*9.2.14. Features of the Man. d. ala*

dbus su ni chos kyi 'byung gnas gru gsum pa'i nang du'o//**(D 5r7)** gnyis pa gru bzhi pa la/1266 gsum pa grwa lnga pa dang/1267 bzhi par zur drug pa'i nang du ste/ mdog dmar po steng du bltas pa rnams so//

→ *D. ak¯ arn ¯ . ava*, 15.255.

In the middle, inside [the enclosure], there is the origin of phenomenal existences (\**dharmodaya¯*), triangle [in shape];<sup>1268</sup> the second [*dharmodaya¯*] is square; the third is pentagonal; and the fourth is hexagonal. In the interior of [them there are fires] colored red, [which] face (flame) upward.

dkyil 'khor gsum ni zlum po yin la kun gyi phyi ma ni gru bzhi pa ste/ kun kyang gzhal yas khang gi rgyan thams cad dang ldan pa dur khrod dang **(D 5v1)** bcas pa'o//

→ *D. ak¯ arn ¯ . ava*, 15.100c–102b.

The three man. d. alas (layers) are round, and the outermost [layer] is square [in shape]. All [four layers] are provided with all ornaments [that are the same as those] of the divine palace and contain the charnel grounds.

dkyil 'khor nang ma ni g-yas g-yon gnyis kyi rlung gnyis dbu mar 'dus pa'i rang bzhin gnag pa dang sngo ba'i rtsig pa gnyis pa'o// gnyis pa ni sku gsung thugs dag pa'i rang bzhin sngo ba dang dmar po dang dkar po'i rtsig pa gsum dang ldan pa'o// **(D 5v2)** gsum pa ni dga' ba bzhi dag pa'i rang bzhin sngon po dang ser po dang dmar po dang ljang gu'i ri mo bzhi dang ldan pa'o// kun gyi phyi rol ni ye shes lnga dag pa ste phyi rol du dkar po dang bcas pa'o//

→ *D. ak¯ arn ¯ . ava*, 15.94cd, 100c–101b, 144ab, 184cd, and 225.

The innermost man. d. ala (layer) is [provided with] two lines (*rtsig pa*),<sup>1269</sup> [which are] of the nature of collecting into the middle [channel] the two [currents of] vital air in both the right and the left [channels and which are colored] black and dark blue, [respectively]. The second [layer] is provided with three lines (*rtsig pa*), [which are] of

<sup>1266</sup> bzhi pa la ] D; bzhi pa las P.

<sup>1267</sup> grwa ] D; gru P.

<sup>1268</sup> I have interpreted the text *...pa'i nang du'o* as *...pa nang du'o* with reference to the *D. ak¯ ar¯ n. ava* (15.255ab), *dharmodayabhyantare ¯* , which means "there is the origin of phenomenal existences inside".

<sup>1269</sup> Literally, *rtsig pa* means "wall". I have interpreted it as "line" because it is *rekha¯* (line or row) in the Sanskrit *D. ak¯ arn ¯ . ava* and *ri mo* in the following passage.

the nature of the body, speech, and mind [and which are colored, respectively] dark blue, red, and white. The third [layer] is provided with four lines (*ri mo*), [which are] of the nature of the Four Pleasures [and which are colored] dark blue, yellow, red, and green, [respectively]. The outermost [layer] is provided with [five lines], [which are of the nature of] the fivefold gnosis [and whose] outermost [line] is white.1270

kun gyi dkyil 'khor dbus ma'i dbus su sna tshogs pa dma 'dab ma bzhi bcu rtsa brgyad pa/ **(D 5v3)** lte ba la nyi ma'i steng du 'jigs byed chen po dang dus kyi mtshan mo'o// de'i phyi rol du 'khor lo rim pa gsum pa dang ldan pa/1271 de'i phyi rol bskal pa bzang po'i snam bu dang bcas pa'o// phyi ma rnams la yang dus kyi pa dma ma gtogs pa'o//

In the middle of the innermost layer<sup>1272</sup> is a lotus with forty-eight petals of various colors. At the center [of the lotus there is] a sun [disk], on [which] Mahabhairava and ¯ Kalar ¯ atr ¯ ¯ı are [placed]. Outside that [lotus there are] three concentric circles. Outside them is the cloth (*snam bu*) (viz., the outer part of the innermost layer), on [which the Victors during] the Auspicious Eon are [placed]. The lotus of time (*dus kyi pa dma*, viz., the lotus of various colors at the center) is not a part of the outer [circles], either.<sup>1273</sup>

pa dma'i phyi rol nas nang gi phyi ma'i **(D 5v4)** 'khor lo'i bar gyi mtshams rnams kyi phreng ba ni/ rim pa bzhin du (1) gri gug dang (2) rin po che dang (3) rdo rje dang (4) pa dma dang (5) 'khor lo dang (6) ral gri dang (7) sna tshogs rdo rje dang (8) thod pa dang (9) mgo bo dang (10) keng rus dang (11) zhags pa dang (12) lcags kyu'i phreng ba rnams kyis bskor ba'o//

→ *D. ak¯ arn ¯ . ava*, 15.22–23.

Outside the lotus, on the divisions between the inner and the outer circles (viz., on the twelve circles),1274 there are [these] circular patterns: The circular patterns of (1)

<sup>1270</sup> The colors of the other four lines are similar to those of the four lines on the third layer. That is to say, the five lines on the fourth layer are colored dark blue, yellow, red, green, and white.

<sup>1271</sup> gsum pa ] D; gsum P.

<sup>1272</sup> Literally, *kun gyi dkyil 'khor dbus ma* can be translated as "the central man. d. ala of all". It indicates the innermost layer.

<sup>1273</sup> The meaning of the line *phyi ma rnams la yang dus kyi pa dma ma gtogs pa'o* is obsure. I have interpreted "the lotus of time" as indicating the lotus with forty-eight petals of various colors located at the center. The lotus is not a part of the three concentric circles that encircle it.

<sup>1274</sup> The text *nang gi phyi ma'i 'khor lo'i bar gyi mtshams rnams* can be literally translated as "the divisions between the inner and the outer circles". The "divisions" indicate the twelve circles. The text is *cakracakrake* ("respective circles" or "every circle") in the parallel passage in the Sanskrit *D. ak¯ ar¯ n. ava* (15.23b).

knife, (2) jewel, (3) vajra, (4) lotus, (5) disk, (6) sword, (7) crossed vajra, (8) skull bowl, (9) hairless head, (10) skeleton, (11) noose, and (12) hook are arranged, respectively.

'khor lo'i rtsibs **(D 5v5)** rnams ni sum cu rtsa drug go// 'khor lo'i rtsibs re re'i steng du'ang ro'i gdan re re'o// de bzhin du pa dma'i 'dab ma lha'i gnas rnams dang sgo dang mtshams rnams su yang ngo// lha'i gnas ma yin pa mtshams kyi pa dma rnams la ni rin po che'i bum pa re re'o//

→ *D. ak¯ arn ¯ . ava*, 15.23c, 58cd.

[Every] circle is provided with thirty-six spokes. A corpse [used] as a seat is also [set] on every circle's spoke. Likewise, [corpse seats are] also [set] on the lotus petals [where] deities reside and on the gates and intermediate [directions].1275 A jewelry pot is [placed] on every in-between [petal of the] lotus [where] no deity resides.1276

'khor lo'i **(D 5v6)** kha dog rnams ni 'chad par 'gyur te/ de ltar rten gyi dkyil 'khor dmigs te rgyas par ni 'chad par 'gyur ba rnams kyis kyang shes par bya'o//

The colors of the circles are elucidated [below]. Having relied on the foundation man. d. ala thus [described], one should also have [more] knowledge [of it] through the detailed explanation [provided below].

*9.2.15. The Innate Layer (1): Drop Circle*

9.2.15.1. Causal Heruka with His Female Consort: The Fivefold Gnosis (\**pañcajñana ¯* )

de nas 'jigs byed dang dus mtshan gyi steng gi char a li nyis 'gyur g-yon ¯ skor las de'i gzugs brnyan dang ldan pa'i zla ba **(D 5v7)** bsgom pa ni me long lta bu'o//1277

Now, on [the physical bodies of] Bhairava and Kalar ¯ atr ¯ ¯ı, two circular rows of vowels are [arranged] counterclockwise, [and] from [the vowels] a moon [disk] with a reflected image of them (the same vowels) [arises]: [this] visualization [has the nature of] the mirror-like [gnosis] (\**adar´ ¯ sajñana ¯* ).

<sup>1275</sup> The phrase *sgo dang mtshams rnams* ("the gates and intermediate quarters") indicates the outermost circles of the four layers, on which there are four gates (located at the four cardinal directions) and the places between the four gates (at the four intermediate directions).

<sup>1276</sup> The meaning of this line is as follows. The lotus has forty-eight petals. Twenty-four d. akin ¯ ¯ıs are seated on twenty-four of the forty-eight petals, leaving a petal between them. Jewelry pots are placed on the empty petals that are located between the petals where the d. akin ¯ ¯ıs reside.

<sup>1277</sup> g-yon skor ] D; g-yon bskor P.

de'i steng du ka li yar la wa ¯ d. a d. ha dang bcas pa nyis 'gyur g-yon skor las de'i gzugs brnyan dang bcas pa'i nyi ma ni mnyam pa nyid kyi ngo bo'o//<sup>1278</sup>

On that [moon disk], two circular rows of consonants with [the letters] *ya*, *ra*, *la*, *va*, *d. a*, and *d. ha* are [arranged] counterclockwise, [and] from [those letter] a sun [disk] with a reflected image of them [arises]: [this has] the nature of the [gnosis of] sameness (\**samatajñ¯ ana ¯* ).

de gnyis kyi dbus su steng gi hu¯m. zhugs te/ 'khor lo bcu gnyis kyi lha rnams spros te/ 'gro ba thams **(D 6r1)** cad de'i bdag nyid can du byas nas 'dus te/1279 de nyid du zhugs pas rdo rje sngon po rtse lnga pa lte ba la hum¯ . gis byin gyis brlabs pa ni so sor rtog pa'i rang bzhin no//

[The letter] *hu¯m.* is placed on the central portion of those two [moon and sun disks]; [from the *hu¯m.* ] the deities on the twelve circles come out, and [the deities] change all living beings into ones having the nature of the [deities themselves]; then, [the deities] gather and enter the same [*hu¯m.* ]; from [that] a vajra [arises], [which is colored] dark blue, five-pronged, and blessed (marked) with *hu¯m.* at the center: [this has] the nature of the [gnosis of] specific knowledge (\**pratyaveks. ajñ¯ ana ¯* ).

hu¯m. las kyang 'od zer sna tshogs dpag tu med pa byung ste/ sngar lha nyid du bsgrubs pa ma lus pa **(D 6r2)** dang gdod ma nas grub pa thams cad bkug ste/ de nyid du gzhug pa 'di ni bya ba grub pa'o//1280

Likewise, from [the letter] *hu¯m.* , hosts of multicolored rays are emitted; [the rays] summon all [living beings, who] became deities earlier<sup>1281</sup> and all [that] have been accomplished from the beginning; and [they all] enter that same [*hu¯m.* ]; this [has the nature of the gnosis of] carrying out activities (\**kr.tyanus ¯ .t.hanajñ ¯ ana ¯* ).

de rnams thams cad yongs su gyur pa las rgyu'i he ru ka bskyed pa ni chos kyi dbyings shin tu rnam par dag pa'i ngo bo ste/ de yang/1282

All of them are transformed, and Causal Heruka is developed; [this has] the nature of the [gnosis of] the perfectly pure dharma realm (\**suvi´suddhadharmadhatu ¯* ). This is [expounded as follows]:

<sup>1278</sup> g-yon skor ] D; g-yon bskor P.

<sup>1279</sup> bdag nyid can du ] D; bdag nyid can P.

<sup>1280</sup> gzhug pa ] D; bzhug pa P.

<sup>1281</sup> See the *Ratnapadmaraganidhi ¯* , D 5v7–6r1, translated previously.

<sup>1282</sup> de yang ] D; yang P.

/sku mdog dkar po zhal bzhi pa/ /spyan gsum **(D 6r3)** phyag ni bcu gnyis pa/

/shes rab kha sbyor sbyor bdag nyid/ /byis pa'i rgyan gyis brgyan pa'o// /dkar dang ljang gu dmar po dang/1283 /ser po g-yon nas bskor ba 'o/ /zhal gyi ral pa'i cod pan la/ /sna tshogs rdo rje zla phyed 'dzin//

→ *D. ak¯ arn ¯ . ava*, 15.17–18.

[Causal Heruka] is white in color, [has] four faces, [has] three eyes [on each], [has] twelve arms, is devoted to the yoga of union with wisdom (his female consort), and is adorned with fresh ornaments. [His four faces are], counterclockwise, white, green, red, and yellow, [respectively]. [He has] twisted locks of hair and has a crossed vajra and a crescent moon on the face (head).

/'phrog byed dkar mo mnyam par **(D 6r4)** mnan/ /g-yas brkyang zhabs kyis yang dag bzhugs/ /(1) rdo rje (2) dril bu (3)(4) glang chen gyi/ /pags pa (5) cang te'u (6) gri gug dang// /(7) dgra sta (8) rtse gsum de bzhin du/ /(9) kha t.wa¯m. ga (10) snod (11) zhags pa dang// /(12) mgo ste g-yon dang g-yas par ro//

→ *D. ak¯ arn ¯ . ava*, 15.19–20c.

[He] stands in the al¯ ¯ıd. ha posture with the feet placed on both Hara and Gaur¯ı. [He holds] (1) a vajra and (2) a bell, (3)(4) an elephant's skin, (5) a drum, (6) a knife, and likewise (7) an axe, (8) a trident, (9) a skull staff, (10) a pot, (11) a noose, and (12) a hairless head in the left and right [hands].

/shes rab rang dang 'dra ba la/ /'on **(D 6r5)** kyang bud med mtshan nyid ldan//

Wisdom (his female consort) resembles him in appearance, but [she] has feminine features.

9.2.15.2. Service (\**seva¯*)

de nas de nyid kyi thugs kar nyi ma la gnas pa'i hu¯m. gi sa bon blta bar bya ste 'di ni bsnyen pa'o//

Subsequently, he should visualize the seed [letter] *hu¯m.* present on a sun [disk] in the heart of that same one (Causal Heruka). This is the Service (\**seva¯*).

<sup>1283</sup> dmar po ] D; dmar ba P.

#### 9.2.15.3. Auxiliary Service (\**upaseva¯*)

de nas yab kyi gsang ba'i rdo rje mi dmigs pa las hu¯m. sngon po las rdo rje sngon po rtse lnga pa'o//<sup>1284</sup> yi ge byam. dmar ser las nor bu ste de nyid kyis **(D 6r6)** byin gyis brlabs pas/ bu gar phat. ser po mgo phyir bstan pa'o// a¯h. dmar po las yum. gyi pa dma dmar po 'dab ma gsum pa/ dya¯m. dkar ser las ze 'bru de nyid kyis mtshan pa/ bu gar phat. ser po mgo phyir bstan pa'o//1285

Subsequently, from the father's (Causal Heruka's) secret vajra, [which is] imperceptible, [the letter] *hum¯ .* , dark blue, [appears]; from [the *hum¯ .* ], a five-pronged vajra, [which is] dark blue, [is developed]. From the letter *byam.* , reddish-yellow, a gem [emerges]. [The gem is] blessed (marked) with that same [letter, *byam.* ]. In the opening [of the gem there is the letter] *phat.*, yellow and facing outward. From [the letter] *a¯h.* , red, the mother's (his female consort's) lotus, red and three-petaled, [emerges]. From [the letter] *dya¯m.* , whitish-yellow, anthers and pistils marked with the same one (*dya¯m.* ) [manifest]. In the opening [of the lotus] is [the letter] *phat.*, yellow and facing outward.1286

de nas rig ma la rdo rje phag mo'i snying po dang nye ba'i **(D 6r7)** snying po dang bcom ldan 'das kyi snying po dang nye ba'i snying po rim pa ji lta bus lte ba dang snying ga dang mgrin pa dang dpral bar bkod de tsu mba na zhes bya'o//<sup>1287</sup> de bzhin du bcom ldan 'das mas kyang/ de nyid kyi snying po dang nye ba'i snying po mgrin pa dang dpral bar bkod de rang nyid kyi lte ba **(D 6v1)** dang snying gar bkod la tsu mba na zhes bya'o//<sup>1288</sup>

<sup>1284</sup> mi dmigs pa las ] D; mi dmigs pa la P.

<sup>1285</sup> See Prajñarak ¯ s.ita's *Cakrasam. varabhisamayapañjik ¯ a¯* (Skt ed. (Sakurai 2005), 8 (c): p. 164, l. 8–l. 11): *kuli´sadi´ ¯ sodhanam ucyate // ´suklahu¯m. kare ¯ n. a vajram. kr.s.n. am / raktabyak¯ are ¯ n. araktatanma ¯ n. ih. p¯ıtabyak¯ ar¯ adhi ¯ s.t.hitagra ¯ h. / a¯h. kare ¯ n. a raktatridalam. padmam / dyakare ¯ n. a v¯ırabodhicittopalaks. akam. sitakiñjalkam. p¯ıtadyakar¯ adhis ¯ .t.hitagram /. ¯* <sup>1286</sup> Although there are minor differences, a similar visualization (called *kuli´sadi´ ¯ sodhanam*, "purification of

the vajra and so on") can be found in Prajñarak ¯ s.ita's *Cakrasam. varabhisamayapañjik ¯ a¯* (Skt ed. (Sakurai 2005), 8 (c): p. 164, l. 8–l. 11). According to Prajñarak ¯ s.ita, a vajra, which is black, is developed from the white letter *hu¯m.* . A gem, which is reddish, is produced from the red letter *bya* (meaning *byam.* ). The head of the gem is marked with the yellow *bya* (*byam.* ). A red three-petaled lotus is developed from the letter *a¯h.* . The gem has white anthers and pistils, which are developed from the letter *dya* (*dyam.* ), and the top of them is marked with the *dya* (*dyam.* ).

<sup>1287</sup> snying ga dang mgrin pa dang ] D; snying kha dang mgrin pa P ♦ tsu mba na zhes ] D; tsum pa na P. <sup>1288</sup> tsu mba na zhes ] D; tsum pa na P ♦ For this passage, see Prajñarak ¯ s.ita's *Cakrasam. varabhisamayapañjik ¯ a¯* (Skt ed. (Sakurai 2005), 8 (c): p. 164, l. 12–l. 16): *...devya h ¯ r.dayopahr.dayamantrabhy ¯ an n ¯ abhau h ¯ r.di / tatha svah ¯ r.dayopahr.dayamantrabhy ¯ a¯m. kan. t.he lala¯t.e ca/bhagavat¯ım. bhagavan cumbayet // bhagavat ¯ ¯ı ca bhagavaddhr.dayopahr.dayamantrabhy ¯ am¯ . kan. t.halalat¯.ayor bhagavantam. cumbayet //.*

Then, [Causal Heruka] kisses [his] female consort after having placed Vajravah¯ ah¯ ¯ı's heart and auxiliary heart [mantras] on the navel and heart<sup>1289</sup> and the Blessed One's heart and auxiliary heart [mantras] on the throat and forehead,1290, respectively;1291 that is taught. Similarly, the Mistress (female consort) also kisses [Causal Heruka] after having placed his heart and auxiliary heart [mantras] on the throat and forehead and her own [heart and auxiliary heart mantras] on the navel and heart; that is taught.1292

de nas yi ge gsum brjod cing dga' ba brtsam par bya ste/ snying ga'i sa bon gyi 'od zer dang rdo rje dang pa dma'i dga' ba'i sgras phyogs bcu'i de bzhin gshegs pa thams cad bskul te/ zhal du zhugs nas lha mo'i pa dmar babs **(D 6v2)** pa dang gnyis ka bde ba chen po lhan cig skyes pa'i ngo bor zhu bar gyur pa dngul chu'i rdog ma lta bu ste 'di ni nye ba'i bsnyen pa'o//

→ *D. ak¯ arn ¯ . ava*, 15.24a.

Subsequently, reciting the three letters,1293 he should undertake pleasure: by means of rays from the seed [letter *hu¯m.* ] in [his] heart and [by means of] the sound from the pleasure of [sexual union of] the vajra and the lotus (male and female organs), all tathagatas in the ten directions are invoked, come into [his] mouth, and [through his ¯ vajra] flow into the lotus of [his consort] goddess.<sup>1294</sup> Then, both [he and his female consort] melt into the great pleasure of the nature of the innate [and become] like a drop of quicksilver.1295 This is the Auxiliary Service (\**upaseva¯*).

<sup>1289</sup> Vajravah¯ ah¯ ¯ı's heart and auxiliary heart mantras are *om. vajravairocan¯ıye hu¯m. hu¯m. phat. svah¯ a¯* and *om. sarvebuddhad. akin ¯ ¯ıye vajravarn. an¯ıye hu¯m. hu¯m. phat. svah¯ a¯*, respectively. In the *Ratnapadmaraganidhi ¯* , they are taught in the D 24v3 translated below.

<sup>1290</sup> The Lord's (Heruka's) heart and auxiliary heart mantras are *om. sr´ ¯ıvajra-he-he-ru-ru-kam. hu¯m. hu¯m. phat. d. akin ¯ ¯ıjalasa ¯ m. varam. svah¯ a¯* and *om. hr¯ıh. ha ha hu¯m. hu¯m. phat.*, respectively. In the *Ratnapadmaraganidhi ¯* , they are taught in D 22v4–v5 translated below.

<sup>1291</sup> The literal translation of this sentence is "after having placed Vajravah¯ ah¯ ¯ı's heart and auxiliary heart [mantras] and the Lord's heart and auxiliary heart [mantras] on the navel, heart, throat, and forehead in this order".

<sup>1292</sup> The parallel passage found in Prajñarak ¯ s.ita's *Cakrasam. varabhisamayapañjik ¯ a¯* (Skt ed. (Sakurai 2005), 8 (c): p. 164, l. 12–l. 16) does not contain the process of placing the Mistress's heart and auxiliary heart mantras on the navel and heart when the Mistress kisses her Lord.

<sup>1293</sup> Perhaps the three letters are *om.* , *ah¯.* , and *hum¯ .* . <sup>1294</sup> This is based on a procreation theory that is (perhaps) widely found in the Indian Classics: a man and a woman have sex, by which a soul is attracted, enters the man's body through the mouth, and then enters the woman's womb through the man's penis.

<sup>1295</sup> This line means this: Through sexual union, both Causative Heruka and his wife are absorbed into the experience of great pleasure or nondual reality; then, their physical bodies melt and become one to resemble a drop of quicksilver.

#### 9.2.15.4. Perfect Realization (\**sadhana ¯* )

de nas byams pa dang snying rje dang dga' ba dang btang snyoms kyi rang bzhin mkha' 'gro ma la sogs pa'i rnal 'byor ma nyi shu rtsa bzhi thig le de nyid las **(D 6v3)** 'thon te/ rang rang gi gnas su pa dma'i 'dab ma rnams la 'dug nas bskul bar mdzad pa ste/

Now, the twenty-four yogin¯ıs, starting with D. akin ¯ ¯ı, [whose] natures are mercy, compassion, sympathetic joy, and equanimity,<sup>1296</sup> emerge from the same drop, are seated on their respective seats on lotus petals, and entreat [the melted Lord].

de yang mkha' 'gro ma la sogs pa drug gis mgrin gcig tu/ /mnga' bdag nyi ma re rer 'gro ba mgron 'bod na/ /khyod ni ci yi phyir na stong pa nyid du bzhugs/1297 /bzhengs shig bzhengs **(D 6v4)** shig bdag ni snying rje'i rang bzhin te/ /rdo rje 'dzin pa bde chen bdag la 'dod pa mdzod//1298

→ *D. ak¯ arn ¯ . ava*, 15.25.

The six [yogin¯ıs] starting with D. akin ¯ ¯ı <sup>1299</sup> [entreat thus] with one voice—"O Lord, though people invite [you] to feast every day, why do you remain in emptiness? Please arise, please arise, O Lord, the compassionate one! Please love me. O you Great Pleasure, vajra-holder!"

la ma la sogs pa rnams kyis/ ¯ /gson cig gson cig gzhan gyi dgos pa nub/ /'jig rten phyugs gang shi ba bzhin du gyur/ /bdag gi pa dma rgyas pa la 'dod mdzod/ /de ltar **(D 6v5)** 'jig rten kun bder gyur par byos//

→ *D. ak¯ arn ¯ . ava*, 15.26.

[The next six yogin¯ıs] starting with Lam¯ a¯1300 [entreat thus]—"Please listen, please listen. The welfare of others has disappeared. As (*gang*) animals (people) are dying, so (*de ltar*) please love my blooming lotus, please make all of the people happy."

<sup>1296</sup> They are the twenty-four yogin¯ıs residing on the Drop Circle. These yogin¯ıs are divided into four: D. akin ¯ ¯ı and another five, Lam¯ a and another five, Kha ¯ n. d. aroha and another five, and R ¯ upi ¯ n.¯ı and another five. These four groups are associated with mercy, compassion, sympathetic joy, and equanimity, respectively.

<sup>1297</sup> ci yi ] D; ci'i P.

<sup>1298</sup> rdo rje ] D; rdo rje'i P.

<sup>1299</sup> The six yogin¯ıs are (1) D. akin ¯ ¯ı, (2) Rupik ¯ a, (3) Cumbik ¯ a, (4) Par ¯ avr ¯ .tta, (5) Sab ¯ alik ¯ a, and (6) Anuvart ¯ ¯ı.

<sup>1300</sup> These six yogin¯ıs are (7) Lam¯ a, (8) Yog ¯ ¯ı´svar¯ı, (9) Bhadra, (10) Kap ¯ alin ¯ ¯ı, (11) Kank˙ alik ¯ a, and (12) ¯ Raj ¯ avart ¯ ¯ı.

dum skyes ma la sogs pas/ /rdo rje 'dzin pa bdag la rol cig rol/ /lhan skyes rang bzhin brjod du med pa 'thob/ /sems can 'jig rten gzhan ni rmongs gyur pas/ /ji ltar khyod ni stong pa don med gyur//

→ *D. ak¯ arn ¯ . ava*, 15.27.

[The next six yogin¯ıs] starting with Khan. d. aroha¯<sup>1301</sup> [entreat thus]—"Please have sex, have sex with me, O Vajra-holder. The nature of the innate is beyond words. The other sentient beings are stupefied. As long as you are in emptiness, it is useless."

gzugs can ma la sogs **(D 6v6)** pas kyang/ /khyod ni chos rnams kun gyi byed pa ste/ /ci phyir lhan skyes rang bzhin 'gro med bzhugs/ /bdag la mchog gi don gyis 'dod pa mdzod/ /ji ltar khyod ni 'jig rten rnam mthun bzhud//

→ *D. ak¯ arn ¯ . ava*, 15.28.

[The next six yogin¯ıs] starting with Rupin ¯ .¯ı <sup>1302</sup> also [entreat thus]—"You are a cause of all phenomenal existences. Why do you not come to and reside in the nature of the innate? Please love me in terms of the ultimate reality, so that you become equal to the world."

de nas de rnams thig le de nyid la zhugs par blta'o//

Then, he sees those [yogin¯ıs] enter that same drop.

de nas thig le de nyid yongs **(D 6v7)** su gyur pa las hu¯m. gi yi ge sngon po'o// de las rdo rje sngon po rtse lnga pa lte bar hu¯m. ljang sngon dang bcas pa'o// de yongs su gyur pa las dkyil 'khor pa dang bcas pa skad cig gis rdzogs par blta ba ni gsang sngags 'di 'don bzhin pa'o//

→ *D. ak¯ arn ¯ . ava*, 15.24.

Subsequently, that same drop is transformed into the letter *hu¯m.* , dark blue. From that is [produced] a vajra, [which is] dark blue, five-pronged, and provided with the greenish-dark blue *hu¯m.* at the center. That [vajra] is transformed and [the whole

<sup>1301</sup> These six yogin¯ıs are (13) Khan. d. aroha, (14) ¯ Sma´ ´ san¯ ¯ı, (15) Vidrav¯ı, (16) Kurukullika, (17) Rudant ¯ ¯ı, and (18) Nat.¯ı.

<sup>1302</sup> These six yogin¯ıs are (19) Rupin ¯ .¯ı, (20) Bhairav¯ı, (21) Sikh ´ ¯ı, (22) Sikhan ´ . d.¯ı, (23) Jat.il¯ı, and (24) Rudra. ¯

man. d. ala] including the man. d. ala deities completely comes forth in an instant. He visualizes [thus] with the recitation of this mantra.1303

de yang/ /glu 'dis rjes su bskul ba yis/ /**(D 7r1)** rang nyid he ru kar rab sad/ om. ah¯ . kayav ¯ ak¯ **citta**vajra hum¯ . phat. hoh. /1304 /gsang sngags 'di ni 'don pa na/ /skad cig rnam pa'i rnal 'byor ldan/ /skad cig sngags pas byung bdag nyid/ /dpa' bo kun dang rnal 'byor ma'o//

→ *D. ak¯ arn ¯ . ava*, 15.29–30.

In this regard—then, entreated with the [above] song, Heruka has been aroused by himself.<sup>1305</sup> "*Om. , a¯h.* , the body, speech, and mind adamantine, *hu¯m. phat. hoh.* "—with recitation of this mantra, [the practitioner] engages in the yoga of the nature of an instant. The hero of all (Heruka), and [his consort] yogin¯ı (Vajravar¯ ah¯ ¯ı), by nature, instantly emerge with the mantra.

/'jigs byed mtshan mo nag mo **(D 7r2)** dang/1306 /lte ba nyi ma me mchog la/

/gar du mdzad pa yi ni sku/ /gnag dang ljang gu phyed phyed do//

/bdun cu rtsa drug phyag dang ni/ /zhal bcu bdun la spyan gsum pa/

/dpa' bo ral pa'i cod pan 'dzin/ /sna tshogs rdo rje zla phyed can//

/mche ba chen po gtsigs pa'i zhal/**(D 7r3)** /g-yas dang g-yon pa rtag tu ni/

/ser ba dang ni ljang gur grags/1307 /nub ni dmar po de bzhin te// /lhag ma'i zhal ni bung ba mtshungs/ /mche ba gtsigs pa 'jigs par byed/

→ *D. ak¯ arn ¯ . ava*, 15.31–34b.

[He should meditate on Heruka, who stands on] Bhairava and Kalar ¯ atr ¯ ¯ I on fire on the sun [disk] on the pericarp [of the lotus] and is dancing; [has] the body [which is] half black and half green; [is complete with] seventy-six arms: [has] seventeen [faces] with three eyes [on each]; wears a crown of twisted locks of hair; is a hero; [has] a crossed vajra [on top of the head] and a half moon [on the head]; and always has [his] mouth open [and shows] large fangs from the right and left [parts of the

<sup>1303</sup> This mantra seems to indicate the mantra *om. a¯h. kayav ¯ akcittavajra h ¯ u¯m. phat. hoh.* , which is taught below. <sup>1304</sup> -kcitta- ] P; ktsa tti D.

<sup>1305</sup> The *glu 'dis rjes su bskul ba yis* is *idam. g¯ıtanurodhena ¯* in the Sanskrit text of the *D. ak¯ ar¯ n. ava*, 15.29a. In this passage, *idam.* (*'dis* in Tib) means "now" or "then" and not "this [mantra]".

<sup>1306</sup> 'jigs byed ] D; 'jigs byad P.

<sup>1307</sup> ljang gur ] D; ljang khur P.

mouth]. [The face looking to the south is] yellow, [the face to the north is] green, and [the face to] the west is red.<sup>1308</sup> The other [fourteen faces] are colored like a black bee. [He should meditate on Heruka, who is] grinning and terrifying.

/rim pa ji lta'i mtshon cha'i tshogs/ /g-yas dang g-yon par shes par bya// /(1) glang chen **(D 7r4)** pags pa phyag gnyis kyis/ /(2) skye gnas phyag rgya de bzhin gzhan/

→ *D. ak¯ arn ¯ . ava*, 15.34c–35b.

Weapons are to be known in the right and left [hands] in order. (1) An elephant's skin is [grasped] with [the first] two hands (the first pair of right and left hands), and (2) the womb hand gesture, with the second [pair of right and left hands].

/(3) rdo rje (4) ral gri (5) mdung rings dang/ /(6) rtse gsum ji lta'i rim pas g-yas//

/(7) dgra sta (8) gri gug (9) mda' dang ni/ /(10) gsal shing phub dang (11) tho ba dang/

/(12) 'khor lo (13) cang te'u (14) chu gri dang/ /(15) dbyug to dang ni (16) mtshon rtse gcig// **(D 7r5)**

/(17) dud dang (18) zangs dung (19) dbyi gu dang/<sup>1309</sup> /(20) rma bya'i mjug ma de bzhin du/

/(21) bya rog sgro dang pir dang ni/ /(22) me yi thab dang (23) ri bo dang//

/(24) dbyig pa (25) me long (26) pi wang dang/1310 /(27) rkang mgo (28) lag pa (29) glo ba dang/

/(30) rgyu ma (31) sgra gcan (32) lcags sgrog dang/1311 /(33) gdos dang (34) dum bu sa (35) nya rgya//

/(36) mgo med (37) 'bar ba'i **(D 7r6)** mar nag dang/ /(38) 'jigs byed gzugs te rim pas so/

→ *D. ak¯ arn ¯ . ava*, 15.35c–39b.

[These objects are placed] in the right [hands] in order—(3) a vajra, (4) an *asi* sword, (5) a *kunta* lance, (6) a trident, (7) an axe, (8) a knife, (9) an arrow, (10) a pike-spiked

<sup>1308</sup> The text /*ser ba dang ni ljang gur grags/ /nub ni dmar po de bzhin te//* is identical to the Tibetan text of the parallel line in the *D. ak¯ ar¯ n. ava* (15.33c). I have translated this. However, its Sanskrit is *p¯ıtaraktakramen. a ca* ("[Three faces looking to the south, west, and north are colored] yellow, red, and in order [viz., green, respectively.]").

<sup>1309</sup> dbyi gu ] D; dbyig gu P.

<sup>1310</sup> pi wang ] D; pi wam. P.

<sup>1311</sup> rgyu ma ] D; sgyu ma P ♦ lcags sgrog ] D; lcags sgrogs P.

corpse, (11) a hammer, (12) a disk, (13) a *d. amaru* drum, (14) a short sword, (15) a club, (16) a short javelin, (17) a conch shell, (18) a copper trumpet, (19) a short club, and (20) a tail-feather of a peacock, (21) a crow's feather quill,<sup>1312</sup> (22) a fire pit, (23) a mountain, (24) a stick, (25) a mirror, (26) a lute, (27) the foot, (28) the hand, (29) the lungs, (30) the small intestine, (31) Rahu, (32) an iron chain, (33) wooden fetters, (34) ¯ [an object called] *dumbusa*, <sup>1313</sup> (35) a fish trap, (36) a decapitated corpse, (37) flaming sesamum, and (38) physical Bhairava (or a thing that appears horrible), in order.

/g-yon par (3) dril bu (4) phub rings (5) mche/ /(6) gtun shing (7) zhags pa (8) thod pa dang//

/(9) gzhu dang (10) kha t.wa¯m. ga (11) **pu** sti/1314 /(12) phub chung yu can (13) sdigs mdzub dang/

/(14) g-yer ka'i phreng dang (15) lcags sgrog dang/1315 /(16) brag dang (17) dur khrod rdul dang ni//**(D 7r7)**

/(18) bho kam (19) rnga dang (20) lpags rlon dang/1316 /(21) skra yi thag pa 'phyang ba dang/

/(22) ro bsreg bskul ba'i shing bu dang/1317 /(23) '**phongs** dang (24) phub rings (25) mgo bo dang//1318

/(26) keng rus (27) zor ba de bzhin du/ /(28) mig dang (29) **mkhal** ma (30) gnye ma dang/1319

/(31) spen pa dang ni (32) phur bu dang/ /(33) sa bon gang ba (34) sog le dang//

/(35) **khab** dang (36) slud **(D 7v1)** bshus pags pa dang/<sup>1320</sup> /(37) sprin **char** 'bab dang (38) shing lcags kyu/<sup>1321</sup>

→ *D. ak¯ arn ¯ . ava*, 15.39c–43b.

In the left [hands], there are (3) a bell, (4) a *khet.a* shield, (5) a tusk, (6) a pestle, (7) a noose, (8) a skull bowl, (9) a bow, (10) a skull staff, (11) a scripture,1322 (12)

<sup>1312</sup> The *bya rog sgro dang pir* (literally, "a crow's feather and a pen [quill]") is *kakapak ¯ s.a-m. -kucik ¯ a¯* for *kakapaks ¯ . akucik ¯ a¯* (metri causa: "a crow's feather quill") in the *D. ak¯ arn ¯ . ava*, 15.37c.

<sup>1313</sup> The text is *dum bu sa*. In the Sanskrit *D. ak¯ arn ¯ . ava* (15.38d), it is *durbhus¯. <sup>a</sup>*, whose Tibetan is *du bhu sa*. <sup>1314</sup> pu sti ] *corr.*; bu sti D; po ti P ♦ lcags sgrog ] D; lcags sgrogs P.

<sup>1315</sup> g-yer ka'i ] D; g-yer ga'i P.

<sup>1316</sup> lpags ] D; pags P.

<sup>1317</sup> ro bsreg ] D; ro bsregs P.

<sup>1318</sup> 'phongs ] P; 'phangs D ♦ phub ] D; phu P.

<sup>1319</sup> mkhal ma ] P; mkha' ma D.

<sup>1320</sup> khab ] *em.*; kha DP; cf. khab *D. ak¯ ar¯ n. ava* (15.43a) ♦ slud bshus pags pa ] D; slud bshud pags pa P; cf. slud bshus pags pa (for kayacarma) ¯ *D. ak¯ arn ¯ . ava* (15.43a). *Slud* is not clear.

<sup>1321</sup> char ] P; tshar D.

<sup>1322</sup> The word *bu sti* is *pusta* in the parallel line in the Sanskrit *D. ak¯ arn ¯ . ava* (15.40a), whose Tibetan is *po ti*.

bucklers,1323 (13) the threatening hand gesture, (14) a string of jingle bells, (15) a chain, (16) a rock, (17) powders from a charnel ground, (18) [a thing called] *bhoka*, 1324 (19) the *d. aka¯* (from *d. hakka¯*) drum, (20) a wet skin, (21) a dangling hair braid, (22) a tinder for a funeral pyre, (23) the anus, (24) a *phar¯ı* shield, (25) the head, (26) a skeleton, (27) a *ratrik ¯ a¯* (or *datrik ¯ a¯*) sickle, (28) the eye, (29) kidney, (30) large intestine, (31) the Saturn, (32) a stake, (33) a citron, (34) a saw, (35) a needle, (36) a full-body skin,1325 (37) cloud with rain, and (38) a wooden hook.

/phyag gi mtshon cha bdun cu gnyis/ /de lta'i rim pas shes par bya//

→ *D. ak¯ arn ¯ . ava*, 15.43cd.

The weaponry in the seventy-two hands1326 is thus to be discerned in order.

/mgo bo lnga yis rgyan du byas/1327 /phyag rgya drug dang ldan pas klubs/

/de bzhin mgo brgya'i phreng ba dang/ /dpung rgyan zhabs gdub sgra sgrogs **(D 7v2)** dang//

/sku la ba spu'i phreng bar ldan/

→ *D. ak¯ arn ¯ . ava* 15.44–45b.

A decoration (headband) made of five hairless heads, an ornament with the six seals, a garland of a hundred hairless heads [as a necklace], sounding armlets and anklets, and a *romaval ¯ ¯ı* (or line of bodily hair) are on [his] body.1328

/sku yi tshigs rnams thams cad la/ /shes rab thabs kyi bde bas brlan// /sna tshogs he ru ka 'bar bas/ /rnam par 'phros bcas rnam bsgom bya/ /dbu rnams kun la dar dpyangs kyi/ /phreng ba brtul zhugs can gyis bya//

→ *D. ak¯ arn ¯ . ava* 15.50–51b.

<sup>1323</sup> The text *phub chung yu can* is *pit.t.ani ¯* in the Sanskrit *D. ak¯ ar¯ n. ava* (15.40b), whose Tibetan is also *phub chung yu can*.

<sup>1324</sup> The *bho kam* is also *bhokam.* (whose Tibetan is *bho kam.* ) in the *D. ak¯ arn ¯ . ava* (15.40a).

<sup>1325</sup> The *slud bshus pags pa* (obscure) is *kayacarma ¯* (whose Tibetan is also *slud bshus pags pa*) in the *D. ak¯ ar¯ n. ava* (15.43a).

<sup>1326</sup> The text *phyag gi mtshon cha bdun cu gnyis* literally means "the seventy-two weapons in hands".

<sup>1327</sup> rgyan ] D; brgyan P.

<sup>1328</sup> The text does not contain one *pada ¯* , which is present in the Sanskrit *D. ak¯ arn ¯ . ava* (15.45a). It mentions a garment made of tiger skin. This *pada ¯* is also absent in the Tibetan translation of the *D. ak¯ arn ¯ . ava*.

[He should meditate on] moistures of [sexual] pleasure of wisdom (female) and means (male) in all junctures throughout the body.<sup>1329</sup> He should visualize [the one] being splendorous with fires [assuming the shape of] various [forms of] Heruka.1330 The vow-observer should give turbans to all [Herukas'] heads.

zhes bya ba **(D 7v3)** ni gtso bo sgom pa ste 'di ni bsgrub pa'o//1331

That is the visualization of the Lord. This is the Perfect Realization (\**sadhana ¯* ).

9.2.15.5. Great Perfect Realization (\**mahas¯ adhana ¯* )

/de yi mdun du lha mo che/ /rdo rje phag mo mdog dmar mo// /zhal gcig phyag ni gnyis ma ste/ /g-yas pas rdo rje gri gug dang/ /sdigs mdzub phyogs rnams kun du mdzad/ /g-yon pas gdug pa'i khrag bkang **(D 7v4)** ba'i//

/thod bcas yab kyi mgul nas 'khyud/ /gcer bu spyan gsum skra grol ma/ /spyan gsum drag mo'i gzugs can ma/ /zhal gyi mche ba gtsigs ma ste// /mgo bo'i phreng ba 'dzin pa mo/ /sgeg pa'i rgyan rnams dang ni ldan/ /dbu la thod pa'i phreng ba can/ /yan **(D 7v5)** lag lha rdzas dris nyer byugs//

/zhabs gdub dpung rgyan rnams dang ldan/ /lha rdzas me tog phreng bas klubs/

/rtse phran zlar gnas rdo rje ni/ /dpral bar rtag tu 'dzin pa mo//

/sku la phyag rgya lnga la sogs/ /'jig dus me lta'i 'od zer can/1332

/rnal 'byor ma yi tshogs **(D 7v6)** mdun du/ /sku las 'bar ba'i phreng ba spro//<sup>1333</sup>

→ *D. ak¯ arn ¯ . ava* 15.45c–49.

Before him is a great goddess [named] Vajravar¯ ah¯ ¯ı. [She is colored] red, [has] one face and two arms, [holds] an adamantine knife in the right [hand] showing a threatening hand gesture to all directions, and has a skull bowl filled with evil spirits' blood in the left hand; hugs the father (Lord Heruka) around [his] neck;1334 is naked;

<sup>1329</sup> The "juncture" (*tshigs*, \**sam. dhi*) means a body part where inner channels or arteries (*na¯d.¯ı*) are connected together. The *D. ak¯ ar¯ n. ava* (Skt ed. [my unpublished edition], 50.11.2ab) tells that there are 1000 core junctures in the body.

<sup>1330</sup> The text *rnam par 'phros bcas* is *sa visphurantam.* (whose Tibetan is also *rnam par 'phro bcas*) in the parallel line in the Sanskrit *D. ak¯ ar¯ n. ava* (15.50d). I have not interpreted the text as *savisphurantam.* , which both Tibetan texts suggest.

<sup>1331</sup> bsgrub pa ] D; sgrub pa' P.

<sup>1332</sup> 'jig ] D; 'jigs P.

<sup>1333</sup> sku las ] D; sku la P.

<sup>1334</sup> Perhaps she hugs the Lord around his neck with her left hand. In the Sanskrit *D. ak¯ ar¯ n. ava* (15.46c), she hugs the Lord around his hips (*kat.i*) with her legs.

[has] three eyes; [has her] hair untied; [has] three eyes; is terrifying in appearance; [has] the mouth grinning; wears a garland of hairless heads [as a necklace]; is adorned with sexually attractive ornaments; is crowned with a string of skulls on the head; [has] the body smeared with divine perfumes; is decorated with anklets and armlets; is adorned with a divine garland; always wears on the forehead a diadem of vajras placed on moon [disks]; [is ornamented with] the five seals and others on the body;<sup>1335</sup> is flaming like the destructive fire [at the end of a *kalpa*]; is in the presence of a gathering of yogin¯ı; and is resplendent with a fire halo.

zhes bya ba ni yum bsgom pa ste/ sgrub pa chen po'o//

That is the visualization of the mother (Vajravar¯ ah¯ ¯ı), the Great Perfect Realization (\**mahas¯ adhana ¯* ).

dang po gnas dang/ bdag dang rnal 'byor bsrung ba la sogs pa nas 'di dag gi bar du ni/ dang po sbyor ba zhes bya ba'i ting nge 'dzin lus kyi rang bzhin can no//

The part between the first [instruction of] places, protection of oneself and yoga, and so on and these is the Samadhi named "The First Yoga" (\* ¯ *adiyogo n ¯ ama sam ¯ adhi ¯ h.*), [which is] of the nature of the body.
