Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This commentary provides a technical exegesis of the 'Fierce Activities' section of the Mahākāla Tantra, focusing on the ritual architecture and meditative requirements for subduing malevolent forces. The text functions as a manual for the practitioner, translating abstract tantric symbols into concrete ritual actions. It argues that the efficacy of fierce activities—such as killing, summoning, and suppression—depends on the precise alignment of the practitioner's body, speech, and mind with the deity's maṇḍala. The work commits the reader to a rigorous system of deity yoga, involving complex visualizations of charnel grounds, the deployment of specific ḍākinī retinues, and the construction of ritual fire pits and secret mantras. By detailing the correspondence between elemental purities, seed syllables, and the geography of the charnel grounds, the text transforms the practitioner's internal state into a weaponized spiritual environment capable of neutralizing obstacles through the power of the Great Black One.
Provenance
About this text
A commentary titled the Śrīmahākālatantrarudrakalpamahāśmaśānanāmaṭīkā, this work belongs to the tradition of the Other Wisdom Tantras. Attributed to the Indian author Aśvaghoṣa, the text is preserved in the classical Tibetan tradition. It appears in the Tengyur, volume ཤ, where it extends over 113 pages under the Tibetan title dpal nag po chen po'i rgyud drag po'i brtag pa dur khrod chen po zhes bya ba'i 'grel pa. The work provides a technical exegesis of the 'Fierce Activities' section of the Mahākāla Tantra, focusing on the ritual architecture and meditative requirements for subduing malevolent forces. It functions as a manual for the practitioner, translating abstract tantric symbols into concrete ritual actions and arguing that the efficacy of activities such as killing, summoning, and suppression depends on the precise alignment of the practitioner's body, speech, and mind with the deity's maṇḍala. A scholar or serious reader consults this text today to examine its rigorous system of deity yoga, which involves complex visualizations of charnel grounds, the deployment of ḍākinī retinues, and the construction of ritual fire pits. By detailing the correspondence between elemental purities, seed syllables, and the geography of the charnel grounds, the work demonstrates how the practitioner transforms their internal state.
Cite thisAnuvāda, “A Running Commentary on the Great Charnel Grounds Section of Fierce Activities from the Glorious Mahākāla Tantra” (Toh 1753), machine draft, 2026.https://naxiai.com/tibetan/works/toh1753
Summary & commentary
Significance
The work is significant for its detailed preservation of the 'fierce' side of the Indo-Tibetan tantric tradition, specifically the ritual mechanics of the Mahākāla cycle. For the modern scholar, it offers a precise window into the intersection of geography, linguistics, and visualization in tantric praxis.
Structure
Passages
Section
Description
1-12
Introduction and Symbolic Foundations
Identification of the text and the symbolic interpretation of elements, seed syllables, and the nature of the deity's body and mind.
6-11
Geography of the Charnel Grounds and Retinues
Detailed mapping of the twenty-four special sites, the resident ḍākinīs, and the eight great yakṣas of the charnel grounds.
14-54
Ritual Application and Deity Yoga
Instructions on the stages of approach (sevā) and close approach (upasevā), including the use of heart mantras and visualization of the maṇḍala.
67-151
Rituals of Action and Fire Offerings
Technical procedures for summoning deities, constructing the fire pit, and performing offerings to suppress or destroy enemies.
119-154
Secret Mantra and Causal Wheel
Instructions on drawing the eight-spoked wheel for secret mantras and the meditative absorption of the causal wheel.
Themes
Ritual Geography (6-10)
Deity Yoga and Visualization (27-54, 80-93)
Fierce Activities (Wrathful Rituals) (133-151)
Syllabic and Elemental Correspondence (3-4, 119-154)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Running Commentary on the Great Charnel Grounds Section of Fierce Activities from the Glorious Mahākāla Tantra·
In the language of India: Śrīmahākālatantrarudrakalpa-mahāśmaśāna-nāma-ṭīkā. In the language of Tibet: Dpal nag po chen po’i rgyud drag po’i brtag pa dur khrod chen po zhes bya ba’i ’grel pa (The Commentary on the Glorious Tantra of the Great Black One, titled the Fierce Examination of the Great Charnel Ground). Homage to the glorious Vajraḍākinī!
To the one who holds all perfections, the body of suchness; whose faces are the eight liberations and whose sixteen hands are emptiness; the subduer of Māras, the Īśvara with four feet adorned by the four brahmā abodes; the protector of beings, the chief of the eight goddesses of the maṇḍala; the one who subdues fierce yakṣas, the body of great terror; to you, the Black One, whose crown is adorned by the branches of your arms, I pay homage.
When the future time of particular destruction approaches, I shall compose a commentary on the Vajra Words, which are taught in the Vajra Words, by the power of the permission granted by the Heruka scriptures of Vajragarbha and others—who uphold the Victor’s teachings in particular and who destroy the darkness of the suffering of saṃsāra—and by the power of the sublime guru. I shall do so even to a small extent.
The phrase "Equal to space" and so forth is not explained here, but will be taught in its proper context. Regarding the Vajra Words: "Thus have I heard at one time," and so forth. In that regard, the classification is taught as the five meaningful points, because they are fully transformed through the connection of what was heard. Furthermore, the Teacher is shown to be the Vajradhara who emanated the body of the Great Terrifier, and so forth.
Furthermore, he dwelt in the great charnel ground called the Natural Nirmanakaya Realm. The phrase "at that time" is said to be for the purpose of gathering the retinue. Through the blessing of the absorption (samādhi) called the "Non-dual Appearance," the Blessed One fully taught the Dharma. Moreover, having dispelled the malice of the yakṣas, the compiler fully gathered the vajra words; this is the definitive grasping of the time. By the power of the assembly of these five meanings, the phrase "Thus have I" is the unerring grasping through the power of the vajra connection, which is explained to the retinue. "By me" refers to the compiler who possesses the proper measure. "By" indicates that he fully gathered and explained it. "Hear" means that what was gathered unerringly from the words of the Teacher through the power of the connection is "hearing." "Time" refers to the time when the wheel of vajra words arose. "Once" indicates that it was taught uniquely. Alternatively, the phrase "Thus have I heard at one time" is connected to the statement that the Blessed One dwelt in such a way as to perfectly establish the four syllables E-VAM-MA-YA. The meaning is as follows: the Blessed One dwells in the essential nature of E-VAM-MA-YA. Furthermore, what is the essential nature of the syllables E-VAM-MA-YA? E is the purified earth element, the nature of the Body, and the locus of the method of great loving-kindness (maitrī), liberated from diverse forms.
VAṂ is the purity of the water element and the nature of speech; it assumes the manner of subduing the malevolent through compassion and aspiration. MA is the purity of the fire element and the nature of mind; it is the arising of the Dharma from the absorption that subdues the malevolent by bestowing joy through power. YĀ is the purity of the wind element and the nature of non-dual vajra; it is the complete gathering of the retinue through the application of equanimity and wisdom via the absorption that conquers all Māras. DUṂ refers to the compiler’s complete collection and explanation of the Dharma. Alternatively, E is the place, VAṂ is the teacher, MA is the complete gathering of the retinue, and YĀ is the collection of the specific Dharma. Furthermore, to explain in detail: E is the source of phenomena, the place and the basis. VAṂ is the perfection of the deity’s body therein. MA is endowed with the approach practice of near-attainment. YĀ is the completion of enlightened activities. Such are the specific distinctions that briefly show the meaning of the introductory setting.
The term "Bhagavān" (the Blessed One) refers to the teacher, the glorious Vajradhara. Furthermore, through the application of the word bhaga, there are two aspects: the meaning of the six qualities such as sovereignty, and the subduing of the malevolent after having fully gathered the assembly of the retinue, such as the fierce Kṛṣṇa Mahāraudra. "Body, Speech, and Mind Vajra" refers to abiding through the divisions of the earth element and so forth.
Alternatively, "body" (kāya) refers to the locus of the nature of the five aggregates in their purified state and the five families, such as Vairocana and the rest. Their "mind" is the sixth family, the Vajra Holder (Vajradhara). Furthermore, the body is the nature of the earth element and loving-kindness, abiding in the consort Pukkasī. Speech is the nature of the water element and compassion, abiding in the consort Śavarī. Mind is the nature of the fire element and joy, abiding in the consort Caṇḍālī. The vajra is the nature of the wind element and equanimity, abiding in the consort Ḍombinī. Thus, the Blessed One dwells within the maṇḍala of the vajra body, speech, and mind.
Regarding the phrase "having emanated as the fierce Kṛṣṇa in order to subdue the fierce yakṣas": this means that the Blessed One, having entered the non-dual absorption and attained manifest, perfect buddhahood through the five stages of awakening, emanated his body as Mahākāla. "Assuming the form of the Great Terrifier" means he displayed an appearance consistent with the fierce Kṛṣṇa. "The fierce Kṛṣṇa" refers to the yakṣa. "Extremely" means he is exceedingly malevolent. "Extremely unbearable" means he arose in that form as an antidote to him. "Assuming" means he acts to destroy the malevolent ones. "Cemetery" refers to the external cemeteries, such as the nearby groves. "Supreme abode" refers to the natural abode, which is the pavilion of the curved knife (kartṛ).
The "supreme abode" refers to the natural abode, the source of phenomena (dharmodaya). "Dwells" means dwelling in the emanation body (nirmāṇakāya). At that time, when the fierce black yakṣa was being subdued, the so-called "ḍākinī emanated from the vajra mind" has a twofold meaning. As for her being the attendant retinue, she is the nature of the eight goddesses of the outsiders, such as Gaurī and the rest. Furthermore, because the goddesses of the Blessed One’s wheel, such as Gaurī and the rest, have taken the outsider goddesses Gaurī and the rest as their seats, they are bound by command through the power of the samaya. Therefore, it is said: "The ḍākinī emanated from the vajra mind." The "ḍākinī of samaya" is one who does not transgress the samaya of the principal deity, who constantly abides in the samaya wheel, and who does not deviate from the samaya. These are the eight, such as Māraṇī and the rest, who reside in the eastern direction and are white in color: Māraṇī, Khaṇḍarohā, Caṇḍākṣī, Mahākaṅkāla, Caṇḍamukhī, Laṅkeśvarī, Prabhāvatī, and Vikaṭadaṃṣṭrī. From the southern direction are Ākarṣaṇī and the rest, who are yellow in color: Ākarṣaṇī, Mahānāsā, Surābhakṣī, Sthirabuddhi, Prabhākarī, Kharvarī, Vajradūtī, and Laṅkarākṣasī.
Mohanī and the others reside in the western direction and are red in color. They are Mohanī, Padmā, Śyāmā, Aṅkurikā, Ekapāṭalā, Mahābhairavā, and Mahāvīrā. The eight beginning with Vaśīkarī reside in the northern direction and possess various colors. They are Vaśīkarī, Vāyuvegā, Vajrahuṃkārī, Karālī, Subhadrā, Śyāmādevī, Vajrabhṛkuṭī, and Atisubhadrā. All of them have one face, two arms, and three eyes; they abide in a dancing posture holding a curved knife and a skull-cup. Because they abide in the samaya-cakra and do not forsake their samaya, they are called the samaya-ḍākinīs. As for those called "accomplished through karma," they are born from karma in the sacred sites and perform activities by obeying the commands of the lords of the cakras and so forth; thus, they are called the karma-ḍākinīs. Furthermore, they abide in these sites in the manner of body, speech, and mind, with three ḍākinīs residing in each site. The sites are Pullīramalaya, Jālandhara, Oḍḍiyāna, Arbuda, Godāvarī, Rāmeśvarī, Devīkoṭa, Mālava, Kāmarūpa, Oḍra, Triśakuni, Kośala, Kaliṅga, Lampāka, Kāñcī, Himālaya, Pretapurī, Gṛhadevatā, Saurāṣṭra, Suvarṇadvīpa, and Nāgapura.
Sindhu, Marutālī, and Kulutā—these are the twenty-four special sites. In each of them dwell three ḍākinīs born of action: Raktapā (Blood-Drinker), Suvīrā (Great Heroine), and Mahābhairavī (Great Terrifier). These three perform the action of making [enemies] vomit blood.
In Jālandhara dwell Nāgeśvarī (Queen of Nāgas), Kṣipragāminī (Swift-Mover), and Sarpamālā (Snake-Garlanded). These three perform the action of exercising power over nāgas.
In Oḍḍiyāna dwell Vajracaṇḍī (Vajra Wrathful One), Gaurī (White One), and Mahābalā (Great Power). These three swiftly accomplish the action of causing division.
In Arbuda dwell Lāsyā (Graceful One), Cakravegā (Wheel-Velocity), and Vāyuvega (Wind-Power). These three perform the action of swiftly expelling.
In Godāvarī dwell Lambā (Hanging-Belly), Padmamālā (Lotus-Garland), and Mohanī (Deluder). These three perform the action of deluding.
In Rāmeśvarī dwell Amitābha (Immeasurable Light), Hayakarṇī (Horse-Ear), and Ākarṣaṇī (Attractor). These three perform the action of swiftly summoning.
In Devīkoṭa dwell Vajrajvālā (Vajra Blazing Light), Vajradūtī (Vajra Messenger), and Vajreśvarī (Vajra Sovereign). These three accomplish the action of bringing [others] under control.
In Mālava dwell the ḍākinī known as Vajrakāyā (Vajra Body), Merudrāvaṇī (Meru-Instigator), and Balāveśvarī (Power-Sovereign). These three accomplish the action of paralyzing.
In Kāmarūpa dwell Tīkṣṇarūpā (Sharp-Formed), Sūkṣmarūpā (Subtle-Formed), and...
Vajravarmanī—these three accomplish the activities of the messengers in the form of mustard seeds in all respects. Oṃ Treṇi is Cakravartinī, Vajrāsaṅkhyakeśī, and Caṇḍakrodhabhṛkuṭī. These three accomplish various activities. Triśakunī is Manoharā, Dvirūpā, and Parivartinī. These three precede all activities, bringing the ripening of causal karma to fruition. Kośalā is Kṣetrapālī, Hūṃkārī, and Prāṇabhakṣī. These three swiftly accomplish the activity of destroying the drops in all respects. Kaliṅga is Bhīmā, Gaganāṅgī, and Mahācaṇḍī. These three swiftly complete the activity of the union. Lampāka is Caṇḍogīśvarī, Cakravartinī, and Vajravegā. These three swiftly accomplish the activity of the wheel-turner. Kāñcī is Cakravarmanī, Rūpiṇī, and Sarvāveśakarī. These three perform the activity of causing a continuous downpour of rain. Himālaya is Virūpākṣī, Kākāsyā, and Vajramahodarī. These three perform the activity of bringing down fierce vajra hail in all respects. Pretapurī is Balendrī and Cakravarmanī.
Ākāśagarbhā, Mā, and [the third] perform the activity of protecting against vajra-hail in all respects. Gṛhadevatā, Śrī-īśvarī, Vasundharā, and Khaṇḍarohā—these three perform the activity of accomplishing the mastery of wealth. In Saurāṣṭra, Atināśinī, Yamadūtī, and Dṛḍheśvarī—these three bring the activity of abiding to completion. In Suvarṇadvīpa, Ākāśacakrī, Śastrarūpiṇī, and Bhairavī—these three bring the activity of the ladu to completion. In Nāgara, Agnirūpā, Śoṣaṇī, and Vāyucakrī—these three bring the accomplishment of incense to completion. In Sindhu, Śoṣaṇī, Karmā, and Camuṇḍī—these three bring the activity of the secret homa to completion. In Marutthalī, Padmanarteśvarī, Balīśvarī, and Śmaśāneśvarī—these three bring the activity of the common homa to completion. In Kulutā, Vajrasattvā, Mahāvīryā, and Caṇḍacakrī—these three perform the activity of protecting the tantra of the yogins in all respects. All these ḍākinīs reside within the world-system; furthermore, because the Blessed One blessed them as the wheel of his command and charged them to perform all activities, they are called the "activity ḍākinīs."
Regarding the phrase "Bhīṣaṇī, Karmakarī, and so forth": therein, "Bhīṣaṇa" refers to the eight great yakṣas who dwell in the eight great charnel grounds. In the [ground] called Raudra-caṇḍa, the lord Rudra resides. In the [ground] called Bhīṣaṇa, Vajracaṇḍī resides. In the [ground] called Jvalitāśabdavyāpta, Vajravetāla resides. In the [ground] called Gahanasaṃkula, Vajraghala resides. These dwell in the four cardinal directions in the order of the east and so forth.
Furthermore, in the [ground] called Hahāhasita, Gaṇapati resides. In the [ground] called Vanabhūṣita, the yakṣa Ruru resides. In the [ground] called Dāruṇāndhakāra, the yakṣa Naṭarāja resides. In the [ground] called Kilakilāśabda, the yakṣa Lohapiṅgala resides. These dwell well in the intermediate directions, such as the northeast and so forth.
Furthermore, "Bhīṣaṇī" refers to Kākāsyā, Śūkarāsyā, Śvānāsyā, Ulūkāsyā, and the others, who dwell in the charnel grounds of the cardinal directions, such as the east, with terrifying forms. Yamadūtī, Yamadaṃṣṭriṇī, Yamamathani, and Yamamathanī—these also dwell well in the intermediate directions, such as the northeast and so forth.
Moreover, the meaning of "Bhīṣaṇa" is that because they abide by the command of their lord and accomplish all activities without obstruction through the power of great terror, they are called "Bhīṣaṇa" and "Bhīṣaṇī." "Gaṇa" means the assembly of those [deities].
"Surrounded" means that, having been blessed, these [beings] are fully embraced as the retinue. "At that time" means at the time when that retinue was also a retinue of the Black One. "The Blessed One" refers to the nature of the wheel mentioned above; furthermore, the meaning of "Blessed One" is the destruction of the malevolent ones such as the fierce Black One. "Appearing non-dually" means that, for the sake of destroying the malevolent, they are subsumed into the principal of the wheel. "Absorption" means that the principal also becomes emptiness. "Action" means from emptiness. "Emanated as Mahākāla" means the completion of the body through the five rituals as previously explained. "The Blessed One" refers to the principal Mahākāla himself. "Heart center" refers to the form of the curved knife and the syllable HŪṂ. "Light rays" means that they are emanated in the nature of the curved knife and the syllable HŪṂ. "Directions and intermediate points" refers to the specific divisions of the retinue, such as the east and so forth. "All" refers to the entire retinue. "Pervading" means that the light rays enter the hearts of all and pervade them. "Having cleared away the malevolence of the yakṣas" means that the yakṣas are the retinue of the fierce Black One and so forth. "Malevolence" refers to distorted conceptualization; "cleared away" means that the light rays have cleared away that malevolence and have taken them into the causal retinue.
Regarding the phrase "becoming a pavilion, a fence, and a lattice," the meaning is that the retinue should abide in the samaya of body, speech, and mind. Alternatively, it should be understood as the nature of the protection wheel. "At the time of abiding" means at the time of being fully perfected within the causal retinue. "The ḍākinīs and the hosts of Kṛṣṇa prostrate" means they praise him with words equal to the expanse of space; the meaning is that they do not transgress the samaya of the Lord. "They supplicate the Blessed One" refers to the Lord emanated from the Vajra Holder. "What did the fierce Kṛṣṇa say?" is a request for the detailed introductory narrative of the retinue. "The Blessed One replied" means that the Lord, having become the fierce Kṛṣṇa, abides in meditative absorption (samādhi), and by the power of that absorption, the compiler fully compiles it—this is the meaning.
This is called the "Tantra of the Fierce Kṛṣṇa." The meaning obtained from the tantra, beginning with "Thus have I heard" and ending with "Having spoken thus," is what is called the "tantra." "Great charnel ground" refers to the external charnel ground, the abode of Mahākāla. "Great" refers to the abode of the Lord, and there are four [types]. "In the abode" refers to two abodes: the abode of Mount Meru and the abode of Jambudvīpa.
In a place in Jambudvīpa, there is a yogin named Ratya. This yogin, known as the yakṣa Raśmivant, descended from the abode of Mount Meru to Jambudvīpa. Through the awakening of powers connected to his family lineage, he became a singular yogin of Maheśvara and possessed the strength of having attained the eight common siddhis. Furthermore, through the power of his connection to the yakṣas, he delighted in flesh and blood and thus gained mastery over life-force and breath. Regarding the phrase "In the triple-tiered city of Mount Meru," it means that the great black yakṣa resides in the city of the gods on Mount Meru.
As for the historical account of his origin: during the teaching of the Tathāgata Śikhin, there arose a monk named Sukhacakra from the family of a painter. He was dark-complexioned and of a fierce disposition. From the training in the Four Truths, he became an attendant of the Tathāgata. That monk, having approached the fruit in thirty-two moments, possessed clairvoyance and thus developed manifest pride, thinking, "In the presence of the Tathāgata, I am one who possesses clairvoyance."
The Tathāgata said, "Monk, you possess false pride. For example, the Maheśvara of the desire realm, through the pride of thinking 'I am more powerful than all the gods,' circles Mount Meru above his head, drinks up the great ocean with his breath, and uses the great nāgas such as Nanda and Upananda as ornaments."
He bound the sun and moon upon his head and possessed such power that he consumed the minor deities as food. Thinking, "I am the most powerful one in this world," his strength was not even a fraction of the power of a tathāgata, which is equal to the limits of space. "Monk, you are just like him; do not be proud," he said. The monk’s mind became extremely dejected, and he thought, "What use is there for me to be in the retinue of a tathāgata?" He went to a forest in the south and stayed there. In that forest, there was a shrine of Maheśvara. The monk performed offerings, circumambulations, and so forth for twenty-one days, and while he was making supplications, Maheśvara appeared in a dream and prophesied: "Monk, you shall become my son, and I shall grant you the accomplishment of great power in this world."
Then, the tathāgata, perceiving that the monk had taken refuge in Maheśvara, transformed himself into a monk and went to the forest to the monk’s side. He asked, "Monk, what are you doing?" The monk replied, "Since I have not been included in the retinue of the tathāgata, I have gone for refuge to Maheśvara." The tathāgata then said:
"Monk, having found the authentic path,
To enter a mistaken path
Is like obtaining clear vision
Yet being stained by the defect of cataracts."
"Monk, you are such a one," the Blessed One said. Then, that monk, possessing a resolute intention, asked, "What should I do?" The Tathāgata monk replied, "Monk, you are permitted to perform the poṣadha (confession and restoration) for the Tathāgata and the others," and having said this, he vanished right then and there.
Then that monk departed from the forest and went into the presence of the Tathāgata. Having performed many poṣadha ceremonies, he made this request to the Tathāgata: "Since my life has come to its end, I pray that you grant me a prophecy."
The Tathāgata said, "By the power of an inverted basis, you will pass through many births and take birth as the son of Maheśvara, known as Kṛṣṇa-Rudra. Because he has turned away from the authentic basis, he is 'Black' (kṛṣṇa); because he has attained the power of Maheśvara, he is called 'Fierce' (rudra). He is 'Great' (mahā) because he exercises power over the three realms of existence. At the end of that, within the teaching of the Tathāgata known as Sarvasampatdhara, you will first generate the mind of awakening to protect the teachings of all the Tathāgatas of the three times. Consequently, you will appear as the bodhisattva of the tenth ground named Kṛṣṇa, and after protecting the Tathāgata's teaching and completing the accumulations, you will manifest complete awakening as the Buddha, the Blessed One named Bhasmaka, in the buddha-field called Vajrālaṃkāra."
After that Tathāgata had thus given the prophecy, that monk, having passed through immeasurable births, took birth as the son of Maheśvara, known as Kṛṣṇa Raudra, by the power of the Tathāgata’s prophecy and the authorization of Maheśvara; he also dwells upon Mount Meru. As for the city called Trilokanagara, it is so called because he exercises power over the gods, nāgas, and asuras. As for the term yakṣa, it means one who inflicts harm upon the three realms of existence. "Generating brilliance in the yogic body" means that, by the power of a causal concordance, Kṛṣṇa Raudra has entered the continuum of the yoga tantra as previously taught. "Assuming a black form, the malevolent one" means that his color is black. "Assuming a form" means assuming the form of a yakṣa. "The malevolent one" means one who controls life-force and breath. "Holding a fish-hook and a skull-cup" refers to his hand implements. "Constantly eating the poison-laddu" means that it has become a samaya substance concordant with the remedy. "Agitating the three-tiered city of the three times" means that "three times" refers to the six periods of day and night. "Three-tiered city" refers to the cities of Jambudvīpa, which are like the city of Mount Meru. "Agitating" means that he robs the lives of the people dwelling there. From "great flesh" to "blood" refers to the food he has habitually consumed in the past.
Furthermore, one should understand these as being the nature of the five meats and the five nectars (amṛta). "Blood-drinker" (Heruka) refers to one who snatches away the breath of wandering beings; alternatively, it refers to the very act of subduing the afflictions (kleśa) such as ignorance. "Blood from the mouth" refers to the shedding of blood from the mouth for the purpose of raining down a stream of disease upon sentient beings, protecting the Buddha's teachings, and abandoning the desire of cyclic existence (saṃsāra). "Medicine of the cremated corpse" refers to offerings distinguished by the great lamp of black butter and so forth. "Great sur incense" refers to the substance that dispels the malice of yakṣas, and it is also the incense prepared in the charnel ground.
"The supreme scent residing in the charnel ground" refers to the field of a person endowed with the [physical] marks. "Scent of the place of action" refers to the scent arising from that. "Supreme" refers to the nectar (amṛta) accomplished in the charnel ground. "Binding the three times" means that because these substances are the samaya substances that sustain life, one should never be separated from them. "Malicious" refers to the fierce Black One. "Emanation" refers to those belonging to his retinue. Since that retinue is equal in power to the principal deity, they are called "emanations." "Displaying various [forms]" means displaying the antidote to the life-force of those who are hostile toward the Buddha's teachings, and protecting the teachings through various forms. "That is explained as the fierce Black One" indicates the introductory narrative of the Kṛṣṇa-ghora-tantra.
Then, the request known as "The Great Black One’s Request" is the compiler’s extensive inquiry regarding the circle of the result. The address "Blessed One" is directed to the Principal. From the words "O fierce Black One" up to "how is it?" is the request for how one becomes part of the circle of the result, and it is an extensive inquiry into the meaning previously taught. "The Blessed One replied" means that, through the blessing of the Blessed One’s absorption in the samādhi of body, speech, and mind, the compiler gathered and explained it for the sake of taming migratory beings.
"The vajra of body, speech, and mind, the deity’s body is utterly pure" means: therein, "body" refers to the eight-faced, sixteen-armed form and so forth; "speech" is the seed syllable that generates it; "mind" is the hand symbols; "vajra" is the complete perfection of the body; "deity" refers to the goddesses belonging to that circle; "body" is the supporting maṇḍala; and "utterly pure" is because it is like the moon in water.
Alternatively, "body" is the one-faced, two-armed form; "speech" is the four-armed; "mind" is the six-armed; "vajra" is the sixteen-armed; "deity" is together with the consort; "body" is the nature of the maṇḍala circle; and "utterly pure" is the purity of its own essence. It is called "utterly pure" because it purifies the tantra of the fierce Black One. "Appearing non-dually" means that the circle of the maṇḍala is gathered into the heart of the Principal. "He entered into meditative equipoise in absorption."
This means that because the principal deity has also become emptiness, it is said that "he has entered." "Then" means from that state of emptiness. "Mahākāla" refers to the fierce black yakṣa. "Having a similar appearance" means that his body color and hand implements are identical. "Manifesting emanations" means that he manifests because he has perfected the bodies of the mirror-like wisdom, the wisdom of equality, the wisdom of individual discernment, the all-accomplishing wisdom, and the wisdom of the dharmadhātu. From the phrase "light rays from my heart" up to "become a net" is the teaching on the causal retinue, as explained above.
Now, in order to fully complete the resultant retinue, two light rays emerge from the heart of the principal deity. They enter the hearts of the retinue, such as the fierce Mahākāla, and by being exhorted by the light rays, they come to recollect the principal deity. They melt into spheres of light, and the fierce Mahākāla enters the heart of the principal deity. The other members of the retinue remain in the nature of seed syllables. "Becoming non-dual" means becoming non-dual with the syllable HŪṂ. "From my heart" means from the syllable HŪṂ at the heart. "Emanated" refers to the intermediate birth; that is, from within the sphere of light, a body one span in height emerges from my mouth and is projected in front. Then the principal deity gives the command: "You who have arisen from the three secrets, you are Mahākāla."
"You, the essence of the three vajras, are explained as the Great Terrifier." Regarding this:
"Secret" refers to that which is uncommon, subsumed within the principal tantra. "Three" refers to its specific divisions, namely the body, speech, and mind. "Arisen" means that having been established as inseparable from the principal deity, he arises from the syllable HŪṂ. "You are Mahākāla" refers to the establishment of the intermediate being. "You, the essence of the three vajras" means the essence of the Vajra Body, Vajra Speech, and Vajra Mind. "Are explained as the Great Terrifier" refers to the intermediate meditative concentration (dhyāna) in which the causal mandala arises as the resultant mandala. Furthermore, "Terrifier" means possessing the power to subdue the malevolent. "Great" means inseparable from the power of the principal deity. "I shall thoroughly explain your tantra" means that the tantra of the introductory narrative of the retinue shall be explained. The phrase "Then," and so forth, has already been taught above. "By the light rays of the Vajra Holder" means that the Vajra Holder is the principal deity. "By light rays" means that the light rays from the HŪṂ at the heart strike the retinue, such as Mahākāla and others. "Fainted" means that the retinue becomes the essence of the three syllables. "Entered into meditative absorption" means that the three syllables also enter in their proper sequence. Because they have become emptiness, it is said they "entered."
"At that time" refers to the experience of the results by the retinue. "The Blessed One Mahākāla" refers to the principal deity, who has entered into meditative absorption (samādhi) in order to awaken the retinue. Regarding "holding a curved knife in the manner of a hook," the curved knife is the curved knife residing in the heart of the principal deity. The "hook" is the nature of the sun and the syllable HŪṂ. It is called a "hook" because it awakens the minds of the retinue. "Holding in the manner of" means that the principal deity is surrounded by the mantra, such as OṂ and so forth, around the HŪṂ. "The hook together with light rays" refers to the light rays of the HŪṂ and the mantra. "To be uttered" means it is sufficient to emanate them from the mouth. "Having been awakened" is explained here as follows: "Stirred by those light rays" means the retinue arises in body through the three rituals. Then, "Mahākāla" refers to the body of the samayasattva. "Becoming joyful and joining the palms" means belonging to the retinue of the result and the sense of great wonder. The rejoicing of the leaders of those retinues is expressed by "The Blessed One" and so forth. "I" refers to the time of abiding in the intermediate concentration (dhyāna). "The principal" refers to the light rays from the heart of the Vajradhara. "Striking" means becoming the three syllables. "Becoming extremely blissful" means becoming emptiness (śūnyatā).
The principal one, the Blessed One known as Mahākāla, is exhorted by the light rays of the principal deity. "I abide in great bliss" refers to the completion of the body through the three rituals. "The Blessed One spoke" means that by the power of the great samaya, he entered into meditative absorption (samādhi). "You are the master of the three secrets" is the command to the retinue regarding the samaya of the three secrets. Furthermore, it is as follows: "You are blessed to protect the teachings of all the Buddhas of the three times." Regarding "blessed," it means blessed as the body, speech, and mind of the principal deity, and because he was prophesied by the Tathāgatas, he is called the glorious Mahākāla. "Having pledged to protect the teachings" means that the teachings belong to the three times. "Protecting" means subduing the malevolent and destroying the afflictions (kleśa) such as ignorance. This means that he is perfected within the retinue of the result and does not transgress the samaya of the principal deity. "In the teaching of the Lion of the Śākyas" is said because it is a time when those difficult to subdue arise in particular. "Abide in the great samaya" means that the entire retinue also does not transgress the samaya of the principal of the retinue. "Spoke" means that by the power of the samaya, he spoke in order to enter the meditative absorption of the samaya wheel.
From "the glorious Kṛṣṇa" up to "Bhīṣaṇī and the others," these are the enumerations of the retinue, as explained above. Through the power of entering the absorption of the principal deity’s samaya wheel, they became extremely vulnerable, and thus the signs such as "trembling" and so forth arose. Regarding "trembling," because those members of the retinue had not yet reached the measure of the resultant retinue and the power of their bodies was incomplete, they are said to "tremble." Because the power of their speech was incomplete, they are said to be "terrified." "Becoming utterly unbearable and losing mindfulness" refers to the power of their minds being incomplete. Because such powers were incomplete, they were unable to protect the Buddha’s teaching.
Then, "the Blessed One" refers to the principal deity. He entered the absorption called "the perfection of the power of body, speech, and mind." The purpose of this is to bring the retinue to the perfection of the power of body, speech, and mind, and to ensure they do not abandon the special samaya. Thus, the syllable HŪṂ residing in the heart of the principal deity is completely surrounded by the mantras of power and samaya. Furthermore, light rays radiate from the mantras such as OṂ and so forth; this is described as "emanating from the mouth." Then, the phrase "then" and so forth means that those light rays pervade the hearts of the entire retinue. "Mindfulness was regained" means that those members of the retinue also regained the power of body, speech, and mind.
This is the meaning of the phrase, "Do not transgress the samaya of the principal deity." Regarding the term "the Blessed One" (Bhagavān): having entered the absorption of the service wheel of Mahākāla, and through the power of that absorption and the power of the retinue, they offered their own life-essence (srog snying). In this context, "their own" refers to the nature of the body, speech, and mind of the entire retinue, including the attendant Mahākāla and others. "Life" (srog) is so called because it is like life itself, and because it is the means of accomplishment (sādhana) that is like life. "Essence" (snying po) is so called because it protects the mind by subduing the malevolent. "Offered" means that the entire retinue offered it to the principal deity. Furthermore, they offered the mantra beginning with OṂ and ending with HŪṂ. As it is said: "This king of mantras has not arisen before, nor will it arise; it accomplishes all purposes." Then, "the Blessed One spoke" refers to the principal deity addressing the retinue with pleasing words. "O lords of the retinue" refers to the entire retinue, including the ḍākinīs emanated from the Vajra Mind. "Excellent, excellent" means that the retinue has correctly grasped [the teaching], and it refers to the nature of the service and near-service. "Mahākāla" refers to the principal deity of the retinue.
"Well done, well done" means: "You have summarized it well; explain it well to the assembly." Alternatively, it refers to the accomplishment of common activities and the great accomplishment of special activities. "To you" refers to the compiler. "Of Mahākāla" refers to the nature of the excellence of the introductory setting. "Tantra" refers to the tantra that has attained the excellence of activities. "Great charnel ground" means that because it was attained in a great charnel ground within this tantra, it is called the "Great Charnel Ground." From "it shall be explained" up to "he spoke" means: "Perfectly accomplish the meaning of the tantra." From "Then" up to "the assembly requested" is a term for the leader of the assembly making a request to the Vajra Holder. From "Blessed One" up to "how is it?" means the compiler is asking the leader what the purpose of the tantra's emergence is. "The Blessed One spoke" means the leader entered the absorption of protecting beings and, through the power of that absorption, summarized the purpose of the tantra's emergence. "The three realms of existence" and so forth: "The three realms of existence" refers to the three worlds. "Those who hold to the wrong side" refers to those who have become obstacles to the teaching throughout the three times. "Māra" refers to the four general Māras and those who are constantly hostile toward the guru.
"Tīrthika" refers to those who destroy the Buddha's teaching and disparage the Great Vehicle (Mahāyāna). "Rākṣasa" refers to those who do not enter the Great Vehicle and abandon the bodhicitta. "Asura" refers to those who abandon their own meditational deity (iṣṭadevatā) and take refuge in worldly gods, and who abandon the three samayas. "Yakṣa" refers to those who create obstacles to the two accomplishments (siddhi) and inflict harm upon all sentient beings. Alternatively, "the three realms" refers to ignorance itself. "Perversion" refers to that which arises from it. "Direction" refers to the grasped object. "Grasping" refers to the grasping that arises from that. "Māra" refers to delusion. "Tīrthika" refers to the nature of pride. "Rākṣasa" is the rākṣasa of desire. "Asura" is the nature of jealousy. "Yakṣa" is the nature of hatred. "Host" refers to the destruction of those [obstacles]. "In the teaching of the Lion of the Śākyas" refers to the final period of the teaching; because these create obstacles to achieving the accomplishment of Mahāmudrā, they are said to "cut" and "destroy," and so forth. "They are subdued" means that through the great application of the ritual procedures and the activities of the approach and close approach, they are swiftly subdued; thus, these rituals are explained. "The beginning of the tantra" refers to the nature of the five perfections, which is called the "introductory setting" (nidāna). Furthermore, it is called the "introductory setting" because it is the source from which the tantra arises.
Second, "the application of mantra" refers to the deity yoga, which is the stage of approach (sevā). "Mantra" refers to the recitation of mantra by way of yoga, which is the stage of close approach (upasevā). "Application" (yoga) refers to the nature of the great application, such as killing, expelling, and so forth. Third, "deity" is so called because it possesses the generation stage of mantra. Fourth, "maṇḍala" is for the purpose of providing a support for the deity. "Consecration" is so called because the practitioner is ripened within the maṇḍala and the support is made to possess the proper measurements. Regarding the phrase "explained in the rituals of the book and so forth," this refers to the specific rituals that shall be taught in their proper context. From the words "the nature of the ten" up to "thus he spoke" is easy to understand. "The Tantra of Mahākāla" refers to the practice tantra of Mahākāla. "Great charnel ground" is so called because he dwells in the charnel grounds of the attendants and others, and is the lord of the charnel grounds. "The first chapter of the introduction" means that the introduction is the account of the retinue, such as the yakṣa Kṛṣṇa, being fully complete as the retinue of the result. A "chapter" (parivarta) is so called because it is a chapter that explains in detail the nature of the five perfections. It is "first" because it is the beginning of the tantra. This is the first [chapter], the explanation of the introduction to the Glorious Mahākāla Tantra.
Since the methods for accomplishing the supreme and common goals that arise from the introductory narrative are presented, they are referred to as such. "The Glorious Black One" refers to the retinue, including the compiler and others. "Requested the Blessed One" means they petitioned the Vajra Holder. Regarding "first, the accomplishment of the tantra's meaning": "first tantra" refers to the principal Mahākāla, who is the tantra itself, the nature of body, speech, and mind. "Meaning" refers to the mantra; specifically, it is called "accomplishment" because one achieves the accomplishments of body, speech, and mind through the compassion, the heart mantra, and the inner heart mantra. "Various ritual activities" refers to the applications of common activities. "Endowed with the means of accomplishment" refers to the great applications of the tantra. Regarding "What is the ritual of accomplishment?": "accomplishment" refers to the approach and near-approach stages. "Ritual" refers to the applications and great applications. "What is it like?" is a request for a concise summary. "The Blessed One" is the Teacher. "Manifested as the Great Terrifier" means he entered the meditative absorption of the Great Terrifier’s wheel. Then, the Principal One spoke the summary of the meaning of that meditative absorption. "Those who wish to accomplish this tantra" means they should accomplish the lord of the tantra’s wheel. "Mantra" refers to the root mantra and so forth.
Regarding the phrase "the ritual," that which is to be definitively explained is the generation stage of the principal deity and the retinue. "Meditative concentration" refers to the nature of the curved knife and the syllable HŪṂ at the heart of the deity. Regarding the phrase "the supreme purpose and the mantra," this means that the HŪṂ at the heart is encircled by the root mantra. "Accomplishment will be achieved" means that the mantra itself is the nature of the accomplishment, and because it causes that to be swiftly achieved, it is called "achieved." Regarding "the supreme of the glorious Kṛṣṇa tantra," it is called "supreme" because all supreme purposes are accomplished by the mantra; this is because it is the supreme among mantra tantras. Regarding "these roots of mantra," the root of the mantra is the HŪṂ at the heart. "These roots" refers to that which completely encircles the HŪṂ. "Explained" means from mouth to mouth and from heart to heart in an uninterrupted stream. This refers to OṂ and so forth. Regarding "this possesses the root meaning," because it is the root mantra for accomplishing the body, speech, and mind, it is called the "root mantra." Regarding the section from "action" to "explained," it is because all actions are explained to be accomplished. This refers to E DAM and so forth. E DAM should be understood as a transformative term according to the power of the context. Regarding the section from "this is" to "declared," it is the meaning of the compiler summarizing the specific qualities of the mantra. Then, "the glorious Kṛṣṇa" refers to him together with the assembly of the retinue.
"Having become endowed with majesty" means that the retinue, having realized the meaning of the mantra, became possessed of the power of that meaning. From the words "They addressed the Blessed One" up to "Please explain," they requested a concise summary of the meaning of the approach (sevā). Then, "the Principal One, having looked upon the assembly of the retinue" means that he entered the absorption (samādhi) of the approach maṇḍala. "He spoke thus" is said because he summarized it in this way. What is that? It is "by one who desires to accomplish." This means that a hero who has received empowerment in the maṇḍala of Mahākāla should receive permission from the guru and desire to accomplish the practice. In that regard, one who desires the nature of the accomplishments (siddhi) should go to a place such as a great charnel ground, prepare a maṇḍala of the five nectars (amṛta), and provide a support such as a maṇḍala or a painted scroll in that location. "Anointing the body with the five nectars" means applying drops of nectar to the crown, throat, heart, navel, and secret place. Having placed the syllables Ā, HĀ, KĀ, LA, and YA in the locations of the drops, and with the prefix OṂ and the suffix KOḤAṂ, one should instantly assume the divine pride of the deity. From that, the completion of the deity's maṇḍala should be understood as explained in the chapter on the deities. Thus, one should worship the completed maṇḍala with special offerings, such as the "flowers of Upavakṣa" and so forth.
What is called "concentration" (dhyāna) is the blessing of the body, speech, and mind as the samaya through the three syllables. What is called "mantra" is the root mantra, the specific words of transformation that constitute the offering. As for the "approach" (sevā), one should recite the mantras of the principal deity and the ḍākinīs. Furthermore, this is the inner life-essence (prāṇa-hṛdaya); it revolves from the mouths of the principal deity and the attendants into their hearts, while the mantras of the other retinue members reside in their respective hearts. It is said that by performing the approach in that way, the approach is accomplished. Moreover, this is the attainment of the signs of body, speech, and mind.
Then, one should apply the ritual for the activity; it is not by merely obtaining the signs. Regarding the "sixth piece," one should take the skull of someone who died of a blood disease, or one whose lineage has been cut off, or any such black skull. Then, having placed substances such as neem inside the skull upon a poison maṇḍala, one should face the direction of the object of accomplishment. One should complete the maṇḍala of the deity and perform the application of summoning and absorbing the target into those substances. Then, with the blood of an owl, one should draw a fire maṇḍala surrounded by a fence inside the skull. In its center, one should draw the form of the object of accomplishment using the aforementioned substances and an owl feather as a pen. Furthermore, one should place the seed syllable of fire at the five locations, such as the crown of the head. Then, one should perform the practice at the root of a solitary tree; for that, one should construct a triangular maṇḍala from the earth of a charnel ground.
One should fashion the shape of a fire maṇḍala with goat blood. Upon that, one should set up a tripod marked with the seed syllable of fire, and place a skull-cup on top of it. Then, one should generate the maṇḍala of the self and the retinue of attendant deities in their entirety, and perform offerings, torma rituals, and so forth. One should then perform the approach practice, accomplishing it with the inner heart mantra and the ḍākinī mantra.
Then, with light rays from the hearts of oneself and the attendants, one should render the skull-cup devoid of intrinsic nature. Within that very space, one should visualize a vajra rock arising from the syllable khaṃ. In its center, one should visualize a fire maṇḍala arising from raṃ, and upon that, a multicolored lotus arising from paṃ. At the three corners of the pūliri [triangle], one should also visualize lotuses and sun disks. Upon those, at the heart of the object of accomplishment, one should generate the maṇḍala of deities through the three rituals.
The principal deity is black in color, with one face and two hands, holding a curved knife and a skull-cup. The three goddesses, such as Heruka-drinker and the others, are black in color and extremely terrifying; they hold a sword and a skull-cup in their hands, possess the form of heroines, and have three eyes. Having thus generated them in their entirety, one should dissolve the natural maṇḍala with light from the hearts and confer empowerment.
Then, within the belly of the principal deity, in the center of the fire maṇḍala, one should clearly visualize the form of the object of accomplishment marked by the seed syllable of fire. Then, from the hearts of oneself and the attendants, one should cause the outer life-essence mantra to pervade the hearts of the principal deity and the ḍākinīs.
In that regard, having performed the offerings, the torma cakes, and so forth, one should pervade them with the samaya mantra. Then, one should carry out the approach recitation at the respective hearts of the deities using the inner heart mantra and the ḍākinī mantra. Then, one should perform the application of summoning and entering. Furthermore, three emanated ḍākinīs—arising from the three ḍākinīs—holding an iron hook, a noose, and an iron chain, should swiftly summon, enter, and bind the object of accomplishment into the center of a fire maṇḍala within the belly of the principal deity. Then, one should perform the rite of slaying: having lit a fire of funeral pyre embers beneath a skull-cup, one should strike the form in the skull-cup with the slaying mantra and the ḍākinī mantra, using charnel ground ash, earth from a riverbank, and white mustard seeds prepared according to the ritual. At that time, emanated ḍākinīs should also be projected from the three ḍākinīs and enter the crown, throat, and heart of the object of accomplishment residing within the principal deity’s belly; one should understand them to be of the nature of devouring the brain, stealing the breath, and drinking the blood. Having performed the application in this way for three days, one should then suppress [the object] at the root of a tree. Regarding the phrase "immediately vomits blood," this means that as soon as the application is completed, the object of accomplishment immediately vomits blood. Then, one should accomplish the rites for the nāga queens and so forth. The mention of "the horns of a buffalo or the kula plant" is a brief indication of the substances for suppression. The phrase "anoint the body with saffron" means that first, one must protect oneself.
Place saffron and the five kinds of amṛta inside a consecrated skull-cup. Set it upon a maṇḍala of the five kinds of amṛta. Complete the visualization of yourself and the maṇḍala of the retinue of attendant deities. With light rays from the heart, render the skull-cup and the saffron devoid of inherent existence. Then, through the five rituals, fully generate Mahākāla. At his heart, within the union of a moon and sun, the nature of the saffron and amṛta remains as a HŪṂ surrounded by the protective mantra.
Dissolve the wisdom deity into that and perform the empowerment. Recite the outer heart mantra and present offerings and the torma. Then, dissolve the inner heart mantra together with the protective mantra into the heart of Mahākāla. At the conclusion of one thousand recitations, [the deity] melts into light and becomes a substance of the nature of saffron. Regarding the "drop" (tilaka) on the forehead: apply drops to the five locations, such as the forehead. Furthermore, at the location of the drop, one should visualize a HŪṂ upon a solar maṇḍala. "All" means that the HŪṂ is completely surrounded by the protective mantra, so that its light rays pervade the entire body. "It will be protected" means that all the pores of the body abide as the nature of the three-pronged vajra and the HŪṂ, thereby becoming a ritual for clearing away the malice of the nāgas. Then, having prepared a maṇḍala of amṛta, face west and [recite] "The white goat" and so forth.
Regarding the phrase "on cloth from a material charnel ground," this refers to cloth from a field where someone has died of a nāga disease. The meaning of the section from "an owl quill" up to "HŪṂ, outer and inner directions" is easy to understand. Furthermore, the drawing should be done at midday. Regarding the phrase "the skin of a black cat" up to "charnel ground ink," this is the ritual procedure: at midnight, facing either the east or the direction of the target, one should prepare a maṇḍala out of various poisons. Upon that, having gathered the aforementioned substances and completed the visualization of oneself and the retinue of the command-abiding deity’s wheel, one should perform the application of summoning and absorbing the target into those substances and then draw with a crow quill. This means that at midnight, one should draw an eight-finger-sized image of the target. The section beginning with "on the forehead" is easy to understand. Thus, regarding the syllable JA, one should write JA in the five locations, such as the navel and so forth. Regarding the "four nāga families," on the target’s right hand is the white kṣatriya family; on the left, the yellow brāhmaṇa family; on the right foot, the red vaiśya family; and on the left, the green śūdra family. The phrase "at the heart" is easy to understand. Having drawn it in this way, place it upon the poison maṇḍala. Having completed the visualization of oneself and the deity wheel of the command-abiding deity, one should perform the application of summoning and absorbing during the six sessions. Then, facing the direction of the target, one should use copper or similar metal as a poison-venom to place the nāga image and the target together, merging them into one.
Regarding the phrase "place in front," place it upon the poison maṇḍala. Then, complete the visualization of oneself and the retinue of attendants. With light rays from the heart, render the object of practice and the nāgas devoid of intrinsic existence. Then, from the syllable khaṃ, one should visualize a vajra rock. Upon that, from the syllable baṃ, visualize a water maṇḍala adorned with a hanging cluster of snakes. Within that, upon a lotus and sun disk, one should generate the three ḍākinīs and Mahākāla through the three rituals, beginning with the Lord of Nāgas.
Those ḍākinīs are red in color, extremely terrifying, with one face and two hands, holding a snake-noose and a skull-cup. All their limbs are adorned with venomous snakes. In front of Mahākāla, at the heart of the object of practice, one should visualize a black phuḥ. From its total transformation, generate a black nāga with three hoods. In the nāga’s right hand is a snake-noose, and in the left is a sack of mineral poison. Visualize the object of practice staying within his belly, head and feet inverted. At the heart, limbs, and heart of that object of practice, from the phuḥ, generate the specific varieties of the nāga families as previously explained. Visualize them embracing the limbs of the nāga and entering the gates of the sense faculties.
Then, with light rays from the heart, dissolve the maṇḍala of that nature and confer empowerment. Then, with the outer life-essence mantra, pervade the hearts of oneself and the attendants, and perform the offerings and the torma offering.
One should also recite the samaya mantra. Then, one should perform the approach retreat for the individual mantras of the inner heart-mantras of the ḍākinīs and the nāgas. Subsequently, urged by the self and the attendants, the principal deity and the retinue of ḍākinīs shall summon the target with a snake-noose and dissolve them into the form situated within the belly of the nāga. Then, they are to be killed; regarding the instruction to "empower a kīla of nilasura with mantra and strike," one should visualize the target's sense faculties and strike them with the kīla and white mustard seeds and mineral poison prepared according to the ritual. In this manner, the ritual should be performed for seven days. Then, having inserted any of the aforementioned substances, one should place them in a place where nāgas dwell; this is for the purpose of performing the practice in a place where a black nāga resides, and furthermore, one should remain in that very place. Regarding the phrase "like the cluster of an arjaka flower," this is for the purpose of utterly destroying the target; if the rite is not successful, that very nāga will be destroyed. It should be understood that the mantras of the nāgas and ḍākinīs begin with oṃ and end with hūṃ phaṭ. It should be understood that for all protective rites, they begin with oṃ and end with hūṃ hūṃ phaṭ phaṭ svāhā. Then, regarding the passage from "furthermore" to "requested," this refers to the retinue, including the principal attendants, requesting the Blessed One for the common application. Regarding the passage beginning with "whichever outsiders," this refers to those to be subdued and the purpose of the ritual application. The Blessed One then spoke:
This means that the principal [deity] enters the cakra through the absorption of the six gazes. "Listen!" means to summarize the six gazes. "Power" refers to the deity who protects the object of accomplishment. "The ritual for swift separation is explained" means that because it is the preliminary for all applications, it is called "swift." Because it possesses separation, all applications are swiftly accomplished. "Separation, expulsion," and so forth, are explained in brief. First, the ritual for separation is to be explained:
In order to engage in the ritual of separation, one should perform the ritual with the substances mentioned in the passage beginning, "The earth of the left foot of the object of accomplishment." Furthermore, facing the direction of the object of accomplishment, one places the substances in a skull-cup upon a poison maṇḍala. One should then complete the maṇḍala of oneself and the retinue of the command-abiding deity. In the center of a fire maṇḍala at one's own heart, one should visualize the three ḍākinīs, such as the Vajra Wrathful Goddess, born from the syllable HŪṂ. She is yellow in color, with one face, two arms, and three eyes, having a wrathful frowning form. In her right hand she holds a hook, and in her left she holds a battle-axe. From her heart, one should emanate three such mātṛ goddesses, who enter the heart of the object of accomplishment, whose body is as if smeared with sesame oil.
One should draw forth the life-saving deity, who possesses the three syllables abiding in the form of the object of practice, and dissolve it into one’s own heart. Then, the object of practice, now separated from the life-saving deity, should be summoned again and again and dissolved into the liṅga material. When the six sessions are thus completed, it is called "the eight-finger [measure]." Regarding the phrase "wrap the human nape-tendon," one should write the mantra on a leaf in a circular pattern around the nape and wrap it there. As for "the desired deity of that very [object]," this refers to the three ḍākinīs previously mentioned; one should perform the summoning and absorption of the continuum of the desired deity’s form, together with the three syllables, into the collection of materials for the form. Then, having made the form to the proper dimensions, "inserting the heart mantra or the name-syllables into its heart" means that one should interweave the twenty-one-syllable mantra with the heart mantra or the name and insert it into the heart. "In between" means in the space between the back-to-back [sections]. Furthermore, with Oṃ at the beginning and Svāhā at the end, one should write the name of the object of practice, the deity’s heart mantra, and tāḍaya tāḍaya in the middle on a leaf from a tree in the open air and insert it. Moreover, it should be written with the natural [substance] of a widow and spang ti brain. Then, one should prepare a mandala of various poisons, and the ritual to be performed there is as follows: "Then," and so forth, which is easy to understand. Following that, "it should be burned" refers to the ritual to be performed for that.
Having gathered the substances in an inauspicious skull-cup, one then abides in the yoga of Mahākāla. Through the light rays from the hearts of oneself and the attendants, the substances are rendered without inherent existence. Then, having generated a hūṃ upon a sun maṇḍala, it should be encircled by the mantra of separation. Then, through the light rays from the heart, the Mahākāla of the charnel ground is invited and requested to remain in the sky. Having performed the outer recitation, offerings, and the torma, and having completed the inner recitation, one should dissolve [the deity] into the hūṃ and the mantra. Then, from the hearts of oneself and the attendants, the inner heart mantra and the mantra of separation should be dissolved into the hūṃ and mantra in front one thousand times. Then, melting into light, they become the substances. Because the substances are endowed with power, it is called the "ritual." Then, regarding "mustard seeds" and so forth, these are the substances for striking; they are easy to understand. Regarding "one should possess meditative concentration," this means that having established oneself as Mahākāla together with the deity’s maṇḍala, one should generate the maṇḍala of the retinue in front. Furthermore, upon a vajra rock, in the center of a fire maṇḍala, upon a lotus and sun, Mahākāla and the retinue such as the Vajra Wrathful Goddess and so forth should be generated by means of the three rituals. Their body colors and hand symbols are as previously explained. Then, one should perform the dissolution of the natural maṇḍala, the conferral of empowerment, and so forth. Then, having pervaded [the area] with the outer heart mantra, one should also perform the offerings and the torma.
Then, one should recollect [the deity] with the samaya mantra. For that, one should perform the approach recitation one thousand times with the inner heart mantra and the mantra of separation. Then, one should perform the application of summoning and entering; the wrathful female vajras and so forth from the heart should summon the desired deity, just as before, and dissolve [it] [into the target]. Then, emanated ḍākinīs are projected from the heart of the principal deity of the maṇḍala in front. Having summoned the target who resides in an empty body, they dissolve [it] into the form of the target. Having performed the summoning and entering in that way one thousand times, emanated forms such as horses, buffaloes, crows, owls, snakes, cats, and so forth—disagreeable forms—are projected from the hearts of Mahākāla and the other ḍākinīs. These enter the hearts of the target and the life-protecting deity. One should visualize that the target and the life-protecting deity also become many such forms and fight intensely for a long time. As for "reciting the mantra," one should recite the inner heart mantra and the mantra of separation. Furthermore, one should visualize light rays of the mantra emanating from the heart in the form of disagreeable sentient beings, entering the target and fighting intensely. As for "striking with sand," one should fumigate with the substances prepared in the ritual above and strike with substances such as mustard seeds. One should understand the specific distinctions of separation from the beginning with "Oṃ" up to the end with "Svāhā." The desired deity should be suppressed.
Regarding the phrase "thus it is said," after the consecration of the caitya, one should perform the suppression. Furthermore, if the deity is powerful, one should perform the ritual of suppression accordingly. "The object of accomplishment should be offered in the homa" means that for the sake of killing an object of accomplishment who is devoid of protection, one should perform the homa. "The power of separation" means that there will be no doubt. Then, "another" refers to engaging in the rite of expulsion. Furthermore, "the three-segmented skull" is the basis for the maṇḍala. That itself is for the purpose of making it the object of accomplishment. The substances are the blood of a black horse and so forth. Moreover, the time for the accomplishment is during a lunar eclipse. Being endowed with concentration, "ink" means that one should establish oneself in yoga and gather the substances of the maṇḍala in front; then, from the light rays of the heart, one should make [the object] non-referential. Then, upon a vajra rock, from the complete transformation of the syllable yaṃ, there arises a wind maṇḍala. In its center, upon a lotus and sun, one should generate Mahākāla and the ḍākinīs such as Lāsyā. Those ḍākinīs are blue in color, with one face and two arms; in the right hand they hold a wind-cloth, and in the left they hold a skull-cup filled with blood. They abide with three eyes and an extremely terrifying form. Having generated them in that way, one should summon the natural maṇḍala and confer empowerment. Then, one should also complete the subsidiary rituals of the outer heart mantra and so forth.
At the heart of that principal deity, one should visualize a wind maṇḍala arising from the syllable yaṃ. In its center, within a skull cup arising from the syllable a, one should clearly visualize the substances of the wheel. From the hearts of oneself and the ḍākinīs, the inner heart mantra and the expulsion mantra are emanated; as long as the moon is not released from an eclipse, the complete wheel should be dissolved [into the substances]. Then, one should visualize the principal deity and the ḍākinīs melting into light and dissolving into the substances. If the ink is prepared in accordance with this ritual, everything will be accomplished without obstruction.
Then, possessing the yoga of the principal deity, one should begin to draw the wheel. Regarding the phrase "a twelve-year-old child" and so forth, it is easy to understand. As for the ritual for that: one should first perform the preliminary service (sevā). Having prepared a maṇḍala with various poisons, one should draw a wind maṇḍala marked with the syllable yaṃ using charcoal from a charnel ground upon it. Then, having anointed the body with nectar and so forth, one places the wheel upon the maṇḍala. This means that on a cloth from a charnel ground, the form of the object of practice is drawn, with the syllable yaṃ in the center. At the five places of the object of practice, the letters of the name and clan, together with uccāṭaya, should be placed between two hūṃ syllables. This is the meaning of "placing the wheel face down upon that form." Regarding the "skull of a mongoose," one should draw the expulsion wheel on the aforementioned charnel-ground cloth and place it inside the skull.
The "kīla of the shank" refers to a kīla that has been consecrated. "In that same way" means that one should generate the maṇḍala of deities in the manner previously explained. Regarding "through the application of the glorious Mahākāla": having established oneself in the deity yoga, one should then dissolve the maṇḍala in front into the lack of intrinsic nature by means of light rays from one's heart. Upon a vajra rock arising from khaṃ, one should visualize a wind maṇḍala of a mobile nature arising from yaṃ. Upon that, one should complete the maṇḍala of deities as previously explained, and perform the dissolution of the natural maṇḍala and so forth. Then, one should carry out the approach recitation at the heart of each [deity] with the inner heart mantra and the expulsion mantra.
Then, in front of the principal deity of the maṇḍala, upon a wind maṇḍala arising from yaṃ, one should summon and cause the entry of the object of practice upon the back of a blue wind-camel emanated from the hearts of the ḍākinīs, such as Lāsyā and the others, atop the wind maṇḍala. One should visualize the expulsion wheel at the heart of that object of practice, situated in the center of the wind maṇḍala. Then, emanating ḍākinīs from the hearts of the principal deity and the ḍākinīs who hold kīlas and hammers, and having them stand upon the back of the camel, one should turn the object of practice to face the southern direction.
Then, regarding the instruction "one should strike with a kīla and beat with a hammer," one should visualize those ḍākinīs striking the targets and the camel with kīlas and beating them with hammers. "At the three times" means that one should be endowed with the maṇḍala of the deity during the three times; this is the meaning of the ritual procedure. Then, light rays emanate from the hearts of oneself and the principal members of the retinue, striking the wind maṇḍala beneath the camel's feet. As the wind is stirred, the ḍākinīs carry the camel and the targets toward the southern direction, and one should visualize that they have gone a very great distance. "To bury in the foundation" means that the maṇḍala performed according to the ritual should be placed so that the head of the target faces south, and the target should be suppressed by that maṇḍala. "They will be expelled" is said to eliminate any doubt.
Then, one should engage in the application of delusion, which is called cucuṇḍara. "Cemetery ink" refers to ink prepared according to the ritual in a cemetery. "To draw the maṇḍala" means that one should draw a fire-shaped maṇḍala on the skin of a cucuṇḍara. Furthermore, one should make a three-square grid in the center and write the mantra of the maṇḍala in all three squares. In the center, the name and clan of the target should be written, enclosed between the syllable hūṃ. "The soil of the target's impurities" means that one should collect the soil from the locations of the target's Vairocana and Akṣobhya. "Kneaded with the juice of mountain śoma" means to knead it with various poisons.
Regarding the term "the object to be accomplished" (sādhya): first, one should perform the ritual of summoning and entering into the material for the liṅga. Regarding the term "form": it should be made six finger-widths in size. Regarding the term "the letters of the name": one should draw the previously explained maṇḍala together with the mantra on a cloth from a charnel ground; because that maṇḍala causes delusion, it is said that one should insert it into the heart. Then, place it upon a fire maṇḍala in front of oneself and quickly separate the life-force. Then, having completed the ritual of summoning, it is said that one should insert it into the center of the maṇḍala. Regarding the phrase "with the sinew of a monkey": this refers to both the sinew of a monkey and the sinew of a mongoose. Regarding the phrase "in front of oneself": first, one should complete the deity yoga of oneself and then prepare a maṇḍala of various poisons in front. Regarding the term "clay bowl": it is made from the aforementioned earth and amṛta. Furthermore, regarding the application of goat amṛta to the exterior: one should apply the blood of a frog to the interior. In the center of the clay bowl, one should place the fire seed-syllable raṃ; upon that, it is said, one should place the maṇḍala. Then, with light rays from one's own heart, one should render the maṇḍala and so forth non-referential. There, one should visualize a vajra rock arising from khaṃ, and upon that, visualize a blazing fire maṇḍala. In its center, upon a lotus and sun disk, from the heart of a corpse, one should generate Mahākāla arising from hūṃ, along with the three ḍākinīs such as Lto-’phyaṅ-ma.
Visualize them as being black in color, extremely terrifying, with one face, two arms, and three eyes, holding a trident and a fresh skull-cup, and dwelling in the midst of blazing fire. Then, dissolve them into the natural maṇḍala and confer the empowerment. Next, pervade their respective hearts with the outer heart mantra and perform the offerings, torma, and so forth. Recalling the samaya, one should perform the approach practice at their respective hearts with the inner heart mantra and the cakra mantra.
Then, one should visualize a fire maṇḍala in front of the principal deity of the retinue. In its center, visualize the target, their complexion faded and their countenance withered. Then, emanate many forms from the heart of the cakra, and with light rays from one's own heart, summon the target back again and again, a thousand times.
Next, perform the rite of slaying with human ashes and white mustard seeds. Furthermore, emanate many forms from the hearts of the principal deity and the ḍākinīs, holding curved knives and skull-cups. Reciting the cakra mantra, they chop the target with curved knives and devour them. From their hearts as well, emanate many forms such as hawks, crows, bears, and hyenas; these devour the flesh of the target, drink their blood, pull out their intestines, and so forth, thereby exhausting the aggregates.
As for the recitation of the mantra, it begins with OṂ and possesses a terrifying form. Furthermore, at the end of the suprati [suffix], it should be joined with mūrdha and pariretru.
Furthermore, one should know that hūṃ hūṃ phaṭ phaṭ svāhā is at the end. "In that same way" means according to the ritual previously taught. One should suppress [the object] at the place of sleep or in the ancestral cemetery. Furthermore, the emanated forms should be dissolved into the cakra and then suppressed. "Then" means one should engage in the activity of summoning, and so forth. "Utpala flower" means inside the flower. "Red sandalwood" refers to the self-arisen flower. "Apāraciti" is one's own bodhicitta. "Ink" refers to the fifteenth day. The meaning is that one should apply it inside the flower at night. Furthermore, abiding in the application of Mahākāla, one should perform the recitation one thousand times. "Red flower" is easy to understand. "One should possess concentration" means that one should face west, prepare a maṇḍala of the five amṛtas in the shape of a half-moon in front of oneself, and there, using the aforementioned mantra-writing materials, fashion an image of the object of accomplishment eight finger-widths in size. One should write a long jā at the five places and the four limbs. Then, place a flower accompanied by the mantra at the heart of the image. Then, one should become possessed of yoga; with light rays from the heart, one should render the maṇḍala and so forth without intrinsic nature. There, upon a viśvavajra, padma, and sun, one should clearly visualize the syllables of the object of accomplishment, who has become red in color, arranged [therein].
One should visualize a source of phenomena (dharmodaya) in the shape of the letter E at the center of the heart of the object of accomplishment. In its center, one should generate the principal deity and Amitābha and the others, arising from the syllable HŪṂ. Those ḍākinīs also have one face and two arms, are orange-red in color, and possess three eyes. In their right hands they hold iron hooks and garlands of flowers; in their left hands they hold skull-cups filled with nectar. Into such a wheel, one should dissolve the natural maṇḍala. Then, having performed the empowerment, the outer heart mantra, the offerings, the torma, and the samaya rituals, one should emanate orange-red light rays from one’s own heart, together with the inner heart mantra and the summoning mantra. This is called "consecrating" in order to dissolve [the light] into the hearts of the principal deity, Amitābha, and the others. Having performed the recitation in this way one thousand times, at the conclusion, the wheel and the object of accomplishment should also be transformed into the nature of flowers. At that time, the mind of the object of accomplishment becomes extremely distracted and they will quickly arrive. The phrase "a man or..." and so forth is easy to understand. Then, the phrase "thereafter" means one should engage in the activity of subjugation. The phrase "another..." and so forth is easy to understand. "Red flowers" refers to the root of the lotus. "A king or..." refers to the form of the one to be subjugated, or looking at a city drawn upon a skull-cup. "Endowed with concentration" means that first one should complete the yoga of oneself.
Visualizing clearly the cakra that will be described below, from the heart to the heart, one should begin to draw the cakra at the heart of the object of practice. The cakra and so forth are easy to understand. Regarding the syllable hrīḥ, the letters of the name of the object of practice should be placed between hrīḥs. "Consecrated by meditative concentration" means that one should complete the yoga of oneself as the deity Mahākāla and the maṇḍala of the deities. In front of oneself, one should construct a maṇḍala suitable for summoning. Upon the maṇḍala, one should fashion the form of a dharmodaya using the natural flowers of a prostitute. Upon that, one places the cakra and the flowers. Then, with light rays from one's own heart, one should render them without intrinsic nature. Above a vajra rock arising from the syllable laṃ and resembling a half-moon, one should generate the complete maṇḍala of deities in the center of a red dharmodaya arising from the syllable e, upon a lotus and sun disk. Furthermore, the ḍākinīs such as Vajrajvālā and the others are red in color, with one face, two arms, and three eyes. In their right hands they hold a dharmodaya, and in their left hands they hold skull-cups filled with natural flowers. Then, one should perform the ritual of the samaya, including the dissolution of the natural maṇḍala and so forth. Then, at the heart of the cakra, one should clearly visualize the object of practice or the city of the object of practice arising from hrīḥ. At the heart of the object of practice or in the center of the city, one should contemplate the red cakra drawn previously. Then...
"Fill the skull-cup with red flowers" means that one should fill the skull-cup with flowers over which a mantra has been recited. Regarding the term "empowered" (abhimantrya), it means that from the hearts of oneself and the ḍākinī, the inner heart-mantra and the mantra of mastery are emanated; these enter the mouth of the principal deity and dissolve into the heart-mantra of the object of accomplishment residing in the heart. This should be done until the signs are seen. The "fragrance and movement" are the signs. "At that time" refers to the time when the signs are attained. At that point, the object of accomplishment residing in the heart of the principal deity should be drawn into one's own heart. The mandala of the principal deity and the retinue becomes the nature of the flowers; the phrase "merely by placing those flowers in the hand" is easy to understand. "Then" means one should engage in the ritual procedures for all activities. The summary from "the activities" up to "should be applied with diligence" is the brief presentation. The sequence is reversed for the sake of confusing ordinary, deluded beings; however, those who know reality should collect them in their proper order. Regarding "expelling the obstructors through concentration," one should complete the deity yoga of oneself, clearly visualize the principal deity of the mandala in one's heart and the sharp-formed lady and so forth as they appear below, and then expel the obstructors from the heart of the principal deity using the mantra hūṃ vajrakapāla and so forth, along with light rays from the heart.
Then, having constructed the protection wheel, it says "drawn upon the skull-cup." This means that the skull-cup should be washed with nectar, and a nine-square wheel should be drawn upon it. In every square, one should write the syllable Oṃ at the beginning and Hūṃ Hūṃ Hūṃ Phaṭ Phaṭ Phaṭ Svāhā at the end, using ink made from charnel ground materials. Then, it says "take earth from the charnel ground into that skull-cup."
Regarding the phrase "in the form of the source of phenomena" (dharmodaya): the ground should be fashioned into the shape of the source of phenomena, because it is within the source of phenomena that the maṇḍala of deities is generated. Furthermore, at that very place, on the day of the deity Vṛhaspati, one should place white mustard seeds. Then, the maṇḍala of deities should be generated. By means of light rays from the heart, the source of phenomena and the collection of mustard seeds are rendered without intrinsic nature. From the syllable Khaṃ, one should visualize a vajra rock, upon which is a lotus and sun disk, and upon that, a Hūṃ endowed with various light rays. By the light rays of the Hūṃ, one should create a lattice of curved knives, a pavilion, and so forth. In the center of that, one should visualize the source of phenomena.
Then, upon as many variegated lotuses and sun disks as there are mustard seeds, one should generate the principal deity together with the ḍākinīs, arising from the syllable Hūṃ. As for the ḍākinīs, one should generate the three, such as Tīkṣṇā (the Sharp One) and so forth. They have one face and two arms, are black in color, and have three eyes. They have a terrifying form, hold a skull-cup and a curved knife in their hands, and stand in a majestic pose upon corpses. Having thus completed the generation, one should then dissolve the natural maṇḍala through light rays from the heart.
One should complete the branches such as the conferral of empowerment. Regarding the phrase "from the seed syllable in the heart," it refers to the hūṃ in one's own heart. "Light rays" refers to the inner heart mantra and the utkata mantra together with their light rays. "Upon white mustard seeds" refers to the principal deity and the ḍākinīs generated from the white mustard seeds. "Dissolve" means that they dissolve into the hūṃ at the heart of each respective [deity]. The phrase "seven times" and so forth is easy to understand. "In this way, for seven days" means that from that very time onward, every seven days, one should expel obstructing spirits (vighna) with light rays from one's own heart and perform the wheel of protection (rakṣā-cakra). Then, one should clearly visualize the wheel of deities generated from the white mustard seeds as before, complete the ritual branches such as the dissolution of the natural wheel, and perform the recitation as previously explained. "At the time of ripening" means that until it is ripened, one should perform the ritual as previously explained. "Endowed with meditative concentration" means that having perfected the deity yoga of oneself, one should be endowed with the feast wheel (gaṇacakra). "Then" means that the white mustard seeds should be collected. Furthermore, regarding the collection of the white mustard seeds: the wheel of deities generated from the white mustard seeds is withdrawn into the heart of the principal deity by the ḍākinīs, and the principal deity is also transformed into the nature of the white mustard seeds. Then, one should begin the accomplishment of the white mustard seeds. "In a charnel ground" and so forth is easy to understand.
Regarding the instruction to "perform the approach for three days": one should first complete the visualization of oneself as the deity’s maṇḍala. Then, with light rays from the heart, one should render the white mustard seeds and the skull-cup devoid of intrinsic nature. Following that, one should generate the vajra rock and so forth, up to the source of phenomena (dharmodaya), as previously explained. Upon that, in the center of a lotus and sun, one should generate the principal deity and the ḍākinīs. Furthermore, the ḍākinīs are Vajrakumārī and the others. They are of various colors, with one face and three eyes, and a wrathful expression. One should clearly visualize them holding a crossed vajra in their right hands and a fresh skull-cup in their left. Then, one should perform the dissolution of the natural maṇḍala and so forth, up to the ritual of the samaya.
Next, one should visualize the form of the syllable E, like a source of phenomena, at the heart of the principal deity. In its center, upon a lotus and sun, from the syllable HŪṂ, one should generate the forms of Mahākāla, each the size of a thumb-joint, as numerous as the mustard seeds. Then, from the hearts of oneself and the ḍākinīs, the inner essence should be absorbed into Mahākāla at the heart of the principal deity of the maṇḍala. When the approach is thus completed, the ḍākinīs dissolve into the heart of the principal deity. One should then visualize the principal deity also dissolving into the Mahākāla within the mustard seeds. "All will be accomplished" means that all activities will be accomplished, and specifically, it is for the sake of accomplishing the activities that appear below.
Then, regarding the term "Mahākāla," it refers to the Lord of the Mandala. "The Blessed One" refers to Vajradhara himself. The phrases "all activities" and "how is it so?" are interrogative particles that briefly present the collection of ritual actions as a request. "The Blessed One, having gazed upon the assembly of the retinue" refers to the Great Hero entering into meditative absorption (samādhi). "He spoke" is the compiler’s summary and presentation of the teaching. "The forces of the enemy army" is easy to understand. First, regarding the ritual procedure, the syllable Oṃ and so forth ends with Hūṃ Hūṃ Phaṭ Phaṭ Svāhā. Regarding that ritual: in order to paralyze the enemy forces, one should visualize an eight-sided Mount Meru arising from the syllable Suṃ upon a vajra rock. Upon that, one should generate oneself as the complete mandala of deities. In the center of the source of phenomena (dharmodaya) at one's heart, in the center of a lotus and sun, one should generate the principal deity and the retinue, such as Vajrakumārī and others, with their respective colors, hand-symbols, and so forth, as previously explained. Then, by looking at the enemy forces with the vajra gaze, they are paralyzed. One should visualize that at the site of the army, within the interior of a Mount Meru arising from Suṃ, those forms of the army remain in a paralyzed state. Then, emanations of ḍākinīs and white mustard seeds, non-dual with the principal deity and the ḍākinīs at the heart, are projected. They enter through the nostrils of the army hosts, and by arresting the incoming and outgoing breaths, the winds are paralyzed into a single state.
Furthermore, regarding the statement, "By the ritual of that [mantra] ending in oṃ at the beginning and hūṃ hūṃ phaṭ phaṭ svāhā at the end, the hosts of lions and so forth will be terrified": the ritual for this is to focus on any lion or similar creature and, when white mustard seeds are cast, to emanate from the hearts of the principal deity and the ḍākinīs a great multitude of ḍākinīs in the form of animal-headed emanations. One should then visualize that these hosts of beasts are driven far away.
Furthermore, as for the ritual that follows: by means of [the mantra] beginning with oṃ and ending with hūṃ hūṃ phaṭ phaṭ svāhā, the hosts of obstructing spirits (vighna) are terrified. The ritual for this is to clearly visualize the hosts of obstructing spirits in their respective directions, place them in the center of a fire maṇḍala in front of oneself, and emanate from one's own heart a multitude of emanated forms of the principal deity and the ḍākinīs holding ritual daggers (kīla) and hammers. These remain inseparable from the white mustard seeds, and one then strikes those obstructing spirits with the daggers and beats them with the hammers. By means of such an application, if one repeatedly strikes with the white mustard seeds, the hosts of obstructing spirits will be terrified.
Regarding the phrase "Furthermore, moreover": this is for the purpose of entering into another application once the application of white mustard seeds alone is complete. In that regard, the black female cat and so forth are easy to understand. As for the phrase "mixing those together" and so forth, this refers to the ritual procedure: one should prepare a maṇḍala with poison, place the substances inside an inauspicious skull-cup, and set it down. Then, one should complete the deity yoga of oneself.
At my heart, one should visualize the principal deity and the Ḍākinīs such as Cakravartinī and the rest. Those Ḍākinīs have one face, two arms, and three eyes, and are black in color, holding a curved knife (kartṛka) and a skull-cup (kapāla) in their hands. Then, one should perform the dissolution of the natural maṇḍala, the conferral of empowerment, and so forth. Subsequently, light rays from the heart emanate in the form of a garland of curved knives and dissolve into the substances in front. This emanation is repeated again and again with the inner heart mantra and mantras such as pātaya, emanating the nature of the curved knives and dissolving them into the substances one thousand times. Those substances should then be burned in front of the person afflicted by a graha spirit. "To assume the divine pride" refers to generating the maṇḍala as explained above. "The Mahākāla in front" refers to the nature of the principal deity and the Ḍākinīs at the heart. "Light rays" refers to light radiating from the heart like iron hooks. "Radiating outward" is for the purpose of summoning the obstructing spirits (vighna). "Placing the curved knife on top" refers to placing the consecrated curved knife at the gateway of the Māras. The terms "white mustard seeds" and so forth are easy to understand. "Expelling" means that light rays like a wheel of fire radiate from the heart, expelling the obstructing spirits from the patient's body and driving them very far away, and one should imagine that the light rays become a protective tent and so forth. Then, by reciting the Vajrakavaca mantra, the five places of the one to be protected become armored with the viśvavajra (crossed-vajra) armor; thus it is called "expelling."
Then, "beginning with OṂ and ending with HŪṂ" refers to the essence of the name. "Summoning the flower" means summoning the consort; it is called "summoning the flower" because one summons her by means of a flower. Furthermore, one should take a flower bound in the hair of a prostitute, a red flower struck by the sun, and other substances such as the impurities from one's own right eye, the film from the tongue, and the dirt scraped from the right thumb; the blood from the left ring finger, and one's own bodhicitta. Having anointed both flowers with these, one should consecrate them over the deity's flower as described above. If one then places a single flower in the body or hand of whichever prostitute one wishes to summon, she will be summoned immediately. The application of this rite should be performed on the day of the constellation Bharaṇī.
Furthermore, the mantra beginning with OṂ and ending with SVĀHĀ is the mantra for transforming into nectar (amṛta). "Essence extraction" refers to substances such as nectar and the like. "Consecrating" means that one should endow it with the wheel of the previously taught deity Mahākāla, and then consecrate it as the nectar of the wisdom-being (jñānasattva) through light rays from the heart. "Mantra" refers to its mantra: that which begins with OṂ and ends with HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. This is the ritual for incense preparation, which should be understood in the context where it is not explicitly taught here. Furthermore, that which begins with OṂ and ends with HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ is the ritual for summoning.
Furthermore, from the house of a liquor-seller, one should take the natural yeast of the liquor-seller and the liquor from her house to serve as ink. At the base of a liquor jar, one should draw a wheel with a hub and rim, using a kaṭhika (brush) as the tool. Then, with the aforementioned ink, one should write the syllable baṃ in the center of the wheel. In the center of that, one should write the syllables ākṛṣya na jaḥ jaḥ enclosed between the two jaḥs. On the rim of that wheel, one should write the mantra beginning with oṃ and so forth.
Then, having prepared a maṇḍala of the five nectars (amṛta), one should place a jar upon a bundle of bātri grass. Inside the jar, one should provide the ingredients for the liquor of the city. Then, facing toward the city, one should clearly visualize the aforementioned wheel of deities. From the hearts of the principal deity and the Cakravartinī (Wheel-Turner) and others, emanate ḍākinīs. Having summoned the city where the liquor resides, one should visualize it in the space before one, and within the jar of liquor in the sky, generate a wheel just like the one drawn here. Then, through the power of reciting one's own mantra, a stream of liquor flows from the wheel in the jar in the sky, causing a continuous stream of liquor to flow into the jar in front.
Furthermore, by beginning with oṃ and ending with hūṃ hūṃ phaṭ phaṭ svāhā, one should pacify poison. Regarding the "removal of snake venom," one should clearly visualize the wheel of deities as previously explained.
One should visualize that from a white syllable Taṃ at one’s own heart and crown, white light rays emerge and pacify the poison through the mantra. The phrase "Thus he spoke" means that the common application has been taught in the chapter on mantras. This concludes the second chapter, the explanation of the chapter on mantras.
Then, the phrase "Then" introduces the entry into the wheel of deities. Regarding that, the initial words of the request are from "Mahākāla" up to "requested." The phrase "Whatever mantra applications" refers to both the common and the great applications. The phrase "will become powerful" means they will be endowed with the generation stage. "Please explain" is the request for that purpose. "The Blessed One spoke" means that the Vajra Holder entered the absorption of the wheel of deities. From "By the yoga of the initial deity" up to "he spoke" means that the meaning of the mantras and the applications must also be endowed with the generation of the deity; thus, the purpose of that is briefly shown. From "Then" up to "how is it?" is the detailed request for that purpose. "The Blessed One spoke" up to "generate completely" is the brief teaching of the generation stage. "He spoke" refers to the detailed explanation.
Regarding the phrase "in charnel grounds and so forth," this means one should practice in such places as charnel grounds, solitary trees, empty houses, islands in the ocean, places with a single landmark, the banks of fierce rivers, and sites of conflict. "Anointing the body with the five nectars" means applying drops of the five nectars to the five places; by means of the five syllables taught above, one should instantaneously assume the divine pride of the deity. "Sitting on a comfortable seat" means sitting on a corpse-seat with a heroic mind. With "Oṃ" at the beginning and "Hūṃ Hūṃ Phaṭ Phaṭ Svāhā" at the end, one is the nature of the vajra armor. "One should protect [oneself] three times" refers to the meaning of "oneself and so forth." "Immediately thereafter" refers to immediately after anointing the body with nectars and sitting on the comfortable seat. "At the heart" refers to a lotus and sun maṇḍala. "Hūṃ" is a Hūṃ endowed with five-colored light rays; "having cleared away the malevolent" means that all sentient beings are transformed into the nature of Mahākāla by those light rays. "The guru and so forth" is easy to understand. One should make offerings in order to accumulate merit. Furthermore, this is done with flowers such as the ukṣepa and so on. Having blessed them with the three tattvas, one should offer them with the idam mantra. "Confessing misdeeds" means that being free from misdeeds is the supreme accumulation, and thus one confesses misdeeds. "Accumulating" refers to confession, the indivisible vow, rejoicing, taking refuge, and—
The generation of the mind of supreme awakening and the dedication of the roots of virtue. These also serve to subdue the malevolent and to ensure that the Buddha’s teaching remains for a long time, thereby becoming merit. Regarding the phrase "by the power of Mahākāla," one should dissolve the maṇḍala of the accumulated accumulations into oneself. Regarding "loving-kindness and so forth," this refers to loving-kindness that desires others to attain happiness, compassion that desires to protect them from suffering, and the joy of attaining stable happiness and warmth; because one views all imputed entities with equanimity, it is called equanimity. Then, regarding the phrase "one should view the suchness of all entities," all entities are primordially unarisen; because this is made clear by the śūnyatā [mantra], it is called "the clarity." Furthermore, by clearing away the delusions of entities with the light rays from the heart, one clarifies emptiness with the śūnyatā mantra and then "rests." This means resting in the uncontrived state. This is the completion of the generation stage, free from conceptual elaboration. Regarding "empty and non-empty," this is the completion of the completion stage, taught in the context of the great fruition. With the words "from emptiness, the syllable baṃ," and so forth, the protection wheel is formed, which is the purification of the perceived. "In the center, one should visualize the source of phenomena" refers to the purification of the grasper, which is the nature of the dharmadhātu. "The seat of the corpse" means that all entities are unarisen.
From the words "the moon" up to "arisen" refers to the perfection of the body through the manifest enlightenment of the nature of the five wisdoms. "One face" means not wavering from the dharmadhātu. "Two arms" means abandoning the extremes of permanence and nihilism. "The curved knife" means completely severing the afflictions such as ignorance and subduing the malevolent. "Holding a skull-cup" means drinking the blood of the māras, which is filled with the flavor of great compassion. "Three eyes" means protecting the teachings of the three times. "A mass of glowing embers" means burning away obstructing spirits (vighna). "Hair coiled upward" means being victorious over the māras of the three realms. "Blood dripping from the mouth" means being attached to and not abandoning the blood of the malevolent, which protects the continuum of the yogi. "Tiger-skin loincloth" means subduing various types of malevolent beings. "Adorned with the eight great nāgas" means: Vāsuki on the crown; Takṣaka on the neck-ornament; Karkoṭaka on the right ear; Padma on the left ear; Mahāpadma on the right armlet; Huluhunta on the left armlet; Kulika on the right anklet; and Śaṅkhapāla on the left. These are for the sake of bestowing the eight great accomplishments and the nature of the self of the Lord. "With a garland of fifty skulls" refers to the nature of the fifty-syllable mantra.
"Thus, 'perfectly generated'" refers to the perfect generation of the samayasattva. From "at one's own heart" up to "made one through jaḥ hūṃ baṃ hoḥ" refers to the summoning and absorption of the jñānasattva, which is easy to understand. "Light rays from the heart" means that light rays like iron hooks are emanated from the heart, summoning the tathāgatas, the goddesses of knowledge, the bodhisattvas, the wrathful kings, and so forth, and they are to be worshipped. One should visualize the supplication and the conferral of empowerment, [resulting in] the vase [empowerment] as great bliss; the secret [empowerment] at the throat; the wisdom-knowledge [empowerment] at the heart; and the fourth, the ultimate, at the navel, which is to be protected. Furthermore, the meaning of the words taught as the great fruit—"neither empty nor non-empty"—should be understood. At the end of that, the retinue dissolves into Akṣobhya, and Akṣobhya enters as the crown ornament. Then, in order to delude ordinary beings, the front-generation is to be abandoned for a long time; that is, it is to be abandoned thoroughly. Those who possess the knowledge of reality should understand that it is generated here. "The charcoal of the charnel ground" refers to the support of the deity, which is to be consecrated. "A body one span high" is because it is the secret body. From "the earth of the charnel ground" up to "to be absorbed" is easy to understand. "Then" refers to entering the accumulation of merit; furthermore, it is not to deviate from the samaya of the principal deity.
In order to obtain the assembly of the retinue, one should perform the offerings, the confession of misdeeds, and so forth, from the Great Black One who was emanated from the principal deity. The specific distinctions of these are as explained above. Regarding the phrase "becoming a single concentration": this means that the emanated Black One above, having completed the seven-limbed practice, dissolves into the Great Black One in front, thereby becoming a single concentration. Regarding the "four brahmā abodes": these are to be meditated upon through that tantra, just as explained above. Regarding the phrase "immediately thereafter": this is because immediately after meditating on the four brahmā abodes, one is to be grasped into the causal retinue. Furthermore, by being struck by the light rays from the heart of the principal deity, the Great Black One is drawn back, enters the mouth, and dissolves into the syllable HŪṂ at the heart of the principal deity. Then, from the heart, he emerges within a sphere of light of the attendant that moves from the heart, becoming the size of a span in height. Then, in order to accomplish the resultant retinue, one should contemplate emptiness. Furthermore, by being struck by the light rays from the heart of the principal deity, the causal attendant melts into light and becomes the nature of the three syllables. Since the three syllables also lack inherent existence, they are called "emptiness." Regarding the phrase "from emptiness": this is because, through the power of the principal deity’s non-transgression of the samaya and the generation of the awakening mind, the body arises from emptiness. Furthermore, the "vajra rock" and so forth are easy to understand. Regarding the phrase "the body is complete": this refers to the completion of the body of the samaya-sattva.
Regarding the phrase "light rays from the heart," this refers to the principal deity and that very [deity] during the empowerment. "Inviting" means by means of the four mudrās. "Mahākāla of the charnel ground" refers to the samayasattva. "Non-dual with Kṛṣṇa" means dissolving the natural Kṛṣṇa by means of the aforementioned four mudrās. "Visualizing" refers to the empowerment; one should dissolve the outer heart mantra from the heart into the heart one hundred times. "Offerings and torma" means offering with the root mantra. "Mahākāla of the attendants" is for the purpose of dissolving the susmāta mantra from the heart into the heart one hundred times. "Having performed the mantra recitation" means completing the approach retreat with the inner life-essence mantra. "At the three times" is easy to understand. Once the signs of such approach are obtained, one should apply them to the activities; it is not [done] if the signs are not obtained, for then one would be ridiculed by the world. "The Blessed One spoke" means that the mandala of deities is complete. "Requesting" refers to the principal deity; furthermore, the meaning of "completing the deity ritual" is "having found the signs." "How is the application of the activity?" is a request for the specific details of the activity application. "The Blessed One spoke" means that the principal deity entered the absorption of the activity.
Regarding the phrase "the rituals of action" up to "all are accomplished," this is the brief thematic summary and is easy to understand. Then, the passage beginning with "Mahākāla requested" refers to the formal request for the rituals of action. What are these? They are the locations, the effigies (liṅga), the timing, and the application of the rite of killing. Their specific characteristics are as follows: "a charnel ground on a riverbank" refers to a place situated at the confluence of three waters. "A solitary tree" refers to a place where there are no other trees. "A charnel ground where corpses are cremated" refers to a site where bodies have been burned, or an empty house resembling a cremation hearth. "An empty house of the ḍākinīs" refers to an empty house where the eight mātṛs, such as Brahmāṇī and the others, reside. "An island in the ocean" refers to a charnel ground located on an island. "A mountain peak" refers to a summit that is higher than other mountains and triangular in shape. "A liṅga where Mahādeva resides" refers to a shrine of non-Buddhist deities such as Mahādeva. "A forest of impaling stakes" refers to a charnel ground containing thorns such as impaling stakes. These "locations" are special sites because they bring about swift accomplishment. "Should be accomplished" means that the applications taught above should be practiced in those locations. Then, the word "then" is used because one enters into the application in those locations. Furthermore, first one should prepare the materials for the effigy; the materials for the effigy range from the "three hot substances" up to "dough."
Regarding the phrase "and so forth": one should place the remains of the victim’s Vairocana, the remnants of what was eaten by crows and the fangs of Bali, the five nectars, and the three external hot substances into an inauspicious skull-cup. Having prepared a maṇḍala of various poisons, it should be set before the attendant deity. Then, one should generate oneself as the complete maṇḍala of the deity, and subsequently generate the maṇḍala of the attendant. Furthermore, with light rays from the heart, the material of the liṅga is rendered without inherent existence. Upon a vajra rock arising from the syllable khaṃ, in the center of a lotus and sun, one should generate the three ḍākinīs, such as Mahākāla, arising from the syllable hūṃ. These ḍākinīs are the three such as Manoharā; they have one face and two arms, are white-yellow in color, possess three eyes, and have a terrifying form. In their hands, they hold iron hooks and nooses. Then, with light rays from the heart, the natural maṇḍala is absorbed, and the empowerment and so forth are performed. Thereafter, the outer life-essence mantras should be made to pervade the hearts of each. Then, having performed the offerings and the torma, and having completed the samaya ritual, the inner life-essence mantra should be recited for the approach practice. Then, in the center of a fire maṇḍala before the attendant, one should clearly visualize the material of the liṅga. From the hearts of oneself and the ḍākinīs, many emanated forms holding iron hooks and nooses are projected, and the application of summoning and entering the victim should be performed.
Such a ritual is the ritual for the material of the liṅga, which serves as a prerequisite in all cases. Regarding the phrase "to be endowed with syllables," the syllables of the name and clan should be inserted between the mantra for killing and two hūṃ syllables. Once the ritual of the liṅga is complete, one must then destroy the bindu; that is what is meant by "at that time." Furthermore, this should be preceded by the two dark fortnights; one should begin on the first day of the waxing moon. First, one should complete the cakra of the deity within oneself, and then generate the cakra of the attendants in front of the principal deity. The vajra rock and so forth are as previously explained. Then, the cakra of the attendants consists of the retinue such as Śaṅkhapāla, who are black in color, with one face, two arms, and three eyes, baring their fangs and dripping blood from their mouths. They hold a skull-cup in the right hand and a ritual dagger (kīla) in the left. Then, from the light rays of the heart, the absorption of the cakra of the deity and so forth, up to the stage of approach (sevā), is as previously explained. It is not taught here because it would result in the fault of redundancy. Then, from the hearts of the principal deity and the ḍākinī, many emanated ḍākinīs holding hooks and nooses are projected, and the application of summoning and inserting the target is performed one hundred times. Then, as for the application of killing, many emanated forms holding ritual daggers and hammers are projected from the hearts of the principal deity and the ḍākinī.
At the location of the drops, one should recite the mantras for slaying, while maintaining the visualization of striking with kīlas and hammering with mallets. One should perform the slaying one hundred times. Regarding the "thirty-two locations of the drops," the drops are the channels through which the vital breath flows, and they are of the nature of bodhicitta. Furthermore, from the location of great bliss, they consist of the thirty-two channels; the term "thirty-two" refers to their abiding on the right and left through the distinction of waxing and waning.
Specifically, the sixteen on the left—the thumb, the instep, the ankle, the calf, the groin, the hip, the thigh channel, the genitals, the navel, the armpit, the heart, the lesser vein, the mouth and nose, the left ear, the left eye, and the ūrṇā hair-treasure—are the waxing drops, beginning from the first day of the white fortnight. The sixteen on the right, beginning from the Brahma-aperture down to the right thumb, are similar to the former; because they are the waning drops, they correspond to the first through the eleventh days of the black fortnight. In those locations, one should perform the approach and the common application of activities, slaying each individual drop on each day according to the specific lunar date.
Regarding the phrase "from the thorns of the impaling stake" to "strike with aconite," these are the substances for the specific rite of slaying, which are easy to understand. Regarding "meditative concentration," it is because the emanated hosts from the hearts of the principal deity and the ḍākinīs perform the activity of slaying without interruption.
"By mantra" refers to the mantra of slaying. "Time" refers to the common and the uncommon. "Seven" refers to the uncommon time; the ritual application of the action is completed in seven days. Furthermore, the ritual application of the action of slaying is completed in each of the thirty-two drops at every session. At the conclusion of the six sessions, it should be supplemented by the homa of slaying. "Thirty-two" refers to the common approach and ritual application, because it is both the approach and the ritual application. Then, "furthermore" refers to entering the near-attainment (upāsana) in order to swiftly accomplish the wheel of the attendant deities through the appropriate samaya substances.
Regarding "the concentration of glorious Mahākāla should be performed instantaneously": first, one should thoroughly mix various poisons, the five nectars (amṛta), the five meats, and alcohol to make a pill. Then, place it inside a consecrated skull-cup, cover the opening with a cloth from a charnel ground, and set it upon a well-prepared maṇḍala of the five nectars. One should then complete the circle of the deity within oneself. Then, with light rays from one's heart, one should visualize the skull-cup and the pill as being without inherent existence. There, one should imagine a vajra rock arising from the syllable khaṃ. Upon the rock, one should imagine a source of phenomena (dharmodaya) in the form of the letter e. In its center, one should imagine a lotus and a sun disk. Upon that, one should generate the circle of deities arising from the syllable hūṃ. Furthermore, one should generate the three, such as the wheel of space and so forth.
She has one face and two arms, her body is the color of the sky, and she has three eyes. In her hands, she holds a vajra and a skull-cup filled with blood. Then, one should perform the ritual of the samaya, beginning with the dissolution of the natural maṇḍala through the light rays from the heart.
Then, at the heart of the maṇḍala, upon a moon and sun, one should visualize a sun maṇḍala the size of a ladu (a type of sweetmeat) arising from the syllable repha. Upon that sun maṇḍala, the syllable hūṃ completely transforms into a sphere of light. In the center of that sphere of light, from the syllable hūṃ, one should visualize the inner heart mantra and the ladu mantra encircling it. Then, the inner heart mantra and the ladu mantra are emanated from the hearts of oneself and the ḍākinī; they enter the mouth of the principal deity and dissolve into the mantra within the sphere at the center of the sun. If one performs the approach practice (sevā) in this manner for three days, success will be achieved. "In an instant" means that it is achieved quickly. Why is that? Because it is the accomplishment of the life-force of the heart of the principal deity of the retinue, it will be achieved quickly. Regarding the "ladu torma," when the approach is completed, one should visualize the ḍākinīs dissolving into the principal deity, and the principal deity melting into light and becoming the nature of the ladu. Making that ladu into a torma is called the "supreme torma." The mantra begins with oṃ and ends with hūṃ hūṃ phaṭ phaṭ svāhā. Then, as for "the other," one should proceed to accomplish the incense with the samaya substances.
Furthermore, there is the common accomplishment and the supreme, extraordinary accomplishment. Regarding the first: having prepared a maṇḍala with the five nectars (amṛta), place a tripod of three skull-cups upon it. On top of the skull-cups, using a cloth from a charnel ground, make a wick for the lamp one span in length, and set it with a lamp of great black butter. In the center of that wick, write the life-essence (srog gi snying po) with ink from a charnel ground. Then, having lit the fire, let the light of the lamp pervade the maṇḍala. In the east, place white mustard; in the south, garlic; in the west, self-arisen [substances]; in the north, aconite; in the northeast, "great flesh" (mahāmāṃsa); in the southeast, great guggulu; in the southwest, prabhāvatī; and in the northwest, lūtī. Distribute these ingredients evenly upon the maṇḍala.
Then, having perfected the visualization of oneself as the deity’s maṇḍala, use the light rays from the heart to render the lamp non-referential. Then, in that very place, generate the attendant Mahākāla through the three rituals, and complete the subsidiary rituals such as the absorption of the natural maṇḍala. One should visualize the substances, such as the white mustard and so forth, in the center of the moon and sun of the vowels (āli) and so forth. Then, from the hearts of oneself and the attendant, emanate the inner essence together with the mantra of the incense preparation, and dissolve it twenty-one times into the white mustard and the other substances. Then, having gathered them into one and ground them into powder, mix them with great black butter. This is the supreme accomplishment.
Place the consecrated skull-cup in the center of the maṇḍala and set a lamp upon it. Then, having fully generated oneself as the deity’s maṇḍala, light rays from the heart [of the deity] render the incense and so forth devoid of intrinsic nature. Then, the maṇḍala of the deity should be generated. Specifically, one should visualize the source of phenomena (dharmodaya) in the center of the protection wheel atop a vajra rock arising from the syllable BAṂ. In its center, upon a lotus and sun disk, the maṇḍala of the deity is generated in its entirety from the syllable HŪṂ. Furthermore, one should generate the ḍākinīs in their complete form: yellowish-red in color, with one face, two arms, and three eyes, possessing a wrathful frown, and holding a curved knife and a skull-cup in their hands. Then, the natural maṇḍala and so forth are absorbed.
In the heart of the principal deity of the maṇḍala, in the center of a moon and sun disk generated from the vowels and consonants, is a lotus vessel formed from the syllable A. In its center, from the syllable HŪṂ, is the nature of incense, consisting of five-colored light rays. In its center, the heart mantra HŪṂ should be made clear. Then, one should visualize it surrounded by the inner heart mantra and the mantra for the incense preparation. Then, from the hearts of oneself and the ḍākinī, the inner heart mantra and the incense preparation mantra are emanated as the nature of five-colored light rays; one should visualize them emanating into the heart of the principal deity and dissolving there. In this way, one should perform the approach practice until signs such as sounds, smells, and lights appear.
When the approach retreat is complete, the principal deity and the ḍākinīs should be transformed into the nature of incense. "In front" means in front of the attendants. "For five days" means that the practice is accomplished by burning incense. The offerings, torma, and so forth during the three times are easy to understand. "That yogi will possess all aims" means that they will attain the common and supreme accomplishments. "He spoke" means that the compiler summarized the meaning of the deity and explained it to the retinue. "The chapter on the deity" refers to the chapter on the ritual for generating the deity. This is the third chapter, the explanation of the deity chapter.
Then, in order to perform the approach retreat for the generation of the deity, to empower the deity, to ripen the practitioner, and to make the support for the approach retreat exceptional, a request was made. "That glorious Black One" refers to the retinue, including the principal figures and so forth. "Requested the Blessed One" means they requested the Vajra Holder. "The meaning of the tantra" refers to the meaning of the tantra being the approach retreat and the application of activities. "The distinction of the ritual" means the distinction of the maṇḍala. "He spoke" is a brief presentation and is easy to understand.
Then, as for "another," one should begin to draw the maṇḍala. Furthermore: "The ācārya who possesses the characteristics, having first completed the approach retreat and obtained the signs of the deity, attains the accomplishments of yoga."
In order to ripen the disciples, one should examine the authentic disciple: stable, disciplined, and endowed with intelligence, a hero complete in all characteristics, desiring the accomplishments of mantra and steadfast, respectful toward the guru and compassionate toward sentient beings. Having reflected upon such a protector, one should fully accept the disciple. For the sake of entering the maṇḍala, the guru should have such a disciple offer a maṇḍala together with amṛta, with palms joined and holding flowers. Then, the supplication should be made:
"O you who are the nature of great wisdom, the principal teacher Hevajra, grant me the samaya of the hero of the vajra body, speech, and mind. Glorious Mahākāla, bestow upon me the great samaya. O Lord Mahākāla, through your mind and the activities of samaya, please allow me to enter the sublime maṇḍala."
Having supplicated in that way three times, the Vajrācārya should then take the disciple into his heart and cause them to emerge in the form of the deity from the syllable HŪṂ. Having protected the three places, he should give the recitation of the ten syllables. Then, the Vajrācārya, having performed the ritual of self-consecration and in order to purify the disciple's obscurations, should draw the maṇḍala and perform the approach retreat as it appears below. Once the ācārya’s approach retreat is complete, he should begin to draw the maṇḍala. Furthermore, the "black-colored charnel ground" refers to a fierce location such as a charnel ground where non-human beings gather, and is thus black.
Furthermore, these are the locations previously taught, such as charnel grounds and solitary trees. As for the "empty house," it refers to a site where a maṇḍala has been previously drawn. In those locations, one should commence the maṇḍala. In the midst of a ground that is extremely rugged and terrifying, one should sprinkle it with the five amṛtas and scatter uśīra flowers. In its center, the yogin should generate himself as described below. Having prepared the offerings, the torma, and the feast, one should expel the vighnas with light rays from one's own heart, which then become a fence, a net, and a pavilion of curved knives. With the hook-like light rays of the heart, one summons the goddess who dwells in the earth and places her properly in front. She is golden in color, adorned with the ornaments of a youth, and holds a vase in her hand. To her, one should present the offerings and the torma. Having scattered loose flowers, one should make the requested supplication:
"O Goddess, you have mastery over the stages and the pāramitās,
Through the conduct and the specific qualities of all the Buddhas, the Protectors.
Just as the glorious Mahākāla conquered the classes of yakṣas, Māras, and so forth,
Likewise, in order to be victorious over the Māras, I shall draw the maṇḍala."
Having made this supplication three times, the goddess of the earth, with a joyful countenance, grants permission and dissolves into the earth. Then, the Lord of Yogins blesses the karmavajra. Regarding the phrase "the yogin, appearing in human form, having bathed": he should be handsome, free of conceptual distraction, and possess the disciplined conduct of a heroic mind.
One should perform the blessing in this manner: having applied drops of the five nectars (amṛta) to the five places, and having placed [the object] upon a maṇḍala of nectar, one should establish its lack of inherent existence through light. Then, having generated the Yoginī from the syllable HŪṂ, one should clearly visualize the syllable HŪṂ upon sun maṇḍalas at the five places. Regarding the phrase "blessed by all the Yoginīs," one should clearly summon before oneself the Samaya and Karma Ḍākinīs, the terrifying and the terrifying ones, and having presented offerings and the torma (bali), one should dissolve them into the five places in their proper sequence. Then, having conferred the empowerment and performed the sealing, one should offer the offerings and torma with the root mantra. One should clearly dissolve the heart mantra (hṛdaya) together with the mantra arising from one's own heart into the five places. The mantra begins with OṂ and ends with HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ.
Then, as for the phrase "the Karma Vajra," having requested earth and water, and having mixed them with the earth of that site, one should purify the defects of the earth with nectar-water and the mantra. The mantra begins with OṂ and ends with HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. Then, as for the construction of the maṇḍala: the square maṇḍala base should be leveled and firmly compacted. One should thoroughly smear the maṇḍala with the five products of a cow (pañcagavya). Then, the Lord of Yogins, having sat properly in the center of the maṇḍala, should complete the deity yoga. Then, from the light rays of the heart, one should emanate many black emanations.
All have one face and two arms, with black complexions and terrifying forms. Holding hammers and ritual daggers (kīla), they emanate extensively throughout the ten directions. One should imagine that they expel the obstructing spirits (vighna) from that place.
Then, the Lord of Yogins (yogeśvara), holding a curved knife (kartṛkā) and a skull-cup (kapāla), is beautifully embraced by the supreme consorts. As the Lord of Yogins, I shall, for the sake of protecting the Buddha's teachings, construct the sublime maṇḍala of the glorious Mahākāla, who arises from the body, speech, and mind of the Lord Hevajra, upon this excellent ground that is stainless like the sky.
O gods, nāgas, yakṣas, gandharvas, asuras, garuḍas, kinnaras, mahoragas, and so forth—O lords of these beings, depart quickly! Reciting the root mantra and so forth, one expels them. The wrathful deities emanated above strike the obstructing spirits dwelling on that ground with ritual daggers and hammer them with hammers. In this way, the obstructing spirits are thoroughly expelled. The wrathful deities then perfectly melt into light and become a canopy and a lattice of curved knives. Once the protection wheel is complete, one then abides in the center of the maṇḍala and visualizes the circle of deities.
In front, from the syllable HŪṂ, arises a goddess with one face and two arms, three eyes, and endowed with the five mudrās. She holds a curved knife and a skull-cup. To her, one should present offerings and torma. Then, one should make the supplication, reciting the words of natural purity, and [address] the Lord Vajradhara and the glorious Mahākāla.
"I shall construct the sublime maṇḍala; O goddess, you are brought under my power. Please grant your blessings so that the vajra of body, speech, and mind may be consecrated." Then, the goddess melts into light and is visualized as the source of phenomena (dharmodaya) itself. In order to generate the wheel of deities that will occupy the ground of the maṇḍala, one should first perform the preliminary preparations. Upon the excellent maṇḍala, one should apply drops of the five nectars (amṛta); the central drop should be made extensive, and drops should be applied for all the deities, such as the ḍākinī of the heart and so forth. Then, having scattered loose flowers, one should generate the principal deity through the five rituals and the retinue through the three rituals. One should generate them with all characteristics complete, as described below in the maṇḍala. Then, with light rays from the heart and the application of the four mudrās, the wisdom maṇḍala is invited and absorbed. Having invited the Sugatas and conferred the empowerment, one should seal each of their crowns. Then, from the yogin’s heart, the outer heart mantra is emanated and dissolves into the hearts of the respective deities. Then, the offerings and the torma should be extensively presented to all. From the heart, the samaya mantra should be used to pervade all. Then, with the inner heart mantra, one should perform a brief recitation. Then, the supplication is made: "You, the nature of great wisdom, the principal teacher Hevajra, the sovereign of the great maṇḍala, glorious Mahākāla..."
The eight ḍākinīs at the heart,
The vidyā goddesses endowed with miraculous power
Who abide in the three samayas,
The karmic ḍākinīs and the rest—
All you who are the very nature of the maṇḍala,
Please turn your attention toward me without exception.
I, the vajra-holder named [so-and-so],
For the sake of making offerings to you
And for the purpose of maturing the disciples,
Please grant your blessings upon the entire assembly,
Including myself and the disciples, within the maṇḍala.
Then, one should perform the gaṇacakra.
Having thus placed all the deities in the state of preparation,
In order to perform the empowerment and consecration,
One should carry out the ritual of the vase.
Having prepared the amṛta maṇḍala
And made the deity yoga clear,
One should fumigate the vase of the glorious Mahākāla
With incense,
Place it upon a tube of human hair,
And purify it with light from the heart.
The vase arising from the syllable BAṂ
Is white, without black,
With a large belly and a high neck,
With a hanging lip and no stand.
Having consecrated it with the root mantra,
One should place the ritual substances inside.
In the center, a curved knife and a skull-cup
Should be drawn with charnel ground ink.
Medicines, grains, jewels,
The five nectars, and so forth, should be poured in.
The neck is bound with a cloth from a charnel ground,
And the mouth-ornament is made of Aḍakavatī hair.
Thus, the generation of the vase
Is explained as being either equal in number to the deities
Or at least ten;
Two are explained as the accomplishment vases.
When the vases are thus completed,
For each such vase, one should...
One should arrange the offerings and the torma. Then, the yogin himself should generate the complete maṇḍala of deities. Then, within the vases, one should generate the maṇḍala of deities. As for the vases corresponding to the number of deities, one should generate one deity in each vase. Then, in the collective vase, one should generate the entire maṇḍala of the principal deity and the retinue in their entirety. Upon a rock arising from the syllable khaṃ, on a lotus and sun disk, one should visualize the deities born from the syllable hūṃ, with their hands, hand-symbols, and body colors, exactly as they appear below. Then, with light rays from the heart, one invites the natural maṇḍala and dissolves it through the application of the four mudrās. After inviting the Sugatas and conferring the empowerment, one should visualize them being crowned by Akṣobhya. Then, with the outer heart mantra, one should cause them to dissolve into each of their respective hearts. Having performed the offerings and the torma, one should then perform the samaya ritual. Then, with the inner heart mantra, one should perform the approach recitation of a thousand [times] at the hearts of all the deities within the vases. In that way, for all the vases, one should place them in that very place of preparation, screened by a curtain. Then, to the east of the maṇḍala, one should begin the preparation for the supreme disciple as previously explained. Then, the Vajra Ācārya should complete the maṇḍala of deities. Having summoned the disciple before him, that disciple should offer a maṇḍala in the presence of the Guru. Then, one should make this supplication: "I take refuge in you, the Great Hero, who has arisen from the wisdom of the expanse of reality (dharmadhātu)."
Vajra body, speech, and mind,
Of the glorious Mahākāla,
Arising from the bodhicitta,
Grant me the great samaya.
Glorious Mahākāla,
The eight Vajra-minds,
The ḍākinīs who protect the samaya,
And the embodiments of perfected activity—
Into that sublime secret palace,
Likewise, I pray, let me enter.
May all the deities therein
Bestow the secret samaya upon me.
Having offered the samaya fee,
One should thus make the request three times.
Then the Vajra Master
Should perform the sprinkling with the root mantra.
To uplift the mind,
He should recite verses such as: "Come, child, from the Great Vehicle..." and so forth.
Furthermore, he should say:
"In the palace of the great charnel ground
Of the glorious Mahākāla,
You who subdue the hosts of yakṣas, māras, and rākṣasas,
Arising in the form of the Great Fierce One,
You who destroy all that is malevolent—
Child, apply your intelligence in this way!"
Therefore, for the sake of the supreme disciple
Taking up the vows,
Other rituals also occur.
Having performed the refuge and the generation of bodhicitta,
One should also take the vows with these words:
"In the maṇḍala of the glorious Hevajra
And Mahākāla,
I, who am called [name],
For the sake of protecting the precious teaching
Of all the Buddhas of the three times,
Shall destroy all malevolent beings without exception.
The precious, supreme bodhicitta..."
I shall generate the sublime [vows]. I shall attain the sublime [vows] possessed by those dwelling in the three times. I shall properly uphold the vows. For the sake of myself and others, I shall subdue all malevolent beings. For the sake of sentient beings, I shall guard the eight yogas. Having thus taken the vows, from the eastern direction of the great maṇḍala, having prepared a square maṇḍala with the five nectars of the cow, one should draw an eight-petaled lotus in the center. Then, perform the ritual of the tooth-stick. It should be twelve finger-widths in length, without being crooked, cracked, or eaten by insects. Having anointed it with nectar and fragrance, one should bind flowers to the three places. Having blessed it with the three syllables, give the tooth-stick to the disciple with the root mantra. Having placed the disciple upon the maṇḍala, facing the eastern direction and focusing the mind on the deities of the maṇḍala, they should recite the ten-syllable mantra and cast the tooth-stick straight. One should observe the signs of accomplishment from the tooth-stick and understand the other rituals of the maṇḍala. Then, having summoned the disciple to the front, one should consecrate their name with the root mantra and provide protection at the three places. Then, having poured nectar into a skull-cup before the disciple, give the disciple the sprinkling and drinking. OṂ HRĪḤ VIŚODHAYA SARVA PĀPAṂ CA SAṂŚODHAYA VIKALPANA APANAYA HŪṂ PHAṬ. Give this three times. Then, on a red thread, one should make three knots with the KA VA CA mantra.
Tie the protection cord to the right arm. Bestow three blades of kuśa grass consecrated with the root mantra. Then, in order to uplift the student’s mind, the Dharma should be well explained by means of the analogy of the udumbara flower. Then, the supreme student, preceded by the generation of the awakening mind, should be given the recitation of the ten-syllable mantra. Then, with a joyful mind, they should examine their dreams until the limits of space. Having thus performed the preliminary rites, the Vajra Master should present offerings and torma cakes to the maṇḍala that has been prepared. Regarding the statement "the lines are to be drawn with a thread of human hair": then the Vajra Master should begin the ritual of the lines. Having mixed cemetery cloth and hair with the yoginī who previously bestowed the blessing, the thread should be well spun. Dye it with cemetery pigments and, having placed it inside five skull-cups, arrange them in the center of the maṇḍala. Then the Vajra Master, seated upon a corpse-seat, should generate the complete circle of deities. Then, with light rays from the heart center, they strike the location of the thread; from the apprehension of it as being without intrinsic nature, one should visualize the five syllables arising from the vowels and consonants in the center of a moon and sun. Then, with light rays from the heart center, the Sugatas are invited and placed in the sky. Then, having made offerings, they should be dissolved into the thread as the nature of the five Sugatas. OṂ SAMAYA SŪTRA MĀTI KRAMA HŪṂ.
Possessing the inner heart mantra, one should emanate the mantra from the heart and dissolve it into the marking cord situated between the moon and sun. Then, the marking cord is twisted into one and placed in the center of the maṇḍala. From the complete transformation of the marking cord, one generates the glorious Mahākāla. The wisdom maṇḍala is invited and dissolved; the empowerment is conferred and the outer recitation is performed. One performs the offerings, the torma, and the samaya recitation. Then, regarding the inner heart mantra, one should perform one thousand recitations of the mantra wheel at the heart. Then, having melted into light, one should imagine it becoming the wisdom cord. Then, one should begin to lay the lines of the maṇḍala for oneself and the attendants. Then, by the invocation of the lines, the wisdom maṇḍala is invited and requested to remain in the sky. The invocation of the samaya is as follows: "In order to subdue all the classes of Māra without exception in all the world realms, for the sake of the Buddhas and so forth, and for the benefit of beings—this is your purpose." Then, the Brahma lines should be laid. On each side of the Brahma lines, one should measure with a firm piece of wood and lay twenty lines each. The archways should be understood according to the general conventions. Having laid the lines in that way, the maṇḍala invited into the sky is worshipped with offerings and dissolved into the lines. Then, the ritual of the colors should be commenced. Regarding the "charnel ground colors" for the charnel ground bricks and so forth, these are colors derived from the charnel ground. The charnel ground bricks are red, and yellow is made with realgar.
With green from the leaves of the thief, white from the bones of a hero, and black from the charcoal of a charnel ground. Alternatively, as for the specific pigments: having mixed the powder of a hero’s bones with the five nectars, change their color with external pigments. Then, having poured them into skull-cups, place them in sequence from the center of the maṇḍala. Then the yogin himself should complete the maṇḍala of the deities. Then, with light rays from the heart, make the pigments devoid of intrinsic nature. One should visualize the syllables Bhrūṃ and so forth in the center of the moon and sun arising from the vowels and consonants. Then, with light rays from the heart, invite the maṇḍala deities and place them in the sky. Having made offerings, dissolve them into the pigments. Then, with the inner heart mantra, dissolve them one hundred times each. Having dissolved them with light from the heart, they melt into light; one should imagine them becoming the sublime pigments. Then begin to draw the maṇḍala. Preceded by offerings and torma, and possessing the divine pride, one should draw the sublime maṇḍala. First, for the palace of the principal deity, draw a fire maṇḍala in the center. To make the circular perimeter, use a curved knife to form the wheel. Outside, make an eight-petaled lotus of various colors. Then, outside of that, having made four corners, draw eight petals of lotuses in the directions of the east and so forth. Make thirty-two circles; like the body colors of the lotus deities, then on the outer perimeter—
The seventy-two petals should be made into twenty-four recessed corners. On the perimeter of the recessed corners, draw fresh skulls. Then, the outer celestial palace is to be in accordance with the general maṇḍala. Then, on the outside, within the enclosure of the vajra and curved knives, the eight charnel grounds should be properly drawn. In the center of the eight charnel grounds, the bodies of Bhairava and the Bhairavīs should be properly drawn. The white skull and black curved knife are the hand-symbols of all the deities, such as the central principal figure. On all the petals of the lotus within the central palace and so forth, there is a corpse seat upon a sun disk; draw a curved knife and skull at the heart.
Once the maṇḍala has been drawn in that way, all the vases that have been prepared should be invited and arranged in their places within the maṇḍala. Then, the offerings and torma cakes should be assembled in a number equal to the deities. Then, the yogin himself should engage in the accomplishment of the maṇḍala. Regarding the phrase "having become endowed with concentration": to the east of the maṇḍala, the Vajra Ācārya should smear his body with the five nectars, sit upon a corpse seat, and generate the complete wheel of deities. Then, with light rays from the heart, the maṇḍala in front should be purified. Then, in the sky in front, upon a sun disk born from RAṂ, is the syllable HŪṂ. From HŪṂ, the ten great black wrathful deities are clearly emanated; having emanated them, they destroy the obstructors of the ten directions. All the wrathful deities and obstructors...
Melting into light, it becomes the vajra fence, the pavilion, and the ground. From the hūṃ in the center, light rays radiate forth into the interior of the maṇḍala, becoming a fence of curved knives and a canopy. In the center, from the form of the syllable e, one should visualize the source of phenomena (dharmodaya). In its center, from yaṃ, arises the blue wind maṇḍala, bow-shaped and marked with banners. Above that, from raṃ, arises the red, triangular fire maṇḍala, marked with the syllable repha. Above that, from baṃ, arises the white, circular water maṇḍala, marked with a vase. Above that, from laṃ, arises the yellow, square earth maṇḍala, marked with a vajra. Above that, from bhrūṃ, arises a wheel, marked with bhrūṃ upon the wheel. From the complete transformation of these, the celestial palace of the deity is perfected: square with four doors, adorned with four archways, complete with lattices and half-lattices, perfectly adorned with eight pillars, and further embellished with the ornaments of the charnel grounds. In the central direction of the maṇḍala, a terrifying fire maṇḍala blazes. Simultaneously with the celestial palace, outside the fire maṇḍala, the lotus seats are fully generated. Thus, having perfected the celestial palace, one generates Mahākāla and the hosts of ḍākinīs. Regarding the phrase "in the celestial palace of the maṇḍala, the wheel of deities is to be generated": in the center of the fire maṇḍala, upon a multicolored lotus, is a sun maṇḍala, and upon that, the corpse seat itself. Then, the seats for all the deities are generated in the same manner.
Then, at the heart of the corpse, one should visualize a moon arising from the āli, which is the nature of the mirror-like wisdom (ādarśa-jñāna). Above that is a sun maṇḍala arising from the kāli, which is the wisdom of equality (samatā-jñāna). In the center of that is a curved knife (kartṛ) with a handle marked by the syllable hūṃ, which is the nature of the wisdom of individual discernment (pratyavekṣaṇā-jñāna). The unification of all these is the wisdom of all-accomplishing action (kṛtyānuṣṭhāna-jñāna). The perfection of the reflected image is the dharmadhātu.
With one face and two arms, holding a curved knife and a skull-cup in his hands, he has the appearance of one who is greatly terrifying. He is the color of a rain cloud, with three blazing eyes. Once the principal deity is thus perfected, one should generate the attendants at his heart. This is the perfection through the three rituals. Then, generate the ḍākinīs. The seats of the ḍākinīs are corpses upon sun disks at the heart, born from the syllable hūṃ. All of them have one face and two arms, and their body colors are as described above. They hold the hand-symbols of a curved knife and a skull-cup, with three eyes and a terrifying appearance.
Emanated from the Vajra of Mind, upon the seats of the ḍākinīs, they trample the eight outer goddesses: Gaurī, Caurī, Vetālī, and Ghasmarī, along with the four goddesses such as Caṇḍākṣī. These are the seats of Gaurī and the others. Brahmā, Indra, Upendra, and Rudra, along with the four such as Caṇḍikā, are the seats in the intermediate directions such as the northeast. Pukkasī and the others are the seats. The samaya-ḍākinīs and so forth stand in a posture of one leg extended and one drawn in upon the corpses. All the karma-ḍākinīs are in the twenty-four places such as Pullīramalaya; there are seventy-two ḍākinīs.
All are generated in terrifying forms. In the charnel grounds of the fierce and wrathful and so forth, the eight great yakṣas, such as Kṛṣṇa and Raudra, are also all one-faced and two-armed, standing in a dancing posture upon corpses.
In the eastern direction is Kṛṣṇa Raudra, black in color and extremely terrifying, holding a sword, a skull-cup, and a hook. In the southern direction is Vajracaṇḍa, yellow in color and blazing like fire, holding a curved knife, a skull-cup, and a noose. In the western direction is Vajravetāla, red in color and most terrifying, holding a curved knife, a skull-cup, and an iron chain. In the northern direction is Vajrakāla, blue in color and frowning, holding a curved knife, a skull-cup, and drinking blood.
The lord of the northeast is black like the color of antimony, holding a trident and a radish in his hands. In the southeast is the yakṣa Ruru, white in color and frowning, brandishing a vajra and a skull-cup filled with blood. In the southwestern charnel ground dwells the supreme yakṣa Naṭarāja, dark brown in color and of terrifying form, holding a battle-axe and a skull-cup. In the northwestern charnel ground dwells the one with iron moles, black in color and extremely terrifying, holding a curved knife and a skull-cup. Furthermore, in the eastern direction and so forth, are the terrifying goddesses such as Kākāsyā, black, yellow, red, and blue; thus, they are of terrifying forms and colors, holding curved knives and skull-cups in their hands. In the northeastern charnel ground and so forth, are the messengers of Yama and the others.
The wrathful goddesses, possessing various colors, hold curved knives and skull-cups in their hands. Furthermore, within those charnel grounds, one should visualize the trees, the directional protectors, the nāgas, and the lords of the clouds. Śirīṣa, Cūta, Kakola, and Aśvattha are situated in order in the east and so forth. Jvalanārka, Gṛdhra, Baka, and Lāṭikarṇi reside in the intermediate directions, such as the northeast. Indra, Yama, the lord of the nāgas, and Varuṇa reside in the directions, such as the east. Īśāna, Agni, the lord of the rākṣasas, and the black nāga reside in the intermediate directions, such as the northeast. Vāsuki, Padma, Karkoṭaka, and Takṣaka reside in order in the east and so forth. Mahāpadma, Hulunta, Kulika, and Śaṅkhapāla reside in the intermediate directions, such as the northeast. The sounds are the Fierce, the Whirling, the Seventh, and the Dull, residing in order in the east and so forth. The Massed, the Full, the Falling, and the Fierce reside in the intermediate directions, such as the northeast. All those bhūtas are of terrifying form, holding curved knives and skull-cups in their hands. Furthermore, in those charnel grounds, there are vetālas of terrifying form and a gathering of many bhūtas, as jackals howl their cries. Having thus generated all the charnel grounds in their entirety through the ritual, the phrase "dissolving the maṇḍala arisen from space" means that what arises from space is the dharmakāya.
The maṇḍala is explained as the complete enjoyment body; through the emanation of absorption, the benefit of beings is performed. Now, the procedure is as follows: with light rays from the heart of the principal deity, possessing the four mudrās, the maṇḍala is summoned and made to rejoice. Then, the empowerment and sealing of the Sugatas as they appear in the tantra should be performed. Regarding the offerings and the torma: having prepared the offerings and the torma with all appropriate substances, they should be presented to all the deities of the maṇḍala with the root mantra. Regarding the special offerings: having performed the ritual, one should make offerings of special incense to the laḍḍu. Then, the Vajra Master should play the hand-drum and offer praise to all the deities of the maṇḍala:
HŪṂ! From the state of non-dual emptiness, the expanse of reality (dharmadhātu), you do not abandon the manner of subduing the world’s malevolent ones. Through skillful means, you manifest in a black form; homage and praise to the blazing black body! Short and charming, with a complexion like a cloud, your physical appearance is that of a devouring, wrathful stride. You hold weapons in your hands to subdue the malevolent; homage and praise to you adorned with the eight nāgas as ornaments! Especially, you exercise the power of the wisdom of play; with the roar of your speech, like the thundering of a thousand dragons, you bring all without exception under your control; homage and praise! You emanate various forms of the malevolent; assuming the form of a rākṣasa, your fierce body is unbearable; homage and praise to the terrifying black body! You utterly destroy all afflictions without exception...
Homage and praise to you, from whose mouth the blood of fierce yakṣas drips, and who bares your terrifying fangs. Homage and praise to you, the hero, who stands in a posture of extended and contracted legs upon a corpse seat, your body ablaze with the fire-mass of the wisdom of the aeon, wearing a tiger-skin loincloth. Homage and praise to you, whose tawny-brown hair swirls upward, adorned with a crown of skulls, who perfects the qualities of mantra, and who sits upon a fierce seat, decorated with a mass of black snakes. Homage and praise to you, who with three blazing sun and moon eyes and a wrathful gaze, subjugate the three realms without exception, and incinerate the hosts of obstructors. Homage and praise to you, the Great Fierce One, blazing with majesty like the fire at the end of an aeon, who holds a curved knife that cuts through ignorance and the like, the Black One of blazing majesty. Homage and praise to you, who holds the blood of asuras in a divine skull-cup, stirring and drinking it incessantly to subdue the wicked, and who bestows the accomplishments of secret mantra. Homage and praise to you, the Lord of the Charnel Ground, enthroned and surrounded by the mamos, the glorious Black One of intensely blazing body, who has generated the resolve to protect the teachings. Homage and praise to you, the general of the gods, blessed by all the Victorious Ones of the three times to protect the teachings. Homage and praise to you, the Great Black One arisen from the three secrets, the sovereign of ḍākinīs who travels through the sky, the Lord of the Gaṇas. Homage and praise to you, the Great Black One who destroys the wickedness of the three realms of existence, who razes the triple-layered city, and is surrounded by the hosts of mamos. Homage and praise to you.
Although your own nature is free from attachment, you manifest wrath and act with anger in order to subdue the malevolent. To you, Kṛṣṇa Caṇḍa, I prostrate and offer praise.
Adorned by the outer goddesses such as Brahmanī and the white goddesses, you emanate your own body as their antidote. Bearing various forms, your body is one of great terror. Holding a curved knife and a skull-cup, you are the fierce one. To you, the Vajra of Mind, I prostrate and offer praise.
You uphold the identity of the great samaya that arises from body, speech, and mind. The thirty-two ḍākinīs, such as the Killers and others, do not forsake the samaya of the Lord; you, the fierce one who destroys all malevolent forces without exception, I prostrate and offer praise.
The palace dwelling in the secret place consists of twenty-two identities. In those secret locations such as Pullīramalaya and others, all who perfectly accomplish the activities are the mistresses of action. To the seventy-two ḍākinīs, such as the Blood-Drinkers and others, who all possess terrifying forms and swiftly accomplish all activities, I prostrate and offer praise.
To the eight yakṣas, such as Kṛṣṇa Caṇḍa and others, who dwell in the great charnel grounds and abide in forms of great terror, you who liberate all wandering beings without exception, I prostrate and offer praise.
To the hosts of terrifying goddesses, such as the Crow-Faced and others, who roam the charnel grounds at night and are the masters of various emanations—you who seize the life-force of wandering beings and assume terrifying forms, I prostrate and offer praise.
To all those who have become the assembly of the retinue, I prostrate and offer praise.
I praise you, who never forsake the cakra of the principal deity and abide in the great samaya. In the palaces of the eight great charnel grounds, you are surrounded by the twenty-four fierce hosts; to you, Kṛṣṇa, the fierce one who circumambulates the charnel ground abodes of the three times, I prostrate and praise. To you, the dancer who dwells in the cakra of space and subdues all malevolent beings without exception—those who revile the Vajra Master and destroy the teachings of the Mahāyāna—I prostrate and praise. To you, the terrifying one who carves flesh and drinks blood, who perfects the secret mantra of the natural state, I prostrate and praise. To you, the glorious protector of the circle, the great lord at the peak of Mount Meru who crushes the armies of the asuras, I prostrate. To you, the fierce one who bears a wrathful body, eats great flesh, and is adorned with a garland of skulls and mantra strings, I prostrate. O glorious Mahākāla, please protect my teachings!
Having praised him in this way, one should perform the samaya recitation at the heart of each deity. Then, with the inner heart mantra, one should perform the recitation of one hundred thousand at the heart of all the deities. Through this, the signs will be attained; from the phrase "at the three times" up to "seeing the face" is easy to understand. In this way, once the Vajra Master has completed the recitation in the maṇḍala, he should begin the initiation of the disciples. The most excellent of disciples, standing outside the curtain, should hold flowers in both hands and offer a maṇḍala before the Guru.
You, the very nature of the great vajra,
Arisen from the body, speech, and mind,
Glorious Mahākāla,
Into the palace of the secret maṇḍala,
Please likewise allow me to enter.
Then the vajra master
Should perform the sprinkling with the root mantra.
Having covered the face with a cloth from a charnel ground,
The disciple should be led before [the maṇḍala].
After the disciple has offered the supreme gift,
The disciple should praise the deities of the maṇḍala
With the praise spoken above.
Then the vajra master,
Through the ritual of taking the vows,
Should say: "This is the samaya-cakra
Of all the Buddhas.
Generate the resolve to protect the teachings
Of all the Sugatas of the three times."
The disciple should then make this supplication:
"O glorious Mahākāla,
Arising from body, speech, and mind,
Lord of the maṇḍala-cakra of ḍākinīs,
Please likewise descend into me."
Then, with light rays from the heart,
The maṇḍala-cakra of Mahākāla and the others
Is invited and should be made to enter the disciple’s heart.
OṂ ŚRĪ MAHĀKĀLA GAṆACAKRA ĀVĪŚAYA TOBHAYA RĀ RĀ RĀ RĀ BALAYA CITĀYA HŪṂ HA Ā JHAI.
The disciple, with a frowning face,
Recites the fierce mantra
And performs the dance of yogic conduct.
OṂ GĀ GĀ MA TE TE VAJRA. [This] should be stabilized.
The disciple, standing in the east,
Is then led in by the master.
Into the glorious Mahākāla
And the entire maṇḍala-cakra,
Into the great secret palace, I shall lead the disciple. The disciple shall scatter the flower of awareness in the center of the maṇḍala with: OṂ MAHĀKĀLĀYA PRATĪCCHA VAJRA HOḤ. Then, having removed the blindfold, one should show the sublime maṇḍala with the following: "Behold this excellent maṇḍala of the glorious Mahākāla and the retinue of the eight Vajras of the Mind, the thirty-two born of the samaya, and the seventy-two of the Action [family]—the retinue of the eight cakras of the Mind." Then, the master, the lord, having clearly visualized the circle of deities, should expel obstructing spirits with the action vase and confer the empowerment with the principal vase: OṂ MAHĀKĀLĀYA ĀDARŚAJÑĀNA ABHIṢIÑCA HŪṂ HŪṂ. Upon the crown produced from the skull-bone, one should generate the Lord of Jewels. At the heart is Mahākāla, having performed all the armor of the limbs; one should bestow the empowerment upon the crown: OṂ MAHĀKĀLĀYA SAMANTAJÑĀNA ABHIṢIÑCA TRĀṂ. Having generated Vajra Amitābha, Mahākāla should be correctly placed at the heart. Then, the bestowing of the empowerment is: OṂ MAHĀKĀLĀYA PRATYAVEKṢAṆAJÑĀNA ABHIṢIÑCA ĀṂ. Having generated the bell as Amoghasiddhi, one should contemplate the Lord of the Family at the heart. Having performed all the rituals of the limbs, one should then bestow the empowerment.
Oṃ mahākālāya kṛtānuṣṭhānābhiṣiñca khaṃ. Then, the deity of oneself should confer this name initiation. Having gathered the collection of substances such as the vase and so forth: Oṃ mahākālāya dharmadhātu-jñānābhiṣiñca śro nama abhiṣekata oṃ. The name initiation of the glorious and vajra Ananta should be conferred. Then, the supreme disciple should offer the supreme gift and make the supplication: "O Vajra Body arisen from space, please likewise bestow it upon me. To the glorious Mahākāla and the heroes and ḍākinīs, please grant me the vajra initiation of body, speech, and mind. In order to liberate all malevolent beings without exception and to protect the teachings of the Sugatas, I shall always act as the ācārya." Then, one should clearly visualize the syllable HŪṂ at the disciple's heart. Then, through the light rays from the heart, having exhorted [the deity], one generates the form of Kṛṣṇa and visualizes the attendant at the disciple's heart. Then, the wisdom being (jñānasattva) is absorbed through the application of the four mudrās. Then, the initiation of the vase and so forth should be bestowed. Then, the curved knife and skull-cup are given. This is the nature of blazing wisdom, the supreme that cuts through all afflictions without exception. The kapāla from which the blood of Māra flows is given as the sign of the hero. The glorious Mahākāla bestows the six mudrās, such as the crown and so forth, as the signs of the body. The book written with ink from the charnel ground is given as the sign of speech.
One should bestow the conch and the bow and arrow. Then, the Vajra Master, having emanated from the hūṃ at his heart, should emanate the root heart mantra and the inner heart mantra, and dissolve them into the disciple’s heart. One should dissolve each mantra a thousand times. Then, one should bestow the five meats and five nectars according to the samaya ritual. Then, having stabilized the blazing concentration with the vajra tip, one should grant the authorization:
"Always cultivate the wheel of the body, speech, and mind of the glorious Mahākāla. May all accomplishments be manifest to you. Exert yourself in the secret mantra. Practice all the samayas. For the sake of subduing the wicked, accomplish the collection of activities such as slaying. Then, in the eastern direction of the maṇḍala, sitting upon a corpse seat and holding a curved knife and a skull cup, facing toward the east and so forth, [the master] should grant the prophecy with the disciple’s name:
'I, [name], prophesy you as belonging to the Vajra family and all the Tathāgatas. Thus, I prophesy you. For the sake of first accomplishing the supreme [state] of the glorious Mahākāla and all the ḍākinīs of the wheel, I prophesy you with one voice: Oṃ śrī mahākāla namaḥ sarva tathāgata siddhi samaya stvaṃ bhūr bhuvaḥ svaḥ.'
When the prophecy is thus completed, one should uplift the mind."
You, the glorious Mahākāla, are the lord of the maṇḍala. All the ḍākinīs who abide within the three cakras perform the activities commanded by you. Activities such as killing and so forth will be accomplished without obstruction merely by beginning them. Thus, when the ritual is complete, the meaning of the tantra shall be explained. The specific distinctions of this ritual have not appeared before, nor will they appear; this is to be adopted by the sublime. Regarding the phrase "having spoken thus," it is for the purpose of explaining the summarized meaning of the maṇḍala. Then, from the words "furthermore" up to "spoke," it is easy to understand that one should accomplish [the practice] based on the maṇḍala. Regarding the phrase "draw the maṇḍala on the ground," it refers to the maṇḍala previously taught, which is to be prepared for the sake of accomplishment. Regarding the phrase "having cremated the corpse," one should perform the empowerment. Thus: having gone to a charnel ground, having prepared a maṇḍala with nectar, and having placed the cremated corpse upon it, one completes the circle of deities. By intensely radiating light rays from the heart, one invites the glorious Mahākāla and dissolves him [into the corpse]. Having performed the auxiliary rituals, one should present offerings and the torma. Then, with the inner heart mantra, one should perform one thousand recitations of the approach. There, having well-fashioned an image one span in height, one should perform the consecration. Regarding the phrase "with earth from a pit and the bones of a slain person," this refers to a clay statue, and the ritual is the same as the one above.
Regarding the phrase "the charnel ground locations," this refers to the eight great sacred sites previously explained. From "concentration" up to "should abide" is the brief thematic summary, which is easy to understand. "Accomplishment" refers to obtaining the signs of successful consecration. "He spoke" is the concluding phrase of the summary. "Lord of Yogins" refers to one who has received empowerment into the maṇḍala of Mahākāla and obtained the signs of the approach practice. "When concentration and mantra are combined" means one should perform the approach for the consecration. "Becoming endowed with non-dual power" means for the sake of obtaining the signs of the approach. From "Mahākāla requested" up to "the consecration of the kīla" is a concise request concerning the consecration of the body and so forth. "The Blessed One spoke" means the Blessed One [entered] the absorption of great primordial wisdom (jñāna). "Then to another" refers to the detailed explanation of the consecration. "First" means the completion of the approach, immediately thereafter. "Charnel ground" refers to the southern charnel ground. "Possessing pride" means having fully generated the deity’s cakra in the center of the charnel ground, shaking the hand-drum (ḍamaru) and shouting "Ha Ha." "The hero of black color" refers to one killed by a trident or a sword, or alternatively, one impaled on a stake. "One should rouse with concentration and mantra" means: "In the center of the great charnel ground, with the five nectars of the cow..."
Having made the maṇḍala square, one should arrange heaps of flowers of the upakṣepa variety according to the number of deities. Upon that, one should place the corpse. Then, the yogin himself should complete the maṇḍala of the deities. Then, by means of light rays from the heart, the light rays strike the corpse in front, which melts into light and becomes the maṇḍala. Then, within that very maṇḍala, one should generate the samaya-maṇḍala. Then, by means of light rays from the heart, one invites the wisdom-maṇḍala and dissolves it through the application of the four mudrās. One should perform the empowerment and sealing of the Sugatas. Then, with the external syllables, one should pervade the respective hearts. One should present the offerings, the torma, and so forth, with the root mantra. Then, one should perform the samaya ritual. As for the recitation of the inner heart mantra, it should be performed one thousand times. Then, one should imagine that all the deities individually melt into light and become the syllable mūṃ. Then, holding a curved knife in hand, one should take up the cemetery cloth. The instruction to "place it inside a skull" is easy to understand. Regarding the phrase "endowed with the generation stage": through the completion of the ritual sequence of a hero who is free from conceptualization and possesses one-pointed, great diligence, one should complete the generation stage. Then, just as the pigments are blessed in the maṇḍala ritual, one should prepare the pigments. "One should draw the glorious Mahākāla" means: in the center of a great cemetery, one should draw the maṇḍala wheel.
Alternatively, one should draw the single ornament. The phrase "Then," and so forth, refers to the performance of the approach retreat, which is easy to understand. "First" refers to the first stage of the site. Regarding the maṇḍala, it is for the purpose of drawing the maṇḍala; as previously explained, one should draw that maṇḍala with colored powders or arrange it with heaps of flowers. Then, "endowed with the generation stage" means that within that very maṇḍala, one should fully generate the wheel of deities through the three rituals and complete the ritual of the branches. Then, in that very place, one should perform the ritual for the preliminary preparation of the vase as previously explained. "The frontal painting" refers to the preliminary preparation of the painting; this is also easy to understand, beginning with the syllable Bāṃ melting into light. "One should contemplate" means that from the lack of intrinsic nature of that painting, the body is established through the three rituals. Then, from the heart of the principal deity, the outer heart mantra is emanated one thousand times and dissolved into the heart. Then, exhorted by the light rays from the heart, it melts into light and should be placed in the preliminary preparation as the nature of speech and mind. On the second day, one should perform the consecration for that which is in the preliminary preparation. Furthermore, one should clearly generate the maṇḍala for the purpose of conferring empowerment as previously explained, and fully generate oneself as the deity yoga. Because the samaya is exhorted by the light rays from the heart, it is called "emanation and absorption." The phrase "the venerable Mahākāla arises," and so forth, is easy to understand.
Then, the "seed syllable in the heart" is HŪṂ. "Light rays" refers to the manner of a vajra hook. Having emanated them, those who are summoned are the tathāgatas, as well as the tathāgatas, the goddesses of awareness, the bodhisattvas, the kings of the wrathful ones, and so forth. Having summoned them, one should visualize them in the space in front. Then, one should present offerings, torma cakes, and so forth. Here, for the sake of deluding ordinary beings, the entry into the maṇḍala is avoided for the time being. However, those who are far-seeing should understand it as follows: first, abiding in the vows by means of the outer heart mantra and the samaya mantra, one emanates the "light rays from the heart" in the shape of a precious probe. Then, the eyes of Mahākāla are opened. Having uttered the words on the nature of existence: "This is the pure expanse of reality (dharmadhātu); in order to liberate the realm of sentient beings, having entered the great maṇḍala, look with eyes of compassionate attachment that destroy the darkness of ignorance." Then, having fully removed the curtain, the eyes are opened with the mantra beginning with OṂ and ending with ĀTMAKO ’HAṂ. Then, as for the entry into the maṇḍala, having gathered the manner of the light rays from the heart, one should enter the heart of the principal deity. One becomes non-dual with HŪṂ. Then, having brought forth Mahākāla arisen from HŪṂ, one should place him in the aforementioned position. Then, for the sake of bestowing the empowerment, one should visualize the conferral of the empowerment.
Then, having placed the vajra and bell mudrā of the Tathāgata upon the crown of Kṛṣṇa, all the vidyā goddesses, holding the vases that have been prepared for the preliminary stage, should bestow the empowerment upon the crown of the head. Then, the empowerments such as the crown and so forth, as previously explained, should also be conferred in their proper sequence. At all times during the empowerment, the bodhisattvas should also perform offerings without interruption. While reciting the words concerning the nature of existence, the empowerment should be conferred at all times with the mantra beginning with OṂ and ending with HŪṂ. Then, the sections beginning with "from one's own heart" and concerning the invitation and so forth are easy to understand. The invitation is performed with the mantra beginning with OṂ and ending with HŪṂ; the meaning of "to that" is easy to understand. "One should dissolve" means that one should recite the mantra beginning with OṂ and ending with HŪṂ one hundred times and then dissolve [the deities]. In that very place, one should also seal it with the maṇḍala of the empowerment. Regarding the phrase "light rays from the heart," this is for the purpose of performing the heart mantra recitation from the heart. Regarding "offerings and torma," this is for the sake of the special substances. Then, "offerings" refers to the time of offering. "Gathering wheel" (gaṇacakra) is so called because it is the cause for completing the two accumulations and because it abandons distorted conceptualizations. Furthermore, regarding the phrase "as a special offering," this refers to the five types of meat and so forth. Having prepared the gathered food, [the ritual proceeds].
Having made the aforementioned deity yogas extremely clear, one should then consecrate the amṛta and the food offerings as wisdom amṛta. Then, from the tongues of the entire circle of deities, one should visualize a vajra emerging from the syllable HŪṂ. Before partaking of the samaya food and drink, one should offer them with the lotus mudrā. Then, with the first portion of all the food, one should clearly worship the maṇḍala. Possessing the deity yoga, one should eat the food until satisfied. The leftovers should be given to the charnel grounds. Then, having praised them thoroughly with hymns, one should express the nature of existence through words. One should sing the vajra songs and repeatedly offer the amṛta through the deity yoga. Then, regarding the substances of the gaṇacakra, one should burn incense. Furthermore, one should worship with incense and poisonous sweets. The consecration and the completion of the service are described as "from the heart to the heart," which refers to the internal essence. The sequence of signs, such as "from the sky," is easy to understand. In order to make the consecration stable, it begins with OṂ and ends with HŪṂ. Furthermore, this stabilization is for the sake of the accomplishments (siddhi) drawing near and for swift attainment through a qualified support. "The consecration is attained" is what the Blessed One declared. This means that the compiler summarized the consecration of the body and explained it to the assembly of the retinue.
Furthermore, the phrase "Moreover" means that because the maṇḍala of the body also possesses the signs of the mind, one requests: "Please explain the consecration of the curved knife." The Blessed One replied: this means that the Blessed One entered the absorption of the wisdom of individual discernment. The section from "Summoning" up to "shall be explained" is a brief thematic summary and is easy to understand. "The iron of the powerful hero" refers to a weapon used in mutual combat to slay an opponent. "Twelve finger-widths" refers to the cutting edge. "Four finger-widths" refers to the position of the hook, which performs the function of summoning. "Hūṃ" is used because it is marked in the center of a solar maṇḍala.
Then, one should proceed to the consecration. Regarding the "maṇḍala of nectar," one should prepare a square area and place drops of nectar there in the number of the deities. "There, the maṇḍala of the deities is to be generated in its entirety through the three rituals." "Having performed all the preliminary branches of the ritual, one should then begin the ritual." Regarding "having smeared the curved knife with nectar," this means that the Hūṃ at the handle of the curved knife is surrounded by the inner essence mantra and then smeared with nectar. The "maṇḍala" should be placed before oneself. Here, the sequence is bestowed; "light rays" refers to the light rays arising from the Hūṃ. "To purify" means to render the curved knife non-referential. "Upon the lotus and sun" means arising from the syllables Paṃ and Raṃ.
Regarding the phrase "at the top," it means one should visualize the syllable HŪṂ. Regarding "place the curved knife," it means from the complete transformation of the HŪṂ. Regarding "having made it the nature of Mahākāla’s curved knife," the meaning is that one should invite the natural Mahākāla with light rays from the heart, perform the offerings and so forth, and then dissolve him into the curved knife. Regarding "from the HŪṂ on the handle," it means from the solar maṇḍala. Regarding "the mantra," it should be endowed with the inner heart mantra; "should be recited" means that within the heart of the principal deity, there is also a sun and a HŪṂ with the mantra and light. Furthermore, having emanated the mantra together with light rays, one performs one thousand recitations of the mantra of the curved knife, beginning with OṂ and ĀTMAKO ’HAṂ. The recitation is performed with: HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. Then, because it is the sign of the nature of the enlightened mind and is inseparable from Mahākāla, the "offering" is easy to understand. Regarding "furthermore," it refers to the wheel of the body becoming the sign of the enlightened speech; "furthermore" is used in order to engage in the consecration of the skull cup. Regarding "ĀLI," it is the thirty-second [vowel]. Regarding "KĀLI," it is drawn from the eighty [consonants]. Regarding "in the center," it is in the center of the moon and sun. Regarding "ĀLI and KĀLI," they are the outer and inner ornaments. Regarding "light rays from the heart," it is easy to understand. Regarding "should be dissolved," it means that having dissolved them, they become the nature of the skull cup.
Visualize that in the center of the skull-cup, upon a sun disk, the inner heart mantra is surrounded by [the syllables] arising from the letter A. Furthermore, it begins with Oṃ and ends with Hūṃ. Regarding the phrase "perform the recitation," it means that [the mantra] is emanated from the heart and dissolves into the substances within the skull-cup. Regarding the phrase "furthermore," in order to complete the enlightened activities through the qualities of the Body, Speech, and Mind, one should engage in the consecration of the kīla. Regarding the phrase "write the mantra," it means that [the objects] are rendered non-referential by the light rays from the heart. Regarding the phrase "place within the skull-cup," it means that one should place [the kīla] in the center of the source of phenomena (dharmodaya) in order to generate the deity’s body in the form of the kīla. The phrase "by the light rays from the heart" and so forth is easy to understand. Regarding the phrase "dissolve," it means becoming non-dual. Furthermore, one should dissolve [the deity] from the heart into the heart together with the inner heart mantra. Furthermore, it begins with Oṃ and ends with Ātmako ’haṃ. Regarding the phrase "the Blessed One spoke," it is the compiler who summarizes the consecration of the limbs and explains it to the retinue. Regarding the phrase "then," it is the request for the time of the consecration, which is easy to understand. Regarding the phrase "special time," one should perform the consecration at a place such as a field or a charnel ground where a gaṇacakra is being performed. The "common time" is easy to understand. Regarding the phrase "the Blessed One spoke," it is the definitive determination of the time and the explanation to the retinue. Regarding the phrase "the glorious Mahākāla requested," it is the request for the samaya of the consecration. The Blessed One spoke:
This refers to entering the absorption of the samaya wheel. "Devotion to the guru" means not abandoning the root and branch samayas of the ācārya. "Diligent in yoga" means persevering without separation from the generation stage and the completion stage. "Limbs of the ritual" refers to activities such as slaying and expelling. "Always guarding the samaya" means continuously abiding in the secret samaya. "The Blessed One spoke" is a summary of the special samayas explained to the retinue. From "Then [the retinue] requested of the Blessed One" up to "taught as the proximate cause of accomplishment" is easy to understand, as it refers to what was taught as the proximate cause. "The Blessed One spoke" means entering the absorption of the great principal amṛta. "Explained in three ways" refers to the approach, the application of activities, and the swift accomplishment. Then, one should place the appropriate samaya substances gathered together inside a skull-cup that has been consecrated in front. "Wind" is the bow-shaped [wind] generated from yaṃ. "Fire" is the triangular blazing fire born from raṃ. "Above" refers to the three-legged tripod of fresh skulls born from hūṃ. The "skull-cup situated upon that" and the "fish meat" and so forth are easy to understand. "The five meats and five nectars" refers to the nature of the substances, which are marked by their respective seed-syllables. Furthermore, go, ku, da, ha, and na are the essence of the five meats.
Mara-musu-paṇi is the essence of the five nectars (amṛta). Regarding "above the sun," this means that upon the moon and sun, from the substances, the sun is [visualized] with a curved knife (kartṛ) and so forth; this is easy to understand. "Becoming the samaya nectar" means becoming the nature of bodhicitta. "Above" means arising from the syllable HŪṂ. "Blessed by this" means that from the heart of the principal deity, the inner essence is emanated together with [the mantra], strikes the samaya and wisdom substances, and they become non-dual. The mantra should be known to begin with OṂ and end with OṂ ĀḤ HŪṂ. "The Great Black One in front" is easy to understand. "In the center of the root mantra" means it should be endowed with the syllable of emptiness.
Furthermore, "moreover" means one should engage in the application of the ritual activity. In that regard, having prepared the liṅga with the necessary materials, one should make it the size of eight finger-widths, place it within the torma, and perform the application of summoning and entering. Regarding "the object of accomplishment," one should visualize an eight-petaled lotus at the heart. The petals of the lotus are marked with the seed-syllable and a hook. "Marked with a curved knife and HŪṂ" means it resides in the center of the lotus, and the HŪṂ is endowed with the inner essence. "Power" means that from the hearts of the principal deity and the attendants, the inner essence is emanated; having invoked the mantra at the heart through the upper and lower gates of the object of accomplishment many times, [the rite is performed].
Through the light rays of the mantra, all the channels of the body become like butter lamps in order to increase the blood. "Having melted" means that they have become the samaya-amṛta and the wisdom-amṛta has been summoned. "By the light rays of the mantra" refers to the hand-symbol, the curved knife, emanated from the heart. "Alternatively" means for the sake of swift accomplishment. "The black skull" refers to the skull that is the hand-symbol. "Having summoned the object of accomplishment" means clearly summoning them by the light rays from the hearts of the principal deity and the attendants. "To generate the blood" means to generate the blood by the light rays from the heart of the object of accomplishment and to drink the blood after it has been cut by the hand-symbol, the curved knife. "The blood flows" means that it flows because of attachment to liberating the malevolent ones. "Uninterrupted" means that one should act in that same way even during the time of the yoga of eating. "The certainty of accomplishment is pacified" means that it serves as the preliminary for all approach and ritual applications. "He spoke" means that the compiler collected the torma ritual and explained it to the retinue. "The chapter on the maṇḍala" refers to the meaning of the fourth [chapter]. It is the chapter that teaches the purpose of establishing the support, such as the maṇḍala, and the ripening of the disciples within the maṇḍala. This is the explanation of the fourth chapter, the chapter on the maṇḍala. Thus, being endowed with all the branches of approach, one enters the great application.
Regarding the phrase "Then," it is also stated in the Ḍākinī Ocean: "Mantra is the seed of the deity; it is the perfection of the deity's very nature. It is the self of the consecrated maṇḍala. Once the approach is thus completed, the great application will be perfected. To engage in ritual activity without the branches of approach being complete causes the samaya to degenerate and invites the world's derision." Thus it is said.
The phrase "the glorious Mahākāla and the hosts of ḍākinīs" refers to the special application and the entry into the principal deity in order to accomplish the activities of all the gaṇacakra assemblies. The phrase "the Blessed One" is the word of the questioner and is easy to understand. "The Blessed One replied" refers to the command given to the retinue through the specific samaya of protecting the teachings; this is also easy to understand. "He replied" means that the previously taught meaning was summarized and explained to the retinue.
The phrase "Mahākāla requested" refers to the request made to the principal deity regarding the pātra application. "The Blessed One replied" is a concise explanation. "By the four aspects" means that accomplishment is achieved through the four branches and not otherwise. "He replied" means the meaning of the four was summarized and explained to the retinue. "Then he requested" refers to the specific inquiry regarding the meaning of the four. "The Blessed One replied" is the concise teaching on the location of the pātra. "He replied" means it was summarized and explained to the retinue.
Then, the phrase "establishing the site" refers to the following: "With a wrathful face and a terrifying body" teaches the establishment of the site through fierce recitation and the maṇḍala of the deity. "The Blessed One spoke" refers to the request concerning the absorption of the site’s maṇḍala. "Bricks from a charnel ground" means making bricks from the earth of a charnel ground and burning them with the embers of a cremated corpse. "The skeleton of a hero" refers to the bones of one killed by a sword in battle. "Construct a triangular practice hut" means it should be made with three peaks, corresponding to the three-tiered city; the middle tier is the site of battle and should be established. The triangle should be made in the shape of fire. "Draw a wheel inside a skull" means the wheel should be drawn with ink from a charnel ground. Furthermore:
"Having prepared a maṇḍala with nectar,
The deity yoga clearly manifest,
Facing toward the southern direction,
Draw the wheel with charnel ground charcoal.
Upon the fire maṇḍala of the wheel,
Marked with a four-pronged crossed vajra,
In the center, write the inner heart mantra,
Marked by the three syllables RAḤ PHAṬ.
Also within the three intermediate corridors,
Beginning with the syllable OṂ,
Ending with HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ,
Write these within the two fires.
Upon the central vajra prong,
Write the fierce HŪṂ.
Having placed the wheel upon the maṇḍala,
By the light rays from the heart of the Principal,
The wheel is rendered without intrinsic nature."
"Born from the seed-syllable of fire, the wheel is like a maṇḍala of fire. By the light rays from the heart of the Principal, the circle of deities is invited. Having performed all the auxiliary rituals, they are dissolved into the wheel. It should be placed in a corner of the house," and so forth—this is easy to understand. "At the three times" means until the house is completed. "Without doubt" is because it will certainly be accomplished. "He spoke" means the compiler summarized the meaning of the state and explained it to the retinue. "Then Mahākāla requested" refers to the request made during the ritual of the casket (parbu); this is easy to understand. "He spoke" means the meaning of accomplishing the casket was shown in brief. "Three" means that accomplishment will occur when one possesses the three requirements for accomplishment; one should know that it will not occur without them. "He spoke" means the meaning of the casket was shown in brief. "Then he requested the Blessed One" means he requested the detailed meaning of the casket from the Principal. "He spoke" means the Blessed One entered into the absorption of wrath. "The maṇḍala and the material of the casket," and so forth, is easy to understand. "By the riverbank" means earth from an anthill. "Above, a canopy of a field is arranged" means having made a wheel on a cloth from a charnel ground, one should face it toward the south. Having made a maṇḍala with nectar, one should draw that wheel.
With the blood of a crow and an owl, one should fashion a square wheel marked with a crossed vajra (viśvavajra), with a circular perimeter drawn on the outside. In the center, the inner heart mantra should be well-drawn in the four directions. In the intermediate spaces of the east and so forth, the mantra "Oṃ Mahākālāya" should be well-drawn. Upon the central vajra-spoke, "Vajra Bandha" should be written, placed between two Hūṃ syllables. In the intermediate directions of the other vajra-spokes, the fierce Hūṃ should be arranged. On the perimeter of the outer wheel, the root mantra should be well-drawn.
Having placed the wheel upon a maṇḍala, the light rays from the heart of the principal deity render the wheel devoid of intrinsic nature. From the syllable Laṃ, a yellow, square wheel arises, marked with a vajra-rock, its mantra blazing like the flame of a lamp. Then, with light rays from the heart, the Wheel of the Command is invited, and after performing all the branch rituals, it should be absorbed into the wheel. Then, from the heart of the principal deity, the inner heart mantra is intensely emanated and absorbed into the thousandfold wheel. The phrase "at the corners of the wheel" is easy to understand. "In a single-piece skull cup" refers to the torma for the propitiation. "At the northwest corner of the maṇḍala" refers to the consecrated hand-symbol. "The skull cup filled with blood" refers to the blood of the three black ones, which should be endowed with the letters of the name.
The phrase "it was said" summarizes the meaning of the parbu maṇḍala. Furthermore, the phrase "and so forth" refers to engaging in the accomplishment of the parbu materials. "With offerings" refers to the offering ground excavated by wild beasts. "Burning hair" refers to the hair of one who died with their head facing south. "The parbu" should be prepared on the first day of the dark fortnight in conjunction with a deity yoga. "Burn with hot and bitter fire" means it should be burned at the site where the corpse of the victim's ancestor was cremated, using charred wood from a charnel ground.
Regarding "draw the wheel": make the outer perimeter triangular and blazing. In the center, surround it with four concentric circles. On the outer three corners, draw blazing vajras. In the center, write the inner heart mantra together with the name of the victim. On the outer circle, write the outer heart mantra. On the circle outside of that, which is divided into eight squares, arrange the wheel mantras by dividing them into eight classes, writing them up to the syllable hūṃ. On the eight outer circles, arrange the root mantra. On the circle outside of that, arrange the action mantra. On the outer vajra-heart, write the inner heart mantra. Then, on the other prongs of the vajra, write the fierce hūṃ. In the intermediate space of the outer triangle, arrange the secret mantra. Regarding "arranging the letters," they should be arranged in both clockwise and counter-clockwise directions.
Regarding the writing of the secret mantra: one should draw an eight-spoked wheel. In the hub, draw a fire maṇḍala. In the center of the fire, place the inner heart mantra together with the name. On the three crescents on the outside, one should place the outer heart mantra. On all the spokes of the wheel, one should place the root mantra, divided into eight classes. In the middle, insert the name of the person to be accomplished. On the outer rim of the wheel, the secret mantra should be written. Furthermore, two wheels should be drawn, one clockwise and one counter-clockwise. Regarding the so-called "powerful box," the two hand symbols are arranged, correctly positioned above and below. One should insert the liṅga according to the ritual. This means that the nine ḍākinīs, such as Manoharā and the others, should be placed in the preparatory state. "Facing southwest" refers to the time of drawing the wheel. "The liṅga, the letters of the name," and so forth, are easy to understand. "The wheel should be placed in the vase" refers to the ritual of non-retrogression; it is taught that this is the protection wheel. This concludes the summary of the stages for preparing the box. Then, "furthermore, it will be explained" refers to entering the ritual of the body, which has already been taught in the chapter on the maṇḍala. "Please be seated upon the field" indicates that the ritual of the front-generation should be completed. Furthermore, this is the approach and recitation to be performed continuously by the yogi who has entered the stream.
The "concordant samaya substances" and so forth are easy to understand. Regarding the "ritual of the body," this refers to performing the ritual until the ritual of the parchu (vessel) as taught in the tantra is complete. "The Blessed One spoke" means that the ritual of the body was taught and explained. "Then he requested" means that he requested the purpose of accomplishing the parchu. "The Blessed One spoke" refers to the extensive explanation of the approach (sevā) for the near-attainment of the body. "The yogi who wishes to accomplish the parchu" and so forth are easy to understand. "Meditative concentration" (dhyāna) refers to emitting light rays like curved knives from the hūṃ residing on the curved knife at the heart, which then become the tent, the fence, and so forth. "Mantra" refers to the mantra of Vajrakapāla. "Binding the boundary" is for the purpose of establishing the protection wheel (rakṣācakra). "Offerings and so forth" are easy to understand. "In front" and so forth is the extensive explanation of the ritual for generating [the deity] in front. "The mantra garland" resides at the heart. "Fierce power" refers to emitting the mantra's light rays as a garland of curved knives. "Meditative concentration" refers to visualizing the object of accomplishment between the principal deity and the attendants, and then visualizing the syllables of consciousness at the three places of the object of accomplishment. "Mantra recitation" means that the mantra's light rays enter the wind-gate of the object of accomplishment, and the three syllables are expelled through the Brahma-aperture and dissolved into the great black parchu, or—
It is said that one should perform the recitation by passing [the mantra] from mouth to mouth. "The cause of the three times" refers to the period until the ritual of the parchu (the small box) is completed. "Concordant commitment substances" refers to the torma offered in reliance upon the "poison la-du" (sweetmeat). "By the yogi who has attained the signs" means that the common preliminary service (sevā) has been completed. It is for the sake of possessing the near-attainment (upāsana) of the parchu.
Regarding the commencement of the ritual: it should be performed by four highly concordant [practitioners], or otherwise, a single yogi should understand the sequential ritual. "He spoke" refers to the detailed explanation of the near-attainment of the front-generation (purataḥ-saṃmukha). "Kṛṣṇa requested" means he asked to enter the ritual of the union (saṃpuṭa).
The Blessed One spoke: this refers to the Blessed One entering into meditative absorption (samādhi) in order to subdue the malevolent. "Generate the great black parchu" means: first, the yogi himself should complete the deity wheel (devatā-cakra). Then, with light rays from the heart, he should invite the maṇḍala wheel. Visualizing it in the location of the parchu, he should emanate black snakes from the heart and perform the offerings, confession of misdeeds, and so forth. With light rays from the heart of the principal deity, he should endow it with the four brahmā abodes.
The light from the heart of the principal deity of the front maṇḍala is intensely radiated, subduing the malevolent ones of the three realms. Gathering back, all the maṇḍalas enter the heart of the principal deity. The principal deity melts into light, and one should contemplate it becoming emptiness (śūnyatā).
From the syllable HŪṂ arises a vajra rock, situated upon a sun disk. Upon that rock, the syllable HŪṂ abides; from that HŪṂ, clearly emanating, it becomes a blazing direction. One emanates [deities] holding curved knives and skull-cups. They settle upon the heads of the hosts of obstructors, such as the guardians of the directions, and having chopped them into the size of sesame seeds, all the hosts of wrathful obstructors melt into light. From this, the curved knife becomes a tent, a lattice, and so forth. In the center of that, one should visualize the source of phenomena (dharmodaya). In the center, upon a multicolored lotus and sun disk, one clearly visualizes the object of accomplishment. Above the place where the object of accomplishment resides, one visualizes a blazing maṇḍala of fire. In the center, by means of the five rituals, one generates the principal deity, Mahākāla. At the three corners, one should generate the most terrifying mother and the others. She is black in color, extremely fearsome, holding a curved knife and a skull-cup, with three eyes, wrathful gazes, and bared fangs. Regarding the phrase "residing in her belly": she resides in the belly of the principal deity. Furthermore, she is to be generated; the "three boxes joined together" refers to the four locations of the wheel of the box. "Joined together" means they are situated in clockwise and counter-clockwise directions. "Three" refers to the boxes of shape, secret, and power. Furthermore, the box of shape is born from RAṂ; it is red in color and the shape of fire. The mantra is like the arrangement of weapons; this explains the box of the body. Then, the secret box is—
The self born from the syllable A abides as a single, joined fragment. Its mantra garland resides upon an eight-spoked wheel. The mantra is similar to a lamp; it is the essence of the speech mold. Born from the form of the syllable E, the triangular mold of power is explained. With the nature of a curved knife and a skull-cup in the upper and lower directions, it is for the sake of swiftly slaying the object of accomplishment; because it possesses fierce power, it is correctly explained as the mind mold. Through the union of body, speech, and mind, for the sake of liberating all malevolent beings without exception, the three stages of molds are explained. Regarding the phrase "one should visualize in the center" and so forth, this refers to the generation of the attendants, which is easy to understand. Then, regarding the phrase "by the light rays from the heart": from the HŪṂ at the heart of the principal deity, one emanates in the form of a hook, invites the wisdom wheel, and dissolves it through the application of the four mudrās. Then, by the light rays from the heart, the Sugatas are invited and empowerment is bestowed; one should then seal them with the lords of the families. Then, emanating from the heart, one should pervade them with the outer heart mantra. Then, the offerings and the torma should be presented with the specific mantras. In order to recollect the samaya, the mantra should be dissolved into the heart. Then, having performed the approach at the heart with the inner heart mantra, and being fully endowed with the root mantra, one should perform the offering continuously through the application of the specific mantra. Then, regarding the phrase "by the light rays from the heart":
The maṇḍala at my heart is the abode of the wheel of ḍākinīs, such as the most terrifying one and the rest. From its heart, light rays are emitted in the manner of hooks and nooses. Thus it is said. Having clearly visualized the object of accomplishment, the hooks enter the five places; the nooses bind the limbs, and having summoned them, they are dissolved into the belly of the attendant. This application of summoning is performed by the yogi through single-pointed concentration, without interruption. The phrase "the Guru Vajradhara" and so forth are introductory words common to all [sections] and are easy to understand.
Regarding the phrase "having become possessed of the wrathful concentration": then, the wheel of deities at the heart of the Lord of Yogis is visualized as abiding in the center of fire. Light rays from its heart are emitted like a garland of curved knives (kartṛkā). Because the wheel of curved knives revolves throughout the entire body of the object of accomplishment, it is called the "wrathful concentration." Regarding the phrase "holding a curved knife and a skull-cup" up to "one should kill with the mantra of concentration": as for the concentration, from the mantra of the pātra (vessel), one emits light like weapons and visualizes the flesh of the object of accomplishment being cut. As for the "mantra": light rays from my heart are emitted like a garland of curved knives and cause them to revolve around the body of the object of accomplishment.
Regarding "concordant commitment substances," this refers to the bali offering for reliance, which is to be given continuously. The phrase "for seven days" is a summary statement.
The phrase "Thus it was spoken" refers to the compiler summarizing the ritual of the parbu and explaining it to the retinue. The passage beginning with "Then," and so forth, is a request for the specific details of the mantra; it is easy to understand.
First, regarding "the preparation of the parbu":
"First, because the maṇḍala of the deity is generated within the parbu itself, the preparation of the parbu is explained first. Second, it becomes the approach to the deity." This means that by the second day, it possesses the power of the deity.
"Third, summoning the object of accomplishment" means that by the third day itself, it possesses the power to summon the object of accomplishment. "Fourth, causing intoxication" means that the object of accomplishment is separated from the deity who protects their life-force. "Fifth, causing death" means that by the fifth day, it possesses the power of death. "Sixth, making it irreversible" means that it is free from doubt.
"Having separated the aggregates from consciousness" means that through the application of the seven days, one is able to separate consciousness; therefore, one should possess that application. The light rays from the heart of the principal deity dissolve into the three places of the object of accomplishment. The consciousness of the object of accomplishment, in its own nature, emerges as the three syllables and is to be inserted into my own heart. From the non-duality with HŪṂ, the recitation of the root mantra is to be recited revolving around the HŪṂ.
The intermediate concentration of birth is generated from the HŪṂ at the heart. In the maṇḍala of the space in front, by means of the five manifest awakenings...
Having thoroughly generated the wheel of deities, and having performed the invitation of the wisdom beings and so forth, the conferral of empowerment, the offerings, the praises, and the tasting of the nectar—once all of these have been completed, one should contemplate within the lotus at the center of the heart the supreme of all syllables, the vajra of body, speech, and mind, as the drop of great wisdom. That too is inconceivable; if one contemplates that inconceivability, then because a form is thereby attained, it is said to be "conveyed to the abode of Tuṣita." As for the "great fruit," it is the stage of the Great Perfection. By means of the nature of the deity of the casket, one should accomplish the Great Perfection. One should contemplate the syllable of the being at the blazing tip of the vajra. Within the aperture of Brahmā, one should contemplate the drop of bliss. From the blazing tip of the vajra, the seven fires of wisdom are intensely emanated, which destroy the aggregates and the elements. One is then washed by the river of bodhicitta arising from the syllable HAṂ of great bliss. When the seven waters are thus completed, they are utterly destroyed by the wind of wisdom. That which is taught in the chapter on the deity—without beginning, middle, or end, incomparable, all-pervading, and the expanse of space—is explained as the "great fruit." The passage beginning with "Maheśvara" and so forth refers to the qualities of greatness of the casket, which are easy to understand. It is called "secret" because it is difficult to arise and is uncommon. Because it explains the ritual of the casket in its entirety, it is called the "chapter on the casket." This is the fifth chapter, the explanation of the chapter on the casket.
Then, the word "then" (tatas) introduces another specific application, namely, the request made by the assembly of the retinue. Regarding the phrase "the secret mold" (guhyamudrā), it is taught as an application other than the [standard] mold; therefore, the words "for that reason" and so forth are easy to understand. "He spoke" (avocat) is the summary provided by the compiler. "Then [he] requested" summarizes the meaning of the ritual of the wheel (cakra) by means of the phrase "he spoke." Furthermore, from the words "first, the preparation of the wheel" up to "it should be slain," [the practice] is accomplished through three points and not otherwise. "Requested" means the detailed inquiry into the nature of those three points. "The Blessed One spoke" means that the Blessed One entered the absorption (samādhi) of the Great Wheel. "First" refers to the preliminary to the ritual of the wheel. "Lord of Yogins" (yogeśvara) refers to one who has received empowerment and authorization in the maṇḍala of Mahākāla. "Having become endowed with concentration" (dhyānayukta) means having completed the preliminary service (pūrvasevā). "In a charnel ground" (śmaśānasthāne) is for the purpose of accomplishing the wheel in a charnel ground; as for the words "draw the wheel" and so forth, they are easy to understand. Regarding "the ink should be prepared by the ritual": having prepared a maṇḍala with nectar (amṛta), one should collect the ink in a skull-cup (kapāla). Struck by light rays from the heart of the Principal Deity, [the ink] becomes devoid of intrinsic nature. There, by the ritual of Mahākāla, the body [of the deity] should be generated.
Wisdom
Having performed all the ritual branches such as the invitation and so forth, one should visualize the nature of the syllable HŪṂ in the center of a moon and sun disk arising from the vowels and consonants (āli-kāli) within the belly of Mahākāla. Then, by means of light rays from the heart, the root essence mantra is emanated and dissolved into the HŪṂ a thousand times. One should visualize these melting into light and becoming the ink for the wheel. Facing the southwest, this refers to practicing in accordance with the generation stage. "Feathers of discord" refers to using the feathers of a crow and an owl. The phrase "four-layered wheel" and so forth is easy to understand.
Regarding "insert the name of the target," this is to be placed between two HŪṂ syllables. "Below to the right" means writing at midday. "Above to the left" means writing in reverse order, to be done at midnight. Regarding "the Mahākāla of the wheel," one should draw the form with the colors prepared in the ritual, possessing the correct characteristics. "Place the name of the target in the mouth" means it should be placed between the summoning syllables. Then, "furthermore" means that once the drawing of the wheel is finished, one should proceed to the ritual of the liṅga, which begins with "the three hot substances" and so forth. Regarding the ritual to be performed, one should complete the ritual for the preliminary preparation of the materials for the liṅga as explained above. "Insert into the heart" means that having drawn the wheel on birch bark or re-ba paper, one places the syllable OṂ first in the center.
One should write and insert a mantra ending in hūṃ hūṃ phaṭ phaṭ. As for placing the liṅga within the wheel: on a maṇḍala of various poisons, one should draw the shape of fire. Then, in its center, one should write the syllable hūṃ with the powder of a hero’s skull-bone. Upon that, the wheel should be placed, well-supported by equal sprouts, positioned both above and below.
Then, as for the ritual procedure: having first completed the maṇḍala of the principal deity, then, with light rays from the heart, the wheel is rendered without intrinsic nature. There, from hūṃ, a vajra rock arises upon a sun disk. Upon that, hūṃ abides. From hūṃ, a clear emanation is projected as a mass of blazing flames, which utterly destroys the hosts of obstructors (vighna), and then becomes the protection wheel. In its center, one should visualize the source of phenomena (dharmodaya). In the center of the source of phenomena, upon a lotus and sun, the object of accomplishment (sādhya) resides in a form of faded color. At his heart, through the application of the five rituals, the maṇḍala of the deity should be generated. The three goddesses, such as the Mistress of Caṇḍoha and others, should be generated. Blue in color, with a frowning face, one face and two arms, of terrifying form, holding a hook and a noose, she stands in a majestic pose with one leg extended and one drawn in upon the object of accomplishment.
Then, in the belly of the principal deity, one should visualize a fire maṇḍala from raṃ. In its center, one should generate the retinue of attendants along with the wheel.
By the light rays from the heart of the principal deity, the natural wheel is invited and absorbed. The Sugatas are invited and the empowerment is conferred; then, the seal of the Lord of the Family should be applied. Then, the light rays from the heart radiate the outer heart mantra, which is absorbed into each of the hearts a hundred times. Then, the offerings and the torma should be presented with the root mantra. Having performed the samaya ritual, the approach practice with the inner heart mantra should be carried out for one thousand repetitions per session. Then, as for the application of summoning: by the light rays from the heart of the principal deity, the ḍākinīs are exhorted. From the hearts of the three ḍākinīs, emanated ḍākinīs are projected. Visualizing the object of accomplishment clearly, they are made to enter the navel of the principal deity. Thus, the application of summoning and entering should be performed during the six sessions. The phrase "then" is easy to understand. On the skull of a dog or a bear, smear the substances of aconite and hot spices. Draw a crossed vajra inside; from the vajra heart in the center, the mantra for slaying should be written. Place the wheel into that skull. The phrase "red-black thread" and so forth is easy to understand. Regarding the drawing of the wheel on the skull: a four-spoked wheel with a rim, in the center of which a fire wheel marked with three ra letters should be drawn. In the center, the inner heart mantra should be written together with the letters for slaying. Then, on the spokes of the wheel, the secret mantra should be written. Furthermore, it should be written in clockwise and counter-clockwise directions.
"The cakra should be well-drawn; the exterior should be smeared with hot substances," and so forth, is easy to understand. Regarding "the consecration of the kīla," it should be understood from the chapter on the maṇḍala. "Having placed the cakra upon the maṇḍala" means having placed the cakra upon the maṇḍala previously explained. "Meditate on the generation stage in the proper manner" means: "First, one should possess the yoga of the deity; then, upon the maṇḍala and cakra, just as explained above, generate the complete cakra of deities." "Offerings and torma" and so forth are easy to understand. "Light rays from the heart" refers to the application of summoning and entering, as explained above. "By the glorious Black Union" means that within the belly of the principal deity, one should visualize a fire maṇḍala in the center of the Union Cakra of the attendants. "The object of accomplishment should be inserted in between" means into the center of the fire maṇḍala. "The object of accomplishment clearly" means one should visualize them as being separated from the deities who protect their life-force. "The curved knife is from HŪṂ." "Light" means that from the curved knife, forms like curved knives are emanated to sever the channels of the body; this is called "taking the life." "From the right and left" refers to the winds of exhalation and inhalation. "The blood of the heart" refers to the life-sustaining wind residing in the heart. "Drink" means that on the tongues of the principal and retinue deities, one should visualize a hollow vajra from HŪṂ. The application of the hollow vajra is:
Having entered through the nose of the object to be accomplished, one should imagine drinking the vital essences of the body, drawing them out from the center of the heart. The "rays of light" refer to the application of summoning, as explained above. "Seven times" means from seven up to one thousand and eight. The "hook mudrā" is the curved-knife mudrā of summoning. The mantra begins with OṂ and ends with HŪṂ HŪṂ PHAṬ PHAṬ. Having engaged in the application of summoning, one should proceed to the action of slaying. "Kīla" refers to the generation of the wrathful deity itself. "White mustard seeds" refers to those prepared according to the ritual. The "secret mantra" refers specifically to the slaying. This is the king of mantras, which has not arisen before and will not arise again. It also begins with OṂ and ends with HŪṂ HŪṂ PHAṬ. The "drops of the body" are as taught in the chapter on the deity and are easy to understand. The "skull-cakra" is also easy to understand. "It should be bound in a crossed pattern" means that upon the upper and lower parts of the skull, a crossed vajra is arranged; in that way, the mantra should be written. In the four directions and in the center, the mantra should be written individually. It begins with the syllable OṂ and ends with HŪṂ PHAṬ. "Reciting those, one binds the cakra" means that from the maṇḍala at the heart of the principal deity, together with the inner heart mantra, one should emanate and dissolve [the mantra] into the vajra of the skull one thousand times.
Then, the section beginning with "the black caitya" and so forth is the supplement to the activity of suppression; it is easy to understand. Then, the specific activity of the principal deity’s wheel is explained. Regarding the phrase "or else": the sequence for the perimeter of the killing [ritual] is the accomplishment of the wheel of the attendants. In the center of a terrifying charnel ground, one should construct a maṇḍala wheel house. In the vicinity of the charnel ground, or in all [directions], one should accomplish the yakṣas of the four directions. Furthermore, the extensive ritual for accomplishment is explained in the Ḍākinīsaṃbara. This is the wheel for accomplishing the retinue; on the eight-spoked wheel with a perimeter, in the center is a fire maṇḍala. On the circular perimeter of the hub, one should arrange fresh skulls in relief. The outer perimeter of the wheel should be provided with three enclosures. On the eight spokes, starting from the east, one should draw the eight charnel grounds, such as the Extremely Fierce and so forth. One should include all the characteristics, such as the trees and the directional guardians. On a cloth from a charnel ground, the bodies of the retinue should be well-drawn. Furthermore, in the east and so forth, the black fierce ones and so forth, as well as the crow-faced goddesses and all others, should be drawn with their body colors and hand symbols as taught in the chapter on the maṇḍala. Then, having performed the consecration, one should properly arrange them in sequence in the center of the spokes of the wheel. Then, inside a skull cup, there should be the five meats, such as human flesh and so forth, along with alcohol, amṛta, and so forth, as an offering cake of appropriate substances.
One should place the deities in front. Then, the yogin himself should generate the maṇḍala of the deities. Then, with light rays from the heart, having purified the maṇḍala, in the center of space like the sky, from yaṃ and raṃ arises a sun. Above that, from hūṃ, arises a vajra rock. Above that, from a blazing hūṃ, the light rays become a pavilion, a lattice, and so forth. In the center of that, one should visualize the source of phenomena (dharmodaya). In the center of the source of phenomena, from the four syllables beginning with yaṃ, one should generate the maṇḍala in stages. Above, from bhrūṃ, one generates a wheel marked in the center with bhrūṃ. From the complete transformation of those, one generates the palace of the maṇḍala wheel. In the center, the maṇḍala of fire remains in a form of intense blazing. On the eight spokes of the wheel, all eight charnel grounds, such as the Fierce and Terrible, remain in extremely terrifying forms. Outside the spokes of the wheel, one should visualize the maṇḍala of fire. Then, within those wheels, one should generate the maṇḍala of the deities. Furthermore, in the center and so forth, one should generate a variegated lotus and sun from baṃ and raṃ. Above that is a corpse seat. At the heart, from hūṃ, one should clearly generate the respective hand symbols. From the complete transformation of those, one generates the principal deity and the other deities. All have one face and two arms, and they stand in the ālīḍha and pratyālīḍha postures upon corpse seats. All have terrifying forms.
The colors and hand symbols of the deities should be understood from the chapter on the deities. Then, with light rays from the heart, invite the natural maṇḍala and dissolve it [into the visualization]. Invite the Sugatas, confer empowerment, and present offerings. The lords of the families should perform the sealing. Then, light rays from the heart are extensively emanated as the outer heart mantras and dissolve into the hearts of each [deity]. Then, as for the offerings and torma, they should be presented using the root mantras endowed with the respective heart mantras. Then, through the ritual of the samaya, they should be delivered into the hearts of each. Then, as for the inner heart mantra, endowed with the respective heart mantras, perform the approach recitation ten thousand times. Then, regarding the various signs, one should not be afraid; having made offerings, pray for and bestow one's desired accomplishments. Thus, all accomplishments will be achieved without obstruction. Then, one should begin the ritual application. On cloth from a charnel ground, smear the cloth well with mustard seed, aconite, and datura, using the Vairocana of the practice. With ink prepared according to the ritual, draw a house in the shape of a wheel. In the center, upon a fire maṇḍala, surround [the center] with the inner heart mantra and place the name of the target in the center. On the rim of the wheel's hub, write the mantra for killing. On the eastern spoke of the wheel, write: rudra kala yakṣa aṃ pūrṇa kalo yaṃ kaṃ ka tra tra. In the south, write: vajra candra krodha viśa narūpala.
In the west is Vajravetālavīśanarūpa; in the north is Vajrakālamahāyakṣa; in the northeast is Vajragaṇapati Mavidtarūpa; in the southeast is Mahārudume hokurudu Tre lupavidtra; in the southwest is Daddhakarala Putakāya; in the northwest is Yakṣanartakara; in the east is Kākāsyā; in the south is Śūkarāsyā; in the west is Śvānāsyā; in the north is Ulūkāsyā; in the northeast is Yamadūti; in the east is Yamadadhi; in the southwest is Yamadaṃṣṭrāṇī; and in the northwest is Yamamathanī. These are the heart mantras of the deities, which should be arranged within the pure wheel.
Beginning with the syllable Oṃ and ending with Hūṃ Hūṃ Phaṭ, the secret syllable in the center should be joined with the name of the one to be accomplished. The offering of the torma should also be presented with the concluding mantra. On the outer rim of the wheel, the root mantra should be written. Having thus drawn the wheel, one should fashion an eight-finger-sized liṅga from the substances taught in the tantra, insert the wheel into its heart, and place it in the center of the aforementioned maṇḍala.
Then, having established oneself in yoga, one should generate the complete wheel of deities as described above. Having performed all the branch rituals, one should apply the inner heart mantra and the four goddesses, Kākāsyā and the others, together with the four mudrās. Reciting the mantra one thousand times, one should perform the application of summoning and entering the one to be accomplished. Then, the application for the rite of slaying is as follows:
Regarding the secret mantra:
The heart mantras of the deities, together with the syllables for slaying,
Should be recited one thousand times for each session,
Endowed with the application for slaying.
Having consecrated kīla and white mustard seeds,
One should strike them into the thirty-two locations.
Having practiced in that manner for seven days,
One should place them in a jackal’s skull.
While staying in the center of a charnel ground,
Or else, one should place the wheel in its location
And rely upon it as one’s own body.
As for this, that wheel taught above
Should be placed inside a joined skull-cup
Together with the liṅga.
Until it is accomplished,
In order to perform the rite of slaying,
It is said to be "relied upon by the body."
"Endowed with concentration" means being endowed with the yoga of the seventeen deities and their mantras.
The passage beginning with "Whosoever" is easy to understand.
That which begins with oṃ and ends with hūṃ is the striking of the vital point.
"Thus he spoke" refers to the concise teaching on the secret wheel.
"Then" refers to the request for another ritual of the wheel.
"The Blessed One spoke" refers to the request concerning the wheel of the absorption for subduing nāgas.
"Charnel ground slate" and so forth are easy to understand.
Regarding "charnel ground ink":
In the center of a fierce charnel ground,
Having prepared an amṛta maṇḍala,
One should set up a tripod of fresh skulls.
Upon that, a lamp should be placed;
Having made the heart mantra of amṛta
On a cloth from a charnel ground,
One should light a lamp of great black butter.
In a single-piece skull-cup,
Having drawn an eight-petaled lotus,
In the center, arrange the inner heart mantra. Then, upon the petals of the lotus, one should arrange the outer heart mantra. Then, upon the intermediate rim, one should arrange the root mantra. Then, place a lamp. Having completed the maṇḍala of the deities, then, with light rays from the heart, one should render the lamp devoid of intrinsic nature. There, one should generate Mahākāla through the five rituals. Residing in his belly, one should generate the attendants through the three rituals. Then, with light rays from the heart, one should perform all the branch rituals, such as the summoning and absorption of the wisdom beings. At the heart, upon a lotus and sun, is a curved knife; upon the handle of the sun, from the syllable HŪṂ, the inner heart mantra is arranged. By emanating from the heart, one should imagine it dissolving into the upper wheel. Having performed one thousand recitations in that manner, one should collect the ink. "Endowed with concentration and mantra" means one should possess the yoga of oneself as the deity.
"Generate Mahākāla together with the snakes" means: with light rays from the heart of the principal deity, one should render the wheel devoid of intrinsic nature. There, Mahākāla and the three goddesses previously taught, as well as the nāgas, are generated through the three rituals. The nāgas arise from the syllable PHUḤ. With light rays from their hearts, they are invited from their natural state and absorbed into the maṇḍala. Having performed the empowerment of the Sugatas, then, with the outer heart mantra, one should cause them to dissolve into the hearts of all. "Offering" is easy to understand. "Recitation of the mantra" refers to that which includes the inner heart mantra.
It begins with the syllable Oṃ and ends with Hūṃ Hūṃ Phaṭ Phaṭ Svāhā. One should cause light rays from the heart of the principal deity to pervade the entire wheel. By that, rain will be made to fall. Thus it is said. "If" refers to the ritual of enhancement if [the rain] does not fall; this is easy to understand. "Reverse the wheel" means to draw [the wheel] with the nāgas and so forth reversed. "Homa above" refers to the secret homa; there, one should generate the goddess in accordance with the aforementioned [deity], with matching body color and hand implements. "Reverse the mantra" means starting from Svāhā. "The object of accomplishment" is easy to understand.
Furthermore, "then" refers to engaging in the activity of the wheel for protecting against hail. "Draw the wheel with a khaṭikā" means: having smeared the outside with nectar, in the center of the wheel is a square; there, one should write the name of the place to be protected. At the four corners are crossed vajras (viśvavajra), which should be provided with the syllable Hūṃ at their tips. Outside of that, one should arrange a square. In the intermediate space between the four vajras, the protection mantra should be written. In the four directions on the outside, one should draw crossed vajras, with the heart mantra Hūṃ in the center. On the circular perimeter outside, the root mantra should be written. Having placed the wheel upon a maṇḍala, one first completes the yoga of oneself as the deity. Then, with light rays from the heart of the principal deity, the wheel is rendered without inherent existence. Therein, the wheel of deities, together with the three goddesses, [is generated].
Complete the generation through the three rituals. Then, with light rays from the heart, invite the wisdom wheel and dissolve it [into the commitment wheel]. Perform all the ritual branches, such as the empowerment by the Sugatas and so forth. Then, within the belly of the principal deity, one should visualize two HŪṂ syllables between which the vajra protection wheel is formed to provide protection. In the center of that, one should clearly visualize the object to be protected. Then, the recitation is to be performed, beginning with the words "The object and..." and so forth. The mantra begins with OṂ and ends with HŪṂ HŪṂ PHAṬ. As for "to be placed in the four directions," the aforementioned ritual should be performed in the four directions of the object to be protected. Then, as for "furthermore," one should proceed to the practice of Jambhala. "Clearly generated" means that the wheel together with the goddesses is completely generated through the three rituals. The mantra begins with OṂ and ends with SVĀHĀ; this should be understood as the ritual for the water offering and the approach practice. "The Blessed One spoke" refers to the summary explanation of the subsidiary wheels. The "Chapter on the Wheel" teaches the accomplishment of the activity of slaying; it is the summary chapter. This is the sixth chapter, the explanation of the Chapter on the Wheel. Then, as for "then," it is a request to supplement the activities of the wheel and to perform slaying through suppression alone; this is easy to understand. "He spoke" refers to the specific details of the suppression.
Then, the phrase "thus it is said" summarizes the engagement in the practice of suppression. "The Blessed One spoke" means that he entered the absorption of Great Power. "In the charnel ground" refers to the eight locations, such as the charnel ground and so forth. "Having become endowed with absorption" means that the preliminary service has been completed. "Concentration" refers to the light rays of the curved knife at the heart. "Mantra" refers to the mantra of Vajrakapālin. "Binding the boundary" refers to the protection wheel. "Skull" is easy to understand. "Draw the wheel" means that a crossed vajra should be drawn inside the skull. "In the central hub of the vajra, the inner heart mantra should be written." "In the center of the vajra spokes, the wheel mantra should be placed; it should be well-drawn in the four directions. On the outer rim, the killing mantra should be placed." Furthermore, "on the two skulls, it should be written in clockwise and counter-clockwise directions. It should be written together with the name and the letters" refers to drawing the form of the object of practice. "In the five locations, such as the heart, the letters of the object's name should be placed between hūṃs." "Insert it into the wheel" is easy to understand. "Externally, wrap it with a cloth from a charnel ground" means binding it in a crossed pattern with a cord originating from a charnel ground. "The ground of the brothers" and so forth is easy to understand. "The generation stage in the proper manner" means: first, the yoga of oneself...
One should complete the mandala of the deities. Then, with light rays from [the deity's] heart, the physical forms residing in the mandala are struck and rendered without inherent existence. That mandala of deities is to be generated by means of the three rituals. One should generate the three ḍākinīs, such as Atināśinī and the others. They are black in color, extremely terrifying, holding curved knives and skull-cups, with one face, two arms, and three terrifying eyes. Then, in order to dissolve the wisdom mandala, light rays from the heart invite the Sugatas, such as the one called the Guru, and after bestowing empowerment, they are sealed by the Lord of the Heart. Then, light rays from the heart emanate the outer heart mantra, which dissolve into the heart of each of the deities. The section beginning with "Then, the offerings" is easy to understand. Regarding "the recitation of mantra," this refers to performing the approach retreat upon the inner heart mantra while endowed with the samaya. "Light rays from the heart" refers to those emanated from the hearts of the principal deity and the other deities. "Visualizing the object of accomplishment" means visualizing them as separated from the deities who protect their life-force. "Mantra" refers to the mantra for summoning. "Holding a curved knife and a skull-cup" refers to the mantra for killing, which is to be employed in the application of killing. The section beginning with "at the end of the session" is easy to understand. "In the center of the charnel ground" means one should dig in the center of the fire pit and smear it with hot substances. "In front" refers to the center of that.
Regarding the instruction to "draw a wheel on the bricks of the charnel ground": in the center, upon a crossed vajra (viśvavajra), one should fashion an eight-spoked wheel on the outside. In the hub of the crossed vajra, one should place the inner heart mantra (hṛdaya). Upon the heart of the vajra spokes, one should write the outer heart mantra. Then, upon the eight spokes of the wheel, one should sequentially place the syllable Oṃ at the beginning, followed by Hūṃ Hūṃ Phaṭ Phaṭ Svāhā at the end. Then, upon the wheel, one should generate the mandala of the deity. One should complete the ritual branches, such as the invitation of the wisdom beings (jñānasattva). Then, one should perform the homa for killing. As for "killing by suppression," it is because it is taught as being exclusively killing. The phrase "The Blessed One said" indicates the chapter that teaches exclusively the meaning of suppression to the assembly of the retinue. This is the seventh chapter, the explanation of the chapter on suppression.
Regarding the phrase "Then": it refers to entering into the application of all activities, specifically the request to engage in the activity of homa. The request for the homa activity is easy to understand. "The Blessed One said" indicates the teaching on the specific qualities of the homa. "Then" means "one should engage in the homa." Furthermore, the brief teaching beginning with "the seven specific qualities" is easy to understand. "Then" and so forth refers to the detailed request. "The Blessed One said" means "he entered into meditative equipoise (samādhi) in the absorption of the Great Self."
First, regarding the phrase "one's own self," one should accumulate the collections through the stages beginning with the offerings and ending with emptiness. Regarding the "meditation on the protection wheel," from the state of emptiness, there is a sun arising from raṃ and a vajra mountain arising from hūṃ. Upon that, a hūṃ abides; through the radiating and reabsorbing rays of light, one should meditate on the protection wheel. The source of phenomena (dharmodaya) is generated from e. The vajra is generated from khaṃ. The lotus is generated from paṃ. The sun is generated from raṃ. The corpse is generated from kaṃ. Regarding the phrase "a hūṃ abides upon that," this refers to the generation of the principal deity through the five rituals, which is easy to understand. Regarding the phrase "also the Great Black One in front," this refers to the generation of the retinue of attendants, which is also generated through the three rituals. The wheel of the attendant deities abides in the midst of the humans; the three, such as Padmeśvara and the others, are red in color and blaze like fire. They have one face, two arms, and three eyes, and they hold a fire-pit and a skull-cup. With one leg extended and one drawn in, they stand majestically upon a corpse. Through the light rays from the heart of the principal deity, the wisdom wheel is invited and absorbed. Having invited the Sugatas and conferred the empowerment, the seal of the Lord of the Family should be applied. Then, the light rays from the heart emanate the outer heart mantra and dissolve into the hearts of the deities. Having performed the sequence of rituals for the offerings, the torma, and the samaya, one should perform the approach to the inner heart mantra, which is called "the non-dual heart." Then, one should commence the homa fire offering.
This refers to engaging in the activity of the homa (fire offering). Furthermore, the purpose of setting it aside for a long time is to cause confusion among the ignorant. What is to be understood here is the ritual of the substances, which serves as the preliminary. The ritual of the substances for the liṅga is the preliminary. Having gathered the materials, such as the earth from a footprint and so forth, and having performed the ritual for the preparation of the causal [substances], one then fashions the liṅga. One should then complete the deity yoga of oneself and anoint the head and body with the "hot substances." This means piercing the thirty-two locations with mustard seeds, white mustard seeds, and aconite.
Regarding "summoning the object of practice and absorbing it": one should summon the object of practice from the hearts of the principal deity and the retinue of attendants through the application of the noose and the hook. The "ritual of separation" is to be understood from the chapter on mantras. "From the head to the soles of the feet" refers to the thirty-two locations of the bindu. "Secret mantra" refers to that which is emanated from the hearts of the principal deity and the attendants. "Thorns" refers to nirbhuja stakes and the like. "One hundred thousand" refers to the number of mantra recitations. The passage beginning with "Then" and so forth is easy to understand. Regarding the "ladle and pouring ladle," they are marked with Oṃ and Hūṃ upon the sun [disk]. The samidh (sacrificial wood) should be wood derived from poisonous species, anointed with hot substances, and marked with the letter Ra. One should perform the sprinkling of purification with the five nectars, such as mustard oil and so forth, and consecrate them with the root mantra.
Furthermore, the offerings, torma cakes, and so forth should also be prepared. The specific characteristics of the fire pit are not explained in detail here because they are easy to understand. The phrase "Then" refers to the engagement in the generation of the fire deity. Regarding the line "Having become endowed with concentration and mantra," this means one should possess the yoga of oneself as the deity. Furthermore:
"By the light rays from the heart,
The fire pit is rendered without intrinsic nature;
There, from the syllable RAṂ,
One should visualize a blazing fire."
Then, the lines beginning with "Lotus, sun, HŪṂ" and so forth refer to the generation of the samaya fire deity, which is easy to understand. Regarding the "application of the four mudrās," one should absorb [the deity] using the hook mudrā from the heart of the principal deity. In that very place, one should comfortably bestow the empowerment and perform the sealing. Regarding "HŪṂ on the tongue," one should visualize a three-pronged vajra arising from HŪṂ. "Seven times" means that all the substances should be offered seven times each. "Enraged" refers to a mind that is extremely wrathful. The mantra for the offering begins with OṂ and ends with PHAṬ, with the syllables of the name of the person to be accomplished placed in the middle.
Then, after the homa offering has been presented, one should offer praise:
"O King of the fierce fire deity,
Arisen from the three secrets,
Black in color, blazing with majesty,
To you, the destroyer, I prostrate and praise.
Three-eyed, terrifying, with bared fangs,
Holding a fire pit and a rosary in your hands,
Standing in a majestic pose amidst the fire with legs extended and tucked,
To you, who incinerate the malevolent, I praise."
With a mind of total wrath, possessing the appearance of great terror, you who liberate from all fears, I prostrate and praise the Great Blazing One. "Visualize the Fire God within the celestial mansion" means: by the light rays from the heart of the principal deity, they strike the heart of the Fire God. One should visualize a source of phenomena (dharmodaya) at his heart. In its center, generate the maṇḍala of the deities. "Generate by means of the five or three rituals" refers to generating the principal deity by the five rituals. Visualize a sun maṇḍala at the heart; upon that, generate the attendants together with the three goddesses. Furthermore, generate them by means of the three rituals. Visualize the body color and hand implements of the goddesses as they were explained above. "Endowed with the four mudrās" means that by means of the four mudrās, such as the hook and so forth, one should perform the summoning, entering, binding, and so on. Furthermore, recite the verses for exhorting them by means of the previous samaya. The syllable HŪṂ and so forth are easy to understand. Then, having invited the Sugatas and bestowed the empowerment, one should perform the sealing. Then, for the deities of the maṇḍala, visualize a vajra arising from HŪṂ upon the tongue. Then, the homa offering should be presented; having thoroughly ignited the fire, this is prior to generating the Fire God. One hundred and eight ladlefuls of ghee should be offered at the beginning and the end. Then, by the light rays from the heart, the outer heart mantra should be recited one hundred times to dissolve into the hearts of the deities. "Amṛta, rakta," and so forth, refer to the offerings, which are easy to understand.
Then, regarding the statement "one should offer the linga and the burnt substances": the linga and so forth, along with the burnt substances, should be offered in their proper sequence. These are: the sacrificial wood, the linga, the letters of the name, the ladu (sweetmeat) to be accomplished, the cooked rice, the five meats, the fish, the alcohol, the black mustard, the radish, and the iron filings; these should be offered in their respective order. Regarding the phrase "with the root heart mantra": one should offer [the substances] with the heart mantras of the three goddesses, accompanied by the syllables of the slaying. Thus, padmabarti bhi hū hu mant and mahābalahē hē karanti and samasa narūpani—having appended these to the heart mantras, one should perform the homa offering. Regarding the phrase "then" and so forth, this indicates the certainty of the time and is easy to understand. "The Blessed One spoke" refers to the summary of the common homa explained to the retinue. "Then" means that one should begin the homa for the sake of swift slaying. "The Blessed One spoke" refers to entering the absorption (samādhi) of the wheel of the slaying homa. Furthermore, the passage beginning with "the fire hearth" is taught; therein, because the meaning of slaying is concealed, the sequence of the meaning remains in a scrambled state. "Raised by the fire hearth" means raised from the direction of the fire. Furthermore, "the fire hearth should be made the size of a span" means that a span is the secret body-measure; its shape should be made with six spokes. Its interior and exterior should be smeared with hot substances.
The rim should be adorned with a garland of curved knives. At the three lower corners, one should draw skull cups. Then, having perfected the yoga of oneself as the maṇḍala of deities, one should assemble the liṅga, the sacrificial wood, the letters of the name, the lattu (sweetmeat), the five meats, the amṛta and blood, sesame oil, great butter, and so forth. This is what is taught from the words "the three corners" up to "the lattu." Having prepared the seat of the sacrificial field and so on, the yogin should, with light rays from the heart, summon the target and dissolve them into the liṅga. Then, the preliminary rites for the ritual of slaying should be completed. Next, the attendants should be generated. With light rays from the heart of the principal deity, the fire pit is rendered devoid of intrinsic nature. One should visualize a vajra rock arising from HŪṂ upon a sun disk. Above that, light arising from HŪṂ destroys the malevolent ones, and the curved knife, the pavilion, the lattice, and so forth are formed. In the center of that, one should visualize the source of phenomena (dharmodaya). "There" means in the center of the source of phenomena. "Visualize the fire pit from RAṂ" refers to the fire maṇḍala. "Generate Mahākāla within" means that Mahākāla and the other three goddesses should be generated. The phrase "variegated lotus" and so forth refers to generation through the three rituals, which is easy to understand. The ḍākinīs, such as the three beginning with Śuṣkā, are blue in color, with one face, two arms, and three eyes; they have a wrathful form and hold a curved knife and a skull cup.
Then, within the belly of the principal deity, one should visualize a fire hearth arising from the syllable RAṂ. In its center, one should visualize a sun disk and a curved knife (kartṛka) arising from the syllable HŪṂ. Its handle is marked by a sun disk and the syllable HŪṂ. Its faces are of various kinds, with the radiance of fire. This means that the faces are situated in the shape of the fire hearth, and from the curved knife at the heart, various fires blaze forth.
By the light rays from the principal deity’s heart, the natural maṇḍala is invited and absorbed. One should perform the empowerment and sealing of the Sugatas. Having pervaded [the deity] with the outer essence mantra, one should perform the offerings, the torma, and so forth. Having performed the samaya ritual, one should perform the approach practice with the inner essence mantra. Then, it is said, "kindle the fire of thorns." With the root mantra, one should offer sesame oil twenty-one times.
"By the light rays from the yogin’s heart, summon the object of accomplishment and absorb them into the liṅga"—this means that after summoning them one hundred and eight times, they are cast into the mouth of Mahākāla. "Emanated in the form of black light rays"—this means that by the light rays from the heart, the object of accomplishment is summoned and then shaken into the poison torma. All substances such as the poison of the poison torma should be used. "Shake" means that the essence of the body of the object of accomplishment descends through the aperture of Brahmā.
Then, the section from "the glorious one" up to "should be hacked" is taught. "Summon the object of accomplishment in the form of an ear"—this refers to the hook and...
Having summoned the object of the rite with the light of the noose, one should place them upon the fire pit with their heads and feet inverted. Furthermore, one should visualize the three syllables, which are the nature of consciousness, at the three places of the object of the rite. "One should offer with the heart mantra" means that it must be done with the heart mantra and not with any other. Moreover, for the three goddesses—Revatī, Viśākhā, and Caṇḍīhārī—one should append the syllable HŪṂ and the syllable for killing to their respective heart mantras. The substances are sacrificial wood, the syllables, the letters of the name, sweets, the five meats, the five nectars, and blood. These enter through the wind-gates of the object of the rite and, accompanied by the three syllables, emerge from the Brahma-aperture and are offered into the mouths of the deities of the maṇḍala. "One hundred and eight" refers to one hundred and eight of each substance. "Seven" refers to performing seven homa offerings. "Immediately" indicates the distinction of speed. "The Blessed One said" refers to the summary of the secret homa explained to the retinue. This is the chapter on the ritual of homa for killing. This is the eighth chapter, the explanation of the homa chapter.
Then, from the words "how is it?" onwards, the classification of the mantras is easy to understand. "The Blessed One said" refers to his entering the absorption that is the source of the mantras. "The Vajra of Body, Speech, and Mind" is so called because it is both the source of the mantras and the mantras themselves.
Furthermore, because the mantra is inseparable from the deity’s wheel (cakra), one should enter the absorption (samādhi) of the causal wheel. Regarding that: "In the center of space, a vajra rock arising from HŪṂ; above that, one should visualize HŪṂ. With light rays arising from HŪṂ, one should meditate on the protection wheel (rakṣācakra); in its center, one should visualize the source of phenomena (dharmodaya)."
Regarding the phrase "the supreme among letters," one should clearly visualize the āli and kāli within the source of phenomena. Regarding the "root heart mantra," the root and heart [mantras] are to be extracted from the āli and kāli. The term "mantra" is used to extract the letters in order to eliminate doubt regarding what is not a mantra. The phrase "it was taught" refers to the explanation of the wheel after the causes for the arising of the mantra have been extracted.
The phrase "then" refers to the engagement in the extraction of the mantra and the request for the actual [practice]. "The Blessed One (Bhagavān) said" means that he entered the absorption of the wheel for extracting the letters. First, the king of the Vedas is OṂ. The fifth of the first [vowels] is the long AU. The fifth of the second [vowels] is Ā. The first drop is the short A. The fifth of the second [vowels] is M. "The end of the eighth" is HA. The first of the second [vowels] is KA. The third of the sixth of the second [vowels] is LA. The first of the sixth of the second [vowels] is YA. "The end of the eighth" is HA. "The supreme of the second with sound" refers to the short and the fierce [consonant]. The third of the first is U. The end of the first of the second is ṄA.
The first together with the second is the short a. The two are the two hūṃs. The visarga is the sharp a. The second of the fifth of the second is pha. The first of the third of the second is ṅa. The third of the eighth is sa. The third of the fifth of the second is ba. That which ends with the eighth is ha. "The Blessed One said" refers to the summary of the outer heart mantra explained to the retinue. From "Then" up to "the sequence for extracting the syllables" refers to the extraction of the syllables of the Mind, which is easy to understand. "The Blessed One said" refers to entering the absorption that summarizes the inner heart mantra. "The first syllable" is a. "The fifth of the first" is the long au. "The fifth of the second" is ṅa. "The short of the first" is the short a. "That which ends with the fifth of the second" is ma. That which ends with the eighth is ha. The first of the second is ka. The third of the sixth of the second is la. The first of the sixth of the second is ya. The fifth of the fifth is ma. That which ends with the eighth is ha. The third of the first is u. The visarga is the final a. The seventh of the second is ṣa. The end of the Vedas is the short a. That which ends with the second is ma. The syllable of passion is ra. The third of the second is ga. The first of the fourth of the second is ta. The third of the first is the short i. That which ends with the fifth of the second is ma. The eighth class is ha. The first of the second is ka.
The third of the sixth of the second [class] is la. The first of the sixth of the second is ya. The middle of the second class is ra. The third of the second is ga. The first of the fourth of the second is ta. The third of the first is u. The first of the first is a. The first of the fifth of the second is pa. The connection between both is ra. The third of the fifth of the second is pa. The second of the first is e. The eighth of the eighth is ṣa. The final of the eighth class is ha. The bindu is ṅa. The "eye of the moon" is the short a. The third of the first is u. This is the king of mantras. "It has not arisen and will not arise; by reciting it three hundred thousand times, all is accomplished"—thus the Blessed One spoke. This is the explanation of the condensed heart essence of the minds of the entire retinue.
From the words "Then" up to "how is it?" is the extraction of the root mantra, which is easy to understand. "The Blessed One spoke" means he entered the absorption of the body wheel. The first of the fourth of the second is ta. The third of the fourth is da. The first of the sixth of the second is ya. The second of the fourth of the second is tha. "Fierce" means it is joined with the final aḥ. The supreme of all syllables is a. The fifth of the first is the long au. The fifth of the second is ma. The "short Veda" is the short a. The fifth of the second is ma. "End of the eight" refers to ha. The first of the second is ka.
The sixth of the second [group] is la. The third is la itself. The first of the sixth of the second [group] is the seed-syllable of wind (vāyu). The sound of the two at the end of the eighth is ṣa-ṣa. The semi-vowel at the end of the fourth of the second [group] is na. The first of the sixth of the second [group] is ya. The first of the first [group] is the short a. The first of the fifth of the second [group] is sa itself. The first of the second [group] is ka alone. The neuter letter is ra. The second of the first [group] is ā. The third of the second [group] is called "possessing the end." The fifth of the second [group] is ṅa. The fourth of the first [group] is the long ai. The first of the eighth ending is śa. The fifth of the second [group] is pa. The visarga is the final a. The first of the first [group] is a. The first of the fifth of the second [group] is pa. The third of the eighth is sa. The first of the second [group] is ca itself. The second of the Vedas is i. The fifth of the fifth [group] is ma. The fifth of the first [group] is adorned with o. The first of the second [group] is ka. The third of the sixth of the second [group] is la. The fifth of the first [group] is o itself. The first of the sixth of the second [group] is ya. The first of the fifth of the second [group] is pa. The first of the third of the second [group] is ṭa. The letter of passion is the seed-syllable of fire (tejas). The second of the first [group] is i. The neuter letter is ra itself. The third of the fourth of the second [group] is ḍa. The one possessing the end of the fourth of the second [group] is na itself. The first of the fourth of the second [group] is ta itself. The letter of passion is ra itself. The first of the sixth of the second [group] is ya. The first of the fifth of the second [group] is pa. The first of the third of the second [group] is ṭa. The letter of passion is the seed-syllable of fire. The second of the first [group] is i. The neuter letter is ra itself. The third of the fourth of the second [group] is ḍa. The one possessing the end of the fourth of the second [group] is na itself. The first of the fourth of the second [group] is ta itself. The letter of passion is ra itself. The first of the sixth of the second [group] is ya. The first of the fifth of the second [group] is pa. The first of the third of the second [group] is ṭa. The letter of passion is the seed-syllable of fire. The second of the first [group] is i. The neuter letter is ra itself. The third of the fourth of the second [group] is ḍa. The one possessing the end of the fourth of the second [group] is na itself. The first of the fourth of the second [group] is ta itself. The letter of passion is ra itself. The first of the sixth of the second [group] is ya. The first of the fifth of the second [group] is pa. The first of the third of the second [group] is ṭa. The letter of passion is the seed-syllable of fire. The second of the first [group] is i. The neuter letter is ra
The second specific [section] consists of two parts. The first of the sixth of the second is the seed-syllable of wind. The visarga is the final aḥ. The first of the fourth of the second is ta. The second of the first is ā. The first of the fifth of the second is pa. The letter of passion is ra. The first of the fourth of the second is ta. The second of the first is i. The fourth of the second of the second is jha. The fifth of the second is ṅa. The third of the end of the eighth is sa. The fifth of the second is ma itself. The letter of passion is ra. The third of the end of the eighth is sa. The second of the first is i. The third of the fourth of the second is the two das. The fourth of the first is a. The third of the fourth of the second is da. The fifth of the second is ṅa. The third of the second is ḍa. The third of the first is u. The second of the end of the eighth is ṣa. The first of the third of the second is ḍa. The second of the second is the two khas. The visarga is the sharp aḥ. Because it possesses the eight classes of eight, the one possessing the end is ha. The second of the first is i. The fifth of the second is the two mas. In the middle, the letters of passion are the two ras. The fourth of the second is gha. The letter of passion is ra. The second of the first is i. The second of the end of the eighth is ṣa. The fifth of the third of the second is ṇa. All visargas should be understood as the sharp aḥ. The fourth of the fifth of the fifth of the second is bha. The fifth of the fourth of the second is na.
The fourth of the second [group] is dha. The two at the end of the eighth are the two has. The third of the second and the fifth of the third are ṇa. The two fourths of the third of the second are the two dhas. The end of the eighth is ha. The first of the fifth of the second is the two pas. The first of the second of the second is the two cas. The third of the fourth of the second is da. The second of the first is i. The fifth of the fourth of the second is na. The fifth of the fifth of the second is ma. The fourth of the first is e. The third of the second is ga. The fourth of the first is e. The fifth of the first of the second is ṅa. The end of the eighth is ha. The third of the first is u. The "moon-eye" is the short a. The fifth of the first of the second is ṅa. The fifth of the fifth of the second is ṅa. The second of the fifth of the second is pha. The first of the third of the second is ṭa. The third of the end of the eighth is sa. The third of the fifth of the second is ba. The one endowed with the end of the eighth is ha.
"The Blessed One spoke" refers to the extraction of the mantra of the body wheel and its explanation to the retinue. This is the king of mantras; by reciting it one hundred thousand times, all activities will be accomplished. This is the chapter showing the sequence for extracting the syllables of the body, speech, and mind. This is the ninth chapter, the explanation of the extraction of syllables.
Then, the phrase "Then" refers to entering into meditative absorption (samādhi) on the wheel of the samaya; this is easy to understand. Furthermore, from the Ḍākinī-sāgara: "Through one possessing the samaya, the accomplishments (siddhi)..."
"The Hero has declared that all will be accomplished. For all those who lack the samaya, Māra will create obstacles to all their accomplishments and activities. Therefore, one should practice all the samayas with great diligence." Thus it was said.
Regarding the phrase "The Blessed One declared," it refers to the Blessed One entering the absorption of the Great Samaya Wheel. From the words "The Guru" to "keep it in mind," the meaning is that one should not abandon the samaya of having entered and received empowerment in the maṇḍala of Mahākāla. "Glorious Mahākāla" refers to the generation of the deity's body. The "mantra" refers to the root and heart mantras. The "mudrā" is the curved knife at the heart. "Concentration" refers to the concentration of emanation and reabsorption. "Without doubt" means without distraction. "Not otherwise" means having entered the maṇḍala of Mahākāla.
From the words "The Vajra Guru" to "if one does not liberate," this is the essential nature of generating the bodhicitta, which is not to be abandoned. "Always conceal" refers to the distinction of having performed the consecration. "It should not be shown" is because it should not be shown to those who do not possess the samaya of Mahākāla. From the words "Amṛta" to "it should be shown," this refers to the samayas to be practiced, so that one is not separated from them. "The Body" means the consecrated form. This is because, having possessed the characteristics of a Guru and completed the approach practice, one should perform the consecration.
"Desiring to accomplish" means having obtained permission; specifically, having obtained permission for the empowerment of the vratas of Mahākāla. "The Blessed One spoke" refers to the teaching summarized for the retinue of the samaya-cakra. This is the chapter on maintaining the samaya. This is the tenth chapter, the explanation of the samaya chapter.
In a delightful royal palace, a great site endowed with discipline, having received the sunlight from the lotus-like speech of the former guru Nāgārjuna, the protector Vimala Aśvaghoṣa performed many gaṇacakra feasts in the glorious Hevajra maṇḍala. Having offered excellent supplications, he obtained the permission of the Protector and composed a brief commentary on the glorious Mahākāla Tantra, which emerged from the uṣṇīṣa of its head. I have written this; may those who know reality grant me their forbearance.
For the sake of protecting the teaching of the Sugata and for the sake of subduing the malice of wandering beings, I have composed this commentary. By whatever stainless virtue and other merit I have gained, may all sentient beings become Vajradharas. The commentary on the glorious Mahākāla Tantra, composed by the glorious Aśvaghoṣa, is complete.