The Hundred Thousand Songs of Milarepa
Page 30
Get drunk on the liquor of dharmata;
Play in the experience of the Great Leap72 across.
This little song with both of their power, such play and delight!
The blessing of practice, how wonderful!
Being filled on kind speech, so fluid and unbroken;
The laughter of happiness, so clear and sustained;
The pouring forth of practice, ever onward flowing;
The roar of blessings, unblocked and continuous;
I’m so happy and joyful for the guru’s kindness!
This is the ninth chapter: the discussion.
The Jetsun gave his blessing in this way, singing with a Bön melody. When the sick man became free from his illness, his sons, healers, servants, retinue, and spiritual teachers were overjoyed. The people of that village, too, said, “The sick man has been revived and turned from the point of death. The Buddhist practice indeed has more blessing than the Bön practice!” Everyone gained unwavering faith in the Jetsun.
At that point the man who had been sick said, “Lama, everything that you have done here was not Bön, it was the Buddhist dharma. Before, I was a devotee of Bön, but now I have devotion and trust in Buddhism. Please allow me and all my sons to enter the gate of dharma.”
The Jetsun gave his assent and the rich man and his eight sons who were there all entered into the dharma.
Among them, one son had previously trained in Bön and knew completely all the good qualities of a Bönpo. He too gained unwavering faith in the genuine dharma and the Jetsun. He said to Milarepa, “Generally, the words and appearances of the genuine dharma and the Bön religion*25 are similar. However, there is a difference in their compassion and activity. In particular, when performing the rituals of the Way of Shen,*26 at least one sentient being will be slaughtered in the end. The sources of refuge and objects of veneration are only worldly deities. From doing these practices, one has no confidence at all at the time of death, and dies with a sense of fear and terror. Therefore, now, I too will turn from Bön and practice the dharma.” Then he requested to follow and attend the Jetsun.
The Jetsun, thinking that the son was a suitable disciple to be tamed, accepted him, and through the abhishekas and instructions, ripened and liberated him. That man became known as Shengom Repa, one of the close sons of the Jetsun. The father and his relatives offered the most excellent service while the Jetsun stayed at Lang-go Ludü Fortress, Hidden Cave Sheep Fortress, and so forth; as well as Palkhü Fortress. In this way, they blocked the gateways to the lower realms and samsara, and took hold of the path of liberation and omniscience.
This is the cycle of meeting Dziwo Repa, the main realized one [in this cycle] at Lapuk Pema Fortress and Hidden Cave Sheep Fortress, and Shengom Repa, the close son of Milarepa.
*1 In Tibetan, Bepuk Mamo Dzong (T: sbas phug ma mo rdzong).
*2 Lukdzi Repa, or “Shepherd Repa” (T: lug rdzi ras pa), is the same person as Dziwo Repa, or “Herder Repa” (T: rdzi bo ras pa), above.
*3 “This is the first line of a chant in which the Bönmonks intone their hymns. Milarepa derisively mimicked the Bön way of singing in this song” (Chang 1999: 258). Throughout this song, Milarepa uses elements of Bön culture and ritual as metaphors for Buddhist principles.
*4 The word for “name” in Tibetan (mtshan) can also mean “characteristics” or “attributes.”
*5 “Intention” (T: sems pa) and “interest” (T: mos pa) here refer to two of the fifty-one mental factors taught in traditional Buddhist teachings. Intention is the quality of mind that moves or urges the mind to a particular object. Interest is the quality of the mind that holds on to and does not lose its object once it is apprehended.
*6 The “father and mother” have “craving” (T: sred pa) and give birth to “children.”
*7 In Tibetan medicine, an illness that is caused by a combination of wind, bile, and phlegm imbalances (T: ’dus pa’i nad).
*8 These three lines use examples from the traditional astrological chart common to both Tibetan Buddhist and Bön astrological tradition, which in turn is based upon Chinese astrology. The chart consists of two concentric circles. The outer circle is related to the twelve-year cycle and the inner circle contains the eight trigrams (par kha). In the center of the circle are the nine numerical squares or “mewa” in Tibetan (sme ba) (Mumford 1989: 108–109).
*9 “Friends and enemies” are terms used in astrology to refer to relationships between the five elements that “nourish” or “deprive” another element respectively. Astrologers determine whether “the five elements are in conflict (’khrug pa) [here ’thabs] or in harmony (mthun pa)” (Mumford 1989: 107).
*10 The “overflow, acrid smell, and defilement” here refer to a traditional Tibetan superstition: when boiled milk overflows on the stove/hearth (thab shor) the acrid smell of the scorched milk (gzhob) upsets the local deities who then bring illness upon the violators. (TN) In Milarepa’s song here, due to the “overflow,” all of the different deities that are associated with good energies left.
*11 The male deity, local deity, and dralha, as well as the malevolent spirits sung about below, are all common figures in the Bön pantheon. Milarepa uses them as examples paralleling elements from the Buddhist path.
*12 “Gyalgong” is a type of demon or ghost. (TDC)
*13 “Vajrasadhu [T: rdor legs] was the god of gambling and war when he was subdued and samaya-bound by Padmasambhava to be a protector of the teachings” (Nalanda Translation Committee).
*14 This is the equivalent of what Westerners refer to as a ghost. TDC says “A ghost that, once having died, brings harm to those who remain living.”
*15 In this practice (T: nan), one writes down the name of the person or being concerned and puts the name in a container with various ritual substances. Based on the ritual performed, the one whose name was used contracts an illness or dies. (TN)
*16 Sources differ on this ritual object (T: ’brang rgyas). One says it is a torma shaped like a heart (TDC), another says it is shaped and decorated like a jewel (TN). Dan Martin says it is a torma covered in butter that is used to offer local deities when treasure is desired to be unearthed from the ground. Sakya Pandita tells that he was not able to find an Indian source for this torma in his Classifying the Three Vows, so it may have originated with the Bön tradition (Martin 2001: 63).
*17 This refers to an arrow with silk banners tied to it used in various rituals.
*18 This is the Bön equivalent of the dharmakaya.
*19 “Divination healer” (T: mo sman) refers to the tradition of Bön itself, and “clearing the elements” means clearing sickness. (TN)
*20 See note below on Bön essence.
*21 Bön phenomenon (bon can) and Bön essence (bon nyid) are the Bön equivalents of dharmin (phenomenon; T: chos) and dharmata (nature of phenomena; T: chos nyid), respectively, in Buddhist philosophy.
*22 A traditional Tibetan stove commonly used in nomadic culture that is built with three legs (T: sgyed pu).
*23 The sixteen arhats charged with protecting the teachings by the Buddha Shakyamuni (T: gnas brtan).
*24 “Base” here refers to the realization of the nature of mind. (DPR)
*25 Literally, “the practice of Shen” (T: sgrub gshen). See the next note for an explanation of “Shen.”
*26 T: snang gshen. Shen (Tönpa Shenrap) is the principal teacher figure in the Bon tradition, akin to Shakyamuni in the Buddhist tradition. The “Way of Shen” is another way of referring to the Bön religion.
25
Meeting Rechungma
NAMO GURU
The Jetsun Milarepa, along with his attendant and heart-son Rechungpa, was begging for alms in the practice of equal taste and benefiting beings near the Five Small Lakes at the border of the region of Drik. At that time, word spread; people said, “The Jetsun and his disciple-son are practicing at Tisé Snow Mountain and near Lake Manasarovar.” Thus, it became well known they were there.
Some students from Choro at the Drik border also heard of them and were convinced that they were truly wondrous and astounding. Devotion arose in the students and they said, “The siddha master and his disciple are coming; therefore, let us go to see them.” They took with them abundant provisions to be of service and show their respect, and met the Jetsun and his disciples.
Among them was a young lady who, having heard the life story of the Jetsun, obtained unwavering faith. She was an emanation of a wisdom dakini imbued with great faith, diligence, prajña, and compassion. She was from a good family and had fortunate circumstances. Five young women, with this young lady at the head, all in single voice then offered this song, challenging the father Jetsun and his son to see if what had been said about his experience in practice was true:
We take refuge in the sublime three jewels.
With your compassion, grant your blessings.
These two exalted repa yogis
Are greatly renowned far and wide.
All you faithful men and women gathered here,
Please don’t speak, and listen a while.
We young ladies of noble family
Offer this music with pleasant melody.
In verse, we’ll illustrate through examples.
Keep whatever of its meaning is useful within your heart.
It is offered for you two repas.
Snowy white Tisé is well renowned;
Those who haven’t seen it still hear of it from afar.
Some say, “It’s like a stupa of crystal snow.”
But when one approaches and is able to see,
The head of the mountain is wrapped in snow,
Its sides are completely surrounded in snow,
And its edge is adorned with grass-covered hills.
But that in itself is nothing astounding;
What is so amazing about that?
The Invincible Turquoise Lake,*1 so renowned.
Those who haven’t seen it still hear of it from afar.
Some say the lake is like a turquoise mandala.
But when one approaches and is able to see,
It’s just a hole filled with water
With streams that trickle from it;
Fields and rocks surround it there.
But that in itself is nothing astounding;
What is so amazing about that?
The Poto Red Rock,*2 so renowned,
Those who haven’t seen it still hear of it from afar.
Some say, “That rock is like a heap of gems,”
But when one approaches and is able to see,
It’s a rock that juts up from the meadow;
A forest of trees grows on it there,
And water surrounds its outer edge.
But that in itself is nothing astounding;
What is so amazing about that?
You are renowned as the Great and Little Repas.
Those who haven’t seen you still hear of you from afar.
Some say, “They’re yogi siddhas, indeed!”
But when one approaches you and is able to see,
You’re an elder and a youth—nothing amazing.
Lying around nakedly without any shame,
You both hum little melodies.
You both dress in any way you like
And clad your bodies with cotton cloth.
You live on food that you’ve begged to receive
And you both do whatever it is that you please.
But that in itself is nothing astounding;
What is so amazing about that?
For we sisters who’ve gone everywhere,
This morning’s journey has been of little use.
There’s no place we sisters haven’t gone
And this morning’s journey has only been hard on our feet.
We sisters have seen everything
And today all we’ve seen is an old and a young man.
We sisters who have heard everything,
Today we’ve heard lots of useless talk.
You two are either the Victorious One’s successors
Or simply obstructions made by some demon.
Since there’s no other possibility apart from these two,
We’ve determined you’re a demon’s obstructions.
If you understand this song, then give a response.
If you didn’t understand, then yogis, please leave this land!
Thus they offered their song of dispute. Then the Jetsun said, “Rechungpa, this snow mountain and its three lakes are sites of practice that were prophesied by the Bhagavan.*3 If we do not respond to such disparagement, they all will accumulate negative karma and the greatness of this place will be misconstrued. Since we yogis who sustain uncontrived conduct with our three gates have become objects of derision, let us respond from within the yogic nature and point out those things they perceive as faults to be good qualities. Now, join your father!”
And so they sang this song of realization in reply to the sisters’ song:
You faithful students who have gathered here,
Youths who are skilled in melodious song,
You five ladies with poetic words,
Lady leader of song: focus on my meaning and listen.
Do you know who we are, or not?
If you don’t know who we are,
We are the repas, great and small.
I, the old man singing on the right,
I am the yogi Milarepa.
This youth on the left accompanying me
Is the yogi, the junior repa, Rechung Dordrak.*4
To expand on your pleasant words and meaning,
I’ll directly answer your questions using symbols.
Keep the meaning of this song that arose
From experience and realization in your heart.
The renowned snowy white Tisé Mountain,
Those who haven’t seen it still hear of it from afar.
Some say, “It’s like a white crystal stupa.”
When one approaches and is able to see,
The head of the mountain is wrapped in snow.
That head of the mountain covered in snow
Was prophesied before by the Sugata.
It became known as the Great Snow Mountain.*5
It’s the hub, the navel, of Jambudvipa.
It’s the place where the white lion majestically stands.
This mountain that’s like a white crystal stupa
Is the palace of the Glorious Chakrasamvara.
The snow mountains that surround its edge
Are the residing seats of five hundred arhats,*6
An object for the offerings of all the eight classes.*7
Those grass-covered hills that surround their edge
Are hills with fragrant incense
Which produce a medicinal elixir for healing life-threatening illness.
It’s a great site where accomplishment is attained,
A place where undefiled samadhi is found.
There is no place more amazing than this;
There is no place that is more wondrous than this.
The renowned Invincible Turquoise Lake,
Those who haven’t seen it still hear of it from afar.
Some say it’s like a mandala of turquoise.
When one approaches and is able to see,
It is a hole that is filled with water.
This hole that is filled with water
Was prophesied before by the Sugata.
He called it “The Lake That Is Never Warm.”
It is the source where the four great rivers mingle,
A place where fish and otters swim about.
This lake that’s like a turquoise mandala
Is the palace of the eight great nagas.
The small streams there that trickle from it
Are flowing rivers of an elixir of milk.
It’s the cleaning bath of a hundred offering deities,
And it possesses the eight good qualities
of water.
Its edge is adorned with meadows and rocks.
It’s a treasure house of the lesser nagas.
It’s a place where Jambutrisha trees grow,
Which gave the southern continent, Jambudvipa,*8 its name.
There is no place more amazing than that.
There is no place that is more wondrous than that!
The Poto Red Rock, so renowned,
Those who haven’t seen it still hear of it from afar.
Some say that rock is like a heap of gems.
When one approaches and is able to see,
It’s a rock that juts up from the meadow.
This rock that juts up from the meadow
Was prophesied before by the Sugata
And became known as the “Black Piercing Mountain.”*9
North of the forest of the Central Land
Is the border between India and Tibet,
A place where striped tigers roam about.
In the forest that grows within that place
Are trunks of medicinal sandalwood,
The tree with six excellent medicines.
This rock that is like a heap of jewels
Is a palace of divine sages,
A solitary place prophesied by dakinis,
A dwelling place of the siddhas of the past.
Because water surrounds its outer edge,
It is difficult for anyone to travel there.
There is no place more amazing than that.
There is no place that is more wondrous than that!
We who are known as the great and small repas,
Those who haven’t seen us still hear of us from afar.
“They’re yogi siddhas, indeed!” they say.
When one approaches and is able to see,
We’re just an elder and a youth—nothing amazing.
This elder and youth that are nothing amazing
Have exhausted all concepts of names and signs.
We who lie around naked without any shame,
We’re free of the clothing of perceiver and perceived.
We dress in any way we like:
We’ve given up the contrivance of embarrassment.