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THE SARAHA OF TIBET: HOW MGUR SHAPED THE LEGACY OF LINGCHEN REPA, TIBETAN SIDDHA

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KATHMANDU UNIVERSITY

THE SARAHA OF TIBET:HOW MGUR SHAPED THE LEGACY OF LINGCHEN REPA, TIBETAN SIDDHA by BENJAMIN EWING


A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in Translation, Textual Interpretation, and Philology Center for Buddhist Studies at rangjung Yeshe Insititute Kathmandu University, Nepal Under the supervision of Dr. James Gentry Boudha, Kathmandu January 20172

Abstract

his thesis investigates the songs (mgur) of Lingrepa (gLing ras pa pad ma rdo rje, 1128-1188) contained in Grub thob gling ras kyi rnam mgur mthong ba don ldan (GT), a biography written by Lhatsun Rinchen Namgyal (Lha btsun rin chen rnam rgyal, 1473-1557). It argues that these songs play an important role in characterizing the legacy of Lingrepa and, through him, the foundation of the larger Kagyu sect. Through both their content and their significance as a potent literary trope, these songs connect Lingrepa to the philosophy and antinomian ideals of the Indian siddhas and Tibetan yogis of the past, promoting a vision of the wandering, ascetic yogin as the idealized Buddhist practitioner. This thesis contributes the understanding of the narratological function and literary significance of song in Tibetan hagiography and specifically, in the literary project initiated by Tsangnyon Heruka. This thesis also provides the first English translations of the songs of this important master.3

Contents

I. Acknowledgements 4 II. Introduction 5 -The Life of Lingrepa 15 -The Textual Life of GT

21 - Context of GT’s Production      

23 -Song as a Rhetorical Trope 28 -Inside the Text 34 -Conclusion 45 III.Translation 49 IV. Appendix 1 121 V. Bibliography


Acknowledgments


I would like to thank Dr. James Gentry for suggesting I look at the early Drukpa masters and their songs when I came to him with a vague idea of a thesis topic, and for his invaluable feedback throughout the process of writing this paper. I am also grateful for the patient support and attention Catherine Dalton gave to my early attempts at these translations. I would have been completely lost with most of these translations without the help of Tenzin Phuntsok of Rangjung Yeshe Institute. I would also like to thank Khenpo Shedup Tenzin of Shri Gautam Buddha Vihara in Kathmandu, Nepal, who provided me with my first copy of Lingrepa’s songs. Also, many thanks to Drs. Michaela Clemente, Jim Rheingans, Marta Sernesi and Dan Martin for their expertise and willingness to help a struggling MA student they had never met.


Introduction

At least since the time of the famous Tibetan saint Milarepa, a genre of Tibetan folksong known as mgur has been used to express the inexpressible. These songs, which could just as easily be called poems, are said to arise spontaneously from a state of rapture. Like many other lyrical religious traditions across the globe, Tibetan mgur pair profound spiritual realization with an every-day, popular style that could be heard in markets, in monasteries, or among groups of renunciate meditators in the mountains. Given that Tibetan society was largely illiterate, and the general public would have had limited access to Buddhist scriptural texts, the appeal of the repetitive, easily-remembered mgur is understandable. Song, as a form, rendered religion accessible to the public in a society where education and textual knowledge were reserved primarily for the monastic elite. For Milarepa and the generations of practitioners that followed, such songs were not only an effective way to transmit their teachings, but also became a testament to the singer’s level of accomplishment. Yet Milarepa’s songs are alive today not only as part of an oral tradition, but, most famously, as the result of a massive 15th and 16th century literary project that printed the biographies and songs of some of Tibet’s most famous saints.

How, then, did mgur, with orality and spontaneity as central elements of its appeal, become a literary genre? How, moreover, do mgur function in the life stories of their singer-saints? In this thesis, I will attempt to address this set of issues by translating songs contained in a biography of the famous Tibetan yogi, Lingrepa Pema Dorje1 and analyzing their roles within the narrative of his life story. My broader goal is to shed some light on the roles these songs play as a literary trope within the Tibetan imaginaire. While it is a decidedly Tibetan genre, mgur, in many ways, is the Tibetan heir to the Indian dohā famously sung by great mahāsiddhas such as Saraha and Tilopa. Around the turn of the first millennium, these masters of tantric Buddhism wandered India as mendicants using their "iconoclastic poetic songs" to spread teachings of renunciation, cataphatic mahāmudrā philosophy, and strong critiques of social and religious norms.2 The powerful iconoclasm of these songs is clearly exemplified by a famous story about Atiśa (980-1054), the great Indian scholar who helped to re-introduce Buddhism to Tibet in the 11th century. Soon after arriving in Tibet, he was advised by his students to stop teaching the dohās to Tibetan disciples out of concern that, without formal initiatory rituals, the esoteric songs would lead to moral degradation3. He and his monastic students believed that the transgressive behavior and the immanent philosophy espoused by the songs was dangerously removed from the traditional gatekeepers of such high teachings. Despite these fears, in the 11th century, the Indian mahāsiddhas and their anti-institutional teachings were transmitted to Tibet via the great translator, Marpa Lotsawa (Mar pa chos kyi blo gros, 1012-1097). The Tibetans readily embraced the Indian siddha tradition and

1 Lingrepa is also known as gLing rje ra pa, gLing chen ras pa, or sNa phu pa. 2 Schaeffer (2005) p.6 3 Guenther (1968) p.157 translated it into their own, wholly native form, with the pre-buddhist mgur4 taking the place of the siddhas’ dohā 5. Like their Indian forebears, the songs of great Tibetan saints such as Milarepa and Drukpa Kunley (’Brug pa kun legs, 1455-1529) confront the established religious structures of the day from the monastic code, to the complex rituals and initiations of tantra, to the academic philosophizing of scholars. Eventually, the anti-institutional teachings of the siddhas, such as the esoteric mahāmudrā philosophy and the Yogas of Nāropā 6, came to constitute a large part of the scriptural core of the major schools of Tibetan Buddhism. While all of the Kagyu sects stem from the lineage of the siddhas, and even the academically-focused Gelugpa preserve their mahāmudrā practices, the Drukpa Kagyu stand out as perhaps the most vigilant stewards of this siddha tradition. The Drukpa lineage can claim some of the most famous and eccentric mgur-singing yogis in Tibetan history such as Tsangnyon Heruka7 (gTsang smyon he ru ka, 1452-1507) and Drukpa Kunley; it also preserved the esoteric Aural Lineage (snyan brgyud) stemming from Milarepa and Rechungpa (Ras chung pa, 1083/4-1161). The close connection between Drukpa Kagyu and the Indian siddha tradition can be seen from the very beginning in Lingrepa, who is the subject of this study and the founder8 of the Drukpa Kagyu. A famous mgur-singer himself, Lingrepa was the author of one of the first Tibetan commentaries on Saraha’s dohā.

4 As mentioned above, mgur existed as a genre of song even before the introduction of Buddhism into Tibet, but during this period, the genre was given a new significance and eventually became associated primarily with the yogi tradition. 5 Kapstein (2003, p.772) 6 See Kragh, 2006 for more on the Yogas of Nāropā and their important place in the Kagyu and Gelugpa schools. 7 Although Tsangnyon famously never held any institutional affiliation, his legacy has posthumously been incorporated fully into the Drukpa Kagyu. 8 His role as "founder" is somewhat debatable as he is generally considered the ideological source of the Drukpa, while his student Tsangpa Gyare (gTsang pa rgya ras, 1161-1211) founded the monasteries and began the institutions of the sect. In what appears to be the first Western scholarly treatment of Lingrepa’s life, Dan Martin (1979) discusses Lingrepa’s role in the founding of the Drukpa Kagyu. More recently, Blythe Miller (2005) wrote an excellent discussion of the historical legacy of Lingrepa and his heir, Tsangpa Gyare. 9 See Schaeffer (2005), p. 728

In this study, I will present a translation of 27 songs (mgur) as well as the last testimony of Lingrepa which appear in a biography that was compiled in the 16th century10 by Lhatsun Rinchen Namgyal as part of a larger project to edit and print the biographies of Kagyu masters. 

While biographies and song collections are found throughout Tibetan literature, this text is a rnam mgur11, a hybrid combination of the two genres which is much less common. This combination is perhaps appropriate for Lingrepa, who was renowned for his skill in song during his lifetime; yet here, that reputation is taken a step further. Couched in the authority of historical record, this text, which was the first of Lingrepa’s biographies to be mass-produced with carved wooden blocks, indelibly tied Lingrepa’s legacy to the style and message of his songs. It uses a variety of rhetorical tools to present a literary persona that would have been easily recognizable to a 16th century Tibetan audience as a parallel to the anti-scholastic, anti-institutional wandering ascetics of the past. Furthermore, the songs themselves reinforce this image again and again using Lingrepa’s own voice to engage in a polemic of style and remind of his place in the "unbroken lineage of siddhas"12. Taken as a whole, this text works through songs and their narrative settings to present an image of Lingrepa as an anti-institutional yet authoritative figure; in short, as an heir to the unbroken lineage of the Indian siddhas, forefathers of the Kagyu.13 This study presents English translation of a selection of songs found in the text, Grub thob gling ras kyi rnam mgur mthong ba don ldan (GT).14 This work was edited by Lhatsun


The exact date is unknown but the closest estimate is between 1538 and 1557 based on the names of the block-print carvers (Clemente, personal communication). 11 Combining rnam from the Tibetan word for "biography", rnam thar, with the word mgur for "song." 12 Tib. grub thob brgyud chad med 13 My attempt at taking this narratological approach was heavily influenced by the work that Jim Rheingans did in his study of the dialogues included within a biography of the 8th Karmapa. See Rheingans (2014). 14 Lha btsun rin chen rnam rgyal, grub thob gling ras kyi rnam mgur mthong ba don ldan. 1 volume; 57 ff.. TBRC: W4CZ1043. Also see NGMPP E2518/6: f. 57–61a7–b1 (last folio is numbered 57–61), NGMPP L194/11 (some folios are difficult to read), L12/1 (difficult to read) and L581/5 (incomplete; last folio is missing). I consulted these records and found them to accord exactly with the TBRC W4CZ1043. They were no easier to read so I did not consult them in the process of translation.

Rinchen Namgyal and printed between 1538 and 155715 as part of the large biography-printing project initiated by Namgyal’s teacher, Tsangnyon Heruka. Printed at the famed printing house at Drakar Taso (Brag dkar rta so) by means of carved wooden blocks, GT is 57 folios in length, written in dbu can script, and contains 95 songs in total16. I consulted two witnesses of this text that appear to be different printings from the same blocks as they are completely identical except for a few small orthographic differences that could have resulted from the printing process or some other extremely slight changes to the blocks.17 The first witness is published on its own by TBRC and was the witness I began with (GTa). I later found the second witness appended to the end of a collection of Shangpa Kagyu (Zhangs pa bka’ brgyud) texts (GTb).18 This witness was much clearer and easier to read, elucidating many confusing passages. Certain songs also appear in their entirety in two other biographical sources, allowing fruitful comparison between versions. These sources are: - "Grub chen gling kyi rnam thar" (SGB) in Rwa lung dkar brgyud gser 'phreng19 Printed in 1771-1772, this biography of Lingrepa includes 24 full-length mgur and is part of a "golden rosary"20 collection from Ralung Monastery21 (Rwa lung), the main seat of the

This date is based on the names of the wood-block carvers given occasionally throughout the text. Michaela Clemente, personal communication, January 2016. 16 Here and throughout, I am only enummerating songs that appear at least as a fragment. In many cases only song titles are given, but these titles appear to be fluid and do not correspond precisely between sources. 17 There were scattered discrepencies btween the two versions of GT, but the more likely reading was consistently found in GTa, leading me to wonder if they were printed from different sets of blocks. 18 "Grub thob gling ras kyi rnam mgur mthong ba don ldan" in Shangs pa bka' brgyud pa'i rnam thar dang gsung skor. (Appended) TBRC W23708 Vol. 2/2; pp.291-412.

I have not been able to find any connection between Lingrepa and the Shang-pa, a lineage that branched away from the mainstream Kagyu sect generations before Lingrepa. Dan Martin suggests it may have been included simply to meet the minimum page limit required by Gene Smith during his collection process for the Library of Congress. (personal communication, January 2016).

19 "Grub chen gling kyi rnam thar bzhugs so" in rwa lung dkar brgyud gser 'phreng TBRC W19222 Vol. 1/4 pp.347-404 [tha] 20Tib. gser ‘phreng; a type of biographical collection, common in the Kagyu sect, that traces a particular succession of masters by giving short biographies.10 Drukpa Kagyu until the 17th century. While several of the biographies of Lingrepa’s contemporaries included in this collection22 were written by Sangye Bum (Sangs rgyas ’bum, b. 12th century), this text lacks even the distinctive colophon that allowed Quintman to attribute Milarepa’s biography to this author.23 While the original authorship likely predates its date of printing, nothing more can be reliably said at this point about the authorship and date of this text. It does, however, provide many interesting alternate readings of the songs and a slightly different biographical narrative. Printed in dbu can script in 29 folios, SGB is about half as long as GT with the amount of songs making up the majority of the difference in length. Six of the songs translated here appear in SGB as well as GT.

- "Grub thob chen po'i bka' 'bum las gsung mgur gyi rim pa" (NP) in gLing chen ras pa pad ma rdo rje’i bka’ ’bum

This is a modern collection of Lingrepa’s songs included in his "collected works," which was assembled under the auspices of Khamtrul Rinpoche in India and printed in 1985. The original sources for these songs is not noted and I have found no earlier examples of song collections, so it seems likely that they were taken from sources such as SGB and GT, although this is speculation. This collection also includes many songs that are not found in any available biography. This text includes some 200 songs with no discernible order or organization along with very brief contextual introductions that mainly name the place where the song was sung. 

Like SGB, these songs cannot be dated accurately so their value in tracing a historical progression is minor, and their extremely minimal context provides little interesting information.

21 Ralung Monastery is the seat of the so-called "Middle Drukpa" sub-lineage. The abbot of this monastery was the de-facto leader of the Drukpa Kagyu from the time of its founder, Lingrepa’s student Tsangpa Gyare, until the schism of 1592 following the death of the 4th Drukchen (Kun mkhyen padma dkar po, 1527-1592). See Samuel (1993), pp. 106, 279 and http://treasuryoflives.org/institution/Ralung-Monastery 22 Including Gampopa (sGam po pa, 1079-1153) and Tsangpa Gyare. 23 See Quintman (2014) p.7111 I used this text only as a reference to help with understanding songs with difficult orthography and it will be excluded from further discussion of sources. Every song translated here except for song 60 appears in this text.

The mgur translated here were chosen from among GT’s ninety-five songs because they illustrate with particular clarity the relationship between the songs and the biographical narrative and/or because they reinforce themes that are important to Lingrepa’s literary identity. This selection includes songs that mark important occasions in Lingrepa’s life story; songs that appear in other available sources or were mentioned by name in other sources; and songs that are emblematic examples of the importance Lingrepa placed on the concepts of lineage, mahāmudrā, and criticisms of Buddhist institutions. Using GT as a copy text, I created critical editions of each song translated here; incorporating variant readings from other available witnesses where the variants gave a clearer reflection of the sense of the song, either in terms of meaning or consistency. This edition is presented in Appendix I. While all three of these texts differ from each other, it seems that in terms of spelling and word choice, NP and SGB agree more often with each other than with GT and may represent a different line of textual transmission. Also, while GT was the primary text and the basis of this study, occasionally it was necessary to use an alternate reading found in one of the other witnesses to clear up confusion or to help make a clearer translation. This is more an acknowledgment of my imperfect knowledge of Tibetan and the notoriously difficult orthography and colloquialisms of Rinchen Namgyal’s works than it is an accusation of corruption or error on the part of the editors and carvers of GT24.

See Stearns, 2000 p.xii; Sernesi, 2004 p.263; and Clemente, 2014 p.436.12

I undertook this comparative work recognizing the impossibility of determining whether these songs were the "original" words of Lingrepa. The fact that these songs were sung, and not written, is an important aspect that will be discussed later on, and brings up the issue of who actually put them into writing, if not Lingrepa. Furthermore, our main text, GT, was written over 350 years after the death of Lingrepa and is an edited compilation of many earlier sources, some of which may have been passed on orally25 or descended from oral versions. In addition, at least three of the songs found in GT are the same or very similar to songs attributed to Godrakpa (Ko brag pa bsod nams rgyal mtshan, 1170-1249) in a biography that was also produced by Rinchen Namgyal and translated into English by Cyrus Stearns26. So, while it would be difficult to ascribe certain authorship of any of these songs to Lingrepa, our earliest sources record him singing many songs with titles that correspond to some that we find in GT, allowing us to assume that he was at least singing songs that were similar to the ones we find here. There is no doubt that a person known as Lingrepa did exist in 12th century Tibet, but it is important to remember that the person remembered in this text is a literary persona; this character is the 300 year-old memory of a man that had been shaped by the telling and retelling of his story. Like so much of history, GT is a record not only of who the subject was and what he did, but also of what historians, with their own biases, thought was important to record about him. In this case, we have a record of Lingrepa’s life and songs, but we also have a record of what the historian, Rinchen Namgyal, and the historians before him, saw as the most important aspects of Lingrepa’s legacy. While there is no earlier, extant, collection of Lingrepa’s songs for us to compare GT to, the biographical narrative of this text is not original and largely mirrors earlier biographies. The 25 For more on the primacy of the written vs. oral tradition in the history of Tibetan biography, see Quintman (2014, p.53) 26 Stearns (200, p.15) mentions this similarity but apparently didn’t find the other instances. Tracing the relationships between these songs and the various other famous song-singers would provide a interesting avenue for further research. None of the songs in this study have been previously translated in full except for song 11 which was included in Stearns (2000), although my translation was completed before I had read Stearns.13 story of Lingrepa’s life has been told by biographers over the past 700 years with the various versions generally following a similar arc, but with each offering some important differences.

The two other biographical sources27 I consulted did not include songs in their entirety but in many cases gave the first line or simply the title of many songs. These records are useful to see which songs were considered worthy of inclusion throughout the history of Lingrepa’s literary persona. A complete survey of the various biographies and their progression over time in the way that Quintman and Roberts have treated Milarepa and Rechungpa28 would be outside the scope of this paper; rather, these alternate versions will serve as important points of departure as we examine Lhatsun Rinchen Namgyal’s text and it’s particular literary qualities. These two biographies are:

-"Grub thob kyi rgyal po gling chen ras pa’i rnam par thar ba" (DD) in dKar brgyud gser phreng This early account of the Drukpa Kagyu lineage includes the earliest biography of Lingrepa that I have found and likely one of the earliest that was written. It was composed in the mid-13th century,29 about 70 years after Lingrepa's death, by Gyaldangpa Dechen Dorje (rGyal ldang pa bde chen rdo rje, 12th-13th century), who is presumed to have been a disciple of Gotsangpa (rGyal ba rgod tshang pa, 1189-1258).30 This biography is part of one of the earliest examples of a "golden rosary" collection and includes 12 biographies of other great masters of the early Drukpa Kagyu lineage. This text includes six song fragments: four clearly appear in GT with very similar constructions, while the other two share introductory context with two songs in

I also consulted Roerich’s translation of Blue Annals (1979, p.659) but, given the brevity of that biography, I treat it as an example of the many other, non-specific, popular biographies of Lingrepa that appear in general Kagyu histories and biography collections. 28 See Quintman, 2014 on the biographies of Milarepa and Roberts, 2007 on the biographies of Rechungpa. 29 See Roberts (2007) pp. 14-15 for discussion of this date. 30 Gyaldangpa’s identity is unclear but more information on him can be found in Quintman (2014) p.72 and Roberts (2007) p. 11.14 GT but do not resemble any songs that appear in GT. There is also one song title that I cannot find in other sources. DD is interestingly structured as 16 root verses which cryptically tell the biography in poetic form and are followed by a detailed commentary on each.

-"Grub thob chen po gling chen ras pa pa dma rdo rje’i rnam par thar ba" (BR) in 'Ba' ra bka' brgyud gser ’phreng chen mo The author and date of this text is not stated in the colophon, but Roberts traces it to one Montsepa (Mon rtse kun dga’ dpal ldan, 1408-1475) and dates the text to ca.1450-147531. It is part of a collection of biographies tracing the lineage of the Bara (’Ba’ ra) sub-sect of the Upper (stod) Drukpa Kagyu. This text follows a narrative arc and song order similar to that of SGB. BR gives the first four-line verse of 30 songs in addition to the titles of at least 10 others. Except for the first song, which is written in full but is not found in any of the other sources, all of these song fragments can be traced to songs found in GT and 26 of them are shared with SGB as either fragments or titles. While their order does vary slightly, the fact that so many songs are shared between the witnesses points to a textual tradition that was widely available across centuries.

Treating any of these texts as purely historical sources of Lingrepa’s life and teachings misses the fact that they were written many years after his death, at a particular time, in a particular context, and for a particular audience. Rather than attempt a historical analysis of Lingrepa’s life based on these texts, each with its own complicated and ambiguous history, I will follow after the excellent work done by Andrew Quintman and Peter Alan Roberts on the biographical tradition of Milarepa and Rechungpa respectively, and attempt a close reading of GT, using these other sources as references to see what makes GT similar or unique. From reading DD, which is surely the earliest of these sources, it is clear that the characterization of 31 See Roberts (2007) p. 29 for more on Montsepa and this text.

Lingrepa as a siddha existed from early on; it is also clear, however, that GT pushes this characterization beyond the other sources. In the following study, I will attempt to point out certain key themes and rhetorical devices within the text that further this characterization, and then discuss how the context of 16th century Tibet would have influenced this aspect of the text’s production. GT, then, is not unique for its portrayal of Lingrepa, but rather for how its particular narrative form worked within its own cultural context through a variety of means to reify this image. Acknowledging that this text is as much a literary production as it is a work of history, this study will focus not on whether the story is true or not, but rather, how it is told. I will take the perspective of what Nunning has called "applied cultural narratology"32 to look at the aspects of content, voice, and style that are working together to make this text particularly compelling.

The Life of Lingrepa

All the biographies begin by tracing Lingrepa’s previous births back to a story attributed to the Ratnakūṭa-sūtra.33 The story takes place during the aeon of a previous buddha, when Lingrepa was one of sixty monks who ridiculed and criticized a pair of bodhisattvas.34 This resulted in many lifetimes in the lower realms until he was able to once again reach human form.

Eventually, Lingrepa meets the Buddha Śākyamuni in his birth as a bodhisattva known as Vīryaprabha35 and receives prophecies for his rebirth in Tibet. He eventually takes birth in Tibet to a noble family and is called Pema Dorje. His father was a member of the local king’s court, 32 Nunning (2004). 33 I have not been able to locate any of the quoted passages using the TBRC search function. 34 Kapstein (2003, p.774) notes this development of Tibetan hagiography whereby the authority of India was accessed by tales of masters’ previous births, saying that, “spiritual authority within the Tibetan world was justified not by a reference to prior authority in Tibet, but by a history of self-cultivation in India.” 35 Tib. brTson ’grus ’od16 either as an astrologer or a doctor, and Lingrepa was educated in reading and writing from an early age. He then followed a path that is very reminiscent of other famous Tibetans: first studying the "old" ways of Imperial-era Nyingma tantras, and then quickly becoming famous in his region for both his skill as a sorcerer of black magic as well as a doctor. The next part of his life varies slightly across sources, but most agree that this is when he met his consort, Menmo (sMan mo), as well as "the lama from central Tibet, Zhang."36 In most versions, this Lama Zhang takes both Lingrepa and Menmo to meet Ra Lotsawa,37 from whom the couple receive many of the important transmissions such as the Kālacakra-tantra and the Cakrasamvara-tantra. Perhaps the most important part of this stage of Lingrepa’s life, however, was that Ra Lotsawa introduced them to his teacher Kyung Tsangpa (Khyung tshang pa ye shes bla ma, 1115-1176), who would be the first of many connections between Lingrepa and the great yogi Rechungpa. Although Kyung Tsangpa was the student of Rechungpa, who lived as a wandering yogi and had relationships with women, Kyung was known to disapprove of any practitioners who were not monks. He criticized Lingrepa for this and convinced him to abandon his wife and take ordination, "just as the completely pure Buddha himself had done."38 Lingrepa acquiesced. But his ordination was shortlived; about a year later, Lingrepa, "powerless to resist, reverted"39 and restarted his relationship with Menmo. This episode intones a theme of indifference towards monasticism and strict vows that would continue through his life.40

36 GT, 4.b-.2: dbus pa’i bla ma zhang. This is most likely referring to Zhang Lotsawa (Zhang lo tsa ba grub pa dpal, d.1237) and not the notorious Lama Zhang (Zhang g.yu brag pa, 1123-1193) although both are from Central Tibet and Lingrepa does encounter Lama Zhang later on. I was initially very confused by this passage but it seems clear now due to Zhang Lotsawa’s connection with Khyung Tsangpa and Ra Lotsawa. See, for example, Sernesi (2006) p.185. 37 ra in GT, rwa in SGB, BR; DD uses both. This seems to be a general title for the holder of the Rwa lineage, in this case it is probably Yeshe Sengey (Rwa ye shes seng ge, 12th century). 38 GT, 4.b-.5 yang dag par rdzogs pa’i sangs rgyas nyid kyang rab du byung nas mdzad 39 GT, 5.a-.1: rang dbang med par ldog 40 Blue Annals (p.660) attributes Lingrepa’s transgression of his monastic vows to his previous life as one of the monks who criticized a bodhisattva in the famous story from the Ratnakūṭa-sūtra.17

Kyung Tsangpa was one of the four principal students of Rechungpa41 and is thought to be one of the few holders of Rechungpa’s esoteric Aural Lineage (snyan brgyud),42 a lineage that was of much importance to the later masters of the Drukpa Kagyu such as Tsangnyon Heruka and Pema Karpo (Pad ma dkar po, 1527-1592). Although none of the sources consulted here explicitly state that Lingrepa received this lineage from Kyung Tsangpa,43 it was at this stage that Lingrepa developed great faith in Rechungpa and his teachings, a faith that eventually led him to question Kyung Tsangpa’s pedigree; at the age of 31,44 he left for Loro (Lo ro) in search of Rechungpa himself. 
Lingrepa and Menmo donned the single white cotton robe of a yogi (ras pa) and left for Loro, only to arrive one year after Rechungpa’s death. Instead, they studied under the great yogi’s two main attendants and disciples, Dampa Sumpa (Dam pa sum pa,45 c. 12th cent.) and Gyalwa Lo (rGyal ba lo, c. 12th cent.). From these two masters Lingrepa received the teachings of the Rechungpa lineage, including "all 60 of the oral instructions."46 While the Aural Lineage is, again, not mentioned by name in any of the biographies, it is clear that Lingrepa spent many years receiving and practicing the oral instructions (gdams ngag) of Rechungpa, which would have been the highest, most secretive teachings of the lineage.

41 The others, according to Roberts, are Sumpa Repa (Sum pa ras pa), Gyalwa Lo (rGyal ba lo), and Yang-gon (Yang dgon). 42 The Aural Lineage will be discussed again later on, but has been the subject of much scholarly interest recently. The precise transmission history seems to be slightly unclear, but both Sernesi (2004) and Toricelli (2000) suggest that Khyung Tsangpa may have been the only inheritor of the full instructions of Rechungpa’s Aural Lineage (Ras chung snyan brgyud). 43 DD is the only biography that mentions the Aural Lineage by name and Lingrepa receives it from Phagmodrupa in that biography. 44 This is agreed on by all sources. 45 Also known as Sum pa ras pa¸ Sum ston, and gTsang pa sum pa. 46 GT, 6.a-.2: gdams ngag drug bchu kha yar rdzogs par zhus. This number appears in all of the biographies except DD, which says, "he received all of the instructions of those two lamas like filling a vase to the brim"; bla ma dam pa de gnyis kyi gdams pa thams cad bum pa gang byo’i tshul du zhus DD, 6.b18

Then, in his late thirties,47 Lingrepa decided to venture to the southern border region for a meditation retreat, only to meet a naked being of white light who told him to seek out Phagmodrupa (Phag mo gru pa, 1110-1170), one of Gampopa’s three main disciples. Despite the earlier influence of the Rechungpa lineage, Phagmodrupa is considered Lingrepa’s root guru, placing Lingrepa and the eventual Drukpa Kagyu sect within the larger Dakpo Kagyu.48 It is important to remember that historical masters such as Lingrepa had much more complex webs of connections than is portrayed by the linear lineage histories. Of Lingrepa’s songs that refer to lineage, there is equal mention of Rechungpa and Gampopa, and much more emphasis placed on the lineage of siddhas and the Kagyu in general than any specific institutional line49. Lingrepa clearly had a profound connection with Phagmodrupa and became remembered as the "greatest in realization"50 among Phagmodrupa’s four main disciples for his mastery of the highest teachings. From this master, Lingrepa received teachings on a particular aspect of the esoteric mahāmudrā  teachings called sahaja yoga,51 or co-emergence, which emphasizes the primordial presence of an enlightened nature. This teaching is associated with the dohās of Saraha and forms a distinctive aspect of Gampopa’s teachings on mahāmudrā. It is at this point in all of the biographies where Lingrepa begins to gain recognition for his high realization as well as his ability to articulate that realization in song. Soon after receiving teachings from Phagmodrupa, Lingrepa commits to a multi-year retreat only to come back after three days proclaiming he had accomplished full realization. He is chastised by his guru for breaking his pledge and, in response to this criticism, Lingrepa sings perhaps his most important mgur, noted 

47 DD gives his age as 37 while SGB and BR give 35 or 36. GT does not give a specific age. 48 Tib. Dwags po bka’ brgyud. This lineage encompasses the 12 sub-lineages that stem from Gampopa and generally refers to the mainstream Kagyu sect. 49 See songs 4 and 13 which both trace Lingrepa’s lineages, making mention of both the Rechungpa and Gampopa lines. This accords well with Kapstein definitions of "sect" and "lineage". Lingrepa viewed himself as a member of two lineages that would later be separated into separate sects. See Kapstein (1979) p.139 50 rtogs pa’i mthar thug: Roerich (1976) p.566 51 Tib. lhan gcig skyes sbyor.19 here as Song 12. Phagmodrupa was overjoyed and proclaimed that, "Up to [i.e., on the far side of] the Ganges River, there has never been nor will there be anyone with greater realization in this teaching than the Great Brahmin Saraha; on this side of the Ganges River, there will never be anyone with higher realization in it than you, son!"52 This exchange would eventually give Lingrepa the nickname, "the Saraha of Tibet." This song and its reception are perhaps the most significant event in the life story of Lingrepa, marking his ascendance to a level of enlightenment. This event is reported quite consistently across the biographies and marks the beginning of his song-singing.53 Furthermore, it is the only point where BR gives a song in it’s entirety, and the Blue Annals even give a song fragment at this point.54 This moment and Phagmodrupa’s resultant affirmation of Lingrepa’s high level of realization mark an important transition in Lingrepa’s life as he moves from student to teacher and, in most sources, begins his activity as a song-singer. Following his first mgur, the sources agree that Lingrepa stayed with Phagmodrupa but was criticized for having a wife in a monastic camp; with the guru’s help, he sent Menmo back to her parents. He then began wandering around Tibet, begging for alms, singing songs, and giving teachings to students and admonitions to monks, scholars, and tantric lamas. During these travels he performed miracles such as walking through solid rock and accumulated significant wealth, only to leave it behind. During this period of travel, retreat, and teaching, his root guru, Phagmodupa, as well as his earlier teacher, Sumpa Repa, both passed away and he conducted their funeral ceremonies. He went on to establish a hermitage (dgon pa) at the valley of Napu (sNa phu) after receiving the blessings of both the area’s protector deities and the local lord, 52 GT, 15.Lb-.7: chu bo gha gha yan chad kyis bstan pa ‘di la bram ze chen po sara has/ rtogs pa che ba ma byung/ mi yong/ chu bo gha gha tshun la/ bu khyod pas rtogs pa mtho ba mi yong mi ‘byung// The wording varies across the biographies but all except BR mention Saraha and the Ganges. 53 GT includes 11 songs prior, beginning with one song offered to Lama Lo. Interestingly, these 11 songs include most of the references to previous masters and the prayers to the lineage of siddhas. 54 Roerich (1976) p. 662.20 earning him the nickname "Man of Napu" (sNa phu ba). During a trip to Samye55 (bSam yas) he encountered a blue woman who identifies herself as Prajñāpāramitā after bestowing all of the knowledge and empowerments of the tantras by touching him with the tantric texts.56 Following this transmission, he composed some texts on tantra57 but was criticized for not having actually studied the esoteric systems in any formal capacity. He responds to this criticism with a song that, apparently, silenced his detractors. Then, later, a ḍākinī arrived who was the "protector of the Kagyu doctrine and guardian of the Practice Lineage."58 Following her prophecy that an emanation of Nāropā would come that day to hold his lineage, Lingrepa’s chief disciple and eventual successor, Tsangpa Gyare, arrived at Napu.59 It appears that Lingrepa was well-established as a powerful lama at this point as he is called on by the notorious Lama Zhang,60 first, to finance his enormous Buddha statue, and then, to intervene in the wars over control of Lhasa on Zhang’s behalf. Interestingly, this interaction with Lama Zhang and Lingrepa's involvement in the wars does not appear at all in DD, but receives considerable attention in the later biographies. Its treatment in these biographies, however, portrays a pacifist Lingrepa who first discourages the war-mongering parties and then, after aiding Lama Zhang, apologizes for his involvement by saying he was merely a servant of the lama.61 Rinchen Namgyal’s decision to deviate from DD by including these events is especially interesting given their similarity to the disputes of the 16th century over the spiritual 55 The first monastery in Tibet, founded by Padmasambhava, Śāntarakṣita, and king Trisong Detsen. 56 In GT she touches his head, while in SGB it is his tongue. DD and BR are unspecific. 57 According to Miller (2005, p.388) the four tantric texts attributed to him are as follows: bDe mchog dkyil ‘khor gyi cho ga yon tan kun ‘byung, bCom ldan ‘das dpal phyag na rdo rje’i dkyil ‘khor cho ga, rTen ‘brel snying po’i las byang, and rGyud kyi rnam bshad. 58 GT, 38.La-.4: bka’ rgyud chos kyi bdag po yin/sgrub rgyud chos kyi bstan bsrungs yin//. 59 SGB and BR do not mention Tsangpa Gyare at all. 60 For more on this interesting character, see Yamamoto ( 2012). 61 GT, 42.a-.3: bla ma zhang gis ‘brug pa’i grogs byed ba zer ba la/sdig pa sog kyang mi skyon rang gi zhe ‘dod ni ma yin/bla ma’i zhab tog byas pa yin gsung.21 and temporal control of Lhasa.62 Then, following an encounter with a student who had broken his sacred vows, Lingrepa falls ill and dies at age 61. Before his death, Lingrepa wrote down a final testament and hid it inside a text, to be found later by his disciples. This testament is interesting in that it is repeated almost verbatim in every one of the biographies and its verses are very similar to Lingrepa’s mgur, yet it is storied to have been written, not sung.63 The Textual Life of GT

While some aspects, such as the last testament, are consistent across all of the biographies, there are "secondary" events not marked by song that are more varied. In DD, there is much more emphasis on extraordinary events that do not appear in the later sources, perhaps being deemed old-fashioned or hyperbolic by the later biographers. For example, one episode that appears only in DD is Lingrepa’s subjugation of local deities, following which, the gods declare, "even the Lotus-Born One could not [tame] us like this. Someone with greater power than Padmasambhava has arrived."64 Another important example is when Lingrepa journeys to Kham and is given more offerings than he can carry, eventually deciding to leave them and travel home empty-handed. In GT, this episode is glossed over quickly, but in all of the other sources, it is more extended and involves Lingrepa rejecting the advice to keep the offered riches. In BR and SGB, this advice is given by a lama known as Geshe Wataton (Wa ta ston),65 while in DD, it is Lama Zhang encouraging him to keep the wealth. In both versions, however, 

62 For more on the political situation of this time, see Samuel (1993), or Divalerio (2015) among others. 63 This uniformity perhaps points to the consistency of written records across centuries, while the variability of the songs may point to at least some level of orality in their transmission history. 64 DD, 16.b-.3: de yang sngon snlob dpon padma ‘byung gnas des ni/nged la ‘di ‘dra byung ba med/slop dpon padmas kyang nus pa che ba cig byung ngo zer// 65 This spelling is taken from the first appearance in GT (GT, 18.b-.1), but the name appears in many variations such as Wam rta pa (GT, 18.b-.6), Kha rta ston (BR, 13.a-.4) and Zhu rta ston pa (SGB, 10.b-.5). All sources, however, refer to him with the title Geshe (dge bshes). I have not been able to confirm any information on this teacher. 22 Lingrepa evokes the Kagyu masters of the past in his rejection, saying, "I will not shame the Kagyu, I have no need for wealth."66 The lack of reliable dates for most of these sources makes it difficult to fully trace their historical development, but looking at the inclusion and exclusion of secondary narrative episodes and songs, there are some clear relationships. SGB and BR share much in common, from their order and selection of songs to the inclusion of Lingrepa’s interactions with Lama Zhang. DD does not share these elements but does include the meeting between Tsangpa Gyare and Lingrepa which does not appear in the former two. GT includes both of the above mentioned episodes but also shows unique elements of its own, such as the de-emphasized rejection of offerings in the episode mentioned previously. This editing of the biographical narrative conforms with the research done by Roberts and Quintman on similar biographical collections to indicate the historical priority of the other biographical sources as compared to GT. This would suggest that DD, as well as SGB, BR, or their common ancestor, would have been available to Rinchen Namgyal and, further, that he made editorial choices to include, exclude and re-word parts of each of them in his creation of GT.67 As far as the songs included, these biographies show an apparently linear process of accretion. Five of DD’s six songs appear among the 25 songs of SGB; all of SGB’s songs are included among the 30 songs of BR68; and all of BR’s songs appear in the 95 songs of GT. The mgur that appear in DD, such as those sung following Phagmodrupa’s death and Lingrepa’s reception of the tantras, can be seen as the "core" songs of Lingrepa’s biographical legacy and, 66 SGB, 11.a.1: nga bka’ brgyud kyi bla ‘tsong mi byed nor gyi dgos pa med gsungs// The episode in DD is more extensive but carries the same message. 67 This conclusion is dependent on the assumed completeness of the available textual collection. It is very possible that Rinchen Namgyal was using a biography that is no longer extant, or that he was reading other biographies that were related but not identical to these sources. I am basing this assumption largely on the exceptional work of Roberts (2007) and Quintman (2014). 68 Many of the 5 songs that appear in BR but not in SGB are mentioned by title only in SGB. Furthermore, all of the titles mentioned in SGB appear in BR as well.23 accordingly, appear in all of the later biographies. These early songs are not simply inserted into the flow of the story, but rather, are integrated into major life events. Most of the songs in GT were inserted without affecting the primary narrative of Lingrepa’s life and can be considered "embedded texts". The "new" songs that appear in successive biographies are inserted before and after these "core" songs and their corresponding events. The new songs come with brief introductory context, explaining where they were sung or giving a brief description of who they were sung to, but they have no actual impact on the larger narrative, and the events of Lingrepa’s life generally unfold independently of them. In the admittedly limited sources presented here, this process of song-accretion seems to be similar to Quintman’s observation of the biographical "fleshing-out" of Milarepa over time, where the songs fill in the skeleton of Lingrepa’s life story, serving as proxy for the historical progression of Lingrepa’s biographical presentation. Following Quintman’s logic then, it is reasonable to sketch the general chronology of these biographies with DD as the earliest layer, followed by SGB, then BR and, finally, GT. Context of GT’s Production

So, where did the new songs come from over the 350 years between Lingrepa’s death and GT’s publication? Can we know that Lingrepa actually voiced these songs? It is distinctly possible that there existed a written collection of Lingrepa’s songs, perhaps even during his lifetime. It is also possible that there was an oral tradition of bards or meditators passing down the songs orally until they were written down at some later point. The most likely situation, however, seems to be similar to the one proposed by Quintman in regards to Milarepa’s biography; that written records existed from the very beginning but were constantly edited and 24

amended in conversation with a living oral tradition.69 In the case of our text, the most interesting aspect of this editorial process is that some songs are attributed to both Godrakpa and Lingrepa in their respective biographies, both of which were edited by Rinchen Namgyal. This commonality suggests not only that there was a kind of general storehouse of songs in circulation, either orally or textually, during and perhaps before the 16th century. It also points to just how ambiguous and, I would argue, unimportant, the concept of authorship is with these sources. It is unclear when these songs entered the respective legacies of these two figures, but regardless, their shared attribution illustrates how the literary legacy of Lingrepa corresponds with Kurtis Schaeffer’s general observations about the Indian siddha Saraha: such liminal yogic figures are "a construct of the religious imagination, and a vibrant one at that."70 Our text, GT, is the most developed version of this construct; it is the fully "fleshed out" version−to use Quintman’s analogy of Lingrepa’s literary identity. The creator of GT, Rinchen Namgyal, edited and published this biography following the example of his main teacher, Tsangnyon Heruka, the notorious "mad yogi" and creator of Milarepa’s classic biography.71 These biographies were just two texts among dozens produced by the massive printing project begun by Tsangnyon and continued by his disciples, primarily Rinchen Namgyal and Gotsang Rechen (rGod tshang ras chen, 1482-1559). These masters used the relatively new technology of wood-block printing72 to mass-produce biographies, song collections, advice, and other types of texts written by the previous masters of their lineage. The literary and editorial skill involved in this project is evident in the lasting impact of some of the texts it produced, such as the Life and 69 See Quintman (2014) Chapter 1. It is interesting to note that the songs that appear in DD, while clearly being "shared" with the later versions, have a very low level of commonality, whereas the songs that are "shared" by the later biographies match each other very closely. This seems to point to the establishment of a written standard sometime after DD. 70 Schaeffer (2005), p.4. 71 For more on Tsangnyon and his literary project see, for example, Larsson (2012), DiValerio (2015) among others 72 Many scholars, such as Larsson (2012), cite the beginning of the 15th century as the starting point for native Tibetan printing, although van der Kuijp (2010) has drawn attention to some possibly earlier Tibetan printings.25 Songs of Milarepa.73 But more than individual works of literature, the biographies and other works published by this project can all be seen as part of a larger vision of "glorifying" and "valorizing"74 the esoteric Aural Lineage (snyan brgyud). The key teachings of this lineage were storied to have been heard by Tilopa directly from the ḍākinīs hence the name "aural" and "whispered" from teacher to student all the way to Tsangnyon.75 Although it includes some of the most profound esoteric teachings of the Kagyu tradition, the Aural Lineage existed outside of monastic institutions. The transmission history given by Tsangnyon shows that these teachings were never held by abbots of great monasteries or lamas of prestigious reincarnation lineages.76 Rather, they were passed down discreetly along a line of renunciate yogis in the mold of Milarepa and the Indian siddhas before him. This lineage never became an independent order and largely remained outside any institutional affiliation or doctrinal systematization77 until reaching Tsangnyon. This is not surprising given that this tradition questioned moral standards, advocated living in poverty and isolated meditation retreats and often criticized monasticism and wealthy monasteries. Although the Aural Lineage had been maintained secretly for generations, the work of Tsangnyon’s school had 73 This is perhaps the most famous Tibetan text and has been republished and translated numerous times. Smith (2001) p.61 and Larsson (2013) p.74 74 Clemente (2015) p.185 and Sernesi (2006) p.181 respectively 75 See Sernesi, (2004) fn. 8 76 An interesting possible exception is Lingrepa’s student Tsangpa Gyare, who is considered both the first abbot of Ralung Monastery, the seat of the Drukpa Kagyu order, as well as the first of the Drukchen incarnation line. However, these designations, as is so common in history, were assigned retrospectively after his life. His second reincarnation was not recognized for 200 years after Gyare’s death and the transmission was notably passed to the yogi Gotsangpa, (rGod tshang pa mgon po rdo rje, 1189-1258), not Gyare’s nephew, the abbot of Ralung and inheritor of the main Drukpa line, Dharma Senge (Dhar ma seng ge sangs rgyas dbon, 1177-1237). The Aural transmission remained in the Upper Drukpa branch initiated by Gotsangpa as opposed to the mainstream Middle Drukpa (bar ’brug) of Ralung monastery. 77 The first attempt to systematize these teachings was made by Zhang lotsawa (Zhang lo tsā ba, c. 13th century).26 an immediate impact and these teachings quickly became incorporated into doctrine of the Kagyu sect and its monastic institutions.78 Perhaps due to the difficulty of maintaining a lineage without institutional support, the Aural Lineage was splintered by the time it was received by Tsangnyon.79 It was out of fear that this "root" of the Kagyu would be lost or distorted that Tsangnyon embarked on his literary project.80 This work of preservation demanded not only the publication of rare texts, but also the delineation and definition of the lineage. Tsangnyon and his school used biography to establish the roots of their lineage in the authoritative soil of the great Indian and Tibetan masters that came before them. In this way, this literary project not only delineated but also justified and granted authority to the Aural Lineage; or, in other words, it provided "implicit structural statements about the historical continuity and genealogical integrity"81 of the lineage. The subjects of these biographies, however, were largely already considered part of the mainstream Kagyu institutions and the biographies of saints such as Milarepa and Rechungpa had been written many times before. It stands to reason, then, that if these biographies were meant to serve as "the preliminaries to [Tsangnyon’s] grand record of the aural transmission tradition,"82 that the unique qualities of these biographies would reveal much about Tsangnyon’s particular vision for his lineage. 78 This is attested by the writings of both the 3rd Drukchen incarnation (1478-1523), who received the Aural Lineage empowerments from Tsangnyon, as well as the famous 4th Drukchen, Pema Karpo, who wrote extensively on the Aural Transmission. 79 The line of transmission following Milarepa is subject to some debate. A version of these teachings had been passed to Milarepa’s student Gampopa, the founder of the Kagyu sect, and is preserved in the mainstream Kagyu doctrine, but most scholars agree that this version was incomplete and the highest teachings were only given to Milarepa’s other disciples Rechungpa and Ngen Dzong (Ngan rdzong ras pa, 11th cent). Lingrepa’s role in this will be discussed later. 80 Larsson (2012) p.246. 81 Yamamoto, (2012) p.270. 82 Quintman (2014) p. 152.27

Aside from the narrative changes made by Tsangnyon, as noted by Quintman and Roberts, the most unique aspect of these biographies, and, in fact, all of the literature produced by this school, is the emphasis placed on song. Song has been an integral part of the Aural Lineage since its inception in the form of the "vajra verses"  the core teachings of the lineage that were received by Tilopa from the ḍākinīs.83 It should be no surprise, then, that Tsangnyon and his school viewed song as an integral part of their lineage and produced so many song-based works, ranging from the biographies and song-collections of their lineage masters, to re-printings of Saraha’s dohā and Milarepa’s esoteric "Six secret Songs." Schaeffer goes so far as to say that, "a quick glance down the list reveals that the printers in Gtsang smyon’s tradition collectively created a sort of canon of siddha story and song."84 Tsangnyon himself explicitly lays out the importance of song to the Aural Lineage in his text, Opening the Eyes of Faith,85 a catalog that outlines the mgur tradition and effectively characterizes the Aural Lineage as a succession of mgur-singers. Song, then, was an important literary trope employed by Tsangnyon in his project to characterize and "valorize"86 the Aural Lineage. In addition to the breadth of their appearance in Tsangnyon’s overall project, songs appear in large numbers within each work as well. With its 95 songs   65 more than any other source   the distinguishing feature of GT is clearly its larger number of mgur. It is difficult to quantify the amount of space taken up in GT by narrative as opposed to song, but to give some perspective, the average length of a song is about one folio side, so with its 95 songs, GT would be approximately 80% mgur. By including mgur to such an extent, Lingrepa’s life story becomes 

83 Larsson, (2012) p. 85. 84 Schaeffer (2011) p. 467. 85 mGur gyi dkar chags ma rig mun sel dad pa’i mig ‘byed zhes bya ba. See Quintman and Larsson (2015). 86 As above, Sernesi (2006), p. 181.28 a mere frame for his songs. It would seem, then, that Rinchen Namgyal compiled GT to indelibly link Lingrepa’s biographical and historical legacy with his mgur. Song as a Rhetorical Trope

The biographical works of Tsangnyon’s school, such as GT, simultaneously characterize the lineage as a whole and individual masters by means of mgur. Song was not a mere coincidental trope, however, and has long been associated with a particular brand of Buddhism. 

As Quintman says, Tsangnyon "employed the song tradition to construct a distinctive religious identity. And as with his better-known literary achievements, that identity was fashioned around the ideal of the ascetic yogin and his spontaneous expressions of spiritual awakening in song."87 More specifically, Tsangnyon himself explains the relationship between song and the siddha tradition as follows: "The victors and siddhas of the past undertook hardships in order to directly realize the nature of mind [...] This resulted in the actualization of unmistaken experience and realization, which they then expressed in vajra songs. The experience and realization that arose in the minds of previous buddhas and mahāsiddhas were expressed as vajra songs."88 This revealing statement lays out three major elements of the specific religious identity that Tsangnyon was cultivating: predilection for a certain kind of literary form (song), lifestyle 87 Quintman, (2015) p.89 88 Translation by Quintman, see Quintman (2015) p.11329 (radical asceticism, unconventional behavior), and philosophy (eminence, sudden realization). This identity, or religious specialization, composed of these elements, would stand in direct opposition to the institutionalized sects of Tsangnyon’s time. In contrast to the siddha ideal, institutionalized Buddhism could be characterized by an emphasis on scripture and philosophical treatises, monasticism and scholasticism, and a gradual path to enlightenment.89 The differences between these two styles of Buddhist religious observance point to a division of religious specialization that has shown up throughout Buddhist history. Ruegg identifies similar distinctions within first millennia Indian Buddhism when he writes of the "cataphatic aspect" taught by Saraha in his Dohākośa and the "apophatic aspect" taught by Nāgārjuna in his great Madhyamaka treatise Mūlamadhyamakakārikā.90 Modern scholars of Tibetan Buddhism have divided the religious specialists of Tibetan history into groups along similar lines. Geoffrey Samuel labels the two groups "shamans" and "clerics," identifying the former with a cataphatic philosophy and mahāmudrā practice while the latter is associated with the sutras and "academic analysis in purely negative terms."91 For the purposes of this study, I will refer to these generalized groups as "institutional" and "anti-institutional" for convenience, but these binary distinctions only point to ideal types, opposite poles on the spectrum of religious specialization.

Perhaps the most well-known teachings of "anti-institutionalist" Buddhists are the dohā of Indian siddhas such as Tilopa, Saraha, and Kāṇha who roamed India towards the end of the first millennium CE. Jackson identifies a "focus on the innate", "celebration of the guru", and a "critique of social and religious convention" as three of the key themes running through the 

89 Quintman, (2014) p.122; Davidson, (2005) p.114-115; Smith, (2001) p.60 90 Ruegg, (2010) p.335. 91 Samuel, (1993) p.479.30 songs of these masters92. That these mahasiddhas sang songs as their preferred method of expression seems to be a direct result of their philosophical beliefs. Schaeffer, in his analysis of Saraha’s dohā, identifies the importance of written song to the siddha tradition being its "conformity with the general tantric rhetoric of orality," and the "primacy of the master’s oral instructions over the written word."93 Furthermore, the spontaneity that is commonly associated with the composition of dohā and their Tibetan counterparts, mgur, seems to be a natural extension of the spontaneity, or co-emergence that is so central to the mahāmudrā philosophy of the siddhas.94 Take, for example, the closing verses of both songs 25 and 40 of GT, which Lingrepa says he sang as they "arose in my mind." The inherent connection between form and content is exemplified perfectly by Ruegg’s discussion of the apparent dual identity of Nāgārjuna: "With regard to Nāgārjuna, for example, the predominantly positive ideas and the cataphatic language found in the hymns ascribed to him stand in marked contrast to the largely negative theory and apophatic approach of Nāgārjuna’s scholastic works such as the Mūlamadhyamakakārikās; and we can say that there indeed exists a clear and significant difference in philosophical ideas and methods between the “Scholastic Corpus” and the “Hymnic Corpus.”95 92 Jackson, (2004) p.16. 93 Schaeffer, (2005) p.98. 94 Sometimes this is referred to as “sutric mahāmudrā,” as it did not rely on the tantric systems of initiations. 95 Ruegg, (2010) p.146.31 The siddhas’ songs embodied the positivist philosophy of mahāmudrā with a rhetoric of spontaneous, direct perception that is markedly contrasted by the negative Madhyamaka philosophy of their scholastic contemporaries. The distinctive voice of the siddhas’ songs was transmitted to Tibet in the 11th and 12th centuries, where it was particularly embraced by the Tibetan yogis of the Kagyu tradition such as Milarepa, Rechungpa, and Lingrepa.96 Like the Indian siddhas before them, these Tibetan yogis continued the criticisms of institutional Buddhism, the focus on guru-devotion, the positivist, mahāmudrā philosophy, and importantly for us, their tradition of singing songs. By writing one of the first commentaries on Saraha’s Royal Song, Lingrepa, along with contemporary translators and commentators, domesticated the Indian tradition to Tibet. These early masters sang their songs before Sakya Pandita established Sanskritic poetry and its formal, intellectualized structures as the highest standard of poetics in Tibet.97 In singing their mgur, these early Tibetan yogis, beginning with Marpa and Milarepa, adapted a domestic genre of folk-song to express esoteric Buddhist ideas while retaining the songs’ colloquial language, just as the siddhas had done with dohā and carya songs in India.98 The mgur of Lingrepa’s time were the Tibetan take on the spontaneous, populist style of the siddhas’ songs. The connection between mgur and dohā as understood by Lingrepa is expressed explicitly in his commentary on Saraha’s songs, when he says, "The lord of yogis, Great Saraha, composed his realization into mgur,"99 and then 96 Schaeffer (2005, 59) 97 Kapstein (1993, p.777) notes that according to Sakya Pandita it was "poetic excellence that was regarded as the touchstone for moral and intellectual refinement". Following Sakya Pandita, Tibetan scholars translated many influential texts on formal Sanskrit poetry such as Daṇḍin’s Mirror of Poetry and Jñānaśrī mitra Metrical Garland Eulogy among others that would influence Tibetan poetry, including mgur, until the present day. 98 As noted by Kapstein (Ibid., fn.72), dohā primarily refers to a specific type of poetic meter that was used outside of the context of Buddhist mystical song. Kapstein also points out that although they mirror doha in many ways, mgur maintain a uniquely Tibetan voice and style. 99 DH, 2.a-.4: rnal ’byor gyi dbang ’phyug sa ra ha chen po/rtogs pa mgur du bzhengs pa32 immediately uses the word do ha to refer to the songs, demonstrating a conflation of the terms in his mind. 100

These mgur, such as those recorded in GT, were viewed by the masters who sang them as a central part of their inheritance of the siddhas’ tradition.  Much of the esoteric teachings that were transmitted from India, such as those of the Aural Lineage and even Mahāmudrā itself, were based on authoritative song collections that became the core scripture for Tibetan sects such as the Kagyu. The Tibetan yogis who inherited these lineages not only preserved the siddhas’ songs, but also saw it as an integral part of their own identity to continue singing. Lingrepa acknowledges as much in the first song of GT, when he describes the second of a yogi’s three 

tasks: The task for my voice is to sing short songs. How could it not be? From the great Vajradhara onward That is what the masters of the past have done.101 Godrakpa is even more explicit on this point in the following song, which appears in his biography that, like GT, was published by Rinchen Namgyal: The singing of realization in song 100 Much has been written about the history and particularities of these genre labels. See, for example, Gamble (2015) or Kapstein (2003), where he points out the differences between the two forms. The following quote shows that Lingrepa, at least, conflated mgur and dohā. I will not delve too deeply into this discussion, but rather, I am only trying to point out that both Indian and Tibetan groups of "anti-institutionalist" Buddhists used folk song to convey their teachings and that the Tibetans viewed their mgur as the successors to the siddhas’ dohā. 101 GT, 6.a-.7: ngag gi las su dbyangs chung len/las su dbyangs chung mi len du/rdo rje ’chang chen la sogs pa’i/rje gong ma rnams kyi spyod ‘gros yin//33 was the tradition of the Great Brahmin (Saraha), known by name as The Dohā Trilogy. The singing of experience in song was the tradition of former adepts (siddhas), known by name as the way experience is born.102 Perhaps ironically, the siddhas and their song collections were, in fact, important for the establishment of the strong institutionalized lineages that would begin to form around the time of Lingrepa. Later sects such as the Kagyu and Sakya were able to integrate, or "domesticate" the charisma and authority granted to these songs through a process of taming their anti-institutional aspects. These mainstream sects celebrated the individuality of the past masters, but, in practice, reinterpreted their teachings through exegesis and encouraged scholasticism and externalized tantric systems that better suited aristocratic values.103 Lingrepa self-identified first and foremost as a member of the "unbroken lineage of siddhas"104 and it is this lineage, more than the Kagyu or the Dakpo line, that he refers to throughout GT. For Lingrepa and, no doubt, many of his contemporaries, writing commentaries on his lineage masters’ songs, as well as singing his own mgur was a major aspect of their religious identity. Given this long-standing and apparently integral relationship between song and anti-institutional Buddhism, it is not surprising that it would appear as a defining characteristic of 102 rtogs pa glu ru len pa de/bram ze chen po’i bka’ srol lags/ming yang mdo ha skor gsum zer/nyams myong glu ru len pa de/grub thob gong ma’i bka’ srol lags/ming yang nyams kyi skye tshul zer// Translation and transliteration by Stearns. See Stearns, (2000) p.59-60. 103 Davidson (2005, p.354) does an excellent study of the domestication of the esoteric Lamdre (lam ’bras) system into mainstream Sakya institutions. Rheingans (2010, fn.4) also notes that the mainstream Karma Kagyu school, and the Seventh and Eight Karmapas specifically, developed a commentarial tradition and encouraged scholasticism and the founding of monasteries. 104 Tib. grub thob brgyud chad med34 Tsangnyon Heruka’s literary project. In creating a literary project to define a tradition that was based so heavily on the instructions of one’s master, song served a functional role of maintaining Schaeffer’s idea of the "rhetoric of orality."105 Furthermore, in creating what was essentially a record of history, song served as a potent signifier to the readers of Tsangnyon’s school’s works. Tsangnyon and his students’ use of song seems to be a prime example of what Nunning refers to as, "the ways in which narrative forms function as an active cognitive force in the generation of attitudes, discourses, ideologies, and ways of thinking."106 The association between song as a literary form and the ideals of anti-institutional Buddhism, such as those espoused by the Aural Lineage, would have been instantly recognized by the 16th century Tibetan audience of the works of Tsangnyon’s school and instantly set it apart from the scholasticism popular at the time. By organizing GT around such a potent trope as song, Rinchen Namgyal created a powerful signifier of Lingrepa’s membership to a particular brand of anti-institutional Buddhism, and cemented that association in the eyes of history. Inside the Text

Our text, GT, can be broadly divided into two distinct parts: The narrative prose and the songs themselves. As mentioned above, the distinguishing characteristic of GT, when compared to other biographies of Lingrepa, is that the songs comprise the vast majority of the text. This predominance of song, then, creates a text that is mainly cast in Lingrepa’s own voice, imbuing this written collection with a "rhetoric of orality" that is so important in a Kagyu tradition that emphasizes the importance of the guru’s oral instruction.  In his discussion of Milarepa’s 

105 Schaeffer (2005) p.98 106 Nunning, (2004) p.356.35 biography, Quintman notes how the text’s first-person perspective "invests the text with a layer of authenticity" and, further, allows the editor, Tsangnyon Heruka, to use a voice that is "unimpeachable and in a sense unmediated, as if speaking out directly to readers across a span of four centuries."107 Yet GT is not strictly a song collection. Prose sections frame the songs within Lingrepa’s life and effectively use the narrator’s omniscient voice to lend objective credibility to the songs and events of the text. While the two sections of GT are written with a vastly different style, word choice, and composition, they are integrated to create a complete text. Here I will discuss the dynamic between these two distinct, but related parts and attempt to clarify why Rinchen Namgyal may have chosen to create this hybrid text instead of separating the two. In the context of the early Kagyu masters such as Lingrepa, the word mgur is most commonly translated as "song of experience" or "song of realization". These songs are exalted as being the spontaneous expression of a master’s enlightened mind, or, to paraphrase John Ardussi, the words that naturally appear in the mental experience of one who has achieved the longs spyod108 level of Buddhahood.109 Looking at the translations provided here we find songs that range in style and tone from confessions, to chastisements, to polemical refutations, to expansive expositions on the nature of reality. Overall, however, the songs are all united around a consistent set of issues reflecting Lingrepa’s core religious values, including asceticism, guru devotion, and mahāmudrā philosophy. Lingrepa is uncompromising on these topics, calling out hyposcrisy and false interpretations where he sees them, and in these songs, he takes monasticism, scholasticism, and materialism as his most frequent opponents. These songs and their polemic of style would have been just as poignant and biting in their criticisms of 16th century Tibetan norms as they had been in Lingrepa’s time. 107 Quintman, (2014) p.157. 108 Skt. sambhogakāya; literally "the enjoyment body" of a Buddha. 109 Ardussi (1977) p. 117.36

The philosophical underpinning of Lingrepa’s position is the mahāmudrā philosophy espoused by Gampopa and his Kagyu descendents and it’s assertion of a "direct path" to enlightenment by means of the relationship with one’s guru. This philosophy holds that each individual possesses an inherently enlightened nature that can be uncovered spontaneously with the blessing and instructions of a qualified master. Lingrepa refers to this enlightened nature with a variety of terms throughout the songs, including "innate nature," "essence of mind," or "Buddha-mind" among others. 110 This approach obviates the need for the gradual, progressive steps of traditional tantric systems’ initiations, commitments, and practices. It also emphasizes the importance of one’s own meditative experience as a path to enlightenment, a path that does not depend on learned understanding of philosophical treatises. In the songs of GT we find Lingrepa using a variety of means, ranging from provocative language and allusions to more subtle images and phrases, to assert a position in line with Gampopa and his Kagyu compatriots. 

Rather than examine how Lingrepa treats each aspect of his position, it will be more revealing to look at the rhetorical strategies he uses and the three ways he engages in this polemic; namely, how he promotes his position, criticizes others’, and defends his position against critics. Lingrepa is frequently explicit about key aspects of his position, repeatedly promoting a life of wandering asceticism and begging, an accessible, cataphatic philosophy, and a reverence for lineage masters. It is interesting to note that these aspects of lifestyle and philosophy are neither disjointed nor coincidental, but rather, generally appear together within the same songs as parts of a cohesive vision for what Lingrepa would term a true "yogi." Begging and wandering in the mountains would have been an important distinction for the yogi of 11th century Tibet as it would clearly separate him from the established monks and lamas who accumulated wealth. In fact, Lingrepa seems to hold the term "yogi", with its accompanying implications of ascetic 110 gnyug ma’i don; sems nyid; sems chos kyi sku 37 solitude of authentic practice, as a signifier for his whole vision. Songs such as song 40 in GT clearly elevate the term "yogi" to a title of the highest respect.111 The overall impression of the songs, then, is that Lingrepa follows very closely the positions of the Kagyu mahāmudrā lineage, casting him in the mold of Saraha, Milarepa, and Gampopa before him. Lingrepa commonly asserts his philosophical view through the use of imagery that expresses the aspect of spontaneity and effortlessness that is integral to the mahāmudrā view. His repeated use of phrases such as "dawning" or "rising" evokes the idea of the sudden appearance of something that was present yet unseen. Song 20, for example, explicitly uses the sun as a metaphor for the appearance of enlightenment: Rising from the horizon of intrinsic nature The sun of pure light will dawn in the sky.112 As mentioned earlier, Lingrepa even describes these songs themselves as having "arisen" in his mind, an allusion to the spontaneous experience of one’s innate Buddhahood. Another important, yet occasionally opaque, aspect of these songs is the use of certain phrases that are characteristic of the mahāmudrā position such as this verse from song 12: I recognized thoughts as dharmakāya Like meeting an old acquaintance.113 111 Not to mention Lingrepa’s own self-ascribed nickname used to introduce many songs: "this solitary yogi" Tib: bdag phyis kyis rnal ‘byor ‘dug pa ‘di. 112 GT, 18.b-.4: chos nyid kyi nam mkha' mtha' nas langs/'od gsal gi nyi ma mkha' la shar// 113 GT, 15.Lb-.3: sngar 'dris mi dang phrad pa bzhin/rnam rtog chos skur ngo shes pas//38 Or song 78: I had no need for wordy teachings; I recognized my own mind, just as it is, As unborn dharmakāya.114 In his paper on the 8th Karmapa, Jim Rheingans notes how these specific phrases relating the conceptual mind to the pure mind of a Buddha, or dharmakāya, are characteristic of the mahāmudrā philosophy of Gampopa and the Indian siddhas.115 In these songs, we also see Lingrepa directly challenging and even overtly criticizing many of the established norms of Buddhist institutions of his day which he saw as neither effective nor authentic. Lingrepa does not mince words with his criticisms of monastic institutions, taking issue with both their behavior and their philosophical approach. Take these two verses from song 29 for example: Not taking the lowly position of a beggar, You still eat up to scattered offerings of others; Hypocrite, I worry about you. You aren’t impartial towards the eight worldly concerns. Think and be diligent!116 And: 114 GT, 46.a-.2: tshig lhag pa'i bstan rgyu mi gdog ste/ji zhig ltar la rang gi sems/skye ba med par chos skur rtogs// 115 Rheingans, (2012, p.8) 116 GT, 22.a-.1: sprang po'i dman sa mi 'dzin par/da dung gzhan gyi phye mthor 'gam/tshul 'chos mkhan khyod la dgos pa yin/chos brgyad kyi mgo bo ma snyoms par 'dug pa/mno bsam thong la snying rus bskyed//39 Not looking at the inexpressible meaning you still read the written scriptures. Bookworm,117 I worry about you; Appearances don’t arise as scripture for you. Think and be diligent!118 As in the above verse, the intellectual approach, in particular, is challenged and denigrated repeatedly in Lingrepa’s songs. His use of pejorative terms such as "little books", and "mere rhetoric" as well his "confessing" to the use of logic and reasoning, among other things, clearly show that he regarded the exegetical and dialectical approach of many Buddhist schools to be mired in conceptual thinking. In Lingrepa’s view, meditation gives access to one’s innate buddhahood, so actions such as studying scriptures or following monastic codes would be considered worldly or even hypocritical constructs. While he follows his predecessor Gampopa closely in his philosophical views, Lingrepa differs from him greatly in his disapproval of monasticism; Lingrepa’s whole life story could, in fact, be considered a direct challenge to the monastic system. Both in his life as Lingrepa as well as in previous lives, he is forgiven for transgressing his monastic vows and achieves much higher levels of realization once he adopts the lifestyle of a yogi. Lingrepa even famously tried to convince his disciple Tsangpa Gyare to abandon his monk’s vows by sending him to a female tantric consort.119 117 Tib: zin bris mkhan; literally, "note-taker" or maybe "scribe," but the connotation is pejorative towards someone who puts too much emphasis on the written word of the texts. 118 GT, 22.a-.1: brjod med kyi don la mi lta bar/da dung yig nag gi dpe cha blta/zin bris mkhan khyod la dgos pa yin/snang ba dpe char ma shar 'dug pa/mno bsam thong la snying rus bskyed// 119 She and Tsangpa Gyare end up agreeing that consort practice is not necessary for him and he remains a monk.40

Less overtly, we also see Lingrepa challenging established norms by interpreting them symbolically rather than literally. Take, for example, these verses from song 17, which offer antinomian actions as "supreme" alternatives to characteristic aspects of monasticism:

I indulge in the five sense pleasures— This is the supreme austerity. I take the suffering of the five poisons onto the path— This is the supreme antidote. I make offerings to the illusory body— This is the supreme object of worship. I study my own mind— This is the supreme scripture.120 Song 26 uses a similar logic in systematically asserting the superiority of the mahāmudrā view to all other major Buddhist schools. Take, for example, these verses that challenge some norms of tantric systems: Abiding as the true maṇḍala of the three Buddha bodies The essence of mind is the initiation. 120 GT, 17.b-.4: bdag longs spyod 'dod yon lnga la byed/dka' thub khyad par 'phags pa yin/lam du nyon mongs dug lnga slong/gnyen po khyad bar 'phags pa yin/mchod pa sgyu ma'i lus la 'bul/mchod gnas khyad par 'phags pa yin/lta rtog rang gi sems la byed/dpe cha khyad par 'phags pa yin//41 Unity with the true deity innate, essential nature— Is the generation stage practice. The true mantra non-arising— Is recited without interruption. Thoughts121 dissolving into the unborn dharmadhātu Is the perfection stage practice. Establishing these by not transgressing reality Is the samaya. Because it is blissful without impurity,122 Primordial widsom is the tantric feast.123 This strategy of reinterpretation allows Lingrepa to, in effect, adopt the important characteristics of other systems and position the mahāmudrā view as superior. One of the most controversial episodes in Lingrepa’s life story was when he began writing compositions on the tantras despite his lack of formal education. The biography explains 121 Reading rnam rtog from NP, although the reading rlung sems; "vitality and mind" from GT is also plausible. 122 This seems to be a reference to the tantric practice of consuming "impure substances" such as meat and alcohol during ritual feasts. Lingrepa is discrediting the idea of impurity. 123 GT, 20.b-.5: sku gsum don gyi dkyil 'khor du/sems nyid bzhugs pa dbang bskur yin/rang bzhan/bzhin gnyug ma don gyi lha/'bral ba med pa bskyed rim yin/skye ba med pa don gyi sngags/rgyun chad med pa bzlas pa yin/skye ba med pa'i chos dbying su/rlung sems yal ba rdzogs rim yin/de rnams don la mi gda' ba/brtan par byed pa dam tshig yin/thob pa med par bde bas na/ye shes tshogs kyi 'khor lo yin//42 his scriptural understanding as being the result of the divine inspiration of Prajñāpāramitā, who transmits "all that could be known" directly to Lingrepa. Some of Lingrepa’s contemporaries object to his compositions, citing his lack of education, to which he responds by sarcastically asking for forgiveness in song 60, which contains verses such as this one: Because the assembly of lamas, deities, and dakinis, Abide in my heart This teaching arose on its own. If you think this is unprecedented, please excuse me.124 Following this song, we are told that the criticisms were "cut off." This interaction between song and narrative forms one of the "core" events of Lingrepa’s life story, which, as mentioned above, are reproduced consistently across sources. While all the songs of GT are contextualized via a prose introduction, the songs of these "core" events also have stated effects on the narrative, serving to "explain and determine the primary fabula," to use the terminology of narratologist Mieke Bal.125 These songs are the only ones where a reaction is described by the omniscient voice of the narrator and offered to the reader, giving, as Bal puts it, "explicit commentary on the embedded text which influences our reading of that text."126 In this case, the impact of song 55 on the reader is prescribed by the reaction of the critics of Lingrepa’s time. In the above song, Lingrepa is defending the validity of the Kagyu mahāmudrā approach by asserting that the blessings and oral instructions of his teacher are viable means for access to 124 GT, 38.a-.2: bla ma yid dam mkha' 'gros'i tshogs/bdag gi snying du zhugs lags pas/rang dbang med pa'i slab bcol shor/dpe med snyam na bzod par gsol// 125 Bal (1985, p.54) 126 Ibid., p.64 43 esoteric knowledge.127 This idea has been both celebrated and reviled as a "sudden" path to enlightenment as it bypasses the traditional gatekeepers of tantric empowerment and scholarly exegesis. As mentioned above, and then addressed in the verse quoted above, the chief criticism of this path is that it is an innovation without scriptural precedent.128 Lingrepa was apparently aware of this criticism; he frequently invokes his view’s accordance with scripture, as in this verse from song 16: Even without hearing every teaching, If you sever superimositions from within And express the natural state with words, You won’t be contradicting the sūtras or tantras.129 Or again in this verse from song 11: Establishing certainty in the nature of mind in accord with all sutras and tantras, These instructions place buddhahood in the palm of your hand;130 how amazing! Certainty arises instantly; how delightful!131 127 Guru devotion was seen as the "single means of realization" by some Lingrepa’s Kagyu contemporaries. See, for example, Sobisch (2011, p.211) 128 Jackson (1994, p.84) 129 GT, 17.a-.7: phyogs med thos pa ma byas te/sgro 'dogs nang nas chod lags pas/gnas lugs tshig du brjod lags kyang/bka' mdo rgyud gnyis dang ma 'gal tsam// 130 Tib. sangs rgyas lag du gtod; While this may be a more common phrase than I am aware, it is interesting to note its usage in Saraha’s Doha, as translated by Guenther. See Guenther (1968) p, 37 131 GT, 14.La-.2: mdo rgyud kun dang 'thun par sems nyid gtan la phab nas/sangs rgyas lag du gtod pa'i gdams ngag 'di nyams re dga'/nges shes 'phral du skye ba 'di dang re spro//44 Despite the accusations of innovation, scholars such as Lara Braitstein have shown that much of Gampopa’s mahāmudrā approach can actually be traced to south India and the songs of Saraha.132 While this does not necessarily solve the question of authenticity, it does, at least, mean that this philosophical position had a long history before Lingrepa and Gampopa and is tied directly to the authority of the Indian siddhas such as Saraha. It stands to reason, then, that in the face of questions of authenticity, many of Lingrepa’s songs would invoke the established authority of the Indian siddhas by repeatedly using the phrases such as the "past masters" and the "unbroken lineage of siddhas." Lingrepa is further tied to the siddha lineage by another of the "core" events of his life— when he sings a song to his teacher, Phagmodrupa, to demonstrate to him the high level of his realization. As mentioned above, upon the completion of the song, Phagmodrupa is elated and gives Lingrepa the nickname "Saraha of Tibet."133 Similar to the effect discussed above, the narrative, speaking through the voice of Phagmodrupa, effectively prescribes a reaction to the song. Lingrepa’s elevated status is doubly confirmed: first, in the logic of the song, the "truth" of Lingrepa’s realization is shown by the profound meaning expressed by the song’s words. Second, the narrative surrounding the song confirms to the audience that that was, in fact, an exceptional song by Phagmodrupa’s effusive praise and comparisons to Saraha. Lingrepa’s enlightened status is reinforced to the reader by the "truth" of the narrative in the form of the legendary Phagmodrupa’s authoritative voice.134 This doubly-confirmed status, as well as the 132 Braitstein and Mathes both trace the origins of much of Gampopa’s philosophy to the mahāsiddhas of India. See Bratstein (2006), p.57. 133 While all the sources compare Lingrepa to Saraha at this point, only Blue Annals explicitly uses this nickname. 134 For more on this terminology and the interaction of truth modalities with regard to embedded texts, see Bal (1985) p.55.45 association with Saraha,135 effectively casts all of Lingrepa’s following words and deeds as that of a highly realized being. Interestingly, while this event is marked by the first song to appear in most biographies,136 and the reaction to the song is almost identical across sources, the sources do not agree on which song is actually sung at this point.137 The variability points to the importance of song as a rhetorical trope; the editors of these biographies may not have agreed on which song best proved Lingrepa’s enlightenment, but they all agreed that a song was necessary at this point.138 In a kind of circular logic, the songs are said to be the natural expression of Lingrepa’s heightened realization, but to any reader or listener from 16th century Tibet, the appearance of songs would signify his realization, and, moreover, affirm Lingrepa’s association with Saraha and the other famous Kagyu forefathers. Conclusion

In this study, we have seen how the mgur of GT both explicitly and implicitly tie Lingrepa’s literary persona to the legacy of the Indian siddhas. Working as a literary trope, these songs remind of the siddhas’ dohā and project the rhetoric of orality that is so important to the Kagyu sect. Throughout the songs themselves, Lingrepa reinforces this connection by invoking his place in the "unbroken lineage of siddhas" and echoeing their iconoclastic critiques of 

135 This association accomplishes what Kapstein describes as "finding India in Tibet"135 and lends Lingrepa’s words even more weight. 136 It appears first in all sources except GT where it is song 12. 137 This first song, in fact, is the most variable of all the songs shared between the texts. While all biographies have a song marking this occasion, only GT and DD agree on which song that is, with the others including completely different songs, with SGB 1 appearing as song 31 in GT and BR 1 not appearing anywhere else. 138 This is the only song that appears in full in BR and Blue Annals quotes a fragment of this song.46 religious and social norms. Furthermore, we have seen how the narrative frame of the biography encourages a particular reaction to the songs, granting them added weight and authority. We have also seen that GT was part of a larger literary project begun by Tsangnyon Heruka and continued by his disciples that was aimed at preserving the antinomian, mystic ideals of the foundational figures of the Kagyu sect. Centered on the esoteric teachings of the Aural Lineage and the biographical legacies of the yogis that held it, the works produced by Tsangnyon’s school presented a vision of Buddhist practice that would have been in stark contrast to the mainstream religious institutions of the day. This study has been primarily concerned with the literary aspects of GT and the impact they have both on the reader and Lingrepa’s historical legacy. These rhetorical tools, however, do not operate in a vacuum; their impact and import would have been dependent on the wider socio-political context. GT was printed during a time of political turmoil as well as "fervent religious reform and doctrinal systematization"139 in Tibet. Since the time of Milarepa, Tsangnyon’s Kagyu sect had solidified into a number of distinct lineages with powerful monastic institutions controlled by "hereditary monastic nobility" and, increasingly, lines of incarnate lamas.140 As opposed to the web-like structures of transmission lineages, these hereditary structures were closely tied to the aristocratic clans of Tibet and held political as well as religious influence. As mentioned above, these monastic establishments largely maintained the esoteric teachings of figures such as the siddhas as part of their doctrinal core, yet with the vestiges of 139 Smith (2001, p.60) 140 Rheingans p.249. This period saw a growing shift from familial lineages, which generally passed from uncle to nephew, to the now-common tradition of reincarnate lineages. During this period, the Drukpa Kagyu, for example, recognized the birth of the 2nd Drukchen (Kun dga dpal ‘byor, 1428-1476) more than 200 years after the death of the first, Lingrepa’s chief disciple Tsangpa Gyare. Until that point, the Drukpa leadership had been passed along between members of Tsangpa Gyare’s Gya (rGya) clan.47 anti-institutional rhetoric transformed through a process of "domestication".141 It was in the context of the growing power and systemization of religious bodies that Tsangnyon and his disciples printed their texts, promoting an alternate vision of religious reform centered on the ideal of the solitary, itinerant yogi.142 Tsangnyon himself embodied this ideal.143 He was one of the most famous of the "mad-yogis", who emerged in the 15th century and emulated the antinomian behavior of the siddhas and Kagyu forefathers such as Milarepa. The mad-yogi "phenomenon", as Gene Smith terms it, is the "antithesis of the scholastic-monk" and is widely considered to be a response to the "great prestige and wealth of the hereditary lineages".144 As such, they opposed the moral code, scholasticism, and ritualistic approach of the mainstream monastic institutions through their wild behavior and songs. Tsangnyon’s response extended far beyond his own conduct, however, as he initiated his great printing project in order to reach the whole Tibetan population, from kings, to commoners, to learned monks, whom he claimed were on the verge of becoming "non- Buddhists".145 141 Davidson notes how monastic institutions grew to mirror the clan-based political system of Tibet and used "institutional esoterism" based on externalized mandalas and complex tantric rituals and initiations which sacralized hierarchical relationships. See Davidson (2005, p.353). Samuel discusses this process as the synthesis of shamanic and clerical elements, with increased institutionalization coming at the expense of the shamanic. See Samuel (1993, p.497) 142 Quintman (2014, p.122) 143 In this section, I will largely refer only to Tsangnyon Heruka, despite the fact that most of this printing project was carried out by Tsangnyon’s disciples. I am employing this conflation partly in the interest of simplification but mostly because Tsangnyon is responsible for initiating the project. Rinchen Namgyal, the editor of GT and Tsangnyon’s most important disciple, was not a "mad yogi", but he was a follower of Tsangnyon and he composed most of his texts following visionary experiences with the great mahāsiddhas such as Saraha, Tilopa, and Nāropa. See Diemberger (2013, p.135) Furthermore, while Tsangnyon had no part in the creation of most of the texts of this project, he did lay out the vision for the project and the main figures included in the biographies in his catalog, Opening the Eyes of Faith mentioned above. See Quintman (2015) for more on this text. 144 Smith (2001 p.60). Tsangnyon’s Aural Lineage had been continued without any institutional affiliation. 145 Tsangnyon’s full statement on the intent behind his biographical project is quite interesting. He claims such a biography would be an alternative to "bubbles of technical jargon" and a cure for arrogance. Furthermore, it would serve as a support for those undertaking ascetic hardships and a response to those who doubt enlightenment is possible in one lifetime. See Quintman (2014, p.128)48

Tsangnyon’s project is something of a paradox. Simultaneously innovative and conservative, he systematized the secret, whispered teachings of the Aural Lineage and exposed them to the general public.146 At the same time, these biographies and song collections celebrate a time before the systematization and institutional esoterism of the established sects. GT was not revolutionary in portraying a forgotten figure of history, but rather, it is focused on shaping and popularizing the literary identity of a master who was at the very heart of the Kagyu sect. 

Lingrepa was already a legend, with authority beyond reproach, but this biography casts him as a Tibetan siddha while the songs convey his anti-institutional message directly to the audience. This text would have played an integral part in taking the whole narrative of the Kagyu as an a established, solidified sect, and shifting it back to its roots as a lineage of spiritual instruction, passed from one ascetic yogi to the next.147 Speaking from the grave, across a span of hundreds of years, this "Saraha of Tibet", criticized the religious institutions of the day, questioned the necessity of monastic vows and scholasticism and exhorted the students of his lineage to abandon worldly concerns and retreat to the wilderness. This message would have been a powerful voice for reform in the time of Tsangnyon Heruka, with the growing political and religious influence of hereditary sects and their institutional values of monasticism, scholasticism, and hierarchical tantric systems; it is a message that continues to ring true today. 146 See Sernesi (2004, p.259) for an interesting discussion of how Tsangnyon justified breaking the "seal of secrecy" that was put on these teachings. 147 It appears Tsangnyon was very effective, as, following him, the third and fourth Drukchens would compose extensive commentaries and treatises on the Aural Lineage, effectively incorporating it into the mainstream. See Sernesi (2004, p.252).49 Translation Song 1 Staying between gNyal and Loro for several years, he sang this song upon his farewell: Namo Ratna Guru I, this modern day yogi, Following the masters of the past From the great Vajradhara onward, 50 Have only three things I must do: The task for my body is to wander the mountains. How could it not be? That is where the victors did their austerities, That is where our forefathers dwelled, That is where realizations are sustained, That is where supreme and ordinary siddhis can be attained, That is where one casts off the distraction of possessions, And all concern148 for reputation is severed. The task for my voice is to sing short songs. How could it not be? From the great Vajradhara onward That is what the masters of the past have done, They are a comforting friend, when alone, They are for enjoyment when in a group, They gather the mamos149 and ḍākinīs, 150 And enhance both experience and samādhi. The task for my mind is non-conceptual meditation. How could it not be? 148 thag pa 149 Tib. ma mo; Skt. mātṛkā; A class of ferocious female semi-divine beings. RY 150 Tib. mkha’ ‘gro ma; A class of female deitites who serve and protect the Dharma. RY51 That is the realization of the buddhas of the three times, That is the inner experience of our forefathers, That severs the root of dualistic fixation, That is the abandonment of all that must be abandoned, That builds the bonfire of primordial wisdom And, with its flames, consumes the firewood of concrete existence. Song 2 Then, Lingchen Repa said, “I truly see the protector of beings, Phagmodrupa, as the Buddha and I have not, for even an instant, have the misconception of him being ordinary." Then, he offered this song of veneration for seeing the lama as the Buddha: Namo Ratna Guru The master’s mind is indivisible From the great Vajradhara Down to our own lama and master.52 I pay homage to the master-buddhas.151 The master has perfected omniscience, The superior qualities of the Buddha, Such as the eight qualities of mastery152 and so forth. I pay homage to the master-buddhas. The master sees phenomena as dharmakāya153 He knows they are without true nature Like a hallucination, a dream, or a magic illusion. I pay homage to the master-buddhas. The master has appeared in different ways With a variety of forms and behaviors [Yet] these are one in the state of Vajradhāra. I pay homage to the master-buddhas. The master sees all beings as his children And works for them from a state without reference point With compassion that knows no bounds. 151 rje, is translated first as "master" and later as part of the compound "master buddhas". In the Tibetan, rje appears as the last word of the third line and the first word of the fourth line of each verse. This seems to be emphasizing the view of one’s earthly masters as actual buddhas. 152 Tib. dbang phyug brgyad; these are mastery over the body, speech, mind, miraculous feats, all-pervasiveness, desire, granting whatever is desired, and the abode. (Rangdrol, 2009) p.79 153 Tib: chos sku; Lit. "dharma body"; I back-translate into Sanskrit "dharmakāya" here because there seems to be no good English translation and the Sanskrit is more commonly used than the Tibetan. Variously explained, it is the third if the three "bodies" that constitute a Buddha and is closely related with the aspect of ultimate truth. 53 I pay homage to the master-buddhas. The master radiates emanations beyond measure, Manifesting forms as befits the needs of beings, Yet still, he is one with the luminous dharmakāya. I pay homage to the master-buddhas. The master has given limitlessness teachings, the 84,000 and so forth, Yet still, he has shown they have a single point. I pay homage to the master-buddhas The master has guided countless beings In an unfathomable number of ways Yet he establishes them in the same realization. Homage to the master-buddhas Song 4 Then in front of his own lama, when Lingchen Repa requested many ordinary teachings, Je Phagmodru said, “Tell me how you meditated before”. [Ling Repa replied] “I meditated short154 154 Tib. aen re (sic)54 sessions.” [Phagmodru said,] “Train in the mind’s abiding mode by means of sahaja yoga."155 Then, one month after beginning, he saw the essence of meditation156 and he offered this lineage supplication: Namo Ratna Guru The unexcelled Vajradhara, who perfected all five buddha bodies, Son of the victors, lord of secrets, Vajrapāṇi, Filled with supreme blessings, Saraha, He who has control of appearances, Lūipa, He who brings conduct onto the path, Deṅgipa157, I supplicate you! Look [on me] with your compassionate gaze! The lord of the ten bhūmis, venerable Ratnamati, Prophecied to never regress, Nāgārjuna, He who manifested clear light, Mātaṅgīpa, With realization158 as pure as the sky, Sumati [Samantabhadrī], He who attained stable samādhi, Thang-lo-pa, He who purified the defiled, illusory body, Shing-lo-pa, With blazing radiance like the sun, Karnaripa, 155 "Coemergent wisdom" Skt sahaja; Tib. lhan gcig skyes sbyor 156 sgom gyi ngo bo 157 Could be referring to Dingipa, “the teacher who introduced Dharmakīrti to the system of the Secret Mantra.” (Taye, Jamgon. The Treasury of Knowledge: Book Six, Part Four: Systems of Buddhist Tantra. p.378) 158 thugs dgongs55 I supplicate you! Look [on me] with your compassionate gaze! Capable in samadhi, Dombi [Heruka], Benefiting both self and others, Bhinasa, He who carried the sense pleasures on the path, Lawapa, The excellent emanation, venerable Indrabhuti, I supplicate you! Look [on me] with your compassionate gaze! The great lord of yogis, Tilopa, The learned one who attained supreme accomplishment, Naropa, He of non-abiding nirvana, Śāvaripa, He who obtained a prophecy in the intermediate state, Maitrīpa, He who completed the supreme path of the messenger159, venerable Tipupa, I supplicate you! Look [on me] with your compassionate gaze! He who perfectly completed the austerities, venerable Marpa, He who saw the face of Nairātmyā’s wheel160, venerable Ngokton161, Uninteruppted clear light, venerable Milarepa162, The embodiment of the three buddha bodies, venerable Rechungpa, He who saw appearances as dharmakāya, Gyal-lo, The destroyer of the illusion of true existence, the great Dampa [Sumpa]163, 159 Tib: pho nya’i lam, probably refers to consort practice 160 Tib: bdag med ‘khor lo’i zhal. Nairātmyā is the consort of Hevajra 161 rNgog ston Chos sku rDo rje (1036-1097) 162 The somewhat ambiguous epithet, ras chen zhabs, is clearly Milarepa by context56 I supplicate you! Look [on me] with your compassionate gaze! He who protects beings with kindness, Gampopa, With realization as pure as the sky, Phagmodrupa,164 Indisputably renowned as, "the Omniscient One", The precious [master] endowed with the splendor of all the bliss-gone-ones,165 I supplicate you! Look [on me] with your compassionate gaze! The source of all satisfaction, precious lama; The crown jewel, precious lama; The glorious protector of beings, precious lama; I supplicate you! Look [on me] with your compassionate gaze! Not depending on the words, exaggerations are severed from within. Not depending on method, dullness and excitement are automatically liberated. Not depending on the path, great bliss is uninterrupted. Venerable one who has been to the ends of experience, I supplicate you! Look with your compassionate gaze! The precious one who fulfills needs, wants, and wishes; The precious one who sees the six classes of beings as their children; 163 Gyal-lo (rgyal ba lo) and Dampa Sumpa (dam pa sum pa) were two of Rechungpa’s closest students, dates unclear. 164 mthar tsa pa; Likely a misspelling of mtha’ rtsa ba, which is a epithet of Phagmodrupa. See (Stearns, 2001) p.27 165 Skt: sugata, Tib: bde bar gshegs pa is an epithet for the buddhas, or literally, "those who have passed to bliss"57 The precious one who places the Buddha in your hands; The precious one who blesses the faithful; The precious one who lifts [beings] out of confusion; The precious one who shows mind itself to be dharmakāya; I supplicate you! Look [on me] with your compassionate gaze! The precious lama who is the root of all lineages; The precious lama who is the essence of the deities; The precious lama who is the essence of the three jewels; I supplicate you! Look [on me] with your compassionate gaze! If we beseech and supplicate With respectful bodies, melodious speech, and a faithful attitude, Please grant us stable and uninterrupted experience And excellent realization! For as long as we occupy this illusory body, May we not be harmed by the collection of sufferings in saṃsāra, May we have the excellent collection of good circumstances, And may we have the power to dispel the suffering of beings. Song 658 He offered this song after His devotion yielded especially great results: Namo Ratna Guru When that precious, wish-fulfilling jewel – brought up from the ocean depths – Comes into a merchant's hands, The closer he looks the more its value grows; When those instructions of the siddha lineage – requested from a wise guru – Come into a scholar-monk's166 view, The closer he looks, the more his certainty grows. That sword with its sharp blade Was forged by a skilled blacksmith, But when put to the sharpening stone And polished, it becomes sharper and sharper still; The wisdom of experience and realization Was introduced by a wise teacher, But when you meet the precious guru 166 The term used here, mkhas btsun, implies a scholar-monk, so the point here seems to be that the “secret instructions of the siddha lineage” would be something outside the normal monastic education of an educated monk and something he may not initially have trust in.59 And meditate, it become stronger and stronger still. The moon appears to wax and wane Due only to the sun's light. When separated from the sun The moon appears in its fullness; The dharmakāya-mind appears to wax and wane Due only to the projections of your confusion. When confusion fades away Appearances dawn as dharmakāya. You want to view the ocean beyond, But if the forest is all you see, it is far away. When you clear away all signs of the forest, That is the moment when the ocean comes [into view]; You want to view the Buddha's mind, But if signs and marks167 are all you’re concerned with, it is far away When you dissolve attachment to those signs and marks, That is the moment when Buddha-mind comes [into view]. The qualities of the sun, moon, planets, and stars 167 This is referring to the signs and marks of success on the path.60 Intrinsically and originally abide In the originally pure sky; Yet they are not seen by the blind; The supreme qualities of the buddhas Intrinsically and originally abide In the originally pure dharmakāya-mind; Yet they are not seen by impure [minds]. Song 9 He sang this song of regret after thinking, "I only paid attention to the close lineage168, even though the lamas are actually buddhas.169" Namo Ratna Guru The lama is a buddha, but I took him to be human; I confess, I judged him on the closeness of his lineage. The instructions are meant to be practiced, but I took them as [mere] words; I confess, I subjected the pith instructions to logic and reasoning. 168 rgyud pa nye ba; the idea here is that he prioritized the shorter lineages instead of seeing all lamas as buddhas. 169 SGB repeats this introduction exactly, but it comes in the narrative directly after Lingrepa is recognized as Saraha by his teacher.61 The conventional is mere label, but I took it to be truth; I confess, I haughtily debated about faults in the words. Obstacles are merely my own mind, but I took them to be demons; I confess, I counted off wrathful mantras for protection. Samsara is Nirvana, but I took it seriously; I confess, I cultivated the prison of my own suffering. Thoughts are primordial wisdom, but I took them to be flaws; I confess, I saw them as stains to be abandoned. The dharmakāya is one taste, but I took it170 to be many; I confess, I was biased towards things. song 11171 Then, when he was travelling to central Tibet, he maintained the same behavior as before and when he arrived, he sang this song of delight: 170 SGB: bzung. This reading maintains the parallel structure of using "took" throughout the song. 171 This song appears in Stearns, 2000: p.9062 The undistiputed Kagyus are known throughout the land; This lineage is revered by all; how amazing! The line of siddhas is unbroken; how delightful! The great saints have all the essential qualities and benefit both self and other; They are like wish-fulfilling jewels; how amazing! They are the source of all one needs and desires; how delightful! Establishing certainty in the nature of mind in accord with all sutras and tantras, These instructions place buddhahood in the palm of your hand; how amazing! Certainty arises instantly; how delightful! The one who leaves his home behind with no particular plans at all, Wanders carefree in the mountains; how amazing! He has no need to guard his home172; how delightful! Having abandoned the cheating and lying of commerce, he no longer strives after reputation, The beggar’s concern is this present moment, how amazing! He has no cause to suffer from a miser’s stinginess; how delightful! The one who has abandoned normal family life and given up the endeavors of the world, 172 NP: mkhar las ru ‘pho mi dgos has more of a connotation of not needing to do housework which is also a plausible reading and it is possible that the slightly archaic phrase, mkhar bsrung ran could be implying that aspect of "keeping a house" rather than protecting it. 63 Stays all alone, by himself; how amazing! He doesn’t [need to] clean his mouth and nose;173 how delightful!174 Realization dawns from within, so if you clear away philosophical ambitions,175 The view surpasses all objects of thought and speech176; how amazing! This is truly manifesting the intrinsic nature; how delightful! By precisely focusing on the blessings, enlightened qualities will dawn in the mind. This is the uninterrupted meditation on the innate; how amazing! No object and no meditation; how delightful! Attachment releases from within, so cut out the hypocrisy of fabrication. This is the method of letting be with ease; how amazing! No refuting or accepting; no adopting or rejecting; how delightful! By embodying the intrinsic nature, the three bodies manifest spontaneously. This is the fruit in which all enlightened qualities are perfected; how amazing! Crossing the abyss of hope and fear; how delightful! Song 12177 173 The meaning of this passage is slightly unclear, but reading nyog from NP makes more sense than nyol: "to lie down", so it seems to be referring to the need to keep up appearances and hygiene when one stays with other people. 174 The Godrakpa song (Stearns song 13) is quite different after this verse. 175 grub mtha’i zhe ‘dod 176 Here, "objects of thought and speech" seems to be referring to the ordinary subjects that form the basis for debate among the various philosophical schools. 64 Lingrepa went before the lama and offered a pledge to meditate for three years, but then, he left after three days. The precious lama sent for him, and scolded him, because all beings have faults. He told Lingrepa to sing a song about the manner of his view, so he offered this mgur: Namo Ratna Guru The lord guru said, “Meditate on the innate nature!” So I meditated. And I cast off both meditator and object of meditation and went beyond. Now, there is no difference between meditating and not. By the lamplight of experience and samādhi I understood that mind itself is the dharmakāya, So I cast off my fixation to experiences and went beyond Now there is nowhere to go astray. There is no placing the mind just as it is And no need to create an antidote So I cast off my uncertainty about "is" and "is not" and went beyond Now I have no complaints. I recognized thoughts as dharmakāya 177 This song is partially translated in the Blue Annals.65 Like meeting an old acquaintance, So I cast off my clinging to faults and virtues and went beyond Now there is no need for refuting or asserting. Realization dawns from within, Like the rising sun in the darkness of dawn, So I cast off the assertions of doctrinal schools and went beyond Now there is no need for labeling. I realized the inseparability of my mind, the lamas, and the buddhas of the three times, So I cast off my conventional perception and went beyond Now there is no need for making prayers. I understood that the mind is without birth or death And this illusory body could burst178 like a bubble at any time So I caste off the fear of death Now there is no need for suffering. When I meet others, it is in front of the master, When I don’t, I aimlessly wander the land. When I return, I beg for alms without attachment. When I despair, I sing a little song. 178 Great wordplay here with the use of 'jig; to destroy and 'jigs; to fear and the repetition of 'chi; death66 When I am cold, I keep warm by the fire of gtum mo.179 When I get sick, I equalize for the elements.180 Whether happy or sad I enjoy it just for what it is May I continue to do what I want! After offering this song, lama Phagmodru said: "Up to [i.e., on the far side of] the Ganges River, there has never been nor will there be anyone with greater realization in this teaching than the Great Brahmin Saraha; on this side of the Ganges River, there will never be anyone with higher realization in it than you, son!” Song 16 Some students of a fake181 Geshe questioned him with religious terms, so he sang this song in response: Namo Ratna Guru Even without attending the lama for very long If the pith instructions, untainted by words, Are planted in the core of your heart 179 The yogic practice of generating inner fire 180 In Tibetan medicine imbalance of elements makes you sick 181 There is some discrepancy concerning this introduction. They all preserve tog-sounding words, but NP and SGB use rtog while NP uses mdog.67 You won’t place your hope in those little books. Even without staying in caves for very long If you realize the ceaseless meaning With the blessings of the realized lama Your virtuous deeds won’t be lost to poor circumstances. Even without hearing every teaching, If you sever misinterpretations from within And express the natural state with words, You won’t be contradicting the sutras or tantras. Even without keeping celibacy vows, If you rely on a consort182 In accord with the key instructions of secret mantra, You won’t be blemished by the stains of desire. Even with neither riches nor wealth, If you discover the jewel of contentment In the ocean of naturally subsiding attachment You won’t chase after preverse livelihood. Even without any signs or marks [of success] 182 Tib. las kyi phyag rgya; Skt: karmamudrā68 If the mind of the buddhas of the three times is planted In the core of your heart, You won't pray for anything else. Even without accomplishing the immortality of rejuvenation183 practice If you realize the meaning of the unborn, undying mind When you meet the demons of the lord of death You won't have the suffering and pain. Even without the ability to protect others,184 If you wander among the mountain spirits, By the blessings of mahāmudrā You won’t succumb to demons and obstacles. Song 17 Some monks asked Lingrepa, "How is your behavior dharma activity?" He sang this song in response: Namo Ratna Guru 183 Tib.bcud len; SKT: rasāyana, one of the 8 ordinary siddhis, subsisting off the elements of nature. (RY) 184 This is possibly a reference to other yogis or monks who do demon-abating rituals for pay.69 I indulge in the five sense pleasures— This is the supreme austerity. I take the suffering of the five poisons onto the path— This is the supreme antidote. I make offerings to the illusory body— This is the supreme object of worship. I study my own mind— This is the supreme scripture. I practice virtue in the sleep of ignorance— This is the supreme oral instruction. I will be in a joyful mood at the time of death— This is the supreme confidence. Song 18 Then, an arrogant teacher arrived and he said, "In order to practice the pure dharma, the basis must be the discipline of monasticism. Having cut misinterpretations through study and 70 reflection upon the Conqueror’s speech, it is resolved through understanding and experience. What will come of your stupid meditation?" Then Lingrepa sang this song to the pious one: Namo Ratna Guru You have heard so much heavenly dharma But hasn't it just blown about like the wind? You have held that monastic code so nobly But hasn't it been tight like iron shackles? You have wanted [your] view to be so lofty But hasn't it been mere rhetoric? You have wanted [your] meditation experiences to be so great But haven't they been listless like wet leather? You wanted those oral instructions to be so profound But didn’t you just leave them on the sheet of paper? You have wanted to calm those conceptual thoughts But don't they rise up like a whirlwind?71 You have wanted to subdue your own mind But hasn’t it stiffened like a dry hide? Song 19 Then, after he went to Nyangpo, when Lingrepa was staying in the turquoise sphere of a glorious forest,185 someone like the prideful teacher arrived. He said, "You wear the earring of a king186, what do you know about divination, medicine, astrology, and Bon?" So Lingrepa sang this song: Namo Ratna Guru I, this yogi who stays by himself,187 Do not know sorcery or spells of life force and hail,188 But by the fierce mantras of love and compassion I uproot my enemy: hatred. Wherever I may go, I have no enemy. I think I must be the king of sorcerers; I am not a butcher who kills people with sorcery. I, this yogi who stays by himself,189 185 Tib. nags khrod dpal gyi g.yu gong 186 Tib. rgyal chas gya mtho; I am reading gya tho. I am unsure about this reading, but given the following song’s use of the image of the king, this seems to get the basic point. 187 bdag phyis or bdag mchis seems to be a colloquialism meaning to be by oneself according to Tenzin Phuntsok at RYI. 188 srog ser gtad: apparently this is a reference to "aspects of protective tantric rituals". RY72 Do not know about healing medicine, But, because the great king of medicines the oral instructions Are the basis for both my faith and diligence, I have transcended the disease of a mind that is born and then dies. I think I must be the king of doctors, I don’t carry the instruments of the lord of death. I, this yogi who stays by himself, Do not know about the Yungdrung Bon190, But, for a practitioner191 with unchanging192 realization, Who yokes the imagined bad omens to good fortune, The fear of gods and demons fades on its own. I think I must be the king of Bonpos, [But] I don’t play the drum and cymbals of the heathen Bon. I, this yogi who stays by himself Do not know much about astrology, But on the mountain of unchanging dharmakāya, Having set a date free of mental constructs, The child of the rūpakāya spreads and flourishes.193 189 I am repeating this line at the beginning of each stanza as it is done in NP. 190 Tib. yung drung bon. The Yungdrung Bon tradition maintains the pre-Buddhist Tibetan religion. 191 bon po can refer to either a practitioner of the pre-Buddhist Bon religion or a practitioner of religion in general. This stanza is playing with the double valance in the same way that the previous stanza played on the concepts of mantra and medicine. 192 This could be a play on the word "Yungdrung" from the previous line, which can be translated as "unchanging".73 I think I must be the king of astrologers, [But] I don’t lay out charts for false prophecies. I, this yogi who stays by himself, Have not amassed great wealth. But I found the wish-fulfilling jewel of contentment In the ocean of naturally-subsiding attachment; Wherever I go, I feel no hunger. I think I must be the king of the wealthy, [But] I don’t seek out a perverted livelihood. I, this yogi who stays by himself, Received the faultless194 oral instructions From the lamas of the siddha lineage. Now, in a place without attachment or rejection, Acting without lies and deception, From you faithful, neither friends nor acquaintances, I beg for alms, without attachment. Song 20195 193 This confusing verse appears to be describing some of the activity of a Tibetan astrologer who would have determined the auspiciousness of a child’s birth date. 194 bka’ rtsod pa med pa could also be an abbreviation for the commonly used phrase bka’ brgyud rtsod med, referring to the Kagyu lineage in general74 Then, when Lingrepa was invited by Geshe Watatonpa and he was staying among the nomads in Yeru, he sang this song: Namo Ratna Guru I, this yogi who stays by himself, Went to the heights of Chenaksho196 Wamtaton invited me for a meal.197 When the dark of night falls, The nomadic herdsmen Post a vigilant watchman To protect their material treasure.198 This temporary solution comes to naught in the end.

But when a yogi like me thinks about such things, The watchman of non-distraction, vigilant as the other, Guards the stainless treasure.

195 This song may be the one referred to in SGB as, "Ru pa’i mi ste kun bcos pa’i mgur" since a very similar line appears here and the setting and placement in the narrative match. In SGB this song is only referred to by name; the poem itself is not reproduced there. 196 byang nags shod, this could be the same place in Western Kham mentioned by Yamamoto (2012) p.52, but the introductory narrative says it was sung in g.yas ru, which is in Tsang. 197 It is very interesting here that the introduction and the song repeat almost the exact same line but with slight differences. This seems to show clearly the different authors of the prose contextual material and the verse material. The introduction reads: wa ta ston pas spyan drangs whereas the song reads: wam rta ston pas zan drangs 198 zang zing gi longs spyod75 The watchman of careful mindfulness Guards the wish-fulfilling jewel of samaya.199 The watchman of stable realization Guards the result the spontaneously-present three buddha-bodies. I kept watch in that way, And, Rising from the horizon of intrinsic nature, The sun of luminosity dawned in the sky, Now I have no need for a night watchman, how delightful! In the obscuring darkness of trickery and deceit The sun of my own pure mind arose And the burglar of transgression disappeared automatically. Now I have no need for a night watchman, how delightful! In the obscuring darkness of ignorance The sun of the wisdom of realization arose And the burglar of extreme views200 disappeared automatically. Now I have no need for a night watchman, how delightful! In the obscuring darkness of dualistic fixation The sun of naturally-present dharmakāya arose 199 dam tshig; these are the sacred pledges, precepts, or commitments of Vajrayana practice. RY 200 Tib. rtag chad; rendered as "extreme views", it refers specifically to nihilist and eternalist views.76 And the burglar of hope and fear disappeared automatically. Now I have no need for a night watchman, how delightful! Retiring to the bed of my mind’s innate nature, Having mastered samsara and nirvana, no longer seeing enemies there, I found the inexhaustible201 treasure of my own mind, Blissfully, I fall asleep just so. song 26 Then, at that time, many monks said to him, "teach the details of the views of the non-Buddhists, the greater and lesser Buddhist vehicles, and the like." So he sang this song: Namo Ratna Guru Understanding the meaning of mahāmudrā Smoothes 100 furrows with a single harrow. In the eternalist view of the non-buddhist, The three times never change. In the nihilist view of the non-buddhist, 201 This seems to be a play on the word ‘dzad which seems like it could, as in the English "exhaust", have both the meaning of "finish" as well as "tired", in keeping with the watchman metaphor.77 Thoughts have no fundamental basis. [Knowing] emptiness and compassion to be inseparable Is taking refuge in the three jewels. In the view of śrāvakas and pratyekabuddhas, Ego-clinging subsides into space. The unity of self and others Is aspirational and active bodhicitta. In the Mind-only [school’s view] of the self-reflexive mind, There is no phenomenon other than mind. In the Madhyamaka [view], free of extremes, The essence of mind has no labels.202 Dispensing with clinging, that is generosity. The absence of defilements, that is discipline. The absence of arising, that is patience. The absence of striving, that is diligence. The absence of interruption, that is meditation. 202 The alternate reading here, ‘od gsal, is quite different. It yields a line that reads, "the essence of mind is emptiness and clear light".78 The absence of concepts, that is wisdom. Losing the craving for accomplishment Is perfecting the grounds, paths, and qualities. Seeing truth by subduing ordinary thoughts That is the real solitude. Abiding as the true maṇḍala of the three Buddha bodies The essence of mind is the initiation. Unity with the true deity innate, essential nature— Is the generation stage practice. The true mantra non-arising— Is recited without interruption. Thoughts203 dissolving into the unborn dharmadhātu Is the perfection stage practice. Establishing these by not transgressing reality Is the samaya. 203 Reading rnam rtog from NP, although the reading rlung sems; "vitality and mind" from GT is also plausible. 79 Because it is blissful without impurity,204 Primordial widsom is the tantric feast. Not offering and having nothing to offer, Intrinsic reality is the offering Manifesting the self-cognizing wisdom of one’s intrinsic nature Is spiritual accomplishment. Clarifying the understanding of everything with one thing Is the sublime dharma mahāmudrā. In the forest of Phagmodru, By the blessings of the lamas, I sang this method of condensing [mahāmudrā] into a conceptual path As it arose in my mind. Song 27 204 This seems to be a reference to the tantric practice of consuming "impure substances" such as meat and alcohol during ritual feasts. Lingrepa is discrediting the idea of impurity.80 He sang this song when he was staying in the Chokang205 of Loro, in response to the requests for dharma teachings from some arrogant meditators and dialecticians who were bemoaning the hardships of meditation and had the pride of being learned. Namo Ratna Guru Observing the vows of a monk You may reach the level gods and men, But for becoming a buddha, their value is little, The three-fold vow206 is better. Though you have trained your mind in the three piṭakas That are without a sliver of common207 speech, But for attaining enlightenment, its value is little, A realized lama is better. Simply knowing the rituals for the empowerments You may create a worthy vessel,208 But for giving rise to primordial widsom209, their value is little 205 Tib. cho skang; I could find no reference to this place. 206 This most likely refers to the prātimokṣa, bodhisattva, and vidyādhara vows. This set of vows was one of the focal points for debates between Sakya Pandita and his opponents. In this song, they are being used as a reference to the path of a tantric practitioner and are being contrasted with the monastic vows, likely because of the third vow which would have included tantric empowerment. For more on these vows see Sobisch, 2002. 207 mi kha; this phrase frequently refers to slanderous speech, but I am rendering it here literally. 208 This seems to be a reference to the students who would be receiving the empowerments. In effect, Lingrepa is saying that simply knowing how to do the rituals may create the correct conditions for empowerment, but without the blessings of a realized lama there will be no effect.81 The lama's blessings are better. Training in the four classes of tantra You may become more familiar with mantra, But for attaining siddhis, the value is little The lineage’s instructions are better. Hearing the words of the oral instructions You may feel quite nice, But for generating real qualities, the value is little Practicing the instructions is better. Your stable, single-pointed concentration May be a nice resting place, But for liberating samsara, its value is little The signs of experience are better. Going to offer your understanding It may be a great morsel of expression But for realizing the innate nature, its value is little Understanding whatever arises is better. 209 ye shes82 Gaining mastery over the eight siddhis210 May be quite amazing, But for attaining buddhahood its value is little, The supreme siddhi211 is better. song 29 Then he sang this song while staying in Loro mgo pa cave: Namo Ratna Guru Not wandering the mountains aimlessly, You are still caught up in the distractions of town. Desirous one, I worry about you; You don’t remember the ways of the past masters. Think and be diligent! Not wearing the single cotton robe of the ascetic,212 You still don your fancy clothes; Lazy one, I worry about you. 210 These are the eight common, or ordinary accomplishments: seems to be some discrepancy over the exact list, but RY has them as, flying, seeing treasures underground, alchemy, fleet-footedness, the sword, balm of magic sight, superknowledge, and power over humans and non-humans. 211 mchog gi dngos grub, Buddhahood 212 Tib: ras pa83 Your body doesn’t blaze with inner heat.213 Think and be diligent! Not taking the immaculate food214 as sustenance, You still hunger for various sweet and tasty foods; Glutton, I worry about you. You don’t cut your bondage to food. Think and be diligent! Not taking the lowly position of a beggar, You still eat up to scattered offerings of others; Hypocrite, I worry about you. You aren’t impartial towards the eight worldly concerns. Think and be diligent! Not aimlessly begging, You still desire profit and respect; Greedy one, I worry about you. You haven’t become disgusted [with samsara]. Think and be diligent! Not maintaining the experience of the innate, 213 Tib: gTum mo, is one of the six yogas of Naropa and a fundamental practice for the yogic practitioner. 214 We find the variant reading, ting ‘dzin, "samādhi" or "concentration", in SGB. This variant provides some insight into the profound meaning likely hidden behind the reading, "immaculate food". 84 You maintain your social life and position; You with spiritual instruction, I worry about you. You haven’t changed your old behavior. Think and be diligent! Not staying in unknown lands, You still stay in familiar places; Affectionate one, I worry about you. You don’t diligently keep solitude. Think and be diligent! Not looking at the inexpressible meaning, You still read the written scriptures; Bookworm,215 I worry about you. Appearances don’t arise as scripture for you. Think and be diligent! Song 31216 215 Tib: zin bris mkhan; see note 116. 216 This is the song that earned him the title, "Saraha of Tibet" in SGB and BR.85 Thinking, “A lama who is like the Buddha is staying over there. I will stay here”, and he offered this “Sweet Song”217 to the lama: Namo Ratna Guru I, this solitary beggar, Lingrepa, By the kindness of the lord lamas Experience the essential meaning. I have no understanding from analysis. Certainty takes root in the mind, I don’t identify with this body so I am happy. I stay without feeling the movement of my breath. Thoughts fade like the fog. The nature of mind—pure like the sky— Appears on the horizon of intrinsic reality, The sun of pure light dawns in the sky And the darkness of ignorance utterly vanishes. Meditative absorption is clear without drowsiness or agitation. The innate, essential nature is apprehended, just as it is. All aspects of appearances and conditions are released, just as they are. 217 ngar mo kyi mgur86 The river of awareness distinguishes between water and debris The waves of thoughts naturally recede. The dharmakāya clears into the state of emptiness. Labels are lost in the ineffable expanse. Now, by understanding that samsara is in the mind, The pit of the six classes [of beings] has been traversed, [Samsara] is futile, how delightful! By deciding that buddhahood is within the mind, There is nothing to desire or reject. Having no hopes, how delightful! In the mind itself emptiness and clear light— There is no meditator and nothing to meditate on, So there is neither meditation nor post-meditation, how delightful! When disturbing emotions arise within It is like snow falling on heated rocks: All disturbing emotions and thoughts Are pacified and transcended without being subdued.87 When realization arises within It is like the moon rising in water; All emotional and cognitive obscurations Dissipate are transcended without being removed.218 The lord with the dharma eye will bear witness To whether these words are meaningful or not. Then, known as "lamas", their kindness is great; They introduce the inexhaustible treasure again and again. Homage and praise to the lord buddhas! Known as "blessings", they are powerful; They can overwhelm samsara and nirvana. Homage and praise to becoming wise! Known as "the oral instructions", they are essential; They have the power to cut dualistic fixation at its root. Homage and praise to the blazing of experience! So, by the blessings of turning away from everything, I have the happiness of a yogi.219 218 This slightly confusing line seems to mean that like knowing that the reflection of the moon in water is not real, emotional and cognitive obscurations are removed without doing anything. 88 Homage and praise to the precious one! Song 32 Then, he sang this song to a group of people who been decieved220 a great meditator who taught mainly about getting alms221: Namo Ratna Guru First, the Kagyu are indisputable, Second the lineage of siddhas is unbroken, Third the lama is unrivaled, These three are the certainties of the Kagyu. Do you have certainty all you fortunate ones? You are being deceived by the lies of charlatans. First, the path of means is without hardships,222 Second, the oral instructions are the profound introduction,223 Third is the mahāmudrā of the natural state, 219 Lit. “I am compelled to enjoy yoga.” 220 Tib. kha khyer 221 This translation is depending patially on the words of the song which seem to be addressing a group of students. The Tibetan, however, could also be interpreted as indicating a group of false teachers. 222 This could be a pejorative reference to tantric practices that do not incorporate mahāmudrā, akin to the way Yamamoto shows it is used by Lingrepa’s contemporary Lama Zhang. See Yamamoto (2012) p.111 223 Literally, "meeting the face" this is a reference to the esoteric personal instructions given by one’s teacher.89 These three are the certainties of the oral instructions. Do you have those certainties all you fortunate ones? You have been proccupied with conventional words. First, is the manifestation of intrinsic reality, Second, is self-cognizing primordial wisdom, Third, the absolute is ineffable, unfathomable, indescribable, These three are the certainties of the view. Do you have certainty all you fortunate ones? You have fallen into the rhetoric of empty babble. First, the mind is stainless clear light, Second, the experience is bliss and emptiness, free of reference point, Third, the absolute is inseparable from the innate state, These three are the certainties of meditation. Do you have certainty all you fortunate ones? You have fallen into blank śamatha.224 First is closely examining pitfalls and obscurations, Second is removing the stake of clinging, Third is becoming disgusted [with samsara], These three are the certainties of conduct. Do you have those certainties all you fortunate ones? 224 Tib: zhi gnas; "calm abiding" meditation.90 You have fallen into meaningless activity. First, the mind itself has always been enlightened, Second is the manifestation of one’s realization, Third, the qualities arise automatically, These three are the certainties of the result. Do you have those certainties all you fortunate ones? You are lost on the path of wishful thinking. First is following the lama’s instructions, Second, making everything one does accord with the Dharma, Third, one’s mind is as clear as space, These three are the certainties of the sacred vows.225 Do you have those certainties all you fortunate ones? You patiently accept deception. First is wandering with no objective, Second, joy and sorrow are taken226 as they come, Third, whatever arises is taken as a friend, These three are the certainties of will power. Do you have those certainties all you fortunate ones? You are attached to your fortress of comforts and desires. 225 Skt. samaya 226 The variant readings: gcod; "to sever" [NP] provides a very different, although plausible, meaning to this sentence.91 First is begging for alms with no attachment, Second is acting without deception or lies, Third is finding contentment in the present moment, These three are the certainties of [right] livelihood. Do you have those certainties all you fortunate ones? You taken up the falseness of wrong livelihood. First is sleeping in the fortress of consolation,227 Second, the pure nature of mind is the consoling friend, Third, the music of mindfulness is the uplifting consolation, These three are the certainties of a consoling friend. Do you have those certainties all you fortunate ones? You have been deceived by worldly friends. Song 36 Then, at that time, he sang this song in response to some hypocritical Jogden monks228 who said, "Make a Dharma connection with us!":229 227 This verse uses the Tibetan word skyo: "despair" repeatedly in slightly different ways. I repeat "console" to convey this despite the slightly awkward sound. 228 Tib. jo gdan 229 It seems that this request, usually a way of respecfully asking a teacher for a teaching, was done sarcastically by these monks who apparently came from the Kadampa tradition.92 Namo Ratna Guru While I may not have the victory banner of saffron230 [robes], These yogi’s clothes Are the discipline231 of a heruka. Don’t think I am an ordinary being. While I may not keep the pure conduct of the vinaya, This gallivanting around with girls Is the pure conduct of a vajra holder232. Don’t think I am a householder. While I may not hold the vows of renunciation, Eating delicious foods like this Is the mandala offering of this eminent body. Don’t think I am enjoying the meal. While I may not stay in a pristine meditation hut, Spreading mischief everywhere I go Is compassion that benefits beings. Don’t think that I am unstable. 230 the text reads ngur smin but this seems like a likely misspelling or archaic spelling of ngur smig: saffron 231 Tib: brtul zhugs can have a much broader connotation of a particular form of antinomian behavior traditionally carried out by yogis at a particular stage. Here, this yogic discipline would contrast the more traditional monastic discipline. For more information, see, for example, Divalerio (2015) p.96. 232 Skt. vajradhara93 While I may not exert myself to practice virtue, Sleeping both day and night like this233 Is the practice of the uncontrived yogi.234 Don’t think my sleep is an obscuration. It is without even a little arrogance That I sing a little song like this; It is the way of the masters of the past. Don’t think that I am just stacking bricks. While I am unable to practice virtue in one place, I wander the mountains with no direction And benefit others without bias.235 Don’t think I am trying to get something. I may not have extensive learning, But by the lama’s blessing and oral instruction, The understanding of some tantra collections springs forth. Don’t think I expound according to my own desires. 233 This is reminiscent of a story about the mad yogi Drukpa Kunleg who was chastised by his hosts for sleeping all day but he quickly showed their hypocrisy about dharma practice. 234 ku su lu has connotation of a tantric practitioner who puts no effort towards anything. 235 Tib: ro snyoms byed literally is "to equalize taste.” 94 song 40 Then, when he was staying in Onmeding [‘On rme sding] in the winter, he gave the example of the winter solstice to inspire faith in some women. Then he sang this song. Namo Ratna Guru When putting my experience to song, Sometimes I236 sing with reverence. How could I not? This life is brief like the days of winter And when you meet the lord of death You’ll have no more time to postpone the Dharma. Give rise to faith all you fortunate ones! That is why I sing with reverence. Sometimes, I sing continuously.237 How could I not? In order to reach unsurpassable enlightenment 236 Like most Tibetan verse, the subject of this song is not identified. I am using the first-person perspective here because it makes sense in the context, it sounds slightly better, and there is one line in the 5th verse that uses a first-person pronoun. 237 na re ba- Continuously (RY)95 Plead for buddhahood, not for one or two years, But until you have reached it! Remain steadfast fortunate ones! That is why I sing continuously. Sometimes I sing with a wailing cry. [Some] unfortunate ones have ears harder than rock; They can’t hear the sound of the holy dharma. That is why I sing with a wailing cry. Sometimes I sing secretly. How could I not? When realization dawns in the mindstream By putting that experience to song Unfortunate ones could hear and be devastated. That is why I sing secretly. Sometimes I sing out of despair. The lama is wonderful while I am awful; I have faith, but no perseverance; I will never be able to follow the father’s example.238 That is why I sing with despair. 238 Here, it seems "father" Tib. pha probably refers to one’s teacher.96 Sometimes I sing boastfully. How could I not? Samsara has been nirvana all along; Thoughts have been dharmakāya all along; Essence of mind has been buddhahood all along; There is no need for paths and levels. That is why I sing boastfully.239 Sometimes I sing about cause and effect. How could I not? Even if you understand the unborn nature, Please do not disregard karma, cause, and effect. If you disregard cause and effect You risk falling into the abyss of lower realms. That is why I sing about cause and effect. Sometimes I sing songs about pride. How could I not? In the undisputed Kagyu, One receives the unrivalled oral instructions. By reaching the ultimate,240 superimpositions are severed 239 I was initially confused by this verse, but it seems that the "boasting" mentioned here probably refers to the mahāmudrā view and its claims of sudden enlightenment which may have been considered boastful by those who adhere to the gradual path of mainstream Buddhism., i.e. a system of "paths and levels" as Lingrepa pejoratively refers to it it.97 Happy are those free of uncertainty. That is why I sing with pride. Song 42 One spring he made an especially big offering so his sangha pleaded with him not to give away his food so frequently. "In the night, some robbers will come" they said. Then Rinpoche said, “If a yogi has something to do, he is [someone concerned with] conduct. If he doesn't, he is a wandering beggar.241 This is how you decide whether one is a yogi or not.”242 Then he sang this song: Namo Ratna Guru Even though I have encountered material wealth, To the yogi who has rejected attachment and greed Wealth is a thorn to the mind; If you hoard your wealth, you are not a yogi. Even though I have run out of food and drink,243 To the yogi who goes begging for alms Satisfying a hungry belly is [like] being led by a donkey;244 240 thug sa; I am reading this as an abbreviation for mthar thug pa’i sa 241 It seems, based on context, that the former is negative while the latter is positive in Lingrepa’s view. 242 rin po che’i zhal nas rnal ‘byor pa bya ba yod na spyod pa yin/ med na sprang du ‘gro ba yin rnal ‘byor pa yin min ‘dis shan ‘byed pa yin gsung// 243 Tib. ’tso ba’i yo byad could be more literally translated as the "necessities of life"98 If you worry about going hungry, you are not a yogi. Even though I have encountered hated enemies, To the yogi who cultivates loving kindness The hated enemy is his kind old mother; If you get angry, you are not a yogi. Even though I have embraced loved ones, To the yogi who cultivates equanimity, Familial bonds are temporary ties; If you have affection, you are not a yogi. Even with all 80,000 obstructing spirits245 gathered together, To the yogi who cultivates emptiness,246 Obstacles are reminders for virtuous practice; If you perform obstacle-clearing rituals247, you are not a great meditator. Even with all 434 diseases gathered together, To the yogi who practices one-taste Sickness is a teacher; 244 This line presents some difficulties. Tib. brgyags chad is translated here as "Satidfying a hungry belly", but is literally something like "not enough provisions". Tib. skya rgyal which is translated here as "donkey", can also refer to common grains, so this line could also be translated as "A hungry belly is what drives the harvest". So this line seems to be either commenting on the stubborn drive of a donkey, or the motivation for farmers to work in the fields. 245 Tib. bgegs 246 Tib. stong is both the word for "emptiness" and "thousand", giving these two lines a play on the word. 247 Tib. rim gro; This can refer specifically to rituals such as healing and long-life rites. RY99 If you call a doctor, you are not a yogi. Even [if] the great Vajradhara appeared, To the yogi who has severed all superimpositions Awakened forms248 are a projection of the mind; If you called for [him], you are not a yogi. Even encountering the lord of death, To the yogi who has realized the nature of mind, Death is just the fading of thought; If you are afraid of death, you are not a yogi. In the Crystal Cave of Drag Yangdzong,249 By the blessings of the lord lamas I sang this little song of eight distinctions As it arose in my mind. Song 45 Then at one time Megom [Me sgom] asked for a song about the method of begging for alms, so he sang this song in response: 248 Tib. gzugs sku; Skt. rūpakāya; The manifestation of form by awakened beings, such as Vajradhara, in this verse. 249 Tib. sGrags kyi yang rdzong shel gyis brag phug; A retreat cave of Padmasambhava between Lhasa and Samye in central Tibet. (RY) 100 Namo Ratna Guru Now, when you go on begging rounds Megompa, you must do it like this: On your shoulder, wear the dharma robes of the three vows, In your right hand, carry the staff of skillful means, In your left, hold the alms bowl of wisdom, Beg for alms in both samsara and nirvana. Yogi, be like an elephant: In the endless city250 Of ocean-like samsara Beg for alms without despair. Yogi, be like a lotus: In the unclean, filthy city Of swamp-like samsara Beg for alms without being tainted. 250 This somewhat awkward phrasing seems to be relating cities or towns, which is where a yogi would have gone to beg for alms, with samsara in general. 101 Yogi, be like a peacock: In the painful city Of poison-like samsara Beg for alms by changing poison into nectar. Yogi, be like a jackal: In the frightening city Of charnel ground-like samsara Beg for alms without fear. Yogi, be like a bee: In the pleasing city Of flower-like desirable things Beg for alms without craving. Yogi, be like a vulture: In the vast city with no edges and no center Of the space-like sphere of reality Beg for alms without striving. Yogi, be like a lion: In the unchanging city Of the mountain-like nature of reality102 Beg for alms without hope or fear. Song 50 Then he went to Napu [sNa phu]. He was greeted by members of the assembly and when he encountered the three supports251 he stood, joined his hands at his heart, and sang this song as an assessment of his own behavior: Namo Ratna Guru Embodiment of everything condensed into one, Glorious, precious lama, From a state of non-duality, I pay homage to you, And sing a yogi’s vajra song. The Buddha is found in the mind So I don’t bow to an outer support; As far as dispelling the misconceptions of beings, The extraordinary way of bowing is best. The great accumulation is perfected in the mind, So I don’t accumulate outer, composite things; 251 statue, stupa, and scriptures103 As far as protecting the needs and desires of beings, The extraordinary method for growing the two accumulations is best. One’s own mind is utterly simple, So I don’t meditate on a fabricated generation stage; As far as taming beings The extraordinary method for displaying awakened form is best. The vajra mantra252 is constant, So I don’t do the outer recitation; As far as performing rituals253 that benefit others, The extraordinary method for reciting the secret mantra is best. The supreme mandala is constant, So I preform the rituals with extensive lines and colors; As far as inducting child-like ordinary beings [into the mandala], The extraordinary method of constructing mandalas is best. All that appears arises as mudrā,254 So I don’t engage in mudrā performance; Compared to guiding beings like that 252 Tib. rdo rje bzlas; Literally, "vajra recitation". This refers to a practice of reciting mantra in sync with the stages of the breath. 253 Tib. las 254 Tib. phyag rgya This verse is open to a variety of interpretations due to this term. Frequently translated as "seal", mudrā has a variety of meanings including "consort", "hand gesture", or, as is most likely here, the three successive practices associated with tantric practice, the karmamudrā, dharmamudrā, and samayamudrā. 104 The extraordinary method of mudrā performance is best. I understand the inexpressible meaning, So I don’t give conventional discourses; As far as teaching the essential nature to others The extraordinary method of the oral instructions is best. The firewood of signs and marks255 has been consumed, So I don’t do fire pujas256; If you wish to accomplish pacification and so forth, The extraordinary method of ladling257 into the fire is best. This short song of the eight extraordinary [methods] Sublime words teaching the twofold purpose, Was sung in an assembly of yogis. This is the way of a poor beggar like me. Song 60 255 TIb. mtshan ma; This likely refers to the signs of accomplishment related to tantric rituals 256 Tib. sbyin sreg; Skt. homa; This is a tantric cermenony where religious offerings are burnt , frequently invoking the four activities that are mentioned below, "pacification and so forth". The others are enrichment, subjugation, and wrath. (Beyer, 1978) p.264 257 dgang blugs refers to the two long spoons that ares used to add oil and other substances into the fire during a fire offering ceremony.105 Then, when he was carrying books to offer at Phagmodru, he stayed a night at an inn near Samye. In a state of dreams mixed with clear light, a blue woman appeared. She said, “After placing these volumes on the top of your head, you will receive all the authorizations to give initiation in Tibet. Now, you must write about and explain the tantras. There will be nothing you don't know." “Who are you?” he asked. She replied, “I am the Great Mother of the Expanse”,258 and dissolved like a rainbow. He stayed in that place for a few days and after examining the volumes, he internalized and understood it all. He offered all of these volumes to [the library] at Phagmodru. Later, when he returned to Napu, he composed many texts on the collections of tantras. To those who slandered him by saying, “you have never heard the teachings, yet you write on them”, he sang this song of asking forgiveness: Namo Ratna Guru By means of the lama’s kindness, this poor beggar Has mastered the profound tantras. Urged by faithful students, I will clearly explain the words and meanings without mistake. Like following after a great garuḍa, This one, who is called "beggar", Is [merely] imitating the great lord of yogis. 258 Tib. dbyings kyi yum chen mo; THis is an epithet of Prajñāpāramitā. (RY)106 If this is improper, please forgive me259. I don’t know [how to be] fake, deceitful, or treacherous Yet because I don’t attribute [my teachings] to others, [People] don’t recognize me to be truthful. If you think this is my own fabrication, please forgive me. [I teach] the tradition of the profound words and meanings, By means of the unbroken lineage of ultimate blessings, Descending from the Buddha himself. If you think I am too knowledgeable, please forgive me. This is not a teaching that I fabricated, Tantra itself is intertwined with the mind;260 So it is said in the tradition of Vajradhara. If you think that is too wondrous, please excuse me. Not getting stuck on irrelevant topics I take true realization of the tantras onto the path. Without connection,261 I explain how the tantras truly are. 259 This construction caused me some confusion, but it seems likely to be a somewhat sarcastic request for forgiveness. 260 This line is very terse and could be interpreted a number of ways. I believe it is a play on the word rgyud which can refer either to Tantra or the continuity of the mind. 261 Again, this whole verse is quite terse and open to multiple interpretations. It seems that here ’brel, translated as "connection", is referring to an external connection with something Lingrepa deems irrelevant, perhaps something 107 If you think I am overstepping, please excuse me. Some people with inferior minds like mine, Write explanations with few words, In order to inspire the understanding of the meaning of tantra. If you think it is too easy, please excuse me. Because the assembly of lamas, deities, and dakinis, Permeate my heart This teaching arose on its own. If you think this is unprecedented, please excuse me. When meditation is cast aside, the words burst forth. When experience is cast aside, wisdom bursts forth. When selfishness is cast aside, altruism bursts forth. [Am I], this beggar, carried away by Mara or not? Until you possess the dharma eye You cannot gauge another’s level Please don’t pointlessly accrue sin. I am afraid that some people, By depending on me, will fall into the abyss of the lower realms. like formal education, or contact with tantric texts. Alternatively, this line could be rendered as "I explain the irrelevant in accordance with the tantra itself". (James Gentry, private communication, November 2016)108 In the wilderness of the Napu dharma valley I sang this song of forgiveness. After singing that song, they stopped [their criticisms]. Song 65 Also, the monks of Changdo [Byang mdo] invited him to Leu Chung [sle'u chung]. They offered him a pleasant cave and when he was staying there alone, he sang this song: Namo Ratna Guru [Finding] this precious human body is difficult enough, [Yet] some leave empty handed262. So foolish! When death comes, some haven’t practiced the [Dharma]. So pitiful! After death, they again wander samsara. So sad! [Finding] a qualified lama is difficult enough, [Yet] some analyze faults in his behavior. So foolish! Some are stuck with such stubborn minds. So tiring! The three doors263 of others wander wildly. So sad! 262 The sense here is that some waste their time in a human body and do not accomplish their goals. 263 As above, this refers to the deeds, words, and thoughts of one’s "three doors": body, speech, and mind. 109 [Finding] the sacred, divine Dharma is difficult enough, [Yet] some clever ones pointlessly analyze. So foolish! Some are deceived by the name "dharma practitioner". So unfortunate! Some are carried away by the temptations of Mara. So sad! This lifestyle of aimlessly wandering the mountains is difficult enough, [Yet] some don’t have their own independence. So unfortunate! The virtuous practice of some is lost in the face of circumstances. So sad! Remaining inseparable from one’s true nature is difficult enough, [Yet] the movement of thoughts doesn’t know itself. So foolish! Some keep following a confused mind. So unfortunate! Some see suffering264 as an ornament. So sad! This path of secret mantra methods is so profound, [Yet] some don’t wear the single cotton robe of a yogi. So foolish! Some haven’t understood the importance of interdependence. So unfortunate! Some have lost control of the vital force. So sad! Staying alone without distraction is difficult enough, [Yet] some get married and have no food.265 So foolish! 264 He uses the Sanskrit dukha, "suffering". 265 This line seems to be saying that once married, one is always seeking food for their family.110 Children repay you with shit. How unfortunate! Some are lost in ordinary suffering. How sad! This is "The Short Song of the Seven Compassions". Keep it in your heart and practice it! It will be extremeley vital! Song 78 Then when he was staying in Pang Gong [sPang gong], some meditators requested his life story, so he sang this song: Namo Ratna Guru I, this solitary yogi, Was born in Tsang From 8 or 9 I learned reading and arithmetic. At 17, I entered the gateway of Dharma. I went before a few lamas, I received some complete empowerments and blessings, I listened to some scriptures with their instructions. I am grateful to all of those masters,111 But my superimpositions were not severed. By examining which instructions were the greatest, Among the many vajrayāna institutes266, I followed the three lords Lo, gTsang, and Ra The heart sons of Je Rechungpa. Not only did I serve and revered them, By the power of devotion, I did everything they asked, And they cared for me like their own child. I received all the initiations and instructions And for eight or nine years I practiced diligently. At that time, I had the prideful thought "Around the world, I am the best In these instructions." Even though I had resolved all the sublime instructions My misconceptions were not resolved. I went to the forest hermitage of the great Phagmodrupa To be in the presence of the precious lord. Before I even arrived I had a vision of his face, It was like he looked on me as his child-disciple. Merely seeing his form, my awareness was transformed, 266 Tib. grwa sa; This can refer to monastic schools, but in this context, it is likely referring to centers of learning for yogis.112 It was like a karmic connection from previous lives had been awakened. Merely hearing his words gave me goosebumps, It was like the blessings of his compassion entered me. From making a Dharma connection, our minds mingled as one It was like receiving all my missing qualities. I had no need for wordy teachings, I recognized my own mind, just as it is, As unborn dharmakaya, It was like the fundamental nature had manifested. I had not even followed the lama for a long time, Yet from that [short time] arose such devotion, That I saw the lama and my dharma siblings as Buddhas; It was like devotion changed my perception. I didn’t receive even a single letter from a text But from that [short time] I obtained the light of knowledge Of the vast teachings of the Victorious One; It was like the eye of primordial wisdom appeared. I didn’t receive the stages of the initiation rituals, But from the mind of the conquerors throughout the three times, I obtained the supreme, precious initiation;113 It was like I had been given the initiation of blessings. I didn’t repeat the sacred commitments267 and vows, I have no need to confess the stains of my faults, transgressions, and so forth, They have been purifed and transcended, It is like I have passed into the stainless expanse. I had not meditated for a long time But I offered the experience of my realization in words, And was granted the acknowledgment of prophecy268 It was like an exalted conconversation. From then on, I had no reason to meditate. By the devotion of recalling the great lama All needs and desires of myself and others would be accomplished, Like finding a wish-fulfilling jewel. Still, I pay homage to the kind ones. I pay homage to the compassionate ones. I pay homage to the blessed ones. May I continue to be given blessings. 267 Skt. samaya 268 This seems to mean that after offering his experience to the lama, Lingrepa obtained a prophecy of his future enlightenment; acknowlegment of his realization in the authoritative voice of prophecy.114 Song 84 When he was staying at Yang Dzong [Yang rdzong], he sang this song to Megom about the way of finding a place for retreat in the mountains and the method for keeping a kitchen: Namo Ratna Guru O Megom, consider this! When you truly go to wander the mountains, Find the unborn, empty valley And stay in the unchanging cave; Clean the temple of your primordially pure mind By bringing true realization to bear And make the offering of non-duality On the altar269 of spontaneous presence; Offer the tantric feast270 of stainless experience To the dakini of co-emergence And do the virtuous practice271 of great bliss 269 Tib. mchod gnas; This can refer either to the object or the person to which offerings are made. 270 Skt. gaṇacakra; This phrase could be literally rendered as "turn the wheel of the feast".115 In the bed of innate nature; Relax into self-liberation and non-attachment In the forest of variegated appearances, And, without desire, view the spectacle Of the deer of the five sense pleasures. When you cook a meal While in the mountains like that, Build the fire pit of the three spontaneously-present Buddha bodies On the ground of equanimity; Light the great fire of self-arising wisdom With the firewood of the multitude of thoughts And, in the cauldron of emptiness, Cook with great compassionate activity. At the tavern272 of perfected accumulations Serve the guest of non-conceptuality, And throw a feast of the great gift of Dharma To those with good fortune. 271 Tib. dge sbyor; THis phrase could also be rendered as "virtuous union", which would be an unusual translation for the term, but given the sexual nature of this verse, it might be appropriate. 272 Tib. chang tshang, literally, the place where beer is sold.116 Send out prayers with a compassionate mind To sentient beings, limitless as the sky, And give the stainless abundance To whoever may desire it. Will you wander the mountains in that way? If you do, You will be following after the masters of the past. You will be holding the lineage of the siddhas. Last words By means of the lama and the precious jewels, The yidams,273 ḍākinīs, and dharma protectors, May the following be fulfilled according to thier sacred oath! May all beings become victorious through the supreme blessings! Compounded phenomena disintegrate, concepts fade; That is the suffering called "death". The essence of the yogi’s mind274 is uncompounded 273 Tib. yi dam117 It has dissolved into the expanse; it is great bliss. My own mind’s essence is the vajra mind of the victorious one; It abides indivisibly with the minds of all beings. Don't think, “where will he go?"; look at your own mind! If you see your mind's true nature, you will meet me. My own body’s essence is the vajra body of the victorious one; It abides indivisibly with the bodies of all beings. Don't think, “he’s gone and doesn't exist”; look at your own body! If you realize the nature of co-emergence, you will meet me. My own voice’s essence is the vajra speech of the victorious one; It abides indivisibly with all sounds without exception. Don't think, “there can be no conversation”; rather, listen to all sounds! If you realize the nature of the inexpressible, you will meet me. I abide inseparable from all sentient beings, Without exception, in every moment. Whoever makes prayers will reap blessings. Whoever accumulates merit will be granted bliss. Whoever rests in the innate will see suchness. 274 Tib. rnal ‘byor sems nyid; The lack of grammatical particles in this phrase opens it up to interpretation. Another possibility is to take rnal ‘byor literally as "to arrive at the basic state". This line would then read something like, "The basic state, the essence of mind, is uncompounded".118 Whoever observes the sacred vows will gain siddhis. Whoever has great altruism will please the victors. Whoever has pure vision will behold the pureland. Whoever has perfected the two accumulations will benefit self and other. Those who attain the lama’s realization Serve him by abiding perfectly and inseperably from the lama. If you let the three gates275 wander freely Faithlessly, you will forever remain separate from the support, the lama. Even I, in a previous life, prideful of my achievements From training in the teachings of Buddha Krakucchanda, 276 Arrogantly ridiculed two pure monks who were preaching Dharma. And for immeasurable births, I experienced the suffering of the hells and such until [the time of] this Buddha. By the power of my aspirations, I came before the Victorious One. He said that the twenty of us had great qualities. All together, our tears fell in response; We confessed our faults and took every vow. In that life, my name was the bodhisattva Tsundru O.277 It was prophesied that 500 [lifetimes] later my obscurations would be cleared 275 Here, "three gates" refers to body, speech, and mind; i.e. deeds, words, and thoughts. 276 Tib: log par dad sel; also know as ‘khor ba ‘jig, this was the fourth buddha of this eon. RY 277 Tib: brtson ‘gru ‘od119 And I would [be born] in the Sukhāvatī pure land. When I read the Sūtra Which Incites Resolve278 I remembered my previous life and started crying on the spot. From that point until this life, I had no births in any of the three lower realms, But I was born into low castes and beggars’ families. In unfortunate lands, I cleansed my suffering with the dharma, Although I became endowed with qualities and intelligence, I never became reknowned as undisputed279. Having faith in the Dharma, I met the Dharma; I attained the Dharma-eye and I understood the meaning of Dharma. I was completely isolated from Dharma preachers And only seldomly was I accepted by sublime beings. Now, through the kindness of the precious Dharma masters, Though I understand the sutras, without exception, in order to protect the minds of others, I did not preach them, [rather] I composed a few teachings and set them aside. Therefore, even you should act to protect the minds of others! 278 Skt. Adhyāśayasaṃcodanasūtra (D69); Reading lhag pa’i bsam pa bskul ba’i mdo from SGB. I could find no record of the sutra title in GT: lhag bsam rnam par dag pa’i mdo. I could also not find any mention of the name Tsundru O. 279 This is a reference to the Kagyu lineage, which he frequently refers to as "undisputed".120 My previously-accumulated obscurations have been cleared during this life, All my good deeds have been for the sake of sentient beings, All my extensive prayers have been for the sake of sentient beings, All my effort has been for the sake of sentient beings. From now on, for as long as beings cycle in samsara, I will automatically arise in a variety of forms In order to perfectly fulfill all the needs and wants Of beings, who are as limitless as the sky, in whatever way is needed. Even though my own mind is mingled indivisibly with The minds of the victorious ones in the stainless sphere, My activity is all-pervading, uninterrupted, And spontaneously accomplished. All you who who have faith and devotion, Renounce all thoughts of desire and hypocrisy And supplicate ceaselessly! Yogis, remember me, the fulfiller of all needs and desires!121 Appendix 1 Critical Edition for Translation I apologize for any errors made in typing this edition, especially if they lead to confusion. Words are highlighted to indicate the extent of the variant reading in cases where it may be unclear. Song 1 GT: [F.6.a]; NP: [F.65.b] gnyal dang lo ro’i bar la skyo po nyag rkyang la rten nas dgung lo ‘ga’ bzhugs dus mgur ‘di gsungso// na mo ratna gu ru bdag rang phyis280 kyi rnal 'byor 'di rdo rje 'chang chen man chod281 nas 282gong ma rnams kyis283 rjes zhugs nas284 bya ba'i las ka285 gsum tsam gdog286 lus kyi las su ri khrod 'grim las su ri khrod mi 'grim du rgyal bas dka' thub mdzad sa287 yin pha mes288 po rnam kyi bzhugs gnas289 yin rtogs pa'i nyams myong skyong sa yin mchog thun mongs dngos grub bsgrub pa290 yin zang zing gyeng ba spong sa yin ngo bsrung thag pa gcod sa yin ngag gi las su (lsu) dbyangs chung len291 las su dbyangs chung mi len292 du rdo rje 'chang chen la sogs pa'i 280 NP: mchis 281 NP: chad 282 NP: rje 283 NP: kyi 284 NP: te 285 NP: dka' 286 NP: bdog 287 NP: pa 288 NP: myes 289 NP: sa 290 NP: sgrub sa 291 NP: yin 292 NP: blangs122 rje gong ma rnams kyi spyod 'gros yin gcig bur sdong ba'i skyo rogs293 yin mang po tshogs294 pa'i nyams dga' yin ma dang mkha' 'gro bsdud pa yin nyams ting nge295 'dzin gyi bogs 'don yin yid kyi las su (lsu) mi rtog sgom las su mi rtog mi sgom du dus gsum rgyal ba'i dgongs pa yin pha mes296 po rnams kyi thugs nyams297 yin gzung 'dzin298 rtsa ba gcod ba yin spang bya ma lus sbong ba yin ye shes299 me dpung bskyed ba yin dngos 'dzin300 bud shing bsregs pa yin Song 2 GT: [F.7.a]; NP: [F.5.a] de nas gling chen ras pa nyid kyis/ ‘gro ba’i mgon po phag mo gru ba sangs rgyas dngos su mthong zhing/ tha mal pa’i log rtog skad cig kyang yong ma myong gsung nas bla ma sangs rgyas yu gzigs pa’i gsol ‘debs kyi mgur ‘di phul lo// na mo ratna gu ru rdo rje 'chang chen man chad nas bla ma slob dpon yan chod la301 thugs dgongs cig du 'dres ba'i rje rje sangs rgyas rnams la gsol ba 'debs dbang phyug brgyad302 la sogs ba yi sangs rgyas che ba'i yon tan rnams thams cad mkhyen303 la rdzogs pa'i rje rje sangs rgyas rnams la gsol ba 'debs 'khrul snang rmi lam sgyu ma ltar 293 NP: grogs 294 NP: 'tshogs 295 NP: dang ting 296 NP: myes 297 NP: dam 298 NP: Insert gyi 299 NP: Insert kyi 300 NP: Insert gyi 301 NP: du 302 NP: ldan 303 NP: khyod123 rang bzhin med par mkhyen pa yi304 snang ba chos skur gzigs pa'i rje rje sangs rgyas x rten305 dang mdzad spyod mi 'dra yang so so'i tshul du byon gyur nas rdo rje 'chang dang gcig pa'i rje306 rje sangs rgyas rnams x kun la khyab pa'i thugs rje yis dmigs med ngang nas 'gro don mdzad 'gro kun307 bu ltar gzigs308 pa'i rje rje sangs rgyas rnams x sprul pa dpag med bkye309 mdzad nas gang la gang 'dul skur ston yang310 'od gsal chos skur cig311 pa'i rje rje sangs rgyas x brgyad khri bzhi stong la sogs pa'i dpag med chos rnams gsungs lags kyang brjod bya gcig du ston pa'i rje rje sangs rgyas x lam tshul bsam312 gyis mi khyab pas313 dpag med 'gro ba drangs lags kyang rtogs pa cig pa 'god pa'i rje rje sangs rgyas rnams la gsol ba 'debs Song 4 GT: [F.8.b]314 de nas gling chen ras pa de nyid kyi bla ma’i drung du thun mong gi chos mang dag cig zhu ba’i dus su/ rje phag mo gru ba’i zhal nas khyod kyis sdar ci sgoms gsung/ thun chog la rten pa en re 304 NP: yis 305 NP: bstan 306 Missing in NP 307 Reading NP; GT: drug 308 NP: skyongs 309 NP: 'gyed 310 NP: brtan kyang 311 NP: sku gcig 312 NP: gsum 313 NP: pa'i 314 I could not find any other versions of this song124 bsgoms zhus pas/ sems kyi bzhugs tshul bes? pa la lhan cig skyes sbyor gyis khrid skyongs gsung/ khrid kyis mgo tshugs nas zla gcig song ba dang/ sgom gyi ngo bo mthng ba’i dus su rgyud pa’i gsol ‘debs ‘di phulo// na mo ratna gu ru rje sku lnga rab rdzogs bla mad 'chang rgyal ba'i sras bo gsang bdag rdo rje 'dzin mchog gi byin brlabs zhugs pa'i sa ra ha snang ba dbang du 'dus pa'i lo yi pa sbyod ba lam du slongs ba'i lding gi pa gsol ba 'debs so thugs rje sbyan gyis gzigs sa bcu'i dbang phyug blo gros rin chen zhabs lung bstan phyir mi ldog pa klu grub zhabs 'od gsal mngon du gyur pa'i ma tang gi thugs dgongs mkha ltar dag pa'i su ma ti ting 'dzin brtan pa thob pa'i thang lo pa zag bcas sgyu lus 'byongs pa'i shing lo pa nyi ltar 'od zer 'bar ba'i karnari gsol ba 'debs so thugs rje spyan gyis gzigs ting 'dzin las su rung ba'i dha bhi pa bdag gzhan don gnyis 'grub pa'i bhi na sa 'dod yon lam tu slongs pa'i la ba pa sprul pa'i skyes mchog intra bhu ti'i zhabs gsol ba x rnal 'byor dbang phyug chen po ti lo pa mkhas pas grub mchog thob pa'i na ro pa mi gnas mya ngan 'das pa'i ri khrod pa par dor lung bstan thob pa'i mi tri pa pho nya'i lam mchog mthar phyin ti pu'i zhabs gsol ba x dka' spyad phul du phyin pa mar pa'i zhabs bdag med 'khor lo'i zhal gzigs rngog ston zhabs 'od gsal rgyun chad med pa'i ras chen zhabs sku gsum mngon du gyur pa'i ras chung zhabs snang ba chos skur shar ba rgyal ba lo dngos 'dzin 'khrul pa zhig pa dam pa'i rje gsol x thugs skyed 'gro mgon mdzad pa'i rgam po pa thugs dgongs mkha' ltar dag pa'i mthar tsa pa125 thams cad mkhyen pa rtsod med grags chen po bde gshegs kun gyi dbal ldan rin po che gsol ba x dgos 'dod kun 'byung bla ma rin po che gtsug gi nor bu bla ma rin po che 'gro ba'i dpal mgon bla ma rin po che gsol ba x tshig la ma rten sgro 'dogs nang nas chod thabs la ma rten bying rgod rang sar grol lam la ma rten bde chen rgyun chad med nyams myong mthar phyin rje btsun rin po che gsol ba x dgos 'dod yid bzhin sgrub pa'i rin po che 'gro drug bu ltar gzigs pa'i rin po che sangs rgyas lag du gtod pa'i rin po che dad ldan byin gyis brlob pa'i rin po che rmongs ba dang ba 'dren pa'i rin po che sems nyid chos skur sbrod pa'i rin po che gsol ba x brgyud pa kun gyi rtsa ba bla ma rin po che yid dam lha'i ngo bo bla ma rin po che dkon mchog gsum gyi ngo bo bla ma rin po che gsol ba x bdag cag gus pa’i lus la snyan pa’i ngag bcug nas dad ba’i yid kyis bskul zhing gsol ‘debs na nyams myong rgyun chad med pa brtan pa dang rtogs pa mchog du gyur ba bskyed du gsol bdag cag sgyu lus ‘di dang ma bral bar du yang ’khor ba’i sdug bsngal tshogs kyi mi ‘tshe zhing ’thun rkyen ma lus phun sum tshogs pa dang ’gro ba’i sdug bsngal sel ba’i mthu ldan shog Song 6 GT: [F.9.b]; NP: [F.10.a] de nas khyed par mos gus la bogs skyed chen po thon nas mgur ‘di phulo// na mo ratna guru126 rgya mtsho'i gting315 nas blangs pa yi316 yid bzhin nor bu rin chen de ded317 dpon gyi lag318 du 'grims319 tsa na brtags shing brtags shing rin thang skye320 bla ma mkhas la321 zhus pa yis322 grub thob rgyud323 pa'i gdams ngag de mkhas btsun spyan mngar324 'grims tsa na brtags shing brtags shing nges shes skyes mgar ba mkhas kyi325 brdungs pa yi rno ngar ldan pa'i ral gri de rnon po’i326 dbyig dang phrad tsa na327 bdar cing328 je rno je rno329 thal rtogs ldan bla mas ngo sprad330 pa'i nyams myong rtogs pa'i ye shes de rje331 rin po che dang mjal ba yi332 bsgoms shing333 je brten je brten thal zla ba'i gzugs la 'phel 'grib med 'phel 'grib nyi ma'i 'od las byung nyi zla so sor song334 tsa na zla ba'i gzugs de rdzogs par snang sems chos kyi sku335 la 'phel 'grib med 'phel 'grib 'khrul snang gi rgyu las byung 315 NP: gling 316 NP: yis 317 NP: dad 318 NP: lam 319 NP: ‘grim 320 NP: ring thung che 321 NP: pas 322 NP: yi 323 NP: brgyud 324 NP: sngar 325 NP: kyis 326 NP: sdon po 327 NP: ‘phrad tsam na 328 NP: na 329 NP: brnor 330 NP: sprod 331 missing from NP 332 NP: yin 333 NP: shig 334 NP: gyes 335 NP: sku’i ngang127 'khrul snang dbyings su yal tsa na snang ba chos skur shar ba yin phyi yi rgya mtsho blta336 'dod na shing nags tshal mthong na rings337 pa yin shing nags tshal gyi mtshan ma zad tsa338 na phyi'i rgya mtshor slebs pa yin sangs rgyas kyi dgongs pa blta339 'dod na rtags mtshan ma 'dod na ring pa yin rtags mtshan ma'i zhe 'dod zad tsa340 na sangs rgyas kyi dgongs par slebs pa yin gdod nas dag pa'i nam mkha' la nyi zda gza' skar341 gyi yon tan rnams rang chas gdod nas gnas mod kyi dmus long rnams kyis342 mthong ba med sems gdod nas dag343 pa'i chos sku la sangs rgyas che ba'i yon yon tan rnams rang chas gdod nas gnas mos kyi344 ma dag pa yis345 mthong ba med Song 9 (GT: [F.11.a]; NP: [F.15.a]; SGB: [F.8.a]; BR: [F.11.a] de’i dus su bla ma sangs rgyas su ‘dug pa la ngas rgyud pa nye ba kho na la gtso bor byas snyam nas ‘gyod de mgur ‘di phulo// na mo ratna gu ru bla ma sangs rgyas su 'dug pa mi ru bzung brgyud pa nye ring du bgrangs346 pa 'thol347 lo bshags gdams ngag nyams len du 'dug pa tshig du348 gzung 336 NP: lta 337 NP: ring 338 NP: pa 339 NP: lta 340 NP: pa 341 NP: sgar 342 NP: kyi 343 NP: nyid gnas 344 NP: kyis 345 NP: yi 346 NP: bzung 347 NP, SGB: mthol, and repeated throughout128 rigs349 pa rtogs350 dpyod bcug351 pa 'thol lo bshags tha snyad btags par352 'dug pa don du gzung353 tshig skyon nga rgyal la354 rtsod pa 'thol lo bshags355 bar chad rang sems su 'dug pa 'dre ru gzung bsrung ba drag sngags su bgrangs pa 'thol lo bshags 'khor ba myang 'das su 'dug pa dngos por gzung sdug bsngal btson rar bsgoms pa 'thol lo bshags rnam rtog ye shes su 'dug pa skyon du gzung spang bya dri mar bldas pa 'thol lo bshags chos sku ro cig du 'dug pa so sor bzung356 chos la phyogs ris su phye ba 'thol lo bshags Song 11 GT: [F.14.L.a]357; NP: [F.23.a] slar yang dbus su byon nas sngar ltar spyod pa skyong zhing yong pa’i dus su dga’ spro’i mgur ‘di bzhaso// na mo ratna gu ru bka' rgyud358 rtsod359 pa med par360 phyogs med yongs su grags nas361 kun gyis spyi bor khur ba'i brgyud pa 'di nyams re dga' grub thob rgyun chad med pa 'di dang re spro 348 NP: su 349 NP, SGB: rig 350 SGB: rtog 351 NP: byad 352 SGB: rtag pa ru 353 SGB: bzung 354 Missing la in SGB 355 This verse is missing from NP 356 Reading SGB; GT: mthong 357 For folios 13, 14, and 15, there are two folios with same ennumeration. The folios with matching numbers are differentiated as being either "upper" or "lower"/ For example, this folio is marked bcu bzhi ‘og and follows bcu bzhi gong, aka "lower 14" and "upper 14". Here I have used "L" to denote ‘og or "lower". 358 NP: brgyud 359 NP: brtsod 360 NP breaks the first line of every verse into two lines 361 NP: pas129 mtshan nyid kun dang ldan pas don gnyis phun sum362 tshogs nas yid bzhin nor bu lta bu'i rje btsun 'di nyams re dga' dgos 'dod thams cad 'byung ba 'di dang re spro mdo rgyud kun dang 'thun par sems nyid gtan la phab nas sangs rgyas lag du gtod pa'i gdams ngag 'di nyams re dga' nges shes 'phral du363 skye ba 'di dang re spro pha yul rgyab du bskyur nas dmigs gtad gzhi gzung med par phyogs med kyi364 ri khrod 'grims pa365 'di nyams re dga' mkhar bsrung ran366 mi dgos pa dang re spro gYo rgyu log 'tsho spangs nas ngo bsrung367 rtsol ba med bar 'phral phyid ldom bu byed pa'i 'tsho ba 'di nyams re dga' ser sna'i368 sdug sogs mi dgos pa 'di dang re spro mi chos khyib369 thab spangs te370 'jig rten bya ba btang nas gnyis med gcig pur sdod pa371 'di nyams re dga' snabs372 shal nyol373 lcibs mi srol374 pa 'di dang re spro rtogs pa nang nas shar bas grub mtha'i zhe 'dod zad na bsam brjod yul las 'das pa'i lta ba 'di nyams re dga' chos nyid mngon du byas pa 'di dang re spro byin brlabs gnad du thebs375 pas rgyud la yon tan376 shar nas gnyug ma rgyun chad med par sgom pa 'di nyams re dga' sgom bya sgom byed dang bral ba377 'di dang re spro zhen378 pa nang nas log pas bcos ma'i tshul 'chos zhig nas shugs379 'byung lhug par shar380 ba'i spyod pa 'di nyams re dga' 362 NP: gsum 363 NP: la 364 Missing from NP 365 NP: pa’i dgon pa 366 NP: las ru ‘pho NP: 367 bsrungs 368 NP: sna 369 NP: khyim 370 NP: shing 371 NP: pa’i grogs 372 NP: snab 373 NP: nyog 374 NP: dgos 375 NP: phog 376 NP: ‘od gsal 377 NP: med pa 378 NP: zhan 379 NP: shug 380 NP: skyong130 dgag bsgrub blang dor dang bral ba 'di dang re spro chos nyid mngon du gyur bas sku gsum lhun kyis grub nas yon tan thams cad rdzogs pa'i 'bras bu 'di nyid381 nyams re dga' re dogs gyang sa chod pa382 dang re spro song 12 GT: [F.15.L.b]; NP: [F.10.a] de bla ma’i drung du phul te/ bdag gi lo gsum gyi sgrub pa’i dam bza’ phul ba la/ zhag gsum gyi snga gro thon pa ‘di la mi thams cad skyon pa gda’ bas/ bla ma rin po che ‘ang bdag shog gsung ba de bka’ skyon cig gnang ba lags sam/ bdag gi mthong lugs kyi glu zhig ‘bul pa zhu zhus nas mgur ‘di phulo// na mo ratna gu ru rje bla ma'i383 zhal nas gnyug ma'i don sgoms384 shig gsung nas bsgoms lags pas bsgom385 bya sgom byed stor nas thal sgom la386 thun 'tshams kyi bzung rgyu mi gda'o387//388 nyams ting nge 'dzin gyi389 sgron me yis sems nyid390 chos skur rtogs lags pas nyams myong gi 'dzin pa stor nas thal gol sa sbyad391 rgyu392 mi gda'o// sems ji393 bzhin gzhag394 pa ma lags pa gnyen po'i bcos rgyu395 mi gda' bas yin min gyi the tshom stor nas thal ma bde ba zhu396 rgyu 397 mi gda'o// 381 NP: missing nyid 382 NP: insert’di 383 NP: rje'i 384 NP: bsgom 385 NP: sgom 386 Missing from NP 387 NP: thun mtshams bzung rgyu yang mi gda'o 388 NP does not have the double shad at the end of each stanza 389 NP: gyis 390 NP: spros bral 391 NP: bcad, evidence that NP is "corrupted". Although gol sa bcad is a common phrase, it makes no sense here 392 NP: Insert yang 393 NP: ci 394 NP: bzhags 395 NP: su 396 NP: dri 397 NP: Insert yang131 sngar 'dris398 399mi dang phrad400 pa bzhin rnam rtog chos skur ngo shes pas skyon yon gyi401 'dzin pa stor nas thal dgag sgrub402 bya rgyu mi gda'o// mun403 la khri gdugs shar ba bzhin404 rtogs pa nang nas shar lags pas405 grub mtha'i khas len stor nas thal tha snyad gdags406 rgyu mi gda'o// bla ma dus gsum407 sangs rgyas dang408 rang sems dbyer med rtogs lags pas tha snyad409 kyi 'du shes stor nas thal yid smon bya rgyu410 mi gda'o// sgyu lus kyi chu bur nam yang 'jig sems skye 'chi411 med pa'i don rtogs pas 'chi ba'i412 'jigs pa stor nas thal sdug bsngal bya rgyu 413mi gda'o// bdag 'dzom na rje'i414 spyan sngar415 sdod416 ma 'dzom na phyogs med kyi rgyal khams skor417 ldog na zhen418 med kyi ldom bu byed skyo na nyams myong gi dbyangs chung419 len420 'khyags na gtum mo'i me la bsrod421 398 NP: 'gris More evidence that NP is "corrupted". Easy spelling mistake with no real meaning. 399 NP: Insert kyi 400 NP: 'phrad 401 NP: du 402 NP: bsgrub 403 NP: Insert pa 404 NP: ltar 405 NP: sam 406 NP: bshad 407 Missing in NP 408 Strange double shad here in NP 409 NP: thar lam 410 NP: Insert yang 411 NP: shi 412 NP: ba yi 413 NP: Insert yang 414 NP: rje yis 415 Reading NP; GT: mngar 416 NP: gdod 417 NP: ri khrod 'grim 418 NP: zhan 419 NP: dbyangs su 420 This line is swapped with the next in NP 421 Reading NP; GT: sro132 na na 'byung pa ro snyoms byed skyid sdug gi snang pa thad kar spyod422 bdag423 spyod lam ci bder skyong ba424 zhu// zhes pa’i mgur phul bas bla ma phag mo gru pa shin du mnyes nas/ chu bo gha gha yan chad kyis bstan pa ‘di la bram ze chen po sa ra has/ rtogs pa che ba ma byung/ mi yong/ chu bo gha gha tshun la/ bu khyod bas rtogs pa mtho ba mi yong mi ‘byung gsung shing shin du sges bar gyur// Song 16 GT: [F.17.a]; NP: [F.21.a]; SGB: [F.8.b]; BR: [F.11.b] dge bshes mdog gi slob ma ‘ga’ chos skad ‘drir byung ba la mgur ‘di gsungso// na mo ratna gu ru 425bla ma bsten yun mi ring du426 gdam ngag tshig gi427 ma bslad428 ba snying gi dkyil du thebs429 lags pas brjed tho dpe la mi re tsam phug du rgyun430 rings ma bsdad de431 rtogs ldan bla ma'i byin brlabs kyis rgyun chad med pa'i don rtogs pas dge sbyor rkyen khar mi 'chor tsam phyogs med432 thos pa ma byas433 te sgro 'dogs nang nas chod434 lags pas gnas lugs tshig du brjod lags kyang bka' mdo rgyud gnyis dang ma435 'gal tsam tshangs spyod kyi sdom pa mi gdog436 ste 422 NP: gcod 423 NP: missing bdag 424 NP: bskyong bar 425 NP: rje 426 NP, SBG: ste 427 NP: ru, SGB: gis 428 Reading SGB; GT: slad 429 SGB: 'khrungs 430 NP: yun 431 This line missing from SGB 432 NP, SGB: Insert kyi 433 SGB: bgyis 434 SGB: mchod 435 SGB: mi 436 NP, SGB: bdog133 gsang sngags gnad kyi gdam ngag gis las kyi phyag rgya bsten lags kyang 'dod pa'i dri mas ma gos tsam 'dod437 pa'i nor rdzas mi gdog438 ste zhen pa rang log gi rgya mtsho nas chog shes kyi nor bu rnyed lags pas439 log 'tshol440 rnyed pa mi tshol441 tsam rtags mtshan442 rtan443 rgyu mi gdog444 ste dus gsum sangs rgyas kyi445 dgongs pa de snying gi dkyil du thebs446 lags pas yid smon gzhan la mi 'bul tsam 'chi med kyi bcud len ma 'grub447 ste sems skye 'chi448 med pa'i don rtogs pas 'chi bdag449 bdud dang phrad450 lags kyang mya ngan451 sdug bsngal mi byed tsam gzhan bsrung ba'i nus pa mi gdog452 ste phyag rgya chen po'i byin brlabs kyis ri khrod gnyan dgu 'grims lags kyang bar chad bdud la mi 'tshor453 tsam Song 17 GT: [F.17.b]; NP: [F.22.b]; SGB: [F.9.a] BR: [F.11.b] yang btsun pa ‘ga’ khyod kyi spyod ‘gros ‘di chos ji ‘dra zhig byed dam zer ‘drir byung ba la mgur ‘di gsungso// 437 NP, SGB: bsags 438 NP: 'dog, SGB: bdog 439 SGB: yid bzhin gyi nor bu rnyed 440 NP, SGB: 'tsho'i, written over by hand in GT 441 NP, SGB: 'tshol 442 NP, SGB: Insert ma 443 NP, SGB: bstan 444 NP: 'dog, SGB: bdog 445 NP, SGB: rgyal po'i 446 NP, SGB: shar 447 NP, SGB: bsgrub 448 NP: shi 449 NP: Insert gi 450 NP: 'phrad 451 NP, SGB: dang 452 NP: 'dog, SGB: bdog 453 NP, SGB: 'jigs134 na mo ratna gu ru bdag454 longs spyod 'dod yon lnga la byed dka' thub khyad par 'phags pa yin455 lam du456 nyon mongs dug lnga slong457 gnyen po khyad bar 'phags pa yin mchod pa sgyu ma'i lus la 'bul mchod gnas khyad par 'phags pa yin lta458 rtog rang gi sems la byed dpe459 cha khyad par 'phags pa yin dge sbyor gti mug gnyid la byed gdam ngag khyad par 'phags pa yin zhe brod 'chi ba'i460 dus su byed gdeng tshad khyad par 'phags pa yin song 18 GT: [F.17.b]; NP: [F.23.a]; SGB: [F.9.b]; BR: [F.11.b] ston pa nga rgyal can cig byung nas/ kho na re chos rnam dag byed pa la/ lus btsun pa’i tshul khrims kyi gzhi gzung/ rgyal ba’i gsung la thos bsam gyi sgro ‘dogs bcad de/ go myong gi sgo nas gtan la ‘bebs pa yin pa la/ khyod kyis blun sgom des ci yong zer khrel byung pa la mgur ‘di gsungso// na mo ratna gu ru mang du thos pa'i lha chos de nam mkha'i rlung bzhin ma 'phyos sam btsun por bsrungs pa'i 'dul khrims de lcags sgrogs461 bzhin du ma bsdams sam mtho ru re ba'i lta ba de kha tshig rkyang par ma song ngam 454 Missing from NP 455 NP: lags and repeated in the rest of the verses 456 NP: dang 457 NP, SGB: slongs 458 NP: lto 459 NP: des 460 NP: ka'i, SGB: kha'i 461 SGB: sgrog135 bzang du re ba'i sgom nyams de ko tshab462 bzhin du ma ltengs463 sam zab tu re ba'i gdams ngag de shog bu'i ngos464 la ma las465 sam zhi466 ru re ba'i rnam rtog467 de rlung 'tshub bzhin du ma langs sam thul du re ba'i rang rgyud de ko skam pa bzhin du ma rengs sam468 song 19 GT: [F.18.a]; NP: [F.14.a] de nas nyang po la thon nas nags khrod dpal gyi g.yu gong du bzhugs dus/ ston pa nga rgyal can ‘dra byung nas khyod rgyal chas gya mtho cig ‘dug pa la khyed kyis mo sman rtsis bon ci shes zer ba la mgur ‘di gsungso// na mo ratna gu ru bdag phyis469 kyis470 rnal 'byor 'dug pa 'di mthu srog471 ser gtad mi shes te byams dang snying rje'i drag sngags kyis zhe sdang472 gi473 dgra bo rtsad474 nas bcad yul gang du phyin kyang dgra sdang475 med bdag476 mthu mkhan gyi rgyal po zhig yin nam snyam477 mthu mi gsod kyi shan pa478 nga mi byed bdag gi479 'tsho ba'i480 sman dag481 mi shes te 462 NP: ko chab, SGB: rko chab 463 NP, SGB: stengs 464 NP, SGB: logs 465 NP: lags 466 NP: zhib tu, SBG: rang zhi 467 NP: lta ba, SGB: nyon mongs 468 This verse is missing or almost completely altered in SGB 469 NP: mchis 470 NP: kyi 471 NP: Missing srog 472 NP: sdong 473 NP: gis 474 Reading NP; GT: rtsod 475 NP: sdong 476 NP: missing bdag 477 NP: sems 478 NP: mi gson po’i gshad pa 479 NP: missing bdag gi and adds a line: bdag mchis kyi rnal ‘byor ‘dug pa ‘di136 rje sman mchog rgyal po'i gdam ngag de482 dad brtson gnyis kyi rten483 lags pas sems skye shi'i nad las grol nas thal bdag484 sman pa'i rgyal po cig yin nam snyam485 gshin rje'i rtsags486 cha nga mi 'dzin bdag gi487 g.yung drung gi bon dag488 mi shes te rtogs pa 'gyur med kyi bon po yis489 rnam rtogs gi490 ltas ngan g.yang du blan491 lha 'dre'i 'jigs492 pa rang sar grol bdag493 bon po'i rgyal po cig yin nas snyam494 bon495 mu stegs kyi rnga shang nga mi 'khrol bdag gi496 srid pa'i rtsis dag497 mi shes te chos sku 'gyur med kyi ri bo la sems spros dang bral ba'i dus498 btab nas499 gzugs sku'i bu tsha dar zhing rgyas bdag500 rtsis501 mkhan gyi rgyal po cig yin nam snyam502 rdzun lung gi gab rtse nga mi 'dings bdag503 bsags pa'i nor dag504 mi gdog505 ste zhen506 pa rang log gi rgya mtsho nas chog shes yid bzhin gyi nor bu rnyed 480 NP: byed kyi 481 NP: dang 482 NP: ‘di 483 NP: brten 484 NP: missing bdag 485 NP: sems 486 NP: lag 487 NP: missing bdag gi and adds a line: bdag mchis kyi rnal ‘byor ‘dug pa ‘dis 488 NP: dang 489 NP: yin 490 NP: gis 491 Reading NP; GT: bslan 492 NP: ‘dzin 493 NP: missing bdag 494 NP: nam sems 495 NP: missing bon 496 NP: missing bdag gi and adds a line: bdag mchis kyi rnal ‘byor ‘dug pa ‘dis 497 NP: gtsug lag nga 498 NP: dur 499 NP: pas 500 NP: missing bdag 501 NP: sa 502 NP: sems 503 NP: missing bdag gi and adds a line: bdag mchis kyi rnal ‘byor ‘dug pa ‘dis 504 NP: rdzas 505 NP: ma ‘dog 506 NP: zhan137 yul gang du phyin kyang ltogs507 pa med bdag508 phyug po'i rgyal po cig yin nam snyam509 log 'tsho di510 rnyed pa nga mi tshol511 bdag gi bslabs pa'i chos dag mi gdog ste512 grub thob brgyud513 pa'i bla ma la bka' rtsod pa med pa'i gdam ngag zhus da514 chags sdang med pa'i sa phyogs su rdzun g.yo sgyu515 med pa'i spyod 'gros kyis khyed 'dris bshes516 med pa'i dad ldan la517 zhen518 med519 ldom bu byed pa yin song 20 GT: [F.18.b]; NP: [F.16.b] de nas dge bshes wa ta ston pas spyan drangs te g.yas ru ru ba’i bseb du bzhugs pa’i ‘tsho mgur ‘di gsungso// na mo ratna gu ru bdag phyis520 kyi rnal 'byor 'dug pa 'di byad nags shod kyi521 stod du phyin tsa na wam rta ston pas zan drangs pas522 ru ba pa yi523 mi sded de mun pa'i smag la bab tsa524 na yengs pa med pa'i mel tshe525 yis zang zing gi longs spyod bsrung526 shing gda' 507 NP: ltog 508 NP: missing bdag 509 NP: sems 510 NP: ‘tsho’i 511 NP: ‘tshol 512 NP: This whole line is missing, replaced with: bdag mchis kyi rnal ‘byor ‘dug pa ‘dis 513 NP: rgyud 514 NP: nga 515 NP: Insert spangs 516 NP: bshes 517 NP: pa 518 NP: zhan 519 NP: Insert kyi 520NP: mchis 521 NP: missing kyi 522 NP: this line is missing 523 NP: rgya shod ru ba’i; DT: slightly unclear 524 NP: tsam 525 NP: rtse 526 NP: bzung138 de527 'phral du sdug la nam phugs528 stong rnal 'byor bdag gis tshur ba529 sams530 pas 531yengs ba med pa'i mel532 tshe533 yis zag med kyi long spyod bsrungs534 nas gda' dam tshig yid bzhin nor bu de bag yod dran pa'i mel tshes535 bsrungs 536'bras bu sku gsum lhun grub537 de rtogs pa brtan po'i mel tshes538 bsrungs de ltar mel tshe539 bgyis lags pas chos nyid kyi nam mkha' mtha' nas langs 'od gsal gi nyi ma mkha' la shar540 der541 mel tshe mi542 dgos blo re bde gyo sgyu mun pa'i smag rum du rang sems rnam dag gi nyi ma shar nyes ltung kyi543 rkun mo544 rang sar grol 545mel tshe ma546 dgos blo re bde ma rig mun pa'i smags rum du rtogs pa ye shes kyi nyi ma shar rtag chad kyi547 rkun mo548 rang sar grol da mel tshe ma549 dgos blo re bde 527 NP: missing de 528 NP: phug 529 NP: tshul; 530 NP: bsam 531 NP: sngar 532 Reading NP; GT; med 533 NP: rtse 534 NP: srungs 535 NP: tses 536 NP: Includes six extra lines here: lta ba skye med mkhar po de// lung rigs gnyis kyi mel tshos bsrungs// sgom pa ‘od gsal nor mchog ste// thabs lam zab mo’i mel tses bsrungs// spyod pa zhen med rta pho de// gnyen po thog brdzis mel tses bsrungs/ 537 NP: gtan nor 538 NP: tses 539 NP: tses 540 NP: This line reads: ‘od gsal gyi mkha’ la nyi ma shar 541 NP: da 542 NP: tse ma 543 NP: missing kyi 544 NP: ma 545 NP: insert da 546 NP: tse mi 547 NP: Missing kyi 548 NP: ma 549 NP: tse mi139 550gzung 'dzin mun pa'i smag rum du chos sku rang byung nyi ma shar re dog551 kyi rkun mo rang sar grol da mel tshe ma552 dgos blo re bde sems nyid gnyug ma'i mal553 du tshud 'khor 'das dgra zin med par 'byongs rang sems mi ‘dzad554 kyi gter dang phrad555 bdag bde mor556 nyal ba de tshug557 lags song 26 GT: [F.20.b]; NP:[F.8.b] yang de dus dge ‘dun mang dag gis phyi rol pa dang nang pa’i theg pa che chung la sogs pa’i lta ba’i khyad par cig gsungs dang zer ba la mgur ‘di gsungso// na mo ratna gu ru phyag rgya chen po'i don rtogs558 pas rol brgya shal559 pa gcig gis mnan560 dus gsum 'gyur ba med pas na mu stegs rtag par lta ba yin dran561 rtog gzhi rtsa bral bas na mu stegs chad bar lta ba yin stong nyid snying rje dbyer med pas dkon mchog gsum gyi skyabs 'gro yin bdag 'dzin dbyings su562 zhi bas na nyan thos rang rgyal lta ba yin bdag gzhan gnyis su med pa 'di smon 'jug gnyis kyi sems bskyed yin 550 NP Includes two extra verses here: zhi gnas mun pa’i smags rum du// lhag mthong ye shes nyi ma shar// byid rgod rkun ma rang sar grol// da mel tse mi dgos blo re bde// chags zhen mun pa’i smags rum du// zhen pa rang log nyi ma shar// chos brgyad rkun ma rang sar grol// da mel tso mi dgos blo re bde/ 551 Reading NP; GT: rang 'dod 552 NP: tse mi 553 NP: lam 554 NP: zad 555 NP: ‘phrad 556 NP: blo bder 557 NP: tsug 558 NP: rdzogs 559 NP: shar 560 NP: gnon 561 Reading NP; GT: ngan 562 NP: nas140 sems las gzhan pa'i chos med pas rang gi rig pa'i sems tsam yin sems nyid 'dogs la563 stong pa la mtha' dang bral ba dbu ma yin 'dzin pa thongs564 pa sbyin pa yin dri ma med pa tshul khrims yin skye ba med pa bzod pa yin 'bad rtsol med pa brtson 'grus yin rgyun chad med565 pa bsam gtan yin spros dang bral ba shes rab yin sgrub pa'i566 zhe 'dod zad pa na sa lam yon tan rdzogs567 pa yin rnam rtog bcom pas568 bden mthong569 na yang dag don gyi dgon pa yin sku gsum don gyi570 dkyil 'khor du sems nyid bzhugs pa dbang bskur yin rang bzhin gnyug ma don gyi lha 'bral ba med pa bskyed rim yin skye ba med pa don gyi sngags rgyun chad med pa bzlas pa571 yin skye ba med pa'i chos dbying su rnam rtog572 yal ba rdzogs rim yin de rnams don la mi gda' ba573 brtan par byed pa dam tshig yin zag574 pa med par bde bas na ye shes tshogs kyi 'khor lo yin mchod bya mchod byed gnyis med bas yang dag don gyi mchod pa yin chos nyid rang rig ye shes kyi mngon du byas pas dngos grub yin kun go gcig gis chod ba 'di dam chos phyag rgya chen po yin rtog pa'i lam du575 'dus tshul 'di576 563 NP: ‘od gsal 564 This is one of the few occassions where the two versions of GT do not agree. GTb clearly reads thos pa while GTa reads thongs pa. This is telling example of why I believe GTa to be more reliable 565 NP: mi chad 566 NP: bsgrub bya’i 567 Reading NP; GT: rtogs 568 NP: bcos mas 569 NP: dben pas 570 NP: snying po’i 571 NP: brjod 572 Reading NP; GT: rlung sems 573 NP: ‘da’ bas 574 Reading NP; GT: thob 575 NP: gyi 576 NP: yin141 rje577 bla ma rnams kyis578 byin brlabs kyi579 pha mo gru yi nags khrod du sems la shar nas blangs pa lags580 Song 27 GT: [F.21.a]; NP: [F.28.a]; SGB: [F.8.b] grub thob gling gis slar yang byon nas lo ro’i cho skang du bzhugs dus/ sgom pa’i sdug yus che zhing thos pa’i nga rgyal gyis dregs pa’i sgom chen dang mtshan nyid pa ‘ga’ chos zhung byung pa la mgur ‘di gsungso// na mo ratna gu ru btsun po'i 'dul khrims bsrungs lags kyang lha mi'i go 'phangs581 ma gtogs pa byang chub thob la phan rgyu chung sum ldan gyi sdom pa zhig rtsis582 su che sde snod gsum la blo sbyangs kyang mi kha chogs583 tsam ma gtogs pa byang chub thob584 la phan rgyu chung rtogs ldan gyi bla ma rtsigs su che cho585 ga mkhas pas dbang bskur kyang586 snod du rung tsam ma gtogs pa ye shes skye587 la phan rgyu chung bla ma'i byin brlabs cig rtsigs su che rgyud sde bzhi la blo sbyangs588 kyang sngags rgyus che tsam ma gtogs pa dngos grub thob la phan rgyu chung brgyud pa'i gdams589 pa590 cig591 rtsigs su che 577 NP: missing rje 578 NP: kyi 579 NP: kyis 580 NP: yin 581 SGB: 'phang 582 Reading NP, SGB in each verse; GT: cig rtsigs 583 NP: cog, SGB: gcog 584 NP, SGB: rang rgyud thul 585 Reading NP, SGB; GT: cha 586 NP, SGB: yang 587 NP: thob 588 NP: sbyongs 589 NP, SGB: gdam; repeated throughout 590 NP, SGB: ngag 591 Missing in NP142 gdams ngag tshig du thos lags kyang nyams dga' ba592 tsam las ma gtogs pa yon tan skye la phan rgyu chung 593khrid kyi lag len cig rtsigs su che zhi gnas ting 'dzin brtan lags kyang ngal 594so'i 595stegs tsam596 ma gtogs pa 'khor bar597 sgrol598 la phan rgyu chung nyams kyi drod tshad cig rtsigs su che go ba phul du phyin lag kyang smra kham599 che tsam ma gtogs pa chos nyid rtogs la phan rgyu chung gang600 shar601 rtogs pa cig rtsigs su che grub chen brgyad la mnga' brnyed kyang ngo mtshar che tsam ma gtogs pa sangs rgyas thob la phan rgyu chung mchog gi dngos grub cig rtsigs su che Song 29 GT: [F.21.b]; NP:[F.16.a]; SGB: [F.12.b]; BR: [F.14.a]602 de nas lo ro mgo ba’i phu yang chung du bzhugs mgur ‘di gsungso// na mo ratna gu ru 603phyogs med kyi ri khrod mi 'grim par da dung604 grong khyer605 gyi606 'du 'dzir607 'jug sred ma608 can khyod la dogs609 pa yin 592Missing in SGB, NP 593 SGB: Insert dmar 594SGB: Insert ba 595 NP, SGB: Insert lam 596 Missing in SGB, NP 597 SGB, NP: ba 598 NP: bgrod 599 NP, SGB: khams 600 NP: rang 601 NP, SGB: Insert gyi 602 Fragment 603 SGB: insert khyod 604 NP, SGB, BR: rung and repeated 605 NP, BR: yul 606 SGB: missing gyi 607 SGB: ‘dzin 608 Reading SGB; GT: srid pa; NP: prang ma 609 Reading SGB throughout; GT: dgos143 rje gong ma'i spyod 'gros ma610 dran par 'dug pa mno611 bsam612 thong613 dang614 snying rus bskyed615 khyod ras gos rkyang re616 mi gyon617 par da dung r.nal618 ma'i gos lag gyon619 le620 lo can khyod la dgos pa yin lus la gtum mo ma621 'bar bar 'dug pa mno bsam thong la snying rus bskyed zas su zag med kyi kha zas622 mi za par da dung zhim dgu dang dngar623 dgu 'dod zhim lto can624 khyod la dgos pa yin 625zas kyi 'khri626 ba mchod627 par 'dug pa mno bsam thong la snying rus bskyed sprang po'i dman628 sa mi 'dzin par da dung gzhan gyi phye mthor629 'gam tshul 'chos mkhan khyod la dgos pa yin chos brgyad kyi630 mgo bo ma snyoms par 'dug pa mno bsam thong la snying rus bskyed don631 med kyi ldom bu ma byed par da dung r.nyad632 pa dang bkur bsti633 'dod634 'dod pa can khyod la dgos pa yin zhen pa nang nas ma log par 'dug pa 610 SGB: mi 611 NP: mon and repeated 612 SGB: insert zhig and repeated 613 NP: thang and repeated 614 SGB: la and repeated 615 SGB: skyed and repeated 616 SGB: pa 617 NP: gon 618 SGB, NP: snal 619 SGB: dug po ‘dug; NP: gos slag sdug 620 Reading SGB, NP; GT: lo 621 SGB: me; NP: mi 622 SGB, NP: ting ‘dzin 623 SGB, NP: mngar 624 NP: mkhas 625 NP: Insert kha 626 SGB: dungs; NP: gdung 627 NP: ma chod 628 SGB: dma’ 629 DGB: gtor 630 SGB: missing kyi 631 SGB, NP: zhen 632 SGB, NP: rnyed 633 NP: sti 634 SGB, NP: len144 mno bsam thong la snying rus bskyed gnyug ma'i nyams myong mi skyong par da dung mthun635 'jug dang636 pho so637 skyong khrigs kha638 can khyod la dgos pa yin sngon gyi spyod pam639 ma 'gyur640 'dug pa mno bsam thong la snying rus bskyed 'dris641 med642 kyi yul du mi sdod643 par da dung sngar 'dris644 kyi yul du sdod645 gdung646 sems can khyod la dgos pa yin 647snying rus kyi chig648 skya649 mi thug650 par 'dug pa mno bsam thong la snying rus bskyed brjod med kyi don la mi lta bar da dung yig nag gi dpe cha blta651 zin bris mkhan652 khyod la dgos pa yin snang ba dpe char653 ma shar654 'dug pa mno bsam thong la snying rus bskyed song 31 GT: [F.22.b]; SGB: [F.7.a]; NP: [F.62.b] bla ma sangs rgyas dang ‘dra ba cig pha gi na bzhugs pa la/ nga ‘dir sdod pa snyam dgongs nas bla ma la ngar mo kyi mgur ‘di phul lo// bdag phyis655 kyi sprang po gling ras nga656 635 Reading SGB, NP; GT: ‘thun 636 NP: gi 637 NP: sgo 638 SGB: khrid ka; NP: khris kha 639 SGB: pa; NP: lam 640 SGB: insert bar 641 NP: ‘dres 642 SGB, NP: insert bshes med 643 NP: ma ldom 644 NP: ‘dres 645 SGB, NP: zlog 646 SGB: dung 647 SGB: insert khyod kyis 648 SGB: kyis gcig 649 NP: rgya 650 SGB: pher 651 SGB: ‘khur; NP: ‘khur gi 652 NP: mkhas 653 SGB: cha ru; NP: cha 654 NP: Insert ba 655 SGB, NP: mchis145 rje bla ma rnams kyi bka' drin657 gyis dpyad658 pas go ba ma lags te659 gnyug ma'i don cig660 nyams su myong nges shes blo yi gting nas skyes lus 'di661 ngos gzung662 med pas663 bde dbugs 'gyu664 ba tshor ba med par sdod665 dran rtog na 'un666 lta bur667 yal sems nyid668 nam mkha' lta bur dag chos nyid nam mkha'669 mtha'670 nas langs 'od671 gsal672 nyi ma mkha' la shar ma rig mun pa gting nas sangs ting 'dzin bying rgod med par gsal chos nyid gnyug ma'i rang sa 'dzin673 rkyen snang gi674 mtshan ma rang sar grol rig pa'i chu bo dangs snyigs phyed675 rnam rtog gi676 rba rlabs rang sar yal677 chos sku678 stong nyid kyi679 ngang du gsal tha snyad brjod med kyi680 dbyings su stor da681 'khor ba sems su shes lags682 pas 656 NP: la 657 NP: byin brlabs 658 Reading NP; SGB: bshad; GT: spyad 659 SGB, NP: pa’i 660 SGB: zhig; NP: gcig 661 NP: ni 662 NP: bzung 663 SGB, NP: par 664 NP: rgyu 665 SGB, NP: bde 666 SGB: bu; NP: bun 667 SGB, NP: bzhin du 668 SGB: ni 669 SGB: kyi nam ni; NP: nam ni 670 NP: missing mtha’ 671 SGB: bde 672 SGB, NP: insert gyi 673 SGB, NP: zin 674 NP: missing gi 675 NP: ‘byed 676 NP: missing gi 677 SGB: grol 678 SGB, NP: kun 679 NP: missing kyi 680 SGB, NP: missing kyi 681 NP: de 682 SGB, NP: ngo shes146 rigs drug gi gyang sa rbad kyis683 chod dgos pa med pa blo re bde sangs rgyas sems su thag chod bas684 zhe 'dod685 sgrub686 bya mi gda' bas687 re ba med pa 'di688 blo re bde sems nyid 'od gsal stong pa la sgom bya689 sgom byed mi gda' bas690 mnyam rjes med pa 'di691 blo re bde nang du nyon mongs skyes tsa692 na rdo tshan la kha ba babs ba bzhin nyon mongs rnam par rtog ba kun bcom pa med pa693 zhi nas thal rtogs ba nang nas shar tsa694 na chu695 la zla ba696 shar ba bzhin nyon mongs shes bya'i sgrib ba kun697 bsal ba med par sangs698 nas thal tshig 'di don dang699 ldan mi ldan rje chos kyi sbyan can dpang700 por zhugs lar bla ma zer ba’i drin po che mi zad kyi701 gter dang sprod sprod pa rje sangs rgyas rnams la phyag 'tshal bstod702 703byin brlabs zer ba'i nus mthu704 can 683 NP: kyi 684 NP: cing 685 SGB: kyi 686 SGB: bsgrub; NP: bsgrubs 687 Unclear in GT; SGB, NP: bas 688 SGB: missing ‘di 689 NP: byar med 690 SGB: na 691 SGB: missing ‘di; NP: par 692 NP: tsam 693 SGB, NP: par 694 NP: tsam 695 SGB, NP: mun 696 SGB: khri gdugs 697 SGB: rnams 698 SGB: dangs; NP: yal 699 SGB, NP: ‘di tshig dang don du 700 NP: dpong 701 SGB: missing kyi 702 SGB: lo147 'khor 'das zil gyis705 gnon nus pa706 shes pa 'gyur la phyag 'tshal bstod707 gdams ngag708 zer ba'i gnad709 po che gzung 'dzin rtsa ba gcod nus pa nyams myong 'bar710 la phyag 'tshal bstod711 lar thams cad log712 pa'i byin brlabs kyi713 rnal 'byor skyid du 'jud714 pa yin715 rin716 po che la phyag 'tshal bstod717 song 32 GT: [F.23.a]; NP: [F.38a] yang ldum bu gtso bor ston pa’i sgom chen kha khyer mang du ‘dug pa rnams la mgur ‘di gsungso// na mo ratna gu ru bka' rgyud718 rtsod pa med pa dang gcig grub thob rgyud719 med pa dang gnyid bla mar gran720 zla bral721 ba dang sum 'di gsum bka' rgyud kyi gdeng tshad yin gdeng722 dang ldan nam skal ldan kun khyed zog po'i khrim gyis slus723 par mchi'o 703 SGB, NP: Insert verse: gdam ngag zer ba’i gnad po che/ ye shes dngos su ‘char nus pa’i/ ngo mtshar can la phyag ‘tshal bstod// 704 SGB: pa 705 NP: gyis 706 NP: pa’i 707 SGB: lo 708 SGB, NP: sgom pa 709 NP: gal 710 SGB: can; NP: ‘char 711 SGB: lo 712 SGB, NP: ‘dus 713 NP: kyis 714 SGB, NP: ‘jug 715 SGB: ‘jug ‘jug pa 716 SGB, NP: drin 717 SGB: lo 718 NP: insert ‘di 719 NP: rgyun 720 NP: ‘dren 721 NP: med 722 NP: gdengs de 723 NP: bslu148 thabs lam dka' tshegs724 med pa dang gcig gdams ngag725 zab mo'i ngo sprod dang gnyis gnas lugs phyag rgya chen po dang gsum de gsum gdams ngag kyi gdeng tshad yin gdeng de dang ldan nam skal726 kun khyed tha snyad tshig727 phyir 'brengs par mchi'o chos nyid mngon du gyur ba728 dang gcig rang gi rig pa'i ye shes dang gnyis don smra bsam brjod du med pa dang gsum 'di gsum lta ba'i gdeng tshad yin gdeng dang ldan nam X729 khyed kha lta730 rkyang bar shor bar 'chi'o sems 'od gsal dri ma med pa dang gcig nyams bde stong ngos gzung731 med pa dang gnyis don gnyug ma 'bral732 ba med pa dang gsum 'di gsum sgoms733 ba’i gdeng tshad yin gdeng dang ldan nam X khyed734 zhi gnas ltangs735 por shor bar mchi'o gol sgrib736 pa brdar737 sha chod pa dang gcig 'dzin pa'i btong738 phur thon739 pa dang gnyis zhen pa nang nas log ba dang gsum 'di gsum sbyod ba'i gdeng tshad yin gdeng de dang ldan nam X khyed tho cho'i spyod par shor bar mchi'o sems nyid ye sangs rgyas pa dang gcig rtogs pa mngon du gyur pa dang gnyis yon tan shugs las 'byung ba dang gsum 'di gsum 'bras bu'i gdeng tshad yin 724 NP: tshogs 725 NP: brda’ dbang 726 NP: insert ldan 727 NP: tshigs 728 NP: ‘gyur ba med pa 729 NP: this line is completed in each verse 730 NP: tshig 731 NP: bzungs 732 NP: ‘brel 733 Reading NP; GT: bsgroms 734 NP: sgom 735 NP: lteng 736 NP: sgrub 737 Reading NP; GT: dang 738 NP: rtod 739 NP: theng149 gdeng de dang ldan nam X khyed yid740 smon gyi lam du lus par741 mchi'o bla ma'i742 bka' bzhin byad ba743 dang gcig ci byed chos dang btun744 pa dang gnyis rang745 sems mkha' ltar dag pa dang gsum 'di gsum dam746 tshig gi gdeng tshad yin gdeng de dang ldan nam X khyed g.yo sgyu'i khong sran747 zhugs par mchi'o 748dmigs gtad749 med par 'khyams pa dang gcig skyid sdug thad kar750 sbyod751 pa dang gnyis gar752 byung grogs su 'khyer ba dang gsum 'di gsum snying rus kyi gdeng tshad yin gdeng X khyed skyid 'dod kyi rdzong la zhen753 par mchi'o zhen med ldum754 bu sbyod755 pa dang gcig brdzun756 g.yo sgyu med pa'i sbyod 'gros dang gnyis chog shes 'phral phyir byed757 pa dang gsum 'di gsum 'tsho ba'i gdeng tshad yin gdeng X khyed log 'tsho'i khram la zhugs pa mchi'o nyal sa skyo758 med kyi mkhar759 dang gcig skyo rogs dangs760 ma'i sems snyid761 dang gnyis skyo sangs762 dran pa'i rol mo dang gsum 740 NP: missing yid 741 Reading NP; GT: las pa 742 NP: missing bla ma’i 743 NP: insert pa’i mos gus 744 NP: bstun 745 Reading NP; GT: rung 746 NP: dbang 747 NP: skran 748 NP: insert bdag 749 NP: pa 750 NP: dkar 751 NP: gcod 752 NP: gang 753 NP: sbyor bas bcing 754 NP: kyi ldom 755 NP: byed 756 NP: rdzun 757 NP: ‘phral tshod 758 NP: skye 759 NP: insert po 760 NP: sru dang 761 NP: shes pa150 'di gsum skyo rogs kyi gdeng tshad yin gdeng de dang ldan nam skal ldan kun khyed 'jig rten gyi grogs763 kyis slus par764 mchi'o Song 36 GT: [F.24.b]765 yang de dus jo gdan tshul ‘chos mkhan ‘gas chos ‘brel cig mdzod zer byung ba la mgur ‘di gsungso// na mo ratna gu ru dur smin rgyal mtshan mi gtog ste rnal 'byor ba yi cha lugs 'di he ru ka yi brtul shugs yin skye bo yin snyam mi dgongs 'tshal 'dul ba'i tshangs spyod mi gdog ste btsun mo 'khor du bsdung pa 'di rdo rje 'chang gi tshangs spyod yin khyim pa yin snyam mi dgongs 'tshal dka' thub sdom pa mi gdog ste za su zhim dgu za ba 'di lus rgyal ba 'di dkyil 'khor mchod pa yin zhim lto che bar mi dgongs 'tshal gtsang ma'i sgom grwa mi gdog ste 'khor gang na dan nggu skyong ba 'di snying rje 'gro don byed pa yin lang long yin snyam mi dgongs 'tshal dge sbyor rtsol sgrub mi nus te gnyid nyin mtshan med par nyal ba 'di ku su lu yi sbyong pa yin gnyid sgrib pa yin snyam mi dgongs 'tshal nga rgyal bcol chung ma bgyis par kha nas glu chung len ba 'di rje gong ma rnams kyis spyod 'gros yin 762 NP: insert su 763 NP: khe drag 764 NP: bslus pa 765 I could not find any other witnesses for this song151 Ar por 'dug snyam mi dgongs 'tshal gnas cig du dge sbyor mi nus te phyogs med ri khrod 'grim pa 'di gzhan don du ro snyoms byed pa yin rnyed pa tshol bar mi dgongs 'tshal phyogs med thos pa ma byad te bla ma'i byin brlabs gdams ngag gis rgyud sde 'ga' yi dgongs pa brdol rang dgar 'chad snyam mi dgongs 'tshal Song 40 GT: [F.27.b]; NP: [F.47.b] de nas da’i dgun ‘ol rme sding su bzhugs dus/ nya ma dad pa skyes ba la dgun kyi nyi thung la dpe blangs nas mgur ‘di gsungso// na mo ratna gu ru nyams myong dbyangs su len tsa766 na res 'ga' btud de btud de len btud de btud de mi len767 du tshe long med dgun kha'i nyi ma 'dra768 'chi bdag bdud dang phrad tsa na769 chos la phyi bshol btab770 long med mos gus bskyed cig skal ldan kun de phyir btud de btud de len res 'ga' na re na re len na re na re mi len771 tu bla med byang chub sgrub pa la lo re lo gnyis ma lags par sang ma rgyas bar du sgrub kyang 'chal772 dkyus bzhugs773 bsrings cig skal ldan kun de phyir na re na re len 766 NP: tsam 767 NP: blang 768 NP this line reads tshe dgun kha’i nyi thung ‘dra ba la 769 NP: this line is missing 770 NP: gdab 771 NP: blang 772 NP: ‘tshal 773 NP: zhugs152 res 'ga' 'o dod774 dbyangs su len 775skal med rna ba brag las sra dam pa776 chos nyid kyi sgra mi thos de phyir 'o dod777 dbyangs su len res 'ga' gsang gin778 gsang gin779 len gsang gin780 gsang gin781 mi len782 du rgyud la rtogs783 pa shar tsha na nyams myong dbyangs su len pa de skal med rnams kyi784 thos su phangs785 de phyir gsang gin786 gsang gin787 len res 'ga' yi mug dbyangs su len788 789bla ma bzang ste bdag rang ngan dad pa yod de snying rus med790 pha rjes sleb pa'i dus mi gda'791 de phyir yi mug dbyangs su len res 'ga' rbad khams dbyangs su len rbad khams dbyangs su mi len du792 'khor ba ye nas myang 'das yin793 rnam rtogs ye nas chos sku yin (mahamudra terminology) sems nyid ye nas sangs rgyas yin sa dang lam gyi dgos pa med de phyir rbad khams dbyangs su len res 'ga' rgyu 'bras dbyangs su len rgyu 'bras dbyangs su mi gleng794 du 774 Reading NP; GT: ‘od do 775 NP: insert one line: ‘od do dbyangs su mi blang du 776 NP: pa’i 777 Reading NP; GT: ‘od do 778 NP: kyi 779 NP: kyi 780 NP: kyi 781 NP: kyi 782 NP: blang 783 Reading NP; GT: rtags 784 NP: rna bar 785 NP: ‘phangs 786 NP: kyis 787 NP: kyis 788 NP: insert one line: yi mug dbyangs su mi len su 789 NP: insert pha 790 NP: insert one line gdams ngag yod de nyams len med 791 NP: mchis 792 NP: rgyu 793 NP: mya ngan ‘das 794 NP: len153 skye ba med pa'i don rtogs kyang las rgyu 'bras khyad du mi bsod795 'tshal rgyu 'bras khyad du bsad796 ba na ngan song gYang la797 lhung nyen798 yod de phyir rgyu 'bras dbyangs su len res 'ga' nga rgyal dbyangs su len nga rgyal dbyangs su mi blang du bka' rgyud rtsod pa med pa la 'dran zla med pa'i gdam ngag zhus799 thug sar btugs800 pas sgro 'dogs chod 801the tshom bral802 ba'i mi re skyid de phyir nga rgyal dbyangs su len Song 42 GT: [F.29.b]; NP: [F.27.a] khyad par dpyid po zhig spong dag rgya chen cig mdzad pas/ ‘khor rnams kyis byung tshad la zan mi sbyin par ‘tshal/ nam zla gnag pas zag rkun yong lags zhus pas/ rin po che’i zhal nas rnal ‘byor pa bya ba yod na spyod pa yin/ med na sprang du ‘gro ba yin rnal ‘byor pa yin min ‘dis shan ‘byed pa yin gsung nas mgur ‘di gsungso// na mo ratna gu ru bdag803 zang zing gi nor dang phrad804 lags kyang chags zhen805 spangs pa'i806 rnal 'byor la807 nor rdzas sems kyi tsher ma808 yin sog809 'jog byed na rnal 'byor min 'tso ba'i yo byad zad lags kyang ldom bu byed pa'i rnal 'byor la brgyags810 chad skya rgyal gyis811 sna 'dren yin 795 NP: gsad 796 NP: gsad 797 NP: gsum du 798 NP: nyes 799 NP: this line is slightly different: gdam ngag ‘gran zla med pa ‘byung 800 NP: par gtugs 801 NP: insert blo 802 NP: med 803 NP: missig bdag 804 NP: ‘phrad 805 NP: zhan 806 NP: la 807 NP: pa 808 NP: ‘tsher ba 809 NP: bsog154 brgyags kyid kyi dogs812 na rnal 'byor min sdang813 ba'i dgra dang phrad814 lags kyang byams pa sgom pa'i rnal 'byor la dgra sdang drin can815 gyi ma rgan yin zhe sdang816 byed na rnal 'byor min byams pa'i gnyen dang phrad817 lags kyang mnyam nyid sgom pa'i rnal 'byor la nye gdung818 gnas skabs kyi 'brel ba yin gdung sems byed na rnal 'byor min stong phrag brgyad bcu'i bgegs 'dus kyang stong nyid sgom pa'i rnal 'byor la bar chad dge sbyor gyi gsal 'debs yin rim gro byed na sgom chen min bzhi brgya rtsa bzhi'i nad 'dus kyang ro snyoms byed pa'i rnal 'byor la na tsha byung na slob dpon yin sman pa 'gugs819 pa'i rnal 'byor min rdo rje 'chang chen byon lags kyang sgro 'dogs chod pa'i rnal 'byor la gzugs sku sems kyi rnam 'phrul yin zhu rgyu byung na rnal 'byor min 'chi bdag bdud dang phrad820 lags kyang sems821 nyid rtogs pa'i rnal 'byor la 'chi ba rnam rtog yal ba yin shi822 yis dogs823 na rnal 'byor min shan 'byed brgyad kyi dbyangs chung 'di sgrags kyi824 yang rdzong shel gyis brag phug du 810 NP: rgyags 811 Reading NP; GT: gyi 812 NP: rgyag chad gyi dgo 813 NP: sdong 814 NP: ‘phrad 815 NP: chen 816 NP: sdong 817 NP: ‘phrad 818 NP: drung 819 NP: bkug 820 NP: ‘phrad 821 NP: stong 822 Reading NP; GT: sha 823 NP: dog155 rje825 bla ma rnams kyi byin brlabs kyis sems la shar nas826 blangs ba lags827 Song 45 GT: [F.31.a]; NP: [F.25.a] yang skabs cig tu me sgom na re/ bdag ldum bu la ‘gro bas ldum bu byed lugs kyi mgur cig zhu zhus pa’i lan du mgur ‘di gsungso// na mo ratna gu ru khyed na 'dir ldum828 bu byed pa na829 'di bzhin mdzod dang830 me sgom pa sdom gsum831 gyi chos gos phrag par832 khol phyag g.yas su833 thabs kyi mkhar834 bsil thogs835 gYon836 du shes rab kyi lhung zed837 bzung838 'khor 'das gnyis la ldum839 bu mdzod 'khor ba rgya mtsho lta bu yi gting mtha' med pa'i grong khyer du glang chen lta bu'i rnal 'byor pas840 nyams841 nga med pa'i ldum842 bu mdzod 'khor ba 'dam rdzab lta bu yi mi gtsang ljan ljin grong khyer du843 pad ma lta bu'i rnal 'byor pas844 gos pa med pa'i ldum845 bu mdzod 'khor ba btsan dug lta bu yi 824 NP: missing sgrags kyi 825 NP: missing rje 826 NP: na 827 NP: yin 828 SGB: rnams ldom (missing ‘dir); NP: nan ltar ldom 829 SGB: la 830 SGB, NP: cig 831 SGB ldom bu 832 SGB, NP: la 833 SGB: na 834 SGB: ‘khar 835 NP: sil bsnams 836 SGB: yon 837 SGB, NP: bzed 838 SGB: thogs; NP: thog 839 SGB, NP: ldom 840 SGB, NP: pa 841 SGB: nyam 842 SGB, NP: ldom 843 NP: na 844 SGB, NP: pa 845 SGB, NP: ldom156 sdug bsngal 'byin pa'i grong khyer du rma bya lta bu'i rnal 'byor pas846 dug847 bdud rtsir bsgyur ba'i ldom bu mdzod 'khor ba dur khrod lta bu yi 'jigs su rung ba'i grong khyer du lce848 spyang lta bu'i rnal 'byor pas849 'jigs pa med pa'i ldum850 bu mdzod 'dod yon me tog lta bu yi yid du 'ong ba'i grong khyer du bung ba lta bu'i rnal 'byor pas851 zhen pa med pa'i ldum852 bu mdzod chos dbyings nam mkha lta bu yis853 mtha' dbus med pa'i grong khyer du rgod po lta bu'i rnal 'byor pas854 rtsol sgrub bral855 ba'i ldum856 bu mdzod chos nyid ri bo lta bu yi 'gyur ba med pa'i grong khyer du seng ge lta bu'i rnal 'byor pas857 re dogs bral858 ba'i ldum859 bu mdzod Song 50 GT: [F.33.a]; NP:[F.29.a] tsogs pas bsus te rten gsum dang mjal dus bzhengs te thugs khar thal mo sbyar nas rang gi spyod ‘gros la dpags pa’i mgur ‘di gsungso// na mo ratna gu ru thams cad cig860 du 'dus861 ba'i sku dpal ldan bla ma rin862 chen la 846 SGB, NP: pa 847 NP: missing dug 848 NP: ce 849 SGB, NP: pa 850 SGB, NP: ldom 851 SGB, NP: pa 852 SGB, NP: ldom 853 SGB, NP: yi 854 SGB, NP: pa 855 SGB: ‘bral; NP: med 856 SGB, NP: ldom 857 SGB, NP: pa 858 SGB, NP: med 859 SGB, NP: ldom 860 NP: gcig 861 NP: mus 862 NP: insert po157 gnyis med ngang nas863 phyag btsal864 nas rnal 'byor rdo rje'i glu cig len sangs rgyas sems la865 snyed866 lags pas phyi rol rten la phyags mi 'tshal 'gro ba'i log867 rtog bsal bya'i868 phyir phyag gi btsal thabs ngo mtshar che tshogs chen869 sems la rdzogs lags pas 'dus byas phyi rol tshogs mi sogs870 'gro ba'i dgos 'dod bskyang ba'i871 phyir tshogs gnyis spel thabs ngo mtshar che rang sems spros dang bral lags pas bcos ma'i bskyed rim872 nga mi sgom gdul bya873 'gro ba 'dul ba'i phyir gzugs sku'i874 bstan thabs ngo mtshar che rdo rje'i bzlas pa brtan lags pas phyi rol bzlas pa875 nga mi byed gzhan don las tshogs sgrub pa'i phyir gsang sngags bzlas thabs ngo mtshar che mchog gi dkyil 'khor brtan lags pas thig ring876 tshon gyi las mi byed byis pa skye bo bzhug877 pa'i phyir dkyil 'khor bzhengs878 thabs ngo mtshar che cir879 snang phyag rgyar shar880 lags pas phyag rgya gar gyi las mi byed 'gro ba de yis881 'dul ba las882 863 NP: du 864 NP: ‘thal 865 NP: las 866 NP: rnyed 867 NP: don 868 NP: ba’i 869 NP: rang gi 870 Reading NP; GT: sol 871 NP: sgrub sa’i 872 NP: rims 873 NP: bya’i 874 NP: sku 875 NP: brjod 876 NP: dang 877 NP: gzhug 878 NP: bzhings 879 NP: ci 880 NP: rgya shes158 phyag rgya gar thabs883 ngo mtshar che brjod884 du med pa'i don rtogs pas tha snyad bshad pa885 nga mi byed de nyid gzhan la bstan pa'i phyir gdams ngag bstan thabs ngo tshar che mtshan ma'i bud shing zad lags pas886 sbyin sreg887 thabs888 kyi las mi byed zhi889 sogs dngos grub 'dod pa la dgang890 blugs 'bul891 thabs ngo mtshar che don gnyis ston pa rdo rje'i tshig ngo mtshar brgyad kyi dbyangs chung 'di 892sprang po bdag gi spyod 'gros893 lags Song 60 GT: [F.37.b]; NP:[F.47.a] de nas gsung rabs rnams phag mo grur ‘bul ba la skyel du byon pas/ lam ka bsam yas kyi ‘gron khang du zhag bzhugs mdzad pa’i nub mo mnal dang ‘od gsal ‘dres pa’i ngang la/ bud med sngon po cig byung ste po ti rnams mgo thog du bzhag nas boddbang sbyin lung rnams nod/ da ni khyod kyis rgyud sde rnams la rtsom bshad gyis dang mi shes pa mi yong gis gsung ngo/ khyed su yin zhus pas/ nga dbyings kyi yum chen mo yin gsung nas ‘ja’ ltar yal song/ gnas de kar zhag shas bzhugs nas po ti rnams la gzigs rtog mdzad pas thams cad thugs su chud cing mkhyen nas/ po ti rnams phag mo grur phul/ slar log ste sna phur bzhugs dus rgyud sde rnams la yig sna mang du mdzad pas/ mnyan ma myong bar bshad rtsom byed pa zer sgro skur ‘debs pa la bzod par gsol ba’i mgur ‘di gsungs so// na mo ratna gu ru sprang po bla ma'i bka' drin gyis zab mo'i rgyud la nang894 byan tshud 881 NP: de’i 882 NP: la 883 NP: stab 884 NP: rjod 885 NP: nyan bshad 886 NP: kyang 887 NP: srigs 888 NP: thab 889 NP: zhe 890 NP: dgongs 891 NP: dpul 892 NP: Insert one line: rnal ‘byor ‘tshogs na len pa yin 893 NP: pa 894 NP: rang159 gus ldan slob mas bskul gyur nas ma nor tshig895 don gsal bar bshad bya phran khyung gi rjes snyog ltar896 rnal 'byor dbang phyug chen po yis897 lad mo sprang pos bzlos pa 'di mi rigs snyam na898 bzod par gsol gyo sgyu rdzun zog899 khram ma shes900 901gzhan la zhal mar902 ma gYar bar903 drang904 por bshad pas905 blor906 ma shong rang bzo907 snyam na bzod par gsol byin brlabs don rgyud ma chad pas908 rje sangs rgyas dngos kyi909 byin brlabs kyis910 zab mo'i tshig don srol ba de911 mkhas drags912 snyam na bzod par gsol rang bzo’i bshad pa ma lags te913 rgyud nyid914 rgyud kyis915 legs bcings te916 917rdo rje 'chang gis918 lugs su bshad mtshar drags919 snyam na bzod par gsol 'brel med don la ma sbyar bar rgyud nyid mngon rtogs lam du blangs 895 NP: tshigs 896 NP: zlos bzhin 897 NP: yi 898 NP: khyed ston rnams la 899 NP: NP zog is missing 900 NP: pas 901 NP: tshig rgyud 902 NP: missing mar 903 NP: bar missing 904 Reading NP; GT: dang 905 NP: smras pa’i 906 NP: blo 907 NP: drang grags so 908 NP: ngo mtshar can 909 NP: rnams kyis 910 NP: pas 911 NP: bshad pa phyin ci ma logs pas 912 NP: insert so 913 From NP; This line is missing in GT 914 NP: kyi 915 NP: nyid 916 NP: nas 917 GT insert a line here: dbang po rgyud sde rnams la bcol 918 NP: gi 919 NP: insert so160 ma 'brel rgyud nyid ji bzhin bshad 'thad drags snyam na bzod par gzol bdag 'dra'i blo dman920 'ga' tsam gyis rgyud kyi921 don922 rtogs923 bya ba'i phyir cung zad tshig gis rab gsal bris924 sla925 drags snyam na bzod par gsol bla ma yid dam mkha' 'gros'i tshogs bdag gi snying du zhugs lags pas rang dbang med pa'i slab bcol926 shor dpe med927 snyam na bzod par gsol sgom pa stor928 nas tha snyad brdol929 nyams myong stor nas shes rab brdol930 rang 'dod stor nas phan sems skyes931 bdud kyi khyer ba ma lags sam sprang po bdud kyis932 khyer lags kyang chos kyi spyan dang mi ldan par933 gang zag blo934 tshod mi shes pas935 don med sdig pa mi bsag 'tshal bdag la rten nas gang zag 'ga' ngan song gyang la lhung dogs yod sna phu chos lung ri khrod du bzod gsol dbyangs su blangs pa lags ces pa’i mgur bzhes nas rtsom ‘phro bcado// 920 NP: rmang pa 921 NP: sde’i 922 NP: insert nyid 923 From NP; GT: rtags 924 this line in NP: shin tu gsal bar phye nas bshad 925 NP: gsal 926 NP: gdams pa shor 927 NP: mi rigs 928 NP: stong 929 NP: sdol 930 NP: rdol 931 this line in NP: gsang gtam smras pas yongs su grags 932 NP: kyi 933 NP: na 934 NP: insert yis 935 NP: pas missing161 song 65 GT:[F.39.a]936 yang dge ‘dun byang mdo pas sleu chung du spyan drangs te phug pa dga’ ldan phul nas dgon pa mdzad pa’i dusu mgur ‘di ni gsungso// na mo ratna gu ru dal 'byor mi lus 'di yi dka' lugs la mi tshe stong log byed pa col re chung 'chi khar nyams len med pa tsho ya re cha shi nas 'khor ba rang khyams pa tsho snying re rje mtshan ldan bla ma 'di yi dka' lugs la mdzad spyod skyon la rtog pa tsho bcol re chung dred po gom 'dris khyer ba tsho ‘o re rgyal sgo gsum yan par shor ba tsho snying re rje dam pa'i lha chos 'di yi dka' lugs la gcang po don med phyed pa tsho col re chung chos pa'i ming gis slus pa tsho ya re cha slu brid bdud kyis khyer ba tsho snying re rje ri khrod phyogs med 'grims pa'i dka' lugs la rang dbang rang la med pa tsho ya re cha dge sbyor rkyen khar shor ba tsho snying re rje gnyug ma ‘bral med ‘di yi dka’ lugs la ’gyu ba rang ngo ma shes col re chung ’khrul pa yid phyir ’breng ba tsho ya re cha du kha rgyan du mthong ba tsho snying re rje gsang sngags thabs lam 'di yi zab lugs la ras gos rkyang re mi gyon ba tsho col re chung rten 'brel gnad du ma song ba tsho ya re cha srog rtsol yan par shor ba tsho snying re rje yengs med gcig pur sdod ba'i dka' lugs la bzar med khyim thab byed tsho col re chung phrug gu lci bas slog byed pa tsho ya re cha nyon mongs rang dgar shor ba tsho snying re rje dbyangs chung snying rje bdun ma yin sems la zhog la nyam su long 936 I could not find alternate versions for Song 65 162 gnad ka shin du che bar yong song 78 GT: [F.45.b]; NP: [F.64.a] spang gong na bzhugs dus mis sgom gyis rnam thar cig gsung du gsol zhus pa la mgur ‘di gsungso// na mo ratna gu ru bdag rang phyis937 kyi rnal 'byor 'di skyes ba938 gtsang gi phyogs su skyes lo brgyad dgu lon939 nas yig rtsis bslabs bcu bdun lon nas chos sgor zhugs bla ma 'ga'i spyan mngar940 phyin dbang byin brlabs rdzogs941 pa 'ga' re zhus gzhung gdams par bcas pa942 'ga' re mnyan rje de kun943 bka' drin che mod kyi944 des kyang sgro 'dogs ma chod nas gdams pa gang che'i rtsad945 bcad pas sngags kyi grwa sa phal che na rje ras chung pa'i thugs kyi sras946 947rje lo gtsang ra gsum zhabs la btugs948 snyen949 bkur950 zhabs tog mi gdog ste gus ba'i stobs kyi951 ci gsung mnyan brtse ba'i thugs kyi bu bzhin bskyangs952 dbang gdams pa953 bcas pa rdzogs par zhus lo brgyad dgu tsam du nan tan byas954 dus de tsa na955 nga yi bsam pa la 937 NP: mchis 938 NP: sa 939 NP: tsam 940 NP: sngar 941 NP: gdam ngag bcas 942 NP: pa’ang 943 NP: yang 944 NP: de 945 NP: brtsad 946 NP: brgyud pa ‘di che’o zer 947 NP: insert two lines: brgyud pa’i gdams pas gdung lags nas/gnyal dang lo ro’i phyogs su byon 948 NP: rtsa gsum gyi spyan sngar gtugs 949 NP: bsnyen 950 NP: dang 951 NP: kyis 952 NP: skyongs 953 NP: ngag 954 NP: bgyis163 'dzam gling bskor956 yang gdams pa957 de rang che'o snyam pa'i nga rgyal skyes958 gdams pa zab dgu chod lags kyang sems kyi sgro 'dogs ma chod nas dpal phag mo gru'i nags khrod du rje rin po che'i spyan mngar959 phyin bdag sleb pa'i gdong la zhal yang mjal gdul bya'i sras su gzigs pa 'dra sku mthong ba tsam gyi shes pa 'gyur las 'brel bag chags sad pa 'dra gsung thos pa tsam gyi ba spu gYos960 thugs rje'i byin brlabs zhugs pa 'dra chos 'brel zhus pas961 thugs yid 'dres yon tan962 dgos su thob pa963 'dra tshig lhag pa'i964 bstan rgyu mi gdog965 ste ji zhig ltar la rang gi966 sems skye ba med par967 chos skur rtogs chos nyid mngon du byas pa 'dra yun ring po tsam yang ma rten968 te bla ma mched grogs969 sangs rgyas su mthong ba'i mos gus de nas skyes bdag gus pas snang ba 'gyur ba 'dra dpe yig ge970 cig kyang ma zhus te rgyal ba'i bstan pa rab 'byam la971 shes pa'i snang ba de nas thob shes rab kyi spyan cig snang972 ba 'dra dbang cho ga'i rim pa ma zhus973 te 955 NP: tsam 956 NP: skor 957 NP: ngag 958 NP: This line is split into two: nga rang che’o snyams pa yi/mngon pa’i nga rgyal rloms sems skyes 959 NP: sngar 960 NP: longs 961 NP: pa’i 962 NP: yang nan tan 963 NP: mi to 964 NP: ma 965 NP: gda’ 966 NP: gis 967 NP: pa’i 968 NP: bsten 969 NP: mchog la 970 NP: des yi ge 971 NP: ‘byams pas 972 NP: gnang164 dus gsum rgyal ba'i dgongs pa la rin chen974 dbang mchog de ru thob byin brlabs kyi975 dbang bskur bgyis ba 'dra dam tshig sdom pa ma skyar976 te nyes ltung la sogs dri ma kun bshags kyang977 ma dgos dag nas thal zag med978 dbyings su phyin pa 'dra yun ring ba979 tsam yang ma sgoms te rtogs pa'i nyams myong tshig du phul lung bstan rjes su gnang980 ba thob mdun981 ma phul du phyin pa 'dra phyin chad sgom rgyu mi gdog982 ste rje bla ma dran pa'i mos gus kyis bdag gzhan dgos 'dod 'grub par byung yid bzhin nor bu rnyed pa 'dra lar983 bka' drin can la phyag 'tshal lo984 985thugs rje can la phyag 'tshal lo986 987byin rlabs can la phyag 'tshal lo988 da dung byin gyis brlab du gsol Song 84 GT: [F.49.b]; NP: [F.24.b] yang rdzong du bzhugs dus me sgom la ri khrod dgon gnas ‘dzin tshul dang thab skyong byed tshul gyis mgur ‘di gsungso// na mo ratna gu ru 973 NP: bgyis 974 NP: rigs pa’i 975 NP: kyi missing 976 NP: bskyar 977 NP: pa 978 NP: kyi 979 NP: po 980 NP: gnong 981 NP: ‘dun 982 NP: bdog 983 NP: rje 984 NP: bstod 985 NP: insert rje 986 NP: bstod 987 NP: rje 988 NP: bstod165 kye ho dgongs dang me sgom989 pa nan tar990 ri khrod 'grim pa na skye ba med pa'i lung stong du 'gyur ba med pa'i rnal 'byor nyol991 sems gdod nas dag pa'i mchod khang du rtogs pa mngon 'gyur gyis992 phyags dar993 mdzod lhun gyis grub pa'i mchod gnas la gnyis su med pa'i mchod pa phul lhan cig skyes pa'i mkha' 'gro la nyams zag994 med995 tshogs kyi996 'khor lor997 bskor rang bzhin gnyug ma'i mal998 sa ru bde ba chen po'i dge sbyor mdzod999 sna tshogs snang ba'i nags khrod du 'dzin med rang grol skyo bsangs1000 mdzod 'dod yon lnga'i ri dags la zhen pa med par ltad1001 mo ltos de 'dra ba'i1002 ri khrod du nan tar1003 thab kha1004 byed pa na1005 mnyam pa nyid kyi sa gzhi la sku gsum lhun grub kyi1006 sgyed bu tshugs1007 rnam rtog sna tshogs kyi bud shing la rang byung1008 ye shes kyi1009 me chen1010 sbor 989 NP: rnal ‘byor 990 NP: ltar 991 NP: brag phug bzung 992 Reading NP; GT: gyi 993 NP: phyag bdar 994 NP: insert pa 995 NP: pa’i 996 NP: missing kyi 997 NP: missing lor 998 NP: lam 999 NP: mdzad 1000 NP: sangs 1001 NP: ltan 1002 NP: ma’i 1003 NP: ltar 1004 NP: thabs ka 1005 NP: la 1006 NP: missing kyi 1007 Reading NP; GT: btsugs 1008 Reading NP; GT: sems 1009 NP: missing kyi166 stong pa nyid kyi khog pa1011 ru thabs1012 snying rje chen po'i g.yo skol1013 gyis tshogs gnyis rdzogs pa'i chang1014 tshang gis dmigs pa med pa'i mgron1015 la drongs1016 skal par1017 ldan pa'i gang zag la chos sbyin chen po'i dga' ston gyis nam1018 mkha' dang mnyam pa'i sems can la smon lam snying rje'i bsam pas1019 khye zag pa med pa'i longs spyod kyi1020 gang la gang 'dod sbyin par thong de 'dra'i ri khrod 'grim spyod dam de 'dra'i ri khrod 'grim spyod na rje gong ma'i rjes su sleb pa yin grub thob kyi brgyud pa zin pa yin Last Words: (in writing) GT: [F.55.b]; SGB: [F.27.a]; BR: [F.21.b]; DD: [F.22.b] bla ma 1021dang dkon mchog rin po che yi dam mkha’ ‘gro1022 chos skyong rnams kyis1023 thugs dam bzhin du ‘di dag ‘grub1024 gyur cig byin brlabs mchog gis ‘gro kun rgyal1025 gyur cig ’dus byas zhig ste rnam rtog yal1026 ba la ’chi ba zhes btags byas1027 pa’i sdug bsngal de rnal ‘byor sems nyid ‘dus ma byas pa yin1028 1010 NP: bo 1011 NP: ma 1012 NP: missing thabs 1013 NP: bskol 1014 NP: phyags 1015 Reading NP; GT: 'gron 1016 Reading NP; GT: grongs 1017 Reading NP; GT: las dang 1018 NP: missing nam 1019 NP: pha ‘babs 1020 NP: gyis 1021 DD, BR: Insert rnams 1022 SGB: Insert dam can; BR: dam pa 1023 SGB: kyis missing; DD: bsrungs ma’i tshogs; BR: gis 1024 SGB, DD: bsrung; BR: srung 1025 DD: smin 1026 BR: ral 1027 SGB: grags byis; DD: bstan byis; BR: btags byams 1028 SGB, DD: yi; BR: yis167 dbyings su gshegs pa bde ba chen po yin bdag gi sems nyid rgyal ba’i thugs rdo rje sems can kun gyi sems la dbyer med gnas gang du1029 gshegs so ma snyam sems la ltos sems kyi de nyid mthong1030 na1031 nga dang mjal bdag gi lus ‘di1032 rgyal ba’i sku rdo rje sems can kun gyi lus la dbyer med gnas gshegs nas med do1033 ma snyam1034 lus1035 la ltos lhan skyes rang bzhin rtogs1036 na nga dang mjal bdag gi ngag nyid1037 rgyal ba’i gsung rdo rje sgra rnams ma lus kun dang1038 dbyer med gnas gsung gleng med do1039 ma snyam sgra kun1040 nyon brjod med rang bzhin rtogs na nga dang mjal nga ni sems can ma lus thams cad dang skad cig tsam yang1041 ‘bral med khyab par gnas gsol ba gang btab de la byin brlabs ‘byung bsod nams gang bsags de la bde ba ster gnyug mar gang gzhag1042 de yis de1043 nyid mthong1044 dam tshig gang bsrungs de la dngos grub ‘byung1045 phan sems gang che de la rgyal ba mnyes snang ba gang dag1046 de yis zhing khams mthong tshogs gnyis1047 gang1048 rdzogs de yis don gnyis ‘grub1049 1029 DD: nga ni 1030 SGB: nyid rang bzhin rtogs 1031 BR: nas 1032 Reading SGB; DD: lus nyid; BR: sku nyid; GT: sems nyid 1033 DD: nga nyid gshegs so 1034 BR: snyams na 1035 Reading SGB, DD, BR; GT: sems 1036 DD: rig ‘dzin mthong 1037 SGB: ‘di; BR: ni 1038 SGB: la 1039 DD: gling gling ler ro 1040 DD: rnams 1041 DD: dang 1042 SGB: bzhag 1043 DD: nga 1044 SGB: thob 1045 SGB: this line missing 1046 BR: missing dag 1047 DD: gcig 1048 BR: insert gis 1049 SGB: yis sangs rgyas thob; BR: sang rgya168 bla ma’i rtogs pa thob nas tshul bzhin du ’bral med gnas pa de yis bla ma bsten1050 sgo gsum yan1051 par btang na1052 gus med par rtag du bla ma rten1053 dang1054 so sor gnas bdag kyang sngon tshe log par dad sel gyi bstan1055 la1056 rab du sbyangs pa’i yon tan gyis rgyags de chos smra’i dge slong1057 rnams gnyis la ’khrig pa’i skur1058 btab skye ba dpag med du dmyal1059 sogs1060 sdug bsngal myong nas bstan ‘di la smon lam dbang1061 gis rgyal ba’i spyan sngar phyin bdag cag nyi shu yon tan ldan no zhes grogs dang bcas pas1062 bka’ stsal1063 chu mar brlags1064 nyes pa1065 bshags1066 te sdom pa ma lus blangs1067 de tshe bdag1068 ming byang sems brtson ‘grus ‘od lnga brgya1069 tha1070 mar sgrib pa kun zad de ’od dpag med pa’i zhing du nga1071 lung bstan1072 lhag pa’i bsam pa bskul1073 pa’i mdo mthong nas1074 sngon tshe dran pas yul nas1075 mchi ma shor de nas bzung ste1076 skye ba ‘di bar du 1050 from SGB: GT: bstan; DD: sten; BR: brten 1051 BR: yal 1052 SGB: btan nas: DD: btang nas; BR: tang nas 1053 From DD, BR; GT: bsten 1054 SGB: skyang; BR: yang 1055 BR: brtan 1056 DD: pa 1057 DD: gang zag 1058 BR: bkur 1059 DD, BR: insert ba la 1060 SGB: ba’i 1061 SGB: stobs 1062 SGB: te; DD: la 1063 SGB: gsal 1064 SGB: mchi ma phyung; DD: ‘chi ma rlags; BR: mchi ma glags 1065 SGB: nye bar 1066 BR: gshegs 1067 DD: bzung 1068 SGB: nga 1069 BR: rgya 1070 BR: mtha’ 1071 SGB, DD, BR: nga missing 1072 SGB, DD, BR: insert pa 1073 Reading SGB, DD, BR; GT: lhag bsam rnam par dag 1074 DD, BR: pas 1075 Reading SGB; DD: pas lus rnangs; BR: pas yus gnang; GT: pa’i yus brnangs169 ngan song gsum du nam yang ma skyes te cho1077 ris1078 dman zhing dbul po’i rigs su skyes yul ngan rnams su sdug bsngal chos la sbyangs yon tan ldan1079 zhing mkhas par gyur1080 kyang ni rtsod med grags par nam yang ma gyur to chos la dad1081 cing1082 chos la1083 mjal1084 gyur te chos kyi spyan1085 thob chos kyi don shes kyang chos smra’i skyes bu1086 shin du dben gyur cing1087 dam pa’i skyes bus bzung ba ‘ga’ re tsam1088 ’dir gang1089 chos rje rin1090 chen bka’ drin gyis mdo sde ma lus shes kyang1091 gzhan gyi sems bsrung phyir ma bshad chos ‘ga’ brtsams nas bzhag de phyir khyed kyang1092 gzhan sems bsrung bar byos1093 1094sngon bsags sgrib pa skye ba ‘di yi1095 zad dge ba ci byas ‘gro ba’i don du bsngos1096 smon lam rgya chen ‘gro ba’i don du1097 btab ’bad rtsol ci byas ‘gro ba’i don du1098 byas ’di nas bzung ste1099 ji srid ‘khor1100 ba’i bar mkha’ myam ‘gro ba gang la1101 gang ‘dul ba’i sprul pa sna tshogs shugs las byung ba yin1102 1076 SGB: nas 1077 BR: chog 1078 SGB, DD, BR: rigs 1079 SGB: mkhas 1080 SGB: insert lags 1081 From SGB, DD, BR; GT: btang 1082 SGB: nas 1083 SGB, DD: dang 1084 BR: ‘byal 1085 DD: rgyan 1086 SGB, DD: bus 1087 SGB: te; DD: to 1088 BR: rtsam 1089 SGB, DD, BR: yang 1090 DD: rig 1091 BR: mkhyen yang 1092 DD: dang 1093 BR: bgyis 1094 The next four lines are missing from BR, ending with don du byas 1095 SGB, DD: yis 1096 SGB: bsngo 1097 DD: la 1098 DD: la 1099 BR: nas 1100 SGB, DD: ‘tsho 1101 DD: missing la 1102 SGB: la byu byung ba yis; DD: yis; BR: las ‘byung pa’i170 dgos ‘dod ma lus yid bzhin rdzogs par bskod1103 bdag gi1104 sems dang rgyal ba rnams kyi thugs zag med dbyings su dbyer med ‘dres nas kyang kun la khyab cing rgyun mi ‘chad pa yi lhun gyis grub pa’i phrin las ‘byung1105 ba yin kho bo1106 gdung zhing mos pa’i gang zag kun zhe1107 ‘dod gyo sgyu’i1108 bsam pa kun spongs1109 la rtag du gsol1110 ba thob cig rnal ‘byor1111 kun dgos ‘dod yid bzhin ‘grub pa1112 bdag1113 rang shes Abbreviations: GT: Copy Text Lha btsun Rinchen rNam rGyal. Grub thob gLing Ras kyi rNam mGur mThong ba Don ldan. Printed at brag dkar rta so. TBRC ref. W4CZ1043 Undated (16th century). 61 ff. NP gLing Ras pa Padma rdo rje. rJe Grub thob chen po'i bKa' 'bum las gSung mGur gyi rim pa. In Gling chen Ras pa Padma rdo rje'i Bka' 'bum. Reproduced from a collection of rare mss. from Go-'jo Nub Dgon, Khampa Gar Sungrab Nyamso Gyunphel Parkhang, Tashijong (Palampur 1985), Vol.1 pp.49-226. SGB Sangs rgyad 'bum? Grub chen gLing gi rNam Thar. In Rwa Lung dKar brGyud gSer 'Phreng. Palampur, India: Sungrab Nyamso Gyunpel Parkhang, 1975-78. Vol. 1 pp. 347-404. BR "Grub thob chen po gling chen ras pa pad+ma rdo rje'i rnam par thar pa (nya)." In 'Ba' ra bka' brgyud gser 'phreng chen mo. TBRC W19231. 1: 372 - 418. Dehradun: Ngawang Gyaltsen and Ngawang Lungtok, 1970. DD bDe chen rdo rje. "grub thob kyi rgyal po gling chen ras pa'i rnam par thar pa/ ." In dKar brgyud gser 'phreng /. TBRC W23436. : 443 - 490. Palampur, H.P.: Sungrab Nyamso Gyunphel Parkhang, Tibetan Craft Community, 1973. RY The Rangjung Yeshe Tibetan-English Dictionary of Buddhist Culture (version 3.0) TDCM Bod rgya tshig mdzod chen mo 1103 DD: skongs 1104 BR: gis 1105 DD: grub 1106 SGB, DD, BR: bos 1107 BR: zhen 1108 SGB, BR: rgyu’i; DD: rgyu 1109 DD: yongs 1110 DD: gsal 1111 SGB: ci skal ldan; DD, BR: gcig skal ldan 1112 SGB, BR: par 1113 SGB, DD, BR: nga171 Bibliography Tibetan Sources- "Grub chen gling gi rnam thar (tha)." In Rwa lung dkar brgyud gser 'phreng. TBRC W19222. 1:347 - 404. Palampur: Sungrab nyamso gyunphel parkhang, Tibetan Craft Community, 1975-1978. http://tbrc.org/link?RID=O1GS41145%7CO1GS411451GS41160$W19222 "Grub thob chen po gling chen ras pa pad+ma rdo rje'i rnam par thar pa (nya)." In 'Ba' ra bka' brgyud gser 'phreng chen mo. TBRC W19231. 1: 372 - 418. Dehradun: Ngawang Gyaltsen and Ngawang Lungtok, 1970. http://tbrc.org/link?RID=O1GS41093%7CO1GS410931GS41105$W19231 Grub thob gling ras kyi rnam mgur mthong ba don ldan/. TBRC W4CZ1043. 1 vols. Brag dkar rta so/: lha btsun rin chen rnam rgyal/ [16th cent.]. http://tbrc.org/link?RID=W4CZ1043 ’Jam dbyangs chos grags. "bDe mchog snyan rgyud las/ brgyud pa ring lugs kyi rnam thar nor bu 'od kyi phreng ba/." In 'Brug lugs chos mdzod chen mo/. TBRC W23779. 60: 21 - 104. [Kathmandu]: Drukpa Kagyu Heritage Project, [200?]. http://tbrc.org/link?RID=O23779%7CO23779C2O1266$W23779 bDe chen rdo rje. "grub thob kyi rgyal po gling chen ras pa'i rnam par thar pa/ ." In dKar brgyud gser 'phreng /. TBRC W23436. : 443 - 490. Palampur, H.P.: Sungrab Nyamso Gyunphel Parkhang, Tibetan Craft Community, 1973. http://tbrc.org/link?RID=O4CZ155%7CO4CZ1554CZ1056$W23436 Don grub rgyal. “Bod kyi mgur glu byung ’phel gyi lo rgyus dang khyad chos bsdus par ston pa rig pa’i khye’u rnam par rtsen pa’i skyed tshal.” In Dpal don grub rgyal gyi gsung ’bum. Vol 3, 316–601. Beijing: Mi rigs dpe skrun khang. Pad ma rdo rje. "gsung mgur gyi rim pa/." In gsung 'bum/ pad ma rdo rje. TBRC W23778. 1: 49-226. Tashijong, Palampur, Kangra, H.P.: Khampa gar Sungrab Nyamso Gyunphel 172

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