Wylie: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

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གྲུབ་ཆེན་དམ་པ་སངས་རྒྱས་ཀྱིས་རྣལ་འབྱོར་གྱི་དབང་ཕྱུག་མི་ལ་རས་པ་ལ་ ་ ་ ་
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
Vajra Song Summarizing the Essence of the Holy Dharma Pacification of Suffering: Instructions for the Mighty Yogin Milarepa by the Great Adept Dampa Sangye

Damngak Dzö Volume 13 (པ་) / Pages 36-38 / Folios 18b6 to 19b1
Translation's Introduction by Harding, S.

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.[1] 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,[2] 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

  1. 2 gTsang smyon He ru ka (1452–1507), rJe btsun mi la ras pa’i rnam thar rgyas par phye ba mgur ’bum. ff. 288a–292a. Translation in Chang, The Hundred Thousand Songs of Milarepa, vol. 2, pp. 606–14. Date from Roberts, The Biographies of Rechungpa, p. 113.
  2. 3 Khamnyön, Life Story of the Great Mighty Adept, pp. 120–26. Translation in Molk, Lion of Siddhas, pp. 95–98.


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༣༦ ༈ །གྲུབ་ཆེན་དམ་པ་སངས་རྒྱས་ཀྱིས་རྣལ་འབྱོར་གྱི་དབང་ཕྱུག་མི་ལ་རས་པ་ལ་གདམས་པའི་དམ་ཆོས་སྡུག་བསྔལ་ཞི་བྱེད་ཀྱི་སྙིང་པོར་བོརདྲིལ་བའི་རྡོ་རྗེའི་མགུར། །དམ་ཆོས་སྡུག་བསྔལ་ཞི་བྱེད་འདི། །གདོན་གནོད་སྦྱིན་ཕོ་མོ་འདུལ་ཙ་ན། །བརྟུལ་ཞུགས་ཀྱི་འཁྲུལ་འཁོར་འཆའ་བ་ཡིན། །ལུས་ལ་ན་ཚ་བྱུང་ཙ་ན། །དབྱིངས་རིག་གཅིག་ཏུ་བསྲེ་བ་ཡིན། །རྣམ་རྟོག་ཕྲ་མོ་སྐྱེས་ཙ་ན། །ཉོན་མོངས་ལ་འབུར་འཇོམས་གཏོང་བ་ཡིན། །གཅིག་པུར་
༣༧ ལྐོག་ཏུ་ཉལ་ཙ་ན། །རིག་པ་རྗེན་པར་འཇོག་པ་ཡིན། །མང་པོའ་བོའགསེབ་ཏུ་སྡོད་ཙ་ན། །གང་ཤར་གྱི་ངོ་ལ་བལྟ་བ་ཡིན། །བྱིངས་ན་ཕཊ་ཀྱིས་གསེང་བ་ཡིན། །འཕྲོ་ན་རྩ་བ་གཅོད་པ་ཡིན། །རྒོད་ན་དབྱིངས་སུ་འཇོག་པ་ཡིན། །ཤེས་པ་ཡུལ་ཕྱིར་འབྲང་ཙ་ན། །དེ་ཉིད་དོན་ལ་བལྟ་བ་ཡིན། །དམ་ཆོས་སྡུག་བསྔལ་ཞི་བྱེད་འདི། །ལྟས་ངན་བྱུང་ན་གཡང་དུ་བློན། །རྣམ་རྟོག་ཇི་ལྟར་དགྱེས་དགྱེས་མཛོད། །ན་ཚ་བྱུང་ན་བོགས་སུ་འདོན། །འབྱུང་བ་ཇི་ལྟར་དགྱེས་དགྱེས་མཛོད། །འཆི་བ་བྱུང་ན་ལམ་དུ་སློང་། །འཆི་བདག་ཇི་ལྟར་དགྱེས་དགྱེས་མཛོད། །དམ་ཆོས་སྡུག་བསྔལ་ཞི་བྱེད་འདི། །དུས་གསུམ་རྒྱལ་བའི་དགོངས་པ་ལགས། །རྡོ་རྗེ་འཆང་གི་གསང་ཚིག་ཡིན། །མཁའ་འགྲོ་སྡེ་བཞིའི་སྲོག་སྙིང་ཡིན། །རྒྱུད་སྡེ་བཞི་ཡི་གདམས་ངག་ཡིན། །སྙན་བརྒྱུད་གནད་ཀྱི་མན་ངག་ཡིན། །མན་ངག་ཐབས་ཀྱི་ལྡེ་མིག་ཡིན། །དམ་ཆོས་སྡུག་བསྔལ་ཞི་བྱེད་ལགས། །ཞེས་གསུངས་པས་རྗེ་བཙུན་ཐུགས་ཤིན་ཏུ་མཉེས་པར་གྱུར་ཏོ། །འདི་ནི་མན་ངག་གི་གནད་བསྡུས་པའི་རྡོ་རྗེའི་གསུང་ཁྱད་པར་ཅན་ཏེ། དེ་ལ་ལྔ། གདམས་པའི་རྩ་བ་གསུམ། ཉམས་ལེན་གྱི་འཇོག་ལུགས་གཉིས། གེགས་སེལ་གྱི་མན་ངག་གསུམ། བོགས་འདོན་གྱི་ལམ་ཁྱེར་གསུམ། གདམས་པའི་ཆེ་བ་བརྗོད་པས་མཇུག་བསྡུ་བའོ། །དང་པོ་ནི། གདོན་བགེགས་ཞི་བྱེད་བརྟུལ་ཞུགས་ཀྱི་འཁྲུལ་འཁོར་འཆའ་བ། །ན་ཚ་ཞི་བྱེད་དབྱིངས་རིག་གཅིག་ཏུ་བསྲེ་བ། རྣམ་རྟོག་ཞི་བྱེད་ཉོན་མོངས་ལ་འབུར་འཇོམས་སུ་གཏོང་བའི་གདམས་ངག་གོ །གཉིས་པ་ནི། གཅིག་པུར་སྡོད་དུས་རིག་པ་རྗེན་པར་འཇོག་པ་དང་། མང་པོའ་གསེབ་ཏུ་གང་ཤར་ཐུག་ཕྲད་དུ་འཇོག་པའོ། །གསུམ་པ་ནི་བྱིངས་ན་ཕཊ་ཀྱིས་གསེང་བ། །འཕྲོ་ན་རྩ་བ་གཅོད་པ། རྒོད་ན་དབྱིངས་སུ་འཇོག་པ་སྟེ་གསུམ་དང་། ཞར་བྱུང་དེ་ལས་འཕྲོས་ནས་ཤེས་པ་ཡུལ་ཕྱིར་འཕྲོ་ན་དེ་ཉིད་གཅེར་མཐོང་དུ་བལྟ་བའོ། །བཞི་པ་ནི། ལྟས་ངན་གཡང་དུ་ལེན་པ། ན་ཚ་བོགས་སུ་འདོན་པ། འཆི་བ་ལམ་དུ་སློང་བའོ། །ལྔ་པ་ནི།
༣༨ མདོ་རྒྱུད་ཀྱི་དགོངས་འདུས། མཁའ་འགྲོའི་སྲོག་སྙིང་། སྙན་བརྒྱུད་ཀྱི་མན་ངག་ཡིན་པའི་བསྔགས་པ་བརྗོད་པའོ། །འདི་ལ་ལ་སྟོད་བསྟོདཔ་མི་བསྐྱོད་རྡོ་རྗེས་མཛད་པའི་ཁྲིད་ཡིག་ཀྱང་སྣང་ངོ་།། །།


36 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 boradril ba'i rdo rje'i mgur/_/dam chos sdug bsngal zhi byed 'di/_/gdon gnod sbyin pho mo 'dul tsa na/_/brtul zhugs kyi 'khrul 'khor 'cha' ba yin/_/lus la na tsha byung tsa na/_/dbyings rig gcig tu bsre ba yin/_/rnam rtog phra mo skyes tsa na/_/nyon mongs la 'bur 'joms gtong ba yin/_/gcig pur
37 lkog tu nyal tsa na/_/rig pa rjen par 'jog pa yin/_/mang po' bo'agaseb tu sdod tsa na/_/gang shar gyi ngo la blta ba yin/_/byings na phaT kyis gseng ba yin/_/'phro na rtsa ba gcod pa yin/_/rgod na dbyings su 'jog pa yin/_/shes pa yul phyir 'brang tsa na/_/de nyid don la blta ba yin/_/dam chos sdug bsngal zhi byed 'di/_/ltas ngan byung na g.yang du blon/_/rnam rtog ji ltar dgyes dgyes mdzod/_/na tsha byung na bogs su 'don/_/'byung ba ji ltar dgyes dgyes mdzod/_/'chi ba byung na lam du slong /_/'chi bdag ji ltar dgyes dgyes mdzod/_/dam chos sdug bsngal zhi byed 'di/_/dus gsum rgyal ba'i dgongs pa lags/_/rdo rje 'chang gi gsang tshig yin/_/mkha' 'gro sde bzhi'i srog snying yin/_/rgyud sde bzhi yi gdams ngag yin/_/snyan brgyud gnad kyi man ngag yin/_/man ngag thabs kyi lde mig yin/_/dam chos sdug bsngal zhi byed lags/_/zhes gsungs pas rje btsun thugs shin tu mnyes par gyur to/_/'di ni man ngag gi gnad bsdus pa'i rdo rje'i gsung khyad par can te/_de la lnga/_gdams pa'i rtsa ba gsum/_nyams len gyi 'jog lugs gnyis/_gegs sel gyi man ngag gsum/_bogs 'don gyi lam khyer gsum/_gdams pa'i che ba brjod pas mjug bsdu ba'o/_/dang po ni/_gdon bgegs zhi byed brtul zhugs kyi 'khrul 'khor 'cha' ba/_/na tsha zhi byed dbyings rig gcig tu bsre ba/_rnam rtog zhi byed nyon mongs la 'bur 'joms su gtong ba'i gdams ngag go_/gnyis pa ni/_gcig pur sdod dus rig pa rjen par 'jog pa dang /_mang po' gseb tu gang shar thug phrad du 'jog pa'o/_/gsum pa ni byings na phaT kyis gseng ba/_/'phro na rtsa ba gcod pa/_rgod na dbyings su 'jog pa ste gsum dang /_zhar byung de las 'phros nas shes pa yul phyir 'phro na de nyid gcer mthong du blta ba'o/_/bzhi pa ni/_ltas ngan g.yang du len pa/_na tsha bogs su 'don pa/_'chi ba lam du slong ba'o/_/lnga pa ni/
38 mdo rgyud kyi dgongs 'dus/_mkha' 'gro'i srog snying /_snyan brgyud kyi man ngag yin pa'i bsngags pa brjod pa'o/_/'di la la stod bstodapa mi bskyod rdo rjes mdzad pa'i khrid yig kyang snang ngo //_//

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Genre from Richard Barron's Catalog
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Genre from dkar chag
rtsa ba
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VolumeI1CZ3975
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