I'm grateful for this reply, and yes, it does help. Questions/comments below...
Daniel M. Ingram:
Taking it as a working assumption that you got 2nd path, which is an assumption, and just proceeding as if that were the case:
Of course. Rather than regale you with all the reasons I think I'm sakadagami, I'll just mention that Beth and Kenneth both monitored my progress up through the first two paths. Though very good teachers can make mistakes, too, so I appreciate you just humoring me.
Daniel M. Ingram:
Third involves a few things, as I see it:
1) Continuing to practice, and by that I mean directly seeing things arise and vanish on their own over there, however you can do that. Noting is good, direct observation of all the complexity is better, though using noting to ease into difficult patterns of sensations can be useful.
I'm not sure what you mean by "direct observation of all the complexity is better", so I'll just quickly explain what tricks I have up my sleeves, and you tell me if I'm on the right path.
Usually I do very quick, loose noting, but as the speed of noticing increases, it's often necessary to let go of noting to some degree or just accept that I'm only able to verbally describe a small portion of what's going on. This doesn't really matter, because the point is to see that it's all Not Me. The more I'm able to explicitly see that all of this is Not Me, not something to be taken personally, not something to be bought-into, not something to be even subtly identified with, the better time I'm likely to have on the cushion, and the more likely I am to make it up to 11th ñana. Once that confusion sets in as to which side the observer is on, the observed or the observing, I'm golden. This comes to be with varying degrees of ease lately, depending where I am in the cycles.
Sometimes I can do the same thing without noting, just settling the attention on the third eye region while I gently roll my eyes back. A typical sit often involves some combination of rapid-fire noting and going to this "sweet spot" and gently coasting my way up the jhanic arc. I have to be careful once I get to 4th jhana, though, because it's easy to get a fruition doing this if I kind of meld with the third eye region and keep the three characteristics in mind. Usually some combination of indifference and seeing that this is Not Me will cause me to cycle back, which is fine, unless I'm trying to refine 4th jhana and get the higher jhanas, which I generally suck at. Though you mention arupa jhanas below, so I'll save my questions about that for later.
Completing the first two paths, for me, mostly meant sinking in to that general confusion about observer/observed I mentioned above: clearly seeing in real time how, for example, the sound of a bird off in the distance or an itch in my toe gets "funneled" through a sensation in the center of my head or in my face, and really perceiving the ridiculousness of that ... over and over and over again. Once that process takes off, it's a matter of hours, maybe even minutes, until the discontinuities start. I've done two full cycles like this. I can't seem to get it to happen a third time, but there do seem to be very rapid, less dramatic cycles, and I haven't been on retreat since 2nd path.
Anyway, noting is a part of this, especially, as you say, when there are some difficult sensations. If I'm DN'ing, I just note my ass off and hope for the best. If not, I get up to 4th jhana like riding up an elevator, not much more to it than that. But it's a crap shoot like I said...
Daniel M. Ingram:
2) Going wide and through: as third is more spacious, more about dissolving a significant chunk of what seems to be observing, doing, controlling, analyzing, and the like, you both have to take on more of the sensations that seem to be all of that, which they aren't, and also see how to dissolve the artificial boundaries that seem to delineate that from everything else, meaning the rest of what happens in what seems to be space. Play on that line: how do you know what the edge between what seems to be you and not you is, viscerally, perceptually, vibrationally, texturally, geographically, volumetrically? Any quality that you notice seems to really feel like it means it is you, see the Three Characteristics of that.
I think I basically get this. I'm accustomed to being able to do this from high equanimity. It sounds like I have to stop treating this as a state and try to get into the habit of doing this automatically - as absurd as it is to say that "I" am "trying" anything at this point, yes, which, if I get what you're saying, is part of the thing I have to get over.
Daniel M. Ingram:
3) Dismiss ideals and the patterns of ideals about what you think this stuff will do as more sensations to observe. If you can do this at the level of fluxing, shifting patterns of suchness, that is easier, but whatever level you find yourself at is the level that you can work with, as it is all the same from that point of view, and knowing that simple fact can help a lot.
4) Really allow the thing to show itself. Really allow luminosity to show itself. Really allow things to just happen as they do. Less control, more direct understanding of that natural unfolding, more noticing how the sense of control occurs at all, what it feels like, how that set of textures and intentions set up a sense that there is a you that is doing anything and how obviously wrong that is. Feel into what seems to be looking, asking, wanting, expecting and vipassanize all of that: not forcefully but skillfully, subtly coaxing those patterns into the light of awareness that sees through their clever tricks, almost like you have to look just slightly to the side of the Pleiades to see them as clearly, almost as if you have to sneak up on them so gently that they don't notice it and can be caught unawares, except that sneaking process is what you are trying to sneak up on.
Yeah. This is the part I'm resisting. I'm grasping knowledge and control. I mean, writing a post to the effect of "help me map out my mess," is part of that fixation. I did two, clear Mahasi cycles. Even when I was in dark night, I knew I was in dark night, so how bad could it get for me? Now I'm in an area where the map doesn't provide comfort, so I'm confronting this new level of identification, control, fixation, fascination, what have you.
I mean, I'm hitting it on almost every sit. There's an annoying buzz all over the body, and then there are tons of stories about how I suck at this, that, or the other thing, how I'm lost, how none of this makes sense any more, and it will go on for about 10 minutes until I just learn to watch what's happening and not buy in. From what you're saying, it sounds like I have to take that attitude of letting the damn thing go and make it more comprehensive, make it more the baseline rather than something I do just to get over the hump of reobservation.
Daniel M. Ingram:
5) Notice that you can't do anything other than what happens. Try. See how those patterns occur. Try to do something other than what happens. It is preposterous, but when you try it, there are patterns that arise, patterns of illusion, patterns of pretending, patterns that if you start to look at them you will see are ludicrous, laughable, like a kid's fantasies, and yet that is how you believe you are controlling things, so try again and again to do something other than what occurs and watch those patterns of confusion and pretending to be in control that arise and you will learn something. This is an unusually profound point.
Is this different from what I just described?
Daniel M. Ingram:
6) Really, really keep the Three Characteristics in all their profundity as the Gold Standards for whether or not you are perceiving things clearly, and each moment you aren't, notice why and debunk that right there, and then do it again and again and again, as it always takes more repetitions of that process than people think it should, and so many get psyched out, when it may have not been that many more iterations of the process to have succeeded in locking that in as the way of perceiving things permanently.
7) Feel the going out into new territory with its confusion, tedium, frustration and creepiness as the thing itself: that which wants it to be known, mapped, predictable, safe, familiar is part of the thing that you need to see as it is: see those patterns in the head, chest, stomach, throat, etc. as more shifting, fresh patterns: that freshness keeps you honest, keeps you really paying attention in that slightly violating, slightly personally-taboo way that really helps in the end.
Yeah. This 7th point especially is the blind spot, the un-vipassana-ized region, the point that's hanging me up, the point toward which I'm grasping, trying to ground, getting frustrated.
Interestingly, I didn't have to worry about this that much when the maps were working for me. The maps/knowing-where-I-was was a strength. Now it's just the next chunk of stuff that has to be run through the mill. I think I get this.
Daniel M. Ingram:
8) If you are familiar with the vipassana jhanas as living, familiar, felt things, then realize that Third has elements of the Third Jhana, wide but somehow there is something creepy about it, as it violates the center in a more full-time way than the earlier paths do. The more you have a tolerance for something in that letting go through-to-the-bone creepiness and can see the good side in that, the width, the spaciousness, the naturalness, the directness, the completeness, the fullness, the now-ness of it, the better you will do. It is a more sophisticated way of perceiving things, more out of control, more brave, more free, requiring more trust, more openness, more acceptance, being more down to earth and also more diffuse at the same time, which is an odd juxtaposition of feelings to get used to, but it is worth it.
Now this is very interesting, and I've never heard this before. I do know the first 4 vipassana jhanas reasonably well, and I would say that meditation in general over the past two months or so has had a lot of the qualities I associate with 3rd jhana, especially the dreaminess, the feeling of being dispersed or feeling kind of weird, especially at the surface of the skin, while the whole thing feels like it's moving through molasses. I guess this is that whole fractal thing you warned about in MCTB: all these little cycles spelling out one, big 3rd jhana.
I think I can get this ("brave ... free .. out of control"), and when I do, it will probably help me a number of ways off-the-cushion.
Daniel M. Ingram:
9) If you have 5th, or even 4j.5j, meaning the spacious aspect of 4th that is not truly formless but still quite open and wide, that is a really good pointer, just allow it to also go through anything you think is you, working on that seeming boundary line, as above, but allowing it to breathe, to flux, volumetrically, like moving blobs of space with texture all together, all of them just the natural world doing its rich and empty thing.
Any of that help?
I think I get the gist.
Is it unusual for a sakadagami to have trouble with the arupa jhanas? I've gotten the impression that once you hit second path, you just have immediate access to all 8 jhanas, and the fact that I struggle with them is a bit unnerving. I have easy access to 4j5j as you describe above. I know exactly what you're talking about. It's hard for me to stabilize 5th and 6th jhanas, though. I get into them, but I feel like I get kicked out easily. I wonder if it would be a lot easier if I were on retreat or even better, in review on retreat.
And thank you again. I'm going to do my best to keep these points in mind (though not obsessively) in the coming weeks as I continue to run the whole thing through the vipassana mill.