh, anyway, I'll do that. Anyway, in the middle there.

So the opposition is that Master Chiramekirti enters into Master Nagarjuna's work in two different ways. One which relates to the profound side of the teachings, and the other one which relates to the far-reaching side of the teachings. What are those codewords for?

Now, oh yeah, emptiness wisdom, understanding emptiness, is called profound side of the teachings. And then all the, all the explanations about bodhicitta and bodhisattva behavior are called far-reaching. Why far-reaching?

Why far-reaching? The reach of all living beings. The day you see bodhicitta directly, you see every living being face to face.

That's far. Okay, I know. So it's called samudbhagyacaritra.

So samudbhagyacaritra. The two sides. Samud means profound.

Gacchara means far-reaching. Okay. Okay.

[Speaker 2]
Questioner. Would we need to add a footnote there, or would we need to translate in a way that a potentially non-Buddhist reader...

[Speaker 1]
Yeah, that's a good point. I'll give you the choices on that. I'll give you the choices on that.

You see, the first book I ever translated with Kim Rinpoche was Master Vassa's, it was the first dilemma commentary on Abhidharmakosha. It is completely obscure. And it starts out with like 30 pages of arguments that depend on knowing the rest of the book.

You know? So it was really frustrating to translate it. And then when I finally ended up doing this, I had to put a footnote that said, go and look on page 483.

Well, this is going to be explained in like three years. If you really want to learn all this argument, you see? Because you don't know even the words until you reach the end of the book.

You see? So that's one approach. You can refer it to another part of the book where that's explained.

Okay? Approach number two. Don't explain it and lose a couple of readers on this.

You know, here, right here. They'll say, the next night they'll just turn on TV. Option number three.

Let's see if it comes out in the next few paragraphs. If it comes out on a page, I don't mind not explaining it to somebody. Okay?

So let's see. All right? But it's a good point.

Oh, and what I like to do on technical terms is, if that technical term is defined later on in the same book, then let's refer them to the same book. You know, go see the end of this book. Otherwise, I really like to find an original quotation from Scripture that explains those two things in one sentence.

I think that's real great. Like, if you look at, um, I'll just carry this book around because I'm working on one minute. It's the Principle Teachings of Buddhism.

I don't believe there's any footnote in there that doesn't come from the original Scripture. You see? So I didn't even, I don't know.

But I didn't explain anything myself. I just quoted some other book. Because that's the cool thing about a database.

You can say, this is found in Abhidharmakosha, eighth chapter, page three. You know, and then you're not entirely clear on any pollution. They call it he, so he.

He means, uh, polluting a text with your own ideas. There's a word for it in Tibetan. Polluting a tradition, a lineage, a worldview, with your latest idea.

You know, L-H-A-D, he. It's a very nasty word. It means that, in India, when they cut penicillin with rat poison or something like that, to make more money, that's he.

You see? They're not thinking about killing somebody. They're just making more money.

So, and it looks the right pattern, it looks the same, you see? And, uh, that's like, when a Tibetan says you're just he, it's a real drastic accusation, you know? You should be pulling anything from the lineage, from the tradition.

Okay. Um... We're starting to get into some copying sentences.

Well, he's nice. So, 20 years ago, he would go around with his syllogism and ask for two pages. And we're going to have a real challenge to fit it on a screen.

We'll see. Um... Yeah.

Now, that's a little bit too much, right? Let's see. I'll tell you.

If you're uninterested, we'll cut it here. All right. Now, these are two quotations on the way it's set up in the Tibetan, right here, where you see the cursor.

Uh, there's no and. It's just a string. How can I check?

To see if I should add and here, or maybe I got something wrong, or... You see? Here's a shape that doesn't even know.

Here's an end quote. Here's an end quote. Is it a quote and an end quote, or is it two separate quotations?

How would I check? Just go look in the database, okay? Uh, get a piece of it in your head.

Okay. Okay, that's enough. We have a lot left for it.

Yeah. Really, that is amazing, right? The November thing?

November happened twelve centuries before birds and goats in Tibet, okay? Like, that's a long time. Okay.

Uh, and, and the birds don't really know November. You see? It's very interesting.

But anyway. Uh, so hang on. Uh.

We look in the Tengger. Tengger's an awful big place. Can we shut, can we narrow it down a bit?

Madinika. Okay. Each time you see a name change up there, it's like five hundred pages of a text that's being saved.

Uh. Um. Um.

Um. Um. Um.

Um. Um. Oh, it's supposed to be an auto-commentary, right?

Oh, we were supposed to be looking for two quotations. Sorry. Let's see another one.

Kipenengi Nekochau. Okay. Um.

Let's see. Uh. Can you read that off at the top?

You see where my arrow is? Uh. Is this good enough to translate that?

Uh. People. Here.

Wise people. Wise sages. Kipen.

Should come to see the truth that, quote, this is a, this is a unique system. Okay. So, do I put an and here?

No. Okay. Cool.

So you can just go and use it and find it. If you have Tibetans work for 20 years and type all this stuff in for you. Okay.

This is. So this must come to see the truth of, of the statement. Uh.

This is a unique system. You see, do you see the difference? It's a quote, it turns out to have been a quote within a quote.

Got it? Okay. Instead of two quotations, it's stringed, it's stringed together.

Now, if we're going to be nice, we should probably tell them where it came from, right? Uh. 316.

What folio? What's that folio there? Yeah, so the quotation is on.

Yeah. Okay. Folio 347A.

Oh, big principle. Did we say this one already? Don't make me say, don't say I'm going to go back there and do that footnote.

You never will. You never will. Okay.

Doing that will take you another 15 years. The book won't be there for the people who need to use it. Somebody will die in the meantime.

You're responsible for them. Okay. Not to lay any chips on you.

Yeah. So it's boring to do that, but it's a hell of a lot more boring to go back and do 400 footnotes in a row. Okay.

So anyway. 316. 316.

And Johnson Coffey is going to be piling you up with quotations. Why? That's his style.

He wants you to know this is authority. I'm not giving you my own idea. People have accused him, the greatest book he ever wrote was what?

London Timber. It's just a, it's all plagiarized. It's 100% plagiary.

It's quotations from other books streamed together from a thousand pages. But in Tibet that's considered not brilliant. Because he's not giving you his own idea.

He's quoting enlightened beings. Why should I give you my idea like I'm quoting an enlightened being? So in Tibet it's considered high composition to just quote other people.

Okay. Because they know what they're talking. It's Buddha talking.

So why should I give you what I think? We have this hubris it's called. We have this pride, right?

Oh, I know better than Aristotle and Socrates. You know, people speak condescendingly to Aristotle and Socrates. And Socrates wasn't aware of that.

You know, as we are nowadays. But, you know, it's like that. Okay, anyway.

Who wrote that? Yeah. We hope it was Chanakirti, right?

Let's see. No, no, no. Okay.

I like to put the notes in the back. People who like to look at the notes, but 95% of people never look at the notes. So let the things flow.

Let them feel if Jetsun Kappa is speaking. Don't interrupt Jetsun Kappa while he's talking. That's my feeling.

Let them feel the flow. If there's some scholar who wants to make sure you looked it up, they can look in the back. I did look it up, okay?

You know what I mean? If they care. If somebody cares, okay?

Okay. I decided to put this down here. Oh, right, sorry.

I should have. Yeah. Yeah.

Yeah. Yeah, we could still do it that way. That's fine.

We'll put that up there. Whoops, sorry. We don't know if this quotation comes at the end of the other guy's book, or at the beginning.

You know, I want to clear things up. So I have written this book, or I'm going to write this book. So what do we do?

We're going to get up. This is so cool. Nobody uses this thing.

It took us 20 years to design it. It took us 20 years to type it in. Nobody knows how to use it.

They still sit there. People fly to New York from Paris and ask Jake Smith which book should I look through. And he throws them a CD, ACIP CD.

He says, go home. Just search for it. It takes 30 seconds, you know?

It's really funny. It's like, people just don't know how to use it. I want you to know how to use it, okay?

I want you to get to know how to use it. Okay. So.

This is going to be tough. By the way, when I look up a quotation, I can't type in the whole thing. So, how do I choose what part to type in?

Sorry? No, okay, that's another principle. When doing a search, look for the most unique piece of your quotation.

Why? Why would I just search for N? No, R makes 500,000 hits, okay?

Like, you've got to search for something that's really odd in the quotation. This quotation is weird because there's nothing odd about any part of it. How about that?

Go back to Sundar or Tendulkar? Tendulkar. Who said that?

Okay. Just any Tendulkar? By the way, the first thing you do is type in all the Indra Tendulkar, okay?

Before, like, there's huge sections on... I mean, Tantra is half the Tendulkar, you know? But you know you wouldn't be publishing anything in Tantra, so we'll just left that for later.

Okay. Oops. Then you've got to fool around, okay?

Jupiter. How about Jupiter? Should I put J or J?

This I found. Diamond Deer question. No, no, don't type this.

You see, I just leave the vowel out, okay? All right, here we go. This is interesting, okay?

It's not in there, okay? It's not in the Tantra. Any other choices?

Yeah, maybe he's quoting... a Tibetan commentary. Let's check.

Ah. What is it? Let's just say it right there.

We're in our text. Okay, so let's keep going. By the way, we'll skip by hitting F.

You see down here it says Nepha. Then we'll hit our N. Sorry?

Oh, he could have said emptiness, but he said suchness. Dekonamu. He could have said dendamu, but he didn't say dendamu, so you don't say emptiness, you say suchness.

It's like if I want to search for the word no, and I just... but maybe... or it could have been nu, so I just put KN.

And it just stops at that, you see? It's a very beautiful search pattern. No, it's better than that.

Yeah, yeah. You could do a fuzzy search or a wild card search, you know, and it's more good. Tibetan is just...

fits this search pattern. So... I don't know what to do.

I didn't think about this. Okay, I think what the answer is is that he's paraphrasing. Who is paraphrasing?

Who? See, we just left off, Master Chanakirti said, sages must come to see the truth of the statement, this is a unique system. Okay?

I think now Je Tsongkhapa is putting words in his mouth fully. Okay? This is how you do this.

Okay? Am I composing? Oh, by the way, what's this one thing that they haven't realized?

But why would he say, because they haven't realized emptiness, they have rejected this? I just want to say that, yeah. But the Tibetan is ambiguous, the Tibetan is vague.

So I should remain vague and ambiguous until further notice. If he's trying to make a pun, I should let him make his pun. I shouldn't decide for him what his pun means.

Okay? Like, I think he believes the three beings of the wooden horse thing, because when I thought about it, it could mean like five different guys. Let's leave, let Je Tsongkhapa be mysterious.

We know that in later times, he was recognized as the three. You know? And I don't think it's the ones that were mentioned in, from Ganden.

Okay? Because he's going to make a big point about how one of those three that was mentioned is wrong. You see, like he's sometimes recognized as a being of the wooden horse, which is better than Dekha.

He introduced the lower Madhyamaka school. But in this, he's about to say, in this work right now, he's about to say, the reason to write, for Chandrakirti to write his work, is to reject the lower school in the middle way. You see?

So anyone like Jessica is going to praise that guy one paragraph before he says the purpose of writing this book is to reject his viewpoints. You see what I mean? So I thought just to leave it at that.

Okay. Thank you.

[Speaker 2]
Oh. Thank you.

[Speaker 1]
Mr. Law? Mm-hmm. I can see you wanted to point out that it looks like you said Chandrakirti's auto-commentary, quote, commentary to entering the middle way, unquote, by Chandrakirti, at the bottom.

Oh, did I? I don't see that, but... Oh, no, it didn't appear.

No, I don't think so. No, I don't think so.

[Speaker 2]
Okay, sorry.

[Speaker 1]
Uh, well, let's see. It's possible, because once you get into this stuff, uh... Okay, cool.

Let's read this to him. The point, then, is that he himself, who, will now subtract the meaning of the memory. Master Chandrakirti, okay, he will demonstrate how this meaning is unique in the sense that it is not shared with other schools of the middle way.

What other schools of the middle way? Yeah, the lower half of the middle way, which has two sub-schools, so that's why he used the term. so, his point, which is going to mean that I want you to get it in your head.

I had to write, who's speaking? Master Chandrakirti. I had to write my book.

Why? Because Nagarjuna didn't talk about Deceptive Reality and... Ultimate Reality?

Uh, that's a dilemma. I had to write my book. Why?

But, two, two reasons, um, which relate to which side of things I've given a chance. Infinite side of things or both sides of things? These are both on the infinite side of things.

Okay? There were two reasons why I had to write my book. Just on the infinite side of stuff.

We're not talking about the second part yet. On the infinite side of stuff, I had to write my book. Why?

First of all, the second Madhyamika school spelled out, the lower one. I've got to show you that that's wrong. Okay?

I've got to show you it's unique. Unique means our Pasangika, our higher Madhyamika position, is unique. Correct.

Right. And the other guys are wrong. So I had to show you that.

But secondly, I had to show you that if you try to interpret Arya Nagarjuna as a Madhyamika guy, you're wrong. Okay? Okay?

So now we've got a unique purpose for him to write his book. What book? Who?

Him. Master Chandrakirti had to write his entry in the Middle Way because two problems have come up. There's got to be a lower Madhyamika school.

What is the problem? We debated last night in Tushar. Who was there?

Oh, you were there. Yeah. Yeah.

And there's a problem with the lower Middle Way. What? It's this 50-50 thing.

Do you remember? Half of the hour is coming from you. Half of the hour is coming from me.

You see? No, no, no. I'm not going to show somebody in the room that you're doing what you're doing because you're a stupid.

That's what they believe. That's emptiness to them. She appears to me from this side.

And from my side, I'm not crazy, stoned or drunk. And then I see her. Okay?

Chintzong. Okay? That's lower Madhyamika way.

The higher Madhyamika is what? It's all coming from me. So in order to, he's going to attack that first idea, which is very interesting.

Why didn't you bring it up last night? Why didn't you bring up all the schools? Because we need them.

For what? Preparation. Yeah, yeah.

You must grasp these distinctions to practice Tantra. Or you're not allowed to practice Tantra. Okay?

You've got to know the difference between those six worldviews. Or you're not allowed to practice Tantra. Who said that?

Lama Buddha. Oh, where's the Buddha? Yeah.

Yeah. And why do we have that quotation? Mahatma Gandhi.

Mahatma Gandhi. He said, he kept quoting Lama Buddha. He said, you can't teach people Tantra until they've grasped the difference between the six worldviews.

Here's what Master Chandrakirti said. I wrote my book because I didn't want people to go along with it. No one wanted to make a viewpoint.

They had to understand that Lama Buddha's idea of emptiness is unique. Okay? It's not that narrow one.

And, I wrote it because people were mixing it up. They were saying the Dalai Lama was a... They don't know why.

That's really bad. There's too many Dalai Lamas in there. And Lama Buddha says don't worry about it.

I don't know why.

[Speaker 2]
Yeah.

[Speaker 1]
Right. There's no... Everybody's view is different and...

[Speaker 2]
The object in the cedar. Cedar.

[Speaker 1]
What is it with that? What is it with that? Yeah.

So somebody's trying to sell these two worldviews as being unidirectional. So Master Chandrakirti is going to come along and make a defense. In my view, that is really a defense of Master Nagarjuna's unidirectional positions.

And that's why we are in love with Chandrakirti. Because he said, Everybody's got it wrong. We've got to get back to our unidirectional system.

You see what I mean? So he was attacking Lama Muni Ray. And he was attacking Lama Muni.

And we're going to get all that. In order to... That we can practice Tantra.

You see? Yeah. Oh, Anthony again.

Okay. I like it. I love your writing, Anthony.

I love you guys. We have a canvas tonight. Who's going to write?

He's a poet. Poet. Okay.

[Speaker 2]
This is referring specifically to Bhutakali's commentary on Middle Way and Bhagavad-Gita from Wisdom.

[Speaker 1]
You tell me, Anthony.

[Speaker 2]
Apparently previously un-Nagarjuna-like commentaries of Nagarjuna's root text on Middle Way. Yeah. Yeah.

[Speaker 1]
Master Chandrakirti...

[Speaker 2]
If you read the whole story, which you'll get later.

[Speaker 1]
Real time? Yeah, I still have five minutes in the morning. Master Chandrakirti is writing in reaction to an attack on somebody named Durapalita by a guy named Devaviveka.

Okay. So Devaviveka started the war in Middle Way school. Durapalita's writing.

You don't have to type it. Durapalita commented correctly on Nagarjuna. Okay.

And Arjuna. Arjuna. So, you don't have to read.

That's why he died in the beginning of Durapalita also. So anyway, a lot of the reason why Master Chandrakirti wrote this book was to... because people were picking on Durapalita who died already, like centuries before.

And he was like, you can't do that. He's perfectly right. So he attacks the lower Madhyamika guys.

Okay. And the way Madhyamika... By the way, there's no chant, you know.

He wrote like 3,000 pages of explanations and stuff. Like, he's extraordinary. He's unbelievable.

And, you know, we would have never figured out that he got it wrong, but Jetsun Kapu was, you know... So anyway. I think we should start there probably, because it gets on a little bit complicated.

Down here is where we start... I'm going to block the air. This is where we start the Bodhisattva sermons.

The reason for entering the Middle Way. Okay. Let's just put up for good luck, so I don't think we can have something to do.

I still got three minutes, McNally. This is Ima Chidin, if it ever comes out. Yeah.

Okay. And I just want to play with you. I want to show you one fun thing.

I'm going to start... This is the commentary on Tarkas's work by the great textbook writer of the greatest monastery in the world. Salome Kedipthamadangi.

And it really is an extraordinary work. Like, if I die trying to say this, I'm happy. This is a full Sanskrit title.

He's thrown in a Sanskrit title. He may not even know Sanskrit. I don't know.

But they made up these fake Sanskrit titles to their Tibetan commentaries to, like, call down the blessings of the great Indian masters. You see? And the blessing of the Sanskrit language.

So, I want to show you something cool. John Bedi's crew has just input this massive Sanskrit-Tibetan dictionary. Okay, like massive.

It's never been available before. And let's just take Mahasastra, okay? Mahasastra.

So, we go up to... We go up to John Bedi, okay? Uh-oh, did he freeze on me again?

Okay. Mahasastra. Okay.

And we look it up in Sanskrit. And... I'm turning into the...

What is Mahasastra? Do you know? A big shastra.

A big shastra. A shastra is a classical country. Tantra.

Okay. No hits. Okay.

It's usually not in the spell. So, you spell it in a few... Did I misspell it?

No. You gotta learn the system. Is it maha or maha?

Maha? Yeah. Let's look for it.

Okay. Anyway, let's look at tantra. And we'll see...

Remember I said to you that shastra and shastra are two different things? One is a syllable. One is a commentary.

And I wasn't sure which was which. Is it? Let's just look it up.

Shastra. And shastra. Okay.

So, let's look at both. Just so you can see how you can work with the Sanskrit. Here's dharma shastra means what?

Here's the Tibetan. Don't you? Okay.

So, with a long a, shastra, it means a commentary. Okay. Here's another one, shastra.

Here's another one, shastra. Shastra, shastra. They're all tantra.

Okay. Now, let's take out the shastra... Let's just concentrate on shastra and see if we hear anything.

There's shastra as... As chat, which means own. Okay.

Like, we have jatki in this poetry already. Kids, pierce me with your jatki. Okay.

Here, shastra means a weapon, sanja. What's sanja kona? We have knives.

Yeah. Okay. In order to get an idea of what the word shastra...

Here, kocha. This is what we practice in Vajrayogini. Yeah, when we do the...

Shim, shim, pet, pet, hu, hu. Okay. That's karma.

So, those are all the names of shastra. And that's another thing, like, why you should pronounce Sanskrit right. You know?

If you say I'm studying the shastra, it could mean somebody stabbed me in the heart. If you say I'm studying the shastra, it means I'm reading a book. Okay?

Get it? Is there a question? You look like...

Oh, I know you're so riled up. It's like I know you have a question. Okay.

We'll stop there. But next time, Anthony, that's me, you go through the full Sanskrit title and work it out. Using this new thing that John's...

It's like 5,000 pages. They just finished... These ladies are, like, unstoppable.

There's 17 ladies on the waiting list at this refugee camp because we don't have enough money to pay anybody. And, um... And these guys, these ladies...

We have 12 monasteries working. We shut them all down. And again, all they work are two ladies centers in refugee camps because they type twice as fast and twice as accurate.

And they do, like, 5,000 pages a week. Like, it's frightening. And, you know, it's all perfect.

And it's really cool. So, you know, they just chewed this... They just ate this swell of this dictionary in, like, a week.

You know? No, it took them, like, 30 minutes to write it. And, uh...

So now we have it, and it's, like, unbelievable. Like, when we do Sanskrit work, we can just look it up, like, nothing. You know?

No one's ever had that until years. So it's a really important project. Okay?

You should help if you can. We'll do a prayer, ready? Listen.

Śrīman Kṛṣṇa śrī-mṛtyu-jñāna Nṛdhānaṁ śrī-mṛtyu-jñāni Saṅgha śrī-mṛtyu-jñāni Rūpa-mṛtyu-jñāna śrī-mṛtyu-pāśa Nṛdhānaṁ śrī-mṛtyu-jñāna Rūpa-mṛtyu-jñāna Saṅgha śrī-mṛtyu-pāśa Saṅgha śrī-mṛtyu-jñāna Rūpa-mṛtyu-pāśa Okay, cool. And look at your homework. Do your homework.

If you want credit for this class, and I encourage you to do it because it's hard to get yourself motivated unless you do all the homework and stuff, so those are cool people that are writing the homeworks and I think that's cool because I can't write them before because I don't know how far I'm going to get. So you always get them like a week later or something like that. And you got ammunition to debate, right?

I think all these controversies are ready to debate, right? And so when you go home, I mean, 15 minutes before debate, 10,000 monks in South India pull out their books for the first time and find something controversial to say at the debate time. So don't think you're different.

No, in the car, on the way, a monk would be like flipping through tonight's stuff and saying, what's controversial? What can I start a fight? I haven't got time to memorize this list.

I'll just say something controversial. Oh, there's a story about oh, yeah, yeah, we had a guy sober and he didn't, miraculously didn't understand mainstream materiality so Master Chandrakirti had to kind of clear it up. That's great, I'll use that.

Forget the rest of this stuff, you know. You get out of the car, you go to the big one. And if you play with cars right, you can get by for like two hours on that.

You know, and so, see, I mean, what would be, you know, there's so much stuff in here you can get somebody on, you know what I mean? And then you'll benefit, you know. You'll know the lineage.

You'll know the questions. You'll know all the fine points. Because you're armed with them, okay?

So then it sticks in your head. If you've been embarrassed in front of a hundred people, you'll never forget it. I had this punk kid come up, this 16-year-old kid come up at my pre-geshe exam and ask me some tough question that I couldn't answer.

I never forgot him. And I never forgot the answer, either. You know, I went home and read it over 25 times in case he'd ask me again.

And I remember the kid, and I remember the question. It was, how can we walk on water? Like, what's the way you change the elements in that object to walk on it?

You know, and I didn't remember. And I'll never forget that question. So, the Buddha's great for that.

Then there's this meditation where you change the elements, the forces in the object, like from water element to earth element, or like that. There's a meditation you do. There's a kind of concentration.

And then you can walk on water. It's called sub-concentrated Buddha, isn't it? They say the best way to get your lama to be healthy is to reconcile all disagreements within the students.

You know, because then the lama is happy. And all things are... What do you call it?

What do you call it in Stalinist? The forces whole. The forces whole.

Now, when any two students are just slightly in disagreement in a group, the vibration is upset in the group. And that hurts the lama. That's the most famous cause of lamas not being well.

Also, I want to say, I had Angus teaching on Monday night in New York City. He's much better than I am. He taught me Sanskrit.

He's extraordinary. People in New York should go to his class. And then, we're on time today.

You see? So then you can catch this class, right? You can just log on like the next morning or make that line or...

You know, you're crazy not to go to Art's class. So, you know, people ask me, you're conflicting with Art's class. I said, we can't get another time slot in Diamond Mountain that doesn't upset somebody in class here, but still gets you on a Friday or a Monday, so you don't have to fly here on a weekday.

So, my suggestion in New York, you guys, time delay, catch Art's class. Okay. See you.