Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Analysis of the Four Stages is a technical manual of Vajrayana practice that seeks to map the physical and subtle body onto a cosmic and deity-centric framework. The text functions as a commentary or a set of glosses, systematically decoding symbolic syllables, anatomical sites, and energetic processes to reveal their identity as primordial wisdom. It argues that the practitioner's aggregates, channels, and winds are not mundane biological facts but are primordially the nature of the deity and the maṇḍala. By detailing the movement of caṇḍālī (inner heat), the function of the winds, and the identification of specific bodily parts with goddesses and pīṭhas, the work commits the reader to a rigorous somatic alchemy. The ultimate goal is the realization of the fourth stage—the realization of one's own mind—where conceptualization is negated and the practitioner identifies their own consciousness with the nature of the Tathāgatas.
Provenance
About this text
An explanation of the four stages, the Olacatuṣṭayavibhaṅga is a work of the classical Tibetan period. It is attributed to the Indian author Kāṇha, also known as Kāṇhapā. The text was translated into Tibetan by ’bro dge slong shes rab grags and is preserved in the Tengyur, volume ཝ, where it comprises 19 pages. Within the Tibetan canon, it is situated among the Śaṃvara and Related Tantras under the title rim pa bzhi'i rnam par 'byed pa. The work begins with homages to the Blessed One and the ḍākas and ḍākinīs, and it seeks to clearly explain the four stages by means of the solar maṇḍala to suppress the four Māras. It enacts a symbolic decoding of syllables—specifically E, Vaṃ, Mā, and Yā—identifying them with the action, dharma, great, and commitment mudrās. The text further argues that these syllables possess the characteristics of the four elements and are blessed by goddesses such as Locanā, while also corresponding to the four moments and four joys. A scholar or serious reader consults this work today to examine these technical correspondences between seed syllables, the elements, and the somatic realizations of the four stages.
Cite thisAnuvāda, “Distinguishing the Four Stages” (Toh 1452), machine draft, 2026.https://naxiai.com/tibetan/works/toh1452
Summary & commentary
Significance
This work is significant for its detailed integration of subtle body physiology with the philosophy of Mahāmudrā and the Trikāya doctrine. It provides a window into the highly specialized 'uncommon vehicle' where the physical body is treated as a sacred geography to be transformed through meditative absorption.
Structure
Passages
Section
Description
1-4
Syllabic and Symbolic Foundations
Analysis of seed syllables and the distinction between quality and essence in the context of the subtle body.
5-13
Subtle Body Anatomy and Energetics
Identification of gates, the movement of caṇḍālī, the four results, and the mapping of pīṭhas and goddesses onto physical organs.
14-19
Meditative Process and Wisdom
Discussion of bliss, the gathering of wisdom from the Sugatas, the role of winds, and the negation of conceptualization.
20-24
Realization and the Four Stages
Definition of Mahāmudrā, the identification of aggregates as Victorious Ones, and the final realization of the mind as the fourth stage.
Themes
Somatic Mapping (5-13, 21)
Subtle Energetics (Winds and Heat) (6, 16-18, 23)
Non-duality of Body and Deity (8-10, 21)
The Nature of Mind and Mahāmudrā (19-20, 24)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Olatustutaya-vibhaṅga-nāma. In the language of Tibet: Rim pa bzhi’i rnam par ’byed pa zhes bya ba (The Analysis of the Four Stages).
Homage with devotion to the Blessed One and the ḍākas and ḍākinīs.
Having prostrated to him who, by means of the solar maṇḍala, completely suppresses the four Māras, I shall clearly explain the four stages.
Regarding the phrase "Evaṃ-māyā" and so forth: here, in this uncommon vehicle, the one who compiles [the teachings] is the bodhisattva Vajrapāṇi. Furthermore, in the intentional language (saṃdhyābhāṣā), "E" and "Vaṃ" are not the words of the compiler himself, but are symbolic indications of the dwelling place of Vajradhara. Moreover, for the sake of those who delight in elegant phrasing, excellence, etymological definitions, and poetic meter, and in order to fully ripen the gods, the primary subject matter of method and insight is indicated by these two syllables. For those who are independent of words and who abandon conceptual proliferation, it is said: "Then the secret shall be explained," and so forth; thus, in various tantras, it is taught as something other than the mere words of these two syllables. Therefore, with the intended audience in mind, Vajradhara himself explained it by means of the two syllables in certain tantras such as the Hevajra. Furthermore, the fact that all things are comprised of water, wind, and space is the "Vaṃ," which arises from the father. The element of earth and the element of fire...
The elements of wisdom arise from the mother, which is E. Therefore, it is E-vaṃ. To show that this is not a teaching of the words of the Compiler, it is stated: E is the action mudrā (karmamudrā); Vaṃ is the dharma mudrā (dharmamudrā); Mā is the great mudrā (mahāmudrā); and Yā is the commitment mudrā (samayamudrā).
In that regard, E is so called because it is sharp, or because it abides in the lower part, or because it abides in the form of the bhaga, or because it abides as a triangle, or because it abides as empty like space, or because its nature is to cut and pierce, or because its nature is craving. As it is said in the Five Hundred Thousand [Verse] Hevajra: "The wise should contemplate wisdom in the form of E within the element of space." Furthermore, from that same source: "Because it is sharp, it is the form of fire; it is also designated as the mātṛs. The Buddhas have thoroughly designated it as the nature of the first vowel."
The term "action" (karman) is used because it performs the actions of body, speech, and a happy mind. The term "seal" (mudrā) is used because it is that which symbolizes. Furthermore, Vaṃ is so called because it is similar to the syllable that expresses the Dharma, or because it expresses the meaning of "white," or because it is white water, or because it washes away all afflictions (kleśa), or because it holds the characteristic of great bliss (mahāsukha).
Mā is so called because it is all-pervasive and vast, or because it is profound, or because it is wide, or because it is immense, or because it is uninterrupted bliss. Yā is so called because it is not to be transgressed.
Because he abides just as he abides, or because he teaches the characteristics of reality as it is, or because he has gone just as he came, or because he abides according to his vow, he is called by that name. Furthermore, the four syllables possess the characteristics of the four elements and are blessed by the goddesses Locanā and the others. They are also the four moments, the four joys, the four empowerments, the four bodies, and so forth. Furthermore, it is taught that the four syllables reveal the meaning of the four mudrās. Thus, the teaching of the four mudrās is shown to be nothing other than emptiness and compassion. To demonstrate this, it is stated: "E is wisdom; Vaṃ is method." Wisdom is that which reveals the absence of entities, while method is that which reveals the characteristics of entities; these are the nature of the six, consisting of three groups of three. Therefore, all entities are these two syllables.
The nirmāṇacakra, dharmacakra, saṃbhogacakra, and mahāsukhacakra are the meaning of the statement that they abide naturally in embodied beings in the form of channel-wheels. One should understand that the number of petals for these, in order, is sixty-four, eight, sixteen, and thirty-two. They are to be understood through the divisions of the danda, the junctions, the shifts, and the hours. Their colors are yellow, black, red, and white, to be distinguished by the distinctions of the four activities. The vowels and consonants are the left and...
Regarding the phrase "the right": the left consists of the sixteen vowels beginning with a, and is called "quality" (guṇa). The right consists of the nature of the fivefold groups beginning with ka, and is called "the essence of defects" (doṣa). Therefore, these two are also called "the nature of quality and defect." Furthermore, the right and the left are also called "pacifying" (śānta) and "powerful" (śakti).
Ā ī ū ai au aṃ refers to the wheel of great bliss (mahāsukhacakra). A ka ca ṭa ta pa ya śa refers to the syllables residing in the emanation wheel (nirmāṇacakra). Oṃ taṃ haṃ khaṃ hūṃ lāṃ māṃ pāṃ tāṃ refers to the syllables residing in the dharma wheel (dharmacakra). In the center of that is the syllable hūṃ, which is the nature of the five Sugatas. Thus, the nature of the classes of syllables taught above is called the emanation wheel; at its hub resides the syllable aṃ, the nature of all yoginīs.
The enjoyment wheel (saṃbhogacakra) consists of the sixteen petals of the throat. The syllables residing there are oṃ ā ī ā ai. The wheel of great bliss is the nature of the thirty-two hours (ghaṭikā) mentioned above. At its hub is the syllable haṃ, the nature of the commitment (saṃvara) of all Buddhas. Below is the syllable kṣa, which guards the lower gate. From the two gates through which one enters and exits the entire body, it resides there.
The guardian of the lower gate is Niḥkṣa, located at the lower gate. That very [gate] also brings about the exhaustion of the aggregates for those who benefit the world. Regarding the statement that the moon and the sun are the two gates, the lower and the upper, this indicates the names of the two gates, which are of the nature of qualities and defects. Furthermore, the upper is the gate that generates torment, while the lower is called the gate that causes the body, speech, and mind to be contemplated. Regarding the phrase "opening the vital points," the upper is the Īśvara of joy, located above. These two themselves are the going and the coming: they go upward in the manner of burning, and they come downward in the manner of nourishing; thus, they are the going and the coming. Regarding the "four yogas," these pertain to both the going and the coming. "Swift" refers to fire. "Vapor" refers to wind. "Binding" refers to earth. "Slow" refers to water. In that way, the two—going and coming—constitute the four yogas. Regarding "dripping from the upper side downward," this means that by the power of the yoga of going in that manner, the dripping from the upper Brahmā world occurs into the lower realms of humans and so forth. Regarding the "three absorptions," these pertain to that very going and coming. "The first yoga" refers to emptiness, or alternatively, the upward movement of Caṇḍālī. "The supreme king of the maṇḍala" refers to the complete perfection of the form through the transformation of hand-symbols and so forth, or alternatively, the downward invitation of Caṇḍālī.
Regarding the phrase "the supreme king of actions," this refers to the emanation of the subtle body or its retention through the power of bliss. To clarify that very point, it says "summoning," which is by means of caṇḍālī (inner heat). "Requesting to depart" refers to caṇḍālī moving upward. "Retention" refers to that very [bliss] dripping in such a manner. "Of the four branches" refers to the yogas that bring about accomplishment.
"Approach (sevā), near-accomplishment (upasevā), accomplishment (sādhana), and great accomplishment (mahāsādhana)" refers to the yogi abiding in the two stages practicing in sequence: approach as emptiness; near-accomplishment as the placement of the seed-syllable; accomplishment as the complete perfection of the body; and great accomplishment as the clarity of the limbs, or alternatively, the performance of the welfare of beings through the emanation of the subtle body.
According to the other [interpretation], approach is meditating on the family of the wrathful deity known as Uṣṇīṣa; at the time of near-accomplishment, meditating on the form of the wrathful deity known as Amṛtakuṇḍalī; for accomplishment, meditating on the form of the deity; and for great accomplishment, meditating on the one named the "Lord of Buddhas."
Furthermore, the wrathful deity Uṣṇīṣa is the Akṣobhya family of consciousness and space, which is to be understood from the oral instructions of the Guru. The wrathful deity Amṛtakuṇḍalī is the Amoghasiddhi family of wind residing at the heart. The "form of the deity" is the emanation of caṇḍālī, which is Amitābha. The "Lord of Buddhas" is Vajrasattva, the bliss of non-emission.
Regarding the phrase "the four results," it is as follows. If one asks what they are, it says "the concordant cause" (nisyanda), which refers to the generation of the syllable HŪṂ and so forth. "The ripened result" (vipāka) refers to the nature of the Sambhogakāya. "The result of human effort" (puruṣakāra) refers to the manner of the five types of manifest awakening. "The result of separation" (visaṃyoga) means that by its power, one abandons the two stains of the conceptualization of the apprehended and the conceptualization of the apprehender.
The phrase "the four divisions" indicates the distinctions of the accomplished person (siddhapuruṣa). "The dull" refers to those of dull faculties, the lowest. "The middling" refers to those of middling faculties, the intermediate. "The sharp" refers to those of sharp faculties, the sharpest of the sharp, meaning those whose faculties are supreme. "The moment" (kṣaṇa) refers to the distinction of time. "The manifold" (vicitra) refers to joy (ānanda). "The ripened" (vipāka) refers to the nature of supreme joy (paramānanda). "The crushing" (vimarda) refers to the moment of special joy (viramānanda). "The devoid of characteristics" (vilakṣaṇa) refers to the moment of the coemergent (sahajānanda).
These are: gazing, laughing, holding hands, and the mutual embrace. The four joys are joy, supreme joy, special joy, and coemergent joy; this is easy to understand. Regarding "the four excellences," it refers to "one's own excellence" and so forth, which is the generation of oneself as the deity, or...
Alternatively, the aggregates and so forth being primordially of the nature of the deity, or being primordially unborn, is called "excellent." Regarding the "excellent time," it refers to the time of cessation, the inconceivable time, and so forth. Regarding the "excellent wisdom," it is because through its power there is no emission, and thus the aggregates and so forth flourish. Regarding the "excellent wind," it is excellent because it has ceased, or it is excellent because it does not circulate; or else, it is the accomplishment of each from the four winds, or it resides within the fiery pattern, or it arises from the left and right [channels]. The flow of the left is called the "excellent wind." Regarding the "four abodes," it is so called because they are that which is to be supported, or because they are the foundation. Regarding "the abode of another," it is because it depends upon another support: [namely] action, wisdom, or the command. Regarding "the abode of oneself," it is because the yogi himself is the abode of bliss. Regarding the "abode of yoga," it is because from meditative equipoise, the bliss that is the support of non-dual wisdom arises. Regarding the "abode of suchness," it is because from such meditative equipoise, bliss is realized or experienced. Regarding "the three suchnesses," suchness is that which is non-erroneous. That is called "the suchness of the self," because its nature is selflessness.
The "suchness of the deity" is so called because the aggregates and so forth are, from the very beginning, the unerring deity. The "suchness of the maṇḍala" is so called because the aggregates are, from the very beginning, the celestial palace of the unerring deity. Regarding the "three maṇḍalas": it is a maṇḍala because it is the locus of the essence, the taking up of the essence, or the dissolution of the essence. The "maṇḍala of the body" means that the body is a fathom square, or it is the abode of the deity. The "maṇḍala of speech" is so called because the deity is generated from seed-syllables within it. The "maṇḍala of the mind" is so called because the nature of mind is the ground of all, and that itself is the maṇḍala, as it is the locus of suchness.
The "two insights" are the piercing [insight] or the thorough discernment of phenomena. "With apprehension and without apprehension" are two names. Regarding "the breath of relief of Vajradhara without apprehension": the absorption that abides in non-apprehension is the vajra; it is the breath of relief because there is no opportunity for conceptualization. "The apprehension of emanation" means by means of the emanation of realization. "The breath of relief of the Tathāgata" refers to the absorption of the generation stage, because it provides relief from coarse conceptualization. "Samsara" means that as long as one abides in non-apprehension, that is samsara. The "three bodies" are as taught in the tantras.
Regarding the terms "Dharma, Sambhogakāya, and Nirmāṇakāya," the three bodies are the three drops, or the nature of the three syllables, which are the three winds of arising, entering, and abiding. "The five Tathāgatas" refers to the five Victorious Ones of the families as taught in the tantras. "Form" is Vairocana. "Feeling" is the Victorious One Amitābha. "Perception" is the Victorious One Ratnasambhava. "Formations" is the Victorious One Amoghasiddhi. "Consciousness" is the Victorious One Akṣobhya. "The five wisdoms" are the mirror-like wisdom, the wisdom of equality, the wisdom of individual discernment, the all-accomplishing wisdom, and the wisdom of the utterly pure dharmadhātu; these are the transformations of the mental consciousness and so forth. "The four goddesses" refers to Pāṇḍaravāsinī and the others. "The earth element, water, fire, and wind" refers to the goddesses Locanā and so forth, in that order, as well as Pātanī, Māraṇī, Ākarṣaṇī, and Lāsyā. "The Bodhisattvas" refers to the sense faculties such as the eyes, which are ignorance, hatred, jealousy, attachment, avarice, and so forth. "The ten stages" refers to the Joyous and the others. Then, it is the nature of the three wheels. The locations are Pullīramalaya, Jālandhara, and so on.
Oḍḍiyāna and Arbuda—these four are the pīṭhas (abodes). As for the upapīṭhas (near-abodes): Godāvarī, Rāmeśvarī, Devīkoṭa, and Mālava—these four are the upapīṭhas, making eight in total. These constitute the cakra of the Mind, which is the khecarī (sky-faring) level.
As for the kṣetras (fields): Kāmarūpa and Oḍra. As for the upakṣetras (near-fields): Triśakuni and Kośala. As for the chandohas: Kaliṅga and Lampāka. As for the upacchandohas: Kāñcī and Himālaya. These constitute the cakra of Speech, which is the bhūcarī (earth-faring) level.
As for the melāpakas (meeting places): Pretādhivāsa and Gṛhadevatā. As for the upamelāpakas (near-meeting places): Saurāṣṭra and Suvarṇadvīpa. As for the śmaśānas (charnel grounds): Nagara and Sindhu. As for the upaśmaśānas (near-charnel grounds): Śaṅkukarṇa and Kuluta. "They should be divided into twenty-four" means they should be divided into twenty-four according to the sequence just described. From Pūllīramalaya up to Kuluta is easy to understand. "In this sequence" refers to those mentioned above.
Regarding "the crown": in Pūllīra is Caṇḍākṣī; she generates the teeth and nails. Regarding "the crown of the head": in Jālandhara is Caṇḍanāyikā; she generates the hair and body hair. Regarding "the right ear": the name of the place Oḍḍiyāna is...
The goddess known as Prabhāvatī is said to produce the skin and impurities. Regarding the phrase "the ribs": in Arbuda is Mahānāsā, who produces the flesh. Regarding the phrase "the left ear": in Godāvarī is Śūramati, who produces the sinews. Regarding the phrase "the middle of the eyebrows": in Rāmeśvara is Kharvarī, who produces the bones. Regarding the phrase "the eyes": in the goddess' fortress of Laṅkā is Laṅkeśvarī, who produces the liver. Regarding the phrase "the roots of the hands": in Mālava is Drumacchāyā, who produces the heart. Regarding the phrase "the armpits": in Kāmarūpa is Kālarātrī, who produces the eyes. Regarding the phrase "the two breasts": in Oḍra resides Mahābhairavā, who produces the bile. Regarding the phrase "the navel": in Triśakuni is Vāyuvegā, who produces the lungs. Regarding the phrase "the tip of the nose": in Kośala is Śauṇḍinī, who produces the intestines. Regarding the phrase "the mouth": in Kaliṅga is Śyāmādevī, who acts as the support for the rib-cord. Regarding the phrase "the shoulders": in Lampāka is Subhadrā, who produces the location of the stomach. Regarding the phrase "the heart": in Kāñcī resides Hayakarṇā, who produces the feces in the nape of the neck.
Regarding "the male organ": "The Bird-Face Goddess, residing in the secret place, generates the [fluid of the] palate." Regarding "the sign": "The Wheel-Velocity Goddess, residing in Pretapuri, generates saliva." Regarding "the anus": "The Khaṇḍarohā Goddess, residing in the house-deity [place], constantly generates pus." Regarding "the chest": "The Elephant-Trunk Goddess, residing in Saurāṣṭra, constantly generates pus." Regarding "the calves": "The Cakravartinī Goddess, residing in Suvarṇadvīpa, constantly generates dust." Regarding "the fingers": "The Subhagā Goddess, residing in the city, constantly generates fat." Regarding "the backs of the feet": "The Mahābalā Goddess, residing in Sindhu, generates tears along with grief." Regarding "the thumbs": "The Cakravartinī Goddess, residing in Maru, generates dry coughing in the back of the neck." Regarding "the two knees": "The Mahāvīryā Goddess, residing in Kuluta, generates nasal mucus." "Should be viewed" means "should be understood." From "at Pullīramalaya the head is struck" up to "dissolves into all the limbs," it means that in the twenty-four aforementioned locations, the bodily element called bodhicitta is struck at the head in the manner of the three bodies (kāya).
Enjoyment and dissolution should be viewed as threefold for each of the twenty-four sites. "In these sites" refers to those just mentioned. "The Tathāgatas" refers to the bodhicitta. "By means of bliss" means by means of the specific bliss of meditative absorption (samādhi). "The wisdom of great bliss" means that wisdom is generated through the bliss of non-emission. "In the manner of the dharmakāya, saṃbhogakāya, and nirmāṇakāya" means that the drops arise and are experienced in the manner of the three bodies according to the sequence of the twenty-four sites. "Generation, abiding, and complete dissolution" refers to the manner described above; the meaning is that it is like the rising, the midday, and the setting of the sun. "By the principal of these" means that, according to the sequence just described, the principal of all these—beginning with the initial onset, enjoyment, and dissolution—is the wind. "Oḍḍiyāna" refers to the right ear, which is the path of emergence. "Opening the door of the vital point" refers to the space between the eyebrows. "Stirred by Vajraḍākinī" means that bliss is stirred by the fire of wisdom. "The gathering of the wisdom of great bliss at Jālandhara" means:
This means that the wisdom of bliss is gathered from the uṣṇīṣa (cranial protuberance) of the Sugatas residing in the ten directions, and it is designated as the samaya wheel. The phrase "later, the Tathāgatas shall gather it" indicates that this is being taught according to the sequence of wisdom. This very [wisdom] is the merit of the maṇḍala, the homa (fire ritual), the offering, the recitation, the concentration, the visualization, the drawing of the colored powders, and so forth. This means that the yogi receives the amṛta (nectar) of the Buddhas residing in the ten directions and thereby satisfies his own body, speech, and mind; therefore, this [inner practice] is supreme. What is the use of external maṇḍalas and the like, which only cause physical exhaustion? They are to be abandoned. However, those who belong to the beginner stage of practicing the conduct of the Secret Mantra gate should not abandon them, but should practice them with diligence. The phrase "the sequence of the tantra" refers to the teaching of the stages; this is the first stage, taught as the natural state for embodied beings. From the Commentary on the Glorious Four Stages: "The explanation of the commentary on the sequence of the tantra is thus completed." Regarding the phrase "from the union of the churner and the churned," this refers to the union of the meeting of two channels, or the churning of the three channels. Regarding the phrase "in this fire of wisdom," this refers to this self-arisen fire residing at the navel.
"Stirred by the winds of karma" means that it arises from the power of the right and left [channels] or from their movement. Regarding "smoke, blazing, and clarity in the navel maṇḍala": by the power of that, first there is smoke, which is vapor; from that, blazing; and from that, total clarity. Alternatively, the meaning is that if one abides in such an absorption, signs such as smoke and so forth will arise. "Having gone to the samaya-cakra" means having gone to one's own dharma-cakra. "The Sugata is burned" means that the nature of all the syllables residing there is burned. "Having gone to the saṃbhoga-cakra and having performed three circumambulations of all" means that the fire of wisdom, having gone from the samaya-cakra to the saṃbhoga-cakra, performs three circumambulations of the wisdom residing in that method. "Having gone to the ūrṇā-kośa and opening the door of the vital point" refers to the one named Īśvara of Joy, who reveals the mahāsukha-cakra. "Emerged from Oḍḍiyāna" means that the fire of wisdom is emitted from one's own right ear. "Having gone to the hearts and the cranial apertures of the Tathāgatas residing in the world-systems of the ten directions" means that the fire of wisdom, having been emitted from one's own Oḍḍiyāna, enters through the path of Jālandhara of the Tathāgatas and proceeds to the samaya-cakra.
"By way of the golden gate" means that [the light] emerges from the golden island at the feet of the Tathāgata. "Abiding in the Holder of Flames" means that it enters back through the crown of one's own head. "As before, all the cakras are burned without exception" refers to the time when, having come, it departs once again. "Neither going nor entering is seen" means that one does not see it going upward by way of the path of fire, nor coming downward by way of the path of water. Why is this? It is because it is the measure of a single hair split into a hundred thousand parts; this means that it moves and comes in an extremely subtle manner, or else that one should focus the mind in an extremely subtle manner. "The stage of mantra" means that it abides in the tantra in this way: the syllables residing in the four cakras are none other than the vowels and consonants; or else, when going upward, it goes endowed with the sound of the consonants, and when coming downward, it comes endowed with the sound of the vowels. From the Commentary on the Glorious Fourth Stage, the second [chapter], the explanation of the stage of mantra, is complete. Then, "having gone to the hearts of the Tathāgatas" means that the fire of wisdom, as before, burns those things not yet burned, and taking the nectar of the Tathāgatas through the former path, it returns to the heart. "Agitating the samaya-cakra" means agitating the dharma-cakra of the Tathāgatas.
Regarding the phrase "carrying the nectar of the wisdom of the dharmadhātu," this refers to the Tathāgata. Regarding the phrase "emerging through the aforementioned gateway," this refers to [emerging] from the Golden Island of the Tathāgatas. Regarding the phrase "coming like a stream of milk and entering through that very gateway," this refers to entering through the gateway of one's own crown. Regarding the phrase "coming through the apertures at the edges of the teeth," this refers to coming from the edges of one's own gums. Regarding the phrase "resting in the saṃbhoga-cakra," this means abiding in that place and the expansion of bliss. Regarding the phrase "generating the joy of the Tathāgatas who have been incinerated," this means restoring the previously incinerated syllables and generating delight. Regarding the phrase "abiding in the navel maṇḍala," this means that all wisdom has expanded in the nirmāṇa-cakra. This itself is not to be transgressed; it is called the "vow of all ḍākinīs." Furthermore, in this, neither arising, coming, nor entering is perceived, because it is the measure of a single hair split into a hundred thousand parts; this is the same as what was stated in the previous tantra. Regarding the phrase "the stage of wisdom," the intention is that by not transgressing for the sake of the bliss of the dripping nectar through the application described in that way, it is the wisdom of bliss. This concludes the third section, the teaching on the stage of wisdom from the Śrī-caturthakrama-ṭīkā. Now, regarding the phrase "the abandonment of tantra, mantra, and wisdom," this is the distinction of the secret stage, which is realized in the tantra.
In the context of mantra, it is the abandonment or negation of conceptualization and the realization of primordial wisdom (jñāna). Regarding the phrase "the closing of the gates, liberated from going and coming": this refers to the closing of the sensory gates and being liberated from ascending and descending. Regarding the phrase "free from the aggregates, elements, and sense bases": this means being free from the conceptualizations of the Tathāgatas, goddesses, and bodhisattvas; or alternatively, it means having cast off the impure body and discarded skin, flesh, blood, and bone, thereby becoming the vajra body. Regarding the phrase "liberated from objects": this means having no attachment to objects, because one abides in the object of non-conceptuality. Regarding the phrase "luminous like a moonstone in the pitch-black darkness": just as a lamp or a radiant crystal placed in a certain darkness makes it clear, the meaning is that the great darkness of ignorance is dispelled by the light of the moon of primordial wisdom. Regarding the phrase "free from dust": this means having cast out the nature of blood from the dust of the afflictions (kleśa). Regarding "emptiness" (śūnyatā): this is the knowledge that phenomena are empty from the very beginning. Regarding "signlessness" (animitta): this is the realization that phenomena are signless from the very beginning. Regarding "wishlessness" (apraṇihita): this is the knowledge that no phenomenon to be wished for is established. Regarding "self and other": this is the abandonment of the conceptualization of self and the abandonment of the conceptualization of other. Regarding "abandoning the primordial wisdom of self-awareness": this means being free from the primordial wisdom of awareness, or alternatively, abandoning the primordial wisdom that knows only a partial aspect.
The method of Mahāmudrā is so called because it is the knowledge of self, the knowledge of others, and the knowledge of all.
"Supremely peaceful" refers to great bliss (mahāsukha), for it transcends all worldly analogies.
"Desire" refers to the form of the moon abiding naturally in the forehead.
"Free from desire" refers to being free from the secret vajra.
"Commentary" refers to the nature of melting into that which abides naturally; it is the entry into the secret vajra, and being free from desire means not emerging from the jewel—that is, the meaning of "blending."
"Just as butter poured into butter," and "nirvāṇa is the selfless bodhicitta," means that just as a lamp about to go out becomes brighter when more butter is added, so too by repeatedly abiding in the absorption (samādhi) thus described, the wisdom of great bliss becomes increasingly clear; the sense is that one will realize the ultimate, selfless bodhicitta.
"The consort’s bhaga" refers to Sukhāvatī. It is called bhaga because it destroys or because it reveals fortune. It is so called because it generates mundane and supramundane bliss.
"Abides" means to remain. It is the source from which bliss arises; it is said to "abide" in the form of the seminal essence (bindu).
"All Tathāgatas" refers to the aggregates and so forth.
In this uncommon vehicle, the five aggregates are the five Victorious Ones, and by the word "and so forth," the elements are the four goddesses, while the sense bases are the bodhisattvas. Their body, speech, and mind are oṃ āḥ hūṃ. This means that the body, speech, and mind of all those Tathāgatas are the three syllables of arising, entering, and abiding. "These syllables" refers to the three seed-syllables. Their bodhicitta is the seminal fluid. The bodhicitta of those Sugatas—the aggregates and so forth—is the three syllables. "The consorts are the forms of women such as humans" refers to the four daughters of the kṣatriya caste and so forth. The mention of "and so forth" implies that even goddesses, asuras, and others are summoned by those with power; by the single word "and so forth," emanated maidens are also included. In that context, "the meaning of woman is that person's bhaga" refers to the birth-place of that fortunate one. "This e-vaṃ" refers to the Sanskrit language as taught in the tantra. "Whatever is the excellent form of e"—in this specific context, the "form of e" is the actual birth-place; it exists as the form of e, but it is not the syllable itself. It is "excellent" because it is bliss. "Adorned in the center by vaṃ" means that in the center of the e is arranged the secret vajra in the likeness of the form of vaṃ, but it is not the syllable vaṃ.
"The abode of all bliss" means that there is nothing else superior to this among all worldly and transcendent blisses. "The jewel casket of the buddhas" means that the "buddhas" are the bodhicitta contained within, and the "casket" refers to the two syllables. Regarding the phrase "I heard the saṃbhogakāya and nirmāṇakāya," this refers to the sense of "flowing" and not to the object of the ear. That very flowing is the bodhicitta; its arising as the emanation and its enjoyment—that is, its experience—is what is called "hearing." "For this very reason" refers to that logical justification. "The body, speech, and mind of all the tathāgatas" refers to the three drops in the form of the three metals. "The bhaga of the vajra consort" is exactly as explained above. "The Blessed One" (Bhagavān) is one who possesses qualities such as sovereignty (Īśvara). Thus, "that bodhicitta resides" means that the Blessed One, who possesses qualities such as sovereignty, is conventionally the bodhicitta. "At one time" means at the single time when the winds are arrested. "In a single samaya" means at a time of equality or non-transgression. "At the time of arrest" means not emerging outwardly. "As long as the springtime lasts" means the time when the sprout of bodhicitta arises, or the meaning of the "limit of joy."
Furthermore, "clearly shown" refers to the winds abiding in the right and left nostrils. "Attaining cessation" means the meaning of the cessation of that very wind. To the doubt, "If the wind is thus ceased, will conceptual thought not also cease?" it is said:
"Whatever phenomena arise from a cause,
The cause and its cessation
Were taught by the Tathāgata;
Thus the Great Monk has spoken."
Thus it is stated. It is also taught that all phenomena arise dependently. Therefore, if the wind, which is the cause of conceptual thought, is ceased, conceptual thought also ceases. Moreover, if [the winds] are blocked in the right and left [nostrils], fire blazes; by that fire, the amṛta (nectar) drips, and by that dripping, the body, speech, and mind are satisfied. Through that, the beloved deity is pleased, and by that, the state of Vajrasattva is attained.
Regarding the phrase "because the nature of existence is pure," it means that all phenomena are primordially pure by nature. Because the nature of the coemergent (sahaja) has been utterly abandoned, it is said: "Naturally, one is separated from arising." The so-called "coemergent great bliss" is that which has been possessed by oneself from the beginning; because one lacks conceptualization of a self, it has been abandoned and separated from [the self]. Therefore, it is said that sentient beings must rely upon a sublime guru.
Regarding the phrase "the secret stage," it refers to the primordial wisdom of such coemergent bliss, which exists from the beginning and is naturally secret.
Alternatively, such coemergence is to be kept secret and concealed. This statement, "one's own mind is the fourth stage," refers to the final of the three stages thus described: the secret stage, so called because it arises from realizing one's own mind. The phrase "realizing the eighty-four thousand aggregates of dharma of the Tathāgata’s scriptures" means that I have realized the heart essence of the subject matter of those eighty-four thousand aggregates of dharma. "Vow-conduct" refers to the practice of ascetic observances, the various activities that benefit sentient beings. "Master" (ācārya) refers to one who possesses the conduct or the nature of ritual procedures; thus it is so called. This concludes the Glorious Commentary on the Fourth Stage composed by the master Kṛṣṇācārya himself. It was translated by the Tibetan translator, the monk Dro Sherab Drak.