Any questions? The receptacle world is the physical world. And the material world is built of these concentric spheres. I mean cylinders. And later on we'll... do a diagram of the pajama loka. Okay? What? Yes, it is in Rupi Datu. A Rupi Datu, it's hard to say that it is because Arupadatu isn't, it's formless still.

[01:06]

It doesn't exactly exist there, but in another way it sort of does. I don't know exactly how to say it does, how it does when there's no form, but it certainly does in the Arupadatu. You can see when you draw a picture. I mean, the rupadatta and arupadatta, they have their little place in the picture of a world system, of the pajama loka. And what it means to put something that's formless in a place is a little bit nonsensical, but you can look at that when you see it. The Rupa Dhatu has a location.

[02:11]

It's wherever the meditator is. Anyway, they know how to get from where they start doing the meditation to the heaven and how to get back. If you're in India and you go to hell, Um, so you're saying your state of mind is the only place you are.

[03:33]

Okay. Um, hell is a, is a, um, is a destiny and it's determined by your karma but when you look around you actually think you're some place in a way the way the place looks is determined by your destiny you actually think you're a different place from where you were when you were I mean this is talking about actual birth in hell now you can be born in hell or you can also you know, as taking a, you know, put your Jyavita Indriya in hell. Or you can, while being a human being, you can visit hell, and then you won't leave Jhambudvipa, strictly speaking. You'll still, you'll experience hell on the freeway or something.

[04:37]

But it doesn't mean that one can't actually go to a, actually be born in this place that's hell. You have to take birth in that place. But that's the body you choose. When you don't have a body and you choose to incarnate in hell, then you'll actually be in a place called hell. According to this system, it's below the... All over the world, hell's under the ground. In Greece, they think it's under the ground. In Spain, they think it's under the ground. In Germany, they think it's under the ground. In China, they think it's under the ground. In India, they think it's under the ground. Most systems are under the ground.

[05:40]

So there's You can know all five or six realms within each realm. Taking birth, incarnating in a particular realm, you can know all five or all six. But you're not incarnated in all six. You're just experiencing all six. And you can also incarnate in all six. The incarnating in all six, I guess maybe that's what you have trouble with or something. But you don't have, when you are incarnated in one and you experience another, you don't leave your place.

[06:42]

But the way you experience your place is as though you were in hell. But it isn't like San Francisco changes his name exactly when you're in hell. or when you're in heaven. You can still say, yes, this is San Francisco. And it's not, it's above the ground. But you can know hell. In the Middle Ages, it's not, you know, they do take people under the ground to torture them. They don't take them up on top of mountaintops to torture them. Take them down in dungeons. So in the Middle Ages, I think you might very well, but they almost would get pretty close to making it just exactly like hell for you. The torturers often would probably dress up to wear special outfits, maybe not tails, but they would often be dressed up

[07:54]

in fancy outfits, so you'd really feel like you're in some place so much. You'd be under the ground. There are cold hells, too. Not all hells are hot. Under the ground, cold and wet, and then they do these things to you, which they read about in religious treatises on hell, and they reenact them as best they can for you there, so you'll know where you are. But it's also possible to be born in hell for a lifetime. If you, you know, if you incarnate and you choose and you see hell beings doing it and you think it looks good, then you get born in it. Is that clear? Well, we're talking about states of mind.

[09:24]

how they follow one another, and now comes the world. And in Chapter 4, first you teach about kinds of consciousness, and things that are in the consciousness, and then you teach about the world, different kinds of existence. In Chapter 4 you teach about karma again, which produces the worlds. So you first talk about consciousnesses, which produce the worlds, and then you talk about the worlds, You talk about karma, which produces the world. So chapter 2 and chapter 4 kind of produce chapter 3. But the way of talking, the level of talking about how things are produced in chapter 2 and chapter 4 is somewhat different. So chapter 2, as she pointed out, you're talking about different kinds of consciousnesses and

[10:26]

Now you have different kinds of existence. Okay? Now, human existence is divided by continents. But those continents do not mean places. They mean places which, they mean places, but they mean places which now are adjectives to types of existence. So there's human life, and there's a human life in India, or Janvodh Bhipa. there's human life in uttara kuru, and so on. There's four kinds of human life, four basic types of human birth, okay? And the difference between them will be due to where they live. Some human beings will be born, choose to be born in Jambunpipa. Life is a certain way there. In uttara kuru, it's another way. But the... they're talking about life in a place, but it is talking about the life, state of existence.

[11:32]

So it is state of existence when you talk about Jamvudbipa. Because human life does exist in a place, but it doesn't mean the place. When it talks about the place, It's called Bajamaloka. Is that clear? Bajamaloka is geophysical. Bajamaloka is actually Jambunbipa as a geophysical event. Yes? Jambunbipa responds in the human response. Well, I don't know too much about Purva Videha and Avara Godamya, but Uttarakuru is, I understand pretty well, Uttarakuru is what they sometimes speak of as the people in the frontier countries or people beyond the frontier, people of the north, border countries.

[13:02]

And from the point of view of India, it would be people in Tibet, yeah. Tibet or Mongolia or Siberia. But maybe Tibet's better because if you go, geophysically speaking, if you go beyond Tibet, then you get into Central Asia where civilization has another kind of renaissance. And then you go beyond that and It has another, so there's, there's kind of like Jambudvipa Uttarakuru, geophysically if you're going north, Jambudvipa Uttarakuru, Jambudvipa Uttarakuru, like that. But basically Uttarakuru is a place where people are born, they choose to be born, such that they are too busy to practice, are too busy to consider anything other than maintaining existence. they feel themselves to be very desperate.

[14:11]

Now, people, even gods can really be Uttarakuru, according to that. Even gods can think they're too busy eating ambrosia to meditate. Huh? Yeah, Uttarakuru can be anywhere, actually. But what they mean here is that It means that kind of human being who is that way, okay? Wherever they are in the universe, in the geophysical universe, wherever they are in the geophysical universe, they have a desperate existence. That means they're in Uttarakuru. So in your mind, you can categorize people who are desperate. You can put them on a continent in your mind. You can say... They belong to that continent within the human realm. So you can have continents of human beings. You could, you know, in your mind, you can spatially arrange them.

[15:21]

There's those people who think that they have some time to pay attention to their life in the midst of keeping their body and mind together. And then there's those who have no such time, that they define themselves as too busy to be concerned. And you can think of them as there. So this particular way of looking at it is spatial and hierarchical, which is the, you know, like myself, you know, as I may have mentioned to you, I used to think of, I had a spatial way of thinking of history when I was a kid. So I had a spatial way of thinking of time. Can't really have a time way of thinking of time. You have to use space to think of time. So now if you're thinking of consciousness, different states of existence, how once are you going to keep track of them other than spatially?

[16:28]

Can you think of another way? You can make a chart if you want. A chart of different kinds of existence on a piece of paper. That's fine too. And then you can have the chart organized into a into a hierarchy, and so on. So that's what they did. So there's human realm, and some of them are here, some of them are there, and some of them are there, and some of them are there. In the middle of that is Mount Sumer, and beings are placed on Mount Sumer, and there's hell. But the way they visualize where different forms of existence are in relationship to each other. So humans are in one plane, And within the human realm, there's these two extremes of the ones who live in Jambutvipa, which is the best of the human births, and the ones who live in Uttarakuru, which is the worst of the human births. A lot of the Mill Valley are in Uttarakuru, and they have Mercedes-Benz.

[17:36]

And they can't donate a dime to help other people because they're behind in their payments. They've chosen to be rich, therefore they've chosen to be desperate, because they're not rich enough to be relaxed rich. There's also people that are relaxed rich. They have a lot of time to sit around the beach and look at the stars. And even if the stars are out, they're not in a hurry to look at the stars before the clouds come through. In other words, they allow themselves some leisure Then they live, then they're what we call Jambutbipa Manushaite. They're people of the Indian subcontinent, human beings. But now, as you know, Indian subcontinent is not Jambutbipa anymore. Now Jambutbipa is USA, particularly California. Can you say more about Jambutbipa, why it's the best of human roots?

[18:43]

Because it's a place where you... You have some leisure. What's it called? It's called Apple Rose. Apple Rose. That's Jamwood people, right? Apple Rose versus the cold north. It's a place where you walk around and sniff roses and take apples off trees. Nuts fall into your pockets. And there's some other job that we put there on, too. But even in San Francisco, of course, I say San Francisco. But really, I don't mean that, do I? Because there are beings in San Francisco who are in Uttarakuru.

[19:54]

In other words, they're Uttarakuru types. They live in a desperate world. They run around and stab little boys because they're so desperate to get their dope. And there are beings in the middle of ghettos who live in Jambutbipa. who stroll among murderers and have plenty of time to contemplate what's happening. So they're in Jambut Bipa. Their existence is called Jambut Bipa human. They live in the rose, the rose apple, the apple rose realm, in the midst of what is for a lot of people around them, Uttarakuru, a desperate human birth. It seems like the more literal meaning and the more metaphorical meaning, I mean, you can be born in hell, but in one context and have your mental, not your mental, but just to live in another realm, but actually you still have been born into the second realm.

[21:16]

You know what I'm saying? There's two kinds of births. One is birth. Well, there are many kinds of births. The two kinds of births we distinguish at this moment are birth, which is incarnate simultaneously, also incarnation. and projects a certain lifespan. That's one kind of birth. Within that birth that has a lifespan, you can then visit and experience all the other realms inside of that one. So human beings, the birth of human beings is 100 year lifespan in which you can cut short, in which a lot of people do cut short. But within that you can experience all the other realms.

[22:21]

But you won't get a body in those realms during this lifespan. You'll have to actually give rise to death consciousness and disinherit this body or disinherit yourself from this body out of extreme disgust with its lack of compliance to your needs. which starts to happen at various ages depending on the level of abuse. And some people take good care of themselves. They live a long time. But during that time, still, you can visit these other realms. can experience hell without changing bodies. But then you won't, you can be hungry ghostly without changing bodies.

[23:29]

So I don't know, is there still some question? No, the, it's that constant change. Is it like movement? But you don't have to physically move. These continents are destinies. They're not places exactly. You know, they're called places. You don't have to move to change. Stay right in the same spot your whole life. One room. And go to all these places. Then when your life is over... in this particular body, then you can actually go to these other births. And in that birth, you can visit all the other births. But there is a pajama loka, too, in which you can be located.

[24:36]

It's a kind of physical, receptacle world. And as I mentioned before, the birth and the destinies is personal karma, and the Pajama Loka is group karma. Your own destiny is your own karma, but the world you live in, the environment, is due to everyone's effort. I think I may have quoted once that Karl Marx said, it is taken, or the five senses are the result of the efforts of all of mankind through all of history, which is pretty good, except you've got the Andreas and the Vishaya mixed up. It's pretty good. It's not that five organs aren't the result of all human efforts through all time.

[25:47]

five organs are the result of my own personal effort through as much time as I want to think that I've been working at it but the physical world lights and smells and tastes and touchables and so on those are the result of everyone's effort through all of history the material world maybe he didn't make a mistake maybe it's mistranslated from German Karl Marx wasn't particularly concerned with Andreas. He was concerned with Isshayas. So maybe it's a mistake. Okay, shall we go on? With someone, I'd like to read the next couple of karakas. Read up to 3a. .

[27:01]

. . . This is something you're actually going to be about to, that you can't hear anything that they put out there except to you, but when you have them in the county, they say, I'll walk you down and you're just going to walk you down. Any questions?

[28:06]

What? What faith was God to get a talk about in the common adoption that happened during the No. The four fates are hell, hungry ghost, animal, man, and part of the gods. So almost all, actually all the destinies, all the types of destinies exist in the Kamadatu, but not among the gods, not all the gods exist in the Kamadatu. Do you know what the distinction is about the health?

[29:18]

On the health? Yeah. Yeah, later we'll read about them. They're different. What the tortures that go on there are different. Anything else at this point? Yes. Well, maybe I should draw a picture or something.

[30:21]

Do you still have those charts that we passed out before? Remember those charts? Yeah, do you have a picture of Monsignor? Well, we have a picture, but... Very quickly put, are these circles okay? Concentric. These are cylinders put up on top of each other. Circle of wing, water. iron, earth, and so on, gold. And then up here on the top, this top layer is this big ocean. And the southern continent is Jambutbipa.

[31:26]

The northern continent is Putaracuru. This continent is the port of Madaria. And then here is Montserrat. And there is actually Bunch of mountains out here. And there's layers of mountains around Montsemero that go up to hit these continents. These continents meet their side continents, or side islands, set of islands. This is all water in here. So John Wood, Montsemero is actually shaped like this. This is a shape example of Sumon Sumeram. This is a shape of altars in Buddhist temples in Japan, particularly in a few of the Buddha halls of Zen temples.

[32:33]

You see, the altar looks like this. And they call it Sumon Sumeram Dan, which means platform. So here's Mount Sumeru's like this, and then up on Mount Sumeru you have various, you have six layers, well actually five layers, for the five heavens that are coming up. The first time they're coming up to has the four great kings are on the four sides of Mount Sumeru. South, east, you know what, south, east, west, and the other side, north. And the top, the top terrace here, this is an altitude of 40,000 Niyajanas. Niyajanas are lean.

[33:39]

So it's way up there. But, sorry, if you look, you know, what is 100 Actually, you can see those beings, because they're not really someplace else. This is the . But the point is they're very lofty, these gods. Lofty and powerful. So their functioning is not necessarily obvious. Anyway, we can go on later in more detail about this. And I'll pass out a little picture of this system. Is there probably any more questions about this? Why in the middle? Is this a video microphone?

[34:40]

How come the airplane is still protected? Thank you. See, why don't we? Is it a solid mouth? What is the nature of Mount Samaro? Mount Samaro is also kind of like an adjective for kinds of existence. Okay? Now the beings who have these kinds of existence do live someplace. And the place they live is kind of like Mount Sumerro.

[35:43]

There are some beings in San Francisco who live on Mount Sumerro. So because of that, the airplane can't figure out exactly where to hit. And these beings that live in the Kamadatu that are in heavenly existence, they have some physical location. They live someplace solid and locatable. And airplanes can run into the place they live. If airplanes fly into their house, the airplane will crash. But in fact, all these different gods do not necessarily do not necessarily live on top of what looks like a mountain to us not being in that birth. To them, it may look like a mountain, but not necessarily a mountain that airplanes can fly into. In other words, they may feel rather elevated. So in one sense, this mountain is a way for you to place these gods in your mind, to place their functioning in your mind.

[36:51]

It's a metaphor to help you understand their functioning. One reason to put Mount Sumeru in the middle is because the gods who live on the mountain take care of the surrounding continents. So by putting the mountain in the middle and putting all four of these kinds of, particularly these four great heavenly kings there, it's easy for you to keep in your mind how they function. You could also have four mountains in the middle of each continent. You could have made a different diagram. You could have four continents and then have each continent has a mountain. And on each mountain is one of the four great heavenly kings. And each one of those four great heavenly kings has 90 suns. Which help take care of each one of these continents. And then you could have... maybe a kind of a shaft coming up from top of each one of these mountains to some central headquarters, which is the gods of the 33, because the gods of the 33 are in communication with the four-grade heavenly kings.

[38:05]

So instead of having one mountain in the middle, you could have maybe four mountains with a big shaft connecting them and then have a stack up like this. So that'd be another way to visualize Monsumero as a hierarchical collection area for these divine births in the Kamadatu. And I think you could think of Monsumero that way, although you'd be describing it differently than it is in the Abhidharma Kosha. Basically, you'd be able to keep in mind these states of existence and how they relate to phenomena according to the teaching. That would be okay. This is just the way that they did it at that time. And, um, I think it's kind of, uh, it's okay once you learn it. Then you can remember all these gods and how they work. Yes?

[39:09]

Um, well, uh, the one who takes, the one of the south, takes care of Jamba Vipa. And they have various sort of, you might call, assistant deities. The famous one is this one out here. For us, one of the famous ones is the one out here on the altar. You know him? What? Ita Ten. Ita Ten is... in Chinese. God is, I forgot the name in Sanskrit. Anyway, this particular chap has come to be particularly interested or represent the particular interest of these gods in protecting monastic installations

[40:21]

of the Buddhist religion. But these gods don't just protect Buddhist places, by the way. No. This isn't a Buddhist world we're talking about. It's just the world. It's a nonsectarian world. Even this teaching is not particularly sectarian about the world. You'll find great similarities with other world systems. Divine comedy, you'll find a lot of similarities. It's quite similar. But I think probably anybody, any Christian would also realize that the Buddhists are being taken care of by somebody. Somebody's taking care of the Buddhists. Somebody's taking care of the Christians, and somebody's taking care of the Muslims, and somebody's taking care of the Jews, and so on. Anyway, this particular one out here, which we have, is the one who around the time of Buddha of course that's when you start noticing that Buddha should be taken care of at his death some some disrespectful demon transformed himself into a tree

[41:52]

And demons that can do that are called what? They're called Yakshas. That's basically what Yakshas are, the true spirits. And there's good and bad Yakshas. This chapter also describes Yakshas and Gandharvas and Kimnarvas and Mohorad. Remember those guys? Yeah. These are other kinds of existence in the Kamadaptur. Anyway, those beings, they're hanging out on the other terraces of Mt. Sumiro. Anyway, one of them went up and grabbed one of Shakyamuni Buddha's teeth and split. And the disciples were in such a state of hideous crying and slobbering, and they were too slow to do anything about it.

[43:08]

Since this being, this particular demon, this Yaksha, lived way up here, you know, so it has the ability to jump somewhere in the neighborhood of 300,000 feet in a single bound. And So it did that, and the bodhisattvas, you know, they're just sort of sitting there, knowing that diamonds don't arise, so they weren't too upset about this. So when this demon took the tooth and jumped, they just sort of smiled. But the disciples were just too slow. And the various people, you know, the protagenes that were there, of course, there was no hope for them. Anyway, he got away with a tooth, jumped up here, and one of the assistants of the God of the South, the great king of the South, one of his sons, grabbed this guy, took the tooth away, tossed him away and brought the tooth back.

[44:11]

And I said, well, now you can build a stupa with this. And from now on, I bet it looks like you people can't take care of yourself very well, so I guess I'll make it my special business to keep an eye out for you. which this particular protectorate did from then on. And as a result, we furiously have been placed by our kitchen. What? Huh? This is the one who took it. This is the one who took it, too. I think what we do is, you know, there's a great deal of Buddhism's transmission has to do with cuteness, you know. And it's sort of cute that we have it there. But iconographically, it's inaccurate because actually this deity should be in the entryway of Zen Zen Zen.

[45:15]

It should be out maybe by the office or something. Because it's a protector. It's a protecting God. But... In Zen temples, when you come into the entryway of Zen temples, Japanese Zen temples, you see that little altar right in front of you, and there's Itaten, protector of deity. But the kitchen's right there, see? Kitchen's here, and usually the priest quarters are there. Come in. So as a result, people think that Itaten is god of the kitchen. Actually, there's a different god of the kitchen. He's actually the god of fire and smoke. He's the god of the kitchen. But anyway, people associate Eaton with the kitchen because they do anyway. So that's why we have it next to the kitchen. It's also actually at the end of the hall. So we can, in our minds, we can think of it as we come in the front door and look down the hall and see if that is the guardian is actually down the hall.

[46:18]

Just removed a long ways, that's all. And... So it just, once again, just happens to be next to the kitchen. So anyway, the order of the chapter is that this stuff is brought up in detail later. So if that's okay, we can bring it up later. Now it's nice that it comes up so that you have, maybe you have an understanding now. the discrimination between that forms of existence have place name as their definition. Like you're called Americans. It's a form of existence that you have. But it doesn't mean that you have place. Even if you go to France, you're still an American.

[47:22]

get in an airplane and start flying out over Africa or India, you're still American. So it's like that. Except that in this case, you don't get the name by the place you're born at, but the archetypal location that gives the type of existence you have. No, these aren't continents. These are existences. No, if you're born as a human being, you don't have to change bodies to go to the other continents. Those aren't different types of body. Those are important subdivisions in type of human existence. So you can visit them.

[48:27]

But you wouldn't... You see, we're discriminating between... You can visit hell, but you don't take a hell birth or hell incarnation. Okay? You can experience hell destiny with a human body. All right? But you can't be born the same way that a person would be born in hell. Whereas you're born as a human... And you actually can experience just exactly the way a Uttarakura person would do it in a human birth. Just exactly the same. You can't go there and not come back? No, I think you can't move around without picking a new incarnation. No, it's an opposite.

[49:30]

It is a visit. And you can move freely from one to the other. They're all just different states within the same body. In other words, when you have a human body, you can exist in any of the poor continents. Just like the inhabitants of those continents can be just like those people, those existences. You can move freely without changing bodies. Human body belongs to all four. That's what I think at this point. Whereas human body doesn't, hell birth, hell incarnation is not human body. In other words, your body becomes a metaphor of hell in addition to being a metaphor of hungry ghost. And in order to, from those realms you can also experience the other ones. I don't know for sure if in hell you're going to experience heaven.

[50:35]

I'm not too sure about that. Yes, according to . What level of definition does the . How much does our conceptualization have to do with Yes. Yes. Yes. Pajama loka is like that chair's pajama loka, okay?

[51:36]

That chair can look like, you know, a busburger or a jeweled throne and so on. Right now that chair, given the people right here can see that. Everybody present makes the chair. Everybody makes the chair, but in all these different ways to people present. But the chair has a location. Now, the existence is not looked at different ways. That's looked at just the way you're in the existence. That's the way you're looking. That's what you wanted to be. That's what you are. right now. But the pajama loka will look different depending on the kind of vision that you chose to be in, which is your destiny. So the objects are environment and they're made by everyone.

[52:47]

External objects are made by everyone. But they'll look different to different people. So in the situation of choosing a birth, when you're in intermediate realm, you look at the pajama loka. And the way you see the pajama loka will determine your birth. You look at some play of color, or you smell some play of smell. or you sense some play of sound. And given that this is pajama loca, these things, sounds, smells, tastes, and the patterns of them, everyone makes that. When you're in an uncommitted space and you look out at the external world and you think of it or see it a certain way, or you prefer certain patterns of it to other patterns of it by the virtue of the way you see it,

[53:54]

And you want to be there, then you get born in that way of relating to that material. So here's a chair, okay? Everybody makes this chair. So you can see this chair as... You see this chair as just... This is not just... It's almost... It's not very interesting. So what? So nothing. So that's that. But if you become interested in this chair, you will become interested in this chair through the mode of your emotional activity, whatever it is. Now, if you're angry, if you're in an angry state, this chair may become more, because you're angry, this chair may become quite a bit more interesting. You very well might get very bright, let's say.

[55:01]

even golden. The goldenness is intermeshed with and arises in conjunction with your anger. You say, gee, I'd like one of those gold chairs. Now this chair is not golden exactly, it's just golden to the eyes of an angry person. You don't want to be angry. I mean, you do want to be angry, but you don't desire anger. You just do it. But you do kind of like the way things look when you're angry. You can see that. In other words, you like the projections of your mind, yoga-characely speaking. Or from the point of view of the Vibhashaka, you like the realm that you see when you're angry, which is hell. So you don't know it, but you like hell. You say, I'd like to be a place where they have chairs like that. And you... to be in a place where they have chairs like that.

[56:01]

A place where they have chairs like that is a place where things are seen that way. But then when you get there, you find out that actually it's not golden, it's actually red hot. Or another way is you can look at this chair and you can have a certain kind of, a certain form of, you know, interesting type of movement to it. And the reason why you think it has an interesting kind of movement to it is because you're always trying to make it be something. You're always trying to make it a more interesting chair than it is. Trying to use your eyes or your senses in such a way or relate to what you experience in such a way that you're always pushing it to something a little bit more interesting. So it keeps moving around and being something new all the time.

[57:05]

In other words, it keeps, you push it to become. You push it to become. And it says, yeah, it's a really good looking chair. So then I'd like to be where there's these kinds of chairs or these kinds of becoming objects. And so you go to a place where that's the way it is and that's called hungry ghost. But then you find out that it's not so much an interesting object, but rather that things are always getting away from you, always going sometimes other than where they are. So then the prototype of what you want to do is that you never can have anything because you're always wishing for things to become something else. So then you're insatiable. And everything's just slightly beyond your grasp to relate to it. That's the natural analogy of what you actually wanted. You wouldn't let things be the way they were and accept them. You want them to be that.

[58:06]

So when you get there, you try to reach for something, but it's always a little bit, hey, it keeps slipping out of your hands. So everything you want to eat is always being a little bit better than what you wanted. Everything you want to touch is, yes, you can touch it, but just as you're about to touch it, it gets a little bit better than what you wanted, so you can't have it. Everything's really great. So the very fact of how everything's wonderful makes it that you can never have anything. Because it's so wonderful that it's always changing just before you get there. And that's what you wanted. Because that's the way you were thinking. So there you get it. So it's one chair. Everybody makes this chair. The way you choose to emote towards it will determine your birth. Because if you're Motu in a certain way, when it comes time to choose birth, you choose birth according to your emotional habits. You want to be in a place that goes with the way you act.

[59:09]

And if you choose a little of all those ways, but none of them very strongly, then you probably get to be a human. We can do all this stuff. And if you don't do any of them really strongly, you get in between. somewhat subdued form of all of them which is human and then it also shows this description would also show how it is that human beings can womp up any one of those dimensions and project themselves while being a human into all these other realms now the Abhidharma Kosha and Kinayana texts in general are not too big on keeping something akin they don't emphasize teachings like for example Avatamsaka Sutra So they don't emphasize the point that probably hell beings can go to all the other ones too. As a matter of fact, they speak rather restrictively of some of these realms, and we have to admit that that's what they taught. But I think if you look at sutras like avatamsaka, you'll find that every existence includes all the other ones.

[60:21]

That every destiny is just that you emphasize one point, so there you are. But it must include all the others. It seems like you're just talking about what a practical example for me is. It's talking about me and how I, the various ways in which I experience things within my life. It's got this whole range which they're trying to describe for us. I guess that can be true no matter how you're born. Born as a human, you can experience all these things being born in the color. being born in this realm, being born in that realm. But what it seems to me is they're just talking about various ways in which we experience things. Yes. Destinies are ways of experiencing. In that way, Yodi, just you were talking about before how you can be born to Jabu Kipa, but experience the hell of it.

[61:34]

but what it meant to me. I am what I am. And within that existence, within that lifespan, they have these various experiences, which they try to describe the various possibilities of experience. And being born in Jambut Bipa is kind of saying that the center of gravity of your way of experiencing is a certain type. And it is possible then that you, not you, but a being can choose a different center of gravity when they incarnate, and they'll be actually born in the other realms. But as we mentioned before, the gutties are a retribution. Retribution is experience. The primary characteristic of retribution is experience or sensation. So gattis are ways of experiencing this chair.

[62:38]

The way you experience things is a retribution of the way you actively saw or felt or emoted towards things before. Okay, shall we continue? In the Arupyadhatu, the Arupyadhatu does not have places. In fact, the immaterial dharmas do not occupy a place. The material dharmas, when they are past and future, and the avidnyapti, the immaterial dharmas, are adeshtana, I mean adeshastha, which means without a place. Yes? What?

[63:43]

Yes. So these aren't jhanas, these are heavens. Okay? If you remember back to the chart we were talking about before, look at the rupadattu, there's a rupadattu kushala, okay? Rupadattu kushala, rupadattu defiled neutral, anivyakuta anivrita and rupadhatu anivrita avyakuta, undefiled neutral. Undefiled neutral, retribution, that's the heavens, the heavens existing there. Those heavens are the result of the good karma of the rupadhatu. So the trance, we do the trance, which is good karma, and the retribution of that good karma is these heavens. The first jhana leads to the, so you see, you do the first jhana, and it leads to these three heavens.

[64:47]

Do the second jhana, it leads to these three heavens. Do the third jhana, leads to these three heavens, and do the fourth jhana, leads to these four heavens. No, wait a second. Not four, one, two, seven jhanas. Okay? So there are diverse heavens which can result from these trance practices. Or diverse blissful states can be projected from these trances. Or, as we just said, after doing these trances, they can be followed by ways of experiencing things. So after you do trances, If you do a rupa jhana trance, and somebody pushes a chair in front of you, and this would be a very blissful thing. You'll experience this very pleasant.

[65:56]

As a matter of fact, if it's the result of the first rupa jhana, You'll probably experience this chair as... You'll appreciate the definition of this chair. The lines of it. How beautiful it is that a thing is defined. And how definition... makes the surrounding and all these wonderful things about a definition you can appreciate. Because as a result of doing this good karma of the first rupajhana, which is emphasizing your powers, the definitive powers, powers of definition of consciousness, when you run into objects, it's very enjoyable to, it's very enjoyable.

[67:03]

You enjoy to the fullest that power of mind, that wholesome power of mind. So you experience a world of a very high tone. We have word now, I guess, in America, don't we? Tony? Tony? Do you know that word? Does anybody know the word Tony? Nobody? I almost never knew no slang word before other people. I think Tony's opposite of funky. I think Tony means, like if you go to the, for example, Hyatt Regency downtown,

[68:06]

You know that place? I think that's Tony. Yeah. But it's a little old now, so maybe it's not Tony anymore. I don't know what it is. Tony means... It's uptown, yeah. Huh? Siddhi. Siddhi, yeah. Something brand new. Something, a brand new thing... Some of these brand new buildings, you know, when they're brand new. New clothes that have a lot of tone and a lot of definition in them. Slick? Not slick, no. Slick is not necessarily toning. Slick can be real, can be raushy. It may, I don't know, it may be that the... But it may be that it relates to that word.

[69:15]

But I think it also has to do with tone, high tone. Highly defined tone. Like muscle tone. High muscle tone means... In bodybuilding they speak of definition. And it's also called, definition means high muscle tone. You can see all the muscle groups. The bodybuilder has brought out all the muscle groups and highly defined them. So it's high tone. High tone, high definition. In New York, certain sections of New York is the very high tone places. Everything's very highly defined. It has a sparkling quality. They put a lot of energy into bringing everything into high definition. All the silverware is polished. And they take away the dented silverware because it's losing its definition.

[70:18]

Brand new stainless steel silverware is toned. It starts getting chipped, starts losing its definition. It starts to get funky. Japanese aesthetics, the wabi-sabi will be that you make a bowl, a new bowl has in it, in its definition, it incorporates something beyond its definition. Funkiness or rusticness is included in the high tone. So new Japanese pottery can be that painfully high tone. They can do that. Somewhere around 400 or 500 years ago, they thought, If you could high tone in, low tone, wouldn't that be just, you know, wouldn't that capture everything? Wouldn't that bring in all worlds? So they make something what they call wabi, a wabi people.

[71:21]

In other words, the best teapotter, the teapotter who could make a circle better than, you know, any scientific instrument can make a circle. You know, in Japan, swords in the fourth, 15th century, They were sharper than anything we can make today. And the steel they have is very similar to steel we use on rocket ships now. Extremely advanced technology in steel. That level of technology with things, then to intentionally incorporate at the same level of tone, a bump. That was the thing, the highest. So the heaven of the first lupajana would be a world where everything's kind of shiny. I think maybe you know this world. It's like, I think it happens to a lot of people. During seshin, even during a, it even happens during council meetings sometimes.

[72:22]

You sit indoors just concentrating on people's positions and money and stuff, and you walk outside to a different circumstance, and flowers just sort of go, I'm a flower. Look at me. Look at this pedal here. Look at that pedal there and look at that pedal there. There's three pedals. What do you think of that? Something like that. During sashini, you walk out on a break or you pick up your orgyokibo and you just really see this. You enjoy its definition. You enjoy the line. It's very pleasing just as a defined thing. That's kind of like a heaven which results from practicing high definition. You try to follow your breath. very closely, follow your posture very closely and try to sit still. All these high definition things will project you, give you a heaven where you'll be able to enjoy definitions. And then along with that is not only the initial definition but then also discursive definition so that language will also be very pleasing.

[73:31]

A sentence, to see how a sentence works or to understand To hear a line of poetry will be very pleasant. You'll receive it blissfully. You'll experience it blissfully. Just simply on the level of how it sounds and how the words rise and fall and how they clip off with P's or T's or S's. Like when Nancy was reading the names of these gods with the S's at the end. Those little squeaks at the end. You really can enjoy it. When you hear them, they're blissful. Okay? It feels really good. It could also happen as a result in a lesser form. If you're, you know, just making yourself a model airplane when you're a little kid or sewing a pinafore for your dolls, you know, you're concentrated and then you just hear some sound and it's very pleasant.

[74:34]

Very nice. So this is a kind of big scale version of that, okay? Because you're really getting, you're really into the meditation of defining things. And so you get a retribution in that world. In the next level, the trance is characterized not so much by high definition, but by enrapturement. So these next heavens, if you look at their characteristic, I think you'll find that they're characterized by light, by brilliance. See all those Abbas? See Parita Abba? And Ramana Abba? I think that first Abba is spelled wrong, by the way. I think it should be. Somebody checked that, but I think it should be B-H-A-S.

[75:38]

Parita Abha means small light. Small. Small brilliance or small light. Lesser light. You know, like Parita Klesha. And Pramana Abha. And then Abha Svara. Anyway, three kinds of brilliance. So, now these all are blissful, but The second trance is characterized by predominance of what we call priti, or piti, enrapturement, or engrossment. So you go from defining the object, the initial and discursive definition of the object, to an enrapturement in the object. And you drop the high definition for engrossment. kind of thrilling, enthralling, enrapturing involvement with the object of contemplation.

[76:42]

And the heaven you get will be a heaven where things not only, now they go somewhat beyond, you get into an experience and a pleasure somewhat beyond the crystal definition of things, and now it's more like the radiance, this kind of radiance which inundates the definition. And then the next heaven will be, is one just, as you may know, that the third John is characterized by the gross enrapturement drops. And now you just basically pleasure. So as you see, those heavens are characterized by, see those Shubhas? Parita Shuba? Aparamana Shiva and Sula Krishna.

[77:51]

I think Krishna means infinity. A casino. I think it's the root which means infinity. So you get these heavens of you get lesser medium and boundless Pleasure. Heavens, as a result of these jhanas where sukha, positive feeling, is a big ingredient in basically encouraging yourself. And in the last one, you even transcend the pleasure and you reach the equanimous type of jhanic meditation. And then you get all these really highfalutin experiences. Okay, so these are resultant states.

[78:54]

And they're blissful results of this, your effort in meditation. They're undefiled neutral, as are all the destinies. But these are all nice ways, and these are all pleasant experiences And they have these different varieties which will be toned or conditioned by the way you do the meditation. Just like at the lesser level, we were discussing before about the way of doing the meditation in the kamadhatu. I mean, the way of not meditating in the kamadhatu.

[79:36]

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