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“Koan: Two monks roll up the blinds in exactly the same way. The teacher looks at them and says, ‘One gains, one loses.'” October 17, 2017.

I think this is a time when things are kind of changing and incredibly uncertain, and that fidelity to what’s really true to us is important and valuable. And we don’t have to pretend that when difficulties are here, they’re not here. But also, we don’t have to pretend that they cancel the illumination, because nothing does, really. Even if we’re dying, the brightness of life is still there. And after we’re dead, we’ll worry about that later, [laughs] when the time comes in the bardos.

PZI Dharma Theme: “Guanyin Manifesting in the Elements: Space, Earth, Water, Air, Fire.” A Dharma Theme? It’s a gathering, a curation of events from our vast KALPA library, based in a theme that is current in our online sessions and practice. We’re offering a compilation of various types of files: transcript, audio, art, music, and video—all from PZI teachers.

So, rather than thinking a predicament is something we’ve got to get rid of, it’s just life—and it has its own dynamism. Maybe we have to walk through it, not run the other way. It’s all right to weep about it, or be frustrated and angry. You can’t be someone else, you are who you are. The gateway is yours, not someone else’s.

So, whatever your condition is, you can see the “I have joy.” Out of that emptiness, out of what seems unpromising—the dark material, the valley spirit, the enigma, out of the mystery, out of what I don’t understand—it just appears. The joy just appears.

Transcript: So. The storehouse of treasures opens by itself. You can take them and use them any way you wish. And there’s a certain kind of, I don’t know, as if we get ashamed for existing, ashamed for being ourselves, ashamed for feeling what we feel, ashamed for thinking what we think, and a lot of what meditation does is it allows us to look, well is that really right, is that what I want.

The Heart Sutra, like any koan, contains the universe, and so you have to go in somewhere.  I want to go in through the “Mantra of Great Magic.”  Even the word “mantra” is, in a certain way, a reference to magic, a sort of portable access to reality that you can carry around with you. And the word “magic” is also used for the word “mantra,” so where we use “mantra” to produce magic, there’s a transformative quality about the mantra so that, when you repeat it, when you keep company with it, you end up in its world.

Joy and peace don’t stop the mosquitoes from biting. All these things have their source in meditation.  So you want to open your heart.  You want to –whatever it is – during meditation.  That’s what he’s saying.  Right.  It comes from within.

Two swords are crossed (like in the movies, which actually I don’t think happens in real life, but it’s very popular in the movies. It was popular in the movies like 1200 years ago.) Two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher. Farther, higher, up , further, more. So two swords are crossed. There’s no way to retreat. You’re a lotus in the fire. You can’t help it. You’re determined to go higher. 

So we’ve been talking about old poems that are also a map of the path, but they’re a map of the kind where you have to see what rises in your meditation to meet them to find out how useful they are to you. Today we’re on the fifth of the ranks, the fifth poem. Five ranks by an old Zen teacher, and this is the final one, so you now know conclusively that there are only five stages to the path. And it goes:

I want to describe the process that I went through over the last year, of making the painting, and I want to do that in the spirit of when something
arises, don’t believe it, and shine your light on it. So in a year, a lot of things can arise not to believe, and they did. But even, if you’re in the meditation hall, five minutes is
probably long enough for plenty to arrive not to believe in.

Hakuin would paint that as a demon. This is demon number three. Which number demon is that? And the other things is that thing about how the thing we thought was the problem can transform, there is that real sense of what’s wrong with being a demon? If I think there’s a demon obviously I’m it.

So there’s something about where we’re located, which is in the middle of nothing, good to know, and then how do you manage there? And also something about expression being eloquent. So what is eloquence when you’re in the middle of nothing? And also something about not reaching for approval, categories, emperors, sages, psychologies, ideas, history, anything that’s not nothing. Okay, so here we are. 

And so the certain categories of koans are designed to help us see the implications. We’ve been playing with a few this week, and the one I’d like to do today is “Stop the war.” It’s kind of succinct. Cut it out! Stop the war, or can you stop the war?

Everybody probably has a road that would come to mind. I remember getting a bus in Tasmania and driving through the west coast mountains to a mining town where I was going to work, get a job, and how the snow was coming down and the bus would just go around this really narrow road like that, and there are certain parts of the world that have truly alarming narrow mountain roads with truly alarming drivers and very ancient buses.