In the Buddha's Words - Bhikkhu Bodhi [99]
The third moment, the moment of escape, follows from the second. “Escape” here is not escapism, a word that implies an anxious attempt to avoid facing one’s problems by pretending they don’t exist and losing oneself in distractions. True escape is quite the opposite: the sanest, most rational, most judicious course of action we can take when we accurately recognize a genuine danger. It is our search for an exit from a burning building, our visit to the doctor when we’re beset by a persistent fever, our decision to give up smoking when we understand how it jeopardizes our health. Once we see that the objects of our attachment are flawed, beset with hidden dangers, we then realize that the way of escape lies in dropping our attachment to them. This is “the removal of desire and lust, the abandoning of desire and lust” (chandar̄ga-vinaya, chandarāga-pahāna) referred to in the texts.
The Pāli commentators, not surprisingly, connect these three moments with the Four Noble Truths. “Gratification” implies the second noble truth, for pleasure and joy arouse craving, the origin of suffering. “Danger” is the truth of suffering itself. And “escape” is the truth of the cessation of suffering, which also implies the Noble Eightfold Path, the fourth truth, the way to the cessation of suffering.
In Text VI,3 the Buddha uses this threefold scheme to make a detailed appraisal of three major objects of attachment: sensual pleasures, bodily form, and feelings. The major portion of the sutta is devoted to an examination of the dangers in sensual pleasures. It begins with a close-up view of the tribulations that a “clansman”—a young householder pursuing the ancient Indian counterpart of a professional career—might undergo in his quest for sensual gratification. As the discourse unfolds, the scope of the examination widens from the personal to the collective, encompassing the broader social and political consequences of this quest. It reaches its climax in striking images of the warfare and human devastation that follow from the frenzied mass drive for sensual gratification. “Form” is the physical body. The Buddha begins his treatment of form by asking the monks to consider a beautiful young girl. He then traces the progressive stages of her physical decay, through old age, sickness, death, and the eventual disintegration of the corpse until it is reduced to powdered bone. To show the danger in “feeling,” the Buddha selects the feelings of a meditating monk in the jhānas, the meditative absorptions, the most refined mundane experiences of pleasure and peace. He points out that even these lofty feelings are impermanent, unsatisfactory, and subject to change.
Although the following texts do not explicitly apply the threefold scheme, its underlying presence is obvious. Emphasis falls on the aspect of danger. The two texts presented in section 4 again accentuate the pitfalls in sensual pleasures, but do so differently from the text of the preceding section. In Text VI,4(1), the Buddha appears in dialogue with a pompous householder who imagines that he has “cut off all worldly affairs.” To dispel his complacency, the Buddha uses a series of similes that expose the deceptiveness of sensual pleasures to show him what the “cutting off of affairs” means in his own system of training. The use of similes prevails in Text VI,4(2) as well, which pits the Buddha against a hedonist named Māgandiya. The Buddha here contends that sensual pleasures seem to be pleasurable only through a distortion of perception, but when seen rightly are like