George 1971

.
71-26,012
GEORGE, Christopher Starr, 1941-
THE CANDAMAHAROSANA TANTRA: CHAPTERS
I-VIII.
University of Pennsylvania, Ph.D., 1971
Language and Literature, classical
University Microfilms, A XEROX Company, Ann Arbor, Michigan
) COPYRIGHT
Christopher Starr George
1971
'
i''
I.
THE TANTRA:
CHAPTERS I-VIII
\ cr
Christopher S.
0
George
A DISSERTATION
in
ORIENTAL STUDIES
Presented to the Faculty of the Graduate School of
Arts and Sciences of the University of Pennsylvania
in Partial Fulfillment of the Requirements for the
Degree of Doctor of Philosophy .
1971

or of Dissertation

Graduate Group Chairman
Accomplished One, 96
Action, 100
Agitation, 65
Air, 114
Aksobhya, 92, 9 31
.
-94, 112
Almighty, 70.1 78, 89
Anger. See Vajri
Animals, 136
Arches, 71, 72
Architect, 137
Arhats, 80
Ascetic, 108, 137
Autumn J:l.1oon, 95
Aversion, 128
Avici Hell, 108
Banduka Flower, 114
Barber, 137
Basic Mantra. See
Hantra
Bed, 80
INDEX
iii
Being, 64: Evil, 106
Bhaga, 62, 87, 93, 102
Birth, 68
Black Immoveable. See
Immoveable
Bliss; Innate, 132
Blood, 83
Boat Woman, 136
Bodily Stance, 83
Body; Refreshing the, 135
Brahman, 108, 132, 134,
136
Bronze Worker, 137
Brother, 110
Buddha, 66, 68, 69, 79,
81, 86, 102, 109, 113,
138
Buddhahood, 81
Buddha-knowledge, 85
Calumny. See VajrT
Camphor, 91
iv
Candamaharosana,
. . . .
62, Confess, 90
67, 69, 70, 72, 75, Consecration, 82
82, 83, 84, 85, 88, 83, 88
90, 93, 95, 1031 Consecrations: Secret,
104, 106, 108, 109, 78, 84; Wisdom, 78,
121, 123, 125, 127, 84, 88; Crown, 82,
129, 132, 134, 142, 83; Sword, 82; Noose,
143, 144 82; Water, 81; Name,
Tantra, 83; Minium, 83; Me-
70, 78, 102, 106, thod, 84
130, 135, 144 Contract, 85, 86
Cal}c;li, 144 Copper, 82
Cane Splitter, 137 Copulation, 130
Celestial Palace, 92 Corners, 71, 92
Celibate, 80 Corpse Worker, 136
Compassion, 65, 89, Cotton, 105
96 Cmvrie Shells, 110
Completion, Yoga of Crmvn Consecration.
the Stage of. See See Consecration
Yoga Cubit, 70
Conch-Shell Worker, Cup, 105
137 Curiosity, 69
Dakinis, 103; Hantra
of the, 109
Dancer, 101, 108,
137
Dancing, 80
Daughter, 108
Death, 68
Delusion. See
Vajri
Demerit, 128
Demon, 81, 103, 106,
128
Demoness, 136
Devadatta, 103
Devotee, 137
Devotion to Women,
87
Dharma, 79, 82, 138
Disgust, 102
Divine Desire, 65
Door, 71, 72, 92
Dream, 97
v
Earth, 91
Enlightenment, 79, 87,
90, 140, 142
Envy. See VajrT
Equanimity, 89
Esoteric, 109
Essence, 79, 91
Evil, 128; Deeds, 90
Exorcizing, 100
Faith, 67, 69; Whole-
hearted, 79
False Speech, 80
Family, 75
Fast, 78
Father, 110
Fire, 91
Firmness, 144
Fisherman, 137
Fit, 78
Five Forms, 64, 65
Five Teachings, 78
Flame, 105
Flower, 76, 77, 86,
90
Food, 77
Four Blisses, 64, 87,
88
Four Demons, 94, 106
Freed, 64
Gandharvas, 136
Ganges River, 129
Garland-Half-Garland,
72
Garland Maker, 137
Gauri, 129
Gem, 74
Ghost Maiden, 136
Ghosts, 103
God, 102, 106, 128
Goddess, 66, 69, 134,
136
Goldsmith, 137
Great Truth, 82
Greed, 67
vi
Green Immoveable. See
Immoveable
Hairdresser, 137
Hand-Saw, 73, 74, 83,
134
Hatri:gi, 136
Heaven, 132, 137;
Pleasureful, 113,
142
Hell, 68, 142; Avici,
108; Raudra, 115
Hell Beings, 136
Hermitage, 109
Human, 136
Husband, 110
Ignorant Ones, 64
Ill, 132
Immoveable, 63, 64,
66, 74, 75, 76, 77,
83, 95, 98, 99, 104,
105, 109, 143
Impatient One, 104
Incense, 77, 90
Intellect, 105
Intoxicants, 77, 80,
85, 88
Involvement: Free
from, 64, 65
Iron, 82, 83
JOy 1 891 96
Kamadeva, 129
Kapolaka, 71
Killing, 80
Kind, 69
Kinnari, 136
Knowledge, 82, 91,
105, 123
Kocini, 137
136
Kulatrini, 136
Laborer, 136
Lady, 64, 66, 70, 84,
88, 106, 128, 130,
135, 139, 143
129
Lamp, 77
Lipstick, 111
vii
Lord, 62, 64, 66, 70,
78, 83, 84, 89, 102,
106, 128, 130, 132,
143
Lotus, 73, 74, 87, 88,
89, 102', 106, 111,
112, 113, 114, 117,
119, 122, 123. 124,
131, 137, 140
Love, 89
Lower Existence, 69
Lust, 128; Lust Vajri.
See Vajri'
Mahamattaba1aka, 104
r-1ahesvara, 129
Marnaki, 92, 93
66, 67, 68,
70, 72, 74, 75, 76,
77, 78, 85, 86, 99;
Five Mandalas, 135
l"iango, 81
Mantra, 68, 75, 76,
84, 89, 102, 105,
106, 134; Basic,
103, 105; Heart,
103; Rosary, 103,
104, 105; of Obli-
gation, 106; of the
Dakini, 109
lllantrayana, 67
Marriage Arranger, 137
Heat, 85, 88
Meditate, 88, 91
Meditation, 107, 132
lIen, 106
Merit, 90, 115, 128,
132
. Hethod, 133
Method Consecration.
See Consecration
Mind; One-Pointed, 77,
110
viii
Minium Consecration.
See Consecration
Mistress, 63, 65
Momentary, 91
Moon, 74, 89, 92
Mother, 93, 108, 110
111
Musician, 101, 108,
136
Nagas, 128
Nagini, 136
Name Consecration.
See Consecration
Niece, 108, 110
N i r v a ~ a , 85, 142
Niryuha, 71
Non-being, 64
Noose, 82, 94, 108
Noose Consecration .
See Consecration
Oblation, 106
Obstacles, 104, 106
One-Pointed Mind, 77,
110, 114
P a k ~ a , 92
Pa!=-ika, 72
Penance, 138
Perfected One, 83,
84, 95, 99, 109
Perfume, 77; Perfume
Maker, 136
Pervader, 96
Pillars, 72, 92
Pleasure, 128
Position; Pleasure-
Evoking, 116, 117,
118; Swing-Rocking,
116, 117, 118; Knee-
Holding, 116, 118;
Thigh-Rubbing, 116,
118; Foot-Moving,
116-118; Ground-
Pressing, 116, 118;
Equal Summit, 116,
119; Variegated, 116,
ix
119, 121, 123; Honey-
comb, 116, 119;
Mounted on the Ma-
chine, 116, 120; In
Every Way Auspicious,
117, 120; One Leg Up,
116, 120; Tortoise,
117, 120
Posture; "Sattva," 125,
127; "Lotus," 125,
126, 127; "Vajra,"
126, 127
Potter, 137
Prajnaparamita, 105,
106, 109, 134, 143
Predilections, 64, 65,
127
Pretas, 136
Priest, 101
Prostitute, 108, 136
Rajobhuva, 72
Rajput, 136
X
Raksasi, 136
.
Seed Syllable, 89
Rati, 129 Self-Image, 99, 132,
Raurava Hell, 78 134
Rebirth, 81; Six Senses; Object of the
States of, 123 Five, 115, 129
Red Immoveable. See Shoemaker, 136
Immoveable Sin, 132, 134, 140,
Refuge, 79, 81 141
Relative; Female, 108 Singing, 80
Release, 132, 133 Sister, 108, 110
Residence, 75, 76 Skull, 73, 83; Skull
Resolute, 78 Cup, 134
Resolve, 90 Sky, 91
Saci, 129 Slave, 110, 111
.. .
Sa1va Ascetic, 137 Sole Hero, 66, 69, 70,
samgha, 137, 140 78, 88, 102, 106,
Scholar, 136 130, 135, 144
Seat; "Squatting,n Son, 110
126, 127; "Half- Songs, 96
Moon," 126, 127; Spirits; Evil, 103
"Bow," 126, 127 Stance, 84
Secret Consecration. States, 141
See Consecration Stealing, 80
xi
Stone Artisan, 137 Tax-Collector, 136
Stupa, 140 Three Syl+ab1es, 111,
Subjugation, 100 123/ 127
Success, 66, 86, 87, Three Worlds, 69, 114,
101, 102, 108, 123, 135
125, 128, 138, 140, Time
1
68
142, 144 Titans, 106
,._
Sudras, 136 Trader, 136
Surrunoning, 100 Trance, 64, 102
Sun , 7 4 , 8 9 , 9 2 Triple Refuge, 78, 79,
Sustainer, 86 90
Sweeper, 101, 108, Universal Emperor
1
82
136 Universal Lotus, 73,
Sword, 73, 82, 85, 92
86, 94, 108 Universal Vajra, 72
Sword Consecration. Vairocana, 112
See Consecration vaisyas, 136
System; Ethical, 141 Vajra, 68, 69, 73, 82,
Tantra, 66, 67, 69, 91, 101, 106, 112,
78 113, 117/ 119, 137,
Tathagatas, 63, 82, 140
103, 104 Vajra Realm, 63, 65
Vajra Wall, 92
Vajraca1_19i, 134
Vajrananga, 129
Vajranarayana, 129
Vajrapani, 129
Vajrasankara, 129
Vajrasattva, 62, 64
Vajravali, 72
Vajrayogi, 63, 64
Vajrayogini, 64, 100,
105, 115, 139
Vajri: Delusion, 64,
75, 76, 77, 95, 96,
98, 105, 138; Lust,
64, 75, 76, 95, 96,
98,100,105, 138;
Calumny, 64, 75,
76, 95, 96, 98,
100, 105, 138; Envy,
64, 75, 76, 95, 96,
100, 105, 139; Anger,
65, 66, 70, 74, 76,
xii
84, 88, 93, 98; 105,
138
Vasudeva, 129
Vedi, 72
Victory Flask, 81
Virtue, 141
Void, 65, 90, 91, 96,
97
Washerman, 101
Washerwoman, 108, 136
Water, 91
Water Consecration.
See Consecration
Water-Worker, 136
Wheel, 73
Whirlpool, 104
White Immoveable. See
Immoveable
Wholehearted Faith, 79
.Widow, 137
Wife, 110
Wind, 91
xiii
Wine Merchant, 136 135, 137, 140
Wisdom, 85, 86, 87, Yoginis, 63, 64, 77,
88, 96, 105, 124, 84, 108, 134, 137,
139; Perfection of, 143
138
Wisdom Consecration.
See Consecration
Wishing-Trees, 72
l'loman; Holy, 108
Wood, 83
Worship, 77
Writer, 136
Yaksini, 136
. .
Yellow Immoveable.
See Immoveable
Yoga, 107
Yoga of the Stage of
Completion, 107,
130
Yoga of Mixing, 95
Yogi, 63, 64, 67, 77,
99, 116, 123, 127,
TABLE OF CONTENTS
INDEX
BIBLIOGRAPHY
ABBREVIATIONS . .
. . .
. . . . . . . . . . .
. . .
. . . . . . .
Page
iii
XV
xxvii
XXX
xxxvi
1
PREFACE . .
INTRODUCTION
SANSKRIT TEXT
VARIANT READINGS
TRANSLATION
39
. . . . . . . .
APPENDIX I: The Mandala ..
APPENDIX II: Newari Script ..
APPENDIX III: The Tibetan Text ...
xiv
62
145
148
158
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ABBREVIATIONS
I Abbreviations of Reference Works
CMT =
Comm. =
E
=
EG =
ERE =
GOS =
GS =
INT =
IHQ =
JAOS =
JRAS =
MW =
PTSD =
SBE =
Candamaharosana Tantra.
Commentary ~ the CMT.
Edgerton; Edgerton's Buddhist Hvbrid
Sanskrit Dictionary.
Edgerton's Buddhist Hybrid Sanskrit
Grammar.
Encyclopaedia of Religion and Ethics,
ed. J. Hastings.
Gaekwad's Oriental Series.
Guhyasamaja Tantra.
Hevajra Tantra.
Indian Historical Quarterly.
Journal of the American Oriental Society.
Journal of the Royal Asiatic Society.
Monier-Williarns' Sanskrit-English
Dictionary.
Pali Text Society's Pall-English
Dictionary.
Sacred Books of the East.
xxvii
II Other Abbreviations
a =
cf. =
CM =
ed.,: eds. =
etc.
g
i
ibid.
impv.
1.
m
m.c.
MS, MSS
n
p
p
pt.
q.v.
s
Skt.
s.v.
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
accusative.
.confer, compare.
(the deity).
editor(s), edited by.
etcetera.
genitive.
instrumental.
ibidem.
imperative.
line.
masculine.
metri causa.
manuscript(s).
note; neuter.
page.
part.
suod vide.
singular.
Sanskrit.
sub voce, sub verbo.
xxviii
xxix
T
=
Tibetan.
trans.
=
translator, translated by, translation.
v
=
vocative.
-
viz.
=
videlicet.
v .1.
=
variant reading.
vol.
=
volume.
w. r.
=
wrong reading.
PREFACE
In the early years of this century, the late
Professor Louis de la Vallee Poussin turned his
extraordinary powers of scholarship to the
Tantra and produced an edition of its
Sixteenth Chapter and several articles concerning
Buddhist Tantra in which he drew upon material
from this work. Although at one point he planned
to bring out an edition of the entire work, he
apparently abandoned this project when he turned
his interests to other areas of Buddhist Studies.
The enormous amount of work he has done in the
field of Buddhist Studies has been invaluable in
preparing this edition.
While engaged in procuring the manuscripts
for this edition, I learned that Professor Jean
Filliozat of the College de France was also involved
in a study of this \vork. Although he himself
planned at some future date to prepare an edition
of this text with special attention to ivaite
parallels, not only did he offer me encouragement
XXX
xxxi
in the preparation of this edition, but also kindly
provided me with a microfilm facsimile of MS M from
the Societe Asiatique, which otherwise would have
been inaccessible. I regret that geographical con-
siderations have made it impossible to consult with
this distinguished scholar concerning some of the
difficult passages.
From the very beginning of this project,
Professor Ludo Rocher, Professor of Sanskrit and
Chairman of the Department of Oriental Studies at
the University of Pennsylvania, has given unstint-
ingly of his time and erudition. His expert in-
struction in the use of manuscripts, and his in-
sightful criticisms in the final stages of preparing
this edition have been most valuable. In addition,
I am very grateful to Professor Rocher for his
on my behalf with the Asia-
tique and Professor Filliozat regarding MS M.
Throughout the course of this project Professor
Ernest Bender, Professor of Indo-Aryan Languages and
Literatures at the University of Pennsylvania, has
graciously provided both expert tutelage and kind
xxxii
encouragement. His instruction in Indo-Aryan
Linguistics has been very helpful in this study.
In addition to affording me the benefit of his
insight into textual problems, his advice regarding
informant work and field work in general proved to
be of special value in my subsequent stay in India
and Nepal. It is with great pleasure that I take
this opportunity to extend my sincere thanks to him.
Foremost among the many to whom I owe my gra-
titude in this study is my advisor, Dr. Royal W.
Weiler, Assistant Professor of South Asian Languages
and Literatures at the University of Pennsylvania.
In 1965 at Columbia University it was Dr. Weiler who
guided me through my first course in Sanskrit; it
was he who suggested in 1967 that I prepare a criti-
cal edition of the Tantra; and,
throughout the long process, he has always been
available, often until the small hours of the morn-
ing, to give sound advice and encouragement. With-
out his help I certainly could not have completed
this project. I am fortunate to have this occasion
for expressing to him my deepest gratitude.
xxxiii
During my stay in Nepal, the learned Tibetan
monk, Padma Gyaltsan, spent six months reading and
explaining to me the Tibetan translation of this
work. It is he, also, who spent several weeks con-
structing for me a three-dimensional mandala, from
. .
which came an understanding of some of the archi-
tectural terms in Chapter Two. I take pleasure in
acknowledging the invaluable help given to me by
this gentle person and profound scholar.
The person who has contributed most directly to
the preparation of this edition is Mana Vajra
Vajracarya, a man of boundless energy and talent,
and a dear friend. One of the few true Vajracaryas
by occupation as well as by caste, he is responsible
for not only the calligraphy in the Table of Scripts,
but also the location of many important references
in unedited manuscripts in his possession. Also,
in assisting in the long process of collating the
seventeen manuscripts, he has saved me much time.
Most of all, however, his energy and enthusiasm have
been a constant s o ~ r c e of inspiration.
xxxiv
It is here a special pleasure to thank William
Stablein for photographing, on my behalf, the most
important MSS in this edition. Since he is working
on a critical edition of a text similar to this one,
viz. the Mahakala Tantra, his experience has often
been very helpful in solving problems in this edition.
As a true friend and respected colleague, he has my
sincere thanks.
Without the cooperation of the libraries con-
cerned, it would have been impossible to assemble
the necessary material for this edition. In par-
ticular I am grateful to the personel of the fol-
lowing libraries for their helpful attitude and
prompt response to my requests for microfilm fac-
similes of the manuscripts used in this work: The
University Library, Cambridge; Yale University Library;
the Royal Asiatic Society; the Bibliotheque Nationale;
Tokyo University Library; Kyoto University Library;
the Library of Congress; and the Asiatic Society.
This would be incomplete without acknowledging
my thanks to Rena Stablein and to Katharita Parsons
for their many hours of typing and encouragement. I
am very grateful for their long labors.
Finally, I am indebted most of all to my
wife, Lisa, my daughter, Elizabeth, and to my
teacher, Geshe Wangyal, for whom and because
of whom this project existed.
XXXV
INTRODUCTION
The Tantra
1
is a text of the
Vajrayana, or Tantrayana school of Buddhism. It
is dedicated to the deity Candamaharosana,
2
and
. . . .
consists of twenty-five chapters (patala) , covering
a wide variety of topics.
3
This dissertation will
concern itself with only the first eight
According to formal Tibetan
this work is a Vyakhyatantra, or "Explanatory"
Tantra, belonging to the school of the Guhyasamaja
Tantra, which in turn is one of the five
or "Basic" Tantras in the class of Anuttarayogatantras.
5
1
Hereafter abbreviated CMT.
2
See p. 62, n. 1 below, for an explanation of the
meaning of his name.
3
See list and translation of chapter colophons
below.
-see Louis de la Poussin, "Une pratique
des Tantras,
11
Jl.ctes du Onzieme congres IntE.!rnational
des Orientalistes, Vol. I (1897), 241-244.
5
0n the four fundamental classes of Buddhist
Tantra, see Ferdinand D. Lessing and Alex Wayman,
trans., Hkhas.9rub rje's Fundamentals of the Buddhist
Tantras (The Hague: Mouton, 1968), passim; and L. de
la Valee Poussin, "The Four Classes of Buddhist
Tantras," JRAS (1901), 900ff.
xxxvi
xxxvii
The four classes of Buddhist Tantra are Kriya,
Carya, Yoga, and Anuttarayoga. Within the class,
Anuttarayoga Tantra, the five Hulatantras are the
Guhyasarnaja
0
(also referred to as the Tathagata-
guhyaka) ,
1
the Vairocanarnayajala
0
, the Buddhasarnayoga
0
,
the Candraguhyatilaka
0
, and the Manjusrikrodha Tantra.
Among vmrks associated with the school of the GS are
ritual manuals (sadhana), texts on initiation (diksa),
and Vyakhyatantras. It is this latter group to which
the CMT belongs, along with others, viz. the Vajramala
and the Hevajrac;lakinijalasainvaratantra.
2
It is important to note, however, that the CMT
neither relies for authority upon any other particular
work or nor is incomplete in the sense of
requiring other specialized works on, e.g., mandala
..
construction, initiation, etc. After a study of this
work, one has the feeling that the above Tibetan
classification, established several centuries after
1
Benovtosh Bhattacharva, ed., Guhyasamaia Tantra
or Tathaqataguhyaka, GOS, Vol. LIII (Baroda: Oriental
Institute, 1967): hereafter abbreviated GS.
2
D. L. Snellgrove, ed. and trans., The Hevajra
Tantra, London Oriental Vol. VI (2 parts;
London: Oxford University ?ress, 1959), hereafter
abbreviated H'VT.
xxxviii
the composition of the CMT, may be rather artificial,
and that the cult of although still
much a part of the Vajrayana movement, enjoyed a high
degree of autonomy.
1
Subj ect Hatter
Regarding the contents of the CHT, the \vide
range of subject matter can be seen from the fol-
lowing list of chapter colophons:
1. Introduction to the Tantra
( tantrava taraoapa tala)
2 . t-1andala
(maodala o >
3. Consecrations
(abhi$eka
0
)
4. The Deity
(devata
0
)
5. Hantras
(mantra
0
)
6. The Yoga of Completion
(ni$pannayoga
0
)
7. Refreshing the Body
(dehaor'Inana
0
)
1
Cf. TEXT 2.13 "Nor should one shmv this king of
tantras to one who has entered another ma:Q-9ala,"
nanyarnal;J.Q.alaoravi$ tasya tan trara"j an tu dar sa vet.
8. His Own Form
1
(svarupa o)
9. Trance
(dhyana
0
)
10. Praise of Women
(stri'prasamsa
0
)
11. The Universal Form
(visvarupa o)
12. Prescriptions of All Mantras
(sarvamantrakalpa
0
)
13. Conduct
(carya
0
)
14. The Meaning of Acala
(acalanvaya o)
15. Purification
(visuddhi o)
16. Dependent Origination
2
(prat1tyasamutpada
0
)
xxxix
1
Note that in this study only the first eight
chapters are edited and For more infor-
mation on the remaining chapters, see Hara Prasad
Shastri, A Descriptive of Sanskrit Manu-
scripts in the Government Collection, under the Care
of the Asiatic Society of Bengal, Vol. I (Calcutta:
The Baptist Mission Press,-r917).
2
For a discussion of Dependent Origination as
it relates to this chapter, see Louis de la Vallee
Poussin, et materiaux: theorie des
douze causes (London: Co., 1913), pp.
and 125-128. Por further information and an edition
of our sixteenth chapter, see also la Vallee Poussin's
"The Buddhist 'Nheel of Life' from a Nevl Source,"
JRAS ( 18 9 7 ) , 4 6 3- 4 7 0
17. Increasing the White, etc.
1
vrddhi o)
18. Cures for the Ills of Old Age
(vy'adhiv;rddhatvahani o)
19. The Arrest of the White, etc.
(sukrastambhadi
0
)
xl
20. Recitation of Various Mantras and Devices
(nanabhibhedanigaditayantramantra
0
)
21. Magical Feats
(kutUhala
0
)
22. Breath Control
(vayuyoga o)
23. The Signs of Death
Cm:rtyulakl?ana
0
)
24. The Nature of the Boqy
(dehasvarupa o)
25. Means of Invoking Goddesses
(devatasadhana o)
It should be pointed out that the erotic nature
of works of this genre often seem to have made it
difficult for this rich literature to receive the
scientific treatment it deserves. No less a scholar
than La Vallee Poussin has remarked:
The most conspicuous topic of this
literature is what is called the
str1puja, Y.:orship of \\omen: dis-
gusting practices both obscene and
1
I.e., how to increase sexual potency, etc.
criminal, including incest, are
part of this puja, \vhich is looked
upon as the true 'heroic behavior'
(duokaracharya) of a bodhisattva,
as the fulfillment of the perfect
virtues.
1
Although he worked a great deal with CMT and
apparently intended to publish an edition of it
xli
at one point,
2
it never appeared.
3
It seems clear
that the intellectual climate for the investigation
of such texts was much less favorable at his time
than it is today.
The Scope of this Study
Although the present work is supplemented by
a certain amount of explanatory material gathered
from other texts in the tradition and from the
commentary to the CMT, a detailed interpretation
of the CMT is beyond the scope of this dissertation.
Only after other texts within this tradition have
1
Louis de la Poussin, ERE, s.v. "Tantrism
(Buddhist) . "
2
P. H. Pott, Yoaa and Yantra, trans. Rodney

Needham (The Hague: Hartinus Nijhoff, 1966), n. 16.
3
Narendra Nath Law, ed., IHO (Poussin Memorial
Volume, pt. I), Vol. XVI, No. 2 (1940), pp. VJ.J.-xiv
(this contains a comoletc list of la Poussin's
publications). -
xlii
been reliably edited and translated, will such an
enterprise by possible.
In general, the project of this dissertation
is to establish reliable Sanskrit and Tibetan texts,
and then an English translation, supported and clari-
fied by reference to other related works. In par-
ticular, this work is a critical edition and English
translation of the CMT, based upon seventeen Sanskrit
MSS, four Tibetan xylograph editions, a thirteenth-
century Sanskrit 'commentary, and other related works
within the Vajrayana tradition.
Original Composition of the CHT
As is usually found with works throughout the
Buddhist tradition which claim to be of a revealed
nature, there is no identifiable author. Vajra-
sattva, who is introduced as the speaker in the
first chapter, is not an historical figure, but
rather a fundamental deity of the Vajrayana, who
takes the form of other deities within the pantheon
as his function varies.
1
1
Cf. TEXT 1.13, where he takes the form of Black
Immoveable; also, see p. 62, n. 2.
xliii
As to the date of the CMT, until this whole
tradition is better known, not a great deal can be
said with certainty. We have seen above, from the
Tibetan classification, evidence linking our text
with the GS. Although we have indicated evidence
for regarding the practice of the CMT to be in-
dependent of tl1e GS, there is, however, a close
affinity of style and content.
The
11
quaint beginning" of the GS, as Bhatta-
charya refers to it, viz., evam maya I
ekasmin samaye bhagavan sarvatathagatakayavakcitta-
hrdayavajrayosidbhagesu vijahara I ,
1
is nearly
. . .
identical to the beginning of the CMT both in form
and meaning.
2
Again, in the fourteenth chapter of
the GS, we find the following mantra:
I I nama}J samantakayavakcittavajral)arn I
om acalakarana hum hunl motta motta satta
satta ha ha moha
daha daha tatta tatta
avisa mahamattapalaka dhuna dhuna
til)i til)i kil)i khada khada vighnan
1
GS, 1 p.
2
See TEXT, p. 1.
xliv
maraya maraya
sarvan kuru kuru kiri kiri mahavisama-
vajra sphotaya sphotaya hum hum hum
nrbali tararllganartaka am am ham ham
acalaceta sphotaya sphotaya om
asamantika trat mahabala sataya
samayam mam tram ham mam sudhyatu
vajrr tusyatu vajrr namo 'stv
apratibalebhah jvalaya trat asaha
nama}J svana 1!
1
This mantra, which is called
is nearly word for word the same as the
11
Second
Garland tra" (dvi tiyamalamantrah) in the fifth
chapter of the CMT.
2
The significance of the above
mantra is clearer when it is noted that
is also referred to throughout our text
by two other names. These are Ekalavira,
11
Sole
Hero," and Acala, "Immoveable." It can be seen
from the above that the GS and the CMT have certain
elements which indicate a close relationship, but
we can not infer that there existed a separate cult
of which might have produced our
text at the time of the GS, which Bhattacharya places
tentatively in the 3rd or 4th century A.D.
3
The
1
Gs, 85 p. .
2
See TEXT, 19.6-19.15.
3
GS, p. xxxviii.
xlv
fact, hmvever, that the GS has not been mentioned
by any other author until the Nagarjuna of the 7th
century A.D.,
1
leads us to believe that it should
be dated somewhat later, in spite of the fact that
its esoteric nature may have to a certain extent
kept it from being immediately known.
The earliest work from which we can reasonably
assume the prior existence of a separate cult of
is the Vairavidaraoi nama dharaoi
Candarnaharosana sadhana'
2
\vhich is attributed to Sabari.
If this Sabari is the same person as the Sahara, or
Sabarapada, who wrote two Sadhanas (Nos. 185 and 235)
inthe Sadhanamala, as Bhattacharya suggests,
3
then we
have the possibility of a cult of
existing as early as the 7th century A.D. The fact
that similar and even identical names (e.g. Nagarjuna)
may refer to different authors, and the tentative
nature of Bhattacharya's dating of Sabara,
4
point
1
GS, p. xxxii.
2
Benoytosh Bhattacharya, ed., Sadhanamala,
2 Vols. (Baroda: Oriental Institute, 1968), II, p. cxv.
3
Ibid., pp. cxiv, 385-387, 456.
4
Ibid., II, pp. xl-xliii.
xlvi
out the highly questionable status of the 7th
century for the composition of the CMT. It seems,
in fact, more reasonable to take this date as our
terminus a quo.
Again turning to the Sadhanamala, we find a
group of four Sadhanas (Nos. 85, 86, 87, 88) dedicated
to Candamaharosana.
1
The popularity of
evidenced by these works leads us to take their date as
most likely for the composition of the CNT. Due to
the lack of a dateable author of any of these, we
must take the date of thei.r earliest HS, \'lhich is
A.D. 1100 (see Bhattacharya's MS B). Since our
earliest MS, however, is dated A.D. 1297,
2
we are
obliged to take this date as our terminus ad guem.
The Sanskrit Manuscripts
The Sanskrit MSS upon which we have based this
edition range in date from the 13th to the 2oth
century A.D. Apart from the earliest MS, which is
a commentary, all MSS listed belmv are representatives
of an essentially unitary textual tradition for which
1
Ibid., pp. 169-175.
2
See discussion of MSS below.
xlvii
we postulate a single original text of the CMT.
The earliest of these MSS of the CMT itself can be
dated in the mid-14th century A.D.
All of our MSS are written in varying forms.of
the Newari script, with the exception of the MS M,
which is in Devanagari.
1
The three earliest are
Palm Leaf MSS, and the others are all written on
Nepalese paper. In fact, all of our MSS originated
in Nepal, although many of them are now to be found
in libraries in India, Europe, and Japan.
Regarding the designation of MSS, it has been
the practice of some editors to use an initial of
the location of the library in \vhich a MS is now
preserved, e.g. P = Paris, C = Cambridge, etc. This
practice seems to be useful 1) when there is a par-
ticular relevance of the location of the MS to the
study in question, and 2) when the number of MSS at
location is small enough to avoid
In our own case, the present location of MSS
is of minor significance in vjew of the fact that
1
For discussion of the scripts, including a
bibliography and charts drawn from the MSS, see
APPENDIX II.
: ..
.
..
xlviii
all of our MSS originated in Nepal. Furthermore,.
there are as many as eight MSS of the CMT in one
location, viz., Tokyo. In the light of this si-
tuation, we have decided to adopt a different and
more relevant system of designation
For the purpose of this edition, the seventeen
Sanskrit MSS of the CMT are designated consecutively
A - Q, from the earliest to the latest. This system
will be seen to be especially convenient regarding
variant readings, since the relative date of a given
MS is evident from its designation. The
MS of the 13th century A.D. commentary to the CMT,
designated "Conun.," is referred to throughout this
dissertation, and it is included in the following
description of MSS in first position, according to
its relative date.
Cornm. = Padmavati nama candamaharosanapanjika
. . . .
(a commentary on the CMT); Location: Bir Library,
Kathmandu; Reference: No. 1613;
1
1
This MS is listed in the catalog of MSS in Bir
Library: Buddhisagara Sarmana,
(Kathmandu: Joraganesa Press, 1962), p. 44.
xlix
Size: 28 em. x 6 em.; No. of leaves: 33; Lines to
a page: 8; Script: Newari (Old Bhujimola); Date:
Nepalese Samvat 417
1
(=A.D. 1297); Material: palm
leaf. Microfilms of this MS and MS B (below) were
obtained for me in 1967 through the kind efforts of
my colleague, William Stablein, while he was in
Kathmandu, engaged in a study of the Mahakala Tantra
"A.. = Ekalaviratantra (Candamaharosanatantra) ;
2
. . . .
Location: Asiatic Society, London; Reference:
Cowell No. 46;
3
Size: in. x 3 in.; No. of leaves: 50;
Lines to a page: 7-8; Script: Newari (Bhujimola); Date:
no date, but placed at ca. N.S. 500 (=A.D.
1
Hereafter Nepalese Samvat is abbreviated N.S.
The date marking the beginning of the Nepaese Era
is A.D. 880, discussed by Daniel wright (ed.),
History of Nepal (2d ed.; Calcutta: Susil Gupta
(India) Private, Ltd., 1958), pp. 20, 98, 199.
2
As noted above, Ekalavira and Acala are the
two other names used in referring to
Although the former name is used by some MSS on the
title page, the work indicated is none other than
that designated by us as the CMT.
3
E.B. Cowell and J. Eggeling, "Catalogue of the
Buddhist Sanskrit Manuscripts in the Possession of
the Royal Asiatic Society (Hodgson Collection),"
JRAS, n.s. Vol. 8 (1876), 37, No. 46.
APPENDIX II for scripts and their dates.
1
Material: palm leaf. Although this MS is numbered
consecutively from 1-60, there are ten leaves missing
from 6.1 to 21.6 of our TEXT. The fact that the
leaves of this r1S were numbered at a date perhaps
five to six centuries after it was written, and
subsequent to the loss of the ten leaves, can be
seen immediately from a glance at the form of the
numeral 7 forMS A in the Script Chart (APPENDIX II).
Note that the leaf numeral is the only source of
numerals for the Script Chart.
B = Ekalavira nama
Location: National Archives of Nepal, Kathmandu;
Reference: No. 1612;
1
Size:
25 em. x 6 em.; No. of leaves: 45; Lines to a page:
'
6; Script: Newari; Date: 'N.S. 547 (=A.D. 1427);
Material: palm leaf. This has been one of the most
useful MSS. Along with the MS of the Comm. (q.v.),
the microfilm of this MS was supplied to me through
the kindness of William Stablein.
C = Location: Kyoto
. . . .
1
Sarma:r:a, p. 44.
li
University Library, Kyoto; Reference: Kyoto Catalogue
No. 22;
1
Size: 9 in. x 3 in.; No. of leaves: 75;
Lines to a page: 7 ; Script: NewarT; Date: no date,
but placed at ca. N.S. 740 (= A.D. 1620); Material:
Nepalese paper.
D = Candamaharosanatantra; Location: University
. . . .
of Tokyo Library, Tokyo; Reference: Tokyo Catalogue
No. 473;
2
Size: 82 in. x in.; No. of leaves: 85;
Lines to a page: 6; Script: Newari; Date: N.S. 797
(=A.D. 1677); Material: Nepalese paper.
E = Ekalaviratantra (or)
Location: Bibliotheque Nationale, Paris; Reference:
Cabaton No. 18;
3
Size: 240 mm. x 55 mm.: No. of leaves:
102; Lines to a page: 9; Script: Newar1; Date: no
but placed at ca. N.S. 800 (=A.D. 1680);
1
Ryujo Yamada, "A Bibliography of Studies on
Sanskrit Buddhism," TOhoku Daikaku Bungakubu kenkyu
nempo, Vol VIII (Dec, 1957), 133.
2
Sanskrit Seminar of Taisho University, Buddhist
Manuscripts of the Bir Librarv, :'-temoirs of Taisho
University No. 41 (March, 1956), p. 10. This includes
a listing of the Sanskrit MSS in the University of
Tokyo Library.
3
A. Cabaton, Catalogue somrnaire des manuscrits
sanscrits et palis, 1er Fasicule (Paris: Bibliotheque
Nationale Departemcnt des 1907), p. 3.
lii.
Material: Nepalese paper. This MS is listed by
Cabaton as "Ekaravira-tantra.
111
Although Cabaton
describes this MS as having thirty-five chapters,
there are, in fact, no more than the usual twenty-
five. This MS was also listed and described in
1941 by Filliozat, this time with the correct num-
ber of chapters and a list of the chapter colophons.
2
This is one of the MSS collected in Nepal by Hodgson
and Burnouf.
F = Ekalavira-Candamaharosana-Tantra; Location:
. . . .
Asiatic Society, Calcutta; Reference: Shastri No. 85;
3
Size: in. x in.; No. of leaves: 83; Lines to
a page: 5; Script: Newari; Date: N.s. 835 (= A.D. 1715);
Material: Nepalese paper. Shastri reads the date of
incorrectly as N.S. 435 (=A.D.
1
See the discussion of the language of the texts,
below, for the r/1 variation.
2
Jean Filliozat, Catalogue du fonds sanscrit,
Fasicule 1 (Paris: Bibliothe Nationale Departement
des Manuscrits, 1941), p. 9f.
3
Shastri, A Descriptive Catalogue, p. 140, No. 85.
It Ibid.
liii
G = Location: Tokyo
University Library, Tokyo; Reference: Tokyo Catalogue
No. 468;
1
Lines to a page: 6; Script: Newari; Date: no date,
but placed at ca. N.S. 850-900 {=A.D. 1730-1780);
Material: Nepalese paper.
H = Ekalavira-Canda-Maharosana-Tantra; Location:
. . . .
Asiatic Society, Calcutta; Reference: Shastri No. 84;
2
Size: 142 in. x 4 in.; No. of leaves: 41; Lines to
a page: 7-8; Script: Newar1; Date: no date, but
placed at ca. N.S. 850-950 (=A.D. 1730-1830); Ma-
terial: Nepalese paper. Although Shastri lists this
MS as complete, the last leaf is missing. In his
description, he gives several excerpts, some of
which are from later chapters not included in this
dissertation.
I = Candamaharosanatantra; Location: Tokyo
. . . .
No. 490;
3
Seminar, Bciddhist Manuscripts, p. 10.
2
Shastri, Descriotive Catalogue, pp. 131-140.
3
Sanskrit Seminar, Buddhist Manuscripts, p. 10.
liv
Lines to a page: 5; Script: Newari (Late Ranjana); Date:
N.S. 934 (=A.D. 1814); Material: Nepalese paper. Al-
though the orthography is quite careful and pleasing
to the eye, its numerous substantive errors reflect its
relatively late date. This is one of only two MSS con-
taining illustrations. The painting depicts C a ~ ~ a
maharosana and Vajrayogini on the first leaf of the HS.
. .
J = Candamaharosanatantra; Location: Tokyo
. . . .
No. 196;
1
Size: 9g in. x 3 in.; No. of leaves: 93;
Lines to a page: 5; Script: Ne,.,./ari; Date: N.S. 944
(=A.D. 1824); Material: Nepalese paper. The first
leaf of this MS contains a rather careful painting
of Candamaharosana.
. . . .
K = Ekaravira-Tantra (Canda-Maharosanatantra);
. . . .
Location: University Library, Cambridge; Reference:
Bendall Add. 1319;
2
Size: 1ol in. x 3 in.; No. of
leaves: 70; Lines to a page: 6; Script: Newari;
Date: N.S. 944 (=A.D. 1824); Material: Nepalese
1
Ibid.
2
Cecil Bendall, Catalogue of the Buddhist
Sanskrit Manuscripts in the University Library,
Cambridge (Cambridge:-university Press, 1883),
p. 45. .
lv
paper. In his description, Bendall also gives a
list of the twenty-five chapter colophons.
1
L = Candamaharosanatantra; Location: Tokyo
~ No. 339;
2
Size: 1 0 ~ in. x 3 in.; No. of leaves: 86;
Lines to a page: 5; Script: Newarr; Date: N.s. 945
(=A.D. 1825); Material: Nepalese paper.
M = Candamaharosanatantra {Ekalavirakhyasricanda-
. . . . . .
maharosanatantra); Location: Societe Asiatique, Paris;
. .
Reference: Filliozat No. 13;
3
Size: 220 mm. x 70 mm.;
No. of leaves: 108; Lines to a page: 5; Script: Deva-
nagari; Date: no date, but placed at ca. N.S. 950
{=A.D. 1830); Material: Nepalese paper. This MS
is carelessly written and is of little value to the
present study. In contrast to our others, this MS
has twenty-six instead of the usual bventy-five
chapters. This is done by repeating the chapter on
Purification {visuddhipatala). This may not be
1
Ibid.
2
3
Jean Filliozat, "Catalogue des IT.anuscrits
sanscrits et tibetains de la Societe Asiatique,"
Journal Asiatique, Vol. 233 (1941-1942), p. 16.
lvi
simple error, but rather done in order to increase
the length to the magic number of one hundred eight
leaves.
N = (Ekara
0
or Ekalaviratantram) Candamaharosana-
. . . .
tantram; Location: University Library, Cambridge;
Reference: Bendall Add. 1419;
1
Size: 12 in. x 5 in.;
No. of leaves: 50; Lines to a page: 9; Script: Newari;
Date: N.S. 962 (= A.D 1842); Material: Nepalese paper.
0 = Candamaharosanatantra; Location: Tokyo
. . . .
No. 186;
2
Size: 1 1 ~ in. x 3 in.; No. of leaves: 93;
Lines to a page: 5; Script: Netvari; Date: N.S. 977
(=A.D. 1857); Material: Nepalese paper. The Sanskrit
of this MS is so flawed that it has been of little
help in the production of this edition, and only a
few, significant variants are included. There are
errors in almost every word. The_MS begins: om nama
sricandra [sic 1 maharokhattayaiQ. II evam maya sruta a m
ekasmi samaya .. ,
3
and continues in the same manner.
1
Bendall, Catalogue, p. 103.
2
3
Cf. TEXT, p. 1, and see the discussion of lan-
guage, below.
lvii
These non-Sanskrit forms are not the remains ofan
original Middle Indic, but a phenomenon we shall
consider belm-1 .!,n our discussion of language.
P = Location: Tokyo
. . . .
No. 251;
1
Size: in. x 4g in.; No. of leaves: 79;
(=A.D. 1888); Material: Nepalese paper. The same
remarks regarding language apply to this MS as to
MS 0 above. Only a few variant readings have been
recorded from this MS in our edition.
Q = Candamaharosanatantra; Location: Tokyo
. . . .
No. 302;
2
Size: 9l in. x 31 in.; No. of leaves: 115;
(= A.D. 1901); Material: Nepalese paper. Although
rather carelessly written, the Sanskrit of this MS
is, on the whole, somewhat better than the two pre-
ceding MSS.
In order to establish relationship among
1
Sanskrit Seminar, Buddhist Manuscripts, p.lO.
2
Ibid.
lviii
these MSS, there is an important factor which should
be kept in mind. Judging by the popularity of this
work in Nepal today, where Candamaharosana is wor-
. . . .
shipped daily in public and in household shrines of
many Newar families, it seems quite possible that as
many as one hundred fifty MSS of this text were
copied throughout its history. However many MSS
there may have been, it is clear that they are too
numerous for us to assume that we have a single
lineage of MSS within our relatively small sample.
It is more reasonable to proceed with an analysis
on the assumption that all seventeen r1SS have been
copied from others not in our possession.
In light of the above, relationships which
emerge among our MSS should not be construed as
direct genealogical connections, but rather as sig-
nificant affinities within our sample which reflect
genealogical relationships within the larger MS
tradition. Although the establishment of affinity
groups among the MSS is of some interest because
of its bearing upon the history of the MS tradition,
its main contribution has been as a tool for the
lix
evalutation of individual MSS. By working initially
with a small selection of the representative MSS,
a broad spectrum of variant readings is already
immediately available.
The basic principles upon which this analysis
is made are the following: If a ~ I S omits a sig-
nificant segment of the text, only MSS of a later
date which also omit that segment can be placed
in the same affinity group. The relationship in-
dicated by the satisfaction of the above condition
will be called Secondary Affinity. Those MSS,
which belong to the same Secondary Affinity Group,
and which also satisfy the condition that later
MSS retain all variants not omitted by earlier
MSS in that group will be said to be in the same
Primary Affinity Group, indicating the possibility
of a closer relationship.
The significant variant readings which we have
used are the following:
1) 4.18
2) 6.11
1x
MSS A D E I L Q omit: ekan
_ca kartavyan cakravat
MSS C F H M omit: om dvesavajri
.
praticcha hum J.
3) 10.18 MSS C F H M omit: prajnan ca samtarpya.
4) 18.16 MSS B c F G H I J K M N P do not add:
om sripamatota hayagriva
I
hulu
hulu hum
II
om acini cinamo
-
hum phe svaha
II
bhagavati hum
5) 20.17 MSS c M omit: tapa tapa.
6) 29.7 MSS DE I L N Q omit: vamajanghopari
sthapya savyajangham tu lilaya I I;
invert the next t\.;ro padas , and omit:
khyato 'yam sarva-
I .
7) 36.15 MSS A B D E I L N Q do not add:
madiyamastakastha yo yogi dhyanaika-
tatparaJ; II .
The above data can be seen more readily in
Table 1, below. The high degree of consistency
among omissions of different variants supports
the choice of these particular variants as the
basis for our grouping.
TABLE 1
MSS OMITTING VARIANTS
MSS
Variants
A B c D E F G H I J K L M N 0 P Q
1
(4.18)
X X X X X X
2 (6.11) X X X
3 (10.18) X X X
4 (18.16) X X X X X X X X X X X
5 (20.17) X X
6 (29.7) X X X X X X
7 (36.15) X X X X X X X X
Applying our two principles to these variants,
affinity groups can be derived; these are shown
in Table 2. In the lower left portion of Table 2,
MSS first are eliminated from Secondary Affinity
because they retain a reading omitted in the MS
heading the affinity group. Those eliminated are
marked with an X; all MSS not so marked have
Secondary Affinity to the MS heading the affinity
group. In the same portion of Table 2, MSS marked
lxii
with an 0 are further eliminated because they omit
readings retained by the MS heading the group.
Those MSS which are not eliminated for either of
these reasons have Primary Affinity to the MS
heading the group. These findings are transferred
to the upper right portion of Table 2. Here, MSS
with only Secondary Affinity to the MS heading the
group are indicated by a 2, and those with Primary
Affinity by a 1.
TABLE 2
DFP.IVATJON ftYFTN!TY GROUPS
V.UU AN'J'S
====- =:=:--:.=::::.:-=-=-== -
_ .. ____ -
r::ss
B G n F. F G H T
,T
K
T

,..
0
p
0 )._,
,.

A
-----rr---2-
1 l
,\
)\.

2 2 B
C X X
1
c

X
?. 1 J.

y y
2 l 1 c::J
'
" pO
X X X

2
A - 0::
G X X
v
X X
l
]
2 2
,
r.:;. C!J
I_ .1.
}j ., v
X X X X 1 1 2 2 1
-
.....
TE-i

0 X 0 0 X 0
. H
'{
X X X X X
2 2 1
TZ
...
' H
Kl X
v
X X X X
2 1 ,K (:I..
. .
1
,T ...
l X
y
X X X X
<
.,
X X 0 0 0 0
r
l:i Y.
v J.'!
..
I'
1
X 0 X
v
X X 0 0
}:
0 X
y
1-r
./'.
..
ol :i.
X X X X X X X X X X X X X 2 2 10
X X X X
y
X X X X 0 ;p
PI X
,.
. . ;

X X X X
X X X __ _I_YJ_l: . 0
A B c D ''
li
('

'
' GPI:l'P ',
1----"-.l--
lxiii
lihen these affinities are then placed on a
chronological scale, the pattern emerges which is
shown in Table
A,D. 1300
TABLE 3
CHRONOLOGY OF PRIMARY AND SECONDARY
AFFINITY GROUPS

I
Primary
--------- Secondary only
* Datn
fit,, B
] 500 +
I I,, I\
, ' '',
1
' c{:
I \ \ I '
1?00
1900
I ,,, I \
I ,,\ I \
I
.\.. \ \ I \
p::::-.J;:* ' I '
I / ... ... ... \ , F \ - - -
I
,./.. '' \ I _.=:: - ;-7' ;
{/ \ f .... -=-.:::----- ... , ::-r:-; \:; ...
t; N
Q--- - - - - - - - - -- - - -- - - - - - o-- --P
It should be noted that the lack of a fixed
date for some MSS and also the possibility of corrupt
readings, caused by a MS being copied from two MSS
in different traditions, makes this analysis only
lxiv
an approximation. Nonetheless, the above affinities
not only greatly facilitate the location of possible
variant readings, but also suggest a genealogical
pattern inherent in the larger MS tradition.
In addition to the Sanskrit MSS, discussed
above, we have used four xylograph editions of the
Tibetan translation of this text. These are the
Cone, Derge, Peking, and Lhasa editions. Although
these editions have a few variations, which are due
to xylographic errors, they are all copies of the
same translation. The Sanskrit MS (or MSS), upon
which that translation was based, cannot be dated,
but seems to stand in a Primary Affinity relation-
_ship to MS B, above.
Following the standard Tibetan procedure, the
translation was accomplished through the colla-
boration of an Indian pandit and a Tibetan "transla-
tor" (lo tsa ba). The colophon reads:
At the great Sakya monastery,
1
this
translation was accomplished in the
1
This is located in Tibet in the province of
Tsang.
presence of the pandit, Ratna Sri,
by the translator Grags pa rgyal
mtshan (Skt. Yasodhvaja), on the
tenth day of the light half
1
of
the month of Kartika (October-
November) in the year of the snake.
2
lxv
Since the "year of the snake" places the date
of the translation only as the sixth in a twelve-
year cycle,
3
it is of no help in establishing the
year in which it was translated. Nor is it possible
at this time to identify the translators of this
work, who, true to the reputation of Tibetan transla-
tions, have reproduced this work with astonishing
fidelity to the Sanskrit. Since the Derge edition
was printed in the early lath century, our transla-
tion is certainly prior to this
1
I.e., the first fortnight of the lunar month,
from new moon until full moon.
2
The Tibetan text reads: sa kya'i gtsug lag
khang chen por pa tara tna shri'i zhal snga nas
lo tsa ba grags pa rgyal mtshan gyis sbrul gyi smin
drug gi zla ba'i dkar po'i tshes bcu la rdzogs par
bsgyur ro ll
3
The twelve year cycle is. 1) mouse (byi), 2) ox
(glang), 3) tiger (stag), 4) hare 5 dragon
('brug), 6) snake (sbrul), 7) horse (rta), 8) sheep
(lug), 9) ape (spre), 10 bird (bya), 11) dog (khyi),
and 12) hog (phag).
D. Badaraev, "Notes on a List of the Various
Editions of the Kanjur," Acta Tomus
XX I ( 19 6 8 ) , 3 50 , n . 3 8
lxvi
Since our early Sanskrit MSS are, on the whole,
quite reliable, it has not been necessary to depend
on the Tibetan translation as heavily as some, viz.
Snellgrove,
1
for establishing our Sanskrit text.
There are two main ways in which the Tibetan trans-
lation has been useful in this study. First, since
the Tibetan reproduces our text at a date clearly
earlier than the majority of our MSS, it is a
valuable source of variant readings. Second, due
to the fact that the Tibetan language is a member
of the Tibeto-Chinese family, it provides a dif-
ferent perspective that is quite valuable in the
process of translation into English, much in the
same way as a commentary. The Tibetan text will
be found below in APPENDIX III.
1
In Snellgrove's HVT, pp. v111-x, he describes
the procedure in editing his Sanskrit MSS as follows:
"Indeed it must be confessed that the general method
has been first to ascertain [from the Tibetan] the
intended sense of the text and then edit the [San-
skrit] manuscripts accordingly." Due to the fact
that the only Sanskrit MSS of.the text available to
him were of the 19th century, this procedure seems
not only justified but quite sensible. Nonetheless,
there are four MSS of his text in Tokyo University
Library listed in Sanskrit Seminar, Buddhist Manu-
scripts, p. 11, which Snellgrove does not mention.
lxvii
Although there is no Chinese translation of
the CMT listed either by Nanjio
1
or Yamada,
2
it is
possible that the CMT may have reached China in
Tibetan translation in A.D. 1410 as part of the
First Peking edition of the Tibetan Kanjur, pre-
pared under the auspices of the Ming, Yung-lo empe-
ror.
3
It is not certain, hov1ever, that this work
was included in that particular edition of the
Kanjur.
The Fourth Peking edition, which contains a
translation of the CMT, includes only one more
volume (25 vols. vs. 24 vols.) in the Rgyud, or
"Tantra" These 25 volumes, however,
contain over 700 individual works, making it pos-
sible that a great many works may have been added
to this section in increasing the number of vol-
umes by one. In any case, it is certain that the
1
Bunyin Nanjio, of the Chinese
Translation of the Buddhist Tripitaka (Oxford:
Clarendon Press;-1883).
2
Yamada, "A Bibliography," p. 133.
3
Badaraev, "Notes," 347, n. 3.
lxviii
Tibetan translation of the CMT reached China by
A.D. 1737, as part of the Fourth Peking edition.
There is also iconographic evidence of the
worship of Candamaharosana in China by the late
. . . .
lath century.
1
Like the evidence from the editions
of the Kanjur, the iconographic context indicates
a wholesale adoption of both the deities as well
as the texts of Tibetan Buddhism, with little or
no change from its form in Tibet.
The Pao-hsiang Lou Pantheon, photographed by
Stael-Holstein in 1926 and published by w. E. Clark,
contains a deity by the name of Pai Pu-tung-chin
kang. Clark gives the Sanskrit translation of this
as Sita-Acalavajra,
2
who is the "Nhite Immoveable"
of our text. Since this pantheon is of Tibetan
origin, it is not surprising that
is found here under the name of Acala, for the
popular Tibetan name for both the text and the
deity is Mi ba (Acala) instead of Gtum E khro
bo chen
1
Wal ter Eugene Clark, T\vO Lama is tic Pantheons,
2 Vols. (Reprinted in 1 York: Paragon Book
Reprint Corp., 1965), I, p. xxi.
2
Ibid., I, pp. 3, 152, and II, p. 198.
lxix
Language
The language of the CMT, as it appears in the
TEXT below, is Sanskrit. Although the vocabulary
is often technical, this seems hardly sufficient
grounds to confuse the issue of language by des-
cribing it as "Buddhist Hybrid Sanskrit" or even
"Buddhist Sanskrit." The subject matter is Buddhist,
but the language is Sanskrit, close indeed to the
Sanskrit of the Epics.
Although our TEXT, as edited below, contains
few non-Sanskrit forms, some of the MSS, viz. MS 0
and P, are written in a language which deviates
markedly from standard Sanskrit. According to
hypotheses of Franklin Edgerton,
1
perhaps our edited
TEXT represents a thoroughly "Sanskritized" version
of a text originally composed in a dialect of Middle-
Indic; and, therefore, perhaps our MSS 0 and P may
be in a language closer to the original than that of
our edited TEXT. On the basis of the following
1
Franklin Edgerton, Buddhist Hybrid Sanskrit
Grammar and Dictionary, 2 Vols. (New Haven: Yale
University Press, 1953), I, pp. xxv, and 1-13.
Hereafter the Buddhist Hybrid Sanskrit Dictionary
is abbreviated E and the Grammar as EG.
lxx
evidence,- however, the importance of Sanskritization,
as a factor in language change, must be re-evaluated.
Nearly all of the non-Sanskrit forms found in MSS 0
and P appear to be, not the remains of Middle-Indic
in a Sanskritized text, but errors introduced into
the MSS through the process of transmission.
In order to account for such non-Sanskrit forms,
we must examine the variables involved which may
have influenced the language of a MS. First, because
the texts examined by Edgerton were originally com-
posed over a period of more than ten centuries, there
must certainly have been a variation in the language
of the original texts. Second, the greater the
length of time from composition until the date of
a specific MS, the longer the language of a text has
been subject to possible change. Third, the way a
text is used may influence the faithfulness of the
copyist; if the work is technical and the precise
meaning of the text is important to the copyist, he
may be quite careful. On t h ~ other hand, if the
text is considered to be of a devotional nature where
the importance to the copyist lies in the act of
lxxi
copying, then less attention to detail may be
expected. Fourth, the mechanics of transmission
may vary. A MS may be a copy of one other MS or
of many. A MS may be written down by one person
as he hears the text recited by another. Fifth,
the less familiarity the scribe has with the lan-
guage of the MS he is copying, the greater the
chance for change. Sixth, as Edgerton rightly
contends, a copyist may purposely alter a text as
a translator from one language to another or from
one dialect to another; or, in order to correct
what he considers error, he may write other than
what he sees, bringing a text more in line with
his notion of correct language or meaning. Although
this list is certainly not exhaustive, the influence
of each of these factors must be considered and
weighed by the editor of a given text and certainly
by anyone concerned with language change covering
a broad textual tradition.
Regarding the CMT, the following facts which
relate to its language emerge in light of the above
factors. Since the language of the original text
lxxii
could vary greatly during the period of its possible
composition, any decisions regarding the language of
the original are pure speculation unless based upon
evidence from the MSS. The earlier MSS, which are
written in Sansk-rit, have been subject to change
for a shorter length of time than the later MSS,
which show the greatest number of non-Sanskrit forms.
Although the practice indicated by the CMT requires
the thorough understanding of the text, the prac-
tice seems to have declined to the extent tLat the
text is now considered almost exclusively as a
devotional object, the mere copying of which is
productive of religious merit. Since both reci-
tation and writing of sacred books produce merit,
these two are often combined, explaining the state
of MSS such as our 0 and P. The above was compounded
because the copyist often knew little Sanskrit.
Moreover, the people responsible for copying all our
MSS were Newars, whose own language was not even
Indo-European, not to mention
As an illustration to the kind of variation
described above, the following passage from MS 0
corresponds to lines 1-11 on p. 1 of the TEXT:
lxxiii
om nama srTcandramaharokhaoayall} I I
1 I evam maya srutatam ekasmr samaya
bhagana vajrasattval} sarvatathagatal}
kayavakcicihrha(?)rdayavajra-
vijaharaQ I I
annekais ca ll
I I tadyathal} I vaJra-
joginT I I pitacalena I I
raktacarena vajrajogni I I syamacalena
ca vajrayogTni I I mohavajrya ca
vajrogini I I pisunavajrya vajra-
yoginT l I ragavajrya vajrayognil}
Yra9yavajryia ca vajrayogina I I
This excerpt is transcribed exactly as it appears
in the MS, with the following exceptions, normalized
as in the TEXT:
1} Where the MS reads satva, sattva is
written.
2} Where the MS reads sarvva, sarva is
written.
3} Where the MS does not distinguish
between and jra, these are separated
in transcription.
If this had been our only MS, and if the forces
at work in the process of textual tradition were
unclear, it would have been tempting to consider the
possibility that the original text might have been
composed in a non-Sanskrit dialect. On the other
lxxiv
hand, even if a single undated MS containing standard
Sanskrit readings supported our TEXT, that undated
MS can easily be established by philological methods
as linguistically closer to the original text. As
in the variation, canda/candra, there are numerous
examples in which our TEXT contains the lectio
difficilior. Although some of the words missing in
MS 0 could have been added by later copyists, the
clear contextual meaning supports the readings of
our TEXT (e.g. yogiyoginigaQaiD/yoginigaoai).
Further, we know that: 1) this text may often have
been copied for devotional purposes, with little
regard for its meaningful content; 2) often, copyists
had little knowledge of Sanskrit; and 3) these texts
are often copied by the process of a text being re-
cited by one person and written down by another per-
son or persons.
When MS 0 is viewed in the light of this know-
ledge, many of its variants are understandable.
Although the variant canda/candra may support "San-
skritization" as a force at work in the tradition,
it presupposes a knowledge of Sanskrit by the copyist;
lxxv
this is clearly not in evidence in the MS as a
whole. Although there is little orthographic
similarity beb1een many of the variants, it is
striking to see how much phonological similarity
there is. This is easily explained by the process
of transmission outlined above. Short and long
vowels are often interchanged; the visarga () is
added or omitted; consonant variants appear, such
as l)Qa/ndra, :y/jo, la/ra, and ~ / k h a ; inter-
consonantal vowels are omitted, as in gini/gni;
and epenthetic vowels are seen as in Ir7ya/Trasya.
The fact that nearly all of these phonetic va-
riations occur also as possible Middle-Indic va-
riations complicates the problem and emphasizes the
necessity of working with the MSS themselves. The
variant readings listed in printed editions seldom
provide the data necessary to evaluate the signifi-
cance of the individual variant.
On the basis of the above evaluation, Edgerton's
hypotheses need further thought. Since the CMT was
probably composed at a later date than most of the
works considered by Edgerton, it seems quite likely
lxxvi
that many of the earlier works, which are considerably
closer both doctrinally and temporally to the Pali
tradition, had a distinct Middle-Indic influence.
On the other hand, the fact that we find evidence of
considerable change in language of the MSS from the
13th century to the 19th century in the direction
of non-Sanskrit forms, indicates that there may be
some difficulty in separating what is error from
what may be Middle-Indic in MSS of at least the later
half of this period. The above is seen to be es-
pecially significant in view of the fact that Edger-
ton's "oldest Buddhist Hybrid Sanskrit text,"
1
the
Mahavastu, was edited by Senart on the basis of no
MSS earlier than the 17th century.
2
Although further analysis of the languages
involved in Edgerton's study is beyond the scope of
this dissertation, nevertheless, the evidence brought
out by this study of the MSS of the CHT must be con-
sidered in any further work in this area.
2
E. Sen art, ed. , Le Nahavas tu, 3 vols. (Paris:
Imprimerie Nationale, 1882, 1890, 1897), I, pp. v-xi.
lxxvii
In the Introduction to his study of the Hevajra
Tantra, Snellgrove, too, is aware of the great num-
ber of errors in the later MSS. He remarks about
the language of his 19th century MSS, "The language
of these MSS need not be graced by the term Buddhist
Sanskrit. It is just bad Sanskrit."
1
In order to
discover the nature of the original languages in
which the texts of Northern Buddhism were written,
scholars would save themselves unnecessary difficulty
by thorough investigation of the MS resources which
abound in private hands in Nepal and also in often
untapped libraries where works may be obtained on
microfilm. Due to the nature of the copying tra-
dition, a broad selection of MSS as close as pos-
sible to the time of composition is necessary to
avoid much difficulty and often needless speculation
and reconstruction.
As mentioned above, there are non-Sanskrit forms
found in our edited TEXT. Apart from the special
cases of mantras and the passage
1
HVT, II, p. xi.
lxxviii
(15.15-16.5), the phonology is quite regular.
Morphologically, however, the following non-
Sanskrit forms should be noted:
1) Finite forms of lbhu: a)bhonti (11.11),
3d person plural present, = Skt.
bhavanti; b) bhoti (32.10), 1st
person singular present, = Skt.
bhavati. (Cf. EG 1.29)
2) Forms of the gerund in - ~ 'tvi th non-
compounded verbs: a) grhya
(14.17, 17.19, 32.7, 26.16}, = Skt.
gfhTtva; b) arpya (18.3, 18.4),
= Skt. arpayitva; c) sthapya
(29.7, 29.9, 29.13, 29.15) I = Skt.
sthapayitva. (Cf. EG 35.9)
3) A form of the accusative singular of
the feminine stem matr: matram (30.7),
______._
= Skt. mataram. (Cf. EG 13.10)
In evaluating the above variants, two facts
should be considered: 1) All the above examples are
drawn from verse, and none is found in prose por-
tions of the text. 2) Forms such as bhavati (10.10),
lxxix
gfhitva (30.19), and mataram (14.17) do, in fact,
appear in the text. It seems that the non-Sanskrit
forms listed above were considered morphological
variants, acceptable when required by the meter.
One other non-Sanskrit form should be mentioned
and here the variation cannot be explained m.c.:
the 3d person plural present active Ida, dadanti
(35.9), = Skt. dadati. (Cf. EG p. 215 s.v. Ida)
In collating the MSS and editing the text of
the CMT, we have not been able to resist normalizing
the text, at least to some extent. The following
normalizations were made in this edition:
1) Where r.'J.SS tend to double a consonant
after r, we read a single consonant,
e.g. for sarvva \!le read sarva, dharmma/
dharma, varnna/varga, etc.
2) Where HSS tend to read t, we read tt,
as in satva/sattva, and datva/dattva.
3) Where MSS tend to read v for etymo-
logical b, we read b.
4) l\'here MSS tend to read j for etymolo-
gical jr, we read jr, as in vaja/vajra.
lxxx
5) v7here MSS are erratic in the use
of the avagraha, we normalize its
use, as in sopi/so 'Ei (but see
below for our treatment of s a ~ d h i
in general) .
The samdhi in our MSS is quite inconsistent,
not only among different MSS, but also within even
the best MSS. It is so erratic, in fact, that it
is usually the case that a standard reading can be
found in at least one of our MSS. Rather than nor-
malize the text in this way, however, we have re-
tained the s a ~ d h i of MS B, our oldest complete MS.
Although, following this procedure, many variations
occur within the text, it provides a more represen-
tative picture of all our MSS. It is often not clear
what rules were followed, but it seems that ortho-
graphic rather than euphonic considerations consti-
tuted a deciding factor in many cases.
Since orthographic variations are considered in
APPENDIX II, they will not be_repeated here.
5
TEXT
om narnah sricandarnaharosanaya II
. . . . .
evarn maya srutam ekasmin samaye bhagavan

vajradhatvisvaribhage vijahara I anekais ca
vajrayogiyoginiganaih
0 0
tadyatha II
svetacalena vajrayogina 1 pitacalena ca
vajrayogina raktacalena ca vajrayogina I
syamacalena ca vajrayogina mohavajrya ca
vajrayoginya I pisunavajrya ca vajrayoginya
10 ragavajrya ca vajrayoginya I ca
vajrayoginya 1 evam pramukhair yogiyogini-
I I
atha bhagavan krsnacalasamadhim
samapadyedam udajahara 1
15 bhavabhavavinirmuktas
nisprapancasvarupo 'ham sarvasamkalpavarjitah 1 1
0 0
marn na jananti ye sthitam
tesam aharn hitarthaya pancakarena samsthitah 1 I
0 0
atha bhagavati vajradhatvisvari
20 samadhim samapadyedam udajahara
1
divyakamasukhasthita 1
sarvaka1pavihTnaham nisprapanca niraku1a
I I
.
marn na jananti ya sarvastrTdehasamsthitam
tasam aham hitarthaya samsthita r 1
atha bhagavan krsnaca1o gadhena bhagavatTm
. . . .
dvesavajrTn cumbayitva samalingya camantrayate
.
sma 1
devi devi maharamyam rahasyam catidurlabham 1
2
sarat sarataram srestham 1 I
10 mahatantrarn tantrarajesvaram pararn
namna caika1avTran tu sattvanam asu siddhaye I I
aprakasyam idarn tantrarn hi I
tantrarajan tu darsayet I I
I
15 sraddhayatnaparas tasya tantran tu desayet 11
gurau ca I
bhaktas nityarn tasya tantrarn pradarsayet I I
evam buddhva tu kascid yogT I
desayet tantram uttamam I I
20 sa mahavyadhibhir grasto
sanmasabhyantare tasya mrtuduhkham bhavisyati II
. . . . .
yamadutais tato grastah kalapasavasikrtah I
. . .
narakam niyate papi yadi buddhair api raksitah II
. .
yadi bhuktva ca
5 janma tatra bhidyate I I
tasrnac ca mandalarn caru vartayen rnantravidvrati
..
3
pravesya tatra vai purvam eva II
tato hi desayet tantran durlabham I
asrutam desayed yo 'pi so 'pi gacchaty adhogatim II
10 rnukhapako bhavet tasya yadi buddhasarno 'pi hi I
sraddhahino 'thava S:t;l}Ute jijnasanaya ca II
bhidyate murdhni vajrel}a na samsayal} I
tathyam etan maya devi ca varanane II
tantre caikalavire 'smin sugupte candarosane I I
. . . .
15 ity ekalavirakhye
. . . .
prathamal} I I 1 I I
* * *
atha bhagavati bhagavantam
candarnaharosanam gadharn alingyaha I I
. . .
4
kiyan rnanam vartanTyan ca kena hi I
likhitavyan ca tatha tatra rnadhye kim bruhi me prabho 1 I
5 atha bhagavan aha I I
rnandalasya bhaven rnanan caikahastarn dvihastakam 1
. .
trihastarn va pancarnanarn na cadhikam 1 1
yasya tasyaiva curnena nanavarnakrtena ca 1
. . .
caturasran caturdvararn catustoranabhusitarn I I
. .
10 bhagena castarnenaiva dvaram tasya prakalpayet
. .
dvararnancna niryuharn tadardhena kapolakarn I I
capi tatha
rnulasutrabahis tasyapy ardhenaiva rajobhuvam I I
vajravalin tu tenaiva ca
15 dvarat kuryat uttarnam I I
visvavajrarn adho likhyam vajraprakaravestitam
..
yuktam I I
ekan ca kartavyan cakravat I I
tasya purvadike visvapadmam astau sarnalikhet I
..
20 navamarn rnadhyarne tasya madhye kha9garn sunTlakam I I
5
tan ca vajrakarttikapalayutam I
purve cakrankitam khaggam samalikhet 1 I
tu yutam ratnena samlikhet I
pascime tu raktapadmena cihnitam I I
5 uttare khaggamatran tu samalikhet I
cihnitam karttim sitam likhet I I
nairfte tu likhed ratnasucihnitam
vayavye ca tatha raktam raktapadmasucihnitam I I
aisane tu nilotpalasamanvitam I
10 tu sarvacihnarn prakalpayet II
idam proktam maya lokarthasadhane I
athava kuryat sulikhitam I I
purvavat mandalam likhyam madhve krsnacalam likhet
. . ... . ..
samputam dvesavajrya vai purve svetacalam likhet I I
15 tatha pitacalam savye prsthe raktacalam likhet I
. . .
20
samlikhed uttare syamacalam vahnau mohavajrirn 1 I
svetam pitarn pisunavajrim samalikhet 1
vayavye lohitam devirn ragavajrirn sarnalikhet I I
aisane syamaffi likhed vai I I
atha mandaladhisthanamantram bhavati I I
5
om sricandamaharosana sarvaparivarasahita agaccha
agaccha hum varn atra manda1e adhisthanam
kuru hum phat svaha II
pujayet 1 I
anenakrsya pravesya baddhYa
..
atha pujamantram bhavati I I
om krsnaca1a praticcha hum phat
.
om svetaca1a pratTccha hum phat
om pitaca1a puspam praticcha hum phat 1
. .
om raktaca1a praticcha hum
10 om syamaca1a pratTccha hum phat
om dvesavajri puspam pratTccha hum phat I
. . .
om mohavajri puspam pratTccha hum phat I
. .
om pisunavajri pu?pam pratTccha hum phat
om ragavajri puspam pratTccha hum phat I
. .
15 om irsyavajri puspam pratTccha hum phat I I
. . .
6
diparo tatha dhupam gandham naivedyam eva ca I
pujapancopaharena kuryad vai manda1asya hi I j
. . . .
yada svetaca1o madhye mohavajrya I
tasyaiva jneyam evam pTtaca1adike I I
20 paficayogiprabhedena pancamanda1aka1panam
kuryad ekagracittena II
manda1arn parivestyaiva yoginrm yogisarnputam
. . . . .
7
bhojayen rnadyamamsais ca vandayec ca muhur muhuh I I
.
ity eka1avirakhye sricandamaharosanatantre
. . .
5 I I 2 I I
* * *
atha bhagavaty aha I I
bhaved bhavyo yojitavyo 'tra tantrake
nirvisankas ca kathaya tvam mahaprabho I I
atha bhagavan aha II
10 adau trisaranam dadyat pancasiksas ca posadham
. . .
pancabhisekan tu guhyarn prajfiafi ca I I
tato bhavyo bhavec tantran tasyaiva desayet
durato varjayed anyam anyatha rauravam vrajet I I
tatreyam I I
15 buddharn gacchami saranam yavad abodhimandatah
. .
dharmam gacchami samghan cavetyasraddhaya 1 1
caurikafi capi parapatnTm I
tyajarni sarpavat sarvam paficarnam rnadyam eva ca I I
tatreyam 1 I
5 na sattvam na parasvakam 1
brahrnacaryam carisyarni varjayisye rnrsavacah 1 1
. . . . .
pramadayatanam madyam na pasyami kadacana I
nrtyagitavibhusafi ca varjayisyami sotsavan I I
. . .
rnahasayyam vikale 'pi ca bhojanam
1o evam arhatam 1 1
visuddham yatha buddhena desitam
tena jitva prapya buddhatvarn uttamam 1 1
bhaveyam bhavakhinnanam sarvadehinarn 1
samsararni bhave yavat tavat puman 1 1
15 bhaveyam sadhusamsargi dhiman 1okahite I I
8
tatrayam 1 1 suddham
nirmalarn dhyatva vijayaka1asad
udakam sahakarapa1avena om ah sarva-
hum ity anenabhisificet I I
20 tatrayam 1 1
5
sarvaratnarn ivakalayya cakra-
vartinarn iva dhyatva tacchirasi rnakutam dattva
purvavad II om candamaharosana avisa
2 asya hum phat I I
9
tatrayam I I lohadirnayam kha9gam
tasya dattva purvavad J I
om hana 2 maraya 2 sarvasatrun jnanakhadga hum phat 1 f
. .
tatrayam I I tamradimayam pasam
tasya tarjaniyute vamahaste dattva purvavad
om grhna 2 katta 2 sarvadustan
.
pasena bandha 2 mahasatya te dharma te svaha I I
sisyam candamaha-
. . .
rosanarnudrayopavesya tadakarena ca tam alamL,}:a I
. . .
om he sribhagavan siddhas tvam hum phat 1 I
15 purvavad 1 1 evam sadhakasya
krsnadivarnabhedena pancacalanamnabhiseko deyah I I
. . . . . .
iti I I
tu makutabhisekam tyaktva
pattarnahadevTruparn
...
20 alambya 1 om bhagavati avisa 2 asya
10
hum 1 I lauhadikarttikan tasya daksinahaste
dadyat 1 1 om karttike mamsam kartaya
2 hum I I vamahaste
dadyat I I om kapala raktarn dharaya
5 2 hum 1 I tato bhagavatimudrayopavesya
10
] 5
om he siddha
tv am hum pha 1 I evam striyah krsnadivarnabhedena
. . . . .
pancayogininam I I asan tu
prajnabhi!?ekasthane deya iti I I
atha guhyabhi!?eko bhavati I I
... . .
SJ.!?YO gurum
sampujya 1 1 tasmai svamanovanchitam
niryatayet I]
iyam niryatita tubhyam sarvakamasukhaprada I
maya kamasukhartham te grhna natha krpam kuru I I
. .
tato gurum namaskrtya sisyo bahir nirgacchet 1 1
. .
om candamaharosana hum phat iti mantram japan
. . . . .
1 1 punar madyamamsadibhir atmanam
pujayitva prajnan ca samtarpya 1
tadudbhutam sukrasonitam parnaputadav avasthapya
. . .
11
dravyam hum. kararn 1ikhet II tato
'ho sukharn iti pathayec ca 1 tata evam vadet II
.
adyaharn tena buddhajnanarn utpadayarni yenatitanagata
pratyutpanna buddha bhagavanto 'pratisthitanirvanam
. . .
kin tu na tvayedarn adrstarnanda1apurato
. . . . .
vaktavyam I I atha vadasi tada tasya sisyasya
..
ati hy .. ayam khaSfgas sthi tal} I
bhedayet samayam yas tu tasya I I
10 khaSfgavyagrakara naral} I
sarvangachedaka bhonti siraschedaikatatparal} I I
tavapy evam samayam yadi bhetsyasi I I
tatal} vaktavyam I evarn astv iti I I
tato bandhayitva
15 patayet I l tato muktva
pradarsayet I 1 yasya yac cihnam tad bodhayet
tatas tam eva prajnam samarpayet 1 1
iyan te ramya sevya prakasita I
atikramati yo mudhah siddhis tasya na cottama I I
20 tato karne kathayet caturanandavibhagam I I
5
12
tato bahir nirgacched guruh I I prajna tu
.
nagnTbhuyotku'!:akena guhyam tarjanya darsayati I I
kim tvam utsahase vatsa I
caiva raktan ca I I
sadhakena vaktavyam I
kin caham notsahe matas I
karya bhaktir maya yavad I I
aho madiyam yam padmam sarvasukhasamanvitam I
10 sevayed yo vidhanena tasyaham siddhidayini I I
kuru padme yathakaryam dhairyam dhairyaprayogatal;l
svayan sthito hy atra mahasukham I I
tatah sadhaka atmanam candamaharosanakarena
. .
dhyatva prajnan ca dvesavajrirupena samoutam
. . - .
15 krtva caturanandan J I tato
gurupramukham rnadyamamsadibhir
kuryat II
ity eka1avirakhye
I I 3 I I
* * *
13
bhavitavyam kathan candarosanabhavakena hi l
. . . .
japtavyam kidrsarn mantram vada tvam paramesvara I I
5 mano'nuku1ake dese sarvopadravivarjite I
asanarn ka1payet tatra yatha1abdham 1 1
prathamam bhavayen maitrTm dvitTye vibhavayet
t!tTye bhavayen muditam II
tate hrdi bhavayed bTjam padmacandraravisthitam
. . .
1o purato dhyayan 1 1
pujayen manasa tan ca II
tadagre desayet papam pramodayet I I
trisaraJ}am gamanam kuryad api r
atmanan ca tato dattva punyan ca parinamayet 1 1
. .
15 k!tva bodhau cittan tu namayet I
namaskaram tatah kuryat samharet II
mantram etad dhi sunyatadhyanam acaret
om sunyatajnanavajrasvabhavatmako 'ham 1 1
cintayed rasmibhir dagdham sa humkaram
20 karpuradahavad dhyatva rasmin capi na kalpayet I I
sarvam akasasamkasam ksanamatram vibhavya ca J
suddhasphatikavat svaccham vibhavayet 1 1
agrato bhavayet pascat yam ram vam lam
bhavayet tena vatavahnijalorvikam 1 1
5 bhrumkaran ca tato dhyatva prakalpayet
caturasran caturdvaram I I
dhyayet tanmadhyake padmam visvam astadalanvitam
pamkarabijasambhutam tatra amkarajam vidhum 1 1
ravim ramkarajatan ca tadurdhvarn humkrtim punah
. .
14
1o tajjam dhyayen mamakya saha 1 1
samkramet tatra yogindras tasya murdhabilena ca 1
tarasamkrantiyogena mamakibhagacetasa I I
tatah sukrarasibhutah patet tasya bhagodare
. .
nispannan candarupan tu nihsarec ca bhagat tatah I I
. . . . .
15 hanyat pitaram pascat
mamakyapi tatas tan ca vai prakalpayet I I
tato hi mamakim mataram samprakamayet r
taya dhyayed dvesavajrisvarupatah I I
. .
savye vame pasasamanvitam I
20 tarjanya tarjayantan ca damstrostham tu nipiditam I I
5
sampraharapadam savye caturmaravimardanam
vame ca bhayanakam 1 1
vasudham tarjayantaii ca vamajanvagrataiJ sthitam
aksobhyakrtamau1an tu ni1am ratnakiritinam
II
. . 0
paiicacTram kumaran ca sarva1ankarabhusitam
0
dvirastavarsakaraii ca vibhum
0
bhavayet sthiracittena siddho 'ham candarosanah
. . . . .
tato manthanayogena purve svetaca1am srjet 1 1
.
mohavajrTm agnau I
II
10 pitacalam savye pisunavajriii ca J I
raktaca1am raktan ca ragavajrikam
vayavye cottare syarnaca1am syarnam Tsanake I I
irsyavajrim srjet pascat sa prajnotgatim avahet
. .
codayanti tato devyah svakanthoditagitibhih I I
. . . .
15 pahu maitri tu vivarjia hohi rna sunnasahava
tojju viyoe sarve sarve hi tava ca 1 1
rnohavaj ryaJ; II
rna pahu rna hohi tu sunna 1
15
20
rna mojju deha sudukkhia hoi hai jTva vihuna I I
pisunavaj ryaJ; II
ki santu harisa vihohia sunnahi karasi pavesa
tojju karia manua cchai I I
II
upekhia sunnae ditti 1
16
5 sunnasahava vigoia karahi tu mea sama ghitti I I
I I
svapneneva idam srutva dravaj jhatiti utthitah 1
.
dhyayat tam samputatmakam 1 1
svetaca1am hatva mohavajrim prakamayet 1
1o rupam svetaca1am pitacalam haret I 1
kamayet pisunavajrin tu pitacalatmakam
hatva raktaca1am tadvat kamayed ragavajrikam I I
raktacalatmakam hanyac chyamacalam I
kamya syamacalatmakam II
15 anuragya caturdevim samharet sarvamandalam
samputam caikam atmanam bhavayen nirbharam yati 1
ahamkaram kuryat siddho 'ham naiva 1 1
krsnavarno hi yo yogi sa
svetagauro hi yo yogi sa svetacalabhavakah
20 hi yo yogi sa I
raktagauro hi

raktacalabhavakah yo yog1 sa
.

.....
hi yogi
II
yo sa
krsnavarna tu ya nari dvesavajrim vibhavayet
I . . . . .
svetagaura tu ya nari mohavajrim vibhavayet
II
5 tu ya nari pisunavajrim vibhavayet 1
raktagaura tu ya nari ragavajrim vibhavayet I I
tu ya nari vibhavayet
vajrayogi sarvo narT tu vajrayoginT II
sarvam etat prakalpayet
10 athava karmabhedena pancabhedaprakalpanam I I
krsno hi dvese matav api I
stambhane tu I I
syama uccatane khyato yad va jatiprabhedatah
0 I
sito pTtas candalako matah I I
15 raktas tu rajaka ity api 1
kamayet I I
sitakanyam sitatma tu pTtakanyam I
17
rakto hi raktakanyan tu tu 1 1
yam tam athava I
20 kamayet sthiracittena yatha ko 'pi na budhyate I I
18

asam sukram bhaved vajram jihvaya sarvam alihet II
yavadiccham pibet mutram tasam arpya bhage rnukham I
gudapadrne carpya vai vistham yavadiccham prabhaksayet I I
. . .
5 na kartavya siddhibhramso 'nyatha bhavet J
nijaharam idam srestham sarvabuddhaih prabhaksitam I 1
. . . .
ity ekalavirakhye
devatapatalas caturthah I I 4 I J
. .
* * *
athata0 sarvarnantrasarnuccayam [I
10 atha bhagavan sarvarnaraparajayam nama sarnadhim
sarnapadyedam rnantrasarnuccayarn aha I I
om hum phat 1 I 1 I
om acala hum phat 1 r avitTyamularnantralJ 1 J
hum phat I I I I
.
om
15 hum I I I I am II
dvi tTy a!} J I ham II II
om hrarn hrirn hraurn cata 2 pracata
2 katta 2 prasphura 2 praspharaya 2 hana 2 grasa 2
19
bandha 2 jambhaya 2 starnbhaya 2 mohaya 2 sarvasatrunarn
mukhabandhanam kuru 2 sarvadakininarn grahabhuta-
.
trasaya 2 inara 2 maraya 2
rurucandaruk raksa 2 devadattan candamahasenah
. . . .
5 sarvarn ajnapayati I om hum I I
I 1
10
15
I sarvathacalakanana natta
..
-
ah 2 motta 2 satta 2 tutta 2 tistha 2 avisa 2
.. . . .. .
mahamattabalaka dhuna 2 tina 2 khada 2 vighnan
. .
-
2 dustan bhaksa
.
kuru 2 kiri 2 maraya 2 sarvarn
.. .
hum 3 1 tribalitarangavartaka
hum 3 acalaceta phat sphataya 2 hum 2 asarnantike
. . .
rnahabala samanaya tram mam ham suddhyantu
vajri name 'stv I
jvalaya asaha namah svaha II
.
I I
narnah sarvasaparipurakebhyah sarvatathagatebhyah
. . .
sarvatha trat amoghacandamaharosana sphotaya 2 hum
. . . . . .
bhramaya 2 moham II trtiyo malamantrah I
. .
visesarnantras
.
om svetacala hum phat 1
.
oin pl.taca1a hum pha!-.1 om raktaca1a hum
om Syamaca1a hum I
20
devTnan tu II om vajrayogini
hum 1 1 1 1 om prajnaparamite
s 1 1 1 om vauheri hum 1 1
I
om picu 2 prajhavardhani jva1a 2 medhavardhani
dhiri 2 buddhivardhani svaha I I I I
visesamantras tu 1 I om hum
10 om mohavajri hum
om ragavajri hum
om pisunavajri hum
om irsyavajri hum phat I
. .
samanyo yam I I om namo bhagavate
sricandamaharosanaya devasuramanusyatrasanaya
. . . . .
samastamaraba1avinasanaya ratnamakutakrtasirase
. .
15 imam ba1im 2 mama sarvavighnan hana 2
caturmaran nivaraya 2 trasa 2 bhrama 2 chinda 2
20
bhinda 2 nasa 2 tapa 2 2 cheda 2 bheda 2
dustasattvan mama viruddhacittakan bhasmikuru 2
ity eka1avirakhye sricandamaharosanatantre
I I 5 I I
* * *
21
atha bhagavati prajnaparamita bhagavantam
gadham a1ingya padmena vajragharsanaffi krtva praha 1 1
. . . .
5
bhavana bhavet r
yogininam hitarthaya pfcchitarn sapha1ikuru I I
yogi I
bhavayed ekacittena mama rupam aharnisam I J
ka1payet svastriyan tavat tava nirbharam
ga?henaivatiyogena yathaiva vrajet I I
10 mataram duhitaram capi bhaginim bhagineyikam I
anyan ca jnatinim sarvam dombinTm brahmanim tatha
canda1im natakin caiva rajakim rupajivikam I
vratinTm yoginTn caiva tatha kapa1inTm I I
anyan ceti yathapraptam susarnsthitam
15 sevayet suvidhanena yatha bhedo na jayate J I
bhede tu kupitas hanti sadhakam
avTcau patayet tan ca kha?gapasena I I
neha 1oke bhavet paraloke tathaiva ca I
tasmac ca guptam atyantam kartavyam napi gocaram II
20 ?akinirnantravad gopyam candarosanasadhanam
abhyantakaminam arthe maya buddhena I I
mano'nukulake dese sarvopadravavarjite I
pracchanne tarn sarnadaya svacetoramyakaminirn f 1
buddho 'ham prajnaparamita priya
22
5 bhavayet ga9hena cetasa 1 r
nirjanan casramam
bhavayen nirbharam dvabhyam fl
striyam sarnrnukhe copavesya hi 1
dvabhyam ga?ham anyonyam ff
10 tato dhyayan I
taya tatraiva vaktavyam 1 f
tvaffi me putro 'si bhartasi tvarn me bhrata pita
tavaharn janani bharya bhagini bhagineyika I I
dasas tvarn me
15 tvam me kapardakakritas tavaharn svaminT mata I I
patec tasya nirbharam I I
vadet vakyam param I
tvam me matapitur bharya tvam me ca bhagineyika I I
bhaginiputrabharya ca tvam svasa tvam ca mamika
20 tavaham sarvatha dasas tTksnabhaktiparayanah I I
. . . .
23
pasya rnarn
sa cumbayitva muhur 1 1
dadati tryaksararn maste vaktre vaktrarasarn madhu I
.
padmam tasya darsayen netravibhramarn II
5 vaktre ca carcitarn dattva kucena pidayed hrdan
. .
samrnukham tanmukham drstva nakham dattva cittalaye 1 1
vadet vakyam vairocanarn mama
putra sapitra dasako bhava I I
tava gosvamini caharn mata rajakulity api 1
10 madiyam gaccha vatsa nirantararn I I
maya samvardhito yasmat tvam anarghyam upagatarn
bhava bho vatsa dehi me vajrajarn sukharn I I
tridalarn pankajam pasya rnadhye
aho raktabuddhopasobhi ta1n II
15 sukhadam santam sarvakalpavivarjitam
marn uttanena sampatya ragavihvalamanasam 1 1
skandhe padayugam dattva marnadhordhvam I
sphuradvajram tatah padrnarnadhyarandhre pravesaya
.
dehi dhapasahasram tvam atharbudam
2o madiye tridale padrne mamsavartisarnanvite 1 1
J I
24
svavajrarn tatra praksipya sukhais cittarn prapujaya
.
vayu vayu supadmarn me sarat saram anuttaram I I
vajrasyagrena sarnbuddharn raktarn bandhukasarnnibham 1
.
bruvantTm iti tam dhyayam stabdhTbhuyaikacetasa I I
5 bhavayet tajjakam saukhyam nica1o gadhacittatah I
. .
10
15
20
tasami pratyuttararn dadyad vi1amba tvarn priye II
yavat strTdehagarn ruparn vicintaye
strTm ekarn jananTm kha1u trijagatarn
satsaukhyadatrTrn sivarn
iha nindayanti mukhara
ye papakarmasthitah
.
te tenaiva duravagahanarake
raudre sada duhkhitah
. .
krandanto
ka1patrayarn I
kin tu vacyo 1
kfpa va yadi va citte I I
astarn tavat svajanarn parajanam
. --
sa ced evamrupa nanyatha
strT I I
25
astan tu darsanam ca 1
yasyah srnaranamatrena tatksanam 1abhyate sukham
. . . . .
pancaiva visayah strTnam divyarupena samsthitah
. . . . .
tarn udvahitam kftVa sukharn bhunjanti I I
5 tasrnad bho dosanirmukte sarvasadgunarnandite I
. . ..
II
prasadarn kuru me 'mbike I I
tatas tam dantena
kurvan sTtkarakam yogi tan ca kuryad vinagnikam I I
kuryat sukhodayabandham bandhan ca do1aca1anam l
10 bandharn janugrahan caiva bandham capy urumardanam I I
padacalanabandhan ca bandhan ca bhumicapitam I
bandharn sarnadantakan caiva bandhan ca citrasamjnakam I I
bhrarnarTja1am bandhan ca I
tathaiva kurmabandhan ca sarvatobhadram eva ca I I
15 tatra paryankarnadhye tu striyan cotkutakasanam l
kftva bahuyugam skandhe svasya yojayet I I
svasya bahuyugarn vinirgatarn I
padme vajran tu khyato I I
dvayor hastayugam vez:ibandham I
20 ca ca1ayed dvabhyam khyato 'yam I l
.
tasya janudvayam svasya tu sampu!am 1
dolacalanakaranyasad bandho 'yam janukagrahah If
.
tasyah padatalau svasya corumu1e niyojayet I
.
sukhodayakaranyasad bandho 'yam corumardanah If
.
5 tasyah padata1au nabhau hrdi parsvadvaye 'pi hi
. .
do1aca1anakaranyasad bandho 'yam Jl
tasyah pu1advayam bhumau samsthapya krodakotare
. . .
sukhodayakaranyasad bandho 'yam I I
26
tam samsthapya avipadan ca prasarayet 1
10 samadantako pratyekam capi sarayet I I
padayugam vakram k:tva vame prayojayet r
savye 'pi sammukhe capi hrda prstham sprset tatah 1 1
. . . . . .
hastadimardanam kuryad bandho 'yam I
punah krtva tam uttanena patayet I I
. .
15 savyena ca vajram padme nivesayet I
tasya januta1e g:hya urdhvam niyojayet I I
ca bhramarija1am iti sm:tam I
padayugam dattva svaskandhopari nirbharam I I
yantraru<;J.ho hy a yam bandho ve.savesaprayoga I
2o tasya vamam padam skandhe savyam 1 1
27
savyam padam skandhe vamam
urdhvapado hy ayam bandhah satsukho duhkhanasanah I I
. . .
tasyah padata1e vaksomadhye same niyojayet I
. .
bahubhyam pidayej janu kurmabandha udahrtah I I
. . .
5 padata1e netre rnurdhni niyojayet I
bandho 'yam I I
citraparyantakam yavat kuryat sarvam vicitrakam
krodena pTdayed gadharn candarosanayogatah I I
. . . . . . . . .
cumbayec ca rnukham tasya yavadiccham
10 unnarnya vadanam drstva yatheccham vakyakam vadan I I
. . .
jihvan ca cusayet tasyah pibe1 1a1am mukhodbhavam
. .
carcitam dantama1am saukhyam vibhavayet I I
dantajihvam adharapidhanike I
jihvaya nasikarandhram sodhayen 1 I
15 ca tajjatam ma1am sarvan ca
mastam netram ga1am parsvam karam stanam I I
curnbayitva nakham dadyat tyaktva netradvayam striyah
.
mardayet cuncam damsayet 1 1
svayarn uttanikam sundarodaram I
20 atraivaham purvam muhur I!"
28
...
hastena sparsayet padrnarn vayu sundaram iti bruvan I
dadyac cuffibanakham tatra pasyen I I
ghratva gandhan ca tad randhram sodhayed rasanaya
striyal} I
5 pravisto 'ham yathanena nihsrtas capy anekasah I I
. . .
vadet vakyam panthayarn I
ayarn eva sadgateh pantha bhaved ajnanayogatah I I
. . . .
candarosanasiddhes tu bhaved jnanaprayogatah I
. . . . .
padmagatam svetam raktarn va 1 1
10 ca rnukham sampasyams ca
sa nakharn corukarn rnardayed dasavat padau I I
mastake dadyad I
tatas citrat paran bandhan kuryad yogi I I
icchaya dhyayakam tatra dadyat
15 yatheccham no va I I
ksarite ca1ihet padrnam janupataprayogatah I
. .
padrnagam sukram capi jihvaya I I
nasaya nalikayogat pibet I
jihvaya padrnarn prajnarn utthapya curnbayet I J
20 krodikrtya tatah pascad bhaksayen matsyarnamsakam I
. . . .
29
pibed dugdhan ca rnadyarn va I I
srarne jTryati tatpascad icchayet tu I
dvandvarn anyonyam arabhet I I
anenabhyasayogena sadhitan ca rnahasukharn I
5 candarosapadarn dhatte janrnany atraiva yogavit I I
. . .
siddhidanartharn maya 1
varnajanghopari sthapya savyajangham tu lilaya 1 I
khyato 'yam
savyajanghopari sthapya varnajangham tu lilaya I I
10 khyato 'yam I
padmaparyankarn abadhya varnajanghordhvam arpayet J I
1T1aya savyajanghan tu I
bhurnau padatale sthapya same sarnmukhadirghake 1 1
sarvakarnapradam jneyam caitad I
15 bhurnau padatale sthapya vakre tiryak sudirghake I I
ardhacandrasanam jneyarn etat kamasukhapradam I
tiryak januyugam bhumau gulpharnadhye tu pulakam I I
dhanvasanam caitad divyakamasukhapradam I
sattvam padrnam tatha vajram iti kalpitam 1 1
20 utkutakam cardhacandran ca dhanvasanam idam matam I
ardhacandrasanasinam striyam nirantaram 1 I
patitva sam1ihet padrnarn grhnan su1aksatryaksaram
. . .
punar dhanvasanam svananam tadgudantare 1 1
patayitva gudam sam1ihen nasayapi ca 1
5 tadutpannam sukham dhyayac I I
tato rnukto bhavet yogi sarvasamka1pavarjitaJ: 1
viragarahitam cittam rnatram prakarnayet I 1
anuragat prapyate viragad agharn apyate I
30
na viragat param papam na sukhatal; param I 1
10 tatas ca karnaje saukhye cittam kuryat sarnahital; I I
15
atha bhagavati bhagavantam
abhivandya caivam aha I I
bho bhagavan kim eva keva1arn ayam sadhanopayo
a pi va II
bhagavan aha
atranurakta ye tu vyasthital;
devasura nara nagas te 'pi siddhyanti sadhakal; I I
athaivam srutva rnahesvaradayo deva
gaur11aksrnisaciratyadidevatim grhitva bhavayitum
. .
20 I I atha tatksanam sarve tadaivam
.
'
.
..
.
31
tanmuhurtakam candarosanapadarn prapta vicaranti
. . . .
mah1:ta1e II tatra vajrasarnkaratvena
I vasudevo r devendro
I kamadevo vajranangatvena I
5 evampramukha ganganadibalukasama siddhah 1 1
10
15
sarvasattvarthakarakah
nanamurtidharah sarve bhuta mayavino j inah r 1
. .
yatha pankodbhavam padmam na lipyate
tatha raganayodbhuta lipyante na ca I I
ity ekalavirakhye sricandamaharosanatantre
nispannayogapatalah sasthah I I 6 I I
. . . . . . .
* * *
atha bhagavaty aha
.
maithunam kurvato jantor mahan syat 1
tasya natha jantvarthe vaktum arhasi 1 1
bhagavan aha II
32
saukhyam sama1ambya nirodhitam
bhunjita masyamamsan tu piben madyam samahitah I I
.
yatha1abdham I
strinam prathamato dadyat taducchistan tu bhaksayet I I
. . . .
5 tasya tu bhoktavyan ca nirantaram
tasyas cacamanam niram pibet 1 1
gfhya mukhadim vrati I
vantan tu bhaksayet tasya bhaksayec ca catuhsamam I I
. . .
pibec ca yonijam vari bhaksayet khetapindakam I
. . ..
1o yatha samkaram asadya vrkso bhoti 1 1
tathaivasucibhogena I
na jara napi rogas ca na mftyus tasya dehinah I I
sevayed asucim yo 'sau niryogo 'pi sa sidhyati I
va yadi sarvathaiva na ka1payet I I
15 karyakaryam tatha gamyam agamyam caiva yogavit I
na na ca va papam svargam na ka1payet I I
sahajanandaikamurtis tu yogi
evaffi yogayukto yogi yadi syad I 1
I
20 yadi brahmasatam hanyad api papair na 1ipyate I I
33
tasrnad natharn bhavayec candarosanarn
. . .
yenaiva narakam yanti jantavo I I
sopayena tu tenaiva moksarn yanti na sarnsayah 1
. .
manahpurvagamam sarvarn papapunyam idarn matarn
. .
I I
5 ka1panakararn gatisthanadibheditam
namantritarn yadvad ] I
tad eva rnantritarn kftva sukham ayus ca vardhate
atha tasmin devi prajnaparamita vara I I
karttikarparakaravyagra candarosanamudraya
. . . . .
10 vaded idfsam uttamarn I I
rnadiyarn rupakarn dhyatva uttarnam I
yadi brahamasatarn hanyat sapi papair na 1ipyate I I
rupam adhaya mahakrodhaikacetasa I
marayen ca yogini na ca 1ipyate I I
15 nirdayas canca1ah kruddha maranartharthacintakah
. . .
sarva hi tasam arthe prakasitam II
ity eka1avirakhye
I I 7 I I
* * *
5
atha bhagavan bhagavatim
narnask;-tyaha II
tvadiyarn yogina ruparn jnatavyam tu katham priye
bhagavati caradhita kena yogina va I I
yavad dhi d;-syate 1oke strirupam bhuvanatraye I
tan madiyarn matarn rupam nicanicaku1am gatam 1 1
devi casuri caiva tatha 1
nagini bhutinikanya kinnari tatha I I
1o gandharvi naraki caiva tiryakkanyatha pretika 1
vaisya sudra catyantavistara I 1
kayastri rajaputri ca karauttini 1
vesya ca tarini carmakarini 1 1
ku1atrini hatrini dombi canda1i savarini tatha
. . . .
15 dhobini saundini gandhavarini karmakarini I I
. . . .
napini natini kamsakarini svarnakarini I
. . . . .
kaivarti khataki capi ma1ini I I
kapa1ini samkhini caiva varudini ca kema1ini
9
opa1i ca kocini ca si1akuti 1 I
20 thapatini kesakari ca sarvajatisamav;-ta
34
mata ca bhagini bharya mamika bhagineyika 1 I
ca svasa caiva anya ca sarvajatini I
vratini yogini caiva capi tapasvini" II
ityadibahavalJ. striyo I
35
5 sthita vai sarvasattvartham svasvarupena niscitah I I
. .
tasam eva yathalabham
vajrapadmasamayogad yoginam bhonti I I
sevitas tu striyah siddhirn sarvasattvahitaisinam
. . .
dadanti tasmat samsevayet striyarn 1 1
10 striyo striya eva pararn
striyo prajnaparamita 1 1
pancavarl}aprabhedena kalpita I
ni1avarl}a tu ya narT kTrtita I I
svetagaura tu ya nari mohavajri hi sa mata 1
15 pTtavarl}a tu ya narT sa devT pisunavajrika I I
raktagaura tu ya narT ragavajrT prakTrtita
syamavarl}a tu ya narT kathyate I I
ekaiva bhagavatT prajna pancarupel}a samsthita I
vastraih padyagadyangasobhanaihl I J
. .
36
darianaih sparianai capi smaranais tadvacahkaraih I I
. .
cumbana1inganair nityam pujayed vajrayoginim I
iaktau kayena kartavyam asaktau vakyacetasa 1 I
tenaham pujita.tusta sarvasiddhim dadami ca
. . I
. .
5 sarvastrideharupan tu tyaktva nanya bhavamy aham I I
- -- . - ..,.. . - .
tyaktva stripujanam nanyan mad1yam syat prapujanam
anenaradhanenaham sadhakasiddhaye I I
sarvatra sarvada nityam tasya gata I
dhyatva svastrTn ca karnayet I I
10 vajrapadmasamayogat tasyaham bodhidayinT I
tasmat 1 1
caurTm api yada kuryad yadi va I
vaaea vatha bhanjayet pratimadikarn 1 1
samghikam vatha staupikam paradravyakam
1s na papair lipyate yogi 1 1
nakhena yukam vastrastham api marayet
anenaiva mam samaradhayed vrati I I
na kuryac ca bhayam pape narakadau ca durgatau
bhayam kuryat tu 1okasya [ta]vac chaktir na labhyate I I
20 na paparn vidyate kincid na kincid asti hi I
37
1okanam I I
cittamatrarn yatah sarvarn ksanarnatran ca tatsthitih
. .
narakarn gacchate ko 'sau svargam prayati hi I I
yathaivatankato
5 'pi samyati tatha svargam adhogatim 1 1
evam bhutaparijnanad nirvanam capyate budhaih
. . . .
sunyarupan tu pradTpasyeva I I
tacchede ca pacet so 'pi na bodhipadam asnute 1
tasmat sarvarn pari tyajya mam evaradhayed vratT II
1o dadarni na II
atha bhagavan bhagavatTm prajnaparamitam
aha II
kirnakaro bhavec candas tasya siddhis tu kTdrsT
.
bhagava ty aha II
15 yoginyo I
tasan ca svasvabhartarah pancavarnaprabhedatah I 1
. . .
candas ca sarva evaite yoginya tu mayoditah I
. . .
tu yo bharta sa ca I I
vetagauro hi yo bharta sa
20 hi yo bharta sa I I
38
raktagauro hi yo bharta sa raktacala udahrtah
. .
hi yo bharta sa I 1
eka eva bhavec candah.pancarupena samsthitah 1
. . . .
samakhyato 'sya siddhir I I
s yavad akasaparyantam samsthita 1
yathaivokta tatha prasiddhyati I I
ity ekalavirakhye
svarupapatalo I I 8 I I
VARIANT READINGS
1.1 A B C F L namas canda
0
; 0 P nama
sricandramaharokhanaye; p repeats nama
after
0
rokhanaye.
1.2 F P samaya; 0 ekasmi samaya bhagana.
1.3 J K vajrasattva; L N 0 tathagatah.
1.4 D h: + ya ++ dhatvi
0
; F H hrdaye
K M 0 dhatesv
0
;
N 0 P dhatyesvari
bhagavan.
1.5 A I M N 0 P A
0
yogi
0
added in margin; B E G J K L Q vajrayogi-
vajrayoginiganaih; D vajrayogivajra
. .
+++++ JJ; F omits vajra; H omits vajrayogi;
I K 0 gat;ai; K omits tadyatha; 0 tadyatha\1.
1.6 A D E F G J H N adds ca after svetacalena;
J
0
yoginya; K svayata
0
vajrayagini;
o P (throughout);
M vajrayogini (throughout) ; B C L 0 P Q
omit ca.
1.7 B C L 0 P Q omit ca; I
0
yoginya (for first
0
yogina); K 0 yogini (bis).
39
1.8 B C L 0 omit first K
-0
sya yogini.
40
1.9 F H paisuna
0
; I again has pTtacalena, here
1.10
1.11
1.12
1.13
1.15
1.16
1.17
1.18
and ail following read
I J yogina
K 0 yoginT (bis); Q omits second
vajra.
I J
K 0 yoginT.
I
I J K 0 vajrayogina;
K M omit yogi
0
; N yogayoginT
0
;
0 kotiniyukta
0
; E omits
0
sata
0

. .
L omits 0 atha khalu;
F H
0
calam nama sam
0
; I sarnadhi sarnapadyate
I
0
mukta; J K
N muktam; 0 rnuktah;
M caturotaivaca.
K omits nis
0
; 0
0
varjitamh.
. .
F H 0 rna na . . .
p

c D E G Q
.
sarvapurnsv
0 H tenarn; I N pusv J K sthita;
K
0
pum
0
; L sarvacadya
0
p
M sarvapustaprapisthitam.
.
1.19 F H omit vajradhatvTsvari; F adds it in
margin; I bhagavato vajradhatvesvari;
1.20 E I omit samadhim; H samadhim apad
0
;
K udajaharasti; 0 adds mantram.
2.1 I inserts sunyatajnanam I I at beginning;
J K
0
sukhe.
2.2 N 0 sarvasamka1pa
0
; I
niraku1a I I; o niprapanca.
2.3 F H I samsthita; J K sthitan.
2.4 B hitarthaya +++++++ ta I; c hitarthaye.
2.5 I 0 bhagavan
G I J M bhagavati.
2.6 H I J N
0
Vajri.
41
2.8 I devT devT ... rahasya; G J K N devT devT;
0
p
deva devi; M omits rahasyam;
c sudurlabham; L
0
durlambham.
2.9 sarat
-
B buddhaih ++++
I .
A sataram; N saran;
.
2.10 B K oar am
tapam.
2.11 F H 0
p
- 0
anam matugu siddhaye; asu; M
B I siddhayet I ; J
I .
2.12
2.13
2.14
2.15
2.16
2.17
2.18
2.20
J K atha kasyapam idam; N aprakascam.
A omits
0
pra
0
, but adds in margin;
L nathamand
0

J K omit
0
manda1a .. darsayet I I.
42
B J K guro; M omits gurau pradarsayet;
A B C F H vai;
I sudhau; J K
0
yama
0
; K ludhau.
I cesvaro; J K
0
tasasusvaran; N tantran
tu pra
0
; Q tasya mantram.
C F H buddhya; F H
J K labhavid
0

c E I
F
F H
0
mutra
0
; H J M
3.1 c
I J K

K san; N sanmasarnntara; 0 prajnanmasa
0
; ./
. .
K bhavisyata.
3.2 N F
0
pasair; H
0
paai
0
; J K
J
0
vasamk;te; K
P
karaksavatsaram (!) .
.
3.3 I nTyatam; H papam; B J
G raksita .
.
3.4 F H
bhuk
0
;
G N
DE GIL N Q lamavat
0
; J
0
tva tu
I I; G bhukta.
3.5 B prapyata; C F H M prapnute.
43
3.6 A B c G P tasman H J K M o tasmat
3. 7 C F H !1 I
3.8 A B tantra
3.9 A B C F H J K M N 0 P yopi sopi;
3.10
3.11
3.13
D E I L Q yo'pi sopi; I asrute; G desayec
capi sopi; A gacchety.
I bhave; J K
0
samepi.
A B sisvah srnute.
. - .
B C G H N tathametan; I 0 kathyate;
J K tathamatam; P tatha metat; Q kathyam
etat; D bhavitan; F H K M Q
I tan; G J K dev'I; L evamaya;
E varananai IJ.
3.14
3.15
3.16
4.2
4.6
4.14
4.15
4.16
4.18
44
J tatradaika1avire
0
; J ta + daka1avire
0
;
N tatracaika1a
0
; I suguptacandamaharosane;
. . . .
J 0 suguptam candarosanah; K sugupte
. . . . .
candarosanah.
. . . . .
H eka1arakhye; K ekera
0
; N iti eka
0

B G J K 0 gadhe; C omits
C omits bhaven.
A B C omit tu; C adds panca after
0
ava1T;
F
0
ava1in ca; B adds kasya after ca.
A B D E dvaram.
C F
0
1ekhyam.
AD E I L Q omit putam
I j;
B C F ekan tu; G dustam ekan;
P page missing.
5.1 A B D
0
kapayutam; C vajrakarttikapo1a
0
;
5.3 C F pu!am.
5.8 F
0
cihnitam .
5.9
5.12
5.16
C F
.......... -
l.sane.
c F su1ekhitam.
A B C 1ikhet; F omits sam1ikhed.
45
6.1 c F
0
mahacandarosana; A from
0
parivara
. . . .
6.3
6.7
6.11
6.13
6.18
7.1
7.2
7.3
8.1
8.4
8.8
8.10
8.14
8.19
8.20
9.1
9.2
9.3
to nispa
0
( 21.6) ten leaves are missing
.
D E omit pravesya.
F vajrapuspam (throughout).
.
C F H M omit this entire line.
P paisuna
0

F mohavajri; D yatha for yada.
E F yoginTyogasamputam; F parivatyaiva.
F bhojanamadya
0

F

C F omit posadha.
.
F
F svacchavan.
F mahatam.
B sugatajah; F bhaved yavat.
.
C
0
samaye sriye hum phat; F hum phat;
. .
B
0
samaya.
B C
B D vastradi
0

B c mukutam.
.
B c mukutam.
0
B F
0
siiicet.
.
9.6
9.9
9.10
9.11
9.14
9.15
9.18
9.20
10.1
10.4
10.6
10.7
10.8
10.10
10.17
10.18
10.19
11.3
11.6
11.11
11.12
B C F
0
siiicet.
B adds I after dattva.
B D kaha (for katta).
..
C
0
satyarn; C dharmarn; F dhamma.
F omits bhagavan.
C F omit tatah.
.
B C mukuta
0

.
F asya.
F tasya.
B C D F vajrakapala.
F omits he; D F
0
vajrT; F siddhas tvam.
B c F striyam.
B C F yoginTnamna.
F si:;;ya.
F
0
adhir atm
0

C F H M omit prajnam ca samtarpya.
c tadbhutarn.
B D te instead of tena; F vajrajnanam.
F t a t a ~ for tasya.
C F siracched
0

B D bhavi!?yanti.
46
11.13
11.15
11.16
11.20
12.2
12.6
12.9
12.12
12.13
12.16
12.18
13.2
13.4
13.5
13.7
13.8
13.11
13.13
13.16
F I after tata?; D evam ti?!hati;
F astu iti.
B C F dapayet; F tato 'andho
0

F omits yac.
B C F kathayet ; F
0
bhibhagam.
D darsayeti; c F darsayanti.
F kin ca notsahase; B C matah I; F mata.
.
B c F omit yam; F adds yat in margin;
D ya? for yam; B C
0
saukhyasamanvitam j.
C F rnahasukhah.
.
B C E ganacakram; F rnamsadiganacakram.
. .
C F
0
tantre abhiseka
0

.
F omits atha.
C
0
ku1adese; F
0
ku1e dese.
F dvitiyam
c II after muditam; F t:tiyam.
B C F

c after kuryat.
C tata for F
47
13.17
13.18
14.1
14.7
14.8
14.10
14.11
14.15
14.18
14.19
14.20
15.2
15.3
15.6
15.9
15.11
15.13
15.15
48
C F avahet.
C
0
makohamn cintayed; F
0
makoham cintayed.
F vibhavayet.
B C F dhyayat.
B C F akara
0

B F dhyayan; c dhyayat.
F rnurdni
0

F anyat.
B dhyayad; c F dhyayat.
B D
0
grahakaram.
B c omit tu; c F D
B F kekarakhyam; c kekarasyam.
F sthitam.
C omits ca.

F pitarn raktaca1arn prsthe; D E pitam
...
raktaca1arn srjet .
.
c F prajnotbhutim; D prajnodutirn.
E patta maitri .. hohi manda1u; B omits
. . . . .
rna; C me; F pa9ga rnaiti .. vivarjaia rna;
D pahi; E omits sunnai D sanna
0

15.16
15.17
15.18
15.19
16.1
16.2
16.4
16.5
16.7
16.9
16.15
17.10
17.11
49
vi yo em
.
phittami; E phitta; B viyoem; c F
. .
..
D tojyu cirttae phitami;
.
B E omit ca;
c sarva sarva; F omits one sarve.
F mohavaja; D mohavajri.
F rna . cchattahi paqga.
D mojja; D sadusaa; D vihava.
.
D E satu; A B sattu; F kitu harasa;
F vibhodia
.
c F pucchai; B D F 1oasesa.
B C E yovanamanti; E upekhimu; C F
F
0
vantim; D yovanamantram;
D D ena Vfdhau.
E utti; B sunnae ++ C F ditthi;
.
C sanna
0
; BE moem; B ghiti; C F moe;
C F D mee; D
B C E svapnenaiva; C D E F drava
B C F samutthitah .
.
C krtva for hatva.
.
D pancabhedena.
F krsnadi
0

17.12
17.13
17.16
17.18
18.1
18.4
18.5
18.6
18.12
18.16
18.17
19.4
D E pitas tu; B C F vasyakrstau.
. . .
C yati for jati.
E
B omits hi.
B omits su.
C carya; C D vistham; F cavai.
. .
50
E
B C D
'nyatha.
B nijaharam.
E hum ham I; D omits phat.
D E ham I tftiyo; after trtiya
I I I E L 0 Q add om
sripamatota hayagriva hulu huru hum
phat 1 1 om acini cinamo bhagavati hum
hum phe svaha I I; Dreads: om sriparamtota
haegriva hulu hulu hum phat 1 1 om acini
cinamo bhagavati hum hum phe svaha I I;
L omits sri.
B C D cata (only once) .
.
F rurukcandaruk; E F cata
. . . .
(added after devadattan).
19.7
19.8
19.9
19.10
19.11
19.12
19.13
19.14
19.15
51
B DE tatta tatta (instead of natta natta);
..
C F
0
kana natta natta
.
B C D E F tatta tatta (instead of tutta
tutta).
. .
c D E tini 2; F omits tina 2; F khada
. .
(only once)
-
.
B C D E F mara mara; B D E omit sarvam
in its place devadattam; C sarvan and
devadattam added in margin; F sarvan;
E kura kura.
and
DE
C
0
Visame; BE ham ham ham
instead of hum hum hum after
0
taka;
C ha ha ha; F hum (once); D
0
taranganattaka.
E omits !; C E omit one
B (once); C F
F phataya hum; B c F asamantika; c F omit
one hum.
D E omit sa.
CD F pratihata
0

E dvitiyo.
19.17
19.18
20.3
20.5
20.13
20.14
20.15
20.16
20.17.
20.18
20.19
20.20
21.4
21.6
21.8
52
F sarvatrat amogha
0
; E phataya 2;
. .
B D (once); C F sphataya (once).
BE after bhramaya read hum ham roam j;
C F hum phat ham roam; D F bhramaya 2;
D hum trat ham mam
.
B E vajrayogini.
F vauhera.
F

C F sakaramara
0

E sattvavighnam; B c D sarvavighnam;
B C F hara 2 (for hana 2).
B C D nivara 2.
C H omit tapa tapa.
B bhasmam.
B E add hum 2 after
0
kuru 2; B 3;
C F hum 3 3 after
0
kuru 2.
F omits ekavirakhye.
B F yogina: c D yoginam.
MS A resumes here with nnakramayogastho
after a gap of ten leaves from 6.1.
A B D E rupenapi.
.
21.9
21.10
21.12
21.14
21.16
21.17
21.18
21.19
21.20
22.1
22.2
22.3
22.8
22.12
22.13
22.14
22.18
C
0
abhiyogena; F
0
abhi
0
(changed to api
in margin}.
A B C E F catha.
c nartakTrn; F.
A B c F anyam va.
B I
A I; C
canda
0
; F guptas canda
0

0
B A
B D E paralokepi.
ABC F tasrnad guptam; B dvi (for napi);
A c na dvigocaram; F na hi; D tad hi
.
gocararn.
B omits dha.
C atyarthakamTnarn; F atyartham kam
0

F manonukule.
F te (for tam) .
53
A C:E sammukhTm; B sarnrnukha; D F sammukhT.
A B putropi; D
D E bhaganeyika.
B E khetasacetakah; A kheto.
0 .
D pitabharya.
-
-.
22.19
23.4
23.5
23.8
23.10
23.11
23.19
24.3
24.5
24.7
24.10
24.16
24.19
24.20
25.1
25.4
25.5
25.6
25.9
54
B E

svasa.
A B D E
C omits ca; C carvidam; B E df9ham;
A hrdam (with drdham in margin); C drdam.
D E prajna for putra.
B D E
F samadhito.
E sambaddharn; C F samviddham.
A B nisca1o ca.
.
D E vicintaya.
E F mukharam.
A B C F omit tu.
C F bhakl?aya.
C rupanyatha; F rupanyatha.
E asan tu; C F omit tu; F tu.
D E tam; F tam (but changed to tasam in
margin) .
F omits bho; F
F B kuru arnbike.
E F omit kuryat.
25.10
25.11
25.16
25.19
26.2
26.3
26.6
26.8
26.11
26.12
26.17
27.1
27.7
27.10
27.11
27.12
27.13
27.14
27.16
c canugraha.
D F bhurnivapitam.
F tasya gadhena.
D E venibaddham.
C F svasya for tasyah.
.
D F
A D vaktrarn; C F cakram.
D E sarnmukham; A B

B F
0
hastena; B C F omit ca.
A omits tasyah savyarn padarn skandhe
vamam (added in margin
by a later hand).
F
0
paryankakarn.
C D F unnasya.
A mukhodbhutam.
C carvidam.
BCD E F isadadhara
0

.
A gar:r:am.
55
27.18
28.1
28.2
28.6
28.7
28.9
28.10
28.13
28.16
28.17
29.2
29.4
29.6
29.7
E cucam; D
. .
cumcam.
A B c D E F idarn bruvan.
E
A nasikat rjuh.
. .
B omits sa; D khadgate.
. .
56
B C D E mukhasotkrtaih; A sukhasotkrtaih;
. . . .
F mukhasatkrtaih.
. .
A B F omit sam; A omits one
A paran bandhat; C F parartham va.
E ya lihet; C F
0
pada
0

A omits pi.
A F jirya pas
0
; c viryam tatah pas
0
;
A B D E icchaya tu.
C samadhitan; F samadhi ca.
B yogam; A
0
artham; D E siddhidanam va.
DE I L N Q omit from vama
0
lTlaya I I,
invert the next two padas, and omit 29.8
J; I omits
and has in
its place; J nagajanghopari etc. (not
following DE I).
29.8
29.11
29.12
29.13
29.14
29.15
29.16
30.2
30.3
30.6
30.7
30.8
30.10
30.12
30.13
30.16
See 29.7, above.
A omits smrtah.
. .
A D E padatalau.
D E
0
pradam caiva taduktotkutakasanam;
A B
0
pradam caitad.
B vajra (for vakre).
E candrosanasinam.
A B DE

F
E svanabhatadantare; B svana; D svanam
bhadatadantare.
E omits bha.
B adhyam; A E adham; C anyam.
E kamayet saukhye; B kamaje saukhau;
C kamaje saukhyam; D kamajet saukhya;
A B c E samahitam.
A B C F abhinandya.
DE kevalarn eva sadh
0

E
0
raka; A B c F omit
57
30.17
30.19
30.20
31.1
31.4
31.7
31.11
31.13
.32.1
32.4
32.5
32.6
32.7
32.8
32.10
32.1:!_
32.16
32.19
33.4
58
B bhayiturn.
c omits tadaivam.
C ta11amuhur
0
; F ta11atanarnuhur
0

A B D E vajrangatvena; F vajranajanangatvena.
F sastharnah.
. . . .
D E sya.
F supraty
0

F tadunsrstan ca.
A B
0
pattre; F tasmat unsrstapatre.
...
.
F svacarnanarn.
A B gudapadapra
0
; C F gudapadrnaksa1anam
.
guhya; D gudapatpra
0

A B C F omit tu; D catuhsarna; C D F omit
.
ca.
F bhodi.
B manavarn.
A B omit second na; ~ F omit va.
B narnah .
.
33.15
33.16
34.3
34.4
34.6
34.9
34.11
34.13
34.14
34.15
34.16
A
0
cintakah.
--
0 E I L P Q syur va hi papena;
A M striyas sarva hi prayeQa; C
sarva hi prayena (striyah syur hi papena
. .
in margin); G sarvabhiprayena;
59
H 0 sarva hi papena; J K sarva hi payena;
N syu hi papena.
A rupam tavyam.
D E yogini; A B yoginam; C yoginam;
F yogiiJam.
C omits dhi.
E bhutini vanya.
A C sudri; E cabhyanta
0

A C E B omits ca; F
D cadarii].a.
B C E kurutriiJT; B hatinT; A
A C hattini; F
F dhobini gaurini karmakarini (with
. .
tatha added in margin).
A svarna
0
; F omits svarnakarini.
. . .
34.17
34.18
34.19
34.20
35.2
35.3
35.7
35.8
35.9
35.12
35.19
36.1
36.4
36.7
36.15
60
D E kuntakarinT; B khattakT; A khattakT;
. . . . .
A kundakarinT; C khattikT .
.
C D E B varudini; A
F carutrinT
.
A B D E kandakarT.
E omits ke; A B sekakarT; D
0
patinTtsakakarT.
B khattika; A B F sarvajnatinT.
D F canda for randa.
C bhanti; D bhoti.
A B c hitaisinTm.
.
A B F omit sam; F F tasmac ca.
E kaspita.
A B DE vastrapadya
0
; B

A puspadhugadi
0
; C puspapugadi
0
;
. .
C F vastramadyakhadyanga
0
; F puspapuggadi
0

.
A omits from tadvacah ..
.
(36.4) (added illegibly in margin).
E mayasiddhim; D sayasiddhim.
A
0
prasiddhaye; C F
prasiddhayet.
C F G H J K M 0 P add the following line
after
0
tatparah: madTyamastakastha yo
.
36.17
36.19
37.1
37.3
37.4
37.5
37.8
37.9
37.15
37.16
37.17
38.4
38.5
38.8
yogi dhyanaikatatparah II (F G H K M
.
have
0
stham).
A C D E F G H I J K L N p Q yavac;
B 1okasya vac chaktir; 0 yavac; M javat.
c F
E yayati.
A omits ka (of
0
tankato)
A B D E visabhavopi.
.
F ucchede capatet; C ucchede kampate.
B sarva; F eva dharayet.
C yoginya yaJ:l.
A B C omit ca.
61
A B c F omit ca; B A yoginyam;.
c F mayoditam.
D E siddhi df9hatvataJ:l; A B C F df9havataJ:l.
A C D E B samsthitaJ:l;
F samsthiti.
I
om. Homage to the Reverend

Thus have- I heard: At one time the Lord,
Vajrasattva,
2
was dwelling in the Bhaga of the
1
The meaning of is given in
Ch. 13 of the CMT. It says: means one who
is very violent (t1vratara) and he is said to
be very wrathful He is known as
being wrathful (ro$aDa) because he devastates all
evil ones (mara) with his anger (krodha)."
2
For a discussion of the position of the
deity, Vajrasattva, in the Vajrayana pantheon,
see Benoytosh Bhattacharyya, An Introduction to
Buddhist Esoterism, ChmvkhambaSanskrit Studies,
Vol. XLVI, (2d ed. , rev.; Varanasi: Chmvkhamba
Sanskrit Series Office, 1964), pp. 127f; and also
see idem, The Indian Buddhist Iconography (2d ed.;
Calcutta: Firma K. L. Mukhyopadhyay, 1958),
pp. 43, 48, et passim. The term, Bodhisattva,
which does not occur in our text, but which appears
everywhere in Hahayana works, does not seem to
parallel the term Vajrasattva in any way, at least
in the CMT. I believe that Prof. Royal Weiler
correctly analyses the term, Bodhisattva, as an
Appositional Bahuvrlhi compound which can be trans-
lated as none who has Enlightenment as his essence.n
The Comm. to the CMT, however, indicates that
Vajrasattva should be taken as an Appositional
Karmadharaya compound in which sattva is taken to
mean nbeingn (praDI") rather than "essence." Hence,
in this work, Vajrasattva should be taken to mean
a "Vajra-being." The term, vajra, can have a
variety of meanings including "thunderbolt" and
"diamond." The Tibetan (rdo rje) supports the
latter; but, for its broader use, see p. 63,
nn. 1 and 2; also cf. GS 137.8 and HVT, part I, 47.
62
Mistress of the Vajra Realm,
1
whose essence is
the body, speech, and mind of all Tathagatas.
He was accompanied by numerous groups of yogis
and yoginis, namely: the Vajrayogi
2
~ ~ i t e
Immoveable,
3
the Vajrayogi Yellow Immoveable,
1
The compound, vajradhatvisvaribhage, is
analyzed in the Conun. as follows:
11
Vajra means
linga (characteristic mark I male sexual organ) ,
and the realm (dhatu) is of that. That realm
is the mind of Enlightenment (bodhicitta), in
both an esoteric and exoteric sense. In the
esoteric sense, the Mistress <Isvari) of that
realm is Wisdom (Erajfia) because of the fact
that she is served by the Vajra Realm. 'In her
Bhaga' means 'in the best member of her body
ctadvarange) .... Although the l.s.f., bhagayam,
rather than the l.s.n. bhage would be expected
in the meaning of the
11
female organ, .. its usage
in this work indicates that as its primary
meaning. Due, however, to its much broader range
of meaning including
11
gracious lord,
11 11
good
fortune, ..
11
prosperity, .. and
11
dignity,n I do not
translate it here or below.
2
In an unedited MS of a work entitled
DTksatantra, fol. 115, the vajrayogi is described
as the yogi who is devoted to the way of the
vajra. What is meant by vajra is further ela-
borated as:
11
its characteristics are that it
can not be broken nor cut; it can not be burned
nor destroyed; the Void (sunyata) is called
vajra.
11
3
Cf. P. L. Vaidya, ed., Dasabhumikasutra,
Buddhist Sanskrit Texts, Vol. VII (Darbhanga:
Mithila Institute, 1967), Introduction pp. 18-20,
where Acala is described as the eighth stage of
a Bodhisattva on his path toward Buddhahood.
63
the Vajrayogi Red Immoveable, the Vajrayogi
Green Immoveable,
1
the Vajrayogini Delusion
Vajri, the Vajrayogini Calumny Vajri, the
Vajrayogini Lust Vajri, the Vajrayogini Envy
Vajri, who are foremost, along with myriads of
yogis and yoginis.
Then the Lord, Vajrasattva, entered the
trance of Black Immoveable
2
and declared this:
Freed from being and non-being,
devoted solely to the Four Blisses,
3
with my own form free from in-
volvement, I have abandoned all
predilections.
64
1
For sy'ama as "green," cf. T ljang p. 71, n. 2.
on the preparation of colored powders for drawing
the mandala.
2
Although the T nag 2. supports "black" as
a translation of 71, n. 2 indicated that
might be more accurate, esp: in view of
37.19 Nhere \ve have ni lcrcala for k:rspcrcala. For
the sake of simplicity, however, we retain the
translation, "black."
3
From the Comm., the Four Blisses are described
in terms of different phases of the sexual act.
2
Those ignorant ones, who do not
know me as embodied in all men,
are those for whose sake I have
assumed five forms.
1
Then the Lady, the Mistress of the Vajra
Realm, entered the trance of Anger Vajri and
said this:
Inseparable from Void and Compassion,
I am established in happiness
through divine desire, without
any predilection,
2
without in-
volvement, and without agitation.
Those women, who do not know me as
embodied in all women, are those
for whose sake I have assumed five
forms.
3
65
1
I.e., Black Immoveable, White Immoveable, etc.
2
The Comm. equates kalpa with vikalpa, but it is
more likely samkalpa (Cf. 1.16).
3
I.e., Anger Vajri, Delusion Vajri, etc.
Then the Lord, Black Immoveable, firmly
embraced and kissed the Lady, Anger Vajri, and
declared:
Goddess, goddess! Great enjoyment
and secret teaching are very dif-
ficult to obtain; they are the
quintessence, the best, praised
by all the Buddhas.
Listen and I will explain this
great tantra,
1
the highest master
of kings of tantra. It is called
the Sole Hero,
2
and it is for the
quick Success
3
of living beings.
1
The T reads dga' mo (vatse) for v a k ~ y e . In
this case the meaning would be: "Listen, my dear,
to this great tantra ... "
66
2
In Ch. 14 of the CMT, the term ekalavira is
explained as follows: "'Ekala' means 'one' (eka),
and it is called 'hero' (vira) because he deSEroys
aversion (viraqamardanad)." The intended meaning
of viraga is often not clear in this work. On
the one hand it seems to mean "absence of lust"
and, on the other, the opposite of lust, viz.
"aversion" or "loathing." Here, the latter meaning
seems more appropriate.
3
The term siddhi means basically "success" but
in this context it refers specifically to the ac-
quisition of supernatural powers, representing
Success of low degree, and the highest Success being
the attainment of Buddhahood.
This tantra is not to be disclosed
to one who has not seen its mandala,
1
. .
nor should this king of tantras be
shown to one who has entered another
mandala.
. .
This tantra should be taught to one
who has devoutly entered the mandala
of and whose highest
striving is toward faith in Canda-
maharosana.
. .
One should show this tantra to him who
is kind,and devoted to his teacher, a
follower of the Mantrayana, and always
devoted to the Master Candamaharosana.
. . . .
However, if some yogi, knowing that,
deceived by greed, teaches this best
of tantras to one who has not seen the
mandala of Candamaharosana,
. . . . . .
67
1
For a description of the see Ch. 2,
below, and APPENDIX I.
3
He will suffer great afflictions,
soiled with stools and urine, and
within six months, his will be the
pain of death.
Then seized by the messengers of
Death, and subjugated by the noose
of Time, the offender is led to
hell, even though he may be pro-
tected by the Buddhas.
And, after enduring the pain of
expiating that action for one
hundred thousand years, if he should
obtain birth as a man, then he will
be split by a vajra.
1
Therefore, he who holds the vow of
the mantra-knower should draw the
m a ~ ? a l a . Then, previously having
examined the students,. he should
cause them to enter there.
1
Here, the term vajra appears to mean
"thunderbolt."
68
Then, indeed, he should teach them
the tantra, which is difficult to
obtain in the Three Worlds.
But whoever teaches that which goes
unheard proceeds to a lower existence,
1
and is afflicted with inflammation of
the mouth, even if he be equal to
Buddha.
Or, if a student without faith hears
this out of curiosity, without any
doubt he will be struck on the head
by a vajra
2
at the time of the rains.
I have declared this truly, Oh Goddess
with a lovely face, regarding this
very secret tantra, the Sole Hero,
Candamaharosana.
. . . .
1
Among the six states (9.ati), of existence
viz. men, gods, titans, ghosts, and '
hell beings, the first three are considered
"higher" existence and the last three "lower"
existence.
2
see p. 64, n. 2.
69
4
Thus ends the first chapter, concerning the
introduction to the tantra, in the Reverend
Candamaharosana Tantra, called the Sole Hero.
. . . .
II
Then the Lady, Anger Vajri, firmly embraced
the Lord, and said:
What sould be the measure of the
with what
1
should it be
drawn; and what is there in the
center? Tell me, Oh Almighty!
Then the Lord said:
One cubit,
2
two cubits, three cubits,
four, or five should be the measure-
ment of the mandala, but not more
..
than five.
1
From the answer, below, it is clear that
kena should be translated "with what" rather
than "by whom."
2
The term basta, as a measurement of length,
is about eighteen inches: the distance from the
elbow to the tip of the extended middle finger.
This is equivalent to the cubit.
70
Whatever its size,
1
it should be drawn
with powder made of various colors,
2
and adorned with four.corners, four
and four arches.
3
The door of the mandala should be
made one-eighth part of the whole.
The door and the Niryuha are the
same size, and the Kapolaka is one-
half of that.
71
1
The construction, yasya tasyaiva, seems to
express an indefinite meaning (cf. tasmai).
Although it is not quite clear, it appears to
mean "Whatever particular measurement is chosen
for the etc."
2
The Comm. gives a choice of two sets of
material for preparation of the colored powders
for drawing the mandala. In the first set, gold,
silver, lapis lazuil, coral, and emerald are
prescribed. When the above materials are not
available, the following are prescribed: sulphuret
of arsenic (yellow); talc (white); antimony sul-
phide mixed with talc and turmeric (blue-black);
mercury sulphide (red) ; and antimony sulphide
mixed with sulphuret of arsenic (green).
3
See APPENDIX I for a drawing of the
mandala. In the drawing, the following technical
architectural terms are identified from instruc-
tions given in the Comm. for its construction.
So, too, is the the Vedi,
the garland-half-garland, and the
Patika. ' One-half of the latter
.
and outside the base-line is the
Rajobhuva.
Just that size should :the Vajravali
and the eight pillars be made.
The best arch for the door should
be made three times the size of
the door.
1
Below, a Universal Vajra should be
drawn, enclosed by a Vajra wall.
And, the mandala of Candamaharosana
. . . .
is provided with Wishing-trees, etc.
2
One circular section should be
made within the mandala
. .
1
According to Tibetan tradition, a mandala
can be drawn in three degrees of complexity:
The "best arch'' (
0
toranam uttama6) seems to
indicate the size of the arch when the mandala
is drawn in its most intricate form.
2
The "Wishing-tree" is the
fabled tree which bears as fru1t whatever is
desired (cf. kalpataru).
72
5
In that, one should draw a Universal
Lotus, [with its petals] in the eight
directions, beginning with the East.
And in its center, a ninth should be
drawn, 'l.vi th a deep blue sword in the
middle.
This has a Vajra engraved upon it.
Also in the center, one should draw
a Vajra-hand-saw with a skull.
1
In the East, engraved with a wheel,
one should draw a white sword.
In the South, one should dra'l.v a
sword of yellow color with a gem.
In the t'{est, a red sword, marked
with a red lotus.
In the North, the sword alone of
green color, should be drawn.
In the Southeast, one should draw
a white hand-saw marked with a
wheel.
1
The "Vajra-hand-saw" is a hand-saw with the
iconographic representation of the Vajra as its
handle.
73
In the Southwest, also draw a
yellow hand-saw marked with a
gem. And in the Northwest, a
red one marked with a red lotus.
In the Northeast, a green one
with a blue lotus. All insignia
should be provided above the sun
and moon.
This mandala of powder is
. .
proclaimed by me for .the
welfare of the world.
Or the mandala should be well
drawn on cloth. The mandala
should be drawn as above, but one
should draw Black Immoveable in
the middle, embraced by Anger
Vajri.
1
1
When the mandala is drawn on the ground
with various powdered colors, only the insignia
(sword, hand-saw, etc.) of the deities are drawn;
but, when painted on cloth, the deities them-
selves are drawn in their respective positions.
74
In the East, one should draw White
Immoveable. Likewise Yellow Im-
moveable in the South, and Red
Immoveable, one should draw in
the West.
One should draw in the North Green
Immoveable, and in the Southeast,
Delusion Vajri in white; in the
Southwest, in yellow, one should
draw Calumny Vajri.
In the Northwest, one should draw
the red goddess, Lust Vajri. In
the Northeast, one should draw the
green Envy Vajri.
So is the cloth mandala drawn.
75
Then follows the mantra for making the mandala
. .
6 a residence:
1
"Om, Reverend Candamaharosana, come,
. . . .
c o ~ e , with all your family. Jah! Hum! Varn!
1
The term, mal)Qaladhi$thana,. indicates the
bringing of the deities themselves into residence
in the mandala .
. .
76
Hoh! Make your residence here in this mandala!
. .
Hum! Phat! Svaha!
11
By that mantra having caught,
caused to enter, bound, and subjugated them, he
should worship.l
Then there is the following mantra of worship:
Om, Black Immoveable, accept this flower! Hum! Phat!
Om, White Immoveable, accept this flower! Hum! Phat!
om, Yellow Immoveable, accept this flower! Hum! Phat!
om, Red Immoveable, accept this flower! Hum! Phat!
Om, Green Immoveable, accept this flower! Hum! Phat!
Om, Anger Vajri, accept this flower! Hum! Phat!
om, Delusion VajrT, accept this flower! Hum! Phat!
.
om, Calumny Vajri, accept this flower!
H-. I
urn. Phat!
om, Lust Vajri, accept this flower! Hum! Phat!
om, Envy Vajri, accept this flower! Hum! Phat!
1
0ften seen inscribed in the four gates
of the mandala are the hook (ankusa) , noose
(pasa), lock (sphota)
1
and vajra. These are
associated with the mantras: Jah, Hum, Vam,
and

whose respective functions are catching
, causing to enter (pravesva)
1
binding
1 and subjugating
7
77
As with "flower," also with "lamp,"
"incense," "perfume," and "food
11
should he repeat the above with
- these, the five elements of worship
of the mandala.
When White Immoveable is in the middle
with Delusion Vajri, that is to be
known as his own mandala; so, too, is
. .
it in the case of Yellow Immoveable, etc.
He should make five mandalas for the
five different yogis, with one-pointed
mind,
1
making great effort in this
first practice.
After covering the mandala, he should
. .
delight the yogini embraced by the
yogi with intoxicants
2
and meat
3
and
give praise again and again.
1
I.e., having the mind fixed upon a single
object
2
Here the Comm. specifies both wines and
distilled spirits.
3
Five kinds of meat are required in the Comm.
These are identified as qokudahana, being the meat
of the cow, dog, elephant, horse, and man.
Thus ends the second chapter, concerning the
mandala, in the Candamaharosana Tantra, called
. .
the Sole Hero.
III
Then the Lady said:
How should the student be made fit
to be enjoined in this tantra, and
how is he to be made resolute?
Please explain, 0 Almighty.
Then the Lord said:
First, one should give him the
Triple Refuge, the Five Teachings,
and the Fast. Then the five
Consecrations plus the Secret and
the Wisdom Consecrations should
be given.
Then the student would be fit, and
one should show him this tantra.
One should drive far away any other
78
79
student, otherwise the teacher
would be casting himself into the
Raurava Hell.
Then this verse of the Triple Refuge follows:
I go to the Buddha as a refuge
until I realize the essence
1
of Enlightenment. I go to the
Dharma as a refuge and to the
Samgha, with wholehearted
2
faith.
Then there is the following verse of the
8 Five Teachings:
1
In the Comm., bodhimanda is explained as
the T translates'maQga by snying E
1
"heart.
11
2
The term, avetya, is found in E p. 79 s.v.
avetya-prasada. Edgerton translates this com-
pound as "serenity based on trusting faith,"
and indicates that this compound is equivalent
to the P avecca-ppasada. In PTSD s.v. avecca,
it is noted that although it is usually taken
to be ava + gerund li, the P grammarians take
it as a + vecca. The T translation of avetya
here is mi phyed, "not divided," in support of
taking the initial a as the negative prefix.
Perhaps it should be analyzed as a + gerundive
of vi + li, 'l.vhich translates as "not to be
divided,"-or, more freely, as we have it here,
"wholehearted."
Killing, stealing,
1
the wife of
another, and false speech, I will
avoid all of them like snakes, and
the fifth, intoxicants, as well.
Next, there is the verse of the Fast:
I will not harm a living being,
nor steal the possessions of others.
I will lead a celibate life and
avoid false speech.
I will never drink intoxicants,
the cause of senselessness. I
will abandon joyous dancing,
singing, and dressing up.
I will not use a high or large
bed, nor eat untimely.
Such are the eight branches of the Fast, as
taught to the Arhats.
1
Although caurika normally means
11
a female
thief, .. here it is equivalent to caurakarman,
11
thievery." Cf. HW p. 403 s.v. cauraka.
80
81
Purity will I maintain, as taught
by the Buddha. In that way con-
quering the deceitful demon, and
attaining the highest Buddhahood,
I should be a refuge for all
embodied beings, wearied of the
world.
As long as I am subject to rebirth,
in the world, I will be born into
good circumstances, as a man.
1
And I should be associated with
good people, devoted to the well-
fare of the world, and with a
good intellect.
Then there is the following Water Consecration:
Thinking that the student is pure, undefiled,
like crystal, he should moisten a mango twig
with water from the Victory Flask and consecrate
him with the words: "Om, ah, to this person who
.
1
Specifically, sugatijal) puman means "as
a male, born into one of the three upper states
of existence, viz. as a god, man, or titan (asura).
Cf. p. 69, n. 1.
82
has the same fortune as one who has the Consecration
of all Tathagatas, hum."
Then there is the following Crown Consecration:
9 Thinking that the Vajra-studded crown is as if
adorned with all jewels, he should consider that
the student is like a Universal Emperor. Then,
he should place the crown on the student's head
and, as before, consecrate him with the words:
"om, Candamaharosana, enter, enter his heart, hum,
. . . .
phat:!"
Then there is the following Sword Consecration:
He should place a sword, made of iron, etc., in
the student's right hand and, as before, consecrate
him with the words: 0 Sword of Knowledge, slay,
slay, kill, kill all enemies,
Then there is the following Noose Consecration:
He should place a noose, made of copper, etc., on
the student's left forefinger, and consecrate him as
before, with the words: sieze, sieze, surround
surround,
1
and bind all the wicked with a noose, 0
Your Great Truth, Your Dharma, svaha!"
1
Here I take katta as 2 s impv. /2. kat, "to
surround,
11
(see 1-H"i p. 243), although katawould be
-----
expected.
83
Then there is the following Name Consecration:
He should pose the student in the bodily stance of
Candamaharosana, and, taking him in that position by
. . . .
the hand, he should say: "Om, 0 Reverend Lord Black
Immoveable, you are the Perfected One, hum, pha!!"
Then he should consecrate him as before. Thus, ac-
cording to the particular color, black, etc., of
the student, he should be given consecration with
the name of one of the five Immoveables. Thus ends
the five Consecrations.
For women, instead of the Crown Consecration,
he should give the Minium
1
Consecration. He should
take by the hand the woman candidate, who has the
form of a principal queen, and say: "Om, 0 Lady,
10 enter, enter her heart, hum, phat!" He should place
.
in her right hand a hand-saw of iron, etc., and say:
"Om, Hand-saw, cut, cut the flesh of all demons, hum,
pha!-!
11
And placing a human skull, made of wood,
etc., in her left hand, he should say:
11
0m, Skull,
hold, hold the blood of all enemies, hum, pha!!"
1
In Nepal, minium (sindura), or red lead, is
still often used today, especially during marriage
ceremonies. The powder is placed on the top of the
woman's head, on the part in her hair.
84
Then he should pose the female student in the stance
of the Lady, and in that pose taking her by the
hand, he should say: "Om, 0 Reverend Anger Vajri,
you are the Perfected One, hum, phat!" Thus, ac-
.
cording to the different colors of the woman, he
should consecrate her with a name of the five
y o ~ i n i s . But to a woman, in place of the Wisdom
Consecration, the Method Consecration should be
given.
Then there is the following Secret Consecration:
The student should give clothing, etc., to his
teacher, and present to him a delightful woman
adorned with beauty and youth, and say:
This woman, which I present to you,
gives the pleasure of all desires.
0 Lord, act mercifully and take this,
which I have offered, for the sake
of your pleasure of desire.
Then, having paid respect to his teacher, the
student should go outside and remain there, re-
peating the mantra: "Om, 0 Candamaharosana, hum,
. . . .
85
phat!" The teacher, moreover, should worship
.
himself with intoxicants, meat, etc., and having
satisfied Wisdom, being in her embrace, he should
place the resulting white and red on a leaf, shaped
into a funnel, etc. Then, having summoned the
11 student, he should take that substance with his
ring-finger and thumb, and write the letters, "Hum,
on the student's tongue. Then he should have
the student pronounce the words: "Ah! Pleasure!"
And then the teacher should say the following:
"Today I cause to be produced the Buddha-Knowledge,
the very same means by which the past, future, and
present Buddhas, Lords, obtained independent
1
Nevertheless, you must not say this in
the presence of those who have not seen the
If you do say it, then the following occurs:" With
a sword placed on the heart of that student, he
should recite this:
This sword, which is very sharp indeed,
rests in the hand of
And will surely slaughter
him who breaks this contract.
1
See E p. 48 for a discussion of the term
apr a tirt:hi ta.
For myriads of births, men will
appear with sword in hand, cutting
all limbs, and eager to chop off
his head. And the same fate will
be yours also if you break the
contract.
86
Then this must be said by the student:
11
So be it.
11
Then, after having him bound with a blind-
fold, he should have the student throw a flower
into the mandala. Then, releasing the blindfold,
he should show the student which is a sign of
which. And he should elucidate to him the sig-
nificance of that sign. Then he should entrust
that very t\Tisdom to the student, saying:
This delightful sustainer of yours
must be served, as indicated by the
Buddhas. The foolish person, who
transgresses this, does not obtain
the highest Success.
1
1
See p. 6 6 , n. 3
Then the teacher should whisper in his :ar
the division of the Four Blisses.
1
Then the
12 teacher should go outside. And then Wisdom,
having become naked, and squatting,
2
should in-
dicate her secret place with the forefinger, and
ask:
Can you bear, my dear, to eat my
filth, --and feces, urine; and suck
the blood from inside my Bhaga?
Then the candidate must say:
Why should I not bear to eat your
filth, 0 Mother? I must practice
devotion to women until I realize
the essence of Enlightenment.
And she says:
Ah! To him, who properly serves
my Lotus, \'lhich is endowed with all
pleasures, I will grant Success.
1
cf. p. 64, n. 3.
2
For the meaning of utkutaka, see MW p. 176.
87
13
Carry out the practice in the Lotus
very patiently according to what
should be done. Candamaharosana
. . . .
himself is situated here. Here,
indeed, there is great pleasure.
Then the candidate should concentrate that
he himself has the form of Candamaharosana; and,
. . . .
embracing Wisdom in the form of Anger Vajri, he
should aim at the Four Blisses. When that is
completed, he should present himself before his
teacher, and make a circle of food with intoxi-
cants, meat, etc. Thus ends the Wisdom Conse-
cration.
Thus ends the third chapter, concerning
Consecration, in the Reverend Candamaharosana
. . . .
Tantra, called the Sole Hero.
IV
Then the Lady said:
Hovl must he meditate, who is
meditating on
. . . .
and what kind of mantra should
be muttered? Tell me, 0 Almighty!
Then the Lord said:
In a pleasant place, free from all
distractions, there he should
concentratedly construct a seat
of whatever is available.
First, he should meditate Love;
second, he should meditate Compassion;
third, on Joy he should meditate, and
last of all, on Equanimity.
1
Then in his heart he should meditate
the seed syllable,
2
situated upon a
lotus, moon, and sun.
89
1
The meditation on Love, Compassion, Joy, and
Equanimity, known as is elaborated
upon in the Comm. as follows: "The meditation on Love
(maitrT) is the cultivation (here = bhavana) of the
same affection towards all beings as that which one
feels for oneself. The meditation on Compassion
(karuoa) is the cultivation of the desire to alleviate
all the misery of all beings. The meditation on Joy
(mudita) is the cultivation of delight at the good
fortune, etc. of all beings. The meditation on Equa-
nimity is cultivating the attitude of being
always concerned with the welfare of every being,
whether he be friend or enemy, harmful or harmless."
2
The Comm. identifies this as the syllable hum.
He should think that Candamaharosana
..
has materialized before him out of
the rays of light. And the wise
man should imaginarily worship him
with flowers, incense, etc.
Then, in his presence, he should
confess his evil deeds, and rejoice
in all his merit. He should
repeat the Triple Refuge, begging
and praying.
He should give himself and bring
his merit to fruition. Then,
having made resolve, he should
apply his mind to Enlightenment.
Then, having paid him homage, he
should dissolve Candamaharosana
. . . .
again into the rays of light.
Then, uttering the following
mantra, he should concentrate on
the Void.
90
14
"Om, my essence is the Void -- the Vajra of
Knowledge!"
He should think with great effort
that the Hum-syllable is burned to
ashes by the rays of light; then
should he think of it as burning
like camphor,
1
and then he should
not even imagine any rays of light.
Then, having meditated that everything
is like sky and only momentary, he
should meditate that his own body is
pellucid, like pure crystal.
Beginning as above, he should sub-
sequently meditate, in front of him,
the four syllables yam, ram. vam, lam,
out of which he should meditate that
wind, fire, water, and earth are
created.
1
I.e. no smoke.
91
Then, concentrating on the syllable
bhrum, he should imagine a celestial
palace,
1
with four corners, four
doors,and adorned with eight pillars.
He should concentrate that in the
middle of that is a Universal Lotus
with eight petals, emerging from the
seed-syllable, pam. The moon comes
out from the syllable, am:
The sun is produced from the syllable
ram, and above that there is again the
production of the syllable hum. One
should think that embraced
by Mamaki, emerges from that.
The chief of yogis should then enter
through the hole in the top of
head. And by the yoga
92
1
The "celestial palace," (kutagara) is rendered
in the Tibetan translation as gzhal khang,
the usual translation of the Skt. vimana. The
Diksatantra (fol. 110) defines (or describes)
kutirqara as either "the mind when in a trance"
or, in confusing the /cit "to think
11
with lei
11
to construct," "constructe<:: by trance"
(kutagaram i ti dhyanaci tta:-:1) .
called the Course of a Shooting
Star,
1
intent on the Bhaga of
Mamaki, he should then fall on
the inside of her Bhaga in the
form of white juice.
Then he should issue forth from
her Bhaga in the completed form
of Candamaharosana. And after
..
killing his father,

with a sword, then he should eat
him.
He should consider that Mamaki
also partakes of the meal. Then,
indeed, having siezed Mamaki, he
should make love to his mother, and
he should think that he is embraced
by her in the form of Anger Vajri.
93
1
The term tarasamkrantivoqena is not discussed
in the Comm.
2
The Bodhisattvas of the Acala Stage (bhumi)
in the Dasabhumikasutra (97.25) are referred
to as "obtaining the destruction of Aksobhya"
.
15
In his right fist he holds a
sword, and in his left he holds
a noose. Threatening with the
forefinger and pressing the
lower lip with the teeth, he
kicks with his right foot, crushing
the Four Demons.
1
With his left knee placed on the
ground, squint-eyed, and with a
dreadful face, he threatens the
earth, with his left knee placed
in front.
Having a blue crown adorned with
and a jewelled head
ornament, he is a youth with five
knots of hair,
2
decorated with all
ornaments.
1
According to E p. 430, the Four Demons
(caturmara) are: klesamara, skandhamara,
and devaputramara.
Cf. E p. 315.
94
95
He has the form of a sixteen-year-old,
with bvo red, far-reaching eyes. He
should meditate with resolute mind:
"I am the Perfected One, Candamaharosana."
. . . .
Then, by the Yoga of Mixing,
1
he
should create White Immoveable in
the East; he should create Delusion
Vajri in the Southeast, with the
luminosity of the autumn moon.
In the South, he should create Yellow
Immoveable; and, in the Southvlest,
Calumny Vajri. He should create Red
Immoveable in the West and Lust Vajri,
in red, in the Northwest.
And in the North, he should create
Green Immoveable; and in the Northeast,
he should create Envy Vajri, in green.
1
The Yoga of Mixing (manthanayoga} is described
in the Comm. as the means by which he generates the
gods and goddesses. The gods are produced from the
right side of Anger Vajr1's stomach and the goddesses
from the left.
16
Then he should invite the coming
forth of Wisdom. Then those
goddesses encourage him with
songs produced by their own
throats:
"0 Pervader, do not abandon Love,
and be not by nature Void! With-
out you I perish, and each and
evey thing as well," of Delusion
Vajri.
"Do not abandon the mind of
Compassion, 0 Pervader, and be
not Void! If you do, my suf-
fering body will be abandoned by
life!" of Calumny Vajri.
11
Why, 0 Accomplished One, do
you enter the Void to give pain
to Joy? The entire ~ o r l d rests
in your heart, calling upon you,"
of Lust Vajri.
96
97
"Do not neglect youth with the
fruitless view of Void. Despise
the Void essence and embrace
with me," of Envy Vajri.
1
Having heard this as .if in a
dream, now awake, let him run
to them immediately. He
1
This Apabhramsa song is explained in the Comm.
in the follmving passage: pahu maitrTtyadi bho
prabho maitrrm atmasnehabhavanam I
tvam vivarjya bhava rna sunyasvabhavah I tava
viyogena phitumTti I atmanruh I sarva-
sarvenaiva tava sabdo yasmad arthe 1
sarvasattvanam sarvaduhkhoddharanabhilasabhavana I
rna tyaja prabho rna ca bhava tvam"sunyam.kim artham
i ti ced aha I mama dehaJ: sudul)khi tal} san ti
jTvena tyaktal) 1 kim iti tvarn I
muditam sarvasattvanarn aisvaryadisu
bhavanam todayitva sunye.karosi pravesam I
kasm;-:rn na pravesaJ:l kartavya iti ced aha 1 yasmcrt
tava nimantranam, sarvasattvanam arthe buddha bhaveyam
ityadilaksanam krtva, rnanasi tisthati lokah sattva-
lokaQ 1 1 yauvanayuktam.mam
sunyabhavam 1 ayam
abhiprayat 1 hi mahasukha-
jiianaril nirmcr1fasambhogakcryadvayavya
nopalabhyate I tu bhijamukha-
samathanamayau tau ca bhavana-
labhyau I bhavana ca na bhavati I
anyatha iti 1 yat evam tasmac
chtrnyasvabhavam garhitva ninditva kuru tvam
maya sardham alinganacumbanadikam ity arthaJ:l I J
In the T version (q.v.) a translation is given
after the song is first rendered in transliteration.
should concentrate that he has his
previous form, Black Immoveable,
and is embraced by Anger Vajri.
Then, having destroyed White
Immoveable, he should make love
to Delusion Vajri. And assuming
the form of White Immoveable,
moreover, he should destroy Yellow
Immoveable.
Then, he himself having become
Yellow Immoveable, he should make
love to Calumny Vajri. Having
killed Red Immoveable, in the same
way, he should make love to Lust
Vajri, having become himself Red
Immoveable,
Moreover, he should kill Green
Immoveable, and make love to Envy
Vajri, having become himself
Green Immoveable.
98
17
Having made love to the four
goddesses, he should destroy
the entire mandala. The
devotee should meditate with-
out fear on himself alone
embraced.
Then he should form his self-
image, thinking: "I am a Perfected
One,
11
without any doubt.
The yogi of black color should
meditate on Black Immoveable. A
yogi of white color should medi-
tate on White Immoveable.
The yogi who is of yellow color
should meditate on Yellow Im-
moveable. The yogi who is of
red color should meditate on
Red Immoveable.
The yogi of green color should
meditate on Green
99
The woman of black color should
meditate on Calumny Vajri.
The woman of red color should
meditate on Lust Vajri. The
woman of green color should
meditate on Envy Vajri.
Every man is Vajrayogi and every
woman is Vajrayogini. By the
distinction of color, black, etc.,
all this should be determined.
Or by difference in action the
distinction is made into five
parts.
Black means killing and anger;
white means rest and thinking;
yellow means restraining and
nourishing; red means subjugation
and summoning; and green is said
to mean exorcizing.
100
18
Or also the distinction is made by
caste: Black is the lowly musician;
white is priest; and yellow is said
to be the sweeper. Red is the
dancer, and thus also is green the
washerman.
The black practitioner should make
love to a black girl with large
eyes. The white one to a white
girl, the yellow one to a yellow
girl, the red indeed to a red girl,
and the green man to a green girl.
Or, whatever girl he has taken, and
whomever among the five Immoveables
he is meditating upon, he should
make love with fixed mind, secretely.
These young ladies give good success
with only a fortnight of practice.
The white
1
of them becomes a vajra,
1
The Comm. interprets this as
11
the liquid
of woman's desire
11
(sukram iti strrkamadravarn).
101
102
all of which he should taste with
the tongue.
He should drink urine as he likes,
placing his mouth on the Bhaga, and
placing it on the anal lotus he
should eat feces as he likes.
There should not be even a slight
disgust, otherwise Success would
be ruined. This diet is the best,
eaten by all Buddhas.
Thus ends the fourth chapter, concerning the
god, in the Candamaharosana Tantra, called the
..
Sole Hero.
v
"Now I will declare the collection of all
mantras."
Then the Lord entered the trance called "The
Vanquishing of all Demons," and uttered this col-
lection of mantras:
103
"'om, Candamaharosana, hum, phat!' is the
. . . . .
basic mantra. 'Om, Immoveable, hum, phat!' is
.
the second basic mantra. 'Om, hum, phat!' is
.
the third basic mantra.
" 'Hum, ' is the heart mantra. 'Am' is the
second heart mantra, and 'ham' is the third
heart mantra.
"'Om, hram, hrim, hraum, in the form of
Candamaharosana, frighten, frighten, scare away,
. . . .
scare away, surround, surround,
1
threaten,
threaten, tear apart, tear apart, slay, slay,
19 swallow, swallow, bind, bind, maul, maul, stop,
stop, delude, delude, bind, bind the mouths of
all enemies. Threaten, threaten, kill, kill,
slay, slay all Dakinis, demons, ghosts, and evil
.
spirits. 0 dreadful, harmful Candamaharosana,
. . . .
protect, protect Devadatta.
2
He who has the army
of Candamaharosana commands all. Om Canda-
. .
maharosana, hum, phat.' This is the rosary mantra.
. . .
'Homage to all Tathagatas, the fulfillers of all
1
See p. 82, n. 1.
2
Devadatta = John Doe.
104
hopes! By all means, with him who has the face
of Immoveable, destroy, destroy, pulverize, pul-
verize, hurt, hurt, stay, stay, enter, enter;
o Maharnattabalaka,
1
shake off, shake off, injure,
injure, eat, eat. Kill, kill obstacles. Consume,
consume the 'tvicked. Do, do, scatter, scatter them
all, 0 Great and Dangerous Vajra, hum, hum,
hum. Threefold whirlpool 'tvave, hmn, hum, hum.
0 Servant of Immoveable, phat, shred, shred, hum,
hum; in the distance, tra!, show your great power;
bring here tram, marn, ham; the worlds must be
cleansed. The vajra-holder must be propitiated.
Homage to the undefeatable pmvers. Burn, trat,
.
Reverence, 0 Impatient One, svaha!' This is the
second rosary mantra. 'Homage to all Tathagatas,
the fulfillers of all hopes! By all means, trat,
unfailing crack, crack, hum,
confuse, confuse, trat, the deluded!' This is
the third rosary mantra.
1
Probably this is an epithet of CM: "Youth
with great sexual desire."
"The foregoing were mantras common to all
five Immoveables. Their individual mantras are
as follows: 'Om; Black Immoveable, hum phat!
.
20 om, White Immoveable, hum, phat! om, Yellow
Immoveable, hum, phat! om, Red Immoveable, hum,
.
phat! om, Green Immoveable, hum, phat!'
. .
"Then the mantras common to the goddesses
are as follows: 'Om, Vajrayogini,_ hum,_ phat,'
is the basic mantra. om, Prajnaparamita, hunt
105
phat,' is the second basic mantra .
.
om, vauheri,
1
hum, phat,' is the third basic mantra.
"'Om, 0 Cotton, Cotton, increaser of Wisdom,
Flame, Flame, increaser of knowledge, Cup, Cup,
increaser of intellect, svaha,'
2
is the rosary
mantra.
"The individual mantras are as follows:
'Om, Anger Vajri, hum, phat! Om, Delusion Vajri,
hum, pha!! om, Calumny Vajri, hum, pha!! om,
Lust vajri, hum, p h a ~ ! om, Envy Vajri, hum, p h a ~ ! '
1
I have not been able to identify this deity.
2
The image seems to be of a lamp, i.e. cotton =
wick, flame, cup = oil or butter container.
21
"Then there is this general mantra of
oblation: 'Om, homage to Lord, Reverend Canda-
maharosana, the frightener of gods, titans, and
. .
106
men, the destroyer of the strength of all demons,
with a head covered with a jewel crown, take,
take this oblation, destroy, destroy all my
obstacles, remove the four demons, frighten,
frighten, confuse, confuse, cut, cut, split,
split, destroy, destroy, roast, roast, dry, dry,
slice, slice, divide, divide, incinerate, in-
cinerate evil beings with thoughts against me,
phat, phat, svaha! '"
. .
Thus ends the fifth chapter, concerning
mantras, in the Reverend Candamaharosana Tantra,
called the Sole Hero.
VI
Then the Lady, Prajnaparamita, firmly embraced
the Lord, and having rubbed the Vajra with the
Lotus, said:
What kind of meditation should be
performed by the person practicing
the yoga of the Stage of Completion?
For the sake of the benefit to
yoginis, please fulfill my request.
Then the Lord said:
The yogi who is situated in the
yoga of the Stage of Completion
should be devoted only to yoga.
He should meditate day and.night
on my form with one-pointed mind.
He should ardently consider his
own wife to have your form, until,
with great and firm practice, it
accordingly becomes perfectly
clear.
1
107
1
The Cornrn. explains this as follmvs: sphutatam
iti tadahan1karayoh. I.e. until each practitioner
has his or her respective deity as a self-image --
the yogi as Black Immoveable, etc. and the yoginr
as Anger Vajr1, etc. The practitioner should
completely identify himself with the deity before
carrying out the practices described below.
Mother, daughter, sister, niece,
and any other female relative, as
well as a female musician, Brahman,
sweeper, dancer, washerwoman, and
prostitute; holy woman, yogini, and
ascetic as well --
Or whatever other he may receive
with a woman's figure: these he
should serve in the proper way
without making any distinction.
But if he makes a distinction,
Candamaharosana will be provoked
. . . .
and slay the practitioner. And
he will thrm..r him into the Avici
Hell and threaten him with a sword
and noose.
Nor will he obtain Success in this
world or the next. Therefore,
this must be kept very secret and
not be made visible.
108
-
22
Like the mantra of the Qakini,
the practice of Candarnaharosana
should be secret. And this has
been explained by me, the Buddha,
for the sake of those who cherish
the esoteric.
In a pleasing place where there
are no disturbances, in secret, he
should take a woman who has desire.
"I am Buddha, and the Perfected
One, Immoveable, she is cherished
Prajx"-laparamita," thus the wise
person should meditate with fixed
thought, each one having his res-
pective [divine] form.
And having made a lonely hermitage,
and with whatever he has for food
and property, he should meditate
ardently -- the two coupled with
each other.
109
He should bring the woman into
his presence and seat her before
him. Each should gaze steadily
at the other, with mutual desire.
Then, concentrating on the en-
joyable view, each should remain
with one-pointed mind. Just
then she should utter the following
speech which arouses pleasure:
"You are my son and my husband;
you are my brother and father.
I am your mother, wife, sister,
and niece.
For seven generations you have
been my slave, my lowly servant.
I bought you with cowrie shells;
I am called your mistress."
He should fall at her feet ardently
with his palms pressed together.
Then he should utter this speech
arousing the highest pleasure:
110
23
11
You are my mother's father's
wife, and you are my niece. You
are my sister's son's wife; you
are my sister and aunt.
I am your slave in all ways,
keenly active in devotion to
you. 0 Mother, look upon me
with kindness, casting a loving
glance."
Then she, in the man's embrace,
should kiss him again and again.
She places the Three Syllables
1
on.his head, and in his mouth
sweet saliva.
She should have him suck the Lotus,
and show him rolling eyes. Placing
lipstick on his mouth, she should
press his heart with her breast.
1
As explained in the Comm., this is a light
blow on the top of his head with a partially
111
closed fist. ~ ' l h y "Three Syllables" is not explained.
In front of him, looking him in
the face, she should pinch him
on the chest. She should speak
to him in this way: "Eat my
Vairocana!
1
Drink the water of

0 Son, be a slave as well as a
father!
3
I am your formal wife
as well as your royal mother.
Constantly take refuge at my
feet, my dear. You were raised
by me, hence your invaluable
nature.
Be gracious, 0 my dear, give me
the pleasure of the vajra! Look
at my three-petalled Lotus,
1
Comm.: Vairocana =feces.
2
Comm.: \vater of :=: urine.
3
Exactly what saoitra means is not clear
112
to me. It appears to be a compound of sa + pit:r
in the instrumental singular, but the sa may
rather be the demonstrative, qualifying an under-
stood tvam.
24
decorated in the .middle with
stamen.
Oh, i ~ is the field of Pleasureful
Heaven adorned with the Red Buddha.
Peace beyond all imagination,
giving pleasure to the lustful.
Alight on my reclining fermi my
mind trembles with desire.
Place my two feet on your
shoulder, and look me up and
down.
Then make the throbbing Vajra
enter the opening in the center
of the Lotus. Give a thousand
strokes, one hundred thousand,
ten million, one hundred million,
in my three-petalled lotus, bound
round with flesh.
Insert your Vajra and offer your
mind with pleasure.
113
114
0 Air, Air! My Lotus is the
quintessence, the very highest,
and aroused by the top of the
. .
Vajra, it is as red as the
Banduka flower."
Concentrating on her speech, he should
become motionless, with one-pointed
mind. Without moving, he should
meditate on the pleasure arising from
that, with a fixed mind.
Then he should anwer her: "Wait a
moment, my dear, that I may con-
sider, for just a moment, your
womanly form.
Woman alone is the birth giver,
1
the giver of true pleasure to the
Three Worlds, the kind one. Those
chattering fools engaged in evil
action, who now disparage her out of
hostility, will, by their action,
1
The following four padas are in Sardulavikr1gita
(Tiger's Play) meter.
25
remain constantly tortured for
three eons in the fathomless
Raudra Hell, wailing as their
bodies burn in many fires.
On the contrary, one should
say that women's merit encom-
passes all living beings.
Whether it be kindness or pro-
tectiveness it must be in the
mind of women.
Friend or stranger, she nourishes
him with food. The '\voman who is
like that is none other than
Vajrayogini.
Be it her look, touch, or rub --
when far away, the mere remembrance
produces pleasure at that instant.
Woman, as object of the five senses,
is endowed with a divine form. Men,
who take her as a wife, enjoy pleasure.
115
Therefore, 0 you who are faultless,
adorned with all good qualities, 0
Purity, Purity, Great Purity, favor
me, 0 Reverend Mother!"
Then, looking at her fixedly, he
should press his lip with his teeth.
Making a gasping sound, the yogi
should make her naked.
He should perform the "Pleasure-
Evoking" position, and the "Swing-
Rocking" position, the "Knee-Holding"
position, as well as the position
"Thigh-Rubbing," the "Foot-Moving"
position, and the "Ground-Pressing"
position, the "Equal Summit" (?)
position, and the position known as
"Variegated," the "Honeycomb"
position, "Mounted on.the Machine,"
and "One Leg Up," as well as the
116
"Tortoise" position, and also "In
Every Way Auspicious."
1
Then, in the middle of a bed, with
the woman assuming the squatting
seat, he should have her clasp her
arms firmly together on his shoulders.
His 0wn two arms should be joined,
emerging from the middle of her
girth, and with the Vajra inserted
in the Lotus, that is called the
"Pleasure-Evoking" position.
With the two arms of both of them
joined to each other like braids
of hair, the two should rock slowly.
This is called "Swing-Rocking."
117
1
The Comm. gives us no help in understanding
these positions. Although how they are to be
performed is briefly described below, the des-
criptions are often unclear. None of these
positions appear, so named, in the Kama Sutra
{Richard Schmidt, Das Kamasutram des
die Indische Ars Amatoria nebst dem
KO:mmentare (Javamangala) des YasOdhara (sechste
Auflage; Berlin: Hermann Barsdorf Verlag, 1920).]
26
Embracing, with her two knees against
his heart, and with the hands in the
same position as in the "Swing-Rocking,"
this is called "Knee-Holding."
He should place the soles of her
feet on the base of his thighs, and
with the hands in the same position
as in the "Pleasure-Evoking," this is
called "Thigh-Rubbing."
With the soles of her feet on the
navel, heart, and the two flanks
also, and with the hands placed
according to "Swing-Rocking,n
this position is "Foot-Moving.
11
With her buttocks placed on the
ground, hollow-chested, with the
- hands placed in the same position
as in the "Pleasure-Evoking,"
this position is called "Ground-
Pressing."
118
Placing her in the Squatting seat,
he should have her stretch out her
two legs. This position is called
"Equal S u m m i t ' ~ (?}, and he should
make [the legs (?}] of each one
stretch out.
With her two legs bent, with his
heart against her back, he should
join on the left, on the right,
and in front, rubbing her beginning
with her hands. This position is
known as "Variegated."
Again taking the "Pleasure-Evoking"
position, he should have her fall on
her back. Then he should insert the
Vajra into the Lotus with the right
hand, and catching the crooks of his
elbows behind tl1e knees, he should
join her; and with each other's arms
like braids of hair, this is known as
the "Honeycomb."
119
27
With her two legs placed firmly on
his shoulders, this position is,
indeed, "Mounted on the Machine,"
and should be performed with
passionate entrance (?).
With her right leg on his shoulder
and left on the base of his thigh,
this position is "One Leg Up," which
is true pleasure, destructive of
misery.
He should have her place the two
soles of her feet together in the
middle of his chest. He should press
the knee with his t\vo arms, and this
is called the "Tortoise" position.
He should place the soles of her
feet on the eye, ear, and head.
This position is "In Every Way
Auspicious," and grants the pleasure
of all desires.
120
Up to the "Variegated" he should do
all the following various things.
He should press firmly with the chest,
united with Candamaharosana.
. . . .
He should kiss her mouth as much
as he likes, again and again. Looking
at her face lying down, saying what-
ever words he likes, he should suck
her tongue, and drink the saliva of
the mouth.
He should eat the lipstick and
waste of the teeth, meditating that
it is pleasureful. And he should
pinch the tongue gently with the
teeth, and also the lips.
With the tongue he should clean
the holes of the nose and the cor-
ners of the eyes. And he should
eat all the waste produced from
between the teeth.
121
28
He should kiss the forehead, eye,
neck, ear, side, armpit, hand,
and breast; and pinch them, with
the exception of the woman's two
eyes.
He should rub the nipple with the
hand, suck, then bite. Having the
woman lie on her back, he should
kiss her lovely belly, remembering
again and again, "Here was I
formerly situated."
He should touch the Lotus with the
hand, saying, "Lovely, 0 Air!" He
should kiss and pinch, looking
there drawing down with the hand.
Smelling the odor, he should clean
with the tongue that hole of the
woman. He should then say this kind
of speech: "As I have entered through
this, so too have I emerged numerous
times."
122
123
This path, which is straight as
the nose, if practiced without
Knowledge, would be the path to
the six states of rebirth. But
when practiced with Knowledge it
would be the Success of Canda-
rnaharosana.
. .
Then, converting it entirely to
pleasure, he should eat the white
and red of the Lotus, while looking
at her face again and again.
And, after pinching her thigh, he
should rub her feet like a slave.
He should place the Three Syllables
1
on her forehead, and a light blow
of the fist on her heart.
Then the yogi should perform con-
centratedly those positions, after
the "Variegated
11
position. He should
1
See p. 111, n. 1.
29
pay attention to that with desire,
having his mind solely on pleasure.
he may secrete or not
secrete, having his mind solely on
pleasure. If he does, he should
lick the Lotus, on his knees.
And he should eat with his tongue,
the white and red of the Lotus. And
he should inhale it through a pipe
in the nose, to increase his power.
After washing the Lotus with the
tongue, he should have Wisdom stand
up and he should kiss her. And,
after hugging her, he should eat meat
and fish.
He should drink milk or wine, in
order to increase his desire. After
his fatigue has decreased, he should
desire with pleasure, etc.
124
And, in the foregoing manner, the
couple should begin again with each
other. By this repeated practice,
Great Pleasure is attained, and in
this very lifetime the practitioner
gains the title of Candamaharosana.
I have disclosed this practice for
the sake of giving Success to the
lustful.
Placing easily
1
the right shank
above the left shank, this is called
"Sattva" posture of sitting, \V'hich
. .
gives the pleasure of all desires.
Placing easily the left shank above
the right shank, this is called the
"Lotus" posture, which gives the
pleasure of all desires.
125
1
The term lTlaya seems to be used in a
technical sense, the meaning of which is unclear.
The T translation, rol ~ , is of little help.
~ s s u m i n g the "Lotus" posture, he '
should easily place the right shank
above the left shank. This is
called the "Vajra" posture.
Placing the soles of the feet on
the ground, while the legs should
lie together over all their
length, this is known as the
"Squatting .. seat, which gives all
desires.
Placing the soles of the feet on
the ground, with the legs bent
and making an oblique angle between
them, this is known as the "Half-
moon" seat, which gives the pleasure
of desire.
lVith the knees oblique and on the
ground, and with the buttocks on the
center of the ankle, this is the "Bow
11
seat, which gives the pleasure of
divine desire.
126
30
11
Sattva," "Lotus," and "Vajra" are
considered postures, and "Squatting,"
"Half-moon," and
11
Bow" are called
seats.
He should have the woman sit in the
"Half-moon" seat, and immediately
fall down and lick the Lotus, grasping
the auspicious Three Syllables.
1
Again, having her assume the "Bow"
seat, he should have his face fall
in the middle of her anus. He should
also stroke her anus with his nose.
He should concentrate that the
Pleasure produced by that is from
the joining with Candarnaharosana.
2
. . . .
Then the yogi should be liberated,
with all predilections abandoned.
1
Here perhaps p a ~ k a j a , or trikona. Cf. .
p. 111, n. 1.
2
The Comm. tells us that the practitioner
should here be in an "unwavering trance"
(niscalasamadhiyukto).
127
Making his mind devoid of aversion,
he should make love to his mother.
By following Lust, merit is obtained;
from aversion demerit accrues.
There is no greater evil than
aversion, no greater merit than
pleasure.
1
Then he should con-
centrate upon the pleasure arising
from desire.
Then the Lady joyfully paid homage to the
Lord, and praising him said this:
0 Lord, is this means of success for human
beings only, or is it for others, also?
The Lord said:
Those beings situated in all directions
who are devoted to this. Gods, demons,
128
men, and Nagas, too, succeed as practitioners.
1
Here and in the lines immediately preceeding,
the term viraga seems to indicate "aversion" rather
than "absen.::e of Lust." The latter sense, however,
cannot be ruled out. Cf. p. 66, n. 2.
129
Then, when they heard that, the gods, Mahesvara,
etc., taking the goddesses Gauri, Saci, Rati,
31 etc., began to meditate. Then, at that instant, all
of them, just at that very moment obtained the
title of Candamaharosana and roamed the There,
Mahesvara succeeded, by the name of Vajrasankara;
Vasudeva as Vajranarayana; Devendra as
and Kamadeva as Vajrananga. In the same way as
these principal ones, godlings succeeded equal in
number to the sands of the Ganges River. Although
involved with the desirous objects of the five senses,
they act for the benefit of all beings.
All these beings, having various
corporeal forms, although in fact
illusory, are conquerors. Just
as the lotus, which emerges from
the mud, is not smeared by de-
filements in the mud, likewise
are they not smeared by defile-
ments who are produced by the
method of Lust.
32
130
Thus ends the sixth chapter, concerning the
Yoga of Completion, in the Reverend Candamaharosana
VII
Then the Lady asked:
After performing copulation, a
person might have great fatigue.
Please explain, for the person's
sake, 0 Lord, his recuperation.
The Lord said:
~ l l i e n he perceives that the womanly
pleasure has clearly died out,
1
he should concentratedly eat fish
and meat and drink wine, and other
food, whatever he has, cooked food,
etc., milk and juice.
1
The Comm., however, interprets svapratvakse
nirodhitam with the following matsyamarhsan: "fish
and meat killed in front of him."
First he should give to the woman
and he should eat the scraps of
that, and that should be eaten
immediately on the dish with her
scraps.
And he should drink her mouthwash
and wash-water of the Lotus. And,
taking the wash-water of the anus,
the practitioner should wash his
mouth, etc.
He should eat her vomit, and eat
the feces! And he should drink the
fluid of the vagina, and eat phlegm.
Just as when manure is applied, a
tree becomes abundantly fruitful,
so does a person have the true
fruits of pleasure by eating unclean
things.
Neither old age, sickness, nor
death comes to that person. And
131
33
he who honors the unclean, and who is
properly disciplined,
1
will succeed.
Never_should the practitioner think
in terms of "edible" or "inedible,"
"to be done" or "not to be done,"
"suitable for or "not
suitable for love-making." Nor
should he think in terms of "merit"
or "ill," "heaven," nor "release."
The yogi should remain with a composed
mind, the embodiment of Innate Bliss
alone.
Thus, if the practicing yogi is
devoted to meditation, by the prac-
tice of only he
will bear his self-image.
132
Although he may kill a hundred Brahmans,
he will not be stained by sin. There-
fore, he should meditate on the Lord
Candamaharosana, as described above.
. . . .
1
or, perhaps, "even if he does not practice
yoga" (niryogo) .
133
The same terrible action which leads
people to hell, undoubtedly leads them
to Release if it is done together with
Method.
It is said that the mind precedes all
things good or bad.
1
And the distinction
of one's condition,
2
location, etc. are
forms created by the mind.
In the same way, \..rhen poison is eaten
without saying a mantra, one's life
1
Cf. s. Radhakrishnan, The Dhammapada (3d In-
dian reprint; Madras: Oxford University Press,
1968), pp. 58f. These first two verses are often
quoted in support of the importance in the
Tantrayana of the attitude with which one acts
rather than what one does. The following is Radha-
krishnan's translation of these verses: "(The men-
tal) natures are the result of what we have thought,
are chieftained by our thoughts, are made up of our
thoughts. If a man speaks or acts with evil thoughts,
sorrow follm,rs him (as a consequence) even as the
wheel follm..rs the foot of the dra\ler (i.e. the ox
which draws the cart). (1) (The mental) natures ..
[same as above]. If a man speaks or acts with a
pure thought, happiness follows him (in consequence)
like a shadow that never leaves him ...
2
Cf.
0
gati p. 69, n. 1.
134
declines; yet doing the same thing
saying a mantra, gives pleasure and
lengthens life.
Then, at that moment, the superior goddess,
Prajnaparamita, brandished a hand-saw and skull-
cup, in the attitude of Candamaharosana, and she,
. . . . .
as Vajracandi with great wrath, should say this
. .
kind of lofty speech:
If she concentrates on my form and
creates a perfect self-image accordingly,
she, too, will not be stained by sins,
even if she should kill one hundred
Brahmans.
Taking my form, with the mind on great
wrath exclusively, a yogini who would
kill fish and birds is not stained.
Without sympathy, fickle, angry, con-
sidering the profit ot killing, are,
indeed almost all women; it is for their
sake that I have declared this.
34
Thus ends the seventh chapter concerning
refreshing the body, in the Reverend
VIII
135
Then the Lord paid homage with five mandalas
1
to the Lady and said:
How, my dear, must your form be known
by the yogi? How will the Lady be
honored by the yogi?
Then the Lady said:
Wherever in the Three Norlds a womanly
form is seen, that is said to be my
form, whether she belong to a low
family or not low.
1
The Cornrn. tells us tha.t the five mandalas
are the five limbs of the body (pancamary9a1air
pancangair) , i.e. the head, arms, and legs \vhich
touch the ground in reverential prostration.
Cf. E p. 416.
136
Goddess, demoness, Yaksini, as well as
. .
Raksasi; Nagini, ghost maiden, Kinnari,
.
and human female as well.
And so too are the females of Gandharvas,
Hell Beings, Animals, and Pretas. Also
there are the women of the four classes:
Brahmans, Ksatriyas, Vaisyas, and Sudras
.
And, in detail, the castes are as
follows:
1
Writer, Rajput, scholar, tax-collector,
trader, water-worker, prostitute, boat -
woman, shoemaker;
musician, sweeper,
corpse'worker, washerwoman, wine
merchant, perfume maker, laborer;
1
I have not been able to identify some of the
follmving castes; those, I leave in Skt. In contrast
to the castes listed by Manu [Georg Buhler, .tr.,
The Laws of Manu, SBE Vol. XXV (Oxford: University
primarily are the result of
intermarriage of the classes, the castes listed here
are primarily, if not entirely, related to occupation.
35
137
Barber, dancer, bronze worker, gold-
smith, fisherwoman, marriage arranger,
potter, garland maker;
Saiva ascetic, conch-shell worker,
cane splitter, Kemalini, cowherd, arrow
,.,right, Kocini, stone artisan; archi-
teet, and hairdresser, encompassing all
castes.
Mother, sister, wife, maternal aunt,
niece, paternal aunt, mother-in-la;.;,
1
and all other caste relations.
Vow-holding devotee, yogini, widow, and
ascetic. All these and many more are
women who have my form.
Each in her own form is resolute in
benefitting all living beings. Whomever
among them are encountered, they are
honored by the yogis, kissing, embracing,
and joining the Vajra and Lotus.
1
Since "sister'' (bhagini) has been already men-
tioned, I take s v a s ~ as either v.l. or w.r. for
svasrus, "mothcr-in-lavl."
When those women are honored, they
give Success instantly to those who
desire the welfare of all beings.
Therefore one should honor women.
Women are heaven; women are Dharma;
and women are the highest penance.
Women are Buddha; women are the
Samgha; and women are the Perfection
of Wisdom.
They are thought of with five dif-
ferent names according to their
respective colors: The woman of
blue color is renowned as Anger
Vajri.
The white-colored woman is said
to be Delusion Vajri. The woman
who is of yellow color is the
goddess Calumny Vajri.
The woman who is of red color
is renowned as Lust Vajri. The
138
36
green colored woman is said to be
Envy Vajri.
There is only one Lady, Wisdom,
but she has five forms.
He should always worship Vajrayogini
with flowers and incense, etc., with
clothes, and pay homage to her with
prose and poetry, with hands pressed
together. He should look, touch,
and remember, while acting in ac-
cordance with his words.
And, kissing and embracing, he should
always worship Vajrayogini. If he is
able, he should do it physically; if
unable, with speech and mind.
By this man I am worshipped and
satisfied, and to him I will give all
Success. I am none ather than the
bodies of all women.
139
And there is no other way that I may
be worshipped except by the worship
of woman. When, by this devotion,
I am satisfied regarding the Success
of the practitioner, then everywhere,
at all times, always will I be in
sight of him.
Concentrating that she has my complete
form, he should make love to his ,.,ife.
If he joins together the Vajra and
140
the Lotus, I will give him Enlightenment.
Therefore, he who in all ways is active
in devotion, even if he steals, kills
a living being, utters false speech,
destroys idols, etc., or consumes the
things of others, belonging to the
Samgha or to a Stupa, that yogi t-1ho is
active in devotion will not be stained
by sin,
37
And this is so if he should crush the
louse in his clothes with his finger-
nail and even kill it. Acting that
very way, the vow-holder would still
be devoted to me.
He should have no fear of sin, and the
miserable states of hell, etc., but as
long as he has fear of the world, he
will not gain power.
1
For him there is no such thing as sin
or virtue. The ethical system of sin
and virtue is to protect the minds of
141
the worldly, since the mind is the measure
of all things and all things last only a
moment.
1
The Comm., which takes yavac as the correct
reading, explains here that as long as the yogi has
not gained power, he should refrain from anti-social
practices, otherwise he will be punished by the king,
etc. Although all ~ S S read yavac except MS B, which
omits the first aksara reading vac, I have amended
the text here to read tavat. The rationale for this
is that the practitioner of tantra is not a pri-
veleged actor but a priveleged interpreter of action.
Even when the yogi gains pmTer, he is not immune to
punishment; but he is, however, immune to the fear
of punishment.
goes to hell, and who proceeds to
heaven?
One may die poisoned by one's own
imaginings; yet, even without that
poison, one proceeds to heaven and
lower existences. Knowing that the
world is that way, is
attained by wise men. Nirvana is
the emptiness of a lamp after the
\.,rind.
tvhen the body of a lamp is broken,
it still burns. Likewise one does
not obtain from death the title of
Enlightenment. Therefore, giving up
all things, the vow-holder should
be devoted to me alone.
I will immediately confer upon him
the Success of Candamaharosana,
. . . .
without any doubt.
142
143
Then the Lord asked the Lady, Prajnaparamita:
11
What is the form of Candamaharosana,
. . . .
and what is the nature of his Success?
The Lady said:
Just as the yoginis are known by the
distinction of five colors, so too
are their respective husbands. I,
the yogini declare them all to be
The husband of the blue color is
remembered as Black. Immoveable. The
husband who is white in color is
known as White Immoveable.
The husband of yellow color is called
38
Yellow Immoveable. The husband who
has a red color is said to be Red
Immoveable.
The husband of green color is called
Green Immoveable. There is only one
Candamaharosana, but he has five forms.
. . . .
That one known as Candamaharosana
. . . .
and the nature of his Success is
characterized by Firmnessr
1
which, in
divine form, is co-extensive with space.
The Success of Candi is just as that
explained as the Success of

144
Thus ends the eighth chapter, concerning his
own form, in the Reverend Candamaharosana Tantra,
called the Sole Hero.
1
The Conn. explains that."'by Firmness' means
'by the non-existence of old age and death.'"
(drdha tva ta i ti j aramara:Qabhavat) .
APPENDIX I
The MaQQala
Although Tucci
1
and Acharya
2
list some of
the terms used in the description of the m a ~ ~ a l a ,
it is often difficult, if not impossible, to
correlate a specific part of the m a ~ ~ a l a with a
given term.
Thanks to Padma Gyaltsan, who took great
pains to construct for me a three-dimensional
m a ~ ~ a l a (kutagara), and thanks also to the Cornrn.
to the CMT, I have been able to identify many
of these terms. The following drawing, which
lacks many details, represents only the Eastern
portion of a four-sided structure.
Although I intend to give a more detailed
analysis of the structural elements of the maQ9ala
in a separate study, I present this outline now
in view of the light it sheds on Chapter 2 of the
1
Giuseppe Tucci, The Theory and Practice of
the Mandala (London: Rider and Company, 1969), passim.
2
P. K. Acharya, Dictionary of Indian Archi-
tecture.
145
146
CMT. The following list of terms is correlated
with my drawing, below. First the Tibetan name
is given, then the Sanskrit:
A. Rtseg pa sna lnga; rajobhuva ..
B. 'Dod snam; patika.
c. Ph a gu;
-- .
D. Dr a ba dra phyed; harardhahara.
E. Shar bu; -- .
F. Mda' yab;
G. Stegs bu; vedi.
H. Logs; paksa
.
I. Sgo; dvara.
J. Sgo khyud; niryuha.
K. 'Gram; kapolaka.
L. Rta babs; t o r a ~ a .
147
A ~ c
])
APPENDIX II
The Newa-rr Scripts
As mentioned above, all of the MSS used in the
production of this edition were written forms of
Newari script, with the exception of MS M which is
written in Nagari script. A familiarity with Nagari
(or Devanagari) is not sufficient for reading the
Newari; and, since the majority of the Sanskrit
Buddhist texts of Northern India are preserved in
Newari script, it has seemed useful to future editors
for me to outline here some of its peculiarities.
Below, and in the Table of Scripts, following, only
those characteristics of Newari which do not closely
correspond to the Nagari will be mentioned.
Although it is often the case that confusion
among characters decreases when one has ac-
customed to the handwriting in a particular MS,
nonetheless, there are certain characters which are
more subject to confusion than others {the following
should be compared with the Table of Scripts).
1) Vowels: a/e, a/o, u/u {often
depending upon the consonant to which
it is joined).
148
2) Consonants: ca/va (ba), ja/jra,
ta/tha, na/sa, dha/sa, pa/ya,
. . . .
149
ba/va, bha/ha/ta/na/, na/ra, rna/sa,
va/dha.
3) In the older MS due to a peculiarity
in writing the Anusvara, it is easily
confused with the Visarga. Although
not shown in the Table, it is iden-
tical to the Visarga except that the
lm-1er circle is not closed (Cf. Ben-
gali script)
The following works should be consulted for
further information on Newari script. Although
they are listed in the BIBLIOGRAPHY, above, for
convenience they are also listed here:
Bendall, Cecil. Catalogue of the Buddhist Sanskrit
Manuscripts in the University Library, Cambridge.
Cambridge: University Press, 1883.
Buhler, Georg. Indische Palaeographie (mit 17 Tafeln
in Mapee). Grundriss der Indo-Arischen Philo-
logie und Alterturnskunde, herausgegeben von G.
Buhler. I Band, II Heft. Strassburg: Karl J.
Trubner, 1896.
150
Edgerton, Franklin. Buddhist Hybrid Sanskrit Grammar
and Dictionary. 2 vols. New Haven: Yale Univer-
sity Press, 1953. (See pp. 15-31)
Em.eneau, M. B . Jambhaladatta's Version of the Vetala-
American Oriental Series. Vol. 4.
New Haven: American Oriental Society, 1935.
Jorgensen, Hans.
11
Ein Beitrag zur Kenntnis des Newari,
11
Zeits.chrift der deutchen morgenlandischen Gesell-
schaft. 75 (1921), 213-236. (This article deals
also with the Newari language -- a member of the
Tibeto-Chinese family.)
Parajuli, Buddhisagar, ed. Licchavilipi-sarngraha.
Kathmandu: Bir Pustakalaya, 1963. (Although
this concerns a somewhat earlier script, it
is useful for comparison.)
Rajavamsidvara, Sankaramana. Pracina Lipi Varnamala.
Kathmandu: Sarakara, 1959. (This is very
useful -- many samples of Newari script of
different periods.)
Sakyadvara, Hemaraja. Varna-Paricaya. Bhaktapur
(Nepal): Sarakara, 1959. (This short work is
devoted entirely to Newari script.)
151
Shakyavansha, Hemaraj. Nepala Lipi Samgraha ~ A
Collection of Nepalese Alphabets. Kathmandu:
Manadas, Sugatadas, 1955. (This is quite
useful, since it contains many tables.)
The Table of Scripts, following, is headed
by modern Nagari script followed by the 13th cen-
tury A.D. Commentary on the CMT. Thereafter, the
MSS of the CMT are listed chronologically from the
oldest, at the top. The only exception to the
above is MS M, in Nagari script, which is not in
chronological order. I would like to express again
my thanks to Mana Vajra Vajracarya for preparing
for me the following Table.
152
TABLE OF
Nagari
el
1f t
1f

v alt:Slr

7f
Comrn.
3i
(b

;s
":a
<31J
1f
MS A
&!

. '

(til
Sl
B
:5t
00

{
ret
bl
00
-
....:;)
....
:5T
:Ji
(.
&t
orfTcr
c
-- ---
d d
'"JT 00 oo
...
c.
\3!

5ITaf
D
_,....

00 00

-

' ...
E
\.?{
..-...-.-f\ -
:1{ ,!)
''C1i '71f {Cr dT
o<>l '<)
-
......
o:r
..._
,g

D1f
F
00
'JT
...
G

--
o:o13""

d l"i
0()
-

H
--

"if OJT 6Jf
Vt
1T
o_o
.OJ

t
QlT cJt I
--

:Jf
00 00
-
cv-.....
.... ...
ot.::s

J
q
--

.$1 1<1 :rr 00
-
.... ....
K q

---

.:1
c1f

:rcflT 00 ou
-
....:..
G

L

:H
6Tf
Tf
...
.... cs;......

('
N

....,...
Cot 3"
;r:r

o"!f 6W
1T 00
-
( 4;.
.....
0
tit
,..._

'J..._q
Tf
OQ
Otl
....
to
6Jf p
...01'
-

--.1

""JT

....
...
... "" .
.....,...
::5 :r-r

1

-rr
Q
q
("0 r-- I
....
""

......
"

1f
=if
-;;__-:r
-rr
M

(:-.-

-

153
TABLE OF SCRIPTS -- -- Continued
Nagari
s

Q

+l\ ol s <r

({

Comm.
i: :lf
=11

7j

MS A

a;-

en

\11
-"

B

c

(;1
5\
e(

f\
11

-
D
1r
41
1:

1(
E g

.....,.-
11 "Jf -e :<; <!'\ 7(
ctl
(iJ
F
.

6\ f;.'
'-!!)-

I
1"[

f
.....,..
G
'\{;
4

5'(
1[
G;
crl 1\

GO
.
H

:q

::!]
G;

7f

I
2I
&;'

1{

G)
1T
J
1f
-;T-
-
SF

1f

<.:.a t-'l
co \:f.
.....
K

q

......,..,-

q

L

<r
60
0[
J:(
\t 1f
N -
s
-:---

--
G1
1T

0
<f
75
3) ]:{
\!$' {.;
tl
lT
p

-
4
-..,.- _...._-
QO \51.
Ji
{;
E1
-q

Q
'"Z.l
;q (/5
6\ \Jr :5*
t\
l'[

M

ST
,t.h
31

0

(f
154
Nagari

-q- . "'q) q
T
m

&T
Comm.
"'2; 11
l[:;r a
rt
MS A

B

(f

c
4
"T

!\

D
Cf"7lf

\

E
t;
lr
---

'ti '(?
te )
p

21?! <1

G
"2;

<r:&r CiT <1

fi\ (,)
i
'
H
4 lf

Z1.
1.[
<tl

I

q
{[
(:3

'"f 41
J

cr
7I

}(
K
!if ?!

'fJ1
...,.
\!

L
?;

Cf

N

c;r

0
cr
p

G1

Q

Lf

M

,--u;;-
cr

........
155
TABLE OF
SCRIPTS -- -- Continued
-
'fGt;
(\

Nagari
-.;r

-
ctll

(li\ <lfil ta
Comrn.

li
\if\ 4\\
1f
MS A

.......
{t

\tit

ld
(
'1lf
B

t[
G'tt
c
Tih
-:P:

'

Cb
q;
th

C1i
G,l

D
'![

r"\

em

...,.._

C@
Gdf
'"n
e{1

.(.!:
'
E

(\
--
tf

...........
!K\
--
\41

(,i'

f"'oo-. C"\

F
Jl} 14\ 41\

-
Zr1

tr .....
G

--.
.--?

\5

--r-
-

Ci') C.'.")

en
"-:..

H
:!}

r-.....

011
-A
C11f

C$

I
R1
(\.
cfi

cr
_..,....

'GF

,.
J

._(",

...,....
Cf\

'-i\1
C\

en
.(,

K

Ch
7

chf

Gn
'

,...
L

{}{

-

(Q

C('l
c;Q
c;.
6"-
R:;

...$:
<
N
\5

-
-

en\ Cil _c;.f)

..... ... ,
"
(\

-t"
0

To

(T

Cf':j t::h \

f>.?)
'

s
r---.
p
-t-
!'\,...

cr;\
'1l

tf_
,q; c:<n
"n
c., ....
.......

t::;-

Q -,;::
....... -
C1

e:3\ t
!I

c. .,

"<...

M

..c- -

;;r
cl
...... ...... ,

,'1
"ln\ c.-l < ,;r
_-.,) .......
156
Nagari
l

-

'1JS'

?E v
('
....
Comm.

.!
MS A

-t;

\t

&
B
l

$
st

c

l!.
7iS'

D
l

v

\

E

;:r
"i\

-t:
tf ,_
l_,
.!a
F
'<'

_g

G
t?:
1f
<-rr

\.0
H

),..; I
)f

6'
e_-')
(-.";}
'
\,.;\.

'>"')

J
sr

.:.
K
.....,_
h
.....,....

)!\ Ci:.
ts

"' ...

L

\.")

N

l.....*l

7J:

'1

0

/(

t)

;F

:,
p
-

ti

'
(''\.

....,
Q
. '

(.,')

.::I

M

\Q.

....

. ....
157
Nagari
1
2..
3

.ll
e_
"
1:
Comm.
\
s
'

"
"

1
t.
MS A
?
\ \
. '\

"

B

\\ \\

'\ . 1:"'
c
,
)[
'l
,;
tl
'
\\ \\
o

\\
\\

E

h \\
'l

F
'
\\
"
S\

'l -r:
e_
G
,
\\ \\

H

\\ \\

tS\

(;

.I
,
\ \
\ \ \;5
'-i

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APPENDIX III
The Tibetan Text
rgya gar skad du I e ka bi ra khya shri tsa
nda rna ha ro sa na ta ntra ra dza na rna I bod
.
skad du I dpal gturn po khro bo chen po'i rgyud
kyi rgyal bo dpa bo gcig pa zhes bya ba I
158
bcorn ladn 'das dpal gturn po khro bo chen po la
phyag 'tshal lo
I
'di skad bdag gis thos pa'i dus gcig na
bcorn ldan 'das rdo rje serns dpa' de bzhin
gshegs pa tharns cad kyi sku dang gsung dang
thugs kyi snying po rdo rje dbyings kyi dbang
phyug ma'i bha ga rnarns la bzhugs so I
tu rned pa'i rdo rje rnal 'byor pa dang
dpag
rnal
'byor ma'i tshogs rnarns kyang ngo
ste
'di lta
rni gyo ba dkar po'i rdo rje rnal 'byor pa
dang mi gyo ba ser po'i rdo rje rnal 'byor
pa dang mi gyo ba dmar po'i rdo rje rnal
by or pa dang mi gyo ba ljang gu'i rdo rje
rnal 'byor pa dang I gti mug rdo rje ma'i rdo
rje rnal 'byor rna dang I phra rna rdo rje ma'i
rdo rje rnal 'byor rna dang I 'dod chags rdo
rje ma'i rdo rje rnal 'byor rna dang phrag
dog rdo rje rna'i rdo rje rnal 'byor rna d a ~ g
de lta bu la sogs pa'i rnal 'byor pa dang I
rnal 'byor rna bye ba khri brgya stong rnams so
I de nas bcom ldan 'das rdo rje serns dpa'
159
2
rni gyo ba nag po'i ting nge 'dzin la snyorns par
zhugs nas 'di nye bar gsungs so I
dngos dang dngos rned rnarn grol ba'i
gcig pu de ni dga' bzhi'i rnchog I
rnarn par rtog pa kun spangs pa'i I
sphros pa rned pa'i rang bzhin nga
rrnongs pa gang gis nga rni shes I
lus dang ngag rnarns kun la gnas 1
nga ni de rnarns phan don phyir
rnarn pa lnga yis yang dag gnas
de nas bcorn ldan 'das rna rdo rje dbyings
kyi dbang phyugs rna zhe sdang rdo rje rna'i ting
nge 'dzin la snyorns par zhugs nas 'di nye bar
gsungs so
stong dang snying rje dbyer rned par I
lha yi 'dod pas bde bar gnas I
bdag ni kun rtog rnarn par bral
sphros pa rned cing gyo ba rned I
bud rned gang gis nga rni shes I
bud rned kun gyi lus la gnas I
bdag ni de rnarns phan don phyir
rnarn pa lnga yis yang dag gnas I
160
I de nas bcorn ldan 'das mi gyo ba nag po
la I bcorn ldan 'das rna zhe sdang rdo rje mas
darn du 'khyud nas tsu rnbar mdzad de I gsol ba
btab pa dang
lha mo lha rno dga' chen mo
gsang ba shin tu 'ng rnyed dka' ba
snying po las snying mchog gi gtso
sangs rgyas kun gyis legs gsungs pa I
rgyud kyi rgyal po dbyang phyug rnchog
dga' rna rgyud chen rnnyan par gyis
dpa' bo gcig pu zhes bya bas
serns can dngos grub rnyur du 'grub
dkyil 'khor rna mthong ba rnarns
rgyud 'di rab tu bstan rni bya
dkyil 'khor gzhan du zhugs pa
rgyud ni bstan par rni bya'o I
gang zhig gturn po khro bo yi I
la
la'ng
dkyil 'khor rab zhugs mnyam gzhag cing
dad dang brtson 'grus mchog ldan la
gturn po'i rgyud 'di ?stan par bya
bla rna la gus snying rje can
sngags kyi theg par mchog tu gzol
161
3
gtum po'i dbang phyug la rtag gus
de la rgyud 'di bstan par bya
rnal 'byor pa gang la la zhig
'dod brkarn sangs rgyas slu byed pas
gturn po'i dkyil 'khor ston byed cing
bla rned rgyud ni stan byed na
I
de ni nad chen gyis gzir nas
bshang gci'i dri mas gos par byed
zla ba drug gi nang du ni I
de ni 'chi ba'i sdug bsngal 'gyur I
de phyir gshin rje'i pho nyas bzung
dus kyi zhags pa'i dbang du 'gyur I
gang tshe sdig can dmyal bar 'khrid
sangs rgyas kyis kyang srung mi nus
lo ni 'bum du de sdug bsngal
gal te rnyong gyur las zad kyang
gal te mi ru skyes na yang J
rdo rje'i gnarn lcags kyis de 'jig I
sngags rigs brtul zhugs can gzis ni
de phyir kyil 'khor legs bris nas I
de nyid sngon du yongs brtags pa'i J
slob rna bsang po rab gzhug bya I
162
f
I
4
'jig rten gsum du rnyed dka' ba'i
rgyud ni de phyir bstan par bya I
gang yang rna thos rgyud 'chad pa J
de y a ~ g 'og tu 'gro 'gyur zhing I
gal te sangs rgyas dang mtshungs kyang
de yi gdong du rnam smin 'gyur
slob rna dang pa dman pa dang I
the tshom za bas nyan byed na I
mgo bor rdo rje'i thog ltung ba
char 'bab dus su the tshom med I
mchog gi zhal mnga' lha mo la I
bdag gis 'di ni bden par bshad
dpa' bo gcig nyid rgyud 'di ni
gtum po khro bo shin tu gsang
zhes pa ni dpa' bo gcig pa nyid du sangs
ba'i dpal khro bo gtum po chen po'i rgyud las I
rgyud la 'jug pa'i rim par phye ba zhes bya ba
ste dang po'o II 1 Jl
IJ de nas bcom ldan 'das rna zhe sdang rdo
rje mas gtum po chen po khro bo la dam du
'khyud nas gsol pa
163
'.\ 1:.:
dkyil 'khor gyi ni bya ba la I
gang gi tshad kyis bri bar bya
de bzhin de dbus bri bya ba J
gang yin gtso bos bdag la gsungs
164
de nas bcorn ldan 'das kyis bka' stsal ba r
dkyil 'khor tshad du gang gyur ba
khru gang dang ni khru do dang
khru gsum dang ni khru bzhi pa
khru lnga'i tshad las lhag rni bya
gang du de yi rdul mtshon nyid
I
kha dog sna tshogs kyis by as pa
r
gru bzhi pa la sgo bzhi pa
rta babs bzhi yis rnarn par brgyan
sgo ni brgyad cha nyid du ni 1
de yi tshad du rab tu brtag J
sgo yi tshad kyi sgo khyud dang
de yi phyed kyis 'gram dang ni I
logs dang de bzhim stegs bu dang
dra ba dra phyed snarn bu rnarns J
rtsa ba'i thig gi phyi rol du
de yi phyed kyi rdul tshon sa
rdo rje'i phreng ba nyid dang ni
I
5
ka ba brgyad ldan brtag par bya
sgo yi sum 'gyur nyid kyis ni r
sgo yi rta babs mchog tu bya r
mchog tu sna tshogs rdo rje bri
rdo tje'i ra ba khor yug ldan
l
dpag bsam shing sogs dang ldan pa
khro bo gtum po'i dkyil 'khor la
dkyil 'khor 'khor lo'i rnam pa la
'phar rna gcig pa nyid du bya J
de yi shar sogs phyogs brgyad la
sna tshogs pa dma yang dag bri
dbus rna dang dgu de dbus su r
ral gri sngon po rdo rjes mtshan
rdo rje gri gug thod bcas 'og J
shar du 'khor los mtshan pa yi
ral gri kha dog dkar po bri
lho ru kna dog ser po yi r
rin chen dang bcas yang dag bri f
nub tu kha dog drnar po yi
pa dma dmar pos mtshon pa dang
byang du ral gri rkyang ba yi
kha dog ljang gu yang dag bri
165
r
r
r
'khor lo dkar pos mtshan pa yis
gri gug mi yi mtshams su bri I
rin chen ser pos rab mtshan pa J
bden bral du ni bri bar bya
pa dma dmar pos rab mtshan pa
rlung du de bzhin bri bar bya
dbang ldan kha dog ljang gu rji
ut pa la sngon pos mtshan pa bri
zla ba nyi rna'i steng gnas pa'i
mtshan ma tharns cad rab tu brtag
I
r
I
rdul tshon dkyil 'khor sgrub thabs 'di
bdag gis 'jig rten don phyir bshad
yang na dkyil 'khor bri bya ba I
ras ris tshul du bri bar bya
sngon bzhin dkyil 'khor bris byas nas J
dbus su rni gyo rnthing nag bri I
zhe sdang rdo rje mas 'khyud pa
shar du rni gyo dkar po bri
I
rni gyo ser po de bzhin lhor
nub tu mi gyo drnar po bri
I
byang du mi gyo ljang gu bri
me mtshams gti mug rdo rje dkar
166
6
bden bral phra rna rdo rje ser I
rlung du 'dod chags rdo rje rna
lha rno drnar rno yang chag bri
dbang ldan phrag dog rdo rje rna
ljang bri ras bris dkyil 'khor la
de nas dkyil la sngags kyis lhag par gnas
par bya ba ni om shri tsa nda rna ha ro sa na
. .
167
sa pa ri wa ra sa hi te I a ga tstsha a ga tstsha
dzah hum barn hoh a ta rna nda la a dhi tha nam
. . .
ku ru hum p h a ~ sva ha 'dis kun nas dgug pa
dang
I
rab tu gzhug pa dang
J
being ba dang
dbang du byas te
I
rnchod par bya'o
f
de nas sngags.kyi rnchod par gyur pa ni
I
.
kr tsa la pu ~ p a m ti tstsha hum phat om sna pra
~ .
om shwe ta tsa la pu spam pra ti tstsha hum phat
. . .
om pi ta tsa la pu spam pra ti tstsha hum phat 1
. .
om ra kta tsa la pu spam pra ti tstsha hum phat 1
. .
.
shya rna tsa la
.
ti tstsha hum phat om pu ~ p a m pra
.
om dwe ba dzri
.
ti tstsha hum
p h a ~
sa pu
~ p a m
pra
.
.
ha ba dzri
.
ti tstsha hum
p h a ~
I
om rno pu
~ p a m
pra
om pi shu ba dzri
.
ti tstsha hum
p h a ~
na pu
~ p a m
pra
7
168
om ra ga ba dzri pu sparn pra ti tstsha hum phat 1
. .
om ir shya ba dzri pu ~ p a m pra ti tstsha hum p h a ~
de bzhin .du l di pam dang l dhu pam ga
ndharn l ni be dyam de lta bu'i nye bar spyad
pa lngas dkyil 'khor la mchod par bya'o I
gang tshe dbus su mi gyo dkar J
gti mug rdo rje rna dang bcas I
de yi dkyil 'khor nyid du shes
de bzhin mi gyo ser la sogs
rna! 'byor lnga yi rab dbye bas
dkyil 'khor lnga ru brtag par bya
sems nyid rtse gcig gyur pa yis l
sngon du bsnyen pa brtsam par bya
dkyil 'khor rab zhugs rna! 'byor rna
rna! 'byor dang ni yang dag !dan
phan tshun du ni phyag byas nas
bza' ba sha dang chang yang bya
zhes pa ni dpa' bo gcig pa nyid du gsungs pa'i
dpal khro bo gtum po chen po'i rgyud las dkyil
'khor gyi rim par phye ba ste gnyis pa'o I I 2 I I
8
de nas bcom ldan 'das mas gsol pa
slob rna ji lta bu nyid la I
rgyud 'di rab tu sbyin par bya
the tshom med par bya ba nyid I
khyab bdag chen po bstan du gsol
de nas bcom ldan 'das kyis bka' stsal pa
I dang por skyabs su 'gro ba gsurn sbyin
par bya'o J bslab pa lnga dang
gso sbyong dag kyang ngo J de nas
dbang lnga dang J gsang ba dang
shes rab ye shes kyi dbang ngo
de nas skal ldan slob rna la
rgyud kyi de nyid bstan par bya
gzan dag ring du spang bar bya I
gzhan du gus bcas gyur kyang spang
de la skyabs su 'gro ba'i tshigs su bead
pa 'di'o
ji srid snying po byang chub bar
I
sangs rgyas la ni bdag skyabs mchi
dam pa'i chos la bda_g skyabs mchi
dge 'dun la yang mi phyed dang
I
de la bslab pa lnga'i tsigs su bead pa ni
169
srog geed rna byin len ba dang I
gzhan gyi bud med rdzun srnra rnarns
spang bya kun la 'phags bzhin bya
lnga pa chang gi btung ba nyid }
r de la 'dir gso sbyong gi tshigs su bead
pa ni I
bdag gis sems can bsad rni bya
pha rol nor ni phrog mi bya r
bdag ni tshangs par spyod pa spyad
rdzun gyi tshig kyang spang bar bgyi
rnyos byed chang gi btung ba ni
bdag gis gang du 'ang btung mi bya
gar dang glu dang rgyan rnams dang
rgod bag rnams ni spang bar bya I
khri stan mtho dang khri stan che
dus min kha zas spang bar bya
de ltar gso sbyong yan lag brgyad
dgra bcom rjes su bdag gis bslab f
ji ltar sangs rgyas kyis gsungs ltar
rnam dag bdag gis gzung bar bgyi
de yis gyon can bdud las rgyal
bla med sangs rgyas mchog thob bya
170
'dir ni srid pa zhi gyur nas I
lus can kun gyi skyabs gyur te
'khor ba ji srid de srid bar I
skyes bu bde bar gshegs par skye J
skye bo bsang po dang 'grogs 'dir
blo ldan 'jig rten la phan dga' I
171
de la 'dir chu'i dbang ni I slob rna dri
rna dang bral zhing 1 shel dag pa bzhin du
bsarns nas rnarn bar rgyal ba'i burn ba nas chu
.
blangs te lo rna dang bcas pa'i lag pas I om
sa rba ta tha ga ta a bhi ~ e ka sa rna ya shri
ye hum zhe pa 'dis dbang bskur bar bya'o
de la 'dir dbu rgyan gyi dbang bskur ba
ni gos la sogs pa la byas pa'i dbu rgan rin
9 po che kun las grub par bsarns nas slob rna'ng
'khor los bsgyur ba ltar bsams nas rngo bor
dbu rgyan sbyin par bya'o sngon bzhin du dbang
bskur bar bya ste 1 om tsa ~ ~ a rna ha ro ~ a ~ a
a bi sha a bi sha a sya hri da yam hum phat I
de la ral gri'i dbang bskur ba ni lcags
la sogs pa'i rang bzhin las I ral gri de yi lag
pa gyas su byin nas J sngon bzhin du dbang bskur
bar bya ste r om ha na ha na 1 rna ra ya rna ra
ya I sa rba sha truro dznya na kha ~ g a hum p h a ~
de la 'dir zhags pa'i dbang bskur ba ni r
zangs rna la sogs pa las byas pa'i zhags pa de'i
sdigs mdzub dang bcas pa'i lag pa gyon par byin
nas I sngon bzhin du dbyang bskur bar bya ste J
om gf hna g ~ hna 1 ka ha ka ha ka ddhyal} ka
.
ddhyal} sa rbba du stam pa na she bam dha bam
..
dha rna ha sa tya te dha _rmma te swa ha
I
de la 'dir ming gi dbang ni r - slob rna khro
bo gtum po chen po'i phyag rgya ru nye bar bkod
nas J de'i rnam par serns kyis drnigs te I
.
om
he shri bha ga wan kr sna tsa la si ddhi stwarn
hum p h a ~ J de nas sngon bzhin du dbang bskur
bar bya'o de bzhim sgrub pa pos nag po las
sogs pa'i dbye bas I mi gyo ba rnarn pa lnga'i
rning gis dbang bskur ba sbyin par bya'o
zhes pa ni dbang lnga'o J
I bud med rnarns kyi dbu rgyan guis dbang
bskur ba bzhags nas I si ndhu ra'i dbang bskur
ba sbyin par bya'o rgyal srid kyi lha mo
chen rno'i tshul du slob rna drnigs te 1 om bha
172
10
ga wa ti a bi sha a bi sha a sya hr da yarn hum
.
lcags la sogs pa'i gri gug de'i lag pa
gyas su sbyin par bya'o 1 om ka rti ke sa rbba
rna ra ~ a m rnarn sam ka rta ya ka rta ya hum p h a ~
lag pa gyon pa rni'i thod pa'rn r rdza las byas
pa sbyin par bya'o om ba dzra ka pa la sa
rba sha tru ~ a m ra ktam dha ra ya dha ra ya hum
p h a ~ J de nas bcom ldan 'das ma'i phyag rgya
ru rnarn par bkod nas de'i rnam bar drnigs te
om he shri dwe ~ a ba dzri si ddhi stwam hum p h a ~
de bzhin du bud med ni nag mo la sogs pa'i kha
dog gi dbye bas rnal 'byor rna lnga po rnams kyi
rning gis dbang bskur bar bya'o I J 'dir shes
rab kyi dbang bskur ba'i gnas su thabs kyi dbang
bskur ba sbyin par bya'o zhes so
I de nas gsang ba'i dbang bskur bar gyur
pa ni bla rna la slob mas gos la sogs pas yang
dag par mchod nas I de la rang yid du 'ong ba'i
gzugs dang r lang tshos brgyan pa'i shes rab
rna dbul bar bya'o I khyod ~ a di ni 'bul lags
kyi J I 'dod kun bde bar rab tu stsol I J bdag
ni 'dod pa'i bde don phyir J I mgon po khyod
173
11
kyis brtse bas zung I de nas bla rna la phyag
'tshal nas slob rna phyir byung ste 1 om tsa
nda ~ a ha ro sa na hum phat I
. . .
zhes pa'i sngags
bzlas shing gnas par bya'o I yang bla mas
chang dang sha la sogs pa rnams kyis bdag nyid
mchod nas I shes rab kyang tshim par byas te
yang dag bar sbyor ba las nye bar byung ba'i
dkar drnar lo ma'i skyong bu la sogs par bzhag
nas
I
slob rna bos te de'i lee la mthe bong
174
dang
I
rning rned kyis rdzas bzung nas hum p h a ~
kyi yi ge bri bar bya'o
I I
de nas
I
a ho su
kham zhes brjod par bya'o
I I
de nas 'di brjod
par bya ste
I
de ring bdag gis sangs rgyas kyi
ye shes bskyed par bya yi
I
gang gis 'das pa
dang
I
rna 'ongs pa dang
I
da ltar byung ba'i
sangs rgyas bcorn ldan 'das rab tu mi gnas pa'i
mya ngan las 'das pa thob par 'gyur gyi I 'on
kyang khyod kyis dhyil 'khor rna rnthong ba rDams
kyi mdun du 'di srnra bar rni bya'o J de nas
slob ma'i snying gar ral gri bzhag nas 'di skad
brjod par bya ste J
J gal te smras na de'i tshe 1
shin tu rno ba'i ral gri 'di
12
khro bo gtum po'i phyag na gnas
gang gis dam tshig 'jig byed pa
de la 'di yis mchog tu gcod J
skye ba bye ba stog rnams su 1
mi rnams ral gri lag 'phyar bas
yan lag kun gcod mgo bo ni J
'di yis mchog tu gcod par byed
gal te dam tshig 'di nyid kyis
khyod kyis 'jigs par thob par 'gyur
1 7 ~
de nas slob mas brjod par bya ste J de ltar
nges zhes so 1 de nas gdong gyogs beings nas I
dkyil 'khor du me tog dbul bar bya'o 1 de nas
gdod gyogs bsal nas J dkyil 'khor rab tu bstan par
bya'o gang dang gang gis mtshan rna de nas
bstan par bya'o de nas slob rna la shes rab rna
de sbyin par bya'o
gzungs rna yid 'ong 'di khyod kyis
bsten byar sangs rgyas rnams kyis gsungs
rmongs pa gang zhig 'da' byed pa
de 1a mchog gi dngos grub med
de nas dga' ba bzhi'i rnam par dbye ba bla
mas rna bar smra bar bya'o J de na bla rna phyi
rol du byung nas 1 shes rab gcer bu tsog pus
gsang gnas mdzub ffiOS bstan nas
ci ste bu khyod 'di spro 'am J
nga las mi gtsang ba dang ni J
bshang gci ra kta za ba dang
bha ga'i gnas la 'o byed dam
sgrub pa pos smra bar bya ste
khyod las mi gtsang bza ba ni
ci yi phyir ni bdag mi spro
I
ji srid byang chub snying po'i
bdag gis mi mo kun gus bya
I
176
bar
I
I bde
ba thams cad yang dag ldan J 1 gang zhig cho gas
des kyang
I
a ho bdag gi pa .dma 'di
I
sten byed na bdag ni dngos grub stsol mdzad
rna J blo ldan brtan par rab sbyor bas J j pa
om a by a ba ji bzhin gyis
1
rang nyi.d khro bo gtum po chen por gnas pas
bde ba chen po ste
I
de nas sgrub pa po bdag nyid
khro bo gtum po chen po'i rnam bar bsams la shes
rab kyang zhe sdang rdo rje ma'i tshul gyis yang
dag par sbyor bas dga ba bzhi mtshon par bya'o I
J de nas yongs su rdzogs pa dang I 1 bla rna la sags
pa la chang dang J sha la sags kyi 'khor lo'i mchod
pa dbul bar bya'o I zhes pa ni shes rab kyi dbang
ngo J
13
zhes pa ni I dpa' bo gcig pa nyid du
gsungs pa'i dpal khro bo gtum po chen po'i rgyud
las I dbang bskur ba'i rim par phye ba ste gsum
pa 'o I I 3 II
de nas bcom ldan 'das mas gsol ba
ji ltar sgom pa po yi phyir
khro chen gtum po bsgom par bya
sngags kyi bzlas pa ji ltar bya
dbang phyug dam pa bshad du gsol I
de nas bcom ldan 'das kyis bka' stsal pa
yid dang mthun pa'i sa phyogs ni I
bar du gcod pa kun bral bar J
ji ltar rnyed pa'i stan nyid la
de la mnyam gzhag brtag par bya I
dang po byams pa bsgom par bya J
gnyis par snying rje bsgom par bya
gsum pa la ni dga' ba bsgom I
kun gyi rntha' la btang snyoms so
177
dang
de nas rang gi thugs ka'i sa bon las pa dma
zla ba dang J nyi rna la gnas pa'i 'od zer
rnams kyis mdun du bsam gtan gyi khro bo gtum po
bsams nas J yid kyis mchod pa bya ste I
14
mkhas pas me tog 1a sogs pas J
I yid kyis de rnarns rnchod par bya J
] de rndun sdig pa bshags par bgyi
I bsod narns 1a skyabs su 'gro bar bya
I bskul zhing gsol ba rab tu 'debs ]
J bdag nyid yongs su 'bul ba dang I
bsod narns yongs su bsngo bar bya
de nas srnon lam btab nas ni J
byang chub serns ni bskyed par bgyi
de nas phyag ni btsal byas la
'od zer rnarns kyis slar yang bsdu
mkhas pas stong par bsarns pa ni I
sngags 'di rnyid ni brjod par bya I
178
om shu nya ta dznya na ba dzra swa bha ba a
trna ko ham
rab tu 'bad pa'i hum yig ni 1
'od zer de yis bsregs par bsam
ga bur bsregs pa ji bzhin bsarn
'od zer la yang rnarn mi rtog J
tharns cad narn rnkha' ji bzhin du I
skad cig gis ni rnarn par bsgorn I
dri rned dag pa'i shel bzhin du J
rang lus rnarn par bsgorn par bya J
sngon du bsgorn bya phyi nas ni
yarn barn lam bzhi rnarns las
zongs gyur bsgorn bya rlung dang ni
me dang chu dang sa rnarns so I
bhrum yig de las bsgorn bya ba J
gzhal yas khang du rab tu sgorn
gru bzhi pa la sgo bzhi pa 1
ka ba brgyad kyis nye bar rndzes
de yi dbus su bsam bya ba
sna tshogs pa drna 'dab brgyad ldan 1
pam yig sa bon las byung ba f
de la am yig las byung zla 1
ram yig las byung nyi rna ste l
de steng hum yig las kyang slar
des bskyed rni bskyod pa ru bsam
rna rna ki bees yang dag sbyor l
de la rim bzhin rnal 'byor dbang
de yi spzi bo la thirn nas I
skar mda' ji bzhin sbyor ba yis
rna rna ki yi bha gar bsarn
de las ku ba ro rnnyarn gyur
179
15
I
lhung gyur de yi bha ga'i nang
gturn po'i gzugs su gyur nas ni
bha ga'i rntha' las nges byung
rni bskyod pa la ral gri yis
I
bsnun nas phyi nas rab tu bza
rna rna kis kyang de las de'i
sha za bar ni rab tu bsarn I
I
l
nas
de phyir rna rna kis bzung nas I
rna dang yang dag rab 'dod bya
des kyang 'khyud par bsarn bya ba
I zhe sdang rdo rje rna yi gzugs
J phyag gyas na ni ral gri 'phyar
gyon pa zhags pa dang bcas pa'i
sdigs mdzub kyis ni sdigs par byed J
so yi rna rnchu yang dag bsdams
rkang gyas brdegs pa'i stabs kyis ni
bdud bzhi rnarn par nyed par mdzad
pus mo gyon pa sa la btsugs
'jigs byed 'khyog par gzigs pa can J
nor 'dzin la ni sdigs mdzub bstan
pus rno gyon pa'i rtse mas gnas I
mi bskyod sngon pas dbu rgyan mdzad
180
rin po che yi cod pan can J
rgyan rnams kun gyis brgyan gyur pa'i
gzhon nu zur phud lnga dang ldan
brgyad gnyis lo yi rnarn pa can
spyan gnyis dmar po gtso bo yi
serns nyid brtan pas bsgorn par bya
bdag nyid khro bo gtum grub nas I
de nas bsrub pa'i sbyor ba yis
shar du rni gyo dkar po spro I
me mtshams gti mug rdo rje rna
ston ka'i sla 'od dang mtshungs spro 1
lho ru mi gyo ser po spro
phra rna rdo rje bden bral ser
mi gyo dmar po nub du spro J
rlung du 'dod chags rdo rje rna I
mi gyo ljang gu byang phyogs su I
dbang ldan phrag dog rdo rje rna
phyi nas shes rab dang bcas des
rang gi mgrin pa las byung ba'i I
lha mo rnams kyis glu yi bskul J
pa hu mai tri tu bi barjja a ho hi rna shu nna sa
ha ba I to jju bi yo e phi ~ u mi sa ppa dza 1
181
182
ga hi ba bha ba
l
gti mug rdo rje mas so
I
rna
ka ru
If a
tsi a phi tta
..
pa hu rna ho hi tu shu nna
rna rno dzu de ha
1
su du k ~ i a hu i dzi ba bi hu
nnah
I
phra rna rdo rje rna yis so ki sa tu ha
.
ri sa
I
bi ho hi a shu nna hi ka ra si pa be sha
to dzdzu ni rna nna na ka ri I a rna nni a tstsha
..
i lo a she ~ a 'dod chags rdo rje ma'i'o dzo ba
na rna tstshi u pa khe a na ~ p h a la shu n n a ~ e bi
tte shu nna sa ha ba bi go i a ka ra hi tu mo e
sam rna ghi tti phrag dog rdo rje ma'i'o
khyab bdag byarns pa rnam spangs nas
stong pa'i rang bzhin du rna mdzad J
khyod dang rnam bral bdag 'gum pas
'gro kun stong par rna rndzad cig J
I gti mug rdo rje mas so J
snying rje'i sems bral bdag 'gum pas
khyab bdag stong par rna mdzad cig
bdag gis lus ni sdug bsngal bas
'tsho ba dang bral rna rndzad cig
I phra rna rdo rje mas so
ci ste mkhas pa khyod nyid ni
dga' ba spangs nas stong par 'jug
'jig rten lus pa rnams dang 1
bdag gi yid ni khyod la sdod I
I 'dod chags rdo rje ma.yis so
lang tsho dang ldan btang snyoms pa'i
mig ni stong pa 'bras med can J
stong ma'i rang bzhin nyid spongs la
bdag la mnyam nyid sbyor bar mdzad
phrag dog rdo rje mas so
'di ni rmi lam ltar thos nas
khu ba las 'khrungs skad cig gis
sngon ma'i gzugs bzhin bsam par bya
bdag nyid yang dag sbyor de las
mi gyo dkar po la bsnun nas I
I gti mug rdo rjer rab 'dod bya J
r
I
I
mi gyo dkar po gzugs su by a
r
mi gyo ser po slar bsad nas
I
'dod bya phra rna rdo rje mar
I
bdag nyid mi gyo ser por by a
de bzhin mi gyo dmar po bsad
'dod chags rdo rje mar 'dod bya
mi gyo dmar pos bdag nyid bya I
mi gyo ljang gus bsad nas kyang
183
17
I
I
I
phrag dog rdo rje mar 'dod by a
rni gyo ljang gur bdag nyid by a
lha mo bzhi la rjes chags pas
1
dkyil 'khor tharns cad yang dag bsdu
bdag nyid gcig tu yang dag sbyor
'bad pa yis ni bsgom par bya I
de las nga rgyal byas pa yis
I bdag la dngos grub the tshom med I
I kha dog nag phiyir rnal 'byor pa I
gang bsgom de ni mi gyo nag r
kha dog dkar phyir rnal 'byor pa
gang bsgom de ni mi gyo dkar J
kha dog ser phyir rnal 'byor pa
gang bsgom de ni mi gyo ser I
kha dog dmar phyir rnal 'byor pa J
gang bsgom de ni mi gyo dmar J
kha dog ljang phyir rnal 'byor pa
gang bsgom de ni mi gyo ljang I
kha dog nag no'i bud med des J
zhe sdang rdo rje rna bsgom bya
kha dog dkar mo'i bud med des J
gti mug rdo rje rna bsgom bya J
184
kha dog ser mo'i bud med des J
phra rna rdo rje rna bsgorn bya J
kha dog drnar mo'i bud rned des J
'dod chags rdo rje rna bsgorn bya J
kha dog ljang gu'i bud rned des
phrag dog rdo rje rna bsgorn bya J
skyes kun rdo rje rnal 'byor pa J
bud rned rdo rje rnal 'byor rna J
nag sogs kha dog dbye ba yis J
'di rnarns ku la rab tu brtags
J yang na las kyi dbye ba yis J
J dbye ba lnga ru rab tu brtag J
gnag phyir bsad dang zhe sdang la
rengs dang rgyas la ser po ste
dbang dang dgug la dmar po'o f
skrod pa las ni ljang gur bshad J
yang na rigs kyi rab dbye bas J
brarn ze dkar po dmangs rigs nag
gturn po ser po dag la 'dod
drnar po gar rna dag la 'dod
ljang gu tshos rna zhes bya'o
bu mo sngo sangs mig yangs rna J
185
18
nag mo sgom pa pos 'dod bya
bu mo dkar po dkar mo yis
bu mo ser po ser mo yis I
I bu mo dmar po dmar mo yis
] bu mo ljang gu ljang gu yis
yang na gang gis de 'dzin pa J
de dang de zi sgom pa mchog J
ji lta ba yang mi shes pas I
sems nyid brtan pas 'dod pa bya I
phyogs tsam rab tu sbyor ba las I
J bu mo de yis dngos grub ste
] rdo rje'i shu krar gyur pa la I
J lee yis kun nas 'zib par bya
ji srid 'dod pa'i bshang gci yang
de yi dang bha gar sbyin I
I gu da pa dma rab 'zib pas J
J bo ~ t h a m tsi 'dod rab bza' bya I
ngo tsha skyug bro byed gyur na l
rnam pa kun tu dngos grub nyams
'dir ni rang gi bza' ba mchog I
sangs rgyas kun gis rab tu bzas
186
19
J zhes pa ni dpa' bo gcig pur gsungs pa'i
dpal khro bo gtum po chen po'i rgyad las lha
nyid kyi rim par pheba ste bzhi ba'o JJ 4 II
I I de nas sngags rnams kun las btus I
btag gis rab tu bshad par bgyi I de nas bcorn
ldan 'das bdud thams cad kyis mi thub pa zhes
b j ~ ba'i ting nge 'dzin la snyoms par zhugs nas
sngags kun las btus pa 'di gsungs so
om tsa nda rna ha ro ~ a ~ a hum phat
rtsa ba'i sngags so I 1 om a tsa la hum hrirn
rtsa ba'i sngags gnyis pa'o
rtsa ba'i sngags gsum pa'o I
1 om hum phat 1
I hum nying po'i sngags so ham snying
po'i sngags gnyis pa'o
I l
.
ham snying po'i
sngags gsum pa'o
I
om hram hrim
.
hram tsa nda ru pe ca ta
.. .
ca
ta
I
pra tsa ta pra tsa
ta
I
ka ha ka ha
.
pra phu ra pra phu ra
I
pra spha ra ya pra spha
ra ya I ha na ha na I gra sa gra sa ba ndha
ba ndha dza rnbha ya dza mbha ya sta rnbha
ya sta mbha ya mo ha ya mo ha ya I sa rbba
187
sha tru narn

mu kham ba ndha ni J ku ru ku ru
sa rbba da ki ni nam gra ha gra ha bhu ta pi sha
tsa bya dhi ya ksa nam I tra sa ya tra sa ya
. .
188
rna ra rna ra rna ra ya rna ra ya J ru ru tsa nda
ruk ra k ~ a ra k ~ a mam 1 lhas sbyin la tsa nda rna
ha se nah
.
sa rbba rna dznya pa ya ti om t ~ a
nda rna ha ro ~ a ~ a hum p h a ~ phren ba'i sngags
so l
na mah sa rbba sham pa ri pu ra ke bhyah
. .
sa rbba ta tha ga te bhyah sa rbba tha a tsa la
.
ka na na tta na tta
.
mo tta mo tta J
. .
sa tta
..
-
sa tta tu tta tu tta
..
ti ~ t h a ti !?tha a
-
bi sha a bi sha a rna ha rna tta ba la ka dhu na
dhu na ti ~ a ti ~ a I kha da kha da 1 bi ghna
~ a ra ya rna ra ya 1 au stam bha ksa bha k ~ a sa
rbba ku ru ku ru ki ri ki ri rna ha bi sa ba
dzra phat
I
hum hum hum tri ba li ta
.
ga ba ram
rta ka ham ham ham a tsa le tse ta phat
I
spho
ta ya hum hum
I
sa rna nti ka na ta rna ha ba la
sa ta ye J
-
sa rna na ya tram mam ham shu dhyam
tu lo kah tu sya tu ba dzri mo sta a pra ti ha ta
. .
pa le bhyah dzva la ya trat ha sa na mah sva ha J
. .
phreng ba'i sngags gnyis pa'o I na mah sa rbba
.
189
sha pa ri pu ra ke bhyah sa rbba ta tha ga te bhyah
.
sa rbba tra tta a roo gha tsa nda rna ha ro sa na
. . .
spho ta ya spho ta ya hum
1
bhra rna ya bhra rna ya
. .
hum trat rno ham phreng ba'i sngags gsum pa'o
.
zhes pa ni mi gyo ba lnga po rnams kyi spyi'i
sngags so bye brag pa'i sngags ni ]
.
om kri
sna tsa la hum phat
. . .
om shve ta tsa la hum p h a ~
20 om pi ta tsa la hum p h a ~ 1 om ra kta tsa la hum
phat
.
om shya rna tsa la hum p h a ~ I
lha mo rnarns kyi thun mong pa'i snags ni J
om ba dzra yo gi ni hum p h a ~ 1 rtsa ba'i sngags
so om pra aznya pa mi te hum p h a ~ I rtsa ba'i
sngags gnyis pa'o 1 I om bau ha ri hum p h a ~ 1
rtsa ba'i sngags gsum pa'o 1
1 om pi tsu pi tsu pra dznya ba rdha ni 1
dzva la dzva la me dha ba rdha ni dhi ri dhi ri
bud dhi ba rdha ni sva ha phreng ba'i sngags so

J
bye brag pa'i sngags ni
1
om dve sa ba dzri
.
hum
pha!-
1
.
rno ha ba dzri hum phat:
I
om pi shu om
ba dzri hum phat
.
ba dzri hum phat
1
na om ra ga
. .
om
......
~ y a ba dzri hum phat l. ra
gtor ma'i spyi sngags ni
I
om na mo bha ga ba
te shri tsa
x:c;la
rna ha ro sa na ya de ba su ra rna
. .
1
21
190
nu ~ y a tra sa na ya sa rna sta rna ra ba la hi
na sha na ya I ra tna rna ku ta kr ta shi ra se i
. .
rnarn I ba lim gr hna gr hna rna rna sa rbba hi ghnam
. . .
ha ra ha ra 1 tsa tu rrna ram ni ba ra ya ni pa
ra ya tra sa tra sa I bhra rna bhra rna tstshi
nda tstshi nda I bhi nda bhi nda na sha na sha 1
ta pa ta pa sho sa sho sa
. .
tstshe da tstshe da I
bhe da bhe da du sta sa tvan rna rna bi ru ddha
hum hum hum
..
tsi tta karn I bha srni ku ru ku ru
phat phat phat sva ha I
zhes pa ni dpa' po gcig pa nyid du gsungs pa'i
dpal khro bo gtum po chen po'i rgyud las I sngags
kyi rim par phye baste lnga pa'o II 5 IJ
II de nas bcom ldan 'das rna zhes rab kyi pha
rol tu phyin rna la bcom ldan 'das kyis dam du 'khyud
nas pa dma dang rdo rje rab tu sbyor bas gsungs
pa 1
rdzogs pa'i rim pa'i sbyor ba yi
bsgorn bar bya ba ci 'dra zhig
rnal 'byor rnarns la des phan phyir
dri ba mtha' dag bshad du gsol J
de nas bcorn 1dan 'das kyis bka' stsa1 pa
rdzogs pa'i rim ba'i sbyor gnas pa'i
gcig sbyor de mchog rna1 'byor pa
nyin rntshan bdag gi tshu1 gyis ni I
sems rtse gcig pas bsgorn par bya J
re zhig rang gi bud med kyang ]
khyod kyi gzugs su nges par brtag
de nyid shin tu sngon sbyor bas J
ji 1ta ba bzhin gsa1 por bgrod
rna dang bu roo de nas ni
srid rno dang ni tsha roo dang I
gzhan yang nye du kun dang ni J
J de bzhin ~ o m bi bram ze rno I .
J gtum rno dang ni gar rna dang
tshos rna dang ni gzugs kyis tsho
brtu1 zhugs can rna rna1 'byor rna
de bzhin thod pa can rna yang J
gzhan yang ji 1tar rnyed pa yi
1 bud rned gzugs kyis yang dag gnas
J chog mkhas pas bsten par bya J
ji 1tar 'jig par mi 'gyur bas
zhig na khro bo gtum po ni I
191
22
khros pas sgrub pa po 'joms byed
ral gri zhags pas 'jigs byed can
I mnar med par yang ltung bar byed
J 'jig rten 'dir yang dngos grub med
I 'jig rten pha rol kyang de bzhin
de phyir shin tu gsang ba yin I
gnyis kyi spyod yul min par bya
192
khro bo gtum po'i sgrub thabs ni 1
mkha' 'gro rna yi sngags bzhin sba
shin tu 'dod ldan don gyi phyir 1
sangs rgyas bdag nyid kyis gsungs pa 1
bar du gcod pa kun spangs pa'i I
yid dang mthun pa'i sa phyogs su
rang serns 'dod ldan rna dga' rna
rab tu sbas pas brtsam par bya
shes rab pha rol phyin dga' mas I
bdag ni sangs rgyas mi gyor 'grub
rang gzugs shin tu 'bad pa yis
rnkhas pas sems khyis bsgom par bya
skye bos dben byas_gnas su ni 1
ji ltar rnyed pa'i gos kyis ni 1
gnyis gnyis phan tshun sbyor ba yis
' l
rab tu 'bad de bsgom par bya J
mi mo mngon sum byas nas ni J
mngon du phyogs pas nyer 'dug ste f
phan tshun gnyis po chags pa yis
rab dga' phan tshun blta bar by a
I
de las mthong ba'i bsarn gtan ni
yid ni rtse gcig gnas par bya
I
de yis de la de nyid brjod
I
bde ba'i gzi rndangs byed pa smra
de la bu khyod bdag gi bdag
khyod ni ming po roes po dang
I
bdag ni khyod kyi chung rna rna
I
sring mo dang ni tsha rno yin
I
skye bo bdun rgyud zhabs 'bring
khyod ni bdag gi gyog yin te I
bdag ni kyod kyis rin gyis nyos
bdag gi khyod kyi rje dpon rna I
rkang pa dag gi drung btud nas 1
shin tu thai rno rab sbyar nas
de la 'di bzhin brjod par bya
I
ba
I
I bde ba'i gzi rndangs rnchog byed brjod
J khyod ni bdag gi pha dang rna I
193
23
r
I
1
bdag gi chung rna
sring mo'i bu yi
khyod ni bdag gi
khyod kyi bdag ni
shin tu gus pa'i
bdag la yum gyis
yid 'eng lta bas
de nas yang dang
tsha roo yin
chung rna dang
rje po yin
I
rnam kun tu
dpung gnyen gyog
brtse bas gzigs
I
nges bltas nas
yang du ni
I skyes bu yis ni tsu mba bya
yi ge gsum ni gho sogs sbyin I
kha las kha yi bdud rtsi dang J
langs nas bad rna bstan bar bya J
mig 'phrul kha yis 'jib byas nas J
ku tsa snying gar btsir bar bya I
mngon phyogs de yi gdong bltas nas
tsu ti gnas la smras bar bya J
de la blta ba'i tshig la ni I
bdag gi rnam bar snang mdzad bza' 1
khyod ni mi bskyod chu 'thung nas J
bu dang pha dang b ~ a n po'o l
kyod kyi rje dpon rna nyid nga
rgyal rigs rna yi yum nyid kyang
194
bu khyod rab tu 'bad pa yis J
bdag gis zhabs la skyabs su song
gang phyir bdag ni 'phel byed rna
khyod la rin chen nye bar 'ongs J
bu khyod byas gzor gyis shig kye I
rdo rjes bde skyed bdag la byin
dbus su ze 'brus brgyan pa yi J
chu skyes 'dab rna gsurn par gzigs
a ho bde ba can gyi zhing
sangs rgyos sku rndog drnar pos rndzes
chags can zhi bde ster rndzad rna I
I rtog pa thams cad rnarn par spang I
J bdag ni gan rgyal yang dag sbyar ]
chags pas yid ni rnam par mos r
phrag par rkang pa zung byin nas
I bdag gi steng dang 'og tu stos
J de nas rdo rje rab bsad pas I
pad dbus ran dha ra rab tu gzhug
brgya stong 'burn dang bye ba phrag
de nas bskyod pa nyid duggyis
bdag pad 'dab rna gsum ldan pa
sha yis rab tu gang ldan la ]
195
rang gi rdo rjer de gzhugs pas
sems nyid bde bas rab tu mchod
rlung dang rlung gis bdag pad la
.
snying po las ni snying po mchog
rdo rje rtse mor rab tu
rig J
ba ndhu dmar po dang mtshungs pa
'dzag pa'i bsam gtan de la ni
slar yang sems nyid tshim par bya
shin tu mi gyo'i sem nyid kyis
bde ba skyes bsgom bar bya I
de la lan ni rab tu sbyin
dga' rna khyod ni skad cig sdod
ji srid rna lus bha ga'i gzugs I
skad cig tsam zhig sam par bya I
196
I
de la yum gyur cig nyid nges par 'gro ba ~ r s u m rnams
zhing dang bde ba'i rna rna de
I
JJsdig pa'i las la gnas nyid mu cor smra ba zhe sdang
ba las 'di ni smod bar byed
I
J de dang de rnams gting mtha' med pa'i dmyal bar de nyid
mi bzad rtag tu sdug bsngal nyid
J lus ni lan mang me yis sreg cing du 'bod du ni
bskal pa gsum du gnas par byed
25
mi mo'i yon tan gang rjod na I
sems can thams cad yongs su 'dzin
ji snyed brtse dang srung ba dang
mi mo'i serns nyid la rab gnas )
rang gzhan skye ba de snyed kyang
kun kyang de la yang yang rgyas J
dpal gyi rdo rje rnal 'byor rna I
gal te de gzugs las gzhan min
de yi lta dang reg pa dang I
nyed ba kun las ring zhog gi
gang zhig dran pa tsarn gyis kyang
skad cig de la bde ba thob
yul lnga rnams la rni rno yi
gzugs 'di nyid ni rnchog tu gnas
de la bde ba 'bab mdzad pa
skyes bu rnams kyis rol par gyis
de phyir nyes las des grol ba J
yon tan darn pa kun gyis brgyan J
bsod narns bsod narns bsod narns che I
yum gyis bdag la bka' drin rndzod
de nas de la shin tu bltas
rnchu ni so yis bsdarn par bya
197
nu rna 'gram dang si ta yog dang
de yi gos bral rnal 'byor pas J
byed bcL1g gis ni bde 'byung by a
do li la zhqn being ba dang J
pus mo bzung la de nyid being J
being ba brla nyid pa yang yin I
rkang pas geed byed being ba yang
being ba sa la ronan par bya J
rnkhas pas mnyam being de nyid ni
being ba ri mo can zhes by a
I
dpung pa'i dra ba being ba dang
'khrul 'khor der zhon rkang pa can
de bzhin nyid du rus sbal being
kun nas bzang po de bzhin nyid
de la skyil krung dbus su ni
mi rno tsog pu stan la 'dug
dpung pa zung gis phrag pa la
de la dam du spyar par bya
rang gi lag pa zung dag de'i
rked pa'i dbus su nyer son to J
pa drnar rdo rje rab bcug nas
I
bde ba 'byung ba'i being bar grag J
198
I
26
gnyis ka'i lag zung rab beug nas I
phan tshun sbyor bas being bar bya
gnyis kas eung zad bskyod par bya
do li'i bskyod pa zhes grags so J
de yi pus gnyis rang gi ni
snying ga nyid du yang dag sbyar
do li bskyod pa'i byed pa dgod I
'di ni pus mo bzung nas being J
de yi rkang mthil rang nyid kyi
brla yi khar sbyar bar bya
bde ba 'byung byed bkod pa yis
'di ni brla nyed being ba 'o
199
de yi nu rna rkang pa dang ~
let ba snying ga log gnyis bkab J
do li gyo ba'i byed pa dgod I
geing ba 'di ni rkang pas spyod J
de yi 'phongs gnyis sa la gzhag I
pha rol la ni 'khyud pa pos
bde ba 'byung byed bkod nas ni
being ba 'di ni sa la ronan J
tsog pus yang dag gnas de la
rkang pa gnyis po rab brkyang bya
I
1
being ba mnyam du zhes byas la J
re re zhing yang brkyang bar bya
de yi rkang zung 'khor lor byas
gyon par rab tu sbyar bar bya J
kun nas mngon par phyogs pas kyang
rgya nas phongs la reg pa bya I
lag pas dang por mnye bar bya J
being 'di tsi tra can zhes bya 1
slar yang bde ba 'byung byas nas
de la gan rkyal bskyel bar by a
I
lag pa gyas pas nyid du
I
pa drnar rdo rje nges gzhug by a
de yi pus mo'i 'og bzung nas
1
klu khugs steng du sbyar bar bya
phan tshun lag pa gnyis kyis ni
bung ba'i dra ba zhes su zhes
de yi rkang ba zung dad ni I
phrag pa'i steng du nges par byin
being ba 'di ni 'khrul 'khor zhon
'bebs shing 'bebs pas rab tu sbyor
de yi rkang gyon phrag pa la
gyas gyon brla yi rtsa ba las J
200
27 de yi rkang gyas gyon pa las
gyas pa yi ni rtsa ba ru
1
'dir ni rkang pa steng being bas
J
yang dag bde bas sdug bsngal 'joms
de yi rkang pa'i mthil la ni
brang gi dbus su mnyam du sbyar
lag pa gnyis kyis btsir bar bya 1
pus roo rus spal being bar gsungs J
de yi rkang pa'i mthil la ni
mig dang rna ba mgo bo sbyar
being ba 'di ni kun tu bzang
'dod kun bde ba rab tu ster 1
tsi tra srid skyil krung byas
kun nas sna tshogs pa yi ni J
khro bo gtum po sbyor ba yis I
kun nas rnam pa sna tshogs pa I
ji srid 'dod pas yang nas yang J
de yi kha la 'o bya 'o I
mig ni zim bus gdong du blta I
ji ltar 'dod tshig.smra pa yi l
gdong la lee yis 'jib par bya
de yi kha nas byung ba'ng btung I
2.01:
I
28
1
so yi dri rna'ng za zhing 'jib I
bde bar rnarn par bsgorn par bya 1
cho ga shes pas cung zad du 1
so yis lee dang rnchu ni bsdarn
lee yis sna yi bu ga dang I
mig gi zur kyang sbyar bar bya
so dang rnchan khung las byung pa'i
dri rna kun kyang bza' bar bya
rngo dang mig dang mgrin pa rna
logs dag rked pa nu rna lag
'os 'jib sen rna sbyin par bya
mig gnyis spangs la bud rned la
lag pas nu rna rnnye bya zhing 1
so yang gad being 'jib par bya
rang gis gan rkyal byas nas 'jib
lto ba rndzes la 'jib par bya J
bdag gis mngon nas 'di nyid ni
yang dang yang ni dran par bya
pa dmar lag pas reg par by a
1
rlung gis mdzes pa zhes smra ba
de la 'o dang sen rna sbyin I
blta zhing lag pas gsal bar bya
202
mi mo'i dri rna mnarn bya zhing
bu ga'ng ro 'dzin gyis sbyang bya
ji lta bar ni bdag zhugs nas J
'di yis kyang ni dpag med bskyed
de la blta zhing tshig 'di brjod
lam 'di nyid ni drang po ste J
de nyid mi shes sbyor ba yi I
lam 'dis 'gro ba drug tu 'jug
sbyor ba rab tu shes pa yis I
khro bo gturn po'i dngos grub 'gyur
de phyir pad byung dkar drnar ni
kha yis dgug par byas nas kyang
yang dang yang ni blta byas nas
de ni kha yis bza' bar bya
sen rno legs byas brla dang ni J
bran bzhin rkang pa rnnye bar bya
mgo bor yi ge gsurn sbyin bya
I snying dbus khu tshur chung dus sbyin
I rnal 'byor pa ni rnnyam bzhag pas I
] de phyir gzhan don ldan par bya
yid ni rtse gcig bde ba yis J
'dod pa'i bya ba de la sbyin I
203
29
ji ltar 'dod pa rab 'dzag pas J
'pho rned yi ni gcig bde l
'phos gyur pa drna las 'jib ste
pus gtsugs rab tu sbyor ba yis
pa drnar khu ba rtul gyur ba
lee yis blangs nas bza' bar bya
sna yis na li rab sbyor bas
J stabs ni 'phel phyir btung bar bya J
J kha la 'o ni byas nas kyang J
'shes rab pa drna lee yis myang
'khyud byas de yi phyi nas ni J
sha dang nya ni bza' bya zhing
'o rna chang ni yang yang btung
'dod pas rab tu 'phel 'gyur phyir
204
dal dang rnying gyur bde sags kyis
slar yang sngon rna'i rim pa yis I
gnyis gnyis phan tshun rab du brtsam J
goms pa'i sbyor ba 'di yis ni
bde ba chen po bsgrub par bya
skye bar 'di nyid sbyor rig na I
khro bo gturn po'i go 'phang 'dzin
I
1
I
I
chags can dngos grub don gyi phyir
bdag gis sbyor ba rab bshad bya
I
gyon pa'i by in pa steng bzhag nas
gyas pa'i by in pa rol bar bya
'di ni sems dpa'i skyil krung grags
'dod kun bde ba rab tu ster
by in pa gyas pa steng bzhag nas
by in pa gyon pa rol bar bya
'di ni pa dma'i skyil krung grags
'dod kun bde ba rab tu ster
pa dma'i skyil krung beings nas ni
byin pa gyon pa steng du dgod
byin pa gyas pa rol pa ste J
rdo rje skyil krung zhes byar shes J
rkang pa sa la bzhag nas ni I
205
mtshungs par ring du gdong phyogs pa I
'dod kun rab tu sbyin shes bya J
'dir ni tsog pu'i gdan la ni j
rkang pa sa la dgod byas la
skyog por 'phred la ring du bya
zla ba phyed par shes par bya
'dis ni bde ba rab tu ster I
30
pus zung 'phrad la sa la bzhag J
long bu'i dbus su 'phongs tshos bzhag
'dir ni gzhu yi gdan byas pas I
'dod pa rnchog gi dga ba ster ]
serns dpa'i skyil krung de bzhin du I
rdo rje skyil krung zhes byar brtag
tsog pu zla ba phyed pa dang J
gzhu yi gdan yang 'dir 'dod do
zla ba phyed ba'i gdan gnas la
rtag tu rni mo byas nas ni ]
lhung na pa drnar lee yis blang
gsang gnas yi ge gsurn mtshon bya 1
I slar yang gzhu yi gtan byas nas 1
J rang gi me yi bshad nang du
khro bo gtum po sbyor ba yis I
des bskyed bde ba bsgorn bar bya ]
rnarn par rtog par kun spang nas
de yi rnal 'byor ldan bar bya
chags bral sems ni spang byas la
rna la rab tu 'dod par bya 1
de phyir sems nyid rnnyorn bzhag nas
'dod pa' bde ba bskyed par bya
206
207
1 de nas bcorn ldan 'das rna thugs rab tu dgyes
nas rndon par dga' bas bcorn ldan 'das la phyag
btsal te 'di skad du yang gsol pa
kye bcorn ldan 'das I ci ste 'di la rjes su chags
par bya ste lha dang lha rna yin dang mi dang 1
klu dang 1 de rnarns kyis kyang bsgrubs pas 'grub bo
1 de nyid thos nas dbang phyug chen po la sogs
pa'i lha rnarns gau ri dang dpal rno dang I
dbang rno dang 1 dga' rna la sogs pa'i lha rnams
spangs nas sgorn par rtsom mo 1 de nas de'i skad
30 cig la de tharns cad de'i skad cig thang cig de nyid
la khro bo gtum po'i go 'phang thob nas sa'i steng
au spyod par gyur to 1 de la dbang phug chen po
rdo rje bde byed nyid du grub bo 1 nor lha rdo rje
sred med kyi bu nyid do J I lha'i dbang po phyag na
rdo rje nyid do
rdo rje nyid do
'dod pa'i lha yan lag med pa'i
de lta bu la sogs pa'i ga ngga'i
klung gi bye rna dang mnyarn pa'i lha'i bu rnams kyis
grub bo
I serns can don kun sgrub pa pos I
J 'dod pa'i yon tan lnga ldan nyid
32
'byung po sna tshogs gzugs 'dzin pa
sgyu rna kun las rnam par rgyal
ji ltar 'darn las byung ba yi I
pa drna 'dam gyis gos pa med 1
de ltar 'dod chags las byung ba'i
nyes pa rnarns kyis gos pa rned
zhes pa ni dpa bo gcig pa nyid du gsungs
208
pa'i dpal khro bo gturn po'i rgyud las I rdzogs
pa'i rim pa'i rnal 'byor rim par phye ba ste drug
pa'o II II
J I de nas bcom ldan 'das mas gsol ba I
skye bo kun gyi 'khrig spyod pas
yongs su dal ba chen por _gyur 1
de yi dal gso'i gnas nyid ni
rngon po khyod kyis gsung bar rigs
bcom ldan 'das kyis bka' stsal pa
bud med bde ba la dmigs nas
rang gis rnngon sum dgag par by a
sha dang nya ni bza' bar by a
l
chang ni btung bya rr.nyom gzhags pas
gzhan yang ji ltar rnyed pa bza'
I
I
I
'o chu ra kta la sogs bza'
thog mar bud rned la byin nas
d ~ yis lhag rna bza' bar bya I
de yi lhag ma'i snod la ni
longs ni rtag tu spyad par by a
de yi kha bshal chu dang ni
I
pa drna bkrus pa'ng btung bar bya
bshang sgo pa drna bkrus bzung nas
brtul zhugs can gyis kha s o g ~ : bkru
de yi skyugs pa bza' by a zhing
I
de yi bzhi mnyam bza' bar by a
skye gnas las byung btung bar bya
kha chu yang ni bza' bar bya I
ji ltar shing la lud sogs kyis
'gras bu lhag par 'gyur ba ltar 1
de bzhin mi gtsang sogs sbyod pas
bde ba darn pa skyes bu la
na dang rgas pa nyid dang ni
de yi lus la 'chi ba rned
gang de'i rni gtsang sten byed pa'i
rnal 'byor pa yis de 'grub byed
gang du bza' dang bza' min dang
209
J
33
'dir ni rnam rtog mi bya 'o I
sbyor rig bya dang bya min dang
bgrod min bgrod pa'ng de bzhin no
bsod nams rncd cing sdig pa'ng rned
mtho ris thar par brtag rni bya I
l lhan cig skyes pa gcig pu'i gzugs
rnal 'by0r pa yis mnyam gzhag bya
de nyid sbyor ldan rnal 'byor pa I
gang tshe sgom pa mchog gyur pa I
khro bo gturn po gcig sbyor bas
de yi nga rgyal 'dzin pa po I
gal te brarn ze brgya bsad kyang J
sdig pa rnarns kyis gos mi 'gyur I
de phyir mgon po cho ga yis I
khro bo gtum po de nyid bsgorn skye
skye bo gang zhig drag po yi
las kyis dmyal bar 'gro byed kyang
de la sdig pas mi gos shing
mtho ris 'gro bar the tshom rned
I
yid ni sngon du 'gro .oa 'di
dge dang sdig pa kun la 'dod
I
yid dang rnarn rtog rnam pa las
210
211
gnas la sogs pa'i dbye bar bstan
ji ltar sngags dang bral ba yi
I
dug zos pas ni tshe zad 'gyur
I
sngags dang de nyid shes pa yis
J
bde ba dang ni tshe 'phel byed
J
de nas skad cig de la lha mo mchog gi shes
rab kyi pha rol tu phyin mas gri gug dang thod
pa'i phyag gis khro bo gtum po'i phyag rgyas
rdo rje gtum mo khro chen mas J
de nyid mchog la gzigs nas gsungs
bdag gi gzugs ni bsgom byas nas I
nga rgyal mchog 'di byas gyur na I
gal te tshangs 'joms de yang ni
sdig pa yis ni gos mi 'gyur
khro chen sems nyid gcig pu yi
bdag gi gzugs ni sgom byed na I
nya dang bya ni bsad byas kyang
rtse med gyo dang khro ba dang 1
gsod pa'i don phyir sems dpa' can
rnal 'byor sdig pas gos mi 'gyur
de rnams kun la phal cher ni J
mthu che bar ni rab tu bstan J
212
I zhes pa ni dpa' bo gcig pa nyid du gsungs
pa'i khro bo gtum po chen po'i rgyud las I lus
kyis bde ba'i rim par phye baste bdun pa'o II I I
11 de nas beam ldan 'das kyis bka' stsal pa J
beam ldan 'das rna la dkyil 'khor lnga yis phyag
btsal nas gsol ba
J dga ba khyod gzugs rnal 'byor bas I
ji lta bur ni shes par bya
beam ldan 'das mar gus bya ba
rnal 'byor pa yis gang la bya
de nas beam ldan 'das mas bka' stsal pa I
nga ni 'jig rten gsum po na I
mtho dang dma' ba'i gzugs gyur pa I
bud med gzugs de la ni 'dod I
ji srid 'jig rten gyis mi rnthong
lha mo lha min rno dang ni
de bzhin gnod sbyin srin rno dang l
klu mo 'byung rno mi ci rno
de bzhin rni yi bu rno dang
dri za rno dang dmyal ba mo I
dud 'gro'i bu rno yi dvags rno
35
tshangs rna rgyal rigs rje rigs mo
dmangs rigs mo ste shin tu mang
yig mkhan rna dang rgyal rno dang
gtso mo ka la u tti ni I
tshod mo skyed rnos tshal mo dang
smad
1
tshong rna dang tshos mkhan rna
ko wags snod mkhan sha ba ri I
ha di do mbi tsa nda li
. .
khrus rna chang rna la du rnkhan
lcags rngar
1
dgeg rnkhan gar rna dang
1
khar ba mo dang gser mgar rna
nya mo dang bshan pa rno 1
srub rna mkhan dang me tog rna
thod pa can rna dung rnkhan rna
gduds mkhan rna dang kha rnkhan rna
ba lang skyong dang mda
1
rnkhan rna
phru klog rdo mkhan rna dang ni
shing rnkhan rgyan cha mkhan rno dang
rigs rnarns kun la rab tu jug I
rna dang sring rno c_hung rna dang
a ni dang ni tsha rno dang
khi tta ka dang sgug mo dang
213
gzhan yang gnyen 'dab rna kun dang
brtul zhugs can dang rnal 'byor
yugs sa rno dang dka' thub rna
1
zhes sogs rnang po kun la ni
I
nga ni bud rned gzugs gyur nas
sems can kun gyi don phyir gnas
rang rang tshul du nges pa yis
de rnams ji ltar rnyed pa nyid
'o dang 'khyud pa la sogs kyis
rdo rje pa dma rnnyam sbyor ba I
rna
I
I
rnal 'byor rnams kyis bstan par bya I
sems can kun la phan 'dod pas 1
mi mo bsten pas dngos grub bo
skad cig tsam gyis ster byed pa
de phyir bud rned bsten par bya J
bud med mtho ris bud med chos I
bud med de nyid dka' thub mchog
sangs rgyas bud med dge 'dun nyid
bud med shes rab phar phyin nyid
kha dog rnam lnga'i rab dbye las
so sor brtag par 'dod pa yin
bud med gang zhig kha dog sngo
214
36
zhe sdang rdo rje rna ru grags 1
bud med gang zhig kha dog dkar I
gti mug rdo rje mar 'dod do 1
budmed gang zhig kha dog ser
lha roo phra rna rdo rje rna J
bud med gang zhig kha dog drnar I
'dod chags rdo rje rna ru grags 1
bud med gang zhig kha dog ljang J
phrag dog rdo rje rna zhes grags
be om ldan shes rab phar phyin rna
gcig nyid lnga yi tshul gyis gnas
chang dang bza' ba me tog sogs
l
rnarns rnchod lus la gos kyis rndzes
yang dag srnra bas 'dud by as nas
I
thal rno yang dag sbyar by as te
I
blta dang reg pa nyid dang ni
I
dran pa yis ni srnras par bya
I
rtag tu 'o dang lag bas 'khyud
rdo rje rnal 'byor rna rnchod bya
I
lus kyis nus pa rnams byas nas
I
mi nus pa rnarns ngag yid kyis
I
rnchod pas brnyes des bdag la ni
215
I
dngos grub thams cad rtsol bar byed
bud med kun gyi Ius spang nas J
bdag ni gzhan du gyur pa med I
snatshogs spangs nas bud med mchod
'di ni bdag la rab mchod 'gyur J
'di yis bdag la bsnyen bkur nas 1
sgrub pa po mnyes dngos grub mchog
de yis mthong ba'i lam zhugs nas
rnam kun rtag tu kun nas ster
rna lus gzugs kyis bdag bsgoms nas
rang gi bud med 'dod bsten bya
rdo rje pa dmo mnyam sbyor bas
bdag la byang chub ster ba mo I
de phyir rnam pa kun gyis ni I
bdag la gus pas mchog du de I
'di yis de nyid rab sbyor bas
brtul zhugs can gyis rab gus bya
dmyal ba la sogs ngan 'gro yi I
~ d i g pa yis kyang 'jigs mi bya
'jig rten sdig pas 'jigs 'gyur na
ji srid nus pa thob mi 'gyur I
sdig pa cung zad yod min zhing
216
37
bsod nams cung zad yod min phyir J
sems nuid mi srung 'jig rten gang
sdig dang bsod nams rnam bar gnas
gang du sems nyid tsam gyis ni 1
thams cad skad cig tsam de gnas
dmyal bar 'gro ba 'dir gang gis
gang gi 'dir ni mtho ris 'gro I
gang gis dug brtags mthu yis 'chi
ji lta ba la de nyid med dug gi mthu
dug gi rnthu yis yang dag brgyal
de bzhin mtho ris ngan 'gror 'gro
de nyid yongs su shes gyur pa'i
mkhas pas mya ngan 'das pa thob
myang 'das stong ba'l tshul nyid du 1
mar me rlung gis ji bzhin du r
nyer chad !hung ba de yang ni J
byang chub go 'phang rna yin no J
J de phyir thams cad yongs spangs nas
bdas nyid gus bya brtul zhugs can
skad cig tsam gyis. gtum po yi
dnqos grub ster bar the tshom med
217
de nas bcom ldan 'das kyis bcom ldan 'das rna
shes rab kyi pha rol tu phyin rna la gsol ba
38
ji lta bu yi rnam pa yis
gtum po'i dngos grub ci 'dra zhig J
de nas bcom ldan 'das mas bka stsal pa J
kha dog lnga yi rab dbye bas I
rnal 'byor rna ru rab grags gang
de yang rang rang bdag po yi
I
kha dog lnga yi rab dbye yi
I
gtum po kun gyi de nyid 'dis
I
bdag ni rnal 'hyor rna ru shar
kha dog sngon po gang de yang
bdag po mi gyo sngon por shes
kha dog dkar po'i bdag po gang
rni gyo dkar po zhes bya'o
kha dog ser po'i bdag po gang
mi gyo ser po yang dag grags I
kha dog drnar po'i bdag po gang
mi gyo dmar po zhes grags so I
kha dog ljang gn'i bdag po gang
mi gyo ljang gu zhes bya'o
gtum po de nyid gcig pu nyid
rnam pa lnga yi tshul gyis gnas
'di yi dngos grub brtan pa nyid
218
de ni gturn por yang dag bshad J
narn rnkha'i rnthar thug ji snyed pa
lha rno'i gzugs kyi yang dag gnas J
gturn po'i dngos grub ji bzhin gsungs
de bzhin du ni gtum rno 'grub J
ces pa ni dpa' bo gcig pa nyid du gsungs
pa'i dpal khro bo gturn po'i rgyud las ngo bo
nyid kyi rim par phye baste brgyad pa'o Jl 8 JJ
219

George 1971

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