Вступление на срединный путь (текущий курс, Аризона), занятие 37

[Speaker 1]
Alright, so there are three kinds of compassion. So, well, I just had to keep them awake, you know. So there are three kinds of compassion.

The first one is right on the screen. Compassion is processed on things. And then the second one...

Well, in this section of the text, the order he gives is the one that focuses on nothing. And then the one that focuses on beings. That's a clause.

Some. Some. Only.

Just on the living. Just on beings. That distinguishes it from the compassion which focuses on beings because they're all the compassions which focus on beings.

That's an easy way to distinguish it. Okay. So now he's going into the weird names, right?

Chö-la-me-pe-ning-je. Say, Chö-la. Chö-la.

[Speaker 2]
Mik-pe. Mik-pe. Ning-je.

Ning-je.

[Speaker 1]
There's two high tones there. What are they? Mik-pe.

Mik-pe. Ning-je. Chö-la.

Chö-la. Mik-pe. Mik-pe.

Ning-je. Not really high, but just strong. So why is it called the compassion which focuses on things?

And we're in the middle of that explanation. So the person who has this kind of compassion in their heart has previously perceived that living beings are passing in and out of existence, moment by moment. The phrase, passing in and out of existence, moment by moment, is a definition in Tibetan of changing.

What's poorly translated is impermanence. Okay. Very good.

Okay. Let's read together. Cool?

Let's read together. One, two, three. DE-LA-TEN-NE SEM-CHEN-TA-CHI RANG-WANG-CHEN YIN-BA-LO-GO-RO-KE I'll draw your attention to something here.

DE-LA-TEN-NE DEN-BLO DE-LA-TEN-NE DEN-BLO DE-LA-TEN-NE Okay? He's setting up a sequence. He's saying, they perceive this, and because of that they can perceive this, and because of that they can perceive this.

You see, he's setting up this sequence of events, progression. So, you're going to have three or four actually states of mind that trigger each other. One triggers the next.

So, what's the first one? He perceives that... So, he goes to the stop and shop, which is still for sale.

I'm just kidding. I mean, with the Third One of Flames, I don't know. But...

No. Who'd want the gas station if you could just have the Third One of Flames? But he perceives...

People walk in, and you feel love for them, or you talk to the lady behind the counter, and you feel love for her. But it's kind of vague love. And this one is, oh, she's like 20-something, but one day she's going to be one of those old ladies who's sitting here long and having an ice cream, you know.

At the same moment that you meet her, you see her as an old woman. That kind of love, you see. And then, if you can reach that stage, it will trigger something more.

What's this got to do with what he's trying to prove? He's trying to explain what? What's he trying to explain right now?

Why we call it, what? Compassion that focuses on things. But he ain't got to anything yet, okay?

So far, it doesn't make any sense. So far, he didn't hit anything yet. Okay, chö.

Chö doesn't mean benignity, okay? Chö usually means dharma. It can also mean any existing thing.

Or any kind of quality that has ten different meanings. Dharma. Okay, de la ten, eh?

Ah, you help me out. These last three words are very difficult, very unusual. Say lo more?

Lo more. Kek. Kek.

Lo more?

[Speaker 2]
Lo more. Kek.

[Speaker 1]
Kek. Lo means the mind, right? Lo, lo means the face.

Like the face of a cliff or the face of a mountain. The side that's facing front, you see? That's the face.

And then more means to the face of the mind. Kek means it is stopped. And it's a phrase in Tibetan for saying he stops perceiving things that way.

It is stopped to the face of the mind. But you can't say that, right? You got any normal English for me?

Sorry? No, it's more subtle than that, you see? This idea is stopped from appearing to the face of the mind.

[Speaker 2]
It's almost from the object side.

[Speaker 1]
You mean aware? Well, think about what he's saying. Once you are...

Once you've become aware that the lady behind the counter at the 31 flavors is getting old instant by instant, you know? Then that lo more keks the idea that she is unchanging, singular and somehow in control of her life. Yeah.

[Speaker 2]
Yeah. Yeah.

[Speaker 1]
Lo more keks. Isn't this beautiful? Can no longer appear to the mind.

It's stopped from... I want to throw away the stop. It's prevented.

[Speaker 2]
Do you make an active voice?

[Speaker 1]
No, because the kek is purposely unactive. Gek, or ngot, is to stop something. Kek is the soft passive tense.

So, it's really important to catch that. It's the feeling that it's a natural process. The moment you see that she's getting old by the moment then automatically that thought will be prevented in your mind.

It's not like anyone has to do it. It'll just automatically... The passive tense conveys the automaticness of it.

It's beautiful if you get... Because kek is very rare in Tibet. He want...

He injected it. So, these are translation things. These are subtleties that you get after 20 or 30 years.

You know kek is rare. So, why did he use kek? Oh, he wanted to...

He wanted to give you that sense that it'll just stop on its own almost. If you could just see that she's getting old as she's surging between the sugar scoop and the mint chocolate chip scoop. She's five minutes closer to her death.

You know? And you're always thinking with them.

[Speaker 2]
Long? Yeah. Does this have a different connotation?

Are you trying to present something other than... I don't know. Maybe it's the editor.

It seems like it's prevented from occurring to the mind. Couldn't you just say things are unchanging, singular and independent. Ceases?

Based on this perception? The belief that living things are unchanging, singular and independent. Ceases.

But if you wanted to convey an idea about Tibetan... I don't know. Anecdote or proverb?

Yeah, I'm trying to catch that.

[Speaker 1]
It's an idiomatic. It is idiomatic. If you said Long War Kek to any Tibetan who hadn't done 10 years in a month, they wouldn't have any idea what you're talking about.

[Speaker 2]
But to the American readers, is this going to be more of conveying conceits or just a question of... Yeah, I want to leave it a little weird.

[Speaker 1]
Okay.

[Speaker 2]
Yeah, on purpose.

[Speaker 1]
We had a case yesterday. We were doing the reading for the tantric course and Christy stopped and said, this reads really weird. And I said, yeah, that's on purpose.

And it was some pun. The guy was making some pun in the middle of a normal sentence. And you had to stop the English so someone might pick up the pun.

Anyway. Oh, we got to read this again. One, two, three.

DE LA DEN TE SEN CHEN RANG GI PUNG BO DRE DON SHEN PA DE KE NU Say NU. NU Then say NU. NU NU NU NU Which one is this?

NU Yeah, it's umlaut. NU NU Okay? If you didn't have the S, it would be NU.

NU means breast. And NU means capacity. So you have to be able to hear the difference.

By the way, I have to say, because it's always false, it's an impossibility. So it's good not to use the R or IS. And when you're translating text, for example, and you're talking about self, it's good to put it in quotation marks.

When you're talking about a self that can't exist. When they say... If they say, DAK MEH and you translate it as, the self does not exist, it's important to convey it as, there's no such thing as a, quote, self.

You know? Because that makes it clear that it doesn't exist at all. It's an illusion.

Yeah, that's what he did. He just added the NU. And that's a little weird.

But he must have a reason. Okay. All right.

Okay. He doesn't mean it's possible. He means you'll have the power to.

But... Anyway. Okay.

How does that follow, though? I see that the lady is getting older, moment by moment, behind the counter. And that prevents me from thinking that...

Because what he's saying is your normal perception of the lady is that somehow she's there. Somehow she's... self-contained, is the singular thing.

Somehow she's working on her own. Somehow she's not caught in this web of karma that is going to kill her. Somehow she can decide to walk over to the stop and shop part, right now.

No. She's just experiencing her past karma that's happening to her, right? So the idea that she's changing moment to moment leads to the realization that she's out of control.

And that leads to the realization that she can't be independent of her past. What's... Why?

I could say that, but they say Pumbaa. You could say that. The moments that make her up.

But they use Pumbaa. Her mind and body. You could say her mind and body.

She's not in control of her mind. Yeah, I think that's the point. There's no...

I always see a guy in a cab with a big crane. Right? These huge cranes that they build skyscrapers with.

And there's this little glass box. And there's always some guy there. It's a big guy.

And he's like having fun throwing around these steel girders. You know? And we think of her as being like that.

We think that the control center... Ajna Chakra, right? They call it control center.

Ajna means control. Here's the control center. And she's deciding, you know...

Will she give me a big scoop or a small scoop? You know, I just paid for a scoop. You know, so...

So, like... She has control. There's her body and her mind.

And she says, my mind, my body. Which means she must be different from the mind and body. You see?

She must be Ubermensch. The over-controlling person who runs the mind and body. But once you realize that she's not...

This triggers these ideas. She's changing from moment to moment. So she can't be like solid for a moment.

Why? Because she's in this web of karma. She's not in control.

There is no control. There is no lady at the ice cream shop who's independent from the mind and body which are being projected from her past. There is nobody in control of that.

You see? Okay? Got that?

We got that far. Did we reach a chariot? It still doesn't explain why we call it the compassion ridge.

Focus is on things.

[Speaker 2]
Yeah. Couldn't you just say that there is no woman that exists separate from the parts? Yeah.

Because that woman doesn't exist. So if she only exists on her parts, those things are changing. And if you know that, how could she not be a changing thing?

Because you won't be able to find her separate from those parts. Those parts are a transitory collection. Therefore, she's impermanent.

We're getting there. It's coming. That's the next thing.

Aren't things often a code word for parts of a person?

[Speaker 1]
We're getting there. Is it chödang? What is it?

Chödang gaza nisu chö wei chö. Is it chödang gaza nisu chö wei chö? Is it the dharma in the sense of dharma versus person in the sense of the two kinds of genzen?

Maybe. We don't know yet. Repeat this with me.

One, two, three. Tema tende, Sem jem te, Bungur chö, Tama tende, Tapa yinpa, Ne nüpe. We have a chö.

Based on that... Sorry? Would you put it in sound?

I'm waiting for sound. I'm holding off on sound.

[Speaker 2]
Great question.

[Speaker 1]
Excellent question. Okay. So, based on that, one is able to grasp that this living being is something which is projected onto things, in parts, the heaps.

So you gotta go back to the pot on the stove thing. You have to go back to the pot on the stove thing. And you're at joram chöjyam.

You're at the final moments of the second of the five paths. Within that same day, you will see emptiness directly. And you're looking at a pot on the stove.

And then, due to intense gluing over something, then you suddenly see that there's no pot on the stove. You're just looking at a black stick, a black long thing, and a silvery round thing. You know?

That's all there is out there. That's all that the eye can perceive. It's black.

It's shapes and colors. It's a black cylinder and a round cylinder. That's all it is.

It's not even a pot. You can't call it a pot. It's just black cylinder round.

Sorry. Black cylinder round. Round cylinder.

That's all it is. And then, you suddenly see that you're actually watching something like an image which is placed between those parts and the mind. Right?

You're like watching this sort of a... It's like a hologram. It's just like a hologram.

It feels like a hologram. You're like watching a hologram between you and those parts. Okay?

Which is really taking place in your mind and the pot's in your mind and it's like a millimeter across. That's all. And that's what it means to be projected onto the pot.

The projection is that hologram. It's like a... It's really just a picture in your mind.

And in the Yoga Sutra, which you should get, we talked about the idea of words and thoughts being the same. Projections and words being the same. This is a true word, is that hologram.

That's what word really means. That's what they mean when they say the word... In the beginning was the word, when Jones says that.

It means that... It's not that the... that the lady behind the counter is there and then you call her the lady behind the counter.

It's that... The image in your mind placed... imposed upon those sticks and the ball is...

What's it say? That's what she... That's all she is.

She's no more than that. It's like that. So you're projecting onto those parts, her.

And that explains why one person standing there could like her and the person next to them could not like her. Because she's coming from you. And that's a word.

It's a word. The projection is a word. And then the verbal words, you know, lady or ice cream lady, those are just shorthand for the image.

That's what they mean when they say things exist in words only. It doesn't mean she's just, quote, ice cream lady. You know, two siblings, one gutteral.

You know, it's not that. It's that she's... She's a creation of your mind.

What you're seeing is your own mind. So, why does that follow, why does that understanding follow from the one that we just had? How does that follow from saying she can't be separate from her mind and body?

Why does understanding that she's not separate from her mind and body suddenly enable you to understand that she's projected? That's the question.

[Speaker 2]
Is it because you're seeing her there at all? Like, you are seeing her there. You're not seeing a bunch of parts.

You are seeing something. And it's not... Where's it coming from?

What's it coming from? The image that you're bringing to me.

[Speaker 1]
Think of it in terms of her perception of herself. So, she's seeing herself. Does she see herself...

Does she believe that she's independent from her mind and body? In the sense, does she think she's in control? Yeah.

And then if she suddenly understood that there's no her separate from the things she thought she was in control of, how would that lead her to suddenly understand that she's a projection of herself? Yeah, it's coming... How do you say?

So, where's she coming from? You see? If I'm not in control...

[Speaker 2]
If she's selling ice cream, she's an ice cream seller. That's what she does. It's just like the pot boils water.

We call it a pot because it functions like that thing. Those parts collected, the mind labels pot like it labels woman behind the counter.

[Speaker 1]
No, the question is different. The question is this. She just figured out that she's happening to herself from her past karma.

Why does she suddenly understand she's a projection? Yeah, she just went to the next step. I'm just happening to myself.

I'm not in control of anything. Basically, I'm a witness to what my past karma is projecting. That's all.

Oh, I'm just happening to myself. I'm not in control of things. And then the next moment she thinks, then I must be projecting it.

It must be a projection from my past karma. Okay? You struggle with this in the debate ground.

You take it to the debate ground. And by the way, the people who are going to debate ground are like zooming. And the people who aren't going to debate ground are like stuck.

And, you know, I don't care if you want to be stuck. My anthropology teacher used to say, if you want to soar like an eagle in this class, you can soar like an eagle in this class. If you want to get stuck in this, get stuck in this.

I don't care. I'll never forget that. So, you know, go to debate, really, if you care, if you want to understand.

And then dig into this thing, you know. Now we got like how many steps? We got four.

I saw her as changing moment to moment. Then I stopped thinking of her as being like solid. And then I realized that she's not in control of her mind and body.

And somehow that allowed me to understand that she must be projecting herself.

[Speaker 2]
Okay? So she's not in control because things are changing.

[Speaker 1]
Well, no, it all goes back. Yeah. She's not in control because things are changing.

[Speaker 2]
And then there's a background.

[Speaker 1]
You have to be able to do that. You say, what does she see to make this happen? What does she see to make this happen?

What does she see to make this happen? She sees herself as changing constantly, so she doesn't think she's unchanging, so she doesn't think she's in control, so she realizes she's impugning. So she's projecting.

And if she realizes she's in projection, it must be because she realized she wasn't in control, because she realized that she wasn't unchanging, because she saw that she was mumble to mumble. And you've got to be able, in the background, to go back and forth and connect them. Yeah.

Yes, please. If she suddenly realized there was nobody in control.

[Speaker 2]
She's inside herself.

[Speaker 1]
If she suddenly realized there was no one independent of her parts, in control of those parts, why would she then lead to the idea that, oh, I must be projecting something onto parts? Get it? Is it because she's had a sense of control the whole time?

Listen to this one. Oh, there's my body and my mind, and there's no me separate from them, in control of them. That's right.

Right? That's number three so far. But I feel a me.

I have a sense of a me, who's separate from the body and the mind. So where's that coming from? Ah, I must be projecting.

Or something, how about, you can go that way.

[Speaker 2]
And that's okay.

[Speaker 1]
I must be like inventing them.

[Speaker 2]
And that's right. That's the mirage.

[Speaker 1]
That's the mirage.

[Speaker 2]
Is that the mirage?

[Speaker 1]
Oh, now, now, now, now. Now we get to the director's question. Where do you put the tsam?

Where do you put the just? Because I don't like where it is in the Tibetan. I don't think I want to put it where it is in the Tibetan.

I'll show you where it is in the Tibetan. Read it that way. Or...

Where do you prefer it?

[Speaker 2]
How about...

[Speaker 1]
Yeah. To me, that's the point. It's a little bit uncomfortable with the Tibetan.

I would say...

[Speaker 2]
Why don't you write it that way? Why don't you write it that way? They're both the same.

Maybe he's trying to highlight the point of the compassion which focuses on things. That's true.

[Speaker 1]
That's a good point.

[Speaker 2]
Oh, but Geshe-la?

[Speaker 1]
Isn't it nice when there's nothing else there besides the parts you use?

[Speaker 2]
I'll go with that. I think that's good. Bonds are nothing but their parts.

Yeah. Sorry.

[Speaker 1]
Geshe-la, if you're seeing a hologram between you and the thing, the thing you're projecting, the mental image, can you say that you're looking at mine, which is changing? Sure. So the hologram is a changing thing, and that's a limit?

Yeah. It's a limit. It's colors and shapes.

But it only lasts for a moment.

[Speaker 2]
It only lasts for a moment.

[Speaker 1]
In the Abhidharma, there's an idea in the Abhidharma, and the other schools don't talk about it, but they accept it. And it's called... I forget it.

Well, that's because you're not Abhidharma. It's yijisu. It's mental form.

In other words, when you have a dream, and you see a red firetruck, what is that? Is that... Is that a visible object or not?

Is it... Is it shapes and colors?

[Speaker 2]
It doesn't have shapes and colors.

[Speaker 1]
And what is the status of those shapes and colors? Are they... They're not physical matter, but they are shapes and colors.

So you have to put them somewhere in the physical matter. So anyway, think about that. All right.

But we've got to get back to this. Yikim nam shek su... Here comes a hard one.

By the way, the Tibetan of these books is totally difficult. It's about 500 years old. It's really, really complicated.

That's one reason why I won't work on it, because then you could have to text it later, and you could deal with other texts that are similar. Okay, here we go. One, two, three.

Punggol shi zangla tenmei dakpe Semchen tanjela mikpe gyusen ki Tane dewe shildu nedu ziki Tenmei shildu... Yeah. Okay.

I'm going to cut it out, which requires adding a few words, but you won't mind. Got it? All right.

Comfortable? And so the full name of the compassion here, I added that, is, quote, the compassion which focuses upon all living beings are projected onto... onto?

Onto? Nothing more than things meaning their parts.

[Speaker 2]
We're talking about the compassion that focuses on things, right? That's why you have those square quotes?

[Speaker 1]
Yeah. So what if you change than to these? To emphasize.

[Speaker 2]
Change than to these, then it refers back to the subject. Hang on. These things.

[Speaker 1]
Got it? Okay. Now this explains the meaning, is the gyusen ki in Tibetan, which literally says, for that reason.

And I've added the abbreviated form to help the reader. The compassion which focuses on things. And I've emphasized things, because it's a way he put it in his syntax.

Got it? Now you could have not done all that, but it would have been pretty quirky. So, good luck hypertexters.

Now, he said, which means what? Because. Now we gotta go back and make sure we put a because way up where he started this whole link, this chain of causation, right?

Chain of triggered different realizations. We gotta go way back up here. We gotta go past all the de la tenes.

And it must have been a yu te. Yu te. Right?

And then like half a page later, it's here. Okay? So.

Okay, and that's the only way you can cover the cheer way down the bottom. Good luck hypertexters. Because because, because because, comes four paragraphs here.

Good luck. Got it? Okay, I'm not gonna hypertext this.

I'll be at a three-year retreat by that time. Okay. Okay, let's read this together.

What do you think would be the next logical thing we're gonna be talking about? Yeah, why is the next compassion call gonna be this? So here we go.

One, two, three. Ning je nyi pa la mik me gi Ning je she che ge gyu sen yu te Okay? And then he's gonna come back like this.

And a lot of high tones there and in Tibetan, he's playing, whether he's aware of it or not, he's creating this, this thing like this. Listen to it. Ning je nyi pa la mik me gi Ning je.

You see? He's going, ding pa pa ding ka pa ding ka pa ding. If you, if you know that there's a high tone a long time, you're gonna appreciate the, what do you call it, the lilt of it.

That great writers are usually writing in assonance and consonance, constantly, and they're not even aware of it and it just comes out sounding good to you. Okay? Let's use the same wording that we did earlier.

We could just copy some of those. How does he finish those readings so fast? We call it, speaking.

Okay? Also, by doing that, you assure a consistency of your own form. Which is sometimes you might not want that, because it would start to sound boring like an old sutra.

Not even when they repeat things. They just repeat things over and over again. Okay.

Of course not without reason. Now I tried to cut this one out, but it's just not gonna cut it, so. Here we go.

One, two, three. One, two, three, four. One, three, four.

This is really hard. Just to get all the words in. Okay?

Like, if it sounds totally difficult in English, it's the same in Tibetan. And you've got to learn to wrap your mind around it. You've got to learn to just, oh, yeah, OK.

And it's very precise. It's logically extremely precise. And all the words have to be there to be defensible in the debate ground in Tibet.

And then we're just not used to thinking precisely. It just sounds like gibberish. But each word needs to be there.

And you'll end up debating this way. You already sound kind of like this in the debate ground, which I'm very happy. It sounds great.

Can you tell us a little bit about the Tibetan? Yeah. Let me finish it first, though.

Because we're only half way through the sentence. What did we say? Which has no focus?

Yes, that's what you said. Got it? OK.

I will talk about the Tibetan, because it's really, really difficult. This and the next two paragraphs are some of the most difficult to write in the Tibetan. So here we go.

Rang gi mikyo tu gyur pe sang chen. The living being which provides its object of focus, right? He had to get a mik somewhere.

He had to get a mik somewhere. Because this compassion in Tibetan is called mikme, like mikme chenme, mikme chenme, chenme chenme. OK, that comes from this text.

Rang gi tu gyur pe sang chen, den bar dzin be den. So den bar dzin be den zin is a difficult. The tendency to hold the self, the tendency to see things as real, which is seeing things as real.

So den bar dzin ba is a verb. And then den zin is a noun. The tendency to see things as real, which sees things as real.

Got it? What did I say here? Oh, true existence, same thing, OK?

Is the lady behind the counter at the stocking shop 31 Flavors real? No. Not according to this?

That means I can have as much of it as I want. And there'd be no problem. That Ginkgo says so.

Ginkgo's also the disciplinarian in that place. It's not real? OK.

Well, it's a label. No, anyway. OK, den bar dzin be den zin.

De means you've got to lengthen it, de. When you say de, when de, D-E-S, comes after a long stretch of stuff in the beginning of a sentence, they have just identified, Chökyi Lama knows, the subject of the, we had this 10,000 times in the Vinaya this week. In the Vinaya this week, we had it 10,000 times.

It shows the subject of the sentence. That what? What's the subject of the sentence?

Of this clause, sorry. The tendency, the tendency. That tendency, sumas dan zin be, zin be past tense.

It holds it to be a certain length. But dzita, as it holds it, that's me. That living being doesn't exist, tu, in that way.

In that way. Danyi grammar case, very difficult. This is a tough sentence.

It's like one of the worst. So if you're lost, that's fine. Have some candy.

That's candy. Jelly pepper. Don't have too much.

You'll get sick. You'll feel wired when you have too much. Khenpa to Chönyi is characterized by, it's a very difficult idiom.

Khenpa to Chönyi, it literally means, separate it out by that feature. Khenpa to Chönyi. OK, Khenpa to Chönyi.

When you say a red firetruck, you have Khenpa to Chönyi the firetruck with the word red. You have set it apart with the word red. Qualified it, you could say, also.

Khenpa to Chönyi, same thing, but with a gyutse ki. For that reason, tangi dewa is an idiom that means for convenience, for verbal convenience. OK, and we've just translated it as for convenience sake.

But it literally means for convenience in terms of expression. For convenience in terms of expression. So dewa here, you're not going to say great bliss, right?

I know if you translated a lot of tantric texts, and then suddenly they show you what it is, everybody wants to put great bliss. Dewa always has to be great bliss. Be careful, it can mean convenience.

In modern Tibet, it's dewa. So when Geshe Thich Nhat Hanh says, dewa mudug, this is not quite convenient for me. This doesn't quite feel right.

Thanks. I'll bring us some excuse to keep on rapping, though. Then gyutse ki, that's tangi dewa, for the ease of convenience.

For ease of expression, literally. Nying du is an abbreviation, and it means, nying du is an abbreviation, and it means? Abbreviate.

Abbreviate. It's nyewa duwa, nyewa duwa. It's upa duwa, OK?

Tibetans like to use upa. It doesn't mean anything. Nyewa duwa means, the AB in abbreviate is nyewa, OK?

So chi ki means, with an abbreviated word, temba, we present it in our book, or we present it when we teach Madhyamaka. So the temba means, we present it, or it's presented. Got it?

Very, very difficult sentence. One of the most difficult to perform. OK.

What would be the next logical thing for him to talk about? The last kind of compassion. Yeah, the last kind of compassion.

Three is a lucky number, isn't it? Three jewels, and three kinds of compassion. So she never leaves something at two.

OK, repeat. Pretend you're a Tibetan with dried cheese in your mouth. One, two, three.

Ni, ni, ne, sun, pa, la, sen, jen, san, ma, mi, pe, ni, je, she, she, pe, yu, sen, yu, pe, mi. Ew. It feels a little sticky when you get up here.

Cop the sentence. Now, just so you don't sound like you just pasted it. Ah.

What did we call it? Only? Did we say only?

There's only only. I think we said only. I thought you said only.

Just. Just. Just as done.

OK?

[Speaker 2]
It's OK.

[Speaker 1]
You didn't have to do it. Let's read it together. One, two, three.

Ni, pa, so, kan, gi, gyang, ke, pa, du, ma, che, pa, sen, jen, la, mi, pe, gyu, sen, gi, pe, da, che, pe.

[Speaker 2]
It seems like the various compassions hinge on one's understanding of how the person exists and how they're perceived. Yeah. They're both characteristics of each other, depending on how you're looking at the object.

[Speaker 1]
I think you could leave it. You could leave it either way. I think you could leave it.

We're going to have more. It's going to happen again. But I think we could leave it.

How long do we have time? OK. We still have about 25 minutes.

OK. Please read it together. One, two, three.

Ka, ji, ni, me, ki, ni, je, ke, han, gi, ni, gyu, du, gyur, pe, sen, chen, nam, shin, gi, ne, wa, to, pa, in, ser, na. OK. Ser means what?

Gold. Ser means what? To claim.

Got it? Say ser. Ser.

Gold. Ser. Ser.

To claim. To claim. OK?

Sa and sa. For transcription, we use an S and a Z. But it doesn't have anything to do with an S or a Z.

It's just that we ran out of S's. It's a high tone S and a low tone S. Got it?

OK. It has no focus? Did I get that right?

Yeah. Our focus is on that. Had we spoken?

Has no focus. All right. Has no focus.

Has no focus. Miscompassionate. Has no focus.

Miscompassionate. Misconceiving. Misconceiving.

[Speaker 2]
Last term, we translated it as focuses on that which can't be focused on.

[Speaker 1]
I was just doing that the first time to be sexy. You get people interested. Then you settle into a shorter enigmatic thing.

Like Papa Wasangye did. OK. I never went on.

[Speaker 2]
Anyway.

[Speaker 1]
Miscompassionate. Has no focus. Misconceiving.

Has no focus. By the way, when I get to that, then I change one of them to language. I can say living beings.

[Speaker 2]
What about perceiving the fact that living beings exist?

[Speaker 1]
It would a little bit change the argument. Because a fact... To perceive a fact is to perceive an unchanging thing.

And to perceive... We're perceiving a living being to be changing. So it's a little delicate.

Devotment to it. Delicate. OK?

The mind can be a changing thing and still perceive unchanging objects. Elsewise, we couldn't perceive truths. You know?

The sky that's spreading the ocean's blue is a truth. It never alters. It never varies.

But it is perceived by a constantly varying orbit. Ah, that was a different thing. Listen to the text.

OK. Is there any problem with this claim? I'm looking at the lady behind the counter.

I'm realizing that... This is the end result, right? Which is something I wanted to talk about.

Anyway... Let me talk about that first. Then we'll go talk about this.

He kind of said something. He kind of said... Once you grasp that the lady behind the counter is dying...

As she scoops your ice cream. Right? Once you get that...

Then you get her emptiness. So that would be a nice debate topic, you know? If a thing is the compassion which sees things...

Then it must be the compassion which doesn't focus on anything. Meaning... If something is compassion number two, it must be compassion number three.

Why? Because it focuses on things. Why?

Because things means it understands that the person is just projecting onto their parts. So it's already compassion number three. Because it's called the compassion which focuses on things.

And we all know that things here means the parts... That you're focused on and understanding that... It's just a projection on those parts.

Yeah. Really? Right.

Yeah, good. Right, it's a progression. One is focused on what?

Dependent Origination. Yeah. Who said that?

Nice. Yeah. So, one is focused on Dependent Origination.

One is focused on Emptiness. So... So they're not the same thing.

Right. Dude, they're not the same thing. Dependent Origination is changing.

Right? So it's not a fact. Right.

[Speaker 2]
Pabongka Rinpoche... Pabongka Rinpoche doesn't quote our agenda in celebration of your hand?

[Speaker 1]
Okay. I don't know. Okay.

No, but let's go back. One is the... One is the nature that things have.

One is the nature that things don't have. Right? One is a positive.

One is negative.

[Speaker 2]
Okay? Alright. Isn't the fact that they're Dependently Originating...

...proving that they have no nature of their own?

[Speaker 1]
Could you perceive that they are projected onto their parts... ...as a pot is projected onto those colors and shapes... ...without directly seeing emptiness? Or without seeing the fact that they're not any other way? Sure. Yeah.

You couldn't see them both at the same time. One is the fact that they don't exist any other way. That's their emptiness.

Right. One is the fact that they do exist this way. That's their Dependent Origination.

So, yeah. The first compassion can get you up to the Dependent Origination thing. But he never took it to the next step.

He never said, De La Tene. And based on that, he never went that far. Okay?

So, we're back to this one. So, when you perceive... Oh.

So, yeah. But it takes you damn close. Right?

I mean, in its natural evolution... It takes you up to the pot, really. It takes you up to a couple of minutes before emptiness.

So, that's not so bad. So, looking back... So, we're back to looking at the lady behind the counter.

I have the third kind of love for her. And I'm thinking... Oh.

She's not anything except my projection. That's Ming Mei Ning Zui. That's Ming Mei Ning Zui.

Right? She's not anything other than my projection. Why is that so earth-shaking?

[Speaker 2]
She could be something different if I had a different karmic seed.

[Speaker 1]
Yeah. I could save her life. I could stop her...

She could save mine. Yeah, that too. I could stop her from...

I could stop her from dying. I could stop her from dying. Yeah.

So, if she's not anything other than your projection... Yeah. If she's not anything other than my projection, I can stop her from dying.

But she's not the hologram itself. So, there's no hologram itself. She is the hologram.

She is the hologram. She is my hologram. Okay.

So, I can save her life. I can stop her from dying. You see?

That's ultimate love. That's the highest kind of love. That love's not sitting there and crying about them or giving them food for a while.

It's like... I can make you into a type of deity. You know?

I have the ammunition. I have the capacity now to make you into a type of deity. You can be an angel forever.

[Speaker 2]
You know?

[Speaker 1]
Like, this kind of love is cool. But my question... Then ask me a question, okay?

The question here is... While I'm looking at her with that kind of love, don't I see her as not being anything other than my projection? That's what the guy said.

That's what the guy said. When you look at behind... When you look at her behind the counter...

It's getting complicated, right? It's just an ice cream. When you look at her...

This happens all the time to me in the ice cream shop. When you're looking at her behind the counter, and you're loving her, in this third highest kind of love, that can really help her, save her, aren't you thinking that she's nothing but your projection? But that's kachik, and it was sermon.

He made that claim, which always means... He's wrong. So deal with that.

James, do you have a question? Just for my slow mind, Mama, can you just, one, two, three, using the ice cream lady, how I can apply this next time I go to the store? All three, or just this one?

Yeah, one, two, three. All three.

[Speaker 2]
All three kinds of compassion.

[Speaker 1]
All three kinds of passion. First, I see...

[Speaker 2]
Yeah, yeah, yeah. She looks young.

[Speaker 1]
She was like 25, 20? I don't know. Younger.

Younger. Yeah. She's been there a long time.

Alicia. I don't know. I don't know.

No, it's like... It's like thinking... It's like feeling pity for her.

Because in the time that she... In the time that we chose our ice cream, which was not that short of a time, in the time we got it in our hand, she's five minutes closer to being that ugly, wrinkled, old lady in the booth and nobody wants to talk to her. And then something happens when you have this kind of love that...

Sometimes you just get this flash of her looking like that. And then it's really sad. It's a kind of sadness.

So that's the first one. And then the... The first one is just you feel like...

Sentimental. Or was that the third one here? Anyway, the second one, I'm looking at her and thinking how I see her as being this girl who will be the old lady in the booth is coming from me.

And I could be seeing her as an undying 16-year-old angel. I could be... If I had kept my balance, my tantric balance better, I'd be seeing her that way.

That's the second kind. And then the third one is I just go in and Geshe Michael gave a lecture. They said you should be nice to people.

You should love people. And so I go in and I just kind of feel some... She's my compadre in life.

I feel sort of good about her. That's sometimes I'm... I wish...

I hope she doesn't cut her finger making my ice cream. I'll take away that much pain. I don't want her to have pain.

Technically, that's how I'm thinking. So obviously the second one is much more powerful. And in the weekend, we're going to have all these vows that say you must work on emptiness.

You must maintain this well-being. You break your... Oh, I can't talk about that.

All right. By the way, I give you the tantric debates by tradition. A non-tantric student can't sit in a tantric debate.

And tantric debates should be slightly off to the side. But not so far that the non-tantric students can't hear the little snippets.

[Speaker 2]
That's a tradition. It's a tradition here that it generally follows that format. Last night was one-on-one.

So I'm hoping that people would only debate.

[Speaker 1]
So for debate time, you've got to go off just a little bit. And then, you know, throw little tantalizing hits. When you practice...

You should never... Okay. Oh, let's...

Let's read it together. We've still got ten minutes. One, two, three.

De-la-zin-da-mi-la-wa-ni-ya-ba-dao Someone just said something ridiculous. And I was sitting with In-ha last night in the debate room. And it dawned on me, you know, to start a debate, there's just a simple rule.

What? Say something ridiculous. Just say something ridiculous.

Just to start a debate. You don't need to say, no one can tell me the 13 thises or that. That's too easy.

You know, just... It's good to disparage your home. You know, and then...

You know, and let... Let the debate start. So that if you're...

No, start it with something funny and ridiculous and momentous. You see? Ridiculous and momentous.

It should be important. It should be... It should lead to an important topic.

But it should be a totally ridiculous thing. And then let the guy prove me wrong. Prove me wrong.

See if you can do it. You know? And it's...

Sometimes you can't prove the guy wrong. Because you don't have the skill or the... You don't have the equipment.

You don't have the knowledge, you know? So, it's cool. You just like get up there and say something ridiculous and prove me wrong.

Prove me wrong if you can. I say you can't. It's like that.

So, anyway. It's like basketball or something. So, anyway.

So, somebody just said something ridiculous. It's good in this very moment. So, is your first response going to be sarcastic?

Or is it going to be Right, it is. Which tail are you going to use? The one that's sarcastic?

Or the one that's It is that way. Now, so, come on. Which one?

First one. You're going to use the sarcastic one. So, you got it on, yeah?

Let's do it again. It's It's not Okay. You should This is the sarcastic one.

It's like It goes down. Are you telling me? You know, okay?

Here we go. Get it, buddy? Get it.

Okay. All right. Right.

So, Are you saying then that this has I'd say disparate. Or do you like very different? Disparate.

Disparate. So, when I'm at the ice We're bringing it to real life. My life.

My life that I like to have. I only get it on an occasional Wednesday. So, are you saying that this state of mind can focus on the lady behind the ice cream counter and entertain Entertain would be good.

That's what I wanted. This is called echo in composition. Do you know?

It means where it sounds like maintain but I wanted to say entertain. It's where you use the wrong word because it sounds like the word you wanted. Okay.

It's called echoing, right? Are you saying then that this kind of compassion is entertaining too disparate when it's an object holding to its object? Meaning is that state of mind wishing that she won't cut herself or have any pain and simultaneously thinking that she's coming she's not coming from me.

No. That's what he said.

[Speaker 2]
That's what he said. But if she did cut herself that would be coming from me so there's no...

[Speaker 1]
He said is perceiving that she has no nature of her own. It is perceiving in the present moment that she has no nature of her own. So are you saying that that state of mind is entertaining two totally disparate modes of perception at the same time?

What did you say? Two disparate modes of perception. Does that sound better?

I know. Disparate modes of perception. Okay.

Do you mean contradictory? He just said different. Disparate.

Not contradictory. Gyalwa would be contradictory and that's coming later. There's a discussion about that.

Okay? Got it? Anyway, they're different content at the same moment.

Okay? I don't want to get hurt. She's just coming from me and nothing else.

Okay? Can you maintain those two separate thoughts in the same moment? In the same way?

He said that's our Imaha. That assumes that he accepts what? All he said was my state of mind at the ice cream counter is seeing that she's not coming from me.

So we're also assuming that the other guy believes that I'm holding a state of mind that doesn't want to see her get hurt. He never said that but we're assuming that. You could go that way too.

But anyway.

[Speaker 2]
If she did get hurt, that too would be a projection of his own mind and it's probably the last thing he would want to see if he knew the first part which was that she didn't exist separate from his projections of her.

[Speaker 1]
Yeah. Right? Sorry?

Why are we assuming that statement he's saying? Because he's debating Nyingje. He's debating...

He did use the word compassion, right? He said this compassion. So, if he had said this state of mind we couldn't have made that assumption.

If he had said it's a state of mind. But he's already referring to a kind of compassion. So we assume he means some kind of love for somebody.

Sorry? Yeah, he did say this compassion which has the focus. So he's talking about...

Is he talking about a kind of compassion? Does he believe he's talking about a kind of compassion? Would he accept that compassion is defined is not wanting them to hurt?

Sure.

[Speaker 2]
Yes.

[Speaker 1]
No, but all of them have the same content in that sense. They all don't want the person to be hurt. Right?

So, we're saying oh, then you must be believing that it has some kind of content in the mind of wanting them not to be hurt. Right? At that moment that I'm looking at him.

Right? He must believe that because he called it compassion. He used the word compassion.

So he must believe that that state of mind has some kind of love for that lady. Right? He must believe that.

And now we're saying can you at the same millisecond also see that she's nothing but a projection? Can you hold two separate thoughts at the same moment is what he's saying. Yeah, it sounds like it.

[Speaker 2]
Would the being ultimate kind of just looking directly after emptiness be holding an unchanging thing? Yeah. Yeah.

[Speaker 1]
That's a simple proof that you can't be doing both. That's a simple proof. Although it doesn't work so well in real life.

I've tried it. You see? Oh, one is a negative perception.

One is a positive perception. They can't be both at the same moment. You can't see that there's no elephant in here and at the same time see that there are people in here.

Because the mind cannot hold a negative object and a positive object at the same moment. Because one is you've got to negate something and the other is you have to posit something. That doesn't work when you're out in real life.

You know. It's hard. It's hard for people.

But within this system on the debate ground it's an irrefutable proof. On the debate ground no one can beat you after that. So in that sense even though this is the Kichikma the note focus is perceiving it is a fact.

the person asked about whether it is perceiving the fact that living beings and you said the fact would imply it's unchanging. Yeah, this is a fact.

[Speaker 2]
So it is unchanging. This is a fact. Yeah.

[Speaker 1]
It's unchanging on two counts is what you said. It's unchanging because it's a fact. And it's unchanging because it's an absence.

Absences are always unchanging. We have this debate in the world. The fact that there's no elephant in here is not varying in any degree.

It's not like... And then we used to debate in monastery why do you stick this trunk in? You see, this is partly here.

No, no. Either the elephant's here or he's not here. And then no.

You see? So it's unvarying. Normally I guess I say all the time absences are unvarying.

It's just gone. It's not there. It's more or less not there.

So that's another. It's varying on two counts. It's a fact and it's an absence of something.

You see? You can't be... You can't say 89% there's no chocolate mint ice cream in this room.

I mean, it's just not here. You see? There's other things that are similar.

[Speaker 2]
Not now. Okay. So this compassion can entertain two disparate ways of holding to its object.

Not the same exact moment, though. Find out next week. They're so close on the heels of each other.

They're close on the heels of each other. As to be dependent upon each other, probably.

[Speaker 1]
Do you remember what we said last time? What did we say last time? How do we explain this?

Let's end with that. We said a sense, but what's the sense based on?

[Speaker 2]
Previous.

[Speaker 1]
Who said that? Yeah. Oh, great.

Yeah. That's the big deal. That's the big deal.

They'll keep saying previous. Previous. Wait.

Let's go back to this. Based on a previous. Meaning, I was meditating that morning at Diamond Mountain, because that's the rule.

Before noon. You know, at noon. One.

And I was meditating on the fact that all things are changing and that people are dying moment by moment. You know? And then I went to the ice cream place and then when I was looking at her suddenly I reflected on that and a sense of that previous realization that all people are getting older no matter what they're doing.

A sense of that came into my mind as I was loving her. From a previous realization, breakthrough during meditation. That means if you don't meditate you can't even think about having these kinds of love.

Because they don't come naturally to people. They're based on hard work. They're based on working on your mind.

And you have to do that previously to have it happen during that. In the gas station. At the gas station.

All right. That's my pitch for meditating. You should throw the ropes in, of course.

It's okay. Okay. Okay.

I think I've destroyed the evidence. I think I've destroyed the evidence. Thank you for coming.

Thank you for working so hard. I mean, the debate ground is just really nice. People are doing really well.

You know, you're doing just as well. It's a different language. Except for the language, you're doing just as...

You sound like the monks in the center. You know, or better, really. So keep going.

And thank you for that. It's really nice. It's really nice.