He put his cotton robe back on,
gathered
up the firewood and returned to his cave.
Khenchen-Thrangu-Rinpoche-The-Life-Spiritual-Songs-of-Milarepa
Every year since 1986 he has shared his wisdom and teachings with Western students through his Namo Buddha Seminars given at his monastery in Nepal.
At the Namo Buddha Seminar in 1988 he gave a series often teachings on Milarepa's 100,000 Songs.
These Songs contain very detailed explanations ofBuddhist dharma illustrating the yogi's spontaneous realizations.
These songs ofMilarepa can still be heard in the monasteries of Nepal and, one hopes, have not been forgotten by the people ofTibet.
Since these spiritual songs are often a distillation of a practitioner's lifetime of meditation, they sometimes need a commentary to explain all the nuances ofwhat they mean. Due to the large number of Songs and the limited time of the Namo Buddha Seminar, Thrangu Rinpoche selected ten ofthe important Songs to illustrate important Buddhist teachings and gave extensive commentaries on them.
In The 100,000 Songs ofMilarepa translated by Garma Chang the reader will find that the translation does not always correspond
XV
? The Life & Spiritual Songs ofMilarepa
to the way in which the song is translated here. This is why we have included a translation ofthe parts ofthe Songr that are relevant rather than simply referring the reader to Chang's book.
Finally, the reader may feel that these stories of ghosts and demons and supernatural powers are simply folk legends from twelfth century Tibet. This certainly would be the orthodox Western historian's view. However, even today in the Far East there are great Tibetan practitioners who perform miracles similar to those described in The 100,000 Songs. Many of the lamas and lay persons, including Western practitioners, have seen these "miracles" and so the Western reader is cautioned from simply dismissing the accounts of Milarepa as folk lore. The most important aspect of these stories is, of course, the dharma that shows us how to conduct our lives so that we may reach enlightenment for the benefit of all beings.
ClarkJohnson, Ph. D.
xvi
? The Life
&
Spiritual Songs
of
Milarepa
? Marpa the Translator, Milarepa's root guru 1012- 1097 C. E.
? 1
An Introduction to the Text The Nature ofthe Buddhist Biography
( 7 he text entitled The Life ofMilarepa1 could be termed a J biography, but-biographies in Buddhism are not quite the same as those by modern historians. A modern biographer looks for factual information, such as the exact date somebody w a s b o r n a n d t h e h i s t o r i c a l d a t e s o f t h e v a r i o u s t h i n g s t h e y did~ I n Buddhism a spiritual biography or a hagiography is not concerned with the details of a person's life: whether Milarepa was born in this or that year makes no difference. What does it matter if he was born on the sixth instead of the seventh day of the month? Rather, Buddhist biographies are based on the essential elements of the individual's life: What motivation did they have? What practices did he do? How much diligence did they have? What
results did they achieve? Finally, how were they able to help other beings? This kind of biography inspires faith, devotion, and diligence for spiritual practice and that is why spiritual practice is so very important.
Some recent Tibetan scholars have denounced the Tibetan tradition of biographies as uncritical, arguing that they contain only the good qualities of their subject and omit all the bad
1
? The Life & Spiritual Songs oJMilarepa
qualities. It is true that there are few details in these biographies; we are not told what kind of food Milarepa ate, or what kind of bed he slepton. These are not just historical accounts ofsomeone's life. A spiritual biography is called namtar in Tibetan, which literally means "complete liberation. " These biographies describe individuals who have rejected samsara, and through faith, devotion, diligence, and wisdom have attained complete liberation from the sufferings of samsara. These biographies therefore describe the process ofliberation beginningwith why the individual first choose to practice the dharma, how they met their teacher, what instructions were received, how that individual practiced them, and what results were achieved. These biographies have the purpose of inspiring the readers to become drawn to the dharma and be
diligent in their practice.
The Characteristics ofa Spiritual Biography
A spiritual biography can be said to have nine characteristics. These characteristics can be grouped into three sets, each containing two faults to be avoided and one good quality to be acquired.
The first set of three characteristics is comprised of being meaninglessness, being in error, and being meaningful. For example, it would be pointless to describe how tall Milarepa was; the information that he was five feet or four feet tall would be meaningless. The second characteristic of being in error would be something contrary to the facts, for example, to say that Milarepa was a very aggressive or lustful person. Obviously those two faults should be avoided in a namtar and rather the text should be meaningful. For example, the text should describe how Milarepa's experiences ofsuffering and impermanence caused him to turn to
2
? An Introduction to the Text
the dharma, meet his guru, and practice his guru's instructions correctly so that those reading the biography will understand how they themselves should also follow the dharma, practice the instructions, and accomplish the end result of enlightenment.
The next group ofthree characteristics is dedication to learning, debate, and practice. The first, dedication to learning, means that one feels one has to know and explain everything in detail, which is not that important. The second is dedication to debate. Dedication to debate means being engaged in the refutation of certain statements, answering objections to one's own views, and so on which is not of any importance. What is important for a text is the third characteristic ofdedication to practice. One does not just hear and contemplate the teachings, or just debate it, but one actually gains control ofone's own mind, eliminating faults, increasing positive qualities, and accomplishing benefit for oneself and for others.
The last group of three characteristics is deceit, propagation of violence, and eliminating suffering. The first, deceit, means the treatise is written in order to mislead people. The second is a propagation ofviolence. The advocating ofviolence occurs when texts engender an increase ofcrueltyand violence towards others, instead of compassion and altruism. Texts with those two characteristics should be avoided. The kind of text that should be studied is one that has the characteristic of providing a method to eliminate suffering.
Therefore a namtar should not have any of the characteristics of: (1) being meaningless, (2) being in error, (3) dedicated to study, (4) dedicated to debate, (5) one of deception, or (6) advocating the propagation ofviolence. Texts containing these characteristics should not be written; one that has been written should not be taught, and its teachings should not be practiced.
3
? The Life & Spiritual Songs ofMilarepa
The kind of text that should be written, taught, and put into practice is one that has the three characteristics of being: (1) meaningful, (2) dedicated to practice, and (3) is a means to eliminate suffering.
The Hundred Thousand Songs ofMilarepa
The biography ofMilarepa (Tib. mila namtar) is dearly written and easily understood, as is its translation into English, so it does not require much additional explanation. However, there is also the collection of the spiritual songs of Milarepa entitled The Hundred Thousand Songs ofMilarepa (Tib. Mila Grubum) and in this book I shall explain a selection ofsongs from ten ofits chapters.
The Hundred Thousand Songs ofMilarepa were compiled by Tsang Nyon Heruka2 an emanation ofMilarepa, who also wrote The Life ofMilarepa. Tsang Nyon was a siddha who had gained
the appellation "Nyonpa" which means "crazy. " ? He was one of three famous contemporary "crazy siddhas": Druk Nyon who was "the crazy man from Bhutan," U Nyon who was "the crazy man fromU3" andTsangNyonwhowas"thecrazymanfromTsang. 4''
The life-story and songs ofMilarepa inspire people to practice his lineage of instructions. This lineage consists of the path of means using the Six Yogas ofNaropa and the path of liberation,5 which is Mahamudra meditation.
In the Karma Kagyu transmission of his lineage, the ninth Karmapa taught the realization ofMahamudra in three texts. He explained Mahamudra in the long The Ocean ofDefinitiveMeaning, the middle length in The Mahamudra which Eliminates the Darkness ofIgnorance, and the short Pointing Out the Dharmakaya. These three texts provide us with a progressive path of meditation
beginningwiththefourwaysofchangingthemintf' andprogressing 4
? An Introduction to the Text
to the stages of tranquillity or Shamatha meditation and insight orVipashyanameditation7 byexplainingthemethodsofpractice that lead to the ultimate experience.
A Prayer to Marpa, Milarepa, and Gampopa
First, I shall give a brief description of Milarepa, so that we may have faith in him. Milarepa was an exceptional master, because he had an exceptional guru, Marpa, and an exceptional pupil, Gampopa. Jamyang Khyentse Wangpo8 concisely described these three masters in a short prayer that is regularly recited in the Karma Kagyu school. In this prayer one verse is dedicated to each of these masters with each verse describing three special qualities that the master possessed. The first four lines is a prayer to Marpa:
Great courage took you to India many times. With great wisdom, you saw the true nature ofall
phenomena.
With great accomplishment, you performed miracles. I supplicate the great translator Marpa.
Marpa underwent considerable hardships to go to India three times. He did not do this for his own benefit, but he did this so that he could meet great gurus such as Naropa and Maitripa and receive the teachings from them and put them into practice. Not only did Marpa have the great confidence that he could receive these teachings, but he also had the confidence that he could introduce these teachings into Tibet and teach many pupils who would practice and embody them correctly and completely, and then transmit them on to their own pupils. He did this so that their lineages would grow and prosper throughout the future.
5
? The Life & Spiritual Songs oJMilarepa
When Marpa went to India, met his gurus, and received their instructions, he didn't just learn these instructions but he also practiced the instructions and attained full realization. Through the power of his wisdom Marpa saw the true nature of all phenomena and attained the supreme accomplishment
(enlightenment) within that very lifetime.
Marpa not only saw the true nature ofphenomena, but as a
sign of his attainment of the dharmakaya he was able to display a variety ofmiraculous powers to his pupils who were worthy, so as to engender faith, and have them follow the dharma.
The second verse is a prayer to Milarepa:
With great power, you destroyed your enemies. With great hardship, you pleased your guru.
With great diligence, you raised the victory banner
of practice.
I supplicate the great yogi Milarepa.
Milarepa began by studying under a master of black magic and using his powers he destroyed and killed his uncles who had treated him, his mother and sister poorly. This, ofcourse, created great negative karma that Milarepa would have carried into future lifetimes had he not regretted these actions and searched out a true lama, Marpa.
Marpa commanded Milarepa to build a succession of stone houses only to tell him to pull them down again. Despite the hardship involved, Milarepa's faith in Marpa never wavered, and he fulfilled Marpa's commands. This purified him ofhis negative karma, which pleased Marpa, his guru.
6
? An Introduction to the Text
Milarepa, having received the instructions from Marpa, knew that the practice of these instructions was more important than any worldly activities. So Milarepa lived in various caves even if it meant that he had to go without food or clothes and practiced with diligence until he accomplished enlightenment. He then passed on his dharma teachings to many pupils thus raising the victory banner of practice.
The next verse is a prayer to Gampopa:
The Great Vehicle awakened your heritage.
Due to the Mahamudra your realization manifested
itself.
Your great activity extended as far as space extends, I supplicate the great meditator Gampopa.
Milarepa had many disciples, but there were two main ones: Gampopa, who was said to be like the sun, and Rechungpa, who was said to be like the moon. Gampopa was an exceptional pupil who had been prophesied by Buddha Shakyamuni. 9 Gampopa was a physician who when he lost his family to a disease that he could not cure began seeking the dharma. He began by first studying under a Kadampa teacher and took ordination learning and practicing the Mahayana doctrine. Later when he heard some beggars discussing Milarepa he developed great faith in Milarepa, so he sought him out, became his student and received teachings from him.
Gampopa practiced the Mahamudra instructions he received from Milarepa and attained the ultimate result, the manifestation of the realization of Mahamudra, so that the special qualities of the Mahamudra experience and realization arose in his mind.
7
? The Life & Spiritual Songs ofMilarepa
Gampopa accomplished the ultimate realization of Mahamudra and passed on the transmission of his teachings through four great pupils: Dusum Khyenpa (the first Karmapa), Tsultrim Nyingpo, Baram Dharma Wangchuk, and Pagmo Drupa, from whom the four primary and eight secondary Kagyu lineages subsequently formed. 10 These teachings on Mahamudra meditation and other Vajrayana practices have literally spread
around the world, so the instructions of Marpa, Milarepa, and Gampopa have thus continued uninterrupted due to the extensive activity of Gampopa.
8
? 2
Six Songs ofLongingfor the Guru
{ T h e Hundred Thousand Songs ofMilarepa are in three parts: J the teachings Milarepa gave to non-human beings, the teachings he gave to his principal disciples, and the general
teachings he gave to his ordinary pupils.
The first chapter of the book11 begins with the section on
teachings to non-human beings. It is entitled Six Songs ofLonging for the Guru. These spiritual songs dearly teach the wish to abandon samsara, devotion to the guru, and meditation on compassion for
non-human beings.
The story begins when Milarepa was practicing Mahamudra
meditation in the Kyung dzong (Garuda-castle) cave in Chong lung (Carnelian-valley). One day he thought he would eat something but discovered that he had run out of food, water, and even firewood. He decided that he had been a little too diligent in his meditation in that he had ignored his physical welfare and that he should now pay a little attention to the material world.
There are some people who believe that they need to undergo the same hardships as Milarepa by being very poor and eating very sparsely. But in fact, deprivation is not necessary on the spiritual path. Hardship alone does not bring Buddhahood; it is through the practice of the dharma, of meditation, that one
9
? The Life & Spiritual Songs ofMilarepa
accomplishes Buddhahood. Milarepa had an overriding desire to meditate and thus underwent hardships because everything else meant little to him. Milarepa was so concentrated on meditation that he forgot all about food and clothing,, and so ended up without any.
So, Milarepa left his cave to collect some firewood. A sudden gale began to blow his firewood away and when Milarepa held on to his wood he began to lose the cotton robe he was wearing to the wind. This put Milarepa into a dilemma of either holding? onto his wood or to his robe, until he thought, "I've been meditating for so many years to overcome attachment to the self, hut I haven't even been able to abandon my attachment to fire wood and this piece ofcotton. Ifthe wind wants to take my wood,
then let it take it! If it wants my cotton robe then let it take it! " So he let the wind blow away both his firewood and his robe.
Milarepa was in such a state ofphysical exhaustion, due to his exertions and living on very little food, that he passed out. When he came to he saw his cotton robe was hanging from a tree. He took it down sat himself upon a stone and gazed into the east where he could see a white cloud far away. He thought, "Marpa is living in the land of Drowolung (Wheat-valley) just under that cloud. He also thought of his many dharma companions who would be there, receiving instructions and empowerments from
Marpa. He then thought about this until he had an unendurable longing for that place, his guru, his fellow pupils, and his guru's teachings. With sadness, faith and devotion, he sang a spontaneous song, in which he said:
In the east there is a white cloud. Beneath that white cloud is Drowolung. In the hermitage in Drowolung, Marpa Lotsawa is living. In the past I was able to see
10
? Six Songs oJLongingfor the Guru
him. If I could see him now,. I would be so happy. I ,don't have enough devotion, but I long for my exceptional guru so intensely I would be so happy to
be able to see him again.
The second verse describes Marpa's wife, Dagmema. She was very loving, particularly to Milarepa, so the verse says:
Dagmema showed more love to me than my own mother. Ifshe were here and I could see her, I would be so happy. She is so far away and the journey to her would be difficult, but I long to see her.
Then he sang:
Now Marpa is in Drowolung and will be giving the four kinds of empowerments - the vase empowerment, the secret empowerment, the wisdom- knowledge empowerment and the word empowerment. If I could receive such profound empowerments now, that would make me so very happy. Though I am po0r and have no offering for the empowerment, nevertheless, it is so fortunate to request and receive the four empowerments. I long for them and I long for my guru.
When one meets Marpa Lotsawa in the hermitage of Lho Drowolung, he gives the instructions which allows one to reach Buddhahood in one lifetime, within the one body: these are the instructions ofthe profound Six Yogas ofNaropa. It is fortunate to dwell in Drowolung, to see Marpa Lotsawa and to receive
11
? TheLife& SpiritualSongsofMilarepa
the instructions ofthe profound SixYogas ofNaropa. If I could have that good fortune now, I would be happy. Although I don't have enough diligence to meditate on these instructions, they are profound, so that ifl could receive them and meditate upon them, I would be happy.
There are many fortunate Dharma companions who are scholars and practitioners from U and Tsang who are staying at the hermitage ofDrowolung. They receive etnpowerments and instructions together; when they practice the dharma together they compare their various experiences and realizations, examining them to see how good they are. When they receive instructions from the guru, the pupils compare their . understanding of them, to see whether they have
clearly understood their meaning or not. Due to this their experiences and realizations increase. If I could have that good fortune I would be happy.
I have faith and devotion in my guru, who is never apart from me, but my intense longing for him is unendurable; I am intensely miserable. So I am praying to you to dispel my sadness.
When Milarepa had finished singing this song the cloud in the east extended towards him. Upon its foremost tip was Marpa Lotsawa, more majestic than ever, mounted upon a white lion. Marpa said, "What is the meaning of this? Why are you calling me so loudly? Are you distressed that you can't receive the blessingF ofthe threejewels? Can't you meditate because you think too much? Are you pining for pleasures and worldly activities? What is it? Whatever is the matter, we are inseparable; I am always with you.
12
? Six Songs ofLongingfor the Guru
Therefore, practice the dharma well, preserve the teachings, and benefit other beings in the future. " Milarepa was overjoyed to see Marpa, and sang a song, which says:
I hadsadness in my mind and so thinking ofmy guru's life: how he lives at Drowolung with his pupils and followers, teaching the dharma and bestowing empowerments. I felt great longing and devotion, and thus received the guru's compassion and blessing, terminating my nondharmic thoughts. I have disturbed my guru with my loud cries, but please forgive me and continue to look upon me with compassion.
I am practicing with great diligence enduring the hardships of hunger, thirst, and cold. I offer this practice to my guru, in order to please him. I dwell alone in the mountains as a pleasing service to the dakas and dakinis. Though I disregard physical hardships, applying myself to the practice of the dharma as an act of service to the teachings of the Buddha. I will practice for as long as my life lasts, as a gift of dharma to the beings who are without a refuge, without a protector.
IfI'm going to die, I'll die; ifl'm going to be sick, I'll be sick; but it will not make any difference to me. I shall practice considering it to be more important than anything else. This is my purification ofnegative karma and obscurations. Undergoing hardships is the necessary condition for developing experiences and realizations. Therefore, you, Marpa Lotsawa, have shown me great kindness in giving me the complete
13
? The Life & Spiritual Songs ofMilarepa
empowerments and instructions that will enable me to accomplish Buddhahood through diligence. To repay that kindness I am practicing the dharma, so look upon me with compassion.
Having prayed in that way Milarepa's mind was filled with joy.
He put his cotton robe back on, gathered up the firewood and returned to his cave.
When he entered his cave he saw that there were five strange Indian yogins, called atasaras,13 in there. They had tiny black bodies and huge eyes. One ofthem was sitting on Milarepa's seat, teaching the dharma, another two were listening to him, another one was making food, and another was reading through Milarepa's texts. Then they all stopped what they were doing and stared at Milarepa who. felt a little frightened. Then Milarepa thought, "I've been
meditating in this place for so many years, but I've never offered any thanks by giving any torma offerings to the deity who is master oftheselands,ortoanyofthelocaldeitiesorspirits. 14 Therefore they have created this illusion. I must express my thanks for being in this place. " So Milarepa sang this song:
This is a place ofsolitude, an excellent place for the accomplishment ofBuddhahood. It is sa. ld that many siddhas have dwelt here in the past. This is an excellent place where I can live alone and practice that which is good. This is a pure place, with pure water, where the birds live free from fear without any care. The birds and monkeys are relaxed, free from worries and kind to each other. Such a place as this is very good for me and it is conducive to practice.
14
? Six Songs ofLongingfor the Guru
I dwell here meditating on the bodhichitta of aspiration and the bodhichitta of application. 15 It is perfect for me. Now that you have come, I will meditate on love and compassion towards you. Be happy and depart.
Milarepa finished his song, but the five yogins were very angry. They increased in number from five to seven and faced him as an angry group. Milarepa tried wrathful mantras against them, but they had no effect. Meditation on compassion and giving them teachings was no help either. Then Milarepa thought, "I am Marpa Lotsawa's pupil. He gave me the realization that all phenomena are nothing other than the mind. Therefore these beings are nothing but the creations of my own mind and I shouldn't be afraid of them. " Milarepa then sang a song about his confidence
expressed through analogies. 16
15
? The nine-story stone tower built by Milarepa as instructed by his teacher Marpa (see page 6). It was built on the edge of Marpa's land. In the 1930s this tower stood alone, but since that time a small monastery seen surrounding the tower has been built.
? 3
Songs ofthe Snow
( 7 he third chapter of the collected songs of Milarepa is J Songs o f the Snow. 17 This chapter describes Milarepa's practice of meditation, especially his practice of tummo and the sign of heat that he generated as a result of this practice. It must be pointed out that the main point of Milarepa's life story is not that we can only accomplish the dharma by practicing in the way that he did. It is an example of the diligence that leads
one to the ultimate goal. It would be good ifwe could develop a diligence like Milarepa's, but even if we can't, a development of dharma practice over a long time can still attain the same result.
The first chapter describes how Milarepa subdued demons in Tramar Chonglung. The second chapter describes how Milarepa went to Lachi snow-mountain and subdued the leaders of many demons there. From this he became famous as a lama with great powers who could subdue demons. 18
Then Milarepa went to stay at Nyanang and other places near to Lachi mountain. He said, "Staying in the middle ofvillages is depressing. I must go on my own to a place of solitude where I can accomplish my practice and my guru's instructions. Living in a village is not a very good thing anyway, so I shall go to stay on Lachi mountain for a second time. "
17
? The Life & Spiritual Songs ofMilarepa
Milarepa's pupils made a request, saying, "Great lord, your only concern is the welfare of beings, therefore give us teachings. Ifyou remain here with us for the winter it will be ofvery great benefit. You must please stay here. Winter on Lachi mountain is very difficult with so much snow and cold. " Milarepa replied, "I am a pupil in the lineage of Naropa, so I am not afraid of such
things. Marpa Lotsawa commanded me to avoid distractions and to practice in solitude. "
As Milarepa had decided to leave some ofhis pupils requested to escort him to the mountain. All Milarepa took with him was a little tsampa, rice, meat and butter. He was escorted to Lachi mountain where he took up his residence in Dundul Purnoche (The great cave ofthe subjugation ofMara) cave. His escort started their return journey to the village but the weather turned bad. It snowed heavily and they reached the village with great diffic~lty. It snowed continuously for nine days and nine nights19 so that the route between the village and where Milarepa was staying
became cut off for six months. Milarepa's pupils were certain that he must have died and that there was no way he could have survived, so they made funeral offerings to him in the fourth Tibetan month (about May to June). They decided that they should at least go and collect his body so that they will be able to make offerings to it. Therefore, some of them forced their way through the snows to reach Lachi mountain.
When they neared Milarepa's cave they saw a snow leopard upon a rock and thought, "Milarepa's body will have been eaten by that snow leopard and we are not even going to be able to bring back his body. " When they reached the spot where the snow leopard had been they saw human footprints. They wondered, "What is this? Is it some deity or spirit? " When they carne close to Milarepa's cave they heard him singing and then calling out, "Hurry
18
? Songs ofthe Snow
up! Where have you been that you're so late getting here? " When they got to the cave they discovered that Milarepa had already prepared a meal for them.
The pupils then asked, "How did you know we were coming? " Milarepa replied, "I saw you when I was sitting on that big rock over there. " But they said, "But all we saw was a snow leopard on that rock, so what do you mean? " Milarepa then said, "That was an emanation of myself. I have meditated for so long that I have mastery over my mind and subtle winds,20 so I can manifest many emanations. "
Milarepa was in good health but he hadn't had enough food to keep him alive, so they asked him how he had survived. Milarepa said, "I don't need much food because ofmy practice ofmeditation and sometimes dakinis bring me a portion of their ganachakras. Therefore I only need to eat a spoonful of tsampa to keep myself alive. But also, in the fourth month, I had a vision of you surrounding me and offering me a great deal of food, after that I didn't need to eat at all. " They said that was the time when they had made the funeral offerings to him, thinking he was dead. Milarepa said, "This proves that when people do good actions for the sake ofsomeone who has died, it really does help them. "
Then the pupils requested him to return to the village. At first Milarepa refused, saying, "My meditation is going well here, so I'm not going to leave. " The pupils insisted, saying, "People will accuse us of leaving you here to die and they will be very angry with us, so you must come back this one time to the village with us. " Milarepa agreed to come and so they set off together with some going on ahead to tell the villagers that Milarepa was alive and on his way. A great number ofvillagers came to welcome him and escort him to the village. When they asked Milarepa's how he was, he replied with a song:
19
? The Life & Spiritual Songs ofMilarepa
I am happy that today we have met here and all are still alive. This old man has many songs, so I am singing in answer to your question. Listen well.
Saddened by samsara, I did not stay in the village, but went to Lachi snow-mountain. It was as if the sky and the earth had planned a snowstorm. So many clouds gathered and the sun and moon could not be seen, the stars and planets could not be seen, it was as if they had been thrown into prison. The snow fell for nine days and nine nights with snowflakes coming down as large as birds and snowflakes as small as sesame seeds. I was in a high place and the dark
mountains around me were all turned white.
When this great snow fell, all people's homes were changed into prisons because they could not leave. Animals, deprived of food, suffered a famine. The wild animals also had no food. Neither did the birds in the sky. Mice hid under the ground like a treasure
and animals of prey had nothing to eat.
The blizzard that fell upon me, the winter wind
and my thin cotton robe competed with each other to see who could make the winter coldest for me. As I am one ofa lineage ofheroes, I didn't run away and all ended well. Therefore I believe that in the future the teachings o f the Practice Lineage will spread, there will be many siddhas, and I, Milarepa, will be famous for my accomplishment of the dharma. You my pupils will have faith in me and the future will be good and the Buddha's teachings will spread. That's how I am.
How are you?
20
? Songs ofthe Snow
The villagers danced with joy. Milarepa's experience and realization intensified and he danced too, leaving his footprints and imprints from his staff all over the rock beneath him.
When he arrived in Nyanang village, his pupils said, "You are in good health and must have developed exceptional realizations and experiences in your meditation. Please tell us about them. " In reply Milarepa sang a spiritual song about his experiences and realizations in which he describes his view, meditation, conduct and commitment:
My view is the realization of the true nature of the mind exactly as it is; the mind is seen to be unborn, empty. There is nothing to be viewed. There is the destruction and disappearance ofthe viewed and the viewer. I have obtained such an excellent view.
My meditation is an unbroken continuity of clarity, like the constant flow of a river. This is meditation on the true nature ofthe mind. The true nature of the mind never changes; the meditation is unceasing, with no difference between periods of meditation and periods of non-meditation. It is as if one has lost the capacity to distinguish between meditation and meditator. Everything is meditation, so that meditation has great diligence.
My conduct is that there is no change in the mind's fundamental clarity, in whatever I do. The interdependence of phenomena is empty. All distinction between acts that are done, and the individual who acts, are destroyed.
My commitment is free of hypocrisy, artifice, hope, and worry. The distinction between a
21
? The Life & Spiritual Songs ofMilarepa
commitment that is kept and the keeper of a commitment is ended and destroyed. I have this excellent commitment.
The result of this is that the mind is seen as the dharmakaya. There is a spontaneous achievement of benefit for myselfand others. There is no distinction between a result that is achieved and one who achieves. I have this excellent result.
This is an old man's song about the happy time he has had. In my retreat I was cut off by the snow. I was looked after by dakinis. I had the best of drinks - the water of melted snow.
Milarepa's pupil, Shakya Guna, expressed his joy that Milarepa had. returned without harm, that none ofhis pupils had died, and that they have all met again. He requested Milarepa to give them a dharma teaching on the six months that he had spent in retreat. Milarepa replied with a song on the signs ofaccomplishment from his six months of practice:
Saddened by worldly activities I went to Lachi mountain, where I stayed in the solitude of the Dundul Pukpa cave, practicing for six months, here I experienced the six signs of accomplishment.
The six external objects are:
If it obstructs, it is not space. If they are countable, they are not stars. If it moves, it is not a mountain. If it diminishes or increases, it is not the sea. Ifit can be crossed by a bridge, it is not a great river. If it can be grasped by the hand, it is not a rainbow.
22
? Songs ofthe Snow
Six inner faults are:
Looking up at the planets is not the view. This means that the view should be free ofconceptualization and identification.
Mec. litation on the view should be free ofstupor or the agitation of thoughts, otherwise, it is not a valid meditation.
When we arise from meditation and engage in conduct, that conduct should be free from the distinction of good conduct to be adopted and bad conduct to be rejected.
One who has the true view, meditation, and conduct is a yogin. A yogin should always be free from. thoughts, otherwise he or she is not a true yogin. That yogin must have wisdom that does not fluctuate between clarity and obscuration. Ifit does, that is not true wisdom.
The ultimate result is freedom from suffering, birth, and death. Ifthere is birth and death, then the result is not Buddhahood.
The six kinds of bondage that bind one to non- liberation from samsara are:
Anger causes one to fall into and remain in the hell realms. Anger is a bondage that binds one to hell. Miserliness is a bondage that binds one to the realm ofthe hungryghosts. Stupidity is a bondage that binds one to the world ofanimals. Desire is a bondage that binds one to the world ofhumans. Envy is a bondage
that binds one to the realm of the Jealous gods. Pride is a bondage that binds one to the realm of the gods.
23
? The Life & Spiritual Songs ofMilarepa
Thesesixkleshal1 arebondagesthatbindonetonon- liberation from the six realms of existence.
There are six aspects to the path that leads to liberation from these bonds, from samsara:
If there is great faith, one will be able to enter the valid path~ therefore faith is the path to liberation.
If witn great faith one follows a guru who is learned and self-controlled, one will go along the path to liberation.
If while following the guru one keeps one's commitments to the guru, this is the path to liberation. If one has faith, relies on a guru, and keeps unbroken commitments, and then one wanders in the mountains, one will be able to truly accomplish
the path to liberation.
If wandering through the mountains one stays
alone avoiding distractions, one will be able to practice the dharma properly, and therefore this is the path to liberation.
If remaining in solitude one practices, that is the path to liberation.
There are sixprofundities:
The innate natural profundity is the mind at rest in an uncontrived state. This natural state is not newly created, but is primordially innate within us.
When there is no distinction between internal and external, and everything is pervaded by the mind, and by knowledge, this is called the profundity of knowledge.
24
? Songs ofthe Snow
When the all-pervading knowledge is free from fluctuation in its clarity, and is ever-present, it is called the profundity ofwisdom.
When that wisdom pervades everything, this great pervasion is the profundity of the true nature of phenomena.
When that expanse of the true nature of phenomena is free ofloss and change, when it is always present, that is called the profundity of the essential drops (Skt. hindu. )
When that state is free of loss or change and is continuous, that is the profundity of experience, the experience o f meditation.
These are the six profundities possessed by the confident.
There are the six kinds of bliss that are the results of the path of means such as tummo:
When the heat of the tummo practice blazes in the body, there is bliss.
When the karmic winds that move through the left channel (the lalana) and the right channel (the rasana), and enter the central channel (the avadhuti) are transformed into wisdom-air, there is bliss.
When the flow of bodhichitta descends in the upper body, there is bliss.
When the lower body is pervaded by the hindu, there is bliss.
When the white and red elements come together in the middle ofthe body, there is bliss.
25
? TheLife& SpiritualSongsofMilarepa
When the body is permeated by immaculate bliss, there is bliss.
These are the six kinds of ultimate bliss in yoga.
26
? 4
The Rock Sinmo in the Lingpa Cave
( / / ( arpa had told Milarcpa that he should meditate on J . J ~ Palbar mountain. Milarepa went there and discovered the Lingpa Cave to be very pleasant, and so he meditated in that cave. 22 One day he heard a loud voice coming from a crack in the rock. Milarepa got up and looked but decided it was just a meditator's illusion and sat down again. Then a bright light shone out from the rock. Inside the light there was a, red man astride a musk-deer that was being led by a woman. The
man gave Milarepa a slight blow and then disappeared in a gust of air. The woman changed into a red female dog that seized Milarepa by the big toe of his left foot and would not let go.
Since these spiritual songs are often a distillation of a practitioner's lifetime of meditation, they sometimes need a commentary to explain all the nuances ofwhat they mean. Due to the large number of Songs and the limited time of the Namo Buddha Seminar, Thrangu Rinpoche selected ten ofthe important Songs to illustrate important Buddhist teachings and gave extensive commentaries on them.
In The 100,000 Songs ofMilarepa translated by Garma Chang the reader will find that the translation does not always correspond
XV
? The Life & Spiritual Songs ofMilarepa
to the way in which the song is translated here. This is why we have included a translation ofthe parts ofthe Songr that are relevant rather than simply referring the reader to Chang's book.
Finally, the reader may feel that these stories of ghosts and demons and supernatural powers are simply folk legends from twelfth century Tibet. This certainly would be the orthodox Western historian's view. However, even today in the Far East there are great Tibetan practitioners who perform miracles similar to those described in The 100,000 Songs. Many of the lamas and lay persons, including Western practitioners, have seen these "miracles" and so the Western reader is cautioned from simply dismissing the accounts of Milarepa as folk lore. The most important aspect of these stories is, of course, the dharma that shows us how to conduct our lives so that we may reach enlightenment for the benefit of all beings.
ClarkJohnson, Ph. D.
xvi
? The Life
&
Spiritual Songs
of
Milarepa
? Marpa the Translator, Milarepa's root guru 1012- 1097 C. E.
? 1
An Introduction to the Text The Nature ofthe Buddhist Biography
( 7 he text entitled The Life ofMilarepa1 could be termed a J biography, but-biographies in Buddhism are not quite the same as those by modern historians. A modern biographer looks for factual information, such as the exact date somebody w a s b o r n a n d t h e h i s t o r i c a l d a t e s o f t h e v a r i o u s t h i n g s t h e y did~ I n Buddhism a spiritual biography or a hagiography is not concerned with the details of a person's life: whether Milarepa was born in this or that year makes no difference. What does it matter if he was born on the sixth instead of the seventh day of the month? Rather, Buddhist biographies are based on the essential elements of the individual's life: What motivation did they have? What practices did he do? How much diligence did they have? What
results did they achieve? Finally, how were they able to help other beings? This kind of biography inspires faith, devotion, and diligence for spiritual practice and that is why spiritual practice is so very important.
Some recent Tibetan scholars have denounced the Tibetan tradition of biographies as uncritical, arguing that they contain only the good qualities of their subject and omit all the bad
1
? The Life & Spiritual Songs oJMilarepa
qualities. It is true that there are few details in these biographies; we are not told what kind of food Milarepa ate, or what kind of bed he slepton. These are not just historical accounts ofsomeone's life. A spiritual biography is called namtar in Tibetan, which literally means "complete liberation. " These biographies describe individuals who have rejected samsara, and through faith, devotion, diligence, and wisdom have attained complete liberation from the sufferings of samsara. These biographies therefore describe the process ofliberation beginningwith why the individual first choose to practice the dharma, how they met their teacher, what instructions were received, how that individual practiced them, and what results were achieved. These biographies have the purpose of inspiring the readers to become drawn to the dharma and be
diligent in their practice.
The Characteristics ofa Spiritual Biography
A spiritual biography can be said to have nine characteristics. These characteristics can be grouped into three sets, each containing two faults to be avoided and one good quality to be acquired.
The first set of three characteristics is comprised of being meaninglessness, being in error, and being meaningful. For example, it would be pointless to describe how tall Milarepa was; the information that he was five feet or four feet tall would be meaningless. The second characteristic of being in error would be something contrary to the facts, for example, to say that Milarepa was a very aggressive or lustful person. Obviously those two faults should be avoided in a namtar and rather the text should be meaningful. For example, the text should describe how Milarepa's experiences ofsuffering and impermanence caused him to turn to
2
? An Introduction to the Text
the dharma, meet his guru, and practice his guru's instructions correctly so that those reading the biography will understand how they themselves should also follow the dharma, practice the instructions, and accomplish the end result of enlightenment.
The next group ofthree characteristics is dedication to learning, debate, and practice. The first, dedication to learning, means that one feels one has to know and explain everything in detail, which is not that important. The second is dedication to debate. Dedication to debate means being engaged in the refutation of certain statements, answering objections to one's own views, and so on which is not of any importance. What is important for a text is the third characteristic ofdedication to practice. One does not just hear and contemplate the teachings, or just debate it, but one actually gains control ofone's own mind, eliminating faults, increasing positive qualities, and accomplishing benefit for oneself and for others.
The last group of three characteristics is deceit, propagation of violence, and eliminating suffering. The first, deceit, means the treatise is written in order to mislead people. The second is a propagation ofviolence. The advocating ofviolence occurs when texts engender an increase ofcrueltyand violence towards others, instead of compassion and altruism. Texts with those two characteristics should be avoided. The kind of text that should be studied is one that has the characteristic of providing a method to eliminate suffering.
Therefore a namtar should not have any of the characteristics of: (1) being meaningless, (2) being in error, (3) dedicated to study, (4) dedicated to debate, (5) one of deception, or (6) advocating the propagation ofviolence. Texts containing these characteristics should not be written; one that has been written should not be taught, and its teachings should not be practiced.
3
? The Life & Spiritual Songs ofMilarepa
The kind of text that should be written, taught, and put into practice is one that has the three characteristics of being: (1) meaningful, (2) dedicated to practice, and (3) is a means to eliminate suffering.
The Hundred Thousand Songs ofMilarepa
The biography ofMilarepa (Tib. mila namtar) is dearly written and easily understood, as is its translation into English, so it does not require much additional explanation. However, there is also the collection of the spiritual songs of Milarepa entitled The Hundred Thousand Songs ofMilarepa (Tib. Mila Grubum) and in this book I shall explain a selection ofsongs from ten ofits chapters.
The Hundred Thousand Songs ofMilarepa were compiled by Tsang Nyon Heruka2 an emanation ofMilarepa, who also wrote The Life ofMilarepa. Tsang Nyon was a siddha who had gained
the appellation "Nyonpa" which means "crazy. " ? He was one of three famous contemporary "crazy siddhas": Druk Nyon who was "the crazy man from Bhutan," U Nyon who was "the crazy man fromU3" andTsangNyonwhowas"thecrazymanfromTsang. 4''
The life-story and songs ofMilarepa inspire people to practice his lineage of instructions. This lineage consists of the path of means using the Six Yogas ofNaropa and the path of liberation,5 which is Mahamudra meditation.
In the Karma Kagyu transmission of his lineage, the ninth Karmapa taught the realization ofMahamudra in three texts. He explained Mahamudra in the long The Ocean ofDefinitiveMeaning, the middle length in The Mahamudra which Eliminates the Darkness ofIgnorance, and the short Pointing Out the Dharmakaya. These three texts provide us with a progressive path of meditation
beginningwiththefourwaysofchangingthemintf' andprogressing 4
? An Introduction to the Text
to the stages of tranquillity or Shamatha meditation and insight orVipashyanameditation7 byexplainingthemethodsofpractice that lead to the ultimate experience.
A Prayer to Marpa, Milarepa, and Gampopa
First, I shall give a brief description of Milarepa, so that we may have faith in him. Milarepa was an exceptional master, because he had an exceptional guru, Marpa, and an exceptional pupil, Gampopa. Jamyang Khyentse Wangpo8 concisely described these three masters in a short prayer that is regularly recited in the Karma Kagyu school. In this prayer one verse is dedicated to each of these masters with each verse describing three special qualities that the master possessed. The first four lines is a prayer to Marpa:
Great courage took you to India many times. With great wisdom, you saw the true nature ofall
phenomena.
With great accomplishment, you performed miracles. I supplicate the great translator Marpa.
Marpa underwent considerable hardships to go to India three times. He did not do this for his own benefit, but he did this so that he could meet great gurus such as Naropa and Maitripa and receive the teachings from them and put them into practice. Not only did Marpa have the great confidence that he could receive these teachings, but he also had the confidence that he could introduce these teachings into Tibet and teach many pupils who would practice and embody them correctly and completely, and then transmit them on to their own pupils. He did this so that their lineages would grow and prosper throughout the future.
5
? The Life & Spiritual Songs oJMilarepa
When Marpa went to India, met his gurus, and received their instructions, he didn't just learn these instructions but he also practiced the instructions and attained full realization. Through the power of his wisdom Marpa saw the true nature of all phenomena and attained the supreme accomplishment
(enlightenment) within that very lifetime.
Marpa not only saw the true nature ofphenomena, but as a
sign of his attainment of the dharmakaya he was able to display a variety ofmiraculous powers to his pupils who were worthy, so as to engender faith, and have them follow the dharma.
The second verse is a prayer to Milarepa:
With great power, you destroyed your enemies. With great hardship, you pleased your guru.
With great diligence, you raised the victory banner
of practice.
I supplicate the great yogi Milarepa.
Milarepa began by studying under a master of black magic and using his powers he destroyed and killed his uncles who had treated him, his mother and sister poorly. This, ofcourse, created great negative karma that Milarepa would have carried into future lifetimes had he not regretted these actions and searched out a true lama, Marpa.
Marpa commanded Milarepa to build a succession of stone houses only to tell him to pull them down again. Despite the hardship involved, Milarepa's faith in Marpa never wavered, and he fulfilled Marpa's commands. This purified him ofhis negative karma, which pleased Marpa, his guru.
6
? An Introduction to the Text
Milarepa, having received the instructions from Marpa, knew that the practice of these instructions was more important than any worldly activities. So Milarepa lived in various caves even if it meant that he had to go without food or clothes and practiced with diligence until he accomplished enlightenment. He then passed on his dharma teachings to many pupils thus raising the victory banner of practice.
The next verse is a prayer to Gampopa:
The Great Vehicle awakened your heritage.
Due to the Mahamudra your realization manifested
itself.
Your great activity extended as far as space extends, I supplicate the great meditator Gampopa.
Milarepa had many disciples, but there were two main ones: Gampopa, who was said to be like the sun, and Rechungpa, who was said to be like the moon. Gampopa was an exceptional pupil who had been prophesied by Buddha Shakyamuni. 9 Gampopa was a physician who when he lost his family to a disease that he could not cure began seeking the dharma. He began by first studying under a Kadampa teacher and took ordination learning and practicing the Mahayana doctrine. Later when he heard some beggars discussing Milarepa he developed great faith in Milarepa, so he sought him out, became his student and received teachings from him.
Gampopa practiced the Mahamudra instructions he received from Milarepa and attained the ultimate result, the manifestation of the realization of Mahamudra, so that the special qualities of the Mahamudra experience and realization arose in his mind.
7
? The Life & Spiritual Songs ofMilarepa
Gampopa accomplished the ultimate realization of Mahamudra and passed on the transmission of his teachings through four great pupils: Dusum Khyenpa (the first Karmapa), Tsultrim Nyingpo, Baram Dharma Wangchuk, and Pagmo Drupa, from whom the four primary and eight secondary Kagyu lineages subsequently formed. 10 These teachings on Mahamudra meditation and other Vajrayana practices have literally spread
around the world, so the instructions of Marpa, Milarepa, and Gampopa have thus continued uninterrupted due to the extensive activity of Gampopa.
8
? 2
Six Songs ofLongingfor the Guru
{ T h e Hundred Thousand Songs ofMilarepa are in three parts: J the teachings Milarepa gave to non-human beings, the teachings he gave to his principal disciples, and the general
teachings he gave to his ordinary pupils.
The first chapter of the book11 begins with the section on
teachings to non-human beings. It is entitled Six Songs ofLonging for the Guru. These spiritual songs dearly teach the wish to abandon samsara, devotion to the guru, and meditation on compassion for
non-human beings.
The story begins when Milarepa was practicing Mahamudra
meditation in the Kyung dzong (Garuda-castle) cave in Chong lung (Carnelian-valley). One day he thought he would eat something but discovered that he had run out of food, water, and even firewood. He decided that he had been a little too diligent in his meditation in that he had ignored his physical welfare and that he should now pay a little attention to the material world.
There are some people who believe that they need to undergo the same hardships as Milarepa by being very poor and eating very sparsely. But in fact, deprivation is not necessary on the spiritual path. Hardship alone does not bring Buddhahood; it is through the practice of the dharma, of meditation, that one
9
? The Life & Spiritual Songs ofMilarepa
accomplishes Buddhahood. Milarepa had an overriding desire to meditate and thus underwent hardships because everything else meant little to him. Milarepa was so concentrated on meditation that he forgot all about food and clothing,, and so ended up without any.
So, Milarepa left his cave to collect some firewood. A sudden gale began to blow his firewood away and when Milarepa held on to his wood he began to lose the cotton robe he was wearing to the wind. This put Milarepa into a dilemma of either holding? onto his wood or to his robe, until he thought, "I've been meditating for so many years to overcome attachment to the self, hut I haven't even been able to abandon my attachment to fire wood and this piece ofcotton. Ifthe wind wants to take my wood,
then let it take it! If it wants my cotton robe then let it take it! " So he let the wind blow away both his firewood and his robe.
Milarepa was in such a state ofphysical exhaustion, due to his exertions and living on very little food, that he passed out. When he came to he saw his cotton robe was hanging from a tree. He took it down sat himself upon a stone and gazed into the east where he could see a white cloud far away. He thought, "Marpa is living in the land of Drowolung (Wheat-valley) just under that cloud. He also thought of his many dharma companions who would be there, receiving instructions and empowerments from
Marpa. He then thought about this until he had an unendurable longing for that place, his guru, his fellow pupils, and his guru's teachings. With sadness, faith and devotion, he sang a spontaneous song, in which he said:
In the east there is a white cloud. Beneath that white cloud is Drowolung. In the hermitage in Drowolung, Marpa Lotsawa is living. In the past I was able to see
10
? Six Songs oJLongingfor the Guru
him. If I could see him now,. I would be so happy. I ,don't have enough devotion, but I long for my exceptional guru so intensely I would be so happy to
be able to see him again.
The second verse describes Marpa's wife, Dagmema. She was very loving, particularly to Milarepa, so the verse says:
Dagmema showed more love to me than my own mother. Ifshe were here and I could see her, I would be so happy. She is so far away and the journey to her would be difficult, but I long to see her.
Then he sang:
Now Marpa is in Drowolung and will be giving the four kinds of empowerments - the vase empowerment, the secret empowerment, the wisdom- knowledge empowerment and the word empowerment. If I could receive such profound empowerments now, that would make me so very happy. Though I am po0r and have no offering for the empowerment, nevertheless, it is so fortunate to request and receive the four empowerments. I long for them and I long for my guru.
When one meets Marpa Lotsawa in the hermitage of Lho Drowolung, he gives the instructions which allows one to reach Buddhahood in one lifetime, within the one body: these are the instructions ofthe profound Six Yogas ofNaropa. It is fortunate to dwell in Drowolung, to see Marpa Lotsawa and to receive
11
? TheLife& SpiritualSongsofMilarepa
the instructions ofthe profound SixYogas ofNaropa. If I could have that good fortune now, I would be happy. Although I don't have enough diligence to meditate on these instructions, they are profound, so that ifl could receive them and meditate upon them, I would be happy.
There are many fortunate Dharma companions who are scholars and practitioners from U and Tsang who are staying at the hermitage ofDrowolung. They receive etnpowerments and instructions together; when they practice the dharma together they compare their various experiences and realizations, examining them to see how good they are. When they receive instructions from the guru, the pupils compare their . understanding of them, to see whether they have
clearly understood their meaning or not. Due to this their experiences and realizations increase. If I could have that good fortune I would be happy.
I have faith and devotion in my guru, who is never apart from me, but my intense longing for him is unendurable; I am intensely miserable. So I am praying to you to dispel my sadness.
When Milarepa had finished singing this song the cloud in the east extended towards him. Upon its foremost tip was Marpa Lotsawa, more majestic than ever, mounted upon a white lion. Marpa said, "What is the meaning of this? Why are you calling me so loudly? Are you distressed that you can't receive the blessingF ofthe threejewels? Can't you meditate because you think too much? Are you pining for pleasures and worldly activities? What is it? Whatever is the matter, we are inseparable; I am always with you.
12
? Six Songs ofLongingfor the Guru
Therefore, practice the dharma well, preserve the teachings, and benefit other beings in the future. " Milarepa was overjoyed to see Marpa, and sang a song, which says:
I hadsadness in my mind and so thinking ofmy guru's life: how he lives at Drowolung with his pupils and followers, teaching the dharma and bestowing empowerments. I felt great longing and devotion, and thus received the guru's compassion and blessing, terminating my nondharmic thoughts. I have disturbed my guru with my loud cries, but please forgive me and continue to look upon me with compassion.
I am practicing with great diligence enduring the hardships of hunger, thirst, and cold. I offer this practice to my guru, in order to please him. I dwell alone in the mountains as a pleasing service to the dakas and dakinis. Though I disregard physical hardships, applying myself to the practice of the dharma as an act of service to the teachings of the Buddha. I will practice for as long as my life lasts, as a gift of dharma to the beings who are without a refuge, without a protector.
IfI'm going to die, I'll die; ifl'm going to be sick, I'll be sick; but it will not make any difference to me. I shall practice considering it to be more important than anything else. This is my purification ofnegative karma and obscurations. Undergoing hardships is the necessary condition for developing experiences and realizations. Therefore, you, Marpa Lotsawa, have shown me great kindness in giving me the complete
13
? The Life & Spiritual Songs ofMilarepa
empowerments and instructions that will enable me to accomplish Buddhahood through diligence. To repay that kindness I am practicing the dharma, so look upon me with compassion.
Having prayed in that way Milarepa's mind was filled with joy.
He put his cotton robe back on, gathered up the firewood and returned to his cave.
When he entered his cave he saw that there were five strange Indian yogins, called atasaras,13 in there. They had tiny black bodies and huge eyes. One ofthem was sitting on Milarepa's seat, teaching the dharma, another two were listening to him, another one was making food, and another was reading through Milarepa's texts. Then they all stopped what they were doing and stared at Milarepa who. felt a little frightened. Then Milarepa thought, "I've been
meditating in this place for so many years, but I've never offered any thanks by giving any torma offerings to the deity who is master oftheselands,ortoanyofthelocaldeitiesorspirits. 14 Therefore they have created this illusion. I must express my thanks for being in this place. " So Milarepa sang this song:
This is a place ofsolitude, an excellent place for the accomplishment ofBuddhahood. It is sa. ld that many siddhas have dwelt here in the past. This is an excellent place where I can live alone and practice that which is good. This is a pure place, with pure water, where the birds live free from fear without any care. The birds and monkeys are relaxed, free from worries and kind to each other. Such a place as this is very good for me and it is conducive to practice.
14
? Six Songs ofLongingfor the Guru
I dwell here meditating on the bodhichitta of aspiration and the bodhichitta of application. 15 It is perfect for me. Now that you have come, I will meditate on love and compassion towards you. Be happy and depart.
Milarepa finished his song, but the five yogins were very angry. They increased in number from five to seven and faced him as an angry group. Milarepa tried wrathful mantras against them, but they had no effect. Meditation on compassion and giving them teachings was no help either. Then Milarepa thought, "I am Marpa Lotsawa's pupil. He gave me the realization that all phenomena are nothing other than the mind. Therefore these beings are nothing but the creations of my own mind and I shouldn't be afraid of them. " Milarepa then sang a song about his confidence
expressed through analogies. 16
15
? The nine-story stone tower built by Milarepa as instructed by his teacher Marpa (see page 6). It was built on the edge of Marpa's land. In the 1930s this tower stood alone, but since that time a small monastery seen surrounding the tower has been built.
? 3
Songs ofthe Snow
( 7 he third chapter of the collected songs of Milarepa is J Songs o f the Snow. 17 This chapter describes Milarepa's practice of meditation, especially his practice of tummo and the sign of heat that he generated as a result of this practice. It must be pointed out that the main point of Milarepa's life story is not that we can only accomplish the dharma by practicing in the way that he did. It is an example of the diligence that leads
one to the ultimate goal. It would be good ifwe could develop a diligence like Milarepa's, but even if we can't, a development of dharma practice over a long time can still attain the same result.
The first chapter describes how Milarepa subdued demons in Tramar Chonglung. The second chapter describes how Milarepa went to Lachi snow-mountain and subdued the leaders of many demons there. From this he became famous as a lama with great powers who could subdue demons. 18
Then Milarepa went to stay at Nyanang and other places near to Lachi mountain. He said, "Staying in the middle ofvillages is depressing. I must go on my own to a place of solitude where I can accomplish my practice and my guru's instructions. Living in a village is not a very good thing anyway, so I shall go to stay on Lachi mountain for a second time. "
17
? The Life & Spiritual Songs ofMilarepa
Milarepa's pupils made a request, saying, "Great lord, your only concern is the welfare of beings, therefore give us teachings. Ifyou remain here with us for the winter it will be ofvery great benefit. You must please stay here. Winter on Lachi mountain is very difficult with so much snow and cold. " Milarepa replied, "I am a pupil in the lineage of Naropa, so I am not afraid of such
things. Marpa Lotsawa commanded me to avoid distractions and to practice in solitude. "
As Milarepa had decided to leave some ofhis pupils requested to escort him to the mountain. All Milarepa took with him was a little tsampa, rice, meat and butter. He was escorted to Lachi mountain where he took up his residence in Dundul Purnoche (The great cave ofthe subjugation ofMara) cave. His escort started their return journey to the village but the weather turned bad. It snowed heavily and they reached the village with great diffic~lty. It snowed continuously for nine days and nine nights19 so that the route between the village and where Milarepa was staying
became cut off for six months. Milarepa's pupils were certain that he must have died and that there was no way he could have survived, so they made funeral offerings to him in the fourth Tibetan month (about May to June). They decided that they should at least go and collect his body so that they will be able to make offerings to it. Therefore, some of them forced their way through the snows to reach Lachi mountain.
When they neared Milarepa's cave they saw a snow leopard upon a rock and thought, "Milarepa's body will have been eaten by that snow leopard and we are not even going to be able to bring back his body. " When they reached the spot where the snow leopard had been they saw human footprints. They wondered, "What is this? Is it some deity or spirit? " When they carne close to Milarepa's cave they heard him singing and then calling out, "Hurry
18
? Songs ofthe Snow
up! Where have you been that you're so late getting here? " When they got to the cave they discovered that Milarepa had already prepared a meal for them.
The pupils then asked, "How did you know we were coming? " Milarepa replied, "I saw you when I was sitting on that big rock over there. " But they said, "But all we saw was a snow leopard on that rock, so what do you mean? " Milarepa then said, "That was an emanation of myself. I have meditated for so long that I have mastery over my mind and subtle winds,20 so I can manifest many emanations. "
Milarepa was in good health but he hadn't had enough food to keep him alive, so they asked him how he had survived. Milarepa said, "I don't need much food because ofmy practice ofmeditation and sometimes dakinis bring me a portion of their ganachakras. Therefore I only need to eat a spoonful of tsampa to keep myself alive. But also, in the fourth month, I had a vision of you surrounding me and offering me a great deal of food, after that I didn't need to eat at all. " They said that was the time when they had made the funeral offerings to him, thinking he was dead. Milarepa said, "This proves that when people do good actions for the sake ofsomeone who has died, it really does help them. "
Then the pupils requested him to return to the village. At first Milarepa refused, saying, "My meditation is going well here, so I'm not going to leave. " The pupils insisted, saying, "People will accuse us of leaving you here to die and they will be very angry with us, so you must come back this one time to the village with us. " Milarepa agreed to come and so they set off together with some going on ahead to tell the villagers that Milarepa was alive and on his way. A great number ofvillagers came to welcome him and escort him to the village. When they asked Milarepa's how he was, he replied with a song:
19
? The Life & Spiritual Songs ofMilarepa
I am happy that today we have met here and all are still alive. This old man has many songs, so I am singing in answer to your question. Listen well.
Saddened by samsara, I did not stay in the village, but went to Lachi snow-mountain. It was as if the sky and the earth had planned a snowstorm. So many clouds gathered and the sun and moon could not be seen, the stars and planets could not be seen, it was as if they had been thrown into prison. The snow fell for nine days and nine nights with snowflakes coming down as large as birds and snowflakes as small as sesame seeds. I was in a high place and the dark
mountains around me were all turned white.
When this great snow fell, all people's homes were changed into prisons because they could not leave. Animals, deprived of food, suffered a famine. The wild animals also had no food. Neither did the birds in the sky. Mice hid under the ground like a treasure
and animals of prey had nothing to eat.
The blizzard that fell upon me, the winter wind
and my thin cotton robe competed with each other to see who could make the winter coldest for me. As I am one ofa lineage ofheroes, I didn't run away and all ended well. Therefore I believe that in the future the teachings o f the Practice Lineage will spread, there will be many siddhas, and I, Milarepa, will be famous for my accomplishment of the dharma. You my pupils will have faith in me and the future will be good and the Buddha's teachings will spread. That's how I am.
How are you?
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? Songs ofthe Snow
The villagers danced with joy. Milarepa's experience and realization intensified and he danced too, leaving his footprints and imprints from his staff all over the rock beneath him.
When he arrived in Nyanang village, his pupils said, "You are in good health and must have developed exceptional realizations and experiences in your meditation. Please tell us about them. " In reply Milarepa sang a spiritual song about his experiences and realizations in which he describes his view, meditation, conduct and commitment:
My view is the realization of the true nature of the mind exactly as it is; the mind is seen to be unborn, empty. There is nothing to be viewed. There is the destruction and disappearance ofthe viewed and the viewer. I have obtained such an excellent view.
My meditation is an unbroken continuity of clarity, like the constant flow of a river. This is meditation on the true nature ofthe mind. The true nature of the mind never changes; the meditation is unceasing, with no difference between periods of meditation and periods of non-meditation. It is as if one has lost the capacity to distinguish between meditation and meditator. Everything is meditation, so that meditation has great diligence.
My conduct is that there is no change in the mind's fundamental clarity, in whatever I do. The interdependence of phenomena is empty. All distinction between acts that are done, and the individual who acts, are destroyed.
My commitment is free of hypocrisy, artifice, hope, and worry. The distinction between a
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? The Life & Spiritual Songs ofMilarepa
commitment that is kept and the keeper of a commitment is ended and destroyed. I have this excellent commitment.
The result of this is that the mind is seen as the dharmakaya. There is a spontaneous achievement of benefit for myselfand others. There is no distinction between a result that is achieved and one who achieves. I have this excellent result.
This is an old man's song about the happy time he has had. In my retreat I was cut off by the snow. I was looked after by dakinis. I had the best of drinks - the water of melted snow.
Milarepa's pupil, Shakya Guna, expressed his joy that Milarepa had. returned without harm, that none ofhis pupils had died, and that they have all met again. He requested Milarepa to give them a dharma teaching on the six months that he had spent in retreat. Milarepa replied with a song on the signs ofaccomplishment from his six months of practice:
Saddened by worldly activities I went to Lachi mountain, where I stayed in the solitude of the Dundul Pukpa cave, practicing for six months, here I experienced the six signs of accomplishment.
The six external objects are:
If it obstructs, it is not space. If they are countable, they are not stars. If it moves, it is not a mountain. If it diminishes or increases, it is not the sea. Ifit can be crossed by a bridge, it is not a great river. If it can be grasped by the hand, it is not a rainbow.
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? Songs ofthe Snow
Six inner faults are:
Looking up at the planets is not the view. This means that the view should be free ofconceptualization and identification.
Mec. litation on the view should be free ofstupor or the agitation of thoughts, otherwise, it is not a valid meditation.
When we arise from meditation and engage in conduct, that conduct should be free from the distinction of good conduct to be adopted and bad conduct to be rejected.
One who has the true view, meditation, and conduct is a yogin. A yogin should always be free from. thoughts, otherwise he or she is not a true yogin. That yogin must have wisdom that does not fluctuate between clarity and obscuration. Ifit does, that is not true wisdom.
The ultimate result is freedom from suffering, birth, and death. Ifthere is birth and death, then the result is not Buddhahood.
The six kinds of bondage that bind one to non- liberation from samsara are:
Anger causes one to fall into and remain in the hell realms. Anger is a bondage that binds one to hell. Miserliness is a bondage that binds one to the realm ofthe hungryghosts. Stupidity is a bondage that binds one to the world ofanimals. Desire is a bondage that binds one to the world ofhumans. Envy is a bondage
that binds one to the realm of the Jealous gods. Pride is a bondage that binds one to the realm of the gods.
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? The Life & Spiritual Songs ofMilarepa
Thesesixkleshal1 arebondagesthatbindonetonon- liberation from the six realms of existence.
There are six aspects to the path that leads to liberation from these bonds, from samsara:
If there is great faith, one will be able to enter the valid path~ therefore faith is the path to liberation.
If witn great faith one follows a guru who is learned and self-controlled, one will go along the path to liberation.
If while following the guru one keeps one's commitments to the guru, this is the path to liberation. If one has faith, relies on a guru, and keeps unbroken commitments, and then one wanders in the mountains, one will be able to truly accomplish
the path to liberation.
If wandering through the mountains one stays
alone avoiding distractions, one will be able to practice the dharma properly, and therefore this is the path to liberation.
If remaining in solitude one practices, that is the path to liberation.
There are sixprofundities:
The innate natural profundity is the mind at rest in an uncontrived state. This natural state is not newly created, but is primordially innate within us.
When there is no distinction between internal and external, and everything is pervaded by the mind, and by knowledge, this is called the profundity of knowledge.
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? Songs ofthe Snow
When the all-pervading knowledge is free from fluctuation in its clarity, and is ever-present, it is called the profundity ofwisdom.
When that wisdom pervades everything, this great pervasion is the profundity of the true nature of phenomena.
When that expanse of the true nature of phenomena is free ofloss and change, when it is always present, that is called the profundity of the essential drops (Skt. hindu. )
When that state is free of loss or change and is continuous, that is the profundity of experience, the experience o f meditation.
These are the six profundities possessed by the confident.
There are the six kinds of bliss that are the results of the path of means such as tummo:
When the heat of the tummo practice blazes in the body, there is bliss.
When the karmic winds that move through the left channel (the lalana) and the right channel (the rasana), and enter the central channel (the avadhuti) are transformed into wisdom-air, there is bliss.
When the flow of bodhichitta descends in the upper body, there is bliss.
When the lower body is pervaded by the hindu, there is bliss.
When the white and red elements come together in the middle ofthe body, there is bliss.
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? TheLife& SpiritualSongsofMilarepa
When the body is permeated by immaculate bliss, there is bliss.
These are the six kinds of ultimate bliss in yoga.
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? 4
The Rock Sinmo in the Lingpa Cave
( / / ( arpa had told Milarcpa that he should meditate on J . J ~ Palbar mountain. Milarepa went there and discovered the Lingpa Cave to be very pleasant, and so he meditated in that cave. 22 One day he heard a loud voice coming from a crack in the rock. Milarepa got up and looked but decided it was just a meditator's illusion and sat down again. Then a bright light shone out from the rock. Inside the light there was a, red man astride a musk-deer that was being led by a woman. The
man gave Milarepa a slight blow and then disappeared in a gust of air. The woman changed into a red female dog that seized Milarepa by the big toe of his left foot and would not let go.
