The Hundred Thousand Songs of Milarepa Read online

  Shambhala Publications, Inc.

  4720 Walnut St.

  Boulder, Colorado 80301

  www.​shambhala.​com

  © 2017 by Dzogchen Ponlop Rinpoche and Christopher Stagg

  All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.

  eBook design adapted from printed book design by Gopa & Ted2, Inc.

  Cover art: Milarepa. angka painting, Eastern Tibet, 19th century, object number IId 13767, Essen collection; Photographer: Hans Meyer-Veden, 1989 © IId 13767; Museum der Kulturen Basel, Switzerland, all rights reserved.

  Cover design by Gopa & Ted2, Inc.

  Library of Congress Cataloging-in-Publication Data

  Names: Mi-la-ras-pa, 1040–1123, author. | Gtsaṅ-smyon He-ru-ka, 1452–1507, editor. | Stagg, Christopher, translator. | Dzogchen Ponlop, Rinpoche, 1965–

  Title: The hundred thousand songs of Milarepa: a new translation / Tsangnyön Heruka; under the guidance of Dzogchen Ponlop Rinpoche, translated by Christopher Stagg of the Nitartha Translation Network. Description: First Edition. | Boulder: Shambhala, 2017. | Includes bibliographical references and index.

  Identifiers: LCCN 2016015581 | ISBN 9781559394482 (pbk.: alk. paper)

  eISBN 9780834840508

  Subjects: LCSH: Mi-la-ras-pa, 1040–1123. | Lamas—Tibet

  Region—Biography—Early works to 1800. | Spiritual life—Buddhism—Early works to 1800.

  Classification: LCC BQ7950.M557 A3 2016 | DDC 294.3/923092 [B] —dc23

  LC record available at https://lccn.​loc.​gov/​2016015581

  v4.1

  a

  To all my mother sentient beings,

  In particular, my mother in this life, Rita Stagg.

  Contents

  List of Abbreviations

  Foreword by the Seventeenth Karmapa

  Foreword by Dzogchen Ponlop Rinpoche

  Translator’s Introduction

  The Hundred Thousand Songs of Milarepa

  CYCLE ONE: THE BINDING UNDER OATH OF HARM-INFLICTING SPIRITS

  1.Mila Gathers Wood

  2.Journey to Lachi Chuzang

  3.The Song of the Snow

  4.The Rakshasa Demoness of Lingpa Rock

  5.The Prior Visit to Rakma

  6.Kyangpen Sky Fortress

  7.The Yolmo Snowy Range

  8.The Offering of the Pigeon Goddess Girl

  CYCLE TWO:THE RIPENING AND LIBERATION OF THE FORTUNATE HEART-SONS AND DAUGHTERS

  9.The Prior Visit to Drakya Vajra Fortress

  10.Meeting Rechungpa

  11.Meeting Tsaphu Repa

  12.The Later Visit to Rakma

  13.Accepting the Teacher Shakya Guna

  14.Meeting Paldarbum

  15.Meeting Seben Repa

  16.Meeting Drigom Repa

  17.Repa Shiwa Ö

  18.Meeting Ngendzong Tönpa

  19.Meeting Dampa Gyakpupa

  20.Meeting Kharchung Repa

  21.Meeting Repa Darma Wangchuk

  22.Taming Naro Bönchung

  23.The Later Visit to Drakya Vajra Fortress

  24.Meeting Shengom Repa

  25.Meeting Rechungma

  26.Meeting Khyira Repa

  27.The Offering of the Khokhom King and the Scrutiny of Tseringma

  28.The Five Tseringma Sisters’ Investigation: Garland of an Array of Pearls

  29.The Five Tseringma Sisters’ Investigation: Garland of the Light of Amrita

  30.The Five Tseringma Sisters’ Investigation: Golden Garland of Stupas

  31.The Five Tseringma Sisters’ Investigation: Garland of Clouds of Bliss-Emptiness Wisdom

  32.Repa Dorje Wangchuk

  33.Meeting Dharmabodhi

  34.Winning the Debate Arisen through Jealousy with Power and Magic

  35.Rechungpa and Tipupa

  36.Mégom Repa

  37.Sahle Ö

  38.The Story of the Yak Horn

  39.Song of the Wild Asses

  40.Lengom Repa

  41.The Noble Gampopa

  42.Lotön Gendun

  43.Dretön Repa

  44.Likor Charuwa

  CYCLE THREE: MISCELLANEOUS STORIES

  45.Replies to the Questions of Students

  46.Bönpo Mountain

  47.Bestowing Abhisheka and Consecration

  48.Shendormo and Leksé Bum

  49.Preparing to Have Joy at Death

  50.Going for Refreshment, and the Beer-Drinking Song

  51.Ramding Sky Cave

  52.Rechungpa’s Departure for Central Tibet

  53.Tongla

  54.The Hook of Compassion for the Dead, and Establishing His Sister Peta in Enlightenment

  55.Final Advice to the Students of Nyanang

  56.The Physician of Yangé

  57.The Later Journey to Central Tibet

  58.Tashi Tsek

  59.The Students of Drin

  60.Victory Over the Four Maras, and the Response to a Mantrika

  61.The Disciple-Sons’ Developing Delight, and Displaying Miracles of His Body

  APPENDIX 1: Summary of Tsangnyön Heruka’s Life of Milarepa

  APPENDIX 2: Tibetan Equivalents for Place Names and Personal Names

  APPENDIX 3: Tibetan-English Glossary

  APPENDIX 4: Songs and Stories Translated under the Guidance of Khenpo Tsultrim Gyamtso Rinpoche

  Notes

  Glossary of Key Terms

  Selected Bibliography

  Index

  Shambhala E-mail Sign-Up

  List of Abbreviations

  Persons consulted:

  KTGR

  Khenpo Tsultrim Gyamtso Rinpoche

  DPR

  Dzogchen Ponlop Rinpoche

  KSP

  Khenpo Sherap Phuntsok

  AKW

  Acharya Kelsang Wangdi

  ATW

  Acharya Tashi Wangchuk

  TN

  Tenzin Namdak

  Textual sources:

  BCC

  Twelve Great Sons (Bu chen bcu gnyis)

  DK

  Great White Conch Dictionary (Dung dkar tshig mdzod chen mo), Tibetan dictionary of Buddhist terms (Blo bzang ’phrin las 2002)

  DN

  The Black Treasury (mDzod nag ma) of the Third Karmapa Rangjung Dorje, Complete Works edition (Rang byung rdo rje 2006)

  DN-S

  The Black Treasury, Sichuan edition (Rang byung rdo rje 2008)

  DSD

  New Revised [Tibetan] Dictionary (Dag yig gsar bsgrigs)

  DSM

  The Golden Mirror of Decoding (brDa dkrol gser gyi me long), Tibetan dictionary of archaic terms (Tshul khrims 1997)

  JV

  Jim Valby in THL Tibetan to English Translation Tool

  RY

  Rangjung Yeshe in THL Tibetan to English Translation Tool

  TDC

  The Great Tibetan-Chinese Dictionary (Bod rgya tshig mdzod chen mo; Zhang et al. 1993)

  TNH

  Tsangnyön Heruka’s version of Milarepa’s Life and Songs (bTsang smyon he ruka 1999)

  Other abbreviations:

  S:

  Sanskrit

  T:

  Tibetan

  Foreword by the Seventeenth Karmapa

  The great Tibetan yogi Jetsun Milarepa is revered by all Tibetans, but he is of immense importance for the Kagyu school in particular. He serves as the bridge between the Indian traditions he received through his teacher, the great Marpa Lotsawa, and the Jetsun’s own student, Lord Gampopa. the
wellspring of the Dakpo Kagyu lineage.

  Lord Milarepa’s Hundred Thousand Songs is considered to be the finest example of gur—songs of spiritual realization—and was composed in the original Tibetan poetic style. When we read this book, it would be wrong to regard it merely as literature or as an interesting text of historical value. We should, instead, consider how we can learn from his example and emulate his qualities in our own lives and practice. Jetsun Milarepa was an ordinary human being with many faults who, having committed grave misdeeds that included the murder of more than thirty people, turned to the dharma. Then, through unwavering devotion to his teacher, single-pointed focus, enthusiastic effort, and limitless patience, he was able to attain the supreme goal of buddhahood in one lifetime.

  We, in contrast, are generally half-hearted in our pursuit of enlightenment. We are easily distracted and preoccupied with the eight worldly dharmas. Though we go through the motions of refuge, rituals, prostrations, and so forth, we often lack commitment and the steadfast devotion which Milarepa embodied.

  Until now, English readers wishing to read this fundamental text have relied on Garma C. C. Chang’s translation, an excellent work by a devout Buddhist who was also a traveler, scholar, and linguist. However, that work was produced more than sixty-five years ago. I welcome this new translation. It incorporates some amendments and corrections and, in lively modern English, tries to capture the vivid vernacular of the original Tibetan.

  I pray that all who read this book may benefit and be truly inspired by Jetsun Milarepa’s extraordinary life and profound realizations.

  Seventeenth Karmapa, Ogyen Trinley Dorje

  Dharamsala, India

  January 4, 2017

  Foreword by Dzogchen Ponlop Rinpoche

  With tales of betrayal, magic, revenge, and redemption, the life story of Milarepa and his Hundred Thousand Songs illustrates one man’s tireless quest for awakening in the face of tremendous difficulties. This text is more than the story of Tibet’s greatest yogi, it is a vibrant source of inspiration, blessings, and a guiding example for all who seek enlightenment in this lifetime.

  In his twilight years, Milarepa’s twelve spiritual sons led by Bodhi Raja and Repa Shiwa Ö, made efforts gathering and putting together his scattered dohas—songs of spiritual realization—from his students’ personal accounts. It is said that they presented these to Milarepa who then gave his final blessings and made an aspiration that these would benefit all who encounter them. This compilation by his own students seems to be the first written collection of Milarepa’s songs and life story. Since then, there have been numerous life stories and collections of songs written and compiled by many great masters, among which one of the most extensive and comprehensive is the Dzönakma, the Treasure House, compiled by the Third Karmapa Rangjung Dorje. This is the basis for the most popular collection known as the Hundred Thousand Songs of Milarepa, compiled by Tsangnyön Heruka 366 years after the parinirvana of Milarepa. Nevertheless, the Treasure House and the Hundred Thousand Songs of Milarepa remain true to the earliest known collections.

  The first complete English translation of Tsangnyön Heruka’s Hundred Thousand Songs of Milarepa was done by Garma C. C. Chang and published in 1962. Since then, the practice of translating Buddhist texts into English has become more systematic and precise; many Buddhist terms have found their way into our modern vernacular, even influencing our popular psyche and culture. In this new translation, Milarepa’s voice resonates to us from across nearly a millennium, but the chord it strikes in our hearts is timeless

  and relevant. This text offers us a glimpse of an ordinary person’s journey to enlightenment with all of its joys, sorrows, and challenges, and shares the profound instructions for anyone with the compassion and courage to apply them.

  I am deeply grateful to my friend and student, Christopher Stagg, for taking on the task of translating this amazing work. His diligence in study and practice, as well as his musical training and talents, inform his translation for the benefit of all.

  Milarepa was renowned for his beautiful voice and for teaching the dharma through his spontaneous songs of realization. Like Milarepa, my own guru, Khenpo Tsultrim Gyamtso Rinpoche, lived the life of a wandering yogi and is also known for spontaneously giving instruction in song and verse. Rinpoche revived the doha singing tradition, not only in Tibetan, but also in English, Chinese, and other languages around the world. Thus, the awakening power of this lineage continues today with my guru. With his blessings, and the blessings of the Buddha and all enlightened hearts, I pray that this translation be a cause for perpetuating the genuine lineage of awakening in our modern world.

  Dzogchen Ponlop Rinpoche

  Nalandawest

  Seattle, WA

  Translator’s Introduction

  Milarepa (ca. 1051–ca. 1135), Tibet’s great singing yogi, is arguably the most renowned figure in Tibetan culture, the quintessential Tibetan folk-hero. Milarepa committed grave crimes at an early age then later had a radical change of heart. He sought out and followed a spiritual master, finally attaining the ultimate state of awakening within a single lifetime.*1 Though Milarepa’s own practice tradition was the Kagyu lineage of Tibetan Buddhism, followers and practitioners of all of the Buddhist lineages in Tibet reflect and meditate upon Milarepa’s life story and songs. Copies of Milarepa’s Life and Songs can be found in nearly every Tibetan-language or dharma library.

  This story of a man who lived nearly a thousand years ago continues to be recounted in both contemporary and traditional portrayals. In 2010, His Holiness the Seventeenth Gyalwang Karmapa, an important Tibetan spiritual leader and a holder of Milarepa’s Buddhist lineage, composed, directed, and produced a theatrical portrayal of Milarepa’s life that was the centerpiece of the Kagyu Monlam. This production, at the annual prayer festival that draws thousands from around the world to Bodhgaya, India, every winter, was the largest theatrical event in Tibetan history to date.*2 In 2006, a feature-length Tibetan-language film depicting the first part of Milarepa’s life was directed by Neten Chokling. Even a comic book of his life, published in several languages (including Tibetan), was released in 1991.*3 Traditional thangka paintings and statues portraying images of Milarepa’s emaciated body and trademark gesture—right hand lifted to his ear “to hear his guru from afar”—are commonly seen in monasteries and dharma centers throughout the world.

  Why is Milarepa so popular? Most biographies of past Buddhist masters portray their subjects as virtually perfect from the outset. Nearly all of these narratives follow the same hagiographical trope of an already-enlightened being born into human form to benefit others, excelling prodigiously in study and meditation practice, and performing vast and wondrous benefit for sentient beings. Milarepa’s story is different. Milarepa starts out as an ordinary human who, experiencing remorse for his heinous acts, turns his life around, and, persevering through great hardship, attains the highest potential of a human being. Far from being perfect in his endeavors, he is someone who experiences great struggles along his journey. Milarepa is relatable; his humanity is portrayed in a way that does not require audiences to have any connection to his tradition of Buddhism—or even Tibetan culture—to be captivated by his story. For those with an interest in the spiritual journey, his example seems to give readers permission to ask, “If he could, why not me?” Milarepa’s story, and his demonstration of attaining enlightenment in one lifetime through great efforts and endurance, is simply inspiring.

  Following his own spiritual attainment, Milarepa sets out to teach and relates to others in their particular situations, giving practical advice that seekers can put to immediate use in their own spiritual journeys. The advice Milarepa gives is especially useful for earnest practitioners of meditation. Milarepa’s biography is often taken by meditators into retreats, not only as a source of inspiration but also as a handbook of pithy instructions that can support their practice. One of the great works of Tibetan—and arguably even world—literature, this boo
k can be appreciated on many different levels. Whether one reads it as a general narrative, as inspiration for the spiritual path, or as an instruction manual for advanced esoteric practices, there is something of value and interest for anyone who may embark upon its pages.

  The version of Milarepa’s life story and songs most widely read today was compiled by Tsangnyön Heruka (1452–1507) approximately 350 years following the protagonist’s death. Tsangnyön composed the work in two parts intended to be read consecutively. The first is a shorter volume recounting the overall narrative of Milarepa’s life first published with the full title The Life of the Great Lord of Yogis, the Jetsun Milarepa, Demonstrating the Path of Liberation and Omniscience.*4 It now has at least three widely circulated translations in English, the most recent two with the short title, The Life of Milarepa.*5 The second part of Tsangnyön’s work is much more extensive and primarily concerns Milarepa’s teachings and songs following his own attainment of realization. Originally titled The Collected Songs Expanding on the Life of the Jetsun Milarepa,*6 this larger volume was published in English for the first time more than fifty years ago as The Hundred Thousand Songs of Milarepa by the great scholar and practitioner Garma C.C. Chang (1920–1988).*7 Although other translations of excerpts from the Songs are available, Chang’s work has been the only complete English translation to be published. In the late 1930s, Chang spent eight years in Tibet studying under his guru Gangkar Rinpoche. A devout practitioner in the lineage of Milarepa, he had a solid understanding of the tradition and its practices. While it is now well known that there are mistakes in Chang’s work, given his personal experience in Milarepa’s practice tradition and his command of both Tibetan and English, the translation he produced was a great contribution. The importance of Chang’s groundbreaking work cannot be overstated; it was foundational in the development of this new translation.