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D
Dombi Heruka is credited as the author of several texts in the
Tengyur, the most important of which is ''Accomplishment of the Connate.''
However, that text is not translated in this chapter at all, but rather
this chapter presents an instruction for practicing the meaning of that text.
This text has three sections. The first section is not clearly divided into
an outline. After some introductory statements detailing vows and differences
between how vows are followed in the path of the ascetic who does
not rely on a consort and the path of the infant who does rely on a consort,
Drakpa Gyaltsen then goes on to detail the connate nature of the cause, the
path, and the result. The section on the connate nature of the cause details
fifteen dharmas. The connate nature of the path mainly concerns how the
path of the ascetic and the infant are practiced. The connate nature of the
result begins with signs of the practice and concludes with the seven limbs
of three kāyas.
The second section is a detailed discussion of mudras related to the path
of the infant. The third section concerns the process of retaining and drawing
up the bindu. In ''Effortless Accomplishment of the Two Benefits'', Amezhap
explains that the practitioner of this instruction is to meditate on themselves
as Hevajra according to the six-limbed sādhana.2
Ḍombi Heruka is one of the two named disciples of Virūpa, along with
Kāṇha. In Drakpa Gyaltsen’s ''Chronicle of the Indian Gurus'', Virūpa encounters
Ḍombi Heruka during the episode when Virūpa reverses the Ganges
River. At this time, Ḍombi Heruka is a simple ferryman, taking people
across the Ganges River. Ḍombi Heruka and Kaṇhā accompany Virūpa
on his most famous adventures, such as stopping the sun and taming the
goddess Caṇḍikā3 and her retinue of cannibal yoginīs. Following the latter
episode, Virūpa gave empowerment and complete instructions to Ḍombi.
A sudden realizer, he attained realization equal to Virūpa and was sent to
East India to tame a king named Dehara. In ''Effortless Accomplishment of the
Two Benefits'', Amezhap explains that this Ḍombi Heruka is the first of the
three siddhas bearing this name.4
Parpuwa Lodrö Senge (twelfth century) is an important figure
in the transmission of dohā teachings in Tibet. In his youth, he studied philosophy with Chapa Chökyi Senge of Sangpu monastery. He later
received explanations of the dohā teachings, first from Drushulwa and then
from Pakmo Drupa, one of the main students of Gampopa and initiator of
the Pakdru Kagyu.'"`UNIQ--ref-0000003C-QINU`"' Drushulwa was a student of Ngari Joden, who received
the dohā teachings directly from Vajrapāṇi (a student of Maitrīpa) and from
Vajrapāṇi’s student Balpo Asu.
The ''Blue Annals'' states that Parpuwa composed eight texts related to the
Dohā cycle,'"`UNIQ--ref-0000003D-QINU`"' and although those include a commentary on the ''Dohā for
the People'', Jamgön Kongtrul chose the ''Summary of Topics'' to be included
here, for which Tashi Chöpal’s ''Record of Teachings Received'' says there is no
reading transmission (lung).'"`UNIQ--ref-0000003E-QINU`"'
The ''Summary of Topics'' is an outline (''sa bcad'') in which the first word(s)
of each verse (or group of verses) is connected to a topical heading.'"`UNIQ--ref-0000003F-QINU`"' The
words in parentheses after the headings are these first words corresponding
to the words that begin each line in Tibetan—unfortunately, because of the
linguistic differences between Tibetan and English, it was not possible to
have the English verses begin with the same words. The line numbers of the
''Dohā for the People'' have been added in parentheses for each heading. +
G
The [[Third Karmapa]], [[Rangjung Dorje]] (1284–1339), was one of the earliest and most important figures in the Severance tradition. His many works on Severance are considered authoritative in the [[Kagyu]] lineage, and he may have been the first to incorporate the term [[mahāmudrā]] as part of the descriptive title of Severance, thus bringing it into the [[Kagyu]] fold.'"`UNIQ--ref-00000570-QINU`"' The text translated here—his commentary and structural outline for ''The Great Bundle of Precepts on Severance''—appears in ''The Treasury'' under the simple title ''Outline'', although it also contains a commentary as a separate text, bearing the Sanskrit name ''ṭīkā'', usually translated into Tibetan as “complete explanation” (''rnam par bshad pa''). It is unusual and quite edifying for a Tibetan author to actually separate out the outline from the commentary, although it does present a few extra problems of consistency. Nevertheless, [[Rangjung Dorje]]’s work exhibits his usual precision and brilliance. The text is also found in his collected works. The words in parentheses after the headings in the ''Outline'' were included by [[Rangjung Dorje]] to indicate the beginning word(s) of each verse, and they are repeated in the commentary. However, due to the differences between Tibetan and English grammar, it was not always possible to keep them exactly as they appear at the very beginning of each verse in the translation. +
''Rainfall of Desirables'' is a supplement to the liturgy that immediately follows it, ''The Body Donation and Feeding Ritual''. The two are listed under one heading in the Shechen edition and were apparently compiled together in this form by [[Karma Chakme]] Rinpoche, which may be why it is attributed to [[Karma Chakme]] in the Kundeling printing. However, they are listed separately in the ''Catalog''.
This text is signed [[Könchok Bang]] ([[dkon mchog 'bangs]]), the ordination name of the [[Fifth Zhamar]] incarnation, [[Könchok Yenlak]] ([[dkon mchog yan lag]], 1525–1583). He was the student and successor of the [[Eighth Karmapa]], [[Mikyö Dorje]] ([[Mi bskyod rdo rje]], 1507–1554), himself a very important author in the Severance tradition. [[Könchok Yenlak]] was a prolific master whose commentaries on such works as the ''Ornament of Clear Realization'' (''[[Abhisamayālaṃkāra]]'') and ''[[The Profound Inner Principles]]'' (''[[Zab mo nang don]]'') are widely consulted. He authored several other texts on Severance that are listed in the Drepung Catalog, as well as providing the groundwork for a number of compositions on Severance by [[Karma Chakme]].
''Rainfall of Desirables'' contains some very practical instructions on the Severance practice that are not always found in other explanations: for example, what time of day or night to travel to and from the Severance practice locations; how to get there using various gaits; which apparitions are easy to deal with and which are difficult; how to prevent hail; and what to do in other specific challenging situations. The descriptions of the visualizations are quite brief, and many of the recitations are merely indicated by a few words. The full text of these can be found in ''The Body Donation and Feeding Ritual''.
Aside from this useful information, what is most interesting about the text is that it appears to be based on a mysterious text called ''[[Machik]]’s Vajra Verses'' (''[[Ma gchig gi rdo rje tshig rkang]]''). ''Rainfall of Desirables'' provides numerous intriguing quotations from that source, as does ''The Body Donation and Feeding Ritual''. Other than these two texts and one brief mention in ''[[Machik’s Complete Explanation]]'','"`UNIQ--ref-000005B2-QINU`"' this seemingly crucial source text has not surfaced.
[[Karma Chakme]], or [[Rāga Asya]] (1613–1678), was a remarkable scholar and yogin with an enormous literary output that covered a wide variety of topics from both the [[Karma Kagyu]] and [[Nyingma]] traditions. He founded the monastery of [[Nedo]] ([[mNas mdo dgon]]) in 1662, which became the locus of the [[Nedo Kagyu]] subsect and enabled the continuation of his teachings and practices (''gnas mdo'' or ''chags med lugs''). His [[Nyingma]] practices are continued by the [[Palyul]] tradition. Two entire volumes of his collected writings are devoted to Severance, and perhaps even more are not found there. It seems that the safest attribution of an unsigned Severance text is to [[Karma Chakme]].
''Pearl Rosary'' represents the now classical form of a Severance ritual to offer one’s body, to be done as either a group or an individual practice. It is not particularly specified as a healing ritual for the sick, as the previous text is, yet it contains many of the same prayers and liturgies, including most of the Ninefold Spirit Feast (here attributed not to [[Rangjung Dorje]] but to his student [[Yakde Paṇchen]]). The general order of practice is similar to most later Severance practices, even in the very condensed sādhanas, and matches the descriptions in ''[[Machik’s Complete Explanation]]''. Authors of these rituals may expand any of the requisite sections almost indefinitely, adding the familiar prayers and praises that have become the classic fare of Severance. After the crucial separation of body and mind, the multiple transformations and offerings of the corpse that is left—as mandala, as [[ḍākinī]] feeding, as feast, and so on—can be confusing in their repetitiveness. Yet they reflect the many kinds of offering rituals to be found in Tibetan Buddhism, all of which are fulfilled by these offerings of one’s own body. +
An important function of vajrayāna ritual is to ensure that whatever offerings have been made will serve the purpose of fulfilling obligations as well as accumulating merit. This is the practice of ''kangwa'' (''bskang ba''), translated variously as fulfillment, renewal, amendment, appeasement, and so forth. The pledges or commitments or covenants (''dam tshig'') that are thereby fulfilled involve two levels: Secret Mantra practitioners have a special relationship with the buddhas, deities, [[ḍākinī]]s, and other holy beings who will bless and protect them as long as the practitioner keeps up his or her practice. The second level concerns the various worldly protectors, ground masters, and local spirits who pledged themselves to the dharma, usually under pressure during the time of Guru [[Padmasambhava]], but who must be regularly appeased with offerings to remind them of that commitment. In both cases, the ritual also serves to emend any breaches or deficiencies in the mutual agreement, and thus it may also contain a confession of mistakes.
This text contains three rituals that utilize the offering of one’s own body as a communal feast to renew those commitments. After the initial setup visualization, the first is “Mother Transformation” by Chökyi Drakpa of Tsalkar ([[mTshal dkar Chos kyi grags pa]]). This very common name might be the [[fourth Zhamar]] incarnation (1453–1524/5), but the Tsalkar designation is not identified. The title might suggest that it is a variation of a previous “mother” text. The text calls on the usual lineage gurus up through [[Karmapa Rangjung Dorje]] and continues with yet another line of masters coming through the [[Zurmang]] line. Then it focuses on the divine beings, such as the [[ḍākinī]]s of the charnel grounds, the buddhas of the ten directions, and the protectors, before going on to the local spirits.
The second text, “Gem Treasury,” is attributed to Guru [[Dharmakīrti]]. This is the Sanskrit for the Tibetan name Chökyi Drakpa and could well indicate the author of the previous text. “Gem Treasury” is said to be an amendment of a composition by [[Situ Norbu Sampel]] ([[Si tu Nor bu bsam ’phel]]). Though this has been suggested as another name for the [[sixth Situ]], [[Mipam Trinle Rapten]] ([[Mi pham phrin las rab brtan]], 1658–1682), his dates do not line up with the statement in the colophon that it had been requested by [[Ratnashrī]], or Palden Rinchen in Tibetan, the author of the third fulfillment liturgy and named here in the [[Zurmang]] lineage after [Rupa] [[Wangchuk Dorje]], who is only two gurus after [[Rangjung Dorje]] (1284–1339). The lineage prayer ends with the fourth [[Trungpa]], [[Kunga Namgyal]] (1567–1629).
The third text is called simply “Fulfillment Ritual” and is attributed to the adept of Runda, Palden Rinchen (Ru mda grub thob dPal ldan rin chen). His Sanskrit name, [[Ratnashrī]], appears in many other [[Zurmang]] lineage prayers, and a brief account of his life can be found in the Collected Histories of the Glorious [[Zurmang Kagyu]].'"`UNIQ--ref-0000063F-QINU`"' This liturgy itself does not contain a lineage prayer but calls on the deities and [[ḍākinī]]s and then includes an extensive confession. It ends with a long list of the actual items that fulfill the pledges.
Gcod kyi tshogs las yon tan kun 'byung gsungs rgyun 'khrul med ltar bkod pa bzhugs pa'i dbu phyogs +
This text is the [[Fourteenth Karmapa]]’s arrangement of the prayers and practices traditionally used in the Severance feast activities of the [[Zurmang]] tradition. The first part of the title is nearly identical to that of ''White Crystal Mirror'' in this volume; most likely [[Karmapa Tekchok Dorje]] ([[Theg mchog rdo rje]], (1798/9–1868/9) wished to enhance that earlier text. Also found here are many sections from ''Pearl Rosary''. And it is clear from the internal comments (''yig chung'') that to practice it one must draw on the liturgies of these earlier compositions. What is distinctive in this text is the addition of a number of the ancient supplications to the gurus of the lineage, particularly the beautiful prayers to [[Machik]] by her son and grandson. The most unusual feature of all is that [[Tekchok Dorje]] provides the authorship for each of the added prayers, a rarity in this Tibetan tradition of recycled liturgy.
[[Karmapa Tekchok Dorje]] was a contemporary of [[Jamgön Kongtrul]] and similarly played an integral part in the nonsectarian (''[[ris med]]'') activities of the times in Kham. They exchanged transmissions and teachings, and both of them counted the great [[Situ Pema Nyinje Wangpo]] ([[pad+ma nyin byed dbang po]], 1774–1853) as a primary guru. Their close colleagues included [[Jamyang Khyentse Wangpo]] (1820–1892) and Tertön [[Chokgyur Lingpa]] (1829–1870), among many others.
In addition to this text, [[Tekchok Dorje]] is usually cited as the author of the most popular daily practice of Severance in the [[Kagyu]] tradition, ''The Concise Charity of the Body for Daily Practice'' (although the [[Fifteenth Karmapa]] and [[Karma Chakme]] have also been credited with it). Despite their close connection, [[Kongtrul]] did not actually receive the transmission of ''Source of All Qualities'' directly from [[Tekchok Dorje]] but through the [[Chöwang Tulku]], according to the ''Catalog'', which also mentions that [[Tekchok Dorje]] himself received it from [[Situ Pema Nyinje]].
Venerable [[Tāranātha]] ([[grol ba'i mgon po]], 1575–1635) was one of the great polymaths of Tibet. At the age of one year he declared himself to be the [[Jonang]] master [[Kunga Drölchok]] (1507–1566) and was formally recognized as [[Kunga Drölchok]]’s reincarnation when he was four. He studied with disciples of [[Kunga Drölchok]] and received transmissions of all the schools, especially the [[Jonang]] and [[Shangpa]] lineages. He learned Sanskrit and studied with Indian yogins and scholars in Tibet, one of whom, [[Buddhaguptanātha]], became his principal master. [[Tāranātha]]’s advancement of [[Dolpopa]]’s stunning philosophy of ''[[zhentong]]'', or Great [[Madhyamaka]], earned him dubious notoriety with the [[Gelukpa]] hierarchy under the [[fifth Dalai Lama]], and his support for the rulers of Tsang, who opposed [[Gelukpa]] rule, ultimately resulted in the confiscation of [[Jonangpa]] monasteries in central Tibet and the suppression of [[Tāranātha]]’s works. Nevertheless, [[Tāranātha]] remains a towering figure in Tibet for his activities and huge literary legacy.
Of that enormous output, surprisingly few of [[Tāranātha]]’s texts are devoted to Severance—a total of merely fifty pages or so—and his autobiography mentions the transmission of Severance only a few times.'"`UNIQ--ref-00000632-QINU`"' What connection [[Tāranātha]] did have with the practice of Severance can probably be attributed mainly to his predecessor, [[Kunga Drölchok]]. That master compiled an anthology of one hundred eight different lineage practices, ''The Hundred Guides of Jonang'', of which Severance is number six. This work is reprinted in volume 18 of ''[[The Treasury of Precious Instructions]]'' and indeed may have been the prototype for [[Jamgön Kongtrul]]’s own vast, eclectic collection. In any case, [[Kongtrul]]’s reverence for and deep connection to [[Tāranātha]] are evident everywhere in his work. The eclectic movement (''[[ris med]]'') in eastern Tibet spearheaded by [[Kongtrul]] helped to revive the [[Jonang]] tradition and ''[[zhentong]]'' view. [[Tashi Chöpel]]’s ''[[Record of Teachings Received]]'' notes that [[Kongtrul]] received the blessing empowerments of profound Severance of Evil Object in the [[Gyaltang]] tradition of the great adept [[Samten Özer]] based on [[Tāranātha]]’s ''Object Severance Empowerment Known as Opening the Sky Door''.'"`UNIQ--ref-00000633-QINU`"' Its inclusion here ensured the continuation of this lineage of Severance up to the present.'"`UNIQ--ref-00000634-QINU`"'
This is [[Jamgön Kongtrul]]’s own liturgy for the donation of the body as food; it is included in the collection of his compositions called ''Treasury of Extensive Teachings'' (''[[rGya chen bka’ mdzod]]''). The idea of practice “in a single sitting”—literally, “on a single seat” (''stan thog gcig tu'')—basically indicates that the various extensive instructions, rituals, and postmeditation activities have been distilled into a manageable daily practice. [[Kongtrul]] stated his intention clearly in the colophon: the text was intended for use in the three-year retreat that he established in the upper hermitage at [[Palpung Monastery]], Kunzang Dechen Ösal Ling. Although not specifically listed in the retreat curricula that he composed, the practice of Severance is a well-known integral part of the program. The successor of that retreat tradition, Kyapje [[Kalu Rinpoche]], went on from Palpung to establish such retreats around the world. At some point, this composition of [[Kongtrul]]’s was replaced in the retreats by the now popular version attributed to the [[Fourteenth Karmapa]], [[Tekchok Dorje]], called ''The Concise Charity of the Body for Daily Practice''.
[[Kongtrul]] also names his sources in the colophon: [[Samten Özer]] and [[Jamyang Gönpo]], whose teachings from visionary experiences of [[Machik]] are called direct lineages (''nye brgyud''); and the composed teachings from [[Jonang Tāranātha]] and [[Minling Terchen]] Rinpoche. The [[Jonangpa]] tradition of [[Tāranātha]]’s Severance coming from [[Kunga Drölchok]] was discussed in the introduction to chapter 14. [[Kongtrul]] regarded himself as an incarnation of [[Tāranātha]], affirming his deep spiritual connection with that lineage. [[Minling Terchen]] ([[sMin gling gter chen]], 1646–1714), also known as [[Terdak Lingpa]] ([[gTer bdag gling pa]]) and Gyurme Dorje ([[’Gyur med rdo rje]]), was the great treasure revealer and founder of [[Mindroling Monastery]], one of the six main [[Nyingma]] monastic complexes in Tibet. [[Jamgön Kongtrul]] relates many dreams of this master in his autobiography and mentions several great lamas who believed that [[Kongtrul]] himself was an incarnation of [[Minling Terchen]].'"`UNIQ--ref-00000625-QINU`"' [[Kongtrul]]’s inspiration from these two masters is obviously much deeper than just an appreciation of their work.
There may be a direct connection here to [[Minling Terchen]]’s brief composition (not a revealed text) bearing the similar name ''Hero’s Loud Laugh: Instructions on Object Severance in a Single Sitting'' (as well as several supportive texts with the “single sitting” signature).'"`UNIQ--ref-00000626-QINU`"' The basic procedure for the all-at-once practice in both texts is comparable, although by [[Minling Terchen]]’s time this had become fairly standard. This text by [[Kongtrul]], however, differs in several ways. The inclusion of the origin story based on the ''Verse Summary'' quotation and the classical definition of the term ''[[gcod]]'' is unusual for a short sādhana practice, though typical of [[Kongtrul]]. [[Kongtrul]] also makes the correlation between the three Buddhist meditative absorptions (Skt. [[samādhi]]) with the three phases of view, meditation, and conduct as applied to Severance practice.'"`UNIQ--ref-00000627-QINU`"' Finally, the [[Samten Özer]] and [[Tāranātha]] connections are revealed in the inclusion of their two outstanding instructions:
“the meaning of the Mother” and “severing the four devils in basic space.” Thus it is truly a distillation of the many deep dharma streams of which [[Kongtrul]] was the beneficiary.
In this practice instruction [[Tāranātha]] clearly lays out the main teachings of Severance and the order in which to practice them. To actually utilize this text as a practice, however, one would need the liturgy that should accompany these explanations, called ''Supplication Liturgy for the Essence of the Vital Meaning: A Practice Manual of Profound Object Severance''.'"`UNIQ--ref-0000059A-QINU`"' [[Kongtrul]] did not include that in this volume of the ''Treasury'', perhaps because there were more recent liturgies from other lineage holders.
The ''[[Record of Teachings Received]]'' affirms that [[Kongtrul]] received the guidance or practice manual (''khrid yig'') “in the style of the transmission guidance (''lung khrid'') from the sacred writings of Venerable [[Kunga Drölchok]] and detailed guidance based on Venerable [[Jonang Tāranātha Rinpoche]]’s ''Essence of the Vital Meaning''.”'"`UNIQ--ref-0000059B-QINU`"'
As is typical of this particular lineage that originated with [[Machik]] via [[Samten Özer]], through [[Kunga Drölchok]], [[Tāranātha]], and on to [[Kongtrul]] himself, the main practices have the specific designations of “the meaning of the Mother” (''yum don'') and “severing the four devils in basic space” (''bdud bzhi dbyings su gcod''). The first is the direct instruction on the nature of mind according to the [[perfection of wisdom]] (that is, the Mother), and the second is how to enact and enhance that realization through coping with the problematic experiences of existence, called the four devils. Everything beyond that is considered auxiliary practice to be done as postmeditation activity. This important fact was often lost as the demon-feeding elements gained prominence, which is why [[Kongtrul]] emphasized it again and again. +
Grub chen dam pa sangs rgyas kyis rnal 'byor gyi dbang phyug mi la ras pa la gdams pa'i dam chos sdug bsngal zhi byed kyi snying por dril ba'i rdo rje'i mgur +
This special vajra song (''rdo rje’i mgur'') sung by Pa Dampa Sangye to the yogi Milarepa is plucked from the amazing account of the meeting of these two most extraordinary masters, a story that bears repeating not only for context here but for what it tells us about what happens when Indian buddha meets Tibetan buddha. It made an early written appearance in ''The Hundred Thousand Songs'' of Milarepa, completed by Tsangnyön Heruka in 1488.'"`UNIQ--ref-0000032F-QINU`"' However, the presence of an appended structural outline here signed by Mikyö Dorje of Latö, otherwise known as Gyalwa Tene (1127–1217), would seem to imply that it had been around a lot longer. The version in Khamnyön’s biography of Dampa Sangye,'"`UNIQ--ref-00000330-QINU`"' written in 1906, is a nearly verbatim replica of Tsangnyön’s version, except that two of Milarepa’s songs are omitted, making Dampa’s responses somewhat puzzling. The summary here will follow the earlier version directly.
The great Tibetan yogi Milarepa (b. 1052/1040) hears from a lion-faced ḍākinī that the great Indian master Dampa Sangye is nearby. Milarepa doesn’t think he has much to learn from him, but figures it won’t do any harm to meet this revered master anyway. Meanwhile, the lion-faced ḍākinī has also told Dampa to expect the famous Milarepa, so the meeting is all but inevitable. As Milarepa heads out with prāṇa-driven speed, he asks some folks about the Indian master’s whereabouts. They respond that they don’t know about “Holy Buddha” (a literal translation of his name, ''dam pa sangs rgyas'') but that they saw an old gray āchārya (i.e., Indian) now sleeping at the guesthouse. (That is, he seems humble, but also ugly.) As Milarepa approaches, he decides to test Dampa’s reputation for having pure clairvoyance, so he transforms his body into a clump of flowers. Dampa Sangye walks right past, but as soon as Milarepa thinks he has no clairvoyance, Dampa turns and kicks the flowers. Dampa says,
::You should not emanate Milarepa’s body as flowers—get up! You have sung the melodious songs of the ḍākinīs’ life essence. As punishment, the flesh-eating ḍākinīs have carried away your soul, breath, living heart, and hopes. I met with them last night and we ate those [essences] in communal feast. You will not live past this night. What confidence do you have facing death?
Milarepa immediately jumps up as himself and sings the song “Six Measures of Confidence in Facing Death,” in which he compares his own courage to that of lions, stags, and so forth, in classic Milarepa style. Dampa Sangye considers the song useless because it uses allegory of outer phenomena, and he challenges Milarepa, saying, “If you were a real yogi, you would have conviction in this present moment of awareness (''da lta’i rig pa ’di'').” So Milarepa sings the song “Six Convictions of a Happy Mind.”
At this point in past translations, there has been a bit of confusion over the phrase that ends each verse (''bde bde ’dra na dam pa rang yang mdzod''). The earliest translation misses that ''dam pa'' is Dampa’s name and translates it as “Happy and joyful as I gain supremacy.” Later it is taken to be “Of such bliss, Dampa himself is a treasury” (mistaking the imperative mdzod). But Dampa’s response to the song—“I’ve already done all that”—makes sense only if Milarepa is saying, “Happy! If you want such happiness, you, Dampa, should also do this.” In any case, Dampa Sangye is now satisfied and prepares to leave, but Milarepa grabs him by the robe and insists that he also sing a song to explain the Holy Dharma Pacification of Suffering that brings about realization of the Buddha’s intention instantly through one’s turning inward and meditating. Dampa then says, curiously, “Previously no one has heard when I sang. And they never will, so let me go.” But Milarepa persists, so Dampa Sangye sings this vajra song.
Milarepa enjoys Dampa’s song and sits relaxed with his private parts exposed, as he is famously wont to do. Dampa says, “The body has one thing that should be hidden, and yet you act like a crazy man exposing it. Don’t do that!” At this Milarepa sings a delightful song called “This Crazy Way.” An impressed Dampa says, “Your crazy ways are most excellent.” Afterward, they have a crazy communal feast together, during which, among other incredible things, they sit atop stalks of grass. Milarepa wonders why only his stalks bend slightly with his weight, since he has proven himself an equally great adept. Dampa assures him that they are equal except for one thing: Milarepa was born in Tibet! That one quip says worlds about the development of Buddhism in Tibet.
'''Notes'''
'"`UNIQ--references-00000331-QINU`"'
Grub chen dam pa sangs rgyas nas brgyud pa'i dam chos sdug bsngal zhi byed kyi lam lnga'i khrid yig dri med snang ba grub pa mchog gi zhal lung +
Sönam Pal of Nyedo Monastery (1216–1277) was often just called “The All-Knowing” or “Omniscient One.” His accomplishments as recounted in ''The Blue Annals'' make it clear why that was so, yet this is not an uncommon title, which has led to some problems of identification. He was the eldest of three sons of Mawai Senge (also known as Tsöndru Senge), who was one of the “three family incarnate siblings” (''rigs gsum sprul pa’i sku mched''). The other two were Rokchen Sherap Özer (or Rokben) and Zhikpo Nyima Senge, all of them disciples of Gyalwa Tene. Sönam Pal, in turn, had three sons known as the Kunga Siblings, all of whom also figure in the lineage of the later transmission of Pacification. Thus it seems to have become a family affair for a while at least. In fact, it might have happened earlier if Gyalwa Tene’s heir-apparent son had not died at an early age.'"`UNIQ--ref-0000067D-QINU`"' However, actual offspring and “spiritual sons” are sometimes confused, and it should be noted that in Dampa’s biography, five entirely different sons are listed for Sönam Pal.'"`UNIQ--ref-0000067E-QINU`"' This is because the author, Khamnyön Dharma Senge, apparently misread the information in ''The Blue Annals'', which in fact assigns those five to the other important lineage holder, his cousin Trulzhik Darma Senge.'"`UNIQ--ref-0000067F-QINU`"' Many who were in the lineage were associated with the monastery of Nyedo, and thus “Nyedowa” often precedes their names. Nyedo Monastery was established in the thirteenth century and reportedly offered to Rokben (Sönam Pal’s uncle), who instead passed it to his brother Tsöndru Mawai Senge in 1208.'"`UNIQ--ref-00000680-QINU`"' Sönam Pal was installed there in 1229. This monastery was the seat of a branch of the Che (''lce'') lineage, part of the middle transmission, and the teachings followed there were both Pacification and the Kālachakra. According to the short biography in the ''Treasury of Names'', Sönam Pal was a master of Kālachakra, as well as almost everything else.
The lineage held by All-Knowing Sönam Pal is often called simply the “Guide to Five Paths” (''lam lnga’i khrid'') and, as pointed out by Kongtrul in his catalog, appears as the twenty-first lineage in the ''Hundred Guides of Jonang'' by Kunga Drölchok (1507–1566), which is sometimes considered the prototype of Kongtrul’s collection. The essential points are summarized by Kunga Drölchok in very familiar detail in ''Texts of the One Hundred and Eight Profound Guides''.'"`UNIQ--ref-00000681-QINU`"' Surprisingly, it is stated there and elsewhere by Drolchok to be drawn from a guidebook by Rongtön Sheja Kunrik (1367– 1449), the great Sakya master also known as Shākya Gyaltsen. Furthermore, Kunga Drölchok says that in turn was received from another Sakya lama, Changlungpa Zhönnu Lodrö (1372–1475). These guidebook(s) have not been located, but chronologically they must have been based on that of Sönam Pal, who appears seven generations earlier than Changlungpa in one transmission line.'"`UNIQ--ref-00000682-QINU`"' I mention all this just because it is a rather surprising variation from the usual Pacification lineages and the Sakya connections need more investigation.
The explanation of the five paths by Sönam Pal provided the blueprint for Dharmashrī’s explanation of the Red Guide in the later transmission in ''Distilled Elixir''. The version here in ''The Treasury of Precious Instructions'' has been augmented by Jamyang Khyentse Wangpo, who probably added the interlinear notes. In the catalog, Kongtrul states specifically that the verses at the beginning and the end were added by Khyentse, but then in typical safe mode adds “et cetera” (''la sogs pa''), so it is difficult to say exactly what has been altered or added without an original edition. But to judge by Dharmashrī’s copy, as well as Kunga Drölchok’s summary, Sönam Pal’s work has been well preserved.
'''Notes'''
'"`UNIQ--references-00000683-QINU`"'
The ''Authoritative Texts in Verse'' consists of eight sections, or
short texts, on the differences between the gradual and the instantaneous types,'"`UNIQ--ref-000000CF-QINU`"' caṇḍālī, dream, luminosity, bardo, entering a body, transference, and vital points of instruction, omitting illusory form (typically
the second of the six dharmas) in favor of instructions for entering a body.
''Authoritative Texts in Verse'' is closely related to Tilopa’s ''Truly Valid Words''
(in both its forms, ''The Treasury of Precious Instructions text'' and the Tengyur
redaction) and to an anonymously authored Tengyur text called the ''Later Authoritative Texts''.'"`UNIQ--ref-000000D0-QINU`"'
First, regarding the relationship between the ''Authoritative Texts in Verse''
and the DNZ ''Truly Valid Words'', the ''Authoritative Texts in Verse'' has 324
lines of verse and three sections of prose, whereas ''Truly Valid Words'' is written entirely in verse and has 998 lines. Of the ''Authoritative Texts’'' 324 lines of verse, 230 are found in ''Truly Valid Words'', meaning that 70 percent of
the ''Authoritative Texts'' is virtually identical to ''Truly Valid Words''—although
these corresponding, or identical, lines are not in the same order in the two
texts. A small portion of the prose sections of the ''Authoritative Texts'' is represented by 15 lines of verse in ''Truly Valid Words''. Looked at from the perspective of ''Truly Valid Words'', 25 percent of ''Truly Valid Words'' is found in
the ''Authoritative Texts''.†'"`UNIQ--ref-000000D1-QINU`"'
The ''Authoritative Texts'' also has a close relationship to the Tengyur ''Truly Valid Words'' (T. PD. 2331), which has 222 verse lines. Of the ''Authoritative Texts’'' 324 lines, 193 are found in the Tengyur ''Truly Valid Words'' redaction. In other words, 86 percent of the Tengyur Truly Valid Words is found in the ''Authoritative Texts''.'"`UNIQ--ref-000000D2-QINU`"'
A significant similarity between the Authoritative Texts and the Tengyur ''Truly Valid Words'' is that their first 77 lines are almost identical (in content and sequence), and while those 77 lines are found in the DNZ ''Truly Valid Words'', they correspond to its first eight lines and then to lines much later in the text (and not in the same order, as shown in the table below).
Nevertheless, the ''Authoritative Texts'' and the DNZ ''Truly Valid Words'' have
more shared text than the ''Authoritative Texts'' and the Tengyur ''Truly Valid Words'' do.
Although the title of the anonymous ''Later Authoritative Texts''*'"`UNIQ--ref-000000D3-QINU`"' in the Tengyur is closer to that of the ''Authoritative Texts'', the ''Later Authoritative Texts'' has less in common with the ''Authoritative Texts'' than the other two
aforementioned texts. It has eight sections (caṇḍālī, illusory forms, dreams,
luminosity, transference, bardo, entering a body, and esoteric instructions
on bodhicitta, the path of method) in 333 lines of verse. Of the ''Later Authoritative Texts’'' 333 lines, 84 lines are found in the ''Authoritative Texts''; that is, 25 percent of the ''Later Authoritative Texts'' is found in the DNZ ''Authoritative Texts'' and, since the two texts are of similar lengths, the opposite is true: 25 percent of the DNZ ''Authoritative Texts'' is found in the ''Later Authoritative Texts''.
The final text in the Tengyur that has been identified as being connected
to the ''Authoritative Texts'' is Āryadeva’s ''Lamp that Summarizes the Practices''.'"`UNIQ--ref-000000D4-QINU`"' Sections of chapters 6–11 in Āryadeva’s ''Lamp'' parallel almost all of section four, “Authoritative Text on Luminosity” in the ''Authoritative Texts''.
Turning to the content, as the above comparison shows, the DNZ Authoritative Texts contains only a portion of the instructions found in the ''DNZ Truly Valid Words''. The correspondence is as follows: (View Table [[tables|here]])
Looked at from the perspective of Pema Karpo’s topical outline for ''Truly Valid Words'', it is hard to generalize about a larger pattern of “borrowing” as the shared sections do not fall neatly into a particular broad category, such as their shared lines being only within the instructions for the gradual type.
''Transmission lineage received by Jamgön Kongtrul''. Vajradhara to Jñānaḍākinī, Vajrapāṇi, Tilopa, and then the same as previously stated for the ''Ganges Mahāmudrā''.'"`UNIQ--ref-000000D5-QINU`"'
Tilopa (c. 988–c. 1069) is often considered the first human guru in
the Marpa Kagyu lineage of mahāmudrā instructions. Although the
accounts of his life vary, all seem to agree that he was born into a brahman family in Sahor (in present-day Bangladesh). Some biographies say he entered the monastery of Somapura in northern Bangladesh or a charnel
ground of the same name, where he took monk vows and studied. All concur that he was urged by a ḍākinī to seek the ultimate instructions, though
they differ as to whether he studied with his human gurus before or after
he went to Oḍḍiyāna where he received the Cakrasaṃvara Aural Transmission from Jñānaḍākinī. He is said to have spent twelve years working for
the prostitute Bharimā at night and grinding sesame seeds by day, probably after he received instructions from his four human gurus and before he went to Oḍḍiyāna. During the last period of his life, when he was living as
a vagrant siddha, Nāropa found him and began his apprenticeship, undergoing twelve major and twelve minor hardships. This training culminated
in Nāropa’s attainment of realization and was the occasion for this song.'"`UNIQ--ref-00000067-QINU`"'
Of the numerous songs and texts attributed to Tilopa, these instructions on mahāmudrā sung on the banks of the Ganges River to Nāropa are
probably his most famous and have been translated into English numerous
times. The paracanonical edition contained here was translated by Marpa
Lotsāwa. The canonical edition found in the Tengyur differs significantly
in both word choices and line order and does not state the translator in the
colophon, leading to suppositions that it was not translated by Marpa. As
Jan Sobisch remarks:
<blockquote>One of the most significant differences between the paracanonical and the canonical versions can be found in the structure of the text itself. It was a great surprise to discover the vast extent of structural intervention undertaken by the redactors of the canon. . . . One of the key features of this structure is that the [paracanonical] text directly introduces with 25 lines the nature of the mind to the yogis of highest capacity. The practice of individuals of lesser talents is relegated to the very end of the treatise, almost as an afterthought. The key feature of the structure of the canonical version, on the other hand, is that the text teaches (after the same brief advice to listen) first a gradual teaching of 28 lines before it offers an introduction to the nature of the mind. The chief structural intervention of the redactors of the canon is therefore that they change the very nature of the text, namely from being right from the beginning an upadeśa directly introducing individuals of the highest capacity to the nature of their mind, into being a gradual (rim gyis) introduction to the practice of mahāmudrā.
The second intervention of the editors of the canon is that they have changed the irregular pattern of the number of syllables per line into a regular pattern of nine syllables. . . . Thus, at some point there seems to have been an intention to streamline this teaching both in form and content, that is, it was made to fit a very widely used highly regular verse pattern, and it was adjusted to what we could almost call the “dogma of gradualism.”'"`UNIQ--ref-00000068-QINU`"'</blockquote>
The paracanonical editions have long been favored in the Kagyu traditions.
Pema Karpo included one in his Aural Transmission Collections, and
paracanonical editions are the basis for commentaries by Rangjung Dorje,
Shamar Könchok Yenlak, and the recently published ones by Thrangu Rinpoche and Sangyes Nyenpa Rinpoche.'"`UNIQ--ref-00000069-QINU`"'
Given the differences between the paracanonical versions and the canonical ones, Draszczyk, in “Tilopa’s Upadeśa,” raises the possibility that Marpa was not the translator for all versions, though it may be, as Sobisch says
in “Paracanonical Tibetan Texts” and “Paracanonical Translation,” that the
editors of the Tengyur took a great deal of liberty and created a version more
in keeping with an orthodox gradual approach.
''Transmission lineage received by Jamgön Kongtrul''. Tilopa to Nāropa, Marpa
Lotsāwa, Milarepa, the unequaled Dakpo [Gampopa], Dusum Khyenpa,
Drogön Rechen, Pom Drakpa, Drupchen Pakshi, Nyenre, Rangjung Dorje,
Yung Tönpa, Rolpai Dorje, Khachö Wangpo, Dezhin Shekpa, Drung Mase
Lodrö Rinchen, Chöpal Yeshe, Lodrö Drakpa, Jatang Lodrö Gyatso, Döndrup Tashi, Lekshe Drayang, Lodrö Namgyal, Sangye Rinchen, Drung
Rinpoche Kunga Namgyal, Garwang Karma Tenkyong, Sönam Gyurme,
Könchok Tenzin, Drupgyu Tenpa Namgyal, Sungrap Gyatso, Chökyi
Jungne, Gelek Rapgye, Drung Gyurme Tenpal, Tenzin Gelek Nyima, and
Jamgön Kongtrul.5
Gsum tshan gsum gyi man ngag ces kyang bya gces pa'i snying po zhes bya ba snying dang 'dra ba'i man ngag +
The alternative title of this profound collection of pith instructions refers to its division into three sections, each of which is further divided and subdivided into sets of three. +
''Transmission lineage received by Jamgön Kongtrul''. It is the same as previously stated for ''The Short Text''.'"`UNIQ--ref-00000156-QINU`"' +
K
The following prayers intone the names of the progenitors or inspirational sources of the One Hundred and Eight Guidebooks and their successive historical lineage holders in India and Tibet through to the time of their compiler, Kunga Drolchok (1507–1565). Jamgon Kongtrul Lodrotayé (1813–1899) later extended the lineage of the first prayer, Parting from the Four Attachments, by adding the names of subsequent lineage holders who followed Kunga Drolchok, including the latter’s acknowledged reincarnation Drolmei Gonpo Tāranātha (1575–1634), as well as Rinchen Dorjéma Ratnavajriṇī (1585–1668), Katok Tsewang Norbu (1698–1755), Zhalu Lotsāwa Losal Tenkyong (b. 1804), and Jamyang Khyentsé Wangpo (1820–1892). Readers should understand that this extended lineage is to be appended to each of the one hundred and eight guidebooks in turn.
Each prayer concludes with a pithy quatrain of verses requesting the blessings of the lineage holders and alluding tersely to the doctrinal content of the lineage in question. In a few instances explanatory notes have been added, but in general the reader should understand that these allusions and technicalities are explained in the corresponding guidebooks themselves (Ch. 9).
In his concluding remarks at the end of this chapter, Kunga Drolchok comments on the difficulty he encountered in composing these versified prayers. In order to maintain the meter, he frequently resorted to a well-established poetic device—rendering the names of the successive lineage holders obliquely through epithets or contracted variant forms. For the aid of the reader, this translation presents these names, not in metrical verse, but in a simplified linear form, and each prayer is preceded by a short paragraph, dating the relevant chronology. +
The supplementary lineage prayer that forms the content of the short second chapter was composed by Losal Tenkyong of Zhalu at the behest of Jamyang Khyentsé Wangpo. It commences with Kunga Drolchok (1507–1565), the compiler of the One Hundred and Eight Guidebooks, and continues through the Jonang line of transmission as follows: the latter’s disciple Draktopa Choku Lhawang Drakpa (fl. 16th century), and reincarnation Tāranātha, aka. Drolwei Gonpo Kunga Nyingpo (1575–1634), the ḍākinī Ratnavajriṇī, aka. Jonang Jetsunma Kunga Trinle Pelwangmo (1585–1668), Khenchen Rinchen Gyatso Neten Dorjedzin (fl. 17th century), Nyingpo Lodrotaye (fl. 17th century), Dzalongkar Lama Drubwang Kunzang Wangpo (fl. early 18th century), Katok Rigdzin Tsewang Norbu (1698–1755), Ngawang Nampar Gyelwa, On Dzalongkar Lama Kunzang Chojor, Drinchen Lobzang Tutob (fl. late 18th–early 19th centuries), Chakzampa Tulku Nyima Chopel, and the hermit Zhalu Lotsāwa Losal Tenkyong (b. 1804). Thereafter the lineage passed to Jamyang Khyentsé Wangpo (1820–1892) and Jamgon Kongtrul Lodrotayé (1813–1899), compiler of the Treasury of Oral Instructions. +
Chapters Five and Six contain diverse anecdotal accounts of the transmission of the One Hundred and Eight Guidebooks by earlier generations of lineage holders. Many peripheral texts associated with these cycles are also incidentally mentioned. References are generally found in the bibliography and in the notes to Chapter Nine.
Chapter Five, written by Kunga Drolchok, covers the anecdotal accounts of the first seventy-four guidebooks, commencing with Parting from the Four Attachments and concluding with Kharamukha Cakrasaṃvara. The supplement by Tāranātha which is contained in Chapter Six completes the remainder, from the seventy-fifth to the one hundred and eighth.
The introductory verses of Chapter Five are not balanced by any corresponding concluding verses, which may perhaps suggest that it was originally Kunga Drolchok’s intention to complete these anecdotes himself. Tāranātha, the acknowledged reincarnation, may have considered this task as a personal responsibility. +