Aaa

YOGA OF THE GUHYASAMAJA TANTTRA

deeds distresses because of delusion; the beings arc tormented by way of the (eighty) prakrti lights. The knowing ones who know that, arc liberated from the net of generation. This intrinsic nature of prajna is (icprescntcd in the 'Stage of Generation' as) the imagination of the lunar disk. While the Mchan annotation and the above citation from the Pancakrama treat die entire cycle of karma and fruit in generalities, the nidana verse 13 in fact emphasizes birth or rebirth. This is consistent with the observation in the Introduction III, E. 'Grouping the nidana karikas', that the stage of Atiyoga, the body-mandala, corresponds to birth. This nidana verse therefore corroborates the remark in Tson-kha-pa's Don gsal ba on the Guhyasamaja (PTT, Vol. 160, p. 124-1, 2) that the Stage of Generation corresponds to the development of the men of the first aeon : first, a condition of 'death' corresponding to the generation of the palacc in Yoga; second, a condition of 'intermediate state' corresponding to the generation of the primeval lord in Anuyoga; third, a condition of 'birth' corresponding to the body-mandaia as though in the geneiation cycle of the womb during Atiyoga. According to Tsoh-kha-pa in that place, this 'birth' is illustrated by the descent from the Tusita heaven of the Bodliisattva for his last life. Referring to die correspondence of five stages at the closc of the preceding gioup of verses ('Ekasmin samayc'), 'birth' corresponds to the fifth krama, 'pair-united {yuganaddha), and so to the 'pair-united with training' {Saikfa-yuganaddha). This yuganaddha phase of course occurs in the Stage of Completion, not in the present Stage of Generation. II GA I/ galih sanibhavali skandhah pahcabuddhatmakah punah / paHcikarabhisambodhir iti nama pracoditah 11 14 // A skandha occurs as a destiny (gati), also as (one of) the five buddhas, and exhorted as (one of) the abhisai/ibodlii of five kinds. Mchan : 'As a destiny (gati)' means belonging to the six families {rigs drug gi). The contemplation of the skandli as as equivalent to the Buddhas is the 'arcane lxxly' (kdyarwtka). Tson-kha-pa's remark about 'destiny* means the standard Buddhist doctrine that the five skandhas can appear in any one of six destinies, those of gods and men; of asuras; and of animals, COMMENTARY ON THE FORTY NIDANA VERSES 229 hungry ghosts, hell beings. The correspondence of skandhas to Buddhas is standard (cf. Guiscppe Tucci.. Tibetan Painted Scrolls. I, p. 238) : rupa (Vairocana), vedana (Ratnasambhava), samjha (Amitabha), samskara (Amoghasiddhi), vijhana (Akso-bhya). The contemplation of the correspondences takes place in the Stage of Generation; the identification in fact is the achievement of the Stage of Completion. The five kinds of abhisambodhi mean here the five of the Stage of Generation rather than the five of the Stage of Completion (niddna verse 36). In the present case, fortunately we can use the correspondences from Mkhas grub rje's Fundamentals of the Buddhist Tantras, Chapter One. There the moon corresponds to Aksobhya, the second (the red moon) to Ratnasambhava, the germ syllable to Amitabha, the hand symbol to Amoghasiddhi, and the image to Vairocana. Since the five Tathagatas have already been indicated in terms of the skandhas, the five abhisambodhis of 'moon,' and so forth, are in turn made to correspond. In their undivided correspondence to the Tathagatas, the five skandhas arc said to have 'partite reality', in terms of their coires-pondence to the five defilements given above under 'Smin,' with rupa-skandha called 'delusion' (rnoha). Tson-kha-pa, "Rnal hbyor dag pahi rim pa" (Vol. 160, p. 91) : "Having purified 'delusion,'... Aetc.), one is transferred to the rank of Vairocana, etc.; thus the partite reality of the (respective) Tathagata (gSegs pa dbyuh ba hi de hid)." Thus the defilement (kleSa) brings the yogin to a particular Buddhahood, by his purifying that very defilement going with that Buddha. The authority for the 'hundred lineages' subdivisions of skandhas is Guhyasamdjatantra, XVII, p. 137 : I pancaskandhah samasena pahcabuddhdh prakirtitdh / The five skandhas arc proclaimed in short to be the five Buddhas. Tsori-kha-pa's Pahcakrama commentary (Vol. 158, p. 204) : "Among them, when dividing up the rupa-skandha = Vairo-cana,— (1) Shape, long and short, etc., whether inner, outer, or both; (2) aspect of oneself, other or both; (3) color, blue, etc., whether inner or outer; (4) lustre of sun, moon, etc., whether inner or outer; (5) form which lacks representation—have in the given order, the Yairocana, the Ratnasambhava, the 23 0 YOGA OF THE GUHYASAMAJATANTTRA Amitabha, the Amoghasiddhi, the Aksobhya—of Vairocana. "When dividing up the vedana-skandha Ratnasambhava (1) impartiality and indifference; (2) (feeling) arisen from bodily phlegm and wind; (3) joy and suffering; (4) (feeling) arisen from meeting (of perception, sense organ, and sense object); (5) feeling arisen from bile,—have in the given order, the Vairocana, etc., of Ratnasambhava. "When dividing up the sarpjhS-skandha Amitabha—(1) (ideas of) the non-moving and the unchanging; (2) (ideas of) the four-footed stage; (3) (ideas of) the footless stage; (4) (ideas of) the multiple-footed stage; (5) (ideas of) the two-footed stage—have in the given order, the Vairocana, etc., of Amitabha. "When dividing up the sarpskSra-skandha - Amoghasiddhi,— (1) (motivations of) the body; (2) (motivations of) the three realms; (3) (motivations of) speech; (4) (motivations of) liberation; (5) (motivations of) the mind—have in the given order, the Vairocana, etc., of Amoghasiddhi. "When dividing up the vijhana-skandha Aksobhya,— (1-5) the perceptions based on eye, etc. down to body—have in the given order, the Vairocana, etc., of Aksobhya." This multiplication of each Tathagata by each Tathagata yields the number 5 x 5 = 25, the number of twisted threads outlining the palacc in the mandala-ritc. Also, Tsori-kha-pa, "Rnal hbyor dag pahi rim pa" (PTT, Vol. 160, p. 89-2) states : "The five colors of the mandala arc the purity of the five skandhas" (phuh po lha rnam par dag pa ni dkyil hkhor kha dog lha). V. PARTITE REALITIES OF THE FIVE IN THE FIVE SKANDHAS Skandha (Tathagatas)' rupa vcdana samjfia samskara vijnana Vairocana shape impartiality of the inanimate of body eye Ratnasambhava aspect from phlegm and wind of the fourfooted of three realms TATHAGATAS Amitabha color joy and suffering of the footless of speech nose Amoghasiddhi lustre from sense contact of the multiple footed of liberation tongue Aksobhya (unrepresented) form from bile of the twofooted of the mind body I 232 YOGA OF THE GUHYASAMAJATANTRA II VAjV II vayus tcjo jalam (bhumir) locanadicatuffayam / jhdnatraydtmakajhcyam buddhabodhipradiiyakam // 15 11 Wind, fire, water, earth, arc the quaternion Locana and so on, which is to be known by one with the nature of the three gnoses as conferring the enlightenment of the Buddhas. Mchan : 'One with the nature of the three gnoses' means one who has experienced the three Light, Sprcad-of-Light, Cul-mination-of-Light in meditative attainment after being engaged in subtle contemplation ofthe 'lower orifice' (hog sgohi phra mo bsgoms pa). 'Which is to be known' means after having realized the inseparable 'bliss-void' (sukha-Sunya) one returns to experience of external objects along with the 'subsequent attainment' of knowing them in the manner of the three gnoses the three lights. This involves contemplating the five progenitor-Buddhas in each of the four elements. This is the 'arcane body' (kaya- viveka) in terms of elements (dhatu). The four goddesses arc assigned intermediate directions in the mantfala. South-east (dgneya), etc. are Locana, ctc. Thus, Locana, south-east; Mamaki, south-west; Pandara, northwest; and Tara, north-east. Since Locana, etc. means, in correspondential terms, earth, etc., niddna verse 15 states the goddesses in reverse order. The verse indicates that one must be cautious in interpreting the phrase 'Locana, etc.' sincc a series may be meant that does not really begin with the correspondence to Locana. This is also a problem in the respective jurisdiction of the goddesses, as follows : Tson-kha-pa, "Rnal hbyor dag pahi rim pa," (Vol. 160, p. 91): "The jurisdictional activity (sgos md^adpa)... ofthe four goddesses Locana, ctc. is in order : 1. Appeasing (Santika) the sentient beings tormented by illness and demons. 2. Protecting and making prosper (pauffika) those troubled by hindering elements. 3. Pacifying and guarding against the demons which oppress sentient beings. 4. Dominating (vaiikarana) all sentient beings. "Thus the partite reality ofthe (respective) Tathagata consort." According to the information presented under niddna verse 12, it is clear that the correspondence docs not take No. 1 as going COMMENTARY ON THE FORTY NIDANA VERSES 233 with Locana, despite the 'Locana, etc.' Indeed, the jurisdiction order is Mamaki for No. 1, 'Appeasing' (Sintika); Locana for No. 2, 'Prosperous' (patifl'.ka); Tara for No. 3, 'Overpowering' (abhicaraka); and Pandara for No. 4, 'Dominating' (oail-karana). At the beginning of Candrakirti's Pradipoddyotana on Chapter XIV, he mentions that one performs the appeasing rite (white), facing Xorth; prosperity rite (yellow), facing East; overpowering rite (black), facing South; and dominating rite (red), facing West. (Therefore, the jurisdictional order of the goddesses is clockwise in terms of the direction being faced.) Candrakirti goes on to cite an unnamed explanatory tantra: I yathoktam bhagavata vyakhyatantre / vajrapanir aha / adhvatmika vela iti bhagavan kim ucyatc / bhagavan aha / adhyatmika vela nama vajrapanc mahaguhyatiguhyam atisuksmam bodhicittadhisthitam jfianam moksaya sattvanam mantranam siddhisadhane santi-paustika- karma ca tatha vasyabhicarake / agrahyo bhagavan / santah cittadhatus tathagatah / yatha puspe bhaved gandhah tatha sattvahrdisthita vihared ardhayamika vela paripatya vathakramam / agnivayavyamahendra-varune pratimandale rakta kpsna tatha pita sita caiva samasata iti The following was said by the Lord in the Explanatory Tantra : Yajrapani said, "Lord, what is said to be the 'inner interval' ?" The Lord spoke, "Yajrapani, the 'inner interval' is among great secrets still more secret, highly subtle—the gnosis empowered by the bodhicitta for the liberation of sentient beings, and the rites of appeasing and prosperity, so also, of overpowering and dominating, in the accomplishment of siddhis going with mantras. The Lord is imperceptible, calm; the Tathagata is the realm of consciousness. As in the flower is perfume, so in the heart of sentient beings dwells the half-watch interval, in short, red, black, so also yellow, white, in sequence according to their order, in the several mandalas (cakras of the body), to wit, fire, wind, earth, and water. The meaning of 'half-watch interval' is clear by the data under niddna verse 12, that one recites each goddess in periods of 45 minutes. Therefore, the 'red, black' is two such periods or the I 234 YOGA OF THE GUHYASAMAJATANTRA hours constituting a half-watch; so also 'yellow, white'. It is of interest to observe that the sequence of jurisdiction by the goddesses over the four rites is the same order in which their respective elements are said to arise in lunar months in the information under nidana verse 8; and of course, the very reverse of this order is the recitation sequence of the four goddesses. The 'hundred lineages' authority for the four goddesses is Guhyasamajatantra, Chap. XVII, p. 137 : prthivi locana khyata abdhatur mamaki smrtri / pandarakhya bhavet tejo vayus lard prakirtita // Locana is earth; Mamaki, water; Pandara, fire; Tara, wind. Tsoh-kha-pa's Pahcakrama commentary (Vol. 158, p. 204) : "Among them, when dividing up the earth clement - Locana, by external and personal, (a) the personal are : (1) the essence of head hair, bone, excrement, liver; (2) the essence of body hair, nails, pus; (3) the essence of teeth, skin, flesh(?); (4) the essence of tendons, flesh, ribs; (5) the essence of filth, intestines, bile;...and, (b) the external are: (1) Mount Mcru; and (2-5) the South, West, North, and East Continents. The five personal and external groups have in the given order the Vairocana, etc. of Locana. (Vairocana, etc. means Vairocana, Ratnasambhava, Amitabha, Amoghasiddhi. and Aksobhya). "When dividing up the water element * Mamaki, (a) the personal are: (1) phlegm, along with tears; (2) menses and blood; (3)(semen); (4) lymph; (5) urine; and (b) the external are: (1) waterfalls; (2) rivers; (3) springs; (4) ponds; (5) oceans. Both groups have, in the given order, the Vairocana, etc. of Mamaki. "When dividing up the fire element Pandara, (a) the personal arc : (1-5) the heat of (1) the head, (2) the(secret) navel, (3) all the limbs, (4) the belly, (5) the heart (the chest?); and (b) the external are: 1-4 i fire from (1) stones, (2) burning crystal, (3) wood, and (4) forests: (5) fire placed in continual series (as in Divali?). Both groups have, in the given order, the Vairocana, etc. of Pandara. VI THE TWENTY PERSONAL-EXTERNAL PAIRS REPRESENTING PARTITE REALITIES OK TH E FIVE TATHAGATAS WITHIN THE FOUR ELEMENTS Element-Goddesses: Earth (Locana) Water (Mamaki) Fire (Pandara) Wind (Tara) Vairocana head hair, bone, excrement, liver phlegm and tears head heat \ van a Mount Merit waterfalls fire from stones upper winds Ratnasambhava body hair, nails, pus menses and blood heat of (secret) navel apana South Continent rivers fire from burning crystal south winds Amitabha teeth, skin, flesh West Continent (semen ) springs heat of all the limbs udana west winds Amoghasiddhi tendons, flesh, ribs lymph heat of the belly samana North Continent ponds forest fire north winds Ak?obhya filth, intestines, bile urine heat of the heart (the chest) ? prana East Continent oceans fire placed in continual series east winds 236 YOGA OF THE GUHYASAMAJATANTTRA "When dividing up the wind element = Tara, (a) the personal are : (1) vyana, (2) apana, (3) udana, (4) samana, (5) prana; and (b) the external arc: (1) upper, (2) south, (3) west (4) north, (5) east—winds. Both groups have, in the given order, the Vairocana, etc. of Tara. "Granted that if one counts separately the personal and external subdivision among the four elements it adds up to twice twenty. Nevertheless while thus dividing the earth element, etc. into personal and external elements, (for purposes of 'one hundred lineages') the total is taken as twenty." Besides the above materials, which draw out the implications •of nidana verse 15 in terms of ihe praxis in the Stage of Generation, that niaana verse requires further annotation to explain how those goddesses confer the enlightenment of the Buddhas as a conceptualization in the Stage of Generation and as an actual accomplishment in the Stage of Completion. Mchan's annotation suggests that the particular phase of the Stage of Generation in which such a conceptualization takes place is taught by nidana verse 19 which deals with the 'subsequent attainment*. There are two matters to be discussed : (1) the conferring of enlightenment, (2) Mchan's remark about 'subtle contemplation of the lower orifice'. (1) One explanation for the statement that those goddesses confer the enlightenment ofthe Buddhas is that the explanatory tantra Caturdevipariprcchii, in the commentary of Smrti (PTT, Vol. 66, p. 155-2), shows that the four steps of sadhana are identified with the four goddesses: 1. seva = Locana; 2. upasadhana— Mamaki; 3. sadhana » Pandara, 4. mahasa-dhana — Tara. However, the chief explanation would be in the Guhyasamdjatantra, Chap. XV, the chapter devoted to dreams and other auspices. Verses 32-34 can be understood as the auspice of the later role of the four goddesses to be treated in verse group 'Diamond Ladies of the Heart'; those three verses are here translated in Pradipoddyotana context (Mchan hgrcl, p. 123) : jhdnasattvaprayogena madhye bimhani prabhdvayct / catuhsthdnefu man t raj no yo/itaiji sthdpayct sadd 11 sarvdlaiikarasamp urriam sarvalakfanalakfitam / padmarfi prasaritarji krtvd idairt mantratfi vibhavayct // COMMENTARY ON THE FORTY NIDANA VERSES 237 II Hum II panearaimiprabham diptam bhavayet yogarp vajrinah / kdyavakcittavajrefu patayan bodhim apnuySt // By the praxis of the Knowledge Being, he should contemplate the image (of Mahavajradhara's Body appearing instandy) in the center (of the lotus). The mantraknower should always place the 'lady' (i.e. Locana, etc.) in the four spots (corners, i.e. intermediate directions) who has the full range of ornaments and who bears all the (ladylike) characteristics. HaiAjng made the lotus (of his own heart, svahrtpadma, and of the doors, mukha-kamala) wide-open, he should contemplate this mantra : II Hum I/ He should contemplate the blazing light of five rays as the yoga of the vajrin. Falling into the diamonds of his body, speech, and mind, it attains enlightenment. The actual experience so indicated belongs to the phase Stage of Completion with the praxis called 'without prapafica' (nifprapahca, T. spros bral), which involves the experience of the three light stages whether in the forward or reverse direction. (2) The 'subtle contemplation of the lower orifice' is discussed at length in Tsori-kha-pa's commentary on the Panca-krama called "Gdan rdzogs kyi dmar khrid" (PTT, Vol. 159, pp. 120 and 121). It is the 'arcane body' as a practice in the Stage of Completion: therefore it does not involve experience of the three Lights, which is callcd 'arcane mind' (ci/laviveka); rather, it is a preparation for that experience of the Lights. The 'lower orificc' refers to the lower orifice of the central vein (the avadhuti), which Tucci (Tibetan Painted Scrolls, I, p. 241) identifies as the perineum. In Tson-kha-pa's work (op. rit., p. 120-2) the 'lower orificc' sceins to l>c equivalent to die 'middle of the gem' (nor buhi dbus) or 'tip of the gem (nor buhi rtse). In the male this is the root of the penis. The 'subtle contemplation' (ibid., p. 120-4) involves contemplating at that spot a small solar disk and on it a 'drop' (thig le, S. bindu) of substance having three features : its color is blue; its shape is round; its size is no bigger than a tiny grain such as barley and seen as the form of one's presiding deity (adhideva) brilliantly shilling with five rays. In the basic Tantra, this contemplation is alluded to in Chapter Six, verse 15 ('Documents'). In Tsori-kha-pa's I 238 YOGA OF THE GUHYASAMAJATANTRA Mthah gcod on Chaptcr Seventeen (PTT, Vol. 156, p. 58-3), the same spot seems to he callcd 'site of the vajra' (rdo rjehi sa gii), which he explains as 'the lotus of the woman which is the basis of the vajra (i.e. penis) in the sacral place' (gsah gnas kyi rdo rjehi rlen yum gyi padma). In the light of this terminology, when the yogin imagines there a bindu as above described, it can be described mystically as depositing the seed in the 'woman'. Accordingly, one could expect some different terminology in the case of an actual woman. Such seems to be the implication of Tsori-kha-pa's citation from the VajramdlS (its chapter 16) in his commentary on the Vajrajhanasamuccaya (PTT, Vol. 160, p. 153-4, and p. 154-1). The verse citation as follows is not transparent : I biah sgo gsah bahi dbus na gnas / I mih ni nut skyes rtsa chen no j I de yah rnam Ses dah bral ba / I ye Ses lus ni bdag med fa / I der ni skye ba srog gi mchog / / srog chags rnams kyi mchog tu brjod I It is situated in the middle of the sacral place by the excrement orifice. Its name is 'Great Unborn Root*. It is free from vijhana. The Knowledge-Body, selfless, is the best of life born there, and is said to have the best of animated beings. Tsori-kha-pa's commentary (based on Alamkakalasa's) explains the 'Great Unborn Root' as the womb of the mother, the place where one takes birth. It is unconscious, insentient matter, hence free from vijhana. The Knowledge-Body of the Intermediate State, which is selfless because devoid of any ego substance that craves rebirth, so also devoid of the coarse body (the vipaka-kaya) that undergoes states, is the best of life born there, and rides on the />r<5na-wind which is the best of animated beings. (That discussion may point to the yoga-praxis of a woman as distinct from that of a man). II SA II sarvatathagalah kdyaS caturmudraya mudritah / cakfuradyatmand tatra kfitigarbhadijinaurasah // 16 11 Every Tathagata body is sealed by four seals. By means of the eye, etc. identifications, in that (body) are the Bodhisattvas Ksitigarbha, etc. Mchan : The four seals are the samayamudra of Mind, the COMMENTARY ON THE FORTY NIDANA VERSES 239 -dharmamudra of Speech, the mahamudra of Body, and the karmamudra of Action. The Bodhisattva Ksiiigarbha is imagined in the eye; Vajrapani in the ear; Khagarbha in the nose; Lokesvara (or : AvalokitcSvara) in the tongue; Sarvanivarana-viskambhin in the body surface; Mafijuiri in the mind (manas-indriya). This is kayaviveka in terms of the (six) sense organs (indriya). PrakaSika on SA, p. 293-4 : "The four seals (mudrd) have the characteristic of attracting from that (realm of light), drawing in, tying, and subduing. Some (Tathagata body) does the attracting, etc. of the knowledge being (jhanasattoa), Also, the four goddesses, Locana, etc. are the four seals" ( / de las dgug pa dari/giug pa dan / bcih ba dari / dbah du bsdu bahi mtshan nid can phyag rgya bii poho / / gan gis ye Ses sems dpah dgug pa la sogs bya baho / / yah na spyan la sogs pa bii po ni phyag rgya bii ste /...). Pahcakrama, II, 50 : prajhopdyasamayogdt jayate devatakrtih / caturmudrabhir amudrya devataganam udvahan // Through the union of prajna and upaya the configuration of deities is generated—scaling with by four seals, conveying the pride of divinity. The following directions arc assigned to the eight Bodhisattvas in the Akfobhya-mandala, translated previously : Maitreya and Ksitigarbha — Eastern pattika Vajrapani and Khagarbha — Southern pattika Lokesvara and Mafijughosa — Western pattika Sarvanivaranaviskambhin and Samantabhadra — Northern pattika The rite of imagining the Bodhisattvas in the respective places is depicted in the Guhyasamajatantra, first half of chapter 11, where the emphasis is on the Mahamudra, or body of deity. In regard to the 'four seals' of the niddna verse, the dharma-mudra, samayamudra, mahamudra, and karmamudra, are explained in these passages of Tsoh-kha-pa's Don gsal ba (PTT, Vol. 160, p. 141-4): "The syllables Hum, etc. are the dharma-mudra (seal of the law). The thunderbolt (vajra), etc. are the samayamudra (symbolic seal). Aksobhya, etc. constituting the circle of deities, are the mahamudra (great seal)." (Hum la sogs pa ni chos kyi phyag rgyabo / / rdo rje la sogs pa ni I 240 YOGA OF THE GUHYASAMAJATANTRA mtshan mahi phyag rgyaho / mi bskyod pa sogs pahi lhahi (tkhor lo ni phyag rgya chen poho / (According to one view :) "The wondrous action accomplishing the aim of all * sentient beings by diverse appearances of the gods—is the karma-mudra (seal of action)." (lha rnams kyi gzugs sna tshogs kyis sems can thams cad kyi don byed cin sgrub pahi phrin las ni las kyi phyag rgyaho/). Tson-kha-pa, "Rnal hbyor dag pahi rim pa," Vol. 160, p. 91-2: "The jurisdictional activity.. . .of the eight, Maitreya, etc., is, in the usual order, purifying the (1) veins; purifying (2-7) the sense bases of (2) eyes, (3) ears, (4) nose, (5) tongue, (6) mind, (7) body; and purifying (8) the joints—of all sentient beings. Thus the partite reality of the Bodhisattvas." (The order is seen by the assigned directions, above, or else by the mchan note). The 'hundred lineages' subdivisions in terms of the Bodhisattvas is based on Guhyasamajatantra, XVII, p. 137 : I uajra-ayatanany eva bodhisattviigrymnandalam iti j Precisely the adamantine sense bases are called 'best mandala of bodhisattvas'. Tson-kha-pa, Pahcakrama commentary (Vol. 158, p. 204-4) : "Among them, when dividing up the eye = Ksitigarbha,— (1) grasping the three kinds of form (cf. verse 19) by means of the eye; (2) the white part around the pupils of the eye; (3) form seen through a corner of die eye ; (4) movement of the eye; (5) an eye organ no bigger than a grape or corn—have in the given order the Vairocana, etc. of Ksitigarbha. "When dividing up the ear=Vajrapani,—(1) the intrinsic nature of the car; (2) grasping the three kinds of sound; (3) the ear orificc; (4) the ear root; (5) an car organ like a twisted, cut-ofT ravine—have, in the given order, the Vaitocana, etc. of Vajrapani. "When dividing up the nose = Khagarbha,—(1) the ownbeing of nose; (2) inside of nose; (3) grasping the three kinds of odor; (4) orifice of the nose; (5) nose organ like a thin spoon for antimony—have, in the given order, the Vairocana, etc. of Khagarbha. "When dividing up the Lokesvara of the tongue,—(1) the own-being of the tongue; (2) its root; (3) its tip; (4) grasping the three kinds of taste; (5) tongue sense organ shaped like a COMMENTARY ON THE FORTY NIDANA VERSES 252 half moon—have in the given order the Vairocana, etc. of Lokesvara. "When dividing up the body= Sarvanivaranaviskambhin,— (1) the sense organ of body; (2) the skeleton of the body; (3) the own-being of flesh; (4) the own-being of skin; (5) grasping the (three kinds of) tangible—have, in the given order, the Vairocana, etc. of Sarvanivaranaviskambhin. "When dividing up the sense organ of mind = Mafijusri, where is gathered the three, Light, Spread-of-Light, and Culmi-nation-of-Light—the five knowledges: (I) mirror-like, (2) equality, (3) discriminative, (4) procedure-of-duty, (5) dharma-dhatu—have the Yairocana, etc. of Maftjusri." VII. THE PARTITE REALITY OF THE FIVE TATHAGATAS WITHIN THE SIX SENSE ORGANS The Six Senses (Bodhisattvas) Vairocana Ratnasambhava Amitabha Amoghasiddhi Aksobhya eye grasping the three kinds of form white part around the pupil of the eye form seen through a corner of the eye movement of the eye eye organ no bigger than a grape car own-being of ear grasping the three kinds of sound ear orifice ear root car organ like a twisted cutoff ravine nose own-being of nose inside of nose grasping the three kinds of odor orifice of the nose nose organ like thin spoon for antimony tongue own-being of tongue root of tongue tip of tongue grasping the three kinds of taste I tongue organ j shaped like a half moon body sense organ of J body skeleton of body own-being of flesh own-being of skin grasping the three kinds of tangible mind mirror-like knowledge equality knowledge discriminative knowledge procedure-of- -duty knowledge dharmadhatu knowledge COMMENTARY ON THE FORTY NIDANA VERSES 243 II Rl'A II arvanti ye tu tufta vai kiodharajainahdbalih / tan digvidik-svabhiirefu bhujadyangefu lakfayet 11 17 // As for the mighty Fury Kings who run delighted, one should depict them in their natural abodes of the quarters and intermediate directions and in the limbs such as the arms. Alchan : 'Who run delighted* means that they subdue the hostile spirits. This contemplation is kiyaviveka in terms of the rakfi-cakra, the protective circle. The Fury Kings are ten in number, as named in the Vajra-mala, chaptcr 23. Their directions are stated in the Akfobhya-mandala, body positions given in N'agarjuna's Pindikrta-sadhana 66-67, taking Prajfiantaka Aparajita, Padmantaka = Hayagriva, Vighnantaka = Amrtakundali. Fury Kings Directions Position in Body 1. Yamantaka East Right arm (savya-bhuja) 2. Prajnantaka South Left arm (apasavya-bhuja) 3. Padmantaka West Mouth (mukha) 4. Vighnantaka North Face (vaktra) 5. Acala Agni (S.E.) Right side (daksina-bhaga) 6. Takkiraja Nairrta (S.W.) Left side (vama-bhaga) 7. Niladanda Vayu (N.W.) Right knee (daksina-janu) 8. Mahabala ISana (N.E.) Left knee (vamajanu) 9. Usnlsacakravartin Above Crown of head (inurdhan) 10. Sumbha(raja) Below Both feet (padanta- dvaya) Tsori-kha-pa, "Rnal hbyor dag pahi rim pa," Vol. 160, p. 91 : "The jurisdictional activity... of the ten. Yamantaka, etc., is, in the usual order, destroying (1) the demons of senses, etc. (2) the demons ofyama, ma-mo, etc., (3) the demons of song and genius loci, (4) the demons ofyaksa, ganapati, etc., (5) the demons of agni, (6) the demons of nairrta, (7) the demons of viyu, (8) the demons of iSana, (9) the demons of brahma and deva, I 24 4 YOGA OF THE GUHYASAMAJATANTRA (10) the demons of stationary and mobile poison (e.g. of herbs and of snakes, resp.), ndga, and genius loci. Thus the partite reality of the krodhas." D. Tathigata (Thus-Gone) The last stage of sddhana, the Mahayoga, includes the two samadhif called 'Triumphant mandala' and 'Victory of the Rite*. In the Guhyasamdjatantra (Chapter One), the 'Triumphant mandala' is the thirteen-deity mandala (Tsori-kha-pa, Don gsal ba, p. 144-1), bccause it is the revelation ofthe Buddha to the retinue of Tathagatas. Similarly in this phase the master reveals the mandala to the disciple, who is then initiated in it. In fact, the Tathagata verses fall into two of Tatha for the Triumphant mandala' and two of Gata for the 'Victory of the Rite'. There are two interpretations of Tatha (the same way): (a) displaying (the same way) for the sake of sentient beings (niddna verse 18); (b) 'afterwards ... should dwell' (the same way) (verse 19). There are also two interpretations of Gata (gone) : (a) gone (as a divinity) to sense objects (for supernormal faculties) (verse 20); (b) gone, rendered up to, the Tathagatas (verse 21). There arc five Tathagata families (Guhyasamdja, Chapter I, p. 6) : dtitfamohau tathi rigaf cintamanisamayas tatha / kuld hy ete lu vai pahcakdmamoksaprasadakah // Hatred and delusion; likewise lust, wish-granting gem, and symbol-pledge are the families. And they arrange the liberation in terms of the five 'desires' (sense objects). Mchan (igrel (p. 26-5) : "Hatred (dvefa) is Aksobhya's Family; delusion (moha), Vairocana's; lust (raga), Amitabha's; wishgranting gem (cinldmani), Ratnasambhava's; and symbol-pledge (samaya), Amoghasiddhi's. 'Liberation in terms of five desires (sense objects)' means the ultimate aksara-mahdstikha (incessant great ecstasy)." According to our earlier indications ('The two stages'), the verse can be understood to mean that the Tathagatas arrange in the Stage of Generation for the later liberation in the Stage of Completion. Also this literature attributes to each Tathagata a superintendence or empowering (adhiffhana), Vairocana of Body, Amitabha COMMENTARY ON THE FORTY NIDANA VERSES 245 of Speech, Aksobhya of Mind, Ratnasambhava of Merits (guna), and Amoghasiddhi (called the karmanitha) of Acts (karma). Following is a summary of the 'hundred lineages' in terms of the partite realities allotted to each Tathagata on three tables in the previous group of verse comments and here under verse 19 : Vairocana : Shape, impartial feeling, idea of the inanimate, motivation of body, eye perception—among skandha-Tathagatas. Head hair, etc. and Meru; tears and waterfalls; head heat and fire from stones, vyana and upper winds—among dhatu-mudras. Grasping three kinds of form; own-being of ear, of nose, of tongue, of body sense; and mirror-like knowledge—among six indriya-Bodhisattvas. Barely visible form, sound inside ear, diffuse odor, sweet taste, and tangible of sitting on mat—among five vifayavajris. Ratnasambhava : Aspect, feeling from phlegm and wind, idea of the four-footed, motivation of three realms, car-percep-tion—among skandha-Tathagatas. Body hair, etc. and South Continent; mchscs and rivers; secret navel heat and burning-crystal fire; apana and south winds—among dhatu-mudras. White part around eye-pupil, grasping three kinds of sound, inside of nose, root of tongue, skeleton of body, equality knowledge—among indriya-Bodhi satlvas. Form clung to, song, specific odor, astringent taste, tangible of embracing—among vifaya-vajris. Amitabha : Color, joy and suffering, idea of the footless, moti- vation of speech, nose-perception—among skandha-Tathd-galas. Teeth, etc. and West Continent; semen and springs; heat of all limbs and fire from wood udana and west winds—among dhatu-mudras. Form seen through eyecorner, ear orificc, grasping three kinds of odor, tip of tongue, own-being of flesh, discriminative knowledge— among indriya-Bodhisattvas. Form of three kinds, pleasurable, etc.; palatal, labial, and voiced sound; odor of three kinds; salty taste; tangible of kissing—among vifaya-vajrSs. Amoghasiddhi : Lustre, feeling from sense contact, idea of the multiple-footed, motivation of liberation, tongue- I 246 YOGA OF THE GUHYASAMAJATANTRA perception—among skandha-Tathagatas. Tendons, ctc. and North Continent; lymph and ponds; belly heat and forest fire; samana and north winds—among dhatu-mudras. Movement of eve, ear root, orifice of the nose, grasping three kinds of taste, own-being of skin, and proccdure-of-duty knowledge—among indriya-Bodhisatlvas. Form accomplishing duties, nature's music, savory odor, sour taste, tangible of inhalation— -among visaya-vajrSs. Aksobhya : Unrepresented form, feeling from bile, idea of the two-footed, motivation of the mind, and bodv-perccption —among skandha-Tathagatas. Intestines etc. and East Continent; urine and oceans; heat of heart and fire in series; prana and east winds—among dhatu-mudias. Eye organ size of grape, car organ like ravine, nose organ like spoon for antimony, tongue organ like half-tnoon, grasping three kinds of tangible, and dharmadhatu knowledge— among indriya-Bodhisattvas. Sensual form, incantations, foul odor, pungent and bitter taste, tangible of copula-tion—among vifaya-vajras. II TA II tattatkulasamndbhuta deva devyah prthagvidhah / na te santi na tah santi sattiartham pratidarsitah 18 / Of the different gods and goddesses generated by him and his family, neither the gods nor the goddesses exist, but are displayed for the sake of sentient beings. Mchan : They do not exist separately : all those gods and goddesses are unified in the family of Vajradhara. This is kiyaviveka in terms of Mahaguhya Vajradhara. The families are detailed at the end of the Akfobhya-manifala, previously translated, but I follow here Nagarjuna's commentary on the basic Tantra (Dergc, Sa, 30a-1, If.). The Tatha-gata families include the following deities : Tathagata Vairocana Family Mother Locana Sense Object Rupavajra Ratnasambhava Mamaki Sabdavajra Amitabha Pandara Gandhavajra Amoghasiddhi Tara Rasavajra Aksobhya (Mamaki) Sparsavajra Bodhisattva Ksitigarbha and Maitrcya Vajrapani Khagarbha Lokcsvara Sarvanivarana-viskambhin, MafijusrI, and Samantabhadra Krodha Yamantaka and Acala Prajnantaka and Takkiraja Padmantaka and Niladanda Vighnantaka and Mahabala Usnisacakra- vartin and Sumbharaja I 248 YOGA OF THE GUHYASAMAJATANTRA Those deities arc all involved in what Bhavyakirti calls in his commentary on the Pradipoddyotana (PTT, Vol 60, p. 275-2) the 'Tantric options' (hdam kha). citing in this connection Guhyasamdja. XIII, verse 56 second hemistich here considerably emended) : kayavdkeittavajrais tu svamantrdrthaguncna ; a—the ten krodhas starting from Usnisacakravaitin arc meant; and one applies their 'command circle'. Besides, the generation phase of nidana verse 18 can be illustrated both by the method of Chapter One and by the method of the master revealing to the disciple. In the first case, there is Guhyasamdjatantra, Chap. I, p. 3 : I atha bhagavan bodhicittavajras tathdgatah sarvalathdgatakdyaidkcittaiajrasamayodbhaia-iajram nama samadhim samapadycmdni mahavidydpuru>amurtim sarratathagata-sattiddhifthdnam adhisthdnam adhifthabayam dsal samanantaradhiflhitanidtre sa eva bhagavan bodhicittavajras tathigatas tiimukhdkdrena sarvatathdgataih samdrsyate sma 1 Then the Bhagavat, the vajra of bodhicitta, the Tathagata ('come' or "gone' 'the same way'), immersing himself in the samadhi named Diamond of the Body, Speech, and Mind of all the Tadiagatas and Diamond of symbolic COMMENTARY ON THE FORTY NIDANA VERSES 249 generation, blessed the body of the great incantation person to have the blessing of the salivas belonging to all Tathagatas. No sooner was that blessed, than the Bhaga-vat, the vajra of bodhicitta, the Tathagata, was seen by all the Tathagatas to have three heads. Mchan hgrel (p. 22-5)— 'Diamond of Body, Speech, and Mind,' means respectively the syllables Om, Ah, Hum. 'Diamond of symbolic generation' means deific generation through the five abhisambodhis, namely, generating from those three syllables the pair 'hand symbol' [[[Anuyoga]]] and 'finished body' [[[Atiyoga]]]. 'Great incantation' means the three syllables; and the body of a person of those syllables means a mantra-body. The method of generating is through the four yogas called (a) yoga, (b) anu-yoga, (c) atiyoga, (d) mahayoga, which goes up through the generation of the three sattvas. 'Seen to have three heads' means seen by all the candidates in the world. In the second case, there is Guhyasamdjatantra, X, p. 40; Mchan hgrel, Vol. 158. p. 73-4, 5 : svamantrapurufam dhydtvd catuhsthdncfu rupatah / trimukhakdrayngena trivamena vibhdvayet // Having meditated upon oneself as the incantation-person, one should contemplate in the manner of form (bodily color, hand symbol, ctc. of Yairocana, Ratnasambhava, Amitabha, Amoghasiddhi) in four places (the cardinal directions) by way of three-faced aspect (the three, lust, etc.; the three lights; and so on) and by means of the three syllables (Oin, Ah, Hum). The second passage makes it clear that the three heads can be understood as the white light, red light, and dark light respectively of Light, Sprcad-of-Light, and Culmination-of-Light. Concerning the 'sattvas' of the first passage, which Mchan hgrel expands as the 'three sattvas', there is this passage in Naga-rjuna's Pmdikrtasadhana Ratna karaganti's commentary, PTT Vol. 62, pp. 80 and 81): Om sarvatathagatakayavakcittavajrasvabhavatmako ' ham 91. adhisthayaivam atinanam sasimandalamadhyagam sadbhis cihnaih samayuktam cintct samayasattvakam 92. hrnmadhyasamsthitam suksmam jnanasattvam vibhavayet samadhisattvasamjiiam ca humkaram taddhrdi nyasct 250 YOGA OF THE GUHYASAMAJ AT ANTRA 93. nispadyaivam mahayogam trisattvatmakam atmavan ancna vidhivogcna mahasadhanam arabhet "Om, I am the nature of the Body. Speech, and Mind diamonds of all the Tathagatas." Having in that way empowered himself, he should contemplate a Symbolic Being uimayasallra endowed with sis signs (vajra, etc.. as listed in the Aky<bhya-m :>i<lala] and located in the middle of a moon-disk. He should contemplate as stationed in the middle of its heart a tiny Knowledge Being, and should place in the lattei "s heart here, meaning first at the crown of head a Hum referred to as a Concentration Being samadhisattva . The self-possessed one in that way completes the Mahayoga identical to three salivas. With such a praxis of i i t • - he should enterprise the Mahasadhana. The contemplation ofthe three sattvas is stated briefly in Guhya-samaja, Chapter XII, verses 46-47 Documents' . Nagarjuna refers to this portion of Chapter XII in his Guhyasamaja-mahi-yoga-lantrolpallikrama-sadhana-sutramelapaka-nama (PTT. Vol. 61, p. 274-2) and continues with a citation from Guhyasamaja Chapter XI, which apparently justifies the verse 92 of his I'indikrla-sadhana. The Guhyasamaja verse is No. 16 in that chapter : khavajramadhyagam cinlet vajramaijdalam ullamam nispadya svamanlrapurufam Humkaram cittasamsthitam j He should imagine in the middle of the diamond sky thc supreme diamond mandala, and complete his Mantra-purusa as a Hum formed of cilia. In Mkhas grub ije's Fundamentals of the Buddhist Tantras, pp, 296-7 (footnote), there is the citation from Padmavajra's I'dhikafikd on the Sri-Dakarnava : "The Dharmakaya of the yogins is the Samadhi Being; the Sambhogakaya, the Knowledge Being; the Nirmanakaya, the Symbolic Being, bccause one creates (those Beings) in direct vision in this world by means of those Bodies that way." In his Dkah gnad, Tson-kha-pa Lhasa cd., Vol. Ca. f. 10a-6) shows the dissolution sequence of those same three sattvas, and uses the term 'article of purification' [tbyaA «':i) which means the affiliation to the three bodies of the Buddha as in the foregoing identification by Padmavajra : "In the time of contemplating the Stage of Generation, the arising of the 'articles of COMMENTARY ON THE FORTY NIDANA VERSES 251 purification' being consistent with the sequence of dissolution— the Samayasattva dissolves in the JAanasattva; the latter dissolves in the Samadhisattva, whereupon the yogin) enters the nada Clear Light, his gaze fixed thereon" ( / bskyed rim sgom pahi dus su sbyan giihi hbyun ba thim pahi rim pa dan mthun par dam tshig scms dpah ye ses sems dpah la thim / de tin he hdzin scms dpah la thim pa nas na-da hod gsal la iugs pahi bar yah gnas dcr dmigs pa gtod cih... ). Al.imkakalasa's commentary on the Vajramala (Dergc Kanjur, Gi, f. 166b-3) says, "The expression 'nada' means the aspect of the A-letter" (na-da ni ies bya ba ni A yig gi rnam paho). Thus, finally the yogin reaches the extreme non-prapahca (atyanta-nifprapahca) in the letter A, wherein neither the gods nor the goddesses exist. // THA II sthatavyam uifay'fv asmSd yoginSdvayadarSini / hinamadhyapramlefu jhanatrayanidarianat 11 19 11 Afterwards the yogin who sees the non-duality should be dwelling upon sense objects 'inferior', 'intermediate', and 'superior' by seeing the triple gnosis. Mchan : 'Sees the non-dualitv' means:—sees directly the nondual knowledge of bliss-void sukha-Sunya) while experiencing the three light stages. Each of the sense objects is of three kinds according to the Guhyasamajatantra. Chapter VII; sec B. Bhattacharyya's edition, pp. 27-8: rupam vijfiaya trividham pujavet pujanatmakah, etc. The three kinds are now to be stated as'inferior', 'intermediate' and 'superior'. The Mchan hgrcl on Pradipoddyotana, Chapter VII (Vol. 158, p. 56-1) mentions that rupa is of three kinds—pleasurable, repulsive or displeasing, and neutral. Thus, they correspond to the prakrtis of the three lights ( three jAanas), i.e. 'desire' —'lust' for pleasurable form; 'aversion'—'hatred' for repulsive form, while 'indifTercncc' is said to be 'intermediate'. Furthermore, ibid., p. 55-3, the 'superior' kind of the sense object is the one seen as its own Buddha Family, and one should have 'desire' for that kind. For example, the superior 'form' (rOpa) is Vairocana and the deities generated by him. The idea here is alluded to in the Guhyasamaja, Chapter XVIII, p. 158 (Sanskrit cited in history introduction): The 'desires' (i.e. the five strands of desire, pahcakdma- I 252 YOGA OF THE GUHYASAMAJATANTRA guna) 'form', 'sound', etc.—pleasurable, painful, and neutral—continually generate in the heart the source (respectively) of 'lust', 'hatred', and 'delusion'. Since the yogin experiences the three light stages, this is the second kind of carya, the 'non-prapanca' kind. The 'hundred lineages' subdivisions in terms of deified sense objects are based on Guhyasamdja, Chaptcr VII, verse 14 (edited text corrected by authority of both Tibetan and Chinese): \rupaiabdadibhir manlri devata bhavayet sadaj The mantrin should always contemplate as a divinity by means of form, sound, etc. Tsori-kha-pa, Vol. 158, p. 205-1, ff.: "According to that (Guhyasamdja) passage, the arcane basis (dben gii) of the kaya-viveka in terms of sense domains, is the five sense domains (themselves); and the contemplation of those five as the five diamantine goddesses (vajrd) is the kayaviveka (itself). "Among them, the rgyu ba wind, based on the eye, assists in seeing the five kinds of form; and when dividing up the visible form-=Rupavajra—when it (the wind) is based on the set of three conditions (pratyaya, rkyen), (1) the barely visible form; (2) that clung to; (3) that of the three kinds, pleasurable, repulsive, neutral; (4) that one accomplishing duties; (5) sensual form, namely, vulgarly carefree, playful, and coquettish—have in the given order the five families, Vairocana, etc. of the goddess Rupavajra. "The mam par rgyu ba wind, based on the ear, assists in hearing sound; and when dividing the heard sound = £abdavajra—(1) the sounds inside the ear, and those of the head and its hair, (2) the sounds of song and (tinkling) ornaments; (3) palatal, labial, and voiced sounds; (4) musical sounds of glades, rivers, claps of the palms, drums of earthen ware, etc., (5) mild and fierce sounds of syllables such as Hum —have, in the given order, the five, Vairocana, etc., of the goddess Sabdavajra. "The yah dag par rgyu ba wind, based on the nose, assists in the selection of odors; and when dividing up the smelt odor = Gandhavajra—(1) a general odor, (2) specific odors, (3) the three kinds of odor, (4) savory odor, (5) foul odor—have, in the given order, the five, Vairocana, etc., of the goddess Gandhavajra. COMMENTARY ON THE FORTY NIDANA VERSES 253 "The rab tu rgyu ba wind, based on the tongue, assists in enjoying tastes; and when dividing up the enjoyed taste = Rasavajra—(1) sweet, (2) astringent, (3) sally, (4) sour, (5) pungent and bitter, tastes—have, in the given order, the five, Vairocana, etc. of the goddess Rasavajra. '"The ha par rgyu ba wind, based on the torso, assists in enjoying tangibles; and when dividing up the enjoyed tangible = SparSavajra—(1) that of sitting on a single mat, (2) that of embracing, (3) that of kissing, (4) that of inhalation, (5) that of copulation—have, in the giver, order, the five, Vairo-cana, etc. of the goddess Sparsavajra." The five ancillary winds, mentioned above successively by their alternate names in Tibetan, are further treated under nidana verse 20. VIII. PARTITE REALITIES OF THE FIVE TATHAGATAS IN THE FIVE SENSE OBJECTS Sense Objects ('Goddesses) Vairocana Ratnasambhava Amitabha Amoghasiddhi Akyobhya Form barely visible clung to of three kinds, pleasurable, etc. that accomplishing duties sensual form Sound inside car of song palatal, labial and voiced musical sounds mild and fierce incantations' Odor diffuse specific three kinds savory foul Tasie sweet astringent salty sour pungent and bitter Tangible of sitting on ' a mat of embracing of kissing of inhalation of copulation COMMENTARY ON THE FORTY NIDANA VERSES 255 IIGAI! gacchann asty indriyas tat tat svayaqi svavi/ayaip pratij ahhdsamatrakam tat tad yad yad indriyagocaram //20// While each and every sense organ is going by itself toward its own sense objcct, whatever be the sense organ and its range, each of them is 'light only' [abhasamatra). Mchan : Each of them is light only* means that both the sense organ and its range (gocara) is merely the combination blissvoid along with the knowledge of the three lights. Cf. Guhyasamajatantra, Chapter XI (2nd half), beginning with text, p. 46, line 12; now text, p. 47, Mchan hgrel, p. 80-1-5: jtrivajrasamayadhyanena trivajraketusamo bhaved ity dha bhagavan ratnaketuvajrahj By the meditation consolidating the three vajras (here: odors—pleasurable, repulsive, and neutral) one would be equal to Three-Diamond Glory (Trivajraketu)'— so says the Lord Ratnaketuvajra. (Threc-Diamond-Glory is hence the Bodhisaltva Khagarbha generated in the nose by a Ratna-Om; compare nidana verse 16 above). (This meditation leads to supernormal faculty regarding odor). Likewise, Sanskrit text, p. 47: "By the meditation consolidating the three vajras here : the three tastes) one would be equal to Three-Diamond-Immcasurablc" (hence the Bodhisattva Lokesvara generated in the tongue by a Dharma Om, and leading to supernormal faculty regarding taste). Following is a summary of the five meditations that lead to supernormal faculty (abhijha) by consolidating the three vajras (Guhyasamaja, XI, p. 46. 12, flf., with corrections in names of the Om's : • Three Vajras of sense objects [i.e. pleasurable, repulsive and neutral) Bodhisattva or Buddha Om by which is generated the abhijha Organ in which it is generated Sound Vajrapani Jnana-Om ear odor Khagarbha Ratna-Om nose taste Lokesvara Dharma-Om tongue tangible Sarvanivarana- Sainaya-Oin body viskambhin (surface) form Vairocanavajra Trikaya-Om eye I 256 YOGA OF THE GUHYASAMAJATANTRA Pradipoddyotana and Mchan hgrel (p. 81.4) : "Previously, by the stage of generation (utpatti-krama) one placcs the seedsyllables and (merely) points to the accomplishment of the five abhijha-s, because the Stage of Completion (sampanna-krama) demonstrates the actual accomplishment." Guhyasamdja, Chaptcr XI, p. 48, and Mchan hgrel (p. 81-4) : paheaiulam mahdvajram pancajtalazibh ufilam pahcasthdnaprayogena pahcabhjhasamo bhavet By the praxis of the five abodes (the objects, form, etc.), the great thunderbolt (mahavajra) (which cannot be warded off) with five prongs (the five sense organs piercing their objects like spears) adorned with five flames (the five ancillary winds proceeding through sense orifices to objects and returning as vehicles of be tantamount to the five abhijha-s vijhana), would Ancillary wind Alternate name and color Passing through which orifice Piercing which sense object Naga rgyu ba, red eye form Kurma rnam par rgyu ba, biue ear sound Krkila yah dag par rgyu ba, yellow nose odor Devadatta rab tu rgyu ba, white tongue taste Dhanaftjaya • nes par rgyu ba, green torso (surface) tangible Note : In the foregoing table the order of the ancillary winds is the traditional order and the same in which they are supposed to arise in the intrauterine states, lunar months 6th through 10th. The five colors are given by Tson-kha-pa, Vol. 159, commentary on Pahcakrama, p. 7-5-5, and ascribed to a precept of Rje-hgos. According to Mchan hgrel on Pradipoddyotana, Chapter XV, verse 125, there is a dream auspice of the mundane siddhi : Isarvdlahkdrasampiiinam surakanyam manoramdml /ddrakam ddrikdm pafyan sa siddhim adhigacchati/j COMMENTARY ON THE FORTY NIDANA VERSES 257 When he sees the delightful daughter of the gods replete with all ornaments, the lad, (or) the maiden, He gains the occult power (siddhi). As lo where one practises those meditations:— Guhyasamiijatantra, Chapter XI, p 48 : /parvatefu viviklffii nadiprasravanefu cat ! (maSSnadifv api kBiyam idam dhyanasamuccayamU The set of meditations is done on lonely mountains, at flowing streams, and in cemeteries, etc. Piadipoddyolana on the above : In hinted meaning (ncyartha), 'lonely mountains' are mountain peaks graced with flowers and fruit;'flowing streams' are glades with flowing streams; 'cemeteries, etc.' means (for the 'etc.') isolated tree, empty house, temple, and so on. (Note that the three main categories go with three kinds of magical practice—a. appeasing deities, b. promoting prosperity, c. destructive magic). In evident meaning (nitartha), the 'lonely' of 'lonely mountains' means free from reliance by other men, and 'mountains' can refer to maternal women. 'Flowing streams' arc frequented by all men, and so arc the dissolute women. Worldly persons are like 'cemeteries', and so these are outeaste women, washerwoman, and so on. (Note that they arc the goddess in three forms : the mythological 'Mother', 'Whore', 'Devouring Earth'). UTAH tattadindriyamiirgena rifayam pripya sadhakah j tathagatebhyas sakalam prinaniya nivedayet //21// While the sadhaka is reaching the sense object by way of this and that sense organ, he should make offering completely satisfying the Tathagatas. Mchan : The verse indicates the secret state of body (kiya-viveka) consisting in contemplating the five sensory objects as the adamantine goddesses (vajrti). Tsoh-kha-pa, "Rnal hbyor dag pahi rim pa," Vol. ICO, p. 91 : "The jurisdictional activity.. . of Rupavajra, etc., is, in the usual order, purifying the longings for form, sound, odor, taste, (tangible); and then bring offerings to the Jinas as the pleasure of form, ctc. Thus, the partite reality of the sems-ma (the vajri)." Mchan hgrel, pp. 55 and 56-1, 2:—For example, when I 258 YOGA OF THE GUHYASAMAJATANTRA reaching the sense object 'forms' by way of the eye, he offers the lady Rupavajra, who is the ndAa-wind, completely satisfying Vairocana. An analogous offering is made in the case of the other sense organs and sense objects, i.e. Sabdavajra to Ratnasambhava Gandhavajra to Amitabha Rasavajra to Amoghasiddhi Sparsavajra to Aksobhya The goddesses arc also referred to as offering flowers in Guhyasamaja, Chapter VIII . p. 33 : padmam pancavidham jiidt'd utpalam ca ricaksanah jatikam trividham krtvd devatdndm nivedayct karnikarasya kusumam mallikdy uthikam tatha karavirasya kusumam dhydtvd piijdm prakalpayet A wise person, knowing the padma and the utpala, of five kinds; and having prepared the three kinds of jdti, should offer them to the gods. Having imagined the Karnikara, Mallika, Yuthika, and Karavira flowers, he should contemplate them as worship. Celu-pa's Samaja-vrtti (p. 185-4) explains that the five lotuses, utpala, etc. are the five goddesses of the senses, Rupavajra, etc.; that the three kinds of jdti are Dharmavajra who pervades the three birthplaces; and that Karnikara is Locana, Mallika is Mamaki, Yuthika is Pandara, and Karavira is Tara. The Pradipoddyotana on Chapter VIII [op. cit.), p. 64-1, explains that the five lotuses have the five colors going with the five Tathagatas, and that jdti is made into three colors. Among those words for flowers, jati is the Jasminutn grandiflower ; Karnikara, flower of Pterosperinum accrifolium (Hibiscus mutablis, with red flowers); Mallika, the Jasminum Zambac; Yuthika, a kind of Jasmine; and Karavira, the Oleander. II. STAGE OF COMPLETION E. haya.dkcitta (Body, Speech, and Mind) In the introductory discussion of the four Tantras, it was pointed out that the Anuttarayoga-tantra is preeminendy inner samadhi. This description is justified by the Stage of Completion, which begins with nidana verse 22. According to Guhyasamajalantra, XVII, p. 142: caityakarma na kurvita na ca pustakavacanam / mandalam naiva kurvita na trhajragravandanam // He should not engage in the rite of caitya, or in the recitation of books; he should not make a mandala, or praise the best of the three diamonds. On the preceding, Pradipoddyotana in Mchan hgrel edition says (PTT, Vol. 158, p. 160-3 : "This refers to the great yogin (Mchan : 'belonging to the Stage of Completion*). Regarding his secret body, speech, and mind :... he should not engage in the rite of caitya (e.g. circumambulation), including (preparation of) the site and (removal of) gravel, etc., because it is not right (Mchan : 'for a person on the Stage of Completion who himself is all Tathagatas') to have craving for caitya-wor-ship; he should not recite books, because it is not right for one who has aroused the spontaneous diamond recitation to lend his voice to a different (recitation); he should not make an external mandala, because when the mandala is one's own body, it is not a case of the (stationary) carth-mandala ; he should not worship the best of diamonds, namely, the Sr&vakas, pratyeka-buddhas (concretely or their images), or the (image of) Samyak-sambuddha, because it violates himself being all Tathagatas (in the steady state of comprehending bliss-void);........" In this phase there is also the practice callcd 'vidyS-vrata' (defined in Appendix III). The authoritative passage is in the Guhyasamajatantra, Chapter XVI : (Mchan hgrel, p. 147-2, 3): kayavikcittauajrunam kuyavtikcittabh&vanam / soar upenaiva tatkaryam evam siddhir avdpyate // 89 // tatredarji svakdyavctkcittavidyavratam / I 260 YOGA OF THE GUHYASAMAJATANTRA jafdmukuladharam bimbam sitavarnanibham mahat / karayet vidhivat sarvani mantrasamvarasa>)wrtam // 90 11 kandamulaphalaih sarvain bhojyam bhaksyarp samiicarct / 94A// The task is the contemplation of a body, spcech, and mind belonging to (i.e. issuing from) the Body-, Speech-, and Mind-diamonds and precisely like one's own appearance. Just so is the siddhi (of Maha-mudra) attained. Herein is the 'vidyavrala' of one's own body, speech, and mind. The Great One, white in color, his (divine) form (of Vairocana) bearing a crown of matted locks, practises everything in ritual manner, restrained by the mantra-vow. By means of bulbs and fruits, he subsists on all food and drink. In Tsori-kha-pa's commentary on the Pahcakramo (PTT, Vol. 159, p. 74-3, 4, 5), there is a lengthy discussion of what is meant by the phrase 'precisely like one's own appearancc'. This is frequently alluded to in Buddhist Tantra sadhanas by the term 'svabha' ('like oneself'). The solution appears to be that the consort is one of the goddesses Locana, ctc. having the same dress as oneself as the yogin of one or another Buddha. The consort is described in that Chapter XVI, verse 91, as the 'sixteen-yeared girl'. The meaning apparently is that the yogin is accompanied by a goddess-consort who has issued from his own body, speech, and mind which have been identified with the Body, Speech, and Mind of the Tathagatas. Tsori-kha-pa explains the phase as 'without prapaftca (nifprapaiica). Turning to the separate treatment of 'kaya', 'vak', and 'citta', according to previous indications the 'arcane body1 as pratyahara and dhydna among the six members of yoga, is treated under the 'Kaya' verses (see Sri Laksmi's comment under 'YA'). In that same Paiicakrama commentary (the "Gsal bahi sgron me"), PTT, Vol. 158, p. 205-4, Tsori-kha-pa continues his discussion of the 'hundred lineages' of 'arcane body' to show how to condense them into 'elements'. Among them, the 20 lineages belonging to the Vairocana-kula, that is, from the lineage of rRpa-skandha up to the lineage ofthe 'tangible diamond goddess', are condensed into the element of earth. Similarly the 20 parts of Ratnasambhava lineage are condensed into the element of water; the 20 of Amitabha lineage, into COMMENTARY ON THE FORTY NIDANA VERSES 261 fire; the 20 of Amoghasiddhi, into wind; and the 20 of Aksobhya lineage into the element of lijitdna. Tson-kha-pa mentions that the classification into five groups is further reduced into three 'secret' families by the method of including Ratnasam-bhava in the kaya-vajra family of Vairocana; Amoghasiddhi in the vSg-vajra family of Amitabha; and the 'sixth Tathagata* Yajradhara in the citta-vajra family of Aksobhya. The three families considered as three vajras when taken as indivisible, yield the sixth adhideva Vajradhara, which is the ultimate of kSyaviveka ('arcane body'). The 'arcane speech' as pranayama, third of the six members, is included in 'YAK.'. Nagarjuna starts his five stages here, with 'diamond muttering' (vajrajSpa). The praxis which begins with YAK is stated succinctly by Tsoh-kha-pa in his commentary on the Yajrajhanasamuccaya, Vol. 160, p. 159-3: "The generality in that regard is that the means of generating the three knowledges (j liana) has the inner (subjective) condition of contemplating prdnayama and the outer (objective) condition of resort to a mudra ('seal', partner)." He explains the first as the three kinds of pranayama based on three differently located bindus (sec under VAK), and the second as the generation of the four 'joys' (sec under VA, verse 30). Therefore, the goddess companion previously mentioned in connection with 'vidyavrata' has the function of helping the yogin generate the four 'joys'. The 'arcane mind' as dharana, the fourth member, is included in CIT-TA. Nag.irjuna's system is more explicit, because it allows a whole krama, the 'purification of consciousness' {ciltaviSuddhi), for CIT—the three light stages; and another whole krama, the 'personal blessing' (svadhifthana), for TA— entrance of the illusory body into the Clear Light. II KA H kiiyatrayam samuddiffaqi prthagbhavena tayina / ekakiiram pimar yali nifpannakramayogatah 11 22 // The Protector (i.e. the Buddha) well taught the three Bodies as being different. Moreover, their unity occurs through the yoga of nifpanna-krama. Mchan : (When the three bodies are taught to be different, they arc.:) (I) Dharmakaya associated in the Clear Light (of Death) with a goddess; (2) Sambhogakaya generated from the five abhisambodhi as the 'primeval lord' (adinalha); I 262 YOGA OF THE GUHYASAMAJATANTRA (3) the latter converted into the Nirmanakaya. This is taught in the Stage of Generation. Mchan: In the basic time, the unity occurs through accomplishing the primordial body adideha from wind-and-mind-only belonging to the Clear Light of death. Accordingly, in the time of the path, there is the sccrct of samvrti-mdyd- accomplishing the illusory body from wind-and-mind-only belonging to the Symbolic Clear Light [dpehi Imd gsal). Mchan-. In the case ofthe first krama the Stage of Generation , there is only a mental orientation to conviction, but the path is lacking because there is no yoga of the three bodies. In the case of the second krama. by yoga unifying the three bodies it is not a matter of figments of imagination. These remarks apply respectively to the two foregoing passages of Mchan annotation). This niddna verse ('KA' ; and the next one YA' continue and conclude the 'arcane body' (kaya;-i;cka) ofthe foregoing Stage of Generation. According to the Pradipoddyolana on XII, 60-64, and its Mchan hgrcl ('Documents' . the kind of 'arcane body' is called 'purification afterwards obtained'. This, then, is the reflex in the Stage of Completion of the preceding praxis. Hence the commentators are allowed the latitude of using the verse 'KA' and 'YA' to compare the two stages in the matter of the innate body, which is the basis of the present praxis rather than the coarse body seen by the eye of flesh. 'KA' can be understood as pratydhdra 'Withdrawal' . the first member. To show the continuity of the Stage of Generation into the Stage of Completion, Paiicakrama, 2nd krama, 48-50; Sri Laksmi, Vol. 63, p. 27-5, ff., has the following: citlam cram svayant palyct svam eva SaSibimbavat atha candram samdlambya vajracihnam prakalpayet updyas iicakam hy rlad vajradyutpattiyogindm candravajradisamyvgdc ciltacailasasamgama h prajhopayasamdyogaj jdyate devatakrtih caturmudrabhir dmudrya devatdgarvam udvahan He should so regard his own mind as itself like a moon-reflection; then, lie should imagine the vajra-sign taking its support on the moon. The (five)-pronged upaya belongs to the) ogins of (the Stage of) Generation of the vajra, ctc. From the Generation union COMMENTARY ON THE FORTY NIDANA VERSES 263 of the vajra, etc. and the moon there (results) the Completion combination of cilia ( - prajna) and cailasa ( = updya). From the union of prajna and upaya there arises the configuration of deity,—scaling with four seals, conveying divine pride. The meaning of 'vajra, etc.' is shown under nidSna verse 18, referring back to the six signs listed in the Akfobhya-mandala. Hence the above verses show the continuation of the Maha-sadhana phase of the Stage of Generation into the outset of the Stage of Completion. It is this union of prajna and upaya that unifies the three Bodies, according to Guhyasamdjatantra, IX, p. 36; Pradipodd-votana and Mchan hgrel, PTT. Vol. 158, p. 68-1 : dvayendriyaprayogena sarvams tan upabhuhjayet / idam tat sarvavajranam trikaydbhedyabhavanam // By the union of the two organs (that of vajra and of padma), he would enjoy all those (goddesses). This contemplation of the inseparable three Bodies (Dharma-, Sam-bhoga-, and Nirmana-kaya) belongs to all 'vajras' (sddhakas of Buddhahood). Furthermore, the Pradipoddyotana explanation of pratydhdra ('Documents') brings in the three kinds of each sense object, and so in turn, according to earlier explanations, is consistent with Pah-cakrama, 2nd krama, verse 37; Sri Laksmi, Vol. 63, p. 26-5 : ragaS caiva virdgaS ca dvayor antar ili trayam / dvindriyasya samapattya vajrapadmasamdgamdt // Desire ( = thc middle knowledge), aversion (-the first knowledge), and 'between the two' (the combination of the prior two)—are the three, (as symbolized) by union of the two organs and by combination of vajra and padma. But what is the meaning of having a mudrd or partner in this case ? Tsoh-kha-pa writes in his commentary on the Calur-devipariprccha (Lhasa cd., Vol. Ca, Biis ius, f. 25a-6) : I dgoiis pa luh ston las I I hdu Ses can dan hdu Ses med [ I sems can du b (r)tags hdi gnas pa / de rnams rlun las byuh ba ste I I rlun las slar yah hgag pa yin / ies gsuns so / gnis pa ni I I rlun dan sems kyis mohi gzugs dan phohi gzugs sprul nas gnas palii lhabs Ses mham par sbyor ba/ii rnal hbyor pa rnams la ni phyag rgya de hid bbe ba chen pohi go hphah mchog filhob pahi gnas su hgyur te / Mia I 26 YOGA OF THE GUHYASAMAJATANTRA It is expressed in the Samdhivydkarana (in fact. Chapter II, p. 236-1): "Those with iliis abode who arc imagined as ideational and non-idcational sentient beings, arise from wind and again pass away in the wind." Second : the yogins who by wind and tnind -only materialize the form of female and the form of male, and unite the means (upaya) and insight (prajiid) with abode, have as the abode that very mudrd which achieves the best station of great ecstasy (mahdsukha). Also, the resort to a partner points to a celebrated verse of the Paiicakrama, 2nd krama, verse 36: Sri Laksmi, Vol. 63, p. 26-3,4: sarvasdm tva mdyanam strimayaiva vi Hyatt / jiidnatrayaprabhcdo ;'yam sphutam alraiva lak,\yate // Of all illusions (mayd), the illusion of woman is supreme; just here the variety of three gnoses is differentiated clearly. According to Sri Laksmi, the verse conccrns differentiation of the three gnoses by sequence of 'partner' (mudrd) (phyag rgyalii rim pas) as contrasted with the differentiation by sequence of 'incantation' (manha) shags kyi rim pas . According lo Sri Laksmi, 'just here' (alraiva) means, according to the precepts (man nag)—in the time of the Secret Initiation (guhya-abhifeka), when the disciple is conferred the prajha by the guru 'Ses rab kyi dbah gi dus su bla mas ses rab sbyin pahi slob ma. . ..). First, the bodhicitta drips down from the brahmarandhra aperture in crown of the head); and, with non-apperception of the thirty-three prakrtis, there is an instant of the gnosis of Light, pure like moon-rays. Next, that bodhicitta pervades the elements (dhatu) of all the limbs ; and with non-apperception of the forty prakrtis, there arises the gnosis Sprcad-of-Light, like sunrays. Then, that bodhicitta, spreads to the 'tip', the center of the vajra (rdo rjehi dbus ma 1 rtse mor. ..) in the male, the root of the penis); and with non-apperception of the seven piakrtis, there arises the gnosis Culmination-of-Light, like twilight. Hence the word 'clearly' (sphutam) in the verse line, "Just here the variety of three gnoses is differentiated clearly." This graphic description by Sri Laksmi clarifies the Initiation in the conventional bodhicitta-mandala. According to the discussion under niddna verse 15 of the 'subtle contemplation of the lower orifice', when the bodhicitta arrives at the tip of the vajra' it is COMMENTARY ON THE FORTY NIDANA VERSES 265 in the 'lotus of the woman', which is the "woman' always in that spot of the yogin. However, according to Sri Laksmi, it is precisely here that arises the androgyne Culmination-of-Light, which is the 'dark light'. When the bodhicitta is in that spot, presumably that place is what is callcd the 'place of androgynes'. And if the preceding is not sufficiently mysterious, note the Guhyasamdjatantra, XVII, p. 141: dvayendriyaprayogena svaSukrddipaiigrahaih / pujayet vidhivat sarvdn buddhabodhim avdpnuydt // By the union of the two organs, and by conceiving their Sukra, ctc. ('etc.' rakta, etc.), one should worship all (the Buddhas) according to the rules, and may attain the enlightenment of the Buddhas. On the preceding, Pradipoddyotana, Mchan-hgrel ed., Vol. 158, p. 159-4, explains: This is the secret worship of the Body, Speech, and Mind of all the Tathagatas (sarvatathagata-kayavakcittapujdrahasya). The verse says, 'by the union of the two organs,' 'meaning, by the union of diamond (vajra) and lotus (padma) Mchan : through the realm of dcific brightness of 'Father-Mother,' yab yum gyis lhar gsal bahi nan nas). The verse says, 'by conceiving their Sukra, etc.', means that one conceives his own semen and the partner's (vidyd's) menstrual blood (rakta) becoming transformed into the (intrauterine) states mer-mer-po, etc. Mchan: the five states of the womb, which are the five progenitors - Tathagatas, and then giving birth to a son, nephew, etc.. which one protects, nourishes, and so on, according to the rules. Thereby one worships and obtains.) Having been brought into existence, they (the Tathagatas) are made to lose their individual life. They are said to have been engendered by sexual union and finally killed. This is the message of Chapter VII, context of verse 33, here translated from corrected Sanskrit with the help of Pradipoddyotana and Mchan hgrel, p. 59. tatra katham samayanusmrtibhdvand ? / samaydt kfarenduvidhina lidhivat phalakamkfinah / I marayet tathagatam vyuham sutardm siddhim apnuyat 11 And what is the contemplation with recollection of the union? In the manner of the rite of overflowing drop from the I 266 YOGA OF THE GUHYASAMAJATANTRA union, after desiring the fruit according to the rules, one should kill the Tathagata array and obtain the highest siddhi. According to the Pradipoddyotana, the diverse deities by the sequence of re-unification arc drawn into the Paramartha-mandala. But that union of prajha and upaya is not the union of the two sex organs. Indrabhuti writes in his Jhanasiddhi (GOS ed., p. 57): sukham dvindriyajam kecit tattvam ahur naradhamah tac cSpi mahasukham nail am pravadanti jinottamah pratityotpadasambh utatn na tattvam jayate kvacit / Some vile men say that the pleasure born from the two (sex) organs is reality (tattva). But the Buddhas deny that it is Mahasukha. Nothing engendered in Dependent Origination is reality. Along the same lines, it is said in the Hevajratantra (I, x, 40c-d; 41a-c): jtasmat saukhyam na tattvakhyam mahabhutam yatah sukham / I sahajatyam yad utpannam sahajarti tat prakirtitam I svabhavam sahajam proktam... Whenever pleasure is of the Mahabhuta sort (i.e. derived from the four elements), then the pleasure is not called 'reality'. Whatever (pleasure) arises in 'together-birth', that is called 'together-born'. The self-existent kind is said to be 'together-born'. The Shags rim chen mo, f. 288a-2., quotes the fifth mahjari of Abha-yakaragupta's Amnaya-mahjari : "Thus, the reality arising from the 'together-born' (pleasure)is the bodhicitta that is the inseparability of voidness (Sunyata) and compassion [[[karuna]])" (/de ltar lhan cig skyes pa las byun bahi de kho na ftid byari chub kyi sems ston pa ftid dan sftin rje dbyer mcd paho /). That terminology which seems to imply an external consort of a woman, and yet which is denied to so intend, is partially explained by Tson-kha-pa in his Pahcakrama commentary "Gsal batii sgron me" (PTT, Vol. 159, p. 77-4) : I phyag rgyahi khyad par ni spyod bsdus las / dc bas na phyi rol gyi bud med spans nas sftin khar gnas pahi ye ies kyi phyag rgya dan lha cig sftoms par hjug nas sin tu myur bar rdo rje hchari thob par Lbyaho snant du dmigs COMMENTARY ON THE FORTY NIDANA VERSES 267 tc I gcig pu kho nar spyocl pa bya bar gsuns pahi ye Scs kyi phyag rgyaho / The superior mudrS is the jhiinamudrS ('knowledge consort') referred to in the Caryiimeltlpaka (-pradlpa), when it says : Therefore, he bears in mind, that spurning an external woman and entering into union with the Jikanamudra located in the heart, he will speedily attain (the rank of) Vajradhara; so he is to practise in complete solitude. Mchan: Concerning that (unifying) path, the phase in which it occurs is now stated : ). I - )iit satyam samvrtih proktam buddhanam kayatakfanam / sa efo nifpannayoga(h) syat prabhasiaraviSuddheh //23// Whatever body characteristic of the Buddhas has been stated to be 'conventional truth' (samvrti-satya), the nifpannayoga would be it through purification in the Clear Light. Mchan: 'Whatever body characteristic' means:—body ornamented with the major characteristics and minor marks of Yajradhara. 'Stated to be conventional truth' means: — stated as the illusory body m!i\a-deha . That 'ni>par.nayoga' means: — that yoga unifying the three bodies, of the Stage of Completion (sarppanna-krama - ni^panna-krama. There arc two kinds of nuha to be considered in this case. The following passage < Unties that niddna verse 23 refers to the first kind of maya. Pahcakrama, 3rd ver«'» 2'>-27 with emendations); Sri Laksmi, Vol. 63, p. 38-4. 3 : iyam cva hi santlak.iyd m <i van irdtsatakfana / mayaiva samvrteh satyam kayah sambhogasyapi ca // saiia gandhanasattiah syad rajrakayah sa eia hi / cajrasattiah srayam tasmdt svasya pujam pravarlayct // For the characteristic describing maya is precisely a thing to be differentiated : that very maya as the truth of con- vention, and as the Body of Sambhoga. That very mava could be a gandhari asattia. as well as the 'diamond IKXIV' (vajra-kaya) . Therefore. Yajrasattva prompts by himself his own worship. Sri Laksmi (pp. 38-5 to 39-1 : Vajrasattva, being all the I 268 YOGA OF THE GUHYASAMAJATANTRA Buddhas, worships himself when those Buddhas honor him. "The worship (pOja) is to be conducted with pratydhdra and dhyana, and not with any other stages" (mchod pa ni yah so sor sdud pa dan / bsam gtan dag gis bya ba yin te / rim pa g2an gyis bya ni ma yin no). Tson-kha-pa discusses the differentiation of these two kinds of Wldya in his Mthah gcod on Chapter One (PTT, Vol. 156, p. 26-4, 5); and to get the point one should refer back to the table in our section 'The Two Stages,...'. On the line 'Intermediate State' under 'Time of the Path' there is Illusory Body and Yuganaddha-deha. The Illusory Body as the 'truth of convention' (samvrti-satya) is that 'gandharvasattva': and the Yuganaddha-deha as the Sambhogakaya is that 'diamond body'. In the first case, the state of 'maya' lacks the 'precepts' of skill in the means (thabs la mkhas pahi man nag) and so in the condition of gandharvasattva is headed for rebirth, i.e. rcoccupa-tion of five personality aggregates in the ordinary way. In the second case, the 'maya' is attended with the precepts of skill in the means involving the winds and mind-only, and so the diamond body can appear in the world as a Nirmanakaya. An important point about the terminology is that the illusory body can be called the diamond body when there is present the precepts of skill in managing the situation. Concerning the major characteristics and minor marks, I abstract these, with the latter commenting on the former— drawn originally from Sakyamitra's Kosalalamkara—as presented in my article "Thirty-two Characteristics of the Great Person," in most cases omitting the presumed original Sanskrit terms in the following: Associated with the characteristics (lakfana) 'each hair ofthe head curled to the right' (ekaikakeia pradaksinavarta) and 'having a proof of authority on the head' (ufnifa Siraskata) are the twelve secondary distinctions (anuuyahjana): head umbrellashaped, curly tips on the head hair, hair of head thick, hair of head black, hair of head fragrant, hair of head not disordered, hair of head not shaggy-, hair of head lovely, hair of head soft, hair of head glossy, hair of head regular, hair of head appearing like bees. Associated with the characteristic 'treasure of hair' (urnd-koia) are the eight secondary distinctions: forehead large, COMMENTARY ON THE FORTY NIDANA VERSES 269 forehead unwrinkled, eve-brows black, eye-brows like bows, eye-brows long, eye-brows of uniform hair, eye-brows of equal width ?), nose prominent. Associated with the characteristics 'eyes dark blue' and 'eye-lashes bovine', arc the five secondary distinctions : eyes as though smiling, eyes large, eyes clear, eyes long, eyes pure. Associated with the characteristic 'jaws leonine' arc the secondary distinctions : ears uniform, car flaps thick and long. Associated with the seven characteristics 'tongue long and slender', 'voice pure', 'teeth very white', 'teeth without gaps', 'teeth 40 in number', 'teeth equal in size', and 'taste perfect' are the six secondary distinctions : face sweet-smelling, face leonine, lips red like the Bimba fruit, eye-teeth regular, eyeteeth sharp, disk of face circular and broad. Associated with the characteristic 'shoulders gently curved' is the secondary distinction : throat like the neck of a flask. Associated with the eight characteristics 'standing, not bending himself, 'hands which hang low', 'skin dclicate', 'skin of golden hue', 'upper part of body leonine', 'broad-shouldered,' 'rounded like a Banyan tree", and 'seven mounds on his body', are the eighteen secondary distinctions : veins not showing, joints not showing, joints as strong as those of Xaravana, body clean, body not crooked, body regular, body well-rounded, body smooth, members and limbs well-proportioned, body well-controiled. body soft, whose signs arc consummated, abdomen well-rounded, abdomen without folds, belly slender, abdomen as though polished, body devoid of freckles or dark spots, ever beautiful. Associated with the characteristic 'secret of privities drawn into a recess' arc the three secondary distinctions: navel deep, navel well-rounded, recess of navel filled-up. Associated with the characteristic 'legs like those of an antelope' is the secondary distinction, knee-caps well-rounded and beautiful. Associated with the characteristic 'each hair of body turning to the right side' is the secondary distinction, each hair pore emitting delightful perfume. I 270 YOGA OF THE GUHYASAMAJATANTRA Associated with the characteristic 'fingers and toes long' are the six secondary distinctions: nails elevated, nails copper-coloured, nails smooth, fingers and toes well-rounded, fingers and toes full, fingers and toes regular. Associated with the six characteristics 'hands and feet marked by a wheel rim', 'feet well-planted', hands and feet soft and tender", 'webs joining the lingers and toes on his hands and feet', 'heels broad', and 'ankle joints inconspicuous', arc the seventeen secondary distinctions : lines in the hands non-intermittent, lines in the hands alike, lines in the hands deep, lines in the hands not crooked, lines in the hands glossy, palms and soles red like coppcr; on his hands, the lion's scat (sirjihdsana), fish (mina), banner of victory (•dhvaja), thunderbolt (vajra), the hook (arikuia), the flask (,kalaSa), the N'andya-vartta, the Srivatsa, the conch shell (afikha), the lotus (padma), and the Svastika. It is obvious that the characteristics and secondary distinctions (minor marks) as presented by Sakyamitra are ordered by starting from the top of the head and proceeding down to the legs, and showing last of all the pores, hands and feet. His minor marks go with a static figure and appear to suit the Buddha as a great yogin. I/VAKI! vdkpathasyaiva : if ayah kiyo jhanam-iyah prabhuh sarvasattvahituc capa drfyate Sakraciipavat 24 ' 'The speech-path's topic, (namely) the Lord — the body made of knowledge — is seen like a rainbow, as well as apart from the benefit of all sentient beings. Mchan : 'The speech-path's topic' means : - the topics of 'illusion' (miyd), etc. conveyed to the disciple. . . .Those remarks teach the 'illusory body' 'maya-dchn ; to be the body of Vajra-dhara, a rainbow body — the body of knowledge born from wind-and-mind-only of the Clear light. In regard to the words 'as well as apart' (ca-apa), which were not translated into Tibetan, cf. Guhyasamaja, Chaptcr XVII, p. 134; Mchan hgrel, p. 153-5: soabhdvaSuddhanairutmye dharmadhiituniralaye kalpanS vajrasambhuta glya/e na ca giyale ji The imagination arisen from the vajra (of Body, Speech, and Mind) expresses in the ease of the selflessness ( Clear Light) of the intrinsically pure (moving and stationary COMMENTARY ON THE FORTY NIDANA VERSES 271 life), and also does not express in the case ofthe full womb of dharmadhatu (with the vajra of bodhicitta). Pradipoddyotana and Mchan hgrel: — 'expresses' because it can appear like a rainbow, then teach the dharma; 'does not express' because discursive analysis does not reach reality. The above appears to explain the two alternatives of verse 24, to wit: (1) 'seen like a rainbow,' and (2) 'apart from the benefit'. Furthermore, since the 'illusory body' when purified in the Clear Light is the Sambhoga-kaya located in, or made to correspond to, the 'speech center' of the throat, verse 24 alludes to this by saying "the speech-path's topic, (namely) the Lord." The Guhyasamdjatantra, Chapter III, has two celebrated mantras which point to the rainbow body of Vajradhara. The first (III, p. 14) begins the chapter : atha bhagavan kayavakcittavajras tathagatah sarvatatha-gata-spharanameghavyuham nama samadhim sama-padyedam vajravyuham nama samadhipatalam udaja-hara / II om SCxyatajxA.xavajrasvabhavatmako 'HAM II Then the Bhagavat, 'Diamond of Body, Speech, and Mind', the Tathagata, immersing himself in the samadhi called 'array of clouds with the vibration of all the Tatha-gatas,' proclaimed this samadhi-mass named 'diamond array': "Om. I am the intrinsic nature of the knowledge diamond of voidness 1" The second (II, p. 15) runs as follows : atha bhagavan kayavakcittavajras tathagatah dharma-dhatusvabhavavajram nama samadhim samapadyedam kayavakcittadhisthanamantram udajahara / II OM DHARMADHATUSVABHAVATMAKO 'HAM // Then, the Bhagavat, 'Diamond of Body, Speech, and Mind', the Tathagata, immersing himself in the samadhi named 'intrinsic-nature diamond of the dharmadhatu ( = Clear Light)' proclaimed this mantra which blesses the body, speech, and mind : "Om. I am the intrinsic nature of the Dharmadhatu 1" In the 'evident meaning' (nitartha) interpretation of the Pradipo- I 272 YOGA OF THE GUHYASAMAJATANTRA ddyolana, both mantras incorporate the five Tathagatas and a sixth Buddha; in the former case, identified with the five winds by name, and the sixth (Aham) identified with Vajrasattva, who is the incessant bindtt of the heart .Mchan hgrel p. 35-4); in the latter case, identified with the five winds by the colors, constituting the rainbow of the verse. 'YAK.', and the sixth, (Aham) identified with Vajradhara, as the gnosis of the Supreme Entity. In illustration let me translate the second mantra, according to nitartha {Pradipoddyotana, Mchan hgrel edition PTT, Vol. 158, p. 36-2): Then the Bhagavat,'Diamond of Body, Speech and Mind' ( = Vajradhara), the Tathagata, immersing, himself in the samadhi (gazing at the Clear Light) named 'intrinsic nature diamond of the dharmadhalu ( Clear Light) proclaimed this mantra which blesses the body, speech, and mind : OM—(Vairocana as a blue-rayed wind serving as the mount of the gnosis of the Clear Light of the [Absolute] Object). DHARMA— (Ratnasambhava, as a yellow-rayed wind . DHATU—(Amitabha, as a red-rayed wind). SVABHAVA— (Amoghasiddhi, as a green-rayed wind). ATMAKO—(Aksobhya, as a white-rayed wind). AHAM—(Vajradhara, that gnosis itself of the Clear Light of the [Absolute] Objcct . Mchan hgrel on the preceding : "This mantra expresses both the gnosis of the Clear Light of the Absolute Objcct and the five rays of wind which arc its mount." Since 'VAK' refers in the praxis to the 'diamond muttering' a brief indication is given now about that. Mchan hgrel, p. 51-4-1, on Chapter Six ('Documents'), mentions that verses 15-18 concern the subtle yoga of the Stage of Completion, of which verse 15 is here repeated with Sanskrit : nilotpaladaldkdrain pahcaiiilam ; iituitah yavamalram prayatnena ndsikagre vie inlayet He should imagine with perseverance at the lip of his nose a five-pronged (thunderbolt) appearing like a blue lotus petal and in the advanced degree the size of a tiny-barley grain. The Pradipoddyotana and Mchan hgrel clarify that the tip of the COMMENTARY ON THE FORTY NIDANA VERSES 273 nose (among the three possible ones in the Stage of Completion) here meant is the one in the sacral place, now identified as the'tip of the gem', i.e. the root of the penis (the svadhi- sthana-cakra of the Hindu tantras). And in the advanced degree (viSefatafi), he reduces the lotus to the size of a tiny barley grain. According to verse 16, the yogin then imagines the red eight-petalled lotus of that cakra, no bigger than a chickpea, which is the lotus of the yogin's 'woman', his own dharmo-daya ('source of dharmas'). Verse 17 mentions the still more subtle contemplation of a wheel therein. Finally (verse 18), the yogin can draw forth the 'Dharma word marked with body, speech, and mind,' consistent with the nidana verse 'VAK'. The theory that the yogin's 'woman' is found at the base «of the penis seems parallel with the womb in the woman found at the end of the vaginal tube. The Buddhist Anuttarayoga-tantra seems concerned with the symbolism of that base in the male and that womb in the woman rather than with what respectively leads up to them. llCITII cittam caitasikavidyii prajmpiiyopalabdhikan. / SunyatiSunyamahasunyam iti capi pragiyatc //25// Thought {citta), thought derivative (caitasika), and ncsciencc (avidya) are also callcd respectively, Insight (prajha), Means {upaya), Culmination (upalabdhika); as well as Void (Siinya), Further Void (atiSBnya), and Great Void ynahaiunya). Pancakrama, 2nd krama. 7 : alokai iiinyam prajna ca cittam ca paratantrakam / Light is Void, is Insight, is thought, is dependence (paratantra). Ibid., 2nd krama, 15 : alokabhasam ity uktam aliiunyam upayakam / parikalpitam tatha proktam proktam caitasikam tathS // Spread-of-Light is Further Void, is Means, also called 'imagination' (parikalpita) and callcd 'thoughtderivative'. Ibid., 2nd krama. 23 : alokasyopalabdhil ca upalabdham tathaiva ca / parinifpannakam caiva avidyd caiva namatah 11 The Culmination-of-Light, likewise 'the culminated' also named 'perfection' {parinifpannaka) as well as 'nescience' (avidya). I 27 YOGA OF THE GUHYASAMAJATANTRA Tson-kha-pa's commentary on Pancakrama, Vol. 159, p. 31-2 Synonymous terms for the Three Lights: ... those three (i.e. prajna, upaya, and avidya); the three cilia, manas, vijndna; the three, parikalpita, paratantra, parinifpanna; the three, hatred, lust, delusion; and the three svabhavas. Among those, updya is Spread-of-Light, prajha is Light, the combination of those two as hermaphrodite (or androgyne) is Culmination-of-Light. Among the two, ecstasy and void, 'Light' is the preponderance of void mentality (buddhi); 'Spread-of-Light' the reverse thereof; 'Culmination-of-Light' those two (ecstasy and void) in equal parts. <Tsori-kha-pa's commentary on the Pancakrama callcd "Gsal bahi sgron me" (PTT, Vol. 199, p. 31-4) faces the prob- lem of why the three lights have as synonyms the terms pari' kalpita, paralanlra, and parinifpanna (which are the well-known three svabhavas or three lakfanas of Yogacara terminology). The following explanation may have been developed in Tibctau traditions : I rim lna las / snan ba gian dbah dah / mched pa kun brtags dah / fier thob la yons grub tu gsuhs la / de ltar bsad pa ni gzun hdzin gnis rgyarts ched du snan bahi snan gii ni gian dbah dah / dc ltar snan ba la brten nas gsun hdzin rjes tha dad par sgro btags pa kun brtags dah I hgyur ba med pahi yons grub mnon du byas pahi dor I kun brtags dah g his snan gftis kas dben pa biin du ston pa rnams kyi thog mahi gii snan ba dah / de la brtcn nas mched pa hbyuh ba dah / tier thob kyi tsho sna ma gfiis ka log nas thobs ses gnis ka log nas thabs Ses gfiis ka log nas thabs Ses mfiam par hjug pahi chos mthun la brten nas yin nam sftam stc dpyad par byaho / The Pancakrama says (respectively at II, 7; II, 15; and II, 23) that Light is paratantra ('dependent'), Sprcad-of-Light is parikalpita ('imaginary'), and Culmination-of-Light isparini}pannaka ('perfect'). One should ponder whether this is the explanation: The basic Light which shines when severing the distance between the thing perceived and the perceiver is 'dependent'. Having in that way taken recourse to Light, the subsequent difFcrcnce between, and affirmation of thing perceived and perceiver, COMMENTARY ON THE FORTY NIDANA VERSES 275 is 'imaginary*. The casting away of the two lights— 'imaginary' and the other light—has incessant 'perfect' immediacy. Therefore, according to the particular secret state: — Light is the initial basis of the voids; on that basis Spread-of-Light arises; and at the time of Culmination-of-Light, having averted the former two— i.e. having averted both 'means' and 'insight', one takes recourse to the common dharma of uniting 'means' and 'insight'. The three lights constitute the fourth of the five signs presented in the Guhyasamaja, Chapter XVIII and included in Candrakirti's comments ('Documents', PART ONE). The first sign, a mirage, manifests through dissolution of earth into water. The second, smoke, through dissolution of water into fire. The third, fire-flies, through dissolution of fire into wind. The fourth, a changeable lamp, through dissolution of wind into the three lights. Through sequential dissolution of the three lights, there is the fifth sign, the Clear Light like a cloudless sky. Vitapada, in his commentary Suhusuma-nama-diikrama-tattva-hhavana-mukhagama-vrlli (PTT, Vol. 65, p. 58-4, 5) explains the signs in accordance with the preceding pianayama involving the bindu: Now, what happens at first when that yogin turns back his discursive thought ikalpa) ? He should know that at first there is the sign which is a manifestation like a mirage. One should understand that phase this way: the rays from that bindu have a pattern both bright and not bright, appearing like a mirage. This is an illusory appcarancc allowed in one's stream of consciousness that should be warded off, because one is attached to it if he has the pride of thinking that he knows the sign. The same applies to the others. It is like smoke when brighter than the mirage, while lacking colors such as green, white, and so on. The 'fireflies' or lights in space, are brighter than the smoke and of different type. The sign 'shining like a lamp' is superior to the fireflies and of different type. Those are seen in the manner of rays, with each one brighter than the preceding one. Concerning the phrase, "like the meaning of non-duality of the profound and the bright," the body is considered to be like smoke, I 276 YOGA OF THE GUHYASAMAJATANTRA becausc it is not genuine. Moreover, what is the manifestation ? "Bright like a cloudless sky" means a cloudless sky that manifests with special brilliance. The above shows the difference between the 'Arya' and the •Buddhajfianap.ida' schools of the Guhyasamaja. The 'Arya' tradition understands the mystic signs to be related to sequential dissolution of the elements, and takes the fourth sign 'shining like a lamp, to stand for three light stages. The other tradition explains the signs as resulting from contemplation of the bindu, does not relate them to the elements, and does not subdivide the sign 'shining like a lamp'. A remarkable ability to describe the praxis is found in Arya-deva's CatySmclapaka-pradipa (quoted in Tson-kha-pa's Shags rim chen mo, f. 456b-4), where we read a most lucid statement of the sequence: I spyod bsdus las / /de nas skye ba gcig nas gcig tu goms pas bdag med pahi chos la bslabs pas rnam par dag pahi sbyor ba khon du chud nas rah b fin gyi snah ba dah gcig tu hdre bar bya stc rim pa hdts don dam pahi bden pa la dmigs par byaho / dehi rim pa hdi yin te phuh po la sogs pa ni khams phra ba la giug go / khams phra ba ni yah sems la giug go / sems ni yah sems pa la giug go / sems pa ni yah ma rig pa la giug ste dc ltar spyad nas gflid log par byed do / de la dus hdir ni scms dah sems pa ma rig pa la rab tu fugs pahi skad cig la dran pa brjod paho / phyis ni brjod pa yah mcd pahi ye ses kyi ho bo ftid ni hod gsal baho / yah grol ba na rluh gi rah biin rfted de gan gi tshe rmi lam gian dag hbyuh ba na ji srid du rnam par Scs pa mi gYo ba de srid du gftid log nas hod gsal ba la blta ste / de ni so sor rah g is rig pa lus dah hag dah bral balii don dam pahi bden pa nan gi mnon par by ah chub pa ies byaho / ies gsuns tc... Then, by meditative repetition from one life to the next, and by training in the self-less natures, he comcs to fully understand the right praxis: how to mix together with the Light of intrinsic nature; how to visualize the Supreme Truth (paramartha-satya) by this sequence. The sequence of it, is as follows : The personality aggregates (skandha) and so on, should be merged into the subtle clement (*sOkfma-dhdtu) (i.e. wind); the subtle element, in turn, COMMENTARY ON THE FORTY NIDANA VERSES 277 merged into consciousness (citta); consciousness, in turn, merged into mentals (caitta); mentals, in turn, merged into nescience (avidyS); and so practising he creates deep sleep (sufupti). Now, in this life, he expresses the truth at the instant when citta and caitta are absorbed in avidyi. At the next instant there is the Clear Light with the intrinsic nature of the inexpressible gnosis. Even when it is released, he has attained the intrinsic nature of wind; and at whatever time other dreams occur, then as long as his perception (vijnana) is immobile (acala) i.e. one-pointed, in samadhi, the deep sleep (sufupti) (is also present) and he sees the Clear Light. That introspection is called 'inner revelation of the Supreme Truth that is free from Body and Speech'. The meaning of this remarkable passage is exposed in Tsori-kha-pa's commentary on the 'Six Laws of Naro-pa' (PTT, Vol. 161, pp. 7-8 and p. 12). Here we learn a distinction between the Clear Light of the waking state (jagrat-prabhasvara) and the Clear Light of deep sleep (sufiipti-prabhasvara). The waking state Clear Light is also distinguished as subjective (vifayin), the Jnana-Dharmakaya, and the objective (vifaya), the unconstructed (asamskrta) Dharmakaya. The subjective type I understand by former terminology as 'Clear Light of True Mind' or Symbolic Clear Light of three gnoses or Jftana lights, namely, Light, Spread of Light, and Culmination of Light, referred to by Aryadeva as, respectively, citta, caitta, and avidya). The objective type is the Clear Light of the Absolute Entity. The Clear Light of deep sleep is similarly distinguished into the subjective deep sleep which is heavy [hthugpo) or light (srab mo), 'lost' (iiams) (to memory) or 'comprehended' (rtogs pa), and the objective 'ground' (g';i) Clear Light of death. In the waking state category is the 'son Clear Light' contemplated with praxis of 'bliss-void' (sukha-i unya) (bde ston sbyoryin bsgoms pahi buhi hod gsal) which is the Clear Light of the path. In the deep sleep category is the 'mother Clear Light' which is the 'ground' Clear Light of death (giihi hchi bahi hod gsal ni mahi hod gsal). As I understand this yoga praxis, the intention is to make the 'son' Clear Light break through to subjective waking state, and to make the 'mother' Clear Light break through to subjective deep sleep (sufupti) as a samadhi. Then the yogin should I 278 YOGA OF THE GUHYASAMAJATANTRA be capablc of mixing the 'mother" and 'son' Clear Lights (hod gsal ma bu ghis bsre /hub pa). All the preceding appears to be intended in Aryadcva's passage. Further details of the process are sketched in C. C. Chang's Teachings of Tibetan Toga, pp. 94-104. A fuller treatment is found in Tson-kha-pa's Mthah gcod on chaptcr seven FIT, Vol. 156, p. 45 )and in his Don gsal ba on the Guhyasamaja PTT Vol. 160, pp. 146 and 147 . This exposition by Tson-kha-pa, of the dharana-aiiga is based on the Samdhindkarana and Ptadi-poddyotana on Chapter VII. the Vajramala and its commentary by Alamkakalasa, and Aryadeva's Caryumelabaka-pradipa. Previously, under nidana verse 4, a passage was quoted from Nagarjuna's Pindikrla-sddhana 43-44A , which in fact stems from the Vajramala. The theory is to draw the 5 5 =25 entities into the Clear Light as the paramartha-mandala. There are five each of skandhas, dhalus, indriyas, vifayas, and jhanas. The first group to dissolve is of course the one with earth clement (dhatu) since this gives rise to the first sign, a mirage. With dissolution of the earth element, the entire body is desiccated (i.e. thirsts for water). Individual explanations are given for dissolution of the form-skandha (rupa-skandha), mirror-like knowledge, eyeorgan (indriya), form-object (vifaya). The second group includes the element of water, the dissolution of which, yielding the sign of smoke, involves the drying tip in one's body of spittle, perspiration, urine, menstrual blood, semen, and so on. Besides, the skandha of feeling, equalityknowledge, ear organ, and sense object of sound, are dissolved. The third group includes the element of fire, the dissolution of which, yielding the sign of fire-flies, involves loss of ability to eat, drink, and digest. Besides, the skandha of ideas, discriminative knowledge, sense of smell, and odors, are dissolved. The fourth group includes the clement of wind, the dissolution of which, yielding the sign of a changeable lamp, involves the transfer from their individual places of the ten winds, the prdna, etc. Besides, the skandha of motivations, the procedure-of-duty knowledge, organ of taste, and tastes, arc dissolved. Also, as Tson-kha-pa points out, at the time of dissolution of each group, the deities of the corresponding Tathagata family are drawn into the Clear Light together with the other members of the group. Thus, the 'Fury Kings' (niddna verse 17) and COMMENTARY ON THE FORTY NIDANA VERSES 279 other members of the family (nidana verse 18) are sequentially so drawn into the Clear Light of Death. In the case of the first group, Vairocana's family; sccond group, Ratnasambhava's family; third group, Amitabha's family; fourth group, Amogha-siddhi's family. Finally, there is the dissolution indicated by that passage of the Pindikrta-sadhana, i.e. of the upper and lower Fury Kings, of the twice-eighty prakrtis, and of Aksobhya's family; whereupon 'perception' (vijnana) passes "to the Clear Light, also called 'universal void with nirvana' and 'Dharmakaya'." IITAH tatakaryam prakurvita prakrtyabhasabhedaviI / karmakayam parilyajya vajradehatvam apnuyat //26// Then, knowing the differences of the prakrtis and the Lights, one should engage in the carya, (namely), abandoning the body of works (karmakaya), he would obtain the diamond body (vajradeha). Mchan-. Knowing the differences of the eighty prakrtis and the three Lights ( = three gnoses), the time has come for one to engage in the carya ('praxis') part of the Stages of Completion. He takes recourse to contemplation of the profound means of piercing the centers in the body. Then he takes recourse to experiencing the generation of the voids by the dissolution sequence of the winds. Thus he has certainty in the methods of arousing the three Lights and the (eighty) vikalpa-s. However, the verse takes for granted that one has achieved the Lights of'arcane mind' (cittaviveka . then alludes to the subsequent 1 ) carya for the aim of accomplishing the Illusory Body (;maya-deha), as well as to the (2) carya for the aim of Saik/a-yuganaddha after attaining the characteristics of the Illusory Body; but the verse does not allude to the (3) third carya for the purpose of afaikfa-yuganaddha after attaining the iaikfa-yuganaddha. (1) Thus the sadhaka engaged in the carya, abandoning the 'maturation' (vipaka) body propelled by former deeds (karma), obtains the illusory body callcd 'diamond body'. (2) Having obtained that, he attains the Saikfa-yuganaddha, wherein the 'diamond body' is uninterruptedly affiliated (rigs hdra rgyun mi hchad par rdo rje sku). This illusory body is a topic ofthe third krama of the Paiicakrama called Svddhif(hana-krama. The Pradipoddyotana on Chapter VI (Mchan hgrel, p. 53) quotes the Vajrahrdayalamkara-tantra I 280 YOGA OF THE GUHYASAMAJATANTRA evam samadhiyuktena nirvikalpena mantrinah / kalavadhirri parityajya priipyate 'nuttaram padam jj When one thus abandons the limitation of time by nondiscursiveness joined to the samadhi of a mantrin, he attains the incomparable rank. Here the expression 'limitation of time' (kalavadhi) seems to refer to the 'maturation body'. About that 'non-discursiveness', there is the important verse 3 in Chapter II of the Guhyasamajatantra-. abhave bhavanabhavo bhavana naiva bhavana / iti bhavo na bhdvah syad bhavana nnpalabhyate // When there is an absence, there is no contemplation (because there is nothing to contemplate). (But also,) a contemplation is not a contemplation (of reality). That being so, whether it be a presence (for contemplation) or an absence (for no contemplation), the contemplation is not perceptively reached. From the various interpretations in the Pradipoddyotana (Mchan figrel, pp. 31 and 32), we present here the 'pregnant sense': When there is an absence (because of dissolution in the central channel), there is no contemplation. The contemplation (of the impure illusory body = samvrti-satya) is not a contemplation (of the Clear Light). That being so, whether it be a presence (the illusory bod) ) or an absence (disappearance in the central channel), the contemplation (of the two truths, samvrti and paramartha) is not perceptively reached (in cither case). Tson-kha-pa quotes the above nidana verse 26 in his Panca-krama commentary. Vol. 159, p. 51-5, to emphasize that this carya is indispensable for becoming a Buddha in this present life. If there is this aim, one must apply himself to the caryd of the two dhyanas called 'contraction' (pindagraha) and 'expansion (anubheda), set forth in Paiicakrama, Abhisambodhi-k., IV,25-27: prSplopadeSakah Si/yo dvidha yoga athabhyaset / pitfdagrahakramenaiva tatha caivanubhedatah //25// Sirasah pad a to vapi ydvad dhrdayam agatah / bhutakofirji viicd yogi pindagriiha iti smrtah j j 26 / sthdvaram jahgamam caiva purvarn krtva prabhasvaram paicat kurydt tathatmanam anubhtdakramo hy arum // 27 The disciple who has secured the precepts then applies COMMENTARY ON THE FORTY NIDANA VERSES 281 himself unremittingly toyoga of two sorts : by the sequence of 'contraction' as well as by 'expansion'. Drawing (the winds) from head down, and from feet up, into the heart, the yogi enters bhUtakoli (the true limit): this is callcd 'contraction'. Having first rendered the stationary and the moving life into the Clear Light, he then renders that into himself: this is the stage of 'expansion'. Again, Tsori-kha-pa's Paiicakrama commentary, Vol. 159, p. 52-1 and p. 53-5, explains that those arc comparable to the (Mother Tantra terminology) 'yogas of transfer (hpho ba = S. samkranti) and entrance to the city (gron Iijug, S. purauatdra)'. Hence the praxis proceeds along two lines : the first involves the manipulation of winds to separate the five basic winds from the five secondary winds; the second involves a separation of 'mind-based perception' (manovijhana) from the five outersense based perceptions. Thus, the separation of the 'intrinsic body' from the 'body of maturation' has the aspects of wind and mind, aimed at separating the subtle from the coarse, to yield the body formed of 'wind and mind only'. Pahcakrama, Svadhisthana-krama, III, 19 : tad cva vdyusamyuktam vijiidnatritayarft pttnah / jay ate yogina mOrtir mdyddchas tad ucyate // Precisely that vijfiana-triad joined to the winds then arises as a body by a yogin. That is called 'illusory body'. Pahcakrama, 3rd krama, 23 : darpanapiatibimbena mdyadeliai/i ca lakfayct / varnan ittdrayudhenaiva vySpitvam tidakenduna // One characterizes the Illusory Body by the image in a mirror, the colors by a rainbow, the spread by the moon in the waters (Cf. Sri Laksmi's commentary, p. 35-3: the rainbow body means having the five colors). The Vajrajhanasamuccaya contains twelve similes of illusion concerning that body:—(1) phantom (sgyu ma), (2) moon in the waters (chu zla), (3) shade (migyor), (4) mirage (smig rgyu), (5) dream (rmi lam), (6) echo (brag cha), (7) cloud (dri zahi groii khyer), (8) hallucination (mig hphrul), (9) rainbow (hjah tshon), (10) lightning (glog), (11) water bubble (chuhi chu bur), (12) image in a mirror (me lot) gi gzugs brhan). Tsori-kha-pa's commentary on that Tantra, Vol. 160, p. 160-4, 5, is in this I 282 YOGA OF THE GUHYASAMAJATANTRA ease apparently based on the CarySmelapaka-pradipa : I. It is like a phantom (illusory man) because, although it has a full complement of main and secondary limbs when generated as the body of Vajradhara from wind and mind-only, it is nothing but wind and mind-only. 2. It is like the moon in the waters wherever it is spread. 3. It is like a shade, i.e. the shadow body of a man, because it lacks flesh, bone, and so on. 4. It is like a mirage, because it shifts by the instant. 5. It is like a dream body because, as a body accomplished from wind and mind-only, it is (similar to) a body in a dream which is imputed distinctions that differ from what it properly is. 6. It is like an echo, because, although it belongs to the same stream of consciousness as the 'maturation body' iiipaka-kaya). it appears elsewhere. 7. It is like a cloud, bccause that body possesses the mandala of residence (eidhara) and of residents {(idhey a). 8. It is like a hallucination, bccause being single it appears multiple. 9. It is like a rainbow, or Tndra's bow', since that body appears with five colors that arc unimpeded and unmixed. 10. It is like the lightning bursting from the cloud, from its location within the personality aggregates of the maturation body. II. It is like a water bubble in very clear water when it suddenly emerges from the realm of the void. 12. It is like the image of Vajradhara in a mirror, bccause of simultaneous completion of all the major and minor limbs. One ofthe problems ofthe commentarial tradition is to relate the theory of the two dhyanas known from the Pahcakrama back to the basic Guhyasamajatantra. Tsori-kha-pa. Paheakrama commentary, Vol. 159, p. 57-1, ff.. points out that regarding the contemplation (or cultivation) of the two dhyanas by way of the illusory body (sgyu lus pas bsam gtan ghis sgom pa la), the Mar-pa school docs not explain it in terms of piling up the three sattvas ofthe three vajras. Tsori-kha-pa goes on to highly approve the precept handed down from Hgos (hgos lugs , that the earyS of both dhyanas is indicated in Guhyasamajalantra, chapter eleven, verses 40-44 (with emendations): buddhamandalamadhyastham kaye vairocanam nvaset 1 Omkaram hrdaye dhyatra mantrarijiianam bhavaytt nirodhavajragatam citte yada tasya prajayate sa bhavec cinldmanih Sriman sarvabuddhagrasadhakah buddhamandalamadhyastham vajrakfobhyam prabhavayet COMMENTARY ON THE FORTY NIDANA VERSES 283 Humkiiram hrdaye dhyiitv/l cittam bindugalam nyaset / huddhamandalamadhyastham amildbliam prabhavayet // Ahk&ram hrdaye dhycVva vajram bindugalam nyaset // idam tat samaydgrdgiyani trivajriibhedyabhavanam / nirodhasamayajhdnam buddhasiddhim samavahel / / HP should place in (his own) body the Vairocana abiding in the middle of the Buddha-mandala. Having meditated on the Om in his heart, hd should contemplate the vijhana in the mantra. At the time lie engenders the state of cessation-vajra in his cilia, lie bccomcs the 'wishing gem', 'glorious one', best sddhaka of all the Buddhas. He should contemplate a diamond Aksobhya in the middle of the Buddlia-mandala. Hav ing meditated on the Hum in his heart, lis should place the cilia iu the form of a bindu. He should contemplate Amitabha stationed in the middle of the Buddha-mandala. Having meditated on the Ah in his heart, he should place the vajra in the form of a bindu. This, the chief of best pledges, the contemplation of the inseparable three vajras (of one's own body, speech, and mind), the knowledge of the cessation-pledge, brings the success of the Buddhas. Tson-kha-pa also mentions that some persons claimed that the above verses portray the dhyana of'contraction' while the subsequent Guhyasamaja verses (XI, 45-47) portray the 'expansion'. Tson-kha-pa denies this theory and states that both dhyanas are portrayed in the above verses, and that the following verses 45-47 simply expand on the same topic. In preparation for this carya, according to the indication of Mkhas grub rje's Fundamentals of the Buddhist Tantras, the candidate is conferred the'Prajfia-jnana Initiation'. This is the initiation concerned with the cakras or bhagas. These bhagas become the centers of associating four voids (the four lights) with four ecstasies. Abhayakaraguptapada's I 'tiadesamahjari-nama (PTT, Vol. 87, p. 82) associates the lights with ecstasies as follows : Light (aloka) with ecstasy (ananda); Spread-of-Light (alokabhasa) with high ccstasy (paramananda); Culmination-of-Light (aloko-palabdhi) with extraordinary ecstasy (viramananda); Clear Light (prabhasvara) with consubstantial ccstasy (sahajananda). The I 28 YOGA OF THE GUHYASAMAJATANTRA same identification is made in the MahamudratUaka-tantra, Chapter Five, according to quotation in Snags rim, f. 408a-5. Tsori-kha-pa's Paficakrama commentary "Gsal bahi sgron me" (PTT, Vol. 159, p. 2, 3, discusses this association of voids ( = lights) with ecstasies (ananda), and ibid, p. 2-4, citcs the Vajra-mdld for the direct order [rjes lugs hbyun) and reverse order (lugs Idog rim pa) of the four ecstasies. In the direct order Snanda starts at the Mahasukha-cakra of the head, down to the Sambhoga-cakra of the throat, where starts paramananda; that down to the Dharma-cakra of the heart, where starts viramd-nanda; that down to the jXirmana-cakra of the navel, where starts sahajdnanda (continuing down to the 'tip of the thunderbolt gem', already identified as the root of the penis, according to the Prajfia-jnana initiation as portrayed in Mkhas grub rje's-work). In the reverse order, there is ananda up to the Nirmana cakra; paramananda up to the Dharma-cakra; viramananda up to the Sambhoga-cakra; and sahajdnanda up to the Mahasukha-cakra. Again, according to Mkhas grub rje's initiation section, this reverse order is prepared for by the Fourth Initiation. F. Hrdayavajray of id (The Diamond Ladies of the Heart) In terms of six-membered yoga this is 5. anusmrti ('recollection') and in the Pahcakrama system, it is Abhisambodhi-krama, the fourth. Besides, according to the Pradipoddyotana it is included in yuganaddha, and therefore is the initial 'gaiksa-yuga-naddha' ('the pair-united where there is learning'). It is the ability to come forth from the Clear Light (equivalent to going through the portals of death) as a yogin in command of the situation. When the Illusory Body has been purified in the Clear Light and emerges to pass in reverse order through the three lights, it is treated by the simile of a fish, in Pahcakrama, 4th krama (Abhisambodhi), verse 31: yathd nadijaldt svacchin mina utpatilo drutam / sarvaiunydt tathd svacchdn mdydjalam udiryate 11 Like a fish quickly springing up from a clcar stream, so the net of illusion emerges from the clear universal void. For this phase there is the Fourth Initiation (there is no further one), which the Guhyasamdjatantra, Chapter XVIII, describes COMMENTARY ON THE FORTY NIDANA VERSES 285 as just like the Prajfift-jftana initiation. This is bccause here the yogin experiences the reverse order of the very same combination of voids with ecstasies. The activities and symbolism arc centered about the heart. Three nidana verses are devoted to this : HR, the place of aim and creativity; DA, the yield or accomplishment; YA, the afterrealization. Both the diamond (vajra) and the lady (jofit) symbolism arc associated with the heart in Indrabhuti's Jhina-siddhi: hrdayam jftanam tad eva vajrayosit ('theDiamond Lady is just that heart gnosis'). The diamond (or thundcbolt) has two aspects according to Guhyasamaja, Chap. XVIII, 39 (with considerable emendation suggested by Nagarjuna's commentary, PTT, Vol. 60, p. 7-5, which mentions the two syllables 'Va' and 'Jra'), that is, a destructive aspect of VA and a holding or positive aspect of JRA, paiicahcliS ca velili vajram ity abhidhiyate / jrakiro dhrgili khyato vijhanam vajradhrtimanah // 'Vajra' is defined as 'Va', namely the five prongs, and as 'Jra', explained as holding. 'Vijftana' is the mind which holds the vajra. The lady also has two aspects, YO, the automatic union taking place through 'recollection'; and SID, the othcrworldlincss of the act. The first or destructive meaning of vajra is that found in Alamkakalasa's commentary on the Sri-Vajramali (PTT, Vol. 61, p. 182-4), while expounding the 'unshared sense' of the Tantra: "So as to explain the word 'vajra', it is said 'The vajra and also the vikalpas,' because it destroys the set of natures, (prakrti ) amounting to one-hundred-sixty ( twice 80 vikalpas)" (rdo rjehi sgra bsad pahi phyir / rdo rjc de yah rnam rtog rnams ics gsuns te rah biin gyi tshogs brgya drugcu po rnams bcom pa nid kyi phyir ro). I'son-kha-pa's Rdor bzlas (Lhasa Collected Works, Cha, f. 24b-4, 5, 6)starts with the first meaning and then passes to the second or positive meaning of vajra : "When the 'wind-mind' dissolves there untying the knot of the heart nidi, it is the sublime place with cessation of the 160 ( — twice 80) vikalpas. Because it is not perturbed by discursive thought (vikalpa), it is explained as field of the (Buddha) Aksobhya (the imperturbable)'; therefore, one may also understand it as the narrow space laid in the heart of Aksobhya. That I 286 YOGA OF THE GUHYASAMAJATANTRA essential place is also callcd SukhavatI, since it is the supreme placc for generating great ecstasy' mahdsukha). The bodhi-citta (there), through cessation of death, is the Buddha) Amita-yus; and because the infinite light of prajiid arises therefrom, it is also called 'field of Amitabha sniri gahi rtsa mdud grol bahi gnas der rluh sems thim pa ni rnam rtog brgya rtsa dan brgya cu for drug cu] hgog pahi gnas dam pa yin pas / rnam rtog gis mi bskyod pas mi bskyod pahi f.\n du bsad de mi bskyod pa thug kar hgod pahi dog pahan des ses par byaho / gnad de bde ba can gyi iii\ duhaii brjod dc bde ba chen po skye balji gnas kyi mchog dan / byan chub kyi sems ni hchi ba hgog pas tshe dpag mcd yin la / de las byun bahi ses rab kyi hod inthah yas pahi phyir ro hod dpag mcd kyi f.in duhan gsuris so I ). The positive meaning of vajra is involved in the frequent discussions of the Jflanapada school about the 'inviolable drop' (*akfata-bindu; T. mi iigs pahi Ihig le) of the heart, for example, in Vitapada's commentary on the Muktitilaka (PTT, Vol. 65, p. 135-2), where the form of the 'inviolable drop* in the heart is said to be, for example, like a grain of mustard seed; and to be the non-prapaiica of any dharma chos thams cad kyi ma spros pa). Vitapada also mentions in the same place a theory about the three kinds of bindu that thev are identified with the three kinds of masters acatya), the 'causal master' (*hetu-acarya), the 'conditional master' (*pratyaya-dcarya), and 'co-natal master' (* sahaja-acarya); and that the 'inviolable drop' is the'co-natal master'. (Vitapada's passage is given in full and explained in A. Wayman, The Buddhist Tantras, pp. 49-50). The 'recollection' (anusmrti) takes place through the goddess (yofit) or 'perfection of insight' (prajha-paramitd ,. The Guhya-samdjatantra, Chapter VII, treats this 'recollection' with various examples. Perhaps the most important illustration involves verse 34 (translated in Pradipoddyotana and Mchan hgrel context): tatra katham prajhaparamitdsamaydnusmrtibhavana prakrtiprabhasvardh sarve anutpannd nirairaiah j na bodhir ndbhisamayo na dhdtuh na ca sambhaiah // And what is the contemplation with recollection of the Perfection-of-Insight pledge > All those with (entrance into, praveSa) the Clear Light and its (accompanying) prakrtis (numbering 160 by day and night), arc unborn (bccausc the body taken is illusory) COMMENTARY ON THE FORTY NIDANA VERSES 287 and without flux (because not mere appearance, nirdbhi^ satvdt) when there is no (i.e. no attention to) enlightenment, no understanding, no realm (i.e. receptacle, ddhira), and no emergence (of phenomenal abodes). The Pradipoddyotana at this point cites the Vajrofntfatantra (translated here with help of Mchan hgrel, p. 60-2): / mrtyuna *lu avikalpena prajhdpdramiti nayi / I prajhaparamita jatih prajhilparamild smrtih // I prajhaparamild bodhih prajhaparamita laya / I prajhaparamita muktili sarvdldparipuraki 11 The Perfection of Insight has the method (=» the means, upaya) by reason of non-discursive death ( — the Clear Light of Death). The Perfection of Insight has the birth ( = the Illusory Body emerging from the Clear Light) and the recollection (smrti^ anusmrti-ahga; for becoming a Buddha in the Intermediate State). The Perfection of Insight has the enlightenment ( = yuganaddha) and the merger (with the Clear Light). The Perfection of Insight has the liberation (from the two hindrances, of defilement and the knowable). (For those reasons) it fulfills all hopes. IIHRjl hrdi krtvdrthacarydm vai laukikim sa tathagatalf / nirmaya samvrlam kayam kamainS cared yathayatham //27// The worldling praxis of aim having been formed in the heart, he the Tathagata, creating a conventional body, practises desires exactly as he cares. Mchan: The praxis of aim on behalf of worldly beings having been posited in the heart of the sadhaka—the Tathagata, namely Vairocana, etc., transforming himself in appearance, i.e. creating a conventional body, practises in desire fields ( = the five sense objects) exactly in Tathagata correspondence (i.e. Vairo-cana in forms, etc.). The verse shows the engagement in the time of praxis. PrakaSika on Hr: 'Creating a conventional body' means emanating the mandala-cakra with the nature of Tathagatas, goddesses, Bodhisattvas, and krodhas. Bu-ston (BSad sbyar, Vol. Ta, f. 57a-b) on Hr cites Aryadeva: "The one dwelling in the circle of yo?its, with a single mudra, or with four mudras, should recollect the Svadhisthana. Even after the yogin has dwelt on the level of highest bliss, he should I 288 YOGA OF THE GUHYASAMAJATANTRA always enjoy pleasant forms, sounds, odors, tastes, and tangibles" (/ phyag rgya gcig daii Idan paham // van na phyag rgya bii dan ldan / /btsun mol.ii hkhor na biugs pas kyan / / bdag byin brlab pa rjes dran bya / I gzugs dari sgra dan de biin dri / /ro dan reg bya sdug pa rnams /bde mchog go hphari gnas nas kyan / / rnal hbyor pa vis rtag tu myan I ies so !). ' Concerning those four mudrds, i.e. the four goddesses, Locana, etc., they arc referred to as 'his enjoyments' in Guhyasamija-tantra, Chap. XVIII, p. 157 : tasya bhogdS catur j hey ah siadhifthanadibhis tatha / virdndm ekaiaktranam ekaikam murdhni sccanam // His four enjoyments are to be known by means of the Svadhisthana, etc. Accordingly there is the anointment one-by-onc on the head(s) of the one-faced heroes. In partial explanation of the passage just cited, Nagarjuna's AflddaSa-pafala-vistara-vyakhyd (PTT, Vol. 60, p. 10-2) states: " 'His four enjoyments' are the four goddesses, Locana etc." (Ions spyod bzi ni spvan la sogs pa bzi ste). Furthermore, we read in Guhyasamajatantra, Chap, XVIII, p. 166 (translation aided by Nagarjuna's vyakhya, p. 16-4-6): vidyarajhiti vikhyata caturbhoga mahardhika / sarvakameti vijiieya vajradhipatayas tatha // When the four enjoyments (= four goddesses, Locana, etc.) have the great magical powers (= five Tathagatas), they are callcd'Queen of Vidya' ( = Rupavajra, etc.). In the same circumstances, the Diamond Lords ( = the Bodhisattvas) are known as 'All desire' (<= Yamantaka, etc.). The mandala which the Prakaiika refers to has an alternate form according to Tson-kha-pa's Pahcakrama commentary (PTT, Vol. 159, p. 74-5 to 75-1) called a 'gana-cakra' (tshogs kyi dkyil fokhor). In its middle is the vogin skilled in the praxis. The first series is the four yosits which he placcs in the sequence of E, S, W, N, namely Bde mchog sgyu ma, E-ma-ho bde ba, Sgron ma, and SaSi. Those arc consorts (sahacari, 'wives') (lhan cig spyod pahi bud med), presumably to be identified with the four goddesses, Locana, etc. Other sets of four goddesses, totalling sixteen, arc disposed in outer circles and callcd 'female attendants' (anucarr, T. rjes su spyod pahi bud med). The names of those deities belong to Mother Tantra rather than Guhyasamaja tradition. COMMENTARY ON THE FORTY NIDANA VERSES 289 Furthermore, the phrase 'creating a conventional body* can be illustrated in the case of Sakyamuni with tantric reinter-prelation (sec the theory of the 'Way' ornament in the introductory treatment of 'The seven ornaments and subdivisions'). The Pradipoddyotana (Mchan hgrel, p. 12-5 to 13-1) has this passage: I uktam evaitad bhagavata / asadharanaguhyamahayoga-tantre / athaparam sarvajilaparivarasaijipatti(rp) prava-ksyami / tadvatha suddhodanamaharajomafijusrl bhavati/ mahamayadevi lokesvaro bhavati / yasodhara sridcvl rahulo vajrasattvah saradvatiputrah sarvanivaranavi?-kambhi bhavati / aryanandah sthaviras samantabhadro bhavati / devadattas sthaviro devendras srisakvamunis sainyaksambuddho mahavairocano bhavati I anena nyayena sarigitikara iti ' parsad iti adikarmikasattva-vataranaya buddhanatako 'yam pradarsitah / This was said by the Lord in the 'unshared' Guhyamaha-yogatantra [possibly the Yoga-tantra catalogued as the Vajrafekhara-mahaguhyayogatantra]: "Xow I shall also reveal the perfection of the retinue of omniscience, as follows: Manjusrl became the great king Suddhodana. Lokesvara became the queen Mahamaya. Srldcvi became Yaso-dhara; Vajrasattva, Rahula; Sarvanivaranaviskambhin, Saripntra; Samantabhadra became the 'elder' Aryananda. Devendra (i.e. Indra) became the 'elder' Devadatta, and Mahavairocana, the Perfected Buddha Srl-§akya-muni". According to that interpretation, what is called the 'compiler' and what is callcd the 'retinue' is revealed as this drama of the Buddha for introducing the beginner sentient beings (into the Doctrine). 11 DA/1 dadati prarthitain sarvam cinlamanir iuaparam / ha(ha (S) cahrtya kurute buddhSnSm api saippadam //28// Like the best wish-granting jewel, hatha grants everything desired, and seizing (by force) enacts even the success of the Buddhas. Mchan : 'Grants everything desired'means :—grants all mundane siddhis. 'And even the success of the Buddhas' means :— even grants the supramundanc siddhi, which is Buddhahood. Mchan hgrel, Vol. 158, p. 144-5 : the wish-granting jewel' (cintimam) grants youth, health, and happiness. I 290 YOGA OF THE GUHYASAMAJATANTRA The term ha/ha (fierce yoga) occurs in the GuhyasamSja-tantra, Chap. XVIII, verse 162: darSanam tu krte 'py evam sadhakasya na j/tyate i yada na sidhyate boithir hathayogena sadhayel '/ When one has performed that way and still the sadhaka's vision does not occur, nor is bodhi achieved, then by hafhr-yoga it is achieved. According to Nagarjuna's AUddaSa-patala-vistara-vyakhyd PTT,. Vol. 60, p. 15-4, 5 and p. 16-1. 2\ this involves a fiercer practice with success in fewer days. Explaining the 'six months' ummasa) of verse 161, he says (p. 16-1-5) "If it is not achieved in six months, two months, one. or a half month, then one should try to achieve it in seven days" (gati gi tshe zla ba dntg dan zla ba gnis dan gcig dan zla ba phved kyis hgrub par mi hgyur ni / dehi tshe fag bdun gyis bsgrub pa brtsam par bya stc The comments show that if success is not reached through the usual procedure of the three sattvas (samaya-saltvn. jhSna-sattva, and samadhi-sattva) in 'six months", then one applies the procedure through the jiiSna'Sattva with evocation of the kradha deity Sum-bharaja for success in 'seven days'. The explanation of hathayoga in Naropa's SekoddeSatika, p. 45 involves drawing the prana into the 'middle vein' (hathena pranam madhyamayam vahayitva). The general procedure of obtaining siddhis is through the 'burnt offering', as in the Guhyasamajatantra, XVI, p. 117 Mchan hgrel, p. 139-2): homam kurvita mantrajhah sanasiddhiphalarthinah ! vinm utramdmsatailadyair ahutim pratipadayet The knower of mantras desiring as fruit all ("mundane and supramundane) siddhis, should perform a burnt offering (homa). He should accomplish the evocation by an inner burnt offering, to wit:—) excrement, urine, flesh, oil, and so forth. Pradipoddyotana and Mchan hgrel (Vol. 158, p. 141-5): (The offerings of) 'excrement and urine' mean the five ambrosias (amrta); (of) 'flesh' mean the five kinds. (Ibid., p. 142-1): 'Great flesh' means the five kinds of lamps. (Ibid., p. 142-1): 'AH siddhis' means of mundane ones, the minor ones of Sdntika, etc., and the eight great ones of ri-lu, etc., called mahisamaya (Guhyasamaja, XVI, p. 117, line 17). The reference to 'five COMMENTARY ON THE FORTY NIDANA VERSES 291 ambrosias' is based on a passage in the Mahamudratilaka, cited in my essay, "Totcmic beliefs in the Buddhist Tantras," p. 91: "Ratnasambhava is blood, Amitabha is semen; Amoghasiddhi is human flesh, Aksobhya is urine; Vairocana is excrement. These arc the five best ambrosias." For the five kinds of flesh, Dharmakirti's commentary on the Hevajra-tantra callcd Spyan hbyed (PTT, Vol. 54, p. 135-3) contains the Sanskrit words in Tibetan transcription : .Ya means human flesh (nara); Ga means ox flesh (gaura); Ha means elephant flesh (hasli); final Sva means horse flesh (asva); initial Sva means dog flesh (Ivan). The list 'appeasing' (Santika), etc. is the four previously described (nidana verse 15) as the jurisdictional activity ofthe four goddesses, Locana, etc.; and they yield inferior mundane siddhis. The great mundane siddhis arc eight in number, referred to as 'ri-lu' etc., where ri-lu '('little ball') is a contraction of ril-bu. The list of eight siddhis is somewhat explained in the annotation to Mkhas grub rje's Fundamentals of the Buddhist Tantras. Here we need only list them : 1. "To walk in the sky" (khecara), 2. "To be swift of foot" (janghakari), 3. "To be invisible" (antardhana), 4. "To shape into a little ball" (pindar upa, T. ril-bu), 5. "To remove, blindness" (T. mig sman), 6. "To have the elixir of youth" (rasana), 7. "To be invincible in battle" (khadga\ 8. "To have dominion over the entities of the underworld" (patala). The following passage of the Guhyasam&jatantra, XVI, p. 124 (Pradipoddyotana and Mchan hgrel, p. 146-4, ff.) differentiates between superior and inferior mundane siddhi: kayavakcittasamsiddha buddhar upadharaprabha / jambunadaprabhiikara hinasiddhisamdSritah 11 antardhanadisamsiddhau bhavet lajradharah prabhuh / yakfarajadisamsiddhau bhavet vidyadharah prabhuh 11 She ( = Vajradakini) who shines with a form like the (respective) Buddha is the (superior) occult success of body (grasping various forms), spcech (grasping various sounds), and mind (gaining as desired). They ( = mundane fairies, dakini) who glisten on the Jambu river are the resorts of inferior siddhi. The lord Vajradhara would be in the (superior )occult success of 'invisibility' (•=• united with the Vajradakini, a 'together-born female'). The lord Vidyadhara would be in the (inferior) occult success I 292 YOGA OF THE GUHYASAMAJATANTRA of Yaksaraja, etc. ( = united with the mundane fairies, the 'field-born females' . Besides the distinction of inferior and superior kinds among the mundane siddhis, these siddhis themselves contrast with the supramundane siddhi, as differentiated in the Guhyasamaja-tantra, XVI, p. 117 (Mchan hgrel, Vol. 15, p. 142-1 : antardhanam balam viryam vajrakarfanam uttamam siddhyate mandate sarvam kayavajravaco yatha Everything is brought to success in the mandala, as from the word of the 'diamond of body' = Vairocana), namely: 'disappearance', 'strength', 'striving', and the 'ultimate diamond attraction'. Mchan hgrel: 'Strength (bala)' means mastery of vidyadhara; 'striving (virya)' means the power of the five abhijhd-s; 'in the mandala' means initiation, guarding of vows, and contemplation of the path in the mandala-, 'diamond attraction' means attraction of things difficult to attract. Tiie last named can be compared with the supramundane siddhi of Guhyasamaja, XII, verse 37 ('Documents'): 'the supreme Buddha attraction' (buddhakarsanam uttamam). The five abhijha-s of this tradition were previously detailed under nidana verse 20. Sec also Chaps. VI and XII ('Documents'). Finally, supramundane siddhi, here called 'supreme' can be given interpretive levels through Candrakirti's classifying terminology. Thus, Guhyasamajatantra, XIII, p. 62 (Praai-poddyotana in Derge Tanjur, Rgyud, Vol. Ha, f. 104a-4, fT.; Mchan hgrel, PTT, Vol. 158, p. 94-4, ff.): mohasamayasambhuta vidyarajano vajrinah / napumsakapade siddhan dadanti siddhim uttamdm // A. Translation with'invariant sense' (akfarartha): The vidyarajas and diamond-possessors, arisen from the Delusion-Symbol (moha-samaya) confer the supreme siddhi upon the adepts (siddha) at the place of androgynes. B. Translation with 'hinted meaning' (neyarlha): The (krodhas) Usnisacakravartin, etc. (cf. nidana verse 17) and (Bodhisattvas) Ksitigarbha, etc. (cf. nidana verse 16) arisen from (the Buddha) Vairocana (as progenitor of the Moha family), confer Englightcnment upon the adepts at (their reciting) the three syllables Om, Ah, Hum (in the Clear Light and in yuganaddha). COMMENTARY ON THE FORTY NIDANA VERSES 293 C. Translation with 'evident meaning' (nUSrlha): The 'men' and 'women' who have taken an 'aggregate of indulgence' (upadana-skandha) ( = a body), arisen from nescience (avidya), confer the extraordinary siddhi of mahamudra upon the adepts realizing at the Clear Light and at the Culmination-of-Light (having attained the Clear Light and yuganaddha). I/TAII yadyad icchati yogendras lal tat kuryad anavrtah / asamahitayogena nityam cva samahitah //29// Whatever the powerful one of yoga wishes, just that he would do without hindrance; and by means of the yoga of 'after'-stability, is continually stabilized. Mchan : The powerful one of yoga—the practitioner of the Satnpannakrama—whatever he may wish to practise of his own 'strand of desire' (kamaguna)—just that he would enjoy unhindered ; and by the yoga of such sporting in a 'strand of desire' in the time of after-attainment—the 'after'-stability, he is continually stabilized in the sense of inseparable ecstasy-void. Guhyasamajalantra, XVIII, p. 156: asamahitayogena nityam cva samahitah / sarvacittesu ya carya mantracarycti kathyatc 11 By the yoga of 'after-stability' one is ever stabilized. That practice in all thoughts is callcd 'practice of mantras'. Pahcakrama, 3rd krama, verse 36 (with emendations): yad yad indriyamargatvam ayas tat tat svabhSvatah / asamahitayogena sarvam buddhasamam vahet // Whatever the sense basis and whatever its path (= sense objcct), precisely that approach in its own-being leads to all Buddha-equality by the yoga of 'after'-stability. Sri Laksmi's Pahcakrama comm., Vol. 63, p. 50-5: "Among them, the samahita is the contemplation of as many as 38 samadhis starting from 'initial training' and going up to the division into the hundred lineages. Accordingly, the asamahita is the place in the intervals by means of'divine pride' (devata-garva). The two of them do not exist separately in the yuganaddha-krama because there is a single own-being of 'profound concentration' (samadhi) and 'straying of mind' (vik.sepa)" ( I dc la mfiam par bfag pa ni dah po sbyor ba la sogs pa nas / rig brgyahi dbye bahi bar du ji srid tin liehdzin sumcu rtsa brgyad sgom paho/ de biin du miiam par ma biag pa ni lhahi ha rgyal gyis bar I 29 YOGA OF THE GUHYASAMAJATANTRA mtshams rnams la gnas pa ste / grtis po hdi dag zun hjug gi rim pa la yod pa ma yin tc / tin he hdzin dah / rnam par gYeh ba dag rah bfin gcig yin pahi phyir ro . The Sri-Paramadya-lantra' s last chapter has some relevant verses (PTT, Vol. 5, p. 172-4 : I dbah po gait dah gaii lam gyur j I de dah de yi ho bor bya I mham par giag nas maI hbyor gyis I ran gi lhag pahi lha sbyor bya I de hid mal hbyor hdiyis ni I thams cad hid ni bsgrub par bye ' I satis rgyas kun dhos lhanis cad ni I rlag lu mthor. iih grub par hgyur Whatever the sense basis and whatever its path, he should act in the own-being of the former and the latter. By yoga after stability, he will unite with his own presiding lord (adhideva). By this very yoga he will accomplish everything. He will always sec and perfect all the Buddha natures. HVA/I vajrapadmasamayogdj jhanatrayavibhagavit / liplaliplamalis talra sukhena viharet sadd // 30// Knowing the portions of the three knowledges, through union of thunderbolt and lotus,—the defiled and the undefiled intelligence would dwell therein with bliss for ever. Mchan: Knowing well the portions of three knowledges—the three (Lights called) Light, Spread-of-Light, and Culmination-of-Light arising through the (sequential) dissolution of the winds, by the sidhaka's taking recourse to union of vajra and padma— both the defiled and the undefiled intelligence would for ever be stabilized therein with ecstasy combined with void. This refers to what is done by the possessor of discriminative intelligence distinguishing l>etwcen (a) the stream of consciousness defiled by the trouble of defilement (kleia) when uniting with a partner (mudrd) and acting that way, and (b) the stream of consciousness undefiled by the trouble of operating in the defiled path (in like circumstanccs). The Vajramdla has a brief chapter, no. 14 (PTT, Vol. 3, pp. 209 and 210), entitled, "Chapter Relating the Marriage of the Diamond and the Lotus" (rdo rjc padma yah dag par sbyor ba COMMENTARY ON THE FORTY NIDANA VERSES 295 bsad pahi Mm). This contains two verses cited here and translated with the help of AlamkakalaSa's comments (PTT, Vol. 61. p. 210-4, 5 and 211-1). The first verse at Vol. 3,' p. 209-5, brings in the non-tantric terminology of calming (famatlia) and discerning (vipaSyani), the two which should be combined in Buddhist non-tantric yuganaddha: ! pad-nut dc yi gnas de la ! I de yi sbyor Italian mchog tu gsal / / f i gnas pad-ma ies gsui'is la / I de la lhag mlhoi! rdo r jeho 11 And his union in that place of the padma is most clear when (the master) explains that the padma is calming and that the vajra there is discerning. The next verse at Vol. 3, p. 210-1, introduces the tantric terminology of male organ (liiiga) and female organ (bhaga): I bio Idan rnam rtog bral ba yi / I rdo rje lifi-ga ies ni bSad / / mam rtog bral bahi bio Idan gyis / I bha-ga pad-ma ies ni brjod // The lihga possessing intelligence (mati) and lacking discursive thought I vitarka) is callcd vajra. The bhaga lacking intelligence and possessing discursive thought is called padma. On the latter. Alamkakalasa comments (PTT, Vol. 61, p. 21 l-l): " 'Possessing intelligence' means: has the perfection of distinguished insight (prajha : 'lacking discursive thought' means free from all eighty vikalpas." bio Idan ies bya ba la sogs pas gsuris te khvad par can gyi ses rab phun sum tshogs pa dan Idan pa laho 1 rnam rtog bral bahi ies bya ba ni / rnam par rtog pa thams cad dan bral baho . When we add to this his comments on the former verse PTT, Vol. 61, p. 210-4, 5), it becomes possible to explain the two verses this way: Samatha, or onc-pointcdness of mind, temporarily clears the mind of defilements but docs not destroy them, since they remain in the periphery of consciousncss. So it is like the lotus (padma) which is not adhered to by the muddy water but is still surrounded by the muddy water (here the 80 vikalpas). Vipasyana, or discriminative analysis, is free from the defilements but is without location. So it is like the vajra which is the intelligence free from the 80 vikalpas, but not localized in a particular mind. I 296 YOGA OF THE GUHYASAMAJATANTRA The lotus and the diamond intuit that they complement each other: the lotus will prepare the pure spot such as the mandala of residence, and the diamond will introduce the divine intelligence such as the mandala of the residents. Their nuptials are celebrated; otherwise stated, the yogin (whether male or female)brings about their inseparable union with bliss for ever. IIJRA/1 jrmbhate sarvabhaviitma mayopamasamadhina / karoti buddhakrtyani sampraddyapadaslhitah //31// The universal self of entities sports by means of the illusory samadhi. It performs the deeds of a Buddha while stationed at the traditional post. Mchan : The universal self of inner-and-outcr entities sports by means of itself staying in the Illusory Samadhi: — Former teachers opined this to be the application to generating the gnosis (jhSna) of'arcane mind' (cittaviveka) in meditative attainment (samSpatti) through reliance on a partner (mudra); but that is not all it is ! One should understand it also to be the generating of 'arcane mind' in meditative attainment through continuous line by 'arcane body' (lus dben gyis rgyud nas) and concretely by 'arcane speech' (hag dben gyis dhos su); and we have already explained the method of contemplation at the time of emerging from the meditative attainment. By this is to be understood the pregnant exposition of the doctrine of lust, not only in the phase of the two carya-s (i.e. the first two, the prapahca-caryi and the ni}prapahca-carya, explained under nidana verse 26), but also the reliance on a partner (mudra). In their phase the multiple occurrence of the three jiianas is numerous in these phases of the Clear Light of the Supreme Entity and is the way of incorporating the universal void of the Symbolic Clear Light into the third void, the Culmination (-of-Light); hence, if one counts separately the Symbolic Clear Light, there are four voids. // One sees like that, itself appearing in the Illusory Body, as stated in the Pahcakrama (3rd, 20b): "Stationed in the Illusory Samadhi one sees everything that way." 11 It performs the deeds of a Buddha, i.e. performing the aim of sentient beings by various means, and so doing by means of this Illusory Body; while stationed in the Clear Light which is the 'traditional post', i.e. the Supreme Entity. PrakdSika on Jra (PTT, Vol. 60, p. 296-1) : 'Deeds of a Buddha' means that he performs teaching, maturation, and liberation (of the sentient beings); 'the tradi COMMENTARY ON THE FORTY NIDANA VERSES 297 tional post' is the siddhiinta (consummate end), the post bccause it does not shift; 'stationed' means resting there, (saris rgyas kyi bya ba ni bstan pa dari / / yoris su smin pa dari /rnam par grol ba la sogs pa byed pa ni mdzad paho / / gtan la dbab pahi gfi ni grub pahi mthah stc / dc Aid mi hpho bahi phyir gnas paho I I de las gnas pa ni rial so baho). Pahcakrama, 1 st krama, 2B : mayopamasamadhistho bhiitakofyam samaviSet / Stationed in the Illusory Samadhi lie enters the true limit. J bid., 1st krama, 58 : ancna vajrajapena scvam krtva yathavidhi / sadhayct sarvakaryani mayopamasamadhina // Having done the service by that diamond muttering according to the rite, he would accomplish all deeds by the Illusory Samadhi. Ibid., 3rd krama, 20 : tasmad cva jagat sarvam mayopamam ihocyate / mayopamasamadhif thah sarvam paSyati tadrSam //. Accordingly, all the world is here said to be illusory. Stationed in the Illusory Samadhi one sees everything that way. Ibid., 3rd krama (Svadhisthana), 29-30 : mantramudraprayogam ca mantjaladivikalpanam / balihomakriyam sarvam kuryin miiyopamam sada 11 Santikarii pauftikam capi tatha valyabhicarakam / dkarfanadi yat sarvam kuryad indrayudhopamam 11 He should engage in the training of mantra and mudra, in the imagining of mandala, etc., in the rites of bali and homa; and in each case, ever 'illusory-like'. He should engage in appeasing (deities), increasing (prosperity), dominating (the elementary spiritis), overcoming (inimical elements), and in whatever attracting (of dakini-s), and in each case, 'rainbow-like'. Tsori-kha-pa, Comm. on Pancakrama, p. 71-1, 2, in illustration of 'non-prapaiica praxis' (nisprapanca-carya) cites Anarigavajra's Prajnop&yavinikayasiddhi (V, last line of verse 45, and verses 46-47) : cittam caropya bodhau vifayasukharatah sidhyalihaiva janmani // anaspadah kalpanaya vimuktah svabhavatah Suddhatamah samastSh / 298 YOGA OF THE GUHYASAMAJ AT ANTRA anatmasa mjhaiiiaydh prakrtyd svapnenarajalapratibhasalulydh 46// yadavabuddha niravagrahena ciitena sadbhir vipulafayais tu / tadabbibbUtah sahajavagatyd na badhandjdlamalibhavanli 47 <7 Having elevated the mind to enlightenment, he, enjoying ecstasy in sense objccts, is successful in the present life. The sense objccts, callcd 'non-self, by nature like dreams, rainbows, and reflected images, are all intrinsically immaculate, free from discursive thought and without abode. When illustrious persons of wide aspiration fully understand them with a non-apprehending mind, then those (sense objects) are overcome by together-born comprehension and no longer trap (those persons) in their net. II YOU yogoi caivdtiyogaS ca mahayogah svayam bkavel / vajri ca ddkini caiva tayor yogaS ca yah svayam !! 32 /;' Yoga, atiyoga, and mahayoga occur by themselves; also vajrin, dakini, as well as any union (yoga) of both, by themselves. Mchan :. 'Yoga' implies both yoga and anuyoga, and they plus atiyoga and mahayoga—the prathama-prayoga of four yogas—occur by themselves for mdyadehin. Also vajrin, who is chief of the vtjaya-mandala, plus the dakini, plus any yoga of both) occur themselves for mdyadehin. The two lines refer to the two samddhis o{ mdyadehin (possessor of Illusory Body,. PrakaSika on Yo (Vol. 60, p. 295-2): Those arc the four yogas of the 'Stage of Generation', whereby one accomplishes the samddhis of 'Initial Praxis', etc. In the present case, yoga is 'means' (updya), anuyoga is 'insight' prajha), atiyoga is entrance into their union; mahayoga is the attainment of great bliss (mahS-sukha) from their union, (bskyed pahi tim pahi rnal hbvor bii ste I gaft gis dan pohi sbyor ba fxs bya ba la sogs pahi tin ne hdzin hgrub par l.tgyur ro / / hdir rnal hbyor ni thabs so// rjes su rnal hbvor ni scs rab bo / / sin tu rnal hbyor ni dc dag gi sfioms par sugs paho / /rnal hbyor chen po ni sfloms par sugs pa las bde ba chcn po thob paho). Besides, we may interpret that the terms 'yoga', 'atiyoga', and 'mahayoga' of nidana verse 32, refer to the yoga mastery of the three lights, as is suggested by the synonyms of the lights in verse 25, sunya, atisunya, and mahasunya. Thus the yogin with such mastery can evoke automatically the dakini of Sunya (-prajfla), the vajrin of atisunya (Aupaya), or their commentary on the forty nidana verses 299 androgynous union. Notice also the scries of terms in the full title of the Guhyasamdjatantra : rahasya, atirahasya, mahaguhya, in which mahaguhya is understood to include both rahasya and atirahasya. The Guhyasamdjatantra, Chap. XVIII, verse 32, defines yoga as follows : prajhopdyasamapattir yoga ity abhidhiyatt / yo ni(h) svabhava s tah prajhd updyo bhd'.alakfanam 11 'Yoga' is defined as the equipoise of insight and means. Whatever is devoid of intrinsic nature, is 'insight'. 'Means' is the characteristic of modes. Nagarjuna's commentary, p. 5-2, 3, 4, 5, illustrates insight, means, and their equipoise, first for each of his five stages (the pancakrama); then for the terms cause, action, and fruit; next, for each of the six members of the }adahga-yoga. In the case of the six members, the explanations go as follows : 1. Insight is the sense organs and means is the sense objects. The yoga of their equipoise and enjoyment, is pratyahara. 2. Insight is the sense organs and means is the Tatha-gatas. The yoga as their equipoise, is dhyana. 3. Insight is paramartha-bodhicitta and means is sant"fti-bodhicilta. The yoga as their equipoise, involving the emanation and reunification of them in upper and lower sequence, is prana-Syama. 4. When insight and means aie as previous, the yoga of their equipoise, holding the bindu the size of a mustard grain in (or at) the three 'tips of nose', is dhdrand. 5. When insight and means are the Tathagatas embraced by the goddesses, the yoga of emanating into the sky, as their equipoise, is anusmrti. 6. When insight and means arc the Dharmakaya and the Sambhogakaya, the yoga of joining them with the Nir-manakaya as their equipoise, is samadhi. Now, although the nidana verse speaks of those yoga states as occurring by themselves for the possessor of the Illusory Body, the Guhyasamajatantra, Chap. XVII, pp. 145-6, employs mythological language representing the four goddesses as imploring the lord in the Clear Light to come forth and make love to them. The order of the goddesses is that in which they superintend I 300 yog a o f th e guhyasamajatantr a the four rites (of appeasing, etc.). The translation is somewhat expanded by the Pradipoddyotana and Mchan hgrel (p. 162): atha te sarve bodhisatti ah tBfiiim vyavasthita abhuvan / atha bhagavantah sarcatathdgatah sarvatathdgatakaya-tikciUavajrayosidbhage>u vijahdra / Then all those Bodhisattvas (their doubts dispelled) became completely silent. Thereupon the Bhagavat who is all (five) Tathagata (families) took abode in the bhaga-s (the Buddhadharmodaya = the Clear Light) of the (four) diamond ladies belonging to (Yajradhara, who is) the vajra of the Body, Speech, and Mind of all the Tathagatas. Then Mamaki, the wife of the 'mind of all the Tathagatas' (-Aksobhya), implored Mahavajradhara in these passionate terms : 'Tvam vajraeitta bhuvanelvara sattvadhato traydhi mam ratimanojiia maharthakamaih / kdmahi mam janaka sattvamahagrabandho yadicchase jivitam maiijunathah //' 'May you of adamantine mind, lord of the world, realm of sentient beings, save me with love of great purpose, O thou the gratifier of passion! O father, may the great supreme kin of sentient beings love me, if you, the mild lord, wish that I live.' Then Buddhalocana, the wife of the 'body of all the Tathagatas' ( —Vairocana), implored Mahavajradhara endearingly : 'Tvarri vajrakdya bahusattvapriyaiikacakra buddharthabodhiparamdrthahitanudarsi / rdgena rdgasamayam mama kamayasva yadicchase jivitani maiijunatha //' 'May you, the diamond body, the revolving wheel (aiika-cakra) that delights many beings, the revealcr of the benefit of the Buddha aim and the supreme-enlightenment aim, love me with passion at the lime for passion, if you, the mild lord, wish that I live.' Then the 'diamond eye of body, speech, and mind' ( Pandara), the wife of Lokesvara ( = Amitabha), suffused with passion toward Mahavajradhara, pleaded with him : 'Tvatfi vajravdea sakalasya hitanukampi lokdrthakdryakarane sadd sampravrttah / kdmdhi mdm suratacarya samantabhadra yadicchase jivitarp mahjundtha 11 COMMENTARY ON THE FORTY NIDANA verses 301 'You, O diamond specch, have compassion for everyone's benefit, are always engaged in doing the needful for the world's aim. Love me, O entirely good one (Samanta-bhadra) with the praxis of ecstasy, if you, the mild lord, wish that I live.' Then the wife (- Arya-Tara) of the Samayavajra (- Amoghasiddhi) of the Body, Specch, and Mind of all the Tathagatas, exhorted Mahavajradhara to make love to her: 'Tvam vajrakama samayagra mahahitartha sambuddhavainsalilakah samalanukampi / kamahi mam gunanidhini bahuratnabhutam yadicchase jivilam maiijunalha //' 'O Diamond love, the pinnacle of the Samaya (family), whose aim is the great benefit; you have the mark of the Complete Buddha's family and arc compassionate with equality. Love mc who is the treasure of virtues made of many jewels, if you, the mild lord, wish that I live.' Thereupon, the Bhagavat, Vajrapani Tathagata, immersing himself in the samadhi called 'diamond glory partaking of all desires', remained silent, while making love to the wives of all the Tathagatas by means of the samoyacakra (atha bhagavan vajrapanis tathagatah sarvakamo-pabhogavajrasriyaip nama samadhim samapannas tarn sarvatathagatadayitam samayacak-rena kamayan tusnlmabhut / ). The Pradipoddyolana (FIT, Vol. 158, p. 163-4, 5) explains that the four goddesses, respectively representing the four Brahma-viharas, which arc friendliness (mailri), compassion (karuna), sympathetic joy (anumodana), impartiality (upekfa), succeeded in their love petitions because the Bhagavat, by virtue of the continuity of his previous vow (shon gyi smon lam gyi rgyun gi Sugs kyis)cmcrgcd from the voidness-_)'oga ( — the Clear Light) and entering the above-named samadhi, engaged in love with those goddesses by means of the samaya-cakra, which is the 8x8-= 64 kdma-katS, or love techniques. The rich symbolism of the Guhyasamaja account emphasizes the exhorting by the female clement, the winds, elements, Nature herself, for the Lord to emerge from the absolute plane as the compassionate teacher to show the path to others. For I 302 yog a o f th e guhyasamajatantr a this he must embrace Nature, the wife of others. And yet this takes place by itself. II SID II nifiddham api krtva vai krlyikrlya-vivarjitah ' na lipyate svabhavajhah padmapalram ivambhasd '33 Having done even the prohibited, he renounces both the proper and the improper act. The one knowing the intrinsic nature is not adhered to (by sin), any more than is a lotus leaf by water. Mchan : If one practises in the 'strands of desire' kamaguna -the five sensory objects) of the vidya trig ma), is this in conflict with the saying, "Desires arc like poisonous leaves" ? The verse) disputes this. 'Prohibited' :—this is the label which the other vehicle applies to desire for the 'strands of desire'. "Having done even the prohibited' with the skilful means (upayakausalya) of this (our) vehicle, 'he renounces' the discursive thinking (vikalpa) of'both the proper and the improper act.' He 'is not adhered to' in his stream of consciousncss by the trouble of committed desires, etc., which lead to an evil destiny (durgati), because he is 'one knowing the intrinsic nature' of the dharmas. According to the texts of 'Hphags pa yab sras' (i.e. the tantrics Nagarjuna and Aryadeva) there is also such a viewpoint in the lower vchicic (Hinayana), hence in both (vehicles) it reduces to the greatest absurdity that there is (unethical) permissiveness to take recourse to the 'strands of desire' (form, sound, ctc.) ofthe vidya. But. while the comprehension of reality is the main thing, it is ncccssary to fulfill the frequently-mentioned characteristic of both firmness in 'yoga of the deity' (devata-yoga) and non-regression (avaivarlika) ofthe Bodhisattva (on the 8th to 10th stages, or Stage of Completion). Because, while the lack of fault refutes the 'permissiveness', there is a difference in the respective candidates of the two (vehicles). The scriptural citation "Desires arc like poisonous leaves" is presumably taken by Tson-kha-pa from Bu-ston's Bind sbyar on §id (Ta, f. 57b-4) : "Mdo las / hdod pa mams ni dug gi lo ma lta buho fes hdod yon la sogs spyod bkag paho / ic na /". So far I only find a reference to the poisonous flowers, as in the passage "like the flower on the poison tree" (,vi/avrkfe yatha pufpani), in Dharma-Samuccaya, 2° Partie (Chap. IX), p. 280. Also, in the Udayanavatsarajapariprccha of the Ratnakuta collec- commentary on the forty nidana verses 303 tion (Dcrgc, Kanjur, Dkon brtscgs, Ca, f. 215a-4) there is the half-verse. / ha la ha lahi dug hdra bahi / hdod chags kyis ni de yah hkhrugs / "He is agitated by passion which is like the halahala poison." But this poison is produced from the roots of the plant of that name, and is also the poison churned from the ocean according to the Purana legend. PrakaSika on Sid (Vol. 60. p. 295-2): 'Prohibited' means action in violation of the world. For example, to harm those who do injury to the Three Jewels ; Buddha, Doctrine, and Congregation); to steal the goods of the miser; to deprive the lustful person of a family; to cut the pride of the proud; to speak harshly to the envious. When one docs such acts as those in violation of the world, and under control of 'skill in the means', he is not defiled, for by doing it under control of great compassion (mahdkarund), there is no obscuration (avarana). (dgag pa ni hjig rten dah bahi las so ' / dper na dkon mchog gsum la gnod pa can rnams la rnam par htshc ba dah / scr sna can la rdzas hphrogs pa dah hdod chags can bu sniad hphrog pa dah / ha rgyal can la ha rgyal gcod pa dah ' phrag dog can la rtsub mo smra ba dah / de la sogs pahi hjig rten dah hgal bahi las rnams thabs la mkhas pahi dbah gis byas te gos par mi hgyur te / shin rje chen pohi dbah gis byas par gyur na sgrib par mi hgvur ro/). In accord with the second half of the nidana verse, Aryadeva writes in his CittaviSuddhiprakarana, verse 115: pankajatam yatha padmam paiikadofair na lipyale / vikalpavasanadofais tatha yogi na lipyate // Just as a lotus sprung from mud is not adhered to by the faults of mud, so is the yogi not adhered to by the faults of discursive thought and habit energy. The phrase 'knowing the intrinsic nature', or a similar expression, especially occurs in the commentarial interpretations of Guhyasamdja passages. Let us begin with the lady (yofit) as portrayed in the last three verses (emended) of Guhya-samdjatantra, Chap. IV: fodaSabdikam samprapya yofitam kantisuprabham / gandhapufpam alamkrtva tasya madhye tu kamayet // adhifthapya ca tarn prajhah mamakim gunamckhaldm / srjed buddhapadam saumyam akasadhati alamkrtam // vinmutraSukraraktadin dtvatanam nivedayct / cvamtufyanti sambuddhah bodhisattva mahayafdh // I 304 yoga of the guhyasamajatantra Having obtained a lady, 16-yeared, lovely in appearance, having prepared a fragrant flower, one should love (her) in its center. The wise man, empowering that Mamaki girdled with merits, goes out to the calm Buddha plane adorned with the realm of space. He should offer to the gods excrement, urine, semen, and blood. In that way, the Complete Buddhas and the renowned Bodhisattvas are pleased. The Pradipoddyotana quotes the Samdhivydkarana expansion of those verses (Mchan (igrel, p. 41-2, 3, 4) : kfanddikalabhedciin samjhd sydl fodaSdbdika / anulpadofild idnli(r) yofila ili niScita // Sdnladharmdiiapelakhyii kdntisiiprabhodilS j pratityavasanagandham piispam jnSnavikusanam /,/ nihsvabhdvakule j hey am sarvajhdjhanamadhyamam j kamayed idriiin prdjho yof itam dharmadhdlukam // na cadhyatmam na bdhydnlani nobhayc 'nyalra samsthita / asthunasthitiyogah sydd alo mamaki maid // tat svabhavaikayogam tv adhiflhanam lad ncyate / dkaSaikatvasamvasah saumyam buddhapadatn bharel atah samharandn vif sydd vifayah parikalpildli mill ram jhanendriyam samslham Sukram visuddhidharmald < raktam sarvajhatiijhdnam ye dharmah parikalpitdli , la eva devatah khyatu nihsvabhavo nivedanam evam lufyanli te buddha jinaurasa viSefatah laukiki kalpana yefam lefdm eva yathoditam The peace abiding in the unborn, whose name would be 16-yeared by differentiation of time starting with a moment, is determined as the 'lady' (yosit). Possessing a calm nature, she is said to be lovely in appearance. The flower has the perfume of habit-energy in dependence and is full-blown with gnosis. The knowablc in the family devoid of intrinsic nature is centered in omniscient knowledge. (There) the wise man should love such a lady belonging to the Dharmadhatu. She who dwells neither within nor without, nor in both or elsewhere, would be the yoga whose station is without location. Accordingly is Mamaki understood. The singleness of intrinsic nature is what is referred to COMMENTARY ON THE FORTY NIDANA VERSES 305 as the empowerment. The cohabitation of oneness with space is the calm Bucldha plane. Thus, the excrement is the amassings as the imagined sense objects. The urine is the formation with sense organs (jhdnendriya). The semen is the true nature of purity. (Menstrual) blood is the knowledge of all knowables. Those imagined natures (personality aggregates, and so on) arc the deities. The offering is the lack of intrinsic nature. In that way, those Buddhas and their spiritual sons are especially pleased. Whoever have mundane imagination, for them it has been told as (above). The expression 'who knows the intrinsic nature' occurs in the interesting comment by Pradipoddyotana on Guhyasamaja-tantra, Chap. V, verses 7-8: mutrbhaginiputrimS ca kSmayed yas tu sadhakah / sa siddhiiii vipulam gacchet mahSyanagradharmatam // mataram buddhasya vibhoh kamayan na ca lipyate / sidhyate tasya buddhatvam nirvikalpasya dhimatah 11 The performer who loves the 'mother', 'sister', and 'daughter—achieves the extensive siddhi at the true nature of the Mahayana summit. Loving the Mother of the Buddha, who is the pervading lord, one is not adhered to (by sin). Buddhahood is accomplished for that wise man, devoid of discursive thought. The Pradipoddyotana (Mchan hgrcl, pp. 43-44) comments : buddhasya matam prajftaparamitam svahrdisthitam niscarya taya sahasamapattim kuryat / hrdayastha mahadevi yogino yogavahini / jananl sarvabuddhanam vajradhatvisvari smrtcti vacanat / kamayann id matr-bhaginlduhitrvaddhitaisinlbhih / samayajfiabhih/ jnana-mudraya ca paramanandasukham anubhavah/ na ca lipyata iti ragadiklcsair naiva sprsyate / na kevalam ragadidosair na lipyate / api tu sarvasampattim apadyata ity aha / sidhvata ityadi / tasya sadhakasya dhlh susiksita mudra / yasya tasya dhimatah /' nirvikalpasya svabha-vajriasya / buddhatvam inahavajradharatvam sidhyate svayam cva nispadyate / ncyarthah // punar arya-vya-khyanam ucyate / prajAaparamitaip prajnam dharmaka-yaikainatrkam / kiimaye(n) ni (h)svabhavakhyaip 306 yoga of the guhyasamajatantra tathatadvayayogatah // sambhogatulyatam jatam tam cva bhaginim matam / kamaycn mantramurtya tu svadhidaivatayogavan // sadhako bhavayct tarn tu putrim nirmanarupinim / kamayann idrsah yogi bhagi-nimatfputrikam / sa siddhim vipulam gacchen maha-yanagradharma (ta) m //nitarthah / / Having drawn forth the (lady) Prajfiaparamita (from the Clear Light) dwelling in his own heart who is the mother of the Buddha, he should engage in union with her, because it is said (in the Sarvarahasyatontra, verse 46): The great goddess dwelling in the heart, causing the yoga of the yogin, the mother of all the Buddhas, is callcd "Queen of the Diamond Realm'. 'Loving' means by those aware of the pledge, well-wishing, for such as mother, sister, daughter. Experiencing the ecstasy of supreme bliss with the 'knowledge seal', one is 'not adhered to (by sin)', i.e. is not contacted by the defilements of lust and so on. Not only is one not adhered to by the faults (bad destiny) of lust and so on, but also one attains all perfection, for which reason (the verse) says ' (Buddhahood) is accomplished' and so on. The wisdom (dhi — prajiid) of that performer is the well-trained mudra. For that wise man, who is 'devoid of discursive thought', i.e. knows the intrinsic nature, Buddha-hood, i.e, the state of Mahavajradhara, is accomplished just by itself, i.e. completed. Hinted meaning. Also, it is said in the 'Aiya-i ydkhydna' i the Samdhiiydkarana): He should love by the non-dual yoga of thusncss the Prajfla-woman, who is the Perfection of Insight callcd 'devoid of intrinsic nature', the 'Mother' (the Clear Light) identical to the Dharmakaya. He, equipped with the yoga of his own presiding divinity (ofthe Stage of Completion) should love just that one referred to as 'sister', cngendred equal to the Sambhogakaya (which has emerged as the yuganaddha-deha from the wind and mind-onlv of die Clear Light). But, by (his) incantation body (which has repeatedly contemplated the Clear Light), the performer should contemplate that 'daughter' with the form of the Ninnana(kaya) (of the various Tathagatas). COMMENTARY ON THE FORTY NIDANA VERSES 307 The yogin of this kind, loving the 'mother,' 'sister,' 'daughter,' attains the extensive siddhi, i.e. the supreme dharma-nature of Mahayana. Evident meaning. It should be mentioned that the Mchan hgrel identified both the Sarvarahasyatanlra (the verses of which I have numbered) and the Sai/idhivyakarana citations. Besides, the translation has been influenced by the expression 'idria' applied to the yogin. In order that he be 'of this kind' there should be a relevant statement in each of the three cases, i.e. for the 'mother' "by the non-dual yoga ofthusncss"; for the 'sister' "equipped with the yoga of his own presiding divinity"; and for the 'daughter' "by (his) incantation body". This consideration justifies taking the Sanskrit expression manlramHrlya ('by his incantation body') with the suggestion of lu . . . lu, to apply to the 'daughter' of the next verse. Otherwise, the yogin would be of two 'such kinds' for the 'sister' and of no 'such kind' for the 'daughter'. This also suggests the solution that the consort of the yogin in the Mahasadhana phase of the Stage of Generation is the 'daughter'; while his consorts during the Stage of Completion arc the 'sister' and the 'mother'. (Much information about this daughter,etc. symbolism is in my article "Female Energy..." reprinted with coriections in The Buddhist Tantras). But also, the Guhyasamajalantra, Chap. V, after those verses 7-8, portrayed the astonishment of the Bodhisattvas. So the Lord pronounced verse 9 : iyam sa dhannatd iudaha buddhanam siirajhaninam / saradharmarthasambhuta cfa bodhicaripadam 11 This is the pure true nature of the Buddhas who know the essential (the Nirvana of no fixed abode). That, having arisen from the nature of the essential (supreme truth) and the entity (conventional truth), is the plane of cnlightcnment-coursing (Mahavajradhara). Thereupon, according to Chapter V, the Bodhisattvas fainted. The Piadipoddyolana {Mchan hgrel, p. 44-4, 5 to p. 45-1) quotes again the Samdhivyakarana on this chapter: punar aryavyakhyanam ucyate / aspan (d)akatn idar/i guhyam sanlaikam sukham ultamam / sandhyaya katbilani cedam samyaksambodhiprapakal} //... akaSanantatayogad rupadinam anantata / I 308 yoga of the guhyasamajatantra te vai tathagatah prokta bodhisattvas tathaiva ca i... tat lu samgraham ivedam mantfalam yat svakayatah / kalpayantiha satkayah bodhisattva hi milrchitah / na jananli tadityante sukhenonmadacoditah / bodhisattvan mahasattvan uklan te miirchitdn Further, the 'Arya-Vyakhyana' is citcd (lor the 'evident meaning' ): Motionless is this secret (place), peaceful, unique, the supreme ecstasy. And this attainer of perfect enlightenment is stated in the manner of twilight. By the yoga (the two dhyanas) of space sunva) and infinity ( = mahasunya), there is infinity of form, etc. (the skandhas, the elements, the sense bases). Those are indeed the Tathagatas as well as the Bodhisattvas. Now, that is this comprisal, which is the man/Jala as the (yogin's) body. The Bodhisattvas imagine it in this world as their transitory bodies, so they swoon. Since they do not know that (truth, the intrinsic nature), when exhorted by ecstasy's frenzy, the Bodhisattva Great Beings are said to 'swoon'. Some other explanations of the seemingly immoral injunctions are made without resort to such interpretations, as above, of knowing the intrinsic nature. For example, the Guhyasamajatantra. Chap. XVI, p. 120, has a verse which stipulates conduct precisely the reverse of the Buddhist layman's vows: praninas ca tvaya ghatya vaktavyam ca tnifa vacah / adattam ca tvaya grahyarn sevanam yofitam api // You should kill living beings, speak lying words, take things not given, and resort to the ladies. The Pradipoddyotana (Mchan hgrel edition) does not comment on this verse, presumably bccause the subject already was treated in Chapter IX's commentary. So, Guhyasamaja, IX, p. 35: "He should kill all sentient beings with this secret thunderbolt : (anena guhyavajrena sarvasattvam vighatayct); Pradipoddyo-tana, PTT, Vol. 158, p. 66-5 : "He should destroy all sentient beings by rendering them into the Void (Siinya)" (sems can thams cad bsad cin ston par byas pas rnam par giig par byaho). Tantra p. 36: "He should contemplate the stealing of all materials with the triple thunderbolt' (haranam sarva-dravyanam trivajrena vibhavayet); PTf, Vol. 158, p. 67-2: COMMENTARY ON THE FORTY NIDANA VERSES 309 " 'stealing' means he summons the substance of all the Tatha-gatas" (phrogs pa ni dc biin gscgs pa thams cad kyi rdzas dgug Paho) Tantra, p. 36 : "There he should contemplate the conjunction of all of them to the aspect of a lady" (yosidakara-samyogam sarvesam tatrabhavayet); PTT, Vol. 158, p. 67-4, 5: " 'there', in that mandala, he should contemplate the conjunction with i.e. the transformation (of all other male deities) into, the appearance of goddesses" (dkyil hkhor der... bud med kyi rnam pa lta bur vons su gyur paho). Tantra, p. 36 : "He should contemplate all forms as the diamond expressions which are lying words" (mrsavadam vajrapadam sarvabimban vibhavayet); PTT, Vol. 158, p. 68-2: "He should contemplate all forms of sentient beings as lying words, since all dharmas are like illusions" (thams cad gzugs tc sems can thams cad...rdo rjohi tshig gi rdzun smra bas ics bya ba ni / chos thams cad sgyu ma lta bu yin pas). Of course, it is not such a terrible doctrine after all, if killing of living beings means only seeing them as void; telling lies, the working with dharmas that arc seen as illusions; stealing, the drawing into oneself of the divine substance of the Tathagatas; and uniting freely with the ladies, the imaginative transformation of mandala deities into goddesses. The Guhyasamaja in one place suggests that this 'renouncing the proper and the improper act' of the nidana verse is from the absolute standpoint while in conventional terms we must still make these value judgments. Thus, Chapter IX, p. 38: mahadbhutefu dharmefu akafasadrfefu ca / nirvikfllpefu Suddhefu samvrtis tu pragiyate // While the dharmas arc marvellous and like the sky, are free from imagination and pure—a convention is expressed. Another solution is to take 'sin as merit', according to Pancakrama, V, 34-35 : yatha saukhyam tatha duhkham yatha dus [as tatha sutah / yathavicis tatha svargas tatha punyam tu papakam // evam jhatva cared yogi nirvifahkas tu sarvakrt / pracchannavratam asadya sidhyante sarvasampadah // Having known suffering to be as happiness, the son as the despised person, heaven as the Avici hell, sin as merit, the yogin should do all deeds without fear. By his recourse to the private asceticism, all perfections are fulfilled. 310 yoga of the gt'hyasamaj atantra G. Bhage-fu vijahara (iVas dwelling in the bhagas) In the six-mcmbered yoga, this is the last member, Samadhi; and in the Pahcakrama system, it is the last krama, Yuganaddha, in fact continuing the iaik>a-yuganaddha and ending with aSaik}a-yuganaddha. BHA portrays the yogin as a Buddha in one or another of the five Buddha families: while GE portrays his 'home', where he is, being the female element of the world. The syllable SU is understood as the locative indication governed by the verb Vijahara. Therefore, the author of these verses starts his final aiaikfa topic with SU. The Vajrasattva yogin continues by duelling anywhere SU \ I-JA-HA-RA to instruct the advanced Bodhisattvas. What is the meaning of die word 'bhaga' ? The Vajramili Explanatory Tantra, Chap. 41 PTT. Vol. 3, p. 219-3) states : I chos dbyiits bha-ga ies ni brjod / I bha-ga rin chen za ma log ! gah phyir dbah phyug sogs yon Ian I Idan pa dc phyir bha-ga brjod I bha-ga chos rnams su yah bSad I dbyihs ni byah chub sems su gsuhs I khams gsum pa yi hgro ba yi I rgyu ni bha-ga ies byar biad The Dharmadhatu is called 'bhaga'. The bhaga is a jewelled basket ' karanda . Because it possesses the merits of 'lordliness' and so on, it is callcd 'bhaga'. The bhaga is also explained as the dharmas. The dhitu is said to be the bodhicitta. The cause of movement of the three realms is explained as 'bhaga'. The explanation by the Sandhiiyakarana Explanatory Tantra is cited by the Pradipoddyotana (.Mchan hgrel, p. 21-2) : yalhoktam bhagavata sandhyavyakarana-lanlre sarvabuddhofita yi vi bhumih syat sa trayodaSi si ca yofit samikhyati saddharmo bhaga ucyate As it was said by the Lord in the Sandhivyakaranatantra : The Stage resorted to by all the Buddhas is the Thirteenth, and it is called the 'lady". The Dharma of illustrious persons is said to be the bhaga. (.Mchan hgrel explains that the Tenth Stage has the three lights. The Illusory Body is the Eleventh Stage. The Clear Light is the Twelfth Stage. The Thirteenth Stage is the *Adhimukti-carya-bhumi (mos spyod kyi sa) [hence Anusmrti in the six-meinbcrccl yoga or Abhisambodhi ofthe Pancakrama]. Accordingly. a Fourteenth Stage is allotted lo Yuganaddha.) Candrakirti's Pradipoddyotana on Chapter Seven, verse 21, devoted to 'remembrance of the Buddha' (buddhanusmrti), comments on the words 'dvayendriyasamapattya buddhabim-bani vibhavavet' "With union of the two organs one should contemplate an image ofthe Buddha"), as follows : / bhagah paramarihasatyam / tasmin liyata iti lirigam / kim tat samvrti-satvam prati sthapya prabhasvare pravesya buddhabimbam mahavajradharam vibhavayet paramarthasatyad vyuttha- payed ity arthah ' "The bhaga is supreme truth. About the liAga. it is said, 'It lies therein'. And what is it ? Conventional truth. 'Placing it', i.e. introducing it into the Clear Light, one should contemplate an image of the Buddha, i.e. Maha-vajradhara. One should make it emerge from Supreme truth. That is the meaning." Mchan hgrel 'p. 58-1, 2) comments on the lihga in the sense nf Conventional truth that it is the Illusory Bodv ma hi >'.w .which ibid. p. 21-1-7; is golden. Earlier, in Pradlp ••!•!•; •!.:• "> comments on Chapter One Mchan hgrel, p. 21-3, 4 . the same topic was set forth as follows: atha prabha-svarapravesad anantaram bhagavan mahavajradharah sarva-tathagatakavavakcitiadhipatih sarvakulatmakam atmanam paramarthasatyad vvutthiiya bhavanii winaikarasasvabhavena sarvatathagatamahasamayamandalamadhve pratisthapayamiisa/ "Immediately after the entrance of the Illusory Body) in to the Clear Light, the Lord Mahavajradhara, master ofthe Body. Speech, and Mind of all the Tathagatas, arousing himself, who is all the families, from Absolute Truth paramarlhasatya), by the intrinsic nature of 'single essence' inseparability) ofthe phenomenal world the Illusory Body as samvrti-sotya) and Nirvana the Clear Lisjht gnosis as paramartha-salya) established himself in the center of the 'Great Pledge mandala of all the Tathagatas." This is the four-cornered dustless mandala. Those passages clarify the usage of the word 'bhaga' as Supreme Truth, the Clear Light, in the sense of what is entered. Hence, mystically, the word for 'female organ' is employed for this arcanum, which therefore can represent any cakra of the body with the stipulation that the yogin enters (with a subtle I 312 yoga of the guhyasamajatantra body) that cakra and realizes the Clear Light. The comment on 'bhaga' as 'destruction of defilement' (cf. the introductory secuon on the nidana) refers to the purifying function of the Clear Light, which is credited with converting the impure Illusory Body into the pure gnostic body as the Sambhogakaya. The explanation of Yuganaddha consistent with the aljove remarks is treated as follows in the Pahcakrama, 5th krama (Yuganaddha), verse 18 (Sri Laksmi, Vol. 63, p. 51-1, 2) : ragaragavinirmuktah paramanandam urtiman asamsararn sthitim kuryad y uganaddhaiibhai akah Possessing the (Illusory) Body in supreme ecstasy the Clear Light), which is free from 'desire' and 'aversion' (- the prakrtis associated with Spread-of-Light and Light), he should remain as long as docs samsara, contemplating yuganaddha. Sri Laksmi further explains that this verse portrays the state called 'Nirvana without fixed abode' (apratifthita-nirvana). This is referred to in Pahcakrama, 5th krama, verses 2, 25 : samsaro nirvrtiS ceti kalpaiuldvayavarjanat ekibhavo bhaved yalra yuganaddham tad ucyatc ,/ etad evSdvayajhanam apratiflhitanirvrtih j buddhatiam vajrasattvatvam sarvaiSvaryam tathaica ca Having eliminated the two imaginations 'samsara' and 'nirvana'—then wherein unification occurs, is called 'yuganaddha' (the pair united). Just that is the non-dual knowledge, the Nirvana without fixed abode, Buddha-hood, the state of Vajrasattva, as well as universal sovereignty. But the human inind prefers that a dwelling be localized somewhere. The Guhyasamajatantia, Chap. XVII, p. 139, has the passage : I atha tc sarvc mahabodhisativah tan sarvatathagatan evam ahuh / sarvatathagatakayavakcittasiddhini bhaga-vantah kutra sthitani kva va sambhtitaiu sarvatathaga-tafo prahuli / trikayaguhyam sarvatathagatakayavak-cittain vajracaryasya kayavakcittavajrc sthitam , inaha-bodhisattva ahuh / kayavakcittaguhyavajratn kutra sthi-tam I sarvatathagatah prahuh / akase sthitam ; maha-bodhisattvah prahuh / akasam kutra sthitam j sarvata-thagatah prahuh / na kvacit / atha tc mahabodhisattva ascaryaprapta adbhutapraptah tusnim sthita abhuvan / Then all those great Bodhisattvas spoke as follows to all the Tathagatas : "Lords, where dwell the occult powers siddhi) of the Body, Speech, and Mind of all the Tatha-gatas ? Where have they arisen ?" All the Tathagatas replied : "The secret of three bodies—the Body, Speech, and Mind of all the Tathagatas dwells in the diamond of Body, Speech, and Mind of the diamond hicrophant." The great Bodhisattvas asked : "Where dwells the secret diamond of his Body, Specch, and Mind ?" All the Tathagatas replied: "It dwells in the sky." The great Bodhisattvas asked: "Where dwells the sky?" All the Tathagatas replied: "Nowhere." Then those great Bodhisattvas in wonderment and amazement became silent. Another interpretation of the word 'bhaga' is found inCelu-pa'sRatnavrkfa-nama-rahasya-samaja-vrtli(PTT., Vol. 63, p. 174-1) "It is said : 'Because it makes known everything, the mind(citta) is callcd "bhaga of the lady". From that is born the Teacher.' " ( ji skad du thams cad ses par byed pahi phyir / thugs ni bud med bha-gaho fes so de las bvuri ba ni ston paho / ). However, the < ilia to which Cclu-pa refers is actually the bodhi-citta. There is a celebrated verse about this, which was pro- nounced by Yairocana in the Guhyasamaja, Chap. Two : sanabha; a; igatam skandhadhdli dyatanagrdhyagrdhakavarjitam / dharmanaiiatmyasamatayd siacittam adyanutpannam Sunyata-bharam // "My cilia is free from all modes-of-being; avoids the personality aggregates, realms, and sense bases, as well as subject and objcct; is primordially unborn, the intrinsic nature of voidness through the sameness of dharmanai-ralmya." There arc also some other explanations of yuganaddha. Thus, Pancakrama, 5th krama, verse 12, associates yuganaddha with the 'central vein' of the body : pindagrdhdnubhcdtibhyaifi pravcias lalhalalayt / utthanam ca lalv yalra samalad yuganaddhakam 11 By means of contraction (pindagraha) and expansion (anubheda)—die entrance, so in the abiding, and then wherein the rising—through equality (of the two), there is 'yuganaddha'. The Subhafita-samgraha (Part II. p. 421 quotes the Samvara-tanlra about yuganaddha: esa svSbhavikah kayah iOnyatdkarunddvayah / napumsaka iti khyato yuganaddha iti kvacit This Svabhavika Body, the non-duality of voidness and compassion, callcd the Androgyne, is sometimes said to be yuganaddha. Finally, Pancakrama. 5th krama, verse 26 (Sri Laksmi. p. 52-2,3) defines yuganaddha in terms of samadhi: oajropamasamadhis tu nifpannakrama eva ca ! mayopamasamadhii capy advayam tac ca kathyate For the Diamond-like Samadhi is precisely the ni/panna-krama; and the Illusorv Samadhi is the non-dual (knowledge). At this point, Sri Laksmi quotes a verse without naming the source : "With insight (prajiia) one docs not stay in samsSra; with compassion (karuni) one does not stay in (the quiescent) nirvina:—For a long time with not the means (upaya) and for the same long time with the means" ( / ses rab kyis ni srid mi gnas I I sftiri rjes mva nan hdas mi gnas ' / thabs mcd pa vis yun riri dan / / thabs kyis kyari ni yun rin Aid / ). Here 'insight' is not the 'means' and 'compassion' is. HBHAII bhavaty a/fagunaiS caryair upetali sarvavit svayam / vicarej jhanadehena lokadhator ase>atah //34/^' Equipped with the eight gunas to be practised, an omniscient being arises, and by himself wanders all over the worldly realm by means of the knowledge body. Mchan : 'Eight gunas' are subtle form, ctc. (sukpnarupddi) ; 'himself—the yogin. Pradipoddyotana on GuhyasamUja, Chap. XV, verse 51; Mchn hgrel edition, p. 124-4 : "Bccausc he has the eight guna-aiivarya he has glory (srimat)" ( / yon tan gyi dban phyug brgyad dan Idan pas na / de ni dpal Idan paho ' ). On this remark, Mchan bgrel comments in part that it is the faikfa-yuganaddha. Pra-kOSiki on Bha (Vol. 60, p. 295-2): 'Equipped with the gunas' means he has the lordliness of eight gunas of the subtle, etc. or has the lordliness of body, ctc.; 'an omniscient being arises' means that he knows the mental make-up of all sentient l>cings of past, present, and future, and knows their death, transmigration, and rebirth; also, for the sake of sentient beings he 'by himself wanders by means of the jhSna-deha\ that is to say, he wanders 'all over the lokadhatu' by the illusory aspect as well as through all the Buddha fields (yon tan ics bya ba la sogs pa smos te ' phra ba la sogs pa yon tan brgyad kyi dbah phyug gam skuhi dbah phyug la sogs pa dc daii ldan paho / / scms can thams cad rig hgyur / ies pa ni hdas pa la sogs pahi dus gsum gyi nan na gnas pahi scms can thams cad kyi sems kyi spyod pa dah hchi hplto ba dah skye ba la sogs pa ses par hgyur re / i de biin flu yah scms can gyi don bya ba phyir bdag ftid ye Ses lus kyi spyod j ces pa ni sgyu ma Ita buhi rnam pas hjig rten gyi khams ma lus pa ste / sans rgyas kyi iih rnams yons su spyod do . Pradipoddyotana on Guhyasamdja, Chap. XVII, p. 135 and verse 39; Mchan hgrcl edition, p. 154-3: — •i, Pradipnddyolana comment on the words trivajrah paiame-Svarah : "The three mjras are the diamond Body, Speech, and Mind; and he is 'supreme' ! pnrama' among them." "Furthermore. the eight arc : 1 lordliness (aikarya) of body, (2) lordliness of speech, i lordliness of mind, (4) of magical prowess rddhi . 3 omnipresent lordliness isanagataifvarya) (6) of wish it ha . 7 of creating [[[kartr]]), (8) lordliness of the gunas (guna ." b Mchan hgrel : The eight arc :) 1 ) ability to simultaneously display innumerable cor- poreal manifestations. 2 ability to simultaneously teach the dharma to the different classes of sentient beings in their own language. '3) unsullied omniscience. 4) display of innumerable magical feats. ,5) omnipresence in all realms (fifaya), times (kala), and states (avasthd). (6) ability to fulfil wishes as soon as wished. 7) creation of various forms, stationary or moving, exactly as desired. (8) having the gunas of the ten powers, etc. By 'ten powers, etc.' the reference is made to the ten powers (dala-bala) and other attributes of the Tathagata, such as the I 316 yoga of the guhyasamajatantra four confidences. According lo the Mahavyutpatti, Nos. 120-129, the ten powers are : 1. power to know the possible and the impossible (sthdnasthana), 2. power to know the maturation of karma, 3. power to know the various convictions (adhimukli), 4. power to know the various elements {dhatu), 5. power to distinguish between a superior and inferior sensory power (indriya), 6. power to know the paths going everywhere (sarvatra-gamini-pratipad), 7. power to know all accompanimcnt of meditation (dhydna), liberation (vimok;a), profound concentration (samadhi), meditative attainment (samdpatti), defilement (samkleia) and purification (vyavadana), 8. power to recollect former lives (purvanivisa), 9. power to know transmigration and rebirth (eyuty-utpatti), 10. power to know the destruction ofthe fluxes (asrava-kjaya). Also, the yogin who 'wanders by himself' in verse 'BHA'— despite the mysterious maidens (kanya) mentioned under 'GE' and in Guhyasamdja, Chap. XV—is in that chapter classified by different families, according to Pradipoddyotana (Mchan hgrel, p. 120-4, 5 and 122-2). So, in the Sanskrit text, p. 94, the phrase, 'He would shine like a Buddha' (bhaved buddhasama-prabhah) refers to the yogin belonging to Vairocana. 'The king who holds all dharmas' (sarvadharmadharo rajd) is the yogin of Amitabha. 'By the praxis of Vajrasattva' (vajrasattvapra-yOgatah) means Aksobhya's yogin. 'Shining like Vajrasattva' (vajrasattvasamaprabhah) refers to Ratnasambhava's yogin. And 'the one accomplishing the desire and the liberation' (kamamokfa-prasadhakah) is the yogin of Amoghasiddhi's family. Besides, text, p. 95, the 'one of diamond nature' (vajradharmdtman) is the superior yogin belonging to Amitabha. Gukyasamdjatantra, XV, 11, places this attainment on the Tenth Stage : "He would be Vajradharmatman, dwelling on the Tenth Stage, the king who holds the Vaksamaya, the Parame£vara who is supreme." (sa bhaved vajradharmatma daiabhumipratisthitah / vaksamayadharo raja sarvagrah paramesvarah). HGEII geharji tasydmbaraS caiia yatra sa carati prabhuh / tatraiva ramate nityam mahasukhasamadhina //35// His home is the sky wherever he the Lord docs roam. By the samadhi of great ecstasy he forever rejoices in that very place. commentary on the forty nidana verses 317 Mchan : 'sam/ldhi of great ecstasy* means the consubstantial bliss (sahajSnanda 1 'That very place' is the sky and is explained as paramdrtha-satya. Saraha's Dohd-kofa (verses 93, 96 in Shahidullah's numbering) as I translate from the Prakrit (given here) and the Tibetan texts reproduced in M. Shahidullah, Les Chants Mystiques de h an ha et de Saraha, was suggested for inclusion here by the citation in Tson-kha-pa's (Gsal bahi sgron me commentary on the Pahcakrama PTT, Vol. 159, p. 70-5 to p. 71-1): 93. ruanc saala bi jo naii gahai, kunduru-khanai mah.isuha sahal ? jima tisia tisittane dhabai mara sosc nabhajjalu kahi pabai. 96. kainala-kulisa bebi majjha thiu jo so suraa-bilasa, ko tahl ramai na tihuane kassa na puria asa ? At the moment of 'resin' (kunduru is twilight language for indefinable 'union'), does he gain the great ecstasy (mahasukha) who docs not know completely the true nature (rliana, *rupana, taken equivalent to svarupa) ? As one with avid thirst races for the water of a mirage and dies of thirst —how can he obtain the water of the sky ? That sport by pleasure located between the lotus and the diamond, if anyone could not take pleasure there, in the three worlds, whose hope could he fulfil ? PrakdSikd on Oc (Vol. 60, p. 295-3,4) : 'The sky' means the realm of space (akdia-dhatu or kha-dhdtu); 'the Lord who roams wherever' is Sri Vajrasattva, the Lord of the five who are Aksobhya, etc.:. . . 'By the mahiisukhasamadhi he forever rejoices in that very place' has as external meaning that by producing in immediacy the reality of the Clear Light he rejoices by rejoicing in emanating and reunification; ... as to 'wherever the Lord docs roam', he roams in whatever lotus of mudrd by tin: form of upper and lower bodhicitta of Sri Vajradhara, bccausc the Tantra says, 'Whatever the sky within the bhaga, it is ornamented with five skies';. . . this abiding in his own form of introspection is the inner meaning. Those remarks of the PrakdSikd introduce a number of difficulties, but also suggest the research to be brought up now. The nidana verse has the phrase 'his home is the sky'. Guhya-samaja, XII, verse 2 ("Documents') speaks of a spot of a great I 318 yoga of the guhyasamajatantra forest and in a secludcd mountain. The Pradipoddyotana on this verse first explains the verse according to its literal form in terms of a beautiful place for meditation, labelling this explanation the'hinted meaning' (neyartha). Then, to show the 'evident meaning' (nitartho), it cites some verses from the 'Arya-Yyakh-yana\ in fact from the Samdhiiyakarana PTT, Vol. 3, p. 242), translated with some remarks from Mchan hgrel, p. 83-2, 3 : akaSakalpandyogaih skandha mahafaii malili asthanasthitiyogena pradese mahadalaye sambhogakalpairkfe 'smin vividhe siddhipurfite nirmanaphalasamSobhe samyaksambndhipanate abhavavijane ramye sadhyaiii tad vajrasamjhakam By procedures of considering their sky ( the Clear Light), the personality aggregates arc claimed to be 'he 'great forest'. By the yoga of the place of no location (apratif /hitanindna), there are those 'flowers' of the various (supramuudanc) siddhis on the wishing tree ofSambhoga (the illusory body) in a 'spot' which is a great place. When there is the decoration of Nirmana 'fruit' on the joyous 'mountain' (Dharmakaya) of right completed enlightenment that is 'secluded' by lack of states, what is to be accomplished has the name 'vajra' (i.e. Vajradhara). Ratnakarasanti's Pindikrta-sudhannpdyika-L n.ti-ratndoali-nama PTT, Vol. 62, pp. 69-5 to 70-1) concerns itself with the same verse of Chap. XII, and adds further levels of interpretation following Candrakirti's classifying terms. Here, his 'Yatharuta* interpretation is most helpful : The 'great forest' is the sky of 'she who is love's umbrella'. The 'spot* is the sky of *Devadatta. 'Adorned with flowers, fruit, and so on' is the sky of the Moon Lady. The 'mountain' is the sky of the Tortoise Lady. 'Secluded' is the sky of *Dhanavijaya (Nor rgyal ma). Because it is said : "Whatever the sky within the bhaga, it is ornamented with five skies, beautified with eight petals and a nave with filaments. The ambrosia with the form of Sukra, thrre located, ever drips." The description of eight petals indicates either the heart-ca/tra, or the cakra which in the male is at the root of the penis; the latter seems meant here. Previously we took note that the he f 319 latter cakra constitutes the yogin's 'woman'. On the other hand, the remark in the PrakaSika on Ge, "by the form of upper and lower bodhicitta" suggests both cakras. The PrakaSika on Gc also says, "whatever lotus of mudrS," which refers to the families of goddesses respectively going with the five yogins mentioned under 'BHA', who, according lo the PrakaSika, abide in their own form of introspection. According to Klori-rdol-bla-ma, as cited in my "Female Energy ...", p. 94, the butcher maiden belongs to Aksobhya's family; the washerman maiden to Vairocana's; the necklace-siringer maiden to Ratnasambhava's; the dancer maiden to Amitabha's; the artisan maiden to Amoghasiddhi's. Also, there are 'ages' ascribed to various ones of those maidens. According to the Guhyasamdjatantra, Chapter Four, verse 19 (.Mchan hgrel, p. 40), and Chapter Sixteen verse 91 (Mchan hgrel, p. 147), the maiden belonging to Aksobhya's family is aged 12; the one of Vairocana's 16. The article "Female Energy... " shows that this is consistent with the sizes ascribed to mandalas of Body, Speech and Mind in the Guhyasamdjatantra. Its Chapter Four mentions (Aksobhya's) mandala of Mind to have twelve liastas; its Chapter Sixteen mentions Yairocana's mandala of Body to have sixteen hastas, and Amitabha's mandala of Spcech to have twenty hastas. On this principle, the maiden of Amitabha's family is aged 20. In that article, p. 103, I cited a passage from Saraha setting forth five ages, the cight-ycared Kumari, the twelveyear-old Salika, the sixtccn-ycarcd one called Siddha, the twenty-year-old *Balika, and the twenty-five-yeared *Bhadra-kapalinl. By implication, Ratnasambhava's and Amogha-siddhi's maidens, in whatever order, have the ages of 8 and 25. The Guhyasamdjatantra (Chap. 8, verse 7) mentions the age 25, but no age 8. Since this Tantra regularly has a four-fold correspondence in terms of the four goddesses, and hence to four Tathagatas, the basic three plus Amoghasiddhi (the 'karmanatha'), it follows that Amoghasiddhi's maiden is aged 25, but so far I find no passage to confirm this. In that article, p. 108, I included a quotation from the Mahamudratilaka : "If one docs not obtain a twelve-yeared, or sixtcen-yeared female, adorned with good features, long eyes, attractive figure and youth, then a twcnty-ycared one is proper. Other 'seals' I 320 yoga of the guhyasamajatantra (mudra) above twenty put the occult power far off. One should offer his sister, daughter, or wife to the 'master' (guru)." This passage is one evidence that the 'ages' refer to the length of time it takes the yogin to reach the siddhi. Other interpretations ofthe 'ages' presented in that article were, for the sixtecn-yearcd maiden, the sixteen voidnesses as well as sixteen vowels, the sixteen transits of winds and the sixteen digits of the moon. The twelve-yeared maiden can be interpreted as the twelve vowels by leaving out the 'two neuters' (r, }, j, and I) from the I6-vowel group, or as twelve transits by leaving out the last four transits. Besides, according to Guhyasamajatantra, Chap.XV. verse 51, the maidens can belong to eithert he realm of desire (kamadhatu) or the realm of form (ritpadhatu). According to the Pradipoddyo-tana on this, the ones in the realm of desire can be the daughters of the six passion families (the Tusita gods, etc., a standard category of non-tantric Buddhism), the ones called 'surabhoga' are the daughters of the Cakravartins; and the 'kulavrata' means they can belong to the families of gods, asuras, and soon. The ones in the realm of form have superior capacity (for siddhi). II $U II tfv evabhasabhedefu sandhya-ralri-dinesu ca vyavahdrah krto lokc jhanatrayanidarSanat // 36 11 A conventional illustration is made in the world regarding just these distinctions of lights as the twilight, the night, and the day—so as to see the three gnoses (jhana). Both Mchan and the PrakaSika have little to add here. These illustrations arc made to the disciple by a revered guru by way of Initiation (abhifeka). The Mani-mdld commentary on the Pahcakrama states (PTT, Vol.62, p. 208-1) : "The exalted deary a, by removal of the eye-veil (timira), reveals to the disciplc the outer abhisambodhis" (slob dpon mchog ni rab rib spans pas slob ma la ni phyi rol byari chub bstan). Therefore, in his Abhisambodhi-krama of the Pahcakrama, Nagarjuna precedes the actual delineation of the abhisambodhis with verses showing the disciplc's exhortation to the guru to reveal those abhisaipbodhis. tatsamaradhariaip krtvd varfarp masaip athdpi va / tasmai tuffdya gurave pSjam kurydt tu Saktitah // 3 // tatas tuffo mahayogi pahcakdmopabhogatah / dlokasyodayam kurydt samapattividhSnatah // 5 // he f 321 kalaSddau susamsthdpya bodhicittam prayatnatah / ardharatre cabhisihcel sutisyam krpayS guru It // 6 // abhiffkam tu samprapya pratyusasamaye punah / sampBjyaradhayet stotrair gurum Si/yah krtahjalih // 7 // druf/ukdmo 'bhisambodhim sarvaf unyasvabhavikdm / stutvii krtaiijalih Sisyo guriim samcodayet punah // 12 // prayaccha me mahdndlha abliisambodhidarSanam / karmajanmavinirmuktam abhasatrayavarjitam // 13 // evam aradliito yogi sadbhutagunakirtanaifi / iify e kdrunram utpadya kramam evam atharabhet // 16 // Having propitiated (the hierophant) for a month or even for a year, he should make offering as he is able to that pleased guru ....... Then the mahSyogi, delighted through enjoyment of the five pleasures, should arouse light by a rite of equipoise (samSpatti). By engaging the'mind of enlightenment' he well disposes the flask and so on; and at midnight the guru kindly initiates the good disciple. Having received initiation, the disciple at the time of dawn respectfully bows to the guru and pleases him with worshipful verses of praise__________When that discipic, desirous of seeing the abhisambodhi which is the intrinsic nature of universal void, had praised, then respectfully bowing to the guru, he should exhort him further : 'Oh, great lord, pray offer me the glimpse of abhisambodhi, liberated from karma and rebirth, and free of the three lights !' The yogi, thus gratified by the recital of holy qualities, feeling compassion toward the discipic, then begins the steps this way : Pahcakrama, 2nd krama, verse 30 : sai/willimatrakaiti jnanam akaSavad alakfanam / kini tu tasya prabhedo 'sti samdhyaratridivatmanah // The gnosis (jhana) which is purely introspective is characterless like the sky. But it has a division going with the twilight, the night, the day. Pahcakrama, 4th krama, 17 : aloko rStribhagah spliu(aravikirartah sydd awalokdbhdsah sai/idhyalokopalabdhab prakrtibhir asakrd yujyate svabhir etat I 'Light' is the (moon-rise) part of night. The day with its spreading rays of the bright sun is 'Spread-of-Light'. I 322 yoga of the guhyasamajatantra Twilight is 'Culmination-of-Light'. They work again and again by their own prakrtis. Therefore, the Clear Light, or universal void, is free of day, night, and twilight. These conventional illustrations also involve the distinction of inner and outer Abhisambodhis, as are explained by Aryadeva in his Carya-melapaka-pradipa (PTT, Vol. 61, p. 308-2), where we should observe that he employs the word 'nescience' (avidya) as in nidana verse 3 : I de la mrion par byari chub pahi rim pa ni rnam pa giiis te I hdi lta ste phyi dan nan giho / / de la dan por phyihi bstan par bya ste / tho raris kyi thun mtshams su ma rig pahi snari ba hdas na ji srid ni ma gsal bar ma gyur pa ste / hdi la ni hod gsal ba dri ma mcd pahi rnam pa gsal 2iri lus dan nag dan yid dan bral ba thams cad stori pahi mtshan riid can no / / fli ma gar ba ni snan ba mched paho / / fii ma nub pahi thun mtshams su ma rig paho / / zla ba sar bahi tshc ni snari baho / / de ltar stori pa Aid rnam pa b£i phyi rol ries par bstan pa bsad nas / da ni nari gi mrion par byari chub pa so so ran gis rig pahi mtshan nid can rim pa hdis bstan par bya ste / dari por smig rgyu lta bu la hod zer Iriahi tshogs dari Idan par mthori rio / / griis pa snari ba ste / zla bahi hod zer lta buho I I gsum pa ni snari ba mched pa ste / ni mahi hod zer Ita buho / / bii pa ni snari ba thob pa ste / mun pa lta buho I I dc nas mun pa dan bral bahi skad cig la hod gsal ba ste sin tu gsal brtag tu snari bahi mtshan nid can don dam pahi bden pahi rari gi mtshan nid ye scs kyi. mig gis mthori rio / Here, there are two kinds of Abhisambodhi sequences, namely, outer and inner. Of those, I shall first explain the outer kind. In the morning twilight, when the nescience light has passed away but still the sun is not bright— this characterizes the Clear Light, clear, of immaculate aspect, the universal void free from body, spcech, and mind. The rising of the sun is Spread-of-Light. The twilight of sunset is nescience. The time of moonrise is Light. Having in that way related the external illustrations of the four kinds of voidncss, I shall teach the inner Abhisambodhis by this sequence characterized by introspection : One sees first a mirage appearance with a commentary on the forty nidana verses 323 mass of five light rays. Second is Light, like moon-rays. Third is Spread-of-Light, like sun-rays. Fourth is Culmination-of-Light like darkness. Then, in an instant free from darkness, there is Clear Light, characterized by a very bright lasting light, the individual characteristic of Paramartha-satya, which one sees with the Eye of Knowledge. In that passage, Aryadeva presents four outer abhitaipbodhis (revelations), namely, natural phenomena revealing the voids or lights; and five inner abhisaipbodhis (also, revelations), namely, psychological states that are actually the voids or lights. The 'revealed' source for the Abhisambodhi illustrations is Guhyasamajalantra, Chap. XV p. 95 : aslamile tu vajrarke sadhanam tu samaiabhet / arunodgamavelayam sidhyate bhavanottamaih // When the diamond sun is setting, he should begin the sadhana. At the initial appearance of dawn he will succeed with the supreme contemplation. The Pradipoddyotana, Mchan hgrcl edition, on this (PTT, Vol. 158, p. 121-2), explains that the 'diamond sun' (vajrdrka) is characterized by the attainment of the 'means' gnosis (updya kind of j nana), hence Spread-of-Light. When this sets, there is the form of 'insight' iprajha). hence Light. Then before the Clear Light can emerge, that Light must pass into Cul- mination-of-Light, which is the initial appcarancc of dawn, or nescience (avidya). Then, on the basis of the three gnoses, namely, voidncss, further voidncss, and great voidness (Light, Spread-of-Light, and CuImination-of-Light), riding on the winds, the yogin soars to the Clear Light and perfects the maha-mudra ('great seal';. The success in the practice is indicated in the Guhyasamdja-tantra, Chap. XVIII, p. 162 : vajrapadmasamayogaj jvalya sanldpya yogina / udyate sphafikakaram jhdnasiiryam ivdparam // Through union of vajra and padma by the yogin, blazing, burning, The incomparable sun of knowledge rises with crystalline appearance. That description clearly points to the mysdeal experiences of Gautama Buddha under the Tree of Enlightenment during the I 32 yog f the guhyas night inaugurated by defeat of the Mara host at dusk, and finally Full Enlightenment at the flush of dawn—in the joy-faced night (nandimukhayam rajanyam), or night becoming rosy-colored, quoted from the Mahavaslu in my "Notes on the Sanskrit Term Jhana," p. 265. The follow-up to that early study is that the color of the sky represented the three lights by three natural features, the blackness of night (Culmination-of-Light), the red glow of the sun wishing to rise (Spread-of-Light), the setting full moon (Light), a sort of "three-in-one", the revelation of the Clear Light—in Aryadeva's language : "free from body, speech, and mind". II VIII vicitravyavahiiriis ca laukikaih fiarikalpitah / palhatrayavibliagcria jhanatrayasamudbhavih // 37 // Worldlings imagine the multiform conventions, which divided into three paths, originate the three knowledges. Mchan : 'The multiform conventions' are : male, female, neuter; right, left, middle; harsh, mild, medium; ctc. 'Three paths' means those leading to the Clear Light. The 'three paths' are probably the Body, Speech, and Mind referred to in the PrakaSika on Vi. I collected a number of these 'multiform conventions' in the articlc "Female Energy...," from which its Table 2 headed "The Great Time" is here reproduced : IX. THE GREAT TIME Om I Ah II urn Prajna, the form I Upaya, the form Androgyne of woman of man 8-petalled lotus 5-pronged thunder- bolt Moonlight Sunlight Fire Night Day Juncture of day and Left night Right Middle Waking Void Dream Further Void Dreamless sleep Great Void Light Sprcad-of-Light Culmination-of-light Body Speech Mind Vairocana Amitabha Aksobhva Birth Intermediate State Death Nirmanakaya Sambhogakaya Dharmakaya Tamas Rajas Saliva Head Neck Heart Inspiration Retention Expiration Indrabhuti presents another list of synonyms and correspondences in his commentary on the fri-sampula-tilaka callcd flkSsmrti-samdarSanaloka PIT, Vol. 55, p. 77-2): I shin stobs dah snah ba dah lus dah scms dah ston pa dah zla ba dah ies rab dah intshan ino dah gian dbah dah om dah ah ho dc biin du rdul dah snah ba mched pa dah hag dah scms las byuh ba dah / sin tu ston pa dah / hi ma dah thabs dah hin mo dah / kun brtags dah I a dah hri ho dc biin du mun pa dah snah ba thob pa dah yid dah ma rig pa dah stoh pa chen po dah sgra gcan dah yah dag par sbyor ba dah mtshams dah yons su grub pa dah hum dah phat ho / Sattva -guna . Light, Body, citta, Void, Moon, Insight prajha . Night, paratantra, Om and Ah. Likewise, rajas -guna), Spread-of-Light, Speech, caitta, Further Void, Sun, Means upSya), Day, parikalpita, A and Hri. Likewise, tamas (-guna), Culmination-of-Light, Mind, avidya, Great Void. R.ihu, samyoga (marriage), twilight, pari-nispanna, Hum and Pltat. A little further in the same work, Indrabhuti says (p. 77-5): Here, 'inferior' Jiina) means that by Om Aentrance (of the wind), he generates the fairies located in patila. Likewise, 'medium' (madhya) means that by Ah = staying (of ditto), he generates those located over bhumi. And, 'best' (pranita) means that by Hum—rising (of ditto), he generates those ranging in the sky (khecari). Likewise, in respective order, there are innumerable sets, including three mandalas, three paths, three eyes, three bodies (kaya), three liberations :imok<a), three worlds (toka), three gestations (bhaia), three realities (lattva), three times, three samdhya (dawn, noon, and dusk), threefirma-mcnts ? gagana . three creature worlds (jagat), the triple fortiheaton (Iripura), three germ syllables (bija), triangle (Irikona), three places (possibly three seats, pi/ha), three gunas, three letters (ak\ara). three lights (iloka). three characters (.siabhaca), three realms (dhalu), three faces (mukha), three hearths, three kinds of form (rupa). HJAjl janma ca slhilibhaiigena anlarabhavasantslhilih / yavanlyah kalpana lake citlavayu-vijrmbhila(i //38// (Namely) birth, and by loss of abode—formation of the I 326 yog a o f th e guhyasamajatantr a intermediate state. To the extent there is discursive thought in the world, so is there phenomenal projection of mind and (its vehicular winds. Mchan: The verse refers to birth, death, and the state between those two (the antardbhava). Just as in the case of the two preceding verses, this one presents synonyms of the three gnoses. So also earlier (nidana verse 25 citta, caitta, avidya; and soon. The synonyms are collected in the 2nd krama sems dmigs kyi rim pa) of the Pahcakrama. In the case of the intermediate state, this generates the Illusory Body inaya-dcha . The ultimate root is the extremely subtle wind and the mind mounted upon it. Discursive thinking (kalpand) phcnomenalizes that wind and its mounted consciousness. Prakasika on Ja PTT, Vol. 60, p. 295-4, 5) : 'To the extent there is discursive thought in the world* means the discursive thought going with the twelve-membercd Dependent Origination (ji shed hjig rten gyis brtags pa ' ies pa ni rten ciri hbrcl bar hbyuh ba van lag bcu gnis la sogs pahi rnam par rtog paho). In my article "Buddhist Genesis and the Tantric Tradition", there are various passages from the works of Tsoh-kha-pa to show that he laid great stress upon the concordance with the three things, birth, death and the intermediate state. According to Tsoh-kha-pa, contemplation of the Dharmakaya purifies death; of the Sambhogakaya, the intermediate state; ofthe Nirmanakaya, birth. Such contemplation takes place both in the Stage of Generation and in the Stage of Completion. HHAll hasyalasyakriyas caiva navanatyarasanvitah / mudramantravikalpai ca vajrasattvavicetfitam 39' Both the acts of laughter and accompanied dance with the nine sentiments of dramatic art. as well as mudra, mantra, and mental formation, are enacted by Vajrasattva (the tantric hierophant). Mchan : 'Laughter' and the mutual gaze at the time of the catyi (i.e. steps in divine courtship). 'Accompanied dance': a dance (lasya) accompanied with singing and instrumental music. 'The nine sentiments of dramatic art' : this refers to accomplishing the Illusory Body from the wind-and-mind-onlv belonging to the sadhaka"s innate body (nija-deha). 'Mudra' of body; 'mantra' of speech; 'mental formation' of binding (fchin ba). 'Enacted by Vajrasattva' : this furnishes the reason COMMENTARY ON THE FORTY NIDANA verses 327 for the earlier statement that the one who knows the intrinsic nature is not adhered to by sin. Praka.tikA on Ha (Vol. <">0, p. 295-5) : 'Mental formation' means the various mentals, such as ouc-pointcdness; 'enacted by Vajrasattva' means that all those (acts) are enacted through the Illusory Samadhi (imiiyopama-samiidhi) (rnam par rtog pa ni sems las bvuii ba rtsc gcig pa la sogs paho / / rdo rje sems dpahi rnam hphrul its pa ni de dag thams cad sgyu ma Ita buhi tin he hdxiu las rnam par hphrul pa stc). Mndra, mantra, and mental formation (in samadhi) are coordinated respectively with the three mysteries of the Buddha his Body, Speech, and Mind. The first two are especially, credited with attracting the deities (the mental formation is also required for 'binding' them), as in the Guhyasamajalantra, Chap. XIV. p. 87 (Mchan hgrel, p. 115-5): mudrabhedena sarvefdm mantrahhedena sarvatha I akar>anafiadam prnktam na cen naSam avapnuyat 11 vajrasattvo maharajo codaniyo muhur muhuh !' sa eva sarvamnnhanam raja paramaliUvatali /,' By division of ' m.ih.i-' mudri into mantra-deha and jndna-deha ) of all the gods . and by division of ;diamond-) incantation into two kinds, in every case— the way of attracting is explained. If it were not so, that (way of attracting wo-dd be unsuccessful. Vajrasattva (the latter, the sixth, as the basis of the former five) is the Great King to be exhorted kept in mind) again and again. For.; just he is the ever-supreme king of all incantations. Vajrasattva's activities arc summarized in I'ahckrama, 3rd krama, verse 31: S.i Laksmi, Vol <">:!, p. 39-2, 3: Srngaradyupabhizam ca gUavadyadisevanam I kalasu ca pra: rttim ca kuryad udakacandravat 11 He should practise the experience of the 'erotic', etc. (the nine sentiments . the recourse to the three adamantine) songs and instrumental music (the four beginning with vina), and so on, as well as engagement in the (sixty-four) kala or kdmakald) (in each ease i in the manner of the 'moon in the water' (i.e. while in the Illusory-like Samadhi (mayopama-samadhi). In Indian dramatic theory, lasya is the sweet, gracefiil, and feminine dance. The nine sentiments are : erotic (Srngdra), I 328 yoga of the guhyasamajatantra heroic (vira), furious (raudra), humorous (,hasya), wondeiful (adbhuta), compassionate (karunya), disgusting (bibhalsa), frightful (bhayanaka); plus the ninth, tranquil (sanla) with indifference to worldly objects and pleasures. Two passages should clarify their tantric interpretation. The first is from Sri Rahugupta-pada's PrakdSa-nama-Srihevajrasadhana (PTT, Vol, 56, p. 132-1): Among those (nine sentiments), the 'single taste' (ekarasa) together with (the goddess) Nairatmya is the 'erotic'; the staying at the burning ground is the 'heroic'; the furried brow and bared fangs is the 'disgusting'; the blazing light is the 'furious'; the enhancement (exaggeration) of face is the 'humorous'; the garland of dripping heads is the 'frightful'; the consciousness of assisting sentient beings is the 'compassionate'; the illusory form is the 'wonderful'; the defilement of lust, etc. is the 'tranquil'. The second is from Sri Laksmi, Vol. 63, p. 39-2 : (They are) union with the partner (mudra) ('erotic'), staying in the burning ground, ctc. ('heroic')., enjoying the ambrosia ('furious'), rite of revived corpse (vetala-vidhi) ('disgusting'), holding of various emblems /humo-rous'), drastic rites (abhicara) ('frightful'), empathy with the great suffering of all sentient beings ('compassionate'), accomplishing enlightenment by the five great pledges, (samaya) in conflict with the world (i.e. the five that oppose the five layman vows) ('tranquil'), and the characteristic of having the Clear Light in immediacy ('wonderful'). The goddess Nairatmya of the former passage belongs to the Mother Tantra tradition; outside of this fact, the passag. is appropriate and helps explain Sri Laksmi's text, since she leaves out the titles 'erotic', etc. The three adamantine songs are very likely the group of three songs discussed in die Snags rim chen mo (I. 242b2, ff.): "The three songs arc the 'song of reality' (lattvagita), 'song of true nature' (dharmalagita), and 'song of mudra' (mudragila)" (glu gsum ni de kho na fiid kyi glu dan chos nid kyi glu dan phyag rgyahi gluho). By 'songs' are meant verses that art sung, namely, 'song of reality' means a verse for 'reality of intrinsic nature' (•svabhava-tattva, T. ran b£in gyi dc kho na nid), one for 'reality of mystic attainment' (*vibhuti-tattva, hkhor bahi de kho na iiid), and one for 'reality of purity' (visuddhi- commentary on the forty nidana verses 329 tattva, rnam par dag pahi dc kho na Aid). Then, a verse each for 'song of true nature'—referring to the pure dharmadhitu, and 'song of mudrd'—referring to the pride (garva) of body, make five verses in all, as presented and explained in Snags rim chen mo. The four kinds of musical instruments are personified as goddesses in the mandalas of the Mother Tantras Sampufatantra and Hevajratantra (Raghu Vira and Lokesh Chandra. A New Tibelo-Mongol Pantheon, Part 12), to wit: Vamsa, Vina, Mu-kunda, Muraja. Jalandharipada's Hcvajrasadhanasya-lippaifi-fuddhi-iajrapradipa (PTT, Vol. 56, p. 121-5) assigns colors to these goddesses as follows: the yellow goddess Vina, the red goddess Vamsa (bamboo flute), the smoky-colored goddess Muraja (barrel drum), the white goddess Mukunda (round drum) (/pi wan ma ser mo •'/ glin bu ma dmar mo / / rdza rna ma du bahi mdog can ma riia zlum ma dkar mo /). For the sixty-four kald, it should be observed that the list of hiimasutra begins with gita-iadya, so gitavadyadi ir the above Pahcakrama verse III, 31, can refer to the kalas in the ordinary meaning of the sixty-four worldly arts. However, Sri Laksmi's commentary also permits the interpretation of kald as kamakali. On p. 39-3, she states this particular list as beginning with 'embracing' {dlinganam, hkhyud pa; and 'kissing' (cumbana, ho byed), expressions which occur among the forty 'male natures (cf. under nidana verse 2;, but here obviously relate to kama-Sdstra terminology of catuhfoffi. Kloh rdol Bla ma, Vol. I, Section Ma, presents two versions of arriving at the number sixty-four (catuh>Pfli): the kiss • ho byed pa), the embrace (hkhyud pa), the bite so hdebs po), the fore-play (jad dag par bskyed pa), erotic crics (sid kyi sgra sgrogs pa), the male posture in coitus [skyes pahi bya ba . the woman s) getting on top (slen na hdug pa:, the eighth one not printed somehow, perhaps the 'oral intercourse' of A'amasulra); each one divided into eight varieties, yielding sixty-four. The alternate list amounts to eight varieties of the embrace, eight of the kiss, eight of the male posture in coitus, eight of the bile, eight of the scratch, eight of the forcplav, eight of erotic crics, and again, the eight of an omitted eighth one, perhaps the 'oral intercourse'), making sixty-four in all. Neither solution actually names the respective eightfold subdivisions, so this kama-kald terminology remains lexical as far as these tanlric texts are concerned, but creatcs I 330 yoga of the guhyasamajatantra mythologicallv salacious reading out of the four respective movements of the goddesses as elements (upwards, at acute angles, forward, and downward). I/RA11 ralnam any am na cistiha siadhi}thanad rlc mahal / prabhisvaraviSuddham ced vahnifuddho manir yatha //40// There is no jewel in this world so great as the Svadhisthana, if purified by the Clear Light like a gem cleansed by fire. Mchan : Svadhisthana = Illusory Body. 'No jewel in this world so great' because it can confer in this very life the goal of Buddhahood. 'No jewel* : no secret state. 'Purified by the Clear Light' : by entering the Clear Light. Prakasika on Ra (Vol. 60, p. 296-1): 'By fire", etc. means : if the Svadhisthana-body is purified by the Clear Light attained by the fourth stage, then, like gold cleansed by fire, it becomes immaculate and devoid of phenomenalization. Therefore, it is only known through contemplation of the fourth stage (mes 2es bya ba la sogs pa smos te / rim pa b£i pas tliob pahi hod gsal bas gal tc / bdag byin gyis rlob pahi sku dag par hgvur ra / dehi tshc mes sbyans pahi gser b£in du rnam par dag pa dri ma med cin spros pa med par hgyur ro / / dehi phyir rim pa b£i pa yah sgom par byed par rig pa kho naho). Following are some passages about the Svadhisthana'. Pahcakran.a, 3rd krama, 12 : svHdhi}\h6nakramam labdhvd sarvabuddhemayah prabhuh / janmanihaiva buadhalvam nihsamdeham prapadyate // He the lord, composed of all the Buddhas, having arrived at the stage of Svadhisthana, without doubt attains Buddhahood in this very life. Pahcakrama, 3rd krama, 25 : sarv&kir&varopeto asecanakavigrahah / dariayet laiji fuiifyaya svSdhifthanam lad ucyate // Endowed with the best of all aspects is the bodv which one never tires of seeing. (He) leveals that to the good disciple. That is called 'Svadhisthana'. Finally, Sri Laksmi, Vol. 63, p. 10-5 to 11-1, has this to say : I yah dag pahi mthah don dam pahi bden pa de yis rnam par sbyan ba ni sgyu ma lta buhi tin he hdzin mi snan bar byaho / / dc la dper na phyihi mnon par byah chub pahi rim pa ham / nan gi mnon par byah chub pahi rim pa ham I ril por hdzin pahi tin he hdzin nam / rjes su commentary on the forty nidana verses 331 giig pahi tin he hdzin gyis sgyu mahi sku hod gsal bahi bskal pahi me vis mi snah bar byas na rnam par dag par hgyur ro / / ji skad du / bdag la byin rlabs ma gtogs pahi / I rin chcn gian ni yod pa min / /gal te hod gsal dag hgyur na / /me yis dag pahi nor bu biin / /ies bya ba hbyuh bahi phyir ro /. The purification by that Paramartha-satya which is the true end (bhutako/i), would make disappear the Illusory Samadhi. Now, for example, the Illusory Body becomes purified when made to disappear by the 'fire of the aeon' of the Clear Light through the sequence of outer abhisam-bodhis, the sequence of inner abhisambodhis, the samadhi of'contraction' (pindagraha), or the samadhi of 'expansion' (anubheda):— because the text states : "There is no jewel in this world so great as the Svadhisthana, if purified by the Clear Light like a gem cleansed by fire." THE LANK A Y AT A R A -SUTRA AND THE GUHYASAMAJATANTRA Here we shall treat some remarkable transitional yoga experiences that even promise to clarify the Buddhist "non-self" theory. The learned author Ratnakar.isanti makes a fascinating tie-up between the LankdvatSra and the Guhyasamaja in his Prajna-paramitopadesa [FIT, Vol. 114. p. 249-3, 4, 5 to p. 250-1 . In illustration of his preceding exposition of yoga in four stages, he cites the Lankdialara (Sagathakam, verses 256-258), but the verses in Tibetan reflect some minor variants (indicated here by underlining) of the Sanskrit text as presently edited by Bunyiu Nanjio : cittamdtrarn samaruhya bahyam arthani na kalpayet / tathatalambanc sthitia cittamdtram alikramel cittamdtram atikramya nirabhasam atikramet nirabhasaslhilo yogi mahaydnam sa paSyati anabhogagatih Santa pranidhanair viSodhita jnanam anatmakam Sref/harp mahdyancna paSyati The following translation incorporates some of Ratnakarasanti's comments : 256. When he relies on 'mind-only' he docs not imagine the external entity [2nd stage of yoga]. Being stationed in the meditative support of thusness, lie goes beyond 'mind-onlv' [3rd stage of yoga]. 257. Going beyond 'mind-only,' he goes beyond the non-appearance [of the sign-sourccs nimitta) of the external entity] Stationed in the non-appearance [of the sign-sources of both dharmas and dharmata] [4th stage of yoga] the yogin sees by the Mahayana. 258. His effortless going (andbhngagati [the effortless revelation of the supramundane stages] is peaceful [became these stages arc undcfilcd and non-discursive] and purified by his vows [that are not not aimed at the lower enlightenments, i.c.of iravaka and pratyckabuddha]. appendix iII 333 By means of the Mahavana, he sees the knowledge that is selfless [because utterly nonmanifest] and best [because free from defilements and habit-energy]. The author claims that the same is stated by the Guhrasamija in one verse (in Chap. XV, p. 109 in Bhattacharyva's edition): svacitlam eittanidhyaptau sarvadharmSh pratifthitih / khaiajraslha hv ami dharma na dharmii na ca dharmali // When one cxamircs the mind [with insight], [one concludes] that all dharmas arc located in one's own mind. [2nd stage of yoga]. These dharmas are located in the diamond of sky [3rd stage of yoga]. There is no dharma and no dharmala [4th stage of yoga], Ratnakarasanti's discussion of the four stages can be summarized as follows: 1 st stage of yoga: The meditative object on the pheno- menal limit of the entity. This is a kind of waking state. 2nd stage of yoga : All dharmas are 'mind-only'; still the phenomenal limit. This is a kind of dream state, because if all dharmas arc 'mind-only' they are all in the mind and not outside, a feature of the dream state. 3rd stage of yoga : Goes beyond 'mind-only'; the thusness end of the entity, or the non-appearance of phenomenal dharmas. This is a kind of dreamless sleep. 4th stage of yoga : Having gone beyond the sign-sources of natures (dharma), now goes beyond those of underlying nature (dharmala). This ushers in the Mahayana, i.e. the first bhimi callcd Pramudita. In further explanation, the four stages are referred to elsewhere as the four parts of niwedha-bhagiyo constituting in the Prajfiaparamita scriptures and AbhisamaySlamkSra digest, the Stage of Action in Faith (adhimukli-caiya-bhiimi) of the Bodhisattva. Obermiller, who so far has the best description,* points out that the four are given in the Mahaydna-Sulralarpkara, within XIV, 23-26 and the Sanskrit commentary thereon. In summary :

• E. Obcrmiller, "The Doctrine of PiajiSi-paramitS as exposed in the Abhuamaja-tarflUra of Maitrcya," Ada Orienlalia, Vol. XI, 1932. At p. 37, he cites Haribhadra's Aloka commentary, including the term tattiinha-ekadtiapravifla.

I 334 yoga of the guhyasamajatantr 1. The state of warmth light (aloka) 2. The state of summits spread of light laloka-vivrddhi) 3. The state of forbearance — [directed only to the mcan-ing of reality (tatlvartha-ckadcSapravifla) \ 4. The state of supreme mundane natures (lauki- samadhi without interval (anantaiya-samadhi) kigradharma-avastha) The expression 'samadhi without interval' means that this state, while still mundane, leads directly to the supramundanc state, namely the first Bodhisattva Stage of the Mahayana. Now, it is striking that non-tantric Mahayana Buddhism allots to these states the terminology 'light' etc. that reminds us of the tantric vocabulary so important to the Guhyasamaja tradition about the three lights that lead up to the Clear Light. In our earlier section on the two stages (Stage of Generation and Stage of Completion) the Pancakrama was cited with translation, "By yoga of a beginner, he attains the Eighth Stage, and seeing the three lights lie is settled in the Tenth Stage." This shows that the tantric theory of the mysterious lights leading up to Buddhahood should not be confused with this Prajftapara-mita theory of lights leading up to the Bodhisattva career. However, there may have been an intention to establish a parallel of mystical experiences; and such parallels are consistent with my tentative dating of the Guhyasamajatantia and Explanatory Tantras in the 4th and 5th centuries, A.D. Besides, my discussion earlier in this book shows that the 'lights' also occur in mundane conditions. Now, returning to that verse of the Guhyasamaja, Chap. XV, the basic tantra already shows the context as 'dream examination.' Besides, we may consult the Pradipoddyotana commentary and its annotation (the Mchan-(igrcl) for further information about the verse in question. In the Pradipoddyotana (PTT, Vol. 158, p. 132-2, 3, 4), the parts of the verse can be understood as answering questions. Question 1: Where are die dharmas ? The verse, alluding to the dream state, replies : 'all dharmas' are located within one's mind. Question 2: Where is that mind? The verse, alluding to 335 dreamless sleep, replies: It is in the diamond of sky, to wit, the Clear Light. [Recall in this connection Table III of this book, "The Clear Lights," indicating the Clear Light of dreamless sleep. ] Questions 3 and 4: Suppose it be asked if there is a presence separate from the mind. The verse replies : There is no dharma, to wit : there is no self-nature of the entities. Suppose it be asked if there is sometimes (kada cil) an undcrlyinig nature (dharma ti). The verse replies : There is no underlying nature. Here the Pradipoddyotana cites two verses without identifying the sourcc (which the Mchan-hgrel traces to a citation in Spyod bsdus, i.e. the Caryameldpakapradipa, and states to be consistent with the Yajramala) : lathaiva dhiitvayatanendriyadau jhanadvaye lalra svsanilintt Insulin I Siinyt mahad-viiati yah prasnplah siapnarn prapafyet khalu vatam samSrayit // tuple prabuddhe cana ca ninyatedam samkalpayel svapna-phalabhila}i / svapnopamas te sarradharma mrfamrfai capi layor nbhaiah // In like manner, one is in deep sleep when he enters great in that void (Culmination of Light) wherein the pair of gnoses (Light and Spread-of-Light) arc gathered, in the elements (four, i.e. earth, etc.), the sense bases (four objects , the sense organs four, eye, etc.), and so on (the personality aggregates, i.e. the first four). Should one take recourse to the winds, surely lie will see a dream. The one wishing the fruit of dream ,i.c. good fruit from a good dream), should examine this non-difference, not even in sleeping and waking. All dharmas are like a dream. Moreover, falsehood and truth arc not present in the two .sleeping and waking). Apparently, the first verse is intended to amplify the answers to the first two questions, referring to the states of dream and dreamless sleep. The second verse should therefore be construed to amplify the answers to the third and fourth questions, explaining the denial of a dharma or dhannata. The logical distinction of truth and falsehood is not present. And yet there is no denial of the fruit of dream. If one compares this Pradipoddyotana explanation of the I 336 yoga of the guhyasamajatantra Guhyasamaja verse with what Ratnakarasanti said about it, there does not appear any essential disagreement, even though the discussion proceeds somewhat differently. Indeed, there is no disagreement as yet with those verses cited from tbc Laiika-vatara-sutra, where in the fourth stage the yogin sees the Mahayana; because in the second of the two verses edited and translated above, one realizes that "all dharmas arc like a dream," which is a frequent teaching of the Mahayana. Now, it is a striking feature of those stages of yoga, as Ratna-karasanti understands the Lahkaiatara verses, with the further corresponding statements drawn out above, that certain statements seem to conflict with others. That is to say, in the 2nd stage, it is said that all dharmas are mind-only. If that is what they are, then why in the 3rd stage does one go beyond mind-only to reach reality? And if one has reached reality, why should he go to a further state said to deny both the dharma and the dhamiald ? It seems to be the case that the individual statements constitute the mottos for a given level of yoga experience and for the yogins with that experience. But if this be granted, it denies that the same precept is given to all yogins. Now, it appears that this is the identical procedure of state- ment found in the old Buddhist classic, the Dhammapada (XX, 5, 6, 7), "All constructions are impermanent" (sabbc saiikhara anicca), "All constructions are suffering" (sabbe saiikhara, dukkha), "All dhammas arc non-self" (sabbe dhamma ana/la). In illustration, the first statement, "All constructions arc impermanent," is convincing on the intellectual level, and so is addressed to laymen, monks, and anyone else who will listen. But, having said this, the Buddha said something else about the constructed things, "All constructions are suffering," and this statement is not convincing on the intellectual level; it turns out to be the preccpt to the aryas, or {ravakas, the disciples of the Buddha who arc told to look upon suffering as suffering and upon happiness as suffering becausc it entails suffering or will lead to suffering. Furthermore, the Buddha said, "All dhammas (S. dharmah) are non-self," bringing into the discussion the celebrated teaching of Buddhism, the non-self (an-alman) theory that has always been characteristic of Buddhism. This state- ment is not convincing on the intellectual level, because dharmas appendi x ii i 337 such as love and hate arc understood by the intellect to require a self that loves and hates. Therefore, the statement cannot be made intelligently to everyone, but also it is not just the way the disciples should look upon constructed things, because in Buddhism the dharmas arc not only in the constructed category but also there is the unconstructed kind, for example, Nirvana. Nirvana is the goal of the path, for which it is necessary to follow the procedures of Meditation as a yogin. Therefore, it may be concluded along the same lines that the statement, "All dhammas are non-self," is the precept for the yogins. Then the question naturally arises, if the statement, "All dhammas are non-self," is a yoga precept, can it be placed among the stages of yoga that have been sel forth above on the basis of the Lankdnatara verses and Guhyasamaja verse ? This precept is immediately identifiable with the 2nd yoga stage, which is the stage that takes the 'self' out of "all dharmas." In explanation, the statement, "All dharmas are mind-only" refers to the dream state. In this state, the object (the world of dharmas) is paramount and the self is in abeyance; hence, "All dharmas arc non-sell " cf. the quotation of Anangavajra under the Nid.iu.i wise JRA Accordingly, one may also conclude that the l)humma/i<ida precept. All constructions are suffering." applies to the Ist stage of yoga, the meditadve object on the phenomenal limit of the entity, involving the phenomenal self that suffer, lu agreement the Buddha said [Dhammafiada. \\1 -12 . Ilie disciples of Gautama arc always well awake (fiahujjhanli ." Certainly yoga begins in the waking state. The above helps ns regarding the 3rd stage of yoga. This is said to go beyond mind-only the dream state) and to refer to dreamless sleep, with the non-appearance of phenomenal dharmas. It follows that this is the stage when the subject is paramount and the object is in abeyancc, and so one sees no dream. This conclusion forces the word dharmala (underlying nature; to apply to the subject. Having concluded that much, it is also possible to appreciate the meaning of the 4tli stage, when there is no dharma but also no dharmald. In short, "there is no dharma" denies a dream; and "there is no dharmala ' denies a dreamless sleep—thus denying both subject and object. This turns out, according to the 338 foregoing treatments, to l>c a climactic transitional state—in one case, leading immediately to the onset of the Mahayana; and in another case, to complete Buddhahood. Since this comparison of the Lahkdvalara verses with the single Guhyasamaja verse has been sufficiently exposed on its own terminological side, il should be of interest to sec to what extent this dovetails with Guhyasamaja yoga stages previously presented in this work. My subsection "The six members of yoga and the five kramas in the Stage of Completion" presented the commentarial exegesis of certain verses in the Guhyasamaja, Chap. VI, including verse 4 : He should accomplish the selflessness of cilia being visualized (cillanidhyaplinairalmyain), (then) the contemplation of speech (vaca) and body, (then) the triple conjunction, (finally) the abode equal to space. If one wishes to match these up with the stages already discussed in this appendix, it follows immediately that the "selflessness of cilia being visualized" is the 2nd stage of yoga : "all dharmas are located within one's mind" and this is the non-self of dharmas. Tnereforc, the preceding contemplation ('body as the mantra visualized') corresponds to the 1st stage of yoga. It follows, that this treatment does not allow the more generalized interpretation of yoga stages, as previously, to lead up to either the beginning ofthe bodhisattva path (Mahayana) or to Complete Buddhahood. Indeed, the context shows that the interpretation is fully within the Mahayana scopc, just as the four nirvedha-bhagiya were within the pre-Mahayana scope. In the present case, the "body as the mantra visualized" is the accomplishment of the Stage of Generation ( the first seven Bodhisattva stages), and "selflessness of cilia being visualized" is the beginning of the Stage of Completion ( - the last three Bodhisattva stages). Then, the comparison continues along the same lines, that the "contemplation of spcech and body" is the Maha-yftna version of the 3rd stage of yoga, the Svadhisthana, or initial Mahamudra, as the thusness end, or the non-appearance of phenomenal dharmas. Finally the "triple conjunction," or "divine body made of mind," is equivalent to the transitional 4th stage of yoga, which goes beyond the sign-sources of dharmas and dharmal/l presumably to be "purified by the Clear Light like a gem cleansed by fire" (Nidana verse RA). appendix iii 339 Finally, the "abode equal to space" which generates the lx>dy of Mahavajradhara has no equivalent in the four stages of yoga. Nevertheless, it is analogous to the further statement in the Lahkavatara verses : "His effortless going is peaceful and purified by his vows," except that now it applies to the Buddha stage rather than to the Bodhisattva stages. The foregoing rather neatly demonstrates a tie-up between the LahkavalSrasiitra and the Guhyasamajatantra-, and in the latter case, the consistency between the stages of yoga in its Chapter VI and the stages in that verse of Chapter XV. Besides, the material in this appendix will serve as an introduction to both the second and third appendixes. appendix iii 352 THE ARCANE-BODY CONTROVERSY My use of the word "arcane" and solution of the forty verses into two groups going with the Stage of Generation and Stage of Completion can l>c finally justified by consideration of what I term the "Arcane-Body Controvei --v." It is true that I have already presented some material about this matter in my Introduction to the Yoga of the Guhyasamaja-tantra. But this is an exciting topic about a Tibetan contro-versv that reaches back to important Indian theories of the fruits of yoga; as such it deserves a special treatment. Various forms of Indian philosophy take account of a subtle bodv - uk.ma-farira). However, it is only in such Tantric currents as the one presented in the foregoing work that a whole upward career is worked out for this subtle both . This kind of body is of course denied immediately by the materialistic person. Here I am not arguing for the existence of such a mysterious body, but simply reporting the facts of the Guhyasamaja system, which speaks of an "arcane body" which on the Stage of Completion is called the "illusory body" or "impure illusory body," that can emerge from the ordinary body. In fact, the theory is by no means original with the Guhya-samujalantra because ancient Buddhism already referred to it with the terminology of "mental body" or "body made of mind" {mnmmmya-kaya), lo which I have previously alluded. Here I should add that the Ijankavatarasiilra mentions three kinds of mental body, which combine well with the theory in the Arya school of the tantric Nagarjuna and Aryadcva that the Stage of Completion begins with the Eighth Bodiiisattva Stage. The first mental body, with stabilization in the pleasure of samOdhi (samSdhisukhasarndpalli-manoniaya), which according to that scripture is developed in the course of the first seven Bodlii-* sattva stages, therefore, belongs to the Stage of Generation. The second kind, which completely comprehends the intrinsic nature of the dharnm 11 dharmasvabhaoavabadha-manomaya) and which is said to proceed to all the Buddha realms necessarily would IK- placed in the Stage of Completion as the "arcane body" of that Stage. According to the Guhyasamaja tradition, that 353 appendi x iiI "arcane body" is succeeded by, or next subjected to, the "arcane speech" and then the "arcane mind." It is only at die phase of "arcane mind" that this mental or spiritual body "completely comprehends the intrinsic nature of the dhatmas," which means in Paiicakrama terminology that it completely understands the eighty prakrtis associated with the three Light stages, as experienced on the Tenth Bodhisattva Stage. The third kind of mental body, which performs the instigations natural to its class (nikayasahajasamskarakiiyii-manomaya), i.e. natural to the class of Buddhas, is the yuganaddha-deha of this Tantric tradition. At first glancc, a ccrtain verse of the Guhyasamajatantra does not seem related to the above, but I shall demonstrate the relevance of Chapter XV, verse 22, of that Tantra, as follows, which is almost the same as the last verse of Chapter XII ("Documents"): buddhn dharmadharv napi vajrasattvo 'pi va yadi j atikramed yadi mohatma tad antam tasya jivitam 11 If someone would go beyond whether as a Buddha, a holder of Dharma, or as a Vajrasattva; and if he is deluded, he would lose his life. Candrakirti's Piadipuddyutaca Mchan cd., p. 122-2,3) repeats substantially it-, comment on the Chapter XII verse, to wit, that the expression "Buddha" means "yogin of Yairocana," and so on. In this case, Celu-pa's liatnavrksa commentary on Chapter XV (FIT, Vol. 63, p. 211-5) is more helpful. It explains that "Buddha is the Diamond of Body ; "holder of Dharma" is the Diamond of Speech; and "Vajrasattva" is the Diamond of Mind (satis rgyas ni sku rdo rjeho / chos hdzin pa ui gsuri rdo rjcho / rdo rje sems dpah ni thugs rdo rjcho /). This comment immediately associates this verse with the expressions Body, Speech, and Mind that have such an important role throughout the Guhyasamajatantra as well as in certain nidana verses. In consideration that this Chapter XV has previously in its verse 11 referred lo the Tenth Stage (of the Bodhisattva), one may recall in this connection the rather remarkable statements about the last three Bodhisattva Stages (Eighth through Tenth) in the manual of the Tathagatagarbha theory, the liatnagotravibhdga (ed. of Johnston, pp. 3.21-4.6): I talra yalo 'staniyain bodhisattvabhumau vartamanah I 342 yog a o f th e guhyasamajatantr a sarvadharma-vasitaprapto bhavati tasmat sa bodhimanda-varagatah sarvadharmasamatabhisambuddha ity ucyate / yato navamyam bodhisattvabhumau vartamano 'nuttara-dharmabhanakatvasampannah sarvasattvasayasuvidhijiia indriyaparamaparamitapraptah sarvasattvaklcsavasananu-samdhisamudghatanakusalo bhavati tasmat so 'bhisam-buddhabodhih supravartitadharmacakra ity ucyate / yato dasamyiim bhumav anuttaratathagatadharmayauva-r&jyabhisekapraptyanantaram anabhogabuddhakaryapra-tiprasrabdho bhavati tasmat sa supravartitadharmacakro 'nantasisyaganasuvinita ity ucyatc Among those, for the reason (hat his attainment of power over all dharmas takes place on the Eighth Bodhisattva Stage, it is said (in the Dharaiiistarardjasulra), 'He, having proceeded to the best terrace of Enlightenment ( = the Tree of Enlightenment), was enlightened on the equality of all dharmas'. For the reason that his endowment of preaching the incomparable Dharma, his knowing of the good rules for the hopes of all sentient beings, his attainment of the highest perfection of faculties, and his virtue of anniliilating the continuance of defilement habit-energy in all sentient beings, take place on the Ninth Bodhisattva Stage, it is said, 'HE, with enlightenment fully awakened, has well set into motion the Wheel of the Dharma.' For the reason that immediately after receiving, on the Tenth Stage, the Crown-Prince consecration for the incomparable Tathagata-Dharma he is roused (apratiprairabdha) to the effortless Buddha duties— it is said, 'He who well set into motion the Wheel of the Dharma has well trained the innumerable host ofdisciplcs." That is to say, in this particular tradition, it is the Body of the Buddha sitting under the Bodhi Tree that occurs on the Eighth Stage, his Speech as the Wheel of Doctrine that is on the Ninth, his Mind roused to Buddha duties that is on the Tenth. In Tantrism, this Body, Speech, and Mind arc callcd the "three mysteries of the Buddha." This plausible explanation of the scqucncc 'Buddha', 'Dharma holder', and 'Vajrasattva' of the Guhyasamdja verse, still leaves unexplained the mysterious remark that the one who would go beyond in such status would lose his life if he be dc- appendix iiI 343 luded. However, this is a reasonable remark in the light of the Lankaeatara s second kind of "mental body," prevalent on the Eighth through Tenth Bodhisattva Stages, l>ccausc the Lanka-valara's claim that this body visits all the Buddha realms is a way of saying that it has emerged by yoga praxis from the ordinary body. If the yogin does not have skill in guiding his movements in these Buddha realms—whatever we may think them to be—he Could lose his life, because the separation of the "mental body" would be tantamount to dcadi's separation. This points to the importance of the first kind of "mental body," that immersed in samadhi, Ijecause presumably this is a necessary preparation for the dangerous trips of the subsequent second kind. If this sort of teaching has been derived from the life of the Buddha, one can promptly think of Gautama's celebrated austerities by the Nairanjana River when his body eventually became so wasted that viewers could not decide whether he was dead or alive. This extreme mortification immediately preceded Gautama's passage to the Bodlii Tree where, according to the tradition of the above Tathagatagarbha literature, he represented a Bodhisattva of the Eighth Stage. Indeed, the premise of such a "mental body" or illusory body as the "arcane body" of the Stage of Completion makes it clear why the great commentators on this Tantra, e.g. the Indian tantrics N.igarjuna and Aryadcva, and Tson-kha-pa in Tibet, again and again emphasized that the Stage of Generation must precede tin- Stage ol Completion. Any tantric who would try to practise the Stage of Completion without first having the Stage ol Generation, would be relying on instruction and precepts which demand that the body lie an "arcane body" in the sense of that advanced Stage, while in fact the person enterprising that Stage would only be starting with his ordinary human body that is not even a sanctified Ixxly in the worldly sense of withdrawal from certain foods, the opposite sex, and society generally -let alone "arcane" ill any way. All the above is necessary to appreciate Tson-kha-pa's insistence on an "arcane body" in both the Stage of Generation and Stage of Completion. Mis solution, as I have come to understand it, is easy to state: the "arcane body" of the Stage of Generation is the "hundred lineages" in the Atiyoga phase; and the "arcane body" ol tin- Stage of Completion is the first two members of the six-membcrcd yoga, namely pratyahara and dhyana. But while he expressly identified the second kind of "arcane body" in that manner, I never found him stating the first kind in such a simple manner : lie always wrapped the matter in complicated discussions, because ofthe controversy. In accordance with Tson-kha-pa's annotation of the Forty Verses and my grouping of those verses, I placed the minute correspondences called the "hundied lineages" (T. rigs brgya) in the first group of verses concerning the Stage of Generation, in fact beginning with the set which I associated with the division of uajra called Atiyoga. Then, more recently to my surprise, I could find no mention of these "hundred lineages" in a work by Tson-kha-pa's faithful disciplc Mkhas-grub-rje devoted to the topic of the Stage of Generation, namely the latter's work Rgy ud thams cad kyi rgyal po dpal gsan ba hdus pahi bskyed rim dnos grub rgya mtsho iesb ya ba . ("The 'Occan of Siddhis' about the Stage of Generation in the King of all Tantras, the Sri'Guhyasamaja"), wherein I find important points of Tson-kha-pa's position amplified and defended by Mkhas-grub-rje. His silence on the matter was confirmed when I perused a work by Blo-bzan-chos-kyi-rgyal-mtshan, the First Panchcn Lama, namely his Gsaii hdus gdams nag rim liia gsal sgron gyi siliil pohi gnad kun bsdus pa ("Concise statement of the essential points, clarifying the Pancakrama prccepts of the Guhyasamaja"). This work expressly states that the "hundred lineages" belong to the Stage of Completion, with the remark, "The contemplation in which there is the arising as the body of a deity involved with the illustrious 'hundred lineages' and so forth, is the arcane body of the Stage of Completion" (dam pa rigs brgya la sogs pahi lha skur sar bar bsgom pa ni rdzogs pa rim pahi lus dben yin tc). Accordingly, the author treats these "hundred lineages" in his work devoted to the Stage of Completion. Of coursc, I again referred to Tson-kha-pa's elaborate discussions of the "arcane body" problem to see if, after all I might have misunderstood his position. I could find no reason to change my conclusion. Besides, Tsoh-kha-pa, in his sadhana of the Guhyasamaja entitled Una I hbyor dag pahi ,i,n pa ("the pure stages of yoga") (PIT, Vol. 160, p. 89-4) states : "After generating in that way the thirty-two gods, he should iI 357 respectively contemplate them in sequence as the nature of the five personality aggregates, the four elements, the eignt consisting of eye, etc., the five sense objects starling with form, and the set of ten beginning with right arm; this is Aliyoga" (dc/ ltar lha sum cu so giiis po bskved pahi hog tu re rc nas rim pa bfin pliun po li'ia dah / khams b/i dah mig la sogs pa brgyad dah I gzugs la sogs pa lha dah / lag pa gYas pa la sogs pa bcuhi ho bor bsam par bya stc / sin tu rnal hbyor ro /V Our earlier discussions show that Atiyoga is the third of the four yogas in the Stage of Generation, callcd Yoga, Anuyoga, Ati-yoga, and Mahayoga. Tsoh-kha-pa's remark further confirms my division of the verses in which I assign Atiyoga to the third group of verses (Bhagavan S uva , because it is precisely in these verses that Tsoh-kha-pa begins his "arcane body" comments, starting with the verse about the five personality aggregates. Besides, Tsoh-kha-pa, when explaining the fourteen fundamental falls of the Yajrayana in his Dnos grub kyi she ma and grouping those falls (PTT, Vol. 160, p. 70-1,2) classifies as a fall in the Stage of Generation the fall No. 8, "to abuse the five sKandhas, for their nature belongs to the five Buddhas." Pursuant to tin ;i\-eii reason "their nature belongs to the five Buddhas ' . our <<>uld extend this remark about the pcrsonalitv aggregates ikandha) to the sense bases and so on, with which dcit\ is identified in the Atiyoga stage. Doubtless, Tsoh-kha-pa follows a tradition which places the "hundred lineages" in the Stage of Generation; and I need not speculate on the particular reasons lor latei luminaries of his school to have understood the matter differently. Still, it is possible to set forth the chief controversial aspect in the following manner. Tsoh-kha-pa has his most complicated discussion of the "arcane body"' controversy in his I'ahcakrama commentary, starting Vol. 1~>8, p. 201 and continuing for a number of pages in the photographic edition (each page with five folio sides). It so happens that Tsoh-kha-pa repeats much of the same discussion about tin- "arcane body" in a later work, his .Mthah gcod ("Deciding the alternatives") ou the individual chapters of the Gubyasamajatanha, namely, in his mthah geed of Chapter VI (PTT, Vol. 156, pp. 39 and 10). I have presented this Chapter in "Documents" and also treated the relevant verses (nos. 3-6) in my section "The six members of yoga and the I 346 yoga of the guhyasamajatantra five kramas in the Stage of Completion." Since Tsori-kha-pa's discussion here show's that the argument devolves about the expression in verse 3, "the one who has body as the mantra visualized" (mantranidhyaptikdyena), it is well to present Candra-kirti's commcnt on that verse 3, as I edit from the Pradipoddyotana manuscript and accordingly translate in Mchan hgrel context : I mantranidhyapti ityadi / mantra alikalijah / sarpadi-svabhavas tcsam strfpumnapumsakatvena tryaksaradhar [abhutja mantrah tryaksarani / tesain pravesasthiti-vyutthanasvabhavena parijrianam mantranidhyaptih / tatra purvakam kayena vajrajapasya sadhnnabhutcna nirmanasarirena vaca vajrajapenopalaksitah / manasi hrdi hrdisthito vajrasattvah coditah/yathabhutaparijiianena visayikrtah / bhavayed iti / yogisantanasya vakyama-nakiim catasro 'vastha nispadayet / kas ta ity aba / pravara ityadi /pravaramutkrstam cittavivckalaksanam vajrajapad adhikatvat siddhim iti /svadhisthanalaksanam mahamudra manah saiptosayatiti manahsamtosanam inahamudra-visuddhikaratvat / priyam is(am bhavasania-ckalaksa-nam mahavajradharamurtiin nispadayet / As to the verse "The one who has body as the mantra visualized...", 'mantras' arise from the 'sixteen) vowels and the (thirty-three or thirty-four) consonants and are constituted by such expressions as SARPA. Among them, when mantras have as basis three syllables by way of female (Ah), male (Om), and androgyne (Hum), they are the three syllables. The thorough knowledge of those (three) by way of inhalation (Om), holding of breath (Ah), and exhalation (Hunt) is the 'mantra visualized'. Here, the one who previously has the (arcane) body, that is, the body of hypostasis (by the five Tathagatas and so on) which arose through a sadhana of diamond muttering, should accomplish, i.e. intensely contemplate, exhorted by speech, i.e. by Diamond Muttering, in the mind, i.e. in (one's own) heart, that is, (exhorted) meaning 'distinguished' while the Vajrasattva dwelling in the heart (within the central 'vein' of the dhannacakra) is made the objcct (of cons- ciousness) by that thorough knowledge (of the three phases of the wind) as they really arc, that is (should appendi x iiI 347 accomplish) four states to be explained of the yogin's stream of consciousness. What arc those ? (The text) says: the 'surpassing one', and so on, namely (1) the 'surpassing one', i.e. outstanding one, with the character of'Arcane Mind', because it outlasts Diamond Muttering; (2) 'successful one', with the character of Personal Blessing, namely the Mahamudra; (3) 'one satisfying the mind', that is, "It brings satisfaction to the mind," because it purifies the Mahamudra; (4) 'beloved one', i.e. wished for, that is, he accomplishes the body of Mahavajradh.ua with the single character of the phenomenal world and the realm of quiescence. With that passage before us, it is easier lo sec how those who took C.andrakirti's commentary as the most authoritative one on the Guhyasamajalantra, would be troubled to determine by this passage which of the two Stages to assign the "arcane body". Candrakirti's subsequent commentary on Chaptcr VI shows that the contemplation of the winds by means of the three syllables can be understood either in the form appropriate to the Stage of Generation or to that appropriate to the Stage of Completion. Some persons could maintain that this verse of the Guhyasamajatantra refers to the five stages which Nagarjuna systematized in his Pancakrama, beginning with Diamond Muttering; for, as well known, the Pancakrama deals only with the Stage of Completion. On the other hand, some persons could point to the word 'pHrvakam' in Candrakirti's commentary to suggest that the "body as the mantra visualized" is a prior accomplishment, already at hand when the yogin is exhorted by Diamond Muttering of the Stage of Completion variety. Besides, Candrakirti did not help matters when, in his commentary on Chapter XII, 00-64 'see "Documents"), he explained the Stage of Completion, not with this terminology from Chaptcr VI, verse 3, but rather with the terminology of six-mcmbered yoga from Chapter XVIII. In the case of the six members, Diamond Muttering would have to be assigned to pranayama, the third member, leaving the first two members, pratyahara and dhyana, lo be argued about. No wonder there were disagreements over this "arcanc body" ! As I understand Tson-kha-pa's solution, it allows for both interpretations of the expression "body as the mantra 348 yoga of the gt'hyasamaj atantra visualized". This amounts to an admission that the two stages called Stage of Generation and Stage of Completion arc distinctions imposed upon the basic Tantra. If we decide upon the Stage of Generation, we can consult Candrakirti's commentary on Chapter XII, 60-64, to sec at once that in the • ase of the four steps, lie mentions that the three syllables of Om, etc. arc deposited in the body in the second step. I'pasadhana = Anuyoga. This agrees with our placing in the second group of verses the material on muttering by means of the three syllables, allotting four seconds to each nidana verse 12, VI. . This is held to generate the primeval lord (ddinulhn . However, in Tson-kha-pa's position, this body of the second step is still not the "arcane body". For the latter attainment the yogin must pass to the third step, the Atiyoga, in which there is the hypostasis of divinity into the body by such means as the correspondences established in the "hundred lineages". This body becomes callcd in the fourth step the "mantra-purusa", seen with three heads, etc. Then, if the same line of Chapter VI, verse 3, is understood to refer to the Stage of Completion, the "body as the mantra visualized" is the "arcane body" of the Stage of Completion, namely pralyahdia and dhyana, to which the two niddna verses t KA-YA, arc devoted. In such a case, the remaining four members, puiniiyama, etc., of the six-mcmbercd yoga, have to be equated with the five steps of the Pahcakrama. Because the above is itself so involved and technical, I have decided to forego any more of Tsori-kha-pa's portrayal of varying positions about this "arcane body". In summary, the "arcane body" of the Stage of Generation becomes that way because imagined to be invested with deities. But according to the theory of steps, the yogin should first pass through a kind of symbolic death through attainment of the void; then imagine himself in an intermediate state by thrcc-syllabled breathing; now he can pass to a symbolic birth wherein his body is inhabited by deities; and finally return to the world with transfigured consciousness. The yogin is now ready to embark upon the dangerous Stage of Completion, with the drawing forth of an advanced "arcane body," the Illusory Body. This Illusory Body the "arcane body" of the Stage of Completion—is the rccnactmcnt of the primeval androgyne. APPENDIX III THE PRAXIS ACCORDING TO ARYADEVA There arc many ways of setting forth the indications of practice that were touched upon in the foregoing introductions and annotation of the nidana verses. Perhaps the clearest statement of the practice in the Stage of Completion is that found in Aryadeva's Cmyumelapakapradipa, a work which has already contributed considerably (for example, the 'hundred lineages' stem from here). Aryadeva's passage happens to be extant in Sanskrit in Bendall's edition of the Subhafita-samgraha, Part II, pp. 33-35; but Bendall did not trace the Aryadeva work. The Sanskrit passage is found in the Tibetan translation in bits and snatches, and one section could not be traced at all. Unless the Stibha>ila compiler had a completely different recension of the Aryadeva text, he must have skipped around to piece together a running account; and my study of the context shows that he is faithful to Aryadeva's intention. The exact Tibetan equivalent begins in PTT, Vol. 61, p. 312-3, line 7, but the first words of the Aryadeva citation may be a paraphrase of p. 311-2. In the following reproduction of Bendall's edited Sanskrit, I shall insert the places of the Tibetan translation; and follow the text with my English translation and comments. pustake Aiyadeva-padair bhavanopadesah spastaksare-noktah (Possibly paraphrase of p. 311-2 :) udyane vijanc sravakadi-uktam sa-rahitc (p. 312-3, line 7:) paramarthasatyalambanapurvakain svadhiffhJna kramena vajrasattvarupam atmanam nispadya (p. 312-5, line 4:) prathamarupadi-trividhavisayam asvadva tad anu sodhanadividhina sarvaharam abhisamskpti-siddham adhyatma-kundam anusmrtyatmakrtim samadhisatt-vasya mukhe trisikhagnim juhomity ahaipkaram utpadyabhyavaharati / tatah sukhena parinamati rasa-yanam ca bhavati / evam kayavajram saijitarpya (portion not traced in Tibetan :) yam kamcit svabhaprajAarupena sarvalamkrtagatra trivali-tararigabharigabhirama atyan- 350 YOGA OF THE gt'HYASAMAJ ATANTRA takpSamadhyaromarajjv (sir. for rajy)-antaritavipula-gambhiranabhidesa jaghana-ghana-nitamba-stabdha$rngi-ra-lalita-kamalagati-sasmita-vadana saumyadrstya mahasukhanuraganataya (p. 315-5, lino 8:) 'like vyavasthita ! lato "mahasiddhim nispadavaml" ti drdha-hamkaram utpadyaliriganacumbanacusana- (p. 314-4, line 3 :) kucagrahana-pulakatadana-dasananakhadana-mardana- p. 313-1, line 1 :) sitkara-kokila-bhrriganada-nadisamcodanadikain krlva (p. 314-4, line 4:) suci-kurparadikarana-pramodanataya pracalitamuktahara- valaya-kataka-keyuranupura-(p. 313-1, line 2:) vajra-padmasamgharsanat prajnopava-samapattya skandhadi-svabhavat sarvatathagatanain murdhanam arabhya dvasaptati-nadisahasrani nirjharadharakaren-alikalidra / vibhtiya raga-viraga-madhyaraga-kramena tatah prajfta-paramitadi-svarupan pratyatmavedyan karoti / evam sri-Mahasukhasamadhim abhyasya praptotkarso yogi tatraiva ganamandalc nigrahanngrahena sail van paripacayet / (p. 314-1, line 8: ) evam puiiah puuar bhutakotim pravisya punah punar hy utthaya panca tatha-gatarupan panca kamagunau asvadayaii yatha na mlayate manah / (p. 314-2, line 5:) tato nirvikalpo mahayogi svat-manah sarvabhavasvabhava-pratipadanaya loke garhitarri visodhya pracchanne pradeSe sthitva 'bhyavaharati / tatha ca mudrabandho na mandalam na caityam na ca pustakavacanam na kayaklcsam na ]>atakasthapas;ina-pratimam pranamati na Sravaka-Pratyekabuddham na tithinaksatramuhurtakalapcksanam karoti / sarvam etad adhyatmenaiva sampadayati // (p. 314-5, line 8 :) vane bhikfam bhramen nityam siidhaku d> JhaniUnyah j dada (n)li bhayasamtrasta bhojanam dairyanuuiditam alikramet Iriiajratma naSam vajrakfaram bhavet surim narim (sic. for nagim) mahayakfim asurim manufim api 1 I prapya vidyavratam karyam trivajrajhanasevitam iti j (p. 313-4, line 1:) cvam laukikadhyanam apaniya manorajyam apahaya sadapraruditamana yoginibhih saha ramamano yatha raja Indrabhutis tadvat kalevaram pari-vartya vajrakavo bhutva 'ntahpurena sahantardhavasta-gunaisvaryagunanvito buddhaksetrad buddhaksetraip gacchati / vathoktam AfOlasutre / appendi x iii 351 sarvadevopabhogais tu srvyamdno (sic for-manair) yathdsukham / svadhidaivatayogrna svam iitmdnam (sic. for paratmiinau) prap ujaytt / / (Tibetan ends at p. 313-4, line 4). Translation In a book of Aryadeva the precepts of the contemplation are stated in lucid words: In a solitary glade, free as well from the words of Sravakas, (thej'OAM contemplates this way:—) Having first taken Supreme Truth as the meditative object, by the Stage of Personal Blessing (Svadhisthana-krama) he abides with himself as the body of Vajrasattva. First he experiences the three kinds of form and of the other sensory objects. After that, for the rites of purification and so on, upon all food—he recalls the inner hearth, whose shape is real, and arouses the pride, "I make a burnt offering in the three-tongucd dame which is the configuration of the self on the face of the Samadhi Being," and partakes ol food. Then it blissfully changes and becomes elixir (rasdyana). Thus (the performer having satiated the diamond of body (with elixir), (takes) some (consort, mudra), by way of form, a prajna like himself (or: his own light, srabha). She has a body with all ornaments, gratifying through the restless breaking ofthe three folds (at her navel), the placc of her wide and deep navel hidden by the streak of hair across her narrow waist; her massive hips with firm buttocks; her gait amorous, playful, and sweet; her face with smiles: pleasant to sec, and stationed in (the yogin's) proximity through the attraction of great ecstasy (mahasukha). Then he confirms his pride, thinking, "I shall accomplish the siddhi of Maha (mudra)." Having done the embracing, kissing, sucking, holding of breast, beating with bristling hair; the bite, the scratch, the bruise; erotic cries, cooing, humming of bees, calling through a tubular stalk (nadi), and so on— because she is thrilled by his (yogi) postures of luci, kOrpara. and so on, she shakes her string of pearls, armlet, bracelet of lower and of upper arm, and anklet. Then, through the friction of the diamond and the lotus, by union of prajnd and upaya, starting at the head since the intrinsic nature of skandhas I 352 YOgA OF THE GUHYASAMAJATANTRA belongs to all Tathagatas, the 72.000 nadis Income a fluid (dravibhuya) of vowels and consonants in the manner of a torrent, in the sequence of 'desire,' 'aversion,' and 'indifference'. Thus he introspects the true forms of Prajnaparamita and so on. In this way the yogin, practising the glorious Mahasukha-samadhi, rcachcs eminence, and matures the sentient beings by hindering and assisting in the (32-dcitv) group-maw</a/a. In that way, again and again he enters the true limit (bhulako/i); and having emerged again and again he experiences the five 'strands of desire' as the five Tathagata forms, so the (sublime) mind docs not fade. Then, the great yogin, discursivc thought lacking in himself, so as to teach the intrinsic nature of all entities, cleansing what is forbidden in the world, stays in a private place and enjoys, to wit :— he makes no mudras, mandalas, or cailyas, nor recites texts, nor mortifies the body, nor bows to images of cloth, wood, or stone, nor (takes refuge) in Sravakas or Pratyckabuddhas, nor depends on time in terms of lunar days, asterisms, or muhurtas. All that fulfils solely the inner nature. (Guhyasamaja, XVI, p. 126:) The sadhaka with firm resolve, always seeks alms in the glade. Trembling with fear they give food divinely prepared. Should the triple-diamond one go beyond, there would be loss and (then) the diamond syllable. Obtaining either a goddess, a ndga-lady, great yakfi, demi-goddess, or human woman, lie should engage in vidyarrala, relying on the knowledge of the three diamonds. In that way dispelling the worldly meditations, and abandoning the realm of fancy, with ever-ecstatic mind he rejoices in the midst of the yoginis, like King Indrabhuti, who transmuted his physical body (kalrvara) and bccamc a diamond body, whereupon he disappeared from the midst of his queens; and endowed with the merits of the eight guna-aifvarya, wandered from Buddha field to Buddha field. As said in the MtllasBlra (i.e. Guhyasamdja, VII, 2, with variant readings) : By recourses that enjoy all desires i deities) according to pleasure; and by the praxis of one's presiding lord one (respectively) worships others and oneself. So ends the Subhdfita-samgraha citation of Aryadcva's 'lucid words'. Fortunately, Aryadcva includes two passages from appendix iii 353 the Guhyasamaja, one near the beginning of Chapter Seven and the other near the end of Chapter Sixteen, which enable me to bring in some of the commentarial tradition. Besides, Sakvamitra's Caryamelapakapradipa-(ika in Columbia University's Narthang edition was consulted in the relevant section near the end, but proved of little value. In order to explain Aryadeva's account in the terminology already drawn from the Guhyasamajatantra and associated commcntarial literature, it is ncccssary to observe that he says, "Having first taken Supreme Truth as the meditative object..." and says in the next sentence in further explanation, "First he experiences the three kinds of form. ..." One can refer to the three kinds of each sense object (as in Guhyasamaja, Chap. VII) by desire, aversion, and indiflcrcnce, as does Aryadeva. Toga Stages 1 and 2 Body as the Mantra Visualized Selflessness of the Mind Visualized The account begins with the yogin located in a solitary glade. In this Connection Aryadeva cites Guhyasamaja, XVI, p. 126, "The sadhaka with firm resolve, always seeks alms in the glade. Trembling with fear they give food divinely prepared "* The Pradipoadyotana (Mchan hgrel, p. 148-1) mentions the unshared food but does not clarify who does the giving or why they are frightened. It converts the yogin's glade, to the 'great forest' (vane mahafavyam). Celu-pa's commentary, Ratnavrksa-nama-rahasya-samaja-vrtti (PTT, Vol, 63, p. 227-2), is more helpful, bccause it explains, "food not shared with men and having the hundred flavors" (mi dari thun mori ma yin pahi ia\ zas ro brgya dari Idan pa); and "those tree divinities frightened by the fiery nimbus (tejas) of his evocation power, give (it)" (siri la gnas pahi lha de dag sgrub dbari dehi g/.i brjid kyis skrag nas ster bar hgyur ro). This explanation immediately associates those Guhyasamaja verses with the episode •The verse is corrcclly given in Bhatlacharyya's edition to begin with tune, the second line to begin with dadanti; while Bagchi's edition incorrectly assigns the vane line to verse 98B, and starts verse 99 with dadanti. The Pradipoddyotana manuscript supports Bhaitacharyya here with the words vane'ity&di. of the Buddha's enlightenment under the Tree, which is callcd 'terrace of enlightenment' (bodhimanda) and has four 'divinities of enlightenment' (bodhideiata) (cf. my Buddhist Tantras, p. 186). It is obviously a development from the early Buddhist legend of the girl Sujata, who brought food in a golden bowl to the meditating Gautama who, after six years of fruitless austerity, decided on a middle course (cf. Edward J. Thomas, The Life of Buddha, pp. 70-71 ). As to who are those tree divinities, Tson-kha-pa (commentary on Pahcakrama, PTT, Vol. 159, p. 77-3) states the 'companion for accomplishing the food' (kha zas sgrub pahi grogs) to be the Yaksi, the Kimkara (servant), etc. (gnod sbyin mo mnag giug ma sogs) as the best. This explanation is consistent u ith the standard explanation of the female figure on the Sanchi gate as a Yaksi or Yaksini. Also, earlier in Guhyasamdja, Chap. XVI and its commentary, there are several mentions of the Yaksi lady; for example, Mchan hgrel, p. 146-2, identifies these yaksi-s as Vajradakini-s. Aryadeva's account starts with the yogin tantamount to the Body of the Buddha silting under the Bodhi tree. Hence the solitary glade is the yogin's own body as the mandala. It is the "arcane body" of the Stage of Completion, discusscd under the Nidana verses KA-YA, and is equivalent to the Eighth Stage of the Bodhisattva. Now, our earlier discussions have gone into the matter of how this "arcane body" is actually the accomplishment of the previous Stage of Generation and is brought forward into the Stage of Completion. This is now combined with a new stage of yoga; and as the first appendix showed, the new stage has been referred to as "the selflessness of cilia being visualized," a yoga state of dream. The two stages are suggested by the two celebrated gestures of the seated Buddha—right hand in the earth-touching gesture ('body as the mantra visualized'), and left hand level at the heart in the equipoise (samapatti) gesture ('selflessness of the mind visualized'). Toga Stage 3 The Svddhiflhana, or initial Mahamudrd Aryadeva has taken the first two yoga stages for granted and goes immediately to the 3rd stage, saying, "Having first appendi x iii 35 5 taken Supreme Truth as the meditative object, by the Stage of Personal Blessing (svddhifth&na-krama) he abides with himself as the body of Vajrasattva." Under Nidana verse CIT, Aryadeva's same work was already cited in a remarkable passage on how to visualize the Supreme Truth, in a process that leads to the yoga condition of deep sleep and the revelation of the Clear Light. In the present passage, observe that Arya-deva's expression atmakrti (configuration of the self) is consistent with the conclusion in Appendix No. 1 that in the 3rd stage of yoga, referring to dreamless sleep, the subject is paramount and the object is in abeyance—the subject now being indicated as "configuration of the self". Despite this condition of pure subjectivity devoid of dream object, the description emphasizes the extreme bliss, sincc the yogin dwells in the circle of the goddesses. One may refer to Nidana verse HR (no. 27) for more information; cf. there, Bu-ston's citation of Aryadeva. The present passage continues with the union of the male and female energies, and Aryadeva summarizes, "Thus he introspects the true forms of Prajnaparamita and so on." Tsori-kha-pa's commentary on Pahcakrama (PTT, Vol. 159, p. 75-5) treats this part of the account as illustrative of nisprapaiica-carya. Concerning the 'inner hearth,' Tsori-kha-pa (ibid., p. 75-3) states that the yogin "eats while contemplating a burnt offering offered to the face of the Samadhi-sattva" (tiri rie hdzin sems dpahi ia\ {lu sreg rdzas dbul pahi bsam pas bsah stc). Presumably, what the yogin now eats is the food "divinely prepared" which the tree divinities offered earlier. Furthermore, it is in this same connection that Aryadeva cites the Mulasiitra* On the verse as identified, the •There is no doubt thai Aryadeva means the Guhyasamijatantra (first seventeen chapters) by his citation from ihe •Mulasutra'. The verse has some variant readings nf Chapter Seven, verse 2, as well as some corruptions; but also the edited Sanskrit of llie Tantra has a corrupt reading in this verse. The Hernial I verse has the reading 'svam atmanam' where the published Tantra has 'parahgaii ca'. The Pradtpoddyotana manuscript (5B-3-4) expands: 'svatmanaip paraips ca'. The Pradlpoddyotana suggests that the original reading is 'svam pararps ca'. However, by my correcting principle of adopting a reading as close as possible to the edited Sanskrit when it is corrupt, I decided to correct the reading 'paraiigais ca' lo 'paratmanau'. The standard form of the verse should therefore read: tarvakimopaUugais lu uvyaminair yalhccchalah / llAdliidaiLiitayogcna parilmdnau prapujayel // I 356 yoga of THE GUHYASAMAJATANTRA Pradipoddyotana explains how one worships oneself by the praxis of one's presiding lord, namely by the arduous ascetic practices called the twelve qualities of a purified man (dhutaguna). However, as the next Guhyasamaja verse (VII, 3) clarifies, it is by the worship and satisfaction of others, i.e. by offerings of the five deified sense objects (kdmaguna), that one speedily attains Buddhahood. Aryadeva thus points to this worship of others as the way in which King Indrabhuti transmuted his physical body. This is also the message of Chapter VI, 2 ('Documents'). About the vowels and the consonants in the nad'ts totalling 72,000, the Shags rim chen mo shows the way of conceiving them in the body. The placement of these vowels and consonants of course is done in the phase called the Stage of Generation, with the achievement of 'mantra body* (mantramurti). The fruition of this letter placement occurs in the Stage of Completion; and this constitutes another reason for requiring the two Stages in the given order. At f. 380b-6, Tson-kha-pa repeats the citation of some Tanjur authority, and mentions that the Sarpvarodayatantra and other Tantras are consistent regarding the placement of the sixteen vowels : The Lord said : The wise person should contemplate this way : A at the root of the thumb, A at the calf of the leg, I at the thigh joint, I at the private part (i.e. genitals), U at the root of the navel, 0 at the stomach, R at the middle of the breast, R at the hand, L at the neck, L at the lip, E at the check, A1 at the eye, O at the root of the ear, AU at the head, AM and AH in the body at the crown of the head. Such is the disposition on the 'white side' (left), so also on the 'black' (right) in reverse. This Vajrasattva is in women and also in men at all times. Notice that the name Vajrasattva is employed for a sexless (or else, androgyne) body that is the same for men and women, and is explained as a manfra-body. Hence, when Aryadeva The Bendall version substitutes Jei-a for kama, which in this case amounts to the tame meaning, because 'all desires' means 'all sense objects' and these •re identified with deities («/««). Again the substitution of \athdsukham for yathecchaiah hardly departs from the intention. However, the Bendall reading snyamino ought to be corrccted to seiyaminair. The verse with these modifications accounts for the translation adopted previously. 357 APPENDIX III said, "he abides with himself as the body of Vajrasattva," the remark can apply to either a yogin or yogini. So also it is possible to bring in the explanation presented in Appendix II that on the Bodhisattva's Ninth Stage he sets into motion the wheel of the dharma; that is to say, in the fruitional Stage of Completion the yogin sets into motion the wheel of mantras. To continue with Tson-kha-pa's exposition of letter placement:— The explanation of 'white side' as left and 'black side' as right (side of body), in the case A at the left thumb or right thumb, stems from the commentary on the Samvarodava-tantra according to Shags rim, f. 381a-4. The Snags rim, f. 381b-6, mentions that the consonants arc grouped under the elements, with certain consonants repeated according to the following break- down : akaSa : ka, na, fia, na, na, ma, ha, ksa — 8 wind : gha, jha, dha, dha (2), bha, ya(2), $a — 9 fire : ga, ja, da(2), da, ba, ra(2), sa — 9 water : kha, cha, tha, tha, pha, va(2) — 7 earth : ca, ta, ta, pa, la (2), sa — 7 40 Those syllables are held in this tantric tradition to give rise to the thirty-two characteristics and eighty minor marks of the Buddha's body cf. Nidana verse 23, YA). The Shags rim, f. 380a-6, cites in this connection Diparikarabhadra's Sriguhyasamdjamandalaiidhi known in Tibetan tradition as the Four Hundred and Fifty Verses, Bit brgya Ina bcu pa) for a hM-Sloka translated by indications in the commentary by Ratnakarasanti, the SriguhyasamSjamandalavidhi-fikS : I dbyaiis yig mtshan dan yah dag Idan / ka sogs dpe byad hod zer can / The (16) vowels arc the source of the (32) characteristics (aksana) The (34) consonants radiate the (80) minor marks (anuvyahjana). Snags rim. f. 380b-2, identifies the vowels as white in color, the consonants as red. The white vowels arc mystically called 'moon'; the red consonants, 'second moon' or 'sun'. Ibid, f. 380b-1, by dividing the vowels into two, ore makes a 'right' group (for the male upaya) of sixteen, and a 'left' group (for the female prajha), to yield the total of 32 for the characteristics. I 358 yog a OF THE GuHYASAMAJATANTRA Likewise, the consonants, classified as above with scries adding up to 40, arc divided into two for updya and prajiid to yield the total of 80 for the minor marks. The above data on the vowels requires some further clarification. The statement that the vowels on the 'black' (right) side arc in reverse means, according to that above-cited commentary on the Samvarodaya-tantra, that for that side one contemplates the vowel placement in the reverse order, i.e. starting from the AM and AH at the crown of the head. The vowel depositing constitutes the sixteen parts of the bodhicitta byaii chub kyi scms kyi cha bcu drug . At this point the Snags rim cites the Hevajra-tantra, Part I, Chap, viii (Snellgrove cd. : suk- rakaro bhaved bhagavan tatsukham kamini smrtam (50A) : "The Lord is the aspect of Sukra; Kamini is the ecstasy of that (bodhicilta)." Thus, the Lord, or Yajrasattva, who is in both men and women, is the Svkra ('semen'" white aspect, while the Goddess Kamini, presumably also in both men and women, is the ecstasy (sukha) red aspect of the sixteen parts of bodhicitia, yielding a total of 32 for the characteristics. Yoga Stage 4 The divine body made of mind The next problem is to determine who is 'the triple-diamond one'. The verse just preceding those cited by Aryadeva must be considered (Guhyasamdja, XVI, 97 :): svamudram va 'thava dated dhyanatryaksaravajrindm j pahcabuddhai ca sarvajhah prinante natra samsayah / Or he should contemplate his own mudrd belonging to the three-syllable vajrins of meditation. The omniscient Buddhas will be pleased; there is no doubt of it. Th"" Pradipoddyotana comments : / svatnudram ityadina jftanamudraya sahacaryam darsayati / svamudram lutiaya-stham vajradhatvisvarim tryaksaravajrinam vairocanadiyogi-naip bahyangananiiapcksinam dadyat / "By the words 'his own rrudrd' and so on, (the verse) shows the praxis together with the Jftanamudra. He should give (in marriage) his 'own mudrd', the 'Queen of the Diamond Realm' dwelling in the heart, belonging to the 'three-syllable vajrins', i.e. the yogins of Vairocana and so on, who have no eye to external APPENDIX 111 359 women." Earlier in his commentary on Chapter XII, 76, ("Documents"), Candrakirti explained the terms 'Buddha', 'Vajradharma', and 'Vajrasattva' as respectively the yogin of Yairocana, yogin of Amitabha, and yogin of Aksobhya. Regarding those females or mudri-s of the verse cited by Aryadeva, namely, the goddess, naga lady, and so on, Mchan (igrcl, p. I-18-2, mentions that she is the respecdve goddess of the three families, thus Locana for Yairocana's yogin; PanAara for Amitabha's yogin; and Mamaki for Aksobhya's yogin. 'Knowledge of the three diamonds' means knowledge of the diamond of Body, of Spcech, and of Mind. But then, why arc five females mentioned in the verse ? The Pradipoddyotana docs not help here. Possibly they stand for the mudra-s of five different ages, usually 16-yeared; that is, I presume that they are pseudonyms of the five, the 'butcher maiden' etc., listed under Nid ana verse GE (no. 35). What is meant by his going beyond ? The Pradipoddyotana manuscript explains: atikramcd ity adina carvaphalam aha / trivajratma yogi atikramet / m:\nusyabhavam abhibhavati / nasyati / uasaui prakrtam sariram tatparavrttya vajravad abhedyam aksaram avinasvaram bhavct "By the words 'Should he go beyond' the verse states the fruit of the praxis. Should the 'triple-diamond' yogin go beyond, he would overpower the human condition. The vulgar body with 'loss' is lost. Bv its transmutation, the 'syllable' inseparable like a 'diamond' would not be susceptible of destruction." The going beyond ofthe 'triple-diamond yogin' contrasts with the going beyond ofthe 'deluded self', which is the topic ofthe last verse in Chapter XII and with Chapter XV, verse 22 (see Appendix II . Regarding the vidyaviata. left in the original Sanskrit above as well as previously in my citation of verses from Chapter XVI in the opening material for the set of nidana ve. scs on Kayavak-citta Body, Speech, and Mind), the term is well explained by Buddhaguhya in his Dhyanottara-batala-ftka (PTT, Vol. 78, p. 80-4.5 and p. 81-1 . Tiayavrala' (rite of the vidya) means devata-yoga union with divinity), especially at the samdhis. Therefore, the Pradipoddyotana comments (Mchan hgrcl, p. 147-4 ' : vidyavrati tabhih sardham guhyapiijam samapattiin caluhsamdhyam kuryal ("The vidySvratin should 360 YOGA OF THE Gl'HYASAMAJATAXTRA engage in the secret-offering kind of equipoise together with those [goddesses] at the four junctures.") These are of course the morning, noon, sunset, and midnight observances.* It is well to point out one feature of Aryadeva's account that was not brought forward in our previous discussions of the Guhyasamaja yoga. He says, "In that way, again and again he enters the true limit bhutakoli): and having emerged again and again he experiences the five "strands of desire' as the five Tathagata forms, so the (sublime) mind does not fade." Sakyamitra says (N'arthang cd., f. 345b-7 : "The true limit is the Clear Light" (van dag pahi mthah ni hod gsal ba ste . This shows that the ultimate fruit promised for this yoga is not achieved simply by doing it once; but rather by repetition of entering into the yoga state of artificial dreamless sleep with revelation of the Clear Light, until the "diamond body" or purified "illusory body" achieves the independence to wander "from Buddha field to Buddha field." Then, as Mkhas grub rje's Fundamentals of the Buddhist Tantras suggests, the yogin is the Bodhisattva of the Tenth Stage, in the retinue of the Sam-bhoga-kaya. Still, perhaps the most significant finding of this appendix is the clear indicatior from Aryadeva's account that it is in the yoga artificial dreamless sleep that occurs the reintegration of male and female energies frequently referred to as yiganaddha. Hence, this is the intimation of what has been earlier referred to in this work as the Dharmakaya union with the goddess along with the Clear Light (of death . This suggests, as well, that in this theory the ordinary state of dreamless sleep (occurring every night or in each period of normal sleep) is such a reunion of male and female—mystically, death— from which comes the new life, the birth, i.e. the reawakening (see Table III, The Clear Lights). The yogin, by artificially evoking this state, seeks to capture, strengthen, and restore the androgyne. •Ratnakarasjntis Piikita-iidhop.Àyikd-nili-niin(!ush. vPTT, Vol. 62, p. 68-3) mentions three kinds of era/a. (1) ivjrauala, namely of the diamond, the "mind of enlightenment"; (2) eeryinata, namely of three kinds of engagement; and (3) Myiirala. APPENDIX IV GRADING OF THE FOUR-STAGE YOGA Previously (p. 163) it was noted from the Snags rim that for accomplishing the four steps of yoga there is a lesser, a middling and a great. Let us therefore, without introducing new material attempt a grading by way of this suggestion. A. The lesser four steps The lesser would certainly be the four-stage yoga pointed out by Ratnakarasanti (see Appendix I) to be shared between the Lankdiataras utra and the Guhyasamajatantra. He referred to a verse of Guhyasamaja, chap. XV, and I found it to be consistent with one way of understanding the stages of Guhyasamdja, Chap. VI. In this interpretation, the four-stage yoga is equivalent to the four ninedhabhagiyas that lead to the First Bodhisattva Stage. B. The middling four steps The middling would be the four stages that go with the Stage of Generation. These steps are clearly stated in Guhyasamdja, Chap. XII, and are well explained in Candrakirti's commentary see 'Documents'). The steps of Guhyasamdja, Chap. VI, can be understood this way; and the four steps, considered as .subjective yoga can be correlated with steps of external ritual, as was shown. Besides, the explanation of the four steps with the terminology of three samddhis is used to correlate the class of Yoga Tantra with the Stage of Generation of the Anuttara-yogatantra. C. The great four steps The great would be the interpretation of four stages as equivalent to the fadangayoga cf the Stage of Completion, also expressible in terms of five stages (Nagaijuna's Pahcakrama). This is also one way of understanding the stages of Guhyasamdja, Chap. VI in association with the Explanatory Tantra Vajramdla. 362 YOGA OF THE gt'HYASAMAJ ATANTRA The basic Tantra itself showed the higher interpretation of the four stages by identifying them, in chap. XV, with the four goddesses, Locana, etc., who confer enlightenment. On the terminological level, one may further interpret the four steps of yoga of Guhyasamaja, chap. XII, as applicable to the Stage of Completion. 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