Now, what I was talking to you about with morning. Namely, the conception of the universe as a totally harmonious energy system, which may be realized as such, at some time or some kind of time. Not necessarily a future time, as we ordinarily understand it, but let’s just say that it is a point of view from which the whole gamut of being may be considered as completely harmonious. This is called in the loss of feel we’re discussing that is to say the philosophy of the other tongues of. The Dharmadhatu. The D-H-A-R-M-A-D-H-A-T-U. Literally, the realm or domain of the Dharma, the dharma the ng this complicated difficult indeed impossible to Sanskrit word. That is used usually translated. In law in English. But which can also mean method function. Rather like our word principle, as in the phrase to get the principle of the thing. It can also have some affinity. It with our word reason, and it can also have some affinity with our word what is right. So you got to conduct that is described as the tomorrow which is right and wrong, roughly. Dharmadatu therefore really means of the order of the universe. What it is fundamentally. And I was pointing out that fundamentally this order is a harmony. And there is a point of view from which this can be seen. 


Now, this philosophy of the Avatamsaka sutra makes a further analysis of the Dharma Datu. Into what are called the four Dharma worlds. And this is one of these mnemonic tricks that Buddhists always use to help you keep things in mind. They group things into four, into five, into six, seven eight, nine, ten, twelve and so on they always miss out eleven for some reason and. So that you can memorize it easily. And the four Dharma worlds or what you might call the four ways of looking at existence let’s call it that, are called in Japanese… I’ll use this language because it’s easier to remember than Chinese and easier to pronounce. First of all the world that is called Ji. J I. Second, the world that is called Ri , R-I. The one that is called. Rijimuge. Ri, ji mnd you get the. And then fourth, the world that is called jijimuge. Well, I will go through these things in order. 


First of all, the way of looking at the world as Ji. The character Ji, in Chinese, has a very complex set of meanings. It can mean ordinarily, a thing or an event. It can mean business. That is to say, something that matters it’s important I can mean a fast. It can mean affectation. So that a person who might be described as boogy in Japanese No. Physically once wrote me an autograph. And he wrote that the three characters Bu Ji Nin which means a no-fuss man. And the Virgin and as a man, of whom the poem says that I quoted you last week. Entering the forest he does not disturb a blade of grass entering the water he does not cause a ripple. You know like those wonderful South Sea Island Power fishes who can dive cutting the water like a knife and oddly making any splash at all. This kind of harmonious relationship with circumstances in which one doesn’t stand out like a sore thumb that is Noji.. So Ji, the fundamental meaning, is whatever it is that stands out. That is to say the distinct the particular The indeed. The shop. So in contrast with Ji, which is one point of view toward the world, is really, really is a Chinese character pronounced by the Chinese, Li. Which almost all of you will by now be familiar with because I’ve explained in previous seminars and this character means fundamentally the markings in Jade. All the grain in wood all the fiber and muscle. Now at the stage of Chinese history that we’re talking about which is seven hundred twelve A.D. when this particular philosophy was really matured by Fox sung. The word but really our leader. Meant. What I’ve been referring to all along as for the. Undefinable substrata things. Like the mirror underneath all the various reflections in the mirror. Or the diaphragm of the radio underlying all the sounds which the loudspeaker produces. All of the eye is fundamental to sight the fundamental design. 


So if you could put it this way then that what Ji downfall is the individual reflections in the mirror and what Reese downs for is the narra. Hot sun himself explained it to one of the Chinese emperors by the image of a golden lion when he wrote a long treatise on the Golden Lion which if you want the whole thing and want to study it carefully you will find in volume two of fungal lands history of Chinese philosophy. This is an incidental, [that] anyone seriously interested in these things should possess these two volumes, published by Princeton. And in the second volume he has a long long exposition Fotsam on a nice thing about fun you learn. If he’s a very conscientious historian. Because most of his book is quotations. He simply weaves in the original sources with explanatory help out and. Just lets you have it. And I think he’s extraordinarily good, but he does is not easy reading. But he has the whole of the Golden Lion its position which shots on used to make the lion of the garland doctrine comprehensible to a slightly stupid Emperor. I said likely. Though he has the idea of the Golden Lion. Because he use the form of the lion to represent G.-D. that is the individual individual izing principle and the goal, to represent Ri,  which is the underlying. And you remember we discussed this last week because in another way and from another point of view. We were talking about the Western distinction between form and substance. And how we have grown up with our common sense geared to the idea that every shape is a shape of some stuff. But we consider the shape principle, the form principle, to be spiritual. And the stuff principle to be material. In other words, form is a high order of being than matter. Because we think of matter of stuff the form of the pot is a higher principle than the play out of which it is made that’s the way we think but in this district and the Hindu way of thinking it’s exactly the other way around. The Gold is used to represent the higher principle. And the form of the lion is used to represent the material. Because you see, there isn’t a word in Sanskrit that corresponds to our word material. They use Roopa and Roopa means form. When they, when in other words a Sanskrit thinking person wants to indicate what we call the material world. He doesn’t really say material he says formal. The world of form then when he wants to indicate higher worlds that are spiritual He calls them out Arupa which are formless. So in his way of thinking the gold underlying the form of the lion. Represents a a deeper more basic order of reality than the form of the lion. You have to get used to see to these funny flips in. Metaphor. As used between Chinese speaking peoples are Sanskrit speaking peoples and English or German speaking or Greek speaking peoples. 


So, the point now that he’s made he’s making he’s established these two ways of looking at the World. You can look at it from the point of view of all the jazz that everything is doing and see. All the forms all the dances all the patterns. And those are. Then you can look at it from the point of view of what is it doing it all what is it all happening in? What is in other words the medium, or the basis, which is all this universe and that is called Ri. Although, via a funny flit at a time later than Fotsan’s. That is to say, we’ll have to go on in Chinese history to the neo-Confucian philosophy, which will take us to the fourteenth century. Where the word really comes to have the meaning of the organic pattern of the world. Where the full meaning of the idea of markings in Jade which it originally had is brought out again. For a period here in under the auspices of Buddhism, Ri, roughly corresponds to what we mean in western philosophy by the word noumenon as distinct from phenomenon. Roughly. You see noumenon is based on new switches mind phenomenon is based on final which means to show, to manifest. Manifestation of mind or in Information of the formless. Because you see, fundamental to the whole Hindu Buddhist complex is the notion of the world as being something like what happens when you develop a photographic film. You look at the film and first of all in the solution it is formless, there’s nothing on it and then suddenly all over the area that you’re watching a picture develops. It doesn’t develop across and that oughta or down and that all of it all over at once it comes out. And they feel that nature works in rather the same way. There is whatever it is you see, the vast unnamable continuum and this manifests itself like the film developing. So every Ji is a thing or event. Ri is the Continuum in which things and events occur. But as a matter of fact the two are not really different from each other. 


Now this gets us to the next principle in the next step. The fourth,  the third so-called Dharma talk to or Donna world is called rijimuge. And that means that between ri and ji, there is no blockage. Inconsistency the word again literally means a blockage. But probably inconsistency or. Separation you could use that no separation. No separation between Ri and Ji. Now he goes with the idea of the gold line and he puts it this way. You can’t ever find gold that is not in some form. If it’s not in the form of a lion it’ll be in some tongue. But you can’t find a lion without the go in other words the lion even if it’s a living lion has to have some. Ri underneath it as it were. This is the Oriental meaning of the word substance as distinct from our meaning which is stuff. So the gold in the Lion are in a way inseparable. You can think of them separate you can form the abstractions of gold on the one hand and lion on the other. But actually. The form the G. and the Ri would always go together. So then, really, the Muji no separation. Of the rope our world has the world of form and the formless wild is when you see there is no in compatibility between what we could call the spiritual and material. 


Now this is an idea very very simpatico to the Chinese. It’s not it hasn’t been a very popular idea in India it did originate in India. But the Indian mind is to a large extent in popular sense. Very very disillusioned with the formal World which is always falling apart and which is painful and which is a struggle and a mess and everything like that and they long for the formless world. And so when you listen to most Hindu teachers, they will encourage you to become a spiritual as possible and to renounce the material life of family. Delight in the senses, sex, all that sort of thing is kind of out. Of the Chinese could never could see that that was a sensible point of view. The Chinese social order is essentially family oriented and they they don’t they’re celibacy makes no sense to them at all. So, although there have been Chinese ascetics by and large they don’t dig that. So it appealed to them very much that there could be this philosophy of the view of the world in which Ri and Ji were perfectly compatible. 


So then. What is being said here. Is that you get to go back to my image of the mirror and the images in the mirror. You will never see the mirror unless it’s reflecting something that. There is no way of. There being a mirror which is not reflecting. So in other words, don’t look for the principle called Ri, as something different from the Ji. In other words, when you wake up and understand that there is something behind existence, you are not to expect to find a big vast blank. A lot of people think that when they attain nirvana, all individual forms which they see before their eyes will slowly melt and become do it like the dissolution of the negative. Forms in the negative back into the formlessness behind as if that would happen. So that’s not going to have that’s not it’s not going to be that way. What you’re going to find out is this. That all things as you see them, being quite distinct from each other, and all the shapes of them the differences of people and everything. That those which differences you see, what you are noticing in the world those things those events are not really separate from each other at all. They are the same thing as the Ji, I mean that the Ri, underlying it. It’s important then to see that in nature. In the real physical world, there aren’t any separate things. The idea of separate things is no more than an idea it is a way of talking about life. To get to this we have to go of cost of the fourth step in the series of what’s called. 


And this is the image of the net of jewels. And this is the central image of the whole Avatamsaka philosophy. There is a net like a spider’s web covered with dew drops in the dawn. Only this web is multidimensional. In other words, it’s not even three dimensional web it’s more and more and more as many dimensions as you could possibly ever imagine. And I am this web every drop contains a reflection of all the other dewdrops. This is a way, an image, of saying that everything implies everything else. That take any detail any possible feature of the universe which you can in any way identify as a thing. And if you really go into it. You will have to see it as capable of existing only in the context of everything else. So, each thing implies everything, because it could not possibly have…. let’s just take it this way where is anything you can only define a where of one thing in relation to the way out of all the others. You can only define the size of a thing in relation to other sizes. You can only define the length in time of a thing in relation to other lengths of time you see. So that, there is for example a point of view from which a very small thing, like this little clam shell here could seem to be enormous. And you can very easily get this point of view all you have to do is to hold this in your hand. And transfer your consciousness into a tiny creature wandering around inside this huge shell. Why it’s colossal! Or else you can go the other way and you can think of all the galaxies as molecules in somebodies hair, in another world. You see it when it’s really very little it’s all depends on your scale. But the the the point is this: that every….insofar as anything that you can possibly identify as a thing or as an event. Goes-with let’s coin this word. The word goes-with. All other things whatsoever. And, I think in the seminar we mention this technique of making holograms whereby with less of these you can take any photographic negative and from any part of the negative reconstruct the whole. Well it works the same way. That any Ji, is what it is only in relationship to in context with all other G. whatsoever and this can do is often. Also called the doctrine of mutual interpenetration. And this is the key to understanding what I was trying to describe this morning. As the experience of the universal harmony. 


I remember once, a woman I met had an accident. And she was trapped in an elevator. But it caught her leg and leg was broken and she was trapped there for half an hour before anybody could rescue it. But she said I came in that time to realize, that in all this universe there was not one single speck of dust that was out of place. Because this again was, somebody accepting a situation about which nothing could be done. And that would of course include, accepting the fact that you can’t accept it. That there it is. And then suddenly this extraordinary way of feeling comes to you. That everything goes with everything else. It isn’t it’s as if…it’s curiously different from what we would call the fatalistic sense. The fatalistic sense means, I submit to a higher power. Something arranges everything and I don’t have anything to do with it I have no responsibility and I just go because. I’m not I’m not an automaton I say. That is a of a rather different attitude and what I’m trying to describe, its more passive. This one is like this: My talking to you now. Is inseparable from the Gulf lying out there. Now you may say that’s rather a far shot to call. This thing but as a matter of fact. Let’s start putting it all together. We’re living in a nice little town you know by the water. And by a combination of events, I make this place attractive so you come. And that if the world gulls around here it wouldn’t be the ocean you know. Gulls and ocean go together. And so, this whole complex of things it isn’t just that I’m in a vacuum, you see. But it all goes together and all goes with every single one of these houseboats and it goes with every kind of Crowley piece of falling off pain on rotting wood and off whole bit all interdepends. And if you get to see this one day, and you realize you know you felt terrible because you did this that and the other which you should have done. And suddenly you realize. Go back over your own life supposing your friends’ parents and relations have never done anything wrong or what they thought was wrong. Think of the opportunities you would have missed. It fits. And there is this sense then that you get. That the whole Patten that you can feel out of your existence and one thing with another is completely logical. All goes together. 


Now you see what this is, is a kind of fulfillment of what all scientists are trying to do. When we say, we ask if any behavior whatsoever in the world. Can we explain it? We are asking is there a reason for it? And what we are looking for is to be able to fit it into a consistent pattern. Now let’s suppose for example that we say somebody has done something quite unreasonable. But then some psychologist comes along and says you know yes I agree from a certain point of view what he did was unreasonable but you haven’t looked fully into this thing. You don’t realize. All the complex of causes that were operating in the situation, and if you did understand that you would see and understand exactly why the person behaved in some unreasonable way the whole face of science is that the universe is explainable this way. That we can in other words make out a super pattern in terms of which all sub patterns make sense. If we’re going to say, there are some things that will never make sense. There are some things which simply have no explanation whatsoever this is also a way of saying. Or, it is amounts to saying that they don’t exist. Because they’re not connected. There is no rational explanation of their being there at all and so such things must be flukes. Not only flukes but complete cosmic madnessess. Now, when you call something a cosmic madness, something that is a total fluke for which you haven’t got any explanation, all you’re saying is My mind isn’t big enough to get the point. And we have to admit there are many things going on which puzzle us profoundly, and our minds have not yet acquired a way but a way of explaining that. There are reasons for this. There are reasons that the patterns in terms of which we explain things that take for example the pattern of causality mechanical Newtonian causality is a rather limited pattern. And not everything will fit it. But as we think more and delve deeper we get concepts which are more generous. Concepts which accommodate the behavior of the world more subtly. The patterns we are using are more ingenious. 


Now, there comes a point of course at which I see it all fits together, but I can’t tell you quite why. Because the pattern, in terms of which it all fits together, is simultaneously too complex and too simple to talk about. Because you see we’re getting back to this thing which is the the medium in which it all happens and which can’t be defined. I guess that you see you get that feeling. Oh yes of course. It really does all go together but at that moment the philosopher would challenge me said Yes look here we thought out things in terms of science we thought out orders we thought out equations We thought out patterns in which in terms of which events are predictable. And therefore we know they’re fairly sure but you are telling us something which doesn’t help us to predict anything. Because you’re saying. That even the unpredictable is included in that. And so you’re not telling us anything at all. And that is quite true. But. The most important of all things to tell, is nothing. Because that’s. That’s the basis that’s. Why you don’t pronounce the name of God. Why it’s unspeakable. 


So, there was a Zen monk who said I had the most marvelous teacher. I was very lucky. Because he never taught me anything. Neither was he never told me a word. All he did was sit around in a gruff kind of silence, while this poor student knocked himself out against him. And he got a point. Didn’t have this is the problem that the. If there were a point you could get C. and say. Now I have really got this, I understand what the universe is what life is all about and I and now I know you see like that. We would have ended up part of it. You would say when I went a minute. Once outside of this, see, [you’ll]be looking around the corner of one of the. Well what does this fit in say this thing I’ve got. Now for the sake of the tape recorder I have to say that I’m as it were holding a ball in my hands. And I’ve got to say but the something outside the ball. The really important thing which you need to get is what would never possibly be grasped. That is to say, the situation you’re in, that is you. [There is] no way of getting that as an object focusing on it defining it pinning it down none whatever. And in that sense the whole situation is no-thing nothing. Can particularize it. 


So, so much for that. But actually this thing that we call I don’t want you to see to think of the no thing that something like Homogenized Jell-O.. You see, that that’s not the point it doesn’t like that it’s like everything. With all of the tails and all you see this is why I must say in the matter of. People who try to communicate mystical vision. There are two schools of artists who communicate mystical visions, the precise school and the vague school. And the vague school which I don’t really go for. I saw my son in law brought me over the other day a book of pictures of angels. But the trouble with them was they all looked wispy. They were all cloudihs forms, vague reflections in water, washy things now when I think of an angel I don’t think of anything wishy. I think of something in which the detail is so vivid. That you say who look at that in the same way as when you look at some marvelous flower. Or peacock feather for example. Look at a peacock feather and every kind of tiny little. Unit in it is all of that see now this is the point. That this world to be seen in its unity. Must at the same time be seen in maximum detail. It isn’t a question of fuzzing the details that’s is what meant by jijimuge. Between thing and thing. Event and event, any detail any line you can draw there is no separation. Because you see what we call lines and draw them as clear and clean as you will. They join every line joins its two sides together it is a boundary in common between two areas they. Leave the black yang…I mean the the white Yang on the black yin are as different as can be but they go together and the boundary line S. curve between them in the thing joins them. 


So this is why a great deal of high visionary art which it tempts to express deep mystical inside is fantastically detailed. And has tremendous precision. And is not wishy washy stuff at all. And so this will explain why… I will show you some examples they’ll tomorrow of. The type of Buddhist painting that comes out of the school of thought and you will see what a minute rack of this world of wonder is in it, of extraordinary detail. Because this is the vision that you get. When you start exploring, you take a flower, you take a big magnifying glass. You go down into that flower, and you find out that the petals. Are composed of veins. And out of the veins come funny capillaries and suspended between the Capitol or is that the film ministers of Petal Amber stillness is a petal are made of tiny little dots that to ripple using everything like that to see then you know looking into the Lotus image, and you’re seeing the details. But the point that you have to get is. That these details are not separate details. They all go together, so that every wiggle in the vein of the petal is part of the same thing that you are being they’re looking at it. Just in other words as the flower may be considered as a unity with all those they knows and things moving out from the center. So in exactly the same way, least sitting here are doing something just like that. Only we’re doing it with such a tremendous free float. In jazz to say we come from all over the place we’ve got to get a good to get a good ideas about this but we but just because we do it with that immense amount of free-floating jazz. We make the most extraordinary unity. When we sit around and talk, or whatever you do. Well it’s have an intermission.