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Nhöõng baøi taäp caên baûn trong Thieàn Quaùn
hay Thieàn Minh Saùt TueäBasic exercises on Mindfulness or Vipassana Meditation Thieàn Sö Saddhammaransi
Ñoaøn Ngoïc Baïch-Yeán dòch Vieät
Phaät lòch 2541 - Taây lòch 1997
Muïc Luïc
I. Thieàn trong tö theá ngoài
Nieäm ñauII. Thieàn khi ñi kinh haønh [thieàn haønh]
Nieäm trong khi nghe
Nieäm trong tö theá ngoàiIII. Thieàn trong sinh hoaït haèng ngaøy hay "Nieäm Toång Quaùt"
Nieäm khi aên
Nieäm ñoäng taùc ngoài xuoáng
Nieäm ñoäng taùc ñöùng leân hay ngoài daäy
Thaáy söï Sanh Dieät Nieäm khi co hay duoãi [caùnh tay]
Chaâm ngoân ñeå nhôù
Lôøi giôùi thieäu Taát caû nhöõng ai ñeán thöïc taäp Thieàn Minh Saùt Tueä [hay Thieàn Minh Saùt] ñeàu mong phaùt trieån Trí Tueä thaät nhanh. Taát caû nhöõng ai chöa khai trieån Trí Tueä ñeàu mong phaùt sanh Trí Tueä thaät nhanh. Taát caû nhöõng ai ñaõ coù vaøi Tueä giaùc ñeàu mong phaùt trieån theâm Trí Tueä thaät nhanh. Moïi ngöôøi mong phaùt trieån Trí Tueä thaät nhanh. Ñeå ñaït muïc ñích, tröôùc heát phaûi laéng nghe thaät chaêm chuù vaø kyõ caøng nhöõng "Baøi Taäp Caên Baûn trong Thieàn Minh Saùt" ñeå coù theå nhôù tæ mæ lôøi chæ daãn trong luùc thöïc haønh. Phaûi heát loøng ñoïc vaø nghieân cöùu. Chæ nhö vaäy môùi coù theå ñaït ñeán muïc tieâu.
Thöïc taäp Thieàn Minh Saùt khoâng caàn thaân noå löïc hay trí thuoäc loøng, maø ñoøi hoûi naêng löïc tinh thaàn hay taâm linh. Vì vaäy, chuû yeáu nhaát laø thieàn sinh phaûi bieát caùch:
- truï taâm thaät chính xaùc treân ñeà muïc thieànÑeå coù theå thöïc taäp ñöôïc nhö vaäy, thieàn sinh phaûi ñoïc, nghieân cöùu, nhôù, nghe vaø chuù yù kyõ ñeán chi tieát cuûa Nhöõng Baøi Taäp Caên Baûn moät caùch taän tuïy vaø tæ mæ. Nhö vaäy, taát caû nhöõng ai muoán thöïc taäp Thieàn Minh Saùt cho coù hieäu quaû phaûi ñoïc vaø nghieân cöùu heát söùc caån thaän vaø chaêm chuù Nhöõng Baøi Taäp Caên Baûn.- taäp taâm khoâng ñi ñeán caùc ñoái töôïng beân ngoaøi
- taäp taâm khoâng ñi quaù laâu, neáu taâm ñaõ ñeán vôùi caùc ñoái töôïng beân ngoaøi
Ñaïi Ñöùc Thieàn Sö taïi Saddhammaransi
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Nhöõng Baøi Taäp Caên Baûn trong Thieàn Quaùn hay Thieàn Minh saùt tueä
Ñaây laø buoåi thuyeát phaùp ñaàu tieân veà Baøi Taäp Caên Baûn hay Nguyeân Taéc Caên Baûn trong Thieàn Quaùn do Ngaøi Ñaïi Ñöùc Thieàn Sö taïi Saddhamma Ransi Yeiktha (thieàn vieän) ban giaûng cho nhöõng thieàn sinh ñeán thöïc taäp Thieàn Minh Saùt taïi Saddhamma Ransi Yeiktha (thieàn vieän).
Nhöõng ai ñeán thöïc taäp Thieàn Minh Saùt, duø chöa kinh nghieäm Tueä giaùc, cuõng mong phaùt trieån Trí Tueä caøng nhanh caøng toát. Nhöõng ai ñaõ kinh nghieäm vaøi Tueä giaùc cuõng mong phaùt trieån theâm Trí Tueä caøng nhanh caøng toát. Ñeå coù theå nhanh choùng ñaït ñeán muïc tieâu cao thöôïng nhaát, phaûi heát söùc chuù taâm vaø caån thaän nghe lôøi giaûng caùc "Baøi Taäp Thieàn Quaùn" vaø thöïc taäp ñuùng y nhö vaäy.
Moät caùch toùm taét, coù 3 loaïi "Baøi Taäp Thieàn Quaùn":
- thieàn trong tö theá ngoàiI. Thieàn trong tö theá ngoài
- thieàn khi ñi kinh haønh [thieàn haønh]
- thieàn trong sinh hoaït haèng ngaøy hay "Nieäm Toång Quaùt".Tröôùc nhaát, sö giaûng veà "nieäm trong tö theá ngoài". Ñaàu tieân, phaûi choïn nôi vaéng veû vaø yeân tònh. Keá ñeán, choïn tö theá ngoài thoaûi maùi nhaát ñeå ngoài laâu. Coù theå ngoài nhö quì [ñaàu goái cong laïi vaø moâng ngoài treân chaân] hoaëc ngoài xeáp baèng troøn. Phaûi choïn tö theá ñeå coù theå ngoài thieàn thaät laâu. Sau khi vöøa yù vôùi tö theá ngoài roài, haõy giöõ löng vaø ñaàu ngay thaúng leân, nhaém maét laïi vaø chuù taâm nôi buïng.
Khi hít voâ, buïng Phoàng leân hay Giaõn ra. Phaûi chuù taâm ghi nhaän caùi phoàng, khaén khít theo doõi töø ñaàu caùi phoàng, qua nhöõng giai ñoaïn caêng phoàng leân, cho ñeán cuoái caùi phoàng - trong khi taâm khoâng phoùng ñi nôi khaùc - vaø nieäm"Phoàng".
Khi thôû ra, buïng Co laïi hay Xeïp xuoáng daàn daàn. Cuõng phaûi chuù taâm ghi nhaän chính xaùc caùi xeïp, töø ñaàu caùi xeïp, qua nhöõng giai ñoaïn xeïp xuoáng, cho ñeán cuoái cuûa caùi xeïp trong khi taâm khoâng phoùng ñi nôi khaùc - vaø nieäm"Xeïp".
Khi ghi nhaän söï phoàng vaø xeïp cuûa buïng, coá khoâng ñeå yù ñeán hình theå cuûa buïng. Chuù taâm ñeå bieát ñoä caêng vaø ñoä eùp ôû beân trong do aûnh höôûng cuûa hôi gioù hít voâ. Coá "bieát baèng caûm giaùc" hoaëc "nhaän thöùc roõ" hôi gioù ñaåy töø beân trong, ñoä caêng vaø ñoä eùp,v.v... maø khoâng quan taâm ñeán hình theå cuûa buïng. Buïng chæ laø danh töï, khaùi nieäm hay cheá ñònh [tuïc ñeá] (Pannat). Minh Saùt Tueä khoâng quan taâm ñeán khaùi nieäm (Pannat) maø chuù troïng veà Thöïc tính (Paramat; söï Thaät [chaân ñeá]). Ñaëc taùnh cuûa hôi gioù ñaåy leân töø beân trong, ñoä caêng, ñoä eùp, v.v... laø Thöïc tính (Paramat) - söï Thaät xaûy ra khi hít hôi voâ. Vaäy, phaûi chuù taâm kyõ caøng vaø chính xaùc ñeå tìm bieát söï Thaät naày.
Khi thôû ra, cuõng phaûi ghi nhaän kyõ. Coá khoâng ñeå yù ñeán khaùi nieäm hay hình theå cuûa buïng, nhöng phaûi coá caûm giaùc söï chuyeån ñoäng daàn daàn vaø chaäm chaïp, söï rung ñoäng vaø hôi gioù thoaùi lui khi thôû ra.
Vaäy, phaûi lieân tuïc ghi nhaän 2 cöû ñoäng "Phoàng, Xeïp", phaûi chuù yù ñeán hôi gioù ñaåy buïng phoàng leân daàn daàn [khi hít voâ] vaø söï co thaét daàn cuûa buïng khi thôû ra.
Neáu taâm khoâng laéng dòu vôùi caùch nieäm 2 chuyeån ñoäng "Phoàng, Xeïp", coù theå theâm moät ñoái töôïng vaø nieäm "Phoàng, Xeïp, Ñuïng".
Khi ñònh taâm ôû "Ñuïng", khoâng ñeå yù ñeán khaùi nieäm hay hình theå cuûa töù chi [tay chaân] ñuïng nhau hoaëc ñuïng xuoáng saøn hay ñeäm [toïa cuï], nhöng phaûi chuù taâm theo ñoä cöùng hay ñoä caêng nôi ñuïng chaïm.
Neáu taâm vaãn chöa taäp trung ñuû vaø coù khuynh höôùng phoùng ñi nôi khaùc vôùi caùch nieäm 3 chuyeån ñoäng "Phoàng, Xeïp, Ñuïng", coù theå theâm moät ñoái töôïng nöõa vaø nieäm "Phoàng, Xeïp, Ngoài, Ñuïng".
Khi ñònh taâm vaøo "Ngoài", coá chuù taâm ñeán "söùc ñaåy toång quaùt" do nöûa thaân treân eùp xuoáng, vaø coá caûm giaùc "ñoä cöùng vaø caêng" cuûa thaân - do söùc eùp cuûa nguyeân toá gioù [Phong ñaïi] ñaåy thaân vaøo tö theá ngoài. Khoâng ñeå yù ñeán khaùi nieäm hoaëc hình theå cuûa ñaàu, tay, chaân hay thaân. Taùc yù "muoán ngoài" khieán nguyeân toá gioù chuyeån ñoäng ñeå naâng vaø choáng thaân vaøo tö theá goïi laø "ngoài". Phaûi coá caûm giaùc ñoä cöùng, ñoä caêng, eùp, v.v... cuûa söùc naâng choáng maø khoâng quan taâm ñeán hình theå cuûa thaân, tay hay chaân.
Baây giôø, coù 4 ñoái töôïng ñeå ghi nhaän: "Phoàng, Xeïp, Ngoài, Ñuïng". Nieäm 4 ñoái töôïng naày thì taâm seõ daàn daàn laéng dòu. Neáu nieäm vôùi 4 ñoái töôïng "Phoàng, Xeïp, Ngoài, Ñuïng" maø taâm laéng dòu ñöôïc, thì haõy tieáp tuïc vôùi caùch nieäm ñoù. Neáu nieäm 4 ñoái töôïng khieán taâm meät moõi hoaëc lo nghó, taâm khoâng laéng dòu, thì chæ neân nieäm 3 ñoái töôïng "Phoàng, Xeïp, Ñuïng" thoâi. Neáu nieäm 3 ñoái töôïng maø taâm vaãn chöa laéng dòu, chæ neân nieäm 2 ñoái töôïng "Phoàng vaø Xeïp" thoâi. Muïc ñích chaùnh laø an ñònh taâm vaø phaùt trieån taâm nieäm.
Laø baäc sô cô, khi nieäm "Phoàng, Xeïp, Ngoài, Ñuïng", taâm coù theå phoùng ñi ñaây ñoù - ñeán chuøa, ñeán tu vieän hay ñeàn thôø, ñeán caùc trung taâm buoân baùn, ñeán nhaø, v.v... Khi taâm phoùng, cuõng phaûi ghi nhaän noù vaø nieäm "Phoùng, Töôûng töôïng, Tính toaùn, v.v..." Khi Taâm Ñònh vöõng maïnh vaø Trí Tueä tieán trieån, thieàn sinh seõ phaùt hieän "söï phoùng taâm bieán maát sau vaøi nieäm," vaø seõ nhaän thöùc roõ: "Söï suy nghó bieán maát sau vaøi nieäm lieân tuïc - vôùi söï ghi nhaän chính xaùc, tinh töôøng vaø caån thaän."
Khi Taâm Nieäm tieán trieån vaø söï hieåu bieát ôû taàng "Tueä Dieät" (Bhanga Nyana), seõ thaáy tö töôûng bieán maát vôùi töøng nieäm.
Vôùi Tueä giaùc tieán trieån hôn nöõa, thieàn sinh seõ thaáy:
- söï suy nghó bieán maát vôùi moãi nieäm, vaøNhö vaäy, thieàn sinh nhaän thöùc: "Söï suy nghó khoâng tröôøng toàn. Taâm Nieäm hay söï ghi nhaän cuõng khoâng tröôøng toàn - Anicca [khoâng tröôøng toàn; Voâ Thöôøng]."
- Taâm Nieäm hay söï ghi nhaän cuõng bieán maát vôùi moãi nieäm.Bò söï ñaøn aùp lieân tuïc vaø nhanh choùng cuûa 2 hieän töôïng Sanh vaø Dieät, thieàn sinh seõ yù thöùc roõ "ñaëc taùnh Baát toaïi yù" hay "Khoå." Cuøng luùc ñoù, thieàn sinh phaùt hieän: "Khoâng coù caùch naøo vaø khoâng coù ai coù theå thoaùt khoûi söï Sanh, Dieät vaø haäu quaû Khoå. Khoâng theå laøm gì ñöôïc; ñoù laø Voâ Ngaõ (Anatta)". Ngay luùc naày, coù söï nhaän thöùc hay hieåu bieát: "Taát caû "ñieàu kieän phaùp" [hieän töôïng taâm vaät lyù] ñeàu coù thöïc taùnh Voâ Thöôøng (taïm thôøi; Anicca), Khoå (Dukkha) vaø Voâ Ngaõ (Anatta)." Vaäy, thieàn sinh nhaän bieát hay hieåu roõ veà Voâ Thöôøng (Anicca), Khoå Naõo (Dukkha) vaø Voâ Ngaõ (Anatta).
Nieäm ñau
Tieáp tuïc chaêm chuù vôùi "Phoàng, Xeïp, Ngoài, Ñuïng" ñoä moät giôø hoaëc 45 phuùt thì seõ nhaän thaáy töù chi baét ñaàu nhöùc, ñau hay teâ. Luùc naày, phaûi chuyeån söï chuù taâm, töø "Phoàng, Xeïp, Ngoài, Ñuïng" ñeán choã ñau, vaø truï taâm nôi ñau.
Coù 3 caùch ghi nhaän [nieäm] hay ñònh taâm choã ñau:
- chuù taâm nieäm vôùi muïc ñích heát ñau;Caùch 1. "Chuù taâm nieäm vôùi muïc ñích heát ñau" nghóa laø thieàn sinh ao öôùc söï deã chòu cuûa luùc khoâng ñau, nghóa laø Tham [thích] söï deã chòu. Thieàn Quaùn ñeå dieät tröø Tham, ñeå ngaên chaän Tham. Thay vì dieät Tham, baây giôø Tham (Lobha) trôû thaønh moái chöôùng ngaïi cho söï tieán boä vaø söï hieåu bieát veà Thöïc tính cuûa moïi hieän töôïng. Khoâng neân quaùn nieäm caùch naày.
- nieäm vôùi cöông quyeát dieät tröø ñau trong moät laàn ngoài hay moät ngaøy, vaø nhaát ñònh chieán ñaáu vôùi caùi ñau cho ñeán cuøng;
- chuù taâm nieäm ñeå bieát Thöïc tính cuûa söï ñau.Caùch 2. "Nieäm ñeå dieät tröø ñau" cuõng khoâng toát ,vì Saân (Dhosa) aån trong taâm quyeát thaéng. Noùi caùch khaùc, söï quyeát taâm bò oen oá vì Saân [khoâng thích]. Khoâng theå tieán boä neáu ñeå Saân len loûi vaøo taâm. Vaäy, thieàn sinh cuõng khoâng neân quaùn nieäm caùch naày.
Caùch 3. "Chuù taâm nieäm ñeå bieát roõ Thöïc tính cuûa söï ñau". Khi naøo bieát ñöôïc Thöïc tính [cuûa söï ñau], thì söï Sanh Dieät (Udaya Vaya) [cuûa söï ñau] môùi hieån loä hoaëc bieát ñöôïc. Khi naøo bieát ñöôïc Thöïc tính, thì söï Sanh Dieät (Udaya Vaya) môùi hieån baøy hay hieåu bieát ñöôïc.
Khi ñau, thieàn sinh thöôøng goàng caû Thaân vaø Taâm. Khoâng neân caêng thaúng maø haõy coá thaû loûng Thaân vaø Taâm. Cuõng coá khoâng nghó:"Khoâng bieát mình phaûi chòu ñau suoát thôøi gian ñau hay suoát moät giôø thoâi?" Phaûi coá khoâng nghó vaäy.
Phaûi giöõ bình tónh vaø nghó raèng: "Côn ñau ñeán vaø ñi tuøy yù noù, vaø boån phaän cuûa toâi [thieàn sinh] laø hieåu roõ veà ñau." Phaûi nghó raèng "[thieàn sinh] taäp nhaãn vôùi söï ñau". Nhaãn naïi laø yeáu toá quan troïng nhaát trong luùc tröïc dieän ñau. Caâu "Nhaãn naïi ñöa ñeán Nieát Baøn" laø chaâm ngoân lôïi ích nhaát trong Thieàn Quaùn.
Khi ñaõ quyeát Nhaãn naïi, haõy giöõ Thaân vaø Taâm laéng dòu vaø thaû loûng, khoâng caêng thaúng, roài ñònh taâm nôi ñau vaø coá chaêm chuù theo doõi ñeå bieát: cöôøng ñoä cuûa ñau (Ñau ñeán möùc naøo?) vaø nôi chuû yeáu nhaát cuûa caùi ñau (Trong thòt, treân da, giöõa thôù thòt hay taän trong xöông hoaëc tuûy?).
Trong töøng nieäm, phaûi coá chuù taâm ñeán cöôøng ñoä cuûa caùi ñau, phaûi bieát chính xaùc nôi ñau, vaø nieäm "Ñau, Ñau; Nhöùc, Nhöùc; v.v...". Söï hieåu bieát veà côn ñau phaûi thaâm saâu vaø thaáu suoát, khoâng lôø môø hôøi hôït. Tieáp tuïc nieäm vôùi Taâm Ñònh vöõng maïnh thì seõ nhaän thaáy raát roõ raèng: "Sau 4 hay 5 nieäm, choã ñau vaø nhöùc trôû neân khoác lieät vaø khoâng theå chòu ñöïng noåi."
Sau möùc toät ñænh, côn ñau thöôøng giaûm bôùt vaø dòu daàn theo tieán trình cuûa noù. Khi côn ñau baét ñaàu laéng dòu, khoâng giaûm söï chuù taâm; phaûi tieáp tuïc ghi nhaän moät caùch thaän troïng vaø haêng haùi ñeå roài töï kinh nghieäm: "Sau 4 hay 5 nieäm, côn ñau giaûm daàn daàn vaø dôøi sang nôi khaùc."
Vì thaáy ñöôïc "Thöïc tính thay ñoåi cuûa söï ñau", thieàn sinh trôû neân thích thuù vôùi vieäc haønh thieàn. Tieáp tuïc [ghi nhaän vaø nieäm] nhö vaäy thì Ñònh Taâm daàn daàn vöõng maïnh vaø côn ñau seõ gia taêng vôùi töøng nieäm.
Sau möùc kòch lieät nhaát, côn ñau thöôøng dòu ñi. Khi côn ñau laéng dòu, khoâng giaûm bôùt söùc ghi nhaän, maø ngöôïc laïi, phaûi tieáp tuïc noå löïc[tinh taán] nhö tröôùc, thì seõ thaáy raèng: "Caùi ñau dòu xuoáng vôùi töøng nieäm vaø chuyeån sang nhöõng nôi khaùc". Vaäy, thieàn sinh nhaän thöùc: "Söï ñau khoâng tröôøng toàn, luoân thay ñoåi, khi taêng, khi giaûm". Ñaây laø caùch thieàn sinh thaáu hieåu theâm veà Thöïc tính cuûa söï ñau.
Tieáp tuïc quaùn nieäm nhö vaäy cho ñeán khi tieán trieån ñeán taàng Tueä, goïi laø "Tueä Dieät" (Bhanga Nyana), thì thieàn sinh seõ nhaän thöùc roõ ví nhö thaáy baèng maét: "Caùi ñau bieán maát hoaøn toaøn vôùi moãi nieäm töôûng chöøng nhö thình lình caùi ñau ñöôïc böùng maát." Ñaây laø caùch thieàn sinh phaùt sanh söï hieåu bieát: "Caùi ñau khoâng tröôøng toàn. Ñau laø Voâ Thöôøng." Ñaây laø luùc thieàn sinh thaéng theá caùi ñau.
Khi Taâm Ñònh thaâm saâu hôn vaø "Tueä Dieät" (Bhanga Nyana) beùn nhaïy, thieàn sinh coù theå kinh nghieäm: "Vôùi moãi nieäm, côn ñau vaø Taâm Nieäm (hay söï ghi nhaän) bieán maát moät löôït."
Tröôøng hôïp Trí Tueä beùn nhaïy phi thöôøng, thieàn sinh phaân bieät roõ 3 giai ñoaïn cuûa söï tan bieán: "Söï tan bieán cuûa côn ñau, söï tan bieán cuûa Taâm Thöùc (hay bieát hay yù thöùc caùi ñau), vaø söï tan bieán cuûa Taâm Nieäm (ghi nhaän söï ñau)."
Nhö vaäy, thieàn sinh phaùt sanh söï hieåu bieát: "Söï ñau ñôùn, Taâm Thöùc (nhaän bieát hoaëc caûm giaùc ñau) vaø Taâm Nieäm ñeàu khoâng tröôøng toàn hay thöôøng coøn."
Bò söï ñaøn aùp lieân tuïc vaø nhanh choùng cuûa hieän töôïng tan bieán hay hoaïi Dieät, thieàn sinh caûm thaáy Baát toaïi yù (Khoå hay Dukkha). Khoâng theå keàm cheá hay ngaên traùnh [Dieät vaø Khoå] neân laø Voâ Ngaõ (Anatta; khoâng theå töï chuû).
Nhö vaäy, thieàn sinh coù ñöôïc söï hieåu bieát veà:
- Ñau laø Voâ Thöôøng - Anicca.Khi nhöõng tröïc giaùc nhö vaäy trôû neân phaân bieät vaø roõ reät, Trí Tueä seõ tieán xa hôn nöõa.
- Ñau laø Khoå Naõo - Dukkha.
- Ñau laø Voâ Ngaõ - Anatta [khoâng theå laøm chuû, khoâng theå keàm cheá].Nieäm trong khi nghe.
Trong luùc thieàn, coù theå nghe tieáng, thaáy vaät hoaëc ngöûi muøi. Coù theå nghe tieáng nuùt chai (corks), tieáng chim, tieáng buùa vaø neän, tieáng ngöôøi, tieáng xe, v.v... Khi nghe aâm thanh nhö vaäy, phaûi nieäm "Nghe, Nghe". Phaûi coá nghe aâm thanh vôùi söï "hay bieát ñôn thuaàn" [nghe maø khoâng suy dieãn theâm]; nghóa laø nghe maø phaûi coá "khoâng baùm theo hoaëc töôûng töôïng theâm" [veà nhöõng gì nghe ñöôïc].
Khi Taâm Ñònh khaù vöõng maïnh, moãi laàn nieäm "Nghe, Nghe", aâm thanh trôû neân maäp môø töôûng chöøng nhö chuùng phaùt xuaát töø xa, hoaëc töôûng nhö chuùng bò mang ra xa, hoaëc töôûng nhö chuùng ñeán gaàn hôn hoaëc khaøn ñi hay khoâng roõ. Ñöôïc nhö vaäy nghóa laø Taâm Ñònh vöõng maïnh hôn vaø Taâm Nieäm tieán boä hôn.
Tieáp tuïc vôùi Taâm Nieäm vaø Taâm Ñònh tieán boä nhö vaäy, thì moãi khi nieäm "Nghe, Nghe", aâm thanh bieán maát töøng ñôn aâm moät, vaø Taâm Nieäm (ghi nhaän ñôn aâm) cuõng bieán maát sau khi nghe ñôn aâm. Nhöõng thieàn sinh vôùi Trí Tueä beùn nhaïy coù theå kinh nghieäm söï tan bieán nhö vaäy moät caùch raát roõ raøng vaø phaân bieät.
Ngay caû nhöõng thieàn sinh môùi taäp nieäm "Nghe, Nghe" cuõng kinh nghieäm roõ: "AÂm thanh tan raõ thaønh nhöõng ñôn aâm rôøi raïc, khoâng raùp laïi thaønh nghóa. Thí duï, khi nghe chuoãi aâm thanh "Thöa Quí OÂng" vaø nieäm "Nghe, Nghe", thì nhaän thaáy raèng:
- tröôùc tieân, nghe ñôn aâm "thöa" roài noù bieán maát,Nghe chuoãi [ñôn aâm] rôøi raïc nhö vaäy neân aâm thanh trôû neân khoù hieåu vaø voâ nghóa [khoâng raùp thaønh chöõ]. Chæ coù söï Dieät cuûa chuoãi ñôn aâm rôøi raïc laø roõ reät.
- keá ñeán, nghe ñôn aâm "quí" roài noù bieán maát, vaø
- sau cuøng, nghe ñôn aâm "oâng" sanh khôûi vaø bieán maát.Coù tröïc nhaän veà söï Dieät cuûa aâm thanh neân yù thöùc roõ: "AÂm thanh khoâng thöôøng coøn". Coù tröïc nhaän veà söï tan bieán hay hoaïi Dieät cuûa Taâm Nieäm, neân yù thöùc roõ "Taâm nieäm cuõng khoâng thöôøng coøn". Coù nhö vaäy neân hieåu bieát theâm raèng "Caû aâm thanh (nghe ñöôïc) vaø Taâm Nieäm (ghi nhaän aâm thanh) ñeàu khoâng tröôøng toàn." Khoâng tröôøng toàn laø Voâ Thöôøng (Anicca). Bò söï ñaøn aùp lieân tuïc vaø nhanh choùng cuûa söï hoaïi Dieät, taâm caûm thaáy Baát toaïi yù hay Khoå (Dukkha). Vì khoâng theå ngaên caûn hay traùnh khoûi söùc ñaøn aùp cuûa söï Dieät neân laø Voâ Ngaõ (Anatta; khoâng theå keàm cheá). Nhö vaäy, trong khi chaêm chuù nieäm "Nghe, Nghe", taâm phaùt sanh söï hieåu bieát veà Voâ Thöôøng, Khoå Naõo vaø Voâ Ngaõ (Anicca, Dukkha vaø Anatta), vaø Trí Tueä tieán trieån theâm.
Nieäm trong tö theá ngoài.
Trong tö theá ngoài:
- Nieäm "Phoàng, Xeïp, Ngoài, Ñuïng" lieân quan ñeán Thaân, neân goïi laø "Nieäm Thaân" (Kaõyaõnupassanaõ Satipatthaõna).Nhö vaäy, khi taäp ngoài thieàn quaùn theo söï giaûng daïy cuûa Thaày chuùng toâi, Ngaøi Ñaïi Ñöùc Thieàn Sö Mahasi, söï thieàn taäp goàm ñuû taát caû 4 nieäm xöù cuûa Töù Nieäm Xöù (Satipatthaõna).- Nieäm "Ñau, Teâ, hay Nhöùc" lieân quan ñeán caûm giaùc, neân goïi laø "Nieäm Thoï" (Vedanaõnupassanaõ Satipatthaõna).
- Nieäm "Phoùng, Phoùng, Tính toaùn, Tính toaùn, Suy nghó, Suy nghó, v.v..." lieân quan ñeán Taâm hoaëc caùc hoaït ñoäng cuûa Taâm Thöùc [söï hay bieát], neân goïi laø "Nieäm Taâm" (Cittaõnupassanaõ Satipatthaõna).
- Nieäm "Thaáy, Thaáy, Nghe, Nghe, Ngöûi, Ngöûi, v.v..." lieân quan ñeán caùc phaùp, neân ñöôïc goïi laø "Nieäm Phaùp" (Dhammaõnupassanaõ Satipatthaõna).
II. Thieàn khi ñi kinh haønh
Coù 4 caùch nieäm trong khi ñi kinh haønh nhö sau:
- moät nieäm cho moãi böôùc,Caùch 1. Ghi nhaän moãi böôùc nhö moät cöû ñoäng vaø nieäm "Traùi Böôùc, Maët Böôùc".
- hai nieäm cho moãi böôùc,
- ba nieäm cho moãi böôùc,
- saùu nieäm cho moãi böôùc.Khi nieäm"Traùi Böôùc", taâm phaûi daùn saùt theo ñoäng taùc, töø ñaàu ñeán cuoái. Phaûi chaêm chuù khaén khít vaøo tieán trình ñöa chaân daàn daàn veà phía tröôùc, nhöng coá khoâng ñeå yù ñeán hình theå cuûa baøn chaân.
Khi nieäm "Maët Böôùc", phaûi chuù taâm kyõ vaøo tieán trình ñöa chaân daàn daàn veà phía tröôùc, nhöng coá khoâng ñeå yù ñeán hình theå cuûa baøn chaân.
Caùch 2. Ghi nhaän moät böôùc nhö 2 cöû ñoäng vaø nieäm "Dôû, Ñaïp, Dôû, Ñaïp".
Khi nieäm "Dôû", phaûi nhaän thöùc thöïc taùnh cuûa tieán trình ñöa baøn chaân leân daàn daàn, ghi nhaän töøng cöû ñoäng, maø khoâng ñeå yù ñeán hình theå cuûa baøn chaân.
Khi nieäm "Ñaïp", cuõng phaûi chuù taâm vaøo thöïc taùnh cuûa tieán trình haï baøn chaân xuoáng daàn daàn, - ghi nhaän töøng cöû ñoäng, maø khoâng ñeå yù ñeán hình theå cuûa baøn chaân.
Teân cuûa hình theå (thí duï: baøn chaân) chæ laø danh töï, teân taïm goïi nhö vaäy maø thoâi. Danh töï laø khaùi nieäm hay cheá ñònh (Pannat). Khaùi nieäm khoâng phaûi laø ñoái töôïng cuûa Minh Saùt Tueä. Nguyeân toá chuyeån ñoäng hay ñoäng taùc laø Thöïc tính [söï thaät, chaân ñeá, thöïc taïi, chaân lyù](Paramat). Chæ coù Thöïc tính môùi laø ñoái töôïng cuûa Thieàn Minh Saùt Tueä.
Phong ñaïi (Vaõyo dhatu) - nguyeân toá gioù hay nguyeân toá di ñoäng - laø Thöïc tính (Paramat) taïo ra söï chuyeån ñoäng. Phaûi chuù taâm kyõ löôõng vaø chính xaùc ñeå tröïc nhaän nguyeân toá Phong ñaïi (Vaõyo dhatu).
Caùch 3. Ghi nhaän moät böôùc nhö 3 cöû ñoäng vaø nieäm "Dôû, Böôùc, Ñaïp".
Khi nieäm "Dôû", phaûi chuù taâm vaøo tieán trình ñöa baøn chaân leân daàn daàn, nhö ñaõ giaûng ôû phaàn treân.
Khi nieäm "Böôùc", phaûi chuù taâm vaøo tieán trình ñöa baøn chaân daàn daàn veà phía tröôùc.
Khi nieäm "Ñaïp", phaûi chuù taâm vaøo tieán trình haï baøn chaân xuoáng daàn daàn.
Phaûi quaùn saùt kyõ vaø beùn nhaïy taát caû ñoäng taùc ñeå baét kòp "hieän taïi" cuûa baøn chaân di ñoäng, cuøng luùc "nhaän bieát" Thöïc tính (Paramat) cuûa ñoäng taùc.
Nieäm "Dôû" vôùi Taâm Nieäm maïnh thì seõ töï phaùt hieän:
- tieán trình ñöa leân töø töø - töøng ñoäng taùc moät, vaøCuõng vaäy, khi nieäm"Böôùc Tôùi", thieàn sinh nhaän thöùc:
- söï nheï daàn theo chuyeån ñoäng ñöa leân.- tieán trình ñöa daàn veà tröôùc - töøng ñoäng taùc moät, vaøKhi "Ñaïp" vaø nieäm nhö vaäy, thì cuõng seõ nhaän thöùc:
- söï nheï daàn theo chuyeån ñoäng ñöa veà phía tröôùc.- tieán trình haï xuoáng töø töø - töøng cöû ñoäng moät, vaøNhaän thöùc nhö vaäy ñöa ñeán keát quaû: "Thieàn sinh trôû neân thích thuù vôùi vieäc thieàn taäp." Ñaây laø Tueä Minh Saùt ñaàu tieân (söï hieåu bieát xuyeân thaáu) cuûa thieàn sinh.
- söï naëng daàn theo chuyeån ñoäng haï xuoáng."Caûm giaùc Nheï"nghóa laø söï kinh nghieäm veà ñaëc taùnh cuûa Hoûa ñaïi (Tejo dhatu) laø noùng vaø laïnh, vaø ñaëc taùnh cuûa Phong ñaïi (Vaõyo dhatu) laø di ñoäng hay cöû ñoäng.
"Caûm giaùc Naëng" nghóa laø söï kinh nghieäm veà ñaëc taùnh cuûa Ñòa ñaïi (Pathavi dhatu) laø daõn, dai hay cöùng, vaø ñaëc taùnh cuûa Thuûy ñaïi (Apo dhatu) laø dính vaø loûng.
Söï hieåu bieát hay nhaän thöùc veà hieän töôïng Danh (taâm) vaø Saéc (thaân) laø Tueä giaùc ñaàu tieân ñi vaøo ñaëc taùnh thieát yeáu cuûa tieán trình Danh vaø Saéc, nhaän chaân ñuùng vôùi thöïc taùnh.
Caùch 4. Coù 3 caùch nieäm moät böôùc nhö 6 ñoäng taùc:
1) Ghi nhaän moät böôùc nhö 6 ñoäng taùc vaø nieäm "Ñaàu Dôû, Cuoái Dôû, Ñaàu Böôùc, Cuoái Böôùc, Ñaàu Ñaïp, Cuoái Ñaïp".
"Ñaàu Dôû" laø chæ coù goùt chaân vöøa nhaác leân.Thaät ra, caùch nieäm naày chia moãi ñoäng taùc cuûa 3 nieäm [Caùch 3] thaønh 2 phaàn: "ñaàu vaø cuoái".
"Cuoái Dôû" laø caû baøn chaân vaø caùc ngoùn chaân vöøa nhaác hoûng leân.
"Ñaàu Böôùc" [hay "Ñaàu Ñöa"] laø khi baøn chaân vöøa môùi "baét ñaàu" ñöa veà phía tröôùc.
"Cuoái Böôùc" [hay "Cuoái Ñöa"] laø ngay khi baøn chaân saép söûa haï xuoáng.
"Ñaàu Ñaïp" laø khi baøn chaân vöøa môùi haï xuoáng.
"Cuoái Ñaïp" laø ngay khi baøn chaân vöøa chaïm ñaát hay saøn.2) Coøn caùch khaùc ñeå ghi nhaän moät böôùc nhö 6 ñoäng taùc vaø nieäm "Muoán Dôû, Dôû, Muoán Böôùc, Böôùc, Muoán Ñaïp, Ñaïp". Theo caùch nieäm naày, hieän töôïng Danh (taùc yù; "Muoán...") vaø hieän töôïng Saéc (ñoäng taùc; dôû, v.v...) ñöôïc ghi nhaän rieâng reõ.
3) Cuõng coøn caùch khaùc nöõa ñeå ghi nhaän moät böôùc nhö 6 ñoäng taùc vaø nieäm "Dôû, Nhaác, Böôùc, Ñaïp, Ñuïng, Nhaán".
"Dôû" laø chæ coù goùt chaân baét ñaàu dôû leân.Thieàn sinh thaät söï tieán trieån vaø ñaït Tueä giaùc thaâm saâu hôn nhôø caùch nieäm 6 ñoäng taùc [cho moãi böôùc chaân].
"Nhaác" laø caû baøn chaân vaø caùc ngoùn chaân ñöôïc nhaác hoûng leân.
"Böôùc"[hay "Ñöa tôùi"] laø ñoäng taùc ñöa baøn chaân ñöa veà phía tröôùc.
"Ñaïp" laø baét ñaàu haï baøn chaân xuoáng.
"Ñuïng" laø khi baøn chaân ñuïng ñaát hay saøn.
"Nhaán" [hay "AÁn"] laø nhaán söùc xuoáng baøn chaân [ñang di chuyeån] ñeå dôû baøn chaân kia leân.III. Thieàn trong sinh hoaït haèng ngaøy hay "Nieäm Toång quaùt".
"Nieäm Toång Quaùt" nghóa laø quaùn saùt töøng chi tieát nhoû nhöõng ñoäng taùc thöôøng laøm trong sinh hoaït haèng ngaøy, vaøo nhöõng luùc khoâng ngoài thieàn hoaëc ñi kinh haønh. Ñaây laø nhöõng ñoäng taùc nhoû laøm ôû nhaø nhö: môû cöûa, ñoùng cöûa, doïn giöôøng, thay y phuïc, chuaån bò côm nöôùc, aên, uoáng, v.v... Phaûi lieân tuïc yù thöùc vaø nieäm taát caû caùc ñoäng taùc nhoû naày.
Nieäm khi aên
Ngay khi thaáy thöùc aên, phaûi nieäm "Thaáy, Thaáy".Nhöõng chæ daãn treân ñaây laø phöông phaùp cuûa Thaày chuùng toâi, Ngaøi Ñaïi Ñöùc Thieàn Sö Mahasi Sayadaw. Ngaøi ñaõ taäp vaø nieäm nhö vaäy trong luùc duøng moät mieáng thöïc phaåm nhoû. Thieàn sinh cuõng neân quaùn saùt hay yù thöùc - kyõ caøng, chính xaùc vaø soáng ñoäng - [kòp thôøi vôùi] nhöõng ñoäng taùc ñoäng taùc nhö treân.
Khi ñöa baøn tay ra ñeå laáy thöùc aên, nieäm "Ñöa, Ñöa".
Khi vöøa ñuïng thöùc aên, nieäm "Ñuïng, Ñuïng".
Khi gom vaø xaép xeáp thöùc aên, nieäm "Gom, Gom".
Khi ñöa thöùc aên vaøo mieäng, nieäm "Ñöa, Ñöa".
Khi khom ñaàu xuoáng ñeå aên, nieäm "Khom, Khom".
Khi môû mieäng ra, nieäm "Môû, Môû".
Khi ñeå thöùc aên vaøo mieäng, nieäm "Ñeå vaøo, Ñeå vaøo".
Khi ngöôùc ñaàu thaúng leân, nieäm "Leân, Leân".
Khi nhai, nieäm "Nhai, Nhai".
Khi neám ñöôïc muøi vò, nieäm "Neám, Neám".
Khi nuoát, nieäm "Nuoát, Nuoát".Luùc môùi thöïc taäp, khoâng deã gì nieäm kòp taát caû ñoäng taùc. Seõ queân nieäm raát nhieàu ñoäng taùc, nhöng ñöøng naûn chí. Khi Taâm Nieäm saâu saéc, seõ ghi nhaän kòp taát caû ñoäng taùc.
Luùc môùi taäp ghi nhaän nhö treân, tröôùc heát phaûi coá chuù taâm vaøo "moät" ñoäng taùc "noåi baät nhaát" ñoái vôùi thieàn sinh, vaø chæ nieäm ñoäng taùc ñoù maø thoâi. Ñoäng taùc naøo noåi baät [chuù yù] nhaát ?
Neáu chuù yù ñeán ñoäng taùc ñöa tay ra, thì phaûi nieäm "Ñöa, Ñöa" - khoâng thieáu soùt hay queân nieäm.
Neáu chuù yù ñeán cuùi ñaàu, thì phaûi nieäm "Cuùi, Cuùi" - khoâng thieáu soùt hay queân nieäm.
Neáu chuù yù ñeán nhai, thì phaûi nieäm "Nhai, Nhai" - khoâng thieáu soùt hay queân nieäm.
Phaûi coá nieäm ít nhaát laø moät ñoäng taùc noåi baät nhö ñoái töôïng chaùnh - khoâng thieáu soùt hay queân nieäm.
Khi söï chuù taâm khaén khít chính xaùc treân ñoái töôïng vaø Taâm Nieäm tieán trieån, thì coù theå chuù taâm ghi nhaän theâm nhöõng ñoäng taùc khaùc, vaø duy trì söï chuù taâm [lieân tuïc]. Theo caùch naày, coù theå tieán trieån qua caùc taàng Minh Saùt Tueä khaùc nhau ngay trong luùc duøng böõa aên.
"Nhai" laø ñoäng taùc raát roõ reät. Thaày cuûa chuùng toâi, Ngaøi Ñaïi Ñöùc Thieàn Sö Mahasi Sayadaw, ñaõ daïy raèng: "Trong ñoäng taùc nhai, chæ coù haøm döôùi di ñoäng." Söï cöû ñoäng cuûa haøm döôùi môùi thaät goïi laø "Nhai".
Neáu taâm nieäm coù theå ghi nhaän tieán trình di ñoäng cuûa haøm döôùi, vaø taâm ñònh vöõng chaéc, thì seõ caûm thaáy "nieäm Nhai" trôû neân thuaàn thuïc deã daøng. Khôûi ñaàu vôùi nieäm Nhai thì veà sau coù theå nieäm taát caû ñoäng taùc trong luùc duøng thöùc aên.
Nieäm ñoäng taùc ngoài xuoáng
Nieäm "Ngoài, Ñöùng [ñöùng thaúng], Khom, Leân [ñöùng leân]" cuõng thuoäc veà Nieäm Toång Quaùt. Neáu chaêm chuù tæ mæ, thì seõ nhaän thöùc:"taùc yù "Muoán Ngoài" coù tröôùc ñoäng taùc "Ngoài" thaät." Nhöõng thieàn sinh vôùi taâm nieäm khaù vöõng maïnh thöôøng kinh nghieäm ñöôïc nhö vaäy. Vaäy, tröôùc heát phaûi taäp nieäm taùc yù "Muoán ngoài, Muoán ngoài", vaø chæ khi naøo ñoäng taùc ngoài thaät söï baét ñaàu thì môùi nieäm "Ngoài, Ngoài".
Khi nieäm "Ngoài, Ngoài", haõy coá khoâng chuù yù ñeán hình theå cuûa ñaàu, thaân, chaân, v.v... Phaûi chuù taâm kyõ ñeán ñaëc taùnh cuûa tieán trình ñoäng taùc daàn daàn haï xuoáng, ñeå yù tæ mæ töøng cöû ñoäng moät. Phaûi chuù taâm laøm sao ñeå taâm khaén khít vôùi "hieän taïi" cuûa tieán trình haï xuoáng, theo töøng cöû ñoäng moät.
Phaûi chuù taâm thaät kyõ vaø chính xaùc ñeå hieåu roõ Thöïc tính (Paramat) cuûa söï chuyeån ñoäng. Neáu chuù taâm nhö vaäy vaø giöõ taâm ngay trong "hieän taïi", thì coù theå töï nhaän thöùc roõ:
- tieán trình cuûa ñoäng taùc ngoài xuoáng töø töø, vaøNieäm ñoäng taùc ñöùng leân hay ngoài daäy
- cuõng caûm giaùc naëng daàn theo ñoäng taùc haï xuoáng.Khi muoán ñöùng leân, neáu chuù yù kyõ caøng vaø thaáu suoát thì seõ yù thöùc taùc yù "Muoán ñöùng leân" xaõy ra tröôùc; phaûi nieäm "Muoán Ñöùng Daäy, Muoán Ñöùng Daäy". Taùc yù khieán Phong ñaïi (nguyeân toá gioù; Vaõyo dhatu) chuyeån ñoäng vaø ñaåy thaân ñöùng leân.
Khi nghieâng mình veà phía tröôùc ñeå gom söùc ñöùng leân, nieäm "Gom Söùc, Gom Söùc".
Neáu choáng tay moät beân ñeå laáy theá ñöùng leân, nieäm "Choáng, Choáng".
Khi ñaày ñuû söùc, Thaân seõ daàn daàn vöôn leân. Ñoäng taùc naày ñöôïc goïi laø ñöùng leân hay ngoài daäy; nieäm "Ñöùng Daäy, Ñöùng Daäy" hay "Ñöùng Leân, Ñöùng Leân".
Chæ duøng nhöõng töø ngöõ naày ñeå goïi taïm - [danh töï] khaùi nieäm. Phaûi coá nhaän thöùc ñaëc taùnh cuûa tieán trình ñoäng taùc vöôn leân töø töø. Vaäy, phaûi chuù taâm khaén khít vaø chính xaùc ñeán ñaëc taùnh cuûa ñoäng taùc vöôn leân, vaø phaûi giöõ taâm ngay trong hieän taïi cuûa tieán trình vöôn leân.
Neáu coù theå giöõ taâm daùn saùt theo "hieän taïi" vaø ñoàng thôøi coù yù thöùc tinh teá vaø chính xaùc veà ñaëc taùnh cuûa ñoäng taùc vöôn leân (Thöïc tính; Paramat), thì seõ nhaän thöùc raèng: "Leân caøng cao thì [caûm giaùc] thaân caøng nheï daàn."
Vaäy, thieàn sinh töï nhaän thöùc raèng:
- caûm giaùc Naëng daàn theo ñoäng taùc "haï" xuoáng, vaøCaûm giaùc Nheï nghóa laø thaáy ñaëc taùnh cuûa Hoûa ñaïi (Tejo dhatu; nguyeân toá löûa) vaø Phong ñaïi (Vaõyo dhatu; nguyeân toá gioù).
- caûm giaùc Nheï daàn theo ñoäng taùc vöông "leân".Caûm giaùc Naëng nghóa laø thaáy ñaëc taùnh cuûa Ñòa ñaïi (Pathavó dhatu; nguyeân toá ñaát) vaø Thuûy ñaïi (aõpo dhatu; nguyeân toá nöôùc).
Thaáy söï Sanh vaø Dieät
Sau khi bieát ñöôïc "ñaëc taùnh rieâng" cuûa hieän töôïng, thì seõ bieát giai ñoaïn Udaya (Sanh) vaø giai ñoaïn Vaya (Dieät). Seõ thaáy söï Sanh Dieät, heát luùc naày sang luùc khaùc: sanh roài dieät, sanh roài dieät, sanh roài dieät, v.v... Thaáy roõ söï Sanh vaø Dieät nghóa laø thaáy "Nhaân Duyeân Töôùng" (Sankhata Lakkhana) (daáu hieäu hay bieåu töôïng cuûa "ñieàu kieän phaùp" - traïng thaùi Sanh vaø Dieät [cuûa caùc Phaùp Höõu Vi]).Chaâm ngoân: Phaûi bieát Töï Taùnh (baûn chaát rieâng hay ñaëc taùnh rieâng), thì môùi thaáy ñöôïc söï Sanh Dieät (Udaya Vaya).Sau khi thaáy ñöôïc söï Sanh Dieät, tieáp tuïc ghi nhaän nhö vaäy cho ñeán khi taâm nieäm vöõng maïnh vaø tieán trieån, thì thaáy söï Sanh chìm daàn [khoâng roõ] nhöng söï Dieät noåi baät hôn. Caûm giaùc söï Dieät roõ hôn thì thieàn sinh seõ nhaän thöùc raèng: "Khoâng coù hieän töôïng naøo laø tröôøng toàn. [Khoâng coù Phaùp Höõu Vi naøo laø beàn vöõng.]"
Moät khi yù thöùc roõ laø chính taâm nieäm cuõng tan bieán, thieàn sinh seõ nhaän thöùc raèng:
- taâm nieäm cuõng khoâng tröôøng toàn, vaøBò ñaøn aùp lieân tuïc vaø nhanh choùng cuûa söï hoaïi dieät, neân caûm thaáy:
- caû hai, hieän töôïng Danh (taâm) vaø hieän töôïng Saéc (thaân), ñeàu khoâng tröôøng toàn - Voâ Thöôøng (Anicca).- Khoå (Dukkha; Baát Toaïi yù); vaøKhi hieåu roõ vaø thaáu suoát veà Voâ Thöôøng, Khoå Naõo vaø Voâ Ngaõ, thieàn sinh coù theå tieán theâm veà Tueä Minh Saùt.
- khoâng theå chaän ñöùng hay ngaên traùnh söï hoaïi dieät. Vì söï Dieät xaûy ra theo yù noù neân khoâng theå keàm cheá ñöôïc, Voâ Ngaõ (Anatta).Vaäy, khi ghi nhaän caùc tieán trình ngoài xuoáng vaø ñöùng leân, seõ nhaän thöùc 3 ñaëc taùnh: Voâ Thöôøng, Khoå Naõo vaø Voâ Ngaõ - Saõnnanna Lakkhana (Tam Töôùng hay ñaëc taùnh chung). Bieát roõ vaø xuyeân thaáu veà Tam töôùng thì seõ ñaït caùc Tueä Minh Saùt cao hôn nhö thieàn sinh haèng mô öôùc.
Nieäm khi Co hay Duoãi [caùnh tay]
Nieäm "Co" vaø "Duoãi" cuõng thuoäc veà Nieäm Toång Quaùt. Luùc saép co caùnh tay, neáu chuù taâm ghi nhaän lieân tuïc, seõ thaáy taùc yù "Muoán Co" coù tröôùc; phaûi nieäm "Muoán Co, Muoán Co". Sau ñoù, phaûi chuù taâm khaén khít vaø tæ mæ ñeå bieát ñaëc taùnh cuûa tieán trình ñoäng taùc co caùnh tay. Trong tröôøng hôïp naày, neáu chuù taâm kyõ löôõng vaø chính xaùc thì cuõng coù theå caûm giaùc nheï daàn theo ñoäng taùc ñöa leân.
Sau khi laøm xong vieäc gì caàn laøm trong luùc co tay vaø sau ñoù laïi muoán duoãi tay ra, taùc yù "Muoán Duoãi" seõ noåi baät [tröôùc], vaäy phaûi nieäm "Muoán Duoãi, Muoán Duoãi". Khi ñoäng taùc duoãi ñang thaät söï dieãn ra, nieäm "Duoãi, Duoãi". Söï chuyeån ñoäng cuûa caùnh tay ñöa ra vaø haï xuoáng ñöôïc goïi laø "Duoãi". Khi nieäm "Duoãi, Duoãi", cuõng coù theå nhaän thöùc caûm giaùc naëng daàn theo caùnh tay haï xuoáng.
Ñaëc taùnh Nheï vaø Naëng ñöôïc goïi laø "Töï Taùnh Töôùng" (Sabhaõva Lakkhanas) - baûn chaát rieâng hay ñaëc taùnh rieâng".
Tieáp tuïc ghi nhaän theo caùch naày thì seõ nhaän thöùc ñaëc taùnh Nheï vaø Naëng phaùt sanh leân vaø tan bieán ñi, vaø nhö vaäy seõ thaáy ñöôïc "Nhaân Duyeân Töôùng" (Sankhata Lakkhana) (ñaëc taùnh taäp hôïp hay ñieàu kieän caùch - coù [3 giai ñoaïn] ñaàu [sanh], giöõa [truï] vaø cuoái [dieät]).Chaâm ngoân: Phaûi bieát Töï Taùnh (baûn chaát rieâng hay ñaëc taùnh rieâng), thì môùi thaáy ñöôïc söï Sanh Dieät (Udaya Vaya).Vôùi "Tueä Dieät"(Bhanga Nyana), hieän töôïng Dieät (cuûa ñoäng taùc Co vaø Duoãi) noåi baät vaø deã phaân bieät hôn, neân thieàn sinh nhaän thöùc raèng:
- ñoäng taùc Co khoâng tröôøng toàn,Vaäy, trong khi co hay duoãi, thieàn sinh coù theå hieåu bieát roõ raøng vaø thaáu suoát veà caùc ñaëc taùnh cuûa Voâ Thöôøng, Khoå Naõo vaø Voâ ngaõ, vaø tieán trieån ñeán nhöõng söï hieåu bieát hay Tueä Minh Saùt maø thieàn sinh haèng ao öôùc.
- taâm nieäm (ghi nhaän ñoäng taùc Co) khoâng tröôøng toàn,
- ñoäng taùc Duoãi khoâng tröôøng toàn, vaø
- taâm nieäm (ghi nhaän ñoäng taùc Duoãi) khoâng tröôøng toàn.Lôøi caàu nguyeän cuûa Ngaøi Ñaïi Ñöùc Thieàn Sö:
Caùc thieàn sinh ñaõ nghe 3 khía caïnh cuûa caùc "Baøi Taäp Caên Baûn trong Thieàn Minh Saùt Tueä". Nguyeän cho quí vò thieàn taäp ñöôïc nhö vaäy, deã daøng thaâu thaäp ñöôïc söï hieåu bieát maø quí vò haèng tìm kieám, vaø mau kinh nghieäm söï an vui cuûa Nieát Baøn (Nibbaõna) - tòch dieät taát caû khoå ñau.
Lôøi cuûa caùc thieàn sinh:
- Chuùng con xin vaâng giöõ taát caû nhö lôøi daïy cuûa Ngaøi Ñaïi Ñöùc Thieàn Sö.
Sadhu, Sadhu, Sadhu (laønh thay)!
Raõi Taâm Töø
Ñaây laø baøi Kinh Raõi Taâm Töø (Metta; Loving Kindness) ñöôïc ñoïc tuïng taïi Thieàn Vieän Saddhammaransi:
Nguyeän cho taát caû chuùng sanh trong möôøi phöôngChaâm Ngoân ñeå ghi nhôù
traùnh khoûi moïi ñieàu ruûi ro tai haïi,
traùnh khoûi moïi söï ñau khoå veà tinh thaàn,
traùnh khoûi moïi söï ñau khoå veà theå xaùc,
thaân vaø taâm ñöôïc an vui,
vaø nguyeän cho taát caû chuùng sanh kham nhaãn noåi söï khoù khaên cuûa ñôøi soáng nguõ uaån. (*)(*) laëp laïi 3 laàn
* Chæ khi naøo ghi nhaän kòp hieän taïi cuûa söï Sanh khôûi, thì môùi thaät söï bieát ñöôïc Töï Töôùng (Sabhaõva - baûn chaát rieâng hay ñaëc taùnh rieâng).English version:* Chæ khi naøo bieát ñöôïc Töï Töôùng (ñaëc taùnh rieâng), thì môùi thaáy ñöôïc söï Sanh-Dieät (Udaya - Vaya).
* Phaûi nhaän bieát roõ raèng: "söï Sanh khôûi cuûa taát caû hieän töôïng Danh (taâm) vaø Saéc (thaân) ñeàu khoâng theå traùnh khoûi keát cuoäc laø söï tan raõ (söï hoaïi Dieät)".
* Bieát veà söï hoaïi Dieät thì seõ thaáy roõ Voâ Thöôøng (Anicca).
* Thaáy Voâ Thöôøng (Anicca) thì Khoå (Dukkha) seõ hieån loä.
* Khoå (Dukkha) hieån loä thì seõ thaáy Voâ Ngaõ (Anatta).
* Thaáy Voâ Ngaõ (Anatta) thì seõ chöùng nghieäm Nieát Baøn (Nibbana).
Basic Exercises on Mindfulness or Vipassana Meditation
Venerable Saddhammaransi Sayadaw
English translation by Sayamagyi Daw Hnin Yi
Mawlamyaing, Myanmar-oOo-
Introduction
All those who have come to practice Vipassana Meditation want to gain Insight very quickly. Those who have not experienced any Insight yet would like to gain Insight very quickly. Those who have experienced some Insights would like to gain further Insights very quickly. Everyone wants to gain Insights very quickly. To reach these goals, one must first listen very attentively and closely to the "Basic Exercises on Vipassana Meditation" so that one will remember each and every word of the instruction thoroughly when you practice. One must read and study them diligently. Only then will one be able to reach the goal.
Vipassana Meditation practice is not something that has to do with physical effort or verbal recitations. It has to do with the mental faculty or mind.
Thus, it is absolutely crucial that one knows how to:
- keep the mind on the object of meditation with pinpoint precisionTo be able practice in such a way, one must read, study, memorize, listen and pay close attention to the details of the Basic Exercises in a diligent and meticulous manner. Thus all those who want to practice Vipassana Meditation effectively should read and study the Basic Exercises with special care and attention.
- train the mind so that it does not wander to outside objects
- train the mind so that it will wander for long, if and when it wanders to outside objectsSaddhammaransi Sayadaw
-oOo-
Basic Exercises on Mindfulness or Vipassana Meditation
This is the first lecture on Basic Exercises or Basic Principles of Mindfulness Meditation by the most Venerable Sayadaw of Saddhamma Ransi Yeiktha (Meditation Center) for those yogis who have come to practice Vipassana Meditation at Saddhamma Ransi Yeiktha (Meditation Center).
Of those who have come to practice Vipassana Meditation, those who have not experienced any Insight would like to gain Insight as quickly as possible. Those who have already experienced some Insight would like to gain further Insights more quickly. To be able to reach the highest goal quickly, you must listen with utmost care and attention to the following discourse "Basic Exercises on Mindfulness Meditation" and practice accordingly.
To mention briefly, there are three kinds of "Basic Exercises on Mindfulness Meditation". They are:
- meditating while in the sitting position
- meditating while walking
- meditating while performing daily activities or "Meditating on the General Details"I. Meditating while in the sitting position
I will first explain about meditating while in the sitting position. First you must pick a quiet and peaceful place. Then, choose the most comfortable posture which will enable you to sit for quite some time. You may sit with your knees bent under you or you may sit cross legged, but you must choose a posture which will enable you to meditate for a long time. After you are satisfied with your sitting posture, keep your back and head straight. Then, close your eyes and focus your attention on you abdomen.
When you inhale or breathe in, the abdomen Rises or Expands. You must note this rising with close concentration so that your mind is pinpointed on it from the start of the Rising, as it rises in stages, to the end of the rising without your mind wandering anywhere and note as: "Rising".
When you exhale or breathe out, the abdomen Contracts or Falls gradually. You must also note this from the beginning of the falling, in stages, to the end of the falling, with pinpointed precision so that your mind does not wander anywhere and note as: "Falling".
When noting the Rising and Falling of the abdomen, you should try not to concentrate on the physical form of the abdomen. You should try to concentrate on how the air, when inhaled, affects some tension and pressure that pushes up from the inside. You must try to feel and know or realize this pushing up of the air from the inside, the tension and pressure, etc., and not the physical form of the abdomen. The abdomen is so called only for its namesake, "Pannat" (Concept or Convention). Vipassana is not for Pannat (Concepts) but for the true nature, "Paramat" (Reality). The nature of air pushing up from inside, the tension, pressure, etc., is "Paramat", the real thing that is happening when you breathe in. Thus you must concentrate closely and precisely to try to know this Reality.
You must note as carefully when breathe out. You must try not to concentrate on the form or shape of the abdomen, but on the gradual and slow movement, vibration and recession of the air as you breathe out.
Thus you must keep noting these 2 movements as "Rising, Falling"; concentrating on the gradual force of air that makes the abdomen rise and the gradual contraction of the abdomen as you breathe out.
If you feel that you cannot keep your calm by noting these 2 movements as "Rising, Falling", you may add another object and note "Rising, Falling, Touching."
When concentrating on "Touching", you should not allow yourself to be carried away by the form or shape of your limbs touching the floor/mat or each other, but concentrate on the hardness or tension of the touch.
If you still cannot concentrate enough and your mind tend to wander with these three movements, then you can add another and note "Rising, Falling, Sitting, Touching".
When you concentrate on the "Sitting", try to concentrate by encompassing from the upper part of your body down and try to feel the stiffness and tension on your body (from the force of air element that has pushed you up into the sitting position). You should not concentrate on the shape or form of the head, hands, legs or body. The "desire to sit" has set in motion the air element that supports and props up the body into this position called "Sitting". You must try to feel the stiffness, tension, pressure, etc. of this support and not the form of body, hands or legs.
So now you have 4 objects to note: "Rising, Falling, Sitting, Touching". When you note with 4 objects as such, your mind will usually become calm. If you find noting as "Rising, Falling, Sitting, Touching" with the 4 objects is helpful, you may continue with such noting. However, if you find that noting with 4 objects as such puts your mind in so much strain and worry that you cannot concentrate well, you may want to note with just 3 objects as: "Rising, Falling, Touching". If you still find that noting even with 3 objects is not helping you, you can note with just 2 objects as "Rising, Falling". The main objective is to calm the mind and develop concentration.
As a beginner, while noting "Rising, Falling, Sitting, Touching", your mind may wander here and there - to the pagoda, monastery or temple, to the shopping centers, to the house, etc. When this occurs, you must also make note of your wandering mind as "Wandering, Imagining, Planning, etc." As your concentration becomes strong and your Insight progress, you will find that your wandering thoughts disappear after a few notings. You will come to realize for yourself that the thoughts pass away with a few continuous notings by observing precisely and closely in a meticulous manner.
As you progress in you concentration and reach the Insight knowledge known as "The Knowledge of Dissolution" (Bhanga Nyana), you will find the thoughts disappear with each noting.
With further progress in your Insight, you will come to see not only the thoughts disappear with each noting, but the noting mind (or awareness) also disappears with the noting. Thus you will come to realize that: "The thoughts are not everlasting. Also the noting mind (or the awareness of them) is not everlasting - Anicca."
Being so oppressed by such rapid succession of Arising and Passing away, the yogi comes to realize their Unsatisfactory nature or Suffering. At the same time, the yogi finds that this Arising and Passing away as well as the resulting Suffering cannot be warded off in any way or by anyone. One cannot do anything about it. It is Uncontrollable - Anatta. There and then you come to the realization or Insight into the truth about: "All conditioned things being Transient (Anicca), being objects of Suffering (Dukkha) and being Uncontrollable (Anatta)". Thus, a yogi comes to a clear Insight or knowledge of Anicca (Impermanence), Dukkha (Suffering) and Anatta (Uncontrollability).
As you go on concentrating "Rising, Falling, Sitting, Touching" for about an hour or 45 minutes, you will notice that your limbs start to ache, become painful or numb. When this occurs, you have to change your concentration from "Rising, Falling, Sitting, Touching" onto the pain, and concentrate your mind on the pain.
There are 3 ways of being mindful or fixing your concentration regarding the pain:
The first is to concentrate on the pain with the objective of making the pain disappear.
The second is to make a strong determination to make the pain disappear within this one sitting or within one day, and to fight it all out in an aggressive manner.
The third is to concentrate so as to know the true nature of the pain.
Method #1. Concentrating with the objective of "wanting to be relieved of the pain". The first way means that the yogi is actually craving for the pleasure of having no pain. That means the yogi is having greed for pleasure. Mindfulness Meditation is to rid oneself of greed, to stop being greedy. Instead, this greed (Lobha) now becomes an obstacle to the progress and realization of the true nature of things. Thus, a yogi should not contemplate in this way.
Method #2. The second way, where you determine yourself to get rid of this suffering, is not good either, because there is anger (Dhosa) in the determination to fight. In other words, the determination is colored with anger. One will not be able to make progress if one allows anger to creep in. That is why one should not adopt this method.
Method #3. The third way is to concentrate your mind on the pain so that you will come to know the "true nature" of the pain. Only when one comes to know the true nature (of pain, in this case), Udaya Vaya (the Arising and Passing away) will be revealed or known.
When pain occurs, yogis usually tend to become tense both in body and mind. One should not tense up like that, but try to relax both in body and mind. You should also try not to worry about whether you will have to endure the pain the whole time or during this whole hour. You must try not to have such worries.
You should keep yourself calm and adopt the attitude that: "Pain will come and go at its own will, and my duty is to keep mindful of the pain". You must also adopt the attitude that you will practice "patience with the pain". Patience is the most crucial element in dealing with pain. The saying that "Patience leads to Nibbana" is the most useful maxim in Mindfulness Meditation.
After making a determination that you will be patient, keep both your body and mind calm and relaxed. Don"t be taut. Then, pinpoint your mind on the pain and try to concentrate on the intensity of the pain ("How painful is it?") and on where the pain is most crucial ("On the flesh or skin, in the muscles or right down in the bones or marrow?").
You must try to concentrate on the intensity of the pain with each noting, then note as: "Painful, Painful; Aching, Aching; etc.", and know exactly where they occur and how painful it is. Mindfulness on the pain should be deep and penetrative, and not superficial. As you keep noting, if you are deeply mindful, you will notice very clearly that after 4 or 5 notings, these pains and aches become more and more severe and unbearable.
After reaching the peak, the pain will tend to lessen and subside following its own course. When this occurs, you should not relax your concentration. Instead, you should earnestly and enthusiastically continue being mindful. You will then experience for yourself the pain becoming less and less after every 4 or 5 notings and the pain shifting to another location.
Thus seeing the changing nature of pain, the yogi becomes interested in the practice. Continuing in this way, as the mind gets more and more steep in concentration, you will find that the pain increases with each noting.
After reaching a peak, the pain usually subsides. One must not relax the intensity of one"s noting when the pain starts to subside. Instead, one must continue with the same intensity of effort, and one will find the pain subsiding with each noting, and the pain changing locations. Thus the yogi will come to realize that pain is not everlasting; it is always changing. It increases as well as decreases. In this way, the yogi comes to know more about the real nature of pain.
Continuing noting in this way, when a yogi reaches the stage of Insight known as "The Knowledge of Dissolution" (Bhanga Nyana), he/she will realize, as if seeing clearly by his own eyes, that the pain disappears completely with each noting, as if suddenly plucked away. In this way, the yogi comes to realize that: "Pain is not permanent. It is Impermanent." The yogi is now gaining the upperhand on the pain.
With further deepening of Insight, those yogis whose Insight Knowledge of "Bhanga Nyana - Knowledge of Dissolution" are sharp, are able to experience that: "with each noting, not only the pain but also the noting mind (or consciousness) disappears with it".
In the case of yogis whose Insight knowledge are exceptionally sharp, they will see distinctly 3 phases disappearing, that is: the passing of the pain, the consciousness that recognizes or becomes aware of the pain, and the noting mind registering the pain.
Thus the yogi comes to realize that pain is not everlasting or permanent, neither does the consciousness (or feeling of the pain), nor the noting mind.
Being oppressed by such quick succession of Passing away or Dissolution, the yogi feels that it is Unsatisfactory - Suffering or Dukkha. As these cannot be warded off, it is Uncontrollable - Anatta.
Thus, the yogi comes to realize that:
Pain is Anicca - Impermanent.When such knowledge become very distinct and clear, progress will be made into further Insights.
Pain is Dukkha - Suffering [Unsatisfactory].
Pain is Anatta - Uncontrollable.While meditating, you may hear sounds, see things or smell things that are around you. You may especially hear the sounds of corks, birds, hammering and beating sounds, sounds of people, cars, etc. When you hear such sounds, you must note as: "Hearing, Hearing." You must try to pay only "bare attention" to the sounds. That is, you must try not to let your mind follow these sounds or let your imagination get you about them.
When your concentration gets relatively strong, as you note "Hearing, Hearing", the sounds may become indistinct as if from far away, or as if being carried far away, or getting nearer, or hoarse and not clear. That means you are getting better concentration on your noting. You are progressing in your noting.
As you go noting in this way and your concentration get better, you will find that as you note "Hearing, Hearing", the sounds disappear syllable by syllable and the noting mind also disappear after hearing each syllable. Yogis, whose Insight knowledge are sharp, are able to experience this very clearly and distinctly.
Even yogis, who are beginners in noting "Hearing, Hearing", will be able to experience distinctly that the sounds disappear in disjointed syllables, without being connected to each other to make any sense.
For example, when one hears the sound of the word "Gentleman" and note it as "Hearing, Hearing." You will notice hearing the sound of the syllable "Gen" first and then pass away. You will next hear the sound "tle" and pass away, and finally the sound "man". The sounds arising and passing away in such broken sequence that the meaning of the word becomes obscure and unintelligible. Only the Passing away of the sounds in broken sequences becomes evident.
When you experience the sounds disappearing, you will come to realize that the sound is not permanent. When you experience the noting mind also vanishing or passing away, you will realize that the noting mind is also not permanent. Thus you will realize further that the sound being heard is not permanent nor is the noting mind permanent. Thus it is Anicca [Impermanent].
Being oppressed by the quick succession of such passing away means Unstisfactoriness or Dukkha.
Since one cannot stop or ward off this oppression of passing away, it is Uncontrollable (Anatta).
Thus while noting "Hearing, Hearing", one will come to realize the Insight knowledge of Anicca, Dukkha and Anatta, and progress to further Insight knowledge.
Mindfulness in the sitting position
Noting during the sitting position as "Rising, Falling, Sitting, Touching" has to do with the physical body, it is known as Kayanupassana Satipatthana.
Noting as "Painful, Numb or Aching" has to do with the feelings, it is known as Vedananupassana Satipatthana.
Noting as "Wandering, Wandering, Planning, Planning, Thinking, Thinking, etc." has to do with the mind or acts of consciousness, it is known as Cittanupassana Satipatthana.
Noting as "Seeing, Seeing, Hearing, Hearing, Smelling, Smelling, etc." has to do with the dhammas, it is known as Dhammanupassana Satipatthana.
So we see that while practicing in one sitting of Mindfulness Meditation, as instructed by our benefactor, the Venerable Mahasi Sayadaw, there is included all the 4 practices of Satipatthana.
There are 4 ways of noting Walking Meditation; they are:
Making one noting with one stepMethod #1. The first way is to make note of the step as one movement as: "Left step, Right step". When you note "Left step," you must keep your mind closely pinpointed on the movement, from the beginning of the step to the end of the step. You must concentrate closely on the gradual forward movement of the step. Try not to concentrate on the physical form of the foot. Similarly with the "Right step," you must concentrate on the gradual forward movement of the step, movement by movement. You must not concentrate on the physical form of the foot.
Making 2 notings with one step
Making 3 notings with one step
Making 6 notings with one stepMethod #2. The second way is to make note of the step as 2 movements as: "Lifting, Dropping, Lifting, Dropping". You must be aware of the nature of the gradual upward movement of the foot, movement by movement, and again not the physical form of the foot, as you note: "Lifting." Similarly, when you note "Dropping," you must keep aware of the nature of the foot dropping slowly, movement by movement, and not the physical form.
The name of the physical form, such as "foot", is so called for its namesake only. They are "Pannat", Concepts or Conventions. Concepts are not objects of Vipassana. The element of motion or movement is "Paramat", Reality. Only Realities are the objects of Vipassana.
It is the element of Vayo dhatu (the air element or the element of motion), "Paramat" (Reality) that is making the movement possible. You must concentrate closely and precisely to know this element of Vayo dhatu.
Method #3. The third way is to note 3 movements as: "Lifting, Pushing Forward, Dropping". When you are Lifting your foot, you must keep aware of the gradual upward movement of your foot as explained above. When you note as "Pushing Forward," you must keep aware of the gradual movement of the foot forward. When you note "Dropping," you must pay careful attention to the dropping gradually of the foot downward.
All these movements must be closely and keenly observed so that you are with the "present moment" of the movement of your foot as well as the "knowing" of the nature of the movement itself, which is Paramat. When your concentration is strong, as you note "Lifting", you will come to realize for yourself not only the gradual upward movement, movement by movement, but also that it becomes lighter and lighter as it moves upward.
As you note "Pushing Forward," also you will come to realize not only the gradual forward movement, movement by movement, but also that it becomes light as it moves forward. When you drop your foot and note ["Dropping"] as such, you will again realize not only the downward movement, movement by movement, but also that it becomes heavy as it goes down. Such realization results in the yogis becoming interested in their practice. It means the start of the emergence of the Insight (Penetrative) Knowledge for the yogi.
Experiencing Lightness means experiencing the characteristics of Tejo dhatu - element of heat and cold, and V¬yo dhatu - element of motion or movement.
Experiencing Heaviness means experiencing the characteristics of Pathavi dhatu - element of extension, toughness or hardness, and Apo dhatu - element of cohesion and fluidity.
The knowledge or awareness of such mental and physical phenomena is the beginning of Insight knowledge into the intrinsic nature of mental and physical process as it really is.
Method # 4. The fourth way is to make note as 6 movements [and there are 3 techniques.]
1) Noting 6 movements as: "Beginning to Lift, End of Lifting; Beginning to Push Forward, End of Pushing Forward; Beginning to Drop, End of Dropping".
- "Beginning to Lift" means only the heal has been raised.Actually, this is just dividing the 3 movements into 6 as "beginning and ending".
- "End of Lifting" means the whole feet together with the toes has been raised.
- "Beginning to Push Forward" means the foot has just "started" to push forward.
- "End of Pushing Forward" means the stage of the foot that is just about to descend for dropping.
- "Beginning to Drop" means the stage of descending to drop.
- "End of Dropping" means when the foot touches the ground or floor.2) Another way is to note as: "Wanting to Lift, Lifting; Wanting to push forward, Pushing forward; Wanting to drop, Dropping." In this type of noting, the mental phenomena (Wanting to...) and physical phenomena (Lifting, etc.) are noted separately.
3) Still another way is to note as: "Lifting, Raising; Pushing Forward; Dropping, Touching, Pressing."
- When you note "Lifting," it is the stage where only the heel starts to lift.Thus you will note as "Lifting, Raising, Pushing Forward, Dropping, Touching, Pressing" in 6 movements. Yogis can make real progress by noting with such 6 movements and gain further Insight.
- "Raising" means the whole foot together with the toes is raised.
- "Pushing Forward" means pushing the foot forward as just one movement.
- "Dropping" means starting to put the foot down.
- "Touching" means the foot touches the ground or floor.
- "Pressing" means pressing the foot in order to lift the other foot.III. Meditation while performing daily activities or on the general details
"Mindfulness on the General Details" means being mindful of the little details in the daily activities as one goes through the daily routine. It is not the time for Sitting Meditation or Walking Meditation. They are little details that you do when you return to your living quarters, such as: opening the door, closing the door, making the bed, changing clothes, washing clothes, preparing meals, eating, drinking, etc. You must keep aware and note all these little details, too.
Mindfulness while having a meal
The moment you see the meal, you must note as "Seeing, Seeing".The above instructions are in accordance with the way our benefactor, The Venerable Mahasi Sayadaw, who practiced and noted while taking a morsel of food. You should also be mindful or aware of such movements, closely, precisely and energetically.
When you stretch your hand to reach the food, note as "Stretching, Stretching".
When you touch the food, note as "Touching, Touching".
When you collect and arrange your food, note as "Arranging, Arranging".
When you bring it to your mouth, note as "Bringing, Bringing".
When you bend your head to take the food, note as "Bending, Bending".
When you open your mouth, note as "Opening, Opening".
When you put the food into your mouth, note as "Putting, Putting".
When you straighten or raise your head again, note as "Raising, Raising".
When you chew, note as "Chewing, Chewing".
When you are aware of the taste, note as "Knowing, Knowing".
When you swallow, note as "Swallowing, Swallowing".It will not be easy in the beginning to be aware of all the movements. You will forget to note many of the movements, but you must not be discouraged. When your concentration deepens, you will be able to note all the movements.
At the beginning of the practice of such mindfulness, you must first try to focus on the most distinctive movement to you as your main object. What is the most distinctive movement to you? If stretching your hand is the most distinctive movement, then you must try to note "Stretching, Stretching" without missing or forgetting. If bending your head is most distinct, try to note "Bending, Bending" without missing or forgetting. If chewing is most distinct, try to note "Chewing, Chewing" without missing or forgetting. You should thus try to note at least one distinctive movement as your main object without missing or forgetting.
Once you can focus your mind on one object closely and precisely and gain in concentration, you will be able to focus and note the other movements and sustain your concentration. In this way, you can make progress in the various stages of Vipassana Insights while taking your meal.
The chewing movement is especially more distinctive. Our benefactor, The Venerable Mahasi Sayadaw, has once said that: "Of the 2 jaws, it is the lower jaw that is involved in the chewing movement. This movement of the lower jaw is actually what we call "Chewing" ".
If you can note this gradual movement of the jaw well and have good concentration, you will find noting on the chewing movement to be quite well and good. Beginning with this chewing movement, you will be able to note all the movements involved in taking food.
Mindfulness on the motion of sitting down
Noting "Sitting, Standing, Bending, Stretching" are also part of "Noting the General Details". If one really keeps keenly aware, one will realize that there arises first the "Desire to sit" before the actual act of sitting. This awareness is usually experienced by those yogis whose concentration is basically good. Thus one must start with noting this desire as "Wanting to sit, Wanting to sit". Only when the actual movement of sitting begins, one will note as "Sitting, Sitting".
When you note "Sitting, Sitting", try also not to concentrate on the forms of head, body, legs, etc. You must concentrate closely on the "nature" of the gradual downward movement, movement by movement. You must concentrate in such a way that your mind stays pinpointed on the "present moment" of the downward movement, movement by movement.
You have to concentrate very closely and precisely so that you can realize the "real nature" (Paramat) of the movement. If you can concentrate in that way on the movement and your mind also is able to stay with the "present moment", you will realize for yourself clearly that you are not only aware of the gradual downward movement but also able to feel it getting heavier and heavier as it moves downwards.
Mindfulness on the motion of standing up / getting up
When you want to stand up, if you keep closely and keenly aware, you will be aware of the "Desire to get up" first. You must note this as "Wanting to get up, Wanting to get up". The desire to get up sets in motion Vayo dhatu (the element of motion) which pushes you up. As you bend forward to collect your energy to get up, note as "Collecting energy, Collecting energy". If you stretch your hand to the side for support, note "Supporting, Supporting".
When the body becomes filled with energy, it will gradually rise upwards. This movement is what we call "standing up" or "getting up". We note this as "Standing up, Standing up". These "phrases" are used just for its namesake (Concept). Again, we must try to realize the nature of the gradual upward movement. Thus we must concentrate closely and precisely on the nature of the upward movement as well as to be with the "present moment" as it rises upwards.
If you can make your mind stay pinpointed on the "present moment" as well as closely and precisely aware of the nature of the upward movement (the Reality; Paramat), you will come to realize that as you reach higher and higher up, the body becomes lighter and lighter as it rises upward.
Thus you come to realize for yourself the heaviness with the gradual movement downwards, and the lightness with the gradual movement upwards. Realizing the "Lightness" means seeing the nature of Tejo dhatu [the Fire element] and Vayo dhatu [the Wind element]. Realizing the "Heaviness" means the nature of Pathavi dhatu [the Earth element] and Apo dhatu [the Water element].
Seeing the Arising and Passing away
After coming to know the nature of the particular phenomena, one will come to know Udaya (the Arising) and Vaya (the Passing away). One will come to see the Arising and Passing away from moment to moment. There is one arising and passing away; then another arising and passing away; another arising and passing; and so on. Seeing clearly the Arising and Passing away is Sankhata Lakkhana (mark or sign of Conditionality of Arising and Dissolution).MOTTO: Only when the nature (particular mark or characteristic) is known, Udaya Vaya will be seen.Continuing noting in this way after seeing the Arising and Passing away, if one"s concentration becomes strong and advanced, you will find the Arising not so distinct, but the Passing away becoming more prominent. Experiencing the Passing way more distinctly, the yogi come to realize that no phenomena is permanent.
When the yogi becomes clearly aware that the noting mind also passes away, he/she will come to realize that the noting mind is also not permanent, that both mental and physical phenomena are Impermanent (Anicca).
Being oppressed by such rapid succession of Passing away means Suffering (Dukkha). Such Dissolution cannot be stopped or warded off; it is taking place at its own will means Uncontrollable (Anatta). When your Insight knowledge of this Anicca, Dukkha and Anatta becomes very clear and thorough, one can progress to further Insights.
Thus while noting the process of sitting down and standing up, one will come to realize the "characteristics of Anicca, Dukkha and Anatta" (Sannanna Lakkhana). When one is clear and thorough about this Sannanna Lakkhana, one will gain further Insights that one has been aspiring for.
Mindfulness on bending and stretching
Noting the bending and stretching are also part of "Noting the General Details" of daily activities. When you are about to bend your arm, if you keep attentively aware, you will find that there is first the "desire to bend". Thus you must note as "Wanting to bend, Wanting to bend". Next, you must concentrate closely and attentively to know the nature of the gradual movement of the bending of the arm. Here also one will be able to experience the lightness of the arm as it moves upward by paying very close and precise attention.
When you want to stretch the arm back after taking care of whatever need to be taken care of by bending, the "desire to stretch" will also become distinct. Then you must note as "Wanting to stretch, Wanting to stretch". When the actual movement of stretching occurs, note as "Stretching, Stretching". This outward and downward movement of the arm, we call "stretching". As you note "Stretching, Stretching", you will also notice it becomes heavier and heavier as it falls downwards.
The characteristics of Lightness and Heaviness are known as "Sabhava Lakkhana" (Specific or Particular mark or characteristic).
Continuing noting in this way, one will come to realize that the nature of Lightness and Heaviness arise and pass away, and thus comes to know the "Sankhata Lakkhana" (Compound or Conditioned characteristic which has a beginning, middle and end [or dissolution]).MOTTO: Only when the nature (particular mark or characteristic) is known, Udaya Vaya will be seen.As one reaches the stage of Insight of "Bhanga Nyana" (Knowledge of Dissolution), one sees the Dissolution of the bending and stretching phenomena more clearly and distinctly. Thus one comes to realize that: "The act of bending is not everlasting, and the noting mind on the bending is also not everlasting. The act of stretching is not everlasting nor the noting mind on the stretching everlasting."
Thus, while bending and stretching, one can have a clear and thorough knowledge of the "characteristics of Anicca, Dukkha and Anatta" and progress to the higher knowledge or Insight that one have been aspiring for.
Blessings by Sayadaw:
Having listened to the 3 aspects of the Basic Exercises on Vipassana Meditation, may you be able to practice accordingly and acquire that knowledge which you have been searching for with ease and realize the peace of Nibbana, the extinction of all suffering, soon.
Yogis:
- May we be fulfilled with the Venerable Sayadaw"s blessings.
Sadhu, Sadhu, Sadhu!
Metta (Loving Kindness)
Recitation for radiating thoughts of Metta (Loving Kindness) used at the Saddhammaransi Meditation Center:
May all beings in the ten directions be free from harm.Maxims for recollection
May they be free from mental suffering.
May they be free from physical suffering.
May they physically and mentally at ease.
May they be able to bear the burden of life (*)(*) (to repeat 3 times)
* Only when mindful at the present moment of Arising, will Sabhava Lakkhana (the Particular mark or characteristic) be really known.* Only when the nature (the particular characteristic) is known, Udaya Vaya will be seen.
* All Arising physical and mental phenomena must be explicitly observed as "inevitable ending" in Dissolution (Passing away).
* When the Dissolution (Passing away) is known, Anicca will be explicitly known.
* When Anicca is seen, Dukkha becomes obvious.
* When Dukkha becomes obvious, Anatta is seen.
* When Anatta is seen, Nibbana will be realized.
-oOo- Source = BuddhaSasana[ Trôû Veà ]