| Picture yourself on a freeway overpass watching the | | | | strike the object with your mind's attention), it rings |
| cars and trucks going by underneath. The cars and | | | | for a while (as you maintain undivided attention on |
| trucks are your thoughts. Don't jump into one the | | | | the object), and then the bell stops ringing (when |
| cars or trucks and be carried away, no matter how | | | | you lose your attention as your mind drifts off the |
| alluring the car or thought might be, allow it to go | | | | object and on to something else). Then you must |
| down the road and disappear out of sight. Then wait | | | | strike the object again, repeatedly, to reestablish |
| for the next car to come by, and then let that one | | | | your attention. Your initial focus cannot maintain itself |
| go, too. Don't try not to think, just be aware of each | | | | for long before drifting away. This is to be expected, |
| thought as it comes up, and let it go. It's very simple. | | | | just keep returning to your meditation object again |
| If you find that your mind is so busy that you can't | | | | and again; persistent returning is all that is required at |
| do this, then you must begin with *hara, nose-tip, or | | | | this point. With practice, you will be able to remain |
| word concentration. Try the overpass first. Once you | | | | with the object of your concentration longer, and this |
| can sustain your concentration, new wisdom opens | | | | will lead you to the next step -- a sustainable focus |
| up; a new world opens up, and you'll see and | | | | without losing attention. |
| understand things quite differently. You will begin to | | | | Hara: This is an area usually called the solar plexus |
| understand a little better how thought creates a | | | | region just above the naval. Notice, when breathing, |
| fictitious self. Then the mind will begin to become | | | | how the diaphragm rises and falls in that area. |
| very sharp and discerning, and your awareness will | | | | (breathe down low, not from the chest which causes |
| increase regardless of your activities. | | | | tension). Concentrate on the point of physical |
| Try to extend the periods of concentration and | | | | sensation where the diaphragm rises and falls. Don't |
| reduce the time spent lost in thoughts. As you learn | | | | follow the breath in and out, just stay on the point. |
| to do this, eventually you will be able to maintain this | | | | Use the freeway overpass method if possible, but if |
| bright awareness for the entire meditation period | | | | your mind wanders too much, then tie your mind to |
| with few thoughts arising. Then you will be able to | | | | the hara. |
| take this bright awareness out into the world and | | | | Nose tip: Notice where the incoming breath touches |
| remain in a constant state of meditation, using | | | | your nose tip, the rim of you nose, or your upper lip. |
| thought only when necessary. This bright awareness | | | | Concentrate on that spot as the breath goes by. |
| is where light bulbs go off -- the creativity that | | | | Never follow ther breath, always remain exactly on |
| occurs in flashes having nothing to do with mechanical | | | | the spot as the incoming and outgoing breath passes |
| thought. It is the intuitive insight accessed by all true | | | | by. |
| artists and seers; it is the portal to spiritual | | | | Word Concentration: At the end of every in breath |
| enlightenment, and it changes your life from one of | | | | and out breath, silently repeat a word. The word |
| fear and worry into one of a constant state of semi- | | | | can't be any word, it must have a special connotation. |
| Samadhi. | | | | For now use "Buddho." So its; in breath . . .Buddho. |
| *Nose tip, hara, and word concentration: | | | | Out breath . . .Buddho. Tie your mind to the word and |
| The first stage of concentration involves applying | | | | don't allow it to wander. |
| attention. Here, you direct your mind to a certain | | | | Copyright © E. Raymond Rock 2007. All rights |
| meditation object just as you would direct a hammer | | | | reserved |
| toward a bell, striking it. You strike the bell (you | | | | Please don't hesitate to Email with your questions. |