Chapter : The Dags po 'i bka ' 'bum 437 Next, the segment continues with a second saying in five verses These verses are - with only very minor variations - identical to the first song in five verses found in segment DK.A.Wa The verses were already summarized above (see D K.A.Wa 8) The third saying i n the segment contains a prose piece, wherein some but not all lines seem to be written with the rhythm of a verse of varying line length s Its first part corre sponds to the remaining prose- and verse-parts of segment DK.A.Wa describing a happy meditator and his certainty in the view, meditation, and conduct It does not include the final two-line verse of segment DK.A.Wa admonishing the yogf to remain satisfied only with realizing his own mind and not to search for words but to rely on their meaning In stead, the present segment adds four lines of differing length describing a meditation without meditation, being free from any fixed point of reference, and resting vividly without interruption The last two sayings found in the segment not have any correspondence in segment DK.A.Wa The fourth saying begins with a prose sentence asking what is needed in order to enter into the natural state (don rnal ma) The answer is given in the form of four verses starting with the exclamation " How amazing ! " (e ma ho) The first verse describes a tension between an understanding of emptiness that results in non-attachment and the fact that this understanding does not involve any object to be seen (don ma mthong) Further, it expresses a tension within the meditation that is not yet free from clinging to duality while not involving any obj ect to be seen, although meditative experience is felt This line of thought is continued in the second verse There, the yogf possesses a view that still lacks realization Although his view may be said to be free from extremes, it nevertheless is merely an intellectualized understanding The verse concludes that a great meditator (sgom chen) who has not yet cut his bonds of dependencies still possesses the cause for saf!1silra even if his samadhi is good The third verse, which is j ust a half-verse in two lines, declares that a Dharma follower (chos pa) lacking compassion, even though he may be very diligent, still remains on the (lower) path of the fravakas Finally, the fourth verse, which only consists of a single line, expresses irony, saying "Well, of course, I am only kidding ! " (a kyang ku re bgyis pa lags) The fifth and last saying of the segment has a short text in six verse-lines consisting each of either nine or seven syllable s The lines show a binary pattern, with lines ab, cd, and ef having close connection in contents and wording First, it is mentioned how the yogf should look at his own mind (rang gi sems la lta ba) ; he needs to tum the act of viewing itself into mind (sems su gyis) When he has gained familiarity therewith, he will no longer hold onto the obj ect and the mind as being two separate entities and thus he will come to experience the knowledge of non-duality This is said to show the special point of the method (thabs kyi khyad par) and it is also said to show the very moment of gaining [realization] (thob pa 'i dus nyid) The segment ends with a colophon (quoted in Tibetan above) that say s : " [This text] is called the Instruction Clarifying Mahamudra (phyag rgya chen po gsal byed kyi man ngag ) 43 Chapter : The Dags po 'i bka ' 'bum It was written by Master Candraprabha Kumasa Thi s Instruction Clarifying Mahi.imudrii has eight Dharma sessions " By giving the title Instruction Clarifying Mahamudrii, which in ms DK.A al so is the overall title of text DK.A.Zha, the colophon seems to tie together segments DK.A.Zha -5 into a single work bearing this title Employing an honorific verb for " written " (mdzad pa) and using the highly reverential title Candraprabha Kumiira to refer to B sod nams rin chen, it declares him to be the author of the work It also states that the text consists of eight segments or "Dharma session s " (chos tshan) , although only five overall segments are actually seen in the text as it is made up today The colophon is not attested in the older ms DK a, which is cause for suspicion regarding its authenticity It should also be noted that the preceding segment DK.A.Zha.4 ends with a colophon of its own, which states that B s gom tshul was the author, and that statement could be taken as applying to the whole unit DK.A.Zha l -4 When the spurious overlap between segments DK.A.Zha and DK.A.Wa is also taken into consideration, it seems that segment DK.A.Zha.5 is a later addition to unit DK.A Zha -4 Segment DK.A.Zha.6 : The segment begins (DK.A Zha.6.4b ) : na mo gu ru/ rje dags po lha rje 'i gsung sgros tlwr bu lags/ rin po che 'i zhal nas/ It ends (DK.A.Zha.6.5a ) : ngo bo 'dzin med du gnas pas gol ba med pa yin gsung ngo// 008 Segment six begins with a title that seems to be an overall title for the remainder of text DK.A.Zha It reads, " [Here] are the Miscellaneous S ayings of the Master, the Doctor of D ags po" (rje dags po lha rje 'i gsung sgros thor bu lags ) As the title indicates, this and the following segments contain a series of sayings (gsung sgros) attributed to the bla ma, each segment containing a single saying starting with the phrase " From the mouth of the precious one " (rin po che 'i zhal nas) and ending with the phrase " [Thus he] say s " (gsung ngo) The saying narrated in segment DK.A.Zha concerns the topic of pitfalls (gol sa, *utpatha or *unmarga) that exist for the great meditator (sgom chen ) Here these pitfalls are regarded as twofold: mistaking meditative experience for realization (nyams myong rtogs par shor ba) and mistaking realization for meditative experience (rtogs pa nyams myong du shor ba) The segment explains that when a yogi meditates relying on a proper method, meditative experiences - such as non-thought (mi rtog) and bliss (bde ba) - will occur, and it may seem that these feelings could not be surpassed even if all the buddhas of the three times were to appear In this manner, the meditator might come to have excessive faith (yid ches) in these temporary meditative experiences and hold onto them as supreme (mchog tu bzung) This is what is meant by mistaking meditative experience for realization, which will not yield benefit Moreover, by the blessing of the bla ma , genuine realization may arise within of the essence of the mind, appearing in the form of a blissful feeling or a sense of presence and 1008 Correl ated passage s : DK a.Ka.20b 4-2 l a3 , DK.D.Zha 4%-4b , DK.Q.Zha 6.340a2- DK.R.Zha 6a6-7a4, DK S Zha a5 -7a3, DK.T.Zha 6.4n-4b, Phyag chen mdzod vol Ka (TBRC W2344 7- 894) pp - 802 Text Zha is not included among the currently available fragments of xylograph DK.B Chapter : The Dags po 'i bka ' 'bum 439 clarity The meditator should then cultivate this feeling undistractedly However, if he begins to think that he is happy when it is there and unhappy when it is not there, then he might strive mentally to search out this feeling and meditate by intellectually attempting to rest his mind therein This is to mistake realization for meditative experience This too is unfortunate, because the meditator must remain indifferent as to whether or not the feeling of realization is there Instead he should meditate again, now deciding to be patient with whatever happens , and in this way clarity will slowly come Here the segment attests the word " says " (gsung) , perhaps indicating that this sentence marks the original end of the saying The sentence is, however, followed by a small piece giving the customary explana tion on the term pitfall (gol sa) also seen elsewhere in the Dags po 'i bka ' 'bum, e g , in segments DK.A Nya or DK.A.Wa.4 It is said in brief that even a little attachment ( 'dzin pa bag tsam) to the meditative experience involves the risk of becoming reborn in the three realms (khams gsum), in the four states of meditative absorption [of the material realm] (bsam gtan bzhi), or in the four fields (skye mched bzhi) [of the immaterial realm] A brief remark is also made regarding the pitfall of a fravaka Finally, it is said that by abiding in meditation without clinging to any essence, there will be no pitfall Here again the segment ends with the phrase " [Thus he] s ays " The segment has no colophon Se2ment DK.A.Zha.7: The segment begins (DK.A.Zha a ) : /(yang rin po che 'i zhal nas/ bskyed rdzogs gnyis la/ It ends (DK.A.Zha a6 ) : /dngos po a thang chad par sgom du mi rung ba yin gsung// 009 The seventh segment presents the Generation Stage (bskyed rim) and the Completion Stage (rdzogs rim) in terms of their nature (ngo bo, *bhava), derivative analysis (nges tshig, *nirukti) , and subdivision (dbye ba, zprabheda) Also, an explanation of their purpose (dgos pa, *prayojana) is given, although this is not mentioned at the outset of the segment, where the other points to be covered are listed Perhaps this suggests that the sentences dealing with the purposes of these two stages were added l ater The contents somewhat resemble the explanations found in segment DK.A.Tha 3 , where the same topics were taken up However, the writing style and wording of the two segments are very different First, as for the Generation S tage (bskyed rim) , its nature is said to be " union [as repre sented in] the deity's body " (zung 'jug lha 'i sku) The derivative etymology of bskyed rim ( *utpattikrama) is given as " generated in stages" (rim gyis bskyed pa, *kramqza utpatti(1) It subdivision is s aid to be according to the four types of rebirth, i e , rebirth through a womb, egg, moisture and heat, or instant rebirth Its purpose is stated to be superior to the Para mitayana , the reversal of ordinary notions of the body, the dhatus , and the ayatanas, to bring about realization of union, and to give rise to the two kayas for the benefit of others S econdly, as for the Completion Stage (rdzogs rim), its nature is freedom from concep tual entanglement (spros bra!, *ni�prapa11ca) In terms of its derivative analysis, it is called 009 Correlated passages : DK.a.Ka.2 l a3-2 l b2, DK.D Zha.7 4b -5a4 , DK.Q.Zha.7 340a -340bs , DK.R.Zha.7.7a+-7b , DK.S Zha.7 7a3-7b4, DK.T.Zha.7 4b-5n, Phyag chen mdzad vol Ka (TBRC W23447- 894) pp 80r l h Text Zha is not included among the currently available fragments of xylograph DK B 440 Chapter 5: The Dags po 'i bka ' 'bum rdzags rim ( *swJ1pattikrama), because it completes (rdzogs pa, *sm7ipatati) It is subdivi ded into a phase " with characteristics" (mtshan bcas, *sanimitta) and " without characteris tic s " (mtshan med, *nirnimitta) Its purpose is said to be superior to the Generation stage, to demonstrate wisdom, and to bring about the attainment of dharmakaya The segment ends with another quotation from the mouth of the venerable bla ma (bla ma rje btsun gyi zhal) , saying that the best practitioner uses the technique of "instant and total recall " (skad cig dran rdzags) , i e , the bskyed rim method of visualizing the deity appearing instantly 1010 The middling and lesser practitioners employ the method of medita ting through a gradation of visualization stages (cha ga rim gyis sgom pa) 101 The practitioner should meditate on the visualization as being illusory and shining like a rain bow, avoiding to meditate in a weary manner (a thang chad par) The segment has no colophon Segment DK.A.Zha.8: The segment begins (DK.A.Zha a6 ) : //yang rin po che 'i zhal nas/ dad pa gal che gsung/ It ends (DK.A Zha 5b ) : /tha dad par ni mi brtag go// ces gsungs so// 01 The saying in segment eight deals with faith (dad pa, *fraddha) To search for a spiritual teacher is said to involve faith Faith is then divided into three maj or types, which are briefly explained: faith based on belief (yid ches pa 'i dad pa) in cause and effect, aspiring faith ( 'dad pa 'i dad pa) that arises from understanding the four truths of the noble ones, and enthusiastic faith (dang ba 'i dad pa) created by relying on a special obj ect It is the spiritual teacher who stabilizes these forms of faith and consequently the saying goes on to discuss the role of this friend It is explained how the B uddha gave teachings, with particular reference to explanations on the Tantric stages In this context, the segment men tions the treatises summarizing the scriptures (lung bsdu ba 'i bstan bcos) and the treatises explaining the scriptures (lung bkrol ba 'i bstan bcos) compiled by "the great Ac a ry a( s) from Eastern Tibet" (slob dpon khams pa chen po rnams) The segment ends with two brief quotations of half-verses to illustrate that there is no difference between the B uddha and the bla ma The segment has no colophon Segment DK.A.Zha.9: The segment begins (DK.A.Zha 5bs) : //yang rin po che 'i zhal nas/ sems kyi rang bzhin/ It ends (DK.A.Zha 6a7 ) : sangs rgya ba dus yun ring po mi dgos 1 The technique, which is one of the four or five different standards ways of generating the visualization of the deity, is also known elsewhere as the " instant leap generation" (skad cig dkrong bskyed) The deity and the ma�1c.fala are here brought to mind immediately without any preliminary steps 1 One such technique o f gradually building up the visualization of the deity and the malJc.fala is elsewhere known as "the three-step ritual for generating the deity " (cha ga gsum bskyed), according to which a seed-syllable (step one) turns into a ritual obj ect such as a vajra with the seed-syllable inside of it (step two) , which then transforms into the deity (step three) 12 Correlated passage s : DK.a.Ka.2 bz-22a , DK.D Zha a -5b , DK.Q.Zha 340b 4 -34 J a4 , DK.R.Zha 7b 6- 8b , DK S Zha 7b4-8hJ, DK.T.Zha 5n-5b, Phyag chen mdzad vol Ka (TBRC W23447- 894) pp h- 82 Text Zha is not included among the currently available fragments of xylograph DK B Chapter : The Dags po 'i bka ' 'bum 44 gsu ng ngo// 1013 The ninth and final segment o f text DK.A.Zha contains a n explanation on the nature (rang bzhin), appearance (ngo bo), and character (mtshan nyid) of the mind The nature is here defined as the mind's natural purity (rang bzhin gyis dag pa) The essence is its awareness-aspect free from arising and ceasing (rig pa skye 'gag med pa) The character is its experience in the form of a multitude of reflections born from habitual tendencies (bag chags kyi gzugs brnyan sna tshogs su snang ba) It is stated that the meditator is concerned with the mind's essence, which is identified with the mind of a buddha and with self-awarenes s (rang rig, *svasarJivedana) Several remarks are made about this essence and it is said that " followers of the master" (jo bo pa rnams) , possibly denoting followers of Atifa who is commonly known simply as " the master" (jo bo ) , should strive diligently until this essence has been recognized It is stressed that the present human opportunity for gaining realization does not last and must be utilized to its fullest degree for the sake of realization A sentence to this effect is quoted which in an interlinear note is attributed to the bKa ' gdams pa master Dge ba 'i bshen gnyen Spyan snga ba [Tshul khrims 'bar] ( 03 1 03) This is followed by some sentences emphasizing the need fo r contemplating and respecting karmaphala (las 'bras) , which again are attributed to Spyan snga ba in an interlinear note Pointing to the fact of impermanence, the segment concludes by stressing that life is short and that the practitioner needs to engage in his practice right now By doing so, buddhahood will be reached before long The text ends without any colophon 5.22 DK.A.Za: Sayings of the Dharma Master, the Doctor from Dags po: The Meditation Stages of the Inconceivable Mahiimudrii (Chos rje dags po lha rje 'i gsung/ phyag rgya chen po bsam gyis mi khyab pa 'i sgom rims bzhugso) folios, segment, colophon Text DK.A.Za presents an instruction passed down in a lineage from the bodhisattva Vajrapar:i.i to the Indian Tantric masters *Dharmika (chos kyi ba) , *Bhadrapada (bzang po zhabs), * Kuddalapada (tog rtse pa) , * Kambala (lwa ba pa) , Tailopa, and Naropa, and on to the Tibetan teachers Mar pa and Mi la ras pa The text contains several internal parts pertaining to instructions on this transmission from each of the above-mentioned Indian and Tibetan teachers The explanations given in the text are closely intertwined with verses quoted from the Indian Tantric work Acintyadvaya kramopade§a (Bsam gyis mi khyab pa 'i rim pa 'i man ngag) , " Instruction on the [Meditative] Stages on the Unthinkable Non-Duality " composed by the Indian teacher Acarya Kuddalapada or Kuddalin (tog rtse pa) 1014 1 Correl ated passages : DK.a Ka 22bs-23ll6, DK.D.Zha 9.5b 4-6a6, DK.Q.Zha 34 l a4-34 l bs , DK.R.Zha.9 8b - 0a2, DK S Zha 8b3-9b4, DK.T.Zha.9.5b-6n, Phyag chen mdzad vol Ka (TBRC W23447- 894) pp 826- 84s Text Zha is not included among the currently available fragments of xylograph DK B 1014 The original S anskrit treatise is extant in several Nepalese Buddhist manuscripts For a Sanskrit edition, see SAMDHONG & DWIVEDI ( 98 : 93-208) Its Tibetan translation (D2228, Q3072) ... rtse pa) , * Kambala (lwa ba pa) , Tailopa, and Naropa, and on to the Tibetan teachers Mar pa and Mi la ras pa The text contains several internal parts pertaining to instructions on this transmission... DK .A. Za presents an instruction passed down in a lineage from the bodhisattva Vajrapar:i.i to the Indian Tantric masters *Dharmika (chos kyi ba) , *Bhadrapada (bzang po zhabs), * Kuddalapada (tog... the Para mitayana , the reversal of ordinary notions of the body, the dhatus , and the ayatanas, to bring about realization of union, and to give rise to the two kayas for the benefit of others