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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:

When something confronts you, don’t believe it. Whatever appears, shine your light on it. Have confidence in the light that’s always working inside you. When the heart rises, the 10,000 things arise too. When the heart is still, the many things cease. They come to rest. When the heart does not rise… when the heart is not anxious, as John put it last night… when the heart does not rise, the 10,000 things are without blame. So when something confronts you don’t believe it. Don’t believe it. That’s been such a kick to sit with. I just noticed that I start suffering, and when suffering comes it, it doesn’t even name itself. I’m not even aware of what I’m wrong for doing or not doing.

Tonight I want to talk about another aspect of the koan about who’s hearing, who am I, what am I. There’s a spectrum I’ve been talking about so far for all of one previous talk. And I wanted to get at it slightly at an angle by going in through dreams, and the idea of is there a difference between what we’re doing and dreams anyway, which is certainly relevant to who we think we are. 

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 I’ll take any comments or questions. So how’s it going? How are your demons doing? How are your elephants? What are you noticing in your meditation?

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. 

A koan is a piece of old wisdom in a very concise form. I think of it as a vial of ancient light that has been passed down to us. It’s the same light that was in the heart of the teacher who invented the koan. So, if you can get the vial open, what will pour out is your inheritance. It won’t be the usual kind of inheritance with bank accounts, real estate, debts and family feuds. This inheritance will be a perspective—the way an old master saw and experienced the world.

This is from an old Chinese poet, and koans and poems were always, poems, koans, koans, poems, they’re always somewhat intertwined in their history. And so often poems were used as koans and vice versa. This is a series of five poems by an old Chinese teacher called Dongshan, who kind of did a map of the Way in five stages, because everybody knows there are five stages for the Way [laughter].

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.

This is one of those “in the old days, once upon a time” stories. There are a couple of interesting things about this. The first thing is about the idea of just getting in the bath, that maybe one of the metaphors for spiritual tradition is you get in a bath, and not only that, you do it together. We do it with each other. You could say we do it with the crows who call, we do it with the frogs, with the trees, with the birds. And then something happens in the bath. What happens in the bath, I suppose, is really most of what happens on the spiritual journey.

So I would like to talk tonight a bit about what I’ve been noticing about the journey we’re on together in the ship of sesshin, and then to talk some about this koan the storehouse of treasures, and then we’ll see what happens then.

..a practice is different from a plan. You know what a plan is; you’ve probably made a few of them. A practice has more love in it, because a practice is something you’re doing without being sure of the outcome..

..one of the things we can be skeptical about is that division. This is meditation, this is not meditation, and the question is always, how do you know it’s not meditation? How do you know what’s happening now isn’t it?

I like having a roomful of things and a roomful of people. So my plan for this talk is to say a little bit of some of the things I’ve
been thinking about as I sit with this koan, and talk a little bit about retreat, and then to have some time for conversation and questions and observations.

June 2016 Retreat – You might have noticed that we started out with music and then saying a
koan. The koan is from the great old Chinese Master Lin-ji Yixuan and it’s
not so important what – When something confronts you, don’t believe it.

“We all have the urge to be better people, and behind all our self-improvement there is a profound impulse. Self-improvement is a gateway, the first step in a quest, a clue to a deeper life. The most beautiful form of the beautiful life is inner freedom, the awakening taught in the ancient spiritual traditions.” Published Shambhala Sun Magazine, September 2013.

“What are the essentials of the meditation path as a basis for this healing — healing of both person and culture?” August 2006.

In the last of the famed ox-herding pictures, the disciple returns to the world with open, helping hands. That includes, says Zen teacher John Tarrant, the messy, neurotic, imperfect world of politics, the very place where the bodhisattva way is practiced and our realization is put on the line. Originally published in Shambhala Sun Magazine, May 2006.

We have such a passion to know and to be certain but, in practice, much of what we think of as knowledge is just untested thoughts. As the Heart Sutra says, even thoughts are empty, and if we are willing not to know, willing to walk through life without believing every thought that rises, then we’ll find a path out of suffering.

Everyone knows happiness is A Good Thing, more desirable than say, vacuum cleaners or eye shadow. The founding fathers of the United States offered happiness as part of a mission statement for a people coming together in a nation, encouraging you to pursue, and perhaps to go so far as to chase, harry, hunt down, subdue and corral happiness. Even the Dalai Lama has said that happiness is the point of Buddhism.

How can you tell what’s genuine and what you really want? Sometimes we want things from a rather superficial place, or the part of ourselves that wants them doesn’t seem to have our best interests at heart. The question “What do I want?” goes to the core of meditation practice.

One of the places I think this really appears for me that I find interesting is, if I take that koan view of there’s not really a ground for this, it’s all coming up out of the vastness, it appears like the moonlight, it’s just there. I didn’t make it appear.