NA MO HO LA TA NO TO LA YEH YEH
NA MO A LI YEH P’O LU CHIE TI SHUO
PO LA YEH P’U T’I SA TO P’O YEH MO
HO SA TO P’O YEH MO HO CHIA LU NI . . .
and the mokugyo beats in the same rhythm as the words, and at times the large gong sounds, the gathering visibly recites with confidence that of which no one understands one single word, but they know that the kinhin is to follow, that is from this point on, they move from their places and in single file, one nicely after the other, they circumambulate the great hall, with the jikijitsu in front, after him the mokugyo-beaters, and only then the monks, according to rank, age, authority, and prescribed order, they go in circles, they pronounce the sacred dhāranīs, resounding in a tongue incomprehensible to them; last to come are the women and at the very end are the three abbots with their accompanying monks, they just circle and circle around and around along the walls of the hall, away before the altar; and so that the procession can finally come to an end, the host-abbot stops his colleagues when they reach the spot in front of the altar, in an arc, then taking up their original places — and the congregation too returns to its original place — the jikijitsu stands again by the front entrance, from where he directs the ceremony, he raises his voice and in this raised voice recites the last words of the dhāranī, according to which:
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