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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. +
In 1607 Tāranātha completed this supplement to the historical anecdotes contained in the previous chapter. These cover the thirty-three remaining guidebooks, commencing from The Six Meditations of Vajravārāhī and concluding with The Nature of Mind: The Wish-fulfilling Gem. At the end of the chapter Tāranātha explains that he was encouraged to do so by his teacher Lhawang Drakpa, who himself had been a disciple of Kunga Drolchok. +
In the penultimate chapter, Kunga Drolchok begins by enumerating the One Hundred and Eight Guidebooks in verse, intimating how he personally assimilated their meaning in his practice. In the second part, he names the one hundred and eight protector deities for which he received empowerment, headed by the diverse aspects of Mahākāla, and at the end of that section he subsumes them all in twenty-seven classes. In the third and final part, he lists more than one hundred empowerments that he received often multiple times according to the diverse classes of tantra, individually naming the teachers who conferred them. +
Although Kunga Drolchok had remarked that guidance should be given according to the individual guidebooks after the empowerments of Hevajra and so forth, had been conferred, in later times only the chanting of the scriptural transmission survived. For this reason, Katok Tsewang Norbu during the eighteenth century introduced the so-called “empowerment of the book” which transfers the blessings of the anthology—the actual volume containing the One Hundred and Eight Guidebooks. The liturgical arrangement for this empowerment ceremony, which is the subject of this final chapter, was composed by Losal Tenkyong of Zhalu during the nineteenth century. +
In this chapter, Kunga Drolchok explores the classifications of the One Hundred and Eight Guidebooks, according to the primary distinction between sūtras, tantras and their integration. By his own calculation, there are altogether “twenty-five ordinary instructions, twenty-five instructions common to all traditions, twenty-five pertaining to the Sakya tradition, and thirty-three instructions pertaining to the Kagyu lineage.” +
Having presented the historical background in the foregoing chapters, in the second part of this book, Kunga Drolchok focuses on the actual experiential cultivation of the One Hundred and Eight Guidebooks. The ordinary and extraordinary preliminary practices, briefly presented in Chapter Seven and Chapter Eight respectively are the prerequisites for those wishing to pursue any of the main practices that are compiled in the long Chapter Nine. Among them, Chapter Seven outlines the preliminary approaches suitable for individuals of lowest, average and superior capacity. The endnotes here refer to the detailed and succinct explanation of these topics found in Patrul Rinpoche’s The Words of My Perfect Teacher. As before, the chapter is introduced by auspicious verses and concludes with a signature quatrain. +
The more advanced visualizations of the extraordinary preliminaries outlined here are practiced in the contexts of taking refuge, setting the mind on enlightenment, ritual purification, and offering the body maṇḍala. These finally enable the practitioner to settle into the physical posture appropriate for calm abiding, and thence to undertake the main practices of the One Hundred and Eight Guidebooks that follow in the next chapter. +
In this personal statement Kunga Drolchok describes how he was inspired by Sangyé Pel to seek out the respective lineage holders of the One Hundred and Eight Guidebooks. Over thirty-one years, starting from young age of seven through to his thirty-eighth year, he assiduously acquired these diverse teachings and here he presents his achievement in the well-established format of a “record of teachings received” (thob yig, bsan yig). The names of the teachers from whom he obtained each lineage are documented here, including his own root guru, Kunga Chogdrub, to whom he respectfully refers not by name, but by the epithet “venerable hidden buddha” (rje sbas pa’i sangs rgyas).
Kunga Drolchok also provides a wealth of information concerning the names of the Tibetan authors and redactors of these guidebooks, where they are known, and, in cases where the authorship is unclear, he remarks that they derive from unspecified ancient writings. There is evidence of an incisive critical faculty in the way in which he occasionally differentiates between multiple strands of a given lineage, indicating which are to be included in the anthology and which are not. Further information on these primary sources, their antecedents, and so forth, can be found in the bibliography and also in the intial note to each of one hundred and eight actual guidebooks in Chapter Nine.
The chapter begins with a “signature” quatrain, in which the four syllables of Kunga Drolchok’s own name are embedded within the lines of verse, and it ends with a poetic dedication of merit, and a colophon. +
''The Eight Special Appendices'' is very different in style from the other two sets. More like a guide, it is the only one that seems to present a progressive practice rather than a loose collection of topics. The first four sections are divided into subcategories that contain not only descriptions but actual liturgy to be used in the practice, as well as citations from the source teachings, inevitably the Perfection of Wisdom sutras. Indeed, this text is the only one attributed to Machik Lapdrön or any early source in which one can recognize the implementation of the practice of Severance as we have come to know it. The fact that there is only this one brings up interesting questions on the development of the Severance practice and the relationship of later liturgical texts with the “original” teachings by Machik Lapdrön and the other early masters in the lineage. +
L
<center>'''''Introduction to the Egg Trilogy'''''</center>
The “Egg Trilogy” is one part of a series of compendia of the sayings and songs of the great adepts of India known as the mahāsiddhas; the collection and importation of which are attributed to Dampa Sangye. Studies of these by Kurtis Schaeffer reveal that there are seventeen in all.'"`UNIQ--ref-00000209-QINU`"' Eleven can be found in the Tibetan Tengyur, where they constitute the majority of such anthologies. Most of them, with only one exception, are also found in the five-volume ''Zhije Collection'', which also contains the six others, including our Silver, Golden, and Crystal Eggs.
The Egg Trilogy falls under the set of Pacification teachings known as Stainless (''dri med''). Each of the Eggs contains short sayings of fifty-four or fifty-five great adepts who were Dampa’s personal teachers and are included as a set in the lineage histories of the later transmission. They are known as the “common” or popular (''mthun mong'') male and female gurus, not because they were ordinary but rather because those gurus were held in common by many other disciples and were not unique to Dampa Sangye. Indeed, many of them are quite famous and can be seen to overlap with another set known as the eighty-four adepts (grub thob brgyad bcu bzhi). This group is also found in the Tengyur and many other places and has become the more official, standard list.'"`UNIQ--ref-0000020A-QINU`"' But it is good to remember that there were just really a lot of great saints in India and the book is never closed. Dampa was extremely lucky.
Pa Dampa’s fifty-four or -five teachers are divided into five groups by Gö Lotsāwa in ''The Blue Annals'''"`UNIQ--ref-0000020B-QINU`"' and other places, such as in ''Distilled Elixir'' in this volume. They are as follows: eleven gurus who taught defining characteristics and Sanskrit grammar, eleven gurus who taught the movements of vital winds in the father tantras, eleven gurus who taught bliss experiences in the mother tantras, eleven gurus who taught symbols of mahāmudrā, and ten gurus who introduced pure awareness. Thus, the story continues, Dampa Sangye received all the instructions of the outer vehicle of characteristics and the inner father and mother tantras and practiced them. Unfortunately, the lists of names in these sources and in all the anthologies vary quite a bit, with no two being identical. This uncertainty is compounded by unreliable back-translations into their Sanskrit names as well as by ubiquitous scribal errors. So to attempt a definitive list here would just be aggravating.'"`UNIQ--ref-0000020C-QINU`"' However, loosely speaking, the order of gurus in the three texts presented here more or less follows those five nominal group divisions.
That is the classification according to names. According to content, it would be difficult to precisely identify how each terse dictum fits into the above five categories. Nevertheless, one can see a rough pattern, with philosophical subjects appearing in the beginning, vital winds mentioned often in the next set, and so forth. In particular, and only in the ''Treasury'' editions, ''The Pure Silver Egg'' is divided into five sets named according to the traditional five paths (''lam lnga'') of Mahayana Buddhism. However, these five paths are presented in a unique and distinctive way in Pacification, as will become clear in the later texts in this volume. The five-path division here was apparently added by Kongtrul or Khyentse or an editor, and it may even have been an attempt to correlate the five sets of gurus with the five paths. The divisions don’t exactly correspond to the list of names, but they are close enough. So that is helpful.
It would be another matter entirely to find these actual sayings within the recorded works of those named adepts. Until someone undertakes that kind of research, we will have to be content to say that those great spiritual adepts probably did (or would) say something akin to what is recorded here.
A note on word choices: In texts such as these that have been copied since ancient times, the many editions have innumerable variations. While this is by no means a critical edition of the Eggs, I have included many of the variations in the notes in an effort to help find the meaning. But I have committed the terrible translator crime of choosing in some cases to override the Treasury version if other variations made more sense, were more common, or seemed more original. Finally, this edition of ''The Treasury of Precious Instructions'' luckily contains an interlinear note to support my translation of sgong (also ''sgo nga'') as “egg.” It states that it means “a summary of the source scripture’s meaning” (''gzhung gi don bsdus pa'o''). This is the common word for “egg,” and pastoral allegories are everywhere to be found in the literature of Tibet. But perhaps it just does not carry a particularly spiritual ring to our modern ears, so far from the farm.
'''Notes'''
'"`UNIQ--references-0000020D-QINU`"'
<center>'''''Introduction to the Egg Trilogy'''''</center>
The “Egg Trilogy” is one part of a series of compendia of the sayings and songs of the great adepts of India known as the mahāsiddhas; the collection and importation of which are attributed to Dampa Sangye. Studies of these by Kurtis Schaeffer reveal that there are seventeen in all.'"`UNIQ--ref-0000021B-QINU`"' Eleven can be found in the Tibetan Tengyur, where they constitute the majority of such anthologies. Most of them, with only one exception, are also found in the five-volume ''Zhije Collection'', which also contains the six others, including our Silver, Golden, and Crystal Eggs.
The Egg Trilogy falls under the set of Pacification teachings known as Stainless (''dri med''). Each of the Eggs contains short sayings of fifty-four or fifty-five great adepts who were Dampa’s personal teachers and are included as a set in the lineage histories of the later transmission. They are known as the “common” or popular (''mthun mong'') male and female gurus, not because they were ordinary but rather because those gurus were held in common by many other disciples and were not unique to Dampa Sangye. Indeed, many of them are quite famous and can be seen to overlap with another set known as the eighty-four adepts (grub thob brgyad bcu bzhi). This group is also found in the Tengyur and many other places and has become the more official, standard list.'"`UNIQ--ref-0000021C-QINU`"' But it is good to remember that there were just really a lot of great saints in India and the book is never closed. Dampa was extremely lucky.
Pa Dampa’s fifty-four or -five teachers are divided into five groups by Gö Lotsāwa in ''The Blue Annals'''"`UNIQ--ref-0000021D-QINU`"' and other places, such as in ''Distilled Elixir'' in this volume. They are as follows: eleven gurus who taught defining characteristics and Sanskrit grammar, eleven gurus who taught the movements of vital winds in the father tantras, eleven gurus who taught bliss experiences in the mother tantras, eleven gurus who taught symbols of mahāmudrā, and ten gurus who introduced pure awareness. Thus, the story continues, Dampa Sangye received all the instructions of the outer vehicle of characteristics and the inner father and mother tantras and practiced them. Unfortunately, the lists of names in these sources and in all the anthologies vary quite a bit, with no two being identical. This uncertainty is compounded by unreliable back-translations into their Sanskrit names as well as by ubiquitous scribal errors. So to attempt a definitive list here would just be aggravating.'"`UNIQ--ref-0000021E-QINU`"' However, loosely speaking, the order of gurus in the three texts presented here more or less follows those five nominal group divisions.
That is the classification according to names. According to content, it would be difficult to precisely identify how each terse dictum fits into the above five categories. Nevertheless, one can see a rough pattern, with philosophical subjects appearing in the beginning, vital winds mentioned often in the next set, and so forth. In particular, and only in the ''Treasury'' editions, ''The Pure Silver Egg'' is divided into five sets named according to the traditional five paths (''lam lnga'') of Mahayana Buddhism. However, these five paths are presented in a unique and distinctive way in Pacification, as will become clear in the later texts in this volume. The five-path division here was apparently added by Kongtrul or Khyentse or an editor, and it may even have been an attempt to correlate the five sets of gurus with the five paths. The divisions don’t exactly correspond to the list of names, but they are close enough. So that is helpful.
It would be another matter entirely to find these actual sayings within the recorded works of those named adepts. Until someone undertakes that kind of research, we will have to be content to say that those great spiritual adepts probably did (or would) say something akin to what is recorded here.
A note on word choices: In texts such as these that have been copied since ancient times, the many editions have innumerable variations. While this is by no means a critical edition of the Eggs, I have included many of the variations in the notes in an effort to help find the meaning. But I have committed the terrible translator crime of choosing in some cases to override the Treasury version if other variations made more sense, were more common, or seemed more original. Finally, this edition of ''The Treasury of Precious Instructions'' luckily contains an interlinear note to support my translation of sgong (also ''sgo nga'') as “egg.” It states that it means “a summary of the source scripture’s meaning” (''gzhung gi don bsdus pa'o''). This is the common word for “egg,” and pastoral allegories are everywhere to be found in the literature of Tibet. But perhaps it just does not carry a particularly spiritual ring to our modern ears, so far from the farm.
'''Notes'''
'"`UNIQ--references-0000021F-QINU`"'
<center>'''''Introduction to the Egg Trilogy'''''</center>
The “Egg Trilogy” is one part of a series of compendia of the sayings and songs of the great adepts of India known as the mahāsiddhas; the collection and importation of which are attributed to Dampa Sangye. Studies of these by Kurtis Schaeffer reveal that there are seventeen in all.'"`UNIQ--ref-000002C1-QINU`"' Eleven can be found in the Tibetan Tengyur, where they constitute the majority of such anthologies. Most of them, with only one exception, are also found in the five-volume ''Zhije Collection'', which also contains the six others, including our Silver, Golden, and Crystal Eggs.
The Egg Trilogy falls under the set of Pacification teachings known as Stainless (''dri med''). Each of the Eggs contains short sayings of fifty-four or fifty-five great adepts who were Dampa’s personal teachers and are included as a set in the lineage histories of the later transmission. They are known as the “common” or popular (''mthun mong'') male and female gurus, not because they were ordinary but rather because those gurus were held in common by many other disciples and were not unique to Dampa Sangye. Indeed, many of them are quite famous and can be seen to overlap with another set known as the eighty-four adepts (grub thob brgyad bcu bzhi). This group is also found in the Tengyur and many other places and has become the more official, standard list.'"`UNIQ--ref-000002C2-QINU`"' But it is good to remember that there were just really a lot of great saints in India and the book is never closed. Dampa was extremely lucky.
Pa Dampa’s fifty-four or -five teachers are divided into five groups by Gö Lotsāwa in ''The Blue Annals'''"`UNIQ--ref-000002C3-QINU`"' and other places, such as in ''Distilled Elixir'' in this volume. They are as follows: eleven gurus who taught defining characteristics and Sanskrit grammar, eleven gurus who taught the movements of vital winds in the father tantras, eleven gurus who taught bliss experiences in the mother tantras, eleven gurus who taught symbols of mahāmudrā, and ten gurus who introduced pure awareness. Thus, the story continues, Dampa Sangye received all the instructions of the outer vehicle of characteristics and the inner father and mother tantras and practiced them. Unfortunately, the lists of names in these sources and in all the anthologies vary quite a bit, with no two being identical. This uncertainty is compounded by unreliable back-translations into their Sanskrit names as well as by ubiquitous scribal errors. So to attempt a definitive list here would just be aggravating.'"`UNIQ--ref-000002C4-QINU`"' However, loosely speaking, the order of gurus in the three texts presented here more or less follows those five nominal group divisions.
That is the classification according to names. According to content, it would be difficult to precisely identify how each terse dictum fits into the above five categories. Nevertheless, one can see a rough pattern, with philosophical subjects appearing in the beginning, vital winds mentioned often in the next set, and so forth. In particular, and only in the ''Treasury'' editions, ''The Pure Silver Egg'' is divided into five sets named according to the traditional five paths (''lam lnga'') of Mahayana Buddhism. However, these five paths are presented in a unique and distinctive way in Pacification, as will become clear in the later texts in this volume. The five-path division here was apparently added by Kongtrul or Khyentse or an editor, and it may even have been an attempt to correlate the five sets of gurus with the five paths. The divisions don’t exactly correspond to the list of names, but they are close enough. So that is helpful.
It would be another matter entirely to find these actual sayings within the recorded works of those named adepts. Until someone undertakes that kind of research, we will have to be content to say that those great spiritual adepts probably did (or would) say something akin to what is recorded here.
A note on word choices: In texts such as these that have been copied since ancient times, the many editions have innumerable variations. While this is by no means a critical edition of the Eggs, I have included many of the variations in the notes in an effort to help find the meaning. But I have committed the terrible translator crime of choosing in some cases to override the Treasury version if other variations made more sense, were more common, or seemed more original. Finally, this edition of ''The Treasury of Precious Instructions'' luckily contains an interlinear note to support my translation of sgong (also ''sgo nga'') as “egg.” It states that it means “a summary of the source scripture’s meaning” (''gzhung gi don bsdus pa'o''). This is the common word for “egg,” and pastoral allegories are everywhere to be found in the literature of Tibet. But perhaps it just does not carry a particularly spiritual ring to our modern ears, so far from the farm.
'''Notes'''
'"`UNIQ--references-000002C5-QINU`"'
This is [[Jamgön Kongtrul]]’s well-known and probably most useful instruction on the daily practice of Severance, written at the behest of [[Jamyang Khyentse Wangpo]]. It has been translated several times, with the title rendered variously as “Grove of Delights,” “[[Garden of All Joy]],” “Garden of Pleasures,” and so forth. It is also the basis of many oral commentaries by great contemporary masters such as Venerable [[Tenga Rinpoche]], [[Khenchen Thrangu Rinpoche]], and so on. Perhaps because it is so loved by practitioners, I have chosen “beloved” as the translation of kunga (''kun dga’''), which is in fact the short form of ''kungyi gawa'' (''kun gyis dga’ ba''), “loved by all.” Indeed, the text is concise and yet thoroughly informative; one might almost call it user-friendly. Each stage is laid out clearly, particularly the famous “feasts” or distributions of the body to the guests. By [[Kongtrul]]’s time, many variations on the body-offering visualizations had developed. In this text, [[Kongtrul]] recommends a method to practice all of them by pairing up white (peaceful) and red (wrathful) visualizations and doing a few pairs at a time, thus cycling through all of them in a few evenings. (Nighttime is the recommended time for a daily practice.) These coupled sets and the rest of the commentary here have informed practitioners in their daily practice of Severance and provided the necessary references for its implementation. +
M
Mkhas grub chen po nA ro tA pas rnal 'byor gyi dbang phyug mar pa lo tsA la gdams pa'i chos drug dril ba rdo rje'i mgur +
During Marpa’s third trip to India, Nāropa sang this song to him
during a ganacakra celebrating Marpa’s recovery from an illness.
Although Marpa had recovered physically, he was, as Nāropa remarks in the
song, still feeling sad. In this song, Nāropa summarizes the instructions on
the six dharmas—caṇḍālī, illusory forms, dreams, luminosity, transference,
and entering a body—and adds two final sets of instruction: on the bardos
and the path.
This song is found in the biographies of Marpa Lotsāwa by Tsangnyön
Heruka, Khachö Wangpo, and Pawo Tsuklak Trengwa.'"`UNIQ--ref-000000F6-QINU`"' It also serves as
a basis for commentaries on the six dharmas by the first Paṇchen Lama,
Lopsang Chökyi Gyaltsen, and one of his students, the first Rongpo Drupchen, Shar Kalden Gyatso, both seventeenth-century Geluk teachers.'"`UNIQ--ref-000000F7-QINU`"'
''Transmission lineage received by Jamgön Kongtrul''. Vajradhara to Jñānaḍākinī,
Vajrapāṇi, Tilopa, and then the same as previously stated for the Ganges
Mahāmudrā.'"`UNIQ--ref-000000F8-QINU`"' +
Mnga' bdag mar pa lo tsA bas dpal sa ra ha las gsan pa'i phyag rgya chen po yid la mi byed pa snying po don gyi gdams ngag yi ge bzhi pa'i don rdo rje'i mgur du bzhengs pa +
This song, also known as the ''Marpa’s Root Song about Nonattention'','"`UNIQ--ref-00000147-QINU`"' is one of the—if not the—most famous songs by Marpa Lotsāwa. It is found in many of his biographies, including the well-known one by Tsangnyön Heruka. It is in the collection called the ''Ocean of Kagyu Songs'' (also
known as the ''Rain of Wisdom'') and in the Twenty-Five Songs of Marpa, a
song anthology compiled by the sixteenth Drikung throne-holder, Kunga
Rinchen (1475–1527). It is also one of eight songs that Marpa sang for which
there is a named melody, a group Tsangnyön Heruka called the eight great
songs. The melody for this song is called the “outstretched wings of a soaring
garuda.”'"`UNIQ--ref-00000148-QINU`"'
Marpa followed the Indian tradition of singing about meditative experiences and realizations, but he often added autobiographical elements, as is the case here. Marpa sang this song in response to a request from the Lokya
prince of Gyerpu in Tsang, where he had been invited to teach following his
return from his first trip to India. The rest of the story is told in the song.
''Transmission lineage received by Jamgön Kongtrul''. Marpa to Milarepa, and
then the same as previously stated for the Ganges Mahāmudrā.'"`UNIQ--ref-00000149-QINU`"' +
N
The Instruction for ''Straightening the Crooked'' begins by recounting
Kṛṣṇācārya’s encounter with a yogin named Kṛṣṇa Acyuta, while on the
way with his retinue to Bengal. Acyuta taught Kṛṣṇācārya a method called
“straightening the crooked” that relies on a forceful method of prāṇāyāma.
The instruction here, as indicated by the title, is for straightening out the
nāḍīs, vāyus, and bindus. It is of note that Acyuta claims his guru is Śiva and
that Śiva’s guru is Vajradhara. We have no other details of the life of Acyuta. +
P
''Transmission lineage received by Jamgön Kongtrul''. Rangjung
Dorje to 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.'"`UNIQ--ref-00000577-QINU`"' +
This text is an outline in which the first word or words of each verse
or group of verses are connected to a topical heading.'"`UNIQ--ref-00000077-QINU`"' The words in
parentheses after the headings are these first words that begin each line in
Tibetan—as stated above, 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 ''Ganges Mahāmudrā'' have
been added in parentheses for each heading.
''Transmission lineage received by Jamgön Kongtrul''. Rangjung Dorje to 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.'"`UNIQ--ref-00000078-QINU`"' +
These “instructions” (''gdams pa'') on Severance [[Mahāmudrā]] are actually meant to be performed as an authorization ritual (''rjes gnang''), as is evident in the format and stated clearly in the opening verses and colophon. An authorization is similar to an empowerment (''dbang''), though usually less complex. So in fact these are instructions on conferring the authorization, including the actual liturgies to be recited and sometimes repeated by the disciples. Perhaps this confusion is why the text was moved from its original position in the empowerment section of the Palpung blocks to the instruction section of the Shechen printing. In [[Kongtrul]]’s catalog, the text is indicated by the statement “torma empowerment of the [[Zurmang]] tradition.” The empowerment or blessing in this case is conferred physically using a torma (ritual sculpted dough), rather than the various other implements of initiation.
The phrase “opening the sky door” (''nam mkha’ sgo ’byed'') is distinctive to the Severance tradition and refers specifically to the practice of separating consciousness from the body and sending it out the cranial aperture, a kind of transference (''’pho ba''). However, it has become a more generalized designation for a whole cycle of Severance teachings, including an enumeration of a set of ten instructions called sky-door openings. [[Khamnyön]]’s ''Religious History of Pacification and Severance'' reports that [[Machik]] received the empowerment originally from [[Kyo Sakya Yeshe]] during the transmissions of a teaching called the ''Six Pieces'''"`UNIQ--ref-0000065C-QINU`"' and attained liberation after receiving only four of the six instructions.'"`UNIQ--ref-0000065D-QINU`"' [[Khamnyön]]’s biography of [[Dampa Sangye]] recounts that the initiation was given by Dampa to four disciples and the instructions to [[Kyo Sakya Yeshe]], who conferred it on [[Sönam Lama]], who then passed it to [[Machik]].'"`UNIQ--ref-0000065E-QINU`"' In any case, the term “opening the sky door” is most commonly associated with the empowerment ritual that is required before commencing the practice.
The author, [[Rinchen Senge]] ([[Rin chen seng ge]]), signs with the Sanskrit name [[Ratnasiṃha]]. It is difficult to identify this person with certainty, other than that he was active during or after the time of [[Rangjung Dorje]] (1284–
1339), who is specifically mentioned in the colophon. It seems likely that he is the great preceptor of [[Tropu]] ([[Kagyu]]) Monastery ([[Khro phu mkhan chen Rin chen Seng ge]], 13th c.), the ordination preceptor of [[Butön Rinchendrup]] (1290–1364) and also of [[Zurmang Khenchen Pema Namgyal]].'"`UNIQ--ref-0000065F-QINU`"'
Note that empowerment rituals often require the recitation of stories and instructions, and even section headings.
Phyag rgya chen po sems nyid ngal gso’i khrid kyi nyams glu dran pas snying gi gdung sel zla ba’i zil dngar +
This song of experience was composed by Jamyang Khyentse Wangpo’s teacher in the lineage of Resting in the Nature of Mind, Rinchen Losal Tenkyong (b. 1804). It testifies to the fact that some eight hundred years after Mitrayogin gave this teaching to Tropu Lotsawa, the lineage was still very much alive and the teachings were still being practiced. Rich in metaphor, with an unusual twelve-syllable meter and other poetic devices, it sadly loses much of its impact in English translation. +
Buddhist writers have always laid great emphasis on scriptural authority by quoting extensively from the sutras and tantras. In this way they can authenticate their work and demonstrate that their explanations have not simply been made up but are based on original sources. In this text, the omniscient Butön correlates the different verses of ''Resting in the Nature of Mind'' with passages from ''The Perfection of Wisdom in Eight Thousand Lines'' on the one hand and a selection of tantras on the other. +
Phyag rgya chen po sems nyid ngal gso’i ’khrid kyi ’chad thabs bla ma'i zhal lung bdud rtsi'i snang ba +
The existence of this text is a reminder that even if texts like the root verses and Notes on Resting in the Nature of Mind were available in Tibet in book form, no practitioner would study them on their own without having them explained by a teacher, who would at the same time give the reading transmission (lung). In this text Jamyang Khyentse Wangpo provides advice on how to use Khyentse Wangchuk’s Notes—which he refers to as a guide or instruction manual (khrid yig)—to teach disciples and guide them on a daily basis as they try to put Mitrayogin’s pith instructions into practice. He describes how to teach the text over a period of three days, with instructions on what the disciples should do between each day of teaching. The additional information included here complements that in the Notes, making this text as useful a reference for students who have received the transmission as it is for the teacher. +
Nāropa (c. 956–1040), the famous student of Tilopa and renowned
guru of the Tibetan Marpa, was born in Kashmir.'"`UNIQ--ref-00000083-QINU`"' The Tibetan
accounts present the sequence of the major events in his life in different
orders. One of the earliest biographies, by Gampopa, states that Nāropa
met and trained with Tilopa, and later in life took up the position of the
northern gatekeeper at Nalanda monastery.'"`UNIQ--ref-00000084-QINU`"' Later biographies, which are
the more well-known ones, say that he began his Buddhist studies in Kashmir and became a monk after separating from his wife Vimalā. Then he
went to study at Nalanda monastery, where he had an illustrious scholastic
career that culminated in being installed as the northern gatekeeper. Nāropa
remained there as an eminent scholar until he was urged by a ḍākinī to seek
instruction on the ultimate meaning from the mahāsiddha Tilopa. Following a period of training with Tilopa, which included a series of twelve major and twelve minor hardships, he attained full realization. He then went to
Pullahari (also known as Puṣpahari) in Magadha (central India), which is
where Marpa Lotsāwa met him and where this song was sung.'"`UNIQ--ref-00000085-QINU`"'
''Summary Verses on Mahāmudrā'' is not included in the Tengyur. A text
of the same name and almost identical content, attributed to Maitrīpa, is
found in volume 8 of The Treasury of Precious Instructions.
'"`UNIQ--ref-00000086-QINU`"' The text in this volume contains headings included in the form of interlinear notes inserted
by the second Shamarpa, Khachö Wangpo (1350–1405), which have been
incorporated into the translation as headings. The translation is primarily
based on Jamyang Khyentse Wangpo’s Short, Lucid Commentary with a
secondary reliance on the Interlinear Commentary on “Summary Verses on
Mahāmudrā” from the Aural Scrolls of the Translator Marpa Lotsāwa (Interlinear Marpa 2009) and the interlinear notes within Summary Verses on Mahāmudrā in the Paltsek edition of his Collected Works (SVM Marpa
2011).'"`UNIQ--ref-00000087-QINU`"'
''Transmission lineage received by Jamgön Kongtrul''. Nāropa to Marpa, and then the same as previously stated for the Ganges Mahāmudrā.
'"`UNIQ--ref-00000088-QINU`"'
R
Rgya gar gyi grub thob chen po dam pa rgya gar ram dam pa sangs rgyas zhes pa'i gsung mgur zhal gdams ding ri brgyad cu pa +
Dampa Sangye imparted some ''Pieces of Advice'' to the residents of his monastery at Dingri Langkhor in a kind of farewell or final testament, with awareness of his own impermanence. It is perhaps the most famous and popular of his works. However, the versions that we have now share only a few verses with the earliest versions recorded in this distinctive style of couplets, all ending with “Dingriwa,” that is, “Dingrians” or “people of Dingri.” According to Dan Martin,'"`UNIQ--ref-00000320-QINU`"' Dampa was the first to pronounce such verses, and the second was his disciple Kunga, who repeated 118 verses a year before his own death, only seven years after his guru passed away. Then apparently this fairly easy compositional style was supplemented over the years by other lineage holders. Consequently, after so many versions, there are some issues with the exact list, as if that matters. In modern collections there are two conflicting titles: the ''Eighty Pieces'', as here in ''The Treasury of Precious Instructions'', and, more usually, the ''Hundred Pieces''. Some collections, such as the ''Dingri Volumes'', will have both versions. There is no evidence, however, that Dampa Sangye actually gave these teachings twice, and in fact most of the couplets or verses are present in both editions. It seems likely that a hundred (''brgya rtsa'') easily morphed into eighty (brgyad cu) at some point in its scribal history. Ninety-one made it into Dampa’s biography. Here the number turns out to be ninety-seven, although it may be noted that in some translations the second verse here is actually the first, which would make it ninety-six.
There are a few histories of the setting for the teachings as well. The most often repeated seems to be as follows. Dampa Charchen, one of Dampa Sangye’s four main disciples known as the four gatekeeper yogins'"`UNIQ--ref-00000321-QINU`"' of the later transmission, came before Dampa and said, “Dampa, you are getting very old! You yourself will surely pass from happy states on to happy states. But think of the people of Dingri. What shall we do?” In some versions, this leads directly to the verses of advice, but in our version there is a short reflection in response that clearly affirms Dampa’s premonition of his death. The final verse also returns to the personal with the straightforward “I will leave.”
But there is another interesting twist on the story in a commentary called ''Storehouse of Jewels'','"`UNIQ--ref-00000322-QINU`"' based on explanations of Ngawang Gyaltsen, where the scene is Bodhisattva Kunga’s “last words” to the people of Dingri. As Bodhisattva Kunga approaches nirvana (d. 1124), he speaks the opening verses from “''namo guru''” through the first verse ending with “it will be so hard to regain a human life, people of Dingri.” Then, the commentary says, he goes on to repeat the hundred (or so) pieces of advice from Dampa Sangye’s last words, beginning with the above story of Dampa Charchen’s request. One version does not obviate the other, except in that the opening words would be Kunga’s rather than Dampa’s.
There are also any number of translations and commentaries available in Western languages, beginning perhaps with Evans-Wentz’s version (really Lama Kazi-Samdup’s translation) in 1954, to the wonderful translations with their oral commentaries by Dilgo Khyentse Rinpoche (2006) and Khenchen Thrangu Rinpoche (2015). And because these pieces of advice are so worth repeating, there will be many more—perhaps eighty or a hundred.
'''Notes'''
'"`UNIQ--references-00000323-QINU`"'
This text'"`UNIQ--ref-000009B1-QINU`"' is characterized in the Kundeling printing of the'' Treasury'' as “notes on the lectures of Venerable Jonang [[Tāranātha]],” and it follows directly upon the initiation text by [[Tāranātha]], ''Object Severance Empowerment Known as Opening the Sky Door''. These notes, arranged by an unnamed compiler, fill in some of the seemingly missing parts of the empowerment ritual, such as the preliminary tormas, supplications, mantras, and other recitations.
The source of the Severance tradition that [[Jamgön Kongtrul]] inherited from [[Tāranātha]] and [[Kunga Drölchok]] is the visionary [[Samten Özer]] of [[Gyaltang]].'"`UNIQ--ref-000009B2-QINU`"' [[Samten Özer]] was a recipient of both the long lineage (''ring brgyud'') of Severance, which he received on five separate occasions, and a direct lineage (''nye brgyud'') from visionary encounters with [[Machik Lapdrön]]. His remarkable experiences are recounted in ''Nectar of Meaning of the Profound Severance of Evil'','"`UNIQ--ref-000009B3-QINU`"' where he declares himself to be basically identical to [[Machik]]. This direct encounter engendered a lineage of teachings that became known as the [[Gyaltang]] tradition (''[[rgyal thang lugs]]''). It spread widely, particularly in the Jonang, [[Shangpa]], and [[Kagyu]] traditions. +
''The Unsullied State, A Monarch of Tantras,'' the sole Kangyur selection in the four Marpa Kagyu volumes, is also the first text in the seventh Karmapa’s Indian Mahāmudrā Collection, where it is also the only text
included from the Kangyur. ''The Unsullied State'' is part of the Cakrasaṃvara
cycle and is the last of the thirty-two Rali tantras, the only one of that cycle
that all Tibetan Kangyur catalogers and compilers agreed was authentic.*'"`UNIQ--ref-00000003-QINU`"' Its colophon states that it is a section of a larger text, the ''Monarch of Tantras Called “Endowed with the Means to Realize Glorious Sacred Bliss,”'' a text that
does not seem to exist at this time. ''The Unsullied State'' is also included in the
Ten Dharmas of Mahāmudrā, a collection Gö Lotsāwa says was transmitted
to Tibet by the eleventh-century Indian master Vajrapāṇi,'"`UNIQ--ref-00000004-QINU`"' which, as Roger
Jackson observes,'"`UNIQ--ref-00000005-QINU`"' is probably the source of its Mahāmudrā canonical status.
Even though the term “mahāmudrā” does not appear in this text (and it
does in other tantras, such as the ''Hevajra Tantra, Cakrasaṃvara, Kālacakra,
Guhyasamāja,'' and the ''Name-Chanting of Mañjuśrī''), as the interlinear note
at the end of this edition says, this text states and connects the elements of
the elaborate practices with mahāmudrā, unelaborate suchness.
In Maitrīpa’s biography it is said that Śavaripa “spoke a few words” about
this text, which is called space-like, along with the ocean-like ''Guhyasamāja
Tantra,'' the wisdom-like ''Hevajra Tantra'', and the blessing-like ''Cakrasaṃvara Tantra''.'"`UNIQ--ref-00000006-QINU`"' Jamgön Kongtrul cites three lineages of transmission for thistext, all beginning with Vajradhara. The third, which Maitrīpa passed to
Vajrapāṇi, continued through the seventh Karmapa and is the one Jamgön
Kongtrul received.
There is one Tibetan commentary by Kumāracandra (eleventh century)
on this text found in the Tengyur and in the Indian Mahāmudrā Collection,
which was referred to in the preparation of this translation. Unfortunately,
it does not provide as much clarification as a text of this nature requires.'"`UNIQ--ref-00000007-QINU`"'
''Transmission lineage received by Jamgön Kongtrul''. Vajradhara to Ratnamati,
the great brahman Saraha, the glorious protector Ārya Nāgārjuna, the
mahāsiddha Śavaripa, the master Maitrīpa, and to Marpa Chökyi Lodrö.
Another transmission was from Vajradhara to Nairātmyā, Nāgārjuna,
Tilopa, Nāropa, Marpa, Metön Sönam Gyaltsen, Tsakyapa Śākya Yeshe,
Gya Yönten Zangpo, Khampa Śākya Dorje, Upa Sangye Bum, Lotsāwa
Chokden, Lama Palden Senge, Butön Rinchen Drup, and Yungtön Dopal.
And yet another transmission was from Maitrīpa to the Indian Vajrapāṇi,
Ngari Nakpo Sherde, Lama Sotön, Nyangtön Tsakse, Roktön Dewa, Che
Yönten, Che Dode Senge, Chöku Özer, Upa Sangye Bum, Lotsāwa Chokden, Baktön Zhönu Tsultrim, and Gyalwa Yung Tönpa.
The transmission continued to Lama Sönam Zangpo, Lama Tsultrim
Gönpo, Jangsem Sönam Gyaltsen, Khenchen Sönam Zangpo, Gośrī
Paljor Döndrup, the seventh Gyalwang Karmapa Chödrak Gyatso, the
mahāsiddha Sangye Nyenpa, the eighth lord Mikyö Dorje, Karma Lekshe Drayang, Gelong Dorje Chö, Chetsang Karma Tenkyong, the exalted Könchok Tenzin, Jamgön Sungrap Gyatso, the omniscient Tenpai Nyinje,
Gyalwang Dudul Dorje, the glorious Pawo Tsuklak Chökyi Gyatso, and
Jamgön Kongtrul.'"`UNIQ--ref-00000008-QINU`"'
Lineage supplications are so informative—and so confusing. This one is not mentioned in [[Kongtrul]]’s ''Catalog'', except perhaps as one of the branches (''yan lag rnams bcas'') of ''Source of All Qualities'', leading the editor of the table of contents of the Kundeling printing to assume that it belongs with the [[Zurmang]] feast activities. While that may be the case, it does not represent the [[Zurmang]] long lineage. That supplication can be found in ''Source of All Qualities'', where it is attributed to [[Samten Rinchen]] of Lhapu. And the same one is used as the basis for the whole story of the lineage in the history of [[Zurmang]], where it is also called the “supplication of the Severance lineage gurus by [[Bengar Jampal Zangpo]].”'"`UNIQ--ref-00000001-QINU`"' That version and the one in Source of All Qualities are identical, despite the differing author identification. The version here may have been added to that liturgy to ensure that all relevant lineages were duly honored.
Here, the lineage is similar only up to [[Machik Lapdrön]] herself. It then veers over to [[Machik]]’s grandson [[Khambuyale]] rather than coming through [[Machik]]’s son Döndrup. Then it takes us the long way through a very [[Kamtsang]] line of lamas, including the purported author [[Bengar Jampal Zangpo]], right up to [[Situ Pema Nyinje]] (1774–1853). This is where the lineage ends in this text as found in the Kundeling edition of the Palpung prints. However, at this point in the Shechen printing sponsored by [[Dilgo Khyentse Rinpoche]] (1910–1991), it continues from [[Pema Nyinje]] to [[Jamgön Kongtrul Lodrö Taye]] (1813–1900), then to the [[Fifteenth Karmapa]], [[Khakhyap Dorje]] (1871–1922), then to [[Kongtrul]]’s disciple [[Tashi Özer]] (1836–1910), then to [[Khyentse Özer]] (1896–1945),'"`UNIQ--ref-00000002-QINU`"' and ends in “my root guru.”
How could [[Bengar Jampal Zangpo]], who lived in the fifteenth century, have written such a contemporary addendum, let alone [[Machik Lapdrön]]? One scenario is that [[Machik]] uttered a prayer to her lineage using the place-and-name format, beginning with, “In the palace of [[dharmadhātu]] in [[Akaniṣhṭa]], the Great Mother [[Perfection of Wisdom]] has blessings” and ending with her teacher [[Kyotön Sönam Lama]] (who is in fact skipped over here, although he is named in the [[Zurmang]] version). Then the well-known author [[Bengar Jampal Zangpo]] picked up the trope and continued it up through his guru, the [[Sixth Karmapa]], [[Tongwa Dönden]] (1416–1453). After that, the prayer in all its various forms came to be known simply as Bengar’s supplication. [[Jamgön Kongtrul]] himself must have continued the supplication style through to his teacher [[Pema Nyinje]] before the blocks were printed at Palpung. From [[Kongtrul]] on, the last stretch may have been added for the Shechen printing of the ''Treasury''. Variations of this style can also be found in the ''Kagyu Feast Liturgy'' and [[Kongtrul]]’s supplication ''Essence of Auspicious Renown'' in this volume, as well as in the popular Severance compilation known as ''Precious Garland'' (''[[Rin chen phreng ba]]'').
This text is composed of four sections, or short texts: “The Illumination of Entities,” “The Clarification of Ignorance,” “The Purification of Thoughts,” and “Mahāmudrā: Pointing-Out Instructions Illuminating Wisdom.”'"`UNIQ--ref-0000068F-QINU`"' The fourth is an abbreviated version of ''The Root Text for Mahāmudrā: The Illumination of Wisdom'' (''DNZ'' 7:12).
The first three sections draw on Tilopa’s ''Truly Valid Words'', quoting (without attribution) at least forty-one lines either verbatim or closely enough to consider ''Truly Valid Words'' to be the source, or inspiration, of Milarepa’s
lines. There is not, however, a sequential correspondence between the two
texts, and the majority of the “quoting” is done in the first two sections, “The
Illumination of Entities” and “The Clarification of Ignorance.” As discussed
above, much of Nāropa’s ''Authoritative Texts in Verse'' is drawn from ''Truly
Valid Words'', and therefore there is a corresponding overlap with Milarepa’s
text, with (at least) two lines in Milarepa’s text being found only in Nāropa’s
Authoritative Texts.'"`UNIQ--ref-00000690-QINU`"'
The first two sections of ''The Three Cycles''—“The Illumination of Entities” and “The Clarification of Ignorance”—end with colophons stating
that they were passed from Milarepa to Gampopa, referring to him by his
family name Nyiwa, while the other two sections make no mention of their
transmission or circumstances. The first colophon also states that “The Illumination of Entities” was passed from Gampopa to Lhopa Rinpoche (also known as Layakpa Jangchup Ngödrup),'"`UNIQ--ref-00000691-QINU`"' and then to “me,” with an interlinear note indicating that “me” refers the first Karmapa, Dusum Khyenpa.
No other editions of this text specifically have been located. However, a
nearly identical text called the Eighteen Questions is found in the Drukpa
Kagyu tradition, preserved in three collections: Old Texts of Mixing
and Transference compiled by Pema Karpo and the two editions of the
Drukpa Kagyu Great Treasury of Dharma. The Eighteen Questions contains
instructions given by Milarepa to Rechungpa called “Clarification of Ignorance,” “Extracting the Nails That Are Vital Points,” and “Clarification of Delusion.”'"`UNIQ--ref-00000692-QINU`"'
Based on the overall similarity of ''The Eighteen Questions'' and ''The Three
Cycles'', we can say that ''The Eighteen Questions'' must represent a different
transmission of almost identical teachings. Nevertheless, there are some significant differences between the two texts. Structurally, although the colophon of ''The Eighteen Questions'' says it contains three sets of instructions,
the text is not divided into sections like ''The Three Cycles'' (which could be
considered four separate texts under one collection title). Other differences
are that ''The Eighteen Questions'' begins with the occasion and location of the
teachings and a list of the eighteen questions asked to Milarepa; the line
order of the two texts is very different; and ''The Eighteen Questions'' contains
quotations from other texts, mainly tantras, something not found in ''The
Three Cycles''. Both texts contain teachings that the other does not.
''Transmission lineage received by Jamgön Kongtrul''. Vajradhara to Jñānaḍākinī,
Vajrapāṇi, Tilopa, and then the same as previously stated for the ''Ganges Mahāmudrā''.'"`UNIQ--ref-00000693-QINU`"'
''The Root Text for Mahāmudrā: The Illumination of Wisdom'', the
first of several texts by Milarepa in this anthology, is a slightly longer
prose version of the last section, or short text, included in the ''Three Cycles
of Illumination and Other Instructions'' found later in this volume.'"`UNIQ--ref-00000098-QINU`"' This text
begins with verses that recount Milarepa’s lineage and way of practicing, as
does the first section of the ''Three Cycles of Illumination''—they are, in fact,
almost identical.'"`UNIQ--ref-00000099-QINU`"'
It may be that the use of the word “root” in the title here signifies that
this text is the source text for other instructions with similar titles. Volume
8 of ''The Treasury of Precious Instructions'' contains two texts with similar
titles: in the Rechung Aural Transmission, ''Mahāmudrā: The Illumination of
Wisdom in the Saṃvara Aural Transmission'''"`UNIQ--ref-0000009A-QINU`"' and, in the Ngamdzong Aural
Transmission, ''Instructions That Are the Secret Pointing Out of Mahāmudrā:
The Illumination of Wisdom''.'"`UNIQ--ref-0000009B-QINU`"'
''Transmission lineage received by Jamgön Kongtrul''. Milarepa to Gampopa,
and then the same as previously stated for the Ganges Mahāmudrā.'"`UNIQ--ref-0000009C-QINU`"' +
Rje btsun ras chung pa'i lugs kyi dpal 'khor lo sdom pa snyan brgyud gyi gzhung chung til+li pas mdzad pa +
Tilopa’s ''Short Text'' is considered, along with the ''Vajra Verses'', to
expound the meaning of the Cakrasaṃvara tantras, which are the root
of the Saṃvara Aural Transmission. Pema Karpo refers to ''The Short Text'' as
a commentary on the ''Vajra Verses'','"`UNIQ--ref-000006A8-QINU`"' and given that the ''Vajra Verses'' are purported to be the words of Vajradhara and this is Tilopa’s rendering of those teachings, in that sense it may be a commentary. However, it does not serve
as a line-by-line explanation of the ''Vajra Verses''; it is more a companion text.
The topics of the two texts are the same as can be seen from the following
topical outline, drawn from Jadrel Ritröpa Tsultrim Palden’s commentary
on ''The Short Text''.
:Homage (1)
:Commitment to the Composition (2)
:Wish-Fulfilling Gems of the Lineage
::Tilopa’s story (3–4)
::The qualifications for gurus (5)
::The qualifications for disciples (6)
::The way to listen to the explanation (7–8)
:Wish-Fulfilling Gems of the Maturing Path (9–15)
:Wish-Fulfilling Gems of the Liberating Path
::Overview (16)
::Shared Wish-Fulfilling Gems (practices connected to the vase abhiṣeka)*'"`UNIQ--ref-000006A9-QINU`"'
:::The Sovereigns: Unchanging Dharmatā (17–25)
:::The Ministers: Three Types of Actions (26)
::::The People: The Conducive Activities (27–28)
::Samaya Wish-Fulfilling Gems (29–32)
::Abiding-State Wish-Fulfilling Gems
:::Six Dharmas: Liberation through the Upper Door†'"`UNIQ--ref-000006AA-QINU`"' (33–51)
::::Caṇḍālī (33–44)
::::Illusory Forms (45–48)
::::Dreams (49)
::::Luminosity (50–51a)
::::Transference (51b)
::::Entering a Body (52)
:::The Ḍākinī’s Secret Proclamation: Great Bliss Liberation through the Lower Door (53–62)
:::Mahāmudrā: The Illumination of Wisdom (63–66)
:::The Instructions on the Bardos (67–74)
:::The Instructions for the Path: Transforming All Activities into Accumulations (75–82)
:::Dispelling Hindrances: Universal Instructions (83–92)
::The Summary: Abandoning the Causal Yāna and Engaging in the Resultant Yāna (93–100)
:Dedication and Completion of Composition (101–3)
''The Short Text'', with twenty-one syllables per line in Tibetan, is dense and
cryptically written, and thus can only be understood with commentary.
This translation relies primarily on the commentaries by Maṇikaśrījñāna
(1289–1363, also known as Drikung Lotsāwa and Gyal Khampa Lotsāwa)
and Jadrel Ritröpa Tsultrim Palden. It has been annotated more than other
texts in this volume because of its importance and relative obscurity and to
provide some insight into the translation decisions.
Maṇikaśrījñāna studied Sanskrit grammar and poetics with Butön
Rinchen Drup at Zhalu monastery and then Sanskrit grammar and Indian
languages under the Indian paṇḍita Dvaṣṭanakara at Drikung monastery
(hence his name Drikung Lotsāwa). He received teachings on the perfectionprocess practices of the six dharmas of Nāropa and those of Niguma and on mahāmudrā from the abbot of Drikung and was later appointed abbot himself. It must be that he also received the Saṃvara Aural Transmission while at Drikung monastery. Assuming his birth date of 1289 is accurate, since he
composed his commentary in an Earth Pig year, that would be 1360, making
it the earliest available commentary. Maṇikaśrījñāna is most well known for
being one of the foremost students of Dolpopa Sherap Gyaltsen.'"`UNIQ--ref-000006AB-QINU`"'
Jadrel Ritröpa Tsultrim Palden is a member of the transmission lineage
coming from Tsangnyön Heruka (1452–1507), as he was a student of Sönam
Lodrö (c. seventeenth century), a direct student of Tsangnyön Heruka. In
his colophon, he states that his commentary is “in keeping with the teachings of the scholar-siddha with the name of Sönam,” indicating that this commentary belongs to the tradition received and passed on by Tsangnyön
Heruka, who played a vital role in preserving and promulgating the Saṃvara
Aural Transmission, both through his composition of texts and through
forming a collection of Aural Transmission texts.'"`UNIQ--ref-000006AC-QINU`"'
''Transmission lineage received by Jamgön Kongtrul''. Vajradhara to Jñānaḍākinī,
Vajrapāṇi, Tilopa, Nāropa, Marpa, Milarepa, Rechungpa, Khyung Tsangpa,
and to the latter’s three heart children Martön Tsultrim Jungne, Lopön
Targom, and Machik Ongjo (known as the three accomplished heart
children). Zhang Lotsāwa received the transmission from those three and
passed it to Drogön Dharaśrī, Jangsem Sönam Gyaltsen, Machik Kunden
Rema, Khetsun Ziji Gyaltsen, Wangchuk Sherap, Ritröpa Zhönu Gyaltsen,
Rechen Denchikpa, Tsenden Lachipa, Dulzin Ngaki Wangpo, Shara Rapjampa Sangye Senge, Tsangnyön Chökyi Senge, Götsang Rechen, and from
him to the three Rapjams: Nepa Rapjampa Jampa Puntsok, Rapjam Karma
Tashi, and Rapjam Sangye Özer. The omniscient Drupchok Wangpo
received it from all three of them and passed it to Tinle Gyatso, Kagyu
Drönme, Yönten Gyatso, Chöje Lingpa, Wangpo, Yeshe Kalzang, Palden
Gyatso, Geupa Ngedön Tenzin Chökyi Gyatso, Tutop Gyatso, Kharakpa
Rinchen Özer, Geu Kagyu Tinle Wangchuk, Jamyang Khyentse Wangpo,
and Jamgön Kongtrul.'"`UNIQ--ref-000006AD-QINU`"'
Rje rang byung rdo rjes mdzad pa'i gdon tshogs dgu ma sa bdag drug sbyor dang mi bskyod rdo rjes mdzad pa'o gdan thog gcig ma gcod tshigs bcad ma gnyis gab sprad nas lus sbyin dang bsngo ba po bya tshul bltas chog 'don 'grigs +
[[Karma Chakme]], also known as [[Rāga Asya]] (1613–1678), cobbled together this ritual liturgy from writings attributed to [[Karmapa Rangjung Dorje]] (1284–1339) and [[Karmapa Mikyö Dorje]] (1507–1554). With some three hundred years of [[Karma Kagyu]] Severance masters behind him, the great [[Kamtsang]] master was free to borrow what he needed to form this practice, which he geared toward a healing ritual. Although such borrowing is widespread throughout Tibetan literature, it seems to be particularly common in the Severance tradition, whose prayers and liturgies would get recycled to align with the various traditions into which they were absorbed.
In this text, [[Mikyö Dorje]]’s “poem” comes first. This is available in several other editions—for example, in a collection of recitation texts from [[Palpung Monastery]] (seat of the [[Karma Kagyu]] [[Tai Situ]] incarnations in Kham), where it is called simply ''Profound Severance Guide'' (''[[gCod khrid zab mo]]'').'"`UNIQ--ref-000004AD-QINU`"' All the liturgical sections in the first five pages in our text are from [[Mikyö Dorje]], with [[Karma Chakme]] dividing it into parts and adding useful descriptions and instructions. The poem is reproduced accurately, with one notable exception: wherever [[Mikyö Dorje]] has the name of his own guru, [[Sangye Nyenpa]] ([[Sangs rgyas mnyan pa]], 1445/57–1510/25), [[Karma Chakme]] has substituted the name of the [[Second Karmapa]], [[Karma Pakshi]] (1204–1283). Perhaps [[Karma Chakme]] preferred to identify the source of the lineage as the great master of the early days of the [[Karma Kagyu]] so that it would be more widely relevant and familiar to future practitioners. [[Karma Pakshi]] is legendary, though not known as a teacher of Severance.
[[Karma Chakme]] then adds a white and a black distribution that he attributes to [[Könchok Bang]], but he renders them into verse to facilitate recitation. In the colophon he further states that these are the only parts of the liturgy that he has tampered with; all other sections remain true to the originals.
If that is so, then the rest of the liturgical sections until almost the end must be from [[Rangjung Dorje]], although a separate text of those practices is not found in his extensive collected works. They are, however, found within many other Severance texts. For example, this Six Earth Lord Application liturgy can be found verbatim in ''Source of All Qualities'' in the present volume (see chapter 22), where it is identified as “Lord [[Rangjung Dorje]]’s short calling of the pestilent spirits” (''gnyan ’bod thung''). Most of the Ninefold Spirit Feast is also found in [[Karma Chakme]]’s ''Pearl Rosary'' (see chapter 21). According to [[Karma Chakme]], the Ninefold Spirit Feast and Six Earth Lord Application are to be done for particularly severe illnesses. Therefore, one visualizes one’s consciousness in the form of the black wrathful [[ḍākinī]] [[Krodhīkālī]] ([[Khros ma nag mo]]) rather than the usual form of [[Vajravārāhī]]. He also describes the six and nine sets of spirits (which overlap somewhat) and the specific ailments and problems that are cured by feeding each group. After the dissolution, the text ends with the final prayers again from [[Mikyö Dorje]]’s poem, including [[Karma Chakme]]’s own pointing-out instructions, which will ultimately liberate the practitioner and the patient together.