Chapter One: The Heart Without Humanity (Ahetuka Citta).VIETNAMESE TRANSLATE ENGLISH BY=VIETNAMESE BUDDHIST NUN=THE WOMEN OF THE SAKYA CLAN CHAN TANH. Study Guide to Winning the Fa, Volume I Chapter One: The Heart Without Humanity (Ahetuka Citta) The Definition of the Word “Ahetuka” Today we will study the uncaused cittas (Ahetuka Citta). There are eighteen mindless consciousnesses (Ahetuka Citta). First we will learn the word “Ahetuka”. You already know the word "Hetu". "Hetu" means multiply. There are six causes in all: three unwholesome causes and three good causes. I don't say "benevolent". I say "good causes" because they are wholesome, they are effect, and they are functional. They belong to the pure cetasikas. I repeat: There are six cores. Three bad (or evil) causes and three good causes. This manual uses the word “bright kernels” (see CMA, I, Guide to §8, p.40). These Cittas arise without any cause. That is, not accompanied by any of these six cores. That's why they are called uncaused minds. Non-human means that there is no cause associated with it. Because they are the result of past kamma or the result of past causes. But when they arise, they are not accompanied by any cause. Therefore, they are called Ahetuka. Sometimes, Hetu is translated as cause. But here if we say, "mind has no cause", it is wrong. It must be said that the mind is impersonal. Causeless means that there is no cause associated with these cittas. Classifying the Inhuman Mind (Ahetuka Citta) Ahetuka Citta is divided into three groups. The first group is the unwholesome fruition with no cause (Ahetuka Akusala-vipāka). How many centers does this group have? There are seven minds. The second group is the uncaused wholesome effect (Ahetuka Kusala-vipāka). How many minds are there? There are eight minds. The third group is the impersonal rationalist (Ahetuka Kiriya). How many minds are there? There are three minds. In total, seven plus eight plus three is eighteen. The first group is the unwholesome fruition consciousnesses (Ahetuka Akusala-vipāka Citta). The word "Vipāka" means something that is ripe or mature. So it means result. This word is only used for citta and cetasika. There are material things which are also caused by kamma, i.e. the result of kamma. But rupa is not called Vipāka. Only citta and cetasika results can be called vipāka. You must understand the meaning of this word. Since these Cittas are the result of Kamma, Vipāka is here explained to be identical with its cause. What is Kamma? Kamma belongs to the mind or mental factors. Or to be more specific, Kamma is a mental factor. Therefore, it must be mental and must capture the object (scene) so that the effect must be identical with the cause. The identical result should be cittas and cetasikas, not material phenomena. Let's take the following example: You grow rice. First, you plant the seed. And then you make the seed sprout into a tree. Only when the tree has seeds will you say that the tree is ripe. That is, even though the tree has leaves, you still do not say that the tree is ripe. However, the leaves on the tree are still called the fruit of the seed. But the seed (not the leaf, neither the stem nor the root) is called rice. That is, only the end result is called a grain or rice. In the same way, although material phenomena are also produced by past Kamma (i.e. the result of past Kamma), they are not called Vipāka because they are not the same. identical to the cause, i.e., belongs to the mental factors and captures the scene. So whenever we say "Vipāka", There are seven unwholesome fruition consciousnesses (Akusala-vipāka). Unwholesome fruit (Akusala-vipāka) means the result (Vipāka) of unwholesome (Akusala). Unwholesome (Akusala) here can mean unwholesome consciousness (Akusala), but actually the main cause is karma (Kamma) or volition with unwholesome consciousness (Akusala). For the sake of simplicity, we will only say that these cittas are the results of akusala cittas (Akusala Citta). More precisely, we must say that these cittas are the results of akusala kamma (Akusala Kamma). Therefore, Akusala is here used to classify results (Vipāka) and not to classify cittas (Cittas). Brief Introduction to Mind Path There are seven akusala cittas (Akusala). Before we study these seven Cittas, we must understand what happens when we see something. If we understand seeing, we will also understand hearing, smell and so on. Although seeing seems very simple, it is actually a very complex experience. Many mind-moments have been engaged in what we call seeing. When we see something, we think we see it immediately without spending much time. But if we can magnify that process a million or a billion times, we will find that there are many thought-moments (minds) before we can see something. In the Commentaries, the example of the mango fruit is mentioned. This is a very good example to understand the mind process. Here the eye-consciousness pathway is mentioned. In this example, there is a man with his head covered sleeping at the foot of a mango tree full of fruit. Then a ripe mango fell to the ground from the tree and touched some of his ears. In other words, the mango fell near his ear. The sound woke him up. Then he woke up, opened his eyes and saw a mango. Then he stretched out his hand and picked up the mango. After holding the mango in his hand, he squeezed and smelled it, and knew that it was ripe. Next, he ate and enjoyed the mango. After eating, he swallowed all that was left in his mouth along with saliva. Then he went back to sleep. If you remember this example, Thought moments happen all the time in our lives. There is a long sequence of successive thought-moments which we call Bhavaṅga. It is translated as bhavanga or bhavanga. They are like the unconscious mind. I don't want to use the word "subconscious". It is perhaps mixed with the subconscious concept of contemporary psychology . So, I think it's better to use "unconscious thought-moments". When there are no definite scenes presented to us, these unconscious thought moments go on continuously throughout our lives. When a visible object appears at the threshold of the eye, we say it affects the eye or affects the eye. That means this scene appears in the field of vision. When the visible object appears before the eyes, the stream of life (Bhavaṅga) is cut off. In other words, it is shaken and then stops or stops. After the Bhavaṅga ceases, a consciousness arises called Pañcadvārāvajjana. This citta is in the three impersonal functioning consciousnesses (Ahetuka Kiriya Citta). “Pañcadvārāvajjana” means the five-door direction. That is to say, when an object appears before the five senses (we call the five senses the five doors), the Bhavaṅga ceases and this consciousness arises taking that object as an object. And it also directs the stream of consciousness to the object. That is why it is called the five-door direction (Pañcadvārāvajjana). “Pañca” means five. "Dvāra" means subject. “Āvajjana” means direction. Thus, this mind directs the mind to the object, the mind to the thought-moments. This is a very short thought-moment (i.e. a mind-moment). Then the eye consciousness arises. Seeing here is just seeing – that is, not understanding the scene, not knowing if the scene is good or bad, not even knowing if the scene is a mango (as in the example). This mind is called Cakkhu-viññāṇa in Pāḷi, which means eye consciousness. I will explain the meaning of this word later. In the example above, this is like the man opening his eyes and seeing a mango. Now he has seen the mango. Then another mind-moment arises called Sampaṭicchana, receiving, receiving the object. It's like a man reaching out and grabbing a mango. Then it was Santīraṇa's turn, the observing mind. In the example, he squeezes a mango to see if it's ripe. That is called the observing mind, that is, the mind that examines the object that has been accepted by Sampaṭicchana. Then he smelled it. That is, he sniffed and decided that this was a ripe mango. Likewise, a mind-moment that arises is called Voṭṭhabbana. "Voṭṭhabbana" means contemplation. At this point, the mind identifies this as the object. After the contemplation comes Javana. The literal meaning of Javana is to have power, but the meaning we must understand here is to have full enjoyment of the scene. It is only at the moment of these Javanas that we fully experience the scene. Usually there are actually seven Javanas, while other cittas have only one of each type. We experience eye consciousness (Cakkhu-viññāṇa) once. We experience receiving (Sampaṭicchana) once, observing (Santīraṇa) once, discerning (Voṭṭhabbana) once. But impulse (Javana) is seven moments. That is, usually there are seven momentum moments (Javana) arise. Then Tadārammaṇa arose. “Tadārammaṇa” means residual taste. There are two sense-moments (Tadārammaṇa) and they capture the same object with impulses (Javanas). And then the Bhavaṅga lineage arises again. Here is a rough picture for us to understand what seeing is. After this mental process, you have merely seen a visible object. You haven't come to a decision that it's a mango. You need many other kinds of initiations. You will study the mind-process in the fourth chapter of this CMA (see CMA, IV, §1, p.149). Don't worry if you don't understand clearly here. I have only presented the example of a mango to illustrate the path of eye-consciousness. If you understand the eye-consciousness process, the ear-consciousness and other mental processes are easy to understand. This is how a mental process arises and disappears. Akusala-vipāka Citta (Akusala-vipāka Citta) Eye Consciousness, Van Van Now we will study each citta one by one. The number one mind is feeling equanimity (Upekkhā-sahagata) and eye consciousness (Cakkhu-viññāṇa). That is, accompanied by feeling equanimity and is called eye consciousness (Cakkhu-viññāṇa). “Cakkhu” means eye and “Viññāṇa” means mind. I told you earlier that Viññāṇa is a synonym for Citta. Citta, Viññāṇa, Mano are synonyms. Eye consciousness means that the mind depends on the eye to arise. If you didn't have eyes, you wouldn't have eye-consciousness, which is the mind to see. The eye actually means the sensitive nerve in the eye, not the whole eye. Here we want to refer to the area that records the image, that is, the retina in contemporary terms. Images are recorded on it and then the nerves send signals to the brain and so on. Eye consciousness is accompanied by equanimity feeling (Upekkhā). The next citta is the ear consciousness feeling equanimity (Upekkhā-sahagata Sota-viññāṇa). "Sota" means ear hole. So, this is the ear consciousness. Also, it means the mind that depends on the ear to arise. If you are deaf, if you do not have sensitive nerves in your ears, ear consciousness cannot arise. Again, Sota-viññāṇa or ear consciousness is the mind that depends on the ear to arise. It is also accompanied by equanimity. The next citta is the ratio consciousness (Ghāna-viññāṇa). "Ghāna" means nostrils. So this is the ratio. Consciousness is the mind that depends on the nostrils. Nose means the nerve in the nostrils where we experience smell. The mind that depends on that area of ​​the nostrils is called the consciousness or Ghāna-viññāṇa in Pāḷi. The next consciousness is the tongue consciousness (Jivhā-viññāṇa). You can guess the meaning of Jivhā. It's the tongue. Loss consciousness means that the mind depends on the tongue to arise. Jivhā-viññāṇa is also accompanied by equanimity (Upekkhā). Then the fifth consciousness is painful feeling (Dukkha-sahagata). This fifth consciousness is accompanied by painful feeling (Dukkha) and is called body consciousness (Kāya-viññāṇa). "Kaya" means body. So this is the mind that depends on the body, the whole body. This citta is accompanied by painful feeling (Dukkha). These five cittas are akusala cittas. What are the results of Akusala? It gives painful results. So, since these are the results of akusala, the objects we see, hear and so on are undesired objects. If you see something ugly, if you see something you don't like, then you use this kind of mind. If you hear a sound that you don't like, with the characteristic that it's too loud for your ears, you have this kind of mind. Body-consciousness feeling pain (Dukkha-sahagata Kāya- viññāṇa ), bodily feeling - you hit yourself and get hurt. When there is pain in the physical body, you experience that pain with this mind. This type of citta is accompanied by painful feelings, not by equanimity (Upekkhā). Two Hearts Remaining The next citta is the mind receiving equanimity (Upekkhā-sahagata Sampaṭicchana). “Sampaṭicchana” means to accept or receive. This citta is also accompanied by neutral feeling (Upekkhā). Sampaṭicchana is the receptive or receptive mind. Here, receptive consciousness means the citta that has the function of receiving the object presented by the preceding door-door consciousness (eye, atrium, female and so on). The last citta is the mind that observes feeling and equanimity (Upekkhā-sahagata Santīraṇa). “Santīraṇa” means to observe. Therefore, this mind is called the observing mind. That is, the mind observes the object that has been received by the receptive mind. The observing mind is also accompanied by equanimity. The object of all these seven cittas is always un desired. If scenes are to be desired, then they must be the result of Kusala. Here are presented seven types of akusala citta (Akusala-vipāka Citta). We must note that here the word "unwholesome" is connected only with the word "fruit", not with the word "mind", that is, not the unwholesome mind. This is the resultant consciousness, which is the result of the previous akusala citta. There are conditions for these five consciousnesses (i.e. the five consciousnesses) to arise. It is good to understand these conditions. For eye consciousness to arise, four conditions are required. First, there must be vision. That means we must have eyes. Second, there must be a viewable scene. That is, there must be something to look at. If there is nothing to see, eye consciousness will not arise. Third, there must be light. If the subject is in the dark, we cannot see. Fourth, attention is also important. Attention actually means directing the mind to the object. If the mind is not directed to the object, we will not experience it. In short, these four conditions are required for eye-consciousness to arise. What are those four conditions? The eye, the object to see, light and attention. For ear consciousness to arise, what do we need? We need hearing or ears. There must be sound. If there is no sound, we cannot hear anything. Then there must be space. If you cover your ears, you won't hear the sound. So you need space. And then there must be attention. For consciousness, there must be a sense of smell. This means you must have nostrils. Must have smell. If the smell is not carried through the air or carried by the wind to you, you will not experience the smell. So you need air or wind. And then you need attention. These are the four conditions for the arising of consciousness. Then taste - I mean when you eat something, there's food. Must have tongue. Must have taste of food. We call it taste. There must be water. Water means moisture or liquid. If you put dry food in your mouth, you won't taste it. If your tongue is dry and you put a piece of dry food on your tongue, you won't get the taste of it. To get the taste of food, you need liquid or saliva. Otherwise, you won't taste anything. Here it is called water, water in the mouth. And you also need attention. What is the last one? The last one is tactile, which means bodily. This is the whole body, except for the parts on the hair, hair and nails, which are the places where we have no sensation. So touch is on the whole body. There must be something to touch, i.e. touch. There must be land. Soil means the solidity of that scene. When we say earth, water, fire, wind, we don't mean physical earth and so on, but we mean the inherently hereditary nature of these things. The inherited nature contained in the earth is soft or hard or solid. There must be this earthy quality for touch to be experienced. Then there must be attention. You touch something and then you actually experience its hardness or softness. These are the necessary conditions for these five cittas to arise. They will also apply to the five corresponding cittas of the kusala kusala cittas (Ahetuka Kusala- vipāka Citta). Ahetuka Kusala-vipāka Citta (Ahetuka Kusala-vipāka Citta) Eye Consciousness, Van Van Let's study this group of minds. This is the second group, called the kusala vipaka cittas (Ahetuka Kusala-vipāka Citta). Here, we have to combine wholesome results (Kusala-vipāka) with non-cause (Ahetuka), I think you understand this because there are wholesome effects (Kusala-vipāka) that go along with cause (Hetu). We will study those cittas later. Among the sense-sphere cittas, the rupa citta and the immaterial citta, there are wholesome results (Kusala-vipāka). They are the results of kusala. To discern kusala cittas (Kusala-vipāka) together, the word “Ahetuka” is placed before the word “Kusala-vipāka” in this case. But with respect to akusala results (Akusala-vipāka), we need not say they are uncaused (Ahetuka) because akusala vipāka cittas (Akusala-vipāka Citta) are always uncaused (Ahetuka). There is no unwholesome effect (Akusala-vipāka) that has a cause (Hetu), that is, is accompanied by a cause (Hetu). So we don't say causeless (Ahetuka) because they are always impersonal (Ahetuka). But if we don't say causeless (Ahetuka) with respect to kusala, then here we can also include kusala vipāka cittas that have a cause. That's why the word "Ahetuka" must be used here. Good result without cause (Ahetuka Kusala-vipāka) means fruit (Vipāka) without cause (Hetu). Here are eight consciousnesses. We can say the first four are the same. What is the difference between these cittas and the akusala vipāka cittas (Akusala-vipāka Citta)? The difference is the object. The object here is desired, i.e. the good scene. You see something beautiful. You hear a soothing sound. You smell a fragrance, like perfume. Here, because they are the result of kusala, they must be good, must be desired. Eye consciousness, ear consciousness, rate consciousness and tongue consciousness are the same. Now we talk about the fifth mind, body consciousness. Body consciousness here is accompanied by pleasant feeling (Sukha). Sukha means – it is difficult to find a complete translation for “Sukha”. Here, we will only use happiness or pleasure (pleasure). When the body touches a soft object, this kind of sensation arises. It is called pleasant feeling (Sukha). If you hit a brick, you will get hurt. That is suffering (Dukkha). If your body or hand touches something that is soft, pleasant to touch, then you will have this Sukha. This citta is accompanied by pleasant feeling (Sukha), which is joy. This mind is Kāya-viññāṇa, i.e. body consciousness. How many types of feeling have we encountered so far? Feeling happy (Somanassa), feeling equanimous (Upekkhā), feeling sad (Domanassa), and today we encounter two more types, painful feeling (Dukkha) and pleasant feeling (Sukha). So how many sensations are there in all? There are five feelings in all. We can say, there are three sensations or there are five sensations. These three or five feelings will be studied in the third chapter of this Handbook (CMA, III, §2, p.115). Thus, there are five feelings. Feeling happy (Somanassa), feeling sad (Domanassa) and feeling equanimous (Upekkhā) are mental feelings. Painful feeling (Dukkha) and pleasant feeling (Sukha) are also mental feelings, but they are connected with the physical body. You feel happy by yourself. That is happy feeling (Somanassa). You have a pleasant touch and you feel happy. That is pleasant feeling (Sukha). You're sorry. That is the feeling of distress (Domanassa). You touch something and feel pain. That is suffering (Dukkha). Painful feeling (Dukkha) and pleasant feeling (Sukha) must be related to the physical body. When you are happy with a good feeling in your body, that is pleasant feeling (Sukha). So here we have body-consciousness feeling pleasant (Sukha-sahagata Kāya-viññāṇa). The Remaining Hearts The sixth mind is the same as before. That is Upekkhā-sahagata Sampaṭicchana, that is, the mind receiving equanimity. Then the seventh consciousness is the mind that observes joyful feeling (Somanassa-sahagata Santīraṇa). The observing mind (Santīraṇa) here has two. The first citta is accompanied by joyful feeling (Somanassa). The second consciousness is accompanied by equanimity (Upekkhā). So here there are two observing consciousnesses (Santīraṇa). Therefore, there are eight rootless wholesome results (Ahetuka Kusala-vipāka), not seven as in the unwholesome results (Akusala-vipāka). You probably have a lot of questions. Let me explain why eye consciousness, ear consciousness, tongue consciousness, and tongue consciousness are always accompanied by equanimity, regardless of the quality of the object. Regardless of whether the object is desired or not, these cittas always have a feeling of equanimity (Upekkhā). Why? Understand that the eye nerve to the nerve of the tongue – these rupa are called dependent rupa (i.e. macrobiotic rupa). They depend on the four elements. When they arise, they are born with earth, water, fire and wind. These four elements are called the Mahābhūtas. They are something like solid formations. The optic nerve to the glottis nerve are dependent rupa phenomena called soft like cotton balls. In other words, the optic nerve and so on are called soft because they depend on the four elements to arise. The same is true for scenery, the sound scene, the air scene and the scene. These four objects are also dependent material things (form medical material birth), ie also dependent on the four elements. They are like cotton balls. These four mental rupa and objectsTheir dependent rupas are like cotton balls, i.e. soft. The four elements are as hard as the physical object or nerve body. So what about the emotional or nervous body? What we call tangible object is actually a combination of the three elements, i.e. earth, fire and wind (notice the absence of water). So, when we talk about tangible objects, we're just talking about a combination of these three components. Is the emotional scene hard or soft? The touch scene is hard. When we see something, it's like knocking a cotton ball against a cotton ball: there's no effect. No strong impact. So here there is always equanimity. This is the optic nerve. This is the scenery. Then the sight appears and affects the eye nerve. The impact is not strong. That's why we only have equanimity. There is no happy feeling (Somanassa), no sad feeling (Domanassa) or anything else. When there is a physical object or nerve body, there is impact. This impact is strong. If the object is desirable, pleasant feeling (Sukha) will arise. If the object is not desirable, dukkha will arise. That is why body-consciousness is accompanied by pleasant feeling (Sukha) or painful feeling (Dukkha) depending on the quality of the object. Seeing and other things are like putting a cotton ball on an anvil and hitting it with another cotton ball. Touch, on the other hand, is like putting a cotton ball on an anvil and knocking it against another hard object. That is why all eye, ear, nose and tongue consciousness are accompanied by equanimity feeling (Upekkhā). Body consciousness is accompanied by painful or pleasant feeling depending on the quality of the object. Another issue here is why there are two observing consciousnesses (Santīraṇa) in the eight wholesome fruitless consciousnesses (Ahetuka Kusala-vipāka) while there is only one observing consciousness (Santīraṇa) in the unwholesome fruition consciousnesses (Ahetuka Kusala-vipāka). Akusala-vipāka). The two observing consciousnesses (Santīraṇa) in the wholesome fruition cittas without cause are, one accompanied by pleasant feeling (Somanassa) and the other accompanied by equanimous feeling (Upekkhā). Why? When we say scene is desired, we are using a generic word. There are two types of scenes to be desired: commonly desired scenes and highly desired scenes. Some objects are very desirable to us, while some objects are simply desired. Thus, there are two kinds of scenes, ordinary longing and very longing or particularly longing. When the scene is very desired, then the observing consciousness (Santīraṇa) is accompanied by joyful feeling (Somanassa). But when the object is not so desired but is simply desired, the observing consciousness (Santīraṇa) is accompanied by equanimity (Upekkhā). Because there are two types of objects to be desired, corresponding to these two types of objects, we have two observing consciousnesses (of the eight virtuous results-consciousnesses with no cause). The problem is not over yet: Can we have the very undesired and the not-so-desirable scene? Does that mean we should also have two observing consciousnesses (Santīraṇa) in the unwholesome fruition consciousnesses (Akusala-vipāka)? To be more specific, should we have a observing consciousness (Santīraṇa) accompanied by unpleasant feelings (Domanassa) and a observing consciousness accompanied by equanimous feelings (Upekkhā)? Among the kusala vipāka cittas (Ahetuka Kusala-vipāka Citta), we say, because there are two kinds of objects to be desired (i.e. highly desired and commonly desired), there must be two observing consciousnesses. (Santīraṇa): one is accompanied by pleasant feeling (Somanassa) and the other is accompanied by equanimity feeling (Upekkhā). Likewise, shouldn't we have: not commonly desired and very unloved? I think so. Sometimes you hate a certain object very much. So why aren't there two observing minds in this case? To answer this question, let us return to the unwholesome consciousnesses (Akusala Citta). We know that there are two cittas (Domanassa Citta). There I mentioned a problem. Do you remember what the problem was? Feeling and grief (Domanassa) and anger (Dosa) always arise together. They cannot be separated. Where there is grief (Domanassa), there is anger (Dosa). If there are very undesired and not-so-desired objects, feeling and grief (Domanassa) and aversion (Dosa) will arise for both of them. If there is a very undesirable object, then domanassa is required. If feeling sad (Domanassa) arises, then anger (Dosa) will also arise. Hatred (Dosa) and feeling sad (Domanassa) are different. Domanassa is a feeling (Vedanā). Dosa is a mental factor. So they are different. But when there is grief (Domanassa), there must always be anger (Dosa). Hatred (Dosa) is certainly of an unwholesome nature (Akusala). It is never wholesome (Kusala) nor fruitful (Vipāka). Here we can allow Domanassa to ariseup. If we allow grief (Domanassa) to arise, we must also allow anger (Dosa) to arise. But anger (Dosa) will not arise here because anger (Dosa) is unwholesome (Akusala) not fruit (Vipāka). Unwholesome (Akusala) and fruit (Vipāka) are different in nature, in type. Because anger (Dosa) cannot arise here, we cannot have Domanassa. Therefore, we have only one observing consciousness (Santīraṇa), that is, the consciousness observing equanimity (Upekkhā Santīraṇa) of the seven unwholesome fruition consciousnesses (Akusala-vipāka Citta). Ahetuka Kiriya Citta (Ahetuka Kiriya Citta) The next and final group of consciousnesses are the impersonal operative consciousnesses (Ahetuka Kiriya Citta). You already know the inhuman (Ahetuka). Kiriya is translated as operative or elemental, which means that it only performs the function of arising and passing away, or capturing the scene – that's all. It has no kamma-generating power, nor is it the result of kamma. That is why they are called rationality (Kiriya). Another translation of the word "Kiriya" is null. These cittas arise and disappear without leaving any karmic energy (Kamma): They are neither kamma nor the result of kamma. They are neutral and are called functional (Kiriya). We will encounter many kiriyas during our study. How many non-cause operative consciousnesses (Ahetuka Kiriya Citta) are there? There are three. Upekkhā-sahagata Pañcadvārāvajjana, that is, the mind that directs the five doors to feeling equanimity is the first mind. You have seen the five-door oriented mind (Pañcadvārāvajjana) infor example mango. This is the consciousness that arises after the Bhavaṅga has ceased. It arises when the object appears at the five doors. Eyes, ears, nose, tongue, body - we call them the doors, the doors for the mind to arise. This type of consciousness directs the mind stream to the five types of objects. That is why it is called the five-door direction (Pañcadvārāvajjana). It changes the mind from the flow of life (Bhavaṅga) to what we call the active mind. Here, we can also call Bhavaṅga non-active mind and call other types of consciousness active. Therefore, the five-door-centred mind turns the mind-stream to dynamic. That is why it is called the five-door direction (Pañcadvārāvajjana). The word "Āvajjana" has two meanings in the Commentaries. One is to reflect back and the other is to turn towards, i.e. turn towards the object. Since it is the five-door direction (Pañcadvārāvajjana), it arises only in connection with the five senses and the five material objects. If you think about something in your mind, then another kind of mind will do that function. That is the second consciousness, mind-door oriented (Manodvārāvajjana). Manodvārāvajjana is the mind-door, not your eyes, ears, nose, tongue or body, but your mind. Bhavaṅga is here called mind-door (Mano-dvāra). When you think about something in your mind, when you remember something, when you are happy or sad, this mind-door (Mano-dvāra) stream of consciousness is going on. This citta arises at the first point of the mind-door stream with the purpose of directing the mind to the dhamma. Because it arises at the mind-door, it is called mind-door adverting (Manodvārāvajjana). This mind has another function. That is determination (Voṭṭhabbana). In the example of the mango, after the word "Santīraṇa" (observation) comes the word "Voṭṭhabbana" (speculation). This mind, Manodvārāvajjana, performs two functions. When it arises in one of the five five sense-door processes, it functions as Voṭṭhabbana. When it arises at the mind-door, it functions to direct the mind to the object (Manodvārāvajjana). So it has two functions. It is called Manodvārāvajjana. These two cittas (five-door-door and mind-door) are accompanied by equanimity (Upekkhā). Whatever the quality of objects, they are equanimity (Upekkhā). The third citta is the citta that produces joy (Somanassa-sahagata Hasituppāda). You already know Somanassa is happy feeling. Hasituppāda is a compound word: "Hasita" and "Uppāda". "Hasita" means smile, smile. "Uppāda" here means to produce, to make something happen. "Hasituppāda" means the mind that gives rise to laughter or the mind that causes laughter. This citta is called the citta (Hasituppāda). Because one laughs with a good feeling, this citta is always accompanied by joyful feeling (Somanassa). These commentaries record that this mind is reserved for Arahants only. We laugh at other minds, not at this one. If you become a fully Enlightened Buddha or a Pacceka or an Arahant, you will laugh with this mind. So this mind is only for Arahants. Remember, Arahants also include Buddhas. Buddhas are Arahants. Hasituppāda is reserved only for Buddhas, Pacceka Buddhas and Arahants. Speaking of Hasituppāda, by the way, I would also like to remind you that you will find the six types of laughter in Nārada's Manual of Abhidhamma on page 31 and also in the Compendium of Philosophy . I think the Compendium of Philosophy is the first book in English that deals with these six types of laughter. Here the author has said, "There are six types of laughter noted in Buddhist writings." Now I want to make a little correction here. Actually, these six types of laughter do not come from Buddhist scriptures. They originate from Sanskrit literary works. Specifically, these six types of laughter are mentioned in the Sanskrit works on rhetoric—that is, how to write well and so on. When Buddhist monks wrote theses on rhetoric, they copied these only from Sanskrit. So, we find today these six types of laughter mentioned in these documents, but they actually come from Sanskrit sources. I want you to understand this. These six types of laughter are not mentioned in the Commentaries. In Buddhaghosa's Commentaries or in later Commentaries, they are not mentioned. They come from treatises on rhetoric. Learning about these six types of laughter is quite interesting. The first type is a smile that simply shows on the face. It was a very light, fleeting smile. Your lips can show a smile, but you don't show your teeth. This is a gentle smile and is the first type of laughter. The second type of smile is a smile in which there is slight movement of the lips. It was enough to reveal the tips of the teeth. If you show the tips of your teeth when you smile, then you have this second type of smile. The third type is chuckling, that is, laughing in a low voice. The fourth type is laughter that accompanieshead, shoulder and hand movements. This kind of laughter is more alive. The fifth type is laughter and tears. Sometimes you laugh to the point of tears. The sixth type is uncontrolled laughter with forward and backward movement of the entire body from head to toe. You can fall when you laugh. These six types of laughter are mentioned in those documents. The author of this Compendium of Philosophy is a Burmese layman. His name is Shwe Zan Aung. As he may not know that these six types of laughter come from works of rhetoric, he said, "in the scriptures of Buddhism". But they are not necessarily derived from Buddhist writings. In fact, they come from Sanskrit sources. The first two types of laughter are used by cultured people. If you want to be seen as cultured, don't laugh too much. The next two are used by the average person and the last two are used by the lower class. These are the six types of laughter mentioned in these materials. I think it is quite interesting to make notes or notes on these six types of laughter. When describing the smiling Buddha, the Commentaries record that the Buddha smiled with the tips of his teeth open. So the Buddha could laugh with one of the first two types of laughter. Sometimes the Buddha laughed and Ānanda followed. When the Buddha laughed, Ānanda knew and he would ask, "Why are you smiling?" or “What made you laugh?” How did Ānanda know that the Buddha was smiling when he was behind the Buddha? The scriptures record that when the Buddha smiled, he revealed the tips of his teeth. From the tips of His teeth, white rays of light were emitted. At times, the Buddha released a six-color aura. From the teeth and eyes, a white aura is emitted. When the Buddha laughed, rays of light were emitted and thus Ānanda knew from these rays that the Buddha had laughed. Then he will ask: Venerable Sir, what causes you to laugh. All Eighteen Minds of Humanity (Ahetuka Citta) Now we have a total of eighteen mindless consciousnesses (Ahetuka Citta). The first seven cittas are called unwholesome results (Akusala-vipāka). They are the resultant consciousnesses of akusala (Akusala). The second group of eight consciousnesses is called the wholesome fruition without cause (Ahetuka Kusala-vipāka). The last three cittas are called causeless functional cittas (Ahetuka Kiriya Citta). Kiriya Citta is translated as operative mind. Review There are eighteen mindless minds. Can you identify them? First we'll go in order. The akusala vipāka (Akusala-vipāka) has seven - these are the seven non-caused resultant consciousnesses (Ahetuka Vipāka). Then there are eight kusala vipāka (Ahetuka Kusala-vipāka). There are three impersonal operative consciousnesses (Ahetuka Kiriya Citta). Let's take a look at the first group, the seven akusala cittas (Akusala-vipāka Citta). What is the eye consciousness? It is the first of the seven consciousnesses. What feeling is it accompanied by? It is accompanied by equanimity (Upekkhā). And then ear-consciousness is accompanied by what feeling? It is accompanied by equanimity (Upekkhā). Consciousness is accompanied by what feeling? It is accompanied by equanimity (Upekkhā). What feeling is accompanied by the loss consciousness? It is accompanied by equanimity (Upekkhā). Body consciousness is accompanied by what feeling? It is accompanied by painful feeling (Dukkha). And then the receptive mind is accompanied by what feeling? It is accompanied by equanimity (Upekkhā). What feeling is the observing mind accompanied by? Equanimity (Upekkhā) follows the observing mind. Let us continue with the second group, the kusala vipakacittas (Ahetuka Kusala-vipāka Citta). What sensations are eye-consciousness associated with? It is associated with equanimity (Upekkhā). What is the ear consciousness associated with feeling? Upekkhā is associated with ear consciousness. What feeling accompanies the rate consciousness? Equanimity (Upekkhā) accompanies proportional consciousness. What feeling is accompanied by the loss of consciousness? Upekkhā accompanies the loss of consciousness. What sensations are body-consciousness associated with? It is associated with pleasant feeling (Sukha). What feeling is the receptive mind associated with? It is associated with equanimity (Upekkhā). What feeling is the first observing mind accompanied by? It is accompanied by joyful feeling (Somanassa). What feeling is the second observing mind accompanied by? It is accompanied by equanimity (Upekkhā). Now let's look at the third group, the impersonal operative minds (Ahetuka Kiriya Citta). What is the first mind? What is the name of that Citta? The name of that mind (Citta) is the five-door direction or Pañcadvārāvajjana in Pāḷi. What feeling accompanies it? It is accompanied by equanimity (Upekkhā). The second Citta is the mind-door oriented, or Manodvārāvajjana in Pāḷi. What feeling is associated with mind-door volition (Manodvārāvajjana)? Upekkhā is associated with that Citta. Then the last citta is accompanied by joyful feeling (Somanassa). What is the name of this Citta? Hasituppāda in Pāḷi or the heart of laughter is its name. There are two Cittas arising for eye- consciousness, ear-consciousness, tongue-consciousness, tongue-consciousness and body-consciousness, respectively. They will be referred to as the five unwholesome fruition consciousnesses and the five rootless wholesome fruition consciousnesses. On page 41 of the CMA it says: “The first five resultant cittas in both groups, the unwholesome and the wholesome, are pasāda cittas of eye, ear, female, tongue, and body. These ten Cittas are grouped together and are collectively known as the “five dual consciousnesses” (dvi-pañcaviññāṇa).” (CMA, I, Guide to §8, p.41) We will refer to them again and again. Do you prefer the native language or the Pāḷi language? If you like the native language, you have to use a lot of words. If you like Pāḷi, you just need to use a compound word. “Dvi” means two. “Pañca” means five. So it means the five dual consciousness - "Dvipañcaviññāṇa". When we say "Dvipañcaviññāṇa", we understand that we are referring to these ten consciousnesses. In chapter two, we'll deal with them that way. So, please pay attention to this name. Now, we have eighteen mindless minds. How many of them are accompanied by joyful feeling (Somanassa)? The two cittas are accompanied by joyful feeling (Somanassa). What are those two Cittas? The mind of observation and the mind of laughter. How much citta is accompanied by painful feeling? There is only one citta accompanied by painful feeling. What is that mind? That is the mind-body-consciousness unwholesome fruition (Akusala-vipāka). How much consciousness is accompanied by pleasant feeling (Sukha)? There is only one, i.e. the wholesome body-consciousness (Kusala-vipāka) accompanied by pleasant feeling. How much consciousness is accompanied by equanimity (Upekkhā)? Fourteen consciousnesses are accompanied by feeling equanimity (Upekkhā): two eye- consciousness, two ear-consciousness, two billion-consciousness, two tongue-consciousness, two receptive-consciousness, two observing-consciousness, one five-door adverting-consciousness, one mind-directing consciousness subject. So we have all eighteen mindless minds. Let's practice again. How much consciousness is accompanied by joyful feeling (Somanassa)? The two unrooted Cittas are accompanied by joyful feeling (Somanassa). How much consciousness is accompanied by pleasant feeling (Sukha)? Only one citta (Citta) is accompanied by pleasant feeling (Sukha). How many cittas are accompanied by dukkha? Only one citta (Citta) is accompanied by painful feeling (Dukkha). How much consciousness is accompanied by equanimity (Upekkhā)? The fourteen unrooted consciousnesses (Ahetuka Citta) are accompanied by equanimity (Upekkhā). What are twelve Akusala Cittas plus eighteen Cittas? There are thirty minds. These thirty cittas are considered good impurity (Asobhana) in Burma, although this is not mentioned in the Commentaries nor in these volumes. But in Burma, we name these thirty cittas "Asobhana". This makes listing easier. That is, they are not pure minds (Sobhana Citta). Therefore, the remaining cittas will be pure cittas (Sobhana Citta). The remaining cittas are beautiful Cittas. These thirty cittas are called unbeautiful cittas. Later, if we had to refer to these thirty cittas as a group, we would say the thirty impure cittas are good. All of them are not pretty. All the remaining cittas, starting with the sense-sphere consciousness, will be pure cittas (Sobhana Citta). These thirty are impure (Asobhana) and the others are pure (Sobhana). We have finished studying the good impure cittas (Asobhana Citta), i.e. the thirty types of citta that are not beautiful. It is somewhat strange that the citta that arises is included in the impure cittas (cittas). In fact, this is just a name, that is, a designation. So we have thirty minds in all. Do you want to practice again? How many Cittas are accompanied by joyful feeling (Somanassa)? There are six cittas accompanied by happy feeling (Somanassa). How much consciousness is accompanied by equanimity (Upekkhā)? The twenty consciousnesses are accompanied by equanimity (Upekkhā). How much consciousness is accompanied by pleasant feeling (Sukha)? There is only one citta accompanied by pleasant feeling (Sukha). How many cittas are accompanied by dukkha? Only one citta is accompanied by dukkha. How many cittas are associated with feeling sad (Domanassa)? The two cittas are associated with feeling and feeling (Domanassa). You have to practice like that. If you have free time, There is a table in the CMA book on page 43. This table divides the mind by type, by feeling, by citta (Citta) (see CMA, I, Table 1.3, p.43). It will help you get acquainted with these Cittas. Do you want to ask anything? Student: Tonight when you started teaching, you talked about eye-consciousness, ear-consciousness, rate-consciousness, tongue-consciousness, and body-consciousness. He talked about feeling equanimity (Upekkhā) and feeling suffering (Dukkha). He said that all these cittas are Upekkhā with the exception of body consciousness. I'm a bit curious about whether bright lights hurt the eyes or loud sounds hurt the ears. In terms of feeling, it seems that at least there must be aversion there. Was that a subsequent mental state? Sayadaw: That's right. It's a mental state that follows. At the moment of hearing, the mind is only accompanied by equanimity. Your reaction to that hearing comes and goes very quickly, so you think that the moment you hear that sound, you are instantly scared or angry. But actually, that reaction comes later or immediately afterwards. Student: You mentioned that there are seven thought-moments (seven mind-moments) enjoying the object and two thought-moments (two mind-moments) receiving the mind. If one enjoys it, they must know about it. Sayādaw: Enjoying here means experiencing. When you are angry, there are seven thought-moments (that is, seven moments). When you are sad, there are seven thought-moments (that is, seven moments). When you are happy, there are seven thought-moments (that is, seven moments). When you do good (Kusala), there are seven thought-moments (that is, seven moments). When you do akusala (Akusala), there are seven thought-moments (that is, seven moments). Enjoying here means experiencing the scene to its fullest. Student: When you mentioned feeling (Vedanā), feeling happy (Somanassa), feeling sad (Domanassa) and feeling equanimous (Upekkhā) - you said they were only mental, right? Sayadaw: Right. Student: Then are painful feelings (Dukkha) and pleasant feelings (Sukha) physical or mental? Sayādaw: Let's consider them mental through physical. Student: How is feeling happy (Somanassa) different from the mental aspect of feeling happy (Sukha)? Sayādaw: Somanassa does not require physical contact. You only have this feeling in your mind. Pleasure feeling (Sukha) and painful feeling (Dukkha) require physical touch. Practitioner: It is activated through physicality. Sayādaw: Let us now agree that feeling or Vedanā in Abhidhamma is of a mental nature. It was never physical. When we talk and use the word “feeling” in conversation, we mean something in this body. Student: Sensation? Sayādaw: That's right, sensation. So feeling or pain is a material thing. It is possible that the rupa is suffering from something wrong and therefore you experience pain. When you experience that pain, body consciousness arises. That body-consciousness is accompanied by pain or suffering. Pleasure feeling (Sukha) and painful feeling (Dukkha) are actually mental. But they are based or dependent on physical sensation. So they are different from pure mental sensations. Student: Can feeling happy (Sukha) produce happy feeling (Somanassa)? Sayādaw: Oh, yes. Joyful feeling (Somanassa) can follow pleasant feeling (Sukha). Student: Then it makes no difference if we have the first four Kusala-vipāka Cittas or the first four Akusala-vipāka Cittas and then we stop there and don't nothing more after that, right? That is, if a person is faced with a desirable or an undesirable scene, it makes no difference, right? Sayadaw: Right. Student: The difference will come later. Sayadaw: No. The difference is that they are the fruit of kusala and akusala. The difference lies in the quality of the scene they capture. Both are accompanied by equanimity. But one is the fruit of good (Kusala). It means that you experience a desired scene. And the other is the result of akusala (Akusala). That is, you experience a scene that is not desired. Student: What I mean is when one has an experience that is mostly Upekkhā. If nothing happens after that, the consequences are… Sayadaw: No. They are the results themselves. So they can't give any more results. They're like something you've thrown on the ground and it's just there. They have no power for kamma because they are the result of kamma. These documents record that Vipāka Cittas are very weak. They are not as strong or positive as wholesome (Kusala) or unwholesome (Akusala). Student: In the previous lecture on Somanassa-sahagata Diṭṭhigata-sampayutta, I wondered if we could change the order of words, that is, form different combinations. of words? For example can we have Diṭṭhi-sahagata Somanassa-sampayutta? Sayādaw: In meaning and essence, Sahagata and Sampayutta are the same thing although they are two different words. In other contexts, Sahagata and Sampayutta are different. For example, Sahagata is used in the connection between nama and rupa. Nama and rupa arise at the same time. We call them Sahagata because they arise together. But they are not Sampayutta. Sahagata and Sampayutta differ in Paṭṭhāna.END=NAM MO SHAKYAMUNI BUDDHA.( 3 TIMES ).BUDDHIST DHARMA WHEEL GOLDEN MONASTERY=VIETNAMESE BUDDHIST NUN=THE WOMEN OF THE SAKYA CLAN CHAN TANH.AUSTRALIA,SYDNEY.17/10/2021.