a study of figurative language embedded in buddhist dhamma …
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A STUDY OF FIGURATIVE LANGUAGE EMBEDDED IN BUDDHIST DHAMMA
TEACHING TEXTS: A CASE OF VENERABLE CHAH SUBHADDO’ S
DHAMMA TEACHINGS
SUPHATSORN THATHEP
A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF
THE REQUIRMENTS FOR THE MASTER DEGREE OF ARTS IN ENGLISH FOR
COMMUNICATION
THE FACULTY OF HUMANITIES AND SOCIAL SCIENCES
BURAPHA UNIVERSITY
AUGUST 2019
COPYRIGHT OF BURAPHA UNIVERSITY
ACKNOWLEDGEMENT
I would like to express the sincere thanks to many people who generously
contributed to the work presented in the research.
Firstly, I wish to extend thanks to my enthusiastic advisor, Dr. On-usa
Poonsawat for her kindly support and persistent encouragement throughout this
research. This research would not have been completed without all the support from
her. I am very appreciative for her advice.
However, this success would not be achieved without support from Ajahn
Dhammadharo and Ajahn Supanno, foreigner monks from Hnong Pa Pong temple
who have supported the knowledge of Buddhism for this research. I am particularly
indebted to them for their constant assistance and their generous support.
I also acknowledge Dr. Nunpaporn Durongbhanhu, a lecturer from
department of English, Rajamangala University of Technology Tawan-ok. I am
extremely grateful for her expert sincere and her guidance to develop my ideas. I also
take this opportunity to thank Mr. Gregary Kuipers, an English teacher at Genius
Languages Center for his patience and help on several chapters.
I am glad to give my special mention to all of lecturers in English for
Communication Department and all staff who helped me to proceed the research
throughout the course of this research.
Finally, I am so grateful to thank to my beloved parents for all support,
finance, and encouragement. They are the most important people to this research.
Suphatsorn Thathep
IV
57910196: สาขาวิชา: ภาษาอังกฤษเพ่ือการสื่อสาร; ศศ.ม. (ภาษาอังกฤษเพ่ือการส่ือสาร)
คําสําคัญ: ภาพพจนภาษา/ การสอนธรรมะ/ ศีลธรรมจรรยา/ การฝกสมาธิ/ พุทธศาสนา/ หลวงพอชา สุภัทโท
สุพัฒสร ทาเทพ: การศึกษาการใชภาษาภาพพจนในหนังสือสอนธรรมะในศาสนาพุทธ กรณีศึกษา คําสอนธรรมะของหลวงพอชา สุภัทโท (A STUDY OF FIGURATIVE LANGUAGE
EMBEDDED IN BUDDHIST DHAMMA TEACHING TEXTS: A CASE OF VENERABLE
CHAH SUBHADDO’ S DHAMMA TEACHINGS) คณะกรรมการควบคุมวิทยานิพนธ: อรอุษา พิมพสวัสด์ิ, Ph.D., สมบูรณ เจตนจําลอง, Ph.D., วไลพร ฉายา, Ph.D., สกุล อนมา, Ph.D., 123 หนา. ป พ.ศ. 2562
การวิจัยนี้ มวีัตถุประสงคเพื่อ 1. คนหาประเภทหลักของภาษาภาพพจนในหนังสือสอนสอนธรรมะ และ 2. สํารวจประเภทของภาษาภาพพจนที่ใชในแตละบทของการสอนธรรมะในหนังสือสอนศาสนา ขอมูลที่นํามาวิเคราะหมาจากหนังสือสอนธรรมของอาจารยชา ฉบับป ค.ศ. 2007 ในการคนหาประเภทของภาษาภาพพจน กระบวนการของงานวิจัยเชิงคุณภาพถูกนํามาใชในงานวิจัยฉบับนี้เพื่อวิเคราะหขอมูลและหาขอสรุปเชิงพรรณนา กรอบทฤษฎีที่ใชในการศึกษาฉบับนี้ประกอบดวยแนวความคิดภาษาภาพจนของ Leech and Short (2007) และ Abrams and Harpham
(2012) จากการศึกษา พบวา การเลนซ้ําคําเปนเทคนิคที่ใชบอยท่ีสุด ตามดวยเทคนิคการใช คําอุปมา คําถามเชิงโวหาร สมมุติภาวะ และ การเปรียบเทียบ ผูอานสามารถรับรูถึงความหมายตามเจตนาของผูเขียนผานการใชงานของการเลนซํ้าคํา ดวยรูปแบบการทวนซํ้าคํา ใจความสําคัญของการสอนธรรมะจะถูกเนนย้ําใหกับผูอานเพื่อสรางความเขาใจท่ีครอบคลุมมากข้ึน นอกจากน้ี ผลการวิจัยยังพบประเภทหัวขอหลักในการสอนธรรมะของอาจารยชา ไดแก 1. การดํารงชีวิตอยูดวยศีลธรรมจรรยา 2. การพัฒนาจติใจดวยการฝกสมาธิ ทั้งน้ีผลสรุปของงานวิจัยเปดเผยวาในแตละหัวหอหลักของการสอนธรรมะใชประเภทภาพพจนภาษาแตกตางกัน
V
57910196: MAJOR: ENGLISH FOR COMMUNICATION; M.A.
(ENGLISH FOR COMMUNICATION)
KEYWORDS: FIGURATIVE LANGUAGE/ DHAMMA TEACHING/
INTEGRITY/ MEDITATION/ BUDDHISM/ VENERABLE CHAH
SUBHADDO
SUPHATSORN THATHEP: A STUDY OF FIGURATIVE
LANGUAGE EMBEDDED IN BUDDHIST DHAMMA TEACHING TEXTS: A
CASE OF VENERABLE CHAH SUBHADDO’ S DHAMMA TEACHINGS.
ADVISORY COMMITTEE: ON-USA PHIMSAWAT, Ph.D., SOMBOON
CHETCHUMLONG, Ph.D., WALAIPORN CHAYA, Ph.D., SAKUL ONMA, Ph.D.,
123 P. 2019.
The purposes of the study were to investigate the major type of figurative
language used in the Dhamma teaching text and to explore the types of figurative
language employed in each chapter of the text. A source of data was drawn from the
Dhamma printed text of Venerable Chah Subhaddo, edited in 2007. To examine types
of figurative language, the method of qualitative approach was taken in the study for
analyzing and summarizing the result in a descriptive way. The frameworks employed
in this study was analyzed on the basic of Leech and Short (2007), Perrine (1963), and
Abrams and Harpham (2012), concept of stylistic and figurative language. As the
result, it was found that repetition was turned out to be the effective technique,
followed by simile, rhetorical question, apostrophe, and metaphor. The readers can
perceive the intended messages of the writer through the function of repetition. With a
form of repeating words, the key message of the Dhamma teaching can be highlighted
to the readers to make more comprehensive understanding. Also, the results of the
study showed that there were two themes in Venerable Chah Subhaddo’s Dhamma
teaching: 1. Living with integrity, 2. Developing the mind through meditation.
Moreover, the research results revealed that each theme employed different types of
figurative language.
CONTENTS
Page
ABSTRACT ............................................................................................................... iv
CONTENTS ............................................................................................................... vi
LIST OF TABLES ..................................................................................................... viii
CHAPTER
1 INTRODUCTION ......................................................................................... 1
Rationale of the study ................................................................................ 1
Research objectives ................................................................................... 4
Research questions .................................................................................... 4
Contribution ............................................................................................... 4
Scope of the study ..................................................................................... 5
Definition of important terms .................................................................... 6
Limitation of a study ................................................................................. 6
2 LITERATURE REVIEW .............................................................................. 7
Theory and figurative description ............................................................ 7
Functions of figurative language .............................................................. 17
Figurative language of religious texts found in different religions .......... 18
Venerable Chah Subhaddo and his Dhamma teachings ........................... 23
Previous studies ........................................................................................ 24
3 RESEARCH METHODOLOGY................................................................... 28
Research design ........................................................................................ 28
Sources of data ......................................................................................... 29
Data collection .......................................................................................... 30
Data analysis ............................................................................................. 30
4 RESULTS ...................................................................................................... 32
Part I: The occurrence frequency of the figurative language found in
Venerable Chah Subhaddo’ s Dhamma teachings.. ................................ 32
Part II: Comparing trope and scheme found in Venerable Chah
Subhaddo’s Dhamma teachings ............................................................. 34
vii
CONTENTS (Cont.)
CHAPTER Page
Part III: The occurrence frequency of figurative language found in eight
chapters in Venerable Chah Subhaddo’s Dhamma teachings ................... 40 5 DISCUSSION ................................................................................................ 45
Summary of the study................................................................................ 45
Summary of the results .............................................................................. 46
Discussion ................................................................................................. 47
Conclusion ................................................................................................. 52
Recommendations for further studies ....................................................... 53
REFERENCES .......................................................................................................... 54
APPENDIX ................................................................................................................ 58
BIOGRAPHY ............................................................................................................123
viii
LIST OF TABLES
Tables Page
1 Trope and definitions ..................................................................................... 12
2 Scheme and definitions ................................................................................... 15
3 The sum of the frequencies of figurative language in Venerable Chah
Subhaddo’ s Dhamma teachings. .................................................................... 33
4 The frequency of trope and scheme found in Venerable Chah Subhaddo’s
Dhamma teachings .......................................................................................... 34
CHAPTER 1
INTRODUCTION
Rationale of the study Figurative language is non-literal language which contains figures of speech
in order to serve perception, thought, and feeling in mind through the creativity of the
author and the beauty of language itself (Oller, 1970; Dancygier, & Sweeter, 2014).
.According to Gibbs (1994); Dancygier, & Sweeter, (2014), mentioned that figurative
language focuses on the field of cognitive linguistic which involve the relation of
language and mind in order to organize, process, and convey information. Figurative
language requires deep understanding of conventional meaning of utterances
(Dancygier, & Sweeter, 2014). For instance, Simile is used to compare two things in
such a way that can be found the comparison interesting and description.
Personification is the attribution of a personal nature or human characteristics to
something nonhuman. Hyperbole is a grossly exaggerated or excessive claim.
Rhetorical question is a question asked in order to create a dramatic effect or to make
a point rather than to get an answer. Or Allusion is an expression designed to call
something to mind without mentioning it explicitly.
Figurative expression can be found in most poetries, songs lyrics, and
religious texts. In poetry, Ogunsiji (2000) stated that figurative language is a form of
picture language, which is to decorate poems and endow them with aesthetic value,
conveys connotative meaning and also produces special effects and enriches the texts
to beyond meanings. Besides, Balogun (1996) mentioned poetry in general, must
foreground the role of figurative language play in conveying textual messages and
producing aesthetic effects and desired meanings. For example, in the research from
Elfrida (2018), mentioned that simile and metaphor were the most percentage used in
the book of Anaka Ende (Songs of Solomon). The poetry is clearly describing God’s
love for his people through the use of comparison techniques like simile and
metaphor. The author of Angka Ende ‘king Solomon’ merely uses figurative language
to make more interesting, memorable, and aesthetic. Moreover, Knickerbocker and
Renninger (1963) stated that poetry is not only to express the feeling of the poets but
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also makes us enter into those feelings about the things, persons, situations or ideas
and the use of figurations in the poem are defined as a certain literacy device which is
commonly applied by the author to gain beauty and creation to their literacy works
expression. Figurative language also has its role in increasing our understanding in
song lyrics. Harrison (2007) found that words used in communication sound
artistically or beautifully, interesting, sharp and nice. Also, the most important thing
of using figurative language is to express their feeling in the song lyrics.
In addition, figurative language presents in language of religion in order to
foreground the meaning (Harrison, 2007; Eco, 1990). It is to make its message
zealous and more engaging, and to make better comprehension in texts (Tavivat,
2013). Eco (1990) argued that, in Holy Quran, Bible, Hindus, Books of Hadith and
even in sermons etc., figurative language is a device that shows the beauty of the
language at the same time giving comprehensive understanding to the readers who
profoundly apprehend religious messages. Moreover, it is found that the metaphorical
phrase and simile were the first stage when religious teacher or religious experts used
a figurative language that described reality more efficiently (Harrison, 2007; Eco,
1990; Cahyaningsih, 2014; Frye, 1993; Roberts & Kreuz, 1994).
Sockice (1982); Lakoff and Johnson (1980) have claimed that the advantage
of playing figurative language is to allow readers to have creative thinking in mind
without employing the direct word in religious language. This particular technique
gives readers imagery of the words without resources for illustrating, and gives
readers a profound reason. (Kovecses, 2007). Also, this creative tool is to emphasize
speaking or writings in narrative effect, inspire and arouse feelings in people, help to
make the supernatural believable in the context of proselytization (Roberts & Kreuz,
1994; Dancygier, & Sweeter, 2014; Cahyaningsih, 2014).
In Buddhist teaching, the use of figurative language is merely used for
special reason. For example, the metaphorical expression of four kinds of lotus flower
can be compared to four kinds of people to create insensitive understanding on
readers’ mind. The first is for very intelligent people who those are able to pleasantly
understand Dhamma or any teachings at the first time they hear it, like the
unsubmerged lotus ready to bloom when touched the sunlight. Meanwhile, the second
kind is for intelligent people who are able to understand Dhamma in a short time
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when touched by a little bit of effort on teachings, like the lotus flower on the surface
of water wait for a chance to bloom. Another kind is referred to the submerged lotus
flower, this kind is compared to people who have low intelligence, but with good
effort, they will understand Dhamma one day. Lastly, lotus stuck in mud is used to
compare to people who are lazy and ignorant on Dhamma or any teachings. This kind
of people will not understand Dhamma, and will not make any effort on regarding to
Dhamma, like lotus stuck in mud will be food for fish and turtles. Another
metaphorical example is the expression of a half full glass is realized as the symbol of
those who have an attitude of always thinking about good things, opening mind and
never stop learning new things. Obviously, the liquid in the glass is compared as a
model of knowledge, which people with good effort on learning are able to fill more
knowledge and always adopt in their life.
Religious message decorated by figurative language is very important. It is
pointed out that religious massages contain figurative attractiveness to readers and
make understanding imagery for them. According to a foreign monk named Ajahn
Supanno and Ajarn Dhammadharo, Wat Nhong Pa Pong, suggest that figurative
language can accommodate deep comprehension and create a crystal-clear picture.
Those figurative expressions can depict a lot of images and analogies and create
physical objects on readers’ minds. Especially, in Buddhist teachings, monks use
natural images fetching to their followers and let them think for themselves to the
most comprehensive messages and actually think in words and think much more in
visual images deep down in their minds.
As it is claimed that metaphor and simile are mostly found in many religions
(Elfrida, 2014; Harrison, 2007). Thus, in this study, the researcher aims at
demonstrating major types of figurative language used in the teachings of Venerable
Chah Subhaddo., which are employed a lot of example of figurative expressions is
focused. Venerable Chah Subhaddo, a famous Venerable monk from Northeastern of
Thailand is focused. Venerable Chah Subhaddo’s teaching was to emphasize the
Sangha, the monastic order, and its use as a vehicle for Dhamma practice. With the
unique Dhamma teachings, it is enabled him to communicate brilliantly with people
from all of life, be they simple farmers or University professors. The results he
obtained with teaching and creating solid Sangha communities are plainly visible in
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the many monasteries which grew up around him, both within Thailand and, later, in
England, Australia, Europe and elsewhere. The teaching is provided into English by a
California Venerable monk who have long experience on Buddhist communication
for many years and have ability on speaking both Thai and E-san dialect fluently,
named Venerable Puriso, Wat Nhong Pa Pong.
Research objectives It is noted that figurative language can be employed to shed light on the
nature of religious language. In teaching religious, moreover, the use of figurative
language is used to serve ideas and evoke an emotional, moral, or spiritual response to
the readers. In this study, the Dhamma printed texts of Venerable Chah Subhaddo is
selected as the data of the study. The objectives of the study aim:
1. To investigate major types of figurative language used in Venerable Chah
Subhaddo’s Dhamma teachings.
2. To explore the types of figurative language employed in eight chapters of
Venerable Chah Subhaddo’s Dhamma teachings.
Research questions 1. What are the major types of figurative language used in Venerable Chah
Subhaddo’s Dhamma teachings?
2. What are the themes used in eight Dhamma teachings of Venerable Chah
Subhaddo?
Contribution This research provided knowledge to English students who are interested in
writing in the field of figurative language because this study can provide guideline of
writing figurative language for better works. This research can be used as a reference
for writing about figurative language usages, types of figurative language, importance
of using figurative in religious language. Also, the results of this research can furnish
guideline teaching Dhamma techniques to those religious teachers. Moreover, the
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information from this research will show the techniques of writing persuasive
language which might be useful to people who are interested in writing style.
Scope of the study 8 Dhamma teachings of Venerable Chah Subhaddo was investigated in this
study focusing on the Dhamma teachings edited in June 2007:
1. Bodhinyana (1982 cited in Venerable Chah Subhaddo, 2007, p. 3)
involves fragments of a teaching and teach followers how to read natural mind and
nature of Dhamma
2. A Taste of Freedom (Fifth impression 2002) involves making meditation
and finding the way for peace. (Venerable Chah Subhaddo, 2007, p. 100).
3. Living Dhamma (1992 cited in Venerable Chah Subhaddo, 2007, p. 169)
involves truths of life and how to make good heart living in the world with Dhamma.
4. Food for the Heart (1992 cited in Venerable Chah Subhaddo, 2007,
p. 169) involves understanding and maintaining right practice for a detachment.
5. The Path to Peace (1996 cited in Venerable Chah Subhaddo, 2007 p. 402)
involves understanding and walking the path to reach the Buddha-Dhamma.
6. Clarity of Insight (2000 cited in Venerable Chah Subhaddo, 2007, p. 447)
involves leaning about clarity of insight and know what the real suffering is.
7. Unshakeable Peace (2003 cited in Venerable Chah Subhaddo, 2007,
p. 502) involves learning to search for a way to transcend suffering and attain peace
and happiness.
8. Everything is Teaching Us (2004 cited in Venerable Chah Subhaddo,
2007, p. 548) involves knowing the world and learn from nature to have full
knowledge and awareness.
The origin of this collection was delivered in Thai language and some in
North-Eastern Dialect of the Thai. These teachings were translated from cassette tape
recordings by Venerable Ajahn Puriso, a monk of profound Dhamma contents and
North-Eastern Dialect. This collection is the best of teaching book for foreign monks
which compiles all interesting and famous Dhamma talks of Venerable Chah
Subhaddo from 1982 to 2004.
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Definition of important terms According to the use of specific terms in this study, researcher defines the
key terms to avoid misunderstanding. Here are the key terms and its definitions used
in this study.
1. Venerable Chah Subhaddo’s Dhamma teachings refer to Buddhist
teachings printed texts taught by Venerable Chah Subhaddo, the Venerable in
Northeastern, Thailand and it is from Thai language to English language by a
venerable foreign monk who has long experience on Buddhist communication.
2. Figurative language refers to the use of words or expressions in order to
draw creative meaning on audience’ s feelings.
3. Venerable Chah Subhaddo refers to the forest monk named Chah
Subhaddo who are the worthy of respect or reverence by reason of age and dignity,
character, or position.
Limitation of a study Firstly, the data for this research include only the printed Dhamma teaching
text of Venerable Chah Subhaddo, which might not effectively represent the whole
Dhamma teachings. Also, the collection of Venerable Chah Subhaddo’s Dhamma
teaching for this research is from the year of 1982-2004, edited in 2007. Lastly, the
researcher will analyze Venerable Chah Subhaddo’s Dhamma teaching, it might not
represent the use of figurative language technique in wider religious teaching off all
religions.
CHAPTER 2
LITERATURE REVIEW
In this chapter, terms of stylistic and figurative language conception, types
of figurative language, functions of figurative language, figurative language in
Buddhist teachings, and Venerable Chah Subhaddo’s Dhamma teachings are
discussed. Lastly, the researcher reviews previous studies related to the study.
Theory and figurative description Concept of stylistics
Stylistics is determined as the analysis of using unique expressions in
language (Verdonk, 2002). Style in many literary works such as a novel often shows
the writer’s writing style in a work. For literary works, style can be used to indicate
the genres, individuals, period, or language understanding (Lehman, 1996). In
addition, stylistics is claimed as a method of interpreting a text in which primacy of
place is assigned to language (Simpson, 2004). Using stylistics elevates the way of
thinking about language and precious understanding of literary text, as the same time
it is used to analyze language characters by identifying them from the general mass
and determining how those features are confined to certain types of social context.
Leech and Short (2007) state four kinds of heading in analyzing features of stylistics:
1. lexical categories, 2. grammatical categories, 3. figurative language, and 4. context
and cohesion.
Lexical categories
A lexical category is used to discover how choice of words employs through
various types of meaning in a text (Leech & Short, 2007). It investigates the group
types of words used in a text. According to Leech & Short (2007), there are eight
common types; the verb, pronoun, noun, adverb, adjective, preposition, interjection,
and conjunction.
The verb is the most frequent category used of all kinds of speech. It can be
sorted out into two main categories, dynamic and static. Most verbs are dynamic
which are used to indicate movements such as eat, run, etc. Meanwhile static verbs
8
are used to refer physical position or posture such as sit and stand. The method of
analyzing verbs is essential for the researcher to investigate verbs that carry an
importance of the meaning. (Leech & Short, 2007).
The noun is divided into two category, concrete nouns and abstract nouns.
Most concrete nouns are pure concrete nouns, such as box, bag, head, ear, glass, etc.
The entire concrete noun refers to an object of vision, such as thing and idea. In
investigating the noun can be identified by its particular characteristic, for example
concrete noun can be used to refer to perceptions, events, processes, and moral
qualities. Meanwhile, the entire noun is considered as proper nouns or collective
nouns that perform in a sentence.
The adjective might be physical, psychological, visual, auditory, color,
referential, emotive or evaluative. Those can be classified as restrictive or
nonrestrictive and gradable or non-gradable. On the other hand, the adverb is studied
as a word that gives more information about a verb. That is to say, adverbs describe
verbs, adjectives and adverbs in terms of such qualities as time, frequency and
manner. An interjection is a word added to a sentence to convey an emotion or
sentiment such as surprise, disgust, joy, excitement or enthusiasm.
Grammatical categories
In grammatical category, the sentence structure is focused to see the ideas
and feelings. These perception values can be employed in sentences with various
words and grammatical structures. Words are connected and arranged in a linear or
syntagmatic order within the sentence. Therefore, grammatical features play an
important role to make a text meaningful. This way, the readers can perceive the
message, feeling or idea of the text through the use of grammatical features. Writers
have styles of language writing. They deliver ideas, messages and fillings through a
wide variety of language, including making sentence structure deviation. The sentence
structure deviation can be inversion, reduction, or elimination. Thus, it can be
identified sentence structure around poems or novels in the terms of what patterns
emerge as the overall grammatical system of them (Simpson, 2004). For example, the
verb and subject can be used and positioned what the functions of them are. Using
grammatical structure can give strong effect in a literary work whether it is for
clarifying a meaning or emphasizing it. Then, in grammatical features, there are some
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categories that can be analyzed by readers such as sentence types, sentence
complexity, clause types, clause structure, noun phrase, verb phrase, other phrase
types and word classes (Leech &Short, 2007).
Figures of speech
Figurative language is pervasive in many forms of discourse. Some linguists
have different perceptions to define figurative language. Dancygier, & Sweeter
(2014), suggest that figurative language is the language used in a creative work. It is
widely used through verbal communication to create the ideas and to shed light on the
audience’s feelings. Moreover, Eubanks (2011) has said that figurative structures are
far from being just decorative. They are important and persuasive in language;
furthermore, it is the relevant cognitive structures that are important and persuasive in
thought, draw creative meaning for the audience, and provide imagination through the
words implied.
Perrine (1982) argues that figurative language is a way of saying one thing
in order to mean another. She explains that the use of figurative language thoroughly
serve the function of providing extended meaning to words, phrases or sentences from
their literal expressions. She also avers that figurative language can be a more
effective method of saying what we need to mean rather than direct statements.
Moreover, she proposes seven classifications of figurative language, metaphor, simile,
personification, metonymy, paradox, overstatement, understatement, irony and
allusion. Rozakis (1995), supports Perrine’s idea that “figurative language is the way
of saying one thing in terms of another”. She exemplifies that figurative language is
an expression used by a person to refer to another meaning by using the comparison,
the expression cannot be interpreted literally because the comparison in figurative
language has an intended meaning.
According to Kennedy (1979), figure of speech is a deviation from what
speakers perceive as the ordinary, significance or sequence of words, to execute some
special meanings or effect. This explanation can be said to occur when a speaker
needs to, for the sake of freshness or emphasis, depart from the usual denotations of
words. Like Honeck, (1997), said that figurative language is used as an effective
technique to tell the story and to obtain the effect containing the meaning behind a
10
deviation expression which benefits and makes the meaning more powerful than the
daily use of language.
Ogunsiji (2000) suggests that the use of figurative language implies
extended or associative meanings in term of an imaginative understanding at the same
time to appeal to the readers’ emotions. Figuration is an important element in the
composition of poetry texts and creative writings in the sense to extend the meaning
of phenomena and create readers’ emotions in deep perception. He also claims that
without the use of figurative language, one’s speech can be “dry”, it means that
without the use of simile, metaphor, personification, alliteration, assonance, paradox,
oxymoron, etc., the writing will not be absorbed or the language will not be preserved
by the expressive beauty of the works.
Thus, it can be said that definitions of figurative language differ, but the
concept and function are almost the same. That is, they agree that figurative language
is a way of describing stories through the nonliteral language. The uses of figurative
language were seen as stylistic decorations in which the writers dressed up their
language to go beyond meanings, make the writing more engaging, clarify the
meaning they wanted to communicate and shed light on the audiences’ perceptions
through the cosmetic uses of figurative language. The examples of figurative, such as
metaphor, simile, personification, alliteration, rhetorical question and so on, these
examples of figurative language are used to elicit specific suppositions in writings.
This dissimilarity answers to some widely understood symbolic and down to earth
ideas, helping to make the unbelievable more credible and more understandable.
Meanwhile, scholars of classical western rhetoric have classified figurative
language into two main categories of tropes and schemes. Some experts like Abrams
and Harpham (2012), Perrine (1963) and Znamenskaya (2004) have employed the
term ‘figurative language’ to refer to both tropes and schemes. Similarly, the idea of
Leech and Short (2007), define schemes as ‘foregrounded repetitions of expression’
and trope as ‘foregrounded irregularities of content’. Tropes are figures of speech
with an unexpected twist in the meaning. In other words, the meaning in tropes is
altered. Meanwhile, schemes are figures of speech dealing with order, syntax, letter,
sounds and the style forming features rather than meaning of the words. Schemes
include rhetorical figures related to repetition (rhyme, assonance, etc.) while tropes
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cover figures that involve some kind of transfer denomination in form or meaning.
Schemes can be analyzed through phonological schemes, grammatical schemes and
lexical schemes (Leech & Short, 2007). For identifying such a feature, it can be seen
as follows:
1. Tropes
Tropes are dealing with conceptual transfer of meaning (Simpson, 2004).
Alike Simpson, Leech also states in his book of A Linguistic Guide to English Poetry
that a trope may be identified as a formal or a semantic deviation .Leech and Short
(2007) argues that tropes are used to find out any presence of the obvious violation, or
departure from the linguistic code, for instance neologism and as well as deviant
lexical collocation such as semantic, syntactic, or phonological deviation
will often be the clue to special interpretations associated with traditional writing
figures of speech such as simile, metaphor, metonymy, synecdoche, and paradox.
For example:
After listening to the teachers, whether or not we walk the path by practicing
ourselves, and thereby reap the fruits of practice, is strictly up to each one of us.-
(Venerable Chah Subhaddo, 2007, p. 5)
Thus, it can be categorized as neologism. If such tropes occur, it is necessary
to investigate the kind of special interpretation involved. Since, those features have a
close connection, so it is needed to be considered.
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Table 1 Trope and definitions
Type Definition Example
Simile It is stated comparison,
introduced by the words
“like” “as”
Actually, the mind, like rain
water, is pure in its natural
state.
Metaphor A figure of speech in
which an implied
comparison is made
between two unlike
things that actually have
something in common.
And we must travel along the
proper path of morality,
concentration and wisdom until
we find the blessings of purity,
radiance and peacefulness of
mind that are the fruits of
traveling the path.
Synecdoche A figure of speech that
showing the use of a part
for the whole.
Fifty winters (years) passed
him by.
Personification It is a metaphor, of
course, in the sense that.
giving human
characteristics to an
object, animal, or an
abstract idea.
This heart of ours lives in a
cage, and what’s more, there’s
a raging tiger in that cage.
Paradox A statement of which
surface, on obvious
meaning seems to be
illogical, even absurd, but
making good sense upon
closer examination.
Light is the darkest thing in
physics.
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Table 1 (Cont.)
Type Definition Example
Rhetorical question A form of question which
is not asked in order to
request information or to
invite a reply, but to
achieve a great
expressive force than a
direct assertion; it is
often used in persuasive
discourse, and tends to
impart an oratorical tone
to an utterance.
Why do you want them when
their nature is pain and
suffering? It’s not ours, there is
no self, there is nothing
belonging to us. So why are
you seeking after them? All
problems are ended right here.
Where else will you end them?
Apostrophe Addressing someone or
some personified
abstraction that is not
physically present.
To attain calm in practice, it’s
not necessary to be sitting in
meditation, for instance. Just
ask yourself, “Eh, what is
that?..” and solve your problem
right there!
Onomatapoeia Words that sound like
what they mean.
It’s like the water in this bottle.
When we tip it out slowly then
the water drips
out...drip...drip...drip.
2. Scheme
Scheme is one of the devices to create a dramatic effect that was an
elaborate rhythmical arrangement of eloquent speech that involved the obligatory use
(Leech & Short, 2007; Znamenskaya, 2004).
a) Grammatical and lexical schemes
In this analysis, probably get people’s attention in cases of formal or
structural repetition (anaphora, parallelism, etc.) or of minor-image patterns
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(chiasmus), and their rhetorical effect, which become antithesis, reinforcement,
climax, anticlimax, etc. (Leech & Short, 2007).
Repetition is the repeating of the same word or words, phrases, clauses, or
sentences.
Our body is unstable, altering and changing constantly. Hair changes, nails
change, teeth change, skin changes – everything changes, completely! (Venerable
Chah Subhaddo, 2007, p. 17)
Antithesis is a contrary idea expressed in balanced sentence, for instance,
You don’t see that wherever there is big, there is small; wherever there is
small, there is big. (Venerable Chah Subhaddo, 2007, p. 33)
Meanwhile, anastrophe is an inverted word order from what one expects, for
instance,
If there is a flag, then there is a wind; if there is a wind, then there is a flag.
(Venerable Chah Subhaddo, 2007, p. 34)
b) Phonological Schemes
According to Abrams (1988) the phonological schemes discusses the
phonological pattern of rhyme, alliteration, and assonance, the interaction of meaning
and phonological pattern of rhyme. In alliteration analyzes of repetition of the same
consonant or sound group at the beginning of two or more words that are close to each
other, for instance, many more merry men (Znamenskaya, 2004).
For examples, alliteration, repetition of a sound in multiple words.
France is already materially prosperous, it has so many things to offer which are
sensually enticing – sights, sounds, smells, tastes and textures. (Venerable Chah
Subhaddo, 2007, p. 12)
These impressions arise from a middling sort of tranquillity; but if the mind
is truly calm and clear we don’t doubt the various mental impressions or imagery
which arise. (Venerable Chah Subhaddo, 2007, p. 106) The scopes of this category are on how these phonological features interact
with the meaning and particular patterns, cluster of vowel and consonant.
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Table 2 Scheme and definitions
Type Definition Example
Antithesis Contrary ideas expressed
in a balanced sentence. It
can be a contrast of
opposites or it can be a
contrast of degree.
No discriminating
between good and bad,
hot and cold, fast and
slow. No me and no you,
no self at all. Just what
there is.
Repetition Repeating of the same
word or words, phrases,
clauses, or sentences.
Through seeing, through
relinquishing, they attain
peace. They attain peace
through knowing the
. truth, through going
beyond doubt, because
they have seen it for
themselves.
Anastrophe Inverted word order from
what one expects.
The one who understands
the Dhamma, understands
himself; and the one who
understands himself,
understands the Dhamma.
Alliosis Presenting alternatives in
a balanced manner.
You can eat well and you
can sleep well.
Ellipsis The omission of words
that are superfluous or
able to understood from
contextual clues.
After you practice
Dhamma, …. You
understand it well.
Asyndeton Using no conjunctions to
create an effect of speed
or simplicity.
I came, I saw, I
conquered.
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Table 2 (Cont.)
Type Definition Example
Climax Arrangement in order of
increasing importance.
Let a man acknowledge
his obligations to himself,
his family, his country,
and his God.
Alliteration Repetition of a sound in
multiple words.
Buckets of big blue
berries.
Parallelism A literary device in which
parts of the sentence are
grammatically the same, or
are similar in construction.
Anger is the same, easy
come, easy go.
Epistrophe Repetition of a
concluding word.
Epistrophe which repeats
ending sounds, but not
entire words, is called
rhyme.
If you don’t reach it, if
you don’t reach the
middle Way, then you
won’t transcend suffering.
Epanalepsis Repeating a word from
the beginning of a clause
at the end of the same
clause.
It knows wrongly and it
sees wrongly. Knowing
wrongly and seeing
wrongly.
Cohesion and context
Cohesion is called as the way of lining one part of a text to another. It is the
way in which sentences are connected together. Meanwhile, a context is considered as
the external relation of a text or part of a text, seeing it as a discourse presupposing a
social relationship between its participants (author and reader; character and
character, etc.) (Leech & Short, 2007). Wright & Jonathan (2005), state cohesion is
the formal, linguistic means that texts have for showing that they have structure
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beyond that of the clause. Cohesive devices include pronouns (she, it, they, etc),
repetition, ellipsis, coordination, and subordination.
Moreover, they still ever that the writer can address the reader directly or
they can address through the words or thoughts of some fictional character. Readers
might be inspected by the writer’s attitude implied towards character’s words or
thoughts are represented, is this done by direct quotation or by some other method
such as indirect speech, and free indirect speech. Any significant changes of style
according to the writer who is supposedly speaking or thinking the words are also
crucial under the context.
Functions of figurative language Perrine (1969) argues that figure of speech is any way of saying something
other than ordinary way. She claims that figurative language is used to make a
sentence or utterance more engaging and more creative. She further states that
figurative language is another way of adding extra dimension to language. In her point
of view, there are four purpose of using figurative language; to give imaginative
pleasure, to give additional imagery, to add emotional intensity, and to concrete the
meaning in the brief compass. The same opinion with Stanley (2007), mentions that
the effects of figurative language are to add force, to add more vivid imagery, to add
stronger feeling, and to give additional detail that makes a sentence beautiful and
charming.
To give imaginative pleasure
Figurative language in a text is used to create imaginative pleasure. It is able
to indicate that the function of figurative language can give powerful imagination to
the reader. With its function, it is able to give a sense of picture in mind, and makes
the readers pleased after obtaining the imaginative message through the text.
Moreover, figurative language is satisfied in reader’s mind providing with source of
pleasure in the imagination. Therefore, figurative language is often used as the
important tool in giving source of pleasure in the from of imagination, at the same
time not evoking a pleasure while it is read.
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To bring additional imagery
One of the purposes of using figurative language is bringing additional
imagery. It means that making the abstract concrete, and making a text or poetry more
affective. Figurative language can transform feeling or imaginative idea of the writer
become wider and sharper. It enhances a decorative meaning and perception than
literal meaning in order to add extra appeal to any writing which writer used.
According to Katz (1998), imagery is defined as the function to conceptualize and
visualize the properties of the abstract one into figurative description. Imagery can
induce the reader’s feeling to conceptualize how such description is. Then, the mind
can create its own imagination through the words used in the text.
To add emotional intensity
Figurative language is also used as the way of adding emotional intensity to
informative statements and of conveying through with information (Perrine, 1969). It
means that the function of figurative language is employed in the text to express
abstract thing that creates emotional sense to the readers. With its function, figurative
language is able to help in expressing words used in extraordinary way in order to add
beauty and emotional intensity in the sentence or the utterance.
To concrete meaning in brief compass
Lastly, the function of figurative language is sued to address the message in
brief compass (Perrine, 1969). It is argued that figurative language is a toll of making
sentence or utterance that can not to be communicated in literal meaning. This way,
the writer is not necessary to have a dozen of words to explain to the readers. With the
advantage of playing figurative language, readers are allowed to have creative
thinking in mind without explaining in detail. Moreover, they can obtain a multi-
dimensional through the text.
Figurative language of religious texts found in different religions Religious language is different from the everyday language. According to
Aziz and Lataiwish (2000), religious language has its own attribute which distinguish
from other texts which that attribute is sacrosanctity that derives of faith. In religious
text, however, it is difficult to teach someone to comprehend and identify the
sacrosanctity with those infinite glides of the word meanings. Therefore, serious
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efforts are made to reach an everlasting conclusion. In addition, the ambiguity of
words causes lack of clarity and spawns the thought that there is no definitive
meaning (Glucksberg, 2001; Katz, 1998). In many religious texts, figurative language
is the technique used as a persuasive tool for relaying sacred messages (Potter, 1967).
Lakoff and Johnson (1980) mentions that the use of figurative language is a
vehicle for escaping common language and redefining words and concepts in terms of
other things. It creates the way to provide the language into new meaning, stretching
and enhancing its usage. He also avers that figurative language is deeply embedded in
our language, culture and the way we think. The use of figurative language shapes on
what we intend to signify. In use, metaphors may be played as a fashion, with some
remaining obscure. figurative language expressions, however, are normally used in a
delusive way to play on emotions and to convey a content by meanings of distortion
and overemphasis (Dancygier & Sweeter, 2014). Uses of figurative language in the
Quran, Bible, sermons, and even in Hadith are among many examples that support
this theory.
There are many hymns found in every religion song or written for their God
or the Buddha, and the use of assonance, repetition of the word alliteration and other
types of figurative language are serves to make the style and poetic writings. With the
use of figurative language, style and interrelation with other texts, religious text is
provisionally defined in term of perceived distinctiveness of certain interactions,
textual practices, or speech situations (Roberts & Kreuz, 1994). This distinctiveness
caries common linguistic form and pragmatics which deeply complicated with
underlying assumptions like what the meaning embedded in or what manner we
should convey to the interlocutors. It’s hard to disclose that these words are director
convey in some special way. This distinctiveness is to emphasize speaking or poetic
writings in narrative effect, inspire and arouse feelings in people, help to make the
supernatural believable in the context of proselytization (Roberts & Kreuz, 1994;
Dancygier & Sweeter, 2014).
The poetry of the Bible includes lots of figurative language, especially the
use of metaphor and simile. The metaphoric statements impress more emotional,
imaginative, and appealing than propositional statements to the believers (Searle,
1993). The presence of metaphor in the Bible also lead believers to respect God as a
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vehicle for expressing and assimilating truth. Metaphors are bifocal utterances that
require looking at two levels of meaning. They are a form of logic in the sense that the
comparison between one thing to another thing (Ryken, 1990).
A quote from Jesus found in the Bible is “I am the door. If anyone enters by
me, he will be saved, and will go out and find pasture”. This quote presents the theory
that Jesus is the path to salvation through the use of metaphor. Additionally, “the
doctrine of the savior, like the rays of the sun, quickly irradiated the whole world”
The use of simile is used in his teachings to help the audience develop images which
are much easier to remember. Pertinent messages are sharpened and portray a close
relationship between God and Jesus’s followers. Simile and metaphor are used to
create images in the minds of the audience which assists in both comprehension and
recollection (McFague, 1982).
Metaphor has been interested by philosophers since the time of Aristotle,
(Black, 1962). Metaphors are realized as the direct substitution of a nonliteral phrase
for a literal phrase which has precisely the same meaning. They mention the two
reasons why writers desire to replace a straightforward statement of what is truly
conveyed with an imprecise phrase. In his discussing of this substation point of view,
the first reason is stylistic. Mean that, metaphors serve a decorative function in
writing which help readers conjecture to feel enjoyment and create pictures at the
discovery of the intended meaning. Second, metaphors are used as an important role
in making terms for new concepts (Black, 1962). Obviously, this replacement
provides directly to the conclusion that using metaphor is a language decoration
which only conceal literal meaning. Example the use of ‘pig’ as a metaphor of
“glutton’. When someone is called as a pig, it is elicited both the thought of a pig and
the thought of a glutton. In Richards and Black’ view, people use a metaphor for two
thoughts of different things active together and supported by a single word or phrase,
whose meaning is the result of their interaction.
Soskice also explains the evocative function of metaphor can be particularly
significant in language of the religion, it might provide and establish literal
description. In particular, a model in religious language can evoke an emotional
moral, or spiritual response. Soskice claims to explain the cognitive function of
metaphors and models in religious beliefs that we must think about the way in which
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they are actually employed. Such as using the model of God as ‘father’ in Christian,
or using the model of Lotus as quietness and, happiness in Buddhism to explain
models function in religious language. Soskice also avers that metaphors are
indispensable in religious language. Mean that, the vagueness of metaphor in the text
allows us to refer to deep understanding. Soskice (1982) also suggests that vagueness
of meaning in religious language such as the use of metaphor is important. The
similarity of the two terms connected by the metaphor can be used as a function of
creating a relationship between an element of the real world, the direct and easily
comprehensible one, and a somewhat more complex element, implied for the
powerful image in the context. The relation between the terms of a metaphor is based
on a subjective experience. This leads to an ambiguity of the metaphor. It cannot
express the inner life of a human, but it can provoke the reader to search the way to
similar experiences. These experiences assimilated emphatically by the reader are
important in the sense that his world view is modified and even reconstructed.
According to Frye (1990), the revealing of the sacred is due to the power of
the metaphors and of the exemplary stories that touch us in the deepest corners of the
mind. In bible, the word of kerygma is used to express this extraordinary capacity of
the myths of New Testament: they "become what the literary myths can't, myths we
live by; its metaphors become, as purely literary metaphors cannot, metaphors to live
in. This transforming power is sometimes known as kerygma or proclamation (Frye,
1990). Frye argues that the kerygma is based on metaphoric language because only
the myth and the metaphor can teach us the spiritual mode of living and it can detach
us from the real world, a world of demonstrations and arguments. The metaphorical
phase was the first stage in the development of language when humans used a
figurative language that described reality more efficiently. The origin of the
metaphors of the biblical texts is to be sought in this primary form of language.
In Holy Quran, the use of figurative language also plays as a tool in order to
make good feelings for the sacred. The message sometimes states explicitly but
sometimes implicitly by using figurative language. For example, in research of
Lailaindah, 2014 “Their similitude is that of a man who kindled a fire; when it
lightedall around him, Allah took away their light and left them in utter darkness.
So they could not see.” This is the use of simile. Here, the verse contains figurative
22
language (simile plays as a technical tool and serve beautiful meanings to the hearers).
The words light and darkness are categorized as simile. Here, fire is equated with light
and darkness as equally able to provide light. From the verse, the fire has two
meanings darkness and light. Darkness compared with the devout and light compared
with the hypocrites. So, here such as light means devout, then darkness here means
unbeliever.
Another example is “He who made for you the earth a bed [spread out] and
the sky a ceiling and sent down from the sky, rain and brought forth thereby fruits as
provision for you. So do not attribute to Allah equals while you know [that there is
nothing similar to him” type of figurative language used is simile (the earth as a bed,
and the sky is the ceiling, here is the use of simile). The sky and ceiling are having the
equation equally above and have a protective function. The earth equated with the bed
that is as a place to live and place to make shelter from the heat and the rain. God
made the sky as a roof that houses the earth. Of lower clouds in the sky Gods blessed
water, rain that tastes fresh. So with a splash of water to grow crops and grass, the
earth becomes alive. The rain washes the air that has been polluted by hazardous dust
muddying life. God has created man, gave him various gifts and fortune. So, the bold
words mean place (Cahyaningsih, 2014).
In early Buddhism, the Buddha himself has created numerous similes on the
basis of metaphors. There is an instance from a story in an old Pali sutra “where
several different kinds of animals are bound together by a rope. Each animal pulls into
a different direction”. This is a simile that shows how the thoughts of the mind contest
for dominance. The simile can create thoughts being wild animals on the metaphor s.
In this way, the figurative language of metaphors and similes was used throughout the
history of Buddhism as a hermeneutical tool to explicate the doctrine. From very early
on, Buddhist philosophers and commentators have known the importance of
figurative language and described its elements and functions. They explained that the
metaphorical term of “lotus born” can indirectly refer to a concept of purity. Thus,
when someone says “I take refuge in the Buddha,” both “refuge” and “Buddha” are
metaphors. Figurative speech opens up a world of interpretation and understanding.
In Thai society, Buddhism has been influenced for long history. Many Thais
believe in Buddha’s teachings and practices which convey by Sangha. Buddhist
23
doctrines have become so integrated with Thai life, it influences on Buddhists’ values,
conceptions and on their attitudes. The fact that why Thailand is widely known as the
land of smiles is from the character of basic Buddhist teachings on Thai people. To
say that Buddhism and its teachings can shape Thai society and are very essential on
Thai people (Puntarigvivat, 2013). Examples of figurative language can be found in
Buddhist teachings, and those are to create picture and emotional intense in readers’
mind, to state ideas in new and supernatural ways to readers.
One of examples is from venerable Chah Subhaddo, “The Buddha is the
Dhamma; the Dhamma is the Buddha. The Dhamma the Buddha awakened to is
something always there in the world. It hasn't disappeared. It's like groundwater.
Whoever digs a well down to the level of the groundwater will see water. It's not the
case that that person created or fashioned the water into being. All he's done is to put
his strength into digging the well so that it's deep enough to reach the water already
there. So if we have any discernment, we'll realize that we're not far from the Buddha
at all. We're sitting right in front of him right now. Whenever we understand the
Dhamma, we see the Buddha. Those who are intent on practicing the Dhamma
continuously wherever they sit, stand, or walk -are sure to hear the Buddha's Dhamma
at all times”.
Venerable Chah Subhaddo and his Dhamma teachings Venerable Chah Subhaddo was born in a typical farming in a rural village in
the province of Ubon Rachathani, N.E Thailand. He learned basic Buddhist teachings
and entered a monastic as a bhikkhu, or Buddhist monk on April 26, 1939. He spent
his bhikkhu life on studying some basic Dhamma, discipline, Pali language and
scriptures, but the death of his father awakened him to the transience of life.
Venerable Chah Subhaddo thought deeply about life and the real purpose of being
human. That caused him set off on foot, walked from the Northeast to Central
Thailand, slept in the forests and gathering alms food in the villages on the way
studying the monastic discipline in detail to understand the end of suffering.
Venerable Chah Subhaddo had learned the Buddhist teaching aspects from Venerable
Bhuridatta, the Thai forest meditation master. He spent his several years practiced in
the style of an ascetic monk, spending the time in forests, caves and cremation
24
grounds for his meditation. After many years of traveling and practice, Venerable
Chah Subhaddo was invited to settle in a forest grove near the village he was born and
called Wat NhongPha Pong. There was a number of foreign people who came to
Venerable Chah Subhaddo and began to steadily increase. Venerable Chah Subhaddo
passed away on the 16th of January, 1992, at the age of 74, leaving behind a thriving
community of monasteries and lay suporters in Switzerkand, Australia Tgailand,
France Engliand, Italy, New Zealand, Canada and the U.S.A. Even though he passed
away, his Dhamma practice and his teachings is very precious for people used in their
daily life. Venerable Chah Subhaddo’s steaching style can be deceptive. When we
have heard, our minds are ripe and also the teaching takes on a much deeper meaning
and create beautiful words express on feelings.
Previous studies There are several previous studies that illustrate the use of figurative
language. For example, the study namely The Use of Figurative Language in “The
Devil Wears Prada” Film: Fitri (2017), English Department Faculty of Humanities,
Diponegoro University was used to analyze the types of figurative language used,
types were mostly used, and the meaning of figurative language in relation to the
situation in the film. As the researcher of the study mentioned that The Devil Wears
Prada” Film uses many figurative languages in the dialogue. In the film, indirect
meanings were employed through the conversation from the actors. Thus, the
researcher aimed at discussing about analysis the figurative language use in this film.
With 123 utterances that the researcher selected from the film, there were 12 types of
figurative language were used in the film such as metaphor, understatement, irony,
hyperbole, synecdoche, metonymy, climax, euphemism and rhetorical question. The
researcher also found that in the The Devil Wears Prada” Film, metonymy was
mostly used while the least were climax, oxymoron and rhetorical question. The roles
of using figurative language were in a communication was used to persuade the
interlocutor to believe with the speaker, besides; it was to used at expressing the
emotional expression of the speaker.
A qualitative descriptive research entitled The Use of Figurative Language
in Yusuf Islam’s Song Lirycs to Express Religious Values And Its Possibility as
25
Teaching Material In English For Islamic Studies (A Descriptive Research of I Look,
I See - Yusuf Islam Friends & Children Album), Rahman (2011) demonstrated an
effort to make teaching-learning material in English for Islamic Studies have more
variationand explain what the figurative language is, where this is important in
making a poem. The findings show fourteen of figurative languages used to express
religious values in the song lyrics of I look I see Yusuf Islam album. There are some
types of figurative language used to express religious values are really found in the
song lyrics of I look I see Yusuf Islam album, such as; alliteration, metaphor,
assonance, synecdoche and personification. Besides, it is found six religious values in
the song lyrics of I look I see of Yusuf Islam album. They are; Allah is the Creator of
Universe, The obligatory of Learning, Islam is the perfect religion, The suggestion for
reading Basmallah and Alhamdulillah, We should give our respect to our parents and
The virtue of dhikr. Moreover, it is possible for using song lyrics of I look I see Yusuf
Islam album as a teaching material in English for Islamic Studies because the lyrics
really contain religious values of Islam which is being material in English for Islamic
Studies.
In the study namely “A pragmatics perspective of figurative language used
in AL-QURAN”, Cahyaningsih (2014), Muhannadiyah University of Surakarta, the
descriptive-qualitative research aimed to identify the types and the meaning of
figurative language in Al-Quran (Al-Baqarah). The results show 30 data of figurative
language used in Al-Quran, and the dominant types are simile with 13 data (43.33%),
10 data in symbol (33.33%), and 3 data in personification (only 10%), hyperbole is
only 1 data (3.33%) and the last is metaphors with 3 data (10%). Moreover, the results
show two types of implicature. They are conventional implicature and conversational
implicature. Based on the meaning of figurative used in Al-Quran, it is found 25 data
of conventional implicature (83.33%) and only 5 data of conversational implicature
(16.66%). This is, conventional implicature is higher from the data (Al-Baqarah)
The research paper entitled A Semiotics Study on Metaphor Used in English
Translation of Al-Quran conducted by Pratiwi (2008). The research has objectives to
describe the variations in metaphor symbol and find out the meaning of metaphor
used in English translation of Al-Quran. She analyzed the one of figurative language,
Metaphor that was found in English translation of Al-Quran use semiotic theory.
26
She found seven variations of metaphor symbol which is used in English translation
of Al-Quran. They are abstract / being, energy, terrestrial, object, substance, animate
creature, and man/human. Among the data, the high percentage is human symbol and
object symbol. It is natural because the object of the noble of Al-Quran is Human
beings.
The research of Marino (2017) named “Metaphor and Pedagogy in Early
Buddhist Literature”, claims that metaphor plays as the creative function which is
concern in Buddhist didactic literature. The reason of using metaphor is to create
imaginative rationality transcends both rational objectivity and subjectivity. It is
explained that the use of metaphor can imply an understanding by activating the
imagination. That is, Buddhist texts do not simply convey information, but they also
encourage an imaginative transformational experience. The research aims at Buddhist
manuscript in the Gandhari language, an important hub of early Buddhist culture at a
key location connecting South Asia, East Asia, and the West. Following the structure
and conventions of Gandharan Buddhist Texts series, the objective of the research
focuses on the pedagogical and rhetorical functions of metaphor, broadly conceived,
in early Buddhist literature, particularly through the lens of two evocative similes that
are the central motifs of the Gandhari under consideration. Firstly, research objective
aims at the comparison of simile of a well-defended fortress to a mindful practitioner.
Secondly, the researcher focuses on the comparison of bodies of people born in hell to
a red-hot iron ball. Thirdly, the use of metaphor used in the research is examined. The
results of this research show that the use of simile and metaphor refer to imagery
throughout early Buddhist literature in order to create the interpretation of Gandhari
understanding. Also, those massages employed in the manuscript show a didactic
strategy of metaphor that is used to engage the traditional imaginations to audiences
and convey complex Buddhist teachings. It means that, with the use of simile and
metaphor, the readers can see how the images of the city, hell, and the iron ball
connect evidently through the Buddhist texts.
Another is the study of Harrison, (2007) “Metaphor, religious language and
religious experience”, international Journal for Philosophy of Religion, department of
philosophy, university of Glasgow. There are two research objectives in this study.
Firstly, the aim of the study is to argue that recently developed theories of metaphor is
27
able to shed light on the religious beliefs. Secondly, the research focuses on some of
the more significant implications of this claim for our understanding of both religious
language and religious experience. The research findings show that metaphors can
make it harder for one construal of God to trump all others, especially when each may
be regarded as having something to contribute to a fuller religious understanding.
Moreover, the results can illustrate that metaphor can pave the way for religious
people to gain imaginative ideas from exploring the metaphors employed in religious
traditions. Religious people can perceive key message employed through functions of
metaphor. Clearly, metaphor can be of considerable advantage to the religious people
of an understanding religious messages.
The research of figurative language named Figure of speech in the book of
Angka Ende from Elfrida (2018) aims to investigate the major types of figurative
language in the book of Angka Ende. Also, the descriptive- qualitative was used in the
analysis of the figure of speech. This research, the result indicates ten types of
figurative language which are simile, metaphor, personification, hyperbole,
oxymoron, understatement, pun, symbol, metonymy, and synecdoche. The most
percentage used is simile with 51.51%, follow by metaphor with 24.24%, Hyperbole
with 10.61%, oxymoron with 6.06%, personification with 4.55%, and symbol with
3.03%. According to the result, the dominant type of figurative language used in the
book of Angka Ende is simile.
CHAPTER 3
RESEARCH METHODOLOGY
This chapter, methodology used in this study is discussed: sources of data,
data collection, and data analysis. First, primary data provides information on primary
data of the study. Second, data collection reveals major types of metaphor used in the
collecting data. Lastly, reveal the main types of figurative language embedded in the
eight chapters. In order to limit the discussion, the research conduct as follows:
1. Identify and analyze the types of figurative language used in Venerable
Chah Subhaddo’s Dhamma teachings.
2. Sort out the major types of figurative language embedded in Venerable
Chah Subhaddo’s Dhamma teachings.
3. Analyze the differences of the use of figurative language in the different
chapters in Venerable Chah Subhaddo’s Dhamma teachings.
Research design This is a qualitative research which made of a phenomenological approach to
collect relevant data. The phenomenological approach concerns complex and multi-
dimensional of understanding context, diversity, and nuance and process might
potentially be very highly valued. (Mason, 2002). The aim of this research is to
investigate figurative language used and in Venerable Chah Subhaddo’s Dhamma
teaching. In this research, the framework of figurative language from Abrams and
Harpham (2012) and Leech and Short (2007) was used to find out major types of
figurative language embedded in the text.
Qualitative design deals with data that is primary verbal and derives meaning
from the phenomenal data and also aims to understand meaning of a logical view.
Marshall & Rossman (1995) further outline that the qualitative approach to research is
uniquely suited to uncovering the unexpected and to exploring new avenues. Thus, the
qualitative approach is appropriate for this study because the data collected are
focused on investigating major types of figurative language. Moreover, the method of
29
qualitative design was taken for analyzing and summarizing the result in a descriptive
way.
Sources of data Primary data of this study are 8 teachings Dhamma printed text of Venerable
Chah Subhaddo from Wat Pah Nanachat. This printed text was conducted by Sangha
in Wat Pah Nanachat. The Buddhist teaching in the text were originally spoken in
Thai language and some in the North-Eastern Dialect. Then all eight teachings were
translated into English by Venerable Ajarn Purisoand the Sanghas from Wat Pah
Nanachat who could speak both Thai and North-Eastern Dialect fluently.
Venerable Chah Subhaddo’s Dhamma teachings were emphasized in this
study. He gave the monastic order to the Sangha, at the same time provide teachings
which can be used as a vehicle for Dhamma practice for those who are interested in
Dhamma. This is not to deny his unique gift for teaching lay people, which enabled
him to communicate brilliantly with people from all walks of life. The results he
obtained with teaching and creating solid Sangha communities are plainly visible in
the many monasteries which grew up around him, both within Thailand and, later, in
England, Australia, Europe and elsewhere and to serve Dhamma understanding to the
readers. This book is a collection of the Dhamma teachings he gave to both laypeople
and monks. The teachings he gave to monks are exhortations given to the
communities of Buddhist monks, at his own monastery, Wat Nong Pah Pong, and
some of its branches in both Thailand and the West. This fact should be borne in mind
by the lay reader reading those teachings.
To answer research questions, eight Dhamma teachings of Venerable Chah
Subhaddo, edited in June 2007 was checked to find out the major types of figurative
language used as a teaching technique in Venerable Chah Subhaddo’s Dhamma
teachings. Here are Dhamma teachings focusing in the study:
1. Bodhinyana (1982)
2. A Taste of Freedom (Fifth impression, 2002)
3. Living Dhamma (1992)
4. Food for the Heart (1992)
5. The Path to Peace (1996)
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6. Clarity of Insight (2000)
7. Unshakeable Peace (2003)
8. Everything is Teaching Us (2004).
Data collection In data collection process, the Dhamma teaching delivered by Venerable
Chah Subhaddo in the year of 1982-2004 from Wat Pah Nanachat, Ubonrachtani
province was taken to the data of the research. Here are steps to analyze figurative
language used in Venerable Chah Subhaddo’s Dhamma teachings:
1. The procedure of collecting data began with finding the Dhamma teaching
texts. In this study, the Dhamma teaching texts by Venerable Chah Subhaddo edited
in June 2007 was selected as the data.
2. Next, Venerable Chah Subhaddo’s Dhamma teachings text used as the
data was downloaded from the internet website.
3. The teaching text was printed out. Then researcher read the text,
investigated figurative utterances, and picked out the ones that meet the criteria as
mentioned on page 11-16.
4. For recording the data, the researcher took notes and sorted out figurative
utterances into two types: trope and scheme.
5. The researcher created a table for recording the figurative utterances that
were found in the printed text. The column in the table was separated into five parts,
which were chapter, page, title, utterances, and type of figurative language. The
collected data could be a word, phrase and even long sentence.
Moreover, in the raw data sheet, the information of the table could indicate
the use of figurative language side by side. It facilitated the researcher to clearly
clarify the major types of figurative language that was used in the text as well.
Data analysis
After collecting the data, the researcher analyzed the collected figurative
utterances to examine types of figurative language in venerable Chah Subhaddo’s
Dhamma teaching. The data will be analyzed as the following steps:
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First, all collected figurative utterances were sorted out into tropes and
scheme, then the researcher will find out types of figurative language in the text.
Second, the data was investigated for frequency use of each figurative
language to see the major type of figurative language used and the main teaching
themes in venerable Chah Subhaddo’s Dhamma teaching text.
Third, the statistical conduct of figurative language used was presented in
percentage according to their figurative language types.
Fourth, analyze the types of figurative language employed in eight chapters
of Venerable Chah Subhaddo’s Dhamma teachings and presented in percentage.
All eight chapters are shown as below:
1. Bodhinyana (p. 3-99)
2. A Taste of Freedom (p. 100-168)
3. Living Dhamma (p. 169-272)
4. Food for the Heart (p. 273- 401)
5. The Path to Peace (p. 402-446)
6. Clarity of Insight (p. 447-501)
7. Unshakeable Peace (p. 502-547)
8. Everything is Teaching Us (p. 548-694)
CHAPTER 4
RESULTS
This chapter discusses the data analysis and results from the eight Dhamma
teachings of Venerable Ajahn Chah (2007). The purposes of this study are to
investigate for the major types of figurative language used in the Dhamma teaching
text. Moreover, results presented in this chapter are divided into 2 parts:
1. Part I: The occurrence frequency of the figurative language found in
Venerable Chah Subhaddo’s Dhamma teachings.
2. Part II: Comparing trope and scheme found in Venerable Chah
Subhaddo’s Dhamma teachings.
3. Part III: The occurrence frequency of the figurative language found in 8
chapters in the teaching printed text.
Part I: The occurrence frequency of the figurative language found in
Venerable Chah Subhaddo’ s Dhamma teachings. To investigate the types of figurative language found in eight teachings of
Venerable Chah Subhaddo, the researcher categorized the types of figurative language
based on the frame work of Abrams and Harpham (2012), Znamenskaya (2004) and
Leech and Short (2007) which mentioned figurative language into two types: trope
and scheme.
From the analysis, the researcher found 498 figurative languages in the
teaching text, with 15 types which were repetition, simile, metaphor, synecdoche,
personification, rhetorical question, apostrophe, anomatapoeia, antithesis, anastrophe,
anaphora, alliteration, parallelism, climax epistrophe and epanalepsis. The results of
frequency level on types are shown in the table below:
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Table 3 The sum of the frequencies of figurative language in Venerable Chah
Subhaddo’ s Dhamma teachings.
No. Type Figurative category Occurrence
frequency
Occurrence
percentage
1. Scheme
Trope
Trope
Trope
Trope
Trope
Repetition 90 18.5
2. Simile 81 16.5
3. Rhetorical
question
72 14.4
4. Apostrophe 63 12.4
5. Metaphor 45 9
As shown in Table 3, the most frequency used of figurative language in
venerable Chah Subhaddo’ s Dhamma teachings is the use of repetition. As the
results, repetition is one of the techniques used in almost all elements, with 90 times
(18.5%). This means that the use of repetition helped the readers to remember a
display intense emotion very well. Next, the use of simile shared 81 times (16.5%)
from the results. Followed by rhetorical question with was found 72 times (14.4%),
next is the use of apostrophe with 63 times (12.4%), and metaphor with 45 times
(9%), and antithesis with 39 times (8%). Moreover, the researcher found the use of
epistrophe with 21 times (4%), followed by personification with 20 times (4%). Also,
it was found the use of scheme, epanalepsis with 16 times (3 %), climax and
parallelism shared the same range with 12 times (2.4%), anastrophe with 15 times
(3%), onomatopoeia with 8 times (1.6%), the use of synecdoche, with shared 3 times
( 0.6%), the use of alliteration with only 1 time (0.2%). Surprisingly, there was no the
use of irony, paradox, synecdoche, and the use of scheme like alliosis, ellipsis,
asyndeton, and climax in the teaching text. As the results, repetition was turned out
to be the most frequency used of figurative language which is involves a repeating of
words or playing of words to make good understanding and easy to remember. Also,
the information from the table above showed trope was the most percentage used in
the text. Here are some examples of repetition found in the text:
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1. Endure being contented and satisfied with little; eating little, sleeping
little, speaking little and living in moderation. By doing this we can put an end to
worldliness. (Chapter 1, p. 28)
2. They have no chance to study Dhamma, no chance to know Dhamma, no
chance to practice Dhamma. These are beings possessed of ill-fortune who are
receiving karmic retribution. (Chapter 1, p. 25)
3. We come and ordain– we study, we read, we practice, we meditate. We
determine to make our minds resolute but it’s hard to do. (Chapter 1, p. 31)
4. This is the practice, not to have anything, not to have the flag and not to
have the wind. (Chapter 1, p. 34)
5. In the great void there is no flag and there is no wind. There is no birth,
no old age,
Part II: Comparing trope and scheme found in Venerable Chah
Subhaddo’s Dhamma teachings
Table 4 The frequency of trope and scheme found in Venerable Chah Subhaddo’ s
Dhamma teaching
Figurative category Occurrence frequency Occurrence percentage
Trope 289 58.04
Scheme 209 41.96
Total 489 100
Trope
As the results of the frequency use of trope, simile was the most frequency
used which it was found throughout the teaching theme, followed by rhetorical
question, apostrophe, metaphor, personification, onomatopoeia, and synecdoche.
Some examples of figurative utterances found in living with integrity theme are
shown as below:
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Simile
Example 1: The point is that really this mind of ours is naturally peaceful.
It’s still and calm like a leaf that is not being blown about by the wind.”
With the example of above, the use of figurative language is employed in
readers’ mind providing with source of pleasure through the imagination. The use of
simile which compares “mind” to “a leaf” affords the readers to make their own
imagination from the sketch in a story as well.
Example 2: One who studies but doesn’t practice is like a ladle in a soup
pot. It’s in the pot every day but it doesn’t know the flavor of the soup.
As the comparative sentence above, it can enhance the meaning and
perception with the use of simile to add extra appeal. With the comparison of
“practice” into a figurative description “a ladle in a soup pot”, it influences the mental
of the readers to conceive how such the sentence is.
Example 3: His investigation forged ahead until it was clear to him that
everything that comes into existence is like a lump of red-hot iron.
With the word “like”, it is to compare a red-hot iron to everything that exist
into a human life, all experiences are the lump of red-hot iron. This is to create picture
in readers’ minds and make easy understanding.
Example 4: This knowing is like a lantern shedding light on the path ahead
on a dark night. (Simile from chapter 7 p.505)
The word “like” above is used to compare knowing to a lantern which sheds
light the path to peaceful.
Rhetorical question
Example 1: If we take a handful of sand and agree to call it salt, does this
make it salt? It is salt, but only in name, not in reality.
According to Carston (1988), mention that rhetorical question imposes on
the logical form of their responses. In a form of question, it does not require a direct
answer but the purpose of using rhetorical is to start a discussion or to draw an
acknowledge in favor of superiority of a question (Bell, 1975). Thus, with a form of
question above, it can articulate the key message of the intended meaning in brief.
Also, the writer uses this kind of technique to conclude the statement by letting them
to ask themselves for the implicit answer.
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Example 2: Be aware while you’re eating. You chew and swallow. Where
does the food go to? Making meditation is the same.
With a form of question, readers can articulate the key message intended
meaning in brief. The form of question helps readers to conclude the idea of chewing
and swallowing food to the idea of making meditation.
Example 3: If you actually undertake the search, what would stop you?
The logical statement can articulate the idea in brief, at the same time, a
form of question “what would stop you?” can encourage readers to pay attention on
doing something as well.
Apostrophe
Example 1: If you recognize it, then you think, “Oh! My whole pile of dung
doesn’t have the value of a small piece of gold!”
The exclamatory word “Oh” is to shed light the understanding feeling of the
sentence. This can feel how valueless of the whole pile of dung is.
Example 2: Finally, when we consider it clearly, we see “Oh! These things
come because I call them”
With the word “Oh” in the sentence, it can build an abstract idea to present
of understanding the key concept and feelings.
Example 3: I continued on investigating like this until my understanding
deepen even further: “Ah, this is important! When the perceived continuity of
phenomena is cut, the result is peace.”
The use of apostrophe technique here is to create picture deep down in
readers’ emotion. The exclamatory word “Ah” is used to tend to appeal emotional
feelings of the readers.
Metaphor
Example 1: Men and woman die in their youth. Still others reach a ripe old
age before they die.
The adjective “ripe old” is the technique of metaphor to shed light the
utterance clear and imaginable. The use of “ripe old is compared to “old people”
Example 2: The fruits of practice will arise in the following three stages.
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“The fruits” in the sentence means the “results of meditation practicing”.
The metaphorical dimension of it can give a clear picture in readers’ mind in order to
be easy to understand the concept of practicing meditation.
Example 3: Our mind is a spider. Our moods and mental impressions are
various insects.
This metaphor is compared the peaceful mind to spider that stays in the
center of the web. Various insects are compared to moods and metal impressions in
which the mind gets involved with the sense of objects. This is to create more
imaginary powers in practicing meditation.
Example 4: Imagine the mind is a mechanical doll, which is able to run
around. (Metaphor from chapter 6 p. 487)
This is a comparison of mind to a mechanical doll. It is a good example to
know the mind. People learn and think much more through this sentence to see the
mind and to practice the mind.
Personification
Example 1: This heart of ours lives in a cage, and what’s more, there’s a
raging tiger in that cage.
Here is the use of personification, a figurative comparison endowing
inanimate things with human qualities. The phrase “heart lives in a cage with a raging
tiger” is to serve imaginary thinking much more in readers’ feelings.
Example 2: Similarly, when the mind is suddenly hit by a mental impression,
if it delights in it, then it flies off into a good mood.
The figurative comparison “the mind flies off into a good mood” is used to
create picture of meditation practicing. This makes good comprehensive
understanding.
Scheme
As the results, repetition was the most frequency used which it was found
throughout the teaching theme, followed by antithesis, epistrophe, epanalepsis,
anastrophe, parallelism, climax, and alliteration. Some examples of figurative
utterances found in developing the mind through meditation theme are shown as
below:
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Repetition
Example 1: Together they are impermanent. Together they are a source of
suffering. Together they are devoid of self.
This is the use of anaphora. The repetition of the word “Together” can
emphasize and the concept of understanding life which is not impermanent.
Example 2: Endure being contented and satisfied with little; eating little,
sleeping little, speaking little, and living in moderation.
The word “little” is used to accentuate the key message of living in
moderation. Also, it is easy to remember the key message conveyed by the writer.
Example 3: If our view is right then everything else is right: right view, right
intention, right speech, right action, right livelihood, right effort, right recollection,
right concentration-the Eightfold path.
The word “right” is used to emphasize the main idea of having the right
view. The use of this anaphora can concreate the concept the Eightfold path which
involves the truth to guide to the end of suffering. In Buddhism, the Eightfold path is
an essential element of Buddhist practice; moral conduct, mental discipline, and
wisdom. As the decorated statement above, it is an easy explanation to guide readers
to understand the Eightfold path practice through the use of repetition of word “right”.
With its advantage, readers can remember the concept and conclude the Eightfold
path in their minds.
Example 4: Our body is unstable, altering and changing constantly. Hair
changes, nails change, teeth change, skin changes-everything changes, completely.
The use of anaphora is manipulated to build emotional intensity of
understanding the unstable life. With the repetition of word “change”, it helps the
readers remember the key message of the writer that intend to explain the changing of
human body. Moreover, the readers can feel concept of informative statement which
contains emotional attitude through the words used.
Antithesis
Example 1: The Buddha taught us to know this. This is peace; peace from
happiness and unhappiness, peace from gladness and sorrow.
The concept of opposite idea is put together in a sentence to achieve a
contrasting effect. Here, the concept of peace is presented in the way of contrast to
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draw attention and to think much more in the concept of “happiness and unhappiness”
or “gladness and sorrow”, the way to understand peace.
Example 2: Nature contains both the good and the bad, the right and the
wrong. It can either incline to the right or incline to the wrong.
The characteristic of contrary of “good and bad” or “right and wrong” is to
create awareness of understand facts of nature.
Example 3: Don’t pay attention to thoughts of diligence or laziness, don’t
worry whether it’s hot or cold.
The contrasting idea of “diligence and laziness” or “hot and cold” is used to
teach meditation to Dhamma learners. The concept of contrary can draw attention in
developing mind through meditation.
Epanalepsis
Epanalepsis is a figure of speech in which the beginning of a clause or
sentence is repeated at the end of that same clause or sentence, with words
intervening. This technique is used to make understanding and to reach the feeling in
which the readers can make a sensible consideration with the word intervening. Here
are the examples,
Example 1: Things which are unstable are unstable; things which are not
beautiful are not beautiful.
Example 2: Happiness is merely happiness; suffering is merely suffering.
Good is merely good, evil is merely evil.
Example 3: Water is criticizing water. Wind is criticizing wind. Fire is
criticizing fire.
Anastrophe
This is a form of inversion of the typical word order in a sentence. Writers
may use anastrophe to bring attention to specific concepts. Examples as below,
Example 1: Morality is concentration, concentration is morality.
Concentration is wisdom, wisdom is concentration.
Example 2: The eye isn’t the objects, and the objects aren’t the eye. The ear
isn’t the sound and the sound isn’t the ear.
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Part III: The occurrence frequency of figurative language found in
eight chapters in Venerable Chah Subhaddo’s Dhamma teachings Chapter 1 Bodhinyana(1982)
In chapter 1, the result showed 82 figurative utterances from overall. As the
result, there were three major types of figurative language: repetition with 24 times,
followed by antithesis with 15 times and metaphor which shared the same range with
12 times.
Example of repetition found the chapter 1
“In the great void there is no flag and there is no wind. There is no birth, no
age, no sickness or death.” p. 34.
Example of antithesis found the chapter 1
“When these things no longer oppose us, they become stabilized and balance
out. There are no longer ups and downs or highs and lows.”
Example of metaphor found the chapter 1
“Oil and water are different in the same way that a wise man and an
ignorant man are different.” p. 48.
Chapter 2 A Taste of Freedom (Fifth impression2002)
The result in chapter 2 showed that there were 66 figurative language
utterances employed throughout the chapter. Also, the result indicated repetition as
the most frequency use, with 15 times, followed by antithesis with 11 times, and
simile with 10 times.
Examples of repetition found in chapter 2
“When those beings wish to find peace the worldly dhammas arise right
there. When the mind is ignorant there is only darkness. When knowledge arises the
mind is illumined, because ignorance and knowledge are born in the same place.
When ignorance has arisen, knowledge can’t center, because the mind has accepted
ignorance. When knowledge has arisen, ignorance cannot stay.” p. 141.
Examples of antithesis found in chapter 2
“We don’t get concerned over how long or short, weak or strong it is, we
just note it. We simply let it be, following the natural breathing.” p. 103.
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Examples of simile found in chapter 2
“The action of the mind entering the worldly dhammas is like entering the house. The
mind which has destroyed the worldly dhammas is like one who has left the house”
p. 141.
Chapter 3 Living Dhamma (1992)
In the chapter of Living Dhamma, the result showed 83 figurative language.
The major types of figurative language used were rhetorical question, simile, and
repetition. According to the result, rhetorical question was turned out to be the best
technique used in this chapter with 25 times of overall. Meanwhile, the second range
was repetition, with 15 times, and the third range was simile with 8 times. See the
examples as below:
Examples of rhetorical question found in chapter 3
“This knife has a blade, a rim and a handle. Can you lift only the blade?
Can you lift only the rim of the blade, or the handle?” p. 246.
Examples of repetition found in chapter 3
“When clinging is finished with, states of being are finished with. When
states of being are finished with, there is no more birth or death.” p. 263.
Examples of simile found in chapter 3
“Most people refuse to learn their lessons from nature... like a naughty
schoolboy who refuses to do his homework.” p. 247.
Chapter 4 Food for the Heart (1992)
There were 104 figurative language in chapter 4. The major types found in
this chapter were simile (27 times), rhetorical question (24 times), and apostrophe (12
times). Here are the examples:
Examples of simile found in chapter 4
“They’re useful for wrapping up the coconut in. If, after eating the coconut,
you throw the shells away, there is no problem. Our practice is like this.” p. 306.
Examples of rhetorical question found in chapter 4
“Are there visual objects within the eye? If there are no external visual
objects would our eyes see anything?” p. 359.
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Examples of apostrophe found in chapter 4
They try going to a mountain top... “Ah! This is the spot, now I’m right.”
They feel at peace for a few days and then get tired of it. “Oh, well, off to the
seaside.” “Ah, here it’s nice and cool. This’ll do me fine.” p. 362.
Chapter 5 The Path to Peace (1996)
Chapter five showed 28 figurative language. Moreover, the result showed
that repetition and rhetorical question shared the same range with 7 times, followed by
simile which shared 5 times from overall.
Examples of repetition found in chapter 5
“Beautiful in the beginning, beautiful in the middle and beautiful in the
end.” p. 411.
Examples of rhetorical question found in chapter 5
“Here you must establish the understanding that it is just the nature of the
practice to progress in this way. What will you observe as the object of meditation
now?” p. 431.
Examples of simile found in chapter 5
“In meditation you have to be constantly turning your attention to the
practice. It’s like planting a tree.”
Chapter 6 Clarity of Insight (2000)
According to the result, it was found that there were 31 figurative language
in chapter 6. From overall, rhetorical question was the best technique which shared 7
times, simile shared 6 times, metaphor and repetition shared the same range with 4
times.
Examples of rhetorical question found in chapter 6
“If there’s too much food you say that it’s suffering and just trouble. What’s
all the fuss about? If there is a lot, just take a small amount and leave the rest for
everybody else. Why make so much trouble for yourself over this? It’s not peaceful?
What’s not peaceful?” p. 489.
Examples of simile found in chapter 6
“This knowing is like a lantern shedding light on the path ahead on a dark
night.” p. 505.
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Examples of metaphor found in chapter 6
“Imagine the mind was a mechanical doll, which was able to run around.”
p. 487.
Examples of repetition found in chapter 6
“Don’t get involved with the things that arise in the mind. Let go. Even if
you are peaceful, you don’t need to think too much about it. Don’t take it too
seriously. Don’t take it too seriously if you’re not peaceful either.” p. 496.
Chapter 7 Unshakeable Peace (2003)
In chapter 7, the result indicated 44 figurative language with 3 major type
which are; repetition, rhetorical question, and simile. As the result, repetition was the
most frequency use with 13 times, followed by rhetorical question with 8 times, and
simile with 4 times. See the examples as below:
Examples of repetition found in chapter 7
“Don’t force the meditation. Don’t attempt to interpret what’s happening.
Don’t coerce your heart with unrealistic demands that it enter a state of sam¯adhi –
or else you’ll find it even more agitated and unpredictable than normal. Just allow the
heart and mind to relax, comfortable and at ease.” p. 542.
Examples of rhetorical question found in chapter 7
“I used to snore, but once the mind remained awake at all times, snoring
stopped. How can you snore when you’re awake?” p. 540.
Examples of simile found in chapter 7
“It’s like falling from the top of a tree to come crashing down to the ground
below.” page 504
Chapter 8 Everything is Teaching Us (2004)
In this chapter, the result showed 60 figurative language. It was found 3
major types of figurative language which are simile, apostrophe, and rhetorical
question. As the result, simile shared 17 times, apostrophe 16 times, and rhetorical
question 10 times.
Examples of simile found in chapter 8
“A dam needs a sluiceway so that the water can run off. Our path is like
this.” p. 636.
44
Examples of apostrophe found in chapter 8
“We can believe it: “Oh! It’s true!” p. 684.
Examples of rhetorical question found in chapter 8
“Consider it. If people are born but never die, will that bring happiness?”
p. 689.
CHAPTER 5
DISCUSSION
This chapter, a summary of the study, a summary of results, and discussion
of figurative language used in Venerable Chah Subhaddo’s Dhamma teachings, and
recommendation for further studies were analyzed.
Summary of the study The summary of the study of figurative language in Venerable Chah
Subhaddo’s Dhamma teachings are as below:
1. Objectives of the study
The objectives of this study were to investigate major types of figurative
language used in the Dhamma teaching text and to explore the types of figurative
language employed in eight chapters in the text.
2. Subjects, Materials, and Procedures
The sample of this study was Venerable Chah Subhaddo’s Dhamma
teachings printed text, collection book of the year 1982-2004, edited in 2007.
In this study, the researcher used criteria sampling for collecting figurative
language techniques in the teaching text. A qualitative and quantitative method were
used to see the findings in this study. The procedure of collecting data began by
collecting the printed text of Venerable Chah Subhaddo. Next, the researcher
examined the utterances in the text and picked out the ones that met the criteria. After
that, the procedure of content analysis was used to investigate figurative language in
the teaching text. The researcher recorded information into Microsoft Word as raw
data by creating a table into five columns, chapter, page, title, utterances, and type of
figurative language. Then, the researcher added information found in each chapter
into the columns. After recording the figurative language found in the teaching
printed text, the researcher made a table to present the frequency of figurative
language employed in counted number and percentage and find out to the main
teaching themes appeared in the Dhamma printed text.
46
Summary of the results After investigating figurative language in the teaching printed text, the
researcher found 498 figurative language utterances. The results showed that
repetition was the most frequency found from all elements. Next is simile, followed
by rhetorical question, apostrophe, and metaphor. In the printed text, the use of
repetition showed 90 times of all figurative utterances. It seems that the technique of
repeating words is the most found in this element, because it can make the imagery
idea of understanding feelings. Repetition is the technique of playing with the word,
and the researcher conclude that play in word can reach readers’ feelings effectively,
it can create flow of words, which makes the sentences easy to read and memorize.
As reference in Table 4, the researcher summarized the frequency types of figurative
language and arranged the number from the highest to lowest found as following:
1. Repetition is found 18.5 percent of all utterances
2. Simile is found 16.5 percent of all utterances
3. Rhetorical question is found 14.4 percent of all utterances
4. Apostrophe is found 12.4 of all utterances
5. Metaphor is found 9 percent of all utterances
6. Antithesis is found 8 percent of all utterances
7. Epistrophe is found 4 percent of all utterances
8. Personification is found 4 percent of all utterances
9. Epanalepsis is found 3 percent of all utterances
10. Anastrophe, found 3 percent of all utterances
11. Parallelism is found 2.4 of all utterances
12. Climax is found 2.4 of all utterances
13. Onamatapoeia is found, 1.6 percent of all utterances
14. Synecdoche is found 0.6 percent of all utterances
15. Alliteration is found 0.2 percent of all utterances
Moreover, the results of the study showed that trope was turned out to be the
effective technique with 289 times (58.04 percent) while scheme was shown 209
times or 41.96 percent. In the frequency use of trope, the major type of figurative
language was simile. Dhamma learners often use natural images fetching to the most
comprehensive messages, they think in words and think much more in visual images
47
deep down in their minds. Thus, the use of simile seems the best technique to serve
imaginary understanding for them.
In the frequency use of scheme, the results showed that repetition was the
most major type of scheme employed in this Dhamma teaching text. The content was
employed by repetition is to emphasize the message become clearer, and sharper. The
advantage of word repetition can shed light on readers’ perception to remember the
key message as well. Thus, it can be said that the use of repetition is efficient to make
easy imagery understanding in meditation practice.
Moreover, the result showed that all eight chapters conveyed different types
of figurative language. As the results, repetition was the best technique used in
chapter 1 and chapter 2, and in chapter 3 rhetorical question was often used. In
chapter 4, the result showed simile as the highest range. In chapter 5 and 6, repetition
and rhetorical were used as the best figurative technique used. Also, chapter 7
repetition shared the highest number. In chapter 8, simile was claimed as the best
technique used.
Discussion 1. Results
Religious language always employs the ambiguous meaning to make the
belief of religious language. Figurative language has conducted the theories to
develop and emphasize the role of language play in generating new perspective skill
of increasing our understanding. It can expand imaginary powers in a way of creating
picture of linguistic expressions and serving imaginary comprehension to readers.
The result from this study showed the most frequency figurative language is
repetition, a technique of words playing. Moreover, there is a high number of simile
and rhetorical question as well. The research result shows the top five of figurative
language which are, repetition, simile, rhetorical question, apostrophe and metaphor.
Moreover, the result reveals that trope was the best frequency use within eight
Dhamma chapters in the text.
In this study, the most frequency used is repetition with 18.5 percent of over
all types. Repetition is the use of word play or repetition of words. Also, the use of
repetition is widely used to repeat the key message of the content that the writers need
48
to present. With 90 times or 18.5 percent mentioned in this study, it clearly revealed
that this technique is very effective to persuade the readers’ feelings.
The second rank is simile, the technique of comparison the two unlike things.
It is found in this study with 16.5 percent. It seems that the use of simile is often
found a lot in creative works and in the previous studies in this research. According to
Leech and Short (2007), claimed that simile is the way of saying one thing in terms of
another by using the comparison of unlike things. Benefit of using this technique is to
provide creative imagery to the readers. Thus, it can be said that simile is one of
powerful figurative language techniques used to shed light readers’ comprehension.
Rhetorical question is investigated as the third rank of this study. Rhetorical
question is one of outstanding figurative languages, which resulted in 14.4 percent.
The technique of using questions is very effective to emphasize the ideas and let the
readers think themselves for the answers. Referring to Ajarn Dhammadharo, Wat
Nhong Pa Pong mentioned in chapter 1, suggested that the most comprehensive
messages of teaching religious language use natural images fetching to their followers
and let them think for themselves to the crystal-clear answer in visual images deep
down in their minds. This is the technique of rhetorical question.
The fourth rank is apostrophe with 12.4 percent of over-all. A technique of
apostrophe, an addressing individual or absent others or event inanimate things tends
to interest and persuade readers’ attention. Due to Dhamma teaching must be a
persuasive story to touch readers’ feelings. Thus, it is quite clear that the use of
apostrophe is most effective technique used in the teaching printed text of venerable
Chah Subhaddo.
Apart from this technique is metaphor which found 9 percent of all
figurative language types. Metaphor is effective in creating image in minds; as a result
of this study, it tends to be useful in creating own imaginative and dynamic message
to grab the reader’s attention. According to Lakoff (1980), mentioned that metaphor is
the way to provide the language into new meaning, stretching and enhancing the
meaning to more comprehensive meanings.
Furthermore, the results in this study show two themes of Venerable Chah
Subhaddo’s Dhamma teachings which are living with integrity and developing the
mind through meditation. The theme of living with integrity was found in five
49
chapters; 1. Food for the heart, 2. The Path to peace, 3. Clarity of insight,
4. Unshakable peace, and 5) Everything is teaching us. Meanwhile, the theme of
developing the mind through meditation was found from three chapters;
1. Bodhinyana, 2. A Taste of freedom, and 3. Living Dhamma. Also, the research
results revealed that each theme employed different types of figurative language. It
was found that trope was the most percentage used in living with integrity theme, and
the major type of figurative language was simile. The concept of living with integrity
was to serve perception of living in a simple way. Dhamma learners often use natural
images fetching to the most comprehensive messages, they think in words and think
much more in visual images deep down in their minds. Thus, the use of simile seemed
the best technique to serve imaginary understanding for them. Similarly, the interview
from Ajahn Dhammadharo and Ajahn Supanno from Nhong Pa Pong temple,
mentioned that “Venerable Chah Subhaddo provides a crystal-clear comprehension
through using of simile. With the creative words implied of simile, readers can depict
a lot of images and analogies and create physical objects in mind”. The interview
supported the idea that simile can create the understanding in a way that the readers
make wider imagination. With the use of simile, religious text is more attractive at the
same time making understanding imagery for readers. For example, “One who studies
but doesn’t practice is like a ladle in a soup pot. It’s in the pot every day but it doesn’t
know the flavor of the soup.”
As the comparative sentence above, it can enhance the meaning and
perception with the use of simile to add extra appeal. With the comparison of
“practice” into a figurative description “a ladle in a soup pot”, it influences the mental
of the readers to conceive the key message of the sentence as well.
In the theme of developing the mind through meditation, scheme was turned
out to be the most frequency used. As the results, scheme was a crucial technique in
terms of playing with the language. Moreover, the results showed that repetition was
the most major type of scheme employed in the theme. In concept of developing the
mind through meditation, the content was employed by repetition to emphasize the
message become clearer, and sharper. Moreover, the advantage of word repetition can
shed light on readers’ perception to remember the key message as well. Thus, it can
be said that the use of repetition is efficient to make easy imagery understanding in
50
meditation practice. For example, “If our view is right then everything else is right:
right view, right intention, right speech, right action, right livelihood, right effort,
right recollection, right concentration-the Eightfold path.”
The word “right” above is used to emphasize the main idea of having the
right view. The use of this repetition can concreate the concept the Eightfold path
which involves the truth to guide to the end of suffering. In Buddhism, the Eightfold
path is an essential element of Buddhist practice; moral conduct, mental discipline,
and wisdom. As the decorated statement above, it is an easy explanation to guide
readers to understand the Eightfold path practice through the use of repetition of word
“right”. With its advantage, readers can remember the concept and conclude the
Eightfold path in their minds.
Unexpectedly, repetition was found as the major type of figurative language
in religious text; Venerable Chah Subhaddo’s Dhamma teaching. With many previous
studies, the results showed common types of figurative language which were: simile,
metaphor, synecdoche, personification, and hyperbole. Surprisingly, repetition was
the effective technique to convey the key Dhamma message to readers, especially, in
the theme of developing the mind through meditation. This suspicion can be
explained from Ajahn Dhammadharo that, “Dhamma teaching from Venerable Chah
Subhaddo contains attractive words to readers and make imaginary powers in thought
for their own comprehensive understanding. Venerable Chah Subhaddo is intelligent
at playing word. Repeating words in the sentence is the method of emphasizing main
idea deep down in the mind”. In persuasive speeches, the use of repetition presents as
a significant role to appeal to the people’ feelings. For example, Matin Luther King Jr.
appeals to the growing solidarity among blacks and white allies during the heyday of
the American civil right movement by using a participatory nature of repetition.
In summary, trope was the most percentage used in Venerable Chah
Subhaddo’s Dhamma teaching, and the major type of figurative language was simile.
Also, it was found that the concept of living with integrity was used to serve
perception of living in a simple way in Buddhism. With the use of tropes, especially
simile, the Dhamma followers can depict the figurative messages into their own
understanding.
51
Scheme was found most in the theme of developing the mind through
meditation. As the results, repetition was the best technique to emphasize the message
become clearer in Venerable Chah Subhaddo’s Dhamma teaching. The advantage of
word repetition can shed light on readers’ perception to remember the key message as
well.
2. Analysis of figurative language in different religions
Religious consciousness is an emotional element which are ideas, thoughts
and feelings. Each religion has different roles and faith. For example, a Muslim has to
submissive the religious values of Islam, a Christian gets the teaching of Jesus
through the gospel, or a Buddhist learns teaching from Dhamma of the Lord Buddha.
So, religious values can be considered to be high moral and ethical values that people
of all faith aspire to achieve. In many religions such as Christianity and Islam, the
idea of religious aspect also concerns to God. In Bible, the synecdoche figurative
“father” is used to refer to “God”. Religious people believe and respect God as the
central element of the religion. An example from the study of Harrison (2007)
claimed that metaphor seem better able to shed light on the religious beliefs. The
research results said that metaphorical expression can play more significant
implications for our understanding of both religious language and religious
experience. Metaphor can draw attention to construal of God and to contribute to a
fuller religious understanding. Metaphorical expression can pave the way for an
appreciation of religious people to explore the religious traditions, such as Judaism,
Christianity and Islam, all attempt to refer to God using metaphor.
In Islam, religious people also believe in God. The important function that
religion performs is that inculcates social virtues in people like values, truth, honesty,
love, and disciplines. For example, a research result of “Use of Figurative Language
in Yusuf Islam’s Song Lirycs to Express Religious Values And Its Possibility as
Teaching Material In English For Islamic Studies (A Descriptive Research of I Look,
I See - Yusuf Islam Friends & Children Album), Rahman (2011) demonstrated some
types of figurative language used to express religious values are really found in the
which are: alliteration, metaphor, assonance, synecdoche and personification. With
several types of figurative language, the religious text is more valuable and more
precious. Besides, it is found six religious’ values in the song lyrics of I look I see of
52
Yusuf Islam album. They are; Allah is the Creator of Universe, The obligatory of
Learning, Islam is the perfect religion, The suggestion for reading Basmallah and
Alhamdulillah, We should give our respect to our parents and The virtue of dhikr.
Moreover, it is possible for using song lyrics of I look I see Yusuf Islam album as a
teaching material in English for Islamic Studies.
In Buddhism, God is not the central element of religion. Religious people
get mental peace from “Dhamma”, the teaching of the Buddha. As the interview of
Ajahn Dhammadaro, said that “Dhamma learners learn from nature and think much
more into their words in what they see. Also, figurative sentences can be served to
accommodate deep comprehension and create a crystal-clear picture to people. Those
figurative expressions can depict a lot of images and analogies and create physical
objects on readers’ minds. Dhamma learners use natural images fetching to their
followers and let them to think for themselves to the most comprehensive messages
and actually think in words. For example, they use “lotus flower” as “peace” when
they practice meditation. Seeing the lotus flowers in the pond can teach people to
reach peace of life.”
Here, figurative language is the essential technique used in teaching
religious concepts to people in each religion in order to make comprehensive
understanding to readers’ mind. Previous researches of Christianity and Islam which
religion works as values of thoughts and ideas, the results demonstrate common types
of figurative which are: alliteration, metaphor, assonance, simile, synecdoche,
symbol and personification. These figurative techniques are used to serve beauty and
values of religious language to religious people. Surprisingly, the research results
seem different. As mentioned above, the results show the best technique used in
teaching Dhamma is repetition, follow by simile, rhetorical question, apostrophe, and
metaphor. Buddhists get mental peace and learn Dhamma from the natural
phenomena scientifically and techniques of word play or repetition is the best way to
make religious people get imaginary thinking.
Conclusion The researcher concluded the results of the analysis of figurative language in
Venerable Chah Subhaddo’s Dhamma teachings as below:
53
1. The major type of figurative language that found in this study was
repetition which shared 90 times or 18.5 percent from the overall 498 figures of
speech counted, followed by simile found 81 times or 16.5 percent of all items,
rhetorical question found 72 times, 14.4 percent of all items, apostrophe found 63
times or 12.4 percent, and metaphor found 45 times or 9 percent of overall counted.
These were the top five of figurative language found in this study.
2. All eight chapters in the text provided different types of figurative
language. Surprisingly, repetition, simile, and rhetorical question were turned out to
be the best type used in each teaching.
3. Trope was the best technique used in Venerable Chah Subhaddo’s
Dhamma teachings.
4. There were two themes in Venerable Chah Subhaddo’s Dhamma
teachings: Living with integrity and Developing mind through meditation. As the
results, each theme employs different types of figurative language. The major
technique of figurative language used in the theme of living with integrity was trope.
Meanwhile, scheme was investigated as the most percentage used in the theme of
developing mind through meditation.
5. There was a difference of using figurative language in each religion. The
Dhamma teaching of Venerable Chah Subhaddo intended to use the technique of
repetition in order to make imaginary thinking in readers’ mind and use the truth of
nature which was able to understand the happenings of natural phenomena
scientifically.
Recommendations for further studies This research was conducted to analyze the figurative techniques used in
Venerable Chah Subhaddo’s Dhamma teachings which it might not represent the use
of figurative language technique in wider religious teaching off all religious. This
study can be used as a reference for writing about figurative language in Buddhist
Dhamma teaching for further studies. To any future studies, other aspects of its roles
can be investigated. For example, compare and contrast types of figurative language
used in different religious texts.
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APPENDIX
59
Freq
uenc
y of
Fig
urat
ive
lang
uage
app
eare
d in
Ven
erab
le C
hah
Subh
addo
’s D
ham
ma
teac
hing
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/ sc
hem
e
1 5
Frag
men
ts o
f a
Teac
hing
And
we
mus
t tra
vel a
long
the
prop
er p
ath
of m
oral
ity, c
once
ntra
tion
and
wis
dom
unt
il w
e
find
the
bles
sing
s of p
urity
, rad
ianc
e an
d pe
acef
ulne
ss o
f min
d th
at a
re th
e fr
uits
of t
rave
ling
the
path
.
Trop
e
/Met
apho
r/
1 5
Frag
men
ts o
f a
Teac
hing
Afte
r lis
teni
ng to
the
teac
hers
, whe
ther
or n
ot w
e w
alk
the
path
by
prac
ticin
g ou
rsel
ves,
and
ther
eby
reap
the
frui
ts o
f pra
ctic
e, is
stric
tly u
p to
eac
h on
e of
us.
Trop
e
/Met
apho
r/
1 6
Frag
men
ts o
f a
Teac
hing
Doc
tors
pre
scrib
e m
edic
ine
to e
limin
ate
dise
ase
from
the
body
. The
teac
hing
s of t
he B
uddh
a
are
pres
crib
ed to
cur
e di
seas
e of
the
min
d, to
brin
g it
back
to it
s nat
ural
hea
lthy
stat
e.
Trop
e
/Met
apho
r/
1 6
Frag
men
ts o
f a
Teac
hing
Whe
n yo
u se
e th
ese
men
tal i
lls, d
oes i
t not
mak
e se
nse
to lo
ok to
the
Dha
mm
a as
supp
ort,
as
med
icin
e to
cur
e yo
ur il
ls?
Trop
e
/Rhe
tori
cal
ques
tion/
1 7
Frag
men
ts o
f a
Teac
hing
It is
onl
y na
tura
l tha
t whe
n w
e pu
t on
dirty
clo
thes
and
our
bod
ies a
re d
irty,
that
our
min
ds
too
will
feel
unc
omfo
rtabl
e an
d de
pres
sed.
How
ever
, if w
e ke
ep o
ur b
odie
s cle
an a
nd w
ear
clea
n, n
eat c
loth
es, i
t mak
es o
ur m
inds
ligh
t and
che
erfu
l.
Trop
e
/Met
apho
r/
1 7
Frag
men
ts o
f a
Teac
hing
Min
d fo
llow
s sen
se d
istra
ctio
ns w
ildly
just
like
wat
er fl
owin
g th
is w
ay a
nd th
at, s
eeki
ng th
e
low
est l
evel
.
Trop
e
/Sim
ile/
1 9
Frag
men
ts o
f a
Teac
hing
If w
e ar
e m
indf
ul o
f tho
ught
s as s
oon
as th
ey a
rise
and
keep
dili
gent
ly re
turn
ing
to th
e
med
itatio
n su
bjec
t, th
e m
ind
will
bec
ome
quie
ter a
nd q
uiet
er.
Sche
me
/Rep
etiti
on/
1 12
A
Gift
of
Dha
mm
a
Fran
ce is
alre
ady
mat
eria
lly p
rosp
erou
s, it
has s
o m
any
thin
gs to
off
er w
hich
are
sens
ually
entic
ing
– si
ghts
, sou
nds,
smel
ls, t
aste
s and
text
ures
.
Sche
me
/Alli
tera
tion
/
60
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 13
A
Gift
of
Dha
mm
a
Act
ually
, the
min
d, li
ke ra
in w
ater
, is p
ure
in it
s nat
ural
stat
e.
Trop
e
/Sim
ile/
1 14
A
Gift
of
Dha
mm
a
The
min
d ca
n on
ly b
e se
en w
ith th
e “i
nter
nal e
ye”
or th
e “e
ye o
f the
min
d”
Trop
e
/Met
apho
r/
1 14
A
Gift
of
Dha
mm
a
The
min
d is
min
d. M
enta
l obj
ects
are
men
tal o
bjec
ts. M
enta
l obj
ects
are
not
the
min
d, th
e
min
d is
not
men
tal o
bjec
ts.
Sche
me
/Ana
stro
phe/
1 14
A
Gift
of
Dha
mm
a
Som
e ar
e go
od, s
ome
bad,
som
e co
ld, s
ome
hot,
all k
inds
! Sc
hem
e
/Ant
ithes
is/
1 15
A
Gift
of
Dha
mm
a
In d
evel
opin
g aw
aren
ess o
f bre
athi
ng, d
on’t
inte
ntio
nally
mak
e th
e br
eath
long
or s
hort.
Nei
ther
mak
e it
stro
ng o
r wea
k.
Sche
me
/Ant
ithes
is/
1 16
A
Gift
of
Dha
mm
a
The
poin
t is t
hat w
e sh
ould
kno
w w
hat t
he st
ate
of th
e m
ind
is a
t eac
h m
omen
t, an
d, to
be
able
to d
o th
is, w
e m
ust b
e co
nsta
ntly
min
dful
and
aw
are.
Is th
e m
ind
happ
y or
suff
erin
g? Is
it co
nfus
ed?
Is it
pea
cefu
l?
Trop
e
/Rhe
tori
cal
ques
tion/
1 17
A
Gift
of
Dha
mm
a
Our
bod
y is
uns
tabl
e, a
lterin
g an
d ch
angi
ng c
onst
antly
. Hai
r cha
nges
, nai
ls c
hang
e, te
eth
chan
ge, s
kin
chan
ges –
eve
ryth
ing
chan
ges,
com
plet
ely!
Sche
me
/Rep
etiti
on/
1 17
A
Gift
of
Dha
mm
a
Toge
ther
they
are
impe
rman
ent.
Toge
ther
they
are
a so
urce
of s
uffe
ring.
Tog
ethe
r the
y ar
e
devo
id o
f sel
f.
Sche
me
/Rep
etiti
on/
1 17
A
Gift
of
Dha
mm
a
Thes
e, th
e B
uddh
a po
inte
d ou
t, ar
e ne
ither
a b
eing
, nor
a p
erso
n, n
or a
self,
nor
a so
ul, n
or u
s,
nor t
hey.
Sche
me
/Rep
etiti
on/
61
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 19
D
ham
ma
Nat
ure
Men
and
wom
en d
ie in
thei
r you
th. S
till o
ther
s rea
ch a
ripe
old
age
bef
ore
they
die
. Tr
ope
/Met
apho
r/
1 19
D
ham
ma
Nat
ure
Our
min
ds a
re a
lso
sim
ilar.
A m
enta
l im
pres
sion
aris
es, d
raw
s and
pul
ls a
t the
min
d, th
en th
e
min
d fa
lls –
just
like
frui
t.
Trop
e
/Sim
ile/
1 19
D
ham
ma
Nat
ure
He
foun
d th
at th
ey, t
oo, w
ere
esse
ntia
lly o
f the
sam
e na
ture
– u
ncer
tain
! How
cou
ld it
be
wis
e? T
his i
s jus
t the
way
of a
ll th
ings
.
Trop
e
/Rhe
tori
cal
ques
tion/
1 22
D
ham
ma
Nat
ure
Whe
re is
the
Bud
dha?
The
Bud
dha
is in
the
Dha
mm
a. W
here
is th
e D
ham
ma?
The
Dha
mm
a
is in
the
Bud
dha.
Rig
ht h
ere,
now
! Whe
re is
the
Sang
ha?
The
Sang
ha is
in th
e D
ham
ma.
Sche
me
/Epi
stro
phe/
1 22
D
ham
ma
Nat
ure
“Oh!
The
Bud
dha,
the
Dha
mm
a an
d th
e Sa
ngha
exi
st in
my
min
d”. Y
et th
eir o
wn
prac
tice
is
not s
uita
ble
or a
ppro
pria
te. I
t is t
hus n
ot b
efitti
ng th
at th
e B
uddh
a, th
e D
ham
ma
and
the
Sang
ha sh
ould
be
foun
d in
thei
r min
ds, n
amel
y, b
ecau
se th
e “m
ind”
mus
t firs
t be
that
min
d
whi
ch k
now
s the
Dha
mm
a.
Trop
e
/Apo
stro
phe/
1 22
D
ham
ma
Nat
ure
wha
t is t
he u
se o
f a lo
t of s
tudy
whe
n th
e ul
timat
e re
ality
of l
ife, i
n its
eve
ry m
omen
t, in
its
ever
y ac
t, is
just
an
endl
ess c
ycle
of b
irths
and
dea
ths?
Trop
e
/ Rhe
tori
cal
ques
tion/
1 24
D
ham
ma
Nat
ure
If o
ne re
ally
pra
ctic
es, o
ne w
ill h
ear t
he B
uddh
a-D
ham
ma
whe
ther
sitti
ng a
t the
root
of a
tree,
lyin
g do
wn
or in
wha
teve
r pos
ture
.
Sche
me
/Rep
etiti
on/
62
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 25
D
ham
ma
Nat
ure
They
hav
e no
cha
nce
to st
udy
Dha
mm
a, n
o ch
ance
to k
now
Dha
mm
a, n
o ch
ance
to p
ract
ice
Dha
mm
a. T
hese
are
bei
ngs p
osse
ssed
of i
ll-fo
rtune
who
are
rece
ivin
g ka
rmic
retri
butio
n.
Sche
me
/Rep
etiti
on/
1 26
D
ham
ma
Nat
ure
The
Bud
dha
sits
faci
ng u
s rig
ht h
ere
and
now
! At w
hat o
ther
tim
e or
pla
ce a
re y
ou g
oing
to
look
?
Trop
e
/ Rhe
tori
cal
ques
tion/
1 26
D
ham
ma
Nat
ure
If w
e do
n’t t
hink
righ
tly, i
f we
don’
t pra
ctic
e rig
htly
, we
will
fall
back
to b
eing
ani
mal
s or
crea
ture
s in
Hel
l or h
ungr
y gh
osts
or d
emon
s. H
ow is
this
? Ju
st lo
ok in
you
r min
d. W
hen
ange
r aris
es, w
hat i
s it?
The
re it
is, j
ust l
ook!
Whe
n de
lusi
on a
rises
, wha
t is i
t?Th
at’s
it, r
ight
ther
e! W
hen
gree
d ar
ises
, wha
t is i
t? L
ook
at it
righ
t the
re!
Trop
e
/ Rhe
tori
cal
ques
tion/
1 27
Th
e tw
o fa
ces o
f
real
ity
Onc
e w
e ge
t som
ethi
ng, t
here
is je
alou
sy, w
orry
and
selfi
shne
ss. A
nd w
hen
we
feel
thre
aten
ed a
nd c
an’t
war
d it
off p
hysi
cally
, we
use
our m
inds
to in
vent
all
sorts
of d
evic
es,
right
up
to w
eapo
ns a
nd e
ven
nucl
ear b
ombs
, onl
y to
blo
w e
ach
othe
r up.
Why
all
this
troub
le a
nd d
ifficu
lty?
Trop
e
/ Rhe
tori
cal
ques
tion/
1 28
Th
e tw
o fa
ces o
f
real
ity
Com
e to
pra
ctic
e fo
r lib
erat
ion!
It is
n’t e
asy
to li
ve in
acc
orda
nce
with
true
wis
dom
, but
who
ever
ear
nest
ly se
eks t
he p
ath
and
frui
t and
asp
ires t
o N
iban
a w
ill b
e ab
le to
per
seve
re a
nd
endu
re.
Tro
pe
/met
apho
r/
1 28
Th
e tw
o fa
ces o
f
real
ity
Endu
re b
eing
con
tent
ed a
nd sa
tisfie
d w
ith li
ttle;
eat
ing
little
, sle
epin
g lit
tle, s
peak
ing
little
and
livin
g in
mod
erat
ion.
By
doin
g th
is w
e ca
n pu
t an
end
to w
orld
lines
s.
Sche
me
/Rep
etiti
on/
63
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 28
Th
e tw
o fa
ces o
f
real
ity
The
Bud
dha
talk
ed a
bout
des
ire a
nd th
e si
x th
ings
by
whi
ch d
esire
is g
ratifi
ed: s
ight
s, so
unds
,
smel
ls, t
aste
s, to
uch
and
min
d -ob
ject
s. D
esire
and
lust
for h
appi
ness
, for
suff
erin
g, fo
r goo
d,
for e
vil a
nd so
on,
per
vade
eve
ryth
ing!
Sche
me
/Ant
ithes
is/
1 28
Th
e tw
o fa
ces o
f
real
ity
Sigh
ts...
ther
e is
n’t a
ny si
ght t
hat’s
qui
te th
e sa
me
as th
at o
f a w
oman
. Isn
’t th
at so
? Tr
ope
/ Rhe
tori
cal
ques
tion/
1 30
Th
e tw
o fa
ces o
f
real
ity
If y
ou a
ttach
to th
e se
nses
, you
’re
the
sam
e as
a fi
sh c
augh
t on
a ho
ok. W
hen
the fis
herm
an
com
es, s
trugg
le a
ll yo
u w
ant,
but y
ou c
an’t
get l
oose
. Act
ually
, you
’re
not c
augh
t lik
e a fis
h,
it’s m
ore
like
a fr
og –
a fr
og g
ulps
dow
n th
e w
hole
hoo
k rig
ht to
its g
uts,
a fis
h ju
st g
ets
caug
ht in
its m
outh
.
Trop
e
/Met
apho
r/
1 31
Th
e tw
o fa
ces o
f
real
ity
We
com
e an
d or
dain
– w
e st
udy,
we
read
, we
prac
tice,
we
med
itate
. We
dete
rmin
e to
mak
e
our m
inds
reso
lute
but
it’s
har
d to
do.
Sche
me
/Rep
etiti
on/
1 31
Th
e tw
o fa
ces o
f
real
ity
The
sexe
s of m
an a
nd w
oman
– w
oman
cau
se p
robl
ems f
or m
en, m
en c
ause
pro
blem
s for
wom
en. T
hat’s
the
way
it is
, the
y ar
e op
posi
tes.
If m
en li
ve to
geth
er w
ith m
en, t
hen
ther
e’s
no tr
oubl
e. If
wom
en li
ve to
geth
er w
ith w
omen
, the
n th
ere’
s no
troub
le.
Sche
me
/Rep
etiti
on/
1 31
Th
e tw
o fa
ces o
f
real
ity
Whe
n a
man
sees
a w
oman
his
hea
rt po
unds
like
a ri
ce p
ound
er,
Trop
e
/Met
apho
r/
1 32
Th
e tw
o fa
ces o
f
real
ity
Take
the
case
of t
he m
erch
ants
who
regu
larly
com
e he
re to
see
me.
The
y sa
y, “
Oh,
whe
n m
y
debt
s are
all
paid
and
pro
perty
in o
rder
, I’ll
com
e to
ord
ain”
.
Trop
e
/Apo
stro
phe/
64
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 33
Th
e tw
o fa
ces o
f
real
ity
You
hav
e to
bec
ome
fed
up w
ith b
oth
your
dis
like
and
your
like
s, yo
ur su
ffer
ing
and
your
happ
ines
s.
Sche
me
/Ant
ithes
is/
1 33
Th
e tw
o fa
ces o
f
real
ity
You
don
’t se
e th
at w
here
ver t
here
is b
ig, t
here
is sm
all;
whe
reve
r the
re is
smal
l, th
ere
is b
ig.
Sche
me
/Ant
ithes
is/
1 34
Th
e tw
o fa
ces o
f
real
ity
For i
nsta
nce,
if a
mon
k is
falli
ng a
slee
p du
ring
med
itatio
n, th
ey c
ome
with
a st
ick
and
“wha
ck!”
they
giv
e hi
m a
hit
on th
e ba
ck
Trop
e
/Onm
atap
oeia
/
1 34
Th
e tw
o fa
ces o
f
real
ity
This
is th
e pr
actic
e, n
ot to
hav
e an
ythi
ng, n
ot to
hav
e th
e fla
g an
d no
t to
have
the
win
d.
Sche
me
/Rep
etiti
on/
1 34
Th
e tw
o fa
ces o
f
real
ity
If th
ere
is a
flag
, the
n th
ere
is a
win
d; if
ther
e is
a w
ind,
then
ther
e is
a fl
ag.
Sche
me
/Ana
stro
phe/
1 34
Th
e tw
o fa
ces o
f
real
ity
In th
e gr
eat v
oid
ther
e is
no fla
g an
d th
ere
is n
o w
ind.
The
re is
no
birth
, no
old
age,
no
sick
ness
or d
eath
.
Sche
me
/Rep
etiti
on/
1 35
Th
e tw
o fa
ces o
f
real
ity
It’s i
n th
is w
ay th
at su
ffer
ing
is e
xtin
guis
hed.
The
re is
n’t a
nybo
dy to
acq
uire
suff
erin
g, so
who
is it
who
suff
ers?
Trop
e
/Rhe
tori
cal
ques
tion/
1 37
Th
e tw
o fa
ces o
f
real
ity
Whe
n th
ese
thin
gs n
o lo
nger
opp
ose
us, t
hey
beco
me
stab
ilize
d an
d ba
lanc
e ou
t. Th
ere
are
no
long
er u
ps a
nd d
owns
or h
ighs
and
low
s.
Sche
me
/Ant
ithes
is/
1 38
Th
e tw
o fa
ces o
f
real
ity
A sp
ider
spin
s its
web
in a
ny c
onve
nien
t nic
he a
nd th
en si
ts in
the
cent
er, s
tayi
ng st
ill a
nd
sile
nt.
Sche
me
/Alli
tera
tion/
65
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 38
Th
e tw
o fa
ces o
f
real
ity
As s
oon
as it
touc
hes a
nd sh
akes
the
web
, “bo
op!”
– th
e sp
ider
pou
nces
and
win
ds it
up
in
thre
ad.
Trop
e
/Onm
atap
oeia
/
1 39
Th
e tw
o fa
ces o
f
real
ity
Our
min
d is
com
para
ble
to th
e sp
ider
, our
moo
ds a
nd m
enta
l im
pres
sion
s are
com
para
ble
to
the
vario
us in
sect
s.
Trop
e
/Met
apho
r/
1 39
Th
e tw
o fa
ces o
f
real
ity
It’s v
ery
impo
rtant
to k
now
the
min
d an
d th
e ot
her s
ense
s wel
l. K
now
how
they
com
e an
d
how
they
go,
how
they
aris
e an
d ho
w th
ey p
ass a
way
. Und
erst
and
this
thor
ough
ly!
Sche
me
/Rep
etiti
on/
1 39
Th
e tw
o fa
ces o
f
real
ity
This
is th
e no
uris
hmen
t for
our
min
ds, n
ouris
hmen
t for
one
who
is a
war
e an
d un
ders
tand
ing.
Sc
hem
e
/Rep
etiti
on/
1 39
Th
e tw
o fa
ces o
f
real
ity
Why
do
you
wan
t the
m w
hen
thei
r nat
ure
is p
ain
and
suff
erin
g? It
’s n
ot o
urs,
ther
e is
no
self,
ther
e is
not
hing
bel
ongi
ng to
us.
So w
hy a
re y
ou se
ekin
g af
ter t
hem
? A
ll pr
oble
ms a
re e
nded
right
her
e. W
here
els
e w
ill y
ou e
nd th
em?
Trop
e
/Rhe
tori
cal
ques
tion/
1 43
Th
e tra
inin
g of
the
hear
t
The
virtu
es o
f pat
ienc
e an
d en
dura
nce
are
beco
min
g w
eake
r and
wea
ker.
Sche
me
/Rep
etiti
on/
1 44
Th
e tra
inin
g of
the
hear
t
This
hea
rt of
our
s liv
es in
a c
age,
and
wha
t’s m
ore,
ther
e’s a
ragi
ng ti
ger i
n th
at c
age.
Tr
ope
/Per
soni
ficat
ion/
1 44
Th
e tra
inin
g of
the
hear
t
Eat l
ittle
! Sle
ep li
ttle!
Spe
ak li
ttle!
Wha
teve
r it m
ay b
e of
wor
ldly
hab
it, le
ssen
them
, go
agai
nst t
heir
pow
er.
Sche
me
/Clim
ax/
1 46
Th
e tra
inin
g of
the
hear
t
Ana
nda,
pra
ctic
e a
lot!
Dev
elop
you
r pra
ctic
e co
nsta
ntly
! The
n al
l you
r dou
bts,
all y
our
unce
rtain
ties,
will
van
is.
Sche
me
/Clim
ax/
66
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 46
Th
e tra
inin
g of
the
hear
t
Thes
e do
ubts
will
nev
er v
anis
h th
roug
h th
inki
ng, n
or th
roug
h th
eoriz
ing,
nor
thro
ugh
spec
ulat
ion,
nor
thro
ugh
disc
ussi
on. N
or w
ill d
oubt
s dis
appe
ar b
y no
t doi
ng a
nyth
ing.
Sche
me
/Rep
etiti
on/
1 47
Th
e tra
inin
g of
the
hear
t
You
mus
t tak
e th
is u
ntra
ined
hea
rt, th
e sa
me
as y
ou w
ould
take
a tr
ee in
its n
atur
al st
ate
in
the
fore
st, a
nd tr
ain
this
nat
ural
hea
rt so
that
it is
mor
e refin
ed, s
o th
at it
’s m
ore
awar
e of
itsel
f and
is m
ore
sens
itive
.
Sche
me
/Rep
etiti
on/
1 48
Th
e tra
inin
g of
the
hear
t
If w
e st
art t
o th
ink
and
cons
ider
it fu
rther
, tha
t too
, is j
ust a
s it i
s. If
we
let g
o, th
en fo
rm is
mer
ely
form
, sou
nd is
mer
ely
soun
d, o
dor i
s mer
ely
odor
, tas
te is
mer
ely
tast
e, to
uch
is
mer
ely
touc
h an
d th
e he
art i
s mer
ely
the
hear
t.
Sche
me
/Rep
etiti
on/
1 48
Th
e tra
inin
g of
the
hear
t
Oil
and
wat
er a
re d
iffer
ent i
n th
e sa
me
way
that
a w
ise
man
and
an
igno
rant
man
are
diff
eren
t.
Trop
e
/Met
apho
r/
1 48
Th
e tra
inin
g of
the
hear
t
If w
e ha
ve u
nder
stan
ding
like
this
, the
n w
e ca
n fo
llow
the
Dha
mm
a. T
he D
ham
ma
will
beco
me
clea
rer a
nd c
lear
er.
Sche
me
/Rep
etiti
on/
1 48
Th
e tra
inin
g of
the
hear
t
The
one
who
und
erst
ands
the
Dha
mm
a, u
nder
stan
ds h
imse
lf; a
nd th
e on
e w
ho u
nder
stan
ds
him
self,
und
erst
ands
the
Dha
mm
a.
Sche
me
/Ana
stro
phe/
1 49
Th
e tra
inin
g of
the
hear
t
Defi
lem
ents
are
just
defi
lem
ents
, the
hea
rt is
just
the
hear
t. Sc
hem
e
/Rep
etiti
on/
1 49
Th
e tra
inin
g of
the
hear
t
All
cond
ition
s tha
t are
bor
n in
our
hea
rt, a
ll co
nditi
ons o
f our
min
d, a
ll co
nditi
ons o
f our
body
, are
alw
ays i
n a
stat
e of
cha
nge.
Sche
me
/Rep
etiti
on/
1 50
Th
e tra
inin
g of
the
hear
t
If I
thro
w it
aw
ay, I
won
’t ha
ve a
nyth
ing
left!
Sc
hem
e
/Clim
ax/
67
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 50
Th
e tra
inin
g of
the
hear
t
If I
thro
w it
aw
ay, I
will
hav
e no
thin
g Sc
hem
e
/Clim
ax/
1 51
Th
e tra
inin
g of
the
hear
t
Our
prid
e, o
ur se
nse
of se
lf th
at w
e de
pend
on,
is th
e sa
me
as th
at h
eavy
rock
. Tr
ope
/Met
apho
r/
1 56
Li
ving
with
the
cobr
a
Whe
n w
e no
long
er id
entif
y w
ith a
nd c
ling
to h
appi
ness
and
suff
erin
g, w
e ar
e si
mpl
y le
ft
with
the
natu
ral w
ay o
f thi
ngs.
Sche
me
/Ant
ithes
is/
1 56
Li
ving
with
the
cobr
a
So w
e sa
y th
at m
enta
l act
ivity
is li
ke th
e de
adly
poi
sono
us c
obra
. Tr
ope
/Sim
ile/
1 56
Li
ving
with
the
cobr
a
We
don’
t wan
t evi
l, ne
ither
do
we
wan
t goo
d. W
e w
ant n
eith
er h
eavi
ness
nor
ligh
tnes
s,
happ
ines
s nor
suff
erin
g. W
hen,
in th
is w
ay, o
ur w
antin
g is
at a
n en
d, p
eace
is fi
rmly
esta
blis
hed.
Sche
me
/Ant
ithes
is/
1 56
Li
ving
with
the
cobr
a
Enlig
hten
men
t and
del
usio
n ex
ist i
n th
e sa
me
plac
e, ju
st a
s do
hot a
nd c
old.
It’s
hot
whe
re it
was
col
d an
d co
ld w
here
it w
as h
ot.
Sche
me
/Ana
stro
phe/
1 61
Li
ving
with
the
cobr
a
Just
kee
p on
doi
ng it
, kee
p on
with
the
prac
tice!
Sc
hem
e
/Clim
ax/
1 63
Li
ving
with
the
cobr
a
Ever
yone
is re
ally
the
sam
e. W
e ar
e al
l the
sam
e “m
ake”
and
com
e fr
om th
e sa
me
com
pany
. Sc
hem
e
/Rep
etiti
on/
1 64
Li
ving
with
the
cobr
a
You
will
find
that
this
way
of s
eein
g th
ings
get
s eas
ier a
nd e
asie
r as y
ou g
radu
ally
brin
g it
all
toge
ther
.
Sche
me
/Rep
etiti
on/
68
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 66
Li
ving
with
the
cobr
a
his i
s sur
rend
er –
rem
ovin
g at
tach
men
t, no
t clin
ging
any
mor
e, o
r, if
ther
e st
ill is
clin
ging
, it
beco
mes
less
and
less
.
Sche
me
/Rep
etiti
on/
1 68
Li
ving
with
the
cobr
a
Ther
e’s n
o re
ason
why
we
shou
ld w
ant t
o ha
ve th
ese
thin
gs in
acc
orda
nce
with
our
like
s and
disl
ikes
.
Sche
me
/Ant
ithes
is/
1 68
Li
ving
with
the
cobr
a
This
stup
idity
is n
ot se
eing
impe
rman
ence
, uns
atis
fact
orin
ess a
nd n
ot-s
elf.
That
whi
ch w
e
like
we
see
as g
ood
and
right
.
Sche
me
/Ant
ithes
is/
1 68
Li
ving
with
the
cobr
a
It’s s
uffe
ring,
bec
ause
thes
e th
ings
whi
ch a
re c
onst
antly
risi
ng a
nd fa
lling
don
’t fo
llow
the
influ
ence
of o
ur m
inds
.
Sche
me
/Ant
ithes
is/
1 69
Li
ving
with
the
cobr
a
We
unde
rsta
nd th
en, t
hat w
e ar
en’t
able
to ju
st b
ring
abou
t var
ious
moo
ds a
s we
wis
h. B
oth
good
moo
ds a
nd b
ad m
oods
are
goi
ng to
com
e up
.
Sche
me
/Ant
ithes
is/
1 69
Li
ving
with
the
cobr
a
Som
etim
es w
e fe
el h
appy
and
som
etim
es w
e fe
el sa
d, b
ut th
is is
nat
ural
. Som
etim
es w
e’ll
feel
ple
ased
and
at o
ther
tim
es d
isap
poin
ted.
Wha
t we
like
we
hold
as g
ood,
and
wha
t we
don’
t lik
e w
e ho
ld a
s bad
.
Sche
me
/Ant
ithes
is/
1 70
Li
ving
with
the
cobr
a
We’
ll co
me
to se
e th
at e
very
body
has
to d
ie, w
heth
er ri
ch o
r poo
r. W
e’ll
see
both
goo
d an
d
evil
peop
le d
ie. E
very
body
mus
t die
!
Sche
me
/Ant
ithes
is/
1 71
Li
ving
with
the
cobr
a
Look
ing
at it
one
way
we
can
talk
abo
ut th
e fo
od o
f the
bre
ath.
Whi
le si
tting
or w
alki
ng w
e
brea
the,
whi
le sl
eepi
ng w
e br
eath
e, w
hile
aw
ake
we
brea
the.
If w
e do
n’t b
reat
he th
en w
e di
e
Sche
me
/Rep
etiti
on/
1 71
Li
ving
with
the
cobr
a
If th
ere’
s no
brea
thin
g w
hat s
houl
d w
e do
? Ju
st k
now
it!
Trop
e
/Rhe
tori
cal
ques
tion/
69
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 72
Li
ving
with
the
cobr
a
If w
e ha
ve th
is k
ind
of u
nder
stan
ding
it’s
like
taki
ng h
old
of o
ne st
rand
of a
rope
whi
ch
mak
es u
p a
knot
.
Trop
e
/Sim
ile/
1 73
Li
ving
with
the
cobr
a
Bef
ore,
we
felt
that
thin
gs w
ould
alw
ays b
e th
e w
ay th
ey w
ere
and,
in so
doi
ng, w
e pu
lled
the
knot
tigh
ter a
nd ti
ghte
r
Sche
me
/Rep
etiti
on/
1 73
Li
ving
with
the
cobr
a
We
see
that
bot
h ha
ppin
ess a
nd u
nhap
pine
ss a
re n
ot p
erm
anen
t. Sc
hem
e
/Ant
ithes
is/
1 74
Li
ving
with
the
cobr
a
Kno
w su
ffer
ing,
kno
w th
e ca
use
of su
ffer
ing,
kno
w fr
eedo
m fr
om su
ffer
ing
and
know
the
path
whi
ch le
ads o
ut o
f suf
ferin
g. T
his i
s mag
ga (p
ath)
. It g
oes l
ike
this
: rig
ht v
iew
, rig
ht
thou
ght,
right
spee
ch, r
ight
act
ion,
righ
t liv
elih
ood,
righ
t eff
ort,
right
min
dful
ness
, rig
ht
conc
entra
tion.
Sche
me
/Rep
etiti
on/
1 76
Ju
st d
o it
It is
at p
eace
. And
then
whe
n yo
u le
ave
the
sam
¯adh
i, yo
u sa
y to
you
rsel
f, ‘W
ow, w
hat w
as
that
?’
Trop
e
/Apo
stro
phe/
1 77
Ju
st d
o it
Do
it ag
ain
and
agai
n un
til y
ou st
art t
o su
ffer
, unt
il yo
u do
ubt,
until
wis
dom
aris
es. “
Wha
t am
I thi
nkin
g ab
out,
liftin
g a
glas
s bac
kwar
ds a
nd fo
rwar
ds li
ke a
mad
man
.”
Trop
e
/Apo
stro
phe/
1 78
Ju
st d
o it
Som
etim
es y
ou m
ay w
onde
r, “E
h, a
m I
brea
thin
g?”
This
is th
e sa
me
mis
take
. Tr
ope
/Apo
stro
phe/
1 81
Ju
st d
o it
Don
’t be
in a
hur
ry to
cha
nge
your
pos
ition
. Don
’t th
ink
to y
ours
elf,
“Oh!
It’s
too
muc
h.
Take
a re
st.”
Pat
ient
ly e
ndur
e un
til th
e pa
in h
as re
ache
d a
peak
, the
n en
dure
som
e m
ore.
Trop
e
/Apo
stro
phe/
70
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
1 81
Ju
st d
o it
Endu
re, e
ndur
e un
til y
ou c
an’t
keep
up
the
man
tra ‘B
uddh
o ’.
Then
take
the
poin
t whe
re it
hurts
as y
our o
bjec
t . “O
h! P
ain.
Pai
n. R
eal p
ain.
”You
can
mak
e th
e pa
in y
our m
edita
tion
obje
ct ra
ther
than
Bud
dho.
Trop
e
/Apo
stro
phe/
1 81
Ju
st d
o it
Be
awar
e w
hile
you
’re
eatin
g. Y
ou c
hew
and
swal
low
. Whe
re d
oes t
he fo
od g
o to
? Tr
ope
/Rhe
tori
cal
ques
tion/
1 83
Ju
st d
o it
It’s l
ike
the
wat
er in
this
bot
tle. W
hen
we
tip it
out
slow
ly th
en th
e w
ater
drip
s
out..
.drip
...dr
ip...
drip
.
Trop
e
/Onm
atap
oeia
/
1 83
Ju
st d
o it
No
mat
ter w
heth
er w
e ar
e st
andi
ng, w
alki
ng, s
ittin
g or
lyin
g do
wn,
that
kno
wle
dge
is
unin
terr
upte
d, fl
owin
g lik
e a
stre
am o
f wat
er.
Trop
e
/Sim
ile/
1 89
Q
uest
ions
and
Ans
wer
s
No
disc
rimin
atin
g be
twee
n go
od a
nd b
ad, h
ot a
nd c
old,
fast
and
slow
. No
me
and
no y
ou, n
o
self
at a
ll. Ju
st w
hat t
here
is.
Sche
me
/Ant
ithes
is/
1 98
Q
uest
ions
and
Ans
wer
s
If y
ou h
ave
prac
ticed
and
und
erst
and
not-c
lingi
ng, y
ou c
an th
en re
turn
to th
e bo
oks.
They
will
be
like
a sw
eet d
esse
rt. T
hey
can
help
you
to te
ach
othe
rs.
Trop
e
/Sim
ile/
2 10
1 Tr
aini
ng th
is
min
d
The
poin
t is t
hat r
eally
this
min
d of
our
s is n
atur
ally
pea
cefu
l. It’
s stil
l and
cal
m li
ke a
leaf
that
is n
ot b
eing
blo
wn
abou
t by
the
win
d.
Trop
e
/Sim
ile/
2 10
3 O
n m
edita
tion
To c
alm
the
min
d m
eans
to fi
nd th
e rig
ht b
alan
ce.
Trop
e
/Met
apho
r/
2 10
3 O
n m
edita
tion
We
don’
t get
con
cern
ed o
ver h
ow lo
ng o
r sho
rt, w
eak
or st
rong
it is
, we
just
not
e it.
We
sim
ply
let i
t be,
follo
win
g th
e na
tura
l bre
athi
ng.
Sche
me
/Ant
ithes
is/
71
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 10
5 O
n m
edita
tion
Onc
e th
e m
ind
is p
eace
ful t
his c
an h
appe
n. Y
ou d
on’t
have
to th
ink
a lo
t abo
ut it
, it j
ust
happ
ens b
y its
elf w
hen
the
caus
al fa
ctor
s are
ripe
.
Trop
e
/Met
apho
r/
2 10
6 O
n m
edita
tion
Thes
e im
pres
sion
s aris
e fr
om a
mid
dlin
g so
rt of
tran
quill
ity; b
ut if
the
min
d is
trul
y ca
lm a
nd
clea
r we
don’
t dou
bt th
e va
rious
men
tal i
mpr
essi
ons o
r im
ager
y w
hich
aris
e.
Sche
me
/Alli
tera
tion/
2 10
6 O
n m
edita
tion
Her
e, th
e m
ind
is fu
zzy.
Thi
s is t
he m
ind
getti
ng lo
st in
its m
oods
. It’s
like
the
moo
n go
ing
behi
nd a
clo
ud.
Trop
e
/Sim
ile/
2 10
6 O
n m
edita
tion
To a
ttain
cal
m in
adh
i. pr
actic
e, it
’s n
ot n
eces
sary
to b
e si
tting
in m
edita
tion,
for i
nsta
nce.
Just
ask
you
rsel
f , “E
h, w
hat i
s tha
t?..”
and
solv
e yo
ur p
robl
em ri
ght t
here
!
Trop
e
/Apo
stro
phe/
2 10
7 O
n m
edita
tion
Thro
ugh
seei
ng, t
hrou
gh re
linqu
ishi
ng, t
hey
atta
in p
eace
. The
y at
tain
pea
ce th
roug
h kn
owin
g
the
truth
, thr
ough
goi
ng b
eyon
d do
ubt,
beca
use
they
hav
e se
en it
for t
hem
selv
es.
Sche
me
/Rep
etiti
on/
2 10
8 O
n m
edita
tion
To b
e co
llect
ed, t
o be
con
trolle
d, th
is is
mor
ality
. Sc
hem
e
/Epi
stro
phe/
2 11
0 Th
e pa
th in
harm
ony
As t
he m
ind
beco
mes
mor
e refin
ed, s
o do
es th
e br
eath
. Fee
lings
will
bec
ome fin
er a
nd fi
ner,
the
body
and
min
d w
ill b
e lig
ht.
Sche
me
/Rep
etiti
on/
211
2Th
e pa
th in
harm
ony
Whe
re th
ere
is p
eace
, the
re is
hap
pine
ss. W
hen
ther
e is
hap
pine
ss, a
ttach
men
t and
clin
ging
to
that
hap
pine
ss a
rise.
Sche
me
/Epi
stro
phe/
2 11
3 Th
e pa
th in
harm
ony
Wis
dom
can
not a
rise
beca
use
ther
e is
no
awar
enes
s of r
ight
and
wro
ng.
Sche
me
/Ant
ithes
is/
2 11
4 Th
e pa
th in
harm
ony
Hap
pine
ss is
not
pea
ce, p
eace
is n
ot h
appi
ness
. Sc
hem
e
/Ana
stro
phe/
72
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 11
5 Th
e m
iddl
e w
ay
with
in
We
have
alre
ady
hear
d en
ough
abo
ut w
hole
som
e an
d un
who
leso
me
cond
ition
s to
unde
rsta
nd
som
ethi
ng a
bout
them
.
Sche
me
/Ant
ithes
is/
2 11
6 Th
e m
iddl
e w
ay
with
in
Suff
erin
g its
elf i
s the
coa
rse
form
. You
can
com
pare
them
to a
snak
e. T
he h
ead
of th
e sn
ake
is u
nhap
pine
ss, t
he ta
il of
the
snak
e is
hap
pine
ss. T
he h
ead
of th
e sn
ake
is re
ally
dan
gero
us, i
t
has t
he p
oiso
nous
fang
s. If
you
touc
h it,
the
snak
e w
ill b
ite st
raig
ht a
way
. But
nev
er m
ind
the
head
, eve
n if
you
go a
nd h
old
onto
the
tail,
it w
ill tu
rn a
roun
d an
d bi
te y
ou ju
st th
e sa
me,
beca
use
both
the
head
and
the
tail
belo
ng to
the
one
snak
e.
Trop
e
/Met
apho
r/
2 11
6 Th
e m
iddl
e w
ay
with
in
In th
e sa
me
way
, bot
h ha
ppin
ess a
nd u
nhap
pine
ss, o
r ple
asur
e an
d sa
dnes
s, ar
ise
from
the
sam
e pa
rent
– w
antin
g.
Sche
me
/Ant
ithes
is/
2 11
6 Th
e m
iddl
e w
ay
with
in
Thus
, if y
ou a
ren’
t aw
are,
eve
n if
you’
re h
appy
, suf
ferin
g is
imm
inen
t. It’
s jus
t the
sam
e as
grab
bing
the
snak
e’s t
ail –
if y
ou d
on’t
let g
o it
will
bite
.
Trop
e
/Sim
ile/
2 11
8 Th
e m
iddl
e w
ay
with
in
A fe
w d
ays l
ater
ano
ther
man
com
es to
you
r hou
se a
nd c
alls
out
, “H
ey! T
hat m
an w
ho
abus
ed y
ou th
e ot
her d
ay, h
e’s m
ad, h
e’s c
razy
! Has
bee
n fo
r yea
rs! H
e ab
uses
eve
rybo
dy
like
that
. Nob
ody
take
s any
not
ice
of a
nyth
ing
he sa
ys.”
Trop
e
/Apo
stro
phe/
2 11
8 Th
e m
iddl
e w
ay
with
in
As s
oon
as y
ou fi
nd o
ut th
e tru
th, e
very
thin
g ch
ange
s: “
Oh,
he’
s mad
! Tha
t exp
lain
s
ever
ythi
ng!”
Trop
e
/Apo
stro
phe/
2 11
9 Th
e m
iddl
e w
ay
with
in
Suff
erin
g ar
ises
stra
ight
away
. But
the
min
d pa
sses
thro
ugh
thes
e ch
ange
s so
rapi
dly
that
we
can’
t kee
p up
with
them
. It’s
the
sam
e as
whe
n yo
u fa
ll fr
om a
tree
.
Trop
e
/Sim
ile/
73
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 11
9 Th
e m
iddl
e w
ay
with
in
If w
e di
vide
it u
p as
it. i
s in
the
scrip
ture
s, w
e sa
y ig
nora
nce
give
s ris
e to
vol
ition
al a
ctiv
ities
,
volit
iona
l act
iviti
esgi
ve ri
se to
con
scio
usne
ss, c
onsc
ious
ness
give
s ris
eto
min
d an
d m
atte
r,
min
d an
d m
atte
r giv
e ris
e to
the
six
sens
e ba
ses,
the
sens
e ba
ses g
ive
rise
to se
nse
cont
act,
cont
act g
ives
rise
to fe
elin
g, fe
elin
g gi
ves r
ise
to w
antin
g, w
antin
g gi
ves r
ise
to c
lingi
ng,
clin
ging
giv
es ri
se to
bec
omin
g, b
ecom
ing
give
s ris
e to
birt
h, b
irth
give
s ris
e to
old
age
,
sick
ness
, dea
th, a
nd a
ll fo
rms o
f sor
row
. But
in tr
uth,
whe
n yo
u co
me
into
con
tact
with
som
ethi
ng y
ou d
on’t
like,
ther
e’s i
mm
edia
te su
ffer
ing!
Sche
me
/Rep
etiti
on/
2 12
0 Th
e m
iddl
e w
ay
with
in
You
can
’t ge
t ang
ry a
t the
car
s, sh
outin
g, “
Don
’t dr
ive
over
her
e! D
on’t
driv
e ov
er h
ere!
” It’
s
a fr
eew
ay, y
ou c
an’t
tell
them
that
.
Sche
me
/Clim
ax/
2 12
0 Th
e m
iddl
e w
ay
with
in
We
say
they
dis
turb
us,
like
whe
n w
e si
t in
med
itatio
n an
d he
ar a
soun
d. W
e th
ink,
“O
h, th
at
soun
d’s b
othe
ring
me.
”
Trop
e
/Apo
stro
phe/
2 12
1 Th
e m
iddl
e w
ay
with
in
The
Bud
dha
taug
ht u
s to
know
this
. Thi
s is p
eace
; pea
ce fr
om h
appi
ness
, unh
appi
ness
,
glad
ness
and
sorr
ow.
Sche
me
/Ant
ithes
is/
2 12
1 Th
e m
iddl
e w
ay
with
in
So th
e B
uddh
a sa
id. “
Ther
e is
no
mor
e be
com
ing
for m
e, fi
nish
ed is
the
holy
life
, thi
s is m
y
last
birt
h.”
Ther
e! H
e kn
ew th
e bi
rthle
ss a
nd th
e de
athl
ess.
Sche
me
/Clim
ax/
2 12
1 Th
e m
iddl
e w
ay
with
in
If y
ou d
on’t
reac
h it,
if y
ou d
on’t
reac
h th
e M
iddl
e W
ay, t
hen
you
won
’t tra
nsce
nd su
ffer
ing.
Sc
hem
e
/Epi
stro
phe/
2 12
2 Th
e pe
ace
beyo
nd
One
who
has
real
ized
the
Dha
mm
a is
like
one
who
has
real
ized
the
swee
tnes
s or s
ourn
ess o
f
the
frui
t.
Trop
e
/Sim
ile/
74
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 12
2 Th
e pe
ace
beyo
nd
They
are
sim
ply
to k
now
suff
erin
g, to
kno
w th
e ca
use
of su
ffer
ing,
to k
now
the
end
of
suff
erin
g an
d to
kno
wth
e pa
th o
f pra
ctic
e le
adin
g to
the
end
of su
ffer
ing.
Sche
me
/Rep
etiti
on/
2 12
3 Th
e pe
ace
beyo
nd
The
mor
e w
e try
to st
op it
, the
mor
e it
com
es o
n.
Sche
me
/Rep
etiti
on/
2 12
5 Th
e pe
ace
beyo
nd
Thin
gs w
hich
are
uns
tabl
e ar
e un
stab
le; t
hing
s whi
ch a
re n
ot b
eaut
iful a
re n
ot b
eaut
iful.
Sche
me
/Epa
nale
psis
/
2 12
6 Th
e pe
ace
beyo
nd
Even
if y
ou tr
y to
mix
them
, the
oil
rem
ains
oil
and
the
wat
er re
mai
ns w
ater
, bec
ause
they
are
of d
iffer
ent d
ensi
ty.
Sche
me
/Epa
nale
psis
/
2 12
7 Th
e pe
ace
beyo
nd
Whe
n th
e B
uddh
a w
as n
ewly
enl
ight
ened
he
gave
a se
rmon
abo
ut in
dulg
ence
in p
leas
ure
and
indu
lgen
ce in
pai
n. “
Mon
ks! I
ndul
genc
e in
ple
asur
e is
the
loos
e w
ay, i
ndul
genc
e in
pai
n is
the
tens
e w
ay.”
Sche
me
/Clim
ax/
2 13
1 Th
e pe
ace
beyo
nd
Mor
ality
is th
e fa
ther
and
mot
her o
f Dha
mm
a.
Trop
e
/Syn
ecdo
che/
2 13
1 Th
e pe
ace
beyo
nd
Mor
ality
is c
once
ntra
tion,
con
cent
ratio
n is
mor
ality
. Con
cent
ratio
n is
wis
dom
, wis
dom
is
conc
entra
tion.
Sche
me
/Ana
stro
phe/
2 13
1 Th
e pe
ace
beyo
nd
The
big
man
go g
row
s fro
m th
e sm
all m
ango
, the
smal
l man
go b
ecom
es a
big
one
. Sc
hem
e
/Ana
stro
phe/
2 13
2 Th
e pe
ace
beyo
nd
But
the
Dha
mm
a is
the
plac
e w
here
ther
e’s n
othi
ng –
not
hing
at a
ll.
Sche
me
/Rep
etiti
on/
75
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 13
3 O
peni
ng th
e
Dha
mm
a ey
e
In d
ue c
ours
e, it
gro
ws a
nd g
row
s unt
il it
buds
, flow
ers a
nd fr
uit a
ppea
r. Sc
hem
e
/Rep
etiti
on/
2 13
4 O
peni
ng th
e
Dha
mm
a ey
e
Und
erst
andi
ng li
ke th
is, t
hen
sitti
ng a
t the
foot
of a
tree
we
hear
the
Bud
dha’
s tea
chin
gTr
ope
/Met
apho
r/
2 13
5 O
peni
ng th
e
Dha
mm
a ey
e
At t
hat t
ime
the
Bud
dha
decl
ared
that
Aññ
¯ da
ñña
had
rece
ived
the
Eye
of D
ham
ma.
Sc
hem
e
/Syn
ecdo
che/
2 13
7 O
peni
ng th
e
Dha
mm
a ey
e
It kn
ows w
rong
ly a
nd it
sees
wro
ngly
. Kno
win
g w
rong
ly a
nd se
eing
wro
ngly
. Sc
hem
e
/Epa
nale
psis
/
2 13
7 O
peni
ng th
e
Dha
mm
a ey
e
Whe
n th
ere
is w
rong
kno
wle
dge
then
ther
e is
wro
ng v
iew
, wro
ng in
tent
ion,
wro
ng a
ctio
n,
wro
ng li
velih
ood
– ev
eryt
hing
is w
rong
!
Sche
me
/Rep
etiti
on/
2 13
8 O
peni
ng th
e
Dha
mm
a ey
e
Defi
lem
ents
wer
e th
ere.
He
com
pare
d it
to a
lotu
s lea
f in
a po
nd o
f wat
er. T
he le
af a
nd th
e
wat
er e
xist
toge
ther
, the
y ar
e in
con
tact
, but
the
leaf
doe
sn’t
beco
me
dam
p. T
he w
ater
is li
ke
defil
emen
ts a
nd th
e lo
tus l
eaf i
s the
Enl
ight
ened
Min
d.
Trop
e
/Met
apho
r/
2 13
8 O
peni
ng th
e
Dha
mm
a ey
e
Goo
d, e
vil,
happ
ines
s and
unh
appi
ness
, rig
ht a
nd w
rong
aris
e, a
nd h
e kn
ows t
hem
all.
Sc
hem
e
/Ant
ithes
is/
2 13
9 O
peni
ng th
e
Dha
mm
a ey
e
The
wor
ld w
as st
ill th
ere:
gai
n an
d lo
ss, p
rais
e an
d cr
itici
sm, f
ame
and
disr
eput
e, h
appi
ness
and
unha
ppin
ess w
ere
all s
till t
here
.
Sche
me
/Ant
ithes
is/
2 13
9 O
peni
ng th
e
Dha
mm
a ey
e
Rig
ht v
iew
, rig
ht in
tent
ion,
righ
t spe
ech,
righ
t act
ion,
righ
t liv
elih
ood,
righ
t eff
ort,
right
min
dful
ness
and
righ
t con
cent
ratio
n: th
is is
the
eigh
tfold
pat
h.
Sche
me
/Rep
etiti
on/
76
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 14
1 O
peni
ng th
e
Dha
mm
a ey
e
Som
etim
es w
e m
ay th
ink,
“O
h, I
can’
t do
it, it
’s b
eyon
d m
e,”s
o w
e do
n’t e
ven
try.
Trop
e
/Apo
stro
phe/
2 14
1 O
peni
ng th
e
Dha
mm
a ey
e
Whe
n th
ose
bein
gs w
ish
to fi
nd p
eace
the
wor
ldly
dha
mm
as a
rise
right
ther
e. W
hen
the
min
d
is ig
nora
nt th
ere
is o
nly
dark
ness
. Whe
n kn
owle
dge
aris
es th
e m
ind
is il
lum
ined
, bec
ause
igno
ranc
e an
d kn
owle
dge
are
born
in th
e sa
me
plac
e. W
hen
igno
ranc
e ha
s aris
en, k
now
ledg
e
can’
t ent
er, b
ecau
se th
e m
ind
has a
ccep
ted
igno
ranc
e. W
hen
know
ledg
e ha
s aris
en, i
gnor
ance
cann
ot st
ay
Sche
me
/Rep
etiti
on/
2 14
1 O
peni
ng th
e
Dha
mm
a ey
e
Atta
chm
ent,
aver
sion
and
del
usio
n be
com
e lig
hter
, and
bei
ng li
ghte
r, Sc
hem
e
/Rep
etiti
on/
2 14
1 O
peni
ng th
e
Dha
mm
a ey
e
The
actio
n of
the
min
d en
terin
g th
e w
orld
ly d
ham
mas
is li
ke e
nter
ing
the
hous
e. T
he m
ind
whi
ch h
as d
estro
yed
the
wor
ldly
dha
mm
as is
like
one
who
has
left
the
hous
e
Trop
e
/Sim
ile/
2 14
1 O
peni
ng th
e
Dha
mm
a ey
e
Whe
n th
e pa
th h
as b
een
wel
l dev
elop
ed it
pur
ges t
he w
orld
ly d
ham
mas
. It b
ecom
es st
rong
er
and
stro
nger
.
Sche
me
/Rep
etiti
on/
2 14
4 O
peni
ng th
e
Dha
mm
a ey
e
He
does
n’t d
are
to d
o w
rong
eith
er in
fron
t of p
eopl
e or
beh
ind
thei
r bac
ks, i
n th
e lig
ht o
r in
the
dark
.
Sche
me
/Ant
ithes
is/
2 14
5 O
peni
ng th
e
Dha
mm
a ey
e
Thes
e da
ys, t
hose
of u
s who
still
hav
e do
ubts
abo
ut th
e pr
actic
e he
ar th
ese
thin
gs a
nd sa
y,
“Oh,
how
can
I do
that
?”
Trop
e
/Apo
stro
phe/
2 14
5 O
peni
ng th
e
Dha
mm
a ey
e
The
Bud
dha
said
, “D
on’t
clin
g to
the fiv
e kh
andh
as, l
et th
em g
o, g
ive
them
up!
” W
hy c
an’t
we
let t
hem
go?
Sche
me
/Clim
ax/
77
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 14
6 O
peni
ng th
e
Dha
mm
a ey
e
Unt
il w
e ha
ve se
en th
e D
ham
ma
we
mus
t hav
e pa
tienc
e an
d re
stra
int.
We
mus
t end
ure,
we
mus
t
reno
unce
! We
mus
tcul
tivat
e di
ligen
ce a
nd e
ndur
ance
.
Sche
me
/Rep
etiti
on/
2 14
6 O
peni
ng th
e
Dha
mm
a ey
e
This
nat
ure
is n
ot b
orn,
it d
oes n
ot a
ge n
or si
cken
. Thi
s nat
ure
does
not
die
. Thi
s nat
ure
is n
eith
er
happ
y no
r sad
, nei
ther
big
nor
smal
l, he
avy
nor l
ight
; nei
ther
shor
t nor
long
, bla
ck n
or w
hite
.
Sche
me
/Ant
ithes
is/
2 14
8 O
peni
ng th
e
Dha
mm
a ey
e
I tho
ught
, “Eh
h, if
we
clin
g to
con
vent
ion
it gi
ves r
ise
to d
efile
men
ts ri
ght t
here
. “ If
we
can
let
go o
f con
vent
ion,
giv
e up
our
opi
nion
s, w
e ar
e at
pea
ce.
Trop
e
/Apo
stro
phe/
2 14
8 O
peni
ng th
e
Dha
mm
a ey
e
Whe
n th
ey c
ome
and
say,
“O
h, p
leas
e to
uch
my
head
.”
Trop
e
/Apo
stro
phe/
2 14
9 O
peni
ng th
e
Dha
mm
a ey
e
“Oh,
bef
ore
we
wer
e fr
iend
s, w
e us
ed to
wor
k at
the
tailo
r’s t
oget
her,”
Tr
ope
/Apo
stro
phe/
2 15
0 O
peni
ng th
e
Dha
mm
a ey
e
If w
e ta
ke a
han
dful
of s
and
and
agre
e to
cal
l it s
alt,
does
this
mak
e it
salt?
It is
salt,
but
onl
y in
nam
e, n
ot in
real
ity.
Trop
e
/Rhe
tori
cal
ques
tion/
2 15
1 O
peni
ng th
e
Dha
mm
a ey
e
Our
mon
ey, o
ur h
ouse
, our
fam
ily, o
ur c
hild
ren
and
rela
tives
are
sim
ply
conv
entio
ns th
at w
e
have
inve
nted
, but
real
ly, s
een
in th
e lig
ht o
f Dha
mm
a,
Sche
me
/Rep
etiti
on/
2 15
1 O
peni
ng th
e
Dha
mm
a ey
e
Ther
e’s n
o re
al, t
rue
subs
tanc
e to
it, b
ut it
’s p
rope
r tha
t we
use
it. It
’s li
ke a
cup
. At s
ome
time
that
cup
mus
t bre
ak, b
ut w
hile
it’s
ther
e yo
u sh
ould
use
it a
nd lo
ok a
fter i
t wel
l.
Trop
e
/Sim
ile/
2 15
2 O
peni
ng th
e
Dha
mm
a ey
e
Why
is th
e fla
g flu
tterin
g in
the
win
d? I
say
it’s b
ecau
se o
f the
win
d.
Trop
e
/Rhe
tori
cal
ques
tion/
78
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
2 15
3 O
peni
ng th
e
Dha
mm
a ey
e
They
hea
r a c
hick
en c
row
ing,
“K
ak-k
a-de
hhhh
!” O
ne o
f the
m w
onde
rs, “
Is th
at a
roos
ter o
r a
hen?
” Th
ree
of th
em sa
y to
geth
er, “
It’s a
hen
,” b
ut th
e ot
her d
oesn
’t ag
ree,
he
insi
sts i
t’s a
roos
ter.
“How
cou
ld a
hen
cro
w li
ke th
at?”
he
asks
. The
y re
tort,
“W
ell,
it ha
s a m
outh
, has
n’t
it?”
Trop
e
/Ona
mat
apoe
ia/
2 15
7 O
peni
ng th
e
Dha
mm
a ey
e
“Oh,
it’s
a fl
ashl
ight
,” th
en w
e pu
t it d
own
agai
n. W
e ho
ld th
ings
in th
is w
ay. I
f Tr
ope
/Apo
stro
phe/
2 16
0 O
peni
ng th
e
Dha
mm
a ey
e
“Oh,
if I
was
bor
n in
the
time
of th
e B
uddh
a I w
ould
go
to N
ibb¯
ana.
” Tr
ope
/Apo
stro
phe/
2 16
3 O
peni
ng th
e
Dha
mm
a ey
e
I tho
ught
this
dis
cont
ent w
as d
ue to
my
com
pani
ons,
due
to m
y m
oods
, due
to m
y liv
ing
plac
e,
the
food
, the
wea
ther
, due
to th
is a
nd th
at. I
was
con
stan
tly se
arch
ing
for s
omet
hing
to su
it m
y
min
d. A
s
Sche
me
/Rep
etiti
on/
2 16
5 O
peni
ng th
e
Dha
mm
a ey
e
If w
e cu
t a lo
g of
woo
d an
d th
row
it in
to th
e riv
er, a
nd th
at lo
g do
esn’
t sin
k or
rot,
or ru
n
agro
und
on e
ither
of t
he b
anks
of t
he ri
ver,
that
log
will
defi
nite
ly re
ach
the
sea.
Our
pra
ctic
e is
com
para
ble
to th
is.
Trop
e
/Met
apho
r/
2 16
6 O
peni
ng th
e
Dha
mm
a ey
e
If th
e m
ind
does
n’t c
ling
to th
at h
appi
ness
or u
nhap
pine
ss it
will
reac
h th
e ‘o
cean
’ of
Nib
b¯an
a.
Trop
e
/Syn
ecdo
che/
2 16
7 O
peni
ng th
e
Dha
mm
a ey
e
It’s l
ike
a m
an w
ho ra
ises
chi
cken
s, bu
t doe
sn’t
colle
ct th
e eg
gs.
Trop
e
/Sim
ile/
2 16
8 O
peni
ng th
e
Dha
mm
a ey
e
One
who
stud
ies a
nd d
oesn
’t pr
actic
e is
like
a la
dle
in a
soup
pot
. It’s
in th
e po
t eve
ry d
ay b
ut
it do
esn’
t kno
w th
e fla
vour
of t
he so
up.
Trop
e
/Sim
ile/
79
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 17
1 Li
ving
Dha
mm
a D
id y
ou b
ring
your
act
ions
, spe
ech
and
thou
ghts
with
you
toda
y? O
r hav
e yo
u le
ft th
em a
t
hom
e?
Trop
e
/Rhe
tori
cal
ques
tion/
3 17
2 Li
ving
Dha
mm
a If
you
look
at y
ours
elve
s you
will
see
your
selv
es. W
hene
ver y
ou a
re a
bout
to d
o so
met
hing
bad,
if y
ou se
e yo
urse
lf in
tim
e yo
u ca
n st
op. I
f you
wan
t to
do so
met
hing
wor
thw
hile
then
look
at y
our m
ind.
If y
ou k
now
how
to lo
ok a
t you
rsel
f the
n yo
u’ll
know
abo
ut ri
g ht a
nd
wro
ng, h
arm
and
ben
efit,
vice
and
virt
ue.
Sche
me
/Rep
etiti
on/
3 17
3 Li
ving
Dha
mm
a Is
that
how
you
find
hap
pine
ss?
Is it
pos
sibl
e to
hav
e ev
eryb
ody
in th
e w
orld
say
only
ple
asan
t
thin
gs?
If th
at’s
how
it is
whe
n w
ill y
ou e
ver fi
nd h
appi
ness
? W
e m
ust u
se D
ham
ma
to fi
nd
happ
ines
s.
Trop
e
/Rhe
tori
cal
ques
tion/
3 17
3 Li
ving
Dha
mm
a W
hen
othe
rs sa
y th
ings
to o
ur li
king
, we
smile
. If t
hey
say
thin
gs th
at d
ispl
ease
us w
e fr
own.
Sc
hem
e
/Ant
ithes
is/
3 17
4 Li
ving
Dha
mm
a “O
h, th
is tr
ee is
too
shor
t! Th
is tr
ee is
hol
low
!”
Trop
e
/Apo
stro
phe/
3 17
4 Li
ving
Dha
mm
a H
ave
you
lear
ned
anyt
hing
from
them
yet
? Y
ou sh
ould
try
to le
arn
at le
ast o
ne th
ing
from
them
.
Trop
e
/Rhe
tori
cal
ques
tion/
3 17
5 Li
ving
Dha
mm
a Lo
ve is
tran
sien
t, ha
te is
tran
sien
t. H
ave
you
ever
love
d yo
ur c
hild
ren?
Of c
ours
e, y
ou h
ave.
Hav
e yo
u ev
er h
ated
them
? I’
ll an
swer
that
for y
ou, t
oo…
Som
etim
es y
ou d
o, d
on’t
you?
Can
you
thro
w th
em a
way
? N
o, y
ou c
an’t
thro
w th
em a
way
.
Trop
e
/Rhe
tori
cal
ques
tion/
80
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 17
5 Li
ving
Dha
mm
a Th
at’s
why
I sa
y w
hene
ver l
ove
aris
es, j
ust t
ell i
t “So
!”
Sche
me
/Clim
ax/
3 17
9 Li
ving
Dha
mm
a Th
e bo
dy d
eclin
es ju
st li
ke th
e lu
mp
of ic
e. S
oon,
just
like
the
lum
p of
ice,
it’s
all
gone
. Tr
ope
/Sim
ile/
3 18
0 Li
ving
Dha
mm
a H
air,
nails
, tee
th, s
kin.
.. w
hat a
re th
ey re
ally
like
? A
re th
ey p
retty
? A
re th
ey c
lean
? D
o th
ey
have
any
real
subs
tanc
e? A
re th
ey st
able
? N
o...
ther
e’s n
othi
ng to
them
.
Trop
e
/Rhe
tori
cal
ques
tion/
3 18
1 Li
ving
Dha
mm
a Su
ppos
e w
e di
dn’t
bath
e fo
r a w
eek,
cou
ld w
e be
ar to
be
clos
e to
eac
h ot
her?
We’
d re
ally
smel
l bad
.
Trop
e
/Rhe
tori
cal
ques
tion/
3 18
2 Li
ving
Dha
mm
a A
hun
dred
mal
e se
rvan
ts, a
hun
dred
fem
ale
serv
ants
, a h
undr
ed e
leph
ants
, a h
undr
ed c
ows,
a
hund
red
buff
aloe
s... a
hun
dred
of e
very
thin
g!
Sche
me
/Rep
etiti
on/
3 18
2 Li
ving
Dha
mm
a H
ow a
re y
ou g
oing
to li
ve w
ith th
at?
You
may
hav
e a
larg
e, lu
xurio
us h
ouse
, but
if y
our h
eart
isn’
t goo
d it
neve
r rea
lly w
orks
out
as y
ou e
xpec
ted.
Trop
e
/Rhe
tori
cal
ques
tion/
3 18
5 Li
ving
Dha
mm
a “H
ey, G
rand
ma!
Let
’s g
o to
the
mon
aste
ry!”
“Y
ou g
o ah
ead,
my
ears
are
n’t s
o go
od
anym
ore.
”
Sche
me
/Clim
ax/
3 18
5 Li
ving
Dha
mm
a W
hen
I was
a c
hild
I’d
see
old
peop
le g
ettin
g up
from
thei
r sea
t... “
Oh!
” G
ettin
g up
they
groa
n, “
Oh!
” Th
ere’
s alw
ays t
his “
Oh!
”
Trop
e
/Apo
stro
phe/
81
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 18
6 Li
ving
Dha
mm
a “I
’m fe
d up
with
the
wor
ld, L
uang
Por
.” “
Who
a! D
on’t
say
that
. Tho
se w
ords
are
real
ly
heav
y.”
Sche
me
/Clim
ax/
3 18
8 Li
ving
Dha
mm
a “O
h, th
at’s
wha
t Lua
ng P
or m
eant
. I c
ould
n’t s
ee it
bef
ore.
” Tr
ope
/Apo
stro
phe/
3 19
0 Li
ving
Dha
mm
a If
ther
e’s a
floo
d, d
on’t
let i
t floo
d yo
ur m
ind.
If th
ere’
s a fi
re, d
on’t
let i
t bur
n yo
ur h
eart.
Let
it be
mer
ely
the
hous
e, th
at w
hich
is o
utsi
de o
f you
, tha
t is fl
oode
d or
bur
ned.
Sche
me
/Epi
stro
phe/
3 19
1 Li
ving
Dha
mm
a W
hat s
orto
f thi
ngs d
o yo
u se
e? Is
ther
e an
ythi
ng in
trins
ical
ly c
lean
ther
e? C
an y
ou fi
nd a
ny
abid
ing
esse
nce?
Thi
s who
le b
ody
is st
eadi
ly d
egen
erat
ing.
The
Bud
dha
taug
ht u
s to
see
that
it
does
n’t b
elon
g to
us.
It’s n
atur
al fo
r the
bod
y to
be
this
way
, bec
ause
all
cond
ition
ed
phen
omen
a ar
e su
bjec
t to
chan
ge. H
ow e
lse
wou
ld y
ou h
ave
it? In
fact
ther
e is
not
hing
wro
ng
with
the
way
the
body
is.
Trop
e
/Rhe
tori
cal
ques
tion/
3 19
1 Li
ving
Dha
mm
a Th
e riv
er th
at m
ust fl
ow d
own
the
grad
ient
is li
ke y
our b
ody.
Hav
ing
been
you
ng y
our b
ody’
s
beco
me
old
and
is m
eand
erin
g to
war
ds it
s dea
th.
Trop
e
/Sim
ile/
3 19
3 Li
ving
Dha
mm
a “W
hat a
re th
ey g
oing
to d
o? W
hen
I’m
gon
e w
ho w
ill lo
ok a
fter t
hem
? H
ow w
ill th
ey
man
age?
” Th
is is
all
just
the
“wor
ld.”
Eve
n th
e m
ere
aris
ing
of a
thou
ght f
earin
g de
ath
or p
ain
is th
e w
orld
.
Trop
e
/Rhe
tori
cal
ques
tion/
3 19
5 Li
ving
Dha
mm
a O
ur b
irth
and
our d
eath
are
just
one
thin
g. It
’s li
ke a
tree
. Tr
ope
/Sim
ile/
3 19
5 Li
ving
Dha
mm
a B
irth
is d
eath
, dea
th is
birt
h; th
e br
anch
is th
e ro
ot, t
he ro
ot is
the
bran
ch.
Sche
me
/Ana
stro
phe/
82
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 19
7 Li
ving
Dha
mm
a Th
e m
ater
ial i
s dha
mm
a an
d th
e im
mat
eria
l is d
ham
ma.
So
we
live
with
dha
mm
a, in
dha
mm
a,
and
we
are
dham
ma.
Sche
me
/Epi
stro
phe/
3 20
1 Li
ving
Dha
mm
a W
hile
wor
king
we
brea
the,
whi
le sl
eepi
ng w
e br
eath
e, w
hile
sitti
ng d
own
we
brea
the.
.. Sc
hem
e
/Rep
etiti
on/
3 20
1 Li
ving
Dha
mm
a H
ave
any
of y
ou e
ver s
uffe
red?
... h
ave
you
ever
bee
n ha
ppy?
... R
ight
her
e is
the
truth
, thi
s is
whe
re y
ou m
ust p
ract
ice
the
Dha
mm
a. W
ho is
it w
ho is
hap
py?
The
min
d is
hap
py. W
ho
suff
ers?
The
min
d su
ffer
s. W
here
ver t
hese
thin
gs a
rise,
that
’s w
here
they
cea
se. H
ave
you
expe
rienc
ed h
appi
ness
?...
Hav
e yo
u ex
perie
nced
suff
erin
g?...
this
is o
ur p
robl
em. I
f we
know
suff
erin
g1, t
he c
ause
of s
uffe
ring,
the
end
of su
ffer
ing
and
the
way
lead
ing
to th
e en
d of
suff
erin
g w
e ca
n so
lve
the
prob
lem
.
Trop
e
/Rhe
tori
cal
ques
tion/
3 20
1 Li
ving
Dha
mm
a St
andi
ng is
suff
erin
g, si
tting
is su
ffer
ing,
lyin
g do
wn
is su
ffer
ing.
Sc
hem
e
/Rep
etiti
on/
3 20
2 Li
ving
Dha
mm
a Th
is is
like
hav
ing
an in
ject
ion
with
a sy
ringe
fille
d w
ith p
oiso
n. T
his i
s no
long
er a
n or
dina
ry
kind
of p
ain,
it is
the
pain
whi
ch e
nds i
n de
ath.
Trop
e
/Sim
ile/
3 20
3 Li
ving
Dha
mm
a H
ave
any
of y
ou e
ver b
een
angr
y? W
hen
you
are
angr
y do
es it
feel
goo
d or
bad
? If
it fe
els b
ad
then
why
don
’t yo
u th
row
that
feel
ing
away
, why
bot
her t
o ke
ep it
? H
ow c
an y
ou sa
y th
at y
ou
are
wis
e an
d in
telli
gent
whe
n yo
u ho
ld o
n to
such
thin
gs?
Trop
e
/Rhe
tori
cal
ques
tion/
3 20
4 Li
ving
Dha
mm
a O
ne o
f the
m sa
ys, “
Why
isn’
t tha
t chi
cken
like
the
duck
, why
isn’
t the
duc
k lik
e th
e ch
icke
n?”
Trop
e
/Rhe
tori
cal
ques
tion/
83
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 20
4 Li
ving
Dha
mm
a If
you
wan
t to
know
the
Dha
mm
a w
here
shou
ld y
ou lo
ok?
You
mus
t loo
k w
ithin
the
body
and
the
min
d.
Trop
e
/Rhe
tori
cal
ques
tion/
3 20
5 Li
ving
Dha
mm
a H
ave
you
seen
hap
pine
ss a
risin
g in
the
trees
? O
r fro
m th
e riv
ers,
or th
e w
eath
er?
Hap
pine
ss
and
suff
erin
g ar
e fe
elin
gs w
hich
aris
e in
our
ow
n bo
dies
and
min
ds.
Trop
e
/Rhe
tori
cal
ques
tion/
3 20
7 Li
ving
Dha
mm
a W
hen
suff
erin
g ce
ases
whe
re d
o w
e go
? W
hat a
re w
e pr
actic
ing
for?
We
are
prac
ticin
g to
relin
quis
h, n
ot in
ord
er to
gai
n an
ythi
ng.
Trop
e
/Rhe
tori
cal
ques
tion/
3 20
9 Li
ving
Dha
mm
a Th
ere
is h
appi
ness
and
then
ther
e is
suff
erin
g; th
ere
is su
ffer
ing
and
then
ther
e is
hap
pine
ss;
ther
e is
gai
n an
d th
en th
ere
is lo
ss; t
here
is lo
ss a
nd th
en th
ere
is g
ain.
Sche
me
/Ana
stro
phe/
3 21
1 Li
ving
Dha
mm
a W
hy h
ave
you
gath
ered
her
e to
pra
ctic
e m
edita
tion?
It’s
bec
ause
you
r hea
rts a
nd m
inds
do
not
unde
rsta
nd w
hat s
houl
d be
und
erst
ood.
Trop
e
/Rhe
tori
cal
ques
tion/
3 21
8 Li
ving
Dha
mm
a W
here
doe
s the
Dha
mm
a ar
ise?
It a
rises
with
our
kno
win
g an
d un
ders
tand
ing
in th
is w
ay.
Trop
e
/Rhe
tori
cal
ques
tion/
3 22
3 Li
ving
Dha
mm
a “O
h, th
ere
is n
othi
ng to
this
feel
ing
of li
king
her
e. It
’s ju
st a
feel
ing
that
aris
es a
nd p
asse
s
away
. Dis
like
is n
othi
ng m
ore,
just
a fe
elin
g th
at a
rises
and
pas
ses a
way
. Why
mak
e an
ythi
ng
out o
f the
m?”
Trop
e
/Apo
stro
phe/
84
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 22
3 Li
ving
Dha
mm
a B
ut if
we
still
hav
e fa
mily
and
resp
onsi
bilit
ies h
ow a
re w
e to
pra
ctic
e? S
ome
peop
le sa
y it’
s
impo
ssib
le to
pra
ctic
e D
ham
ma
as a
layp
erso
n. C
onsi
der,
whi
ch g
roup
is la
rger
, mon
ks o
r lay
peop
le?
Ther
e ar
e fa
r mor
e la
y pe
ople
.
Trop
e
/Rhe
tori
cal
ques
tion/
3 22
4 Li
ving
Dha
mm
a So
whe
re a
re y
ou g
oing
to fi
nd h
appi
ness
in th
is w
orld
? D
o yo
u ex
pect
eve
rybo
dy to
say
only
plea
sant
thin
gs to
you
all
your
life
? Is
that
pos
sibl
e? N
o, it
’s n
ot.
Trop
e
/Rhe
tori
cal
ques
tion/
3 22
5 Li
ving
Dha
mm
a H
e do
esn’
t hav
e to
wai
t for
som
eone
to c
all o
ut, “
It’s a
snak
e, it
’s a
snak
e, le
t go!
” Sc
hem
e
/Clim
ax/
3 22
5 Li
ving
Dha
mm
a So
me
are
smel
ling
of a
lcoh
ol, s
ome
are
smok
ing
ciga
rette
s, so
me
are
chat
ting.
.. th
ey d
on’t
look
at a
ll lik
e pe
ople
who
hav
e co
me
out o
f fai
th in
the
Dha
mm
a.
Sche
me
/Rep
etiti
on/
3 22
6 Li
ving
Dha
mm
a So
met
imes
I’m
giv
ing
a ta
lk, j
ust w
arm
ing
up to
the
subj
ect,
and
som
e dr
unka
rd w
ill c
all o
ut,
“Oka
y, m
ake
way
, mak
e w
ay fo
r the
Ven
erab
le S
ir, h
e’s c
omin
g ou
t now
!”
Trop
e
/Apo
stro
phe/
3
228
Livi
ng D
ham
ma
The
wor
ld re
volv
es li
ke th
is. I
t’s so
met
hing
like
a m
ango
tree
. Tr
ope
/Sim
ile/
3 23
1 Li
ving
Dha
mm
a Th
e B
uddh
a sa
id, “
Ah,
hel
lo, V
ener
able
Em
pty
Scrip
ture
!” ju
st li
ke th
at! T
hey
conv
erse
d fo
r a
whi
le u
ntil
it w
as ti
me
to g
o, a
nd th
en, a
s he
was
taki
ng le
ave
of th
e B
uddh
a, th
e B
uddh
a sa
id,
“Oh,
leav
ing
now
, Ven
erab
le E
mpt
y Sc
riptu
re?”
Trop
e
/Apo
stro
phe/
3 23
3 Li
ving
Dha
mm
a H
e st
oppe
d. “
Oka
y, c
ome
on u
p!”
and
so h
e ca
me
out.
Sche
me
/Clim
ax/
85
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 23
4 Li
ving
Dha
mm
a To
say
the
min
d st
ops m
eans
that
it fe
els a
s if i
t’s st
oppe
d, it
doe
sn’t
go ru
nnin
g he
re a
nd
ther
e. I t
’s li
ke h
avin
g a
shar
p kn
ife.I
f we
use
the
knife
to c
ut a
t thi
ngs i
ndis
crim
inat
ely,
such
as st
ones
, bric
ks a
nd g
rass
, our
kni
fe w
ill q
uick
ly b
ecom
e bl
unt.
We
shou
ld u
se it
for c
uttin
g
only
the
thin
gs it
was
mea
nt fo
r. O
ur m
ind
is th
e sa
me.
Trop
e
/Sim
ile/
3 23
5 Li
ving
Dha
mm
a Th
eref
ore,
the
prac
tice
is li
ke a
key
, the
key
of m
edita
tion.
Tr
ope
/Sim
ile/
3 23
5 Li
ving
Dha
mm
a “O
h! W
hat a
surp
rise.
I w
as ju
st th
inki
ng o
f loo
king
you
up!
” Tr
ope
/Apo
stro
phe/
3 23
5 Li
ving
Dha
mm
a If
our
min
d is
unt
rain
ed it
is li
ke a
chi
ld. W
e sp
eak
with
out a
war
enes
s and
act
with
out w
isdo
m.
We
may
fall
to ru
in o
r cau
se u
ntol
d ha
rm a
nd n
ot e
ven
know
it. A
chi
ld is
igno
rant
, it p
lays
as
child
ren
do. O
ur ig
nora
nt m
ind
is th
e sa
me.
Trop
e
/Sim
ile/
3 23
8 Li
ving
Dha
mm
a If
you
cle
arly
see
the
truth
of t
hese
thin
gs th
roug
h m
edita
tion
prac
tice,
then
suff
erin
g be
com
es
unw
ound
, lik
e a
scre
w o
r a b
olt.
Trop
e
/Sim
ile/
3 23
9 Li
ving
Dha
mm
a It
gets
tigh
ter a
nd ti
ghte
r unt
il it’
s cru
shin
g yo
u an
d yo
u su
ffer
ove
r eve
ryth
ing.
Sc
hem
e
/Rep
etiti
on/
3 24
0 Li
ving
Dha
mm
a Th
ey a
ppoi
nt y
ou a
city
cou
ncilo
r... “
Oka
y, so
I’m
a c
ity c
ounc
ilor..
. but
I’m
not
.” T
hey
appo
int y
ou h
ead
of th
e gr
oup.
“Sur
e I a
m, b
ut I’
m n
ot.”
Wha
teve
r the
y m
ake
of y
ou...
“Y
es I
am, b
ut I’
m n
ot!”
Trop
e
/Apo
stro
phe/
3 24
1 Li
ving
Dha
mm
a W
e m
ust c
onsi
der o
ur li
ves a
nd b
ring
them
in li
ne w
ith th
e te
achi
ng. W
e sh
ould
refle
ct th
at a
ll
bein
gs in
the
wor
ld a
re p
art o
f one
who
le. W
e ar
e lik
e th
em, t
hey
are
like
us.
Sche
me
/Rep
etiti
on/
86
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 24
2 Li
ving
Dha
mm
a So
me
peop
le th
ink
that
med
itatio
n m
eans
to si
t in
som
e sp
ecia
l way
, but
in a
ctua
l fac
t
stan
ding
, sitt
ing,
wal
king
and
recl
inin
g ar
e al
l veh
icle
sfor
med
itatio
n pr
actic
e
Trop
e
/Met
apho
r/
3 24
3 Li
ving
Dha
mm
a lo
ok a
t thi
s hal
l her
e...
“Oh,
it’s
so b
ig!”
you
say.
.. ac
tual
ly it
’s n
ot b
ig a
t all.
Tr
ope
/Apo
stro
phe/
3 24
3 Li
ving
Dha
mm
a B
ut th
en y
ou re
mem
ber,
“Oh,
of c
ours
e! W
hen
I wen
t to
bath
e I p
ut th
e pe
n in
my
back
pock
et.”
Trop
e
/Apo
stro
phe/
3 24
4 Li
ving
Dha
mm
a Th
e pe
ace
of w
isdo
m is
like
put
ting
the
rock
dow
n an
d no
t lift
ing
it up
, jus
t lea
ving
it w
here
it
is.
Trop
e
/Sim
ile/
3 24
4 Li
ving
Dha
mm
a A
smal
l gre
en m
ango
eve
ntua
lly g
row
s lar
ger a
nd la
rger
unt
il it
is ri
pe.
Sche
me
/Rep
etiti
on/
3 24
5 Li
ving
Dha
mm
a If
ther
e is
no
long
, the
re is
no
shor
t, if
ther
e is
no
right
ther
e ca
n be
no
wro
ng.
Sche
me
/Ant
ithes
is/
3 24
6 Li
ving
Dha
mm
a Th
is k
nife
has
a b
lade
, a ri
m a
nd a
han
dle.
Can
you
lift
only
the
blad
e? C
an y
ou li
ft on
ly th
e
rim o
f the
bla
de, o
r the
han
dle?
Trop
e
/Rhe
tori
cal
ques
tion/
3 24
7 Li
ving
Dha
mm
a M
ost p
eopl
e re
fuse
to le
arn
thei
r les
sons
from
nat
ure.
.. lik
e a
naug
hty
scho
olbo
y w
ho re
fuse
s
to d
o hi
s hom
ewor
k.
Trop
e
/Sim
ile/
3 24
8 Li
ving
Dha
mm
a If
we
unde
rsta
nd m
onke
ys th
en w
e w
on’t
beco
me
a m
onke
y. If
you
don
’t un
ders
tand
mon
keys
you
may
bec
ome
a m
onke
y yo
urse
lf!
Sche
me
/Ana
stro
phe/
87
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 24
9 Li
ving
Dha
mm
a If
you
see
the
Dha
mm
a yo
u se
e th
e B
uddh
a, se
eing
the
Bud
dha,
you
see
the
Dha
mm
a.
Sche
me
/Ana
stro
phe/
3 25
0 Li
ving
Dha
mm
a Pr
actic
ing
like
this
, you
r sat
i will
impr
ove
and
beco
me
mor
e co
nsis
tent
, jus
t lik
e th
e dr
ops o
f
wat
er fa
lling
from
a k
ettle
.
Trop
e
/Sim
ile/
3 25
1 Li
ving
Dha
mm
a If
we
tilt t
he k
ettle
just
a li
ttle,
the
drop
s fal
l out
slow
ly...
plo
p!...
plo
p!...
plo
p!...
Tr
ope
/Ono
mat
apoe
ia/
3 25
1 Li
ving
Dha
mm
a If
we
tilt t
he k
ettle
up
even
furth
er th
e “p
lops
” go
aw
ay a
nd th
e w
ater
flow
s int
o a
stea
dy
stre
am. W
here
do
the
“plo
ps”
go to
? Th
ey d
on’t
go a
nyw
here
, the
y ch
ange
into
a st
eady
stre
am o
f wat
er
Trop
e
/Rhe
tori
cal
ques
tion/
3 25
1 Li
ving
Dha
mm
a D
ham
ma
has n
o fo
rm. I
s it s
quar
e or
is it
roun
d? Y
ou c
an’t
say.
Tr
ope
/Rhe
tori
cal
ques
tion/
3 25
2 Li
ving
Dha
mm
a W
hene
ver a
nyth
ing
aris
es, a
ll yo
u ne
ed to
say
is, “
Oh,
ano
ther
one
!”
Trop
e
/Apo
stro
phe/
3 25
2 Li
ving
Dha
mm
a H
ave
you
ever
seen
flow
ing
wat
er?.
.. H
ave
you
ever
seen
still
wat
er?.
.. If
you
r min
d is
peac
eful
it w
ill b
e ju
st li
ke st
ill, fl
owin
g w
ater
. Hav
e yo
u ev
er se
en st
ill, fl
owin
g w
ater
? Th
ere!
You
’ve
only
eve
r see
n flo
win
g w
ater
and
still
wat
er, h
aven
’t yo
u?
Trop
e
/Rhe
tori
cal
ques
tion/
3 25
3 Li
ving
Dha
mm
a Y
our m
ind
will
be
like flo
win
g w
ater
, and
yet
it’s
still
. Tr
ope
/Sim
ile/
88
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 25
6 Li
ving
Dha
mm
a G
ood
and
evil
mai
ntai
n th
eir r
espe
ctiv
e co
nditi
ons –
like
hot w
ater
: it m
aint
ains
its h
otne
ss, i
t
does
n’t c
hang
e fo
r any
body
.
Trop
e
/Sim
ile/
3 25
6 Li
ving
Dha
mm
a In
our
pra
ctic
e w
e m
ust k
now
hea
t and
coo
lnes
s, rig
ht a
nd w
rong
, goo
d an
d ev
il. K
now
ing
evil,
for e
xam
ple,
we
will
not
cre
ate
the
caus
es fo
r evi
l, an
d ev
il w
ill n
ot a
rise.
Sche
me
/Ant
ithes
is/
3 25
7 Li
ving
Dha
mm
a Th
ey th
ink
that
if th
ey ju
st g
et e
noug
h m
oney
eve
ryth
ing
will
be
alrig
ht; s
o th
ey sp
end
all t
heir
time
look
ing
for m
oney
, the
y do
n’t l
ook
for g
oodn
ess.
This
is li
ke w
antin
g m
eat,
but n
ot
wan
ting
salt
to p
rese
rve
it: y
ou ju
st le
ave
the
mea
t aro
und
the
hous
e to
rot.
Trop
e
/Sim
ile/
3 26
0 Li
ving
Dha
mm
a Th
e m
ind
beco
mes
a sl
ave
of c
ondi
tions
, a sl
ave
of d
esire
. Tr
ope
/Per
soni
ficat
ion/
3 26
1 Li
ving
Dha
mm
a It
will
mak
e yo
u lo
ve a
nd m
ake
you
hate
, mak
e yo
u la
ugh
and
cry,
mak
e yo
u go
whi
chev
er
way
it p
ulls
you
.
Sche
me
/Rep
etiti
on/
3 26
1 Li
ving
Dha
mm
a H
air,
nails
, tee
th, s
kin.
.. ar
e th
ey st
ill th
e sa
me
as th
ey u
sed
to b
e? T
he c
ondi
tion
of th
e bo
dy is
cons
tant
ly c
hang
ing,
so it
is im
perm
anen
t. Is
the
body
stab
le?
Is th
e m
ind
stab
le?
Thin
k ab
out
it.
Trop
e
/Rhe
tori
cal
ques
tion/
3 26
3 Li
ving
Dha
mm
a G
ood,
evi
l, hi
gh, l
ow, b
lack
and
whi
te a
re a
ll de
term
inat
ions
. Sc
hem
e
/Ant
ithes
is/
3 26
3 Li
ving
Dha
mm
a W
hen
clin
ging
is fi
nish
ed w
ith, s
tate
s of b
eing
are
fini
shed
with
. Whe
n st
ates
of b
eing
are
finis
hed
with
, the
re is
no
mor
e bi
rth o
r dea
th.
Sche
me
/Rep
etiti
on/
3 26
7 Li
ving
Dha
mm
a yo
ur m
ind
will
sink
dow
n in
to th
e bo
g, li
ke a
frog
goi
ng in
to a
hol
e.
Trop
e
/Sim
ile/
89
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
3 26
8 Li
ving
Dha
mm
a G
ood
actio
ns b
ring
good
resu
lts, b
ad a
ctio
ns b
ring
bad
resu
lts.
Sche
me
/Epa
nale
psis
/
3 26
9 Li
ving
Dha
mm
a In
the
sam
e w
ay, w
hy sh
ould
n’t y
ou se
e yo
ur o
wn
purit
y? Y
ou se
e it
all –
the
peac
eful
, the
agita
ted,
the
liber
atio
n or
the
bond
age
Trop
e
/Rhe
tori
cal
ques
tion/
3 27
0 Li
ving
Dha
mm
a Th
en y
ou te
ll hi
m h
ow it
cam
e ab
out.
“Oh,
it’s
like
that
, is i
t? T
ake
this
med
icin
e an
d try
it
out.”
Trop
e
/Apo
stro
phe/
3 27
0 Li
ving
Dha
mm
a A
s for
the
Bra
hman
s, th
ey ju
st ti
e a
strin
g ar
ound
you
r wris
t and
say,
“O
kay,
be
wel
l, be
stro
ng, w
hen
I lea
ve th
is p
lace
you
just
get
righ
t on
up a
nd e
at a
hea
rty m
eal a
nd b
e w
ell.”
Trop
e
/Apo
stro
phe/
4 27
4 Fo
od fo
r the
hear
t
FIG
HT
GR
EED
, figh
t ave
rsio
n, fi
ght d
elus
ion.
.. th
ese
are
the
enem
y.
Sche
me
/Rep
etiti
on/
4 27
5 Fo
od fo
r the
hear
t
We fig
ht, b
ut w
e fig
ht o
nly
the
defil
emen
ts; i
f the
re is
gre
ed, w
e fig
ht th
at; i
f the
re is
ave
rsio
n,
we fig
ht th
at; i
f the
re is
del
usio
n, w
e st
rive
to g
ive
it up
.
Sche
me
/Rep
etiti
on/
4 27
5 Fo
od fo
r the
hear
t
Just
like
all
the
river
s and
stre
ams w
hich
flow
to th
e se
a...
once
they
ent
er th
e se
a th
ey a
ll ha
ve
the
sam
e ta
ste
and
colo
r. It’
s the
sam
e w
ith p
eopl
e. W
hen
they
ent
er th
e st
ream
of D
ham
ma,
it’s t
he o
ne D
ham
ma.
Trop
e
/Sim
ile/
4 27
7 Fo
od fo
r the
hear
t
We
know
wha
t is g
oing
on.
Whe
n th
e ey
e se
es fo
rms:
is th
is p
rope
r or i
mpr
oper
? W
hen
the
ear
hear
s sou
nd: i
s thi
s app
ropr
iate
or i
napp
ropr
iate
? Is
it h
arm
ful?
Is it
wro
ng, I
s it r
ight
? A
nd so
on li
ke th
is w
ith e
very
thin
g. If
we
unde
rsta
nd w
e he
ar th
e D
ham
ma
all t
he ti
me.
Trop
e
/Rhe
tori
cal
ques
tion/
90
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 27
7 Fo
od fo
r the
hear
t
This
is b
ecau
se “
eye
seei
ng fo
rms”
is D
ham
ma;
“ea
r hea
ring
soun
ds”
is D
ham
ma;
“no
se
smel
ling
odor
s” is
Dha
mm
a; “
tong
ue ta
stin
g fla
vors
” is
Dha
mm
a; “
body
feel
ing
sens
atio
ns”
is
Dha
mm
a; w
hen
impr
essi
ons a
rise
in th
e m
ind,
that
is D
ham
ma
also
.
Sche
me
/Rep
etiti
on/
4 27
8 Fo
od fo
r the
hear
t
To h
ave
sati
is to
kno
w y
ours
elf,
to k
now
the
cond
ition
of y
our m
ind
and
your
life
. Thi
s is t
o
have
und
erst
andi
ng a
nd d
isce
rnm
ent,
to li
sten
to th
e D
ham
ma
at a
ll tim
es.
Sche
me
/Rep
etiti
on/
4 27
8 Fo
od fo
r the
hear
t
It’s l
ike
a ch
ild w
ho is
lear
ning
to w
rite.
At fi
rst h
e do
esn’
t writ
e ni
cely
– b
ig, l
ong
loop
s and
squi
ggle
s – h
e w
rites
like
a c
hild
.
Trop
e
/Sim
ile/
4 28
1 Fo
od fo
r the
hear
t
I use
d to
won
der,
“Eh?
It’s
not
yet
pas
t mid
-day
, why
is th
is a
n of
fens
e?”
Trop
e
/Apo
stro
phe/
4 28
2 Fo
od fo
r the
hear
t
I sat
and
thou
ght,
“Wel
l, I c
an’t
go a
ny fu
rther
. The
re’s
no
way
ahe
ad.”
It w
as a
s if I
’d re
ache
d
a de
ad-e
nd
Trop
e
/Apo
stro
phe/
4 28
3 Fo
od fo
r the
hear
t
“Lua
ng P
or! W
e w
ant t
o in
vite
you
to g
o w
ith u
s on
an e
xcur
sion
, will
you
go?
” Lu
ang
Por
Pow
did
n’t a
nsw
er. T
he M
aha
¯ si
tting
nea
r him
thou
ght t
hat V
ener
able
Aja
hn P
ow h
adn’
t
hear
d, so
he
said
, “Lu
ang
Por,
Luan
g Po
r! D
id y
ou h
ear?
The
se w
omen
invi
ted
you
to g
o fo
r a
trip.
” H
e sa
id, “
I hea
rd.”
Trop
e
/Apo
stro
phe/
4 28
7 Fo
od fo
r the
hear
t
The
mor
e I d
oubt
ed, t
he m
ore
I med
itate
d, th
e m
ore
I pra
ctic
ed.
Sche
me
/Rep
etiti
on/
91
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 28
8 Fo
od fo
r the
hear
t
“Her
e, M
aha
¯, ta
ke th
is m
oney
. Fro
m to
day
onw
ards
, as l
ong
as I’
m a
mon
k, I
will
not
rece
ive
or h
old
mon
ey. Y
ou c
an b
e m
y w
itnes
s.” “
You
kee
p it,
Ven
erab
le, y
ou m
ay n
eed
it fo
r
your
stud
ies”
... T
he V
ener
able
Mah
¯ a
was
n’t k
een
to ta
ke th
e m
oney
, he
was
em
barr
asse
d....
“Why
do
you
wan
t to
thro
w a
way
all
this
mon
ey?”
“Y
ou d
on’t
have
to w
orry
abo
ut m
e. I’
ve
mad
e m
y de
cisi
on. d
ecid
ed la
st n
ight
.”
Trop
e
/Apo
stro
phe/
4 28
9 Fo
od fo
r the
hear
t
I wou
ld sa
y, “
Hey
, do
you
thin
k I’
m d
ead
or so
met
hing
? Ju
st b
ecau
se o
ne c
alls
alc
ohol
perf
ume
does
n’t m
ake
it be
com
e pe
rfum
e, y
ou k
now
. But
you
peo
ple,
whe
n yo
u w
ant t
o dr
ink
alco
hol y
ou c
all i
t per
fum
e, th
en g
o ah
ead
and
drin
k. Y
ou m
ust b
e cr
azy!
”
Trop
e
/Apo
stro
phe/
4 29
6 Fo
od fo
r the
hear
t
Wha
t I m
ean
by st
udy
here
is: w
hene
ver t
he m
ind
expe
rienc
es a
sens
atio
n, d
o w
e st
ill c
ling
to
it? D
o w
e st
ill c
reat
e pr
oble
ms a
roun
d it?
Do
we
still
exp
erie
nce
enjo
ymen
t or a
vers
ion
over
it? T
o pu
t it s
impl
y: d
o w
e st
ill g
et lo
st in
our
thou
ghts
? Y
es, w
e do
.
Trop
e
/Rhe
tori
cal
ques
tion/
4 30
0 Fo
od fo
r the
hear
t
Thos
e w
ho h
ad a
ttain
ed th
e D
ham
ma
refle
cted
to th
emse
lves
, “A
h, th
e B
uddh
a ha
s pas
sed
away
. He
has j
ourn
eyed
on.
”
Trop
e
/Apo
stro
phe/
4 30
0 Fo
od fo
r the
hear
t
Now
, usi
ng g
lass
es c
arel
essl
y an
d br
eaki
ng th
em e
very
day
, and
usi
ng o
ne g
lass
for t
en y
ears
befo
re it
bre
aks –
whi
ch is
bet
ter?
Our
pra
ctic
e is
like
this
.
Trop
e
/Sim
ile/
4 30
1 Fo
od fo
r the
hear
t
Ask
you
rsel
f, w
ill y
ou h
ave
time
to p
ract
ice
whe
n yo
u di
e?
Trop
e
/Rhe
tori
cal
ques
tion/
4 30
4 Fo
od fo
r the
hear
t
Dha
mm
a is
like
this
. It’s
a sm
all t
hing
and
yet
it’s
big
. Sc
hem
e
/Ant
ithes
is/
92
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 30
4 Fo
od fo
r the
hear
t
That
is, t
o se
e th
e tru
th o
f one
con
ditio
n is
to se
e th
e tru
th o
f the
m a
ll.
Sche
me
/Epi
stro
phe/
4 30
4 Fo
od fo
r the
hear
t
Dha
mm
a is
not
you
r min
d –
your
min
d is
not
yet
Dha
mm
a.
Sche
me
/Ana
stro
phe
4 30
5 Fo
od fo
r the
hear
t
For e
xam
ple,
this
spitt
oon
here
. Eve
rybo
dy k
now
s it’s
a sp
ittoo
n bu
t the
y do
n’t f
ully
kno
w th
e
spitt
oon.
Why
don
’t th
ey fu
lly k
now
it?
If I
calle
d th
is sp
ittoo
n a
sauc
epan
, wha
t wou
ld y
ou
say?
Trop
e
/Rhe
tori
cal
ques
tion/
4 30
5 Fo
od fo
r the
hear
t
Now
let’s
com
e ba
ck to
our
selv
es. S
uppo
se so
meb
ody
said
, “Y
ou’r
e cr
azy!
” or
, “Y
ou’r
e
stup
id,”
Trop
e
/Apo
stro
phe/
4 30
6 Fo
od fo
r the
hear
t
So th
e B
uddh
a sa
ys, “
Don
’t sp
eak
out o
f des
ire, d
on’t
sit o
ut o
f des
ire, d
on’t
wal
k ou
t of
desi
re...
. Wha
teve
r you
do,
don
’t do
it w
ith d
esire
.”
Trop
e
/Apo
stro
phe/
4 30
6 Fo
od fo
r the
hear
t
som
eone
ask
ed: “
Wha
t did
you
buy
thos
e co
conu
ts fo
r?”
“I b
ough
t the
m to
eat
.” “
Are
you
goin
g to
eat
the
shel
ls a
s wel
l?”
“No.
” “I
don
’t be
lieve
you
. If y
ou’r
e no
t goi
ng to
eat
the
shel
ls
then
why
did
you
buy
them
als
o?”
Trop
e
/Apo
stro
phe/
4 30
6 Fo
od fo
r the
hear
t
Wel
l wha
t do
you
say?
How
are
you
goi
ng to
ans
wer
thei
r que
stio
n? W
e pr
actic
e w
ith d
esire
.
If w
e di
dn’t
have
des
ire w
e w
ould
n’t p
ract
ice.
Pra
ctic
ing
with
des
ire is
tanh
¯ a.
Con
tem
plat
ing
in th
is w
ay c
an g
ive
rise
. to
wis
dom
, you
kno
w. F
or e
xam
ple,
thos
e co
conu
ts: A
re y
ou g
oing
to e
at th
e sh
ell s
as w
ell?
Of c
ours
e no
t.
Trop
e
/Rhe
tori
cal
ques
tion/
4 30
6 Fo
od fo
r the
hear
t
They
’re
usef
ul fo
r wra
ppin
g up
the
coco
nut i
n. If
, afte
r eat
ing
the
coco
nut,
you
thro
w th
e
shel
ls a
way
, the
re is
no
prob
lem
. Our
pra
ctic
e is
like
this
.
Trop
e
/Sim
ile/
93
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 30
7 Fo
od fo
r the
hear
t
They
ope
n th
eir e
yes f
or a
pee
k...
“Oh,
ther
e’s s
till a
ges l
eft!”
Tr
ope
/Apo
stro
phe/
4 30
9 Fo
od fo
r the
hear
t
At fi
rst t
houg
ht it
seem
s as i
f you
shou
ld st
and
for a
s lon
g as
you
wal
k, w
alk
for a
s lon
g as
you
sit,
sit f
or a
s lon
g as
you
lie
dow
n
Sche
me
/Epi
stro
phe/
4 30
9 Fo
od fo
r the
hear
t
You
kno
w h
appi
ness
, you
kno
w u
nhap
pine
ss. W
hen
you
know
hap
pine
ss a
nd u
nhap
pine
ss
your
min
d w
ill se
ttle
at th
e po
int w
hich
is fr
ee o
f hap
pine
ss a
nd u
nhap
pine
ss.
Sche
me
/Epi
stro
phe/
4 30
9 Fo
od fo
r the
hear
t
Then
I re
aliz
ed...
“O
h, th
at’s
not
righ
t, it
can’
t be
right
bec
ause
it’s
impo
ssib
le to
do.
Sta
ndin
g,
wal
king
, sitt
ing,
recl
inin
g...
mak
e th
em a
ll co
nsis
tent
. To
mak
e th
e po
stur
es c
onsi
sten
t the
way
they
exp
lain
it in
the
book
s is i
mpo
ssib
le.”
Trop
e
/Apo
stro
phe/
4 30
9 Fo
od fo
r the
hear
t
Hap
pine
ss is
the
loos
e pa
th. U
nhap
pine
ss is
the
tight
pat
h.
Trop
e
/Met
apho
r/
4 31
0 Fo
od fo
r the
hear
t
But
in y
our p
ract
ice
it do
esn’
t ten
d to
be
like
that
, doe
s it?
You
follo
w y
our i
nclin
atio
ns. I
f you
follo
w y
our i
nclin
atio
ns it
’s e
asy,
isn’
t it?
Trop
e
/Rhe
tori
cal
ques
tion/
4 31
1 Fo
od fo
r the
hear
t
“Hey
! You
’re
a re
al c
hara
cter
! You
say
you’
re fe
d up
with
you
r frie
nds,
fed
up w
ith y
our
fello
w m
onks
and
nov
i ces
, and
now
you
wan
t a n
ovic
e. W
hat’s
this
?”
Trop
e
/Apo
stro
phe/
4 31
2 Fo
od fo
r the
hear
t
Don
’t go
thin
king
, “O
h, to
day
is to
o ho
t,” o
r, “T
oday
is to
o co
ld,”
or,
“Tod
ay is
....”
Tr
ope
/Apo
stro
phe/
4 31
2 Fo
od fo
r the
hear
t
Ther
e is
som
e rig
ht th
inki
ng, s
ome
wro
ng th
inki
ng...
man
y, m
any
thin
gs.
Sche
me
/Rep
etiti
on/
94
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 31
3 Fo
od fo
r the
hear
t
If y
ou p
ract
ice
like
this
you
r min
d ge
ts g
radu
ally
furth
er a
nd fu
rther
from
the
prac
tice.
Sc
hem
e
/Rep
etiti
on/
4 31
3 Fo
od fo
r the
hear
t
They
say,
“O
h, it
’s a
ll go
ne n
ow.”
You
see?
The
y ca
n ke
ep it
up
for a
mon
th o
r tw
o bu
t in
a
year
or t
wo
it’s a
ll fin
ishe
d.
Trop
e
/Apo
stro
phe/
4 31
4 Fo
od fo
r the
hear
t
They
are
all
one,
like
a m
ango
. Tr
ope
/Sim
ile/
4 31
5 Fo
od fo
r the
hear
t
If o
ur v
iew
is ri
ght t
hen
ever
ythi
ng e
lse
is ri
ght:
right
vie
w, r
ight
inte
ntio
n, ri
ght s
peec
h, ri
ght
actio
n, ri
ght l
ivel
ihoo
d, ri
ght e
ffor
t, rig
ht re
colle
ctio
n, ri
ght c
once
ntra
tion
– th
e Ei
ghtfo
ld P
ath.
Whe
n th
ere
is ri
ght v
iew
all
the
othe
r fac
t ors
will
follo
w o
n.
Sche
me
/Rep
etiti
on/
4 31
6 Fo
od fo
r the
hear
t
May
be y
ou se
e a
cloc
k an
d th
ink,
“O
h, th
is is
nic
e.”
Buy
it a
nd se
e...
in n
ot m
any
days
you
’re
bore
d w
ith it
alre
ady.
“Th
is p
en is
real
ly b
eaut
iful,”
so y
ou ta
ke th
e tro
uble
to b
uy o
ne.
Trop
e
/Apo
stro
phe/
4 31
7 Fo
od fo
r the
hear
t
If y
ou k
now
it, y
ou k
now
it th
roug
h th
e pr
actic
e. If
you
dou
bt it
, you
dou
bt I
at th
e pr
actic
e.
Sche
me
/Epi
stro
phe/
4 33
0 Fo
od fo
r the
hear
t
one
pers
on sa
ys, “
Oh,
how
bea
utifu
l,” w
hile
ano
ther
says
, “H
ow re
volti
ng!”
Tr
ope
/Apo
stro
phe/
4 33
1 Fo
od fo
r the
hear
t
It’s l
ike
a fo
otba
ll. W
hen
a fo
otba
ll is
pum
ped
up w
ith a
ir it
expa
nds.
Now
the
air i
n th
at
foot
ball
is a
ll pu
shin
g to
get
out
, but
ther
e’s n
o ho
le fo
r it t
o do
so. A
s soo
n as
a n
eedl
e
punc
ture
s the
foot
ball
the
air c
omes
bur
stin
g ou
t. Th
is is
the
sam
e. T
he m
inds
of t
hose
disc
iple
s who
wer
e en
light
ened
whi
le li
sten
ing
to th
e D
ham
ma
wer
e lik
e th
is.
Trop
e
/Sim
ile/
95
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 33
4 Fo
od fo
r the
hear
t
How
wou
ld it
be
to li
e in
a p
erso
n’s b
elly
for n
ine
or te
n m
onth
s? T
hink
abo
ut it
. Tr
ope
/Rhe
tori
cal
ques
tion/
4 33
4 Fo
od fo
r the
hear
t
Ask
them
why
they
are
livi
ng, o
r why
they
are
bor
n, a
nd th
ey h
ave
no id
ea. D
o yo
u st
ill w
ant
to g
et b
ack
in th
ere?
Why
? It
shou
ld b
e ob
viou
s but
you
don
’t se
e it.
Why
can
’t yo
u se
e it?
Wha
t are
you
stuc
k on
, wha
t are
you
hol
ding
on
to?
Thin
k it
out f
or y
ours
elf.
Trop
e
/Rhe
tori
cal
ques
tion/
4 33
6 Fo
od fo
r the
hear
t
Con
side
r sen
sual
ple
asur
es a
s lik
e ea
ting
mea
t whi
ch g
ets s
tuck
in y
our t
eeth
. Tr
ope
/Sim
ile/
4 33
8 Fo
od fo
r the
hear
t
Whe
re a
re y
ou g
oing
to g
o fr
om h
ere?
You
are
stan
ding
at t
he c
ross
road
s bet
wee
n th
e w
orld
ly
way
and
the
Dha
mm
a w
ay. W
hich
way
will
you
cho
ose?
You
can
take
eith
er w
ay, t
his i
s the
time
to d
ecid
e. T
he c
hoic
e is
you
rs to
mak
e.
Trop
e
/Rhe
tori
cal
ques
tion/
4 34
0 Fo
od fo
r the
hear
t
As i
t got
dar
ker a
nd d
arke
r I w
onde
red
whe
re th
ere
was
to ru
n to
in th
e m
iddl
e of
that
cha
rnel
grou
nd.
Sche
me
/Rep
etiti
on/
4 34
0 Fo
od fo
r the
hear
t
“Oh,
let i
t die
. One
is b
orn
to th
is li
fe o
nly
to d
ie, a
nyw
ay.”
Tr
ope
/Apo
stro
phe/
4 34
0 Fo
od fo
r the
hear
t
Whe
n da
y br
oke
I fel
t, “O
h! I’
ve su
rviv
ed!”
Tr
ope
/Apo
stro
phe/
4 34
2 Fo
od fo
r the
hear
t
It go
t clo
ser a
nd c
lose
r unt
il it
stop
ped
dead
in fr
ont o
f me
and
just
stoo
d st
ock
still
.Sc
hem
e
/Rep
etiti
on/
96
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 34
2 Fo
od fo
r the
hear
t
Ther
e w
as o
nly
fear
wel
ling
up in
side
my
ches
t unt
il it
felt
like
a tig
htly
-stre
tche
d dr
umsk
in.
Trop
e
/Sim
ile/
4 34
2 Fo
od fo
r the
hear
t
Like
wis
e, th
e fe
ar b
uilt
up so
muc
h w
ithin
me
that
it re
ache
d its
pea
k an
d be
gan
to o
verfl
ow.
“Wha
t am
I so
afr
aid
of a
nyw
ay?”
a v
oice
insi
de m
e as
ked.
“I’
m a
frai
d of
dea
th,”
ano
ther
voic
e an
swer
ed. “
Wel
l, th
en, w
here
is th
is th
ing
‘dea
th’?
Why
all
the
pani
c? L
ook
whe
re d
eath
abid
es. W
here
is d
eath
?” “
Why
, dea
th is
with
in m
e!”
Trop
e
/Apo
stro
phe/
4 34
4 Fo
od fo
r the
hear
t
I bec
ame
stro
nger
and
stro
nger
, my
conv
ictio
n be
com
e fir
mer
and
firm
er, u
ntil
dayb
reak
. Sc
hem
e
/Rep
etiti
on/
4 34
5 Fo
od fo
r the
hear
t
Trai
n yo
urse
lf, d
rill y
ours
elf,
that
’s p
ract
ice.
Sc
hem
e
/Rep
etiti
on/
4 34
7 Fo
od fo
r the
hear
t
Our
pra
ctic
e is
like
the
man
who
se ro
of is
leak
ing
on o
ne si
de so
he
slee
ps o
n th
e ot
her s
ide
of
the
hous
e.
Trop
e
/Sim
ile/
4 34
7 Fo
od fo
r the
hear
t
It’s j
ust l
ike
a fa
rmer
who
has
n’t y
et fi
nish
ed h
is fi
elds
. Eve
ry y
ear h
e pl
ants
rice
but
this
yea
r
he st
ill h
asn’
t got
ten
it fin
ishe
d, so
his
min
d is
stuc
k on
that
, he
can’
t res
t con
tent
.
Trop
e
/Sim
ile/
4 34
8 Fo
od fo
r the
hear
t
Suff
erin
g, su
ffer
ing.
.. th
e B
uddh
a ta
ught
abo
ut su
ffer
ing:
the
suff
erin
g of
birt
h, th
e su
ffer
ing
of
old
age.
.. if
you
don’
t wan
t to
expe
rienc
e su
ffer
ing
you
won
’t se
e su
ffer
ing.
If y
ou d
on’t
see
suff
erin
g yo
u w
on’t
unde
rsta
nd su
ffer
ing.
If y
ou d
on’t
unde
rsta
nd su
ffer
ing
you
won
’t be
abl
e
to g
et ri
d of
suff
erin
g.
Sche
me
/Epi
stro
phe/
4 34
9 Fo
od fo
r the
hear
t
He
stop
ped
talk
ing
all r
ight
but
then
he
star
ted
writ
ing
note
s... “
Tom
orro
w p
leas
e to
ast m
e
som
e ric
e.”
He
wan
ted
to e
at to
aste
d ric
e!
Sche
me
/Clim
ax/
97
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 34
9 Fo
od fo
r the
hear
t
Don
’t pa
y at
tent
ion
to th
ough
ts o
f dili
genc
e or
lazi
ness
, don
’t w
orry
whe
ther
it’s
hot
or c
old,
Sc
hem
e
/Ant
ithes
is/
4 35
1 Fo
od fo
r the
hear
t
Afte
r a w
hile
... “
Hm
m. B
eing
a m
onk
is n
ot so
goo
d, it
’s in
conv
enie
nt. I
t’s h
ard
to m
aint
ain
my
vege
taria
n pr
actic
e as
a m
onk.
May
be I’
ll di
srob
e an
d be
com
e a
pa-k
ow.”
Trop
e
/Apo
stro
phe/
4 35
4 Fo
od fo
r the
hear
t
It’s l
ike
dam
min
g a flo
win
g to
rren
t, so
met
imes
the
dam
just
bre
aks.
If it
surv
ives
that
’s fi
ne,
but i
f not
it ju
st c
olla
pses
.
Trop
e
/Sim
ile/
4 35
4 Fo
od fo
r the
hear
t
And
yet
som
e pe
ople
com
e up
and
say,
“O
h, it
’s e
asy
for y
ou, L
uang
Por
. You
nev
er h
ad a
wife
and
chi
ldre
n to
wor
ry a
bout
, so
it’s e
asie
r for
you
!” I
say,
“D
on’t
get t
oo c
lose
to m
e
whe
n yo
u sa
y th
at o
r you
’ll g
et a
clo
ut o
ver t
he h
ead!
”...
as if
I di
dn’t
have
a h
eart
or
som
ethi
ng!
Trop
e
/Apo
stro
phe/
4 35
5 Fo
od fo
r the
hear
t
In ti
me
you
will
und
erst
and.
Pra
ctic
e, refle
ct, c
onte
mpl
ate,
and
the
frui
ts o
f the
pra
ctic
e w
ill b
e
ther
e.
Trop
e
/Met
apho
r/
4 35
5 Fo
od fo
r the
hear
t
You
may
hav
e to
say
to y
ours
elf,
“One
... tw
o...
if I r
each
the
coun
t thr
ee a
nd st
ill d
on’t
get u
p
may
I fa
ll in
to h
ell!”
Sche
me
/Clim
ax/
4 35
6 Fo
od fo
r the
hear
t
If w
e do
n’t f
ollo
w h
is e
xaga
ta se
es N
ibb¯
am
ple
how
will
we
see
the
Dha
mm
a? If
we
don’
tsee
the
Dha
mm
a ho
w w
ill w
e kn
ow th
e B
uddh
a? If
we
don’
t see
the
Bud
dha
how
will
we
know
the
qual
ities
of t
he B
uddh
a? O
nly
if w
e pr
actic
e in
the
foot
step
s of t
he B
uddh
a w
ill w
e kn
ow
that
wha
t the
Bud
dha
taug
ht is
utte
rly c
erta
in, t
hat t
he B
uddh
a’s t
each
ing
is th
e su
prem
e tru
th.
Sche
me
/Epi
stro
phe/
4 35
7 Fo
od fo
r the
hear
t
We
look
for p
eace
in p
eace
ful p
lace
s, w
here
ther
e w
on’t
be si
ghts
, or s
ound
s, or
odo
rs, o
r
fl avo
rs.
Sche
me
/Ana
phor
a/
98
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 35
8 Fo
od fo
r the
hear
t
Thin
k ab
out i
t. If
our
eye
did
n’t s
ee si
ghts
, wha
t wou
ld th
at b
e lik
e? If
the
nose
did
n’t
expe
rienc
e sm
ells
, wha
t wou
ld th
at b
e lik
e? If
the
tong
ue d
idn’
t exp
erie
nce fla
vors
, wha
t
wou
ld th
at b
e lik
e? If
the
body
did
n’t e
xper
ienc
e fe
e lin
gs a
t all,
wha
t wou
ld th
at b
e lik
e?
Trop
e
/Rhe
tori
cal
ques
tion/
4 35
9 Fo
od fo
r the
hear
t
“Oh,
Lua
ng P
or, s
omet
imes
you
teac
h m
e to
clin
g an
d so
met
imes
you
teac
h m
e to
let g
o. I
don’
t kno
w w
hat y
ou w
ant m
e to
do.
Eve
n w
hen
my
roof
col
laps
es a
nd I
let g
o to
this
ext
ent,
still
you
say
it’s n
ot ri
ght.
And
yet
you
teac
h m
e to
let g
o! I
don’
t kno
w w
hat m
ore
you
can
expe
ct o
f me.
...”
Trop
e
/Apo
stro
phe/
4 35
9 Fo
od fo
r the
hear
t
Are
ther
e vi
sual
obj
ects
with
in th
e ey
e? If
ther
e ar
e no
ext
erna
l vis
ual o
bjec
ts w
ould
our
eye
s
see
anyt
hing
?
Trop
e
/Rhe
tori
cal
ques
tion/
4 35
9 Fo
od fo
r the
hear
t
If w
e di
dn’t
have
ear
s wou
ld w
e ex
perie
nce
soun
ds?
If w
e ha
d no
eye
s wou
ld w
e be
abl
e to
see
sigh
ts?
Trop
e
/Rhe
tori
cal
ques
tion/
4 36
2 Fo
od fo
r the
hear
t
They
try
goin
g to
a m
ount
ain
top.
.. “A
h! T
his i
s the
spot
, now
I’m
righ
t.” T
hey
feel
at p
eace
for a
few
day
s and
then
get
tire
d of
it. “
Oh,
wel
l, of
f to
the
seas
ide.
” “A
h, h
ere
it’s n
ice
and
cool
. Thi
s’ll
do m
e fin
e.”
Trop
e
/Apo
stro
phe/
4 36
6 Fo
od fo
r the
hear
t
Whe
reve
r the
y lo
oked
ther
e w
as o
nly
suff
erin
g, th
at’s
all.
It’s
just
like
a b
ig ir
on b
all w
hich
has j
ust b
een
blas
ted
in a
furn
ace.
Trop
e
/Sim
ile/
4 36
6 Fo
od fo
r the
hear
t
It’s h
ot a
ll ov
er. I
f you
touc
h th
e to
p it’
s hot
, tou
ch th
e si
des a
nd th
ey’r
e ho
t. Sc
hem
e
/Rep
etiti
on/
99
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 36
6 Fo
od fo
r the
hear
t
Such
thou
ghts
as,
“Oh,
I ca
n’t s
tand
that
per
son,
he
does
eve
ryth
ing
wro
ngly
,” w
ill n
o lo
nger
aris
e. O
r, “I
real
ly li
ke so
and
so...
”, th
ese
thin
gs d
on’t
aris
e.
Trop
e
/Apo
stro
phe/
4 36
8 Fo
od fo
r the
hear
t
Goo
d an
d ev
il m
ust b
e se
en a
s co-
exis
tent
, aris
ing
toge
ther
. Thi
s is t
he fr
uit o
f the
Dha
mm
a
prac
tice.
Trop
e
/Met
apho
r/
4 36
9 Fo
od fo
r the
hear
t
Take
food
, for
inst
ance
. If f
ood
does
n’t h
ave
any
tast
e is
it d
elic
ious
? If
a p
erso
n is
dea
f will
he
hear
any
thin
g? If
you
don
’t pe
rcei
ve a
nyth
ing
will
you
hav
e an
ythi
ng to
con
tem
plat
e? If
ther
e
are
no p
robl
ems w
ill th
ere
be a
nyth
ing
to so
lve?
Thi
nk o
f the
pra
ctic
e in
this
way
.
Trop
e
/Rhe
tori
cal
ques
tion/
4 37
0 Fo
od fo
r the
hear
t
You
may
wan
t to
live
com
forta
bly,
eat
com
forta
bly,
slee
p co
mfo
rtabl
y an
d so
on,
but
you
can’
t.
Sche
me
/Rep
etiti
on/
4 37
2 Fo
od fo
r the
hear
t
Take
a si
mpl
e co
mpa
rison
: bak
ing
bric
ks. H
ave
you
ever
seen
a b
rick-
baki
ng o
ven?
The
y
build
the fir
e up
abo
ut tw
o or
thre
e fe
et in
fron
t of t
he o
ven,
then
the
smok
e al
l get
s dra
wn
into
it. L
ooki
ng a
t thi
s illu
stra
tion
you
can
mor
e cl
early
und
erst
and
the
prac
tice.
Mak
ing
a br
ick
kiln
in th
e rig
ht w
ay y
ou h
ave
to m
ake
the fir
e so
that
all
the
smok
e ge
ts d
raw
n in
side
, non
e is
left
over
. All
the
heat
goe
s int
o th
e ov
en, a
nd th
e jo
b ge
ts d
one
quic
kly.
We
Dha
mm
a
prac
ticer
s sho
uld
expe
rienc
e th
ings
in th
is w
ay.
Trop
e
/Met
apho
r/
4 37
3 Fo
od fo
r the
hear
t
he w
ould
say,
“O
h, w
hat a
sham
e! W
hy d
o th
ey d
o th
at?
Why
do
so m
any
of th
e Th
ai m
onks
and
novi
ces d
isro
be?”
Trop
e
/Apo
stro
phe/
4 37
3 Fo
od fo
r the
hear
t
“Oh,
how
sad!
I fe
el so
sorr
y fo
r tho
se T
hai m
onks
and
nov
ices
. How
cou
ld th
ey d
o su
ch a
thin
g?”
Trop
e
/Apo
stro
phe/
100
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 37
5 Fo
od fo
r the
hear
t
But
whe
n it
com
es to
usi
ng th
e D
ham
ma
as a
stan
dard
... d
o w
e ha
ve th
e D
ham
ma
yet?
Are
we
thin
king
righ
tly o
r not
? A
ndev
enif
it’s r
ight
,do
we
know
how
tole
tgoo
f rig
htne
ssor
are
we
still
clin
ging
to it
?
Trop
e
/Rhe
tori
cal
ques
tion/
4 37
7 Fo
od fo
r the
hear
t
if w
e en
coun
ter a
ple
asan
t exp
erie
nce
we
feel
hap
py, i
f we
enco
unte
r a b
ad e
xper
ienc
e w
e ar
e
unha
ppy.
Sche
me
/Epi
stro
phe/
4 37
7 Fo
od fo
r the
hear
t
Are
we
able
to lo
ok a
t bot
h th
e th
ings
we
like
and
thin
gs w
e di
slik
e as
hav
ing
equa
l val
ue?
Mea
sure
you
rsel
f aga
inst
this
stan
dard
. In
our e
very
day
lives
, in
the
vario
us e
xper
ienc
es w
e
enco
unte
r, if
we
hear
som
ethi
ng w
hich
we
like,
doe
s our
moo
d ch
ange
? If
we
enco
unte
r an
expe
rienc
e w
hich
isn’
t to
our l
ikin
g, d
oes o
ur m
ood
chan
ge?
Or i
s the
min
d un
mov
ed?
Look
ing
right
her
e w
e ha
ve a
gau
ge
Trop
e
/Rhe
tori
cal
ques
tion/
4 37
8 Fo
od fo
r the
hear
t
The
Chi
ef P
rivy
Cou
ncilo
r onc
e as
ked
me,
“Lu
ang
Por,i
s the
min
d of
an
an¯
am¯
ag¯ ı1
pur
e
yet?
” “I
t’s p
artly
pur
e.”
“Eh?
An
an¯
am¯
ag¯ ı h
as g
iven
up
sens
ual d
esire
, how
is h
is m
ind
not y
et p
ure?
”
Trop
e
/Apo
stro
phe/
4 37
9 Fo
od fo
r the
hear
t
I tho
ught
, “O
h, so
ther
e ar
e pe
ople
aro
und
like
this
, too
!”
Trop
e
/Apo
stro
phe/
4 37
9 Fo
od fo
r the
hear
t
I tho
ught
, “O
h, m
an, y
ou th
ink
it’s t
hat e
asy
or so
met
hing
?”
Trop
e
/Apo
stro
phe/
4 38
1 Fo
od fo
r the
hear
t
Just
take
a lo
ok a
t tre
es, l
ike
man
go o
r jac
kfru
it tre
es. I
f the
y gr
ow u
p in
a c
lum
p, o
ne tr
ee m
ay
get b
igge
r firs
t and
then
the
othe
rs w
ill b
end
away
, gro
win
g ou
twar
ds fr
om th
at b
igge
r one
Trop
e
/Sim
ile/
101
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 38
1 Fo
od fo
r the
hear
t
Nat
ure
cont
ains
bot
h th
e go
od a
nd th
e ba
d, th
e rig
ht a
nd th
e w
rong
. It c
an e
ither
incl
ine
to th
e
right
or i
nclin
e to
the
wro
ng.
Sche
me
/Ant
ithes
is/
4 38
4 Fo
od fo
r the
hear
t
Und
erst
andi
ng is
bor
n fr
om ig
nora
nce,
kno
win
g is
bor
n fr
om u
nkno
win
g, p
urity
is b
orn
from
defil
emen
t.
Sche
me
/Rep
etiti
on/
4 38
8 Fo
od fo
r the
hear
t
Ther
e w
as n
o D
ham
ma,
no
insi
ght i
nto
anat
ta (
not s
elf)
, no
empt
ines
s or l
ettin
g go
. The
re
Sche
me
/Rep
etiti
on/
4 38
9 Fo
od fo
r the
hear
t
Just
as b
irds a
band
on a
tree
whi
ch n
o lo
nger
off
ers s
uffic
ient
shad
e, o
r fish
leav
e a
pool
of
wat
er th
at is
too
smal
l, to
o di
rty o
r not
coo
l, ju
st so
did
the fiv
e as
cetic
s aba
ndon
the
Bud
dha.
Trop
e
/Sim
ile/
4 38
9 Fo
od fo
r the
hear
t
He
let t
he m
ind
be si
mpl
y th
e m
ind,
the
body
sim
ply
the
body
. Sc
hem
e
/Epa
nale
psis
/
4 38
9 Fo
od fo
r the
hear
t
Clin
ging
to h
appi
ness
and
clin
ging
is to
suff
erin
g Sc
hem
e
/Ant
ithes
is/
4 39
1 Fo
od fo
r the
hear
t
If it
hea
ls, i
t hea
ls, i
f it d
oesn
’t th
en it
doe
sn’t.
Sc
hem
e
/Epa
nale
psis
/
439
2Fo
od fo
r the
hear
t
They
chan
tbut
they
chan
t with
fool
ishn
ess,
they
don
’t ch
ant w
ith w
isdo
m. T
hey
stud
y, b
ut
they
stud
y w
ith fo
olis
hnes
s, no
t with
wis
dom
. The
y kn
ow, b
ut th
ey k
now
fool
ishl
y, n
ot w
ith
wis
dom
.
Sche
me
/Epi
stro
phe/
4 39
3 Fo
od fo
r the
hear
t
Its st
omac
h is
rum
blin
g “j
ork-
jork
-jork
,”bu
t all
it ca
n do
is li
e th
ere.
Sc
hem
e
/ono
mat
opoe
ia/
102
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 39
3 Fo
od fo
r the
hear
t
A d
og c
an’t
eat u
nthr
eshe
d ric
e, it
doe
sn’t
even
kno
w th
ere
is fo
od th
ere.
Afte
r a lo
ng ti
me
with
out f
ood
it m
ay e
ven
die.
.. on
top
of th
at p
ile o
f ric
e! P
eopl
e ar
e lik
e th
is. N
o m
atte
r how
muc
h w
e st
udy
the
Dha
mm
a of
the
Bud
dha
we
won
’t se
e it
if w
e do
n’t p
ract
ice.
If w
e do
n’t
see
it th
en w
e do
n’t k
now
it.
Trop
e
/Met
apho
r/
4 39
4 Fo
od fo
r the
hear
t
But
this
is li
ke so
me
sort
of sw
eet f
ruit:
eve
n th
ough
the
frui
t is s
wee
t we
mus
t rel
y on
con
tact
with
and
exp
erie
nce
of th
at fr
uit b
efor
e w
e w
ill k
now
wha
t the
tast
e is
like
. Now
that
frui
t,
even
thou
gh n
o-on
e ta
stes
it, i
s sw
eet a
ll th
e sa
me.
But
nob
ody
know
s of i
t. Th
e D
ham
ma
of
the
Bud
dha
is li
ke th
is.
Trop
e
/Met
apho
r/
4 39
4 Fo
od fo
r the
hear
t
So w
hy d
o pe
ople
gra
b af
ter s
uffe
ring?
Who
in th
is w
orld
wan
ts to
infli
ct su
ffer
ing
on
them
selv
es?
No -
one,
of c
ours
e.
Trop
e
/Rhe
tori
cal
ques
tion/
4 39
6 Fo
od fo
r the
hear
t
So th
at h
e co
uld
real
ize
this
and
ena
ble
othe
rs to
see
the
Dha
mm
a, k
now
the
Dha
mm
a, p
ract
ice
the
Dha
mm
a an
d be
the
Dha
mm
a.
Sche
me
/Rep
etiti
on/
4 39
8 Fo
od fo
r the
hear
t
If y
ou c
ling
to it
blin
dly
it be
com
es a
fals
ehoo
d. L
ike
a do
g...
try g
rabb
ing
its le
g. If
you
don
’t
let g
o th
e do
g w
ill sp
in a
roun
d an
d bi
te y
ou.
Trop
e
/Met
apho
r/
4 39
8 Fo
od fo
r the
hear
t
The
caus
e is
wro
ng v
iew
, the
frui
t of t
hat b
eing
suff
erin
g. If
it w
as ri
ght v
iew
it w
ould
n’t c
ause
suff
erin
g.
Trop
e
/Met
apho
r/
4 39
9 Fo
od fo
r the
hear
t
Wha
teve
r spe
ech
disr
egar
ds is
not
the
spee
ch o
f a w
ise
pers
on, i
t’s th
e sp
eech
of a
fool
. Sc
hem
e
/Ant
ithes
is/
103
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
4 39
9 Fo
od fo
r the
hear
t
Ther
e’s s
till m
uch
mor
e to
it, t
he p
ract
ice
of D
ham
ma
beco
mes
mor
e an
d m
ore
refin
ed.
Sche
me
/Rep
etiti
on/
5 40
5 Th
e pa
th to
peac
e
Prac
ticin
g w
ith th
e m
ind
is th
e sa
me
as w
orki
ng w
ith th
e tre
e, y
ou h
ave
to w
ork
with
the
coar
se th
ings
firs
t. Y
ou h
ave
to d
estro
y th
e ro
ugh
parts
: des
troy
the
root
s, de
stro
y th
e ba
rk a
nd
ever
ythi
ng w
hich
is u
nattr
activ
e, in
ord
er to
obt
ain
that
whi
ch is
attr
activ
e an
d pl
easi
ng to
the
eye
Sche
me
/Rep
etiti
on/
5 40
8 Th
e pa
th to
peac
e
So w
ho w
ill d
o th
e w
atch
ing
over
? W
ho w
ill ta
ke re
spon
sibi
lity
for y
our a
ctio
ns?
Whe
n yo
u
kill
som
e an
imal
, who
is th
e on
e w
ho k
now
s? Is
you
r han
d th
e on
e w
ho k
now
s, or
is it
som
eone
els
e? W
hen
you
stea
l som
eone
els
e’s p
rope
rty, w
ho is
aw
are
of th
e ac
t? Is
you
r han
d
the
one
who
kno
ws?
Thi
s is w
here
you
hav
e to
dev
elop
aw
aren
ess.
Bef
ore
you
com
mit
som
e
act o
f sex
ual m
isco
nduc
t, w
here
is y
our a
war
enes
s? Is
you
r bod
y th
e on
e w
ho k
now
s? W
ho is
the
one
who
kno
ws b
efor
e yo
u lie
, sw
ear o
r say
som
ethi
ng fr
ivol
ous?
Trop
e
/Rhe
tori
cal
ques
tion/
5 40
9 Th
e pa
th to
peac
e
That
one
, who
was
resp
onsi
ble
for g
ivin
g th
e or
ders
to k
ill o
r hur
t oth
ers,
to st
eal,
to h
ave
illic
it se
x, to
say
untru
e or
uns
killf
ul th
ings
and
to b
e un
rest
rain
ed in
all
sorts
of w
ays.
Sche
me
/Rep
etiti
on/
5 41
1 Th
e pa
th to
peac
e
beau
tiful
in th
e be
ginn
ing,
bea
utifu
l in
the
mid
dle
and
beau
tiful
in th
e en
d Sc
hem
e
/Rep
etiti
on/
5 41
1 Th
e pa
th to
peac
e
Onc
e th
e m
ind
has a
n in
tent
ness
in th
e pr
actic
e an
d s¯ıla
and
sam
¯adh
i are
firm
ly e
stab
lishe
d,
you
will
be
able
to in
vest
igat
e an
d refle
ct o
n th
at w
hich
is w
hole
som
e an
d un
who
leso
me
–
aski
ng y
ours
elf..
. ‘Is
this
righ
t?’..
. ‘Is
that
wro
ng?’
Trop
e
/Rhe
tori
cal
ques
tion/
104
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
5 41
2 Th
e pa
th to
peac
e
That
asp
ect o
f the
min
d w
hich
iden
tifies
and
sele
cts t
he g
ood
from
the
bad,
the
right
from
the
wro
ng.
Sche
me
/Ant
ithes
is/
5 41
4 Th
e pa
th to
peac
e
It’s t
he sa
me
as o
ur c
ocon
ut p
alm
s. Th
e co
conu
t pal
m a
bsor
bs th
e w
ater
from
the
earth
and
pulls
it u
p th
roug
h th
e tru
nk.
Trop
e
/Sim
ile/
5 41
6 Th
e pa
th to
peac
e
It’s l
ike
a pi
ece
of c
loth
or a
flag
that
has
bee
n tie
d to
the
end
of a
pol
e.
Trop
e
/Sim
ile/
5 41
7 Th
e pa
th to
peac
e
Hap
pine
ss is
just
the
stat
e of
hap
pine
ss; s
uffe
ring
is ju
st th
e st
ate
of su
ffer
ing.
Sc
hem
e
/Epa
nale
psis
/
5 41
8 Th
e pa
th to
peac
e
Min
d-ob
ject
s are
min
d-ob
ject
s; th
e m
ind
is th
e m
ind.
Sc
hem
e
/Epa
nale
psis
/
5 41
9 Th
e pa
th to
peac
e
You
hav
e to
kee
p ap
plyi
ng th
e pr
essu
re a
nd d
estro
ying
defi
lem
ents
thro
ugh
dete
rmin
ed e
ffor
t,
pene
tratin
g de
eper
and
dee
per i
nto
the
prac
tice.
Sche
me
/Rep
etiti
on/
5 42
1 Th
e pa
th to
peac
e
even
if th
e m
ind
is c
augh
t in
an u
nwho
leso
me
men
tal s
tate
, you
kno
w it
as u
nwho
leso
me
and
the
min
d is
not
hee
dles
s. It’
s lik
e st
eppi
ng o
n th
orns
: of c
ours
e, y
ou d
on’t
seek
to st
ep o
n
thor
ns, y
ou tr
y to
avo
id th
em, b
ut n
ever
thel
ess s
omet
imes
you
step
on
one.
Trop
e
/Sim
ile/
5 42
2 Th
e pa
th to
peac
e
With
pas
sing
aw
ay th
ere
is fu
rther
aris
ing
– bi
rth a
nd d
eath
, dea
th a
nd b
irth;
ces
satio
n
follo
wed
by
aris
ing,
aris
ing
follo
wed
by
cess
atio
n.
Sche
me
/Ana
stro
phe/
5 42
5 Th
e pa
th to
peac
e
You
cle
arly
see
happ
ines
s and
let i
t go.
You
cle
arly
see
suff
erin
g an
d le
t it g
o.
Sche
me
/Ant
ithes
is/
105
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
5 42
5 Th
e pa
th to
peac
e
Dev
elop
ing
peac
e th
roug
h sa
m¯a
dhi a
lone
is v
ery,
ver
y di
fficu
lt; o
ne is
con
stan
tly p
etrifi
ed.
Sche
me
/Rep
etiti
on/
5 42
5 Th
e pa
th to
peac
e
So w
hen
the
min
d is
at i
ts m
ost c
alm
, wha
t sho
uld
you
do?
Trop
e
/Rhe
tori
cal
ques
tion/
5 42
6 Th
e pa
th to
peac
e
Whe
n th
ere
is h
appi
ness
, wat
ch th
e ha
ppin
ess.
Whe
n th
ere
is su
ffer
ing,
wat
ch th
e su
ffer
ing.
Sc
hem
e
/Epi
stro
phe/
5 42
8 Th
e pa
th to
peac
e
you
will
kno
w th
at p
lace
whi
ch is
the
foca
l poi
nt o
f sat
i (m
indf
ulne
ss),
the
foca
l poi
nt o
f the
know
ing
and
the
foca
l poi
nt o
f the
min
d’s a
war
enes
s.
Sche
me
/Rep
etiti
on/
5 43
0 Th
e pa
th to
peac
e
Aw
aren
ess r
emai
ns w
ith th
e br
eath
and
ove
r tim
e it
will
pen
etra
te d
eepe
r and
dee
per i
nsid
e,
beco
min
g pr
ogre
ssiv
ely
mor
e refin
ed.
Sche
me
/Rep
etiti
on/
5 43
1 Th
e pa
th to
peac
e
Her
e yo
u m
ust e
stab
lish
the
unde
rsta
ndin
g th
at it
is ju
st th
e na
ture
of t
he p
ract
ice
to p
rogr
ess i
n
this
way
. Wha
t will
you
obs
erve
as t
he o
bjec
t of m
edita
tion
now
?
Trop
e
/Rhe
tori
cal
ques
tion/
5 43
4 Th
e pa
th to
peac
e
It’s l
ike
drop
s of w
ater
bec
ause
the
prac
tice
is n
ot a
con
tinuo
us, u
nint
erru
pted
flow
. Tr
ope
/Sim
ile/
5 43
5 Th
e pa
th to
peac
e
Ther
e w
on’t
be a
ny o
f the
frui
ts o
f vip
assa
na ¯
left
by th
e en
d of
it.
Trop
e
/Met
apho
r/
106
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
5 43
5 Th
e pa
th to
peac
e
If y
ou d
o a
sile
nt re
treat
for s
even
day
s, w
here
you
don
’t ha
ve to
spea
k to
or g
et in
volv
ed w
ith
anyb
ody,
and
then
go
chat
ting,
gos
sipi
ng a
nd o
verin
dulg
ing
for a
noth
er se
ven
mon
ths,
how
will
you
gai
n an
y re
al o
r las
ting
benefit
from
thos
e se
ven
days
of p
ract
ise?
Trop
e
/Rhe
tori
cal
ques
tion/
5 43
6 Th
e pa
th to
peac
e
You
cou
ld sa
y th
at th
e re
ason
why
you
hav
e co
me
to p
ract
ise
is to
lear
n ho
w to
avo
id d
oing
the
wro
ng th
ings
in th
e fu
ture
. Wha
t hap
pens
whe
n yo
u do
the
wro
ng th
ings
?
Trop
e
/Rhe
tori
cal
ques
tion/
5 43
6 Th
e pa
th to
peac
e
In m
edita
tion
you
have
to b
e co
nsta
ntly
turn
ing
your
atte
ntio
n to
the
prac
tice.
It’s
like
pla
ntin
g
a tre
e.
Trop
e
/Sim
ile/
6 44
9 C
larit
y of
insi
ght
You
cou
ld a
lso
com
pare
trai
ning
the
min
d w
ith te
achi
ng a
chi
ld. I
t wou
ld b
e im
poss
ible
to
forc
e a
child
, who
still
had
n’t l
earn
t to
spea
k, to
acc
umul
ate
know
ledg
e at
an
unna
tura
lly fa
st
rate
that
was
bey
ond
its c
apab
ility
. You
cou
ldn’
t get
too
toug
h w
ith it
or t
ry te
achi
ng it
mor
e
lang
uage
than
it c
ould
take
in a
t any
one
tim
e, b
ecau
se th
e ch
ild w
ould
sim
ply
be u
nabl
e to
hold
its a
ttent
ion
on w
hat y
ou w
ere
sayi
ng fo
r lon
g en
ough
. You
r min
d is
sim
ilar.
Trop
e
/Met
apho
r/
6 45
1 C
larit
y of
insi
ght
The
body
is ju
st th
e bo
dy.
Sche
me
/Epa
nale
psis
/
6 45
2 C
larit
y of
insi
ght
Prac
tice
cont
empl
atin
g th
e bo
dy a
s bei
ng ju
st th
at m
uch,
unt
il it
is q
uite
nat
ural
to th
ink
to
your
self:
“O
h, th
e bo
dy is
mer
ely
the
body
. It’s
just
that
muc
h.”
Trop
e
/Apo
stro
phe/
6 45
4 C
larit
y of
insi
ght
It’s l
ike
you
are
wan
derin
g ar
ound
insi
de y
our o
wn
hom
e. Y
ou w
ande
r aro
und
with
in th
e
limits
of y
our c
once
ntra
tion,
with
out l
osin
g aw
aren
ess a
nd m
ovin
g ou
tdoo
rs, a
way
from
the
med
itatio
n ob
ject
.
Trop
e
/Sim
ile/
107
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
6 45
5 C
larit
y of
insi
ght
Inve
stig
atin
g fr
om w
ithin
a st
ate
of c
alm
, lea
ds y
ou to
cle
arer
and
cle
arer
in si
ght.
Sche
me
/Rep
etiti
on/
6 45
8 C
larit
y of
insi
ght
You
can
com
pare
this
with
the
effe
ct o
f put
ting
oil a
nd p
aint
toge
ther
in a
bot
tle.
Trop
e
/Met
apho
r/
6 46
0 C
larit
y of
insi
ght
As s
oon
as y
ou st
art t
o ex
perie
nce
suff
erin
g yo
u au
tom
atic
ally
ask
you
rsel
f the
que
stio
n:
whe
re d
oes i
t com
e fr
om?
Trop
e
/Rhe
tori
cal
ques
tion/
6 46
2 C
larit
y of
insi
ght
You
exp
erie
nce
the
frui
ts o
f hav
ing
train
ed th
e m
ind
in sa
m¯a
dhi a
nd in
sigh
t and
thes
e
nece
ssar
ily m
ake
the
min
d w
iser
and
mor
e sk
ilful
.
Trop
e
/Met
apho
r/
6 46
4 C
larit
y of
insi
ght
Why
, the
n, d
o yo
u m
isun
ders
tand
and
atta
ch to
them
as b
eing
a se
lf or
bel
ongi
ng to
a se
lf?
Trop
e
/Rhe
tori
cal
ques
tion/
6 46
9 C
larit
y of
insi
ght
The
mor
e yo
u tra
in y
ours
elf i
n si
tting
med
itatio
n, th
e m
ore
skill
ed a
t it y
ou b
ecom
e an
d
natu
rally
you
can
sit f
or lo
nger
per
iods
.
Sche
me
/Epi
stro
phe/
6 47
3 C
larit
y of
insi
ght
The
mor
e he
trie
d to
wor
k ou
t whe
re e
ach
teac
her w
as a
t, th
e m
ore
he b
ecam
e re
stle
ss a
nd
agita
ted.
Sche
me
/Epi
stro
phe/
6 47
4 C
larit
y of
insi
ght
The
mor
e yo
u he
ar, t
he m
ore
you
doub
t; th
e m
ore
you
hear
, the
mor
e m
ixed
up
you
beco
me.
Sc
hem
e
/Rep
etiti
on/
6 47
8 C
larit
y of
insi
ght
That
whi
ch is
the
Dha
mm
a is
the
Bud
dha
Trop
e
/Met
apho
r/
108
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
6 47
8 C
larit
y of
insi
ght
In th
at w
ay th
e D
ham
ma
is e
qual
to th
e B
uddh
a, th
e B
uddh
a is
equ
al to
the
Dha
mm
a.
Sche
me
/Ana
stro
phe/
6 48
4 C
larit
y of
insi
ght
It’s l
ike
chic
ken
shit.
If y
ou a
re w
alki
ng o
n yo
ur o
wn
som
ewhe
re c
arry
ing
chic
ken
shit,
it
stin
ks.
Trop
e
/Sim
ile/
6 48
6 C
larit
y of
insi
ght
If y
ou si
mpl
y ob
serv
e th
ings
on
this
leve
l you
will
nev
er st
op d
oubt
ing.
Why
doe
s tha
t tea
cher
do it
this
way
? W
hy d
oes t
his t
each
er d
o it
anot
her w
ay?
Trop
e
/Rhe
tori
cal
ques
tion/
6 48
7 C
larit
y of
insi
ght
If y
ou tr
ied
purs
uing
the
min
d as
it sp
ins a
roun
d w
ould
you
be
able
to c
atch
it?
It m
oves
so
fast
, wou
ld y
ou e
ven
be a
ble
to k
eep
up w
ith it
?
Trop
e
/Rhe
tori
cal
ques
tion/
6 48
7 C
larit
y of
insi
ght
Imag
ine
the
min
d w
as a
mec
hani
cal d
oll,
whi
ch w
as a
ble
to ru
n ar
ound
. Tr
ope
/Met
apho
r/
6 48
7 C
larit
y of
insi
ght
If it
beg
an ru
nnin
g fa
ster
and
fast
er u
ntil
it w
as ru
nnin
g at
full
spee
d.
Sche
me
/Rep
etiti
on/
6 48
9 C
larit
y of
insi
ght
If th
ere’
s too
muc
h fo
od y
ou sa
y th
at it
’s su
ffer
ing
and
just
trou
ble.
Wha
t’s a
ll th
e fu
ss a
bout
?
If th
ere
is a
lot,
just
take
a sm
all a
mou
nt a
nd le
ave
the
rest
for e
very
body
els
e. W
hy m
ake
so
muc
h tro
uble
for y
ours
elf o
ver t
his?
It’s
not
pea
cefu
l? W
hat’s
not
pea
cefu
l?
Trop
e
/Rhe
tori
cal
ques
tion/
6 49
1 C
larit
y of
insi
ght
How
will
you
cop
e on
thos
e oc
casi
ons w
hen
you
can’
t find
a p
eace
ful p
lace
? Tr
ope
/Rhe
tori
cal
ques
tion/
109
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
6 49
5 C
larit
y of
insi
ght
Wha
t do
you
have
to sa
y ab
out t
he w
ay o
f tra
inin
g? W
hat d
o yo
u th
ink
abou
t wha
t I h
ave
been
sayi
ng?
Wha
t do
you
thin
k yo
u’ll
deci
de to
do
in th
e fu
ture
then
?
Trop
e
/Rhe
tori
cal
ques
tion/
6 49
6 C
larit
y of
insi
ght
Don
’t ge
t inv
olve
d w
ith th
e th
ings
that
aris
e in
the
min
d. L
et g
o. E
ven
if yo
u ar
e pe
acef
ul, y
ou
don’
t nee
d to
thin
k to
o m
uch
abou
t it.
Don
’t ta
ke it
too
serio
usly
. Don
’t ta
ke it
too
serio
usly
if
you’
re n
ot p
eace
ful e
ither
Sche
me
/Rep
etiti
on/
6 49
9 C
larit
y of
insi
ght
You
’d th
ink
they
wou
ld ju
st d
ie, b
ut v
ery
quic
kly
the
leav
es g
row
long
er a
nd lo
nger
with
h ard
ly a
ny w
ater
at a
ll.
Sche
me
/Rep
etiti
on/
7 50
4 C
larit
y of
insi
ght
It’s l
ike
falli
ng fr
om th
e to
p of
a tr
ee to
com
e cr
ashi
ng d
own
to th
e gr
ound
bel
ow.
Trop
e
/Sim
ile/
7 50
4 C
larit
y of
insi
ght
Sim
ilarly
, whe
n th
e m
ind
is su
dden
ly h
it by
a m
enta
l im
pres
sion
, if i
t del
ight
s in
it, th
en it
flie
s
off i
nto
a go
od m
ood.
Trop
e
/Per
soni
ficat
ion/
7 50
5 C
larit
y of
insi
ght
This
kno
win
g is
like
a la
nter
n sh
eddi
ng li
ght o
n th
e pa
th a
head
on
a da
rk n
ight
. Tr
ope
/Sim
ile/
7 50
5 C
larit
y of
insi
ght
The
Dha
mm
a is
sim
ply
the
Dha
mm
a.
Sche
me
/Epa
nale
psis
/
7 50
5 C
larit
y of
insi
ght
Med
itatio
n is
like
a si
ngle
stic
k of
woo
d.
Trop
e
/Sim
ile/
7 50
8 C
larit
y of
insi
ght
his i
s a m
ind
that
is tr
uly
at p
eace
. Thi
s is w
hat i
s not
bor
n, d
oesn
’t ag
e, d
oesn
’t ge
t sic
k, a
nd
does
n’t d
ie.
Sche
me
/Rep
etiti
on/
110
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
7 50
8 C
larit
y of
insi
ght
Such
a m
ind
is th
e w
orld
, and
the
Ble
ssed
One
took
the
thin
gs o
f thi
s wor
ld to
exa
min
e th
is
very
wor
ld.
Trop
e
/Met
apho
r/
7 50
9 C
larit
y of
insi
ght
whe
n th
ese
defil
emen
ts a
ctua
lly a
ppea
r in
our m
inds
, do
they
cor
resp
ond
with
the
theo
ry o
r
not?
Whe
n, fo
r ins
tanc
e, w
e ex
perie
nce
som
ethi
ng u
ndes
irabl
e do
we
reac
t and
get
into
a b
ad
moo
d? D
o w
e at
tach
? C
an w
e le
t it g
o?
Trop
e
/Rhe
tori
cal
ques
tion/
7 50
9 C
larit
y of
insi
ght
With
out c
larit
y of
insi
ght,
how
will
we
ever
be fin
ishe
d w
ith th
em?
Ther
e’s n
o en
d to
it.
Trop
e
/Rhe
tori
cal
ques
tion/
7 51
3 C
larit
y of
insi
ght
Wea
k vi
rtue.
Wea
k sa
m¯a
dhi.
Wea
k w
isdo
m. W
hen
the
Path
isn’
t dur
able
, the
defi
lem
ents
dom
inat
e t h
e m
ind.
Sche
me
/Rep
etiti
on/
7 51
5 C
larit
y of
insi
ght
the
scho
lars
try
to c
lutc
h th
eir t
heor
y an
d dr
ag it
into
thei
r med
itatio
n, si
tting
and
pon
derin
g,
“Hm
mm
...w
hat c
ould
this
be?
Is th
is fi
rst j
h¯an
a ye
t?”
Trop
e
/Apo
stro
phe/
7 51
7 C
larit
y of
insi
ght
I con
tinue
d on
inve
stig
atin
g lik
e th
is u
ntil
my
unde
rsta
ndin
g de
epen
ed e
ven
furth
er: “
Ah,
this
is im
porta
nt. W
hen
the
perc
eive
d co
ntin
uity
of p
heno
men
a is
cut
, the
resu
lt is
pea
ce.”
Trop
e
/Apo
stro
phe/
7 51
9 C
larit
y of
insi
ght
How
cou
ld y
ou p
ut a
nam
e on
wha
t hap
pene
d du
ring
thes
e th
ree
times
? W
ho k
now
s?
Trop
e
/Rhe
tori
cal
ques
tion/
7 52
0 C
larit
y of
insi
ght
It’s j
ust l
ike
som
eone
els
e ha
s clim
bed
up a
man
go tr
ee a
nd is
shak
ing
dow
n th
e fr
uit w
hile
we
wai
t und
erne
ath
to g
athe
r the
m u
p.
Trop
e
/Sim
ile/
111
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
7 52
1 C
larit
y of
insi
ght
If w
e w
ant i
t to
grow
mor
e qu
ickl
y th
an it
is, t
his i
s pur
e de
lusi
on. I
f we
wan
t it t
o gr
ow m
ore
slow
ly, r
ecog
nize
this
as d
elus
ion
as w
ell.
If w
e do
the
wor
k, th
e re
sults
will
be
forth
com
ing
–
just
like
pla
ntin
g a
tree.
Sche
me
/Epi
stro
phe/
7 52
3 C
larit
y of
insi
ght
How
cou
ld th
ey p
ossi
bly
fall
into
hel
l whe
n th
eir m
inds
hav
e ab
ando
ned
evil?
Tr
ope
/Rhe
tori
cal
ques
tion/
7 52
4 C
larit
y of
insi
ght
Con
tem
plat
e un
til y
ou’r
e su
re a
bout
wha
t you
’re
seei
ng, u
ntil
it’s d
efini
te, u
ntil
you’
re
profi
cien
t.
Sche
me
/Rep
etiti
on/
7 52
6 C
larit
y of
insi
ght
Fina
lly, w
hen
we
cons
ider
it c
lear
ly w
e se
e, “
Oh,
thes
e th
ings
com
e be
caus
e I c
all t
hem
.”
Trop
e
/Apo
stro
phe/
7 52
6 C
larit
y of
insi
ght
Even
tual
ly it
occ
urs t
o us
, “H
ey, a
ll th
is th
inki
ng, t
his a
imle
ss m
enta
l cha
tter,
this
wor
ryin
g
and
judg
ing
– it’
s all
insu
bsta
ntia
l non
sens
e. It
’s a
ll im
perm
anen
t, un
satis
fact
ory
and
notm
e or
min
e.
Trop
e
/Apo
stro
phe/
7 52
7 C
larit
y of
insi
ght
You
r min
d is
a w
ater
buf
falo
. Tr
ope
/Met
apho
r/
7 52
9 C
larit
y of
insi
ght
Atta
ch to
the
Bud
dha.
Atta
ch to
the
Dha
mm
a. A
ttach
to th
e Sa
ngha
. Atta
ch fi
rmly
and
dee
ply.
That
’s w
hat t
he B
uddh
a ta
ught
. Atta
ch w
ith si
ncer
ity a
nd p
ersi
sten
ce a
nd h
old
on ti
ght.
Sche
me
/Rep
etiti
on/
7 52
9 C
larit
y of
insi
ght
It ta
kes p
ushi
ng y
ours
elf t
o th
e lim
it. It
take
s the
cou
rage
to tr
ain,
to refle
ct, a
nd to
fund
amen
tally
cha
nge.
It ta
kes t
he c
oura
ge to
act
ually
do
wha
t it t
akes
.
Sche
me
/Rep
etiti
on/
112
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
7 52
9 C
larit
y of
insi
ght
It’s u
nrel
iabl
e, so
don
’t be
lieve
it. I
t’s n
ot y
et v
irtuo
us. H
ow c
an w
e tru
st a
hea
rt th
at la
cks
purit
y an
d cl
arity
?
Trop
e
/Rhe
tori
cal
ques
tion/
7 53
1 C
larit
y of
insi
ght
But
it fe
els l
ike
they
’re
kick
ing
us a
roun
d. F
irst t
hey
kick
us f
rom
one
side
, “O
w!”
, th
en th
ey
kick
us f
rom
the
othe
r,“O
w!”
Trop
e
/Apo
stro
phe/
7 53
2 C
larit
y of
insi
ght
Ther
e’s n
o lo
w a
nd n
o hi
gh. T
here
’s n
o ha
ppin
ess a
nd n
o su
ffer
ing.
The
re’s
no
good
and
no
evil.
Thi
s is t
he st
raig
ht p
ath.
Sche
me
/Ant
ithes
is/
7 53
4 C
larit
y of
insi
ght
As l
ong
as w
e’re
not
yet
at e
ase
with
the
brea
th, i
t will
seem
too
shal
low
or t
oo d
eep,
too
subt
le o
r too
roug
h.
Sche
me
/Rep
etiti
on/
7 53
5 C
larit
y of
insi
ght
If it
’s g
ood,
just
kno
w th
at it
’s g
ood.
If it
’s b
ad, j
ust k
now
that
it’s
bad
. Sc
hem
e
/Epa
nale
psis
/
7 53
5 C
larit
y of
insi
ght
It’s h
igh
time
we
star
ted
to m
edita
te. M
edita
te to
und
erst
and,
to a
band
on, t
o re
linqu
ish,
and
to
be a
t pea
ce.
Sche
me
/Ana
phor
a/
7 53
7 C
larit
y of
insi
ght
The
defil
emen
ts o
f the
min
d w
ill b
e va
nqui
shed
if y
ou a
ppro
ach
them
with
the
right
stra
tegy
:
be so
meo
ne w
ho re
noun
ces,
one
who
is fr
ugal
with
wor
ds, w
ho is
con
tent
with
littl
e, a
nd w
ho
aban
dons
all
view
s and
opi
nion
s ste
mm
ing
from
self -
impo
rtanc
e an
d co
ncei
t.
Sche
me
/Rep
etiti
on/
7 53
7 C
larit
y of
insi
ght
If y
ou a
ctua
lly u
nder
take
the
sear
ch, w
hat w
ould
stop
you
?
Trop
e
/Rhe
tori
cal
ques
tion/
113
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
7 53
8 C
larit
y of
insi
ght
Whe
neve
r a v
isito
r app
roac
hes y
ou w
ave
them
aw
ay. I
f you
forb
id th
em to
ent
er, w
here
are
they
goi
ng to
sit d
own?
The
re’s
onl
y on
e se
at, a
nd y
ou’r
e si
tting
in it
. Spe
nd th
e w
hole
day
in
this
one
spot
.
Trop
e
/Rhe
tori
cal
ques
tion/
7 53
8 C
larit
y of
insi
ght
Thos
e vi
sito
rs jo
urne
y he
re se
ekin
g to
exe
rt influ
ence
, to
cond
ition
and
sway
you
r min
d in
vario
us w
ays.
Sche
me
/Rep
etiti
on/
7 54
0 C
larit
y of
insi
ght
I use
d to
snor
e, b
ut o
nce
the
min
d re
mai
ned
awak
e at
all
times
, sno
ring
stop
ped.
How
can
you
snor
e w
hen
you’
re a
wak
e?
Trop
e
/Rhe
tori
cal
ques
tion/
7 54
0 C
larit
y of
insi
ght
This
is th
e pu
re a
nd h
eigh
tene
d aw
aren
ess o
f the
Bud
dha:
the
One
Who
Kno
ws,
the
Aw
aken
ed
One
, the
Joyo
us O
ne, t
he B
rillia
ntly
Rad
iant
One
.
Sche
me
/Rep
etiti
on/
7 54
2 C
larit
y of
insi
ght
Don
’t fo
rce
the
med
itatio
n. D
on’t
atte
mpt
to in
terp
ret w
hat’s
hap
peni
ng. D
on’t
coer
ce y
our
hear
t with
unr
ealis
tic d
eman
ds th
at it
ent
er a
stat
e of
sam
¯adh
i – o
r els
e yo
u’ll fin
d it
even
mor
e ag
itate
d an
d un
pred
icta
ble
than
nor
mal
. Jus
t allo
w th
e he
art a
nd m
ind
to re
lax,
com
forta
ble
and
at e
ase.
Sche
me
/Rep
etiti
on/
7 54
3 C
larit
y of
insi
ght
Let t
he b
ody
rela
x, c
omfo
rtabl
e an
d at
eas
e. T
hen
keep
doi
ng it
. You
r min
d w
ill a
sk y
ou,
Trop
e
/Per
soni
ficat
ion/
7 54
6 C
larit
y of
insi
ght
It’s p
ossi
ble!
The
n it
occu
rs to
us w
ith c
larit
y an
d in
sigh
t, “A
ha! A
ll th
ings
are
impe
rman
ent,
unab
le to
fully
satis
fy, a
nd n
ot-s
elf.”
Sche
me
/Clim
ax/
114
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 54
9 A
bout
bei
ng
care
ful
Then
it is
n’t n
eces
sary
to g
o in
to d
etai
l and
med
itate
on
the
sepa
rate
par
ts. I
t’s li
ke h
avin
g fr
uit
in a
bas
ket.
If w
e ha
ve a
lread
y co
unte
d th
e pi
eces
of f
ruit,
then
we
know
wha
t’s th
ere,
and
whe
n w
e ne
ed to
, we
can
pick
up
the
bask
et a
nd ta
ke it
aw
ay, a
nd a
ll th
e pi
eces
com
e w
ith it
.
Trop
e
/Sim
ile/
8 55
0 A
bout
bei
ng
care
ful
Impu
lses
are
mer
ely
impu
lses
. Tho
ught
s are
mer
ely
thou
ghts
. Sc
hem
e
/Epa
nale
psis
/
8 55
1 A
bout
bei
ng
care
ful
If w
e do
n’t h
ave
any
thou
ghts
, how
will
wis
dom
dev
elop
? Tr
ope
/Rhe
tori
cal
ques
tion/
8 55
1 A
bout
bei
ng
care
ful
He
saw
sam
¯adh
i as o
ne c
ompo
nent
fact
or o
f the
pat
h. a
re c
ompo
nent
s or i
ngre
dien
ts, l
ike
ingr
edie
nts u
sed
in c
ooki
ng. W
e us
e sp
ices
in c
ooki
ng to
mak
e fo
od ta
sty.
The
poi
nt is
n’t t
he
spic
es th
emse
lves
, but
the
food
we
eat.
Prac
ticin
g sa
mad
hi ¯
is th
e sa
me.
Trop
e
/Sim
ile/
8 55
2 A
bout
bei
ng
care
ful
Ever
ythi
ng is
a h
assl
e, e
very
thin
g is
pre
sent
ing
obst
acle
s – a
nd e
very
thin
g is
teac
hing
you
. Sc
hem
e
/Rep
etiti
on/
8 55
3 A
bout
bei
ng
care
ful
Whe
n yo
u st
and
up, i
t’s “
Oy!
” O
r hav
en’t
you
notic
ed?
And
it’s
“O
y!”
whe
n yo
u w
alk.
It’s
prod
ding
you
.
Trop
e
/Apo
stro
phe/
8 55
7 A
bout
bei
ng
care
ful
If y
ou’r
e sc
oopi
ng o
ut a
buc
ket a
nd p
ourin
g ba
ck a
buc
ket,
scoo
ping
out
and
then
pou
ring
back
– w
ell,
thin
k ab
out i
t. W
hen
will
you
see
an e
mpt
y ba
rrel
?
Trop
e
/Rhe
tori
cal
ques
tion/
8 55
8 A
bout
bei
ng
care
ful
If y
ou g
ive
in o
rder
to le
t go
and
free
the
min
d, th
at b
rings
you
mer
it. If
you
do
it to
get
som
ethi
ng, t
hat’s
bad
kam
ma.
.
Sche
me
/Epi
stro
phe/
115
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 55
8 A
bout
bei
ng
care
ful
Wel
l, if
som
ethi
ng c
an b
e go
tten,
then
who
get
s it?
We
get i
t. Tr
ope
/Rhe
tori
cal
ques
tion/
8 55
9 A
bout
bei
ng
care
ful
It’s s
imila
r whe
n so
meo
ne’s
spou
se o
r chi
ldre
n di
e, o
r whe
n pe
ople
suff
er b
ig fi
nanc
ial l
oss.
They
drin
k to
relie
ve th
eir s
orro
w. T
hey
go to
a m
ovie
to re
lieve
thei
r sor
row
. Doe
s it r
eally
relie
ve th
e so
rrow
?
Trop
e
/Rhe
tori
cal
ques
tion/
8 56
0 A
bout
bei
ng
care
ful
Whe
n w
e ge
t on
a tra
in a
nd se
e so
me
acqu
aint
ance
ther
e w
e sa
y, “
Oh,
how
goo
d to
see
you!
I’ve
bee
n th
inki
ng a
bout
you
a lo
t lat
ely!
I’ve
bee
n pl
anni
ngto
vis
it yo
u!”
Trop
e
/Apo
stro
phe/
8 56
1 A
bout
bei
ng
care
ful
Then
if w
e ru
n in
to h
im o
ne d
ay in
the
futu
re, w
e’ll
say
the
sam
e th
ings
aga
in: “
Hey
, goo
d to
see
you!
How
hav
e yo
u be
en?
I’ve
bee
n m
eani
ng to
go
visi
t you
, but
I ju
st h
aven
’t ha
d th
e
time.
”
Trop
e
/Apo
stro
phe/
8 56
1 A
bout
bei
ng
care
ful
If w
e kn
ow th
em th
en o
ur m
inds
will
ent
er th
e D
ham
ma;
the
Dha
mm
a w
ill e
nter
our
min
ds.
Sche
me
/Epa
nale
psis
/
8 56
2 A
bout
bei
ng
care
ful
If w
e kn
ow a
ll th
ings
as t
hey
are,
that
will
brin
g us
wel
l-bei
ng. W
here
exa
ctly
are
thos
e th
ings
tha t
cau
se u
s to
have
hap
pine
ss a
nd su
ffer
ing?
Thi
nk a
bout
it w
ell.
Trop
e
/Rhe
tori
cal
ques
tion/
116
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 56
2 A
bout
bei
ng
care
ful
Inve
stig
ate
thes
e fe
elin
gs o
f stro
ng lo
ve o
r ave
rsio
n, a
nd th
en ta
ke a
step
bac
k. If
you
get
too
clos
e, th
ey’ll
bite
. Do
you
hear
this
? If
you
gra
b at
and
car
ess t
hese
thin
gs, t
hey
bite
and
they
kick
. Whe
n yo
u fe
ed g
rass
to y
our b
uffa
lo, y
ou h
ave
to b
e ca
refu
l. If
you
’re
care
ful w
hen
it
kick
s out
, it w
on’t
kick
you
. You
hav
e to
feed
it a
nd ta
ke c
are
of it
, but
you
shou
ld b
e sm
art
enou
gh to
do
that
with
out g
ettin
g bi
tten.
Lov
e fo
r chi
ldre
n, re
lativ
es, w
ealth
and
pos
sess
ions
will
bite
. Do
you
unde
rsta
nd th
is?
Whe
n yo
u fe
ed it
, don
’t ge
t too
clo
se. W
hen
you
give
it
wat
er, d
on’t
get t
oo c
lose
. Pul
l on
the
rope
whe
n yo
u ne
ed to
. Thi
s is t
he w
ay o
f Dha
mm
a,
reco
gniz
ing
impe
rman
ence
, uns
atis
fact
orin
ess a
nd la
ck o
f sel
f, re
cogn
izin
g th
e da
nger
and
empl
oyin
g ca
utio
n a n
d re
stra
int i
n a
min
dful
way
.
Trop
e
/Met
apho
r/
8 56
3 A
bout
bei
ng
care
ful
It’s o
ur p
osse
ssio
ns, o
ur h
omes
, our
fam
ilies
whe
re w
e ha
ve to
pay
atte
ntio
n. O
r wha
t do
you
thin
k?
Trop
e
/Rhe
tori
cal
ques
tion/
8 56
3 A
bout
bei
ng
care
ful
Don
’t th
ink
that
thes
e th
ings
won
’t bi
te o
r kic
k. If
you
do
get b
itten
, mak
e su
re it
’s o
nly
a lit
tle
bit.
Don
’t ge
t kic
ked
and
bitte
n to
pie
ces.
Don
’t try
to te
ll yo
urse
lves
ther
e’s n
o da
nger
.
Sche
me
/Rep
etiti
on/
8 56
4 A
bout
bei
ng
care
ful
If w
e ha
ve c
hild
ren,
we
don’
t hav
e to
suff
er. I
f we
wor
k, w
e do
n’t h
ave
to su
ffer
. If w
e ha
ve a
hous
e, w
e do
n’t h
ave
to su
ffer
.
Sche
me
/Epi
stro
phe/
8 56
4 A
bout
bei
ng
care
ful
It’s l
ike
a lo
tus i
n th
e w
ater
. Tr
ope
/Sim
ile/
117
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 56
8 A
bout
bei
ng
care
ful
It is
just
like
the
air t
hat s
urro
unds
us e
very
whe
re. W
hene
ver w
e br
eath
e w
e ta
ke it
in. A
ll
man
ner o
f goo
d an
d ev
il is
like
that
. If w
e w
ish
to d
o go
od, w
e ca
n do
it a
nyw
here
, at a
ny
time.
We
can
do it
alo
ne o
r tog
ethe
r with
oth
ers.
Evil
is th
e sa
me.
Trop
e
/Sim
ile/
8 57
1 A
bout
bei
ng
care
ful
Plea
sure
is m
erel
y pl
easu
re. F
eelin
g is
mer
ely
feel
ing.
Mem
ory
is m
erel
y m
emor
y. T
hink
ing
is
mer
ely
thin
king
.
Sche
me
/Epa
nale
psis
/
8 57
1 A
bout
bei
ng
care
ful
Hap
pine
ss is
mer
ely
happ
ines
s; su
ffer
ing
is m
erel
y su
ffer
ing.
Goo
d is
mer
ely
good
, evi
l is
mer
ely
evil.
Sche
me
/Epa
nale
psis
/
8 57
2 A
bout
bei
ng
care
ful
Seei
ng b
irth
we
are
fool
hard
y. S
eein
g de
ath
we
are
fool
hard
y. T
here
is o
nly
this
une
ndin
g
fool
ishn
ess.
Sche
me
/Epi
stro
phe/
8 57
3 A
bout
bei
ng
care
ful
If w
e kn
ow th
e D
ham
ma,
we
know
the
wor
ld c
lear
ly; i
f we
know
the
wor
ld c
lear
ly, w
e kn
ow
the
Dha
mm
a.
Sche
me
/Ana
stro
phe/
8 57
4 A
bout
bei
ng
care
ful
Plea
sure
hid
es p
ain
and
pain
hid
es p
leas
ure
from
our
sigh
t. W
rong
cov
ers u
p rig
ht, r
ight
cov
ers
wro
ng.
Sche
me
/Ana
stro
phe/
8 57
6 A
bout
bei
ng
care
ful
The
wat
er is
floo
ding
our
hea
rts.
Trop
e
/Per
soni
ficat
ion/
8 57
8 A
bout
bei
ng
care
ful
Like
a m
ango
that
is sh
aken
off
the
tree,
like
the
snar
e th
at d
oes n
ot g
et th
e w
asps
’ nes
t and
falls
to th
e gr
ound
: it i
s not
goi
ng a
nyw
here
. It i
s jus
t sta
ying
ther
e.
Trop
e
/Sim
ile/
8 57
9 A
bout
bei
ng
care
ful
Whe
n yo
u tra
nsfo
rm y
our v
iew
, the
n yo
u w
ill re
aliz
e th
at it
is li
ke w
atch
ing
leav
es fa
ll fr
om
the
trees
.
Trop
e
/Sim
ile/
118
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 58
1 A
bout
bei
ng
care
ful
Don
’t ge
t car
ried
away
with
you
r ide
as o
f how
you
thin
k th
ey sh
ould
be,
such
as,
“Oh,
I try
to
teac
h th
ese
lay
peop
le, b
ut th
ey d
o m
ake
me
upse
t. To
day
is th
e ob
serv
ance
day
, and
they
cam
e to
take
pre
cept
s. Th
en to
mor
row
they
’ll g
o ca
stin
g th
eir fi
shin
g ne
ts. T
hey’
ll dr
ink
thei
r
whi
skey
. The
y do
thes
e th
ings
righ
t out
ther
e w
here
any
one
can
see.
The
n th
e ne
xt o
bser
vanc
e
day,
they
’ll c
ome
agai
n. T
hey’
ll ta
ke th
e pr
ecep
ts a
nd li
sten
to th
e D
harm
a ta
lk a
gain
, and
then
they
’ll g
o to
put
out
thei
r net
s aga
in, k
ill a
nim
als a
gain
, and
drin
k ag
ain.
"
Trop
e
/Apo
stro
phe/
8 58
4 A
bout
bei
ng
care
ful
It’s l
ike
frui
t tha
t’s st
ill g
row
ing
on th
e tre
e. Y
ou c
an’t
forc
e it
to b
e sw
eet.
Trop
e
/Sim
ile/
8 59
2 A
bout
bei
ng
care
ful
You
r min
d is
telli
ng y
ou li
es.
Trop
e
/Per
soni
ficat
ion/
8 59
5 A
bout
bei
ng
care
ful
The
min
d of
a tr
ue p
ract
ition
er is
like
still
wat
er th
at fl
ows,
or fl
owin
g w
ater
that
’s st
ill.
Trop
e
/Sim
ile/
8 59
6 A
bout
bei
ng
care
ful
Bei
ng tr
anqu
il an
d ha
ving
wis
dom
: flow
ing,
yet
still
. Stil
l, ye
t flow
ing.
Sc
hem
e
/Ana
stro
phe/
8 59
9 A
bout
bei
ng
care
ful
Evil
is th
e fo
od o
f bad
peo
ple.
Tr
ope
/Met
apho
r/
8 59
9 A
bout
bei
ng
care
ful
If y
ou re
cogn
ize
it, th
en y
ou th
ink,
“O
h! M
y w
hole
pile
of d
ung
does
n’t h
ave
the
valu
e of
a
smal
l pie
ce o
f gol
d!”
Trop
e
/Apo
stro
phe/
119
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 59
9 A
bout
bei
ng
care
ful
you
gath
er fr
esh flo
wer
s the
flie
s won
’t be
inte
rest
ed in
them
. Eve
n if
you
tried
to p
ay th
em,
they
wou
ldn’
t com
e. B
ut w
here
ver t
here
’s a
dea
dan
imal
, whe
reve
r the
re’s
som
ethi
ng ro
tten,
that
’s w
here
they
’ll g
o. Y
ou d
on’t
need
to c
all t
hem
– th
ey ju
st g
o.
Trop
e
/Met
apho
r/
8 60
0 A
bout
bei
ng
care
ful
The
only
way
is k
now
ing
suff
erin
g, k
now
ing
the
caus
e of
suff
erin
g, k
now
ing
the
cess
atio
n of
suff
erin
g an
d kn
owin
g th
e pa
th o
f pra
ctic
e le
adin
g to
the
cess
atio
n of
suff
erin
g.
Sche
me
/Rep
etiti
on/
8 60
1 A
bout
bei
ng
care
ful
If y
ou a
re p
oor,
you
are
livin
g in
a c
age.
If y
ou si
ng a
nd d
ance
, you
’re
sing
ing
and
danc
ing
in a
cage
. If y
ou w
atch
a m
ovie
, you
’re
wat
chin
g it
in a
cag
e.
Sche
me
/Epi
stro
phe/
8 60
2 A
bout
bei
ng
care
ful
If w
e do
, the
sent
ence
won
’t be
so h
eavy
. If w
e do
n’t,
we
suff
er e
norm
ousl
y. If
we
plea
d
guilt
y, th
ey’ll
go
easy
on
us.
Sche
me
/Epi
stro
phe/
8 60
6 A
bout
bei
ng
care
ful
Bad
is fu
el.
Trop
e
/Met
apho
r/
8 60
9 A
bout
bei
ng
care
ful
He
was
com
plai
ning
, “O
h m
an, t
his y
ear i
t’s re
ally
too
muc
h! T
he p
rice
of fe
ed is
up.
The
pric
e of
por
k is
dow
n. I’
m lo
sing
my
shirt
!” I
liste
ned
to h
is la
men
ts, t
hen
I sai
d, “
Don
’t fe
el
too
sorr
y fo
r you
rsel
f, Si
r. If
you
wer
e a
pig,
then
you
’d h
ave
good
reas
on to
feel
sorr
y fo
r
your
self.
Whe
n th
e pr
ice
of p
ork
is h
igh,
the
pigs
are
slau
ghte
red.
Whe
n th
e pr
ice
of p
ork
is
low
, the
pig
s are
still
slau
ghte
red.
The
pig
s rea
lly h
ave
som
ethi
ng to
com
plai
n ab
out.
The
p eop
le sh
ould
n’t b
e co
mpl
aini
ng. T
hink
abo
ut th
is se
rious
ly, p
leas
e.”
Trop
e
/Apo
stro
phe/
8 61
0 A
bout
bei
ng
care
ful
Hav
en’t
you
ever
car
ried
thin
gs to
the fie
lds o
n a
pole
ove
r you
r sho
ulde
rs?
Whe
n th
e lo
ad is
too
heav
y in
fron
t, is
n’t t
hat u
ncom
forta
ble
to c
arry
? W
hen
it’s t
oo h
eavy
in b
ack,
isn’
t tha
t
unco
mfo
rtabl
e to
car
ry?
Whi
ch w
ay is
bal
ance
d an
d w
hich
way
is im
bala
nced
?
Trop
e
/Rhe
tori
cal
ques
tion/
120
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 62
2 A
bout
bei
ng
care
ful
Som
etim
es I
over
hea
r the
m ta
lkin
g ab
out t
heir
asce
tic w
ande
ring.
“O
h bo
y, th
e fo
od is
real
ly
grea
t the
re! I
wen
t “tu
dong
” to
the
sout
h, b
y th
e co
ast,
and
I ate
lots
of s
hrim
p! I
ate
big
ocea
n
fi sh!
”
Trop
e
/Apo
stro
phe/
8 63
0 A
bout
bei
ng
care
ful
Wat
er is
crit
iciz
ing
wat
er. W
ind
is c
ritic
izin
g w
ind.
Fire
is c
ritic
izin
g fir
e.
Sche
me
/Epa
nale
psis
/
8 63
4 A
bout
bei
ng
care
ful
The
eye
isn’
t the
obj
ects
, and
the
obje
cts a
ren’
t the
eye
. The
ear
isn’
t the
soun
d an
d th
e so
und
isn’
t the
ear
.
Sche
me
/Ana
stro
phe/
8 63
6 A
bout
bei
ng
care
ful
A d
am n
eeds
a sl
uice
way
so th
at th
e w
ater
can
run
off.
Our
pat
h is
like
this
. Tr
ope
/Sim
ile/
8 65
1 A
bout
bei
ng
care
ful
Ther
e’s n
o re
solu
tion,
no
end.
Eac
h bl
ind
pers
on t
ouch
es p
art o
f the
ele
phan
t and
has
a
com
plet
ely
diff
eren
t ide
a of
wha
t it i
s. B
ut it
’s th
e sa
me
one
elep
hant
. It’s
like
this
in p
ract
ice.
Trop
e
/Sim
ile/
8 65
9 A
bout
bei
ng
care
ful
You
can
star
t by
prac
ticin
g sa
m¯a
dhi (
conc
entra
tion)
firs
t. It’
s lik
e w
alki
ng a
long
and
com
ing
acro
ss a
long
pie
ce o
f woo
d.
Trop
e
/Met
apho
r/
8 66
8 A
bout
bei
ng
care
ful
The
dog
wou
ld w
alk
arou
nd in
side
the
hous
e fo
r a w
hile
, and
then
it w
ould
get
bor
ed a
nd w
ant
to g
o ou
t aga
in: b
ack
to th
e do
or, p
awin
g an
d b
arki
ng. T
he m
inds
of p
eopl
e ar
e lik
e th
at –
like
a do
g.
Trop
e
/Sim
ile/
8 67
0 A
bout
bei
ng
care
ful
If w
e go
som
ewhe
re e
very
thin
g is
diff
eren
t, th
en w
e ar
e lik
e th
e bi
g fis
h in
the
smal
l pon
d.
Trop
e
/Sim
ile/
8 67
2 A
bout
bei
ng
care
ful
Thus
the
Bud
dha
said
, “O
Bhi
kkhu
s, vi
ew th
is w
orld
as a
n or
nam
ente
d an
d be
jew
eled
roya
l
char
iot,
by w
hich
fool
s are
ent
ranc
ed, b
ut w
hich
is m
eani
ngle
ss to
the
wis
e.”
Trop
e
/Apo
stro
phe/
121
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 67
2 A
bout
bei
ng
care
ful
Our
thin
king
goe
s too
far.
Our
aim
s are
too
grea
t; w
e de
sire
too
muc
h.
Sche
me
/Rep
etiti
on/
8 67
3 A
bout
bei
ng
care
ful
It’s l
ike
a hu
nter
trac
king
a d
eer.
Whe
n he
firs
t spo
ts th
e de
er, h
e is
exc
ited.
Whe
n he
firs
t
spot
s the
dee
r, he
is e
xcite
d. E
very
thin
g ab
out t
he d
eer i
nter
ests
him
, the
ear
s, th
e ta
il,
ever
ythi
ng. T
he h
unte
r bec
omes
ver
y ha
ppy.
His
bod
y is
ligh
t and
ale
rt. H
e is
onl
y af
raid
the
deer
will
get
aw
ay. I
t’s th
e sa
me
here
. Whe
n a
man
sees
a w
oman
he
likes
, or a
wom
an se
es a
man
, eve
ryth
ing
is so
intri
guin
g, th
e si
ght,
the
voic
e –
we fix
ate
on th
em, c
an’t
tear
our
selv
es
away
, loo
king
and
thin
king
as m
uch
as w
e ca
n, to
the
poin
t whe
re it
take
s con
trol o
f our
hea
rt.
Just
like
the
hunt
er.
Trop
e
/Sim
ile/
8 67
4 A
bout
bei
ng
care
ful
We
wan
t to
eat t
he w
hole
thin
g. W
e ov
er-e
stim
ate;
it’s
not
real
ly li
ke th
at. I
t’s li
ke a
cat
stal
king
a m
ouse
. Bef
ore
it ca
tche
s the
mou
se, t
he c
at is
ale
rt an
d fo
cuse
d.
Trop
e
/Sim
ile/
8 67
5 A
bout
bei
ng
care
ful
The
mor
e un
clea
n th
e m
ind
is, t
he m
ore
we
wan
t to
talk
. The
mor
e le
wdn
ess w
e ha
ve in
our
min
ds, t
he m
ore
we
wan
t to
ask,
to se
e, to
spea
k.
Sche
me
/Rep
etiti
on/
8 68
1 A
bout
bei
ng
care
ful
The
Dha
mm
a w
e te
ach
is li
ke th
e ap
ple.
Peo
ple
hear
it, b
ut th
ey d
on’t
real
ly k
now
the fla
vour
of “
the
appl
e”
Trop
e
/Sim
ile/
8 68
1 A
bout
bei
ng
care
ful
That
kin
d of
talk
was
a li
ttle
“sal
ty1.
” Sa
lty is
goo
d. S
wee
t is g
ood,
sour
is g
ood.
Man
y
diff
eren
t way
s of t
each
ing
are
good
.
Sche
me
/Rep
etiti
on/
8 68
4 A
bout
bei
ng
care
ful
we
can
belie
ve it
: “O
h! It
’s tr
ue!”
Tr
ope
/Apo
stro
phe/
122
Cha
pter
Pa
ge.
Title
U
ttera
nce
Type
of f
ig.
Trop
e/sc
hem
e
8 68
5 A
bout
bei
ng
care
ful
The
peop
le o
f Eur
ope
alre
ady
have
a lo
t in
thei
r liv
es. I
f you
try
to la
y so
met
hing
big
and
com
plic
ated
on
them
, it m
ight
be
too
muc
h. S
o w
hat s
houl
d yo
u do
?
Trop
e
/Rhe
tori
cal
ques
tion/
8 68
6 A
bout
bei
ng
care
ful
In T
haila
nd, p
eopl
e co
me
to m
e an
d sa
y, “
Oh,
Lua
ng P
or, t
he c
omm
unis
ts a
re c
omin
g!
Trop
e
/Apo
stro
phe/
8 68
9 A
bout
bei
ng
care
ful
Con
side
r it.
If p
eopl
e ar
e bo
rn b
ut n
ever
die
, will
that
brin
g ha
ppin
ess?
Tr
ope
/Rhe
tori
cal
ques
tion/