Chapter 34 Outline
3.3.3. 2.2.2. 8. The detailed exegesis of the secret of the four [types of] worship
3.3.3. 2.2.2. 8.1. The chapter that shows the great seal
3.3.3. 2.2.2. 8.1.1. The promise to explain
3.3.3. 2.2.2. 8.1.2. The promised import explained
3.3.3. 2.2.2. 8.1.2. 1. Detailed exegesis of the import to be explained
3.3.3. 2.2.2. 8.1.2. 1.1. Explaining in terms of the interpretable meaning
3.3.3. 2.2.2. 8.1.2. 1.2. Explaining in terms of the definitive meaning
3.3.3. 2.2.2. 8.1.2. 1.2.1. The explanation that occurs in the oral instructions of previous gurus
3.3.3. 2.2.2. 8.1.2. 1.2.2. Kambala the Blanketed’s explanation
3.3.3. 2.2.2. 8.1.2. 1.2.2. 1. The explanation in terms of the yoga of the drop
3.3.3. 2.2.2. 8.1.2. 1.2.2. 2. The explanation in terms of subtle yoga
3.3.3. 2.2.2. 8.1.2. 2. Summary of the explained import
3.3.3. 2.2.2. 8.1.3. Showing the name of the chapter
3.3.3. 2.2.2. 8. The detailed exegesis of the secret of the four [types of] worship
The eighth part, the detailed exegesis of the secret of the four [types of] worship, has four sections: (1) the chapter that shows the great seal, (2) the chapter that shows the reality seal, (3) the chapter that shows both the symbolic and actual seals through a single approach, and (4) the chapter on subjugating the actual seal (consort).
3.3.3. 2.2.2. 8.1. The chapter that shows the great seal
The first part has three sections: (1) the promise to explain, (2) the promised import explained, and (3) showing the name of the chapter.
3.3.3. 2.2.2. 8.1.1. The promise to explain
Next, after the thirty-third [chapter], I will explain the method whereby any ritual action whatsoever, that is, the previously explained extensive procedure for pacifying, enriching and so forth, of the essential Saṁvara wheel of the ḍākinīs’ network of Prachaṇḍā etc., is undoubtedly achieved by the adept rapidly (34.1), i.e., without long delay.
Kambala quotes for the third line, “the means of achievement relying on one’s mind,” which he explains means that one finds in one’s mind the means of achievement that relies upon the place of the central channel.395 The previous gurus have stated that these four lines [indicate] that in order to meditate on the perfection stage one meditates extensively on the deity wheels, and having meditated on the deities prior to fire sacrifice, one undertakes fire sacrifice after one gathers them into oneself.396
3.3.3. 2.2.2. 8.1.2. The promised import explained
The second part has two sections: (1) detailed exegesis of the import to be explained and (2) the summary of the explained import.
3.3.3. 2.2.2. 8.1.2. 1. Detailed exegesis of the import to be explained
The first part has two sections: (1) explaining in terms of the interpretable meaning and (2) explaining in terms of the definitive meaning.
3.3.3. 2.2.2. 8.1.2. 1.1. Explaining in terms of the interpretable meaning
All of the heroes, Khaṇḍakapālin and so forth, and the twenty-four ḍākinīs, Prachaṇḍā and so forth, should be placed (niyojayet, nges bar sbyor), i.e., set (dgod), upon the lotus of the navel,397 that is, on its petals. The placement of the twenty-four heroes and heroines on three successive eight-petalled lotuses is explained in the Vajraḍāka.398
Both of the eyebrows indicate third eye of all deities. Just as there is an eye beneath each of the right and left eyebrows, an eye is also “inserted,” i.e., placed,399 between, i.e., amidst, the right and left eyebrows. This is the point of the avadhūtī (34.2), the upper end of the central channel. This is the intention of the five, Koṅkana [Jayabhadra] and so forth. It occurs as “One should likewise place the avadhūtī point between the eyebrows” in two commentaries.400
The yogī who has obtained the sign [of power], having brought himself into union with the agitation, i.e., impurity, of the hero Shrī Heruka, or should sacrifice the oblation of flesh with the concentration of having transformed into the ferocity of Shrī Heruka whose countenance agitates, i.e., mixes up, desire and anger, while some, being first endowed with the pride of oneself as a fierce one, satisfy themselves with the flesh however obtained. Then, after that, regarding eating in accordance with the rite, he should offer into the mouth of the wordly fire god (agni, me lha) the five sacrifices, i.e., oblations with the offering substances beef (gaumāṁsa) and blood (rudhira) energetically (34.3), unwavering from the divine pride.
In some of the translations “having desired” (byas chags par) occurs.401 “Desired” (chags pa) does not occur in any of the commentaries or in Lochen’s translation, although “having done” (byas pa) and “with the mouth” (zhal gyis) do occur in the commentaries.402 If it seems that there should be [the term] “desired,” [it means] that his visage mixes the sentiments of ferocity and desire, in the manner of Lochen’s [translation], it “seems to become agitated and fierce.”
And then, having offered the five sacrifices, one should offer the nine sacrifices of offering substances such as the five ambrosias etc. in the fire blazing403 in the hearth, that is, the mouth of the mundane fire god. Having shown the sacrifice to the mundane fire god with these [lines], regarding offering sacrifice to the supramundane deity, one should see, i.e., visualize, him there in the dense light array, like a fire-garlanded ocean in the hearth. Another translation reads “then in the fire garlanded ocean,” which accords with the commentaries.404 How should it be visualized? One should visualize amidst that fire the mandala with four gates and a square divine palace as the wheel, the gates of face in all directions (34.4), i.e., in the four directions. [This] is the creation of the habitat.
Regarding the creation of the inhabitants, in the middle of an eight-petalled lotus, there within the divine palace, is placed the four-faced lord of heroes, and the twenty-four heroes, Khaṇḍakapālin (Broken Skull) and so forth, on their respective seats, the twenty four petals on the spokes of the [mandala’s] three wheels, which is the hero’s abode, and the four messengers, Ḍākinī and so forth, on the four lotus petals in the cardinal directions. One also places on the spokes the twenty-four [heroines], Prachaṇḍā, and so forth, who sport in great bliss through nondual union with all twenty-four of the heroes, who are not just solitary heroes (34.5). Through the example of them one should know that skulls or skulls with vases are placed on petals in the ordinal directions, and Crow Face (kākāsyā) and so forth are also placed at the gates and in the quarters.
The line [beginning with] “rite” (cho ga, 34.6a) does not occur in the other translations and commentaries,405 but if it does occur, it means that Khaṇḍarohā is bestowed, i.e., applied, with the form stated in accordance with the rite for achieving the ritual procedure. Khaṇḍarohā, who resides on the petal to the rear, is placed accordingly, and a second Khaṇḍarohā, who emerges outside from one’s body, is applied to all ritual procedures. They should reside, that is, exist, in their own forms, which are white and so forth for each of the respective ritual procedures such as pacifying and so forth. Not only that, one should view the deities of the wheels (34.6) in the center of the hearth.
Regarding making these inhabitant wheels radiant (34.7a), this should be done as stated with respect to the white body color and so forth as well as one’s own mood for the respective ritual procedure such as pacifying and so forth.406 This is not the case just for the context of fire sacrifice, but also for the context of performing other ritual actions. Regarding the procedure of fire sacrifice, it should be known from my extensive instruction [on this topic] elsewhere. Fearing prolixity, I will not write about this here.
3.3.3. 2.2.2. 8.1.2. 1.2. Explaining in terms of the definitive meaning
Regarding the explanation of approximately one aspect of the definitive meaning of this in the Vajraḍāka, one should know this from its commentary. With respect to explanations of the other definitive meanings, there are two: (1) the explanation that occurs in the oral instructions of previous gurus and (2) Kambala the Blanketed’s explanation.
3.3.3. 2.2.2. 8.1.2. 1.2.1. The explanation that occurs in the oral instructions of previous gurus
Through the equipoise of the partners having visualized the means of achievement of this, one contemplates the experience of being pervaded by great bliss. The blissful spirit of awakening (bde ba’i byang chub sems) exists at the tip of the jewel like radiant white and red vowels and consonants. Having come up through the right nostril, proceeding from wheel of great bliss up until the wheel of the commitment, and through the beings of the three abodes appearing as manifestations of the mandala deities, one contemplates the experience of great bliss with all of them.
Through the experience of bliss, the heroes and heroines of the outer three abodes melt into the charnel grounds, and the charnel grounds melt and dissolve into the divine palace. Regarding the dissolution [of the divine palace] up until the four [essence yoginīs], Ḍākinī and so forth, this is the meaning of the two lines [beginning with] “all heroes” (34.2ab). They melt and enter into the left nostril of the four-faced [central deity]. Having entered the central channel between the eyebrows, the spirit of awakening descends and also pervades the four wheels; this is the meaning of the two lines [beginning with] “between the eyebrows” (34.2cd).
Then one visualizes oneself and Vārāhī melting into great bliss, the white drop becoming one with the red [drop] at the tip of the vajra and lotus. [This] is meditation on the actuality of great bliss. Regarding that co-emergence (lhan skyes), since he is devoid of conceptions of desire and so forth, the hero is “agitated,” which is clarified as utkaṭa.407 “Desire” (34.3a) is transforming into another, “offered” is becoming non-apparent, “beef” is earth and so forth, the “five sacrifices” (34.3c) are the five aggregates, and the “blazing fire” is the fire-like co-emergence. “Offering the nine sacrifices” (34.4a) is making the five aggregates and four elements non-apparent. If one sees that one’s mind is wavering from visualization of the drop in this manner, you should contemplate that very “fire-garlanded” (34.4c) radiant mass in the habitat and inhabitant mandala. With respect to considering the contemplation in this manner, the contemplative method is shown by the five lines beginning with “face in all directions” (34.4d).
If one contemplates in this manner with vehement exertion, you will see the signs of smoke and so forth within twenty-five days. In the interval between meditation sessions visualize the syllable hūṁ on a solar disk in one’s heart, of oneself as Saṁvara with one face and two hands, ornamented with ornaments, through the yoga of radiating and drawing back light rays from the drop of bliss that transforms into the syllable hūṁ. By contemplating in this manner, one will see the five signs, and the visualization of the mandala will appear before one’s eyes. Great bliss will manifest as well. This is meditation on the great seal, since it does not depend on the actual (karmamudrā) or symbolic (samayamudrā) seals, nor is it the reality seal (dharmamudrā) that takes a syllable as its basis.
[This] is the explanation.408
[The author] feels that it is necessary to establish one among the four seals by negating the other three. Regarding this it is stated in the explanation by Mar Chökyi Gyalpo409 of Möndro in the system of the translator Mardo that:410
One’s mind is fixed upon the condensed red and white drops as before, and, releasing the drop to its resonance (nāda), one apprehends the mind. With respect to that one also does not focus upon the fixed [mind] and resonance. One contemplates focusing one’s attention on being devoid of all elaborations. Emerging from that one contemplates the wheel of the habitat and inhabitants. One should do thus three times in a single meditation session.
With respect to this, it seems that it does not accord with what is done in Nāropa’s system. Whatever stage of condensation is actually done or not in that [system], one also absolutely reaches the contemplation of the clear light of the spontaneous bliss emptiness in dependence upon the other three seals from the juncture that gives rise to capability in the perfection stage, having stabilized the creation stage. Therefore, although the union of bliss and emptiness emerges at the limit of this stage of condensation, it thus cannot be differentiated from the contemplation of the other three seals. Since it seems that the emergence into the wheel of the deities is done in the creation stage, and since in this manner from then onward there is also perfection stage contemplation of the great seal, saying that this chapter teaches the perfection stage great seal contemplation are mere words.
This being so, the method of showing the perfection stage great seal in this chapter is via the capacity to generate the gnostic deity forms of the perfection stage. Moreover, the entry into clear light having relied on the stage of condensation of the final dissolution should be taken as the ultimate meaning of fire sacrifice and [the text] “all heroes” (34.2a) etc. Emerging from the mere wind mind of clear light as the wheels of the mandala should be taken as the ultimate meaning of the five lines [beginning with] “in all directions” (34.4d) etc.
Moreover, since the deity forms of the perfection stage are the great seal, it is good if one takes this chapter as showing the perfection stage great seal. Since the non-condensed drop and deity visualization are explained in terms of the creation stage, it does not seem that [Mardo’s explanation], “if one sees that one’s mind is wavering” and so forth, is appropriate. Even someone as lowly as the present person will see the profound instructions on condensing the wind of the right and left channels into the lower aperture of the central channel if he undertakes the stage of condensation in the previously [explained] manner and focuses upon the father and mother’s melted red and white drop at the tip of the secret place.
3.3.3. 2.2.2. 8.1.2. 1.2.2. Kambala the Blanketed’s explanation
The second part has two sections: (1) the explanation in terms of the yoga of the drop and (2) the explanation in terms of subtle yoga.
3.3.3. 2.2.2. 8.1.2. 1.2.2. 1. The explanation in terms of the yoga of the drop
All twenty-four of the heroes, Khaṇḍakapālin and so forth, are included in the twenty-four yoginīs, Prachaṇḍā, and so forth; in the context of [this] tantra the wisdom consorts (shes rab ma) are taken as primary. The yoginīs are also included in Vārāhī. And since Vārāhī is also said to be the drop of the navel, she is included in the fierce short a. Therefore, they are joined to, i.e., included within, that place of [the syllable] a in the center of the lotus of the emanation wheel.411 Although his statement of and commentary on these two lines (34.2ab) are not clear, their meaning should be taken as being similar to what was stated by Durjayachandra.412
Kambala states that “It is the avadhūtī because it shakes the sin of discursive thought.”413 Ava is the sin of discursive thought, and dhunoti414 means “shaking,” i.e., removing, sin. It is called the avadhūtī since among the channels it is the lord of fire that has the form of blazing fire. The dhūtī is its site; it resides or exists there. It is said that through union with this, the site of the dhūtī is also for yogis.415
Where is the site of the dhūtī? It is between the two, left and right, eyebrows. Regarding what is positioned there, one conceives within the central channel a moon-like drop. Within, that is, encircling up to, the lotus at the edge of that moon and channel wheel are sixteen subsidiary channels.416 As is stated:417
The moon lotus at the eyebrow’s juncture
Is surrounded by the sixteen portions.
Through union with art and with wisdom,
It’s said to be non-dually united.
If you visualize that it is endowed
With the first vowel it will quickly ignite.
The meaning of the two [lines beginning with “through union with] art and” is that through the union via blazing and trickling of both “art,” which is the moon-like drop, and “wisdom,” which is the letter a at the navel, there is said to be non-dual union (saṁpuṭa, kha sbyar). The [last] two [lines beginning with “with] the first” [indicate that] if you visualize the fury fire of the navel it will ignite. Through this exhalation of the upper aperture of the dhūtī between the eyebrows one should know as well the stage of the seedless double vajra taught by Ghaṇṭapāda that is hidden in the root tantra.
That which rises up from the short a in the navel is the blazing fire. It is the “mouth” of the “hero” that is “agitated,” i.e., disgusting.418 Regarding sacrificing the five homa oblations there, one sacrifices the conceptions of the five sense faculties with the five meats illustrated by “beef” that are purified by the five tathāgatas, and of the five elements via the five ambrosias illustrated by “blood.” Transforming the conception of each of those sets of five with the five aggregates and four elements yields sacrifices of five sets of nine. One thence gives the nine homa oblations.419
Regarding “then in the fire garlanded ocean” (34.4c), one sacrifices one’s conceptions with the fiercely blazing fury fire. “Should see the wheel facing in all directions” means that the mantrin should see the wheel in that sacrifice. What is that wheel like? It is said that it is a mandala that faces everywhere, throughout the entire triple realm, and it is one’s self-arisen personal deity. This shows one’s emergence from clear light as the magical body personal deity, which is the means of engaging with any sentient being. One’s mode of existence through union with one’s personal deity is shown by the five lines [beginning with] “lord of heroes” etc. (34.5a–6a). One manifests as the magical body habitat and inhabitant mandala.420
3.3.3. 2.2.2. 8.1.2. 1.2.2. 2. The explanation in terms of subtle yoga
Regarding showing the three wheels in terms of what is indicated by the two lines “these wheels” and so forth (34.7ab), they are explained with reference to the accomplishment of all powers (34.7c).421 The visualization of these wheels of the mandala in the heart of the gnosis hero as taught in the Ocean of Spells (34.8a) will rapidly accomplish all powers. Regarding the method of visualizing the wheels, visualize in the heart of the gnosis hero a white lotus on which are the signs and hand emblems of whichever clan, and in the middle of that are the seed syllables of each clan, and within the drop of that,422 are the seed syllables of each, hūṁ and so forth, from which manifests the mandala of the nature of great bliss, condensed in just an atom. From the light rays of gnosis that radiate thence the bodies of the various buddhas diffuse, and thence bless all beings with the commitments of the Vajraḍākas. If one meditates for a week with one’s mind extremely stable by means of vase breathing, one will undoubtedly directly perceive shivering, shaking, settling, wavering, and ignition.423
While it is not clear where one visualizes the gnosis hero, since those who have the oral transmission of this system assert that it is visualized in the heart, it should be visualized within the central channel at the heart, and the vase breathing (bum pa can) should also be done in the heart. Therefore, with the two drops that are visualized as the syllable a, the actuality of white and red drops, within the central channel at the crown and navel, respectively, the life force is accumulated in the central channel in those places. The fire sacrifice (sbyin sreg, homa), which is the definitive meaning of the concept of “burning,” enters into clear light. It is taught that one thence arises into the magical body. The meditation on the application and connection of the subtle yogic wind within the central channel at the heart was taught in the first chapter of the Ocean of Spells Tantra (34.8ab), and profoundly established by Kambala the Blanketed.424 I have already explained in depth the definitive meaning of fire sacrifice [stated] in the Kiss Tantra.
3.3.3. 2.2.2. 8.1.2. 2. Summary of the explained import
Do not doubt that that which was taught succinctly here by the hero Heruka in the manner that the wheel was taught in the first chapter of great tantra (mahātantra) called the Ocean of Spells (34.8ab). While Laṅka [Jayabhadra] explains that the term hero is in the vocative case, it seems that it is better to explain it as [the instrumental] “by the hero,” as is intended in the commentaries of Kambala and others.425
Having obtained the text of the mantra that is very difficult to attain, and which has the nature of nondual union with the messenger, have no doubt that he who exerts himself in repetition and visualization will achieve power (34.8cd). Bhavabhaṭṭa’s comment that “equipoised with the messenger, one should make fire sacrifices”426 accords with the context of the chapter’s name.
3.3.3. 2.2.2. 8.1.3. Showing the name of the chapter
In the Concise Shrī Herukābhidhāna Tantra, this is the chapter on the fire sacrifice of the nondual messenger. Regarding the meaning of the latter term,427 Durjayachandra explains “messenger” in terms of meditation on the short a syllable that assembles all of the yoginīs.428 Regarding the meaning of the former term, I have explained the definitive meaning of fire sacrifice. In addition to the definitive meaning, the interpretable meaning is said to be performing fire sacrifice in the manner of union with the messenger as Bhavabhaṭṭa [explained].429
This is the thirty-fourth chapter on the procedure of the rite of both the interpretable and definitive fire sacrifice. This is the explanation of the thirty-fourth chapter in the Illumination of the Hidden Meaning, A Detailed Exegesis of the Concise Saṁvara Tantra Called “The Chakrasaṁvara.”
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395. This translates Tsong Khapa’s quotation of the line, sgrub thabs yid la brten pa ste, which accords with the canonical translation, sgrub thabs yid la brten pa ste / a ba dhū tī’i gnas rnyed pa’i phyir ro (SN 65a.6–7). The Sanskrit here is somewhat corrupt, reading: sanaiva sādhayed iti / avadhūtapada prāptatvāt (K 62b.5), which we might read as “One should accomplish in one’s mind, because one has obtained the state of renunciation (avadhūtapada).” The term avadhūtapada may here mean the state of a yogī who has completely renounced worldly concerns.
396. See PG 352.1.
397. Tsong Khapa here reads lte ba’i padma, “lotus of the navel.” All three Tibetan translations, however, read padma’i lte bar, “on the corolla of the lotus.” The Sanskrit, however, reads puskareṣu, “on the lotuses.” See Gray 2012, 188, 359, 460, 540.
398. Tsong Khapa is referring to the description of the three eight-petalled lotuses, corresponding to the mandala’s mind, speech, and body wheels, onto which the deity couples are placed. This is described in VD ch. 14, edited in Sugiki 2003. It is also described in other explanatory tantras such as AU.
399. Tsong Khapa glosses gzhug, a bad translation of the Sanskrit nikṣipeta, with nges par bzhag.
400. Tsong Khapa is quoting the following translation of that last half of v. 2: a ba dhū tī’i gnas de bzhin / smin ma’i bar du nges par bzhag. This is found in Jayabhadra’s commentary as follows: a wa dhū tī’i gnas de bzhin / smin ma’i bar du nges par bzhag (CP 63a.5); Vīravajra’s commentary quotes it as: a wa dhū tī’i gnas de bzhin / smin ma’i bar du nges par gzhag (SG 198a.4).
401. This translation of the first line of this verse is actually found in all of the extant translations of the root tantra itself. The PM translation reads dpa’ bo’i mchol bar byas chags par, while the SM translation has the almost identical reading dpa’ bo mchol bar byas chags par. SL has a variant translation dpa’ bo rme rtsegs chags byas la, reading chags byas la in place of byas chags par. None of these readings accord with the extant Sanskrit, which reads instead: vīrocchuṣmamukhenāgnau. See Gray 2012, 188, 359, 460, 540.
402. As noted above, “with the mouth,” –mukhena, does occur in the extant Sanskrit.
403. Tsong Khapa here glosses the SM and SL translation of 34.4b, de nas ’bar ba’i me la ni. The PM translation reads de nas ’bar ba’i byin za la, which corresponds to the Sanskrit jvalite ca hutāśane, “in the blazing oblation eater.” The term hutāśana, “oblation eater” naturally means fire. See Gray 2012, 359, 460, 540.
404. Tsong Khapa here refers to the SL translation, which reads de nas ’bar phreng rgya mtshor ni. See Gray 2012, 460.
405. Lines beginning with cho ga occur in all three of the extant translations.
406. That is, both the visualization of the deities and one’s own inner mood must correspond to the ritual procedure undertaken. For pacifying, the deities would be visualized as white in color, and one would need to manifest a calm emotional state.
407. Tsong Khapa assumes here that the Tibetan ’chol ba, in 34.3a, is a translation of the Sanskrit utkaṭa. This is a reasonable assumption, although the extant mss. here read ucchuṣma.
408. Tsong Khapa does not directly indicate whom he is quoting here, and I haven’t been able to find the source of this commentary. In the explanation that follows, however, he seems to imply the source is Mardo, presumably Mardo’s commentary on the root tantra which appears to have been lost.
409. Mar Chögyal or Mar Chökyi Gyalpo was evidently active during the 12th century.
410. Tsong Khapa identifies this work vaguely as the dmar chos rgyal gyis bshad pa. I am not aware that any works by this author have come to light.
411. Tsong Khapa here is commenting on Kambala’s text, “All heroes and yoginīs are united at the center of the lotus. Regarding ‘lotus of the navel,’ it means that they are placed on the heart of the lotus of the navel.” SN 65a.7: dpa’ bo kun dang rnal ’byor ma / padma’i lte bar nges par sbyar / zhes bya ba la lte ba ni lte ba’i padma’i snying po’i ste der nges par sbyar ba’o.
The Sanskrit reading is somewhat different “The ḍākinīs are placed upon the lotuses with all of the heroes means they should be placed there in the navel of the lotus, that is, on the lotuses’ pericarps.” (K 62b.5: sarvavīrasya ḍākinyaḥ puṣkareṣu niyojitam iti puṣkaranābhikamalakarṇikā tasmin tasmin niyojayet.)
412. Kambala’s commentary is not clear here with respect to this topic because he simply glosses the root text without going into any details concerning yogic practices. Tsong Khapa thus follows Durjayachandra’s commentary instead. See RG 303b.4–6.
413. Tsong Khapa is quoting what appears to be a very bad translation of Kambala’s commentary. It reads: rnam par rtog pa’i sdig bskyod pas na a ba dhū tī’i ste (SN 65a.7). See my translation of the Sanskrit in the footnote at the end of this paragraph.
414. Tsong Khapa’s text here reads dhū no tī, which presumably is an attempt to give the 3rd person singular present form of the verb dhū, from which the terms avadhūta and avadhūtī derive. I have corrected this to dhunoti.
415. The Sanskrit version of this section of Kambala’s commentary reads: “It is the avadhūtī since discursive thought has been shaken off. The lord whose form is blazing fire is said to be the avadhūtī. Its state means that is the place in which it exists. It is said that through union with that one is thus a yogi” (K 62b.6–7: avadhūtavikalpatvāt / avadhūtī jvaladagnirūpā tasyāḥ patiḥ / avadhūta ity ucyate / tasya padam pratiṣṭhā sthitir ity arthaḥ / tena yogāt yogī tathocyate).
416. This section of Kambala’s commentary reads, “Where is it? Between the eyebrows. The moon lotus is encircled by sixteen vowel forms” (SN 65b1–2: gang du zhe na smin ma’i bar du zhes bya ba ste / zla ba dang padma’i bar du ā li’i ri mo bcu drug gis bskor ba’o; K 62b7: kasmin bruvo[r] madhya iti / indupadmasya madhye ṣoḍaśe staṁ? nuṣaṣṭhitaṁ?).
417. The source for this quote is Durjayachandra’s commentary, which in turn quotes another unnamed source. See RG 303b.7–304a.1.
418. This is based on Kambala’s comment “The hero’s agitated mouth is the agitated, i.e., disgusting, mouth of the lord” (SN 65b.2: dpa’ bo ’chol ba’i zhal du zhes bya ba la / ’chol ba ni ’jigs su rung ba ste bcom ldan ’das kyi zhal du’o; K 62b.7: vīrocchuṣmamukheti ucchuṣma b[ī]bhatsa bhagavato mukha).
419. This is based on Kambala’s comment: The five homa oblations are via purification with the five tathāgatas. The nine homa oblations mean that for each one you should offer up forty-five [oblations]. SN 65b.3: bsreg bya lna zhes bya ni de bzhin gshegs pa lnga rnam par dag pa rnams kyis so / bsreg bya dgu zhes bya ba ni re re zhing ste / bzhi bcu rtsa lnga’i sbyin sreg ba’o zhes bya ba’i don to; K 63a.1–2: pañcahotaya iti pañcatathāgataviśuddhyā / navahotaya iti pratyekaṁ pañcacatvāriṁśati juhuyād ity arthaḥ.
420. This is based on Kambala’s comment: The fire-garlanded ocean is fiercely blazing. It is the mantrin who should see. What? The wheel facing in all directions, that is, one’s self-arisen personal deity and the mandala of the entire triple realm. Four faces etc. mean with union with one’s deity there is the hero’s abode, i.e., one has a palace.” K 63a.2: jvālāmālārṇavam iti / depīpyamānam / paśyed iti mantrī / kiṁ tat cakraṁ sarvatomukham iti traidhātukam akhilamaṇḍalasvādhidevatasvayambhūḥ / caturmukham ityādi / svādhidevatayogena vīrālayam iti kuṭāgārasahitam.
421. This line is found in the extant Sanskrit sources but is omitted in all of the Tibetan translations. Tsong Khapa is quoting Kambala’s quotation of this line as follows: dngos grub thams cad sgrub byed yin (SN 65b.7); sarvasiddhiprasādhakaṁ (K 63a.5).
422. That is, the bindu mark that indicates the anusvāra nasalization in the Sanskrit alphabet.
423. Tsong Khapa summarizes Kambala’s commentary here; see SN 65b.7–66a.4. All but the last part of this passage is preserved in the extant Sanskrit, as follows: “As for the accomplishment of all powers, having visualized the lord of the triple realm mind palace within the drop of the symbolic seed syllable in the white lotus in the heart of the gnosis hero, there is the meditation of subtle yoga, having radiated of clouds of buddhas amidst the array of tens of millions of light rays, and having gathered them together through the yoga of the drop. In the sky-like expanse of the mandala that arises from hūṁ via the clan method and is included within the sign is the great abode of the Victor’s jewels, the accumulation of subtle atoms of great bliss. One is self-established there as [Vajra]ḍāka, in the commitment of all beings.” (K 63a.5–7: sarvasiddhiprasādhakam iti jñānasattva-hṛdipuṇḍarīkacihnabījabindumadhyas tu traidhātukātmakaṁ cittaṁ kūṭālayaṁ dhyātvā raśmikoṭīsamākīrṇe buddhameghaspharaṇāvahaṁ binduyogasaṁhṛtya sūkṣmayogavi-bhāvanam / kulānukrama hūṁbhavaṁ cihnāntargatamaṇḍalavyomaprabhāvist[ār]e jina-ratnamahālayaṁ mahāsukhasvasūkṣmaṁ par[am]āṇurūpaṁ saṁcayām aśeṣasattvasama-yaṁ ḍākasvapratiṣṭhitam).
424. As Tsong Khapa here indicates, he follows Kambala (SN 66a.4; K 63b.2) in indicating that this procedure was taught in the first chapter of the Vidyārṇava.
425. Jayabhadra does quote the text of 34.8, quoting here vīra yathā (Sugiki 2001, 134), which could be interpreted as vocative or nominative, but he does not actually explain the grammar of this verse. The Tibetan translator, however, interpreted it as vocative, translating it as kye dpa’ bo (CP 63b.5), as Tsong Khapa quotes here. Kambala does not mention the term vīra/dpa’ bo at all, so Tsong Khapa must be discerning his intention in some other manner. Bhavabhaṭṭa, however, does gloss vīra as vīreṇa, although the Tibetan translation of his commentary fails to communicate this grammatical gloss. See Pandey 2002, 529, 723.
426. This comment occurs as follows in Bhavabhaṭṭa’s commentary: dūtyā samāpanno juhuyād (Pandey 2002, 529), pho nya dang snyoms par zhugs pa la sbyin sreg bya’o (2002, 723).
427. Tsong Khapa, following the Tibetan word order uses the expression “former term,” tshig snga ma, which is the latter term in English translation.
428. See RG 303b.5–6.
429. See Pandey 2002, 529, 723.