**6. English Translation of the** *D. ak¯ arn ¯ . ava* **15**

#### **6.1. Introduction**

Now, I shall explain the secret [that is] characterized by right meditation, by which glorious Heruka is carefully established. There is no other [way]. **(1)**

[The universe] is dissolved [into emptiness] at the outset, [and the universe containing the man. d. ala] is generated [from emptiness] at the end;<sup>808</sup> [it] indicates [this]: the Emanation [Body] (viz., the man. d. ala) manifests. The Dharma, the Enjoyment, and the other [Bodies are also realized]; therefore, all [of the Bodies] are aggregated together in this [secret].<sup>809</sup> **(2)**

#### **6.2. From the Selection of Ritual Place to the Absorption into Emptiness**

First, having found a proper place in a lonely spot or [other spots] such as a mountain,<sup>810</sup> he should make [that place] a charnel ground. There [he should honor] with a *bali* offering the protector [deities] of that land.<sup>811</sup> **(3)**

<sup>808</sup> I have interpreted that the terms *sam. varti* (or *sam. vartin*) and *vivarti* (or *vivartin*) are related to the concepts of *sam. varta* and *vivarta*, respectively (and not *sam. vr. ti* and *vivr. ti*, the Conventional Truth and the Ultimate Reality Truth). The words *sam. varta* and *vivarta* are traditionally used in the Buddhist cosmology to describe the cycle of the dissolution and regeneration of the universe, respectively. For the regeneration (*vivarta*) and dissolution (*sam. varta*) of the universe in the *Abhidharmako´sa* (its *karik ¯ a¯* and *bha¯s.ya*), see (Sadakata 2011, pp. 237–45), and for those in the *Manobhumi ¯* part of the *Yogac¯ arabh ¯ umi ¯* , (Kajiyama 2000); there are cases where the same concepts of *vivarta* and *sam. varta* were used conversely, as indicating dissolution and regeneration, respectively. For the case in the *Da´sabhumis ¯ utra ¯* and commentaries on it, see (Kim 2007), and for the case in the *Kalacakra ¯* and *Vimalaprabha¯*, (Newman 1988, p. 131).

<sup>809</sup> My interpretation of verse 15.2 relies much on the *Bohita¯*'s comment on it (D 1419, 131r2–r4). The universe, which consists of the worlds of environment and sentient beings, is dissolved into emptiness; subsequently it emerges from emptiness. A practitioner generally meditates on this as part of visualizing a man. d. ala. The word *atra* in 15.2d indicates *rahasya* in 15.1a. The *Bohita¯* does not clarify what the word *adi ¯* of the *dharmasam. bhogadi ¯* indicates. I have interpreted it as indicating the other aspect of the Tantric body, the Innate Body (*sahajakaya ¯* ) or equivalent.

<sup>810</sup> According to the *Bohita¯* (D 1419, 131r6–r7), externally, the other spots are a cave, a rock shelter, an ocean shore, a charnel ground originally perfected, and a pleasing place.

<sup>811</sup> According to the *Bohita¯* (D 1419, 132r1), externally, the *bali* offering means various kinds of fish, meat, and so on.

A yogin should offer water for a respectful reception (*argha*) and so on<sup>812</sup> after a sipping water for purification (*mukha´sauca*) and others.<sup>813</sup> Employing an image, the Blessed One taught a visualization by [use of] a cloth [painting] and other [devices]. **(4)**

[This is] a visualization of the very terrifying one [who] resides on a corpse;<sup>814</sup> [he] brings benefits to the world. [A practitioner] should take recourse in every kind of meditation instantly.<sup>815</sup> **(5)**

(The meaning of the letter *´sr¯ı*, i.e., the nondual consciousness816—) The letter *´sr¯ı* is the meaning of every originated being (*sarvabhuta ¯* ).<sup>817</sup> [Every originated being is] known to be external and internal,<sup>818</sup> and both of these [external and internal aspects] are [present as assuming] the form [in terms] of the conventional [truth].

<sup>812</sup> According to the *Bohita¯* (D 1419, 132r2), the word *adi ¯* ("so on") indicates water for washing the feet (*zhabs bsil*), a flower (*me tog*), incense (*bdug spos*), a lamp (*mar me*), perfume (*dri*), and foods for deities (*lha bshos*).

<sup>813</sup> According to the *Bohita¯* (D 1419, 132r6), the word *adi ¯* ("others") indicates a tooth-cleaning stick (*so shing*).

<sup>814</sup> According to the *Bohita¯* (D 1419, 132v4–v6), the very terrifying one is Vajradhara (*rdo rje 'chang*), and the *preta* or a corpse indicates the dead body of Brahman, who has four faces and who is of the nature of the *dharmadhatu ¯* or reality realm (*zhal bzhi pa tshangs pa chos kyi dbyings kyi bdag nyid can ni yi dags so*).

<sup>815</sup> According to the *Bohita¯* (132v7–133r1 and 139v3–v4), the words *sarvasarvakam* or "every kind of" indicate the Triple Samadhi (the First Yoga, the Supreme King of Ma ¯ n. d. ala, and the Supreme King of Action, *dang po sbyor ba dang dkyil 'khor rgyal po mchog dang las rgyal po mchog*), the Bindu Yoga (*thig le'i rnal 'byor*), and the Subtle Yoga (*phra mo'i rnal 'byor*). The First Yoga, the first of the Triple Samadhi, consists of the Service ( ¯ *bsnyen pa*), Auxiliay Service (*nye ba'i bsnyen pa*), Perfect Realization (*sgrub pa*), and Great Perfect Realization (*sgrub pa chen po*). Obviously, Jayasena followed the *Bohita¯*'s instruction: the Triple Samadhi, the Bindu Yoga, and the Subtle Yoga constitute the whole structure of ¯ the *Ratnapadmaraganidhi ¯* . See also Chapter 9 in this monograph.

<sup>816</sup> Verses 15.6–7b expound the meaning of the letter *´sr¯ı* (of *´sr¯ıheruka*), based on the traditional doctrine that the letter *´sr¯ı* refers to the nondual consciousness or gnosis, which the *Hevajra* is the first to teach (*´sr¯ıkaram advayam ¯ . jñanam ¯ .* , Skt ed. (Snellgrove 1959), I.7.27).

<sup>817</sup> It is also possible to translate *´sr¯ıkara sarvabh ¯ ut¯ artham ¯* (15.6a) as "The letter *´sr¯ı* (viz., the nondual consciousness) [expresses the absolute reality of] every originated thing"(*artha* means "thing" and not "meaning"). If the text is edited as *´sr¯ıkarasarvabh ¯ ut¯ artham ¯* (compound), it may be translated as "Every originated thing, [which is represented] by the letter *´sr¯ı*, . . . ".

<sup>818</sup> I interpret the text (15.6ab) as saying the nonduality of the external and internal aspects of originated beings. The Sam. vara tradition has the idea in common that the abstract structure of the outer universe (the external) is also present in the body of each individual practitioner (the internal): they are nondual. According to the *Bohita¯* (D 1419, 133r1–r2), the external means the strata of [the Five Elements] such as the Earth [Element] (*sa la sogs pa dkyil 'khor*) and the Three Realms [comprising the Five Elements] (*khams gsum*), and the internal refers to the physical body comprising the [Five] Elements such as the Earth [Element] (*sa la sogs pa'i khams kyi rang bzhin gyi lus*). It appears that in the *Bohita¯*, the word *sarvabhut¯ artha ¯* (15.6a) means "everything [that comprises] the [Five] Elements" (*bhuta ¯* = the [Five] Elements).

The ultimate [truth] is what is at the end of the pleasure.<sup>819</sup> The syllable letter *´sr¯ı* is also explained by *evam.* <sup>820</sup> and others [that are] nondual.<sup>821</sup> **(6–7b)**

(The meaning of the letter *he*, i.e., the emptiness of cause and so on, etc.822—) The letter *he* is [as follows]: From the heart,<sup>823</sup> [he should visualize] all [deities], such as Heruka, [who] reside on their own circles. [Vajra-]holders and others<sup>824</sup> are originating; [he should know] all [of them] originating through visualization.<sup>825</sup> That [letter *he* represents the principle that] the cause (*hetv-*) is empty by nature;<sup>826</sup> there is no conceptualization of cause and so on<sup>827</sup> as selves. That [letter *he* refers to] the selflessness of phenomenal existences by nature, [or the state of] being empty.<sup>828</sup> [Emptiness] brings the meditative union. **(7c–9b)**


<sup>819</sup> I interpret the text (verse 15.6cd) as also implying the nonduality of the Conventional Truth (*sam. vr. ti*) and the Ultimate Reality Truth (*vivr. ti*). According to the *Bohita¯* (D 1419, 133r3), what is at the end of the pleasure means the pleasure of the middle beyond verbal expression (*bar ma'i bde ba brjod du med pa*), which he experiences at the end of the Innate Pleasure (*lhan cig skyes pa'i dga' ba'i mthar*) as long as he is keeping [his semen] unfallen (*lhung ba med pa bral ba ji srid pa*, "as long as not, [viz.,] without, falling").

<sup>820</sup> In Tantric traditions, the word *evam.* often symbolizes the nonduality: the letter *<sup>e</sup>* (which is shaped like an inverted triangle) represents the female genital organ, and the letter *vam.* (shaped like a stick), the penis, comes into the triangular space of *e*.

<sup>821</sup> As the *Bohita¯* (D 1419, 133r3–r5) suggests, it is possible to emend the text of verse 15.7ab as *evamady ¯ advayenapi ´sr ¯ ¯ıkara\*var ¯ n. a* (*m.c.* for *-varn. ena*) *varn. itam* ("Evam. and others are also explained by the syllable letter ´sr¯ı, [which represents] the nondual").

<sup>822</sup> Verses 7c–9b elucidate the meaning of the letter *he* (of *´sr¯ıheruka*), based on the traditional doctrine that the letter *he* refers to the emptiness of cause and so on. (For what "and so on" indicates, see footnote 827.) The earliest version of this doctrine can be found in the *Hevajra* (*hekara ¯ m. hetvadi´s ¯ unyat ¯ a¯*, Skt ed. (Snellgrove 1959), I.7.27b).

<sup>823</sup> If the text (15.7c) is edited as *hekarahr ¯ .dayat¯* (compound) and not as *hekara hr ¯ .dayat¯* , it can be translated as "From the heart, [which refers to the meaning of] the letter *he*."

<sup>826</sup> If the text (8c) is edited as *sa´sunyahetv ¯ atmakañ ¯* (compound) and not as *sa ´sunyahetv ¯ atmakañ ¯* , it can be translated as "[He should know that the letter *he*] represents (*sa*; 'has [the meaning of]') that the cause is empty by nature."

<sup>827</sup> The *Bohita¯* does not explain what the word *adi ¯* ("so on") of *hetvady- ¯* indicates. According to the *Yogaratnamal¯ a¯* (Skt ed. (Snellgrove 1959), p. 123, l. 8–l. 10) and the *Muktaval ¯ ¯ı* (Skt ed. (Tripathi and Negi 2001), p. 73, l. 9–l. 10), which are the two commentaries on the *Hevajra*, the word *adi ¯* refers to *svabhava ¯* ("intrinsic nature"), and the words *hetvadi ¯* mean "cause and intrinsic nature." D¯ıpankara´sr ˙ ¯ıjñana's ¯ *Abhisamayavibhanga ˙* (D 1490, 187r6) and Alakakala´sa's *Upade´sanus ¯ ari ¯ n. ¯ı* (Skt ed. (Pandey 1998), 9.7–8 (p. 88, l. 4)) suggest that *adi ¯* indicates origination (i.e., the effect of that cause).

<sup>828</sup> It the text (15.9b) is edited as *sa´sunya ¯ m.* (compound) and not as *sa ´sunya ¯ m.* , it can be translated as "having [the meaning of] being empty".

(The meaning of the letter *ru*, i.e., being free from conceptual arrangement, etc. <sup>829</sup>—) [Taught in connection with] the conceptual arrangement (*vyuha ¯* ),<sup>830</sup> the selflessness of person,<sup>831</sup> the great, is [accompanied by] a web of conceptualization.<sup>832</sup> The letter *ru* [represents the principle that] myself is conditioned:<sup>833</sup> That [letter *ru* refers to the state of] being free from the conceptual arrangement of "mine".<sup>834</sup> **(9c–10b)**

(The meaning of the letter *ka*, i.e., not being located anywhere, etc.835—) *Ka* [refers to] all that I repeat narrating in the nonduality of consciousness. [It is] not located anywhere (*kvacit*); hence, [it is] the letter *ka*. Therefore, (*yatah.* ), [it is] not [that] direct perception of things is void; [it is] of the nature of the pure reality (*vastumatra ¯* ).<sup>836</sup> **(10c–11)**

<sup>829</sup> Verses 9c–10b explain the meaning of the letter *ru* (of *´sr¯ıheruka*), based on the traditional idea or a doctrine that the letter *ru* refers to the state of being free from conceptual arrangement (*apagatavyuha ¯* ) or equivalent. The *Hevajra* was the first to teach this (*rukar¯ apagatavy ¯ uha ¯ m.* , Skt ed. (Snellgrove 1959), I.7.27c). The term *vyuha ¯* , which I have translated as "conceptual arrangement," or variant terms, refers to "thinking" or "reasoning" (*vitarka*) according to the *Yogaratnamal¯ a¯* (Skt ed. (Snellgrove 1959), p. 123, l. 10); to have the concept of "I" (*aham.* ) according to the *Muktaval ¯ ¯ı* (Skt ed. (Tripathi and Negi 2001), I.7.27 [p. 73, l. 11]); "[the concepts of] continuation and destruction" (*gnas pa dang 'jig pa*), which follow the cause and origination (= *hetvadi ¯* ), according to D¯ıpankara´sr ˙ ¯ıjñana's ¯ *Abhisamayavibhanga ˙* (D 1490, 187r6); "characteristics" (*nimitta*) or "linguistic proliferation" (*prapañca*) according to Alakakala´sa's *Upade´sanus ¯ ari ¯ n. ¯ı* (Skt ed. (Pandey 1998), 9.7–8 (p. 88, l. 11)); "mental defilements such as greed" (*'dod chags la sogs pa'i nyon mongs pa*) according to Tarisena's ¯ *Vajrag¯ıtibha¯s.ya* (D 1208, 308r2–r3); and "conceptualization" (*rnam par rtog pa*) according to Vajrapa¯n. i's *Guruparamparakramopade´sa* (D 3716, 177r7).

<sup>830</sup> In the next line (15.10b), the conceptual arrangement (*vyuha ¯* ) is related to the selflessness of person, expressed as "[the state of] being free from the conceptual arrangement of 'mine'" (*vyuh¯ apagatam ¯ mama*). Therefore, I have translated verse 15.9c as "[Taught in connection with] the conceptual arrangement (*vyuha ¯* ), the selflessness of person . . . ."

<sup>831</sup> In the *D. ak¯ ar¯ n. ava*, the letters *he* and *ru* are also thus connected with the selflessness of phenomenal existence (*dharmanairatmya ¯* ) and the selflessness of person (*pudgalanairatmya ¯* ), respectively.

<sup>832</sup> By "[accompanied by] a web of conceptualization" (*kalpanaj¯ alakam ¯* , 15.9d), I mean the covering of what is to be known (*jñeyavara ¯ n. a*): it is traditionally taught in Buddhism (particularly as a criticism of the H¯ınyana or Lesser Vehicle) that one who has just realized the selflessness of person is not ¯ freed from the covering of what is to be known yet, which is removed by realizing the selflessness of phenomenal existence. For this, I appreciate Dr. Taiken Kyuma and Dr. Kazuo Kano's suggestion. In the present passage in the *D. ak¯ ar¯ n. ava*, the selflessness of phenomenal existence is represented by the letter *he* (15.9a).

<sup>833</sup> In the *D. ak¯ ar¯ n. ava*, the letters *he* and *ru* are also thus connected with the cause (*hetu*) and condition (*pratyaya*), respectively.

<sup>834</sup> If the text (15.10ab) is edited as *rukarapratyay ¯ atmañ ca savy ¯ uh¯ apagatam mama ¯* (compounds), and not as *rukara pratyay ¯ atmañ ca sa vy ¯ uh¯ apagatam mama ¯* , it can be translated as "The letter*ru*, [which represents the principle that] myself is conditioned, has [the meaning of] being free from the conceptual arrangement of 'mine'".

<sup>835</sup> Verses 15.10c–11b expound the meaning of the letter *ka* (of *´sr¯ıheruka*), based on the traditional doctrine that the letter *ka* refers to not being located anywhere. The oldest version of this doctrine can be found in the *Hevajra* (*kakaram ¯ . na kvacit sthitam*, Skt ed. (Snellgrove 1959), I.7.27d).

<sup>836</sup> For the concept of the *vastumatra ¯* or "pure reality" in the *Tattvartha ¯* Chapter of the *Bodhisattvabhumi ¯* and the *Vini´scayasam. grahan. ¯ı*, see (Takahashi 2005).

O, goddess! At the outset, [a practitioner] contemplates the word *´sr¯ı-he-ru-ka*, [which] permeates all. **(12ab)**

[He should visualize] a seed of knowledge [representing] the self-existent one (viz., *hu¯m.* ) <sup>837</sup> at the center of a lotus on a sun [disk] in [his] heart. Then he should emit rays of various colors,<sup>838</sup> [which] fill the sky. Having attracted an assembly (*jala ¯* ) of deities formed by Jñana ¯ d. akin ¯ ¯ı,<sup>839</sup> he should make the Lord of the world<sup>840</sup> seated at the center of a hollow space in the sky. Having made offerings of the nectar and so on and [articles] originated in himself through the moon[rise] and sunrise,<sup>841</sup> and having performed the confession of sin and others,<sup>842</sup> he should reflect on compassion and so on.<sup>843</sup> Then, [having made] himself being of the nature of emptiness,<sup>844</sup> he should contemplate [the mantra of] *yoga´suddha* ("being purified by yoga").<sup>845</sup> **(12c–15)**

<sup>837</sup> According to the *Bohita¯* (D 1419, 134v7), a seed of knowledge is the letter *hu¯m.* , which is a summary (*bsdus pa*) of the four letters *´sr¯ı*, *he*, *ru*, and *ka*.

<sup>838</sup> According to the *Bohita¯* (D 1419, 135r2), the "various colors" are the five colors and so on.

<sup>839</sup> According to the *Bohita¯* (D 1419, 135r3), the words "formed by Jñana ¯ d. akin ¯ ¯ıs" indicate Vajravar¯ ah¯ ¯ı and other female deities. Male deities are referred to by the words "of deities" (*devatam used ¯* in the sense of *devatan¯ am¯* ).

<sup>840</sup> It appears that "the Lord of the world" (*jagatah. pat¯ım* used in the sense of *jagatah. patim*) indicates Heruka according to the *Bohita¯* (D 1419, 135r3) and D. ak¯ ar¯ n. ava (another name for Heruka) according to Jayasena in his *Ratnapadmaraganidhi ¯* (D 1516, 4r7).

<sup>841</sup> According to the *Bohita¯* (D 1419, 135r4–r5), the nectar means the *vi mu ´su ra ma*, the fivefold nectar (excrement, urine, semen, menstrual blood, and human flesh). The articles originated in himself refer to fluid essences flowing in the practitioner's body, which represent all constituents of his body. The fluid essences emerge by controlling the "moonrise and sunrise," which refers to the movement of two vital airs, *pran¯ . a* (*srog*) and *apana ¯* (*thur sel*).

<sup>842</sup> According to the *Bohita¯* (D 1419, 135r5–r6), they refer to the seven best offerings (*bla na med pa'i mchod pa rnam pa bdun rnams*), which are (1) the confession of sin (*sdig pa bshags pa*), (2) the vow of never doing [evil actions] (*mi byed pa'i sdom pa*), (3) rejoicing at [others' acquiring merit] (*bsod nams la rjes su yi rang ba*), (4) the complete dedication [of merit] (*yongs su bsngo ba*), (5) taking refuge in the three [jewels] (*gsum la skyabs su 'gro ba*), (6) generating awakening of the mind (*byang chub kyi sems bskyed pa*), and (7) relying on the path (*lam la brten pa*).

<sup>843</sup> According to the *Bohita¯* (D 1419, 135r6), the words "compassion and so on" signify the Four Immeasurables: mercy, compassion, sympathetic joy, and equanimity.

<sup>844</sup> According to the *Bohita¯* (D 1419, 135r6–r7), this indicates the contemplation of these mantras: (1) *om. sarvadharma¯h. ´sunyat ¯ a-\*svabh ¯ av¯ a¯h. (em.; -svabhava) ´s ¯ unyo 'ham ¯* ; (2) *om. [svabhava´suddh ¯ a¯h. ] sarvadharma¯h. svabhava´suddho 'ham ¯* ; and (3) *om. ´sunyat ¯ ajñ¯ anavajrasvabh ¯ av¯ atmako 'ham ¯* . The second mantra is taught in many scriptures of the Sam. vara tradition. The version found in the *Catus.p¯ıt.ha* is perhaps one of the oldest (Skt ed., 2.3.7 and 2.3.120). The third mantra is quite popular among various traditions in Buddhist Tantrism. The version found in the *Guhyasamajatantra ¯* (abbreviated to *Guhyasamaja ¯* , Skt ed. (Matsunaga 1978), Chapter 3, p. 11, l. 16) is perhaps the oldest. The first mantra is uncommon. The *Abhidhanottara ¯* (3.6–9, 12–22, and 24–50) teaches fifty mantras that are in the form of < *om.* something-*´suddha¯h. sarvadharma¯h.* something-*´suddho 'ham* >. The first mantra is perhaps a currupted form of one of them.

<sup>845</sup> According to the *Bohita¯* (D 1419, 135r7), this mantra is *om. yoga´suddha¯h. sarvadharma yoga´suddho 'ham ¯* . This mantra is taught in many scriptures that belong to the Sam. vara tradition. The version found in the *Catus.p¯ıt.ha* is perhaps one of the oldest (Skt ed., 2.3.9 and 2.3.122).

#### **6.3. The Rise of the Universe and Causal Vajra-Holder from Emptiness**

Then, after [those whose] intrinsic natures are the five seeds,<sup>846</sup> he should visualize a divine castle [at the top of them], and, afterward, the Causal Vajra-holder [in that castle placed] on a lotus on Mt. Meru clearly. **(16)**

[The Causal Vajra-holder] is white in color, [has] four faces, [has] three eyes [on each], [has] twelve arms, is devoted to the yoga of union with wisdom (his female consort), and is adorned with youthful ornaments. [His four faces are], counterclockwise, white, green, red, and yellow [in color, respectively]. [He has] twisted locks of hair and has a crossed vajra and a crescent moon on the face (head). **(17–18)**

[He] stands in the al¯ ¯ıd. ha posture with the feet placed on both Hara and Gaur¯ı. [He holds] (1) a vajra and (2) a bell, (3)(4) an elephant's skin, (5) a drum, (6) a knife, (7) an axe, (8) a trident, (9) a skull staff, (10) a pot, (11) a noose, and (12) a hairless head in the left and right [hands]. **(19–20c)**

A circle [of the twenty-four d. akin ¯ ¯ıs] is on an all-colored lotus of forty-eight petals. On the twelve [circles], provided with sixteen gates, pleasing, and [complete with] thirty-two charnel grounds, [marks of] (1) knife, (2) jewel, (3) vajra, (4) lotus, (5) disk, (6) sword, (7) crossed vajra, (8) skull bowl, (9) hairless head, (10) skeleton, a powerful entity's head, (11) noose, and (12) hook are to be known: circular patterns [of these marks] are on the respective circles. Every [circle is] also [provided with] thirty-six spokes. A vajra on a lotus is [placed on] a sun [disk].<sup>847</sup> **(20d–23)**

<sup>846</sup> According to the *Bohita¯* (D 1419, 135r7–v1), the five seeds are *yam.* , *ram.* , *vam.* , *lam.* , and *sum.* , from which the wind, fire, water, and earth disks and Mr. Sumeru are developed.

<sup>847</sup> This paragraph means this: At the center of the whole man. d. ala, there is an all-colored lotus of forty-eight petals, where the twenty-four d. akin ¯ ¯ıs reside. Outside this lotus there are twelve circles, which are located in a concentric manner; on which there are twelve circular patters; and which are provided with thirty-six spokes. The meaning of the last line, "A vajra on a lotus is [placed on] a sun [disk]," is not clear. I speculate it as mentioning a part of how the deities on the man. d. ala are developed; they are developed from a vajra on a lotus placed on a sun disk. The *Bohita¯* does not explain this line. The *Ratnapadmaraganidhi ¯* (D 1516, 5v6–6r1) teaches a visualization of a five-pronged vajra on a sun disk placed on a moon disk as a practice to be performed immediately before the visualization of the Causal Vajra-holder (Causal Heruka). This is slightly different.

From the causal vajra,<sup>848</sup> [a man. d. ala] is developed, [which] consists of the five hundred and four and so on.<sup>849</sup> The wheel of man. d. ala completely manifests by ceaselessly singing voices<sup>850</sup> **(24)**

"O Lord, though people invite [you] to feast every day, why do you remain in emptiness? Please arise, O Lord, the compassionate one, for me! Please love [me]. O you Great Pleasure, Vajra-holder!<sup>851</sup> **(25)**

Please listen, please listen. The welfare of others has disappeared. As (*jima*) animals (people) are dying, so (*tima*) please love my blooming lotus, please make all people happy.<sup>852</sup> **(26)**

According to the *Ratnapadmaraganidhi ¯* (D 1516, 6v2 and 6v4–v5), verse 15.26 is recited by the second six of the twenty-four d. akin ¯ ¯ıs residing on the central lots: (7) Lam¯ a, (8) Yoge´svar ¯ ¯ı, (9) Bhadra, (10) ¯ Kapalin ¯ ¯ı, (11) Kank˙ alik ¯ a, and (12) R ¯ aj ¯ avart ¯ ¯ı, whose nature is compassion (the second of the Four Immeasurables).

<sup>848</sup> It is possible to interpret that the causal vajra means the Causal Vajra-holder (\**hetuvajradhara*, the *D. ak¯ ar¯ n. ava*, 15.17–18). According to the *Bohita¯* (D 1419, 136v2–v3), the Causal Vajra-holder is transformed into a fluid drop with his female consort. The *Ratnapadmaraganidhi ¯* (D 1516, 6v1–v7) expounds this meditation: after Causal Heruka (Vajra-holder) and his female consort have been melted and become a fluid drop, a five-pronged vajra appears from it; then, it is transformed into the man. d. ala. This suggests that the causal vajra means the five-pronged vajra, from which the man. d. ala is developed.

<sup>849</sup> The Sanskrit manuscripts' reading of *pañca´saccatur ¯ adikam ¯* literally means "fifty, four, and so on," which is obscure. It is "five hundred and four additional" (whose Sanskrit may be *pañca´satacaturadhikam*) according to the Tibetan translation and the *Bohita¯*. The "five hundred and four additional" makes sense. Five hundred and four is the total number of the twenty-four d. akin ¯ ¯ıs on the central lotus, the twelve groups of thirty-six d. akin ¯ ¯ıs (who are d. akin ¯ ¯ıs on the twelve circles), sixteen gates, and thirty-two charnel grounds: they account to five hundred and four in total. The "additional" or "so on" indicates the other deities on this man. d. ala. The *pañca´saccatur ¯ adikam ¯* ("fifty, four, and so on") is better in meter than the *pañca´satacaturadhikam* ("five hundred and four additional"). Therefore, I have interpreted that that the *pañca´saccatur- ¯* is used as a secret language to mean the *pañca´satacatur-*.

<sup>850</sup> The Apabhram. ´sa song in verse 15.25–28 is recited by the goddesses to entreat the melted Lord to arise for the sake of the world. Although the used words and phrases are different, and hence they cannot be deemed as equivalent verses, somewhat similar songs by goddesses to entreat the Lord in Apabhram. ´sa can be found in many Buddhist Tantric texts. As Isaacson (Isaacson 2007, p. 301) pointed out, the *Guhyasamaja ¯* is the first to teach this sort of song (Skt ed. (Matsunaga 1978), 17.72–75). In the *Guhyasamaja ¯* , the song is composed in Sanskrit. See also (Stephenson 2020), which is perhaps the most recent study of this topic, although it does not deal with the verses in the *D. ak¯ arn ¯ . ava*.

<sup>851</sup> According to the *Ratnapadmaraganidhi ¯* (D 1516, 6v2–v4), verse 15.25 is recited by the first six of the twenty-four d. akin ¯ ¯ıs residing on the central lotus: (1) D. akin ¯ ¯ı, (2) Rupik ¯ a, (3) Cumbik ¯ a, (4) Par ¯ av¯ r. tta, ¯ (5) Sabalik ¯ a, and (6) Anuvart ¯ ¯ı, whose nature is mercy (the first of the Four Immeasurables).

<sup>852</sup> The Tibetan translation, in which *jima* (for *yatha¯*) and *tima* (for *tatha¯*) are not connected together, reads verse 15.26 as follows: "Please listen, please listen. The welfare of others has disappeared. Animals (people) [look] as if (*jima*) [they] are dying. Please love my blooming lotus. Please also (*tima*) make all people happy." This also makes sense.

Please have sex, have sex with me, O Vajra-holder. The nature of the innate is beyond words. The other sentient beings become inanimate.<sup>853</sup> As long as you are in emptiness, it is useless.<sup>854</sup> **(27)**

You are a cause of all phenomenal existences. Why do you not come to and reside [in] the nature of the innate? Please love me in terms of the ultimate reality, so that you become equal to the world.<sup>855</sup> **(28)**"

#### **6.4. The First Sahaja (Innate) Layer**

#### *6.4.1. The Lotus (padma) at the Center*

Then, entreated with the song, Heruka has been aroused spontaneously. "*Om. , a¯h.* , the body, speech, and mind adamantine *hu¯m. phat. hoh.* "—with recitation of this mantra, [the practitioner] performs the instantaneous transformation: the hero of all (Heruka), with [his consort] yogin¯ı (Vajravar¯ ah¯ ¯ı), by nature, instantly emerge by means of the mantra. **(29–30)**

[Standing on] Bhairava and Kalar ¯ atri on fire on the sun [disk] on the pericarp ¯ [of the lotus], [Heruka] is dancing. [He should visualize Heruka] having the body [colored] half black and half green; [complete with] seventy-six arms; [having] seventeen [faces] with three eyes [on each]; wearing a crown of twisted locks of hair; being a hero; [having] a crossed vajra [on top of the head] and a half moon [on the head]; and always having [his] mouth open [and showing] large fangs from the right and left [parts of the mouth]. [Three faces looking to the south, west, and north are colored] yellow, red, and in sequence (viz., green), [respectively,] and the other [fourteen] faces are colored like a black bee.<sup>856</sup> [He should meditate on Heruka, who] <is greatly awful and laughs loudly and><sup>857</sup> is grinning and terrifying. **(31–34b)**

<sup>853</sup> For "become inanimate," the text is *danda ai¯* (for *dhandham. yati ¯* ). If *danda* indicates *dvandvam.* , the translation should be "perceive in a dualistic way".

<sup>854</sup> Acording to the *Ratnapadmaraganidhi ¯* (D 1516, 6v2 and 6v5), verse 15.27 is recited by the third six of the twenty-four d. akin ¯ ¯ıs residing on the central lotus: (13) Khan. d. aroha, (14) ¯ Sma´s ´ an¯ ¯ı, (15) Vidrav¯ı, (16) Kurukullika, (17) Rudant ¯ ¯ı, and (18) Nat. ¯ı, whose nature is sympathetic joy (the third of the Four Immeasurables).

<sup>855</sup> According to the *Ratnapadmaraganidhi ¯* (D 1516, 6v2 and 6v5–v6), verse 15.28 is recited by the fourth six of the twenty-four d. akin ¯ ¯ıs residing on the central lotus: (19) Rupi ¯ n. ¯ı, (20) Bhairav¯ı, (21) Sikh ´ ¯ı, (22) Sikha ´ n. d. ¯ı, (23) Jat. il¯ı, and (24) Rudra, whose nature is equanimity (the fourth of the Four ¯ Immeasurables).

<sup>856</sup> I consider these as parallel to the colors of Sam. vara's four faces that look to the four cardinal directions: the front (or east) face is black; the north face is green; the west face is red; and the south face is yellow (for example, *Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004), p. 35, l. 4). Meanwhile, "the other [fourteen] faces are colored like a black bee" (*bhr.ngasannibh ˙ a¯h.* ) appears to be an expression borrowed from the *Hevajra* (Skt ed. (Snellgrove 1959), II.5.12d) or *Sam. put. odbhava* (Skt ed. (DTC 2021), 3.1.17b), *bhr.ngasa ˙ m. nibha¯h.* (for describing Heruka's eight faces).

<sup>857</sup> This part may be an interpolation.

A bunch of weapons is to be known in the right and left [hands] in order. (1) An elephant's skin is [grasped] with [the first] two hands (the first pair of right and left hands), and (2) the womb hand gesture is [made] with with the second [pair of right and left hands]. **(34c–35b)**

[These objects are placed] in the right [hands] in order—(3) a vajra, (4) an *asi* sword, (5) a *kunta* lance, (6) a trident, (7) an axe, (8) a knife, (9) an arrow, (10) a pike-spiked corpse, (11) a hammer, (12) a disk, (13) a *d. amaru* drum, (14) a short sword, (15) a club, (16) a short javelin, (17) a conch shell, (18) a copper trumpet, (19) a short club, as well as (20) a tail-feather of a peacock, (21) a crow's feather quill, (22) a fire pit, (23) a mountain, (24) a stick, (25) a mirror, (26) a lute, (27) the foot, (28) the hand, (29) the lungs, (30) the small intestine, (31) Rahu, (32) an iron chain, (33) ¯ wooden fetters, (34) [an object called] *dubhu¯s. a* (or a peel, or a chain),<sup>858</sup> (35) a fish trap, (36) a decapitated corpse, (37) flaming sesamum, and (38) physical Bhairava (or a thing that appears horrible), in order. **(35c–39b)**

In the left [hands], there are (3) a bell, (4) a *khet. a* shield, (5) a tusk, (6) a pestle, (7) a noose, (8) a skull bowl, (9) a bow, (10) a skull staff, (11) a scripture, (12) bucklers,<sup>859</sup> (13) the threatening hand gesture, (14) a string of jingle bells, (15) a chain, (16) a rock, (17) powders from a charnel ground, (18) [a thing called] *bhoka* (or a lance),<sup>860</sup> (19) a *d. aka¯* (for *d. hakka¯*) drum,<sup>861</sup> (20) a wet skin, (21) a dangling hair braid, (22) a tinder for a funeral pyre, (23) the anus,<sup>862</sup> (24) a *phar¯ı* shield, (25) the head, (26) a skeleton, (27) a *ratrik ¯ a¯* sickle,<sup>863</sup> (28) the eye, (29) kidney, (30) large intestine, (31) the Saturn, (32) a stake, (33) a citron, (34) a saw, (35) a needle, (36) a full-body skin, (37) cloud with rain, and (38) a wooden hook. **(39c–43b)**

The weaponry in the seventy-two hands is thus to be discerned in order. **(43cd)**

<sup>858</sup> I am not certain of the word *dubhu¯s. a* or *durbhu¯s. a* ("badly adorning"?). In the *D. ak¯ ar¯ n. ava* (10.44b) and (29.10a), the Tibetan translations for that term are *sgrog* and *skogs*, which means a "chain (or some binding tool)" and a "peel," respectively.

<sup>859</sup> The translation is based on Tib (*phub chung yu can or phub chung*). This word, *pit. t. ani ¯* , appears three times in the *D. ak¯ ar¯ n. ava*. This word may come from the verb *pit. t. aya* ("to press into a small mass") or noun *pit. a* ("box").

<sup>860</sup> I am not certain of the word *bhoka*. In the *D. ak¯ ar¯ n. ava* (29.3c), the Tibetan translation for this term is *mdung*, meaning "lance".

<sup>861</sup> The name of this drum is *d. ukka¯* or *d. uka¯* drum in the other parts of the *D. ak¯ ar¯ n. ava* (10.46c and 29.3c). They also seem to be derived from *d. hakka¯*.

<sup>862</sup> This is a rock (*´sila¯*) in the *D. ak¯ arn ¯ . ava* (10.47b) and a mace (*gad. a¯* = *gada¯*) in the *D. ak¯ arn ¯ . ava* (29.4b).

<sup>863</sup> This is a short club (*dan. d. ika¯*) in the *D. ak¯ arn ¯ . ava* (10.47c) and *datrik ¯ a¯* sickle in the *D. ak¯ arn ¯ . ava* (29.4c).

A decoration (headband) made of five hairless heads,<sup>864</sup> an ornament of the six seals,<sup>865</sup> a garland of a hundred hairless heads [as a necklace],<sup>866</sup> sounding armlets and anklets, a garment [made of] some tiger skin, and a *romaval ¯ ¯ı* (or line of bodily hair) are on [his] body. **(44–45b)**

Before him is a great goddess [named] Vajravar¯ ah¯ ¯ı, [who is] as previously.<sup>867</sup> **(45cd)**

<[Vajravar¯ ah¯ ¯ı holds] an adamantine knife in the right [hand] and a skull bowl in the left hand; hugs the Blessed One (Heruka) around [his] hips with [her] two shanks and loves [him]; [has] one face; [has her] hair untied; is naked; is red in color; wears a garland of hairless heads [as a necklace]; is adorned with sexually attractive ornaments; is crowned with a string of skulls on [her] head; [has her] body smeared with divine perfumes; is decorated with anklets and armlets; is adorned with a divine garland; is ornamented with the six seals; [has] three eyes; [wears] a garland of hairless heads [as a necklace]; is adorned with jewelry; is flaming like the destructive fire [at the end of a *kalpa*]; and is shining with great fire. **(46–49)**> 868

[He should meditate on] moistures of pleasure of wisdom and means in all junctures throughout the body. He should visualize [himself (Heruka)] being splendorous with fires, [which assume the shape of] various [forms of] Heruka.<sup>869</sup> The vow-observer should give turbans to the heads of all [Herukas].<sup>870</sup> **(50–51b)**

Yogin¯ıs are on the lotus petals [facing to the four cardinal directions] such as the east [and] to every intermediate [direction]. [Yogin¯ıs] starting with D. akin ¯ ¯ı,

<sup>864</sup> The *Bohita¯* does not explain what this decoration is. I have interpreted it as a headband after having considered that it is parallel to the string of five skulls on the forehead (*lala¯t. ordhvapañcakapalam ¯ al¯ ¯ı*) of Sam. vara with four faces and twelve arms in the *Nis.pannayogaval ¯ ¯ı* (Skt ed. (Lee 2004), p. 35, l. 9).

<sup>865</sup> The six seals are symbolic ornaments made of bones and ashes, although these are not always identical. They are an ornament for the neck (*kan. t.hika¯*), a bracelet (*rucaka*), an earring (*kun. d. a*), a jewel on the head (*´siroman. i*), a sacred thread (*yajñopav¯ıta*), and ashes (*bhasman*) according to Luy¯ ¯ıpa's *Cakrasam. varabhisamaya ¯* (Skt ed. (Sakurai 1998), 7 (c)).

<sup>866</sup> In the *Nis.pannayogaval ¯ ¯ı* (Skt ed. (Lee 2004), p. 35, l. 8), Sam. vara with four faces and twelve arms wears a garland of fifty wet human hairless heads (*pañca´sats ¯ ardranara´sirah ¯ . ´sren. ¯ıkah.* ).

<sup>867</sup> It is not clear what *purvavat ¯* ("as previously [mentioned]") indicates. I consider that because of this obscurity, verses 15.46–49, which describe Vajravar¯ ah¯ ¯ı's physical features, were interpolated.

<sup>868</sup> This passage (15.46–49), which describes Vajravar¯ ah¯ ¯ı's physical features, can be found only in manuscripts D of the *D. ak¯ ar¯ n. ava* and the *Man. d. alarcanavidhi ¯* . The *Ratnapadmaraganidhi ¯* includes a passage that is slightly more extensive than this one (D 1516, 7v3–v6). It seems that this passage was not included in the original text of the *D. ak¯ ar¯ n. ava*. However, its description of Vajravar¯ ah¯ ¯ı's physical features does not contradict instructions in the other passages in this chapter.

<sup>869</sup> According to the *Bohita¯* (D 1419, 139v1), this line describes a visualization of Vajravar¯ ah¯ ¯ı. However, I have interpreted it as describing Heruka, or Heruka with his consort Vajravar¯ ah¯ ¯ı, who is resplendent with fires assuming the shape of various forms of Heruka. The "various [forms of] Heruka" perhaps indicate heroes (male consorts of d. akin ¯ ¯ıs) residing on the twelve circles, who are also called "Leader Heruka," "Light Heruka," and so on.

<sup>870</sup> According to the *Bohita¯* (D 1419, 139v2), this describes all heroes and their consort d. akin ¯ ¯ıs each wearing a turban on the head. However, I have interpreted it as describing the feature of fires assuming the shape of Heruka, who wears a turban.

twenty-four in total, are [arranged] by sixes. In this manner, D. akin ¯ ¯ı and so on, six [in number], are [arranged on the six petals] from the east to the north. Again, [arranged] from the north, Lam¯ a and so on, six [in number], are [arranged on the next six petals] ¯ to the west. [Arranged] from the west, "lineage" (viz., six) [yogin¯ıs] starting with Khan. d. aroha are [arranged on the next six petals] to the south. And then, [arranged] ¯ from the south, Rupi ¯ n. ¯ı and so on, six [in number], are [arranged on the rest six petals] to the east. **(51c–54b)**

(1) D. akin ¯ ¯ı, (2) Rupik ¯ a, (3) Cumbik ¯ a, (4) Par ¯ av¯ r. tta, (5) Sab ¯ alik ¯ a, and (6) Anuvart ¯ ¯ı are half black and half green [in color].<sup>871</sup> (7) Lam¯ a, (8) Yoge´svar ¯ ¯ı, (9) Bhadra, (10) ¯ Kapalin ¯ ¯ı, (11) Kank˙ alik ¯ a, and (12) R ¯ aj ¯ avart ¯ ¯ı are half green and half red, in order.<sup>872</sup> (13) Khan. d. aroha, (14) ¯ Sma´s ´ an¯ ¯ı, (15) Vidrav¯ı, (16) Kurukullika, (17) Rudant ¯ ¯ı, and (18) Nat. ¯ı are stated to be half red and half yellow.<sup>873</sup> (19) Rupi ¯ n. ¯ı, (20) Bhairav¯ı, (21) Sikh ´ ¯ı, (22) Sikha ´ n. d. ¯ı, (23) Jat. il¯ı, and (24) Rudra are goddesses [who are] half yellow and half ¯ black.<sup>874</sup> [Their physical features] such as weapons in [their] hands are [the same as those] of Var¯ ah¯ ¯ı. **(54c–58b)**

Skull bowls [filled with] the fivefold nectar of immortality are [placed] on the petals [located] between [the petals where the twenty-four yogin¯ıs reside]. **(58cd)**

Assuming the pratyal¯ ¯ıd. ha posture, [every yogin¯ı] wears a string of skulls and other [good ornaments]. [Every yogin¯ı] is to be discerned on [the lotus petals in] a counterclockwise direction, to have been born on the upper portion (summit) of Mt. Sumeru. **(59)**

< The lotus petals are thus [taught]. **(60)** > 875

### *6.4.2. The Adamantine Circle (vajracakra)*

Outside that is the Adamantine Circle. Inside [this circle, which is colored] dark bluish-black, are: (1) D. akin ¯ ¯ı, also (2) Lam¯ a, (3) Kha ¯ n. d. aroha, (4) R ¯ upi ¯ n. ¯ı, (5) Pracan. d. a, (6) Ca ¯ n. d. ak¯ s. ¯ı, (7) Prabhavat ¯ ¯ı, (8) Mahan¯ as¯ a, (9) V ¯ ¯ıramat¯ı, (10) Kharvar¯ı, (11) Lanke´svar ˙ ¯ı, and (12) Drumacchay¯ a. Likewise, (13) Air ¯ avat ¯ ¯ı and (14) Mahabhairav ¯ ¯ı

<sup>871</sup> They reside on the six petals between the east and the north. According to the *Bohita¯* (D 1419, 140r1–r2), d. akin ¯ ¯ıs (1)–(3) are colored black and d. akin ¯ ¯ıs (4)–(6) are green.

<sup>872</sup> They reside on the six petals between the north and the west. According to the *Bohita¯* (D 1419, 140r1–r2), d. akin ¯ ¯ıs (7)–(9) are colored green and d. akin ¯ ¯ıs (10)–(12) are red.

<sup>873</sup> They reside on the six petals between the west and the south. According to the *Bohita¯* (D 1419, 140r1–r2), d. akin ¯ ¯ıs (13)–(15) are colored red and d. akin ¯ ¯ıs (16)–(18) are yellow.

<sup>874</sup> They reside on the six petals between the south and the east. According to the *Bohita¯* (D 1419, 140r1–r2), d. akin ¯ ¯ıs (19)–(21) are colored yellow and d. akin ¯ ¯ıs (22)–(24) are black.

<sup>875</sup> This line (15.60) can be found only in manuscript D. Perhaps it was not present in the original *D. ak¯ ar¯ n. ava*. However, it is unlikely that this lotus circle is a part of the *vajracakra* or Adamantine Circle described below because the text explains that the Adamantine Circle is located outside this lotus circle (15.61a). The *Bohita¯* (D 1419, 140v1) and the *Ratnapadmaraganidhi ¯* (D 1516, 8r4) call this lotus circle *thig le'i 'khor lo* or "Drop Circle".

are taught to be here. [Here, are also] (15) Vayuveg ¯ a, (16) Sur ¯ abhak ¯ s. ¯ı, (17) Sy´ am¯ adev ¯ ¯ı, (18) Subhadrika, (19) Hayakar ¯ n. a, (20) Khag ¯ anan ¯ a, (21) Cakraveg ¯ a, (22) Kha ¯ n. d. arohika,¯ (23) Sau ´ n. d. in¯ı, (24) Cakravarmin. ¯ı, (25) Suv¯ıra, (26) Mah ¯ abal ¯ a, (27) Cakravartin ¯ ¯ı, (28) Mahav¯ ¯ırya, (29) Y ¯ amin ¯ ¯ı, and (30) Yumin¯ı, (31) Sam. calin ¯ ¯ı, (32) Trasan ¯ ¯ı, (33) Can. d. ika, ¯ (34) Sarasvat¯ı, (35) Icchasiddhi, and (36) Mah ¯ ajv¯ al¯ a. The color [of their bodies] is the ¯ same as [the color] of the circle (dark bluish-black). **(61–65)**

[Every] yogin¯ı on all [twelve] circles—she [has] four arms, [has] one face, holds a skull bowl<sup>876</sup> and a skull staff [in the two left hands], also [holds] a small drum and a knife [in the two right hands],<sup>877</sup> [has her] hair untied, is naked, [has her] body [ornamented with] the five seals, is adorned with a string of vajras, stands on a corpse, and is very terrifying; [she] wears various [good] ornaments<sup>878</sup> and is a wisdom accompanying a means (her male consort).<sup>879</sup> **(66–68b)**

The Formless Realm is thus [described]. It (the Adamantine Circle) is also proclaimed to be the *p¯ıt.ha* ("seat"), known to be the Joyful Level. [The *p¯ıt.ha* is inclusive] of, again, the *p¯ıt.ha*, *upap¯ıt.ha* ("near to the seat"), and the other [classes of holy sites]. The [entire body of the] Twelve Levels is also known to be in the middle of each individual Level.<sup>880</sup> Similarly, the entire [body of the three realms] is to be known in all individual realms.<sup>881</sup> **(68c–70b)**

[On each realm], there are thirty-six [couples of heroes and yogin¯ıs] in total; [it] consists in all merits and is powerful. In this way, [every] realm has the nature of the heroes and yogin¯ıs. In [all circles inside] the ring of mountains, classes of birth (*kula*) of sentient beings are to be generated in order; they are again divided into thirty-six [and arranged] in the respective places [on each circle] in order. **(70c–71)**

The Adamantine Circle, the first, is thus [taught]. **(72)**

<sup>876</sup> According to the *Bohita¯* (D 1419, 140v5), this skull bowl is used to hold the nectar (*bdud rtsi*).

<sup>877</sup> According to the instruction of Vajravar¯ ah¯ ¯ı's physical features (15.46ab), she holds a knife in the right hand and a skull bowl in the left hand. Therefore, I have interpreted that these d. akin ¯ ¯ıs hold a skull bowl and a skull staff in the two left hands and a small drum and a knife in the two right hands. The *Bohita¯* does not comment on this.

<sup>878</sup> The *Bohita¯* does not articulate what these ornaments are, but just explains their inner meaning; replete with all merits (D 1419, 141r1–r2).

<sup>879</sup> "Wisdom" (*prajña¯*) and "means" (*upaya ¯* ) signify a woman and a man, respectively, in Buddhist Tantrism.

<sup>880</sup> These lines say that each of the twelve classes of holy sites is inclusive of, or has the qualities of, all twelve classes of holy sites, and each of the Twelve Levels is inclusive of all Twelve Levels.

<sup>881</sup> This line means the following: The Adamantine Circle, the Heart Circle, and the Merit Circle are equated with the Formless, Form, and Desire Realms, respectively. At the same time, every one of these circles represents all the three realms, namely, the Formless, Form, and Desire Realms.

## *6.4.3. The Heart Circle (hr.dayacakra)*

Now, furthermore, I shall explain this, the Heart Circle, outside the [Adamantine Circle]. [Deities reside] in the middles of the circle's spokes colored in reddish-yellow as follows. **(73)**

[They are] (1) Vajradhar¯ı, (2) Aks.obhy¯ı, (3) Vairocan¯ı, (4) Ratne´sika, (5) ¯ Padmanart¯ı, (6) Amogh¯ı, (7) Locana, (8) M ¯ amak ¯ ¯ı, (9) Pa¯n. d. ara, (10) T ¯ ar¯ a, (11) ¯ Rupavajr ¯ a, and (12)(13)(14) ¯ Sabda, Gandha, and Rasa in the same manner (viz., ´ Sabdavajr ´ a, Gandhavajr ¯ a, and Rasavajr ¯ a), (15) Spar´sa (viz., Spar´savajr ¯ a) and (16) ¯ Dharmadhatuvajr ¯ a, (17) Khitigarbh ¯ ¯ı (for Ks. itigarbh¯ı), (18) Khagarbhak¯ı, (19) Pa¯n. ¯ı (for Vajrapa¯n. ¯ı), (20) Lokanath ¯ ¯ı, (21) Sarvan¯ı (for Sarvanivaran. avis.kambhin¯ı), (22) Samantabhadr¯ı, (23) Ratnolak¯ı (*m.c.* for Ratnolk¯ı), (24) Nairatmy ¯ a, (25) Bh ¯ r.kut. ¯ı, (26) Pan. n. asorika (for Par ¯ n. a´sabarika = Par ¯ n. a´sabar¯ı), (27) Yamantak ¯ ¯ı, (28) Prajñantak ¯ ¯ı, (29) Padmantak ¯ ¯ı, (30) Vighnantak ¯ ¯ı, (31) Acal¯ı, (32) N¯ıladan. d. ¯ı, (33) T. akkiraj ¯ ¯ı, (34) Mahabal ¯ a, (35) U ¯ s.n. ¯ıs. a, and (36) Sumbhar ¯ ajñ¯ ¯ı. The color [of their bodies] is the same as [the color] of the circle (reddish-yellow). **(74–78b)**

All other features [of the yogin¯ıs] such as [their] faces are [identical to the features of the yogin¯ıs] on the Adamantine Circle (i.e., one face and four arms). He should visualize [these yogin¯ıs copulating] with means (their consort heroes), [who] resemble the respective goddesses (their consort yogin¯ıs; *dev¯ına¯m. svabha- ¯* ), at [their places on this circle representing] the *upap¯ıt.ha*. **(78c–79b)**

[The yogin¯ıs' outer feature] is also to be discerned by the pratyal¯ ¯ıd. ha posture on all [twelve] circles. **(79cd)**

[This circle] is understood to be the Form Realm, the Stainless [Level], and the first continent.<sup>882</sup> **(80ab)**

Then, he should discern Leader [Herukas on the first circle]. Light Herukas are proclaimed [on the second circle]. Lotus Herukas are on the third. Space [Herukas] are taught on the fourth. Wind Herukas are on the fifth. Earth Herukas<sup>883</sup> are taught on the sixth. Fire Herukas are on the seventh. Water Herukas are on the eighth. Knowledge Herukas are on the ninth. Mind Herukas are on the tenth. Speech Herukas are on the eleventh. Body [Herukas] are taught on the twelfth.<sup>884</sup> **(80c–83b)**

<sup>882</sup> According to the *Bohita¯* (D 1419, 141r5), this continent is *zla ba'i gling*, whose Sanskrit can be restored as *candradv¯ıpa* (*Kalacakra ¯* , Skt ed. (Dwivedi 1994), 1.16.).

<sup>883</sup> For "Earth Heruka," the text is †*ddhi*†*heruka* (corrupted). As the Tibetan translation (sa yi he ru ka) suggests, this class of heroes must have the name of "earth," one of the Five Elements.

<sup>884</sup> The heroes from the fourth class (Space Herukas) to the twelfth class (Body Herukas) each have the name of the circles in which they reside. In the *Ratnapadmaraganidhi ¯* (D 1516, 33r7–34r1), these twelve classes of Herukas are connected with the teaching of meditative rotation (*kun du spyod pa*, \**sam. cara ¯* ). These Herukas are forms of heroes, whom a practitioner visualizes moving through the twelve circles from the Adamantine Circle to the Body Circle and then coming back to the Adamantine Circle. On the twelve circles, they behave as husbands of the yogin¯ıs.

Those twelve are greatly adamantine Herukas, [who are] not [taught] in any other tantras. Their outer appearance is in accordance with [that of] Heruka in union with the triple wheel.<sup>885</sup> A wise man should understand the colors [of their bodies as identical to the colors] of their respective circles. **(83c–84)**

The Heart Circle, the second, is thus [taught]. (85)

#### *6.4.4. The Merit Circle (gun. acakra)*

Now, outside that is a circle named "All Merits," [which is colored] whitish-red. He should place thirty-six women of morality, [who are] eminent, in the middles of [the circle's] adamantine spokes. **(86)**

(1) Brahma ¯ n. ¯ı ("*brahma ¯ n. a* woman" or a woman from the priestly caste), (2) Ks. atrin. ¯ı ("*ks. atriya* woman"), (3) Vai´sy¯ı ("*vai´sya* woman"), (4) S´udr ¯ ¯ı ("*´sudra ¯* woman"), (5) Can. d. alin ¯ ¯ı ("*can. d. ala ¯* woman"), (6) Suc¯ı (perhaps for Svac ´ ¯ı, *m.c.* for Svapac ´ ¯ı, "dog-cooker woman"), (7) D. omb¯ı ("*d. omba* woman"), (8) Nat. ¯ı ("dancer woman"), (9) Kapalin ¯ ¯ı ("skull-bearer woman"), (10) Kaivart¯ı ("fisher woman"), (11) Ven. unat. ¯ı ("flute-dancer woman"), (12) Sa´ nkhin ˙ ¯ı ("shell-bearer woman"), (13) Tantuvap¯ ¯ı ("weaver woman"), (14) Kandun¯ı (for Kanduk¯ı, "cook woman"), (15) Ka¯s. t.hakarik ¯ a ("carpenter woman"), (16) M ¯ alin ¯ ¯ı ("garland-maker woman"), (17) Tailin¯ı ("oil-treating woman"), (18) Chep¯ı (or Chey¯ı, "dyer woman"),<sup>886</sup> (19) Ko´sakar¯ ¯ı ("box-maker woman"), (20) Dhutin ¯ ¯ı (for Dutin ¯ ¯ı, *m.c.* for Dut¯ ¯ı, "messenger woman"), (21) Had. aga¯d. ¯ı ("bone-treating woman"), (22) Gan. ika ("courtesan" or "astrologer ¯ woman"), (23) Kallaval¯ ¯ı (for Kalyapal¯ ¯ı, "wine-seller woman"), (24) Kupar ¯ ¯ı (*m.c.* for Kupak ¯ ar¯ ¯ı, "well-digger woman"), (25) Rajabha ¯ t. ¯ı ("royal-soldier woman"), (26) Khat. t. ik¯ı ("hunter [or butcher] woman"), (27) Tambolavikray¯ı (for Tamb ¯ ulavikray ¯ ¯ı, "betel-seller woman"), (28) Suvarn. akar¯ ¯ı ("goldsmith woman"), (29) Lohar¯ ¯ı (*m.c.* for Lohakar¯ ¯ı, "blacksmith woman"), (30) Man. ihar¯ ¯ı ("jewel-carrying woman"), (31) Davak ¯ ¯ı ("forest-dwelling savage woman"), (32) Mlecch¯ı ("foreign woman"), who is Od. in¯ı ("woman from Od. ra or Orissa"), (33) Van. ij¯ı ("merchant woman"), (34) Pattharaga¯d. h¯ı ("masonry woman"), (35) Kr. s. ika ("farmer woman"), and (36) ¯

<sup>885</sup> The *Bohita¯* does not comment on this term "Heruka in union with the triple wheel" (*tricakrasam. varaherukam*). This term is obscure, but it seems to indicate Heruka with four faces and twelve arms. Heruka with the triple wheel serves as the core element that constitutes various forms of Heruka man. d. ala (such as the fivefold Heruka man. d. ala) in the Sam. vara tradition. The most popular form of Heruka in these man. d. alas is the one who has four faces (with three eyes on each) and twelve arms and who assumes the *al¯ ¯ıd. ha* posture. The *Ratnapadmaraganidhi ¯* (D 1516, 33r7–v7) provides two teachings. The first is that these twelve classes of Herukas have "the same faces and other [physical features] as before" (*zhal la sogs pa sngar dang mtshungs par*: D 33r7), which seems to mean the physical features of the heroes on the twelve circles from the Adamantine Circle to the Body Circle do. The second is that these twelve classes of Heruka each have "one face and twelve arms" (zhal bzhi phyag bcu gnyis pa: D 1516, 35r2).

<sup>886</sup> I am not certain of the word *cchep¯ı* or *cchey¯ı*. I have translated its Tibetan translation, *tshos ma*.

Carmakar¯ ¯ı ("leather-worker woman") are the yogin¯ıs [on this circle]. The color [of their bodies] is the same as [the color] of the circle (whitish-red). All other [features of the yogin¯ıs] are to be understood as the same as [the features of the yogin¯ıs] on the Heart Circle. **(87–91)**

On this [Merit Circle], he should recognize the *ks. etra* ("field," a class of holy sites). [The circle] comprises all classes of birth in the Desire Realm. They said [that the circle represents] the second continent.<sup>887</sup> [It is] itself of the nature of [united] wisdom and means. [The circle is] also the Luminous Level. [It is] itself to be venerated as a teacher. **(92–93b)**

[The yogin¯ıs'] mantras, [which involve] recitations of [their] individual names, are stated to begin with the letter *om.* . The letters *hu¯m. hu¯m. phat.* are [recited] exactly at the end. He should make [mantras of all yogin¯ıs] on all circles [in this manner]. **(93c–94b)**

Outside that, he should give a circle, [on which there are] two lines [colored] black and dark blue.<sup>888</sup> Gates, arched doorways, and altars are [on the circle], adorned with garlands of pearls and half-garlands of pearls. (1) Kak¯ asy ¯ a, [who is] ¯ like D. akin ¯ ¯ı [in color], is in the middle of the east gate; (2) Uluk¯ asy ¯ a is in the north; ¯ (3) the dog-faced one (namely, Sv´ an¯ asy ¯ a), in the west; and (4) S ¯ ukar ¯ asy ¯ a, in the ¯ south. As for the color, [these three] eminent ones are like Lam¯ a and the others. ¯ 889 [Yogin¯ıs] residing at the southeast, southwest, northwest, and northeast corners are (5) Yamada¯d. h¯ı, (6) Dut¯ ¯ı (for Yamadut¯ ¯ı), (7) Dam. s. t. r¯ı (for Yamadam. s. t. rin. ¯ı), and (8) Mathan¯ı (for Yamamathan¯ı) in order. Two colors should be evenly assigned [to them] in accordance with the [directions they] face, respectively.<sup>890</sup> **(94c–98b)**

There are east, north, west, and south divisions in all [four layers]. He should make [the four divisions] blackish-dark blue, green, red, and yellow in color, [respectively]. The Innate man. d. ala (viz., the Innate Layer) is thus [described]. As [the whole man. d. ala is] a fourfold circle (viz., comprises four layers), he should subsequently make the Dharma, Enjoyment, and Emanation Layers in order. **(98c–100b)**

The second [layer's outermost] circle (the Earth Circle) [has] three lines. The third [layer's outermost circle, viz., the Knowledge Circle, has] four lines. The fourth

<sup>887</sup> According to the *Bohita¯* (D 1419, 142r5), the second continent is *dkar po'i gling*, whose Sanskrit may be restored as *sitabhadv ¯ ¯ıpa* (*Kalacakra ¯* , Skt ed. (Dwivedi 1994), 1.16.).

<sup>888</sup> According to the *Ratnapadmaraganidhi ¯* (D 1516, 5v1), these two lines represent the two currents of vital air in the right and left inner channels.

<sup>889</sup> In short, these four gatekeeper d. akin ¯ ¯ıs have the same body colors as the four d. akin ¯ ¯ıs residing at the four cardinal directions on the central lotus. Kak¯ asy ¯ a is colored like ¯ D. akin ¯ ¯ı (black); Uluk¯ asy ¯ a like ¯ Lam¯ a (green); ¯ Sv´ an¯ asy ¯ a like Khan ¯ . d. aroha (red); and S ¯ ukar ¯ asy ¯ a like R ¯ upin ¯ . ¯ı (yellow).

<sup>890</sup> That is to say, Yamada¯d. h¯ı is colored half black and half yellow; Yamadut¯ ¯ı is half yellow and half red; Yamadam. s. t. rin. ¯ı is half red and half green; and Yamamathan¯ı is half green and half black.

[layer's outermost circle, i.e., the Body Circle] has five lines. Charnel grounds are on all [outermost circles] in order. He should make [the first, second, and third outermost circles] round in shape. [They are] understood to have grounds such as the outer [ground].<sup>891</sup> The circle with five lines (the Body Circle) is square [in shape] and is resplendent. **(100c–102b)**

The charnel grounds on the Innate Layer are explained here—(1) Can. d. ogra, (2) Gahvara, (3) Jval¯ akula, and (4) Kara ¯ nka. Horrible, they are located in the [four ˙ cardinal] directions, starting with the east [and going] anticlockwise. (5) At. t.at. t.ahasa ¯ is in the northeast; (6) Laks.m¯ıvana is in the southeast; (7) Ghorandhak ¯ ara is in ¯ the southwest; and (8) Kilikilarava is in the northwest. The charnel grounds are ¯ terrifying in appearance with howlings of vetalas, bh ¯ utas, and jackals. The eight ¯ charnel grounds should be placed in this order. **(102c–105)**

In addition, there are trees, the guardians of direction, serpent kings, and cloud kings in order—[The trees are] (1) Sir ´ ¯ıs. a, (2) A´svattha, (3) Kankeli, (4) C ˙ uta, (5) ¯ Vat.a, (6) Karañja, (7) Lataparka ¯ t. i, and (8) Parthiva. [The guardians of direction are] ¯ (1) Indra, (2) the wealth-giver (Kubera), (3) the Lord of Nagas (Varu ¯ n. a), (4) Yama the Lord, (5) ¯I´sana, (6) the fire (Agni), (7) R ¯ ak¯ s. asa the king, and (8) the Lord of wind (Vayu). [Serpent kings are] (1) V ¯ asuki, (2) Tak ¯ s. aka, (3) Karkot.a, (4) Padma, (5) Mahapadma, (6) Huluhulu, (7) Kulika, and (8) ¯ Sa´ nkhap ˙ ala. (1) Garjita, (2) Gh ¯ ur¯ n. ita, (3) Ghora, (4) Avarta, (5) Ghana, (6) P ¯ ura ¯ n. a, (7) Vars. an. a, and (8) Can. d. a—these are cloud kings. **(106–109)**

All is here in the charnel grounds; he should give a wreath of vajras [to them]. All is also to be done in this same [charnel ground]. [All is] taught to be both external and internal. **(110)**

The Merit Circle, the third, is thus [taught]. **(111)** The first layer. **(112)**

#### **6.5. The Second Dharma Layer**

#### *6.5.1. The Space Circle (ak¯ a´sacakra) ¯*

Now, the Space Circle outside [this] is like a dark blue lotus [in color]. Sky-going yogin¯ıs are in the middles of the thirty-six spokes [of the circle], as follows. **(113)**

<sup>891</sup> Every outermost circle has a three-layer structure: it consists of three grounds, which are arranged in a concentric manner. The three grounds are the inner ground, on which thirty-six pairs of d. akin ¯ ¯ıs and heroes reside, the middle ground, on which the four gates are placed, and the outer ground, on which the eight charnel grounds exist.

[They are] (1) Kinnar¯ı, (2) Gandhar¯ ¯ı (a particular *raga ¯* ),<sup>892</sup> (3) Huntak¯ı (perhaps for Hud. ukk¯ı, a kind of drum), and (4) Pa¯t.av¯ı ("skill," some musical instrumental of that name, or a corruption of Pat.ah¯ı, a kind of drum), (5) V¯ın. a (Indian lute), (6) ¯ Vam. ´sa (flute), (7) Mukund ¯ a (a kind of drum), (8) Muruj ¯ a (for Muraj ¯ a, a kind of ¯ drum), (9) Gaggarika (for Gargarik ¯ a, "water pot" used as a drum), (10) K ¯ a¯m. sa (some ¯ musical instrument made of "bell metal"), (11) Selendrik¯ı (for Sailendrik ´ ¯ı; some musical concept), (12) G¯ıta ("song"), (13) Kara ¯ d. a (for Kara ¯ t.a, a kind of drum), (14) ¯ Tamad. a (some musical concept), the excellent, (15) N ¯ r. tya ("dancing"), (16) L ¯ asy ¯ a¯ (dance representing love emotions), (17) D. ukka (for ¯ D. hakka, a kind of drum), (18) ¯ Tal¯ ¯ı (cymbal), (19) Sara ¯ n. a (producing a sound), (20) Dundubhik ¯ a (some musical ¯ instrument producing a sound like "dundubha"), (21) Modr¯ı (for Maudry¯ı, "hand gesture"), (22) Tan¯ ¯ı (melody passage), (23) Pañcama (the sound ¯ *pa*), (24) Nalav ¯ ¯ı (*m.c.* for Nalava ¯ m. ´s¯ı, "reed"), and (25) T. ambhak¯ı (perhaps for Tumbak¯ı ["of nasal sound"]; some musical concept), (26) D. amar¯ı (a *d. amaru* drum), (27) D. un. d. uk¯ı (some musical instrument producing a sound like "dun. d. u"), (28) Kahal ¯ ¯ı (a kind of drum), also (29) Orak¯ı (a kind of trumpet),<sup>893</sup> (30) Bhuk¯ ¯ı (perhaps for Bhukk¯ı, some musical instrument producing a sound like "dog's bark"), (31) Ghan. t.a (bell), (32) Ki ¯ nki ˙ n. ¯ı (small bell), (33) Ghurghur¯ı (jingle bell), also (34) D. ukolika (some musical concept) ¯ herself, (35) S´a¯nkh ˙ ¯ı ("conch shell"), and (36) Ghos. avat¯ı ("sounding"), [They are] eminent mistresses with companies. **(114–117)**

The colors [of these yogin¯ıs] are various and wonderful. Alternatively, [they have] the circle's color (dark blue). [They] dwell in the *upaks. etra* ("near to the field") [holy sites], are [inhabitants of] the third continent,<sup>894</sup> and are excellent. Residing in this continent, they belong to the class of sky-going females (*khecar¯ı*). It is the Radiance Level. [All twelve levels are] connected with their respective [classes of holy] sites such as the *p¯ıt.ha*. **(118–119)**

Also in this regard, in some cases, instead of a small drum and a skull staff, he can make [the yogin¯ıs have in their hands] their respective marks and [show their respective musical] gestures if he wishes. **(120)**

He should attach [images of] their respective lords to [their] diadems on all circles, because, in this [system, they are] of the nature of wisdom and means based on [their] class of birth being noble by nature. He should arrange many othe [physical

<sup>892</sup> Gandhar¯ ¯ı may be a corruption of Gandharv¯ı. However, "Gandhar¯ ¯ı" is a musical concept and "Gandharv¯ı" is a musical spirit, and both match the context.

<sup>893</sup> My translation of "Orak¯ı" is based on its Tibetan translation, *rwa dung*.

<sup>894</sup> According to the *Bohita¯* (D 1419, 143v1), the third continent is *ku sha'i gling*, whose Sanskrit can be restored as *ku´sadv¯ıpa*, roughly corresponding to *varaparamaku´sadv¯ıpa* in the *Kalacakra ¯* (Skt ed. (Dwivedi 1994), 1.16).

features of them] such as ornaments in the same way as previously [mentioned]. [Yogin¯ıs] on all circles have three eyes and are naked. **(121–122)**

The Space Circle, the first, is thus [taught]. **(123)**

### *6.5.2. The Wind Circle (vayucakra) ¯*

Outside that is the Wind Circle, colored in variegated dark blue. [Figures] of yogin¯ıs should be placed in the middles of the adamantine spokes in order. The wise should also know the other name [of their consort heroes], "Ak¯ a´sagarbha". ¯ **(124–125b)**

[The yogin¯ıs are] (1) Garud. ¯ı (female Garud. a), (2) Ham. s¯ı ("swan"), (3) Citr¯ı (some "multicolored" bird), (4) Kak¯ ¯ı ("crow"), (5) Bak¯ı ("crane"), (6) Tittirika ("partridge"), ¯ (7) Mayur¯ ¯ı ("peacock"), (8) Tamrac ¯ u¯d. ¯ı ("cock"), (9) Gudabulika (perhaps for ¯ Gudaculik ¯ a, some bird with "intestine-like crest"), (10) Komal ¯ a (some "charming" ¯ bird), (11) Par¯ avat ¯ ¯ı ("dove"), (12) Br.hatkak¯ ¯ı ("raven"), (13) Gad. in¯ı ("goldfish-carrier," some bird), (14) Kapiñjal¯ı ("pheasant"), (15) Suk¯ı (for Suk ´ ¯ı, "parrot"), (16) Mantr¯ı ("fowl"),<sup>895</sup> (17) Saras ¯ a ("swan"), (18) G ¯ r.ddha (for G ¯ r.dhra, "vulture"), (19) Ul ¯ uk¯ ¯ı ("owl"), (20) Cat. ika ("sparrow"), (21) K ¯ a¯s. t.hacat. ¯ı (*m.c.* for Ka¯s. t.hacat.ak¯ı, "wood sparrow"), (22) Cakravak¯ ¯ı ("chakra bird"), (23) Vr.ks. ara ¯ n. ¯ı ("tree-refuge," some bird), (24) Karkav¯ı (some bird), (25) Jalakak¯ ¯ı ("water crow"), (26) Bila¯d. ¯ı (for Bid. al¯ ¯ı, "cat," perhaps regarded as a flying creature), (27) N¯ılagr¯ıv¯ı (some "blue neck" one, perhaps from N¯ılak¯ s. ¯ı, "goose"),<sup>896</sup> (28) Sarik ¯ a ("myna"), ¯ <sup>897</sup> (29) Sena (for ¯ Syen ´ a, "hawk"), ¯ (30) Kunkumalol ˙ a (some bird whose "tongue [is colored] saffron"), (31) V ¯ a¯t. ir¯ı (some bird), (32) Kakaja ¯ nghak ˙ ¯ı (some bird with "crow-like shank"), (33) Sam¯ a (for ¯ Sy´ am¯ a, ¯ "cuckoo"), (34) Lehapis. t.a ("heron"), (35) Daddar ¯ ¯ı (for Dardar¯ı, "partridge"), and (36) Sr.galin ¯ ¯ı (some bird hunting a deer). **(125c–129b)**

The yogin¯ıs' circle is thus [described]. The color [of their bodies] is the same as [the color of] the circle of [their residential] place (variegated dark blue). Alternatively, [they] each individually should be understood [to have a different body color]. And [their physical features] such as hands are as before. All [couples of yogin¯ıs and heroes] are of the nature of wisdom and means. [Every yogin¯ı who] dwells in the *chandoha* ("milking together") [holy sites], is excellent, should be known to be [of]

<sup>895</sup> For the *mantr¯ı* (a kind of bird), see the *Samput. odbhava*, Skt ed. (DTC 2021), 7.4.58 (*mantr¯ı* = *khyim bya*) and DTC's translation for it ("cock").

<sup>896</sup> Alternatively, her name can be edited as Nalagr ¯ ¯ıv¯ı (some animal whose neck is reed-like).

<sup>897</sup> Manuscripts B and C and the *Var¯ ah¯ ¯ıkalpa* provide the reading of Marik ¯ a ("falcon"), which also makes ¯ sense.

the Hard-to-Conquer Level, and are approved to live in the fourth continent.<sup>898</sup> **(129c–131b)**

This layer (*cakra*) (the second layer) consists of the egg-born. [It is] triple, divided by quality. Consisting of three [circles], the third layer is formed by the moisture-born. The fourth layer, called "womb-born," is understood to comprise three [circles]. **(131c–132)**

The Wind Circle, the second, is thus [taught]. **(133)**

#### *6.5.3. The Earth Circle (medin¯ıcakra)*

Now, outside [that], I shall explain an excellent circle, named "earth," [which is] yellow in color according to its own nature and provided with thirty-six spokes. Thirty-six yogin¯ıs, [who] go on the ground, are [on the spokes] in order. **(134–135b)**

[The yogin¯ıs are] (1) Sim. gh¯ı ("lion"), (2) Vyaghr ¯ ¯ı ("tiger"), (3) Bh¯ımbha (perhaps ¯ for Bhambha[rav ¯ a], "cow"), (4) ¯ Sa´s ´ ¯ı ("hare"), (5) Gaj¯ı ("elephant"), (6) Mr.g¯ı ("deer"), (7) Marj ¯ arik ¯ ¯ı ("cat"), (8) Gav¯ ¯ı ("cow"), (9) Mahis. ¯ı ("buffalo"), (10) Turag¯ı ("horse"), (11) Jambuk¯ı ("jackal"), (12) Gan. d. ¯ı ("rhinoceros"), (13) Camar¯ı ("yak"), (14) Mu¯ s. ¯ı ("rat"), (15) Gardabh¯ı ("donkey"), (16) Bhed. ¯ı ("ram"), (17) Ajak¯ı ("goat"), (18) Ed. ak¯ı ("sheep"), in order, (19) Sv´ an¯ ¯ı ("dog"), (20) Sukar ¯ ¯ı ("boar"), (21) Bhall¯ı ("bear"), (22) D. an. d. ar¯ ¯ı (for Dan. d. ar¯ ¯ı, "elephant"), and (23) Muñjak ¯ ¯ı (some animal living on the *muñja* grass), (24) Vesara ("mule"), (25) Vil ¯ a¯s. ¯ı (for Vilasin ¯ ¯ı, "serpent"), (26) Aran. y¯ı (some forest animal), (27) Br.ha´svanik ¯ a (for B ¯ r.hacchvanik ¯ a, "big dog"), (28) Dro ¯ n. akak¯ ¯ı ("raven"), (29) S´ard ¯ ul ¯ ¯ı ("panther"), (30) Vya¯d. a ("snake"), (31) Citri ¯ n. ¯ı (some animal of variegated colors), (32) Kut. ika ("crooked," "camel"), ¯ <sup>899</sup> (33) Nakul¯ı ("mongoose"), (34) Kr.k¯ı ("lizard"), (35) Guha ("horse"), and (36) Gr ¯ amaniv ¯ asin ¯ ¯ı ("village dweller," some village cattle), the excellent. **(135c–138)**

The color [of their bodies] is the same as [the color] of the circle (yellow). Alternatively, again, [they] each [have] their respective colors. Having the nature of wisdom and means, [every] goddess dwells in the *upacchandoha* ("near to the milking together") [holy site]. She is [of] the Immediacy Level and is the Wisdom Perfection. [She] lives in the fifth continent.<sup>900</sup> [Their physical features] such as weapons are as before. [Every yogin¯ı's] physical body assumes the form of a woman. [However, each yogin¯ı's] face is taught to be in accordance with her own nature (animal face). **(139–141b)**

<sup>898</sup> According to the *Bohita¯* (D 1419, 143v6–v7), the fourth continent is *mi'am ci'i gling*, whose Sanskrit can be restored as *kim. naradv¯ıpa* (*Kalacakra ¯* , Skt ed. (Dwivedi 1994), 1.16).

<sup>899</sup> My translation into "camel," whose body is partially crooked, is based on its Tibetan translation, *rnga mo*.

<sup>900</sup> According to the *Bohita¯* (D 1419, 144v1), the fifth continent is *krung krung gi gling*, whose Sanskrit can be restored as *krauñcadv¯ıpa* (*Kalacakra ¯* , Skt ed. (Dwivedi 1994), 1.16.).

(1) Brahma¯n. ¯ı, (2) Mahe´svar ¯ ¯ı, (3) Kaumar¯ ¯ı, and (4) Vais.n. av¯ı are to be known at the east, north, west, and south gates, [respectively]. Then, (5) Var¯ ah¯ ¯ı, (6) Indr¯ı, (7) Can. d. ¯ı, and (8) Mahalak ¯ s.m¯ı are at the [four] corners. Forms and marks [of these yogin¯ıs] at the [four] gates are known to be like D. akin ¯ ¯ı and so on.<sup>901</sup> [The yogin¯ıs] at the [four] corners are like Yamada¯d. h¯ı and so on, [who reside at the outer four corners on the Merit Circle]. As three lines are also to be known on this [circle, connected] with the body, speech, and mind [aspects of the] *dharma*, <sup>902</sup> [it is] very resplendent with a *dharma* wheel. **(141c–144b)**

[Eight] charnel grounds are indeed taught in the middles of the blazing circles. He should arrange [the four] awful charnel grounds, (1) Mara ¯ n. a, (2) Sam. trasana, (3) Mah ¯ abhaya, and (4) Bhaya ¯ m. kara, in [the four cardinal directions] going counterclockwise; and (5) Ucca¯t.aka (for Ucca¯t.ana), (6) Vidves. an. a, (7) Mukana, ¯ and (8) Stambhana are at the [four] corners starting with the northeast. Then, he should place the trees [in these eight charnel grounds] in order. **(144c–146)**

Then, [the trees are] (1) a *puga ¯* , (2) an *aks. ot. aka*, (3) a *nal¯ ¯ıra*, (4) a *da¯d. ima*, (5) a *bilva*, (6) an *amalaka ¯* , (7) a *bijjora*, and (8) a *rudra*. He should place [them] in order. (1) Indr¯ı, (2) Yama, (3) Rudr ¯ a, (4) Yak ¯ s. in. ¯ı, (5) Bhutin ¯ ¯ı, (6) R. s. ¯ı, (7) Rak¯ s. as¯ı, and (8) Vayubh ¯ ary ¯ a—he should place the female world guardians. There are [also] female ¯ serpents and female clouds. He should place all [of them] on this [circle] completely. **(147–149b)**

The man. d. ala wheel is thus taught. He should make [it for the sake] of all [kinds of] success. [While performing a ritual to do so,] he should visualize a leader (hero) on this [man. d. ala], colored in accordance with the [purpose of] ritual. **(149c–f)**

The Earth Circle, the third, is thus [taught]. **(150)**

The second layer comprising [the Space, Wind and Earth] Circles. **(151)**
