Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text is a technical commentary on the difficult points of a Cakrasaṃvara Tantra practice, specifically associated with the Ratnāvalī (Jewel Collection). The work functions as an exegetical guide that decodes the symbolic and coded language of the tantra, translating external ritual descriptions into internal physiological and meditative processes. It argues that the path to accomplishment (siddhi) requires a precise understanding of the subtle body, including the identification of the guru with the sixteenth element and the mapping of deities onto specific bodily locations and channels. The text commits the reader to a rigorous system of visualization, mantra manipulation involving specific vowel and consonant combinations, and the performance of secret offerings. By redefining conventional terms—such as seasons, directions, and deities—as markers for internal energetic states and mental concentrations, the work guides the practitioner toward the union of method and insight, ultimately aiming for the realization of the three bodies.
Provenance
About this text
A detailed commentary on the difficult points of the Ratnagaṇanāmapañjikā, this work belongs to the tradition of the Śaṃvara and Related Tantras. The Indian author is Durjayacandra. It was translated into the classical Tibetan language by Tārakalāśā and the monk Guṇaśrī, as preserved in the Tengyur (vol. བ), where it extends over 140 pages under the title rin po che'i tshogs zhes bya ba'i dka' 'grel. The work enacts a secret system of visualization and meditative practice, beginning with an homage to Vajraḍākinī. It argues that certain meanings remain concealed even from the Buddhas and are difficult to realize without pleasing the guru. Specifically, it identifies the guru with the sixteenth element and maps the twenty-four cakras of the nāda as the assembly of ḍākas and ḍākinīs, emphasizing the importance of the samaya bond. A scholar or serious reader consults this text today to understand the internal physiological and meditative processes associated with the subtle body, the network of ḍākinīs, and the precise application of the chosen deity within the context of the Śaṃvara tradition.
Sanskrit title
Ratnagaṇanāmapañjikā
Indian author
Durjayacandra
Tibetan translators
Tārakalāśā, bod kyi lo tsa ba dge slong gu na shri
Cite thisAnuvāda, “A Commentary on the Difficult Points called “A Multitude of Jewels”” (Toh 1404), machine draft, 2026.https://naxiai.com/tibetan/works/toh1404
Summary & commentary
Significance
The work is significant for its detailed mapping of the subtle body and its use of 'twilight language' to conceal advanced practices from the uninitiated. For the modern scholar, it provides evidence of the complex intersection between somatic physiology, linguistics, and deity yoga in the Cakrasaṃvara tradition.
Structure
Passages
Section
Description
1-12
Introduction and Symbolic Definitions
Initial homage and the decoding of terms such as guru, ḍākinīs, and the seasons as internal states.
17-67
Practices of Accomplishment and Offerings
Instructions on the nature of bliss, the mapping of deities to bodily locations, and the ritual offerings to the maṇḍala.
83-149
Mantra and Letter Yoga
Technical specifications for joining letters and vowels, and the relationship between the mind and the fulfillment of the Vidyā.
165-193
Ritual Service and Secret Maṇḍalas
Details on fire offerings (homa), the arrangement of syllables, and the ritual of the secret maṇḍala of heroes and yoginīs.
Themes
Subtle Body Physiology (3, 6, 7, 34, 50)
Hermeneutics of Secret Language (2, 10, 11, 116)
Mantra and Syllable Manipulation (83, 149, 187, 189)
Deity Yoga and Maṇḍala Visualization (34, 67, 191, 192)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Commentary on the Difficult Points called “A Multitude of Jewels”·
In the language of India: Ratnācādanāmapañjikā. In the language of Tibet: Rin po che’i tshogs shes bya ba’i dka’ ’grel. Homage to the glorious Vajraḍākinī!
Her body is anointed with the pollen of various lotus filaments; she abides upon a solar maṇḍala, possessing sublime majesty. With her feet she treads upon the head of the one with matted locks and the two breasts of Umā, seated in the posture of a hero. Holding a vajra and bell in her right and left hands, she performs the dance of holding the skin of a heroic elephant. May Cakrasaṃvara, the sprout arisen from the cause of compassion, protect the yogins who abide in yoga.
From the mountain range of the names of the hidden meanings and words, excavated by the sharp insight of the victorious Moon of Difficulties, this commentary called the Ratnācāda has emerged to destroy the great darkness of ignorance regarding the words.
Regarding that: "The Ḍākinīsambarodaya, likewise the Nāmamantrārthāvalokinī, the Śrīgurutantra, and the Saṃpuṭatantra—these four should be known as the explanatory tantras (vyākhyātantra). Since these and other tantras are condensed here in this commentary called the Ratnācāda, the learned should not think it is their own independent work."
Then, regarding the statement: "The secret shall be explained in brief, not extensively," and so forth: after the forty-third chapter which teaches the characteristics of the physical form and the painted image, this tantra is that which teaches the characteristics of all the deities of one’s own devotion; this is what is indicated by the word "then" (tataḥ).
Because it is secret even from that chapter, it is therefore "secret." "In brief" means it is not elaborated, being concise yet not clearly explained; the meaning is that it is difficult to realize for those who have not pleased the guru. It is secret even to the Buddhas, let alone to others, as it is said. Here, for those who lack the application of their own chosen deity and do not abide by the samaya, great accomplishment will not occur; therefore, for the sake of the samaya and the application of one's own chosen deity, the secret preceded by the maṇḍala shall be taught. Regarding that secret, the Blessed One spoke of it extensively, but in order to dispel the thought that it might be understood by the world, he stated that it is "not particularly extensive."
If one asks what that secret is like, it is said: "The glorious Heruka, the perfect union," and so forth. This refers to the glorious Heruka, the body that is distinguished by the completion of the two accumulations, being empty of causes and conditions, and being definitively liberated from all conceptual arrangements. The "perfect union" of that Heruka is the manner in which the hands, faces, and so forth are perfected; it is fully revealed as the wheel of the mātṛkās, like a precious casket.
If one asks why the Blessed One explained this, it is said: "The accomplisher of all desired aims." This means that because it accomplishes all the aims of sentient beings through forms, sounds, and so forth, it is the "accomplisher of all desired aims."
The term "guru" refers to the sixteenth element. Furthermore, the guru is the guru of gurus, which are the twenty-four cakras of the nāda. Those nādas are the ḍākinīs; the twenty-four ḍākas and ḍākinīs are the heroes and heroines. Their network is the assembly of ḍākinīs. Their bond is the samaya, the bond of the ḍākinīs and the network of ḍākinīs. Moreover, in order to present the introductory setting with the words "Thus have I heard," one abides in such a secret.
One might wonder: "Will it be certain in that way? By whom was it taught? Who heard it? What words? What was taught?" Since there are many such doubts, one might think that, like ordinary beings, this sublime Dharma would become a factor for turning back. To show that it follows the words of the introductory setting which possess all established tenets, the self-arisen Great Vajradhara, the Blessed One, spoke.
Regarding the phrase "In the supreme secret joy": the initial, middle, and final abidings are exactly as will be explained. First, the secret words; likewise, the supreme is the middle; and the joy is the final—therein I heard it. "The self-nature of all" means that at a time when there is no other time, the Blessed One was dwelling. Therefore, the five words—"Thus have I heard, at one time, the Blessed One was dwelling"—which teach this, are the secret of secrets. One should understand that the first verse which reveals the secret abides in the secret and is known through the middle awareness.
"Even the last is joy; it is explained as 'experience' and 'hearing.' The secret of secrets is the intermediate; supreme joy is the springtime. It is always explained as a single time. The Bhagavān, the self of all, abides." Thus it is said. To explain the secret that resides therein, having shown the individual introductory accounts, it is said:
"All ḍākinīs are the samaya-mind," and so forth. Regarding the statement, "In brief, not in detail," that which is explained here by the words of the explanatory tantra spoken in brief is as follows:
"Secret is the earth element; supreme is explained as water. Joy is explained as fire; the self of all is movement, always abiding pervading space. Ra is called the blood element; ha is that which arises from the mountain; sya is the leaf of fragrance; pa is explained as the skin. Ra is explained as the scent itself; the syllable mi is explained as the flower; the syllable ra is likewise water; mi is said to be peśī. The syllable sa is kūṭaru; likewise bha is the self-arisen; the syllable hma is water itself. Ne is the goddess, the fragrant sesame; the syllable sa is the sweat of the bee; likewise da is the lake-born. Sthe is the heart-essence of the mouth; the syllable tya is kapūra. All ḍākinīs are the samaya."
Regarding "blood," it is the fire element. "Sattva" is the earth element. "Vajrasattva" is the water element. "Supreme" is wind. "Bliss" is space. Regarding that, it is also said:
"All the ḍākinīs are the blood of the samaya; the Vajrasattva is the source of all. Through the union of the clearly manifest lotus, he is explained as the supreme Padmanarteśvara. The nature of the upper [element] is luminosity; he is renowned as Vajrasūrya." Thus it is said.
In this context, "sattva" (sems dpa') refers to a being, a specific type of person. The "vajra" of those [beings] is their sign. Because others arise from them, they arise from Vajrasattva, which is the bodhicitta. The "lotus dance" is the activity of the lotus; because he exercises mastery over that, he is Padmanarteśvara. The Vajrasattva mentioned immediately prior is explained as Vajrasūrya. The term "supreme" (mchog) is explained as the blood, which is held to be supreme by the words of Padmanarteśvara. Because the lotus is luminosity and equality, it is Vajrasūrya. Because the luminosity of the upper [element] is pervaded by light upon the moon, that itself is Vairocana. The "Supreme Steed" (Hayagrīva) also arises from the various [elements] through the mind itself, which is moved by the winds. Because it is the very form of the melted [state], the wisdom that is inseparable from sattva, rajas, and tamas is Vajrasattva. Likewise, it is said: "By being manifest and blazing, the Great Sage is Vairocana. At the ultimate limit is Hayagrīva, who perfectly arises from the various winds."
Alternatively, according to another explanatory tantra, "all the ḍākinīs of the samaya" refers to the twenty-four ḍākinīs of the maṇḍala, such as Caṇḍākṣī and the others.
Because they are of the nature of subtle particles, they are the ḍākinīs; because they act for the benefit of sentient beings, they are the sattvas. Because they destroy the mountain of ignorance, they are the vajra, which is explained as wisdom. The sattva consists of two worlds: the world of sentient beings and the world of the vessel. Among these, sentient beings are the mobile, such as humans and so forth; the vessel is the stable, such as forests, mountains, and so forth. These two are further divided into four types: earth, water, fire, wind, and space. Thus, by these three phrases, the three bodies of the Blessed One, the glorious Heruka, are explained. Namely: "The samaya of all ḍākinīs" is the nirmāṇakāya. "The sattva" is the saṃbhogakāya. "Vajrasattva" is the dharmakāya. In order to demonstrate the fourth body, which is subsumed within these three bodies, it is said: "The Supreme" refers to the supreme of the three bodies, the leader of the three wheels. "Bliss" refers to the nature of supreme joy. Regarding that, the explanation is that the glorious Heruka, the possessor of the wheels, is supreme joy. Now, in order to demonstrate the nature of the Blessed One, it is said: "This is the self-arisen Blessed Hero." Here, "this" refers to the very Cakrasaṃvara just explained by the preceding verse. "Self-arisen" means that because it arises naturally, in accordance with the manner of being measured by the great elements, it is self-arisen. Because it possesses qualities such as sovereignty and so forth, and—
Because he has conquered the Māras, such as the afflictions, he is the Blessed One (bhagavān). Because he is victorious over all discordant factors and conceptualizations without exception, he is the Hero (vīra). The ḍākinīs are the channels (nāḍī). Their network is the wheel of nāda. That itself is the samaya, the vow; that which possesses it is the "Vow of the Network of Ḍākinīs." That very one is the "Exalted Deity." As stated in other volumes, "the one" refers to the non-dual Blessed One. "Exalted" means superior. "Deity" refers to the goddesses, the five elements whose nature is the previously explained Locanā and so forth, as expressed in terms such as "secret" and so on. Those goddesses, who are included within the śukra and rakta, are the five ḍākinīs who are the nature of the six cakravartins; they are the goddesses of the five aggregates and the six sense bases. Because they are of a single taste through their oneness, and because he is superior to them, he is the "Deity." Furthermore, if he is self-arisen, from what does he arise? It is said: "The form of sound arising from all," and so forth. This teaches that he arises from the Blessed One’s mind, which is the form of existence characterized by the aggregates and sense bases, produced from the supreme bliss that transcends all erroneous conceptualizations. "The form of sound" means the mere sound of a bell; the meaning is that he arises from that mere form of sound, which is the nature of conceptualization of sound following the melody of insight, like an echo.
In order to demonstrate that from the ultimate not only does the single self-arisen [nature] arise, but also arises in many forms, it is said: "The objects of the samaya of renunciation." "Renunciation" refers to the definitive emergence through the distinctions of objects and so forth, appearing in various ways. Because they are equal and become one within the objects of one's own mind and so forth, they are the "samaya." These are the six sense bases—the twelve sense bases consisting of the six objects such as form and the six sense faculties. To engage with these as being without intrinsic reality is "conduct." To realize such a nature is the "sphere of activity," which is explained as the bodhicitta that is the nature of wisdom endowed with excellence. For the sake of the indicative words, it is spoken with a plural ending. To demonstrate that very point, it is said: "Difficult to find in the three worlds." The "three worlds" are the three realms of existence: the desire, form, and formless realms. Because these are associated with defilements, the meaning is that they are difficult to find [there]. Regarding the phrase "abiding in the beginning, middle, and end," this is explained in the introductory words such as "Thus have I heard." If one asks how that is shown, it is said: "Just as the union of insight and method." Here, "insight" is the object to be churned, the lotus; "method" is the churner, the vajra.
The union of those two is the union of method and insight; that which is realized in accordance with what has been explained therein is so designated. To illustrate that very point through an analogy, it is said: "Likewise, possessing mantra recitation, meditation, and so forth." Here, "recitation" (japa) refers to the internal utterance. "Meditation" (dhyāna) refers to absorption (samādhi), including the manner of words, vows, discipline, joy, and so on. "Possessing" means being endowed with those three arising in their proper sequence. Regarding the phrase "the union itself is the wisdom of the ritual": "union" (yoga) refers to the union of the nāḍīs, aggregates, elements, and sense bases; it is the union of Śrī Heruka. The "ritual" (vidhi) for that union is the "ritual of union," which is the clear realization (abhisamaya). One who knows that is "one who knows the ritual." Its essence or activity is the very knowledge of the union. This is the meaning of the ritual for the arising of the deity in the form of Śrī Heruka, who is the nature of the five nectars (pañcāmṛta). Because he is the principal one through having performed and mastered [the practice], the Blessed One Śrī Cakrasaṃvara speaks the collection of words by which [the truth] is realized. In that regard, the explanation of what was taught in that tantra states the suchness (tattva) of the characteristics of the five families. "Listen!" is addressed to the Lord of Secrets, Vajrapāṇi: "Listen to the verses beginning with 'The glorious Heruka, the perfect union'." If one asks what that suchness is like, it is said: "The supreme gathering of the breaths."
Regarding the phrase "first and last," these refer to youth and old age; that which exists between these two is the "dust" (rajas). Because it causes intoxication and pride, it is "supreme" (uttama), and is the master of the asuras. The combination of these two is the "collection" (gaṇa) in which the intermediate and supreme are gathered. Therefore, the collection of the intermediate and supreme is the "assembly" (gaṇa). Because the terms "intermediate" and "supreme" are used as indicators to gather the assembly, one might ask: "Are the intermediate and supreme to be abandoned?" To this it is said: "With fragrant water..." This is stated. "Fragrant water" (gandhodaka) refers to selaga; that which is together with it is "with fragrant water," namely the kapūra. By that "with fragrant water," the assembly is indicated. The meaning is that it is not merely the assembly itself. Regarding that, it is also said: "The collection of the intermediate and supreme, and the sequence of the five locations," and so forth. In that context, the "five locations" are the secret, the supreme, the joyful, and so on; the sequence of those five locations, such as vetāla and the rest, is the "sequence of the five locations." Therefore, the meaning is "the five locations gathered in vetāla." If one thinks, "In that case, the intermediate and supreme are difficult for those like us to find, as we strive in what is not the method," it is said: "The wise should worship the guṭikā maidens." Here, "guṭikā" refers to young maidens. As explained in the Explanatory Tantra (Vyākhyātantra) regarding those arising from the Vajra family and so forth, their characteristics are stated as: twelve years of age, without forgetfulness, and heroic women. "Always, especially at the [proper] time..." [is the continuation].
Regarding the phrase "at that time," the time is the spring season. The specific [periods] are the first and middle months of spring, and so forth. Likewise, it is said: "The specific [times] are called the autumn months; autumn and winter are also like that. From the perception arising in the mind, one should engage in the application of those who desire liberation." The meaning is that one should always and continuously make offerings during that time out of a desire for that [liberation]. Because of the fear of not finding [the appropriate consort], one should look very closely. Regarding the characteristics of the one to be explained, if one does not find her who possesses the eyes of a deer, then in order to attain accomplishment (siddhi), another messenger (dūtī) is taught, as it is said: "The messenger is the innate accomplishment; the lowest, the supreme," and so forth. In brief, the black is the lowest and the white is the middle; accomplishment therein is "accomplishment." The "innate" is the color of a dark grey. The green is the supreme. Regarding that, it is also said: "The great goddess is one and the same; one should fully know and make offerings to her according to her power." This is the meaning. If one asks how those goddesses are to be worshipped when making offerings, it is said: "By means of the mind being internalized," and so forth. "Internalized" means that one should rely [on her] with a mind that does not transcend its connection to insight (prajñā). "Striving for accomplishment" explains the purpose of the offering. If one wonders, "Since dark blue alone is supreme among all accomplishments, to what [consorts] should the black and white be applied?" it is said: "With the drop of one's own substance, the Buddha," and so forth.
Without contradicting the general accomplishments, one should offer the drops of one’s own substances arising from the offerings of the Black or White [consorts]. The Buddhas are Vairocana and so forth; the Bodhisattvas are Kṣitigarbha and so forth. One should make offerings to them. This teaches the samaya: "The Buddhas and Bodhisattvas are to be pleased." Regarding this, it is also said: "First, freedom from illness; second, the conduct of samaya; third, the qualities of the lord of accomplishment are clear regarding the manifold purposes."
Alternatively, for the yogi of the completion stage who knows the vidyā, the "pill" refers to the offering of the coemergent mudrā. "Always" means without interruption. "At special times" refers to the moments of individual self-cognition. "Accomplishment" means complete perfection. "The mind is withdrawn within" means being in union with the consort of self-radiance. With a mind in the form of such a reflection, one offers to the messenger and radiates joy; the meaning is that one focuses on the inexpressible. Regarding this, it is also said: "The practitioner of the completion stage, which is the other [aspect] of complete perfection, should always abide in the lack of intrinsic nature through the pride of beginninglessness. Without a fixed time, and as much as the wisdom enters into equipoise, one should practice with a mind withdrawn within, which is the source of all Sugatas."
Now, in order to show the classification of the deities of offering according to the classification of the messengers, it is further said:
The goddess is held to be the threefold offering. The last is to be performed by gathering the Vajra-holders through the very manner of passion. From the great bliss of the consort’s bhaga, having emanated, the maṇḍala should be drawn. Thus it is said.
If one asks what the purpose of these offerings is for both sides, it is said: "By seeing, touching, hearing, and remembering," and so forth, the benefits for the yogi who delights in the yogic offering are shown. If there is a result from the samaya offering, then for that reason, the qualities and faults of guarding or not guarding the samaya are stated: "One should always maintain the samaya," and so forth. If there are qualities from guarding the samaya, what is that samaya? It is said: "Great blood together with camphor, mixed with red sandalwood; when entering into the assembly, all abide as an alchemy of essence." Here, "great blood" is the self-arisen flower. "Together with camphor" means together with bodhicitta. "Red sandalwood" is the great flesh. "Assembly" refers to the yogi’s excrement and what arises from the five faculties, such as the genitals and eyes. "Entering into the midst of that assembly" means being blended into a single taste. Among one, two, three, four, and five, the supreme is the "supreme of all." If one asks what that is, it is said: "Alchemy of essence" means that the "essence" is the nature of great desire. Furthermore, by the division of coarse and subtle, it is of two types.
In this regard, the gross [substance] is of nine types according to the distinctions of the substances. The subtle is the dust. Because it transforms the elements, it is the singular excellence of the pigment. "Taking" is the gathering of the elements, which is the elixir. Nevertheless, one might wonder: are terms such as "great blood" and so forth taught by being fully adopted according to worldly language, or are they explained otherwise? To dispel such doubts, the symbolic language spoken in the Explanatory Tantra is stated:
"Great blood is the flower itself,
That which arises in the springtime;
Camphor is explained as śukra (semen);
Great flesh is red sandalwood.
That which arises from all the sense faculties
Is renowned as the 'Assembly.'
The emptiness of emptiness, the non-manifest,
Is the supreme elixir of the essence-family.
Through the distinctions of gross and subtle,
That very [essence] becomes two types of excellence.
The gross substances are of nine types;
They are engaged through the classification of substances.
The dust is the excellence of the pigment;
The collection is asserted to be the mass."
Thus it is said, and so forth. If one asks, "What is to be done with this elixir?" it is said:
"With the thumb and the ring finger,
The yogi, through knowledge, should lick it."
Regarding this: the "ring finger" is the supreme limb of the goddess Samudra. The "thumb" is the male clarifier, the vajra. The "faces" of these two are the faces of the ring finger and the thumb; "to be licked by those two" means to be tasted. "Yoga" is the union, the mutual meeting. Because one knows that, it is "knowledge."
This is explained as the yoga of awareness. If one asks, "What is accomplished by this practice involving [substances] such as wolf and dog?" it is said: "One should follow the masters or the reasoning of the explanatory tantras exactly as they are." Regarding that, the explanatory tantra also states: "The measure of the progenitor, the protector, is the ocean; likewise, double and four times that should be given to the one with matted locks. This is the supreme ritual of licking for mastery." If one asks, "What accomplishments are not achieved through the ritual of licking explained in such passages?" it is said: "Like the drinking of the moon," and so forth. "Moon" refers to the supreme drinking of the gods, which is the nature of the inner nectar. Just as the drinking of the moon is established in the world without contradiction, so should it be understood here. "One will attain eternal accomplishment" means that one will remain for many eons without aging or death. If one wonders, "Is the result merely long life?" it is said: "This is the immortal half of ten." The intention here is this: gods and asuras possess the view that holds the elixir alone to be supreme and thus attain long life. However, this [practice] transcends the views of permanence and [mere] consumption; through the "immortal half of ten" that is free from conceptual elaboration, there is no accomplishment that is not achieved—all are accomplished. Therefore, it is said: "It becomes the entry into all accomplishments."
Now, setting aside all other accomplishments, for those who might wonder whether one should accomplish only the single accomplishment of the elixir, it is said in order to engage in the causes of accomplishment: "The four offerings," and so forth. The four offerings are by means of the four vajras. Regarding those, the four vajras are: first, the awakening of emptiness; second, the gathering of the seed-syllable; third, the completion of the image; and fourth, the arrangement of the syllables. Starting from the bodhicitta of emptiness up to the completion of the image, these are called the four offerings. The meaning is that for the sake of the practitioner’s own bliss, one should perform the offerings for the benefit of oneself and others during the four times. Regarding "the union of the two organs," the union through the perfect joining of the twenty-four heroes and an equal number of heroines is the offering. "Holding that very reality" means one should offer with the knowledge of suchness. Regarding that, it is also said: "The ḍākinīs and so forth are likewise; the twenty-four goddesses, generated by the bodhicitta, should be worshipped by the meditator through the sequence of meditation during the four times, because they are of the nature of bliss." If one asks, "What will come of this offering of the non-dual union of the hero and heroine through the joining of the two organs?" it is said: "The bliss of gods and humans," and so forth. The bliss of the gods and the nature of all accomplishments will be achieved; what need is there to mention the human state itself?
Regarding that, the meaning is that there is no need to desire many accomplishments. If one asks, "Will it definitely happen in that way?" it is said: "The bliss gathered by the Vajra Holder" refers to this bliss gathered by the emanation of the bodhicitta. Regarding that, it is explained: "This bodhicitta is the vajra; examine the emanation of the girl's navel," and so forth. Therefore, the intention is that it will not be otherwise than as explained. As for the phrase "it does not even equal a sixteenth part," individuals who are attached to other yogas are unable to perceive even a sixteenth part of the non-referential [state]; however, how could they become suitable vessels for the supreme supramundane accomplishment? If that is so, then at that time, where should this offering be performed? To show the distinction of the location, it is said: "In mountain clefts, thickets, and caves," and so forth. The literal meaning of the words is easy to understand and thus not explained here. It shall be explained according to the ultimate meaning: in that regard, because it is unmoved by the conceptualizations of the self, sentient beings, the person, the individual, and so forth that arise in the non-Buddhists, it is a "mountain." Because it is difficult for inferior sentient beings to traverse, it is a "thicket." Because it is vast and profound, they are "caves." The "great lotus" of the four goddesses explained above, which serves as the basis for the four offerings, is the "riverbank." The karañjaka and...
This is because it is the abode of the assembly of Victors, like a flock of birds such as the cakravāka and others. The mountain clefts, thickets, and so forth are the places for cultivating suchness. The primordially established charnel ground is the charnel ground because it is the abode of the habitual tendencies within the mental continuums of all sentient beings—the very sign of insight that is primordially and eternally established, transcending birth and destruction. If one asks what is to be done there, it is said: "In that place, the maṇḍala should be drawn." Regarding this, there are two types of maṇḍalas: the drawn maṇḍala and the maṇḍala of bodhicitta; this is the meaning of "should be drawn."
From the commentary on the difficult points titled Ratnasaṃcaya composed by the master Durjayacandra, this is the first chapter, the entry into the maṇḍala of glorious Cakrasaṃvara.
Now, in the second chapter, titled "The Manifestation of Glorious Heruka," I shall explain the condensed root of whatever constitutes the primary pith instructions of Cakrasaṃvara. Regarding the passage beginning with "With water and cow dung," the phrase "there" refers to locations such as mountains and caves. "Water" refers to water itself. Having dug the ground and filled it with water and cow dung, one should thoroughly compact it and take possession of the site. First, one should smear it, and then the maṇḍala ground should be well-smeared again with the five nectars mixed with the ashes of a charnel ground.
Following that, in order to examine the locations of the eight charnel grounds on the exterior of the maṇḍala and to strike the lines of the maṇḍala, the Blessed One spoke in the Explanatory Tantra: "By the sequence of dividing the parts, the wise [should construct] the maṇḍala," and so forth. Dividing into three parts means dividing into three; the sequence of that is the sequence of dividing into three parts. It is taught that the maṇḍala is to be struck with lines by means of that sequence of dividing parts, and not by an improper sequence.
If one does not know that very division of parts, by what sequence would it be known? Thinking, "In that case, this maṇḍala will not be fully understood," the sequence of dividing parts is explained in order to please and ripen sentient beings: "From the intermediate space, three grids; the division of parts is to be thoroughly accomplished. From the sequence of the seventh, sixth, and fifth, the parts are to be divided."
Having thus struck the lines of the maṇḍala, the sequence for applying the colors is explained: "With the charcoal powder of the charnel grounds," and so forth. One should make the black color with charcoal from the charnel grounds. One should make the red color with bricks from the charnel grounds. Placing these two colors for the purpose of maintaining the samaya is common to all tantras. With green, white, yellow, and so forth—these five—one should draw the maṇḍala. Regarding the term "of the deity," it refers to being free from coarseness, such as confusion regarding the directions, as well as being free from thinness, thinness of lines, breaks, and so forth.
If one asks, "By what kind of master should such a maṇḍala be drawn?" it refers to the "master" (ācārya), which is a specific qualification of the maṇḍala master. The phrase "endowed with all characteristics" and so forth is easy to understand; it means, "What is the use of many [other qualities]?" Through the specific explanation, one should identify oneself as the sublime Śrī Heruka, and not through the pride of an ordinary being. Therefore, having brought Śrī Heruka to mind, in order to forget the name of the ordinary person and attain the form of Śrī Heruka oneself, from this moment onward, one should maintain the mindfulness of oneself as Śrī Heruka, thinking, "I am the sovereign of the thirty-sixfold wheel of deities."
If one asks, "How should the maṇḍala be drawn?" it is stated: "Place this wheel in the heart," and so forth. "Wheel" (cakra) refers to the wheel of the maṇḍala. Regarding the "heart," which is the characteristic of the basis and the based: the meaning is that it is to be placed and gathered in whichever locations are the internal limbs and sub-limbs, such as Pullīramalaya and so forth. Following that, in the drawing of the maṇḍala, the activity of the one who possesses the maṇḍala gathered within one's own limbs is shown.
Regarding the statement, "Having thus donned the armor," and so forth: having thus assumed the form of Śrī Heruka through the sequence of explanation, and having utterly defeated the hosts of Māra, one who is of the nature of donning the armor indicates the divisions of the lower, upper, and side parts of the maṇḍala ground. Regarding the phrase, "Place them in the directions of the enclosures" (raba): "enclosures" refers to the vajra enclosures.
"Directions" refers to the cardinal points. "Armed below" refers to the vajra ground, which is the weaponry to be arranged upon the site of the maṇḍala. If one asks what is below it, it is the wheel. Regarding the phrase "one's own self" and so forth: "one's own self" refers to the wheel that arises as the sovereign body of the yogin who possesses the yoga of glorious Heruka. The particle "gi" is the genitive case indicating a single locus. Alternatively, the syntax should be understood as: "the yogin of glorious Heruka himself should arrange the enclosure and so forth below and above the wheel or the self." Therefore, it says, "having made the net of the ḍākinīs of the self." "Above and below" refers to the self. The "net of ḍākinīs" is the vajra enclosure. Thus, "having donned the armor" means that if one arrays the self with the six armors, one will become indivisible even by the gods of the Heaven of the Thirty-Three, who have transcended the five classes of beings.
"Adorned with mantras and mudrās" means that the ācārya, adorned with the mudrās purified by mantra, should draw the maṇḍala. This is explained for the purpose of constructing the vajra enclosure and so forth at the time of commencing the maṇḍala; otherwise, it is not required. Those who wish to perform this should understand all of it by drawing from the Nāmasaṃgīti-tantra and the Abhisamaya of glorious Heruka, which will be explained later. "Terrors" refers to the dancing of vetālas and wrathful yakṣas.
It is terrifying with charnel grounds filled with hungry ghosts, fighting warriors, the play of powerful yogis, radiant yoginīs, crawling snakes emitting the sound of poison, tigers running while uttering the sounds of pheṭ and phaṭ, and many bears, and so forth. Regarding the phrase "bestowing the great accomplishment," it means that one should draw the maṇḍala in which all desires are fulfilled, thereby accomplishing the excellence of maintaining the vajra fence and so forth.
If one asks, "When and by whom should this maṇḍala be drawn?" it is said: "Then, with a mindless cord..." and so forth. "Then" means after the vajra fence and so forth. "Mindless cord" means that the lines should be laid out using a cord made of long-dead [hair] smeared with human flesh and blood.
If one asks, "To what size should this maṇḍala of glorious Heruka be drawn?" its dimensions shall be explained: "Four cubits or eight cubits," and so forth. One should make the maṇḍala cord the same size as the four-cubit dimension and so forth, or perhaps one might wonder if it should be larger. To this it is said: "The mantra practitioner should analyze the double..." and so forth. This means that the cord should be extended to a length of sixteen cubits, which is double the eight-cubit measurement. The purpose is this: half of the maṇḍala is the maṇḍala itself.
The inner tier of the maṇḍala is the cakra, and its measure is four cubits, but it is not exhaustive. Therefore, in order to fully encompass the outer tier of the maṇḍala, this is common to all maṇḍalas; thus, there is no fault in explaining it as being doubled. If one asks: "If there is a purpose, and if one is analyzing faults and virtues, is this maṇḍala not necessary for the meditation on the cakra of deities?" It is said: In order to demonstrate that just as the cakra of deities is, so too the maṇḍala accomplishes awakening, one should engage in the teaching on the purity of the maṇḍala as spoken in the Explanatory Tantra:
"The portion of the earth is Locanā;
The marking cord is explained as Vairocana;
The dust is called the Various Families;
Likewise, the various offerings
Are Padminī and Pullīramalaya;
Jālandhara is the Mind Cakra;
Oḍḍiyāna is the Speech Cakra;
Arbuda is the Body Cakra;
Godāvarī is the four corners;
Rāmeśvara is the fire corner;
Devīkoṭa is explained as the southwest;
Mālava is the wind corner;
Kāmarūpa is the northeast corner;
These are the purities of the corners.
The eastern gate is Oḍḍiyāna;
Likewise, the south is explained as Triśakuni;
The western gate is Kośala;
Kalinga is likewise the north.
The eastern archway is Lampāka;
Kāñcī is the southern archway;
Himālaya is in the western direction;
The northern archway is Pretapuri.
The divine frieze is Gṛhadevatā;
The jewel frieze is Saurāṣṭra;
The frieze of nets and half-nets..."
It is explained as Suvarṇadvīpa itself. The bells, the victory banners, the parasols, and the streamers—these three cities are the circular vajra lines, explained as being in Sindhu itself. The parapet is likewise the desert; the jewel and vajra are Kulutā. In this way, one should draw the sublime maṇḍala. It is square with four doors, beautifully adorned with four archways. It is made beautiful by lattices and half-lattices, adorned with garlands of bells and yak-tail fans. All the corner sections, as well as the doors, parapets, and archways, are beautified by vajras and jewels. All the intermediate points are flawless. In the body wheel is the Lord of Body; in the speech wheel is Amitābha; in the mind wheel is Akṣobhya. In the central lotus is Ratnadhara. In the outer wheel, regarding the forms, one should meditate on Vairocana. The body wheel is feeling; perception is the speech wheel; formations are renowned as the mind wheel; and the lotus is the consciousness of Amoghasiddhi. Whatever the five lines may be, they are of the nature of the utterly pure. One should meditate on the purification of the body by placing [the deities] in all the grid squares. The twenty lines in the four directions are the purification of the heroes. The spokes of the wheel are the ḍākinīs; Vajravārāhī is the hub. The seed-syllable is known as the supreme Heruka. The petals are the nature of the ḍākinīs. This is the supreme of all maṇḍalas, the condensed essence of the maṇḍala, the thirty-seven purities. This is the first, the maṇḍala of the painted lines.
Second, the maṇḍala of signs. The third is the mudrā of the hands. The fourth is the arrangement of images. The fifth is the scattering of flowers. The sixth is the maṇḍala of the assembly. The central lotus, together with its navel, is the stage of Perfect Joy. The maṇḍala of the Mind is the Stainless. The maṇḍala of Speech is the Luminous. The maṇḍala of the Body is the Radiant. Likewise, the square is the Difficult to Conquer. The divine terrace is the Manifest. The four gates are the Far-Gone. The corners are the Immovable. The vajra lines are the Excellent Intelligence. The archways are explained as the Cloud of Dharma. That very maṇḍala is the sublime, the unsurpassed wisdom of the Heruka. The maṇḍala is the lotus of the bhaga, perfectly arising from the body of Vārāhī. Having identified the locations—mountains, caves, forests, riverbanks, crossroads, the shores of the ocean, delightful places, the foot of a solitary tree, or a place of calm abiding—wherever it is pleasing, there the yogi should begin. It bestows all desires. Within the expanse of the heart, abiding in the lotus, one should visualize a sun maṇḍala. There, beholding that supreme reality, the peaceful nature of the five wisdoms, the master of the five varieties of light rays, radiates light in every direction. Abiding firmly in mind-only, which accomplishes the accumulation of awakening, one beholds the supreme maṇḍala from the expanse of space. One makes offerings to the Buddhas and Bodhisattvas, who are as numerous as a pod of sesame seeds.
May all sentient beings of the six realms of existence attain the unsurpassed state. Following that, one should take refuge and make the following vow: "May I achieve the state of the Heruka Buddha, and for the sake of all sentient beings, I shall abide in the four brahmā abodes." Then, focusing on the perfection of generosity with a one-pointed mind, one should view all internal and external phenomena as emptiness. Oṃ śūnyatā-jñāna-vajra-svabhāva-ātmako ’haṃ. One should analyze consciousness, which is like an optical illusion, as being mind-only.
From the depths of the underworld, one should visualize the wind maṇḍala. Arising perfectly from the syllable Yaṃ, it is bow-shaped and blue in color, marked by banners and swirling with garlands of smoke. Above that, arising from the syllable Raṃ, one should meditate on the supreme fire maṇḍala. It is triangular and red in color, swirling with garlands of blazing flames and marked by vajras; it is supreme, equal to ten million suns. Above that is the water maṇḍala, circular and pervaded by garlands of light rays. It is white like the color of snow and marked by a vase arising from Vaṃ. Above that is the supreme earth maṇḍala arising from Laṃ; it is square, marked by a crossed vajra, and swirling with yellow light rays. Above that, one should meditate on the supreme Mount Meru, appearing as if composed of the seven precious jewels and beautifully adorned with eight peaks. It arises perfectly from the syllable Suṃ.
Rays of light, variously and perfectly interlaced, form a vajra fence, a vajra net, a vajra ground, and a canopy, blessed by a lattice of arrows. One should visualize a garland of fire on the outside.
OṂ MEDINĪ VAJRĪ BHAVA VAJRA BANDHA HŪṂ.
OṂ VAJRA PRĀKĀRA HŪṂ BAṂ HŪṂ.
OṂ VAJRA PAÑJARA HŪṂ BAṂ HŪṂ.
OṂ VAJRA VITĀNA HŪṂ KHAṂ HŪṂ.
OṂ VAJRA ŚARA JVALA TRĀṂ SAṂ TRĀṂ.
OṂ VAJRA JVALĀNALĀRKA HŪṂ HŪṂ HŪṂ.
The wheel of the command of the Blood-Drinker (Heruka) has eight spokes and is supremely blazing. Residing upon a sun maṇḍala, one should meditate upon Vajrasattva. Then, the eight wrathful deities are emanated and arranged in successive layers and in reverse order.
Vajra-Raudra, Vajra himself, likewise Vajroṣṇīṣa, Vajrāmṛta, Yakṣa, Vajrakāla, Mahābala, and the one called Vajrabhairava—thus the eight wrathful deities are arranged. Blue, yellow, and likewise red, green, and the color of smoke, white, blue, red, and terrifying, and likewise brown and fierce. All have three faces and six arms, beautified by ornaments of human bone. They stand with their right legs extended upon a seat of a variegated lotus, treading upon the eight guardians of the directions.
The wrathful deities hold skull-cups in their limbs; they are supreme holders of nooses and iron hooks. All hold bells and hand-drums, embracing wisdom (prajñā) in supreme bliss. Their brown hair is swept upward, and their fierce fangs are bared.
Clad in a tiger skin as his garment,
Adorned with ornaments of garlands,
From the complete transformation of these,
One should meditate on Vajra Hūṃkāra.
Turbulent with blazing wrath,
Baring fangs, extremely terrifying,
Adorned with all the ornaments,
Firmly established with the right leg extended.
Holding a hook, a noose, a khaṭvāṅga,
A vajra, a bell, and a skull-cup,
With a fierce body draped in a garland of heads,
Bound by a belt of heads,
Trampling all malevolent beings with his feet,
Endowed with the union of method and insight,
Wearing the crown of Vajrasattva—
One should meditate on Vajrabhairava.
Above and below, one should meditate
On two wrathful deities.
In the subterranean realm, Vajroṣṇīṣa,
White, blue, and the color of collyrium,
Holding a skull-cup and a khaṭvāṅga,
And bearing a three-spoked wheel in his hand.
With a spear, a hook, a vajra, and a bell,
He dwells perfectly with the right leg extended.
The kīla-worship in the form of wrathful deities
Radiates rays of light into the ten directions.
OṂ SUṂBHANI SUṂBHA HŪṂ HŪṂ PHAṬ PHAṬ. In the eastern direction.
OṂ GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ PHAṬ. In the northern direction.
OṂ GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ PHAṬ. In the western direction.
OṂ ĀNAYA HO BHAGAVĀN VIDYĀRĀJA HŪṂ HŪṂ PHAṬ PHAṬ. In the southern direction.
By means of this king of secret mantras,
One should plant kīlas upon the heads
Of all obstructing spirits.
In the sequence of right and left,
OṂ GHA GHA GHĀTAYA GHĀTAYA SARVA DUṢṬĀṂ VIGHNĀṂ HŪṂ HŪṂ PHAṬ. KĪLAYA KĪLAYA SARVA PĀPAṂ HŪṂ HŪṂ PHAṬ. OṂ HŪṂ HŪṂ HŪṂ VAJRA DHARA ĀJÑĀPAYATI SARVA VIGHNĀṂ VINĀYAKA KĀYA VĀK CITTA VAJRA KĪLAYA HŪṂ PHAṬ. OṂ MUṄGARA VAJRA KĪLAYA ĀKOṬAYA HŪṂ PHAṬ.
Thereafter, this secret mantra should be recited. The wise one should recite this mantra: OṂ VAJRA DHṚK VAJRA HŪṂKARA VAJRA HŪṂ PHAṬ. OṂ VAJRA CAṆḌA HŪṂ PHAṬ. OṂ VAJRA ANALĀRKA HŪṂ PHAṬ. OṂ VAJRA UṢṆĪṢA VAJRA HŪṂ PHAṬ. OṂ VAJRA KUṆḌALI HŪṂ PHAṬ. OṂ VAJRA YAKṢA VAJRA HŪṂ PHAṬ. OṂ VAJRA KĪLAYA VAJRA HŪṂ PHAṬ. OṂ VAJRA MAHĀBALA VAJRA HŪṂ PHAṬ. OṂ VAJRA BHAIṢAṆA VAJRA HŪṂ PHAṬ. OṂ VAJRA UṢṆĪṢA CAKRAVARTI VAJRA HŪṂ PHAṬ. OṂ VAJRA PĀTĀLA VAJRA HŪṂ PHAṬ.
In this way, the accomplishment of insight will be attained without obstacle in an instant. Blue, yellow, and green: one should maintain the pride of Vajra-Hūṃkāra. Yellow, black, and green; smoke-colored, yellow, and green; white, yellow, and green; and likewise yellow and black—others are similar to the Lord. Having visualized Akṣobhya as the crown of the samaya, the Vajra-holder will be pleased. If weariness should arise while meditating in this way, one should with faith and one-pointedness recollect the vajra of the wisdom of emptiness: OṂ ŚŪNYATĀ JÑĀNA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ ANIMITA JÑĀNA VAJRA SVABHĀVA ĀTMAKO ’HAṂ.
Oṃ apraṇihitajñānavajrasvabhāvātmako ’ham. Having completely transformed as Samantabhadra, the self of all, in that very place of the expanse of space, one should meditate on a wheel above the mindless [state]. Having placed the syllable Oṃ upon it, one should meditate on Vairocana. White in color and with four arms, he embraces a consort with his right and left hands. He holds a wheel, a skull-cup, a khaṭvāṅga, and a hand-drum. From the complete transformation of that, one should meditate on a celestial palace. It is square with four doors, adorned with four archways, decorated with lattices and half-lattices, and beautifully adorned with great hanging tassels. In all the intermediate sections, the doors, the ledges, and the archways are beautified with vajras and jewels; thus one should meditate on the outer maṇḍala. Inside that is a wheel with nine squares and sixteen outer ones. In the center of the central square, one should visualize a beautiful lotus, complete with a hub and filaments, with eight petals of various colors. All the squares are marked with vajras, and the ground is emanated in various colors. It is completely surrounded by three garlands: a wheel, a lotus, and a vajra garland. A garland of jewels is luminous, and it is agitated by the blazing of various garlands. One should draw the samaya wheel, surrounded by the outer maṇḍala with five-colored pretas. The mouths are marked with half-vajras, situated at the centers of the tops of the doors and pillars. Outside is the terrifying charnel ground.
Supreme, blazing with five colors, delightful with various trees, and terrifying to dogs and jackals; with crows, owls, and aged vultures; likewise female wolves and owls; with zombies pierced by spears, those half-burnt, heads, bone fragments, hair, vertebrae, hands, dry skulls, and various snakes that are pleasing; likewise the cow-nose and the venomous snake; lions, tigers, and boars; likewise wild goats and wild sheep; the assembly of heroes, the supreme deities, who rely on various yoginīs, holding khaṭvāṅgas and skull-cups, and likewise holding curved knives and hand-drums. In that way, the various charnel grounds are agitated by yakṣas, rākṣasas, and zombies.
In that regard: The Seizer is in the fearless place, devoid of compassion for virtue; likewise, Aśoka is perfectly situated in the Water-Lord. The Mountain of Awakening is at the crown, where the Lord of Wealth himself resides; the one with matted hair is perfectly situated on the branches of the skeletal remains. Wandering at night, he enters the direction of clarity; the Wind is the supreme face, and below that arises Īśvara. These guardians of the directions, together with their retinues—the abodes, all of them with their retinues—the eight guardians of the directions are to be visualized. The Sun is the consonants (kāli) and the Moon is the vowels (āli), condensed by the symbols of HŪṂ and VAṂ. One should gradually contemplate Vajrasattva; this is the yoga of the self-vow. With twelve arms and four faces, he dwells in the posture with the right leg extended. Baring his fangs and making a threatening gesture, he has three eyes and a terrifying face.
He holds a garland of skulls and his body is adorned with the six mudrās. He presses down upon the head and breasts of the fortunate Īśvara. He wears a tiger skin as a garment and is intensely stirred by the flavor of compassion. With two arms he embraces Vajravārāhī, holding a nine-pronged vajra and a vajra bell. With his other two hands he holds an elephant hide. With the third right hand he holds a trident marked with a vajra; the fourth, a hook; the fifth, a curved knife; and the sixth, a hand-drum. In the third left hand he holds a skull-cup filled with blood.
As for the khaṭvāṅga held in the yajñopavīta gesture: at its tip is a fierce five-pronged vajra, with a vajra bell and various banners hanging from it, and below the central viśvavajra is a single-pronged vajra. Likewise, the fourth [hand] holds a vajra noose, the fifth a head of Brahmā, and the sixth a battle-axe. He is white, yellow, red, and green. His first face is wrathful, laughing, and terrifying. In front of him is Vajravārāhī, wearing the directions as her garment, with loose hair, two arms, and a red body, adorned with a girdle of severed limbs. She embraces him with her left hand and holds a skull-cup filled with the blood of the wicked, Māras, and so forth. With her right hand, she brandishes a curved knife in a threatening gesture toward the wicked in all directions. A stream of blood drips from her mouth.
The two calves embrace, the nature of which is the compassion of great bliss. From the application of the hook at one’s own heart, the wisdom wheel is to be summoned. Having summoned the wisdom wheel, one should engage in offerings and praise. Having arranged the sequence of the locations therein, this is the supreme inner yoga. At the head, in Pullīramalaya, are Khaṇḍakapāla and Pracaṇḍā. At the crown of the head, in Jālandhara, are Mahākaṅkāla and Caṇḍākṣī. In the right ear, in Oḍḍiyāna, are Vīra-kaṅkāla and Prabhāvatī. At the back, in Arbuda, are Vikaṭadaṃṣṭra and Mahānāsā; these are the pīṭhas. In Godāvarī, at the left ear, are Devadatta and Vīramatī. In the middle of the eyebrows, in Rāmeśvarī, are Amitābha and Kharvarī. In the two eyes, in Devīkoṭa, are Vajraprabha and Laṅkeśvarī. In the two shoulders, in Mālava, are Vajradeha and Drumacchāyā; these are the upapīṭhas. The heart wheel moves in the sky. In the two armpits, in Kāmarūpa, are Aṅkurika and Kāminī. In the two breasts, in Oḍra, are Vajrajaṭila and Mahābhairavā; these are the kṣetras. At the navel, in Triśakuni, are Mahāvīra and Vāyuvegā. At the tip of the nose, in Kośala, are Vajra-hūṃkāra and Madavī; these are the upakṣetras. In the mouth, in Kaliṅga, are Subhadra and Śyāmādevī. In the throat, in Lampāka, are Vajrasādhu and Subhadrā; these are the chandohas.
At the heart, in Kāñcī, are Mahābhairava and Hayakarṇī; at the secret place, in Himālaya, are Virūpākṣa and Kākāsyā—these are the secondary meeting places. This is the speech wheel, which dwells upon the earth. At the genitals, in Pretapuri, are Mahābala and Cakravegā; at the anus, in Gṛhadevatā, are Ratnavajra and Khaṇḍarohā—these are the meeting places. On the two thighs, in Saurāṣṭra, are Hayagrīva and Śauṇḍinī; on the two calves, in Suvarṇadvīpa, are Ākāśagarbha and Cakravarmiṇī—these are the secondary meeting places. On the nails, in Nagara, are Śrī Heruka and Suvīrā; on the tops of the feet, in the land of Sindhu, are Padmanarteśvara and Balā—these are the charnel grounds. On the big toes, in Maru, are Vairocana and Cakravartinī; on the two knees, in Kulutā, are Vajrasattva and Mahāvīryā—these are the secondary charnel grounds. This is the body wheel, which dwells beneath the earth.
The ḍākinī is on the vajra; the lāmā is on the bell. Khaṇḍarohā and Rūpiṇī are on the two [implements] holding the elephant hide. Kākāsyā is on the trident; Ulūkāsyā is on the hook; Śvānāsyā is on the curved knife; Śūkarāsyā is on the hand-drum. Yamadāḍhī is on the skull cup; Yamadūtī is on the noose; Yamadaṃṣṭriṇī is on the head of Brahmā; Yamamathani is on the battle-axe. The four great vessels of bodhicitta are on the four faces. Pu, Ja, O, A, Go, Ra.
DA, MA, KĀ, O, TRI, KO, KA, LA, KĀ, HI, PRE, GRI, SAU, SU, NA, SI, MA, KU. The three wheels are completely transformed. The twenty-four peaceful syllables are to be constantly blessed as the aggregates, elements, and sense bases. The aggregate of form is Vairocana, the syllable OṂ, white in color. Feeling is the syllable ĀṂ, Ratnasambhava, like the color of refined gold. Perception is Padmanarteśvara, the red syllable HO. Formations are Vajrarāja, the green syllable KHAṂ. Consciousness is Vajrasattva, the white syllable HŪṂ. All the Tathāgatas themselves are Śrī Heruka, the black syllable HI.
The vajra and lotus are perfectly joined. In the center of the reflections of the sun and moon, upon elephants, lions, horses, peacocks, and garuḍas, and above the sequence of the hungry ghosts and the maned ones, one should visualize the lords of the six families. At the heart is the vajra earth-touching mudrā; for the others, in sequence: the wheel and jewel in the right, and the lotus and crossed vajra. In the left hands are the vajra and bell; all possess three eyes. In the two eyes is white Mohavajra. In the two ears is black Dveṣavajra. In the nose is yellow Mātsaryavajra. In the tongue is red Rāgavajra. In the sense of touch is green Īrṣyāvajra. In all the sense bases is white Īśvaravajra. The earth element is yellow Pātālavāsinī.
The water element is the black Māraṇī (Slayer). The fire element is the orange-yellow Ākarṣaṇī (Attractor). The wind element is the dark-red Padmanarteśvarī (Lotus Dance Mistress). The space element is the blue-smoke-colored Padmajālinī (Lotus Net Lady).
Pātālanī (Faller) and Māraṇī (Slayer), Ākarṣaṇī (Attractor) and likewise Nartakī (Dancer), each abide in their respective maṇḍalas. They have one face and four arms. In their right hands, they hold a wheel, a vajra, a lotus, and a sword, and they carry a curved knife (kartṛka). In their left hands, they hold their own respective emblems.
As for the goddess Padmajālinī, she has three faces and six arms. She holds a skull-cup, a khaṭvāṅga, a hook, and a noose. In her hands, one should visualize the head of Brahmā and a curved knife.
OṂ HAḤ: at the heart is white Vajrasattva. NAMAḤ HI: at the head is yellow Vairocana. SVĀHĀ HU: at the crown of the head is red Padmanarteśvara. VAUṢAṬ HE: at the two shoulders is black Heruka. HŪṂ HŪṂ HOḤ: at the two eyes is red Vajrasūrya. PHAṬ HAṂ: at all the limbs is green Hayagrīva. OṂ VAṂ: at the navel is red Vajravārāhī. HAṂ YOṂ: at the heart is blue Yamī. HRĪṂ MOṂ: she is Mohanī (Deluder), white in color. HRĪṂ HRĪṂ: at the head is yellow Cālanī (Mover). HŪṂ HŪṂ: at the crown of the head is green Trāsanī (Terrifier). PHAṬ PHAṬ: at all the limbs is smoke-colored Caṇḍikā (Fierce One).
They have three faces and six arms, or otherwise, four arms.
Holding a vajra and a bell, and grasping a khaṭvāṅga and a hand-drum (ḍamaru), as well as a vajra and a skull-cup, and the hand-symbols of the retinue and so forth, such as the khaṭvāṅga and hand-drum, are the hand-symbols of the others. One should visualize Vārāhī with six arms, with red, blue, and green faces, holding a skull-cup, a khaṭvāṅga, a noose, and a hook, as well as the head of Brahmā and a curved knife (kartṛka) in her hands. Furthermore, one should visualize her with four arms, with one face and three eyes, holding a skull-cup, a khaṭvāṅga, a bell, a hand-drum, and a curved knife. Vajravārāhī is explained as Vajrasattva; Yamāntaka as Vairocana; Mohanī as Padmanarteśvara; Kṣobhaṇī as Heruka; Vajrasūryā as Bhīṣaṇī; and Caṇḍākṣī as Hayagrīva. In the heart is the syllable HŪṂ, the vajra of mind; ĀḤ is meditated upon as the path of speech; and the syllable OṂ is the vajra of body, in the sequence of black, red, and white. Having visualized all the heroes and yoginīs completely filling the expanse of space, one should confer the empowerment just as it is done with a skull-cup filled with the five nectars (amṛta). Just as at the moment of birth, all the Tathāgatas were bathed, so too do I bathe [the deity] with the pure water of the gods. OṂ SARVA-TATHĀGATA-ABHIṢEKATA-SAMAYA-ŚRIYE HŪṂ. Having sealed [the deity] with Vajrasattva, one should thereafter perform the offerings. The field-born goddesses, the co-emergent goddesses, as well as the ḍākinīs and yoginīs.
Born from the families and goddesses, likewise the invisible ḍākinīs, are asserted to be of inferior, supreme, and middling types, as well as of various kinds. Those who roam the earth are thirty-three; those who dwell beneath the earth are the yakṣī and nāgī, the gandharvī and kinnarī, those who move in water, those who have attained siddhi from the past, and others who follow the path of the Sugatas. Having supreme faith in the Three Jewels, they should be worshipped in the outer maṇḍala with various sensory qualities, songs, dances, and various dramatic performances for Heruka.
Upon the maṇḍalas of wind and fire, a skull cup arises from the syllable A, completely filled with the nectar of the five wisdoms and marked by the sixteen digits. Having emanated it, it is consecrated by the three syllables, Oṃ and so forth, and one should meditate on the three wheels. The ḍākinī, Lāmā, Khaṇḍarohā, and Rūpiṇī are arranged clockwise and likewise counter-clockwise, bestowing all siddhis. On the eastern petal is Ḍākinī, likewise Lāmā in the north, Khaṇḍarohā in the west, and the one called Rūpiṇī in the south. Ḍākinī is the Far-Gone (Dūraṅgamā) bhūmi; likewise, Lāmā is the Immovable (Acalā) bhūmi; Khaṇḍarohā and Rūpiṇī are the Excellent Intelligence (Sādhumatī) and the Cloud of Dharma (Dharmameghā) bhūmis. Blue, yellow, and likewise red, the fourth is asserted to be green. Each has one face and wears the five mudrās; the four are explained as having two arms. They have three eyes and their hair is loose.
Holding a khaṭvāṅga and a curved knife, he tramples the four Māras with his feet and stands in the posture with the right leg extended. In the intermediate directions, upon vases of gold, silver, and so forth, are four skull-cups filled with bodhicitta, resembling the color of a kunda flower.
On the eastern spoke of the mind wheel, at Pullīramalaya, are Khaṇḍakapāla and Rabgtumma, who are white. In the north, at Jālandhara, are Mahākaṅkāla and Caṇḍākṣī, who are yellow. In the west, at Oḍḍiyāna, are Kaṅkāla and Prabhāvatī, who are red in color. In the south, at Arbuda, are Vikaṭadaṃṣṭra and Mahānāsā, who are green. In the southeast, at Godāvarī, are Surāvairī and Sthiramatī, who are the color of the sky. In the southwest, at Rāmeśvarī, are Amitābha and Kharvarī, who are white. In the northwest, at Devīkoṭṭa, are Vajraprabha and Laṅkeśvarī, who are green. In the northeast, at Mālava, are Vajradeha and Drumacchāyā, who are pale red.
All have two arms and one face, with loose hair and three eyes. They embrace with hands holding skull-cups, and with a threatening gesture toward the wicked, they hold a vajra and a curved knife. They are adorned with necklaces, crest-jewels, armlets, earrings, and the sacrificial thread. They are further adorned with necklaces of heads and girdles that ring with small bells. The heroes, such as Khaṇḍakapāla and the others, have one face and two arms, with matted hair, a crown, and silk pendants. They are intensely terrifying through their fierce compassion.
Busily holding the vajra and bell, he embraces the consorts with his arms. Adorned with necklaces, a crest jewel, armlets, and earrings, he dwells in the posture with the right leg extended. This is the Cakṣuṣmatī of the Mind Cakra, the Sky-Farer.
On the eastern spoke of the Speech Cakra, in Kāmarūpa, are Aṅkurika and the white Dharaṇīdhara. In the north, in Oḍḍiyāna, are Vajrajāṭila and the red Mahābhairavī. In the western direction, in Triśakuni, are Mahāvīra and the black Vāyuvegā. In the southern direction, in Kośala, are Vajrahuṃkāra and the green Madanā. In the southeast, in Kaliṅga, are Subhadra and the yellow Śyāmādevī. In the southwest, in Lāmpāka, are Vajrabhadra and the white Subhadrā. In the northwest, in Kāñcī, are Mahābhairava and the green Hayakarṇī. In the northeast, in Himālaya, are Virūpākṣa and the sky-like Khaṇḍarohā. With their hands, the heroes and heroines offer a lotus to the central deity; this is the Speech Cakra, the Earth-Farer.
On the eastern spoke of the Body Cakra, in Pretapuri, are Mahābala and the black Cakravegā. In the north, in Gṛhadevatā, are Ratnavajra and the yellow Khaṇḍarohā. In the west, in Saurāṣṭra, are Hayagrīva and the red Dīrghaṅghri. In the southern direction, in Suvarṇadvīpa, are Ākāśagarbha and Cakravarmiṇī. In the southeast, in Nagara, are Śrī Heruka and the red Mahāvīrā.
In the southwest, at Sindhu, are Padmanarteśvara and Mahābalā, who are yellowish-white. In the northwest, at Maru, are Vairocana and Cakravartinī, who are smoke-colored. In the northeast, at Kulutā, are Vajrasattva and Mahāvīryā, who are white. The heroes and heroines hold a wheel in their principal hands. This is the body wheel, which resides beneath the earth.
The heroes of the three wheels, and the heroines likewise in their proper order, are beautifully adorned with a crown of vajras, lotuses, and wheels. Alternatively, the colors of the deities are indicated by the colors of the wheels. In the eastern and northern gates, the four female gatekeepers are to be placed: Kākāsyā, Ulūkāsyā, Śvānāsyā, and Sūkarāsyā. In the southeast, southwest, and so forth, are Yamadāḍhī, Yamadūtī, Yamadaṃṣṭriṇī, and Yamamathani. These goddesses reside in the intermediate directions upon seats of pretas. The gatekeepers stand upon lotus and sun disks in the posture of the left leg extended. The goddesses of the intermediate directions also abide in the half-lotus posture.
Likewise, the goddesses of the intermediate directions have captivating forms. All of them hold a hook, a noose, a chain, a bell, and a mirror; they hold a lute, a perfume vessel, a flute, a khaṭvāṅga, and a skull cup. The ḍākinīs, such as Kākāsyā and the others, have faces corresponding to their own names. The queens of the intermediate directions have the great faces of a buffalo, a donkey, a camel, and a horse; [the others have the faces of] a lion, a pig, an elephant, and a horse.
The faces of the ḍākinīs and so forth are explained as the side panels of the door of the root [mandala], as well as the dhāraṇī friezes. There are the lutes, flutes, clay drums, and drums, along with the goddesses of grace, song, and dance, flowers, incense, lamps, and perfumes, as well as the mirrors, tastes, tactile sensations, and dharmas. The playful single-stringed lutes, the graceful ones, and so forth, are yellow, red, green, and white. The clouds, the laughter, and so forth are white; the goddesses of the lutes and so forth, having set aside the lutes and the like, then hold the vajra and bell, the khaṭvāṅga, and the hand-drum (ḍamaru). Together with the vajra and bell, they are graceful; they sing songs and strike the khaṭvāṅga. The goddesses of dance circle the lotus. All of them have four arms. Incense, incense sticks, and incense smoke, as well as white flowers, lamps like tongues of fire, red perfumes, and likewise tastes, and green tactile sensations—the goddess of the dharmadhātu should be known as white. By applying the manner of one's own self, they are marked by mirrors and so forth. In their other hands, they hold skull-cups, khaṭvāṅgas, and hand-drums. At the four gates are the Crow-Faced and others, the maṇḍala of heroes and heroines. With various specific types of diverse musical instruments, they praise the glorious Bhagavān Heruka: "Great Joy, you who are pleased, I offer great bliss! Ala la ho! Great delight! Great bliss is the path of all the Tathāgatas without exception." By uttering this song, one is certainly liberated from further existence. The Tathāgatas are the great purity.
One should examine this maṇḍala: the body maṇḍala is born from a womb; the speech wheel is born from an egg; the mind is born miraculously. At the heart, the wisdom samaya is thoroughly examined through the application of the approach. Through the application of the near-approach and so forth, the supreme samaya of the ḍākinīs is established. By the application of arranging the limbs of the heroes, one should correctly commence the accomplishment. Through the union of the empowerment, the great accomplishment is correctly taught. OṂ SAMAYA ŚUDDHAḤ SARVA DHARMĀḤ SAMAYA ŚUDDHO ’HAṂ. One should contemplate that all phenomena abide in the equality of a single taste. Through the application of the wisdom nectar, one should drink the vajra water: OṂ VAJRA AMṚTA UDAKA HŪṂ ṬHA ṬHA TVAṂ A KHAṂ HŪṂ PHAṬ SVĀHĀ. Abiding upon the wind maṇḍala, one should meditate on the body wheel. The speech wheel, the wise one should meditate upon, is in the water. Abiding upon the fire wheel is the mind wheel of great bliss. Abiding upon the maṇḍala of the great lord is the unsurpassed samaya wheel. There, one should meditate upon the wisdom maṇḍala itself. Having pleased [the deities] with offerings and praises, the yogin should meditate for as long as weariness has not arisen. One should remember the purity of the defects; therein, purity is the maṇḍala circle of deities, which should be explained as the thirty-seven factors of awakening. Therein, purity, bliss, permanence, and...
They serve as the antidotes to the four distortions regarding the characteristics of a self. The four applications of mindfulness are as follows: the application of mindfulness to the body, the application of mindfulness to feeling, the application of mindfulness to phenomena, and the application of mindfulness to the mind. Mindfulness is the state of being undeluded regarding an experienced object and applying it closely; thus, it is called an "application of mindfulness." Furthermore, it is a specific quality of the intellect that serves as the antidote to forgetfulness and functions to discern previously experienced objects. In this context, the body is the collection of the primary elements and their derivatives. Feeling is the experience of pleasure and so forth. Phenomena are the ultimate reality. The mind is a mere optical illusion, appearing as distinct entities. To "apply mindfulness" to these is to maintain close mindfulness of the body and the others.
The four correct abandonments are the diligent efforts that serve as the antidotes to desire, hatred, and so forth, which are concordant with non-virtue; by means of objects such as faith and aspiration, they ensure that these states do not arise again and are thoroughly abandoned. They are as follows: abandoning non-virtuous, unwholesome phenomena that have already arisen; ensuring that non-virtuous, unwholesome phenomena that have not yet arisen do not arise; correctly protecting virtuous phenomena that have already arisen; and generating virtuous phenomena that have not yet arisen.
Miraculous power is the perfection of meditative concentration. Its branches are the four bases of miraculous power, which are as follows: the base of miraculous power of aspiration, and...
The basis of miraculous power of diligence, the basis of miraculous power of investigation, and the basis of miraculous power of the mind. In that regard, aspiration is the intention that has been transformed through being thoroughly associated with the formative forces of abandonment, and by relying upon and being connected to seclusion, dispassion, and cessation. Seclusion is the path, which abandons the obscurations of the afflictions. Dispassion is nirvana. Cessation is the separation from the contaminated aggregates. Relying upon these means relying upon seclusion, dispassion, and cessation. Being connected means being separated from all conditioned things. Its transformation is the completion of that. Thus, diligence, the mind, and investigation also each have five branches. Because they exercise mastery over this knowledge, faith and the others are also explained as faculties, just like the eye and so forth. These are of five types: the faculty of faith, the faculty of diligence, the faculty of mindfulness, the faculty of absorption, and the faculty of insight. Among these, faith is the mind’s conviction in the enjoyment of the results of the right view of the mundane and supramundane. Diligence is the mind’s intense exertion; the faculty of diligence is that which correctly draws forth the phenomena based upon the faculty of faith. The faculty of mindfulness is the non-forgetfulness of the objects drawn forth by the faculty of diligence.
That which brings about the direct realization of phenomena that have not been lost through the faculty of mindfulness is explained as the faculty of absorption. That which is the individual discernment of phenomena based upon the faculty of absorption is explained as the faculty of insight. Because the attainment of the culmination occurs through the exhaustion of the discordant factors—such as lack of faith, laziness, forgetfulness, heedlessness, and distraction—the faculties themselves are explained as "powers." These are as follows: the power of faith, the power of diligence, the power of mindfulness, the power of absorption, and the power of insight.
Because one realizes correctly by oneself, it is "awakening" (bodhi), which is a mind that has transcended dualistic grasping. The causes of that are the branches of awakening (bodhyaṅga). Those seven are as follows: the branch of awakening of correct mindfulness, the branch of awakening of correct discernment of phenomena, the branch of awakening of correct joy, the branch of awakening of correct absorption, the branch of awakening of correct diligence, the branch of awakening of correct equanimity, and the branch of awakening of correct pliancy.
In that regard, the branch of awakening of correct mindfulness is the non-forgetfulness of the welfare of all sentient beings without exception, the aspiration to attain perfect awakening, and the comprehension of what has been heard. The branch of awakening of correct discernment of phenomena is the discernment of the aggregates and so forth, because phenomena and so forth are without inherent existence.
The mind that is of one taste with the nature of phenomena (dharmatā) is the factor of awakening of joy (prīti-saṃbodhyaṅga). Because the antidotes sever the habitual tendencies of "I" and "mine," the serviceability of body and mind is the factor of awakening of pliancy (praśrabdhi-saṃbodhyaṅga). One-pointedness upon the four immeasurables, suchness (tathatā), the limit of reality (bhūtakoṭi), emptiness (śūnyatā), and the expanse of phenomena (dharmadhātu) is the factor of awakening of absorption (samādhi-saṃbodhyaṅga). The definitive emergence from the level of ordinary beings is the factor of awakening of diligence (vīrya-saṃbodhyaṅga). Not relinquishing the formations of body, speech, and mind because they serve as the antidotes to the afflictions (kleśa) is the factor of awakening of equanimity (upekṣā-saṃbodhyaṅga). That in which these eight branches of the noble path exist, which serve as the antidotes to the afflictions that are conducive solely to negativity, is the eightfold noble path. It is called the "path" because one seeks it for the purpose of meditating to abandon the obscurations to the knowable (jñeyāvaraṇa). In that regard, the names of the eight branches of the noble path are: right view, right thought, right speech, right action, right livelihood, right effort, right mindfulness, and right absorption. Among these, right view is the view that there is a future life, even though all phenomena are characterized by selflessness. Right thought is the mental engagement or the mere cognition that contemplates the actualization of what is to be adopted and the abandonment of what is to be discarded. Right speech is that which demonstrates the meaning exactly as it is.
Right action is the unsurpassed action of body, speech, and mind. Right livelihood is wealth sought through knowledge. Right effort is the uninterrupted action of body, speech, and mind that accomplishes the welfare of oneself and others. Right mindfulness is being undeluded regarding the dharmas as they have been realized. Right absorption is the activity of manifesting the object of focus.
The purity of the five wisdoms is the crown of Vajrasattva. The root mantra of the deity is visualized as the Brahma-thread. The secret mantra of Vajravārāhī adorns the neck as a necklace. The secret mantra of the deity’s essence is adorned as a rosary of fifty beads. The seven-syllable secret mantra adorns the ears as earrings. The mantra of the Buddha-ḍākinī is the supreme wearing of a skin as a garment. The secret mantras of the six yoginīs adorn the waist as a belt. The armor of the six heroes beautifully adorns the body with mudrās. The yoginīs of all the cakras are the skull-cups for the drink of mantra. Whatever is the mantra of Vairocana is made into a crown of skulls. The twenty-four heroes are visualized within the elements of the body. The recollection of the body is Ḍākinī. The recollection of feeling is Lāmā. The recollection of phenomena is Khaṇḍarohā. The recollection of the mind is Rūpiṇī. The purity of the five wisdoms is Padmā.
The base of miraculous power of aspiration is Pracaṇḍā. The base of miraculous power of diligence is Caṇḍākṣī. The base of miraculous power of discernment is Prabhāvatī. The base of miraculous power of mind is Mahānāsā. The faculty of faith is Vīramatī. The faculty of diligence is Kharvarī. The faculty of mindfulness is Laṅkeśvarī. The faculty of absorption is Drumacchāyā; this is the purity of the mind wheel. The faculty of insight is Bhūcarī. The power of faith is Mahābhairavā. The power of diligence is Vāyuvegā. The power of mindfulness is Śauṇḍinī. The power of absorption is Śyāmādevī. The power of insight is Subhadrā. The branch of awakening of correct absorption is Hayakarṇā. The branch of awakening of correct diligence is Kākāsyā; this is the purity of the speech wheel. The branch of awakening of correct joy is Cakravegā. The branch of awakening of correct pliancy is Khaṇḍarohā. The branch of awakening of correct discernment of phenomena is Dīrghaghoṇā. The branch of awakening of correct mindfulness is Cakravarmiṇī. The branch of awakening of correct equanimity is Suvīrā. Right view is Mahābalā. Right thought is Cakravartinī. Right speech is Mahāvīryā.
The wheel of the body is completely pure. Right action is Kākāsyā. Right livelihood is Ulūkāsyā. Right effort is Śvānāsyā. Right mindfulness is Śūkarāsyā. Generating virtuous dharmas that have not yet arisen is Yamadāhī. Perfectly guarding virtuous dharmas that have already arisen is Yamadūtī. Abandoning non-virtuous dharmas that have already arisen is Yamadaṃṣṭriṇī. Not generating non-virtuous dharmas that have not yet arisen is Yamamathani; this is the completely pure wheel of the samaya.
Teeth and nails are Khaṇḍakapālin. Hair and body hair are Kaṅkāla. Skin and filth are Mahākaṅkāla. Flesh is Vikaṭadaṃṣṭrin. Tendons are Devamātar. Bone is Amitābha. Kidneys are Vajraprabha. The heart is Vajrakāya. Eyes are Aṅkurika. Bile is Vajrajāṭin. Lungs are Mahāvīra. Intestines are Vajrahūṃkāra. Spleen is Subhadra. Excrement is Mahābhairava. The hairline is Virūpākṣa. Phlegm is Mahābala. Pus is Ratnavajra. Blood is Hayagrīva. Sweat is Ākāśagarbha. Fat is Heruka. Saliva is Padmanarteśvara. Eye-secretion is Vairocana. Mucus is Vajrasattva. At the time of the supreme samaya recitation:
One should constantly offer the torma and speak in signs to those who abide by the samaya. By joining the mantras with the previously explained mudrās and so forth, one should say, "Protect! Protect!" and, according to the ritual, worship the vajra goddesses with great effort using intoxicants, liquor, and meat. Facing south, the yogin should make the offering in the space above. At night, naked and with hair loosened, one should give the torma with the ascetic observance. Treading on the feet and looking upward, one should sound the syllable pheṃ above. Thus, the heroes and yoginīs of the world-realms of the ten directions are summoned. By opening the vajra palms, the heroes and yoginīs are summoned. Urged by the secret mantras, they are summoned immediately. Bending the index fingers and joining the middle fingers, one should firmly join the thumbs as a vajra. Placing that in the center of the forehead, one should circle and circle it all around. With the application of the right leg extended, one should bind the blazing mudrā. Having supplemented it with the samaya, one should recollect the secret mantra: oṃ aralli hoḥ jaḥ hūṃ vaṃ hoḥ vajraḍākinī samayas tvaṃ dṛśya hoḥ. In that way, three, four, or five times, one should recite it over the samaya substances and so forth. oṃ kha kha khāhi khāhi sarva yakṣa rākṣasa bhūta preta piśāca unmāda apasmāra ḍāka ḍākinī jaya imaṃ baliṃ gṛhṇantu samaya rakṣantu mama sarva siddhiṃ me prayacchantu yathe bhaṃ yatheṣṭaṃ bhuñjatha pivatha jighratha.
MĀTI KRAMATHA | MAMA SARVA KARATAYA SATASUKHAṂ VIŚUDDHAYE | SAHAYIKA BHAVANTU HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. | The yogi should display the signs to the heroes with the left hand. | These entries into the signs are the foundation of the heroes. | The three worlds, moving and unmoving, | all beings arise from the left. | Vajrasattva resides in the trunk, | Vairocana dwells in the branches. | The Guru is Padmanarteśvara; | in the teeth, the hero bestows accomplishments. | Regarding the laughter at the youngest: | the sky-like body is undefiled. | On the surface of the nails is Hayagrīva; | this is the foundation of the heroes. | Because the cause arises from the left, | the palms are the assembly of messengers. | Having definitely performed the good deed behind, | the practitioner should display the five signs. | Earth is renowned as Buddhalocanā; | the water element is explained as Māmakī. | Pāṇḍaravāsinī and Tārā | are proclaimed as fire and wind. | The empty apertures are the Perfection of Wisdom; | the center is the foundation of the heroes. | The wise should request the heroes to depart behind; | speaking the signs to the heroes, | one should begin to eat the cattle as one. | Having visualized the vowels and consonants in front, | for the sake of resting the Great Yoginī, | one should meditate on a complete moon maṇḍala | residing in the center of the navel. | One should contemplate the supreme abode of syllables | in the center of that. | Possessing the vajras of body, speech, and mind, | one should meditate on the deity’s body. | Although that body has passed away, | it is not that the nature of mind does not arise.
Furthermore, one should contemplate the inconceivable; the nature of mind itself should not be analyzed. If one contemplates that which is inconceivable, then grasping will be attained. Having found a charnel ground fire or another [site], one should abide in the supreme non-dual union. Training in a single union, knowing the samaya and firm in ascetic conduct, free from shame and stable in desirelessness, devoid of craving and without pride, the mantrin himself should practice the ascetic conduct together with that consort. One should apply the syllable dyā to the tip of her nose, and always place the syllable vyā on the path of the sign. The syllables Oṃ and so forth, on the forehead, mouth, and so on, should be blessed with the essence of the entire collection of mantras. The first joy is the bath; the supreme joy is endowed with the authentic. The great accomplishment is free from attachment; the unsurpassed supreme joy is the great yoga of union. Through the stages of the wisdom ritual, one abides by relying on the four joys, the four truths, and the four moments. Joy is said to be the hero; supreme joy is the yoginī. Supreme joy is the entirety; that bliss is the knowledge of all means. The emanation of glorious Heruka is emanated by the mind in sixty limbs. The emanation of the pure dharma is shown in the form of Vārāhī. Regarding that, in the chapter on Cakrasaṃvara explained in the Explanatory Tantra, many forms of Cakrasaṃvara are taught, beginning from the four-armed form up to the hundred-thousand-armed.
In the Explanatory Tantra of Cakrasaṃvara, the four-armed and six-armed forms are taught, as well as the twelve-armed. To demonstrate the terrifying maṇḍala of the twelve-armed Cakrasaṃvara, it is said: "Clad in an elephant hide." This means that with the two hands other than the first two, he holds an elephant hide as a garment. Regarding the phrase "with excellent eyebrows parted by a vajra": "vajra" refers to the vajra and bell; he is perfectly adorned and parted by that very vajra. "Excellent" refers to the eyebrows of one who possesses good fortune; the primary two hands of the Lord are those of Vajrasattva with parted eyebrows. "Holding a khaṭvāṅga in his hand" refers to the six hand-symbols that have been taught. The practitioner should understand the six hand-symbols as they are taught in the sequence of the tantra to be explained in other sections: "Holding a hook, a noose, a skin, a trident, a hand-drum, and a curved knife."
Regarding the arrangement of his own hand-symbols, it is as follows: the two embracing hands hold an open nine-pronged vajra and a vajra bell. The other two hands hold an elephant hide. In the third right hand is a trident marked with a vajra. In the fourth is a noose; in the fifth, a curved knife; and in the sixth, a hand-drum. In the third left hand is a skull-cup filled with brains, used as an offering; and there is a khaṭvāṅga preceded by an open five-pronged vajra, a vajra bell, and various banners hanging from it.
In the center, it is marked by a crossed vajra. Below, there is a four-pronged vajra marked by a vajra, a noose marked by a vajra on the fifth prong, a head of Brahmā on the sixth, and a battle-axe on the seventh. He possesses blue, yellow, red, and green faces, and is endowed with the expressions of the charming, the heroic, the terrifying, and the playful. "Adorned with a garland of fifty heads" means he possesses a garland of fifty severed heads. This Blessed One is not alone; however, in order to show that he is accompanied by Wisdom, it says: "The goddess who dwells in front of him." This means in front of the Blessed One, before his eyes, she stands in the manner of a treatise, embracing his feet with her feet and embracing the Blessed One in the manner of climbing a tree. Regarding the phrase "Vajravārāhī and so forth," it says: "Dwelling in front of him, with a skull-cup filled with entrails." This means that with her left hand, which embraces the Blessed One, she holds a skull-cup containing the intestines and blood of the four Māras, and as if a stream of her own nectar were flowing, blood drips from her own mouth. If one asks, "Is the Blessed One non-dual with Wisdom Vajravārāhī alone?" it says: "The twenty-four ḍākinīs," and so forth. She is taught to be the singular Vajradhātvīśvarī who is connected through embrace. The ḍākinīs are the heroines; these twenty-four have arisen from the family of Vajravārāhī.
It arises from the branch of insight and is the very nature of the twenty-four channels. For the time being, if the Blessed One together with insight is worshipped at the navel, one might ask: where are the ḍākinīs worshipped? It is said: "One should worship at the center of the wheel." Regarding this, at the center of the navel wheel, one should worship the ḍākinīs and so forth. In which directions? It is said: "In the directions and the intermediate directions." Regarding this, the directions are the east, north, west, and south. The intermediate directions are fire, the direction of the sun (southeast), wind (northwest), and the lord of power (northeast). If one asks: are only the heroines worshipped, or are others worshipped as well? It is said: "Likewise, here the heroes also," and so forth. Just as the yoginīs are worshipped in the directions and intermediate directions, so too are the heroes. If one asks: how are they worshipped? It is said: "The non-dual heroes," and so forth. The non-dual heroes are inseparable from the heroines; thus, the meaning is that the heroes should be worshipped in a manner that is non-dual with the heroines, just as their names were not explicitly mentioned. Here, too, worship consists of correctly emanating from one's own body and arranging the hosts of heroes and heroines of the three wheels in their respective locations, realizing them individually in each instant. As it is said: "Whoever always views this, that is held to be the worship of the Victorious One." Seeing the phenomena of the side of awakening exactly as they are through their purity is worship. Furthermore, it is explained: "Familiarizing oneself with the state of non-substantiality..."
The meditation on the form of the deity, which accomplishes all the buddhas, is held to be the great offering. For that reason, the five types of offerings are not taught [here], because they are not branches of the path for those who desire liberation. "Through the application of the five offerings, one will swiftly attain buddhahood." Regarding what is taught here in the tantra, "Because sentient beings have various inclinations," and so forth, it is said. Then, regarding the passage "Next, the vases should be prepared," and so on: after that, the yogin, who is the identity of the glorious Heruka embraced by Vajravārāhī and the maṇḍala, should not only make offerings to the heroes and heroines, but should also make offerings to the four vases situated at the intermediate points of the multicolored lotus. That is the summarized meaning. Regarding that, it is further explained: "In the intermediate points, upon the vases made of gold and so forth, one should meditate on the four skull-cups of bodhicitta, white as a kunda flower, without dark stains at the base," and so forth. Having purified the colored powders, lines, and so on, for the sake of accomplishing the siddhis, one should gather nine or ten auspicious vases filled with nectar; this is the classification of the vases. Likewise, from the Secret Ritual: "The vase called 'all-activity' should be placed within the center." The thread of five colors should be placed on the eastern petal. Regarding the ritual of placement: "Starting from the eastern gate, those vases should be placed. The one called 'Victorious' and the 'Auspicious' should be on the second side of the eastern gate."
In the south, accomplishment and protection; in the west, victory and pacification; in the north, the two: miraculous power and accomplishment. Bestow the precious accomplishment of the vase!
Therefore, the specific characteristics of the vases are taught: "The base is free from black stains" means that the shape of the base and the top is not crooked, and the base itself is not black; being free from such defects as ugliness or cracks is what is meant by "the base is free from black stains." Also, from the Ritual of the Maṇḍala for Proper Holding:
"The base is free from black stains,
The belly is large and the neck is long,
Smooth, firm, and exceedingly excellent,
Likewise, possessing a pure mouth-ornament,
Filled with grains, jewels, and medicinal herbs,
The mouth is marked with the signs of the families,
Characterized by the four Victorious Ones,
And the four intermediate directions are empty.
The Vijaya vase should be made thus."
Furthermore, if one asks how it should be made: "With pearls, gold, and jewels," and so forth, means it is completely filled with the five precious substances: pearls, gold, lapis lazuli, and the other three. "With all kinds of food" refers to the samaya of food. The meaning of "filled by being perfectly situated upon the skull-cup with foods" is that it is filled.
"The neck is wrapped with a cord" means that the neck of the vase should be wrapped with a colored thread of seven strands. From the Proper Holding:
"Reciting HŪṂ seven times, the sevenfold self,
The neck is endowed with a white dhāraṇī cord,
Together with white flowers, fragrance, and water—
Thus should the Vijaya vase be consecrated." So it is said.
Since yellow and white are the primary colors among the five, in order to demonstrate those two, the text mentions "gold and silver" and so forth. Gold is refined gold (suvarṇa). Silver is silver itself; by way of their color, the colored powders (rajas) are also called silver and gold. "Beautiful with precious pearls" refers to Ratnasambhava. Pearls refer to Amitābha. That which is beautiful through that [Ratnasambhava] or through the connection of those two is "beautiful with precious pearls." If one asks what is to be done with these colored powders, "to be spread out" means they are to be applied. Is it to be drawn with only these two powders? Or are others also to be spread? To address this, the text says "all" and so forth; it means that it is not only those two, but others as well, such as the colored powders of sapphire (indranīla), ruby (padmarāga), and emerald (marakata), or even white rice and so on. If one asks of what kind, the text says "thoroughly refined with precious gold" and so forth. "Precious" refers to pearls, which are Amitābha. "Gold" refers to the colored powder of Ratnasambhava. The meaning is that the remaining colored powders are also to be applied. What should be done after that? Regarding the phrase "the delightful city," it refers to the maṇḍala, which is the cause of a delightful and pleasing city. "Worship that" refers to the ritual procedure. If one asks what was done, the text says "well-smeared with scented water" and so forth. "Scent" refers to sandalwood and the like.
The water that is brought near is that scented water. "Facing in all directions" means to moisten the four-faced Cakrasaṃvara, the Wrathful One. Alternatively, "scented water" refers to the water of play. In order to delude the learned by means of a mere book, the Ācārya, following the offering to the maṇḍala with scented sesame oil and so forth, should perform the second empowerment in reverse order. Regarding the phrase "having focused on the resonance of the bell," the resonance like a bell is the "bell-resonance." That very sound, which has the nature of conceptualizing sound and is like an echo, is the bell, which is insight (prajñā). Focusing on that is to act in accordance with it. Regarding "adorned with incense and flowers," "flowers" refers to the dust. "Incense" is the sign of the fire of desire; being adorned with those [flowers and incense] from the nails and teeth is the accomplishment. Through union, in the state of insight, the sequence of ringing the bell is to be performed; the insight consort of twelve years is to be offered. It is said: "Because there is resonance in the offering, ring [the bell]." Regarding "excellent resonance," "excellent" means beautiful; that which possesses the dripping of resonance after having completely transformed into the nature of bodhicitta is "excellent resonance." As it is said: "As long as the seed exists, so long should the mudrā be relied upon," and so forth. Not only the bell, but the drum is also sixteen years old. Likewise: "The twelve-year-old is the bell."
"The sixteenth is explained as the drum," so it is said. "The sound 'ha ha' should be uttered" means that, as the fire of passion blazes, one should move and utter the sound 'ha ha'. Since sounding the bell, the drum, and so forth in their proper manner is not contradictory to the maṇḍala, all of those should also be performed. "One should worship with such a ritual" means that, having thus taught the secret, the Tantra of Explaining Other Rituals states:
"Then, having purified oneself with ablutions,
Wearing clean garments,
And having prostrated with a handful of flowers,
The disciple should make a request to the ācārya."
This refers to the disciple’s request as taught in other tantras, and the meaning is that the ācārya, who is to take the disciple under his care through the extensive stages of entering the maṇḍala and so forth, should worship this maṇḍala. In that regard, in order to first teach the entry of the disciple, it says: "Having covered the face with silk," and so on. To enter the maṇḍala, one should understand that the phrase "their faces with silk" is used without an explicit agentive particle. "Silk" (dar) means "unclear" (mi gsal ba). Being covered by it means "extremely secret." As it is said: "Silk is the symbol of the unclear; covering it is the extremely secret."
If one asks, "Having covered the face with cloth, what should be done?" it says:
"Having filled the hollowed palms with flowers,
One should circumambulate to the left.
The practitioner, in deep meditative equipoise,
Should enter the delightful city."
Regarding the phrase "beginning with the offering," one should commence the supplication preceded by the gift. Briefly, the scented water should be offered. Having completely satisfied the entire face with that scented water, one should also make offerings to oneself. Not only with the scented water, but also to demonstrate that the empowerment should be conferred with the hooks, it says: "One hundred lamps should be offered," and so forth. "One hundred lamps" is the genitive case of the action. The meaning is that one should also offer the five lamps to oneself. In order to show the arrangement of the yoginīs according to their proper sequence, it says: "In the sky, the ḍākinīs / Should be arranged upon the mind of all," and so forth. Regarding this, there are the four such as Ḍākinī and Lāmā, and the twenty-four such as Caṇḍākṣī; thus, these twenty-eight yoginīs are all the ḍākinīs. Among them, the four ḍākinīs are the consorts of the source of phenomena (dharmodayā). Below that is the Khecarī of the mind-cakra. Because they are the limbs of mind and body, the Vāc-cakra is the Sarvabhūcārī. "Patanas" means falling. The power to destroy and humble all phenomena resides in the syllables; thus, the subterranean ḍākinīs of the Kāya-cakra are to be arranged there, and so on. "All the mātṛs should be arranged in the directions and the intermediate directions." Regarding this, the "directions" are the gates, and the "intermediate directions" are the corners of the directions.
The mātṛ are the other heroines, the female messengers. In order to demonstrate the offering to the maṇḍala of goddesses through the thirty-seven [articles] of accomplishment, it says, "Incense, flowers, and perfume," and so forth. In order to demonstrate the ornaments of the maṇḍala, it says, "Canopies, victory banners, and silks," and so forth. This concludes the second chapter, the Ritual of Offering, from the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara.
Having explained the purpose of the maṇḍala and the conferral of empowerment, the third chapter is taught so that the disciple who has received empowerment may offer a fee to the ācārya. It says: "Then the practitioner, with all things, should first please the ācārya." Regarding "first," this means that prior to commencing the maṇḍala, one should please [the master] by adorning him with pearl nets, anklets, armlets, earrings, necklaces, and bracelets, and by offering various foods.
If one asks, "When resources are not abundant, should one still offer the maṇḍala, the empowerment, and the fee?" it says, "Then the practitioner, with all things," and so forth. "As much as one is able" means not exceeding one's capacity. The intention is that if one offers whatever is available to the ācārya, it becomes a great offering because it pleases him through faith.
If one asks, "Is this offered to the one performing the maṇḍala rites, or to the ācārya?" it says, "The Guru," and so forth. The intention of this is as follows:
The one who is the ācārya is the guru. Because they understand the action, they are the ācāryas. One should infer that the maṇḍala and so forth are performed by the ācāryas and the disciples, and that it is not to be done by those who are neither ācāryas nor disciples. "Relying [on the ācārya], one casts the handful of flowers," and so forth. Regarding "In whichever maṇḍala the flower falls," and so forth—one who wishes to understand all these matters, such as the emergence and entry into the maṇḍala, in detail, should follow the well-retained Great Maṇḍala Ritual. First, for the disciples who have entered the maṇḍala after performing the preliminary service, the bestowing of the tooth-stick and so forth, up to the scattering of flowers, is performed. Having recognized their fortune, the visualization of the samaya bell-sound has already been explained above. Now, in order to teach the conferral of the secret empowerment, it says: "By reciting the great vermilion three times," and so forth. "Great vermilion" refers to the great fragrance (vimala) and so forth. One recites the syllables OṂ ĀḤ HŪṂ, HA HOḤ HRĪḤ, three times. The "drop" (bindu) is the particularity of the opening of the mouth. There, the ācārya also teaches the bestowing of the samaya to the disciple with the verse beginning, "This is your hell-water," and so forth. Regarding "secret," it is also otherwise. "Blood" refers to the lotus. "Blazing body, speech, and mind" refers to the threefold recitation. That which possesses the nature of that drop is the "drop," which is the time of spring.
Regarding the phrase "it should be done by that," it means that the lotus should grasp the drop (bindu) with the face of the garuḍa. If one objects: "Since the text says 'great vermilion' three times, which literally indicates blood recited three times, why is it explained elsewhere as 'lotus' and 'great fragrance'?"—in order to realize the definitive meaning, another source is cited: "Blood is explained as the lotus; likewise, great vermilion, urine, and so forth." Although blood is the lotus and great fragrance, one might ask: "How do they become the nature of body, speech, and mind?" To show another source for this, it says: "The Bhagavān Buddha resides in the bhaga, the birthplace of the consort. Here, whatever are the three samayas, they are the Tathāgatas," and so forth. Furthermore, to show the source for the samaya water to be drunk, it says: "From that point on, I am Vajrapāṇi myself to you. Perform all of this; remain firm in the commands," and so forth. By these means, the disciple who has been trained in the samayas should be introduced. Then, snapping the fingers, one says: "Visualizing the Lord of the Maṇḍala, with the mantra pratīccha vajra hoḥ, have the disciple cast the flower." If one asks what should be done for the disciple after the flower is cast, it says: "Then, having uncovered the face, show the maṇḍala," and so forth. It continues: "Oṃ, Vajrasattva himself is the manner of opening the eyes. With the unsurpassed vajra eyes, possessing all vision, he performs the opening," and so forth.
The disciple whose eyes have been opened should be addressed as follows: "Son, by the power of your faith, behold the maṇḍala together. Through the blessing of mantra and mudrā, today you are born into the family of the buddhas." With these and other words, the maṇḍala should be shown as it is. After the eyes have been opened, the disciple should prostrate, bow at the feet, and circumambulate the maṇḍala from the left. What should the faithful disciple do after that? It is said: "Then one should offer a gift to the gurus, as taught by the Tathāgatas," and so forth. To demonstrate the fruit of the gift, it is said: "Then the ḍākinīs and the yoginīs will be pleased." Here, the "yoginīs" are the thirty-six. One should examine oneself in the manner of the yoga maṇḍala, which is the nature of the wheel of one's own channels. If one asks what happens when they are pleased, it is said: "All those who wander with discernment," and so forth. This means that together with those ḍākinīs, one wanders throughout the three realms. If one asks what happens when one wanders, it is said: "The practitioner will undoubtedly do whatever they command." This means that the yogin of glorious Heruka will be commanded and will travel together with them. If one asks what is accomplished by traveling together with them, it is stated: "The yogic accomplishments," and so forth.
The nature of those ḍākinīs and so forth is yoga; the accomplishment of that is called "the accomplishment of yoga," which is the purpose. If one asks what that accomplishment of yoga is like, it is stated: "Invisibility, entering caves, and moving through the sky," and so forth. Moving through the sky means flying. This is what is being explained: if one asks whether accomplishment is attained through the application of the four yoginīs alone, it is stated: "Whether spoken or unspoken, whatever it may be," and so forth. "Spoken" refers to the four, the ḍākinīs and so forth. "Unspoken" refers to others besides those, namely the thirty-two. "Spoken and unspoken" refers to those that have been mentioned and those that have not. By the phrase "whatever it may be," it is shown that all those things, such as the collection of mantras and mudrās, abide in the glorious Heruka. This indicates that those four, the ḍākinīs and so forth, are indeed spoken of; furthermore, whatever is unspoken is also indeed spoken of. The intention is that because the glorious Heruka, the self of all, is to be described as the sole lord.
From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the third chapter, the ritual for the empowerment including the offering.
In order to present the fourth chapter, which describes the other twenty-four yoginīs, it is said: "Then the ḍākinīs, who sport upon the earth..."
Thus it is said, and so forth. They sport within the maṇḍalas of the higher realms, the earth, and the subterranean regions, explained in the manner of the maṇḍalas of body, speech, and mind. If one asks what the number and names of those ḍākinīs are, it is said in terms of the body wheel: "The Great Exertion Universal Monarchess," and so forth. If one wonders why their origin is not taught, it is said: "They are certainly established from the beginning," and so forth. This means that because these twenty-four goddesses are the causes of the Blessed One, they are established from the very beginning; the point is, what is the use of their origin? To teach their recitation, it is said: "In the mantras that express their own names," and so forth. These are the mantras interspersed with their respective names, preceded by OṂ and ending with HŪṂ HŪṂ PHAṬ. If one asks whether they are alone, it is said: "The accomplishment of the hero himself," and so forth. The manner of the heroes is "heroism itself"; having attained that is to have become a hero and to be in union with the heroines. "Accomplishment" means "complete." If one asks what should be done with those yoginīs, it is said: "Seeing the maṇḍala in the house, and knowing it, always meditating," and so forth. This means that it is not only the external maṇḍala.
One should view and meditate upon one’s own body, the "house," as a maṇḍala through the oral instructions of the ācārya. The word "also" (yang) serves to include [this]. From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection), a commentary on the Śrī-Cakrasaṃvara, this is the fourth chapter, concerning the non-duality of the heroes and heroines.
In order to show the source from which those heroes and heroines arise—the source of the non-dual ritual that has been taught—the fifth chapter is now presented. Regarding the passage beginning with "All phenomena arise from the source of phenomena" (sarvadharma-utpatti-vicitra): "all phenomena" refers to the elements that sustain the body, which consist of the twenty-four heroes and heroines, and are characterized by the waxing and waning of the two fortnights of the moon. Alternatively, according to another explanation, "all phenomena" refers to the thirty-six consonants, the cycle of planets and constellations, the eight formations (saṃskāra), and the thirty-two aggregates (skandha), elements (dhātu), and so forth. That from which these arise is the "source of phenomena." What is that? It is the "various" (vicitra); "various" refers to the variegated lotus, which resides in the emanation wheel (nirmāṇacakra). "Navel" refers to the navel. "Indestructible" (akṣara) refers to the indestructible syllable, because it cannot be divided by birth or destruction. All of these are clearly explained in the Ratnasaṃpuṭa.
Therefore, because the Blessed One taught that becoming and nirvāṇa are of a single nature through the indestructible, it is peace. Regarding the phrase, "The mantrin, having drawn it according to the ritual," the yogin [should draw] with dust upon a ground smeared with fragrance and flowers by means of the mind. Because the indestructible, which has the characteristics explained, is the basis of the eight-line [mantra], all phenomena are condensed into one. If one asks, "What is the use of drawing this with mind and dust?" regarding the phrase, "For the yogin here, these are the words of the mantra," the basis for the consecration of mantras is all words. It is taught that whatever possesses only the consonants, such as ka and so forth, is what the mantrin should draw here. If one asks, "What is the basis for the consecration of mantras?" it says, "Having made the vowels and consonants equal," and so forth. The term "vowels and consonants" (āli-kāli) is shown by the division of the case endings. Therefore, one should view it as "vowels and consonants." The thirty-four letters exemplified by the letter a are indicated by the word "vowels" (āli). Those vowels and the letters are the "vowels and consonants" (āli-kāli) and so forth. "Vowels and consonants" (āli-kāli) means the vowels and the consonants; "equal" (samasama) means mutually concordant. Regarding the phrase, "One should completely dissolve them into the classes," "classes" (varga) refers to the arrangement of groups. From a up to aḥ is the first class. From the letter ka up to ṅa, and so forth, up to the eighth, are the eight classes.
"A ka ca, ṭa ta pa, ya śa," and so forth, are the classes. The dissolution of Oṃ, Phaṭ, and Hūṃ into these classes is their formal arrangement as classes. If one asks how the vowels and consonants are made equal to form these classes, it is said: "Know them as four by four," and so on. By multiplying the four, there are four by four, which is sixteen or thirty-two. Therefore, for them to be equal, the two letters ṅa and ña are excluded, resulting in two sets of sixteen. If there were forty-eight letters forming the classes, the phrase "four by four" would not indicate a different number of classes; thus, there are exactly eight classes. In this regard, the distinction is as follows: "four and four are four by four," meaning two sets of four should be known as eight. If there are eight classes, what should be done next? Regarding the phrase "the supreme Sage should be spread out," the supreme Sage should be spread out within those eight classes. The Sage consists of thirty-six letters. Because these alone are gathered as the forms of the deities and are supreme, the meaning is: "the supreme Sage should be spread out." If one asks what should be done after spreading them out, it is said: "the Hero residing therein should be extracted," and so on. "Therein" refers to the spreading out. "Extraction" means to bring forth. The "Hero" is the mantra, as it is the cause of the Blessed One, the glorious Heruka. To demonstrate the greatness of the mantra, it is said: "the accomplisher of all desired aims."
Regarding the phrase "the accomplishment of all desires and all aims," this refers to the fulfillment of every desired objective. In order to demonstrate the sequence for extracting [the mantra], it says: "The fifth of the fourth," and so forth. The fifth of the fourth is the letter na. The fifth of the fifth is the letter ma. The fourth of the fifth is the letter bha. The third of the first is the letter ga. The twenty-ninth is the labial letter va. The first of the fourth is ta. The fourth of the semivowels (antaḥstha) is the letter va. The second of the semivowels themselves is the letter ra. The thirtieth is the letter śa. The twenty-sixth is the letter ya. Half of half of a hundred is the letter ma. The thirty-third is the letter ha. The first of the first is the letter ka. The third of the semivowels is the letter la. The third of the first is the letter ga. The thirty-second is the letter sa. The fifth of the fourth is the letter na. The fourth of the fifth is the letter bha. The first of the semivowels is the letter ya. The third of the second is the letter ja. The first of the third is the letter ṭa. The fifth of the fifth is the letter ma. The first of the first is the letter ka. The eleventh is the letter ṭa. The sixteenth is the letter ta. The first of the third is the letter ṭa. The twenty-sixth is the letter ya. The third of the fourth is the letter da. The second of the ūṣman is the letter ṣa. The first of the first is the letter ka. The twenty-seventh is the letter ra. The twenty-eighth is the letter la.
The third of the first [group] is the letter ga. The fourth of the fifth is the letter bha. The thirty-first is the letter ṣa. The fifteenth is the letter ṇa. The twenty-fifth is the letter ma. The second of the first is the letter kha. The twenty-sixth is the letter ya. The thirty-second is the letter sa. The last of the uṣman [aspirates] is the letter ha. The thirty-second is the letter sa. The fourth of the fifth is the letter bha. The third of the second is the letter ja. The fourth of the fifth is the letter bha. The third of the uṣman is the letter sa. The twenty-seventh is the letter ra. The first of the antastha [semivowels] is the letter ya. The twenty-first is the letter pa. The second of the antastha is the letter ra. The thirtieth is the letter ṣa. The first of the fifth is the letter pa. The first of the uṣman is the letter śa. Regarding the phrase "likewise the hundred letters themselves," by showing its own form, the seed syllable of the Blessed One’s dharmamudrā is taught. The first of the fourth is the letter ta. The first of the uṣman is the letter śa. The twenty-eighth is the letter la. The second of the first is the letter kha. The first of the third is the letter ṭa. The third of the first is the letter ga. The fourth of the fourth is the letter dha. The second of the antastha is the letter ra. The fifth of the third is the letter na. Thus, the letter that follows that is explained as the vīra. The fourth of the first is the letter gha. Then, the word "then" (tataḥ) is used for the sake of definite determination.
The eighth of the first class is ja. It is also referred to elsewhere as the eighth. The fifth of the fourth is the letter na. The fifth of the fifth is the letter ma. The twenty-seventh is the letter ra. The fourth of the fourth is the letter dha. The twenty-
seventh is the letter ra. The twenty-sixth is the letter ya. The twenty-fifth is the letter ma. The thirty-third is the letter ha. The fourth of the fourth is the letter dha. The fifth of the fifth is the letter ma. The fifth of the fourth is the letter na. The first of the first is the letter ka. The twenty-seventh is the letter ra. The fourth of the semivowels is the letter va. The twenty-first is the letter pa. The second of the sibilants (ūṣman) is the letter ṣa. The twenty-sixth is the letter ya. These are the king of secret mantras of glorious Heruka.
As taught in the fourth chapter, in accordance with the individual names of the heroines, the mantras of the heroes—such as Khaṇḍarohā and the others—are to be properly presented, preceded by kara kara and so forth, and ending with hūṃ hūṃ phaṭ. Therefore, the terms kara kara and so forth are easy to understand. To demonstrate the greatness of the mantra, it says, "In this, it is the most supreme," and so on. To provide an answer to the question of what the name of such a distinguished secret mantra is, it says, "It is proclaimed as the root mantra." Here, "root" refers to the wheel of deities of the thirty-seven maṇḍala.
Their mantras are the root mantras, up to the mantras of all the deities of the maṇḍala. From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara), this is the fifth chapter, the ritual for extracting the syllables of the root mantra.
In that regard, those mantras alone are not sufficient; rather, in order to demonstrate that there are many others as well, the sixth chapter is explained: "Furthermore, the twenty-two syllables, the seven-syllable heart mantra, the near-heart mantra," and so forth.
First, the mantra of the Hero’s Armor in six lines will be explained: "The seed of the eighth group of ya," and so forth. Regarding this, the eighth of the classes of letters is the letter ha. Likewise, regarding "the twelve vowels," the twelve vowels of the world, excluding the neuter letters, are taught as they are well-established: ha, hā, hi, hī, hu, hū, he, hai, ho, hau, haṃ, haḥ.
Having combined them in that way, what is to be done? If one asks, it is said: "Having placed the letters in the middle, the six limbs are explained as the Blood-Drinker." Regarding this, the first of the second letters is taken up, and the six explained words are taught as the six limbs of Heruka. The perfect union of the six heroes, such as Vajrasattva and the others, is the "perfect union of the six heroes." Represented by that, each pair of syllables abides in the manner of a single syllable. If one asks what those abidings are, it is taught: oṃ namaḥ, and so forth.
These are to be arranged as the limbs of Heruka. In order to indicate the locations, it says, "First, in the heart itself," and so forth. From the Precious Collection of Commentaries on the Difficult Points of the Glorious Cakrasaṃvara, this is the sixth chapter, on the extraction of the armor of the six heroes.
In order to join the consonants extracted in the fifth chapter with the vowels, the seventh chapter is to be explained. Regarding the passage, "Then, the thirteenth vowel itself, perfectly joined with two letters," and so forth: the thirteenth vowel among those is the letter o. The second letter is the letter ma. That vowel is to be joined with the letter. In the same way, others are also to be joined. The eleventh vowel is the letter e. The sixth letter is ta. The fourth vowel is the letter i. The seventh letter is va. The eleventh vowel is the letter e. The eighth is the letter ra. The second vowel is the letter a. The ninth letter is śa. The second vowel is that same one. The twelfth is the letter ha. The twenty-first letter is pa. There, the second vowel is the letter ā. Thus, the fourteenth letter as explained is to be joined with the letter la. The fifteenth letter is ga. The second vowel is joined with the twentieth letter, which is na; it is to be joined with the third vowel, i. The fifteenth vowel is aṃ. The sixteenth is the letter sa.
That which is beautified by the letter aṃ is the letter sa. That which is endowed with the third vowel, the letter o, is the seventeenth, the letter na. The eighteenth bha-ra should be joined with the second vowel, the letter ā. The twenty-first letter, which is perfectly endowed with a, is the letter ṭa. The fifth vowel is the letter u. The twenty-second letter, which is endowed with that, is the letter ma. The thirteenth vowel is the letter o. The twenty-fourth letter, which is endowed with that, is the letter ṭa. The first of the first class is the letter ka. Having taken that, the twenty-fifth letter ta should be joined. The first of the third class is the letter ṭa. That should be divided by the second vowel. The twenty-eighth letter is ta. That is the fifteenth, which is honored by the letter aṃ and joined to the crown. The first of the third [class], the letter ṭa, together with ra below, is endowed with the second vowel, the letter ā, and should be joined with the twenty-ninth letter ṣa. The thirty-first is the letter ra. That should be joined with the second vowel. The thirty-second letter is la. The thirteenth is the letter o; these should be endowed [with it]. The thirty-third letter, ga, is the sun (āditya) and should be endowed with ra. The fourth of the mātrās is the letter ī; it should be endowed with the twenty-fourth letter. The fifth of the mātrās is the letter u. The thirty-seventh is ma, and it should be joined with that. The thirty-eighth is the letter kha, and it should be joined with the second vowel, ā.
The forty-second is the letter sa, which is joined with ra below. The forty-third is bha, joined with the fifth vowel u. The forty-fifth is bha, which should be joined with the long second vowel ā. The fifth vowel is the letter u, which is the forty-sixth and should be joined with sa. The forty-seventh is the letter ra, joined with the second vowel ā. The fifty-first is the letter śa, with the fifth vowel u. The fifty-second is the letter pa, which should be joined with the second vowel. The fifty-third is the letter śa, which should be endowed with the thirteenth vowel o. The fifty-first is the letter śa, with the fifth vowel u. The fifty-second is the letter pa, which should be joined with the second vowel. The fifty-third is the letter śa, which should be endowed with the thirteenth vowel o. The fifty-sixth is the letter śa, which should be joined with the sixth vowel ū. The fourth of the semi-vowels is the letter va, which is joined with the second vowel ā and the fifteenth vowel, and is the fifty-ninth, to be joined with ṭa. The sixty-first is the letter dha, endowed with the second vowel. The sixty-second is the letter ra, joined with the third vowel. The sixty-third is the letter ma, which should be joined with the vowel e.
The sixty-fifth is the letter Gha. Vajrasattva should be joined with Ra below. The sixty-sixth is the letter Ja; it is joined with the third vowel. The sixty-seventh is the letter Na; it is joined with the second vowel. The sixty-eighth letter should be joined with Va. The seventy-first is the letter Ra. The seventy-fourth is the letter Ha; both are joined with the second vowel. The seventy-fifth is the letter Da; it is joined with the vowel U. The seventy-sixth is the letter Ma; it is joined with the second vowel and should be endowed with the letter Ra. The seventy-seventh is the letter Na; it should be endowed with the letter Dha. The seventy-eighth is the letter Ka; it is joined with the second vowel. The eighty-first letter is Pa; it is joined with the end of the fourth vowel. The eighty-second is the letter Ṣa; it is joined with the second vowel. Each phrase begins with Oṃ and ends with Hūṃ Hūṃ Phaṭ; this is the root mantra.
From the Ratnasaṃcaya, a commentary on the Śrī Cakrasaṃvara, this is the seventh chapter, on the extraction of the root mantra.
Having taught the heart mantra and the near-heart mantra in the sixth chapter, the eighth chapter is now presented in order to express the six armors of the six goddesses. Regarding the passage beginning: "Then, the union of all heroes within one's own self, the binding of the network of ḍākinīs..." and so forth.
"Self" (ātman) refers to one's own nature. The particle "and" (ca) is used here in the sense of "first," functioning as the final member of a compound. One's own samaya is the meaning of "self-nature"; therefore, it is one's own nature. If one asks what is the manifestation in the form of that self-nature: "The union of all heroes, the binding of the network of ḍākinīs." This is expressed in the neuter gender based on the hṛdaya (heart mantra), upahṛdaya (near-heart mantra), and the signs. "All heroes" refers to the twenty-four, such as Khaṇḍakapālin and the rest. Those who possess the perfect union with them are the "union of all heroes." The ḍākinīs are twenty-four. Their assembly is the "network of ḍākinīs" of the union of all heroes. Because it binds all of them together, it is the "binding of the network of ḍākinīs of the union of all heroes," which is the glorious Cakrasaṃvara. Because the mantras and the deities are inseparable, it is taught that the hṛdaya and upahṛdaya are also the binding of the network of ḍākinīs of the union of all heroes. To demonstrate that very point, the words "svāhā" and so forth are mentioned; by reversing and then teaching these secret mantras, they become clear. The "King of Knowledge" (vidyārāja) is the glorious Cakrasaṃvara with four arms up to a hundred thousand arms. His hṛdaya is unsurpassed. To express the upahṛdaya which is similar to the father mantra, the words "ṭpha" and so forth are mentioned.
This mantra should also be understood without error. One should recite the armor mantras of the six yoginīs, Vajravārāhī and the others, beginning with the words: "The syllables Vaṃ, Yoṃ, and so forth." These are the syllables Vaṃ, Yaṃ, Maṃ, Hrīṃ, and Phaṭ; they constitute the six-line mantra. Each of the lines should be joined with these six syllables respectively. The heart mantra of the Blessed Lady Vajravārāhī is to be taken literally: "Oṃ Vajravairocanīye," and so forth. For the purpose of reciting the secret mantras of the deities, regarding the passage beginning with "The four jewels upon the earth," because they are supreme, they are the "four jewels": the Blessed One’s garland mantra, the goddess’s root mantra, the heart mantra, the near-heart mantra, and the armor mantra. That which possesses the assembly of ḍākinīs is the Great Knowledge (Mahāvidyā) of the ḍākinīs, which is Vajravārāhī. The King of that Knowledge is the glorious Cakrasaṃvara; thus are the four jewels. From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara), this is the eighth chapter, on the extraction of the heart mantra, the near-heart mantra, and the armor of the six yoginīs.
In order to demonstrate the purpose of the mantras just correctly explained, it says: "Then, the supreme activities of the root secret mantra shall be explained in their proper sequence," and so forth. What are those activities? "Whatever exists in the three worlds, all shall be accomplished in an instant."
Thus it is said, and so forth. The purpose is as follows: this mantra is not intended for a single purpose alone; rather, it is taught to perform all activities. Furthermore, regarding the statement "all the nāgas," and so forth, these are fully accomplished. It is not that this mantra alone performs all activities; rather, it is explained in the Explanatory Tantra (vyākhyātantra) in order to definitively establish the ritual procedures: "O Goddess of Great Insight, listen to the accomplishment of the King of Knowledge (vidyārāja)," and so forth. Here, "Knowledge" (vidyā) refers to the Blessed Mother, Vajravārāhī, who is Insight (prajñā). Her "King" is the King of Knowledge, the glorious Cakrasaṃvara. Listen to the method by which that King of Knowledge generates the accomplishments (siddhi) and all activities. What is that? It is "the Lord of the Hoods," and so forth, because he is the master of the blazing jewel-hoods in all directions.
What is this Lord of the Hoods like? In the direction of Īśāna and so forth: in the east, kṣmāṃ kṣmāṃ; in the west, haṃ haṃ; in the direction of the Lord of Wealth (Vaiśravaṇa), hiṃ hiṃ; in the direction of Yama, hūṃ hūṃ; in the direction of the Pretas, kili kili; in the direction of the Rākṣasas, hili hili—some say bili bili; and in the direction of Vāyu, sili sili. In the direction of Agni, dhili dhili. This is the assembly from Pracaṇḍā up to Mahāvīryā. "Like a wheel through the knowledge of the wheel."
The mantra practitioner should understand the secret mantra. Interspersed with hūṃ and phaṭ, the object of accomplishment should be drawn in the center of the wheel. The wheel must possess the authentic characteristics; one should draw the supreme wheel in its entirety.
If one asks, "Does this alone perform all activities?" it is stated, "By reciting this secret mantra one hundred thousand times," and so forth. By reciting this mantra one hundred thousand times, the activities explained are performed; however, this does not mean that one must first hold [the wheel] and then recite it one hundred thousand times.
Regarding the phrase "climbing a tree, one goes wherever one desires": if one visualizes the wheel—which possesses the characteristics explained as being endowed with power—at the top of a tree, then by staying there, one will travel to wherever one desires, such as Mount Kailash and so forth.
Through this travel, all mantras are seized and so forth. In that regard, if a practitioner who performs summoning uses the root mantra situated in the center of the wheel in conjunction [with the visualization], it is accomplished; it is not accomplished by the mantra alone. Both of these should be understood from a sublime guru in the reverse order of the system if one desires the accomplishments (siddhi); otherwise, it will be in vain.
If one asks, "What is accomplished and by what means?" regarding the phrase "the garuḍa" and so forth: "one part of the face" refers to the face, up to the "tip of the face." Because it resembles the face of a garuḍa, it is the "garuḍa," meaning the one with the face of space. Its "drinking" is where the Blessed One resides; that is the "drinking of the garuḍa," which is the insight (prajñā) in the form of the letter E.
Its emission is the emanation; from the stage of emission, the vajra of the mind below it is shown to emit the drink of the garuḍa. "Peaceful" refers to the recitation. Its cause, the vowels and consonants, is also peaceful. The synthesis of those two is the synthesis of peace. That which is characterized by dependence upon those, and which is synthesized by the nature of method and insight, is the peaceful assembly of the emitter, the assembly of protection, the bodhicitta-vajra. Whoever practices and enjoys that is the supreme person, the sublime being. Whoever accomplishes those characterized by that explanation has the glory in the palm of their hand; that is, the excellence of the accomplishments of the explained actions, such that the applications of yantras, mantras, and tantras will be achieved. It is also stated in another source: "Moving with the face of a garuḍa." In that context, "face" means the mouth; because it is like a garuḍa, it is the "face of a garuḍa." Because the belly and wings of a garuḍa are high, it is therefore drawn upward by a face looking downward. At the time of the synthesis of peace, which has a similar shape, it is described as having the characteristic of ascending upward, moving in an inexpressible curved manner. That which possesses the phenomena of the aggregates, elements, sense bases, and so forth, as symbolized by the self, is the "mover." The emission from that previously explained mudrā is the bodhicitta. "Peaceful" is the self-arisen flower.
Its summary is the "Universal Collection," up to the point called "the spring season." Whoever practices that becomes the supreme among all sentient beings and will possess the power to perform actions. Performing those actions is taught as "universal conduct," and the third empowerment is also taught. Whoever attains the third [empowerment] will, through the power of the ācārya-yoga of the practitioner himself, become an ācārya and achieve [success], but not otherwise. In that regard, some applications explained in other tantras will be explained.
Regarding the phrase "charcoal from a charnel ground" and so forth: on the day of a bhūta, if one draws the name of the target within a wheel according to the ritual on a cloth from a charnel ground, whoever is struck by it will immediately fall and come under the power of the written purpose. Likewise, on that very day, if one writes the name or form of the target with the juice of fruitless jambū and the ashes of an extinguished charnel fire, and emanates it through mere concentration, they will be seized by a piśāca.
Similarly, if one writes the name in the heart of a wheel situated on a flat stone or a wall with charnel ground charcoal recited once on a night of a bhūta day, they will be seized by a great graha. The "branch of the atimuktaka" is the branch of the sahakāra tree; having taken one that has been placed toward the wind, if it is soaked in scented water for seven days, whoever is struck by it will come with the force of the wind. Having recited [the mantra] once over guggulu...
If one subdues with the wheel, all sentient beings will tremble. If one writes the name of someone upon the wheel with the left hand and covers it with the right, it will rouse those seized by poison. Likewise, even those seized by ḍākinīs will be liberated by water over which the mantra has been recited once. Having written [the mantra] on a myrobalan leaf with a pen made of karavīra, and having recited it once, one will go wherever one desires and effect the transference of the embryo. This secret mantra is called "the practitioner of desire"; by this, only a single aspect of the applications has been shown. "One should make the messengers of color and so forth" is explained as a branch of the wheel. In order to show what was not previously explained: "In the center of the expanse of space, one should meditate on the supreme maṇḍala of the moon. It is stirred by blazing rays of light and adorned with a garland of wheels. In its center, one should draw an eight-spoked wheel at the hub. Furthermore, one should draw a wheel radiating a garland of vajras. The vajras of body, speech, and mind, in the form of a circular maṇḍala, emit rays of light from one's own body, pervading the entire extent of space. The forms are white, red, and black; the colors are distinct for each. Thus, according to the ritual, the yogi should always act like the armor. In its center, the name of the person to be accomplished should be applied as desired. Outside the garland of vajras, one should arrange them stirred by blazing rays of light. This goddess is the great protection, the unsurpassed among all protections."
Fever, poison, and heat; the harm of ḍākinīs and grahas; Māras and vināyakas; kumbhāṇḍas and kaṭapūtanas—if these cannot move even a single hair of the practitioner, what need is there to mention their bodies? Seeing them like the reflection of the moon, they are dispersed in the ten directions. White is for pacification; likewise, black brings swift death. Red is for magnetizing; green always performs summoning. A king together with his army is certainly subdued by the yellow goddess.
From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the ninth chapter, the ritual procedure for the activities of the root mantra.
Having taught the activities of the Blessed One’s root mantra and the two yantras, in order to express his three bodies, it says: "Then, the three bodies shall be explained." The three bodies are body, speech, and mind; these are what shall be explained as the "three bodies." If one asks how they are to be explained, it says: "The glorious Heruka, the non-dual union," and so forth. Because all beings do not transcend the three bodies, they are explained as the glorious Heruka. Since he is established as being indivisible and one with the three bodies of the glorious Heruka, by that non-dual union of the glorious Heruka—or rather, by whoever expresses that—he is understood through the force of the meaning to be the three bodies, the Heruka. If one asks what is the purpose of teaching that?
Regarding the phrase "by the mere knowledge of which," and so forth: by the mere knowledge of the three bodies, the practitioner will perfect the form of the glorious Heruka. If that is so, its specific distinctions shall be explained. Thus it is said, "possessing the body of phenomena" (dharmakāya), and so on. "Phenomena" (dharma) refers to that which is taught in the passage: "In the supreme secret joy, the self of all abides eternally." Alternatively, it is the sublime bliss definitively connected to the cause of the aggregates, the isolated form of the sixteen elements, the thirty-seven factors of awakening, the limit of reality (bhūtakoṭi), and the [Buddhas] Vairocana, Ratnasambhava, and Amitābha. Since it is both the phenomena characterized by such descriptions and the body, it is the "body of phenomena" (dharmakāya). When the practitioner wishes to meditate upon those bodies of phenomena, at that time it is the "wisdom body" (jñānakāya); the nature of phenomena alone shall be explained, and that body is also taught by the words "secret" and so forth.
Because one enjoys (bhoga), it is "enjoyment" (bhoga); since that very body is the experience of the flavor, it is the "enjoyment body" (saṃbhogakāya). When the practitioner desires those enjoyment bodies, at that time the enjoyment of the self is shown; that enjoyment is also taught in the passage beginning with "to be drunk by the face of the garuḍa." Emanation after emanation is the generation of Buddhas. Because those emanations are manifold, it is the "emanation body" (nirmāṇakāya). Regarding the desire to accomplish those emanation bodies:
The phrase "the emanation shall be explained" is to be connected [to the context]. Furthermore, that emanation is the hero to be placed at the navel, as taught in the passage: "having the form of the Great Terrifier." Thus, it is taught that the meditator—the yogi—will attain that wisdom, enjoyment, and emanation, and will achieve the state of the yogi as the very nature of Heruka.
Alternatively, the "three bodies" (kāyas) refer to the three cakras. This is stated in the verse: "The three bodies in the center of the body are taught in the form of cakras." These three bodies reside in their respective fixed locations, as it is said: "In the birth-place, the heart, the throat, and the crown, the three bodies are situated." Among these, the emanation body is the birth-place cakra; the dharma body is the heart cakra; the enjoyment body is the throat cakra; and the great bliss body resides in the head. These cakras are characterized by their specific mantras and petals, consisting of lotuses with their respective petals.
Regarding that, the birth-place cakra has sixty-four petals; the heart cakra has eight petals; and the enjoyment cakra has sixteen petals. As it is also explained: "The first has sixty-four petals; the second is explained as having eight petals; the third should be known as having sixteen; and the fourth has thirty-two." This refers to the distinction of the petals. Together with the eight classes [of consonants], the primary class resides in the emanation cakra. The five letters endowed with the five vowels, along with ya, ra, la, and va, reside in the dharma cakra.
The Brahmā [cakra], together with the four neuter letters, is at the throat. As it is said:
"In the center of the emanation cakra,
It is completely surrounded by the eight classes.
The secret mantras are generated there,
As well as whatever else there may be.
Perfectly endowed with the five vowels,
And adorned with Ya, Ra, La, and Va,
It is called the dharma cakra,
Which delights the minds of those with bodies.
Perfectly endowed with the fourth part,
It should be completely surrounded.
Knowing the fourth of all the flavors,
The enjoyment cakra is correctly taught."
Following the description of the three cakras, the activities taught in other tantras shall be explained: "Listen, practitioners, as I explain the heart mantra of this secret mantra," and so forth. Since the mantra just explained is unsurpassed, it should be connected with the words, "Listen to the activity of the mantra called the heart mantra." It is stated, "By reciting the heart mantra, one will rise ten million leagues," and so on. For all these activities and the rest, one should understand the flesh of the seven births and the three bodies as they will be explained.
From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara), this is the tenth chapter: the ritual procedure for the activity of the heart mantra that accomplishes the three bodies.
Having described the activities by way of accomplishing the three bodies, in order to teach other activities even once those are accomplished, the eleventh chapter is presented: "Then, furthermore, it shall be explained," and so forth. If one asks, "What is it like?" [it is as follows]:
Regarding the passage beginning with "By merely showing which..." and so forth, the phrase "by which mere explanation, the accomplishments (siddhi) quickly enter" and so on is easy to understand. When it is asked where such a being, who is difficult to find within the three realms, is found, the passage beginning with "Whichever person has become fragrant with dust" and so forth distinguishes them by the specific quality of the fragrance arising from their dust.
Regarding the phrase "one who has had seven births" and so forth: that which possesses seven types of births is "one who has had seven births." This refers specifically to the births of a human being, and not to those born in other states such as asuras, hungry ghosts, or animals. If that is the case, one might ask, "What is the use of that?" In response, the passage beginning with "If one relies upon that" and so forth explains that once that seventh-birth being has been summoned and properly protected, the heart-gorocana—which is the color of saffron—is the supreme heart-essence (hṛdaya) of that seventh-birth being.
Gorocana is of a luminous nature that completely destroys all conceptual constructions (kalpa); it is the insight (prajñā) that is the singular body of the three realms. Having taken that which is non-dual with compassion connected to one's own mind, by means of a tilaka made from the mere sound of the secret mantra of the heart of Śrī Heruka recited seven times, whatever makes one distinguished within the three realms will perform all activities (karma). By this view, all outer and inner directions will be brought under control.
From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī Cakrasaṃvara:
This is the eleventh chapter, the ritual procedure for the seventh-birth [being]. Having described the characteristics of the seventh-birth being by means of the heart mantra, the twelfth chapter is now presented in order to describe the near-heart mantra as well: "Then the near-heart mantra, which accomplishes all siddhis, is explained," and so forth. These are the heart and near-heart mantras, ending with the terms "near" and "near-end." If one asks what it does: "Whatever exists in the three worlds," and so forth. The "three worlds" refers to the elaborations of body, speech, and mind, as well as the forms of the higher realms, the earth, and the subterranean regions. "The three worlds alone" means the three worlds; the meaning is that it accomplishes all those actions that are unperceived and desired, because it possesses mastery over whatever exists within those three worlds. What is that secret mantra, the near-heart mantra by which the actions are explained? One should recite "ṬHA" and so forth in reverse order. By reciting this mantra called the "Near-Heart of the Sage" one hundred thousand times, the wise will tremble. It summons gods, asuras, and nāgas; thus, the power of the samaya of the seventh-birth being is shown here as the near-heart mantra. This should be understood from the forty-second chapter on the ritual for the mantra, the yantra, and the descent of the object of accomplishment. From the Ratnakośa-nāma-pañjikā of the glorious Cakrasaṃvara, this is the twelfth chapter, the ritual procedure for the near-heart mantra.
Having taught the ritual of the near-heart mantra, in order to also teach the ritual of the armor, the thirteenth chapter is explained. Regarding the passage beginning with, "Then, the supreme ritual of the armor," this refers to the armor mantras. In order to show that the previously extracted [mantras] are equal to the near-heart mantra, the passage beginning with, "Whatever exists in the three worlds," is stated. Because this ritual accomplishes everything that exists within the three realms or within the mind, it is praised as being equal to the near-heart mantra. It is not the case that the rituals explained by the heart and near-heart mantras are performed through the application of the three bodies or the seven births. Regarding this ritual, the passage beginning with, "While reciting, on the path," is mentioned. If one asks how this collection of rituals is to be performed, the passage beginning with, "Whichever sense-faculties become the path," is stated. The path of the sense-faculties is the gateway of the sense-faculties. The activity characterized by their thorough engagement is the path of the sense-faculties itself. Whichever [faculties] they become and attain, those are the nature of the five nectars. "Supreme" means preeminent. The application of meditative equipoise is the definitive application of the five Buddhas; through that supreme application, all of these become the nature of the five Buddhas as nectars. Through the nectars having become thus, the secret should be realized. From the Ratnākara-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the thirteenth chapter, the ritual of the ritual of the mantra.
Having explained the definitive activities of the samaya through the heart mantras, near-heart mantras, and rituals, the fourteenth chapter, which teaches the practice for the sake of accomplishing the activities of practitioners, is now presented. It begins with the words, "I shall explain that practice," and so forth. It is called "practice" (sādhana) because the practitioner accomplishes it and acts in accordance with their intellect. To demonstrate its specific characteristics, it says, "That by which the practitioner is accomplished." This means the practice by which the practitioner becomes a certain and suitable vessel. "I shall explain" is the intended meaning.
If that is so, one might ask, "What is it?" To this, it says, "The yoga of the donkey form, I," and so forth. The "donkey form" refers to the face of a donkey. This is like the expression "burnt cloth," where the term for the whole is applied even when only one part is burnt. Therefore, according to the Śrī Cakrasaṃvara, one is a donkey by virtue of the mere face of a non-different form; thus, the nature of the yoga of the donkey form is explained.
If the glorious Heruka is exceedingly beautiful, one might ask, "Why is he transformed into an ugly face?" To this, it says, "In order to reverse the force of the mind," and so forth. The "force of the mind" refers to its swiftness. The purpose is shown to be in order to reverse that.
Because the mind is all-pervasive and difficult to turn back, the yogi will not achieve accomplishment. Therefore, since one who has not accomplished [the practice] cannot achieve it, the actions explained in the Vidyā [Tantra] will not be fulfilled. Consequently, in order to accomplish oneself and to turn back the force of the mind, the meditation on the form of a donkey is taught.
If one asks, "Is the Blessed One alone the one with the donkey face, or are others as well?" it is said: "The yogi is the form of Lāmā; likewise, the ḍākinī, Khaṇḍarohā, and those with the forms of desire," and so forth. Here, the yoginī is the Blessed Lady Vajravārāhī. Lāmā and the others are indeed fully accomplished. Therefore, the four ḍākinīs and Vajravārāhī—these five, together with the great glorious Cakrasaṃvara, make six who are taught to have the donkey face.
To show the specific characteristics of the ḍākinīs: "Meditating on blood, marrow, and the trident" refers to the ḍākinīs; the meaning is that they hold a sword or a trident. Although six faces have been explained and thirty-one have not, one might ask, "Will accomplishment be realized by that much alone?" One should engage with the thirty-seven faces as taught in the Explanatory Tantra (vyākhyātantra). The lion-faced ones are the wheel of the body (kāyacakra); the peacock-faced ones are the wheel of speech (vākcakra); the garuḍa-faced ones are the wheel of mind (cittacakra). The four, such as the crow-faced one, have the faces of a crow, an owl, a dog, and a pig.
The goddesses of the intermediate directions, such as Yamadāhī and the others, have the faces of buffaloes. One might ask: "Even if that is so, what is accomplished by actually making these faces in the form of donkeys?" To this, it is said: "Exhausted life and long life," and so forth. When the accomplishment is achieved, the yogi not only perceives exhausted and long life—knowing "this is long" and "this is short"—but also comes to know [the nature of] dogs, elephants, donkeys, oxen, sheep, and so on. If one asks what the purpose of knowing that is, it is said: "He becomes a person who has achieved that; it is the sequence of seven births," and so forth. This concludes the fourteenth chapter, the Ritual of the Donkey Form of Śrī Heruka, from the Ratnākara-nāma-śrī-cakrasaṃvara-pañjikā.
Having explained the ritual practice for achieving the state of a "seven-birth" person, the fifteenth chapter on Symbols is now presented. This is for the purpose of generating confusion in those who claim to be learned in worldly terms but are not the domain of yogis of other tantras; for the purpose of establishing a mutual convention among the yogis of the Cakrasaṃvara; and for the purpose of examining those who possess the pride of being yogis of the Cakrasaṃvara. Regarding the verse: "Then, whoever understands the symbols among all the vows," [it refers to] time, place, and ground; vowels and consonants; the Vīreśvarī; the Guru-tantra-nāma-cakrasaṃvara-nāman; the Saṃpuṭodbhava; and so forth.
The Vajraḍāka, the Sarvabuddhasamāyoga, and the Yoginīsaṃcaryātantra are all the saṃvara (vows). It is taught that the purpose of expressing these signs is that any yogi who understands the signs in their proper manner will certainly achieve accomplishment. If one asks what is taught that possesses such a purpose, the term ṭā is mentioned; ṭī is the sign used when explaining a man or a woman. Understanding what is explained in that way is the "sign." One should look at all [the signs] in the same way.
From the Ratnākara-nāma-ṭīkā on the Śrī-Cakrasaṃvara, this is the fifteenth chapter, the chapter on the signs of the syllables.
Having taught the signs, in order to explain the characteristics of the samaya (vows) regarding what is to be consumed and what is not to be consumed for the sake of the empowerment and so forth of the practitioners who engage by means of those signs, the sixteenth chapter is to be explained. Thus it says: "Then, the secret consumption and non-consumption are explained," and so forth. The "secret" refers to the three: body, speech, and mind. Because they are the characteristics of bodhicitta, they are "consumption and non-consumption." The term "practitioner" has the meaning of explaining the samaya of the practitioner. If one asks where such consumption is found, it says: "Consumption resides in the supreme samaya," and so forth. Samaya refers to the hundred families. The supreme among those families is the "supreme samaya," which is the assembly of the seven yoginīs.
This teaches that one finds the distinction of the food to be consumed within that supreme samaya of the Yoginīcakra. If one asks, "Should such food be given to just anyone, or should it not be given?" the text says: "It should be given to those who possess faith." This distinction means that it is to be given to those who possess faith and devotion, but not to those who lack faith. Setting aside for a moment the matter of giving to those with faith, who is the Yoginī who possesses the food? Regarding the phrase, "She who is clear through the division of colors," the "secrets" are the divisions of color, such as white, blue, and so forth, which are to be explained; this should be connected with the preceding words. Furthermore, who is she? Regarding the phrase, "The non-dual Yoginī of the heroes," the "heroes" are seven: Vajravārāhī and the six such as Vajrasattva, Vairocana, and so on. Their non-duality is the nature of a form that is not other, yet they are distinguished as "non-dual heroes" by virtue of being female. Therefore, because she is also a hero, she is the "non-dual hero Yoginī." If one asks, "What is the use of the division of colors?" the phrase, "By the mere knowledge of whom," is easy to understand. Regarding the phrase, "Born from her family lineage," there are six [heroes] including Vajradhara, and seven including Vajravārāhī. The five Buddhas, such as Vairocana and so on, are the five families. Other than those, there is the family of Vajrasattva, which is a different family; one born from that family lineage is "born from the family lineage."
Tantra
In this [tantra], it is taught that the goddesses alone are the families. Therefore, it is taught as follows: "The families of the yoginīs, those seven, I have explained." Regarding this, the yoginīs are exclusively of seven families; they are divided into six according to the forms of the Tathāgatas. Having shown their respective colors, in order to teach the yoginīs by way of their conduct and mudrās, it says: "Always delighting in left-handed conduct," and so forth. The primary activity of the left hand and left foot is "left-handed conduct." The mudrā that accords with the family is one's own mudrā, which refers to colors such as white, yellow, and so on. "Confounded by both mudrā and color" means confounded by the color of one's own mudrā. Regarding the phrase "the syllables of the knowledge of the family," the knowledge of the family refers to the person of the family. Their "syllables" are their names; whichever family a person belongs to, the specific samaya of that [family] arises. Alternatively, "the syllables of the knowledge of the family" refers to the seven families just explained. The knowledge is also those seven. The "syllables of that knowledge" or "syllables of the knowledge" are the six words from OṂ and HA up to PHAṬ. All seven of those are the syllables of the family. The six words from OṂ and BAṂ up to PHAṬ, together with the seventh syllable of dissolution, are the syllables of the knowledge of the family.
Because it is both awareness (vidyā) and the syllable of the family, it is the "awareness-syllable of the family." Whatever the family may be, its respective seed-syllable is the "syllable of its own family." It is taught that one should recognize a woman as a yoginī by means of joy, anger, or sudden speech. Regarding the phrase "her own color and true family," the colors such as white, red, and so forth have already been explained. "Binding her own mudrā" indicates the mudrā that accords with her own family. "She speaks the words of her own family lineage" means that she speaks in order to make Vajrasattva understand her other family. "Any woman who walks from the left" refers to one who first moves the left foot; she is called "one who walks from the left." "Always left" refers to those women who are mudrās who always walk from the left of others; one should understand that such women are yoginīs.
From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the sixteenth chapter, the ritual for examining the characteristics of the seven yoginīs.
Having explained the characteristics of the yoginīs, the seventeenth chapter is presented in order to state their names. Regarding the phrase "Then, the yoginīs difficult to find," and so forth: the yoginīs are the thirty-two ḍākinīs, such as Pracaṇḍā and the rest, and the four, such as Khaṇḍarohā and the rest.
For that which is difficult to find and is not the sphere of experience even among the yoginīs and ḍākinīs, its name shall be proclaimed. It is also taught as a samaya that is not the sphere of experience even for the yoginīs and ḍākinīs. Furthermore, the intended meaning is as follows: the Blessed One, having equalized the vowels and consonants, is the nature of the sixty-four petals. In that regard, because each [petal] seizes the form of the nine limbs, they become non-dual with the heroes. Therefore, it is said that they are difficult to find even for the yoginīs. As it is said: "Furthermore, the ritual arrangement to be performed: the non-dual heroes and yoginīs, the glorious deity Cakrasaṃvara-vajra, completely surrounded by sixty-four [deities]," and so forth. If one asks, "How do the parts of time arise as the characteristics of form?" it is stated: "They truly arise from the five amṛtas," and so forth. The five amṛtas are the five [wisdoms], such as the mirror-like wisdom and so on. Alternatively, the symbolic dharma is the five amṛtas. Attachment to the welfare of sentient beings is blood. The non-arising of phenomena is semen. The equality of all phenomena is flesh. Abiding in equality is water. The non-apprehension of distinctions is excrement. Alternatively, they are the five amṛtas of the accomplished beings who possess the samaya. Their arising in accordance with their respective families is what is meant by "truly arising from the five supreme amṛtas"; thus, there is no fault.
Alternatively, one may proceed as in the previous section. If one wonders, "What is the purpose of searching for their characteristics and names?" the text states: "Arising perfectly from the five nectars," and so forth. This refers to the five nectars, or more specifically, the supreme or preeminent among the five nectars. Because they possess the essence of the five nectars and are the source from which bodhicitta perfectly arises, they are sought out so that they may become suitable vessels for the bodhicitta characterized by the seven births as explained in the eleventh chapter. This is not the case for others who lack the fortune for accomplishment and possess various defects.
Furthermore, as for the phrase "supreme insight," what is it? Regarding the passage beginning with "Yamī, Bhairavī," and so forth, these are the seven ḍākinīs: Yamī, Bhairavī, Vāruṇī, Bhīmākārī, Caṇḍākṣī, Prabhāvatī, and the seventh. Alas, these are not among the thirty-six yoginīs of the most wondrous maṇḍala, nor are they found among the letters of the Dharma and so forth. Since they are not taught individually, nor do they appear to be included within groups of five, ten, or more, one might reasonably ask what they are and why they should be taught. Yet, they have not been taught here. Therefore, in order to realize those seven distinguished yoginīs who have not been realized, one should follow the explanatory tantra (vyākhyātantra). In that tantra, the twenty-four [yoginīs] are subsumed into six groups.
Regarding that, it shall be explained: "The principal of the vajra maṇḍala is the ḍākinīs; the six yoginīs should be known as they are spoken in the language of the barbarians." Thus it is said, and so forth. In that regard, the symbolic terminology of the barbarians is as follows: Cakravartinī and Mahāvīryā—these two ḍākinīs—are expressed by the symbol "mātṛ" (mother). Suvīrā and Mahābalā are called the "leaders of the family." Those two, mātṛ and the leader of the family, are called Yamamathinī and Rūpiṇī. In this way, all others should also be understood.
Khaṇḍarohā and Cakravarmiṇī are the goddesses of the family. Cakravegā and Khaṇḍarohā are the "child-women" (bālikā). Those two are also the "terrifying cum-bi-ka" (trāsakāriṇī cum-bikā). Hayakarṇī and Kākāsyā are the "innate form-women" (sahaja-rūpiṇī). Śyāmādevī and Subhadrā are the "vow-practitioners" (vratinī); those two are also the mountain goddesses, the lāmās. Vāyuvegā and Surābhakṣī are the "piśācīs" (flesh-eaters). Dharṇapālī and Mahābhairavā are the "stout Īśvarīs"; those two are also the Bhairavīs. Those two are also called the "aversers" (vāraṇī). Laṅkeśvarī and Drumacchāyā are the Khaṇḍarohās. Sthirabuddhi and Kharvarī are the "daughters" (putrikā); those two are also the "conduct-women" (caryā) and the "with-children" (sabāla). Prabhāvatī and Mahānāsā are the ḍākinīs. Caṇḍākṣī and Caṇḍā is the ḍākinī and the "supreme Īśvarī."
The ḍākinī and the Noble Īśvarī are Vasurā and Avartā. The seventh is Mahāvīramatī, who is Tvaritā. In this tantra, no more than seven are taught, though the one called Saṃcālinī is also mentioned. Therefore, there are seven families of yoginīs. In order to show that those possessing the specific characteristics will bear those names, and to demonstrate the names and characteristics that precede them, the text mentions "Rūpiṇī" and so forth. Rūpiṇī, Cumbikā, Lāmā, Parāvṛttā, Sabālikā, Avartā, Tvaritā, and the seventh, the ḍākinī—these seven are correctly summarized.
Regarding the phrase "the non-dual hero should be gathered," the "hero" refers to the practitioner of the glorious Cakrasaṃvara. He is the hero who practices the non-dual accomplishment; thus, the non-dual is taught. One should understand the mudrā characterized by the previously explained features, which is extremely clear. Furthermore, in order to indicate those [heroes] by means of mudrās, the text mentions "skull" and so forth. The skull, axe, fangs, wheel, vajra, banner, and the khaṭvāṅga itself—which causes universal terror—is the "terror-maker." These are the mudrās. What is not explicitly mentioned here is the eighth mudrā, the conch, which is gathered [as before], like Kākāsyā and the others. The three who dwell in the sky, on the earth, and underground, and the four beginning with the ḍākinīs—these...
They are subsumed within the three cakras together with the lotus of insight. The seven yoginīs are the yoginīs of all the cakras; "transformation of form" refers to their appearing in other forms, such as the forms of Caṇḍākṣī and the others. From the Cakrasaṃvara-pañjikā titled Ratnakośa, this is the seventeenth chapter, concerning the complete transformation, the hand implements, and the mudrās.
Having described the signs, mudrās, and so forth of the yoginīs of the families, the eighteenth chapter is now explained in order to demonstrate their characteristics. Thus it is said: "Furthermore, that which is to be explained, the characteristics of the ḍākinīs," and so forth. If one asks what the purpose of this is, it is said: "Whichever [yoginī] by whichever [signs]," and so forth. This means that by whichever characteristics a yogin may know and realize without doubt that the yoginīs abide in the samaya, those characteristics are what shall be explained.
If one wonders, "If that is so, then speak of them quickly," it says: "Any woman who is reddish-yellow," and so forth. "Reddish-yellow" refers to a white complexion pervaded by red. The terms "woman" and so forth are easy to understand. Because those ḍākinīs are of the nature of the seven ḍākinīs just described and are members of the maṇḍala, they are Śrī Heruka himself; thus, there is no contradiction in using the genitive case of identity (sāmānādhikaraṇya). Regarding the phrase "arisen from the family of Heruka," the "family" here is Śrī Heruka, which serves to exclude other families.
Because it arises from that family, it is the "arising of the family," which refers to the yogi of glorious Cakrasaṃvara. Although "arising of the family" would more appropriately be expressed as "from the family," it is taught as "arising of the family" as a conventional term because the fifth case of separation was not employed. Furthermore, by means of the instrumental case, the characteristics of the seven yoginīs—who condense the three bodies and possess the secret nature—are taught for the benefit of those who have arisen from the family of the practitioner; this is the meaning. "All ḍākinīs" refers to all yoginīs. Their characteristics are the characteristics of the ḍākinīs. The chapter that expresses this is the "Chapter on All ḍākinīs." From the Precious Collection of Commentaries on the Difficult Points of the Glorious Cakrasaṃvara, this is the eighteenth chapter, the Chapter on the Characteristics of All ḍākinīs.
Having explained the characteristics of the ḍākinīs, the nineteenth chapter is now explained in order to state the characteristics of the lāmās: "Furthermore, that which is to be explained next..." and so forth, beginning with "the practitioner’s lāmās, their characteristics." Although they are a single group of six, they are intended to have a plural ending, just like the ḍākinīs. Therefore, it is said, "of the lāmās," and so on. If one wonders what those characteristics are like, it says, "the authentic limbs," and so forth; they are the actual limbs and minor members, not merely a verbal description. If one asks what the result of that is, it says, "by which the practitioner shall be known," and so forth.
If one asks, "By what characteristics are these lāmas defined as branches?" the intention is that these characteristics should be known so that the yogi may understand them. If one wonders, "If that is so, then explain them," the passage beginning with "That which is the natural maṇḍala, appearing perfectly circular," and so forth, is easy to understand. Since there are two lāmas of the second ḍākinī and the third lāma of Rūpiṇī, the specific distinctions must be explained. Regarding the phrase "the color of Vajravārāhī," this teaches that the characteristics to be shown are those of the lāmas born of the Vajravārāhī family, and not of others.
From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī Cakrasaṃvara, this is the nineteenth chapter, which teaches the characteristics of the lāmas. Having described the characteristics of the lāmas, the twentieth chapter is spoken in order to teach the signs: "Furthermore, that which is to be explained next are the signs of the ḍākinīs," and so forth. If one asks, "What is the result of that?" the passage beginning with "By which one will correctly know brother and sister," and so forth, is stated. By which sign is the "brother" correctly and well known as a practitioner of the samaya of the glorious Cakrasaṃvara, and the "sister" as being similar to him? This should be connected to the phrase, "That by which realization is explained shall be told." If one asks, "What is that sign like?" the passage beginning with "Whoever shows with the left hand," and so forth, is easy to understand. "Whichever messenger woman it may be..." [and so on].
This indicates that any yoginī, whether her characteristics have been explained or not, should be recognized through mutual signs. From the Ratnāvalī-nāma-pañjikā of the Śrī-Cakrasaṃvara, this is the twentieth chapter, on the signs of the left hand.
Having explained the actions of signs, the twenty-first chapter is now to be recited in order to demonstrate the characteristics of the mudrās:
"Then I shall explain the characteristics of the great secret that has been taught," and so forth. "Taught" means that it is seen. The "great secret" refers to the limbs and minor members characterized as will be explained. Their mudrās are also the "great secret" because they are inseparable from it. The "great secret" is the great secret of seeing the characteristics of the mudrās of the limbs. If one asks what those characteristics are like: "Whichever woman touches the crown of the head," and so forth, is easy to understand. If one asks to whom those mudrās belong: "Of the ḍākinīs" has the sense of the genitive case. If one asks what is to be done with them: "They will always be seen," and so forth. If one asks what the purpose of seeing them is: "The secret ones will be seen." This means that the yogins and yoginīs, who are the secret nature, will be seen and realized by the yogin.
From the Ratnāvalī-nāma-pañjikā of the Śrī-Cakrasaṃvara, this is the twenty-first chapter, on the ritual of the mudrās of the limbs that are seen.
Having explained the characteristics of the mudrās of the limbs of vision, in order to demonstrate the distinctions of the mudrās of the limbs, the twenty-second chapter is presented. Regarding the passage beginning, "Furthermore, that which is to be explained: the distinctions of the mudrās of the limbs," the distinction from the mudrās of the limbs of vision is that the mudrā of the limbs is the sign of the samaya through the activity of those limbs. Its characteristic is that which is characterized; the meaning is that the characteristics of the mudrās of the limbs are to be explained. In order to explain the purpose of the mudrās, it says, "By the mere knowledge of which, even a sister [is distinguished]," and so forth. If one asks what those mudrās are, it says, "By showing a single finger, [it is called] the firm ground," and so forth. Regarding the phrase "all yoginīs," the genitive case is treated as a nominative ending. Thus, it is shown that "all" refers to the mudrās of all yoginīs, and not just one or two. Having briefly shown the mudrās, if one asks what their distinctions are shown here, it says, "The boat-goer," and so forth. "Boat" is a specific type of vehicle. It brings about the attainment of the desired goal for a traveler. Because it is similar to a vehicle, it is a "vehicle," meaning one travels comfortably to the places of the heroes and heroines, such as the pīṭhas and upapīṭhas. Because one travels by that boat, it is the "boat-goer," which is its mudrā. Its name is "Rab tu grub pa" (Siddhā). It is not the name of the mudrā shown in the third chapter.
This mudrā just described is also taught as the "swimming mudrā," which demonstrates the specific distinctions of mudrās. To show that the "specific mudrā" is not the only one, but that there are others as well, it says: "The eye-mudrā is the two index fingers bent," and so forth. The shape of the eyes is the eye-mudrā. If one asks what that is like, it says: "The two fingers should be made into a needle." Regarding this, the two are the index and middle fingers, which are to be made into a needle. If one asks whether that alone constitutes the eye-mudrā, it says: "The index finger should be slightly bent." Because the index finger is slightly bent and resembles an eye, it is the eye-mudrā. From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Śrī-Cakrasaṃvara), this is the twenty-second chapter on the specific ritual of the limb-mudrās.
Having taught the specific distinctions of the limb-mudrās, in order to describe the characteristics of the ḍākinīs, the twenty-third chapter is presented: "Furthermore, that which is to be explained next are the characteristics of the ḍākinīs," and so forth. In this tantra, "space" (kha) is taught as the specific quality of the person. "Going" ('gro) is the bliss established in the world, which is the bliss of the person. Therefore, "ḍāka" is the resultant Vajradhara. Vajrasattva is the nature of the master of the sixteen molten elements. That which possesses the mastery of that is the "element" (khams), which is to be called a ḍākinī. As it is said: "The ḍākinī is the union."
The Vajra Ḍākinī is the supreme bliss. The elements themselves are the Ḍākinīs; the verbal roots such as bhu and so forth are not established in this expanse. In order to demonstrate that very point, it is further said: "Those are of sixteen types; the elements are explained as the Ḍākinīs. The verbal roots such as bhu and so forth are not [the meaning]; that is not the manner of the Ḍākinīs." Thus it was said.
Regarding that, if one were to establish the terms ḍāka and ḍākinī [literally] as "one who goes in the sky," and if the verbal root for "going in the sky" did not exist, then how could the accomplishment of going everywhere in the sky—the state of a Ḍākinī—be achieved? To this objection, the Venerable One replied: "The word 'sky' also expresses the mind. Just as the sky provides space for everything, the mind also provides space; therefore, it is called 'sky,'" and so forth, as the Blessed One taught.
The purpose of the characteristics and names shall now be explained: "By whom the messengers, the heroes, and the sisters of the heroes are known," and so forth. The meaning is that the characteristics by which the heroes—the yogins of Cakrasaṃvara—and the yoginīs and Ḍākinīs are recognized as being devoted to the samaya, those characteristics shall be explained.
If one asks, "How is one to recognize devotion to the samaya?" it is said: "Whosoever is devoted to the samaya, the earth is the enjoyment of the heroes." This means that the Ḍākinī who possesses the samaya and the hero should enjoy the "earth," which is the action-mudrā (karmamudrā). If one asks, "How should one enjoy her?" [the text continues:]
Regarding the phrase, "Taking the ground as the foundation," the "ground" refers to the mudrā to be explained. The "foundation" is the place of play. As for "the yoga of the vow," it refers to the practice of the samaya of perfect union as taught in the treatises on desire. Thus, the section on what is to be consumed and what is not to be consumed is taught in the sixteenth chapter. Furthermore, "the yoga of the vow" should be understood as the defining characteristic of the glorious Cakrasaṃvara.
In order to demonstrate the vow, it says, "One should look with the reverse," and so forth. "The reverse" means looking to the left, looking sideways, and so on; through these, one should realize the characteristics of external desire. From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara), this is the twenty-third chapter, the ritual of the characteristics of the ḍākinīs.
Having described the characteristics of the ḍākinīs, the twenty-fourth chapter is now spoken in order to describe the verbal symbols. It says, "Furthermore, that which is to be explained is the language of the symbols of accomplishment," and so forth. These are the verbal symbols that cause confusion for ordinary beings. To demonstrate the purpose of explaining them, it says, "By which the certainty of brother and sister is known," and so forth. Having shown the purpose, in order to state their names, it mentions "the boat-gone, the honest speaker," and so on. From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara)...
This is the twenty-fourth chapter, the Ritual of the Symbolic Language of Speech.
Having explained the symbolic language of words, in order to explain the ritual for teaching the secret of the root mantra, the twenty-fifth chapter is now to be recited:
"Then, for the one who desires all goals..." and so forth. The "goal of all sentient beings" refers to the goal of all applications, such as the state of Buddhahood and so on. That which possesses the desire for that is the "one who desires all," namely the Blessed One, Cakrasaṃvara. The mantra will become clear to the yogi who possesses that yoga, or to him.
If one asks what that mantra is like: "Appended to the end of the eight to be concealed," it is said. The "end of the eight" refers to the end of the eight phrases. At the end of each individual phrase, the syllables hūṃ hūṃ and phaṭ phaṭ are appended. Because it is both a concealment and the end of the eight, it is "appended to the end of the eight to be concealed." By being thus, it becomes clear.
If one asks for what purpose the end should be concealed: "For sentient beings of inferior inclination," it is said. "Inferior inclination" refers to those who have an inclination toward actions such as killing and expelling; to them it is said thus. It is concealed for those sentient beings of inferior inclination, but not for those whose nature is to desire the welfare of all sentient beings.
If one wonders with what intention the Blessed One conceals the mantra, he says: "For sentient beings who are ignorant of the evil path," and so forth. "Evil path" refers to those who are unsuitable vessels, such as sentient beings who have severed the continuum.
Those who lack the thorough knowledge of how to be sustained by mantras, tantras, and so forth, and who contemplate what should not be done, are of an evil disposition and possess minds that do not understand. Therefore, the meaning is that this mantra should be concealed with effort from those whose minds are connected to such an evil disposition. If one asks, "In whom will these mantras become clear?" they will become clear to that very person who desires all things, but not to others of evil disposition. If one asks, "Should the end of only the eight-line [mantra] be concealed?" regarding the passage "The ends of all the heroes and yoginīs were not spoken," it is taught that the ends of the mantras of the heroes and yoginīs were also not spoken and were not made clear.
What is that mantra whose end is concealed? It is stated as "Oṃ namo bhagavate vīreśāya" and so forth. The application of the concealment of the end is to be understood for each individual word, such as "Oṃ namo bhagavate vīreśāya hūṃ hūṃ phaṭ." From the Ratnākara-nāma-mañjuśrī-mūlatantra-pañjikā (The Jewel Collection Commentary on the Difficult Points of the Glorious Cakrasaṃvara), this is the twenty-fifth chapter, the ritual for concealing the root mantra.
Having taught the ritual of the characteristics of the concealment of the root mantra, the twenty-sixth chapter is now explained in order to demonstrate the greatness of this very mantra. Thus, the passage beginning with "Furthermore..." is stated. In order to demonstrate the reason why, having known and accepted this mantra, one should not hold to other mantras, it is stated: "By the sequence and the reverse of the sequence, the messengers truly abide," and so forth.
When one possesses [these], it is yoga. Just as with the syllable OṂ and KARA KARA, KHAṆḌAKAPĀLI HŪṂ HŪṂ PHAṬ, and so forth, this is the perfect collection of the mantras of the twenty-four heroes. Reversing the sequence from that order of the heroes' mantras is the "reversal of the sequence." By that sequence of reversal, the mantras of one's own name and the twenty-four female messengers are the mantras of the heroines, such as OṂ PRACAṆḌE HŪṂ HŪṂ PHAṬ and so forth. This is for the purpose of abandoning mantras that do not belong to the families of others. If one wonders what kind of mantras these are that are preeminent through such following: "Bestow the accomplishments of above and below," and so forth. "Below" refers to the subterranean realm. "Above" refers to the sky; from these two, the middle should also be understood. According to the application of those—above, below, and the middle—they are the accomplishments of the Sky-farers and the Subterranean-farers; thus, they are the accomplishments of above and below. Because they bestow those, the meaning is "bestow the accomplishments of above and below." If one asks where those bestowers of accomplishments are to be seen: "My messengers follow," it says. "My messengers" refers to the messengers of oneself; the nature of the bell, one's own mudrā Vajravārāhī, is one's messenger, the consort of glorious Cakrasaṃvara. The intention is that all of those are found to have entered into the very nature of the root.
Because they follow after that, it is taught that they bestow all accomplishments (siddhi). If one asks how this is taught: regarding the passage beginning with "seeing and touching," seeing them is thorough knowledge; touching is the act of enjoyment, and the meaning is that through these, accomplishments are bestowed. It is not only by seeing and touching; rather, in order to show others, it says "kissing and constant embracing," and so forth. If one asks where they are accomplished, regarding the passage beginning with "especially in the yogic abodes," the meaning is that the yogi should practice the specific actions of bliss and so forth at the gates of all the channels (nāḍī) in the yogic abodes, such as the throat, the cheeks, and so on, exactly as they are situated. If one asks what those are, regarding the passage beginning with "as long as the yogic assembly," when one applies oneself to the accomplishment of the three bodies (trikāya), that yoga is the application of passion. Their "assembly" is the yogic assembly. As long as they exist, one should apply oneself. The intention is that there is no fixed number for this. If one asks why they are applied, the passage "it is explained that they produce all accomplishments" means that they should be applied by those who desire accomplishments. If one thinks that they might not be effective in certain contexts, the passage beginning with "all truths should be given" follows.
Because everything is meditated upon as true and appears individually, generosity is that which accords with the nature of those truths; it is not merely that which accords with the [external] object. To demonstrate this, it is said: "Otherwise, never." If one asks who are those female messengers (dūtī) who explain the path, it is said: "Mother, daughter, sister," and so forth. Why are those who engage in worldly conduct through the falsehood of phenomena not to be approached, and why are sisters and the like taught to be messengers? Regarding the phrase "To whom the mantra is always given," there is no contradiction whatsoever in the fact that she to whom the mantra is given is the messenger, rather than [the messenger] being defined by a biological connection. In that regard, through the connection of the mantra, the guru’s mudrā is the "mother." One who listens together is the "sister." One to whom one’s own dharma is taught is the "daughter." One given by the guru is the "wife." To demonstrate the messengers to be relied upon at the time of service, it is said: "I shall explain the samayas that are difficult to find," and so forth. Because they are made equal, they are "samayas" (pledges), and there are eight of them. Because they cause equality, they are "samayas," which are the characteristics. These samayas that have become thus are "difficult to find in the Yoga Tantras," which should be connected with the preceding words. To first demonstrate their characteristics, it is said: "Men and women walk from the left." Here, "left" refers to the left foot. If a woman or a man is walking, they go from the right side.
One should understand those signs which indicate and serve as the causes for those accomplishments. If one asks what those signs are: "There is no other application than Heruka." This means that there is no application of another deity other than Heruka. Because it is applied to one's own form, one should realize that there is no application of a deity other than Heruka. By this defining characteristic of the explanation, the ācārya and the mātṛs of yoga are indicated. Yoga is the complete perfection of the three cakras according to the stages of clear realization. Because they protect that, they are the "protectors of yoga," which are the eight mātṛs characterized by the explanation of Kākāsyā and the others. If one asks by what they are indicated: in this tantra, regarding the term "practitioner," it is taught that they are indicated by a practitioner who has become excellent and authentic according to the manner of this tantra, and not by anyone else. If one asks whether, having known them, they are to be disparaged: "One should not despise them, nor should one abandon them." In this and the following, the word "and" (dang) is used for emphasis. The intention is that one should make offerings according to one's ability through faith. If the ācārya, who is none other than the glorious Cakrasaṃvara, is to be worshipped for a time, why are the mātṛs worshipped? Regarding the passage: "The eight messengers, Kākāsyā and the rest, increase devotion through aspiration," and so forth, it is the yoginīs themselves, characterized by the explanation, who are the objects of worship; the specific words "other than" indicate that it is not others.
Therefore, "one should not desire union with other goddesses out of lustful delusion." Regarding this, "other goddesses" refers to those other than the eight who possess the previously explained characteristics. One who engages in union with them is "deluded by desire," and it is taught that such a person is not a vessel for accomplishment. How should they be worshipped? Regarding the phrase "non-dual and unimpeded": "dual" refers to the division into two, namely, "this is insight" and "this is method." Attachment is merely the conceptualization and enjoyment of these as distinct. One should worship them without impediment in such a way that they do not become dual. Regarding the phrase "one should practice the conduct of the samaya": practicing any of the five samayas is the "conduct of the samaya"; this is the specific qualification of "how it is." In order to demonstrate the eight samayas, the text says "the conduct of women" and so forth. The goddesses possessing the explained characteristics are the "women." "Conduct" is the action. "Churning" is the completion of accomplishment. "Brahmā" is the perfected result. "Conduct" is the protection of that. "Concentration" is abiding exactly as it is through meditating on suchness. "Without anger" means not engaging the sense faculties. "Conduct of all tantras" arises from the root path; these are the eight samayas. Because the agentive case is not the primary factor, "churning" and "concentration" are placed first. In meaning, they are treated as having the seventh case ending.
In order to demonstrate the samayas to be adopted as explained, it says, "The practitioner should always know," and so forth. These eight samayas should be known by the practitioner "always," meaning repeatedly; they are not to be forgotten. Why is that? Regarding the phrase "abiding in the practice," it is because practice is the manner of the cause for accomplishment, and one abides in that. Alternatively, "abiding in the practice" means that because one practices, it is "practice," and because one abides in that application, one "abides in the practice." The meaning is that without practice, accomplishment will not be achieved through mere ritual action alone.
These samayas are not taught solely in reliance upon this tantra; in order to show that they are also taught in others, it says, "Common to all tantras," and so forth. The teaching of the samayas belongs to all tantras, not just to a specific, individual tantra. If one wonders who says this, or by what characteristic these are to be honored and not abandoned, it says, "One should not disparage the reason that has passed," and so forth. "Disparaging the reason that has passed" means that for those who have not seen other reasons, to treat this reason—which possesses the defining characteristics—with contempt is groundless; therefore, they should not disparage it. If one asks, "If one does not know the supreme branches of engagement, how should one adopt them?" it says, "They are to be adopted through faith alone," and so forth.
Regarding the mind: it is intended that only faith, characterized by clarity, is what bestows accomplishments (siddhi); it is not the case that the sense faculties are to be grasped, as that would be a fault of grasping them as two inferior faculties, like the eye merely engaging with a form without a cause. In order to demonstrate the greatness of the one characterized by the explanation of bestowing accomplishments, it is said: "This secret is not to be shown," and so forth. In order for those who know the actions to obtain the accomplishments they have not yet obtained, it is said: "The wise one should move the little finger," and so forth. This should be connected as: "The little finger of the lotus"—meaning the navel blessed by that—should be moved. If one asks to whom that belongs, it refers to "the messengers (dūtī) who truly abide," and so forth; the meaning is "of the messengers who possess the characteristics." Having shown the messengers, in order to show the characteristics of the practitioners, it is said: "Pure, impure, and mixed," and so forth. "Pure" refers to those possessing the samaya. "Impure" refers to those who practice correctly in terms of ritual purity. "Mixed" refers to the conduct of both. It is taught that these three are accomplished through the mudrā. Having shown the characteristics of the master (ācārya), in order to show the characteristics of the disciple, it is said: "Pleasing and completely pure," and so forth. "Pleasing" means following the master like a shadow. "Completely pure" means performing virtuous actions.
To clarify, one should strive to offer [these] to the guru. "Endowed with qualities" means being knowledgeable in the treatises on the arts. From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Śrī-Cakrasaṃvara), this is the twenty-sixth chapter, concerning the examination of the disciple and the ritual of the vows.
Having taught the examination of the disciple and the ritual of the vows, the twenty-seventh chapter is now to be explained in order to teach the conduct of the ascetic observance (vrata). Thus it is said: "Then, the conduct of the ascetic observance, O Hero," and so forth. It is called "conduct" (caryā) because it is for the sake of practicing; it refers to seeking out yoginīs in the sacred sites (pīṭha) and secondary sites (upapīṭha) and so on. Since that itself is a form of austerity, it is called an "ascetic observance" (vrata); having drawn this out, it should be understood that it is to be explained.
If one asks what that ascetic observance is like: "The hero accomplishes all yoginīs." This means that by means of the ascetic observance, the yogin—who possesses the characteristics taught in the immediately preceding chapter—will accomplish all yoginīs.
If one asks, "What is the yoginī herself to be eaten?" it says: "Having known the distinctions of the characteristics." This is not merely a teaching common to ordinary women; rather, in order to teach others as well, it says: "Common to all tantras," and so forth. This teaching on the samaya belongs to all tantras and is not restricted to any single, specific tantra. If one asks, "Who says this?"...
The definition of the sphere of activity of the yoginīs, by which they are characterized, is the classification of their characteristics. The meaning is that once those distinctions are known and they are correctly identified by those characteristics, the yoginīs should be attended upon. If one asks, "What will come of attending upon them?" it is said, "Swiftly, accomplishment is fully entered," and so forth, in order to demonstrate the purpose. If that is so, one might ask, "Where will they be found?" In response, it is taught in the passage beginning with "In land after land," that they are to be sought in various lands and will be found in some of them. If one asks, "Is the mere seeking of them the ascetic discipline?" it is said, "Examine the signs of the messenger's form," and so forth. Here, "messenger" refers to the characteristics of the messenger's form; it is the discernment of subtle characteristics, not the act of searching. If one asks, "What are those who are sought in land after land like?" it is said, "The messenger is like the edge of a sword." The messenger is a yoginī endowed with the characteristics to be explained, and the sword-edge asceticism well-known in the world—these two are purifiers and increase merit. Therefore, there is no contradiction in the practitioner seeking them with faith. If one wonders, "If seeking them is an ascetic discipline merely for the sake of purification and the increase of merit, then setting that aside for a moment, since the merit for purification is easily accomplished, should one instead serve the guru and the Buddha as much as possible?"—this is the intent.
"The practitioner attains accomplishment," and so forth, is stated. Here, the result of seeking the accomplishments of merit and purification is explained. Likewise, if the practitioner attains accomplishment through such things as touching those who are similar to them, what need is there for much talk? This is the intended meaning.
One might wonder: "Is there no other method for accomplishment?" To explain its distinction, it says: "Even without recitation or concentration," and so forth. Although there are many methods for accomplishment, they are difficult to practice; however, this method is to be meditated upon by the practitioner solely because it is easy.
One might think: "The learned do not accept that accomplishment will not occur apart from recitation, concentration, and so forth." To this, it says: "One should engage in offering itself," and so forth. For the yogi who engages in the service of the yoginīs, who knows the nature of all phenomena, and who has continuously entered and emerged in all virtues—what poverty could he have? The meaning is: what is the use of attachment to the elaborations of offerings, mudrās, and secret mantras, which are merely antidotes to awakening, like a student?
If one objects: "Because it possesses the five types of offerings, this is a 'great offering'; the offerings of these yogis are small and are not branches of awakening," it says: "There is no offering other than this," and so forth. The offering of these yoginīs is the offering of this [practice]; there is no offering other than that.
If it exists, it is the meaning of "this very thing." If one asks, "Should one engage directly in order to avoid the fault of the word 'thus it is said' being something other [than the actual state]?" it is stated: "In that way, the treatise is certain," and so forth. Furthermore, the specific internal application will be explained by way of the discordant: "Always delighting in the path of the messengers," and so forth. The "messengers" are the circle of goddesses. Their "path" is where they are sought. These are the messengers who have entered the path of the thirty-six spokes, whether of the Dharma, Enjoyment, or Emanation [wheels]. The "practitioner" is the yogi, one who strives for and desires accomplishment (siddhi). What does he do? "One should always enjoy the enjoyments." Regarding this, because one enjoys and partakes of them, "enjoyment" refers to the nectar. It is not only that the enjoyment is to be accomplished; the meaning is that it is also to be consumed. "Consuming" is the manifest enjoyment of joy. By what is it to be consumed? "By the yogi who is in meditative equipoise and perfectly endowed with the secret mantra of knowledge." Where is the enjoyment to be consumed? "One should practice upon the syllables." Regarding this, there are thirty-two syllables, excluding the two: ṅa and ña. From among those, "upon those" means that the messengers of the vowels enter and practice; this is the accomplishment of enjoyment. Alternatively, regarding "from all the syllables," this refers to the five families well-established in the world.
"One should not examine what is not to be consumed" means that one has transcended the examination of what is edible. If one wonders what the result of that is, it says: "By that very [means], one becomes inseparable." "Inseparable" refers to the suchness of the vajra; the meaning is that because the suchness characterized by non-duality perfectly arises, the practitioner becomes the vajra body.
Once the practitioner has found that messenger (dūtī) and achieved accomplishment, if one wonders where that messenger goes, it says: "Here, her messenger and the practitioner—both are accomplished," and so forth. This means that when both the practitioner and the messenger are practicing, both abide in their natural state.
If one asks what happens after that, it says: "Engaging in the two ways, the messenger alone is [the means]," and so forth. This means that even at the time of achieving accomplishment, the messenger alone is supreme; this is the meaning. It is not said that every such messenger grants accomplishment; rather, it is taught that this should be explained to a disciple who is extremely disciplined. To demonstrate that very point, it says: "By the sequence of the lineage of gurus," and so forth. The oral instructions of the gurus constitute the sequence of the lineage of gurus. This is the sequence of the gurus, and not a sequence that arises spontaneously.
From the Glorious Tantra of the Supreme Name of the Guru in forty-three chapters, the empowerment of the source text concerning the stages of the arising of Heruka is bestowed, and those messengers are correctly explained to the most disciplined and supreme disciple. Regarding the phrase, "Possessing the nature of the excellent application of mudrā": mudrā refers to the messenger (dūtī). "Excellent application with them" is the excellent application of mudrā. In this context, "nature" refers to the thorough knowledge of the excellent application of mudrā. This is to be explained to that very supreme disciple; such is the meaning.
One might ask: "Even if the characteristics of the messengers are explained to those who wish to thoroughly know them, why are they explained to the supreme disciple and not to others?" To this, it is said: "Born from the body of complete wisdom," and so forth. "Complete" means without deficiency. That which possesses wisdom alone as its body is the "body of complete wisdom," which is the bodhicitta. "Born from that" means born from the body of complete wisdom. Thus, the intention is: how can these messengers, who possess the body of wisdom and are not within the sphere of experience of masters who have realized the instructions of other tantras, be explained to a mere disciple?
If one sets aside for a moment the messengers to be realized from the mouth of the Guru, one might ask: "What is the nature of that which possesses the excellent application of mudrā?" To this, it is said: "Having arisen in the morning, the self of thought, having divided the body into parts," and so forth.
Awakening from the sleep of yoga is "rising." "Intention" is concentration. In that regard, the yogi is the very nature of intention, by which the three bodies are definitively applied. The "parts" are sixteen, distinguished by the waxing and waning [phases of the moon]. Among those thirty-two consonants, which are temporarily endowed with clarity, they are arranged according to the divisions of action in the red, black, and smoke-colored [channels], together with the upper and lower [parts], the feet, the calves, the thighs, the anus, the kuntara [channel], the navel, above that, the heart, the throat, the palate, the face, the brain, the forehead, and the back; this is "with parts." That which is without parts and is unknowing, yet possesses parts, is the body that should be made to possess parts. Regarding the statement: "The treatises that are not branches [of yoga] should be practiced as abiding in the body," since they are not other than the āli and kāli, setting aside for a moment the branches of mantra and tantra, even the treatises on grammar and prosody that are not branches of awakening are known to abide in the body. This is the nature of the application of the mudrā; thus, the suchness of the self is shown. As it is said: "For empowerment and summoning, it is red; black is for universal killing; for expulsion, it is smoke-colored. Through intention, it will be definitively accomplished. This is the supreme suchness of the self, abiding in all vowels. Thus, the self with its parts should be practiced by the supreme adept." Thus it is stated. Furthermore, by the nature of mantra, the body will be purified.
Regarding the phrase, "The yogic sites are definitively taught," the locations for arranging the parts—the lower, the upper, the two feet, the back, and so forth—are indicated. In order to teach the meditation on the treatises and so on according to their respective essential natures, it is said, "One should not meditate on the treatises," and so forth. If one asks, "Is liberation achieved merely by not meditating on the treatises and not disparaging those who possess the samaya?" it is said, "One should be happy with them," and so forth. This means one should be happy together with those who have become external and internal. If one asks, "By what means and for what purpose is this done?" it is said, "For the sake of liberation and for the sake of bliss," and so forth. "The sake of liberation" refers to the yogi who desires liberation through the conduct of samaya as explained in this tantra and in the desire tantras. "For the sake of bliss" means having made the external and internal yoginīs one's own. "Together with them, one traverses the stages" means traveling to the sites, near-sites, and so forth, together with the messengers; this is the traversing of the stages. To express that very point, it is said, "Always at night, sky-clad," and so forth. The word "again" is used for emphasis. Therefore, one is naked only at night, whereas during the day one wears a tiger skin. To explain that very point, it is said, "Wearing what arises from the limbs of living beings," which means being naked or wearing a skin. If one asks, "Does one then engage in conduct like a madman?" it is said, "One should always be black and red," and so forth.
The black is the Blessed One; the red is the Blessed Lady. Not abandoning the yoga of their respective forms, the yogi who abides in the condensed wheel of the thirty-six goddesses according to their proper places is said to be perpetually black and red. This means that having become the very nature of method and insight, he engages in the conduct, but not in the manner of an ordinary being. To demonstrate the ornaments of the conduct, it says: "The necklace, the crown, the armlets," and so forth. This teaches that the mudrās of the ornaments, such as the meditative necklace and so on, which are the samayas not to be abandoned, should be employed as adornments. If one asks, "While engaging in the conduct, does he wear an elephant hide?" it says: "The vessel with the vajra, the khaṭvāṅga, the hand-drum, and the sound of HŪṂ." The "vessel with the vajra" refers to a lotus vessel marked with a vajra. The khaṭvāṅga and hand-drum are hand-symbols; one should hold them in the hands and utter the sound of the syllable HŪṂ. If one asks, "Is he alone?" it says: "Together with the yoginīs, all the heroes, adorned with the two armors." This means that the twenty-four heroes are together with those heroines and are endowed with the two armors. Regarding "wearing what arises from the limbs of living beings": "limbs of living beings" refers to the parts of living beings; because these are like clothing, they are called "garments." One should wear the limbs of living beings, namely, a tiger skin. "Those desiring bliss should abandon bliss."
Regarding the phrase "desiring the goal through bliss," this refers to the bliss of one who desires bliss. The meaning is that what is to be abandoned by that [bliss] is not to be worn at all times, just as one does not wear a tiger-skin garment, a necklace, and so forth. Regarding the phrase "the sacrificial thread is to be completely abandoned," the sacrificial thread (yajñopavīta) is also to be completely abandoned. One might wonder: "If the sacrificial thread, which is the nature of the root mantra and the cause of being pure and solitary, is abandoned, will it not become impure?" To address this, it is said: "One abides in the pure Heruka," and so on. By merely purifying the body, the Brahma-thread may be set aside for a time; however, for the yogi, union with Śrī Heruka is the great purity. As it is said: "Śrī is non-dual wisdom; He is empty of causes and so forth; Ru is the state of being free from arrangement; Ki is that which does not abide anywhere." The intention is that the yogi who is the very nature of Śrī Heruka is a yogi who is eternally pure.
If one asks, "Are the mudrās such as the necklace also to be abandoned at that time?" it is said: "Perfectly endowed with the five mudrās, one should practice them at all times." Regarding this, the five mudrās that are not in contradiction with the five Buddhas are the very nature of Śrī Heruka; therefore, because the yogi is non-dual, they are not to be abandoned. If one asks, "If the mudrās are not abandoned, are the colors and so forth also to be abandoned?" it is said: "Colors, non-colors, facial expressions, the topknot, and so forth are to be abandoned." Regarding this, "color" refers to being black like the central face.
Non-colors are yellow, red, and green, such as those on the left side. The facial expression is the transformation of the face. The crown of the head is the topknot. By the word "etcetera," the three eyes are included. Regarding the abandonment of those bonds by those who are liberated: the meaning is that one should practice in such a way that the colors, non-colors, facial expressions, the crown of the head, the binding, and so forth, have been abandoned. Furthermore, for one who delights in wandering through the sacred sites and secondary sites, the application of Heruka is transformed, and one wonders how that mere appearance can be endowed with pride. To this, it is said: "The messenger is the first purity; the moon is held to be the second; consuming food as one is explained to be the third purity." In order to demonstrate the benefits of purity, it says: "By thoroughly maintaining these purities," and so forth. This concludes the twenty-seventh chapter, the chapter on the conduct of ascetic observances, offerings, and the ritual of the torma, from the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara.
Having described the conduct of ascetic observances and offerings, the twenty-eighth chapter is presented in order to explain the inner homa (fire offering), beginning with: "Then, having purified oneself through offerings," and so forth. The word "then" means following the conduct of ascetic observances.
In the sacred sites and secondary sites, the yogi, whose nature is purified through offerings to the hosts of heroes and heroines, should offer to the heroes who have arisen from emanation. "Emanation" (nirmāṇa) means to project or to send forth; it refers to that which has emerged for that purpose. Alternatively, "emanation" refers to the projection and sending forth of a form endowed with hands, feet, and so forth. To be perfected in this form is to emerge from emanation. Thus, the ritual is to offer to the heroes who have become such forms.
If one asks, "Who are those heroes who, having taken such forms, are to be offered to?"—relying on the previous position, it is explained by the words "the self" and so forth. The yogi, perfected in the manner of Śrī Heruka, should offer to the self alone, without looking toward the side of others.
One might ask: "Is one offering to that which is not to be offered, or is one offering to that which is to be offered?" Regarding the phrase "offered to by all the Buddhas and so forth," all the Buddhas are the offerings of those heroes and yoginīs. Setting aside for a moment the other Buddhas such as Vairocana and so forth, it is because they are also offered to by heroes such as Khaṇḍakapālin and heroines such as Caṇḍākṣī; therefore, the intention is that the yogi should offer only to that which is to be offered.
If one wonders what the result of such an offering will be: "All heroes and yoginīs, the stable and the moving..." [the text continues].
This means that whoever makes an offering to themselves alone—in brief, from the stable to the moving, the entirety of the three realms—is making an offering. To ask what kind of yogi it is who, by offering to themselves alone, also offers to the three realms: "Offer together with brothers and beloveds." Here, "brothers" refers to the twenty-four heroes, and "beloveds" refers to the thirty-seven yoginīs. Whoever makes an offering to them makes an offering to all; the meaning is that it is not merely by abiding in the pride of Heruka. If one wonders where these, when offered, become one: "Abiding in the peaceful assembly." Here, "peaceful" refers to the moon. Having gathered into a single assembly within that, and having truly abided in its form, the meaning is that they are found as one in that abiding in the peaceful assembly. If those who have entered the peaceful gathering lack their own individual essences, one might ask: what is the point of the offerer, the object of offering, and the offering itself? It should not be thought in that way, for such is the nature of offering. As it is said: "By familiarizing oneself with the state of non-substantiality and meditating on the form of the deity, this is the great offering of equality, which perfectly accomplishes all Buddhas." And: "Everything is accomplished through bliss; it is difficult to accomplish through asceticism." If the heroes and heroines dissolve into the moon, one might wonder where that very moon is found:
The response to that is explained at length: "That wisdom should not be taught there," and so forth. The meaning of this is as follows: it is only when the "moon" is found; however, the Blessed One should not teach it to those who lack the fortune and the wisdom.
If one wonders how that specific distinction is to be understood, the distinction will be explained by reciting it individually: "Together with brothers and sons." In this tantra, "brothers" refers to the yogins. "Sons" and "daughters" refer to the heroes (vīra) and heroines (vīrī). Their "single form" means they are together with brothers and sons; "together with brothers and sons" means the inseparable form of the brothers and sons.
Regarding "the arising of all pleasure and suffering": "pleasure" is nirvāṇa, and "suffering" is saṃsāra. The "arising" of these two is the "arising of all pleasure and suffering." "In that" refers to that moon. If that is so, and it is therefore not to be expressed, one might ask: "How then should the wise understand it?"
Regarding "mantras and likewise mudrās": a mere vowel-consonant cluster is a mantra. Its complete transformation is the symbolic mudrā. The meaning is that both of these are indeed to be explained. Having shown the cause for the fire offering (homa), the fire offering itself is to be explained: "Partaking of the purifying food," and so forth.
The moon thoroughly accomplished through ritual is the purifying food. One should consume that food which arises from the peaceful [state] or is purifying. What is that? If one asks what it is like: regarding the term "purifying," one who possesses the performance of the activities at the time of the samaya is one who has practiced the samaya, namely the yogin previously described. The vows of the yogin who enters the practice of the samaya shall now be explained: "One should not give [this] to anyone in the Secret Mantra," and so forth. Through the practice of desire, one will not accomplish either a messenger (dūtī) or one who is not a messenger. If one wonders, "Is it then that one should not desire even a messenger?" [the text says]: "Except for the messenger, to others..." This is a prohibition stating that once one has obtained a messenger possessing the characteristics taught by the Guru, one should not abandon her and resort to another messenger. What are the qualities of relying exclusively upon a messenger? It is said: "One should enjoy her without transgressing." If one wonders, "If it is the messenger who is to be enjoyed, should one not enjoy those who are not messengers?" [the text says]: "One should not even perform service [to others]," and so forth. This teaches that for the time being, even the mere performance of service to others is not to be done when one is enjoying [the messenger]. If one asks, "What is the fault?" [it says]: "The family is low and abides in passion." Here, "family" refers to the five [families], which are the places of birth. Those born from other than those are of low family. "Abiding in passion" means abiding solely for the sake of passion. If one asks, "How is it that those born of the family grant liberation?" [it says]: "Mother, sister, daughter, and wife abide as the messenger."
Regarding the statement beginning with "Thus," and so forth: the "mother" is the mudrā of the guru; the "sister" is one who listens together; the "daughter" is one to whom one has given the pith instructions; and the "wife" is one given by the guru. If one relies on anyone other than these, then at that time, "accomplishment will certainly be exhausted"—thus the fault is shown by way of a reversal. Having set aside for a moment the abandonment of those who are not messengers and the reliance upon messengers, if one asks how the practice is explained in accordance with the activity: "The supreme one summons together," and so forth. "Summons" means to lead. "Supreme" refers to the yogi. "Together" means simultaneously. If one asks what the result of that is: "In that way, the substances are certain." This means that substances and non-substances are definitively realized.
In order to show another samaya that is the cause for accomplishing the homa, it says: "The yogi always acts from the left," and so forth. If one asks with what one should perform the homa: "The flesh of a cow and the flesh of a horse," and so forth. The "vajra" of body, speech, and mind refers to the cow, the horse, and the dog. The apprehension of these is the flesh of the cow, the horse, and the dog. If one asks what kind of [flesh]: "various" means that the homa should be performed with red, black, and white [substances]. If one asks how: "In a triangular maṇḍala," and so forth. For those, the maṇḍala is specifically triangular; its other apprehension is that the three corners are the three directions: the birth-place, the heart, and the throat.
Their cakra is a triangular maṇḍala, in which the homa should be performed. To demonstrate the purpose of the wrathful activity (abhicāra), it says, "Even the Buddhas will certainly be destroyed," and so forth. Here, "Buddhas" refers to the five afflictions (kleśa), which are categorized as belonging to a single family. The meaning is: if even the Buddhas are certainly destroyed, what need is there to mention other conceptualizations that follow after them? If one asks what that maṇḍala is like, it says, "Endowed with mantras and mudrās that are peaceful," and so forth. This means that whatever possesses the complete pacification through mantras and mudrās is "endowed with mantras and mudrās that are peaceful."
There are also two divisions of the maṇḍala; among them, the hearth for the homa has already been explained. To demonstrate the conduct of yogins who possess the samaya, it says, "The food of the heroes is likewise," and so forth. This teaches that just as the maṇḍala is endowed with secret mantras, mudrās, and peace, so too is the consumption of food. To show that this is not the domain of yogins of other tantras concerning the conduct of homa, it says, "The emanation of Śrī Heruka," and so forth. This refers to the conduct of the yogin of Śrī Heruka. Regarding the phrase, "The supreme among all treatises on conduct," it means that its characteristics are unlike those of other tantras. To explain the purpose of the conduct, it says, "All actions will be protected."
Thus it is said, and so forth. The single syllable is supreme. Alternatively, the ritual of the essence of all syllables is the "ritual of the single syllable." From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the twenty-eighth chapter, on the inner homa and the ritual of the single syllable.
Having explained the inner homa, in order to teach the characteristics of the messenger (dūtī), the twenty-ninth chapter is to be explained. Thus it is said, "Furthermore, the teaching [is as follows]," and so forth. This refers to the teaching and explanation of the characteristics of the female messengers (dūtī) other than those explained in the seventeenth chapter. In order to understand the characteristics of the messenger and to understand the signs of the ḍākinī, it is taught that those signs should be recognized without doubt.
Thus it is said, "By which one will come to know correctly," and so forth. The meaning is: "I shall explain that characteristic by which a yogin will, without doubt, know that the yoginīs possess the samaya." If one wonders how this is to be taught if it is already the case [that they are known], it is said, "As a brother, or a father, or as a master, one sees them in an instant," and so forth. This means that in worldly conduct, one is intensely attached to them and enjoys them as a master, yet views them as being like a brother or a father.
If one asks how such a person is to be identified, it is said, "Thick tongue," and so forth.
If one wonders why such female messengers (dūtī) should be relied upon, it is said: "Common to all accomplishments," and so forth. This means they are common to all accomplishments that accord with the practice of the samaya. The intention is that these are the mudrās of those accomplishments, but not of the supreme accomplishment explained above. Likewise, the Explanatory Tantra (vyākhyātantra) also describes many classifications of accomplishments, as follows: "Black, white, and green—these should be accomplished in sequence," and so forth. In this context, "black, white, and green" refers to their colors. Regarding those three types, each is further divided into four: coarse, smooth, beautiful-haired, and stable. Among these, the "coarse" are those with the tongue of a cow or the sign of a donkey. The "smooth" are those whose touch is like a lotus petal. The "beautiful-haired" are those endowed with strength. The "stable" are those with signs resembling a conch or a lotus.
Regarding the examination of shape, there are three: long, short, and medium. Among these, the "short" are those with thick lotuses and faces like water-bearing clouds. The "long" are those with long faces, hands, and feet, who emit a fleshy odor and discharge dust. The "medium" are those with moon-like faces and green complexions, who possess lotus-scented discharges, have navels like a startled deer, necks like a deer, and waists as slender as the king of deer; these are also called "Lotus-like" (padmavatī). Such are their characteristics.
"The messenger who possesses many [qualities] is first liberated from disease; the second is called the meaning of the samaya; the third is for the sake of attaining siddhi." Thus it is said. Regarding the phrase "always possessing perfect mindfulness": "always" refers to the time of wondrous joy, when the messenger is addressed by the terms yoginī and ḍākinī; this is what is meant by "possessing mindfulness." If one asks, "By what mindfulness are those yoginīs joined as messengers?" it is said: "The twenty-four supreme ḍākinīs," and so forth.
If the thirty-two channels alone are the yoginīs, why are they called the twenty-four ḍākinīs? To answer this objection, it is explained in other tantras:
"The channels are explained as thirty-two;
Of these, the supreme of the supreme
Are the twelve goddesses doubled,
Characterized by following the vowels.
Through the division of the waxing and waning [fortnights],
They are correctly taught as twenty-four."
Thus it is said. Regarding the phrase "In order to generate power, one should always recite the root mantra": this teaches that one should recite the mantra that is none other than the twenty-four heroes and heroines. If one wonders, "Should one recite only this and not others?" it is said: "Because all mantras are born from this," and so forth. If one asks, "By what should one recite?" it is said: "Possessing mantra and mudrā," and so forth. "Mantra" refers to one's own seed-syllable; "mudrā" refers to one's own emblem. Because they are perfectly gathered and made into a single essence, [the recitation is performed].
The generation of blessings is that which is truly endowed; it is being truly endowed with mantra and mudrā. Alternatively, it is taught: "The concordant cause of the pure and stainless Vajradhara is being truly endowed with mantra and mudrā." It is thus taught that such a practitioner is a vessel for accomplishment, whereas others are not vessels for accomplishment.
From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the twenty-ninth chapter, concerning the characteristics of the female messenger and the ritual for the stage of power.
Having explained the stage of power, the thirtieth chapter is now explained in order to extract the mantra of the Four-Faced One. It begins: "Furthermore, that which is to be explained is an arrangement extremely difficult to find," and so forth. The word "then" (tatas) refers to the immediately preceding chapter. The word "furthermore" (anyat) indicates that while the root mantras were taught in the fifth chapter without their parts, they are now to be arranged with their parts. "Arrangement" (vyūha) refers to the distribution of letters and syllables. "Difficult to find" means it is difficult for the masters of other tantras to realize. In order to show the excellence of this arrangement, it says: "By merely knowing which..." and so forth. By merely knowing the arrangement, the practitioner will thoroughly accomplish the siddhi of fully understanding the mantra.
If that is so, one might ask: where should that arrangement be made? It says: "In a level and pleasing location," and so forth. Regarding the phrase: "Having performed all the activities for oneself,"...
"All" means without exception: the seventeen goddesses who are the blessings of the aggregates, elements, and sense bases; the two armors; the three goddesses of body, speech, and mind; the twenty-four heroes; and the yoginīs—this constitutes the wheel of the ninety-two deities. Having thus made the self together with its parts means that, having placed the self exactly as it resides within that wheel of goddesses, to summarize: the meaning is that one becomes Cakrasaṃvara himself as the single hero together with Vajravārāhī. In the phrase "having made it together with its parts," the word "also" (yang) has the sense of inclusion. Because it arises together with the parts, it is "with parts"; this refers to the thirty-four syllables. The meaning is: "One should make the single self together with its parts." Regarding the phrase "having performed the binding of the directions," one should arrange the vajra ground, the fence, the lattice, the canopy, the lattice of arrows, and the flames of fire. Having thus performed the binding of the directions and so forth, if one wonders how they should be arranged, it says: "Then, having performed the binding of the drum," and so on. "Then" means that after the binding of the directions, one should perform the binding of the drum and then arrange it. The binding of the drum refers to arranging the syllables in the grid without confusion; having taken thirty-two squares, they are arranged in the order of extraction by means of eight lines, and not by nine. That which possesses equal parts is "equal-parted"; having done that, it should be accepted.
"Except for the thirty-second square of the Sage, the lines are entirely circular," so some explain. In the root text, having performed the drum-binding, one should arrange only the mātrā letters. Then, based on the root, one should arrange the drum-binding with eight lines. The letters are the thirty-four beginning with ka, and the mātrā are the sixteen beginning with a; these the ācārya should arrange in the drum-binding.
What is that ācārya like? "Extracted while in profound meditative equipoise." This means one who possesses faith, the [proper] family, thorough knowledge, stability, and so forth. "There, the Hero should be extracted" means that the Blessed One, the Hero Cakrasaṃvara, the essence of the mantra residing in the drum, should be extracted. How should he be extracted? "By sequence and by the reverse of sequence," and so forth; the meaning is that the vowels and consonants should be extracted as they are renowned in the teachings.
From what should they be extracted? "From that which has become such a number," and so forth. The number of the vowels and consonants is "that number." That which is included within that number is what is meant by that term; therefore, it is said that they should be extracted from what is included within that number. If one wonders how they are extracted: "Take the thirty-second square of the Sage," and so forth. The Sage refers to the consonants beginning with ka. The letter residing in its thirty-second square is sa.
Regarding the phrase "divided by the fifth," the vowel letter u should be joined according to its position. "Half of a hundred" refers to the twenty-fifth letter, ma. Likewise, "divided by the twenty-fourth" means it is divided—that is, joined—by the twenty-fourth letter of that same Sage, bha. "Take the thirty-sixth" refers to the thirty-sixth letter, na. "Divided by the third square" means it is perfectly joined with the letter i from the third square. "Take the thirty-second" refers to the letter sa. "Divided by the fifth" means it is perfectly joined with the letter u. Then, "grasp the twenty-fifth" refers to the letter ma. "Join with the twenty-fourth" means it is joined with the twenty-fourth letter, bha. "Perfectly take the thirty-third" refers to the thirty-third letter, ha. "Perfectly honored by the fifteenth square" means it is joined with the letter aṃ. "Perfectly combined with the fifth" means it is adorned with the letter u. "The first word is perfectly spoken" means the first word is the extraction of the letters. "Take the nineteenth letter" refers to the letter ga. "The son of fire" is ra, and it is joined with that. "Divided in the third square" means it is joined with the letter i. Regarding "the seed-syllable of the eighth wonder," the eighth wonder is the letter ha. "The thirty-sixth square" means it is perfectly joined with the letter na.
"Once again, those very syllables" means that this very phrase is to be recited twice. Then, regarding "having taken the self-arisen": the self-arisen is the syllable ha. "Distinguished by the fifth" means it is endowed with the vowel u. "Adorned on the crown with a bindu" means it should be endowed with the following vowel; thus the second phrase is to be extracted. Regarding "in the nineteenth square itself": the nineteenth is the syllable ga. "Distinguished by the twenty-seventh" means it should be endowed with ra. "Perfectly endowed with the third" means it should be endowed with the syllable i. "Having properly taken the thirty-third": the thirty-third is ha. The second square is endowed with two vowel syllables. "Endowed with the twentieth syllable": the twentieth is endowed with na. "The twenty-first square" refers to the syllable pa. "Likewise, the twenty-sixth" is the syllable ya. "The phrase is to be practiced twice" means this phrase is also to be arranged in two ways. Having shown the sequence, now, in order to show the reverse sequence, it says: "Then, grasp by reversing the sequence," and so forth. The first square is the syllable ha. "Perfectly endowed with the end of the fourth" means it is endowed with the syllable u. "Honored by the fifteenth" means it is endowed with the syllable aṃ; thus the third phrase is extracted. "The seed-syllable of the second square" refers to the second vowel. "The thirty-sixth" is the syllable na.
Likewise, the twenty-sixth is the letter ya. Regarding the phrase "the thirty-third should be correctly taken," the thirty-third is the letter ha. "Worshipped by the thirteenth square" means it is endowed with the letter o. "The tenth square itself" refers to the letter bha because it is reversed. "The nineteenth" is the letter ga. "The twenty-third itself" is the letter pa. "Endowed with two squares" means it is endowed with the second vowel. "Adorned with a bindu on the crown" means it is endowed with the following vowel. Then, "take the seed-syllable of water" means the seed-syllable of water is the letter va. "The end of the eighth" is the letter ja. "Distinguished by the son of fire" means it is endowed with the letter ra. "Conjoined with hūṃ hūṃ phaṭ at the end" means it is conjoined with hūṃ hūṃ and phaṭ at the conclusion. Because this mantra, consisting of four words, possesses the nature of conquering the three realms, it is the "Victory over the Three Worlds." Regarding "Oṃ is the illuminator of all," the first letter, oṃ, should be made clear. That which possesses the specific words hūṃ and phaṭ is so designated. If one asks to whom this mantra belongs, it is stated: "The King of Knowledge, the Universal Monarch," and so forth. "Knowledge" is the Body; because it possesses its splendor, it is the "King of Knowledge." "Wheels" are five: the wheels of Body, Speech, Mind, Samaya, and Wisdom.
That which possesses the nature of abiding in the center of those five is the Universal Monarch (cakravartin). This is the meaning of the statement: "This is the mantra of the King of Knowledge, the Universal Monarch, Vajra Hūṃkāra." If one asks, "How is it to be understood that the Blessed One himself, whose nature is not explicitly taught here, is Vajra Hūṃkāra?" it is explained in the Explanatory Tantra (vyākhyātantra):
"In the delightful expanse of space,
Abiding in the center of a lotus navel,
One should meditate on Vajra Hūṃkāra,
Who suppresses all malevolent beings.
He is perfectly endowed with sixteen arms
And eight faces that are utterly terrifying.
With bared fangs and fierce countenances,
He is perfectly adorned with a garland of skulls.
His limbs are adorned with all the ornaments,
And his crown is marked by the five Buddhas.
With three red eyes, he is beautified
By the six mudrās.
With his right leg extended, he treads upon the head of Bhagīrathī
And presses down upon the breasts of Bhagīrathī.
With a hanging mass of heads and a fierce body,
He binds a girdle of a garland of skulls.
With two hands he holds a vajra and a bell;
He is known as Trailokyavijaya.
This mudrā, which destroys obstructors
At the forehead and the heart,
Is the binding of the hook with the index fingers;
It is explained as Trailokyavijaya.
He holds a skull, a staff,
And likewise a sword and a hook.
He holds a noose, the threatening gesture, a wheel,
A jewel, and a hammer.
He holds a trident, a head, and a hand-drum,
And a fresh human skin upon which he stands.
Clad in a garment of tiger skin,
He attains the bliss of the Knowledge-Being through his own light."
Blue, yellow, and likewise red, green, and the virtuous left face; white, blue, and likewise yellow, the upper face is said to be red. It is said to be "perfectly endowed with the four wrathful deities." Regarding that, the four wrathful deities shall be explained: Rāgarāja, Nīladanda, Mahābala, and Acala. Three are white, green, and red; the fourth is likewise blue and red. With bared fangs and fierce faces, adorned with garlands of skulls, they trample the four Māras with their right legs extended. Terrifying with ornaments of human bone, they are ablaze with radiating rays of light. Enveloped by their own awareness-light, they gaze with wrathful eyes. Endowed with six arms, the two hands are joined at the forehead in the Vijaya-mudrā. The remaining four hands, in order, hold a mallet, a staff, a trident, and a sword; and a bell, a skull-cup, a vajra, and make the threatening gesture while wearing a tiger-skin garment. With three eyes and a fierce form, the four wrathful deities are thus complete. The yogin of Vajra-Hūṃkāra performs all activities, and not by mantra alone—this is the meaning. Regarding the phrase "perfectly endowed with the eight forms," the eight forms are taught as the female messengers residing in the Samaya-cakra, beginning with Yamadāhī and ending with Yamamathinī. Being endowed with those is "endowed with the eight forms."
Setting aside for the moment the explanation of the Blessed One together with his retinue, if one asks why the mantra is also taught, it is because of the passage beginning, "In order to protect his maṇḍala." This means that it is only logical to explain the mantra with the intention of protecting the maṇḍala of the glorious Vajra Hūṃkāra, and particularly to protect all sentient beings.
From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī Cakrasaṃvara, this is the thirtieth chapter, the ritual for extracting the mantra of the bound drum.
Having explained the extraction of the mantra, the thirty-first chapter is now described in order to demonstrate the necessity of the mantra’s accomplishment. Regarding the passage beginning, "Then, with all the great meats," this refers to the homa (fire offering), the bali (offering cake), and the food of those possessing the samaya (vow), which are endowed with the four-faced mantra just extracted. These destroy and subdue those who cause harm to the Three Jewels. The term "born of the vajra" means that which arises from the Vajrapātāla and other such sources.
If one asks, "Is it not certain that this will be accomplished?" the text states, "Of all the malevolent ones," and so forth. It means that those [beings] are destroyed and subdued by those meats and the mantra. Just as [it is born] from the vajra, so too should this be understood. If one asks, "Will these also be rare?" then, if one asks, "Should one not suppress the enemies at that time?" the text says, "Likewise, the meat of dogs and pigs," and so forth.
Just as with the "great meat," the meat of dogs, pigs, and so forth is likewise easily obtained by all people; thus, it is taught that it performs all activities. Regarding the phrase "accomplishing everything without exception," "without exception" refers to the eight great accomplishments, and "without remainder" refers to all things. The union of these is the accomplishment of everything without exception or remainder. "All sovereignty" refers to the guardians of the directions; their mastery is "all sovereignty." If the bali offering and the homa are to be performed with such benefits, who is the agent? To show that the Blessed One himself, who has gone far and holds the mudrā of the Conqueror of the Three Realms, is the glorious Vajra Hūṃkāra, it says: "The hero wearing a garland of skulls," and so forth.
To the objection: "Alas! What is the use of this form of Vajra Hūṃkāra, who wears a garland of skulls—impure vessels that even the pure do not wish to touch?"—in order to provide the answer, it says: "Conch, mother-of-pearl, pearl," and so forth. If one thinks that even conch and the like, which originate from creatures possessing pearls, are pure and purifying, [the text replies]: "However, the body of the wisdom of phenomena," and so forth. "Phenomena" refers to the thirty-seven factors of awakening and so on. Because that very [wisdom] is not other than primordial wisdom (jñāna), [it is pure].
Those in whom the body of that wisdom exists are the dharmajñānakāya heroes. Regarding those heroes who possess the dharmajñānakāya and the cakravartin heroines, their skull-cups do not arise from living beings. Because the Vairocana mantra is completely pure and not to be disparaged—being naturally pure—the meaning is: "Who would disparage it? It is not to be disparaged." Therefore, it is taught that one should meditate on the one who possesses the garland of skulls, because it is that which purifies.
What is that? Regarding the phrase "the heroes" and so forth: they are called "heroes" (vīra) because they travel specifically to the twenty-four sites, such as Pullīramalaya and so on. Because they travel to those [sites] such as Khaṇḍakapālin and the rest, they are heroes; this refers to the Blessed One, Śrī Cakrasaṃvara.
If one asks what he is like, it says: "Adorned on the head with a half-moon." If the moon is an ornament, why is it half-moon and not full? Regarding the statement "of the heroes" and so forth: because the heroes and the samaya are distinct, it is said that the heroes have the ornament of a full moon, but that was not taught for the Blessed One.
If one asks what that half-moon is like, it says "born from the hero." That from which the heroes are born is the "hero-born"; like the waxing moon, it abides on the left side and is of the nature of the collection of the second sixteen parts.
What does the cakravartin hero who has become thus do? Regarding the phrase "teaching the five symbols" and so forth:
The offerings of the heroes and heroines are symbolic. Furthermore, because there are five fingers, the meaning is that five symbols are to be shown for the purpose of deluding ordinary beings. If one asks by what means, it says: "By the practitioner’s left hand." This means that the left hand is other than the extended right. The "practitioner" is one who accomplishes the siddhi of the mudrā. If the symbols are shown in that way, what is the certainty that it is by the left alone and not by the right? It says: "This is the abode of the heroes." Because the left is the abode of the heroes according to the sequence of explanation, it is determined by the left alone; therefore, the symbols arise only from the left hand, the abode of the heroes. To demonstrate the bliss of that left, it says: "All beings arise from the left," and so forth. Setting aside the left for the moment according to the sequence of explanation, if one asks how the symbols are shown, it says: "Vajrasattva resides in the thumb," and so forth. Vajrasattva, Vairocana, Amitābha, Akṣobhya, and Ratnasambhava—these five heroes—and the pervasive Amoghasiddhi, making six, are to be named and the five symbols, such as the thumb and so on, are to be shown in order. Having shown the symbols, in order to show the samaya of eating, it says: "The palm is Śrī Heruka," and so forth. "The palm" refers to the center of the hand; it should be placed at the time of eating.
In order to demonstrate the purity of non-transgression, it is stated: "Earth is explained as Locanā," and so forth. In order to demonstrate the request for departure at the conclusion of the meal, it is stated: "The wise should request departure to the rear," and so forth. If one asks why these were not explained clearly, it is stated: "This secret is not to be shown," and so forth. From the Ratnakośa-nāma-ḍākinīvajrapañjara-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara), this is the thirty-first chapter, concerning the ritual of hand gestures for the activities of eating, homa, and bali offerings.
Having taught the homa, bali, and gestures, the thirty-second chapter is spoken in order to describe the eating of food and snacks, as well as the accomplishment of the vetāla. It is stated: "Furthermore, that which is to be explained is the assembly of food and snacks," and so forth. "Food" (bhaikṣa) refers to the sacrificial animals (paśu) that serve as branches of accomplishment. The "assembly" (saṃhāra) of those foods and snacks is their collection; it is the assembly of food and snacks. If one asks what that is like, it is stated: "By which authentic ritual is it known?" and so forth. One should assume the identity of the Bhairava that is to be explained. This assembly consists of the five non-contradictory sacrificial animals or the non-contradictory horses and so forth, without having committed violence against them. It is consistent with the five heroes.
That which is accomplished through the authentic ritual for transforming those [substances] into nectar is the authentic ritual for the collection of foods and snacks; through that, accomplishment will be swiftly achieved through familiarization. This is the meaning of the statement, "The Blessed One said." Regarding the phrase "the summoning of the animals themselves," it refers to the practitioner's prior sequence for gathering the animals, which is the performance of the wrathful sequence explained in the twenty-ninth chapter.
What is the sequence of the practitioner's foods and snacks? It is stated: "Likewise, the animals are five," and so forth. Just as the fingers are shown as five signs—Hayaśrīva, the Gatherer, and the six [others]—likewise the five animals are shown. The names of the animals are indicated without explicit verbalization as the donkey, human, tortoise, camel, fox, jackal, and so forth. Therefore, the phrase "by means of the horse and so forth" indicates them by way of their names. If one asks what they are like, they are the "limbs of accomplishment," which is to say, the causes of accomplishment.
If one asks whether eating just any [animal] becomes a limb of accomplishment, it is stated: "In the maṇḍala for accomplishing accomplishment," and so forth. Because it is nothing other than pacification and enrichment, the food is taught for the sake of the samaya at the time of drawing the maṇḍala of Mahābhairava. That very point is explained: "In the maṇḍala for accomplishing accomplishment," and so forth.
This is in the maṇḍala for accomplishing Mahāmudrā. The five domestic animals are the five afflictions; the five Buddhas and Vajrasattva make six. The mind endowed with these is the horses and so forth, which are to be directly rendered without inherent existence. "Eating" refers to the actual act of consuming. If donkeys and the like are domestic animals, why are humans not considered domestic animals? Regarding the statement, "The families are the domestic animals of those who possess the families," and so forth: there are the four families—the brahmin, kṣatriya, vaiśya, and śūdra. Because they are designated by their family or qualities, they are called "domestic animals." To show the domestic animals as they are found, it says, "The four-legged is explained as the elephant," and so forth. "Among the gods, the one with the face and neck" refers to the cow.
Apart from the maṇḍala, in order to accomplish the siddhis through eating, homa, and torma offerings, it says, "The crow, the jackal," and so forth. To show the homa performed without the playful consort, it says, "With the milk of the black horse," and so forth. This refers to the milk of a black female dog. On a day other than the eighth or fourteenth of the waning moon, one should perform one hundred and eight homa offerings into the fire of wisdom with the mantra of the Four-Faced One, using a porridge of rice and māṣa beans placed in the mouth of a corpse killed by a human, while remaining free of conceptual thought. Then, "that corpse will rise up," and so forth, is easy to understand. If one asks what will definitely occur, it says, "The messengers of the upper and lower realms are accomplished," and so forth.
Below is the earth-dwelling; above is the sky-dwelling; and in between are those who dwell upon the earth. It is definitively taught that these are the yoginīs of the three cakras who have attained accomplishment. Therefore, why should even a cakravartin not achieve accomplishment through cultivation? It is taught that they certainly do achieve it.
As for what that maṇḍala is and how it comes to be, in order to specifically demonstrate that very maṇḍala from which the dharma-symbols of Heruka emerge, it says: "The ash of dried cow dung, and the three dry roots," and so forth. The "ash of dried cow dung" is the wind maṇḍala following the meditation on the four vajras. The "three dry roots" refers to the maṇḍalas of fire, water, and the great lord (mahendra). This sequence should also be understood clearly from the Abhisamaya.
For the time being, regarding the other maṇḍala, if one wonders who the principal deity of that maṇḍala is, in order to demonstrate what was previously explained, it says "four-armed" and so forth. In that maṇḍala, one should arrange [the deity] in a manner similar to the Blessed One. If one asks how they are to be arranged, it says: "One should make the nature of the great conch," and so forth. For the sake of accomplishing all desires and attaining sovereignty, one should draw [the deity] on human skin with a pen made of human bone and then arrange it. Its hand-symbol is the holding of an elephant hide. "The vajra eyebrows are beautifully adorned" was explained previously. From the Ratnakośa-nāma-śrī-cakrasaṃvara-pañjikā, [this is the section on] the accomplishment of the vetāla.
This is the thirty-second chapter, the ritual for the generation stage of Heruka. Having taught the accomplishment of the vetāla, in order to teach the secret offering and the veneration, the thirty-third chapter is to be explained. Regarding the passage beginning, "Then, for the practitioners, the practice that is not found in any other is explained," "then" refers to the practice that is about to be explained. For all yogas, there is no other ritual for the practitioner; if there were, it is the meaning of saying that this alone is it and no other. If that is so, what is that yoga? It is stated, "eating and chewing," and so forth. "Eating" refers to what is to be eaten. "Chewing" refers to rice and so forth, specifically prepared with fish and the like. If one is unable to assemble fish and so forth, one might ask: "Should one not eat then?" Regarding the passage, "Even if they are absent, one should eat," and so forth, even if fish meat and the like are absent, one should take and eat the five foods previously explained—the donkey, human, tortoise, camel, and jackal—or the gokudahanas taught in other tantras. If one wonders where the practitioner should perform such eating, it is stated, "At the time of night, indeed," and so forth. If one asks what should be done after the master has prepared food that is forbidden at night, it is stated, "Then, bestowing the messenger," and so forth, as taught in the twenty-sixth chapter.
It is taught that the messenger—such as the mother, sister, and so forth, who will be explained below—is to be given and entrusted as a second mudrā to the disciple who has received the secret [empowerment] and the mudrā from the master. If one asks, "For how long should she be kept before being given?" it says, "Placing her head upon one's own lap," and so forth. If one asks, "For what purpose is she given?" it says, "The hero should thoroughly rely on the non-dual," and so forth; having become a hero, one acts for the sake of attaining wisdom by transcending duality and non-duality.
To demonstrate the result of relying on her, it says, "The bonds should be liberated just as they are." Here, "liberated just as they are" means self-liberation. The meaning is that the disciple, who is sustained by qualities, should be liberated from the bonds of cyclic existence. If one asks, "How will that come to be?" it says, "Then the mantra will be accomplished," in order to demonstrate the fourth [empowerment]. "Mantra" refers to the non-dual wisdom through contemplation. Because it is characterized by that accomplishment, the meaning is "then this mantra is thoroughly accomplished."
If one asks, "Is that mantra-accomplishment achieved merely through the stage of approach?" it says, "As long as the emergence occurs," and so forth. "Emergence" means the perfect emergence, which is the washing away of the stains of conceptual thought by the waves of the ocean of bodhicitta. If one asks, "How is the previously unestablished Vajradhara accomplished?" it says, "Abiding in the body of the master," and so forth.
Having attained the form of the ācārya who is the Lord Vajradhara, one should accept the offering. This means that just as [the deity] is manifest, so too is the self manifest; thus, there is no error whatsoever in the practitioner’s accomplishment. To demonstrate that the Blessed One is never separate from practitioners, it is said: "The abodes of the heroes are the mudrās, without a doubt." Here, the "hero" is Vajradhara, and his "abode" is the foundation, which is the mudrā alone. To show how the Blessed One is to be worshipped in that manner, it says: "One should perform song, dance, and so forth." In this context, "song" refers to the sounds of swans, partridges, and the like. "Dance" refers to sporting with authentic play and so forth. Alternatively, one should understand dance and song from the treatises of Bharata and Viśākhila; therein, it is called "the teacher of performance." Likewise, one should also experience the joy of song and dance. As long as one does not find joy in the wisdom of yoga, one will remain in saṃsāra. To demonstrate the opposite, it says: "Here, distracted by grief and suffering," and so forth. Whoever finds joy in the wisdom of yoga desires liberation through the consumption of all things—eating, chewing, licking, and through song, dance, and so forth—and thus it is taught that one should worship the mudrā. To further demonstrate the conduct of the hero arising from such worship, it says: "The hero should practice the conduct of the hero," and so forth.
From the Ratnāvalī-nāma-śrī-cakrasaṃvara-pañjikā, this is the thirty-third chapter, concerning the ritual of secret offerings and service.
Having taught the secret offerings and the service of the female messengers (dūtī), in order to describe the fire offering (homa) that is non-dual with the female messengers, the thirty-fourth chapter is explained:
"Then, the extensive ritual of the maṇḍala of the ḍākinī network, by which all actions are proclaimed to be accomplished without doubt." Thus it is said. "Ḍākinī" refers to the twenty-four, such as Pracaṇḍā and the rest; their "network" (jāla) is the ḍākinī network, which is the Blessed One, the glorious Cakrasaṃvara. It is taught that whatever actions—be they pacifying, enriching, or any other—belong to the maṇḍala of that ḍākinī network, those activities will be swiftly accomplished without long delay.
How are they accomplished? Regarding the phrase "the yoga of all heroes" and so forth: "all heroes" refers to Khaṇḍakapālin and the others. Wherever they are assembled, that is the "yoga of all heroes." The "ḍākinīs" of that assembly of all heroes are Pracaṇḍā and the rest. "In the lotus" means it should be applied to the place at the tip of the navel, which is endowed with the syllable A.
"Between the eyebrows, it should be firmly placed; likewise, the place of the avadhūtī." Regarding this, "avadhūtī" refers to the place of the master of the avadhūtī, which is to be established.
The meaning is that one should visualize a drop at the location of the avadhūtī, which is sixteen units in size, of the nature of nectar, and vast, in the center of the eyebrows. As it is said:
"In the lotus of the moon at the brow-center,
Completely surrounded by sixteen channels,
Through the union of all means and insight,
It is explicitly called 'the union.'
Endowed with the first vowel,
If one contemplates it, it will blaze intensely."
Thus, having shown the non-duality of the messenger, in order to teach the homa (fire offering), it says: "The fire of the hero’s symbolic face," and so forth. The "hero" is the Blessed One; his "face" is the terrifying one, and the fire deity arises from the first vowel. In order to show the specific substances to be burned, it mentions "cow meat" and so forth. Regarding the "five substances to be burned," the meaning is that forty-five substances are burned, nine for each of the five tathāgatas.
If one asks how the practitioner of the homa should visualize the wheel to be placed at the navel, it says: "The color blazing with a garland of fire," and so forth. "With faces on all sides" means that the practitioner of the homa should visualize the wheel as possessing blazing faces in every direction. Who is that practitioner of the homa? Regarding the phrase "the four-faced lord of heroes," and so forth, the "four-faced lord of heroes" is the glorious Cakrasaṃvara, the universal monarch of heroes and heroines. "The hero in the abode of the hero," likewise...
This means that together with the heroes, one should visualize the blazing celestial mansion as the "abode of the heroes." Regarding the phrase "the four messengers on the petals," this refers to the messengers—the four such as Ḍākinī and the rest—on the petals of the wheel at the center of the hearth. Regarding the phrase "the non-dual bliss of the wheel-heroes," and so forth: where the wheel, the heroes, and the ḍākinīs are non-dual, that is the "non-dual bliss of all those in the wheel."
In order to explain the faces of the symbolic terminology mentioned above, regarding the phrase "Khaṇḍarohā is offered externally," and so forth: the face indicated by Khaṇḍarohā is the face of Khaṇḍarohā. "External to that" means external to Khaṇḍarohā. Then, from the exterior of Khaṇḍarohā, "Lelihāna" is to be offered to the four-faced one. The meaning of this is as follows: one should visualize and contemplate that the five substances to be burned, which are of the nature of the five nectars and reside within the wheel, enter the symbolic mouth of the hero.
From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī Cakrasaṃvara, this is the thirty-fourth chapter, concerning the ritual of the homa of non-duality with the messengers and the ritual of summoning.
Having explained the ritual of the homa of non-duality with the messengers and the ritual of summoning, the thirty-fifth chapter is now explained in order to teach the reversal of untimely death: "Then, the supreme of actions is indicated in its proper sequence..."
Regarding the statement beginning with "Thus it is said," and so forth: the "supreme action" is the most excellent of actions. "Offering" refers to the sequence of averting untimely death exactly as prescribed. "Without transgressing the sequence" refers to the proper order. "Non-dual offering" is the offering that is free from duality. The application for that purpose is the application of non-dual offering; the action that is the essence of that is the "non-dual offering application." The mantras applied to those actions are what bring about accomplishment. This is the meaning of the statement: "The distinctions of the eight classes are described as the specific actions."
If one asks, "How does this distinction of actions for the specific mantras explained occur?" it is said: "The mantras of the messengers of the families, and so forth." Here, "family" refers to the collection of letters, which are thirty-two. The "female messengers" are the yoginīs whose nature is the channels. From what do these first arise? That purity is the female messengers of the families and so forth, which are the twenty-four heroes. The "mantra" is the family of those female messengers and so forth; thus, it is the mantra of the families, messengers, and so on. Because the mantras are those of the families, messengers, and so forth, the distinctions of the mantras are also described.
If one asks, "What is that like in terms of the distinction of actions?" it is said: "It revolves completely like the force of an arrow," and so forth. The "force of arrows" is the movement like an arrow. That movement has two aspects—the distinction between right and left—and that which revolves completely in those is "revolving like the force of an arrow," which refers to the mantra.
Regarding the phrase, "The secret mantras through mutual union," "mutual" refers to the two sets of vowels and consonants [the āli and kāli] being joined together. Regarding the phrase, "Distinguished by their respective sides," there are four sides, specifically the navel, the heart, the throat, and the crown of the head. Regarding the phrase, "Then grasped by the seed-syllable garland," this means that from where they were gathered, they are summoned and enter into the syllable HŪṂ.
This point should be illustrated as follows: in the center of the two sides, right and left, the twelve vowels are positioned facing upward, while the two garlands of ka and so forth face downward, forming the core. These are the āli and kāli; from them, the collection of ritual actions arises. As it is said:
"On the right and left sides,
The twelve vowels abide;
The ka and so forth completely surround them.
They are correctly explained as facing upward.
By those facing downward,
They are joined in the center of the two sides.
Thus the goddess is explained;
The channels are of the nature of the vowels."
Regarding the phrase, "If the object of accomplishment is obstructed," "obstructed" means the cessation of going, coming, and movement. Therefore, the object of accomplishment becomes the Buddha-body of uncontaminated great bliss. If one asks, "Where does it go?" regarding the phrase, "It does not go even a single step," because movement is obstructed, there is no direction to be traversed.
This is the meaning of the statement, "One does not travel even a single step further." Through cessation, the object of accomplishment is achieved. Not only does one not travel even a single step toward the accomplishment of the object, but how is that cessation itself to be understood? It is stated: "That which has become joined in union," and so forth. Having joined the two, the vowels and consonants, that which is the union of wisdom and method is "joined in union" (kha-sbyar), which is the binding of the vajra chain (vajra-lu-gu-rgyud). This is what is meant. The embracing and binding with the hands is explained as the characteristic of cessation. As it is said:
"Through the meditative equipoise of method and wisdom,
It is described as 'joined in union.'
The embracing with both hands
Is explained as the 'vajra chain.'"
Regarding the phrase "the opening of the vajra itself," the lotus is the opening of the vajra. The lotus is of two types: the nature of primordial wisdom (jñāna) and the nature of the limbs. Primordial wisdom is jñāna. The vajra is non-duality, the deity of the directions. Likewise, regarding "one should circle like a bee," the vajra should be circled within the lotus like a bee. The meaning is that everything should be moved according to the sequence of the "buffalo's strike" and so forth. Furthermore, it is said:
"The vajra should open the lotus;
The bee desires to make honey.
Circling is explained as 'moving.'
One experiences all the bliss of that."
Regarding "attracting with the hook itself," and so forth:
The meaning is that one should summon all the tathāgatas with the hook of desire. Regarding the phrase "stirring with a pestle," the pestle is for the purpose of stirring; because it stirs all things with its substance-water, it is called a "pestle" because it destroys all afflictions (kleśa), such as desire and so forth. "The vajra-Buddha is the food of that assembly." Regarding the phrase "the arrow should be joined to the waking," the arrow is the vowel. Regarding "the limb is joined with the khaṭvāṅga," the khaṭvāṅga is the deity. The skull-cup is the vessel for the offering water (argha). Regarding "the offering water should certainly be joined to the mouth," this means the skull-cup, the vessel for the offering water, should be gathered into the mouth.
From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the thirty-fifth chapter, the ritual for averting untimely death.
Having explained the averting of untimely death, in order to demonstrate the summoning through the offering of suchness (tattva), the thirty-sixth chapter is to be explained: "Then, the great offering of the mudrā and the arrangement of the mantra shall be explained," and so forth. The "great offering of the mudrā" is the great mudrā offering; its "arrangement of the mantra" is the arrangement of the mantra for the great mudrā offering. In order to show the cause for entering that, it says: "They swiftly bring about accomplishment," and so forth.
Because this offering of the mudrā swiftly brings about accomplishment, it is taught that whoever desires it must certainly practice it. If one wonders how to do so if such a purpose exists, it says: "The mantra application in two names," and so forth. The "mantra" consists of two syllables: gha and va. "Two" refers to the two [syllables]. What are those two? It says: "The ḍākinī and the hero, non-dual," and so forth. The "ḍākinī" is Vajravārāhī, the mudrā. The "hero" is the Blessed One, Śrī Cakrasaṃvara, the method. The union of those two is the "ḍākinī-hero." "Non-dual" is the specific mode of action.
If one asks what is to be done by the method of explanation, it says: "The yoginī, moved by the skilled," and so forth. Regarding "pure," it means the body has been purified through the stages of explanation. "Self-light" refers to one who possesses a family and discipline consistent with one's own desire, and who is none other than the daughter of a sister.
Regarding "having performed the offerings to the heroes," the "offerings to the heroes" means that, having realized the samaya of offering, one should employ the outer and inner offerings. "The distinction" means that you should grasp her lips and so forth, and the primary activity is also one's own activity. "The reversal, one applies oneself," refers to the activity of the person.
If one asks what action is performed after that, it says: "For the sake of subduing and benefiting," and so forth. "Subduing" refers to the afflictions.
"Benefiting is for all sentient beings." Its purpose is for the sake of subduing and benefiting. Regarding the phrase, "That very [reality] is distinguished by its divisions," "that very [reality]" refers to the purification of the five, namely the five families beginning with Mohavajrī. Alternatively, it refers to the specific distinction of the five cakras of the channels, which are the nature of the five aggregates together with the Protectors. Regarding the phrase, "Offerings are applied to the path of the channels," they arise from the five locations and should be applied to the path of the three channels. Regarding the phrase, "For the sake of union, one should thoroughly accomplish," "union" is the engagement; for the sake of that union, one should thoroughly accomplish the mudrā. If the mudrā is not accomplished, the Blessed One, the Vajra of Great Bliss, will not be pleased. Regarding the phrase, "This is to be accomplished," through the mudrā accomplished by offerings, the Blessed One of Great Bliss brings about the accomplishment of gods, asuras, and humans.
From the Ratnakośa-nāma-śrī-cakrasaṃvara-pañjikā, this is the thirty-sixth chapter, the ritual of summoning through the offering of suchness. Having explained the chapter on summoning through the offering of suchness, in order to teach the ritual for internal mastery, the thirty-seventh chapter is to be explained. Regarding the passage beginning, "Furthermore, that which is to be explained is the practitioner of subduing and suppressing," "subduing" refers to the body of the one to be accomplished. That by which it is suppressed is the "practitioner of subduing."
Regarding the phrase "the secret mantras joined together," "joined together" refers to the connection between the object of accomplishment and the practitioner. Having resided in the body of the object of accomplishment, one should enter the body of the practitioner. In order to also gather the ḍākinīs, it says, "unite as one with the ḍākinīs," and so forth. Just as the mantra residing in the object of accomplishment enters the mantra of the practitioner, one should visualize that the ḍākinīs of the object of accomplishment merge with the ḍākinīs residing in the twenty-four places of the practitioner.
Having explained the ritual of concentration, in order to demonstrate the application, it says, "the food that is eaten and then vomited," and so forth. "Eaten" refers to food. "Vomited" refers to that which is to be vomited, such as food and snacks like ghee and so forth, into a skull-cup or similar vessel. Regarding the phrase "at the end of the recitation, one should vomit": "recitation" refers to the internal visualization of the deity’s form. The "end" of that is the completion of the mantra recitation. At the end of that recitation, one should vomit what was eaten. If one asks what is to be done with that vomit, it says, "when seven nights are complete," and so forth. Thus, when the practitioner has completed seven days and nights, the phrase "applied to food and drink" is easy to understand.
From the Ratnākara-nāma-śrī-cakrasaṃvara-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara).
This is the thirty-seventh chapter, concerning the specific ritual procedures for bringing the inner self under control. Having taught the chapter on bringing [beings] under control through the inner method of subjugation, the thirty-eighth chapter is now explained in order to describe the secrets of the yoginīs’ abodes and the abodes of the heroes. Thus, it says: "Then, the signs of the ḍākinīs..." and so forth. "Signs" refers to that which is known and indicated by one's own samaya; it is the ḍākinīs themselves who are indicated by their well-established names and taught individually in the apa-bhraṃśa language. This is shown through a coordinate compound (sāmānādhikaraṇa-samāsa). Therefore, it says: "The signs are the ḍākinīs." If one asks who those ḍākinīs indicated by signs are, it says: "Whatever the characteristics of the body..." and so forth. This refers to the nature of the body of those possessing a body—the ḍākinīs who are not other than the body itself. In order to show how the ḍākinīs become the specific limbs of the heroes, it says: "Likewise, the limbs of the senses..." and so forth. Because such heroes, heroines, and the mistresses of the heroines (vīreśvarīs) must not be spoken of in the presence of anyone out of fear of violating their samaya, it says: "The mistresses of the heroes should not be drawn..." and so forth. In order to teach the opposite of that, it says: "By whom the mantra is well-practiced..." and so forth.
In order to demonstrate that one should not remain in a state of meditating on the meaning of mantras, causes, and concentrations, it says: "The Lord of Heroes is not to be drawn," and so forth. The abodes of the yoginīs are the twenty-four secret and hidden places. These are the abodes of the secret heroes; the ritual of the yogin’s body is the completion of the activities of the nature of the heroines. From the Precious Collection of Commentaries on the Difficult Points of the Glorious Cakrasaṃvara, this is the thirty-eighth chapter, on the secret abodes of the yoginīs and the ritual of the heroes.
Having taught the chapter on the secret and the heroes, the thirty-ninth chapter is now explained in order to teach the ritual of the laughter of seeing: "Then the practitioner of accomplishment should arrange the eight types of abodes," and so forth. This explains how the eight types are to be arranged exactly as they are, by means of the mantras to be explained, in order for a powerful great yogin to accomplish the vision of the heroes and heroines residing in the external abodes, near-abodes, and so on.
To demonstrate the purpose of the arrangement, it says: "Then, to this yogin who has arranged [the mandala], those heroes and heroines will manifest their forms." If one asks how that is, it is explained by relying on the yoginī: "The terrifying sound," and so forth. Upon seeing those heroes, the yogins become terrified and flee and scatter in the ten directions.
Then the hero becomes fearless and without dread. If one asks what occurs through that fearlessness, it is said: "Holding [her] with the left hand, he shall carry her to his own abode," and so forth. From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the thirty-ninth chapter, the ritual of the "Ha Ha" laughter.
Having explained the ritual of laughter, in order to teach the subjugation of the five families, the fortieth chapter is explained: "Furthermore, that which shall be explained next is that by which humans are brought under control," and so forth. "Humans" refers to those dwelling upon the earth; they are of five types according to the sequence that will be explained. As for "by which they are brought under control," the ritual for that shall be explained. This is the meaning of performing that ritual. In order to show the certainty of the time, it says "by the moon," and so forth. If one asks how it is accomplished, it says: "The yoginī abides in the ritual of the mantra." Here, "hero" refers to the mantra of the Blessed One, the glorious Cakrasaṃvara, which is the eight-line mantra. "Yoga" is the very perfection of that. The hero who abides in the ritual of those two is one who dwells in the ritual of mantra application. Even if that subjugation is possessed of the hero's mantra and yoga, in order to show the application of how the yogin should accomplish it, it says: "With the flesh of the non-supreme fish," and so forth. "Non-supreme fish flesh" refers to the meat of the non-supreme fish (ariśa).
Regarding the phrase "in all circumstances": it means that one should perform the homa while performing all activities, laughing, gathering, eating, and sporting. To that yogi, the Blessed One, the Lord of Heroes (Vīreśvara), will grant accomplishment (siddhi) within seven days. Regarding the phrase "devoted to performing the homa at night": the first case ending is used in the sense of the sixth. "Night" means the evening; with that in mind, in order to show the number [of offerings], it says: "By means of one hundred and eight." This means one should burn one hundred and eight [offerings] in each session. Regarding the phrase "by all the families of yoginīs": the meaning is that the yoginīs explained as belonging to the five families will come under the power of the practitioner.
From the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the fortieth chapter, the ritual for bringing the five families under power.
Having explained the subjugation of the five families, in order to teach the ritual for arranging the maṇḍala of the twenty-four secret syllables, the forty-first chapter is presented: "Then, the supreme of actions, which the practitioner, having known, [performs]..." Regarding this: it should be understood that the ritual which is explained is the one by which the practitioner will come to know the supreme of actions. If one wonders what that supreme of actions is, the twelve great actions, such as "subjugation and summoning," are mentioned. If one asks how those actions are brought to completion, it says: "They will be accomplished without doubt through mindfulness," and so forth.
What are those rituals that are accomplished through mere recollection? Regarding the statement, "All [the places] such as the Unsurpassed Abode, etc., are pervaded by the ḍākinīs," "all" refers to the thirty-two places, from the Pīṭhas to the Upapīṭhas. Beyond those, there are the twenty-four supreme places in all directions. Since the Pīṭhas and so forth are included within all of these, all twenty-four places, such as the Pīṭhas, are pervaded by the ḍākinīs. The meaning is that these alone are explained as the secret rituals, and not others.
If one asks what kind of rituals are taught by this arrangement: "The self-born abodes of those endowed with wisdom manifest in various lands and regions," and so forth. "Lands" refers to those just mentioned. "Wisdom" is great bliss; they are endowed with that. "Abodes" refers to the entry of the ultimate bodhicitta into the respective birthplaces of infinite beings.
If one asks what those are like: "They are explained as the ḍākinīs," and so forth. The "ḍākinīs" are the twenty-four elements. What are those that have become so like? "The principal lady of the vajra maṇḍala," and so forth. "Vajra" is the indivisible, non-dual wisdom. That itself is the maṇḍala, the vajra maṇḍala. The "principal lady" therein is the principal lady of the vajra maṇḍala. That maṇḍala, based upon the body maṇḍala, [proceeds] from Mahāvīryā and so forth...
In order to teach the twenty-four sites, from Kulutā up to Pullīramalaya, ending with the fierce Pracaṇḍā who is the leader of the twenty-four yoginīs, it says: "Kulutā and the desert," and so forth. If one asks what those who are the daughters of the lands are like, it says: "The heroes, non-dual and all-pervading," and so forth. "Non-dual" means being in union with the hero. Likewise, that which pervades all sites is the "non-dual, all-pervading hero." If one asks what their appearance is like, it says: "They all have the form of desire." "Desire" means that which is desired or longed for, which is the Blessed One, the Vajra of Great Bliss. Those who possess a form similar to that are "those with the form of desire." If one wonders why they are to be arranged in the maṇḍala, it says: "In order to reverse the speed of the mind," and so forth. "Speed of the mind" refers to going anywhere quickly; "reversing" it means for the sake of turning back the force of the mind. This is for the sake of gathering the twenty-four yoginīs. From Rūpiṇī up to Apratihatā, they are to be indicated by signs; thus it says: "The six yoginīs of Kulutā," and so forth. If one asks what those taught in the language of the barbarians are like, it says: "In the land of the desert, the mātṛs," and so forth. "Twenty-one thousand," it says.
Among the seventy-two thousand [channels], twenty-one thousand are explained. If one asks where the others should be applied, it is stated: "However many other goddesses there are, [they belong to] the glorious Heruka," and so forth. How so? Regarding the passage, "From the great union of Heruka, she is the principal lady of his maṇḍala," and so on: "great union" refers to the supreme union; thus, the deities of Heruka’s maṇḍala are clearly taught in the Abhisamaya [as the principal lady of the maṇḍala]. From the Ratnāvalī-nāma-pañjikā of the Śrī-Cakrasaṃvara, this is the forty-first chapter, the ritual of the maṇḍala of the twenty-four secret syllables.
Having explained the ritual for arranging the secret syllables in the maṇḍala, in order to demonstrate the ritual of the illusory forms of the mantras and the yoginīs as explained in the thirty-ninth chapter, the forty-second chapter is now explained: "Then, having drunk the hero’s flower-water, one should recollect this mantra." Here, "hero" means stable. Having drunk the "flower-water"—that is, having consumed the hero’s drink—one should recollect this mantra, which means one should utter the laughter. If one asks what should be done after that: "Having drunk and likewise given, and having touched, one should laugh in the great family." Here, having drunk it oneself and given it to those possessing the samaya, one should laugh while agitated by pride. Regarding "by truth, Brahmā": "truth" refers to the ultimate.
Brahmā is the equipment of merit (puṇyasaṃbhāra); that which possesses the disposition to practice that is the holy life (brahmacarya). This is taught without restriction to any particular person. Having recognized the object of accomplishment, one should accomplish it with the mudrā of laughter. One should look with the mudrā of laughter. If one asks what that mudrā of laughter is like, it is said: "Renowned for the gaze of the coquettish," and so forth. "Gaze" means seeing. "Coquettish" refers to one who possesses pride, looking to the left with the eyes and lips moving; this is the mudrā of the coquettish laugh. Because it is performed for a specific purpose, the phrase "renowned" indicates that the laughter is accompanied by the mudrā, and not without the mudrā. When should it be performed? Regarding the phrase "night or day," the ritual of laughter and the mantra to be recited, which will be explained later, should be performed without restriction of time. If that is so, what are their forms? It is said: "O Hero, listen to the secret of form and action, and how they abide," and so forth. The word "again" (yad vā) is used for inclusion. The meaning is: not only should you listen to the laughter that is about to be explained, but you should also listen to the secret of form and those actions. The definition of the form of the Yoginī is the activity of form. Because it is difficult for the unstable to realize, it is "secret." In order to stabilize that very thing, it says: "Tears always flow for that," and so forth. "For that" refers to the man or the woman. Alternatively, it is because they have come under one's own power.
The two eyes are also treated as having the dual grammatical ending of the instrumental case. Likewise, it says, "food arising from the self." "Vajra" refers to the person who clarifies. "Treading upon that" means its invisibility. Alternatively, "crushing that" means to grasp it as an ornament. Likewise, "worship by becoming the garment of the directions" means that, having become naked, one worships the vajra.
Having explained the characteristics of form and the collection of mudrās, now, in order to state the mantra of laughter, it says "exhaling" and so forth. The wind arising from the wheel of goddesses moves the body of the one to be accomplished. "Laughing" refers to that which arises from the laughing body. "Gestures" refers to engaging in the vajra gait. "Marvelous" means it is something extraordinary for ordinary beings. "Various" means that these laughs are to be performed in the presence of the yoginīs. What is that mantra? It is the extraction of the twelve has: ha hā hi hī hu hū he hai ho hau haṃ haḥ.
From the Ratnākara-nāma-śrī-cakrasaṃvara-pañjikā, this is the forty-second chapter on the ritual of the mantra of laughter and the laughing mantra of the yoginīs' forms.
Having stated the laughing mantra, in order to teach the ritual for accomplishment through the heart mantra and the near-heart mantra, the forty-third chapter is explained. It says, "Then the view shall be explained," and so forth.
If one asks why the view of the yoginīs is explained, it is said: "The person who is non-dual with the heroes." Through whatever view that person becomes non-dual with the heroes and yoginīs. If one asks how they should view it, it is said: "The ritual of the divisions of the sites," and so forth. What are those sites where one dwells and views? They are: at a crossroads, in houses, or on the mountains that are the abodes of the heroes. Regarding the phrase "the mountains that are the abodes of the heroes," the abodes of the heroes are the bases of the heroes. Alternatively, they are also called the "abodes of those who abide in the samaya," such as the sites, near-sites, and so forth.
Regarding the offering of the mudrā by the yogin who is free from obscurations, the action of the offering to the naked one shall be explained: "By the offering of the naked mudrā, one will be liberated through that very action." Regarding the phrase "having abandoned other garments," one should wear and use the six limbs, such as the tiger skin and so forth. Regarding the phrase "one should engage in the desire for touch," the yogin engages in desire; without his command, one should not touch her correctly. If one asks, "Even if the command is received, how should the action that accomplishes it be performed?" it is said: "Thus, with the crown of the head loosened," and so forth. The meaning is that once one is thus naked with the crown of the head loosened, one should perform all the actions that please them.
If one asks, "While performing this action, will others not see it, and will obstacles not arise?" it is said: "With the root mantra and the tsham ngam [threatening] mantra," and so forth. One should recite the root mantra or the tsham ngam mantra.
Regarding the phrase, "Engaging in the binding of the directions," this means that if one recites the mantras of the directional fence, the lattice, the canopy, the lattice of arrows, and the radiance of fire, and performs the offerings, even the gods will not see [the practitioner], let alone humans. This is the meaning. Here, in order to demonstrate the power of the secret mantras that are accomplished through recitation in places such as hermitages in various regions—as will be explained—the text says: "Filling the cupped hands with flowers, scatter them upward toward the sky-dwellers," and so forth. This means that if one scatters a handful of flowers toward the sky-dwellers, they do not see them fall to the ground; furthermore, by that handful of flowers, one will certainly gain mastery over those who roam the sky, as indicated by the space above.
From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary on the Śrī-Cakrasaṃvara), this is the forty-third chapter, the ritual procedure for accomplishing the heart mantra and the near-heart mantra.
Having taught the ritual procedure for accomplishing the heart mantra and the near-heart mantra, the forty-fourth chapter is now presented in order to teach the activities of both those mantras and the wheel of yoginīs. Regarding the phrase, "Then, relying upon the female messengers," and so forth: the "female messengers" are the six ḍākas and ḍākinīs of the Vajra Body, whose syllables are explained in the explanatory tantra of the near-heart mantra. [The tantra says:] "Draw a six-spoked vajra wheel, situated upon a multicolored lotus wheel, and encircled by a garland of crossed vajras."
There, from the syllable HŪṂ, one should meditate on the Vajraḍākinī of Great Bliss. She has six arms, three faces, and three eyes, and is fully characterized by all the [major] marks. The principal deity arises from the vowels and consonants and is perfectly endowed with the eighty minor marks. In union with the vajra and bell, she likewise holds a human skin. In her left hands are a skull-cup and a khaṭvāṅga, while in her right hands she holds a trident. Her head is adorned with a garland of skulls, and her matted locks hang down with a crossed vajra. A crescent moon rests upon her head, and her body is adorned with the six mudrās. Her faces are black, yellow, and green, and she wears a tiger skin as a garment. She tramples upon Kālarātri and Mahābhairava with her right leg extended. Just as the Protector is, so too is Vajravārāhī, with her eyes and so forth; the goddesses embrace him perfectly, pervaded by supreme joy. With the syllables JAḤ HŪṂ BAṂ HOḤ, one should perform the summoning of the wisdom beings and so forth. At the gates are the six yoginīs, seated in a clockwise and counter-clockwise arrangement. The first is Heruka; the second is Vajrabhairavī; the third is Gorocanī; the fourth is Vajrabhāskarī; the fifth is Vajracaṇḍī; and the sixth is Vajraḍākinī. Blue, yellow, green, and likewise red, smoke-colored, and white; with loose hair and fierce, they have three eyes and wear the directions as their garments. Sounding the damaru and likewise holding a bell in their hands, they wear human skins and reside upon sun maṇḍalas.
Adorned with a garland of skulls upon the head,
Abiding in the posture with the right leg extended,
Arisen from the six syllables of the fortunate ones,
All should be arranged according to their proper sequence.
Thus it is said. Regarding the phrase "perfectly endowed with the seven syllables," by relying upon the yoginīs who possess those mantras, whatever actions are undertaken will all be accomplished. If one asks how these yoginīs endowed with mantras should be visualized:
"One should place the seven syllables in the center of the hand; the six yoginīs reside upon the six spokes."
Regarding such passages, one should draw a six-spoked wheel in the palm of the left hand. The spokes should be marked by the six yoginīs, who are endowed with the mantras and the names of the person to be accomplished, along with the exhortations. Having visualized the yoginīs assuming the forms of whichever objects of accomplishment are intended, if one utters the king of mantras from the mouth, they will manifest in those forms. This teaches the summoning and other rites through the fire offering (homa) of the yoginīs. Having drawn the wheel of the yoginīs in the hearth and thoroughly pleased the two syllables, one should rub the dust from the two hands—which are arranged as the moon and the sun—and offer it as a burnt offering.
From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the forty-fourth chapter, concerning the ritual procedures for the seven syllables and the yoginīs.
Having taught the activities of the seven syllables and the bodies, in order to teach the activities of the bodies and the mantras, the forty-fifth chapter shall now be explained.
Then, regarding the statement: "The supreme of actions is that which effects the accomplishment of speech," the accomplishment of speech is the siddhi of speech; that which engages in and brings about that [accomplishment] is "that which effects the supreme accomplishment of speech." In order to demonstrate that supreme action, which is superior to the previously explained [actions], it says: "One should strike the crown of the liṅga with a red karavīra flower," and so forth. Here, the liṅga is the self-arisen [organ]. Alternatively, in this tantra, the crown of the liṅga refers to the hand-symbols (mudrā) of the Vajraḍākinīs and Yoginīs as taught [here]. Regarding the phrase "arisen from the secret tantra," the "secret tantra" refers to the three bodies (kāya); "arisen from that" means it originated for the sake of that [tantra] and emerged definitively from the secret tantra. In the center of space, one should bind the triangular yoni-mudrā, which is white like an autumn cloud, outside of a multicolored lotus. On a cloth from a hungry ghost (preta), one should draw a wheel with saffron and red sandalwood and place it at the heart of the effigy of the one to be accomplished. Alternatively, one should visualize it at the birth-place (yoni) and move the little finger of the vajra; such is the meaning. This concludes the forty-fifth chapter, the ritual for summoning the accomplishment of speech, from the Ratnāvalī-nāma-ṭīkā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara.
Having taught the summoning of the accomplishment of speech, the forty-sixth chapter is now explained in order to teach the actions of the five ha syllables. Regarding the passage beginning with: "Then, of the five syllables ha..." and so forth.
The five has are taught as the actions from haṃ, hūṃ, ho, he, and ha. The meaning is that one should rub the two hands together after having mentally written and arranged the five has.
From the Precious Collection of Commentaries on the Difficult Points of the Glorious Cakrasaṃvara, this is the forty-sixth chapter, the ritual procedure for the actions of the five has.
Having explained the chapter on the actions of the five has, in order to teach the ritual for all the actions of the mantras of all the ḍākinīs, the forty-seventh chapter is explained:
"Then, that which is to be correctly explained, the heart mantra of all ḍākinīs," and so forth. This refers to the heart mantra of all ḍākinīs as spoken in the previously explained chapter. Alternatively, it refers to the recitation of the heart mantras of all the ḍākinīs, such as Caṇḍākṣī and the others, which will be explained in the forty-eighth chapter. In order to demonstrate the power of the mantra, it says, "The fruit of all accomplishments arises," and so forth. "The foot of a vulture" refers to the foot of a crow.
From the Precious Collection of Commentaries on the Difficult Points of the Glorious Cakrasaṃvara, this is the forty-seventh chapter, the ritual for all the actions of the heart mantra of all ḍākinīs.
Having taught the chapter on the ritual for all the actions of the heart mantra of all ḍākinīs, in order to explain the ritual for the secret maṇḍala, which is the basis of all the heroes and ḍākinīs, the forty-eighth chapter is presented:
"Then, furthermore, that which is to be explained, whatever is the virtue of all ḍākinīs," and so forth.
Thus it is said, and so forth. All the ḍākinīs are the twenty-four, beginning with Pracaṇḍā. Their virtue is that which serves as the cause of virtue. The heart mantra is the mantra of all the yoginīs, which accomplishes all desired aims. If one asks, "Will it definitely occur?" it is said: "By merely remembering it," and so forth. That mantra shall be explained: Hā svā ṭpha hūṃ hūṃ ye nīrṇā vajravaye nī kiḍādhadhubvas oṃ. By reciting this mantra, accomplishment is attained; the meaning is that it performs all activities without depending on preliminary service and the like. In order to explain the concise foundational maṇḍala of those to whom the mantra belongs, it is said: "It is the foundation of all ḍākinīs," and so forth. Regarding "the excellent mountain": having arranged Mount Meru, which is composed of the seven precious substances, has eight peaks, and is adorned with flowers and fruits, one should place vases of gold, silver, and so forth in the celestial palace upon it. What is it like? It is said: "White like the kunda flower and the moon." With the four skull-cups of the laughing mudrā—ha hā he hai—the four intermediate petals are blessed. Furthermore, on the four petals of the wisdom petals, the twenty-four secret syllables are taught in the chapter on the ḍākinīs, lāmās, Khaṇḍarohā, and Rūpiṇī; and on the three wheels are the heroes and heroines.
Likewise, it is taught that one should visualize the Crow-Faced Goddess and the others, as well as the Yama-Dāhinī and the others, in brief, at the gates and intermediate directions. Regarding the phrase "the heroines of the heroes," if one asks, "Is this the maṇḍala ritual for those four skull-cups and the laughter mudrā that were previously mentioned?" it is said: "The twenty-four heroes are the ḍākinī-jāla-saṃvara (the binding of the ḍākinī network)," and so forth. The meaning is that the perfect gathering of the twenty-four heroes is called the ḍākinī-jāla-saṃvara. If one wonders what the names of those heroes are, they shall be explained in reliance upon the body wheel (kāya-cakra): "Vajrasattva, Vairocana," and so forth. If one asks, "Are these only the heroes as they are arranged, or are there others?" it is said: "The ḍākinīs and yoginīs." This shall be explained in reliance upon the mind maṇḍala (citta-maṇḍala): "Likewise, Pracaṇḍā and the others," and so forth; one should visualize them in all the locations of the body as previously explained. Because they are non-dual in the nature of the wheels, the internal application is taught: "One should always meditate on the nature of the wheels," and so forth. Regarding the phrase "by the ritual previously explained," one should perform the offerings according to the sequence taught in the first, third, and other chapters. From the Ratnākara-nāma-śrī-cakrasaṃvara-pañjikā (The Jewel Collection Commentary on the Glorious Cakrasaṃvara).
This is the forty-eighth chapter, the Secret Maṇḍala of All Heroes and Yoginīs.
In order to teach the accomplishment of the "seven-birth" [being] within the secret maṇḍala, the forty-ninth chapter is taught:
"Furthermore, I shall explain the ritual of the animal according to the procedure," and so forth. Regarding the phrase "the practitioner [uses] ground rice," the "animal" refers to those animals to be used in the accomplishment of the Vetāla, as explained in the thirty-second chapter. This indicates that while other [beings] mentioned in the explanation are also to be regarded as animals, they are not restricted to specific [species]. To demonstrate this, it says: "I shall explain its ritual," and so forth. In that thirty-second chapter, all the various types of animals are the same; it is with these alone that the rituals of eating, chewing, and the homa [fire offering] explained in the thirty-second chapter are to be performed using the mantra for binding the drum.
In order to supplement the ritual of the seven-birth being as taught in the eleventh chapter, it says: "I shall explain its supreme ritual, and its characteristics in particular," and so forth. If one asks what those seven-birth beings with such characteristics are, it says: "One birth, two births," and so forth. One who has remained in human birth for up to seven [lives] based on a single [initial] birth is a "seven-birth" being. To demonstrate its characteristics, it says: "The scent of the body is always fragrant."
Thus it is said, and so forth. From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī-Cakrasaṃvara, this is the forty-ninth chapter: the ritual for the form of the object of accomplishment who has seven births.
Having explained the ritual for the complete transformation of form, in order to teach the other fire offerings (homa) of the mantras as taught in the forty-seventh chapter, the fiftieth chapter is now explained: "Then the ritual of fire offering is explained," and so forth. If one wonders, "Well then, what is that fire offering like?" it is said, "gomang," and so forth. For the prolongation of life, dūrvā grass, kuśmanda, and so forth are thoroughly accomplished.
Having taught the fire offering, in order to teach others, it says: "Then furthermore, that which is to be explained: the yoginīs of the levels, places, and so forth." Here, "levels" refers to the Joyous (pramuditā) and so forth. "Places" and so forth indicate the twenty-four yoginīs who reside on the levels, such as the places and near-places.
If one asks, "What are those levels and yoginīs like?" it says, "The limbs and minor limbs of Heruka," and so forth. "Limbs and minor limbs" refers to the limbs. Regarding "all limbs are the nature of the stable and the moving": all the limbs of everything that is not Heruka. Regarding "the nature of the stable and the moving": "stable" refers to locations, directions, and so forth; "moving" refers to all living beings. That which possesses the nature of these is the earth and so forth; thus, they are the nature of the stable and the moving. If one asks what that is:
Regarding the phrase, "The locations are the perfectly established grounds," and so forth: if one asks to which these grounds belong, they are the grounds of the practice of the śrīheruka source text. Regarding the phrase, "These are the internal grounds," and so forth: the practice of the source text, which is the nature of Heruka’s nirmāṇakāya, refers to the grounds of wandering. These are indicated by the syllables pu and so on: pu-ja-o-a-go-ra-de-ma, kā-o-tri-ko-ka-la-kā-hi, pre-grī-sau-su-na-si-ma-ku. Having explained the external grounds, they shall now be explained by relying on the wheels of the body of the internal nature. Regarding the phrase, "Possessing hands and feet everywhere," and so forth: one should understand [the locations] such as Jālandhara and so on by means of the syllables pu and so forth.
From the Ratnāvalī-nāma-pañjikā (The Jewel Collection Commentary) on the Śrī Cakrasaṃvara, this is the fiftieth chapter, which teaches the fire offering for empowerment, the locations, and so forth.
Having spoken of the fire offering for empowerment, the locations, and the grounds, the fifty-first chapter is now explained in order to teach the pith instructions. Regarding the phrase, "Furthermore, that which is to be explained is the pith instruction, which is extremely difficult to find," and so forth: this should be connected to the statement, "Having gone very far, the stages of the pith instructions shall be explained." "Hidden" means extremely secret. If it is hidden, one might ask how it is to be explained; regarding the phrase, "It is spoken as the symbols of the heroes," the "symbols of the heroes" are the symbols by which the heroes understand one another. That which is spoken by them is "spoken as the symbols of the heroes."
If one asks how many those are, it is as stated: "Those are the fourteen realities," and so forth. What are those fourteen realities? Regarding the passage, "The garment is endowed with the five mudrās," and so on: the "garment" is a tiger skin. Alternatively, that in which one dwells is the "garment," which is the celestial mansion. The "five mudrās" and so forth are the five wisdoms, such as the mirror-like wisdom. Regarding the "limbs of insight," these are the four vajras, as it is said: "First is the awakening mind of emptiness; second is the gathering of the seed-syllable; third is the perfection of the reflected image; fourth is the arrangement of the syllables." Regarding "the stakes and the lattice," these are the wrathful stakes, the vajra fence, the lattice, the canopy, the lattice of arrows, the moat of fire, and so forth. Regarding the phrase "the vowels and consonants are proclaimed," this refers to their transformation into the forms of the moon and the sun. Regarding "the emptiness of causes and so forth is the precursor," "cause" refers to that which produces; that which possesses this first is "the emptiness of causes and so forth," which is the fourth wisdom, the wisdom of accomplished activity. As it is said: "Whatever the activity of all the Buddhas, it is without appearance and without basis; it is unborn, uncreated, and pure, completely transcending both existence and non-existence." Following that, the precursor to that path is the third wisdom, the wisdom of individual discernment. Regarding the phrase "entering from sound and so forth," the "entering" of the causal Vajradhara is the sound that serves as the cause of birth.
The syllable HŪṂ possesses four states. The phrase "and so forth" refers to the signs of the moon and the sun. "As long as the application of the condensed [state] exists" means that the application of condensing those three into the manner of a single mass is the application of the accomplishment of diligence. "Satisfying with nectar" means that the Great Vajradhara, whose nature is the utterly pure dharmadhātu, should be summoned. "To bring about nirvāṇa" means to turn away from anything other than that. "Offering with the hands" refers to the practice performed through the realization previously explained.
If a yogi possessing the characteristics just described should die, one might wonder what remains of the body. To address this, the text says, "At the time of transference, the yogi..." and so forth. While others die and go to the realm of the Lord of Death (Yama), the yogi, by completely relinquishing prior karma, should rely upon a sublime state. Therefore, it says, "He will be carried to the abode of the ḍākinīs," and so forth. Because he is liberated from all conceptual elaborations and acts for the benefit of all sentient beings, that state is the "abode of the ḍākinīs"—the mind that is naturally luminous and gathers the two bodies (kāyas).
Regarding the statement, "Such a heroic yogi is difficult to find upon this earth," this refers to the Blessed One, the glorious Cakrasaṃvara, who possesses such qualities, as well as the heroes such as Khaṇḍakapālin and others.
The yoginīs, such as Pracaṇḍā and the others, are difficult to find upon the earth; the meaning is that they are easily found only in the body. To demonstrate the mudrās, it says "necklaces, bracelets," and so forth. To demonstrate the places of meditation, it says "mountain peaks," and so forth. To demonstrate the names of the heroes and heroines based on the maṇḍala of the heart, it says "vajra and bell," and so forth. In that context, because they correspond to the wheels, there are the vajra bell, the lotus bell, and the wheel bell. "Embracing" means that the hero is embraced by the two mudrās possessing those. To demonstrate the heroes and heroines by means of their sounds, it says "half of the four channels," and so forth. Half of the heroes and heroines is twenty-four. Alternatively, there are three eyes for each face; thus, for four faces, there are twelve eyes. One should understand the number of faces by the number of eyes. Thus, the Blessed One is surrounded by the heroes and yoginīs; this means he is completely surrounded by the retinues such as the ḍākinīs, the Crow-faced goddesses, and the Yama-Consuming goddesses. If one asks how they are to be meditated upon, it is by means of the passage beginning, "possessing the union of the churner and the churned."
This is the fifty-first chapter from the Ratnāvalī-nāma-pañjikā, a commentary on the difficult points of the Śrī-Cakrasaṃvara, the king of Mahāyoga tantras.
The Subsequent Tantra of the Guru of Supreme Name, Equal to Space. From the Heruka of the Glorious Cakrasaṃvara, who holds from four to ten thousand hand-symbols, this is the commentary on the difficult points titled The Collection of Jewels, compiled by the Goddess through the power of compassion. It was composed by the great master, the glorious Durjayacandra. It is complete.
By means of the intellect that realizes all points of delusion, this lamp that definitively reveals the instructions without exception—this commentary on the difficult points titled The Collection of Jewels of Clear Meaning—is a delightful teacher that brings about the realization of the essential points. It was translated, edited, and finalized by the Indian abbot Tāralaśu and the Tibetan translator, the monk Guṇaśrī.