Today’s FBA Podcast, “Why Read the Sutta Nipata?”, by Suriyavamsa, is a thorough and engaging exploration of the why and what of suttas, how they were traditionally passed on through the ages and Kukai’s description of how a sutta works on the rational, imaginative and cosmic-mythological levels. Includes beautiful readings on the themes of: skillful speech, grief and fearing death, humility, pleasure, avoiding arguments and worldly desire, finishing with the much loved ‘Pingiya’s Praises of the Way to the Beyond.’
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Why Read the Sutta Nipata?
(upbeat music) This podcast is brought to you by Free Buddhist Audio, the Dharma for real life. Our work is funded entirely by donations from our generous listeners. If you would like to help us keep this free, come and join us at freebuddhistaudio.com/community. Thank you and happy listening. - Okay, so I'm going to round the line about the Soot and the Panda. And if you want to get on to that a wee bit, but I've finished up myself and I've got two talks in one. And one is called Why did the Sooters? Sooters, Sooters. And one is the Soot and the Patek South looking into that. So I'll start the first half with one of the most famous readings and one of my favorites. Call forth as much as you can of love, of respect and of faith. Remove the obstructing defilements and clean away all your teens. Listen to the perfect wisdom of the gentle budders taught for the wheel of the world for heroic spirits intended. Let's start all the rottenness and chagata. So it's probably the start one, the air-rest of the perfectional wisdom-tent. We'll sit next to the perfectionism experts. I'll keep looking over here this a lot. (laughs) And it starts not with hard philosophy or kind of some of the bits of that tradition to give you a feel for, but just have like love, respect and faith and removing obstructing defilements clearly of teens. Listen to the perfect wisdom of the gentle budders. A little devotional side to it. The real kind of heart-rowsing and the good of how it's supposed to be motion-genizing. And this is the start of studying. One of those is just chagnetness at the start of a very study. It's very much a class of just, you know, browser cells and recite less, get a really good tuning going to the better way fly in the air. So I'm going to sing that and then go under the study. So I'm going to inculcate wine. I'm going to go through wine. So first, but traditional importance. So the study of text has always been important in every skill, you know, and traditional Buddhism and all the bit of skills down through the years, either memorized, passed down orally, passed from the ear into the ear of the cycle from the guru. It's got a very small amount of text for big, propendious, light, propendious. Libraries, there they are, text right at the core of budders communities and budders practice. And not what we tend to do, not idly browse the lawn in the comfort of our armchair, but reflected upon recited, memorized, used in pooches, made into pooches, taken from budders, back into text, and then from text back into pooches again. Some, yeah, studied in the company of others, especially studied with others more experienced than us. Even today, you know, but what's called my son, he's also in a Tibetan tradition. You're not properly introduced to a text. He's doing bio. 'Cause someone should read it to you. Right, lovely. So if you're a child, you're getting a story read to you first, and then you're getting introduced. And then you're properly qualified. You've got your thriving text. You can then study that today's from your own, yeah. What you're doing is with this, you're catching a loving spirit of the text round of the letter, round of the key that is on the page, conceptual meaning, very softness meaning. You're catching something that's passing down through, you're joining a community of practice, and being part of that. You're practicing what you learn from it thoroughly. You understand the text and deeper deeper levels, and you're passing it on. So you're becoming part of a loving stream of the Dharma that is good as you. It is an as-not, it is passing on, communicating from somebody more experienced to somebody less experienced. This person less experienced hiring you learn well enough. They're going to surprise their lives for the other more experienced and they'll pass it on, and so just pass it on. This is what transmission is. You can get quite a bit further, a bit elaborate, and they've just set a more willing, rich or less about, you know, empowerment, to transmission, but this is a bit hard as passing down this. And to mix my metaphors, the texts are the DNA of this loving stream, mixing water up with biology, but you know, the DNA of the Buddhist species, you know, species is a stream that passes down from generation to generation, and it's got a kind of core, hard light as it goes, boom, boom, boom, boom, boom. Woven through every cell, hasn't it? The texts of the Buddhist traditions are that, you know, they're not the DNA. So the terra vada has a palikana, a lovely collection, and we all know, you know that, you know, the palikana. Three baskets, sutra, and the stories, the bit of meat sundae gets a teaching, the finaya, which should be a list of monastic rules, but is also lots of stories as well. It's great, rich source of information and teachings. And the abi dharma, with the sat-down and just abstracted the hard core of everything. I hope that somebody's glad it has, but this is just David's, with seven valleys of dry bones. (laughing) The Tibetans have the kangaroo and tanger. You've seen them in monasteries, big-bound books, big square cuties, you know, come back and watch them some Tibetan, you do. (laughing) You need a yak, you do. (laughing) It's collections of sutras, tanshas, comaches, there's bits that are akin to the palikana in there. There's bits that are later in my hyana. There's all this obscure, tantric stuff in there and streets of comaches, you know, so 15 hundred years of Indian stuff, no further years of Tibetan stuff. (mumbling) Pure land, Japanese pure land, have the sakabati sutras. There's visionary realms depicted of dual, dual, dual plains, dual water, dual trees in a perfect land where the bit of Amitabha so brings people in a perfect condition to get enlightened. And you arrive there in the practice of the perfect condition. You pop out the lotus, you know, the messy family relations, when you pop out the lotus, you're ready to start learning and communicating, teaching, and then dive back into the lotus, sort of the rest of the reserve. And that's the upticks. There's our visionary realms, our faith, spirit. And there's then two other canon, yeah. Stephen Hying, isn't this our scholar, we've known a few books on Tibetan land. And Zen, but it's the Zen canon, and the Zen something else, but Zen scholarly things. But we're showing that, Zen traditions are much wider than our kind of beat, happy version to think of a Zen, yeah. We've got a story of the guy burning the books and throwing away without water later, you know. Zen traditions got a bigger collection than any other Japanese group. And they know it, we think, do again, we know that do again, we know that halfway, we know about Ryokan, you know, the Zen people that we need to cover that a lot. They all had a big breakthrough with the lotus literature, the text. So here's Sam, here's something knows, here's a Chan master, Shen Yien. He's in Taiwan, he's got the Chinese culture, and he had a free China, got his rights interesting book. Chan, that's Chinese Zen, but a genote, is not something utterly distinct from the citrus, much less antagonistic to them, but it embodies the very insights that the sutras seek to express, allowing for a profound, complementary, complementary between the two. What is stated in words, in the good of scriptures, will be confirmed, in fact, in the course of Chan practice, by what is experienced in Chan practice, will resonate immediately with what is written in the sutras. Today, when he has many American students say that, as practitioner of Zen or Chan, they do not need to learn or think about the Buddhist sutras and their teachings. Just sitting in Zazen is the real practice. Reading and studying written words is for soulless pediments and academics. In China, Korea and Japan, where knowledge of the Buddhist teachings was widespread, such a reflection of the written words makes poignant sense. This, however, is a dangerous attitude in a culture that has no native traditions and is the Buddhist learning of which to speak. For silence, in and of itself, is anything but innocent or neutral, much less free of ignorance. How much more problematic it becomes when it is blissful? That's about a good old hardcore original Chan. There's a lovely image. I can't remember where it is, but a book of Buddhist pictures, it was a photograph actually of a sutrasé monk. I think he's just qualified, or he's about to qualify, or he's just finished the apprenticeship. But his task now at this stage is to lead a monastery and wander around different monastery. And he's got everything he needs. He's got like a Buddhist squad. He's got all the packages and things all wrapped up and packed away, you know. To address what they have you have and change it on the way. And he's got stratus prants that kind of edited versions of the works of dole then or the whole year of high school. This stratum is matching across the Z-mountain, his Japanese mountains to monitor the monastery. I love that. You should do it yourself. It's one of your dangers. You have a copy of the center sign in action. (audience laughs) You have a toothbrush, a change of hands away. And you have to water for a whole year round, different monitors, different centers, and the trick centers. Bining, you know, the best may it is. The best we used to do. Ficking up your stuff, you know. Gonna do it. That's how he's good in the house. Sort of right up to Glasgow. (audience laughs) That's how I'm acting. He knows over here, which are right there in there. Roger Darshan. Oh, Spain, next drive. (audience laughs) No plate, you have a walk. (audience laughs) That would be good, you know? So, important, this is a tradition in there. So, important is for our practice. We're training our minds. So, the study of texts, as Shania has told us, it's every bit as important as a meditation. So, our mind, if you think of this clutter, it's our mind, isn't it? Opinions, views, identities, likes and dislikes. It's like a shelf of brick up around in a charity shop. It consists of whatever's been handed in. (audience laughs) I ever saw if someone was buying something. It was at the site, and something new comes in. If you observe yourself and mine was longer, you see this to be true, right there. Always change things. If this is really new, then I really am. We get paid out, isn't it good? And we go to food or what direction. What we have actually paid attention to, we become. What we fill our minds with, conditions are experienced. It has a big flavour of that experience. That's what I've had at Stanton. It was first two verses, that's it. We go out and mine goes on, that's it. And so it's been, and it follows us. The next piece follows the mind. And it can't be recorded with ox, it's people. I was noticed by at least being dastardly what to do with the old six Star Wars films. And it's like, the cadence I've been about. You can jade out to the street, but it's not quite good. Shh, shh, shh, shh, shh, shh, shh, shh, shh. A subtle flavour in the way that people respond. This centre, isn't it, like against the empire. You know, it's sort of faint. (audience laughs) It's a bit of sat-in, but it's a great long movie, isn't it? To read, shh, shh, shh, shh, shh, shh. Oh my god, it's too much flavour, that's it. It sinks, I mean, it's that kind of thinking that thing. Feeling that flavour by what we do everyone. And it's ongoing, especially in our culture. But tea, and radio, magazines, novels, adverts, opinion columns, for pentermen, yeah. Facebook, all sorts of things. As always, information coming in, yeah. All sources. And all come with a bundle of views, a little package of them. A little leap-oriented, and leap-programs, and leap-programs, and often with perspectives, a country with respect to the Buddha, a country with respect to the enlightened mind, behind the end, and the real text. There's questions about it, to think, what is the proportion of a reading tongue just when we're doing it the hammer, yeah? And you can tell that, but when you come across, it will dream that you have the area, or the ones that are given, such like, are they familiar, are they kind of, there's the wether stream of where mind's going, or the country, yeah? Are they wether stream of what we hurl the minds with, or are they going the other way? Are they kind of cross-currents, and against the cut of the country with the carriage, you know? This is due to how much our little pain we spend for another guy, himself, with the hammer. It's like talkers, we're like talkers. We taste the folklore steeps on them. (audience laughing) You and mind has no character, yeah? Talker has no taste. (audience laughing) Talker can be a disaster on a meal, or a success, depending on what you play with, or if you and mind is justice. So we spend more time reading newspapers, hello, my goodness, what are you talking about, what are you talking about, what are you talking about? Novels are new scientists. The scale is, I don't know where they go, but I think you said I could be a scientist at the top. Then Dharma texts, then that's how we'll think, yeah? That's what we'll be in a book of action. So it's a practice. Reading the Dharma is a practice. It's a matter of learning bits by heart, getting a gist over it, yeah? Just taking little bits and just having them, and then over and over, becoming deeply familiar. I've got the best example I know certainly years of, 30 years of a heart circle. I guess they're the same scientists. Like, you can't separate it because I don't have a heart circle. They're totally minding me, I think, but they're really, really. Perhaps the metas who took one of the poems, they went like those rather proudest translation, or adaptation of different translation. Bits of the Dharma pattern, it could never cease to be treated. It could cease only by love. This is an eternal truth. That's very handy, isn't it? It's handy to have that really, you know, there are times when you need it. It becomes the earworms in our head, and generally it's talking about the general, isn't it, for the little tunes that get stuck in your mind? What comes up? Is it a bit of a doubt, I don't know, or is it? That touch in the void, isn't it? Is it very late, very late? It was a brand-new environment. That's what comes up with the quote, was there, because you didn't know that, you know, preserved choice, isn't it? And what in a heart, what a heart resorts to in terms of idleness, like little earworms, are things of crisis? You know, it said, what's that place? There's no atheists in a foxhole. So what is the practice of a Buddhist? There'll be an atheist, and a foxhole could be good. And that's better to do your practice, but very well, the way you see the deep, I'm just saying, you know, are you going to resort to older patterns of aligning and everything? Got a bit of Bible in there, but you haven't got the latest one. It becomes the current of our lives, you know, to put up here's no dreams, you know? The Buddha? What a wookie? Or is it Mr. Dassey? (audience laughs) The last day, James, for some of us, Mr. Dassey, we've been named for the dreams of Nate, you know, what quote comes up, you know? And we really still, he's talking of, you know, these masters, and nuns, and monks, and they have these profound dreams and visions, you know, so do you. It is up here, and the whole room, and then it's bare old, crystal, and great things happen. It's like, think about their arms, to me, well, it's up to us to be like the conditions, to be this dancer, but everything, yeah? That's being that becomes, you steep yourself and down in perspective, that's what time is up. Around the wookie, okay? Such reasons for studying tanks? Primary and secondary tanks of Buddhism. I think in images, in image it came to me, it was a last November, and we got over a year for the order we came, and we passed through Avi Moore, and we got just lovely places, outdoor center, going to finish up the hills, and this thing with a high street in Avi Moore, it's up there in the '70s, as a kid, we used to drive up being farmers, you only get to go and hold you in October, but then everything's shut, so there's a busy old summer, but we'd go up and visit at Avi Moore, and we're going up there this year, and something we can't be able to achieve, and change. Oh, definitely. Fashions come, and go all the more, bows, and information sent, and all the things. Shifts, it's transitory, yeah? The street changes in the style of fashion, and you're up behind them, right, with the key and goal. Something much bigger, much older, much less changing, and the very reason why Avi Moore's there, why the key and goal and bio are always in parts of the year, and in cafes and such stuff. It's the same with Buddhism, it's not, there's many common sheets, with all these latest studies, academic analysis, using the most up-the-date way of thinking, used to structure this most post-modernist, feminist, and Marxist, of late-style psychology, used to analyze and explain Buddhism, and then it passes another thing, comes out, yeah? A practice language, you know, the latest new techniques and approaches available in youth, a new style, even their mutations adapted just right for a contemporary life. Me and Tom were involved in this sort of kind of design. The book there, which was wisdom for the '80s, was the teachings of something for today's age, or the knowledge of today's age for the moment, and it was a design that's sold now. (audience laughing) Now maybe it's not even now for the '90s, but it probably looked pretty good, and really cool, and it's like, "Oh, internet, oh, save on it!" Or, of course, I've got all these things, but we'd bite it and it all. Me and his book went for a pound, you know? That's like 15 years later, probably. (audience laughing) The changing, the coming goal behind them was the classes. I mean, there was colleges in Buddhism, current adaptations of Buddhism, applications of Buddhist teachings, mathematicians, such like theirs, the socials, they were all comfortable, same as all these things going at their work, but something to do with these mountains up behind them. And if you speak around this spiritual community, something around this one more than that, is that a scene of fashion's coming over, and it's been a problem, 'cause we can get enthusiastic, and I'm just all de-jaded and kind of, "Yeah, whatever, I'll pass them." And it's kind of not quite fair to people, we're not quite fair to them, but enthusiasm's not quite fair even to the benefits of finding them. It's quite hard to keep up, but I get a little less to what's passed through in my time here. This is just some of what I could remember, but let's keep waiting all day. After a good time in this pathage, Carl Jung, Keneel Pite, Tick Matt Han at least twice, Nam Ka Naga, Patrick Haber, with demonic realities. Yeah, Hado, with his velocities away again, Don Cupid's on Death of Goldsir, Steven Bachelor, Pick up with Death of Goldsir, John Cabot's in, at least once. Lari Rosenberg, Masha Rosenberg, Joseph Goldstein, The Bailama, at least twice, they tend to agree. Richard Dawkins, Richard Holloway, Jack Comfield, Reginald Lee twice, James Hellman, Chance Salzberg, Charlotte Jubyb, Pen of Children, Rodak Lai, Zootram Allioni, Wilford Campberg, snap his lair. One of many people got into this committee if you will be able to read. David Smith, I pray Ashanti, David Adams. Real common algorithm. With it ball breaking and sex and the forbidden zone, we've had shamanic journeys and speaking from silence. Zok Chen, Zaim, and Feeding the Demons, NLP, DBM, NBC, NBCT, NGSR, and MRI scans of the meditating brain, non-jule, neo-advisor, and focusing. No, it's not a criticism. Any of those, yeah, 'cause that would take years of research, you'd have to do them all to know what to know, right? And there's a detailed procedure we don't have time for. Maybe just a thing that people need at some point for individuals or people, and they'd have to ask them, you'd have to listen to their answers. It's not that one, it's not just like the changes. Things come, and things go, yeah. And put all carrots in, and put all just a toastie. Well, one day, read, like the Victorians, come, they'll all go and post-restate it, and it has my calorie in the steward. With a set of potatoes, so the meat is so good, and the heart's so true, and the lot is so true. They'll still read fresh. People still read a little bit down, and write an equivalent to contemporary English, and they'll still read fresh. So if it can't go on still, we'll cringe. With that bar, I'll start a little bit jaded, and I can read a little bit of maximising on the steward. Primary takes are deeper than any study of them, or any practical application you can go on. You have to enter the atmosphere and let some impactfully. Accordingly, our study will tend to extract information, and tends to analyse a download down to a merely rational, or a merely functional level. It reduces the misses and nuances, and the misses suck like the phone that are symmetrical. The key and go on to the effect is suckling. Don't you get off the high street and enter the key and go on? The countryside slows down your mind. Some accounts to the yawning, the awareness of it. You're under control of something steeps, and the levels are not aware of. In a classic bit of text and sounds, the effect is suckling. It was on the treatment of really the Madonna's tractors, of going through stages, of peeling through stages of the spiral, and somebody's describing how you did it. It was quite lame. All you do is stretch the image of being like a pigeon, suckling a bush, but not landing on it. So you're going to hold him lightly, to be set with, and depends upon faith. It rises to the yawning. But being like a pigeon just peed. When something sinks in and then you're going to the next way, it's a very strong fact. And we're recited in the context of ritual, that we do a half-so-trans picture. And when we're doing that, we share that with a lot of Buddhists. The defense do it, the zen verse do it, we'll be dealing. We'll memorize text, we'll reflect them, we'll be offended. We're going to power them, we'll find a deep frame. And you go deeper and deeper into the text, all the way to n-sign. If you stand in the rain, you get weighed. I'll talk to you about this later. I'm talking about this, something you might be completely bamboozled of computers, but it's one of my favorite things, so we'll talk about it with my partner. So kukai, kukai's description of the Mahavarochness of Qing. So kukai's Japanese, it took a rare form of ancient Buddhism into Japan, the illest form of Buddhism in Japan. And it was this text that there's sight, and the beer, and practice. And he says it exists in three versions. It's an abbreviated one that they've got in Japan, that they're using translation in Japan. Each version of the Aztecs, it's a piece of can. And there's a huge legend, you're ending one of 10,000 vases, written down by Nagajima. And somebody received it from Sabuda in an iron stipper. So it's not quite a normal text, does it? And there's one, this vast, boneless text, that exists spontaneously and permanently, and it says, namely, the mandala of the dharma of all the buddhas, consisting of all things of the world as its letters, the ultimate scripture illuminating the principle of the emptiness of all things. It's not so entirely a different layer of text. There is nothing in the world that we perceive it with that, or not level, is no less citra. We're all-- we're all letters, making up the citra. So it's the same text at different levels of understanding, a rational level, an imaginative level, and then this profound level in which we're going to take so far as it was done as a residency of text. It's everywhere, but my cup of tea is a citra. Going to bed now, that's it. Okaka talks about the shot of abbreviations. He says, how abbreviated it may be, it embraces in its gravity comprehensive broader text. That is because it's each and every word contains countless meanings, and every single letter, even every single stroke or body, much as Chinese writing, encapsulates within itself a new mode of truth. The way God isn't like a fact written down in a piece of paper. There's something that a deeper and deeper reading is of, and the text unfolds deeper and deeper truths. He's doing it in an artist's account, so he's doing it through the visual images that each stroke contains in his book. He did it the other way, it was to us, essentially, and it was. And so one is reading the vast, boundless text. We're going through the text into reality. One sees the inside. One sees the truth of the citra and everything. One sees the way things are through that citra. So an event, like a citra, isn't just for what's in the page. The page is the doorway. And it winds it wide out in deeper implications, all the way to reality, through nature of reality. There's a doorway of communication that's been crystallized as what symbols. I believe in the bounty on some of the seminars. He's talking about the use of visual icons, to be an icon, but what? A conceptual icon. Using concepts, it will be one concept. It's either taught to the house, or it will get that in the door. So the doorways go in both ways. It's one of those texts. One way, the enlightened minds communicate into the unenlightened house, through symbols from direct perception of reality, through the symbols of the works, and concepts to have an energy that's contained in the novel. In the other direction, the unenlightened mind is us, it's ancient, through understanding, reflection, into insight, the other way, towards enlightenment. That's why texts are revealed, that they're the way into reality, the way into it, the way of going from that which is written. And this is why we're written, not for information, not for entertainment, but as a spiritual practice, to grow as individuals, and ultimately, all of all spiritual practice, to become enlightened, and to be free of something. Thank you for being up up in another talk, come here. So here's a lovely little thing to end this for. This is from Chaney's website. It's then versus a VC, before we start studying, on opening the Citra. The Dharma, incomparably profound and exquisite, is rarely met with, even in hundreds of thousands of millions of years. I am now able to see, listen, accept, and hold it. I vow to understand the true meaning of the tatakata's wonderful teachings, homage to a teacher, shakum, and uba. They're open up for the series. So now here's my bit. Took the nipata, it's a nipale cannon. It's just one of the collections at the time of After the Buddha. There's various records, oral records, quite precise oral records. In a country where it terrains, eatfins, and milge you at the monsoon, eats, you know, palm leaves, or Dutch back, it really used to make books out of, get munched up, and match them once. Then, remembering something very precisely, having someone to check the language it writes, and passing on, is better at bar of accuracy than writing it then. We don't think that way, we think it's a strange book. But these oral tradition, in a sense, we run into a place where there was. And different versions of it developed. And the one that survived the best, of course, we know is the Pali cannon. It's a record of an oral tradition. It's not even what was spoken, it's not even the language it was spoken around at the time. Pali isn't that one, no one ever spoke Pali. Pali means something in text, or written, that's what it means. How it was codified. So, close to what the video was spoken, but probably not the same. And it got survived in Sri Lanka. It survived through collapse of those in India, almost a collapse of those in Sri Lanka. I think it got back from Burma at the same time. Written down, it's a story of mistranking clinicals that have seen that the people who are just in South India are Sri Lanka, were becoming less inclined to religion, as this translation has it. And it's realizing to preserve the teachings. Because, like, it's sort of just a part of general memory. It's got codifying it. It's got a good aggression, famous tehra language teaching. Me, it's famous for being a final coder time. It's a great mind, we've got the Pali cannon. It's got all the commentary straight, and we're going to tidy it up, and pass it off in different areas. I'm quite lucky with English language, speaking English, because we've got some of the earliest translations. We've got the Rist David's Guild, Plucky Victorian. And there are Victorian tweets, wherever they were. He's quite potent in Sri Lanka. He was a judge sent out to, well, just to be a part of the judicial system in British. So long, you know, he sounded looking and said, also look, the law is out of strength as a civilization. How's it going itself? And he came across with an eye, and a master group. And he's got the fascinate. And of course, the story's in there. And he starts looking into the sentence. He starts looking at the Dalai Lama. Before you know it, he's learnt Pali and started to translate it. That's why he did the Pali text. It sounded cute for his work. And he died quite well. And he was white, took one. And the sea kept it growing. Caroline Rist David. She won a violinist's favourite. She always stands up. And though she was quite, quite he read a poem. He's sensuous in our presentations of understandings of enlightenment. But she thinks he's got something. And she says, whenever I see one of his books, I can't deny it. Whenever I come across one of his books, I try to buy it. He's making a collection. He's made it as many possible books on his books. And I know he has a lot of them. But what we've now got now is two popular translations of the sit-in-the-part of the age. Salutation. A pair of ebb and bicker, and E.R. Norman, part of the Pali text society. I was like two of a text. You've got one of which needs easy. And as we made into flowing English, he's added bits and makes it run nice. And then you get the hard core stuff. There's nothings in here, it's not in the Pali. And it's brief and a bit of tears and a bit awkward. And it's got alternative translations by other people. And they're going to be this deep version. It's lovely to do any study of them just to have both. One at night, doesn't give you a headache. And one, in the field, you can trust the ones. And together, it's a lovely time. So it's not like readability versus accuracy. So you've got two, you get some voice text. It's like, you're putting two versions of the languages. Really scholarly, how's the fit notes? The moment it's like, oh, it's really easy to go, what is this? What do you say? What's the Pali for that? And you'll find, also, access to insight. Here, Panasado, an American terabyte of bucket, has done an announcement of work. And there will be no access to insight. And you've got about 1,000 cities. There's a big chunk of the Pali canon on that. And you lose days, and once you meet something interesting, you've got links to other cities of similar themes. So if you're looking to, no, where's a stereotype thing? Is it in Pali? Oh, so let's answer them off you go. And then links, links, links, and out you. Hours later, you've lost the whole meaning. Lovely wandering food, which is at least bloody late. They have a lot of others. Two in the pattern, it's part of a crudica-- crudica, macayo. So it's five macayas, five groupings of the center section. It was the big ones, it was the medium length ones. There's the ones that are arranged by numbers. There's ones that range by kindred sayings or similar themes. And then this one says the collection of little text, the little tansaros translation. Little but packing a mighty punch. What you've got in there is the udana, the ettabritica, and the dana parada. Each one of these, along the second part of the life, and the mighty punch, it's smaller, doesn't it? A small size, but heavy does it. And what these are, they seem to be are kind of pre-budders, budders, and macayo budders. It seems to be, the language is simple. And the lit and the maginma can begin a car. Sometimes you get a text by a wiggle. You get big chunks and blocks and quality phrases. But when it's ready, when you could put that in, that's what you put in. You're walking in big blocks. It must have a very version of computers. And you can cut and paste, if you're fake. Oh, the Buddha's talking about sections. We'll put that one in. And it's like, it repeaters out in very formulate ways. Now, there's a precision to that. Sometimes you get a lot of the drawn wrists that really explore the trend. But in this, in these, it's right back to bare bones. And it's right back to something surprising in the language. And the favourites are bounties. People are saying they're anxious for this reason, because you get closer to characters and early Buddhism. Yeah, and it's got a flavour of the early Buddhist lifestamps. And before, the monastery's got the cool things that make an elaborate and rich. People are wandering from village to village, living on the trees, living in abandoned shelters, lots of legs, begging, very simple, and a very skilled life. And this, in a way, is as close as you can get to what they would have been teaching, what they would have been practicing. Short-pity text, simple direct language, straight to the poem. The record of a lack of renunciation, meditation, and insight. Here's an example. The enlightened one, intent on jana, meditation, should find delight in the forest, should practice jana at the pit of a tree, attaining his own satisfaction. Then, at the end of the night, in the morning, you should go to the village. Not delighting in an invitation of gift from the village. Having gone to the village, the sage should not carelessly go along families. Cutting off chatter, shouldn't utter a scheme. I've got something that's fine. I've got nothing. That's good. Being such with regards of both, he returns to the very same tree, wandering with his bowling hand. Not dumb, but seemingly dumb. He shouldn't despise a piddling gift, not dispatch to get up. And this is tanniciles, we've got the gushy's around. So it's raw. There's more varied language used from tree jargon, you can see in there. And later, texts get longer. You get more formulaeic, we'll see. And this one's got little sitters like the parlor, well, isn't it, the struggle in which it covers the life of the Buddha up to his enlightenment at each. And it's just life. Good Lord. These four gets on, gets in the line, breaks through. That's it. They're not these huge big mad bastards. I love they've got a roll, but this is like to the core. So if you like, you've dialed my simple and no-known since this is your case. It's going to pass, it's got five sections. It's going to be named as the chapter of the snake, all that, because the very opening of it that describes the picture with a practitioner is to let them go about, thing after thing, like a snake sheds an old skin. Let them go, let them go, let them go. The finest chapter, the great chapter, the eats, and the lovely way to be on. So going to summer, you can just get the rough outline. Unless you find some old favorites, you will do that. That's what we're listening to in the meditation part. Now, the mecha sutta, we had the mind of the sutta. These are part of our dynamic reading button. We studied it. We studied it up in our community to treat out our community. And several records you can find on people who just already have a seminar and have a volunteer. This can all go lots of texts out of the sutta in our pattern. We'll do the metric course, we'll go through the pile of camera, and we'll do the mentor, so we'll do the mind of the sutta. To keep your eye open, if you see, if you get a chance, study them on the retreat, and a day here, in the center, or metric classes. Get a proper introduction to when we're singing. It's a proper introduction. Get a proper introduction. We get the ruchina, the only verse on the sutta in the pattern, if I don't want to get in there and listen to what it's doing. So the text, a lot of them, we'll look at the right length of the site. What I keep saying this with a lot of the text is that the fact of things is that the right length of the site can be tactical to use in a recitation, a good job, a gathering. There's no accident. What you've got here is something that we're a kinta song. You have that ornetta sutta, especially the mindless sutta. You're in Stravus, you're in the pilgrimage. There's bony's back here, there. And every camera, you're just sitting there. And I'm sitting there into the orange crease that we've written from these holy sites. He's going to come in and sit there and read for you. And we started to sing in the same party times as it's called. So this is a protection taken from the pile of camera. And our blessing, I just was sort of sharing this. And India, I want to tell myself, it was later a read up on paradise. But if you hear it, Mango, I'm over and over again. So you're hearing the one that they're wearing. And they're sitting there, sitting there, and then just a girl. And the meta-sutta is in the end, there's one. So they're kind of, they're all sort of song, they're songs. It's an Indian production. And that's the Bollywood note. There's no film with that song. I'm going to try and show this big two and a half hour long. I quite see it's very much about Dr. Mbaka. And it's like the valid version of Gandhi's song. Yeah, Indian version of that. I mean, they might just be the song. I really see this particular song with like decent printed tablets. Oh, OK, good. It goes in the middle of it. So it's always going to say Indian culture. I love to say, I mean, Bollywood. So it's not doing a modern circular period. I mean, you look up Gary, Ali Khan, we're all going to die. We're all going to die. We're going to imagine these are some kind of way or something. And this sounds lovely, even in translation. One of the things translation is about trying to taste something through the celibate bag, isn't that good? Gets it, but we want to use a selection. Beauty. Then Ben Roblant Van Giza, rising from his seat, arranging his robe over one shoulder, faced a blessed one with his hands, palm to palm, in front of his heart, and said, an inspiration has come to me, blessed one. And inspiration has come to me, one well gone. Let the inspiration come to you, Van Giza, the blessed one said. Then Ben Roblant Van Giza praised the blessed one to his face with these attractive verses. Speak only the speech that neither torment sell nor does harm to others. That speech is truly well spoken. Speak only endearing speech. Speech that is welcome. Speech when it brings no evil to others is pleasant. Truth indeed is death and speech. This is an ancient principle. The goal and the dhana, so say the calm, are firmly established and true. The speech, the awakened one speaks, for attaining unbinding, for attaining rest, for making an end to the mass of suffering. That is the speech on itself. So it's literature. I was just reading through Van Giza's book, a lecture, "The Glory of the Literary One." And he's launching, I think, to 10 legacies of his analysis. It is kind of, some way through all the text, from how they came and read through to almost time. It doesn't bring to that much. But he's talking about it as literature. Does he do literature, doesn't he? Or have to pay attention and be a good person to give, and learn like truth? It's like you enjoy it. That's the first thing. It's just find the beauty, the quality you get, or pull in, or the novel. I think that I missed. And then his advice was kind of quite practical elements. He had that bit in the mind of the sets, it was like, this is the most suspicious thing. This is the best thing. It's better than best and best. No way from being responsible and finalist, to the meditation, to have to pull in, to enlightenment. Just this, it's all the good things, and the goodest things, and the goodest things. It's sort of like, cut it out, stop, and behave yourself. You shouldn't do this, you know what I'm saying. There's practical advice on every aspect of life. Here's one on grief and feeling death. Let's try it again. Okay, it's from Tana Saros. Hence beings tremble here with fear when they come into the power of death. Whatever they imagine, it comes out quite differently now. This is a sort of disappointment to possess. Seeing a dead body once you know, they will not be met by me again. One who seeks happiness should withdraw the arrow of one's own lamentations, volumes, and grief. By not abandoning sorrow, but being simply undergoes more suffering. Here's one, I'm gonna get full of ourselves. I'm gonna attempt to make a loud noise about realizations. Listen to the sound of water in the cleats and in the gullies. The tiny streams gargle loudly, mighty waters for the word sounds. More in pleasure, because he's the Buddhist's very own kana sutra. Quite different from what goes on downstairs, or... Richard Button's translation, in the love manual, he's the Buddhist version, a bit of it. If one lying for sensual pleasure achieves it, yes, he's enraptured at heart. The mortal gets what he wants. We can't deny that, can we? But if for that person longing, desiring, the pleasures dismiss diminish. He's shattered, is a shot with an arrow. We spend a life denying that one. I want an avoiding argument, if it wasn't personally for me, my contentous, argumentative moods. No, it's not, it's not, it's not, it's like this. (laughing) To the actors here, we tell 'em who I was in a very morning, arguing away with them. What was the time, anyway? When dwelling on views as supreme, a person makes them the utmost thing in the world, and from that calls all others inferior, and so he's not free from disputes. Where he sees his advantage in what's seen, heard, sensed, or in precepts and practices, seizing it there, he sees all else as inferior. That too, say the scale is a binding knot, that independence on which, will regard another as inferior. So a monk shouldn't be dependent on what's seen, heard, or sensed, or in precepts and practices. Nor how should he conjure view in the world in connection with knowledge, or precepts and practices. Shouldn't take himself to be equal, shouldn't think himself inferior, or suffered, abandoning what he had embraced, abandoning self, not cunning. He doesn't make himself dependent, even in connection with knowledge. Doesn't follow a faction among those who are split. Doesn't fall back in any view whatsoever. One who isn't inclined towards either side, becoming or not becoming. Here would be your thing, who has no entrenchment. When considering what's grasped among doctrines, hasn't the least preconceived perception, with regard to what's seen, heard, or sensed, by whom, with what should he be hedging home here in the world, this Brahmin who hasn't adopted views. They don't conjure, don't yern, don't adhere even to doctrines. A Brahmin not led by precepts or practices, gone to the beyond, doesn't fall back. And there's plenty of, this is the next section I've got strong, incapable of, hardcore Dharma, yeah. So hold onto your hats, what we've got here is a hardcore piece of the certain pattern. And there's a translation under the team of Australians, it's available in the middle of the pre, and there's a little champion, there's a little bit of, the reason it's got these few texts, you can download them with Pali, 'cause it's part of a tale by the tradition, a tale by the very generous, you've been lots of free books, and online, and this is done by the Australian team, and they've done it, they'll be using Australian forms of speech. So what you've got is a certain pattern, which is quite a straight-talking hard pattern, times Aussie straight-talking hard pattern. (laughing) Right, you ready? Start yourselves in? - Can we get another Australia accent? - I can, no. We've only got a New Zealander with us, we'll do another quarter sentence with you. (laughing) The cave. What only desires so hard to give up? Look at you, stuck in a cave, surrounded by every kind of form, sunk and muckiness far from freedom, your longings tie you up and not. Sense pleasures scare you, you yearn now, as you did in the past, and the well in the future, no one else can release you, you're greedy, intent on desire, infatuated by desire, meaning you're on the wrong track, heading for a bad time. (laughing) You will, what will happen to me when I die? I see you trembling with desire for a different state of mind, a sad wretch, muttering in the mouth of day. Look, yourself obsessed, flapping about like a fish, and a drying creek. (laughing) Be here in this moment, keep clear of what you know is no good, life is much too short. You've found a middle way, completely understood, how sense impressions link us to the world, given up greed and act now only with a blameless heart, in short your wives, unsullied by things you've seen and hear, free of opinion, tradition, audibly, you've seen there's no significance and forms, you're free, untrammeled by possessions, and pickably mindful, the barb of existence extracted, longing neither for this world nor the next. So we're getting to the core theme, don't claim to any state of mind it's a line in the outer cave, so that's a line in the cave. The cave's part of this section for eight's chapel, and there's the inner sanctum of the text, this is the habcro of the habcro. There's a current tone that runs through the book, a tone rather than a theme, and there's more than no theme. And especially in this section, the octets or the eights, and panisero crawls at 16 poems of the non-cleaning. And basically, if you want freedom, let go of attachment. And there's some body in this style, a whole tone, especially in that section, it's a tone of letting go, simplicity, freedom. Remember, I'm reading, it doesn't have a pocket right here later on, but it doesn't have some talks on this, to do in Athens, but it's in this section. I thought we'd do some studies, a couple years ago in Darnaday, and Bill was there, and Mike was there, and with Sada, and we'd read it out, and they would be quiet. I mean, there's another one out, set and quietly look at each other. And it's not as if we were bangers, if it wasn't like some of us just for us, if it wasn't like some of my stuff, we've got to really wrap up in, and get the books out and addictions out. There was a lot of progress to follow, at least we've followed it well enough, at least in a natural way, at least in a conceptual way, but some of the very text took away everything we had to see. I think you come out of some of these texts with less than you went anywhere. Which I think is a really important character for these days of sensory information, although I think the health of humanity, every shopping center should have a shop in which you leave things behind. (audience laughs) Correct the balance. (audience laughs) It's always the charity shop, doesn't it? But it's like, yeah, 'cause it's an imbalance, you're kind of taking them more and more and more and more, and then with these texts, it's like, it's kind of a purpose, it's like, I'm just looking, it leaves you to less, okay, and go on to mountain, it leaves you to less, don't you? How would you go any kind of space and quietness? And these texts, it's not bleak. It's been engaged in a positive emotional state. It's called as much to kind of love, respect and faith. The mind of Shraddha met, confidence, faith, well-wisher. And then, this quality of less and less and opening out is exhilarating, premium, and if it comes a sense of ease and bliss. Well, it's done, it's still relaxing. (audience laughs) It's a story, I'm not sure a story, is it American, Zen, teachers, or point of their own, create vision people, do you know? Right, I still have somebody visiting a school, a village doing a school visit, and asking the kids, oh, would you wish for, they would make you happiest. And they're all going, a bank, a rest, a lot, more peace, a scale of more and more noble things that are worn. And the mind of me is a children's prayer client, I remember this Dalai Lama's visit, ACC, and all the last four skills must have been involved and then, what's the prayer flights on? It was all, like, world peace and peace and everything. I wonder what it was, I don't. (audience laughs) I don't know, so. Well, it's not that noble, but maybe it's not that honest. (audience laughs) Anyway, that was kind of what this teacher was doing, this visiting teacher, this village visit, this girl. And one of them said, and this knocked them back, and this is what they were talking about, because it made them really think. One child said, to not need to wish for anything, that would make us happiest. (audience laughs) 'Cause what you think of leads on these things a bit, is things a bit homeless. You know, leave the dusty length of the homeless, break out, read possessions, leave, claim connections, what do you think? You're losing your toys, you really know things that value. There's another level, you know? It's not like wishing you had a miserable time, so dropping out old, wishing that old yelling in that old plane, that, something much deeper. You let go, there's a sense of freedom, it's a threat. Only to degree are stuck to things, and they're stuck to experiences, and texts like this, they show up, patterns of crying, you know? So how are we going to go up and say there's something about what we need to do, like over the year going to go up and she said, "You're overweight, "you're really overweight." And then she apologized for saying that, I thought, "You're supposed to tell me how she's paid for it, "to tell me how far it is." But it was like, it was like getting offended at seeing a fact, it was these texts in a bit or so, we get offended because the tailing is like it isn't showing up, our level of attachment, and the reactions are coming with, you know? That, that should have the patterns of crying, shows up with a snag. It's what we're reacting to in the years. Let me think of do-er-beliefness. So it's a matter of letting go of the do-er-beliefness, it's as much, you know? It's a matter of letting go of letting go. It's not pleasurable, it's creating to repeat the pressure. The identities we add all in to experience. So this is something much more profound than just a match of lifestyle. It's not a match of shaving a head off, a head off. (laughing) This is what I'm talking about, you should be a hair off. Yeah, putting on an old ragged robe and sitting on your tree. Yeah, it's not so able to be in season. Well lifestyle, it's not unimportant. It's not about that, it's about an attitude that we bring to every situation. It's not a attitude of wanting not to claim. To be with experience, enjoy a direct experience, reapplying and fixing. Enjoying the freedom suffering that comes with that. But you can listen to right in the goodness of talks. Here we are. It was just, it wasn't in again this time I used to give him his talks again, 'cause it's so good, I've not thought of an old. So that would be him. Manchester did a sense of sight. There's four talks on beyond one to four. And they're about letting go and letting go of letting go of all that fun. And they go into just really where I enter those sections, especially the eighth chapter. And then in the Buddhist audio, you'll get his talk, the early teachings of the Buddha, which is going to sit in a pata again. He's going to start a comprehensive session of all four of these talks. And he gave us an international tree for the last time, a pot international tree, two years ago. So they're well worth catching up on it. So these little texts that make up sit in a pata and their spare minimal weight contain the heart of the dhamma, that a doorway, very quick doorway, into the deepest levels of the dhamma, of the stream of the dhamma. So all the perfection of wisdom tapes. And the magic meeker and the magic mackings of their elaborate logic shopping. But they are going to hate them in the same direction. All the zane stories of the antics, all the Mahamudra and Zabchan and all the tantric symbolism and ritual. And with a few life-scars and pictures, the craving and claim leads to re-becoming and dhamma. And all that is held of going through this intellectual at all last point. A little bit. There's no measure of the one who's come to rest, but there's nothing by which they can speak on them. When everything has been completely removed, all the pathways of speaking are also completely removed. And the Buddha and the sirtan pata, it's with the bantikals of disappearing Buddha. You can never grasp this thing. It's a discipline. Nothing's graspable. Then it ends, right. There's a little adventure in the last section in the way to the Biorgens section, chapter five. Babri the Brahmin has been cursed by a rival Brahmin that is a head will split the park in seven ways and seven days' time, and this upsets him. He's given up, isn't it rituals? Very good Brahmin, very generous, very hard-mated, hard-cracks and garments. He'd be a bit of a rushy as well, he'd be with the neting, say, as well as a ritual, saying, "But he's given me all his possessions." And then his rival Brahmin comes, he says, "Give me so much money and he's, but I can't. "I don't buy anything." And he's really upset because he's got his duty to get to others of the same cast, never done good. And I'm buying cashism, and he's really worried, so he has a dream, and he meets a celestial being a diver. So you get a diver of a previous relative and unsexed, it turns out, and he studies. Very alike, but he doesn't. And tells him what's going on. But unlike Bahia, he doesn't do a long journey himself. He's seen 16 disciples. The gods told him this. There was a Buddha, a long distance away, in fact, from the same effort, Bahia came from, went about for Bombay area, Mumbai. He's got all the way up to them to the Buddha, as you're a good guy, how do you buy a massive? You've got to find the Buddha and ask him, "Oh, I've got this head-splitting business," you know? And they do this. They travel really far around that route. And if you're in a pilgrimage, you can down that route. And they came down to sign chief from Bombay, and then we came on and we got a janitor. That's not a failure. But they've walked. And they usually did this different two days. Obviously, they always would take the short times, like the marble comic. You know, off they go, they find the Buddha. They go straight up. I think he's somewhere like Rajgree. And some of the Buddha is dancing. He's there. He's in a cave, on his tree, and they go in, and ask him a question, of course the way. Beautiful to the master, the safe. About the head and head-splitting. Bhabri asks this question, "Please explain "what to gracious one. "Please remove our doubts or fear." And the Buddha said, "No ignorance is called the head." And understanding is the head-splitting. Joined with confidence, mindfulness, concentration, desire, and energy. We're basically saying, "Oh, this thing about curses "and superstition, and it's really rubbish. "This is what we should be focusing on." And then might be relieved, you know. And I see these equations and answers and issues. So all 16, get that done, and ask questions of the Buddha. And cover them across the floor of the subcontinent, and meet the Buddha. And there's serious practitioners looking over them, you know, just having to, we've been meditating for years, they know how meditation works. We know all about the kind of ritual life of India, and cosmology, and philosophies. So they really know how to put questions that our Lord just teaches. So they really cause stuff to do with practice. And the Buddha puts back the beautiful responses to each of his questions, answers to the question. And it ends the head-by. And at the very end, you've got a previous priest, who would be on to the bed with it, was read out, and Jerry was reading out by that. This is him. And he's the oldest one. He says that he can't travel this jungle, but he's made already worth it normally, but it's only strange, inconsistent, he doesn't use any stories half. But he gets by it, except that there's a lovely priest at the Buddha, which is a star. It's like a Bodhana Shmiti of mindfulness of the Buddha, recollection of the Buddha. And miles away, he's looking for a kilometer, and a little mark on one of his roots, and he walks out every sport that he's been travelled through. And he can't move again to go and see the Buddha, he can't travel that far, but he's worth the Buddha with him, because he recollects the qualities. Not like enough, I mean, to play to him an ideal, to play with him in the body, and light him up, and he's staying on that, and he's worth it all the time. And away, that's the roots of our sadma practice we get in the order. Let's look at the Buddha, an adventure with him, a guy who has head split, and playing out with other men. He's getting more in the bargain for him, and he's 16 of them, so he'll just pull the boulder over by the Buddha, and then that depth of devotion that that would bring to him, and then the Buddha responds and says, "This is a way of faith, this is a way of enlightenment, a way of practice, and a heart-felt, hopes in him and a living, an example of the Buddha over enlightenment." That could be a part. I'm going to end with one of the questions, one of the sections of this, with our sadma, one of the most famous, one of the most common to them. A law in the psyche, with nothing to depend on, I am unable to cross over the great flood, but please tell me of a support, visionary one, depending on which I can cross over this flood. Looking to know thinnest, and being mindful, depending on no thing, cross over the flood, having given up sense pleasures, abstaining from talk, day and night, you must look for the end of suffering. He who is passionate regarding all sense pleasures, who is depending on nothingness, having given up all else, intending on the highest freedom, which still has perception, will he remain here without going away? So you've got this great practitioner meeting with us already with quite a bit of response. And with a bit of response, he who is passionless regarding all sense pleasures, who is depending on nothingness, having given up all else, intending on the highest freedom, which still has perception, he will remain there without going away. Next question. Confidence should have, being a basis upon which to make effort. The great flood of existence, if he remains here without going away for a great number of years, visionary one, will he become cool and free right here, or will the consciousness of such a one fall away? But it says, "As a flame overthrown by the force of the wind, goes to rest and can no longer be descended, just so the sage free from the mental body goes to rest and can no longer be descended." Next question. The one who is counter-rest, is he then nothing, or a strange translation? Is he eternally healthy? Is he always there, is he? Please explain this to me, sage, for this teaching has been understood by you. So, is he tenuous of an eye on the poachers at the end? And the bit that comes out with, there is no measure of the one who has come to rest. There is nothing by which they can speak on. When everything has been completely removed, all the pathways of speaking are also completely driven. Thank you. Thank you. (Applause) We hope you enjoyed the talk. Please come and help us keep this free at freebuddhistaudio.com/community. And thank you. (Music) (Applause) [BLANK_AUDIO]