止觀輔行傳弘決 8.24

8.24

Regarding 'relying on the breath' under using the breath, it means visualising the twelve breaths. One gives rise to the visualization based on the karmically retributive breath; just as anger is transformed by the mind and causes the breath to become coarse and strong, one therefore knows that in all cases it is the mind transforming the retributive breath that makes it coarse. Now the visualized breath is also like this. Next, regarding 'the debate master curing a goitre' under visualization, the first version says: 'As in the method of the Korean debate master curing goitre disease: visualize this goitre as an exposed beehive with young bees inside the comb; in an instant the young bees bore through the comb and emerge, pus breaks out and grease flows, and the young bees all depart. The many holes are empty and distinct, like a deserted hive. When this visualization is achieved, the goitre disease dissolves and is cured.' Regarding 'like the method of using needles for someone suffering from abdominal mass': the word should be written with the character zhèng (癥). The first version says: 'Like a person suffering from an abdominal mass where the mass is knotted in the belly: he visualizes a golden needle entering the belly to pierce it, causing the needle to penetrate through the mass. Doing so frequently without pause, with one single encounter the knotted mass departs. From this he is cured, yet he continually suffers from anxious, lingering pain. He then further asks another person: "This ailment is already cured, yet there is continually anxious pain." The other person replies: "You visualized the needle breaking the mass; the mass is broken, but the needle is still there. You should further form a visualization to remove that golden needle." Relying on these words, he is immediately cured.' Regarding 'like using ghee in the Āgama', the first version says: 'Visualize warm ghee on the crown of the head, dripping drop by drop into the brain, irrigating the five viscera, and permeating the whole body with moisture; when curing someone of exhaustion and depletion, this is bound to be efficacious.' If based on the Saṃyuktāgama, there are seventy-two methods in total that take visualization as the cure, yet they are not suitable for those of dull faculties in the final age. One of them says: 'The Buddha was in Anāthapiṇḍada's park. There was a monk who cultivated samādhi in the forest in the fifth month of summer. Prince Virūḍhaka and five hundred Śākyas were riding elephants and sporting; the elephants fought, and there was a black elephant whose sound was like thunder, and another with a faint sound like a kitten. The Śākya monk entered the contemplation of wind, developed a wild, deluded visualization, arose from meditation, and ran like a drunken elephant. The monks closed the gates, fearing they would be harmed by him. A monk went to Śāriputra's place and asked: "Pray have pity and save the Śākyas." Śāriputra arose, led Ānanda to the Buddha's place, and addressed the Buddha, saying: "The Śākyas have gone mad due to five things: first, chaotic sounds; second, ill repute; third, gain and offerings; fourth, external wind; fifth, internal wind. How can this be cured?" Because of the seventy-two ailments of the araṇya monks, the Buddha explained the practice of ānāpāna. When external bad sounds touch the internal mental faculty, the four hundred and four illness-vessels constrict the mind, so all at once it is agitated and disturbed; because the wind force is strong, it enters the mouth all at once. One should teach the method of taking ghee, honey, and harītakī. That is, fasten the mind to one place, first visualize a crystal mirror, and contemplate one's own body within that mirror, seeing all the mad events. Having seen them, teach further: "Within the mirror remove the sounds, raise your tongue to touch the upper palate, visualize two maṇi jewels within both ears, and visualize clarified butter dripping like milk from the jewels, moistening the auditory faculty so that it receives no sound. Like ointment moistening, it ultimately does not waver. Once this visualization is achieved, next visualize nine folds of vajra emerging from the maṇi jewels, covering the practitioner's body; below there is a vajra flower, upon which the practitioner sits. There are vajra mountains surrounding on four sides, cutting off external sounds. Within each mountain, the seats of the seven Buddhas appear, explaining the four stations of mindfulness. At that time, it is serene and no external sound is heard." In accordance with the Buddha's teaching, you should cultivate and practice, being careful never to forget it.' Now, relying for the time being on the first version, using ghee has benefit. It also says: 'Entering fire-samādhi in spring, one's body becomes overly warm and falls ill. Entering earth-samādhi, one sees one's body become a stoneless mountain; this must be urgently cured. Entering water-samādhi, one sees one's body like a great spring of water. Entering wind-samādhi, one sees one's body like a nine-headed dragon; this must be urgently cured.' The rest of the text is extensive, as explained in the sūtra. Regarding 'the method of swallowing a snake', the first version says: 'Like a person who, while eating food, swallowed the reflection of a snake, thought it was a snake, and consequently fell ill. Another person asked him, and having learned the origin of the illness, promptly administered a purgative medicine, secretly placed a dead snake in his chamber pot, and cried out that the snake had come out; the illness was immediately cured.' A painted snake's reflection on a wall entering a wine cup is also like this. As it says in the Āgama: 'In Śrāvastī there was an elder named Chenju who had an extremely ugly maidservant, whom he always sent on outside errands to chop firewood, cut grass, draw water, and such matters. In the wilderness there was a spring, and above the spring was a tree upon which an attractive woman had hanged herself and died, her reflection appearing in the spring. When the maidservant saw it, she thought it was her own reflection and became angry with her master: "Since I am so attractive, why do you make me work in the fields and gardens?" She then smashed her jar, returned home, entered the hall, and sat within the jeweled canopy. The master thought she was mad and asked her about it. The maidservant replied with the previous event: "Why does the master make no distinction, not treating me with honour?" He then gave her a mirror to reflect her, and she saw her ugly form. Still refusing to believe it, she said the mirror was ugly. The master already knew that by the spring there was a dead woman, so he escorted her to the spring; seeing that it was the reflection of the dead woman, her mind understood and she felt ashamed.'