Mastering the Core Teachings of Buddha - An Unusually Hardcore Dharma Book

As the complex patterns around the outside began to become more spherical as the edges wrapped around towards me, they began to be made out of lines that had more of a rainbow quality to them, with 222

The Vipassana Jhanas

many complex motions and many-fold symmetry. This was harder to pay attention to and simultaneously comprehend it all, marking the mature third vipassana jhana and the later stages of the Dark Night.

Note, as this is being done with almost no fixation on psychological content and with very strong concentration, I did not have any of the typical feelings that sometimes accompany this territory when it cycles through with less concentration. Instead, it stayed at the level of geometry, image and light except when I widened my attention somewhat to notice other aspects.

This complex sphere on which was unfolding more and more

complex patterns would then shift to something far more inclusive of space and the center of attention, thus becoming much more three dimensional. At this point, things seemed to happen on their own, but in a silent, clear, all encompassing way that was way beyond the second jhana, and this marks the entrance to the fourth vipassana jhana.

As things would organize, there would arise all sorts of images, from Buddhas to black holes, from brilliantly formed Tantric images (Vajrasattva with consort, etc.) to complex abstract, three dimensional designs that included the whole field of attention, with all made of rainbow lines, luminous, living, and very clear. I could end the cycle with essentially any image I wished with an ease I had never previously achieved. If I had not previously determined an image to end with, the surprises were just as good as anything I came up with and sometimes better. The point is that if you get your concentration strong enough, you can do these things also.

Shortly after the clear image would arise, attention would shift to include the fundamental characteristics of the whole thing at level that was perfectly inclusive of what ordinarily would be called subject and object, and Fruition would arise as the whole thing vanished through one of the Three Doors, but with a clarity that is rare. Then I would open my eyes, stare at the flame, and do it all again. Each cycle took about 10-15 minutes, but I could linger in each stage for longer if I consciously resisted the pull to move onward.

While obviously this example involves very clean samatha-like images, very strong concentration, and was done by an advanced practitioner under relatively special conditions, this candle flame 223

The Vipassana Jhanas

technique can be very interesting, and in classes I have taught some were able to quickly get to the later jhanas without too much time or effort. Some people just seem to have a natural ability to visualize, or focus on a mantra, or some other object, and it makes a lot of sense of draw on these natural tendencies. It can also be fun to develop these fronts even if this is not your strong suit, as it helps expand the range of your practice. Thus, consider playing around with using other objects and focuses at times, as they can bring different perspectives.

To give another example, using a different object, if one is using a mantra, one may notice that at some point one shifts to being able to stay with mantra clearly and perceive it as an object, which is the first jhana, starting with Mind and Body. Once the mantra is clear, one may notice all sorts of things about the process of mentally creating the mantra, such as the stream of intentions being followed shortly behind by the string of the mantra itself follow slightly behind by the mental echo of the perception of the mantra, making what appear to be three separate streams of the mantra. This is direct insight into Cause and Effect, and as the Three Characteristics of each of these streams become clear, the first jhana matures.

Then the mantra will shift to presenting itself, and will become very clear, as if it is reciting itself. This is obviously the second jhana, and one may experience A&P-like phenomena around here. As the practitioner shifts into the third jhana, the mantra gets wide in the stereo field, complex, with interesting harmonies if one is so inclined, and yet it may seem to be out of phase with attention or it may seem distorted, annoying, like something that was once beautiful has become noisy.

One may experience Dark Night-related phenomena in this phase. As the shift to the fourth jhana comes, the mantra may become part of a very wide, more quite background, as attention becomes inclusive.

Other fourth jhana-like or high equanimity-like phenomena may occur around here.