(19-7-95)
Today's sermon will be on The Three Vedana (feeling or sensation). Yogis sincerely striving for the attainment of magga and phala will experience these three feelings (Vedana). When experienced a pleasant feeling (Sukha Vedana) one inclines to reflect upon it often and often that you desire this pleasant feeling more and more or all the time. There arises greed (lobha). When it is unpleasant feeling (Dukkha Vedana) you get angry and every thought of it is accompanied by anger (dosa). In the case of indifference feeling (Upekkha Vedana) you are not sure of anything or not clearly aware of things to do or not to do i.e., ignorance (moha). Yogi must overcome greed, anger and ignorance. so as to fulfill his noble desire.
Buddha talked about Vedana in the following order, Sukha, Dukkha, Upekkha. However in practice, yogi experiences (Dukkha Vedana) unpleasant feeling first. This is according to the procedure of practice. Anger is manifested as ill-will and hatred in unpleasant feeling whereas when there is pleasant feeling greed (raga) is manifested as repeated desire for it. Is there any possibility of gaining moral dhamma if you practise with greed and anger?
It is diagonally opposite to Buddha's Teachings. In Upekkha Vedana i.e., indifference feeling, ignorance (moha) manifested as repeated indecisiveness and delusion. These repeated occurrence of feeling such as greed, ill-will and ignorance must be noted and overcome.
Dukkha Vedana
Motto: The repeated occurrence of ill-will in Dukkha Vedana must be eliminated.
Beginners will certainly encounter first with Dukkha Vedana. As instructed by the Rev. Mahasi Sayadaw, when you are going to practise meditation, choose a secluded place, take up a sitting posture which is most suitable for you, straighten your back with head held up and fix your mind on the rising and falling of your abdomen. When rising, the upward movement due to inhalation, make a mental note "rising", When falling, downward movement due to exhalation, make a mental note "falling". You must also notice the successive movement. i.e., the beginning, the middle and the end of each rising and falling movement. It must be a mindful noting.
If noting of 2 sections, that is "rising" and "falling", is not so effective, then change to noting 3 sections, "rising", "falling", "touching". Touching is the awareness of hardness and heat when your buttocks press the clothes and the floor. Continue noting three sections if it promotes mindfulness. If your mind is not calm and stable yet, you note four sections, "rising", falling, "sitting", "touching". Sitting is the sitting posture of body. Form of body is not to be noticed. When the intention to sit arises, the element of motion (vayo dhatu) push up the body and keep it in an erect posture. Just note "rising", "falling", "sitting" and "touching".
At first yogi may not be able to note distinctly, however with successive earnest noting, he will be aware of the fact that "rising", "falling", "sitting", "touching" is one process, noting of them is another. In other words the rising movement, the falling movement, the sitting action, the touching action are bodily or physical process. Noticing the rising movement, the falling movement, etc. are mental process. They are two distinct processes whereupon he can now distinguish rupa (matter) and nama (mind). Rupa is matter or corporeality which has no consciousness, Nama is mind which is consciousness. Thus yogi has attained Namarupa pariccheda Nana, the stage of knowledge differentiating nama and rupa. At this stage pain and numbness are not vividly experienced, however there is just tiredness and stiffness. Sometimes noting proceeds easily.
By dint of diligent practice yogi arrives at the stage of knowledge of cause and effect. While noting an object (of noting e.g. sitting) as it arises he is aware that a mental process of knowing depends upon an object. He realises that "rising" "falling" "sitting' "touching" are actions which cause him to note "rising" "falling" "sitting" "touching". Suppose these "rising" "falling" "sitting" "touching" movements and actions do not occur, then there is nothing to note. Therefore "rising" "falling" "sitting" "touching" movements and actions are the cause and the mental noting of them is the effect. Rising and falling may happen to some yogis in the chest or sometimes at the side and for others at the back or on top of the head. "Rising" and "falling" must be noted wherever they appear. Yogi will also perceive that they do not occur in one place, but shift to other parts of the body. While thus noting, yogi is aware of the fact that rising and falling movements are the cause and noting them is effect. At the same time feeling of unpleasantness (Dukkha Vedana) is no more vivid to him for the reason that when the pain is noted as soon as it arises, it disappears at once. The process is arising pain, instantaneous noting and dissolution; arising, noting, dissolution, so on and so forth.
When yogi continues noting in this manner, he is no longer aware of the pain, however his attention is more on the process of arising and passing away. This is the third stage of the knowledge of the true nature of phenomena - Sammasana Nana. This is a worse stage of knowledge because painful feelings (Dukkha Vedana) occur. Not long before sitting for half an hour or so, pain, numbness, itching, giddiness, swaying, heaviness, pressure, etc. become very conspicuous. Especially for those who have not practised samatha in the past, feeling of pain will be more pronounced.
Now yogi is very unhappy and becomes unbearable. Thence he reflects. "Am I going to suffer like this for the whole sitting or may be for the whole day or tomorrow too". Thus reflecting anger arises repeatedly. This is the manifestation of anger in the feeling of pain (Dukkha Vedana). Yogi, in fact, practises in order to dispel anger, hatred, etc. however he is now angry, instead of noting it or warding it off. To dispel anger, greed and ignorance is an important factor in insight meditation. Buddha advised to note anger when it arises but not to entertain it long. He also reminds that vivid feeling of suffering must be regarded as a thorn or a dart, and to discard it. A man working in a wood may be pricked by a thorn and suppose he does not take it out and keeps on working, his work will not be done in time. Buddha, therefore, pointed out that when feeling of suffering becomes very strong, it must be expelled like a thorn, otherwise your practice will not progress.
Three Ways of Contemplation
Motto: When sensation of pain arises, note it right away;
just as taking out a thorn.
There are three different ways of contemplation practised by yogi to expel Dukkha Vedana.
(1). Contemplation for the disappearance of pain or feeling of suffering.
(2) Contemplation to get rid of pain at one sitting.
(3) Contemplation to understand the nature of pain.
(1) Yogi practises for the disappearance or dissolution of Dukkha Vedana, in fact, is seeking for pleasure. In other words when one wants to be free from pain, he is desirous of pleasure. That, in deed, is greed. Will a yogi seeking for pleasure gain moral dhamma? No, not indeed, because kilesa (greed is impurity) arises in between notings. Besides. it is not in accordance with Buddha's advice. There will be no progress in meditation, therefore yogi is unhappy. Buddha's advice is to practise to understand the nature of suffering, however not to dissolve it.
(2) When feeling of pain arises, yogi may reflect thus, I must get rid of it. This again is anger (Dosa). Will a yogi with a harsh mind gain moral dhamma? Yogi must note to understand the nature of the arising and passing away object, if not the progress in meditation will be retarded or the moral dhamma will not be attained. When anger arises while noting pain, it is said that kilesa (impurities) occurs in between notings, arresting the improvement in contemplation. This is not the way to practise. In accordance with Buddha's Teachings, it is necessary to note in order to understand the nature of arising and passing away process. Thence yogi will be in the right tract and attain the moral dhamma.
Motto: The perception of the nature of becoming anddisappearing of object brings forth awareness of arising and passing away (Udayavaya Nana).
Yogi practises to comprehend the nature of pain when it arises. Buddha did not instruct to contemplate to get rid of pain but to understand its nature. If yogi practise to prevent pain is that not against Buddha's advice? "Must get rid of this pain at this sitting" is noting with harsh mind and ill-will. The purpose of noting is to alleviate ill-will, however, yogi is practising now with kilesas (ill-will, anger, etc.) in between notings. Remember this is not the way to note Dukkha Vedana. To practise in order to understand the nature of pain is in compliance with Buddha's advice.
How to contemplate Dukkha Vedana? Buddha advised to be patient. "Patience begets Nibbana" is the saying undoubtedly, the most appropriate for the meditators.
Yogi should not change posture whenever pain arises because frequent change disrupts contemplation. No patience means no firm concentration. No wisdom without strong concentration. No attainment of Magga, Phala and Nibbana without wisdom. Yogi becomes anxious thinking thus, Is this pain going to disappear or not? Am I to suffer the whole day like this? Do not be anxious; to suffer is the nature of pain, to note is the duty of yogi. Be patient, keep calm and ponder "be patient, be patient" and note earnestly when he becomes more tolerable and continues to contemplate conscientiously, perhaps pain may subside or totally dissolve. On the other hand, when sensation of pain intensely increases, so as to put up with it, yogi becomes tense both physically and mentally. When vigor is in excess or when effort takes forefront, noting is no more directed to the present i.e., the process going on at that very moment.
He must relax both mentally and physically and reflect whether the sensation of pain is only in the skin or in the flesh, in the nerves, bones, marrow. Concentration will become stronger with attentive noting. Mind you, it is no longer a general noting but it is noting with enthusiasm. Even though concentration is firm with repeated noting, pain reaching its height, may decrease or become more intense. If the pain is unbearable, yogi might like to change posture. If so, note the intention to change. Perhaps there is less pain, due to the attention shifting from noting "painful" to noting "intending", continue noting without change in posture. If you must change posture, then proceed with the acts of changing legs and hands in successive order and note each and every action in detail. Vedana might disappear with the change of posture because attention on pain is switched to the process of changing.
It is better for the yogi to try and bear the pain and not to change as it could deter the progress in meditation. When concentration is sustained, yogi will notice that pain shifts from one part of the body to another, sometimes it is more painful and sometimes not. Then yogi might reflect thus, "Vedana is changing from place to place. Besides it is not a continuous sensation, it increases and subsides occasionally". The thought that pain is continuous, may lessen the interest in noting. Vedana becomes more painful with each noting and reaches the height and then it again subsides with each noting. as experienced by most of the well practised yogis. With continued noting and fresh effort Vedana arises and vanishes every time when it is noted. It also shifts from place to place. This process becomes vivid at the stage of knowledge of becoming and dissolution (Udayabbaya Nana). Then yogi recognizes the nature of Vedana i.e., arising and disappearing, impermanence, always in flux. Whereupon concentration gains momentum and he is now quite aware that noting can overcome pain and also that it is the right way to overcome Dukkha Vedana.
When concentration is mature, yogi is aware of the fact that pain arises and disappears instantly with each noting; the process is arising and disappearing, arising and disappearing, so on and so forth. Later dissolution is more apparent but not the arising. Whereupon he developed a vivid knowledge of becoming and dissolution i.e. Udayabbaya nama. Now pain is not so distinct to be noted but the process of arising and passing away becomes the object of noticing. Yogi also clearly perceives that noting consciousness can overcome pain.
At the stage of Bhanga Nana i.e., the knowledge of dissolution, sensation of pain is not so distinct but the noting of its dissolution becomes more prominent. At this stage concentration is very strong and firm, so when yogi notices, form is no longer vivid to him, but pain is more conspicuous. Whenever he notes the pain, it is no longer there, it just disappears. This successive noting of dissolution makes him think that he is not on the right track. Some yogis have knowledge of dhamma which stated the noting must be on the present and not on the past happenings. Now noting of pain occurs only after the pain has disappeared, therefore he thinks, it is not in accordance with Abhidhamma. He is anxious and asks the instructor, Am I on the right track? I am noting what has passed and not that what is happening I in the present. Pain disappears as soon as it is noted, therefore my noting is always late and I am noting only what has already happened.
The instructor has to tell him that at the Bhanga Nana Stage, it is in compliance with Abhidhamma, to note the past as pain disappears as soon as it arises, hence it is not apparent to yogi to note it. Yogi should understand that too. It is necessary to remind yogi not to reflect upon it, whether on the right track or not, because it could slacken the progress in contemplation. The steady noting in this manner, lies pain and more awareness of its dissolution- overcomes anger concerning pain just like taking out the thorn.
Motto: The repeated arising anger in Dukkha Vedana must be discarded.
When sensation of pain arises, note it right away as if taking out the thorn.
Now yogi overcomes the difficulties of Bhanga Nana. Stage. completes one stage and has covered half way Lo Nibbana. Sammasana Nana, the third stage of wisdom is a worse one, since yogi experiences more pain. The fourth stage, Udayabbaya Nana is more pleasant for the reason of less pain and just noting its disappearance only. Suppose yogi has practised for nearly ten days and yet there is no progress, then the instructor can judge he (yogi) is at Sammasana Nana Stage.
The instructor has to be cautious to decide at which stage yogi has arrived. When yogi reaches the Udayabbaya Nana Stage, the process of arising and passing away is not so lucid to him. He experiences lightness in both body and mind. He is also physically and mentally pliable and workable. It is so in the lower stage of Udayabbaya Nina.
Those yogis who had to change posture frequently in the early stage of wisdom, at this Udayabbaya Stage, could sit for one hour without changing. Those who did not change frequently in the lower stage of wisdom, could sit one or 2, 3, 4, 5 hours without changing. Sometimes in the lower stages yogi may find his mind wandering away, however, contemplation is now easy and smooth. As the meditation practice gains momentum, noting will go on of its own accord, smoothly and easily. It appears to him that he is watching effortlessly, arising and vanishing of objects which are very vivid and clear.
During lower stages of wisdom yogi needs to put more effort to note hut not in the upper stages. As he has perfectly practised both physically and mentally, noting goes on automatically, thence there is peace and calm in both body and mind. Some yogi said that they have never experienced before such mental peace and calm. Moreover in the sitting posture their body is erect like a doll, without shifting here and there. This is what yogi will experience in Udayabbaya Nana Stage. It is vipassana piti - joy or bliss of meditation. Leave alone the common people, not even Devas can have such opportunities.
While practising in a secluded place yogi may experience vipassana joy and bliss. Perhaps some sort of attachment to this joy and bliss develops and yogi may cherish it, instead of discarding it. The repeated desire for this joy and bliss (Sukha Vedana) is regarded as the manifestation of raga (lobha) in Sukha Vedana.
Sukha Vedana
Motto: The repeated arising raga in Sukha Vedana must be discarded.
Repeated arising of attachment to pleasure means internal arrest in progress.
How to contemplate to dispel Sukha Vedana?
Buddha instructs to comprehend Sukha Vedana as Dukkha especially in the higher stage of Udayabbaya Nana. In this stage it is to note arising and dissolution, however, in the lower stage of Udayabbaya Nana arising and dissolution are not very distinct and there arises pleasant feeling. Yogi also experienced physical and mental buoyancy. His body and mind are also pliable and workable. At the same time he enjoys joy and bliss as there is peace and calm in body and mind. Whereupon he develops attachment to this physical and mental peace and calm (vipassana piti). This is the manifestation of raga in Sukha Vedana. In order to eliminate it (raga), yogi must contemplate Sukha until he perceives it as Dukkha. How to contemplate?
Repeatedly and mindfully reflect to make assure whether it is physical or mental pleasure. If mental peace and calm is more outstanding, then note mentally "peaceful", "peaceful'. Whereas if it is physical peace and calm note it "physically peaceful". Yogi, as a matter of fact, has a natural control and knowledge of body than mind. It is therefore, better to note physical calm and peace attentively.
Concentration becomes keen and with ardent contemplation. yogi perceives that feeling of joy arises and disappears swiftly when noted. Quick arising and disappearing with each noting appear to yogi as unpleasant. In other words it is dukkha or painful to note successively the continuous process of arising and disappearing of joy. As he could not keep pace with this process of arising and disappearance he begins to realize that there is nothing to recognize as joy but tiredness. Now Sukha is seen as Dukkha in accordance with Buddha's instruction. Whereupon raga-attachment to joy is overcome and eliminated by repeated noting. It is a fact that no one desires Dukkha, therefore, note it instantly when it arises.
Motto: When Sukha arises it must be noted as Dukkha.
Upekkha Vedana
With continuous noting concentration progressed and yogi has passed one stage of nana, however there is one more to achieve i.e. Sankharupekkha Nana - the stage of viewing things equally, Upekkha Vedana is consciousness in this stage. There is no fear and fondness. One is no longer disturbed by worldly or unworldly, likings and dislikings. No attachment for whatever is happening. A lady of worldly pleasure used to notice everything in detail. She recorded her favourite songs and listened to them at night. While watching a dance she enjoyed and commented on each step taken by a particular dancer out of 10-15 dancers; so also with songs and vocalists. After attaining dhamma she found the songs and dances no longer interesting and enjoyable. They were meaningless to her. She could review happiness and unhappiness indifferently.
At this stage noting is easy and it carries on of us own accord. Well practised yogis, perhaps may remember such experience at this stage. Those who have not yet experienced, they will have a chance to do so one day if they are patient. One who has reached this stage of wisdom, can forbear the vicissitude of life. You will have progress in your practice when concentration is matured.
Motto: Free from fear and fondness,
Equal view of happiness and sufferings,
Easy and effortless contemplation,
The three equanimity characteristics in the stage of equanimity. (Mahasi)
When noting becomes effortless yogi is deluded and may not perceive arising and passing away of objects in their true nature. Delusion (Moha) sets in when noting is easy and performs of its own accord.
Motto: The repeated arising of delusion in Upekkha Vedana must be dispelled.
In order to achieve his desirous goal, yogi must contemplate and dispel the delusion (moha). The fact that delusion repeatedly manifested in Upekkha Vedana is quite conspicuous in this stage of equanimity - Sankharupekkha Nana. Now yogi is within reach of his ultimate goal. only two more steps to wisdom, Anuloma nana and Gotrabhu Nana to complete. These can be achieved in no time with keen concentration and well developed stage of equanimity. However progress is slow in this stage as yogi need not put much effort to contemplate and goes easy. He used to tell the instructor, contemplation is good, but could not explain he meant by good. Whereupon the instructor can decide at what stage yogi has arrived and that he is under delusion. In connection with this state of delusion Buddha has explained that yogi needs to contemplate the sensation of indifference (Upekkha Vedana) until he perceives it as impermanence so as to dispel delusion. Impermanence and delusion are antithesis.
It is not easy to note the sensation of indifference (Upekkha Vedana) at this stage because it is not vivid. especially for yogi of our time, since they are not yet fully perfect as those of Buddha's time. The analogy of Upekkha Vedana and deer's foot prints is drawn by the learned ones. The hunters watching for a deer just followed the foot prints of the deer. The deer's foot prints approaching and descending a rock platform could be seen distinctly, nevertheless there are no foot prints on the rock platform. Anyhow the hunters were quite sure that the deer has stepped on the platform. The approaching foot prints are compared to Dukkha Vedana and descending ones to Sukha Vedana. The unseen foot prints on the rock platform as Upekkha Vedana. Upekkha Vedana is not easy to note and almost no one could do so. Since this Vedana is not so apparent to you. you better leave it and revert to noting what is distinct and clear. As yogi has a good knowledge of body, it is beneficial to note what is occurring physically.
Instead of taking it easy, yogi should note "rising" and "falling" which he has well practised, if not there will be no progress as delusion can set in. With the improvement of practice and matured knowledge, those who have Bhanga Nana as base, can easily recognize the fault and danger at Sankharupekkha Nana Stage. When concentration is firm and strong, the process of becoming, noting, cessation of arising and passing away, is more apparent to yogi. For instance, while noting the rising of the abdomen, that upward movement vanishes in no time. The mental process of noting vanishes likewise. Thus the meditator is now vividly aware of the fact that both rising and noting vanish immediately one after another. The same applies in the case of "falling."
The noticing of an object and the knowledge of cessation occur in quick succession. It is the pairwise sequence. the dissolution of an object and the passing away of the consciousness of noting that dissolution. Now Yogi perfectly comprehends the impermanence of rupa - (rising and falling movement) and nama- (the noting consciousness). Hence wisdom develops and eradicates the delusion or ignorance (moha).
Motto: When sensation of indifference (Upekkha Vedana) arise, note till it is apparent as impermanent.
When delusion arises contemplate until impermanence is apparent. Then revert to the process of noting "arising" and "falling."
The three types of Vedana, how greed (lobha). anger (dosa) and delusion (moha) arise repeatedly in these Vedana and how to dispel them have been fully discussed. Upekkha Vedana is not conspicuous to yogi therefore it is better to revert to noting "rising" and "falling" process which you have practised so well. whereby expel delusion.
Four Types of yogi
Yogi experiences sensation of pain, happiness and delusion according to their previous perfection. It is not the same for everyone. There are four types of yogis according to four ways of realizing dhamma in Dukkha Vedana and Sukha Vedana.
(1) Yogi experiences pain and difficulties and he is also slow in attaining dhamma.
(2) Yogi experiences pain and difficulties but he is quick in attaining dhamma.
(3) Yogi experiences no difficulties and pain, but slow in attaining dhamma.
Yogi used to say "Contemplation is good" day in and day out, however he could not explain what is good and he is slow in progress.
(4) Yogi experiences no difficulties and pain and he is also quick in attaining dhamma
Those who have practised neither samatha nor vipassana in their past existences, will experience difficulties and slow in attaining dhamma.
Those who have not practised samatha but only vipassana, will experience difficulties but they are quick in attaining dhamma.
Those who have practised samatha but not vipassana will experience no difficulties but slow in attaining dhamma.
Those who have practised both samatha and vipassana will experience no difficulties and quick in attaining dhamma.
You may be one of the four types. Buddha said all four types of yogi could attain dhamma
When pain arises you must note it till it vanishes, then only you will improve in practising meditation. If pain is unbearable do not be disheartened, but contemplate with patience. As a matter of fact, it is better to be physically painful but not mentally. Vedanas will be overcome if you can practise to be physically painful but not mentally and then attain dhamma.
After listening to this sermon on three kinds of Vedana, the repeated occurrence of anger in Dukkha Vedana., greed in Sukha Vedana, delusion in Upekkha Vedana and how to eliminate them, may you all be able to practise in accordance with Buddha's instruction. With diligent contemplation, may you all realize your desirous Nirvana which is free from all sufferings, by practising in ease and with lightning wisdom.
Sadhu.......... Sadhu.......... Sadhu
May all beings in ten directions be free from all kinds of danger and harm.
May they be free from both physical and mental sufferings.
May they be able to bear the burden of life with physical and mental happiness.
Sadhu.......... Sadhu.......... Sadhu
(Bojjhanga Sutta)
"The Bojjhanga Sutta" is the title of today's sermon "Bojjhan' or 'Bodhi' means an ariya who discern the Four Noble Truths and "anga' means factors. In other words, it means the Factors of Enlightenment. These factors can cure diseases. Moreover if one develops them, one will become an ariya. The Seven Factors of Enlightenment are
1. Sati Sambojjhan ... Mindfulness especially vipassana mindfulness
2. Dhammavicaya Sambojjhan Investigation of the Law. Here it renders vipassana wisdom, which analyses anicca, dukkha and anatta.
3. Viriya Sambojjhan ... Energy, especially vipassana energy put forth in noting nama and rupa.
4. Piti Sambojjhan ... Rapture due to the progress of insight.
5. Passaddhi Sambojjhan ... Tranquility at the stage of Udayabbaya Nana.
6. Samadhi Sambojjhan ... Concentration.
Khanika (momentary) concentration on each and every noting of the object of noting from the beginning to the end, while practising the vipassana meditation. In accordance with Rev: Mahasi Sayadaw's instruction, while noting "rising' "falling", the concentration is established from the beginning to the end of "rising" and the same with "falling."
7. Upekkha Sambojjhan Equanimity. At the higher stages of Nana, especially at the mature Udayabbaya Nana stage and the Sankharupekkha Nana stage the noting mind arises simultaneously with the object of noting. There is no suffering nor pleasantness.
1. Sati Sambojjhan
By practising satipatthana meditations, one can become an ariya and whenever satipatthana meditation is practised, the seven Factors of Enlightenment are developed. In satipatthana meditation a yogi has to be mindful at every noting such as "sitting", "touching", "rising", "falling", walking", "standing", etc:. You certainly will miss the arising object of noting, if you are not mindful. The word "Satipatthana" is composed of "Sati"=mindfulness + "upa'=settle or dwell+ thana=exist. It means the mind settles or fixes on the object of noting. There is, as a matter of fact, no excess in mindfulness. It is always lacking. Mindfulness will foster vipassana wisdom. Whenever you practise vipassana meditation, by noting "sitting", "walking", standing", etc: the Factor of Mindfulness is developed. To be mindful is the utmost importance in vipassana meditation.
2. Dhammavicaya Sambojjhan
Dhamma=Law + vicaya=investigation of dhamma. It is rendered here as wisdom (Nana) especially vipassana wisdom. At the beginning of vipassana meditation, the Dhammavicaya Sambojjhan is not yet developed as yogi could not distinguish nama and rupa. He thinks, it is himself who is sitting and it is his abdomen which is rising; it is himself who is sitting and it is he who is noting. It is the same way in noting other behaviour. The "rising" and the noting mind appear to him as a whole not as separate entities. When concentration is established, then only yogi realizes that noting mind and "rising" are two separate entities.
Furthermore he notices that "rising" and "falling" are rupa which has no consciousness. The noting of rising "falling" is the conscious mind. Now he can distinguish between nama and rupa and also realizes that there are just nama and rupa and nothing else in himself. Thereupon, he has gained the stage of Namarupa Pariccheda Nana. Thence the Dhammavicaya Sambojjhan is developed. Nama=con- sciousness + rupa=body + pariccheda=differentiating + nana=insight or wisdom. It means the wisdom which can differentiate between nama and rupa. It is better for a yogi, to know the stage of insight that he has attained. Vipassana wisdom is Dhammavicaya Sambojjhan. Though the stages of insight has progressed the Factor of Enlightenment has not done so.
At the Paccaya pangghaha Nana stage, yogi comprehends that, he could note "rising", "falling", sitting "standing", and so on due to the manifestation of "rising behaviour, "siting" behaviour, "touching" behaviour and so on. Thereupon it is apparent to him that the rising "falling", behaviour etc: are the causes and the noting of them is the effect. Moreover he notices that "rising" shifts from the abdomen to the side of his body, to the arm, chest, neck and the top of his head. At that stage yogi reports, "I do not know how to note as "rising" is no longer at the abdomen. It has shifted to the arm or the chest". The meditation instructor tells him to note "rising" and "falling" wherever they manifest. Thus the yogi apprehends the cause and effect. Yellow, blue or green colours may also appear in his mental eyes. All these are due to the Dhammavicaya Sambojjhan.
The meditation instructor, from the very beginning, advises the yogi to make general noting, in detail so as to gain dhamma in a short time. At the Nama-rupa pariccheda Nana stage, the meditator could not follow the advice, however at the Paccayaparigghaha Nana stage, he is able to note general action in detail. When he is especially mindful, he could note the intention. After sitting for an hour, the intention to stand up arises, then note, "intend to stand", "intend to stand". Due to this intention the element of motion pushes up the body by the hands. When the body moves upward, note, "standing" "standing". Note objectively and mindfully to apprehend the nature of the phenomena or paramatta. In vipassana meditation, it is necessary to note the nature.
Note the process of upward movement of the body precisely. Thereupon lightness or buoyancy in the body will be distinctly noticed. It is not to note legs, arms, head, etc:
After standing up, yogi has to be especially mindful, then only he will perceive the intention to walk vividly when it occurs. Then note "intend to walk". "intend to walk". Note "walking". "walking" when the walking movement of the body starts. Then note "left foot forward", "right foot forward", when you start walking and also "lifting", "pushing forward", "dropping" according to the moving action of the foot. When the intention to stop arises about 2 or 3 steps before stopping, note "intend to stop", "intend to stop". Note "stopping", "stopping" when the body prepares to stop, that is when the stopping action occurs.
When the intention to sit arises, note "intend to sit", intend to sit". Then the intention to sit causes the clement of motion to push the body downwards. Then note "sitting", "sitting" as the sitting behaviour appears. It is to note the nature of the process of sitting behaviour, however not the form of the body. If you can apprehend the heaviness in the moving process of sitting behaviour, you then cognize the nature of the phenomena. Thus you can note the intention to sit, that of touching, that of standing, that of walking, before you sit, touch, stand and walk. Thereupon you have achieve one stage of insight, namely Nama-rupa pariccheda Nana. And the Factor of Enlightenment, Dhammavicaya Sambojjhan is developed. The intention to stand is nama and the standing behaviour is rupa and they are perceived as two separate entities. That means you can now differentiate nama and rupa.
At the same time you comprehend the cause and effect. The stage of insight you now achieved is the Paccayaparigghaha. Nana and the Factor of Enlightenment developed is the Dhammavicaya Sambojjhan. Thus you have gained two stages of insight, however the Factor of Enlightenment has not changed. It is required to note the intention prior to the actual movement in noting the behaviour. It is essential to note the conscious mind in detail when practising vipassana meditation. Then only there will be progress in the stages of insight.
Motto: Intention to sit is nama
The act of sitting is rupa
It is not "I" or "you" who sit
Just nama and rupa that sit
If the pair is well conceived
Then the purpose of sitting is achieved.
Intention to stand is nama
The act of standing is rupa
It is not "I" or "you" who stand
Just nama and rupa that stand
If the pair is well conceived
Then the purpose of standing is achieved.
The Yogi establishes a firm foundation upon comprehending the cause (intention to sit) and the effect (sitting behaviour). The Athakatha masters remarked that the yogi has a good standing which will prevent him from sufferings in apaya, beginning from the subsequent existence and he is a Sula-Sotapan (junior sotapan). No other belief can influence him and he is much relieved as he has no doubt in the cause and effect relationship. He no longer has faith in the belief that there is no cause for sufferings or happiness. He is also free from the "creation" belief which is incongruent to cause and effect. The creation is cause and to become a living being is effect. It is certain that the creator such as God, Brahma and Pissano create with loving- kindness for all living beings to be equal. But in fact not all are equally created. Some are of good health, good wealth and have good personality. However there are people who are of mediocre health, wealth and appearance. There are also people of very low birth. Even the twins are not equally healthy and wealthy. It is quite evident that the cause (creation) and the effect (living beings) are incongruent.
Cause and effect relationship is conspicuous to you through your own experience. In other words you can understand clearly that if one has done bad deeds, one will have sufferings: if he has done good deeds, he will then enjoy pleasantness, if one harbours unwholesome disposition, he will encounter unpleasantness and so on. The good cause of the past existence will lead to good effect in the present. Certainly one will have good births in the round of samsara.
At the Sammasana Nana Stage the yogi experiences all kinds of sufferings such as, giddiness, swaying, aches, numbness, pushing and pulling, itching, etc:. Thereupon he analytically realizes that his body is merely a mass of sufferings. Thus the Factor of Enlightenment, Dhammavicaya Sambojjhan is developed. The stage of insight is the Samma sana Nana, the analytical knowledge of phenomena. In other words, to comprehend the impermanence of vedana. Vipassana meditation is practised not to experience aches and pains, however yogi is presently suffering from them. Since it is not in accordance with his wish, vedana goes on of its own accord, it is anatta or uncontrollable. The Factor of Enlightenment, Dhammavicaya Sambojjhan develops when the three characteristics, namely anicca, dukkha and anatta are lucidly realized
By virtue of the repetitive noting vedana is overcome. If the yogi experienced too much vedana, he is likely to be oppressed and begins to ponder thus, "the Buddha preached that dhamma is subtle and blissful. Though it was not so painful at the beginning, however after practising a few days I am now suffering. It is just the opposite of the Buddha's Teaching. I doubt whether I will gain dhamma." Thereupon the meditation instructor encouraged him, "At the Sammasana Nana Stage, yogi usually experiences more pain and aches. When you pass this stage, there will be pleasantness. It is a good sign of progress in dhamma, although it is unpleasant for the yogi. You will find happiness in a few days". As the vedana is overcome by earnest noting, yogi has pleasantness and suffers less pain.
Unlike the Sammasana Nana stage, at the Udayabbaya Nana stage though he may still sway as before, there is no feeling of heaviness and he feels buoyant and light in body. His body is light just like a leaf floating in the air. He has reached a higher stage of insight. He is both physically and mentally subtle: his body and mind are light: his behaviour and actions are pliable. Moreover he finds that he is both physically and mentally proficient. Those yogi, in the lower stage of insight who have to change posture two or three times in an hour sitting, now at the Udayabbaya Nina stage can sit without changing. Those who can sit an hour without changing, can now sit for 2,3,4 or 5 hours, because his body is both physically and mentally pliant.
4. Piti Sambojjhan
Furthermore the noting mind and the object of noting now occur simultaneously as his body and mind are proficient and well practised. Thereupon noting becomes easy and continues on its own accord. There is also physical and mental tranquility which foster vipassana piti. The Factor of Enlightenment, the Piti Sambojjhan has developed and the stage of insight has also changed to the Udayabbaya Nana stage.
A yogi reported thus, "My body is calm and erect like a doll, and noting is effortless. It appears to me I'm just watching it with no concern. I would not know, how to express my feeling of pleasantness and quietude." A yogi practising in a secluded place, gains dhamma when vipassana wisdom is mature. Thence he enjoys both physical and mental rapture which, leave alone an ordinary person, not even a deva could have a chance to experience," remarked the Lord. This is the Piti Sambojjhan. At this stage of Udayabbaya Nana, yogi enjoys vipassana piti so much, so that he mentally proclaimed, "It is a good opportunity for me to be a human being in this very life. I'm certain, I shall realize nibbana with this disposition." Thus the Piti Sambojjhan is developed.
Five kinds of Piti
1. Khuddaka Piti, the thrill of joy that causes the flesh
to creep or a creep in the chest just for one time.
2. Khanika Piti, instantaneous joy like a flash of lightning. The flesh creeps or a creep occurs in the chest quite often. Then note "creeping", "creeping". Sometimes feels like crying then note "want to cry" "want to cry."
3. Okkantika Piti, the flood of joy like the breakers on a sea-shore. Sometimes it starts from the upper part of the body and spreads downwards; or sometimes it starts from the lower part of the body and pervades to the upper part Yogi feels as if he is splashed with cool water, however it is unlike the natural heat and cold of the environment
4. Ubbega Piti, Transporting joy which enables one to float in the air just like a lump of cotton carried by the wind. Sometimes hands and legs lifted up by themselves or the body moves afloat. Yogi may feel like crying or sometimes laughing. He may also experience as if he is being pushed and pulled by someone. He may also hear sound: All these are due to the Factor of Enlightenment, Pin Sambojjhan. To those who are timid by nature it seems to be a ghost or a spirit is making all these sound and pushing and pulling as he finds no one when he looks around. Thence the rumour spreads that the meditation centre is haunted. Therefore yogi is frightened and dhamma does not progress. However all these are due to the Piti Sambojjhan. The knowledge about this Sambojjhan will help yogi to contemplate as before. Sometimes it could be so strong that yogi falls down as if pushed by someone. He may shed tears which is known as cold tears due to vipassana piti. The tear due to economic ruins is hot tear.
Quite often yogi may like to cry or laugh. "Am I going mad? I want to cry now and then I want to laugh again." You are not mad. When you want to cry just note "want to cry", "want to cry", if you want to laugh then note "want to laugh", "want to laugh". Incessant noting will overcome these feelings. An ordinary person may think, it is ridiculous to note "want to cry" when one wants to cry. To a meditator. however, it is different. If one can note the desire to cry,
he will overcome it and no longer wants to cry. If he notes "want to laugh", then he will laugh no more. The Buddha's method is useful in controlling the conscious mind.
5. Pharana Piti, the suffusing joy which pervades the whole body like a full blown balloon or like a flood that overflows small lakes and tanks. The sensation of eye, ear, nose, tongue and body are quite blissful.
Dhamma may progress due to piti. The Piti Sambojjhan develops at the Udayabbaya Nana Stage. The Passaddhi Sambojjhan also develops at this stage of insight. Yogi experiences the physical and mental tranquility which he would not be able to express. It is so calm and tranquil that he could sit erect like a doll and it happens of its own accord.
Samadhi Sambojjhan
The Samadhi Sambojjhan is more conspicuous at the mature Udayabbaya Nana Stage. The noting mind is fixed on the object of noting as soon as it appears. This is due to the strong concentration, the Samadhi Sambojjhan. The noting mind settles firmly on the object of noting from the beginning to the end of "rising" and "falling". That is known as Khanika Samadhi (momentary concentration). Sometimes yogi may not be able to move his touching hands or his body, while sitting. All these are due to the strong concentration which has pervaded to the bodily behaviour. That is termed as Appana Samadhi attainment or full concentration, existing during absorption. This again is due to the well established posture, (ariya patha).
Upekkha Sambojjhan
Upekkha Sambojjhan is vivid at the mature Udayabbaya Nana Stage, however it is more conspicuous at Sankharupekkha Nina Stage. The noting mind and the arising of the sense object occur simultaneously. There is no fear or happiness and the equilibrium between suffering and happiness exists firmly.
Motto: Free from fear and fondness
Equal view of sufferings and happiness
Contemplation comes with no difficulties
San-kharu's three characteristics of equanimity
At the Banga and Baya Nina stages there occurs fright, however at the Sankharupekkha Nana Stage the thought of the external sense objects no longer causes fear. Furthermore there develops no attachment nor fondness of the sense objects or the dhamma. Yogi can perceive pleasantness with no attachment and, the pain and sufferings without unhappiness. Thus the Factor of Enlightenment, Upekkha Sambojjhan is developed. Since dhamma has well developed in all aspects the ordinary aches and pains can be cured easily by noting them. The experienced yogis are quite aware of the fact that by dint of physical and mental tranquility, dhamma could cure not only the ordinary diseases but also the serious ones. While contemplating, they could spot the exact seat of the disease and by successive noting of it, the disease disappears.
Here is the case of an elderly yogi who suffered from stiffness of her hand. The ordinary medicine could not cure her. She came to the meditation centre. The stiffness of her hand became more serious. While meditating, she felt that the nerves from her hand were pulled out or massaged. It also appeared to her as if somebody was pulling or pushing her hand. She kept on noting these manifestations and consequently reached the Sankharupekkha Nana Stage. This stage of insight is well known as a curing stage of nana. The stiffness of, her hand was cured, however, it was not distinct as she had not used her hand often while contemplating. When she went home, she found out that she could move her hand as normal, she could touch her head; she could move her hand backward and forward. At the Sankharupekkha Nana Stage she had struck the equilibrium between pleasantness and unpleasantness, thus the Factor of Enlightenment, Upekkha Sambojjhana has developed.
Another illustration of the establishment of equanimity at the Sankarupekkha Nina Stage is:- a lady of worldly pleasure took delights in dance and songs. She used to record her favourite songs and listened to them frequently. When she attended a dance-show, she paid attention to a particular dancer out of 10 or 16 dancing girls and was critical of her dancing steps. One day she came to the meditation centre and went home after gaining the Sankharupekkha Nina Stage. At home she played the song as before however they were no longer pleasant and enjoyable. This illustrates that because of her attainment of the Sankharupekkha Nana Stage, she was no longer interested in the pleasantness or the unpleasantness. She could view them equally. The Upekkha Sambojjhan has developed according to the stages of insight. Then the object of noting and the noting mind appear simultaneously.
To develop the Factors of Enlightenment, it is the best to practise satipathana meditation or vipassana meditation. Thus the Factors of Enlightenment are the characteristics of an ariya who has acquired the Four Noble Truths. One should be mindful to be an ariya, if not he may never be one. Whatever you do, it must be wisdom predominated; do it energetically, otherwise you will not be an ariya. You must contemplate diligently, so that your noting conscious mind never misses the arising sense-objects.
1. While practising the vipassana meditation, to be mindful to note the occurring sense-objects, is the Factor of Mindfulness, the first Constituent of Enlightenment.
2. While practising the vipassana meditation, the development of vipassana wisdom is the Factor of Investigation of the Law or dhamma, the second Constituent of Enlightenment.
3. While practising vipassana meditation, to endeavour to note the appearing sense-objects, is the Factor of Effort, the third Constituent of Enlightenment.
4. The development of piti (rapture) during the vipassana meditation is the Factor of Rapture, the fourth Constituent of Enlightenment.
5. The development of physical and mental calm during the vipassana meditation is the Factor of Tranquility, the fifth Constituent of Enlightenment.
6. The development of concentration during the vipassana meditation is the Factor of Concentration, the sixth Constituent of Enlightenment.
7. The indifferent contemplation of pleasure and pain during the vipassana meditation is the Factor of Equanimity, the seventh Constituent of Enlightenment.
One can become a sotapan or an ariya, when these seven Constituents of Enlightenment are developed during the vipassana meditation. Moreover various diseases can be cured too.
By listening to this discourse on "The Factors of Enlightenment", may you all be able to practise in accordance with the Buddha's instruction. With diligent contemplation, may you all immediately realize your most aspired Nibbana, the cessation of all sufferings, by practising with ease.
Sadhu.......... Sadhu......... Sadhu