Медитации на пустоту: объяснение шагов к пониманию того, что ничто не является самим собой, занятие 11

[Speaker 1]
So this is in Sanskrit.

[Speaker 2]
Satshifu hi chokshin me tokcham Rirat lingshin yinde yinpadi Sangye shinggu mikte yo warmi Jokhun namdak shingla chukpar shok Ilangur rabnamandala kamir yatha yami Sangye chodam sokhi chodnam la Jangchu bardu dakmi kyav suchi Dagyi chodhyeng gibe sunam ki Turla bhenchir sangye chukpar shok Sangye chodam sokhi chodnam la Jangchu bardu dakmi kyav suchi Dagyi chodhyeng gibe sunam ki Turla bhenchir sangye chukpar shok Sangye chodam sokhi chodnam la Jangchu bardu dakmi kyav suchi Dagyi chodhyeng gibe sunam ki Turla bhenchir sangye chukpar shok

[Speaker 1]
You okay? You're not sick, right? No, he's sick.

Okay. So, Dr. Kramer found the original Sanskrit for this verse that was quoted by Chandrakirti about the sankhyas. He just says, the sankhyas say, and sometimes it says the sankhya shung says, the classic of the sankhyas, but he found it in a text called, what is it called?

[Speaker 2]
The sankhya karikas.

[Speaker 1]
The sankhya karikas. And it's all pretty much what you would expect. The nice thing is it says, na pakartir na vikartir because we weren't sure about this last syllable.

Some of the, like half the books have yin, but here it's very clear, neither nor. Okay, na. Okay?

The rest is pretty self-explanatory. It's nice that we have a word for namgyur vikartir. Okay?

mahat, it's confirmed that it's both shonays. And, it's nice to have it. tsaway nam shing mu la pakartir mu la pakartir.

pakartir. Okay.

[Speaker 2]
I'm really impressed that when Chandrakirti says that he's saying what they say, they do, and we still agree that they say that.

[Speaker 1]
Yeah, because they haven't had contact for 700 years, right? Yeah, more, 1300 years. That's cool.

1300 years later, it's still the same. Between Chandrakirti and the Sanskrit? Yeah, it's kind of cool.

Chandrakirti has quoted them faithfully, is Ben's point. Yeah. Yeah.

So far, I mean, we don't know about it. I don't know about you. Okay.

So, I was kind of advertising, hopefully, that we get to see something about the interaction of the vikartis. Like, what's the interaction of all these guys? These 25, how do they interact?

And how does that relate to getting to freedom? So, we still have that to go. And then we're going to retreat back to GOMS PA RAB ZAL itself by Je Tsongkapa.

And that will give us enough ammunition to go do the one verse in Venerable Utpala's text, and a more serious section in your text. All right. And this is kind of what I want to do with the mind-only school.

I want to overkill it. And I want to understand it more than the text. Then I want to translate the text.

And that's going to... So we just started building up texts that we could read, to read the one we have. And we found a lot.

Okay. We found 13 volumes in the ten year mind-only. And I'd say we have about six or seven commentaries that will help.

Tsongkapa himself is not enough to understand what he's doing, because he uses a lot of nicknames. RIM PA'I DE'I RNAM PAR GYUR BA'I TSOR THAMS CAD SKYES PAS, BSTOD PAR SKYES PAS, SKYES BU NYE BAR SKYES PAS, THAMS CAD SKYES PAS, BSTOD PAR SKYES PAS, SKYES BU NYE BAR GSAL BA POR, JI LTAR RGYUR BA'I SPYOD PAR BYA STE RIM PA'I DE'I RNAM PAR GYUR BA'I TSOR THAMS CAD SKYES PAS So that's the order in which the whole group of expressions start. One leads to the other.

Do we need to review that? No. You understand it.

They are triggered in the order that they were listed. And then he says, so that's how they grow. Then, SDOD PA SKYES PA'I SKYES BU SDOD PA SKYES PA'I SKYES BU means Purusha, who suddenly got this craving for what?

What was the example?

[Speaker 2]
Sound.

[Speaker 1]
Sound, yeah. Purusha wants... And it could be Adam and Evacuo.

It could be man wanted something to do. I have a feeling, I was sleeping on it last night. I was thinking, it's probably like man wanted...

Man wanted. And so Prakruti made sound. And I think it's something that mythical.

And I think Purusha stands for all people or something like that. Anyway. So Purusha, who SKYES PA SKYES BU who got...

Two different uses of SKYES. SKYES BU, who suddenly got a desire. Got some desires for something.

Wanted things. And it's similar to the Buddhist creation. The Abhidharma garden story.

Garden of Eden story. SDOD PA SKYES BU Then how is it that Purusha becomes the immediate eater? NYES BAR BSAM PA PO How does Purusha become the immediate eater?

So far we had Atman as the eater. And it was tempting to say it was Prakruti, but we're not sure and I don't think it is. So how do they become a consumer?

I'm not sure. JI LTAR GYUR BA GYUR PA BYA. I'll tell you.

GYUR PA BYA And this is where it gets really mythical. SNGA BA LA SOGS PA'I BLO'I DBANG PO What are those? In Sanskrit.

SMAD LEN GRIYA The mental sense powers, he calls them, as opposed to the karmendriyas, the things that do things, the ear and the rest. Meaning, yeah, sense powers. YID KYIS PHYIN PA LAG PA BDAG GIS They get some kind of blessing from the mind.

They are somehow influenced by the mind. RGYUN GYI BSLAB normally means blessing. But RGYUN GYI BSLAB can also mean like miraculous transformation or something.

So they are RGYUN GYI BSLAB by the mind. BDAG GIS YONGS SU GSUNG BA'I BRAL BA SOGS PA DAG LA Then because of that, YONGS SU GSUNG BA'I RGYUD the objects to which are held by the senses, meaning sound, etc. LOD GZHAN PAR BYED LA The mind takes a liking to them.

The mind wants them. Bodhi wants them. BYED PA LA DE NAS LOD GZHAN PAR BYED PA'I DON LA Then the objects which Bodhi is attracted to, SKYE BU SEMS PAR BYED TE Purusha starts thinking about them.

Go figure, I don't know. DE DAG SKYE BU SEMS PAR YOD PAS RANG GI NGO BO YIN PA'I PHYIR Because the nature of Purusha is to have a mind. To possess a mind.

This SEMS PAR means thinking, thoughts, as opposed to mind. SEMS PAR YOD PAS RANG GI NGO BO YIN PA'I PHYIR Meditation, if you want to make it un-understandable. Thoughts.

That's why the very nature of mind is to have thoughts. Sorry, Purusha. DAG YOD DAG NYE ROL LUNG SPYOD DO ZHES BDOD DO Then it says to itself, I would like to experience NYE ROL LUNG SPYOD DO I would like to enjoy, in the sense of experience, these objects.

DAG, I would like to experience these other objects. These objects of the sense. DE DAG BDOD PA'I YOD NYE ROL LUNG SPYOD SPYOD Then it goes ahead, because of that desire, DE DAG BDOD PA'I It goes ahead and engages in the objects.

It enjoys the objects. Now it gets spiritual. DE DAG BDOD PA'I YOD NYE ROL LUNG SPYOD SPYOD So out of desire, out of its desires, Purusha engages in those other objects.

Sound. Sound has been supplied as per its orders. The restaurant order.

And it experiences those objects. GANG GI TSE CHAGS PA CHUNG BA NYID KYIS And gradually the desire lessens. GANG GI TSE And at some point, the desire for the object gets less and less, having experienced it.

Just like girlfriends and stuff. Geshe-la, can I ask a question? How do you know that CHUNG BA is saying becomes less rather than just less?

Literally it says, due to the lessening-ness. CHUNG BA NYID THAR THI LONG NAS Due to the lessening, it becomes a gerund. Due to the lessening of the desire, at that point, GANG GI TSE, then SKYES BU, Purusha gradually starts to lose CHAL BA its desire, its attachment to those objects.

It gets tired of those objects. It doesn't want them as much as it used to, because it had them enough. And after it loses its attachment to those objects, DE'I TSE And then RIM GYIS means gradually, gradually, it begins to meditate on concentration, on meditation.

It begins to meditate. Purusha begins to meditate. BSAM LDAN DGONG It begins to go into states of meditation.

And LHA'I ZHES PA YANG LDAG PA'I LAM It takes on a divine aspect, a divine mental aspect. Purusha, person. And it gets LHA'I DMIGS This is one of the five types of visions.

It's called the five eyes. CHEN NGA This is called the eye of a deity. He acquires the eye of a deity, and with that eye, he looks upon Prakruti.

Okay. And when he does, then that one, which I take to be Prakruti, when he does that, then he, meaning Prakruti, when Purusha does that, looks upon Prakruti with his deva aloka, with his deva eyes, then, like the wife of another, like another's wife, she becomes shy. Prakruti becomes shy.

ROL TSA means, it's not quite shame, it's more like, don't stare at me, I'm somebody else's wife. Like a woman of another man, she gets embarrassed or shy. ROL TSA BAR GYUR PAS BDAG LA MI MTHRO ZHIG MTHO BA'I RGYUD RO I don't know what this means.

It's suspicious. BDAG LA MI MTHRO means it doesn't get angry at the Atman. It's suspicious.

It doesn't make a lot of sense. And it becomes divorced. BDAG LA MI MTHRO ZHIG MTHO BA'I RGYUD So I don't know what that part means.

Isn't upset at the Atman. And MTHO BA'I RGYUD means they become separated. Maybe Purusha and Prakruti, I think.

They get divorced. Well, it's coming. RNAM PAR RGYUR BA'I TSUL THAMS CAD KYANG And all those expressions that had popped out in sequence, SKYE BA'I RIM PA LAS RDOG PA We get the reverse of how they popped out.

They start to withdraw. So last, first, next, next. They start to withdraw.

They start to stop. RDOG Reverse their process. And they are slowly withdrawing.

All the expressions are withdrawing. DGOS NAS DE NYID DU RAB TU ZHI BA'I PHYIR And in the end, they reach a final peace in suchness. Or in it, which could mean Prakruti, I don't know.

We had DE NYID problems yesterday, right? When was it yesterday? DE NYID referred to in Seiji's text.

Yeah, in Seiji's text. It's about the wisdom of Purusha. And I didn't lose $50.

So what DE NYID refers to, we don't know. But given the context, I would say they withdraw back into Prakruti. Into that thing.

And then it becomes some kind of vague entity. We sell it way more. Vague, unclear entity, we sell.

I think, yeah. It becomes some kind of amorphous mess. It's lost its expressions.

And at that time, SKYES BU GNAG GCIG GNAG GCIG means, that one and only that one standing there all by his lonesome. So GNAG GCIG means all by his lonesome. Maybe it's kaivalya?

That's bashipa. But it's a similar idea. It means, yeah, it could be kaivalya.

And here they finally clarify who it is that's left. GNAD means left. Only one of them is left, and that's Purusha.

And because he's the only one left, we call it liberation. That's liberation. They cheer.

Therefore, because he's the only one left standing, we call it, he's free. He's finally free. DE NYID RNAM PAR RGYUR BA'I ZHAR ZIN GYANG And that, which I take to be Purusha.

The person who's left standing. The one thing left standing, who's now liberated. We say, it's BDAG PA.

It's said to be BDAG PA. Unchanging. That Purusha is now unchanging.

Why? Because RNAM PAR RGYUR BA'I ZHAR ZIN GYANG Even though expressions have made their appearance. By the way, I think all these ZHAR's are mistakes.

What does ZHAR mean like that? I think it's got to be ZAR. And I think this is ZHAR BA.

It doesn't make any sense. ZHAR BA by itself means a deer. I think it's an error.

We will have to check a carving of the auto commentary to the Majjhima Kavatara. We'll have to check the carving for this. It's 293B.

But I think it's ZHAR BA. And Jigme is really good at finding these things. The scan.

She can get you the scan. She's good at finding the scan. I predict that it will reveal that this is misspelled.

Because ZHAR, high tone would mean they make their appearance, but low tone ZHAR means lame, bad leg. And this ZHAR means deer, and I think they're both misspelled. I think they were ZHAR BA.

I'm not sure.

[Speaker 2]
So probably ZHAR and ...

[Speaker 1]
It could be a past tense of ZHAR. It just smells bad. Something's wrong here.

We could look up a piece of it and see if anybody quoted it. Okay. In the dictionary here, I don't know if this helps, but it says ZHAR BA is not being in full possession of one's learning, and that's okay.

It could be like LAM. It's just pretty difficult. I suspect it's eat.

But I think they're both eat. But I'm going to go look elsewhere. Let's try these two places.

Okay, that's our text. And it says ZHAR BA and ZHAR ZIN. There's five matches.

Oh, this is Tsongkhapa's explanation of all that. He skipped that part. He did it just before, and he came up and did this.

And he skipped that part. Sneaky. That's not nice.

Yeah, here also, this person skipped it. Oh, that's Tsongkhapa again. Yeah, this person skipped it.

Yeah, yeah. Oh, is it a different one? Yeah, everybody skipped it.

Everybody left out that piece. Sorry. But we can figure it out from the skin.

We have a skin. It could be an artificial past tense of ZHAR BA, which means to make a disappearance. But then ZHAR BA doesn't make any sense.

What I would say is, SNAM PAR GYUR BA ZHAR ZIN KYANG ZHAR BAR MI GYUR BA GNYIS KYIS Although it has consumed the expressions, it has taken, it has enjoyed the expressions, because of the fact, GNYIS KYIS, because of the fact that he will no longer consume. Because he's tired, right? He lost his desire.

Because of the fact he is no longer consumed, now he is just standing, isolated entity. YANG DGAR BA means isolated. By himself, by himself, by his lonesome.

YANG DGAR BA means isolated. BDAG TU, he will forever stand there in liberation. Therefore, we say he's unchanging.

He used to eat expressions, but now he's not eating them anymore. And because he's not eating them anymore, and because he's now standing in a state of stasis, stasis, isolated from the rest of the universe, we say he's unchanging. It is said that he is unchanging.

That may be one of the qualities of Atman we had in the beginning. So maybe that Atman is Purusha. Maybe it's Purusha in the end.

Oh, yeah, it makes sense because he's listing attributes that were in that verse. What was the second attribute in that verse? Do you remember?

[Speaker 2]
No, we had a list of qualities. Oh, not the maker of results.

[Speaker 1]
Yeah, here's maker. I think we've gone to that list. Oh, what's it say?

Not the maker?

[Speaker 2]
Not the maker.

[Speaker 1]
Yeah, because this can be read as, it's Prakrti who's the maker.

[Speaker 2]
Right, should be.

[Speaker 1]
GNYIS, and only Prakrti. The GNYIS means Prakrti, and only Prakrti is the maker. And of the expressions, some of them are also makers.

[Speaker 2]
That's what that is in our verse from the Tantras.

[Speaker 1]
But GNYIS, the Atman, which maybe it's the evolution of Purusha after all this is done. Maybe, because in sequence, he's now been perfected. And we're calling him, he's been called Atman since he stopped being Purusha.

I'm just saying that those qualities may refer to the finished state of the liberated being, and maybe he gets to be called Atman, I don't know. But anyway, that's why the verse says he's not a maker. GNYIS, BYAS SPYOD DO BYAS SPYOD DO means that's why the verse says he's not a maker.

Why? Because with respect to what he used to do, BDAG GIS BYA BA, with respect to his functions, former functions, he's become NYON MLA'I GYIN. You know NYON MLA'I because of NYON MLA'I PA.

It's oftentimes the author of a Buddhist scripture will sign it. This was done by NYON MLA'I PA, Losang Chukyi Gyeltsen. He often calls himself NYON MLA'I PA, the lazy, the indolent one.

So NYON MLA'I PA is a literary word for indolent. So Purusha has become indolent with respect to his functions. And that's why we call him not a maker, in the root verse.

What was the next?

[Speaker 2]
Yeah, it's an unchanging thing which is a functional thing.

[Speaker 1]
Oh, that he did already.

[Speaker 2]
That he did already.

[Speaker 1]
You got any more?

[Speaker 2]
Yeah. He doesn't possess the green eyes.

[Speaker 1]
Oh, that's coming up next. Okay, here we go. GNAS BA LUNG CHUB PA PO GNYIS GYIS KYI MED PA'I TSUL GYI BSTAN GSOS MA NYID DO When we call him an experiencer, I think it must come in the verse there somewhere.

[Speaker 2]
Oh, in that verse, right? Purusha is the niger, we said he's niger and evolutionary, maker, already evolutionary.

[Speaker 1]
Well, this sentence, this short sentence says why he is an experiencer is something we already explained in the process we just described. Why he is an experiencer, which is really the same as sapo. So maybe they're glossing sapo, which was the first one, I think.

Now, LTOS DANG SNGON PA DANG GNYIS RNOD GYI RANG BZHIN MED PA'I PHYIR LA YIN DANG MED PA'I GNYIS RNOD And he only doesn't have the gunas because he lacks the nature of these three. So they're talking about rajas, tamas, Sorry Rajas, tamas and sattva. Now they're kind of switching to the word akhman up here.

You see? They're not saying Purusha anymore. So somehow they're talking about it feels like, I don't know Masocha's system very well, but it feels like they're talking That after he gets perfected and isolated, and everything else has become an amorphous mess, he's Atman.

He's like the single godhead. And he doesn't have a quality of those three gunas, which is something that the Vaisheshikas don't agree. They differ from the Sankhyas.

They say those gunas are the foundation of all things. Everything has to have them. ,GAL POR BYED PA NI MA YIN PA'I PHYIR, I would read it as because he doesn't cover all things.

Because he's not the universal god or something. Because he doesn't extend to all things. We say he is the one without action.

,DE LTA BU NI, ,SKYE BA'I KHYAD PAR DAG GOD, These are the qualities of purusha. So it's clear. We were calling it prakirti for a while.

Now we know better. So those qualities that were listed are qualities of purusha. These are the features of purusha.

I don't know. He doesn't specify. But the verse, the reason we're studying this is that we want to know what's atman when we deny atman.

And we're getting out of seven subjects, we're getting, the first one is, what do the non-Buddhist schools think is atman? In the discussion of atman. And we're discussing it because we want to know what's the object that ignorance thinks it sees.

So we're going to describe atman according to non-Buddhist schools. So we're going to describe atman according to the Buddhist schools. DE LA RANG BZHIN GNYIS BYAS PA PO YIN PHYIN Now, it's only prakirti, which is the doer.

Are we already covered this? No. And some of the expressions also, from among the expressions, some of them also act as doers.

So prakirti is the big doer. But some of the expressions also have results, right? So they're also doers.

PHYIR LA SHES GANG MED NA What are they talking about when they say that? Somebody says. When you say some of the expressions also do things, can you clarify?

Okay. I think that's where it's going. SNGA MA RGYUR BA GANG DAG GCIG NI BYAS PA PO NYID YIN LA GANG DAG GCIG NI BYAS PA PO NYID MA YIN ZHES NA He says, can you list which of the expressions are agents and which are not?

What number of the expressions are BYAS PA PO agents and what number among them are not BYAS PA PO?

[Speaker 2]
He probably, I thought he just, he never showed, he gave us a list of seven post-prakirti.

[Speaker 1]
I don't know. DI LA BYAS PA'I PHYIR PA BYA BA'I PHYIR Let's go into a little detail on this. Who's talking?

We're still in Chantakirti. Let's go into a little detail on this. Yes, I will.

BYAS PA BYA So, DI LA, I take it to be from among the NAM GYURs. On this subject, DI LA.

[Speaker 2]
I don't know.

[Speaker 1]
We're not in Chittapas, so don't think we went to Vaisheshika or something. He's just, I'm going to expand a little bit on the NAM GYURs. The NAM GYURs.

The vikartis? I'll say a little bit about, somebody came up and asked, well, who's doing what here? If some of the expressions are agents, who and how?

And then Chantakirti agrees to talk about it, basically. That's what's going on here. He could have said, check other texts.

This is the mean way to answer a question. DU'O Rajas, tamas, and sattva. These three are the three gunas.

Which in Tibetan is particle, darkness, and courage. The three sattva, the three gunas. Particle, darkness, and courage.

And again, particle can have connotations of menstruation, or of dust, or of dirt. In the sense of what you sweep up, or something like that. Or it can also mean atomic particle, but not here.

DU'O has sometimes... It's going to be for lazy people, and he's about to explain that. So here we get into the personality trait part.

He's going to talk about it a little bit. Are you ready? DU NI YOD NA SBYUG PA'I DANG NYID CHEN NO The nature.

DANG NYID CHEN means, it's the Atman and Mahatma, right? It means it's a combination. And then he's going to define each of the three gunas in the way that Buddhists define the elements.

Which Adam will tell you, often involves a... This is a $2 question. It's always two things.

YANG ZHIG YOD BA SA ZHIG BSAD PA SA ZHIG BSAM BA Okay. He seems to be following this pattern. So what he's...

DANG NYID CHEN here, which is Atman. This spelling means, this usage of it means a combination of, or an embodiment of. It's an embodiment of YOD BA and SBYUG PA.

Movement and initiative. Doesn't sound like Thomas, right? But here, I would translate it as, I would translate it as movement and initiative, or something like that.

We're talking about YOD NA? Yeah, we're talking about Thomas. Oh, sure?

Well, that says dual. I'm sorry, rajas.

[Speaker 2]
Rajas.

[Speaker 1]
I'm sorry, I'm sorry. Yeah, I'm sorry. You're right.

Yeah. Rajas is of the nature of action and initiative.

[Speaker 2]
That's it.

[Speaker 1]
MUN PA, Thomas, is of the nature of CHI BA and YOD PA. Okay, dullness and heaviness? Yeah, heaviness and coherence.

Adherence, really. YOD means to join, in the same way YOD. YOD PA means to combine things.

What was the definition in Adam's text of birth? SA GZHIG BSTAN PA Solid and supporting.

[Speaker 2]
Solid and supporting. We had a what?

[Speaker 1]
You're thinking of YOD BA in wind, but this is YOD PA. Different word. So YOD PA, the word YOD occurs in Tibetan nowadays for YOD PO, which means slave or servant.

Connected, attached person. So YOD means to attach. I like, to be frank, when I don't know, when I just want, I'm feeling lazy, and I just want an English word in my face.

See, here's attendant. Here's salary of an attendant. Here's a cover.

Oh, I'm sorry. I'm sorry, I misspoke. YOD does mean to cover.

Let me find it for you. Yeah, instead of attach, but I'm going to get it for you. Here it's a, well, here it's a maid servant.

Here it is, cover. Yeah, I'm sorry, it's a cover. And it's sometimes a verb for clothing.

Okay, here's, DU YOD means upper cover. Yeah, I'm sorry, I misspoke there. Okay.

Here it's to hide or conceal. So it's... Conceal?

Heavy and... What do you call that when the clouds are... Now you feel...

Almost oppressive, I think. It's almost oppressive. It's like a blanket, or a blanket of clouds.

Stifle is pretty good. Yeah, heavy and stifle. I like stifle.

I think stifle would be pretty cool here. So they can't move? That's what it looks like.

No, it implies hidden from view, almost. Or smothered. Smothered.

Because it applies to blankets and clouds. And clothing on your back. Okay.

SNYING RTOGS BSAD PA is a... DANG NYID CHEN is a combination, again, of two elements, right? YANG BA and RAB TU GSAL BA Lightness and brightness.

Yeah, don't forget you don't have to translate Sanskrit prefixes. You don't have to say super clear. You can just say bright.

Got it? Now this is pretty sexy. When we speak of pleasure, pain, and DMUGS, dark ignorance.

I like to translate it as dark ignorance. It's an emphasis on the darkness. These are synonyms for these three.

Oh, that's wonderful. But it's not in order, is it? It's not respectively, is it?

Happiness, pleasure, pain, and darkness are synonyms for these three. And the syntax of the Tibetan or the Sanskrit DMUGS means... I would feel comfortable translating as this is what we're talking about when we say that old expression pleasure, pain, and dark.

We're actually referring to these ancient three gunas. So it feels like there used to be some kind of... It feels like the center of the wheel of life or something.

DMUGS is definitely the third. It's always called DMUGS in the middle of the wheel of life. The other two are more like desire and anger.

But it almost seems like he's referring to some other list that people knew about. When we talk about pleasure, pain, and dark, this is what we're talking about. That's what this sentence says, if you're very sensitive to syntax.

Okay. Oh yeah. Yeah, I guess.

And Tamas is DMUGS, right? So that leaves righteousness to be DMUGS. Now I get a little lost here.

Okay. DI DAG BYANG YANG PA'I GNAS SKABS When these three are in equal balance, when there's a balance between the three, BYANG YANG PA'I GNAS SKABS in occasions where there are BYANG YANG PA, that's what we call pradhana, soul, principle, the main one. That's the main one.

Sometimes CI TSO is a synonym for Prakriti. The general principle of the world? Something principle.

Root principle. TSO in Buddhist literature, it came to mean God. The big one.

Main man. PRA BU is another translation. Pradhana.

[Speaker 2]
That original verse, right? It wasn't just RANG BZHIN, it was like TSO LO RANG BZHIN.

[Speaker 1]
But sometimes they call it RANG BZHIN TSO. TSO LO RANG BZHIN. So I don't know if it's talking about Prakriti.

Anyway, when they are balanced, that's called the principle. P-A-L. DER YIN DANG BDAG TSO BA'I GYUR CING RAB TU GZHUR GYUR CING Because in that case, the gunas are the main thing.

And because they have been pacified. They become principle and they are quiet. DE DAG RNAM PAR MI RGYUR BA'I GNAS SKABS MED RANG BZHIN BYAS MO If you reach a point where they are never changing.

What do you call that? What's the word for it? There's a word for it.

Where they don't change, where they don't ever change. RNAM PAR MI RGYUR BA'I Where they become very stable. Where they no longer vary.

Something like that. Then we say they have prakirti. They're being prakirtish.

When they're not undergoing transformation, we call it He uses an adjective of ending, prakirti-ish. We call it, they've reached prakirti. I don't know.

Let's keep going. Like asking me to explain science. I don't know.

Okay. RANG BZHIN LAS CHEN PO BDE Now earlier on in that progression of how things flow out of prakirti. In a sequence, right?

Prakirti leads to buddhi, leads to ahamkara, leads to the tanmatras, leads to the mandendras, leads to the karmendayas, leads to purusha. Or something like that. There was a flow.

He says, let's talk about that one. When we say mahat, chenpo comes from RANG BZHIN, prakirti. When we say big, comes from nature.

That was the first part of that process. When we say mahat, it's just a synonym for buddhi. So he made it formal.

Mahat is just a synonym for buddhi. So don't worry about it. And then ahamkara, pride, comes from big.

That ahamkara is of three types. Number gyurwa, changing. Bearing nyingtop chen, having sattva.

And munpa chen, having darkness. I guess that's maybe this is raja sattva and tamas all over again. Okay.

One is the same. One is very similar. And the other one can be read as movement, right?

Changing. So that has three, that comes in three parts, three versions. ,GAL LA RNAM PAR GYUR BA'I SNGAG YANG, ,LAS NI DE TZAM SNGAGS PAS, When ahamkara is acting in a changing way, you get tanmatras.

Tanmatras. I think so. You get form, sound.

[Speaker 2]
Oh, the tanmatras.

[Speaker 1]
Yeah. When ahamkara changes his tune, he creates these tanmatras. The objects of the five senses.

Visible things, hearable things, smellable things, tasteable things, and touchable things. To say them easily. Now, from nothing more than them, which is a pun.

Tanmatra. You see, tanmatrat. From nothing more than those guys.

It's a joke. Yeah, yeah, yeah. The tsam dak le.

From nothing more than them. It's a pun. You get the elements.

And then he gives the five elements. So when ahamkara, ahamkara is feeling like productive, he turns into the five tanmatras. Right?

But it's still to come what happens when he's feeling courageous or dark. Now this is just in his first mode. In his changeable mode.

When ahamkara's feeling changing, productive, he spits out then ahamkara spits out the tanmatras. And from nothing more than them occurs the elements. Which means, sa chu me lung nam ka.

Five elements, including space. We just started! Oh yeah, we're going to keep going because we're into her time now.

And they're both the reasons why we got stuck in the Sankhyas. It's your fault. It's good to have something to blame.

Now, when Nagyal's feeling nintok chen, sattvic, when ahamkara's feeling sattvic, in Tibetan, courageous. From him, from him comes the five karmendriyas, the five organs of action, which are lakpa, hands, arms, kangpa, feet, ku, bongho, dom, probably misspelled. I think it's ao.

Let's give it a vote here. Here it's different meaning.

[Speaker 2]
He can say it to Ezra.

[Speaker 1]
Well, this being a British reprint of an Indian's work, there's not going to be a lot of dirty words here. They were Victorians. Come on, you guys.

I know you're in here. There you go. It is apostrophe.

So misspelled here. It should be a dom. It could be an allowable variant, a dom cup, I don't know.

I doubt it. Dom, sexual organ, and the five manendriyas, meaning the eye, the ear, the nose. Adam's going to tell us the rule for telling between ear and nose.

The word ear has an R. The word nose has an S. They're both N.

But one has an R on top and the other one has an S on top. So that's a clue, that's a trick of how to remember. She remembers snot.

LO'I DBANG PO NGA PO I'm going to cut it here by the way just to make it easier for you later. The manendriyas, the five mental powers, the eye, the ear, the nose, the tongue, and the skin. That's interesting.

You usually see it as body, but it is your skin, which is the organ of tactile sense. That was kind of cool. Then the thought, the mental sense, which in a way is a dag nyi chen, again a combination or an embodiment of something else, of other elements.

So think of dag nyi chen as being a combination of other elements. Here he says it's a combination of both. I think that's what he's saying here.

Is it somehow that the mind is a combination of a manendriya and a karmendriya? I have a question for you though. In the list of the 25, what comes after the karmendriyas?

That's worth some thampa for sure. Somebody go find it. I think there was one that was said.

There's a karmendriya, a manendriya, and then a karmendriya. But what's the next one after? I think there's a karmendriya and then a karmendriya.

Was it Purusha? Purusha's at the top. Yeah.

In the original verse he says that No, actually the lower one was supposed to be six. Right. And Yi was the last one because he said, didn't he say make up to originally he just did the list of all six.

I believe, isn't it the manendriyas are six? Come on Mr. Dictionary. Are the manendriyas six in the original list?

[Speaker 2]
In the original list he says maha. He says the list of seven would be starting with maha.

[Speaker 1]
No, that's Tantra's maha and ahamkara. I think. Come on, Yi.

Let's go back to loy ngurmo. Yeah, we got to go to the other document I was in. It's your document.

I think it's your document. Oh, five. Oh, I see.

They have the mental sense. That's weird. Oh, that gets nasty.

That gets nasty. I usually see it presented separately. Yeah, this list gives it as budendrianas.

Budendrianas. Budendrianas. The five are called budendrianas.

And only one is called manendrianas.

[Speaker 2]
Manendriya. That kind of changes the way they usually present it.

[Speaker 1]
Okay, well in this list in your text, it's not, as I've been saying for two days, manendrianas are five or six. This text lists them as five. And they call them budendrianas.

Budendrianas. And then it separates out the power of the mind as manendrianas.

[Speaker 2]
Usually minuses separate from minuses.

[Speaker 1]
Yeah? So where did I get that from? It must have been a third text.

It wasn't from his verse in Chandrakirti that he talks like that. No, maybe it was from Shakyamuni. Oh, yeah.

[Speaker 2]
It was right after Chandrakirti gave us that verse. It was right after he gave us the verse, then the verse splits off.

[Speaker 1]
No, it's this guy's fault. Yeah, it's his fault. It's Shakyamuni's fault.

He said the six low ones. Here. Okay.

From eye up to mind. That's where I got it from. So maybe he's confused.

[Speaker 2]
And that's him talking about the group of seven that includes...

[Speaker 1]
No, he's talking about the 25. You want to know the 25? Here they are.

prakirti, buddhi, also called mahat, ahankara, the five tanmatras, the five elements, and then the six manandas. Then your guy, Choney Lama, split the six into five and one and put mental power after alone, put it alone, which fits where we are now. Okay.

Because where we are right now, it goes on to describing five, right? Eye, ear, nose, tongue, skin, and then the one which is the mind, which is a combination of both. Both what?

I don't know. The last two things presented by the doctor. It could also be something.

[Speaker 2]
Bodhin.

[Speaker 1]
No, I think he's talking about a combination of these two kinds of powers. It's both a power of action and a power of consciousness. That makes sense if you see the mind as the source of karma.

Now, what happens... I would take it to be we split off mental power because it's both kind of powers. It's both indriyas.

Bodhi indriya and karma indriya. Now I'm changing my indriya too. And it is the manindriya.

The manindriya. But you're not sure. Wormwood karma six is a manindriya, but I think he's wrong.

,MOD PA CHEN GYIS SNGA RGYAL NI, Now what happens if ahankara gets dark? Gets tamasic.

[Speaker 2]
I apologize. So now we're saying it's a combination of the karma indriyas and the indriyas.

[Speaker 1]
No. Karma indriyas and bodhi indriyas equals manindriya.

[Speaker 2]
Okay.

[Speaker 1]
I like it. Your text, put it that way. Okay.

Choney Lama, put it that way. ,RGYAL LONG ZHES RAB DBANG PO, added the mental power to the five powers of mind. Yeah.

But Chandrakirti and Choney Lama separate it out by itself. When it's separating it out, when it is separated out, it alone gets the name of manindriya. And the other five get to be called bodhi indriyas.

Bodhi indriyas. Yeah. We're still in Chandrakirti.

Yeah, we're still in Chandrakirti. Now, what happens if we're going to go backwards from here to Tsongkapa, and then we're going back to your two texts and hopefully knock this thing out so we can go on. Which is what Utpala is hoping for.

Okay. Okay, Mumbachan. Now, suppose Ahamkara gets tamasic.

Okay. He says it acts both ways as it does on the other two occasions. That's a cheap way out.

It acts both ways as... It acts in the way... It acts in ways combining both of the other two Ahamkaras.

[Speaker 2]
It would make more sense.

[Speaker 1]
Yeah. He's almost making tamas kind of act.

[Speaker 2]
I know, I know.

[Speaker 1]
It'd be easier if it had said deactivates the other two. But he said activates the other two.

[Speaker 2]
Or switch directions sometimes. That'd be fine.

[Speaker 1]
You could read this sentence as saying... I mean, I could twist it to darkness is the original state of the other two. And then they wake up and do their thing.

You could say that. You get this dark Ahamkara at the beginning of the other two Ahamkaras. You can read the Tibetan that way.

I don't know if it's helpful. Yeah, he can write a letter.

[Speaker 2]
Okay.

[Speaker 1]
Oh, we're almost done.

[Speaker 2]
But he's done.

[Speaker 1]
Okay, this is clear, unfortunately. Mahat, Mr. Big, and Ahamkara, pride in Tibetan, and the five tanmatras, the five basic building blocks, is the way I would say it. They are both rangshin and number.

Yeah, they are nature and expressions. And the five tanmatras. They are both.

And the ten powers, meaning five karmendriyas and five budendriyas, along with yi, which is manendriya, making a lemon, right? And along with the great elements, which is five, sa chu me lung nam ka. They are only numbers.

Okay. They are only expressions. Those only need to be expressions.

[Speaker 2]
I mean, this is directly instead of what we were taught in the virtual experience.

[Speaker 1]
It's the verse, yeah. He's about to say that. Rangshin ni, but nature can never be an expression.

It's always never an expression. Okay, you know. ,ZHES BYA BA NI GZHUNG LUGS SO, That's what the verse is saying.

,JI LTAR BYANG BA CHEN, ,DE DAG GIS, ,DE LTAR KHYAD LA'ANG BA DE BZHIN DU, ,DE YIN YAS PA CHUNG ZAD LA BRTEN NAS, ,MU THOD CHEN RNAMS KYI LUGS THA DE PAR BSGYUR TE, They started with the Sankhya system and there came to be other groups that split off from them. ,YE BA CHUNG ZAD CHUNG ZAD LA BRTEN NAS, It broke into sub-schools. Due to that, we get lots of different tirthika systems, non-Buddhist systems.

For example, the first one I'd like to talk about is the detailers. And then I cut it there. I cut Chandrakirti there.

Because he's done with the Sankhyas. He's moving on to the Vaisheshikas. Now, we have struggled through Gelong Sherab Wambo and Chandrakirti.

[Speaker 2]
Chandrakirti gives it pretty serious.

[Speaker 1]
Yeah, and his treatment is unusually readable. It's not typical that a ten-year material is that readable. So his auto-commentary is...

It's almost conversational. Yeah, and that's not typical for any ten-year writer. So, thank you Chandrakirti.

You were almost clearer. He was clearer than Tsongkapa. Now Tsongkapa's commenting on Chandrakirti.

[Speaker 2]
Someday someone's got to give his auto-commentary.

[Speaker 1]
Yeah, that'd be sexy. Because it's not that hard. I believe the Dalai Lama has taught it in the South.

Maybe that's why. It's pretty easy. Okay, so we got the verse, right?

Let's see if there's more. Now we're continuing back to Tsongkapa. Okay?

Now we get Tsongkapa rehashing Chandrakirti. So you can say you've been through the Tsongkapa inversion. But I don't think he's going to say anything new.

It's just nailing it down for you guys. I'm just trying to get you there. I don't want to overkill it, because it's so confusing.

DE LA BDE BU RAB TU BYAS PA'I NA RANG BZHIN We call RANG BZHIN RANG BZHIN because it RAB TU BYAS PA's results. We call RANG BZHIN Prakirti. I put the Sanskrit here for you because it Prakarana's results.

It's a pun in the Sanskrit. Rather Tsongkapa knew it was a pun. I suspect he did.

And it comes from Chandrakirti. So most of what you're going to see here is a very close rendering of Chandrakirti. By Je Tsongkapa.

He's practically taking it directly out. Why do we call this thing nature? Prakirti?

Because it Prakarana's. Lots of results. It's very productive.

SKABS GANG DU BYAS NA When does it do its overproducing? Under what circumstances does it produce? SKABS DUS PA MTHONG BA'I DUS SO When it sees that Purusha wants something.

And it personifies both of them. When it sees that baby Purusha wants something. And it's a little clearer than Chandrakirti.

GANG GIS ZAS BDAG LA SOGS PA'I YIN NYON LONG SPYOD PA'I RNAMS PA CHEN GYI BDOD PA BSKYED PA When it starts to feel, when Purusha starts to feel this wanting, what does the wanting look like? He wants to see what it's like to experience sounds. Objects like sounds.

Then what happens? They'd say, at that time, Prakrti recognizes the desire that Purusha has. Prakrti recognizes this desire.

YONGS SU BSHAD PA And it joins with SKYES BU. And here it's more clear than Chandrakirti's wording. You have the word, with.

I think Chandrakirti just said, BLAG BLAG SBYOR But Tsongkapa adds, with. So it's more clearly that somehow they combine. They join.

You want to use this one? Then, and then, DE NAS Now, so is being used for Prakrti. Prabhu or Pradhana.

Then, number one, which is how a god idea is referred to later in Tibetan literature. Then the main guy, Mr. Main Guy, provides. DJIN Gives.

Like DJIN DE BAR MI DANG Gives. Sound. Supplies the sound.

Then the first principle supplies the sound. First principle meaning Prakrti. DE'I TSUN NI, DI YIN TE Well, what's the process by which first principle supplies sound to its baby little Purusha?

Prakrti produces Mahat. And in turn, this KYANG means in turn, DE LAS KYANG And in turn, Mahat produces Ahamkara. Pride.

And from that comes the eleven powers. Now we know five budendriyas, five karmendriyas, karmendriyas, and single manendriyas. Yeah, those eleven.

And the five tanmatras for a total of sixteen. Starting with the wangpos. Starting with the indriyas.

Five indriyas, five indriyas, one indriya, and five tanmatras. Sixteen. Sixteen.

By the way, we are now sankhyas. We are counters. We're doing it right now.

We just became sankhyas in the real sense. They're always like, no, the five made the six, and then you get the seven. We just became sankhyas because we're dealing with sankhya.

Yeah, shorty. Sankhya means numberist, a derivative of sankhya. And by the way, it's a second column, right?

Khya. And the prenasal doesn't come from the labial row. It cannot.

You cannot say sankhya in Tibetan, in Sandhi rules of Sanskrit. It's illegal. A guy would smash you in the head if you were his student.

You say sankhya. That's the prenasal for the guttural row. The prenasal for the labial row is M.

Sampatti. Meditation. You see?

Pet peeve of mine. Okay. From mahat comes ahamkara.

From ahamkara comes total of eleven indriyas and five tanmatras for a total of sixteen on that side. A group of sixteen. Sokso.

And then this le kyang again means Good, I'll kiss you. From the sixteen in turn come the five elements. And this gets confusing.

[Speaker 2]
This gets confusing here.

[Speaker 1]
chu druppo le kyang jungwa nga Cut the sentence there. If I was going to be nice to you I would actually create a separate pair there. And that's why they say the five tanmatras of sound and the rest make the five elements.

Okay. She's quoting somebody but it's in the middle of his other sentence and it's really messy. It gets really confusing.

I'm going to go back. From those sixteen come the five elements. And that's why they say the five elements come from sound and the rest which are from the tanmatras.

Okay. He's just repeating part of the process but it's confusing because it sounds like the process reverted a little bit. Remember, you know.

That's the stages of how things come out of prakriti. Prakriti to make purushi happy. Who wants to hear something?

When the verse says these are not expressions, I'm sorry, it's talking about I guess now we know it's purusha, right? Prakriti is also not an expression. I'm sorry.

Yeah, you're right. I think it's talking about prakriti actually. When it says it's not an expression, what it means to say is that it only produces results.

It only hyper-produces results. And it's also to say that it is not itself an expression such as mahat and the rest. I'm just giving you the...

You translate it into normal English. I'm just trying to catch all the Tibetan words for you. Now he's going to repeat that thing which we've heard twice already and now we understand already.

Mushi musim. He's doing mushi musim between being an expression and a doer. We just had a guy who's a doer but not an expression.

CHEN PO LA SOGS PA BSDOD NI MAHAT MAHAT and the other six.

[Speaker 2]
Yeah, good.

[Speaker 1]
They are both BA'ANG BA'ANG They are both producers and they are expressions, meaning causes and results. And he repeats that sweet thing by somebody. CHEN PO LA SOGS PA YANG RANG GI RNAM GYUR LA LTOS NI RANG BZHIN Somebody translate it.

By the way, it's a long class. If somebody needs pee-pee, just go. You don't have to be filled.

If you need something, just go because this is a long one. CHEN PO LA SOGS PA YANG Just give me LTOS and we're done. I know Sugeng can give me TUD GRUB.

I'm not even looking at you. I'm just waiting to hear it. You are behind me, right?

What is TUD GRUB the definition of? Reliance? Of dependence.

TUD NAS GRUB PA is the definition of dependent origination. That which occurs in reliance. That's the last time I'm giving it to you for free.

Next time I'm charging you. Okay? So if this means rely on, now do this.

Sentence up the kamma for me.

[Speaker 2]
Okay. MA THOD MA THOD And the rest, though, themselves, are dependent.

[Speaker 1]
Come on. This was sexy. Somebody must remember.

I'll give it to you. Relative to.

[Speaker 2]
Oh yeah, right.

[Speaker 1]
Yeah. It's there. Relative to their NAM GYURS, they are RANG BZHIN.

[Speaker 2]
Relative to the things that are expressions of them, they themselves are Prakriti.

[Speaker 1]
Prakriti-ish.

[Speaker 2]
Prakriti-ish.

[Speaker 1]
We can call them doers relative to their own results. But relative to, now he modifies Prakriti. Mother Prakriti.

Mama Prakriti. Relative to Mama Prakriti, Mula Prakriti, they are NAM GYURS. No, the DO name means relative to.

You see? Relative to a thing's results, it's a cause. Relative to a thing's causes, it's a result.

That's all. That's all. It's got three things here.

Okay. Now that was the second MU. Both IS and IS.

The first MU was A but not B. The second MU so far is A plus B. Guess what's coming next?

Well, it happens to be the other one. B but not A. LO'I DBANG PO LA SOGS PA The buddhendriyas, those sixteen, meaning mahabhutas and malendriyas are only NAM GYURS.

They're only expressions. B but not A. They are in no way prakritis.

They are in no way natures. And then NYID KYANG MA YIN PAS MU Good, I'm glad you didn't say the MU which is neither. What's the MU which is neither?

Purusha. Purusha is the thing which is neither. Okay.

Now he's going to go through the process of liberation that Chandrakirti mentioned. Which is kind of a process of isolation, right? SNGA BA LA SOGS PA'I DBANG PO NA The five buddhendriyas of Ira and the rest.

Why he didn't start with Nik, I don't know. Maybe, yeah. They get somehow fairy dust sprinkled on them by manendriya, the mind.

They get they get somehow transformed by the mind.

[Speaker 2]
You've been through this process.

[Speaker 1]
Yeah. YOD SU GSOS PA'I YUL LA SOGS PA'I DANG LA BLO BZHIN PA'I PHYIR LA And then the mind starts to get attracted to the objects that it is holding, such as sound and the rest. And from that BLO BZHIN PA'I PHYIR PA'I DANG LA SKYES BU SEMS PA BYAS NO This is weird.

And from that Oh yeah. From the objects to which mind is attracted, purusha starts to have thoughts towards them. Purusha starts to think about them.

Because the objects of the senses are detected by buddhi, purusha gets into the picture thinking about those objects. If I hadn't had Buddhism, don't think you're so intelligent that you could have figured it out. You would be a die-hard sankhya.

And you'd have a sankhya children's group pin. You would have been. We're not intelligent enough to have or maybe we are, to have outgrown our childhood and what we were taught in school.

We would have been Hitler Youth. Given the circumstances, if it was your culture, you would have done it. We are not so intelligent that we would have been the one to go to jail or something.

DE LTAR YULA CHOS DUS KYI CHOS DUS PAS Purusha wants to take part in its objects, sound and the rest. And therefore, it begins to take part or to experience them, to taste them. And then at such time, kangre say, at such time as its attraction to those objects begins to lessen.

Then he adds something. Tsongkapa adds something. That's why I threw him in here.

Between the three, right? Chandrakirti, Yelung Shuk, and one more, and Tsongkapa. He says, SKYID BU YULA GNYIS MI GZOD BSTAD PA Purusha begins to see problems in these objects.

We didn't have that before. Yeah, it begins to think these are not quite perfect. It starts to see less than perfection in those objects.

Like, you know, you stay with your girlfriend one night and it's really exciting in high school, and then the second night she starts to snore and her nose and stuff come out. I mean boyfriend also. But you begin to see the defects in something after long, after you've been exposed to it for a while.

BYA PA DANG MTHAL BAR GYUR PA And then he loses his attraction. So we had our MTHAL BAR before and we didn't know what it was. It just said separated, right?

So here it is. Begins to lose his attraction for it. And in time, RIM GYI, DE TSE, at that point, RIM GYI in time starts to meditate.

Starts to engage in meditation. And because he's doing something, because he's doing meditation, he achieves clairvoyance, which we call the eye of a deity. And this is misspelled.

ZHES here is misspelled. It should have been ZHES. He starts to develop that clairvoyance called the Deva Chakshu.

Deva Chakshu.

[Speaker 2]
To make it what?

[Speaker 1]
I'm not going there. You can go there if you want to. At which point you twist this into Buddhism.

That's up to you.

[Speaker 2]
Okay.

[Speaker 1]
And because he has this new faculty of Deva Chakshu, Danyasayi, he can look upon TSO, which here we take as Prakrti, Prabhu or Pradhana. He can look upon the big one. And DE'I BSTAN PA DANG, when he has looked upon it, now he clarifies who gets shy.

Because in Chandrakirti he didn't say who it was, and it could have been taken as Purusha got shy. But here it says TSO will get shy. Prakrti gets shy.

Prakrti gets shy. I supplied Prakrti, but he didn't say. And I could have read it as Purusha in ten percent of the syntactical chances.

But here I'm happy because by having a third point of comparison we know it's Prakrti who shies away. GZHAN GYIS BU MA'I LTAR Yeah. By the way, this LTAR, which means similar to someone else's wife, is not the same LTAR that Chandrakirti used which meant to look upon another's wife.

Okay? He used LTAR who was looked at, who got looked at by a man on the street. Okay?

Not like that. He uses LTAR as like a, similar to a, it's just a small difference, becomes shy. NGO TSA means abashed.

It means exactly abashed. It's not really shy. That's a different word in Tibetan.

Abashed means shrinks slightly. Yeah, it is. But that has a specific technical meaning that's different.

The plane back to China is going to fall down. Now we get a clarification of what was a little murky in Chandrakirti next. He said divorced from or something.

She no longer goes to the Atman and she stays apart from him. I'll read it that way. Right here, it says dakla.

That's how I'm reading it. And I believe it's correct. Sometimes I'm not sure and sometimes I'm pretty sure.

This I'm pretty sure. That's illegal in this room. No, put this away.

No, not good for our students. Okay. It's chocolate.

No, it'll make you stupid. Dakla Mendo. I was in Barnes & Noble and Flagstaff.

A couple walked in, tourists, because often tourists are traveling through there to the Grand Canyon. They look like they're from Romania or something. And they have a five-year-old kid.

They buy a chocolate chip cookie like this and they give it to the kid to shut him up. He eats for 20 minutes. He's next to me.

And then he starts screaming. And they start hitting him and stuff. And I'm like, I should hit you.

You're the one who gave him the chocolate chip cookie. And I was like, how long does it take to figure out that you shouldn't eat that stuff if you don't want to cry? All right.

Who made this one? Who made this one? Dakla Mendo Shindogyo.

I would read it. I would keep the personification going here if I was translating. She no longer wants to go to the Atman.

Because remember, she's going to stand alone now. She's going to be a single mom. Oh, but she's not a mom either.

She's not a producer. Okay. Dakla Mendo Shindogyo.

And this is nice because this is the future tense. Chandrakirti gave us the past tense. She decides, I'm not going to him anymore.

Future tense. And I'm going to stay apart from him. She makes a decision.

Purusha makes a decision. I will stand alone. And that's liberation.

That's liberation. And then he did the same thing. It's changed to dak, right?

Yeah, here, dak. Okay, now, NAM GYI RGYUD TSOG THAMS CAD KYANG, SKYE BA'I RIM PA LAS BDOG DGONGS NAS Then you get almost like a dissolution process like we have in the Vajrayogini practice. It's a dissolution practice.

So you're supposed to reverse now. And you could lay it out for somebody. Manandriya dissolves into Manandriya dissolves into the Mahabuddhas, dissolves into the Buddhindriyas, dissolves into the Karmindriyas, dissolves into the No, Tanmatras, dissolves into the Ahamkara, dissolves into the Bodhi, dissolves back into the Bhakurti.

So you got to reverse it. That's all he's saying. I think I got it out of order, to be honest.

So all these NAM GYIRS, the whole club of expressions, the whole little club, that little group, all those expressions begin to melt back into RAB TU THIM, see? That's a THIM PAR BRGYUR BYUNG BA NAS BDUN PA LEGS PA NA RGA' BA BDUN PA NAS NYID NA CHOG GA'A NYID NA'I MTHIL BA LAS MA SKYE DKA' MTHIL BA NAS RNAMS PA TSUL LAS PA NA LHAN GYI RGYIS ZHIG GIS BDE BA NA SDONG MA NI YOD MED PA'I PHYING YIN ZIN LA NYON PAR ZHUGS ZAD THIM PAR BRGYUR They melt into, so they melt back into RDZO BA DE NYID, the original big guy, meaning Bhakurti. They melt back into Bhakurti in reverse order from which they came out.

SKYE BA RIM PA LAS DO So in the reverse order to what they came out. They melt back into Bhakurti. NI ZAL BA'I NGOR GYUR PA It takes on some kind of murky nature.

I think he's talking about Bhakurti. I don't think he's talking about the expressions. Because they seem to be gone.

NI ZAL BA Then he becomes some kind of what do you call it? Amorphous?

[Speaker 2]
Amorphous.

[Speaker 1]
Yeah, I wouldn't say amorphous. I got some amorphous here. It's more amorphous.

[Speaker 2]
Super amorphous.

[Speaker 1]
He turns into some kind of amorphous. Now, who turns in, it sounds like Bhakurti to me. Because the other guys are already timber.

They're already melted into the other thing. At that time, by that time, they'd say SKYE BU is NYAG GCIG. What did we say?

It's not just alone. It's like it's like a lady whose man never showed up for the date. NYAG GCIG is that NYAG GCIG is that strong.

The word NYAG GCIG is that strong. Standing there, what do you call it? Stood me up.

Feels like that. Stood me up. Okay, got it?

Wait, I'm not done yet. Purusha is left on his own. Alone.

And that's what we call liberation. We're almost fed up with the Sankhya Dharma. Upala's like, almost?

How much more of this is there?

[Speaker 2]
Oh boy.

[Speaker 1]
I definitely don't want to start next term with this. What is he going to do? By the way, if he...

I think we can do it. And that's liberation. Yeah, that's liberation.

Okay. Now, that atman, now he's referring to it as atman. To me it feels like the result of a process.

The Purusha standing, stood up alone. Now he's referring to it as atman. What is he referring to?

When was the last time somebody called something atman? Oh, I don't want to go back to that prakirti. Atman.

So maybe atman is the prakirti. I don't know.

[Speaker 2]
No, right here.

[Speaker 1]
Purusha didn't want to go back to atman. I'm not going back to atman. I'm going to stay apart from atman.

She said. No.

[Speaker 2]
No.

[Speaker 1]
It's Purusha doesn't want to go back.

[Speaker 2]
No, you're right.

[Speaker 1]
Oh, now we got a distinction. Prakriti doesn't want to go back to atman. I don't know.

Because that atman has a nature of standing in isolation always, tak du, we call it takpa, unchanging. So then it makes sense what you're saying that it changes to tak after that. No, I don't know now, because isn't this on the list of qualities of prakirti?

[Speaker 2]
Prakriti maybe causes stuff that is not caused by anything.

[Speaker 1]
Maybe, I don't know. You figure it out at home. Take this to New Mexico.

Get it out of Arizona. Can you just clarify for me which of these guys is doing something and which isn't?

[Speaker 2]
I hope this is him talking, not you.

[Speaker 1]
Which of these guys is a producer and which of them are not a producer? Now he goes into the same conversation that Master Jatakirti did. Well, about that, he kind of sidesteps it for a while.

He doesn't clearly say the gunas are producers or non-producers. He just says, well, now that you mention that, and then he goes on to the gunas. Hopefully he ties it up at the end.

Well, on this subject, DILA, SDUG BSNGAL MNGON GNYIS SDOM NI YON DUN GSOS MO He's directly quoting Chandrakirti now. Rajas, Thomas, and Sattva are the three gunas. What is SDUG?

What is Rajas? Rajas? Am I right?

Oh, it is the combination of movement and initiative. Action and initiative. Thomas, what's darkness?

Thomas? Thomas is of the nature of heavy and blanketing. Heavy and smothering.

Heavy and smothering. Like a heavy bank of clouds. Oppressive.

MNGON GNYIS SDOM NI Sattva is light, is a combination of lightness and brightness. That expression we have, pleasure, pain, and darkness, darkness? That expression actually doesn't refer to anything except these three.

That expression was always talking about these three. So it must have been a common expression. He might be referring to the three things in the middle of life.

I don't think so. He's directly quoting Chandrakirti here. I wish he wouldn't, so we could have more information.

DE DAG BYANG RNAMS PA'I SKABS NI When those three gunas are equal, are acting in balance, we call them the main guy. So that would say they're prakirti. The three gunas in balance we call prakirti.

It seems to be said. Why? Because in that case the gunas are their main things.

And because in that case they're at a state of peace. Now this is interesting. Now he changes slightly and it's kind of sexy.

When those three, when soul is in balance but begins to modify. Modifications of soul we call rang shing. Prakirti.

When prakirti begins to get... I'm sorry. No, when main man starts to modify we call it nature.

Nature. Prakirti. Prakirti is the state of balance when it starts to move.

And then you get this result of the movement. I'm sorry, take it back. I take it back, I take it back, I take it back.

It's the opposite. When they're in a state of not moving it's nature. When they're not changing it's called nature.

And then from nature comes mahat. Mahat and buddhi are synonyms. Now he adds something that Chandrakirti didn't add.

He says chenpo dang lo nyi ni mahat and buddhi are just synonyms. Then he says something weird. chi yul means outer objects.

And nang gi kyepo means the inner person. suk nyen suk nyen means suk nyen gyi che shin che shin gyi suk nyen the reflection in a mirror. suk nyen means a reflection in a mirror.

nyi ka charwa means they both make their appearance. And then it says sheik. It is a thing in which both make their appearance like a reflection in a mirror.

I don't know. You could say it is the thing in which purusha and outer objects both make their appearance. It is getting kind of mind-only.

Some people have said that actually. chenpo le ni from mahat comes ahamkara, And from pride comes three different things. Oh, this is interesting.

From pride comes three things. nambar gyurwa chen The chen is uncomfortable here. I wish he had said nambar gyurwa.

But he didn't. So he said involving the expressions. He didn't say expressions.

And then, oh yeah, okay. He is talking about this is when it starts to move. And that is called involving its expressions.

And the other author, Chandrakirti called it called it nambar gyurwa the changing time as opposed to the dark time. And yeah. And the sattvic time.

But he never said the time of movement is the rajasic. He didn't use that language, but it seems to be implied.

[Speaker 2]
So it's involving the expressions here of rajas and then sattva.

[Speaker 1]
Yeah, and then separately he talks about sattva and tamas. Okay. Once the ahamkara gets more rajasic, more expressionic, expressionist, out of it comes the five tantra and he lists them.

Okay, that's easy. And from that comes the elements. Earth, water, fire, wind, and space.

shay jawa This is important. This could be either shay ja ta ko or shay jawa da ko. I think it's this.

I think it's shay jawa da ko. Okay, this is not fit Tibetan grammar. Neither did my sentence just now.

I'm getting tired. Earth, water, fire, wind, and space. What we call them comes out of...

That's the elements that come out of the tantra. Okay? Now I'm going to cut this, which I should have done before.

Okay. How much we got? Oh, we can finish it.

Okay, let's finish it. What happens after this? I have one more class?

I'm free? Wow. Okay.

Let's finish it. And then we'll be done with it. nyin tok chen gyi nga gyel ni When ahankara gets more suffocating, okay, then it starts to produce the karmendriyas, fire, and then he lists them.

There's a problem here with the Tibetan. Okay? It shouldn't say this.

It's just weird. It should have said le kyi wangpo ngakpo dak See? Meaning the hands, the feet, the bunghole, and the sexual organ.

Which one's missing there? No, it's the dong? Kar.

Oh, okay. This should have been kar. Yeah, this should have been kar.

Okay? It's D-A-G. Thanks a lot.

Okay. And okay, there's five organs of activity. And then lo yin wangpo nga And it produces the five indriya buddhendriyas Yeah, buddhendriyas.

Which is the eye, the ear, the nose, the tongue, and the skin. Another spelling of skin, by the way. Which is and when we say skin here, he clarifies for you.

We're talking about the bodily power. What we normally call the power of the body. The Sankhyas call the power of the skin.

Ours is a misnomer. Theirs is maybe more accurate. That which it is, which is tangible, which feels tactile sense.

It should have been called the power of skin, maybe. Except it can also be inner, anyway. Excuse me?

He does not clarify the both. I'm sorry. And you get the power of the mind, which is a combination of both.

I take it to be an instrument of action and an instrument of perception. Now, we're almost done. When Ahankara gets dark, Nagyarjinika Jukpacheno, it becomes an inspiration for the other two as well.

He doesn't say. Yeah, exactly, almost exactly. ,DE LA CHEN PO DANG, ,SNGAR YANG DANG, ,RANG BZHIN DANG, Then he goes into the Mushita.

Now, in here, Mahat, Ahankara, and the five tanmatras, those seven, are both Prakrti and expression. The five powers and the mind and the five elements are only expressions. And Mama Prakrti, as opposed to the baby Prakrti's here, RANG BZHIN RDZO BA NI is only Prakrti and not expression.

ZHES PA NI ZHUNG LUG SO That's what their book is saying. Yay, finished the Sankhya. No, it's exactly Chandrakirti's.

We finished the Sankhya school from... That's basically... Well, that's the main information in Buddhist literature about the Sankhya.

I don't know if you can find more detail about what's going on with the lonely lady and stuff, but maybe you can. I think it's enough to give an interesting class at the Bahamas or something. I think it'd be really interesting to put it up on the...

To show that it's a translation and that you're not just paraphrasing it. I think it'd be really interesting. And it comes from 8th century.

Probably most of their explanations from then are not that clear. So... I didn't look.

He may have. I didn't look about it. When Tsongkhapa explains it, he's paraphrasing Chandrakirti.

It came up because... What? I don't know.

We're talking about what sort of self we can make. Yeah. We're talking about Gopchang.

What's the self that Jeet does, that First Link is looking at? That's how the conversation started. Okay.

It's really tacky to give my dog a mouthful. I mean, I've done it. It's really tacky.

That's how I know it's tacky.

[Speaker 2]
Yeah.

[Speaker 1]
Have a good day. Thank you.

[Speaker 2]
Thank you.