The Hundred Thousand Songs of Milarepa
Page 5
Stephanie Johnston, Stuart Horn, Kimberly Colwell, Ryszard Frąckiewicz, Andrew Clark, Jude Rozhon, and Rita Stagg each generously gave time helping to make the English more readable. Many thanks to my editors at Shambhala, Susan Kyser, who showed great care in ensuring consistency in the references and grammar, and Audra Figgins, who helped in the final stages of the project.
I am grateful to a number of very generous benefactors without whose help this translation would not have been possible.
Finally, I am sincerely grateful for the support of the entire Nalandabodhi sangha, my community of practitioners and students of Dzogchen Ponlop Rinpoche, who are like a second family.
I feel humility and gratitude for having had the opportunity to study and translate such an important work of spiritual literature. All mistakes in the translation are completely my own; I pray the lineage masters and readers forgive me for those. May all who encounter this work connect with the heart of the teachings of Milarepa and his practice lineage and by doing so, bring great benefit to all sentient beings.
Christopher Stagg
Seattle, WA
October 2015
*1 See appendix 1 for a brief overview of Milarepa’s life story.
*2 http://kagyumonlam.org/English/News/Report/Report_20100101_1.html. Accessed Oct. 5, 2015.
*3 Van Dam 1991.
*4 T: rNal ’byor gyi dbang phyug chen po rje btsun mi la ras pa’i rnam thar thar pa dang thams cad mkhyen pa’i lam ston.
*5 By W.Y. Evans-Wentz (1928), Lobsang Lhalungpa (1977), and most recently Andrew Quintman (Tsangnyon Heruka 2010).
*6 T: rJe btsun mi la ras pa’i rnam thar rgyas par phye ba mgur ’bum.
*7 Zhang Cheng-ji . The Hundred Thousand Songs of Milarepa was first published in 1962. Chang also later translated the work into his native Chinese, which was published in Taiwan in 1980.
*8 T: Mila mgur ’bum.
*9 Quintman 2014a: 240.
*10 Quintman 2014a: 45.
*11 Quintman 2014a: 60.
*12 T: Bu chen bcu gnyis.
*13 T: mDzod nag ma.
*14 Larsson 2012: 40.
*15 Larsson 2012: 61.
*16 Larsson 2012: 74–76. The ten activities of dharma are writing, making offerings, practicing generosity, listening, memorizing, reading, explaining, reciting, contemplating the meaning of dharma, and meditating on its meaning.
*17 Dakinis are generally understood as feminine messengers or protectors of the dharma.
*18 Tutelary or chosen deities, taught to be the root of spiritual accomplishment.
*19 Larsson 2012: 134.
*20 An example of such conduct is given in the life story of Drukpa Kunlé (1455–1529) (T: ’brug pa kun legs), another crazy-wisdom master who was a contemporary of Tsangnyön Heruka. One day Drukpa Kunlé met a man on the road who knew of and recognized him. The man asked Drukpa Kunlé to bless the sacred thangka painting he was carrying, which Drukpa Kunlé agreed to do. Drukpa Kunlé took the painting and laid it out on the road (already considered outrageous and disrespectful) and then proceeded to urinate on it. This of course deeply upset the man, who shouted in outrage at Drukpa Kunlé. Drukpa Kunlé then just walked away. When the man went to pick up the painting, he found all the contours of the deity gilded as if with fine brush strokes (Brunnhölzl 2010: 77).
*21 Larsson 2012: 135.
*22 T: khrag thung rgyal po.
*23 T: tsa ri ba rus pa’i rgyan can. This name is used on the title page of the Tso-ngön Mirig edition that was used as a primary source for this translation.
*24 Quintman 2014a: 124.
*25 Larsson 2012: 141.
*26 Larsson 2012: 171.
*27 Quintman 2014a: 127.
*28 Geshe is the Tibetan word for “spiritual friend” and here generally denotes monks who are learned and hold some rank in the monastic system. In this context it does not refer to any specific lineage.
*29 Quintman 2014a: 128–129.
*30 Quintman 2014a: 129.
*31 Quintman 2014a:129.
*32 Quintman 2014a: 132.
*33 Quintman 2014a: 132–133.
*34 A stupa is a Buddhist monument that usually houses holy objects or relics of deceased masters.
*35 The three holy mountains are Kailash (Tisé), Tsari, and Lachi.
*36 Larsson 2012: 179.
*37 Quintman 2014a: 137.
*38 Quintman 2014a: 140–141.
*39 Quoted in Quintman 2014a: 141.
*40 In the creation stage one generally meditates, visualizing a deity to purify mundane karmic appearances; the completion stage practices are connected to working with the subtle body to gain direct experience of the nature of mind.
*41 Bardo (T: bar do) means “in-between state” and generally refers to the period between death in one lifetime and rebirth in the next.
*42 Khenpo Tsultrim Gyamtso Rinpoche 2004: 24.
*43 Readers can find full translations, some with recordings of the modern melodies, on the website for Khenpo Tsultrim Gyamtso’s teachings and activity at ktgrinpoche.org.
*44 This actually seems to be a quotation from the Ārya-tārā-mūlakalpa-nāma Tantra: Lhasa Kangyur H 711: vol. 95, folio/line 128b.3–128b.4.
*45 Giustarini 2006: 166.
*46 Shravakas, or hearers, are realized beings who strive to attain the level of arhat and do not engage in the practices of the Mahayana.
*47 Pratyekabuddhas, or solitary realizers, practice without relying on a spiritual master to attain realization.
*48 Bodhisattvas here refers to those who have had a direct experience of the true nature of reality and have committed to helping all beings attain awakening.
*49 Translation by Rosemary Fuchs in Buddha Nature (Fuchs 2000: 173–174).
*50 Dzogchen Ponlop 2011: 12.
*51 Here bodhichitta (or “awakened heart”) entails the motivation to attain buddhahood for the sake of all sentient beings.
*52 Rechungpa’s story develops across several episodes of the Collected Songs, but chapters 38 and 39, “The Story of the Yak Horn” and “The Song of the Wild Asses,” deal most directly with this topic of faith.
*53 For a general outline and explanation of how this progressive study and contemplation is undertaken, see Khenpo Tsultrim Gyamtso Rinpoche’s book The Progressive Stages of Meditation on Emptiness.
*54 T: rje btsun.
*55 T: ras pa.
*56 T: gtum mo.
*57 T: rten ’brel.
*58 T: rten cing ’brel bar ’byung ba.
The Hundred Thousand Songs of Milarepa
originally titled
The Collected Songs That Expand upon the Life of Milarepa
Cycle One
THE BINDING UNDER OATH OF HARM-INFLICTING SPIRITS
1
Mila Gathers Wood
NAMO GURU
Once, while at Chonglung Garuda Fortress, dwelling in a state of luminous Mahamudra, the powerful lord of yogis, Jetsun Milarepa, rose to prepare his provisions and saw that not only was there no tsampa,*1 salt, water, or seasonings, there was not even a bit of wood in the wood bin. There being no water or fire for the stove, Milarepa thought, “It seems my abandonment of provisions has become too intense. I’ll go out to gather some wood.” He then set out.
When he had found enough wood to fill the lower part of his robe a strong gust of wind suddenly came up. When he held his robe, the wood blew away, and when he held the wood, his robe blew away. At this, he thought, “Even though I have been in retreat so long, I have not abandoned my self-clinging. What’s the use in dharma and practice without giving up self-clinging?”
He said out loud, “If you want my clothes, take them! If you want my wood, take it!” Relinquishing them both, he sat down. Then, because of his lack of nourishment, he was overtaken by a wind-condition*2 and fainted. When he came to, his garment was hanging at the top of a tree, waving in the breeze. A feeling of disillusionment overcame him, and he sat and medi
tated on the flat surface of a rock that was the size of a sheep.
From the direction of Drowo Valley in the east, a white cloud began to appear. Milarepa thought, “Under that cloud is the hermitage of Drowo Valley. It is there that my guru, the translator Marpa Lotsawa, lives.” Remembering how in the midst of his guru, his guru’s consort, and their retinue of vajra brothers, sisters, and friends, he had received the explanations of the tantras, abhishekas, and key instructions, he thought, “How nice it would be, if he’s there now, to go and meet him.” Where before he had felt disillusionment, powerful memories of his guru brought an immeasurable feeling of sadness. Shedding many tears, he sang this melody of sadness and longing, “The Song of the Six Remembrances of the Guru”:
Remembering you, father Marpa, dispels my anguish;
This beggar’s song of longing just suddenly came:
In the east at Chonglung Red Rock
A white rain cloud hovers above.
Underneath that floating white cloud
Lies the great site, the hermitage of Drowo Valley.
In back is a mountain like a great majestically poised elephant,
And the mountain in front is like a great majestically poised lion.
Upon the throne of the great Amolika Rock,*3
Upon a cushion of krishnasara deer*4 skin,
Who is it that sits in that place?
It is Marpa the Translator who sits there.
If, right now, I could meet you, how happy I’d be!
Though my devotion is weak, I wish to meet him,
Though my longing is weak, I wish to meet him.
Whenever I think, I remember the noble guru.
Whenever I meditate, I remember Marpa Lotsawa.
Lady Dagmema, who is dearer than my own mother,
If right now I could meet you, how happy I’d be!
Though the journey is long, I wish to meet her.
Though the path is hard, I wish to meet her.
Whenever I think, I remember the noble guru.
Whenever I meditate, I remember Marpa Lotsawa.
The profound tantra of Hevajra,
If right now it could be taught, how happy I’d be!
Though my prajña is slight, I wish to hold it.
Though my intellect is slight, I wish to recite it.
Whenever I think, I remember the noble guru.
Whenever I meditate, I remember Marpa Lotsawa.
The four symbolic abhishekas of the whispered lineage,
If I could receive them now, how happy I’d be!
Though my offerings are small, I wish to receive them.
Though I cannot offer an initiation gift, I wish to request them.
Whenever I think, I remember the noble guru.
Whenever I meditate, I remember Marpa Lotsawa.
The profound instruction of the Six Dharmas of Naropa,*5
If right now they could be taught, how happy I’d be!
Though my fortitude is weak, I wish to receive them.
Though my endurance in meditation is feeble, I wish to receive them.
Whenever I think, I remember the noble guru.
Whenever I meditate, I remember Marpa Lotsawa.
Dharma friends gathered with faith from Ü*6 and Tsang,
If I could see you now, how happy I’d be!
Though my experience and realization are slight, I long to discuss.
Though my understanding is inferior, I long to discuss.
Whenever I think, I remember the noble guru.
Whenever I meditate, I remember Marpa Lotsawa.
Though this beggar knows that within devotion we are inseparable,
I am unable to bear this torturous longing
Of remembering my guru within my heart.
My breath is seized in my chest, I cannot speak!
Kind one, please take away your son’s sorrow!
Then, on the point of a cloud stretched out like a banner of five-colored cloth sat Lord Marpa before him, riding on a white lion adorned with many ornaments, and appearing even more splendorous than when Milarepa had been with him in the past.
“My son, Great Sorcerer,*7 why have you called out to me with such anguish? Have you lost trust in the supreme jewels of the guru and yidam? Have you been chasing your thoughts—the objects of adverse conditions? Have the obstacles of the eight worldly concerns corrupted your retreat? Are the demons of hope and fear getting to you?
“Above, have you offered service to the guru, the supreme jewel; below, have you shown generosity to the sentient beings of the six realms; in between, have you purified your own obscurations and negativity and given rise to excellent qualities? Have the conducive conditions for these not arisen?
“Whatever it may be, you and I are inseparable. So, through your practice, benefit the teachings and beings.”
At this vision, with unbearable joy, Milarepa sang this song in reply:
Seeing my father guru and hearing his speech,
This beggar’s depression dawned as a wondrous experience.
Remembering my guru’s life example,
From deep down, devotion and realization arose.
I truly received his compassion and blessings,
And nondharmic appearances, all of them, ceased.
My longing song of remembering the guru
Pained the ears of the Jetsun*8 and yet
This beggar couldn’t help it; I would do it again.
Please continue to hold me with your compassion!
The practice of persistence and endurance in hardship,
This is the service to please my father guru.
Wandering alone in mountain retreats,
This is the service to please the dakinis.
The genuine dharma, free of self-regard,
This is the service to the Buddha’s teaching.
Making life and practice entirely equal,*9
This is how I’m generous to protectorless beings.
With endurance, I’m joyful when sick and I’m happy to die:
This is the broom that sweeps away karma, obscurations, and nonvirtue.
The austerity of giving up food obtained through harm,
This is the conducive condition for experience and realization.
Father Guru, I repay your kindness through practice.
Protect your son with compassion, Lord Guru.
Grant your blessing that this beggar may keep to mountain retreats.
Thus he sang. With a lucid and happy mind, he took his robe and brought a handful of wood back to his retreat place. When he arrived at his hut, there were five iron-atsaras*10 sitting with eyes agape, the size of saucers.1 One was sitting on the Jetsun’s bed teaching dharma, two of them were listening to him, one was preparing food, and one was engrossed in reading Milarepa’s texts.
At first, a flash of shock came over Milarepa. Then he thought, “These must be apparitions of displeased local spirits. Wherever I’ve stayed, I have never not offered torma,*11 and I have never not offered praises of the place. I should offer a praise to this site.” And so he sang this song of realization in praise of that site:
E MA!*12 In this solitary place in remote mountains,
A place where Victorious Ones found enlightenment,
There are traces of siddhas*13 who stayed here before,
Here where this human stays all alone.
At Chonglung Red Rock Garuda Fortress,
Above, southern clouds*14 whirl and swirl.
Below, the river curves and twines.
Between, the vultures float and drift.
Myriads of plants are scattered about.
Trees all dance relaxed and loose.
Bees buzz with gentle hum.
Sweet-scented flowers—ah! A delight!
Melodious birds chirp and tweet.
Here at Chonglung Red Rock Fortress
Birds and chicks train the skill of their wings.
Monkeys and langurs train their skill.
Deer and antelope train the skill of their feet.
I, Milarepa, train in the skill of experience.
I train in the skill of the two bodhichittas.
I’m harmonious with the deities in this retreat.
Gather here, all you bhuta*15 spirits,
Drink this nectar of love and compassion
And then be off to your own lands!
After he sang this, the atsaras, with hostile countenance toward Milarepa, looked at each other with angry glances. Then, two more atsaras came to join, bringing their number to seven. Some of them stood in front of him biting their lips with a wrathful expression. Some of them bared their fangs wrathfully. Several laughed and yelled with booming voice. Together, all of them swiped and stabbed in the air, attempting to intimidate Milarepa. Then he thought, “These spirits are making obstacles for me.” So, with a wrathful gaze, he recited powerful mantras, but they didn’t go anywhere. Then, giving rise to great compassion, he taught them dharma. But when they didn’t give it any heed, Milarepa thought, “Marpa of Lhodrak has pointed out to me that all phenomena are one’s own mind, and that mind itself is luminosity-emptiness; I have completely resolved that this is so. Therefore, to take these demons and obstacles as external and delight over making them leave is useless.” Then, manifesting fearless confidence, he sang this song of realization, “Having Confidence in the View”:
Father, victorious over the armies of the four maras,*16
I bow at the feet of Marpa the Translator.
People call me a human, but
I am the son of the great snow lioness.
In my mother’s womb, I perfected three powers.*17
When I was a baby, I slept in my den.
When I was a youth, I guarded its gates.
As a full-grown lion I wander in snowy heights.
I have no fear of stormy blizzards.