Pothgulgala Dhamagrantha

Dharmasravana Mdhya Bhraya

This is to inform our readers that all
Dhamma books so far written and yet to
be written by Venerable Bhikkhu
Kaukurunde ananda will hereafter
be published by the P.D.D.M.B (Kandy)
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not be publishing any of his books.
P.D.D.M.B.
Kandy
2013.07.07

WALK TO NIBBNA
A Guide to Walking Meditation

Bhikkhu K. ananda

ISBN 978-955-41497-4-8

Published by
Pothgulgala Dharmagrantha Dharmasravana Mdhya Bhraya
Sri Lanka
2015
i

Published strictly for free distribution

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ii

Dhamma is Priceless!
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iii

Contents
The Cover Picture

vii

Introduction

1. The Importance of Walking Meditation

2. The Place for a Promenade

3. Advantages of Walking Meditation

4. Serenity in the Promenade

12

5. Insight in the Promenade

14

6. Appendix

19

iv

About the P.D.D.M.B.

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Abbreviations
Pali Texts:
(References are to page numbers in P.T.S. Editions)

A.

Anguttara Nikya

M.

Majjhima Nikya

S.

Sayutta Nikya

Thag. Theragth
Smp.

Samantapsdik (Vinaya Commentary)

S.H.B. Simon Hewavitharana Bequest

vi

The Cover Picture

A symbolic representation of a promenade?
Archaeologists have for a
long time been grappling with the
problem of interpreting the
significance of the Standing
Statue at the famous Gal Vihra
in
Polonnaruwa.
Various
interpretations have been put
forward with a view to
determining the exact motif of
this historic artefact. We are of
the opinion that this statue is a
symbolic representation of the
Buddha turning right about at the
end
of
the
promenade
(cakamana).
Whereas the two statues on either side of this statue depict
the Buddha in the seated posture and the reclining posture, we
feel that this unique artifact symbolizes at once the two other
postures, namely, walking and standing. The following are the
evidences we can offer in support of this conclusion.
1. The left foot shows a slight turn and the right thigh
suggests a protrusion. (This protrusion is in sharp relief in
the above side-view.)
2. The two arms lying relaxed on the chest could even be an
indication of a more relaxed way of keeping the arms
while on the cakamana.
3. The half-closed eyes are symbolic of the concentration
that comes up in the standing posture at the end of the
cakamana.

vii

4. The depicting of the loose end of the robe hanging on the

left shoulder could be an indication of a more relaxed and
open way of robing while on the cakamana.
5. The circular pedestal with its lotus-motif probably
signifies the circle effortlessly drawn on either end of the
cakamana (if it is sand-strewn) by mindfully pacing up
and down for a long time.

P a c e
and

Ponder!

[ cakamana pronounce c as in child ]

viii

Walk to Nibbna
First Edition 2015 September
Sponsored by the P.D.D.M.B.

ix

Introduction
Catucakka navadvra
pua lobhena sayuta
pakajta mahvra
katha ytr bhavissati
Chetv naddhi varattaca
icch lobhaca ppaka
samla taha abbuyha
eva ytr bhavissati
Catucakka Sutta, Devat Say. S. I 16.
The Four-wheeled and Nine-doored
This greed-bound heap born in mud
Tell me how, O! Great Hero
Can there be for it an outlet
Cut off the thong and snap the rope
Evil wish and greed as well
Pull out craving with its root
Thats how it can see an outlet
The four-wheels alluded to in this riddle verse are the
four postures the body assumes in the course of its daily routine.
The body is always rolling on these four wheels. The journey to
Nibbna is also a Four-wheeled Drive.
The Buddha has clearly explained to us how these fourwheels are made to roll towards Nibbna in the sub-section on
postures in the section on body-contemplation in the Satipahna
Sutta.
And again, monks, a monk when going, knows I am
going. When standing, knows I am standing. When seated,
knows I am sitting. When lying down, knows I am lying
down. In whatever way his body is disposed, he understands that
it is so disposed.
Satipahna Sutta, M.I 56.
x

Out of these four postures, the two most helpful for a

meditator who has set out on the Path to Nibbna, are the seated
posture and the walking posture (cakamana). These two
postures are greatly helpful in developing mindfulness,
concentration and wisdom. Quite a lot of books have been written
on sitting meditation but not enough attention has been given to
walking-meditation. This little book is an attempt to fulfil that
need.
Bhikkhu K. ananda
January 2015 (B.E. 2558)

Notes:
1.
2.
3.
4.
5.
6.

navadvra the nine apertures of the body

pua full of impurities
pakajta born in the marsh-like womb
naddhi hatred
varatta the rope of craving
ytr the stepping-out from existence

xi

The Importance of Walking Meditation

In the practice of meditation leading to Nibbna, the two
postures sitting and walking are mutually helpful. Generally,
we depict the idea of meditation by the figure of a person seated
in the cross-legged posture. For that very reason the importance
of walking meditation in the promenade (cakamana) is very
often overlooked. When the Buddha was explaining the path of
practice recommended for attaining Nibbna with the help of a
simile of taming a wild elephant, he presented the wakeful
dwelling routine of an ideal meditator (jgariynuyoga) in the
following words:
Come monk, dwell devoted to the practice of
wakefulness. During daytime, cleanse the mind of hindering
qualities pacing up and down (cakamena) and sitting
(nisajjya). In the first watch of the night, cleanse the mind of
hindering qualities pacing up and down and sitting. In the middle
watch of the night, go to sleep in the lion posture reclining to the
right side placing one foot on the other, mindful and fully aware,
paying attention to the idea of waking up. In the last watch of the
night, having got up cleanse the mind of hindering qualities,
pacing up and down and sitting. 1
Pacing up and down and sitting provide that exercise and
rest conducive to the balanced maintenance of wakefulness
because excessive walking tends to restlessness and excessive
sitting tends to sloth and torpor.
The particular order of the two words cakamena
nisajjya is suggestive of the fact that pacing up and down in the
cakamana should precede sitting. This is understandable since
the activeness and the wakefulness aroused in the former posture
helps the meditator to remain restful in the seated posture for a
long time. However, one should not be hasty in returning to the
cakamana as soon as drowsiness sets in while in the seated

posture. This is what, we can infer from the following set of

instructions given by the Buddha to Venerable Mah Moggallna.
Once when the Buddha was dwelling at Susumragira
in Bhagga territory, Venerable Mah Moggallna was meditating
in the village called Kalalavlamutta in the Magadha country. He
was drowsing in his meditation seat when the Buddha saw him
with his divine eye since he was invigilating him from a distance.
Then the Buddha approached him through his psychic powers
and as if catching him napping, said:
Arent you drowsing Moggallna. Arent you drowsing
Moggallna!
Venerable Moggallna admitted to his weakness and the
Buddha gave a systematic course of treatment to it as if
administering 7 waking pills the peerless physician cum
surgeon that he is: 2
1. If that is so, Moggallna, whatever perception you had
when drowsiness overcame you, that perception you
should not attend to. That perception you should not make
much of.
2. If that drowsiness does not leave you even when you are
dwelling this way, then Moggallna you should think
about, reason out and mentally ponder over the Dhamma
as you have heard and learnt.
3. If that drowsiness does not leave you even when you are
dwelling in this manner, then Moggallna, you should
recite at length the Dhamma as you have heard and learnt.
4. If that drowsiness still persists even when you are
dwelling this way, then Moggallna, you should pull both
your ear lobes and go on rubbing your limbs with the
palm.
5. If that drowsiness does not leave you even when you are
dwelling like this, then Moggallna, you should get up
2

from the seat, rub water over the eyes and look around in
the directions and look up at the stars in the sky.
6. If that drowsiness does not leave you even when you are
dwelling like this, then Moggallna, you should attend to
the perception of light. Determine the perception of day:
Just as day, so is night. Just as night, so is day. Thus
with a clear unshrouded mind develop a luminous mind.
7. If that drowsiness does not leave you even when you are
dwelling this way, then Moggallna, determine the pacing
up and down (cakamana) being conscious of the
behind and the before (pacch-pure-sa) 3 with sense
faculties turned inwards and with mind unstrayed.
If that drowsiness is not abandoned even as you are dwelling this
way, then Moggallna, you assume the lions sleep lying to the
right side, placing one foot on the other, mindful and fully aware,
attending to the perception of waking up. And on waking up,
Moggallna, you should get up quickly with the idea: I will not
dwell giving way to the ease of lying down, the ease of contact
and ease of drowsiness.
Thus should you, Moggallna, train yourself.
This exhortation makes it clear that the meditator should
try to maintain the seated posture which is more restful and take
to the walking posture (cakamana) only as the last resort in
ones course of training for overcoming drowsiness. One should
not uncritically interpret the onset of drowsiness as an invitation
to the promenade. Owing to the necessity of a fixed timetable, in
some meditation centres, the routine of one hour sitting and one
hour walking is recommended. It is true that it affords a certain
amount of training to the beginner. But if even a beginner builds
up some concentration (samdhi) towards the end of the period

As a matter of fact, even the last step is a waking pill for the following
day

for sitting, it is not advisable to make it compulsory for him to

break that samdhi and go to the cakamana.
However, it might occur to a certain meditator who had
mastered the training for wakefulness (jgariynuyoga) by
following the instructions given by the Buddha, that the
cakamana is more conducive to his concentration according to
his character. If that is so, there is nothing wrong in his spending
a greater part of his time in the cakamana. Generally speaking,
the reclining posture is not very advisable for a meditator because
of its proximity to sleep. But in the case of a meditator who has
done excessive pacing up and down to the point of restlessness, it
may so happen that in the reclining posture, his restlessness
subsides allowing a balancing of spiritual faculties heralding the
attainment of concentration and wisdom.
Venerable nandas attainment of arahanthood could be
an illustration of the above psychological norm. He probably
thought it unbecoming of him to attend the First Council for
reciting Dhamma Vinaya scheduled for the following day as a
non-arahant and spent the greater part of the night in the
cakamana developing mindfulness relating to the body. At last
when he was retiring to the bed, his mind became influx-free and
emancipated just at the moment he was lowering his head to the
pillow, having sat on the bed. Traditionally, it is regarded as a
unique feat on the part of Venerable nanda that he attained
arahanthood free from the four postures. But there could be some
other reason for it. As he had resolved on rigorous mindfulness
on all four postures with the firm determination: I must
somehow or other attain arahanthood before the morrow, he was
bound to all four postures with restlessness. The only interval
left open for him was the easily overlooked posture-junction.
Most probably the balancing of faculties occurred accidentally or
automatically at the posture-junction between sitting and
reclining which he had not reckoned with. 4

Provided a meditator is careful enough not to give way to

restlessness in the cakamana, he can reap the fruits of his
efforts even at the end of the promenade. Commentators record
instances of meditators attaining arahanthood even in the
cakamana. Therefore one should by no means underestimate the
importance of cakamana meditation in the daily routine of a
meditator.

The Place for a Promenade

Pacing up and down with mindfulness within a certain
limit is generally regarded as Walking Meditation. Therefore a
suitable venue for it has to be prepared. A cakamana could be
either indoors or outdoors.
Traditionally, the length recommended for an outdoor
cakamana is either 60 or 45 or 20 cubits and the breadth is 3
cubits. There should also be a border or an access (upacra)
about 1 foot broad around the cakamana, some 4 inches lower to
prevent the intrusion of reptiles etc., to the cakamana proper.
The cakamana should be prepared on level ground with a thin
layer of fine sand to walk on. At one end of the cakamana a
meditation seat should be made preferably with a roof above it.
All these specifications are not so essential. One can
improvise a cakamana in a meditation centre or in ones home
garden with a border of bricks around a sand-strewn stretch of a
narrow-walk. Even if the cakamana is long, one should learn to
walk slowly and even if it is broad, one should be mindful
enough to pace up and down in a straight line. As a result of such
training, what a meditator leaves on the cakamana at the end of
a long period of walking meditation is only a sign of footsteps
like a foot-path with a circle at either end provided the
cakamana is sand-strewn.
The indoor-cakamana should be prepared inside a
building in a place where there is good ventilation. It should be
about 45 ft. long and sufficiently broad with a seat at one end. It
could be useful to a strenuous meditator to have a rope running
overhead (lambana rajju) to hold on and pause when tired or
else some sort of railing on one side as a support.

A cubit is the length from the elbow to the tip of the middle finger,
approximately 17 21 inches (43 -53 cm).

Even in ones residence, whenever and wherever

practicable one can temporarily determine a corridor or a
verandah as a cakamana provided there is sufficient seclusion
and freedom from interference.

Advantages of Walking Meditation

Pacime bhikkhave cakame nisas. Katame paca?
1. addhnakkhamo hoti
2. padhnakkhamo hoti
3. appbadho hoti
4. asita-pta-khyita-syita samm parima gacchati
5. cakamdhigato samdhi cirahitiko hoti
Cakamnisasa Sutta. A. III 29f.
Monks, there are these five advantages of the use of a
promenade. Which five?
1. Can walk long distances
2. Can put forth strenuous effort
3. Has few ailments
4. Whatever is eaten, drunk, chewed and tasted is well
digested.
5. Concentration attained in the promenade lasts long.
1. By slowly pacing up and down in an orderly manner
within the limits of the promenade, the fatiguing feeling of
distance does not come up. One comes to understand that a
journey is only a succession of paces. Even in walking long
distances if one simply converts it to a relaxed pacing with
mindfulness, one can get rid of the concept of distance so far
covered and distance yet to be covered which brings fatigue and
experience a wonderful Walk-in-the Present. Provided one is
bare-footed one can also attend to the touch sensation of the soles
of the feet and get an impression of having walked on an
escalator. Thereby one feels that the long journey has become
short.
The pause at either end of the cakamana minimizes
fatigue and controls speed of walking. That is why one can spend
a long time in the cakamana. A mind accustomed to this speed-

control is prepared to accept even a long journey on foot as a

relaxed pacing on a cakamana.
How the meditative monks of the past who did long treks
(crik) all on foot without resort to vehicles, with a measured
tread, restrained by the disciplinary rules of procedure (sekhiy)
covered unimaginable long distances, is something that the
speed-crazy modern world racing with time can hardly
understand.
2. By pacing up and down in a promenade sleepiness goes
away and wakefulness comes up. The body gets some exercise
which dispels laziness. One becomes lively enough to put forth
energy. By using the cakamana for a long stretch of time with a
firm determination, the mind is preconditioned for resolute effort
in the meditation seat. As it is said: One arouses an interest
(chanda janeti), puts forth effort (vyamati), stirs up energy
(viriya rabhati), steadies ones mind (citta paggahti)
and strives resolutely (padahati), that pacing up and down
paves the way to strenuous effort which reaches its peak in the
meditation seat.
Venerable Soa Koivisa who was born with such a
delicate body that his palms and soles had hair on them and yet
put forth the utmost exertion on the cakamana, was declared by
the Buddha to be the foremost (etadagga) among his disciples
who are strenuous in striving because he walked until the
cakamana was wet with blood. The Buddha had to convince
him of the necessity of balancing the spiritual faculties by giving
the simile of the lute with strings neither too taut nor too slack. 5
3. Pacing up and down especially in an outdoor
cakamana where there is good ventilation is conducive to
health. Spending a long time in the cakamana invigorates the
body. Any rheumatic pains, disturbances of the wind element and
other complications that may arise due to a long sitting session
would be alleviated in the cakamana. Even for a bed-ridden
patient who can still move about with some difficulty, an
9

occasional aided-walk could minimize ailments. Those points in

the soles of the feet which need massaging according to
Reflexology would get massaged automatically in the
cakamana, thereby curing some bodily disorders. Even for heart
patients the alternation between walking and standing in the
cakamana prevents fatigue by providing a moderate type of
exercise.
4. Bhuktv nidatah sthaulya
tihato balavardhana
yucankramato nitya
mtyur dhvati dhvatah
Vysakra. 55.
To one who sits after eating (comes) plumpness, to one
who stands growth of strength, to one who walks longevity,
and to one who runs Death is always close at the heels.
According to this saying of the ancient seers, standing and
walking postures are preferable to sitting after the meal, because
they are conducive to proper digestion. Pacing up and down, as
an interim posture between sitting and running gives a light type
of exercise to the body which helps the proper functioning of the
digestive system. Moreover, the dull indolence that comes after
the meal tends to drowsiness for which cakamana is an antidote.
5. Generally the quietude in the meditation seat is helpful
in attaining a level of concentration (samdhi). But due to
attachment to the bliss of concentration sometimes imperceptibly
sloth and torpor may set in. On the other hand that wakefulness in
the cakamana helps one to stabilize a samdhi already attained.
Provided that the standing and turning round at either end of the
cakamana is done with mindfulness and full awareness, one can
effectively conduct ones meditation topic in the cakamana
without interruption and attain a level of concentration.

10

The phrase: cirahitiko hoti in the Cakamnisasa

Sutta gets the following commentary in the Manorathapra
(Commentary to the Anguttara Nikya)
cirahitiko hoti cira tihati. hitakena gahita nimitta
hi nisinnassa nassati nisinnena gahita nimitta nipannassa.
Cakama adhihahantena calitrammae gahita nimitta
pana hitassapi nisinnassapi nipannassapi na nassati.
Mano. II 592 (S.H.B.)
Lasts long means persists for a long time. Why?
(Because) The sign grasped while standing is lost when one is
seated. The sign grasped while sitting is lost when one lies down.
But in the case of one who determines on using a cakamana, the
sign grasped on a meditation topic while moving is not lost when
one stands or sits or lies down.
Steadying the mind on a moving meditation sign is
difficult but for the same reason it is more stable.

11

Serenity in the Promenade

One can develop serenity (samatha) or insight (vipassan)
or both serenity and insight in the cakamana. However for
facility of assessing facts, we shall discuss serenity in the
cakamana as a separate chapter.
When pacing up and down with a meditation topic meant
for serenity, it is advisable first of all to pace up and down several
times with mindfulness and arouse a relaxed rhythm of pacing.
Then one can call to mind a term like Araha or Buddho in
the case of Recollection of the Buddha (Buddhnussati) or a
phrase like May you be happy! in the case of meditation on
Universal Love or Mett, and continue pacing up and down
with unbroken mindfulness attending to it. A brief pause at either
end of the promenade (preferably with closed eyes) attending to
the meditation topic and mindfully turning round right about is
conducive to concentration.
One can make use of the promenade even when
developing such visual meditation topics like the skeleton
(ahika), the bloated-corpse (uddhumtaka) and the livid-corpse
(vinlaka). For instance, while continuously attending to the
skeleton (skeleton-skeleton-skeleton) if the learning sign
(uggaha-nimitta) appears clearly enough one can remain
standing at the end of the promenade for some time attending to
it. If the counterpart-sign (patibhga-nimitta) also comes up,
one can develop it seated at the end of the promenade. If the sign
appears in rough outline even to ones open eyes, one can carry it
about like ones own shadow. Then one gets the ability to look
around with the perception of the skeleton (ahika-sa), for
instance, at the end of the promenade. When one can pace up and
down not only with a meditative-mind but also with a meditativeeye, there is less occasion for distraction by ones environment.
The preparatory practice of conducting a meditation topic in the
cakamana is one that encourages the practice of carrying the

12

meditation topic even on ones alms-round (gata-paccgatavatta going and coming with ones meditation topic).
Scriptures record instances of meditative-monks who looked at
visual objects tending to defilements with a meditative-eye and
attained arahanthood while on their alms-round. 6
Although npnasati (Mindfulness of Breathing) is a
meditation specially meant for the seated posture, one who has
practised it for a long time can arouse it even in the cakamana.
If one walks mindfully attending to the touch sensation at the
soles of ones feet, it is easy to attend to the feel of the breath
when one comes to the end of the cakamana. By determining to
the cakamana in accordance with the last waking-pill the
Buddha had administered to Venerable Mah Moggallna that
is to say: pacing up and down being conscious of the behind
and the before, with sense faculties turned inwards and mind
unstrayed, one can arouse the sign of npnasati in the
cakamana without much difficulty.
Concentration thus aroused in the cakamana could be
maintained for a long time in the meditation seat because, as we
mentioned before, the wakefulness and vigour derived from the
cakamana keeps away drowsiness.

13

Insight in the Promenade

Meditating zealously in the cakamana mindfully and
fully aware with radical attention (yonisomanasikra) one can
arouse the knowledge of name-and-form (nmarpa) , develop
insight and attain Nibbna.
For the purpose of accelerating attention one has to slow
down the pacing gradually. As he goes on slowing down, the
meditator becomes aware of a number of stages in the process.
Generally six stages are traditionally distinguished but there
could be slight differences in naming them. Here is one method. 7
1. Lift

2. Bend

3. send

4. drop

5. put

6. press

After getting down to the cakamana, for a start one may

pace up and down lightly several times so that one can arouse the
wieldiness necessary for this delicate type of exercise.
Then one can simply note the pacing as left-right for a
short while attending also to the touch sensation of the soles of
the feet. It is good to pause a little at the end of the cakamana
and get used to turning by the right with mindfulness. As already
mentioned, if the cakamana is sand-strewn and the pacing is
done mindfully in a way that it leaves traces of a foot path, after
some time circles would be drawn at either end of the
cakamana. This method is helpful in getting used to pacing
mindfully without allowing the mind to get distracted.
As one progresses this way, the speed of pacing will be
controlled gradually. If by now one can effortlessly distinguish

Feeling, perception, intention, contact, attention these, O friends are called

name. The four great elements and form dependent on them these, O
friends are called form
- Sammdihi Sutta, M.I.53.

14

three stages as lifting sending putting down, one may attend

to three stages.
With more practice, in due course one also becomes aware
of the bending of the lifted foot.
Further practice accompanied by keener and keener
attention will enable the meditator to catch up with the other
stages gradually namely, sending, dropping, putting and
pressing.
When attention is able to pick up all the six stages almost
effortlessly, the meditator will become aware that there is a cyclic
rhythm in pacing and that his entire attention is on it. Since
simultaneous with the pressing of the front foot comes the
lifting of the foot behind, attention gets no opportunity to slip out.
Even for a spectator outside, this wheel like cyclic pacing
movement would illustrate the advantages of unbroken
mindfulness.
Even as one is distinguishing these six stages keeping
ones body erect, the speed of pacing will be greatly reduced, but
the speed of attending will increase in proportion to it. Thereby
one becomes aware of the possibility of a series of interim stages
of attention. That is to say, being able to attend to the preceding
intention that prompts the above stages.
eg. Intending to lift lifting
Intending to bend bending
However, there is something special that needs
mentioning. The meditator might expect to get 12 stages in all
when the interim stages just mentioned are also mastered (i.e. 6 x
2 = 12). But be it noted that only 11 stages can actually be
distinguished.
Although one can attend to the intention to drop and
dropping of the foot, one cannot attend to the intention to put and

15

putting for the simple reason that the end of dropping is

(effortlessly enough) putting!
What we have outlined above is a technique to practice
meditation of pacing up and down (cakama) in a way to arouse
penetrative insight. Briefly stated its advantage is the
understanding of the constituents of name-and-form by
accelerating attention. This meditation is helpful in arousing a
keener understanding of the functioning of the constituents of
name i.e. feeling, perception, intention, contact and attention.
With the awareness of the process of preparations involved in the
pacing, the perception of the compact (ghana sa) nurtured
by egoism tends to get liquidated giving way to the perception
of the heap (rsi sa). The impermanence of preparations
could be seen then and there.
By paying keener attention to the above mentioned stages
one becomes aware of the arising and ceasing of a heap of
vibrations. The touch sensation at the soles of the feet provides
the hint to the understanding of the form aspect of name and
form. Flashes of insight that occur during pacing could become
fruitful at the end of the promenade. Pausing for a while and
turning right about mindfully could be helpful in this concern.
Attending to the breath in the case of npnasati and fixing the
mind on the visual sign that occurs in the light of the Three
Signata (impermanence, suffering and not-self) in the case of
such cemetery meditations like the skeleton, the bloated corpse,
and the livid corpse, could usher in insight. Meditation on the
four elements and the perception of impermanence could be
effective at the end of the promenade.
If one can gradually reduce the speed of walking and
sharpen the attention to muster all the eleven stages in attending,
the perception of the compact regarding the objects of the six
senses would get attenuated giving way to the perception of heap
almost effortlessly. The sense data flowing in through the six
senses (eye, ear, nose, tongue, body and mind) could then be
16

subsumed under a finer four fold category i.e. the seen (diha),
the heard (suta), the sensed (muta) and the cognized (vita).
The gist of the realization that comes along with it could be
worded as follows:
1. No one to see and nothing to see,
- Only a seen is there.
(dihe dihamatta)
2. No one to hear and nothing to hear,
- Only a heard is there.
(sute sutamatta)
3. No one to sense (i.e. through nose, tongue, and body) and
nothing to sense,
- Only a sensed is there.
(mute mutamatta)
4. No one to cognize and nothing to cognize,
- Only a cognized is there.
(vite vtamatta)
Out of these four, the heard is subtler than the seen, and the
sensed is subtler than the heard. Now, if the interest (chanda)
with which attention (manasikra) released from the sensed is
searching for an object is stilled then-and-there, the realization
comes that the object (dhamma = thing) is mind-made. This
seeing-through that mind-consciousness arises depending on
mind and mind-object (i.e. dhamma) is the insight into the
interior of the Magic-show of consciousness. With this insight,
consciousness ceases or subsides (via nirodha,
vipasama). The furthest limit of radical attention is wisdom
(pa). With the lustre of wisdom comes the deliverance from
the magical illusion of consciousness and the realization of
NIBBNA.

17

Rooted in interest (desire) friends, are all things.

Born of attention, are all things.
Arising from contact, are all things.
Converging on feeling, are all things.
Headed by concentration, are all things.
Dominated by mindfulness, are all things.
Surmountable by wisdom, are all things.
Yielding deliverance as essence, are all things.
Merging in the Deathless, are all things.
Terminating in Nibbna, are all things. 8
A.V 106f.

18

Appendix
1. Ehi tva bhikkhu jgariya anuyutto viharhi. Divasa
cakamena nisajjya varayehi dhammehi citta
parisodhehi. Rattiy pahama yma cakamena nisajjya
varayehi dhammehi citta parisodhehi. Rattiy
majjhima yma dakkhiena passena shaseyya
kappeyysi, pde pda accdhya sato sampajno
uhnasaa manasikaritv. Rattiy pacchima yma
paccuhya cakamena nisajjya varayehi dhammehi
citta parisodhehi.
Dantabhmi Sutta, M.III 135.
2.
i. Tasmtiha tva Moggallna, yath saino te viharato
ta middha okkamati, ta saa m manasksi, ta
saa m bahulamaksi. hna kho paneta vijjati
ya te eva viharato ta middha pahyetha.
ii. No ce te eva viharato ta middha pahyetha, tato tva
Moggallna yathsuta yathpariyatta dhamma
cetas
anuvitakkeyysi
anuvicreyysi
manasnupekkheyysi. hna kho paneta vijjati ya
te eva viharato ta middha pahyetha.
iii. No ce te eva viharato ta middha pahyetha, tato tva
Moggallna, yathsuta yathpariyatta dhamma
vitthrena sajjhya kareyysi. hna kho paneta
vijjati ya te eva viharato ta middha pahyetha.
iv. No ce te eva viharato ta middha pahyetha, tato tva
Moggallna, ubho kaasotni vijeyysi, pin
gattni anumajjeyysi. hna kho paneta vijjati ya te
eva viharato ta middha pahyetha.
v. No ce te eva viharato ta middha pahyetha, tato tva
Moggallna, uhysan udakena akkhi anumajjitv
dis
anuvilokeyysi,
nakkhattni
trakarpni
19

ullokeyysi. hna kho paneta vijjati ya te eva

viharato ta middha pahyetha.
vi. No ce te eva viharato ta middha pahyetha, tato tva
Moggallna, lokasaa manasi kareyysi, divsaa
adhihaheyysi yath div tath ratti, yath ratti tath
diva, iti vivaena cetas apariyonaddhena sappabhsa
citta bhveyysi. hna kho paneta vijjati ya te
eva viharato ta middha pahyetha.
vii. No ce te eva viharato ta middha pahyetha, tato
tva,
Moggallna,
pacchpuresa
cakama
adhihaheyysi antogatehi indriyehi abahigatena
mnasena. hna kho paneta vijjati ya te eva
viharato ta middha pahyetha.
No ce te eva viharato ta middha pahyetha, tato
tva, Moggallna, dakkhiena passena shaseyya
kappeyysi pde pda accdhya sato sampajno
uhnasaa manasi karitv. Paibuddheneva te,
Moggallna, khippa yeva paccuhtabba na
seyyasukha na phassasukha na middhasukha
anuyutto viharissmti. Eva hi te Moggallna,
sikkhitabba.
Pacalyana Sutta, A.IV 85-87.
3. Pacch puresai conscious of the lifting of the foot behind
and the putting down of the foot in front.
4. Smp.p7. (S.H.B)
5. A.III 374
6.
i. Alakat suvasan mlin candanussad
majjhe mahpathe nr turiye naccati nak
ii. Pidikya pavihoha gacchanto ta udikkhisa
alakata suvasana maccupsava oita
iii. Tato me manasikro yoniso udapajjatha
dnavo pturahu nibbid samatihatha
20

iv. Tato citta vimucci me passa dhammasudhammata

tisso vijj anuppatt kata buddhassa ssana
Ngasamla Theragth, Thag. N. 267-270
i. Adorned and well-dressed, decked with garlands and
anointed with sandal paste, a dancing woman is
performing in the midst of the highway to the rhythm of
the orchestra.
ii. Having set out on my almsround I looked up and saw the
adorned and well-dressed form like the snare laid by
Mra.
iii. And then there arose in me radical attention, perils
became manifest, and disenchantment set in.
iv. Then my mind got released. Just see the good norm of the
Dhamma. The three knowledges have I reached. Done is
the Buddhas behest.
7. The Path of Purification. p.724.
8. Sace bhikkhave aatitthiy paribbjak eva puccheyyu
Kimlak vuso sabbe dhamm
Ki sambhav sabbe dhamm
Ki samuday sabbe dhamm
Ki samosara sabbe dhamm
Kipamukh sabbe dhamm
Kimdhipateyy sabbe dhamm
Kimuttar sabbe dhamm
Ki sr sabbe dhamm
Kimogadh sabbe dhamm
Kimpariyosn sabbe dhamm
Eva puh tumhe bhikkhave tesa
paribbjakna eva vykareyysi
Chandamlak vuso sabbe dhamm
Manasikra sambhav sabbe dhamm
Phassa samuday sabbe dhamm
Vedan samosara sabbe dhamm
21

aatitthiyna

Samdhipamukh sabbe dhamm

Satdhipateyy sabbe dhamm
Pauttar sabbe dhamm
Vimuttisr sabbe dhamm
Amatogadh sabbe dhamm
Nibbna pariyosn sabbe dhamm
Kimmlaka Sutta, A. IV 106f.
If monks, wandering ascetics of other sects question thus:
Friends, what is the root of all things?
What is the origin of all things?
Where do all things arise?
Towards what do all things converge?
What is at the head of all things?
What dominates all things?
What is the point of transcendence of all things?
What is the essence of all things?
In what do all things merge?
What is the termination of all things?
When thus questioned, monks, you may reply to those
wandering ascetics as follows:
Rooted in interest (desire) friends are all things.
Born of attention are all things.
Arising from contact are all things.
Converging on feeling are all things.
Headed by concentration are all things.
Dominated by mindfulness are all things.
Surmountable by wisdom are all things.
Yielding deliverance as essence are all things.
Merging in the Deathless are all things.
Terminating in Nibbna are all things.
When thus questioned monks, you may reply in this way to
those wandering ascetics of other sects.

22

Cf. And then Venerable Samiddhi approached Venerable

Sriputta. Having approached he worshipped Venerable
Sriputta and sat on one side. Venerable Sriputta told this to
Venerable Samiddhi who was seated on one side:
"With what as objects, Samiddhi, do thoughts and concepts
(sakappa vitakk) arise in a man?"
"With name-and-form as object, venerable sir."
"But wherein, Samiddhi, do they assume diversity?"
"In the elements, venerable sir."
"But from whence, Samiddhi, do they arise?"
"They arise from contact, venerable sir."
"But on what, Samiddhi, do they converge?"
"They converge on feelings, venerable sir."
"But what, Samiddhi, is at their head?"
"They are headed by concentration, venerable sir.
"But what is it, Samiddhi, that dominates them?"
"They are dominated by mindfulness, venerable sir."
"But what, Samiddhi, is their (point of) transcendence?"
"They are transcended by wisdom venerable sir."
"But what is it, Samiddhi, that forms their essence?"
"They have deliverance as their essence, venerable sir."
"But in what, Samiddhi, do they get merged?"
"They get merged in the Deathless, venerable sir."
Samiddhi Sutta, A.IV 385f.

23

By the Same Author

1. * Concept and Reality in Early Buddhist Thought
do
D.G.M.B. Edition
2. * Samyutta Nikaya An Anthology, Part II Wheel No, 183/185
do
D.G.M.B. Edition
3. * Ideal Solitude Wheel No, 188
4. * The Magic of the Mind
do
D.G.M.B. Edition
5. Towards Calm and Insight
do
D.G.M.B. Edition
6. From Topsy turvydom to Wisdom Volume I
7. From Topsy turvydom to Wisdom Volume II
8. Seeing Through
9. Towards A Better World
10. Nibbana The Mind Stilled Volume I
11. Nibbana The Mind Stilled Volume II
12. Nibbana The Mind Stilled Volume III
13. Nibbana The Mind Stilled Volume IV
14. Nibbana The Mind Stilled Volume V
15. Nibbana The Mind Stilled Volume VI
16. Nibbana The Mind Stilled Volume VII
17. Nibbana and The Fire Simile
18. A Majestic Tree of Merit
19. The End of the World in Buddhist Perspective

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