The Life of Milarepa

«In the sphere of the reality body, a celestial realm primordially free from the clouds of ignorance, your full form body, the sun and moon, radiates enlightened activities, limitless light rays of wisdom and love blazing with splendor, beyond the reach of» — [TSANGNYÖN HERUKA] el primer verso del Prólogo, tras el saludo Namo Guru: el cuerpo de realidad como cielo libre de las nubes de la ignorancia; el verso cierra con el nombre del demonio Rāhu y su llamada de nota.

«Moreover, you set beings on the paths to total purity and then granted them the attributes of a powerful nāga lord» — [TSANGNYÖN HERUKA] la dedicatoria del Prólogo, que nombra a Milarepa por el nombre de su clan; la frase sigue con la llamada de nota y con la postración, to you known as Mila, lord endowed with the ten powers.

«So, with the fragrant water of faith and exertion I cleanse the stain of concealment from this jewel of a life story, and then for the benefit of beings I offer it as the crown of the victory banner of the Sage’s teachings.» — [TSANGNYÖN HERUKA] para qué declara escribir el libro: quitar a la historia la mancha del ocultamiento y ofrecerla.

«In the beginning of his life, here in the snowy land of Tibet, he developed a feeling of weariness toward the vast shortcomings of life’s round, which is like a pit of fire, and a sense of renunciation. His revulsion was such that he did not aspire, even momentarily, for the happiness of the high states of Brahmā or Indra. Rather, having seen the qualities of liberation, like a lotus grove, and omniscience, he was drawn toward those instead. Endowed with faith, diligence, wisdom, and compassion, and free from even the slightest sense of anxiety or intimidation, he renounced both life and limb for the sake of dharma.» — [TSANGNYÖN HERUKA] la primera de las tres fases en que el Prólogo resume la vida: el hastío del mundo y la renuncia.

«In the middle of his life, he was accepted as a disciple by an authentic lama and in solitary mountain retreats tasted the nectar that flowed from the lama’s mouth. Thus he was freed from the fetters of mental afflictions, and the sprouts of experience and realization were born.» — [TSANGNYÖN HERUKA] la segunda fase: el discipulado y el retiro.

«Maintaining the key points of the path of the messengers of Secret Mantra, the celestial wisdom consorts aroused in his body the bliss of the wisdom of the four joys and helped him to accomplish the path.» — [TSANGNYÖN HERUKA] el Prólogo nombra el Mantra Secreto como la vía de la práctica, con las consortes de sabiduría y los cuatro gozos.

«At the end of his life, he cleared away everything to be abandoned, the two obscurations and so forth, bringing all phenomena to the point of extinction, and he perfected all good qualities without exception, such as wisdom and love.» — [TSANGNYÖN HERUKA] la tercera fase: el fin de lo que hay que abandonar.

«He quickly learned the path of the unsurpassed Vajra Vehicle and perfected experience and realization.» — [TSANGNYÖN HERUKA] y el nombre de la vía con que la cierra, el Vehículo de Vajra.

«the coarse and subtle knots of the three principal channels at the four wheels all unraveled on their own and thereby transformed into the essence of the central channel.» — [TSANGNYÖN HERUKA] la fisiología sutil del Prólogo: los nudos de los tres canales principales en las cuatro ruedas, desatados de suyo.

«He mastered inner awareness, so everything in the outer world appeared as scriptures.» — [TSANGNYÖN HERUKA] la fórmula del Prólogo sobre la correspondencia entre la consciencia interior y el mundo exterior.

«He was a skilled craftsman who understood that all things have the nature of emptiness-luminosity.» — [TSANGNYÖN HERUKA] la primera de la serie de oficios con que el Prólogo nombra las capacidades de Milarepa.

«He was an effective physician who cured the chronic illness of the five poisons with the medicine of the five wisdoms.» — [TSANGNYÖN HERUKA] la segunda de esa serie, con los cinco venenos curados por las cinco sabidurías.

«He was an expert on sound who recognized the truth of the natural sounds of all inner and outer phenomena, both pleasant and unpleasant, and understood that they are all sound-emptiness.» — [TSANGNYÖN HERUKA] la tercera, sobre los sonidos naturales de todo fenómeno.

«In short, in one life and one body, he attained the four bodies and the five wisdoms, the high state of the great sovereign lord Vajradhara.» — [TSANGNYÖN HERUKA] el resumen con que el Prólogo cifra la vida entera: cuatro cuerpos y cinco sabidurías en un solo cuerpo y una sola vida.

«they can be succinctly divided into two parts: (1) the ordinary worldly deeds and (2) the deeds of supreme peace and transcendence.» — [TSANGNYÖN HERUKA] la partición del libro que el Prólogo anuncia, y que da su forma a las dos partes.

«During the course of an entire night, he had the following dream: In a lovely and enchanting land called Oddiyāna Khandroling (Garden of Dakinis), he entered a great city where the houses and their foundations were all made from precious gems.» — [RECHUNGPA, narrado] el sueño con que abre el marco del libro: la tierra llamada Oddiyāna Khandroling, jardín de dākinis.

«Among them was Bharima, the female disciple of lama Tipupa whom he had met previously in Nepal. She wore a red robe, carrying herself as the city’s principal figure.» — [TSANGNYÖN HERUKA] quién recibe a Rechungpa dentro del sueño.

«At present, the buddha Aksobhya is teaching dharma in Oddiyāna. Therefore, nephew, if you wish to request the dharma, I shall ask his» — [BHARIMA] lo que ella le ofrece dentro del sueño; la frase cierra con permission.

«Milarepa attained spiritual qualities not inferior to those previous masters in one lifetime and one body.» — [VOZ DE LA ASAMBLEA, en el sueño] la razón que se da para esa superioridad: una sola vida y un solo cuerpo frente a muchas vidas de acumulación.

«In particular, wherever the Jetsün abides is itself Abhirati and Akanistha.» — [RECHUNGPA] la reprimenda que se hace a sí mismo al despertar, y que resuelve la pregunta de la asamblea por la vía de la identidad de los dos mundos.

«My clan is Khyungpo. My family line is Josey. I am Milarepa. First I committed evil deeds. Later on I practiced virtue. Now I am free from both good and bad deeds, and having exhausted the bases for karmic activities, I will not conduct» — [MILAREPA] la primera respuesta, que se niega a extenderse: la vida en cuatro frases; el período cierra con them in the future.

«Were I to explain these events at length, some would be reason for laughter, others would be reason for tears. Such discussions are of little use, so let this old man rest in peace.» — [MILAREPA] y la razón con que rehúsa contarla.

«When you again ask with such urgency and insistence, I have no reason to keep it secret, so I shall tell you my story.» — [MILAREPA] la concesión que abre el relato entero.

«My family line stems from a lama who practiced Nyingma mantra, a yogin who was the son of a nobleman (josey). Favorably received by his chosen deity, he gained power in the practice of incantation.» — [MILAREPA] el origen del linaje familiar que declara: un lama de mantra Nyingma, hijo de noble.

«Reaching a place called Chungpachi in the region of Latö Jang in Tsang, he subjugated the harmful spirits in the area and offered his blessings. His effectiveness in performing such activities brought tremendous benefit to the region. His following and his activities thus increased. He was then given the name Khyungpo Josey and remained in the region for several years.» — [MILAREPA] de dónde viene el nombre Khyungpo Josey: de subyugar a los espíritus dañinos de una comarca.

«Thus did I hear. At one time the Powerful Lord of Yogins, the great Heruka himself greatly renowned as Jetsün Mila Zhepa Dorjé, was residing in the sacred place called Dröpa Puk in the region of Nyanam, turning the wheel of the Great Vehicle dharma» — [TSANGNYÖN HERUKA] la apertura del capítulo primero, que toma la fórmula con que abren los sutras y la traslada a una cueva tibetana; la línea empieza con la exclamación E ma ho y su llamada de nota, y sigue enumerando uno por uno a los discípulos presentes.

«The dharma discourse focused entirely upon the genealogies, birth accounts,» — [TSANGNYÖN HERUKA] qué enseña el buda dentro del sueño de Rechungpa; la frase sigue en la plana siguiente con deeds, and life stories of all the buddhas and bodhisattvas.

«Finally, he recounted the life stories of Tilopa, Nāropa, and Marpa, which were more extensive and even more amazing than when the Jetsün had told them previously. The entire assembly was thus completely overcome with faith.» — [TSANGNYÖN HERUKA] y con qué cierra ese discurso: las vidas de los tres maestros del linaje que preceden a Milarepa.

«At the conclusion of his religious discourse, the buddha said, “Tomorrow I shall narrate the life story of Milarepa, which is even more excellent than those I have just described, so come and listen.» — [AKSOBHYA, en el sueño] el anuncio que motiva el libro entero: la vida que se va a contar se declara más excelente que las que acaba de narrar. La misma frase la cita Lopez en su introducción, en la plana 9, y por eso el ancla se toma del cuerpo.

«Someone else asked, “Where does Milarepa currently reside?” Some said, “He resides either in Abhirati or Akanistha.» — [VOZ DE LA ASAMBLEA, en el sueño] dónde suponen que mora Milarepa, dos campos búdicos.

«made this supplication: “Precious Jetsün lama, buddhas of the past taught their inconceivable life stories consisting of twelve deeds and the like for the benefit of sentient beings.» — [RECHUNGPA] la petición con que pide la vida al maestro, calcada del modelo de los doce actos del Buda; Quintman la cita en su introducción, en la plana 20, y por eso el ancla se toma del cuerpo.

«Taken by surprise, it cried out again and again, “O mother, O father. Mila! Mila!”4 Many such terrified expressions fell» — [TSANGNYÖN HERUKA] el grito del demonio del que el relato hace venir el nombre del clan, con su llamada de nota; la frase cierra con from its lips.

«From then on, in order to express Josey’s greatness and his fine qualities, everyone called him Josey Mila. His descendants therefore came to be known by the name Mila.» — [MILAREPA] la etimología que el relato da al apellido.

«Mila Dorjé Sengé was fond of playing the dice game sho, and as an expert gambler he raked in considerable winnings.» — [MILAREPA] el juego de dados con que el bisabuelo hizo fortuna, y que después la deshizo.

«They agreed upon the size of the stakes and wagered their fields, their homes, and their personal wealth. They bound themselves by written contract so that there was no room for dispute and then they rolled the dice.» — [MILAREPA] la apuesta que arruina a la familia, con contrato escrito para que no hubiera disputa.

«The father, Dotön Sengé, carried out village rituals for the local inhabitants such as reading and reciting scriptures, offering ritual cakes, providing protection from hailstorms, and performing rites for protecting children.» — [MILAREPA] los ritos de aldea con que el abuelo se ganaba la vida: lectura de escrituras, tortas rituales, protección contra el granizo y ritos para proteger a los niños.

«On the twenty-fifth day of the first autumn month in the male water-dragon year, falling under the constellation Gyal, I was born.» — [MILAREPA] la fecha de su nacimiento tal como la da el texto, por el calendario tibetano y por la constelación.

«As I am delighted to hear the news that the child has been born a son, I shall call him Töpaga (Delightful to Hear).» — [MILA SHERAB GYALTSEN] el padre nombra al hijo por la noticia de que es varón.

«At last he prepared an extensive testament ensuring that his son would reclaim his patrimony.» — [MILAREPA] el testamento del padre, que es el documento del que pende todo el conflicto.

«In particular, I entrust him to the care of both his paternal uncle and aunt. When my son is able to support his own family, he shall marry Dzesé, as they were betrothed in childhood. You will then return to him my wealth in its entirety and ensure that my son thus takes charge of his patrimony.» — [MILA SHERAB GYALTSEN] la cláusula del testamento que el tío y la tía incumplen.

«Without listening to the arguments of my mother’s brother or Dzesé’s father and brothers, my uncle took the men’s goods and my aunt took the women’s; the rest they divided in half.» — [MILAREPA] cómo se reparten los bienes al margen del testamento.

«In summer, the time for working the fields, we were our uncle’s servants. In winter, the time for spinning and weaving wool, we were our aunt’s servants. Our food was food for dogs, our work, work for donkeys. We wore strips of tattered robe over our shoulders, tied with a jute belt. Forced to toil without rest, our limbs became cracked and raw. With only poor food and clothing, we became pale and emaciated. Our hair, once dangling in locks plaited with gold and turquoise, turned ashen and thin and became infested with lice.» — [MILAREPA] la servidumbre en que quedan madre e hijos, contada por el detalle del trabajo, la comida y el pelo.

«I remember that we two, brother and sister, had dangling locks plaited with turquoise and gold. We held great authority and influence throughout the region, so the local nobility became aligned with our family and the peasants came into our service.» — [MILAREPA] la posición de la familia antes de la ruina; Quintman cita esta misma frase en su introducción, en la plana 16, y por eso el ancla se toma del cuerpo.

«In those days there was a proverb: “When the false master aims to be master, the true master is put out like a dog.» — [MILAREPA] el refrán con que resume el despojo, citado como proverbio de la época; el mismo dicho reaparece en la plana 46 en boca de los invitados a la fiesta, en variante sin la palabra true.

«Our inferiors all ridiculed us behind our backs just as the saying goes: “When one is beset by misery, gossip will follow in turn.» — [MILAREPA] el segundo refrán con que el relato glosa la caída de la familia.

«When riches are gone, you needn’t think yourself poor, since they are like dew drops in a meadow. In the past, your ancestors didn’t acquire wealth until later on in life. For you, too, a time of prosperity will come.» — [LOS PADRES DE DZESÉ] el consuelo que ofrecen, con el símil de las gotas de rocío.

«Briefly stated, up to now both uncle and aunt have looked after me and my children with utmost care. Now, as my son and Dzesé are able to support their own family, I ask that you return our wealth that was entrusted to you, that my son marry Dzesé, and that he then take possession of his patrimony in accordance with his father’s testament.» — [NYANGTSA KARGYEN] la reclamación de la madre ante los testigos del testamento.

«What is more, even this house belongs to us, so you and your children, get out!» — [EL TÍO] la expulsión de la casa.

«O father Mila Sherab Gyaltsen, look at the fate of your wife and children. You who said, ‘I shall watch you from my grave,’ the time has come to look upon us.» — [NYANGTSA KARGYEN] su invocación al muerto, que devuelve la cláusula del testamento sobre vigilar desde la tumba.

«Uncle and Aunt did not return to us what was rightfully ours, so we will run at the sound of the drum and run at the rising of smoke.» — [NYANGTSA KARGYEN] la decisión de la madre de no vivir de caridad y de mandar al hijo a aprender un oficio; la frase lleva su llamada de nota.

«In Mithögeka of Tsa there lived a master of the Nyingmapa mantra tradition named Lugyé Khen, who was very much in demand for village rituals. I was sent to study reading with him.» — [MILAREPA] con quién aprende a leer: un maestro de la tradición de mantra Nyingmapa, solicitado para los ritos de aldea.

«I accumulated misdeeds through black magic and casting hailstorms,” replied Milarepa.» — [MILAREPA] la respuesta con que nombra sus malas obras al empezar el capítulo tercero.

«My uncle and aunt never agreed with one another, but they were reconciled in their greed, and I was an only son while my uncle had many sons. My uncle and aunt were thus united and said» — [MILAREPA] a qué atribuye la unión de tío y tía contra ellos.

«Previously, when Mila Sherab Gyaltsen was in good health we loaned him a house, fields, gold, turquoise, crossbred yaks,6 horses, yaks, and sheep. When he died, these possessions were returned to their owner. Do you own a single piece of gold? A handful of barley? A single lump of butter? A single silken robe? Even a single she-goat? We never saw any of these. And yet you speak like this? Who wrote the text of your testament?» — [EL TÍO Y LA TÍA] la negativa: dan los bienes por préstamo devuelto y ponen en duda el testamento; la enumeración lleva la llamada de nota pegada a crossbred yaks.

«Even if we did, we wouldn’t give them to you. So if you are many wage war, if you are few cast magic.» — [EL TÍO Y LA TÍA] la frase con que se despiden y que da su trama al capítulo siguiente.

«she was able to obtain some clothes. With flavorless food, tattered clothing, and miserable spirits, we did not know any happiness.» — [MILAREPA] con qué cierra el segundo acto mundano; Quintman cita esta frase en su introducción, en la plana 16, y por eso el ancla se toma del cuerpo.

«My mother replied, “I would like to see you draped in a fine cloak and mounted upon a horse with your stirrups slashing the throats of our hated enemies. Such will not come to pass; yet success is still possible by means of» — [NYANGTSA KARGYEN] la primera mitad de la orden de la madre, que es el motor del primer libro; la frase sigue en la plana siguiente con treachery.

«The black magic of your companions and our magic are not the same. Theirs is black magic for the pleasure of fine young men. Ours is black magic for a desperate family.» — [NYANGTSA KARGYEN] la distinción que ella misma traza entre dos magias negras: la de recreo y la de una familia desesperada.

«He is an accomplished master of wrathful mantra practices such as black magic and curses.» — [UN MONJE] cómo se nombra al primer maestro de magia, con el rótulo de la práctica: mantra airado.

«I further offer my body, speech, and mind. There are some people who live nearby in my region who envy my happiness. Have pity and give me your most potent» — [MILAREPA] la ofrenda con que pide la enseñanza, y que el lama retendrá como prueba; la frase cierra con black magic, one that will show signs of working in my region.

«But from that point on he did not teach us the deepest black magic. Rather, he gave us a few evil mantras that he claimed would make heaven and earth tremble and clash, as well as a few useful instructions together with their ritual practices.» — [MILAREPA] lo que el maestro entrega en vez de la magia profunda: unos mantras y sus prácticas rituales.

«Yet no one but you has said that he offers his body, speech, and mind. I will quickly verify your story.» — [YUNGTÖN TROGYAL] por qué la ofrenda de cuerpo, palabra y mente pesa más que el oro que enumera antes.

«I possess a black magic rite called Zadong Marnak (Dark Red Faced Dza) that, when cast, kills with the syllable hum and causes unconsciousness with the syllable phat.» — [YUNGTÖN TROGYAL] el nombre del rito y el efecto que se le adjudica a cada sílaba.

«He possesses the practice of casting hailstorms by pointing one’s finger, which he gave to me.» — [YUNGTÖN TROGYAL] el reparto de especialidades entre los dos maestros y el intercambio de discípulos.

«On that mountain spur down there, construct a retreat cell where you will not be disturbed by human hands.» — [YÖNTEN GYATSO] la condición material del rito: una celda de retiro inaccesible.

«That night, oath-bound protectors of the teachings appeared carrying thirty-five human heads and hearts, covered in blood. They said, “For some days, you have called upon us and this is just what you have asked for,” and they piled the heads and hearts at the edge of the mandala.» — [MILAREPA] el signo con que el relato da por obrado el rito: los protectores atados por juramento traen treinta y cinco cabezas y corazones.

«for nine generations. See if you can do that.” “I will see if I am able, mother. Prepare offerings for the lama and provisions for me, whatever you have.» — [NYANGTSA KARGYEN y MILAREPA] el cierre de la orden de la madre y la aceptación del hijo; el ancla arranca a media frase porque Quintman cita el resto del parlamento en su introducción, en la plana 16, y el tramo tiene que quedar único.

«That is why you must persevere. Son, if you return without showing signs of black magic in our region, I, your old mother, will kill myself right in front of you.» — [NYANGTSA KARGYEN] la amenaza con que sella el encargo, aquí en el cuerpo; Quintman la cita también en la plana 16, tras una elisión.

«The cell had three stories below and one story above in which we placed sturdy beams, aligned side by side like rows of fish. We secured the perimeter with boulders nearly the size of yaks, leaving no gaps between them.» — [MILAREPA] la construcción de la celda de retiro, descrita hasta el detalle de las vigas y los bloques; la frase sigue en la plana siguiente.

«She did not see the many horses tethered in the courtyard, but instead saw it filled with scorpions, spiders, snakes, tadpoles, and the like. In their midst stood a scorpion as big as a yak, thrusting its claws around a pillar and tearing it out.» — [MILAREPA] la visión con que el relato hace obrar la magia: la sirvienta ve alacranes y arañas donde hay caballos, y un alacrán grande como un yak arranca el pilar.

«Pillars were struck and they toppled. The house collapsed, and under the rubble some thirty-five people died,» — [MILAREPA] la cadena de causas naturales por la que el rito se cumple —los caballos se espantan y derriban los pilares—, y el número de muertos.

«Previously Uncle and Aunt said, ‘If you are many wage war, if you are few cast magic.’ Now, magic cast by the few has gained more than war waged by many.» — [NYANGTSA KARGYEN] el pregón de la madre ante la casa caída, que devuelve a los tíos su propia frase.

«It’s not enough that she caused this disaster! Now she gloats! How despicable! Torture her and rip out her beating heart.» — [LOS PARIENTES DE LOS MUERTOS] la reacción del pueblo a ese pregón.

«First of all, it is because you did not keep your word that this calamity has befallen the region. And now, if you carry out your plan without killing her boy, we will oppose you.» — [LOS PAISANOS] cómo reparten la culpa, que atribuyen primero al incumplimiento de la palabra dada.

«What did you hope to achieve? You should have been satisfied that the black magic worked.” In this way, he scolded her at length.» — [EL HERMANO DE LA MADRE] la objeción del tío materno, que censura el pregón y no la magia.

«I agree with what you are saying, but it’s difficult to show restraint when all my wealth has been stolen in this way.» — [NYANGTSA KARGYEN] su respuesta, que concede el punto y no lo acata.

«My mother then lit a butter lamp and made the following prayer: “If my wishes will be fulfilled, may the butter lamp remain lit for a long time. But if they will not be fulfilled may the lamp quickly die out. May Töpaga’s lama and the dharma protectors make it» — [MILAREPA] la lámpara de manteca como oráculo por el que la madre decide; la frase cierra con so.

«Unbeknownst to the yogin, she hid the seven ounces of gold inside the back of the cloak, over which she placed a square patch of black cloth. She secured it by embroidering stars of coarse white thread in the center, resembling the form of the constellation Pleiades, which could not be seen from the outside.» — [MILAREPA] cómo se esconde el oro en el manto del yogui, con las Pléyades bordadas como marca.

«Using the black arts, it is easier to snuff out a man’s life than it is to offer a pinch of food, so I can cut off their family line for nine generations.» — [NYANGTSA KARGYEN, en la carta fingida] el señuelo que escribe haciéndose pasar por su hijo, y con el que desarma la conjura.

«So now cast a hailstorm, a “nine-brickhigh” storm. With this, the wishes of your old mother will be fulfilled.» — [NYANGTSA KARGYEN, en la carta cifrada] el segundo encargo: la tormenta de granizo; el término va partido por el fin de renglón en el impreso.

«If you are short on provisions, look in the region facing north where a black cloud hovers and the constellation Pleiades appears. Beneath them dwell seven of our relations who possess whatever provisions you desire, so take them.» — [NYANGTSA KARGYEN, en la carta cifrada] el pasaje en clave que indica dónde está el oro, con el cielo por figura.

«Töpaga, your mother is filled with hatred. Even after the death of so many people she has now asked you to cast a hailstorm. Who are your relations to the north?» — [YÖNTEN GYATSO] el juicio del lama sobre la carta, el único reparo moral que el relato pone en boca de un maestro en este tramo.

«Look to the region facing north,’ which is like a place where the sun does not shine forth, means the yogin’s cloak where the sun does not shine. ‘A black cloud hovers’ means the square patch of black cloth sewn on it. ‘The constellation Pleiades appears’ means the light needlework of white thread. ‘The seven relations below it’ means the seven ounces of gold.» — [LA ESPOSA DEL LAMA] la clave del cifrado de la madre, descifrada término por término: el norte es el manto, la nube negra el parche, las Pléyades el bordado y los siete parientes las onzas de oro.

«After seven days, a cloud gathered inside the magical pit, lightning flashed, and thunder rumbled. Thus I thought I could direct a hailstorm by pointing my finger.» — [MILAREPA] el signo por el que da por aprendida la práctica del granizo.

«The lama repeatedly asked me, “Since you are casting a hailstorm, how high are the crops now in your region?» — [YUNGTÖN TROGYAL] la pregunta que convierte el rito en cálculo de calendario agrícola.

«Then I repeated the mantras and a cloud gathered, barely the size of a small bird. This was not what I had hoped for.» — [MILAREPA] el primer intento fallido del rito.

«So I invoked the names of the oath-bound protectors and proclaimed the truth of how my countrymen had abused me. I pounded my cloak and shed many tears.» — [MILAREPA] lo que añade para que el rito surta efecto: la invocación de los protectores y la proclamación del agravio.

«Then suddenly a black cloud, unimaginably vast, gathered in the sky. It converged into a single mass and at that instant hailstones beat down upon the grain, covering the entire valley three bricks deep. The whole mountainside was washed into ravines.» — [MILAREPA] el granizo y la medida del daño, en ladrillos de espesor.

«This Töpaga has wreaked suffering upon our countrymen as no one else ever has. He has already slain so many men. Now he has wiped out this year’s excellent crops. If he fell into our hands, we would rip out his still-beating heart, and each of us would take a bit of flesh and a drop of blood. But even this would not relieve the pain we feel in our hearts.» — [LOS CAZADORES] la voz de las víctimas, que el relato consigna entera y sin atenuar.

«I will curse anyone who ventures against me. Did I not gloat over all the men I have already slain? I wiped out this year’s excellent crops. Shall I not gloat over that too? So if you do not treat my mother and sister well, I will curse the highlands of this valley and annihilate its lowlands. Those who are not killed will have their family lines severed for nine generations. If you do not see this region laid waste with death and destruction, it will be no fault of mine.» — [EL COMPAÑERO, haciéndose pasar por Milarepa] la amenaza con que dispersa a la partida.

«This is the way I accumulated negative karma by plotting to destroy my enemies. Thus Milarepa spoke.» — [MILAREPA] el balance con que cierra el tercer acto mundano, dicho en términos de karma y no de justicia.

«This was the third ordinary deed, the deed in which he annihilated his enemies. These three chapters constitute Milarepa’s ordinary worldly deeds.» — [TSANGNYÖN HERUKA] la rúbrica del narrador que cierra la primera parte.

«I felt remorse for the evils I had committed through casting black magic and hailstorms. I thought about dharma so intensely that during the day I forgot to eat. If I went out, I wanted to stay in. If I stayed in, I wanted to go out. At night I was so filled with world-weariness and renunciation that I was unable to sleep.» — [MILAREPA] el remordimiento con que arranca la segunda parte.

«All composite things are impermanent. Last night my fine patron died, so I am saddened by life’s round.» — [YÖNTEN GYATSO] la muerte del mecenas como ocasión de la doctrina de la impermanencia.

«More importantly, I am an old man and from the white teeth of my youth to the white hair of my old age I have focused my actions on destruction through black magic, curses, and hailstorms.» — [YÖNTEN GYATSO] el balance que el maestro de magia hace de su propia vida.

«I understand that the nature of beings is reality itself and I know in theory how to lead them to higher rebirth and liberation. I also know a ritual or two for doing that, but I have only words and rote knowledge, so when the time comes to perform them I have no confidence that they will work.» — [YÖNTEN GYATSO] la distinción entre saber de memoria y poder hacer, que es el reparo con que abandona la magia.

«You stay here to look after my disciples and I will take up the path for your higher rebirth and liberation. Or else, you practice dharma and take up the path for my higher rebirth and liberation.» — [YÖNTEN GYATSO] la propuesta que libera al discípulo: uno de los dos practicará por el otro.

«This authentic dharma of mine, the Great Perfection, is victorious in the spreading of its roots, victorious in the achievement of its canopy, and victorious in the fruit it bears. Meditate by day and become a buddha by day. Meditate by night and become a buddha by night. Fortunate beings whose past actions have created favorable circumstances do not even need to meditate, they are liberated by simply hearing it. Since it is a dharma teaching for those with superior faculties, I shall grant it.» — [RONGTÖN LHAGA] el ofrecimiento de la Gran Perfección, en los términos que el relato recoge y que los hechos del relato dejan sin cumplir.

«Filled with pride in this way, I stayed in bed without meditating, and in this way the man and the teaching parted ways.» — [MILAREPA] el resultado de tomar esa promesa al pie de la letra.

«I have boasted about my teaching a little too much, and so I have not been able to guide you.» — [RONGTÖN LHAGA] la retractación del maestro, que carga la culpa a su propia jactancia.

«He is a supreme master, the king of translators named Marpa Lotsawa, an adept of the New Mantra Tradition without rival throughout the three realms. Since you have a karmic link with him from previous lives, go see him.» — [RONGTÖN LHAGA] cómo presenta a Marpa: discípulo directo de Nāropa y adepto de la Nueva Tradición de Mantra.

«Simply hearing the name of Marpa the Translator I was filled with an indescribable happiness, every hair on my body quivered with joy, and I sobbed with boundless devotion.» — [MILAREPA] el efecto que le produce el solo nombre del maestro, y que el relato toma por signo del vínculo kármico.

«The night before my arrival in Drowolung, Panchen Nāropa appeared to Marpa in a dream and granted initiation. To Marpa he gave a slightly soiled five-pronged vajra made from lapis lazuli and a golden vase filled with nectar.» — [TSANGNYÖN HERUKA] el sueño de Marpa la víspera, con el vajra empañado y el vaso de néctar.

«Using water from the vase, cleanse the tarnish from this vajra and then mount it atop a victory banner. This will please the Victors of the past and make sentient beings happy, thus benefiting yourself and others.» — [NĀROPA, en el sueño] la orden que el relato interpreta como profecía del discípulo que va a llegar.

«They said, ‘It is lama Nāropa’s command to master Marpa that the master consecrate this stupa and place it on the summit of a mountain.» — [DAGMEMA] el sueño paralelo de la esposa del lama, con la estupa de cristal en lugar del vajra.

«Although Marpa thought that these dreams were in accord and was elated, he said to his wife, “Since dreams come out of nowhere I do not know their meaning.» — [MARPA] la reserva con que responde a su esposa, que el relato deja sin resolver.

«The first deed: on account of his world-weariness and renunciation, he sought out a qualified lama. The second deed: he met his lama and, submitting to his every command, purified evil deeds and obscurations, excluding none, through insufferable and exhausting hardships. The third deed: he was accepted by his lama with affection and received the ripening and liberating instructions. The fourth deed: meditating on reality in the lama’s presence, the sprouts of experience and realization emerged.» — [TSANGNYÖN HERUKA] las cuatro primeras de las nueve acciones supremas, enunciadas en índice al abrir la segunda parte.

«The fifth deed: he mastered the general instructions and then, compelled by symbolic acts within a dream, he obtained tantric instructions and departed from the lama. The sixth deed: he vowed to practice having been reminded once again of the essencelessness of life’s round.» — [TSANGNYÖN HERUKA] la quinta y la sexta de las nueve acciones supremas.

«The seventh deed: in order to practice the lama’s teachings, he renounced his present life and meditated undistracted in the mountains with perseverance and through severe austerity. The eighth deed: meditating in that manner, his experience and realization were perfected, and through the results of his practice he benefited both the teachings and sentient beings. The ninth deed: he completed the activities of an enlightened being and, in order to compel beings to practice dharma, he dissolved his form body into the sphere of reality.» — [TSANGNYÖN HERUKA] las tres últimas, hasta la disolución del cuerpo formal en la esfera de la realidad.

«Very well then,” he said. “I will introduce you to Marpa. But meanwhile, plow this field of mine.» — [MARPA, disfrazado] el primer encuentro, en que el maestro se hace pasar por labrador.

«It is true that you really do not know who I am. I am Marpa. Prostrate yourself!» — [MARPA] el momento en que se descubre.

«Either I will give you food and clothing and you will need to seek dharma from someone else, or I will give you dharma and you will seek food and clothing elsewhere. Choose between these two, but if you choose that I should give you dharma, whether or not you attain buddhahood in this life will depend on your own perseverance.» — [MARPA] la disyuntiva que impone y que fija los términos de todo lo que sigue: dharma o sustento, no ambos.

«Take your filthy book away. It would defile the sacred objects of my shrine.» — [MARPA] el rechazo del libro, que el discípulo atribuye a que contenía obras de magia negra.

«Don’t go on bragging to me that you are a great sinner. You were not driven to commit sins on my behalf. What evil deeds have you done?» — [MARPA] la primera reprimenda, que le quita valor al alarde de pecador.

«You’re an energetic young tyro. Do you also intend to murder us by bringing down the house with your brute strength? You’re altogether unfit, so get rid of your barley.» — [MARPA] el rechazo de la ofrenda de cebada.

«He held the kettle in his hands and for a while stood there pensive, his eyes half-shut. At last, tears trickled down his face and he said, “This is most auspicious. I offer it to Panchen Nāro.» — [TSANGNYÖN HERUKA y MARPA] la aceptación de la olla de cobre vacía, que el maestro dedica a su propio lama.

«Cast hailstorms upon these two regions. This, too, will be religious work and I shall then grant you the oral instructions.» — [MARPA] la primera tarea que pone a cambio de la enseñanza, y el nombre que le da.

«You, who claim to possess great magic, cast black magic upon these men. When signs of its success appear, I shall grant you the oral instructions of Panchen Nāro that I possess, which bring about awakening in one life and one body.» — [MARPA] la segunda tarea, y la promesa con que la paga: las instrucciones orales de Nāropa.

«It is true you possess great magic, just as you claimed,” and so he gave me the name Great Magician.» — [MARPA y MILAREPA] de dónde viene el nombre con que el maestro lo llama durante todo el capítulo.

«Was it to reward the evil deeds you committed that I went to India without regard for my life, that I offered gold without concern for my wealth, and thereby was able to request the oral teachings that are the living breath of the dākinis? You say you need them— that must be a joke, and a feeble one at that. This makes me laugh! If I were anyone else, I would kill you! Now restore the harvest of the Yamdrok people and heal all of the highlanders. If you do that, I shall grant the oral instructions. Otherwise, don’t come see me again.» — [MARPA] la negativa airada, que retira la promesa apenas cumplida la tarea y exige deshacer el daño.

«Do not be impatient, for I give the oral instructions slowly. You are hardworking, so help build a tower for me to present to my son Darma Dodé. When you are finished, I will grant you the oral instructions and also provide you with clothing and provisions.» — [MARPA] el encargo de la torre, que abre la serie de pruebas.

«Since you show tremendous perseverance, if you can meditate on my oral instructions, you will demonstrate whether or not you can become a buddha in this life. My lineage possesses a transmission of blessings unlike any other.» — [MARPA] lo que promete a cambio, con la condición puesta dentro de la misma frase.

«All the lama’s paternal relatives had sworn an oath preventing them from constructing fortifications in strategic locations. But Marpa had not taken the oath. So now he had the means both for deceiving them about his intention to construct a tower there and for purifying my negative deeds.» — [MILAREPA] los dos motivos que el relato adjudica a la construcción de la torre: engañar a los parientes y purificar los actos del discípulo.

«the lama, I called it Tünkyen (Favorable Circumstance). In summer, a footpath runs along its edge, but it runs through the middle in winter.» — [MILAREPA] el nombre que le queda al campo por haber sido ocasión del encuentro; el tramo arranca a media frase, que empieza en la plana anterior.

«Tear down this tower to its foundations and carry the earth and stones back to the places you found them.» — [MARPA] la orden de demoler la primera torre, que inaugura el ciclo de construcciones deshechas.

«This will be called the ‘mantrika’s tower’ and should be triangular, so build it in that shape. You will not need to tear this one down.» — [MARPA] la promesa con que manda levantar la torre triangular, y que después desconoce.

«Did you intend to lock me up here in this tower, which looks like a triangular magic dungeon, and cast your spells?» — [MARPA] la acusación con que desconoce esa orden y manda deshacerla.

«I have neither plundered your estate nor squandered your patrimony. If that is not the case and you indeed desire dharma, then, since the local guardians are displeased, carry the tower’s earth and stones back to the places you found them. Then if you want the dharma, I shall grant it.» — [MARPA] la frase con que devuelve al discípulo su propio agravio familiar y vuelve a condicionar la enseñanza.

«He gave me the transmission and vows of ordinary refuge. He added, “That is all called ordinary dharma. If you wish for the extraordinary oral instructions of Secret Mantra, you must act in this way.» — [MILAREPA y MARPA] la distinción que el relato traza entre el refugio ordinario y las instrucciones del Mantra Secreto.

«Now, in this place you shall build a square tower, pale gray in color, nine stories tall, with a spire reaching the tenth story. It will never be torn down. When it is finished, I will give you the oral instructions. You may then enter meditation retreat and I will supply your provisions.» — [MARPA] el encargo de la cuarta torre, la que sí queda en pie, con su medida exacta.

«It is fine for me to serve as witness, but the lama is a strong-willed judge and will not likely consider my testimony. To start with, the lama is building towers without reason and tearing them down without reason. More to the point, this land is not ours alone. It has been pledged to all our relatives and will so become a source of infighting.» — [DAGMEMA] la reserva con que acepta ser testigo, y el motivo material del conflicto: la tierra es de todos los parientes.

«In that case, their stone is not an appropriate addition to your work on the tower. Remove the stone and carry it back to the place it came from.» — [MARPA] por qué manda quitar la piedra que pusieron los tres discípulos mayores.

«That is so. But it is not fitting that my disciples, who are practicing the two stages of yoga, be pressed into service as your servants. Don’t tear down the entire structure, but remove the stone and return it to the place it came from.» — [MARPA] la razón con que lo justifica sin retirar su promesa: los discípulos que practican las dos etapas del yoga no son sirvientes.

«Lifting it up I had to exert as much strength alone as all three of them together, but I returned it as it was before without much difficulty. It became known as my strongman stone.» — [MILAREPA] de dónde viene el nombre de la piedra del forzudo.

«Just then, the lama conjured miraculous emanations filling the tower inside and out with a band of armor-clad soldiers.» — [MILAREPA] el prodigio con que el maestro desarma a los parientes armados.

«I did not acquire the initiations and oral in structions from India with such difficulty in order for you to make a little tower no bigger than my forearm. If you have something for the initiation fee, bring it. Otherwise, don’t sit in line with those about to receive the initiation of profound Secret Mantra.» — [MARPA] la negativa a iniciarlo sin pago; la capa de texto parte instructions en dos.

«The dharma teachings I carried back from India were brought for the benefit of beings.’ Were even a dog to appear before him, he would teach it dharma and then dedicate the merit of having done so. I don’t know why he won’t accept you.» — [DAGMEMA] el consuelo que le ofrece, y la incomprensión que ella misma declara ante la conducta del maestro.

«Those things were already given to me by other patrons. You may not use my own possessions as your initiation fee. If you have something of your own, bring it. Otherwise, do not linger in line for my initiation.» — [MARPA] la segunda negativa, que rechaza la ofrenda por ser suya de origen.

«In the past I have heard of and even seen such wounds appear on the backs of horses and donkeys, but I have never seen or even heard of them appearing on the back of a man. It would be shameful if others were to see or hear about such a thing. It is disgraceful that this was caused by a great lama such as yourself.» — [DAGMEMA] la objeción de ella al maestro, la más dura del capítulo.

«When the tower is ten stories high I will teach the dharma. But where are the ten stories?” “He has built a covered walk that exceeds ten stories in scope.” “‘Much talk, no work,’ it is said. I will give him dharma when the ten stories are complete. Does he really have a sore?» — [MARPA] la respuesta que se atiene a la letra del trato.

«They were all terrified and, unable to attack, each came forth in private to pay his» — [MILAREPA] el efecto del prodigio sobre los parientes armados; la frase sigue en la plana siguiente con respects and beg for pardon.

«Whatever the reason, what’s the use of a human body without the dharma, which only collects misdeeds? Should I kill myself?» — [MILAREPA] la tentación de suicidio que el relato traerá varias veces, aquí en la forma de una pregunta por la utilidad del cuerpo humano sin dharma.

«My lord Nāropa underwent twelve great trials and twelve minor trials, twenty-four different trials meted out upon his own body, all of which surpass yours. As for me, I served Nāropa without regard for my life or my wealth. Therefore, if you yearn for the dharma, continue to work on the tower without bragging about your own activities.» — [MARPA] el precedente con que justifica las pruebas: las veinticuatro de Nāropa, y su propio servicio.

«I also do this for horses and donkeys, so use the pad for your wounds and continue to carry the earth and stones.» — [MARPA] la almohadilla para las llagas, que devuelve la comparación con las bestias que la esposa le había echado en cara.

«You already offered me your body, speech, and mind right when you first came to see me. Where do you think you’re going now? Surely you aren’t leaving. I am master of your body, speech, and mind, and in fact I could cut them into a hundred pieces.» — [MARPA] la potestad que reclama sobre el discípulo a partir de la ofrenda inicial.

«She gave me the meditation method of Vajravārāhi. It brought about no inner experience but it helped my mind a great deal and lifted my spirits.» — [MILAREPA] la única enseñanza que recibe en este tramo, y de quién viene: la esposa del lama.

«But thinking it over carefully, I was convinced that no other lama but this one had the oral instructions for attaining buddhahood in one life and one body.» — [MILAREPA] la razón por la que no busca otro maestro.

«When I have suffered trials for the sake of the dharma as did Nāropa, the lama will be pleased and I will obtain the oral instructions. Then I will meditate on them and achieve buddhahood in this life.» — [MILAREPA] cómo él mismo lee sus penalidades a la luz del precedente de Nāropa.

«This turquoise has never been the master’s property. When my parents first sent me to the lama he went into a rage. My parents told me, ‘Tuck this away without showing anyone. If you and your husband should separate you will need it.’ They gave it to me as my own private property and, with an overwhelming feeling of intense compassion, I have given it to this child.» — [DAGMEMA] el origen de la turquesa, que ella declara bien propio y no del maestro.

«Through Dakmema’s scheming a fine turquoise almost fell into a stranger’s hands.” He tied the turquoise around his neck and continued, “You haven’t thought carefully, Dakmema. If I am wholly your master, I am surely master of the turquoise. Great Magician, if you have wealth, bring it here and take the initiation. The turquoise is mine.» — [MARPA] la respuesta con que se apropia de la turquesa y vuelve a negar la iniciación.

«My faith in the lama has not been shaken,” I replied. “I believed it was in response to the terrible sins and defilements of my past actions, and I was overcome with despair.» — [MILAREPA] cómo declara su fe intacta y carga la culpa a su propio karma.

«I had provisions and gifts when I carried out evil deeds. When I practice dharma I have no wealth at all. This is what has befallen me. If I had even half the gold I used when I practiced evil deeds, I would obtain initiation and oral instructions. Now, without offerings, this lama will not grant instructions. Even if I went to another lama, I would not find one who did not require offerings. Without wealth, I will never get the dharma.» — [MILAREPA] la objeción económica que el relato pone en su boca: la magia le salía barata y el dharma no.

«carries out whatever the lama commands is most extraordinary,” and he secretly shed tears.» — [TSANGNYÖN HERUKA] lo que el narrador pone en el pensamiento de Marpa, y que sostiene la lectura del maestro como compasivo bajo la dureza; el tramo arranca a media frase, que empieza en la plana anterior.

«Although the lama was actually concerned, he pretended to be angry. I was not harmed but was so distraught that I resolved to kill myself.» — [TSANGNYÖN HERUKA] la acotación del narrador que separa la conducta del maestro de su intención, justo donde el discípulo piensa en matarse.

«Great Magician, do not despair. Never has there been a disciple more beloved or dear than you. It is right for you to request dharma from another lama.» — [DAGMEMA] lo que ella le dice tras la expulsión, y la salida que le propone.

«I read the life story of Taktungu, who, while penniless, was able to renounce life and limb for the dharma.» — [MILAREPA] el relato ajeno que lee mientras recita escrituras y con el que mide sus propias penalidades.

«Kagyu lamas, dākinis, and dharma protectors,” he called out, “turn around my fortunate son.» — [MARPA] la invocación al linaje Kagyü al saber que el discípulo se ha ido.

«It’s not that he has not forsaken us. He has not forsaken himself.» — [MARPA] el giro con que enmienda a su esposa y desplaza la falta al discípulo.

«If you wish for the dharma from your heart with such restlessness and urgency, you must be willing to give even your life for it. Therefore, complete the remaining three stories of the tower and then I shall grant you the oral instructions.» — [MARPA] la condición nueva: las tres plantas que faltan.

«Meanwhile the lady took the lama’s seal, as well as Nāropa’s six ornaments and rosary made of ruby, from his residence. She had a letter already prepared that was made to look like the lama’s own written statement, and she affixed the seal on top of it.» — [TSANGNYÖN HERUKA] el engaño de Dagmema: sello, ornamentos de Nāropa y carta fingida.

«Act as if these were entrusted to you by the lama. Offer them to lama Ngokpa and request the dharma.» — [DAGMEMA] la instrucción con que lo manda a Ngokpa.

«I am the expounder and I am dharma. I am the disciple endowed with good qualities. I am the world teacher and the goal. I am the world and beyond the world. I am the nature of coemergent joy.» — [EL TEXTO DE LOS DOS TRATADOS, citado en la obra] la estrofa que Ngokpa está explicando cuando llega el discípulo, y que el relato toma por augurio; va por estrofa, con su llamada de nota en el título.

«This is the manner of homage used by disciples in the lineage of lama Marpa. The auspicious connection of his arrival at this juncture in the dharma talk is most excellent. He will become master of all the dharma.» — [NGOKTÖN CHÖDOR] cómo lee la coincidencia entre la llegada y el pasaje que enseña.

«I later called the place where I made prostrations Chaktsal Gang (Prostration Hill).» — [MILAREPA] el nombre que le queda al sitio, como al campo de Marpa.

«Since this is the lama’s command, I will certainly give you initiation and oral instructions. I had thought I should invite you so your arrival is a sign of the lama’s compassion. Many disciples are coming to me from Kham, Dakpo, Kongpo, and Yarlung. Evil men from Yepo and Yemo in Dol steal their dharma provisions with impunity. Cast a hailstorm upon them. Then I will give you initiation and oral instructions.» — [NGOKTÖN CHÖDOR] la misma condición que Marpa: una tormenta de granizo antes de la enseñanza.

«If I cast a hailstorm, I will receive the genuine dharma but will also accrue the karma of such a heinous crime. If I don’t cast one, it will amount to breaking the lama’s command and I will not get the dharma. There is no way I can avoid casting a hailstorm.» — [MILAREPA] el dilema que el relato le adjudica y que no resuelve: obedecer al maestro o no acumular el crimen.

«Mistress, quickly draw the shape of your field.” “It is like this,” she said, and she drew an elongated triangle. I performed a yogic gaze and covered the drawing with an iron pan.» — [MILAREPA] el gesto con que salva el campo de la anciana: la figura dibujada y tapada con una sartén de hierro.

«But the old woman’s field was left standing fresh and unharmed except for the tip, which was struck by hail and then flattened by the rushing flood.» — [MILAREPA] el resultado de ese gesto, con la excepción de la punta que quedó fuera de la sartén.

«We in the lineage of Nāropa and Maitripa have an oral instruction called ‘driving one hundred birds with a single slingshot’ through which terrible sinners may swiftly become a buddha.» — [NGOKTÖN CHÖDOR] el nombre de la instrucción con que responde a la matanza de pájaros.

«After resting in contemplation for a moment, he snapped his fingers and all the corpses suddenly came back to life. In that instant some flew up in the sky, while others scurried on the ground, each going back to its own home.» — [TSANGNYÖN HERUKA] el prodigio con que el lama respalda esa doctrina: los cadáveres vuelven a la vida.

«Since I had not received Marpa’s permission, no experience whatsoever occurred.» — [MILAREPA] por qué la meditación no rinde: falta el permiso del maestro raíz.

«As long as there is no stain of broken commitments in my lineage, the qualities of experience and realization develop quickly. It could not be otherwise.» — [NGOKTÖN CHÖDOR] la regla de linaje con que explica el fracaso.

«Furthermore, you have a certain evil person who belongs to me. Bring him as well at that time.» — [MARPA, en su carta] cómo nombra al discípulo en la carta que lo reclama.

«It broke open and a scroll of paper appeared, which I read. It said, “Now the lama will give initiation and oral instructions even to you, son, so come with lama Ngok.» — [DAGMEMA, en el mensaje oculto] el dado de barro que trae dentro el aviso, y que repite el recurso de la carta cifrada de la madre.

«And it was dice that long ago drove my ancestors from their homeland.» — [MILAREPA] lo que él mismo recuerda al recibir el dado, que enlaza con la ruina del bisabuelo.

«At that time, not so much as a lame bird came to greet me. It is not possible that I, a great lotsawa, should greet him simply because he is coming, driving with him a few straggling animals.» — [MARPA] la negativa a salir al encuentro de Ngokpa.

«This precious lineage of mine Has the fortune of freedom from downfalls. May such fortune bring fortune once more.» — [MARPA, en canto] la primera estrofa del canto de auspicio en la consagración de la torre; la fórmula se repite al cierre de cada estrofa.

«The short path of profound oral instruction Has the fortune of freedom from errors. May such fortune bring fortune once more.» — [MARPA, en canto] la segunda estrofa, sobre el camino corto de la instrucción oral.

«Gods and demons of the phenomenal world Have the fortune of powerful oaths. May such fortune bring fortune once more.» — [MARPA, en canto] la estrofa que incluye a dioses y demonios del mundo fenoménico entre los que reciben el auspicio.

«my foremost profound initiations and oral instructions are, generally speaking, the short path of the Vajra Vehicle, the oral instructions by which one becomes a buddha in this life without having to wait for innumerable eons.» — [MARPA] cómo define su propia enseñanza: el camino corto del Vehículo de Vajra.

«In particular, the instructions of the aural scrolls are restricted by the command seal of the lama and dākinis. Thus they will be difficult to obtain if you do not offer the goat, even though she is old and infirm.» — [MARPA] la condición de la cabra vieja, con el sello de mandato del lama y de las dākinis por encima.

«You can truly be called a disciple of Secret Mantra who maintains his commitments. I have little use for a goat but needed to emphasize the great value of the dharma.» — [MARPA] lo que declara haber querido enseñar con esa exigencia.

«You must understand that according to the tradition of Secret Mantra, the Victor’s ultimate teachings, our aggregates, constituents, and the sense fields are deities. Performing transference before it’s time carries the offense of killing a deity. Killing oneself is an even graver sin.» — [NGOKTÖN CHÖDOR] el argumento con que le quita la idea del suicidio, dicho desde la doctrina del Mantra Secreto: los agregados son deidades.

«Even in the tradition of the sutras, there is no worse negative act than taking one’s own life. Therefore, listen to these injunctions and give up all thoughts of suicide.» — [NGOKTÖN CHÖDOR] y el mismo argumento por la vía de los sutras.

«It was because I had done terrible actions in this first part of my life that I experienced such suffering in order to request the dharma.» — [MILAREPA] el balance con que cierra la segunda acción suprema.

«This was the second of the supreme deeds, the deed in which he purified negativities and obscurations through misery and despair.» — [TSANGNYÖN HERUKA] la rúbrica del narrador para esa acción.

«Those called ‘disciples of Secret Mantra’ must be like that, and he has turned out to be just so. Now I feel compassion for my disciples, so call them.» — [MARPA] lo que lo mueve por fin a aceptarlo.

«From my side, I have only tormented Great Magician in order to purify his negative deeds. Had his work on the tower been in my own interest, I would have directed him more gently.» — [MARPA] la explicación que da de su propia conducta, con el argumento que ofrece: si la torre fuera para él, habría mandado con suavidad.

«As for Dakmema, to begin with she is a woman. She also has tremendous compassion and could not bear the situation, so she too was correct. But forging the letter and sending the gift of religious objects were serious offenses.» — [MARPA] cómo reparte la razón y la falta de su esposa, sin armonizar las dos cosas.

«Although I may have let loose a flood of heated and misguided words, they were not like those of a worldly person. However they may have appeared, from the perspective of the dharma they were intended to wear down self-importance and so, in essence, they lead to the path of enlightenment.» — [MARPA] la lectura que propone de sus propios insultos: gastar la propia importancia.

«Had I the opportunity to punish this son of mine nine times, he would have become a buddha devoid of physical remainder and without needing to take another human birth. Since this did not happen, some slight residue of negativities and obscurations remains, brought about by Dakmema’s foolishness.» — [MARPA] lo que declara perdido por la intervención de su esposa: nueve castigos habrían bastado y quedó residuo.

«Still, your major negativities have been eradicated by means of eight great agonies and many minor adversities.» — [MARPA] la cuenta de las pruebas: ocho grandes agonías y muchas adversidades menores.

«the lama and the deities of the mandala in a single voice conferred upon me the secret name Pel Zhepa Dorjé.» — [TSANGNYÖN HERUKA] el nombre secreto que recibe en la iniciación de Cakrasamvara.

«Your name was originally foretold by Nāropa in a dream I had before we met.” He gave me the name Mila Dorjé Gyaltsen and then granted me the vows of a layman and the bodhisattva precepts.» — [MARPA y TSANGNYÖN HERUKA] el origen que adjudica al nombre monástico, y los votos que lo acompañan.

«This is called the symbolic mandala. The actual mandala is there,” he said and he pointed up to the sky. I clearly saw Cakrasamvara surrounded by the heroes and dākinis of the twenty-four lands, the thirty-two sites, and the eight great charnel grounds, all vividly present.» — [MARPA] la distinción entre el mandala de polvos de color y el que se ve en el cielo, dicha en el acto mismo de la iniciación.

«Tasting the nectar of my inner offerings is greater than all four initiations of some other lineages. However, starting tomorrow, I shall give you the ripening initiations of Secret Mantra.» — [MARPA] cómo tasa la ofrenda de la copa de cráneo frente a las iniciaciones de otros linajes.

«The four handles on the copper kettle you offered are signs of the coming of my four famous disciples. The vessel’s lack of blemishes such as grime is a sign that your mind will be little blemished by mental afflictions and that your body will gain control in the bliss-warmth of yogic heat.» — [MARPA] la lectura retrospectiva de la olla de cobre como presagio, asa por asa.

«Because you offered the kettle empty, you will have only meager sustenance while you meditate. But in order to bring about great resources for you later in life and for your line of disciples, and in order that worthy disciples be satisfied by the elixir of the oral instructions, I filled it with melted butter from my offering lamps.» — [MARPA] la lectura del vacío de la olla y lo que él hizo para contrarrestarlo.

«In order to purify your karmic obscurations, I repeatedly drove you to despair with many cruelties such as burdening you with constructing towers of pacification, enrichment, subjugation, and destruction; and kicking you out of the initiation line.» — [MARPA] cómo nombra las cuatro torres por las cuatro actividades rituales: pacificación, enriquecimiento, subyugación y destrucción.

«Therefore the disciples in your lineage will, in the beginning, have all the essential qualities of a student, including faith, diligence, wisdom, and compassion. In the middle they will have little attachment to the pleasures of this life and, with perseverance in the face of austerity, will show great fortitude while meditating in the mountains. Finally, endowed with experience, blessings, knowledge, and kindness, they will become fully qualified lamas.» — [MARPA] la profecía sobre el linaje que ha de salir del discípulo, en tres tiempos.

«The teachings of the Kagyu will thus expand like the waxing moon, so rejoice!» — [MARPA] con qué cierra esa profecía, nombrando el linaje Kagyü.

«During that period, I filled an offering lamp with melted butter and lit it. Then I placed it on my head and meditated day and night without moving my body until the lamp was extinguished. Eleven months passed.» — [MILAREPA] la práctica de los once meses con la lámpara sobre la cabeza, que el relato da como medida de la inmovilidad.

«In general, Secret Mantra emphasizes the importance of profound auspicious connections. More importantly, the lama has a fiery temper so it will not do to mishandle this auspicious moment. Your mother will tear down the cell door, so come quickly.» — [DAGMEMA] la razón con que derriba ella la puerta de la celda: las conexiones auspiciosas del Mantra Secreto.

«I bow to your various emanation bodies Displayed before impure disciples, And to your venerable enjoyment body Revealed to your circle of pure disciples.» — [MILAREPA, en canto] la primera estrofa del servicio séptuple, que reparte la reverencia entre el cuerpo de emanación y el de gozo.

«I bow to your speech, at once audible and empty, Which enunciates the eighty-four thousand true dharmas With the sixty qualities of Brahmā’s voice To each person in his own language.» — [MILAREPA, en canto] la estrofa de la palabra, con las ochenta y cuatro mil enseñanzas y las sesenta cualidades de la voz de Brahmā.

«I bow to your mind, changeless reality body, Which embraces all objects of knowledge While remaining unobscured by conceptual marks In the space of the luminosity reality body.» — [MILAREPA, en canto] la estrofa de la mente como cuerpo de realidad inmutable.

«I bow down at the feet of great lady Dakmé, Birth mother of the buddhas of the three times, Unchanging selfless (dakmé) illusory body Dwelling in the pure palace of reality’s expanse.» — [MILAREPA, en canto] la estrofa dedicada a Dagmema, que juega con el sentido de su nombre, sin yo.

«I have understood that, due to the fundamental condition of ignorance, the body comprised of flesh and blood fully formed, together with its perceiving consciousness, initially coalesce through the twelve links of dependent origination, formations and so forth.» — [MILAREPA] cómo expone su comprensión del origen dependiente al presentar su experiencia al maestro.

«This is a truly decisive moment, the boundary between journeying up or down, and one that determines the profit or loss leading to lasting good or lasting evil far into the future.» — [MILAREPA] la doble posibilidad que adjudica al cuerpo humano, según el mérito o el karma de quien lo tiene.

«the source of all goodness and happiness is the lama. Therefore, the primary and essential point is to follow whatever he commands and to maintain the sacred commitments purely.» — [MILAREPA] el punto que pone por esencial en todo el camino: obedecer al lama y guardar los compromisos.

«But since it is a mistake to practice the Lower Vehicle seeking happiness and peace for oneself, through the desire to free all sentient beings from life’s round in its entirety, one generates the mind set on enlightenment.» — [MILAREPA] cómo distingue el Vehículo Inferior del Grande por el fin que cada uno persigue.

«Then, maintaining a completely pure view as a basis, one enters the path of the unsurpassed Vajra Vehicle. In order to realize a completely pure view, one needs a fully qualified lama with the wisdom and skillful means to impart all the pure rites of the four initiations, and to transmit their meaning without error.» — [MILAREPA] el lugar que da al Vehículo de Vajra en la escala de vehículos, y lo que exige de quien lo enseña.

«Initiation or ‘empowerment’ means to have power over the profound view and from that point on one meditates in a gradual way.» — [MILAREPA] la glosa que da al término iniciación.

«When months and years pass by without noticing and one needs to be informed of the time by others, then one has achieved serenity.» — [MILAREPA] la señal por la que da por alcanzada la serenidad.

«Thus one experiences serenity in this way: appearing while lacking self-nature, luminous while lacking conceptuality, naked, unadulterated, brilliant, vivid.» — [MILAREPA] cómo describe esa experiencia, en una serie de adjetivos sin objeto.

«It is also possible to take up the practice of insight, although genuine insight will not manifest for ordinary individuals. I believe only those who have attained the first bodhisattva level will experience it.» — [MILAREPA] el límite que pone a la visión penetrante, con la reserva creo dentro de la propia frase.

«Other kinds of visionary experiences, deities and so forth, may appear through the practice of serenity, but I believe they are merely signs of meditation and have no essence whatsoever.» — [MILAREPA] cómo desestima las visiones de deidades en la práctica: signos de meditación, sin esencia.

«I have understood that, just as the knowledge of food does not help a starving man, but rather he needs to eat, it is not enough to comprehend the meaning of realizing emptiness—one must meditate.» — [MILAREPA] el símil con que separa comprender la vacuidad de meditarla.

«In order to actualize my understanding of these things I will mortify my body, deprive myself of food, and bridle my mind. Having done so, I will shape my perception and withstand even the possibility of death so that whatever happens I will recognize everything as having the same taste.» — [MILAREPA] el voto de austeridad con que cierra la exposición.

«I have not come before the lama and lady, whose kindness I cannot repay, to present a token material offering. Instead I present an offering of my practice, as much as I am able to carry out for as long as I live.» — [MILAREPA] qué ofrece en lugar de bienes: la propia práctica.

«Lord, from the mandala sun of your compassion Warm rays of blessings have shone, Causing the lotus of my mind to blossom. This sweet scent of experience and realization radiating from it Cannot repay your kindness. Instead I offer the ongoing gift of my practice.» — [MILAREPA, en canto] la estrofa final del canto de ofrecimiento, con el sol del mandala y el loto de la mente.

«I had hoped as much from you, and such hopes have been fulfilled.» — [MARPA] la respuesta breve del maestro a esa exposición.

«evenness, ineffability, and non-conceptuality gained by yogins through practice are the view of the stages of the path of the Secret Mantra Vajra Vehicle, which correspond to the four initiations.» — [MILAREPA] cómo empareja las experiencias del yogui con la vista del Vehículo de Vajra del Mantra Secreto y con las cuatro iniciaciones; el tramo arranca a media enumeración, que empieza en la plana anterior.

«you already have the instructions on the Great Seal and the Six Dharmas through which one becomes a buddha by meditating for a long time. But you do not have the special instructions on Ejection and Transference through which one becomes a buddha by meditating for a single instant. Request it!» — [LA DĀKINI, en sueños] el encargo que pone en marcha el viaje de Marpa a la India: faltan las instrucciones de Eyección y Transferencia.

«Whatever it is, there is nothing that my lama, in essence the buddhas of the three times, does not know, from the instructions for attaining buddhahood down to advice for fixing a broken clay pot.» — [MILAREPA] cómo resuelve esa duda: remitiéndola al maestro, con un símil doméstico.

«We came across numerous manuals on Ejection but did not find a single word about Transference.» — [MILAREPA] el resultado de la búsqueda en los textos traídos de la India, que es lo que obliga al viaje.

«In the gloomy darkness of the north Lives the one called Töpaga Like the sun rising over the snows. To that man I bow down.» — [NĀROPA, en canto] la estrofa con que se postra hacia el Tíbet al oír el nombre del discípulo.

«He closed his eyes and bowed his head three times. All the mountains, trees, and plants in India then bowed toward Tibet. Even now the mountains and trees of Pullahari bend in the direction of Tibet.» — [TSANGNYÖN HERUKA] el prodigio que sigue a esa postración, dado como comprobable en el presente del narrador.

«Although your family lineage will be short, your dharma lineage of enlightened activity will extend longer than the stretch of a river.» — [NĀROPA] la profecía sobre los dos linajes de Marpa, el de sangre y el de dharma.

«I dreamt that there stood a grand mountain of snows. I dreamt that its glacial summit touched the sky. I dreamt that the sun and moon coursed round its peak. I dreamt that their light filled all of space. I dreamt that its base covered the whole of the earth. I dreamt that rivers ran down in the four directions. I dreamt that their waters satisfied all beings. I dreamt that the rivers drained into the sea. I dreamt that all manner of flowers bloomed forth.» — [MILAREPA, en canto] el marco del sueño de los cuatro pilares: la montaña de nieve, el sol y la luna, los ríos de las cuatro direcciones.

«I dreamt to the east a great pillar was raised. I dreamt high on the pillar a great lion stood regal. I dreamt the lion’s turquoise mane spread open wide. I dreamt the claws of his four paws spread out on the glacier. I dreamt that his eyes gazed toward the heavens. I dreamt that the lion leaped about on the snow.» — [MILAREPA, en canto] la estrofa del pilar del este, con el león de melena de turquesa.

«I dreamt to the north a great pillar was raised. I dreamt high on the pillar a vulture hovered. I dreamt the vulture’s plume fanned open wide. I dreamt the vulture’s aerie was perched on a crag. I dreamt that unto the vulture a sole chick was born. I dreamt that the sky was filled with small birds. I dreamt that its eyes gazed toward the heavens. I dreamt that the vulture flew off into space.» — [MILAREPA, en canto] la estrofa del pilar del norte, con el buitre, su único polluelo y el cielo lleno de pájaros pequeños.

«The snow mountain standing upon it Is your old father Marpa Lotsawa and The complete Kagyu teachings.» — [MARPA, en canto] la clave con que abre la interpretación: la montaña es él mismo y la enseñanza Kagyü completa.

«The rivers running down in the four directions Are the ripening and liberating instructions of the four initiations. Satisfying all beings with their water Is the ripening and liberation of disciples.» — [MARPA, en canto] los ríos leídos como las cuatro iniciaciones.

«The great pillar raised to the north Is Milarepa of Gungtang. The vulture hovering high on the pillar Means his character is like that of a vulture. The vulture’s plume fanned open wide Is his reception of the aural transmission instructions. The vulture’s aerie perched high on a crag Means his life force will be firmer than rock. The sole chick born unto the vulture Is his one unrivaled son who will appear. The small birds filling the sky Is the spread of the Kagyu teachings.» — [MARPA, en canto] la parte de la interpretación que adjudica el buitre a Milarepa, con el hijo único y la difusión de la enseñanza Kagyü.

«a dākini, is this a prophetic command of the dākinis or a demonic obstacle? I don’t know.» — [MILAREPA] la duda que él mismo plantea ante la aparición: mandato profético u obstáculo demoníaco; el tramo arranca a media frase, que empieza en la plana anterior.

«The great pillar raised to the east Is Tsurtön Wangé of Dol. The great lion standing regal high on the pillar Means his character is like that of a lion.» — [MARPA, en canto] la adjudicación del pilar del este a Tsurtön Wangé.

«The great pillar raised to the south Is Ngoktön Chödor of Zhung. The tigress riled up high on the pillar Means his character is like that of a tiger.» — [MARPA, en canto] la del pilar del sur a Ngoktön Chödor.

«The great pillar raised to the west Is Metön Tsönpo of Tsangrong. The large garuda hovering high on the pillar Means his character is like that of a garuda.» — [MARPA, en canto] la del pilar del oeste a Metön Tsönpo, con lo que se completa el reparto de los cuatro discípulos.

«As for your old father, my work is completed. Now, you disciples, your hour has come. If you pay attention to the words of this old man now, The practice lineage teachings will spread in the future.» — [MARPA, en canto] el cierre de la interpretación del sueño, que traslada la tarea a los discípulos.

«He saw that Ngoktön Chödor of Zhung was studying how to explain several commentaries of the Hevajra Tantra; Tsurtön Wangé of Dol was meditating on Ejection; Metön Tsönpo of Tsangrong was meditating on Luminosity; and I was meditating on yogic heat.» — [TSANGNYÖN HERUKA] el reparto de prácticas entre los cuatro discípulos, decidido por lo que el maestro ve en estado de luminosidad.

«To Tsurtön Wangé of Dol he gave teachings on Ejection, likened to a bird flying though an open skylight, as well as Nāropa’s hair, fingernails, nectar pills, and a ritual crown of the five buddha families. Then he said, “Train in the practice of Ejection.» — [TSANGNYÖN HERUKA y MARPA] la entrega a Tsurtön Wangé, con el símil del pájaro y las reliquias de Nāropa.

«To Metön Tsönpo of Tsangrong he gave instructions on Luminosity, likened to a burning lamp that dispels darkness, as well as Nāropa’s vajra, bell, hand drum, and skull cup lined with mother-of-pearl. Then he said, “Sever your ties during the intermediate state.» — [TSANGNYÖN HERUKA y MARPA] la entrega a Metön Tsönpo, con el símil de la lámpara.

«To me he gave the exceptional instructions on yogic heat, likened to fire burning a pile of kindling, together with Maitripa’s hat and Nāropa’s garments. Then he said, “Wander among rocky mountain ranges and the snows, and gain experience in the view and in meditation.» — [TSANGNYÖN HERUKA y MARPA] la entrega a Milarepa: el calor yóguico, el sombrero de Maitripa y las ropas de Nāropa.

«I have entrusted to you my lineage of oral instructions and blessings that stems from our Kagyu forefathers. Therefore, apply yourselves and beings will further benefit.» — [MARPA] la entrega del linaje entero tras la muerte de su hijo.

«I arrived at my village of Kyangatsa and found my house Kazhi Dunggyé cracked like the ear of an old donkey. Of the valuables inside, leaking water had damaged the sacred scriptures of the Ratnakuta. Of the fields outside, Orma Triangle was overgrown with weeds. Of my family, my elderly mother was dead and my sister had gone off wandering as a beggar.» — [MILAREPA] el sueño que lo hace volver a casa, y que el relato cumplirá punto por punto.

«Above all, my mother who gave birth to me, body and mind, Thinking of her I can’t bear it. Please let me visit my homeland just once. Then I shall swiftly return.» — [MILAREPA, en canto] el cierre de la segunda petición, tras el inventario de lo que quiere ver.

«Son, when you first came to me you declared that you had no use for thoughts of home or family. Now you have many.» — [MARPA] la objeción con que le devuelve su propia declaración inicial.

«your coming here to make this request and finding me asleep is an omen that we, father and son, shall not meet again in this life.» — [MARPA] el presagio que lee en las circunstancias mismas de la petición.

«However, the sun rising over the house is an omen that you shall illuminate the Buddha’s teachings like the sun. In particular, the sunlight shining upon my head is an omen that the teachings of the Practice Lineage shall flourish and spread. Dakmema bringing food offerings is an omen that you shall be sustained with the food of concentration.» — [MARPA] los tres presagios favorables que lee en la misma escena: el sol, la luz sobre su cabeza y la comida que trae Dagmema.

«Lord, Aksobhya in essence, compassionate one, Please let this beggar return to his homeland one time. In the region of Korön in Ngantsa, Mother and children, whose kinsmen rose up as enemies, Split up from each other, many years have gone by. Now wrapped up in their memory I can bear it no more. Please let me go meet them just this once. Then I will swiftly return.» — [MILAREPA, en canto] la primera petición de licencia para volver a casa; los dos versos iniciales se repiten al abrir la segunda petición, en la plana siguiente, y el tramo entero es único de esta.

«Even if you return home, it will be difficult to meet your mother, and I do not know if you will easily find the others. You spent several years in the region of Ü Tsang and many years here as well. If you wish to go, I shall grant you permission.» — [MARPA] la licencia concedida, con la advertencia dentro de la misma frase.

«You too must transmit them to a single disciple, who will be prophesied by the dākinis, with the seal that it be handed down through a line of single individuals for thirteen generations.» — [MARPA] la condición de transmisión de las instrucciones aurales: un solo individuo por generación, trece generaciones.

«should you give away these instructions for food, wealth, or enjoyments of this life, you will incur the punishment of the dākinis.» — [MARPA] la prohibición de comerciar con la enseñanza, con la sanción que le adjudica.

«Attempting to break him down as Tilopa did to Lord Nāropa, or as I did to you, will be of no benefit to those of less capacity, so set aside that style of teaching dharma.» — [MARPA] la retractación del método de las pruebas para los discípulos de menor capacidad.

«In India there are supplementary teachings to these transmissions that carry looser restrictions—these are the Nine Dharma Cycles of the Formless Ḍākinis.» — [MARPA] la deuda que deja abierta: cinco de los nueve ciclos que faltan por traer de la India.

«If you think, ‘Perhaps I have not received the oral instructions in full because I lacked material offerings,’ understand that I have no interest in material offerings. It is the offering of your accomplishment and your perseverance that bring me happiness. Therefore, persevere and raise the victory banner of your accomplishment.» — [MARPA] cómo niega que la enseñanza dependiera del pago, después de haberlo exigido a lo largo de todo el relato.

«Contemplating the lives of past masters endowed with compassion Is itself the very oral instructions. Hoping to accumulate many is cause for distraction.» — [MARPA, en canto] la primera estrofa del canto de despedida: la vida de los maestros como instrucción.

«Much this and that without the essential Is like many trees but no fruit. They may have their merits but they are not the ultimate. Studying them is not seeing the truth.» — [MARPA, en canto] el símil con que desestima la acumulación de enseñanzas.

«A rock crag with no one around is your father’s house; A friendless and lonely abode, the deity’s home. Mind riding mind is a tireless steed; Your body, a wilderness hermitage, a temple. Unwavering virtue is the best of all medicines.» — [MARPA, en canto] la serie de equivalencias con que sustituye casa, compañía, montura y templo.

«Son, your departure breaks my heart. All composite things are similarly marked by impermanence and there is nothing to do about it.» — [MARPA] la despedida, que aplica a sí mismo la doctrina de la impermanencia.

«the lama revealed his body in numerous forms: the bodies of chosen deities such as Hevajra, Cakrasamvara, and Guhyasamāja; hand implements such as a vajra and bell, a wheel, a jewel, a lotus, and a sword; seed syllables such as the letters om, āh, and hum in white, red, and blue; and visible and invisible spheres of light.» — [TSANGNYÖN HERUKA] el prodigio de despedida: el cuerpo del maestro en forma de deidades, implementos y sílabas semilla.

«These,” he said, “are called miraculous transformations of the body. Revealing them casually serves little purpose. I have displayed them now on the occasion of Milarepa’s departure.» — [MARPA] cómo nombra ese prodigio y por qué declara mostrarlo.

«I have introduced you to the truth that phenomena are like an illusion, so you should practice accordingly.» — [MARPA] qué dice haber enseñado con él.

«There is Lapchi Gangra, which is Godāvari, one of the twenty-four sacred lands. Go there and meditate.» — [MARPA] el tercero, emparejado con una de las veinticuatro tierras sagradas.

«Together in the east lie the great sacred sites of Devikota and Tsari. It is not, at present, the time to open them. In the future your spiritual descendants will establish themselves there.» — [MARPA] los dos sitios que declara aún cerrados y deja a la descendencia espiritual.

«If you are able to practice, that itself will serve the lama, repay your parents’ kindness, and accomplish the aims of sentient beings.» — [MARPA] cómo cifra en la práctica misma el servicio al maestro y la deuda con los padres.

«At some point an obstacle will arise in your practice with the channels and subtle winds. When that happens, look at this, but not before then.» — [MARPA] la condición con que entrega el rollo sellado, que el relato retomará mucho después.

«When you consider in general how sentient beings die in misery unaware they are buddhas, and in particular how, having attained human bodies, they die without the dharma—that is cause for tears. And if you weep for that reason, you should never stop weeping.» — [MARPA] la respuesta con que enmienda el llanto de su esposa.

«But it is difficult to feel such compassion all the time. The son I bore, who had a broad understanding of both life’s round and transcendence and who would have accomplished the aims of both himself and others, has been separated from us by death. Now this son— endowed with faith, diligence, wisdom, and compassion, and who did whatever he was told without fault—will be separated from us while still alive. This is why I can’t bear my grief.» — [DAGMEMA] su réplica, que no acepta la corrección y pone el duelo por su hijo muerto junto al del discípulo que se va.

«Compare your understanding of the oral instructions and take note of any differences you have. After that, depart quickly and do not stay more than seven days in your homeland.» — [MARPA] las últimas instrucciones prácticas: cotejar con Ngokpa y no quedarse más de siete días en casa.

«There are Riwo Pelbar of Mangyul and Yolmo Gangra in Nepal, the site prophesied in the Avatamsaka Sutra. Go there and meditate.» — [MARPA] el cuarto y quinto sitios, con la profecía del Avatamsaka Sutra por respaldo.

«Among the mountain retreats there is Gyalgi Śri in Latö, a mountain blessed by the great adepts of India. Go there and meditate.» — [MARPA] el primero de los sitios de retiro que prescribe, con la fórmula que se repite en cada uno.

«There is Gang Tisé, which is the site Himālaya prophesied by the Buddha and the palace of Cakrasamvara. Go there and meditate.» — [MARPA] el segundo sitio, identificado con el Himālaya profetizado y con el palacio de Cakrasamvara.

«There is Chubar of Drin, dwelling place of the dākinis who protect the region. Go there and meditate.» — [MARPA] el sexto sitio de la lista de retiros prescritos.

«Among house and fields yearned for at home You’ll find the masters, impermanence and illusion. Among family, your sister and aunt, You’ll find the master who shatters illusion.» — [MARPA, en canto] las estrofas en que convierte cada obstáculo del regreso en maestro: la casa y los campos, la hermana y la tía.

«In strict retreat without human or dog You’ll find the lamp with which you’ll quickly see signs. In your rations without food gained through handouts You’ll find bliss, leftover food of the gods.» — [MARPA, en canto] las estrofas sobre el retiro estricto y la ración sin limosna.

«In the disciple line of Marpa Lotsawa You’ll find the door through which much good news will arrive. In the persevering will of Milarepa You’ll find the backbone of the Buddha’s teaching.» — [MARPA, en canto] el cierre del canto, que hace del propio discípulo el espinazo de la enseñanza.

«May good fortune of Kagyu lamas long remain; May good fortune of fine chosen deities long remain; May good fortune of Cakrasamvara, Hevajra, and Guhyasamāja long remain; May good fortune of authentic dharma long remain;» — [MARPA, en canto] la letanía de buena fortuna con que remata, nombrando el linaje Kagyü y las tres deidades del ciclo.

«This is the end of our relationship in this life as mother and son. May your departure be auspicious and successful. I pray that in the future we meet in the celestial realm of Oddiyāna.» — [DAGMEMA] su despedida, que da por cerrado el vínculo en esta vida.

«Go now I beg, but first drink to your fill Of the lama’s draft, a wisdom elixir. I pray that we meet in the future as friends In a pure land united once more.» — [DAGMEMA, en canto] la estrofa de su canto de despedida, con el elixir de sabiduría.

«For escorts I have dākinis of the three places. I go accompanied with the companion of awakening mind. I have the eight classes of gods and demons to greet me. I have no fear of hostile foes.» — [MILAREPA, en canto] el reparto de escoltas del canto de partida hacia Tsang: dākinis, mente de iluminación y las ocho clases de dioses y demonios.

«Go now I beg, but first don the warm cloak Of the dākinis’ breath most profound. I pray that we meet in the future as friends In a pure land united once more.» — [DAGMEMA, en canto] la estrofa del manto del aliento de las dākinis.

«May this prayer be fulfilled just as I have spoken. May you repay our kindness through turning the dharma.» — [DAGMEMA, en canto] con qué cierra su canto de despedida.

«I will meditate with the lama above the crown of my head and thus never be separated from him.» — [MILAREPA] la práctica con que resuelve la separación del maestro.

«We compared our understanding of the oral instructions. In explaining the tantras, he surpassed me, and in their practice I was not far behind. But in the special dākini aural transmission, I surpassed him.» — [MILAREPA] el resultado del cotejo con Ngokpa, repartido por ramas y sin adornarlo.

«That down there is called Kazhi Dunggyé. It has no one but ghosts for residents.» — [UN PASTOR] cómo nombran los vecinos la casa familiar cuando él vuelve sin darse a conocer.

«Out of revenge, he cast magic and hailstorms, and the region was devastated. Now all of us fear his dharma protectors and we don’t dare even to glance in the direction of his house and fields, much less go near them.» — [LOS PASTORES] cómo cuentan los vecinos su propia historia, sin saber que hablan con él.

«Stepping inside, I saw the texts of the precious Ratnakuta Sutra damaged by leaking water and falling debris. Birds and mice had made nests in them, covering the books in their droppings.» — [MILAREPA] el estado en que encuentra los textos sagrados, tal como lo había soñado.

«When I realized they were the bones of my mother, I was so overcome with grief that I could hardly stand it. I could not think, I could not speak, and an overwhelming sense of longing and sadness swept over me. I was on the verge of fainting.» — [MILAREPA] el hallazgo de los huesos de la madre.

«But at that moment I remembered my lama’s oral instructions. I then blended my mother’s consciousness with my mind and the wisdom mind of the Kagyu lamas. I made a cushion of my mother’s bones and rested in a state of luminosity without letting my three gates waver for even an instant.» — [MILAREPA] lo que hace con ese dolor: la absorción de siete días sobre los huesos como cojín.

«In general, all things that exist or appear Are impermanent, unstable, they change and they move. In particular, the things of life’s round have no essence. Rather than do things that lack any essence, I go to do dharma divine, that’s essential.» — [MILAREPA, en canto] la estrofa doctrinal del canto de la promesa.

«When there was a mother there was no son. Before I the son came, the old mother had died. Though the two come together they’ve no essence. I the son will do dharma divine, that’s essential. I’m off to meditate at Drakar Taso.» — [MILAREPA, en canto] la estrofa de la madre dentro de la serie de pares que nunca coinciden.

«Homeland, house, fields, and the like, The things of life’s round have no essence at all. Those beings who want things with no essence can have them. A yogi, I go to achieve liberation.» — [MILAREPA, en canto] el cierre de esa serie, que entrega lo sin esencia a quien lo quiera.

«Lama Marpa took a wife for the benefit of beings. I have neither the intention nor the ability to act in that way. To do so would be like a rabbit bounding along in the guise of a lion, it would fall into an abyss and surely die.» — [MILAREPA] por qué rehúsa imitar la vida de casado del maestro, con el símil de la liebre y el león.

«As payment for that, I shall make an offering of these Ratnakuta texts and then I shall practice at Drakar Taso day and night without regard for my life. If the eight worldly concerns arise in my mind I shall kill myself. If thoughts of a comfortable life come up, may the dākinis and dharma protectors strike me down.» — [MILAREPA] el voto que hace ante los huesos de la madre, con la sanción que él mismo se impone si vuelven los ocho afanes mundanos; la frase anterior, sobre las figurillas hechas con esos huesos, lleva pegada la llamada de nota y se corta antes.

«I know nothing but practice, I am good for nothing but practice, I think about nothing but practice.» — [MILAREPA] la fórmula con que resume su decisión ante el hijo de su maestro de lectura.

«For others, untouched by such misfortune or oblivious to the suffering of death and bad rebirth, a comfortable life is enough. These conditions compel me to practice without regard for food, clothing, or recognition.» — [MILAREPA] cómo distingue su caso del de otros, y qué adjudica a la desgracia como condición de la práctica.

«In the town of impermanence and illusion A restless visitor to these ruins is afflicted with anguish. In the environs of Gungtang, a wondrous landscape, Grasslands that fed yaks, sheep, cattle, and goats Are nowadays taken over by harmful spirits. These too are examples of impermanence and illusion, Examples that call me, a yogin, to practice.» — [MILAREPA, en canto] la primera estrofa del canto de las ruinas, con el estribillo que se repite en todas.

«This home of four pillars and eight beams Nowadays resembles a lion’s upper jaw. The manor of four corners, four walls, and a roof, making nine These too are examples of impermanence and illusion, Examples that call me, a yogin, to practice.» — [MILAREPA, en canto] la estrofa de la casa, que compara la mansión arruinada con la mandíbula de un león.

«My good father Mila Shergyal Nowadays, of him no trace remains. My mother Nyangtsa Kargyen Nowadays is a pile of bare bones. These too are examples of impermanence and illusion, Examples that call me, a yogin, to practice.» — [MILAREPA, en canto] la estrofa de los padres; nombra al padre Mila Shergyal, forma abreviada del nombre que el capítulo primero da como Mila Sherab Gyaltsen.

«Since in reality I fulfilled that pledge, I have no regrets.» — [MILAREPA] cómo cierra el sexto acto supremo, con el voto dado por cumplido desde el presente del relato.

«I should beg for meat, butter, and cheese from highland nomads and barley flour from lowland farmers. With continued sustenance I could go on practicing.» — [MILAREPA] el reparto de la limosna según el paisaje: carne y lácteos de los nómadas, harina de los labradores.

«Disgrace to your noble father! Dishonor to your family! Demon who devastated your homeland! Why have you come? A son like you born to such a fine father!» — [LA TÍA] los insultos con que lo recibe al pedir limosna.

«You relatives plotted and planned, did you not, The suffering of mother and children, us three? And yet this intolerable torment and suffering Has prompted the practice of authentic dharma.» — [MILAREPA, en canto] cómo devuelve la acusación a la tía y a la vez convierte el agravio en causa de la práctica.

«Although I have reason to be filled with anger Instead I will obey my lama’s command. O aunt, without letting your anger run wild, Give me provisions to use in retreat. Sovereign of love and compassion, Lord Marpa, Bless your subject to assuage his anger.» — [MILAREPA, en canto] el cierre del canto a la tía, que sustituye la venganza por la obediencia al maestro.

«Father Kagyu lamas,” I called out, “ocean of oath-bound blood drinkers. This yogin, a dharma practitioner, is beset by enemies. Come to my rescue. Though I may die, my dharma protectors are immortal.» — [MILAREPA] la amenaza con que dispersa a los que le tiran piedras, que es el último uso que da a la fama de mago.

«I practice austerities and seek food as do birds and mice, so I have no need for fields. I dwell in caves in uninhabited places, so I have no need for a house.» — [MILAREPA] la razón con que renuncia a la casa y a los campos ante Dzesé.

«Even if I were a master of the entire world, I would still need to leave them aside at the time of death. So if I renounce these things now, I shall find happiness in this and all future lives. Doing so, my conduct is contrary to that of all other men, so you can say I am no longer a man.» — [MILAREPA] cómo declara su conducta contraria a la de todos los hombres.

«There are those who once fell prey to worldly pride and then, having learned to preach on a few religious books, took pleasure in their own gains and in the defeat of others. Such people call themselves dharma practitioners and wear golden robes, all the while seeking as much wealth and fame as possible.» — [MILAREPA] la crítica que dirige a los practicantes que viven del dharma.

«But there are other dharma practitioners whose intentions and actions are not like that. Even though they appear in the garb of their own tradition, I don’t view their actions as being contrary to mine since we agree in our fundamental aims. But if they do not agree with my fundamental aims then they are opposed to my practice.» — [MILAREPA] y el límite con que la acota en la misma respuesta: no lo separa el hábito sino el fin.

«It is the garb of the best of all religious traditions, the tradition called ‘casting the eight worldly concerns to the wind in order to attain buddhahood in this life.» — [MILAREPA] cómo nombra su propia tradición cuando Dzesé le reprocha el atuendo.

«It seems that even those practitioners who wear saffron robes, while in agreement with my fundamental aims, still retain a slight affinity for the eight worldly concerns. Even if they do not, there is still an unimaginable difference in the speed at which we can each attain buddhahood.» — [MILAREPA] la diferencia que declara con los monjes de hábito azafrán: no de fin, sino de velocidad.

«Just then Jetsün Marpa appeared in the sky and said, “Son, plow with diligence and perseverance. Though the earth is hard and uncultivated, you shall furrow through it.» — [MARPA, en sueños] el sueño del campo duro, que se vuelve la alegoría del canto siguiente.

«If even fools don’t cling to dreams, which are the mistaken projections of mental imprints, then I am even more foolish than fools themselves.» — [MILAREPA] la reserva que él mismo pone al valor de los sueños, dentro del mismo pasaje en que saca uno por señal.

«Upon the ground, the field of equanimity, I mix in water and manure of stable faith in the path. I sow the seeds of pure, untainted mind.» — [MILAREPA, en canto] la apertura del canto de la labranza, que traduce la práctica entera a términos agrícolas.

«Upon the oxen of mind free from doubt I fix the yoke of method and wisdom’s plow. A farmhand lacking confused and muddled thoughts, I firmly grasp the plow-arm undistracted. With the whip of diligent exertion I till the hardened soil of five poisonous afflictions.» — [MILAREPA, en canto] el yugo de método y sabiduría y el látigo de la diligencia.

«The deepest meaning will not surface in words, Nor realization through mere illustration.» — [MILAREPA, en canto] el límite que pone a su propia alegoría al terminarla.

«Generally speaking, I have not forsworn casting magic upon those who would steal my fields. And in particular, the oath of a yogin is like a dream, an illusion, so there is nothing to stop me from casting hailstorms as soon as you turn your back. But such things I shall not do.» — [MILAREPA] la salida que se reserva y descarta: el juramento a la tía no le impedía la magia.

«For whom would I cultivate patience if there was no one to make me angry? Were I to die this very night, what would I do with my fields and these things? It is taught that patience is the best means for attaining buddhahood. My aunt is the support for cultivating such patience, and it is thanks to my uncle and aunt that I have met with authentic dharma. In order to repay their great kindness I shall pray that they one day attain buddhahood.» — [MILAREPA] cómo convierte el agravio de la tía en instrumento de la paciencia.

«Fondness for loved ones is a demon’s stronghold— Build it and you’ll be sucked into a pit of flames. Your hoard of food and wealth, the chattels of men— Whatever you own is your enemy’s supply.» — [MILAREPA, en canto] las estrofas del canto a la tía sobre el afecto y la hacienda.

«My field, my house, everything— Take them, Aunt, and may happiness you find.» — [MILAREPA, en canto] la entrega de casa y campos.

«As my practice of meditative equipoise had taken a firm foothold in that cave, I called it Kangtsuk Puk (Firm Foothold Cave).» — [MILAREPA] el nombre que da a la cueva por lo que ahí ocurre, como antes al campo y al cerro.

«Until I have gained extraordinary experience and realization, I shall not descend from this mountain retreat to eat the crumbled remains of food from funeral offerings even if I die of starvation;» — [MILAREPA] la primera cláusula del voto de Drakar Taso; la llamada de nota va pegada a starvation y el tramo se corta ahí.

«I shall not descend for clothing even if I die of exposure; I shall not engage in frivolous entertainment or distractions even if I die of sadness; I shall not descend for a single dose of medicine even if I die of sickness. Without moving my body in the slightest way toward affairs of this life, I shall achieve buddhahood with my three gates undistracted.» — [MILAREPA] las cláusulas restantes del voto: ni ropa, ni distracción, ni medicina.

«Since death is preferable to having a human body that does not practice, should I act against these vows, may the ocean of oath-bound protectors cut short my life immediately upon any transgression» — [MILAREPA] la sanción que él mismo pide si rompe ese voto.

«Without clinging to the pool of serenity, May the flower of insight blossom. Without the weeds of elaboration shooting up, May the petals of non-contrivance spread open.» — [MILAREPA, en canto] las estrofas de la oración de voto sobre serenidad, visión penetrante y no elaboración.

«While in that state I perceived that a host of women appeared saying lama Marpa had sent them. They performed an excellent ritual feast and said, “If Milarepa has not given rise to bliss-warmth, Marpa instructs that he exert his three gates in the following way,” and they demonstrated a series of yogic exercises.» — [MILAREPA] de dónde le vienen los ejercicios: mujeres enviadas por Marpa dentro de un estado de luminosidad.

«Accordingly, I sought physical well-being through the key point of an erect, squatting posture, “binding of the six hearths.” I sought verbal control through the key point of controlling the life force winds, “binding of a plaited knot.” I sought mental relaxation through the key point of self-liberation, “binding of a coiled snake.» — [MILAREPA] los tres puntos clave con sus nombres: las seis lumbres, el nudo trenzado y la serpiente enroscada, uno por cada puerta.

«Meditating in this way, a most wonderful bliss-warmth spread through me.» — [MILAREPA] el resultado que adjudica a esos ejercicios.

«about the Great Seal in my mind, but my physical strength weakened and, unable to control the subtle winds, I did not experience bliss-warmth in my body. I thus became intensely cold.» — [MILAREPA] el desajuste que declara entre la realización mental y el cuerpo, que es lo que motiva la enseñanza siguiente; el tramo arranca a media frase, que empieza en la plana anterior.

«You there, amazing one, Milarepa: A song of self-counsel to help yourself. You are separated from friends who converse with you kindly. The valley where you seek entertainment is empty. The region where you hope to find solace is barren. Don’t daydream, don’t daydream. Rest mind in its place.» — [MILAREPA, en canto] la apertura del canto de reprimenda a sí mismo, cuando el deseo de bajar al valle vuelve.

«Don’t waver, don’t waver. Maintain stable mindfulness. Waver and virtuous practice is tossed to the wind. Don’t go, don’t go. Remain in your seat. Go off and your stride will be tripped up on stones. Don’t slacken, don’t slacken. Keep your head bowed. Relax and it all becomes futile and meaningless. Don’t sleep, don’t sleep. Practice virtuous conduct. Sleep and afflictions, five poisons, oppress you.» — [MILAREPA, en canto] la serie de prohibiciones con que se sujeta, cada una con su consecuencia.

«A body used to achieve buddhahood is more valuable than even the whole third-order thousand-fold universe filled with gold.» — [MILAREPA] cómo tasa el cuerpo humano frente al oro, con la llamada de nota pegada a gold.

«I moved over to it and stayed there living on nothing but nettles as I practiced. I had no clothes on my outside and nothing nutritious to sustain me inside. My body thus became like a skeleton and turned the color of nettles, covered with soft green hair.» — [MILAREPA] la dieta de ortigas y su efecto en el cuerpo, que es el rasgo por el que el relato lo hará reconocible.

«During this time I wanted to clutch the text the lama gave me and I placed it upon my head. When I did, my stomach felt pleasantly full even though I had nothing whatsoever to eat, and I even belched. I was tempted to break the seal on the scroll and read it but I received a sign that it was not yet the proper time so I set it aside.» — [MILAREPA] el rollo sellado de Marpa, que sacia sin abrirse y que él no abre por no ser aún tiempo.

«Even as my body, accustomed to ascetic practice, was filled with pain, I felt fierce, unbearable compassion and wept.» — [MILAREPA] su reacción al maltrato de los cazadores.

«I didn’t think of using magic but they eventually received the deities’ retribution. It is said that the governor punished the hunters. The leader was executed and all the others, except for the individual who told them not to harm me, had their eyes put out.» — [MILAREPA] el castigo de los cazadores, que el relato adjudica a las deidades y no a él, y que exceptúa al que lo defendió.

«I understood that the food and drink offered while practicing austerities in mountain retreat brings far greater merit than a hundred offerings made to those who carelessly pursue pleasures in the village below.» — [MILAREPA] la jerarquía de méritos que traza entre la ofrenda al ermitaño y la ofrenda al religioso de aldea.

«I considered picking away the maggots and then eating it but then thought, “I have neither the merit nor the right to do so. I shall not steal the maggots’ share of food.» — [MILAREPA] por qué deja la carne a los gusanos.

«Definitely, with your food and clothing, you will never improve your appearance or regain your strength. This is not becoming of a man. Even a servant has a full belly and warm clothes. There is no one in the world more miserable or pitiful than you.» — [LOS CAZADORES DE TSA] el juicio del mundo sobre su vida, puesto en boca de los cazadores.

«I am the most formidable of men to have obtained a human body. I have encountered the likes of Lhodrak Marpa Lotsawa. I have received the oral instructions for attaining buddhahood in one life and one body. Having renounced this life, I am meditating alone in the mountains and devoting myself to achieving this enduring aim. I have sacrificed food, clothing, and conversation and in this life I shall defeat my enemies, the mental afflictions.» — [MILAREPA] la respuesta que invierte ese juicio punto por punto.

«A small rigid cushion beneath me: happiness. A soft cotton robe around me: happiness. A meditation belt wrapped around me: happiness. Illusory body neither hungry nor full: happiness. Mind that gives up examination: happiness. I am not unhappy. Happy is what I am.» — [MILAREPA, en canto] las estrofas del Canto de las Cinco Felicidades, que convierten cada privación en dicha.

«should search for some food to sustain my practice of austerities. Since it would be for the sake of dharma, this would not break my vows.» — [MILAREPA] la distinción con que salva el voto: buscar sustento para la práctica no es bajar al valle; el tramo arranca a media frase, que empieza en la plana anterior.

«If I seem happy, so happy, do all I have done. If you don’t have the fortune to practice the dharma, Spare me your mistaken pity.» — [MILAREPA, en canto] la respuesta a la lástima de los cazadores, dentro del Canto de las Cinco Felicidades.

«You have said many fine things about happiness, and you certainly have a pleasing voice. But we cannot act in this manner of yours.» — [LOS CAZADORES] cómo reciben ese canto: le conceden la belleza y no la imitación.

«Each year in Kyangatsa a great festival was held for casting figurines. On this occasion the hunters, in a single voice, sang the Song of the Five Happinesses. My sister Peta was begging at the festival and heard them. “Whoever spoke those words is a buddha,” she cried.» — [TSANGNYÖN HERUKA y PETA] cómo el canto vuelve a la aldea y llega a la hermana.

«My body was wasted by ascetic practices. My eyes were sunken into their sockets. All my bones stuck out. I was emaciated with a green complexion. Fine bristling greenish hair grew on the skin hanging from my flesh and bones. The hair on my head grew in shocks and frightful disarray. My limbs were about to break.» — [MILAREPA] la descripción de su propio cuerpo en el momento del reencuentro con Peta.

«Our mother died in misery while longing to see you brother. No one around us came to help, and unable to bear such intense grief in our house, I went to beg in other regions. I wondered if you were dead, my brother, or if you were not dead if you had found a measure of happiness greater than this. But such is my brother’s fate, and this is what I, your sister, have become. No one on earth is more miserable than us, brother and sister.» — [PETA] el reproche y el duelo con que se reencuentra con él.

«Look at my home, like an animal’s den. Were another to see it, he’d be stricken with grief. Look at my food, like an animal’s fodder. Were another to see it, he’d feel sick to his stomach. Look at my body, like a skeletal frame. Were an enemy to see it, even he would shed tears. Look at my conduct, like that of a madman. My sister is filled with embarrassment. Look at my mind, an actual buddha. Were the Victors to see it, they’d be filled with delight.» — [MILAREPA, en canto] la serie de miradas del canto a la hermana, que opone lo que ven los otros a lo que ve un buda.

«My body is just like a nettle all through, Turned green, and will never go back.» — [MILAREPA, en canto] la estrofa del cuerpo vuelto ortiga.

«It would be amazing if what you say were so, but it seems difficult to believe it’s true. If it were true then other religious practitioners would practice in this way, at least in part, even if not exactly as you do. But I have never seen anyone involved with such misery.» — [PETA] la objeción de la hermana, a la que el relato no responde: ningún otro practicante vive así.

«I will not fulfill my intentions through a religion that involves friends and lovers eating, drinking, and laughing without restraint in front of endless quantities of food and piles of fine clothing, all achieved at the expense of my practice.» — [MILAREPA] cómo rechaza la comida y la ropa que le ofrecen.

«My death unknown among people And rotting corpse unseen by vultures— If thus I can die in this mountain retreat The aims of this yogin will be complete.» — [MILAREPA, en canto] una de las estrofas del canto sobre morir sin testigos en el retiro.

«Flies sucking on my putrid flesh And insects gnawing my bones— If thus I can die in this mountain retreat The aims of this yogin will be complete.» — [MILAREPA, en canto] la estrofa más cruda de esa serie.

«I thought that there was no greater obstacle than my inability to meditate. I broke the seal to the scroll that the lama gave me and read its contents. Inside, it contained the heart-advice for transforming faults into positive qualities, quintessential points that remove obstacles and enhance one’s practice. And it specifically advised that I should take good food at this time.» — [MILAREPA] el momento en que abre el rollo sellado, y qué resulta que contenía.

«I came to understand that through my previous efforts in meditation, the subtle constituents were beginning to gather within the channels, but due to my poor diet they could not ascend. Peta’s beer allowed them to ascend a little bit and Dzesé’s offerings allowed them to ascend completely.» — [MILAREPA] la explicación fisiológica que da a su estancamiento: la dieta impedía que los constituyentes sutiles ascendieran.

«As a result, the knots of the secondary channels were loosened, as was the knot in the lower part of the central channel at the level of the navel.» — [MILAREPA] el efecto que adjudica a los puntos clave del rollo: los nudos de los canales.

«Previously, I had understood the experience of bliss, clarity, and non-conceptuality through mere words. But now I developed the extraordinary qualities of experience and realization that were extremely potent and stable and so not like that at all.» — [MILAREPA] la distinción que traza entre entender por palabras y tener la experiencia.

«Thus in general I understood all phenomena of life’s round and transcendence to be interdependent. I further ascertained that the underlying basis of mind is free from biases. Life’s round is the result of the path conditioned by wrong views. Transcendence is the result of the path conditioned by insight. The essence of both is emptiness and luminosity.» — [MILAREPA] la formulación de su realización, que Quintman cita en su introducción, en la plana 17, y que aquí va anclada en el cuerpo.

«In particular, I understood that the qualities that manifested in my mind stream at that time arose through the interdependence of my previous meditation as the causal agent and the food and profound heart-advice as the conditioning agents.» — [MILAREPA] cómo reparte causa y condición en su propia realización: la meditación como agente causal, la comida y el consejo como condiciones.

«I also gained an extraordinary certainty that the Secret Mantra path of means uses sense pleasures on the path.» — [MILAREPA] la tesis que saca de ahí sobre la vía de los medios del Mantra Secreto.

«The nourishing essence of solid earth And the light rain falling from azure skies—these two Form the interdependence that benefits beings. The essence of interdependence is dharma divine.» — [MILAREPA, en canto] la primera pareja del canto de la interdependencia, con su estribillo variable.

«The meditator practicing in rocky caves And the patrons who bring him supplies—these two Form the interdependence for reaching buddhahood together. The essence of interdependence is dedication of merit.» — [MILAREPA, en canto] la pareja que empareja al ermitaño y a quienes lo abastecen.

«Thereafter I meditated with great perseverance. During the day, I had the experience that allowed me to display all sorts of miracles, such as transforming my body into any desired form and levitating in space.» — [MILAREPA] los prodigios que el relato le adjudica al llegar aquí, contados en primera persona.

«I could perform unimaginable miracles, transforming my body into blazing fire, gushing water, and the like. Feeling joyful and encouraged by this, I continued to meditate and gained the ability to actually fly through the sky.» — [MILAREPA] el remate de esa serie.

«What’s so amazing about that? He’s the son of the vile woman Nyangtsa Kargyen, that cunning Mila who has been worn down by starvation. Lead the oxen, but do not let his shadow fall upon you.» — [EL LABRADOR DE LONGDA] la única voz del relato que ve el prodigio y no lo reconoce, por saber de quién se trata.

«If a man can fly, cunning or not, there is no greater spectacle than that. So look, father.» — [EL HIJO DEL LABRADOR] la réplica del hijo, que el relato deja en pie sin arbitrar.

«In this life, devote yourself wholly to practicing in accordance with the lama’s instructions. There is no greater service to the Buddha’s teachings and no greater benefit to sentient beings than that.» — [LA DEIDAD ELEGIDA, en profecía] la respuesta a la pregunta de si debe salir a beneficiar a otros: la práctica misma es el servicio.

«Now I fear that if I stay here, my practice will face obstacles caused by people asking me to avert their worldly misfortunes and obtain things they want, just like the Son of the Gods Demon,19 as well as by the eight worldly concerns.» — [MILAREPA] por qué deja Drakar Taso: el prodigio visto le trae clientela, con su llamada de nota.

«I ran to catch it but the pot cracked and from within appeared a single mass of green nettle residue shaped just like the pot itself.» — [MILAREPA] la olla de barro rota que deja el molde de ortigas, imagen de la que saca la enseñanza de la impermanencia.

«This clay pot so important, the whole of my wealth, Becomes my lama in the moment it breaks, Teaching impermanence, how amazing!» — [MILAREPA, en canto] cómo nombra a la olla rota: su lama en el instante de romperse.

«Within the mountain hermitage, my body, Inside the temple, my breast, At the top of a triangle, my heart, The stallion of mind rides like the wind.» — [MILAREPA, en canto] la apertura del canto del caballo del yogui, que traslada la práctica a términos de montura y cacería.

«To catch him, catch with the lasso of non-duality. To tether him, tether with the stake of meditative absorption. If hungry, feed him the lama’s oral instructions. If thirsty, water him at the river of mindfulness. If cold, board him at the corral of emptiness.» — [MILAREPA, en canto] las respuestas a las preguntas del canto, término por término.

«For targets I hit the faithful. My prey is the demon of clinging to “I.” Thus I slay enemies, the mental afflictions And protect my friends, the six kinds of beings.» — [MILAREPA, en canto] cómo nombra el blanco y la presa de esa cacería.

«Maidens with negative karma believe in their home life. Their bad airs and self-importance burn like fire. How pitiful, sentient beings whose minds are afflicted.» — [MILAREPA, en canto] la respuesta a la lástima de las muchachas de Dingri.

«In this dark period of the degenerate age Swindlers are worshipped like deities and gods, Charlatans are prized more than jewels and gold, The religious are tossed like pebbles on the road. How pitiful, ignorant sentient beings.» — [MILAREPA, en canto] su descripción de la época, con el orden de los aprecios invertido.

«Are repulsed, you by me, me by you. But we also feel pity, you for me, me for you. We’ll cross spears of compassion And see who wins victory in the end.» — [MILAREPA, en canto] el giro con que devuelve la compasión y la convierte en contienda.

«If you led a worldly life instead of living in such misery, you could ride a horse as fine as a young lion. You could wear the three kinds of weapons, sharp as thorns, and vanquish your bitter enemies. You could amass riches and possessions and protect the friends who love you, which would make you happy.» — [UN CAZADOR JOVEN] la vida alterna que le proponen, con el caballo, las armas y la hacienda; la lista sigue en la plana siguiente hasta la servidumbre.

«These sorts of things are suitable for other religious practitioners. But my brother’s dharma is nothing but misery, scorned by others, bringing only shame to his family. If I meet my brother, I must convince him to become this lama’s servant.» — [PETA] cómo compara la religión del hermano con la de Bari Lotsawa, al verlo en su trono.

«There is a lama named Bari Lotsawa who practices a different kind of dharma. He has a throne that supports him from below and parasols shelter him from above. In between he is draped in fine silks and plied with tea and beer. His disciples blow conch shells and crowds gather to offer gifts beyond imagination. Thus he benefits his followers and kinsmen.» — [PETA] el retrato del lama próspero que ella le pone por modelo.

«In particular, if you are ashamed of the body then you should be ashamed of your swelling breasts, which you did not have when you were born.» — [MILAREPA] la réplica sobre la vergüenza del cuerpo.

«Generally speaking, I fear the suffering in the lower realms of life’s round. I am as terrified as if I were being cast alive into flames. When I see people picking and choosing frivolity, distraction, and the eight worldly concerns, I feel revulsion like a vomiting sick man who is given food. I am as disturbed as if I were seeing the bloodstained hands that murdered my own father. This is why I have given them up.» — [MILAREPA] los tres símiles con que explica su aversión a los ocho afanes mundanos.

«Abandon the frivolous distractions of the eight worldly concerns. Renounce food, clothing, and conversation. Wander in isolated places. And above all else, practice with a fierce intention to renounce this life.» — [MARPA, citado por Milarepa] el mandato profético al que dice atenerse.

«If I tried, not only could I become lama Bari’s lowest servant, I could become just like him. But I wish to attain buddhahood in this life, so I work earnestly and diligently in my practice.» — [MILAREPA] la respuesta a la propuesta de servir a Bari Lotsawa.

«First, a parasol topped with a glimmering spire of gold; Second, its skirting of Chinese silk hanging down; Third, the parasol’s ribs decorated with peacock feathers; Fourth, a handle made of red sandalwood. These four, if he wanted, your brother could have, But your brother gave up the eight worldly concerns. Giving up the eight worldly concerns, the sun of happiness shines. For this reason, dear Peta, give up the eight worldly concerns. Give up the eight worldly concerns, and come to Lapchi Gang. We, brother and sister together, shall go now to Lapchi Gang.» — [MILAREPA, en canto] la primera estrofa del canto a Peta, con la cuaterna de bienes y el estribillo que se repite en todas.

«First, the village rites of divination, chanting, and astrology; Second, the abbess, a priestess of rituals so skilled in hypocrisy; Third, making feast offerings with a burning desire for food; Fourth, a sweet little song to deceive female students.» — [MILAREPA, en canto] la cuaterna de oficios religiosos de aldea que declara haber dejado: adivinación, salmodia y astrología entre ellos.

«First, a fine manor with high secure towers; Second, the well-worked fields with excellent yield; Third, a store of food and wealth hoarded through greed; Fourth, a host of servants increasing the pull of life’s round.» — [MILAREPA, en canto] la cuaterna de bienes de casa que declara haber dejado.

«If you refuse to renounce the eight worldly concerns And will not retreat to the site Lapchi Gang, Then your sisterly love irritates me. Talk of this life distracts me from practice.» — [MILAREPA, en canto] el punto en que corta con la hermana si ella no renuncia.

«In the four regions of Ü and Tsang Pedant’s dharma is prized, the meditator’s, ignored. In the dark period of the degenerate age The wicked are prized, the righteous, ignored. In the eyes of such elegant maidens A fine man is prized, the yogin, ignored.» — [MILAREPA, en canto] el recorrido por los ámbitos donde se prefiere lo provisional a lo definitivo; la serie sigue en la plana siguiente con el oído de las muchachas.

«mask your realization that you will never be like lama Bari Lotsawa. I won’t go to Lapchi to purchase the misery of having no food to eat or clothes to wear. I don’t even know where it is.» — [PETA] la objeción de la hermana, que atribuye la doctrina del hermano a no poder ser como Bari Lotsawa; el tramo arranca a media frase, que empieza en la plana anterior.

«Not only have you no shame, you have also ruined the woolen cloth that I prepared with such difficulty. At times you seem to have no time for anything but practice. But at others you seem to have plenty of time to do as you like.» — [PETA] el reproche por las fundas de lana que él hizo en vez de una falda.

«Since I consider all of my other appendages to be equal parts of my body, and no different from my penis, I made sheaths for them too. I have not ruined your cloth, but have turned it into modesty sleeves.» — [MILAREPA] la razón con que justifica haber enfundado todos sus miembros.

«Worldly people feel ashamed of what is not shameful, yet feel no shame at what they know to be immoral conduct and hypocrisy. They do not understand how to feel shame.» — [MILAREPA] la distinción entre las dos vergüenzas, que da tema al canto siguiente.

«You who feels shame out of ignorance and conventional thinking Are ashamed of what carries no shame. I, a yogin who knows the meaning of shame, Lives with my three gates relaxed— How could I overstate or understate shame?» — [MILAREPA, en canto] la distinción entre la vergüenza convencional y la del yogui.

«The results of craving, malice, and perverted views Are immoral conduct, hypocrisy, theft, And the betrayal of trustworthy friends. These are embarrassing and shameful, although few avoid them.» — [MILAREPA, en canto] lo que sí declara vergonzoso: la conducta inmoral, la hipocresía, el robo y la traición.

«During this time, I explained as much as I could about the dharma instructions on the law of cause and effect of actions. She gained conviction in the dharma and began to lose her short temper.» — [MILAREPA] lo que enseña a su hermana y el efecto que declara.

«Our aunt has caused us and our mother so much suffering, so you shouldn’t meet with her.” Then she drew back the wooden bridge that led to the cave.» — [PETA] cómo recibe a la tía arrepentida, retirando el puente.

«I would not be behaving like a good dharma practitioner if I did not eventually meet with her. But first I must make her own up to her crimes.» — [MILAREPA] el cálculo con que decide recibirla, y la condición que se pone.

«In my aunt’s body, a demon’s mind— From then on I was through with my aunt.» — [MILAREPA, en canto] el estribillo con que cierra el recuento de agravios de la tía.

«In my uncle’s body, an executioner’s mind— From then on I was through with my uncle. The kin of this beggar are more hateful than foes.» — [MILAREPA, en canto] el mismo estribillo aplicado al tío, y la sentencia sobre los parientes.

«Generally, someone is affected by the taint of corruption when he drinks water from the same well as a man who has corrupted his own sacred commitments. But since she has not corrupted any dharma commitments and since I am a dharma practitioner, I should meet with her.» — [MILAREPA] el argumento con que se decide a recibir a la tía, por la vía de los compromisos y no del perdón.

«Then I put back the bridge and met with her, just as she wished. I taught her the law of cause and effect. Her mind turned toward the dharma and later she practiced by meditating on the oral instructions. In this way, it is said, she became a self-liberated yogini.» — [MILAREPA] el desenlace de la tía, dicho con la fórmula de lo que se cuenta.

«If you consider the misery of life’s round and of the lower realms, my devotion and perseverance do not seem so great.» — [MILAREPA] cómo rebaja su propio mérito ante el discípulo que se declara incapaz.

«After you have conviction about emptiness, you understand that emptiness itself appears as the law of cause and effect. You then begin to exert yourself in virtuous practice, adopting and rejecting various actions according to the law of cause and effect, and abandoning sinful deeds. This is the conviction that the law of cause and effect is the root of all dharma.» — [MILAREPA] cómo enlaza vacuidad y ley de causa y efecto sin oponerlas.

«Although at first I did not comprehend the underlying truth of emptiness, I had conviction about the law of cause and effect. For this reason, I was terrified at the thought that, having once performed such terrible negative deeds, I would be unable to avoid rebirth in the three lower realms. I became powerless to do anything but feel devotion toward my lama and persevere in meditation.» — [MILAREPA] a qué atribuye su propia perseverancia: no a la comprensión de la vacuidad sino al miedo al fruto de sus actos.

«It seems that the precious Jetsün is himself the great Vajradhara manifesting in human form and that he has displayed these actions for the benefit of sentient beings.» — [NGANDZONG BODHIRĀJĀ] la tesis del discípulo: que el maestro es una emanación y por eso pudo hacer lo que hizo.

«I beg the Jetsün to tell us whether he is an emanation of Vajradhara or a bodhisattva.» — [NGANDZONG BODHIRĀJĀ] la pregunta con que la plantea.

«I have no idea whose emanation I am. But even were I an emanation from the three lower realms, if you regard me as Vajradhara or someone similar you will receive his blessings by virtue of your devotion.» — [MILAREPA] la respuesta, que ni afirma ni niega la emanación y devuelve el efecto a la devoción del que pregunta.

«Although this belief that I am an emanation comes from your pure perception of me, there is no greater misunderstanding of dharma. This is because you do not recognize the greatness of perfectly practicing pure dharma.» — [MILAREPA] y la objeción que sí le hace: tomarlo por emanación quita mérito a la práctica.

«it is possible for every ordinary or common person with perseverance to do as I have done: First, develop devotion for the lama. Next, persist in meditation on the oral instructions. Finally, persevere in nurturing your experience and realization.» — [MILAREPA] los tres pasos con que declara accesible a cualquiera lo que él hizo.

«To suggest, once this is done, that such an individual is an emanation of a buddha or a bodhisattva is a sign that you lack conviction in the short path of Secret Mantra.» — [MILAREPA] cómo lee la tesis de la emanación: como falta de convicción en la vía.

«The episodes that inspire laughter are those in which, by virtue of practicing with perseverance, I established fortunate human and non-human disciples on the path of ripening and liberation, thereby benefiting the teachings of the Buddha.» — [MILAREPA] qué cuenta como episodios que dan risa, cuando Rechungpa se los pide.

«First, non-humans appeared in order to torment me, after which mostly human disciples gathered. Then came Tseringma with her display of magic. Finally, other human disciples arrived. The non-human Tseringma and the human Üpa Tönpa20 will spread my teachings.» — [MILAREPA] el orden en que dice haber recibido discípulos, humanos y no humanos, con su llamada de nota.

«I have meditated in all of these places so that meditator, meditation, and meditation object have blended into one and I no longer know how to meditate.» — [MILAREPA] la fórmula con que cierra el recuento de sus retiros.

«The six well-known outer fortresses are Drakar Taso Üma Dzong, Minkyük Dripma Dzong, Lingwa Drakmar Dzong, Ragma Changchup Dzong, Kyangpen Namkha Dzong, and Drakya Dorjé Dzong.» — [MILAREPA] la primera de las cuatro series de fortalezas, nombradas una por una; el catálogo entero suma veinte fortalezas y ocho cuevas, y aquí se levanta el encabezado de cada serie y no la lista completa.

«Up to this point, I have recorded the Jetsün’s words exactly as he spoke them. I shall now expand a little on this brief presentation narrated by the Jetsün himself, which was like an overview of the story» — [TSANGNYÖN HERUKA] el punto exacto en que el narrador declara que deja de citar al Jetsün y empieza a resumir por su cuenta; es la costura entre las dos voces del libro.

«This will be divided into three broad cycles: a cycle on his binding under oath the non-humans that tormented him, a cycle on establishing his fortunate heart-disciples on the path of ripening and liberation, and a cycle on turning the wheel of various dharma instructions for diverse lay disciples.» — [TSANGNYÖN HERUKA] el plan que anuncia para ese resumen, en tres ciclos.

«At Drakmar Chonglung, he bound the King of Obstructors Vināyaka under oath and taught the cycle on the six recollections of the lama.» — [TSANGNYÖN HERUKA] el primero de los ciclos de sometimiento de no humanos, dado por título de un texto y no contado.

«The next year he traveled to the interior sanctuary of Lapchi and sang the widely known Great Song of the Snow Ranges.» — [TSANGNYÖN HERUKA] cómo remite el canto más famoso del ciclo sin transcribirlo, que es el modo de todo el capítulo.

«During that period, the lady Vajrayogini predicted in a general way how the Jetsün would meet his disciples. In particular, she prophesied Rechungpa Dorjé Drakpa, the disciple who would receive the oral instructions of the dākini aural transmission, as well as the location of their meeting.» — [TSANGNYÖN HERUKA] la profecía que adjudica el encuentro con Rechungpa y la transmisión aural.

«I lived without food, clothing, or conversation. I strengthened my resolve. I punished my body. I meditated in the mountains with no concern for my own suffering.» — [MILAREPA] el resumen con que cierra el séptimo acto supremo; la frase sigue en la plana siguiente con el fruto y con la exhortación a imitarlo.

«The four great well-known caves are Dröpa Puk of Nyanam, Düdül Puk of Lapchi, Driché Puk of Drin, and Dzutrul Puk of Tisé.» — [MILAREPA] la serie de las cuatro cuevas conocidas que cierra el catálogo de retiros; las cuatro desconocidas siguen en la plana siguiente.

«Puk of Kutang. “If you meditate in these places, favorable circumstances will converge in your solitude and you will receive blessings of the lineage. Therefore, meditate in them.» — [MILAREPA] la prescripción con que cierra el catálogo de retiros, y que convierte la lista en geografía sagrada; Quintman cita la misma frase en su introducción, en la plana 18, y por eso el ancla se toma del cuerpo, donde arranca a media palabra por el corte de plana.

«Dākinis prophesied that the precious Jetsün would have twenty-five adepts among his human disciples. These are the eight heart-sons, the thirteen close-sons, and the four sisters. There are extensive cycles regarding how the master met each one.» — [TSANGNYÖN HERUKA] el censo profetizado de discípulos, repartido en tres grupos.

«He described how he met his heart-sons in a number of inner and secret fortresses but did not tell the order in which they occurred.» — [TSANGNYÖN HERUKA] la laguna que el propio narrador declara en el orden de los encuentros.

«These are described at great length in the context of The Hundred Thousand Songs.» — [TSANGNYÖN HERUKA] la remisión con que cierra el capítulo once al otro libro, y que explica por qué este va tan comprimido.

«He always sat at the head of the row when villagers from Drin held ritual assemblies. He pretended to show respect to the Jetsün but, overcome with jealousy, he decided to humiliate the master before his assembled patrons.» — [TSANGNYÖN HERUKA] cómo presenta al erudito Geshé Tsakpuwa, que es el antagonista del último capítulo.

«The Jetsün had never bowed to anyone except his own lama, nor had he ever returned anyone’s prostration. Following this custom, he did not return the Geshé’s prostrations.» — [TSANGNYÖN HERUKA] la costumbre del Jetsün que desencadena el conflicto.

«A fine scholar as qualified and learned as myself bowing before a know-nothing fool such as him, and not receiving prostrations in return! I will humiliate him!» — [GESHÉ TSAKPUWA] el agravio tal como él lo formula.

«You know very well how to give close readings of the words found in treatises. But a close reading of the underlying meaning requires eradicating clinging to the sense of self of individuals by developing equanimity and renouncing the eight worldly concerns, and then eradicating clinging to the sense of self of phenomena by recognizing the equal taste of life’s round and transcendence. All of which is gained solely through meditating in the mountains.» — [MILAREPA] la distinción con que responde al reto de exégesis: lectura de las palabras contra lectura del sentido.

«I have never studied such things. I know nothing about them. And even if I did, I have forgotten it.» — [MILAREPA] cómo declara su propia ignorancia de la lógica escolástica.

«Again and again I absorbed experience in my mind stream And forgot about philosophical positions. Again and again I meditated on no-arising, -ceasing, or -abiding And forgot about views to be asserted.» — [MILAREPA, en canto] las parejas que descartan las posiciones filosóficas y las vistas que hay que sostener.

«The tradition of meditators may be as you describe it, but if I were to pursue the matter using logical reasoning, your dharma talk would lead nowhere.» — [GESHÉ TSAKPUWA] la réplica del erudito, que el relato consigna sin responderla.

«Master Geshé, however learned you may be in the dharma, the world is filled with religious people like you. You are not equal to even a single pore on the Jetsün’s body. So take a seat at the head of our assembly and quiet down. Do what you can to increase your wealth. You do not have even the smell of dharma.» — [LOS PATRONES DE DRIN] cómo corta el auditorio la disputa, y que la corta él y no el argumento.

«Again and again I nurtured ordinary mind And forgot about ignorance and confusion. Again and again I meditated on the intrinsic three bodies And forgot about fostering hopes and fears.» — [MILAREPA, en canto] dos parejas del canto de los olvidos.

«Again and again I practiced with no concern for words And forgot about literal meanings. Let scholars give literal readings of texts.» — [MILAREPA, en canto] el cierre del canto, que deja la exégesis literal a quien la quiera.

«little known, in which he turns the wheel of dharma. In this way, he ripened and liberated those of highest capacity, beings with untold great fortune. He ripened and taught the path of liberation to those of intermediate capacity. Those of least capacity he imbued with the firm intention to train in the practice of arousing the attitude of supreme awakening and in the bodhisattva discipline.» — [TSANGNYÖN HERUKA] el reparto de la enseñanza por capacidades con que cierra el capítulo once; el tramo arranca a media frase, que empieza en la plana anterior.

«First of all, my compassion is such that I could not bear to hand it over for you to eat. It would violate my training in the aspiration to enlightenment and would constitute a root infraction of my vows.» — [MILAREPA] por qué no devuelve el veneno a la mujer que se lo trae.

«my opportunity to train disciples and my life span have both come to an end. It is now time to depart for another realm. Your food will not harm me so it does not matter whether I eat it or not.» — [MILAREPA] cómo declara que su muerte no la causa el veneno.

«Had I eaten it the first time, you would not have received the turquoise as payment for your crime. That is why I did not take it. Now that the turquoise is in your hands, I will eat it in order to fulfill the Geshé’s intentions and to ensure that you can keep the turquoise.» — [MILAREPA] la razón que da para haber demorado el envenenamiento.

«Not all that is said is true. Not all that is cooked is edible. It is enough for me that he has taken the poison. Now remember to keep quiet about it.» — [GESHÉ TSAKPUWA] la respuesta del erudito al informe de la mujer.

«Among you human followers of the dharma, apart from yogins who have attained the bodhisattva levels and fortunate lay followers, capable individuals are few in number. But virtuous gods have gathered to listen to the dharma, filling all of space, and present to me divine substances that are offerings of the five sense pleasures, which likewise fill you humans with a sense of well-being.» — [MILAREPA] la explicación que da a los prodigios que el auditorio ve, y que no se los atribuye a los presentes.

«If you strive in this way you will see the ultimate god, your own mind.» — [MILAREPA] el giro con que resuelve la pregunta por los dioses.

«Lacking the five kinds of eyes, How could ordinary folk see them? I see them all very clearly. But common folk see divine offerings: The sky filled with rainbows and light, A shower of divine flowers falling. They smell fragrant scents and hear sweet sounds. With pure outlook, all sense a well-being. This is the Kagyu lamas’ compassion.» — [MILAREPA, en canto] cómo reparte lo que ve él y lo que ven los demás.

«If you wonder can sins be removed through confession, They are purified, keeping virtue in mind. But knowingly engage in sinful activity, And you trade meager food for a bad reputation. Showing others the path When you don’t know the way Harms yourself and others. If you truly abhor your own misery, Give up ever harming others. At the feet of your lama and chosen deity Show remorse for the sinful deeds you have done. Vowing never to do them again Is the oral instruction to purify quickly.» — [MILAREPA, en canto] la doctrina de la confesión y su límite: no vale para lo que se hace a sabiendas.

«In general, sinners have sharp intellects. Unable to focus, they delight in diversion. Lacking an interest in dharma Is a sign you still do sinful deeds.» — [MILAREPA, en canto] la señal por la que dice reconocerse el estado de quien peca.

«I am now a withered old man and I do not know if we shall meet many more times. Do not waste the dharma instructions I have taught you, but practice them as much as you can. If you do that, you will be born first among my retinue in my buddha field of awakening.» — [MILAREPA] la despedida a los discípulos reunidos.

«Since I am a yogin who has achieved power over words of truth, I will offer a special prayer for both the temporary and ultimate happiness of everyone here.» — [MILAREPA] la potestad que se atribuye al conceder la plegaria que le piden.

«You have shown me great kindness. I too have shown you great kindness. Master and students are equal in kindness.» — [MILAREPA, en canto] la reciprocidad con que abre la plegaria final.

«For those who practice an ascetic life Lies merit beyond comprehension. For those who urge others to choose such a life Lies kindness beyond comprehension. For those who hear my life story Lies blessing beyond comprehension.» — [MILAREPA, en canto] los tres méritos incomprensibles, el tercero de los cuales se predica de oír esta misma vida.

«physical eye. Lacking that, one needs at least a fierce yearning for the two accumulations and a wearing down of the mental imprints left by the two types of obscuration.» — [MILAREPA] la condición que pone para ver a los dioses; el tramo arranca a media frase, que empieza en la plana anterior.

«The virtuous gods who listen to dharma, But also see the highest of all the gods: Your own mind, the reality body.» — [MILAREPA, en canto] el cierre del canto sobre cómo ver a los dioses; el tramo arranca a media frase, que empieza en la plana anterior.

«Through these three incomprehensible blessings May they find liberation simply by hearing it, and then Achieve their aims through its mere contemplation.» — [MILAREPA, en canto] lo que el canto adjudica a oír y contemplar esta misma vida.

«Just as the element space permeates Earth, water, fire, and wind, May I too be present in every place.» — [MILAREPA, en canto] el verso con que cierra la plegaria.

«For a yogin, illness is basically nothing more than an inspiration to spiritual practice. He must adopt whatever happens as part of the path, without performing rituals, facing even illness or death.» — [MILAREPA] cómo define la enfermedad para el yogui, y por qué rehúsa los ritos de curación.

«I have revealed the true nature of bad omens to be demons of conceptual thought, and have transformed them into dharma protectors who perform the four kinds activity, all without the need for ransom rituals or drum calls, so I don’t need rituals for demons.» — [MILAREPA] cómo lee los malos presagios: demonios del pensamiento conceptual.

«When the time comes, my physical body of the generation stage will dissolve into the illusory divine body of the completion stage within a state of luminosity. Longevity ceremonies are therefore pointless.» — [MILAREPA] qué dice que ocurrirá con su cuerpo, en los términos de las dos etapas del tantra.

«No method of pacification, enrichment, subjugation, or destruction, nothing whatsoever, can avert them —not the power of kings, not the skill of the brave, not the bodies of beautiful women, not the wealth of the rich, not the speed of cowards, not the joking of the sharp-tongued.» — [MILAREPA] la lista de lo que no aparta la vejez, la enfermedad y la muerte, con las cuatro actividades rituales a la cabeza.

«It is certain that you will experience the miseries of what is called life’s round: everything accumulated is exhausted, everything constructed is destroyed, everything united is separated, everything born dies.» — [MILAREPA] las cuatro sentencias con que resume la ronda de la vida.

«to perform a ritual of profound Secret Mantra for the purposes of this life without arousing the enlightened attitude for the benefit of beings would be an offense against the wisdom deities, similar to asking a king to step down from his throne to sweep the floor.» — [MILAREPA] el símil con que prohíbe usar el Mantra Secreto para fines de esta vida.

«However, for dharma practitioners like you who are unable to adopt negative circumstances as part of the path, if your time has not come and circumstances obstruct your practice toward enlightenment, then it is permissible to take medical remedies or to perform rituals.» — [MILAREPA] la excepción con que acota esa prohibición para los menos capaces.

«It was with just these sorts of less advanced disciples in mind that the Blessed One showed his hand for diagnosis to the physician Kumāra and took medicine.» — [MILAREPA] el precedente del Buda que toma medicina, usado para sostener esa excepción.

«It is uncertain that a yogin whose three gates have been liberated in the very nature of things will leave a corpse. There is no need to make clay figurines or to build a stupa.» — [MILAREPA] cómo desestima el culto a su propio cadáver y a sus reliquias antes de morir.

«Keeping to uninhabited and isolated places such as rocky and snow-covered mountains, you all should lovingly protect disciples, the six types of sentient beings. Do not slack in producing figurines, the four-session yoga. Atop the stupa of all phenomena, erect a victory banner of accomplishment in the training of sacred outlook. For a memorial, pray sincerely in word and thought from the depths of your heart.» — [MILAREPA] cómo reinterpreta cada rito funerario que le proponen: los discípulos por figurillas, el yoga por estupa.

«Practice that which serves as an antidote for the five poisons and benefits sentient beings, even if it appears to be sinful, because it is in essence authentic dharma.» — [MILAREPA] el criterio con que separa lo virtuoso de lo pecaminoso, que no es la apariencia.

«act in such a way that you will not be ashamed of yourself. Do this and even if your actions contradict the letter of some texts they will not contradict the intentions of the previous Victors.» — [MILAREPA] la fórmula con que resume el testamento y la relega la letra de los textos.

«Without training under lamas who have lineage, What use is it to request initiation? Without mixing your mind stream with dharma, What use is it to memorize tantras? Without casting off worldly activity, What use is it to meditate on instructions?» — [MILAREPA, en canto] la apertura del canto del de qué sirve, que va poniendo condición a cada acto religioso.

«Without faith and devotion while I’m alive, What use is it to view my corpse?» — [MILAREPA, en canto] el verso del canto que se anticipa al culto de sus propias reliquias.

«A certain being has become possessed by the greatest demon of all, self-clinging. It is this demon that has caused the illness disturbing the elements in my body. You could neither exorcise nor remedy it.» — [MILAREPA] la respuesta al que lo envenenó, que nombra la causa sin nombrar al culpable.

«In that case, I will not transfer it to you but to the door over there. Watch.” When Milarepa transferred it to the door of his retreat cell there was a loud crash as it shuddered and splintered. And at that moment, the Jetsün rested without illness.» — [MILAREPA y TSANGNYÖN HERUKA] la transferencia de la enfermedad a la puerta, que es lo que el erudito pide.

«Precious Jetsün, genuine master, just as you said, it was I—cast under a spell—who caused the illness.» — [GESHÉ TSAKPUWA] la confesión del envenenador.

«Throughout my life I have had no need for house or wealth. And now on the verge of death, I still have no need for them, so take back your offerings.» — [MILAREPA] cómo rechaza la reparación material que el otro le ofrece.

«May I take on and purify The consequences of these kinds of actions.» — [MILAREPA, en canto] la plegaria en que pide cargar él mismo con las consecuencias del crimen ajeno.

«Later, the disciples used them as offerings to establish an annual memorial service for the Jetsün, a practice that is still performed at Chubar today.» — [TSANGNYÖN HERUKA] qué se hizo con esos bienes rechazados, dicho desde el presente del narrador.

«For a meditator like me to die in a village would be like a king dying in a commoner’s house.» — [MILAREPA] el símil con que explica su traslado a Chubar para morir.

«You cannot be certain that I am sick, and you cannot be certain that I shall die. I have displayed the appearance of sickness, and I shall go to Chubar to display the appearance of death.» — [MILAREPA] cómo nombra su propia enfermedad y su muerte: apariencias que despliega.

«The younger repas then left for Chubar, but the Jetsün reached Driché Puk before them. Another Jetsün departed in the company of the senior resident disciples. Yet another Jetsün displayed the appearance of illness seated upon the flat rock Rekpa Dükchen. Another was attended by faithful disciples who came to see him later at Chubar. Another Jetsün taught the dharma seated at Drakar to patrons from Dingma who had gathered outside, while individual Jetsüns appeared inside the homes of each resident in order to receive their respects.» — [TSANGNYÖN HERUKA] la multiplicación del maestro en varios lugares a la vez, contada como hecho y no como impresión.

«As they all had different stories and could not agree upon what had happened, they asked the Jetsün, who replied, “All of you are correct. I was teasing you.» — [MILAREPA] cómo resuelve el desacuerdo entre los testigos de esa multiplicación.

«Pray wherever you are inclined to do so. If you pray with faith and devotion, no matter where you are, I will be there before you.» — [MILAREPA] la respuesta a la pregunta de hacia dónde orar tras su muerte.

«Here is the final testament I said I would give: After I have died, of my possessions that you know about, give this staff and these robes to Rechungpa who will reach here soon. They will create a positive connection for his meditation on the subtle winds. Do not touch my corpse until Rechungpa arrives.» — [MILAREPA] la primera cláusula del testamento, con la prohibición que gobierna el desenlace.

«Hidden beneath this hearth lies all the gold I, Milarepa, have amassed during the course of my life together with a letter describing how to divide it. Read the letter after I have died and follow its directions.» — [MILAREPA] la cláusula del oro escondido, que el relato desmentirá después.

«Ordinary people secretly give sway to their mental afflictions even though it shames those with the wisdom eye. Although they make great effort in virtuous practice that looks with suspicion upon temporal affairs, without giving up their love of such things they mix good food with poison and then eat it.» — [MILAREPA] el símil con que describe al practicante que no renuncia.

«Those who hanker after the things of this life are unable to benefit even themselves, much less others. That would be like a man drowning in a swift current saying he would save another drowning man.» — [MILAREPA] el símil del hombre que se ahoga, con que acota el beneficio a otros.

«Until you have realized the abiding nature of things, do not act hastily to benefit others. That would be like the blind leading the blind and you would risk being swept away by desires.» — [MILAREPA] la condición que pone para salir a beneficiar a otros.

«Be humble in conduct. Wear ragged clothes. Renounce all thoughts of food, clothing, or conversation. Practice while enduring physical hardship and mental adversity. This itself will benefit sentient beings.» — [MILAREPA] la regla con que sustituye la acción benéfica: la propia austeridad ya beneficia.

«Without relying on a qualified lama, Though you have devotion, blessings are meager. Without requesting profound initiation, The very words of tantra will trap you. Without using the tantras as an authority, Every deed you do leads you astray.» — [MILAREPA, en canto] la apertura del canto del testamento, con las condiciones de la práctica.

«Without taming the demon of ambition, Thirst for fame brings dissension and defeat; Craving good stirs up the five poisonous afflictions; Desiring things separates you from dear friends. Self-importance is the cause of much resentment.» — [MILAREPA, en canto] la cadena de consecuencias que adjudica a la ambición.

«Keep quiet and you’re free from disagreement. Guard non-distraction and you’re free from diversion. Remain alone and you meet with companions. Keep yourself lowly and you’ll reach the high ground. Keep a slow pace and you’ll swiftly arrive. Give up all action and you’ll reap great rewards. Guard the profound path and you’ll complete the quick path.» — [MILAREPA, en canto] la serie de paradojas con que cierra la instrucción.

«If you realize emptiness, compassion arises. If compassion arises, there is no self and other. If there’s no self and other, beings’ aims are fulfilled. If beings’ aims are fulfilled, you’ll encounter me. If you encounter me, you’ll attain buddhahood.» — [MILAREPA, en canto] la cadena que va de la vacuidad a la budeidad pasando por el encuentro con él mismo.

«Now that you have listened to me, do as I have done. Follow my example!» — [MILAREPA] las últimas palabras que el relato le adjudica.

«Thus having reached his eighty-fourth year, at sunrise on the fourteenth day of the last winter month of the wood-hare year, under the constellation Ashlesha, the great Jetsün demonstrated the act of dissolving his physical body into the sphere of reality.» — [TSANGNYÖN HERUKA] la fecha de la muerte, dada por el calendario tibetano y por la constelación.

«Humans did not look upon the naked bodies of the gods as improper, and the gods were not affected by the unpleasant odor of the humans. Humans and divine beings conversed among themselves and entertained each other.» — [TSANGNYÖN HERUKA] el detalle con que describe la mezcla de dioses y hombres en el funeral.

«The patrons from Drin refused and began preparations for the cremation. The men from Nyanam said, “In that case, postpone the cremation until all the patrons from Nyanam have come to view the corpse.” Then they quickly departed for home, and returned with a band of men to fight for the body.» — [TSANGNYÖN HERUKA] la disputa por el cadáver, que repite la disputa por las reliquias del Buda.

«However, since he died at Chubar, it is not proper that the corpse be transported to Nyanam. The people of Nyanam should remain here until the body is cremated. Then the relics will be evenly distributed to everyone.» — [LOS DISCÍPULOS MAYORES] la salida que proponen al pleito.

«But at the same time, the people of Nyanam believed that they had obtained the corpse, which they cremated upon the spot called Garuda Egg at the great Düdül Puk in Lapchi. Signs such as canopies of rainbow light, a rain of flowers, beautiful fragrances, and pleasing music all appeared, exactly as they had at Chubar.» — [TSANGNYÖN HERUKA] la duplicación del cadáver, que el relato consigna sin resolver: los de Nyanam creen tenerlo y lo creman en Lapchi.

«When six days had passed, they examined the body and found that it had taken the form of an eight-year-old youth, radiant with light like the countenance of a divine child.» — [TSANGNYÖN HERUKA] el estado del cuerpo a los seis días.

«The funerary rituals began before daybreak but when the pyre was lit the corpse would not burn.» — [TSANGNYÖN HERUKA] la pira que no prende, que es el paralelo con la muerte del Buda que Quintman señala en su introducción.

«Raṃ. Since this person ever meditated on Wisdom-yogic heat, divine fire, What use is karmic fire?» — [LAS DĀKINIS, en canto] la apertura del canto que declara superfluo cada acto del funeral.

«Since the mandala of graceful deities Is complete within the yogin’s frame, What use are drawings made of sand?» — [LAS DĀKINIS, en canto] el mandala interior que vuelve inútil el de arena.

«With the corpse of a man who realized reality There is no need for adornment—just let it be. With an object of worship for all gods and men There is no need for owners—do virtuous practice.» — [LAS DĀKINIS, en canto] la instrucción sobre el cadáver, que niega que tenga dueños.

«With the life story of the lama Jetsün He is known far and wide—there’s no need to proclaim it.» — [LAS DĀKINIS, en canto] el verso que habla de esta misma vida como ya difundida.

«The mind of Milarepa, best of men, Dissolved into the unborn reality body, Since there’s no body apart from the mind, If no physical relics come forth» — [EL JOVEN DIVINO, en canto] la sentencia con que el canto corta el pleito por el cadáver; el período sigue en la plana siguiente con Quarreling over a corpse is just stupid.

«When form body dissolves into reality body, Quarreling over a corpse is just stupid. All of you stupid people Quarrel over Milarepa’s corpse. Quarreling will not obtain it, But pray with devotion, you’ll get it.» — [EL JOVEN DIVINO, en canto] la continuación del mismo canto, y la condición con que reparte las reliquias: la devoción y no la fuerza.

«Though I haven’t the fortune to see him alive, At least may I see the face of his corpse.» — [RECHUNGPA, en canto] la petición con que llega tarde al funeral del maestro.

«While Rechungpa offered his lamentation, the corpse regained the radiance it had lost and then became engulfed in flames.» — [TSANGNYÖN HERUKA] el efecto del canto sobre el cadáver que no ardía.

«You must not speak as you have done. One lion is better than a hundred replicas. Rechungpa is such a one so send him forward.» — [MILAREPA, desde la pira] la reprimenda a los discípulos jóvenes que no dejaban pasar a Rechungpa.

«The Jetsün was free from illness and appeared in the form of a unified vajra body, suppressing the flames with his hand. He sat in the middle of an eight-petaled lotus, his body like the anther of a flower, one foot drawn in, the other loosely set out in front, his right hand extended in the gesture of teaching dharma pressing down the flames and his left hand touching his cheek.» — [TSANGNYÖN HERUKA] la postura exacta en que el maestro reaparece dentro de la cámara de cremación, sofocando las llamas.

«In the ocean of life’s round, all its three realms The heaped-up illusory body is a terrible sinner— Constantly striving for clothing and food that it craves, It has no chance to relinquish worldly affairs. Rechungpa, relinquish worldly affairs.» — [MILAREPA, en canto] la primera de las seis estrofas del canto final, cada una con su nombre de pecador y su mandato.

«On the boundary between mind and matter Self-arising wisdom is a great sinner— Constantly moving toward fleeting conditions, It has no chance to realize the unborn truth. Rechungpa, seize the stronghold of the unborn.» — [MILAREPA, en canto] la estrofa que llama pecadora incluso a la sabiduría autosurgida.

«In the invisible realm of the heavens Lies a perfected buddha’s imposter— Constantly teaching deceptive provisional meaning, It has not the chance to realize definitive meaning. Rechungpa, abandon conventional designations.» — [MILAREPA, en canto] la estrofa que pone el impostor de buda en el cielo mismo.

«Lama, chosen deity, dākini, these three— Pray to them together as one. View, meditation, and action, these three— Practice them together as one. This life, the next, and the in-between, these three— Acquaint yourself with them together as one.» — [MILAREPA, en canto] las tres triadas con que cierra su última instrucción.

«This is the last among all of my oral instructions. This is my final testament’s end. Rechungpa, other than this there is nothing to say. Put it in practice, dear father’s son.» — [MILAREPA, en canto] el cierre del testamento.

«The corpse, however, appeared to them variously in the form of Hevajra, Cakrasamvara, Guhyasamāja, Vajravārāhi, and so forth.» — [TSANGNYÖN HERUKA] cómo cada testigo ve una cosa distinta, que el relato consigna sin armonizar.

«Of the physical body, nothing remains, So your cremation of the corpse is now finished.» — [LAS DĀKINIS, en canto] cómo declaran concluida la cremación.

«Reality, free from any birth whatsoever, Is unborn emptiness. Emptiness is itself without birth or cessation. And birth and cessation themselves are emptiness. Since this is so, give up all doubts and uncertainty.» — [LAS DĀKINIS, en canto] la formulación doctrinal con que cierran su canto.

«When they peered into the cremation chamber, they found everything had been swept away so that not even a trace of ash remained.» — [TSANGNYÖN HERUKA] el desenlace de la disputa por las reliquias: no queda nada que repartir.

«If the remains and relics of mind identified as reality body is not enough for you, the great sons, you should pray to the Jetsün and he will grant you something out of his compassion. As for everyone else who regarded the Jetsün like a firefly, even though he shone like the sun and moon, they shall receive no remains or relics. The relics belong to us.» — [LAS DĀKINIS] el reparto que ellas declaran, con el reproche a los que lo tuvieron por luciérnaga.

«a relic the size of a hen’s egg descended from the sphere of light within the dākinis’ hands and rested above the cremation chamber, radiating five-colored rays of light.» — [TSANGNYÖN HERUKA] la reliquia que sí baja, y el gesto de los discípulos que la pierde.

«The senior disciples stretched their hands out shouting, “It’s mine,” each attempting to claim it for himself. The relic then returned to the heavens where it dissolved into the sphere of light in the dākinis’ hands.» — [TSANGNYÖN HERUKA] cómo la reliquia se retira ante el reclamo de propiedad.

«The other, resting upon the first, became a crystal stupa about one arm-span in height, transparent inside and out, radiating five-colored rays of light, and surrounded at its pinnacle by the thousand and two buddhas. On its steps stood, in succession, assemblies of deities of the four classes of tantra, all in vivid and clear detail. Inside rested an image of the Jetsün about one hand-span in height.» — [TSANGNYÖN HERUKA] la estupa de cristal que sustituye a las reliquias, descrita con sus medidas.

«You won’t get it by saying, “It’s mine.” How could it last in a mundane locale? If you offer up prayers Its compassion will never diminish. Such is the general pledge of the buddhas.» — [LAS DĀKINIS, en canto] por qué la reliquia no puede quedarse en el mundo.

«Lord, when you practiced the lama’s instructions You were like a tigress feeding on a human corpse, A yogin without hesitation— I pray to you, perseverant one.» — [REPA ZHIWA Ö, en canto] uno de los símiles del canto de súplica, que compara al maestro con una tigresa.

«Lord, when you faced material wealth You were like mercury hitting the ground, A yogin unsullied by taint— I pray to you, faultless one.» — [REPA ZHIWA Ö, en canto] el símil del mercurio que no se deja recoger, aplicado a la riqueza.

«The conventional remains and relics Of my form body that dissolved into space Have merged into a single sphere— A stupa blazing with light rays, A field of merit for all beings.» — [MILAREPA, desde la estupa] cómo explica lo que se hizo de sus reliquias.

«It shall be kept in a pure land abode, And maintained by the five classes of dākinis. Gods and dākinis will give homage and offerings. Kept in the human realm, it would vanish.» — [MILAREPA, desde la estupa] la negativa a dejar la estupa entre los hombres.

«My disciples, as your share Of sacred remains and relics I’ve pointed out your mind as reality body.» — [MILAREPA, desde la estupa] la reliquia que sí les deja.

«Relying on a qualified lama And relying on a person with merit: These two seem so alike, so alike—watch out lest you mistake them.» — [MILAREPA, desde la estupa] la primera de las parejas del canto de las confusiones, con el estribillo que las cierra todas.

«The untainted sphere of the reality body And ordinary material relics: These two seem so alike, so alike—watch out lest you mistake them.» — [MILAREPA, desde la estupa] la pareja que distingue la esfera del cuerpo de realidad de las reliquias materiales.

«When you closely guard your commitments All those bound under oath will grant feats. When you remain alone in mountain retreats Mother goddesses and dākinis gather round. When you refrain from deceit in the dharma It’s a portent of rapid accomplishment. When you lack desire for happiness inside It’s the uprooting of afflictions’ roots. When you cling neither to self nor to objects It’s the slaying of obstructing spirits.» — [LAS DĀKINIS, en canto] la primera mitad de la serie de equivalencias con que reparten las reliquias verdaderas.

«When you lack discrimination or prejudice It’s pristine view. When you let life’s round and transcendence emerge as empty It’s pristine meditation. When you let yogic conduct emerge from within It’s pristine conduct. When you carry out the lama’s prophetic command It’s pristine commitment. When you accomplish the aims of all beings It’s pristine result. When the minds of master and disciple are intermingled It’s pristine connection. When you witness the signs and accomplishments It’s pristine perception.» — [LAS DĀKINIS, en canto] la segunda mitad, de la vista a la percepción.

«Emanation in human form helping others, Yogin of complete enjoyment, Reality body pervading the invisible sphere of reality— I pray to you father, O lord. The stupa the dākinis hold in their hands, Give it to us your children I beg.» — [REPA ZHIWA Ö, en canto] la apertura del canto en que pide la estupa, con el estribillo que se repite en cada estrofa.

«Take these, my sons, as your share of the relics. When this song was finished, the dākinis showed the stupa» — [LAS DĀKINIS, en canto] la sustitución explícita con que cierran el canto: los compromisos y la experiencia en lugar de las reliquias; el verso que los enumera se parte entre dos planas.

«Faith that springs up from past karmic seeds And faith that is based on mere circumstance: These two seem so alike, so alike—watch out lest you mistake them.» — [MILAREPA, desde la estupa] la pareja que distingue dos clases de fe.

«Striving to practice from the depths of your heart And saving face before the lama for the sake of this life: These two seem so alike, so alike—watch out lest you mistake them.» — [MILAREPA, desde la estupa] la pareja que distingue la práctica del cuidado de la propia imagen ante el maestro.

«If you wish to receive the initiation of non-dual wisdom Place your head beneath the stupa.» — [MILAREPA, desde la estupa] la instrucción con que concede la iniciación a los discípulos.

«Then the dākinis lifted the stupa into the sky above the senior disciples. Light rays radiated from it down to the heads of each one of the disciples, thus conferring initiation.» — [TSANGNYÖN HERUKA] cómo se cumple esa instrucción.

«In the sky, some clearly saw him as the mandala of Hevajra, others Cakrasamvara, Guhyasamāja, or the Jetsünma, surrounded by countless gods and goddesses all of which dissolved into the heart of the central deity.» — [TSANGNYÖN HERUKA] la visión repartida entre los testigos, cada uno con una forma distinta.

«My children, you need not be so upset. For your share of the relics, there is an Amolika stone21 upon which four letters have appeared, which is itself an object worthy of devotion. Look beneath this stone.» — [LA VOZ DEL JETSÜN] la reliquia que sí queda para los discípulos: una piedra con cuatro letras.

«This amazing funerary stone rests to this day at the glorious hermitage of Chubar for the benefit of beings.» — [TSANGNYÖN HERUKA] cómo remite esa piedra al presente del narrador.

«When cut with this knife, the sugar and cloth will never be exhausted. Cut and distribute them to as many people as possible. Whoever tastes the sugar or touches the cloth will be liberated from the lower realms.» — [MILAREPA, en su carta] qué son de verdad el azúcar y el paño.

«For me your old father, Milarepa, All that exists turned to gold. I have no need for even the slightest bit.» — [MILAREPA, en canto] el verso que explica el enigma del oro escondido.

«Therefore, for fear of using too many words, I have not written much about them here.» — [TSANGNYÖN HERUKA] la declaración del narrador sobre lo que deja fuera, que es la segunda vez que el libro dice qué no cuenta.

«In summary, the great and powerful lord of yogins Milarepa departed for a pure realm. Afterward, through the power of his life story’s perfect example, his great compassion, and his excellent aspirations, those among his lineage of disciples who attained accomplishment were as numerous as the stars in the sky; those who attained the state of non-returning were as numerous as particles of dust; the yogins and yoginis who entered the path were too numerous to count.» — [TSANGNYÖN HERUKA] el censo del linaje con que cierra el noveno acto supremo.

«This was the ninth of the supreme deeds, the deed in which the pure and enlightened activities of the powerful lord of yogins Milarepa were brought to completion. *It describes how, in order to compel beings to practice dharma, he dissolved his physical body into the sphere of reality and how his extensive enlightened activities will continue to benefit beings countless in number as space is vast, until all existence comes to an end.» — [TSANGNYÖN HERUKA] la rúbrica final de las doce acciones; el asterisco ante It describes es del propio impreso.

«Even though in light of the Jetsün’s actions there is no reason to think there will be gold, we must look since this was his command,” they said.» — [LOS DISCÍPULOS MAYORES] la duda con que van a buscar el oro del testamento.

«Wrapped in it was a small knife with a blunt tip, a flint steel on the back edge, and a sharp blade. There was also a piece of sugar and a letter, which they read.» — [TSANGNYÖN HERUKA] lo que hay bajo el hogar en lugar del oro; la frase anterior, que nombra el paño de algodón de Kashika, lleva pegada la llamada de nota y se corta antes.

«This is the prophecy of the Victors. Whoever says that Milarepa possessed gold, fill his mouth with shit.» — [MILAREPA, en su carta] la frase con que cierra el testamento; Quintman la cita en su introducción, en la plana 21, como muestra del humor tibetano del libro, y por eso el ancla se toma del cuerpo.

«there were first the eight heart-sons: the incomparable Dakpo Rinpoché who was like the sun, Rechung Dorjé Drakpa of Gungtang who was like the moon, and Ngandzong Tönpa Changchup Gyaltsen of Chimlung, Repa Zhiwa Ö of Gyaltrom Mé, Seban Repa of Dotra, Khyira Repa of Nyishang, Drigom Repa of Mü, and Repa Sangyé Kyap of Ragma, who were like constellations.» — [TSANGNYÖN HERUKA] los ocho hijos de corazón, con la jerarquía dicha en términos de sol, luna y constelaciones.

«The thirteen close-sons were: Shengom Repa, Lengom Repa, Megom Repa, Tsapu Repa, Kharchung Repa, Rongchung Repa, Takgom Repa Dorjé Wangchuk, Jogom Repa Darma Wangchuk, Dampa Gyakpuwa, Likor Charupa, Lotön Gendün, Kyotön Śākyaguna, and Dretön Tashibar.» — [TSANGNYÖN HERUKA] los trece hijos cercanos, nombrados uno por uno.

«The four female disciples were Rechungma of Tsonga, Salé Ö of Nyanam, Peldar Bum of Chung, and his sister Peta Gönkyi.» — [TSANGNYÖN HERUKA] las cuatro discípulas, entre ellas su propia hermana.

«There were one thousand and one male and female meditators, who lived in accordance with the dharma and renounced worldly activities.» — [TSANGNYÖN HERUKA] el escalón más amplio del censo de discípulos, en una serie que va de veinticinco a incontables.

«There were also innumerable non-human disciples, such as the Tsering Chenga sisters and the demon of Lingwa Drak, who were protectors of the virtuous.» — [TSANGNYÖN HERUKA] los discípulos no humanos, que el censo cuenta aparte.

«Rechungpa handed over Maitripa’s hat and the aloe wood staff to Gampopa and then told him what had transpired. Gampopa fell unconscious for a spell and when he revived he called out many grief-stricken prayers to the lama. This is described in his own biography.» — [TSANGNYÖN HERUKA] cómo se cumple la cláusula del testamento sobre el sombrero y el bastón, con la remisión a otra vida.

«Gampopa invited Rechungpa to his residence and received from him the dharma cycles of the Cakrasaṃvara aural trans mission in their entirety. Rechungpa gave these dharma transmissions and a portion of the lama’s robe, and then left for the hermitage at Lorodol where he remained.» — [TSANGNYÖN HERUKA] la transmisión del ciclo aural de Cakrasaṃvara de Rechungpa a Gampopa; la capa de texto parte transmission en dos.

«The life of Mila Zhepa Dorjé, which demonstrates the path of liberation and omniscience, is told through the framework of twelve marvelous and amazing deeds: three ordinary worldly deeds and nine supreme deeds of peace and transcendence.» — [TSANGNYÖN HERUKA] cómo el propio libro declara su armazón de doce acciones al cerrar.

«This Life of Jetsün Mila, best of men, Shines light of gem-like perfect deeds Brightening the teachings of all buddhas and Fulfilling needs and hopes of all who live. May it form the best of service, pleasing Victors of the past.» — [TSANGNYÖN HERUKA, en el colofón] la apertura del colofón en verso.

«The Life is graced with embellishments, poetry beginning and end. May it serve a feast for scholars fond of grandiloquence.» — [TSANGNYÖN HERUKA, en el colofón] la declaración sobre los versos ornamentados que abren y cierran el libro, que Quintman cita en su introducción, en la plana 21.

«Hearing the Life, faith arises all on its own. May it serve a feast for the fortunate endowed with good karma.» — [TSANGNYÖN HERUKA, en el colofón] una de las estrofas que reparten el efecto del libro por clase de lector.

«Although I have seen many biographies of the Jetsün, I Rupé Gyenchen, the yogin who wanders in charnel grounds, put into writing perfectly and completely this Life of the Great Powerful Lord of Yogins Jetsün Milarepa, Demonstrating the Path of Liberation and Omniscience together with a song outline just as it was recounted by an extraordinary master.» — [TSANGNYÖN HERUKA, en el colofón] la firma por epíteto y la declaración de que hay muchas otras vidas del Jetsün antes de la suya.

«It was completed in Drok Lapchi Ganggi Rawa, the great sacred site in which many mother goddesses and dākinis dwell, on the eighth day of the middle autumn month of the Purbu year.» — [TSANGNYÖN HERUKA, en el colofón] el lugar y la fecha de conclusión, que la nota 23 del traductor resuelve en 1488.

«This was the fourth of the supreme deeds, the deed in which the sprouts of experience and realization emerged through meditating in the presence of his lama.» — [TSANGNYÖN HERUKA] la rúbrica del narrador para la cuarta acción suprema.

«This was the seventh of the supreme deeds, the deed in which, in order to practice the lama’s instructions, he renounced this life and meditated undistractedly in the mountains with perseverance and severe austerity.» — [TSANGNYÖN HERUKA] la rúbrica de la séptima acción suprema.

«In this state he had a vision that, at Chubar, dākinis held aloft a crystal stupa filling the sky with light and prepared to transport it to a pure realm. The ground was filled with people, headed by his vajra brothers and sisters and the Jetsün’s patrons, and the sky was filled with gods and dākinis, all of whom were singing melodies and presenting an inconceivable array of offerings.» — [TSANGNYÖN HERUKA] el sueño con que Rechungpa se entera de la muerte del maestro, que repite la estupa de cristal del sueño de Dagmema.

«Rechungpa my son, although you did not come when I called you, I am delighted that father and son have met in this way. I do not know if we shall meet many more times, so let us appreciate the rarity of this meeting and talk.» — [MILAREPA, en el sueño de Rechungpa] el reproche y el consuelo dentro de la misma frase.

«Within a state of deep devotion toward his master, he took control of the subtle winds and departed to meet the lama like an arrow shot by a master archer. Thus in a single morning he covered the distance a traveler riding a donkey would take two months to traverse.» — [TSANGNYÖN HERUKA] el prodigio de velocidad que la nota 15 del traductor glosa como práctica de pies veloces.

«Have you been hiding with your eyes and ears closed? All these signs are the virtuous celestial beings presenting offerings to the most sublime object of worship for all gods and humans anywhere in the world, Mila Zhepa Dorjé, who has departed for a pure celestial realm.» — [LAS DIOSAS] cómo le dan la noticia de la muerte, con el reproche por delante.

«oral instructions and then, compelled by symbolic acts within a dream, he obtained tantric instructions and departed from the lama and returned home.» — [TSANGNYÖN HERUKA] la rúbrica de la quinta acción suprema; el tramo arranca a media frase, que empieza en la plana anterior.

«was both an iconoclastic tantric master and a celebrated author, best known for his versions of The Life of Milarepa and The Hundred Thousand Songs of Milarepa.» — [SOLAPA] la nota editorial de Penguin sobre los autores, en la plana preliminar: presenta a Tsangnyön Heruka —al que la misma plana llama el autoproclamado Madman of Central Tibet— como maestro tántrico y autor, y le adjudica dos obras sobre Milarepa, la vida y los cantos. Es texto del editor, no voz de la obra ni de su autor.

«ANDREW QUINTMAN is assistant professor of religious studies at Yale University. He specializes in the Buddhist traditions of Tibet and the Himalayas, with his teaching and research focusing on Buddhist doctrinal literature and sacred biography, visual and ritual cultures of the wider Himalayan region, and the esoteric Buddhist traditions of tantra in Tibet and» — [SOLAPA] la misma nota editorial sitúa al traductor en la universidad y en el campo: literatura doctrinal y biografía sagrada budistas, y las tradiciones tántricas del Tíbet y del sur de Asia; la frase continúa en la línea siguiente con South Asia.

«DONALD S. LOPEZ JR. specializes in late Indian Mahāyāna Buddhism and in Tibetan Buddhism. He is an Arthur E. Link Distinguished Professor and department chair at the University of Michigan» — [SOLAPA] y sitúa al autor de la introducción en el Mahāyāna indio tardío y en el budismo tibetano.

«might begin by noting that the first chapter of the text starts with the phrase “Thus did I hear,” and that it ends with a dispute over Milarepa’s relics. These are clear signs that Milarepa was regarded as a buddha by his lineage, and that the author of the biography, Tsangnyön Heruka, made effective use of the tropes of Buddhist literature in the» — [LOPEZ] la introducción lee el marco del texto como préstamo deliberado de los recursos de la literatura budista: la fórmula que abre los sutras y la disputa por las reliquias, y de ahí que el linaje tuviera a Milarepa por buda; la frase sigue con composition of the biography.

«But here the Buddha is absent, or perhaps more precisely, Milarepa is the Buddha.» — [LOPEZ] y el desplazamiento que sostiene ese marco.

«The scene is not Vulture Peak in India but Belly Cave in Tibet, and the members of the audience are not the famous monks and bodhisattvas of Indian Buddhism, but Milarepa’s Tibetan disciples, joined by some local Tibetan deities.» — [LOPEZ] el cambio de escenario y de auditorio respecto del sutra indio.

«and there is Milarepa, a Tibetan buddha, born and enlightened in Tibet, without going to India or receiving the direct instructions of an Indian master.» — [LOPEZ] la serie en que la introducción coloca a Milarepa: Śākyamuni, Padmasambhava —a quien los tibetanos llaman segundo Buda— y un buda nacido e iluminado en el Tíbet.

«Rechungpa’s dream introduces a theme that runs throughout The Life of Milarepa: that there are two parallel universes, one profane and one sacred.» — [LOPEZ] el tema que la introducción adjudica al libro entero.

«in one, Milarepa is a dangerous sorcerer to be avoided at all costs; in the other, he is a kind teacher willing to teach all who approach, even his evil aunt; in one, Milarepa is a murderer, in the other, he is a buddha.» — [LOPEZ] el último par de la serie de contrastes con que enuncia esos dos mundos.

«Marpa returned from his journeys to India with tantric texts to be translated but also with oral instructions of the siddha or “adept” tradition of Bengal, where enlightenment could be triggered by a spontaneous song or, as in the case of Nāropa, by being slapped on the head with the guru’s» — [LOPEZ] lo que Marpa trae de la India, según la introducción: textos tántricos y las instrucciones orales de los siddhas de Bengala; la frase termina en la línea siguiente con shoe.

«Thus when we consider the Buddhism of Milarepa, at least as represented in his famous biography, we are considering Buddhism as it was understood and practiced in Tibet in the fifteenth century, projected back» — [LOPEZ] la acotación cronológica con que la introducción lee el budismo del libro: no el del siglo XI de Milarepa sino el del siglo XV de su biógrafo, proyectado hacia atrás; la frase cierra con in time.

«Tibetan Buddhism was denigrated as the most distant from the pure source, as adulterated with all manner of magical elements from the pre-Buddhist religion of Tibet. Indeed, for some it did not merit the name Buddhism and instead was called “Lamaism.”» — [LOPEZ] cómo describe el juicio de los estudiosos europeos del siglo XIX sobre el budismo tibetano.

«It is likely the case that the black magic that figures so heavily in the life of Milarepa, first made available to an anglophone audience in the 1928 edition of Walter Evans-Wentz, Tibet’s Great Yogi Milarepa, did little to dispel this» — [LOPEZ] y qué papel adjudica en ese juicio a la primera versión inglesa de la vida, la de Evans-Wentz de 1928; la frase cierra con view.

«The Life of Milarepa is rich in its imagery, woven into the biography by Tsangnyön Heruka, beginning with the introductory verses, where so many of the key terms and doctrines of Buddhism—mainstream, Mahāyāna, and Vajrayāna—are so skillfully evoked.» — [LOPEZ] cómo describe la trama de imágenes del libro, con los tres estratos doctrinales que la introducción nombra juntos: mainstream, Mahāyāna y Vajrayāna.

«One such element is lineage, so central to Buddhist histories, where authenticity and authority are measured by the unbroken succession of teacher and student» — [LOPEZ] la definición de linaje con que lee el libro: autenticidad y autoridad medidas por la sucesión ininterrumpida de maestro y discípulo.

«In The Life of Milarepa, lineage is manifest in two ways, one retrospective, one» — [LOPEZ] los dos modos en que adjudica el linaje al texto; la frase cierra con prospective.

«Yet by the time that Tsangnyön Heruka wrote his biographies of Milarepa and Marpa, the lineage of the Kagyu sect—beginning from the buddha Vajradhara, then to Tilopa, Nāropa, Marpa, and Milarepa—was well known, and it was necessary that it be reflected in their life stories.» — [LOPEZ] a qué atribuye entonces la presencia del linaje Kagyü —Vajradhara, Tilopa, Nāropa, Marpa, Milarepa— en las dos biografías.

«Whether Tsangnyön was himself aware of the lacuna in the lineage is not known.» — [LOPEZ] y la abstención con que cierra el punto, sin adjudicar intención al autor.

«That is, prophecy is regarded as a device by which Buddhist authors project present importance into the past, enhancing that importance by expressing it in the form of a» — [LOPEZ] cómo lee la profecía en la literatura budista: un recurso para proyectar hacia el pasado una importancia presente; la frase cierra con prophecy by the Buddha himself.

«In The Life of Milarepa, it is not the Buddha who makes a prophecy but Marpa, when he interprets Milarepa’s famous dream of the four pillars, each surmounted by a different animal: a lion, a» — [LOPEZ] dónde localiza ese recurso dentro del libro: el sueño de los cuatro pilares interpretado por Marpa; la enumeración sigue en la plana siguiente con tigress, a garuda, and a vulture.

«If the date of Tsangnyön Heruka’s works were not known, the presence of this prophecy would help to date the text at a time when the Kagyu sect was already well established, something that was not the case during Milarepa’s lifetime.» — [LOPEZ] el uso que daría a esa profecía para fechar el texto, enunciado como condicional.

«Instead, negative karma that would ordinarily be accumulated over many past lives is created by Milarepa in one life, as he murders thirty-five people with a single act of black magic.» — [LOPEZ] la sustitución que señala respecto de la vida del Buda: no hay vidas anteriores, y el karma negativo se acumula en una sola.

«Milarepa achieves buddhahood by the rapid method of the tantric path. In mountain caves across southern Tibet, he practiced the stage of generation (utpattikrama), visualizing himself as a buddha, his own body as a mandala, with various deities located at specific points within it. He then practiced the stage of completion (ni spannakrama), in which he brought under control the various energies or winds that course through a network of channels in the body, causing those winds to enter the central channel that runs from the crown of the head to the base of the spine, generating both an inner heat (gtum mo) and increasing levels of bliss.» — [LOPEZ] el camino tántrico que adjudica al relato, por sus dos etapas: la de generación, con el cuerpo visualizado como mandala, y la de completación, con los vientos conducidos al canal central.

«his instructions to those he encounters continue to embody the most basic of Buddhist teachings: impermanence, the sufferings of samsāra, the certainty of death and the uncertainty of its arrival, the frightful rebirth that is the direct result of our» — [LOPEZ] el contraste que señala entre el aparato tántrico del relato y lo que Milarepa enseña a quien encuentra; la frase cierra con benighted deeds.

«Marpa did indeed make three trips to India to retrieve tantric teachings. But by the time he made his first trip to India, Nāropa had already died; Marpa studied instead with some of Nāropa’s direct disciples.» — [LOPEZ] la objeción cronológica que plantea al vínculo entre Marpa y Nāropa.

«Works by Marpa’s contemporaries make it clear that he never pretended to have studied with» — [LOPEZ] y lo que añade sobre el propio Marpa; la frase cierra con Nāropa.

«Finally, he achieved the mahāmudrā, or “Great Seal,” spontaneous realization of the most profound nature of the» — [LOPEZ] el término con que cierra la serie de etapas del camino tántrico; la frase termina con mind.

«Beyond Milarepa’s words is his example, his vivid demonstration, expressed in sublime song, that even one who has murdered thirty-five innocent people can, through devotion to the teacher and the practice of the path, transform oneself into a perfect buddha» — [LOPEZ] con qué cierra su introducción: lo que el libro muestra por el ejemplo, no por la doctrina; el período termina con la fórmula sobre el mundo exterior que aparece como escrituras.

«Tibet received its Buddhism, especially in the second wave, just as Buddhism was about to disappear from the Indian subcontinent. Indeed, one of the reasons that Atiśa came to Tibet in 1042 was the specter of Muslim invasions and the fear that Buddhist monastic universities would be destroyed,» — [LOPEZ] la coincidencia cronológica que señala entre la segunda difusión tibetana y la desaparición del budismo en la India, y el motivo que atribuye a la llegada de Atiśa en 1042.

«Most of the stories and attributes associated with the figure of Milarepa stem from a single source: the account of his life translated here» — [QUINTMAN] de dónde viene, según el traductor, casi todo lo que se sabe de Milarepa: de esta sola vida; la frase cierra con el título del libro.

«Numerous versions of Milarepa’s life story exist, some written within a generation of the yogin’s death in the early twelfth century. The present version, composed by Tsangnyön Heruka in the late fifteenth century, almost four hundred years after Milarepa, draws upon many of these early works. But the resulting narrative eclipsed them all, serving as the canonical record of Milarepa’s life ever since.» — [QUINTMAN] la tradición textual anterior que consigna sin arbitrar: hay versiones escritas a una generación de la muerte del yogui, la de Tsangnyön Heruka es de casi cuatrocientos años después y toma de ellas, y es la que quedó como registro canónico.

«The story helped establish the founding figures of the Kagyu sect of Tibetan Buddhism. It shaped the sacred geography of southern Tibet. It served as a vivid inspiration for both the plastic and performing arts across the Himalayas.» — [QUINTMAN] los tres efectos que adjudica al relato: fundadores del Kagyü, geografía sagrada del sur del Tíbet y artes plásticas y escénicas del Himalaya.

«we have no independent record of his life from contemporary sources; indeed, we know very little about him as a historical figure at all.» — [QUINTMAN] la reserva documental con que abre el resumen de la vida.

«Tsangnyön Heruka records that the boy was born in the male water-dragon year (1052) and passed away in the wood-hare year (1135) at the age of eighty-four» — [QUINTMAN] las fechas que da el propio texto, en el calendario lunar tibetano.

«Other Tibetan sources move these dates back by one or two twelveyear cycles, suggesting instead the years 1040 or 1028 for his birth. Several sources posit his birth as early as 1026 or 1024. Translators of the story outside Tibet have generally agreed upon the dates 1040–1123, although a number of prominent Tibetan scholars of the eighteenth and nineteenth centuries favor the earlier span of 1028-1111.» — [QUINTMAN] el desacuerdo entre fuentes sobre esas fechas, consignado sin resolver: 1040 o 1028, 1026 o 1024, 1040–1123 entre traductores y 1028-1111 entre eruditos tibetanos de los siglos XVIII y XIX; donde la cita dice *twelveyear* el impreso parte *twelve-year* al fin del renglón y la extracción por programa lo une.

«Milarepa appeared at the beginning of a new wave of Buddhist expansion in Tibet, a period that Tibetan historians would come to describe as the “later dissemination” (phyi dar).» — [QUINTMAN] dónde sitúa a Milarepa en la periodización tibetana.

«Several sects of Tibetan Buddhism, including Milarepa’s own Kagyu (bka’ brgyud, “oral transmission”), likewise trace their lineage back to this period. Indeed, members of the Kagyu sect venerate Marpa and Milarepa as the primary founders of their lineage in» — [QUINTMAN] la adscripción de linaje que declara para Milarepa, con el nombre tibetano y su sentido; la frase cierra con Tibet.

«The Life of Milarepa describes his ancestors as nomads from the north, one of whom was a Nyingma tantric practitioner named Khyungpo Josey. He became famous for his proficiency in subjugating harmful» — [QUINTMAN] el origen del clan según el relato: un practicante tántrico Nyingma llamado Khyungpo Josey; la frase cierra con spirits.

«Josey caused the demon to cry out in horror “mila, mila,” an admission of submission and defeat, not unlike crying “uncle.” Josey then adopted this exclamation as a new clan title and his descendants came to be known by the» — [QUINTMAN] la etimología que el relato da al nombre Mila: el grito de rendición del demonio; el período cierra con name Mila.

«Within the broad context of traditional Tibetan religion, the efficacy of black magic—curses cast from a distance or the manipulation of the weather— was unquestioned.» — [QUINTMAN] cómo sitúa la magia negra del relato en el marco de la religión tibetana tradicional: su eficacia no se discutía.

«The author’s presentation here of the contemplative practice known as Great Perfection (rdzogs chen) seems little more than a caricature of the tradition, blithely promising liberation without the need for strenuous» — [QUINTMAN] su lectura del pasaje sobre la Gran Perfección Nyingma: una caricatura de esa tradición; la frase cierra con effort.

«This perhaps is meant to serve as a foil for the meditation system of the Kagyu sect, and for Milarepa’s great determination, described later in the» — [QUINTMAN] y la función narrativa que le supone, enunciada como conjetura; la frase cierra con story.

«The connection that developed between Marpa and Milarepa would become the most celebrated story of the teacher-disciple relationship in Tibetan Buddhism and an exemplar of the fundamental importance of» — [QUINTMAN] qué lugar adjudica a la relación entre Marpa y Milarepa dentro del budismo tibetano; la frase cierra con devotion to a spiritual guide.

«Marpa, however, was famous for his fierce temper and did not immediately teach Milarepa. Instead, he subjected his new disciple to a continual stream of verbal and physical abuse, forcing Milarepa to endure a series of ordeals, including, in one of the story’s most memorable episodes, the construction of four immense stone towers.» — [QUINTMAN] las pruebas que el relato pone entre el discípulo y la enseñanza, con las cuatro torres de piedra como episodio central.

«He further explained that the trials were actually a means of purifying the sins committed earlier in his life.» — [QUINTMAN] la explicación que el propio relato da a esas pruebas por boca de Marpa.

«Chapter eleven poses a challenge for readers unfamiliar with the broader tradition of Milarepa’s biography; its bewildering lists of retreat sites and disciples break the narrative so carefully constructed up to this point.» — [QUINTMAN] la dificultad de lectura que declara del capítulo once, con sus listas de retiros y de discípulos.

«Tsangnyön Heruka was the first author to separate the biography proper from these narrative vignettes and compose two independent texts.» — [QUINTMAN] la decisión editorial que adjudica al autor tibetano: separar la biografía de los ciclos de cantos y hacer dos libros.

«The hundred thousand in the title is not a literal reckoning, but rather a convention meaning “many” or “all,” so the collection claims to contain everything Milarepa ever taught.» — [QUINTMAN] cómo lee la cifra del título del volumen hermano: convención, no recuento.

«First, it delineates all of the places Milarepa practiced meditation, effectively mapping out the sacred geography of the yogin’s life for future practitioners and pilgrims.» — [QUINTMAN] la primera función que adjudica a ese capítulo: trazar la geografía sagrada del yogui.

«Many of these sites were caves, referred to as “fortresses”: the six well-known outer fortresses; the six unknown inner fortresses; and the six secret fortresses, with the addition of several other locations.» — [QUINTMAN] la clasificación de las cuevas en tres series de seis fortalezas: exteriores conocidas, interiores desconocidas y secretas.

«While such lists appear in earlier works, here the sites are each named by Milarepa himself, thus projecting upon them the legitimacy of the yogin’s direct prophecy» — [QUINTMAN] la diferencia que señala respecto de las listas anteriores: aquí los sitios los nombra Milarepa mismo, con la legitimidad de su profecía.

«By this device, much of southern Tibet, extending into Nepal, is claimed for the Kagyu sect by Milarepa’s» — [QUINTMAN] el efecto que atribuye a ese recurso; la frase cierra con biographer.

«The Buddha’s death is said to have been caused by food poisoning; Milarepa was given poisoned food by a jealous geshé. Like the Buddha, Milarepa’s body was to be cremated. The pyre beneath the Buddha’s body would not ignite until his disciple Mahākāśyapa arrived; Milarepa’s body would not burn until Rechungpa appeared.» — [QUINTMAN] los paralelos que traza entre la muerte del Buda y la de Milarepa: el envenenamiento y la pira que no prende hasta que llega el discípulo.

«Milarepa’s disciples argued over who should take ownership of their master’s remains, but here the narratives diverge.» — [QUINTMAN] el punto en que las versiones de la vida discrepan, consignado sin armonizar; en la misma plana da las dos: las reliquias llevadas al cielo por dākinis, y la versión anterior que las parte en dos y manda echarlas a dos ríos.

«In both stories we find a rebuke of the disciples’ fixation on the cult of relics, perhaps as a means for universalizing the yogin’s teachings by detaching them from reliquaries and the monasteries that are inevitably built around them.» — [QUINTMAN] la lectura que propone de las dos versiones: un reproche a la fijación de los discípulos en el culto de las reliquias.

«It was the first complete Tibetan text to be translated into English (although it was not the first to be published), and scholars quickly recognized the literary merits of Tsangnyön Heruka’s work.» — [QUINTMAN] el lugar del libro en la recepción occidental: primer texto tibetano completo vertido al inglés, aunque no el primero publicado.

«The most common form of biography in Tibet is called a namtar (rnam thar), literally “complete liberation,” signifying a literary genre that recounts the lives of religious figures with an emphasis on their practice of the Buddhist path and their spiritual awakening.» — [QUINTMAN] el género tibetano en que inscribe la obra, con su nombre y su sentido literal.

«For this reason, Tibetan namtars are frequently equated with the hagiographies of medieval Europe, which record the often fabulous lives of Christian saints.» — [QUINTMAN] la equivalencia que consigna con la hagiografía medieval europea, y a qué la atribuye.

«One of Tsangnyön Heruka’s central innovations was to recast Milarepa’s biography in the form of an autobiography. The switch to a first-person account, narrated by Milarepa himself, is a literary artifice, but one that nevertheless creates a compelling story while also investing the text with an authority derived from personal testimony.» — [QUINTMAN] la innovación que le adjudica: pasar la biografía a primera persona; nombra el recurso artificio literario y a la vez le reconoce el efecto.

«There is also strong evidence to suggest that Tsangnyön Heruka believed himself to be Milarepa’s reincarnation, an assertion that his followers promoted. In this case, the biography of Milarepa might then be understood not as an artificial autobiography but a real one, with the author speaking as his own biographical subject, recounting the events of a former life, a venerable genre in Buddhism.» — [QUINTMAN] la hipótesis con que matiza ese artificio: si el autor se tuvo por reencarnación de Milarepa, la autobiografía sería real y no fingida.

«Another important change that Tsangnyön Heruka made was to structure the biography in the form of a traditional account of the Buddha’s life. The text’s twelve chapters, each described as recording a specific deed Milarepa performed, are roughly modeled after the twelve acts of the Buddha as preserved in most Tibetan accounts.» — [QUINTMAN] la segunda decisión de estructura: los doce capítulos moldeados sobre los doce actos del Buda.

«This framework, however, is little more than a conceit and most chapters bear only a general resemblance to traditional enumerations of the Buddha’s deeds» — [QUINTMAN] y el límite con que acota esa misma lectura, en la misma plana en que la enuncia.

«The story opens with the words “Thus did I hear,” the phrase attributed to the Buddha’s disciple Ānanda, reflecting his perfect memory of everything the Buddha ever taught. These words signify that what follows is considered the authentic word of the Buddha (buddhavacana).» — [QUINTMAN] qué significa la fórmula de apertura dentro del canon budista.

«In this way too, the present version of the biography has come to be accepted as the authentic words of Milarepa, and in this sense it has become the canonical version of his life.» — [QUINTMAN] y el traslado de esa autoridad al libro.

«If Milarepa has taken the place of the Buddha, his biography has become his teaching, the dharma.» — [QUINTMAN] la consecuencia que saca de ese emparejamiento.

«The text is also valuable for readers interested in the social history of eleventh-century Tibet, at least as imagined four hundred years later. We find descriptions of village life and social structures, marriage conventions, travel customs, architectural design, and even the prominent role religious texts played as a form of family wealth.» — [QUINTMAN] el segundo modo de lectura que propone, con la acotación de que ese siglo XI está imaginado cuatrocientos años después.

«While an outer biography might recount an individual’s mundane affairs, such as places visited and people met, inner biographies could focus on the subject’s religious career, recording long lists of teachings received and meditation retreats undertaken. Secret biographies frequently record the visions and experiences gained through intensive meditation retreat.» — [QUINTMAN] la taxonomía tibetana de biografías exterior, interior y secreta, que la plana anterior enuncia y esta reparte.

«The Life of Milarepa does not strictly fit into any of these categories, yet portions of the story seem to reflect something of each.» — [QUINTMAN] y el sitio inestable que adjudica al libro dentro de ella.

«Mahāyāna text in which the Buddha narrates the events of his life at the request first of a group of Hindu gods led by Īśvara, and later by an assembly of his disciples. The life story then unfolds as a kind of religious teaching.» — [QUINTMAN] el modelo indio con que empareja la obra —la plana anterior lo nombra Lalitavistara Sutra—: el Buda narra su propia vida a petición de su auditorio.

«But we also find in the story the theme of anti-intellectualism (Milarepa’s murderer is depicted as a vain scholar of philosophy) and a disdain for institutions of religious hierarchy (he dismisses as fraudulent the wealthy monk Bari Lotsawa). These themes both seem to reflect Tsangnyön Heruka’s own fifteenth-century perspective.» — [QUINTMAN] los dos rasgos que adjudica a la perspectiva del autor del siglo XV: antiintelectualismo y desdén por la jerarquía religiosa, leídos en el asesino erudito y en el monje rico Bari Lotsawa.

«These are presented as songs of awakening (mgur), spontaneous expressions of meditation experience and realization that served as one of Milarepa’s principal methods of instruction.» — [QUINTMAN] qué son los poemas del libro según el traductor: cantos de despertar, y un método de enseñanza, no un adorno.

«Such poetry is deeply influenced by the Indian styles of tantric songs—the dohā, vajragiti, and caryāgiti—employed by great adepts such as Nāropa.» — [QUINTMAN] la filiación india que traza para esa forma: dohā, vajragiti y caryāgiti.

«Milarepa, famous for his singing voice even as a young boy, incorporated both the themes and structures of Tibetan folk songs and epic verse, creating a vernacular form of religious poetry.» — [QUINTMAN] y la otra mitad de esa filiación, la canción popular y el verso épico tibetanos.

«Beginning in the thirteenth century, a more ornate style of poetry developed in Tibet, in part modeled after early Indian writers such as Dandin (seventh century) and his seminal treatise the Mirror of Poetry (Kāvyādarsa).» — [QUINTMAN] el estilo ornamentado posterior, modelado sobre Dandin, del que distingue los cantos de Milarepa.

«Instead, in the colophon at the conclusion of the story he signs the text with the epithet “Rupé Gyenchen (dressed in bone ornaments), the yogin who wanders in charnel grounds.” This image is that of the tantric siddhas of India,» — [QUINTMAN] cómo firma el colofón y qué imagen adjudica a ese epíteto; la frase sigue en la plana siguiente con antinomian figures.

«The name was cause for confusion among early translators of the biography, who either read the first-person narrative as an autobiography in Milarepa’s own hand or saw the framing tale as an indication that the story was written by Rechungpa, Milarepa’s close disciple.» — [QUINTMAN] las dos lecturas erradas de la autoría que consigna entre los primeros traductores: autobiografía de Milarepa, u obra de Rechungpa.

«It was not until the 1960s that scholars of Tibetan literature identified the author of the narrative as the individual called Tsangnyön Heruka, the “Madman of Tsang.”» — [QUINTMAN] cuándo y por quién se adjudicó la obra a Tsangnyön Heruka.

«He was one of several individuals identified during this period as religious madmen. The unconventional conduct of such figures is traditionally believed to reflect a profound realization of the true nature of reality, one that no longer discriminates between pure and impure, virtue and sin, secular and sacred.» — [QUINTMAN] qué significa el título de loco religioso en esa tradición: una realización que ya no discrimina entre puro e impuro, virtud y pecado, profano y sagrado.

«Modern scholars have interpreted such behavior as a reaction against the rising wealth and power of Tibet’s monastic institutions by returning to a model of the itinerant yogin’s life.» — [QUINTMAN] la lectura alterna que consigna, la de los estudiosos modernos, sin arbitrar entre las dos.

«He trained under teachers from various sects of Tibetan Buddhism, but his central interest was the so-called aural transmissions of Rechungpa (ras chung snyan rgyud), a corpus of carefully guarded tantric instructions passed on from Nāropa to Marpa to Milarepa, and then taught by Milarepa’s disciple Rechungpa.» — [QUINTMAN] la formación del autor y el corpus que declara su interés central: las transmisiones aurales de Rechungpa, pasadas de Nāropa a Marpa y a Milarepa.

«Upon his returning from the mountain wilderness of Tsari in southern Tibet with his body smeared in human ashes and blood and the fingers and toes of human corpses woven into his hair, local villagers are said to have given him the title Nyönpa (smyon pa), or “madman.”» — [QUINTMAN] de dónde viene el título de loco según los relatos tradicionales.

«He later received the epithets Traktung Gyalpo (khrag thung rgyal po), “King Blood Drinker,” which incorporates the Tibetan translation for the Indian term heruka (khrag thung) that forms the second part of his name.» — [QUINTMAN] y de dónde viene el segundo componente de su nombre.

«Traditional accounts of the madman’s own life record that a visionary encounter with Nāropa inspired him to write The Life of Milarepa.» — [QUINTMAN] el motivo que los relatos tradicionales dan a la escritura del libro: un encuentro visionario con Nāropa.

«But we may also understand his biographical writings as a means for establishing the unequivocal authority of the early teachers of the Kagyu sect, of the instructions they transmitted, and of the yogic practices they espoused.» — [QUINTMAN] la lectura alterna que propone al lado de esa, sin descartarla: fijar la autoridad de los primeros maestros Kagyü.

«Traditional records make it clear that he desired to create a story that would appeal to members of all levels of society —from kings and ministers, to the religious elite, to lay householders—as a means for inspiring faith, accumulating virtue, and progressing on the path toward buddhahood.» — [QUINTMAN] a qué público declaran los relatos tradicionales que el autor destinaba el libro, y para qué.

«The first translation of The Life of Milarepa into a foreign language was a Mongolian edition completed in 1618.» — [QUINTMAN] la primera traducción a lengua extranjera que consigna.

«In 1925, the French Tibetologist Jacques Bacot published an extensive, though incomplete, translation of the biography under the title Le poète tibétain Milarépa: ses crimes, ses épreuves, son Nirvāna. Although Bacot omitted the final chapter describing Milarepa’s death, this was one of the first comprehensive accounts of a Tibetan figure in a European language, and the translation remains an impressive achievement.» — [QUINTMAN] la traducción francesa de 1925 y su límite declarado, la falta del capítulo final.

«The story appeared in English for the first time in 1928 as Tibet’s Great Yogi Milarepa, the second of a quartet of books edited by W. Y. Evans-Wentz, an eccentric American spiritual seeker and would-be scholar.» — [QUINTMAN] la primera aparición en inglés, en el volumen de Evans-Wentz de 1928.

«Although Evans-Wentz could not read Tibetan, he collaborated with the Sikkimese national Kazi Dawa Samdup (1868–1922), who was employed at the time as the headmaster of the Maharaja’s Bhutia Boarding School in Gangtok and later taught at the University of Calcutta.» — [QUINTMAN] con quién colaboró y qué no sabía leer, según el traductor.

«Although this constituted the first complete English translation of the story (lacking only the opening kāvyastyle verses), its language is encumbered by an excessively biblical style, likely added by Evans-Wentz to Dawa Samdup’s generally accurate translation.» — [QUINTMAN] la objeción de estilo que plantea a esa versión, con su reserva sobre a quién adjudicarlo; donde la cita dice *kāvyastyle* el impreso parte *kāvya-style* al fin del renglón y la extracción por programa lo une.

«Although occasionally erring when addressing Buddhist terminology and often overly free in its rendering of poetry, Lhalungpa’s translation effectively served as the voice of Milarepa for a generation of readers.» — [QUINTMAN] su balance de la traducción de Lhalungpa de 1977, con el reparo dentro de la misma frase.

«Although prints from Tsangnyön Heruka’s original wood blocks have not yet come to light, nearly two dozen editions are known to have been printed across Tibet by the mid-twentieth century.» — [QUINTMAN] el estado de la tradición impresa: de los bloques originales no hay impresión conocida, y se cuentan cerca de dos docenas de ediciones.

«I have also extensively consulted the editions from Ron ’Od gsal phug (perhaps the oldest extant edition) and Sde dge, as well as the modern Chinese reprint.» — [QUINTMAN] las ediciones que además cotejó, con la reserva entre paréntesis sobre cuál sería la más antigua.

«For comparison, I have read many parallel sections from versions of the life story that predate Tsangnyön Heruka’s text, including the so-called Twelve Great Disciples (Bu chen bcu gnyis), A River of Blessings Relieving the Tormenting Heat of the Mental Af flictions (Byin brlabs kyi chu rgyun gyis nyon mongs pa’i tsha gdung sel bar byed pa), and The Life of Jetsün Milarepa: An *Illuminating Lamp of Sun and Moon Beams (Rje btsun mid la ras pa’i rnam par thar pa gsal byed nyi zla’i ’od zer gyi sgron ma) by G.yung ston Zhi byed Ri khrod pa (born ca. 1320).» — [QUINTMAN] las versiones anteriores a la de Tsangnyön Heruka que declara haber leído en paralelo, nombradas una por una; la capa de texto parte *Afflictions* en *Af flictions* y el asterisco ante *Illuminating* es del propio impreso.

«In the translation, I have generally sought to strike the delicate balance between faithfulness to the text and transparency of its meaning.» — [QUINTMAN] el criterio de traducción que declara.

«I have attempted as much as possible to avoid the technical jargon of Buddhism and “translationese” by rendering all words into English instead of reverting anachronistically to Sanskrit» — [QUINTMAN] y la decisión terminológica con que lo aplica, con el riesgo que ella misma reconoce.

«Jorge Luis Borges’s essays on translation suggest instead that “every translation is a ‘version’—not the translation . . . but a translation, one in a never-ending series, at least an infinite possible series.» — [QUINTMAN] la tesis sobre la traducción que toma de Borges y cita entre comillas dentro de su propio texto.

«So too, this translation of The Life of Milarepa serves as a translation, one that seeks to provide a clear English meaning for Milarepa’s eloquent Tibetan words.» — [QUINTMAN] y lo que declara para la suya a partir de ahí: una traducción entre otras posibles.

«See the “Note on the Translation” by Borges’s translator Andrew Hurley in J. L. Borges, Collected Fictions (New York: Penguin, 1998), 519.» — [QUINTMAN] la nota con que remite esa cita, en la única llamada de la introducción del traductor.

«Although the process of translation often seems like a solitary endeavor, I am grateful for the generous assistance I have received in matters of both language and interpretation. In particular, I am indebted to Khenchen Thrangu Rinpoche and Khenpo Tsultrim Gyatso Rinpoche, both of whom embody the living tradition reflected in The Life of Milarepa, for clarifying numerous difficult points in the text.» — [QUINTMAN] los agradecimientos del traductor, que nombran a dos maestros tibetanos como encarnación viva de la tradición del libro.

«5 Trepé Tenchung (pre/bre pe stan chung) According to the current inhabitants of the region, trepé ten (pre/bre pe stan) refers to the sole of a boot. The field was so named due to its shape.» — [QUINTMAN, nota 5] cómo apoya la etimología de un topónimo del relato en el testimonio de los habitantes actuales de la comarca.

«7 “run at the sound of the drum and run at the rising of smoke” An expression describing how the destitute were often forced to beg for alms during ritual assemblies, where food offerings might be distributed. The sound of drums and incense smoke were signs that such a gathering was taking place.» — [QUINTMAN, nota 7] la glosa de la fórmula con que la madre de Milarepa describe la mendicidad.

«13 hail tax Tibetan communities traditionally employed the services of “weather-makers,” ritual specialists (both Buddhist and Bön) who were sought after for their ability to ward off destructive meteorological events. Such individuals were frequently paid through the collection of a local tax as a form of insurance against hail damage to the region’s crops.» — [QUINTMAN, nota 13] el contexto institucional que da a los ritos de granizo del relato: especialistas rituales budistas y bön pagados por un impuesto local.

«15 controlling the subtle winds This refers to the practice of fleet-footedness, a feat attained as the result of yogic meditation whereby an individual is able to travel vast distances with exceptional speed.» — [QUINTMAN, nota 15] cómo nombra la práctica con que Rechungpa cubre en una mañana dos meses de camino.

«16 figurines from my mother’s bones This refers to the common Tibetan tradition of making small religious images (frequently representations of the Buddha, a stupa, or other Buddhist divinities) from the pulverized bones of the deceased mixed together with clay. The figurines, called tsa tsas (tsa tsa), could then be placed in a sacred location.» — [QUINTMAN, nota 16] la práctica tibetana de las tsa tsas, que explica el episodio de los huesos de la madre.

«14 the six parameters and the four modes A system of hermeneutics for interpreting the coded language of tantric Buddhist literature.» — [QUINTMAN, nota 14] cómo define el sistema hermenéutico que Marpa entrega a Ngokpa.

«19 Son of the Gods Demon (devaputramarā) One of the four traditional forms of demon, here the personification of attachment and craving.» — [QUINTMAN, nota 19] la glosa del demonio con que Milarepa compara a quienes le piden favores.

«20 Üpa Tönpa Literally the “Teacher from Ü,” an epithet of Milarepa’s disciple Gampopa.» — [QUINTMAN, nota 20] la identificación del discípulo al que el testamento destina el sombrero de Maitripa.

«23 middle autumn month of the Purbu year The middle autumn month is the eighth lunar month of the Tibetan year, the autumn months being the seventh, eighth, and ninth months. The Purbu year is an epithet of the forty-second year in the traditional sixty-year cycle of the Tibetan calendar, corresponding to the earth-monkey year. This is 1488 in the Gregorian calendar.» — [QUINTMAN, nota 23] cómo resuelve la fecha del colofón en el calendario gregoriano, que es de donde sale el año de composición de la obra.

«The sources of foreign-language terms are noted below. English translations are followed by their Tibetan equivalents and the Sanskrit is added when it might be helpful or familiar to readers.» — [QUINTMAN, glosario] la nota de método con que abre el glosario, y que fija el orden de las lenguas.

«aural transmission (snyan rgyud; karnatantra) A term that carries the meaning of carefully guarded tantric instructions passed from “ear to ear” through a succession of teachers and disciples. In The Life of Milarepa, these refer to a set of instructions and ritual practices related to the Cakrasamvara Tantra, originating with the Indian adepts Tilopa and Nāropa, and then transmitted in Tibet by the Tibetans Marpa and Milarepa.» — [QUINTMAN, glosario] la entrada de la transmisión aural, con la cadena Tilopa, Nāropa, Marpa y Milarepa.

«accomplishment (dngos grub; siddhi) The result of tantric meditation practice, usually categorized into two types: (1) ordinary accomplishments, which refers to supernatural powers such as clairvoyance and the ability to fly through space, and (2) ultimate accomplishment, which is buddhahood.» — [QUINTMAN, glosario] la entrada que reparte los logros en ordinarios y último.

«bliss-warmth (bde drod) A term referring to the warmth generated through the practice of yogic heat (gtum mo) meditation, which itself is said to produce a feeling of bliss.» — [QUINTMAN, glosario] la entrada del calor de dicha, que es el término recurrente de la práctica de Milarepa.

«Bön (Tibetan, bon) The indigenous pre-Buddhist religion of Tibet.» — [QUINTMAN, glosario] la única tradición no budista que el glosario define.

«channels (rtsa; nādi) The vein-like structures described in the tantric tradition as forming part of the body’s subtle physiology. There are three principal channels—central (rtsa dbu ma, avadhuti), left (rtsa rkyang ma, lalanā), and right (rtsa ro ma, rasanā)—that run parallel to the spine and from which many subsidiary channels branch. They serve as conduits for the circulation of subtle wind currents and are visualized as part of the completion-stage practices of tantric meditation.» — [QUINTMAN, glosario] la entrada de los canales, con los tres principales y su función.

«completion stage (rdzogs rim; nispannakrama) The second of two stages of tantric meditation practice (the former being the generation stage), in which the practitioner visualizes the subtle body’s channels and wheels while bringing under control the subtle winds and drops that course through them.» — [QUINTMAN, glosario] la entrada de la etapa de completación.

«dakini (Sanskrit; mkha’ ’gro) A class of female figures represented as both ordinary human yoginis and wisdom deities in the tantric literature of India and Tibet. In The Life of Milarepa they are usually depicted as celestial goddesses who come to the aid of religious practitioners and offer prophetic advice.» — [QUINTMAN, glosario] la entrada de las dākinis, con la acotación de cómo aparecen en este libro en particular.

«eight worldly concerns (’jig rten gyi chos brgyad) Literally the “eight worldly dharmas,” four pairs of contrasting concerns described as distractions from religious practice leading to further worldly engagement: gain and loss, fame and disgrace, praise and blame, pleasure and pain.» — [QUINTMAN, glosario] los ocho afanes mundanos enumerados por pares, que es el término que atraviesa toda la obra.

«Ejection (’pho ba) One of the Six Dharmas of Nāropa, a meditation practice for redirecting the consciousness (one’s own or that of another individual), usually performed at the time of death, in order to ensure rebirth in a buddha field.» — [QUINTMAN, glosario] la entrada de la Eyección, una de las dos prácticas que faltaban a Marpa.

«emptiness (stong pa nyid; sūnyatā) The absence of intrinsic, independent, or permanent existence, judged by the Madhyamaka (Middle Way) school of Buddhist philosophy to be the underlying nature of all phenomena.» — [QUINTMAN, glosario] la entrada de la vacuidad, adjudicada a la escuela Madhyamaka.

«extrasensory physical eye (sha mig) This does not refer to the physiological eye, but to the first among a list of five kinds of increasingly powerful visionary eyes attained through the practice of meditation. The extrasensory physical eye refers to an ability to see very great distances, in all directions, and even through solid objects, without obstruction.» — [QUINTMAN, glosario] la entrada del ojo extrasensorial, que glosa la condición que Milarepa pone para ver a los dioses.

«four kinds of activity (las bzhi; catuskarman) Four types of activity described in tantric literature: pacification, enrichment, subjugation, and destruction.» — [QUINTMAN, glosario] las cuatro actividades rituales que dan nombre a las cuatro torres del relato.

«four initiations (dbang bskur bzhi) The four types of initiation according to the tradition of Unexcelled Yoga Tantra: the vase initiation, the secret initiation, the wisdom initiation, and the precious word initiation.» — [QUINTMAN, glosario] las cuatro iniciaciones del Yoga Tantra Insuperable.

«geshé (Tibetan, dge bshes) A Tibetan title given to outstanding scholar monks after many years of textual study and philosophical training. It was commonly awarded at the main Geluk monasteries of Lhasa. In The Life of Milarepa, which takes place before the founding of such Geluk institutions, the term is something of an anachronism and is probably best understood to refer to an individual taking a purely intellectual approach to Buddhism.» — [QUINTMAN, glosario] la entrada que declara anacrónico el título del antagonista del último capítulo.

«Great Perfection (rdzogs chen) A seminal tradition of meditation transmitted primarily by the Nyingma sect of Tibetan Buddhism. Although the tradition incorporates a complex system of practices, it generally emphasizes the intrinsic purity of mind and the direct perception of ultimate reality.» — [QUINTMAN, glosario] la entrada de la Gran Perfección Nyingma, cuya presentación en el cuerpo del relato el propio traductor califica de caricatura en su introducción.

«Great Seal (phyag rgya chen po; mahāmudrā) A term referring to a Buddhist doctrine describing the true nature of reality, a system of meditation practices for recognizing the empty and luminous nature of the mind, and the final realization of buddhahood itself. The tradition is practiced by all the later sects of Tibetan Buddhism, but is especially associated with the Kagyu tradition stemming from the Indian adepts Tilopa and Nāropa and the Tibetans Marpa and Milarepa.» — [QUINTMAN, glosario] la entrada del Gran Sello, con sus tres sentidos y su adscripción al Kagyü.

«heruka (Sanskrit) A term generally used to refer to powerful or wrathful deities, often tantric yidams. The term was rendered into Tibetan as “blood drinker” (khrag thung).» — [QUINTMAN, glosario] la entrada que explica el segundo componente del nombre del autor.

«Kagyu (Tibetan, bka’ brgyud) Often translated as “Oral Lineage,” one of the principal sects of Tibetan Buddhism. It refers to the line of teachers, texts, and instructions originating with the primordial buddha Vajradhara, then passing to the Indian adepts Tilopa and Nāropa, and their Tibetan successors Marpa and Milarepa. Milarepa’s disciples spread these traditions widely in Tibet, leading to numerous institutional divisions, often referred to as the four major and eight minor Kagyu subsects.» — [QUINTMAN, glosario] la entrada del Kagyü, con la cadena entera del linaje y sus subsectas; es la definición con que el volumen nombra la tradición en que la obra se sitúa.

«life’s round (’khor ba; samsāra) The cycle of existence, characterized by suffering, in which beings are continually reborn into one of the six realms of transmigration through the power of their previous karma and mental afflictions. The Sanskrit term samsāra literally means “wandering,” while the Tibetan ’khor ba has the connotation of “cycling around.”» — [QUINTMAN, glosario] la entrada que justifica la elección de traducir samsāra por la ronda de la vida.

«Nyingma (Tibetan; rnying ma) Literally “Ancients,” the name given to the Tibetan Buddhist sect tracing its lineage to the Indian tantric master Padmasambhava (eighth century) during the period of the early dissemination (snga dar) from the seventh to the ninth centuries.» — [QUINTMAN, glosario] la entrada de la otra secta que el relato nombra, la del primer maestro de Milarepa.

«Practice Lineage (sgrub brgyud) A name that members of the Kagyu sect used to describe their own tradition, underscoring its purported emphasis of meditation over mere scholasticism.» — [QUINTMAN, glosario] el nombre con que la propia secta se designa, y lo que ese nombre reclama.

«Secret Mantra (gsang sngags) A name for the tradition of tantric Buddhism in India and Tibet, synonymous with Vajrayāna.» — [QUINTMAN, glosario] la equivalencia entre los dos nombres con que la obra llama a su vía.

«Six Dharmas of Naropa (Nā ro chos drug) Also translated as the “Six Yogas of Nāropa,” the name given to a series of tantric meditation practices originating with the Indian adept Nāropa. The Six Dharmas spread widely throughout Tibet, but they became a central component in the meditation training of Kagyu practitioners. Although slight variations exist, the list of the Six Dharmas commonly includes: yogic heat, illusory body, dreams, luminosity, intermediate state, and transference.» — [QUINTMAN, glosario] las seis prácticas de Nāropa enumeradas, de las que el relato reparte cuatro entre los discípulos.

«ripening and liberation (smin grol) A contraction for “ripening initiations” (smin byed kyi dbang) and “liberating instructions” (grol byed kyi khrid), two central components of Vajrayāna Buddhist practice. The former refers to the ritual initiations that prepare (and thus “ripen”) an individual to achieve success in a particular tantric meditation practice. The latter present detailed instructions on the practice, leading to liberation.» — [QUINTMAN, glosario] la entrada que desarma la fórmula más repetida del libro.

«Taktungu (Tibetan, tag tu ngu; sadāprarudita) Literally “Ever Weeping,” the name of a bodhisattva whose life story is frequently used to illustrate extraordinary devotion and perseverance in the pursuit of religious instruction. The life of Taktungu appears in the Mahāyāna Buddhist Perfection of Wisdom (Prajnāpāramitā) literature, where he is described as willing to sell even the flesh of his body in order to meet an authentic teacher and receive instructions on perfect wisdom.» — [QUINTMAN, glosario] la entrada del bodisatva cuya vida lee Milarepa y con la que mide sus propias penalidades.

«the Indian adept Tilopa. In The Life of Milarepa, Marpa transmitted four of the nine to Milarepa, who then sent his disciple Rechungpa to India to obtain the remaining five.» — [QUINTMAN, glosario] la entrada de los Nueve Ciclos que cierra la deuda abierta en el testamento de Marpa; el tramo arranca a media frase, que empieza en la plana anterior.

«tantra (Sanskrit) Literally “continuum,” a genre of literature originating in India. Buddhist tantras generally record a variety of ritual practices that serve as the foundation for the Vajrayāna in India and Tibet, including the construction of mandalas, the recitation of mantras, and the visualization of deities.» — [QUINTMAN, glosario] la entrada de tantra, que define el género por sus prácticas rituales.

«three gates (sgo gsum) A metaphor for body, speech, and mind.» — [QUINTMAN, glosario] la fórmula de las tres puertas, que el relato repite desde la ofrenda inicial de Milarepa a Marpa.

«transcendence (mya ngan las ’das pa; nirvāna) Literally “blow out” or “extinguish,” the stated goal of Buddhist practice, which is the cessation of suffering and the end of life’s round. Mahāyāna literature commonly distinguishes between the transcendence of an arhat (an individual who has attained liberation according to the Hinayāna tradition) and the complete enlightenment of a buddha, although such a distinction is not always clearly delineated in The Life of Milarepa.» — [QUINTMAN, glosario] la entrada de transcendence, con la reserva declarada sobre cómo el propio libro usa el término.

«Transference (grong ’jug) A meditation practice for transferring the consciousness into a corpse, thereby reanimating it. Transference is sometimes described as part of the practice of Ejection.» — [QUINTMAN, glosario] la entrada de la Transferencia, la práctica que obliga a Marpa a volver a la India.

«twenty-four lands (yul gnyis shu rtsa gnyis) A list of twenty-four sacred sites (pitha) enumerated in various tantric texts. They are described as sites present both in the external landscapes of India and Tibet as well as the internal landscapes of a meditator’s subtle body.» — [QUINTMAN, glosario] la entrada que hace de las veinticuatro tierras sagradas a la vez geografía externa y anatomía sutil.

«Vajradhara (Sanskrit; rdo rje ’chang) Literally “vajra-holder,” the name of the primordial buddha, regarded in some traditions to be the source of the tantras.» — [QUINTMAN, glosario] la entrada de Vajradhara, el buda primordial con que abre el linaje Kagyü.

«Vajrayana (Sanskrit; rdo rje theg pa) Literally “Diamond Vehicle,” a term used to designate tantric or esoteric Buddhism, usually understood as a form of the Mahāyāna tradition. This tradition is widespread in Tibet and is regarded as an extremely effective method of practice, capable of leading to buddhahood in a single lifetime.» — [QUINTMAN, glosario] la entrada del Vajrayāna, que es la otra tradición que la obra se adjudica y que tampoco tiene slug en esta base.

«yogic heat (gtum mo) The Tibetan term, pronounced “tummo” (literally “fierce lady”), refers to a tantric meditation practice that produces an experience of bliss together with an attendant feeling of warmth throughout the body. Yogic heat is counted as one of the Six Dharmas of Nāropa.» — [QUINTMAN, glosario] la entrada del calor yóguico, la práctica que Marpa asigna a Milarepa.

«yogin (Sanskrit; rnal ’byor pa) Literally “practitioner of yoga”; the female form is yogini. The term is generally applied to individuals such as Milarepa who engage in extensive meditation retreats.» — [QUINTMAN, glosario] la entrada que cierra el glosario nombrando al propio Milarepa como ejemplo del término.

«luminosity (’od gsal; prabhāsvara) A term frequently used as a metaphor to describe the mind’s innate luminous quality, its ability to illuminate, and thus to know, objects. According to this description, defilements that impede the mind are merely temporary obscurations.» — [QUINTMAN, glosario] la entrada de luminosidad, que es una de las dos mitades de la fórmula con que Milarepa cifra su realización.

«mandala (Sanskrit; dkyil ’khor) A term that has a wide range of meanings, but in the context of tantric practice refers to the palace of a yidam, visualized during an initiation ceremony or a session of meditation. Mandalas are commonly represented in two-dimensional geometric forms made from paintings or colored powder, but are always imagined as existing in three dimensions. In The Life of Milarepa, mandalas often appear as part of visionary experiences or miraculous displays.» — [QUINTMAN, glosario] la entrada de mandala, con la acotación sobre cómo aparece en este libro.

«oral instructions (gdams ngags) Teachings on tantric ritual and meditation transmitted directly from teacher to student, although there are also many texts designated as “oral instructions.” Oral instructions form an important theme in The Life of Milarepa and in the Kagyu tradition more generally.» — [QUINTMAN, glosario] la entrada de las instrucciones orales, que el propio traductor declara tema central del libro.

Iniciación (recepción por grados / metamorfosis del ser) — El libro hace de la iniciación la puerta de todo el camino: Marpa la niega tres veces por falta de pago, la concede al fin con el mandala de Cakrasamvara y un nombre secreto, y Milarepa la glosa como tener poder sobre la vista profunda; el glosario del traductor la define como el permiso de entrar al mandala de una deidad, y enumera las cuatro del Yoga Tantra Insuperable.

Secreto (lo que se jura no fijar por escrito) — La enseñanza que el libro persigue se llama Mantra Secreto y se guarda por juramento: Marpa la sella para una sola persona por generación durante trece generaciones y pone sanción a quien la cambie por comida o riqueza, el rollo que entrega no se abre hasta que llega su hora, y las dākinis mandan callarla para que no se profane.

Cadena de transmisión (quién tomó de quién) — La obra declara su propio linaje —Vajradhara, Tilopa, Nāropa, Marpa, Milarepa— y lo hace materia del relato: el sueño de los cuatro pilares reparte la sucesión entre cuatro discípulos y el glosario lo fija como la línea que da nombre al Kagyü. Lopez objeta que Marpa llegó a la India cuando Nāropa ya había muerto y estudió con sus discípulos directos, y consigna que el propio Marpa nunca pretendió haber estudiado con él.

Microcosmos (el hombre-mundo) — El cuerpo del practicante se visualiza como mandala con las deidades en puntos precisos, y los canales, vientos y gotas que lo recorren son el lugar donde se obra la realización; el glosario añade que las veinticuatro tierras sagradas y los ocho cementerios existen a la vez en el paisaje externo y en el cuerpo sutil del meditador.