WSTB 25

WIENER STUDIEN
ZUR TIBETOLOGIE UND BUDDHISMUSKUNDE

HERAUSGEGEBEN VON
ERNST STEINKELLNER

HEFT 25

W I E N 1990

ARBEITSKREIS FÜR TIBETISCHE UND BUDDHISTISCHE STUDIEN

UNIVERSITÄT WIEN
 PER K. SORENSEN

DIVINITY SECULARIZED

AN INQUIRY INTO THE NATURE AND FORM OF THE

SONGS ASCRIBED TO THE SIXTH DALAI LAMA

WIEN 1990

ARBEITSKREIS FOR TIBETISCHE UNO BUOOHISTISCHE STUOIEN

UNIVERSITAT WIEN
Preis: OS 4 8 0 , -

zu b e z i e h e n v o n :

A r b e i t s k r e i s für T i b e t i s c h e und B u d d h i s t i s c h e S t u d i e n
Maria T h e r e s i e n - S t r a ß e 3 / 4 / 2 6 , A - 1 0 9 0 Wien, A u s t r i a
 Contents

Preface 7
Introduction 9
The Editions of Tshahs-dbyahs rgya-mtsho'i mgul-glu 33
The Critical Edition of Tshahs-dbyahs rgya-mtsho'i mgul-glu 43

Appendices
Rig-'dzin Tshahs-dbyahs rgya-mtsho'i gsuh-mgur , 285
Apparatus Criticus and Explanatory Notes to
Rig-'dzin Tshahs-dbyahs rgya-mtsho'i gsuh-mgur 341
Bibliography 451
 PREFACE

God-kings have fascinated us at all times. Their spellbound hold on our

imagination and the mysterious workings of numen are decisive factors
which have kept them alive throughout history. It appears that mankind
cannot do without them.
In the world of the Tibetans, this idea of a God-king barely finds a more
adequate expression than in the incarnate rulership of the Dalai Lama, the
embodiment of compasssion and wisdom. In his person, the dual religious
and secular power of the Tibetan state was invested.
One of the most remarkable figures among the ruling Tibetan God-kings is
undoubtably the Sixth Dalai Lama, Blo-bzan Rin-chen Tshans-dbyans rgya-
mtsho (A.D. 1683-1706). Like virtually any Tibetan or any student of Ti-
betan history, I too cannot neglect the deep fascination and the ensuing
sympathy that immediately captured me when I for the first time happened
to come across this figure. His brief and dramatic life-story, his bold rebel-
lion against the religious establishment of his time and the dual personality
of his as an incarnate ruler and as a human being, can all be gleaned from
the alleged love-songs ascribed to him. Aside from being spurred by this fas-
cination, a major incitement behind my decision to undertake the present
study grew out of an increasing dissatisfaction with the previous scholarly
treatments, which I found did not pay adequate justice to the unique id-
iomatic and semantic character of these folksongs. They outwardly appear
quite simple, but appearances are deceptive, as the corpus in actual fact
is fraught with a number of philological and semantic traps that hitherto
have hampered a proper and full understanding of them. In the lyrics we
envisage first and foremost the secularization of Tibet's incarnate ruler. It
is my modest hope that the present study will furnish the reader not only
with a hightened interest in the songs of the Sixth Dalai Lama but also stir
the reader's interest for the rich Tibetan folksong tradition, from which his
songs originally spring.
Numerous friends, students, colleagues and library staffs here and abroad
have rendered me indispensible help. To all of them, too many to mention
individually, I am gratefully beholden. In particular I should like to men-
tion the unstinted assistence extended me by Mr. Tashi Tsering (bKra-éis
tshe-rin) of LTWA and the Tibetan State Astrologer Brag-mthon Byams-
pa rgyal-mtshan, who, during my brief sojourn in Dharamsala, H.P. India,
helped me in unravelling a number of textual and colloquial riddles. Further,
I am likewise grateful for material and textual references provided me by
Mr. Dan Martin, dr. Geoffrey Samuel, dr. David P. Jackson and dr. C. Lindt-
ner. In Beijing, PRC, Prof. Wang Yao of the Central Academy of Minorities
must be heartily thanked for supplying me with a copy of the Ms denoted
Rig-'dzin Tshans-dbyans rgya-mtsho'i gsuh-mgur. Dr. Hu Haiyan, presently
Copenhagen, Zhou Yiyun, K-N. Petersen, dr. Ian Astley-Kristensen, fil. dr.
Peter Bryder, Ngawang Lozang (Nag-dban blo-bzan) and Geshe Tarab Tulku
(dge-bses bKra-rab sPrul-sku) have assisted me in many ways, inter alia
by tirelessly responding to my many questions, and by supplying me with
sundry academic contacts. I must also express my gratitude to Mr. W. Zwalf
of the Department of Oriental Antiquities, The British Museum, for helping
me to acquire a reproduction of a detail from a rTsva-ri map.
Finally, I must express my appreciation for the excellent manner in which
the staff of UNI # C, notably Svend Ranild7has~typeset my text.
My last indebtedness I should like to express to my old teacher, Prof. dr.
Erik Haarh, who initially opened the doors to the fascinating world of the
Tibetans for me.

Per K $0rensen
Copenhagen
 I n t r o d u c t i o n

Since the first appearance to a Western public of the songs (mgul glu, mgur
glu, gsun mgur) ascribed to the Sixth Dalai Lama Blo-bzan Rin-chen Tkhans-
dbyans rgya-mtsho (A.D. 1683-1706), published by Sarat Chandra Das in
1915 in an Appendix to his Introduction to the Grammar of the Tibetan Lan-
guage, this remarkable corpus of poems has not only attracted the interest
of scholars of Tibetan history and literature but h a s also wielded a titillating
influence on the imagination of any reader who happened to embark upon
a study of this ghostlike figure and the crucial period in the history of Tibet
in which he lived. The reason for this sustained attention and never-dying
fascination is not difficult to find. His story holds all the elements of a tale.
Hardly any other figure in the entire Tibetan history is more shrouded in
mystery than the Sixth Dalai Lama. His short, but eventful life was utterly
entangled in conceit and constraint and his unprecedented rebellion and em-
barrassing conduct, which eventually cut his h u m a n life dramatically short,
would in the end all conduce to mould him into a legendary figure. The main
source for our sympathetic romanticization about his figure rests with the
famous poems of his, and if proved genuine, they remain well-nigh the only
testimony we possess to draw a picture, however faint, of the inner conflicts
and sentiments which dictated his actions and decisions. But genuine or not,
these celebrated and intriguing poems are for several reasons of compelling
importance.
Despite the numerous attempts to study and to translate the poems t h a t
so far have seen the light of the day, 1 no satisfactory and conclusive result
1. Occasionally the translators have edited the text and provided us with a translation. Com-
plete translations (chronologically): Yu Daoquan (with Zhao Yuanren), 1930, Love Songs
of the Sixth Dalai Lama Tshangs-dbyangs rgya-mtsho; Academia Sinica, The National Re-
search Institute of History and Philology Monograph Series, No. 5, Peiping; Al. David-Neel,
1952, Textes Tibétains Inédits, Paris, pp. 83-96 (reprint, Les Grands Classiques, Pygmalion,
Paris 1977); M.H. Duncan, 1961, Love Songs and Proverbs of Tibet, Mitre Press, London,
pp. 119-135; N. Simonsson, 1970, "Den Sjätte Dalai Lama", Litteraturens Klassiker, 16;
Orientalisk Diktning, Stockholm, pp. 175-84; K. Dhondrup, 1981, Songs of the Sixth Dalai
Lama, LTWA, Dharamsala; M. Tatz, 1981, "Songs of the Sixth Dalai Lama", The Tibet
Journal VI, (4), pp. 13-31; G.W. Houston, 1982, Wings of the White Crane. Poems of the
10

has yet been yielded. No doubt, the inborn intricacy of the poems remained
all along a serious impediment to a proper understanding and assessment
of them. A fully fledged inquiry into the songs' popular origin, into their
unfeigned poetical style and into the idiomatic language in which this corpus
is couched h a s therefore become imperative.
The present study shall be seen as an attempt to meet this long-felt
desideratum. My point of departure will be a careful and detailed study
of this corpus and an attempt to assess the literary and poetical qualities
of the songs' lyrics (gzas tshig). In particular, I have deemed it important
to produce as much textual documentation as possible in order to provide
a broader basis for our understanding of these essential folksongs. I have
searched through the tremendously rich storehouse of proverbs and folk-
songs which the Tibetans fortunately possess, with the single aim to trace
songs either identical with or parallel to the songs under consideration here.
Further, I have attempted to find pertinent textual passages and other cog-
nate song traditions in both the canonical and the autochthonous Tibetan
literature which—it is my hope—might shed renewed light not only upon
the songs' popular idiom, its vernacular or upon semantic peculiarities, b u t
also cast new light upon the cultural and historical setting behind the songs.
It goes without saying t h a t such a thorough philological and historical
investigation is hinged upon a solid and reliable critical edition. In the light
of new material in my possession, I have likewise deemed it necessary in the
present study to expand a previously published edition 2 into a new critical
edition, based upon all available editions. My new critical edition will this
time hopefully prove exhaustive, as I have availed myself of eleven editions
published in recent years.
Tshangs dbyangs rgya mtsho (1683-1706), Motilal Banarsidass, Delhi; L.S. Savitsky, 1983,
Can'jan Dzamco: Pesni, Prijatnye dlja slucha; (Idz. teksta, perevod s tibetskogo, issled.
i komm.), Moskva; Ph. van Heurck, 1984, Chants attribués à Tsangyang Gyatso, Contri-
bution à la littérature tibétaine, Opuscula Tibetana 16, Rikon/ZH; B. Vilgrain, 1986, La
Raison de l'oiseau; Poèmes de Tshanyang Gyatso, Sixième Dalaï Lama; Les Immémoriaux,
Fata Morgana, Paris; D. M. Back, 1986, Liebeslieder des VI. Dalai Lama; Aus dem Tibetis-
chen übersetzt, mit Anmerkungen und einem Nachwort versehen; Verlag Wolf Mersch,
Freiburg; P. K. S0rensen, 1986, Pâ Kserlighedens Vmger i Himmelhavet. Den Sjette Dalai
Lamas hemmelige kaerlighedsdigte; Janus, K0benhavn.
In addition to the above translations in Western languages we can avail ourselves with up
to ten translations into Chinese. Among the most prominent we should mention (complete):
Yu Daoquan, 1930 (cf. supra); Liu Xinu, *Kângdao Yuèkân', 1939, Vol. 1, no. 6; Wang
Yinuan, Xïzàng Duanshïjt, 1958; Wang Yinuan, Cängyäng Jiäcud qinggè, Qinghai Nat.
PubL House, 1980 (cf. ed. E); Zhuang Jing, Cängyäng Jiäcud qinggè ji mîzhuàn, Nat.
Publ. House, Beijing, 1981 (cf. ed. H). The above translations may be found reproduced
in Huang Hao & Wu Biyun (ed.), 1982, Cängyäng Jiäcuö ji qi qmggë yanjiü, Tibet Nat.
Publ. House, Lhasa; pp. 274-285, 286-300, 310-329, 348-380. In addition, the latter book
is also provided with partial or supplementary translations of songs ascribed to Tshans-
dbyans rgya-mtsho by Chinese scholars, such as by Li Jiaju, Zeng Jian and Sulang Jiacuo
& Zhou Liangpei. Consensus prevails among the Chinese scholars that the translation by
Wang Yinuan is the best made into Chinese; cf. Li Ming, 1988, p. 54.
2. Cf. Indo-Iranian Journal, 31 (4), 1988, pp. 253-298.
 11

Another important component in the present study is an edition of a re-

markable document (cf. the Appendix) with the title Rig-'dzin Tshans-dhyans
rgya-mtsho'i gsun-mgur, a manuscript which contains no less than well over
450 songs and adages ascribed or rather dedicated to the Sixth Dalai Lama.
A small number of the songs hailing from this document has previously
been published by Zhuang Jing in Beijing, PRC. 3 On account of their the-
matic cognation to the original core of songs critically edited in this book,
a number of the songs from this source will occasionally prove to be of no
small importance for the literary and semantic evaluation of the core songs.
A major restriction on my side will be to deal exclusively with the songs'
lyrics and literary aspects, while I shall reserve the important study of their
prosodical, metrical and purely musical aspects, however tempting an in-
clusion may seem, to the ethnomusicologists. Some good drudgeries have
already been done in this field,4 but a penetrating investigation still awaits
the intrepid scholar.
Before embarking upon our discussion of the nature and form of the songs
igias) ascribed to the Sixth Dalai Lama, it will be worth-while to sketch out,
in a brief and somewhat piecemeal fashion, the major forms found within
the Tibetan song tradition in order to assess the possible origin of the gzas
type.

The Types of Tibetan Songs

The Tibetan literature is immensely vast and our knowledge of it has—after

a long embryonic period—first in recent years gained a firm footing with
the increasing flurry of scholarly writings. This foundation has enabled us
to take a more comprehensive view of the entire field. One of the least re-
searched departments of the Tibetan literature, however, would appear to
be the indigenous Tibetan tradition of songs and poetry, be it oral or writ-
ten. This situation is regrettable. Lumps of important textual material and
literary traditions, many still undigested and virginally untrodden, call for
serious research. A mass of material, especially classical and medieval texts
of the indigenous spiritual mgur ma tradition and the virtually indigestible
hoard of narrative song-poems in the bulky Gesar Epos, has since long been
3. Cf. Zhuang Jing, 1981a and 1981b.
4. Cf. in particular P. Crossley-Holland, 1967, "Form and Style of Tibetan Folksong Melody",
Jahrbuch fur Musikalische Volks-und Völkerkunde 3, pp. 9-69, 109-126 and his "The
State of Research in Tibetan Folk Music", 1986, in Jamyang Norbu (ed.), Zlos-gar, LTWA,
Dharamsala, pp. 105-124; G. Samuel, 1976, "Songs of Lhasa", Ethnomusicology, XX (3),
pp, 407-449. In fact, we can only subscribe to the opinion expressed by G. Tucci, 1966,
p. 16, that ideally the verse and the tune should be studied together. Tb acquire a proper
understanding of the poetical and lyrical mechanism, we must in fact concern ourselves
not only with the textual aspects, but equally much with the phonetical and prosodical
structure.
12

richly accessible to the scholars, and with the steadily increasing publica-
tions efforts in India and in Tibet proper, much new material, especially
contemporary texts, have come to light.
Our brief survey shall in the main be chronological, inasmuch as a ty-
pological approach will not always do as a demarcating yardstick. Terms
such as glu and mgur (usually the honorific for glu) and later gias, the
most commonly used terms for a song or a ballad, are employed r a t h e r in-
discriminately, as none of the terms can neither be assigned to a specific
type of song nor to a specific period of time. Moreover, the transmission of
poetry and song-poems embedded in the canonical and epical literature is
almost invariably written in a uniform, homogeneous fashion, t h a t makes
it virtually impossible to distinguish the material along stylistic and purely
genre-typological criteria.

The D y n a s t i c P e r i o d
Almost all literary documents dating back from the oldest period contain
versified material in some form. The Dun-huang material, our oldest con-
temporary text data, but also later historical sources holding older strata
of literary evidence, will attest to the popularity of expressing historical
events and narratives in a versified poetical form and diction. 5 The material
abounds in written and oral poems (nag thog gi snan hag) of sorts, hymns,
odes, prayers as well as traditional songs (glu, mchid), not to speak of apho-
ristic (e.g. the Maxims (éags) of the Sum-pa Mother (ma)), divinatory (mo)
or enigmatic (Ide'u) songs t h a t at one and the same time were couched in
a simple and an arcane language replete with archaism and onomatopoetic
phrases.
The characteristic dearth of fixed schemes of rhyme and alliteration in
the Tibetan poetical and metrical tradition, evident not only in this early
period but also later, was in this period fully compensated by such euphonic
devices as assonance, a condensed rhythm and, not infrequently, a doubling
and trebling of syllables t h a t carried no lexical meaning, but used such ono-
matopoetic phrases for euphonic and descriptive reasons. The main division
was mostly, but not exclusively, strophic with a dominant dipodic metre,
where each verse-line (tshig rkan) evinced a hexa-syllabic (tsheg khyim drug
Idan) structure made up by two dactylic feet. But we also find verse-lines
with an uneven (tsheg bar do mi mnam pa) structure, mostly from three to
nine syllables and samples with other rhythmic patterns.
Almost as a rule all even-length verses were six-syllabic. The most salient
feature of the even-length poetry of the early period was the regular oc-
5. See foremost R. Stein, Recherches sur l'épopée et le barde au Tibet, chap. DC, pp. 485-533;
R. Stein, The Tibetan Civilization, pp. 252-281; F. W. Thomas, Ancient Folk-Literature from
North-Eastern Tibet, pp. 107-108,118-129,143-149; Don-grub-rgyal, mGwr-glu'i lo-rgyus>
pp. 42-130, where a number of textual extracts hailing from the dynastic period are quoted.
 13

curence of the syllabic expletive m, 6 a subject-marker and caesura of major

importance for the dactylic rhythm and almost invariably occuring at the
same place in the verse-line, i.e. in the third position after the first two
syllables. 7
Semantically, the style of the ancient poetry and songs was marked by
parallelism and antithesis, often using images full of taunts and contrast.
The imagery and metaphors derived in the main from the symbolic world of
nature and society.

The Post-Dynastic P e r i o d
It is common knowledge 8 t h a t in almost all treatises and works translated
into canonical Tibetan from Sanskrit and Chinese the four-lined (tshig rkan
bii) iso-syllabic stanza or strophe (the Tibetan éloka) became the fixed norm
in versification (tshigs bead). The most prevalent metrical form was the
hepta-syllabic in the s/oAa-quatrains, but lines in eight, nine, eleven, and
in some sophisticated cases of kävya even up to twenty-one syllables, would
also regularly be found. But the single most important feature was the
change from the dactylic rhythm of the dynastic period to a trochaic one, a
rhythmic form of folk origin which appeared to be much more in conformity
with the n a t u r e of the Tibetan language. It will be recalled t h a t the basic
bricks of the Tibetan language mainly consist of a bi-syllabic unit made up
by a stem and a particle or, phrased differently, made up by a semantically
strong syllable followed by a semantically weaker syllable. In this trochaic
foot the first syllable is always strong and accented (arsis) and the second,
whether a particle or a proper stem itself, is weak and unaccented (thesis).
The metrical syntagm or division by way of units of trochaic feet (tsheg bar
cha) was going to wield an overwhelming influence both on the contemporary
but also on all later verse and song traditions in Tibet.
This pattern quickly became the most dominant form and was invariably
found in most of the classical and canonical versified literature. The Tibetan
translation of the popular aphoristic and proverbial literature (subhäsita,
legs bead),9 predominantly rendered in seven-syllable (tsheg bar bdun maï
tshigs bead) and nine-syllable metre (tsheg bar dgu ma'i tshigs bead), con-
6. Cf. R. Stein, The Tibetan Civilization, p. 253 et seq.; Don-grub-rgyal, ibid., p. 131.
7. For text-samples cf. e.g. J. Bacot, F.W. Thomas and Ch. Toussaint, Documents de Tùuen-
houng Relatifs à l'Histoire du Tibet, pp. 107,1.18-108,1.21, tr. R. Stein, ibid., pp. 255-58;
Don-grub-rgyal, ibid., pp. 51, 54, 59-60, 65-67, 75, 78-79, 82-S5, 92, 95-96, 102-104,
110-115, 124-126.
8. Cf. e.g. M. Hahn, Jnânasrïmitras Vrttamälästuti, pp. 56-73; Dun-dkar Blo-bzan 'phrin-las,
sNan-hag la 'jug-tshul tshig-rgyan rig-pa'i sgo-'byed, p. 26ff.
9. Cf. J.E. Bosson, 1969, A Treasury of Aphoristic Jewels. For a good survey of Tibetan
subhäsita-MteratuTe, cf. L. Sternbach, 1981, "Indian Wisdom and its Spread beyond India",
JAOS', 101, pp. 124-25; T. Malanova, 1984, "On The Sanskrit Subhäsita-Literature in
Tibet*, Tibetan and Buddhist Studies, Vol. 2, (éd. L. Ligeti), Akadémiai Kiadö, pp. 141-
151.
14

sisted of three (resp. four) and a half feet. In other words, the quatrains were
made up by three (resp. four) trochaic feet (tsheg bar cha gsum) followed by
a catalectic (often accented) half foot (tsheg bar y a gcig). But other patterns
were cherished too in the classical literature, such as e.g. even-numbered
eight-syllable strophes (tsheg bar brgyad maï tshigs bead) t h a t either con-
sist of an initial metrically weak (unaccented) syllable (ya gcig), followed by
the above three and a half trochaic feet (cha gsum dan ya gcig) or the line
may first consist of a three-syllable dactylic foot, followed by regular trochaic
feet.
With the pivotal translation of Dandin's Kävyädarsa into Tibetan, initially
translated in parts by Sa-skya Pandita (A.D. 1182-1251) and subsequently
in full by Öon-lo rDo-rje rgyal-mtshan during the time of Thags-pa Bla-ma
Blo-gros rgyal-mtshan (A.D. 1235-1280), the way was paved for the Tibetan
adaptation of the more sophisticated and refined rules of Indian Kunstdich-
tung (kävya, snan nag) and metrics (chandah, sdeb sbyor). It evidently gave
rise to a burgeoning number of translations as well as native compositions in
complex prosody and poetry, an influence which was used to the full within
learned circles, leaving a lasting imprint on subsequent secular and religious
poetry, though only to a limited degree.
Although this versified kind of moralistic precepts mentioned above was
not intended to be sung, the steady flow of writings and manuals of this sort,
the popularity of which gained a firm footing in the wake of the writings of
Sa-skya Pandita and his school, exerted a tremendous influence on the later
folksong tradition by supplying it with a storehouse of proverbs and worldly
adages. A brief perusal of the Tibetan song tradition will attest to this.
The transition in the metrical structure was, as said, not only observable
in the canonical literature from the sha dar to the phyi dar period, but first
and formost detectable in the secular and folk literature such as it is evident
in the huge Ge-sar Epic.

Religious Songs
Mi-la ras-pa (A.D. 1040-1123), 10 without comparison Tibet's most gifted poet,
came to stand as the foremost exponent of the folk-inspired religious poetry
t h a t found expression in an oral and written song tradition from the tenth
and eleventh century and onwards. His poems are essentially folksongs and
his song tradition can in form and, to some extent also, in content doubtlessly
trail its origin and roots further back in time, b u t with the post-dynastic Bud-
dhist monopolization of the literary and, for all we know, poetical medium in
Tibet, the prevailing popular lyrical and oral songster tradition found ways
to express its voice through these song traditions.
10. For a convenient survey of this poet-saints' vita and his poetic opera, cf. Don-grub-rgyal,
mGur-glu'i lo-rgyus, pp. 138-189; The compilation (bsgrigs byed) of both the rNam-thar
and the mGur-'bum is credited gTsan-smyon He-ru-ka (A.D. 1452-1507), the Madman from
gTsan alias Sans-rgyas rgyal-mtshan.
 15

The new prosodie and metric departure mentioned above came into full
blossom in his songs imgur)}1 Equally important, in his lyrics we should
first of all appreciate a strong use of figures of speech, a panorama of char-
acteristic images, similes and epithets which he draw partly from a genuine
Tibetan storehouse of symbols in particular from the Tibetan nature, partly
from standard symbols and epithets taken over from the rich Indian Bud-
dhist symbolic world, by then to a large extent already integrated into the
mind of many Tibetan poets. Further, we shall also see in his poetry and
in his stylistic techniques the use of antithesis and parallelism, a pattern
already known from the dynastic period, but perhaps refined here under in-
fluence of the above-mentioned aphoristic literature 12 translated from San-
skrit.
The single most decisive incitement in his song-lyrics, no doubt an ori-
entation which was later refined in the tradition he initiated, and which
moreover gave rise and name to a whole genre, was the inspiration he de-
rived from the mahäsiddha tradition of the Indian yogins, with which Mi-
la ras-pa and his bKa'-brgyud-pa lineage of Tibetan Tantric adepts consid-
ered themselves spiritually affiliated in direct line. To Mi-la ras-pa esoteric
instructions {éal gdams), yogic-meditative teachings and revelations were
transmitted from his teacher Mar-pa Chos kyi Blo-gros (A.D. 1012-1097)
of lHo-brag and further back from the Indian yogin-saints Näropa (A.D.
956-1040) and Tilopa. The spiritual dohä and caryä songs, 13 themselves of
folk origin, were composed by the Tantric siddhas of India where they had
turned out to be an apt medium to propagate their doctrines, coating and
veiling the esoteric message in allusive phrases and in an enigmatic lan-
guage (samdhyäbhäsä, dgons pa'i skad), rich in imagery and replete with
double entendre and homonymous puns. The Tibetan translations of these
collections of mystic songs gave in turn their Tibetan confrères inspiration
to a new way of expressing their religious experience and awareness (nams
len, nams rtogs), their meditative realization (sgrub pa) and their esoteric
instructions Hal gdams). But the scope of the songs went further than that.
Not infrequently the religious topics expressed took form of prayers and
requests (gsol ba 'debs) addressed to one's teacher or took form of an admon-
ishion (bskul ba) urging someone, usually disciples, to study and practise
the Dharma.
The tradition quickly gained a firm footing in Tibet not only in the spiritual
transmission-lineages of the bKa'-brgyud-pas but also within other denomi-
nations. These popular songs were commonly known as rdo rje'i glu or mgur
ma (vajragïti), but the genre had also other designations, such as rdo rjegsan
baï glu, mkha' 'gro maï mgur, mal Vbyorpa'i] mgur, the songs of the dâkinî
11. Cf. e.g. R. Stein, Recherches sur l'épopée et le barde au Tibet, pp. 501-508; R. Stein, The
Tibetan Civilization, pp. 259-262.
12. Cf. R. Stein, Recherches, pp. 486-498.
13. Cf. e.g. P. Kvaerne, An Antology of Buddhist Tantric Songs.
16

(the mystic consort), the yogin's song, or just religious songs, chos glu. An
oft-quoted antology of songs, known under the short title bKa'-brgyud mgur-
rntsho, "An Ocean of [Spiritual] Songs of the bKa'-brgyud [Lineage]", attests
to the popularity of compositing, reading and listening to these allusive and
mystical songs in Tibet. 14 A large number of adepts and renowned mystics,
but also traditional monk-scholars took recourse to express their religious
joy and praise, their devotion and their realization and raptures in similar
mgur mc-s, suffice it to mention e.g. the madman-yogin and poetic saint
'Brug-pa Kun-legs (A.D. 1455-1529), 15 but also eminent figures such as IV.
'Brug-pa chen-po, Kun-mkhyen Padma dkar-po (A.D. 1527-1592), the Sev-
enth Dalai Lama bsKal-bzan rgya-mtsho (A.D. 1708-1757) and ICah-skya
rol-pa'i rdo-rje (A.D. 1717-1786). 16
Another treasury-house rich in versified poetical material of sundry sorts
and to a large extent also originating from the medieval period is the large
bulk of mainly narrative song-poems transmitted within the huge Gesar
Saga. 17 Despite some good preliminary remarks by R. Stein, R. Kaschewsky

14. Full title mChog gi dnos-grub mhon-du byed-pa'i myur-lam bka'-brgyud bla-ma-rnams k
rdo-rje'i mgur-dbyans ye-ses char-'bebs rah-grol Ihun-grub bde-chen rab-'bar nes-don r
mtsho'i snin-po; Ed. Rumtek Ial-142a4; ed. dPal-spuns lal-87bl. The text contains the
selection of songs ascribed to e.g. Tilopa, Mar-pa, Mi-la ras-pa, sGam-po-pa etc. For a
convenient English translation, cf. Ch. Trungpa (ed.), The Rain of Wisdom, Shambhala
1980.
15. Cf. R. Stein, 1972, Vie et Chants de 'Brug-pa Kun-legs, G.P. Maisonneuve et Larose, Paris;
R. Stein, 1973, "Le Texte Tibétain de 'Brug-pa Kun-legs", Zentralasiatische Studien, 7, Otto
Harrassowitz, pp. 9-220. K. Dowman & Sonam Paljor, 1980, The Divine Madman: The
Sublime Life and Songs of Drukpa Kunley, Rider, London; A. Kretschmar, 1981, 'Brug-
pa Kun-legs: Das Wundersame Lebens eines verrückten Heiligen, Sankt Augustin, VGH
Wissenschaftsverlag.
16. Cf. Don-grub-rgyal, mGur-glu'i lo-rgyus, pp. 190—195. A translation of songs by the Seventh
Dalai Lama has been made by Glenn Mullin.
17. The research into the huge Gesar epical tradition is making good progress. In recent years
a substantial number of contributions has emerged. R. Stein made the pioneering studies,
first and foremost in his (1956) L'épopée tibétaine de Gesar and his bulky (1959) Recherches
sur l'épopée et le barde au Tibet. Aside form the massive works by R. Stein, other scholars
in Europe and abroad have made important studies. In Germany R. Kaschewsky and Pema
Tsering(1972, 1979, 1981-82, 1985, 1987) have done some enlightening detail-studies on
the literary style and epic motives as well as on some mythological and historical aspects
of the epos; the prolific Mongolist W. Heissig (1978, 1982-83, 1985, 1987) has also in
this field rendered scholarship indispensable service, here by making detailed spade-work
on the Mongolian Fassung of Gesar; S. Hermanns (1987-88), finally, has researched into
the West-Tibetan (purely oral) version, continuing the preliminary works of A.H. Francke
(1905-1941) in this field. M. Helffer (1977) has studied the literary and musical aspects. In
India Mr. Tashi Tsering (bRra-éis Tshe-rin, LTWA, Dharamsala) has taken a keen interest
in this tradition and also from G. Samuel (Newcastle, Australia), who is currently engaged
in anthropological and socio-cultural studies on the Gesar epic and its place in the East-
Tibetan society, can we look forward to publications in the future. Most notable perhaps
is the efforts demonstrated by the Tibetan and Han-Chinese scholars in PRC to promote
what we may now aptly call Gesariana, a new field of its own right within Tibetology.
A large amount of studies and text-editing has been published and research-groups of
anthropologists and literary historians have been set up in all major centres of Tibetology
 17

and P. Tsering 18 on the literary motifs and popular symbols handed down
in some of these narrative songs, a full inquiry is still an eagerly awaited
desideratum. What can be said now is t h a t the dominant trochaic orientation
of Tibetan metrics in the post-dynastic period is also faithfully found in full
use in the Gesar narrative song tradition. Turning to the rich symbolic world
in the epic lyrics, we similarly find in many places a clear thematic and
stylistic cognation between the Gesar Epos and e.g. the folk-inspired songs
of Mi-la ras-pa in the use of motifs, epithets and metaphors. Evidently, they
both draw from a common repository of similes and symbols.

Tibetan Folksongs

Looking through contemporary spectacles the Tibetan folksong tradition is

both immense and diversified. A huge amount of folksongs, almost uniformly
of anonymous provenance, h a s been transmitted down orally through the
ages, being kept alive by the common people, who learnt them by h e a r t
as a living treasure to be recited, sung and danced to on any appropriate
occasion such as religious festivals and nuptial ceremonies. The geographical
distinction is also quite discernible. We already have studies of a distinct
and rich folk tradition in the West-Tibetan Ladakh 1 9 area, from rGyal-rtse 2 0
and e.g. from 'Ba'-than 2 1 in Khams of Eastern-Tibet. These studies clearly
show t h a t the local traditions, despite unique traits in vocabulary, symbols
and motifs, carry upon a common heritage of songs known all over Tibet.
throughout China. They research exclusively in the complex transmission of this epic.
18. Cf. 1956, pp. 351-399 (vocabulaires); 1959, chap. IX and his Tibetan Civilization, pp. 276-
281; R. Kaschewsky & P. Tsering, 1981,"Zur Erstellung eines Motiv- und Inhaltsverzeich-
nisses Tibetischer Gesar-Versionen", Asiatische Forschungen 72, pp. 360-371 and their
"Epische Motive in Tibetischen Volkserzählungen", Asiatische Forschungen 73, pp. 262-271;
R. Kaschewsky, 1982, "Vergleiche als Stilmittels in Gesar-Epos", Asiatische Forschungen
91, pp. 600-612.
19. Suffice it to refer to the numerous contributions by August Hermann Francke, e.g. 1899,
"Zum ladakher Volkslied", Globus (Hildburghausen) 75, pp. 238-42; 1899-1902, Ladaki
Songs, Leh, pp. 1-73; 1901, "The Ladaki pre-Buddhist Marriage Ritual" , The Indian An-
tiquary, 30, Bombay, pp. 131-49; (with S. Ribbach & E. Shawe) 1902, "Ladakhi Songs",
The Indian Antiquary, 31, Bombay, pp. 87-106, 304-11; 1905, "The eighteen Songs of the
Bono-na Festival", The Indian Antiquary, 34, Bombay, pp. 95-110; 1909, "Ten Historical
Song from Western Tibet", The Indian Antiquary, 38, Bombay, pp. 57-68; 1923, Tibetische
Hochzeitlieder Übersetzt nach Handschriften von Tag-ma-cig, "Kulturen der Erde", Hagen
i. W., Darmstadt, pp. 1-69; 1927, "Buddhistische Volkslieder aus Ladak", Mitteilungen des
Seminars für Orientalische Sprachen, 30, Berlin, pp. 111-22; (with A. Paazlov) 1931, "Ti-
betische Lieder aus dem Gebiet des ehemaligen westtibetischen Königreichs", Mitteilungen
des Seminars für Orientalische Sprachen, 34, Berlin, pp. 93-136. Cf. also more recently,
N.T. Shakspo, 1985, "Ladhaki Folk Songs", Soundings in Tibetan Civilization, Manohar,
Delhi, pp. 97-106. Shakspo provides a good preliminary survey of the different types of
songs to be found in West Tibet.
20. Cf. G. Tucci, 1949, Tibetan folksongs from the district of Gyantse, Artibus Asiae; enlarged
version 1966, Tibetan folksongs from Gyantse and western Tibet, Artibus Asiae, passim,
21. Cf. M.H. Duncan, 1961, Love Songs and Proverbs of Tibet, London, passim.
18

The Tibetans' classification of folksongs (dmans glu, dmans giasfi2 is ac-

cordingly:

Glu
The designation glu is the most common term for folksongs throughout Tibet
and is applicable to a variety of special sub-types of songs. But the term is
in particular used in mDo-smad, i.e. Khams of East-Tibet as the prevailing
term for songs of folk origin. It is marked by a metrical diversity, as it may
have a strophic structure of four lines, the most common form, but verse-
lines {tshig rkaft) may be found ranging from two to six lines, where each
line carries from five to nine syllables (tsheg bar). Usually the verses appear
in sets of three. 2 3 The texts (glu tshig) of glu-songs are sung or recited in
connection with major festivals and ceremonies (rgyun srol gyi dus chert)
such as in connection with public religious gatherings (chos glu\24 nuptial
ceremonies (gnen sgrigs byed, i.e. bag ston glu)9 at sportive horse-racing (rta
rgyugs), dancing (zlos gar), picnic (skyid skyid gton sa) or at occasions such
as public or private entertainment (rol rtsed) and parties where e.g. drinking
songs (chart glu) are sung etc.

Glu s a g s
As a pendant to the Central Tibetan tshig rgyag type of repartee song, this
East Tibetan glu éags type of song is an extremely popular form of alternate
sarcastic songs aiming at teasing (glu éags rgyag pa) a counterpart with
words, often traded in regular song competition on wits, as e.g. a mating
banter between the two sexes or as a bout of social criticism. These songs
evince a metrical structure identical to the cognate glu of which it may also
be considered a sub-type. 25
22. Some of these terms are of a recent origin, and evidently reflect an attempt at formalizing
and systematizing the data available. Concerning the data published in the PRC, the
Tibetan material is clearly compiled under some influence from or in corroboration with
Chinese scholars. A usable introduction to the folksongs is given in Bod-rigs kyi dmans-gzas
gces-bsdus, pp. 1-23.
23. Cf. mGur-glu'i lo-rgyus, pp. 21-23; sDe-dge'i dmans-glu, pp. 55ff.; Bod kyi dmans-glu snan-
dban gso-ba'i bdud-rtsi, pp. 1-701 passim. This huge work supplies us with over 1500
poems and songs of the glu type, many in East Tibetan idiom.
24. The term chos glu must here be clearly distinguished from mgur ma, although a termino-
logical overlappping is evident, as the term chos glu is found in many colophons when in
fact the text contains mgur ma songs. mGur ma specifically refers to the text-written spir-
itual songs of the Mi-la ras-pa tradition, being recited and sung exclusively by the monks
of the religious community. The chos glu refers to songs of folk origin and style, being sung
by lay people at religious ceremonies and at public festivals. They may have a religious
content and be devotional, but the topics are mostly secular and worldly, and express not
seldom exchange of greetings and good wishes (bkra sis pa). Cf. also the West Tibetan
tradition, N.T. Shakspo, 1985, p. 99-100.
25. Cf. for samples mGur-glu'i lo-rgyus, p. 22-23; Bod kyi dmans-glu snan-dban gso-ba'i bdud-
rtsi, pp. 441-672.
 19

La gzas
The mountain songs or rather 'pass-songs' (la gzas)26 are also designated ri
glu. This East Tibetan type is in fact the form used for what we may call
love songs. The lyrics is exclusively devoted the usual themes of love be-
tween man and woman. The lyrics is full of amorous sentiments exchanged
between lovers (rogs 'grogs pa), on mutual harmony (ze rnthun pa), on rec-
ollection of the lover (rogs dran pa) as well as theme on lovelornness when
being separated (kha bral ha) etc. The metrical structure resembles the glu
above. 27

gZas
Turning to the dBus and gTsan provinces or Central Tibet proper, by far
the most prevalent type found is the song type denoted g£as,28 in common
parlance occasionally also glu gzas. This type is extemely popular. The
songs ascribed to the Sixth Dalai Lama, the subject under study in his book,
belong to this type. A song labelled gzas is almost uniformly strophic, mostly
being a quatrain (tshig rkan bei), though verses (tshigs bead) in two, six and
rarely eight lines are found also. The metrical structure of the song-lines is
iso-syllabic (tsheg bar do mnam), consisting exclusively of six-syllabic (tsheg
bar drug dan Idan, tsheg khyim drug daft Idan) lines (tshig rkah). When
scanned (gcodpa), read or recited (klogpa, 'don pa), the line should therefore
be read in pairs (zuh du, mnam du, lhan du) of three bi-syllabic (tsheg bar
gfiis) units (tsheg bar cha gsum), i.e. consisting of three trochaic feet. 29 For
example, to take a song ascribed to the Sixth Dalai Lama, no. 53:
26. Cf. sDe-dgeï dmaiïs-glu, p. 3ff.; Bod kyi la-gzas gzon-nu 'gugs-pa'i Icags-kyu, passim. This
collection of la-gzas couched in the colloquial A-mdo idiom (phal skad) contains over one
thousand verses. The la-gzas type may be compared to the type called mgur mo (to be
distinguished from mgur ma), likewise a type of alternate or antiphonal song between
prospective connubial candidates; cf. M. Causemann, Tibetische Lieder, pp. 51-74. In either
cases the singing of such songs with a love theme in the presence of old people is deemed
inappropriate. Interestingly, the term la gzas may in fact be of recent date and moreover
probably not Tibetan, as it may simply reflect the Chinese shângë genre, the ^Mountain
Songs' which similarly are witty and rustic love songs; cf. the collection compiled by the
Ming folklorist Feng Menglong (A.D. 1590-ca. 1646) in C. Tölpermann, Shan-ko von Feng
Meng-lung, Münchener Ostasiatische Studien, 9.
27. Cf. mGur-glu'i lo-rgyus, pp. 23-24; sDe-dge'i dmans glu, p. 3.
28. A steady flurry of collections oîgzas emàglu gzas songs has appeared in recent years, cf.
the bibliography. Most conveniently, the collection compiled by Namkhai Norbu Dewang
and G. Tucci may be consulted, as they conveniently supply the reader with the lyrics
transcribed, a translation and an appendix where the songs are interpretated; cf. N. Norbu,
1967, Musical Tradition of the Tibetan People, Serie Orientale Roma XXXVI, pp. 205-338;
G. Tucci, 1949, 1966, Tibetan Folksongs from the District ofGyantse, Artibus Asiae, passim.
As it may appear from Norbu's collection and e.g. from the collection sDe-dgeï dmahs-glu,
pp. 89-116, the six-syllable gzas type is in vogue in Khams too, but its dominance of the
folksong tradition and its provenance is found in Central Tibet.
29. Cf. mGur-glu'i lo-rgyus, p. 200; sNan-hag la 'jug-tshul tshig-rgyan rig-pa'i sgo-'byed, pp. 27
29
20

sr
°d la byarns pa htsal bas
ha man po bob byuh \
daft ma gsan mi 'dug
j zabs rjes gans la biag yod \
The outcome of the three-footed line is a rhythmic and melodious sequence,
which is very suitable to be sung and danced to. The gias type is to a large
extent folkdance songs. A number of tunes or melodies (dbyahs) exists to
which each gzas type of song can be sung. 30 In Lhasa we find a rich musical
dance and song tradition, going hundreds of years back, which is known
through the terms nan ma and stodgias,31 a tradition which uses six-syllable
gias types of songs, among them also the lyrics of the Sixth Dalai Lama.
The lyrics {gias tshig), like the glu type above, may cover all aspects of
life. Turning to the origin of the gias, we must assume t h a t it reaches at
least four or five hundred years back. 32 The etymology of gias is clearly
affiliated with biad pa, "to laugh", "to smile" (= dgad, gad mo), i.e. "to joke"
and "to amuse". It is obviously associated with pantomime of some sort. In
a passage in a biography of 'Brug pa Kun-legs of the fifteenth century, it is
related how the saint at one festival sang (gias 'then) and danced (éon byed).
The song was a six-syllable song. 33 Although the instance related goes back
to 'Brug-pa Kun-legs, the biography, it should be noted, was written in A.D.
1786. In the Biography of Prince Nor-bzan, a popular drama play, written
around the turn of the seventeenth century, we also find a number of typical
six-syllable gias songs included in the text.

Tshig rgyag
A surprisingly large number of the gias songs mentioned above belongs to
a particular type of repartee songs called tshig rgyag, lit. "to hit (or strike
with) words", 34 in full tshig rgyaggi gias. It is tremendously popular in Cen-
30. Cf. N. Norbu, ibid., pp. 338-347. 3
31. Cf. G. Samuel, 1976, "Songs of Lhasa , Etknomusicology, XX, pp. 407,449; G. Samuel, 1986,
"Music of Lhasa Minstrels", in Zlos-gar, pp. 13-19; Ni-sgrol, 1983, "lHa-sa'i stod-gzas kyi
éabs-bror dbye-éib byas-pa", Bod-ljohs glu-gar, no. 3, pp. 24-27; Éol-khan dar-rgyas, 1985,
"Glu-gar gyi rgya-mtsho", Ses-bya'i zegs-ma, no. 24, pp. 28-46; Éol-khan dar-rgyas, 1987,
"sTod-g£as dan nan-ma'i g£as kyi byun-ba mdo-tsam brjod-pa", Bod rig-paï gros-mol tskogs
'di'i ched-rtsom gces-bsdus, pp. 429—449.
32. Cf. also Li Xueqin, 1986, "Qiantân "xié" tï qmggë jî qî yuânyuân", Qïnghâi Minzû Xuéyuàn
Xuébào, no. 11 (4), pp. 88-89; Wen Chen, 1987, ""Xié" tï mïngë tànyuân", Xïzàng Minzû
Xuéyuàn Xuébào, 1987, no. 1, pp. 39-42.
33. Cf. R. Stein, 1972, pp. 287-288; R. Stein, 1973, fol. 112b. It is interesting to note that the
glu song 'is taken' (glu len pa, glu blahs pa), as if a concrete entity is involved, the gzas
song 'is send out' or 'delivered* (gzas gtoh ba, gzas btah ba, gzas 'then pa) indicating that
gzas has something to do with music.
34. Cf. first and foremost J. Snyder, 1968, Tshig-kyag: A Tibetan Alternate Song Competition;
J. Snyder, 1972, "Some Popular Songs of Tibet", Malahat Review 21, pp. 21-35; J. Van
Manen, 1921, "Three Repartee Songs", JASB, n.s. XVII (4), pp. 287-318. Cf. the various
samples of folksongs compiled by mKhas-btsun bzan-po, 1974, in his book gTam-dpe sna-
 21

tral Tibet, but has its typological correlate in the West-Tibetan tshig glu35
and the East-Tibetan glu éags mentioned above. By nature it is, as said, a
kind of repartee song, replete with sardonic hints and quips which aim at
teasing, criticizing (mtshah 'dru ba) or verbally capping (tshig gis dgagpa)36
an opponent. It has in fact given rise to veritable song-contests in which
two alternating parties trade epigrammatic and allusive songs. These often
good-natured contests on words are aiming at outwitting the other party,
where the party offering the last song, leaving the other party or person(s)
at their wits' end, has won the competition. This tradition clearly has differ-
ent but related roots and can boast great antiquity in Tibet. 37 The alternate
or antiphonal song tradition (skorgzas) between two parties is old and diver-
sified. One form is e.g. witnessed in the tradition of staging veritable com-
petitions between villages during certain festivals, as the reported songfest
contest between Gun-than and Grib. 38 Or the songs may find expression
in the courting ceremonies between men and women. Another refinement
of this tradition of witty and rhetorical songs we can notice in the popular
street songs of Lhasa. These sarcastic {tshig zur rgyag, khrel dgod zur za)
and pun-ridden caricature ballads have for long survived as a sort of public
commentary or social bout, doubtless engendered in default of any other apt
means in Tibet of expressing social resentment, public ridicule, etc. 39 More
relevant, the songs of the Sixth Dalai Lama as well as the huge collection of
songs contained in Rig-'dzin Tshahs-dbyahs rgya-mtsho'i gsun-mgur are to a
large extent to be defined as tshig rgyag gi gias, rich as they are in metaphors
and puns and moreover not infrequently couched in polite language, a sure
sign of sarcasm by Tibetan standard. Another term for this kind of lapidary
song is gdans thun gzas,40 'short voice songs', i.e. brief narrative songs.

tshogs dan gzas-tshig kha-sas, collected under the headings 'songs of amusement arousing
mutual laughter' {bead gad sloh res byed pa'i dga* rtsed kyi glu gzas) and 'repartee songs'
(gzas sags rgyag pa), pp. 107-114; *banter songs between boys and girls' (bu dan bu mo'i
glu sags) and further 'repartee songs' (tshig rgyag gam rgyag glu), pp. 114—132, 133—143.
35. Cf. N.T. Shakspo, 1985, "Ladakhi Folk Songs", Soundings in Tibetan Civilization, p. 102.
36. Cf. e.g. mGur-glu'i lo-rgyus, p. 21; J. Snyder, 1972, pp. 20-21.
37. Competitive songs expressing criticism, often in form of questions and responses and in
form of riddles, are documented already in the Dun-huang chronicles; cf. e.g. J. Bacot (et
al.), 1940, Documents de Touen-Houang Relatifs a l'Histoire de Tibet, pp. 104, 118-20, 134-
5, 161-67; J. Snyder, 1972, pp. 21-23. Cf. also R. Stein, 1959, p. 442, who refers to a skor
gzas (to be distinguished from the thematically related sgor gzas) in form of question and
response (gtoh Ian) between a group of men (pho sog) and women (mo sog), here it clearly
refers to a mating banter between prospective connubial candidates.
38. Cf. J. Snyder, 1972, pp. 23-24.
39. Cf. J. Snyder, 1972, p. 24; M. Goldstein, 1982, "Lhasa Street Songs: Political and Social
Satire in Traditional Tibet", The Tibet Journal, VII (1-2), pp. 56-66; for many modern
street-songs composed in the gzas style of six-syllabic quatrains; cf. M. Goldstein, 1988, A
History of Modern Tibet, pp. 63, 93, 120, 154, 184, 209-11, 313, 337, 348-49, 375, 376-77,
446-49, 467-S8, 495, 515-16, 520;
40. Cf. Yu Daoquan, 1930, pp. 37-38.
22

sGor g z a s
Another type of the alternate or antiphonal song is the sgor gzas and the
gral gias which designate 'circle songs' and Vow songs', a tradition which is
intimately associated with dance and music. 4 1 During festivals and feasts
the singers are arranged in circles or in rows of singers, where each singer
consecutively would take the lead or each row of singers alternate with an-
other line of singers, be it male or female. The content of these songs may, as
always, cover many aspects, b u t most regularly they contain pronouncement
of good wishes and auspicious remarks, when they are not amorous in char-
acter. Another kind of row song, to be sure, is the traditional working chants
employed during construction-work (a rgyag) or harvesting, when they are
most commonly sung by girls. 42 But courtship and mating remains the key
incitement behind the majority of these song tournaments. Strictly within
the group of entertainment songs, displaying a structure identical with the
ordinary gzas, we should not overlook the popular chah gzas.43
Aside from these major types of songs we should also mention the type
gzas chert, the 'great song* which not only have another metrical structure,
but more regularly designates formal songs of celebration to be sung during
festivals. The ka gias, 'alphabetical songs', is yet another cherished type of
entertainment song 44 to test the wits and skill of the singer, where each new
line initiates with a new letter in the alphabet.

T h e Songs of the Sixth Dalai Lama

What makes the songs (mgul glu, mgur glu, gsun mgur)45 ascribed to the
Sixth Dalai Lama quite exceptional is partly their allegedly controversial
41. These types of songs are well-known all over Asia; cf. M. Granet, 1932, Festivals and Songs
of Ancient China, p. 138ff., 207ff.
42. For the lyrics (gzas tshig) of the sgor gzas and related working songs (e.g. bzo zin 'brog
gsum gyi las rtsol byed), cf. e.g. gZas-tshig phyogs-bsdus, pp. 23ff.
43. For a good essay of the Cenral Tibetan type of 'drinking song* and its cultural background,
cf. bKra-éis dpal-ldan, "gTsan-ron gi chan-gzas", Bod kyi rtsom-rig sgyu-rtsal, 1983 (2),
pp. 74-77.
44. This playful and witty type of acrostic composition (ka phreh gi rgyan), akin to the Indian
aksaramälä and varnamälä poem, was a stylistic contrivance of great popularity among
Tibetan scholar-poets in their written poems. Formally it is a kind of figure of speech
(rgyan, alamkära) and evinces a variety of forms, cf. mGur-glu'i lo-rgyus, pp. 253-270.
45. The terminological vacillation is quite symptomatic for the uncertainty in denning the
corpus of songs. The terms mgul, i.e. neck (ske) or throat (mgrin pa), and mgur, which in
itself also means a neck or throat, are merely honorifics embellishing the ordinary term glu.
The term gsun mgur is again a respectful honorific added by later compilers of his songs.
These terms, along with the general content of the songs, have been part of a prolonged
discussion among Chinese scholars as to whether this corpus of songs can be called genuine
'love songs' (mdza} gzas, fdod [pa'i] gzas) or not. Cf. e.g. Xiao Diyan, sBran-char, 1987 (3),
pp. 55-56; sBrah-char, 1988 (3), p. 91; Li Ming, 1988, p. 49. The discussion appears to be
somewhat moot if not academic, as this coinage is only relevant to the modern reader and
lacks any foundation in the tradition itself.
 23

content, partly the very attribution of the authorship to the high incarnate
God-king in Central Asia itself. The questions are closely related and should
not be dealt with separately.
The question of the Sixth Dalai Lama and his poems have been the subject
of a burgeoning number of studies in recent years, aside from the numerous
translations. 4 6 In the People's Republic of China the interest in these ques-
tions has turned into a 'new wave' (rba rlabsgsarpa) of research, attracting
a very large number of scholars. This h a s paved the way for a large number
of research papers, a flurry of scholarly activities, it appears, only surpassed
by the massive publication efforts in the studies on Gesar. It is still a 'hot
topic' (rè diànf1 among Chinese scholars.
Two works in particular provide a convenient summary of the research
conducted in the People's Republic of China. In 1982 Huang Hao and Wu
Biyun issued in Lhasa a bulky book entitled Tshahs-dbyahs rgya-mtsho and
his Love-songs: A Study,48 in which the compilers rendered anew a num-
ber of previously published text-editions of the songs (e.g. Das, Yu Dao-
quan, Zhuang Jing). They also supplied the book with a number of old
Chinese translations and reissued a number of smaller articles (in Chinese)
on Tshans-dbyans rgya-mtsho and his songs which until then had emerged.
Another good survey article is offered by Li Ming in his "A summarized Ex-
position of Research conducted in Recent Years in regard to Tshans-dbyans
rgya-mtsho and his Love-songs", 49 a sort of status report in which he sum-
marily enumerates the results and opinions expressed in a number of pa-
pers. The discussion in China tends to focus on two sets of questions. The
first discusses the possible pedigree (mi rigs) or nationality of Tshans-dbyans
rgya-mtsho, his creed (dad pa) and the year of his death ('das Zo),50 the other

46. Cf. note 1 supra. Aside from the pioneering endeavour by Yu Daoquan (1930), the most
penetrating studies so far on the songs have been offered by Savitsky (1983), van Heurck
(1984) and S0rensen (1988). Aris' (1988) recent study on the historical background is
indispensable.
47. Cf. rGyal-mo *Brug-pa, 1987, p. 98; Li Ming, 1988, p. 47. This overwhelming interest—and
to some extent also the legitimacy—among Chinese scholars to carry out research on the
Sixth Dalai Lama is no doubt also politically motivated. The human sentiments voiced in
Tshans-dbyans rgya-mtsho's alleged lyrics and the mundane aspects of his life would clearly
demonstrate the human and mortal nature behind his exalted figure. In the eyes of the
Chinese this would in some sense conduce to de-apotheosize, so to say, the very institution
of the Dalai Lama.
The contributions by the Chinese researchers often exhibit a general lack of methodology
not to say a regrettable reluctance or ignorance of availing themselves with pertinent Ti-
betan sources, even when these sources are readily at hand. This situation, it must be said,
applies less to the papers produced by Tibetan scholars such as the studies of Dun-dkar
and Chab-spel.
48. Cängyäng Jiäcuoji qi qinggë yânjiu, pp. 1-560.
49. "Jinniân Cängyäng Jiäcuö jf ql qinggë yanjiü zôngshù", Xîzàng Minzü Xuéyuàn Xuébào,
1988 (1-2), pp. 47-54.
50. Cf. Li Ming, 1988, pp. 47-49;
24

focusses on the origin and form of his love-songs. 51

The point of his nationality has long been in dispute. Yu Naichang pro-
fesses in a number of articles 52 that Tshans-dbyans rgya-mtsho is a Mon
pa and not a Bod pa. He provides a lengthy argumentation for his Mon
ancestry by linking him with the famous Bhutanese saint Padma gliri-pa
(A.D. 1450—1521) through a brother of his called U-rgyan bzan-po, drawing
here in part upon sources employed by Aris also. 53 Don-grub tshe-rin, par
contre, argues in another article 54 that he after all is of Tibetan nationality,
maintaining 55 that the Mon pas originally descend from a people of Tibetan
stock emerging around and along the Yar-klun (Valley) (yar klun du byun
ba'i bod kyi rigs rus las inched pa). The question of his ancestry is a moot
one. Tshans-dbyans rgya-mtsho, on the father's side, is a scion of Padma
glin-pa, who descends from the Bum-thah area of present-day Bhutan, but
on his mother's side he is a true Mon pa descending from a local Mon nobility
family.56
His creed and his descendants' sectarian affiliation is another issue of
dispute, 57 in which the question whether his family belongs to a rNin-ma-pa
or to a dGe-lugs-pa denomination is discussed. In fact, as it turns out his
paternal clan can claim adherence to the rNin-ma-pas, whereas the mater-
nal clan and their relatives in the village Ber-mkhar (or Pe-dkar) in Mon-yul
can be credited for having been singly responsible for introducing the school
of the dGe-lugs-pas in this region. In more than one sense his dual de-
nominational roots may have wielded no small influence later in the young
God-king's life, when he may have tried to blend doctrines and tenets which
were originally nourished by distinct schools.
The final point of discord concerning the Sixth Dalai Lama's person vividly
discussed among scholars in the PRO is related to the disputed year of his
demise. This contentious issue has all along been part and parcel of the
overall question of the authenticity of the so-called 'Secret Biography* {gsan
51. Cf. Li Ming, 1988, pp. 49-51.
52. Cf. 1980, pp. 71-72; 1982, pp. 88-89; cf. also Meng Xi, 1980; Jiang Daren, 1980 and Wang
Zhenhua, 1980.
53. Cf. 1988, pp. 109ff. For a discussion of Mon and Mon pa see also Aris, 1980. A good and
detailed essay on Mon and its administration is provided by dGe-bées Ye-ées 'phrin-las,
himself a Mon pa, in his "Mon-yul gyi g£i-rtsa'i gnas-tshul", Bod kyi rig-gnas lo-rgyus rgyu-
cha bdams-bsgrigs, 1983, pp. 132-163. For the historical relationship between Tibet and
Mon, cf. Zhang Jianghua, 1984, pp. 77-85.
54. 1984, pp. 94-96.
55. op. cit.y p. 96.
56. Cf. M. Aris, 1988, pp. lllff. The pedigree of the Sixth Dalai Lama's mother can in fact
trace its ancestral progenitor back to Tibet proper, to gTsan-ma, the royal prince (lha sras)
and brother of King Khri-sron lde-btsan, who in the ninth century fled to the southern Mon
region. Whether true or not, there are grounds to believe that the Sixth Dalai Lama was
of a mixed racial stock. See M. Aris, ibid, and Ye-ses 'phrin-las, 1984, pp. 87-89, for a
convenient survey of the biographical data of the Sixth Dalai Lama.
57. Cf. Li Ming, 1988, p. 48; Yu Naichang, 1982, pp. 89-90; Don-grub tshe-rin, 1984, pp, 97-98;
Zhang Songcao, 1987, pp. 46-55.
 25

ba'i mam thar),58 an astonishing and reputed document written in A.D.

1757 by the Mongol No-mon-han Nag-dban lhun-grub dar-rgyas, according
to which the Sixth Dalai Lama did not pass away at Kun-dga'-nor in A.D.
1706, but lived a life in constant peregrination until A.D. 1746 when he
should have passed away in Mongolia. A number of articles and views ar-
guing respectively for and against its authenticity have been issued. 59 The
final solution to this biographical riddle, however, must clearly be credited
Don-grub tshe-rin 60 and in the West, first and foremost, Michael Aris, who
in his intelligent study Hidden Treasures and Secret Lives61 demonstrated
most convincingly that the contentious biography in fact relates about an
impersonator of the Sixth Dalai Lama by the name Nag-dban Chos-grags
rgya-mtsho dpal-bzan-po.
Another major point of research related to Tshans-dbyans rgya-mtsho is
concerned with the topic under discussion here, the origin and form of his
alleged love-songs (qinggë).62 A number of studies is dedicated a some-
what stereotyped and repetitive analysis of the 'amorous' orientation of his
lyrics, a discussion, in my eyes, which really does not offer us any new
insights. 63 Xiao Diyan 64 and—with greater cogency—Chab-spel Tshe-brtan
phun-tshogs, 65 one of Tibet's foremost scholars, have vigorously defended the
thesis that (at least a number of) the poems, aside from its ordinary message,
should be understood politically and satirically. Turning to the form of the
gzas type of folksongs, the type to which the songs of the Sixth Dalai Lama
properly belong, two small essays merit our attention. Li Xieqin 66 and Wen
Chen 67 have tried (not quite convincingly) to trace the origins of the gias type
back to the dynastic period by pointing to the six-syllable strophic pattern,
a metrical structure dominating the versification pattern in the dynastic pe-
riod and a structure almost uniformly met with in this type's metre, viz. by

58. Cf. Thams-cad mkhyen-pa Nag-dban chos-grags dpal-bzah-po'i rnam-par thar-pa phul-
bywi-ba'i mdzad-pa bzan-po'i gtam-snan lha'i tambu-ra'i rgyud kyi sgra-dbyans, publ. in
Gedan Sungrab Minyam Gyunphel Series, vol. XVII and by Zhuang Jing 1981a (Tib. text)
and 1981b (Chin. tr.).
59. Cf. p. Klafkowski, 1979; Damdinsureng, 1981; Yu Naichang, 1982, pp. 90-93; Jia Lasen,
1984; Dor-£i gDon-drug söems-blo, 1984; Guo Weiping, 1985; rGyal-mo 'Brug-pa, 1987; Li
Ming, 1988, pp. 48-49; Aris, 1988, pp. 167ff.
60. Don-grub tshe-rin, 1984, "Rig-'dzin Tshans-dbyans rgya-mtsho'i lo-rgyus-skor gyi rnog-glen
'ga'-la dpyad-pa gans-sen dgyes-pa'i gtam", Nub-byan mi-rigs slob-grva chen-moï rig-gzun
dus-deb 1984 (1), pp. 98-101. Cf. also rGyal-mo 'Brug-pa, 1987, pp. 96-97.
61. Cf. pp. 167ff.
62. Cf. foremost Mao Jizu, 1979; Huang Hao & Wu Biyun, 1982; Li Ming, 1988, pp. 49-51.
63. Cf. the numerous discussions in Huang Hao & Wu Biyun, 1982.
64. Cf. "Cângyâng Jiäcuö qi rén qi shT, Xïzàng Minzû Xuéyuàn Xuébào 1985 (1), pp. 44-51;
"Tshans-dbyans rgya-mtsho'i mgur-glu'i gsar-'grel", sBran-char, 1987, (3), pp. 90-95; 1987
(4), pp. 55-57; 1988 (1), pp. 64-70; 1988 (2), pp. 61-72; 1988 (3), pp. 47-56. Cf. also the
discussion under note 7 in the next section.
65. Cf. Chab-spel, 1987, pp. 300ff.
66. Cf. uu
"Qiantân "xié" tï qinggë jï qî yuânyuân", pp. 83-89.
67. Cf. Xié" tï mîngê tànyuân", pp. 3&-42.
26

units of six-syllable quatrains with a trimetric or tripodal rhythmic sequence

(sihâng liùyân sândùn yîshou). As we had occasion to see in the foregoing,
this formal six-syllabic congruence seems to be an adventitious congruence
rather t h a n a generic one, partly because the six-syllable metre is common-
place in Tibetan metrics and partly, and more importantly, because a tangi-
ble difference still remains: The old hexa-syllabic metre was chiefly dactylic
and hence bipedal, whereas the present six-syllabic gias form is trochaic and
tripodal. Another Chinese scholar, Yu Naichang, has approached the ques-
tion from another angle: He has discussed the possible origin of the gzas
type of folksong by calling attention to the folksong tradition of the Mon pa
people. 68 The material collected by Yu Naichang and his colleagues, however,
is still far too scarce to allow for any conclusion as to their mutual affiliation,
although a number of the samples of the Mon folksongs are clearly found to
be identical with the songs of the Sixth Dalai Lama. 6 9

The Songs: Form and Content

As described earlier the secular songs ascribed to Tshans-dbyaris rgya-mtsho

belong typologically to the gzas genre. The gzas genre, we have already seen,
consists in the main of six-syllable (tsheg bar drug, tsheg khyim drug) qua-
trains (tshig rkan bii) with a marked trochaic structure (tsheg bar chagsum).
It has similarly be noted that the Tibetan poetic folksong tradition exhibits
a tangible dearth of rhyme and alliteration. But this is valid only as far as
regular rhyme and rhyming schemes are absent, while the lack of these eu-
phonic qualities are fully compensated by a varied use of euphuistic devices
such as anaphora, epistrophes, internal alliterative rhythm, antithesis and
assonance. This aspect of the songs ascribed to Tshans-dbyans rgya-mtsho
has already been amply discussed and documented by Savitsky 70 and van
Heurck, 7 1 wherefore it shall not detain us here, except just repeating the
statistic figures reached by Savitsky: 72
Among the 66 songs ascribed to Tshans-dbyans rgya-mtsho 37 songs (i.e.
55% of all songs) contain sound repetition in some form, i.e. anaphora, inter-
nal rhythm and epiphora. Among them, 13 songs (i.e. 19.7%) of all the songs
68. Cf. Yu Naichang (ed.), 1979, Ménbâzû minßän wénxué zîliào, passim and his, 1980,
«Ménbâzu mlnjiän qïnggë yii Cängyäng Jiäcuö", pp. 69-72.
69. Cf. Yu Naichang, 1979, pp. 56ff. Of the 183 samples of folksongs reproduced in Chinese
translation, the following are identical with the songs of the Sixth Dalai Lama (in paren-
thesis): no. 4 (= no. 57); no. 5 (= no. 1); no. 25 (= no. 13); no. 94. (= no. 53); no. 95 (=
no. 54) and no. 101 (= no. 56). These samples probably only reflect that his songs are quite
well-known in Mon-yul.
70. Cf. Can'jan Dzamco: Pesni, Prijatnye dlja slucka, pp. 79-100 and his "Secular Lyrical
Poetry in Tibet", pp. 403-409.
71. Cf. Chants auribués à Tsangyang Gyatso, pp. 32-49.
72. Savitsky, 1978, op. cit., pp. 408-409.
 27

contain anaphoras of which 10 display (i.e. 76.9% of all anaphoric incidences)

repetition of syllables and words, whereas 3 songs (i.e. 23.1%) display cases
with identity or similarity of sounds. The most frequent type of anaphora
is ABBD which amounts to 23 of the incidences. Turning to epiphora, 32
songs (i.e. 48.5%) of the total number of songs contain this type of euphonic
embellishment. The ABCB type of epiphora is displayed in 9 songs (i.e.
28.1%); ABAD in 7 songs (21.5%); ABAB in 4 songs (i.e. 12.5%); AACD in 3
songs (i.e. 9.3%); ABBD in 3 songs also (i.e. 9.3%); AAAD in one song (i.e.
3.1%); ABCA in one song (i.e. 3.1%); AACA in one song (i.e. 3.1%); AACC
in one song (i.e. 3.1%). In the two six-lined strophes (i.e. the critical edition
nos. 20 and 50) the following patterns are found: AACDDF and AACDCF
(each 3.1%). Anaphoras and epiphoras occuring together, finally, are found
in 8 cases (i.e. 12.1%) out of total 66 songs.
Leaving this kind of euphonic embellishment (eabdälamkära, sgra rgyan)
or phonetic parallelism and turning to the section of semantic embellishment
(arthälamkära, don rgyan) and figures of speech, we encounter in the songs
a sense pattern replete with cases of antithesis and parallelism. Within
this department of semantics we find a panorama of figures, epithets and
metaphors (rüpaka, gzugs), similes, illlustrations, allegories and allusions
(upamä, drstänta, dpe, dpe rgyan).73
In traditional Tibetan poetry—which to a large extent is a caique on Indian
kävya and to which the simpler forms of song lyrics under consideration here
may be included—there are, roughly speaking, two distinct means of embel-
lishment, i.e. two ways of expressing the subject matter (abhidheya, brjod
byai'i] don): By (the embellishment of) factual statements (svabhävoktil-
alamkära], ran bzin brjod paVi rgyan]) and by (the embellishment of) fig-
urative (or) indirect speech (upamä and rüpakal-alamkära], dpe and gzugs
can \gi rgyan], 'khyog brjod pa['i rgyan]).74
The factual statement or the concrete figure of speech presents the sub-
ject matter in an explicit (dhos brjod) manner without taking recourse to
any figurative manipulation whatsoever (sgro bskur ci yah mi byed pa). The
other way of expression, the implicit (sugs bstan) or rather figurative way,
presents its topic by way of similes (dpe yis ston pa) and metaphors (gzugs
73. Cf. Dun-dkar Blo-bzan 'phrin-las, sNan-nag la 'jug-tshul tshig-rgyan rig-pa'i sgo-'byed,
pp. 127-478. The section on eabdälamkära or sgra rgyan is by Duù-dkar delt with on
pp. 479-507. However, the simpler forms of kävya found in the folksong tradition rarely
have any bearing on the more technical forms of poetical figures found in the Tibetan
scholastic kävya literature. The same holds true for the figure of speech known as hidden
meaning or riddles (prahelikälamkära, gab tshig gi rgyan), cf. pp. 511-537 in Dun-dkar's
book.
74. Cf. e.g. Dun-dkar Blo-bzan 'phrin-las, sNan-hag la 'jug-tshul tshig-rgyan rig-paï sgo-'byed,
pp. 127ff.; Don-grub-rgyal, mGur-glu'i lo-rgyus, pp. 234ff.; rTa-mgrin, 1987, "dPe-rgyan la
cun-zad dpyad-pa", pp. 61-67; "Bod kyi dmans-gzas skor rags-tsam glen-ba" (in Bod-rigs
kyi dmans-gzas gces-bsdus) pp, 1-23. The most widely used figure of speech appears to be
the means of imagination and figurative superimposition (rab rtog or rab btags kyi rgyan),
cf. Dun-dkar, ibid., pp. 330-339.
28

su 'god pa) or, for that matter, by means of veiling (gab pa) the meaning and
sense of its subject matter (brjod bya'i don) in various degrees. 75 This popu-
lar poetical device, commonly known to the Tibetans as dpe don mtshuhs pa
(or dpe don 'brel chags), i.e. "to illustrate a concrete object or a statement by
way of a simile", is widely used in all fields of literature. But the strophic
subhäsita and niti literature and the rich poetical and epic [folkjsong tradi-
tion are in particular replete with this allusive figure of speech. The pattern
of antithesis or parallelism is, as said, most regularly employed in order
to illustrate, compare, contrast or in order to enforce a concrete object or a
statement. Moreover, these similes or allusions—in the main drawn from
nature or society—may arbitrarily be presented either in the first couplet
or the first two lines of the stanza (tshig rkah sha ma gnis) or they may
be found presented in the second couplet or the two last lines of the stanza
(tshig rkah phyi ma or mtha' ma gnis).
Like other folksongs, the songs ascribed to Tshans-dbyans rgya-mtsho
make use of both means of expression. Almost all the songs or quatrains
in the corpus consist of what is commonly designated single, self-contained
stanzas (muktaka, grol 6a). 76 About 36 out of the 66 songs, or half the collec-
tion, employ the means of couching its subject matter or message by way of
concrete and predominantly non-figurative statements (rah biin brjod pa),
viz. nos. 6,12-14, 16-19, 21-24, 26-29, 31-34, 42-45, 47, 49-51, 53-56, 58,
61, 63, 66. But as it shall emerge from our detailed discussion in the sequel,
a number of these apparently factual poems, aside from being taken at their
face value, may turn out to be quite allusive.
The rest, amounting to 30 songs, employ, aside from or instead of concrete
statements, partial or full similes, allusions, epithets and metaphors. In fact,
the pithy structure of the four-line strophe in itself appeared to entail a heavy
dependence on imagery. The alleged author often draws from a repository
pertaining to the symbolic world of the Tibetans, and uses a number of
images already well-known. Reading the songs furnish us with a wonderful
tool that will enable us to look into many sides of the mentality and cultural
history of the Tibetans.
In the poems we encounter a series of terms and synonyms for a lover
and a mistress (byamspa, snih thub, chuh 'dris, mdzahs ma, tshoh 'dus bu
mo) reflecting that the corpus' overall leitmotif is love. In fact, the theme of
love is quite dominant in the collection. Among the allusive poems we have
samples where the girl's face is likened to the moon or the moon carries
association of a prospective nocturnal tête-à-tête, i.e. nos. 1, 41-42, 44, 7 7 a

75. Cf. mGur-gluï lo-rgyus, op. cit., pp. 234-235.

76. Cf. Dun-dkar, ibid., pp. 36-37. For this type of poems in Sanskrit literature, cf. S. Lienhard,
A History of Classical Poetry, pp. 75ff. Each single poem or song can be read independently
as it presents the subject matter in a full and complete way (cha tshan). It is then quite
another matter that a number of the songs contextually may be read conjointly.
77. Like in case of a formal syllogism, a fall simile within traditional käuya, at least, requires
 29

favourite epitheton ornans; the girl is further likened to a precious jewel in

songs nos. 3-^t, 31, to a delicious finit, such as a peach in nos. 5, 35; and as
an apple in no. 65; to a boat in no. 10, to a horse in nos. 37, 40, a tigress in
no. 48, a wolf in no. 36 and to a goddess in nos. 20, 30; the traditional couplet
bee and flower is a symbol of the male lover and his beloved, cf. nos. 7-8,
15, 25); the bird and the tree supply us with a perfect setting for a tryst
between lovers, cf. nos. 60, 62, 64, so do the goose and the lake, cf. no. 9; the
love affair and the liaison may be likened to archery in no. 59, like a love
knot may be likened to a snake's knot, cf. no. 11; evident (self-)portraits are
provided by a bee in nos. 7, 15, 25, a goose in no. 9, a vulture in no. 38, a
cuckoo in no. 46 and by a crane in no. 57; an inevitable figure in amorous
dramas, the third person (depicting a strict guardian, the parents of the girl,
etc.) meddling in their romance is found in the guise of a winter storm, cf.
no. 8, a cloud in no. 39, a parrot in no. 50 or this figure may be portrayed
as a dog, cf. no. 52 and a demon, cf. no. 65. Clear cases of double entendre
or of the figura etymologica, a faint Tibetan echo of slesälamkära, are found
most clearly in nos. 5, 39, q.v. Aside from this, a number of the songs may
furthermore well prove to be analysed from the view-point of the sentiments
or the tone (nams 'gyur, mam 'gyur)78 in which a poem may be couched. An
overall gloomy (skyo ba) note is striken in a number of songs, e.g. nos. 1,4, 6,
9-10, 26, 30-32, 37-38, 53. Reversely, optimistic strings (re ba dan bcaspa)
are striken also, cf. e.g. nos. 7, 13-20, 23, 27, 34, 42, 44, 46, 56-57, 62-63,
65. The pan-Buddhist core concept of transience (mi rtag pa) is implicitly
and explicitly discernible throughout the entire corpus, but most readily felt
in the following songs nos. 2, 7-9, 11, 24, 31-33, 35, 40-41, 58-59, 60, 63,
66. Quite often, as is the case with the ironic type of repartee songs (tshig
rgyag, éags rgyag),79 we may find veiled samples of sarcasm (zur za) e.g.
nos. 8, 39.
The poems paint a varied canvas of a complex personality who runs the
gamut of emotions. Various sentiments or moods are discernible in the lyrics:

three components, aside from the subject compared or qualified (i.e. signification, khyadgzi,
sbyargzi, dpe can), the image or property qualifying or illustrating the subject (significans,
khyad chos, sbyar chos, dpe) and,finally,the common property characterizing and qualifying
this nexus {tertium comparationis, mtshuns chos). Tb provide an example: The (reciprocal)
simile between the girl's face and the moon. The girl's face is the signification (dpe can), the
disk of the (full)moon is the significans (dpe) and their mutual brightness (gsal ba) is the
tertium comparationis. In many cases, however, the similes found in the corpus of songs
ascribed to the Sixth Dalai Lama not always meet the requirements needed to constitute
a full simile.
78. Cf. e.g. mGur-glu'i lo-rgyus, pp. 271ff. Among the human sentiments and forms of manifes-
tation one, inter alia, usually distinguishes between a haughty attitude (sgeg pa'i nams),
a heroic (dpa' ba), an ironic (bead gad), a joyous (dga* ba), a wrathful (khro ba), a gloomy
(skyo ba) and an optimistic (re ba dan bcas pa) mood.
79. A large number of the songs ascribed to the Sixth Dalai Lama, in particular those marked
with an impersonal stamp, may well be interpretated and are in fact employed as facetious
and epigrammatic repartee songs; cf. J. Snyder, 1972, p. 22.
30

the cri-de-cœur of the poet depicting the heart's yearning and desire, e.g.
nos. 1, 3, 5-6, 15—18, 31-32; frustration over the lover's infidelity, cf. nos. 10,
26, 35-36; the desperation and emasculating effect of jealousy, cf. nos. 26,
32; the bitterness accruing from the dearth of discretion, cf. nos. 29, 38, 50,
52; on the other hand, we have brave samples of true ingenuousness and
intrepidity in a society fraught with intolerance and prejudice, cf. nos. 53—
54, 61, the resigned acceptance of karmanis inexorable course, cf. nos. 2, 7,
28, 30, 53 and a perpetual crisis of identity: the ghastly dilemma of being
torn between two poles, on one side the instinct of love and desire versus
the toilsome burden of a religious calling, i.e. nos. 15, 18-19, 25, 34.
In my eyes it hardly serves any purpose, aside from the above thematic
analysis, to attempt to read a deeper structure into this quite heterogenous
corpus of songs couched, as it is, in both an universal as well as a personal
strain. Nonetheless, the following set of songs may tentatively be read as
contextual companion pieces evincing a thematic unity of sorts: nos. 3-4,
13-14, 15-16, 21-23, 24-25, 30-33, 35-37, 41-44, 52-58.
A decidedly new track in our interpretations is our attempt to understand
a number of the poems to convey veiled allusions to matters political. Prom
the very outset though, we must stipulate t h a t this hermeneutical attempt of
ours should remain a tentative one. Nevertheless, we have reason to believe
t h a t the love theme in not a few incidences may be an euphemistic para-
phrase for an eagerness after appropriating the power to which he was justly
entitled. Our allegation t h a t the lyrics to some extent may voice the alleged
poet's frustrations with the Regent Sans-rgyas rgya-mtsho (A.D. 1653-1705),
the guardian of the young incarnate and the actual ruler of Tibet with whom
Tshans-dbyans rgya-mtsho had a relationship fraught with ambivalenae, is
hinged upon our knowledge of how deeply anguished the young incarnate
felt in his dealings with the cynical and complacent Regent. In addition,
this assumption of ours is also nurtured by our general knowledge of the al-
lusive character of the gzas form of song, the type in which the song-poems
of the Sixth Dalai Lama are couched, much akin to the pun-ridden political
street ballads of Lhasa. Perhaps, this line of argumentation and the ques-
tion of a more political interpretation of the songs may ultimately be related
to the overall question of the authenticity of the songs.
The source of his frustration hailed in the main from the ceaseless skir-
mishes he had with the Regent, who wilfully kept a firm grip on the reins
of power by demonstrating a notorious reluctance to share it with the young
ruler. 80 Most directly, the song nos. 8 and 39 carry a veiled but nonetheless

80. Cf. Aris, 1988, pp. 122ff. M. Aris must be thanked for having provided us with the hitherto
best exposition of the background and nature of the relationship between these figures. In
particular, we are beholden to him for having taking pains to attempt to elicit some co-
herent historical data out of the practically incomprehensible biography of the Sixth Dalai
Lama composed by the Regent, a life-story couched in a high-flown panegyric language so
replete with obscure and oblique circumlocutions that it is virtually impossible to follow thé
 31

clear allusion to the double-dealing Regent. The Sixth Dalai Lama was, it
must be recalled, the product of the Regent, who skilfully employed various
stratagems in order to achieve his main objectives: To conceal the demise
of the Great Fifth Dalai Lama (1617-1682) and to stage, likewise clandes-
tinely, the search for the new incarnation keeping the prospective candidate
in semi-confinement for twelve full years in mTsho-sna in Mon-yul until 1697
before he found it opportune, or rather was forced in the wake of a steadily
increasing suspiction, to divulge the closely guarded secret and to install on
the throne in the Potala the new Dalai Lama, by now a young man who had
grown progressively cynical about the office he was going to assume and the
elevated institution upon which it was founded. In the years ahead, until
his violent death in 1705, the Regent got his ways in all matters pertaining
to the affairs of state and government reducing the young incarnate ruler to
something of a puppet.

Authenticity

The final and most intriguing question to pose in relation to the songs of
the Sixth Dalai Lama is the question of authenticity. Does the corpus re-
flect the lyrical apophthegma of a young incarnate ruler or, equally likely
it transpires, witty fabrications, akin to the aforementioned street songs of
Lhasa, by the Tibetan people or by some professional minstrels or anony-
mous songsters ? Unfortunately, we do not possess any cogent yardstick
which may enable us to assess beyond reasonable doubt whether the songs
do originate from him or not. Kloh-rdol bla-ma at the end of the eighteenth
century mentions 8 1 the existence of songs (mgur ma) among the writings
composed by the Sixth Dalai Lama. This may tally with the oldest edition
of the songs, i.e. éd. B, cf. infra, which from the style of the carving appears
to have originated in the later part of the eighteenth century. 82 Another
faint reference to the existence of secular songs may be had from the words
allegedly expressed by the Sixth Dalai Lama himself, when in A.D. 1706 he
fell sick in northern Tibet en route to the Chinese capital. At one occasion
he spoke to his major-domo Nag-dban dpal-'bar: "Don't lose the scrolls con-
taining my unfinished writings. You m u s t return them to me later." This
could be a sign t h a t he would now die, which indeed he did before long, and
that he soon would be reborn, but it may also be a reference to his famous
songs. 83
chain of events recorded in this vita. It pertains to some of the most difficult pieces of auto-
biographical literature ever produced in Tibet. Incidentally, this work is completely cleared
of any reference, however faint, to the young God-king's allegedly libidinous character.
81. Cf. vol. ra, p. 451, of his gSun-'hum.
82. Cf. M. Aris, 1988, pp. 240-241, n. 136.
83. Cf. M. Aris, 1988, op. cit., p. 166.
32

As it will hopefully emerge from the present study, the songs ascribed to
Tshans-dbyans rgya-mtsho are deeply rooted in the Tibetan popular folksong
tradition. Almost every theme and episode emerging in the songs, not to say
the outer form of the songs and its compositional aspects, are found to occur
in a number of other folksongs. Here they carry the same symbolic value
and, not infrequently, thus provide us with further information about the
content. All this would clearly lend weight to the contention that the songs
are the anonymous lyrical product of the people of the street, composed in
order to commemmorate a truly remarkable figure loved by the people for
his bold rebellion against the establishment and his human qualities. All
along we cannot exclude the possibility that the songs of the Sixth Dalai
Lama may have constituted the source of inspiration for the entire Tibetan
folksong tradition.
A major source of inspiration for the corpus of songs, moreover, may turn
out to be found in the popular story and drama-play of Prince Nor-bzan. 84
More or less tangible allusions to this folk-inspired drama-play may be found
scattered throughout the lyrics ascribed to the Sixth Dalai Lama. Whether
this would speak in favour of ascribing the authorship of the corpus to him
is difficult to ascertain.
An equally delicate issue would be our attempt to disentangle an original
kernel—if any—of this heterogenous corpus, since, as said, our dearth of
solid knowledge of the cycle's textual history, its constitution and its general
dissemination is regrettably scarce. It will serve no purpose even to venture
to restore the textus receptus in any order and succession, aside from the one
already given.
In fine, weighting the pros and cons on a scale pan, the songs in the nature
and form point to an anonymous provenance.
Searching for one possible clue, the key to the riddle may well be buried
in the following song.
Bod-rigs kyi glu-gzas, p. 108, no. 2:

| gzas de ha tshoï gzas red \

j lha sa'i bu mo'i gias red \
I gias la snan cha med kyan \
j tshig la go ba skyon dan \
This song is our song:
The song of the girls of Lhasa;
Although it may well lack harmony
Pray, be good and catch our message!

84. For a full discussion, cf. no. 30.

 T h e E d i t i o n s

o f

T s h a n s - d b y a n s r g y a - m t s h o ' i

m g u l - g l u

A: The text edition entitled Tshans-dbyans rgya-mtsho'i mgul-glu snan-

'grugs kyis bkod-pa. It is found published by S.C. Das, An Introduction
to the Grammar of the Tibetan Language, Appendix IX, pp. 33-35, Dar-
jeeling 1915. It remains uncertain whether Das has based his edition
upon a manuscript ( 6 m ma) or a xylographie print {éih par). It con-
tains 52 songs with a supplement of 7 songs (nos. 59-65 of our critical
edition), thus counting 59 songs in all (60 songs ace. to Das, as he
counts two six-lined stanzas as three quatrains). This edition lacks
the following songs nos. 11, 25-26, 28-29, 47 and 66 (my numbering).
Das' edition exhibits only a few orthographical peculiarities, and it is
unknown whether this state of affairs reflects a faithful rendering of
the textus receptus or reflects tacit emendations on the side of Das, in
which case he may also be responsible for arranging all the songs into
proper quatrains {tshig rkah bzi). Beyond this, nothing conclusive can
be adduced as to the date of compilation and the textual constitution of
edition A. Das' edition is also reproduced in Huang Hao & Wu Biyun
(eds.), Cängyäng Jiäcuö ji qt qinggê yanjiü, "Xïzàng Yânjiù" cângkân
zhîsân ("Tibetan Studies" Coll. no. 3), 1982, Lhasa, pp. 78-98.
B: The text edition entitled Tshans-dbyans rgya-mtsho'i rnam-thar snan-
'grugs kyis bkod-pa. It contains 58 songs in all. We can avail ourselves
of three editions of B, all textually identical and basically relying on the
same source: 1. The edition rendered in Yu Daoquan (in collab. with
Zhao Yuanren), Love Songs of the Sixth Dalai Lama Tshangs-dbyangs
rgya-mtsho, Academia Sinica, The National Research Institute of His-
tory and Philology Monographs Series A No. 5, Peiping 1930 1 ; The edi-
1. According to Yu Daoquan, op. cit. p. 38, it is reproduced from a Lhasa booklet consisting
34

tion contains 58 songs, b u t has been divided into 54 songs by Yu Dao-

quan, (since he counts two songs under no. 15 and no. 17, and three
songs under no. 50). The complete recension of Yu counts 66 songs
(62 according to Yu's own computation): 58 + 7 (added from ed. A) +
1 (= no. 66 of our crit. ed.). 2. A xylographie print (sin par) allegedly
from Lhasa Printing House. It is identical with the book-print em-
ployed by Yu Daoquan. It is reproduced by L. S. Savitsky in his Can'jan
Dzamco, Pesni, Prijatnye dlja sluca; Izdanie teksta, perevod s tibetskogo
(issledovanie i kommentarij; Pamjatniki Pis'mennosti Vostoka, LXXI),
Nauka, Moskva 1983, transcribed, pp. 105-109, facsimiles pp. 1 8 3 -
192; fol. l b l - 1 0 a 2 (Collection Cybikov, inventory 81, 38). Cf. also Ya-
maguchi, Catalogue of the Tbyo Bunko Collection of Tibetan Works on
History, no. 450-2789. 3. A MS (bris ma) also reproduced by Savitsky,
ibid. It is transcribed pp. 109-114, facsimiles reproduced pp. 193-200;
fol. I b l - 8 b 2 (Collection inventory A-1825).2A11 three editions are replete

of 237 lines (i.e. stanza-lines due to Yu Daoquan's arrangement). In the booklet the text
is arranged into 119 lines by perpendicular strokes (sad). In actual fact, it consists of
118 twelve-syllabic hemistiches and of one six-syllabic quarter. Yu Daoquan's booklet is a
wood-cut print totally identical with the Leningrad-kept sin par gauged from the sample
reproduced in Huang Hao & Wu Biyun's book, pp. 28, 99. In other words, as in case of the
two Leningrad versions of ed. B and the manuscript of the gSuh-mgur collection reproduced
in the Appendix to the present study, these editions did not consist of proper quatrains,
where each quarter consists of six syllables, but each song was rendered by two hemistiches,
each counting twelve syllables. Thus, verse no. 1 is rendered i sar phyogs ri bo'i rise nas
dkar gsal zla ba sar byuh I I ma skyes a ma'i zal ras yid la 'khor 'khor byas byun I etc.
2. Both texts survive in the Tibetan Fond of the Leningrad Institute of Oriental Studies.
Both editions, similar to the booklet employed by Yu Daoquan, cf. previous note, render
the complete song cycle by way of 119 (resp. 118) twelve-syllabic hemistiches or verse-lines,
an arrangement often used by the Tibetans. The two texts are, with a few exceptions,
identical. The bris ma is almost certainly an apographical caique upon the âin par, but
the copying has evidently produced a number of obvious scribal blunders. The xylographie
print, in a booklet form, probably went into circulation around the turn of the century, as
Chab-spel Tshe-brtan phun-tshogs, op. cit., 1987, p. 307, draws our attention to the fact,
that a number of people from the old generation in Lhasa still have a personal memory of
the existence and wide distribution of a woodcut booklet, a special edition of the love songs,
which was published by some public printers in Lhasa and which could be purchased freely
everywhere in the book-bazars (Ihagpar du de sna "mgul glu'i" gzas tshigched bsgrigs byas
pa zig Iha sa}i par pa spyi pas sin par du brkos pa'i dpe chuh dpe khrom gan sar bton te
rgya khyab man tshogs kyi rah 'dod Itar no sgrub byed pa sogs ni da Ita'i rgan rabs tsho'i
mig mthoh lag zin gyi don dhos sig yin). In the opinion of Mr. Tashi Tshering, LTWA,
Dharamsala, however, this undated ed. of B, judged from the style of the block carving,
should even be dated to the later half of the eighteenth century; cf. M. Aris, 1988, p. 157,
n. 136. Possibly so, as this would tally perfectly with the crucial note given by the eminent
polyhistor Klon-rdol bla-ma Nag-dban blo-bzan (A.D. 1719-1794/95), who in vol. ra of
his gSuh-}bum (p. 451 of the ed. by Ven. Dalama) mentions among the penned products
of the Sixth Dalai Lama the existence of a mgur ma. The term mgur ma, to be true,
designates technically religious songs, a genre which differs markedly from the popular
gzas type both in content and form. If we therefore were to assume any factual identity or
correspondance between this MS of songs faintly referred to by Klon-rdol and the present
woodcut booklet, the term mgur may simply just be a honorific (ze sa) employed by Klon-
 35

with orthographical errors, misspellings, or, more rarely, current and

vernacular varieties of standard orthography, accounted for by the fact
t h a t these songs basically reflect an oral transmission. Homophony,
moreover, being the foremost salient feature in Lhasan Tibetan, this
state of affairs is inevitably paving the way for a plethora of variae lec-
tiones. Not infrequently, however, the variant readings cover over plain
genetives being mistakenly rendered as instrumentais, or vice versa, as
well as variant forms of past tense, etc.
C: The edition entitled Tshans-dbyahs rgya-mtsho'i mgul-glu. It is found
reproduced: 1. In a booklet published by Kalzang Lhundrup, The Love
Songs of the Sixth Dalai Lama, Buddhist Temple, Varanasi 1969, pp. 1 -
15; 2. Identical ed. in a small booklet, n.d., n. pi., pp. 1-14; It contains
53 songs, thus omitting the 13 songs (i.e. nos. 11, 25-26, 28-29, 47,
59-66 of our crit. ed.) which are evidently considered of dubious prove-
nience. The edition by Kalzang Lhundrup lacks no. 18bc and no. 27c of
our crit. ed. 3
D: The text edition rendered by Mao Jizu, "Shitân Cängyäng Jiäcuo qing-
gë", QînghàiMtnzûXuéyuànXuébào, 1979 (2), Xining, 1979, pp. 67-81.
Far from constituting an edition in the strictest sense, it has neverthe-
less been reproduced here. 4 Mao Jizu's wholly haphazard rendition of
the song-poems is not complete, as it reproduces 51 songs only.
E: The text edition denoted Tshans-dbyahs rgya-mtsho'i mgur-glu. It is re-
produced by Wang Yinuan, Tshans-dbyahs rgya-mtsho'i mgur-glu (Cäng-
yäng Jiäcuo qïnggê), (Qinghai Nationalities Publ. House, Xining, 1980),
pp. 9, 1-78; Wang Yinuan's book contains 74 songs, 5 i.e. the 66 songs of
rdol or just be short for mgur glu, the usual designation for the songs of the Sixth Dalai
Lama. To add to the confusion, Zhuang Jing adduces in his introduction, cf. note 7, that
he has employed a source, a print from Lhasa Printing House, carrying the same title as
ed. B, but apparently containing 65 songs. But since Zhuang Jing abstains from supplying
us with further information, we are barred from establishing the relationship between the
three editions of ed. B and this apparently disparate edition. It is evident, for instance,
that the source employed by Zhuang Jing lacks all the variant readings with which ed. B
are replete.
3. Throughout our critical edition the text by Kalzang has been registered, since the alterna-
tive recension of C occasionally appears to be subjected to anonymous emendations. The
edition published by G. W. Houston, Wings of the White Crane, (Motilal Banarsidass, Delhi
1982) is based upon ed. C, collated with ed. A. Houston's synthetic edition of eds. A and
C, not to talk of his free translation, are marred by odd readings of the text. It gave rise
to a review, inter alia, by M. Richards, The Tibet Journal, VII (4) pp. 103-109, which pro-
voked a rejoiner (letter) by G. W. Houston, The Tibet Journal, DC (1), pp. 45-48 which again
prompted, finally, M. Richards to rejoin (letter), The Tibet Journal, X (1), pp. 59-61; Cf.
also the review by J. W. de Jong, Indo-Iranian Journal, 27 (1984) pp. 231-2. As a matter
of fact, almost all modern translations (such as by Simonsson, Tatz, Savitsky, van Heurck,
Back and S0rensen) have based their reading of the text upon the eds. A, B and C.
4. It is not entirely evident upon which source(s) Mao Jizu has based his incomplete edition.
But a number of conspicuous readings, although reflecting tacit emendations contrived by
himself, may justify its inclusion here.
5. Wang Yinuan's edition of the Tibetan text (incl. a Chinese translation) is an amalgamation
36

our crit. ed., but here supplemented with 8 songs.

F: The edition denoted Tshans-dbyans rgya-mtsho'i mgul-glu. It is found
published in Bod kyi rtsom-rig sgyu-rtsal, 1980 (1) pp. 50-52 and 1980
(3), pp. 30-32. It counts 62 songs in all (lacking our nos. 39, 45, 47, 58).
G: The text recension entitled Tshans-dbyans rgya-mtsho'i mgul-glu. It is
published by K Dhondrup, Songs of the Sixth Dalai Lama, Dharam-
sala, 1981; It contains 59 songs as in ed. A, upon which it appears to
have been based, collated, it further transpires, with ed. C. Some of
Dhondrup's readings seem moreover to be his own emendations, it h a s
nevertheless been included in our conspectus as an independent recen-
sion. A few obvious printing mistakes, such as ba for pa etc., which
cannot constitute variant readings have not been noted in the apppa-
ratus.
H: The edition denoted Rig-'dzin Tshans-dbyans rgya-mtsho'i gsun-mgur.
It is found reproduced by Zhuang Jing, Rig-'dzin Tshans-dbyans rgya-
mtsho'i gsun-mgur dan gsan-ba'i rnam-thar, Nationalities Publishing
House, Beijing, 1981a, pp. 9, 1-226 6 ; The title of the edition is culled
from the huge gsun-mgur collection, cf. ed. K and the Appendix. Zhuang
«ling's book contains 124 songs in all. It is based, according to the
introduction, op. cit. p. 2, upon two sources: 1. A rendition of an edition
of the song cycle from Lhasa Printing House entitled Tshans-dbyans
rgya-mtsho'i rnam-thar snan-'grugs kyis bkod-pa, the title and the text
of which would appear to be identical with ed. B, 7 only this edition

contrived by him from the collation of various sources. Besides employing the book of Yu
Daoquan, i.e. eds. B with A, his main source is the edition compiled and issued in 1978
by the Documentation Office pertaining to the Cultural Bureau in TAR QGzàng Zizhiqü
Wénhuàjû Zïliàoshi, Bod ran-skyon-ljohs kyi rig-gnas-cu'i dpyad-géiï yig-rigs-khan, Lhasa).
According to Wang Yinuan, op. cit. pp. 3 and 8, this edition contains 66 songs, and is titled
Tshans-dbyans rgya-mtsho'i mgur-glu (based upon a manuscript or a xylographie print ?).
Further, 62 song-poems of this version, it is maintained, accord with the recension by Yu
Daoquan. Wang Yinuan's edition of the 66 songs appears to be rendered meticulously faith-
ful, abstaining from any attempt at emending the text. Finally, Wang Yinuan has supplied
his book with eight song-poems culled from the book Bod kyi glu-gzas (Nationalities Publ.
House, Beijing, 1959), which, incidentally, contains 25 songs from Tshans-dbyans rgya-
mtsho'i mgur-glu; cf. L. S. Savitsky, Can'jan Dzamco, pp. 67-68. In fact, among Chinese
scholars, consensus prevails that the best translation into Chinese of the song-poems, of
which there now circulate about ten translations (five or six according to Don-grub-rgyal),
is the one committed by Wang Yinuan; cf. Li Ming, Xïzàng Minzû Xuéyuàn Xuébào, 1988
(1-2), p. 54; Don-grub-rgyal, mGur-glu'i lo-rgyus dan khyad-chosf p. 196. Ail 74 songs in
the book by Wang Yinuan,finally,have been reproduced by Huang Hao and and Wu Biyun
in their book, Cängyäng Jiäcuö ji qi qinggê yanjiü, 1982, pp. 123-147, and by Kun-bzan
Thob-rgyal and Mani rdo-rje in Folk-songs from Bhutan {'Brug gi glu-deb\ Thimphu, 1985,
pp. 311-22.
6. Besides the Tibetan edition of 124 song-poems and the Secret Biography of Tshans-dbyans
rgya-mtsho, Zhuang Jing has also made a Chinese translation of this Tibetan book:
Cängyäng Jïacuo qinggê ji mïzhuàn, (Nationalities Publ. House, Beijing 1981).
7. Incidentally, on p. 24, n. 1 of his book, Zhuang Jing refers e.g. to an alternate reading
in no. 65d (= no. 66d of our crit. ed.) drawn from a xyl. print (sin par) of the song cycle;
 37

contains 65 songs (lacking no. 47 of our crit. ed.). 2. The rest, 59

songs, are not of any immediate interest for us in this context, but
are chosen from a MS (bris ma), a huge collection denoted Rig-'dzin
Tshans-dbyans rgya-mtshoï gsuh-mgur, cf. ed. K infra. It is edited for
the first time in full, cf. the Appendix to this study. 8 Of immediate

cf. note 2 supra for the plausible identification between this edition and ed. B, despite,
apparently, a discordance as to the number of song-poems. Xiao Diyan has published a
new detailed commentary to Tshahs-dbyahs rgya-mtsho'i mgur-glu in his article-series,
"Tshans-dbyans rgya-mtsho'i mgur-glu gsar-'grel", sBrah-char, 1987 (3), pp. 90-95; 1987
(4), pp. 55-57; 1988 (1), pp. 64-70; 1988 (2), pp. 61-72 and 1988 (3), pp. 47-56 (Qinghai
Nationalities Publ. House, Xining). This edition and commentary has previously appeared
in the magazine sPah-rgyan me-tog, Lhasa. His edition contains 67 songs (the 66 songs
of our crit. ed. minus no. 47, and two songs (= nos. 24 and 30 of the gSun-mgur Coll., cf.
the Appendix)), thus minutely following, apart from a few minor variant readings where he
seems to follow Wang Yinuan's ed. E, Zhuang «ling's numbering and readings as reproduced
in the latter's book. For this reason the edition of Xiao Diyan has not been included as a
separate edition in our conspectus of editions critically edited. This detailed study of Xiao
Diyan, along with another minor essay from his hand ("Cängyäng Jïacuô qf rén qï shf,
Xïzàng Minzû Xuéyuàn Xuébào, 1985 (1), pp. 44-51), represent, not surprisingly some may
add, an entirely new and unconventional approach to the interpretation of these tricky
songs. His overall point d'appui is that the songs are not "love songs" Qndza' glu, mdza'
gzas, 'dod gzas) at all, but must be conceived, he adduces, op. cit. 1987 (3), pp. 91-2;
1988 (3) pp. 55-6, as political (chab srid) lyrics (snan rtsom) expressing the happiness and
sorrow accruing from Tshans-dbyans rgya-mtsho's involuntary involvement in politics. In
other words, far from being just "unfounded literary fabrications and hearsay" (khuns lun
Tried pa'i gtam fchal), he contends that the songs are "poetical songs telling about the lot in
his life" (las dban brjod pa'i mgur glu snan rtsom) that provided an outlet for his feelings
and his personal conceptions regarding his position, his situation, his origin, his fights, his
difficulties as well as his joys and sorrows.
Although we certainly cannot and shall not disagree with this and although all his inter-
pretations neither prove irrelevant nor impertinent, they are, in my opinion, in principle
beset with a serious drawback. Xiao Diyan evidently attempts—exclusively—to read a po-
litical message into each and every single poem. By using a fixed, preconceived political
scheme for his understanding of the songs and by his headstrong and absurd neglect of the
songs' immediate language as a poetic outlet for amorous sentiments vented by a truly sen-
sual spirit, his interpretations and his conclusions dramatically deprive the songs of their
very raison d'etre, simply by overlooking the obvious fact that the songs are first and last
plain outbursts of love and sorrow. In Xiao Diyan's eyes, the amorous diction and romantic
setting become the poetic and figurative dress which the poet employed to cover what was
really on his mind: the personal experiences ensuing from the agonizing political strife for
power. Conceding, naturally, that a large number of the poems are truly allusive or may be
construed thus, merely a brief perusal of the nature of the numerous political and sardonic
street songs and repartee (tshig rgyag) songs will attests to this, there is no cogent reason
to assume that the Sixth Dalai Lama's plausible political and personal anguish, his hopes
and even his victories, whatever, should have been paraphrased in an amatory imagery and
in a sensual language throughout. By pursuing his somewhat stereotyped and speculative
approach to the songs, Xiao Diyan therefore only manages to force a 'fixed interpretation'
into a political and historical context into which a given poem should be read and properly
conceived. Having settled the context into which his reading of a given poem fits, it goes
without saying that it poses no problem for him to proceed with dating the actual composi-
tion of the individual song-poem in question. However, a number of his interpretations are
quite thought-provoking and his considerations have duly been incorporated in our study.
8. Zhuang Jing adduces in his introduction, 1981a, op. cit. p. 2, that this collection, which he
38

relevance to us here are the 65 poems. They exhibit, moreover, some

interesting readings supplemented, occasionally, with variant readings
from other sources, about which Zhuang Jing regrettably provides no
information. But the tacit emendations contrived by him in question of
the 59 songs culled from the huge gsuh-mgur collection may perhaps
suggest a similar procedure in question of the 65 songs.
I: The edition published by Thopkung in the booklet Khri-sroh, khri-ral,
bzo-îih-'brog gsum bcas kyi gias-tshig khag cha-tshah thog, tshans-
dbyans gsuh-mgur, tshig-géags 'dra-min sna-tshogs bcas kyi gias-deb
phyogs-bsdus, Imperial Printing Press, Dharamsala (H.P.) (n.d.) pp. 6 8 -
75. The edition contains 58 songs written in dbu med. It falls short
of the last 8 songs, i.e. nos. 59-66 of our crit. ed. An identical edi-
tion is published in Bod rgyal-khab chen-po'i rgyal-glu daft, chos-rgyal
khri'Sron, ral-pa-can, rgyal-mchog tshans-dbyans rgya-mtsho'i gsun-
mgur sogs gzas-tshigs phyogs-bsdus, Tibetan Cultural Printing Press,
Dharamsala, 1987, pp. 79-37. This edition proffers some alternative
readings too, which from a poetical point of view would seem preferable.
Sometimes, its readings are conspicuously 'correct' from the viewpoint
of orthography, samples, not infrequently, of lectio facilior. No further
information can be supplied concerning the constitution and provenance
of this recension.
J : The edition entitled rGyal-mchog Tshans-dbyans rgya-mtsho'i gsuh-
mgur. It is reproduced in B. Vilgrain, La raison de l'oiseau, Poèmes de
Tbanyang Gyatsho, sixième Dalaï Lama, Les Immémoriaux, Fata Mor-
gana, Paris, 1986. This edition, which provides us with 58 songs, like
éd. G lacking nos. 59-66 of our crit. ed. and with which it supposedly
shares source, is based upon an old xylographie print manufactured
in Tibet, allegedly kept in the Library of Tibetan Works & Archives,
Dharamsala, cf. Vilgrain, op. cit., p. 24. However, from personal inspec-
tion at this library, no xyl. print was located upon which this edition
appears to have been based; the present edition is engraved on wooden
plates made by a person named A. Gonam, Bylakuppe, India and is
found reproduced in the book of Vilgrain, pp. 25-32. 9
K: The text collection entitled Rig-'dzin Tshans-dbyans rgya-mtsho'i gsuh-
mgur. This huge collection of song-poems, which is partly ascribed to,
partly dedicated Tshans-dbyans rgya-mtsho, comprises 459 samples in
all, cf. the Appendix attached to the present study. Scattered through-
out this collection 54 songs 10 have been located, which stem from the

wrongly calls Tshans-dbyans rgya-mtsho'i mgul-glu, numbers well over 360 songs, when,
in fact, it contains 459 in all according to my numbering.
9. Vilgrain provides us, for the first time in the West, with a translation of the 124 songs
published by Zhuang Jing in his book from 1981.
10. These 54 samples clearly betray the vernacular nature of the song's lyrics, not infrequently
deviating from the standard reading of them.
 39

edition of song-poems traditionally attributed to the Sixth Dalai Lama.

Albeit not constituting in this way a coherent edition, these 54 songs,
like in the case of "edition" D, have been included in the list of editions
employed in the present study.

Conspectus

On the following two pages are given a conspectus of the critical editions.

Numeral concordance of the 54 song-poems between the critical edition (lacking nos. 5,
32-33, 40-1, 44, 48, 51, 53-54, 56, 66) and the gSun-mgur collection (in parentheses):
no. 1 (no. 2) no. 16 (no. 19) no. 30 (no. 28) no. 50 (no. 23/4)
no. 2 (no. 3) no. 17 (no. 20) no. 31 (no. 29) no. 52 (no. 272)
no. 3 (no. 7) no. 18 (no. 21) no. 34 (no. 43) no. 55 (no. 48)
no. 4 (no. 8) no. 19 (no. 34) no. 35 (no. 67/8) no. 57 (no. 342)
no. 6 (no. 9) no. 20 (no. 45) no. 36 (no. 72) no. 58 (no. 94)
no. 7 (no. 10) no. 21 (no. 37) no. 37 (no. 75) no. 59 (no. 129)
no. 8 (no. 11) no. 22 (no. 38) no. 38 (no. 97) no. 60 (no. 457)
no. 9 (no. 12) no. 23 (no. 39) no. 39 (no. 99) no. 61 (no. 450)
no. 10 (no. 13) no. 24 (no. 40) no. 42 (no. 456) no. 62 (no. 453)
no. 11 (no. 14) no. 25 (no. 41) no. 43 (no. 457) no. 63 (no. 455)
no. 12 (no. 15) no. 26 (no. 50) no. 45 (no. 100) no. 64 (no. 458)
no. 13 (no. 16) no. 27 (no. 47) no. 46 (no. 1) no. 65 (no. 459)
no. 14 (no. 17) no. 28 (no. 25) no. 47 (no. 6)
no. 15 (no. 18) no. 29 (no. 27) no. 49 (no. 69)
40

A B C D E F G H i J K
1 * * * * * * * * # * *
2 * * * * * * * * * * *
3 * * * * * * * * * *
4 * * * * * * * * * *
5 * * * * * * * * *
6 * * * * * * * * * *
7 * * * * * * * * * * *
8 * * * * * * * * * *
9 * * * * * * * * *
10 * * * * * * * * * * *
11 * * * * * * *
12 * * * * * * * * * *
13 * * * * * * * * * * *
14 * * * * * * * * * * *
15 * * * * * * * * * * *
16 * * * * * * * * * * *
17 * * * * * * * * *
18 * * * * * * * * * * *
19 * * * * * * * * * * *
20 * * * * * * * * * * *
21 * * * * * * * * *
22 * * * * * * * * * * *
23 * * * * * * * * * *
24 * * * * * * * * *
25 * * * * * * *
26 * * * * * *
27 * * * * * * * * * * *
28 * * * * * * *
29 * * * * * * *
30 * * * * * * * * * * *
31 * * * * * * * * *
32 * * * * * * * * * *
33 * * * * * * * * *
 41

A B C D E F G H I J K
34 * * # * * * * * * * *
35 * * * * * * * * * * *
36 * * * * * * * * * *
37 * * * * * * * * * * *
38 * * * * * * * * * * *
39 * * * * * * * * * *
40 * * * * * * * * * *
41 * * * * * * * * * * *
42 * * * * * * * * * *
43 * * * * * * * * * * *
44 * * * *
45 * * * * * * * * *
46 * * * * * * * * * *
47 * * * * *
48 * * * * * * * * * *
49 * * * * * * * * * * *
50 * * * * * * * * * * *
51 * * * * * * * * * *
52 * * * * * * * * * * *
53 * * * * * * * * * *
54 * * * * * * * * * *
55 * * * * * * * * * *
56 * * * * * * * * * *
57 * * * * * * * * * * *
58 * * * * * * * * * *
59 * * * * * * *
60 * * * * * *
61 * * * * * * *
62 * * * * * *
63 * * * * * * *
64 * * * * * * *
65 * * * * * * *
66 * * * * *
 T h e C r i t i c a l E d i t i o n

o f

T s h a n s - d b y a n s r g y a - m t s h o ' i

m g u l - g l u
44

I sar phyogs ri bo'i rtse nas |

I dkar gsal zla ba sar byun |
j ma skyes a ma'i zal ras |
| yid la 'khor Tdior byas byuh |

Eastward, above the mountain's peak

A moon of brightest white appeared;
The face of a damsel so fair
Round and round in my mind.

la bo'i ABCEFGHIJK : bo D;
Id yid la 'khor 'khor byas byun ABCDEFGHIJ : dran Ion la 'dug

la The notion of the eastern mountain and the eastern direction is a cher-
ished theme, cf. e.g. Bod kyi dga'-gzas I, pp. 117-Î19, Bod kyi dßa'-gzas
II, pp. 62-63, Bod-rigs kyi glu-gzas, p. 81, no. 2-82, no. 3, gZas-tshig
phyogs-bsdus, p. 152, no. 5 and gSuh-mgur, nos. 89, 359-60 for addi-
tional samples oîgias echoing this picture; notable is the opposition of
the eastern direction (ear phyogs), often in conjunction with a moun-
tain, versus the western ditto (nub phyogs), originally indicating the
sun's ecliptic, from its ascent or rise ('char, sar; note, of course, the
deliberate word-play on ear) in the east and to its descent (nub) in the
west. However, in this as in most cases, the moon is at play:

lb dkar gsal zla ba here denotes the bright, white moon in full beam (cf.,
incidentally, also C. jiâojié yuèliàng, rendered by Wang Yinuan, 1980,
p. 1; Zhuang Jing, 1981b, p. 11). Most frequently the white-beaming
moon alludes to the fullmoon (zla ba fia gan, bco lha'i zla ba), cf. e.g.
nos. 41, 44 infra, gSun-mgur, nos. 219, 253, gaining the full brightness
during the ascending note (yar ho) of the crescent moon (dkar phyogs,
suklapaksa; white, moreover, indicates purity and innocence, cf. also
no. 20a). Symbolically, the moon disc (zla'i dkyil 'khor, candramandala)
is a favourite epitheton ornans, metaphor and stock simile (dpe, gzugs
can, upamä, rüpaka) for the face (bzin ras, zal ras, gdoh) of a fair
damsel (dga' ma, mdzes ma, käntä), often a youthful beauty of sixteen
years of age (na tshod bcu druggi Ian tsho): the moon-faced girl (zla zal
(mdzes) ma, candra- (or indu0-) vadanâ, -°mukhî, -°abhavakträ, etc.) is
an oft-occurring epithet in Indian as well as Tibetan popular lyrics and
 45

poetry. In fact, the relation between the fullmoon and a female's beauti-
ful countenance is a so-called reciprocal comparison (ubhayopamâ, up-
ameyopamä); throughout all Indian and Tibetan poetical treatises, the
parallel between the moon and the face of a damsel is commonplace as
topic (sbyar-gii), cf. e.g. Duh-dkar blo-bzan 'phrin-las, sNan-hag la 'jug-
tshul tshig-rgyan rig-pa'i sgo-'byed, p. 214ff. and 'Jam-dbyans grags-
pa, "sNan-'grel yan-gsal snan-mdzod las don-rgyan so-lna'i tshig-'grel",
sBran-char 1986 (3) and 1987 (4) pp. 58-61, who both, in order to illus-
trate a figure of speech, the dpe'i gzugs can (upamärüpaka), and sbyar
ba'i dpe readily employ the simile (dpe, upama) of the disc of the full-
moon (fia yohs su gah ba'i zla ba'i dkyil 'khor) to illustrate (dpe can,
upameya) a white, serene face (dkar iih dvans pa'i biin ras). Further,
the terms zla ba and zla mo carry the meaning of a 'partner', 'friend' or
more regularly spouse, lover and mistress.
Samples of gias containing the 'clear, white [fulljmoon' and the face
are legion indeed, suffice it to quote, first of all, Norbu, Musical Tradi-
tion I, no. 1 = Bod kyi dga'-gias I, no. 119, no. 5 = gTam-dpe, p. 122 =
Bod kyi dga'-gias II, p. 62, no. 6 = Bod kyi glu-gias, p. 139 (cum van
lect):
| ear son ear nas éar ba'i \
j ear gyi dkar gsal zla ba \
I ear nas nub la ma phebs \
| dguh gi dkyil la biugs dan \
Cf. similarly, gZas-tshig phyogs-bsdus, p. 132, no. 6; further, to illus-
trate the identity of the face and the fullmoon, cf. e.g. Bod kyi glu-gias,
p. 105, no. 2: chuft 'dris byams pa'i ial ras \\ zla gcig tag ma bco Ina;
Bod kyi glu-gias, p. 65, no. 2: ial ras ma chags zal ras chags \\ ial ras
dkar gsal zla ba chags |; Bod-rigs kyi glu-gzas, p. 81, no. 2: êarphyogs
ri bo'i rtse nas \\ bco lha'i zla ba ear byuh; ibid., p. 69, no. 1: ial ras
bco lha'i zla ba; gÉas-tshig phyogs-bsdus, p. 106, no. 2: khyed ial zla
ba dkar po; Bod kyi dga'-gias II, p. 7, nos. 5-6: dkar gsal zla ba'i biin
bzah; gSuh-mgur, no. 79: dkarpo'i sgor sgor; Cf. also analogously, Bod
kyi dga'-gias I, p. 119, no. 3 = Glu-chuh sna-tshogs, p. 3; Norbu, Musical
Tradition, I, no. 5; //, nos. 30, 34; TV, no. 12; Neither the 'first quality'
nor the 'second quality' beer (or 'the first and second round' of beer) had
any intoxicating effect, another poem announces, but drinking the 'full
white face' (evidently a pun on 'cupful' (dkar yol gan)) offered by his
long-acquainted beloved, makes the poet drunk, cf. Bod kyi dga'-gias I,
p. 37, no. 2 = "Bod kyi dmahs-gzas", Bod kyi rtsom-rig sgyu-rtsal 1980
(1), p. 83 = Wang Yinuan, 1980, no. 70:

| chart 'di dan pos ma bzi \

| chart 'di gfiis pas ma bzi \
46

I chuh 'dris byams pas ius pas \

| ial dkar gan gis bzi son \
The pair fullmoon/belle face is often paralleled with the pair flower/
face, which echoes a similar picture, cf. e.g. Bod kyi dga'-gias I, p. 73,
no. 3 = Glu-chuh sna-tshogs, p. 68:
| pad sdon mdzes pa'i me tog
j Idum ra'i nan nas ear son \
j snin sdug mdzes pa'i ial ras \
j sems kyi nan la éar son \
'Brug-pa Kun-legs in his biography. (Stein, 1972, p. 187; 1973, fol.
69a) in one song compares a girl's face with the full-waxing moon (khyod
ial zla ba rgyaspa 'dra). More regularly, the moon is in Tibetan poetical
tradition lauded for its perfection. The fullmoon is employed as a stock
simile for immaculateness (yohs su rdzogs pa'i zla ba dri ma med pa).
1c The phrase ma skyes a ma poses a problem. Etymologically, this idiom
may proffer three interpretations: 1. stepmother, a mother to whom
someone is not related by blood or birth. 2. Cf. song no. 35 infra, [a
girl] not born to a mother, a girl of supernatural origin, and hence of
extraordinary beauty and stamp. 3. Construing the compound as 'a
[prospective] mother to whom [a child] h a s not [yet] been born' or a
'mother in spe\ i.e. a young—? virgin-girl.
Leaving aside a further interpretation of this phrase to connote—in
a religious sense—the 'mother', a concept employed to symbolize the
intrinsic nature and ultimate state of the world of phenomena, i.e. its
unoriginatedness (ma skye[s] ba nid, ajätatva), a reading t h a t may well
have proven feasible, as said, were we here dealing with a religious
song (mgur ma) proper, this interesting idiom, combining perhaps def.
2 and 3 above, quite clearly alludes to a young girl (bu mo, cf. below,
= dman ear, bud med dar ma, gzon nu ma), or rather, as is the case
here, a sweetheart or a beloved to whom the poet's love and affection
resembles his emotions towards his own 'mother' (or reversely and per-
haps more plausible, to the poet the girl's affection is tantamount to a
mother's). Phrased differently, the poet hereby purports t h a t the girl
emotionally resembles "a mother [only the poet has] not [physically
been] begotten [by her]". In addition, we may with equal plausibility
apply the association of supernaturalness, cf. def. no. 2 and song no. 35
infra. Zhuang Jing, 1981b, argues somewhat along the same line when
he renders the verse into C.jiäo niâng de liândàn, 'the round face of a
pure maiden' (jiäo niâng meaning both mother and maiden) adducing,
op. cit. p. 11, t h a t the adj. ma skyes, C. wèishêng, does not indicate
a young girl (C. shaànu) t h a t h a s not yet become a mother, but that
this girl's affection resembles a mother's. In dearth of an appropriate
 47

term he settles for jiäo niâng. Cf. also Yu Daoquan, 1930, p. 44 and
Wang Yinuan, 1980, p. 1, wèijià shaonü, an 'unmarried woman'; Ph.
van Heurck, 1984, pp. 61-2: 'adorée'; Vilgrain, 1986, p. 33 'femme pas
encore femme'.
A pertinent clue to the unravelling of this idiom may be had from
the story (mam thar) of Prince Nor-bzan, a textual tradition and a
drama-play which has been a major source of inspiration to the Sixth
Dalai Lama as it shall emerge from the detailed dissection of this song-
corpus in the sequel; cf. no. 30 infra et passim for details. At different
instances in the story (rnam-thar, pp. 186,199-200; 'khrab-gzuh, p. 54),
the Princess Yid-'phrog-ma (i.e. Manoharä), herself of supernatural ori-
gin, is addressed e.g. by the mother (yum chert mo) of Nor-bzan in the
following terms:"...You who has not been begotten [by me,] the mother"
(khyod nid ma skyes a ma...), contrary to Nor-bzan who h a s been born
to [the mother] herself (skyes pa'i nor bzah); Yid-'phrog-ma, answering
later, similarly addresses the mother[-in-law] accordingly: "Aside from
you, the mother who has not begotten [me,] the girl, there is no place
else within the close range of hearing and seeing in whom I can place
any hope" (bu mo ma skyes a ma khyod min pa \\ mthon thos fie ba'i
sa na re gnas med) etc. In this light, perhaps deriving the idiom from
the setting above, we should thus conceive ma skyes a ma as a kenning
for a young maiden (bu mo ma skyes a ma). By Tibetan standard a
ma, similar to ma skyes a ma, is in fact a sort of pet name t h a t often
denotes a girl, cf. gSun-mgur, nos. 225-6. Cf. e.g. also Bod kyi dga'-gias
II, no. p. 9, no. 6 = gZas-tshig phyogs-bsdus, p. 166, no. 2 where a pun
is presented and where the face of [the beautiful girl, i.e.] ma skyes a
ma is extolled to be more handsome than the mask of the chos-rgyal
[an allusion to a statue of Chos-rgyal Sroh-btsan sgam-po]:
| skyes pa'i skyes khan nan la \
| ma skyes a ma bsdad bzag
j ma skyes a ma'i ial ras \
| chos rgyal 'bag las rdzig pa |
Xiao Diyan, sBrah-char, 1987 (3), p. 93, when commenting upon song
no. 1 in our collection, which he oddly takes to be the key-song in the
entire collection, opts for reading this phrase to mean 'a mother prospec-
tive of giving birth [to a child] [at some point] in the future' ('byun 'gyur
sku skye rgyu'i a ma) rather t h a n to mean a young maiden (gion nu
ma)\ He even contends, without supplying any sources, t h a t the phrase
was originally invented or coined by the God-king himself, adducing
moreover t h a t the phrase in question, when read in conjunction with
dkar gsal zla ba, would imply (sugs su bstan) the occasional visibility
and invisibility of the moon during its ascending and descending note
Cphel 'grib).
48

Finally, we may, par contre, quote a gias which blatantly opposes the
concept of 'the beloved's face' with 'the face of one's own mother', in
the first case the memory is a vivid and dream-haunting experience,
whereas this is not so in the latter case; cf. Bod-rigs kyi glu-gias, p. 33,
no. 2:
| chun 'dris byams pa'i ial ras \
j rmi lam nan la éar byuh \
| ha tsho'i a maï zal ras \
j de 'dra dran pa ma myon \

Id The theme of the repeated occurence of the round fullmoon which re-
sulted in a haunted memory of the beloved, is also treated in another
gias\ cf. Bod kyi glu-géas, p. 101, no. 1:
| gcig kyah mthoh dus dran byun \
| gnis kyah mthoh dus dran byun \
j bco lha'i zla ba éar dus \
j khyed sems yid la 'khor byun \

• The first poem is a terse and poignant dictum on lovelornness vividly

accentuated by the poet's haunted memory of his beloved. The face of
the white-beaming fullmoon is a trite euphemism for a young beautiful
girl. In compliance with a number of interpretations in the sequel, we
shall tentatively attempt to read the constant allusion to the girl and
the beloved as yet a hidden reference to the appropriation of real power
(dbah cha), a right of which he was unjustly divested by a despotic and
complacent Regent, who in actual fact demonstrated a conspicuous lack
of interest in sharing any part of the power with the young ruler.
 49

I na nin btab pa'i Ijan gzon |

j da lo sog ma'i phon Icog
| pho gzon rgas pa'i lus po |
j lho gzu de las gyoh ba |

Young green sprouts of last year's sowing

This year but old trusses of straw;
Young men's bodies turning old
More stiff than [bamboo] bows from Southern lands.

2a btab ACDEFGHIJ : stabs B : sky es K; pa'i DEFIJK : pas ABCGH;

gion ACDEFGHIJ : ion BK;
2b sog ACDEFGHIJK : sogs B; Icog BCDEFGHI : Icag A : chog K :
rtsog J;
2c pa'i DEFHIJK : pas ABCG;
2 d lho gzu de [omit. B] las ABCDG : lho gzu las kyan EFH : hor
giu las K : rva co'i giu las IJ; gyoh ABCDEFGHIJ : skyo K; ba
CDEFGHIJK : bafi AB;

2a The tender green sprouts {Ijan gzon = Ijah pa or Ijan bu gzon pa).
2b The stalky trusses (phon Icog; phon po = chun po; Icag, 'stick', is an
equally plausible or better reading, perhaps due to the rule of vowel-
harmony in Lhasan Tibetan changed into Icog ?) of straw (sog ma, whe-
ther barley-straw (nas sog) or wheat-straw (gro sog)); cf. also Savitsky,
1983, p. 144, n. 8. The rhetorical contrast or antithesis of the young
sprouts versus the full-fledged or high-borne straw is effectfully rein-
forced by yet another contrast: the last year (na nih) versus this year
(da lo). For another sample of this latter contrast, cf. e.g. Bod kyi
glu-gias, p. 110, no. 2. This simile drawn from nature is employed to
illustrate:
2c The aging process of the ephemeral human body of young men (pho
gion, = pho gion nu), which is eventually bound to become worn-out
and bent. The term pho gion, a young man, may here refer to himself,
as is the case in nos. 15c and 16c infra.
2d The body of a young man is even (the reading las kyah equally plausible)
viewed to be more taut (gyoh ba, = gyoh po = mkhregs po, stiff, cf. e.g.
also C. wänqü as rendered by Zhuang Jing, 1981b, p. 11) and elastic
than the spring of a good bow. The bow made from bamboo in the South
50

(i.e. rTs[v]a-ri and lHo-ron) is considered the best, cf. e.g. Tucci, Tibetan
Folk Songs, 1949, pp. 34 and 70, n. I l l ; ibid., p. 34 and 53, n. 112: The
good bamboo (snug, smyug, smyu gu bzah) is brought (spyan drafts pa)
from the innermost valleys of lHo-roh (= Bhutan); cf. also C. Bell, Tibet,
Past and Present, p. 38. The staff from the middle part (skyed pa) is
made into a bow for a young archer. Cf. also Norbu, Musical Tradition
III, no. 55. Bamboo originating from the south is praised already in the
annals of Dun-huang; cf. a song (glu) in the chronicle, PT 250, ed. J.
Bacot (et al), Documents de Touen-Houng, 1940, p. 108,1. 15-20.
The alternative reading has the bow made from the horn of the yak or
goat (rva co). From a purely poetical and metaphorical point of view (rva
co may more aptly convey the idea of inflexibility and transience than
Iho giu), this reading may be preferable or, at least, equally feasible.
Cf. also gSun-mgur, no. 393: the bow coiled like the horn of the wild
goat (gzu mo ra rgod 'khyil ba); cf. the Gesar Epic, III, fol. 105b, ed. R.
Stein, 1956, p. 346.

• Xiao Diyan, sBran-char, 1987 (3), pp. 93-^4, whose interpretations of

the entire song collection usually never lack neither unconventionality
nor resourcefulness, sees in this poem, the date of composition of which
he blatantly places around A.D. 1700 [sic!], an expression of despair
and dejection (blopham yid than chadpa'i bsam tshul brjodpa) voiced
by Tshans-dbyans rgya-mtsho. Here we should allegedly see the poet's
frustration at the dismal situation (gnas bob kyi khor yug) that pre-
vailed when the two uncompromising fractions confronted one another,
respectively headed by the Regent and the Mongol Qosot chief lHa-bzan
Qan, both seriously vying for power. He further contends that what is
meant (go don) with the simile is that to ripen the fruits of a harvest
is easy indeed, but to see his objectives through, i.e. to implement his
religious and secular goals, by contrast, are hard to ripen. As such
the poem should allude to the burdensome yoke (gna! ein lei bo) of re-
sponsibility (dual, chos srid gnis) imposed upon the young God-king.
Oppressed by this burden, then, brings about an untimely aging of the
young man's body. Ph. van Heurck, 1984, op. cit., p. 63, professes a
similar opinion.
Without, evidently, disavowing this plausible construction, the poem
in my opinion more readily purports to be a simple allusion to the tran-
sient nature (mi rtagpa nid, anityata) of existence, the ubiquitous Bud-
dhist notion of impermanence which permeates all Tibetan thinking and
which is rarely wanting in its lyrical poetry.
Read entirely differently, only utterly in contrast to the above inter-
pretation and therefore not decidedly conclusive, we should not preclude
here an ill-veiled allusion to the hard-bent virility and potency which
besets the body of a young man growing adult. This reading, more-
 51

over, would find support in the picture provided of the full-blown, erect
stalks of straw, the full-fledged result of maturity rising from the stage
of young sprouts.
52

I ran sems son ba'i mi de |

j gtan gyi mdun mar byun na |
j rgya mtsho'i gtin nas nor bu |
j Ion pa de dan mnam byuri |

If only the person who has entered my heart

Were to become my lifelong companion:
Like gaining a precious gem
From the ocean's deepest reach.

3a son ba'i ABCEFGHIJ : zug pa'i K;

3b gtan CEFGHIK : brtan A : stan B : gtun J; mdun ABCGHIJK :
'dun EF;
3d Ion pa de [omit. K] dan : ABCEGHK : Ion pa nid dan F : Ion
pa'i tshad dan IJ; mnam ABCGHIJ : 'dra EFK;

3a The term sems son = sems éor invariably means 'fallen in love'; près.
sems pa 'gro. Cf. e.g. gSuh-mgur, no. 341 and also nos. 6, 16, 19 infra.
The person (mi de) here evidently refers to a young girl (gzon nu ma),
or rather the poet's beloved (chun 'dris, snih thub, byams pa).
3b The term mdun ma (but also 'dun ma): companion, betrothed, confi-
dante and thus wife or spouse in the standard phrase gtan gyi mdun
ma, eternal, i.e. a lifelong spouse. Cf. also no. 32 infra and gSuh-mgur,
nos. 33, 44; Das' diet. p. 685; the Gesar Epic, II, fol. 58a: tshe gtan
gyi mdun ma, ed. R. Stein, 1956, p. 258; The term probably hails from
the fact that the bride was placed at the foremost seat (mdun) at the
weeding ceremony, cf. also M. Duncan, Love Songs and Proverbs of Ti-
bet, 1961, p. 119, n. 387. Moreover, gtan gyi 'dun ma may designate a
'great wish or objective, which is hoped to be realized subsequently (rjes
su 'grub par re ba'i don chen)\ cf. dPe-chos rna-ba'i bdud-rtsi, p. 148;
an equivoque may then well be concealed here.
3c The idea of depicting a girl, or, as here, one's beloved in the form of a
precious stone, like the beloved considered an object of perpetual (gtan)
value, is much cherished, cf. e.g. next song and no. 31 infra. A general
epithet for a young girl (bu mo gzon nu ma) is nor Idan ma (ratnavatî).
Likewise, the popular belief that Näga kings reside in huge jewel-laden
palaces deep below in the oceans is well attested, cf. the textual refer-
ences to this theme from Buddhist sources assembled by van Heurck,
1984, p. 64, no. 2 and J. Ph. Vogel, Indian Serpent Lore, London 1926.
 53

Notable also is the fact that a common synonym or kenning for the
ocean is a 'mine of jewel' (rin chert 'byun gnas, ratnâkara).
3d The attempt to acquire jewels from the ocean is a theme which is legion
in Tibetan popular lyrics. Suffice it to refer to e.g. Bod kyi dga'-géas
J, p. 28, no. 6-p. 29, no. 1; Glu-chun sna-tshogs, p. 36; Bod kyi glu-
gias> p. 115, no. 1; Cf. also Bod-rigs kyi glu-géas, p. 99, no. 3 and, worth
quoting here for its propinquity to the present stanza, ibid., p. 87, no. 3:
| sems la yod pa'i chun 'dris \
I ha yi gtan grogs byun na \
j mtsho snin skyes pa'i nor bu \
j Ion thabs na ran byed chog
Cf. also a similar sample (a repartee song (tshig rgyag)) given by
Snyder, 1972, pp. 31-32.

• A poem in which the winning of a beloved is likened to the acquisition

of a precious stone. Both carry the mark of a lasting value. Replacing
the figure, who occupied the poet's heart, with Tibet {bod khams) or
the appropriation of real power (dban cha), we may extract yet another
level of association from this poem which is worth noting. We shall
arguably contend that the poem in reality signals the God-king's earnest
hope (phugs bsam) of realizing his dual objectives, the religious and
political power of the country, the actual implementation of which is
here illustrated by the acquisition of costly jewels from the deep ocean.
A line of argumentation which is partly endorsed by Xiao Diyan, sBrah-
char, 1987 (3), p. 94.
54

I 'gro zor lam bu'i snin thub |

j lus dri zim pa'i bu mo |
j gyu chuh gru dkar brfied nas |
j skyur ba de dan 'dra byun \

The sweetheart whose path I chanced to pass

This girl of body perfumed sweet;
Like finding a turquoise—exquisite, white-lustered,
Only to cast it away [again].

4a ior ABCDEFHIJK : éor G; bu'i ABDEFGHIJK : pa'i C; thub

ABCDEGHIJ : thug F : sdug K;
4b dri ACDEFGHIJK : drid;
4c gru dkar ABCDEGHIJK : sgrol dkar F; briied CG : rned AD-
FGHIJ : brnes E : rfies K : sues B;
4d skyur ABCDFGHIJK : bskyur E; de [omit. BK] dan
ABCDEGHIJK : daft yah F;

4a snin thub, cf. also nos. 30, 33, 55 infra et passim, = snin sdug, cf. e.g.
gSuh-mgur nos. 32, 91, 110, 131, 139-140; Bod kyi dga'-gzas II, p. 58,
no. 2, Bod kyi glu-gias, p. 88, no. 2 et passim, = snin grogs, cf. e.g.
gSuh-mgur, no. 431, Bod kyi dga'-gias II, p. 57, no. 1 et passim; the
rnam-thar of Prince Nor-bzaii, p. 59 (cf. no. 30 infra) = snin mthun,
cf. e.g. Bod-rigs kyi glu-gzas, p. 34, no. 4, = 'grogs thub, cf. e.g. Bod
kyi la-gzas, pp. 30, 45, 69, 326 etc. : an inamorata, sweetheart, lover,
heart-throb, fiancée, bosom friend etc.; cf. also van Heurck, 1986, p. 65,
*bien-aimée', 'mignonne'; D. Back, 1986, p. 15, 'Liebchen'; Zhuang Jing,
1981b, p. 12, jiâo niâng "a tender girl"; lam bu, a path; 'gro zor, = 'gro
ba'i zor, = lam zor, from zor la, = sbyor la, which may best be rendered
adverbially: "incidentally", "at random", "casually", "by chance" etc.;
viz. "the sweetheart t h a t was casually encountered on the path."
4c The gyu chuh gru dkar, or rather the gyu chuh drug dkar, although
small the drug dkar or white-shaded turquoise is considered particu-
larly valuable, cf. below.
The turquoise (gyu, Skt. peroja, M. ugiu, C. söng shi) is frequently
denoted the king of precious stones (rdo'i rgyal po, rin chen rgyal po)
in Tibet and as a costly stone (nor bu, rin chen) it is often employed as
a symbol for a dear girl. A variety of sorts are found, cf. e.g. eel-goh
 55

éel-phren, pp. 84-85, where, identified according to the classification by

the Tibetans, eight types are distinguished:
Cf. Éel-goh éel-phreh, p. 85:

gyu rnih gsum | bar gyu gnis \ gyu gsar gsum dan brgyad du
dbye ba yin \ gyu snih gsum ni \ sho iih dkar la bkrag mdans
ehe la mun par yah mthoh ba de la drug dkar dan | sho ein dmar
mdans ehe la snum pa drug dmar \ de gnis zil gyis gnon pa drug
dkar las cuh sho ba la gyu spyah zer te sman la 'di gsum mchog
tu nus pa che'o \ \ bar gyu gnis ni \ drug dkar 'dra la de las bkrag
chuh zih 'o kha can gyu shon \ drug dmar las cuh gsar la mdans
zan pa bar dmar te 'di gnis nus pa 'brih ba'o \ \ gyu gsar ni rigs
dbyibs ma hes pa gsar nams can ni rgya gyu ste gyu ba'u yah
zer | éin tu gsar pa shon ne 'dra la rdo sra mkhregs dkar goh
'dra ba 'byar ba'i 'brum pa can gyu ro dan \ kha dog ian pa ser
kha dbyibs gsar rnih ma hes pa la drug se ies nan pa'o |

Three old (i.e. high-quality, also in an official sense) types (gyu

rnih gsum); two types of mediocre quality (bar gyu gnis, i.e.
gyu spus ka'am bzah nan 'brih po) and three 'new5 (low-quality)
types; the three old types: The drug dkar is thus denoted as this
blue turquoise is endowed with a predominantly whitish tint
and splendour, so bright that it is visible even in darkness; sim-
ilarly, the drug dmar is so denoted as this ditto blue emanates a
predominantly reddish brightness; finally, outshining these two
and endowed with a slightly more bluish tint compared to the
drug dkar we have the so-called gyu spyah; all three types are
highly efficient medically. The two mediocre types: a blue (in
fact rather bluish green) turquoise with a milky white hue Co
kha can gyu shon) only with less lustre than the drug dkar; the
second 'mediocre' is the 'mediocre red' (bar dmar) with a gloomy
lustre and slightly less 'old' (i.e. new) than the drug dmar; these
two are, as said, officinally of mediocre value; finally, we have
the three 'new' types: they are indeterminable in art and shape,
the first low-quality type is called rgya gyu, but also gyu ba'u (cf.
also gTam-dpe, p. 129 = Bod kyi dga'-gias I, p. 128, no. 4: rgya
gyu dba' bées (or rgya gyu o ie)); secondly, we have the spotted
gyu ro which is a quite 'new* and hardy type; finally, we have
the so-called drug se, indeterminable as to age, being fissured
and with an effete lustre.

Now, in the light of the above, the drug dkar thus evidently means
that one-sixth of the turquoise, as adduced by Das also, diet. op. cit.,
p. 655, is tinged with a white hue, rather than we should attempt to
see here a reference to any hexagonal aspect. Oddly enough, almost
56

all current translators of this song render the gyu chun drug dkar as
an inferior stone, an opinion evidently prompted by the adj. chun and
moreover corroborated, in all likelihood, by the idea of a casual venue
Cgro zor) which one can rid oneself of again. Quite to the contrary, in my
opinion, this stone, as adduced above and further corroborated below,
is considered valuable and precious; in the context of our poem, the
adj. chun thus more likely connotes the sense of 'delicacy*, 'petiteness',
'fineness' or perhaps rather *exquisiteness\ Here it should also be noted
that although the meeting was a hapchance, it is not necessarily seen as
an isolated date, since to the poet she had already attained the status of
being an inamorata and sweetheart {shin thub), a girl with a pale tint
and white complexion (indicative of innocence) and moreover endowed
with a sweet-perfumed body.
The gyu chun drug dkar occurs in a chain of song-poems, in which it
precisely symbolizes the properties indicated above. As a symbol and
object of covetousness, we may refer to two songs quoted by Norbu,
Musical Tradition /, no. 38 and III, no. 17, also cited in my article
"Tibetan Love Lyrics", IIJ, vol. 31 (4), p. 265; Cf. also Bod kyi dga'-gias
/, p. 124, no. 1 = gTam-dpe, p. 119 (cum van led.) where it is seen as
a token of prospective betrothal and pledge (cf. also no. 26 infra):
| bsam pa'i gyu chun gru dkar \
j mgo la sgron mkhan med pas \
j ma bsam nag chun skra lor \
j dkar po'i dbu dkar sgron byuiï \
Cf. also Bod kyi dga'-gzas /, p. 128, no. 3 = Bod kyi dga'-gzas / / , p. 66,
no. 1 = gÉas-tshig phyogs-bsdus, p. 120, no. 1, where it, in the garb
of the poet's (amorous) sentiment, is helplessly drawn (a pun on sems
pa....éor, "to fall in love", cf. no. 6 infra) towards his beautiful beloved,
untamed by the bridle of a (love-haunted) memory:
| sems pa gyu chun gru dkar \
j dran ses srab kyis ma 'thul |
j mdzes ma khyod kyi phyogs la \
j rah dbah med par éor son \
Cf. also no. 17 infra.
To demonstrate further the exclusive air surrounding a druglgru dkar
turquoise we may cite a poem which relates about the finding of a
turquoise, and incapable of assessing its quality, the gurus and the
Three Precious Gems (triratna) residing in space above are solemnly
propitiated to make the wish come true—let the turquoise be a gru
dkarl Phrased differently, let the girl be the chosen one!; cf. Bod kyi
dga'-gias II, p. 56, no. 5 = gÉas-tshig phyogs-bsdus, p. 114, no. 5:
| gyu gcig rhed ni rhed byuh \
 57

I dga' sdug blta Ion ma byun \

I nam mkha'i bla ma dkon mchog
I gru dkar yin par éog cig
Cf. similarly, Duncan, 1961, pp. 46-7, 110; In gSuh-mgur, no. 80,
q.v., this particular turquoise is likened to a beautiful dman ear; cf.
also analogously Bod-rigs kyi glu-gias, p. 83, no. 4 where it, as a part
of an ornament (khra (: phra) rgyan), carries memories of a lover. Simi-
larly, as an emblem of preciousness, quite contrary to a cheap stone and
an imitation ([r\do lo, = rdo snon, often a sort of crystal and easily mis-
takable for a real turquoise), we may cite a song where it constitutes a
part of a ring-ornament. Couched in an ironic tone, the gyu chun drug
dkar kindly asks for leave of absence, if it were to share fate with such
cheap stones, cf. Bod kyi dga'-gias I, no. 1 = Glu-chuh sna-tshogs, p. 29
(cum var. lect):
| gser gyi tshigs khebs phra rgyan j
| [r]do lo snon pos chog na \
j mtshar po'i gyu chun drug dkar \
j dgons pa ius pas chog gis \
Cf. further Bod-rigs kyi glu-gias, p. 34, no. 4 for a poem where this
turquoise is given to the poet's mind-captivating inamorata leaving a
lasting imprint in his memory:
| snih mthun yid 'phrog phyag la \
| gro dkar gyu gcig ster yod \
j sems pa gtin gi ri mo \
j gro dkar 'di la 'thim yod \
Cf. analogously Bod kyi dga'-gias /, p. 131, no. 3 = Bod kyi glu-gias,
p. 136, no. 2; sDe-dge'i dmans-glu, p. 102, no. 2; Bod kyi dga'-gias /,
p. 127, no. 4; Bod kyi dga'-gias II, p. 56, no. 5; gTam-dpe, p. 119; Bod-
rigs kyi glu-gias, p. 168, no. 1 (an eight-syll. poem: rgya gyu gru dkar
'o ma'i mdog) and Bod kyi dga'-gias /, p. 108, no.3 = gZas-tshig phyogs-
bsdusy p. 139, no. 2: rgya gyu vs. bod gyu); Cf. also Duncan, Love
Songs, p. 110; Causemann, Tibetische Lieder, 1987, p. 57. The gyu drug
dkar is amply attested in the epic literature, cf. the Gesar Epos, ed. R.
Stein, 1956, index p. 366. Finally, we may quote a saying (gtam-dpe) in
Tibetan purporting a blemish in the sense that 'nothing is flawless or
completely pure', similar to our saying 'a fly in the ointment'. It reads
"although the gyu drug dkar is a fine stone there is (always) a trifle
(or flaw) of (ordinary) stone involved" (gyu drug dkar bzah yah rdo iad
yod), a saying similar to the maxim that "although the crane is white
the tip of its tail is black" (khruh khrun dkar yah giug rise nag), cf.
dPe-chos rna-ba'i bdud-rtsi, p. 47.
58

4d The abandonment of the turquoise alias the girl is in the light of the
above evidently seen as a painful act governed by necessity rather than
free will, occasioned moreover by someone in his entourage, who is
unwilling to compromise with his liaisons (cf. in particular nos. 8 and
39 infra). The present corpus of songs actually provides other samples
of involuntary, tormenting lovelornness.

• On the factual level (dhos su bstan, dnos gnas) therefore, this stanza
is a plain love song (mdza* gzas, 'dod gias) depicting a precious, petite,
sweet-scented damsel, the poet's choise and inamorata, whom, the poet
blatantly deplores, he is involuntarily forced to forsake. Identifying the
poet with the young ruler Tshans-dbyans rgya-mtsho, we may say that
this is a dear consequence of his high position which dictates him the
conduct of an ideal monk in vowed celibacy.
On a metaphorical level, however, reshuffling the content (nan don,
brjod don) of the stanza, we may further envisage the entire song-poem,
not only as a plain outburst of forsaken love by an apparent "transgres-
sor of decorum" and profligate (tshul min spyod nan byed mkhan), but
also as an ill-concealed 'self-portrait' (rah tshul ran gis brjod pa). In
this construction the girl in the poem would be a hidden allusion to
himself, the victim of a political encroachment. Precious and minor as
he was (= gyu chuh drug dkar, = rin chen or rin po ehe; chuh, drug
= Sixth Dalai Lama), the contingent circumstances behind his secret
discovery, a convenient (and random ?) set-up contrived by the Regent
to secure a water-tight alibi if news of the Fifth Dalai Lama's untimely
demise should leak, as well as the misgivings expressed prior to the fi-
nal approval of him as the legitimate successor of the Fifth Dalai Lama
would perfectly account not only for the depiction of him as a "precious
jewel (= cintämani, yid bun nor bu, = the Dalai Lama) casually found
on the road"—affectionately endeared (snih thub) by all Tibetans alike,
the cynosure of all. It would also explain the ensuing abandonment
(skyur ba = spyugs pa) of him as the true God-king by lHa-bzan Qan
and by parts of the religious establishment. Xiao Diyan, sBran-char,
1987 (3) pp. 94-5, arguing somewhat along the same line in his com-
mentary, proceeds a step further by contending that the poem is a clear
sample of the contempt (brnas bcos) and the encroachment ignod 'tshe)
directed against him by others, in particular lHa-bzan Qan, but also by
the Regent.
 59

I mi chen dpon po'i sras mo |

j khams 'bras mtshar la bltas na |
j kham sdon mthon po'i rtse nas |
j T^ras bu smin pa 'dra byun |

Beholding a powerful governor's daughter

Of natural peachy beauty was she:
Just like ripe fruit atop
The high peach-tree.

5b khams ACFG : kham BE : kha HIJ; la ACG : lugs EHIJ : lugs la

B : bar F; bltas ACEGHIJ : Itas BF;
5c nas BEFHIJ : na ACG;

5a mi chen dpon po is perhaps a proper title. More concretely, it may refer

to the City Magistrate (mi dpon) of Lhasa, cf. L. Petech, Aristocracy and
Government in Tibet, p. 11 et passim; it may just be a common allusion
to a dignitary, cf. e.g. gSuh-mgur, nos. 65, 409, where the Regent Satis-
rgyas rgya-mtsho is denoted a dpon po, governor. Employing sras mo
(honorific for bu mo) indicates moreover a high-ranking person.
5b kha[m][s] 'bras is, phonetically, a jeu de mots, all readings are plausi-
ble: kha 'bras, i.e. 'an edible fruit' and 'the shape of the face' (= gdon
dbyibs, gdon mam), cf. gSun-mgur, no. 60—as well as the homonymie
kham 'bras 'a peach fruit' and khams 'bras '[endued with] a nature of a
fruit' or 'a fruity nature'—are all euphemisms for feminine virtue and
beauty. Thus kha[m][s] 'bras mtshar could tentatively be rendered as 'a
beautiful fruity body/appearance'. Zhuang Jing, e.g. 1981b, p. 12 gives
C. jiâorông mëisè, 'a handsome countenance and pretty colour'; 5b for
'bras mtshar, cf. also gSun-mgur, no. 42; the reading lugs is equally
plausible.
In line with the two previous poems a new favourite symbol and
metaphor for love, feminine beauty, mating and marriage is introduced:
the peach (kham, kham bu, kham 'bras bu, M. tojur; C. tâo[zi], Prunus
persica) sometimes also confused with the apricot (kham bu, M. gililesii;
C. xing\ cf. The Pentaglot Dictionary, p. 3960; Prunus armeniaca); the
peach should most readily be rendered mhar kham or rather mha' ris
kham bu (cf. ibid., p. 3958). The peach symbolizes in China long life
and immortality; cf. W. Eberhard, Lexikon chinesischer Symbole, 1983,
pp. 224-26. Worldwide, this fruit carries associations of lusciousness,
60

literally as well as figuratively. Literally, it indicates the tasty sweet-

ness (kha rnnar 'dzoms pa) and savourous delicacy (dri mchog iim pa)
of a fully ripe peach (lo gsum kham bu), cf. e.g. Norbu's Coll. II, no. 6 =
Bod kyi dga'-gzas I, p. 29, no. 4 = gÉas-tshig phyogs-bsdus, p. 94, no. 2
= Reader IV, p. 22; Bod kyi glu-gzas, p. 168, no. 1. This much-coveted
fruit exudes a sense of sensuality. Feminine seduciveness is brought
to the fore e.g. when her body is conceived as having a 'fruity nature'
(khams 'bras; the idea advanced by D. Back in his translation, Liebes-
lieder, p. 143, n. 5, that khams 'bras means that the fruit/girl should
originate from the East-Tibetan province Khams is out of the question).
According to the Tibetans three types are found: a mountain-peach tree
(ri kham) and a valley-peach tree (klun kham), the latter being divided
into a Chinese ? and a Tibetan sub-genus, rgya kham and bod kham.
The mountain-peach has a bitter taste (ro kha, tikta rasa) whereas the
valley-peach is sweet (ro mnar, madhura rasa); cf. éel-goh sel-phreh,
pp. 218-19; Bod-ljohs rgyun-spyod kruh-dbyi'i smart-rigs, pp. 114-15;
A special type, moreover, lauded for its universal delicacy is a West-
Tibetan type, mna'-ris kham bu, the true peach ?, cf. supra and Bod
kyi dga'-gzas I, p. 104, no. 2 = gTam-dpe, p. 128; cf. also ibid., p. 80;
Duncan, 1961, p. 102. Appreciating the popularity of this fruit ('bras
bu) and tree (kham sdon) as a symbol of love and mating, it is small
wonder indeed that a large number of songs is dedicated the praising
of this figure. Suffice it to cite e.g. Bod kyi dga'-gias I, p. 16, no. 2
in which a parallel is drawn between the eating of a peach and a one-
time affair with a lover, only in either case unforseen implications may
occur—the teeth may crack against the peach's stone-like pit just like
(remorse over) a depraved deportment may haunt his mind:

| kham bu kha la zos pas \

| tshi gu so la phog son \
j byams pa Ian gcig grogs pas \
I spyod nan sems la phog son \
Ibid., p. 16, no. 3 and p. 17, no. 2 = gTam-dpe, p. 117 similarly relates
how one peach tree may carry a plethora of fruits, just like a single lover
may invite the arousal of ubiquitous slander, the inevitable gossip that
ever flows in the wake of love making:
| kham sdon rtsa ba gcig gis \
j 'bras bu brgya stoh theg na \
j dga' ba'i byams pa gcig gis \
| mi kha theg pa zus chog

| kham bu za rgyu med pas \

I kham sdon 'bras bus yog yog
 61

I byams pa rued rgyu med pa'i \

| khams gsum mi khas yog yog
We may further cite an oft-quoted poem which perfectly captures the
imagery of the peach tree (= love) providing the mis-en-scéne for a mat-
ing venue, viz. underneath its shade, the fruit and the flowers are a
treat for the mouth and a feast for the eye: the taste is savourous and
the sight is beautiful: cf. Bod kyi dga'-gias I, 16, no. 6 = Bod kyi dga'-
gias II, p. 12, no. 4 = gZas-tshig phyogs-bsdus, p. 107, no. 3 = Bod kyi
glu-gias, p. 86, no. 1 = gTam-dpe, p. 114 (cum var. lect):
| kham bu kha la iim pa \
j me tog mig la mdzes pa \
| do nub kham sdon 'og tu \
j biugs biag gnah gi min nam \

5c A salient aspect regularly associated with the peach tree and, in par-
ticular, its fruit in Tibetan love lyrics is, as in the present poem, its
unattainableness. A girl or a lover being unattainable or a love affair
proving to be impracticable—whether for reasons of unrequited love,
plain lovelornness or enforced by social taboos—this predicament is al-
most invariably depicted by a peach out of the hands' reach atop a tree.
Cf. foremost Norbu's Coll II, no. 32 = Bod kyi dga'-gias I, p. 17, no. 1
= gtas-tshig phyogs-bsdus, p. 89, no. 5 = Bod-rigs kyi glu-gzas, p. 96,
no. 1 (cum van lect,) and Bod kyi dga'-gzas I, p. 17, no. 3 = Glu-chun
sna-tshogs, p. 6-7, where the poet respectively expresses his pious hope
for a windfall, respectively his resigned or woeful indifference, the girl
is too high-minded anyway:
| kham sdon mtho ru drags nas \
j lag pas brnab sa ma red \
j 'bras bus thugs bsam bzes nas \
I pan khebs nan la babs sog

| kham sdon mthon po'i kham bu \

j bzas na rnab sa ma red \
| Ita ba mthon po'i chuh 'dris \
| byuh na bsam pa mi 'dug
Often the chances of mating are impeded by the severe surveillance
contrived by the girl's parents, here, as in no. 65 infra, depicted in the
garb of demonic klu btsan, cf. Bod kyi dga'-gzas II, p. 12, no. 3 and
[sicl] p. 65, no. 4 (here replacing kham bu with pomegranate, se 'bru) =
gZas-tshig phyogs-bsdus, p. 107, no. 1 = Bod kyi glu-gias, p. 79, no. 2
= Snyder, 1972, p. 33:
| kham sdon ya la bltas na \
62

I kham bu za snin 'dod pa \

| rgyab kyi klu btsan dmar po \
| Zed po ga 'dm mi ies \
For additional poems on the high-hung peach in the tree, cf. Bod kyi
dga'-gias I, p. 16, no. 4 = Glu-chuh sna-tshogs, p. 20; Bod kyi dga'-
gias II, p. 11, no. 6; Bod kyi glu-gias, p. 83, no. 1 and p. 86, no. 2;
"dMans-gzas khag-gcig", Ni-gion 1982 (1), p. 40; gZas-tshig phyogs-
bsdus, p. 149, no. 1 = gTam-dpe, p. 131; C. Bell, The People of Tibet,
p. 191; Duncan, 1961, p. 31.
5d The ripe peach in the tree top is also treated in Bod kyi dga'-gias II,
p. 37, no. 6 and, worth quoting for its propinquity to the present poem,
a folksong from Sa-dga' district, wondering whether it is a simple piece
of plagiarism; Bod kyi glu-gias, p. 131, no. 1:
| mi chen dpon po'i sras mo \
| kham 'bras mtshar lugs bltas na \
| kham sdon mthon po'i 'bras bu \
j smin pa yin nam snam byun \

For further references to kham bu and kham sdon, cf. Bod kyi dga'-
gias I, p. 16, nos. 1-6; p. 17, nos. 1-3; p. 29, nos. 4-5; p. 80, no. 3; Bod
kyi dga'-gias II, p. 11, nos. 5-6; p. 12, no. 2 = Snyder, 1972, p. 33 (a
tshig rgyag type of song); Bod-rigs kyi glu-gias, p. 6, no. 3; p. 96, no. 1;
Bod kyi glu-gias, p. 79, no. 2; p. 83, no. 1; p. 86, no. 1; p. 157, no. 1 and
p. 158, no. 2;gZas-tshig phyogs-bsdus, p. 94, no. 2; p. 107, no. 3; p. 137,
no. 1; p. 148, no. 4; 149, no. 1; Glu-chuh sna-tshogs, pp. 6-7, p. 20;
gTam-dpe, pp. 114, 131; Norbu's Coll. II, nos. 6 and 32; "dMans-gzas
khag-gcig", Ni-gÉon, (1), p. 40; "gZon-nu 'od-sde dan bu-mo sa-mtsho-
ma", in Bod-ljohs dbus-gtsan-khul gyi dmahs-khrod gtam-rgyud, p. 41;
gSuh-mgur, nos. 35, 64, 207-208. Cf. M. Duncan, Love Songs, pp. 13,
45-6, 75, 96 et passim, where it e.g. is stated that to eat a peach in
Tibet denotes mating; Further, see e.g. M. Granet, Festivals and Songs
of Ancient China, London 1932, pp. 19-21 and C.A.S. Williams, Outlines
of Chinese Symbolism, 1931, pp. 276-77 for the importance of the peach
as a symbol in China.

• The theme of this song-poem is unrequited love. The loftiness of the

girl may indicate that the girl is socially an inept match for the poet or,
as expressed in another poem, gSuh-mgur, no. 64, her father, the pow-
erful governor, left the loving couple at their wits' end, helplessly (ran
dbah medpar) bound to accept that love is a forlorn hope. Interestingly,
the only lover among the allegedly numerous paramours entertained by
the young Tshans-dbyahs rgya-mtsho which can be identified was in fact
 63

the daughter of the high-ranking Regent, who, it was said, even encour-
aged the liaison; cf. H. Hoffmann in the Introduction to Houston, 1982,
p. XVII. Read metaphorically, however, the terms {rain tshig) 'daughter'
(sras mo, ze sa for bu mo) of a high political dignitary and a 'peach fruit'
(kha[m][s] 'bras) may no less arguably be a euphemism (dod tshig) for
the 'dual religious and secular (chos srid zuh 'brel) power (srid dbaftf
with which the institution of the Dalai Lama was invested. Identifying
the 'powerful governor' with the ambitious and power-seeking Regent
(cf. e.g. gSun-mgur, no. 409), his 'daughter' may well depict the Re-
gent's dearly won and absolutely exercised power over Tibet. Although
the Sixth Dalai Lama repeatedly professed his ambivalent misgivings,
first and foremost testified in his alleged lyrics, concerning the appropri-
ation of absolute power over Tibet to which he was eventually entitled,
this poem may nevertheless be seen as an ill-veiled, albeit well-nigh
forlorn, plaint launched by a dismal God-king against the omnipotent
and complacent Regent, who continued to exercise a firm grip on the
reins of government, in spite of the fact that the God-king considered
himself fully mature (smin pa) to 'reap the fruits of power'. As with
love, his call for real power proved unrequited.
64

I sems pa phar la sor nas |

j mtshan mo'i gnid thebs gcog gi
I fiin mo lag tu ma Ion |
j yid than chad rogs yin pa |

Lost to her my heart

Gone my chance of sleep at night;
By day beyond my grasp is she
Despondency my [sole] companion.

6a nas ABCDEFGHIJ : kyan K;

6b gnid ACDEFGHIJK : sfiid B; thebs ABCDEFGHIJ : theb K; gcog
ABCDGHIJ : cog K : bcags EF; gi ACDGIJ : gis BHK : son EF;
6c ma ABCDEFGHIJ : mi K;
6d rogs ABCDEFGHIJ : rog K; pa BCDEFGIJK : pas AH;

6a sems pa sor, to lose ('chor, éor) one's heart or sentiment, the most
appropriate equivalent to our phrase 'to fall in love', cf. also no. 62
infra, = sems [pa] 'gro or sems [pa] son, nos. 3, 16-7, 19, 23. Meriting
special attention is the adverbial complement phar [la], i.e. thither or
yonder. Often read together with the adverbial correlate tshur [la], i.e.
hither. In this connection the phrase sems pa phar éor tshur éor thus
indicates mutual love, or 'to fall in love with one another'. To illustrate
this, we may quote a similar poem which relates about mutual love.
Although it did not involve physical love, the loving couple nevertheless
had gloomily to resign themselves to physical weariness, the fatiguing
effect accruing from baseless and unfounded gossip; cf. Bod kyi dga'-
gias I, p. 129, no. 4 = gTam-dpe, p. 116-7:
| sems pa phar éor tshur sor \
j lus po 'dres po med na \
j don med mi kha bsnams nas \
| sku than mnel rogs yin pa \
Worth quoting also for its illustration of the unquenchable vigour of
mutual love is a poem which equates such passion with a wildfire let
loose on the meadow. Even the headwaters flowing from the pass above
would hardly be able to extinguish it; cf. Bod-rigs kyi glu-gzas, p. 88,
no. 1:
| sems pa phar éor tshur éor \
 65

I span la me éor 'dra son \

j la mo bar gyi chu mgos \
| bsad kyah bsad thabs dka' son |
For further references to this notion, cf. e.g. Bod kyi dga'-gias I,
p. 127, no. 2 = Bod kyi dga'-gias II, p. 66, no. 5 = gÉas-tshig phyogs-
bsdus, p. 113, no. 3 = gTam-dpe, p. 139 (cum van lect); Bod kyi dga'-gias
/, p. 127, no. 3 = gÉas-tshig phyogs-bsdus, p. 114, no. 3; Bod kyi dga'-
gias I, p. 127, no. 4 = Bod kyi dga'-gias II, p. 66, no. 3 = gÉas-tshig
phyogs-bsdus, p. 116, no. 5 = gTam-dpe, p. 117; Bod kyi dga'-gias I,
p. 129, nos. 2 and 6; cf. also gSun-mgur, nos. 98, 180, 201, 311, 355.
This notion or image of mutuality or reciprocity (phar tshur), impli-
citly alluding to love and affection, can be applied to other incidences
also, such as when crossing a river, cf. gÉas-tshig phyogs-bsdus, p. 119,
no. 5; when settling on each side of a pass (la mo), yonder and hither
(phar rgyab vs. tshur rgyab) preventing the lovers to behold one anot-
her, but allowing them to dispatch 'small lettre d'amour*, cf. "Bod kyi
dmans-gzas", Bod kyi rtsom-rig sgyu-rtsal, 1980 (1), p. 83; Norbu's Coll.
Ill, no. 20; when the thoughts (of the lovers get tangled with one an-
other (sems pa phar 'dzih tshur 'dzin) like thin silk threads (stoh skud)
being entangled), cf. Bod kyi dga'-gias II, p. 68, no. 4; when exchang-
ing confidential words or discours amoureux (sfiih gtam, cf. no. 29 infra)
between lovers, cf. gÉas-tshig phyogs-bsdus, p. 114, no. 1; when the poet
remains unaffected when his long-time acquaintance entertains great
affection towards him (phar bsam med...tshur bsam éa tsha che), cf.
Bod-rigs kyi glu-gias, p. 31, no. 1 and e.g. when beholding one another
(note, incidentally, the shift in verse a and b from ordinary to honorific
terms with the shift of subject) 'the knot (of love) that bodes (well)' could
be tied (for which see nos. 7, 11 infra), cf. Bod kyi dga'-gias I, p. 81,
no. 4 = Bod kyi dga'-gias II, p. 41, no. 6 = gÉas-tshig phyogs-bsdus,
p. 113, no. 4:
| phar la mig gcig bltas pas \
| tshur la spyan gcig gzigs byun |
j spyan mig kri kha'i 'og nas |
I las 'phro'i mdud pa thebs son \

6b gnid thebs gcog (pf. bcagls]) = gnid thabs gcog or chog. The phrase thebs
bcag or chag is lexically somewhat cumbrously glossed as bed spyod
rgyur go chod tsam iig tu gyurpa'i nan non. More readily it means 'to
miss the opportunity or chance', here of sleep at night. To cite another
sample on the dramatic effect of lovelornness, sleeplessness, we may
quote a poem, classed as a tshig rgyag or repartee type of song, which
relates about the typical symptoms when struck by the pangs of love:
66

loss of appetite when beholding the little bird (the girl) in the willow-
grove and insomnia during the nuit blanche when she roams about in
his mind, cf. Bod kyi dga'-gzas I, p. 35, no. 2 = gTam-dpe, p. 121-22 =
Snyder, 1972, pp. 33-34:
| lean glih miggils] mthoh dus |
| zas la za 'dod ma byuh \
j byis chuh yid la 'khor byuh \
j mtshan mo'i ghid thebs chag byuh \
Cf. also gSuh-mgur, no. 127. In 6b gi and gis are interchangeable.
Cf. also Duncan, 1961, p. 40. The haunted image of a girl, cf. no. 33
infra.
6c Note the antithesis or rhetorical contrast in hin mo vs. mtshan mo (note
the female gender), cf. similarly gSuh-mgur, no. 382 and Bod kyi glu-
gias, p. 113, no. 2 (a folksong from IHa-rtse), which states t h a t during
the day the sun is in command, the night is in command of the moon,
whereas when it comes to offering the body and the mind of the girl,
the power is entirely in her hands:
| hin mo hi ma'i dbah red \
j mtshan mo zla ba'i dbah red \
j lus sems sbyin pa gtoh bar \
I bu mo rah gi dbah red \
D. Back in his translation, op. cit., p. 143, anm. 6, presents shin as an
alternative reading to hin, reading thus shin mo, which allegedly should
mean 'the tender one* or 'the delicate woman', although unattested in
any diet. I am unable to see which edition warrants this reading. In
the light of the above antithesis the reading is unquestionably hin.
6d yid than chad = yi[d] than chad, = sems skyo or zum pa, despondency,
sorrow or discouragement. For the auxiliary verb rogs yin pa which
means 'be conducive to', 'aiding to', 'providing the means of etc., cf.
similarly the poem in Bod kyi dga'-gzas I, p. 129, no. 4 = gTam-dpe,
p. 116-17 quoted supra; cf. also gSuh-mgur, no. 44.

• The overt message behind this allusive poem is clear. It poignantly

expresses the poet's cri-de-cœur, in which the fatiguing effects of an
enamoured person are depicted. Simultaneously, the poem may carry
a further association: replacing the act of 'falling in love' (sems pa éor)
with the poet's deep wish and genuine 'fondness', or rather willing-
ness, to assume the political control (srid dbah fthob) over the country
to which he was rightfully due, the meaning (go don) of the poem ac-
quire quite another and deeper dimension. As is known, his attempt at
wresting the execution of real power from the hands of the headstrong
 67

Regent proved abortive. Not only did the poet's daily fight for power
prove luckless—being, as it was, out of his arm's grip—but equally frus-
trating, the nights were spent in restless and embittered insomnia.
Dis spirited by his dismal predicament, in which the God-king, our sur-
mised poet, found himself haplessly embroiled while posing merely as
an inane figure-head or puppet at the Regent's mercy, the enervating
dispute between the wilful Regent and the rivalling Qosot Khan would
eventually wore him out. This theme is taken up in other poems in
the sequel. This latter interpretation is partly followed by Xiao Diyan,
sBran-char, 1987 (4), p. 55 and by M. Tatz, The Tibet Journal, 1984, VI
(4), p. 28, n. 6, also.
68

I me tog nam zla yal son |

| gyu sbran sems pa ma skyo |
j byams pa'i las 'phro zad par |
| na ni skyo rgyu mi 'dug

The season of flowers has passed

The turquoise-coloured bee does not mourn;
Nor is it meet for me to lament
The exhaustion of our love's course.

7c pa'i BEFHIJK : pa ACDG; par ABDEFHIJ : pas CG : pa K;

7d na ABDEFHIJK : da CG;

7a The season of flowers (cf. also Skt. puspakäla, puspasamaya andpi/spa-

garna) is another name for spring or the spring season (dpyid ka or
dpyid dus, vasanta)—the season of spring usually reckoned to run from
the 16th day of the second Tibetan lunar month (hor zla) to the 15th day
of the sixth month. More precisely it denotes the period known to the
Tibetans as sos ka, the period when nature is 'full-blown', i.e. the middle
and late spring and early summer in Tibet, in India it more readily
denotes summer (grisma), cf. also gSun-mgur, no. 436. It alludes to the
period of the flowers' blossoming (me tog Idan dus). It is a standard
simile (dpe) for the season of love and mating and as such well-nigh a
synonym for love. Involved in nature's courtship is, besides the flower
embodying the female lover, the bee, the standard euphemism for a
male-lover, cf. infra. In the process of blossoming, the flower emerges
or blossoms (ear, biad), only, with the relentless and inexorable course
of karman, to wither and fade away (yal, zad) again in the deciduous
autumn (ston ka). Likewise, a male-lover grows intimate with or gets
acquainted to ('grogs, 'dris) a beloved (e.g. byams pa), only to witness the
selfsame irrevocable course of karman prompting the couple to forsake
their amour, cf. e.g. gSun-mgur, nos. 4, 30, 32, 61, 111.
7b The other protagonist in this natural setting for courtship is the bee
(sbran ma, sbrah bu, bun ba, Skt. bhramara, madhupa, madhukara
etc.; Apis mellifera). The popularity of this figure in the Indian and
Tibetan lyrical and poetical tradition accounts for the host of synonyms
created to describe this lover of nectar and honey (sbran rtsi, madhu
alone denotes the season of spring): e.g. 'the honey-maker' (sbrah rtsi
 69

byed pa, madhukara); 'the honey-drinker' (sbran rtsi 'thuh ba, mad-
hupâyin) etc.; The Tibetans distinguish in their traditional lore between
two types of bees: gser sbran, the yellow or golden bee, also denoted the
pad sbran bun ba and gser chun bun ba, cf. "dMans-gzas", Ni-gion, 1983
(2) p. 89; Bod kyi dga'-gias I, p. 134, no. 1; Bod-rigs kyi glu-gias, p. 61,
no. 2; gSun-mgur, nos. 30, 58, 179; Duncan, 1961, p. 42. Another type
is denoted the turquoise-blue bee (gyu sbran): cf. e.g. no. 15 infra, Bod
kyi dga'-gias I, p. 20, no. 2; p. 73, no. 4; p. 97, no. 6 = Bod kyi dga'-gias
II, p. 51, no. 1; p. 98, no. 1 = Glu-chuh sna-tshogs, p. 28; Glu-chuh sna-
tshogs, pp. 9, 13; cf. also G. Tucci, Tibetan Folk Songs from the district
ofGyantse, 1949, pp. 31, 62; and Tibetan Folk Songs from Gyantse and
Western Tibet, p. 47, no. 72; Norbu's Coll I, no. 18; gSun-mgur, no. 437
mentions a 'dam sbran, which probably alludes to the fact that the lotus
is born in mud ('dam skyes, pahkaja).
The act of courtship between the bee and the flower used to depict
a loving couple is commonplace in Tibetan lyrical tradition, as it is
worldwide. The bee circles Çkhor)—as an act of courting—the flower
in order to collect (gcog) honey (sbran rtsi) from the anther (ze'u 'bru).
Worth quoting is e.g. the following poem which provides us with such a
portrayal, in which the disclosing flower paves the way for an invitation
to the gyu sbran to indulge in honey, much the same as the exitement
auguring within the poet when meeting the beloved, cf. Bod kyi dga'-
gias I, p. 95, no. 5;
| me tog ze'u 'bru rgyas nas \
j gyu sbran sbran rtsi gsog gis \
| chun 'dris khyod dan mjal nas \
| stod la shin rluh gsog gis \
Coming amiss one another is also a theme treated in these poems,
when e.g. the flower bloomed too early and the 'golden bee' emerged
too late, after all, when there is no common ground for a unity—as the
course oî karman would have its way we may add, the loving couple too
had no cause to lament; cf. e.g. Bod-rigs kyi glu-gias, p. 61, no 1:
| me tog ear bar sha son \
| gser sbran bob par phyis son \
j gcig sems gcig la med na \
j ha rah skyo rgyu mi 'dug
Cf. similarly gSun-mgur, nos. 61, 110; cf. also Dun-dkar, sNan-hag la
'jug-tshul tshig-rgyan rig-pa'i sgo-'byed, pp. 220-22 for a poetical sample
of the flower and the bee.
7c The term las 'phro is basically a Buddhist notion which means 'the
continuation or progress of karmic causality*, not infrequently occuring
70

with the complement tshe snort, sku tshe and skal Idan added. Its
lexical equivalent is las skal, i.e. Täte', 'destiny* and 'karmic prospect'
in general. Cf. e.g. Wang Yinuan 1980, p. 7 C. yuan; Zhuang Jing,
1981b, p. 13 C. yuânfèn, i.e. 'lot' and Täte'. In this sense, the term not
infrequently implies a good-fated course (cf. e.g. Das' diet. p. 1212).
It occurs in a variety of constructions and phrases which testify to its
wide use, Small wonder we may add, when we recall the paramount im-
portance of karman (las, 'phrin las) or causation (las 'bras, rgyu 'bras),
a concept and notion which penetrates all levels of Tibetan thinking;
for a fuller discussion of causation and the various terms employed in
Tibet, cf., above all, the studies by L. Epstein, e.g. his "Blood and Thun-
der: Theories of Causation in Tibet", Tibet Society Bulletin IX, 1975
pp. 40-45; Causation in Tibetan Religion, Ph.D. Diss., 1977, Univ. of
Washington; and D. Lichter & L. Epstein, "Irony in Tibetan Notions of
the Good Life", Karma: An Antropological Inquiry, Univ. of California
Press, 1983, pp. 233-260.
As it will emerge from the subsequent samples of poems, when
phrased positively (and mostly conceived as an adj.) las 'phro is most
often read as las 'phro yodpa (-yinpa, here predicative) and las 'phro
can meaning 'endowed with luck' i.e. 'lucky', 'fortunate', 'blessed', cf.
e.g. gSun-mgur, nos. 130, 224, 274 (speaks about las 'khor baï tshe
snon las 'phro yin pa, 'a karmically retributory fate of former lives'),
nos. 429 and 443 (the last speaks of las 'phro en (= phran) tsam yod pa,
'possessing a little luck'); Bod kyi dga'-gzas I, p. 7, no 2; p. 21, no. 6;
p. 30, no. 3; Bod kyi dga'-gias II, p. 25, no. 3; Bod kyi glu-gias, p. 113;
p. 4 1 , no. 6; p. 48, no. 3; p. 97, no. 2; Bod kyi glu-gias, p. 155, no. 1;
gZas-tshig phyogs-bsdus, p. 113, no. 2; p. 162, no. 7; a special sDe-dge
? form is las 'bras yod pa, cf. sDe-dgeï dmahs-glu, p. 96, no. 3, b u t see
also ibid., p. 102, no. 2; finally, we may encounter the phrase las 'phro
ma zad, 'non-exhausted fate' = 'lucky', cf. Bod kyi dga'-gzas I, p. 85,
no. 5. The terms las 'phro yod pa and las 'phro can are thus often
synonymous with las la bskos pa (var. reading las la bkod pa, cf. e.g.
gTam-dpe, p. 141), i.e. 'fate-chosen' or Tate-elected' or 'lot-bestowed', =
' l u c k / , 'fortunate', cf. Bod kyi dga'-gzas I, p. 123, no. 1 and gZas-tshig
phyogs-bsdus, p. 166, no. 5; further, we have las 'phro 'dug, similar to
las 'phro yod pa, cf. Bod kyi glu-gias, p. 168, no. 2; Turning to construc-
tions carrying a negative load, the most regular phrases encountered
are las 'phro med pa and las 'phro zad pa, which invariably carry the
sense 'ill-fated', 'ill-boding', 'hapless' or just 'unfortunate' etc., cf. e.g.
gSun-mgur, nos. 110, 209, 312 and 313; Bod kyi dga'-gzas I, p. 36, no. 4
= gtas-tshig phyogs-bsdus, p. 101, no. 6; p. 86, no. 2; p. 125, no. 6; Bod
kyi dga'-gzas II, p. 23, no. 2; Further, gSun-mgur, no. 412 speaks about
a las 'phro tan pa, a 'weak or feeble fate' = 'ill-fated'; sDe-dge'i dmah-
glu, p. 110, no.2, as above, speaks about las 'bras med) Bod kyi dga'-gias
 71

/, p. 65, no. 5 has las 'phro mi 'dug; gSun-mgur, no. 326 provides us
with an interesting synonym to las 'phro med pa, i.e. tshogs ma bsags
pa, about a lover/love (byams pa) who/which 'lacks the accumulation (of
merit)', a clear reference to the Buddhist notion of punya-sambhära, in
other words love is a forlorn hope; finally, we may refer to the synonym
las dman, 'low-fated', cf. Bod-ljons dbus-gtsah-khul gyi dmahs-khrod
gtam-rgyud, p. 43.
A number of allusive phrases containing this key idiom merits special
attention. Worth quoting is e.g. an adage which vividly accentuates the
inescapable impact of karmarCs working: you may possibly find a means
of saving your skin when hundreds of arrows are threatening you, but
once you have been ensnared by the lasso of karman, there is no room
for escape; cf. Bod kyi dga'-gzas I, p. 65, no. 3:
| mda' brgyas srog la bsdigs kyan \
j bros pa'i thabs sig yod kyan \
j las 'phro'i zags pas bcihs dus \
I thar pa'i go skabs mi 'dug
Cf. similarly Bod kyi dga'-gzas I, p. 115, no. 1 = gTam-dpe, p. 120
{cum var. lect), which relates t h a t when 'you are pursued by the karmic
destiny of love (byams pa las 'phros ded dus) there is no time (to see)
whether it will turn out good or bad (yag fies blta Ion mi 'dug)\ Cf.
also Bod kyi dga'-gzas I, p. 81 no. 4 = Bod kyi dga'-gzas II, p. 4 1 , no. 6
quoted above (s.v. the crit. ed. 6a) and Bod kyi dga'-gzas I, p. 96, no. 4
= gTam-dpe, p. 122 t h a t relate about the Toiot of fate being tied' (las
'phro'i mdud pa thebs (or skyon)). Bod kyi glu-gias, p. 143, no. 2 talks
about an inane project when 'the lock of karmic prospect' (las 'gro'i (:
'phro'i) sgo Icags) is there, but the key is lacking. Likewise, when you
want to catch a beautiful fish (fia mo, a girl) all you need is 'the hook of
(good) fate' (las 'phro'i Icags kyu) to be successful, cf. Bod kyi dga'-gzas
I, p. 30, no. 6; cf. further Bod kyi dga'-gias I, pp. 114, nos. 3, 5 and
p. 130, no. 1; Stein, 1972, p. 412, n. 4.

7d ha may be replaced by da.

• This terse, allusive poem on the transient nature of life and on kar-
man's inexorable course is couched in a resigned, yet meekly compliant
and non-fatalistic tone. By presenting in the first couplet of the stanza
the simile (dpe) of the doomed course of flowers' blossoming, the topic
(brjod bya) illustrated (dpe can) in the last couplet is love (byams pa).
Recalling the irrevocable course of nature's seasonal alternations, the
poet stoically faces the ditto prospective of his love affair. There is no
reason to lament (skyo ba = smre nag) the extinction of love as it is
well-nigh predestined.
72

Stepping beyond this obvious interpretation, we may tentatively try

to extract a deeper message from this allusive poem. The 'season of
flower' may in fact aptly illustrate the power and institution of the Dalai
Lamas. Just as the love's course like the nature is cyclic and subject
to ever-occuring alternations, so also the institution and rule of the
Tibetan God-kings is subject to periodical alternations qua the series of
reincarnations and re-embodiments. The season of flower, when still in
full blossom would then depict the prosperous and thriving rule of the
predecessor, the Fifth Dalai Lama. As a consequence, the fading period
should accordingly illustrate the political impasse and interregnum that
prevails after the demise of the Great Fifth and the blurred political
situation that ensued with a "non-recognized" Sixth Dalai Lama (until
A.D. 1697). In this situation, it transpires, the poet, still in the garb of
a bee, saw no means of'mating with' the throne, i.e. to assume the real
and sovereign power of the country. Yet, the poem signals, there is no
reason to lament the irrevocable course of fate.
 73

I rtsi thog ba mo'i kha la |

j skya ser rlun gi pho fia j
j me tog sbran bu gnis kyi |
j *bral mtshams byed mkhan los yin |

Hoarfrost covering green plants

Harbinger of pale-yellow winter storms;
Verily, you it is
That keeps flower and bee apart.

8a rtsi ABCDEFHIJK : rtse G;

8b skya G : skye C : skyi E : skyan D : skyen A : rkyan BFHIJK; gi
ACDEFGHIJK : gis B;
8c bu ABCDEFGHIJ : ma K;
8d 'bral ABDEFHK : 'brel CGIJ; mtshams ACDEFGHIJK : 'tshams
B; byed ABCDFGHK : gcod EU;

8a The term rtsi thog means according to the def. in the diet.: The seeds or
the fruits of grass and green plants etc. (rts[u]a dan lo tog sno Idum sogs
kyi 'bras bu'am sa bon). In actual fact rtsi thog simply denotes grass
and green plants. The Chinese scholars aptly renders it as grass (cäo),
but Zhuang Jing, 1981b, p. 13 translates it as C. llnllncäo, cold grass,
whereas Wang Yinuan, 1980, p. 8, by rendering rtsi thog with Cjîjïcào,
evidently sees it as a specific plant, the Achnatherum splendens, the
Feather or needle grasses of the Stipa species of the fam. Gramineae!
By the term ba mo is meant hoarfrost = bad, often employed (as Skt.
tusära) as a sign of transience (anityata). It indicates the white drops
(zil pa dkar po), the frozen ice-drops or minute ice crystals, emerging
atop plants and cold surfaces. Its synonyms (mam grans, paryäya) are
"the heaven's vapour" (nam mkha'i Hans), "water particles" (rdul gyi
chu) and "heaven's dew-drops" (mkha'i zil pa). When the hoar-frost (ba
mo) of autumn strikes, another allusive gias declares, the young man (o
lo; cf. nos. 55, 61 infra) is eager to see what will happen to the splendour
of the meadow-flower that blossomed during the three summer-months;
cf. Bod kyi dga'-gzas I, p. 90, no. 1:
| dbyar gsum span gi me tog
I mtshar po de fdra yod na \
| ston ka'i ba mo phog dus \
I o los Had mo bltas chog
74

As rightly observed by van Heurck, 1984, p. 71, line 8a actually reads:

"the grass on the surface of the hoarfrost!". What is meant is perhaps:
"atop the hoarfrost [of] the grass, the wind... ". In fact, the reverse is
meant: "hoarfrost atop green grass" (rtsi thog [gi] kha la ba mo or ba
mo rtsi thog \gi\ kha la). Here it is clearly understood as a messenger
(pho na) heralding the advent of the autumn wind (ston ser lhags pa)
and hail (ser):

8b The term skya ser rlun evidently indicates the light-gray or pale-yellow
(skya ser = mdog dkar ser9 i.e. 'desert-coloured') northern (from Byan-
thari) wind during autumn and winter. The correct reading is appar-
ently an open question, as skyi ser, rkyah ser and even skye[n] ser (cf.
Das' diet. 108b; R. Stein, L'épopée tibétaine de Gesar, 1956, p. 390; R.
Stein, Recherches sur l'épopée et le barde au Tibet, 1959, p. 495) are
attested to. In Mi-la ras-pa'i mgur-'bum, a passage reads: byan skyi
(~ skye[n]) ser gyi rlun po ma [b]rgyab na \ Iho tsan dan gyi sin nags
'gul mi yon, "when the pale-yellow wind does not blow from the north,
the sandal trees in the south do not move"; cf. the mGur-'bum (ed.
Peking), fol. 15a, 123b, 213b; The term is also attested in the huge
Ge-sar Epic, cf. the ed. by R. Stein, 1956, HI, fol. 32a, 59a, 64b, 70b;
cf. also A.H. Prancke, "The Ladakhi pre-buddhist Marriage Ritual", In-
dian Antiquary, XXX, 1901, p. 139. Stein considers this idiom to be an
archaic epithet hailing from the Tibetan people's idiomatic storehouse,
and refers also to 'Brug-pa Kun-legs' biography, where the term rkyan
ser rlun po is found (R. Stein, 1972, p. 495; R. Stein, 1973, fol. 164a),
which he renders as l e vent, cet hémione à robe jaune'. This rendition
is not unfounded as rkyah ser in fact is attested in the dictionary, refer-
ring to the colour (spu mdog can) of mules and horses (rkyan [po], wild
ass, Equus hemionus Pall.; R. Stein, ibid., p. 537), here a colour with
a predominantly yellow tint. However, the form [s]kyi ser is attested
as early as the time of Khri-sron Ide-btsan; cf. Tucci, Minor Buddhist
Texts, II, p. 135.
Whatever the orthographically correct form, an equivoque is at play,
as the poet here provides us with a ill-concealed pun, since the term
skya ser (often also ser skya; = skya btsun, cf. Stein, 1972, p. 218; Stein,
1973, fol. 82a) traditionally refers to the two main groups, the laity
(white-dressed, skya, i.e. mi skya, khyim pa) and the clergy (yellow-
robed monks, ser mo ba, grva pa). With this double entendre in the
poem the poet wants to depict a person, who in the guise of a frost-
bound northern wind forcibly or physically barred him from any illicit
womanizing. As expressed in poem no. 39 infra a putative but likely
guess would be the Regent Sans-rgyas rgya-mtsho, who in reality was
in charge of both the temporal and the religious affairs of Tibet. Posing
therefore as a lay-person (mi skya) in the garb of a prelate (grva pa)
 75

exposed him to the poet's ridicule and sarcasm (khrel dgod zur za).
Cf. also gSun-mgur, no. 53, where the Regent likewise is ridiculed for
vesting himself with a monk's robes (na bza' grva chas bies\ chos gos
snam sbyar) without having taken any vows (sdom med). Here the
embittered complaint and criticism (skyon brjod pa, sun 'byin gnah ba)
is directed against the Regent for acting as the barrier in person ('bral
rntshams byed mkhan, 'brel mtshams good mkhan), the separator of two
lovers, in the garb of a freezing cold northern wind, carrying along frost
and hail, the foremost enemies of a flower and a bee.
Another, almost identical, gzas signals t h a t the emergence of hoar-
frost on green plants should be taken as a true sign of the impending
advent of hail and (winter) storms—the season which definitely marks
the split between the bee and the flower, cf. Bod-rigs kyi glu-gias, p. 64,
no. 4
| rtsi thog ba mo béag na \
| rluh dan ser ba'i rtags red \
| me tog gser sbran ned gnis \
I bye rgyu'i dus la khad son \
Worth quoting also is a poem conveying the picture of the flower, the
bee and the unwanted autumn wind, cf. Norbu's Coll. TV, no. 9:
| span rgyan gyu lo 'dra ba'i \
I dbyar skyes me tog med kyi |
I ston ser lhag[s] pas khyer dus \
j gyu sbran sems pa skyo son \
Cf. also Duncan, 1961, p. 109 and Tucci, 1966, v. 51, p. 32. Again
in the Gesar Epos it is mentioned how the hailstorm from the north
destroys the clouds in the south; cf. R. Kaschewsky, "Vergleiche als
Stilmittel im Gesar-Epos", 1985, p. 607.
8d 'brel mtshams gcod mkhan is equally plausible.

• Similar to the previous poem this terse dictum is first and foremost a
dismal poem on the transient and ephemeral nature of life. On the fig-
urative level, however, it should be conceived as an embittered epigram
and a sardonic gibe (bstih tshig) portraying, in the eyes of the poet,
a hypocrite (tshul 'chos mkhan) and a sham, viz. the sDe-srid, who
blatantly and self-imposingly donned himself in monkish dress while
as a mi skya he would overtly indulge in improper adulteous activities
(mhon sum 'dzem bag med pa'i gnah tshul). At the same time the self-
same Regent would repeatedly rebuke (skyon 'dogs man po byed) the
young God-king for his amorous deportment. Cf. e.g. Chab-spel, 1987,
pp. 301-303 for the double life of the Regent. Xiao Diyan, sBmh-char,
76

1987 (4), p. 56, in a somewhat more strained interpretation reads the

poem as a depiction of the poet being deep in the doldrums, discouraged
by the defeats he suffered when trying to assume power. In this con-
struction, the flower, according to Xiao, should be a picture (dpe) of the
expansion and development of the religious and the temporal power,
while the bee, again, should be a self-portrait of the priest-ruler. The
hoarfrost and the wind, then, should be conceived, he further contends,
as manifestations or forms of the onerous fight Çthab rtsod kyi rnam
pa) that fretted on his nerves at the gloomy perspective that assuming
power was beyond his reach.
 77

I nan pa 'dam la chags nas |

j re zig sdod dgos bsams kyah |
j mtsho mo dar kha 'grigs nas |
j ran sems kho thag chod son |

The wild goose longing for the marsh

Thought to settle for a while;
But meeting the lake's frozen waters
Sadly he took wings.

9a pa ABCDEFGHIJ : mo K; 'dam ABCDEFHIJK : mtsho G; chags

ABCDEFGHIJ : chag K;
9b sdod BDEFHIJK : sdad ACG; bsams ABDEFHJ : bsam CGIK;
9c dar kha ABCDEFGHIJ : khyag pas K; 'grigs CGHIJ : bsgrigs
ABDEF : bsdams K;
9d rah sems ABCDEFGHIJ : re zig K; kho ABCDEGHIJK : 'khor F;

9a In this poem another much-favoured pair of figures is introduced which

depicts a loving couple: the goose and the lake. The protagonist in
this small poem is the aquatic fowl {hah pa, Skt. hamsa; M. jataju; C.
yuânyang, é, yâ, yàn, hông\ Anatidae), usually identified with the goose
(Anser), but also, only more rarely, the duck and the swan. This bird
is a popular figure in Sanskrit, Tibetan as well as Chinese literary and
poetical tradition, exalted and esteemed for its graceful gait, charming
voice and intelligence, a noble bird of the highest virtues. It is even con-
sidered a sacred bird (lha bya hah pa) in Tibet; cf. Nebesky-Wojkowitz,
Oracles and Demons of Tibet, p. 373.
No doubt, the hamsa referred to is the Ruddy Sheldrake, also called
the Brahmany Duck or the Collared Duck (Casarca ferringinea or Ta-
dorna ferruginea), known as cakraväka {nah nur). This yellow, or rather
orange-brown, bird {[g]ser bya hah pa, hah pa gser Idan) is not only in
India but in particular also in Tibet held as a symbol of fidelity and
highly esteemed for its conjugal attachment to its mate. The recip-
rocal attachment of the pair, their constant company during day and
conversational contact during night, even when they graze apart, have
invested them in popular imagination with the halo of the highest conju-
gal virtues. Its martial fidelity is highly praised, because when it mates,
it mates for life. The male cakraväka is supposed to be separated by
nightfall from their female and to mourn the separation throughout the
night.
78

To illustrate the fondness with which the Tibetans regard the geese,
we may cite S. Hedin, the Swedish explorer, who in his book Trans-
Himalaya (II, 1909, p. 362) relates such a story. When Tubges, the
huntsman of the expedition, had shot a gander, Oang Gye, the son of the
governor of Saka dzong, came to complain to him. He was quite over-
come at this brutal murder, and could not conceive how a man could be
so heartless and cruel. Sven Hedin tried to excuse it by remarking t h a t
they were dependent for their livelihood on what the country yielded.
The Tibetans answered: "But in this district you have plenty of sheep".
When Sven Hedin asked him whether it was not just as wrong to kill
sheep and eat their flesh, Oang Gye replied:

No t h a t is quite another matter. You surely will not compare

sheep to wild geese. There is as much difference between them
as between sheep and human beings. For, like h u m a n beings,
the wild geese marry and have families. And if you sever such
a union by a thoughtless shot, you cause sorrow and misery.
The goose which has just been bereaved of her mate will seek
him fruitlessly by day and night, and will never leave the place
where he has been murdered. Her life will be empty and forlorn,
and she will never enter upon a new union, b u t will remain a
widow. A woman cannot mourn more deeply than she will, and
the man who has caused such sorrow draws down a punishment
on himself.

The excellent Oang Gye was quite inconsolable. We might shoot an-
telopes, wild sheep, and partridges as much as ever, if only we left the
wild geese in peace. I had heard in the Lob country similar tales of the
sorrow of the swans when their union was dissolved by death. It was
moving to witness Oang Gye's tenderness and great sympathy for the
wild geese, and I felt the deepest respect for him. Many a noble and
sensitive h e a r t beats in the cold and desolate valleys of Tibet.
Another reference worth quoting is taken from the birth-place of the
Sixth Dalai Lama, mTsho-sna in Mon-yul, described by G. Sheriff, the
noted plant-explorer, who travelled through the area about fifty years
ago, cf. H.R. Fletcher, A Quest of Flowers, pp. 85-86: Although an icy
blast swept the bleak uplands and snow covered the ground, Tsona was
awakening from its winter sleep and spring was in the air.

Brahminy duck waddled about on the flat roofs of Tibetan houses

searching for nesting sites. Bar-headed geese were paired and
Brown-headed gulls, fresh from the Indian plains, flew lazily
over the semi-frozen lakes. Snow-cock chuckled from the low
cliffs behind our camp where a pair of Tibetan ravens were al-
 79

ready feeding their young. Immense flocks of grandalas fed on

the margins of the marshes.

This deep respect is equally nourished in India where the prâyaêcitta

or expiation for killing a hamsa is the same as t h a t for murdering a
eüdra. In Indian cultural lore and in its classical and epic literature
the hamsa and its varieties occupy a prominent place and its literature
is replete with tender references to them. A number of stories and
tales abound in allusive praises of this bird. Cf. e.g. Rgveda II. 34.5,
39.3, III 53.10; Manusmrti V.12; Väyupuräna, 41.70, 45.19, 69.337-9;
Matsyapuräna, 11.51, 20*.17, 116.4, 118.50-i, 161.53-4, 171.41, 180.27
etc.; Meghadüta w . 12, 23, 57 etc.; Mahäbhärata (Adiparvan, 74, 91;
Bhïsmaparvan, 119, 97-110; Karnaparvan, 41); Rämäyana II, 112, 15,
IV, 58, 24-27 etc.
Neither do Buddhist literature fall short of glorifying this dignified
bird, and a number of stories and legends here likewise attest to its
popularity and prominent position in Buddhist lore. Suffice it to refer
to Dhammapada (Arhantavagga, v. 91, Lokavagga, v. 175); Visud-
dhimagga of Buddhaghosa (PTS, 1920, I, p. 153; II, p. 650); Hamsa-
jätaka (Jätakamälä no. 22); Javanahamsajätaka (The Jätaka, ed. V.
Fausboll, 1887, vol. IV, pp. 211-218); Asvaghosa's Buddhacarita 9.27;
cf. first and foremost J.Ph. Vogel, The Goose in Indian Literature and
Art, E.J. Brill, 1962; M. Geiger, "Der Hamsa", Münchener Studien
zur Sprachwissenschaft, heft 10, München 1957, pp. 48-53; D. Schlin-
gloff, "Zwei Anatiden Geschichten im alten Indien", ZDMG, CXXVII
(1977) pp. 369-397; S.C. Banerjee, Flora and Fauna in Sanskrit Liter-
ature, 1980, pp. 162-65; K.N. Dave, Birds in Sanskrit Literature, 1985,
pp. 422-460 (esp. pp. 450-52); W. Eberhard, Lexikon chinesischer Sym-
bole, 1983, pp. 99-100.
In Tibetan popular lyrics, the topos under discussion here, the bird
referred to is, as said, the nan pa \g~\ser bya, the Brahmany Duck
(cakraväka), which is so large it is considered a goose by the Tibetans
and is moreover considered sacred because of the above-mentioned nat-
ural endowments and, equally symbolic, because of its colour (yellow
as the Yellow sect), cf. e.g. Duncan, 1961, pp. 25, 38, 56-58 and 148,
n. 480. As Tucci, 1949, pp. 27, 29, 58, 61, also adduces, the yellow
duck in the lakes is by the Tibetans called dge sloh, a 'monk'. As it
is the fate or rather the intrinsic behaviour of the cakraväka pairs to
separate from each other every evening, they are often used symboli-
cally to depict amorous bereavement and lovelornness. In a song by the
madman-saint 'Brug-pa Kun-legs (Stein, 1972, p. 187; 1973, fol. 69a) is
similarly employed the image of the bird, here the mate-bereaved goose
t h a t mourns deeply at the fenny margins and outer reaches of the lake
(hza' bral nan mo mtsho mthar rdza rhu brdun).
80

More importantly, we may quote a telling episode from the story of

Prince Nor-bzah, cf. no. 30 infra. The rnam-thar, p. 186-87 relates
how Princess Yid-'phrog-ma, employs the simile of the yellow nan pa to
illustrate her loneliness. Addressing the king, the father (yab chen) of
Prince Nor-bzan, she tells why she fells compelled to leave the palace
and return to her divine (gandharva) abode. She relates how she, like a
gser bya hah pa, felt secure to settle down at the lake (an euphemism for
the mundane palace of Prince Nor-bzan to engage in a nuptial relation-
ship), but as the ice had covered the surface of the lake (here illustrating
a near-fatal court-intrigue of which she was victim) and without being
able to consult Prince Nor-bzah who was absent, being occupied in a
northern kingdom to conquer a foe, the Ämnarf-Princess felt she was
bound to return to her divine abode, like the bird was bound to leave
the ice-covered lake and return to Mon-yul:
| gser bya hah pa'i bio gtad mtsho mo khyed la bcol fgro
j mtsho mo 'khyag pas bsdam na hah pa mon la log 'gro
| yid 'phrog lha mo'i bio gtad nor bzah la zus kyah \
I rgyal po byah la byon na bu mo yul la log 'gro
[It may, incidentally, be observed that this versified piece of poetry
is rendered as a stanza of four lines with each line consisting of 12
syllables. But as is the case of many gzas songs, they too are not in-
frequently rendered as two verse-lines of twelve syllables. The above
poetical piece could therefore easily be transformed into two parallel
gias or quatrains consisting of six-syllablic lines.]
Further, in the same story (op. cit., p. 196) we find an incidence
where Yid-'phrog lha-mo expresses her grievance over her forced sep-
aration from Prince Nor-bzan. To accentuate her point, she provides
three favourite similes of mating known to the Tibetans: when three
species of birds mate (bza' mi sdeb) unthinkable indeed it is for them
to separate from their partners (kha ya bral ba): the gser bya would
settle at the lake (mtsho mo), the vulture (rgod po) would inseparably
perch (its nest) on the high-lying cliff (brag stod); cf. no. 38 infra and
the thrush ('jol mo) would settle down in the willow-grove (lean glih);
cf. nos. 12, 64 infra; cf. also Li Xueqin, 1986, p. 83.
In our translation we shall moreover choose the word wild goose, cf.
similarly Zhuang Jing, 1981b, p. 13, C. yëyâzi, the 'wild duck'. The
natural habitat for the geese and ducks, the lake (mtsho mo) or, as
here also, the marshy ('dam) banks along these lakes, is, to retain the
pairing, always in the female gender, although it may symbolize a male
too.
The setting for this poem is evidently the lake (mtsho mo) behind
the Potala, which encircles the little Näga-temple under the Northern
escarpment (rdzoh-rgyab klu-khah phra-mo, cf. gSuh-mgur, no. 228 and
 81

no. 65 infra), cf. e.g. C. Bell, The Religion of Tibet, 1931, p. 138-9; F.
Spencer Chapman writes in his Lhasa, The Holy City, pp. 162-5:

... one catches a glimpse of a small temple surrounded by age-

old poplars on an island in the middle of a considerable lake.
More gnarled and twisted willows, their trunks often lying on
the ground, surround the lake; but in the open water are many
varieties of duck—mallard, teal, gadwall tufted, white-eyed, and
common pochard, as well as goosander, coot and waterhen.

For an illustration of a group of ducks etc. on the idyllic lake, cf. The
Potala Palace of Tibet, 1982, pp. 14-15.
A legion of gias are therefore dedicated this beloved theme of the
lake and the enamoured goose. For instance, one gias relates about
the crane (khrun khrun), which, despite its long legs, has no means
of measuring the depth of the lake (cf. also no. 49 infra), whereas the
gander or the drake, despite a gloomy mood, may well measure the
depth (= acquire the confidence, affection) of the lake (= the girl); cf.
Bod kyi dga'-gias II, p. 15, no. 3:
| khrun khrun rkan pa rift yah \
j mtsho mo'i gtih tshod mi Ion \
I ser by a hah pa skyo yah \
| mtsho mo'i gtih tshod Ion yon \
Another gzas describes the sovereign master (= husband, bdagpo) of
the lake (= the beloved female), senseless indeed would it be for other
birds (? rivals) to circle (= woo) her, cf. Bod-rigs kyi glu-gias, p. 63,
no. 4:
| mtsho mo 'di yi bdag po \
j by a gcig hah pa ser po \
| bya rigs sna mi[n] sna tshogs \
| don med bskor ba ma gtoh \
Cf. ibid., p. 18, no. 3; worth quoting also is a gzas from lHa-rtse, in
which the loving couple compares their karman with that of the goose:
Although the only nourishment to subsist on (bza', note the pun on
bza' with bza' mi, = khyo éug, husband and wife, i.e. a couple and with
bza' ma, bza9 zla mo, wife) is what can be had from the marsh, they
nevertheless agree upon indulging conjointly in eating and drinking (=
marry), cf. Bod kyi glu-gias, p. 97, no. 2:
| ha nid gfiis po'i las 'di \
j hah pa ser po'i las red j
I bza9 rgyu 'dam las med kyah \
j mnarn bza' mnam 'thuh ius chog
82

Cf. Bod kyi dga'-gias I, p. 125, no. 1 for a slightly different poem.
Cf. also gSun-mgur, nos. 116, 178, 250, 317; Bod kyi dga'-gias I, p. 30,
no. 6; p. 40, no. 4; p. 47, nos. 3 and 6; Bod-rigs kyi glu-gzas, p. 18, no. 1;
p. 19, no. 1; p. 50, no. 1; p. 53, no. 1 and p. 101, no. 2;gTam-dpe, p. 129;
Norbu's Coll I, no. 46; //, no. 14.
9c The theme of the icy, frozen intermezzo (dar kha chags, 'grigs, bsgrigs,
dar gyis bskor) covering the surface of the lake—a barrier which pre-
vents the goose from settling on the lake—is particularly popular when
either one-sided love or an unwelcome interference from a third part is
depicted. Other poems couched in the same vein as the present poem
relate e.g. about the goose travelling from afar mindful of the lake, but
only to be "cold-shouldered" by her. Love is a forlorn hope; cf. Bod kyi
dga'-gias I, p. 31, no. 1 = gTam-dpe, p. 114:
| nan pas mtsho mo bsam nas \
| sa thag 'gyahs nas y oh yah \
j mtsho mos hah pa ma bsam \
j mtsho mtha' dar gyis bskor Mag
Cf. similarly Bod kyi glu-gzas, p. 138, identical Bod kyi dga'-gias II,
p. 20, no. 5 = gZas-tshig phyogs-bsdus, p. 110, no. 2; Bod kyi dga'-gzas
I, p. 102, no. 4 = gTam-dpe, p. 115 further relates about the enthusiasm
besetting the goose when spotting the icefree waters but when frozen
waters are encountered, resignation sets in and abandonment follows:
| mtsho la dar kha med na \
j [g]ser bya los kyah babs 'dra \
j mtsho mo'i dar kha mthoh dus \
| kho thag gtih nos chod son \
Another gzas depicts a gander which perpetually courts or wooes a
lake contemplating to secure a life-long partner and companion, but
facing the ice-white surface of the lake the poor bird recognized its
proposal for mating had been met with a downright rejection. The
gander had to turn its back to the lake; cf. Bod-rigs kyi glu-gzas, p. 18,
no. 3:
| hah pa mtsho la 'khor 'khor |
| tshe gcig gtan grogs byed bsam \
j mtsho la dar dkar chags nas \
| hah pa bios rgyab btah byuh \
Cf. similar ibid., p. 19, no. 1 also gSuh-mgur, nos. 124-125. Dun-
can, 1961, pp. 24-5. Finally we may quote a poem, which analogous to
the wording and context of the present poem, depicts the icy interfer-
ence (the advent of a third person), despite the fact that requited love
prevailed, cf. Bod-rigs kyi glu-gzas, p. 18, no. 4:
 83

I nah pas mtsho mo bsam bsam |

j mtsho mos nan pa bsam na \
j mtsho la dar dkar chags dus \
j ran sems bio thag chod son \
The alternative reading in 9c bsgrigs is equally plausible.
9d As rightly adduced by van Heurck in a note to his translation, 1984,
p. 72-73, the retroflex pronomen rah, besides here referring to the third
person, i.e. his (the gander's resp. the male lover's) own mind etc.,
it may also refer to the first person, i.e I myself. This ambivalence
naturally further underlines the image the poet attempts to transmit
to us: The gander or drake in question verily impersonates him, the
poet. In this respect, we might call attention to a phrase traced in the
biography of 'Brug-pa Kun-legs (Stein, 1972, p. 187; 1973, fol. 69a),
where, not a gander but a "little fish" resignedly had to remain in the
upper water of a little lake (ne'u phu bu mtsho stod la sdod pa'i kho
thag de chad son).

• This sullen poem, which similar to the two previous poems, draws
its imagery from nature, is first and foremost a song on luckless love
chanted by a frustrated lover. While it is near at hand to interpretate
it as yet a trite example of unrequited love and lovelornness by an
enamoured and lovesick poet, we could with equal justification read
the frozen barrier of love not as an wilful act on the side of the lake
unwilling to repay the gander's proposal, but just as well read it as the
irrevocable karrnic effect of nature, the advent of winter or perhaps the
deliberate interference by a third party or a third person who would
not compromise with the poet's buoyant disposition.
Xiao Diyan, sBrah-char, 1987 (4), p. 56, who in his historical reading
saw the onerous dispute between the young God-king and the Regent or
the Qosot chief lHa-bzan Khan as the poet's overall leitmotif behind the
composition of the entire corpus of songs, seeks also here an expression
of this on-going strife. The gander is here the metaphorical guise for
the God-king and the lake illustrates the very bone of contention and
the object of his craving: the seat of dual power, religious and temporal.
When finally he did assume the power, more in name than in actual fact
though, he nevertheless soon realized, Xiao contends, the full impact
of being the central figure of the political drama; the icy and frozen
barrier of power can only depict the numerous pangs, physical as well
as mental, which struck him in this period of chaos and discord.
84

10

I gru san sems pa med kyan |

j r t a mgos phyi mig bltas byuri |
j khrel gzun med pa'i byams pas |
| na la phyi mig mi Ita |

Although the wooden boat is without a h e a r t

Its horse figurehead always glanced back at me;
But this lover of mine so shameless and infidel
Deigns me no farewell glance.

10a sems ABCDEFGHIJ : hsam K;

10b bltas ACDEFGHIJ : Has B : Uta K; byun ABCDEFGHIJ : gis K;
lOd Ita ABCDEFGHIJ : Uta K;

10a gru éan rta mgo, the wooden barge furnished with a horse figure-head.
For an ill., cf. Spencer Chapman, Lhasa, The Holy City, opp. p. 58;
D. Snellgrove & H. Richardson, A Cultural History of Tibet, p. 168; P.
Aufschnaiter, Sein Leben in Tibet, 1983, p. 136; for a drawing, cf. R.
Stein, La Civilisation Tibétaine, p. 232; as already pointed out by D.
Back, 1986, p. 144, n. 10, the horse is often used symbolically as a
Vehicle': Besides a riding animal, the idea of a horse is employed in the
term for a car or waggon, éih rta, a 'wood-horse', as here in the term rta
mgo can, 'endowed with a horse-head' a boat; in the word for a prayer-
flag riding in the wind, rluh rta, a 'wind horse' and even in the word
dbyahs rta or hag rta, the 'horse of melody and voice', where the 'horse'
represents the tune of the songs, cf. R. Stein, Tibetan Civilization, p. 273
and the Gesar Epic, ed. Stein, 1956, index s.v. hag rta.
For the various synonyms of a ferry boat (gru san), cf. gSuh-mgur,
ad no. 231 in the Appendix. The barge or boat with a horse figure-head
occurs in a few poems. gSuh-mgur, no. 231, q.v., describes how this
figure-head is hoisted high on the long straight neck, being decorated
with fluttering prayer-banners. These auspicious banners signal that
there is no reason to despair, destiny has allotted the poet a romantic
tryst. Similarly, another poem tells how this horse-headed boat's mind
(contrary to the inanimate (sems pa med) barge in the present poem)
is directed at riding the blue waters, en route the poet has his karman-
fated female lover in his mind, not her parents, cf. Bod-rigs kyi glu-gzas,
p. 10, no. 1:
| gru éan rta mgo'i bio de \
 85

I snon po'i chu la gtad yod \

j byams pa'i pha ma mi dran \
I bkod pa'i chuh 'dris dran byuh \
Cf. ibid. y p. 98, no. 4, where another gzas relates about the so-called
horse-headed wooden boat, here symbolizing the girl, the existence of
which the poet had just been heard about, and contemplating a date
with her (lit. 'meeting the prayer-flag hanging on h e r horse-head'), he
only h a d a single day:
| gru éan rta mgo zer ba \
| rna bas thos pa ma gtogs \
I rta mgo'i dar Icog mjal ba |
j de rih tsam gcig yin pa \
In a sense the wooden boat is an apt illustration of a fickle lover, as
the boat usually is envisaged to be steadily crossing from river bank to
river bank (from lover to lover), cf. lOd. Bod kyi dga'-gzas II, p. 24, no. 6;
C. Bell, The Religion of Tibet, opp. p. 138, and F. Spencer Chapman,
Lhasa, The Holy City, opp. p. 58, both furnish us with a picture of the
very horse-head boat in question, lying at the shore of the small island
which houses the Nâga-temple behind the Potala. For a description of
the very boat in question, cf. ibid., p. 164:

The ferry [crossing the lake to the Näga-temple] is similar in

shape to the great rectangular barge at Chaksam, b u t is only six
feet by four. As it is cut away at the sides to facilitate getting
in and out, it is extraordinarily unseaworthy and we had to sit
very still, as there is only an inch or two of freeboard. At the
front—there are no bows—is a wooden model of a horse's head
raised on a long neck a yard or so above the water. At the back
are some twigs with prayer-flags attached.

The wooden horse-head barge makes its appearance in a religious (rdo

rje) mgur ma song also, ascribed to the fourteenth-century yogin bSam-
gtan dpal-pa (or dpal-le; A.D. 1291-1366), where the horse-prowed boat
symbolically is likened to a guru's house; cf. bKa'-brgyud mgur-mtsho,
ed. Rumtek 127al-129b5; ed. Palpung 83b2-84al; The Rain of Wis-
dom, 1980, p. 274.
10c khrel gzuh, modesty and bashfulness; cf. also nos. 14^ 26 infra; gSuh-
mgur, nos. 50, 96, 413ij and 414ab; 10c, cf. also gZas-tshig phyogs-
bsdus, p. 161, no. 5.
lOd phyi mig [b]lta, to look back on. In all illustrations the boat which
is endowed with just one horse-head always looks ahead. In order to
comprehend this poem properly then, the horse-head in 10b should be
86

envisaged to be on the brink of setting off from the shore and be sailing
backwards (accounting for the poet always being granted a backward
glance). But more likely it simply means that his boat will always
return back to him, when it has fulfilled its mission. Looking back
evidently implies that a lover ultimately will come back, so when his
infidel and fickle (= a gsar can ma, cf. no. 35 infra) lover evidently did
not turn around to signal "we will meet again", or did not vouchsafe
him even a farewell glance, their love is irrevocably forlorn. For lOd,
cf. also gSuh-mgur, no. 392.

• This gias is outwardly a simple poem on the frustrations stemming

from lovelornness and abandonment. His frustration is here accentu-
ated qua paralleling the girl with a wooden horse-prowed barge, a kind
of boat which in itself aptly illustrates a fickle lover. Lacking a heart, his
Tieartless' boat nevertheless always remains fidel and returns to him,
but not so with his infidel and shameless lover, a heart(less) sweetheart
indeed, the poem purports.
But the allusive poem may well carry a further sense: The beloved
(byams pa) may arguably depict the Regent, or equally plausible, the
Qosot chief lHa-bzan khan, the ruler who, just like a whimsical lover,
eventually rejected him as the legitimate Sixth Dalai Lama. Would
the figure-head at the prow moreover, aside from illustrating a faithful
item belonging to the poet, figuratively depict his self-ironic conception
of the role he plays—that of a figure-head in which the alleged status
of being without a soul (sems pa med) would indicate the empty power
and authority such an involuntary marionette is invested with ?
Xiao Diyan, sBrah-char, 1987 (4), pp. 56-7, reads this poem as a
distant critic (rgyan rin nas bka' bkyon gnah ba) by the poet launched
against the enervating fight between the Regent and the Qosot chief.
 87

11

I h a dan tshon 'dus bu mo'i |

| tshig gsum dam bca'i mdud pa |
j k h r a bo'i sbrul la m a brgyab |
j ran ran sa la grol son |

The girl of the marketplace and I

A three-worded pledge [we] knot:
As futile as tying a spotted snake
It came undone all by itself.

l i a tshon BEHIJK : 'tshon F; 'dus BEHK : 'du IJ : dus F; mo'i BEFHIJ

: mo K;
l i b dam bca'i BEFHIJ : dam pa'i K; mdud EFHIJ : 'dud BK;
l i e khra BEHK : phra FIJ; bo BEFHIJ : mo K; sbrul E F H I J K : 'grul
B; rgyab EFIJ : rgyab BH : rgyag K;
l i d ran rah BEFHIJ : ran K;

11a tshon 'dus bu mo, the girl of the marketplace, a common girl, often of a
dubious stamp; cf. gSuh-mgur, nos. 51 and 76 where this type of bazar-
girl (tshon 'dus a Ice dman éar9 cf. also gSuh-mgur, no. 4) are perpetually
surrounded by numerous wooers, a girl to whom one should never be
plighted, as she projects all kinds of promises to everyone. A whimsical
and volatile type of girl (a gsar can, cf. no. 35 infra), a promiscuous
paramour always tailed by a plethora of male-lovers, and a figure to be
distinguished from one's exclusive inamorata, a true girl more precious
t h a n precious gold, cf. Glu-chuh sna-tshogs, p. 33:
| tshon 'dus chen po'i dkyil du \
j byams pa brgya ston 'dzoms bzag
j sems la babs pa'i byams pa \
j rin chen gser las dkon pa \

l i b tshig gsum dam bca'i mdud pa, the knot of a three-worded pledge,
the three words of love. Usually this knot of plighted love-declaration
dictates a firm and never-failing observance, cf. Bod kyi dga'-gias I,
p. 52, no. 6 = Glu-chuh sna-tshogs, p. 20:
| snih grogs khyed dan ha gnis \
j tshig gsum dam bca'i mdud pa \
| nam yah Ihod pa med pa'i \
| thugs bsam brtan po bées éig
88

Confer also the following poem which parallels the knot of white silk
with the lover's heart-knot, the first may be undone, and yet one can
manage, whereas the latter may erode, the lovers still remain inex-
orably entangled with one another, ibid., p. 10, no. 1:
| dkar po dar gyi mdud pa \
j héig na thub sa 'dug ste \
j na gnis snih gi mdud pa \
j béigs kyan iig sa ma red \
This poem is corroborated by a nomadic story entitled "Treueschwur",
a story collected and translated by M. Causemann, Füchse des Mor-
gens. Eine tibetische Nomandenfrau erzählt, Düsseldorf 1986, p. 37,
and brought to our attention by D. Back, 1986, p. 144. In this story
it is told that tying a knot should symbolize that the lovers' plight re-
mains firm and indissoluble. Initially the vowed fidelity is confirmed
through tying a knot in silk. The knot they are making must never be
untied, even when the silk knot were to break asunder.
Further reference: Bod kyi dga'-gzas I, p. 84, no. 3: zal nas tshig
gsum gsuhs dan; gTam-dpe, p. 127 relates about a song of sorrow on
three words (skyo glu tshig gsum btah ba); gSuh-mgur, no. 24 relates
about the intimate declaration in three words (tshiggsum sningtam, cf.
no. 29 infra); cf. also Bod kyi glu-gzas, p. 117, no. 1; gZas-tshig phyogs-
bsdus, p. 171, no. 2; Bod kyi la-gzas, pp. 32, 43-5, 52, 56, 59, 61, 66,
69, 71-2, 278, 282, 287, 298-9 (seven and eight-syllabic songs). When
the three-worded heart-plight is given by a casual lover or a young girl,
it cannot be trusted, as Duncan adduces, cf. his Love Songs, p. 87. We
may also refer to the story of Nor-bzan; cf. 'khrab-géuh, p. 28. In the
Gesar Epic we find lovers tied together by the knot of plight (mna3 yi
mdud pa can); cf. Il, fol. 37b, ed. R. Stein, 1956, p. 242.
We may perhaps in this poem find a faint albeit symbolic allusion to
the three words dkon mchog gsum which make up the Tibetan word for
Triratna. In a religious song from 'Brug-pa Kun-legs' biography (Stein,
1972, p. 220; 1973, fol. 83a) we similarly find an unbroken pledge of
taking refuge consisting of "three words" (tshig gsum skyabs fgro mi
gcog dam bca' yin).
l i e khra bo'i sbrul, a spotted or a striped (khra khra, khra mo) snake, cf.
also Zhuang Jing, 1981b, p. 14, Wang Ymuan, 1980, p. 11, C. huä she
(The Pentaglot Diet., p. 4346, khra bo, C. hua), a variegated or a 'spot-
ted snake'; mdud pa rgyablrgyag,skyon, 'thebsl'debs, to 'tie a knot' and
mdud pa bsiglzig, bkrol/grol, to 'untie or undo a knot'; the idea behind
this simile is that the snake is commonly known to make a knot on its
own body when it coils (sbrul 'khril ba) and it is also common knowledge
that it undoes the knot again. This illustration reflects a Tibetan say-
ing: "the knot on a snake is untied [by] the snake [itself]" (sbrul mdud
 89

sbrul béig) aptly employed to illustrate that any undertaking or affair

initiated by oneself must also be rectified or settled personally (ran gis
byaspa'i las don rah gis khuhs skyel dgospa'i dpe), cf. dPe-chos rna-ba'i
bdud-rtsi, p. 260: sbrul mdud sbrul bsig: sprul gyis ran lus mdud pa
brgyab par sbrul rah hid kyis béig dgos pa ste \ sus don dag phud by un
des bdag byed dgos pa'i dpe. Hence the futility of tying a knot on the
snake, it would come undone all by itself. This sense seems to be cap-
tured by Zhuang Jing, 1981b, p. 14, C. pânqïlaide hua shé, a 'coiled up'
snake. As already mentioned, to tie rope knots in Tibet denotes mat-
ing, cf. Duncan, ibid,, p. 13. It is quite similar to our common locution
"to tie the knot" which indicates to enter a conjugal relationship. Xiao
Diyan, sBrah-char, 1987 (4), p. 57, incidentally, rephrases in his rendi-
tion of the verse l i e khra bo'i sbrul la ma brgyab into khra boï sbrul
mdud brgyab 'dra, an emendation contrived by him to clarify the sense.
While this reading is (con)textually feasible, it nevertheless contradicts
the consensus of all editions and is, at best, redundant, all the more
so as the original reading already makes good sense: "The pledge-knot
of three words could not be tied ljust] as [the knot of) a spotted snake
[can't], [therefore the lovers' pledge-knot too] undid all by itself."

• With this witty adage the poet attempts to illustrate that a liaison
with a fickle lover is destined to be short-lived, the tenability and trust-
worthiness of a plighted promise given by a casual paramour would
prove just as futile or inane as the attempt to find a coiled snake per-
manently knot-tied. Further, the message of the poem unmistakably
carries the stamp of transience, as life itself love is evanescent and ac-
cidental. Were the poem susceptible to deeper associations, the volatile
damsel of the marketplace could then arguably be an ill-veiled allusion
to the whimsical Regent. The young God-king^s rapport with him, as is
known, ran occasionally the whole gamut of emotions. As a mésalliance
between two ineligible matches, the knot of their hard-proven allegiance
would eventually share the same fate. Prompted by forces beyond their
control, 'their Gordian knot' of shared political power would be cut all
by itself, turning the God-king, our surmised poet, into a self-imposed
and elevated isolation that followed in the wake of his professed ro-
manticism and by the turn of events forced the Regent onto a track
of political and military collision with the Mongols. Tragically, within
a few years both figures would have been removed from the political
scene.
Xiao Diyan, sBrah-char, 1987 (4), p. 57, prosecuting the latter line
of argumentation, reads this poem exclusively as a veiled reference to
the nature of the relationship between the God-king and the Regent.
He alleges that the poem purports that all contentions and problems
(gnad don) between them would be solved all by themselves, just as a
90

knot-tied snake would undo itself. He further contends that the poem
implicitly purports that his hostile conflict with the Qosot chief would
remain indissoluble.
 91

12

I churi 'dris byams pa'i rlun bskyed |

j lean ma'i logs la btsugs yod |
| lean srun a jo zal nos |
j rdo k a rgyag pa m a gnan |

Auspicious prayer-flags for my sweetheart,

my long-time fiancée
Hoisted high upon the willow tree,
Good brother, caretaker of the willow,
Pray do not stone it, I beg you!

12a 'dris ACDEFGHIJK : 'bris B; bskyed ABCEFGHIJ : skyed K :

bskyod D;
12b lean ma'i ABCDEFGHIJ : skye legs K; logs ABCDEFGHIJ : log
K; btsugs ABCEFGHIJ : gtsug K;
12c a jo zal [za B] hois DHJ ABCDGHIJ : a jo ho zal E F : zal no dba'
ées K;
12d rdo ka rgyag ABDEFHIJ : rdo ga rgyab G : rdog gra rgyab C :
sdoh kha rgyag K;

12a chuh 'dris byams pa: a lover (byams pa) with whom one has been ac-
quainted ('dris) since childhood (chuh; chuh 'dris: lo na chuh dus nas
phan tshun 'dris): An acquaintance, betrothal, confidante and friend.
chuh 'dris, cf. e.g. no. 29 infra, Bod kyi dga'-gias I, p. 49, nos. 1, 3-6;
p. 50, nos. 1-6; p. 93, no. 5; Bod kyi dga'-gzasll, p. 27, no. 4, p. 28; no. 3;
p. 29, no. 2; p. 47, no. 1; p. 58, no. 1; Bod kyi glu-gzas, p. 105, no. 2;
p. 106, no. 1; p. 114, no. 2 and p. 139, no. 1; gSuh-mgur, nos. 30, 67,
70, 95, 122, 139, 415; gTam-dpe, pp. 109, 128, Bod kyi la-gzas, pp. 100,
110-1, 113,160, 168, 170-1, 178-9, 202, 277, 284, 290 etc.;Tucci, 1949,
pp. 30, 62 = chuh 'grul, cf. Norbu's Coll. Ill, nos. 51-2, 59 etc. = chuh
'grogs, cf. e.g. gSuh-mgur, no. 410 = chuh lg]rogs or lg]rogs chuh, a stan-
dard term occuring in Bod kyi la-gzas, passim almost a 100 times = shar
'dris byams pa, cf. gSuh-mgur, no. 59; sDe-dge'i dmahs-glu, passim; Li
Xueqin, 1986, p. 83.
Worth quoting are the following poems t h a t aptly illustrate the term.
In one gzas it is admonished not to denote the girl a chuh 'dris byams
pa, there has been no acquaintance since childhood and one-night of
intimacy does not make the girl a chuh 'dris, cf. Bod kyi glu-gias, p. 9 1 ,
no. 2:
92

I chuh 'dris byams pa ma gsuhs \

j chuh dus 'grogs rgyu ma byuh |
I dgonls] gcig lus 'brel by as pa \
j chuh 'dris zer lo mi 'dug
Cf. similarly, Bod kyi dga'-gzas II, p. 28, no. 6 = gZas-tshig phyogs-
bsdus, p. 143, no. 6 = Norbu's Coll III, no. 51 (cum van led.), where
the girl could neither be defined a chuh 'dris nor a gtan grogs (cf. no. 26
infra; or a byams pa, cf. sDe-dge'i dmahs-glu, p. 109, no. 1) as there
has neither been any close contact from childhood nor any chance of a
lasting relationship:
| chuh 'dris chuh 'dris ma zer \
I chuh nas géib rgyu ma byuh \
j gtan grogs gtan grogs ma zer \
j gtan du géib rgyu ma byuh \
The term rluh bskyed, 'air or wind-borne* is almost synonymous with
or rather complementary to rluh rta, thus rluh rta rluh bskyed desig-
nates the dissemination of good-luck prayers (rluh rta) on a prayer-flag
(dar Icog) fluttering airways (rluh bskyed). Probably here rluh bskyed
should be conceived as yar bskyed, the rluh rta should increase high; cf.
no. 21 infra for a full discussion of the term rluh rta. Prayer-banners
(dar Icog) are made of paper or cloth upon which auspicious sentences
are inscribed or printed. They are hoisted high on the top of houses,
on the summit of mountains, upon walls and from trees, from where
the good wishes or prayers for all mankind of for individual persons are
spread by the wind. Cf. a gzas similar to the present poem, where the
rluh rta of the poet's beloved sweetheart is hoisted high on the top of a
high mountain fluttering in the wind, accompanied by the earnest hope
t h a t the prosperity and luck of her will generate and increase like the
ascending moon, cf. Bod kyi dga'-gzas II, p. 58, no. 2:
| ri mgo mthon po'i rtse la \
j rluh bskyed cod pan btsugs yod \
j shin sdug byams pa'i rluh rta \
j yar zla'i ho bzin bskyed sog

12b The willow tree (lean ma, M. uda; C. Hü; Salicaeae), any of the genus
(rigs) Salix. A vigorous deciduous tree with lance-shaped leaves. Ac-
cording to éel-goh éel-phreh, pp. 249-50, three varities are found: ri
lean 'byar pa, a mountain willow, also called lean chen, the 'big willow',
the Salix alba or regalis ? the rgya lean phra mo, a tiny (shrubby)
type of willow and lastly the kluh lean skyed ma, a type growing in the
valleys. A legion oîgias on the lean ma testifies to this tree's popularity
in Tibet, suffice it to refer to e.g. Norbu's Coll. I, no. 4 1 ; III, nos. 25-27;
 93

Bod kyi dga'-gias I, pp. 36, nos. 1-37, no. 1; Bod kyi dga'-gias II, p. 24,
nos. 1-3; gSun-mgur, passim; Duncan, 1961, pp. 25, 51, 53, 77, 92; W.
Eberhard, Lexikon chinesischer Symbole, 1983, pp. 299-300.
Usually the willow-grove and the thrush are used to provide a favour-
ite simile of love and mating; cf. no. 64 infra,
12c lean srun [6a], the 'caretaker of the willow5 appears to be an old office
in vogue in pre-1800 Tibet, a sort of official or dignitary (zal no, note,
incidentally, this nominal synonymic compound, consisting of two words
for 'face', the first being honorific and the other ordinary, cf. similarly
no. 14 infra, gsuh skad, khrel giun), in casu it may be rendered by our
'mister' or 'sir', here a person in charge of the forestry, cf. L. Petech,
Aristocracy and Government in Tibet, SOR XLV, p. 12, n. 2; a jo: gcen
po'am jo jo, elder brother or good brother; cf. also Tucci, 1966, p. 39,
n. 1.
Lhasa, often known as the city of poplars (sbyar pa, dbyar pa) and
willows (lean ma), provides a perfect setting for this poem. In the many
gardens iglih kha) and pleasure-groves (skyed mos tshal) in and around
the city and in particular in Nor-bu glin-kha and on the island behind
the Potala are many willows found growing, cf. F. Spencer Chapman,
Lhasa, The Holy City, p. 164-5 and C. Bell, The People of Tibet, p. 8 0 - 1 ,
where the function of a caretaker is mentioned. In love poetry willow
groves (lean glin) are favourite h a u n t s for lovers' venues, cf. no. 64 infra.
12d rdo ga rgyab is an equally plausible reading. Throwing stones ('ur rdo
rgyaglb or skyon pa) is karmically considered a highly improper and
unwholesome act. It usually alludes to the affairs of an intermeddler.
An oft-quoted poem depicts a tiny bird sitting in between the leaves of
a tree, a sign of requited love prevailing between the bird and the tree
(cf. also no. 62 infra), admonishing everyone not to throw stones, i.e.
not to disturb the séance, cf. Bod kyi dga'-gias I, p. 74, no. 4 = Bod kyi
glu-gzas, p. 67, no. 2 = "dMaris-gzas khag-geig", Ni-gion, 1983 (3), p. 63
= Tucci, Tibetan Folk Songs, 1949, v. 52 (p. 31, 64) = ibid., 1966, v. 52
(cum van lect). In the present case the caretaker is admonished not
to throw stones at the prayer-flag, thereby disturbing and eventually
destroying the good luck of the girl.

• The poem clearly conveys the poet's earnest wish to demonstrate his
love. By hoisting high the prayer-flag which carries airwards his aus-
picious prayers for her unalterated prosperity and happiness, the poet
evidently seeks requited love. The caretaker of the banner-bedecked
willow tree, a gardening official plausibly employed in the household
of the God-king's private parks, is solemnly requested not to interfere
in his love affair. Even, we should evidently anticipate t h a t the per-
sonage in question already had a lurking suspicion about the poet's Jeu
94

interdite, wherefore he is solicited to keep his lips tight. Metaphori-

cally, the poem opens up for an avenue of interpretations. Suffice it to
proffer—in my eyes—a more credulous one: The dignitary protecting
and safeguarding the willow tree could barely point to any other than
the Regent (or equally likely, the ubiquitous Qosot chief?), the powerful
protector of the Yellow Sect and the country and, moreover, the God-
king's guardian during his adolescence. Read along this line, the willow
tree would represent the Yellow Sect and with the air-flung prayer-flag
pregnant with auspicious properties boding well for all mankind and for
Tibet we can only envisage an ill-concealed allusion to God-king himself,
the benevolent embodiment of Avalokitesvara. Obviously, the earnest
admonition not to destroy the religious prayer-flag may thus signal that
the God-king is unwilling to see himself rejected as the legitimate sixth
embodiment of compassion.
 95

13

I bris pa'i yi ge nag churi |

j chu dan thig pas 'jig son |
I m a bris seras kyi ri mo |
| bsubs kyan zub rgyu mi 'dug

Letters written small and black

Eliminated by but drops of water;
But unwritten images in the mind
However much one rubs, it cannot be erased.

13a pa'i ACDEFGHIJK : pas B;

13b thig ABCGIJK : thigs DEFH; 'jig BDEHIJK : 'jigs AF : bsig C :
bsigs G; son ABCDEFGHIJ : 'gro K;
13c bris ABCDEGHIJK : dris F; kyi ACDEFGHIJK : kyis B;
13d bsubs CEG : bsub IJ : gsub DF : sub ABH : bsrub K; zub
BCDGHIJ : zubs K : sub AF : bsub E; rgyu deest K;

13a On the theme of dispatching small letter (yi ge) or letters (yig) being
written down, cf. e.g. two gias quoted in sDe-dge'i dmans-glu, p. 102,
no. 3 and p. 104, no. 2; "Bod kyi dmans-gzas", Bod kyi rtsom-rig sgyu-
rtsal 1980 (1), p. 83; cf. also a sample quoted in "'Dod-gzas khag-brgyad",
Ni-gzon, 1983 (1), p. 70, in which the small black heart letters (i.e.
amorous thoughts) effortlessly (i.e. unavoidably) came across (passed
between them) when the poet suddenly recalled the smiling counte-
nance of his lover:
| byams pa'i 'dzum Idan zal ras \
j glo bur yid la dran dus \
I sems pa'i yi ge nag chuh \
I dbah med phred la sor son \

13b The phrase chu daft thig (or thigs) pas, properly means water and drops,
but should be conceived as waterdrops. The reading 'jig has been retain-
ed, in spite of the fact t h a t the reading béigls] seems more appropriate,
as the aux. verb son is employed as a past tense particle, and then
most often entailing the main verb in the past tense also. A oft-quoted
gias provides us with a plausible clue as to how the letters may be
erased. Contrary to our present poem, once the words of love or the
love letters between the poet and his long-acquainted sweetheart have
been imprinted on rocks three years of pouring rain could not erase
96

their drawing, cf. gZas-tshig phyogs-bsdus, p. 171, no. 6 = mGur-glu'i

lo-rgyus dan khyad-chos, p. 21 = sDe-dgeï dmans-glu, p. 106, no. 1 and
pp. 113-14 = Li Xueqin, 1986, p. 84 (cum van led.):
| chuh 'dris ha gnis gtam de \
I rdo la ri mo bris yod \
| char pa lo gsum babs kyan \
I ri mo zub sa mi 'dug
Cf. similarly, Bod kyi glu-gias, p. 34, no. 3, where the same love
designs would withhold three years (note, again, the magical figure
three, as if this number, be it three days (cf. no. 25 infra) or, as here
three years, constitutes the boundary between a casual relation and
plighted engagement) of pouring rain without being erased. Whether
erased or not, it is preferable t h a t we young people are allowed to write
them:
| char pa lo gsum babs kyan \
j ri mo sub kyi ma red \
j ri mo sub kyan drag ga
j gion nu ha tshos bris chog

13c The antithesis between a written letter dispatched and an unwritten

image of the mind (sems here = love = memory), is in another gias
phrased rhetorically: is it erasable or not by others ?, cf. Bod kyi dga'-
gzas I, 93, no. 4 = Glu-chuh sna-tshogs, p. 35:
| bris pa}i yi ge bskur bas \
j 'gyur ba med do gsuh byun \
j ma bris thugs kyi rimo \
| gzan gyis bsubs pa min nam \
For ri mo, cf. also Bod kyi dga'-gias /, p. 95, no. 2 = Bod kyi dga'-gias
II, p. 48, no. 5; Duncan, 1961, p. 90.
13d Note the juxtaposition of two verbs stemming from the same root, the
first being active and transitive (sub pa, to rub out, erase) and the
second being passive and intransitive (zub pa, to be erased, blurred, to
become invisible = mi mhon par gyur pa).

• Unravelling the meaning (go don) of this poem probably points in two
directions. Literally, it clearly depicts the indelible imprint or rather
ineffaceable impression left behind in the memory of a lovesick person,
pensées amoureuses, as is known, die hard. Exchanging love letters,
printed, written or sealed, whatever, physical declarations are perpetu-
ally susceptible to decay and oblivion. Not to mention t h a t dispatched
letters may forcibly be prevented from reaching its destination. Not so
 97

with the mental pictures of love: dream-like, resourceful, inscrutable

and private as they are—such designs are beyond the grip or the prying
eyes of other people.
On the metaphorical level, depriving the poem of the above read-
ing, we may, partially followed by Xiao Diyan also, sBraii-char, 1988
(1), p. 65, proffer a tentative interpretation of the poem: The small
black written letter(s) may aptly designate the written reports (snan
iu) addressed to the Chinese emperor Kangxi, a report submitted by
lHa-bzan Qan informing that Tshans-dbyans rgya-mtsho was not the
true (no ma) Dalai Lama. But as is known, the young God-king was
not denounced as the true embodiment until some years later, when
he was summoned to the Chinese capital. This initial attempt by the
Qosot chief was a failure. First later, we also know, was the young monk
&ag-dban ye-ses rgya-mtsho entroned instead, a figure who neverthe-
less never gained universal recognition as the légitimité incarnation
(yah srid). Read along this line, evidently, the unwritten mental design
therefore aptly alludes to the Regent's clandestine (i.e. unreported, =
ma bris) and ingenious (= sems) scheme (= ri mo) of searching for and
subsequently recognizing and installing Tshans-dbyans rgya-mtsho as
the Sixth Dalai Lama. As things turned out the original choice of the
Sixth Dalai Lama proved—despite attempts by lHa-bzaii Qan to the
contrary—to be ineradicable.
98

14

I rgyab pa'i nag chuii the 'us |

I gsun skad T)yon ni mi ses |
j khrel dan gzun gi the 'u |
j so so'i sems la skyon dan |

The stamp of a small black seal

Is unable to utter human talk;
May the seal of decency and candour
Be impressed in both our hearts! -

14a rgyab ABCGHIK : brgyah D E F J ; p a ' i CDEFGHIJK : pas AB; the

'us ACGIJ : the'us BEFHK : the'u D;
14c the 'u El : the'u ABCDFGHJ : the'us K;
14d skyon ABCDEGHIJ : bskyon F : rgyob K;

14a The little, black seal (the'u = the 'u = the[l] bu, = the mo, thel rise,
tham ka, dam phrug, a signet, a seal or stamp). Note the opposition:
rgyab (ordinary, phal skad) in 14a and skyon (honorific, ze sa) in 14d:
To imprint or stamp (a seal). 14a brgyab is an equally feasible reading,
the past tense may even be preferable, viz. the stamp Tiaving been
sealed'.
14b Note, similarly, the synonymic compound gsun skad consisting of a hon-
orific (gsun, verbal) and ordinary (skad, nominal) term; cf. also Bod kyi
glu-gzas, p. 48, no. 3. Here mi ses should be understood as "not able to',
cf. e.g. Das' diet. p. 1243, who cites a phrase like gan ées, "to one's best
ability" hailing from the sense "to the best of one's knowledge" etc. So
the little black seal is incapable of human utterance. Whereas this line
is couched in honorific terms, a corresponding line in no. 26, purporting
exactly the same sense, is phrased in ordinary terms: skad cha smrals]
ni mi ées.
14c khrel [dan] gzuh, = bag yod, 'dzem bag, ho tsha, Skt. apaträpya, i.e.
modesty, bashfulness, decorum, candour and even shame; van Heurck,
1984, p. 78 cites a def.: ya rabs bag yod kyi spyod pa, 'discreet, whole-
some deeds'; cf. also no. 10 supra, no. 26 infra; gSuh-mgur, nos. 50, 96,
413ij and 414ab.

• This poem should obviously be read in conjunction with the previous

one. The poem expresses the poet's distress at the trivialities and follies
of his official duties and of the impersonal sides of life in which he
 99

was unable to find an outlet or an apt expression {gsuh skad 'byon ni

mi ées) for his true feelings. Hence his admonition, or perhaps cry
of dispair, to his beloved to join him in sealing their hearts with the
imprint of faithfulness. In the second place, this admonition could also
be addressing someone in his entourage—the above-mentioned Qosot
chief ?—who had treated him shamelessly, and the only recourse the
poet would take is one of reconciliation and compassionate forgiveness—
in full accordance, incidentally, with the altruistic nature of the Dalai
Lama.
100

15

I ston Idan h a lo'i me tog

I mchod pa'i rdzas la phebs n a |
I gyu sbran gzon n u n a yan |
j lha k h a n nan la khrid dan |

Were the flowers of the thousand-petalled hollyhock

To be offered in worship:
Lead also me, young turquoise-coloured bee,
Into the temple of the gods!

15a ston CG : stobs ABDEFHIJK;

15b pa'i deest BFK; rdzas ABCDEFGHIJ : khan K; phebs ABCDEF-
GHIJ : tfiad K;
15d nan deest BFK; dan ABCDEFGHIJ : mdzod K;

15a The hollyhock (ha lo\ Skt. süryakänta', Cjlnkuihuä; Altheae or rather
Alcea rosea or chinensis), the garden hollyhock (Idum ra'i nan gi me
tog, cf. e.g. gSun-mgur, no. 259) of the Mallow family (Malvaceae). A
free-flowering and sun-loving plant with profusely showy funnel-shaped
flowers. By the Tibetans it is indistinguishable from the true mallow
(Malva), hollyhock mallow (Malva altea) or the rose mallow (Hibiscus)
of which three genera (rigs) are found: leant pa—pho Icam, also called
mdog Idan and ha lo me tog; mo /cam—also called rgya Icam, the Chi-
nese mallow or hibiscus and ma nin Icam, or bod Icam, the Tibetan
mallow or Hibiscus, identical with Skt. süryakänta (ni dga*), the sun-
loving plant with enormously showy though transient and short-lived
flowers; cf. Éel-gon éel-phren, pp. 275-76 and Bod-ljons rgyun-spyod
kruh-dbyVi sman-rigs, pp. 396-400; for a slightly different arrangement
of the Icam pa spp., cf. gSo-rig skor gyi rgyun-mkho gal-che-ba bdam-
bsgrigs, pp. 391-2. This garden plant is often used in ceremonies as a
flowery votive gift because of its spectacular showy flower clusters. One
gias emphasizes its short bloom, as it is transient or, as said, a flower of
a duration of three-summer-months only, contrary to the dull-coloured
saffron flower, which stays in bloom all year; Bod kyi dga'-gzas II, p. 71,
no. 2:
| ha lo bkra mdans ehe yan \
| dbyar zla gsum gyi me tog
j gur gum kha dog skyo yan \
| dbyar dgun Hag par yod do \
 101

An oft-quoted poem points to its simple origin, growing in the mire

or the mud, which makes it, contrary to the present poem, unfit to
be offered to the gods; Bod kyi dga'-gzas I, p. 103, no. 5 = gÉas-tshig
phyogs-bsdus, p. 93, no. 3 = Reader IV, p. 8:
| rdzab don nan lasky es pa'i \
j [l]cam pa ha lo'i me tog
| khyed rah skyes lo yag kyah \
j lha la 'bul nan mi 'dug
Cf. also "'Dod-gzas khag-brgyad", Ni-gzon, 1983 (1), p. 70, where a
gias is quoted lauding the shape (mam pa) of the hollyhock (i.e. the
girl) as a feast to the eyes, but, alas, no sane person would lay his hand
on such a thing with a mind like a black scorpion (r[u]a nag nag po, =
sdigpa rva can):
| mam pa ha lo'i me tog
| mig la mdzes po 'dug kyah \
j thugs sems ra nag nag por \
j lag pa 'chah mkhan mi 'dug
Cf. also gSuh-mgur, no. 259 which designates the hollyhock a quite
ordinary garden flower for which reason it is unworthy of praise or
comment (brjod by a gnah mi dgos). Worthy of praise is the wild mea-
dow flower (span rgyan me tog), the Gentiana. Ordinary or not, the
hollyhock is nevertheless used extensively as a mchod rdzas, cf. here
gSuh-mgur, no. 157; Bod kyi glu-gzas, p. 132, no. 1; cf. also the proverb
quoted by Rinchen Dolma Taring, Daughter of Tibet, p. 155: "Though
the flower is small, it is acceptable when offered to God." This simile is
also found as stilmittel in the Gesar Epic: Even small flowers are apt as
mchod rdzas to the gods, just as small presents can have a good effect;
cf. R. Katschewsky, "Vergleiche als Stilmittel im Gesar-Epos", Fragen
der Mongolischen Heldendichtung, Teil III, AF 91, p. 606.
The reading stoh Idan has been retained as the correct reading, as the
the adj. "thousand-petalled" may well be conceived as an apt allusion
to the profusely showy cluster of flowers which characterize this plant,
cf. also Das' diet, p. 1326: ha stoh 'dab (i.e. ha lo me tog stoh 'dab
ma); this may further be corroborated by the fact that this plant is
very transient and ephemeral, cf. above and e.g. a popular gias which
designates it feeble and porous or rather humble (nam[s] chuh; for this
term cf. Stein, 1956, p. 392), quite opposite, one should think, to it being
vigorous and vibrant (stobs Idan). The hollyhock is disdained because
of the fact that it is so commonplace and grows easily everywhere; cf.
Bod kyi dga'-gzas I, p. 17, no, 6 = gZas-tshig phyogs-bsdus, p. 99, no. 2 +
115, no. 6 = gTam-dpe, p. 141 = Bod kyi glu-gias, p. 90, no. 1 = Norbu's
Coll. I, no. 10 (cum van lect):
102

I khyed cag pad ma'i pad sdon \

j pad sdon ma red ma zus \
j flams chun ha lo'i sdon po \
j kha khar zog rogs gnan dan \
Yet, stohs Idan is after all an equally plausible reading, not only be-
cause of the near-consensus among the editions, b u t also because the
adj. siohs Idan simply may allude to this flower's profusion (i.e. luxuri-
ant, rampant, lush) or because the poet may have written the poem in
a sardonic mood; cf. e.g. also Zhuang Jing, 1981b, p. 15, C. fânmào.
The combination of ha lo'i me tog and the religious temple is intro-
duced in another allusive poem, where the hollyhock looks towards the
entrance of the temple. This analogy inspires the poet (here the temple
?) to admonish the good-fated beloved (the hollyhock) to cast her eyes
on him; Glu-chuh sna-tshogs, p. 8:
| ha lo Idum ra'i nah nas \
j lha khan sgo la gzigs kyis \
| byams pa las 'phro yod na \
| spyan gyis bdag la gzigs daft |
For further samples of gzas on ha lo'i me tog, cf. Bod kyi dga'-gzas
II, p. 51, no. 3 = gZas-tshig phyogs-bsdus, p. 160, no. 4; Duncan, 1961,
pp. 28, 50, 105.
15b mchod rdzas, or me tog mchod rdzas, an item, entity or object to be
offered in a religious ceremony, such as flowers etc., cf. e.g. G. Tucci,
Die Religionen Tibets, p. 141. For the conditional construction in 15b,
cf. also 3b, 16b, 19b and gSuh-mgur, no. 437b.
15c The turquoise-coloured bee, cf. nos. 7 and 8 supra; For a love affair
between the hollyhock (the girl) and the bee (the male lover), in this
case the golden bee, cf. a gias where the yellow hollyhock attracts a
great number of bees, all replete with the idea of 'uniting the thought',
i.e. mating; Bod-rigs kyi glu-gzas, p. 37, no. 1:
| tog Idan ha lo'i me tog
j ser po gser gyi mdog kha \
j gser sbrah 'tshah kha gsib gsib \
I sems nid gcig la brten yod \
The entire poem has a parallel in gSuii-mgur, no. 437, q.v.

• This and the following poem are companion pieces. The theme of
the flower and the bee is reintroduced. The hollyhock is a humble
and ordinary flower, and yet it is a suitable objet d'offrande. The poet
evidently declares his readiness to follow his beloved everywhere, a girl,
 103

we may surmise, of spectacular beauty and yet of ordinary stamp. In

this all-allegorical poem, he is ready to enter the hall of worship. This
would entail, similar to the message in the following poem, the embrace
of a religious life as a monk-novice who contemplates to accompany a
prospective nun. Duncan, Love Songs and Proverbs of Tibet, p. 122, n.
398, perhaps doubtfully, in this sees a veiled sex act meaning, since, as
he adduces, temples house both gods and goddesses.
The poem does not—in my eyes-—readily yield, whether historically or
otherwise, any deeper level of allusion. Never bereft of resourcefulness,
Xiao Diyan nevertheless sees in this poem, sBran-char, 1988 (1), p. 66,
the composition of which he fix to the late summer or early autumn
of the year A.D. 1702, a miniature portrayal and a concealed reference
to the ambivalent conflict that lingered between the Regent, here con-
ceived in the garb (dpe ru blahs) of the hollyhock, and the poet, himself
here in the guise of the bee. More the exception than would seem to
be the rule in the entire song collection, this poem should nonetheless
be seen to convey a message of solidarity and shared fate expressed
by the poet, our putative God-king, an assurance he should address to
the Regent. As Xiao argues, the poem should be read in the light of
the repeated threats by the Qosot chief that were launched against the
Regent and which accused him of having deceived the Manchu emperor
by installing a false (rdzun ma) Dalai Lama on the throne. A deception
which, when proved to be true, would omniously adumbrate the death of
the Regent. So, Xiao finally adduces, the exclamation by the poet also
'to be led into or be allowed to enter the temple' should similarly be
conceived as the young God-king's bold and courageous determination
(snin stobs) to face death in solidarity with his 'flower-garbed' guardian,
who was about to be 'offered' or, as understood here, sacrified.
104

16

I sems son bu mo mi bzugs |

I dam pa'i chos la phebs n a |
| pho gzon na yan mi sdod |
j ri khrod 'grim la thai 'gro

If the girl, to whom my heart has gone, will not stay,

But is intent on refuge in the Holy Law,
Neither will this young man remain,
But seek at once the solitary retreat of the mountains.

16a bu mo ACDEGIJK [omit BF] : byams pa H; mi ABCDFGHIJK :

ma E;
16b dam pa'i chos ACDEGK : lha chos [gnah omit BF] BFIJ : lha
chos byed H;
16d ri khrod ['grim : bgrim AJ : phyogs H : omit BF] CDEGI : dben
pa'i ri khrod K; thai ACDEGH : theg B : thegs FIJ : btan K;

16a For sems son bu mo or byams pa, the girl or beloved in whom some-
one has fallen in love, cf. no. 3a supra. Note the opposition in 16a of
béugs (honorific) and 16c sdod (ordinary): the person addressing an-
other person employs the honorific term, whereas the ordinary term is
exclusively reserved the person speaking; b u t see also no. 54, where a
third person obviously is involved, who portrays the God-king.
16b For this construction, cf. 15b; the terms dam pa'i chos (Skt. Saddharma)
and lha chos are synonyms, both designating the Buddhist religion. In
this couplet a girl, the poet's inamorata, no doubt is depicted, t h a t h a s
embraced a religious life. This would clearly imply t h a t she has thereby
renounced the world and become a nun (btsun ma, a ni), as van Heurck
rightly points out, op. cit., p. 82.
16c For pho gion, cf. also no. 2c supra.
16d ri khrod 'grimls], to seek or prepare for a hermit's mountain retreat,
cf. no. 24 infra; gSuh-mgur, nos. 22, 46, 146; thai fgro, also thai 'byuh
[du] 'gro: thogs med du 'gro or ma brtags pa'i 'gro starts, to go straight
away or to go readily forth without reflexion. Less probably, 'gro should
here be taken as the auxiliary verb 'gro, indicating the probability or
possibility of the verbal action, similar to yin (resp. min) 'gro, 'maybe,
perhaps' cf. e.g. Norbu, Musical Tradition of the Tibetan People, index,
s.v. 'gro. The reason is that we have the phrase thai son, the pf. tense
 105

of thai 'gro; cf. no. 61, gSuh-mgur, no. 162; an equally plausible reading
is thegls] 'gro.
The entire poem has a conspicuous parallel in gSuh-mgur, no. 415, in
which the girl responds to a similar situation, only here she has been
abandoned by the male lover:
| chuh 'dris byams pa mi bzugs \
j ha nid [b]skyur nas phebs na \
j bu mo ha yah mi sdod \
| dam paï chos la btah 'gro

• The poem is a parallel to the previous poem. Where the previous

poem was entirely allegorical this piece is concrete. It is a declaration
of unswerving faithfulness expressing a willingness to share the des-
tiny (las dbah) of a lover. When the poet's beloved embraced religious
life, the prospective love-forsaken poet found himself (forcibly or will-
ingly) unable to accompany her into the temple. But driven by a lover's
languish as well as by divine inspiration or religious impetus, he imme-
diately sought the consoling loneliness that only a hermit's mountainous
retreat can quench.
Being concrete and matter-of-factly, the poem speaks for itself. More
readily, there is no cogent reason—in my eyes—to impose upon the poem
any hidden meaning (sbas don). Xiao Diyan nevertheless, sBrah-char,
1988 (1), pp. 66-7, ventures, similar to the previous poem, to read this
poem as a wholehearted declaration by the young God-king in which
he proclaims his undivided solidarity with the Regent. The sDe-srid
should therefore here be depicted in the garb of a girl, to whom the
poet was affectionately devoted, the guardian and protector of his. The
affection generated towards the Regent Saris-rgyas rgya-mtsho must be
seen in the light of the Regent's withdrawal (phyir béol byed pa) from
office in A.D. 1703, a retirement that ensued in the wake of his in-
creasing controversies with the Qosots and his incapability of handling
the God-king's religious volte-face and his convivial deportment. Feel-
ing partially responsible for this development after all, Tshans-dbyaiis
rgya-mtsho, out of sympathy Xiao would seem to imply, found it un-
bearable to part from the ex-Regent (ial gyes par 'bral mi bzod pa)
when he left Lhasa and (at least officially) ceased to be in charge of
the government. Phrased differently, according to Xiao the poem there-
fore purports that the God-king would neither remain behind in Lhasa
were the detroned Regent to leave the capital and seek his religious
and literary pursuits elsewhere. A credulous element in this hypothet-
ical reading of Xiao, is the fact that the young God-king obviously must
have felt uneasy, if not apprehended, at the Regent's withdrawal and
would certainly be willing to leave his 'golden cage' in Lhasa.
106

17

I mtshan ldan bla ma'i drun du |

j sems 'khrid zu bar phyin pas |
| sems pa 'gor kyan mi thub |
j byams pa'i phyogs la éor son |

I sought a renowned lama

Requesting his spiritual guidance:
But though my thoughts do linger, it is of no awail
They steal their way back to my lover.

17a mtshan ABDEFHIJK : tshad CG;

17b 'khrid ABCDFGHIJ : khrid EK;
17c pa ABCDEFGHIJ : la K; 'gor ACG : skor E U : sgor BFH : bkag
D : sgom K; kyan ABCDEFGHIJ :pas K; mi ABCDEFGHIJ : ma
K;
17d phyogs ABCDEFGHU : rjes K; éor ABCDEFGHIJ : lahs K;

17a A renowned {mtshan ldan, *nâmin) lama or a lama endued with aus-
picious marks (mtshan Idan, Haksanavat). For mtshan ldan gyi bla
ma cf. e.g. 'Brug-pa Kun-legs' biography (Stein, 1973, fol. 120b). The
alternative adj. tshad ldan (*pramänika), i.e. authoritative or learned,
is equally feasible; cf. e.g. the story of Nor-bzan, rnam-thar, p. 212. It is
a term which evidently hails from the concept designating the Buddha,
i.e. pramäJiabhüta, 'embodying the means of valid knowledge', cf. e.g.
Dignäga, Pramänasamuccaya, 1.1, tr. M. Hattori, On Perception, Har-
vard Oriental Series 47, 1968. pp. 73-75; Wang Yinuan, 1980, p. 17,
renders this adj. into C. dé gäo, 'with high-morals' and Zhuang Jing,
1981b, p. 16, C. dé dào, 'truthful, principled'; D. Back, 1986, p. 4 1 ,
'fähigen', but van Heurck, 1984, p. 83, 'saint'; Vilgrain, 1986, p. 38
'plus excellent'. For the importance of a good, competent and authori-
tative teacher (äcärya, slob dpon; guru, bla ma) authorized to bestow
upon the pupil or the disciple (éiksya, slob ma) both lun and dban, cf. G.
Tucci & W. Heissig, Die Religionen Tibets und der Mongolei, 1970, p. 60;
sGam-po-pa, Thar-rgyan, tr. H.V. Guenther, chap. Ill; K. Dowman, Sky
Dancer, 1982, p. 200, n. 4.

17b sems 'khrid, mental or spiritual guidance. It is almost synonymous with

bio 'khrid, which possibly may contain a pun with bio 'brid, mental
delusion or seduction, cf. no. 27b infra, only not here where it may be
glossed with ial ta gnah ba.
 107

17c We have settled for the reading sems pa 'gor, 'his thoughts dwell on'
or 'his mind lingers about' (aimlessly) in the presence of the teacher.
Equally plausible is the reading sems pa skor, 'to make the thoughts go
around or revolve'.
17d The words sems pa of 17c and éor of 17d combined means 'the thought
or the mind escaped or fled [in the direction of the lover]'. But sems
pa éor more readily means 'to fall in love', cf. no. 6 supra, so a pun is
at play. Earning our attention also is the colloquial form of ed. K lahs
soft, which is a particular South Tibetan colloquial idiom t h a t may be
glossed with the literal forms phyin son, ear soft, chags son, 'appeared,
emerged, went 5 etc. Cf. similarly, gSun-mgur, nos. 33, 90, 124-5, 129,
136, 215, 221, 255, 315.
Worth reiterating is a gzas already cited, which poignantly captures
the dilemma which our poet is faced with in the present poem. In
the following poem the poet's mind, likened to a delicate drug/gru dkar
turquoise (cf. no. 4 supra), helplessly fled (semspa ...éor, "to fall in love")
towards his pretty damsel, unable to be controlled by (i.e. held back by)
the reins of memory or even sense, we may add; cf. Bod kyi dga'~g£as I,
128, no. 3 = Bod kyi dga'-géas II, p. 66, no. 1 = gZas-tshigphyogs-bsdus,
p. 120, no. 1:
| sems pa gyu chuh gru dkar \
I dran ées srab kyis ma thul \
j mdzes ma khyed kyi phyogs la \
| rah dbah med par sor son |
Finally, we may quote a gias which parallels our poem (compare line
c with 17c in ed. D) in t h a t the poet here requests being granted the
(teaching revealing the) ultimate reality (chos nid, dharmatä) in the
presence of a Brag-dkar bla-ma. Despite attempts to keep a curb on
his thoughts, it was all of no avail, all his attention wandered along
towards his beloved, cf. Bod-rigs kyi glu-gzas, p. 63, no. 2:
| brag dkar bla ma'i druh du \
j chos nid zu bar phyin pa |
j sems pa bkag kyan mi thub |
j byams pa3i phyogs la éor son \

• This and the following poem form a contextual unity, in which a re-
ligious note is struck. These poems take another stand from the two
previous poems. In the two previous pieces, love became a catalyst t h a t
paved the way for a religious engagement. In the following two poems
the tables are turned. The ambivalent vacillation between the poet's
strong yearning for love and his equally strong religious obligations is
108

stipulated. Eventually, the poet's cri-de-cœur undermines his religious

pursuit. Both poems tersely declare love absolutely indispensable, a
basic human need and, to the poet, a conditio sine qua non, even in the
context of religion or perhaps precisely despite a burdensome religious
call and the stern obligations of his. Amor vincit omnia.
The poet has evidently settled his mind on pursuing religious studies
and moreover requested a celebrated lama to bestow upon him men-
tal and spiritual guidance. But however much he tried to focus all
his attention on the teachings given to him, his endeavours proved
abortive, as his amatory thoughts, helplessly (ran dbah med par) it
would transpire, flowed along towards his beloved. The poem's setting
would seem to invite a historical interpretation. As it may be recalled,
Tshans-dbyans rgya-mtsho took quite an unprecedented step, when in
A.D. 1702 he went into the presence of the Fifth Pan-chen Bla-ma Blo-
bzan ye-ses dpal-bzah-po in bKra-sis lhun-po and squarely confessed
(mthol bsags) the breach of his plighted vows. Despite emphatic at-
tempts to advice and to counsel (£al ta gnan) the insurgent God-king to
the contrary, he remained adamant to renounce his vows. Identifying
the celebrated lama of the poem with his spiritual guru, the Pan-chen
bla-ma and venturing to apply the wording of the poem to this his-
torical incident, we may assume that the romance-seeking poet was
replete with sensual feelings that prevented him from pursuing his re-
ligious objectives and obligations. An interpretation similarly endorsed
by Chab-spel, 1987, p. 300. Xiao Diyan, sBran-char, 1988 (1), pp. 67-8
contends not surprisingly that the poem should be read metaphorically,
and that it purports the poet's self-determination (rah dhan). Applying
similarly the wording to the above event, his determination to live a life
dedicated temporal matters only, in the poem euphemistically alluded
to by the lama's face failing to make itself manifest in front of his eyes,
finds expression in his yearning for his lover. In her garb Xiao Diyan
sees the Regent euphemistically portrayed, so when the poet here re-
linquished the monk's vows by abstaining from pursuing his religious
duties, he thereby indirectly proclaims his determination to share the
political fate of the Regent, who during that time found himself politi-
cally and military isolated.
 109

18

I sgom pa'i bla ma'i zal r a s |

j yid la 'char rgyu mi 'dug
| ma sgom byams pa'i zal r a s |
| yid la va le va le |

During meditation my lama's face

Will not come forth in my mind;
But my lover's face, unmeditated,
So clear, so clear in my mind.

18a sgom DEFHIJ : bsgom K : bsgoms CG : sgam A; pa'i CEG : pa

ABDFHIJK;
18b 'char ADEFGHIJK : char B;
18c sgom ABDHIJK : sgoms G : bsgoms EF;
18d va le va le BDEFJ : va le vu le AH : va le vo le I : 'a le 'u le K :
yah yah éar byuh CG;

18a The alt. reading bsgoms pa in 18a+c is equally plausible. The term
[b]sgom[s] pa'i should here be conceived as a verbal adj, viz. as a
past or present participle, the lama's face 'meditated upon' or, retain-
ing the reading [b]sgom[s] pa, construe it as a gerund, being short for
*[b]sgom[s] pa na, 'while meditating upon' etc. Here the term sgom pa
(Skt. bhävanä) means 'cultivating or refining mentally* or to 'realize qua
mental visualization'. In general, however, the term is translated by
the neutral term meditation. M. Tatz, The Tibet Journal, VI (4), 1981,
pp. 28—29, adduces t h a t this poem provides testimony of the fact t h a t
Tshans-dbyaiis rgya-mtsho employed yogic visualization techniques ap-
pertaining to tantric guru-yoga practices.
18c As mentioned above, ma [b]sgom[s] is an equally plausible reading. It
should thus probably be construed as *ma [b]sgom[s]pa na, 'when/while
not meditating upon' or even 'without meditation'.
Further, we may notice the strikingly identical construction, as al-
ready observed by van Heurck, 1984, p. 84, between poem no. led and
18cd(ofed. CG):
| ma skyes a ma'i ial ras \
| yid la 'khor 'khor éar byuh \

| ma [b]sgom[s] byams pa'i ial ras \

110

I yid la yah yah éar byuh \

18d The term va le va le, which is also seen written val le val le, is a strik-
ing example of a typical quadrisyllabic word formation of which Tibetan
(Lhasa dialect) is so replete; cf. Zhang Liansheng, ' T h e Phonetic Struc-
ture of ABCB Type Words in Modern Lhasa Tibetan", Soundings in
Tibetan Civilization, pp. 20-34. The form va le va le, which lexically is
glossed with gsal le, [sems la] lam lam du [ear tshul], viz. 'clearly visi-
ble, (emerging) distinctly (in the mind)', is retained here as the original
reading. It can be designated an open-syllabic ABAB word type accord-
ing to the above word formation. According to the prevailing principles
of this type of word formation, however, the alternative readings va le
vu (or better vo) le would seem to be a preferable reading, as the open-
syllabic ABCB type with the syllables A and C being alliterative (with a
vowel shift from a to o) and the syllable D being a repetition of B is the
type t h a t by far outnumbers the other forms. This is corroborated by
the entry in Bod-rgya éan-shyar gyi lha-saï skad-tshig-mdzod, p. 815:
va le vol le.

• The topic (brjod don) of the previous poem is reiterated in this con-
crete piece of a love poem (mdza' gzas). It offers a blatant example
of the ineluctable impact t h a t a love-sick mind may wield. The poet's
mind is replete with the memory and yearning for the beloved, to such
an extent t h a t it eventually thwarts further spiritual pursuits. Read
politically, the poem purports the God-king's determination to abstain
from upholding his high religious position (mtho rim gyi go gnas), in
other words to sacrifice one of his two positions in his dual rulership
(chos srid gnis Idan). By thus seeking temporal matters exclusively,
Xiao Diyan, ibid., p. 68, reads this poem as an expression, in the usual
euphemistic way, of the poet's wish to demonstrate his solidarity with
his guardian, the Regent of Tibet.
 Ill

19

I sems pa 'di la 'gro 'gro

j dam pa'i chos la phyin na |
j tshe gcig lus gcig nid la |
j sans rgyas thob pa 'dug go

If the thoughts went to the Holy Dharma (Saddharma)

As much as they steadily went to her;
One would in this life, in this very body,
Attain Buddhahood.

19b phyin ABCDEFGHIJ : son K;

19c nid ABCDEFGHIJ : ran K;
19d pa ABCDFGHIJK : par E;

19a sems pa 'gro = sems pa son, sor, to "fall in love", cf. nos. 3, 6 supra. The
iterative indicates the continuous process of the verbal action. 19a 'di
la evidently refers to the beloved (byams pa). Observe also the shift
from present tense in 19a to past tense in 19b.
19b Cf. similarly 15b and 16b evincing an identical wording.
19c Tb obtain Buddhahood within one lifetime and one single body is re-
served those following the course of Mantrayâna, the Esoteric Vehicle.
19c nid la, = kho na, merely. To be a h u m a n being is an unique and
singular chance for attaining the status of Buddha, cf. sGam-po-pa,
Thar-rgyan, chap. II.
19d To attain Buddhahood or to become a Buddha.

• This love-poem resembles the kind of witty repartee songs (glu éags,
gias éags, tshig rgyag) or adages (legs bead) which are much cherish-
ed in Tibetan lyrical and popular tradition. Most typically, this genre
consists in presenting in the last distich or couplet a paradoxical or
even absurd statement which makes sense or prove practicable only
if another, often equally absurd statement or conditional premise, pre-
sented in the first couplet or distich, itself is feasible; cf. e.g. gSuh-mgur,
nos. 115-120, esp. no. 119.
Analogous examples of this type of song as an expression of whole-
hearted yearning and engagement appear to be popular. Cf. e.g. Tucci,
Tibetan Folk Songs, 1949, 13, 24, 52; 1966, pp. 18, 27, 44 and, as here,
p. 52, where a poem is quoted t h a t evinces a similar pattern: If the
112

austere efforts that are constantly applied to this (i.e. a certain task),
similarly were applied to practising the Holy Law (saddharma), then,
no doubt, one would attain Buddhahood within this very existence and
this very body:
| dka' ba 'di la spyod spyod \
j dam pa'i chos la spyad na \
| tshe gcig lus gcig 'di la \
j sans rgyas thob pa thag chod \
Cf. also van Heurck, 1984, p. 87. Slightly rephrased, mKhas-btsun
bzan-po (gTam-dpe, p. 107) has similarly furnished us with zgzas which
is also patterned upon our poem. Here it is maintained that anyone who
applied just as much effort to the Holy Law as he ceaselessly applied to
a certain (task), then the person in question wWld this time certainly
take the lead on the path of Sâkyamuni:
| las mo 'di la sbyans sbyahs \
j dam pa'i chos la sbyans na \
I da tshod êàkya thub pa'i \
j lam sne zin pa yod do \
This chant again signals the positive prospects of a religious pursuit,
as the accessibility of practising religion is here measured against his
romantic attachment, an act boding well for his prospective engagement
in spiritual ends.
 113

20

I dag pa sel ri gans chu |

j klu bdud rdo rje'i zil pa |
j bdud rtsi sman gyi phab rgyun |
j chah ma ye ses mkha' 'gro
j dam tshig gtsan mas btuh n a |
j nan son myon dgos mi 'dug

Glacier-water [from] 'Pure Crystal Mountain'

(Dag-pa sel-ri)
Dew-drops from [the herb]
Thunderbolt of Demonic Serpent'
(klu bdud rdo rje)
[Enriched by] the barm of tonic elixir;
[Let] the Wisdom-Enchantress(es)
(ye ées mkha' 'gro ma)
be the liquor-girl(s):
If you drink with a pure commitment
Infernal damnation need not be tasted.

20a éel ABCDEFGHI : ear JK; gans ACDEFK : gvafis G : sgan BHIJ;
chu ABCDEFGHIK : chuh J;
20b bdud ACDEFGHIJK : 'dud B; rje'i ACDE : rje BFGHIJK;
20c gyi CEFGHIJ : gyis ABDK;
20d mkha' ACDEFGHIJK : mkhan B;
20e ma ABCDEFGHIJ : nas K; btun ACEFHIJ : gtuh K : bstun B :
'thuh DG;
20f myon ACDEFGHJK : myan BI;

20a The term dag pa éel ri, its recondite meaning and its possible identifi-
cation as a proper toponym h a s been part and parcel of the consider-
able complexity that h a s marred this intriguing poem. As the minute
scrutiny in the sequel will amply prove, the poem with its particular im-
agery lays bare a wide panorama of cultural, alchemical-occult, magico-
religious and partly historical ingredients which altogether make up a
poem of baffling intricacy. Since its first appearance the poem h a s been
considered not only the key stanza in the entire song cycle but h a s also
constituted a minor conundrum to all interpretators, whose understand-
ing were baffled by its well-nigh arcane wording. The poem eventually
prompted the writing of two stimulating essays exclusively dedicated
the unravelling of this six-syllabic verse-poem. The essay by D. M.
114

Back, "Zu Einem Gedicht des VI. Dalai Lama", ZDMG, 135 (2), 1985,
pp. 319-329, initially opened ajar the door to a broader understand-
ing of the poem, an understanding which was subsequently somewhat
expanded by the present author in his critical edition, "Tibetan Love
Lyrics'1, IIJ, 31 (4), 1988, pp. 253-298, but the wäll in our understand-
ing first really broke with the almost-definitive essay by Dan Martin
(originally conceived as a clarifying rejoinder to the article by Back),
"For Love or Religion ? Another Look at a 'Lové Song* by the Sixth
Dalai Lama", ZDMG, 138 (2), 1988, pp. 349-363, in which D. Martin
provided us with the final clues by managing to trace and to identify
one of the key names in the poem, the holy mountain Dag-pa sel-ri,
located, it turned out, in the rTs[v]a-ri area of south-eastern Tibet.
By thus tracing this most astonishing topographical sanctuary in the
sacred territory of rTs[v]a-ri and by associating it with the 'supreme
herb' (rts[v]a mchog, rts[v]a goh) klu bdud rdo rje, a grass herb endued
with supernormal and magical-occult properties, the poem finally seems
to unfold its many layers of association. This fortunate link between
Dag-pa sel-ri and the herb klubdud rdorje, incidentally, was unwittingly
hinted at by Nebesky-Wojkowitz, cf. my article in IIJ, 31 (1988) pp. 2 7 3 -
4. Nevertheless, our subsequent exposé shall first and foremost be read
pari passu with D. Martin's essay, inasmuch as it will be relying heavily
on a number of his striking findings.
Dag-pa sel-ri, or Pure Crystal Mountain, is located in the very heart
of the heart (gnas kyi sninpo las snih por gyur pa) of the Tsä-ri-tra area,
i.e. rTs[v]a-ri, the area of'Herbal Mountains', in south-eastern Tibet on
the upper reaches of the Subansiri river (rTs[v]a-chu) that eventually
empties into the Brahmaputra (gTsan-po) river further below in Assam,
lying to the north-east of lHo-'brug (Bhutan), lHo-kha and lHo-Mon, to
the south of Dvags-po and Koh-po districts, to the west of Padma-bkod,
another Tiidden treasury land' (sbas yul) and sacred region, and abuts
southwards on Kameng of present-day Arunachal Pradesh. Moreover,
Dag-pa sel-ri, the central Massif in the rTs[v]a-ri region, towers the air
less than 100 miles in distance from Tshans-dbyans rgya-mtsho's na-
tive birth-place La-'og yul-gsum of the mTsho-sna region. The rTs[v]a-ri
area is replete with sanctuaries and is a veritable terra sacra being reck-
oned as one of the major pilgrimage sites or circumambulation routes
in Tibet, including par excellence the most important pilgrimage in Ti-
bet, the rTs[v]a ri ron bskor and rTs[v]a ri rin Tdior, the latter being
the 'Lengthy rTs[v]a-ri Pilgrimage', a month-long sanctuary circumam-
bulation that until 1950 was officially arranged and led by the Tibetan
government taking place at twelve-yearly intervals (each monkey year).
Moreover, rTs[v]a-ri has also been a place reckoned by the Indians as
one of the twenty-four power-places of the Mother Tantras. Cf. A. Lamb,
The McMahon Line, vol. II, pp. 321-3, 537; Nebesky Wojkowitz, Ora-
115
116

des and Demons of Tibet, pp. 222, 406; G. Combe, A Mbetan on Tibet,
p. 127; T. Wylie, The Geography of Tibet, S.O.R. XXV, pp. 94-6; Shak-
abpa, Tibet—A Political History, p. 82; K. Dowman, The Power Places
of Central Tibet, p. 263; H. Fletcher, A Quest of Flowers, pp. 86-100; L.
Petech, Aristocracy and Government in Tibet, pp. 2 6 , 1 0 2 , 1 2 0 , 1 2 5 , 1 3 1 ,
158, 196-98 and 221; E. De Rossi Filibeck, Two Tibetan Guide Books
to Ti se and La phyi, Monumenta Tibetica Historica, Abt. 1 (Band
4), pp. 123, 125-6, 153, 155, 173; for further réf. cf. D. Martin, ibid.,
pp. 349-50.
That the rTs[v]a-ri territory is a herbal and botanical storehouse and
a veritable pilgrim's sanctuary (gnas chen) is amply attested by sundry
sources: Cf. e.g. Harold R. Fletcher's detailed biography of the botan-
ical explorers F. Ludlow and G. Sherriff, A Quest of Flowers, which
presents us with a vivid description of the area (chap. Ill: "To Tkari, A
Tibetan Sanctuary" pp. 77ff.). But a number of indigenous guidebooks
brought to our attention by D. Martin also provide ample information.
The first of these is by the omniscient polyhistor (kun mkhyen), the
Fourth 'Brug-chen Padma dkar-po (A.D. 1527-1592), gNas-chen Tsa-
ri-tra'i ho-mtshar snan-ba pad~dkar legs-bsad; in Padma dkar-po: Col-
lected Works (gSuh-'bum), vol. 4 (na cha), pp. 207-274 (abbr. NCHTSR);
The second is by the Eighth 'Brug-chen Kun-gzigs chos kyi snan-ba,
alias dKar-brgyud bstan-pa'i rgyal-mtshan 'gyur-med yons-grub dam-
chos ni-ma (A.D. 1768-1822), rTsa-ri gnas-bsad rgyas-par bsad-pa'i le'u,
reproduced in Rare Tibetan Texts from Nepal, vol. 4, pp. 1-59 (abbr.
TSRNÉ); for details and further text references to another work by the
latter author, cf. D. Martin, ibid., p. 350, n. 6-7. For maps of the area
indicating Dag-pa sel-ri, cf. Fletcher, ibid., p. 87,101, 111, 223. Further
references to this sanctuary are provided e.g. by the biography of the
Sixth 'Brug-chen Mi-pham dbaii-po (A.D. 1641-1717), cf. below, and
still further texts may emerge when the writings of the Fifth 'Brug-
chen dPag-bsam dban-po (A.D. 1593—1641) and the Second Pan-chen
bla-ma have been scrutinized thoroughly. Dag-pa sel-ri is repeatedly
mentioned in these texts and at places subjected to a detailed descrip-
tion. Padma dkar-po, for instance, alludes first briefly to Dag-pa sel-ri
in NCHTSR, pp. 214.3 and 6, 216.1 before presenting us with the fol-
lowing interesting passage, citing inter alia a statement by the seventh
century Tibetan king Sron-btsan sgam-po; NCHTSR, p. 220.1-5:
... de'i ho mtshar gyi bkodpa ni |

| 'jigs byed bsadpa'i khrag dmar rba kloh gis \

| tabs mthil bgos pa'i dpa' bo he ru ka \
I sgrib gnis dag pa'i da ki dahlhan du \
| bdud 'joms sel ri chos sku'i mchod sdon yin \
 117

The massif of Dag-pa sel-ri

118

Detail from Tibetan map rTsva-ri-ron skor (British Museum)

 119

phyi yul snan la ear ba'i tshul mdo dan mthun la \ khyad par
du 'phags pa sprul pa'i chos rgyal sroh btsan sgam pos | phyi
gya'ri padma'i mu khyud Itar 'khor ba'i nan \\ tsa ri ri rab ban
rim gsum pa'i tshul du chags sift \ gsah ba dag pa sel gyi gahs
ri bum pa'i tshul du Ihun chags pa \ de bas ran byun Ihun gyis
grub pa'i byin rlabs kyi mchod rten chen po ies bka' stsal ba Itar
gnas

... Describing its (i.e. the rTs[v]a-ri region) wonders:

The mountain [Dag-pa] sel-ri is a shrine
[embodying] the Dharmakäya [medium]
that subdues the demons:
The hero Heruka, endued with boots,
Assisted by the dâkinî-s who have purified
the two [kinds of] obscurations (ävarana),
By the wave of red blood hailing from the slaughter of
[those malignant spirits] who causes terror.

[The mountain's] outward and conventional manifestation is in

accordance with [the Buddha's] sütra-s. In particular the em-
anated Dharmaräja Sron-btsan sgam-po has stated: 'The
[r]Ts[v]a-ri [region] took shape in the form of the third step (pari-
sanda) of [the ca/£ya-like] Mt. Sumeru, being surrounded within
[a circular range of] outward rock mountains; [In its] esoteric
[aspect], [the central mountain in rTs[v]a-ri,] the snowy Dag-pa
sel-ri has manifested itself spontaneously in the shape of the
ritual flask (kalaéa, the upper Vase'-shaped part of the caitya).
Therefore, [the Dag-pa sel-ri] is [like] a huge blessing-bestowing
and self-originating caitya?

Kun-gzigs chos kyi snan-ba in his work further elaborates on the

same theme in a passage couched in a rather ritualistic diction, TSRNÉ,
pp. 29.2-30.6:

de yah tsä ri tra ye ses kyi 'khor lo 'di'i gnas kyi snih po las snih
porgyur pa \ dag pa éel gyi ri bo chos sku'i mchod sdoh chenpo
'di nid \ phyi Itar na gahs ri tsitta'i dbyibs can | nan dag pa Uta
tshogs kyi gial med khan chen po mchod rten bkra éis sgo mans
kyi mam par rah byun Ihun grub tu bzugs pa \ rgyal bas rgyud
sde nas bstan ein \ slob dpon chen po padma 'byun gnas dan \
bi ma la \ skyob pa 'jig rten mgon po sogs grub thob mams kyis
gsuhs pa mdor bsdus te brjod na \ rmah gii klu'i yul na spros
kyi mtsho yid du 'oh ba'i dbus na \ padma'i gdan la rin po che'i
120

rigs bsam gyis mi khyab pas brgyan pa | rin po ehe man éel las
grub pa'i mchod rten boom Idan 'das byams pafi 'dorn dgu brgya
pa re phyogs phyogs su snah ba \ sen ge'i khri dan \ ban rim bii
la ba gam dan gdon can re | gdoh can re la rin po che'i mchod
sdon brgyad brgya \ ban rim re la sgo Ms ston drug brgya \ bum
pa bre dan chos 'khor bcu gsum | gdugs dan rin po che'i tog gis
spras pa'i tshul du biugs par \ bre dan stod kyi char bka' brgyud
bla ma \ ba gam dan gdon chen la sans rgyas byah sems \ bum
nan dan ban rim goh ma mams la bcom Idan 'das dpal 'khor
lo sdom pa \ gsah ba 'dus pa \ dgyes pa'i rdo rje \ dus kyi 'khor
lo la sogs pa bla med pha ma'i rgyud sde'i dkyil khor \ ban rim
'og ma mams la \ bya rgyud spyod rgyud \ mal 'byor rgyud nas
bead pa'i dkyil 'khor \ sen ge'i khri la dpal mgon po sogs chos
skyon bsrun ma mams dan \ rgyal chen sde bzi \ nor lha gter
bdag gi tshogs biugs pa ste \ mdor na rgyud sde nas bead pa'i
dkyil 'khor thams cad kyi 'char gii rah byuh gi mchod rten chen
por ial gzigs te \ skyob pa rin po ehe 'i ial nas \

gnas khyad par can gyi tsa ri de \

rgyud sde bii nas bead pa yin \
dkyil 'khor ri yi tshul du grub pa yin
rten khyad par can gyi sel ri 'di \
rgyu ni rin chen éel las grub \
dbyibs ni mchod rten chen po yin \
bstod na bla ma yi dam biugs \
bar na dus gsum sans rgyas biugs \
smad na chos skyon bsruh ma biugs
'gram na dpa' bo mkha' 'gro biugs \
khor yug gial yas khan du yod \

ces sogs

Further, the very heart of the heart of this Tsä-ri-tra (= rTs[v]a-

ri) region, [resembling] a Gnosis Wheel, is the Türe Crystal
Mountain' (Dag-pa sel-ri), an offer-shrine [i.e. acaitya represent-
ing] the Dharmakäya [medium]. This very shrine is outwardly
a glacier mountain in the gestalt of a heart (citta). Inwardly,
it is naturally manifested and self-produced, appearing in the
shape of an 'auspicious multi-gate' (bkra éis sgo mans) caitya, a
divine mansion (vimäna) of the godly assemblages. If we may
summarize what has been demonstrated by the Victorious Ones
(Jina) in the class of Tantra texts and what have been explained
by such sages as the âcârya Padmasambhava, Vimala[mitra]
and sKyob-pa 'Jig-rten mgon-po (A.D. 1143-1217) etc., [we may
 121

state] in brief: Its foundation is laid in the middle of an at-

tractive lake itself located within the realm of the Nägas, [sit-
uated] upon a lotus seat adorned by inconceivably [many] sorts
of precious jewels. [This mountain resembling] a caitya, itself
produced from precious crystal (sphatika, man éel), measures
on each side [of the caitya] 900 fathoms [according to the huge
span] of the Venerable Maitreya. The lion-throne (i.e. the part
of the caitya from the ground plinth (sa stegs) until the stairs)
and the four stairs (parisanda) [of the caitya] is endowed with
caps or cornices (niryüha, ba gam) and a [main] facade (mukha,
gdoh, gdoh can = gdoh cheri). On each side are [fastened] 800
sacrificial staffs (yasti, mchod sdon) made of precious material
and each terrace (parisanda) [of the caitya-shaped mountain] is
endowed with 2600 entrances, arranged in a fashion decorated
with a ritual vase (kalaéa) and with blocks (drona, éïrsaka, bre =
brephul, cf. also Tucci, Indo-Tibetical, p. 129) and thirteen ring
units (lit. 'dharma-wheels'), an umbrella (chattra) and a pre-
cious pinnacles (peak-ornament) (ketu, tog). On the top[-rings]
and the upper part are [depicted figures of] the oral lineage bla
ma-s; on the caps and the front facade are [drawings of] the Bud-
dhas and the Bodhisattvas; on the ritual vase [part of the caitya)
and on the upper stairs (parisanda) are [depictions, drawings or
chasings] of the mandatas of the Father and Mother Tantra
class, the highest tantra (anuttara) such as the venerable Sri
Cakrasamvara, Guhyasamäya, Hevajra and Kâlacakra. On the
lower stairs are [depicted or engraved] the mandatas propa-
gated in the kriyä, cärya and the yogatantras. On the lion throne
(simhäsana) are [depictions] of the assemblages of [Kubera], the
God of Wealth and the Master of Treasure, the Four Great Kings
[of the Four Directions] (Caturmahäräja), the Protectors of the
Law (dharmapäla) and Guardians, such as the Precious Master
(Sri Nätha, Mahäkäla) etc. In brief, an array of all the mandata-
s expatiated upon in the tantra-s was visible on [this mountain]
the great self-originated caitya. In the words of sKyob-pa Rin-
po-che (i.e. 'Jig-rten mgon-po, A.D. 1143-1217):

Tsâ-ri, this extraordinary sanctuary

Has been described in the four tantra classes;
A mandata in the shape of a mountain:
Crystal Mountain (Sel-ri), this extraordinary object
of support.
As material, it has been made from precious crystal;
In shape, it has that of a great caitya;
At the upper part the bla ma-s
122

and the tutelary deities reside;

In the middle the Buddhas of the Three Times reside;
In the lower part the Protectors of the Law
and the Guardians reside
At the sides the Heroes and Heavenly Fairies reside;
Its environs constitute a Divine Mansion.

etc.

For the various architectural terms, cf. Gega Lama, Principles of Ti-
betan Art, vol. II, pp. 76-83; G. Tucci, Indo-Tibetica I, pp. 113-133. A
pilgrimage to rTsva-ri is recommended in a gzas, which relates about
the beloved, who is without a father and a mother; Bod-rigs kyi glu-
géas, p. 5 1 , no. 3:
| byams paï pha ni mi 'dug
| byams pa'i ma ni mi 'dug
| byams pa pha med ma med \
j rtsva ri gnas bskor e fgro
Cf. also the reference to Dag-pa sel-ri in Gahs-ljons dbus-gtsah gnas-
bskor lam-yig nor-bu zla-éel gyi se-mo-do by Kah-thog Si-tu Chos kyi
rgya-mtsho (1880-1925), p. 362 (fol. 181b4). Finally, a Visit' to TM-ri
gCig-car is included in the 'post-mortem' pilgrimage of the Sixth Dalai
Lama where he witnessed the singing of vajragïti-s and dances per-
formed by dâkinï-s; cf. the gSah-ba'i rnam-thar (Chinese ed., pp. 8 8 -
89).
For the term g[v]ahs, the glacier and its water (chu), cf. e.g. Bod kyi
dga'-gias I, p. 21, nos. 4-6, p. 22, nos. 1-2 and 83, no. 2; Ûel-goh éel-
phreh, p. 468-9, describes what kind of glacier water is considered best
as drinking water (btuh chu) the whiteness of the glacier snow and the
pureness of its water often indicates innocence and a pure heart, cf.
Norbu's Coll III, no. 7 (tr.) and D.M. Back, ZDMG, 135 (2), p. 322-3.
20b When it comes to the identification of klu bdud rdo rje, the supreme herb
(rts[v]a mchog), we are on solid ground. It is a genus of the herbal plant
Codonopsis, i.e. the Bonnet Bell-flower of the fam. Campanulaceae, the
Bell-flowers. But let us scrutinize the minutiae.
. Amidst a lengthy description (NCHTSR, 228.3-231.6) of [g]Cig-car, a
small village in rTs[v]a-ri, lying on the northern side of Dag-pa sel-ri,
Padma dkar-po eventually relates about a white rock (NCHSR, 230.2ff.)
resembling a pitched tent of white silk atop the mountain-summit:

deï ear hos na boh ha nag po'i gle ma cig yod pa deï gseb na
dhos grub kyi rdzas yod pa \ klu bdud nag po ies bya ba \ dgun
zla gsum rtsa'i gseb na gnas te \ pri ta sa 'dzin ies bya ba \ dpyid
 123

zla gsum lo ma ru gnas pa sho 'od Idan ies hya ba \dbyar zla
gsum me tog tu gnas te \ kunda bde skyed ces bya ba | ston zla
gsum 'bras bur gnas pa \ sindha sa 'bru zes bya ba \ deï rtsa ba
la phug 'dra'o \\ lo ma padma 'dra ba \ me tog dril bu 'dra ba \
nan na rdo rje'i rgya gram yodpa \ kha dog shonpo la smugpo'i
thig le yod pa \ 'bras bu bra bo 'dra ba zur gsum yod pa \ tshigs
refis su skyespa \ ear gyigahs mthoh ba \ me tog kha ni ma'i rjes
su 'bran ba \ nub mo smig rgyu'i me 'byin pa \ lag pa reg na za
zih 'tshig par 'gyur ba \ chu'i nah du beug na sva rih gi yod pas
sho chu khôl zes bya \ ri dvags kyis brdzis na \ de'i dri byun bas
ser béar éar 'byun ba \ sno 'byun ba 'khrugs byed ces kyah bya'o
11 dans pa rta rna tsam iig 'thul lo \ \ de la lha ma y in sde brgyad
la sogs pa der ne mi nus so \ \ lag pa bkab na tsha 'ur 'ur 'on ho
11 kha ba babs na rdo tshan la kha ba babs pa bzin bzu nus pa \
grog spur dan 'bu sbrah thams cad phyir spuhs de 'chi \ bead na
thar nu Itar zo Itug gi 'oh ho \\ de lia bu'i rdzas de Ion na mdze
nag tho lum la son pa yah \ 'di khoh du son ba tsam gyis gsos so
11 dri tshor ba tsam gyis kyah klu 'bros \ ro myahs pa tsam gyis
klu brgyal 'gro || Ito ru son ba tsam gyis klu 'chi nus so \\ rtsa
ba | lo ma | me tog \ 'bras su bzi ka tshah na \ lus sbrul Ikogs pa
brjes pa bzin du dkar 'thul le 'gro \ tshe'i rig 'dzin thob par nus
so || lus sih bal gyi 'dab ma Itar dkar \ nam mkha' la bya Itar
'phur nus \ chu la mi byed \ 'byun bii'i nad las thar \ thams cad
dbah du 'du \ thun mon gi dhos grub sna tshogs 'byun \ mehog
gi dhos grub myur du thob bo \\ zes dan sprul pa'i rgyal po sroh
btsan sgam pos \

de Itar rtsua'i mehog tu gyur pas na rtsva mehog

rtsva de'i goh na gzan med pas na rtsva goh

zes pa'o
On the eastern hillside [of this stony boulder] is a patch of
black aconite (boh ha nag po, the baneful Monkshood, Aconi-
tum chinense, napellus, Linn, or longipedicellantum of the fam.
Ranunculaceae; cf. e.g. Éel-goh sel-phreh, p. 308; D. Martin,
ibid,, p. 352, n. 25). Amidst these is a substance of supernor-
mal property (siddhi, dhos grub) called "the black näga-demon"
(klu bdud nag po). In the three winter months it stays in the
[stage of) roots and is called pri ta sa 'dzin (i.e. 'bri [r]ta sa
'dzin, prob, the Knotweed, Polygonum aviculare Linn, or vaccini-
ifolium of the fam. Polygonaceae; cf. éel-goh sel-phreh, pp. 3 8 0 -
1; Fletcher, ibid., pp. 349, 354). In the three spring months
it stays in the [stage of] leaves and is called the "The Lightful
One" (sho 'od Idan [rgyal pd\\ i.e. rtag [tu] hu, the Sundew, the
124

genus Drosera of the fam. Droseraceae; cf. e.g. Éel-gon éel-phren,

pp. 371-2). In the three summer months it stays in the [stage
of] flower[-blossoming] and is called the "The Happy Growing
Kunda" (kunda bde skyed, prob. = kunda dkar po, ku mu da =
utpala dkarpo, the Water lily, a genus of the Nymphaea; cf. Éel-
gon éel-phren, pp. 326-7). In the three autumn months it stays
in the [stage of] fruits and is [then] called sindha sa 'bru. Its root
is like turnip (in size or shape), the leaves lotus-like, its flower
like a bell (in shape) and with a double [or crossed] vajra inside.
Its colour is blue with dark spots. Its fruit is three-sided like
buckwheat. It grows on rigid stalks. It faces the east glacier and
the [flower's] opening follows the sun. In the evenings it gives
off sparks (lit. 'mirage fire'). If one touches it with the hands, it
itches and burns. After inserted into the water, it gives a kind
of a sound (? sva rih gi, from Skt. svaränga, cf. D. Martin, ibid.,
p. 353, n. 29). Hence it is called 'Water Boiling Herb' (sno chu
khol). If game animals crush it, it exudes a smell whereby [the
smell of ? or like] yellow mushrooms (ser bear = ser éa) emerge.
It is also known as the "Element Disturbing Herb" (sno 'byun ba
'khrugs byed). Its vapour alone is [capable of] taming a horse
and a camel. The demi-gods and the eight classes of spirits (lha
ma y in sde brgyad; prob, lha ma srin sde brgyad is better) etc.
are unable to approach it. When a hand covers it a hot sharp
pain comes. When the snow falls, it is capable of melting it like
snow falling on a hot rock. Ants and worms pile up around it,
[only] to die. If cut, [a kind of] thick yoghurt flows out, like the
herb thar nu (spp. Euphoria, any of a genus of the sap-exuding
Spurges; cf. e.g. Éel-gon éel-phren, pp. 286-7; 'Jam-dpal rdo-rje,
An Illustrated Tibeto-Mongolian Materia Medica, p. 149). Ac-
quiring such a [redoubtable] substance, the virulent leprosy—
even when pustules (tho lum, = thu lum, = gon bu, = 'brum
bu, thor pa) have developed—is cured by simply swallowing it.
Having barely sensed its odour, the näga-s hurry away. The
slightest taste of it makes the näga-s swoon and merely be eat-
ing it they can die. When [digesting] all four [parts] completely,
the root, the leaves, the flowers and the fruits, the body turns
[all] white like a snake sloughing its skin (Ikogs pa, = [s]kog
pa). It is possible to become a Knowledge-Holder of Longevity
(tshe'i rig 'dzin, *äyuh-vidyädhara; cf. song no. 54 infra). The
body turns white [like] the balls of cotton wool enabling one to
soar the sky like a bird. [Moreover,] one does not sink in wa-
ter, is bereft of diseases hailing from the four [gross] elements
and [virtually] becomes omnipotent. Sundry ordinary paranor-
mal faculties (siddhi) are acquired and the supreme paranormal
 125

power is [then] quickly obtained. In the words of the Emanation

King Sron-btsan sgam-po:
"Since it has become the highest among herbs,
it is [denoted] the Supreme Herb (rtsva mchog)
Since it is second to no other [herb],
it is [also denoted] the Superior Herb (rtsva gonf
Rather than conceiving this truly formidable supreme herb klu bdud
rdo rje, as allegedly depicted in the above passage, to consist of four
different herbs according to season, viz. 'bri ta sa 'dzin, sno 'od Idan,
kunda bde skyed and sindha sa 'bru respectively, we should rather see
these botanical and herbal references as a means of illustrating the
opulence as well as indicating their similarity to klu bdud rdo rje at the
gradual stages of this herb's development. This may be corroborated
by the fact that e.g. the herb sno 'od Idan, which in casu is chosen
to indicate the leave-stage of this plant, is itself characterized as a
multi-foliaged herbal species (lo man skye ba'i rtsva; cf. e.g. Bod-ljohs
rgyun-spyod krun-dbyi'i sman-rigs, pp. 489-90). We cannot therefore
subscribe to the contention of D. Martin, who, op. cit., p. 353, n. 28,
conceives that these four different herbs constitute the medically active
parts of the plant.
Turning to Kun-gzigs chos kyi snari-ba again, we find, as D. Martin
already points out ibid., p. 354, that this author summarizes the same
portion (TSRNÉ, pp. 25.7-26.4) from Padma dkar-po's work, but adds
some important comments (TSRNÉ, p. 26.4-6, 27.4-5):
de Ita bu'i rdzas de Ion pa na mdze nag tho lum la son ba yah
gso nus pa dan thun mon gi dhos grub thob pa sogs yon tan dpag
tu med pa yod par gsuhs pa'i rtsa mchog klu bdud rdo rje 'di nid
na biugs par grags pa lam yig nas gsuns ein | ... dhos grub kyi
chu bo yan lag brgyad Idan 'di nas khrus byas na \ sgrib pa dag
| rtsa mchog gi zil pa 'bab pas 'thun na byin rlabs 'byuh ho \
In the Guidebook [of Mitrayogin] it is said that the 'supreme
herb' klu bdud rdo rje, said to have immeasurable qualities such
as attaining common supernatural powers (siddhi) and being
able to cure black leprosy even when pustules have developed,
once a substance like that [i.e. as described above] has been
acquired, is claimed to exist in this very place [i.e. Dag-pa éel-
ri] ...If you wash [yourself] in this water-stream of paranormal
powers (siddhi), endowed with the eight qualities (astähgajala,
yan lag brgyad Idan, cf. Das' diet. p. 1129, Éel-goh sel-phreh,
p. 468) [of water], [all] pollution will be cleansed away [here is
an allusion to the two kinds of ävarana] and if you drink the
dewdrops dropping from this supreme herb blessings will come.
126

In this last quotation the reference to the dew-drops (zil pa) are con-
spicuous and telling, since it adequately reflects the very wording of our
poem.
Finally, 'Dzam-glih rgyas-bsad by bTsan-po Nomonhan 'Jam-dpal chos
kyi bstan-'dzin 'phrin-las (written A.D. 1820) contains some brief refer-
ences to rTs[v]a-ri, Dag-pa sel-ri and klu bdud rdo rje, cf. (Wylie's ed.)
73b7ff, 74a3-4, 74b4 and a passage worth quoting, 74b2:

rtsa ri zer ba'i ri de dbu rtsçgahs ri rise gsum pa la ri smad rtsi

ein nags tshal 'baU] iig gis gart ba yod \ der rtsa klu bdud rdo rje
zer ba yod pa de khar son tsHad 'khor ba daft nan son las thar
yon zer.
The mountain called rTs[v]a-ri (previously (74a7) called Dag-
pa rTs[v]a-ri; i.e. Dag-pa sel-ri) has three snow-covered peaks
whereas its lower slopes are just filled with fruit trees. In t h a t
place there is a herb called klu bdud rdo rje; everyone going to
t h a t spot is said to be liberated from the cycle of transmigration
(samsara) and damnation (durgati).

A basic source for both quotations above is a so-called Guidebook of

Mitratyogin], probably a work of the thirteenth century Indian-born
Mitrayogin (hitherto not traced; cf. D. Martin, ibid., p. 351, n. 24). The
pivotal question, as D. Martin already poses, is whether or not the klu
bdud nag po of Padma dkar-po's work is actually identical with the klu
bdud rdo rje of Kun-gzigs chos kyi snan-ba. It is tempting, but quite
unwarranted as D. Martin attempts to do, op. cit., p. 352, n. 26, to
identify klu bdud (or klu 'dul) dar ya kan with klu bdud rdo rje. First
of all because it is unfounded to introduce the herb dar ya kan in this
case. But most of all because, as it will emerge from the herbals already
cited by D. Martin, such as the 'Khruns-dpe and, we may add, e.g. Eel-
gon sel-phren, pp. 372-4, where a number of the 25 different species
of the dar ya kan is described. The klu bdud (~ 'dul) nag po dar ya
kan, itself a potent and officinal herb, is probably identical with Draba
nemorosa, verna or a cognate species of the fam. Cruciferae, i.e. the
Whitlow grass; cf. also Fletcher, A Quest of Flowers, p. 28. Assuming
nevertheless for a moment the equation of the dar y a kan with klu bdud
rdo rje then we should assume t h a t Kun-gzigs, after having faithfully
written klu bdud nag po in his summary of Padma dkar-po's exposé,
then proceeds—on own account—to identify it with klu bdud rdo rje
in his further commentary as cited supra. Presuming further t h a t all
subsequent commentators and writers on this theme then relied on
Kun-gzigs' identification, then the klu bdud rdo rje of our poem, and
clearly only then, would not be identical with the Bonnet Bell-flower. A
scrutiny of the deplorably non-extant guidebook of Mitratyogin] would
 127

probably clarify this issue. But the texts do not allow for any confusion.
Klu bdud rdo rje is simply, as most Tibetan herbals such as gYu-thog
dgohs-rgyan, Sel-goh sel-phren etc. will corroborate, the common name
(spyi min) of the two genera of codonopsis, the white and the black
type (klu bdud dkar nag). So when klu bdud nag po is mentioned it
invariably means the klu bdud rdo rje nag po.
As described in most Tibetan pharmacopoeia and herbals the klu
bdud rdo rje is a genus (rigs) of about 20 species of a herbal plant (rtsva
Idum, sno Idum), as well as the common name of a herbal medicine (sho
sman) extracted from it. As a drug it is considered a highly tonic and
efficient antidote (gnen po byed pa) or remedy in eliminating various
diseases inflicted, according to Tibetan medical science (gso ba rig pa),
by various kinds of malignant spirits and chthonic type of supernatu-
rals. This includes leprosy (mdze nad), a disease said to be caused by
the terrifying Jiâga-demons, klu[-hdud]; epilepsy (gza' nad), an illness
caused by the malevolent planetary deities; rheumatism-arthrisis ('bam
grum bu) and gout (dreg nad), equally caused by the various genii loci
(sa bdag) and spirits (klu gnen etc.), but first and foremost efficient to-
wards lymphatic diseases (chu ser, a term which, however, covers more
than just the lymph) such as the virulent lymphangitis (? chu ser nag
po, an illness in which the symptoms (nad rtags) reveal itself in the
blackening of the skin, itching (za phrug lah ba), loss of hair and in
grave cases may turn into leprosy).
Usually lHo-brag Rin-chen (or Ratna) glin-pa (A.D. 1403-1479) is
cited for providing its etymology: It is called klu bdud because it over-
comes these spirits and creatures causing these illnesses and it is call-
ed rdo rje, since it is precious as a diamond (pha lam). Precious and
potential it is, endowed with extraordinary magical properties, as we
can adduce from the above quotations from the rTs[v]a-ri guidebooks of
Padma dkar-po and Kun-bzan chos kyi snan-ba.
128

As a herbal plant, klu bdud rdo rje is identical with the Bonnet
Bell-flower (Codonopsis), also called Asian Bell (German: Glockenheide,
Windenglocke), a sub-species pertaining, as said, to the fam. Campan-
ulaceae. Codonopsis, or 'bell-resembling' ('dril bu 'dra ba), is a grass
plant (sno Idum), a native of Asia from the Himalayas to Japan, being
both annual as well as perennial. It is also called ko ne or ko ne in
Tibetan.
The Tibetans distinguish between two sorts:

A. The white klu bdud rdo rje dkar po (= ko fie or ko ne); C.

bâihuâ dàngshën (no generic name, cf. Flora Republican Popu-
laris Sinicae, Tomus 73; Iconographia Cormophytorum Sinico-
rum, Tomus IV): This multi-foliaged herb do man skye ba'i rtsva
rigs) prefers to grow on the lower slopes (dmaf sa) facing the
sun (nin nos). Its many leaves are hairy and resemble a silver
arrow-head (dhul gyi mde'u iib), i.e. ovate, but also said to be
egg-shaped (sgon) to be precise. The leaves and stalks (lo ma
daft sdon bu) have a strange odour, resembling the odour of an
elephant, i.e. malodorous as a fox. The root is tuberous (zlum gyi
dbyibs can) and, as said, yields a tonic drug, efficient towards
goiter (Iba ba). The flowers are shaped like a Tibetan hand-bell
(bon géah), another word for being bell-shaped and when you
cut it a white milky fluid occurs. As indicated the flowers are
white, but in actual fact they are pale yellow (ser skya). It may
tentatively be identified with codonopsis clematidea (fl. white,
tinged blue),

B. The black klu bdud rdo rje nag po (C. chöu dàngshên, no
generic name, merely a translation of the Tibetan). The plant
prefers to take root below the trees on the shady slopes of the
mountains (srib kyi ein phran gseb). The leaves are like above
shaped like an arrow-head. The stalks are long, dark and re-
semble an iron thread (Icags skud). The flowers are bell-shaped
('dril bu fdra ba) and nodding (thur du bub pa), the anthers re-
semble the point of a vajra. The inner colour of the flower is
patterned like the wrinkled surface of the human brain (klad
pa'i rtsa ris can) and like the lighter genus above it is mal-
odorous. The flowers are said to be black, but in fact they are
elephant-gray or ash-gray (thai [d]kar glan chen), the same (or
another sub-genus?) is said to be a mixture of yellow and black,
i.e. reddish-brown (kham skya), sorrel or maroon. The question
of its colours is an issue of dispute even among experts. It may
thus tentatively be identified with codonopsis convolvulaceae, ti-
betica or ovata (fl. pale-blue or China-blue, tinged with yellow)
 129

or even codonopsis meleagris (fl. cream-coloured without, netted

chocolate-brown and dull purple-violet within).

klu bdud rdo rje

General confusion of the exact identification of the klu bdud rdo rje
[nagpo ?] mentioned in our poem thus prevails. In the Chinese transla-
tions, dictionaries and herbals this plant is rendered variously: Its pop-
ular and non-scientific name is given as lingdàng zi or dangling zi, so
Yu Daoquan, Wang Ymuan, Zhuang Jing etc., an identification hailing,
probably, from 'Jam-dpal rdo-rje's An Illustrated Tibeto-Mongolian Ma-
teria Medica, p. 201; To add to the confusion, The Pentaglot Dictionary,
p. 4778 renders klu bdud rdo rje with CJïngdàihuâ and ko na (= ko ne
?) with göunahuä. Most regularly it is scientifically identified with the
dängshen, i.e. the codonopsis. Specifically the klu bdud rdo rje is ren-
dered as gäoshän dängshen, the alpine codonopsis, a non-generic name,
though. This should allegedly be the Chinese name for codonopsis ner-
vosa (Chipp) Nannf. To add to the confusion, a later tradition even
speaks about a supreme and a inferior type: klu bdud rdo rje mchogpa
and dman pa (or zan pa), a distinction unwarranted, it appears, by the
earlier botanical and medical tradition in Tibet. The inferior or feeble
type is sometimes by the Chinese identified with (nân) shâshên, which
130

they further identities with the Adenophora stricta, the straight Lady-
bell or with the Platycodon grandiflorum, the Balloon flower, all of the
fam. Campanulaceae.
In fine, with fair certainty we should conclude t h a t the root in ques-
tion and the herb to be identified in the poem, the klu bdud rdo rje
mchog pa, most probably is the codonopsis convolvulaceae, var. forestii
or the codonopsis ovata. For its wide distribution in this part of the
Himalayas, cf. e.g. H. Fletcher, A Quest of Flowers, pp. 342, 354-5, 362.
In China too the medical-therapeutical and herbal use of the roots of
Codonopsis has a long history, cf. e.g. the great herbal pharmacopoeia
Bëncào Gângmù (A Detailed Outline of the Materia Medica) by the
Ming physician Li Shizhen (A.D. 1517-1593), where it is described how
the root of the dängshen is tonic to spleen and lungs, being stomachic.
Like the medically cognate rènshên, i.e. Ginseng (Panax Ginseng; fam.
Araliaceae), which it often substitutes, the dängshen is highly tonifying
and stimulating in case of energy deficiency, lack of appetite and, what
may be of some importance in the present connection, considered an
aphrodisiac which promotes secretion of sexual hormones in men and
women, though this property is not knowingly acknowledged in the
Tibetan tradition.
Cf. gSo-ba rig-pa'i tshig-mdzod gYu-thog dgohs-rgyan, s.v. klu bdud
rdo-rje; Éel-goh sel-phreh, pp. 366-67; 'Jam-dpal rdo-rje, An Illustrated
Tibeto-Mongolian Materia Medica, p. 201; gSo-rig-skor gyi rgyun-mkho
gal-che-ba bdam-bsgrigs, p. 394; F. Meyer, Gso-ba Rig-pa—Le système
médical tibétain, p. 173; T. Clifford, Tibetan Buddhist Medicine and
Psychiatry, 1984, pp. 77-78; H. Fletcher, A Quest of Flowers, pas-
sim; Nebesky-Wojkowitz, Oracles and Demons of Tibet, p. 222; P. K.
S0rensen, IIJ, 31 (4), pp. 272-4;
20c phabls] rgyun: phab[s] rtsi, i.e. the barm or the ferment (phab[s]) carrier
(rgyun), a yeast starter {chah rtsi) employed in making beer or alcohol.
As said by D. Martin, op. cit., p. 354-5, this word's metaphorical usage
is attested to in tantric, alchemical and in other religious contexts, cf. J.
Ardussi, "Brewing and Drinking the Beer of Enlightenment in Tibetan
Buddhism", JAOS, 97 (1977) pp. 115-124. Now, phab[s] rgyun and its
synonym phabls] rta carry associations of more than just alcoholic (and
alchemical-medical) barm but is intimitely entangled with a particular
relic tradition in Tibet. This is also corroborated by one lexical defini-
tion, cf. L.S. Dagyab's diet.: the yeast vehicle (phabls] rta) is the potency
or carrier of the quintessence of beer or blessing-bestowing objects etc.
(byin Hen dan chah la sogs kyi sfiih po'i rgyun nam nus pa).
The term bdud rtsi, on one hand, means ambrosia, the God's nectar.
On the other hand, it also denotes the devil's drink, elixir and in this
capacity the term bdud rtsi is a standard honorific for chah or beer in
 131

Tibet, cf. Ardussi, ibid., passim and recently N.T. Shakspo, "Ladaki Folk
Songs", in Soundings in Tibetan Civilization, p. 103, and a term of trite
occurence in almost all Tibetan drinking songs and chants (chah gias,
khruh gzas). But this difficult verse has more than just an ordinary
allusion to the fabrication of alcohol.
More generally, we here find allusions to a yogic-esoteric practice in
use among the tantric adepts of, in particular, the rNin-ma-pas and the
siddha-tradition within the bKa'-brgyud-pas. The practice known as
bdud rtsi sman sgrub aims at consecrating and subsequently transub-
stantiating a medical/herbal substance (sman rdzas) into an universal
medicament. This panacea then will eventually ensure the adept spir-
itual liberation whenever he partook of it (myoh grol). The process is
allegedly enforced through meditation and the recitation of mantras
whereby their magical properties and potentials are infused (i.e. em-
powered, byin rlabs) into these medical substances which in turn be-
come so-called sacred medicine (chos sman), cf. R. Prats, Contributo
Allo Studio Biografico dei Primi gTer-ston, pp. 79-81. To which we may
also quote G. Tucci (from Tucci & Heissig) in Die Religionen Tibets und
der Mongolei, pp. 140-1:
Die (acht Arten) Heilkräuter können auch mit dem tibetischen
Bier (chah) vermengt werden, und zwar in jenen Zeremonien,
die "Mystische Verwirklichungen mit Hilfe der Heilkräuter"
(sman sgrub) oder "Heilige ambrosische Heilkräuter" (bdud rtsi
chos sman) oder auch einfach "Befreiung durch Genuß" (myoh
grol) heißen. Dies bedeutet, daß der Gebrauch Rausch und
Verzückung bewirkender Substanzen nicht ausgeslossen war;
diese Zustände galten als Vorboten des erstrebten excessus men-
tis. Aus den erwähnten Ingredientien werden pillen (ril bu)
oder auch ambrosische Pillen (bdud rtsi ril bu) gedreht; über
deren Erzeugungweise liegt eine ganze Literatur vor; sie wur-
den während des Konsekrationsaktes (dbah) eingenommen oder
auch, im Hinblick auf die ihnen entströmende Wirkungskraft,
bei Krankheit und im Todeskampf. Nicht selten wurden die
Heilkräuter durch chah und das "Blut" durch Tee ersetzt.
More specifically, keeping the above alchemical-occult scenario in
mind, the line yields a wider frame of reference. Following D. Martin's
findings, phab[s] rgyun, as alluded above, carries a specific meaning:
the carrier (rgyun, i.e. flow, current = rta, the vehicle) of the essence of
blessing-bestowing objects (byin rten).
In his guide to O-rgyan-glin (his O-rgyan-glih rten brten-pa gsar-
bskrun hes-gsah zuh-'jug bsgrub-pa'i 'dus-sde tshugs-pa'i dkar-chag
'khor-baïrgya-mtshosgrol-haïgru-chen, composed A.D. 1701; ed. Thim-
phu 1979), his ancestral monastery just two miles below rTa-dban in
132

Mon-yul, a work allegedly (but quite doubtfully, cf. Aris, 1988, p. 153)
written by the Sixth Dalai Lama under his secret name (gsah mtshan)
Blo-bzafi 'Jig-rten dban-phyug dpal-'bar, the termphabls] rgyun is found
on p. 171 in a list of relics: "the barm of five meats and five elixirs (bdud
rtsi) combined"; cf. Martin, ibid., p. 355, no. 47.
As amply demonstrated by Martin, ibid., pp. 358-63, a salient fea-
ture of the Tibetan guidebook (dkar chag, gnas y ig etc.) literature (of
which the Sixth Dalai Lama, as alluded above, obviously had an exem-
plar made, while, actually, it was written by some 'ghost-writer' in the
Regent's service), is the cult of relics (rih bsrel, sku gduh, éarïra) and
of consecrated and sacred substances (dam rdzas). Kun-gzigs chos kyi
snan-ba, in a shorter guidebook in his gSun-'bum (vol. 2, pp. 169-194;
cf. Martin, ibid., p. 350, n. 7), carries pertinent testimony to this fact.
On p. 175 (cf. similarly Martin, ibid., p. 359) in this guidebook the text
runs:

gnas 'di'iphu na khyadpar 'phagspa dhosgrub kyi rdzas rts[v]a

mchog klu bdud rdo rje yah yod par grags te \ rje kun mkhyen
padma dkar po dan | mi pham dbah pos mhon sum du bzes pa'i
phyir myon grol dam rdzas kyi phab gtar mdzad pas skye 'gro
kun don Idan du grol bar biugs so \\
In the upper slopes of this place [i.e. [r]Tsa-ri] there is known
to exist also the extraordinary excellent paranormal power sub-
stance, the supreme herb klu bdud rdo rje. [The Fourth 'Brug-
chen] the Omniscient Lord Padma dkar-po and [the Sixth 'Brug-
chen] Mi-pham dban-po, with the objective of making [it] directly
consumable, made [it] the barm vehicle (phabls] gtar = phabls]
rta) of a consecrated/sacred article (dam rdzas) which is con-
ducive to liberation [merely] by being tasted (myon grol). [It]
continues to liberate [sentient beings] for the sake of all living
beings.

Here the barm vehicle (phabls] rta), like the synonymous phabls]
rgyun, denotes the vehicle or inert medium, or rather the catalytic agent
(sman 'ded byed kyi btuh ba, sman Igyi] rta), with which the medically
active ingredients are administered. Employing the analogy of the yeast
starter for making beer, it is evident that we are here dealing with a
sacred-occult tradition where, as stated by Martin, ibid., p. 359, n. 72
and alluded to above, this herbal plant becomes a constitutent part, in
a medical-therapheutic and alchemical context, of a sacred item which
eventually secures the partaker supernatural powers.
The final setting of this kind of "blessing bestowing objects" (byin rten)
is provided by yet another text from a small guidebook by Kun-gzigs
chos kyi snan-ba, entitled Dam-rdzas myoh-grol chen-po 'ja'-'od ril-bu'i
 133

dkar-chag ho-mtshar kun-dga' bskyed-pa'i bdud-rtsi {Coll. Works, vol.

4, pp. 141-148; cf. D. Martin, ibid., p. 360-2). The relevant reference in
this text, pp. 143-4, already extracted by Martin, op. cit., pp. 360-62,
runs as follows:

de yan rgyal ba rnams thabs la mkhas sin thugs rje ches bas \
'gro ba mams so so'i skal ba dan 'tshams pa'i 'dul thabs \ sku
gsuh thugs yon tan 'phrin las kyi bye brag sprul pa sna tshogs
kyis 'dul ba'i mdzad 'phrin rgya mtsho ston biin pa ste \ dper
na | mgo daft yan lag dban po sa khrag sogs Itos med du sbyin
nas smon lam mtshams sbyor gyi thugs rje dpag med kyi 'gro
la phan bde stsol ba \\ bdag cag gi ston pa'i skyes rabs su 'byuh
ba biin dan || thun mon ma y in pa'i rgyud sde'i phyogsl s]u'ah j
rgyal ba nid kyis \

| bdud rtsi Ina yi bza' ba ni \

j dhos grub kun byed de nid mchog

| ces sogs rgyud man por dam tshigl g]i ril bu bsten ein sgrub
dgos par gsuh \ de yah mtshon bya don gyi bdud rtsi \ mtshon
byed Hags kyi bdud rtsi sogs yin lugs ées pas dam tshigl g]i
bdud rtsi'i rdzas bsten na phan yon khyad par ba thob ein \ de
bas na rtsa brgyad yan lag ston sbyargyi rdzas sman dan \ rgya
bod grub brfies dam pa man po'i byin rlabs kyi rdzas mam dag
rnams bsags nas tshul biin sgrub pa'i dban du byas nas \ gsar
ma'i bdud rtsi ril bu daft \ rnih lugs kyi bdud rtsi chos sman
du grags pa rnams gii gcig par gsuns \ de las 'dir kun mkhyen
'brug pa'i dam rdzas mchog gyur 'ja' 'od ril bu ies pa 'di rgyal
dban kun mkhyen padma dkar po dan | rgyal dban dpag bsam
dban po gnis kyis gtso bor sgrub par mdzad pa 'di'i phab rtar
byin rlabs ji biugs kyi dban du byas na rdzas kyi gtso bo gnas
mchog tsä ri tra nas mkha' 'gro'i dhos grub kyi rdzas rtsa mchog
klu bdud rdo rje ies bya ba \ chos kyi rgyal po sroh btsan dan \
slob dpon padmas lam yig sogs nas rdzas kyi nus pas dhos grub
phral du 'grub pa sogs nus mthu can du gsuns pa de biin 'khrul
med du spyan drahs par mdzad de gtso bo de la bsten ein \ de'i
steh du rdzogs pa'i sans rgyas 'od sruhs kyi rih bsrel | ...

Further, the Victorious Ones, being skillful in means (upaya-

kauéalya) and greatly compassionate, are displaying an ocean
of actions—methods of converting the worldlings in accordance
with {'tshams = mtshams) each individual's karmic lot as well
as actions of converting through the sundry protean emanation
categories such as body, speech, mind, quality and action. To
134

exemplify from the rebirth stories of our teacher [Sakyamuni],

he gave without any regard [to his own life] his head, limbs,
sense organs, flesh and blood etc.; his compassion, being linked
up with the [bodhisattva's] aspiration prayer (pranidhäna), be-
stowed benefit and comfort on countless living beings. In the ex-
traordinary classes of tantra-s, the Victorious Ones themselves
have explained the necessity of fulfilling and relying on the "com-
mitment pellet" (dam tshig gi ril bu, i.e. dam tshig sems dpa\
the 'commitment being* symbolizing the physical pillet) in many
tantra-s [in passages] such as:
The consummation of the five elixirs
Is manufactor of all paranormal powers (siddhi),
the supreme thusness (tattva).
Further, if one relies on [i.e. uses] the 'commitment' elixir sub-
stance, having understood how the actual elixir is 'the" signified'
and the sign [or symbolic?] elixir is the 'signifier' etc., then
one obtains specific benefits. Consequently, medical substances
(rdzas smart) prepared according to the eight roots and the thou-
sand branches [of Indo-Tibetan medical science (gso ba rig pa)]
and blessing substances (byin rlabs rdzas) of many holy Indo-
Tibetan personages have [all] been gathered[, combined] and
manufactured in accordance with the prescribed manner. In
accordance with [this], the 'elixir pellets' of the New Transla-
tion [School] and the so-called 'elixir of sacred medicine' (bdud
rtsi chos smart) of the Old Translation [School] are said to be
the same thing. Among them, this [present item], the supreme
holy/consecrated article (dam rdzas) of the omniscient 'Brug-pa
[School] is known as the "Rainbow Light Pellet". This [pellet]
was mainly manufactured (sgrub) by both the Victorious Lord,
the All-knowing Padma dKar-po and by the Victorious Lord
dPag-bsam dbaii-po. In question of the *barm vehicle' (phab[s]
rta) of this [pellet], which contains the amount of blessing [found
within it], the main substance is the sidrf/ii-substance of the
däkint-s hailing from the holy sanctuary (gnas mchog) of Tsä-ri-
t r a [i.e. rTs[v]a-ri], the 'supreme herb' (rts[v]a mchog) klu bdud
rdo rje. In the guidebooks of the Dharmaräja Sron-btsan [sgam-
po] and Äcärya Padmatsambhava] etc. [its] powerful proper-
ties are spoken of in such [terms as] "the potency of this sub-
stance immediately brings about paranormal powers (siddhij
etc. In such manner, [they] unmistakably 'invited' (spyan drafts
par mdzad, i.e. invoked) [it]. Relying upon [it] as the main [sub-
stance], [there were] in addition [more] relics of the Perfect Bud-
dha Käsyapa...
 135

Moreover, throughout the pilgrimage guidebooks quoted previously

we find other telling statements which further deepen our understand-
ing of the magico-occult setting behind this poem. In Padma dkar-po's
NCHTSR 235.5-6 we find the following statement:

de liar hdud rtsïi chu de la gdams nag dan Idan pas nub gcig
'thuhs pa tsam gyis lus rdo rje'i sku thob nas gyun druh gi tshe
'thob.

Thus, merely by drinking t h a t elixir water for just one evening,

[the consumer] endowed with the [guru's] advice will assume a
vajra-hody and attain eternal life.

Further, the "Sixth Dalai Lama's" own guide to O-rgyan-glin, cf. above,
even alludes to the "water of medicinal elixir" (bdud rtsi sman gyi chu);
cf. D. Martin, ibid., p. 305.
The term dam rdzas myoh grol also occurs in a 'das log text, cf. L.
Epstein, "On the History and Psychology of the 'Das-log", The Tibet
Journal, vol. VII (4), 1982, p. 55.
20d Ye ses mkha' 'gro ma, the jnànadâkinï, the Wisdom Enchantress(es) or
'Sky-going Fairies'. In conformity with the previous elements which
make up the unique setting for our poem, it is small wonder t h a t
these spiritual acolytes, here embodying beer-serving maidens, are also
found to take up a prominent role in connection with the sanctuaries of
rTs[v]a-ri.
As D. Martin, ibid., pp. 355-56, h a s deftly pointed out the jnänadäki
ra-s have been associated with the Dharmakâya medium of the Bud-
dhist trikäya theory, a doctrinal association prevalent already from the
12-13th century in bKa'-brgyud-pa texts, but undoubtedly of older ori-
gin. As a mystic consort of the tutelary deity of the bKa'-brgyud-pa
Order Cakrasamvara ('Khor-lo sdom-pa), also denoted Sambara (bDe-
mchog) or Heruka, the jnànadâkinï embodies the Vajravârahï (rDo-rje
phag-mo), the Diamond Sow or the Sow-Headed Goddess. Even a brief
perusal of the above-quoted guidebooks to rTs[v]a-ri will convince us of
the paramount importance t h a t Vajravârahï and the dakinî-s hold in
this area. Padma dkar-po's NCHTSR, for instance, states 209.1-2 t h a t
rTs[v]a-ri "is indistinguishable from Srî Cakrasambara himself" (dpal
bde mchog 'khor lo nid dan gnis su byar med pa); further on 224.6-
225.1 is stated t h a t rTs[v]a-ri houses "the palace of Siî Cakrasamvara,
the court of Vajravârahï and the city of the Heroes (däka) and the
jnänadäkinl-s (dpal 'khor lo sdom pa'i pho bran \ rdo rjephag mo'i 'dun
sa | dpa' bo dan \ ye ses kyi mkha' 'gro ma mams kyi groh khyer); on
225.3-4 it is denoted "the music place of the Dharmakayajnanadakim-s
(chos sku ye ées kyi mkha' 'gro ma rnams kyi rol mo mdzad sa). Near or
136

abutting to the rTs[v]a-ri area we find places characterized as, 217.1-2:

"the place where Vajravàrâhî is offered flesh and chan" (rdo rje phag
mo éa dan chart gis mchodpaï gnas) and 218.1 states that it is "a place
where the dâkinî-s perpetually reside" (mkha' 'gro ma rtag tu bzugs pa
gnas); Padma dkar-po further designates, NCHTSR, 245.2-3, a place
in rTs[v]a-ri as "the place where Vajravârâhï is offered flesh and chah,
where anyone who are karmically good-destined are bestowed all the
siddhi-s according to one's wishes, but where anyone who are karmi-
cally ill-fated will be destroyed by the flesh and blood-loving worldly
dàkinî-s (rdo rje phag mo éa dan chan gis mchod pa'i gnas | las dan
skal par Idan pa mams la dhos grub thams cad yid bzin du sgrub pa \
skal ba med pa rnams 'jig rten gyi mkha' 'gro sa khrag la dga' ba dag
gis tshar gcod pa), etc.
Padma dkar-po, under the name Nag-dban nor-bu, had a Vajravârâhï
temple (lha khan) erected at rTs[v]a-ri, cf. Kun-gzigs chos kyi snah-ba's
TSRNÉ, p. 23.7 as enunciated by Martin, pp. 356-7. The sanctuary of
rTs[v]a-ri is according to 'Dzam-glih rgyas-bsad by bTsan-po Nomonhan
(Wylie, 1962, pp. 36-7, 94-96) famed or known to be "the place of the
heart or the mind of Cakrasamvara" (tsa ri de 'khor lo sdom pa'i thugs
kyi gnas su grags) and the local protectress (gnas bsrun) of the area
is known to be a dakinl. In 'Brug-pa Kun-legs' biography (Stein, 1972,
p. 145; 1973, fol. 51b) rTsä-ri is called the sanctuary of the Furious Pig-
Headed [Deity] who enslaves (i.e. submits) the eight classes of demons
(rtsä ri phag gdon khros pa sde brgyad bran du 'khôl ba).
In order to further penetrate into the ambience of these dâkinî-s we
may, with Martin, quote the opening stanzas from a minor sädhana
 137

hailing from the hand of Abhayâkaragupta (TTPE no. 2489; ff. 186b5-
189a7> entitled Jnànadâkinïsâdhanam (Ye-ées mkha'-'groï sgrub-thabs):
dpal rdo rje rnal 'byor ma la phyag ïshal lo \
gah don sna tshogs sku 'dzin pa'i \
lha mo ye ées mkha' 'gro ma |
bdud rtsïi dga' ston gyis 'gro rnams |
ku mud can biin dga9 'gyur cig
'dir ni rdo rje 'dzin pa'i sku |
bsam y as rdo rje rnal 'byor ma \
bla na med pa'i gnas thob phyir \
bsten by a rdo rje phag mo'o \
Homage to the Glorious Vajrayoginî.
[01 Goddess Jnânadâkinï,
Who assumes protean garbs for whatever purpose,
May sentient beings rejoice like a pond of water-lillies
By [being granted your] elixir feast!
Here, in order to obtain the insurpassable position
Of Vajrayoginî, the inconceivable
Bodily form of a Vajraholder;
The [deity] to rely on is Vajravârâhï.
Cf. also Snellgrove, Indo-Tibetan Buddhism, pp. 152-160.
Note also the followinggias in which the famed pilgrimage to rTk[v]a-
ri area is mentioned and how the bamboo growing on the upper slopes
may be broken during the peregrination. In spite of that there is no
reason for rDo-rje phag-mo (Vajravârâhï) to punish him, the poor poet
exclaims; Bod kyi dga'-gias I, p. 99, no. 5:
| rtsa ri'i rise na bskor yod \
j snug ma roh nas bead yod j
j na la rdo rje phag mos \
j bka' chad gnah don mi 'dug
The genial idea of associating the jnänadäkim or the ye ées mkha'
'gro ma with the functioning of a beer-maiden or a liquor-girl (chart ma
: chah 'tshoh ma) is also attested in the popular Tibetan folksongs, cf.
Duncan, 1961, p. 113, and we should have all the reason to suspect
that the locus classicus of this linking probably hails from the present
stanza. For a description of the functioning of beer girls in Tibet, where
they customarily ply the guests attenting the parties and festivals with
a steady flow of beer and liquor or "the offer beer, the auspicious elixir"
(bkra éis bdud rtsi'i mchod chah), cf. Bod kyi glu-gias, p. 52, no. 1; p. 66,
no. 1; p. 73, no. 1 and pp. 117, no. 1 and 118); cf. Spencer Chapman,
1938, pp. 111-14; bKra-éis dpal-ldan, "gTsaù-ron gi chah-g£asw, in Bod
138

kyi rtsom-rig sgyu-rtsal, 1983 (2), pp. 75ff. No doubt, in the traditional
Tibetan society the functioning of the chart ma, b u t also a ma chart ma,
cf. nos. 28 and 34 infra and gnas mo, no. 61 infra, covered not only
the enterprises of a land-lady and a female inn-keeper, but also t h a t of
a hostess, a courtezan, a mistress and a prostitute, cf. Duncan, ibid.,
pp. 96, 136-142.
Further, the association of the dâkinï-s with the idea of 'nectar' and
the idea of a beer-girl may find a parallel in the yogic-tantric tradition.
Here the adept's experience of the highest bliss (mahäsükha) is seen to
result from the suffusion of the body by 'nectar'. Hevajra Tantra, f. ex.,
deals exclusively with the Dance of the yogini, here = dâkinî: mkha'
'gro ma'i gar. The dâkinî is in tantric Buddhism more or less synonym-
ous with the yogini, the female adept in the ritual. Being moreover
often couched in the enigmatic language (samdhyäbhäsä, dgohs pa'i
skad), the yogini in the tantric ritual is depicted in the garb of a phys-
ical woman—not infrequently in the most despised social class (dombï,
candâlï, éundinï etc.); cf. P. Kvaerne, An Antology of Buddhist Thntric
Songs, pp. 43, 81-86; Snellgrove, Indo-Tibetan Buddhism, pp. 158-9; A
salient example of the yogini in the garb of a liquor-girl or a wine-seller
(éundinï, chah ma), here interpretated to symbolise the avadhüti or
the central psychic nerve (nâdï) in the yogin's own body, may be culled
from the Caryàgîti 3, cf. Kvaerne, ibid., pp. 81-86; In fact, the reason
for choosing inter alia a liquor girl, i.e. a colloquial idiom and imagery
is, to quote the novel definition formulated by P. Kvaerne, ibid., p. 60:

By expressing the highest truth in the lowest terms, by present-

ing Sophia in the form of a whore, t h a t coincidentia oppositorum
is achieved which alone can express the paradoxical nature of
ultimate reality.
Turning again to the popular Tibetan tradition and to the use of the
term chah ma and ye ses mkha' 'gro ma, which in itself may be conceived
either as an anthroponym, a personal name of an individual girl or
again may be a general reference to a class of beings, we shall quote
a folksong from sDe-dge, which mentions t h a t when the position of a
beer-girl is occupied by a ye ses mkha' 'gro ma, the father of the beer is
the yeast and the mother constitutes barley then the drinker himself
has all the reason to enjoy the beverage; sDe-dge'i dmahs-glu, p. 89,
no. 1:
| chah gi pha ni phab red \
| chah gi ma ni nas red \
I chah ma ye ées mkha' 'gro
| chah pa dpal gyis los mchod \
Cf. also Bod-rigs kyi glu-gias, pp. 22-23.
 139

20e dam tshig gtsah ma, "a pure commitment" refers to more than j u s t
the tantric vows (sdom pa, samaya). It more readily alludes to the
special relation between the guru and the disciple, cf. D. Martin, ibid.,
p. 358, who inter alia refers to the detailed treatment of the tantric dam
tshig by the Sixth Dalai Lama in guidebook to O-rgyan-glin ascribed
to him (pp. 192-200); But as the examples provided e.g. by Sod kyi
dga'-gias I, p. 25, nos. 2-3 and p. 35, no. 1, tell us, the dam tshig
may also encompass, besides of course the paramount religious and
ritual commitments, the special relation of trust, plighted promise and
engagement t h a t prevails between connubial partners. The religious
as well as the more mundane aspect of mutual trust is also reflected
in the two lexical def.: chos phyogs kyi khas len dam hca' ma nams pa
and 'jig rten gyi mdza' bées bio fie phan tshun dbar 'khon 'gras ma iugs
pa. Cf. also Snellgrove, Indo-Tibetan Buddhism, pp. 165-6, 220. For
the occurence of dam tshig in connection with bdud rtsi, cf. above.
20f nan son gsum: the three lower or inferior states of existence (durgati,
apäya) in samsara: 1. Hell (dmyal ba, naraka); 2. Hungry Ghosts
(yi dvags, prêta); 3. Animals (dud 'gro, tiryak). Damnation and evil
destinies (durgati) are given special attention in a tantric context and
the elimination of them is the topic of a whole text, the Sarvadurgati-
pariéodhana Tantra, cf. the critial edition and the translation by T.
Skorupski, Delhi 1983. Cf. also the two passages quoted from the Sixth
Dalai Lama's putative guidebook to O-rgyan-glin (pp. 216-7) cited by
Martin, ibid., p. 358. Meriting repetition is the passage found in bTsan-
po Nomonhan's 'Dzam-glih rgyas-bsad cited above (Wylie ed., pp. 36, 95)
in which it is implicitly stated t h a t everyone going to rTs[v]a-ri (and en-
joys the klu bdud rdo r/e-mixed elixir water) is freed from the cycle of
transmigration and evil destinies.
The concept of avoiding the experience or the tasting of the sufferings
(duhkha, sdug bshal) of durgati is treated in other songs as well, cf. e.g.
Bod kyi dga'-gias II, p. 35, no. 3, in which it is related how, with the
arrival of moksa and with the contemplation on it, suchlike infernal
(warm-cold) sufferings are brought to an end:
| da ni thar pa slebs son |
j thar pa'i bsam gtan thob son |
| tsha graft nan son gsum sogs \
j sdug bshal myoh dgos mi 'dug
Improperly destilled chah and abuse of alcohol, however, leads anyone
who indulges in such a brew straight to durgati] cf. éel-goh éel-phreh,
p. 466; In fact, the entire wording of verse 20f appears to have entered
the current Tibetan vernacular as an idiom somewhat like our phrase:
Gesundheit! or Prosit! Witness e.g. Bod kyi dga'-gias I, p. 48, no. 5,
140

where the consummation of a cupful of water more pure than crystal

serves the drinker no infernal or vexed treat:
| chu mo sel las dvans pa \
j éel dkar Ita bu snort po \
j de nas ial gah mchod daiï \
I nan son myon dgos mi 'dug
A well-known Tibetan proverb (cf. P. Richardus, "Selected Tibetan
Proverbs", The Tibet Journal, XIV (3), 1989, p. 69) may implicitly ac-
centuate the message of the present poem. The consummation of beer
{chah) is usually socially reprehensible and dispraised inasmuch as
abuse yields a deleterious effect. The message of our poem becomes
in this light quite effectful, when we read the following proverb igtam
dpe\ which may carry (an ironic, consciously punned?) allusion to poem
no. 20:

chah ni fies pa kun gyi rtsa ba yin \ rts[v]a mchog zil ba tsam
yah span bar by a \\
Beer is the root of all evil. Even as [little as] a dew-drop [of
beer] on a 'supreme grass' must be given up.

Finally we shall quote an allusive gias which vividly combines the

courses or confluence of the dBus-chu (i.e. sKyid-chu) and gTsan-chu,
symbolically embodying rDo-rje phag-mo; when consuming this water
with a pure commitment, there is no fear of falling into Hades. An
allusion too to the present poem ?; cf. Li Xueqin, 1986, p. 87:
| chu de dbus chu gtsah chu \
j chu rgyun rdo rje phag mo \
I dam tshig gtsah mas 'thuh na \
j dmyal bar Ihuh dgos mi 'dug

• In sum, the present poem or song is redolent with esoterical allu-

sions and associations germane, first and formost, to a unique cultural
setting, viz. a particular [oc]cult-alchemical tradition prevalent par ex-
cellence within the 'Brug-pa Order of Tibetan Buddhism. It is found to
be inextricably entangled with the holy pilgrimage sanctuary of rTs[v]a-
ri in south-east Tibet, its central glacier Massif Dag-pa sel-ri, a veri-
table symbolic caitya and imago mundi, and further associated with
a famed and potent herb growing on its slopes denoted klu bdud rdo
rje, identified as a species of the codonopsis. This herb is considered a
sacred and sidd/w-bestowing substance {dam rdzas) and a constituent
ingredient (subsequently in the cult tradition) in a relic pellet denoted
'Rainbow Light Pellet' {'ja' 'od ril bu). This essentially alludes to a
 141

particular sacred medicine of elixir (bdud rtsi [chos] smart), which is

seen to combine with a relic cult known through the bizarre term a
'barm carrier' (phabls] rgyuri), a concept borrowed, no doubt, from the
analogy of a yeast vehicle (phabls] via) in fermenting and manufac-
turing beer and alcohol. Functioning as the basic catalytic agent and
vehicle the supernatural properties supposedly inherited or infused in
this 'supreme herb* turn the 'brew* into a blessed/consecrated article or
substance {dam rdzas), which eventually ensures the consumer/adept
liberation merely by tasting (myon grol) it. To add to this unique sce-
nario, the female server of this potent 'brew' is Sijnanadakinî, a class
of supernatural goddesses and spiritual acolytes intimately associated
with this holy place. Here it probably alludes to Vajravârâhî (rDo-rje
phag-mo), the "Sow-Headed Goddess" to whom a temple alone has been
built by Padma dkar-po in the vicinity of Dag-pa Sel-ri in rTs[v]a-ri.
When a pure commitment moreover was solemnly plighted, the drink-
ing of the 'elixir'—would this be a euphemism for a symbolic union with
the adept's or yogin's yoginî?—will not only secure the adept redemp-
tion from all evil ways, but in fact promise him liberation, an adamant
(vajra) body and eternal life.
We can therefore only subscribe to the final contention launched by
Dan Martin, op. cit., p. 363, that the overriding message of this intrigu-
ing poem tells a story already outlined above, but must in the same
breath oppugn his disclaiming the song any amorous or love-lyrical con-
notation. There is no reason, in my eyes, to reject calling it a 'love song'
in some sense of the word. There is in fact every good reason to see in
this deliberately equivocal poem not only distinct allusions—on the eso-
terical level—to the above sketched [ocjcult-alchemical fabrication and
consummation of an elixir of immortality, a redoubtable treat indeed.
But equally—on the exoterical level—we would find explicit and implicit
allusions to the consummation of alcohol demonstrated already through
the careful choice of words which inter alia hails from the ordinary vo-
cabulary of traditional 'drinking songs' {chah gzas) and 'joy songs' {dga'
gias)\ namely, g[v]ans chu, the superb choice of water for brewing beer,
bdud rtsi, a trite euphemism also for chart, phab[s] rgyurt, the barm or
yeast, chart ma, the bar maid, or beer-serving maiden, alluding to quite
an institution in the merry Tibetan social life with clear implication of a
mistress, and finally dam tshig gtsah ma, which besides, of course, the
direct allusion to the infrangible tantric commitments, simultaneously
offers an ill-veiled reference to the plighted troth sealing two lovers'
covenant in a mundane sense of the phrase.
All in all, this truly recondite piece of mystical lyrics, deliberately, we
now have reason to assume, couched in a equivocal idiom and setting,
proffers enough compelling reasons to place it quite apart from the
context of the other songs of love.
142

It should be noted that I fail, unlike a large number of other songs,

to accord this allusive poem any political meaning. It may not come as
a surprise finally to note that Xiao Diyan, sBran-char, 1988 (1) p. 69,
entirely ignores to comment on this contentious poem.
 143

21

I rlun r t a yar 'gro'i dus la |

j rlun bskyed dar Icog btsugs pas |
j mdzans m a m a bzan bu mo'i |
| mgron po la ni bos byun |

At a time when fortune r a n high

I hoisted my prayer-flag, borne heavenwards:
I chanced to be invited in
As guest by a bright girl of good family.

21a 'gro'i ABCEFGIJK : ygro H; dus ABCEFGHIJ : thog K;

21b dar ABCEFGHIK : da J; Icog BCEFGHIJK : Icag A; btsugs ACE-
FGHIJ : gtsug K : rtsugs B; pas ABCEFGHIJ : yod K;
21c mdzans CEGHIJ : 'dzahs AB : 'dzah FK; bzan ABCEFGHIJ :
sans K; mo'i ABCFGHK : mos E U ;
21d mgron Vgron B]po la ni [omit. B] ABCG : mgron po la yah [omit.
K] FK : mgron po ha la H : 'gron po'i gral [gras I] la I J : ha la
mgron por E;

21a The term rluh rta or 'wind horse' usually h a s the meaning fortune or
luck and is traditionally symbolized by a horse being drawn or im-
printed on a prayer-flag (rlun dar, dar Icog), b u t rluh rta alone h a s
also come to denote a prayer-flag in itself. In fact, rluh rta is a cau-
sal concept quite apart from the karmic ones. Contrary to bsod nams
(Skt. punya), which usually designates the stored-up, cumulative kar-
mic merits of an individual soul's career, rluh rta represents the state or
condition of a person's worldly luck. Where bsod nams in the traditio-
nal Buddhist sense is increased by dge ba (Skt. kuéala), or wholesome
and virtuous deeds, rluh rta, by contrast, is enhanced, improved or rai-
sed by sku rim. Therefore rluh rta is said to be either high (yar) and
high-going (yar 'gro) or low (mar) and low-going (mar 'gro)—unlike bsod
nams which either can be quantitatively accumulated (bsags pa) or be
exhausted and dried up (zadpa, [b]skam pa). Clearly, as L. Epstein has
deftly pointed out, op. cit., p. 240, this idiom is visibly related to the
physical forms things assume, such as when petty flags and paper she-
ets imprinted with auspicious prayers and mystical formulae are hoped
to fly high and to flutter airways from trees, houses and other topmost
points such as mountain passes. Unlike bsod nams too, rluh rta can
moreover be forecast yearly and undergo cyclic alternations. In sum,
it may summerize all the events and prospects of a particular career
144

at a particular point of time. For a fuller discussion of the term, cf. D.

Lichter & L. Epstein, "Irony in Tibetan Notions of the Good Life", in
Karma: An Antropological Inquiry, 1983, pp. 240-2; L; Epstein, "Blood
and Thunder: Theories of Causation in Tibet", Tibet Society Bulletin
9, 1975, pp. 40-45; L.A. Waddell, The Buddhism of Tibet or Lamaism,
1895, pp. 408ff. On its four-fold function, cf. G. Tucci, Tibetan Folk
Songs from Gyantse and Western Tibet, 1966, p. 53, n. 112.
In the present poem evidently, the poet, at the inception of a new
enterprise, here evidently the prospect of a love affair, had a r u n of
luck. Witness the following gzas which voices a poet's or a singer's
earnest wish for an increase in his beloved girl's good fortuna, hoping
t h a t it will rise high just like the ascending moon. He had just h u n g
his banner, rising high in the wind, on the topmost point of a high
mountain; cf. Bod kyi dga'-gias II, p. 58, no. 2 already cited supra, s.v.
no. 12:
| ri mgo mthon po'i rtse la \
j rlun bskyed cod pan btsugs yod \
j snih sdug byams pa'i rlun rta \
j yar zla'i ho biin bskyed éog
Cf. also Bod kyi glu-gias, p. 128, no. 3.
21b The terms rlun bskyed and dar Icog are practically speaking synonyms.
The term rlun bskyed, 'developed/generated/risen in the wind', cf. no. 12
supra and also the last cited poem, often supplements if not replaces
dar Icog as a general term for prayer-flag. A variant reading of rlun
bskyed may be attested in rlun bskyod, 'agitated by the wind'; cf. dPe-
chos rna-ba'i bdud-rtsi, p. 172, where dar Icog rlun bskyod is entered
as one of the favourite four-syllabic proverbs (dpe chos, gtam dpe) with
which Tibetan language is so replete. Here it carries the meaning t h a t
something is vaccilating and beyond one's control {rah tshugs mi thub
gyo 'gul ehe ba). On the varieties of the Tibetan prayer-flags: rlun dar,
dar Icog, dar rgod and dar rgyah, cf. G. Tucci, ibid., pp. 181-86 and
192-93. For additional samples of gzas on dar Icog, cf. e.g. Bod kyi
dga'-gzas I, p. 11, no. 2, p. 23, no. 1.
21c The term mdzahs ma, according to the lexical def., denotes a woman of
wits and good behaviour (bud med bio gros can and spyod bzah), here a
bright or good-natured girl or lady of good family or extraction, i.e. de
bonne aire (ma bzah). For mdzahs ma, cf. no. 24 infra; Zhuang Jing,
1981b, p. 17, C. guï xiù; van Heurck, 1984, p. 90, 'une fille sage'. For
21c cf. also gSuh-mgur, no. 416.
21d The variant readings, and especially the reading mgron po'i gral la is
equally plausible.
 145

• Conventionally, the poem relates about the positive prospects of a love

affair. The time and occasion for hoisting the auspicious prayer-flag was
quite appropriate and boded well for a prospective rendezvous: And as
the luck of the poet appears to be running high, he was before long
quite expectedly summoned as a guest by a girl of wits and excellent
stamp.
Any attempt to read another message—beyond the one already pro-
posed—into this poem all depends on the possible identification of the
figure behind the garb of the 'sagacious and noble girl' in the poem.
It should again be remarked that the only girl who is actually identi-
fied as a lover of the Sixth Dalai Lama is no less than the daughter
of the Regent himself; cf. H. Hoffmann in his Introduction to G. Hous-
ton, 1982, p. XVII. Could this be an allusion to this relation ? Beyond
this conjecture, recalling again the small gallery of characters and the
known social circles within which our alleged poet, the young God-king
Tshans-dbyans rgya-mtsho, operated, the options to identify any other
personage seem to be further narrowed down to the ever-present Regent
or the Qosot chieftain lHa-bzan Qan.
146

22

I so dkar Ipags pa'i 'dzum mdans |

j bzugs gral spyi la bltas na |
| mig zur k h r a mo'i sgril mtshams |
j gzon pa'i gdoh la bltas byun |

White teeth and [faces] with beaming smiles

I saw when I set my eyes
on the whole row of seated [girls];
Sidelong glances she shot of my young face
From the very corner of her bright eyes.

22a Ipags ABEFHK : pags GIJ; 'dzum BCEFGHIK : 'dzums D :

mdzums J;
22b gral ACDEFGHIJK : bral B; bltas ABCEGHIJ : bstan FK : ston
D; na ABHIJ : nas CG : yah D : kyah K : run F : byun E;
22c mig ACDEFGHIJK : mi B; khra ABDEH : phra CGIJK : khyu F;
sgril mtshams ABCEFGHIJK : 'khor phyogs D;
22d byun ABCDEFGHIJ : gis K;

22a Ipags and pags are interchangable. For 22a cf. also gSun-mgur, no. 32;
so dkar specifically, as van Heurck already adduces, op. cit., 1984, p. 92,
designates a four-year old mdzo or mdzo mo. Here of course it is a
poetic expression of a girl's shimmering beauty. The word 'dzum mdahs
designates a smiling or a laughing attitute (gad mo dgod pa'i flams); cf.
also no. 25 supra; gSuh-mgur, no. 414.
22b The word bzugs gral ordinarily signifies a row (gral) of seated people or
the position (go rim) which each guest occupies according to rang and
precedence at e.g. a party or a ceremony. More specifically the term
designates a row of people attending a party, be it a drinking party or a
more ceremonious feast; cf. "gTsari-ron gi chan-gzas", in Bod kyi rtsom-
rig sgyu-rtsal, 1983 (2), pp. 74-77 and 97, passim; "lHa-sa'i chan-gzas",
in sBrah-char, 1984 (3), p. 40; gSuh-mgur, passim.
The conditional na has been retained as the most adequate reading
in the light of the parallel constructions in nos. 5, 15-16, 19 infra etc.,
but nas and the concessive \k~\yan are equally plausible.
Note moreover the opposition, already observed by van Heurck, 1984,
p. 92, between the general, impersonal look of the poet in 22ab versus
the specific, personal leer launched by the girl:
 147

22c The term mig zur or zur mig, i.e. 'eye-corner' denotes a leer, a sideway
glance or a sidelook (Skt. katäksa) i.e. a coquettish way of looking (chags
paï flams, sgeg chos kyis Ita tshul) or to ogle furtively, and is often an
attribute of a woman (bud med). It is found in the phrase mig zur ma or
zur mig ma, denoting a female ogler, a poetic term for a seductive and
languishing woman; cf. also \Jam-dbyans grags-pa, "sNan-'grel yah-gsal
snaii-mdzod-las don-rgyan so-lna'i tshig-'grel", in sBran-char, 1987 (4),
p. 64; the adj. phra mo, the 'tiny' or 'slim' eyes would certainly seem to
be an acceptable reading, or at least feasible, but khra mo is probably
the best reading as it is attested e.g. in the phrase khra chun mig (or
spyan), 'small, glittering or luminous eyes', C. liàngjîngjïng de yànjing;
cf. gSun-mgur, nos. 175, 413-4. For the 'small variegated eyes' or the
lustrous pupils, cf. also the Gesar Epic in R. Stein, 1956, p. 390; It
is tempting, only less likely, here to see a reference to the small eyes
of a falcon or the magpie (skya kha khra chun, khra mo); cf. Bod kyi
dga'-gzas I, p. 86, no. 3 and p. 87, no. 3.

# The poem appears to be a conventional love poem describing the co-

quettish and ogling way a girl is eying a young man, our poet when he
surveyed the beamingly merry female participants seated at a party.
Does the poem convey any sense of surveillence ? or does it just signal
an identification made by the girl as the poet cast his eyes over the
assembled row of smiling girls ? The poem appears to be a companion
piece to the previous one and like in the former case a deeper inter-
pretation must presuppose a probable identification of the girl in the
poem. If we predicably, albeit utterly conjecturally, identifies the ogling
girl who secretively stole glances of him with the ubiquitous Regent,
the poem, as alluded, would signal the poet's discomfort with the re-
striction imposed upon his person which forcibly barred him from any
enjoyment of a life in freedom. As such it would then be containing a
well-concealed plaint.
148

23

I h a can sems la son nas |

j 'grogs 'dris e yoA dris pas |
| 'chi bral byed na min na |
j gson bral mi byed gsuns byun |

Completely infatuated [with her],

I asked: "Will you be my spouse [for life]?"
She replied: "If death us do not part,
We shall never separate while alive!"

23a son ABCDEFGHIJ : 'phros K;

23b 'grogs [grogs E] 'dris ACDEGI : 'grog 'dris ['bris BJ] BHJK : grogs
sgrig F; yon ACDEFGHIJK : yah B; dris ACDEFGHIJ : bris B :
Utas K;
23c 'chi ABCDEFGHIJ : éi K; byed ABCEGHIJK : byas F : byuh D;
min pa ABCDEGHIJ : ma gtogs [rtogs K] FK;
23d gson ACDEFGHIJK : bson B; byed ABCDEFGHIJ : thub K;gsuns
byuh ABCDEFGHIJ : gsuh gis K;

23a For the phrase sems la son, "to fall in love", cf. nos. 3 and 6 supra.
23b 'grogs 'dris is a so-called synonymic verbal compound offering the sense
of 'associating*, 'acquainting* or 'mating oneself with someone', here in
the sense of connubial companionship.
23c min pa like the synonym ma gtogs pa h a s the meaning of 'except', 'be-
sides' or 'apart from'.
A song with a slightly different wording is included in the collection
compiled by Norbu, a song which appears to be something like a collo-
quial pendant to our poem from which it has possibly sought inspiration;
after the poet had become completely infatuated with the girl even the
nights became brighter t h a n the days, urging the loving couple (in uni-
son ? her or him) to declare their life-long inseparability; Norbu's Coll.
TV, no. 14:
| ha can sems la son nas \
| mtshan nam nin las dkar son \
| 'chi bral bya rgyu ma gtogs \
j gson bral 'jog gi min no \
In fact, this declaration of a life-long plight is often used in connec-
tion with nuptial engagements (mna' b£ag), when (the bride, or both
 149

?) swear eternal fidelity; cf. a sample of a nuptial song ignen sgrig gi

gias tshig), "gNen-sgrig gi gzas-tshig gsar-pa", Gans-dkar ri-bo, 1988
(2), p. 78:
I gyan gzi mda' dar 'og la \
| mthun pa'i mna' zig bzag yod \
j éi brat byas na ma gtogs \
| gson bral mi byed gsun grags \
The interesting question could also in this place be raised whether the
young Tshans-dbyans rgya-mtsho has here employed a popular or collo-
quial nuptial oath when he composed his lyrics, or, assuming, naturally,
that he is the actual author of the song-collection, whether this lyrical
idiom originated with him and hence became a collective heritage. Most
convincingly, this idiom appears to be quite old, and perhaps one clue
can be provided by the narrative of Prince Nor-bzan (rnam-thar, p. 186,
196-97; cf. no. 30 infra), where we may find a faint parallel to the theme
of life-long fidelity. In a versified (twelve-syllabic stanzas) poetical di-
alogue, easily transformed into a proper gias (six-syllabic quatrain),
Princess Yîd-phrog lha-mo resignedly acquiesces the forced separation
by death (skyes nas éi bas 'bral), an inevitable lot for all mortals, but
separation while alive {ma éi gson bral) is the most cruel fate for a
loving couple.

• The present poem may be taken as a companion piece to the two pre-
ceding poems. The conventional message of the poem is quite clear:
His strong infatuation with the girl urged him to address her asking
his inamorata whether she would become his sweetheart for life. Love
appeared to be reciprocal as she assured him of her life-long faithful-
ness. This harmonious situation has perhaps, we may imagine, evolved
out of their initial introduction as related in the two previous poems.
We may further ask whether the poet here, as elsewhere—cf. e.g. no. 30
infra, has found inspiration in the happy love-story of Prince Nor-bzan
and the Goddess Yid-'phrog lha-mo, the loving couple who initially went
through many obstacles before they finally were united ?
This 'happy love-story' which expresses the declared unity of a loving
couple is evidently open for further interpretations, once we could pro-
duce a valid and cogent identification of the lovers, the leading actors
in the poem. The poem may be an allegorical portrayal of the unity of
the Regent and the God-king. Xiao Diyan, sBran-char, 1988 (1), p. 70,
on the other hand envisages here a veiled portrayal of the Regent and
the Qosot chief who deftly contrived to conceal their virtual double-
dealing: Behind the facade of unity and harmony they were actually
machinating towards one another.
150

24

I mdzaris ma'i thugs dan bstun n a |

j tshe 'di'i chos skal chad 'gro
j dben pa'i ri khrod 'grims n a |
j bu mo'i thugs dan 'gal 'gro

According with the wishes of my bright lady

Deprives me of this life's religious lot;
To prepare for solitary retreat in the mountains
Only runs counter to the girl's feelings.

24a mdzans CGHJ : 'dzahis I] ABIK : mdzes EF; thugs ABCEFGHIJ

: sems K;
24b 'di'i CEFG : 'di ABHIJK;
24c 'grims ABCEFGHIJ : 'grim K;
24d 'gal ACEFGHIJK : 'ga' B;

24a mdzans ma, a bright girl or woman, cf. no. 21 supra,

24b This life {tshe 'di) denotes the present h u m a n existence in the chain of
rebirths or cycle of migration to which all mortals according to Bud-
dhism are subjected. The religious lot or fate {chos skal), as already
remarked by Richards, The Tibet Journal, VII (4), 1982, p. 106, alludes
to the rareness and the unique opportunity for practising religion that
the h u m a n being possesses in this world. Cf. sGam-po-pa's Thar-rgyan,
chap. 2 (tr. H. Guenther), pp. 14-21. Complying with the desires and
wishes of the noble girl, involving a love-affair or an actual engage-
ment, would entail the breach {chad 'gro) of this religious course. For
the auxiliary verb 'gro, s.v. no. 16d supra.
24c ri khrod 'grim[s], cf. no. 16d supra.
24d For the auxiliary verb 'gro, cf. no. 16d supra.
Again, cf. previous poem, we find, albeit, naturally, within a different
context, a verbal parallel to this poem in the story of Prince Nor-bzan
{mam thar, p. 195), where the Prince, on the verge of leaving his beloved
Yid-'phrog-ma to participate in a war against enemies, in a versified
farewell dialogue, inter alia, utters the following words:" Complying
with [my] girl's {bu mo; at another place characterized a mdzans ma;
cf. ibid., p. 267) wishes would run counter to my father's behest (i.e. of
leaving to participate in a war); whatever act or procedure is the worst
 151

to do (i.e. to remain behind pleasing the girl or violating the father's

command), the son (i.e. Nor-bzah) would be vexed":
| bu mo'i thugs dan bstun nayab kyi bka' dan 'gal 'gro
j bya byedgah nas dka' bas bu chuh sems pa skyo byuh \
This versified and poetical piece, a part of a longer dialogue, can easily
be transformed into a traditional gias (four six-syllabic verse-lines):
| bu mo'i thugs dan bstun na |
j yab kyi bka' dan 'gal 'gro
I bya byed gah nas dka' bas \
| bu chuh sems pa skyo byuh \

• This poem poignantly exposes the poet's traumatic dilemma into

which he had plunged and what to him must seem to be a ghastly
predicament: Being torn between two poles, on the one side the in-
stinct and yearning for love and affection and on the other side his
equally instinctive, when not burdensome, religious call. It thus paints
the picture of his enduring crisis of identity. Realizing that the human
existence is rare indeed and represents a unique opportunity for prac-
tising religion in order to attain the state of Buddhahood, his compli-
ance with his beloved's wishes posed a genuine menace to his religious
pursuit and career. Inversely—and equally frustrating—were he to at-
tempt seeking the solitary hermit's retreat in the mountains, secluded
from all worldly activities and aloof any romantic indulgence, a place
where he could dedicate himself exclusively to religious and spiritual
activities, then it would merely break his girlfriend's heart. Whatever
his step, faced with this conflict of interest, he would find himself caught
up in a veritable impasse. Nevertheless, the tone in the poem is meekly
ironic as if the poet is fully aware that his scrape is self-inflicted. It
is tempting, moreover, to see also in this poem a reflection of the con-
flict of interest, though naturally of another nature, with which Prince
Nor-bzan had met in his popular story. Thematically, this conflict may
quite well have inspired the alleged poet to compose his poem.
Analogous to the preceding poems, the present piece too may quite
possibly be depicting his close relationship with a personage within his
inner circles. Taking the word "bright girl" (mdzahs ma) as a well-veiled
(Ikoggyur) euphemism either for the ubiquitous Sans-rgyas rgya-mtsho,
the complacent and intelligent Regent, or, more abstractly, as an eu-
phemism for the political and temporal power (srid dbah), the poem
would make sound meaning in a figurative sense. Read accordingly,
the poet's yielding to the Regent's manoeuvres or his submission to as-
sume the secular role and responsibility, however formal, which he was
expected to accept, would eventually entail the discontinuance of his
152

religious pursuits. Reversely, were he to abstain from all worldly and

political activities and to seclude himself in a mountainous retreat, his
decision would only run counter to the Regent's wishes and his overall
political duties. In fact, the poem may essentially reflect his vacillation
(thugs thag ma chod pa) in his dealings with the dual power with which
he was formally invested. In this light we may assume that the poem
is couched in a bitter and resigned note, if we adequately appreciate
the ghastly cul du sac in which the poet found himself trapped. Cf. also
Xiao Diyan, sBrah-char, 1988 (2), p. 61.
 153

25

I sbrari bu rgya la beug 'dra |

j kon phrug gzon pa'i bio sna |
j zag gsum fiai rogs byas pas |
j phugs yul lha chos dran byuri |

The fancies of a young lad from Kon-po

Are like a bee caught in a [spider's] net:
Having been her bed-mate for three days now
He is mindful only of the future and the Holy Law.

25a rgya EFHIJ : brgya BK; beug BEFHIJ : zin K;

25b bio sna BEFHIJ : sems pa K;
25c rogs BEFHIJ : rog K; pas E F : pa'i BHIJ : na K;
25d phugs BEFHIJ : phug K; dran byun BEFHIJ : 'dod gis K;

25a sbran bu, cf. nos. 7 and 8 supra, perhaps it here denotes a fly, cf. sim-
ilarly D. Back, 1986, p. 57. The word net (rgya) evidently alludes to a
spider's web or cob-web (sdom gyi dra ba, dra rgya, 'chin rgya, sdom
thag), cf. also Zhuang Jing, 1981b, p. 18, C. zhüsl.
25b The area Kon-po is a district east or south-east of Lhasa. The term
bio sna generally designates ideas, speculations and fancies (bio yi sna
dan por 'char ba'i mam Hog). Cf. also gSuh-mgur, nos. 132-3, 183. In
these examples the sense of a vacillating and a fickle mind is clearly
implied. The lines 25ab have been reversed in ed. E, an equally feasible
sequence.
25c The term 'three days' dag gsum) according to the Tibetans commonly
denotes the border-line where a relationship turns from being a casual
and random one to become one of intimacy, cf. gSuh-mgur, no. 227. It
usually appears as a complement to a girl or a woman to designate the
relatively brief nature of their liaison, cf. e.g. Bod kyi dga'-gzas / , p. 64,
no. 6; p. 88, no. 4; p. 122, no. 5; Cf. e.g. ibid., p. 20, no. 1 = gTam-dpe,
p. 129 = Tucci, Tibetan Folk Songs v. 13 (p. 22, 48), where the poet
ironically rejoins the girl, t h a t both of them, each in their own way, are
right; where he (for her) is a three-days casual lover, she (or for her he)
is b u t a life-long acquaintance or consort (tshe gan gtan grogs), cf. also
the next poem:
| khyed ni khyed rah bden pa |
| khyed ra'i tshe gan gtan grogs |
154

I ha ni ha rah bden pa \
j ha ra'i zag gsum snih sdug
Another gias similarly stipulates the distinctive difference between a
three-night date and a life-long friend; cf. ibid., p. 85, no. 3 = gTam-dpe,
p. 130:
| bu mo zag gsum snih sdug
I byuh dan ma byuh mi 'dug
j tshe gah gtan grogs gnah rgyu'i \
I dbu mna' bies rogs gnah dan \
The equation of'three days' or 'three nights' and intimacy is expressed
in another gzas, where nocturnal activities, i.e. bodily intimacy is asso-
ciated with a three-day acquaintance; cf. Glu-chuh sna-tshogs, p. 7:
| chu tshod bcu gnis brduh son \
j nam phyed ma red ma gsuh |
j khyed dan zag gsum gsibs nas \
j sku lus ma 'dres ma gsuh |

25d phugs yul denotes future objectives and ends. The question remains
whether phugs yul lha chos should be conceived as a kind of dvandva,
i.e. as a paratactic compound or as a subordinate compound. It can
be conceived as 'the future and the Holy Law', but e.g. Zhuang Jing,
1981b, p. 19 has understood it as 'Buddhism in the future'. Both inter-
pretations are feasible.

• Ordinarily the poem unfolds its own little story about a young lad
from Kon-po whose dreams and infatuations are imprisoned like a bee
or a fly caught in a web. In this portrayal of a young man or a stripling
(himself ?), the morally undermining effects of a casual acquaintance
and the intimate association with a lover are stipulated. The intimacy of
three whole nights gave rise to deep remorse and thoughtfulness. More
important, his random love-affair was conducive to renewed serenity:
It stimulated his recollection and his religious interest. His fickle mind
and his juvenile confusion was replaced by a single future objective: To
dedicate his life to religion. As such, the poem again talks about the
poet being trapped between love and religion.
The poem naturally offers another symbolic meaning (go don) beyond
the literal one. Identifying again the young lad of Kon-po with the
God-king and replacing the spider's web with the entanglement and
intrigues of the complex political imbroglios, an enduring and devas-
tating maelstrom of conflicts in which he was inextricably embroiled,
the poem perhaps relates about his genuine yearning for the possibility
to practise religion after having been intimately wedded to, or rather
 155

embedded into, the more doubtful sides of temporal affairs for a period
(?) of three years.
156

26

I gtan grogs khyod la bsams pa'i |

j khrel dan no tsha med na |
I mgo la rgyab pa'i gtsug gyus |
| skad cha smras ni mi ses |

Should you, my eternal friend,

on whom my thoughts have lingered,
Prove just brazen and unfaithful,
The turquoise I have inserted in my hairdress
Would not know how to divulge it to me.

26a gtan E F H I J K : bstan B; khyod la EFH : khyed la K : khyad la B

: ched du IJ;
26c rgyab BFHIJK : brgyab E;
26d smras I : smra E F J K : smas B : bead H;

26a The term gtan grogs designates 'eternal friend' but may also regularly
denote a wife or a spouse. In fact, the term grogs po, often also writ-
ten (at least pronounced) rogs pa, cf. e.g. Bod kyi la-gzas, passim, i.e. a
'friend', is the most common euphemism for a lover within the Tibetan
cultural sphere, cf. N. E. Levine, "Perspectives on Love: Morality and
Affect in Nyinba Interpersonal Relationships", in Culture and Morality:
Essays in Honour of Chr. von Führer-Heimendorf, pp. lllff. The term
gtan grogs appears in Tibetan lyrical tradition with a number of com-
plements; cf. e.g. the gias cited under 25c, which talks about a 'life-long
eternal friend' {tshe gan gtan grogs). Bod kyi dga'-gzas I, p. 25, no. 2
relates about the undesirability {snih ma bro) of a gtan grogs who is
bereft of shame and plighted commitment {khrel dan dam tshig med
pa), which is compared to riding a horse t h a t lacks both sattle and
reins; Being an 'eternal friend' should not always be taking literally,
cf. e.g. ibid., p. 64, no. 6 which relates about the 'three days beauty'
{zag gsum mdzes pa) of a gtan grogs, i.e. the 'eternal friend' might be
quite a casual date; so also the previous poem. Cf. also the gias cited
under 12a supra and its various synonyms. For additional gias on gtan
grogs, cf. gSun-mgur, nos. 51, 370; Bod kyi dga'-gzas I, p. 35, no. 1;
p. 53, no. 2; p. 70, no. 2; p. 75, no. 5, p. 85, nos. 3 and 6; p. 88, no. 4 (=
gTam-dpe, p. 137) and p. 127, no. 2; Bod kyi glu-gzas, p. 152, no. 1. The
story of Prince Nor-bzan; cf. rnam-thar} p. 58; 'khrab-giun, pp. 33-34;
It evidently refers to a lifelong companion, i.e. one's husband or wife or
 157

rather here one's prospective ditto; cf. also Zhuang Jing, 1981b, p. 19,
C. zhôngshên de bànlu.
26b Cf. similarly no. 10 supra; gSun-mgur, no. 414. The terms khrel med
(Ski. anapaträpya) and ho tsha med pa (ahrikya) are Buddhism terms
listed e.g. among the saptapancäsaddosäh of Ratnâvalî V, 3-33;
26c The gtsug gyu is a turquoise fastened to the head-dress of a beloved.
M. Duncan, 1961, p. 110, n. 346 and C. Bell, The People of Tibet,
p. 180, mention a turquoise as a token of pledge and betrothal prior
to a marriage. In connection with marriage, it is custom t h a t when the
bride's arriving party and the groom's welcoming party meet in the tents
just prior to the marriage, the bride is offered a welcome turquoise. A
turquoise is offered to the bride and auspicious verses are recited which
eulogize it as a symbol of youth, elixir of life, love and joy. It is offered
to the bride's head for increased blessings and good omens; cf. e.g. T.
Skorupski & C. Cech, "Major Tibetan Life Cycle Events—Birth and
Marriage Ceremonies", Kailash, vol. XI, nr. 1-2, 1984, pp. 19-20. One
kind of turquoise is usually given to the prospective mate as a pré-
nuptial emblem two or three years ahead of a marriage and another
kind of turquoise is put on the top of the bride's head-dress, as noted
above, on the day of the weeding. Cf. ahogSun-mgur, no. 133; Bod kyi
dga'-gias /, p. 127, no. 4, provides a sample where the fastening of a
little turquoise on the head of one's inamorata is admonished:

| sems pa éor gyi 'dug na \

I mgo la gyu chuh skyon daft \
I lag pa'i tshigs khebs phrogs nas \
| bza' 'dod min na gah yin \
For a general discussion of turquoises, s.v. no. 4 supra. For the
possible inspiration for this poem, cf. the discussion under poem no. 30
infra.
26d For the sense "unable to know" (mi ses, here = ses mi thub), cf. the sim-
ilar phrase in 14b supra. The variant reading smra is equally feasible.

• Conventionally, in this poem the poet gives vent to his lurking jeal-
ousy concerning his beloved's fidelity. After having inserted the plighted
token of fidelity and betrothal in her hair-dress, the poet found reason
to entertain some apprehensions about his beloved's lack of loyalty and
devotion. For reasons unknown to us, he truly feared t h a t love is not
being repaid by her. Clearly, the poem is couched in a frustrated and
embittered, and yet in a resigned and non-fatalistic note, as if an under-
lying sense of desperation and bitterness, the never-failing concomitant
of jealousy and lovelornness, is discernible. As it emerges from song
158

no. 32 infra, the emasculating effect of distrust and abandonment may

carry fatal consequences.
Metaphorically, the poem is susceptible to more interpretations; most
readily, we may envisage the Regent behind the garb of the 'eternal
friend'. Rarely lacking the instrument of irony in his lyrics, the God-
king, the putative poet, may here possibly be depicting himself as a
diadem turquoise, finding himself in more than one sense held as a
pledge in the devastating and enervating strife for power of which he
himself had no voice. Deeming the fact that the young God-king, after
enthronement and assuming the full age of majority, would still find
himself as a sort of hostage towering high as a decorative figurehead of
state only and as a marionette in the political game, it is small wonder
indeed to appreciate his need to express frustration and bitterness in
this poem. The Regent's unwillingness to share even the slightest po-
litical authority with the young God-king was notorious. That the poet
is bereft of real power has possibly found expression in the phrase that
"he could find no outlet for his protest", i.e. that he had no voice to raise
(skad cha smrals] ni mi ées) and no means of asserting himself, when
it came to real decision-making.
 159

27

I 'dzum dan so dkar ston phyogs |

j gzon pa'i bio khrid yin 'dug
| snin nas éa tsha yod med |
| dbu mna' bzes rogs gnari dan |

A young man's mind captivated completely,

By the sight of your smile and white teeth;
I beg you, swear solemnly
Whether your heart treasures true affection for me!

27a 'dzum CDEFGHIJK : mdzum AB; dan ABCDEFGHIJ : dkar K;

ston ACDG : stan B : bstan EFHIJK; phyogs CDFGH : chog
ABEIJ : kyah K;
27b khrid ABCDFGHIK : khrig J : brid E; 'dug ABCDEFGIJ : }gro H
:pa K;
27d mna' CDEFGHI : mnab A : sna BK : mda' J; bzes [zes AB] rogs
gnah dan ABCDEFGHIJ : 'pher ba e yod K;

27a Cf. 22a for a similar wording andgSun-mgur, no. 32. The reading bstan
is equally feasible, the pf. tense perhaps even being better. The reading.
phyogs h a s been retained as it is understood to be short for phyogs su,
i.e. 'concerning* 'as to', 'regarding' or as here 'in respect to' or 'in view
of etc.; cf. e.g. nos. 40, 43 infra; gSun-mgur, nos. 95, 176; Equally
plausible is the homonymie reading chog, like éd. F kyah conveying a
slightly concessive sense; cf. also gSun-mgur, nos. 3 2 , 1 7 1 , 211, 279-80.
27b Gauged from the overall consensus of the recensions, the reading bio
khrid would appear to be the 'correct reading 7 . The phrase denotes
mental refinement, or mental guidance (= sems gso, sems sgyur). Evi-
dently, as ed. E suggests and as the identical song quoted in Norbu's
Coll. (i.e. TV, no. 15) corroborates, the proper reading is bio V\brid, i.e.
mental delusion or, as here, seduction and mental captivation is actu-
ally meant by the poet. However, bio khrid has been retained to be
the actually intended reading, partly because of the obvious equivocal
implications involved, but also because the girl in question quite pro-
bably is depicted to 'teach' the male lover 'a lesson' in love. The sense of
emotional seduction or mind-captivation (= yid 'phrog, cf. no. 30 infra)
is also understood by Wang Yinuan, 1980, p. 28, C. hunling göudiaö, 'to
snatch away the soul' = to entice or seduce; Zhuang Jing, 1981b, p. 19,
hûnér gôupào, 'to run off with the soul' = to seduce.
160

27c The term Tiot flesh' (éa tsha) denotes affection and attachment of an
emotional nature. Cf. also gSuh-mgur, no. 74; Bod-rigs kyi glu-gias,
p. 31, no. 1.
27d Pray, plight your troth!, cf. similarly Bod kyi dga'-gzas /, p. 85, no. 3.
Usually, such promises (dbu mna' bzes) are given in relation to mar-
riage, but may also pertain to everyday verbal agreements (ial hies, cf.
e.g. no. 44 infra).
Witness the following gias, akin to the present poem, which relates
about a girl unable to tender the poet a smiling gaze when they met
amidst a crowd of people. It prompted the rejected lover to beg the girl
to solemnly plight eternal fidelity, if her heart verily harbours affection
for him, Bod-rigs kyi glu-géas, p. 58, no. 3:
| mi tshogs man po'i nan la \
| bdag la 'dzum 'dzum ma gnah \
I éa tsha snih la yod na \
| dbu mna' bzes rogs gnah dan \

• The present poem is a love poem ('dod gzas) in which the poet ex-
presses his fervent wish that the charming and beautiful woman is
intend not only on physical enticement, but first and foremost to what
extent she would be harbouring genuine affection and sentiments of
love towards him. The tone in the poem would seem to imply some
misgivings as to the successful outcome of the love affair. Deeming
the girl's sightly and prepossessing appearance, the poet is not quite
sanguine that the girl will stay faithful and fidel.
Attempting a plausible metaphorical interpretation, if any, would re-
quire a suitable identification of the personage portrayed behind the
figure of the young, seductive girl. Applying again here his ambivalent
guardian and complacent Regent Sans-rgyas rgya-mtsho, the thorough-
going character in the entire song cycle, aside of course from the poet
himself, and the foremost important figure in the Sixth Dalai Lama's
life and career, the poem, similar to the previous one, would signal
his pronounced misgivings at the prospect of being involved in politics.
The poet may here be fearing to lose his political chastity so to say, for
which reason, we have grounds to think, he tries to evade being men-
tally guided/enticed into figuring as a puppet in the power struggle.
Naturally, the poet is urged to call for a fair and dignified treatment by
his mighty and strict guardian.
Xiao Diyan, sBrah-char, 1988 (2), p. 62, here envisages a disguised
portrayal of the two competing fractions (sog kha gnis po, phyogs gnis
ka), headed by the Regent and the Qosot chief respectively. Allegedly,
they should here solemnly commit themselves to genuine reconciliation.
 161

This agreement (chins), Xiao Diyan further adduces, should for the God-
king be seen as a touchstone (iib béer) for the extent of respect (brtsi
bkur zu) which the Qosot chief would pay to him and a touchstone for
whether the Regent would grant him any real political authority (srid
dbah rtsis sprod) or not.
162

28

I snin thub bya rdo lam 'phrad |

| a m a chan mas sbyar byun |
j Ian chags bu Ion byun n a |
j 'tsho skyon khyod ras gnan zu |

As accidental as a bird alights on a stone,

Lovers keep trysts, concerted by Madam of the Inn;
Should consequences bear fruit
I beg you, dear Madam, defray the costs!

28a thub BEHIJ : thug F : sdug K;

28c bu Ion BEFHIJ : phru gu K;
28d 'tsho BEFHIJ : gso K; khyod EFH : khyed B U : khye K; gnan
BEFHIJ : snan K;

28a For the term snih thub, sweetheart, heart-throb, cf. no. 4 supra. The
phrase bya rdo lam 'phrad is a favourite four-syllabic saying or idiom
(gtarn dpe) illustrating contingency and random encounter (= stes dban
du 'phrad). More precisely the simile (dpe) describes how rare a ca-
sual and haphazard encounter may take place: When throwing a stone
it should by chance hit a bird on the ground! Cf. also no. 30 infra;
Zhuang Jing, 1981b, p. 19, e.g. has C. xièhdu, 'an unexpected meet-
ing*; Wang Yinuan, 1980, p. 29, aptly cites a Chinese four-character
ditto maxim which conveys the same meaning: C. ping shul xiâng féng,
'(of strangers) to meet by chance like patches of drifting duckweed'; cf.
also gSun-mgur, no. 251 and the story of Nor-bzan ('khrab-gzun, p. 31)
where a different simile is used: (When Yid-'phrog-ma was caught with
a lasso) she fell to the ground like a bird being hit by a stone (bya la
rdo phog pa bzin sa la Ihuh).
28b a ma chah ma, Madam the wine-seller; cf. G. Tucci, Tibetan Folk Songs,
1949, pp. 34 and 70, n. 112; ibid., 1966, p. 53, n. 113; This Inn-keeper
may often be a courtezan herself or, as here, a match-making lady, cf.
the song reproduced by Duncan, 1961, p. 96; For the important role and
function of a chan ma, cf. bKra-sis dpal-ldan, "gTsan-ron gi chan-gzas",
in Bod kyi rtsom-rig sgyu-rtsal, 1983 (2), pp. 75ff. Cf. also nos. 20 supra,
34 and 61 infra; gSuh-mgur, no. 261; Bod kyi dgay-gias I, p. 15, no. 5;
Bod-rig kyi glu-gzas, p. 22, no. 2 emphasizes the indispensability of a
gnas tshah a ma for the enjoyment of well-tasting beer:
| chart cig éim mhar 'dzoms pa \
 163

I gnas tshan a rna'i chart red j

| gnas tshan a ma med na \
| iim mnar 'dzoms sa ma red \
Cf. also ibid., p. 22, no. 3;
28c The terms Ian chags and bu Ion carry specific connotations; cf. G. Tucci,
1966, p. 148, no. 4 and G. Tucci & W. Heissig, Die Religionen Tibets und
der Mongolei, p. 200; D. Lichter & L. Epstein, "Irony in Tibetan Notions
of the Good Life", p. 254, n. 19: Ian chags: a vengeful retribution.
The phrase Ian chags bu Ion is lexically defined as "a debt required
to be paid later as an indemnity or a compensation for bad karman
accumulated previously" (shar bsags las nan gyi skyin tshab phyis 'jal
dgos pa'i bu Ion; Bod-rgya tshig-mdzod chen-mo, p. 2759). The debt
(bu Ion) retributionally to be paid: the dire consequence for two lovers
can only be an illegitimate child, the fruit of forbidden love. The term
bu Ion, loan or debt, contains a pun, since the etymology connotes the
sense of 'getting or procuring a child', cf. also the variant reading in
ed. K: phrulg] gu. Cf. similarly a sample which signals the same dire
consequences (rkyen chags byuh) besetting a girl: a child; Norbu's Coll
III, no. 65. On Ian chags, cf. also Bod kyi dga'-gzas II, p. 16, no. 5.

28d The words 'tsho sky oh is a synonymic compound consisting of two verbs,
which mean to provide ignan) 'the livelihood', or 'the subsistence' for
rearing or sustaining a child.

• Clearly, the poem tells its own story about the possible dire fruits of
the risky jeu interdite of two lovers. The ineluctable karmic retribution
of extramarital intimacy is here anticipated to bear fruit: the birth of
a child. Rather, perhaps, than actually anticipating this outcome of
his acknowledged adultery, the poet probably signals to the lady Inn-
keeper and the putative brothel mistress, the accomplice concerting the
fatal tryst with a random lover, t h a t she must take her share of the
guilt and defray the factual costs hailing from the amorous assigna-
tion. Is the poet here trying to abscond his just retribution ? Or is he
merely voicing—facing a blatant outcry of slander—-his inability openly
to acknowledge his indiscreet vice, a flagrant breach on decorum and
morality for the person in question, the Sixth Dalai Lama, the alleged
epitome of virtue? The poem would appear to be liable to more construc-
tions, relative to the interpretation of the figures behind the sweetheart,
the wine-seller and what may be disguised behind the retribution of the
ill-fated liaison. Xiao Diyan, sBrah-char, 1988 (2), pp. 62-3, not sur-
prisingly, dismantles in his interpretation the simile of the contingent
encounter and sees in the bird a self-portrayal of the poet, in the stone
a symbol of the Qosot chief and then interprétâtes the sweetheart as
164

an euphemism for the relationship between these two. The wine-seller,

further, is then either seen as an envoy ipho na) commissioned by the
Chinese emperor (goh ma) Kangxi or is seen to symbolize the represen-
tatives {'thus mi), the abbots, of the Three Pillars of the Tibetan state
(se 'bras dga3). Construed accordingly, the envoy, Xiao Diyan argues, on
behalf of the emperor, and the abbots of the three principal monasteries
are here allegedly mediating {bar 'dum byas) in the skirmish between
the God-king and the Qosot chief. The poem then should supposedly
carry an admonition voiced by the God-king to the effect that if a reg-
ular strife {'khrug zih) ensued, the above-mentioned mediators should
carry the responsibility for the collapse. In my view, certainly, a slippery
interpretation. To be sure, as if anticipating any upcoming criticism,
Xiao, to strengthen his point, rounds off his analysis by the general
contention that while reading the songs of Tshans-dbyans rgya-mtsho,
one cannot avoid acquiring the impression of profundity in the meaning
behind the lyrics and that the poet himself, despite his young age, was
a personage wide in thought and invested with a refined intuitive acu-
men for policy {tshahs dbyahs rgya mtsho mchog gi mgur glu de tsho
klog dus yid la go don sin tu zab pa'i tshor snah byuh ba dan \ khon nid
sku na phra y an dgohs pa rgya eher bzes thub ein \ srid don gyi rtogs
pa mtho ba'i skye bo zig yin no).
 165

29

I snin gtam pha m a r m a bsad |

j chun 'dris byams par bsad pas |
j byams pa sva pho m a n nas |
j gsari gtam dgra bos go son |

Intimate talk is not confided to father and mother,

Is but entrusted to one's beloved, known from childhood;
Yet from my lover's many [wooing] stags
My foes get wind of my secret affairs.

29a pha mar BEFHIJ : gzan la K;

29b 'dris EFHIJK : 'bris B;
29c pa BEHIJK : par F; éva [ego] : sa BEFHIJ : éar K;
29d gsan EFHIJ : bsah B : snin K;

29a The term snin gtam, like the synonym in line 4, gsah gtam, carries
the sense of intimate or confidential talk (= chags tshig, 'dod gtam)
and such heart language or discours amoureux are an euphemism for
love-making; cf. e.g. M. Tatz, The Tibet Journal, IV (4), p. 29, n. 27
quoting Snyder, Tshig kyag. Often snin gtam [bead I sod pa], the word
of love, is complemented by tshig gsum, the 'three words of love', cf.
no. 11 supra and no. 40 infra; gSun-mgur, nos. 24, 70, 114, 312, 326;
Bod kyi dga'-gias I, p. 12, no. 1; p. 105, no. 4; p. 106, no. 1; p. 119,
no. 2; p. 122, no. 5; Bod kyi glu-gias, p. 78, no. 1; Bod-rigs kyi glu-gias,
p. 3 1 , nos. 3-4; p. 58, no. 4. Cf. finally no. 30 infra. Cf. also the story
of Prince Nor-bzan: 'khrab-gzun, pp. 17, 59, 67.
29b chun 'dris byams pa, cf. no. 12 supra.
29c The stag (éva pho) here symbolizes a wooer or a suitor, somewhat like
our *buck', literally as well as figuratively. Cf. e.g. gSun-mgur, nos. 51,
77, where this kind of suitor is depicted to pursue girls.
29d The term gsan gtam is synonymous with snin gtam, cf. supra.

• A poem voicing a bitterness which stems from the dearth of discretion.

The disloyalty displayed by a fickle lover is likely to cause waves of
malicious slander (mi kha) to sweep all over. Intimate talk and love
declarations are utterances so private and personal t h a t they are even
kept away from the ears of one's parents. All the more so, the utmost
caution must be observed by anyone indulging in secret and improper
166

liaisons. The frustrated, almost fatalistic note in which it is couched,

is accounted for when we appreciate the scrape in which the poet finds
himself caught: His foes will get wind of his clandestine escapade(s)
from an indiscrete and volatile lover.
This miniature drama may yield different tentative interpretations,
provided again t h a t an identification of the historical figures behind
the cast in the play can be satisfactorily settled. In all likelihood the
poem, as so often before, mirrors a play about the eternal triangle, in
the God-king's case, involving himself, the ambitious Regent and the
power-seeking Qosot general, perhaps occasionally staging the Chinese
emperor Kangxi also. Behind the 'parents' we may find the lofty and
unapproachable emperor in disguise, the parents of the entire politi-
cal game, at best kept in the dark about trifling or delicate matters;
the crucial 'love declarations', kept strictly intimate and naturally of
a private nature, we may perhaps see as an ill-veiled euphemism for
the God-king's political or temporal aspirations or, equally feasible, as a
kenning for his pronounced propensity for non-dogmatic (i.e. non-dGe-
lugs-pa), esoteric doctrines, here reflecting an inveterate predilection
t h a t possibly hails from his ancestral rNin-ma-pa background. The
^beloved sweetheart', the trite co-actor t h a t plays a leading role in his
dramatic or telling poems, can only be depicting the ubiquitous Regent,
with whom the young God-king had a high-strung 'love-hate' relation-
ship fraught with ambivalence and with whom he would run the gamut
of emotions. The plethora of wooing 'stags' would arguably be a de-
piction (dpe), and adequately so, of some rivals of his, perhaps some
malicious figures or fractions envious of his high position. Cf. also Xiao
Diyan, sBrah-char, 1988 (2), pp. 63-4.
 167

30

I snin thub yid 'phrog lha mo |

j rnon pa ran gis zin kyan |
j dban chen mi yi dpon po |
j nor bzari rgyal bus 'phrogs son |

My sweetheart, the Mind-Captivating Goddess

(Yid-'phrog lha-mo)
Was trapped by me, the hunter -
But a powerful Ruler of Man
Prince Nor-bzah stole her away.

30a thub ABCDEGHIJ : thug F : sdug K;

30b rah gis CG : ha ras ABEFHIJK : ha rah D;
30c yi ACDEFGHIJK : yis B;
30d rgyal bus CG : rgya lus ABFHIJK : rgyal po D : rgyal bo E;
'phrogs CEG : 'phrog ABDFHIJK;

30a This poem reflects an interesting tradition. Here is evidence to the

effect t h a t Tshan-dbyans rgya-mtsho took a keen interest in opera and
theatrical drama plays.
The song mentions the three protagonists of the ancient Buddhist
jätaka, or birth-story, denoted Sudhana. Based on this ancient story, to
be found in various versions in the canonical and extra-canonical liter-
ature, the Tibetans have developed a theatrical drama play (a Ice lha
mo) (already recorded in Deb-ther dpyid kyi rgyal-mo'i glu-dbyahs by the
Fifth Dalai Lama, cf. Wang Yao, Tibetan Opera, p. 42 and his "Tibetan
Operatic Themes", pp. 93-4). As said, it is originally based upon a birth-
story found in the Bhaisajyavastu-section of the Mülasarvästiväda-Vi-
naya (cf. TTPE Vol. 41 (GE) 190a-206b; corresponding to N. Dutt,
Gilgit Manuscripts, Vol. Ill, 1, pp. 99-108) and upon a versified adap-
tation of the canonical tale incorporated into the celebrated collection
Bodhisattvävadänakalpalatä (Byah-chub sems-pa'i rtogs-pa brjod-pa'i
dPag-bsam 'khri-sih) composed by the Kashmirian poet Ksemendra
(written A.D. 1052, translated into Tibetan in the 12th cent.). The Ti-
betan adaptation of this celebrated story, however, is attributed to a cer-
tain Tshe-riri dban-'dus, the madman (smyon pa) of sDins-chen, a con-
temporary of the Sixth Dalai Lama, who, inspired by the above stories,
compiled a popular biographical story denoted Chos-rgyal Nor-bzah (full
title: Chos kyi rgyal-po Nor-bu bzah-po'i rnam-thar phyogs-bsgrigs byas-
pa thos-chuh yid kyi dga'-ston; 218 folios; cf. Stein, Recherches, p. 38;
168

Dharamsala ed. 1985, pp. 1-378), a poetical piece of literature replete

with folksongs, versified and prose dialogues as well as popular lyrics.
But this extended story for the play was often reduced somewhat into
a script play (an abbreviated version of the extended play; cf. the script
denoted: Zlos gar lha mo baï 'khrab giuri). This adapted Tibetan opera
play is generally known to the Tibetans under the title Chos-rgyal Nor-
bzah or 'Prince Nor-bzah's Romance'. The script (giuh, lit. main text)
for the theatrical play Nor-bu bzan-po has recently been published in
Tibetan in full in the book Yar-kluh bkra-sis zol-pa'i lha-mo'i 'khrab-
giuh (Bod-ljons mi-dmans dpe-skrun-khan, 1987, pp. 1-74, incl. 26 ill.
from the play). The script consists in the main of textual sections for
the various alternate arias (mam thar) to be delivered by the different
actors.
Briefly stated, the plot runs as follows:

King Nor-can (or Nor-chen; Dhana) lived once upon a time in the
Northern Kingdom lNa-ldan[-pa] (also mNa'-ldan, sNags-ldan,
Paficäla). His rule was in accordance with the law and the coun-
try was rich and prosperous because of the wise counsel given
by a serpent spirit Nâga (klu). In a Southern Kingdom INa-ldan
(also Rigs-ldan[-pa]; Pancâla), on the contrary, a king ruled in
discordance with law, so that in his coutry was ridden by famine
and drought. Once the king of the southern kingdom Sag-pa
gzon-nu sent a magician (shags pa) sBrul-nag-'dzin to the north-
ern kingdom to catch the nâga, A hunter (rhon pa) named sPan-
legs 'dzin-pa (also sPan-leb byin-pa, Phalaka) succoured and
saved the Näga-king mlkho-mo klu-rgyal from the impending
danger. As a token of gratitude the hunter received a precious
magic lasso Cthe effective lasso', don yod zags pa, nor bu don
yod zags pa, amoghapâêa) with which he caught the Goddess
Yid-'phrog lha-mo (the 'Mind-Captivating Goddess', a heavenly
fairy (mi'am ci mo, kinnarl), also Yîd-'phrog-ma, Manoharä). Ad-
vised by a hermit (draft sron, rsi) named bsTan-'dzin bzan-po,
the hunter was urged to offer her as a gift to Prince Nor-[bu]
bzan[-po] (Sudhana), the son of King Nor-chen (Dhana) who
in turn eventually married her. The couple lived happily, but
soon the prince's 500 concubines and courtezans grew jealous of
the new-comer, the cynosure of all eyes. Assisted by the court-
sorcerer (mchod gnas, a mchod, sgyu ma mkhan) Ha-ri, they
schemed in concert to put Yid-'phrog lha-mo to death after the
sorcerer had persuaded the old king to send the prince far away
to participate in a war. Moved by piety, the old queen, mother
to the prince, felt sympathy for the young kinnarï-Goddess and
helped her to escape the impending danger, and—being of a su-
 169

pernatural origin—she flew off to her heavenly abode. When

Nor-bzan returned home victoriously from war, he found out
that Yid-'phrog-ma had left for her native gandharva palace.
Beset with grief and rage, he quickly decided, despite persistent
objections by the entire court, to search for his beloved. He set
out on a toilsome journey and eventually succeeded in tracing
the beloved Yid-'phrog. The story ends with the happy reunion
of the loving couple.

Scrutinizing the canonical tales, the story (rnam-thar) and the opera
script ('khrab giuh) of Nor-bu bzan-po, it becomes evident that this
play may have had a major impact on Tshans-dbyans rgya-mtsho, pro-
vided again that the present song cycle is positively ascribable to the
young God-king. How are we otherwise to account for the occurence
of a striking number of words, phrases, dialogues and incidences in
the play, which, albeit employed disparately, would be seen to have in-
spired the young God-king throughout the present song collection. This
alleged inspiration is naturally not, aside from the present poem, a di-
rect one, but may, as said, arguably account for the poet's wide use of a
number of idioms, phrases, themes and episodes, which we have found
embedded in the poems. Aside again, of course, from the present poem
and from a number of scattered references to be found in the different
songs, we may briefly add from the life story and the play: rnam-thar
(Dharamsala ed.), pp. 70-87, 103-05; 'khrab gzuh, pp. 22-297: When
the hunter is offered a precious object (nor bu, mani) as a token of grat-
itude, it causes him some difficulties when trying to evaluate (nor [bu]
flams mdzad) which type is the most appropriate; this may be alluded
to in the following poem no. 31; rnam-thar, p. 89ff, 112ff; 'khrab giun,
pp. 25, 33-34, 37: when the brave hunter (stobs Idan mon pa), urged
by the hermit, realized that his caste was too low (rigs nan, a hunter
is a slaughter of living creatures) to have Yid-'phrog, herself of divine
origin, for wife (gtan grogs, grogs), he finally conceded to tender her
to Prince Nor-bzari, comparing the girl to a precious head-ornament
(gtsug rgyan nor bu'i do éal); this may be alluded to in poem no. 26
supra; rnam-thar, p. 163; 'khrab-gzuh, pp. 29, 59: It is related e.g. how
the Princess' face (zal ras) is comparable to the bright and beaming
fullmoon (dkar gsal bco lha'i zla ba ear ba), a clear echo of song no. 1
supra; rnam-thar, passim mention e.g. the terms tshig gsum, snin gtam
and éa tsha'i snin gtam; similar terms occur in the poems nos. 11, 27,
29; 'khrab gzuh, p. 31: When describing how he with the magical lasso
(don yod zags pa) caught Yid-'phrog, he explains that she, having been
seized by the lasso, fell to the ground like a bird having been hit by a
stone (bya la rdo phog pa biin sa la Ihun); this simile, though some-
what different in the wording, may faintly be hinted at in song no. 28;
170

rnam-thar, pp. 160-61, 214; 'khrab giuh, p. 42 briefly relates about the
old king, the father of king Nor-bzan, and how he went to his court
sorcerer (bla mchod) to have him interpretate (mo cha (= phyva) eu)
some bad omens and portents in his dreams; the wording may faintly
be alluded to in song no. 33; rnam-thar, pp. 174—175, 'khrab gzuh, p. 20,
60: The enemies of the Buddhist teachings (sans rgyas bstan pa'i dgra
bo) are briefly mentioned, cf. the poems nos. 39, 45; 'khrab giuh, p. 54
talks about a mda' mo tsha bo which lands on the girl, cf. song no. 59;
rnam-thar, p. 227; 'khrab giuh, pp. 53-54 quotes a dpe which describes
how a thrush is treathened by a hawk in a willow grove to illustrate
how Yid-'phrog herself is surrounded by a host of concubines and court
concubines who colluded to put her to death:
| lean glin 'di tsho rgya khra hor pa yis bskor yod
j byi'u 'jol mo kho la 'gro sa e 'dug blta yon \
and
lean glin 'di tsho rgya [= skya] khra hor pa yis bskor byun
'jol mo mi sdod spen ma'i nags gseb la chas 'gro
This simile and this setting is clearly employed in song no. 62 in-
fra. Sources: A. von Schiefner, Tibetan Tales derived from Indian
Sources, tr. into English by W.R.S. Ralston (Broadway Translations),
London, 1882, pp. 44-74; The Mahävastu, II, pp. 91-111; Chavannes,
Cinq cents contes et apologues, (no. 80) IV, p. 133ff; S. Ch. Das &
H. M. Vidyäbhüsana (eds.), Bodhisattvävadänakalpalatä, 2 vols., Bibl.
Indica (pallava 64), 1888-1913; H.W. Bailey, ' T h e Sudhana poem of
rddhiprabhäva", BSOAS, XXIX, 1966, pp. 506-532; P. S. Jaini, "The
Story of Sudhana and Manoharä. An Analysis of the texts and the
Borobudur Reliefs", BSOAS, XXIX, 1966, pp. 533-558; D. Schlingloff,
"Prince Sudhana and the Rinnan", Indologica Taurinensia, I, 1973,
pp. 155-67; J a m p a Losang Panglung, Erzählstoffe des Mülasarvästi-
väda-Vmaya Analysiert auf Grund der Tibetischen Übersetzung, Stu-
dia Philologica Buddhica, Monograph Series III, pp. 39-40; Waddell,
Lamaism, pp. 551-13; R. Stein, Recherches sur l'épopée et le barde au
Tibet, pp. 38, 296-97; Damdinsureng, "The Sixth Dalai Lama", The
Tibet Journal, VI (4), 1981, pp. 32-36; Wang Yao, "Tibetan Operatic
Themes", in Soundings in Tibetan Civilization, pp. 86-96; Wang Yao,
Tales from Tibetan Opera, pp. 42-72.
For the term snin thub, heart-throb, sweetheart, inamorata, etc., cf.
no. 4 supra.
The hypocorism or soubriquet Yid-'phrog lha-mo or Yid-'phrog-ma,
playing the role of an ingénue in the drama, is apparently a name
which has gone down in Tibetan folksong tradition as a sort of genre
designation, cf. Duncan, 1961, pp. 92-8; The name is a much-cherished
 171

figure in various songs taking their inspiration from the plot. gÉas-
tshig phyogs-bsdus, p. 147, no. 1, e.g. relates how a turquoise[-coloured]
ladder is required when someone wants to ascend a mountain of gold.
Similarly, the magical rope don yod iags pa is required when someone
[or the hunter] wanted to seize Yid-'phrog lha-mo:
I gser gyi ri la 'dzegs par \
| gyu yi skas 'dzegs dgos kyi \
j yid 'phrog lha mo 'dzin par \
| don yod tags pa dgos kyi \
Oft-occuring synonymic variants for Yid-'phrog lha-mo are Yid-'phrog
dban-mo or Yid-'dzin dban-mo, Yîd-ldan lha-mo, cf. e.g. gSuh-mgur,
nos. 63, 89, 418, 436, where these names throughout designate a young
girl. Another gzas admonishes a girl, called Yid-'phrog dban-mo, not to
be too gloomy, if she waits patiently, a time for a rendezvous is certain
to come. Here the poem is inspired by the drama play where Yid-'phrog
lha-mo had to wait so long for her prince; Bod-rigs kyi glu-gias, p. 5 1 ,
no. 4:
| bu mo yid 'phrog dbah mo \
| bsam pa sdug sdug mi dgos \
j ga le ga le gyis dan \
j thug pa'i dus gcig ear yon \
Cf. also Norbu's Coll III, no. 66.
30b The reading ran gis and rgyal bus in 30d also are the literary forms,
which have been retained here as the proper orthographical readings.
However, the reading ha ras as also rgya lu in 30d are the colloquial
forms which should be considered equally 'correct' as they more ad-
equately reflect the oral tradition which lies behind the song cycle.
Moreover, the forms ha ra and rgya lu are found in the 'khrab giuh,
respectively on p. 34 and p. 8.
30c The story (rnam-thar, pp. 197, 281) and the script ('khrab-gzuh, p. 38)
to Prince Nor-bzan repeatedly designates him by the metonyms dbah
chen mi yi dpon po and mi dpon, the all-mighty lord of men.
The term mi dpon designated in pre-revolutionary Tibet an adminis-
trative official, most likely the magistrate; cf. e.g. L. Petech, Aristocracy
and Government in Tibet, p. 238. Like in song no. 5 supra, we are prob-
ably not dealing with a specific title, but a general designation t h a t
describes an influential person.
30d As already noted above, the form rgya lu may seem preferable; rgya lu
is the oral or spoken form of rgyal bu, the literary and orthographically
correct form. It should be noted, though, t h a t the form rgya lu has
172

gained some orthographical validity, cf. the various lexical compounds

in Bod-rgya tshig-mdzod chen-mo, p. 538. Both 'phrog and 'phrogs are
plausible readings.

• This poem is a companion piece to the next poems. This and following
three song poems, nos. 30-33 in all, may constitute a logical unity. They
all share a common thematic element: the abrupt loss of one's beloved,
a lovelornness which wound up with a crisis. Moreover, as pointed out
infra, they would also seem to share a common source of inspiration,
however brief the allusion may be, namely sundry scenes borrowed from
the popular story and drama play Chos-rgyal Nor-bzan. This theater-
inspired poem accentuates the young God-king's dilemma. The poem
relates about an abduction or a plain robbery of a girl by a rival lover or
a rival wooer, its plot, as said, borrowed from this well-known Tibetan
operatic play. As the text (rnam-thar, 'khrab gzun) to this play details,
the hunter generously conceded to present the divine Yid-'phrog-ma to
Prince Nor-bzan. Due to his profession the hunter recognized that he
was an ineligible match to the godly, albeit nubile, princess. Identify-
ing himself with the galant and unselfish hunter, the losing part in the
drama as it turned out, and by letting Nor-bzan forcibly deprive him
of his beloved, the poet has perhaps given the story an ironic turn: the
abduction was never willingly acknowledged by the poet. By employing
a pun in the word 'phrog in this epigrammatic poem, the idea of an
abduction is enforced, an act perpetrated, in the poet's eyes, by a per-
sonage endued with considerable power, a challeging suitor or a rival
whose power is more than a match for Tshans-dbyans rgya-mtsho, him-
self seriously hampered in the cockfight by his high position. Clearly
two figures pose as obvious candidates to play the role of Nor-bzan: The
Regent and the Qosot chief lHa-bzan Qan (note, incidentally, in case of
the latter the sharing of the element bzah; a similar device may be ob-
served in song no. 39 infra). The Regent, this complex figure who was
a brilliant scholar and a sly politician, is known to have had a noto-
rious and unmitigated addiction to adultery and womanizing. He led
a promiscuous life, besides the two nobility lady-consorts attended by
him, i.e. the bdag mo of 'Chi-med dga'-tshal and of dPal-rab khan-gsar,
there was no lady from Lhasa or from the provinces that the Regent did
not take up with; cf. Shakabpa, Bod kyi srid-don rgyal-rabs /, p. 488;
Chab-spel, 1987, pp. 301-2, Richardson, 1980, p. 343. If we find the Re-
gent depicted behind the powerful Prince, and there is all good reason
to assume that, wilfully interferring in the young God-king's private
affairs, then we may possibly see the abduction as a prohibitive step,
or, as adduced below, as a deliberate political step devised by the Re-
gent in order firmly to set bounds for the young man. Conducive to an
identification of the Regent, it is worth noting that gSun-mgur, no. 409,
 173

refers to the Regent by the title dpon po.

What remains when construing a viable interpretation of this poem
is an attempt to understand who or what Yid-'phrog may stand for. Lit-
erally as well as metaphorically, clearly, she may quite evidently just
depict a girl of conquering and baffling beauty. But another track of ar-
gumentation is quite feasible. She may be an euphemism for the dual
power (chos srid gnis Idan kyi srid dban), the final religious and tem-
poral authority with which the Dalai Lama institution was invested. It
should be recalled that during the interregnum between the demise of
the Great Fifth and the formal enthronement of the Sixth, the Regent
was in charge of both the temporal affairs (sde srid) and of the religious
affairs of the lamaist state. So she was the trophy in the fight for power
and in the figure of Yid-'phrog lha-mo the mundane and the supramun-
dane sphere of existence would seem to coincide as she pertains partly
to the world of man and partly transcends it. The temporal aspect of
power is aptly articulated in her sensual and sightly beauty, a 'physi-
cal' or worldly inamorata (snin thub) of alluring attraction (yid 'phrog).
She wields a spellbound influence over the young priest-ruler. As an
eluctable memento she reminds him of the worldly privations he was
bound to suffer, first during the semi-imprisonment in his childhood at
mTsho-sna and subsequently in his current cage-like monkish seclu-
sion in the Potala; simultaneously, and paradoxically so, she is a divine
princess (lha mo, lha'i sras mo) also, a god-given 'spiritual' or para-
normal love[r] (snin thub) that evokes the poet's inborn yearning for a
religious and spiritual pursuit. In this light, the hunter, the legitimate
claimant who pursued his own high theocratic position, therefore found
it natural, if possible, to appropriate this dual power inherited in the
highest office of the Tibetan state, a rulership he expected to assume
when he ascended 'the golden throne' in A.D. 1697 as the incumbent.
But his authority proved invalid, as the powerful and self-complacent
Regent, alias Prince Nor-bzan, wilfully barred the young incarnated
priest-ruler from seizing the reins for real and, practically speaking,
usurped ('phrog) the throne, reducing him to a puppet pulled by the
strings. Dispossessed of his mandate for power, therefore, the blatant
declaration in the poem, which voices his rightful, albeit abortive, claim
for power, here serves to articulate the young puppet-ruler's deep frus-
tration with the machinations and imbroglios of politics.
This line of reasoning is partly followed also by Xiao Diyan, sBran-
char, 1988 (2), p. 64, and rGyal-mo 'Brug-pa, "rGyal-ba Tshaiis-dbyans
rgya-mtshor dpyad-pa", Bod-ljons Zib-'jug, 1987 (4), p. 100.
174

31

I nor bu r a n la yod dus |

j nor bu'i nor fiams ma chod |
j nor bu mi la sor dus |
j snin rluri stod la tshahs byun |

Once in possession of a gem so precious

Its value I paid no heed;
When I lost it to another
How my heart was worn down.

31a rah la ABDEFHIJ : ran lag CG : lag nas K; yod ABCDEFGHIJ

: yon K;
31d tshahs CG : tshah ABK : 'tshah DEFHIJ; byuh ABCDEFGHIJ :
son K;

31a The term nor bu often also designates a girl, cf. nos. 1, 3-4 supra; gSuh-
mgur, no. 235. The readings la and lag are both plausible.
31b The term nor [bu] hams ma chod carries the meaning: 'unable to eval-
uate or assess a precious object or a jewel'. The phrase nor hams chod
pa or mdzad pa, thus means to Appreciate or pay heed to the value of
something costly'. Cf. song no. 30 supra.
31d The Tibetan idiom shin rluh stod [la] 'tshah, b u t also shin rluh sloh/lahs
pa carries the sense of'anger (khoh khro, khro ba) (or rarely) melancholy
surging upwards [within a person]'; cf. e.g. dPe-chos rna-ba'i bdud-rtsi,
p. 146 which glosses shin rluh stod 'tshah with khoh khro ches cher
lahs pa, an 'increase in rage or temper'; In Tibetan, when the 'wind
raises' (rluh lahs pa) it means t h a t exitement and temper is going up;
adding the complement shin to rluh, the l i e a r t wind', further qualifies
the idiom by acquiring a mental or emotional bent, i.e. melancholy, etc.
The rluh alludes either to the psychic channels (väyu), as known in the
yogic tradition, or to the breath (dbugs) in the body; The diet, defines
the term rluh 'tshah by the phrase dbugs stod la 'tshah, 'the respiration
went upwards, i.e. increased in intensity, or, phrased differently, it char-
acterizes someone who 'gets hot-tempered or ill-tempered'; stod 'tshah,
moreover, is glossed with tshabs chen lahs: 'to get excited'. The sense of
this idiom is e.g. illustrated in a gzas which relates about the desire to
acquire a blue lotus flower t h a t is found growing on the topmost point
of a boulder: If you try to fetch it, you will find it beyond reach. Leaving
 175

it behind, on the other hand, is bound to instigate frustration!; cf. Bod

kyi dga'-gias I, p. 62, no. 2:
| mthon po'i brag nas 'khruhs pa'i \
j me tog utpala short po \
I len na rnab sa mi 'dug
j bzag na snih rlun slon gis \
Similarly, another gzas provides a simile to illustrate this idiom. Here
the turquoise-coloured bee (cf. no. 7 supra) is seen to collect honey from
the anthers of a blossoming flower; Contrariwise, when the hopeful poet
finally met his beloved, the only thing certain to gather was embittered
rage (stemming, probably, from unrequited or rejected love); cf. ibid.,
p. 98, no. 5:
| me tog ze'u 'bru rgyas nas \
j gyu sbrah sbrah rtsi gsog gis \
j chuh 'dris khyod dan mjal nas \
j stod la sfiih rluh gsog gis |
Cf. also ibid., p. 53, no. 2 and Glu-chuh sna-tshogs, p. 36; 'khrab giuh
of Chos rgyal Nor-bzan, p. 55.
The present poem, in a slightly rephrased and refined form t h a t ap-
pears to owe its provenance to our song-poem, h a s been recorded as a
saying (gtam dpe), cf. Bod-rig-pa'i ched-rtsom gces-bsdus, p. 7:
| nor bu rah la yod dus |
j nor bu'i nor nams ma chod \
j nor bu gzan la sor dus \
j nor bu'i nor nams chod son \

• The poem should, as said, be read in conjunction with the previous

piece. The precious jewel (nor bu, mani) t h a t was lost to another person
can in this context logically only refer to the dearly beloved (snih thub)
princess Yid-'phrog, the prize initially won by the brave h u n t e r (rhon
pa), only to lose it to a mighty lord of men. Aside from this evident
allusion the poem should also be conceived in a more general sense.
The songs nos. 3 and 4 supra provide samples of how a beloved is par-
alleled, when not identified with a jewel. Further, as it will emerge
from the cognate gtam dpe cited above, the rage and frustration t h a t
beset, or rather haunted, the poet, when he was involuntarily alienated
his dearly beloved, appears to involve a strong sense of repentance and
belated annoyance, which, as is known, is often a concurrent feeling to
irritation and rage. But basically the song carries a note of dejection.
The present poem has clearly borrowed its setting, similar to the
previous poem, from the same drama play, but taken from another scene
176

than the overall plot. In the drama play the nor bu, the costly object
in question refers to the magical lasso (nor bu don yod iags pa), with
which the Mind-Captivating Goddess was eventually captured.
The poem mourns a deprivation or a rejection, which the poet would
appear to have brought upon himself. Belatedly, he realized the irre-
vocable loss he incurred upon himself, when he failed to pay adequate
heed to the valuable object, a girl of choice, while it was safely in his
possession. Lovelorn and suffering from the pangs of love, the poet has
couched his heart's bereavement in a resignedly gloomy note.
Like above, we may also take another departure: the jewel may depict
the much-coveted political power, for which a historical interpretation is
required. Once in possession of the final temporal authority would then
logically imply that the previous embodiment, the Great Fifth Dalai
Lama (1617-1682 A.D.), once exerted full authority over the lamaist
state. Being deprived of the power in the present embodiment {yah
srid), the Sixth, losing it to another figure, signals that the wily Re-
gent, who all along vied complacently for power, opportunely usurped
the reins of power during the interregnum already stage-managed by
himself. And subsequently, when the young God-king assumed the age
of majority, the Regent demonstrated a conspicuous reluctance to relin-
quish his hard-won and long-acquainted grip of power.
If authentical, it is in fact a strike of genius, that Tshans-dbyans rgya-
mtsho so deftly has employed the drama of Nor-bzan story to illustrate
the political drama of his personal life. His jealousy, his unbridled
impatience, and his frustration with a life in confinement set in scene by
a Regent, who himself led a hypocritical double life, all find expression
in these poems, in which the poet signally voices his defeat.
 177

32

I ran la dga' ba'i byams pa |

j gzan la mdun m a r blans son |
j khoh nan sems pa'i gcori gis |
| lus po'i éa yah bskams son |

My lover, who grew so fond of me

Has been taken as wife of another;
A [heart-rending] depression from deep within
My corporeal flesh so emaciated!

32b gyi ABCDFGHIJ : gyis E; mdun ABCDGHIJ : 'dun EF;

32c khoh nah CG : khog nan AD : khog nad BEFHIJ; gcoh ACDEF-
GHIJ : con B;
32d bskams CEG : skam ADFHI : rgam B : skom J;

32a For the term hyams pa, cf. nos. 7 and 12 supra. Observe the antithesis
ran vs. gzan in 32ab. For 32a cf. gSuh-mgur, no. 136.
32b For the term mdun ma, cf. no. 3 supra.
32c This line would seem to juxtapose two non-technical terms for diseases
t h a t are almost synonymous: khog nad and sems gcoh. The term sems
Ipa'i] gcoh designates an unbearable mental suffering of a chronic na-
ture (sems nan du mi bzod pa'i sdug bshal Hag tu gnas pa) according
to the lexical definition; i.e. mental consumption or endogenous depres-
sion. Being almost synonymous (khog nad (khog [pa] = khoh = sems)
and khoh nad = khoh gcoh) and despite the fact t h a t the majority of
recensions endorses the reading khog nad, I prefer the reading khoh
nan, here conceived as a complement to sems gcoh or understood in the
sense 'from the innermost part' or 'in the bowels'. Cf. also no. 66 infra.
32d Depression, from whatever cause it may arise, may consume or emaci-
ate the body. Technically, it seems to refer to tuberculosis of some sort,
but, as Duncan, op. cit., p. 126, n. 418, rightly points out, it is pro-
bably a sort of washed-out condition t h a t affects a lover, when he found
himself rejected or when love is unrequited. The lack of appetite or
lassitude, which are often concomitants of a dejected heart, will further
cause bodily consumption.
Witness agtas describing an amowr-inflicted depression or consump-
tion—the ensuing body colour may be so conspicuous t h a t it claims our
178

attention; cf. Bod kyi dga'-gias J, p. 128, no. 5 = Bod kyi dga'-gias II,
p. 67, no. 3:
| sems gcoh byams pas beug pa'i |
j lus po'i mdog la gzigs dan \
| lus la na tsha med pa'i \
j rgas lugs 'di la gzigs dan \

• The present poem may arguably pursue the theme already introduced
in the previous two poems. The pangs of love and the bereavement of
Yid-'phrog lha-mo, we may imagine, inflict upon the hunter a mental
and physical emaciation. Read more generally, the poem continues to
tell the dramatic story of [a] vanished love[r]. Whether the abandoned
poet can ascribe his woeful appearance to self-inflicted reprobation by
his byams pa, whether it is caused by her voluntary elopement, by
unrequited love or may result from an involuntary abandonment on
the side of the poet, who himself was forced to take this step by his
high and delicate position that dictated him the ideal deportment of
a vowed monk in secluded celibacy, his wizened health was the forfeit
he dearly paid for his liaison[s]. As a poetical device, we know, the
means of exaggeration is here employed to strengthen his point; what
is meant, in all likelihood, is that the poor poet was just sick of love.
Yet, this piece of lyrical cri-de-cœur is found to be couched in a concrete
tone.
If a figurative layer is susceptible of being gleaned from this poem, a
departure in interpretation would, in my eyes, hardly deviate from the
one employed in the previous lyrical pieces: The beloved girl (byams pa)
is an euphemism for the dual power (chos srid gnis Idan, lugs gnis), a
relation to which resembles the poet's ambivalent rapport to his beloved,
with whom, we may already have seen, he had a bond of attachment
regularly alternating with one of detachment. In the present case there
is no mixed feelings, however, the political power which [once ?] was
dearly appreciated or assessed, at least prior to its actual seizure, the
poet now found wedded to another (the sDe-srid) powerful figure. Re-
duced to a puppet, the void he furiously felt had a damaging impact on
his mood and his body.
 179

33

I snin thub r k u la sor son |

I mo phyva rtsis *bul r a n son |
I bu mo gduri sems can m a |
j rmi lam n a n la 'khor son |

My sweetheart has been lost by stealth;

The time is ripe for the seer to perform the divination:
For this passionate girl
Has invaded my dreams.

33a thub ABCDEGHIJ : thug F; rku ABCEFGHIJ : sku D; la ABODE-

FGHI : ma J;
33b phyva E U : phya CDG : cha ABFH;
33c nan [omit. B] la ABCDGHIJ : la yah EF; son ABCDEGHIJ :
byuh F;

33a For the term snin thub, cf. nos. 4, 28, 30 supra. For 33a, cf. also gSuh-
mgur, no. 83; The loss of the girl by stealth (rku) clearly alludes to the
'phrog or abduct(ing) act in song no. 30 supra,
33b For the terms mo phyva, mo or lot-divination and rtsis, astrology or cal-
culation, cf. Nebesky-Wojkowitz, Oracles and Demons of Tibet, pp. 455fF.;
For the requirement of mo or lot, luh or permission and rtsis, astrolog-
ical calculation (of the compatibility of their birth data between two
prospective lovers) in connection with Tibetan marriage tradition, cf.
T. Skorupski & C. Cech, "Major Tibetan Life Cycle Events—Birth and
Marriage Ceremonies", Kailash, vol. XI (1984), nr. 1-2, p. 26. Although
in a different context, see the reference to mo phy[v]a in the story of
Nor-bzan, cf. ad no. 30 supra,
33c Some previous translators and commentators, e.g. Houston, Richards
and van Heurck, have understood the phrase dun sems to stand for
a 'conch (dun dkar)-white heart' = sincerity, candidness etc., thus also
Das' Diet. p. 629; The application of the conch may here possibly hail
from one of the four classes which women are divided into according to
the Indian Ars amandi, the 'conch-type of woman' (éahkhinï, dun can
ma); cf. e.g. S. Lienhard, Ratirahasya, Geheimnisse der Liebeskunst,
p. 34. The reading dun sems would seem to find further support in
lexical entries such as dun ne ba = sems brtse dun he ba; dun dun
= sems brtse, which all carry the sense of love and affection. How-
ever, the correct form is invariably gduh sems = brtse sems, byams brtse
180

from gdun ba, which means 'to love' (or a noun, love), 'to desire' (or
desire), 'to be passionate' (or passion), etc., but may also mean the op-
posite, 'yearning', 'pain', 'grief, 'pangs'. The adjective [gldun sems can
ma, applied to a woman, therefore indicates an "affectionate", "loving",
"good-hearted" or, perhaps preferable here, "passionate" woman. Cf.
gSun-mgur, nos. 88, 142.
33d For 33cd cf. e.g. gSuh-mgur, no. 142. The haunted memory (of a girl)
in the dreams, does it entail sleepless nights ?, cf. analogously nos. 1
and 6 supra.

• The poem prosecutes the theme dealt with in the three previous
pieces. The involuntary abduction of his beloved-—is t h a t a self-excused
cover-up for a flat refusal by the girl ?—has here prompted the poet
to seek help from the soothsayers (mo mkhan, mo pa) to assist him,
through divinatory forecasts and prognostication, in acquiring know-
ledge about the lost girl's whereabouts and to forecast his own chances
of any future assignations with her. His urge to involve divinatory cal-
culation is strongly felt, as images and recollections of the girl h a u n t
him in his dreams. Similar to the previous samples, this poem is also
written in a meekly unfatalistic tone, as if the poet from the outset had
come to terms with the ineluctable and impartial workings of karman.
In line with the three previous poems, the veiled topic which contin-
ues to vex the mind of the sorely tried poet is most likely also here the
political and official power (srid dban), still euphemistically coated as
an inamorata and a girl, t h a t unlawfully had been stolen or abducted by
the Regent. By calling in the assistance of astrologers and soothsayers
the poet has added the story an ironic bent: The Regent himself was,
inter alia, the putative (albeit questionable, cf. E. Gene Smith, 1970,
pp. 18-19) author of several major astrological works, e.g. the Vai-dürya
dkar-po. Here evidently the poet attempts to interpret or to gain fore-
knowledge about omens and foreboding signs (lias) which emerge in his
dreams (rmi lam).
 181

34

I bu mor 'chi ba med n a |

j chan la 'dzad pa mi 'dug
j gzon pa'i gtan gyi skyabs gnas |
j 'di la bcol bas los chog

If only the girl does not pass away

Liquor will flow evermore,
Indeed I shall allow myself to appoint her
My perennial haven of youth.

34a mor ABCDFGHI : mo EJK;

34b la ABCEFGHIJK : pa D; 'dzad ACDEFGHIJ : mdzad BK;
34c pa'i ABCDEFGHIK igyi'i [sic] J;gtan CDEGHIK : brten F : brtan
A : bstan [added in H as var. read.] B \gtam J;gyi CDEFGHIJK
: gyis AB;

34a The girl referred to in 34ab probably alludes to the chart ma in no. 20
and/or the gnas mo in no. 61.
34b For 34b, cf. Bod kyi dga'-gzas I, p. 105, no. 6 = gTam-dpe, p. 148, no. 1.
34c Here there is a word play on skyabs gnas, refugium, haven or asylum
with the Buddhist concept of refuge (éarana, skyabs), the Triple Gem,
Trisarana. Cf. gSuh-mgur, nos. 420 and 437. Also note the pun on
gtanlbrtanlbstan.
34d The demonstrative pronomen 'di here refers to the bu mo, in whom the
poet seeks refuge.

• A poem on youthful affection. The poet is apparently sanguine t h a t

a merry life will prevail, if the girl would only baffle death. By wishing
the girl immortality, the poet probably just wish t h a t the girl would
be around. It hardly alludes to a superhuman origin of the girl, like
in no. 20 supra, where the chan ma was conceived as a 'supernatural
däkint. Nevertheless, the poet intends to make her an eternal refugium
where his carousal and revelry would be secured. The girl alluded to
here may be the beer-girl found described elsewhere in the collection:
This inn-keeper, often a courtezan herself and her tavern often function-
ing as a brothel, is here made the asylum of the poet. With this allusion
he manages deftly to make the inn a pendant to the Trisarana of the
Buddhist lore. If the girl (bu mo) in this poem refers to the gnas mo in
182

no. 61 infra, we may also there have an allusion to the triple refuges,
as the three tiny steps, described in no. 61, would signal the three steps
in seeking refuge. Clearly, his amorous pursuit is here paralleled with
a religious pursuit.
Reading a deeper level into the poem is optional. In the light of the
above overt hint to the Buddhist refuges and provided a valid identifica-
tion of the girl in the poem should prove feasible, an allusive reading is
possible. Recalling the fact that his yearning for love and the struggle
for his rightful claim for power constituted the two foremost important,
and mutually incongruous, objectives in his life, it is tempting, and ev-
idently appropriate, to see in the girl a trite euphemism for the poet's
quest for the dual-sided political power. This reading is equally en-
dorsed by Xiao Diyan, sBran-char, 1988 (2), pp. 64-5. In which case
the poem should be read as an unswerving dedication to this quest for
power. But this reading still exposes some unaccountable loose ends.
Perhaps the girl of the tavern, a mine of endless revelry and consolation
to the poet, is just employed to portray an ever-present alternative to
his religious refuge.
 183

35

I bu mo a m a r m a skyes |
| k h a m bu'i sin la skyes sam |
j a gsar zad pa k h a m bu'i |
j me tog de las mgyogs pa |

Is t h a t girl to a mother born ?

Or did she spring from a peach tree ?
Her fickleness changes faster
Than a peach's flowers ever wither.

35a mar ABCEFGHIJK : ma D;

35b la ABDEFHIJ : las CGK;
35c zad pa ABCDEFGHIJ : yal ba K:
35d de [om. B] las [added in H as alt. read.] ABCDGK : las kyan
EFH : las ni IJ; mgyogs ABCDEFGHIJ : 'gyog K; pa CEFGIJK :
pas ABDH;

35a It should be noted t h a t this song is made up by nos. 68a and 67bcd in
recension K The term 'not born to a mother' (a mar ma skyes) does not
signal t h a t the girl is of a non-human origin, cf. above, b u t t h a t the girl
is so indecent and abnormal, the poet contends, as if she adheres to a
non-human race; cf. similarly next poem. Cf. also no. 1 supra.
35b The reading las is equally plausible. The peach (kham bu), cf. no. 5
supra.
35c The idiom a gsar zad pa, 'the enthusiasm for [a] new [thing] has ex-
hausted [to be replaced by a new enthusiasm etc. ad infinitum]', is
a phrase frequently employed in Tibetan to denote the fickleness, the
volatility and the whims, the fiigacity or the levity (a gsar can pa) of a
person, in the main, but not exclusively, a property applicable to women.
Apparently, in its Tibetan garb, it reflects the dictum of Horace varium
et mutabile semper femina.
The Tibetan popular lyrical tradition can supply us with a number of
samples which testifies to the use of this idiom. gSuh-mgur, no. 32, for
instance, illustrates a sweetheart's fickleness, or her constant change,
with the sere leaves of a flower. Bod kyi dga'-g&as / , p. 75, no. 5 =
Glu-chuh sna-tshogs, p. 4 provides us with a pejorative portrayal of a
volatile lover. Although she is pretty, there is no chance (nan, or danger,
nen) t h a t she will ever become a life-long companion. It is similar with
184

a meadow flower, it may be handsome, but it will only blossom for one
single day:
| span gi me tog mdzes kyah \
j zag geig sad kyi 'og red \
j a gsar chuh 'dris mdzes kyah \
j gtan grogs nan sa mi 'dug
Cf. further ibid., p. 49, no. 5; p. 100, no. 6; Bod kyi dga'-gias II,
p. 29, no. 2 = gZas-tshig phyogs-bsdus, p. 117, no. 4; Bod kyi glu-gias,
p. 153, no. 1; sDe-dge'i dmahs-glu, p. 110, no.2; Norbu's Coll III, no. 52;
Snyder, Tshig kyag, nos. 67 & 69, mentioned by Tatz, The Tibet Journal,
VI (4), 1981, p. 29, no. 33. This idiom on the chopping and changing
nature of a female is e.g. aptly rendered into Chinese by a well-known
four-character idiom zhâosân mùsi, 'morning three, evening four', cf.
Zhuang Jing, 1981b, p. 22.
35d The variant reading las kyah is equally feasible. On the same theme,
cf. also gSuh-mgur, nos. 4, 61.

• This and the following two poems are companion pieces. A poem on
the frustration over a beloved's infidelity and whimsical nature. Fur-
ther, it is a poem on the transient nature of human existence. Her
behaviour is of such a nature that the poet voices, poetically speaking,
some doubts as to her true provenance. By comparing the evanescence
of her every whim with the ditto withering (yal ba) of flowers growing
on the peach tree (itself a symbol of love, cf. no. 5 supra), the poet aptly
portrays his unfulfilled and unrequited yearning for love. The buoyant
girl may not be human. Quite prosaically, the poet here clearly refers to
a girl in flesh and blood, but it may be worth noting t h a t when read as a
companion piece to the former stanza, her questionable h u m a n extrac-
tion could be a reference to the supernatural däkinl, already introduced
in no. 20 supra. The poem nevertheless carries a tone of surprise and
disappointment.
Expecting an allusive message in this poem is again hinged upon an
identification of the key figure in his lyrics, the girl, the source of hap-
piness and sorrow in the poet's life. This trite figure would appear to
proffer more than one interpretation. Most readily, this light-hearted
and capricious damsel is a perfect euphemism for the vicissitudes {'pho
'gyur) and the vexing imbroglios t h a t engulfed his well-nigh ill-starred
struggle for power. Inconceivably, the centrifugal force of politics in
which the poet found himself incarcerated, accelerated the political sit-
uation to change quicker, the poet could find every reason to say, than
any deciduous phase in nature.
Equally feasible is a construction where we replace the girl with the
fickle Regent.
 185

36

I bu mo chun 'dris byams pa |

j spyan ki'i rigs rgyud min nam |
I sa 'dris lpags 'dris byun yan |
j ri la yar grabs mdzad kyis |

Does my lover, the girl I have known from childhood,

Descend from the race of wolves ?
Though she can avail herself of [me]—flesh and bones,
She is ever ready to head for the hills !

36a 'dris ACDEFGHIJK : 'bris B;

36b ki'i BDEFHIJK : kyi'i CG : gi'e [sic] A; rgyud ABDEFHK : brgyud
CGIJ;
36c 'dris...'dris ACDFGHIJ : 'gris...'gris B : 'dres...'dres EH :
sgrig...sgrig F : 'breL.'brel K; lpags ADEHK : pags FIJ : spag
BCG; yah CEGIJ : kyan ABDFHK;
36d yar ABDGHIJK : yol C : sor E F [added in H as alt. read.]; grabs
CDEFGHIJ : grab ABK; mdzad ABCDEGHIJK : byed F; kyis
AGIJ : kyi C : gis BEH : gi K : do D;

36a For the term chun 'dris byams pa, the long-acquainted lover; cf. no. 12
supra.
36b The wolf (spyah ki, Skt. îhâmrga, vrka; M. cino-a; C. lang; Canis lupus),
a large predatory mammal t h a t resembles the related dog. The Tibetan
ri khyi, the 'mountain dog* or the 'wild dog' is a kenning for the wolf.
Cf. e.g. the Gesar Epic, III, fol. 36a, 64b, ed. R. Stein, 1956.
The conjunctive and interrogative particle (tshig phrad) namf here
used rhetorically, is a specific poetical figure, t h a t technically is denoted
rab rtog sgra, and is a form of the rab Hog gi rgyan, the poetical figure
of imagination, cf. Dun-dkar, sNan-hag la 'jug-tshul tshig-rgyan rig-pa9i
sgo-'byed, pp. 334-338.
36c The idiom sa 'dris lpags 'dris, 'to get acquainted with/accustomed to
flesh and skin' clearly conceals a pun. Line 36c reads: Though the
wolf (like the girl) came to be acquainted with/accustomed to (wolf: fed,
tamed, cf. no. 48 infra) the flesh and the skin [of the poet] (wolf: fodder;
the girl: to know somebody intimately). The variant readings bring this
equivocal sense forth: the almost-homophonic variants 'dres and 'brel,
in addition to the correct 'dris—correct because of the corresponding
in 36a, connote the same, and intentionally so. But these verbs
186

are probably far to strong likely to have been used by the poet. The
explicit phrase for bodily intimacy is sku lus 'dres pa and lus po 'brel;
cf. gSuh-mgur, no. 341; Bod kyi dga'-gzas /, p. 14, no. 2; p. 22, no. 6;
p. 56, no. 6. Cf. also Norbu's Coll I, no. 40: the flesh (éa) and bone (rus
pa) of the girl as a sign of intimacy.
The damsel's wolfish appetite for intimacy and for corporeal acquain-
tance, however short-lived it may be, is here deftly illustrated by the
behaviour of a lone wolf, a redoubtable and fierce h u n t e r ceaselessly
questing for a prey to devour. Having satiated herself with the prey,
meat, hide and all, the Canis lupus, faithful to its nature, immediately
withdraws to its protective seclusion in the mountains. The volatile
girl in the wolf's clothing displays a similar conduct: Indulging her-
self in short-lived affairs, emotionally and amorously devouring her
paramour—flesh and bones, she sets off, true to her capricious nature,
with a new lover. Wang Yinuan, for instance, when translating this
idiom into Chinese, proceeds a step further and opines t h a t this idiom
connotes 'falling in love and living together'; cf. 1980, p. 37, C. xiângài
tôngjû; cf. similarly, Zhuang Jing, 1981b, p. 22, who renders the line
'already a married couple or conjugal companions', C. luânchôu. This
rendering is probably suggested in order to enforce the contrast drawn
up in the poem, but the contrast is one which should hail from intimacy
not from matrimony. This idiom thus exclusively connotes the sense of
bodily intimacy.
The variant readingpags is equally plausible; the reading spag shows
a garbled orthography.
36d The variant reading éor for yar is equally plausible.

© The poem speaks about a blatant rejection. It aptly voices the poet's
frustration over his long-acquainted beloved's infidelity. The lupine girl,
a vixen of sorts in disguise, proved whimsical and unreliable. Despite
the fact t h a t the poet submitted himself wholeheartedly to the wilful
girl skin and all, she eventually rejoined by abandoning him.
As said, it should be read along with the previous and the subsequent
poem.
In conjunction with the above poem, a deeper sense in this poem is
hinged upon an identification of the wolfish girl. One or two solutions—
again tentative—leap to the fore: The wilful girl, in the guise of a greedy
wolf, may make up a befitting depiction of the fierce and rapacious
aspects t h a t characterize the brute political struggle he was faced with.
Or, it may simply illustrate the ambitious and shifty Regent, i.e. his
greed for power and his unpredictability Xiao Diyan, sBran-char, 1988
(2), p. 66-7, here sees the Qosot chief lHa-bzan Qan depicted as well
as the troublesome, dismal situation t h a t characterized the struggle
 187

between the two fractions headed by the Regent and the Mongolian
Lord.
188

37

I r t a rgod ri la rgyab pa |
| rni daii zags pas zin gyis |
| byams pa no log rgyab pa |
| m t h u no zin pa mi 'dug

Wild horse let loose on the mountain pastures

May be caught with traps and lasso;
Turning her back on me,
Not even magic schemes would hold back my lover.

37a rgod BCDEFGHIJK : rgad A; la DEFG : yar ABHIJK; rgyab pa

ABCGHIJK : sor kyan E F : sor y an D;
37b rni ACDEFHIJ : sfii BK : me G; zin ABCEFGHIJK : bzun D;
gyis ACGIJ : gis BHK : chog DEF;
37c pa ABCDEFGHIJ : pa'i K; rgyab ABCDGHIJK : brgyab EF; pa
CGIJ : pas ABEH : pa'i K : na DF;
37d mthu ABDEFHIJ : thugs CGK; pa ABCDEFGHIJ : sa K; mi
ABCDEFHIJK : min G;

37a The terms rta rgod or rta pho denote the wild horse and the stallion. For
rta rgod, cf. e.g. A-M. Blondeau, Matériaux pour l'Étude de l'Hippologie
et de l'Hippiatrie Tibétaines, pp. 198-200. The lyrical Tibetan tradition
abounds in samples on horses, among which a number quite often per-
petuates the impression of the restive wild horse or the proud stallion
in solitary freedom defying docile reins. Nevertheless, the simile of the
wild horse or stallion being caught, is here employed to strengthen the
simile of the rebellious lover that defies control.
Meriting attention are two gias which share some features with the
present poem. In the first the simile is provided saying t h a t a stallion is
always known to return to the owner if it is let loose in the mountains.
Not so with a rebellious beloved, if she turns her back on someone,
rumours "more than the hair on one's body" are bound to follow in her
wake; Bod-rigs kyi glu-gzas, p. 36, no. 1:
| rta pho ri la sor na \
| 'khor ba'i dus gcig yod grags \
j byams pas no log brgyab na \
| bead rgyu spu las man byun \
 189

Similarly, gTam-dpe, p. 137 relates about a wild horse, which has also
been set free high in the mountains; when it h a s been caught by trap
and by lasso, it turns out as a docile stallion:
| rta rgod ri yar rgyab son \
j lean ra'i tshe rin mchog skyid \
| rni daft zags pa[s] bsnams nas \
j rta pho zin pa phebs sog
For additional songs on rta p[h]o, rta rgod and rgod ma, cf. Bod kyi
dga'-gzas I, pp. 54, no. 1-58, no. 3; p. 77, no. 5; Bod kyi dga'-gzas II,
pp. 33, no. 1-^32, no. 5; Bod-rigs kyi glu-gias, pp. 35, no. 1-36, no. 4,
p. 102, nos. 3-4, p. 104, no. 1; cf. also no. 40 infra. 37a, the var. read.
yar rgyab pa is equally plausible.
37b The snare or the trap: rni and sfii are variationes orthographicae and
therefore interchangable. G. E. Combe, A Tibetan on Tibet, op. cit.,
p. 114, provides a description of the way the wild horse is caught by the
Tibetan nomads:

They h u n t the wild horse with guns in winter. A very strong

rope of yak hair, with a heavy stone attached, is lowered through
the ice, which soon freezes round it, leaving a loose end on the
surface. How they catch the horse with this rope I do not know
for certain, for I have never seen it actually done, but I think
t h a t it is in the same manner as they snare muskdeer, t h a t is,
by a loop at the free end: the wild horse steps in the loop and
its efforts to get away only tighten the knot.

Cf. also van Heurck, 1984, p. 105. Note moreover the assonant word
play on rgyab pa in 37b and 37d, a rhyming phenomenon frequently
employed in the Tibetan gias tradition.
37c Tb turn the back on someone (no log rgyab pa), like mgo log, means 'to
rebel', 'oppose' or 'defy' any command.
37d The term m t h u here denotes 'magical power'; cf. e.g. Tucci, Die Religio-
nen Tibets under der Mongolei, pp. 187, 232, 234, 246. Cf. also Wang
Yinuan, 1980, p. 38, C. shénli; Zhuang Jing, 1981b, p. 22, shéntong
fâshù.
Here the sense is conveyed t h a t the rebellious and refractory girl re-
sists having her face (no = bio, mind) caught (zin) even through magical
means (mthu, here = mthus, mthu yis). Phrased differently, the girl re-
sisted or opposed any enduring relation, she was fickle and capricious
(= a gsar can), a theme already touched upon in the two previous po-
ems. Note also the use of no in 37c and 37d, which in both cases denote
t h a t there was no facial contact, a gesture which, similar to the refusal
190

to give a backward glance, cf. no. 10 supra, would carry the sense of a
rejection. The variant reading thugs no zin pa = thugs no[s] 'dzin pa
would mean something between to 'identify' or 'recognize' and to 'catch
the heart'. In other words, here: "not to recognize or being accepted" or
"her heart defied being captured". Without disqualifying a priori this
latter reading, it appears to be less feasible as an original reading.

• In the present poem, which in the first distich or couplet (tshig rkan
sna ma gnis) contains the simile (dpe) employed to illustrate, or as here
to contrast the collateral statement (don, dpe can) presented in the last
distich (tshig rkan phyi ma gnis), the theme of the wilful and whimsi-
cal girl is reiterated. To underpin his message of the girl's rejection of
him, the poet provides an antithesis in which the girl's noncompliance
is contrasted with the taming of an unruly wild horse, a project which
is eventually bound to succeed. But the recalcitrant lover of his defies
all attempts at being bound to the poet's station, even when the poet,
in his propitiatory endeavour, applied the casting of magical spells and
charms (mthu gton ba, mthu 'debs pa, snags). These spells and incan-
tations, when it is not the question of some forceful wonder-working
of black art as described for instance in the life-story of Mi-la ras-pa,
are regularly used to coerce respectively to supplicate some fierce and
redoubtable deities. By using this hyperbolic image, indicating that the
girl surpassed these deities in averting submittance, the love-sick poet
manages to voice the extent of his dejection over lost love.
The girl is perhaps allegorically depicting, similar to the previous
two poems, a figure or an event in the poet's life which was well-nigh
beyond his control. The poem would seem to relate about his long-
sought appropriation of power. Whether the lover (byams pa) depicts
the notion of power itself or she impersonates the Regent, who 'usurped'
(no log, lit. 'revolted') the power or who had the throne (khri) divested
of any real meaning—when not doing so formally then by removing any
executive power from it, the poet in dispair took recourse to magic as
an appropriate rejoinder. But calling in even curses and imprecations
hoping to have some punishment visit the usurping culprit, the bitter
message of the poem tells us that his endeavour was a forlorn hope
as the reins or the seat of real power continued to remain beyond his
resumption.
 191

38

I brag dan rlun po bsdebs nas |

j rgod po'i sgro la gzan byun |
j gyo can rdzu bag can gyis |
| na la gzan po byas byun |

Rock and wind kept tryst

To abrade the vulture's plumage;
People fraught with intriques and deceptive schemes
Fray me to the very bone.

38a po ABCDEGHIJK : bu F; bsdebs CEGIJ : sdebs ABDFH : 'thab

K;
38b rgod BCDEFGHIJK : rgad A; gzan CEHIJK :gzen G : zan ABDF;
byun ABCDEFGHIJ : gis K;
38c rdzu ABCDEFHIJK : dzu G; gyis ABCDEFGHIJ : de K;
38d gzan CEGHIJK : zan ABDF; po ACDFGHIJK : pos BE;

38a The rendering 'kept tryst' is a free translation of the absolutive bsdebs
nas, 'having combined or united'.
38b The carnivorous vulture (rgod po, by a rgod; Skt. bhâsa, grdhra; M. yolo,
sablar; C. zào diäö) is a bird of prey; often it is confounded with the bya
rgyal rgod po, the eagle (go ba), the king of the birds; cf. Stein, 1959,
p. 365 et passim, where it is even equated with the garuda (khyun), the
fabulous phoenix. Now, by the term garuda is quite often in Indian lit-
erature meant the 'Golden Eagle' (Aquila chrysaetos) or the 'Himalayan
Griffon Vulture' (Gyps himalayensis). With the rgodpo the reference is
clearly to the vulture (fam. Aegypiidae. Cathartidae), be it the white-
backed Bengal vulture (Gyps bengalensis; Skt. bhâsa, éakuni) or the
Long-billed vulture (Gyps indicus; Skt. grdhra, éakuni). The fierce rep-
utation this raptorial and predatory species has earned world-wide, is
only partly applicable to the Tibetan concept of this bird. The bird
of 'wildness' (rgod), as is known, plays its own role in the Tibetan fu-
neral 'open-air' rites, popularly known as the 'sky-burial', where they
are summoned ('bod) to devour the corpses (ro za ba) of the deceased.
Cf. e.g. Nebesky-Wojkowitz, Oracles and Demons of Tibet, p. 488. Its
epithets are the 'space-circler' (mkha' la 'khor), 'souring high in the air'
(nam 'phah spyod byed), the 'long-flyer' (rin fphur) and the 'wind-walker'
(rlun spyod). But the special carnivorous function as a 'heavenly scav-
enger' t h a t perpetually lurks for a prey, remains the hallmark of this
192

bird. Cf. also the samples of gias on this bird in Bod kyi dga'-gias I,
p. 24, nos. 4 - 5 . Cf. also Norbu's Coll I, no. 45; / / , no. 10. Cf. Dave,
Birds in Sanskrit Literature, pp. 188-197.
In the poetical tradition two species of the vulture regularly occur.
One tradition speaks about the Lord of the Birds (bya rje), the 'white-
plain vulture' than dkar rgodpo; cf. Norbu's Coll. II, no. 21; / / / , nos. 32,
62; it occurs also in the Gesar cycle, cf. Pema Tsering, 1979, p. 173.
Another tradition introduces the vulture lha rgyal tshe rin, cf. gSun-
mgur, no. 365; Bod kyi dga'-gzas I, p. 93, no. 1 = gZas-tshig phyogs-
bsdus, p. 126, no. 2.
More importantly, the perching of a vulture on a high rock (brag stod)
is often employed as a simile of conjugal relation and mating (bza' mi
sdeb); cf. e.g. the story (rnam-thar) of Prince Nor-bzah, p. 196 and no. 9
supra.
The phrase gzan byuh, as gzan po byas in 38d, carries etymologically
the sense of consumation, devouring, but are mostly employed in a
figurative sense: gzan pa (verb), 'to harm', 'to torment', 'to wear out' (=
gnod pa, mnar ba); gzan po (adj.), 'to be harmful', 'tormenting 7 , 'cruel',
'worn-out', etc. The threadbareness may be physical as well as mental,
as here in 38b: 'to abrade the plumage' or, as in 38d, 'to fret on one's
nerves' or 'to fray one to the bone'. A gzas, Bod kyi dga'-gzas I, p. 107,
no. 1, for instance, contains the phrase siïih la gzan pa, 'to devour the
heart' or 'to rend the heart apart', which here means 'to cause mental
anguish and real distress'. Cf. similarly 'Brug-pa Kun-legs' biography
(Stein, 1972, pp. 257-59; 1973, fol. 99b-100b) where the phrases snih
la gzan and sems la gzan occur repeatedly.
38c The adj. gyo can (Skt. éâthya, vita) and rdzu bag can (Skt. dambhin),
denote some personages t h a t are characterized by dishonesty, deceit-
fulness, pretense or are endued with crafty intrigues. Cf. also no. 55
infra.
38d Cf. 38b. Here "to cause or make (byas) the poet [feel] worn-out [or
down-broken]."

• A poignant and epigrammatic poem. The simile (dpe) of the vulture

with the galled plumage, accruing from its involuntary encounter with
a sweeping gale and the solid rocks, provides here an apt illustration
of the poet's (dpe can) own exasperating predicament. The vulture is
clearly a self-portrait. He is surrounded by a coterie of personages who
are all fraught with deceptive schemes and falsehood. It frets on his
nerves and eventually wore him down.
Is the underlying theme presented here (the bereavement of) love ?
The union of the vulture perching and nesting on its protecting rock,
as alluded to by the simile from Nor-bzah's story above, is a picture of
 193

mating (bza* mi sdeb). When the gale intermeddled in the idyllic sce-
nario and swept the rocky place bare, the victim was the vulture. But
the poem's embittered quibble is more likely of a political nature. The
poem may even call for a tentative historical interpretation. The wear
and tear of his physical and mental constitution, caused by being inces-
santly embroiled in the enervating political skirmishes and imbroglios,
eventually earned him a dejected heart. The person(s) plotting deceit
and fraud in the poet's dramatic life would most readily be played by the
Regent and his colluding coterie. They had perpetrated his long anony-
mous semi-confinement at mTsho-sna in Southern Tibet from A.D. 1685
to 1697, shrouded in secrecy. Moreover, they had contrived to keep the
former yah srid's demise in the dark for an even longer period. Being
duly installed on the throne in the Potala, the Regent nevertheless con-
tinued on behalf of the legitimate God-king to keep a firm grip on the
reins of power by various crafty means. Dispossessed of any genuine
authority, the poet, greatly disillusioned (thugs la phog thug chert po
byun), here finds an appropriate, even sardonic outlet for his depressive
(yi mug) and sullen mood (ie skyo ba'i bsam pa iig skyes pa). Chab-spel
too, 1987, pp. 296-97, 300-1, commenting on this poem, reads the poem
accordingly. He also attempts to identify the intriguing and deceitful
circle of lay nobilities in the sDe-srid's pay: mDa'-dpon dGa'-chags-pa,
Dar-byun-nas, Druri-yig bsTan-'dzin dban-po, A-pho INa-'dzoms. What
Chab-spel has in mind by mentioning these figures merits considera-
tion. The present song may possibly allude to a certain historical event
known from the young ruler's life: The above mentioned sons of the no-
bility constituted the group of attendants that the Regent appointed to
"look after" the unexperienced young God-king. Fearing that Tshans-
dbyans rgya-mtsho would come to know the ways of the world from
people not sanctioned by the officious Regent, the latter at one point
decided to do away (med pa bcos) with a nobleman called [mJThar-
rgyas-nas, who it was thought wielded some unwholesome influence on
the God-king. The above group of officials, complying with the Regent's
behest, plotted to eliminate him while he was returning from archery
one evening. But the attempt failed because the Dalai Lama and his
corterie of trusted friend had occasionally assumed the habit of exchang-
ing cloth. Out of confusion, the servant to [m]Thar-rgyas-nas therefore
fell victim to the assassins' knifes. When the mistake subsequently was
realized, [m]Thar-rgyas-nas in turn was stuck too, but apparently sur-
vived. Tshans-dbyaiis rgya-mtsho decided in haste to reveal the culprits
and, aided by an oracle, the above plotters were identified and later all
met their death by execusion. Cf. Shakabpa, Tibet: A Political History,
pp. 129-130; Bod kyi srid-don rgyal-rabs /, pp. 477-80, 495; Chab-spel,
1987, pp. 296-97; Aris, Hidden Treasures and Secret Lives, pp. 160-61.
Does the poem allude to this event ? And again, would the poem, aside
194

from, or perhaps instead of, the above interpretations, signal a woeful

reaction to the dearth of discretion by a dejected poet ? Some obtrusive
and double-dealing 'friends' of his, when not direct rivals, would betray
his clandestine escapades. When two formidable natural forces collude,
the free and solitary bird is bound to contract severe blows. If this the-
ory is tenable, a similar theme is touched upon in other songs too, cf.
no. 29 supra and nos. 50 and 52 infra.
Xiao Diyan, with unfailing resourcefulness, sBrah-char, 1988 (2),
pp. 67-8, construes 'the rock* and 'the wind' occuring in this poem as
figurative epithets illustrating the adamant Regent and the Qosot Qan
respectively, incessantly embroiled in their strife for power. The vulture
here represents, Xiao further asserts, the Buddhist religion {chos lugs),
the victim of the two combatants. Cf. also Don-grub-rgyal, mGur-gluï
lo-rgyus, p. 195.
 195

39

I sprin pa k h a ser gtiri nag

| sad dan se ra'i gzi m a |
| ban de skya min ser min |
| sans rgyas bstan pa'i dgra bo |

Yellow on surface, but all black within,

A cloud, source of frost and hail:
A saint savant, neither clad lay-white nor yellow,
Is a foe to Buddha's teaching.

39a ser ABCDEGHIK : sor J;

39b dan omit. B; ser ba'i DHIJK : se[r BE] ra'i ABCEG; gii
ACDEGHIJK : ii B;
39c ban de CDGHI : bande K: ban dhe ABE : bandhe J; min
ACDEGHIJK : man B;

39a The employment of terms containing an antithesis or rather an oppo-

sition (kha, surface versus gtin, depth) is much cherished, cf. e.g. next
poem. A number of opposite pairs are found in Tibetan:
surface (kha) vs. depth (gtin)
exterior (kha) vs. interior (khoglkhoh)
face (kha) vs. foot (zabs)
face (kha) vs. heart/essence (snih)
front (kha) vs. rear (rgyab)
mouth (kha) vs. hand (lag)
exterior (phyi) vs. interior (nan)

These opposite pairs are not infrequently supplemented with quali-

fying complements:
white (dkar) vs. black (nag)
soft ('jam) vs. rough (rtsub)
sharp (tsha) vs. soft ('jam)
harmonious (mthun) vs. disharmonious Cgal)
etc.
These antonymic pairs and terms most regularly collocate into quadri-
syllabic idioms or compound words (tshig sdud), in itself a distinctive
196

feature of Tibetan word-formation. Thus we encounter, relying our-

selves here on dPe-chos rna-ba'i bdud-rtsi, pp. 19-32, idioms and say-
ings (gtam dpe) such as kha dkar gtin nag: lit. 'a white [sur]face but
a black interior'; this idiom is defined as: 'although one's face is mild
and beams with smiling white teeth (= consent); the interior or the
mind/heart is fiendish and black (= discord)'; further idioms: kha 'jam
gtin rtsub, 'soft face, but rough depth'; identical meaning; kha snan
(or nan) khoh rtsub, 'a sweet face, but a rough interior'; identical; kha
mthun khog 'gal. 'an agreeable face, but an opposing interior'; id.; kha
tsha khog 'jam; id.; kha ian rgyab chad; id.; kha ze rgyab 'gal: id.; kha
yod lag med: id.; kha gyo khog skuh: id.
Grosso modo, these antonymic idioms all purport the same, viz. that
of double play, the display of a double face or deceit. This also holds
true for the present idiom: The cloud is yellow on the outside, but all
black within; a similar double nature is applied to a beloved girl (snin
sdug), cf. gSuh-mgur, no. 71. Compare similarly the idiom no 'dzum gtin
gnag = kha 'dzum sems gnag, carrying an identical sense. Incidentally,
would the opposition yellow (ser) and black (nag) also allude to the
Yellow Church (Zva ser, dGe lugs pa) versus some practice of black
art?

39b The variationes orthographicae se ra, ser ra and ser ba for hail are all
equally feasible. Note moreover the obvious assonant word play on ser
(yellow), sad (frost) and ser/se[r] ra (hail) in 39abc, as they are pro-
nounced almost alike in Lhasa-Tibetan. I would not attempt to see any
allusion to Sera Monastery here. For a brief essay on the nature and
colour of clouds (sprin) according to Tibetan belief and the appropriate
apotropaic rites executed to avoid the emergence of hail (ser) etc.; cf.
Nebesky-Wojkowitz, Oracles and Demons of Tibet, pp. 476-480.

39c The term band[h]e = bandhya = btsun pa = bhadanta, a reverend savant

or an erudite monk = a pundit. A learned clergyman or erudite neither
(mm) layman (skya, mi skya, i.e. white-dressed) nor (min) monk (grva
pa, ser mo ba, yellow-robed). dPe-chos rna-ba'i bdud-rtsi, p. 13, glosses
this quadrisyllabic compound as a sample of asymmetry (ya ma zuh la
dpe bzag), a conjunctive denial of the predicate relating to a subject:
the learned man, if one says he is a layman, he is not; if he is said to be
a monk, he is not (mi skya zer na mi skya min la grva pa zer na grva
pa min pa). Cf. similarly no. 8 supra. This idiom displays a so-called
ABCB structure of modern Tibetan, cf. Zhang Liansheng, "The Phonetic
Structure of ABCB Type Words in Modern Lhasa Tibetan", Soundings
in Tibetan Civilization, pp. 20-34.

39d The enemy of the Buddhist teaching or Buddha's teaching. Worth not-
ing here may be the occurence of this same wording in the story (mam-
 197

thar, pp. 174-75) and script play ('khrab giuh, pp. 20, 60) of the drama-
play of Prince Nor-bzah, cf. no. 30 supra. Naturally, this is out of con-
text with the present poem, but it may represent one of the sources of
inspiration. Cf. also no. 45 infra.

• An allusive poem, in which the poet poignantly proffers a caricature

of a personage in his surroundings with whom he h a d a rapport fraught
with ambivalence. As we attempted to construe in no. 8 supra, where
the dust-storm during winter, a formidable natural force, was arguably
identifiable with the Regent Sans-rgyas rgya-mtsho, we shall also see
this poem as an ill-veiled plaint (sun 'hyin) against the ubiquitous sDe-
srid. The reference to the Regent is also corroborated by the fact t h a t
the first part of his name (sans rgyas) is embedded in 39d (cf. simi-
larly gSun-mgur, nos. 53, 302, 325). The allusion is also striking in
the sense t h a t this 'learned priest' (bandha, bhadanta = btsun pa), the
poem's putative scoff, probably was "the most accomplished lay scholar
Tibet ever produced" (Aris, op. cit., p. 123). By attempting to be both a
layman (which he was) and a prelate (which he was not), he only made
himself the target of ridicule in the poet's eyes, rendering him as a sort
of hypocrite unworthy of upholding any of these positions. Further, as
Aris (ibid., pp. 123-33) and Richardson (1980, pp. 329-46) have deftly
sketched out, Sans-rgyas rgya-mtsho's scholarly as well as his politi-
cal career were closely shaped by the Fifth Dalai Lama and ever since
his appointment as Regent in A.D. 1679, rising from a layman's rank,
the Fifth Dalai Lama, himself a formidable scholar known under the
soubriquet Za-hor gyi bandhe, the learned monk from Zahor (cf. e.g.
Lange, Die Werke des Regenten Sans rgyas rgya mc'o, pp. 109, 121,
139), remained a lasting inspiration and model of imitation to the am-
bitious Regent. A telling illustration of the double life or 'double face'
of the Regent is provided by a than ka which shows him not only as
a great prince receiving an endless flow of visitors t h a t literally show-
ered him with costly gifts, but also depicts him as a religious figure,
an incarnation of 'Jam dpal dbyans; cf. than k a no. 79 reproduced in
Bod kyi Thah-ka (Tibetan Thankas), publ. by Cultural Printing House,
Beijing 1984; cf. also Gene Smith in the Introduction to KongtruVs Ency-
clopaedia of Indo-Tibetan Culture, pp. 18-20; dGe-rgyas-pa bsTan-'dzin
rdo-rje, "sDe-srid sans-rgyas rgya-mtsho'i byun-ba don-bsdus ran-bzin
gsoh-por smras-pa'i gtam", Bod-ljohs zib-'jug, 1985 (2), pp. 36-37; Chab-
spel, 1987, pp. 301-02.
Another clue may be had from the simile (dpe) of the cloud. It was al-
legedly yellow on the outside but black within. It is an open secret t h a t
the Regent, who never took any vows (sdom med pa), found pleasure
in attiring himself in religious robes (na bza' grva chas), outwardly
pretending to lead a monkish life of the dGe-lugs-pa sect, the Yellow
198

Church, while at the same time he entertained no misgivings about

performing black art rites, manifestly originating from the heterodox
Bon school, such as, to cite an example, the use of magical "bombs"
(btso) with the aim to ward off foreign intrusion; cf. the 'outer biog-
raphy* of the Sixth Dalai Lama, fol. 145a-150b, 152a-153a cited Aris,
1988, p. 143; Cf. also Chab-spel, 1987, pp. 301-02; gSun-mgur, no. 53.
In this light it is perhaps not so surprising to see this poem as the poet's
deliberate attempt to scoff sardonically at the Regent as the 'enemy of
the Buddhist religion'!
Van Heurck, 1984, p. 107 and D. Back, 1986, pp. 147-8, and others
with them, contend by contrast that the poem is a portrayal of himself,
the poet sees himself—in a self-rebuking, self-ironic or perhaps just
matter-of-factly manner ?—as a foe to Buddhism. Assuming that the
poem was composed after the poet had relinquished his vows in 1702,
this interpretation of the poet finding himself 'neither a layman nor a
prelate', in other words as if caught in a limbo and in a crisis of identity,
cannot a priori be disqualified. D. Back opines that the poem signals
that to live a layman's life is better than the life of an improper monk,
who furtively indulged in women's company. Chab-spel too, ibid., p. 301,
abstains from rejecting a similar theory. Xiao Diyan finally, sBran-char,
1988 (2), p. 68, attempts to combine the two above interpretations, as
he construes the poem accordingly: The first two lines (tshig rkan sha
ma gnis) depict the Regent and/or the Qosot king, lHa-bzan Qan, the
source of political 'frost' and liai!' to the poet so to say. The last two
lines (tshig rkan phyi ma gnis), par contre, depict the poet himself.
In an ironic coating, he characterizes himself as a foe to Buddhism, a
self-characterisation formulated in response to the Qosot chief's public
denunciation of him as the true (no ma) embodiment of the Fifth Dalai
Lama.
In the latter case, as if the poem still has much in store for us to in-
terpretate, we may tentatively uncover a layer further. Line 39d would
then possibly also signal: The poet is the 'foe to the techings (= lessons,
directives) of sans-rgyas (= Sans-rgyas rgya-mtsho)'; in other words,
the God-king airs his protest against the Regent's strict surveillance of
him, a theme treated in other poems also. Whatever the correct read-
ing, allowing for the first or the second interpretation—or both ?, this
poignant and terse poem itself is a little master-stroke.
 199

40

I sa de k h a zu gtiii Tdiyags |
j r t a pho gton sa m a red |
j gsar 'grogs byams pa'i phyogs su |
j sniii gtam béad sa ma red |

Ground frozen solid beneath

but with a slippery surface
Is no place to loose a stallion;
Casual amorous acquaintances
Are no place for hearty talks.

40a iu CEG : iur ABHIJ : biur F : bius D; 'khyags CDGHIJ : 'khyag

F : khyag AB;
40b gton ABCDEFGH : gtah IJ;
40c gsar 'grogs ACDEGH : gsan grogs F : sah sgrogls B] BIJ;
40d bead ACDEGH : éod F J : éed I : éas B;

40a For the structure of the idiom kha zu gtih 'khyags, '[with] the surface
slippery (zu = 'dred sla ba), but a hard-frozen or solid-frozen bottom',
s.v. 39a. The phrase has entered the Tibetan vocabulary as a dpe chos.
dPe-chos ma-ba'i bdud-rtsi, p. 29, commenting upon an identical idiom,
kha zu zabs 'khyags, cites a stanza from a text Gru (= Dru)-gu go-rdzoh
phab-pa (a section from the Gesar Epic), which similarly provides the
comparison with a stallion racing on a plain with a shaky and boggy
ground to illustrate t h a t an invasion is a risky or a forlorn enterprise:
| than chert kha zu zabs 'khyags la \
j rta phos ban kha nom sa med \
\ rdzon btsan dmag gi rdzig rdzig la \
j bod glih bgrod 'grim phod sa med \
Phrased differently, the idiom indicates t h a t any enterprise is like
"skating on thin ice".
40b The stallion (rta pho), cf. no. 37 supra. For additional samples ofgzas
on rta pho, cf. the ref. under 37a. Worth quoting is a gias, which,
while not a caique upon the present poem then possibly inspired by
it, analogously deprecates intimacy with a casually met lover ('a three-
days guest', cf. no. 25 supra), just as the hilly ridges and valleys are no
place to race a stallion; Bod kyi dga'-gzas I, p. 122, no. 5:
| sa de sgan sgah géohs géon \
200

I rta phos rgyugs sa ma red \

I iag gsum sdod paï mgron po \
j snih gtam êod sa ma red \
Note in all cases the occurence of epistrophe in line b and d. Cf. also
Snyder, 1972, p. 34, racing a swift horse denotes love-making.
40c A new-won acquaintance igsar 'grogs). The variant reading gsan grogs,
secret friend or clandestine acquaintance, would be equally feasible.
40d sriin gtam head (or éod) sa, cf. no. 29 supra.

• A poem in which the indulging in a casual love affair is denounced.

Paraphrased, the simile purports that plunging oneself into some slip-
pery enterprise is inadvisable. The poet professes certain misgivings
as to confide serious love declarations to a casual lover, as true love
in this context has little prospect of success. The beloved is decidedly
whimsical and volatile (= a gsar can). A theme already dealt with in
other songs, e.g. nos. 10, 26, 35-7.
The justification of a figurative interpretation of the poem rests also
in this case entirely with a meaningful reading of the fugacious affair.
The poem appears to be quite spontaneous. If a deeper level of as-
sociation is warranted, the fickle lover may be a perfect guise for the
vicissitudes and political imbroglios in which the poet fell himself in-
carcerated. The poet soon realized that racing across the 'pasture [of
political intrigues]'—the young stallion being a self-portrayal—just was
not his element.
 201

41

I tshes chen bco lna'i zla ba |

j yin pa 'dra ba 'dug ste |
j zla ba'i dkyil gyi ri boh |
j tshe zad tshar nas 'dug go

[Today] would seem like the great day,

[The day] of the fullmoon;
But for the hare in the moon's midst
Its life is going to expire.

41a bco ABCDEFGHIJ : gco B;

41b pa ACDGHI : la B E F J [added H a s alt. read.]; ba ABCDFGHIJ
: bar E;
41d tshar ACDEGH : 'tshahs BFIJ; nas ABCDEFHIJ : ni G;

41a The moon of the fifteenth day of the month, the day (or the night) of
the fullmoon (bco lna'i zla ba, ha gan [zla ba], zla gcig tag ma bco Ina,
Skt. paurnamäsi, pürnamäsa, pürnimä, paurnaml, etc.) is a universal
symbol of love and romance—worldwide. In Indian love lore, as, for
instance, detailed in Kokkoka's Ratirahasya (Section II), the importance
of the moonphases in relation to the Liebesumgang is stipulated. But in
general the fullmoon wields a strong amorous magnetism. In China too,
the moon is a symbol of auspicious and prospective love; cf. e.g. no. 252
in the folksong coll. Shän Ge by the Ming author Feng Menglong (ed.
and tr. by Töpelmann, Münchener Ostasiatische Studien, vol. 9).
The fullmoon as a symbol in Tibetan Ars amatoria is no less impor-
tant. As we have already seen in song no. 1, the fullmoon is probably
the most widely used epitheton ornans and symbol for a girl's face (bu
mo bco lna'i zla ba). They are in fact reciprocal symbols.
We may initially quote a gias on the heart's yearning, a song quite
similar to no. 1. supra. Here the first glances may just stimulate a
recollection (of the moon = the girl's face), but when the moon of the
fifteenth became visible, the girl is perpetually making circles in (i.e.
haunting) the poet's mind; Bod kyi glu-gias, p. 101, no. 1:
| gcig kyah mthoh dus dran byun \
j gnis kyah mthoh dus dran byun \
I bco lna'i zla ba éar dus \
| khyed sems yid la 'khor byun \
202

Anothergias, ibid., p. 105, no. 2, similarly relates about the yearning,

almost impatiently, for the girl. The face of the long-acquainted beloved
resembles the moon of the fifteenth. When the moon (or the month) has
passed away (cf. no. 42 infra), the fifteenth (day) (seems) even longer
(away) than a year:
| chuh 'dris hyams pa'i zal nas (= ras) \
j zla gcig tag ma bco Ina \
j zla ba phar la biag nas \
| bco Ina lo las rih ba \
The loving couple, another gzas depicts, has decided to have a date
on the fifteenth, the auspicious day for love. Evidently, the waxing
fullmoon will bear witness to their nocturnal assignment; cf. Bod-rigs
kyi glu-gias, p. 32, 4:
| chuh 'dris byams pa ha ghis \
j bco lhar 'dzom chad biag yod \
j yar tshes bco lha'i zla ba \
I goh du dpah po btsugs yod \
The nocturnal scenario of the fullmoon is thus closely associated with
the prospect of love. The main feature of the fullmoon is that it shines
all through the night, whereby it provides the ideal and romantic setting
for enduring love. Or, as it is said in one of the ballads of the hero in
the Gesar cycle, when the fullmoon beams there is no place for sleeping;
cf. Kaschewsky, 1985, p. 606; Witness a gzas in which the fullmoon
is supplicated to stay visible all through the night. Similarly, if the
'eternal friend' (cf. no. 26 supra) has committed herself to a troth (of
faithfulness), the poet expresses the wish that their karmic prospects
(of love) be calculated; cf. Glu-chuh sna-tshogs, p. 12-13:
| bco lha'i zla ba yin na \
| rntshan mo 'khyol ba gnah dan \
| gtan grogs dam tshig yod na \
j las 'bras rtsis rogs gnah dan \
The combination of the fullmoon, the beaming white moon on the
great day of the fifteenth, and a happy (lasting) life with the develop-
ment of the physical body, is stipulated in another song; cf. Bod kyi
dga'-gias II, p. 55, no. 4 = gZas-tshig phyogs-bsdus, p. 146, no. 4 =
gSuh-mgur, no. 199 (cum van led.) :
| zla ba dkar po yon 'dra \
j tshes chen bco lha'i zla ba \
| gnas bzod bde po yon 'dra \
j da Ita dbah po yar skyes \
 203

Worth quoting also is a kind of repartee song (tshig rgyag), which

aims at either testing the knowledge of others, scoffing at or exposing
faults with others, etc. Here the answer is given that the reason why
the moon has not appeared is due to the presence of Râhu {zla 'dzin,
candragraha, the capturer of the moon; the eclipse of the moon) on the
island of the ogresses (râksasïdvîpa; Ceylon); cf. mGur-glu'i lo-rgyus,
p. 2 1 :
| dkar gsal bco Ina'i zla ba \
| mi ear rgyu mtshan ci yin \
j nub phyogs srin po'i glin na \
j zla dzin yod pa min nam \
Two other gzas add further circumstances to the imagery and role
of the fullmoon. In the first sample the amorous poet was moonstruck
by the beams of the fullmoon during a moonlit night; but (before long)
black clouds intervened and destroyed the harmony. The subsequent
poem is praising a girl's fidelity and serenity. By employing the simile of
the fullmoon, he aptly apppreciates the girl's mental serenity: the moon
on the fifteenth is more white than a conch; but the girl's thoughts are
even more white (= pure = serene and fidel) than the (whitest) fullmoon;
Bod-rigs kyi glu-gias, p. 63, nos. 1-2:
| tshes pa bco Ina'i zla ba \
j zla zer ha la phog byuh |
j sprin pa nag log gcig gis \
I de la bar chad brgyab byuh \

| tshes pa bco lha'i zla ba \

j zla ba duh las dkar son \
j bu mo rah gi bsam pa \
\ bio sems de las dkar son \
In the Gesar cycle also, the face of 'Brug-mo (the lady of the hero
Gesar) is likened to the conch(-white) moon of the fifteenth day; cf.
Kaschewsky, 1985, p. 601.
In fact, the number of gzas dedicated this much-cherished symbol is
legion indeed, suffice it to enumerate: Bod kyi dga'-gzas /, p. 117, no. 6
= gZas-tshig phyogs-bsdus, p. 99, no. 3; ibid., p. 119, no. 3; p. 125, no. 4;
Bod kyi dga'-gias II, p. 70, no. 1; gTam-dpe9 p. 122, no. 4; p. 143, no. 1;
Bod-rigs kyi glu-gzas, p. 29, no. 1 = Bod-rigs kyi dmahs-glu, p. 252;
p. 32, no.4, p. 63, no. 2; sDe-dge'i dmahs-glu, p. 90, n. 1; p. 91, no. 2;
p. 108, no. 2; Bod kyi la-gzas, pp. 258-9; gSuh-mgur, nos. 187, 199, 202;
the rnam-thar of Prince Nor-bzan, p. 163.
Another salient aspect concerning the moon merits attention. The
shifting configuration of the waxing and waning moon during its phases
204

is a symbol of transcience. This is e.g. clear from Sa-skya Pandita's

Subhäsitaratnanidhi, no. 207, where the image of the waning of the
moon after having passed its full (zla ba ha bar gyur nas 'bri), i.e. its
cyclic nature, is employed to illustrate fickleness and inconsistency.
41b The verbal linking form yin pa 'dra means "to suppose, to seem"; cf.
Losang Thonden, Modern Tibetan Language I, p. 52-3, though it is
there dealt with in final position. Contextually, the idea is that the day
not only appears like the fifteenth day, the great day of the fullmoon,
but actually is that very day. Note, moreover, the use of 'dug in 41b
and 4 Id, indicating factuality.
41c The hare in the middle of the moon (zla ba'i dkyil kyi ri boh).
In India the moon (candra, indu) is considered the abode of a hare,
to such an extent that the most salient metonymikon for the moon,
even from the Vedic days, is the Tiare-faced' (éaéimukha, êaêï) or the
Tiare-marked' {éaêâhka, éaéalaksana). According to Indian mythology
the moon of the mythical hare is also considered a receptacle of the
divine beverage, the amrta or ambrosial nectar of immortality. To this
place the gods usually went to drink from this divine elixir with which
the gods preserved their youth.
In a more specific Buddhist context, we may also draw attention to a
legend about a hare and the moon. Buddha was in one of his previous
rebirths a hare. In order to test his generosity, Sakra once descended
from heaven and presented himself to the hare in the garb of a brahmin
requesting some nourishment from him. Immediately the hare offered
itself as a repast. It placed itself in the middle of a fire, but flames would
do no harm and finally Sakra revealed his true identity. To commemo-
rate the generosity of the hare, Sakra drew a figure of the hare on the
moon; cf. Commararaswamy/Nivedita, Myths of the Hindus and Bud-
dhists, 1913 (repr. 1967), pp. 257-58, also mentioned by van Heurck,
1984, p. 109; cf. also analogously, The Sasajätäka (no. 316), cf. Fausböll,
The Jätaka, PTS ed. vol. Ill, pp. 51-56; Bodhisattvâvadânakalpalatâ
(no. 104); L. Aisdorf, "Sasa-Jätaka und Sasa-avadäna", WZKSO, V,
1961, pp. 1-17; D. Schlingloff, "Das Sasa-Jätaka", WZKSO, XV, 1971,
pp. 57-67; J. Gonda, Religionen Indiens II, 1960, p. 259; J. Varenne,
Sources Orientales, V, p. 233 quoting e.g. Svetäsvatara-Upanisad, 2, 11;
Pancatantra III, 2.
In China too, we find mythological notions about a moon-hare (yuètù)
residing in the moon, or rather in the moon-palace (yuègong), a myth-
ical hare (the old hare, the jade hare, tù er yé, yùtù) incessantly pre-
occupied with preparing the elixir of immortality. In Chinese folklore
this hare is normally the objext of worship during the moon-feast, the
year's greatest fullmoon (the fifteenth day of the eighth month in au-
tumn). On this evening, considered by the Chinese to be the clearest
 205

evening in the lunar calender, a singular chance is offered them to

catch a glimpse of the hare. For that reason this evening is always
regarded as particularly auspicious; cf. e.g. C.A.S. Williams, Outlines
of Chinese Symbolism, pp. 242—45; W. Eberhard, Folktales of China,
1965, pp. 227-8; W. Eberhard, The Local Cultures of South and East
China, 1968, p. 46ff.; W. Eberhard, Lexikon chinesischer Symbole, 1983,
pp. 125, 197-98; E.T. Chalmers Werner, Dictionary of Chinese Mythol-
ogy, 1961, pp. 320, 418-19; old sources such as Tiânwén ondLônghéng
are quoted to that effect; B. Karlgren, "Legends and Cults in Ancient
China", The Museum of Far Eastern Antiquities, Bulletin No. 18, 1946,
p. 269; O. Mänchen-Helfen, "Herakles in China", Studia Orientalia, ed.
Societas Orientalis Fennica, vol. VII, 1935, p. 32.
Throughout Central-Asia and Eurasia, it finally should be mentioned,
the hare has earned the symbolic value as a goddess of fertility; cf.
Käthe U. Köhlami, "Die Brave Schwester, die böse Schwester under der
weiße Hase", in W. Heissig, Fragen der Mongolischen Heldendichtung
Teil III, Asiatische Forschungen 91, 1985, p. 118, n. 9.
Markedly influenced by these prevailing ideas the Tibetans too har-
bour similar notions about a prudent and favour-bestowing hare, hence
its popular name Blo-ldan ses-rab, residing on the moon. Witness a
number ofgzas which give us a general idea of this phenomenon. In
the first song, sometimes employed as an equivocal repartee song (tshig
rgyag gi gzas), is related how the hare's ears (am chog, ma cog) grow
long during the ascending note (zla stod) of the moon and how its tail
(mjug ma, gzu gu) shortens during the descending note {zla smad) of
the moon, cf. Norbu's Coll. I, no. 5 = Bod kyi dga'-gzas I, p. 9, no. 1 =
Snyder, 1972, p. 28:
| dkar gsal zla ba'i dkyil gyi \
j ri boh bio Idan ées rab \
j zla stod am chog rih la \
j zla smad mjug ma thuh ba \
In a parallel song, equally praising the prudent hare (bio Idan ées
rab), it is admonished to follow (with its beaming round of white light)
his beloved wherever she goes; Bod-rigs kyi glu-gzas, p. 2, no. 4 = "Bod-
rigs kyi dmans-gzas", p. 252 = Duncan, 1961, p. 81 (cum van led.):
| dkar gsal zla ba'i dkyil la \
j ri bon blo Idan ses rab \
j byams pa gan 'gro sa la \
j mun pa sel rogs gnan daft \
Finally, this hare (= the moon) evokes a recollection of the "white
round" (= the face) of his beloved rising from the east, cf. no. 1 supra,
pregnant with an unexpected but auspicious encounter; cf. Norbu's Coll.
206

77, no. 34 = Bod kyi dga'-gias I, p. 118, no. 3 = gTam-dpe, p. 123, no. 1
= Bod kyi glu-gias, p. 140, no. 2 (cum var. led):
| éar nas zla ba éar byun \
I dkar po'i sgor sgor éar byun \
j ri bon bio Idan ses rab \
j ma bsam yul nas mjal byun \
For a similar poem, cf. Duncan, 1961, p. 81. A 'sharp-witted white
hare' (bio gsal ri boh dkar lu) also occurs in the Glih Gesar Epic, al-
though it remains to be determined whether it is associated with the
moon or not; cf. Pema Tsering, 1979, p. 173. In the Subhäsitaratnanidhi
by Sa-skya Pandita we also have a legs bead on a shrewd hare (ri boh
bio Idan), cf. no! 87, ed. J.E. Bosson, 1969, p. 218. In fact, the crafty
hare is well-known to the Tibetans from animal fables, cf. R. Stein,
Tibetan Civilization, p. 269.
Not directly pertinent to the moon-related hare is an epigrammatic
(fshig rgyag) gzas, cf. Bod kyi dga'-gias I, p. 116, no. 5 = gTam-dpe,
p. 134-5 = Van Manen, 'Three Tibetan Repartee Songs", 1921, pp. 310,
318, no. 13, and to be supplemented by a well-known punning saying
(no. 150) provided by mKhas-btsun bzan-po in his book. It purports
how a man (or a woman, gias\ bu mo ri bon 'dra mo) (in his/her en-
deavour) may be likened to a hare, inasmuch as its 'tail' (= the end, =
i.e. the result or succès), always dearly required, fails to materialize (i.e.
'the tail remains short'), whereas the ears, not deemed necessary, will
always remain long (gtam dpe: mi rah by as kyah ri boh 'dra bo \ dgos
rgyu'i mjug ma med pa'i mi dgos am Icog rih po). Phrased differently,
lacking a good result in one's enterprise, one may end up crestfallen,
that is to use an English idiom, end up "walking off with a flea in the
ear". Cf. also Duncan, 1961, p. 149 and Snyder, 1972, p. 29.
More important, a gzas associates the moon-hare with a lover. The
poet's (male or female) own amorous sentiment has here appeared in the
garb of the kunda-fiower. Here the flower acknowledged how thoroughly
mistaken it was, inasmuch it never expected that the 'moon-hare' could
have [another] lover (shin grogs). A poem on unfaithfulness. Here
is of course an allusion to the white water-lily (Nymphoea esculenta;
kunda = kumuda), the white esculent lotus which expands its petals
during night (mtshan mo zla ba ear tshe 'dab ma kha byed) and which
closes them during daytime (hin mo hi ma ear tshe me tog kha zum
pa). It is thus the friend of the moonfhare] (candra = ku mud ghen,
kumudabandhu, 'friend of the lotus'); among its synonym we find the
'night-blossomer' (mtshan mo bead, râtrihâsa) etc. Couched differently,
the poet here admonishes the beloved to stay fidel; cf. Bod kyi dga'-gias
II, p. 56, no. 1:
| rah sems kun da'i me tog
 207

I snah ba gtin nas 'khrul ha ni \

I ri bon zla ba'i snih grogs \
j yod 'gro bsam pa ma byun \
Cf. also no. 125 in Sa-skya Pandita's Subhäsitaratnanidhi, ed. J. E.
Bosson, 1969, p. 227. gtas-tshig phyogs-bsdus, p. 142, no. 3. Borrowing
inspiration from Indian poetical tradition, the Tibetans similarly em-
ploy a number of epithets for the moon which allude to the above sce-
nario: ri boh mtshan ma (êaéâhka), ri boh 'dzin (saêadhara, saéabhrit),
ri boh can (éaéiri), bdud rtsi 'od [can], bdud rtsi spro (amrtakara, amrd-
îdhiti, amrtaraémi), etc.
41 d The life of the hare has extinguished = to catch sight of the moon is not
possible. The phrase tshe zad tshar nas 'dug is evidently past tense,
but this periphrastic construction phrase (consisting of the main verb
(of past tense) zad + the auxiliary tshar + nas + 'dug is a colloquialism,
one Tibetan informant emphatically maintained, which rather carries
a future sense, viz.: "its life is going to/will expire". Cf. also gSuh-
mgur, no. 449 which carries a different sense again! One gzas, also
cited as a punning (tshig rgyag) dictum, provides a clue to its apparent
disappearance. Here the prosperous sight of the hare is veiled in clouds,
a circumstance entailing the rhetorical question: If it has not ceased to
exist, then what has happened (to it) ?; cf. Bod kyi dga'-gias II, p. 101,
no. 3 = gTam-dpe, p. 121 = Van Manen, 1921, p. 302, 314, no. 13:
| tshes chen bco lha'i zla ba \
| sprin pas sgrib kyi yod na \
| zla ba'i nan gi ri boh \
j tshe zad min na gah yin \
A Tibetan informant to J. Snyder, commenting on this repartee song,
(1972, op. cit., p. 29), purports that the poet hereby entertains misgiv-
ings whether the beloved really loves him (vice versa, her), is it only
pretence or is love really dead.

• The poems nos. 41-44, one way or another, all share one feature in
common: the moon. The present piece is an allusive poem which voices
the poet's, or the God-king's frustration over unfulfilled or fleeting love.
What our poet here purports is that his assignation with his beloved
appeared quite promising, apparently (yin pa 'dra ba 'dug), the tryst
did take place on the great day under the auspicious and propitious
full-moon, but alas, our poem seems to exclaim, the hare in the moon is
not in sight. Its contour has vanished/is vanishing from their eyes. The
outcome and the prospect of their love affair was consequently bound to
prove fatal. The message of the poem is quite general. It strongly bears
the stamp of transience, the Buddhist concept of impermanence which
208

permeates all Tibetan thinking. Love is a fleeting matter. Just as the

lunarian hare displays a cyclic nature being incessantly subjected, as it
is, to waning and waxing, so also love is marked by the vicissitudes of
life. The hare is regularly on the wane so ephemeral love is eventually
also bound to doom. Here the hare's full contour naturally decreases
and increases with the moon's waning and waxing phases. Despite
whatever promises may be given at their present meeting, cf. similarly
no. 44 infra, lasting love is a forlorn hope. Therefore the tone (fiants)
in the poem is quite gloomy (sems skyo); cf. similarly Don-grub-rgyal,
mGur-glu'i lo-rgyus, pp. 195-6, who sees in the hare a self-portrait of
the poet; cf. also D. Back, 1986, p. 148.
Further, the fact that the hare eludes observation may be explained
by the fact that the night was overcast. Here we may even attempt
to explain the absence of the moon-hare with the interference of Râhu,
the mythological planet capable of seizing (eclipsing, overcasting) the
moon, cf. zgéas cited above. In the latter case only, we would expect
a more direct reference (dnos su bstan) to this figure. This redoubtable
demon would have constituted a perfect cover-up for the Regent, who,
we all know, similarly kept the young God-king in semi-confinement
and subsequently under incessant surveillance.
Turning to a plausible, but certainly not definitive, figurative inter-
pretation of this poem, we may initially note that Yu Daoquan, 1930,
op. cit., p. 189, cites a Tibetan friend who told him that "the moon here
alludes to a great man whom the people love, and the hare alludes to
an evil-doer who is a favourite of the great man". But it would seem
unfounded here to distinguish between the hare and the moon, being
so intimately associated as they are symbolically. The moon-hare, this
symbolic symbiosis, would more readily here be a sullen self-portrait.
Here is painted a miniature canvas of the overall personal drama that
coloured his career. Recalling the intransigent political struggle be-
tween the two fractions, headed respectively by the Regent and the Qan,
or considering the poet's own enduring conflict with the Regent, the
young God-king himself and the alleged charges of debauchery against
him constituted in either case the very bone of contention. In this
poem the auspicious fullmoon, the great fifteenth day, would therefore
arguably depict what to the poet must have been a most welcome if not
ideal situation in which peace prevailed and the young God-king's right-
ful claim for power was met. In this light, the cyclic waning and waxing
phases of the moon would implicitly symbolize the gradual deteriora-
tion and amelioration that inevitably characterized his struggle. And
precisely some conciliatory or promising incidences in these incessant
skirmishes, the subject of a number of his songs as already described,
may have left him with renewed hopes of an atonement. But only ap-
parently (yin pa 'dra ba 'dug), the poet soon gloomily realized, the key
 209

figure in the drama and the key to a happy outcome, his own person,
here deftly symbolized as a moon-hare, is in the course of the strife
inflicted with some "deadly" blows. In other words, the poet herewith
expresses that he is the inevitable victim of the political struggle for
power. Or, alternatively, would it just mean that the poet is "deadly"
worn-out, frustrated beyond recovery ? We have already seen, no. 32
supra, that our sensitive poet was dramatically emaciated by the pangs
of love. Should we take the "expiration of the life of the hare" liter-
ally, the poem may indeed express an unusual presentiment of his own
fatal end that befell him within short. If we still retain this symbolic
interpretation, this dismal poem would more likely lend weight to the
contention that the poem (posthumously of course) must have been com-
posed in order to account for the dramatic and pitiful death of this truly
contentious personality.
210

42

I zla ba 'di nas phar 'gro

j rtiri ma'i zla b a tshur yon |
j bkra sis zla ba dkar po'i |
| zla stod phyogs la mjal yon |

This month has passed away

And the next draws near,
I shall meet [my beloved] at its beginning
Under the auspicious white moon.

42a nas ACG : na BH : ni EFIJK;

42b rtin CEG : gtih ABFHIJ : stih K; tshur ABEFGHIJK : tshar C;
yon CEFGHIK : yohs AB : yah J;
42c po'i BHIJK : po ACEFG;
42d phyogs omit. K; la ABCEFGHIK : nas J;

42a The Tibetans follow a lunar calender, so the term zla ba may mean both
'moon' and 'month'. There is therefore a play on zla ba in this poem: In
42abd it denotes month, b u t in 42abc as well, it could be read as moon.
On the use of phar and tshur, cf. no. 6 supra.
42b rtin ma'i zla ba = zla ba rjes ma; the following or next month (or moon),
cf. above.
42c The auspicious white moon, i.e. the white or clear note (dkar cha, gsal
cha) of the month, cf. below, prospective of a tryst; cf. a poem cited in
Duncan, 1961, p. 88 and in Norbu's Coll. II, no. 34 quoted above and
/ / , no. 35 almost identical with the present poem. The present poem is
also cited in Bod kyi glu-gzas, p. 163^4 as a gzas allegedly originating
from lHa-sa. The alternative reading po in 42c is equally plausible;
42cd then could be understood as "the auspicious white moon will come
and meet [me] at the start of the [approaching] month".
42d The Tibetan month, like the Indian ditto, falls into two halves: The
light half (dkar phyogs, zla stod, phyogs sha ma, stod cha, gah phyogs;
éuklapaksa, pürvapaksa) or the period of the crescent moon (yar ho)
and the dark half (nag phyogs, zla smad, phyogs phyi ma, smar cha;
krsnapaksa, aparapaksa) or period of decrescent moon (mar ho). The
last day of each half has no distinct mark, but t h a t of the light half,
on which the sun and the moon are in opposition, is called "day of the
fullmoon" (bco lhafi zla ba, na gah; paumamäsi, pürnamä, pürnimä; cf.
 211

previous poem), that of the dark half, on which the sun and the moon
are in conjunction, is styled "day of the new moon" ignam gan; dared).
Further, the month commences with the light half. Cf. e.g. gSun-mgur,
no. 280, where the two halves of the moon/month are employed to il-
lustrate the first (tshe stod) and the last half (tshe smad) of human
existence.

• It is a simple poem expressing the wish of an auspicious union or

an early reunion. This idea is also expressed by A. David-Neel, Textes
Tibétains inédits, p. 92, n. 184, who adds that it is often chanted at the
end of a banquet. The present poem, contrary to the previous one, has
assumed an optimistic tone.
212

43

I dbus kyi ri rgyal lhun po |

j m a 'gyur brtan par bzugs dan |
j ni m a zla ba'i bskor phyogs |
j nor yon bsam pa mi 'dug

Meru, the King of Mountains

in the centre of the universe
Remain firm and unswerving!
It is unthinkable t h a t the sun and the moon
Would deviate in their courses around it.

43b ma ABCEFGHK : mi D U ; brtan ACDEFGHIJK : bstan B; dan

ABCDEFGHIJ : éig K;
43c bskor ABCFGIJK : 'khor DEH; phyogs ABCDEFGHIJ : chog K;
43d yon ABCDEFGHI : yons K : yah J; bsam pa ACDEGIJ : bsams
pa BFH : omit. K;

43a The King of Mountains, Meru, or Sumeru (ri rab, ri rgyal lhun po),
the axis mundi of the universe in Buddhist cosmology and cosmog-
raphy; cf. canonical literature (ägama, luh): Abhidharmakosabhâsya
by Vasubandhu, chap. Ill (lokanirdesa, 'jig rten bstan pa): III ad 48,
50, 60, 73; TTPE No. 5591, GU 166a8fF.; Lokaprajnaptisâstra ascribed
to Maudgalyäyana. TTPE 5587, KHU 67a8ff.; non-canonical scrip-
ture: èes-bya rab-gsal by 'Phags-pa Bla-ma Blo-gros rgyal-mtshan (A.D.
1235-1280, written A.D. 1278); chap. I (sNod kyi 'jig-rten bsad-pa): ed.
SSKB Pa, pod dan po 3bIff.; W. Kirfel, Die Kosmographie der Inder,
pp. 15-16, 182.
Beside the macrocosmic Sumeru, this mythical mountain is also em-
ployed in a more microcosmic context. In yogic Buddhist terminology,
merudanda may signify the spinal column of a meditating yogin. And
in Tan trie texts, such as the Caryâgîti, a collection of Buddhist mystic
songs, its imagery employs 'the peak of Meru {merusikharaj as a term
for the mähasukhaeakra, the psychic centre of 'Great Bliss' located in
the head of the yogin. This term again may refer to the 'Absolute Truth'
or the 'Clear Light'; cf. P. Kvaerne, An Anthology of Buddhist Tantric
Songs, pp. 31-32, 48.
For additional gzas on Sumeru, cf. gSun-mgur, no. 361, "Bod-rigs kyi
dmans-gzas", in Bod kyi rtsom-rig sgyu-rtsal, vol. 1 (1981), p. 32.
43b For parallel samples of the phrase ma 'gyur brtan par Mugs dan, here
conceived as an periphrastic construction with an imperative, cf. e.g.
 213

gSuh-mgur, nos. 102, 222, 275, 329. Note, incidentally, that a stock
synonym for a mountain (ri, giri) is the 'immobile' (mi gyo, acala). The
immobility (mi sgul ba) of Mt. Meru is also employed to illustrate
the firmness (brtan pa) of a Magnanimous Being (bdag nid chen po,
mahätman), cf. e.g. Sa-skya Pandita's Subhäsitaratnanidhi, no. 144.
43c The sun and the moon, similar to Mt. Meru above, are two epithets fre-
quently employed in the Buddhist tantric terminology for the two main
veins (nâdî, rtsa ba) or 'psychic channels' which diffuse throughout the
body. The sun and the moon respectively signify the right igyas) chan-
nel denoted rasanä, ro ma, and the left (gyon) channel known as lalanä,
rkyah ma. These two veins express the duality or dichotomy which con-
stitutes the foundation underpinning the world of phenomena. A whole
set of concepts is furthermore associated with these two symbolic fig-
ures: the moon is related to Wisdom iprajna), night, woman, Lotus;
whereas the sun is associated with Means (upâya), day, man, Vajra.
Returning to the general concept in yogic thought, the perception of the
above subject-object duality, symbolically carried by the two veins, it
is eventually eliminated or abolished in the central vein the avadûtï,
dbu ma rtsa ba; cf. Kvaerne, ibid.; Snellgrove, TheHevajra Tantra / - / / ,
pp. 25-29, 36-7; I.i.13-14;
In the Tibetan gzas tradition, we may quote a song, which introduces
the pair sun and moon. Like two relatives or kinsmen (spun gnis) they
decide to make their ecliptics rightwards (clockwise) round the world;
in other words, if the two lovers harmonized their activities, they could
live happy together; cf. sDe-dge'i dmahs-glu, p. 106, no. 2 = Norbu's
Coll III, no. 22:
| khyed rah zla ba fdra gi
| ha rah ni ma fdra gi
I hed rah ni zla spun gnis \
I 'dzam glih gyas skor rgyag 'gro
Another gzas furnishes us with an interesting key to an interpretation
of our poem. In this poem, it is the poet's beloved who is depicted as
Sumeru, the central figure in the universe as well as in the poet's life.
She is admonished to remain firm and content—that it to say brazen
and happy! Himself, in the guise of the sun illuminating the entire
universe, declares that he will circle Sumeru and then return. A poem
on courtship with promises of undivided loyalty; Bod-rigs kyi glu-gias,
p. 31, no. 2:
| chuh 'dris ri rgyal Ihun po \
j ma 'gyur bde mo biugs rogs \
j 'dzam glih gsal ba'i ni mas \
| ri rgyal bskor nas sleb[s] yon \
214

• A full-fledged allusive poem or adage of the 'detached' (gröl ba, muk-

taka) single-stanza type. Literally, the poem tells a story of predictabil-
ity and strict regularity, the sun and moon are bound in their orbits
around the axis mundi in the universe's midst. Any deviation from this
regular pattern is considered unthinkable.
A number of interpretations presents itself. It may be a courting
song. More readily, it may signal that the girl, his beloved, having as-
sumed the guise of Mt. Meru, is earnestly entreated to remain firm
and unwavering in her loyalty to him. He, assuming the role of the sun
and moon, promises in his courtship never to go astray, that is never to
seek the company of any other lover. A poem which voices the hope for
requited love and mutual fidelity. Another, perhaps equally plausible
interpretation would be to see in the sun and moon, as already alluded
to in a gias quoted above, two persons, or as here, two lovers, a boy
and a girl, involved in a mating scene, where the King of Mountains
may signal their prospective matrimony, to which they apply their un-
failing fidelity. Whatever appears most appropriate, the present piece
of lyrics nevertheless seems to share some features in common with
wedding poetry in Tibetan. In this kind of poetry e.g. we meet detailed
descriptions of the house of the bridegroom, eulogizing the central pil-
lar (ka ba, sbas ka) of the married couple's new residence, the focus
of everyone's attention. The house is thus in turn equated with the
entire cosmos within which the sun and the moon circle. The father
of the bridegroom, in one song, is equated with Ri rgyal Ihun po; cf.
G. Tucci, Tibetan Folksongs, 1949, pp. 33fF, 67ff; C. Corlin, "The Sym-
bolism of the house in rGyal-thang", in Tibetan Studies in Honour of
Hugh Richardson, Warminster 1980, pp. 87-92; Barbara N. Aziz, "On
Translating Oral Traditions: Ceremonial Wedding Poetry from Dingri",
in Soundings in Tibetan Civilization, pp. 115-132.
Borrowing its setting from Buddhist cosmology, it would first and
foremost seem tempting to see in these cosmological figures an allusion
to a meditating yogin in accordance with the arcane language of the
Tantric tradition. But the attempt is at best inconclusive.
Reading any political or historical implication into the poem is sim-
ilarly tentative. Xiao Diyan, sBrah-char, 1988 (2), p. 70, sees the
Manchu emperor Kangxi depicted as Mt. Meru. In the sun and the
moon he envisages the Regent and the Qan impersonated, the two com-
batants who on life and death vied for power and who tried to soothe
the emperor. Like sycophants, one may add, they "circled the emperor
in courtship" by submitting reports each to their own favour. If the
latter reading would met with some approbation we may assume that
the poem has been couched in a resigned and bitter note.
 215

44

I tshes gsum zla ba dkar ba |

| dkar gos nan nas chod son |
j bco Ina'i n a m dan m n a m pa'i |
j zal bzes cig kyan gnan zu |

The moon on the third day is bright

[All] vestured in purest white;
Pray, promise me a tryst
Like t h a t on the day of the fullmoon.

44a 6 a A B C G I J : / ? o E F H ;
44b gos ABCFGHI : dgos EJ;
44d cig kyah CG : gcig kyah F I J : gcig yah BEH : cig yah A;

44a The third day of the bright half {dkar phyogs, suklapaksa), the ascend-
ing note (zla stod, yar ho) or the first quarter of the new moon (gnam
gah, darsa) is called rgyal ba. However, zla ba dkar ba may also denote
the moonlight, which is here dressed all in white (synonym for serenity,
innocence). Compare a song quoted in Duncan, 1961, p. 104, where
the moonlight of the third day, i.e. the pale quarter moon or the wax-
ing crescent of the third day h a s no luster compared to the auspicious,
bright fullmoon of the fifteenth.
Another gzas similarly compares the relative moonlight of the third
with the full-beaming fullmoon. Here the poet declares t h a t although
he does not have the luster (gsal cha, dkar 'od) of the fullmoon, he is
nevertheless capable of illuminating his own body which resembles the
moon's waxing crescent of the third day. More concretely this means
t h a t the poet frankly concedes t h a t he is no great person, he is not
lustrous like the "fullmoon", b u t in spite of being lustrous like the moon
of the first quarter only, the poet openly assures his beloved t h a t he is
a fit choice for her and t h a t he is quite able to take care of her; Bod-rigs
kyi glu-gzas, p. 2 1 , no. 4 = Bod kyi glu-gzas, p. 126, no. 2 = "Bod-rigs
kyi dmaris-gzas", Bod kyi rtsom-rig sgyu-rtsal 1981 (2), p. 31 (cum van
lect: a: 'dra ba'i : bzin du; b: gsal cha...med kyah : dkar 'od...med de;
c: 'dra ba'i : bzin gyi):
| bco lha'i zla ba 'dra ba'i \
j gsal cha ha la med kyah |
I tshes gsum zla ba 'dra ba'i \
| rah lus rah gis gsal chog
216

Mi-la ras-pa, for instance, employs the moon of the third day (tshes
gsum zla ba) as a dpe of transience {mi rtag pa), because, as he says,
when it has occured, it will inevitably become 'old' (rgas), i.e. the moon
will wax Cphel) and wane {'bri) continously; cf. his mGur-'bum, ed. sDe-
dge, fol. 169ab; mGur-glu'i lo-rgyus, pp. 173, 175.
44b I understand the phrase dkargos nan nas chodsoh, lit. "decided/settled/
agreed [to be in] a white garb completely" to mean "beting] dressed fully
in white". What is meant by this euphemism is that the poet found the
amount of luster emitted by the moon of the first quarter or by the moon
of waxing crescent to be quite enough for him, at this point, at least.
Phrased differently, the girl is found to be acceptable to the poet.
44c The fullmoon, the fifteenth day of the month, cf. no. 41 supra.
44d A little pun is concealed in £al [bzes]...gnah, which of course means to
make a promise (of a tryst similar to the one during fullmoon), but also,
literally taken, to give the face (of the fullmoon = to show the face of
the beloved).

• A poem on the expectations of requited and undivided love. Evidently,

the poet declares that his assignation under the quarter-moon on the
third day had gone quite smooth. Excited by the favourable scenario
and the turn his love affair had taken, the poet proceeded a step further
and solicited the moon/the girl to accede to his request and grant him a
beaming display of a fullmoon. In other words, the God-king asked his
beloved to keep their love going to the end, i.e. all night long rather than
having to settle for less. The poet wanted love "in full", and could not
just settle for a "quarter" share of love. A fullmoon rendezvous usually
lasts the entire night, and, we may assume, implies here unremitting
or lifelong fidelity.
In accordance with the figurative interpretation of poem no. 41 supra,
we may also here see the moon's phases as an illustration of the stages
in the God-king's attempt to appropriate power. Evidently, the young
ruler could perhaps temporarily settle for a modest share of power, but
his urgent quest for real rulership, prompted him to request for the
"full" access or the "full" display of power.
 217

45

I sa bcu'i dbyins su bzugs pa'i |

| dam can rdo rje chos skyoh |
j m t h u dan nus pa yod na |
j bstan pa'i dgra bo sgrol dan |

Holy [Medium] rDo-rje [Grags-ldan], Protector of the Law,

Who resides over the sphere of the ten stages,
If you possesses magical power and potency
Pray, ward off the foes of the Buddhist teaching!

45a dbyins su bzugs pa'i ABCDEGHIJ : steh na gnas pa'i K;

45c nus ABCEGHIJK : zus D;
45d sgrol BCDGHIJK : sgral A : skrod E; dan ABCDEGHIJ : mdzod
K;

45a The ten stages {daéabhumi, sa bcu) of a bodhisattva's career towards

Buddhahood:

1. Pramuditä, Rab tu dga' ba.

2. Vimalä, Dri ma med pa.
3. Prabhäkari, 'Od byed pa.
4. Arcismatî, 'Od 'phro ba.
5. Sudurjayä, Sin tu sbyan dka' ba.
6. Abhimukhï, mNon du gyur pa.
7. Durangamâ, Rih du son ba.
8. Acalä, Mi gyo ba.
9. Sâdhumatî, Legs pa'i blo gros.
10. Dharmamegha, Chos kyi sprin.

cf. e.g. Dasabhümikasütra, ed. J. Rahder, Leuven 1926, passim; sGam-

po-pa's Thar-rgyan, chap. 19 (tr. Guenther, Jewel Ornament of Liber-
ation, pp. 239-252); H. Dayal, The Bodhisattva doctrine in Buddhist
Sanskrit Literature, London 1932, passim.
By the phrase "residing over/in the sphere of the ten stages" is prob-
ably merely meant t h a t this Dharmapäla's realm of power and influ-
ence rests within this lokadhätu. More concretely, only in my eyes less
probable, it would simply mean t h a t the Dharmapäla in question has
attained the tenth stage. In other words, he h a s reached the stage of a
Buddha.
218

45b The figure dam can rdo rje chos skyon is in all probability identical with
the Protector of the Law (dharmapäla, chos skyon) rDo-rje [Grags-ldan],
' T h e Renowned Immutable One" the vow-bound (dam can) medium of
the Tibetan gNas-chun State Oracle and the Dalai Lama's own guardian
deity; cf. e.g. Nebesky-Wojkowitz, Oracles and Demons of Tibet, pp. 9 4 -
133; for a detailed description of the relationship between this medium
and the Dalai Lama institution, cf. J.F. Avedon, In Exile From the Land
of Snows, 191-217; cf. also M. Aris, Hidden Treasures and Secret Lives,
p. 139, 165. Another conjecture, less plausible only, is to identify this
figure with the oath-bound Protector of the Law (dam can chos skyon) or
Worldly Guardian ('jig rtenpa'i srun ma) rDo-rje legs-pa, a deity mostly
depicted riding on a lion (sen ion)\ cf. similarly Nebesky-Wojkowitz,
ibid., pp. 154-9.
45c For mthu, cf. no. 37 supra. For the magical power and great apotropaic
strength attributed to this medium, cf. the ref. above.
45d Evidently, reference is here to the submission, suppression and expul-
sion (dgra bgegs bsgral ba) by rites of exorcism and apotropaic means
of malignant forces and demons hostile to Buddhism during the Great
sMon-lam chen-mo festival. The suppression of the fiendish forces en-
tailed the active participation of the State Medium or Oracle King (gsuh
gi rgyal po) as it is also termed. Usually these ceremonies took place at
the turn of an old year and the beginning of a new. Also, at all points
of utmost emergency and open threats to the Tibetan State, such as
an impending military invasion by a foreign country, the State Oracle
would similarly be consulted.
Obviously, the present poem has lend inspiration to other songs. Two
gzas, at least, appear to be nothing but a caique upon the present poem.
In the first the godhead invoked is a dam can chos skyon sruh ma
also, only here identified with sa bcu'i dbah phyug chen po; on this
Dharmapâla, a Tibetan version of the Indian Mahesvara, cf. Nebesky-
Wojkowitz, ibid., p. 94; another identification is Maitreya, the future
Buddha (rje btsun Byams-pa) or it may generally denote any bodhisattva
who has reached the tenth bhümi; in the next poem, evincing an iden-
tical text, the goddess invoked is Ma-gcig dpal gyi lha-mo; on this key
goddess, cf. ibid., p. 24ff.; cf. Bod kyi dga'-gzas II, p. 64, nos. 2 - 3 .
The wording bstan pa'i dgra bo sgrol is also found, though naturally
within another context, in the story (rnam-thar, p. 174-75) and script-
play ('khrab giuh, pp. 20, 60) of Prince Nor-bzan. Cf. no. 39 supra.
Etymologically the verb sgrol carries the sense of 'liberating' and 'res-
cuing*, but we have also reason, within a tantric, apotropaic context,
to apply the sense of 'elimination' when the foe (dgra bo) in question
is in opposition to the Buddhist Law. In fact, under the entry sgrol ba
in the dictionaries, this lexeme is listed to hold three def. 1. "liberate"
 219

{thar bar byed pa); 2. "eliminate" (gsod par byed pa) and 3. "expel,
drive off" (rin du skrod pa, 'bud par byed pa). In casu, the latter defi-
nition should perhaps be chosen to fit the context best. Cf. e.g. Zhuang
Jing, 1981b, p. 25, C. xiaomiè, "wipe out", "exterminate". Van Heurck's
reading sgyal, 1984, p. 114, alledgedly found in Das 1 version, a reading
followed by D. Back, 1986, p. 148 also, is a simple misreading. Das' ed.
clearly has sgral.

• This is a poem which contains an invocation t h a t supplicates a pow-

erful Dharmapâla to safeguard Buddhism and expel its foes. Read his-
torically, there are cogent reasons to envisage here the powerful State
Medium, rDo-rje Grags-ldan. This Dharmapäla is not only the guardian
deity of the Dalai Lama b u t is, as alluded above, traditionally invoked
at times of immediate national danger. As such, the poem can be read
as a straightforward appeal to his guardian spirit to ward off any peril
with which the young God-king's person, his institution or his country
was confronted. It would remain an open question what or who is m e a n t
by enemies. If we deprive the reading of any deeper message, the foes
alluded to may simply represent the traditional fiendish creatures and
supernatural forces which are suppressed ritually every year during the
sMon-lam chen-mo Festival, cf. above. This festival is a colourful and
vivid resurrection of the old drama during Tibet's imperial past when
the Tibetan soil was conquered, e.g. by oath-binding or by propitiating
a plethora of dei loci to serve the new Buddhist order.
Most likely though, the poem probably holds a figurative message
too. Should the poem be read sarcastically ? The close ties between
the State Oracle and the Dalai Lama rule out, in my eyes, to see in
this medium any attempt of portraying himself as suggested by van
Heurck. Behind the mask of the enemy or perhaps even behind the
Dharmapäla we should here see the Regent staged. As we have seen
already in no. 39 supra we may also here be dealing with still another
sophisticated kind of plaint launched against him by a frustrated young
ruler, who found himself caught as an ignored figure-head in the self-
important and 'omnipotent' Regent's deftly staged play for power. Would
the poet therefore here attempt to ridicule the "all-mighty" Regent, by
requesting him to "expel the enemies [of the country]", should he verily
"hold so much magical power (mthu) and [military and political] acumen
(nus pa)". The enemies—the Chinese and the Mongols ? An attempt,
evidently, which he assuredly knew was forlorn.
Xiao Diyan, sBrah-char, 1988 (2), p. 71, interprétâtes the 'enemy of
the doctrine' as a hint to the Qosot chief for his public denunciation of
the young God-king as the true embodiment of the Great Fifth. In this
light the poem should be taken to be voicing a kind of insult (dmod
tshig).
220

46

I k h u byug mon nas yon bas |

| gnam lo'i sa bcud 'phel son |
| na daii byams pa phrad nas |
j lus sems lhod por lans son |

With the arrival of the cuckoo from the land of Mon

The fertility of the soil will enhance;
Now that I have met my beloved
Body and mind are at ease.

46a byug ACDEFGHIK : phyug J : chug B; yon EFGHIJK : yohs A :

'ohs BCD; bas E : ba'i H : pas CDFGIJ : pa'i AB : dus K;
46b gnam lo'i ACDG : nam lo'i B : nam zla'i EFIJK : nam dus H;
'phel ABCDGIJ : phebs EFHK;
46c ha dan ABCDEFGHI : nan pa J : chuh 'dris K; nas ABCDE-
F G H I J : pas K;
46d por ABCEFGHIJK : po D; lans CEGI : Ian ABDFHK : loh J;

46a The cuckoo (khu byug; Skt. câtaka, kokila; M. köyege; C. dùjuan, bùgu;
Cuculus canorus) is a much-cherished figure in Tibetan popular lyrics.
Various types and species are attested to, cf. The Pentaglot Diet., pp.
4165-66. Most commonly it is welcomed as the ^harbinger of spring'
(dpyid kyi pho na, Skt. vasantadüta) or the 'queen of spring* (dpyid kyi
rgyal mo). In ancient Indian poetics the cuckoo's cooing is considered an
instigator (uddïpanabhava) of amorous yearning. And its vocal warble
is generally lauded. Thus, the cuckoo is denoted the 'sweet-voiced one'
(dbyahs snan, dbyahs snan sgrog; Skt. sughosa, madhughosa) and the
'godly warbler' (lha'i glu mkhan). The cuckoo is regularly praised as
a divine or a royal bird (lha bya, bya rje\ cf. also the Gesar Epic; R.
Stein, 1956, index, pp. 393, 395) and as such generally designated the
turquoise-coloured or emeral cuckoo (khu byug shon mo, gyu bya snon
mo).
It leaves Central Tibet in autumn and winter to migrate to the warm-
er sylvan valleys of Mon-yul. In the spring and early summer it makes
its reappearance in Lhasa. A theme, as we shall see, treated in many
poems. One gias e.g., relates how the Mon-cuckoo's cooing fills the air
when the third spring month arrives; of course it is the cuckoo t h a t
offers its sweet voice which enhances the fertility of all t h a t grows;
Bod-rigs kyi dmahs-gias, p. 205:
 221

I dpyid gsum zla ba éar byun \

| khu byug mon gi skad 'dug
| 'byun ba'i sa bcud 'phel ba'i \
j gtam snan 'bul mkhan yin pas \
Another poem relates how the bird made its appearance from Mon,
when the fifth month arrived during summer entreating (the clouds)
to tender a 'rain of honey' to fall upon the lotuses on the ground. The
reason is that the cuckoo subsists exclusively on drops of rain; it thus
brings along the life-giving rain, and in the wake of rain, fertility fol-
lows; cf. "dMans-gzas", Ni-gion (2), 1983, p. 89:
| dbyar zla Ina ba éar son \
| khu byug mon nas phebs byuh \
j sa gzi padma'i tshal la \
| sbran char 'bebs rogs gnah dan \
The cuckoo, it is popularly believed, derives the moisture they need
from the soft food which consists of caterpillars etc., wherefore they
are not seen in search for water. This has aroused the common belief
that they partake of rain-drops only. Likewise, the conceit commonly
prevails that their incessant call is an appeal to the rain-clouds to offer
some rain. In one street-song from the beginning of this century the
Dalai Lama is depicted as the cuckoo; cf. Goldstein, 1989, p. 63.
The mountainous forest (syn. of khu byug: 'fond of woods', nags la
dga' ba, vanapriya) of Mon-yul or lHo-Mon, as said its winter haunt
and arboreal habitat, is treated in a number of songs; cf. e.g. Bod kyi
dga'-gzas I, p. 90, no. 3; p. 107, no. 3; gSuh-mgur, nos. 285, 386, 396,
421; For the cuckoo in general, cf. further Bod kyi dga'-gzas I, p. 109,
no. 3; p. 132, no. 6; p. 133, no. 2; Bod-rigs kyi glu-gzas, p. 43, no. 2 and
p. 44, no. 4; gÉas-tshig phyogs-bsdus, p. 142, no. 5; Norbu's Coll. Ill,
no. 7; III, no. 54; Bod kyi la-g£as, pp. 31, 51, 64, 159, 167, 210, 223,
247, 254, 276 and 286.
The cuckoo is known for its parasitic habit of laying eggs in the nest
of other birds, which in turn hatch them and as foster parents rear their
offspring, cf. Duncan, 1961, p. 141, no. 462; This is also corroborated
by its Indo-Tibetan synonyms: 'reared by others', 'nourished by others',
'sowing for others' (gzan gyis gsos, gzan gyis rgyas; Skt. anyapusta,
anyabhrta, parapusta, parabhrta, anyavâpa); cf. e.g. Rtusamhära, VI
25; Raghuvaméa, VIII. 59, IX. 34; for a detailed exposition on the cuckoo
and its particular habits, cf. S.C. Banerjee, Flora and Fauna in Sanskrit
Literature, p. 170; K. N. Dave, Birds in Sanskrit Literature, pp. 127-
140; W. Eberhard, Lexikon chinesischer Symbole, 1983, p. 176. This is
a behaviour known world-wide; cf. A. Hatto, Eos: An Enquiry into the
Theme of Lovers' Meetings and Partings in Poetry, App. I, pp. 800-08;
222

The term Mon in Tibetan has a long and complex history; cf. foremost,
M. Aris, Bhutan—The Early History, pp. 101-3; M. Aris, "Notes on the
History of the Monyul Corridor" in Tibetan Studies in Honour of Hugh
Richardson, 1980, pp. 10-11 but also R. Stein, Recherches sur l'épopée et
le barde au Tibet, pp. 186-7. In ancient times, Mon-yul and specifically
IHo-Mon refered to the area which today has emerged as Bhutan CBrug-
yul). In contrast, the term Mon has today more vaguely come to denote
cis-Himalayas covering the whole area from Sherpaland of East Nepal
through Assam to Nagaland.
46b gnam lo is the honorific for lo, or year in general. It may also be glossed
with season (narn zla, nam dus), as indicated by the variant readings.
The 'earth juice or moisture' (sa bcud) = fertility. Cf. also gSun-mgur,
no. 112.

• The present piece is a love poem but also a poem on the transient
nature of life, as love itself is an ephemeral and fleeting thing. The mi-
grant cuckoo, which abandons its winter-habitat in Mon only to return
to Central Tibet to herald spring's arrival, is employed in this simile
to illustrate why romance and its pleasant concomitants, the physical
and mental tranquility and content befell the loving couple. While the
poem explicitly heralds that the season of love has arrived, the poem
in the same breath implicitly releases echoes which tell that any love
affair is doomed.
 223

47

I skye 'gro mi r t a g 'chi ba |

j snin nas m a dran zer n a |
j spyan grain 'dzoms mdog k h a yan |
j don la lkugs pa 'dra by un |

Were you to admit t h a t you sincerely do not remember

That the world of man is in transient and mortal;
You may then appear to be mustering up prudence
ever so much,
When in fact you are but like a fool.

47a skye 'gro['i I] omit. BDEIK; zer na add. D;

47b dran DEIJK : drem B; [dan add. K] zer na U K : na [yan D] BDE;
47c spyan grun E J : lean druh BDJK; 'dzoms BDE : 'dzom UK: mdog
kha yan IJ : [des D] kyan ADEK;
47d lkugs pa E J : Ikugpa K : bkug pa B : bkug dan D;

47a skye 'gro, the worldling or the world of living beings, mi rtag 'chi ba,
impermanence and death. Cf. e.g. gSun-mgur, nos. 264, 418. 'Brug-
pa Kun-legs' biography (Stein, 1972, p. 306; 1973, fol. 121a). A good
and detailed instruction (khrid) on the impermanence of empirical and
h u m a n existence is given in Kun-bzah hla-ma'i zal-lun, fol. 2 8 a l - 4 6 a 3 .
47c spyan grun, clever, prudent, wise (= mdzans pa, ées rab can, bio mon
po)\ 'dzoms [pa], to possess, be complete or being qualitatively per-
fected (tshan), here of sagacity and prudence. For the term 'dzoms;
cf. Tucci, 1966, pp. 61-2. The idiom spyan grun 'dzoms pa or 'dzoms
po is an adj. which means 'clever and wise'; often rendered into C. as
jlngming qiânghàn and côngming jïzhi,"sagacious and intelligent" or
"quick-witted"; cf. also Bod kyi dga'-gias I, p. 77, no. 5, where this adj.
is applied to a stallion (rta pho).
For the verbal use of mdog kha [po], 'to seem', 'to prêtent as if, to
appear like'; cf. e.g. Goldstein, Tibetan-English Dictionary of Modern
Tibetan, s.v. mdog. Cf. also dPe-chos rna-ba'i bdud-rtsi, p. 128 which
cites an idiom [ehe] mdog khapo and cites the samples mi mkhas mkhas
mdog and mi ehe ehe mdog bstan: 'to give an air of prudence and impor-
tance when in fact they are neither sagacious nor big*. Observe also the
phrase yod mdog kha po = med btin du yod khul byed pa, 'to pretend
to be present when in fact it is absent'. This idiom occurs in a range of
224

poems, cf. Bod kyi dga'-gias I, p. 34, nos. 5-6; p. 5 1 , no. 3; p. 52, no. 4;
p. 64, no. 4; Bod kyi glu-gias, p. 91, no. 1; gTam-dpe, p. 136.
47d The reading Ikug pa and Ikugs pa are both feasible.

• This poem or rather moralistic adage (legs bead) on the importance

of keeping in mind the transience and mortality of h u m a n existence, is
of doubtful provenance. As such it hardly belongs to the collection. It
is more of a nature of a Buddhist aphoristic maxim.
 225

48

I khyi de stag khyi gzig khyi |

j Idag k h a ster nas 'dris son |
j nan gi stag mo ral 'dzoms |
j 'dris nas m t h u r u lans son |

Dog, whether tiger-dog or leopard-dog,

Once given meat, it is tamed;
But my long-haired tigress indoors
Having won her acquaintance, she only grew
more powerful.

48a gzig ACDEFGHI : gzigs BJ;

48b Idag kha HIJ : bda' kha F : mda' kha ABCDG : gdag ga E; ster
ABCEGHIJ : gter F : sprad D; 'dris ACDEFGHIJ : 'gris B;
48c gi ACDEFGHIJ : gis B; ral F : ras ABCGHIJ : ris DE; 'dzoms
ACDEFGHIJ : mdzoms B;
48d 'dris ACDEFGHIJ : 'khris B; mthu ru A : mthur ru CG : thu ru
BDEHIJ : 'thu ru F; lans DEIJ : Ian ABCFGH;

48a By the phrase tiger-dogs and leopard-dogs, dogs of an utmost ferocious

type are hinted at; a Tibetan saying aptly points out t h a t "however
fierce a watch-dog (sgo khyi; or 'dogs khyi, chain-dog) may appear, it is
[nevertheless] no match to a leopard" (sgo khyi ji Itar btsan kyah gzig
gi kha ya mi yon; Bod-rgya tshig-mdzod chen~mo, p. 209). In the eyes
of the Tibetans these two animals may here symbolically allude to two
distinct countries. The Tibetans associate the tiger with China and the
leopard with Mongolia.
Read together stag gzig, incidentally, constitutes the ancient Tibetan
name for Persia. For stag and gzig, cf. also gSun-mgur, no. 399. Cf.
finally also no. 52 infra.
48b Idag kha, Idag pa'i kha lag, 'fodder to be licked [by dogs]'; equally fea-
sible is bda' kha, bda' ba'i kha lag, 'well-tasted fodder'; Wang Yinuan,
1980, p. 49, wéishôu; but better Zhuang Jing, 1981b, p. 25, C. miàntuân,
'dough'. For the term 'dris, cf. no. 36 supra and the next poem.
The poet's bold handling and acquaintance with ('dris) the more fe-
rocious and tiger-like types of dogs may e.g. be contrasted with the
inadvisability voiced by Sa-skya Pandita in a legs bead of becoming too
intimate with ('dris) with a tiger, an image employed by him to illustrate
how a wise person should shun any familarity with violent persons; cf.
226

Subhäsitaratnanidhi, no. 349, ed. J.E. Bosson, 1969, p. 275. Adages

and proverbial maxims on the theme fierce dogs may well prove infinite,
it is therefore here deemed appropriate merely to refer to one ancient
adage found in the Dun-huang material; the Sum-pa Mother-book (ma
éags) provides a saying (30):

'A vicious guard-dog guards a whole village; a vicious woman

can divide even members of the same family and friends'.

Cf. R. Stein, Tibetan Civilization, p. 259.

48c The domestic tigress naturally alludes to a wife or a spouse. Or perhaps
to a Tioyden' or a Vixen' of some kind. The best reading is probably ral
'dzoms, the 'long-maned' tigress; but, as is known, a main characteristic
of a tiger is the distribution of stripes (khra khra; ri [= ris] bkra, cf. R.
Stein, 1956, index, s.v. ri bkra). Is the reading ris 'dzoms, 'multivarie-
gated', 'multicoloured', in this light to be preferred ? Cf. similarly, Wang
Yinuan, 1980, p. 49, C. huäbän; Zhuang Jing, 1981b, p. 25, C. hânlân.
Mi-las-ras-pa, the yogin-saint par excellence of Tibet, uses the image of
the variegated or striped tiger living in the forest (often a self-portrait)
in his mgur ma songs; cf. R. Stein, ibid., p. 260; The Rain of Wisdom,
p. 239. This image of fearlessness thus seems to be quite old.
It would be tempting to assume a slightly ironic allusion, however
faint, to the celebrated jâtaka of how Mahâsattva (i.e. Buddha) sacri-
ficed himself to a hungry tigress; cf. the Collection mDzahs-blun. For
this song, cf. also M. Causemann, 1987, p. 85.

• A poem on rejected love in which is provided a full simile. Analogous

to poem no. 37 supra, the poet furnishes us also here with an antithesis
in which the noncompliance of an unruly girl is contrasted with the
taming of a pack of fierce dogs. The wilful and refractory Vixen' is
depicting a shrewish girl of his, who rejects all attempts at being tamed,
and all along only grows all the more powerful. The poem evidently
yields a figurative interpretation too. To the Tibetans the tiger and the
leopard illustrate the Chinese and the Mongols respectively, with whom
an adequate and reasonable relationship can be established. But the
domestic and wilful tigress residing within the borders of Tibet not only
opposes all attempts at being tamed, b u t only grows more ambitious.
This is a perfect portrayal of the Regent. Xiao Diyan, sBran-char, 1988
(2), pp. 71-2, sees in the indocile tigress a depiction of the Qosot chief
of Tibet, the Mongol tribe had by then "protected" (Ita srun) Tibet for
half a century.
 227

49

I sa 'jam lus po 'dris kyan |

I byams pa'i gden tshod mi Ion |
| sa la ri mo bris pas |
I nam mkha'i skar tshod thig byun |

By drawing diagrams on the ground

I can calculate the stars' movements in the sky;
Though acquainted with her body so tender
To measure her confidence is beyond my reach.

49a 'jam ACDEFGHIK : 'jams J : 'byams B; po ABCDEFGHIJ : la K;

'dris ACGIJ [add. by H as alt. read.] : 'dres DEF : 'gres B : 'hrel
H : sbyar K; kyan ABCDEFGHIJ : bas K;
49b gden tshod CDEGIJ : gtih tshod H : Idih tshod ABF : khogpa K;
mi ABCDEGHIJ : ma FK;
49c 6 m ACDEFGHIJK : gris B; p a s CEFGHK : pa'i AB : Mas DU;
49d skar tshod ACDEGHIK : skar tshogs J : dkar [m K]tshod BF;
thig byun ABCDEFGHIJ : Ion gis K;

49a On the verb 'dris, cf. nos. 36, 48 supra, note the pun on 'dris and the
assonant bris in 49c. The variant readings 'dres and 'brel more directly
connote the sense of ^bodily union' and 'intercourse'. But as such, the
variants are far too strong words likely to have been employed by the
poet, although, of course, a pun is evidently intended, since the verbs
'dres, 'dris and 'brel in Lhasan Tibetan are approximate homophones.
The variant readings are amply attested to: lus po 'brel son, cf. e.g.
gSun-mgur, no. 341; éa 'jam lus po 'dres son, lus po 'dres po, cf. gTam-
dpe, p. 124; Bod kyi dga'-gzas I, p. 129, no. 4. The girl's soft body, cf.
similarly no. 55 infra.
49b The reading gden tshod, the 'extent of confidence' or 'the measure of
certainty', is here the correct reading, b u t the homophonous reading
gtih tshod, the 'measure of depth' or just 'depth' is also attested to. Cf.
e.g. an allegorical gzas in which the crane must give up measuring the
depth of a lake, although it is endowed with long legs. The golden
Brahmany duck, by contrast, although deep in the doldrums, is capable
of fathoming the lake (= the girl; cf. no. 9 supra); cf. Bod kyi dga'-gias
II, p. 15, no. 3:
| khruh khruh rkah pa rih yah \
| mtsho mo'i gtin tshod mi Ion \
228

I ser by a nan pa skyo yah \

I mtsho mo'i gtin tshod Ion yon \
Similar to the assonance in the present poem, note also the assonant
play on tshod Ion in 49b-d.
Cf. similarly gSuh-mgur, no. 71, where the fish (= the girl) may be
caught by a hook although the water is deep (gtin tshad). Not so with
the fickle beloved, who is white on the surface b u t all black on the
bottom (kha dkar gtin nag, cf. no. 39 supra), her innermost nature
(khog pa) remains beyond reach.
49c By drawings and diagrams drawn on the ground are astrological and
divinatory calculations evidently meant through which the movements
and constellations of the stars are computed.
49d The phrase tshod thig byun carries the sense: to 'guess' or to 'conjecture'.
The following lexical forms are attested in the diet, tshod thig, tshod thig
pa byed, tshod thigpo, which e.g. is rendered into C. caicè. Thus: "One
can calculate (the extent or size of) the stars in the sky".
Meriting our attention is a poem in which a sense of bitterness and
estrangement is voiced, t h a t similarly stems from lack of confidence.
The poet may have ever so much local knowledge of the alpine valleys,
yet he is ignorant of the actual length of the upper valley; similar with
the long-acquainted beloved, although acquainted with her, her mind
remains a conundrum to him; Bod kyi glu-gias, p. 135, no. 3:
| ya gi luh pa rgyus yod \
j phu thag rih thuh rgyus med \
j chuh 'dris byams pa rgyus yod \
j byams payi thugs sems rgyus med \

• A poem on frustrated love. The poet voices the extent of his dejection
over unfulfilled love and over lack of dedication. Despite his intimate
knowledge of her tender body, he cannot adequately fathom her loy-
alty and fidelity. He may master the art of astrology and divination—
enabling him to prognosticate the chain of events ahead of time. But
the recalcitrant lover of his defies all attempt a t being measured or
related to. The poem evinces a pattern similar to nos. 36-37 supra.
It may be suggested t h a t the indocile girl is allegorically depicting
the poet's abortive attempt to appropriate power. Or, equally in a figu-
rative sense, she may impersonate the unpredictable Regent. Whether
illustrating the political power or the Regent in person, the ingratiating
but elusive girl remains beyond the control of the young poet.
 229

50

I na dan byams pa'i sdebs sa |

| Iho roh ljon pa'i nags gseb |
| smra mkhan ne tso m a gtogs |
| su dan gan gis mi ses |
| smra mkhan ne tso o ses |
I gsah k h a mdo la m a gnah |

The rendezvous with my lover

Takes place deep in the forest of a Southern Valley;
Except a talking parrot
No other knows to tell;
Pray, o talking parrot,
Do not give away my secret affair in public!

50a byams pa ABCDEFGHIJ : snin sdug K; sdebs sa ACG : sdeb sa

BEFH : sdeb pa D : bde sdug IJ : phrad pa K;
50b Iho CDEFHIJK : Iho'i A : Ihos B : lha G; ljon pa'i ACGK : mon
pa'i DEIJ : mun pa'i BFH; nags ACDEFGHIJK : nal B; gseb
CEFGHJK : gsebs D : bseb ABI;
50c smra mkhan ACEFGHI : smas mkhan B : sgra mkhan DJ : byi'u
K; ne tso[s IJ] ACDEFGHIJ : nel dzo B : 'jol mo K; gtogs ACDE-
FGHIJ : rtogs K : tog B;
50d mi CEFGHK : ma ABDIJ;
50e smra ACDEFGHIJK : smas B; ne tso[s IJ] ACDEFGHIJK : nes
dzo B : ni ne [sic] D; o ACEFGH : a K : e D : los IJ : vogs B;
50f gsah ACDEGK : gsuh BHIJ : gsum F; kha ABCDEFGHIJ : sgo
K; mdo la BEFHIJ : ston pa ACDG : rtol ba K;

50a sdebs sa, rendezvous or tryst; the alt. reading bde sdug, 'happiness-
sorrow', i.e. welfare, a fairly modern phrase, often glossed with gnas
starts, living condition, is out of question as original reading.
50b lHo-ron and Mon-yul: these terms designate the oldest names for Bhu-
tan and is still in use in literary works today. For these terms, cf.
no. 46 supra. For 50b, cf. gSuh-mgur, no. 84. Equally feasible is the
reading Iho roh mun pa'i nags gseb, 'a dark forest deep in IHo-ron' with
a deliberate pun of mun paJmon pa. For additional poems on IHo-ron
and lHo-Mon, cf. Bod kyi dga'-gias / , p. 107, no. 3; p. 123, n. 4; gTam-
dpe, p. 138, gSuh-mgur, nos. 121, 294.
230

50c The talking (smra mkhan) or voluble (éod mkhas) parrot, cf. nos. 60, 64
infra; gSun-mgur, nos. 83, 117, 422, 441; Norbu's Coll TV, no. l;gTam-
dpe, p. 135. Cf. also the Central Tibetan tale called "The Talking Parrot"
(smra mkhan ne tso), which relates a story about a cunning parrot; cf.
Bod-ljons dbus-gtsah-khul gyi dmahs-khrod gtam-rgyud, pp. 135-47.
The parrot, aside from its conspicuous colours, is first and foremost
renown for its skill to imitate human speech. But talk, usually in the
garb of gossip and slander, can be the cause of h a r m and evil. The
talking parrot can therefore, as is the case in the present poem, be a
risky contact, which, as a legs bead by Sa-skya Pandita proposes, is best
kept in a cage (gzeb); cf. Subhäsitaratnanidhi no. 228, ed. J.E. Bosson,
1969, p. 249.
50e The colloquial phrase o ées = los ses: "Certainly you know!" Another,
equally plausible understanding of o ses is 'please!' (= sku mkhyen), "be
kind" or "pray" (= gnan rogs gnan). Cf. also gSuh-mgur, no. 327. Does
o ées have anything to do with the colloquial expression dba9 bzes ?
50f Here gsan kha, 'secret mouth or voice' = gsah gtam, no. 29 supra. In
the valley or at the corners (mdo la), i.e. in public, openly. The alt.
readings are equally plausible.

• A poem in which the poet admonishes a voluble personage in his

entourage to keep his secret affairs (gsan kha) in the dark. This per-
sonage h a d witnessed or had merely got wind of the poet's clandestine
tryst with his beloved, a tryst which took place in lHo-ron in South Ti-
bet. The parrot, notorious for its ability to imitate h u m a n vocals, is here
sarcastically employed to depict a person of dubious stamp, a untrust-
worthy character (bio 'khel med pa'i mi éig) susceptible of divulging or
leaking (phyi gyar byed pa) the poet's escapades in public. Cf. similarly
no. 38 supra and 64 infra.
Xiao Diyan, sBrah-char, 1988 (2), pp. 72-3, reading the poem figu-
ratively, envisages here a secret meeting between Tshaiis-dbyans rgya-
mtsho and, in the garb of the fiancée, the Regent. Reading the stanza
historically too, this political rendezvous should allegedly have taken
place in IHo-kha sometimes around A.D. 1704, the author surmises.
He further contends that the confidential issue under discussion (go
bsdur gnan ba'i nan don) between the colluding partners was the en-
deavour further to increase the fight against the Qosot chief, at this
point the joint foe of both men. Evidently, the parrot should aptly de-
pict an attendant (sku 'khor) or an envoy (pho no), who may divulge
their conspiratorial encounter.
 231

51

I lha sa mi tshogs mthug la |

j 'phyoris rgyas mi spus dag pa |
j na la yod pa'i chun 'dris |
j 'phyons rgyas gzun la yod do |

Lhasa is densely populated

But the "Valley of Kings" holds the fairer types;
My boyhood acquaintance, who is all mine,
Come from the midst of t h a t valley.

51a sa ABCEFGHIJ : sa'i D; tshogs DEFHIJ : rdzogs ABC : rdzags

G; mthug ACDGHJ : 'thug E F : thug BI; la ABCEGHIJ : kyan
DF;
51b 'phyons E F H J : 'phyon DI : chun ABCG; rgyas DEFHIJ : rgyal
ABCG; pa ABCDEFGIJ : ka H;
51c yod CDG : yon E U : yohs AB : dgos FH; 'dris ACDEFGHIJ : bris
B;
51d 'phyons EFHJ : 'phyon DI : chun ABCG; rgyas DEFHIJ : rgyal
ABCG;

51a mi tshogs mthug (~ 'thug) [po], the dense populace or the dense crowd
of people. Cf. analogously the expression luh pa der sdod mkhan mi
tshogs mthug (~ 'thug) po 'dug, 'a dense crowd of people h a s settled in
this valley*; nevertheless, Lhasa, the capital of Tibet, is populous.
51b Thyon[s] rgyas, the name of a valley and a river, an affluent or a side-
valley of the Yar-kluns Valley and river, the cradle of Central Tibetan
civilization and the key site of its imperial past. The Yar-kluns Valley
is probably the most fertile valley t h a t runs into the Brahmaputra or
gTsan-po artery from the south. The 'Phyoh[s]-rgyas (or 'Phyin-ba) Val-
ley itself has its ancient citadel at 'Phyin-ba sTag-rtse, the residence of
the early Tibetan kings, prior to Chos-rgyal Sron-btsan sgam-po shifted
it to Lhasa as can be documented from the Dun-huang chronicles. First
and foremost the imposing burial mound of this king, the Ban-so dmar-
po, the 'Red Tomb', is located there. The Great Fifth Dalai Lama (1617-
1682) was born in the 'Phyin-ba sTag-rtse rdzon. Cf. H. Hoffmann, Die
Gräber der tibetischen Könige im Distrikt 'P'yons-rgyas, 1950, G. Tucci,
Tb Lhasa and Beyond, pp. 139-142; id., The Tombs of the Tibetan Kings,
pp. 31-32; A. Ferrari, mKyen brtse's Guide to the Holy Places of Central
Tibet, pp. 52-3, 56, 130-131; K Dowman, The Power-Places of Central
232

Tibet, pp. 196-204; J. L. Panglung, "Die metrischen Berichte über die

Grabmäler der tibetischen Könige", Tibetan Studies, 1988, pp. 321-368.
It should also be remarked t h a t the bold incarnate ruler, after hav-
ing broken the chains of monastic vows, assumed the dress of a layman,
and, as is known, wore rings and long hair. Tradition even holds t h a t
the wilful and obstinate young ruler would not infrequently cast off the
ceremonious straitjacket dictated him by his position, seek any oppor-
tunity to escape the daily rutine and tedious life of ritual and make
short visits and excursions, despite persuasions to the opposite, to the
vicinity 'Ol-kha, Gon-dkar and 'Phyon[s]-rgyas; cf. Shakabpa, Bod kyi
srid-don rgyal-rabs I, pp. 477-79, 494-5; Aris, Hidden Treasuries and
Secret Lives, p. 156. Could we assume t h a t he might have met a girl
during one of these trips ?
The form chuh rgyal is evidently the garbled or oral form for the
orthographically more correct Thyon[s]-rgyas. mi spus dag, people
of good quality (spus ka: spus dag [po], spus gtsan, spus legs), not
spugs dag pa (misprint ?), 'd'un charactère charmant', as van Heurck,
1984, p. 119, will have it. Cf. Wang Yinuan, 1980, p. 53, C. rénpïn
zuihäo, *best or first-rate moral or h u m a n quality^ Zhuang Jing, 1981b,
p. 26, C. zultiân, 'sweetest'; Zhuang Jing also cites a saying, provenance
unknown, which runs accordingly in Chinese: Yalông (= Yälü) linmii
guäng, qiôngjiérén piàoliang, "The forest of Yar-kluns is vast and the
people of 'Phyon[s]-rgyas are beautiful". For further gzas on 'Phyon[sj-
rgyas, cf. gSuh-mgur, nos. 204, 411, 432, 438; Bod kyi glu-gzas, p. 150,
no. 1 = gZas-tshig phyogs-bsdus, p. 121, no. 4.

51c The girl belonging (ha la yod pa) to the poet, his 'amour ou amie d'en-
fance' (chun 'dris), cf. no. 12. The alt. reading dgos pa is equally plau-
sible.

51d The term gzun designates the core or the middle part (= mthil, cf. no. 60
infra; dkyil, dbus) of a place.

• A poem on amorous yearning. The poet here bewails t h a t his preoc-

cupation and his daily affairs tie him to the populous Lhasa, the cap-
ital of Tibet, when his mind is haunted by the memory of his beloved,
his childhood-acquaintance, who sojourns in the remote district of Yar-
kluns, notorious for its pretty girls. If the poem is authentic, it would
mean t h a t the young God-king has grown tired of his ceremonial and
lovelorn life within the confines of the Potala. Languishingly, he yearns
for the handsomely delicate girl[s] of 'Phyons-rgyas. It may, as corrobo-
rated by the samples ofgéas compiled in gSun-mgur, be a reference to a
girl pertaining to some noble family, who has their estate in Thyon[s]-
rgyas. Meriting our attention also is an incredulous story germane to
 233

our poem, told to C. Bell by a Tibetan friend of his and cited in his book
The Religion of Tibet, op. cit., pp. 141-2:
The sixth Dalai Lama had the power of assuming several forms.
His own body used to be in the Potala, while a secondary body
used to roam about, drink wine, and keep women.
Quoting the verse about 'Little Intimate*9 in Chung-gye, he con-
tinued: The girl mentioned was a goddess who would have borne
a son to the Dalai Lama. This son would have grown up to be a
famous king, ruling over three thousand countries. The people
of Tibet would have enjoyed great power and prosperity during
his reign, but for this very reason they would have lost their
religion.
Tibet with three thousand nations as its vassals would have be-
come the most powerful country in the world. The conquest of
these nations would have entailed many wars, the taking of very
many lives. Herein would have been great sinfulness and slack-
ening of religion. And, becoming powerful and prosperous, the
Tibetans would thereby also have slackened in their religion, as
is the custom among powerful and prosperous people. Therefore
the king was not born.
If anything, this story is telling example of the myth that grew out of
the Sixth Dalai Lama's popular repute, while at the same time it aptly
demonstrates the never-failing resourcefulness, hyperbolic to be true,
of the Tibetan mind.
And yet, the working of symbols and images is as powerful in Tibet as
it is everywhere. Would the poem yield a figurative or an allegorical im-
port further ? His longing, or cri de cœur, for the 'good (= morally trust-
worthy, fair) people' of 'Phyoii[s]-rgyas could certainly be an ill-veiled
allusion to the cradle of the former rulers of the Tibetan nation, situated
in the heart (giuh, paronomasia on 'government' igiun)) of 'Phyonts]-
rgyas Valley and, perhaps, an overt hint to the birth-place (and thus
the person) of the Great Fifth Dalai Lama. Hereby the young God-king
scornfully reproached the Regent, who, we already know, demonstrated
a conspicious lack of compliance to grant the young God-king access
to the execution of real power or to share the reins of government with
him. He thus skilfully managed to call our attention to the pre-eminent
figures of sovereignty in Tibet's glorious imperial past, while he simul-
taneously alludes to his own previous embodiment, who in his own time
was the legitimate and absolute ruler of the dual power. The childhood
acquaintance and inamorata is therefore also here a metaphor igzugs
can) for the object of his yearning, i.e. *his natural claim to be wed-
ded to real authority*, as its rightful incumbent the execution of power
lawfully belongs to him (fia la yod pa).
234

52

I khyi rgan rgya bo zer ba |

j r n a m ses mi las spyariba |
j srod la lahs son m a zer |
j tho rans log byun m a zer |

You old dog, called "Bearded One",

Whose mind is more cunning than man's;
Don't say: "He went out a t dusk",
And "He returned at dawn!"

52a rgan ABCDEFGHIJ : de K; rgya bo DEIJK : rgya'u ACGH :

brgya'u BF; zer ba ACDEFGHIJ : gzer ba B : mig bzi K;
52b rnam ACDEFGHIJK : rnams B; spyan ba DEFGHIJ : lean ba
BK : can ba C : can ba'i A;
52c lahs CDEGI : Ian ABFH : slebs K : yahs J ; son ABCDEFGHIJ :
byun K;
52d log ABCDEFGHIJ : Ian K; byun ABCDEFGHIJ : son K;

52a The old dog denoted the 'Bearded One' (rgya bo); equally plausible is the
orthorgaphical variant rgya'u, which represents the oral form or, less
likely, some diminuitive form. Here we shall evidently envisage an old,
goat-bearded, shrewd dog. The term khyi rgan clearly denotes an aged
dog (khyi lo Ion pa), b u t 'old dog' is also Tibetan slang, a derogative,
explicative word similar to our 'pig7 (phag pa, this sense, incidentally,
is also used in Tibet, cf. Bod kyi glu-gzas, p. 92, no. 1 = Duncan, 1961,
p. 64); cf. Goldstein, Tibetan English Dictionary, q.v. khyi rgan): i.e. 'a
son of a bitch', a 'scoundrel' (cf. C. hùnzhàng). It is thus an abusive
word (nan tshig, tshig rtsub) employed to scold or revile other people
(gian la gée ba). The term rgya bo designates either 'a person (or a
dog) growing hair along the confines of the cheek (or the jaw)' ('gram
pa'i mthar spu skyes pa'i mi) or simply designates 'one endowed with
beard' (rgya bo = og tshom can). Cf. also Zhuang Jing, 1981b, p. 27,
who correctly renders it into C. huxü mänsäi, (a dog with) 'the chin full
of beard'. Some translators such as Yu Daoquan and D. Back assume
t h a t zer ba is a corruption for ser ba, 'yellow', b u t no recension readily
warrants this conjecture. More interesting is the reading in edition K
mig bzi, the 'four-eyed' old dog, but the phrase khyi mig bzi (cf, the
literal rendering C. siyângou; The Pentagloi Diet., Ill, p. 4305) actually
denotes 'a dog endowed with two hairy soots of a yellow hue above its
eyes' (mig gnis kyi thod du spu mdog ser po'i thig le gnis yod pa'i khyi; cf.
 235

Bod-rgya tshig-mdzod chen-mo, p. 258; R. Stein, 1956, index, p. 359; =

miggzi ma, rdzi ma, 'eyelashes' ?), which makes it look as if it had four
eyes. For the old bearded dog, cf. e.g. Bod kyi dga'-gzas I, p. 24, no. 5,
which relates how the vulture was expecting to be having a good time
devouring the corpse of a dead horse but the old bearded dog outwitted
the bird and came first (lit. "it made a cross over the mouth [of the
bird]" = "shut it up"):
| rgod pos rta ro'i sgan la \
j narns bzah gton dgos bsam son \
j khyi rgan rgya'u gcig gis \
I kha la ku ru brgyab son \
On the pilgrimage or circumambulation-roads (skor lam) in Lhasa,
another gzas relates, the sleeping-place of the stray 'old dog* is perched
high. But alas, not high enough, it was carried away by a *y°ung tiger'
(stag ma gzig; cf. C. biäo, lïfù; The Pentaglot Dictionary, III, pp. 4243,
4908; here evidently depicting an even more fierce dog; cf. no. 48 supra);
cf. sDe-dgeï dmans-glu, p. 98. no. 1:
| lha sa'i skor lam steh du |
I khyi rgan rial sa mthon po \
j de daft rial sa ma mtho \
j stag ma gzig gis khyer yon \
For the various terms for a dog, cf. e.g. The Pentaglot Dictionary, III,
pp. 4302-06, 4962-64. For the old dog, cf. also Duncan, 1961, pp. 77,
83.
52b The consciousness (mam ées, vijnäna; here = dban po, indriya, the
senses) of the dog is more sharp, vigilant or alert (= dogs zon) than
man's. The term spyah ba is the comparative form of spyah po, spyah
gruh, wise, clever, prudent, cunning; cf. also no. 47 supra,
52c The twilight or dusk (srod, = dgoh mo; Skt. pradosa, sâyarn) on the
brink of the eventide and the night is the time for love and the dawn
or daybreak (tho rafts, tho refis, skya refis, Skt. prätah, üsä) signals the
abrupt abolition for such nocturnal affairs; cf. gSuh-mgur, nos. 26, 382;
Bod kyi dga'-gias I, p. 33, no. 4 = gZas-tshig phyogs-bsdus, p. 129, no. 4
cited ad gSuh-mgur, no. 382.
Observe the alliterative or epistrophic play on zer in line abd.

• In a sense the following seven poems (nos. 52-58) constitute a unity,

as they display a chain of episodes adhering logically together and which
eventually winds up with the death of the protagonist. The present
poem bewails the dearth of discretion. This and the following two
poems evidently carry evidence of the poet's nocturnal escapades and
236

clandestine liaisons outside the Potala. It gave rise to the many tall
tales about the young God-king's numerous mistresses in the 'yellow
mansions' (khan ser), brothels and taverns, cf. ad gSun-mgur, no. 321,
located in Zol below his winter-palace. In this allusive poem the poet,
vexed with the lack of privacy, besought his old watch-dog, ever on the
alert and more shrewd than any watchful guardian, not to betray his
nightly excursions with its howling. In fact, this 'Bearded One' vividly
illustrates an old private attendant of his, who was furnished with a
goatee of some sort. The reference to the 'old dog* should clearly be
taken in a pejorative sense and depict a person in whom the poet ap-
prehends a slackened loyalty. Here is probably a reference to a private
chamberlain (gzim dpon rgya bo, gsol dpon rgya bo) in the young God-
king's retinue, who was well aware of his illicit affairs, but who, we can
adduce, the poet had suspected to be reporting his every doings back to
the Regent. He is therefore earnestly admonished to pledge silence. His
fear of a waning loyalty within his circles is expressed in other poems
too, cf. nos. 29, 38, 50 supra.
Chab-spel, 1987, pp. 302-3, sees this and the following poem as fur-
nishing us with concrete episodes in the young ruler's life which accord
with historical facts (lo rgyus kyi byun ba dnos dan mthun pa). It clearly
demonstrates with what secrecy (Ikog Ikog sud sud nah) the poet had
to cover his amorous affairs when operating under the rules of such a
strict and tight society (spyi tshogs lam lugs kyi bsdams éugs 'og) as the
Tibetan. In the eyes of Chab-spel this only lends weight to the authen-
ticity of the lyrics. Xiao Diyan, sBran-char, 1988 (3), p. 47, par contre,
curtly contends t h a t the poem relates about a secret envoy (pho na) of
the Regent.
 237

53

I srod la byams pa btsal bas |

j tho raris k h a ba bab byun |
j gsari dan m a gsan mi 'dug
j zabs rjes gans la bzag yod |

Snow has fallen at dawn

For him who sought his love at dusk;
Who cares whether it is a secret anymore?
My footprints are left in the snow!

53a btsal bas DEFGH : btsal baï ACIJ : rtsal ba'i B;

53b tho rans [refis H] kha ba BDEFHIJ : kha ba man po ACG; bab
CG : babs DH : 'bab ABEFIJ;
53c gsan ACDEFGHIJ : bsans B; 'dug ACDEFGHIJ : sdug B;
53d gans ACDEFGHIJ : gah B; biag yod IJ : biag gi C : biag go G :
[b AHjzag ni ABH : biag 'dug D : bzag son EF;

53a In some of the recensions (ABCFIJ) song nos. 53 and 54 are made up
by the following sequence no. 53: 53ab + 54ab and no. 54: 54cd +
53cd. Quite probable, this sequence ultimately hails from the scribal
concoction of this sequence in ed. AB. The dusk and twilight is the time
for love affairs. Cf. the previous poem and e.g. gSun-mgur, no. 406, in
which is related that when the sun had set and shrouded the valley in
dark, the poet's nocturnal h a u n t was the little quarter of the mistress
or the tavern hostess ignas mo; cf. no. 61 infra).
53b The alt. reading kha ba man po is equally plausible.
53c The colloquial phrase vb. (pf. tense) + dan + neg. vb. (pf. tense) + mi
'dug, conveys the sense of: "There is neither vb. nor not vb.", t h a t is:
'Whether vb. or not vb., it mattered little" or "who cares whether vb.
or not vb."; a legion of samples could be cited to this effect. Suffice it
to mention: no. 65 infra: 'jigs daft mi 'jigs mi 'dug; Bod kyi dga'-gzas
I, p. 8, no. 4 (-gTam-dpe, p. 141): byas dan ma byas mi 'dug; p. 57,
no. 5: btags dan ma btags mi 'dug; p. 83, no. 3: bsam dan ma bsam mi
'dug; p. 85, no. 3: byun dan ma byun mi 'dug; p. 98, no. 4 (=gTam-dpe,
p. 134); cf. also gSuh-mgur, no. 319: btah dan ma btah mi 'dug; p. 101,
no. 4; cf. also gSun-mgur, no. 187: ear dan ma ear mi 'dug; p. 118:
phyid dan ma phyid mi 'dug; p. 127, nos. 5-6: phyes dan ma phye[s] mi
'dug and rgyab dan ma rgyab mi 'dug;gSuh-mgur, nos. 167, 424: gnan
dan ma gnan mi 'dug and mtho dan mi mtho mi 'dug.
238

53d The van led. are equally feasible.

• The poem is a companion piece to the previous stanza. It is couched in

a meekly resigned note, in which the poet accepts the inexorable course
of event destined him by the workings of karman. Surreptitiously, if not
habitually, he slunk away from the Potala, under the protecting shield
of twilight in the long winter-nights, and carrying a different mask and
name (cf. next poem), he would take refuge in the numerous taverns
of Zol, the pleasure quarter situated just below the Potala, where he
would seek out his allegedly many lovers. The breaking of dawn, we
may assume, would costumarily be the signal for a hasty and incognito
return to his 'gilded cage' in the Potala. But the whims of nature would
eventually betray him, his footsteps would be found left behind in the
fresh snow which fell during the night.
Conjointly with the previous poem where the poet entertained some
misgivings as to whether an attendant of his would refrain from leaking
his secrets or not, this poem could arguably be seen to express that his
attempt to silence the watchful attendant proved abortive. The howling
of this telltale attracted the attention to the marks left behind in the
fresh snow which eventually rendered the question of secrecy nugatory.
 239

54

I po ta la r u bzugs dus |
j rig 'dzin tshans dbyans rgya mtsho |
j lha sa zol du sdod dus |
j 'chai po dvans bzan dban po |

When I reside in the Potala

I am the Knowledge-Holder Tshans-dbyans rgya-mtsho;
When I roam about in Lhasa and Zol
I am the womanizer Dvans-bzan dban-po.

54a ta ABCDEFH : ta GIJ; bzugs ACDEFGHIJ : zug B;

54b tshans ACDEFGHIJ : mtshan B;
54c du ACDFGHIJ : ru BE;
54d 'chal CDEFHIJ : 'chel AG : chas B; dvans ego : dan ABCEFGHIJ
: den D;

54a Note the contrast between the use of the honorofic verb (biugs) in the
first distich versus the ordinary form (sdod) in the last distich. When
referring to the Dalai Lama directly, the honorific is employed, when
referring to the alter ego of the same (?) person, the ordinary form is
used.
The Potala, known locally as Teak', rTse, or 'Peak Palace', rTse pho-
brari, the imposing palace and mammoth piece of architecture towering
high in the Lhasa Valley, was built upon the site, the Red Hill, dMar-po-
ri, of a former palace raised in the 7th century (637 A.D.) by Chos-rgyal
Sron-btsan sgam-po. It towers 117 metres in height and 400 metres
in width, the Potala comprises halls, chapels, shrines, mchod Hen and
libraries in 13 storeys. The artitectural style of the Potala is a combina-
tion of Tibetan and Chinese features, but it clearly commands a unique
Tibetan appearance. The actual construction of the palace began in
1645 A.D. during the rule of the Great Fifth and the whole edifice was
first finished by adding to the basic White Palace, Pho-bran dkar-po, the
central Red Palace, Pho-bran dmar-po, at the end of the 17th century.
For over 300 years it has been the residence of successive Dalai Lamas.
For a convenient pictorial account of the Potala Palace, cf. The Potala
Palace of Tibet; Dowman, The Power-places of Central Tibet, pp. 51-58.
54b The term rig 'dzin, besides being a proper Tibetan name for a person, is
originally known from early Buddhism: The 'Upholder of Science' (Skt.
vidyâdhara\ P. vijjadhara), the science of magical spells. A collection
240

of [mantric] spells even existed (vidyadharapitaka); cf. L. de La Vallée

Poussin, JRAS, 1895, pp. 433-36; later this tradition or, at least, the
term was incorporated into Tibetan Buddhism, especially within the
non-reformed and semi-reformed sects. Among the ecclesiastical stages
of the school of the rNin-ma-pas we find the following four gradual
stages of rig dzin-s, presented quite laconically here:
1. T h e Knowledge-Holder of (manifold) Maturity* (mam smin (i.e.
sna tshogs smin pa'i) rig 'dzin). [The Knowledge-Holder of Matu-
rity designates an adept] on the stage of the 'path of vision' (mthon
lam, daréanamârga), who, having initially attained firmness in
the visionary Developing Stage (bskyed rim, utpannakrama), is
[yet] not able to purify [all] the [subtle] emerging impurities [of
jneyävarana), although [they] have [at this stage] matured [in him]
as mind itself (mthon lam gyi gnas skabs su \ dan po bskyed rim
la brtan pa thob nas sems nid liar smin yah \ 'byuh ba'i snigs ma
sbyah ma nus pa'o).
2. T h e Knowledge-Holder of the Power of Life (with the immutable
body free of ageing and infermity)' (tshe dbah (i.e. rdo rje'i sku la
bsgres rgud med pa'i tshe'i) rig 'dzin). Encompassing the [whole]
'path of vision', the attainment of the Knowledge-Holder [of the
Power] of Life [designates an adept] bereft of birth and mortal-
ity, [which he has attained] by having not only matured [his own]
mind into the Gnosis of the 'path of vision', but [moreover] h a s
transformed the receptacle [i.e. his body], which is [capable of] at-
taining the highest dharma, into a transparent vajra-body (mthon
ba'i lam bsdus te chos mchog thob pa'i rten de nid dvans ma'i lus
rdo rje Ita bur 'gyur tin \ sems kyan mthon ba'i lam gyi ye ées su
smin pas skye 'chi med pa tshe'i rig 'dzin brnes pa'o).
3. T h e Knowledge-Holder of the Great Seal' (phyag (rgya) chen (po'i)
rig 'dzin). Comprising the 'path of cultivation' (bsgom lam,
bhävanämärga), the Great Seal (Mahämüdra) Knowledge-Holder
is endowed with the Body of Gnosis co-emerging with the '[path
of] learning (saiksamärga)' raised out of 'clear light' on the 'path
of vision' (bsgom pa'i lam bsdus te mthon lam 'od gsal de las lans
pa'i slob pa'i zuh 'jug ye ées sku can gyi phyag rgya chen po'i rig
'dzin).
4. T h e Knowledge-Holder of Spontanity' (Ihun grub rig 'dzin). Com-
prising the 'path of no-more learning' (mi slob pa'i lam, asaiksa-
märga), [the Knowledge-Holder of Spontanity is an adept who has]
attained the level of Vajradhara, and finally has quite sponta-
neously manifested the five bodies of fruition (mi slob pa'i lam
bsdus te mthar 'bras sku lha Ihun gyis grub pa rdo rje 'chart gi sa
 241

thobpa'o). The five bodies (sku Ina): Dharmakäya, sambhogakäya,

nirmänakäya, svabhävikakäya and the 'immutable vajra-body' (mi
'gyur rdo rje'i sku); or, according to another enumeration 'bras chos
liia: Dharmakäya, sambhogakäya, nirmänakäya, mi 'gyur rdo rje'i
sku and the 'body of perfect enlightenment' {mhon par byan chub
pa'i sku).

Cf. K. Dowman, Sky Dancer, p. 203, n. 26. Bod-rgya tshig-mdzod

chen-mo, pp. 1574, 2282, 1733, 3107.
Out of this complexity it would seem difficult to appreciate in what
specific sense Tshans-dbyans rgya-mtsho held the title 'Knowledge-Hold-
er'. Perhaps we should call attention to tshe'i rig-'dzin, as this 'Master
of Immortality* occurs in connection with the crucial poem, no. 20, q.v.
supra. The epithet 'Knowledge-Holder' applied to Tsharis-dbyaiis rgya-
mtsho nevertheless indicates t h a t he was considered to be a Master
of some Tantric (anuttarayogatantra) and/or alchemical precepts, or, at
least, a practitioner of arcane and esoteric teachings, the precise con-
tent of which shall remain unsettled. Finally, it should be added, it
appears t h a t this title of rig 'dzin was hereditary, because it was the ti-
tle of his father also, snags rgyud rig 'dzin, (when this soubriquet should
not be emended to snags rgyud rigs 'dzin, which just means someone
following the precepts of Tantric teachings, i.e. an adherer of a tantric
lineage; cf. Vaidûrya ser-po, p. 400; Shakabpa, Bod kyi srid-don rgyal-
rabs I, p. 465. Mr. Tashi Tsering, LTWA, Dharamsala, it should be
noted, finally suggested to me t h a t rig 'dzin might arguably be a simple
corruption for rin chen, as the latter is part of his full name: Blo-bzan
Rin-chen Tshans-dbyans rgya-mtsho.
The pivotal element in this monastic name was Tshans dbyans, which
means a 'Voice of Brahma' rendering the Skt. Brahmasvara (or, less
frequently, Brahmaghosa) which is one of the thirty-two marks of a
Great Being or a Buddha (skyes bu chen po'i mtshan sum cu rtsa ghis,
Skt. dvätrimsamahäpurusalaksanäni; cf. MVT. XVIII, 13, no. 248); the
melodious Voice of Brahma is the intonation with which the Veda was
to be read by the Brahmans. Cf. also Aris, Hidden Treasures and Secret
Lives, pp. 127, 148, who contends t h a t this epithet evidently was given
the young novice by Pan-chen bla-ma in order to fulfil the prophetic
dream t h a t had come to a monk from 'Bras-spuns some years earlier.
Verily, as adduced by Aris also, op. cit., p. 148, the popular and melo-
dious tenor of this name was to create the strongest pertinence in the
mind of the ordinary Tibetans, b u t certainly not yielding the same im-
port of sanctity as it was originally intended by Pan-chen bla-ma. With-
out being sanctimonious, to the Tibetans the name poignantly reflects
the poetical and musical endowments with which the incarnate poet
was invested.
242

Some gias, composed recently ?, comment on Tshans-dbyans rgya-

mtsho accordingly. One poem relates how Rig-'dzin Tshans-dbyans
rgya-tsho, disobeying his parents, left home to live with a girl. But,
alas, the harsh storm of Byan-than (= the temper of the indocile and
wild girl) prevented him from staying (pun on gnas tshan, as it means
both 'lodging-house' and 'wife') for [more than] one night, Bod-rigs kyi
glu-gtas, p. 46, no. 3:
| pha ma'i kha la mi non |
| rig 'dzin tshans dbyans rgya mtsho \
j by an than lhags pa ehe nas \
| gnas tshan iag gcig mi Ion \

The following celebrated poem, copiously quoted in various antolo-

gies, staunchly defends Tshans-dbyans rgya-mtsho, by saying t h a t no
one should reprehend t h a t he sought the company of lovers; as this
proved necessary for himself, it would prove just as necessary for any
individual; cf. Bod kyi glu-gzas, Beijing, 1959, p. 169 = Wang Yinuan,
1980, p. 70:

| rig 'dzin tshans dbyans rgya mtsho \

| snih sdug 'tshol gyis ma gsun \
| rah la dgos pa nah bzin \
| mi la dgos kyi yod 'gro

54c This line should either be understood t h a t he roamed about in Éol of

Lhasa or in Lhasa and Éol. Zol, the little district (sde) or village com-
munity at the base of the south side of the Potala Palace, serviced
the Palace by supplying it with a number of governmental institutions.
It also housed the 'red-light' quarter of Lhasa as it was traditionally
known to be replete with brothels and taverns, a reputation it partially
earned in connection with the Sixth Dalai Lama, as some quarters of
Zol allegedly became known as the area with the 'yellow-chalked' or
'yellow-smeared' houses (khan ser, sa rtsi ser po byugs), cf. ad gSuh-
mgur, no. 321. D. Back, 1986, p. 149, draws attention to a passage
in 'Brug-pa Kun-legs' biography (translated by A. Kretschmar, 1981),
where the ladies of Zol are praised. In the rendition of Kretschmar, op.
cit., p. 129:
Ich opfere, ich opfere den Mädchen von sde Éol.
Möge der Segen gewährt werden, daß sie Nahrung
und Kleidung mit ihrem Hintern verdienen.

The last phrase is a circumlocution for prostitution (smad 'tshon spyod

pa, giah 'tshon ba).
 243

54d The term 'chalpo designates more freely a libertine, voluptuary, woman-
chaser, womanizer or debauchee, etymologically it denotes a fornicator,
a person with a strong bent for promiscuity. Cf. similarly Wang Yinuan,
1980, p. 56 and Zhuang Jing, 1981b, p. 28, C. làngzï, a wastrel. In a
modern sense it would probably denote a 'dandy* of sorts. In a g i a s the
poet makes the observation t h a t male and female fornicators seem to
abound everywhere, but the poet entreats the parents not to fly into a
rage assuring them t h a t he will "take care" (= marry) the girl; cf. e.g.
Bod kyi dga'-gias I, p. 38, no. 3 = gTam-dpe, p. 132 (cum van led.):
| 'chal po 'chal mo zer ba |
| rgyal khams yoh[s ?] la yod 'dm \
j yah yum bka' bkyon ma gnah \
| bu mor 'gro starts zus chog
The pet name or soubriquet of the young God-king, Dvans-bzan dban-
po evidently means, when taken individually, 'clear', *brave' and 'potent*.
The adj. compound dvahs bzah appears etymologically to hail from or is,
as corroborated by the gias cited infra, at least punned upon dvans sah
or dvans sin [ne] or dvans gtsan, i.e. 'clear', 'transparent', 'not turbid' (=
rhog pa med pa) or 'immaculate' (fies skyon daft bral ba). It is an adj.
usually qualifying water, knowledge and people. But dvans bzah, in
colloquial language, carries the adjectival sense liandsome' (male) and
*beautiful' (female). Read together, it should properly be rendered as
the 'Handsome and Potent One'. This flattering hypokorisma allotted
to the young God-king has evidently lent inspiration to a number of
gzas, not infrequently cited in various contexts. In an allusive gzas a
girl is advised not to shake drops [of rain] from the trunk of the willow
(cf. no. 12 supra), when she has a whole fountain or a spring, 'clear,
excellent and abundant' (dvans bzah dbah po), right in front of her door.
Phrased differently, the girl had easy access to love (= water) in her own
place, the lover 'Handsome and Potent' is readily at hand; why, then,
settle for less or seek petty love elsewhere ? cf. Bod kyi dga'-gias I,
p. 39, no. 3 = Bod kyi glu-gzas, p. 89, no. 2 = gTam-dpe, p. 130 (cum
van lect):
| chu mig dvans bzah dbah po \
| ran gi sgo rtsar bzag nas \
I mi yi rgya lean sdoh po'i |
j zil pa dkrugs pa ma gnah \
This poem is also proverbially rendered in prose in mKhas-btsun
bzan-po's gTam-dpe, no. 248:

chu mig dvans bzah Idan pa rah gi sgor rtsar biag nas mi éih
rgya lean sdoh po'i zil par re ba byas pa red.
244

Similarly, another gias describes how the girl, here in the garb of
a mdzo mo named bsTan-'dzin dban-mo, could not satiate herself with
just one mouthful of water (= love), when reaching the ever so clear
water in the well or the river, also here depicting a reservoir of love,
a male lover with the cognomen Dvaris-bzan dban-po; cf. Bod kyi dga'-
géas I, n. 41, no. 3 = gZas-tshig phyogs-bsdus, p. 140, no. 4 = Bod kyi
glu-géas, p. 155, no. 2 (cum var. led.: chu mo for chu mig\ dvans sin for
dvans bzan; mdzopho bstan 'dzin rogpo for mdzo mo bstan 'dzin dban
mo):
| chu mig dvans bzan dban po \
j dvans dan dvans po 'dug ste \
j mdzo mo bstan 'dzin dban mo \
j kha [g]cig noms sa ma red \

• The poem dramatically depicts the poet's alleged double life. In the
Potala, our protagonist poses as a living god, a head of state for the dGe-
lugs-pa sect and yet invested with the rftin-ma-pa-styled denomination
rig 'dzin, a reminiscence of his paternal provenance. When his alter
ego, his true self ?, par contre assumed the role of a romantic figure,
he would, as the two previous poems convince us, under a different
mask slink out of his irksome fetters as a living incarnate, and seek
female consolation in the near-by taverns and public houses, where the
womanizing dandy would answer the popular cognomen "Handsome
and Potent".
It is no doubt the collection's most conspicuous poem. This ingenuous
epigram vividly introduces the two personalities, or the dual personal-
ity, hidden in the same man when it thus captures the two faces of our
protagonist. Importantly, to endorse uncritically t h a t this poem in par-
ticular should be reflecting the ipsissima verba of our remarkable per-
sonality is, admittedly, an insurmountable challenge to our credulity.
The form the parallel and direct presentation of the protagonist as-
sumes, along with the slightly ironical and frank wording in which the
poem is couched and the use of honorific about himself (cf. also no. 56
infra), altogether suggest t h a t we are here most probably dealing with a
sympathetic depiction of him, a popular song composed in the memory,
and, with the course of time, in the name ? of the Sixth Dalai Lama,
Being brief and poignant, the poem displays a clear and direct affinity
to the Tibetan caricature songs and street ballads.
 245

55

I éa 'jam mal sa nari gi

j snin thub gduh sems can m a |
| o lo'i rgyu nor 'phrog pa'i |
j gyo sgyu bsad pa min 'gro

My passionate sweetheart lies waiting on the bed

With a body tender and soft;
Have you perhaps come to web sly lies
In order to bereave a young man of his dearest possessions?

55a éa ABCEFGHIJ : gro K; jam ACEFGHIJK : 'byams B; mal sa

ACG : mal sa'i K : nal sa E F J : fiai gzan H : na zas BI; gi
C E F G H J K : gis BI;
55b thub ABCEGHIJ : thug F : sdug K; gduh FIJ : dun ABCEGHK;
55c o lo'i E F H J K : o los ABCGI; rgyu nor BEFHIJK : dge nor ACG;
'phrog ABEFHIJ : 'phrogs CG : len K;
55d sgyu ACEFGIJK : rgyu BH; bead pa ABCEFGHIJ : byas pa K;
min 'gro ACEFGHIJ : man 'grogs BN : min nam K;

55a The soft flesh or body (sa 'jam), cf. no. 49 supra. The var. reading nal
sa is equally plausible. Ed. H nal gzan, a blanket, is hardly valid as
original reading.
55b A fiancée (snin thub), cf. no. 4 supra. For the adj. [g]duh sems can ma,
a 'passionate' or 'loving* girl; cf. no. 33 supra.
55c The term o lo denotes a child, boy, a young man or a stripling (byis
pa spyi'i min, phrug, bu, pho gzon). A term employed widely in the
traditional vernacular, as can be documented by its plentiful use; cf.
no. 61 infra; Bod kyi dga'-gzas I, p. 63, no. 6; p. 66, no. 1 = gTam-dpe,
125; Bod kyi dga'-gzas II, p. 16, no. 5; p. 90, no. 1; p. 136, no. 4; Bod kyi
glu-gias, pp. 61-2 (nine-syllabic stanzas); p. 112; Bod-rigs kyi glu-gias,
p. 7, no. 2; p. 11, no. 4; p. 14, no. 2; p. 65, no. 2; p. 97, no. 3; gTam-dpe,
p. 128; p. 129; pp. 131; gÉas-tshig phyogs-bsdus, p. 163, no. 5; gSuh-
mgur, nos. 122, 162, 197, 227, 251, 340, 404, 448. The reading rgyu nor
is preferable: Riches, values or possessions, Zhuang Jing, 1981b, p. 28,
C. döngxi, things, without rejecting the var. read, dge nor, the most
worthy possession: The precious virtue.
55d The phrase gyo sgyu bead pa, 'to talk deceitfully', 'to lie' or 'to delude';
min 'gro, 'perhaps', 'maybe' etc. For the auxiliary verb 'gro, cf. 16, 24
supra.
246

• A poem on the temptation of a female love. The poet expresses some

misgivings as to whether or not the passionate and ingratiating in-
amorata with guile and deceptive talk either aims at dispossessing him
of his precious belongings (rgyu nor) or perhaps aims at debauching him
from the virtuous path (dge nor), a deportment of chastity which life's
fortuitous and ironic turns should destine him to be the very epitome
of.
A figurative interpretation is, as in previous cases, hinged upon a
plausible identification of the tempting girl: Tentatively, two options
present itself. She may here be depicting the unpredictable Regent and
his duplicitous behaviour. The poet has throughout the present song-
cycle—in usual allusive manner—repeatedly lashed sardonic plaints
against this person and his notorious hypocrisy. As a layman the Regent
would unabashedly indulge in the company of numerous women while
at the same time he would regularly be seen attired in the robes of a
high-ranking monk-dignitary and with pompous airs and pious graces
display his high ecclesiastical pretensions, q.v. ad nos. 8, 39 supra. The
poet could therefore here most convincingly be painting a picture of this
redoubtable and intriguing poseur in the garb of an ingratiating and yet
dangerous girl, a Tieart-throb', a figure about whom the poet perpetu-
ally entertained mixed or ambivalent feelings; a person to whom the
poet was involuntarily 'wedded' or upon whom he was faced to depend
in a political, if not existential sense. The Regent guilefully prevented
the young incarnate ruler from assuming power of some note and vir-
tually dispossessed him of his rightful property: The appropriation of
real and full power.
Equally tentative only slightly less likely, this loving inamorata may
be a euphemism for his enduring quest for the appropriation of the
secular or the dual power mentioned above. Provided we read dge nor
in 55c we may assume that the poem here would purport that this
process involved the deceptive schemes and the intrigues of politics
which eventually deluded him into losing his precious religious chastity.
Xiao Diyan, sBran-char, 1988 (3), pp. 48-9, here abstains from inter-
pretating it as an ordinary love poem (mdza' gias). He purports that
the loving girl depicts IHa-bzan Qan, who nourished two objectives: by
deceitful manaeuvres and stratagem (bslu brid dan gyo thabs) to re-
move the young incarnate from the throne as the rightful incumbent
and to annihilate his prime foe, the Regent. Xiao likewise rejects that
the term rgyu nor, 'precious objects' should be taken at face value (thad
ka'i go don phud) and contends that it in this context stands for position
and authority (go gnas dan dban cha).
 247

56

I dbu zva dbu la bzes son |

j dbu lean rgyab la dbyugs son |
j ga 1er phebs sig byas pas |
j ga 1er bzugs sig gsun gis |
j thugs sems skyo yon byas pas |
I mgyogs po 'phrad yoii gsuns byun |

The h a t is put on the head

The pigtail swung down the back,
"I bid you farewell", [she] said,
"Stay well", [he] replied,
"Sorrow will h a u n t my heart", [she] said,
"We shall soon meet again!", [he] answered.

56a hies ACDEFGHIJ : ies B:

56c 1er CDG : le ABEFHI; sig CDGI : cig A : zer H : byed BEF; pas
CDEFGH :paï ABI;
56d 1er CDG : le ABEFHI : la J; sig CDGI : cig A : ies H J : byed BEF;
gsuh ACDG : zer E F H I J : gzer B; gis BEFH : gis ACDG : gyis I :
gyi J;
55e yon ACFGHIJ : yohs B : son D : byun E; pas CDEFGHIJ : pa'i
AB;
56f mgyogs ACDEFGHIJ : 'gyogs B; po ABCEFGHIJ : por D; gsuns
CGIJ : gsun ABDEFH;

56b dbu lean, 'pigtail' or *braid\ The term dbu lean is lexically glossed as
dbu skra bslas ma, i.e. braided (lhas ma, lhad ma) hair. That Tshans-
dbyans rgya-mtsho had his hair grown long after his renunciation is
part of the vivid portrayal of him given by T.W. Shakabpa, Bod kyi srid-
don rgyal-rabs I, pp. 477-79, who primarily bases himself on the diary
of Sle-lun. In interpretating the poem, it may equally well be t h a t here
is reference to the braided hair of the girl, cf. below and gSun-mgur,
nos. 204, 206.
56c The idioms ga le phebs, Tare weir directed to someone leaving and ga
le biugs, 'remain weir addressed to the one staying, are the ordinary
valedictory salutations employed by the Tibetans. It should be noted
t h a t the conspicuous dearth of personal pronouns in literary Tibetan
also here shall refrain us from identifying adequately who is address-
ing who and to distinguish who is male and who is female (pho mo dbye
248

dka' ba). Naturally, we must assume t h a t the poem, aside from its
neutral or impersonal formulation, allows for a more person-oriented
interpretation. And the use of honorifics may supply a clue. Two pos-
sible solutions shall present itself. The interpretation offered above is
to be preferred and appears contextually to be the most appropriate
reading. Only it shall here indicate t h a t when the male lover, here sur-
mised to be Tshans-dbyans rgya-mtsho, the alleged poet, is speaking,
here in direct quotation, gsun[s] (but note the alt. read, zer in 56d), the
honorifical form (ie sa) of the verb is employed. But this is contrary to
ordinary usage where even high-ranking persons, the pontiff Tshans-
dbyans rgya-mtsho included, would use non-honorific forms exclusively
when describing own acts, even when formulated so neutral as here,
such as the present speech act. Shifting pronouns in our interpretation
then, it would mean t h a t when the male person is speaking in 56c+e,
the ordinary form byas pa is used and when the girl is described in
56a+b and is responding in 56d+f, the honorifics bzes (ze sa for gyon
or len, 'to wear' or 'to put on') and gsun[s] are employed. This is an
interpretation, moreover, which is corroborated by a number of songs
such as nos. 15, 16, 23 supra, where the poet consistently employs the
ordinary form Cgro, sdod) about himself, but the honorific form (phebs,
béugs, gsuns) when respectfully rendering the acts of others. In this
light the latter reading is the most appropriate: The girl is depicted
leaving the male lover. She put on her hat, her pigtail swinging care-
lessly and freely down her back. He bid her goodbye and she answers
his salutation. He responds t h a t the parting will cause sadness. Con-
soling him, she assures him of an early reunion. This reading would
also give credence to the assertion t h a t the poem actually stems from
the young ruler's hand. Are we after all, for (con)textual reasons, nev-
ertheless opting for the original interpretation, this shall then only add
weight to the contention t h a t the poem, or perhaps the poems ?, was
composed, not by Tshans-dbyans rgya-mtsho, but precisely by anyone
else. The use of the respectful terms in 56a+d+f when describing the
acts of Tshans-dbyans rgya-mtsho would then precisely betray that the
poem was the fabrication of a third person, composed in order to por-
tray the young high-ranking ruler. It should also be recalled t h a t by
Tibetan standard the usage of polite language and the high honorific
often is a sure sign of sarcasm on the part of the speaker, in particular
within the popular lyrical tradition; cf. e.g. Snyder, 1972, pp. 27, 33.
For 56cd, cf. gTam-dpe, pp. 126-27; ga le and ga 1er are both feasible.

56e The feature to make up a synonymic or tautological compound thugs

sems consisting of a honorific and the ordinary form is found elsewhere
also, cf. no. 14 supra and 63 infra. The phrase thugs sems skyo here pur-
ports the sense of 'sorrow*, 'dejection', 'sadness' and 'discouragement'.
 249

• A meek poem on lovers' separation couched in an optimistic or fa-

talistic note. The poet, we may presume, is the one putting a hat on
his head beneath which his braided pigtail swung freely. The long hair
was the mark of the yogic ascetic e.g. of the rNin-ma-pas or was the
privilege characterizing the free layman of the nobility. Whatever garb
the poet has here assumed, contemporary sources testify that Tsharis-
dbyans rgya-mtsho, the alleged poet, did let his hair grow long (well
below the ear (dbu skra snan gêam du slebs), a contemporary witness,
Sle-lun rJe-drun Blo-bzan 'phrin-las wrote in his autobiography or diary
entitled [b]sKal-bzan dga'-ston, fol 33b, cited Chab-spel, 1987, pp. 2 9 5 -
96; Shakabpa, /, 1976, pp. 478-79). Bedecked moreover with rings on
all his fingers (phyag sor thams cad la phyag rgyan bies) and attired
in costly silk and brocade (gos lift sno skya'i la pa éag srab mo) the
incarnate 'dandy', these sources further confirm, was in his element for
a love affair. But alas, this poem would seem to affirm, the time for the
lovers' (incognito or enforced, cf. nos. 52-53) parting hastily drew near
after their nocturnal dalliance. The usual farewell greetings, accom-
panied by amorous declarations, are cordially exchanged. He is next
confided that a dejected heart will haunt the girl in the wake of their
involuntary separation. In an attempt to console, she is assured that
they shall unite again before long. In this sense the poem introduces
us to the ensuing poem.
A figurative reading is again tentatively hinged upon a meaningful
identification of the female figure in the poem. In accordance with
earlier readings, where the weaker sex arguably may be a portrayal
of the pompous and despotic Regent, the one personage in the Sixth
Dalai Lama's contentious life with whom he had a truly ambivalent
relationship marked by genuine affection that occasionally was replaced
by a sense of frustration and lack of respect, occasionally by a feeling of
solidarity. This poem may tentatively depict a farewell scene between
the two. By promising a swift reunion, the poem obviously purports that
they will either meet again in a new human existence—we will recall
that both persons before long were met with death—or that the poet,
realizing his approaching death, promised to make his reappearance
before long, cf. next poem.
Xiao Diyan, sBran-char, 1988 (3), p. 49, is similarly baffled from inter-
pretating this poem in detail because of its vague gender-neutral formu-
lation ('bri thabs), which makes it difficult to decide who is addressing
who. Nevertheless, he opines that the poem (ironically ?) reflects the
ambivalent and yet fatal rapport between the two deadly combatants,
the Regent and the Mongol Qan. To Yu Daoquan, 1930, p. 191, the
message in the poem should be read as a sort of prophecy voiced by
the young ruler who here anticipated that he was going to be removed
from his high position and finally would be escorted away by the Qosot
250

Qan. In the light of the poem which follows, this assertion cannot be
disqualified.
 251

57

I bya de khrun khrun dkar mo |

j ria la gsog rtsal gyar dan |
j thag riri rgyah la mi 'gro
j li than bskor nas slebs yon |

0 bird, white crane,

Lend me the strength of your wings!
1 shall not soar far,
Merely circle Li-than and return!

57a khrun khrun ACDEFGHIJK : sgro dkruns B; mo ACDGK : po

BEFHIJ;
57b gsog rtsal ACDGH : géog rise E F I J K : sogs rtse B; gyar ABCFGIJ
: dbyar K : gyor DE;
57c rgyah la CEG : 'gyahs la AD : rgyah nas HK : hrgyahs nas I :
'gyahs nas F : bskyahs nas BJ;
57d bskor ABCDEFGHIJ : skor K; slebs yon CEFGHI : bslebs yoh[s
B] ABD : slebs 'oh J : log yon K;

57a The crane {bya khrun khrun; Skt. kr[a]unca, sârasa; M. tojuruu; C. he)
is a bird of migration symbolizing longevity (tshe rih, C. shou), happi-
ness and martial fidelity. It usually lives for more than half a century
and the bird mates for life. Cranes are strong fliers and once airborne,
the common crane is capable of migrating e.g. from Siberia across the
Himalayas cruising at an altitude exceeding 30.000 feet, the normal
altitude of commercial airliners. As an aquatic bird the crane, as said,
is praised for its extraordinary attachment to its mate.
The bird in question is probably the White Crane of Central Asia,
also known as the (Great) White Sibirian Crane (khrun khrun dkar
po/mo; Skt. [mahä]kr[a]unca; puskaräh[a]va; koyastika; C. xiânhè (cf.
The Pentaglot Dictionary, III, p. 4115 = the red-crowned crane); Grus
leucogeranus, Pall.). It is purely white throughout except for the wing-
quills which are black. A fact, incidentally, which has given rise to a
well-known maxim (dpe chos) "Although the crane is white, its quills are
black" (khrun khrun dkar yah giug rtse nag, a simile used to illustrate
that nothing is completely flawless). It breeds in Siberia and visits India
in autumn and winter in small flocks. In spring it leaves India again.
It is closely related to the Japanese Crane, the Red-crowned Crane (J.
tanchö; Grus japonensis), equally a love symbol in Japan, where it is a
favourite motive for artists.
252

Everybody who has visited Lhasa have observed or written about the
cranes flying in migration over the capital. Further, van Heurck, 1984,
p. 126, refers to Tucci, Indo-Tibetica III, planche LII and p. 93 for a
depiction of a white crane carrying on its back a divinity named 'Bebs-
ma. Cf. K. N. Dave, Birds in Sanskrit Literature, pp. 309-324, esp. 3 1 9 -
20; S. C. Bannerjee, Flora and Fauna in Sanskrit Literature, p. 168; P.
Thieme, "Kranich und Reiher im Sanskrit", Studien zur Indologie und
Iranistik, 1, 1975, p. 8; W. Eberhard, Lexikon chinesischer Symbole,
1983, p. 163-64; G. Debon, Chinesische Dichtung, 1989, p. 88.
The Tibetan term khrun khruh for the crane hails from the ono-
matopoetikon kruh krun, which to the Tibetans reflects the call of the
cranes; cf. M. Balk, "Indische Etymologien in einem tibetischen Kom-
mentar", Vicitrakuéumânjali, pp. 8-9.
Here we should probably emend bya de to bya rje, the Lord of Birds,
in the light of a gias quoted by Norbu, where the white female-crane—
likewise considered a go-between or a messenger between two lovers—is
beseeched to take along the poet's missive of love. In a distant cloud,
a misty southern cloud, the poet envisaged to encounter the face of his
beloved; cf. Norbu's Coll. Ill, no. 45:
| Iho sprin smu gu'i nan nas \
j byams paï ial ras mjal byuh \
j bya rje khrun khrun dkar mo \
j 'phrin iig skyel rogs gnah daft \
Cf. also Bod kyi glu-gias, p. 92, no. 1 = Duncan, 1961, p. 64, the
motive of which is the migration of the crane.
57b gêog rtsal, the strength or the ability and faculty of the wings, i.e. to fly.
The conjunctive particle dan in final position often occurs in connection
with the imperative (skul tshig); cf. equally nos. 14-15, 43, 45, 64; M.
Hahn, Lehrbuch der Klassischen Tibetischen Schriftsprache, pp. 66-67.
The reading gyor dan is therefore the orthographically correct form,
yet the slightly incorrect gyar dan (= gyar rogs) has been retained here,
not only because of the overriding near-consensus (eds. DE gyor dan
here seems to be orthographical emendations contrived by Mao Jizu
and Wang Yinuan), but because we may see gyar dan as an attempt at
vowel harmony or vowel alliteration, a prevailing feature characterizing
Lhasa Tibetan.
In a poem which similarly proffers a portrayal of the white crane
being solicited to lent out her wings' faculty, the poet wishes that he
could fly to the whereabouts of his long-acquainted beloved; cf. sDe-
dge'i amans-glu, p. 92, no. 2:
| bya de khrun khrun dkar mo \
j géog rtsal na la gyar dan \
 253

I chuh 'dris gar yod sa la \

j 'phur rgyu byuh na bsam byuh \

57d Li-than, formerly a larger community (sde), now a rdzoh situated in

the area of dKar-mdzes; cf. T. Wylie, The Geography of Tibet, p. 101; E.
Teichmann, Travels of a Consular Officer in Eastern Tibet, passim. Yu
Daoquan, op. cit., pp. 191-92, recapitulates a vivid anecdote told him by
some Tibetans, an account as to how the name Li-than was indicated as
the place of rebirth of the Sixth Dalai Lama by the oracle medium (chos
skyon) of gNas-chun and sKar-ma-sar (cf. Nebesky-Wojkowitz, Oracles
and Demons of Tibet, pp. 422-42). He describes t h a t when the latter
oracle medium was consulted, the only answer was the striking of a
bronze gong. This was initially not understood, but when later reports
reached Lhasa with the message t h a t the new Dalai Lama h a d been
found in Li-than, the cryptic answer finally made sense. Bronze (zans)
employed for moulding a gong in Tibet, Yu Daoquan was told, is called
li, and when the gong is struck, it will produce the sound 'than9. Now,
li, or bell bronze is an alloy of copper and tin melted with other metals
(Icags) and is first and foremost a material for manufacturing musical
instruments (ml cha'i rgyu) such as cymbals and bells (sbug chal, sil
snan, dril bu).
The Seventh Dalai Lama Blo-bzan sKal-bzan rgya-mtsho was born in
the southern part (Iho iol) of a village (groh tsho) pertaining to 'Phags-
pa'i chos-sde chen-po, a dGe-lugs-pa community for dialectics and ap-
plied practice (bead sgrub kyi sde) known as Li-than Thub-chen Byams-
pa-glin located in Khams (mDo-khams smad and founded by the I l l t h
Dalai Lama bSod-nams rgya-mtsho; cf. Wylie, 1962, pp. 102, 183); He
was born in the Earth-Mouse year (sa byi lo), A.D. 1708 on the nine-
teenth day of the seventh lunar month. He ruled until his death in
A.D. 1757; cf. The Biography of the Seventh Dalai Lama by ICan-skya
Rol-pa'i rdo-rje, vol. I (stod-cha), fols. 13a et seq.; L. Petech, China and
Tibet in the Early 18th Century, pp. 20-24, 68-73 and his Aristocracy
and Government in Tibet, pp. 32-39.
Importantly, the circling of Li-thaA carries—on a symbolic level—
reminiscence of an act of circumambulation around a holy shrine.

• This valedictory poem, or perhaps 'swan song7, is reputedly claimed

to contain a prophesy about the rebirth of Tshaiis-dbyans rgya-mtsho.
Borrowing the robust and celestrial wings of the crane, the graceful *bird
of longevity* (bya tshe rin) with its vivid imagery as a symbol of love,
conjugal attachment and prosperity, the alleged poet, Tkhans-dbyans
rgya-mtsho skilfully signals t h a t his voyage, his roundtrip between IHa-
sa and Li-than will eventually bring him back to the throne. He dis-
patches a clear message: Borne on the 'wings of love and longevity',
254

the conqueror of the vicissitudes of life and death, he will make his
reappearance in the form of a new incarnation. The poet consoles his
beloved, the figure to whom the poem is dedicated, by reassuring her of
his hasty return.
Regrettably, it turns out that not even this pithy and Tüstorical'
apopémptikon dedicated the celebrated incarnate ruler, a poem which
in itself is one of the song cycle's key verses found to be copiously quoted
in most modern studies on this period of Tibetan history, finds any echo
in the Tibetan literature of the eighteenth and the nineteenth century
to substantiate its claim for authenticity. Its popularity, however, is
attested by the fact that it is registrated as one of the most cherished
samples of nan ma songs; cf. G. Samuel, 1976, pp. 418, 444.
 255

58

I si de dmyal ba'i yul gyi |

j chos rgyal las kyi me Ion |
j 'di n a khrig khrig mi 'dug
| de nas khrig khrig gnari zu |

Beyond death, in the Realm of Hell,

The karma-mirror of [Yama,] the Dharma-king, stands:
Judge me, but yield me fairness in the hereafter
Because this life paid me none!

58a gyi ACDEGHIJK : gyis B;

58c na ACGI : nas BDEHJK; khrig ACDEGHIJ : krig K : khrid B;
58d khrig ACDEGHIJ : krig K : khrid B;

58a The realm of Hell (naraka, dmyal ba), the infernal and vicious states of
samsara, the world of Yama (Yamaloka, gSin-rje), according to Buddhist
cosmology, consists of sixteen hells (sodasa narakah, dmyal ba bcu drug
po), eight hot and eight cold:
1. Samjïva, Yan sos. 1. Arbuda, Chu bur can.
2. Kälasütra, Thig nag. 2. Nirarbuda, Chu bur
rdol ba.
3. Samghäta, bsDus 3. Atata, So tham t h a m
'joms. pa.
4. Raurava, Nu 'bod. 4. Hahava, A chu zer
ba.
5. Mahäraurava, Nu 5. Huhuva, Kyi hud zer
TDod chen po. ba.
6. Täpana, Tsha ba. 6. Utpala, Ut pal ltar
gas pa.
7. Pratâpana, Rab tu 7. Padma, Padma ltar
tsha ba. gas pa.
8. Avici, mNar med. 8. Mahâpadma, Padma
ltar gas pa chen po.
To this should be added sixteen supplementary hells (utsada, lhag
pa), often also called neighbouring tortures (fie 'khor ba), a group of
four at each cardinal point of Avici:

1. Kuküla, Me ma mur.
2. Kunapa, Ro myags.
256

3. Ksura[dhära[cita]]marga, Ral gri [so [gtams pa'i]] lam: Asi-

pattravana, Lo ma ral gri lta bu'i nags; Ayahéalmalïvana, ICags
kyi sal m a li nags; Ayastunda, Kh[v]a lcags kyi mchu can;
4. Vaitaranî, Rab med.

Finally, there are an infinite number of occasional or individual hells

(prâdeéikanaraka, pratyekanaraka, ni tshe ba'i dmyal 6a).
Cf. e.g. Abhidharmakosa-bhäsya, chap. HI (Lokanirdesa) ad HI 5 8 -
59, 83-4 (L. de La Vallée Poussin, VAbhidharmakoéa de Vasubandhu,
tome II, pp. 148 et seq.); 'Phags-pa Bla-ma Bio-gros rgyal-mtshan, Ées~
bya rab gsal, chap. II, 9 a - l l a ; The Jewel Ornament of Liberation (Thar-
rgyan) by sGam-po-pa, chap. V (tr. H.V. Guenther) pp. 55-73; rDza
dPal-sprul O-rgyan 'jigs-med chos kyi dbah-po, rDzogs-pa chen-po kloh-
chen snih-thig gi shon-'gro'i khrid-yig kun-bzan bla-maï zal-luh, fol.
48a5-53b5.
58b The k a r m a mirror in the after-world; The Tibetan Hades are really
purgatories, intermediate states in the mortal's journey towards a new
existence; in the court (khrims rva) of the Lord of Death the qualitative
status of the individual's deeds are thoroughly estimated; cf. the vivid
description in The Tibetan Book of the Dead, the section on sridpa'i bar
do. A detailed description of Yama is provided by Nebesky-Wojkowitz,
Oracles and Demons of Tibet, pp. 82-87.
58c The bisyllabic compound khrig khrig = brtan brtan, gtan gtan or 'tshams
po, i.e. 'accurate', 'correct', 'suitable' and 'appropriate'. It may also de-
note t h a t something or someone is 'not too good', 'mediocre' or even
'questionable'; cf. Bod-rgya tshig-mdzod chen-mo, p. 282; khrig khrig =
legs pa'i Idogphyogs, rendered into C. bù tài häo. The word is a deriva-
tive of 'grigs pa, to *be fit' or to 'suit', to 'be adequate'. In this context it
denotes just[ice] or karmic, retributional fair[ness], here conceived as a
noun. It should be noted though, that fate, be it good or bad, ultimately
is self-inflicted. By 'di na we should understand in this life or in this
existence. Often contrasted with phyi, the subsequent life or existence,
thus 'di phyi means 'the present and the subsequent existence'.

• As if making a full circle with the previous seven poems this stanza
forms the ending of a natural sequence. Small wonder t h a t the poem
in many recensions actually closes up the song collection too.
Following on from the latter poem the poet is here depicted attempt-
ing in nuce to sum up his life. Within Buddhism any mortal faces
post-mortem the court of Yama in the underworld. An inevitable en-
counter in which the quantitative and qualitative amount of any mor-
tal's wholesome and unwholesome deeds are duly evaluated. This fatal
scale pan has in this infernal purgatory taken the form of a mirror of
 257

karman (las kyi me Ion). The poet here summarily concludes that he
has been met with no righteousness in his brief, but stormful and trou-
blesome life. Destined from infancy to elevate to the highest position
in his country as the embodiment of a living god, raised in utmost se-
crecy and under closely guarded surveillance allowing for no freedom
to move at will and personally kept completely in the dark about the
Schicksal awaiting him, and finally—under dramatic circumstances—
finding himself transferred to his incumbent duties on the throne as
the incarnate ruler of the Tibetan country that moreover merely should
turn out to be an office of a marionette empty of any real power, it
can hardly surprise anyone that this innocent young puppet ruler grew
completely cynical about this involuntary role. From the beginning to
its untimely and tragic end, his very life was a skilfully staged mise en
scène, choreographed by an intelligent and wilful Regent with national
and personal ambitions.
With the benefit of hindsight, the dispositions and political tactics
then contrived by the Regent may well be appreciated with some le-
nience, if not in some respects they may even be labelled statesmanlike
and visionary when narrow-mindedly seen with contemporary eyes. But
seen through the eyes of the victim, Tsharis-dbyans rgya-mtsho soon
found himself entangled in cynical deceit and falsehoods. He eventu-
ally revolted and decided boldly to shape a life according to his own
head. The testimonia of which we have in the lyrical utterances under
consideration in the present study.
In sum, the young incarnate ruler verily had all the reason in the
world to deem his present life a failure, although, paradoxically speak-
ing, the outer form human existence assumes is self-inflicted, being
shaped and predestined precisely by one's own deeds. Nevertheless,
the poet found himself bereft of his fair share of luck and thus unjustly
treated. Consequently, he entreats Yama to look upon him in mercy and
perhaps grant him some lenience when the total sum of his actions, also
the amorous ones, is duly evaluated.
Xiao Diyan, sBraii-char, 1988 (3), pp. 50-51, sees in this poem two
possible interpretations. He contends that the last distich or couplet
voices the poet's sentiments, his sorrow over the killing of the Regent.
A poem in which the poet expresses his consolation (mya nan eu). It
should thus be understood as a veiled criticism (skyon 'dzugs gnah ba)
launched against the perpetrator lHa-bzan Qan. Alternatively, Xiao
further argues, the poem may have been composed during his last days
at the small lake of Kunga Nor en route to the Chinese capital. It may
reflect Tshaiis-dbyaris rgya-mtsho's bold words voiced when his own
death was approaching. Not unconvincingly, Xiao suggests that Yama,
the Dharmarâja of inferno, may be a reference to the Chinese emperor
igoh ma) Kangxi. By addressing a petition of lenience to the Emperor,
258

Tshans-dbyans rgya-mtsho may perhaps expect a fair and just decision

(thag gcod yan dag pa iig) when the fatal question of his execution
should be settled. The same kind of fair (bden pa bden thub) trial could
not be expected from lHa-bzah Qan.
 259

59

I mda' mo 1)611 la phog son |

j mde'u sa la 'dzul son |
| chuh 'dris byams pa 'phrad byun |
j sems nid rjes la 'brans son |

The arrow has hit the target

The arrow-head penetrated the ground;
At long last I have met my long-acquainted love
Following suit, my h e a r t trails her all by itself.

59a phog EHK : phogs ADFG;

59b sa ADEFGH : iul K; 'dzul ADEFGH : lus K;
59d la 'brans son DEFH : la 'bran son AH : 'bran lah son K;

59a mda' mo: 1. arrow (mda7) 2. arrow-lot or divination arrow, prognosti-

cating good and bad (mda' la brten nas bzun bzan nan brtag pa'i mo
phyva). Here is naturally reference to an arrow (mda' mo, the prevail-
ing poetical form for mda' in the gzas literature), but a veiled hint to the
divination arrow is of course intended. Cf. Nebesky-Wojkowitz, Oracles
and Demon of Tibet, p. 462 for one kind of mda' mo prognostication. A
legion of samples on the arrow (mdza' mo, often contrasted with giu
mo, bow), most frequently symbolizing the shaft of love, attests to its
thematic popularity. Cf. e.g. gSuii-mgur, nos. 191, 200, 297, 393, 405,
409; Bod kyi dga'-gzas I, p. 64, no. 4 (identical); p. 84, no. 4; p. 104,
no. 6. Worth quoting is an alliterative gzas, where the loving couple's
amorous encounter is parallelled with the shooting of an arrow. Only
here the point of the arrow (mde'u, mdel rise) is not of iron wherefore
there is not much hope t h a t the far too light arrow shall hit the mark.
Similar with their love affair, the poet declares, their relationship is not
favoured by karman (las 'phro, cf. no. 7 supra), so there is only little
chance t h a t the poet shall make it to the end; cf. Glu-chuh sna-tshogs,
p. 11:
| mda' la mda' Icags mi 'dug
| 'ben la zug sa ma red \
| ha gnis las 'phro mi 'dug
I mi tshe 'khyol sa ma red \

59b The point of the arrow (mde'u, mdel rise) is usually made of iron (Icags).
59c The long-acquainted beloved (chun 'dris byams pa), cf. no. 12 supra.
260

59d The term seras nid more concretely means 'the mind or the thought
itself. Here we shall equate mentality with sentiments and feelings
and eventually with the heart (= thugs, bsam pa = sfiih).

• A love poem. Employing the simile with the shaft of love which,
once released, hits its mark with unfailing precision, the poet similarly
yearns for the target of his love, his inamorata known to him since
childhood. Aside from womanizing, archery (phyag mda' gnah ba) was
a favourite occupation for Tshans-dbyans rgya-mtsho. His accuracy and
mastery of both fields would here seem well attested.
As in previous cases, a number of unknown quantities still rule out
our possibility to impose upon this poem any figurative sense. This does
not baffle Xiao Diyan, who, sBran-char, 1988 (3), p. 51, reads this poem
in conjunction with the previous one. The topic of the poem is allegedly
the killing of the Regent by the Qosot Qan. The beloved girl, known to
the poet from childhood, is also here an epitheton ornans for the Regent,
the poet's guardian and ambivalent 'friend' since his childhood. Pensive
of his guardian, Xiao argues, the poet's thoughts helplessly follow in the
wake of the deceased sDe-srid. A poem commemorating the Regent.
 261

60

gar sar gyi r m a bya |

j kon yul mthil gyi ne tso |
j Tdiruris sa Tthruns yul mi gcig
| 'dzoms sa chos 'khor lha sa |

Peacock from Eastern India,

Parrot from the depth of Kori-po district;
Though their origin, their place of birth is not the same,
Their rendezvous takes place in Lhasa,
the Centre of Religion.

60a gar AEGHK : dkar F;

60c sa AEGHK : sa'i F;

60a The peacock (rma bya; Skt. mayüra, sikhin, varhin; M. toyus; C. köng-
que; Pavo cristacus, L.), the large gallinaceous peafowl. The peacock is
a stock figure in Tibetan popular lyrical tradition. According to the Ti-
betans this bird originates from the Indian subcontinent. It h a s given
rise to a specific theme in this country's lyrical (gias tshig) tradition
denoted 'East India" (rgya gar ear), including also a nan ma type of
song cf. infra, usually sung by girls, and in which the peacock oc-
cupies a central role; cf. Bod kyi dga'-gzas J, p. 28, nos. 3-6; p. 30,
no. 2; p. 67, no. 5; Bod kyi dga'-géas II, p. 22, no. 2; gÉas-tshig phyogs-
bsdus, p. 29; pp. 114-115; a legion of synonyms and tales attest to this
bird's popularity. To the peacock is attributed the particular endow-
ment or habit of eating snakes, also poisonous snakes, and partaking
of poisonous leaves (dug gi lo ma) in the capacity of which, aside from
its peerless beauty and symbol of longevity (tshe rin rma bya), it is
an object of esteem and is employed in various apotropaic rites. Suf-
fice it here to refer to the celebrated Mahämäyüridhäranl (rMa-bya
chen-mo'i gzuhs); cf. J.L. Panglung, "Zwei Beschwörungsformeln gegen
Schlangenbiss im Mülasarvästivädin-Vinaya und ihr Fortleben in der
Mahämäyurividyärajnf, 1980, pp. 66-71. Further gzas on the peacock:
Bod kyi dga'-gias I, p. 101, nos. 1-2; Bod kyi glu-gias, p. 132; Bod-rigs
kyiglu-gias, p. 4 1 , no. l;gSuh-mgur, nos. 295, 394, 426; cf. also Sa-skya
Pandita's Subhâsitaratnanidhi, nos. 44, 109, 152, 274.
A celebrated nan ma song is worth quoting. Here it is related how
crowds of peacocks gather on a mountain in eastern India, but among
them there is only one peacock, whose feathers or quills are suitable for
a governor. It should here be noted t h a t the shimmering tail-feathers
262

(sgro mdohs, Skt. varhabhära; M. otuy-a; C. huäling, lingzi) of the

peacock, in Tibet as well as in China and India, were used ornamentally
(e.g. attached to arrows etc.) and, not infrequently, worn on hats as
insignia of official rank; cf. e.g. C.A.S. Williams, Outlines of Chinese
Symbolism, p. 278; this poem is found in a number of versions which
differ slightly in wording; Bod kyi glu-gzas, p. 95, no. 1 = gZas-tshig
phyogs-bsdus, p. 29 = Norhu's Coll II, no. 36 = Samuel, 1976, pp. 419,
427, 444:
| rgya gar éar gyi ri la \
j rma bya dpuh gdah éig sig
j dpon poï sgro mdohs nan pa'i \
j rma bya gcig las mi 'dug
Commenting on this poem, Norbu {op. cit., 1967, p. 316) maintains
t h a t it purports t h a t though many beautiful girls (= peacocks) can be
found, there is really only one (exclusive girl) t h a t the poet, or the boy,
could t r u s t in.
Another gzas, boasting a similar popularity, contains a much-cher-
ished image t h a t expresses ideal and auspicious unity and properity.
Here a loving couple is also depicted. A peacock's tail-feather, as said,
an emblem of beauty, dignity and noblesse, and a kuéa grass-stalk (i.e.
the sacrificial and superb kuéa grass believed to protect the life and
enhance bodily strength (tshe bsruhs lus zuhs rgyaspar byed)) will make
their promising rendezvous as the ornament (kha rgyan) in a vase; cf.
Bod kyi dga'-gias I, p. 18, no. 6 = Glu-chuh sna-tshogs, p. 23:
| khyed ni rma bya'i sgro mdohs |
j ha ni nags kyi ku éa \
j las 'phro bum pa'i kha rgyan |
j mjal yon bsam pa ma byuh \
The distinguished beauty of its crest of upright plumules shimmering
with iridescent colours is the hallmark par excellence of this bird; suffice
it nevertheless just to cite the following gzas, where the bird when alive
is the ornament of people's (praising) talk and when dead (its feather)
the ornament of (any) vase; whatever is here to be preferred—alive or
dead—the bird is beautiful; cf. Glu-chuh sna-tshogs, p. 22:
| sdod na mi kha'i rgyan red \
j éi na bum pa'i rgyan red \
I rgya ëar sar ^ rma bya |
j gah drag byas kyah mdzes pa \
Cf. also Sa-skya Pandita's Legs-par bsad-pa rin-po-che'i gter, no. 152
(ed. J. Bosson). More generally, Banerjee, Flora and Fauna in San-
skrit literature, pp. 167-69; K N. Dave, Birds in Sanskrit Literature,
 263

pp. 268-71; C.A.S. Williams, ibid., p. 278; W. Eberhard, Lexikon chine-

sischer Symbole, p. 222.
60b The parrot (ne tso, Skt. éuka, kîra; M. toti; C. yîngwu, yînggê), Psit-
tacula krameri, any of the numerous tropical zygodactyl birds. The
parrot from Kori-po, cf. gSuh-mgur, nos. 410, 422. The ability to talk
(smra mkhan, smras mkhas), or rather to imitate h u m a n speech, is the
foremost endowment of this bird. Cf. also no. 50 supra.
The Indian peacock and the Kori-po parrot—as said usually depicted
as mates and as a symbol of loving couples—are admonished to enter
the 'net-box', i.e. the cage. The peacock is a feast for the eyes, where the
parrot is a treat for the ears, pleasing us with its imitating talk. As both
species are usually domesticated or are readily tamed, the poet, unable
to decide, in the following gias admonishes the one who is karmically
predestined to enter the cage; Glu-chun sna~tshogs, p. 29:
| mig la rma by a mdzes pa \
| gsuh skad ne tso bde ba |
| drva mig sgrom chuh nan la \
I las 'phro su yod phebs éog

See also the poem lauding the beauty of the peacock by 'Brug-pa Kun-
legs (tr. A. Kretschmar, 1981, p. 91), cited by D. Back, 1896, p. 150.
Where Koii-po, as said, is the fortress (i.e. favourite h a u n t or home-
land) of the parrot and India the fortress of the peacock, then, another
stanza proclaims, by contrast, who would ever bother to talk about the
market price of the domestic rooster; Bod kyi dga'-gzas II, p. 8, no. 2:
| koh po ne tso'i rdzoh red \
I rSya Sar rma bya'i rdzoh red \
| khyim by a de pho tsha lu \
| than gzi sod pa ma gnah \

60c The pattern of the present poem, i.e. introducing the theme of a union
and a tryst between two disparate entities, here two birds of distinct
origin, meeting ('dzoms sa) in a third place, here Lhasa, is taken over
by a number of songs. In one gzas (the tail-feather of) the peacock of
eastern India and the (fine) Kasmirian saffron (flower), despite different
provenance, meet in the auspicious vase; cf. Bod kyi dga'-gias I, p. 18,
no. 3:

| khyed ni rgya gar rma by a \

j ha ni kha che'i gur gum |
j 'khruhs sa 'khruhs yul mi gcig
| 'dzoms sa bkra éis bum pa |
264

By extension and by replacement of repertoire, shifting figures be-

tween people, flowers, object, rivers etc. this tshig rgyag or repartee
type of gzas may assume different shades of meaning. Thus, in an-
other gzas the Thyons-rgyas river and the Yar-lha sam-po River (also
called Yar-kluns River, a tributary (yan lag) to Brahmaputra or gTsan-
po) make their (confluent) tryst (like lovers) underneath the sNe-gdon
Bridge, (before they empty into the gTsaii-po artery); cf. Bod kyi glu-
géas, p. 149, no. 1 = gZas-tshig phyogs-bsdus, p. 129, no. 3 (cum van
led):
| 'phyohs rgyas lu mo'i chu 'di \
I yar lha sam po'i [gleam chu \
| skye sa skye yul mi gcig
j 'dzoms sa sne gdoh zam pa \
(The latter poem would seem to find a parallel in a religious song
(mgur ma) by the yogin bSam-gtan dpal-pa; cf. The Rain of Wisdom,
1980, p. 274).
Cf. further Bod-rigs kyi glu-gzas, p. 12. no. 3, where the peacock
and the parrot, the couple is meeting on a variegated lotus-cushion
(pad sdon), the birds are evidently here conceived as ornamental de-
signs decorating the pillow; Bod kyi glu-gzas, pp. 21—2; Bod kyi dmans-
glu snan-dban gso-ba'i bdud-rtsi, p. 92; Causemann, Tibetische Lieder,
1987, p. 63. Based upon the same pattern the poems are filled with dif-
ferent figures. Of particular interest is a gzas included in gSun-mgur,
q.v. no. 442, which evinces a wording similar to the present one, b u t
where the peacock is replaced by the cuckoo from Mon-yul, cf. no. 46
supra.
60d lHa-sa, the Centre of Religion (chos 'khor, dharmacakra), an epithet
which does not denote an ordinary religious site, b u t a sanctum sanc-
torum or a holy site of the highest order. This image originally hails
from the concept of 'revolving the Wheel of the Buddhist Law' (dharma-
cakrapravartana, chos kyi 'khor lo bskor ba), which, besides just gen-
erally meaning 'the preaching of Buddha', alludes to the Three Wheel-
turning phases of the Buddhist teachings preached by Buddha in In-
dia: 1. The First Word (bka' daft po), preaching the Four Noble Truths
(catväry äryasatyäni, 'phags pa bden pa bzi), i.e. the promulgation of
the doctrines of Hïnayâna. 2. The Second Word (bka' bar pa), the
preaching and the promulgation of the doctrines of the Mädhyamikas
and Prajnä-Päramitä, i.e. Mahäyäna. 3. The last Word (bka' tha ma),
the preaching and the promulgation of the Yogâcâra doctrines. Cf. e.g.
Bu-ston Rin-chen-grub's famous History; tr. Obermiller, vol. 1, 1931,
pp. 9, 30, 141, 150-51.
In connection with the Tibetan capital it therefore purports t h a t it is
 265

the centre of the holiest sanctuaries and the foremost place of pilgrim-
age in Tibet, namely the Jo-khan Cathedral housing the most important
shrine in Tibet. Further, the residence of the Dalai Lama in the Potala
is also located there. Finally, Lhasa is known for its three circumambu-
lation routes (nan bskor, bar bskor andphyi bskor) which concentrically
encircle the Jo-khan temple.
The epithet dharmacakra is thus a metonym designating Lhasa. It
is found in numerous colophons in the Tibetan canonicaLscriptures. Cf.
also the "Secret Biography" of the Sixth Dalai Lama (ed. Beijing, p. 88:
lha Idan chos 'khor dpal gyi lha sa); cf. also a song occuring in 'Brug-
pa Kun-legs' biography (tr. and text, cf. Stein, 1972, p. 184; 1973, fol.
67b; Dowman, 1980, p. 49). gSun-mgur, nos. 138, 140, 409; gZas-tshig
phyogs-bsdus, p. 129, no. 2; Norbu's Coll. /, no. 51.

• A poem on the union of a loving couple. Despite a different back-

ground and provenance, the mating couple, the beautiful Indian pea-
cock here symbolizing the girl and the talking Kon-po parrot symbol-
izing the male lover, settled for a tryst in Lhasa. Replacing the two
figures, a number of different interpretations could be read into the
poem. The much-cherished pattern in this poem thus appears to have
been adopted by the Tibetan folksong tradition, when the case is not
quite the reverse, that the poem simply may have found inspiration for
its composition in the same tradition.
Eliciting an allusive sense further from the poem, we may here find
reason to envisage that the parrot is meant to embody the poet him-
self whereas the shimmering peacock is an ill-veiled portrayal of the
Regent. Despite difference in place of origin (and background), the
poem purports that they were predicted to convene in Lhasa, destined
to this 'rendezvous' of theirs on account of turning "the Wheel of the
Buddhist Law" (cf. here Aris, 1988, p. 155), like they had been fated
by the transmigratory revolving of human life and the fortuitous turns
of destiny. Both for the young parrot incarnate, wilfully and reproach-
fully [self-]portrayed as a mimic that sedulously echoed the words of
its master and for the peacockish and pompous Regent, who strutted
in the borrowed plumes of power and prestige, we may say, their paths
thus happened to cross in Lhasa. Read accordingly, the poem may have
been couched in a fatalistic note, in which the poet is seen resignedly
accepting karman's inexorable course and the transience of human life.
266

61

I mi tshos na la lab pa |
j dgons su dag pa khag theg
j o lo'i gom gsum phra mo |
j gnas mo'i n a n la thai son |

People spread rumours about me,

I beg pardon and acknowledge:
With three tiny steps of a young man
I ended straight inside the tavern of my mistress.

61a tshos DEFH : tsho AGK;

61b dgons su [pa D] omit. K; khag ADEGH : khas K : kha F;

61a The talking {lab pa) of people (mi tsho), i.e. gossip and rumours, or
'people's mouth* (mi kha); a note on the nature and impact of mi kha in
traditional Tibetan society, cf. L. Epstein, "Irony in Tibetan Notions of
the Good Life", Karma: An Antropological Inquiry, 1983, p. 251.
61b dgons su dag pa, i.e. dgons [su] d[v]ag[s] pa zu, to *beg pardon', 'to
excuse'; khag theg: 'to carry the burden', i.e. 'to take the responsibility',
'to take the blame' etc. Thus, together it reads: '[I] readily beg pardon',
or '[I] acknowledge [the rumours] and beg pardon'. Cf. also gSun-mgur,
no. 450.
61c For the term o lo, cf. no. 55 supra. The three tiny steps (gom pa gsum)
may here yield an allusion to the triple refuges (trisaranagamana,
skyabs gsum du 'gro ba), i.e. Triratna. Meriting attention is a gias,
where three steps brought the poet to the king's (the girl's parents ?)
garden, where the (autumn) flower [b]skal bzan me tog (a variant of the
sundew, called 'od Idan or rtag hu in Tibetan or the marigold flower
(genus Tagetes) ? It is more likely to be identified with Chrysante-
mum Indicum; cf. gSo-rig skorgyi rgyun-mkho gal-che-ba bdam bsgrigs,
p. 390), which is on the poet's mind, is admonished to blossom. In other
words, the girl is requested to requite the poet's love; cf. Bod kyi dga'-
gias I, p. 24, no. 3 = "Bod kyi dmaris-gzas", Bod kyi rtsom-rig sgyu-rtsal,
1980 (1), p. 82:
| gom gsum phar la spos pas \
I Tgyal po'i Idum rvar slebs son \
j sems pa'i skal bzan me tog
| ial kha phye rogs gnah dan \
 267

61d The quarter of the tavern-lady (gnas mo), often just the madam {chart
ma) of a public house (chah khan, chart 'tshoft ma'i khyim) but also a
brothel (smad 'tshoft ma'i khan). A whole genre, according to Duncan,
1961, pp. 136-42, is denoted hostess or mistress (gnas mo) songs. Cf.
Bod kyi dga'-gzas /, p. 71, no. 6; gSuh-mgur, nos. 352-53, 406. For thai
sohf cf. no. 16 supra and gSuh-mgur, no. 162.

• A poem in which an intrepid attitude is frankly demonstrated in a

society fraught with prejudice and malicious gossip (mi kha). Open-
mindedly, the poet acknowledged his adultery and escapades: Without
a second thought the young stripling sought the company of women in
the local tavern. Seeking the haven of a mistress (gnas mo) as an island
of consolation is by the poet here clearly envisaged to be a pendant to
his seeking refuges (skyabs, éarana) in Buddhism, alluded to by the
three steps it takes to embrace his beloved. In the eyes of the poet, the
act of love has thus outwardly assumed a ritual import analogous to the
embracing of religion. The acknowledgement of the voluntary escapades
professed here could perhaps be seen as a bold and courageous answer
to the sundry charges of debauchery and breach of chastity (nan spyod
pa, hag med du spyod pa) that were levelled against him from all sides.
Or it may be seen as a prelude to the inevitable renouncement of his
vows. Cf. also Chab-spel, 1987, p. 302.
268

62

I lean m a byi 'ur sems sor |

j byi 'u lean mar sems sor |
j sems éor mthun pa byun n a |
j skya k h r a hor pas mi thub |

The willow lost its h e a r t to the small bird

The small bird lost its h e a r t to the willow;
If only love is mutual
The gray hawk will not stand a chance.

62a byi 'ur AEH : byVur GK : bye 'ur F;

62b byi 'u AEH : byi'u GK : bye'us F;

62a The willow {lean ma), cf. no. 12 supra. The term byi'u designates
vaguely any smaller bird, without implying any specific species (cf. e.g.
The Pentaglot Diet, III, pp. 4166-4208 for a variety of byil'u] [chun]).
Yet, more specifically it may denote the sparrow (byi'u; Skt. kalavinka,
asvaka; M. boru bilzuuxai, kitaruu, biljigür; C. que) or a cognate species,
the little dull singing bird of the genus Passer, fam. Ploceidae. Perhaps
the willow-sparrow (byi'u lean lo; C. liuyèquè; ibid., p. 4208) or the
willow-warbler (Phylloscopus tibetanus)•••?; cf. Fletscher, 1975, p. 100;
Concrete specification of byi'u is probably nugatory, as the simile is so
general and universal: The image of the small bird (quite commonly
also the thrush, cf. no. 64 infra, warbling sweetly) in the willow-tree
or in the willow-grove (lean glin), an apt and romantic portrayal of a
sweet girl or of a loving couple, is much-cherished in the Tibetan popu-
lar lyrical tradition. The samples are truly legion. The following song
e.g. relates how the little bird, here symbolically impersonating the 'Dia-
m a n t Sow' (rDo-rje phag-mo, Vajravârahï), is admonished not to lift her
sweet warble and thereby betray their love-nest. The [girl's ubiquitous]
parents are bound to intercept the chanson d'amour; cf. Bod-rigs kyi
glu-gias, p. 21, no.3:
| lean ma'i lean rise mgo la \
j byi'u chun rdo rje phag mo \
| gsuh skad shan po ma gtoh \
j yab yum gftis kyis go yon | /
A poem, cited as a so-called repartee or epigrammatic composition
(tshig rgyag), tells the story how the poet or the male lover, when he
 269

caught sight of the willow-grove, was without any desire for food (eu-
phemism for love-making). The little bird kept haunting his mind (or
memory) so t h a t sleep at night was severely hampered (cf. no. 6 supra);
phrased differently, during daytime, when the poet, or the lover, beheld
the girl, he had no desire for an affair. But when the night sets in,
the recollection of the girl causes him insomnia; cf. Bod kyi dga'-gias I,
p. 35, no. 2 = Snyder, 1972, pp. 33-34:

| lean glih mig gis mthon dus |

I bzas la za 'dod ma byun \
| byi chun yid la 'khor dus |
| mtshan mo'i gnid thebs bcag byun |

Yet another poem signals t h a t love will make its appearance again.
Love may die temporarily. So will the willow defoliate when autumn
makes its merciless advent. The little bird is nevertheless pleaded not
to be distressed (cf. no. 7 supra). The month of spring will make its
consoling entry again, prospective of a new amorous encounter between
the two lovers: the bird and the willow tree; cf. Bod kyi dga'-gias I, p. 35,
no. 3 = Glu-chun sna-tshogs, p. 25:

| lean ma'i 'dab ma gzags yon \

| byi'u chun thugs pham ma gnan \
| dpyid kyi zla ba éar dus \
I slar yah mjal ba ius chog

Cf. further Bod kyi dga'-gias I, p. 35, no. 4 = Reader III, p. 30-31;
p. 36, no. 6; p. 37, no. 1 = Bod kyi glu-gias, p. 85, no. 1 = Bod-rigs
kyi glu-gias, p. 100, no. 1 = gTam-dpe, p. 116 (cum van lect); p. 86,
nos. 4+5; Bod kyi dga'-gias II, p. 24, no. 2; p. 46, no. 2; Bod kyi glu-gias,
p. 124, no. 1; p. 161, no. 1; Bod-rigs kyi glu-gias, p. 20, nos. 1+4; p. 2 1 ,
no. 3; p. 75, no. 4 and p. 100, no. 2; gÉas-tshigphyogs-bsdus, p. 89, no. 3;
p. 124, no. 5; p. 139, no. 7; gTam-dpe, p. 138; gSun-mgur, no. 318, 330.
For the phrase "to fall in love" (sems [pa] éor, lit. "lost one's heart"),
cf. nos. 3, 6 supra.
62d The skya khra hor pa is a bird of prey of sorts. There are numerous
species containing the word khra (cf. The Pentaglot Diet., Ill, pp. 4 1 2 6 -
4156, where, however, in a number of cases the term khra in reality
is an adj. khra bo/mo, denoting t h a t the bird in question is variegated
or piebald) illustrating various species of falcons or a hawks, some of
which, no doubt, are purely imaginary. The skya khra or khra skya is
probably the diurnal sparrow-hawk (= bya khra; Skt. éyena; M. kirjui,
qaröajai; C. quèyïng; Assipiter nisus) or a species of falcon. This bird
preys on smaller birds such as pidgeons etc. and rabbits. The metonym
270

hor pa, frequently added to skya khra, denotes that the Tibetans con-
sider it of Mongolian origin, although this epithet has come to denote a
hawk itself. Cf. Nebesky-Wojkowitz, 1975, p. 376: bya khra 'or pa.
The skya khra hor pa, the monstrous bird of prey, is used as the
scare image par excellence when a bogey is sought for, disturbing the
idyllic and romantic scenario of the bird in the willow-grove. Cf. e.g.
the following poem, a caique upon the present poem, where the hideous
(sdig can) hawk is no menace when only the willow and the bird stay
united in love; Bod-rigs kyi glu-gzas, p. 53, no.2 = Bod-rigs kyi dmahs-
gzas gces-bsdus, p. 257:

| lean mas byVu chuh bsam bsam \

| byi'u chuh lean ma bsam bsam \
| lean byi'u sems pa gcig na |
I sdig can khra la mi skrag

Another poem, cited inter alia as a punning type of song (tshig rgyag),
describes how the the little bird in the willow tree sat chanting (to the
praise of the saviouress) Tara. Onto the scene came the black-eyed
hawk (skya kha, here probably not magpie (Pica caudata) as generally
conceived, but confusingly = bya khra, hor pa = skya khra, cf. Bod-rgya
tshig-mdzod chen-mo, pp. 136, 1855) to investigate the matter; cf. Bod
kyi dga'-gzas I, p. 87, no. 3 = Bod kyi dga'-gzas II, p. 46, no. 5 = Snyder,
1972, pp. 25-26:

| byi'u chuh lean ma'i gseb la \

j sgrol ma 'don gyin bsdad pas \
I skya kha mig nag gcig gis \
| fiams tshod len la slebs by un \

The simile of the dreadful and menacing hawk or falcon can also be
found in the story (rnam-thar, p. 227; 'khrab-gzuh, p. 54) of Prince Nor-
bzan (cf. no. 30 supra). At one episode, the mother of Prince Nor-bzaii
employs the simile of this lurking bird that threatens the thrush in the
willow-grove (a symbol of mating; cf. no. 64 infra) by surrounding the
grove so that the thrush is forced to leave (seeking protection) in the
brushwood of the tamarisk. Here this dpe is used to illlustrate how Yid-
'phrog in the palace similarly is surrounded by five hundred (jealous)
junior queens or concubines, forcing her to break up (and seek safety)
in her godly abode:

| lean glih 'di tsho rgya (= skya) khra hor pa yis bskor byuh \
| 'jol mo mi sdod spen ma'i nags gseb la chas 3gro
| pho bran 'di tsho btsun mo lha brgya yis bskor byuh \
| yid 'phrog mi sdod Ijon pa'i lha yul la chas 'gro
 271

For sky a khra horpa, cf. gSun-mgur, no. 338 and in particular no. 53.
Cf. also Bod kyi la-gias gion-nu 'gugs-pa'i Icags-kyu, pp. 283-4 for a
song (glu, seven syllabic) relating about a small bird being caught by
khra hor ha. In the Gesar epic too, the conch-white falcon (dun khra
horpa) is mentioned, cf. Pema Tsering, 1979, p. 170; K. N. Dave, Birds
in Sanskrit Literature, pp. 215-242.

• An allusive poem on requited love in which the poet intrepidly as-

sures his beloved t h a t no intimidation or deadly threat, in whatever
monstrous guise this may assume, could be posed against their amorous
happiness, if only they remained perfectly unison. As alluded above, the
hawk would in a more general sense refer to the girl's parents or any
other strict guardian who wilfully interfered in the love affair. Here,
however, we clearly find an overt allusion to the Mongol Chief IHa-
bzan Qan, who actively contrived to have Tshans-dbyans rgya-mtsho
removed from the throne in the Potala. An identification of the loving
couple leaps equally to the fore. Behind the willow and the bird we
may arguably see the alleged poet himself and the Regent portrayed.
Despite the existence of persistent conflicts between the two, a tense
and contentious relationship which undoubtably was not ameliorated
by Tsharis-dbyaris rgya-mtsho's public recusancy of his vowed commit-
ments as an incarnate monk, they could easily unite in their joint strug-
gle to oppose this foe. As such the poem could be conceived as a procla-
mation with a clear address to the Regent to join efforts in their common
struggle. Xiao Diyan, sBran-char, 1988 (3), pp. 52-53, construes grosso
modo a similar reading. But instead of the Regent, the little bird' in
the poem, he here visualizes the Regent's son Nag-dban rin-chen, who
in A.D. 1703 'inherited' the position of the father.
272

63

I da lta'i tshe thun 'di la |

j de k h a tsam zig zus nas |
j rtiri ma byis pa'i lo la |
j mjal 'dzom e yon blta'o |

In this life's short walk

We have faced up to so much!
Let us now see whether we shall meet again
In the young years of our next life!

63a thun DEFHK : 'thun AG;

63b kha ADEGHK : ga F; ius ADEGHK : byas F;
63c rtih E F : gtih AGH : stih K : snin D; ma AEFGHK : mi D; byis
ADEFGH : byi K;
63d 'dzom ADEHK : 'dzoms F : 'dzam G; e yon ADEFGH : yoiï ba K;
blta'o ADEFGH : khag khyag K;

63d The verse also reads "we have stood up to so much", i.e. to have had
one's fill. The verb zu ba holds many meanings, besides the ordinary
sense of 'to say1, 'to ask' or 'to [be] call[ed]', it is also the honorific (ie
sa) of verbs such as 'to pour' or 'to offer' (blug pa), 'to take' (len pa) or
'to do' (byed pa).
63c By the term rtih ma (i.e. phyi ma, rjes ma) is here meant the following
or the subsequent year (san lo).
63d Note here, as already observed by van Heurck, 1984, p. 132, the syn-
onymic or tautological compound mjal 'dzomls], which in English may
be rendered as 'a meeting' or 'to meet', i.e. a noun, an infinitive or a ver-
bal substantive, and which is made up by two terms, the first ordinary,
the last honorific; cf. e.g. gSuh-mgur, nos. 170, 275, 438. A meeting,
incidentally, which will be allotted by karman; for a similar compound,
cf. nos. 14, 56 supra.

• A dismal and yet meekly optimistic poem addressed to a beloved in

which the poet is (depicted) resignedly voicing his frustration over the
maltreatment which was allotted him during his young life. The poet
nevertheless attempts to issue a ray of hope, being sanguine t h a t the en-
suing life would prove more promising and just compared to the present
one. Thematically, the poem would read better in conjunction with
no. 58 infra. Xiao Diyan, sBran-char, 1988 (3), p. 53, reading the poem
 273

in direct succession of the former, interprétâtes the poem historically.

Here the poet expresses the anticipation t h a t his own and the Regent's
(i.e. Nag-dban rin-chen) end was rapidly approaching.
274

64

I bya de smra mkhan ne tso |

j k h a rog bzugs rogs mdzod dan |
j lean glin a Ice 'jol mo |
j gsun snan skyur dgos byas byun |

0 bird, parrot, who knows h u m a n talk

Please, I beg you, keep your mouth shut!
[Your] sister, the thrush in the willow-grove
Will grant me her sweet warble.

64b rog ADEFH : rogs G : rag K;

64d skyur AFGK : sgyur H : skyar D : 'gyur E;

64a The talking parrot; cf. nos. 50, 60 supra.

64c The willow-grove (often square and fenced-in) (lean [ma'i] glin [kha]
Igru bzi]) and the bird perching in a tree is a standard naturalistic
scenario depicting a loving couple, cf. no. 62 supra. The parks and
pleasances (skyid mos tshal; gSuh-mgur, nos. 371-72, 438), usually
replete with willows and poplars and pertaining notably to the estates
of the numerous nobility families, are found scattered all over Central
Tibet, cf. no. 12 supra and e.g. gSun-mgur, nos. 84, 128, 204-05, 228,
246, 292, 355, 372, 422,429. The thrush ('jol mo) and the square willow-
grove (lean glin gru bzi, lean glin ma) as a portrayal of the inseparable
unity and mating of a loving couple is also found in the story (mam-
thar, p. 196 and no. 9 supra) of Prince Nor-bzan:
| lean glin gru bzi ma na 'jol mo bza' mi sdeb kyi |
j 'jol mo kha y a bral ba lean glin ma na mi 'dug
which, in accordance with the popular nature of the lyrics in this text,
in reality is nothing but a traditional six-syllabic géas:
| lean glitt gru bii ma na \
j 'jol mo bza' mi sdeb kyi \
j 'jol mo kha ya bral ba |
j lean glitt ma na mi 'dug
The kinship term a lee (or a ce) means elder sister (gcen mo, mo spun
rgan)9 b u t it is also more generally used to denote a woman (bud med)
and used as a polite address to a woman: Madam or lady. See similarly,
gSutt-mgur, nos. 206, 400: a lee bu mo; The Nor-bzan play, 'khrab-giun,
 275

p. 63 where Yid-'phrog lha-mo is also denoted is denoted 'elder sister'

Yîd-'phrog; cf. no. 30 supra. Changing sex, we alternatively find a jo
'jol mo, elder brother (a jo, i.e. phu bo) thrush or just dear brother
(= jo lags; i.e. mister) thrush; cf. Bod kyi dga'-gzas I, p. 102, no. 3 =
gTam-dpe, p. 120 and no. 12 supra.
The thrush ('jol mo; Skt. érîvâda, vânîvâda, C. huàméi, fam. Turdi-
dae) denotes any of numerous small or medium-sized passerine birds,
the exact identification of which remains uncertain. The Pentaglot Dic-
tionary, III, pp. 4180-82 register different species of the thrush, based
upon different colours. The laughing thrush, among others, are found
breeding in Tibet and the Himalayas, cf. H. Fletcher, A Quest of Flow-
ers, 1975, pp. 84-87; K. N. Dave, Birds in Sanskrit Literature, 1985,
pp. 28-33, and for the thrush family, cf. ibid., pp. 44-52; the mavis or
the song thrush is an excellent singer. It is usually lauded, as here, for
its dulcet warble, resembling the voice of Brahma (cf. Das' diet., p. 463).
Its sweet note and its piebald beauty has made it an ideal image of a
beautiful girl (but may also depict a male person, cf. infra). Suffice it,
among a plethora of samples staging the thrush and the tree in the
leading roles as lovers, to present a few songs. In one stanza two natu-
ralistic images for lovers are paralleled: the fish and the water versus
the thrush and the tree. In either case, here, one of them proved infidel
or rather love turned out to be unrequited. The head of the irrigation
canal (cf. gSun-mgur, nos. 170, 349-50) a t the upper lake had its course
altered, but the fish in the lower p a r t of the lake is unaware of it. The
interior (= sems pa, the heart, cf. gSun-mgur, nos. 71, 177) of the tree,
similarly, proved rotten, but the brother thrush had no idea of it; cf.
Bod kyi dga'-gzas I, 102, no. 3 = gTam-dpe, p. 120:
| mtsho stod rka 'go bsgyur ba |
j mtsho smad na mos ma zes |
j ein sdoh khog pa rul ba \
j a jo 'jol mos ma ses \
Further gias on the thrush: Bod kyi dga'-gias I, p. 14, no. 6; p. 15,
no. 1 = gTam-dpe, p. 146; p. 29, no. 3; p. 36, no. 6 = gZas-tshig phyogs-
bsdus, p. 135, no. 2; p. 74, no. 3; p. 86, no. 1; p. 103, no. 4 = gTam-dpe,
p. 122; Bod kyi dga'-gzas II, p. 24, no. 1 = Bod kyi glu-gzas, p. 98, no. 1;
ibid., p. 48, nos. 1 and 3; pp. 56, 58 (eight-syllabic song), 166; Bod-rigs
kyi glu-géas, p. 2 1 , no. 1; Bod kyi la-gias, pp. 31, 261, 265, 276, 292,
301-03, 310-11 (eight-syllabic songs).
64d The thrush voices (skyur) its sweet warble igsun snan), cf. gSun-mgur,
nos. 292, 372, 429;

• The theme of the dearth of discretion and fear of disclosure is rein-

troduced. Using a naturalistic scenario like in the case of the allusive
276

poem no. 50 supra, the poet is here seen to exhort a personage of du-
bious stamp in his entourage or in his service (sku 'khor, gyogpo)—the
voluble parrot in the poem—which is being urged to keep the liaison in
the dark.
Xiao Diyan, sBran-char, 1988 (3), p. 53, contrives a somewhat more
airy historical interpretation. The parrot obviously portrays an atten-
dant or envoy of sorts, ever susceptible of divulging discrete matters.
He reads the sister thrush as a picture of the poet himself and the
'sweet warble' should allegedly "be vented in order to rectify the wrong
accusations (of his debauchery and illegitimacy) launched by others"
igzan gyis ma fies khalg] gyogs la dag sel byed ched du gsuns pa) [sicl].
 277

65

I rgyab kyi klu bdud btsan po |

j 'jigs dan mi 'jigs mi 'dug
j mdun gyi ka ra ku su |
j 'thogs su dgos pa byas son |

The Serpent-demon behind me is fierce

Terrifying or not—I don't mind!
I have made up my mind to pluck
The sweet apple hanging before me!

65d 'thogs H : 'thog DE : thogs AFG;

65a The term klu bdud is a term for a certain group of highly fierce (dregs
pa) and powerful (btsan po) demons and malignant creatures, which
cause various diseases, such as, aside from those mentioned ad no. 20,
dropsy, vomiting of blood, cancerous abcesses, consumptions; cf. Nebe-
sky-Wojkowitz, Oracles and Demons of Tibet, pp. 285ff.
These chiefly chthonic serpents or Tiäga-affiliated spirits not only re-
side underwater in lakes, seas and subterranean wells, but also take
up residence in trees, cf. e.g. C. Bell, The Religion of Tibet, p. 37. This
is evidently the case in this song.
Meriting citation is a celebrated and oft-quoted gias, which is even
reckoned as a punning tshig gias type of song. The poet here caught
sight of a peach fruit (kham bu\ var. read, se 'bru or pomegranate)
which aroused a desire in him to eat the delicious fruit (i.e. to make love
with the girl, cf. no. 5 supra). But the poet entertained some misgivings
as to how dreadful the 'red demon (klu btsan)' (lurking) behind (the tree)
was. The latter is of course a circumlocution for the girl's parents; cf.
Bod kyi dga'-gzas I, p. 124, no. 3 = Bod kyi dga'-gias II, p. 12, no. 3 and
p. 65, no. 4 = Bod kyi glu-gias, p. 79, no. 2 = gÉas-tshig phyogs-bsdus,
p. 107, no. 1 = Snyder, 1972, p. 33 (cum var. lect):
| kham sdoh ya la bltas na \
| kham bu za snih fdod pa \
j rgyab kyi klu btsan dmar po |
j ied po gain] 'dra mi ses |
Another géas lauds the long-acquainted beloved as truly divine,
whereas her parents, par contre, virtually are demonic; the poet pleads
that no misfortune or obstruction will be caused by 'the gods and the
278

demons'; cf. Bod kyi dga'-gias II, p. 29, no. 1 = gZas-tshigphyogs-hsdus,

p. 143, no. 3:
| chun 'dris byams pa lha red |
j byams paï pha ma bdud red \
j ha la lha ma bdud kyi \
j bar chad gton ba ma gnan \
A cognate poem, but more doubtful to read, similarly describes how
the beloved is a true godfdess], and the [prohibiting] parents b u t de-
monic creatures; cf. Bod-rigs kyi glu-gias, p. 32, no. 3 = Duncan, 1961,
p. 6 1 :
| chun 'dris byams pa lha red \
j byams paï yab yum bdud red \
j byams pa lha las dga' med \
j yab yum bdud las bcog [= mchog ?] med \
It is tempting to interpretate the term 'behind 7 (rgyab) in our poem
as an overt allusion to the Nâga-chapel (klu khan) on the islet on the
lakelet under the northern escarpment of the Potala (i.e. rdzon rgyab
klu khan phra mo), cf. gSuh-mgur, no. 228. Another celebrated poem
germane to the issue under discussion is worth quoting. It purports t h a t
happiness prevails in city of IHa-sa, but compared to this, the happy
life in IHa-klu (prob. lHa-klu dga'-tshal, a name of a yab bzi noble
family (cf. L. Petech, 1973, pp. 39-49) and an estate and pleasance due
north of Lhasa (or read lHa-[k]lun [ri-khrod] with Norbu, a valley and
a cave located further north of Lhasa, between 'Bras-spuns and Se-ra;
cf. Map of sKyid-chu Valley in Nakane, 1984) is even better; a happy
life, too, is found between these two places, in the Nâga-chapel on the
rear side of the rdzon (i.e. the Potala); cf. Bod kyi dga'-gias /, p. 132,
no. 5 = gZas-tshig phyogs-bsdus, p. 158, no. 1 = gTam-dpe, pp. 145-46
(where mKhas-btsun bzaii-po has classed it as a danse-song (bro glu))
= Norbu's Coll. /, no. 39 (cum van led.):
| lha sa lha sa skyid pa \
I de las lha klu skyid pa \
j lha sa lha kluï bar na \
j rdzon rgyab klu khan skyid pa \
The temple and the little pool, regarded as one of the beauty-spots
of Lhasa, is fortunately still extant; cf. e.g. The Potala Palace of Tibet,
1982, pp. 12-14; K Dowman, The Power-Places of Central Tibet, 1988,
pp. 58-60. According to the tradition, it houses the klu, the serpent
spirit of the lake under which the city of Lhasa is built, and once a year
in pre-revolutionary Tibet the officials oi Lhasa had to visit the temple
in order to propitiate him; cf. Chapman, 1938, pp. 163-65. The pool
 279

appears to have taken shape during the erection of the Potala at the
time of the Great Fifth Dalai Lama, when earth for the edifice was dug
up. The klu-khah and its pleasant surroundings are usually envisaged
as the foremost playground for the Sixth Dalai Lama.
Most likely however, the klu bdud refers to the spirit residing over
and in the apple-tree.
65b For this kind of construction: vb. + dan + neg. vb. + mi 'dug; cf. no. 53
supra.
65c Note the contrast and antithesis between rgyab in 65a and mdun in
65c. The sweet (ka ra; lit. 'sugar') apple (ku su) cognate, according to
the Tibetans, to the peach (kham bu); cf. èel-gon éel-phren, pp. 211-12.
On ku eu depicting a girl, cf. gSuh-mgur, nos. 171 and 191.
65d To pluck fruits Çbras bu 'thogs pa) or apples denotes mating. Cf. no. 5
supra and e.g. gSuh-mgur, no. 379.

• An allusive poem on the bold determination to pursue a love affair.

The poet, beset with the wish to pluck a sweet fruit, i.e. to involve him-
self with a sweet girl, is intrepidly determined to brave any obstruction
t h a t may raise between him and his beloved. The girl is safeguarded
by eminent demonic forces, evidently a metaphor for the strict parents
of the girl.
But the poem invites further readings. The fierce demon in the
present poem, which resides over the tempting apple and which, we
may assume, ceaselessly supervises him from behind his back, app-
pears, again, to be an ill-concealed cover for the unduly meddlesome
Regent Saris-rgyas rgya-mtsho, the guardian who firmly, but not always
successfully, set bounds for Tkhans-dbyans rgya-mtsho by his incessant
intervensions in his affairs. In compliance with this interpretation, this
paramour may even be the actual daughter of the Regent, as one con-
temporary source would have it, the only of his allegedly many lovers
which then is identifiable; cf. the report by the Manchu general Fun-
ingga mentioned by H. Hoffmann, Introduction to G. Houston, Wings of
the White Crane, p. XVII.
Construed more traditionally, yet faithful to previous readings offered
in this study, the sweet apple, alias the girl, may by extension be an eu-
phemism for his long-standing aspiration after appropriating the reins
of power. The ubiquitous and head-strong Regent then is here portrayed
in the guise of a redoubtable serpent spirit, who zealously safeguarded
the fruits of power. But once this pattern of interpretation is applied,
the figures in the poem may allow for new identifications.
280

66

I dan po m a mthon chog pa |

j sems pa sor don mi 'dug
j gfiis pa ma 'dris chog pa |
| sems gcon yon don mi 'dug

In the first place it is better not to see

There is no chance then of losing one's heart;
In the second place it is better not to get intimate
There is no chance then of acquiring any depression.

66a chog FH : mchog BE; pa BF : ga EH;

66c chog FH : mchog BE; pa BF : ga EH;
66d gcon yon H : gcoh zugs E : 'ja' las B : 'jags las F;

66a The reading chog pa in 66a+c is evidently the correct form, a reading
confirmed by the different quotes of this poem. This modal or auxiliary
use of the verb chog [pa], lit. "to be allowed", "to be sufficient" etc., is
widely applied. In this capacity of modifying a verbal action, here not
to see (ma mthon) and not to get intimate (ma 'dris), it connotes the
sense of "it is permissible...", "it is better...", "it is advisable..." etc. The
variant homonymous reading in ed. BE, the adj. mchog pa., i.e. "[it
is] best" etc., cannot a priori be disqualified, as this homonym fits the
sense and the context well. The reading chog ga, the oral or 'garbled'
rendering of chog pa, is equally plausible.
66b sems pa éor, "to fall in love"; cf. nos. 3 and 6 supra. The phrase don
mi 'dug modifying a verbal action, here of falling in love (sems pa éor)
and of becoming depressed (sems gcon yon) rendered parallel in verses
66b+d to dan po[r], gfiis pair] and chog pa in 66a+c, connotes the sense
of "there is no meaning...", "there is no sense or chance..." , or, more
colloquially "one can evade altogether...". Note furthermore the pun on
sems in verse b and d; the verse has its parallel in Bod kyi dga'-gias II,
no. 59, no. 5; Bod-rigs kyi glu-gzas, p. 31, no. 3 and p. 59, no. 1.
66c The verb 'dris connotes the sense of both emotional and corporeal ac-
quaintance and intimacy and it is intimately associated with the concept
of love and mating; cf. the common expression chuh 'dris, q.v. no. 12
and also nos. 23, 36, 48 supra.
66d The term sems gcoh means 'mental consumption', or rather depression;
cf. no. 32 supra. The verse is read differently in the various versions,
 281

e.g. sems gcon yon...; sems gcon [b]éugs...; sems gcon beug..., all grosso
modo conveying the same sense.
The poem is e.g. cited as a traditional (and anonymous) folksong in
Bod kyi glu-géas, p. 120, no. 1 and in the story "gZon-nu 'od-sde dan bu-
mo sa-mtsho-ma" in Bod-ljons dbus-gtsan-khul gyi dmahs-khrod gtam-
rgyud, p. 41.
Meriting quotation is another poem, which, despite a slight bent in
the sense, roughly voices a similar vacillation as to engaging oneself
in a love affair. At the first sight merely, familarity and intimacy [is
easily attained with a damsel] of captivating delight. [But alas,] at the
second [thought] a closer acquaintance is inadvisable, [lovelorn] sorrow
is certain to ensue; cf. "Bod kyi dmans-gzas", Bod kyi rtsom-rig sgyu-
rtsal, 1980 (1), p. 82:
| dan po mthoh ba tsam gyis \
j yid 'oh 'phrogpa'i mdza' grogs \
| gnis pa gsib rgyu ma byuh \
j sems pa ha can skyo byuh \
Though the theme differs and the structure is clearly far from identi-
cal, the following gzas nevertheless earns being cited for its similarity:
At first the yellow flower of the mustard may be full of splendour; [but
alas,] when subsequently the hand clutches at the flower, there is barely
more than a handful to fetch; cf. Bod kyi glu-gias, p. 120, no. 2:
| dan po bkrag mdahs ehe ba \
j pad khalh] ser po'i me tog
j gnis pa lag tu len dus \
j spar mo gah las mi 'dug

• A poem on the advisability of abstaining from any involvement in

matters concerning amorous attachment and intimacy. The poem con-
sists of two parallel statements displaying a similar structure. Here
the poet is seen as if pondering over the benefits and the disadvantages
when indulging in a love affair.
A p p e n d i c e s
 Rig 'dzin Tshans dbyans rgya mtsho'i g s u n m g u r

[A lal] rgyal r n a m s thugs rje'i chu gter gaiis can pa'i

legs byas ris med bsrub skyes mtshan dpe'i gzugs |
ston du 'bar bas thub bstan padmo'i tshal |
bzad mdzad tshans dbyans rgya mtshor bgyi'o |

saiis rgyas gnis pa bio bzan grags pa yis |

bstan pa rgya mtsho'i gos can mthar spel ba |
gzan drin mi 'jog gnam sa'i dban phyug ehe |
legs byas ches cher *bar bas ches cher gsun |

srid pa r m a bya'i rgyal mo'i mtshar pa ehe |

phun sum tshogs pas gsun mgur legs bsad ston |
sna tshogs cir yan 'char ba'i mtshon brgya yis |
kun yid 'phrog pa'i bstan bcos yi [A l b l ] ger phab |

| zes manga la'i sgras dge bar byas nas | om svasti | dper na

[I]

[1] khu byug mon nas yon dus |

nam zla'i sa bcud phebs son |
chun 'dris byams pa 'phrad pas |
lus sems lhod por Ian son |

[2] sar phyogs ri bo'i rtse nas |

dkar gsal zla ba sar byuri |
ma skyes a ma'i zal ras |
dran Ion la 'dug[ g]o

[3] na niri skyes pa'i ljari zon |

da lo sog ma'i phon chog
pho gzon rgas pa'i lus po |
hor gzu las skyo ba |
286

[4] I me tog yal ba'i thu lu |

| nag po [de] la bltas pas |
j a Ice rgan mos sman sar |
j bu mo [de] yari los byas |

[5] | tshe 'di bya byed r n a m grans |

j chu [yi] nan gi ri mo |
j ri mo zad pa med pa'i |
j cha lugs [de] la gzigs dan |

[6] | mi rtag 'chi ba |

| sriin nas ma dran dan zer n a |
j lean drun 'dzom kyah |
| [A 2 a l ] don la lkug pa dan 'dra byun |

[7] | ran sems zug pa'i mi de |

j gtan gyi mdun mar byun n a |
j rgya mtsho'i gtin nas nor bu |
j Ion pa dan 'dra byun |

[8] | 'gro zor lam bu'i snin sdug

j lus dri zim pa'i bu mo |
j gyu chun gru dkar rfies nas |
j skyur ba dan 'dra byun |

[9] | sems pa phar la sor kyan |

j mtshan mo'i gnid theb cog gis |
j fiin mo lag tu mi Ion |
j yid than chad rog yin pa |

[10] | me tog nam zla yal son j

j gyu sbran sems pa ma skyo |
| byams pa'i las 'phro zad pa |
| na ni skyo rgyu mi 'dug

[11] | rtsi thog ba mo'i k h a la |

j rkyan ser rlun gi pho n a |
j me tog sbran ma gnis kyi |
j Tsral mtshams byed mkhan los yin |

[12] | nan mo 'dam la chag nas |

j re zig sdod dgos bsam kyan |
j mtsho mo khyag pas [A 2b 1] bsdams nas
| re zig kho thag chod son |
 287

[13] I gru san bsam pa med kyan |

| rta mgos phyi mig blta gis |
j khrel gzun med pa'i byams pas |
j na la phyi mig mi blta |

[14] | na dan tshoh 'dus bu mo |

j tshig gsum dam pa'i 'dud pa |
j khra mo'i sbrul la ma rgyag
I ran sa la grol son |

[15] | chun 'dris byams pa'i rlun skyed |

j skye legs log nas gtsug yod |
j lean sruh zal no dba' ses |
j sdori kha rgyag pa ma gnan |

[16] | bris pa'i yi ge nag chun |

j chu dan thig pas 'jig 'gro |
j ma bris sems kyi ri mo |
j bsrub kyan zubs mi 'dug

[17] | rgyab pa'i nag chun the'us |

j gsun skad T^yon ni mi ses |
j khrel dan gzun gi the'us |
| so so'i sems la rgyob dan |

[18] | stobs ldan ha lo'i me tog

j mchod khan la thad na |
j gyu sbran [A 3al] gzon nu na yan
j lha khaii la khrid mdzod |

[19] | sems son bu mo mi bzugs |

I dam pa'i chos la thad na |
j pho gzon na yan mi sdod |
j dben pa'i ri khrod la btan 'gro |

[20] | mtshan ldan bla ma'i druri du |

j sems khrid zu bar phyin pas |
I sems la sgom pas ma thub |
j byams pa'i rjes la lans son |

[21] | bsgom pa bla ma'i zal ras |

j yid la 'char rgyu mi 'dug
j ma sgom byams pa'i zal ras |
| yid la 'a le 'u le |
288

[22] I chuh 'gris byams pa ri khrod |

j sku mtshams [de] la thad n a |
j gzon pa'i sa gah sa gzis |
j chos rgyag [de] la phul chog

[23] | na dan sniri sdug phrad pa |

j lho roh ljon pa'i nags gseb |
| smra mkhan ne tso a ses |
j gsari sgo rtol ba m a gnan |

[24] | tshig gsum snih gtam bsos sa |

j ne'u [g]sin [A 3b 1] lean ra'i sbug skyog
| byi'u 'jol mo ma rtogs |
j su dan gah gis mi ses |

[25] | snin sdug by a rdo lam 'phrad |

j a ma chah mas sbyar byuh |
j Ian chags phru gu byuh n a j
j gso skyoh khye ras snah zu |

[26] | zag geig brkyahs pa'i snin sdug

j srod la 'ja' ba gnah zu |
j tho rahs nam zla btah dus |
j TDral mtshams byed pa los yin |

[27] | snin gtam gzan la ma bsad |

j chuh 'dris byams par bsad pas |
j byams pa sar pho man nas |
j snin gtam dgra bos go son |

[28] | snin sdug yid 'phrog lha mo |

j rhon pa h a ras zin kyah |
j dbah chen mi yi dpon po |
| nor bzah rgya lus 'phrog son |

[29] | nor bu lag nas yon dus |

j nor bu'i nor nams m a chod |
j nor bu mi la sor dus |
j snin rluh stod la tshah son |

[30] | me tog sar nas [A 4 a l ] yal son |

j byams pa 'grog[s] nas rgas son |
j ha dan [g]ser byuh bun ba'i |
| bio thag de khas chod son |
 289

[31] I éa tsha zen pa ches nas |

I Tdior ba'i then thag yin pa |
j ma byas dman ear bu mos |
I khrel gzun mi 'dug gsun gis |

[32] | me tog yal ba'i 'dab ma |

| a [g]sar zad pa'i sfiih sdug
j 'dzum [m]dah[s] so dkar bstan kyan
j sems la dga' tshor mi 'dug

[33] | pha mas bcol ba'i mdun mas |

| mi yon zu rgyu med kyan |
j rah sems phra mo chun 'dris |
j byams pa'i rjes la lan[s] son |

[34] | sems pa 'di la 'gro 'gro |

I dam pa'i chos la son na |
j tshe gcig lus gcig ran la |
j sans rgyas thob pa 'dug[ g]o

[35] | kham bu za rgyu med pa'i |

j kham sdon TDras bu'i nil nil |
j snin sdug 'grig rgyu med pa'i |
j gtam gsum mi kha'i rdzag rdzag

[36] | [A 4b 1] do nub ra yan gzi son |

I gnas mo'i phrag la rial chog
j sah zog[s] 'gro ba'i nam tshod |
j bya pho [m]tsha['] lus gnah yon |

[37] | rluh rta yar 'gro'i thog la |

j rluh bskyed dar lcog gtsug yod |
| 'dzah ma ma sans bu mo'i |
j mgron po la bos byuh |

[38] | so dkar lpags pa'i 'dzum mdahs |

j bzugs gral spyi la bstan kyan |
j mig zur phra mo'i sgril mtshams |
j gzon pa'i gdoh la blta gis |

[39] | ha can sems la 'phros nas |

I 'grog 'dris e yon bltas pas |
j éi bral byed na ma rtogs |
| gson bral mi thub gsuh gis |
290

[40] I 'dzan ma'i sems dan bstun na |

j tshe 'di chos skal chad 'gro |
j dben pa'i ri khrod 'grim na |
j bu mo'i thugs dan 'gal 'gro |

[41] | sbrari bu brgya la zin 'dra |

j kori 'phrug gzon pa'i sems pa |
j zag gsum rial rog byas na |
j phug [A 5al] yul lha chos 'dod gis |

[42] | dman ear skye 'bras mtshar la |

j ja chan 'dod yon 'dzom[s] pa |
j si nas lha lus blans kyari |
j 'di las dga' nes mi 'dug

[43] | bu mo 'chi ba med na |

j chan la mdzad pa mi 'dug
j gzon pa'i gtan gyi skyabs gnas j
j 'di la bcol bas los chog

[44] | skyes nas si bas ma chog

j mdun ma 'bral rgyu yin na |
j si nas bar do'i Hphran la |
j sems pa skyo rog[s] yin pa |

[45] | dag pa sar ri'i gans chu |

| klu bdud rdo rje zil pa |
I bdud rtsi sman gyis phab rgyun |
j chan ma ye ées mkha' Hgro |
| dam tshig gtsan nas gtun na |
j nan son myon dgos mi 'dug
j gzon pa'i tshe gah bsags pa'i |
j sdig sgrib zor la dag 'gro

[46] | byams pa mtshar ba'i sgan la |

| ba[r] tshan brtse [g]dun ehe nas |
j da lam [A 5b 1] ri khrod 'grim pa'i
I 'gyans cha zu dgos byuh[ n]o |

[47] | 'dzum dkar so dkar bstan kyan |

j gzon pa'i bio khrid yin pa |
j snin nas éa tsha yod med j
I dbu sna 'pher ba e yod |
 291

[48] I gro 'jam mal sa'i nan gi |

j snin sdug dun sems can ma |
| o lo'i rgyu nor len pa'i |
| gyo sgyu byas pa min nam |

[49] | chags sdan ser snas bsags pa'i |

j 'dod yon sgyu ma'i nor rdzas |
j chun 'dris byams pa byuh dus |
j ser sna'i mdud pa grol son |

[50] | gtan grogs khyed la bsam pa'i |

j khrel dan no tsha med na |
| mgo la rgyab pa'i gtsug gyus |
| skad cha smra ni mi ses |

[51] | s[v]a pho nin 'khor mtshan 'khor |

j tshon 'dus a Ice dman sar |
j dbu sna skyel ba ma mdzad |
j na ni gtan grogs mi byed |

[52] | dman sar e drin bsam [A 6 a l ] nas

j gdon pa 'o mas [']khru[s] gis |
I snon chad khyo ka med pa'i |
I lo rgyus gsun ba mkhas kyan |
j lus la [m]dze dri kha ba |
| ga tsug byas nas byun ba |

[53] | sdom med grva pa'i cha lugs |

j btsun mdog gzan las kha bas |
j ma byas mi kha sdan ba |
I na dan pho rog nag churi |
j byas kyari mi kha mi 'dug
| khori dan skya khra hor pa |

[54] | khan pa rtsig sa srab la |

| gron pa chad las dgos pa |
| bu mo ba[r] tshan can ma |
| nu zug rgyag pa ma gnan |

[55] | than pa rgyab pa'i bye than |

| sim sim char pas mi nom[s] j
I mos skom 'dod pa can mar |
j dpyad pas tshim dus mi 'dug
292

[56] I 'dod chags dpyad pas mi mdzad |

j mi tshe hril por lari[s] son |
j 'dod chags lam du spyod pa'i |
I rnal TDyor pho mo yin na |
j tshe 'di 'grogs [A 6b 1] lam bde la |
j phyi ma rna sos skyid pa |

[57] | ba[r] tshah brtse [g]dun med pa'i |

j sfiiri sdug ma bzeris lha sku |
| 'gros dan gom pa med pa'i |
j rta mchog nos pa 'dra byuri |

[58] | me tog nam zla riri ba |

j ne'u [g]sin span lo'i span rgyan |
j [g]ser chuh bun ba'i bio sna |
j da dun re zig bsriri dan |

[59] | bu mo skyes pa'i [m]chog pa |

j klu mo mchog yag lha mo |
j sriar 'dris byams pa'i gnas[ s]u |
j 'chi bdag bsrin ba gnari zu |

[60] | sfiin sdug kha 'bras mtshar ba |

j stag ma éiri gi lo ma |
j bsam nan dug gis sbyor bas |
j phan dan gnod pa ma byuri |

[61] | me tog sna yal phyi yal |

j sbrari ma nin tshe nin Tdior |
| zen pas bciris pa ma rtog[s]
| 'grog[s] yun thuri ran drag[s] byuri |

[62] | rgyu lus éa yi me tog

| dur sa'i khrod la bzag yod |
j sems pa bya sgro [A 7al] rluri khyer
j bar do'i 'phrari la 'grim[s] 'gro |

[63] | gzon pa'i tshe gari bsags pa'i |

| sdig sdig fies pa'i phuri po |
| sniri sdug yid ldan lha mo |
j do nub zor la sbyori dan |

[64] | byi'u byis phrug gcig la |

j mi bsam [bsam] pa med de |
j dpon po sku dbari btsan nas |
bu mo ran dbari ma 'dus I
 293

[65] I phyi ni nâ ga ge sar |

j nan ni padma ge sar |
| k h a la dban chen dpon po |
I sniii la chun 'dris byams pa |

[66] | ka bas dran po byas yod |

j ka gzus 'khyog par m a mdzad |
j bu mos 'chi bdag bsrih yod |
| byams pas sprel bzugs ma gyug[s]

[67] | bu mo chun 'dris byams pa |

j kham bu'i sin las skyes pa |
j a gsar [A 7bl] yal ba k h a m bu'i |
| me tog las 'gyog pa |

[68] | bu mo a mar m a skyes |

j sog bu'i éin las skyes pas |
j a Ice chun 'dris byams pa |
| sog bu'i me tog 'dra ba |

[69] | sa la ri mo bris pas |

j nam[ m]kha'i skar tshod Ion gis |
j sa 'jam lus la sbyar bas |
j byams pa'i khog pa m a Ion |

[70] | bla ma dam pa'i gdam[s] nag

j zus n a gnari gi 'dug ste |
I a Ice chun 'dris byams par |
j sniii gtam bsod dus mi 'dug |

[71] | chu mo gtin tshad rin kyan |

j na mo lcags kyus Ion gis |
j sfiin sdug k h a dkar gtih nag
j khog pa da dun m a Ion |

[72] | bu mo chun 'dris byams pa |

j spyari ki'i rigs rgyud [A 8 a l ] min nam
| sa 'brel Ipags 'brel byuri kyan |
j ri la yar grab mdzad gi |

[73] | drin can pha mas m a sgrig

j bu mo r a n 'dod byams pa |
j gal srid gson skyur byun n a |
| pha ma'i la [g]yog[s] los yin |
294

[74] I éin de a m r a m a zim |

j a mra'i 'bras bu zim pa |
j bu mo skye *bras mi bsam |
j sa tsha zen pa bsam gis |

[75] | r t a rgod ri yar rgyab pa |

j sni dan zags pas zin gis j
j byams pa'i no log rgyab pa'i |
I thugs ho zin sa mi 'dug

[76] | tshon 'dus a Ice dman sar j

j sprul pa 'gyed rgyu yod pa |
j sfiin sdug re re'i drun du |
j zal gdan re re gnari gis |

[77] | me tog 'dab ma gcig la |

j sbran bu zi dir dgu [A 8b 1] dir |
j dman ear bu mo gcig la |
j sar pho tshan rgyag sig sig

[78] | chu Tdior chu ris zad zad |

j [r]tsam pa bz-an thag nan t h a g
j bu mo na so rgas rgas |
j sfiin sdug bzah tshol nan tshol |

[79] | r t a la rus tshugts] mi gtso |

I sa thog spu bead gtso bas |
j byams pa rus tshig[s] mi gtso |
j dkar po'i sgor sgor gtso bas |

[80] | gyu chuh gru dkar yod na |

j ha no lag pa skyon gis |
j dmar sar mtshar mo yod n a |
j ha 'dod tshan rgyag sig sig

[81] | zag focas sgyu ma'i phuh po |

j bsred nas dgos des mi 'dug
j sems pa gcig tu bsres nas |
j 'dod pa bgo [b]sa['] rgyob dan |

[82] | byi'u ri byil phra mo |

j ha la sems bso thoh dan |
| [A 9 a l ] ri byil rluh la babs dus |
| ha r a s sems bso btah chog
 295

[83] I nags gseb luri pa'i phu yi |

j 'dab chags a bar ne tso |
j shin sdug r k u la sor son |
| ga[r] son bsod rog[s] gnan zu |

[84] | byi'u 'jol mo'i 'gro sa |

j Iho roh ljon pa'i nags [g]seb |
j gsun snan rgya [b]sgrag[s] bod [b]sgrag[s]
I lha sa'i phyogs nas skyur byuh |

[85] | spre'u ran bio lari[s] nas |

j fiin par rkun m a rkus pas |
j r a h mig sbar mos bkab kyah |
j gzan mig khebs pa mi 'dug

[86] | dkar nag las kyi sa bon |

j da lta lkog tu btab kyah |
j T^ras bu sbas pas mi thub |
j r a h r a h so sor smin gis |

[87] | dvags yul sa rnams gro la |

I dvags mo m a m t h a r legs pa |
j mi r t a g 'chi ba med na |
| tshe gah [b]sdad kyah [b]sdad chog

[88] | lean glih kham ltar *bol ba |

j [A 9b 1] sfiin sdug [g]duh sems ehe ba |
j gzon pa lha chos byed pa'i |
j lam bu bkag pa m a gnah |

[89] | nub phyogs ri bo'i rtse nas |

| sprin dkar gnam la loh loh |
| ha la yid 'dzin dbah mos |
j lha bsah[s] btah ba los yin |

[90] | rluh po gah nas lah[s] lah[s] |

j pha yul phyogs nas lah[s] byuh |
| chuh 'dris byams pa'i lus po |
| m a nor rluh pos 'khyer byuh |

[91] | chu dan 'o m a 'dres pa |

j T^yed mkhan gser gyi rus sbal |
j sfiin sdug sa sems 'dres pa |
| dbye mkhan su yah mi 'dug
296

[92] I na dan byams pa smos nas |

| gab rtse'i steri du sbol bas |
j mo la bdun zur bab nas |
| rim gro sgrub dgos byuri[ n]o |

[93] | lha khan 'un khus rdzas par |

j zim mi sfii la ma zin |
j sbyor ba gzan gyis byas pa'i |
j mi [A lOal] kha na la mi 'jog

[94] | si de dmyal ba'i yul gyi |

j chos rgyal las kyi me Ion |
j 'di nas krig krig mi 'dug
| de nas gzigs pa gnari zu |

[95] | churi 'dris byams pa'i phyogs[ s]u |

| ho bsrun dar gyi[s] gyog pas |
j byams pa 'chi bdag 'thuri nas |
j khrel gzuri [']tsher mas bsad son |

[96] | ran sems kha btags dkar po |

I ma nogs pa [cig] zus yod |
I mi sems snag tsha'i ri mo |
j TDri 'dod yod na bris sog

[97] I brag dan rluri po 'thab nas |

j rgod po'i sgro la gzan gis |
j gyo can rdzu bag can des |
j na la gzan po byas byuri |

[98] | phar sems byams dan sniri rjes |

j sprin phun gsar du 'khrigts] kyari
j tshur sems sdug pa'i rluri pos |
j yari nas yari du gtor byuri |

[99] | sprin pa kha ser gtiri nag

| sad dan [A 10b 1] ser ba'i gzi ma |
j bande skya min ser min |
| sans rgyas bstan pa'i dgra bo |

[100] | sa bcu'i sten na gnas pa'i |

j dam can rdo rje chos skyori |
j mthu dan nus pa yod na |
| bstan pa'i dgra bo sgrol mdzod |
 297

[101] I rluh po nan nas lahs par |

| go cha phyi nas bsdam[s] son |
I mi k h a thai ba'i bu yug
j sah ba'i dus tshod mi 'dug

[102] | dus gsum thams cad mkhyen pa |

j drin can rtsa ba'i bla m a |
j spyi gtsug ni zla'i steh du |
j TDral med brtan par bzugs sig

[103] | chu bur mig nor sar ba'i |

j ma dag snah ba'i dri ma |
j 'gal Tdirul nams chag 'dug na |
I ye ses dbyihs nas bsagst s]o |

[104] | gahs dkar eel la gnas pa'i |

j sen chen dkar mo'i 'o m a |
j ro bcud ehe r a h grag[s] nas |
j snod kyi[s] ma chun zer na |

[105] | gnas [A H a l ] gsum zih na rgyu ba'i

j ma dan ye ses mkha' 'gro |
| dbyihs nas bsags pa *bul[ l]o |
| thugs rje'i lcags kyus gzigs sig

[106] | yon tan sbas pa'i gah zag

| nor bu gah ba'i rgya mtsho |
| mchod rten rluh gi[s] bskyod kyah |
j ha ni bskur ba mi 'debs |

[107] | mar bcud 'o mas gah ba |

| gsah ba dam pa'i lha chos |
| ma rig log pas sgrib na |
| snih nas 'gyod pas bsagst s]o |

[108] | rah sems nam[ m]kha'i gsis la |

j rah bzin 'gyur mdog med kyah |
| non mohs sprin ltar Tdirugs pa'i |
j snah ba'i 'gyur mdog ston byuh |

[109] | tshogs drug dbah po'i spyod yul |

| snah ba sems kyi dri ma |
j dag dan ma dag dbye bas |
| Tkhor 'das gyes mtshams byed gis |
298

[110] I sbraiï bu skye ba srias son |

j me tog éar [A l i b 1] ba phyis son |
j las 'phro med pa'i sfiiri sdug
j mjal 'dzom[s] byed pa 'gyan[s] son |

[111] | span mgo ser por lan[s] son |

j [span] rgyan sbran bus dor son |
j na so rgas pa'i mi pho |
j chun 'dris byams pas skyur byun |

[112] | nam zla sa bcud dros son |

j glan chun [g]rog[s] po'i n u r sgra[s] |
j dman sar bde drod rgyas pa'i |
j skyo glu sems la dran byun |

[113] | mi med lun pa'i phu la |

j byis pa'i skyo glu lhan lhan |
j glu la glu Ian slog mkhan |
j ri zur 'jag m a sbub ston |

[114] | brag la ku gcig rgyab pas |

j lan la tshig *bru mi 'dug
j snin gtam phar la bsad pas |
j gros mgo 'don mkhan mi 'dug

[115] | lus po chu yi[s] dkrus nas |

j sems pa'i sgrib pa dag na |
j chu naiï gser mig fia mos j
| thar pa thob pa 'dug[ g]o

[116] | nur smrig mdog [A 12al] gi[s] bsgyur ba'i

j bla ma yon rgyu yin na |
| mtsho stod gser bya riari pas |
j 'gro ba 'dren pa 'dug[ g]o

[117] | gzan zer tshig zlos khyer bas |

| bslab gsum bstan pa 'dzin na |
| 'dab chags a bar ne tsos |
j chos Tdior bskor ba 'dug[ g]o

[118] | gan gsuri rjes zlos gsun bas |

j dban bskur thob rgyu yin na j
| sems med brag cha ston pas |
| sku bzi 'grub pa 'dug[ g]o
 299

[119] I dgra 'dul giien skyon 'dzom[s] pas |

j sans rgyas thob rgyu yin na |
j gcan gzan dud 'gro'i khyu yi[s] |
j tshe gcig mrion par rdzogs pa |

[120] | 'dod yon Ions spyod ehe bas |

j dban bskur thob rgyu yin n a |
j nor bdag klu yis dban pos |
j sku gsum rfied pa 'dug[ g]o

[121] | mon yul sa r n a m s dro la |

j mon mo brla sa dkar ba |
| 'dod chags drag po byun nas |
j mon mo [A 12b 1] gzon nus khrid son |

[122] | Ijon sin lo 'dab rgyas pa'i |

I yal ga [de] yi rtse nas |
j k h u bya snon mo Idin ba'i |
j gsun [skyur] skad kyi snan pa |
j o lo'i chun 'dris byams pa'i |
| gsun snan yid la dran byun |

[123] | gya' dan span la sky es pa'i |

j bya de lha bya gon mo |
j byams pa sems pa skyo ba'i |
j skyo rog[s] la [ni] phebs dan |

[124] | mtsho dan haii pa Tsral mtshams |

I byed sfiam [snam] pa med de |
j mtsho mo [']khyag pas [b]sdam[s] nas
j [ran] dban med la lan[s] son |

[125] | na dan byams pa *bral mtshams |

j byed sfiam [snam] pa med de |
| dban chen dpon pos phral nas |
| khag khag [ran] la lan[s] son |

[126] | blta ba la mos ma mthori |

j la mo ehe ba dgra red |
| 'gro ba chu mos mi t h a r |
j chu mo ehe ba dgra red |

[127] | pha yul sa thag riii ba |

| lus sems gnis kyi dgra red |
j [A 13al] byams pa byes la son ba |
| mtshan mo'i gnid theb[s] Icog gis |
300

[128] I chu mo mar 'gro sad éad |

j yar 'gro yin na dga' ba |
j ma gi lean glin smug skyid |
j pha gzis yin na skyid pa |

[129] | mda' mo *ben la phog son |

j mde'u sul la lus son |
j chun 'dris byams pa 'phrad byuri |
j sems nid rjes TDran lan[s] son |

[130] | span dan span rgyan 'brel ba |

j nam zla'i dus tshod yin pa |
j na dan byams pa *bral ba |
j tshe snon las 'phro yin pa |

[131] | chu mo ehe ba'i sems nad |

j gru éan gfian pas sel son |
j sfiin sdug si ba'i mya nan |
j su gas sel rog[s] byed pa |

[132] | sin de rtsa ba gcig la |

j rtse mo sum brgya drug eu |
j na yi a ba byams par |
j bio sna nis ston lha brgya |

[133] | a ma'i sdig [pa'i] gyu [A 13bl] [chun]

j dbu la sgron dgos bsam kyan |
j bu mo bio sna man nas |
j gyu chun 'dog[s] nos ma [']dod |

[134] | rgyal khams spyi lo fies pa |

j sems khral yon ba khag khyag
j sfiin sdug lkog la si ba'i |
j sdug bshal [']thol la byun[ n]o |

[135] | ha dan byams pa'i lkog grib |

j si gsan ro gsaii byas pas |
j gtam gsum mi kha nan pas |
I sa sten kun la khyab son |

[136] | ran la dga' ba'i sfiin sdug

j mig gi bar la lari[s] son |
I khon dan byams pa'i Icon gi[s] |
j lus kyi éa yan skam son |
 301

[137] I zim po'i bza' btuh skyug pa |

j nan ro'i bun Ion yin pa |
j na dan byams pa'i dbye mtshams |
j sgam bu chag[ g]i[s] bkod son |

[138] | bod yul sa yi lte ba |

j dpal gyi chos 'khor lha sa |
j ha dan byams pa'i gfien mdun |
j ma gcig dpal [A 14a 1] lhas sgrigs son

[139] | me tog sna yal phyi yal |

| chuh 'dris byams par dgos 'dug
j dman sar 'dab ma byed 'drar |
| mi byed ka med byuh no |

[140] I do nub mdza' ba'i snin sdug

j sah zog[s] khag khag so so |
| chags zen med pa'i byams pa |
j chos Tdior lha sar 'dug go

[141] | sar nas skar ma sar byun |

j skar ma'i lo rgyus mi 'dug
j bdag yod bdag po Tsyor son |
j sfiin sdug ga le thas sig

[142] | bu mo [g]dun sems can ma |

| rmi lam [nan] la yon gis |
j si nas bar do'i 'phrari la |
j bag chags rgyugs pa 'dug go

[143] | da dun sems kyi snan bas |

j Tdior ba'i stod phur rgyab byuh |
| gdams nag bla ma'i [A 14b 1] rai gris |
j zen pa'i thag pa chod dan |

[144] | tshe 'di'i snan ba 'khrid lugs |

I byams pas skyo glu lhan lhah |
j khams ga skyo cig skyo na |
j khams gsum 'khor ba 'di la skyo ba |

[145] | mdans gsum nal ba'i rjes la |

j [b]sdad ba'i sul yah mi 'dug
j tshe 'di bden bden 'dra yah |
| chags sgo rmohs pa'i rus tshogs |
302

[146] I 'di nan 'gag pa'i tshe na |

| mdans gsum rmi lam 'dra bas |
I mdzes ma'i ran byun sa yi |
j me tog [de] la chags pas |
j span nas dben pa'i ri khrod |
I gnas mchog [de] la e thad |

[147] | Hphral phug[s] fiams su blans pa'i |

j lha chos sems la bzag [A 15al] nas |
j tshe 'di kun tu skyid pa'i |
| 'od gsal ni ma sar son |

[148] | 'dod yul rigs pa'i bza' btun |

j spyod yul gyi [ni] me tog
I zag med rigs 'dzin bdud rtsi'i |
| ro mchog myon rgyu byuh na |
| zag bcas dban po [s]myos pa'i |
| bde ba yin par ma ses |

[149] | zag med dga' bzi'i snoms 'jug

j 'dzad med gtan gyi bde ba |
j dgra gnen chags sdan spans pa'i |
j btan snoms gyi [ni] sa gzi |

[150] | ran sems kun la phan pa'i |

j byah chub me tog Tdirun[s] nas |
j don sfiin mhar ba'i sbran rtsi |
j 'dzad med Ions su spyod na |
| gdul bya'i rkan drug grans med |
j sfian pa'i chos gar bsgyur ro |

[151] | phu la gahs ri yod bsam |

| mda' [A 15b 1] la zin chun btab pas
| sa gzi than pas tshig son |
j gahs ri thugs bsam bzes dan |

[152] | sin de tsan dan sdon por |

I mar 'dzegs gton bar ma phyin |
| yar 'dzegs tshe snon las kyi[s] j
| bkod pa ran [ni] los yin |

[153] | bsam bsam rta pho bsam kyan |

I 'gro khar rkan than babs byun j
| smug chun dre'u'i la [g]yog[s]
j yin pa ran [ni] khag khyag
 303

[154] I zin dan mu kha'i mtshams nas |

j rta pho'i stod thag rgyab yod |
j mi pho bio ses yod na |
j stod thag 'grol bar phebs sig

[155] | skam po bye ma'i log[s] gi |

| nag po sdig pa r[v]a tsa [A 15b5] |

[H]

| [B l a l ] rgya mtsho mtho ru ma gtogs

j dma' ru 'gro sa mi 'dug

[156] | dkar po'i dar dan 'dra ba |

j gzon pa'i ran sems gtsah ma |
j kha rag [b]sdad pas ma thub |
| fiams dga' glu ru la blans gton |

[157] | Idum ra mas dan rdzoii rdzon |

j me tog ha lo 'khrun[s] 'dug
j na tsho dga' la skyid la |
| Idum ra 'od kyis kheris son |
j don ni dam pa dus gsum |
j sans rgyas [rnams] la T)ul[ l]o |

[158] | gser zaris rgya phibs 'og gi |

j bsrun ma ma gcig dpal lha |
| snar kyah khyed kyi[s] ma bslus |
j da yan bslu ba[r] ma mdzad |

[159] | bdag gi[s] ga[n] nas yon y on |

I bzugs gral spro bar yon yon |
| spro byed min pa dkrug sin |
j zus yon dog[s] mi [B l b l ] mi 'dug

[160] | 'dir bzugs bzugs gral sgor mo |

j mtsho la dar chag[s] yin pa |
j dar chog 'og gi na mo |
j Tdiyug so chog pa yod do |

[161] | chaii gi[s] gzi ba ma rtogs |

| smyo bcos zus pa min no |
j bka' skyon gnan na san zog[s]
| tho rans [nam] la gnan zu |
304

[162] I o lo na so gzon nas |

I 'di ga zu ba thai son |
j bka' skyon med pa'i khog nas |
j gsuh snan gan drags gnah zu |

[163] | gzi ba chah gi skyon yin |

| chah de chan skyon ehe nas |
j smyo ba lha 'dre'i Tdirul yin |
j lha 'dre'i Tdirul tshab ehe nas |
| 'di nas ran re'i [yul gyi] |
j bsruh ma gcig [kyah] gsol [sig] |

[164] | [B 2al] sin de sin sna 'dzom[s] pa

j rgod mkhar [la] gyi lha mo |
j me tog tshos kha mtshar ba |
j rin chen stag ma'i me tog
j skyabs gnas bslu ba med pa'i |
j dkon mchog [gsum] la 'bulf l]o |

[165] | by ah rgyud gzuh gi me tog |

| me tog sgrol ma lha mdzes |
j span kha bltas pa ma gnah |
j nam mjug bsrih rog[s] gnah zu |

[166] | sbyar lo khrob khrob ma gnah |

j snug lo sil sil ma gnah |
j sbyar lo Tsebs tshod nam zla'i |
j rgyal mo [de] yi[s] gnah yon |

[167] | gsuh [skad] snan po rin chen |

j sil snan gyi [nas] skyur nas |
I rha yab sked pa khyoh khyoh |
j gnah dan ma gnah mi 'dug

[168] | zla ba dkar po'i 'khruh[s] bzes |

j mi rgyag dgos [pa] yod pas |
j snem chuh sbal pa chuh chuh |
I rdog [pa'i] 'og tu non son |

[169] | sems pa'i sprag na dar skud |

j thar sa [la] ni mi 'dug
j lus po'i [B 2b 1] sprag la gahs ri |
| dkar po [de] yi[s] chod son |
 305

[170] I chu mo yur ba'i ka mgo |

j [de] ma 'gyur ba'i rjes su |
j yur po ka thag rin kyan |
| mjal 'dzom[s] yon ba khag khyag

[171] | star kha yin na bcag chog

j kham bu yin na mur chog
| da lo'i sku en nio thog
j so la rtsed pos byas byun |

[172] | 'phren ba brgya la ma Idem |

j 'dud 'dzin gcig la Idem yod |
j 'dud 'dzin med pa'i Hphreri bas |
j ga re byed rgyu yin pa |

[173] | da Ita na so gzon pa'i |

j stabs [bstun] yin bsad kha bas |
j sems pa ga tsug byas kyan |
j glu gcig len nid 'dod gis |

[174] | ma smyo smyo ru 'jug mkhan |

j sban ma'i sban chu yin[ n]o |
I bka' skyon gnah na sban ma'i |
j sban chu [de] la gnan zu |

[175] I phra churi mig[ g]i 'og nas |

j gti mug sgo fiai rgyag gis |
| sems pa'i go cha gyon nas |
j gti mug 'dul [B 3al] yon khag khyag

[176] | sems pa dkar ba'i phyogs[ s]u |

| rta las bon bu mgyogs pa |
j rta la sga cha rgyab dus |
| bon bu la mo theb[s] son |

[177] | klu sbug glin ka'i sbyar pa |

j sbyar pa bkr[a s]is kha btags |
j sbyar pa khog pa rul kyan |
| sbyar lo sa la mi 'bebs |

[178] | nan pa byan nas yon yon |

I mtsho mo sneg nas yon yon |
| a ma mtsho sman rgyal mos |
| nan phrug skyo ru ma beug
306

[179] I pad sbran ser po'i thugs la |

j gan 'dra yod ni mi ses |
j lo yag ljan pa'i thugs la |
j sbran char [b]sil ma 'dod gi[s] |

[180] | sbyar pa skye gzugs legs pa |

j lean ma mgo lus chom pa |
I nam mjug bsrin ba'i rgyal lean |
j lhag par sems pa éor gis |

[181] | dpon po'i lean glin gru bzir |

j mi 'gro zu rgyu med de |
| sla[r] gsar skyes pa'i tsher ma |
j mdzub mo'i rtse la zug gis |

[182] | yon ba [B 3bl] 'dug na byed dan

j mi yon 'dug na zog[s] dan |
j dbah chen dpon pos bkod pa'i |
j mched grogs [na] ni ma red |

[183] | sin de rgyal lean sdori por |

| dar lcog 'dzug dgos bsam kyan |
j rgyal lean bio snaii man nas |
I dar lcog 'dzug nos ma [']dod |

[184] | dga' po star kha lcog lcog

j byun na bsam pa ma rtog[s]
| byams pa'i dri la Tdior ba'i |
j yi dvags [de] ni ma red |

[185] | ri bo mtho bar ma bltas |

j ri dpyad legs par bltas pas |
j mi pho ehe bar ma bltas |
j thugs bsis legs par bltas yod |

[186] | rah sems dkar po'i phyogs[ s]u |

j thig gu dkar po btan yod |
j thig[ g]u dkar po'i thig tshad |
j ma nor ba [zig] gnan zu |

[187] | tshes chen bco lna'i zla ba |

j sar byun na [ni] min pa |
j bdag la ni eu phyed cha |
j sar dan ma sar mi 'dug
 307

[188] I [m]kha['] la [Tdior lo rtsibs brgyad] |

j [sa la] padma 'dab brgyad |
j [B 4 a l ] sa la bab pa'i sbran char |
j bdud rtsi yin na dga' ba |

[189] | dmar rtsod blo ma gan gis |

I 'gyu1* [l]dog ston pa min pa |
| chos [dan] 'jig rten gfiis la |
j khyad par [de] ni mi 'dug

[190] | me *bar [bzin] ba'i mgo la |

j sin [de] bsag pa brdzan nas |
j khog ma bya thabs yin kyan |
j mi chags pa [ni] 'dug go

[191] | mda' mo yab gcig ['phan ba]

| ka ra ku su la phog na |
| de sul stag don khra mo |
j ga le sku [b]zugs gnaii zu |

[192] | chaii daiï tha mi kha ni |

| skyid pa'i yan lag yin pa |
j gu li rtsam ba med na |
j rin chen srog dan bral yon |

[193] | gnam [de] snon mo gos chen |

j Icags nag [de] gi 'og nas |
| sgo tshig[s] rgyal mo gser sked |
j bciris pa [de] las spam pa |

[194] | bkol ba'i ja yan mi 'thun |

j rtsod pa'i chan yan mi [']thun |
j rgya nag rgyal pos gnaii [B 4b 1] ba'i
j Ita ba gyah 'dzin Tdiyer sog

[195] | spos sel ser kha d[v]an[s] ba |

j byi ru dmar khra bsgrigs pa j
j mu tig dkar po'i rgyan mdog
j spyan lam la [ni] thog[s] son |

[196] | sar gyi skar ma smin drug

| yar dpe [de] la bzugs sig
| ran dban ran la yod dus |
j thugs la gros gros gnah zu |
| sa thag rin nas yan yan |
| mi mjal [bsam] pa 'dug[ g]o
308

[197] I snan po rgya glin skyur skyur |

j o lo'i gdah[s] kyi[s] mi 'khyon |
j sbran ma tshan la 'khor Tdior |
j e ses [thub] pa blta'o |

[198] | chari la 'or pa khyog sog

I gnas mo'i zum mar zan pa |
j skar ma rgyal chen dpag bsam |
| nam[ m]kha'i [m]thoh[s] la sleb[s] son |

[199] | zla ba dkar po los yon |

j tshes chen bco Ina'i zla ba |
j gnan sos bde po lus yon |
j dbah po yar skye[d] yin pa |

[200] | [B 5al] bkug na gnen 'khyon 'dzom pa

j [m]chog dkar gyi [ni] gzu ma |
j btan na 'gro ba'i mda' mo |
I [m]tshal dmar gyi [ni] rgod sgro |

[201] | sgom chen grva tshogs ehe la |

j chos dun mgrin skad snan pa |
| dge 'dun tshogs pa'i man jar |
j na ni sems pa sor son | r-

[202] | tshes chen bco Ina'i nub mo |

j dpal lha mjal bar phyin pas |
j don med a Ice bu mos |
j mig chu'i sbran char babs byun |
j na dan pu nye'i min can |
| sems pa skyo las mi 'dug

[203] | pha yul sa thag riri nas |

j drin can pha ma mi 'dug
j med kyan sdug rgyu mi 'dug
j ma las lhag pa yod do |
j ma las lhag pa'i byams [B 5b 1] pa |
j la mo'i rgyab nas yod do |

[204] | 'phyori rgyas dga' spro'i tshal gyis |

j byi'u chun skal bzan sgrol ma |
j lean lo skyur kyaii gsun snan |
| Tchyug so dgos pa byas byun |
 309

[205] I roh bde skyid glih gi lean glih |

j [mjkhas grags ran dan mi 'dug
j yar Tsrog sgah la spag pa'i |
j skyid pa 'di ru sleb[s] byun |

[206] | skra lo med pa'i mdzes ma |

j kun bzah rtse pa'i a lags |
I pha rol sems dpa' 'gugs pa'i |
j lcags kyu [de] ru 'dug[ g]o

[207] | kham sdori 'dorn pa gah la |

j me tog khra chil dgu chil |
j T^ras bu dus su smin pa'i j
I zal bzes gnah rog[s] gnah zu |

[208] | [chu de] bum pa'i chu ni [B 6 a l ] |

I r gyal po'i Idum ra la rgyab yod |
j na la lo gsum kham bu'i |
j rtsa spos zig [yah] gnan zu |

[209] | khrom pa khrom thag riri la |

j khrom thag yun ba thuh drag
j las 'phro med pa'i chu ban |
| [de] la khen[s] dus ni mi 'dug

[210] | ha gas ka ba zus yod |

| khyod kyi[s] gdun ma gnan zu |
I ka ba ma 'gyur [zus chog]
j gdun ma 'gyur yon dog[s] mi 'dug

[211] | sems [de] bsam pa'i byed chog

| ma nor ba [zig] gnan zu |
j la dan lun pa [gfiis po] |
| gal te mgo 'brel la zus chog

[212] | dri bzah logs la 'khruns pa'i |

j sin de lha éiiï eng pa |
| da dun bskal pa bzah po'i |
j bstan pa 'dzin rog[s] gnah zu |

[213] | rgyal mtshan bkra sis dgu [B 6b 1] brtsegs

j btsug na bsam pa ma rtog[s]
| ras [ni] kha gah kha do'i |
| dar [l]cog btsug nas gah byed |
310

[214] I gya' dan span gi mtshams su |

j garis ma char zig babs byun |
j ha yi span rgyan me tog
j chu[d] zos la [ni] 'gro ba |

[215] | lar [nas] sems dpa' dkar nas |

j lo dan zla ba lan[s] son |
j da dun byams pa'i zal ras |
j mi mjal ba [ni] 'dug[ g]o

[216] | khyed cag rta bdun dban po |

j bdag po gnah rgyu yin na |
j gzon pa na yi lus sems |
j de kha tsam la 'phrod pa |

[217] | snags pa mthu nus can gyi |

j brgyud pa ran dan min te |
j ser ba grog po'i phu la |
j 'gag bzin pa'i 'phros [ni] yin |

[218] | zva nag 'phos kha bzes pa |

| a re 'jigs pa byas byuh |
j [B 7al] nam[ m]kha'i sprin nag 'thibs dus
j gnan [ba] ltas la gya[r] son |

[219] | gzan gyi 'gral zla bral ba'i |

j zal ras dkar gsal zla ba |
I gzon pa'i grogs[ s]u 'gugs pa'i |
j gyab [ma] mtsho dan mtshuns byun |

[220] | zur mig gzu dan ldan pa'i |

j thugs sems nag phran mda' mo |
j gzon pa'i snin gi span stod |
I mthon po [de] la zug byun |

[221] | zla ba brgyad pa sar son |

| sku mdog ser por lari[s] son |
j sbyar lo sprin gyis sbyar kyan |
| mi Tsyar ba [ni] 'dug[ g]o

[222] | dgon pa se ra *bras spuns |

j ma 'gyur brtan par bzugs sig
j ron chen ron chun rgyab dus |
j dka' las gzan las ehe ba |
j bla ma pan chen mjal dus |
| [B 7bl] pha ma yod na bsam byun |
 311

[223] I klu brgyad dkyil Tdior bzens kyan |

j gdug rtsub 'di 'dra yin na |
| kha rog tbjsdad pas mi thub |
j sa sko rdo slog btari gton |

[224] | dbus kyi lcags pho ri ni |

j than stoii rgyal po'i pha gzis |
j las 'phro su yod mi ses |
j skad rdza btsug nas phebs mdzod |

[225] | ri de gyas ri'i log[s] la |

j sug pa grans med lkog yod |
j na dan ma skyes a ma'i |
j mi kha khrus yas byas gton |

[226] | ha dan ma skyes a ma'i |

| gnen sgrig lha bsahs gton rgyur |
I ri de gyon ri'i log[s] nas |
j spa sug 'dres ma rtog yod |

[227] | rdzoii de btsan po'i rdzon btsan |

I o los mi yon ma zus |
j [B 8a 1] zag gsum a ma dran pa'i |
| Tdior zag [éig] la 'gro dgos |

[228] | lean ma bcag ni ma bcag

j 'jol ma dkrog[s] ni ma dkrogts]
| rdzon rgyab klu khan phra mor |
j bltas mo blta dbari los yon |

[229] | phyi de lcags ris bskor yod |

j nan na nor bu bzugs yod |
| nor bu me sel chu sel |
j rgya yi nor bu yin pa |
j bod khams skyoh ba'i nor bu |
j po ta la nas bzugs yod |

[230] | chu de gya' chu dgun chu |

j rdza mo'i ron la sim[s] son |
j bzes Tdirun a rag bdud rtsi |
j sku lus [de] la sim[s] son |

[231] | gru sin rta mgo ker ker |

| rta mgo'i dar leog lheb lheb |
| thugs sems skyo skyo ma mdzad |
| byams pa las [B 8b 1] [kyis] bkod yon
312

[232] I ri de gyon ri'i log[s] nas |

| s[v]a ba smug chun rgyug gis |
j skal ba su yod mi ses |
I rdo thebs 'dzegs nas phebs sig

[233] | gnam [de] snon mo'i dkyil nas |

j zla ba dun las dkar ga |
j bzugs gral sgor mo'i dkyil nas |
j ja khra éel las dvans 'dug

[234] | [na gnis] sems pa dkar nas |

| lo dan zla ba yaii ma son |
| zen pa [gtin nas] 'gyod nas |
I thog so dgu thog la slebs son |

[235] | ni ma zla ba sar dus |

j skar ma'i lo rgyus mi 'dug
j bdag po nor dan 'phrad dus |
| diïos po'i lo rgyus mi 'dug

[236] | sar ri'i log[s] nas yon dus |

| s[v]a ba yin pa bsam kyah |
| nub ri'i log[s] nas sleb[s] dus |
| rgo ba rkan chag yin pa |

[237] | [B 9al] ser chen 'bog rdo bzes mkhan

j nam[ m]kha'i thog dan 'dra ba |
j thog la gar Tsebs mi 'dug
j dgra la dog[s] zon mdzod cig

[238] | gtam gsum lab tu mi 'jug

| gom gsum phag tu mi 'jug
j rtsib ma re re'i sten du |
| gri mdun re re gzer gton |

[239] | chu mo yur po gah yod |

j rdzin bu gcig tu dkyil yod |
j bio bag gros par yod na |
| rdzin bu 'dren par phebs sig

[240] | chos skyon 'jigs pa ehe yan |

j zag gsum 'grog[s] rgyu yin[ n]o |
j bar do lam 'phran dog kyah |
| Tdior gsum rtags nas sleb[s] yon j
 313

[241] I na ran si yah si sog

j sta gri chags kyaii chags sog
| lha sin skyes pa'i sug pa la |
| dri kha zim du mi 'jug

[242] | mi tsho[s] lab kyan lab sog

j khyi tsho[s] za[s] kyari za sog
j sprah kha [bs]dam[s] pa'i 'grul [B 9b 1] rgyun
j da nas gcod rgyu yin[ n]o |

[243] | lta ba gyan 'dzin [']then rgyu |

| dpon po'i sku drin yin pa |
j nag po rva gzi 'then par |
j blo 'dod la [ni] mi 'dug

[244] I em 'chi bla mas gnan ba'i |

j gos sku gsad mkhar dgu thog
j dgra bo snin rlun [b]lans mkhan |
j tshur [phyogs] gzigs par phebs sig

[245] | la mo la rdzas gfiis po |

j span po la [ni] bzag nas |
I rta mchog a li gro dmar j
| rgyug [pa'i] tshad zig e gtori |

[246] | lean glin lean tshagts] [m]thug par |

| na rah la [ni] rgyus yod |
j 'jol mo'i gsun skad nan nas |
j lo mo Ina tsam sar son |

[247] | kham bu star kha za na |

j ha ra'i dgon gzis *bol ba |
| lean glin sdoh po ma dkrugs |
j [sluh gi lha mo [d]kar mo] |

[248] | [B lOal] dan po lo yag ljah pa |

j [ghis pa sog ma'i phon lcog]
j [ha rah gnis po'i las ni] |
| byas bzin pa'i 'phros yin |

[249] | phyi de a zah sog po |

I nah de sba ri sbi ri |
j sog po man [rah dragts]] nas |
| sog skad mi [m]thun pa 'dug[ g]o
314

[250] I mtsho mo nu ba mi dgos |

j gser bya brgyal nas sdod na |
j mtsho sman rgyal mo mi 'jog
j na ra'i rjes la khrid 'gro

[251] | chah de ja khra khyer nas |

j byams pa tshol du ma phyin |
j o lo'i bya rdo lam 'phrad |
j su gas ga re zer ba |

[252] | byams pa gan nas gan bzugs |

I ha rah la [ni] rgyus yod |
j mi tsho[s] mdzub mo re ston |
j bdag la gnah dgos med do |

[253] | dkar gsal zla ba lugs kyi |

j rgyah rgyah [de] dan mi ses |
j 'dzam glih sa bcud phebs pa'i |
j ni ma 'dra 'dra btah ston |

[254] | lha khan de la bltas mo |

| blta ba tsam [zig] min pa |
| gser sku de la byin rlabs |
j zus yon dog[s pa] mi 'dug

[255] | [B 10b 1] sin de rtsa ba gcig la |

| rtse mo sum brgya drug cu |
I rtse mo mi gcig khag khag
j so so la [ni] lah[s] son |

[256] | sgo mo phye nas skad 'dza' |

j mi 'dzeg na [ni] gan byed |
| bzugs gral tshogs nas chah 'thuh |
| mi rgyag na [ni] gan byed |

[257] | ear [phyogs] koh la'i la mo |

| ma theg[s] grags pa min pa |
j dar rtse mdo la bear [rgyu] |
I 'dod mi gnah [m]khan mi 'dug

[258] | byi'u lean mar [g]duh [g]duh |

j dpal bya'i [lags] kyi[s] [g]duh [g]duh
j bdag po yod pa'i [g]duh [g]duh |
| lag [ni] sdum pa'i pad skor |
 315

[259] I ldum ra'i nan gi ha lor |

j brjod bya gnan la mi dgos |
| brjod bya gnan nas span rgyan |
j me tog [de] la gnan zu |

[260] | na gas byas pa ma red |

j chan gyi[s] byas pa yin pa |
j glaii chen smyon pa'i nus pas |
j ma bzag thag chod yin no |

[261] | nan so skyabs gnas rdo rje |

| sog bu'i dar lcog 'dra bas |
| lhag pa [B H a l ] a mas rtsod pa'i |
j glan chen smyon pa dro byun |

[262] | gyas la stag don rtags yod |

j [m]tshal dmar rgod sgro gzer yod |
| gyon la pho sug rtags yod |
I dvags can ser po [b]rdzari[s] yod |

[263] | 'gro rgyu ran re'i sems dpa' |

j dag snan [de] la yin no |
j sems dpa'i lhag ma [de ni] |
| lean glin gru bzi ru yin |

[264] | glu geig glu guis len par |

j 'tsher rgyu gan yan mi 'dug
j 'tsher gcig 'tsher [ba yin] na |
I mi rtag 'chi ba la 'tsher ba |

[265] | nam mkha' skar mas khens kyan |

j smin drug 'dra 'dra mi 'dug
I sa gzi [B l l b l ] mi yi[s] khens kyan
j bzugs gral 'dra 'dra mi 'dug

[266] | las [ka] byas pa rjes med |

j khyuii dkar gyi [ni] mdzo pho |
j bod kyi sog rtsva btsug nas |
j ri [r]tsva 'dren par btan byun |

[267] | sar gyi skar ma smin drug la |

j yar dpe zig ran len dan |
j ran dban ran la yod du[s] [
| rug se rug pa gnan zu |
316

[268] I mi tsho skar ma smin drug

| khyed ran [ran] la lab gis |
j smin drug med pa'i nam rin |
j su yis skyel ba blta'o |

[269] | phyi la bal skud 'dor 'dor |

j mi sems 'dzin la dgos gis |
j nan la lcags skud sgril sgril |
j ran mgo 'don par dgos gis |

[270] | se ba brag la sim[s] son |

j se'u *bru than la zag son |
| se ba se 'bru gfiis [B 12al] dan |
j mfiam pa'i tshes brgyad zla ba gcig sar yon

[271] | bya brgya'i dkyil nas mdzes pa |

j span stod lha bya gon mo |
j 'dre bya skrag pa'i las 'phro |
j brag stod mthon po na yod do |

[272] | khyi de rgya bo mig bzi |

j rnam ses mi las lean ba |
j srod la slebs byun ma zer |
j tho rahs Ian son ma zer |

[273] | si nas dril bu'i tin tin |

j sems dpa'i mgo skor yin pa |
I ma éi tshe rin byun na |
j za rgyo rgyab pa khe yin |

[274] | na gas dbyar kha'i zin la |

I van [m]choh [rgyag] ni ma rgyag
j su yag las kyi Tdior ba'i |
j tshe snon las 'phro yin pas j

[275] | rin chen gser gyi bum pa |

| ma 'gyur brtan par bzugs dan |
I la rlun kha bas chod [B l l b l ] kyan |
I mjal 'dzom[s] las kyi[s] yon gis |

[276] | zog[s] pa zogts] snar ma sans |

| fiin mo'i gun tshig[s] rnas son |
j 'dir bzugs bzugs gral sgor mo |
j rdo rje'i pha lam 'dra ba |
j sku gzugs chun kyan phyag rgyas |
j mi bslu ba [ni] 'dug go
 317

[277] I khri bdug glin bzi bskor ba |

j ni ma re la Tdior gis |
j na la dgos pa'i byams pa la |
j *khor [ba'i] dus ni mi 'dug

[278] | sgugs sgugs [bsdad] pa'i rjes la |

| *khor [ba'i] dus gcig e yon |
j ma byuii zer na og ma'i |
j og ltoh [can] la no tsha |

[279] | chu mo yin na bcud chog

j mda' mo yin na rgyab chog
I byams pa snin nas 'dod par |
j bya thebs gari yaii mi 'dug
j ri de gyas ri'i tsan dan |

[HI]

| dri kha gzan [B 12b6] [C l a l ] bar phebs sig

[280] | zla stod zla ba dkar ba |

j zla smad zun mar spar chog
j tshe stod pha ma 'dzom[s] pa |
j tshe smad rah mgo ston chog
j ran 'go ran gi[s] 'don dus |
j Tdior ba'i 'dam la ma rgyag

[281] | dar gyi dkyil gyi dar skud |

j 'dir bzugs bzugs gral sgor mo |
j byi ru nag gaii spor do |
| 'dzin bdag zu dgos med[ d]o |

[282] | T^ras lo'i bzugs gral sgor mo |

I sel [dkar] dkar po'i mchod rten |
j skor ba gcig skor gnis skor |
| skor nid 'dod du 'gro gis |
| skor ba Ian gsum ma rgyag
j logs[ s]u 'gro rgyu min[ n]o |

[283] | churi dus bag chags bsfien pa |

| gzon pa'i chari la [b]skyal yod |
j si nas rus pa skam pos |
j chan rtsi nan pa yod do |
318

[284] I rgya gas rgya la phyin kyan |

j yod rgyu ja las mi 'dug
j sems dpas chos [C l b l ] la phyin kyan
j dran rgyu pad sdoii ka ra |

[285] | mon yul phyogs nas phebs pa'i |

j bya de khu byug shon mo |
j sin sna 'dzom[s] pa'i lean glin du |
j gsun snan zig [kyan] skyur dan |

[286] | nam[ m]kha' ya gir skyo[r] kha |

j yan yan [du] ni mi phog
j Ian cig phog pa'i skyo[r] kha la |
j mtshan [gan] 'khyon pa gtaii ston |

[287] | 'bras lo'i bzugs gral sgor mo |

j dar [dkar] dkar po'i yol ba |
j btan thag chod pa'i dus su |
| rgya sog sgril sgril gtah ston |

[288] | phu la span sa bltas son |

j mda' la ein lo skyur byun |
j nun ma kha lo gnis kyis |
[ba'i] mtshams la slebs son |

[289] | chu mo nin bsad mtshan bsad |

j ga[n] la rin[s] ba 'dug pa |
j mi pho na ni skyid pa'i |
j pha yul [de] la rin[s] byun |

[290] | gya' dan span gi mtshams[ s]u |

j ba lu tshol du phyin pas |
I ba lu ma rned lha sin |
j sug pa [de] dan mjal [C 2al] byun

[291] | pha ri'i tsandan sdon po |

j tshur ri'i lha sin sug pa |
| dri kha zim na phar zim |
j tshur zim ran [ni] yin pa |

[292] | lean glin ma gi'i dkyil nas |

j 'jol mo gsun snan skyur gis |
| bzugs gral 'di dan dgyes pa |
| glu dan gar la 'grigts] son |
 319

[293] I pho lo ni su rtsa lria'i |

I dgun skeg la [ni] sleb[s] son |
j pha mas ri mgo mtho sar |
j lha bsan[s] zig [ni] rgyob sog

[294] | rih mo dga' la skyid la |

j gtsah gi roh chen ron chuh |
j roh chen tshad pa tsha la |
j ron chuh kha [k]lun dog pa |
j bsil drod snoms pa mtsho sna'i |
j gzuh sin ran Da] skyid pa |

[295] | gser gyi bya pho bya mo |

j ga[h] nas phu sud gnah pa |
| rma byas rgya gar sar nas |
j sgro mdon[s] rrioms par yon yod |

[296] | ka phuii brgya yi[s] stegs pa'i |

j ka rih rin chen sna lha |
| bdag sogs 'gro ba yohs kyi |
j cod pan la [ni] sar byuh |
j ma rig 'gro [C 2b 1] ba'i mun pa |
j 'od gsal gyi[s] [ni] kheh[s] son |

[297] | bla ma dpon po'i zabs pad |

j rdo rje'i brag las brtan pa |
| gahs can 'gro ba'i lus sems |
j mda' mo las [kyah] bde ba |

[298] | mda' bzah rgyab yod sa phyogs |

j gah phyin [kun] la rgyab yod |
| gtam gsum khas grags go mdzod
j rdo rje'i glih na bzag yod |

[299] | po ta la yi rgyab ri |
| lean [g]seb sar la 'khyil son |
| fii ma'i tshod gyi go mdzod |
j rdo rje'i glih de dran byuh |

[300] | ha yi dpon po lha yin |

I na yi gyog po btsan yin |
I dpon gyog lha btsan bsgril nas |
j dgra mgo 'dul bar e thad |
320

[301] I rgyag rgyu med pa ma yin |

| ja de nag po'i spu[s] bya |
j da lam gnam ja shon mo'i |
j skol tshad zu bar yon bas j
j byams pa zed kyi yod pa |
j gron pa'i khyi dgra zug gi[s] |

[302] | sprin pa sprin tshogs [m]thug la |

| rgya mtsho'i kha rlahs yin pa |
j sbran char [C 3al] 'bebs daii mi *bebs
j klu mo'i phyag nas yod do |

[303] | gan nas yin pa zer na |

j 'di gsal zu dgos mi 'dug
j gsal po zu na sar phyogs |
j kon [po'i] yul nas yin no |

[304] | grub mtha' rna mo nag po'i |

j tshos kha [de] nas yin[ n]o |
j e yin mi yin goms pa'i |
j rgyag chog [de] la gzigs dan |

[305] | sar phyogs sprin pa dkar po |

j lu gu'i bal la son na |
j byams pa an ki dan po la |
| zva gos lham gsum sgron gton |

[306] | lha bya gon mo'i lto la |

| rde'u nag chuii zas yod |
j gyan dkar lu[g ]gu'i lto la |
j thugs sems phren dgos mi 'dug

[307] | gnam [de] sgog sgog sdig sdig |

j ma gnan [rogs] dan e go
j char pa 'bebs pa'i char rkan |
j [br]tsam[s] [la] tshar nas mi 'dug

[308] | a ma bu mo snan skyid |

j sgal rai ma [ni] mo re |
| sgal pa ral nas mkhar rgyug
j [C 3b 1] spros mkhan[ de n]i mi 'dug

[309] | gser skon a mas ma btags |

j rag skon bio la mi 'dug
j ser chen 'bog rdo'i 'og nas |
j 'di kha gnan sos bde ba |
 321

[310] ri sog khog rdo log[s] gi |

me tog ser po dbyans 'dzin |
khyed ni na la mi zed |
ha ni khyed la mi zed |

[311] fiid ran gnis po'i skrag na |

'gal 'dzoms zig [kyan] byas byun |
tshur la [g]duii [g]dun mdzad na |
phar la sems sems zus chog
'dzum gyis khens pa byun na |
mnam 'jag la [ni] bzag yod |

[312] rta pho rgyug pa rhas son |

srab mda' [']then pa phyis son |
las 'phro med pa'i byams pa |
snin gtam bsos pa snas son |

[313] pha[r] ri'i lha bya goh mo |

tshur ri'i byi'u 'jol mo |
sku tshe las 'phro zad pa'i |
gya ma do gcig byas byun |

[314] sin de spa ma bkug bkug

gan la bltas nas [']gug[s] pa |
[C 4al] luh pa 'di la lus sems |
khug pa ran [ni] mi 'dug

[315] la mo ya gi'i rtse nas |

sprin gsar zig [ni] lan[s] byun |
pha yul phyogs kyi byams pas |
sems pa btan ba los yin |

[316] mkhar gyi rtse lha ma mnes |

sgo lha rta gyag ma mnes |
thams cad mnes pa'i bsruri ma |
ma gcig dpal[ l]ha bzeris gton |

[317] nan pa gro mas TDran ba'i |

sbo sgeg ma [ni] mo re |
mtsho sman pha las lhag pa |
e mnes [thub] pa blta'o |

[318] lean mas khyom khyom ma gnan

byi'u klad pa Tchyom gis |
lean ma'i thugs la med na |
byi'u sdod sa spos chog
322

[319] I ran gi sems dan mi sems |

I ma mthun [pa] dan zer na |
j sems pa mi yi phyag phyir |
j btan dan ma btan mi 'dug

[320] | zur bzi mda' las 'drons pa |

j bla bran gsar pa'i zur bzi |
j dpon po sans rgyas rgya mtsho'i |
I bzin ras gsal por mthon byun \

[321] | [C 4bl] sa de khan pa ser por |

j bze ma'i bze than gtiiï yod |
j bze ma man nas bze 'gros |
j [de] mi ses pa 'dug[ g]o

[322] | la de rgod mkhar la mo |

j 'dzeg kyin 'dzeg kyin phyin pas |
| gans ri zu ba'i chu sna |
j d[v]an[s] la rked la mjal byun |

[323] | dun rtse rva ma rgya mor |

I sman rtse'i dar lcog btsug yod |
| don med rlun po ma rgyag
| sman rtse'i tshos kha log 'gro |

[324] | la de rgod mkhar la mo |

j rgya sog dkar por son na |
j rgya sog sgril sgril gyi [ni] |
j dpon po mjal bar e thad |

[325] | mdo ba rta pho bzin gyi |

I mu khrid gnan la mi dgos |
| gyaii dkar lu[g] gu bzin gyis |
j rgya mtshos gnan rog[s] gnan zu |

[326] | nam[ m]kha' skar mas khen[s] son |

j khog pa bsam bios khen[s] son j
| tshogs ma bsags pa'i byams pas |
| snin gtam bsos pa mi 'dug

[327] | lham gog mthil rdol gyon nas |

j rkan chuh tsha las [C 5al] mi 'dug
| lham chuh a ses nar gdon |
I ni ma 'de ru chug dan |
 323

[328] I sin de sbyar pas Ian na |

I sbyar pa rta gris bead chog
I sbyar pa'i sul du tsandan |
j e Tdiruns [thub] pa blta'o j

[329] | rtsa ba btsug nas yon yod |

j *bras bu smin nas yons pas |
j 'gyur med zabs brtan lha khan |
j ma 'gyur brtan par bzugs sig

[330] | lean ma byi'ur gees pa |

j byi'u lean mar gees pa j
| da lo'i rin la lean [ma] j
| gcod mi gnari rog[s] gnan zu |

[331] | ka ba 'gyur gyi dog[s] nas |

j ka gdan rdo la bcol yod |
j byams pa 'gyur gyi dog[s] nas |
j mi bzan span por bzag yod |

[332] | ja de nag po'i spu[s] ja |

j ga le sku bzugs gnan zu |
j gser ja na yah mi sdod |
| a mdo'i gzuri la log 'gro

[333] | dge 'phel dbu rtse'i rtse nas |

j skar ma grans med sar byun |
j chu dan 'o ma 'dres pa'i |
I [C 5b 1] tshi[g] gi rdo kha 'khyer éog

[334] | ni ma gza' yi[s] zin pa |

j skye ba shon ma'i las red |
| rna gog brdun bas gza' 'dzin |
j [de] mi khrol ba 'dug[ g]o

[335] | sar gyi phyogs nas lhagts] pa |

j ma byun grags pa ma gtogs |
j 'jag ma khyod tshos skyo glu |
j blans [pa] tshar nas mi 'dug

[336] | mched grogs se ra Tsras spuhs |

| ma bsam pa [ni] med de |
I ras gos 'di gas chos gos |
j mi nan pa [zig] 'dug[ g]o
324

[337] I lean ma chu la skyes pa |

| ya mtshan ehe rgyu mi 'dug
I de las skam po'i bràg la |
| lha sin sug pa 'khrunts] 'dug

[338] | byi'u lean ma'i mgo la |

I mi 'jog thag chod yin na |
| sdod [pa'i gnas bzod] bde [po] |
I skya khra hor pa la mi 'dug

[339] | byams pa zur rdo nid [']tshol |

j gnan rgyu ['ba'] zig yin na |
| chu mo snog nas [b]sgal tshod |
j mi thin ba [ran] 'dug[ g]o

[340] | sin de brgya yi dkyil nas |

j rgyal lean sdon po Idem pas |
| rgyal lean khog pa [C 6al] rul ba |
| o los da bar ma ses |

[341] | sems pa ma son gon la |

| [na] lus po ni T)rel son |
j lha sa'i khrom la tshon fies |
j rgyab pa las [kyan] 'gyod pa |

[342] | bya de khrun khruh dkar mo |

| gsog rtse na la dbyar dan |
j thag rin rgyaii nas mi 'gro |
j li than skor nas log yon |

[343] | dbyar kha span [g]son[s] skyid pa

| lha bya'i gsuh skad snan pa |
I mdzes pa'i span rgyan me tog
I ga dus sar rgyu yin pa |

[344] | smin drug dpa' rtsal ehe nas |

I gnam la gzuri [g]sag gtan son |
j rgyal skar mi geig lag geig
I [g]nam mtha' [b]skor nas log yon |

[345] | ma khôl khôl du zer na |

j rgya ras khol khol btan ston |
I ma lad lad du zer na |
'o ma lad lad btan ston I
 325

[346] I 'dzin pa'i tsha ni rgyab yod |

j zim pa'i sga ni rgyab yod |
I de la thog thog man na |
j mgo la ye rgyag btan yon |

[347] | [C 6bl] ri bo mtho ri mtho tshad la

j ri bo zu rgyu min no |
j lha sa'i bla bran sten gi |
| druri yig snu[g] gu'i rgyaii gzer |
j yi ge 'bri ni mi dgos |
j snam bu 'dzin pas los yon |

[348] | khyod ni bdag po lean ra |

| ha ni myari stod lean ra |
I lta ba mtho res ma gtogs |
| lam bu zur res mi 'dug

[349] | chu mo ga le ga le |
I na mo'i bio sna srih[s] dan |
I na mo'i bio sna bsrin na |
j lus sems bde la 'god son |

[350] | chu mo yur ba'i ka nas |

j chu sna na ras drans yod |
j chu mjug snan ba gari bder |
j gton [la] thub pa med do |

[351] | chan de dan po dan gnis |

j [']thun bzin pa'i [']phros yin |
I mgo bo klad pa khyom khyom |
j mi byed pa'i tshod [ni] yin |

[352] | gnas mo'i ka ba'i log[s] gi |

j zun mar mda' tshad mdun tshad |
j mda' tshad zad kyah mdun tshad |
j spar [la] ehog ba yod do |

[353] | gnas mo'i nan la dar dkar |

| yol ma [de] ni ma bkram |
| [C 7al] mgron po'i dbu la s[v]a ba'i
j rva co [de] ni ma sky es |

[354] I rta pho rgyugfs g]i[s] bsam nas |

j bon bu rgyug pa ma gnari |
j bon bu r[v]a mgo zam pa'i |
| r[v]a mig [de] la rgyab yon |
326

[355] I span ri rtsva med mgo la j

j mdzo mo so med rgyab 'dug
I lean glin gru bzi'i nan gi |
I 'jol mo skyid skyid bu [']khrid |
j h a can snag r a n drag[s] nas |
| dga' ba'i [g]dun sems 'chor son |

[356] | rgya phibs bzens dgos bsam nas |

j gser gyi sa gzi btih yod |
j 'od chag[s] mdzad daii mi mdzad |
j bal po'i phyag nas yod do |

[357] | char pa char rkaii sig sig

j la rked [de] nas log son |
j Ijan chun ni ma'i khrod nas |
j snin re mi rje 'dug[ ga]m |

[358] | r t a pho gzan tsho 'dra ba'i |

j k h a khyer byed rgyu yod na |
j drag po'i r t a srab gyog nas |
| zi ba'i r t a Icags btari stori |

[359] | sar phyogs dpal gyi ri bo |

j mtho dan mi mtho mi 'dug |
| [C 7b 1] than sin dbu 'phan mtho la
j grib so sa la mi 'bab |
I zva mo leb zva'i 'og gi |
I bsil grib 'di ga skyid pa |

[360] | sar phyogs ri bo'i rtse nas |

I gyab [g]yug zig [ni] gnaiï byuh |
j sems pa dkar ba'i mi dan |
I mjal *dzom[s] yon ba khag khyag

[361] | ri rgyal Ihun po'i rtse nas |

I ni zla [zuii] zig sar byun |
j nam[ m]kha'i nor bus gyas skor |
| Ian gsum zig [kyan] rgyab byun |

[362] | [b]ka['] [g]dam[s] 'khyil pa'i n a n gi |

| rin chen tshans pa'i me tog
j gan nas bltas kyan mdzes pa j
| 'dzam glin gser gyi mchod rten |
 327

[363] I rgya yi phyogs nas phebs pa'i |

j rgya yi bsod nams kha btags |
I dpon gyog dar sin rgyas pa'i |
j dar lcog [rtse] la gtsug yod |
| yan dgos bstan pa dar ba'i |
I snan sal [de] la 'bul[ l]o |

[364] | rgya yi phyogs nas phebs pa'i |

j lha rdzas nin mo bde legs |
| [C 8al] dpon gyog dar zin rgyas pa'i |
| lha dar [de] la 'bul[ l]o |

[365] | brag ri rdo rje'i log[s] gi |

j rgod po lha rgyal tshe rin |
j [g]nam 'phan gcod ni mi dgos |
| rtse sgro hom[s] pas yon gis |

[366] | byams skyon ne riii med pa |

j su la byed ni mi dgos |
| fii ma gaii 'gro'i sa la |
j rkan pa [b]rkyan[s] nas [b]sdad chog

[367] | ka bzi gdun brgyad nan nas |

j bzon pa dpun than sig sig
j gzon pa na tsho bio gtad |
j tham[s ca]d mkhyen par bcol yod |

[368] | lha sa'i skor lam khra mo |

j byan chub rgyun lam yin pa |
j byams pa med pa'i sa lam |
| mi 'grod [bgrod] pa 'dug[ g]o

[369] | zim po rgya ja'i khu ba |

I gan gi[s] spag gis zim pa |
j na ras bltas pa'i byams pa |
| gan nas bltas kyan mdzes pa |

[370] | nin mo kha [m]dog mtshar la |

j mtshan mo dri kha zim pa |
j skyid tshal klu sdin nan gi |
I me tog bstan grogs [C 8b 1] las dga' ba |

[371] | skyid mos tshal gyi me tog

j kha [m]dog mtshar bas mi chog
j da dun dri kha zim pos |
| sems la dran pos byas byun |
328

[372] I skyid tshal nan na bzugs pa'i |

j 'jol mo sri gcod bu [']khrid |
| o lo'i dpon po phebs byun |
j gsun snan zig [kyan] skyur sog

[373] | zin de skyer éin sgor mor |

j tshetr ma] man gis bskor yod |
j snar gyi ba glan skyabs 'jug
j ma gnan [rogs] dan e go |

[374] | na khra gzon khra las siiem pa |

j skyid mos tshal gyi ljon sin |
j dgos med rlun gi[s] bskyod nas |
I sked pa Idem Idem los byed |

[375] | sems pa kha btags dkar po'i |

j dri nog med pa zus yod |
j mchog dkar gzu mo'i gyab [g]yug
j su la gnan rgyu yin pa |
j byams pa stag don phra mo |
j doii pa'i nan du bzag yod |

[376] | sin [de] sbyar pa'i sog sog

j ma gnan [rogs] dan e go |
I pha [C 9al] yul phyogs kyi star gdon
j sems la dran pos byas byun |

[377] | gans can sa la dbah ba |

j man dan man po 'dug ste |
| rgyal khrims chos kyi 'gens mkhan |
j rgyal po sroh btsan sgam po |

[378] | sin de tsandan sdoii po'i |

j bsil grib [can] kyi 'og nas |
I ma rgyab sems kyi mdud pa |
I a re dam gcig byas byuii |

[379] | sa za mkha' 'gros bskor ba'i |

j sin de tsandan sdon po |
j dri kha zim pa ma rtogs |
I 'bras bu [']thogs rgyu mi 'dug

[380] | sen chen brgyad kyi[s] btegs pa'i |

j gser sku mthon ba don ldan |
j sku zabs zabs pad bstan pa'i |
I bzugs khri [de] la
 329

[381] I ba lu su lu dpag med |

| gya' span mtshamsf s]u skyes nas |
j lha bya gon mo [C 9b 1] lean glin |
j gru bzi [de] la ma smon |

[382] | byams pa lags ni star kha'i |

j me tog [de] dan 'dra ba |
| nin mo[r] mig[ g]i[s] mi mthoh |
j mtshan mo[r] lag tu mi Ion |

[383] | ma rtsigs rtsig[s ]so legs pa |

j dkar mo nas kyi rtsigs pa |
| rtsigts] nas 'gyur ba med do |
j 'gyur med zabs brtan lha khan |
j mkha' la skyon pa'i rgya phibs |
j ni zla [de] daii mfiam byuri |

[384] | gnam la sprin pa mi 'dug

| sa la bu yug 'tshub gis |
I dog[s] pa de na mi 'dug
| gzan la thugs lcags gnaii zu |

[385] | gser sku gser la ma brdun |

| bal po'i lugs[ s]u blug[s] pas |
| gzugs gral mi lus lha gdon |
j ga tsug byas nas byun ba |

[386] | phu yi span mdog 'gyur son |

j mda' [C lOal] nas sin lo [b]skyur son
j khu byug mon la 'gro ba'i |
j khug rta yin na dga' la |

[387] | skye sa 'on stod zin kha'i |

| han skyug[s] [de] la[s] med pa |
j lta ba dga' ldan dar smyon |
j rtse [mo'i] thog las mtho ba |

[388] | 'dir bzugs bzugs gral sgor mo |

j dga' dga' spro spro gnaii zu |
j dga' ba'i dus su dga' po |
j ma byas [pa] dan zer na |
j dga' po na yin zer nas |
j yohs mkhan [cig] ni mi 'dug
j mi tshe sog ma'i rts[v]a ra |
j gan du yal 'gro mi ses |
330

[389] I span [g]éon[s] nor gyi[s] khents] ba'i |

I 'grig 'grig dan [ni] mi 'dug
j ba la mgo thag rgyab pa'i |
| khrid khrid [rah] ni gsun gis |

[390] | sin de sbyar pa'i skye sa |

j glan than gzun la zu yin |
j sbyar pa'i [C lObl] sbyar lo gnan sos
I gah [du] bde ru phebs chog

[391] | ri la rtsva ni mi 'dug

j kluri la chu ni mi 'dug
j s[v]a ba la mo mi rgyag
j gan la bltas nas sdod pa |

[392] | lam po sum mdo 'gag gi |

j mchod rten ma ni padme |
| bskor ba bskor bas 'gyod byun |
j phyi mig blta zin log 'gro |

[393] | mda' mos Ina brgya Ion son |

| sa bkrad gnan sos bde ba |
| gzu mo rva rgod 'khyil 'dra |
I ni ma'i zer la gug son |

[394] | rgya gar sar la 'gro ba |

j rma bya'i skye ba len dgos |
I 'jam po dug gi lo mas |
j [de] mi bzog pa 'dug[ g]o

[395] | sad [de] bsruh ba'i sprin pa |

j yod [ran] grags pa ma rtogs |
I ljan chuh ni ma'i zer la |
j mi chags pa [ni] 'dug[ g]o

[396] | khu byug [C H a l ] mon nas yon ba |

I lha ein bsam nas yon yod |
I lha sin 'gyur mdog ston nas |
j khu byug mon la log 'gro

[397] | ron de ron thag riiï la |

| mthon rgyu gnam las mi 'dug
j byams pa'i mjal kha mi lus |
j len pa [de] las khag pa |
 331

[398] I de 'dra'i sgro rgyag yod na |

I skyag pa [de] daii 'dra ba |
j de la *khor ba'i mi tsho |
j snah ma [de] dan 'dra ba |

[399] | stag gi Ipags pa ma red |

j gzig gi Ipags pa ma red |
I ras Ipags phyi nan slog pa'i |
| spos khyer [de] la gzigs dan |

[400] | chu [de] mu tig rdza rdzar |

j cum cum pa'i 'og nas |
j a Ice bu mo zan zan |
| zum zum mas [ni] khen[s] son |

[401] | mchod can d[v]ag[s] can ser po |

I yod [yod] yod pa'i [C l l b l ] [pa'i] khog nas
j spen rtsa thugs kyi dkyil nas |
j ma bor ba [ran] gnan zu |

[402] | sprin gsar chu ris sig sig

j [b]sil [b]sil la mo rgyab son |
j legs pa'i sa steiï me tog
j thar pa'i lam sna drons mdzod |

[403] | gnas chen po ta la la |

j gser gyi sgrom skad btsug yod |
| bkra sis kha btags bsnams nas |
j rgyal dbaii mjal bar phebs éig

[404] | pho bran dmar po'i rtse nas |

| gser gyi rgya glih skyur byuh |
I o lo na tsho'i sems pa'i |
| dga' sad [de] la gzigs dan |

[405] | bio sems stag don nan gi |

j mda' mo [de] las bde ba |
j sems pa lo chu legs pa'i |
j 'bru sna las [kyaii] 'dzoms pa |

[406] | fii ma la la thad son |

| [C 12al] grib so rluri la phog son |
j do nub 'gro sa gnas mo'i |
| nan chun [de] la yin no |
332

zes gsuiis so I punye dzä na bdag gi min kyan | 'dir bzun nas brjod pa

[407] | bkra éis gyas su Tdiyil ba |

| lhag bsam dun dkar gyas 'khyil |
I srid gsum zil gyis non pa'i |
| rgyan [nas] skad gcig sgrog dan |

[408] | phun tshogs kun yid 'phrog pa'i |

j rgya ras gur gum mdans mdzes j
| bio bzaii bstan skyon mfies pa'i |
j mchod rdzas [de] la 'bul[ l]o |

[409] | dpal gyi chos 'khor lha sa |

| rgya mtsho'i sten nas rgyab yod |
j rgya mtsho non pa'i dpon po |
| sans rgyas rgya mtsho bzugs yod |
j na tsho zabs spyi zu mkhan |
j snari sos mda' mo las bde ba |

[410] | kori yul phyogs nas phebs pa'i |

j bya de smra mkhan ne tso |
j na yi chun 'grogs mdzes [C 12b 1] ma |
j sku khams bzah po e 'dug

[411] | sa de 'phyonts] rgyas zol nas |

j 'thun ba'i chu ni mi 'dug
| phun tshogs rab brtan mdun gyi |
j mtsho mo yid la dran byun |

[412] | zva mo ser chen *bog rdo |

j sems la med pa min ste |
j da lam las 'phro zan pas |
j lug gi sgal par lus 'dug

[413] | bsam yas zla ba glin du |

j sgrub pa rgyag tu phyin pas |
| rab gsum rab la byun na |
j lo gsum bzugs rog[s] zer byun |
j 'brin dan tha mar son kyan |
I zag gsum sdod rog[s] zer byun |
j lo dan zla ba mi sdod |
I zag gsum sdod do byas pas |
j khra chuii mig[ g]i 'og nas |
| sbran char [b]sil ma babs byiui |
 333

[414] I gtan grogs khyed kyi khrel dan |

j no tsha [de] la gzigs dan |
j phar la phebs pa'i dus su |
j phra chun mig[ g]i[s] [b]skyal yod |
I nam zag [C 13a 1] gtan du no 'dzum |
j so dkar sems bzah zus yod |

[415] | chun 'dris byams pa mi bzugs |

j na nid skyur nas phebs na |
j bu mo na yah mi sdod |
I dam pa'i chos la btan 'gro

[416] | gnas chen bsam yas mtshim[s] phur |

j sgrub pa rgyag du phyin pas |
| mdzan[s] ma ma bzah bu mos |
I bsgrub rgyag[s] *bul du slebs byun |

[417] | gnas chen brag dmar sked tshan |

j mtho dan mi mtho [mi] 'dug |
j dad pa stih nas yod na |
j mjal kha zu bar yon gis |

[418] | sar phyogs lhun grub sgan gi |

j rgyan rol mi la gzigs dan |
j mi rtag 'chi ba kho ni |
j fie du fie du 'gro gi[s]
j ha yi yid 'dzin dbari mo |
| mi rtag 'chi ba ma gtori |

[419] | lha ri lcogs mgo ma red |

j bdud ri lcog mgo yin pa j
| na yi chun [C 13b 1] 'dris mdzes ldan
j mig gi[s] mi mthoh 'dug go

[420] | gzim chun goii mar bzugs pa'i |

| sans rgyas ma chags padma |
j 'di phyi gtan gyi skyabs gnas |
| khyed kyi[s] gnah rog[s] gnan zu |

[421] | bya de khu byug srion mo |

| mon la ga tsam thad yon |
j ha yi sfiih grogs mdzes mar |
| 'phrin pa Ian gsum bskur dgos |
334

[422] I gyu thog lean gliri gru bzi'i |

j ?jol mo skyid skyid bu Tdirid |
| ne tso na dan [b]sdon[s] nas |
j kon yul ear la e thad |

[423] | grum pa lean [g]seb glin kha'i |

| byi'u chun o[ rg]yan dpal 'dzom[s] |
| d[v]ag[s] po bsad sgrub glin gi |
| rgun 'brum [de] las zim pa |

[424] | sar phyogs kon po nar la |

j mtho dan mi mtho mi 'dug
j byams pa yid la yod pa |
I rta pho 'gro 'gro gton gi[s]

[425] | kon yul a [C 14al] Ice bu mo |

j sems pa skyo skyo ma mdzad |
j ma si khams bzan byun na |
j mjal phrad las kyi[s] yon gi[s]

[426] | rma bya sgro mdoh[s] [m]tshar ba

I dug gi[s] thugs rje yin pa |
j da lo dug lo med pas |
I rma bya ltogts] ris si son j

[427] | chu mo gan 'gro med pa'i |

j zam pa btsugts] nas gan byed |
I de las bkra sis yar 'gro'i |
| rdo theg 'dzugs pa dga' bas |

[428] | lha sa'i khrom nas nos pa'i |

j ras chen kha gan kha do |
| gzon pa rlun rta dar ba'i |
j dar lcog [de] la 'bul lo |

[429] | brag mda' lean sreb glin gi |

j 'jol mo bskal bzah bde gsal |
| tshe snon las 'phro yod pa'i |
| dga' po'i gsun snan skyur byun |

[430] | nam sod bye ma'i than la |

j chan dan bya khras [b]skyal yon |
I [C 14b 1] sa thag riri por son kyan I
| sems la dran pos byas byun j
 335

[431] I lha chen yar lha sam po'i |

j snin stobs [de] la gzigs dan |
j khra 'brag jo mo sgrol ma la |
I yon chab bzes rgyu yon gi[s]

[432] I sa de 'phyons rgyas zol nas |

j phu sud bka' drin [b]skyari[s] byun
j 'phe glin kha rgyab de na |
j lam bu'i tshad gcig btsugts] thon |

[433] | bu mo dpal 'dzom[s] tshe riri |

| ga le sku bzugs gnan zu |
j sems dpa' dkar ba'i lha bsans |
I lag lagîs] kyi[s] [ni] gnan yon |

[434] | rta mchog a li gro dmar |

j sku las chen po byun kyan |
j ga ru slebs pa'i sa der |
j myur [nas] mgyogs du sleb[s] byun

[435] | rnam glih a Ice bu mo |

/ I sku khams bde mor bzugs éig
j gzon pas 'phyons rgyas bskor nas |
| mjal kha [C 15al] [de] la slebs yon

[436] | da Ian sol kha yin pa |

j lug bal gzan las rin ba |
j na so gzon pa'i na bza' |
| yid 'dzin lha mos sgron yon |

[437] | ldum ra'i me tog pad sdoii |

| mchod rten dran du thad na |
j 'dam sbrah na yan mi sdod |
| gari skyid gnas su btan 'gro

[438] | 'phyoiis rgyas lean gliri gru bzi'i |

j mjol mo bsod nams dpal 'dzom[s] |
I thag rin rgyans la mi 'gro |
j mjal 'dzoms las kyi[s] los yon |

[439] | da lo btab pa'i lo tog

j san phod ma smin zer na |
| gnam gyi sbran char [b]sil ma |
| thugs bsam bzes rog[s] gnan zu |
336

[440] I chu mo mar 'gro éad éad |

j kon yul mthil la sim[s] son |
j bya de rgyal sman ka ra |
| thugs sems skyo skyo [C 15b 1] ma mdzad |

[441] | ku mud dkar po'i rgyan grags |

j 'dzam glin ci la sar byun |
j padma ge sar sdon po |
j T^ras bu zur du rgyas skabs |
j bya ha a bar ne tso |
j skyo rog[s] byed par sleb[s] yoii |

[442] | mon yul mthil gyi khu bya |

j kon yiil mthil gyi ne tso |
j skye sa'i skye yul mi gcig
j 'dzoms sa chos 'khor lha sa |

[443] | tshe shon las 'phro en tsam |

j yod pa [de] ni los yin |
j gcig sems gcig la 'jug pa'i |
j bu mo bu Hkhrid dpal 'dzoms |

[444] | sa thag rin nas med par |

j na la sems dpa' ma gton |
j phan tshun thugs yid T^rel dus |
j sems dpa' dga' tshor bgyis éig

[445] | las 'phro yod pa'i s[v]a ba |

I la mo'i [C 16al] rtse nas *khor byun |
j da dun rnon pa 'di la |
I las 'phro yod pa ran khag khyag

ces gsuns so || dge legs kyi dpal yon mhon par mtho ba'i rgyur gyur cig
[C 16a2]

[IV]

[446] | xx xx xx xx xx xx |
| XX XX XX XX XX XX |
I [D l a l ] lcags kyi lham chun gyon nas
j sprad sprad pa e gtoii |
 337

[447] I rgya gar ear gyi rma bya |

j kori yul mthil gyi ne tso |
j 'khruns sa Tdirun yul mi gcig
I 'dzoms sa chos 'khor lha sa |

[448] | mi tsho mdzub mo re la |

j mdzub rgyud re re mchod gi[s]
I o lo'i éa krad dkar chun la |
j ma yag ma mdzes mi 'dug

[449] | tshes chen bco liia'i zla ba |

| yin grags pa ma gtogs [
| zla ba de yi nan nas |
j ri bon tshe zad tshan 'dug |

[450] | mi tsho na la lab pa |

| dag pa khas theg
| na la byams pa mtsho kha'i |
j sbraii ma [de] las man ba |

[451] | la kha mthon po'i chu mig |

j dvans 'phro [de] la snog son |
| snog mi dgos [pa] ja chu |
j ma blans pa [la] bzag chog

[452] | chu mo Tdirug kyari 'khrug sog

j na mo 'phar kyaii 'phar sog
| mtsho sman rgyal mo mi 'jog
j zla grog[s] spun grog[s] btan [D l b l ] ston

[453] | lean ma byi'ur sems sor |

j byi'u lean mar sems sor j
| sems sor mthun pa byuri na |
j skya khra hor pas mi thub |

[454] | chu mo ma snog goh gi |

I snog skad 'di 'dra yin na |
| snog pa'i rjes[ s]u dvaiis sin |
| 'byed rgyu med pa snog dan |

[455] | da lta'i tshe thun 'di la |

j de kha tsam zig zus nas |
| stin ma byi ba'i lo la |
j mjal *dzom[s] yon ba khag khyag
338

[456] I zla ba 'di ni phar 'gro |

j stin ma'i zla ba tshur yon |
j bkr[a s]is zla ba dkar po'i |
j zla stod la mjal yon |

[457] | dbus kyi ri rgyal Ihun po |

j ma 'gyur brtan par bzugs sig
j ni ma zla ba'i bskor chog
| nor yons mi 'dug

[458] | bya de smra mkhan ne tso |

j kha rag bzugs rog mdzod dan |
| lean glin a Ice 'jol mo |
j gsuh snan skyur dgos byas byun

[459] | rgyab kyi klu btsan [D Ib6]... |

j XX XX XX XX XX XX |
j XX XX XX XX XX XX I
j XX XX XX XX XX XX j
 A p p a r a t u s C r i t i c u s

a n d

E x p l a n a t o r y N o t e s

t o

R i g - ' d z i n T s h a n s - d b y a n s

r g y a - m t s h o ' i g s u n - m g u r

The d o c u m e n t

This remarkable document, perhaps the only one existing, is, as already
adduced by Zhuang Jing, 1981b, p. 6 and in his "Cängyäng Jïacuo chùtàn"
in Huang Hua & Wu Biyun (eds.), 1982, p. 64, a MS (dbu can) kept in the
Library pertaining to the Tibetan Language Section of the Central Academy
of National Minorities (Zhöngyäng Minzû Xuéyuàn) in Beijing, PRO. The
book is in a miserable condition and gives a rough and worn-out impression.
Regrettably the various parts, which constitute the book, as already said by
Zhuang Jing, do not fit properly together.
From a preliminary inspection of the photo-copies of the book in my pos-
session—direct access to the source material, naturally, would prove second
to none—we may, faute de mieux, come up with the following data: The book
(dpe cha) in question is a MS (bris ma) hand-written in dbu can letters on
rough paper and gauged from the general condition of the book hardly older
than the turn of the century. It appears to be a so-called top-stitched or top-
sewn (dpe deb: dpe cha mgo (~ 'go) 'tshem (~ btsems) ma) and page-folded
(Iteb 'go) type of book. The photocopies of the book at my disposal consist of
four separate sections (I(A), II(B), III(C), IV(D)), which for some reason have
been sewn or stitched together. Unfortunately, this seems to have taken
place quite recently, perhaps when the mauscript was purchased for the
342

library or after the book once may have fallen to pieces and subsequently
been subjected to repair of some sort. Whatever, the handwriting in all
sections is evidently the same, the songs being compiled and penned down
by the same (anonymous person, bSod-nams ye-ses ? cf. nn. 405-6), but, as
said, for reasons unknown to us, the separate sections and even pages do
no dovetail (con)textually. Most clearly we may refer to section I and II (cf.
no. 155 infra), where no. 155ab do not read well with no. 155cd, whereas our
attempt to combine section I and section IV, viz. no. 155ab and no. 446cd
will prove successful, as they make up a well-read quatrain, a poem found
in other collections also. The same situation holds true when section II and
III are joined together. To make matters even worse, the turn from one page
to another evinces occasionally similar incidences of misfit combinations.
Suffice it to refer to the page-turn from B l i b to 12a (cf. no. 270c infra). The
pagination (indicated in the left margin) of the distinct sections are moreover
not the same:
Section I A Ial-15b5, pagination by numbers
Section II B Ial-12b6, pagination by letters
Section III C lal—16a2, pagination by numbers
Section IV D lal—Ibl, pagination by number
In between the sections and at the end of the last section are often page-
long scraps of handwriting, mostly in dbu med, either impertinent to the
songs or nonsensial fragments of some writing exercise. The full page size
of the book is 26.5 x 8.4 cm and the size of the written area of e.g. p. A 2a is
22.1 x 6.1 cm, with five to six lines of text per page, recto (a) and verso (b).
Until either more information can be acquired concerning the provenance of
the MS or a first-hand inspection of the text is permitted, I have deemed
it advisable to abstain from any editorial dissection or any reshuffling of
the pages and the sections in my present edition of the collection, however
tempting this may be, and instead in the notes restricted myself to call
the reader's attention to the most problematic areas. Consequently, I have
slavishly followed the arrangement and the pagination of the MS. The poems
are throughout the manuscript rendered by way of 12-syllabic hemistiches.
Similar to the booklet from Lhasa, cf. ed. B, a traditional stanza is also
here rendered by two twelve-syllable verse-lines, each line being grouped by
perpendicular strokes (sad). In my edition of the entire text, it most be noted,
I have deliberately changed each of these long lines into two six-syllable lines
framed by ni éad, as has been the case with ed. B too, when Yu Daoquan
edited his version. In my new arrangement of the text the quatrains, not
surprisingly, are by far the most common type of stanza. But quite a number
of poems have been grouped into six lines and one has even been read to hold
eight lines. It goes without saying that this strophic division of mine is liable
to alterations and at places may be grouped in another fashion.
Moreover, it should also be noted that I have inserted orthographically
 343

clarifying square brackets [ ] into the text (except the 54 stanzas in this
document hailing from the critical edition dealt with separately) whenever
it proved graphically practicable, adding within these the letters needed in
accordance with standard orthography, although I am fully aware of the ver-
nacular and oral nature of the entire collection. Further, whenever [a] syl-
lable[s] is called for to meet the required number of syllables in a verse-line,
I have added, also within square brackets, my textual suggestion. These
proposals, it must be stipulated, should merely be considered as prelimi-
nary and tentative solutions, other attempts may prove equally suitable or
perhaps even better. Finally, actual change of letters and words, when de-
manded by orthography or for lexical considerations, as well as suggested
alternation of terms and phrases required for a proper understanding of the
context, have all been duly noted in the Apparatus.
The colloquial and idiomatic nature of the language found in the Rig-
'dzin Tshahs-dbyahs rgya-mtshoï gsuh-mgur, the unsophisticated strophic
structure employed and the rich imagery and rustic lyrics in which the songs
and the aphorisms are couched altogether point to their popular provenance.
This observation, to be substantiated fully in the notes subjoined the songs,
also finds support in the themes and subject-matter dealt with in the songs.
Yet the songs and the poems are in no way easy to read or understand, whe-
ther in their literary or in their figurative sense, although quite a number of
the songs in the collection can be identified with other well-known folksongs
and street-songs.

Introductory p o e m s
In this set of three initial stanzas (tshigs bead gsum Idan) the alleged com-
piler of the present collection of songs, *Punyajfiâna, cf. ad nos. 406-7 in-
fra, has penned the obligatory mchod par brjod pa, the proemical saluta-
tion, and the rtsom par dam bca' ha, the composition pledge, which in casu
rather should be conceived as a resolution to compile (sgrig pa), expressing
the subject-matter (brjod bya'i don), and, not infrequently—only not here—
identifying himself.
In the first stanza (tshigs bead sha ma) of these poems, which are all
couched in a highly poetic and artistic diction bristling with ordinary as well
as more technical poetical figures of speech (don rgyan, arthälamkära) such
as epitheton ornans, metaphors (mnon brjod, gzugs can, rüpaka), factual
expression (ran biin brjod pa, svabhâvokti), allusions and various kinds of
similes (dpe) etc., the figure to which salutation is paid is ikhans-dbyaAs
rgya-mtsho, the protagonist and surmised original composer of the entire
collection. Borrowing its setting from a Hindu cosmogonical genesis and
couched entirely metaphorically in which our protagonist (dpe can) is de-
picted in the garb of the sun (dpe), we encounter here a number of partial
or full-fledged synonyms: For the sun (hi ma) we may adduce the "lotus
344

blossomer" (biad mdzad, = padma'i gnen, ni mas biad, padmabandhu etc.);

"emitting thousand rays" Cod ston 'bar, sahasrâméu, sahasraraémi) and the
"churner" (bsrub byed, manthakara) (of the ocean of milk (manthododhi) in
the Genesis); The term legs byas (sukrta), rightous deeds, may be a synonym
for merit (bsod nams, puny a) and happiness (bde legs, svasti) etc.; for the
ocean (rgya mtsho) we have the "water treasury" (chu gterjalanidhi).
In the second stanza (tshigs bead bar ma), employing the poetical figure of
factual expression mainly, the salutation is paid to the sDe-srid Sans-rgyas
rgya-mtsho (cf. his name imbedded in line one and two) in which his power
is extolled. Also here we encounter poetical epithets such as for the earth
(sa, sa gii) we have the "sea-clothed" (rgya-mtsho'i gos can, samudrämbarä,
samudravasana). Read yi instead of yis in the first line and sruh for gsuh
in the last line.
Finally, in the last introductory stanza (tshigs bead phyi ma), equally
couched in a metaphorical diction we have allusions to and word plays on,
presumably, autumn (ston ka) and the rainbow ('ja3). The "Queen of the Pea-
cock (rma bya) of Existence" is a figure which, if it should not merely be
taken as a poetical phrase, is otherwise unknown to us. Here the compiler
announced his resolution to write the work and to delineate its topic. Read
tshon for mtshon in line three.

Hail to Tshans-dbyaris rgya-mtsho, who [as a sun] makes

The [flowers of the] lotus-garden of the Teaching (deêana)
of the Sage (Muni) blossom, by emitting thousand rays;
Embodying the [thirty-two major] marks and [eighty minor] signs
[of a Superior Being] originating from the churning [of the ocean of]
the multifarious meritorious deeds of
The Tibetan people [born out of] the "water-trove" of Compassion
of the Victorious Ones (Jina).

[Hail to] the Mighty Lord of the Sky and the Earth, [the Regent
Sans-rgyas rgya-mtsho, who reigns] independent of others
Fully propagating [upon] the "sea-clothed" [earth] the Doctrine of
Blo-bzan grags-pa [i.e. Tson-kha-pa], the Second Buddha,
Most surpremely safeguarding [the country, people and the religion]
by blazing forth meritorious deeds most profusely.

I have written [this] oeuvre [susceptible] of captivating the minds of all,

Emitting hundreds of colours manifesting in sundry forms;
Rendering the "good sayings" (subhäsita) and "noble songs"
[offconcerning Tshans-dbyans rgya-mtsho] most perfectly
[Also denoted ?] the shimmeringly beautiful "Queen of the Peacock
of Existence".
 345

The collection

4 A poem on the deciduous effect of nature and love. 4a thu lu[d] : thu
lu or thu lu lu = thur du babs pa, nodding, i.e. a black flower withering
and collapsing; Interestingly, Das obviously refers in his diet. p. 577
to this verse quoting a song, which he numbers no. 3 - no. 4 in this
collection—and which apparently is gleaned from a work denoted rGyal-
ba Tshahs-dbyahs rgya-mtsho'i mgul-glu. Since this verse is found to be
untracable in any other collection, aside from the present one, it would
suggest that Das may have had access to a MS identical to the present
one. 4d smart or dman; dman ear bu mo, i.e. bud med dar ma, a young
(unmarried) woman; a parallel to stag ear, i.e. skyespa dar ma, a young
(unmarried) man; dman éar, cf. also nos. 31, 42, 51-2, 76-77, 80, 112
and 139 infra. Looking at the withering black flower, the poet realized
that once upon a time, of course, the old lady had also been a young
beauty.
5 A poem on the ephemeral nature of life. The sundry doings of human
life, the poet declares, are (just as unreal and meaningless) as an image
or reflection in water, a stock simile (usually the drstänta: A moon in
the water ([u]dakacandra))9 acknowledged in Buddhist philosophy to
illustrate the illusory nature of life. The poet admonishes everyone to
behold the outward appearances of the apparently inexhaustible flow
of reflections, which, like an ever-running film strip, steadily delude
people into believing in its reality.
22 A poem on faithfulness and devotion, cf. the critical edition nos. 1 5 -
16; 22a 'gris : 'dris, chun 'dris byams pa, one's beloved, an acquain-
tance since childhood, q.v. the crit. éd. nos. 12, 29, 36, 59; 22b thad
: thegis], honorific (ie sa) for 'gro ba, to go or travel, due to the pre-
vailing homonymous nature of Lhasan Tibetan, thad and thegis] are
pronounced almost alike, cf. e.g. also nos. 146, 300, 324, 406, 421-2,
437 infra. 22c sa gah sa gii, whatever land and estate, all his prop-
erty, but an equally plausible reading would be sa khan sagii\ 22d chos
rgyags la 'but, to grant provisions to the Dharma, i.e. to sponsor reli-
gion. If his beloved sought retreat in a mountain hermitage, the young
poet, left behind, apparently resolves to follow suit, initially granting
all his material possessions to religion. In fact, this poem could be un-
derstood in two ways: Beside the above obvious interpretation, as an
expression of true love and devotion, the poet instinctively knows that
the girl will not go through with her plans to leave him (i.e. to seek a
religious life in a hermitage), so he can safely proffer his generous offer
of sponsoring her.
24 A poem on clandestine dating; 24a béos : éod, bead; for the secret talk in
three words, cf. the crit. éd. nos. 11, 29. Identical with no. 66 in Zhuang
346

Jing, Beijing 1981; 24b sbug skyogis], the innermost, crooked (= k{K]yog
po) part of the willow grove or park (lean ra = lean ma'i glih kha) found
in the grassland (ne'u gsih = ne than, span than), only here it designates
a secret corner of the park; 24c rtogs : gtogs. The thrush ('jol mo) of
the willow garden, a stock symbol, cf. the crit. ed. no. 64, is the only
witness to their clandestine venue for love declarations. Stanza no. 23
and 24cd resemble no. 50 in the crit. ed., where the thrush is replaced
with the parrot.
26 A poem on lovers' meeting and parting. 26a iag gcig brkyans pa, lasting
for one day1, i.e. somewhat like 'a one-night stand'; 26b 'ja' ba : mdza'
ha, i.e. love, affection; cf. similarly, J.E. Bosson, 1969, p. 343, n. 258.
Twilight is the time for love, dawn the time for separation; cf. also
no. 382 infra.
30 A poem on the ephemeral nature of love, depicting the resigned accep-
tance of love's doomed course through the irrevocably deciduous stages
of the flowers' blossoming and fading, cf. the crit. éd. nos. 2, 7; 30a ear
is correct, but perhaps equally plausible is bzad, blossom[ed], also con-
jectured by Zhuang Jing, Beijing 1981, who quotes it in his collection
as no. 67; 30c [g]ser byuh (= chun, cf. also IMK 58) bun ba, the little
honeybee or bumblebee, cf. also 'dMans-gzas', Ni-gzon, 1983 (2), p. 89,
no. 3. Blossoming flowers eventually fade, likewise having acquainted
himself with her, his love[r] eventually grows old, the poet and the little
bee, resepectively, had resignedly come to terms with just that (fate) (de
khas).
31 Affection and passion is the rope dragging (V]then) the cycle of migration
(samsara), constituting the bondage of ephemeral existence—it should
be recalled that passion ('dod chags, râga) is one of the root poisons
of samsâric existence. In this poem the poet is apparently embroiled
in a dilemma: If his passion was greatly aroused, he would only be
dragging himself into the mud of samsâric existence, a sorely bad thing
in a religious sense. Alternatively, if he did not show (any affection) the
young woman (dman ear bu mo, cf. no. 4 supra) would accuse him of
lacking the selfsame.
32 A poem on the deciduous stages of nature and love. The poet here
depicts his fickle beloved (cf. the crit. ed. no. 35) as withering flowers.
Although she allures him with her natural charm, it is all lost on him.
Like the faded flower, his love has also extinguished, and with the power
of love no more around, the poet finds no more enjoyment. Included in
the collection of Zhuang Jing as no. 68.
33 For mdun ma, cf. the crit. ed. no. 3, a prospective spouse chosen by
his parents was unavoidable, the poet bewrays, nevertheless, his own
small thoughts sought his beloved, his favourite choice.
 347

35 Peach fruits dropping or hanging in clusters (nil nil); 35d rdzag rdzag
(= rdzag rdzog, rdzag do, 'dzagger from 'dzagspa, i.e. to leak or drip all
over, cf. also no. 400), is equally an example of onomatopoeia conveying
the sense of abundance here of gossip and stories of all kinds (gtam
gsum mi kha). For a discussion on the nature of mi kha in traditional
Tibetan society, cf. D. Lichter sind L. Epstein, "Irony in Tibetan Notions
of the Good Life", Karma: An Antropological Inquiry, 1983, p. 251.
In this allusive poem, the poet is barred from enjoying the clusters of
tempting peach fruits. This aptly illustrates the poet's dilemma, dat-
ing ill-fit or ineligible paramours only gave vent to a flood of defaming
rumours. Cf. similarly, Bod kyi dga'-gzas I, p. 17, no. 2:
| kham bu za rgyu med pas |
j kham sdon 'bras bus yog yog
j byams pa rned rgyu med pa'i \
j khams gsum mi khas yog yog

36 The redbreasted rooster or cock (bya pho tsha lu, i.e. khyim bya de pho
mtsha' lu (or mtshal lu) offers (gnan) its crowing to wake up the poet at
dawn the following morning after last night's carousing which allowed
him to fall asleep at the shoulder of the mistress. For this bird, cf. also
Bod kyi dga'-gzas II, p. 8. no. 2; Bod-rigs kyi glu-gzas, p. 103, no. 3;
Bod-rigs kyi dmans-gzas gces-bsdus, p. 138-39.
42 A poem lauding the sensual pleasures ('dod yon, kämaguna) of the
ephemeral human existence. 42a skye 'bras, i.e. lus po, gzugs or rigs
brgyud, the young girl (dman ear) with a handsome body, or of fine de-
scent and family, cf. no. 74. The poem is quoted by Zhuang Jing, no. 85.
A life where pleasures even exceed the assuming of a divine body in the
hereafter.
44 A poem on lovelornness. In this poem the poet bewrays his lot, were
he, with death faced to abandon not only life, but also to part with his
spouse, then the only companion for the poet's thoughts (sems pa, =
mam ses, cf. no. 62 infra, but also = love) haunting him on his pre-
cipitous journey on the intermediate stages in the hereafter would be
love-lost despondency.
46 The term ba tshan, cf. also nos. 54 and 57, poses a problem. Zhuang
Jing, Beijing 1981, quoting it as no. 69, reconstructs it as phar tshur
(which he, incidentally, renders into C. as gèngjiâ, i.e. "all the more"!),
i.e. mutual (Jbrtse [g]duh, i.e. affection), which at first glance would seem
a happy construction. Far more likely, though, would be the reading:
bar nshahs (pf. tshans) [byed pa, rgyag pa], i.e. to tamper, meddle, to
press in between. Another meaning of this idiom is to be "officious", "in-
gratiating", the term here conceived as an adjective. In this sense the
348

term seems to belong to the colloquial vernacular (yul skad). Most often
it denotes a third person who meddles in other people's affairs. By read-
ing all three instances, however, where ba[r] tshan occurs, respectively
as ba[r] tshan brtse [g]duh ehe, ba[r] tshan brtse ïg]duh med pa and
ba[r] tshan can ma, it becomes evident that it may connote something
slightly indiscreet and wanton, here in her amorous behaviour (= ho
tsha med pa, bag med)—apparently not necessarily interpretated neg-
atively. The etymology is nevertheless still not satisfactorily accounted
for. In any case, the term refers to a girl or a lover, in this poem forcing
the poet to postpone his immediate plans for seeking solitary retreat in
the mountains, evidently detained by the beloved's beauty and by the
arousal of her ingratiating affection.
49 In this poem the five objects of sensual pleasures ('dod pa'i yon tan
Ina, paneakämaguna), which arise from the senses, are accumulated
from greed, hatred and avarice. But in reality they are of an illusory
nature (sgyu ma, mayo). The very moment the poet met his beloved he
was capable of undoing the knot of hedonism and materialism. In this
poem the precious object was presented to the girl as a gift. Quoted by
Zhuang Jing as no. 86.
51 The stag, é[v]a pho, i.e. the wooing buck, suitor, cf. no. 29 in the crit.
ed., here in incessant courtship. The (debauched) girls of the market-
place, cf. also the crit. ed. no. 11, no. 4 supra, and no. 76 infra, is not to
be plighted with (dbu sna : dbu mna*) and thus never made an eligible
match as an eternal friend (gtan grogs, i.e. a life-long spouse, cf. the
crit. ed. no. 26). This tshig rgyag type of repartee song could be sung
or recited by a woman or a man. When sung by a man, he signals that
the girl is the market-place type on account of the swarm of wooers
tailing her constantly. When the poem is sung by a woman, the man is
depicted as a fickle wooing stag, constantly chasing after cheap girls.
52 Although the dman ear nourished high hopes of getting intimate with
the poet (drin : 'dris or better brin, to be saleable ?, worthy of purchase,
= coveted), washed her face in milk, and even showed prudence (mkhas)
in cooking up tall tales about her being without husband previously
(snon chad), the acid and noisome odour of this leprous (dze : mdze)
person soon disclosed her dubious stamp, leaving the poet nonplussed,
asking how on earth iga tsug, South Tibetan for coll. ga 'dra) she could
ever get such a smell (equally plausible is the reading rdzab dri, a
sewage smell).
53 The protagonists of this little sullen (thugs ma ran pa'i mam 'gyur) yet
sarcastic quip (bstih tshig) or story {zur za'i gtam) is sDe-srid Saiis-
rgyas rgya-mtsho and, in the garb of a Mongolian hawk praying on the
poet (the God-king, here depicted as pho rog nag chuh, the little black
 349

crow), we should evidently see the Qosot chief lHa-bzan Qan, compare
also song no. 62 of our critical edition. As described in the crit. ed.
nos. 8 and 39, the poet verbally poked fun at the Regent's hypocricy,
who boastfully {kha bas : kha rbad = kha éob) donned himself in re-
ligious robes without having taken any vows, even outwitting in this
respect other monks. The poet professed his innocense of any charge
of transgressing decorum, yet ill-felt rumours prevailed. The Mongol
Chief, lHa-bzan Qan, symbolizing the Mongolian hawk, on the contrary,
together with the Regent perpetrated (sundry deeds, such as adultery),
yet, the poet gloomily intimates, without arousing any ill-boding gossip
' from the people or the religious circles. To accentuate his point, the
poet refers to the crow vs. the hawk. In Tibetan folklore, as well as in
world-wide popular creed (incidentally, a Tibetan Law Book on Ordeals,
in fact classifies types such as thiefs and brigands to be incompetent
to be sworn in, and to be comparable to 'small black crows'; cf. R.O.
Meisezahl, "Die Ordalien im Tibetischen Recht", Zentralasiatische Stu-
dien, 20, 1987, p. 229), the crow living in or near humanly inhabited
areas, is always an easy target when a scapegoat is called for, being
blamed for stealing small items or sundry other misdeeds, whereas the
real culprit, the hawk or the falcon, living in remote areas inaccessible
to living beings, and perpetually praying on domestic animals etc., usu-
ally is beyond reproach. 53cdef has been included in the anthology of
Zhuang Jing, as no. 87, as a quatrain. Cf. also Chab-spel, 1987, p. 302,
who quotes this four-lined stanza.

54 rtsig sa : rtsig zal, thin (srab) wall-plaster, i.e. "the walls are thin"; 54b
chad las : 'phyals] lad (= 'phya ka, 'phya smod, lad mo rgyag pa), to
mock, ridicule, deride and jeer. Read dgospa or rgodpa, wild, malicious
laughter. 54c ba tshan can ma, cf. no. 46 supra; 54d hu zug rgyag, to
scream, yell or even to howl (= nur ba, har sgra sgrog) almost like a
dog. In this poem couched in a frank diction the poet literally urged
his wanton girl friend to stifle her cries (in the act of love-making ?),
the walls have ears, a behaviour courting derision since it occasions the
village mob to mock the couple.

55 Craving for thirst (skom 'dodpa can ma), i.e. a passionate, racy girl. 55d
dpyad : spyad, to use, employ and enjoy, here evidently a euphemism
for sexual indulgence, of which the passionate girl seems unsatiable,
just as a drought-striken plain is not satiated by small drizzles of rain.

56 Here dpyad : spyad; mdzad : 'dzad; 56f m a sos sky id pa : gnas zos sky id
pa or better gnas bzod bde po (or bde ba), = sems bde, contentment, for
similar instances, here conceived as an adj., cf. e.g. the songs nos. 199,
309, 390, 393 and 409 infra, Bod kyi dga'-gias I, p. 30, no. 2; p. 50,
no. 5, i.e. gnan sos or snah sos bde ba, and all requiring the reading
350

gnas bzod bde po, a colloquial phrase carrying the meaning of a happy,
contended, peaceful ('tshe ba med pa) or tranquil (kha khu sim po) life.
Here the loving couple would, were they in the garb of a yogin and
a yoginl indulging in lustful, carnal desire, be brought onto the path
of companionship in this very existence and the subsequent existence
would ensure them a contended life.
57 Cf. nos. 46 and 54 for ba[r] tshah, here used sarcastically, characterizing
his sweet-heart as an unmanufactured (ma biens, i.e. self-originated
(rah byuh), supernatural) godly statue or image. The image behind is
that the beloved, besides being passionless, to the poet is like a godly
statue, cold, distant and emotionless, not fabricated by sculptors. To
be depicted as a statue usually indicates beauty, even natural beauty,
which is also the case here, was it not to be conceived in an ironic sense.
This point is brought forth in the last two lines (rkan pa phyi ma) where
she is seen to be tantamount to a superb horse (rta mchog, aévaratna,
the mythological super horse endowed with divine properties), which
only here, once purchased, proved a poor, almost vicious bargain as the
horse is unable to canter and pace. Included in Zhuang Jing?s coll. as
no. 122.
58 The subject (khyad gzi) of this poem is the bumblebee ([g]ser chuh bun
ba, cf. also no. 30 supra). The span rgyan is usually denoted a specific
herbal plant (sho sman, rtsva rigs, cf. Éel-goii éel-phreh, pp. 333-4,
Bod-ljohs rgyun-spyod kruh-dbyi'i sman-rigs, pp. 264-6, 307-8 and ill.
145-46 and 176-7) or a certain meadow flower (Gentiana algida, Pall.)
also called the flower of autumn (ston ka'i me tog) by the Tibetans, cf.
also no. 130 infra, only not in this case—here it just characterizes the
bee as a grassy ornament atop the grass-leaved meadow, being urged to
show patience or not to be quick-tempered (bio sna... bsrin), the season
of flowers (i.e. love-making) is still lingering.
59 A boyhood or childhood acquaintance (shar 'dris = chuh 'dris), cf. the
crit. ed. no. 12; 'chi bdag bsrihs ba : phyi thag [bs]rih ba, Diet. def.
phyi thag : a gsar med pa'i 'grogs yun rih ba, a long-enduring, not
capricious relationship, cf. also nos. 66, 95 infra. So, the poet is here
soliciting the girl, his beloved, in his eyes a goddess and the highest
Näga-Queen, to enter into a long-termed relationship of faithfulness
and mutual devotion.
60 Cf. the crit. ed. no. 5 for kha 'bras; 60b stag ma ein, the Rhododendron,
prob. Rhododendron campylocarpum Hook; cf. èel-goh éel-phreh, p. 226.
It is growing in the shade, the leaves, to retain the simile, are they also
poisonous ? Or is it a corruption for stag pa sin, the birch tree (Betula
utilis) ? Hardly. Perhaps it is the poet's extraordinary fondness that
accounts for the fact that the poisonous effect of his beautiful sweet-
 351

heart's vile thoughts proved inefficient, i.e. neither beneficial nor vi-
cious ?
61 In this telling poem on love's deciduous or temporary nature, containing
the stock figures of the flower and bee for a loving couple, the underlying
motive is the poet's frustration over his fickle lover (= a gsar can), cf.
the crit. ed. no. 35, the flower blossoms and fades early and late, forcing
the bee to circle in daylong courtship. With this terse simile the poet
tells us that unless (rtog : gtogs) he had bound (or fastened = zin)
her firmly through (the embrace of tender) love the duration of their
intimacy would prove too (rah dragls]) short-lived.

62 This poem, evidently, is a universal adage, a Buddhist (or rather Vajra-

yäna) protrayal of impermanence (mi rtag pa nid, anityata), a trite
theme in this collection as elsewhere in Tibetan lyrical lore, unveiling
Man's ephemeral and illusory nature. The fleshy disposition of Man,
beautiful yet fragile as a flower, eventually bound to be discharged at
the cemetery, is but a phantom body (rgyu : sgyu; mäyä-käya)—here
probably referring to the body of the beloved—a key-term in Tantric,
yogic Buddhism and a term hailing from the general term sgyu ma
(mäyä, illusion). Using another key-term in this poem the bar do, i.e.
the intermediate states between death and rebirth, the inspiration may
eventually hail from, inter alia, the 'Six Doctrines' of Näropa (956-1040
A.D.), the Tantric master, for this poem's setting. The consciousness or
psyche (here sems pa, usually = mam ses, but here semspa also = love,
cf. no. 44 supra where death-defying love(lornness) haunts the poet in
the bar do)—Man's mental continuum—which post-mortem is conceived
in the garb of a mind-body (yid kyi lus), light as a bird's feather, is in
the end carried along the precipitous pathway of bar do by the wind
of karman (karmaväyu) being all preparred to head for Man's dramatic
psycho-cosmic voyage towards a new existence (yah srid, punarbhava)
in an endless cycle of rebiths; cf. The Tibetan Book of Death, passim.

63 Exposing the ghastly dilemma of our allegedly high-ranking poet, being

torn between his buoyant, convivial disposition and the irksome fetters
of priestly ceremony, albeit, we may add, a number of songs do attest
to the God-king's genuine religious sentiments, this poem records his
means of solving this predicament: His sweetheart, conceived as Yid-
ldan lha-mo (= Yid-'phrog lha-mo, cf. our crit. ed. no. 30 and nos. 89, 418,
436 infra), a supernatural fairy endowed with extraordinary power, is
earnestly requested to purify, incidentally (zor la) during their nightly
dates, his bulk of sins and vices, which he has accumulated throughout
his whole, young life, ironically to be sure, an outcome of his very love
making. The poem, naturally, expresses a kind of exaggeration, an
impracticable wish on the side of the poet.
352

64 Couched somewhat in the same vein as song no. 5 of our crit. ed., the
poet is perpetually brooding over the girl, here in the garb of a young
bird, but the governor, her father, being very powerful, leaves the girl
helpless and the couple at their wits' end. The governor, an allusion to
the sDe-srid Sans-rgyas rgya-mtsho ? The wording dban btsan, mighty
and powerful, is precisely the exact predicate applied to the Regent in
The Secret Biography (gSah-ba'i rnam-thar) of the Sixth Dalai Lama
(Chinese ed. p. 62); cf. also no. 125 infra and Chab-spel, 1987, p. 301.
65 Here nä ga ge sar, the nägakesara; It is probably the Mesua roxburghii
or ferrea, Linn.; it is also denoted glan po'i ge sar or puspe nä ga by the
Tibetans, which probably is cobra's saffron, a kind of saffron extracted
from a flower's corolla. Here it denotes a kind of flower stemming from
a medicinal tree plant {ein sman me tog). In this specific context its
taste (ro, rasa) is astringent (bska ba, kasäya), after digestion as a drug
it is cooling and is particularly useful against pneumonia (glo tshad),
hepatitis (mchin tshad) and "heart fever" (snih tshad). Padma ge sar,
padmakeéara, probably just refers to the filament (skra), i.e. the pistil
(ze ba) of the lotus flower; it is also considered a kind of sin sman me
tog with a astringent and bitter (kha, tikta) taste, but neutral (snoms)
after digestion, and it is efficient towards snih tshad. The important
medicinal treatise Sel-gon éel-phreh, pp. 224-5, states that according to
the earlier tradition of medical experts a specific species denoted "the
triple Gesar" (ge sar sum Idan) existed, i.e. a so-called inner, outer and
occasionally a middle one: phyi padma ge sar, nan nä ga ge sar (vice
versa in our poem), bar utpala ge sar, all coming from Mon yul. This
distinctive use of an opposing pair (phyilnan) is here paralleled with
another similar opposition, surface versus centre or heart (kha/snih),
q.v. our critical edition no. 39. Cf. also the previous poem.
66 A poem sung by a girl. Here mdzad : mdzod, i.e. an imperative is
equally plausible just as in 66d gyug should be understood as gyugs
dahl; 66c bu mos : bo mo'i; 'chi bdag bsrin : phyi thag [bs]rin, to prolong
the relationship; cf. also no. 59 supra and 95 infra; 66d sprel biugs :
sprel giug (or giu gu), a monkey tail. The monkey's tail is usually short,
here indicating that the relationship may prove short-lived. When the
beloved is entreated 'not to shake the monkey's tail!', it indicates that
one wishes that their love may last for more than just a brief period. In
this poem two architectural features are moreover mentioned, the base
pillar (ka ba), straight and firm, upholding any edifice, and the arch
pillar (ka giu), a sort of curved arch pillar between the vertical base
pillar (ka ba) and the horisontal cross beams (gdun ma). The poem thus
mirrors the lover in the garb of the pillar, claiming that it/he has been
straight, i.e. honest and trustworthy pleading the partner, the ka giu,
not to turn or stay crooked = unfair, fickle and infidel; cf. also no. 210
 353

infra and the saying ka thog gduh biag, quoted in dPe-chos rna-ba'i
bdud-rtsi, p. 1, as an example of unswerving fairness and fidelity. On
ka ba and gduh ma, cf. also Bod-rigs kyi glu-gias, p. 1. no. 1.
67 Cf. the critical edition no. 35.
68 Cf. the previous poem.
70 A poem on the soberness of religious guidance contrasted with the noto-
rious lack of trustworthiness applied to the beloved's confidential words,
rendering any venue meaningless. 70d bêod : êod, bead; cf. our crit. ed.
no. 29. This poem figures in Zhuang «ling's collection as no. 123.
71 Again a poem depicting the poet's frustration. His attempt to reach his
beloved's innermost nature proved a forlorn hope. Using the simile of
the fish—one may note the female gender, na mo = an alluring girl—
which is caught however deep the water (indicating love, note, again,
the female gender) may be, the poet forcefully makes his point, i.e. his
frustration over unrequited love, the girl is superficially (kha) white,
i.e. brazen, but in her depth igtih) black, i.e. whimsical, infidel. Cf. the
crit. éd. nos. 39-40 for similar use of the opposite pair. For additional
samples of the fish and the water, cf. e.g. Bod kyi dga'-gias I, pp. 39-48,
51; Bod kyi dga'-gias II, pp. 24-28, 30. Zhuang Jing has included this
poem in his collection as no. 88.
73 Retribution {la yog : la \g]yogs) more precisely designates an action di-
rected towards others and not infrequently of an improper or malicious
character albeit not necessarily, yet ripened by oneself. In a sense the
term overlaps karman in meaning, but la [g]yogs has another breadth of
reference than karmic causation in general. This term, as does karman,
does not operate according to moral principle. Ignoring e.g. a good ad-
vice is what really defines la Iglyogs. Cf. the telling samples of la \g\yogs
provided by D. Lichter and L. Epstein in "Irony in Tibetan Notions of a
Good Life", Karma: An Antropological Inquiry, 1983, p. 254-257. Thus
perhaps a suitable equivalent would be hybris, as the def. in the diet,
runs: gzan la tshul min gyi by a ba by as pa'i nan 'bras ran thog smin
pa. In the present case, the betrothal ceremony was out of the parents'
control, never sanctioned by the parents but orchestrated by the wilful
daugther herself. Should the plighted alliance be dissolved in this life,
it is the parents' la lg]yogs, i.e. it is their hybristic retributive revenge
which is to be blamed. To be sung by a girl. For la ïg]yog, cf. also
no. 153 infra and the poem cited under note 306 infra. Cf. also Bod kyi
dga'-gzas I, p. 75, no. 2.
74 The mango tree (a mra, Skt. ämra), Mangifera indica; 74c skye 'bras,
is a euphemism for the body, mainly a female body, only here it equally
likely denotes her extraction or stamp (= rigs rus, rigs rgyud), the outer
354

form uncoveted (mi bsam) by the poet, whereas affection and passion
itself overflows his mind. This is paralleled with the mango tree being
of a subacid (here mi zim) genus or species, contrary to its fruit being
juicy aromatic. Phrased differently, in the poem sung by a male the
poet gives preference to the girl's devotion to him over the physical
attachment.
76 Cf. our crit. ed. no. 11, and no. 51 supra, the girl from the market place,
a casual lover, which is often even considered a prostitute or debauchee
(smad tshon ma, 'chal mo etc.), mistress or courtesan, is, as this poem
affirms, not to be trusted: This sort of casual lover is capable of issuing
(sundry) projections, of a verbal or a physical character, here promises
(zal gdan, var. readings with var. etymology, ial [gitan, dan, brtan to
numerous lovers). The poet is here quite sarcastic.
77 The bees are swarming (zi dir dgu dir, "to be full of", "teeming with",
evidently being onomatopoeic words) about one flower; 77d ear pho :
éva pho, (wooing) stags, cf. the crit. ed. no. 29, crowding or congesting
(Vltshah rgyag éig sig = 'tshan kha sig sig) around one single girl.
78 Here zad zad = ma zad bar du, i.e. until the water from the water mill
stops flowing. The water mill ground (thag, pf. of 'thag pa) the rtsam
pa irrespective whether it is good or bad, as long as the water keeps
flowing; likewise with the girl, until the age prohibits, she will seek
lovers, good or bad. Like the previous poem, this poem is yet a trite
sample of love's inscrutable and irrevocable course.
79 The barrel of the horse (rus tshug : rus tshugs = lus kyi rus pa'i dbyibs);
79b spu bead : spu dpyad, i.e. a part of rta dpyad = rta'i gzugs dby-
ibs sam mtshan hid la brtag pa'i thabs, a method of investigating the
characteristics or the bodily constitution of a horse, here the quality
of its hair or mane, to which special importance igtso) is attached; 79c
rus tshigls] : rus tshugs; rus tshigs, any joint, but here preferably rus
tshugs. Employing the simile of a horse connoisseur, to whom the qual-
ity of the mane has priority to the barrel, so also for the poet, the body
of the beloved is given less attention than her "white round" (dkar po'i
sgor sgor), like the moon dish, cf. our crit. ed. no. 1, a stock euphemism
for the face. A poem with a parallel pattern to no. 74. For the technical
terms, cf. A-M. Blondeau, Matériaux pour l'Étude de l'Hippologie et de
l'Hippiatrie Tibétaines, Paris 1972, s.v. index.
80 The delicate, white-shaded turquoise, gyu chuh gru dkar, cf. the crit.
ed. no. 4; 80b skyoh : rkyon; 80c dmar : dman, cf. no. 4 supra; 80d tshan
r a
gy g &g &g> cf. no. 77 supra. The young damsel is here likened to this
white-shaded turquoise, and when offered for sale, a rain of arms are
stretched to make their bid, just as wooers congest to court a handsome
girl.
 355

81 The (five) constituents of sullied existence (säsrava(panca)skandha),

which in reality are illusory (mäyä); 81b des : fies; 8Id bgo éa : bgo
béa9; When the couple's thoughts have been mixed together, the poet
professes his wish that they may equally share the affection. Again
a poem signalling the poet's yearning for requited love. The poem is
quite rhetorical, with an answer in the negative. A poem to be recited
or sung by both sexes.
82 A small mountain bird (ri byi[l]); 82c rluh : [k]lun, valley; again a
poem brooding on love's requital and reciprocation. When the poet is
roaming about in the mountains the tiny bird is requested to proffer
consolation to him, in return for which assurance is given t h a t when
the bird descends to the inhabited valley, far from home, it shall be
consoled by him—the meaning (go don) of this poem is evidently t h a t
when the poet visits the home of the beloved she is requested to take
care of him and vice versa. A song equally to be sung by both parties.
83 The term a bar : a bo, also rendered colloquially as a'u, cf. gTam-dpe,
p. 135, no. 3c: bya chert a'u ne tso, the latter identical with Sod kyi
dga'-gzas I, p. 107, no. 6c: bya chen a'o ne tso, and Bod kyi dga'-gias
II, p. 44, no. 6a: bya gcig a ba ne tso, probably here is a pet name,
indicating something like sweetie, cutie; cf. also nos. 117, 441, and also
no. 132 infra: ha yi a ba byams pa, my sweet little beloved; 83d ga son
: gar son; bsod rog : éod, bead rogs. Someone in the poet's entourage
is requested to confide him the whereabouts of his abduced lover. Cf.
here the crit. éd. nos. 30, 33.
84 Amidst (seb : gseb) the forest of lHo-ron, cf. our crit. ed. no. 50, is the
place where the little thrush usually seeks, but it voices its sweet warble
in Lhasa igsuh snan...skyur, cf. crit. ed. no. 64) sounding (sgrag.. .sgrag,
better pf. or ft. bsgragls],.. bsgragls], or equally plausible: grags...grags,
famed) both in India/China (rgya) and Tibet (bod), i.e. everywhere.
85 In this telling poem or adage, the monkey h a s made up its mind to go
stealing daily, but unwilling to face the misdeeds, he covers his eyes
with the palm of his hands, without, however, being able to hide it
from the eyes of others. In the context of our poet the meaning speaks
for itself: His illicit liaisons, perpetrated by day i.e. in public, may be
denied or go unnoticed by himself, only others have been witness to his
escapades.
86 A simple adage on karman's unremitting and inexorable course, always
ripened by oneself. A kind of pendant to the previous poem. Quoted by
Zhuang Jing in his anthology as no. 89.
87 The warm climate (mams gro : [g]nam dro) of Dvags-yul; 87b mam
thar : mam pa, the pretty forms of the Dvags-mo girls; less plausible,
356

only quite tempting is to retain mam thar, and render it as an aria

(mam thar gtoh ba) in Tibetan drama plays, i.e. the girls of Mon have
beautiful voices; 87d sdad.. .sdad : bsdad... bsdad. Were the imperma-
nence and mortality of the ephemeral existence to be dispensed with,
the poet, as depicted here, would willingly indulge a life long in their
merry company. This poem is also quoted by Zhuang Jing, no. 90, who
similarly opted for the emendation in 87b mam pa legs pa, C.jùnqiào.
88 A poem on the temptations of female beauty, her skin being soft as a
peach fruit; cf. the crit. ed. no. 5. Again, the poet's traumatic dilemma
is captured, being torn between love's natural instinct and an equally
instinctive religious call. Here the passionate beloved is kindly solicited
to abstain from blocking the young man's path to the Holy Law. Sung
by a male.
89 The white cloud (= symbol of love) kept rising in the sky, above the
western mountain top; it was the clouds of smoke emitted when the
poet's girlfriend, Yïd-'dzin dbari-mo (cf. the crit. ed. no. 30, and nos. 63,
418 and 436), was burning sacred incense (i.e. incense for the gods and
coming from the sacred tree, lha ein sug pa, the juniper or cedar, cf.
no. 212); cf. also the crit. ed. no. 1, and no. 433 infra; Duncan, 1961,
p. 72. A poem, almost similarly worded, may be found in gTam-dpe,
p. 126:
| stag la lo mo'i rtse mo |
j sprin dkar gnam la lah byuh \
j ha la yid 'phrog brise mas \
I phebs bsahs gnah ha [= 6a] min nam \
When incense is burned, a message is sent, aiming at enhancing the
rluh rta, his good luck. A poem sung by a male. The poem is included
in Zhuang Jing's anthology, no. 92.
90 The wind was raising (lah... lah : lahs... lahs, pf. tense equally plau-
sible), i.e. was blowing from everywhere (gah nas), but in particular, or
rather, actually the wind rose from the poet's own native land (Mon-yul)
unmistakably bringing along his sweet-heart. Cf. also no. 315 infra. In-
cluded by Zhuang Jing as no. 91.
91 The overall pan-Indian belief, also largely prevailing in Tibetan liter-
ature and folklore, that the goose (hah pa, hamsa) is capable of sepa-
rating the milk, and even soma, out of a mixture with water, is clearly
imaginary, cf. J. Ph. Vogel, The Goose in Indian Literature and Art,
pp. 6-7; Sa-skya Pandita's Subhäsitaratnanidhi, no. 20. In casu, the
very same marvellous endowment is applied to a turtle or tortoise (rus
sbal, kürma), cf. also Bod kyi dga'-gias I, p. 107, no. 5. Employing this
simile on inseparability, the mental and physical unity between the poet
 357

and the beloved is enforced, as no one can even separate them. Also
cited by Zhuang Jing, no. 93.
92 The poet and the beloved spoke with one another (smos : smros, better
smras ? or perhaps mois], by mo-divination ?); 92b sbol bas, = ? [h]sre[s]
ba, to mix, to compare, i.e. the birth data of the loving couple; or = 'bor
bas = babs bas, i.e. here = mo 'babf 'debs, to cast the dice, to divine, to
make divination on a magical, astrological chart (gab rise); 92c bdun
zur, i.e. (diet.) byi ba sogs kyi lo skor bcu gnis pa ran gi bdun pa gait
yin de ni bdun zur te dper na byi baï bdun zur rta dan rta'i bdun zur
byi ba yin pa bain. In Tibetan astrology each of the animal elements
of the twelve year-cycle has another animal elements with which they
pair negatively in an astrological sense, such one is the seventh animal
element when counting from each respective element. They are in op-
position ('gal zla, dgra zla), contrary to other combinations which may
stay in a harmonious relation (mthun zla). So when the loving couple
tries their luck in divination, the astrological advice proved ominous,
their liaison was a most inelegible one, forcing them to perform rituals
and carry out religious service in order to set the chance of their love
right.
According to Tibetan nubtial tradition the family of the groom initially
sends a messenger to the house of a girl to ask for the year of the girl's
birth. Once this is ascertained, a visit is paid by the astrologer to deter-
mine, through mo, whether the birth-dates of the boy and the girl form,
as alluded above, a good astrological combination and have a chance of
forming a reasonable successful marriage life. The requirements for as-
certaining whether a young couple is compatible, are mo, luh and rtsis;
cf. T. Skorupski & K Cech, "Major Tibetan Life Cycle Events—Birth
and Marriage Ceremonies", Kailash Vol. 11 (1-2), pp. 18-20.
93 The pigeon, 'un khu : 'ah gu (dbus skad), mug gu (khams skad) = phug
ron, a bird belonging to the family of Columbidae; rdzas : 'dzad, zad,
to [be] destroyed], minted]; 93b iim mi : ii mi, the cat (iim bu, ium
bu, byi la, li li (khams skad)), the carnivorous mammal, Felis catus.
The pigeon is world-wide known for its droppings (ordure, Ici ba, brun)
left behind in humanly inhabited areas. A Tibetan synonym (mih gi
mam grans) for this bird is actually rgya phibs gnas 'cha', "nesting in
the Chinese pagoda-styled temple roofs". The cat, which incidentally
is known to discharge or secretly hid its own ordure (bsah ba sbas pa,
güdhavarcas), may even wind up taking the rap. So, don't catch the cat
in the trap (sni, rni), the care-taker of the temple is admonished, it is
innocent. With this simile the poet demonstrates his reluctance to be
pinned by slander (mi kha) accusing him for something of which he is
innocent.
95 The term ho sruh both means to save the face, i.e. protect the reputation
358

of oneself or others, and, less frequently, to persuade (= kha 'jam pos

slu ba, lit. "to allure with soft words"). When the poet covered his
long-acquainted sweet-heart with a silk-cloth in a face-saving attempt
or an attempt of beguiled persuasion, his endeavour apparently proved
fruitless, his beloved's 'enduring relationship is short' ('chi bdag 'thuh
: phyi thag thun; cf. supra nos. 59, 66), i.e. her friendship is of a brief
and fickle nature. Consequently, they came to know (bead son) through
the thorns of decency or bashfulness. One may recall here the Tibetan
saying (gtam dpe) : "The thorns were covered with a piece of silk" (tsher
ma dar btumpa), i.e. behind the smooth surface rest pricky things, pain
and sorrow. Cf. also Duncan, 1961, p. 118.
96 The white ceremonial scarf of the poet's thoughts, don't let it be dirty.
96c mi sems, (other) people's thoughts. This poem contains the poet's
confession, and his frustration over the intolerable slander. He pro-
claims t h a t his motives and intentions have been pure and not squalid,
the pictures (i.e. slanderous schemes and libels) drawn in ink embody-
ing other people's vile thoughts, should any want to make them, alas,
please, go ahead! The poem is included by Zhuang Jing in his anthology,
no. 94.
98 An allusive poem on unrequited love. 99a phar sems, one's thoughts,
attitude and feelings towards others; tshur sems, the thoughts of other
people towards oneself, cf. the crit. ed. no. 6; 98a snin rjes : snin rje'i;
98b sprin phun (the MS either has phun, which is correct, or, phur,
which is wrong, but the final letter is barely legible), a mass of clouds;
98c sdugpa'i : sdugpo'i. The simile is, as is frequently the case in this
collection, couched in a natural setting, the mass of clouds of his love
and compassion has gathered anew, only to be met with a dispersal over
and over again by (the girl's relentless ?) gale rising out of her averse
thoughts about him. Included by Zhuang Jing in his coll. as no. 95.
101 Again we have an epigrammatic poem or repartee song, framed in a so-
cial setting, which may allow for a historical reconstruction. The wind
which arises from within, i.e. the house, may be interpretated as the
Potala, or, simply, the Yellow H a t Sect. The lock in the door, being fas-
tened from outside, is evidently sDe-srid Saris-rgyas rgya-mtsho, who
wants to prevent the wind carrying along the outcry of indignation and
bewilderment (and which arose within the religious circles and else-
where in response to the God-king's renunciation of his monastic vows).
But the secret leaked and the scandal eventually lashed into a veritable
duststorm of rumours and slander, impossible for the Regent to quench.
101b go cha : sgo Icags; 101c thai baï bu yug, dust blizzard. Cf. also
Snyder, 1972, p. 30-31.
102 The poems nos. 102-109 would seem to constitute a unity, in which the
 359

alleged author is striking, or is described to strike, a religious note.

But, again, the underlying motive, when striking this note, is one of
repentance, where the poet is making atonement, we may presume, for
his allegedly immoral conduct.
The Omniscient One of the Three Times evidently refers to the Pan-
chen Lama, the gracious müla-guru who, while the poet meditates, is
admonished to remain inseparably and unswearingly present, being
seated upon the symbols of the moon and the sun in the poet's crown.

103 The poet further pleads forgiveness should any mistakes, impure vi-
sions etc. occur like water-bubbles to his eyes.
104 The white lion (sen chert dkar mo, sen ge dkar mo) roaming about in
the crystal-white glacier-mountains, cf. also gÉas-tshig phyogs-bsdus,
p. 169, no. 5; 104c ro bcud, nutriment, nutritious; ran grag : ran
drag[s], = ha can, too much, very much, exceedingly. This intriquing
poem, which somewhat resembles the most crucial poem in the entire
song cycle, i.e. no. 20 of our crit. ed., contains a number of unknown or
unidentified figures which baffle a more comprehensive understanding
of its hidden meaning (sbas don). The figure who here symbolizes the
White Lioness, roaming about in the crystal-white mountains of Tibet,
seems difficult to identify, besides noting t h a t this animal generally is
conceived as a national symbol. The White Lion with the turquoise-
coloured Mane (sen ge dkar mo gyu ral pa can) is common-place in e.g.
the Gesar Epic and Tibetan folklore tradition, and this deity of the white
glacier is invoked in Ladakhi nubtial songs; cf. e.g. Tucci, Tibetan Folk-
songs, 1949, p. 77. Obviously, in this context the White Lioness may be
identified with the poet's chosen one, his beloved, and the milk, need-
less to say, nutritious, i.e. potent, as this life-giving liquid is, represents
her or their love and affection, or, construed differently, may symbolize
some esoteric yogic upadesa-s or teachings. Nay, this philtrum is so
potent, the poet here must confess, t h a t he cannot possibly control (ma
chun, i.e. understand) it (i.e. the teaching ?) in his goblet (snod, or here
= the receptacle, his body, or, again further, may we sense yet another
layer of association provided by the terms bcud and snod, resp. repre-
senting the Buddhist notions, on the macrocosmic level, of the animate
and inanimate receptacle of the world (i.e. rasa, bhavana) ?). Cf. also
Duncan, 1961, p. 78; Bod kyi dga'-gias I, p. 21, no. 4.

105 Here gnas gsum, i.e. mtho ris, bde 'gro gsum (sugati), the three higher
or superior states of existence in samsara: Gods (deva, lha), demigods
(asura, lha ma yin) and h u m a n beings (manusya, mi). Nevertheless—
continuing the above argumentation—be it love or the earnest wish for
some secret teachings, it irresistibly overflows the poet, and to atone
his escapades or to beg pardon for his lack of understanding, he must
360

propitiate and beg pardon in front of the Mother, symbolizing, inter alia,
in Vajrayânic nomenclature, unoriginatedness (skye med nid, ajätatva)
and may thus be short for the female adept (yoginï, mal 'byor ma) and
in front of a Jnänadäkini pleading them to look upon him in mercy!
Incidentally, a Tibetan saying goes, whoever wants to come to grips
with milking a lion, must display fortitude. Futher, a gzas from sDe-
dge may be worth quoting, sDe-dge'i dmans-glu, p. I l l , no. 3:
| dkar yol bkra éis rtags brgyad \
j nan la sen ge'i 'o ma \
j 'dren sa chuh 'dris ma gtogs \
j de min gian la mi 'dren \

106 Couched in equivocal phrases this poem alludes to, it transpires, Pan-
chen Lama, who is characterized by being a paragon embodying (all)
virtuous qualities, by an ocean replete with costly jewels and by being
like a sanctuary (caitya, stüpa), but although moved by the wind i.e. a
victim of slander, we may adduce, sown by others, the poet is unwilling
to join the defamating mob.
107 The three next poems (nos. 107-109) are similarly couched in a Bud-
dhist diction, which hint at the transcendental reality behind the phe-
nomenal world. J u s t like butterfat is full of, i.e. veiled by milk, sim-
ilarly the Esoteric tradition is the real form of True Buddhism. If
one's comprehension is obscured by ignorance {ma rig, avidya), the
poet professed, you are heartily pardoned! Cf. e.g. Nägärjuna's Dhar-
madhätustava (TTPE no. 2010 (Vol. 46), fol. 73a7-77b8), which elabo-
rates on the points indicated in these poems.
108 Analogously, although one's own mind, like the nature of space, (in real-
ity, yah dag tu, tattvatah, etc.) never undergoes any intrinsic transfor-
mation (108bd 'gyur mdog : 'gyur Idog), yet (conventionally, kun rdzob
tu, samvrtitah, etc.) (numerous) transformations are displayed in form
of mental manifestations, all stirred up and congesting like clouds per-
force of one's mental afflictions (non morts, klesa).
109 Within the domain (gocara) of the six kinds of sense consciousnesses
(tshogs drug dbah po'i spyod yul, sadindriyavijnänakäya), one may dis-
cern, moreover, through discriminating insight (ses rab, prajhâ), the
pure from the impure visions and mental defilements. So, the poet
concludes, draw the line between the mundane and the supramundane
world (samsara and nirvana, 'khor 'das gyes mtshams). Phrased dif-
ferently, once the poet or someone would acquire the discriminating
insight, which is capable of discerning properly between the pure and
the impure, between the conventional truth (kun rdzob kyi bden pa)
and the ultimate truth (don dam pa'i bden pa), he is able not only
 361

to distinguish between samsara and nirvana, but also to comprehend

their ultimate identity, ascribing their apparent dichotomization to the
conceptualizing working of mind.
110 In this and the following poem the poet again strikes a depressive,
resigned note, almost stalely employing the simile with the bee and
the flower coming amiss one another to depict the impracticability of
a love affair accruing from karman's inexorable course. Here the love
is postponed, well-nigh ad infinitum one may surmise—the bee came
into existence too early and the flower blossomed (ear ba = bead pa)
too late—the whole affair is a forlorn hope. Cf. the crit. ed. no. 7. The
poem evinces the same pattern as no. 312 infra. The poem is included
by Zhuang Jing, no. 96. Cf. also Bod-rigs kyi glu-gzas, p. 61, n. 1:
| me tog ear bar sna son \
j gser sbrah bobs par phyis soft \
| gcig sems gcig la med na \
| ha rah skyo rgyu mi 'dug

111 The meadow turns yellow, i.e. is wilting, only to be renounced by the
bee, just as a man growing older, eventually will be rejected by his
sweet-heart. A song by a boy. Worth noting, perhaps, is the term lah[s]
son, a verbal form regularly occuring in this coll. cf. e.g. nos. 1 and 20,
125 and 129 etc., which is a South Tibetan colloquialism for chags son
and phyin son, etc. meaning "rose", "appeared", "emerged", "turned up"
etc.
112 The season's fertility (nam zla sa bcud), cf. also the crit. ed. no. 46;
112a dros son, when the fertility is heated up, so to say, when spring
culminates, it is time to plow, and the young bull makes its sound, 112b
nur sgra, the grunt of a young bull. Observing these signs of vernal
giddiness, the poet here recalls the songs of sorrow by the the heated
playful (bde drod rgyas pa'i) young damsels (dman éar, cf. no. 4 supra).
Construed differently, instead of dros son, you may read bros son = yal
son, the season of spring having elapsed. It is a theme reiterated in the
following song.
113 In the desolated valley, high above, our young poet's song rings dis-
tinctly (lhah lhah). The medium repaying his song with a song is, like
an echo, (the whistling sound generated from the resonance in) the hol-
low cavities (sbub[s] stoh) of grass blades.
114 A poem on lovelornness and unrequited love. To yell or scream (ku gcig
rgyab, = ku sgra, ku co, ki rgyag/b pa; 114c phar la, i.e. to the girl, cf.
the crit. ed. nos. 6, 29; 114d gros mgo (or 'go) 'don, to display initiative,
to commence talking, i.e. when the poet confided his intimate feelings
362

to the girl, there was no person responding, like no echo to his yelling.
A song to be sung by both sexes.
115 This and the following five poems or repartee songs (tshig rgyag), nos.
115-120, couched, evidently, in an ironic tone and composed by pre-
senting in the last couplet or distich a paradoxical, well-nigh inane
statement which hits the point only if yet another, equally absurd state-
ment or conditional premise, presented in the first couplet or distich, is
feasible. Such terse, self-contradictory points are much cherished not
only in India, but also in Tibet, where they usually found expression in
the vivid epigrams of the subhäsita-s, gtam dpe-s or tshig rgyag songs.
When they moreover were phrased in a universal vein, they rarely call
for any comment. 115a dkrus nas : hkrus or 'khrus bas or nas. Were
mental defilements to be purified merely by washing the body, then cer-
tainly the golden-eyed fish in the water would (easily) attain liberation.
Cf. similarly, Duncan, 1961, p. 25.

116 The saffron-coloured (hur smrig mdog) robe (na bza*) of an ordained
monk; 116a bsgyur ba'i is plausible, but so also bsgyur bas; 116c the
golden bird, the goose, cf. the crit. ed. no. 9; 116d 'gro ba 'dren, to
guide the beings, i.e. to lead to liberation. The poem is included by
Zhuang Jing in his anthology as no. 97. If anyone would become a
monk merely by changing into saffron-coloured robes, then the golden-
plumaged goose, eo ipso, would be able to work for the welfare of the
worldlings. Chab-spel Tshe-brtan phun-tshogs in his article ""Tshans-
dbyans rgya-mtsho'i mgul-glu" dan *brel-ba yod-pa'i lo-rgyus kyi don-
dnos 'ga'-zig brjod-pa", obviously quoting this poem from Zhuang «ling's
book, even contends, op. cit., p. 300, that this poem, among others,
should provide fact-based testimonies (gzu dpan) relevant to certain
historical incidences. This poem should clearly broach the God-king's
own hard-won conclusion ([bs]sdom[s] tshig) not to wear the monkish
robes (chos gos snam sbyar) any longer. The necessity for the God-
king to accentuate the absurdity of merely donning the yellow robes
to become an altruistic bla ma, irrespective of whether the person in
question is actually believing or not, should evidently be seen, it is
alleged, as an inevitable reaction to the inundating flow of appeals and
petitions which attempted to pursuade him not to change into the dress
of the lay-man (skya chas), when in A.D. 1702, in the presence of the
Fifth Pan-chen bla-ma, he eventually renounced his religious vows.
Worth quoting in this connection is another gzas purporting the same
absurd message, Bod-rigs kyi glu-gzas, p. 77, no. 2:
| lus la ser po rnnabs tshad |
| 'gro ba 'dren mkhan yin na \
| by a gcig nan pa ser pos \
 363

I 'gro ba gan 'dra mi 'dren \

Cf. also Bod kyi dga'-gias II, p. 56, no. 2: ser bya chos gos bées pa,
etc.
117 To recite (zlos khyer), repeat or r a t h e r peddle other people's words; 117b
bslab (pa) gsum, the three higher disciplines: The teaching of Higher
Morality (lhag pa tshul khrims kyi bslab pa, adhisïlaéiksâ), the teach-
ing of Higher Mentality or Absorption (lhag pa sems (or tin he 'dziri)
kyi bslab pa, adhicitta (or samâdhi)éiksâ) and the teaching of Higher
Analytic Insight (lhag pa ées rab kyi bslab pa, adhiprajhâéiksâ); 117c
a bar : a bo, a pet word, little sweet, cutie, cf. also cf. nos. 83, 132, 441;
117d to revolve the Wheel of Dharma (dharmacakra) i.e. to preach. Also
included by Zhuang Jing as no. 98. If someone should uphold the doc-
trine of Buddhism merely by repeating the words of/to others, verily,
the little bird parrot would be able to preach the Law.
118 Empowerment (dban bskur, abhiseka); 118d The four bodies or me-
dia (sku bii) (of Buddha): Besides the ordinary trikäya: sprul sku,
nirmänakäya, Ions spyod sku, sambhogakäya, chos sku, dharmakäya,
also ho bo nid sku, sväbhävikakäya. 118c brag cha, brag ca, echo. Were
you to attain empowerment merely by repeating the guru's recitation,
then, equally absurd, an empty, nonsensial echo would attain the four
bodies.
119 Should Buddhahood be achieved merely by accomplishing (such mun-
dane tasks) as to subduing one's enemy and to protect one's relatives
(dgra 'dul gnen skyoh), cf. analogously no. 149 infra, then, even car-
nivorous beasts of pray would, within one single lifespan, attain the
complete and perfect Buddhahood.
120 Should, finally, anyone achieve initiation merely by indulging in the
pleasures of the sense objects, then even the Lord of Wealth (Kubera,
Vaisravana), the Chief of the Nägas (klu yis dban po : klu yi dbah po)
(or is here ref. to two distinct figures ?), would attain the trikâya of
Buddha.
121 The warm climate or season (mams dro : \g\nam dro, i.e. nam zla dro);
121b brla éa, the thigh flesh, the white thigh of the Mon girls. When
their strong carnal desire is aroused, the young man is taken along,
captured by young and randy Mon girls.
122 This simple song requires no elucidation. The emerald cuckoo, cf. the
crit. ed. no. 46; its sweet warble reminds the young lad (o lo, cf. crit. ed.
nos. 55, 61) of his boyhood-acquainted sweet-heart.
123 The grouse, lha bya goh mo, a mountain-settler (ri gnas), more precisely,
as indicated in this poem, dwelling and breeding in between the hilly
364

alpine pasture (span ri) and the forested, slate mountains igya' ri) and
denoted a divine bird by the Tibetans, cf. also Das' diet. p. 230, and
nos. 271, 306 and 313 and 381 infra; Bod kyi d^a'-gzas /, p. 26, no. 4;
p. 49, no. 2; 68, no. 4; 75, nos. 1-2; 77, no. 3 = gZas-tshig phyogs-bsdus,
p. 126, no. 5; p. 82, no. 6 = gZas-tshig phyogs-bsdus, p. 95, no. 2; Bod
kyi dga'-gias II, p. 21, no. 6, p. 37, no. 2; Bod-rigs kyi glu-gzas, p. 39,
no. 2; Bod kyi glu-gias, p. 145, no. 2; Norbu's Coll. Ill, no. 3. It is a
species belonging to the family Tetraonidae.
124 This and the following poem evince an identical pattern, only differing
in content, the first provides a natural, universal setting, the second
provides a personal. For this stock figure of the male lover and his
beloved in the garb of the goose and the lake, cf. the crit. ed. no. 9,
unthinkable indeed is the separation between these two, were it not for
nature's icy intermezzo, occasioning the poor bird involuntarily to take
to his wings.
125 Similar with the unity of the loving couple, they see no other alternative
but to separate, this time the intermeddler is the powerful minister,
presumably sDe-srid Sans-rgyas rgya-mtsho, cf. our crit. ed. no. 8.
126 This and the following poem are connected, evincing an identical struc-
ture, although with different contents. In the first stanza, couched in
a natural setting, two parallel similes are provided which eventually
strike the point in the ensuing poem. Seeing (his beloved) is here pre-
vented by the pass-road, wherefore the big (i.e. endless) road becomes
the enemy of seeing; similarly, when travelling (to his beloved) arrival is
thwarted by the river, wherefore (the crossing of) the big water becomes
the enemy of travelling. Cf. similarly, Duncan, 1961, p. 23.
127 The distant homeland, pursuing the argumentation in the previous
poem, becomes the foe of body (travelling) and mind (seeing); when
the beloved has gone abroad, bound for home, the poet is deprived of
his nightly sleep (thebls] Icog : thebs bcog, chag, cf. the crit. ed. no. 6).
The poems signal the lovelornness infesting the poet, a state of affair
which is either occasioned by an intermeddler or, simply, by the actual
distance, parting him from his beloved. Cf. similarly, Bod kyi glu-gzas,
p. 74, no. 2.
128 An allusive poem. Water is flowing constantly (éad sadf = ear ear)
downwards. 128a = 440a; If it flowed reversely, the poet would rejoice.
Similarly, the Tiappy willow-grove' (lean glih smug skyid, a proper to-
ponym ?) below, were it only the pha gzis, the estate paternally hered-
itary, here it is tantamount to the poet's home-land, he would feel real
contented.
130 The "meadow ornament" (span rgyan), the Gentians, an autumnal
flower (called ston ka'i me tog) growing among grass, of which three
 365

species usually are found, the white (dkar po), blue {snort po) and the
black (nagpo), i.e. the Gentiana algida, Pall., Gentiana uniflora, Georgi
(or filistyla, Balf.) and Gentiana grandiflora, Laxm. of the fam. Gen-
tianaceae; cf. Das' diet. p. 797; èel-goh éel-phreft, pp. 333-4; Bod-ljons
rgyun-spyod kruh-dbyi'i smart-rigs, pp. 264-6, 307-8; Rastertija Tibet-
skol Meditsiny, p. 58; Bod kyi glu-gzas, p. 34, no. 1, p. 134, no. 2; gZas-
tshig phyogs-bsdus, p. 94, no.2. Note the deliberate word-play on the
homonymous 'brel and 'bral, with opposing meanings!
131 The agony or anxiety (sems nod) when concerned with how to cross
the broad river; 131b gnan pas : mnart pas, the boatman or ferry-
man; sel or bsal; 131c su gas (colloquial) : su yis. In this poem on
lovelornness, the grief over the demise of one's beloved is depicted to
be beyond consolation; to strike the point it is here paralleled with the
agony besetting a traveller when trying to cross a broad river, help as
near at hand, the boatman can always cure the agony. This poem is
included by Zhuang Jing, no. 99.
132 Cf. nos. 83, 117, 441 for a ba : a bar, = a bo (coll. a'u) a sort of pet
name, usually for a child (Lhasa dialect), here sweet little, or cutie. A
tree may have one root, b u t it carries 360 top branches. The poet's little
beloved, similarly, is teeming with a plethora (lit. 2500) of ideas, i.e.
she is highly whimsical and volatile, and thus unreliable.
133 The precious betrothal turquoise of the mother (a maï sdiggyu) is by the
poet intended to be fastened to the girl's head, likewise in an intended
act of betrothal and plight, only the turquoise belongs to the mother
and it would be a sinful act indeed to use this particular one; gyu chuft,
cf. the crit. ed. no. 4, and as a token of betrothal prior to the marriage,
cf. the crit. ed. no. 26. The girl, however, was so replete with ideas,
cf. e.g. the previous song, i.e. she was vacillating in her wishes and
obviously so fickle ( = a gsar can) t h a t the poet was reluctant (nos (=
snih) ma 'dod, cf. also no. 183 infra for snih 'dod (from snih nas 'dod,
cf. e.g. no. 279 infra), and also Bod kyi glu-gzas, p. 79, no. 2 = 'Bod kyi
dmans-gzas' Bod kyi rtsom-rig sgyu-rtsal, 1980 (1) p. 99 (cum van led,),
to fasten ('dogs) it to her headdress and the engagement thus came to
naught all by itself. Mr. Tashi Tshering calls in question the equation
between nos ma 'dod and snift ma 'dod, and suggests the foil, reading
nos ma dod (dod, to 'replace'), i.e. "not worthy of...", a colloquial phrase
close in meaning to chog ma chog.
134 When calamities sweep the country the whole year (spyi lo\ or better
emend to: spyi la, the entire country ?), then worries and anxieties
(sems khral, sems khrel (of all kinds)) are bound to turn up all by it-
self (khag khyag, = khalg] theg pa, i.e. to take the responsibility, to
guarantee, to provide security. In a colloquial sense as a modal adverb:
366

certainly, of course, naturally; 134d thol la : 'thol pa, = lhagpo'am lhag

ma, extra. An extra or additional sorrow then for our poet would be the
clandestine demise of his paramour.
135 Defilement or contamination (Ikog grib), especially of a moral sort, (oc-
casioned by his) clandestine life; 135b si gsan ro gsan byas, 'he kept
his hidden vices secret (until) death and secret (until) a corpse' (also
plausible, incidentally, would be the construe: éi [b]sah ro ib]sah byas,
lit. '(he) made purification (of his defilements) (until) death and purifi-
cation (until) a corpse', i.e. to purify till one drops). This phrase éi + vb.
+ ro + vb. + byas, is found in a number of varieties, all meaning 'to do
vb. irrespective of whatever sacrifice (si dan bsdos nas) or persistently
(u tshugs kyis)', cf. e.g. dPe-chos rna-ba'i bdud-rtsi, pp. 386-7. But, as
the poem divulges, it was of no avail, his adultery aroused sundry sorts
of tall tales and gossip which were spread all over.
136 Here khoh dan : khog, khon nan or nod; Icon : gcoh, i.e. consump-
tion from love deep within (khog nan, khoh nan), i.e. liebeskummer,
Weltschmerz and depression, cf. the crit. ed. no. 32; 136a, cf. the crit.
ed. no. 32a, i.e. the one I love. In his anthology Zhuang Jing has con-
strued a poem, no. 100 in his collection, made from 135cd + 136ab.
137 Chronic illness (nan ro : nad ro); 137b bun loft, seething, bubbling, but
an equally plausible reading (or, at least, a word-play) could be bu Ion,
debt, i.e. retribution for vomiting delicate food and drinks; 137d sgam
bu chag \g]i[s], this phrase is not obvious to me.
138 Lhasa is the very navel of Tibet, and is often called the glorious dharma-
cakra, i.e. the higest religious seat of the country, cf. the crit. ed no. 60;
138c gnen mdun : gnen 'dun, generally means harmony and concord (=
mthun pa), only here together with the verb sgrig pa, it simply means
the same as gnen sgrig, = bza'tshah byedpa, to arrange a marriage i.e.
to become wife and husband; 138d The Goddess contracting the loving
couple is Ma-gcig dPal gyi lha-mo, also denoted dPal-ldan lha-mo (*
Srîdevï), The Chief Protectress of Tibet and its government and a chief
figure in the Tibetan Buddhist pantheon. In particular the goddess is
the Chief Protectress of the Tibetan capital (IHa-sa'i bka'-sruh ma-gcig
dpal-ldan lha-mo), cf. e.g. Nebesky-Wojkowitz, Oracles and Demons of
Tibet, pp. 23ff., 327, 508-9. Cf. also no. 158, Bod kyi dga'-gzas I, p. 24,
no. 4.

139 The simile depicts the vicissitudes of nature's deflowering, and the poet
is thus here seen to profess that the sweet-heart (the flower in the sim-
ile) likewise should want such a fickle, casual destiny, only, as dictated
by society, the girl saw no way b u t to perform like the foliage ('dab
ma) of the plant, i.e. to stay perennial (or even evergreen, i.e. never to
 367

defoliate, which means for the girl to be steady (= brtan pa) and fidel,
contrary to the withering, evanescent flower of a capricious love (= a
gsar can ma).
140 A similar picture of love's contingency, his dispassionate lover is roam-
ing about in Lhasa, the highest dharmacakra centre in Tibet, cf. note
138 supra. As the saying goes, the girls of Lhasa are regarded as un-
faithful.
141 In this simile presented in the first distich of the poem the girl is likened
to a star, rising high in the east, but, as most songs bewail, her 'story*
escaped the poet, i.e. she will merely remain a casual date to him,
because when the husband (bdag po, i.e. the owner) of her (bdag [po]
yod, "who has a husband") arrived on the scene, the poet was forced to
bid his secret lover farewell (a le thas (: thegls], = phebs) sig)\
142 As mentioned in song no. 1 of the crit. ed., the girl, here a passionate
one, h a u n t s the poet's dreams, to such an extent t h a t a recollection of
her, i.e. here residua or engrams (bag chags, väsanä) even flow along
onto the precipitous post-mortem pathway of the bar do planes.
143 To stake for tying (stodphur rgyab : rtodphur rgyab/rgyag, to peg); The
poet is pegged or staked, so to say, to samsara by his lingering mental
impressions, mental pictures of his lover, we may presume. The only
instrument likely to cut this bondage of affection is religious instruction
(upadeéa) provided by the guru.
144 This poem seems somewhat corrupt. 144ab the way the visions and
impressions of this existence take, i.e. delusion (rmons pa) and deriva-
tion Çkhrul pa), and the constant flow of the lover's song of grief; 144c
khams ga makes no obvious sense, and should perhaps be emended to
khams na; 144d moreover counts eight syllables, perhaps due to a sort
of dittography by the scribe, by mistake writing khams gsum twice per-
haps due to an eye-skip to the line below, and then interrupting the
process after having written g[a]. In this context a plausible, and more
readable, construe for the last couplet then would run:
| khams gsum skyo cig skyo na \
| 'khor ba 'di la skyo ba \
145 This poem (four lines) and the following one (six lines), belong together
and should be read as one, to such an extent t h a t the first poem may
equally well consist of six lines, were we to change the word 'dra bas in
146b into 'dra ba. They express the poet's reflections on the illusory and
dream-like nature of an amorous life, and his vacillation as to embrace
a religious life. 145a mdahs gsum : mdah sum, last night (mdan nub);
After having slept together the whole of last night, not even a trace
368

of their having been there remains in the morning; 145d chag[s] sgo,
disaster, calamity; rus tshogs : rigs tshogs, sundry kinds of delusions of
disaster. An arguably better construe for this line could be to see here
a reference to the three basic poisons or afflictions (dug or non mohs
gsum): passion ('dod chags, räga), hatred (£e sdah, dvesa) and delusion
(gti mug, rrnonspa, moha).
146 The poem, closing the above, relates about the poet's vacillation between
love and religion. In the end he poses the rhetorical question, to be re-
joined in the affirmative obviously, whether he should embrace religion
by heading (thad : thegls], cf. no. 22 supra) for the supreme abode, the
solitary retreat in the mountains, once he had renounced his yearning
after the flowery, wondrous (self-originated, svayambhü) flesh of his fair
damsel (kântâ) knowing that, when hampering the above-mentioned
emotional forces in this very life, love making etc. is rendered utterly
senseless and intrinsically unreal being tantamount to illusion, or as
stated, nothing but a last-night dream.
147 This and the following three poems strike a religious note. Here the poet
finds solace in religion (lha chos, here denoting Buddhism in general),
which should be experienced or practiced in presently and in the future.
If that is the case, the sun's ray of happiness would rise and cover one's
entire life.
148 Two poems with a religious content. Food and drink are objects of
desire Cdod yul), indicating that it is transcient and ultimately un-
founded. Here the five sensual pleasures arising from the five objects of
sense ('dodpa'i yon tan Ina, pancakämaguna) are refered to. If anyone
should come to taste the supreme flavor of ambrosia of the unsullied
(anäsrava) rigs (: rigVdzin, the vidyädhara, then you need not know
of the (conventional) happiness accruing from demented (myos : smyos)
sullied (säsrava) senses (indriya).
149 The inexhaustible perpetual bliss involves mental equipoise (samäpatti)
here of the four kinds of joy (priti: dga' ba, mchog dga\ khyad dga9
and lhan skyes dga7). It is unsullied, and, further, it is a fundament
for practicing equanimity (upeksd) aiming at abolishing hatred towards
enemies and (excessive) affection towards one's own relatives.
150 An allusive and religious poem, employing a simile with a natural set-
ting. Were the innumerable number of trainees (v[a]ineyas), in the garb
of bees (rkan drug, satcarana, hexapod), to partake of the ever-flowing
sweet honey, the quintessence of meaning, once the flower of bodhi had
gained life, a bodhi all-beneficial to one's mind (ran sems, should it be
altered to ran gian ?) this flower garden would be transformed into
pleasant or bustling religious dance (chos gar bsgyur).
 369

151 A plain poem of the so-called single-stanza type (grol ba, muktaka),
i.e. a detached, self-contained stanza, containing a full simile which
evokes a natural setting; the contrast between the upper part (phu)
of a valley (lun pa) replete with water-shedding glacier-mountains and
the lower part (mdaO sown with small cultivated fields here frames the
poet's wish and yearning for love, symbolized by the soil being drought-
stricken. This occasions him to entreat the glacier-mountains (which
whiteness, incidentally, symbolizes purity and amorous fidelity) to pour
water in order to quench his insatiable thirst for love.

152 The sandalwood tree, Santalum album, Linn., exuding a refined scent.
Four species are found: white, yellow, red, and dark maroon, cf. Éel-
gon éel'phreii, pp. 229-234. In this poem the idea of avoiding to climb
down here probably means t h a t the beloved couple should not leave one
another. Quite the opposite, the ascent, i.e. their union is even set in
scene by karman, the irrevocable retribution of former lives.

153 An allusive poem or adage signalling the poet's (unfulfilled) expecta-

tions. The poem pictures the poet's stubbornness and obstinacy, appar-
ently in the garb of a stallion. When at the point of travelling, the poet
contemplated riding a horse, only to end up walking afoot—obviously
(ran khag khyag, cf. also nos. 175, 360, 445), it would appear to be the
hybristic retaliation of the little sorrel mule. For the term la \g]yogs,
cf. no. 73 supra. We should here imagine t h a t someone is aiming for
another (better ?) lover, but he failed in his endeavour.

154 Likewise a poem carrying a similar natural setting with a stallion which
depicts the poet's unbridled wish to challenge other rivals to woo a
common paramour probably; 154b and 154d stod thag : rtod thag rgyab,
tethering and 'grol, to loose the tether. If the poem is intended as a self-
portrait, then the God-king's restricted movement, dictated by tradition
and etiquette, is here likened to the tethering of a stallion. ,

155 Section I and II do not dovetail. 155a loggi : logs kyi; 155b sdigpa ra tsa
: sdig pa rva tsâ, also denoted sdig pa rva can, rva nag, the stinging,
venomous (dug can) scorpion (Scorpionida; an arachnid, vrécika), cf.
also Bod kyi dga'-gzas I, p. 100, no. 1; syn. dur bas 9chi, "immediate
death", mar gyis nams byed, "eliminated by ghee" and lus mi sdug,
"hideous body", an animal dwelling in the dry sand, above sea level. If
we try to read these two distiches together, we may then tentatively
read a poem containing a full simile, which apparently depicts someone
(the poet ?), here in the guise of a poisonous creature, captured shunning
a low or depraved situation, i.e. aloofed the 'troubled water' of scandals
and rumours. A highly doubtful construction. However, we may quote
a stanza which admonishes anyone to take on boots and to kick out the
370

creature; cf. Bod kyi dga'-gias I, p. 9., no. 5 = gTam-dpe, p. 113 (cum
var. led.):
| dkar po bye rna'i dkyil gyi
| nag po'i sdig pa ra dza |
j Icags kyi lham chun gyon nas \
| bskrad bskrad gtoh la phebs éig
Cf. similarly, G.Tucci, Tibetan Folksongs, 1949, pp. 21, 47 = Norbu's
Coll. I, no. 28 (cf. also /, no. 28); more interesting, and clearly indicative
of the somewhat garbled compilation of the present collection of songs,
is the fact t h a t 155ab (of sect. I) and 446cd (of sect. IV) constitute a
poem quite identical with the above poem. In other words, these two
sections would apparently dovetail.
156 Here kha rag : kha rog bsdad, to remain silent; 156d counts seven
syllables, wherefore either ru or la is redundant. A poem expressing
the young man's pious (and amorous) sentiments, and his eagerness to
burst into a song of happiness.
157 mas dan (makes no sense) : me tog; rdzoh rdzon, full of, teeming with
or replete with (not attested in the diet.) flowers, i.e. me tog ha to, cf.
no. 15 of the crit. ed. and no. 259 infra, the garden flower (Idum ra
me tog) hollyhock. 157c don ni dam pa, i.e. ultimate truth (bden pa,
paramârtha-satya). A picturesque poem with a religious note.
158 The statue of the National Palladium or Chief Protectress (bsrun ma :
sruh ma) Ma-gcig dPal[-ldan] lha[-mo] cf. song no. 138 supra, erected
and installed beneath the guilded copper pagoda-like roof, evidently
here of the Jo-khan in lHa-sa, cf. p. 31 of Z. J. Taring's IHa-sa gtsug-
lag-khah gi sa-bkra dan dkar-chag.
159 Here bdag gi ga nas : bdag gis gain] nas; 159b yon yon : yon yod. Irre-
spective of whence he came, the poet maintains, he came to entertain
the guests (bzugs gral, row of seated people, here = mgron po); 159c
dkrug ein ius = dkrug éin rgyab, i.e. to stir up, incite, instigate fights,
or cause trouble; 159d dog mi, probably wrong, the reading dogs pa
seems better.
160 Here dar chog : dar chags, cf. the crit. ed. no. 9; the fish, na mo,
here portraying the girl, making its movements Ckhyug so : 'khyugs
bzo) and agitating like a seductive damsel; Cf. also Bod kyi dga'-gzas I,
p. 50, no. 4; p. 51, no. 3. The picture provided purports a relaxed, calm
situation, where everything is at ease.
161 Here gi : gis; rtogs : gtogs; 161cd perhaps a better reading would be:
I bkaf skyon gnah ba gnah na \
 371

I sah iogs tho rafts gnan iu \

Causing his carousing is the intoxicating effect of liquor, and not
nonsensial, deranged delirious conduct (smyo bcos : smyoln] or myos
spyod); If the person in question is to be rebuked, he begs to have the
rap postponed until the next morning.
162 A young man (o lo, cf. crit. ed. song no. 61, being young (na so gzon);
162b thai son, q. v. the c r i t ed. song nos. 16 and 61, here it means
something like a slip of the tongue; gah dragls], to the best of one's
ability, whatever best.
163 The madness, or insanity is the deception or derangement ('khrul ba,
bhrânti) caused by the lha 'dre; 163ef are somewhat corrupt, a better
construction could, as stated, be:
| 'di na ran re'i yul gyi \
j sruh ma gcig kyan gsol éig
163e 'di na, in casu, i.e. when insane, one is urged to propitiate (gsos
: gsol) our (or each district's ?) Protectress.
164 An allusive poem. The flowers offered to the Triratna, the infallible
refugium, are the precious stag ma, a species (rigs) of an officinal plant
(ein sman), a flower of the rhododendrons (the yellow-flowered probably
Rhododendron campylocarpum Hook; the red-flowered probably Rhodo-
dendron arboreum Smith); It is e.g. ace. to Éel-gon éel-phren, p. 226, a
superior antidote in drying up pneumonic or pulmonary pus (byan khog
mag skem mchog), the flowers of the stag ma tree (different from the
stag pa sin, the birch tree, cf. also song no. 60 supra) are white and red,
large-sized and most beautiful, as stated in the poem (tshos kha mtshar
ba) also, and here even considered the goddess of rGod-mkhar-Qa], but
evidently lha mo should here be emended to la mo, i.e. rGod-dkar-la,
a famous pass and place name between Lhasa and bSam-yas, cf. songs
nos. 322 and 324 infra; Cf. Bod kyi dga'-gias /, p. 80, no. 2. Only this
famous pass between Lhasa and bSam-yas is totally barren, hardly
a place where the rhododendron is found growing. So perhaps rGod-
mkhar-la here refers to another pass located somewhere in Mon-yul,
the true homeland of the rhododendrons. On the outer level, neverthe-
less, the poet is offering flowers in the temple, which, on the inner level,
indicates t h a t the girl is embracing religion.
165 In this poem the poet beholds his beloved, here portrayed in the stock
metaphor of a flower, denoted the beautiful flower of T ä r ä (m.c. for
sGrol-ma lHa-mo mdzes-ma); the question remains whether it is a
generic name of a flower, as a flower denoted sgrol ma me tog is found to
exist, cf. gSo-rig-skor gyi rgyun-mkho gal-che-ba bdam-bsgrigs, p. 390,
372

apparently a species of the sundew, q.v. no. 310 infra. But it may
here just be a poetic name of the girl who originates from the North-
ern interiors. The poet entreats the girl not to look upon the grassy
meadow, here representing his behaviour and he begs earnestly for the
season's end (nam mjug, here = ston ka'i mjug, the end of autumn) to
be postponed for awhile. The colour-shift of the grass, from green to
withering yellow during autumn, signals fickleness, or, on the personal
level, infidelity. Cf. also Duncan, 1961, p. 55.
166 The leaves of the poplar (sbyar lo or dbyar to), a genus (Populus) of the
willow family, here personifying the male lover; khroh khrob : khrog
khrog, = hrog hrog, (onomatopoeia) the rustling of great leaves; 166b
snug lo, the leaves of reed (snug ma, smyug ma), here personifying the
female lover; sil sil, (onomatopoeia), the hissing sound of small leaves.
The Queen of Season (Nam-zla'i rgyal-mo, or better Dus (-bzi'i) lha-mo)
will determine when the leaves of the poplar will be shed, t h a t is, when
love will be doomed. The Queen in question is slbn-ka'i rgyal-mo, the
Queen of Autumn, cf. Nebesky-Wojkowitz, Oracles and Demons of Tibet,
pp. 25, 30, 270.
167 The Tibetan cymbal (sil snan), a precious instrument, producing sweet
sounds; the 'yak's tail' (rha yab, cämara) is usually regarded and em-
ployed as a drumstick (= rha dbyug, rha gyog), the controller in music,
which strikes the beat. Alternatively, it may just be a fan. Be it what
it may, "whether its waist is undulating, i.e. vibrating (khyoh khyoh :
k[y]oh k\y]oh gnah) or not, it was of little avail". Evidently, in this poem
sung or recited by a male, we should see the male lover in the guise of
the cymbal, here depicting the orchestration in general, offering sweet-
sounding music, and, further, we may envisage a paramour in the garb
of the yak's tail, be it interpretated as the drum-stick or the fan, making
its alluring movements. But of no avail, the poet has already another
lover, the poem would seem to purport, to whom he remains faithful.
168 Alcohol and beverage ('khruh bzes : khruh gzas, (khruh, ze sa and origi-
nally a gTsari idiom for chah) i.e. to drink (rgyag); The poet confides that
he would have to abstain from drinking the beer of the white moon (i.e.
at the beginning of the month prospective of romance and marriage)
(accompanied by singing and dancing); 168c snem chuh, = sems chuh,
the humble little frog would then only be crushed to death under the
stamping feet, the frog (sbal pa) is probably here referring to himself.
When the powerful leaders, who never care for the welfare of ordinary
people, convened, small people could be thoroughly quenched,
169 In between (sprag na : phrag na, = bar na) the minds (of the loving
couple) a silk-thread finds no means of being inserted, whereas white
glacier-mountains block the way between (their) bodies. In this por-
 373

trayal the poet, while bewraying his intimate mental indivisibility with
his beloved, he bewails his physical separation from her.
170 An entirely metaphorical poem. The water-stream (chu mo) here sym-
bolizes the girl or love, cf. for additional samples, Bod kyi dga'-gias I,
pp. 44-^7; 102, no. 3; Bod kyi dga'-gzas II, pp. 24-28; Since the course
of the stream from the uppermost part (ka mgo or rather rka 'go) of the
irrigation canal (yur ba, yur po conveying the life (here = love)-giving
water) is invariable (i.e. faithful love) and long, the water will definitely
(khag khyag) reach its destination, the field din kha), which, we may
presume, portrays the happy union of the loving couple; cf. especially
Bod kyi dga'-gzas I, p. 40, no. 5:
| chu mo ska 'go ya nas \
I mi 'gyur gtan du bzugs na \
j zih chun ska thag rih yah \
j mjal ba'i dus geig los yon \
Cf. similarly, Duncan, 1961, p. 34.
171 A walnut (star k[h]a, Juglans regia) of the family Juglandaceae, the
edible n u t susceptible of being cracked; the peach (kham bu, Prunus
persica), its edible fruit susceptible of being sucked on or chewed on
mainly; 171c sku su : ku eu, apple; rho thog : sho thog (or tog), unripe,
premature apples of this year caused a sour taste in the teeth (rtsed
po, = rtsed ma, the malic acid of unripe apples corroding the teeth and
which creates an unpleasant taste). Evidently the poet is here faced
with choosing between different lovers, his relation with his favourite
beloved, here symbolized by the apple, proved to be too premature. Cf.
also no. 191 infra and the crit. ed. no. 65. The poem is included by
Zhuang Jing in his collection, no. 124.
172 A poem on the poet's vacillation between love and religion. 172ac Idem :
'dems (= 'dam pa, 'doms pa), to choose, to pick out; 172bc 'dud : mdud;
mdud 'dzin, the 'knot-holder' joining together the ends of the rosary
Cphren ba). In the poem the poet is depicted to abstain from choosing
any of the hundred (beads of) the rosary (all indicating casual lovers),
and instead prefers to choose the 'knot-holder' (usually made of precious
metals and here representing his preciously 'chosen one'). He is at his
wits' end when confronted with a rosary (symbolizing his religious life)
lacking this joint (i.e. love).
173 A poem striking the same tone as the previous one. 173b yin bead
(: sas) kha ba, approx. like colloquial yin gyi red pa, "as a matter of
fact". No matter whatever (ga tsug byas, cf. also no. 52 supra) he tries
to control his mind, he is ready to burst into a song, since, as a matter
of fact, it is now in conformity with the youthful behaviour! Evidently,
374

in this poem the poet depicts his predicament of being caught up in his
youthful bodily attire, bent on a convivial life,—or perhaps it readily
accounts for his merry disposition, while at the same time his thoughts
are expected to be preoccupied with other (i.e. religious) ends.
174 The poem depicts the poet as not being insane, b u t only faking madness
i.e. as an intoxicated person or a drunkard (smyo ru 'jug mkhan, = y id
smyos su 'jug pa); 174b sban ma: also called glum ro or chah snigs,
the beer sediment, the left-over (fermented) grain after beer has been
destilled (chah btsags rjes kyi 'bru snigs, chah rtsi 'bru rlon); sbah chu,
i.e. alcohol, cf. e.g. C. Bell, The People of Tibet, p. 241. If someone is to
take the rap (or be reprimanded, bka' skyon gnah), the alcohol is the
culprit.
175 This is an adage (legs bead) type of a short poem on the conquest or
the taming of nescience (ma rig, avidyä, moha), t h a t certainly (khag
khyag, cf. nos. 153, 360, 445) will come about, once one is endowed with
the right armour of mentality 175a phra chuh or better khra chuh,
underneath the luminous eyes, cf. also nos. 413-14 infra. 175b gti mug
sgo rial, somewhat like gti mug ro rial (= ma rig le lo nal dga' can), cf.
e.g. dPe-chos rna-ba'i hdud-rtsi, p. 150, indicating the relaxed, lazy and
unconscious sleep of ignorance (ma rig), lit. sgo nal rgyag indicates to
"sleep (near) the door", i.e. when just about falling into deep sleep, or
sleep just under one's eyes. A natural, relaxed rest and a sleep easily
to be woken from.
176 A saying or r a t h e r a repartee song (tshig rgyag) extolling the wits of a
donkey. In respect to purity or clarity of mind, the donkey is quicker
t h a n the horse; Before the horse has been sattled, the donkey is already
beyond reach, far ahead on the road, having crossed the mountain pass
(la mo thebs). Cf. also Bod kyi dga'-gzas I, p. 56, no. 1. The poem is
included by Zhuang Jing in his collection as no. 101.
177 The poplar (sbyar pa or dbyar pa) in Klu-sbug glin-ka. This garden or
park is formerly the great plain (than) or part of the marshy stretch
Cdam) (a part of it also called bzugs-khri glin-kha) located just south
of the Potala Palace in Lhasa. After 1950 the area h a s acquired an
urban character. In pre-revolutionary Tibet, on the 22th day of the
first Tibetan month, incidentally, a festival (being a part of the Great
Monlam Festivals) took place called "the Preparation of the Camp of
Klu-sbug" (klu sbug sgar sgrig), cf. C. Bell, The People of Tibet, p. 273-5;
Thub-bstan saris-rgyas, Bod kyi dus-ston, pp. 17-19; Kun-dga', "lHa-sa'i
snar-srol dus-ston gtso-che'i rigs rags-tsam no-sprod byas-pa", Bod-ljohs
zib-'jug, 1985 (4), pp. 83-84; cf. also C. Nakane, Map of Lhasa, drawn by
Z. Taring, University of Tokyo Press. The poplar growing in this park is
apparently considered to be exquisitely beautiful and lushly auspicious,
 375

a haven for a tryst underneath its crown: although its interior is rotten
(i.e. the girl is basically not trustworthy, cf. also no. 340 infra), its leaves
nevertheless stay evergreen, a sign of a fickle, non-committed, but yet
viable love.
178 A poem conveying a portrayal of the loving couple in the garb of a
gander and a lakelet respectively, cf. the crit. ed. no. 9. The bird arrives
from the north looking for his beloved, a lake, the gander's favourite
haunt. A-ma mtsho-sman rgyal-mo, is here evidently referring to a
specific class of aboriginal Tibetan deities, the sMan goddesses, among
which we find e.g. the mTsho-sman rgyal-mo, the "Queen of the Lake
Spirits", cf. Nebesky-Wojkowitz, Oracles and Demons of Tibet, pp. 1 9 8 -
202, 225, 339 and Aris, Hidden Treasures and Secret Lives, p. 115;
Here evidently, this mysterious Queen may be a poetical epithet for a
damsel, cf. also nos. 250, 317, and 452 infra. But employing a word-
play on 'mother' the poet, in the gander's attire, pleas for a prospective
mating, appealing therefore to the motherly instincts, i.e. to refrain
from making the goslings unhappy.
179 In this poem the loving couple is portrayed respectively in the shape of
a yellow or golden lotus bee (madhukära), whose thoughts and feelings
remain inscrutable, respectively in the garb of a flower tree carrying
thriving leaves, and whose mind is simply replete with the wish of the
early arrival of a refreshing (bsil ma, cf. also nos. 402, 413, 439) drizzle
(sbran char, i.e. a rain of honey, i.e. love). The poem is included by
Zhuang Jing in his collection as no. 102.
180 The poplar (sbyar pa or dbyar pa) endowed with a neat appearance;
the willow tree (lean ma) with a crown (mgo) and trunk (lus) matching
(chom pa : 'choms pa, = 'cham pa) (harmoniously with one another).
The girl, maybe in the garb of a little bird, cf. crit. ed. no. 62, has fallen
in love with the so-called rgyal lean, identical with the lean ma in 180b
?, cf. also no. 183 infra. Nevertheless, it should probably be emended
to rgya lean, the 'Chinese (?) Willow', cf. Éel-goh sel-phreh, pp. 249-50
and the crit. ed. s.v. no. 12, describing three types of willow, ri lean
dbyar pa, rgya lean phra mo and kluh lean skyed ma), the leaves of
which stay perennial, i.e. its season's end is postponed, thus indicating
long-lasting love to prevail. For additional gias on rgya lean, dbyar pa
and lean ma, cf. also Bod kyi dgaf-gzas I, p. 29, no. 5; p. 36, no. 1; p. 53,
no. 5; Bod-rigs kyi glu-gzas, p. 13, no. 2, p. 53, no. 3; Bod kyi glu-gzas,
p. 158, no. 2.
181 The square willow-garden of the Governor (dpon po, in this coll. ob-
viously referring to Saris-rgyas rgya-mtsho, cf. e.g. no. 409) is here
portrayed as an ideal h a u n t or tryst for a tête-à-tête, t h a t makes it
irresistible for the poet to go there (lit. "he could not deny t h a t he
376

was not going there"). But it is not without its costs to date the gover-
nor's daughter (we may presume, cf. also the crit. ed. no. 5 and no. 64
supra), the thorns and thistles pierce his fingers. 181c sla (star gsar
skyes pa, i.e. newly born again, is a tempting reading, but hardly ad-
missible) : gla, the gla ba tsher ma, also gla tshar, a thorny poisonous
shrub, also denoted star bu, Hippophae rhamnoides, Linn, of the fam.
Elaegnaceae, the Sea buckthorn (sallow thorn). Cf. Éel-gon éel-phren,
p. 213; Bod'ljons rgyun-spyod kruh-dbyïi sman-rigs, pp. 484-486; Ras-
tenija Tibetskol Meditsiny, p. 52; H. Fletcher, A Quest of Flowers, p. 179;
cf. equally gZas-tshig phyogs-bsdus, p. 164, no. 8:
| dug ein gla ba'i tsher ma \
I mdzu gu'i snih la zug son \
| kha nas a tsha ma thon \
j zen pa gtih nas log son \
Cf. also Bod kyi dga'-gzas I, p. 66, no.2.
182 If it is possible (to do it), the poem proclaims, then do it! If it is not
possible, then leave it as it is! The poet assures us t h a t the friend
(accompaning the Sixth Dalai Lama ?) is not the sort forced upon him
by the powerful governor (sDe-srid Sans-rgyas rgya-mtsho ?); herewith
is evidently indicated t h a t this friend is reliable and will keep the God-
king's alleged affairs in the dark.
183 The 'royal willow* {rgyal lean), cf. no. 180, = rgya lean. The combina-
tion bio sna (not snah) man nas...+...vb. + nos (= snih) ma fdod, means
"not wanting (or feeling like) doing vb. when somebody is vacillating";
However, cf. also no. 133.
184 The poet only contemplates to crack the walnut of love or of endearment,
or rather true love is like cracking a walnut. 184a Icog leog : gcog gcog;
184b rtog : gtogs; 184d a better construe is yi dvags dri za ma red. The
insects are according to the Tibetans supposed to be incarnations of the
prêtas and the smell-eaters (gandharva), semi-gods and creatures. The
poet assures his beloved of his more serious intentions, aiming only
at serious, hard-earned love (cracking the walnut), and therefore could
not settle for less, i.e. like being a small creature indulging in ordinary,
non-committal flirts (dpe: the fickle ghosts, or insects chasing after the
scent [of easy love]).
185 A poem similarly underlining the poet's sincerity. In the parallel cou-
plets, he aptly declares t h a t form and size (i.e. social position and rank)
is secondary to substance and nature (i.e. h u m a n quality and charac-
ter); 185b ri dpyad, to examine and check the right proportions of the
mountains. Cf. analogously, Bod kyi dga'-gzas II, p. 57, no. 6:
| ri mgo mtho la ma bltas \
 377

I ri spy ad (: dpyad) yag la hltas yod \

j bsan de a kroh kham pa \
j dri mchog iim la bltas yod \

186 The poet draws a white (indicating purity of heart, sincerity) line, like
a éih mkhan during work, hoping t h a t his frank and faithful approach,
the measure of the white line, would not come amiss. 186bc thiggu, i.e.
thig skud, a line or thi gu, a small or thin line (or rope, thag pa).
187 The importance attached to a prospective tryst with the beloved during
full moon is stipulated in this poem. Nothing matters, the poet declares,
except the emergence of the the moon of the fifteenth, the great day;
Who then would care for the emergence of the half moon of the twentieth
day ? When you know what is best, why settle for less!
188 In the MS this poem, as is seen, is distorted and contains only three
lines:
| kha la padma 'dab brgyad \
j sa la bab pa'i sbran char \
j bdud rtsi yin na dga' ba \
When tentatively restored, 189ab would read: The eight-spoken cakra
in space and the eight-leafed lotus on earth are two of the eight auspi-
cious emblems (astamangala, bkra éis rtags brgyad). This construction
is corroborated e.g. by gtas-tshig phyogs-bsdus, p. 92, no. 5 = Reader
III, p. 86:
| gnam la 'khor lo rtsibs brgyad \
| sa la padma 'dab brgyad \
| bar snah bkra éis rtags brgyad |
j dga' skyid 'dzoms pa'i zih sa \
In fact, the first line, whether restored as above or not, does not
construe well with the two last lines. The reason for this is clearly
because the page shift in the manuscript. Behind the original reading
is hidden two poems.
189 A satirical poem. There is no difference whatsoever (189d gah yah is
to be preferred to [de] ni) between the clerical (chos, dharma) and the
temporal-secular ('jig Hen, loka) world, i.e. between religion and state,
since (i.e. except, min pa, = ma gtogs pa) what is needed to change the
hue Cgyur Idog, 'gyur mdog of the monk's robes) is (merely) a basket full
of red plant dye. The poem, perhaps in the usual ironic manner, hints
at the fact, t h a t behind the apparent difference in terms of outward
r a n k and position, people are often quite the same. 189a dmar rtsod
: dmar btsod, i.e. tshos, red colour, dye or madder extracted from a
378

grass plant (diet, bod snam la rgyag byed kyi tshos, 'a dye for colouring
Tibetan woolen cloth); bio ma : slo ma, a small basket.
190 Here mgo la : sgan la, i.e. in addition to, upon; 190b éih béag pa :
sin [de] éa pa, i.e. êiméapà (the tree Dalbergia Sissoo, the Asoka tree)
(and in some dictionaries (doubtfully ?) identified with the foil, tree)
denoted a ga ru also, i.e. agaru or aguru, the light (lei med), evergreen
fragrant Indian Aloe tree (Aquilaria agallocha), cf. éel-goh sel-phren,
p. 235; S.C. Banerjee, Flora and Fauna in Sanskrit Literature, pp. 26
and 75-6; The black aleowood is especially sacred and considered to
contain occult properties, i.e. its scent is used to drive away evil or
demonic spirits. Mr. Tashi Tshering objects to identifying sin béag pa
with the Aloe tree; brdzahs, here "to stuff in", "to load upon", "to add
onto" (= 'jug pa) the fire; 190c bya thabs : ja thab, an earthen vessel
(khog ma) for boiling tea; 190d chags : chag, i.e. although it is such a
tea pot, it is unable to stand (= bzod mi thub) the heat and is bound to
break into pieces.
191 If the arrow (mda' mo, note the word-play on the female, cf. the crit.
ed. no. 59), one of two things (yab gcig : ya gcig, gzu daft mda! mo
belonging together), which was launched, hits (its target) the sweet
apple (ku eu la, better ku éur to retain six syllables), then good-bye to
the (empty) colourful/striped quiver! Here the poet is faced with the
delicate problem of choosing between two lovers, since once his arrow
hit the new beloved (the sweet apple), he is forced, at the same time (i.e.
meanwhile, or as a substitute, de sul, = de'i rih la) to bid the old lover
good-bye (the quiver holding b u t one arrow). 191c stag don khra mo,
the colourful/striped (khra mo, = khra khra, or phra mo: fine, delicate)
tiger skin quiver (stag don, i.e. stag Ipags las bzos pa'i mda' don, cf.
also nos. 262, 375, 405), may here similarly symbolize another girl.
192 Tobacco (tha mi kha : tha ma kha) is together with alcohol the con-
stituents of a happy life, i.e. luxurious stimulants. 192c gu li ? a kind
of gold ? or a place name in Tibet ? To live a life without rtsam pa,
Tibet's stable diary, would be fatal, whereas the stimulants are dispens-
able items.
193 A metaphorical poem. The first two verses seem somewhat corrupt, a
better construction would probably read:
| gnam de kha mdog shon mo \
| gos chen Icags nag 'og nas \
(gi is deleted): "[In] the blue sky, underneath the iron-black (Icags nag,
actually dark-blue) clouds (gos chen = mkha' gos can, i.e. sprin, but
here also brocade dress)"; 193cd sgo tshigs rgyal mo : dgu tshigs skya
mo, the grayish 'heavenly belt (gnam kyi ska (or ske or sked) rags)'
 379

here of a golden colour, denoting the Milky Way or a galaxy, also called
the "mouth steam of the Yaksa" (gnod sbyin kha rlahs); spam pa =
legs pa, mdzes pa, mtshar ba, beautiful, nice, fine. In this poignant
poem, clearly, the poet compares the beauty of the girl, all donned in
a darkblue brocade phyu pa embellished with a gold belt (= chah ma),
with the scenario of the sky, extolling her brilliance to surpass even the
magnificent bounded (foamy and smoke-coloured) ring belt or nebula
(but, as said, more likely representing the Milky Way), to be observed
especially during wintertime underneath the starlit vault at nighttime.
194 The phrase Ita ha gyah 'dzin poses a problem. Literally it renders "up-
holding an outlook of prosperity (gyah)", an interpretation which does
not readily make any sense. It hardly tallies with nor refers to the
Buddhist term Ita ha mchog 'dzin or drstiparâmaréa, cf. Abhidharma-
samuccaya, p. 7; Abhidharmakosabhäsya, ad V. 6. I shall finally call
attention to the phrase me tog y an 'dzin, an epithet for a kind of deli-
cious (and flower-perfumed; cf. also no. 310 ?) Chinese tea (rgyaja), a
kenning occuring repeatedly in the Gesar Epic; cf. I, fol. 17a; II, 62a-b
(ed. R. Stein, 1956). But this construction is weakened by a parallel
phrase in no. 243 infra, where Ita ha gyah 'dzin most likely refers to
a stimulant to be smoked. From the present context, corroborated by
no. 243 infra, it evidently alludes to a kind of Chinese pipe or tobacco,
and the phrase Ita ha gyah 'dzin is thus probably a euphemism indicat-
ing the stoic and upperish posture of a Chinese smoker. Neither were
the boiled tea nor the brewed chah to be partaken of. Please bring
(instead) the Chinese pipe, a present from the Chinese emperor! The
deeper message in this poem still escapes me.

195 Amber (spos éel), of a transparent yellow or golden hue, [g]ser kha
d[v]ah[s] ba; 195b studded or spangled with red spots and imbued with
the colour of an ornament of white pearls; It is moreover gilted or worn
(around her neck) to been seen clearly.
196 The stars in the east, the Pleiades (smin drug; Skt. krttikâ; M. meàid
odun; C. mâotôu) the third mansion; cf. R.A. Miller, JAOS, vol. 108 (1),
pp. 1-25; cf. also nos. 265, 267-268 and 344 infra. The six or seven
daughters of Atlas and Pleione, sisters of the Hyades. This cluster of
stars in the constellation Taurus was admonished to come (yar dpe :
yarphebs, but see similarly no. 267: an ideal example) and take a seat!
In other words, make yourselves visible! These stars usually symbolize,
as here, girls and damsels. Cf. Das' diet pp. 316 and 991, where the
stars in this constellation are viewed as or embodiments of nymphs
and goddesses. Cf. also Bod kyi dga'-gzas I, p. 69, no. 5; p. 99, no. 1;
Bod kyi dga'-gias II, p. 18, no. 1; p. 38, no. 4 and p. 52, no. 2; gtas-
tshig phyogs-bsdus, p. 154, nos. 5-6; Bod-rigs kyi glu-gias, p. 4 1 , no. 2;
380

sDe-dge'i dmans-glu, p. 107, no. 2; Duncan, 1961, pp. 27, 62. In this
poem or song, which is recited or sung by a male, the stars (= girls) are
entreated to indulge in negotiations (i.e. on engagements), once they are
independent (for the girls: independent or free from the parents). The
Pleiades stars are usually visible the whole year (except april-june), for
which reason they wield a strong symbolic imagery on the Tibetans.
197 The rgya glitt is a reed oboe (oblong, tubular, sbubs ma) and a musi-
cal instrument (rol cha) used in religious ceremonies, here perpetually
sounding in a pleasant way. The young lad's voice (gdahs) was not able
to keep on to the end, i.e. he could not sustain the note and not compete
with the instrument in auditory excellence. Now, let's see whether he,
at least, can buzz like the bees constantly circulating around the hive.
For 197d, cf. also no. 317 infra.
198 A poem on carousal and revelry. The word 'or pa would most readily
be identified with 'bor, quantity, i.e. "bring lots of chahV\ However,
the etymology points in another direction: 'or pa is colloq. for 'ol ka,
a wooden gutter carrying rain-water from the roof of a house (= chu
'gro'i rka); "So bring (huge quantities of beer in a quantity similar to
water floating from) the wooden gutter!" Again: "Bring a lot of beer!"
The tavern-woman's butter lamp is consumed; 198c rgyal-chen dpag-
bsam, the planet Venus (pa sans, éukra), the big star visible at dusk
and, as here, at early dawn (srod dan tho rafts mthoh thub pa'i skar
chen), but, the poet assures us, there is no fear of roaming in complete
darkness, this wish-granting star, the Great Victorious One has arrived
high upon the heaven's firmament. When the Madam, the Inn-keeper's
lamp burned down, the poet had to take recourse to the nature's own
light, provided him by this bright star.
199 For the great day, the fifteenth day of the month, the day of the full
moon, cf. our crit. ed. no. 4 1 ; 199c gnah sos : gnas bzod bdepo, cf. song,
no. 57 supra; 199d the senses will develop (yar bskyeld], = goh 'phel).
The poem is found almost identical in Bod kyi dga'-gzas II, p. 55, no. 4
= gZas-tshig phyogs-bsdus, p. 146, no. 4.
200 A poem on archery extolling the bow igiu ma) and the arrow (mda*
mo); The bow must be of an exquisite white colour and when bent the
bow must at the same time be supple and flexible (gnen 'khyoh : rnnen
gyoh, or kyoh); When shot off, the flying arrow should be decorated with
vermilion-coloured feathers stemming from the vulture. See Nebesky-
Wojkowitz, Oracles and Demons of Tibet, p. 365. Cf. analogously e.g.
Glu-chuh sna-tshogs, p. 4:
| gzu ma tshur la ma bkug
| mda' mo phar la ma btan \
 381

I ma bsam 'ben la phogs na \

j skye ba sha maï las red \

201 Amidst a large crowd of ascetics (i.e. yogins) the poet heard the har-
monious voice of the religious conch instrument. The poet, enthused
by this entirely religious setting, was completely "infatuated with the
assembly-tea" of the congregation; The assembly-tea, i.e. the tea reg-
ularly being drunk at the assemblage of many monks is here j u s t a
euphemism for this gathering of monks and thus indicates the poet's
recollection of religious life and the wish to embrace religion. Cf. also
G. Tucci & W. Heissig, Die Religionen Tibets und der Mongolei, p. 160.
202 For réf., cf. no. 199; At the evening of the great day, the full moon of
the fifteenth, a day prospective of mating, the poet, we may surmise,
initially went (to Jo-khan) to pay his respect to the statue of (Ma-gcig)
dPal-ldan lha-mo, where he met his dear girl (a Ice bu mo), who shed
the "tears of honey-rain" without reason or in vain {don med [du], or
even for a different reason). For the poet and the girl, named (mih can)
Punye, i.e. *bSod-nams, nothing b u t sorrow prevailed.
203 His parents, to whom he is much beholden, and who sojourn in their dis-
t a n t homeland, are not present. Although (the parents) are not present,
there is no reason to feel gloomy as the poet has somebody who is better
than his mother, i.e. his beloved, who is already well beyond the moun-
tain pass, on his way to him. This poem is included in Zhuang Jingfs
anthology as no. 103.
204 Here gyis : gyi. The little bird, named bsKal-bzan sgrol-nia, is proba-
bly here the cuckoo (khu byug snon mo), cf. no. 122 supra and no. 396
infra or the thrush ('jol mo), cf. e.g. no. 438 infra, nesting in the plea-
sance of 'Phyoïï-rgyas (is 'Phyoris rgyas dga' spro, the name of a noble
family ?); although the willow tree shed its leaves (lean lo = lean ma'i
lo ma)(usually a sign of unrequited love) the bird will raise its sweet
warble. The bird, here embodying the female (or alternatively male)
lover, rose its sweet voice. It evidently occasioned the tree to charm
Çkhyug so : 'khyugls] bzo, making its swift, seductive movements, cf.
also no. 160 supra) the poet. Note here the double entendre in the
phrase lean lo skyur, which both means "the willow shed its leaves"
and "to remove (shed) the braided hair (of a girl)", i.e. to tonsure and
to become a nun. So although she became a nun, she would still make
her seductive movements.
205 The bDe-skyid-gliri family (also called Ram-pa khan-gsar) in lHo-ron be-
longs to the Tibetan aristocracy (sku drag, sgerpa), cf. L. Petech, Aris-
tocracy and Government in Tibet (1728-1959), pp. 19, 69, 110; H.R.H.
Prince Peter of Greece and Denmark, The Aristocracy of Central Tibet,
382

no. 47; C. Nakane, Map of Lhasa, Drawn by Zasak J. Taring, Univ. of

Tokyo Press, no. 54. Note seven syllables in 205a, in which case gi is re-
dundant. This willow garden pertaining to the bDe-skyid-glin nobility
in IHo-ron, abutting on Mon-yul, is not particularly famous; 205c spag
: dpag, i.e. compared to the willow-grove in Yar-'brog, its adjacent dis-
trict, it is nevertheless quite blissful to sojourn there. In other words,
although the willow-grove of Yar-'brog (= the Yar-*brog-glin estate, cf.
Petech, ibid., p. 51 ?) is not so renown as the estate of bDe-skyid-glin,
it is nevertheless, on the whole, quite pleasant to stay there.
206 The pretty girl without "leave-shaped head hair", i.e. pleated or braided
hair (also called the willow-leaved (skra'i lean lo) hair of a woman, cf.
also no. 204 supra). This female is the dear girl (or belle daughter, a
lags : a ba lags : a Ice bu mo lags) of the noble family (sku drag, sgerpa)
Kun-bzan-rtse (also called Khe-smad), cf. e.g. Petech, ibid., pp. 92-94;
H.R.H. Prince Peter, ibid., no. 92, and no. 68 in the Map of Lhasa, ed.
by C. Nakane. She is so captivating as to resemble a hook attracting
the minds (sems dpa' : sems pa) of others. For a street song carrying a
picture of the braided hair (also carried by men), cf. M.C. Goldstein, A
History of Modern Tibet, 1989, p. 154.
207 The small peach tree (cf. our crit. ed. no. 5) measuring one full fathom
(i.e. the span of one person's outstretched hands from fingertip to finger-
tip) is teeming with colourful and splendid flowers (khra chil dgu chil,
khra chil le ba, = bkrag mdans ehe ba). The idiom khra chil dgu chil
is a typical example of a quadrisyllabic word-formation so prevalent in
Lhasan Tibetan, cf. e.g. Zhang Liansheng, ' T h e Phonetic Structure of
ABCB Type in Modern Lhasa Tibetan", in Soundings in Tibetan Civ-
ilization, pp. 20-34. Pray, promise, the poet admonished, let me be
granted a peach fruit ripening in due time, indicating love; for a sim-
ilar promise given, see the crit. ed. no. 44. The poem is included by
Zhuang Jing in his collection as no. 104.
208 When the poet watered the flowers in the royal garden, he too would
like to be granted a plant to transplant (rtsa spos gnah (or rgyag))
which carried within three years (or every third year) a peach fruit; for
a similar song of the triennial peach fruit, cf. Norbu's Coll. II, no. 6 =
Bod kyi dga'-gzas I, p. 29, no. 4 = gZas-tshig phyogs-bsdus, p. 94, no. 2
(cum var. lect.) 208b replace ra la with rarr
209 Probably to be read in conjunction with the previous stanza; 209a khrom
pa : khron pa, a well; khrom thag : khron thag, the well rope; yun ba :
yu ba, the handle of the rope, all together it may just indicate the rope,
which here was too short. 209d add de and delete ni. So, as the rope
was too short to reach the buttom of the deep well, the bucket stood
no chance of being filled up. The poor, hapless well bucket (chu ban,
 383

made of clay) will find no time, i.e. no chance. The water symbolizes the
stream of love, so love will here prove to be unrequited. The potential
recipient of the water is evidently the flower, i.e. his beloved, and the
bucket the poet himself.
210 In this poem, j u s t as in poem no. 66 supra, two architectural features
are employed, the base pillar (ka ba), symbolizing the male and up-
holding the edifice of love and matrimony, and the cross beam igduh
ma), symbolizing the female, roofing and framing the edifice of the love
construction. Here the poet functions as the base pillar and his beloved
is asked to be the cross beam. If, the poet declared, I do not mess up
things (lit. "do not change"), then there is no fear that she will change!
That is, become infidel. An equally plausible reading would suggest:
| ka ba ma 'gyur [zus chog] \
j gduh ma 'gyur [yon] dogs mi 'dug
(The deletion of yon is optional, but in order to retain six syllables
preferable). There is a word-play, incidentally, on 'gyur dogs, 'doubts
as to change' with 'gyur mdog/ldog, 'to transform*. Whereas the poet
ascertains t h a t he will stay firm, i.e. fidel and trustworthy, there still
remain in his eyes doubts as to whether the girl will be fickle or not.
Sung or recited by a male.
211 The poet here solicits the girl not to nourish wrong or false (ma nor
ba) thoughts (bsam pa'i byed chog : bsam pa'i byed phyogs) about him.
Drawing his simile from nature, his serenity even amounted to assure
her t h a t their relation is as close as the natural connection (gal te mgo
'brel : gal ta mgo 'brel or sbrel) between the pass and the valley. The
idiom used in this simile to underpin the connection between the pass
and the valley is the word gal ta mgo sbrel. It is a kind of bag container
(blug[s] snod) usually containing provisions such as flour (rgyags phye)
and often made of coarse goat's hair (sackcloth material, re Ide, re ba,
sbre bo). Moreover, it consists of two sacks which are hung around the
neck of a mule hanging loosely down on each side of its head. Employed
here to indicate the prospective tête-à-tête of the loving couple, despite
being apart, this idiom is more generally employed as simile to indicate
true intimacy. 2 l i d la is redundant.
212 The Juniper (lha sin éug pa), the sacred tree, often referring invari-
ously to different species, most often referring to the Himalayan Juniper
(genus Juniperus, here prob, the Juniperus recurva, but also pseudos-
abina and excelsa), the evergreen shrub or tree of the cypress and the
pine family (Cupressaceae, Pinaceae), a coniferous tree; the epithet lha
sin reflects Skt. devadäru, the sacred tree, referring to the closely re-
lated Cedrus deodara, the Himalayan Cedar, Pinar deodara, Roxb., Ce-
drus libani Barrel. When the juniper berries are burned they exude
384

a refined fragrance or scent, making it, as in this poem, a favourite

incense (bsans) worthy for the gods and often used, incidentally, by Ti-
betan doctors as incense to counter delerium of fever; here it is used as
incense (even called the incense tree, bsahs sin) when accompanied by
an earnest wish, to serve the course of and uphold dharma in the Pros-
perous Aeon (bhadrakalpa). Probably a praise to a high bla-ma, who
is admonished to continue the tradition. Cf. éel-goh éel-phren, p. 228,
S.C. Banerjee, Flora and Fauna in Sanskrit Literature, p. 38, identifies
devaddru with the Polyalthia longifera. For additional samples oîgéas
on lha éih éug pa: Bod kyi dga'-gias I, p. 90, no. 2; Bod kyi dga'-gias
II, p. 29, no. 6; p. 72, no. 1; Bod-rigs kyi dmahs-gzas gces-bsdus, p. 202;
Bod-rigs kyi glu-gias, p. 16, no. 2; p. 39, no. 3; p. 55, no. 1; sDe-dge'i
dmahs-glu, p. 108, no. 3. This tree is by far mostly used as a stock eu-
phemism for a beautiful girl, an imagery most explicitly brought forth
in e.g. the foil, poem, Bod-rigs kyi glu-gias, p. 39. no. 3 = Duncan,
1961, p. 4 1 :

| bdag gi chuh 'dris byams pa \

| dbyar ri'i lha éih éug pa \
j sregs na dri ma iim son \
| [b]ltas na mig la mdzes son \

213 Here rtog : gtogs; The prayer-flag (dar Icog) with a victorious banner
atop counting nine auspicious colours, or consisting of five basic colours
and the foil, emblems: ni ma, zla ba, padma and ral gri, nine in all.
The poet, initially, is but contemplating to hoist high the prayer-flag on
the house or on the tree, but the poet hesitated, why, he ponders, should
he h a n g up a flag consisting of one or two full square (kha gan kha do,
= 'phred gzuh, dkyus zen, vertically and horizontally of equal (mnam
pa) length, cf. also no. 428) of cotton linen ? A poem on unrequited love,
perhaps.
214 A mixture of snow and rain igahs ma char, also kha ma char, = kha ba
dan char pa 'dres ma), i.e. sleet. The sleet falling at the border-line of
the meadow stretch (span) and the vegetation-free, alpine stretch (gyaO
high up in the mountains. The poet's 'meadow-ornament' flower (cf.
no. 130 supra), here symbolizing his beloved, is going to be eliminated
(chu zos : chud zos, or bzos, gzon) by the sleet following in the wake of
autumn's arrival.
215 Here lar [nas] = gtin nas, basically, truly, actually. 215ab Since the poet
fell in love (sems dpa' (: pa) dkar (replacable with dga*), cf. e.g. no. 234
infra) years and months had passed, i.e. the poet h a s been in love for a
long time, only the poet still had not had a tryst with his beloved. For
215d, cf. also no. 196d.
 385

216 The Lord of the Seven Horses, i.e. rta bdun bdagpo, saptâéveévara, an
epithet of the sun, whose chariot is said to be drawn by seven horses
symbolizing the seven days of the week. Were the girl to accept the Sun
as (her owner) i.e. husband, then, the poet carols, it would mentally and
physically just suit Cphrod pa = nus pa, mthun pa, 'os pa) him, young
person. Obviously, the young poet's girl friend is planning to marry
another man. Being compared to the Lord of the Seven Horses, he is
clearly in a high position.
217 The poet owned up to not adhering to a lineage of powerful magicians
or exorcists (snags pa), in Tibet usually committed to weather control
etc., hence often called 'weather-men'. Still, the poet assures us, he is
nevertheless karmically disposed to hinder hail up in the mountainous
ravines (thus preventing the hail to strike inhabited areas in the valley
below); 217d for the construction vb. + biin pa'i 'phros yin, meaning
something like "[it] is at the time or consequence (here prob, colloq. for
las 'phro, cf. crit. ed. no. 7) of doing vb." (vb. près, part.), cf. e.g. also
song nos. 248, 351 infra.
218 This song should be read in conjunction with the previous one. 218a
'phos kha : phod k[h]a, the dress (kha gyon gyi gos) worn (bzes pa) by
the snags pa, here of the black h a t (for ill. cf. Tucci & Heissig, Die Re-
ligionen Tibets und der Mongolei, p. 142-3), often used on stage, i.e. at
religious ceremonies and dances Ccham gos); 218b "Oh my (a re), what
a frightful appearance this figure made!" When black clouds gathered
menacingly in the sky above, he vanished (gya[r] son), or fell into the
visible ignah : snah) omens or signs. When the shags pa intends to stop
e.g. the rain, he must meditatively concentrate upon this phenomenon,
and his vision is directed towards the has nan. Here, ironically, the
shags pa made a dreadful appearance, but in reality, when clouds actu-
ally gathered, i.e. when problems appeared, he vanished like a coward.
219 The face of the white, bright moon, a stock epithet for a damsel, cf. crit.
ed. no. 1, here outmatching all other girls. Note also here the word-
play on zla ba with zla in 'gran zla (syn. 'gran do, 'gran ya), meaning
a peer, a match, an equal, most freq. employed in the negative, i.e.
nonpareil, matchless or peerless, as well as in the word zla bo, meaning
partner, friend, companion etc. This favourite damsel of the poet is
here likened to an (all-consuming) ocean beckoning to (signalling, i.e.
attracting) young lovers.
220 An allusive poem. From the corner of her eye, the poem tells us, the
girl shot (sideway glances at the boy) in form of small arrows (of love,
nag or myagphran mda' mo, 'tiny notch, arrows'; cf. the Gesar Epic, ed.
R. Stein, 1956, index, p. 392) signalling her cri-de-cœur or her heart's
yearning. They penetrated (the target), i.e. the high pasture of the
386

young man's heart—the arrow of love was well received. A picture of

Eros or Cupid in Tibetan garb so to say. The poem is included by Zhuang
Jing in his collection as no. 105. For 220d mthon po [de] la, Zhuang
Jing equally plausibly reconstructs mthon po'i dkyil la,

221 When fall heralded its arrival with the eighth month, the body-colour of
nature turned yellow. The season of blossoming (i.e. love and mating,
cf. e.g. the crit. ed. no. 7) subsided, to such an extent that although
you applied glue (sprin : spyiri) to the (otherwise profusely growing and
hardy) leaves of the poplar (sbyar pa or dbyar pa) they would not stick
to the stalks, the season of romance was irrevocably doomed. 221d A
better reading would give: 'byar ba skal ba mi 'dug,

222 This poem is, as it transpires, read to have 6 lines, b u t two lines may
well be missing, in which case, then, they should be applied to the first
two lines (222ab) and thereby form a separate verse-poem. The monas-
teries of Se-ra and 'Bras-spuns are earnestly supplicated to remain firm
and constant! When passing through Ron-chen and Ron-chun (proba-
bly place-names in gTsan, otherwise large or small gorges and valleys),
the poet conceded, his obstracles and difficulties surpass those of oth-
ers. When finally meeting his guru, the Pan-chen bla-ma, his parents
were on his mind. The picture behind this poem, it appears, perhaps
tells us t h a t for the poet to turn a lay-man (or into a lay-man's dress,
sku sky a chas su bsgyur ba) is not an easy task, thus admonishing the
novices to stay monk. It further allows for a historical reconstruction,
since in 1702, the young God-king went into the presence of the Fifth
Panchen Lama at bKra-sis lhun-po and renounced his religious vows,
cf. also Chab-spel, 1987, p. 300. This poem thus, couched in a frank,
yet gloomy diction, relates about his fair wishes t h a t the (three) pillars
of the Yellow Sect, i.e. Se-ra, 'Bras-spuns (incl. here also dGa'-ldan) (se
'bras dga' gsum), may remain prosperously intact (a sign of rependence
or vacillating conscience ?), a farewell or parting salute t h a t escaped
the poet prior to his crucial journey to bKra-sis lhun-po, an onerous
and daring task to undertake indeed, evoking concern for the where-
abouts of his parents and, equally likely, memories of his childhood.

223 The mandala, or microcosmic diagram, of the eight great Näga-s, klu
brgyad dkyil 'khor, a group of supernatural water-spirits or Serpent
Protectors, often associated with the legendary eight great cemeteries,
cf. Nebesky-Wojkowitz, Oracles and Demons of Tibet, p. 265, Das' diet,
p. 45. When erecting houses etc. one perpetually supplicates and makes
invocation to the dei loci such as the näga-s. If, despite placating these
creatures in an apotropaic and propitiatory endeavour by drawing this
diagram, they still exhibit a fiendish and ferocious attitude, to remain
indifferent then is no alternative. Recourse must be taken to eliminate
 387

the creatures physically, i.e. by digging and turning up the soil and
rocks (sa sko (: rko) rdo slog btaii gton).
224 The lCags-p[h]o-ri of dBus, the Iron or Medical Hill in Lhasa, located
to the south of the Potala, was formerly the site of the famous medical
college, the sMan-rtsis-khari. It is often conceived as the estate (pha
gzis, a hereditary estate, patrilineally transmitted, from which a noble
family usually took its name. Often more loosely = pha yul, homeland)
of Than-ston rgyal-po (A.D. 1385 -1464), a renowned rNin-ma-pa as-
cetic (grub thob) and Treasury-finder (gter ston), considered, inter alia,
as Tibet's iron bridge builder par excellence and, incidentally, the fa-
ther of the Tibetan drama tradition; cf. e.g. J a n e t Gyatso, "Thang-stong
rGyal-po, Father of the Tibetan Drama Tradition: The Bodhisattva as
Artist", in Zlos-gar (ed. J a m y a n g Norbu) pp. 91-104; R.A. Stein, 1959,
pp. 513ff. The poet concedes ignorance as to which girl actually h a s the
good fortune (las 'phro, cf. crit. ed. no. 7, = skal ba, cf. no. 232 infra,
i.e. is destined to have a tryst with him), admonishing the lucky one
(or merely the first the best ?) to put up the ladder (climbing stairs,
skad rdza : skas 'dzeg, b u t also reversely 'dzeg skas, 'dzeg Hen) and
ascend! In this poem the romance-destined beloved is urged to climb
the stairs either to lCags-p[h]o-ri, in order to secure an eye-view of her
beloved, the young God-king on the roof of the Potala, or, simply, ad-
monished to fetch the ladder and climb the very walls of the Potala
itself. Construed differently, the lCags-p[h]o-ri may here depict the girl
and Than-ston rgyal-po may embody the God-king, who, following this
interpretation, once owned or possessed 'the girl' (the estate), but now
proclaims: Anyone who wants her go and take her!
225 The herbal grass plant (sno sman, rtsva rigs) sug pa, the Saponaria
vaccaria or, more correctly, the Vaccaria pyramidata Medic, of the fam.
Dianthus of the Caryophyllaceae, employed, inter alia, in Tibet as a
detergent (dag byed) and a soap substitute being, as it is, saponin-rich.
Hence its English name soapwort or bouncing bet. According to the
Tibetans, two species are found: a species denoted lug sug, sheep sug,
with large, white roots, leaves and stalks and ra sug, a goat sug, with
small, black ditto; cf. Sel-gon sel-phren, pp. 317-8; Bod-ljohs rgyun-
spyod krun-dbyi'i sman-rigs, pp. 487-9, ill. 305. A countless amount of
sug pa was pulled out and collected from the right side of the mountain;
the sug pa was used to wash off the taunting slander of the poet and
the damsel (ma skyes a ma, cf. the crit. ed. no. 1); 225a log : logs; 225b
Ikog : bkog (from 'gogpa, = 'don pa, or rko ba) to pull up, dig out; 225d
gton, is plausible, an equally plausible reading would suggest chog, cf.
Zhuang «ling's reading of this poem in his collection, no. 106.
226 Analogously and in conjunction with the previous verse poem, the poet
also plucked (rtog : gtog) a mixture ('dres ma) of spa éug, a collective
388

term for spa ma éugpa, spa ma is often called éugpa tsher ma can, prob,
the Juniperus squamata or chinensis, often also identified with Sabina
recurva, a low-growing and shrubby (tons chuh, dense and rounded),
prickly (tsher ma can), (silver-)blue or bluish-green foliaged variety of
the Juniper; cf. also Sel-goh êel-phreh, p. 228; the juniper itself (cf.
note 212 supra). The spa êug was collected, the poet tells us, from
the left side (log : logs) of the mountain. These shrubs were employed
as incense and burned in honour of the gods soliciting them (and in
particular dPal-ldan lha-mo, cf. note 138 supra) to concert marriage
(gnen sgrig) between the loving couple. For additional gzas on spa ma,
cf. Bod kyi dga'-gias I, p. 74, nos. 3-4; Bod kyi dga'-géas II, p. 39, no. 5
= gtas-tshig phyogs-bsdus, pp. 99-100, no. 7. Zhuang Jing has also
included this poem in his collection, no. 107.

227 The fortification in question, the castle of the btsan po, a local demon,
or of the srun ma, the local protective deity, is probably the Potala,
a rdzoh btsan, the impenetrable stronghold; cf. the next songs and
Nebesky-Wojkowitz, Oracles and Demons of Tibet, pp. 166-176. The
young stripling (o to) thus declared that he didn't say t h a t he wouldn't
remain (in the Potala), only he just wanted to beg for temporary leave
of absence ('khor zag, = dgohs pa zu) driven by his mindfulness of his
'mother', a perfect cover-up, or, rather, a stock euphemism for a girl,
here a three-night-date. In other words, the God-king does not mind
staying in the Potala, but a three days leave of absence is indispens-
able. On three days and a ma, cf. the crit. ed. no. 25 and e.g. Bod kyi
dga'-gzas I, p. 64, no. 6; p. 87, no. 2; p. 88, no. 4 and p. 122, no. 5.
228 The willow was not broken asunder or violated and the thrush ('jol ma
: 'jol mo) was not scared away, i.e. requited love prevailed, cf. crit. ed.
no. 62. The tiny Serpent Temple under the northern escarpment is
located on a circular island in the lakelet below the Potala, q.v. the
crit. ed. no. 65. In other words, although someone tried to break the
willow asunder, I, the poet conceded, did not perpetrate it. In a like
manner, although someone tried to disturb or frighten the thrush e.g.
by throwing stones at it, again the poet, as said, was not the culprit.
The God-king is thus not indulging in any liaisons. However, what is
certain, the poet maintains, he has the power, i.e. the right, to attend a
spectacular show (bltas mo blta : Had mo Ha) staged there. The show
before his eyes is, we of course may surmise, 'the game of love' between
the willows and the birds staged on his island. 228d yon : yod. The
poem is included by Zhuang Jing, no. 108.

229 A poem lauding the Dalai Lama, the protector of the Tibetan coun-
try. The 'fire-crystal or the sun-stone' (me eel, süryakäntamani) and
the 'water-crystal or the moon-stone' (chu éel, candrakäntamani) are of
 389

foreign origin, from India/China, whereas the precious gem reigning in

(nas : na) the Potala is the true gem, an allusion to Yid-bzin nor-bu,
Cintämani, the respectful epithet for the Dalai Lama, the embodiment
of Avalokitesvara.
230 The winter or melting water from the alpine rocky mountains floods or
swamps the tree-less, clayish and hilly rock gorges (rdza mo = rdza ri).
A poignant simile illustrating the disposition of the poet: His body being
swamped by the drinks ('khruh : khruh, bées khruh, cf. also no. 168
supra) of a rag, the elixir of liquor.
231 The wooden, horse-headed barge, cf. the crit. ed. no. 10; Various syn-
onyms (mih gi mam gratis) and kennings (mhon brjod) for the boat:
sgrol hyed, "the deliverer", chu yi sin rta, "the vehicle of water", rta
mgo can, "the horse-headed", rtags gsum pa, "the three-marked", pha
mthar sgrol, "the deliverer to the opposite shore", and sen ge can, "the
lion-like one". The horse figurehead, hoisted on a long neck, remains
bolt upright (ker ker = draft por) and the horse head's back is decorated
with wavering (Iheb Iheb) prayer banners signalling not to dispair, des-
tiny has allotted him a romantic tryst with the beloved. Included by
Zhuang Jing, no. 109.

232 The small sorrel deers (é[v]a ba smug chuh, cf. also Bod kyi dga'-géas I,
p. 75, no. 1) paced around on the left slopes (log : logs) of the mountain
(below the Potala ?). Ignorant as to which (hunter) has the good luck
or is destined to catch any of them (i.e. to love and mate the girl), the
poet admonishes the lucky one to erect a stony staircase or stone stair
(rdo thebs : rdo them) and to ascend! In other words, go and catch her!
233 In the azure-blue sky the moon appeared, dazzling even more white
(dkar ga : dkar ba) than the conch shell. Analogously, in the midst
of the row of seated guests, i.e. at party time, the tea pot shone more
clear (dvahs, transparent) t h a n crystal. Apparently the tea-pot h a d
been filled with chah. As is known, chah is more pellucid (i.e. liquid)
than crystal.
234 Since the two of us, the loving couple, had fallen in love (semspa dkar,
white thoughts usually indicate a pious attitude, but equally often they
express amorous sentiments) no time has passed (i.e. year and month
had not elapsed, 234b yah is redundant). But alas! Soon after deep
repentance or grief Cgyod) for his yearning (= ten pa log, aversion)
haunted the poet, to such an extent t h a t it 'reached the ninth storey'
(thog so dgu thog, thog so, colloq. for thog sa, thog rtsegls], floor). In
other words: Reached the level of utter disgust or repulse. 234d delete
la; Finally, one may also suggest—from the context—to delete ma in
234b, to retain a reading similar to song no. 215 supra, i.e. a long time
390

has passed). Whatever, the dividing line between love and hate is thin
indeed!
235 Cf. similarly no. 141 supra. When the sun or the moon emerge in the
sky, no one knows the 'story* of the stars, i.e. there is no talk about
the stars, being either completely or partially invisible since the sun
and the moon are so dominant. Similarly, the poem tells us, when the
owner (i.e. the husband) met with his wealth (nor, precious object, in
casu = a wife or spouse, cf. crit. éd. nos. 3, 4 and 31), then there is no
'story* about 'objects' (dnos po, 'minor things' or entities, prob, here =
casual lovers) i.e. no secret affairs.
236 When the animal emerges from (among) the eastern mountains, it was
thought to be a deer (a portrait of a pretty girl, cf. also no. 232 supra).
Only, when the creature reached the western mountains, it turned out
to be a leg-broken antelope (rgo ba : dgo ba, Procapra picticaudata,
Hodgson, here an ugly girl). Included by Zhuang Jing, no. 110.
237 The big, yellow flat felt h a t ('hog [r]do or 'bog tho; the term is of Mongo-
lian origin: bogdo, "precious") usually worn by the previous lay officials
of the Tibetan government (srid gzun gi las tshan skya bo) and the
aristocrats, cf. also C. Bell, The People of Tibet, pp. 20-21, The per-
sonage wearing this h a t appears to resemble the lightning (thog) in the
sky, cf. also nos. 309, 412 infra. As sudden as thunderbolts are hurled
down (thog rgyag, gnam Icags Ihuh ba) or thunderclaps are created,
these officials and aristocrats, like magicians (cf. nos. 217-18 supra),
are capable of inflicting sundry punishments upon ordinary people, so
beware of this type of person, "no one knows where the lightning (i.e.
punishment) will strike", so enemies should beware, they may strike
any time!

238 No one is allowed to talk, no one is allowed to walk iphag : phab, or

'phag, to lift the feet), i.e. the poet, we may surmise, is under a strict
surveillance contrived by his guardian, the Regent of Tibet, which bars
him from dating his girl friends. Consequently, the poet contemplates
to inflict his foes a serious blow by piercing sharp spears (mduh), here
used as a sword, in between their ribs.
239 Cf. also no. 170 supra. The poet, in this entirely metaphorical poem,
relates t h a t the aqueduct or canal is full of water, here symbolizing the
ever-flowing stream of love, which has flown down, being accumulated
and dammed-up in a little pool, an inexhaustible reservoir of love and
here evidently depicting the girl. Addressing his friends, he proclaims,
anyone who is sympathetic and daring (bio bag gros pa : dro or dros
pa) enough, he may come and "draw water", i.e. fetch some water, or
perhaps, come and get love. Included by Zhuang Jing as no. 111.
 391

240 The path of love is thornful and toilsome indeed. In this poem the poet
is determined to stay with (the girl) for three days (cf. also no. 227 and
the crit. ed. no. 25), despite the fact t h a t the chos skyon (dharmapäla) is
frightful and dreadful. Here evidently, the chos skyon is a euphemism
for the parents of the girl. Cf. analogously the crit. ed. no. 65. Although
the route leading to the beloved (or her heart) is likened to the narrow,
precipitous path of bar do (cf. also nos. 62, 142), the poet is neverthe-
less resolved, still retaining the simile of the dramatic events of the bar
do, to breach through to her by fighting his way through the great per-
ils facing him after having equipped himself (rtags : btags, fastening
around the waist) with the paraphernalia of a warrior whenever enter-
. ing the battle-field {'khor gsum : mtshon cha : arrow (mda3), sword (gri)
and spear (mduh)).
241 In line with the above poem, the poet here likewise portrays his un-
swerving and fervent wish to live a life devoted to love: Here apparently
two men are wooing the same girl depicted as the sweet-smelling juniper
tree (used as incense, cf. no. 212 supra); should he die, well let him die
and let the axe break if it must break (chags...chags : chag...chag). At
any cost, the poet openly proclaim t h a t even at the risk of dying or even
at the risk that the axe should break, he will have the girl and will not
allow (his rival) to smell the juniper (i.e. to let him have her). 241c
counts seven syll., la is redundant.
242 A poem conceived in the same vein as the previous one. Should people
spread rumours about him, well let them! Should the dogs bark, well let
them (lit.: "Should the dogs eat, let them eat", i.e. here to howl, which
again might betray his nightly excursions and escapades)! Even, (along)
the route which he frequented {'grul rgyun, leading to his paramours) he
had fastened (dam : bsdams) the mouth of the beggars (spran = spran
po, likewise to bar them from revealing anything). Why ? Because
from now on, he has decided to discontinue his illicit traffic. So he
couldn't care less! Incidentally, one may even suggest, purely from a
logical point of view, to emend 242d good rgyu yin no to gcod rgyu med
do, i.e. "no way would he stop" dating his secret lovers. Stubbornly, he
would henceforth all the more pursue female relationships. Further, we
may perhaps read another level of association into the poem: Behind
the ill-natured slander and defaming designs we may envisage, aside
from any spiteful opinio vulgus, some complacent slanderers among the
nobility or the ecclesiastics, who were unable to compromise with the
poet's ill-earned reign and buoyant disposition. Again, in the garb of the
all-devouring dogs which harassed him or prey on him with their bark-
ing, we may, aside from the above detractors, perhaps see the Chinese
and the Mongols portrayed, who like bloodhounds ceaselessly vied for
supremacy over Tibet, fidgeting along its threshold, impatiently seeking
392

to trespass its border to gain a lasting foothold there. Yet, as always,

the poem is open to alternative constructions.
243 The phrase lia ba gyah 'dzin, cf. also no. 194 supra; it probably refers to
a Chinese pipe or tobacco of some sort (the Chinese pipe with the long
stem and the diminutive bowl, cf. C. Bell, The People of Tibet, p. 243),
but the etymology is still not satisfactorily accounted for. Neverthe-
less, thanks (bka' drin) to the governor one may be smoking ('then) the
Chinese pipe. But smoking the *black intoxication' is not the poet's pen-
chant or his style. The idiom Ha ba gyan 'dzin with the phrase nag po
ra gzi (: bzi), as said, poses a problem, but contextually it can only refer
to opium, the black tobacco (= rial tha) which creates hallucinations (ra
bzi).
244 A t h a n k a or image made of cloth (gos sku), often made of silk or brocade,
a thin applique t h a n k a offered (to the poet) by the doctor (em 'chi or em
chi\ a Mongolian word), in which case it would appear to be the private
physician (bla[ ma] sman pa) of the Dalai Lama. Perhaps a historical
figure. 244b gsad mkhar dgu thog refers to the image depicted on the
gos sku: The famous Nine-storied Tower in lHo-brag in Southern Tibet
known from the life of Mi-la ras-pa: gSad-(or gSan-) mkhar dgu-thog
: Sras-mkhar dgu-thog, but also called gSas Sras-mkhar dgu-thog, cf.
mKhyen-brtse's Guide to the Holy Places of Central Tibet, p. 138, n. 384,
where different spellings of this tower and temple are mentioned; cf.
also the rNam-thar of Mi-la ras-pa, chap. V. Only in this poem it should
be understood metaphorically, i.e. the t h a n k a was believed to be as big
as the famous Nine-storied Tower. Probably rumours had spread among
the people regarding this precious gift and with the relentless effect
of jealousy it grew into quite disproportionate dimensions in people's
mind. Consequently, to set things right again, the poet summons those
beset with rage (snin rluh [bilans), being devoured by jealousy (= phrag
dog) we may surmise, to come and inspect it! Seeing for themselves
the actual normal size of the thanka the poet might perhaps succeed in
quenching yet another source of malicious envy. For another sample of
gias mentioning this famous tower, cf. Bod kyi dga'-gias II, p.72, no. 5
= gZas-tshig phyogs-bsdus, p. 157, no. 4:

| Iho brag sras mkhar dgu thog

j ma mjal skad grags ehe ba \
I o los mjal khar 'gro dus (~ skabs) \
j gnas sgo gcig las mi 'dug

245 A mountain pass (la mo); la rdzas, a stone cairn (rdo'i tshom bu) at
the summit of passed often profusively decorated with prayer-flags, of-
ten the same as la rtse, cf. A.M. Macdonald, "Note sur les Megalithes
 393

tibétains", JA, 1953, pp. 68. 245b spahpo : dpahpo, witness. The poet
thus took these two topographical features as witness, i.e as checkpoints
or marks. 245c the superb horse (rta mchog, aêvaratna) often associ-
ated with the mythological horse of Indra, Balähaka (T. rTa'i rgyal po
can (= spyan) ées); synonyms: legs 'gro, "fine pacer", Huh gi géog pa
can, "endowed with the feathers of the wind", Huh las rgyal, "wind-
conquerer", mam par dul, "completely tamed", rigs Idan, "the noble
breed" and gyi lift, ace. to Das' diet. p. 235, the name of a good breed of
horses from Amdo, where twelve different breeds are found; A-M. Blon-
deau, Matériaux pour l'Étude de l'Hippologie, pp. 157, 160, 164; Pema
Tsering, 1979, p. 177; 245c a li : gyi lift ? The superbly bred horse,
which moves swiftly, and which is of a reddish gray hue (or reddish
green (sfton dmar); but The Pentaglot Diet, III, p. 4340: gro dmar, C.
shèxiâng qîng; musk-colour; ibid., p. 4319: gyi lin gro dmar; C. lùër, 'a
green-eared horse' (a special breed of horse ?); p. 4322: gyi lin rta mchog;
C. lai yuânliù) cf. also no. 434 infra. Phrasing this poem rhetorically,
the poet, by identifying himself in the garb of a strong horse, submits
himself here either to a test in horse-racing, convinced, evidently, t h a t
he will pass. Or here we may see this as a call for a competition between
two rivals.
246 A plain romantic poem couched in a traditional setting of a willow grove
and the thrush, the girl, which offers her sweet warble, cf. crit. ed.
no. 64: Here the lover is aware of the density (tshags mthug pa) of
the willow grove, and their long-lasting acquaintance, having lasted for
about five years (lo mo = lo) now, h a s for his part passed by listening
to her enchanting song. Phrased differently, the poet cannot have her,
although he has tried for five years, his failure probably to be ascribed
to the intervention of the girl's parents.
247 This and the following poem seem to be somewhat corrupt in the MS.
In my reading, there only seems to be three verses in this poem oddly
enough followed by a line, in a secunda manus (mchan), added in the
margin of the MS reading: sluh gi lha mo [d]kar mo, an apparently
nonsensical phrase when read with the three other lines. The walnuts
and peaches are found in bounteous measures ('bol ba, = 'bol po, abun-
dance) in the poet's monasterial estate (dgon géis); so, "don't shake the
trees in the willow grove!" Here the walnuts and the peaches refer to
different type of girls (walnuts, as is known, is hard to crack, and may
thus indicate a 'difficult' girl, whereas the peach type girl evidently is
a smooth and tender-natured girl, cf. below). Thus the poet indulges in
the company of various types of women, of which there are plenty in
his estate. Only the poem admonishes him not to 'shake' the tree in the
willow grove, i.e. not to seek another girl, a tree which we, incidentally,
know never carries any fruit. One may thus surmise t h a t it is a forlorn
394

hope. Or perhaps even the girl in question may be the enigmatic Sluh
(: Klun ?) IHa-mo dkar-mo, a goddess and a brtan ma ?—the identity
of which remains unsolved. For additional gzas conveying the picture
of the kham bu and star k[h]a, cf. e.g. Bod kyi dga'-gzas II, p. 34, no. 2:
| star kha bzas pa'i star skogs \
j rta ra'i nan la gyugs yod \
j kham bu bzas pa'i kham tshig
| gyugs sa med par bsdad yod \
gZas-tshig phyogs-bsdus, p. 170, no. 1:
| star khaï nan shin iim byuh \
j kham huï phyi pags zim byuh \
| ein tog a mra'i 'bras bu \
| phyi nah gfiis ka Um byuh \
Cf. analogously, Bod kyi dga'-gzas I, p. 60, no. 1.
248 This poem is likewise corrupt, the MS merely reads:
| dan po lo yag Ijah pa \
| byas bzin pa'i 'phros yin \
In fact, it appears to be beyond emendation. The reason is evidently
t h a t the page here is turning so t h a t the first two lines evidently are
missing. Nevertheless, in our suggested reconstruction these two lines
now constitute the first and the last line of the quatrain, but the two
lines should as said most probably be read in sequence. 248ab, cf.
analogously crit. ed. no. 2, where Ijah pa indicates the green sprouts,
which are planted prior to the produce of a good harvest (lo [t[h]og] yag),
and when ripened (smin pa), the grass eventually turns into stalks of
hay. Hence our tentative construction. The perspective of a love affair,
the poet foresees, is dependent upon their doings, cf. no. 217 supra for
this construction. Nevertheless, a proper reading and reconstruction of
this poem is hardly plausible.
249 This poem is apparently intended to depict lHa-bzan Qan. To the exter-
nal world this figure behaves as if he is 'the Mongolian uncle', i.e. acting
as if he is an uncle to the poet, and yet internally he is troublesome (sba
ri sbi ri, lit. 'unclear', just as when being befogged by alcohol, ra bzi ba,
or being unconscious, brgyal ba) i.e. unpredictable, unreliable and hence
dangerous. For this type of quadrisyllabic word formation, cf. Zhang
Liansheng, ' T h e Phonetic Structure of ABCB Type Words in Modern
Lhasa Tibetan", in Soundings in Tibetan Civilization, pp. 20-34. The
poet's scepticism is here expressed by way of the well-known fact that
the Mongols (sog po) are often so numerous, being dispersed into many
 395

clans etc., t h a t linguistic and hence factual dissensions among them are
often believed to prevail.
250 A strong symbolic poem. Cf. the poems nos. 178, 317 and 452 for
the term mTsho-sman rgyal-mo, the Protectress or Goddess of the lake
which here personifies the girl; cf. the crit. ed. no. 9 for the goose and
the lake. 250b brgyal, to swoon, (alt. reading brkyal, to swim). Even if
the lake should cry, and the hamsa, the golden duck (here symbolizing,
in our reading, another man, rival or even the husband) is swooning,
regardless of that, the poet promised, he would not let the mtsho smart
rgyal mo, his beloved, behind, b u t is going to take her along.
251 He did not set off to seek his beloved, the poet confided, carrying along
a tea-pot (filled with) beer, i.e. to ask formally for her hand. The young
lad's girlfriend is a casual date, who (su gas, coll. for su yis) then can
say what ? In other words, the poet is evidently indulging in an illicit
liaison, which predictably aroused widespread rumours. To placate any
ill-boding hostility he openly questions who can object to his woman-
izing, since he has not transgressed the formal rules of courtship and
marriage. The poet explicitly states t h a t he did not bring along beer
to be partaken of when dating her. Here is of course a reference to the
so-called slon chart, the Pegging beer' i.e. the beer given to the party,
the bridegroom's party, when it arrives to ask for the girl's hand; cf. e.g.
C. Bell, The People of Tibet, p. 179-180; By stressing t h a t his beloved
is a random encounter (bya rdo lam 'phrad, cf. the crit. ed. no. 28) the
poet thus cannot be the butt of society's slander and maligning.
252 A poem equally depicting some people's flagrant opposition to the poet's
inept liaisons. He fairly declares his sovereign right to choose his
own beloved, being unaffected by people's finger-pointing directives and
guidance (mdzub mo re stort : mdzub mos ri stort) in matters of love.
He personally knows the whereabouts of his favourite beloved.
253 The clear, white moon (dkar gsal zla ba), a stock epithet for a fair
damsel, cf. the crit. ed. no. 1. In this poem the moon, as usual, sym-
bolizes the girl, whereas the male lover is symbolized by the sun. As
is known, each night the actual time (i.e. here distance, rgyan rgyah)
of the moon's shining is shifting, wherefore the poet admonishes the
girl not to avail herself (mi ées, lit. 'not to know') of the method (lugs)
of changing distance, i.e. not to show a different attitude towards the
poet. The poet, on the contrary, would allow himself to act (btaft stort
: btan gtoh) just like the sun, thus ensuring the fertility of the world
to increase (phebs, to come, which is plausible, but 'phel is an equally
feasible reading; cf. the crit. ed. no. 46). If this does not signal that the
girl would become pregnant, it, a t least, indicates t h a t their love will
prevail and grow.
396

254 Here bltas : Has; 254b blta : Ha; 254d dog : dogs pa. People came not
only just to 'watch the show* in the temple, for which cf. e.g. no. 228
supra; but, too, there was no fear t h a t they h a d come there to ask for
blessings from the golden statue. Replacing the people with the girl and
the golden statue with the poet, the poem thus tells the story of the girl
who willingly attended the show, i.e. paid the poet a visit, only she did
not want to have any affair with him. Note the possibly conscious word-
play on dogs pa mi 'dug: 1. "No doubt t h a t (people, the girl)" came to
ask for the blessings; 2. "No fear (i.e. no way) t h a t (people, the girl)"
came to ask for the blessings. In casu, no doubt, the latter reading is
the one to be preferred.

255 One single stem carrying three hundred and sixty tree tops or branches.
Moreover, each top was pointing in each distinct direction. This poem
perhaps allows for different interpretations. It may either signal that
the poet is seen to uphold and entertain quite a number of different
lovers (= rtse mo, word-play on mo), each with their distinct stamp,
or it may simply depict t h a t Tibet (= rtsa ba of a trunk (sdoh po)) is
obviously governed by a huge number of local leaders (= rtse mo), each
ruling their respective district. A policy which prevents Tibet from
remaining united, being vulnerable to external invasion.
256 A poem welcoming love and merriment. A ladder or stairs (skad 'dza' :
skas 'dzeg), cf. also no. 224 supra. Why shouldn't we, the poet proclaims,
climb up the stairs, once the main door is open ? Why shouldn't we, the
poet equally proclaims, drink beer, once the guests have convened ?
257 Kon-la, also called Kori-po Bar-la (or perhaps rather Koh-po Nar-la; cf.
also no. 424 infra), designates a pass (la mo) in the Koh-po province,
more precisely between present-day Mal-gro gun-dkar rdzori and Koh-
po rGya-mda' rdzon. But some confusion still prevails as to its precise
location; cf. e.g. the maps reproduced in H. Fletcher, A Quest of Flow-
ers, pp. 101, 108, 156, 161: Kong-bo Nga-la is a pass located between
D[v]ags-yul and Koh-yul, a pass on a spur running down to the gTsan-
po river, on the southern bank of this river. Is is more commonly known
as the border pass (mtshams ri) between dBus and Koh-po provinces,
known, we are here moreover told, to be the only passable route when
proceeding to the east. Everyone wanting to proceed (bear) to Dar-rtse-
mdo would have to travel through this pass. 257b grags pa : drag pa.
For Dar-rtse-mdo, the well-known trade junction in Eastern Tibet, cf.
e.g. E. Teichman, Travels of a Consular Officer in Eastern Tibet, pp. 20,
59. Interpretated metaphorically, the poet perhaps signals with this
poem t h a t the girl's (here = Dar-rtse-mdo, or perhaps the beloved so-
journs in this place ?) parents (= the pass) are quite strict, but (it is/they
are) yet the only passable way to the girl's heart. For Dar-rtse-mdo, cf.
 397

e.g. also 'dMaiis-gzas khag-gcig* in Ni-gion, 1982 (1), p.40; sDe-dge'i

amans-glu, p. 109. no. 2:
| dkar yol chag na chag chog
| ri mo yal na yal chog
| dar rtse mdo la phyin chog
| de las dga! tshad nos chog

258 To be in love (with a girl) who has an owner, i.e. a husband, is to the
poet like making a beckoning gesture with the arm when having no
arm. 258d pad skor, = phyag rgya, mudrä, note here the association of
m u d r ä to represent the female counterpart (yoginî) in yogic Tantrism;
lag sdum : lag rdum, a mutilated, maimed arm, here armless. The
term pad skor may moreover designate a fancy in one's mind which
you would like to realize, but is unable to do. Evidently the poet h a s
fallen in love or is contemplating having an affair with a lady married
or promised away. Love is a forlorn hope, as the poet is dban med, i.e.
at his wits' end. 258abc dun dun : [g]dun \g]duh, passim; 258b dpal
bya'i kyi[s] [sicl], corrupt, and as yet beyond emendation, but probably
better : pad byïu lags kyils] ?, a bird of some kind, as yet unidentified.
259 The hollyhock (ha loï me tog), cf. the crit. ed. no. 15 and no. 157 supra.
This garden-flower is so ordinary t h a t it is not worthy of being the sub-
ject of any talk or praise. Were something to be said or were laud to be
expressed, it should be addressed to the span rgyan, cf. no. 130 supra,
the 'meadow ornament'. To the Tibetans the ha lo'i me tog is a culti-
vated garden flower, and being man-made, the girl, which the flower
in this poem depicts, is thus considered married. The span rgyan, on
the contrary, is a wild-growing flower, and this girl is thus not married.
Hence, she is to be preferred.
260 In this little poignant poem the poet is suffering from the intoxicating
and stimulating (myos pa) effects ofchan. He frankly states that he is
not to be blamed for excessive carousing, we may presume, the alcohol,
the poet declares, is the culprit (cf. also no. 161 supra). On top ofthat,
the effect (nus pas) of the 'wild elephant' (glah chen smyon pa) certainly
didn't put him off, i.e. he kept on doing things under the influence of this
strong stimulant. (If, incidentally, nus pas in 260c is altered to nus pa,
the meaning would be t h a t he is determined to rid himself of the effect
of glan chen smyon pa). The 'wild, demented or rogue elephant', aside
from being an epithet for beer and for the second stage in drunkenness
(ra ro gfiispa), cf. Das' diet. p. 1161, éel-goh sel-phreh, p. 466, is in fact
a grass herb (sho sman), better known under its general name than
phrom or Ian than rtse, i.e. dhustûra and dhattüra, the species datura,
Datura metel, Linn, or fastuosa, Linn., (Rastenija Tibetskol Meditsiny,
398

notwithstanding, identifies it, op. cit., p. 67, with a genus of the fam.
Phytolaccaceae, the pokeweed or pokeberry) the Trumpet flowers, or the
Angel's trumpet, a strong-scented or rank-smelling herb of the night-
shade family, Solanaceae. It contains atropine (also denoted daturine),
an alkaloid. This can be used as an antidote against morphine or vice
versa. It is an excellent drug, employed e.g. by ophthalmologists. The
Tibetans distinguish between three types, all toxic: dkar po gahs than
phrom, khra bo rgya than phrom (or gya' than phrom) and nag po rdza
than phrom (or dug than phrom). Among these the first one, the white-
flowered genus is also called va ta, dkar po chig thub, glah chen smyon
pa and 'dod snah dgu 'gyur. Its fruits, when powdered, is especially ef-
ficient towards helminthiasis (srin (bu) nad, srin gsod, ghen nadf glah
thahs), hydrocele and pestilential diseases (gag Ihog). Moreover, like-
wise in a detoxified and triturated form, it may more generally be used
as a tonic and invigorating stimulant (lus stobs skyed). Using chah as
vehicle it can yield a strong kick. But most often it has for generations
been employed as a sedative. Perhaps, glah chen smyon pa may be iden-
tified with Datura medel, Linn., fastuosa, Linn, or Datura stramonium,
i.e. jimsonwood or thorn-apple. According to Kämasütra of Vätsyäyana,
one becomes unconscious as a result of eating its fruit, cf. S.C. Banerjee,
Flora and Fauna in Sanskrit Literature, pp. 38-39. The most notable
or rather infamous incidence, perhaps, was the administration of this
pain-killing substance or anaesthetic (dope) to Lun-sar, when this lay
official was blinded in Lhasa on the 20. May 1934, by having his eyes
removed as punishment for having tried to modernize and reform Ti-
bet; cf. Goldstein, A History of Modern Tibet, pp. 208-209, where it is
called glah chen mho (sicl = smyoin]) chu ('the water that makes an
elephant go mad'); in the present poem either the actual administra-
tion of this stimulant is referred to, or the effect of beer is likened to it.
Cf. also èel-goh sel-phreh, pp. 268-70; V.B. Dash, Formulary of Tibetan
Medicine, pp. 149, 212, 236; Nebesky-Wojkowitz, Oracles and Demons
of Tibet, pp. 346, 489.
261 For the title nan so, a lay official dealing with domestic affairs, cf. L.
Petech, Aristocracy and Government in Tibet, p. 237; Here the poet
concedes t h a t a nan so (of his ?) named sKyabs-gnas rdo-rje was un-
reliable, (lit. "(with a discipline as lax) as a paper-made prayer-flag7'
(fluttering in the wind) or "(floating everywhere in the air) as a paper
prayer-flag" i.e. easy to convince and manipulate. When Mr. IHag-pa's
mother argues (with sKyabs-gnas rdo-rje) it is like (dro : 'dra) (taking)
the stimulant glah chen smyon pa; cf. the previous poem.
262 A poem portraying an archer, the poet himself? 262a stag don, a quiver
for arrows made (bzos) from tiger's skin (stag Ipags), cf. no. 191, but
plausibly here just designating any quiver, mda! don, cf. also Das' diet.
 399

p. 547. This quiver is fastened or hanging (rtags : htags) from his right
side, worn and decorated with red eagle feathers (im]tshal rgod sgro, cf.
also no. 200 supra). On his left side he wore, probably at the waist of the
gown (cf. C. Bell, The People of Tibet, p. 239, ill. Bod-rgya tshig-mdzod
chen-mo, smad-cha), a sewn case for a (wooden) bowl (pho éug : phor
subis]; phor pa, drinking cup (= can ne)) into which was stuffed (rdzan :
brdzans) a golden-coloured Dvags-po cup (dvags can serpo, = dvags po'i
can ne serpo). Cf. also no. 401 infra. For this kind of bowl, cf. Veronika
Ronge, "Gedrechselte Holzgefäße aus Tibet", Zentralasiatische Studien,
(17), 1984, p. 201.
263 A somewhat corrupt stanza since 263b and 263d respectively lacks one
and two syllables. Our emendation is, as always, tentative and optional.
Nevertheless, travelling at our own will (sems dpa9: sems pa, i.e. bsam
pa), the poet alleged, is relative to one's own idea and views. Here
the poet's particular or extraordinary wish is to proceed to the square
willow garden (to have a tryst with his beloved).
264 Singing a few songs should cause no fear whatsoever. Should one have
any cause for alarm, there is all the reason to apprehend the transient
and mortal nature of h u m a n existence; cf. e.g. the crit. ed. no. 47.
265 Although the sky is full of stars no one has the likeness of the Pleiades
(cf. also nos. 196, 267-68 and 344). Similarly, although the world is re-
plete with people, nothing can be compared to the guests seated in rows
and attending the party. J u s t as the Pleiades are always constituting
a firm unity of six stars, protocol commands t h a t the guests invited to
the party are occupying reserved seats according to a strict system of
r a n k and position. For a similar poem, cf. Bod-rigs kyi glu-gzas, p. 4 1 ,
no. 2 and Duncan, 1961, p. 27 (almost identical).
266 An allusive poem. Tb work without any trace, i.e. without any reaction,
appreciation or without any gratefulness (byas pa rjes med pa = ho so
med pa). Having thus planted the hay grass (sog rtsva, = sog ma'i rtsva;
note, incidentally, that it is homonymous with srog rtsa, the 'root or vein
of life' or of samsäric existence, which again is synonymous with srog
sin) of Tibet, the mdzo-cattle (khyuh dkar, = gnag phyugs mdzo, the
herd of male mdzo) was sent to collect (i.e. eat) the (ordinary) mountain
grass, This poem naturally calls for more interpretations, as the figures
may be identified differently. Identifying the poet, the alleged God-king
?, with the hay grass of Tibet and the animals with the people, the poem
may signal t h a t although the Tiay grass of Tibet' h a d been planted, i.e.
the Sixth Dalai Lama had been installed on the golden throne (gserkhri)
in the Potala, the people was, most ungratefully, sent to the mountains
to carry ordinary grass. Expressed differently, the people was made
to disbelieve in him. A clue perhaps to the false Sixth Dalai Lama,
400

Nag-dban ye-ées rgya-mtsho, the illegitimate incarnation who was nick-

named sKu-zabs Pad-dkar by the Tibetan people; cf. e.g. Shakabpa, Bod
kyi srid-don rgyal-rabs I, p. 497. Again, interpretated differently and,
at least, more prosaically—the animals here being identified with a
girl—we may render it accordingly: Even after the girl had made all
her domestic duties (= nah las), she was most ungratefully told to do
even more work.
267 An allusive poem. Enjoining in all probability here the Tibetans them-
selves to take the stars of the Pleiades in the east as an ideal example
(yar dpe), the poet requests his fellow countrymen to remain united (rug
se rug pa, = rug rug, rag ge rug ge, = mnam du 'dzoms), once (du : dus)
they are privileged with independence. As is known, the stars of the
Pleiades, six in all, always remain united and is an ideal example illus-
trating indivisible unity. But, as always, the poem allows for another,
more personal interpretation, e.g. by replacing the Tibetans with the
girl.
268 In tune with the interpretation in the previous poem, the poet told the
girl that people usually described her by likening her to the Pleiades
stars. Probably the loving couple is a victim of ubiquitous slander. As
an ironical rejoinder, the poet would during a night-watch observe who
is capable of spending the whole night (nam rift) without the Pleiades
? As is known, the Pleiades stars are visible to the average eye only
during night and then usually employed as a time-indicator. Bereft of
the Pleiades it is thus difficult to determine the exact time during night.
269 Another metaphorical poem. Outwardly, the poet claims, he is obliged
to observe the people's wishes, here illustrated by the constant cast-
ing forward ('dor 'dor) of the woolen thread in the process of spinning.
That this policy of his observing or rather complying with people's needs
entailed flexibility is indicated by the fact t h a t the yarn is of woolen
fabrics. Internally, however, the poet is compelled to take recourse to
harsh self-reliance, here illustrated by the constant endeavour to twist
or wind up an iron thread or a chain, which likewise indicates irk-
some self-discipline, implying perhaps even self-reproach. Is this poem
couched in a bitter tone ? Nevertheless, it reflects the burdensome obli-
gations which are heaped upon him—being torn between the entangling
reins of outward duties that dictate ubiquitous etiquette as well as open-
minded poise versus an onerous self-restrain to curb inward passions
and otherwise unbridled dreams. Cf. similarly, Aris, 1988, p. 132.
270 Again a garbled poem. As usual the problems occur at the turn of the
folio, here between B I l b 6 and B 12al, where the rest (ten syllables)
of 'the stanza' just does not fit with the preceding lines. Nevertheless,
the stanza may tentatively be restored accordingly:
 401

I se ba brag la sim son \

j se'u 'bru than la zag son |
| se ba se'u 'bru gnis po \
j kho thag de khas chod son \
As the theme of the poem evidently is on lovelornless and the inex-
tricable course of karman, our provisional emendation of 270d has been
inspired by the reading of e.g. the crit. ed. no. 9d and no. 30d, supra,
q.v, which are couched in the same vein. In the present poem it is
maintained t h a t the wild rose (se 6a) grew (lit. 'swam', disappeared)
into the rock and the pomegranate (se'u 'bru) had fallen on the ground;
the wild rose and the pomegranate, the two, had settled with just that.
There is no more hope for a love affair, the fall h a d already set in. The
wild rose (se ba or se ba'i me tog) refers to any of the genus Rosa of the
fam. Rosaceae, the rose flower with prickly (tsher ma) stalks, pinnate
leaves and showy flowers. The Tibetans distinguish between two gen-
era (rigs), the wild (rgod) and the cultivated (ßyuh). The one is question
is the wild rose which climb the rocks, cf. Sel-gon sel-phreh, pp. 2 2 6 -
27. The (wild, rgod) pomegranate (se'u 'bru, hyomonymous with ze'u
'bru, anther or pollen), (uanya) dädima, Punica granatum, Linn., is the
edible fruits of the hardy shrub or small tree, growing in various parts
of Tibet, cf. ibid., p. 212. The remainder of the garbled stanza relates
about the moon of the eighth day of the month (astamï rätri, i.e. the
half-moon, zla gam).
271 The grouse, the divine bird, settling in the upper part of the meadow-
clad hills, is considered the most beautiful among one hundred birds.
Here is evidently the handsome girl portrayed, cf. also no. 123 supra and
nos. 306, 313 and 381 infra. The bird 'dre bya, the 'demonic or goblin
bird', also designated srin bya (for synonyms, cf. Das' diet. p. 1292)
usually refers to the owl, 'ug pa, a bird of the order Strigiformes with
usually nocturnal habits. Here it is sojourning high up in the rocky
mountains (27 Id counts seven syllables po na should be replaced with
por), and moreover fated (las 'phro, cf. e.g. the crit. ed. no. 7) to be
terrified (of daylight). In this allusive poem or repartee type of song,
there is probably talk about two different kinds of girls, one good and
one bad. For additional samples of gzas on the ominous (Itas nan) 'ug
pa, cf. e.g. Bod kyi dga'-gias I, p. 32, no. 5. For the combination lha bya
vs. 'dre bya, cf. e.g. Bod kyi dga'-gias I, p. 64, no. 5 = gZas-tshig phyogs-
bsdus, p. 127, no. 1 = Snyder, 1972, p. 33; p. 110, no. 5 = gZas-tshig
phyogs-bsdus, p. 100, no. 2 (cum van lect.)\ p. 112, no. 4 = gZas-tshig
phyogs-bsdus, p. 146, no. 8 = Bod kyi glu-gias, p. 137, no. 1 (cum var.
lect.).
273 A frank poem lauding hedonism and the unravelling of the poet's epi-
curean disposition. After death, the ringing of a bell (tin tin, ono-
402

matopoeia, cognate with our sound of metal, tinkling or dingdong) is

the deception or delusion of the mind (sems dpa' : seras pa), because it
is not heard post-mortem. In contrast, the poet contends, prior to death
and while thus still alive, to indulge in eating and love making (rgyo,
lit. coitus), is the (true) advantages or pleasures of life. Cf. similarly,
Bod-rigs kyi glu-gzas, p. 58, no. 2:
| ma si skabs kyi byams ehe \
I gson pa'i dus la gnah rogs \
j éi nas dril bu sin sin \
j rah sems mgo skor yin grags \

21A The poet here admitted t h a t he did not jump (van chon : bah mchoh
('gros or rgyag)) into the summer field in a springlike fit of juvenile play-
fulness. When the harvest is ready to be ripened, the grass standing
full-blown, no one is supposed to trespass the field. In other words, with
this simile the poet adduced t h a t he did not have any affair or liaison.
The reason: Owing to his good fate, the poet contends, the cumulative
effects and the karmic retribution of former existences.
275 The golden vase is here evidently personifying the beloved, who is ad-
monished to stay firm and solid, i.e. to be brazen and fidel. Being
confident t h a t this admonition will prove true, the poet predicts that
karman will allot him a rendez-vous with this girl, even if it should
involve t h a t he had to traverse snow-barred passes and valleys (rluh :
\k\luh) to reach her. Here is perhaps also an allusion to the well-known
dictum and image t h a t the peacock's feather, sgro mdohs, and the ku éû
grass have a tryst in the golden vase, cf. analogously Bod kyi dga'-gzas
/, p. 18, no. 6 = Glu-chuh sna-tshogs, p. 23.
276 The poem has retained six syllables, although the last two lines do not
fit all too well with the rest. Don't get up too early in the morning, lest
you would like to eat an early (rhas : shas) lunch ([d]guh tshigls]). The
guests assembled here in circular rows resemble diamonds (pha lam)
and although (the guests ? are all) small-sized, the order (phyag rgya,
lit. 'seal', gesture, here = rim pa ?, succession of the guests) will not be
delusive. The arrangement will be perfectly correct and proper. But the
message of the poem (go don) is still gibberish and yet not satisfactorily
accounted for.
277 A poem on lovelornness. 277a khri bdug : khri gdugs, 'throne-canopy*,
i.e. the sun (ni ma). It circulates the four continents (caturdvïpa, glin
bzi, i.e. everywhere), making its circuit and returns every single day
(ni ma). Analogously, and yet contrarily, the poet bewails, there is no
chance t h a t his beloved, whom he is longing so much for, ever will come
back to him. 277c pa la should replaced with par. Zhuang Jing has
 403

included this poem in his anthology, no. 112, who needlessly emended
re to ri in 277b and reads 277d: ri la 'khor dus mi 'dug.
278 Couched in the same diction and read in conjunction with the previous
poem, the poet here questions whether his beloved will ever r e t u r n
{'khor) now t h a t there h a s been so much waiting {sgugs sgugs : sgug
sgug or bsgugs bsgugs); cf. analogously Bod kyi dga'-gzas I, p. 25, no. 4.
If now, the poet readily acknowledged, he may have to admit {zer na
= zer bar phyin na) t h a t she won't turn up, then embarrassment and
shame came to his face. More precisely shame came to the gullet or
front neck (og Itoh = og doh, = mid pa, mgrin pa) and the chin (og
ma, = Ikog ma, ma le, upper front-neck). Here is an allusion to the
popular gesture indicating sadness: In a waiting posture both hands
are placed under each side of the chin thereby making the countenance
look cheerless and gloomy.
279 Again a garbled poem. According to the MS we may at first sight con-
clude t h a t it consists of six lines, but the text-parts of section II and
III do not dovetail. Most likely then, the first four lines constitute a
separate stanza, and 279e and the three first syllables of 279f, i.e. dri
kha gzan, constitute the initial part of another stanza. Finally, the be-
ginning of section III, i.e. bar phebs sig, constitutes the termination of
yet another poem. Consequently, no. 279 cannot be read as one poem.
Nevertheless, 279a-d tentatively reads: If it is a water-stream {chu mo),
one may lead {bcud : bcus, to bring or to irrigate) it. If it is an arrow
{mdaf mo) one may shoot it off (note the word play on mo in both cases,
alluding thus to a female). But faced with a heartily passionate lover,
the poet acknowledged, he finds himself at his wits' end (i.e. totally
helpless, bya thebs : bya thabs).
280 The white moon (shines, providing enough light), at the beginning of
the month, and, alternatively, at the end of the month you may (have
to) lit the butter lamp. Analogously, in the first p a r t of your life, you are
united with your (protecting and tender) parents, but in the last part
of your life you are all on your own (two feet, rah mgo ston, plausible,
perhaps more correctly: ran mgo 'don); when independent and self-
sufficient {ran 'go ran gi 'don : ran mgo ran gis 'don), there is no fear
t h a t you may plunge into the mire of samsara {samsârapahka).
281 The guests seated here (at the glamorous party) in a circular row re-
semble a silk thread. A big coral {byi ru or byu ru, vidruma) weighing
about one and a half ounce (ca. 40 gram; nag gah spor do). This is two
weighting measures {'jal tshad, 'degs) in use in old Tibet, nag gah (or na
ga gah, one full nag, approx. = srah gah, one ounce = 28.349 gram; 20
nag = 1 khal) and spor do (= two spor, spor bii = hag gah, i.e. approx. a
half hag = ca. 14 gram), thus in all two and a half ounce of corals. But,
404

as the poem continued, (the silk thread) could not (pro)claim to be the
owner (of the coral). Expressed more simply, in this allusive poem de-
picting a rope of pearls, the girl (the coral) is saying to the the poet/the
man (the silk thread): I don't want you! A blatant refusal.
282 The guests (mgron po) assembled in circular rows (resemble) the crop
of (white) rice ('bras lo = 'bras gyi lo tog ?). The phrase 'bras lo is still
not satisfactorily explained. The guests enjoy a celebration during a
festival (cf. equally no. 287 infra) and resemble a white stûpa or caitya
of white crystal. The poet felt t h a t the more he circled—one circumam-
bulation, two circumambulations—the more he felt to circulate, at least
three times more he wanted to circumambulate (lit. "without three cir-
cumambulations, he would not go aside"). Paralleling the stüpa in a
religious sense with the party in a secular sense, to circumambulate
(note the word-play on skor/sgor), is thus here to be likened with his
participation in the party. Couching this festival party in a religious
setting and terms, the poet laid bare not only his convivial disposition,
where he eagerly sought to attend parties several times, but at the same
time also unravels his ambivalent attitude, being torn between these
two forceful poles in his life. Cf. also no. 394.

283 A beer-song (chah gias) or a repartee song (tshig rgyag), or both ? The
cultivation and practicing (bsnen pa) of habits, inclinations or dispo-
sitions (bag chags, väsanä, residua) in the childhood, the poet frankly
conceded, accounts for having spent his youthful days drinking beer. Af-
ter his death, the poet professed, his body's dry bones would therefore
be useful (nan pa, = phan pa, run ba) as yeast.
284 No matter how deep you went inside China (rgya gas (? rgya yi[s]),
or the old (gas : rgas) Chinese ?), all you would get (yod rgyu9 yod
rgu, or even yon rgyu is possible) was tea. Similarly, although the
thoughts (sems dpas : sems pas) went to the Dharma (i.e. was absorbed
in meditation), he had no other recollection but of the sweet lotus tree
(pad sdohy here is evidently an allusion to a girl carrying the name
Padma).
285 The emerald cuckoo coming from Mon-yul, here depicts the girl, cf.
no. 122 supra and the crit. ed. no. 46. The poet exhorts her to warble
her dulcet tune in the multifarious willow grove; 285c counts seven
syllables, in which case du most likely would be dispensable. This
poem readily reflects his longing for the girlfriend of his homeland, his
acquaintance since boyhood.
286 At dawn when the moon and the stars convene is called skyo kha =
skyor kha, a venue up in the sky where they not always meet, i.e.
rarely meet. If now the assemblage should take place just once, the
 405

poet further declared, please let the meeting last for the whole night
(mtshan : mtshan gan, mtshan gcig, mtshan mo). 286c la is redundant.
286d gtan ston : gtan gton, cf. e.g. no. 253 and the next poem.
287 The circular row of seated guests (celebrating the (all-white)) rice crop
of the year (? or the name of a place ?, cf. also no. 282 supra), looks
like a white silk curtain. He decided, when the time had come, t h a t
he would (gtan ston : gtan (or btah) gtoh) roll up completely the row
of seated guests in Chinese paper. When the party was over, the poet
would tidy everything up nice and clean.
288 In the upland alpine valley the soil of the grass meadow h a s changed
(the colour) (bltas son, reading feasible, = gyur son). In the lowland
valley the leaves of the tree had been shed. With the coming of the
fall, the time has come for the leaves and the turnip, the two, to part;
288c kyis : kyi; again a poem on &armcm-destined lovelornness, here
prompted by the relentless alternations of the seasons, nature's autum-
nal and wintry intermezzo. Who in real life is the heartless separator
of the poet and his beloved is purely conjectural, but most likely in case
of the God-king the officious Regent, see e.g. the crit. ed. no. 8.
289 Without interruption, day and night (nin bead mtshan bead : nin êad
mtshan éad). The water stream (or flood, a symbol of love, cf. e.g. no. 170
supra), what (gain] la) is the hurry (rih ba : rihspa) ? Equally, the poet
readily confided, he, being a male, must hasten (rih : rihs, = rihs stabs)
back to his happy homeland too!
290 At the border between the high-alpine slopes and the low-alpine
meadow-clad slopes igya9 dan span = gyay ri dan span ri, but see also
no. 214 supra, and no. 381 infra), the poet went to look for (i.e. collect
or pluck, gtog pa, cf. no. 226 supra) ba lu (also bal bu, the leaves of
the da li[s], i.e. from talâéâ, the shrub or trees of the species Rhodo-
dendron adamsii, Rehd. or Rhododendron aff. cephalanthum, Franch.;
cf. Éel-gon éel-phreh, pp. 225-6, 228); the bark and the leaves of this
arborescent plant is used as incense (bsahs). Unable to trace any of
these leaves, the poet instead contrived to locate the sacred tree, the
juniper or cedar (éug pa), another excellent plant for incense, cf. note
212 supra. The poem probably illustrates the poet's vacillating search
for a favourite lover between two fragrant choices.
291 On the opposite (pha[r]) mountain the fragrant sandal tree (was found
growing). On the mountain on this side the (equally fragrant) sacred
tree, juniper (is found growing). If the scent is sweet they may simply
(ran) smell one another. A poem on requited love evidently. A slightly
better reading for 29 led would run:
| dri kha iim na phar tshur (~ phan tshun) \
406

I phar Um tshur Um yin pa \

However, cf. e.g. Bod kyi dga'-gzas II, p. 41, no. 4 = gÉas-tshigphyogs-
bsdus, p. 105, no. 4:
I pha rgyud tsan dan sdon po \
| ma rgyud lha éih sug pa \
| ha ran sran ma'i me tog
j chuh grogs lo gsum kham bu \

Cf. similarly, Bod kyi dga'-gias I, p. 28, no. 2. For similar poems of
requited love (phan tshun sems éor, phar éor tshur éor) cf. gTam-dpe,
p. 139; Bod kyi dga'-gzas I, p. 129, no. 4=gTam-dpe, pp. 116-7, quoted
and discussed ad the crit. ed. no. 6.

292 This party (bzugs gral, lit. assembled rows of guests) was arranged
Cgrigls] : bsgrigs), being accompanied by songs and dances and set up
in a happy atmosphere. This coincided with the thrush's offering its
sweet warble from among the trees in the willow garden down below;
cf the crit. ed. no. 64.

293 When, the poet professsed, he reached the age of twenty-five, he reached
a dangerous period in his life (dgun keg, also dguh skag, or skeg, = lo'i
bar chad). To ward off or to atone these life-threatening perils, he
exhorts his parents to burn incense to the gods from a high mountain
top. According to Tibetan belief, a dangerous period occurs in a person's
life each twelfth year (from the age of thirteen and henceforth).

294 The poet has for a long time been pleased and happy. In the gTsan
province are Ron-chen and Ron-chun (probably place names, otherwise:
large and small valleys) found. Ron-chen is hot and Ron-chun is narrow
(i.e. not easily passable); mTsho-sna (the Sixth Dalai Lama's birthplace
in Mon-yul), where the climate is moderate, is situated right in the
middle of pleasant forests. In this simile the poet is longing for his
home land, Mon-yul, situated amidst pleasant forests offering an ideal
temperature. His goal is evidently his birth place and the travel thither
through gTsan throws many obstracles in his way.

295 The golden male and female ducks/geese (gser gyi bya, nan pa, cf. e.g.
the crit. ed. no. 9), where are they flying (phu êud : phur eus) ? The pea-
cock coming from East India, cf. the crit. ed. no. 60, has come to show off
the splendour of its feather dress, its crest of plumes (lit. sgro mdons,
i.e. sgro thig, rma bya'i sgro'i mig, Skt. varhacandraka, varhanetra, the
ocellated spot, cf. also no. 426). In this poem the poet is evidently iden-
tifying himself with a shimmering peacock t h a t outmatches all other
birds, perhaps other rivals ? in beauty.
 407

296 J u s t like the jewel-studded pillar made up of five different precious

stones and metals (usually, gold, silver, turquoise, coral and pearl) is
most precious (among) hundreds (i.e. lots) of heaps of pillars supporting
it (stegs : btegs), likewise (you, Pan-chen bla-ma) manifested yourself
as the crown of all beings inch the poet himself, and filled up the dark
world of ignorance with clear light.
297 The government official or governmental position (zabs pad, lit. lotus-
feet', common title for a bka' blon, minister, b u t here iabs pad more
probably means governmental endurance) of the Bla m a and the dPon
po, is more firm and stable than a rock made of diamonds. Does it
refer to one person or two ? Under this firm rulership, the body and
mind of all sentient beings of Garis can, Tibet, is even better off than
an arrow. This idiom refers to the phrase mda' mo (las) bde ba, "bet-
ter (than) a good arrow (shot)", something like scoring a bull's eye, a
successful arrow shot is always aiming straight and regular ('drohs po,
draft, 'khyog medpa), meeting no obstracles on its flight. Similar to our
phrase "straight as an arrow"; Cf. no. 320 infra, Bod kyi dga'-gias II,
p. 9, no. 2: sku gzugs mda' las 'droh dus; sDe-dge'i dmahs-glu, p. 98,
no. 2: sku lus mda' las draft dus and sayings such as lam 'di mda3 Itar
droh[s] po 'dug; mda' Itar 'drofts po. A straight arrow, here a symbol of
honesty and faithfulness, shot by a skilfull person, one legs bead relates,
strikes wherever it is aimed; cf. Sa-skya Pandita's Subhäsitaratnartidhi,
no. 201, ed. J.E. Bosson, 1969, p. 244. The idiom may equally refer to
an arrow which is kept well and safely disposed in a quiver, cf. no. 405
infra. Here the mind and the body is even more relaxed and carefree
compared (las) to an arrow; cf. also 409 infra.

298 This and the following poem should be read in conjunction. The good ar-
row was shot and it struck down everywhere. The sundry stories (gtam
gsum) and the popular renown (khas grags, it is tempting and even fea-
sible to read mkhas grags, cf. e.g. no. 205 supra) (of the poet, we may
presume, being a good archer) are displayed (lit. 'kept') in Go-mdzod
rdo-rje'i glih. Another equally feasible reading instead of gtam gsum
khas grags would be stoh gsum skad grags, i.e. famed in the Three-
Thousand Worlds, an allusion to the Abhidharmic concept of a Trichilio-
Megachiliocosm, Trisähasramahäsähasralokadhätu, sToh gsum gyi stoh
chen po'i 'jig rten gyi khams or even khams gsum [m]khas/skad grags, cf.
analogously, Bod kyi dga'gias I, p. 17, no. 2; i.e. in the entire universe.
This go mdzod is the famous armoury located in Zol just below the
front (mdun) of the Potala. Phrased differently, the poet, the surmised
God-king, is conceived to be quite a famous archer.

299 The rear mountain of the Potala has entrenched itself around ICaii-
[g]seb-sar. The colour (tshod : tshon, tshos, here = 'od zer, rays, or
408

perhaps tshod, measure ?) of the sun (which eventually covered that

place) brought memories of Go-mdzod rdo-rje'i glin to the poet. In this
poem there is probably indications of the rise and the descent of the
sun as seen from the Potala: When the sun in its orbit rose (ear) from
the eastern direction (ear) and eventually set (nub) in west (nub) the
rays will first hit the front side (of the Potala), where Go-mdzod rdo-
rje'i glin, the armoury in Zol, is located. When the sun moved towards
the west, the lee side (rgyab) of the Potala, i.e. the shadow (grib so)
(of the Potala) will ensconce on the place ICan-gseb-sar, enfolding it in
dark. The exact location of ICan-gseb-sar is apparently not fixed, at
least according to the maps available: The Map of the Central Part of
Lhasa in Map of Lhasa drawn by Z. J. Taring it is located due east of the
Potala in a distance of some 500 meter from the Red Palace (pho bran
dmar po). Nevertheless, interpretated more abstractly, the poet, the
surmised God-king, is mindful of the people of Éol, a hidden allusion to
his nocturnal life among the taverns of Zol ? Cf. also Bod kyi dga'-gzas
II, p. 43, no. 2 = gZas-tshig phyogs-bsdus, p. 168, no. 2:
| pho bran dmar po'i grib so \
j lean gseb éar la [b]rgyab son \
j da lo lean gseb éar la \
I yar skyed son nan [~ yon snih] 'dod bzag
and gTam-dpe, p. 157:
| da lo lean gseb éar la \
| pho gzon thas loh[s] mi[n] 'dug
j chu sul ye ées sgron mas \
j tho skam phyag na brnam bzag

300 The poet here proclaims that his master is a god and his servant a
demonic btsan. Facing threatening enemies, he encouraged the master
and the servants, the god and the btsan, to unite urging them: Shall
we go and conquer them (e thad : e theg[s], or e 'thad, here = e thub, it
is possible to conquer or to tame them) ?.
301 An allusive poem which baffles a proper interpretation. The poet pro-
claims that he could handle it, i.e. he is declaring that he could prepare
the good-quality (spu bya : spus cha = spus ka, prob, not spusja, quality
tea) (Chinese) black tea. Now, this time, the poet continued, he has
come to prepare, i.e. to deal with the boiling blue (Mongolian) Tieaven
tea' (gnam ja). Consequently, his beloved is scared, the village dog is
crying (dgra : sgra zug). We may read this poem historically: The poet
(= Tibet or the Tibetan people ?) claims that he has (previously) dealt
with the Chinese, exquisite but always tricky. Now, the poet further
points out, he is confronted with handling the boiling (= furious) blue
 409

Tieaven tea'. An ill-concealed allusion to the paramount import the sky

(gnam, tengri) occupies among the Mongolian people. Naturally, his
beloved (= the people of Tibet ?) is scared at the numerous Mongolian
intrusions, the village dogs (= the Mongolians soldiers ?) are launching
their wild war cries.
302 Banks of clouds are gathering, it is the vapour of the ocean. In this
metaphorical poem, the gathering of clouds here mirrors that the loving
couple is overcasted with trouble, the perpetrator behind these designs
is the 'ocean' (rgya mtsho), an overt allusion to the Regent Sans-rgyas
rgya-mtsho, cf. also the crit. ed. no 39 and no. 325 infra. Whether a
conciliatory 'rain of honey* (a drizzle = peace) will come or not, is in the
hands of the Serpentress (klu mo), a powerful lady ? the mother of the
girl ?; cf. the crit. ed. no. 65. As such the poem indicates t h a t power in
the end lies in someone else's hands. Replacing the lovers with Tibet,
the powerful trouble-maker(s) garbed as demon(s) could be identified
either with the Chinese or the Mongols.
303 A brief poem on the origin of his beloved: If someone asks, the poet
declared, whence the girl came, then it speaks for itself; evidently she
descends from Kon-yul.
304 A difficult and obscure poem. What initially baffles a proper under-
standing is the term grub mtha9, which usually is a philosophical term
rendering the Skt. siddhänta, indicating a fixed idea, theory or tenet.
Rather than being 'the tenet of the black tail' (rna mo), the term grub
mtha' should perhaps here more readily be conceived as something like
a sign or mark {Hags) ? To apply here the idea of the so-called drum-
divination (rha mo) is evidently out of the question, a divination in
practice among rNiri-ma-pa exorcists (snags pa) and a sort of divination
used to prognosticate the nature and causes of illness etc.; cf. Nebesky-
Wojkowitz, Oracles and Demons of Tibet, pp. 457-460. More likely, the
poem alludes to the native dress (koh chas) of the Kon-po people. In
this poem the poet posed the rhetorical question (? change yin no to yin
nam in 304b) whether the colour (tshos kha, colloquial for tshongyi kha
dog) of the black tail piece, a piece of garment suspending from their
hips, is right or not. Tb make sure, the poem admonished, keep a keen
eye on their way of walking ('goms pa'i rgyag chog (: phyogs)) to see
whether or not they are from t h a t district!
305 This and the following two poems appear to refer, in one way or an-
other, to the Chinese or Mongols. If the cloud from the east, the poet
declared, turned white (and soft we may add) as lamb's (lu[g] gu) wool,
he would let his first-rank beloved (presuming here t h a t he dated sev-
eral) wear hat, dress and boots. Interpretated alternately, moreover, we
may also read: If the eastern cloud (the Chinese or the Mongols) were
410

all-white (i.e. if their attitude turned friendly towards the Dalai Lama
and Tibet), then the peaceful relations prevailing would enable Tibet
to exist complacently. 305c read por instead of po la. Cf. analogously,
gÉas-tshig phyogs-bsdus, p. 107, no. 6; Duncan, 1961, p. 54:
| ear phyogs sprin bzah dkar po \
j 'jam po'i bal la phyin na \
j ran seras dkar ba'i mi la \
j gos sne re re bzo chog

306 The sacred bird, the grouse, cf. nos. 123, 271 supra and nos. 313, 381
infra, partaking of small black pebbles is here seen to impersonate the
poet, the God-king. The poet signals in this poem t h a t the sheep need
not worry for its grass. The poet probably wants to indicate t h a t he
leads a simple and poor life lacking any inordinate cupidity to vie for
power (= grass) with the Chinese. Interpretated more prosaically, the
poet has already a girl friend. Cf. similarly Bod kyi dga'-gias I, p. 75,
no. 2:
| span stod lha bya goh mo \
j Uo la rde'u bzas yod \
I ha la dkar mo nas kyi \
| la \g]yog[s] rgyag don mi 'dug

307 The Sky (here an allusion to the Mongols due to the paramount import
of tengri in their belief ?) is pealing and crashing with thunder (sgog
sgog sdig sdig, onomatopaeia; or : sgrog sgrog Idig Idig) please don't
give way (to these sounds)! {ma gnah rogs dan e go, cf. also nos. 373
and 376). The few drops of rain (char rkah, = char zil, rdul, thigs)
falling had just begun. Or rather, it h a s just started (tshar nas mi 'dug)
to rain. This probably means t h a t the worst things are yet to come.
Retaining the picture of the Mongols, their yelling and screaming are
followed by their ravage.
308 The optimistic, care-free (snah skyid = snan ba skyid po, = bag yahs,
bio bde, etc.; a word-play is at hand as sNaii-skyid could equally be a
proper name) mother's daughter (a ma bu mo may also denote a young
girl) is mischievous or vengeful (sgal ral ma, colloq. idiom (yul shod) =
nan 'khreb, nan éed sgal ral, more precisely "to shun doing what is one's
duty under the pretext (khag 'dogs) of an achen back"; lit. "a worn-out
(broken, or achen) back (sgal ral, also rgal [h]ral, 'dral))'\ Only, the poet
continued, albeit her 'optimism', no one is there to aid her by supplying
(spros : sprod) her with a walking stick (mkhar rgyug : khar rgyug)
when Tier back was worn out', i.e. when she herself maliciously dodged
her duties. Note of course the word-play in 308bc.
 411

309 A golden ear-ring (gser skon, here properly to be read as gser skon ma)
which was not fasten by the (girl's ?) mother. In other words, the
mother (of the beautiful girl) would not give her consent. The brass
ear-ring (rag skon, i.e. here = rag skon rna) was not in the poet's mind,
the ordinary girl was of no interest to the poet compared to the exquisite
girl out of reach for him. Underneath the big yellow, flat felt hat, cf.
also no. 237 supra, the poet felt quite content (gnah sos bde ha : gnas
bzod bde po, cf. no. 56 supra) all by himself. The poet or young man
settled with his 'official life'.
310 The yellow flower dbyafis 'dzin; besides personifying a girl or simply
rendering the proper name of a certain girl the flower most likely refers
to the yellow flower otherwise known as 'jam dbyahs rtag hu, a species of
an officinal herb (sho sman) rtag [tu] hu, 'perpetually weeping', a name
allegedly given on account of the fact t h a t dew always emerges from
it. It is otherwise known as 'od Idan, bdud rtsi 'od Idan and bcud Idan
rgyalpo. It is to be identified with Sundew of the fam. Droseraceae, the
bog-inhabiting insectivorous herb, having viscid glands on the leaves.
Different genera are found according to the Tibetans, all with different
colours of flower. The dominant species carries yellow flowers. These
different shades of colours have given rise to the poetical denomination
of the rtag hu or sundew: 'jam dbyahs me tog, the Manjughosa flower;
spyan ras gzigs me tog, the Avalokitesvara flower; phyag rdor me tog,
the Vajrapani flower, etc.; cf. Sel-goh sel-phreh, pp. 371-72; 'Jam-dpal
rdo-rje, An Illustrated Tibeto-Mongolian Materia Medica on Ayurveda,
p. 191; gSo-rig-skor gyi rgyun-mkho gal-che-ba bdam-bsgrigs, pp. 3 9 0 -
394; Bod-ljohs rgyun-spyod kruh-dbyVi sman-rigs, pp. 489-90; Cf. also
Bod kyi dga'-gzas II, p. 16, no. 3:
| dga' Idan dbah po'i ri la |
| 'jam dbyahs serpo'i me tog
| me tog 'khruhs sas 'khyogs ni \
j 'jam glih 'od kyis khyab son \
Cf. also gZas-tshig phyogs-bsdus, p. 168, no. 6:
| dga' Idan dbah bskur ri la \
I 'jam dbyahs serpo'i me tog
| rise mo lha la phul yod \
| rtsa ba rah gis har yod \
In the present poem the yellow flower is said to grow on the hollow
(or barren) midst of a rocky mountain side (khog rdo : khog stoh). The
poet proclaims t h a t the girl was not afraid of him, nor was he afraid of
her. Love is not a forlorn hope. Cf. also no. 194 supra for the curious
kenning me tog yah 'dzin = a (flower-perfumed ?) kind Chinese tea (rgya
ja).
412

311 Albeit in opposition to one another (skrag na : phrag na, i.e. bar na)
they were bound to mate {'gal 'dzoms, or 'gal 'brel). 311a hid rah = tied
rah ? or is it identical with non-CWT nye rang, i.e. = bdag, I ?; cf. L.W.J.
van der Kuijp, 1986, p. 36. It is more likely a syllabic metathesis for
rah nid f the two of us. In this poem, the poet is apparently compelled to
accept the hands of a daughter of a high-ranking governor. If, the poet
then declared, the girl would love him (tshur), his amorous sentiments
would equally seek h e r iphar). On requited love, cf. also the c r i t ed.
no. 6. Were their love to be full of smiles, then the couple would remain
on a par (mham 'jagls] or sham 'jags, = thugs, sems 'jags) with one
another.
812 A love poem on unrequited love. The stallion r a n too early (rhas : shas)
and the reins were drawn too late (to bring the horse to a halt). His
dire-fated and ill-starred beloved, analogously, h a d apparently rushed
to divulge (béos : éod, bead) their intimate talks. Cf. also the crit. ed.
no. 29. With this poem the poet presumably signals t h a t the situation
was out of his control, it was too late to intervene, and from other
songs the inevitable and devastating consequence was rumours (mi kha)
boding ill for their liaison. The same pattern as no. 110 supra. The poem
is included in Zhuang Jing's anthology, no. 70. Cf. similarly gZas-tshig
phyogs-bsdus, p. 110, n. 4:

| rta pho gtoh ba sha[s] son \

j srab mda' 'ju ba phyis son \
j rta phos gah mchohs gyah mchohs \
I byas yon bsam pa ma byuh \
Cf. also ibid., p. 162, no. 3 = Bod kyi dga'-gias II, p. 32, no. 6:
| rta pho gtoh ba shas son |
j srab mda' 'then pa phyis son |
j ja luh gsar pa'i mdud pa \
| 'grol rgyu khag po byas son \

Cf. also Reader IV, p. 55; Norbu's Coll I, no. 16.

313 The grouse, the sacred bird, cf. also nos. 123, 271 and 306 supra, nest-
ing on the yonder mountain and the birdie, the t h r u s h perched on the
hither mountain. This scenario probably depicts two hen birds (mo), or
in other words, two girls. Now, what baffles a proper understanding of
the rest of the poem is the term gya ma do, which appears to be corrupt.
Most probably the correct reading is bar ma do, in between, interme-
diary. This is also the understanding by Zhuang Jing, C. zhöngjiän,
cf. below. So the poet happened to be caught in between these two
girls deprived, however, of any chance of mating any of them, since his
 413

life's karman has exhausted. The poem is included in Zhuang Jingfs

anthology, no. 113.
314 The spa ma shrub tree, a smaller genus of the Juniper, q.v. nos. 212,
226 supra, to bend it is easy. Why, the poet wonders, did you bend Cgugs
pa) like this ? In this very valley, the poet conceded, he could find no
solace for his body and mind. With the poem the poet signals t h a t
mental and physical relaxation (khug pa\ note the word-play) could be
found anywhere, comparing it with the easy bending of a juniper tree.
Only not in this particular valley.
315 From above the summit of the mountain pass a new cloud emerged.
This is evidently interpretated as a concrete sign of the sentiments
dispatched by his homeland's beloved. Cf. analogously no. 89 supra.
316 The peak-gods of the castle (mkhargyi lha (btsanpo) or rise lha), a va-
riety of the dgra lha or yul lha, also denoted the evil (gnan po) mkhar
gyi rise lha, counting thirteen members in all; cf. Nebesky-Wojkowitz,
Oracles and Demons of Tibet, p. 369; The gate-gods (sgo lha), who in-
crease wealth, cf. ibid., pp. 309, 328 and 333. The poem relates about
the efforts to erect a statue of the Protectress (bsrun ma : sruh ma),
the White Goddess Ma-gcig dPal gyi lha-mo, installed in an apotropaic
and placatory endeavour to please not only the peak-gods of the castle,
the gate-gods, the horses and yaks, but everyone. Hence, 316ab ma
mnes should evidently be conceived as ma mnes tsam. Ma-gcig dPal gyi
lha-mo is often depicted as the Queen of the dgra lha; for her different
forms, cf. Nebesky-Wojkowitz, ibid., pp. 22fF.
317 Look how haughty (sbo sgeg ma, lit. 'its belly swelling boastfully and
jauntily') the hamsa, the duck or the goose, shows off, when it is par-
taking of (lit. 'pursuing') sweet wild potatoes igro ma)\ Now, the poem
continues, let's see whether you are able to find more pleasure with
(another lake) than the Queen of the Lake Spirits (mtsho sman = a
ma mtsho sman rgyal mo, cf. nos. 178, 250 supra and 452 infra) yon-
der! Couched rhetorically, and to be rejoined in the negative evidently,
the message of the poem is evident: The poet has made up his mind,
the bird, it goes without saying, would choose the Lake Goddess, the
favourite h a u n t for a duck/göose, cf. the crit. ed. no. 9, and here sym-
bolizing a noble girl; we should here recall the lifelong martial fidelity
which usually characterizes this aquatic fowl.
318 Pray, willow tree, do not sway, lest the little bird should be confounded
(klad pa 'khyoms, 'gems or klad pa 'khrugs pa, to be bewildered, or
taken aback). If the willow is not concerned with the bird, it may just
shift place. The poet admonishes his beloved to remain faithful, lest he
should abandon her (or vice versa). For the picture of the willow and
414

the bird, cf. the crit. ed. no. 62. A similar poem is quoted by Mr. Tashi
Tshering in Bod kyi dga'-gias I, p. 36, no. 6 = gÉas-tshig phyogs-bsdus,
p. 108, no. 3 = (sic!) p. 130, no. 2 = Bod kyi glu-gias, p. 98, no. 2 with
var. read. e.g. yom yom for khyom khyom, i.e. tottering; klad khrag for
kladpa, i.e. the little bird became paralysed. Cf. similarly Bod-rigs kyi
glu-gias, p. 20, no. 4 = Duncan, 1961, p. 28 and further samples ad the
crit. ed. no. 62.
319 If someone said, the poet professed, t h a t the feelings of his and other
people {mi sems) proved incompatible, then it is of no avail or would
make no sense indeed to be concerned with serving other people. The
poet here makes his point t h a t unless the girl shows some affection for
him, he would requite her in kind.

320 The new monastic residence (bla bran gsar pa), more regular and
straight than an arrow shot, cf. no. 297 supra, is probably here a refer-
ence to Pho-brah gsar-pa, cf. no. 43 of the map drawn Zasak J. Taring,
Map of Lhasa, to dGa'-ldan khan-gsar, abutting Ra-mo-che gTsug-lag-
khan and Tshe-dpag lha-khan in Central Lhasa or may refer to any of
the residences in Lhasa housing monk-officials. It may then well be
a reference to the 'Bla-ma's Mansion', the Treasury of Lhasa city, cf.
no. 347 infra. The edifice may well have been erected and occupied
by the Regent Sans-rgyas rgya-mtsho as his countenance is hovering
above, being clearly visible. In other words, the Regent is ubiquitously
supervising the God-king's every doings. Cf. Norbu's Coll. I, nos. 21-22;
Snyder, 1972, pp. 27-28; C. Bell, The Religion of Tibet, p. 141 and ill.
opp. page.

321 Tribulus terrestris, Linn, (bze ma : gze ma, passim), Skt. goksura,
ksuraka, gokanta, 'cow's hoof, 'cow's thorn' or bhûkanta, sa'i tsher ma,
'earth's thorn', a genus (rigs) of the family Zygophyllaceae, chiefly an
annual tropical, officinal steppe-herb or grass-herb (than sman, rtsva
rigs), i.e. a spiny (tsher ma) and shrubby weed, known as caltrop,
puncture-vine or puncture-weed. In Tibet it is commonly called gze
ma ra mgo, the goat-horned puncture-weed; two varieties are distin-
guished: ra gze (a thorny genus) and lug gze (a thornless genus). It
is growing on the low-lying wide expanses (rgya sod) of a desert (bye
ma) or of a steppe (than); Its prostrate pinnate leaves are low-creeping
and ground-covering, with small, hardly visible flowers of a white and
predominantly yellow hue (dkar ser, serpo, note below a possible word-
play on these two colours in the poem!) succeeded by spike-studded
haws shaped as a goat's horn. Its hardy and spiny nature has given
rise to its var. synonyms: rgya mtsho'i mtha9 can, nu byed ma, chu med
skyes, mtha' rned dka\ reg par dka' and reg by a nan; cf. e.g. Éel-gon éel-
phren, p. 274; Bod-ljohs rgyun-spyod kruh-dbyïi sman-rigs7 pp. 534-6;
 415

Rastenija Tibetskoï Meditsiny, p. 83; S.C. Banerjee, Flora and Fauna

in Sanskrit Literature, p. 41. The thorny shrub habitually grows in
empty valleys (lufi stons) and road sides (lam zur) in the lHa-sa and
the lHo-kha area.
The story about the 'yellow houses' (khan pa ser po, khan ser) is
intimately associated with the life and conduct of Tshans-dbyans rgya-
mtsho. The historicity of the 'yellow houses', as enunciated in this poem
also, is moreover testified, it transpires, not only by popular oral tra-
dition (nag rgyun, sod rgyun) and stories handed down in families for
generations (pha gtam bu 'jags kyi sod srol), but also corroborated by
still extant historical traces (lo rgyus kyi rjes éul). According to the con-
. spicuous findings by Chab-spel Tshe-brtan phun-tshogs, moreover, we
now know t h a t a number of old Lhasa's temples and monasteries were
traditionally smeared or chalked with a reddish yellow hue (sa rtsi dmar
ser byugs pa), whereas the local custom usually dictated whitewashing
(sa (rtsi) dkar (po) btah) of ordinary town-people's houses. Unlike other
Tibetan cities a number of town residences (gron mVi sdod khan) in
lHa-sa and Éol had for quite a long time been smeared with a yellow
paint (sa rtsi ser po byugs), e.g. the Khan-ser lho-ma ('southern yellow
house') of Thal-phun-sgari (cf. ad no. 84 in Map of Lhasa; C. Bell, The
People of Tibet, p. 278); the so-called 'new house' of Sar bSam-grub khan-
gsar; the residence of ÎHo bKra-éis khaii-gsar (the 'Southern (located in
Zol) New House' is the name of the town-residence and another name
(abbr. bRras-khan) of the noble lHa-sa Family Chah-khyim (lit. 'Beer
House'!, a hereditary estate in 'Phyoris-rgyas, cf. L. Petech, Aristocracy
and Government in Tibet, pp. 105-110); the abode of 'Jan-tsha-tshan in
the district (khul) of sBra[-nag-]zol (lit. 'area of black tents', formerly
the district in Lhasa occupied by the Khams-pas); the IDan-ma khan-
ser; the dwelling of ICan-sdon-tshan etc. Further one would find the
'yellow house' of mDun-rtse-zur (The Spear-head in the Corner of the
Jo-khan') in Bar-skor (cf. no. 94 in Map of Lhasa); the Khan-ser-ma
(cf. no. 73 in Map of Lhasa), the house adjoining the Nag-ron-sag (cf.
? Nag-ron-sar no. 72 in Map of Lhasa, later School of Medicine and
related subjects); the sPo-sod phun-khan (also spelled Pu-sud, the full
name of the second half is Phun-tshogs khari-gsar, another name of this
noble family is Byan-nos-pa, cf. L. Petech, ibid., pp. 115-117; no. 122
in Map of Lhasa) just north of the Khrom-gzigs-khan (no. 85 in Map
of Lhasa, no. 12 in Lay-Out Plan of Tsug-lag-khan, lHa-sa gtsug-lag-
khah gi sa-bkra dan dkar-chag by Z. J. Taring) and Sar sPyi-khyab
khul-tshal-sar. These were all formerly khan ser residences beatable
in pre-1950 Lhasa—the only still extant khan ser in modern day Lhasa
is Klu-sbug go-bo khan-ser (in the Klu-sbug area between the Potala
and Lhasa proper)—but during the Cultural Revolution (rig gsar) the
remaining houses and residences h a d been whitewashed if not down-
416

right torn down. Traditionally the khan ser, in former times amount-
ing to an appreciable number, was a special privilege (dmigs bsal gyi
thob than) allotted for having been graced by the presence, if only for
a single night, of either rGyal-ba Rin-po-che or Pan-chen Rin-po-che,
hence the colour of the Yellow Church. Nevertheless, far from being
religious residences occasionally occupied by these dignitaries the ma-
jority of the Lhasa khan ser was ordinary town-people's living quarters.
What is more, according to an inveterate popular belief prevalent, as
stated previously, for several generations among the common people a
number of these khan ser was so characterized, as Chab-spel puts it,
since they served as 'public houses' (khrun bzes gnah sa) and 'residen-
tial houses for overnight accomodation kept by clandestine paramours'
(gsan grogs bsten nas mtshan gzim gnah myon ba'i khan) frequented by
the young Tshaiis-dbyahs rgya-mtsho. Even, from an inquiry carried
out among the old generation of Lhasa inhabitants the recollection was
still vivid t h a t Khari-ser lho-ma of Thal-phun-sgan and lHo bKra-sis
khari-gsar (cf. supra) each had been furnished with a small brick seat
(sa khri) which in former times allegedly should have been the throne
(bzugs khri) of Tshans-dbyans rgya-mtsho, to which effect they could
even supply with a street or folk song (dmahs gzas) which relates about
the young (o lo) God-kingfs nocturnal escapade at bKra-sis khan-gsar
in Zol. As a consequence 'the City Court and Prison' (sNari-rtse-sag, cf.
no. 9 in the Lay Out Plan of gTsug-lag-khan; no. 17 in Map of Lhasa)
pilloried him with a circular wooden cangue (= sgogon) around his neck;
in other words, parading him through the city with (leg shackles and)
neck cangue here purports t h a t he became the target of severe rebuke
and defaming slander (for an ill., cf. Goldstein, A History of Modern
Tibet, p. 109):
| bkra éis (~ bsam grub) khan gsar nan du \
| dgoh geig khrun mal brgyab pas \
j o lor snan rise sag nas \
| ske la Iba sgor gyogs byuh \
Cf. Chab-spel Tshe-brtan phun-tshogs, ""Tshans-dbyans rgya-mtsho'i
mgul-glu" dan 'brel-ba yod-pa'i lo-rgyus kyi don-dnos 'ga'-zig brjod-pa",
in Bod rig-pa'i gros-mol tshogs-'duï ched-rtsom gces-bsdus, pp. SOS-
SOT; Shakabpa, Bod kyi srid-don rgyal-rabs I, p. 478 and his Tibet—A
Political History, p. 131.
Some of the oft-frequented places sought by Tshans-dbyans rgya-
mtsho were thus the houses belonging to his allegedly numerous par-
amours in Lhasa and Éol. This vivid picture is here drawn in which the
poet professed t h a t the place studded with 'yellow houses' is likened to
a veritable thorny plain (62e : gze than, word play on gze[r], painful,
ached) thoroughly strewn with this prickly weed. Only here, the present
 417

poem divulges, the poor poet is at a loss what to do when tempting to

'traverse this thornful (plain)' strewn with numerous caltrops (= girls).
Tout court, jaunting his lovers' lane from paramour to paramour could
be a painful and trying experience. Being a most unwelcome plant ubiq-
uitously invading all pathways allowing for no escape unless properly
booted, the gze ma is decried e.g. in two poems where it is contrasted
with the much-coveted, well-scented but well-nigh inaccessible (grow-
ing on the summit of Mt. Meru!) sacred juniper (cf. no. 212 supra):
Bod-rigs kyi glu-gzas, p. 16, no. 2:
| dgos paï lha êih éug pa \
j ri rgyal rtse la skyes yod \
| mi dgos tsher ma ra mgo \
| rgya lam gyas gyon skyes byuh \
Ibid., p. 99, no. 4:
| can can rgyal po'i pho bran \
| krog krog [g]ze ma rva mgo \
j lham la rdog yod ma gtogs \
| rdog med thar sa ma red \

322 The pass named rGod-mkhar la-mo is more correctly rendered rGod-
dkar (or bkag)-la; cf. also nos. 164 and 326; rGod-dkar-la is a famous
pass between bDe-chen of sTag-rtse rdzori and bSam-yas of Gra-nan
rdzoh, in other words the pass linking Lhasa with bSam-yas. Cf.
mKhyen-brtse's Guide to the Holy Places of Central Tibet, pp. 43-44,
nn. 111-119; K. Dowman, The Power-places of Central Tibet, p. 216ff.
and the map of sKyid-chu Valley in Map of Lhasa, drawn by Zasak J.
Taring. Our poet is here on his way to his beloved, but alas the continu-
ous ascent was severely hampered halfway up. Midway up (rked, sked
la) the pass he encountered the clear (? dan : dvahs, probably better to
retain dan la, = rdzih bu, a little pool of melting water) headwaters {chu
sna) of the melting glacier-water. This last information, corroborated
by the mentioning in no. 164 of trees growing there, makes one wonder
whether the pass is identical with the famous IHa-sa - bSam-yas pass,
as this pass is utterly barren, sandy and desolate, a place where you
hardly would find neither tree nor meet glacier water. Cf. also Bod kyi
dga'-gzas I, p. 80, no. 2; Norbu's Coll I, no. 22. The poem is included
in Zhuang «ling's anthology, no. 71, where he renders 322d d[v]an[s] la
as the name of a pass Dangla, op. cil, p. 33.

323 Visiting the Jo-khaii in Lhasa the poet wished to pay his respects—
an attempt which apparently courted failure—by fastening a ceremoni-
ous prayer-flag—a scarf of yellow silk satin with red spots of Chinese
418

manufacture (sman rtse : man tse/tsi; cf. B. Lauf er, Loan-Words in Ti-
betan, p. 522, n. 280, C. mânzi)—onto the Mysterious Sacred (Queen or
Bearded) Goat (bn]duh rise r[v]a ma rgya[l] mo). A statue of this goat
is found on the ground-floor in the inner gtsah khan (gandhaküti) of
Jo-khan, the innermost part of gTsug-lag-khan, cf. Shakabpa, IHa-ldan
rva-sa 'phrul-snan gtsug-lag-khan gi dkar-chag {Guide to the Central
Temple of Lhasa), Kalimpong 1982, p. 56: o than gi mtsho bsub skabs
ra la sa bskyal ba'i ra mo rgya'u'i gzugs brnan sku 'phel mar grags pa;
p. 129, no. 45 r a m a rgya mo; Zasak J. Taring, IHa-sa gtsug-lag-khan gi
sa-bkra dan dkar-chag9 New Delhi 1984, p. 17, no. 96; The Fifth Dalai
Lama, IHa-ldan sprul-ba'i gtsug-lag-khan gi dkar-chag sel-dkar me-loh,
fol. I l a 3 , where this figure is mentioned as chos rgyal gyi dus ra ma
rgya mo. This idol was evidently erected in tribute to the well-known,
prominent role the goats played when erecting Ra-sa 'Phrul-snan (i.e.
Jo-khan) in the seventh century during the time of Chos-rgyal Srori-
btsan sgam-po.
324 rGod-mkhar (: dkar) la-mo, cf. nos. 164 and 322; If the pass, which
here evidently is conceived to be difficult to cross, would turn all white
(i.e. covered by snow-fall ?), like Chinese paper, then, the poet declared,
why not roll (the pass together) like Chinese paper and let us go (thad
: thegls], cf. nos. 146, 300, 422) and see the Governor ? The Chinese
paper usually being used as official paper in documents etc., this poem
perhaps purports that this pass perpetually hampered the people's trav-
elling to such an extent t h a t they went to the government to lodge a
complaint.
325 Equally a metaphorical poem. The poet is apparently here depicted
entreating his guardian the Regent, to be less strict in his supervision.
The poet is here likening himself with an excellent stallion of mdo ba
breed (: 'do ba, a horse of excellent breed, cf. e.g. Blondeau, Matériaux
pour VÉtude de l'Hippologie, pp. 157, 160, 164; cf. the Gesar Epic, ed.
R. Stein, 1956, index, p. 366-67; Pema Tsering, 1979, p. 177: three
types of 'do ba horses, Gesar's godly horses), here exhorting (its master
or owner) to abstain from leading him in succession (mu khrid, = mu
mthud khrid) for grassing. Far better, the poet candidly implored, were
it if he simply confined himself—as a sort of shepard (rdzi bo)—to his
usual large-scaled watch (rgya mtshos : rgyalspar] 'tshos, (Zhuang Jing,
incidentally, emends it to (the less probable) rgyan 'tshos, réf. cf. below;
but note the word-play on the name of the Regent, cf. similarly also
the crit. ed. no. 39 and 302 supra) over (gyis : gyi) the herd of sheep,
which here may refer to the Regent's subjects, the ordinary people. The
unremitting surveillance, we may surmise, is here seen to fret on his
nerves. The poem has been included in *he anthology of Zhuang Jing,
no. 114.
 419

326 A poem on unrequited love. The sky is full of stars just as the t r u n k
of the poet is full of thoughts. In other words, the thoughts of love
h a u n t the poet's mind. All the more distressing even, the ill-starred
(tshogs ma bsags pa, no accumulation of merit and knowledge (punya-
and jnäna-sambhära), here = las 'phro zad pa, cf. the crit. ed. no. 7)
lover would not divulge (béos : sod, bead) her secrets to him. In other
words, the girl was indecisive and thus a love affair was a forlorn hope.
For 326ab, cf. no. 265 supra and for 326cd, cf. the crit. ed. no. 29.
327 To wear boots (lham gog : lham khog) poked with holes in the soles
(mthil rdol : mthil [b]rtol) only causes pain (tsha, na tsha) in his tiny
feet. Here the poet literally compares the aching pangs of love acquired
from his liaisons with the pain accruing from wearing worn-out boots.
He therefore entreats the troublesome boots ( = girl(s)) of his: pray, be
kind (a ses : o ses, cf. also the crit. ed. no. 50) give my lower legs (nar
gdon, = rkan gdoh, the shin-bone) a chance to warm in the sun {'de or
Ide; ni ma Ide ba = ni ma[r] sro ba)\ Colloquially it renders: Give me a
break!
328 If, perforce of karmic retaliation, the poet is united with an ordinary
girl, here evidently symbolized in the garb of a poplar tree (sbyar pa
or dbyar pa), then you may always cut it down with an axe (rta : sta
gri), i.e. one may always break the connection to the girl. Instead of
me (éul du) let us now see, the forsaken poplar-girl adduced, whether
you can make the exquisite sandalwood tree, here indicating a lover of
fine stock, spring forth or not! In other words, whether he could really
live with the new girl after having left the other. Phrased rhetorically
the girl was fairly sanguine as to the male lover's immediate return. A
better construction for 328cd would read:
| sbyar pa bkogpa'i éul du \
j tsandan e 'khruhs blta'o \

329 A poem on the expectations and prospects of true, requited love. Having
planted the roots the poet arrived to see how the fruit had matured: The
temple, here paralleling his beloved, is earnestly besought to remain
firm and unswerving! According to an informant, a lha-khan denoted
Zabs-brtan lha-khan should be found in the Potala.
330 A poem on requited love. Cf. the crit. ed. no. 62 for a similar poem on
the love between a little bird and the willow Here the poet earnestly
implored someone—the ubiquitously officious Regent ? or, more pro-
saically, perhaps her parents—to abstain from cutting down the tree
during this year, while the season of love was still lingering.
331 Fearing (dog : dogs) the pillar should change (i.e. sway), the poet estab-
lished the pillar-base (ka gdan = ka Hen) solidly upon stones. Similarly,
420

fearing that his beloved should change her mind (i.e. turn fickle and
whimsical), the poet assured the girl that he had set up a good man
(i.e. a trustworthy man, a best man ?) as witness (span por : dpahpor),
who, we may presume, could testify to any plighted troth professed by
her.
332 The black Chinese quality (spu : spus) tea; cf. also no. 301 supra, "Re-
main in peace!" bidding thus goodbye, it was abandoned. The poet too,
in the garb of golden tea, would not stay, but would return to the middle
of A-mdo. Reading the poem in that way, the meaning is not entirely
clear. Perhaps due to homophony we should read 332a: bya de nagpo'i
spu bya, the black-feathered bird: So I bid you goodbye, you black bird.
I, golden bird (gser bya, = hamsa, nan pa, duck/goose), won't stay too,
but immediately return to the inner part of A-mdo.
333 dGe-'phel dbu-rtse, also called Ri-bo dGe-'phel where the renowned her-
mitage, dGe-'phel ri-khrod, is located, is the mountain towering behind
the 'Bras-spuiis monastery, cf. e.g. mKhyen-brtse's Guide to the Holy
Places of Central Tibet, p. 42, nn. 102-3; Wylie, The Geography of Tibet,
p. 83;K. Dowman, The Power-places of Central Tibet, p. 72. Cf. also Bod
kyi dga'-gzas I, p. 14, no. 3 = Bod kyi dga'-gzas II, p. 10, no. 6 {cum van
led.), which relates about the purchasing of fragrant twigs for whatever
paltry sum one may possess and then proceed to this favourite place for
lay celebration and burning bsahs to be offered for the mountain gods;
Should there be any money left, they could be used at the picnic at
Dan-*bag glin-kha:
| kha gah kha gan bsdus te \
j dge 'phel ri la 'gro bzag
I de las lhag ga by un na \
j dan 'bag glin khar 'gro bzag
The summit is said to be one of the most auspicious peaks around
Lhasa. Above the summit of this holy mountain countless stars (=
images of girls) emerged. The girl, whoever it may be, fated to mate
him is admonished to bring along ('khyer sog : khyer sog) solid words
(tshig gi rdo kha, i.e. essential (snih po, rtsa ba)) of their prospective
conjugal inseparability (lit. "a mixture of water and milk"). This last
idiom (Skt. ksïranîra) is a well-known allusion to a proverbial belief
originally of Indian provenance (cf. e.g. Mahäbhärata, Ädiparvan 74,
91). Here it is believed that the goose {hah pa, Skt. hamsa, but also
the the tortoise, rus sbal, Skt. kürma, kacchapa, cf. no. 91 supra) is
capable of separating milk out of a mixture with water, an endowment
which, incidentally, is purely imaginary, cf. e.g. Vogel, The Goose in
Indian Literature and Art, p. 6. This has given rise to a stock idiom in
Tibet, such as chu 'o 'drespa, chu daft 'o ma 'dres fdres, cf. e.g. dPe-chos
 421

ma ba'i bdud-rtsi, p. 124, meaning mutual inseparability iphan tshun

dbye rgyu med pa) and deep harmony {ha can mthun pa); Cf. e.g. also
gÉas-tshig phyogs-bsdus, p. 140, no. 7.
334 The sun is caught by Rähu, the demon-planet {râhu, sgra gcan), whose
head and tail, according to Indian mythology, occasionally causes
eclipses (the ascending and descending note) when trying to swallow
e.g. the sun and moon out of vengeance. This is, the poem continued,
the karmic retribution of former existences. In this simile a girl friend
of his, symbolized by the sun here, has been snatched (and eventually
married ?) by someone else. Although beating the worn-out (gog, = gog
po, rnin [h]rul, here = nan pa, bad) drum, the sun was not freed (khrol :
grol) from the Seizer Rähu (gza' 'dzin). This poem evidently reflects the
old Tibetan belief, t h a t once the demon (grâha, gdon) Râhu has caught
the sun or the moon, the making of drum-sound or the act of screaming
will be apprehended by him and believed eventually to lead to their
release. Here, deplorably, a malfunctioned drum was sounded to no
effect. A veiled allusion, apparently, to the poet's loss of his beloved,
either to a rival or due to an unremitting intruder. An arguably better
reading of 334d, incidentally, would run: ni 'dzin grol ba mi 'dug or ni
'dzin mi grol 'dug go.
335 A poem purporting a quip. This poem relates t h a t the wind (lhags pa)
occurs from the east, it would be better (grags pa : drag pa) were it
not to make its arrival. Yet (ma gtogs), the poet proclaims, You, tall
grass, you have already made your sad song! In other words, before
even the strong sweeping wind had arrived, the tall grass h a d already
made a lot of noice! This poem is open for numerous interpretations:
The wind, usually of a cold nature, raising from the east and being most
unwelcome, is probably an ill-veiled allusion to either a Mongolian or
a Chinese intrusion. Before even making their arrival, rumours h a d
already caused anxiety in Tibet. Interpretated more prosaically, it may
depict the poet's sarcastic frustrations, when confronted with rumours
which lack any reality. Out of the present context, it should be noted
t h a t in olden Tibet brooms and besoms (phyags ma) were usually made
from tall grass {'jags ma, 'jags ma'i phyags ma).
336 The religious or clerical brethren of Sera and 'Bras-spuns are perpet-
ually in the poet's thoughts. He cannot forget them. But this cotton
garment does not suit or fit {mi nan pa) (as) a monk's dress, the poem
continued. Phrased differently, the poet herewith apprises his fellow
clerical brethren t h a t being a layman {mi skya) now, he could not help
them.
337 To find a willow growing in water is not surprising or extraordinary, the
poem professed, decidedly more wonderous would it be for the sacred
422

Juniper or cedar tree, cf. no. 212, to strike root on the dry rock. This
cryptic poem may proffer more interpretations. Most immediately, the
poem perhaps depicts the existence of an extraordinary damsel, whose
beauty baffles nature and sense, whereas the sight of a willow in the
water indicates that an ordinary girl is—just commonplace. Or, is the
poem here intimating t h a t for men to chase girls are commonplace, but
for a monk to do so is a rare sight indeed ? The poem is cited also in
Bod kyi dga'-gzas, I, p. 36, no. 3 = gZas-tshig phyogs-bsdus, p. 91, no. 4
= Bod-rigs kyi glu-gzas, p. 101, no. 1 = Reader III, p. 73 (cum var. lect):
| lean ma chu dan skyes par \
| ya rah mtshan rgyu mi 'dug
j de las skam po'i brag la \
j lha éin éug pa skyes yon \
Cf. analogously gÉas-tshig phyogs-bsdus, p. 170, no. 4 - 5 :
| lean ma e skye bsam nas \
j chu mig rtsa bar btsug pas \
j lean ma skye rgyu bzag nas \
j chu mo skam rtsa tshugs son \

| éug pa e skam bsam nas \

j brag gi sked la btsugs pa \
j éug pa skam rgyu biag nas \
j éug lo dgun la mnam son \

338 A poem on requited love, cf. also nos. 318, 330. In connection with the
the Mongol hawk, cf. no. 53 supra and the crit. ed. no. 62. For 338c cf.
no. 56 supra.
339 An adage. You simply cannot measure or judge the depth (tshod thin
(: thig) of the muddy (snog : [r]nog) river when attempting to cross
(sgal : brgal) it. 339cd do not read well: If you merely ('ba' £ig) seek
a corner-stone of love (zur rdo nid 'tshol) ? A reading which still needs
some consideration.
340 Here Idem : 'dems or 'dams; rgyal lean, probably better rgya lean, cf.
no. 180 and 183 supra. Among one hundred trees the rgya[l] lean was
selected. But alas, the poem bewails, its interior proved to be rotten
(the girl was fickle and deceptive, a prostitute ?), a fact, which hitherto
had gone unnoticed by the stripling; cf. no. 177 supra. The poem is
included in Zhuang Jingfs anthology, no. 72 and in Bod kyi dga'-gias I,
p. 36, no. 1 where it reads:
lean ma brgya'i dkyil la \
rgya lean sku gzugs Idem pa
 423

rgya lean khog pa rul pa

da lo ma gtogs ma ées \

341 The poet concedes t h a t physical love-making was practiced with the girl
prior to falling in love (sems son, cf. the crit. ed. no. 6). Only, the poet
continues, this act is even more regrettable than striking a bad bargain
(tshon fies rgyab pa, = tshoh la gyoh phog pa, i.e. to suffer a commercial
loss, often by cheat) in the Lhasa bazar. A Tibetan saying goes: tshon
fies lha sa'i khrom la rgyab, 'gyod pa byah than la skyes, when you
effect a bad bargain in the Lhasa bazar, remorse will inevitably catch
up with you on the Northern Plateau (i.e. outside town when it is too
. late to regret).
343 The pleasant, low-lying grassy meadow slopes (span géohs) at summer-
time provides the occasion for the sweet warble of the sacred bird, the
grouse (lha bya goh mo, cf. no. 123), to be heard. Beautiful "Meadow-
Ornament" is an exquisite flower, cf. no. 214 supra, when do you con-
template to spring forth and bloom! The poet yearns impatiently for a
summer-love.
344 The Pleiades, cf. nos. 267-268, usually symbolizing goddesses and
daughters of the Guardian-Kings of the World, are so brave and skil-
ful, the poem here relates, t h a t they scudded (gtah : btah) their course
right through the middle (géuh géagls], = dkyil du géag, cf. similarly
Bod kyi dga'-gzas I, p. 99, no. 1 = Bod kyi dga'-gzas I, p. 52, no. 2) of
space like a sword. The Tisyâ-star, the eighth constellation, solitary
and single-handed, in contrast, is capable of circulating the confines of
the (entire) space and return. In this poem the Pleiades probably al-
lude to the Chinese and the Mongols, often a trite laughing-stock and a
butt of derision in this collection, who apparently may pave their intru-
sive routes everywhere. Compared to the God-king, here symbolized by
the Tisyä asterism (rgyal, word-play on the name of the Dalai Lama,
rGyal-ba Rin-po-che) evidently, they fall short of him, since he is well-
nigh omni-present, proceeding at will and, we may add, may manifest
himself in protean garbs. Cf. similarly Bod-rigs kyi glu-gias, p. 61, no. 3
and p. 62, no. 1:
smin drug pha tsho ehe nas \
gnam dkyil gzuh gsags btan son \
ha ran bco lha'i zla ba \
mun pa gsal nas log 'gro
smin drug pha tsho ehe nas |
gnam dkyil gzuh gsags btan son \
zla ba mi geig rta geig
'dzarn glih bskor ra rgyab 'gro
424

345 This poem displays some scribal blunders here clearly involving cases of
metathesis. 345b rgya ras and 345d *o ma should change place; 345b-d
stoh : gtoh: 345cd lad lad : bslas bslas; 345b 'o ma khol khol btan gton;
345d rgya ras bslas bslas btan gton; if people say t h a t what was not
boiling actually is boiling, then let the milk boil over; if they say t h a t
what was not weaved also is weaved, then let it be weaved like Chi-
nese cotton (i.e. ordinary cotton). Yet another reading, though entirely
hypothetical, is feasible for 345cd. Instead of lad lad or bslas bslas one
may construe [g]lebs [g]lebs, 'to make flat' like a bread, assuming rgya
ras to be a distortion for some kind of a bread, as yet not identified.
This simile, nevertheless, quite clearly unravels the poet's embittered
frustration. If, on groundless basis, the poet is accused of something
he h a s not committed, thereby becoming the scoff of rumours and of
people's gossip, he plainly responded t h a t he would then certainly hold
nothing back.
346 Again an epigrammatic poem. First you add (rgyab or rgyag), we may
add, the salt (tsh[v]a) which ^holds' Cdzin) the taste. Subsequently, you
add ginger (sga, i.e. sga skya, Iga smug) for the good aromatic taste
(of the dish). Only, the poet admonished, don't overdo the seasoning,
lest you should want the wooden ladle (rgyag : skya ba = sin rgyug)
in the head! Dissatisfied guests for dinner may respond harshly! As a
kind of rejoinder to the previous poem, excesses are here pictured as a
dangerous entertainment.
347 In this poem which we have retained to consist in full of six pädas, we,
again, have a distorted text. Here the first two lines do not read well
with the remaining four lines, which thus constitute an independent
stanza. Two poems are plausibly concealed, in which case two päda-s
of the first stanza are missing. The reason for the lack of two lines is, as
usual, the shift of the folio in the MS. In the first distorted poem (347a
counts seven syllables, la being redundant) it is related that the size of a
high mountain is not high enough to be called a head mountain (ri bo =
ri mgo ?). Cf. no. 359 infra for a possible solution to the missing distich.
The following full quatrain depicts the clerk or the secretary (druh y ig)
of the former Central Tibetan Governemnt (srid gzuh), being either a
rtse druh (the ecclesiastic clerk or official) or a éod druh (or druh 'khor)
(the noble lay clerk or official), here from the State Treasury (bla bran),
i.e. the Bla-bran phyag-mdzod, located in the premises adjoining the
Jo-khan, where precious stones and other state properties were kept.
Here the clerk is fastening his pen to the wall (rgyah : gyaii, for ill. cf.
C. Bell, Tibet, Past and Present, pp. 204-5 and his The Religion of Tibet,
pp. 175-177). It is enough to hold the ink-bottle (snam bu : snag bum),
the poem relates, without actually writing. The poem probably depicts
a secretary who is not equal to his task—a true clerk should have his
 425

pen ready behind his ear and not fixed to the wall.
348 Here bdagpo : dvagspo, the district in Southern Tibet. You are Dvags-
po ICan-ra and I am Myah-stod (Nan-stod, i.e. Upper Nan in gTsah
where e.g. rGyal-rtse is located) ICan-ra. The name ICan-ra I here take
to refer to the name of a noble family and not, which admittedly is
equally plausible, indicating a willow-grove (lean ra = lean (ma'i) glih
(kha)). The noble family ICan-ra is better known under the name sNan-
dkar, cf. H.R.H. Prince Peter, The Aristocracy of Central Tibet, nos. 25,
126; L. Petech, Aristocracy and Government in Tibet, pp. 203-5. In this
case would it refer to two branches of the same family ? Nevertheless,
apart from having high esteem of one another, no one would step aside
when meeting on the road. This allusive poem evidently speaks about
the rivalry between two parties, a member of each wooing the same girl
?

349 The river is flowing slowly, fish (fia mo, passim in this collection sym-
bolizing a girl or a damsel) be patient! If the fish is patient and not
quick-tempered (bio sna bsrih), body and mind would rest ('god : 'khod)
in content. The poem is included by Zhuang Jing in his collection,
no. 73.
350 The water current (= a picture of love or the girl) is flowing from the
top of the canal (ka or rka) and the headwater is led by me, the poet
professed. The end of the water stream won't be allowed to flow at
its own will. Phrased differently, the poet declared t h a t their amorous
mise-en-scène was initiated and conducted by him and t h a t to the very
end (of their affair and their lives), he would not allow her to go wild.
He would be in full control of the love affair. Cf. analogously no. 170
supra and Norbu's Coll. HI, nos. 28-29.
351 A poem on chah. The poet conceded that he is in the middle of drinking
beer (the construction vb. + bzin pa'i 'phros y in, cf. also nos. 217, 248
supra): The beer, whether of first (quality, i.e. strong, i.e. chu dan po
brgyab pa'i chart, *beer produced from first quality water' or *beer pro-
duced from the first water running through when distilling is the best')
or of secondary (quality, i.e. weaker, chu gnis pa brgyab pa'i chah or
d[v]ah[s] gnis, 'second purity*, the second quality beer is the beer when
extra water has been added). Another interpretation of 35 l a b would
read: To be in the middle of drinking the first and the second round of
beer. The person is nevertheless proving to himself and others t h a t he
is good at drinking. Whatever, it is the criterion (or sign) of not getting
dizzy in the head (= ra bzi ba, intoxicated). For additional gzas on chah,
cf. e.g. Bod kyi dga-gzas I, p. 37, nos. 2-6. Worth quoting here is no. 2
(= Wang, 1980, no. 70, p. 73) where the the poet is neither intoxicated
by the first class (or round of) beer nor the second class (ditto) beer, b u t
426

the 'full(-moon)' white face of his beloved (cf. the crit. ed. no. 1) offered
to him made him drunk:
| chart 'di dan pos ma bzi |
| chart 'di gnis pas ma bzi \
| chuh 'dris byams pas Eus pa'i \
j zal dkar gan gis bzi soft \

352 A poem depicting the life in a tavern. The butter lamp fasten to the
side of the pillar inside the tavern had two sizes: 'arrow-size and 'spear-
size'. Although the little 'arrow-size' butter lamp had extinguished, the
bigger 'spear-size' butter lamp is (always) ready to be lit. Obviously a
poem in which the poet is depicted wishing to prolong his visit at the
tavern. Possibly one may suggest an improved reading of 352cd:
| mda' tshad zad kyah gan yon \
j mdun tshad spar chog yod do \
353 The white silk curtain (yol ma, better yol ba) inside the tavern or the
brothel was not drawn or displayed (lit. 'not spread') in full. In other
words, we may surmise, the bar was open and serving was offered.
The following picture is not entirely clear: The guests or the customers
have "not developed any deer's horn on their (fore)head". Does this
enigmatic statement indicate t h a t nothing prevented them from enter-
ing, everyone is welcome ? Equally likely, we may prefigure t h a t some
violent activity had taken place and that this may be an exclamation of
wonder signalling t h a t everything is now in order.
354 Thinking t h a t the stallion can race, the donkey did not race itself. Oth-
erwise, it would only fall into the holes of the square lattice net-work
(rva mig, re'u mig, lit. 'kid's eye', = dra mig) of the Rva-mgo Bridge
(in Lhasa ?, as yet unlocated). Bod kyi dga'-gzas I, p. 56, no. 1 = gZas-
tshig phyogs-bsdus, p. 9 1 , no. 3 = Reader III, p. 67 proffers an almost
identical poem with interesting variants, here referring to the gYu-thog
Bridge in Lhasa:
| rta pho rgyugs kyis bsam nas \
| boh bu rgyugs pa ma gnah (~ gnah na) \
j boh bu gyu thog zam pa'i \
j zam mig nan la 'tshud son \
As a pendant to this poem, the same collection, op. cit., 108, no. 2
= gZas-tshig phyogs-hsdus, p. 138, no. 4 = Snyder, 1972, p. 34 (here a
tshig rgyag type of repartee song; different interpretations are gived),
contains a poem, which states t h a t the donkey after all is faster than
the stallion, when pacing over the gYu-thog Bridge, only the donkey is
 _ 427

not fast, as it probably has developed severe back sores (sgal rma tsha
ba yin 'gro).
355 The six lines of this poem, which we provisionally have retained, per-
haps originally conceal two stanzas, in which case two tshig rkah (ab
or cd) are lacking, to be combined with the present 355ab: Atop the
vegetation-barren meadow mountain the teethless mdzo mo is let loose.
This apparently means t h a t neither the boy (= the mountain) nor the
girl (= mdzo mo) were fond of one another. 355cdef: The thrush named
sKyid-skyid Bu-Tthrid, "Happy Child-Rear", cf. also no. 422, residing
in the square willow-grove, was far too mean or gloomy (snag : gnag),
wherefore it lost love and affection. 357cdef, which as said constitutes
a stanza in itself, is included by Zhuang Jing, no. 74. The latter has
replaced 355f 'chor with the synonymous yal.
356 Contemplating the necessity to erect a chinese-styled pagoda-roof, the
poet initially laid a foundation of gold; whether it should become bril-
liant or not was solely in the hands of the Nepalese (i.e. Newari) crafts-
men. An allusion to the erection of the roof in Jo-khan.
357 A poem on unrequited love. Drops of rain dripping down (sig sig, cf.
also no. 77), it stopped when it reached half way down (rked = sked) the
pass, i.e. it never reached the bottom of the valley. Couldn't you have
mercy with the young green sprouts growing below the sun (ni maï
khrod nas = ni ma'i 'og nas) ? The sun shone mercilessly. Expressed
differently: Someone, a lover, came to see the poet or fell in love with
him, only just as they were about to meet, or to realize their love, they
were barred from meeting. The target of his petitions, perhaps here in
the garb of the sun: the Regent ?
358 If, the poem maintained, you pretended (kha khyer, = khag fdogs) to act
untamed like other (gzan tsho; ? géan 'tsho, i.e. herding other stallions)
stallions, a strong bridle would be put on the horse, only letting (ston :
gton) it be whipped by a soft whip.
359 Again a poem which we have decided to render as six lines in accordance
with the MS. But most probably the first two lines appear to be a part
of a separate poem: The glorious mountain in the eastern direction,
who cares whether it is high or not! A possible clue to the riddle could
be to combine 347ab with 359ab into a full quatrain. Recalling the
distorted condition of the MS, where the pages do not always dovetail
meaningfully in a textual sense, we moreover here observe t h a t 359ab
terminate a page whereas 347ab initiate a new page. The following
full quatrain relates about the pine tree (than sin) which is so high
t h a t its shadow did not reach the ground. Underneath the flat h a t the
most pleasant kind of cool shadow is found. A song of contentment
428

which evidently carries the message t h a t everyone should feel happy

with what one possesses.
360 Above the eastern mountain some beckonings (gyab gyub, signalling
"come here") emerged. With guarantee (khag khyag, = of course, cer-
tainly, cf. also nos. 153, 175, 445) (these are signs that) a meeting will
come about with a person endowed with white thoughts (i.e. amorous
feelings). An indication t h a t the moon (= girl) is about to emerge, cf.
e.g. the crit. ed. no. 1.
361 Above the summit of Meru, the King of Mountains, the sun and the
moon, the pair, emerged. The 'Jewel of the Sky* (nam mkha'i nor bu,
vyomaratna, = the sun) made three ellipses rightwards, (even) circulat-
ing three times (= always). Cf. the crit. ed. no. 43. Here also a picture
of the loving couple.
362 The golden reliquary (tomb) of the Universe (i.e. the gser gduh, sku
gduh) located in the rTse-gdun-khan of the Potala, of the Fifth Dalai
Lama is beautiful from whatever direction one beholds it. It is like
a flower of the precious Brahma (either a poetical phrase or a specific
genus, as yet unidentified) and it is circulated by (tombs) of bKa' gdams
pa (bla mas). The reliquary tomb of the Fifth Dalai Lama is more
commonly denoted the 'Unique Ornament of the Universe', 'Dzam-glin
rgyan-gcig, cf. Ferrari, mKhyen-brtse's Guide to the Holy Places of Cen-
tral Tibet, pp. 3, 40, 89; Dowman, The Power-places of Central Tibet,
pp. 54-5.

363 The Chinese merit-scarf (kha btags, 'face-attached'—often called just

dar, 'silk' and lha reg, 'god-touching'), coming from China, is hung (gtsug
: btsugs) atop the prayer-flags to expand and increase {dar sift rgyas :
dar zin rgyas, cf. also next verse) the prospect and luck of master and
servants. Moreover, it should be noted, a religious scarf (denoted sfian
éal, 'ear crystal') is offered in order to propound the Buddhist Teachings.
The Chinese merit-scarf (bsod nams k h a btags) is more likely a temporal
gift-scarf of an inferior quality (zan pa); four kinds are distinguished:
a se, zub se (scarf of finer quality), mdzod kha btags iphyi mdzod and
nan mdzod and its varieties are distinguished according to use, cf. next
song) and bsod nams (of inferior quality). A scarf of purely religious
use is the ear-crystal scarf.
364 In this poem another kind of scarf is offered, the 'lucky day' (Ain mo
bde legs) scarf, (its fabrics) coming from China, and intended to be
used as a lha dar (a 'religious scarf') enhancing and spreading the
luck and fortune of master and servants (i.e. sentient beings). This
kind of good quality scarf is one of the four kinds of the so-called kha
btags nan mdzod, or 'inner treasury' type, t h a t are distingushed, i.e.
 429

the rtags brgyad ma, the one inscribed with the eight auspicious em-
blems, the srid ii bde skyid, the type expressing the prosperity and
happiness of samsara and nirvana, the nin mo bde legs, the lucky day
type and the tshe lha ma, the type depicting Amitâyus, the Long-life
Deity. The 'Lucky Day7 type usually contains a êloka, inscribed with
sewn or weaved letters, running:
| nin mo bde legs mtshan bde legs \
j ni ma'i gun yah bde legs ein \
j hin mtshan kun tu bde legs pa \
j dkon mchog gsum gyi bde legs éog
Cf. also the Gesar Epic, I, fol. 17a; II, 4b; III 65a, 88b; ed. R. Stein,
1956.
365 The vulture called lHa-rgyal tshe-riri (a poetical name) perched on the
side of the mountain Brag-ri rdo-rje. This may just be a poetical allu-
sion, the adamantine rocky mountain, or, equally plausible, it may be
a proper place-name, cf. e.g. Wylie, The Geography of Tibet, p. 26, 183;
mKhyen-brtse's Guide to the Holy Places of Central Tibet, p. 5, 43, 103
or Dowman, The Power-places of Central Tibet, pp. 73-79. The vulture,
magnificent as it is, need not soar the sky ([g]nam 'phah gcod (: spyod)),
it is enough (yon gis) merely to show off its top feathers. A common ep-
ithet for a vulture is \g]nam 'phah gcod (: spyod) byed, 'moving in the
sky* and Huh spyod, 'wind-walker'. For the vulture lHa-rgyal tshe-rih
cf. Bod kyi dga'-gzas I, p. 93, no. 1 = gZas-tshig phyogs-bsdus, p. 126,
no. 2; Norbu's Coll II, no. 10.
366 The poet is here depicted as being unwilling to show impartiality or
neutrality to anyone in matters of loving and caring. Instead, he urged
anyone to stretch out his legs and relax at the spot where the sun
reached. The sun too, irrespective of place and person, will impartially
shine down.
367 "Four base-pillars and eight cross-beams" (ka bzi gduh brgyad, i.e. ka
ba bzi dan gduh ma brgyad), usually denotes a house or small room,
khah mig, khan chuh or gzim chuh; Cf. Bod kyi dga'-gzas I, p. 105,
no. 6 = gTam-dpe, p. 148, no. 1; Cf. also Bod kyi glu-gzas, p. 66, no. 1;
Goldstein, A History of Modern Tibet, p. 350, n. 82. A lot of youngsters
{bion : gion) crammed the place. We youngsters, the poem related,
have placed our faith in the All-knowing (i.e. rGyal-ba Rin-po-che). If
the poet is identical with the alleged God-king the object of veneration
is Pan-chen Rin-po-che.
368 An equivocal poem on the poet's vacillation between love and religion.
The variegated (khra mo, alt. read, phra mo, small) circumambulation-
circuit (skor lam: glih skor, bar skor and nan skor) of Lhasa is a con-
430

stantly frequented road (rgyun lam, or rgyu lam, road) to Enlighten-

ment (byah chub rgyun lam, this epithet, incidentally, is a popular
euphemism for bar-skor). Only, the poem continued, for the poet to
travel this ground-path (sa lam) is impossible without (a) love/lover or
kindness (byams pa, maitrï, = snin rje, karuna). Note the allusion to
the various stages (sa bcu, dasabhümi) and the five paths (lam Ina,
pancamärga) of the bodhisattva's course in the term sa lam,
369 The liquid of the well-tasting Chinese tea is delicious in every respect
(gangis (: gi) spag (: dpag)gis iim pa; 369b better: gah la dpaggis iim
pa). The lover beheld or spotted by the poet, likewise, is in all respects
beautiful. Included in the collection by Zhuang Jing, no. 115.
370 The colours of the day are beautiful and the scent of the night are
agreeable. The flowers of sKyid-tshal klu-sdin are even more pleasant
than the poet's eternal girl-friend (bstan (: gtan, brtan) grogs). 370d ba
is redundant. sKyid (~ sKyed)-tshal klu-sdin is a stretch of park about
one mile northwest of Nor-bu glih-kha in Lhasa and abutting 'Bras-
spuns, a noted place where anyone coming to or going from Lhasa,
as tradition commanded, are cordially received or seen off; cf. W.D.
Shakabpa, Tibet, A Political History, p. 309; Taring, Map of Central
Lhasa; For another gias on this place, cf. Bod kyi dga'-gzas I, p. 82,
no. 3 = Bod kyi glu-gias, p. 163, no. 2 (cum van led.). Cf. also gTam-
dpe, p. 122. The poem is also included in the collection by Zhuang Jing,
no. 116.
371 The flower (= the girl) of (this, see previous poem) pleasure-park has
colours of exorbitant beauty (mtshar bas mi chog, a phrase analogous
to lia bas chog mi ses, one cannot look enough at them).; What is more,
the poem relates, its fragrant scent haunts the poet's memory.
372 The thrush sojourning in the pleasure-grove (cf. the two previous poems)
is called Sri-gcod bu-Tdirid. The young lad's master has arrived. Please
lift your sweet warble!
373 The field is hedged in a circular shape with barberry-trees and shrubs,
encircled by numerous thorns (tshe : tsher ma). Please, the poet ex-
claims, kindly don't favour (me by letting) the cows (loose) like before,
i.e. before installing the thorny hedge. 373c skyabs 'jug gnah, lit. "ren-
der refuge", C. bângzhù; to favour or to grant a request; The barberry
(skyer ein, skyer pa, Skt. däruharldra), any of the genus Berberis of
the family Berberidaceae (here prob. Berberis aristata or vulgaris,
again sometimes identified with dictyphylla), a yellow-flowering, berry-
ing, thorny shrub popular, as in this poem, for hedging. The stem bark
is used officinally. Synonyms: gser sin, 'golden-yellow tree', tsher mon,
'pricky thorns', '6ms skyur, 'bitter berries', Ipags ser and gser éun, 'yel-
low or golden peel'. According to the Tibetans, two forms, a black and
 431

a white, are found—the white genus having thorns, the bark silver-
coloured and the core light-yellow, with yellow flowers and red berries.
The black variety has black bark, its leaves and stems small and fl.
mostly yellow; cf. èel-goh éel-phreh, pp. 247-8; Bod-ljons rgyun-spyod
krun-dbyi'i sman-rigs, pp. 165-167; Rastenija Tibetskoï Meditsiny, p. 76
oddly identifies it with Phellodendron amurese of the fam. Rutaceae,
the Amur cork tree! Cf. also S.C. Banerjee, Flora and Fauna in Sanskrit
Literature, p. 38.
374 The phrase na khra gion khra poses a problem. Most probably it ren-
ders a natural image, which we may tentatively interpretate as na kha
gion kha, i.e. a young green mead. Alternatively, one may also suggest
the reading na phra gion phra, though unattested in an dictionary, it
purports the meaning of young age, = lo na chuh. Opting for the first
interpretation, it reads: The tree of the pleasance (skyid or skyed rnos
tshal) is more supple (snem pa : mnen pa, b u t pa is redundant) than
the young green meadow. Agitated by the wind, which was uncalled
for, their waists certainly vibrated in a swaying manner (Idem Idem, =
Idem Idem Icug Icug, i.e. in a coquettish and youthful charming way,
= sgeg flams ston pa, gion nams mdzes). This depiction of the gentle
swaying of trees is a clear allusion to the handsome girls (mdzes ma)
with their swaying waist (sked or rked pa). A traditional euphemism
for a pretty girl (mdzes ma, bud med mchog) is a girl with a slender or
beautiful hip (sked phra ma, sked legs ma, sujaghana) and even, ideally,
a hipless girl (sked med ma).
375 In this poem, which has been construed to consist of six lines, other
constructions are plausible, cf. infra. The poet professed t h a t his feel-
ings are immaculately pure, i.e. pious and honest as a white scarf. The
male lover herewith declared t h a t he h a s been faithful, wherefore he
curiously asks her to whom the girl would give the all-white (white
scarf-embellished) bow which she is waving, i.e. who she would choose
to mate. The beloved, the fine little arrow (stag don, lit. 'quiver made
of tiger skin, cf. nos. 191, 262 supra, only here = mda' mo, arrow, = the
girl) should be safely inserted in the quiver (don pa). Phrased differ-
ently, take good care of your lover, love her/him for good! This poem,
as usual, is susceptible to more interpretations. An arrow is frequently
used as an auspicious instrument in the mating or marriage ceremony.
When girls choose a prospective man a bow is used, whereas a man
uses an arrow. A celebrated incidence of the latter case is provided by
e.g. chap. XIII of rGyal-rabs gsal-ba'i me-lon, which relates about the
final identification of the Chinese Princess Koii-jo by Minister mGar
using an arrow. Zhuang J i n g has equally plausible read no. 375cdef as
a single stanza which he has included in his collection, no. 117.
376 The rustling (éog éog) of the leaves of the poplar (sbyarpa or dbyarpa),
432

please do not make this sound! The walnut trunk igdon : sdon) from
my homeland, the poet bewails, is perpetually haunting his memory,
no. 371d = no. 376d. Here he evidently exhorts a girl to abstain from
provoking him—the poet has decided to remain faithful to his distant,
native sweet-heart.
377 There are quite a number of rulers (sa la dbah ba) in the Snow-capped
Country of Tibet. The codifier of the religious laws is King Sron-btsan
sgam-po (d. A.D. 649/50). The religion-based (dasakusala, dge ba bcu)
laws in question is the so-called mi chos gtsan ma bcu drug, the sixteen
pure popular laws. This poem draws an overt parallel between this
famous codifier and unifier of Tibet, prior to whose reign many vied to
power, and, we may assume, the Fifth Dalai Lama (A.D. 1617—1682)
who, besides gaining paramouncy over Tibet, similarly codified a set of
laws (zal Ice); cf. e.g. R. 0 . Meisezahl, "Die Handschriften in den City of
Liverpool Museums (I)", Zentralasiatische Studien, 7 (1973), pp. 2 2 1 -
261.
378 Underneath the cooling shadow of the trunk of sandalwood tree, exud-
ing, we know, a delicious scent and not infrequently itself represent-
ing a girl (but see next poem), the knot of his heart's love, which was
previously not bound, alas, had been made tight. Evidently, in these
pleasant surroundings the poet submitted himself to love.
379 The trunk of the sandalwood tree, surrounded by 'flesh-eating' (piéâca)
Tieavenly fairies' (dâkinï-s)—aside from (rtogs : gtogs) its agreeable
scent, there was no fruit (= girl, or love) to be plucked! The éa za mkha'
'gro ma is a special group of heavenly fairies, often grouped together
with ye ées mkha' 'gro ma and 'jig rten mkha' 'gro ma. We may here
imagine t h a t the carnivorous and malignant dâkinîs either embody a
*bad girl' or, more likely, the mother of the girl, only the poet, apart from
the delicate fragrance, could not get hold of the delicious fruit (a girl of
choise). She was eagerly safeguarded by her mother; cf. song no. 65 in
the crit. ed.
380 The golden statue, denoted "Meaningful to Behold", mThori-ba don-
ldan, is a standard euphemism for a statue, the best known reliquary,
which in fact is a golden stüpa, carrying this title is the sanctum sancto-
rum of dGa'-ldan. This statue is lifted up by eight great lions. Further,
the poem professed, it was offered to the sku tabs (cf. no. 297 supra),
which is grosso modo tantamount to our Minister or someone rendering
governmental service (éabs pad), in order to enhance his firm seat in
rule (bstan : brtan; alt. tabs brtan, a religious (long-life) prayer service,
or zabs rten, the base of governmental service), i.e. to grant him a long
life in power. The golden stüpa mentioned above, if the identification
is warranted, enshrines the relics of Tson-kha-pa; cf. Ferrari, mKhyen-
 433

brtse's Guide to the Holy Places of Central Tibet, p. 108; Dowman, The
Power-Places of Central Tibet, p. 100.
381 Cf. no. 290 infra for ba lu; the term su lu is often added to ba lu,
but may also figure as an independent plant, as yet unidentified. In
plentiful of this plant or these plants grew at the border between the
alpine vegetation-free mountain stretch (gya7) and the meadow (span).
The grouse, cf. no. 123 supra, is not tempted to settle in the square
willow-grove.
382 A poem on selfishness. My beloved! The poet exclaims—she resem-
bles a flower of the walnut tree (star kha or star ka/ga). During day
it is out of his eye's sight, and at night it is out of his arm's grip, cf.
the crit. ed. no. 6. The poem is quite ironic, the walnut does not carry
any flower (but actually see Bod-ljons rgyun-spyod kruh-dbyVi sman-
rigs, pp. 592-594), if so then only during night (cf. below), this simile
probably corresponds to the drstänta of the son of a barren woman
(vandhyätanaya, mo géant gyi bu), a stock simile for a(n) (onto)logical
impossibility in Buddhist writings. The idea of the flowers of the walnut
tree and the clandestine liaisons being a nocturnal affair, i.e. t h a t blos-
somming/love only emerges at dusk and is doomed to vanish by dawn,
is equally^ brought to the fore in a gias in Bod kyi dga'-gias I, p. 33,
no. 4 = gZas-tshig phyogs-bsdus, p. 129, no. 4:

| ha la byams pa dgos yod \

j star kha'i me tog dgos yod \
| srod la éar ba dgos yod \
j tho refis yal ba dgos yod \

383 An enigmatic poem. The construction of the building (rtsig so : rtsig

bzo), which is not (actually being) erected, is excellent. It is a wall
(rtsigs pa : rtsig pa) made of (kyi or kyis) white wheat (nas), and it
remains unalterable. It is (called) the "Gyur-med zabs-brtan lha-khan'
(the Unchangable, Firm Temple). It is uncertain whether it refers to
a temple in the Potala or in the Jo-khan. The gilted pagoda-like roof
topping the building towards the sky resembles the sun and the moon.

384 No clouds in the sky, yet, .the poem professed, on ground a blizzard
raged. There is no anxiety or fear here (? in the Potala), please, the
poet solicits, care for others (thugs Icags gnan : thugs ca[g] gnah, =
bdag sprod, gees spras). This poem should perhaps be interpretated ac-
cordingly: No threatening clouds have gathered in the sky above Tibet,
but, beware, keep a stern outlook for others, the invading Mongols or
the Chinese! The poem is included in the collection of Zhuang Jing,
no. 118.
434

385 The golden statue was not manufactured by being hammered in gold,
but by casting or moulding {lugs su blugs) here in the Nepalese tradition
or by Nepalese sculptors {bal po'i : bal pos). The guests seated (géugs :
bzugs) in rows at the party how come they could have bodies of ordinary
men, but godly faces ? An ironic poem ridiculing self-importance. The
so-called 'golden statue' was in reality not hand-manufactured in gold
but was a cast made from ordinary bronze {li ma) or copper {zans). Like-
wise with the self-conceited guests seated at the festival. Though they
posed their supernatural and godly countenances, they were merely
endued with human and mortal bodies! Behind the shimmering and
exalted vesture they were just flesh and blood. 385d, cf. no. 52f.
386 The hue of the high-lying meadow has changed and below in the valleys
the trees have shed its leaves: A sure sign heralding t h a t autumn has
arrived. The poet is obviously elated at the prospective t h a t the swal-
low, his heart's fancy, remains behind (in dBus and Byan-than) instead
of (or in replacement of ?) the cuckoo, cf. the crit, ed. no. 46, which
migrates southward to the warmer climate in the valleys of Mon-yul
during winter. Autumn's deciduous imprint h a s been left on nature's
garb, the season of love has come to an end, yet, the poet is neverthe-
less consoled in the dismal situation: The prospect of love is not quite
extinct, the swallow is still around. When spring comes the khug r t a
always precedes the khu byug. In other words, the k h u g r t a is consid-
ered a forerunner of the khu byug*s arrival. Alternatively, when the fall
heralds its coming the khu byug precedes the khug rta when migrat-
ing. The swallow or sparrow {khug rta, also 'dag byi'u, 'dab khra, Skt.
divoka, cätaka), any of a swift, long-winged, passerine bird, fam. Hirun-
dinidae, the Cuculus melanofeucus; synonyms, e.g. char sdod, "settler
in rain", char dga', "rejoicer at rain" (said to subsist on rain-drops),
sprin la slon and sprin 'degs, "lifting high in the cloud". 386d la : ba,
cf. no. 188d supra. Cf. also S.C. Banerjee, Flora and Fauna in Sanskrit
Literature, p. 163; The poem is included in the anthology of Zhuang
Jing, no. 75.
387 The birth-place {skyels] sa) (of the girl ?) is 'On-stod zin-kha, a horse-
trade market to the east of the Jo-khan in Lhasa, cf. the Map of the
Central Part of Lhasa, no. 109 in Taring's Map of Lhasa, here rendered
as Wongta shingga. A place, the poem flatly apprises, where there is
noting but {la : las) dirty waste {nan skyug, 'awful vomitting 5 things).
Her (or its) self-esteem or pride is nevertheless even higher than the
topmost point of the prayerflag-pole dGa'-ldan dar-smyon, more com-
monly known as the dGa'-ldan dar-chen, the tall pole for prayer-flags
towering high right behind the Jo-khan abutting the trade market, cf.
no. 89 in the above-mentioned map and no. 15 in the Lay Out Plan of
gTsug-lag-khan in IHa-sa gTsug-lag-khah gi sa-bkra dan dkar-chag.
 435

388 A poem carrying eight lines, where perhaps two four-lined stanzas
would be expected. A poem on merriment (dga' dga' spro spro). The
guests assembled here in seated circular rows a t the party (cf. e.g. also
no. 281 supra)y please rejoice and be happy! If you, when the oppor-
tunity for a merry time is offered, don't rejoice, then, evidently, there
won't come a single person saying:"! am happy". Human existence is
like a pastural stretch of grass, you really don't know when igan du,
= where, to what, here = ga dus) it will disappear. Told differently,
have a good time when or if the occasion rises. Merry-making often
materializes spontaneously, life is ephemeral, so, the poem overtly pro-
mulgated, do not entertain any misgivings about impromptu revelry.
388d, cf. analogously no. 319b.
889 It is not befitting ('grig 'grig or khrig khrig, perhaps even better to
read [b]sgrigs [b]sgrigs, i.e. the cattle is not assembling) t h a t the grass
meadows are replete with catties (nor, norphyugs). Someone urged him
to lead forth a cow by putting on a halter (mthur mgo rgyab). In this
poem the cattle herd (khyu) will merely grass on the pasture a short
time—life is ephemeral—the poet t h u s seems admonished hurriedly to
seek out a beloved amongst a number of girls, whilst the chance is there.
390 The poet here professes t h a t he did (iu y in) find a place to grow poplar
in the valley (géun) of Glan-than, located at the foot of sGo-la in T h a n -
yul, north of Lhasa, cf. Dowman, The Power-Places of Central Tibet,
pp. 83-84. The poplar (sbyar pa or dbyar pa) here depicts a girl, who
evidently descended from here. The leaves of the poplar tree, whatever
suits you, spring forth and be relaxed (gnan sos... bde : gnas bzod bde
po, cf. no. 57 supra). The poet is apparently having a date with a girl
from Glan-thah, with whom he could feel at ease.
391 Why should the stag be staying without j u s t crossing the mountain pass
into another valley ? Here is no grass on the mountain and no water
in the valley. There is nothing to subsist on (= love) in these slopes,
the stag is advised to seek other grazing ground, meaning t h a t the poet
should seek another lover. This famous poem with an univeral appeal is
also found incorporated in other collections, e.g. Bod-rigs kyi glu-gias,
p. 108, no. 4 (cum van led.) and Bod-rigs kyi dmahs-gias gces-bsdus,
p. 143.
392 Circumambulation (bskor ba : skor ba) was repented around the caitya,
erected at the three-way junction (lam po sum mdo 'gag, = lam khag
gsum mdo), a stüpa inscribed with the six-syllabic formula Om mani
padme hum. Out of reverence, retreat was performed by looking back-
wards at the stüpa. Beneath this religious act of circumambulation we
should evidently envisage a veiled act of love and dating. The para-
dox and bewilderment haunting the person, who is torn between love
436

and religion is stipulated by his rependence; further samples on skor

ba hskor, cf. no. 282 supra; on lam gsurn mdo, cf. Bod kyi dga'-gias II,
p. 59, no. 3 = gZas-tshig phyogs-bsdus, p. 119, no. 2; and p. 59, no. 4;
392d, cf. the crit. ed. no. lOd.
393 The arrow (here like the shaft of love) had been launched five hundred
times. At all times the archery butt or bow notch (éa bkrad : éa krad9
= é[v]a ba'i rva co las bzos paï krad kor (or 'khor). A thick hollow ring
previously worn as a ring with a hook used to span the sirew of a bow.
This thumb ring (mtheb 'khor) is made of ivory and worn on the right
hand. I t s u s e is now purely ceremonial. In Lhasa the use of the mtheb
'khor is a special privilege of the treasurer (phyag mdzod) of the noble
houses; cf. M. Aris, 1976, p. 632, n. 84; cf. also no. 448. Here is is
described as quite contented ignah sos bde ba : gnas bzod bde po, cf.
no. 56 supra). The bow, having been stretched so much it is coiled like
the horn of the wild goat (cf. the crit. ed. no. 2), is bent towards the
rays of the sun. A poem on archery in which the poet is depicted as the
ring notch happily releasing the shaft of love, which, incidentally, has
secured him numerous love affairs.

394 Going to the east of India, he assumed (re)birth as a peacock, cf. the
crit. ed. no. 60, only the poet dared not (mi bzog) (eat) the soft, yet
poisonous leaves. Read lo ma instead of lo mas; if lo mas is retained,
the poem purports that the baneful leaves cannot leave him alone. As
is known, the peacocks usually partake of poisonous leaves, cf. no. 426.
As subsistence Ctsho ba), e.g., it partakes of leaves of the hemlock,
btsan dugf i.e. Conium maculatum or aconite, Aconitum heterophyllum,
Skt. ativisä, bon ha, of which four genera (rigs) are found; three are
employed officinally and the fourth is particularly baneful, bon na nag
po, Aconitum napellus, Linn, or Aconitum balfourii also called bdud
rtsi lo ma, = btsan dug, growing in lHo Mon-ron, cf. Éel-goh sel-phreh,
pp. 306-308, Rastenija Tibetskoî Meditsiny, p. 72 and Bhagwan Dash,
Formulary of Tibetan Medicine, passim; S.C. Banerjee, Flora and Fauna
in Sanskrit Literature, p. 32. This poem perhaps attempts to depict the
poet, who, though tempted perhaps, after all did not brave to partake
of the soft, yet poisonous treat. For once he was no peacock and the
perspective of indulging in a baneful treat, i.e. to enjoy the company of
women, a dangerous undertaking indeed, was at times apparently too
tall an order for him.

395 Unless (ma rtogs : ma gtogs), indeed, for the happy presence (yod
[rah] grags pa : drag pa) of (cooling) clouds protecting them against
the blasting frost (sad, = gran nad, i.e. perdition), the growth of the
small green sprouts would certainly (read ni or rah in 395d) be endan-
gered by the exposure directly to the (warm, pitiless) rays of the sun.
 437

Couched in a natural setting, the poem portrays the well-nigh merciless

conditions under which the poet lived, a ghastly predicament which un-
remittingly and blatantly exposed him to the sardonic blows launched
by his enemies. His protector, here garbed in a cloud's attire, would—
exceptionally perhaps—here embody the Regent (cf. reversely the crit.
ed. no. 39 and no. 302 supra). Reading the poem more prosaically,
the cloud may simply represent the poet, who generously protects his
beloved, or their incipient love, from any fatal blow perpetrated by re-
lentless detractors.
396 The cuckoo came from Mon-yul, cf. the crit. ed. no. 46, attracted hither
(i.e. mindful of) the sacred tree, the juniper or the deodar, cf. no. 212
supra. But alas, the juniper displayed (ston, word-play on fall, ston kha
?) an alternate, seasonal hue (i.e. attitude), and resignedly the cuckoo
withdrew to Mon. The pattern of the poem resembles the crit. ed. no. 9.
The cuckoo migrates to Mon-yul during winter and returns in spring—
as a harbinger of spring (dbyar kha'i pho na)—to Central Tibet. A poem
on love, its coming and going follow suit the seasonal alternations. His
poem is included in the collection of Zhuang Jing, no. 76.
397 The valley iron, = [k]lun pa, usually a deep, bifurcated (kha dbrag)
gorge) is long, i.e. deep, so deep that only the sky above is visible (for this
image cf. similarly, Bod kyi dga'-gzas I, p. 122, no. 3 = gTam-dpe, p. 127;
ibid., p. 122, no. 4 = gTam-dpe, p. 146). To meet here one's beloved is
even more difficult (khag pa, = khag po) than to assume a human body.
The vastness of land nullified the chances of an amorous encounter.
The contention as to the rare difficulty (durlabhâ, dka' ba) of assuming
a precious human body, is e.g. related in Buddhist writings, cf. sGam-
po-pa's Thar-rgyan, chap. 2: The neccessary prerequisite required for
an individual to be able to assume a human body is the unique occasion
(ksana, dal) and the proper timing (sampad, 'byor). In this context, we
may assume that the poet's beloved is sojourning in a distant place.
Journeying thither is deemed insurmountable by the poet.
398 An enigmatic poem. To flap the wings (sgro rgyag, = géog gyab) like that
is like excrement (ordure). This reading is not satisfactory, perhaps
there is an allusion to sgro ba, the testicles (= dig [h]ril, rlig 'bras),
or even to the male organ, cf. Das' diet., q.v.), it evidently reflects a
slightly obscene quip of a kind in colloq. vernacular, the full imagery
of which still remains in the dark: So shaking (hitting ?) the testicles
(mocking someone ?) like that is not acceptable. People following suit
or being attracted by (i.e. believing or even perpetrating) such doings
is like thin stool (vulg. squitters, snan ma : rnan, gnah ma, = dri chert
sla mo, diarrhoeaic stool). Getting mixed up in some filthy business are
contemptuous, but those who willingly and uncritically just follow suit,
as an epigone or even a marauder, are utterly unsavoury.
438

399 It was neither tiger skin nor leopard skin; take a look at t h a t person,
the poet urges, how he holds the incense (bowl) (spos (phor) khyer)
(in the procession wearing in reality only) a (cheap) goat (ras : rva)
skin turned inside out! An ironic quip ridiculing a self-important figure
evidently. Is the poem yet a trite sample which proffers a well-concealed
plaint against the Regent ? This dignitary blatantly donned himself in
a costume, tailored or fabricated, it turned out, from a low-quality goat
skin. Are the tiger skin and the leopard skin allusions to China and
Mongolia respectively ? On tiger and leopard skin, cf. Bod kyi dga'-gzas
I, p. 59, no. 5; Duncan, 1961, p. 88.
400 A slightly ribald poem couched in vernacular idioms. The poem would
seem to depict a girl desperately in love. The water (i.e. urine (chu, dri
chu)) of the young girl (a Ice bu mo) is dripping constantly (rdza rdzar :
rdzag rdzog, 'dzag ger, cf. also no. 35 supra) like pearls (mu tig) (falling
drop-wise). While trying to retain (cum cum pa'i : hcum hcum pa yi
?) (her water) the girl (approached the man literally) bursting with her
officious, ingratiating (? zan zan zum zum ma, lit. "sneaking privily
like a cat") charm.
401 The cup (mchod can = mchodpa'i can ne, = phor pa) is a wooden drink-
ing cup from Dvags po (d[v]ag[s] [po'i] can [ne'i] ser po, cf. no. 262
supra); 401b yod yod pa'i pa'i [sicl] : yod yod yod pa'i\ scribal dittogra-
phy due to shift of page. The poet has his everyday drinking cup, but,
the poem urged, at the same time, please don't forget the little cup (=
spen phor, the term spen rdzab indicates t h a t the type of wood, spen
ma, grows in mud or in the mire). The spen phor, cup or little bowl, is
made or carved from the root of the spen ma, a species of the tamarisk,
Tamarix, a genus of chiefly desert shrubs and trees with small perfect
white flowers in dense racemes or profuse clusters and masses, akin
to the elegant, desert-growing bayberry or myrtle Com bu, Myricaria
bracteata, Royle of the fam. Myricaceae and Tamaricaceae). The Ti-
betans distinguish between two genera of spen ma: spen dkar, with
white fl. and spen nag, with yellow fl., cf. èel-goh éel-phren, pp. 226,
228-9; Bod'ljons rgyun-spyod kruh-dbyi'i sman-rigs, pp. 102-104; Ras-
tenija Tibetskoï Meditsiny, pp. 75, 80;
402 A poem on requited love. The new cooling clouds (sil sil : bsil bsil, bsil
byed, "the cooler" = sprin pa), which congest like wringled or rippled
waves (chu ris éig sig, cf. also Bod kyi dga'-gzas I, p. 47, nos. 2-3), have
passed beyond the pass and disappeared. Pray, be good to lead the
flower growing on the good soil to freedom. The flower (= the girl) is
entreating the rain-heavy clouds (= the male lover) to come back and
shed some life (= love)-giving water.
403 A golden rail-fenced staircase (sgrom skad : sgrom skas, i.e. framed
 439

like a box) was erected inside or leading to the great place, the Potala.
This kind of staircase is often fairly large and in three rows; for an
ill., cf. The Potala Palace of Tibet, p. 24, showing the sgrom skas-type
of staircase leading onto the Eastern Terrace of bDe-dbyans-sar (also
denoted bDe-yaris gsum-skas, cf. Chab-spel, 1987, p. 301, women were
prohibited admittance beyond this point) in the Potala—the middle row
in the staircase was exclusively reserved His Holiness. Here the girl is
nevertheless admonished to bring along an auspicious welcome scarf,
climb the stairs and go and see the rGyal-dbari, (* Jinendra) i.e. the
Dalai Lama.
404 From the top of the Red Palace of the Potala a golden rgya glin is
sounded; Pray, look in grace upon us, young men (or: Young Man (= the
Godking) look upon us) and our joyous mood (dga' sad : dga' ba'i gsis
or dga'tshad)\ Cf. similarly, Duncan, 1961, p. 47.
405 A poem exuding the pleasure of an amorous mind. The mind, the poem
relates, remains more content than an arrow, cf. nos. 297 and 409,
(safely) disposed in the (protective) quiver (made) of tiger (skin), cf.
nos. 191, 262. In 405cd another idiomatic simile is introduced, in which
the mind, when obviously bent on love, is even more accomplished or
fulfilled than a crop of sundry grains ('bru sna (tshogs)) producing a
bountiful harvest (lo chu legs pa : lo (tog dan char) chu legs pa, lit. "a
good crop and a good rain", or : lo phyugs legs pa, lit. "a good harvest
and a healthy cattle", or "good farming and herdmanship").
406 The sun has set (thad : thegis], cf. no. 22 supra) beyond the mountain
pass and the shadow stroke (i.e. darkened) the valley (Huh : \k\lun). As
the legend goes and this popular poem corroborates, when evening fell,
he would habitually and surreptitiously slink away under the cover of
twilight to seek out his nightly haven, the little quarter of a mistress;
cf. the crit. éd. nos. 53, 61.
Between no. 406 and no. 407 the MS states t h a t my name, i.e. the
compiler's ?, is *Punyedzäna (= Punyajnäna), the Sanskritized nom de
plume of the compiler—in Tibetan bSod-nams ye-ses.
407 A poem expressing a mangala. The white conch shell wounded to the
right (dun dkar gyas 'khyil, daksinâvrttaéankha) h a s auspiciously its
coil reverted rightly. It is one of the eight auspicious emblems and
auspicious objects (astamahgala, bkra sis rtags brgyad, bkra sis rdzas
brgyad) of Buddhism also called bkra sis dun, and is believed to embody
altruism (lhag bsam, adhyâéaya) solemnly employed to announce the
Holy Law. Pray, the poem entreats, let its sound echo distantly to wield
its influence (lit. conquer) (in) the three-realm universe.
408 The Indian cotton linen, saffron-dyed, of a beautiful lustre, excellent
and all-captivating, was offered as a votive gift to placate and show
440

homage to Blo-bzan bstan-skyori. This figure is not readily identi-

fied, but for the reason of coincidence of the name one may suggest
the grandson of Gusri Khan (bsTan-'dzin chos-rgyal, A.D. 1582-1654),
named mKha'-'gro Blo-bzan chos-skyon; cf. e.g. the introduction p. 3,1.
3-4, to A-mdo Rva-rgya'i bka'-'gyur gyi dkar-chag by the VHth. Pan-
chen bla-ma bsTan-pa'i fii-ma (ed. Dharamsala 1983). On the other
hand, the name Blo-bzan would temptingly point to Tson-kha-pa, i.e.
Blo-bzan grags-pa (A.D. 1357-1419). In t h a t case, it would then refer
to a statue in 'Bras-spuris, in the sNags-pa grva-tshah, a statue con-
secrated by Tson-kha-pa himself, representing rDo-rje 'Jigs-byed (Va-
j r a Bhairava, i.e. Yamäntaka), also called Chos-rgyal ICags-thag-ma,
the Dharma-king with the Iron Rope, the Yellow H a t Sect's Principal
Tutelary Deity; cf. Dowman, The Power Places of Central Tibet, p. 69;
Wylie, The Geography of Tibet, p. 79; Ferrari, mKhyen-brtse's Guide to
the Holy Places of Central Tibet, pp. 41-2, 97-98; Saffron (gur gum,
Skt. kunkam), i.e. Crocus savitus Linn., or perhaps better, safflower,
Carthamus tinctorius; cf. Éel-gon éel-phren, pp. 164-8.

409 Lhasa, the glorious centre of Dharmacakra, cf. the crit. ed. no. 60, is
located in 'the sea* {rgya mtsho); here reigns Sans-rgyas rgya-mtsho,
the dPon-po who suppresses (i.e. controls and supervises) the 'sea'. We
servants (tabs spyi zu : iabs phyi eu mkhan) remain more content
than an arrow (snan sos : gnas bzod, cf. nos. 56, 297 and 405; ba,
to retain six syll., is redundant). The word-play on rgya mtsho here
alludes to the now subterranean lake, the Plain of Milk Co [ma'i] than)
upon which Lhasa, but first Jo-khah, was built. This became possible
when the marshy lake of 'O-than was drained and filled up to erect
Ra-sa 'Phrul-snan in the Vllth. century, cf. e.g. rGyal-rabs gsal-ba'i me-
lon, chap. XIII. Moreover, the 'ocean' being suppressed (i.e. supervised,
controlled) probably also alludes to the Dalai Lama, whose name always
carries the epithet rgya-mtsho (dalai).

410 The talking bird, the parrot from the province of Kon-yul or Kori-po. His
beautiful beloved, descending also from Kon-yul, is she in good health
? The poet inquired this parrot bird, which here symbolizes a Kon-
po friend who apparently knows about the girl's whereabout and her
constitution.

411 The village Hol) of 'Phyoh[s]-rgyas offering no (good) drinking water

here probably refers to the 'Phyon[s]-rgyas river, cf. also no. 432 infra.
Equally likely though, 'Phyons-rgyas Zol may refer to the Zol-khan-pa
noble family (originating from 'Phyoris-rgyas); cf. L. Petech, The Aris-
tocracy and Government in Tibet, pp. 141-4. Whatever the case, rather
than settling for a girl (or love = water) from this place (or family),
the poet clearly opted for the girl of Phun-tshogs rab-brtan. The latter
 441

name is a veiled reference to a daughter (rntsho mo, a lake situated

in the estate) of the Noble House and family of 'Phyons-rgyas Phun
[-tshogs] rab [-brtan]; Phun-rab, cf. no. 61 in the Map of Tibet, no. 36 in
The Aristocracy of Central Tibet, by H.R.H. Prince Peter of Greece and
Denmark.
412 The big, flat yellow, felt hat, cf. nos. 237, 309 supra, is perpetually
on the poet's mind. But since the karmic prospect (of making it, i.e.
dating the girl) currently is impaired, cf. the crit. ed. no. 7, the wool
still remained firmly on the back of the sheep. The yellow h a t being
made from wool, this allusive poem indicates t h a t his hopes for a love
affair remains unfulfilled.
413 This poem h a s for contextual reasons been read to consist of ten lines,
but could equally reasonably be separated into two quatrains, in which
case the last two lines (no. 413ij) and the first two lines of the sub-
sequent poem (no. 414ab) equally could make up a separate poem, as
read by Zhuang Jing, cf. below. The Zla-ba-glin, the Moon Continent
or Island, is one of the cosmological components in the symbolic, man-
dalic representation, or imago mundi, reflected in the structure of the
bSam-yas vihâra Complex. The cupola (dbu rise) represents the Mt.
Meru, surrounded in the cardinal points by four temples, each of which
again is surrounded by eight minor chapels, respectively called the Four
Continents (glitt bei) and the Eight Minor or Satellite Continents (glitt
phran) and finally there are two chapels, the Continent of the Sun and
the Moon (Ni-ma-glin and Zla-ba-glin), no trace of them to-day; cf. K.
Buffetrile, JA, CCLXXVII, 1989 (3-4), pp. 375, 379; Cf. Dowman, The
Power Places of Central Tibet, pp. 221-4; Padma bka'-thah, 86th Canto,
tr. by Toussaint, Le Diet de Padma, Paris 1933, pp. 342-353; Tucci, To
Lhasa and Beyond, p. 121. When the poet went into retreat for med-
itation at Zla-ba-gliri or Zla-ba lha-khan in bSam-yas, the people said:
"If it is possible, it would be the best (rab gsum rab la, lit. "the best
of the best (of) three", = yag éos), kindly to remain in retreat for three
years!" Then, "even if it should be the second best or even the least best,
be good to stay in retreat for (three months respectively) three days!",
they requested. But he rejoined: "Not for years or months, but for three
nights only I shall stay in retreat". In meditative retreat: rab = three
years (lo gsum), 'brih = three months (zla ba gsum), tha mail] = three
days/nights (tag gsum)', for a similar song, cf. "gÉon-nu 'od-sde dan bu-
mo sa-mtsho-ma", in Bod-ljons dbus-gtsan-khul gyi dmahs-khrod gtam-
rgyud, pp. 210-11. Underneath her small, luminous or sparkling eyes
(khra chuh mig, a poetical phrase, cf. also C. liàngjïngjïng de yânjing
and the next poem; Bod kyi dga'-gzas II, p. 10, n. 1 = gZas-tshigphyogs-
bsdus, p. 164, no. 6; Bod-rigs kyi glu-gias, p. 89, no. 2; ' T h e drizzling
drops (lb]sil ma, cf. nos. 179, 402, 439) (of tears)" fell. Zhuang Jing in
442

his selection of poems plausibly makes no. 413ij and no. 414ab into a
separate quatrain quoting it as no. 78.
414 Eternal friend, the poet intimates, behold how modest and brazen you
are! When the time for departing drew near the poet was seen off by
the tiny, shimmering eyes of his beloved. Always—day and night—she
confided in him, all white teeth and smiles, would she think of him in
a cheerful manner. Zhuang Jing has included 414cdef as a separate
quatrain in his coll. no. 79. He moreover equally plausibly proposes ha
instead of de in 414b.
415 A parallel poem to no. 16 of the crit. ed. Here the female lover expresses
her resolution to seek refuge in the religion, when abandoned by a lover
for religion.
416 This and the following poem should be read conjointly. He went to
mChim[s]-phu (of) bSam-yas for meditative retreat, at the great moun-
tain hermitage (ri khrod), cf. Dowman, The Power Places of Central
Tibet, pp. 226-228; Ferrari, mKhyen-brtse's Guide to the Holy Places of
Central Tibet, pp. 45, 115-116. His beloved, the bright girl of good fam-
ily, cf. the crit. ed. no. 2 1 , arrived to supply him with provisions (rgyags,
i.e. food and drink) for meditations. Note the word-play on sgrub pa
rgyag, enter meditation and sgrub rgyags Çbul), to supply provision for
meditative realisation.
417 The great mountain hermitage of Brag-dmar sKed-tshan (or Ke'u-tshan,
"store-house", = ri khrod) is the most significant of the caves of bSam-
yas mChims-phu; cf. e.g. Dowman, ibid., p. 226, 2 3 0 - 1 ; Tucci, 7b Lhasa
and Beyond, p. 327; Ferrari, ibid., pp. 45, 116. This Red Rock Retreat
or Cave is a chief sanctuary of Guru Rinpoche. Who cares whether it is
located high above or not (cf. also no. 424), the poem declares, if people
have a profound (stin : gtih) faith, please come and pay (the meditating
poet) a visit.
418 Ruins (rgyan rol : gyan rol, i.e. gyah [h]rul). Take a look downwards (mi
: ma) at the ruins of lHun-grub-sgan in the eastern direction, a ridge,
as yet unidentified. Death, symbolizing the transcient nature of h u m a n
existence, grew nearer and nearer. My mind-captivating mistress (Yid
'dzin dban mo, cf. the crit. ed. no. 30)—pray do not let her die! A
poem on the ephemeral nature of h u m a n existence, a central doctrine
in Buddhism, which is unconditionally endorsed. When it affects the
chosen one, however, frustation and dispair h a u n t s the poet.
419 IHa-ri and bDud-ri are two mountains, which, as yet, are still not iden-
tified beyond reasonable doubt. The IHa-ri is is not a hill-top cairn
(Icogs : Icog mgo, = la rdzas, la rtse), whereas bDud-ri is. The poet's
beautiful damsel and beloved is not visible, when looking from Lhasa,
 443

presumably. The hill-top cairn of bDud-ri, obviously, thwarted his out-

look from the Potala. This is obviously an ill-veiled allusion to someone
interferring in the poet's liaisons.

420 The statue of Buddha denoted "the Passionless Lotus" (ma chagspadma;
read Padmapani (Phyag [na] padma ?) erected in the Upper Meditation
Cell of the Potala; cf. Dowman, The Power Places of Central Tibet, p. 56;
the 'Phags-pa lha-khari, it was previously the upper storey of the Chos-
rgyal Sroii-btsan sgam-po's meditation cave and considered the oldest
lha-khah in the palace. We placate you, be our perpetual refuge in this
and all succeeding existences.

421 Bird, emerald cuckoo (cf. the crit. ed. no. 46), when will you depart (thad
: theg[s], cf. no. 22 supra) for Mon-yul ? The poet should like to have
forwarded three messages or missives to his beautiful heart-throb. The
cuckoo is here acting as a go-between for the two lovers. The poem is
incorporated in the collection of Zhuang Jing, no. 80.

422 The thrush named sKyid-skyid Bu-Tchrid, "Happy Child-Rear", cf. also
no. 355, which resided in the square willow-grove adhering to (the estate
of) the gYu-thog noble family (sku drag). The gYu-thog noble family in
pre-revolutionary Tibet was ayah-gzis family (descending from the Xth.
Dalai Lama), cf. no. 6 in H.R.H. Prince Peter, The Aristocracy of Central
Tibet; L. Petech, Aristocracy and Government in Tibet, pp. 28-32. By
joining him, the thrush proposed to the parrot, should they depart (thad
: thegis], cf. no. 22 supra) eastwards to Kori-yul ? This poem too is
included in the collection of Zhuang Jing, no. 81.

423 The little bird named O-rgyan dpal-'dzoms residing in the willow-grove
adhering to (the estate of) the Grum-pa (more correctly Bhrum-pa) noble
house (sku drag, sger pa). On the noble family Grum-pa, cf. no. 57 in
the Map of Lhasa, drawn by Taring and no. 196 (where it is rendered
Bhrum-pa or Bhrum-pa in H.R.H. Prince Peter, ibid., no. 196; L. Petech,
ibid., pp. 124—127). This family descends from Dvags-po, cf. L. Petech,
op. cit., p. 124. Thus, a little bird, i.e. a handsome girl (the daughter)
of this noble house is even sweeter or more delicious than the grapes
(rgun 'brum, Vitis vinifera, L., cf. Sel-goiï éel-phreh, pp. 213-14, i.e. wine
grapes, usually sweet, but with a slightly acid taste, = a less attractive,
even acidulated girl ? Note the homonymous word-play on 'brum with
the house's name) growing in bSad-sgrub-glin in Dvags-po province, In
fact, éel-goh éel-phreh adduces, loc. cit., p. 214, t h a t of the six genera
(rigs) of the rgun 'brum, the species descending from Dvags-po is of a
greenish hue and generally of an inferior quality. The Dvags po graphes,
incidentally, we used to make sacramental wine in the 17th century by
the Jesuit missionaries, cf. R. Stein, Tibetan Civilization, p. 25.
444

424 Kori-po Nar (or Bar)-la, this pass, cf. no. 257 supra, who cares whether
it is situated high or not! Mindful of his beloved, the stallion (= the
poet) can pace and pace, i.e. go everywhere. Amor vincit omnia. The
poem is included in the anthology of Zhuang Jing, no. 82.
425 Likewise a simple poem on love. Girl from Kori-yul, do not dispair! If I
am alive and in good health, fate is certain to allot us a meeting!
426 The shimmeringly beautiful crest of plumes and wing coverts (sgro
radons mtshar, i.e. sgro thig, the ocellated spot, cf. also no. 295 supra)
the peacock owed this to poison (cf. no. 394 supra). In default of poi-
sonous leaves (dug gi lo {ma)) this year (lo) the peacock died from star-
vation (hogs ris : Itogs gris, lit. "[by] the knife of hunger"). In this
hidden portrait of the young God-king, it is the "poison", i.e. the jew in-
terdits of his clandestine liaisons and his inveterate epicurean appetite,
t h a t provided the indispensable nourishment responsible for bringing
into full bloom his on-going, youthful peacockish courtship. When the
"forbidden fruits" and his amorous sustenance ceased to exist, it well-
nigh ensued, as his life story would fully corroborate, a fatal blow to
the young man. Cf. Bod-rigs kyi glu-gzas, p. 5 2 - 3 ; Bod kyi dga'-géas II,
p. 16, no. 5 = gZas-tshig phyogs-bsdus, p. 161, no. 6.
427 Why, the poem declared, did you set up the bridge, when (pa'i : pas) you
don't know the course of the water (= love, cf. e.g. nos. 170, 239, 279).
Better (bas or 6a) than t h a t would be to construct a stone gangway (?
stepping stones across the river), lit. a pavement (rdo theg, = rdo stegs,
= rdo bcal), which would increase the good fortune, i.e. "pave the way",
so to say, for a prospective tryst.
428 The cotton linen, measuring one or two full squares, cf. also no. 213
supra, bought in the Lhasa-bazar. I shall offer it as a prayer-flag to
enhance the luck (of prospective love inter alia, cf. the crit. ed. no. 21)
of a young man.
429 The hen-thrush named bSkal-bzan bde-gsal residing in the willow-grove
of Brag-mda' (: sGrags-mda' ?, cf. Dowman, The Power Places of Central
Tibet, pp. 207, 212, 215). It raised its sweet warble of love (or endear-
ment), prospective of a successful outcome due to the k a r m a of former
lives.
430 On the sandy plain of Nam-sod (located in lHo-kha), the poet came
carrying beer and teapot (bya : ja), i.e. beer instead of tea in the teapot;
cf. also nos. 235, 253 supra. Though a long distance had to be covered,
the recollection (of her) filled his mind; 430d, cf. 372d and 376d.
431 The great god Yar-lha éam-po, cf. Nebesky-Wojkowitz, Oracle and
Demons of Tibet, pp. 202^4, 221, 223; Ferrari, mKhyen-brtse's Guide
 445

to the Holy Places of Central Tibet, pp. 50, 126. It is one of the chief
mountain-gods, a sacred mountain in the Yar-kluns Valley. Look at its
prowess! Water oblation (yon chab = mchod yon) should be offered to
the (statue) of Jo-mo sGrol-ma at Khra-'brug Monastery; cf. G. Tucci,
7b Lhasa and Beyond, p. 136, Ferrari, ibid., p. 11, 49-50, 125; Dow-
man, The Power-places of Central Tibet, pp. 173, 177-79. This poem
is a reference to well-known statue of sGrol-ma Éal-zas-ma, Tara, the
Consumer of Offerings. Does the Yar-lha sam-po and sGrol-ma here
depict the poet and his beloved ?

432 From the village of 'Phyons-rgyas, cf. also no. 411, the bird, the hoopoe
(= the girl) showed its kindness. On the rear side of T h e glin-kha (i.e.
? 'Phel-rgyas-glin, cf. Wylie, The Geography of Tibet, pp. 64-65, 130)
the poet will let (thon : gtoh) (the route) be marked (tshad : mtshan)
(to commemorate her kindness). The hoopoe (phu (~ pu) sud, pu pu
khu éud, Skt. kanaka), any of several Old World non-passerine birds
(fam. Upupidae) having a slender decurved bill and feathery tuft (sgro
lcog); syn. sgro'i gtsugphud can, "having a feathered Crest", mchu rin,
"long-beaked", 'dri ha'i 'dab chags, "the malodorous fowl". Among the
Tibetans it is called 'the secretary' (druh yig) of birds, because of the
feathery tuft's resemblance to a pencil; cf. also sdug ro pu pu khu éud,
Bod kyi dga'-gzas I, p. 15, no. 6 = Bod-rigs kyi glu-gzas, p. 74, no. 1;
a Ice pu pu khu éud, Bod kyi dga'-gias I, p. 112, no. 6 = gZas-tshig
phyogs-bsdus, p. 135, no. 6; Glu-chun sna-tshogs, p. 7.

433 Girl, dPal-'dzom[s] tshe-rih, I bid you farewell! 433b, cf. nos. 190d and
332b. Godly incense of white thoughts (sems dpa' : sems pa, i.e. love)
Mr. Lag (lag lags) will certainly do (i.e. burn) it; Lag-lags, or Mr. Lag, is
supposed to be the popular name of the official Weather-maker (snags
pa) engaged by the Tibetan Government. On the latter cf. Nebesky-
Wojkowitz, Oracles and Demons of Tibet, pp. 467-480. Incense, usually
juniper or cedar burned to placate the gods, is also burned as a gesture
of good wishes or, as here, for a safe journey, cf. similarly also no. 89
supra.

434 The superb horse of a reddish-gray hue, cf. no. 245. Although it should
become highly exhausted (sku las, = dka' las (khalg] po), nal dub), it
swiftly reached the place to which it was seeking. The male-lover, de-
spite every thinkable obstacles, will seek the beloved. Amor vincit om-
nia.

435 The young girl of the Noble House (sku drag, sgerpa) rNam-[sras]-gliii,
cf. no. 126 in H.R.H. Prince Peter, The Aristocracy of Central Tibet; C.
Bell, The Religion of Tibet, p. 177; Map of Tibet, no. 103. The poet
wished her to remain in good health! i.e. to bid her farewell. Sure, he
446

further ascertains, upon the young man's return from 'Phyons-rgyas,

they would meet.
436 Now it is spring or early summer (sol : sos ka), the poem declares, the
season of love has arrived. The season or the period partly overlapping
spring (dpyid ka) and summer (dbyar ka) proper is called sos ka (etym.
prob, 'when (nature) is full-blown', from gso ba; Skt. grlsma, nidägha,
the hot springtime). Its synonyms are tsha zla, "the hot months", tshad
dus, tshad chen, "hot season" and "great heat" etc. It usually covers the
third and the fourth month in the Tibetan calender (hor zla). According
to Tibetan skar rtsis, it covers the period from the sixth day of the fourth
month to the fifteenth of the sixth month. At this time the sheep wool
is longer than at other (seasons). The garment for a young man will
be worn by Yid 'dzin lha mo, the Mind-capturing Goddess, cf. the crit.
ed. no. 30, a stock simile for a favourite beloved. The lovers are being
webbed together through love.
437 The poem resembles no. 15 in the crit. ed. Were the lotus stalk, i.e. the
lotus flower, growing in the garden, = the girl, to go (thad : theg[s], cf.
no. 22 supra, = phebs, cf. the crit. ed. no. 15) (as a cult gift) near to
the stüpa, i.e. offered to the caitya, he himself, the poet declared, in
the garb of a mud-bee, would neither remain behind, but would seek
out a pleasant haven too. Note the word-play in 437d on skyid gnas, a
pleasance and skyabs gnas, the religious refuge, here the temple, cor-
roborated by the crit. ed. no. 15, cf. also the crit. ed. no. 34. Noteworthy
is it also t h a t the bee of the mud (panka, 'darn) may reflect t h a t lotus
plants primarily takes root in muddy waters ('dam skyes, pankaja-).
438 A poem on requited and prospective love. The thrush (mjol : 'jol)
named bSod-nams dpal-'dzom[s] sojourning in the square willow-garden
in 'Phyons-rgyas. The poet declared t h a t he shall not roam far away
(rgyans : rgyan), destiny has certainly allotted him a tryst with her.
The poem is included in the collection of Zhuang Jing, no. 83.
439 If it is said t h a t the crop which had been planted this year, was not even
mature the following year, pray, then, the poem solicited (the clouds)
hovering in the sky above, be considerate, and emit a cooling (sil ma :
bsil ma, cf. also nos. 179, 402) drizzle (sbran char, "honey-rain", light
rain). To secure a good crop, like consoling a love-aching heart, wa-
ter, the trite euphemism for love, is badly wanted. This poem too is
incorporated in the collection of Zhuang Jing, no. 84.
440 The constant flow of water (440a = no. 128a sad sad = ear ear), heading
downwards, soon overflowed the inner part of Kon-yul. 440c the bird,
the rgyal smart ka ra ? A better reading would perhaps be the bird k a
ra, the karanda, a kind of wild duck ?, (whose favourite h a u n t is (A-
m a mtsho-) sman rgyal(-mo) ?, cf. nos. 178. 250, 317, 452. Thus 440c
 447

would contain the two hypostatized lovers. Do not dispair! (read mdzod
instead of mdzad in 440d ?). Included in the collection of Zhuang Jing,
no. 119, who identifies the bya de rgyal smart ka ra with the cuckoo,
the harbinger of spring (C. bàochûn de dùjuâri)\
441 The far-reaching fame of (rgyan grags, Skt. kroéa, hearing or calling
distance, b u t here renown; an equally plausible reading, so also con-
strued by Zhuang Jing, would be rgyan hkrag, strikingly beautiful, cf.
also Bod kyi dga'-gzas /, p. 12, no. 4) the white water-lily (ku mud, Skt.
kumuda) has spread over the whole (ci : spyi) world. When the stalk
of the lotus pistil has generated its fruits separately, the poet confides,
having himself assumed the form of a little parrot, cf. also nos. 83, 117,
t h a t he would come and give consolation. Who embodies the water-lily
resp. the lotus pistil is difficult to determine. The poem is included in
the anthology of Zhuang Jing, no. 121.
442 Almost identical with the crit. ed. no. 60, cf. also infra no. 447. The
only difference is the first line. Here is mentioning of the cuckoo from
inner Mon-yul, cf. the crit. ed. no. 46.
443 Certainly, the poem declares, there is still some (en tsam : phran tsam)
karmic prospects, accumulated from previous existences, cf. the crit. ed.
no. 7, for him to unite with his beloved: the girl Bu- ? khrid dPal-'dzoms,
their thoughts will unite as one.
444 Here 444b-d sems dpa' : sems pa\ A simple poem on requited love ad-
monishing the beloved not to think of him when he is far apart (444a
should properly pleonastically be rendered as sa thag rift nas (thug pa)
med par, i.e. when not (meeting) since being distantly apart), but in-
stead to rejoice when they are united in the thoughts!
445 The good-fated, cf. the crit. ed. no. 7, i.e. the lucky stag (= himself)
reappeared after having reached the top of the pass. The hunter, of
course (ran khag khyag, cf. also nos. 153,175, 360), would still be having
an upper hand. In other words, the stag may well be caught by the
hunter. 449d pa is redundant.
446 The last portion (section IV), commencing abruptly with these two lines,
consists mostly of poems, which are found included in the critical edi-
tion. A striking example of the concocted and garbled compilation of
the present collection is here demonstrated, when we combine 446cd
with no. 155ab, q.v.
448 Finger-rings (mdzub rgyud : mdzub brgyus) are worn (mchod, = gsol,
bzes) on each finger of the people. The young man is wearing a little,
white archery-ring (éa krad, = krad 'khor, cf. no. 393), there is none
better or more beautiful (than this one worn by the poet), i.e. it is quite
good. 448c la is redundant.
448

449 Although carrying almost the same wording as the crit. ed. no. 4 1 ,
the poem purports something different. The poem is couched in a col-
loquial diction. 449b y in grogs pa : y in drag pa i.e. all because, the
poet declared, it is the moon of the fifteenth (i.e. full moon), the great
day. Phrased more concretely, only because you are the girl's parents or
guardian (here = full moon) (she will be "spared"), otherwise (ma gtogs),
the poet continued, the girl (= the hare, ri bon) would already "be done
for" (tshe zad, lit. "the life is exhausted", i.e. she would be "fixed" or
rather "deflowered", here evidently not in a fatal sense, but she would
not have been "spared" his seduction).
450 Here 450ab seem identical with the crit. ed. no. 61. People are gossiping
about the poet. He readily beg pardon: frankly speaking, his paramours
outnumber the amount of bees buzzing over the lake.
451 The spring of water (i.e. melting water) emerging from the high moun-
tain top h a s become half-clear (lit. "the remainder of the clear water
has become dirty (snog pa : rnog pa))", i.e. increasingly dirty. The poet
therefore declared t h a t it would be better to leave the muddy water
without taking it, as water for tea should be pure. Cf. analogously,
Bod-rigs kyi glu-gzas, p. 25, no. 3.
452 If the water (= love) in the river is turbulent, let it! If the fish (usually
= the girl, here ordinary damsels) is bouncing high in the water, well,
let it! The poet would not forsake the mTsho-sman rgyal-mo, cf. nos
178, 250, 317, here symbolizing a favourite girl, but would let (stoh :
gtoh) her be his close friend and companion for life. This poem is also
included in the anthology of Zhuang Jing, no. 120.
454 An allusive poem. Before (actually) getting muddy (snog : rnog, passim)
the water (behaved as if it was plain muddy). If perchance, the poet
blatantly declared, someone similarly were to exercise suchlike inflam-
atory words (snog (: rnog) skad, = dkrog gtam} or = skad cha rnog po,
unclear, false talk, rumours, etc.), the poet assured t h a t in the wake of
such muddling, he would see to t h a t the water would become irrevocably
muddy! (lit. "make the clear water muddy beyond extrication" (dvans
sin [he] 'byed rgyu med pa). Couched more plainly, if someone were to
cause trouble, like e.g. spreading defaming and scoffing rumours, then
the detractors have only seen the beginning.
 B i b l i o g r a p h y

Western S o u r c e s

Ahmad, Zahiruddin, 1970, Sino-Tibetan Relations in the Seventeenth Cen-

tury, Serie Orientale Roma, XL, IsMEO, Roma.
Aisdorf, Ludwig, 1961, "Sasa-jätaka und sasa-avadäna", WZKSO, V, pp. l -
17 (= Kleine Schriften, pp. 347-363).
Ardussi, John, 1977, "Brewing and Drinking the Beer of Enlightenment in
Tibetan Buddhism, JAOS, 97, pp. 115-124.
Aris, Michael, 1976, "The Admonition of the Thunderbolt Cannon-ball and
its place in the Bhutanese New Year Festival", BSOAS, XXXIX (3), pp. 601
-635.
Aris, Michael, 1980, "Notes on the History of the Mon-yul Corridor", Tibetan
Studies in Honour of Hugh Richardson: Proceedings of the International
Seminar on Tibetan Studies, Oxford 1979 (ed. Aris & Aung), Warminster,
pp. 9-20.
Aris, Michael, 1988, Hidden Tïeasures and Secret lives. A Study ofPema-
lingpa (1450-1521) and the Sixth Dalai Lama (1683-1706), Indian Insti-
tute of Advanced Study, Shimla, Motilal Banarsidass, Delhi.
Aziz, Barbara N. & Kapstein, Matthew, 1985, Soundings in Tibetan Civi-
lization, Manohar Publ., New Delhi.
Back, Dieter M., 1985, "Zu einem Gedicht des VI. Dalai Lama" ZDMG 135,
pp. 319-329.
Back, Dieter M., 1986, Liebeslieder des VI. Dalai Lama. Aus dem Tibetis-
chen übersetzt, mit Anmerkungen und einem Nachwort versehen. Verlag
Wolf Mersch, Freiburg.
Bacot, Jacques, Thomas, F. W., Toussaint, Ch., 1940, Documents de Touen-
Houng Relatifs a l'Histoire du Tibet, Ministère de l'éducation, Paris.

29*
452

Balk, Michael, 1986, "Indische Etymologien in einem tibetischen Kommen-

tar", Vicitrakuéumânjali: Volume Presented to Richard Othon Meisezahl
on the Occasion of his Eightieth Birthday, Indica et Tibetica, 11, Bonn,
pp. 1-22.
Batorova, S. M. (et al.), 1989, Rastenija Tibetskol Meditsiny, Akademija
Nauk SSSR, Sibirskoe Otdelenie, Novosibirsk.
Bell, Charles, 1924, Tibet, Past and Present, Oxford.
Bell, Charles, 1928, The People of Tibet, Oxford.
Bell, Charles, 1931, The Religion of Tibet, Oxford.
Blondeau, A-M., 1984, Matériaux pour l'Étude de l'Hippologie et de l'Hippia-
trie Tibétaines, Hautes Études Orientales, 2, Paris.
Bosson, James E., 1969, A Treasury of Aphoristic Jewels: The Subhäsitarat-
nanidhi of Sa skya Pandita, Indiana University Uralic and Altaic Series,
92, Bloomington.
Buffetrile, K , 1989, "La Restauration du Monestére de bSam-yas: Un ex-
ample de continuité dans la Relation chaplain-donateur au Tibet?", AJ,
CCLXXVH, (3-4), pp. 363-412.
Causemann. M., 1987, Tibetische Lieder, Insel Verlag.
Chang, Kun, 1957, "On Tibetan Poetry", Central Asiatic Journal, 2 (2), pp.
129-139.
Chapman, F. Spencer, 1938, Lhasa: The Holy City. London.
Chavannes, E., 1910-34, Cinq cents Contes et Apologues, I-IV, Extraits de
Tripitaka chinoise, Paris.
Clifford, Terry, 1984, Tibetan Buddhist Medicine and Psychiatry. The Dia-
mond Healing, The Aquarian Press.
Corlin, Claes, 1980, "The Symbolism of the House in rGyal-thang", Tibetan
Studies in Honour of Hugh Richardson: Proceedings of the International
Seminar on Tibetan Studies, Oxford 1979, (eds. Aris & Aung), Warmin-
ster, pp. 87-92.
Crossley-Holland, Peter, 1967, "Form and Style in Tibetan Folksong Melody",
Jahrbuch für Musikalische Völkerkunde, III, Berlin, pp. 1-126.
Crossley-Holland, Peter, 1986, 'The State of Research in Tibetan Folk Mu-
sic", Zlos-gar (ed. J. Norbu), LTWA, Dharamsala, pp. 105-124.
Damdinsureng, Ts., 1981, "The Sixth Dalai Lama Tshans-dbyan rgya-mtsho",
The Tibet Journal, VI (4), pp. 32-36.
 453

Das, Sarat Chandra & Vidyäbhüsana, H. M., 1888-1913, Bodhisattvävadä-

nakalpalatä, Bibliotheca Indicus 2 Vols., Calcutta.
Dash, Vaidya Bhagwan, 1988, Formulary of Tibetan Medicine, Indo-Tibetan
Medicine Series, no. 2, Classical India Publ., Delhi.
Dave, K. N., 1985, Birds in Sanskrit Literature, Motilal Banarsidass.
De, S.K., 1960, History of Sanskrit Poetics, I + II, Calcutta.
Debon, Günther, 1989, Chinesische Dichtung—Geschichte, Struktur, Theorie.
Handbuch der Orientalistik. 4. Abt. 2. Bd. 1. Ab., E.J. Brill, Leiden.
Dowman, Keith & Paljor, Sonam, 1980, The Divine Madman: The Sublime
Life and Songs ofDrukpa Kunley, London.
Dowman, Keith, 1988, The Power-Places of Central Tibet: The Pilgrim's
Guide, Routledge & Kegan Poul, London.
Duncan, Marion, H., 1961, Love Songs and Proverbs of Tibet, Mitre Press,
London.
Eberhard, Wolfram, 1965, Folktales of China, Toronto.
Eberhard, Wolfram, 1968, The Local Cultures of South and East China, Lei-
den.
Eberhard, Wolfram, 1983, Lexikon chinesischer Symbole, Köln.
Eimer, Helmut, 1986, "dByans-can dga'-ba'i blo-gros Explanation of Some
Expressions from the Sa-skya legs-bsad", Vicitrakuéumânjali: Volume
Presented to Richard Othon Meisezahl on the Occasion of his Eightieth
Birthday, Indica et Tibetica, 11, pp. 49-60.
Fletcher, Harold, 1975, A Quest of Flowers: The Plant Explorations of Frank
Ludlow and George Sherriff. The Edinburgh.
Francke, A. H., 1899, "Zum ladakher Volkslied", Globus, Hildburgshausen,
pp. 238-242.
Francke, A. H., 1899-1902, Ladaki Songs, Leh.
Francke, A. H., 1901, "Ladakhi Pre-Buddhist Marriage Ritual", The Indian
Antiquary, XXX, Bombay, pp. 139-149.
Francke, A. H. (et al.), 1902, "Ladakhi Songs", The Indian Antiquary, XXXI,
Bombay, pp. 87-106.
Francke, A. H., 1905, 'The eighteen Songs of the Bono-na Festival", The
Indian Antiquary, XXXIV, Bombay, pp. 95-10.
Francke, A. H., 1909, 'Ten Historical Songs from Western Tibet", The Indian
Antiquary, XXXVIII, Bombay, pp. 57-68.
454

Francke, A. H., 1923, Tibetische Hochzeitslieder. Übersetzt nach Handschrif-

ten von Tag-ma-cig. Kulturen der Erde, Hagen i W., Darmstadt.
Francke, A. H., 1927, "Buddhistische Volksleider von Ladak", Mitteilungen
des Seminars für Orientalische Sprachen, XXX, Berlin, pp. 111—122.
Francke, A. H.(& Paazlov, A.), 1931, "Tibetische Lieder aus dem Gebiet des
ehemaligen westtibetischen Königreichs", Mitteillungen des Seminars für
Orientalische Sprachen, XXXIV, Berlin, pp. 93-136.
Gerow, Edwin, 1971, A Glossary of Indian Figures of Speech, Mouton, The
Hague.
Gerow, Edwin, 1977, Indian Poetics. A History of Indian Literature, Vol. V,
fasc. 3, Otto Harrassowitz, Wiesbaden.
Goldstein, Melvyn, C , 1982, "Lhasa Street Songs: Political and Social
Satire in Traditional Tibet", The Tibet Journal, VII, pp. 56-66.
Goldstein, Melvyn, C , 1988, A History of Modern Tibet, 1913-1951. The
Demise of a Lamaist State, California Press.
Granet, M., 1932, Festivals and Songs of Ancient China, Routledge & Kegan
Poul, London.
Hahn, Michael, 1980, "Zu den Quellen einiger Strophen aus Sa-skya Pandi-
tas Subhäsitaratnanidhin, Tibetan and Buddhist Studies, I, (ed. L. Ligeti)
Akadémiai Kiado, Budapest, pp. 251-266.
Hatto, A., 1965, Eos: An Enquiry into the Theme of Lovers' Meetings and
Partings in Poetry, London.
Helffer, Mirielle, 1977, Les chants dans l'épopée tibétaine de Ge-sar d'après
le livre de la Course de Cheval: Version chantée de Blo-bzan bstan-'jin,
Paris et Geneva.
Heurck, Phillipe Van, 1984, Chants attribués à Tshangyang Gyatso, sixième
Dalaï Lama. Contribution à l'étude de littérature tibétaine, Opuscula
Tibetana, 16, Rikon/ZH.
Hoffmann, Helmut, 1950, Die Gräber der Tibetischen Könige im Distrikt
'Phyons-rgyas. Nachrichten der Akademie der Wissenschaften in Göt-
tingen, Phil.-hist. Klasse.
Houston, G. W., 1982, Wings of the White Crane. Poems ofTshangs dbyangs
rgya mtsho (1683-1706), Motilal Banarsidass, Delhi.
Jaini, Padmanabh S., 1966, "The Story of Sudhana and Manoharä. An anal-
ysis of the Texts and the Borobudur Reliefs, BSOAS, XXIX, pp. 533-538.
Jones, J. J., 1949-1956, TheMahävastu I-III, Sacred Books of the Buddhists
vol. XVII-XIX, London.
 455

Jong, J. W. de, 1977, 'The Bodhisattvavadänakalpalata and the Saddantäva-

däna", Buddhist Thought and Asian Civilization. Dharma Publ., Califor-
nia, pp. 27-38.
Kane, P. V., 1961, History of Sanskrit Poetics, Delhi.
Kara, G., 1961, Chants d'un Barde Mongol, Bibliotheca Orientalis Hungarica
XII, Akadémiai Kiadô.
Karlgren, Bernhard, 1946, "Legends and Cults in Ancient China", The Mu-
seum of Far Eastern Antiquities, Bulletin, No. 18, pp. 199-365.
Karmay, Samten G., 1988, Sacred Visions of the Fifth Dalai Lama: the Gold
Manuscript of the Fournier Collection, Serindia Publ., London.
Kaschewsky, R. & Tsering, Pema, 1981, "Zur Erstellung eines Motiv- und In-
haltsverzeichnisses Tibetischer Gesar-Versionen", Fragen der Mongolis-
chen Heldendichtung Teil I, (ed. W. Heissig), Asiatische Forschungen 72,
Otto Harrassowitz, Wiesbaden pp. 360-371.
Kaschewsky, R. & Tsering, Pema, 1982, "Epische Motive in Tibetischen Volk-
serzählungen", Fragen der Mongolischen Heldendichtung Teil II, (ed. W.
Heissig), Asiatische Forschungen 73, Otto Harrassowitz, Wiesbaden, pp.
262-271.
Keyes Charles F. & Daniel, E. Valentine (ed.), 1983, Karma: An Anthropo-
logical Inquiry, University of California Press, Berkeley.
Klafkowski, Piotr, 1979, The Secret Deliverance of the Sixth Dalai Lama.
Wiener Studien zur Tibetologie und Buddhismuskunde, Heft 3, Wien.
Kretschmar, Andreas, 1981, 'Brug-pa Kun-legs: Das wundersame Lebens
eines verrückten Heiligen. VGH Wissenschaftsverlag, Sankt Augustin.
Krueger, J. R., 1961, Poetical Passages in the Erdeni-yin Tohci. Mouton &
Co, The Hague.
Kvaerne, Per, 1977, An Anthology of Buddhist Tantric Songs. Det Norske
Videnskaps-Akademi. Hist. Fil. Klasse. Skrifter, Ny Serie, 14.
Lange, Kristina, 1976, Die Werke des Regenten Sans rgyas rgya mc'o (1653-
1705). Veröffentlichungen des Museums für Völkerkunde zu Leipzig, Heft
27, Akademie Verlag, Berlin.
Lanman, C. R., 1898, " T h e Milk-Drinking* Hansas of Sanskrit Poetry", Jour-
nal of American Oriental Society, Vol. 19.
Laufer, Berthold, 1916, "Loan-Words in Tibetan". Toung-Pao, XVII.
Levine, Nancy E., 1981,"Perspectives on Love: Morality and Affect in Ny-
inba Interpersonal Relationship". Culture and Morality: Essay in Hon-
456

our of Christoph von Führer-Haimendorf, Oxford University Press, Delhi,

pp. 106-125.
Lichter, David & Epstein, Larry, 1983, "Irony in Tibetan Notions of the Good
Life". Karma: An Anthropological Inquiry, (eds. Keyes & David), Uni-
versity of California Press, pp. 223-259.
Lienhard, Siegfried, 1960, Ratirahasya by Kokkoka. Geheimnisse der Liebes-
kunst, Stuttgart.
Lienhard, Siegfried, 1974, Nevârîgttimanjarî. Religious and Secular Poetry
of the Newars of the Kathmandu Valley. Acta Universitatis Stokholmien-
sis, 10.
Lienhard, Siegfried, 1984, A History of Classical Poetry: Sanskrit - Pali -
Prakrit. A History of Indian Literature, Vol. III.
Ligeti, Louis (ed.), 1978, Proceedings of the Csoma de Körös Memorial Sym-
posium held at Mdtrafüred, Hungary, 24-30 Sepetember 1976. Akadémiai
Kiadö, Budapest.
Ligeti, Louis (ed.), 1984, Tibetan and Buddhist Studies Commemorating the
200th Anniversary of the Birth of Alexander Csoma de Körös, I+II. Akadé-
miai Kiadö, Budapest.
Lokesh Chandra (ed.), 1971, An Illustrated Tibeto-Mongolian Materia Med-
ica of Ayurveda of'Jam-dpal rdo-rje of Mongolia. International Academy
of Indian Culture, Delhi.
Lord, A. B., 1960, The Singer of Tales, New York.
Macdonald, A. M., 1953, "Note sur les Megalithes tibétains", JA CCXLI,
pp. 63-76.
Malanova, T. 1984, "On the Sanskrit Subhäsita-Literature in Tibet", Tibetan
and Buddhist Studies, II, Akadémiai Kiadö, Budapest, pp. 141-151.
Martin, Dan, 1988, "For Love or Religion ? Another Look at a 'Love Song'
by the Sixth Dalai Lama", ZDMG, 138, pp. 349-363.
Mayer, Adrian C , 1981, Culture and Morality : Essays in Honour of Christoph
von Führer-Haimendorf, Oxford University Press, Delhi.
Meisezahl, R. 0., 1973, "Die Handschriften in den City of Liverpool Muse-
ums (I)", Zentralasiatische Studien, 7, pp. 221-261.
Meisezahl, R. 0., 1987, "Die Ordalien im tibetischen Recht", Zentralasiatis-
che Studien, 20, pp. 228-232.
Miller, R. A., 1988, "Pleiades perceived: Mul.mul to Subaru", JAOS, 108 (1),
pp. 1-25.
 457

Mimaki, Katsumi, 1988, "A Tibetan Index to the Pentaglot Dictionary from
the Qing Dynasty", Tibetan Studies, (eds. Uebach & Panglung), München,
pp. 279-291.
Mullin, Glenn H., 1982, Songs of Spiritual Change. Gyalwa Kalzang Gya-
ts'o, the Seventh Dalai Lama. Gabriel/Snow Lion, Ithaca, NY.
Nakane, Chie (ed.), 1984, Map of Lhasa. Drawn by Z.J. Taring, Institute of
Oriental Culture, The University of Tokyo Press.
Nanda, Neeru, 1982, Tawang. The Land of Mon. Vikas Publ. House, PVT.
Ltd. Delhi.
Nebesky-Wojkowitz, René de, 1956, Oracles and Demons of Tibet. The Cult
and Iconography of the Tibetan Protective Deities. Mouton, The Hague.
Nebesky-Wojkowitz, René de, 1976, Tibetan Religious Dances. Mouton, The
Hague.
Norbu, Jamyang (ed.), 1986, Zlos-gar. Performing Traditions in Tibet, LTWA,
Dharamsala.
Norbu, Namkhai D., 1967, Musical Tradition of the Tibetan People, Serie
Orientale Roma, XXXVI, IsMEO, Roma, pp. 205-338.
Ortega y Gasset, Jose, 1957, On Love, (tr. T. Talbot), Meridan Books, New
York.
Panglung, Jampa Losang, 1980, "Zwei Beschwörungsformeln gegen Schlang-
enbiß im Mülasarvästivädin-Vinaya und ihr Fortleben in der Mahämäjü-
rividyäratni", Heilen und Schenken. Festschrift für Günther Klinge zum
70. Geburtstag. Asiatische Forschungen 71, Otto Harrassowitz, Wies-
baden, pp. 66-71.
Panglung, J a m p a Losang, 1981, Die Erzählstoffe des Mülasarvästiväda-
Vinaya. Analysiert aufgrund der Tibetischen Übersetzung, Studia Philo-
logica Buddhica. Monograph Series IV. The Reiyukai Library, Tokyo.
Panglung, Jampa Losang, 1988, "Die metrischen Berichte über die Grabmä-
ler der tibetischen Könige", Tibetan Studies, München, pp. 321-368.
Petech, Luciano, 1950, China and Tibet in the Early Eighteenth Century.
The History of the Establishment of the Chinese Protectorate in Tibet.
T'oung Pao Monograph Series 1; 2nd ed. 1972, J.E. Brill, Leiden.
Petech, Luciano, 1973, Aristocracy and Government in Tibet1728-1959, Se-
rie Orientale Roma, XLV, IsMEO, Roma. Peter, HRH Prince, of Greece
and Denmark, 1954, The Aristocracy of Central Tibet, Kalimpong.
Pimpaneau, Jacques, 1977, Chanteurs, Conteurs, Bateleurs, Littérature orale
et Spectacles populaires en Chine, Paris.
458

Poppe, Nicolas, 1978, Tsongol Folklore. Translation of the Collection, the

Language and Collective Farm Poetry of the Buriat Mongols of the Se-
lenga Region. Asiatische Forschungen 55, Otto Harrassowitz, Wiesbaden.
The Potala Palace of Tibet, Publ. by Joint Publ. Co. and Shanghai People's
Art Publ. House. 1982.
Poucha, Pavel, 1950-1954, "Le Vers Tibétain", Archiv Orientalni, XVIII, 4,
pp. 188-235 and XXVI, 4, pp. 563-585.
Richardson, Hugh, 1980, 'The Fifth Dalai Lama's Decree Appointing Saiis-
rgyas rgya-mtsho as Regent", BSOAS, XLII, pp. 329-346.
Richardus, Peter, 1989, "Selected Tibetan Proverbs", The Tibet Journal, Vol.
XIV (3), pp. 55-71.
Ronge, Veronika, 1984, "Gedrechselte Holzgefaße aus Tibet", Zentralasiatis-
che Studien, 17, pp. 184-217.
Rossi Filibeck, Elena de, 1988, Two Tibetan Guide Books to Ti se and La
phyi. Monumenta Tibetica Historica, Abt. 1, Bd. 4, VGH Wissenschafts-
verlag, Bonn.
Samuel, Geoffrey, 1976, "Songs of Lhasa", Ethnomusicology, Journal of the
Society of Ethnomusicology, Vol. XX (3), pp. 407-449:
Samuel, Geoffrey, 1986, "Music of Lhasa Minstrels", Zlos-gar (ed. Norbu,
Jamyang), LTWA, Dharamsala, pp. 13-19.
Savitsky, L.S., 1976, "Tibetan Literature of the Eighteenth Century", The
Tibet Journal, I, pp. 43-46.
Savitsky, L.S., 1978, "Secular Lyrical Poetry in Tibet. Works of Tshang-
jang jamtso (1683-1706)", Proceedings of the Csoma de Körös Memorial
Symposium, Akadémiai Kiadö, Budapest, pp. 403-409.
Savitsky, L.S., 1983, Can'jan Dzamco. Pesni, Prijatnye dlja slucha. Idz.
teksta, perevod s tibetskogo, issled. i komm., Moskva.
Schlingloff, Dieter, 1971, "Das sasa-Jätaka", WZKSO, XV, 1971, pp. 57-67.
Schlingloff, Dieter, 1973, "Prince Sudhana and the Kinnarî", Indologica Tau-
rinensia, 1, pp. 155-167.
Schwartz, Ernst, 1978, Chinesischer Liebesgedichte aus drei Jahrtausenden,
Leipzig/Weimar.
Shakabpa, W. D., 1967, Tibet: A Political History, Yale University Press,
New Haven.
Shakabpa, Tsepon, W.D., 1982, IHa-ldan Rva-sa Thrul-snangTsug-lag-khah
gi dkar-chag (A Guide to the Central Temple of Lhasa), Kalimpong.
 459

Shakspo, Nawang Tsering, 1985, "Ladakhi Folk Songs", Soundings in Ti-

betan Civilization, Manohar Publ., Delhi, pp. 97-106.
Simonsson, Nils, 1970, "Den Sjätte Dalai Lama", Orientalisk Diktning, Lit-
teraturens Klassiker, 16, Stockholm, pp. 175-184.
Skorupski, Tadeusz & Cech, Krystyna, 1984, "Major Tibetan Life Cycle
Events—Birth and Marriage Ceremonies", Kailash, 11 (1-2), pp. 5-32.
Smith, E. Gene, 1970, Introduction toKongtruVs Encyclopaedia of Indo-Tibet-
an Culture, Parts I-III (ed. Lokesh Chandra), International Academy of
Indian Culture, Delhi.
Snyder, Jeanette, 1968, Tshig kyag: A Tibetan Alternate Song Competition.
MA Thesis, Univ. of Washington, Seattle.
Snyder, Jeanette, 1972, "Some Popular Songs of Tibet", Malahat Review, 21,
pp. 20-39.
Stablein, William G., 1976, "Tibetan Medical-Cultural System", Introduction
to Tibetan Medicine, Tib. Review Publ., pp. 39-57.
Staiger, Emil, 1959, Grundbegriffe der Poetik, Atlantis Verlag, Zürich.
Stary, Giovanni, 1981, "Manschurische Balladen und der Liedern als His-
torische Spiegelbild der Ch'ing Dynastie", Fragen der Mongolischen Hel-
dendichtung Teil I (ed. W. Heissig), Asiatische Forschungen 72, Otto Har-
rassowitz, Wiesbaden, pp. 340-359.
Stary, Giovanni, 1982, "Ein Nachtrag zu den 'Manschurischen Balladen und
Liedern als Historisches Spiegelbild der Ch'ing Dynastie", Fragen der
Mongolischen Heldendichtung Teil II (ed. Heissig, W.), Asiatische Forsch-
ungen 73, Otto Harrassowitz, Wiesbaden, pp. 301-318.
Stary, Giovanni, 1989, Epengesänge der Sibe-Manschuren, Asiatische Forsch-
ungen 106, Otto Harrassowitz, Wiesbaden.
Stary, Giovanni, 1989, Ars Poetica Manjurica, Asiatische Forschungen 107,
Otto Harrassowitz, Wiesbaden. /

Stein, Rolf, 1956, L'épopée tibétaine de Gesar dans sa version lamaïque de

Ling. Presses Universitaires de France, Paris.
Stein, Rolf, 1959, Recherches sur l'épopée et le barde du Tibet. Bibliothèque
de l'Institut des hautes Études Chinoises, 15, Presses Universitaires de
France, Paris.
Stein, Rolf, 1972, Tibetan Civilization, Faber, London.
Stein, Rolf, 1972, Vie et Chants de 'Brug-pa Kun-legs le Yogin, G.-P. Mais-
sonneuve et Larose, Paris.
460

Stein, Rolf, 1973, "Le Texte tibétaine de 'Brug-pa Kun-legs", Zentralasiatis-

che Studien, 7, Otto Harrassowitz, pp. 9-220.
S0rensen, Per K., 1986, Pâ kaerlighedens Vmger i Himmelhavet, Janus, K0-
benhavn.
S0rensen, Per K , 1988, "Tibetan Love Lyrics. The Love Songs of the Sixth
Dalai Lama. An Annotated Critical Edition of Tshans-dbyaiis rgya-
mtsho'i mgul-glu", IIJ, 31 (4), pp. 253-298.
Taring, Zasak J., IHa-sa gtsug-lag-khah gi sa-bkra dan dkar-chag. The In-
dex and Plan of Lhasa Cathedral in Tibet., DehraDun, U.P.
Taring, Zasak J., 1984, (ed. Nakane, Gh.), Map of Lhasa, University of Tokyo
Press.
Tatz, Mark, 1981, "Songs of the Sixth Dalai Lama", The Tibet Journal, VI,
4, pp. 13-31.
Taube, E., 1980, "Gemeinsamkeiten Zentralasiatischer Nomadenlieder", Ac-
ta Orient Hung., XXXIV, pp. 287-296.
Teichman, Eric, 1922, Travels of a Consular Officer in Eastern Tibet, Cam-
bridge University Press.
Thieme, P., 1975, "Kranich und Reiner im Sanskrit", Studien zur Indologie
und Iranistik, 1.
Thomas, F. W., 1957', Ancient Folk-Literature from North-Eastern Tibet, Abh.
der Deutschen Akademie der Wissenschaften zu Berlin, Akademie Verlag,
Berlin.
Trungpa, Chögyam, 1980, The Rain of Wisdom. Vajra Songs of the Kagyü
Gurus. Shambala, Boulder and London.
Thubten Sangye, 1974, Festivals of Tibet (Bod kyi dus ston\ LTWA, Dharam-
sala.
Tsering, Pema, 1979, "Historische, Epische und Ikonographische Aspekte
des Glin Gesar nach Tibetischen Quellen", Die Mongolische Epen (ed. W.
Heissig), Asiatische Forschungen 68, pp. 158-189.
Tucci, Guiseppe, 1949 & 1966, Tibetan Folksongs from the district of Gyantse
and Western Tibet, Artibus Asiae.
Tucci, Guiseppe, 1950, The Tombs of the Tibetan Kings, Serie Orientale Ro-
ma, I, IsMEO, Roma.
Tucci, Guiseppe (& Heissig, W.), 1970, Die Religionen Tibets und der Mon-
golei, Stuttgart.
Tölpermann, Cornelia, 1973, Shan-ko von Feng Meng-lung, Münchener Os-
tasiatische Studien, 9, Franz Steiner Verlag, Wiesbaden.
 461

Van der Kuijp, L. W. J., 1986, "Studies in the Life and Thought of mkhas-
grub-rje IV: Mkhas-grub-rje on Regionalism and Dialects", Berliner In-
dologische Studien, Band 2, pp. 23-50.
Van Manen, Johan, 1921, "Three Repartee Songs", JASB, n.s. XVII, no. 4,
pp. 287-318.
Verkerdy, 1952, "Some Remarks on Tibetan Prosody", Ada On Hung., II,
2 - 3 , pp. 221-234.
Vilgrain, B., 1986, La Raison de l'oiseau. Poème de Tshanyang Gyatsho,
Sixième Dalai Lama, Les Immémoriaux, Fata Morgana, Paris.
Vogel, J. P., 1962, The Goose in the Indian Literature and Art, Mémoires of
the Kern Institute, no. 11, E.J. Brill, Leiden.
Von Schiefner, A., 1882, Tibetan Tales from Indian Sources, tr. into English
by W.R.S. Ralston, London.
Waddell, L. Austine, 1895, The Buddhism of Tibet or Lamaism, London.
Wang Yao, 1985, "Tibetan Operatic Themes", Soundings in Tibetan Civiliza-
tion, Manohar Publ., Delhi, pp. 86-96.
Wang Yao, 1986, Tales from Tibetan Opera, New World Press, Beijing.
Werner, E. T. Chalmers, 1922, Myths and Legends of China, London.
Werner, E. T. Chalmers, 1961, A Dictionary of Chinese Mythology, The J u -
lian Press, New York.
Williams, C.A.S., 1931, Outlines of Chinese Symbolism, Peiping.
Wylie, Turrell V, 1962, The Geography of Tibet according to the 'Dzam-gling-
rgyas-bshad. Serie Orientale Roma, XXV, IsMEO, Roma.
Yamaguchi, Zuihö, 1971, Catalogue of the Toyo Bunko Collection of Tibetan
Works on History, The Toyo Bunko, Tokyo.

Tibetan Sources

Kun-mkhyen Padma dkar-po, IV. 'Brug-chen, gNas-chen tsa-ri-tra'i ho-

mtshar snah-ba pad-dkar legs-bsad (vol. 4 of gSun-'bum), I a l - 3 4 b 2 (pp.
207-274), Darjeeling 1973.
Kun-dga', 1985, "lHa-sa'i snar-srol dus-ston gtso-che'i-rigs rags-tsam no-
sprod byas-pa", Bod-ljohs zib-'jug 1985 (4), pp. 75-101.
Kun-bzan rgyal-mtshan & Zla-ba bkra-sis (comp.), 1985, Bod-ljons dbus-
gtsan-khul gyi dmans-khrod gtam-rgyud, Mi-rigs dpe-skrun-khan, Bei-
jing.
462

Kun-bzan thob-rgyal & Mani rdo-rje, 1985, 'Brug kyi glu-deb (Folksongs
from Bhutan), Thimphu.
Kun-gzigs Chos kyi snari-ba, rTlsa-ri gnas-bsad rgyas-par bsad-pa'i le'u (Coll.
Works, vol. 4) pp. 15-73, Rewalsar 1985.
Klofi-rdol bla-ma Nag-dban blo-bzan, bKa'-gdams-pa daft dge-lugs-pa bla-
ma rags-rim gyi gsuh-'bum mtshan-tho (Vol. ra of gSuh-'bum), ed. Ven.
Dalama, Myssoorie, n.d., pp. 390-490.
bKra-sis dpal-ldan, 1983, "gTsah-ron gi chan-gzas", Bod kyi rtsom-rig sgyu-
rtsal 1983 (2), pp. 74-77.
bKra-sis tshe-rin (comp.), 1986, Bod kyi dga'-gzas sos-ka'i tshor-ba (deb dan-
po) [abbr. Bod kyi dga'-gias / ] , Bod kyi dpe-mdzod-khan (LTWA), Dharam-
sala.
sKal-bzarï bkra-éis & Blo-bzaft phun-tshogs, 1988, "gNen-sgrig gi gzas-tshig
gsar-pa", Gaiis-dkar ri-bo, 1988 (2), pp. 78-79.
mKhas-btsun bzan-po, 1974, gTam-dpe sna-tshogs dan gzas-tshig khag-bcas
[abbr. gTam-dpe], Bod kyi dpe-mdzod-khan (LTWA), Dharamsala.
dGe-rgyas-pa bsTan-'dzin rdo-rje, 1985, "sDe-srid Sans-rgyas rgya-mtsho'i
byun-ba don-bsdus ran-bzin gson-por smras-pa'i gtam", Bod-ljohs £ib-'jug
1985 (2), pp. 31-44.
rGyal-mo T3rug-pa, 1987, "rGyal-ba Tshans-dbyaiis rgya-mtshor dpyad-pa",
Bod-ljohs zib-'jug 1987 (4), pp. 84-101.
Chab-spel Tshe-brtan phun-tshogs, 1982, "IHa-sa gtsug-lag-khan gi lo-rgyus
rags-bsad", Bod-ljohs zib-'jug 1982 (1), pp. 10-44.
Chab-spel Tshe-brtan phun-tshogs, 1987, " 'Tshans-dbyans rgya-mtsho'i
mgul-glu' dan ^brel-ba yod-pa'i lo-rgyus kyi don-dhos 'ga'-zig brjod-pa",
Bod-rig-pa'i gros-mol tshogs-'du'i ched-rtsom gces-bsdus, (ed. Krun-go lho-
nub mi-rigs zib-'jug rig-tshogs bod rig-pa'i gnas-tshogs kyi rtsom-sgrig
tshogs-chun), Bod-ljons mi-dmans dpe-skrun-khan, Lhasa, pp. 283-315.
Chos-grags, 1985, sDe-dge'i dmahs-glu, Szechuan National. Publ. House,
Chengdu.
Ni-sgrol, 1983, "IHa-sa'i stod-gzas kyi zabs-bror dbye-zib byas-pa", Bod-ljohs
glu-gar 1983 (2), pp. 24-27.
rTa-mgrin, 1987, "dPe-rgyan la curi-zad dpyad-pa", Bod-ljohs zib-'jug 1987
(4), pp. 61-67.
Dar-rgyas No-mon-han lHun-grub dar-rgyas, Thams-cad mkhyen-pa Nag-
dbah chos-grags dpal-bzah-po'i rnam-par thar-pa phul-du byuh-ba'i
mdzad-pa bzah-po'i gtam-snan lha'i tambu-ra'i rgyud kyi sgra-dbyahs,
 463

fol. Ial-161a4; Gedan Sungrab Minyam Gyunphel Series, Vol. XVII,

Delhi, 1970; cf. also Zhuang Jing, 1981a.
Thub-bstan sahs-rgyas, 1974, Bod kyi dus-ston (Festivals of Tibet), Bod kyi
dpe-mdzod-khan (LTWA), Dharamsala.
De'u-dmar dge-bées bsTan-'dzin phun-tshogs, Éel-gon éel-phren [i.e. bDud-
nadgéom-pa'i gnen-po rtsi-sman gyi nus-pa rkyan-béad gsal-ston dri-med
éel-goh], Mi-rigs dpe-skrun-khari, Beijing, 1986.
Duii-dkar Blo-bzan 'phrin-las, 1987, sNan-ftag la 'jug-tshul tshig-rgyan rig-
paï sgo-'byed, mTsho-snon mi-rigs dpe-skrun-khan, Xining.
Don-grub-rgyal, 1985, Bod kyi mgur-glu byuh-'phel gyi lo-rgyus dan khyad-
chos bsdus-par ston-pa rig-pa'i khye'i rnam-par rtsen-paï skyed-tshal
[abbr. mGur-glu'i lo-rgyus], Mi-rigs dpe-skrun-khan, Beijing.
Don-grub dban-'bum, 1987, "Sans-rgyas chos-lugs dan bod kyi rtsom-rig la
rags-tsam dpyad-pa", Bod-ljons zib-'jug 1987 (3), pp. 80-95.
Don-grub tshe-rin, 1984, "Rig-'dzin Tshans-dbyari rgya-mtsho'i lo-rgyus skor
gyi rnog-glen 'ga' la dpyad-pa garis-sen dgyes-pa'i gtam", Nub-byan mi-
rigs slob-grva chen-mo'i rig-giuh dus-deb, 1984 (1), pp. 94-101.
Dor-zi gDon-drug snems-blo, 1984, "rGyal-ba Tshahs-dbyans rgya-mtsho'i
rnam-thar mdor-bsdus", Nub-byan mi-rigs slob-grva chen-mo'i rig gzuh
dus-deb, 1984 (1), pp. 88-93.
Drun-'tsho Ses-rab 'byor-ldan, Glu-chuh sna-tshogs snih gi padmo bzad-pa'i
'od-brgya, n. pi. n.d.
"'Dod-gzas khag-brgyad", Ni-gzon 1983 (1), p. 70.
sDiris-chen Tshe-rih dban-'dus, Chos kyi rgyal-po Nor-bu bzah-po'i rnam-
thar phyogs-bsgrigs byas-pa thos-chuh yid kyi dga-'ston [abbr. rnam-thar]
(ed. xyl. 218; Tibetan Cultural Printing Press, Dharamsala, 1985, p. 379;
Bod kyi mi-dmans dpe-skrun-khan, Lhasa).
Nor-bu chos-'phel (comp.), 1986, Bod kyi dga'-gias sos-ka'i tshor-ba (deb gnis-
po) [abbr. Bod kyi dga'-gias / / ] , Bod kyi dpe-mdzod-khan (LTWA), Dharam-
sala.
dPa'-ris sans-rgyas, 1985, dPe-chos rna-ba'i bdud-rtsi, mTsho-siion mi-rigs
dpe-skrun-khan, Xining.
Bod kyi glu-gias ÇXïzàng gëyâo), Minorities College, Beijing, 1959.
Bod kyi glu-gias (Xïzàng gêyâo), Qinghai People's Publishing House (Qïng-
häi Mmzü Chübänshe), Xining, 1982.
Bod kyi dmans-glu snan-dban gso-ba'i bdud-rtsi, (comp. by the People's Cul-
tural House of the Qinghai Province (mTsho-snon zin-chen man-tshogs
464

rig-rtsal-khan)), mTsho-snon mi-rigs dpe-skrun-khan, Xining, 1984.

Bod kyi la-gzas gion-nu 'gugs-pa'i Icags-kyu (deb dan-po), mTsho-snon mi-
rigs dpe-skrun-khan, Xining, 1987.
Bod rgyal-khah chen-po'i rgyal-glu dan chos-rgyal khri-sroh ral-pa-can
rgyal-mchog tshahs-dbyans rgya-mtsho'i gsun-mgur sogs gias-tshig
phyogs-bsdus [abbr. gZas-tshig phyogs-bsdus], Tibetan Cultural Print.
House, Dharamsala.
Bod-ljons rgyun-spyod kruh-dbyi'i smart-rigs, Bod-ljons mi-rigs dpe-skrun-
khan, 1973, Lhasa.
Bod rig-pa'i ched-rtsom gces-bsdus, Bod-ljons mi-dmans dpe-skrun-khan,
Lhasa, 1987.
Bod-rigs kyi glu-gzas gces-bsdus (Zàngzû mingëji), Chengdu, Sichuan, 1959.
Bod-rigs dmahs-gzas gces-bsdus, Minorities Publ. House, Beijing, 1981.
"dMans-gzas", Ni-gzon 1983 (2), p. 89.
"dMans-gzas khag-gcig", Ni-gzon 1982 (1), p. 40; 1983 (3), p. 63.
Tshahs-dbyans rgya-mtsho'i mgur-glu (ed. Bod ran-skyon-ljons kyi rig-gnas-
cu'i dpyad-gzi'i yig-rigs-khan), Lhasa, 1978.
Tshahs-dbyans rgya-mtsho'i mgul-glu, Bod kyi rtsom-rig sgyu-rtsal 1980 (1),
pp. 50-52; 1980 (3), pp. 30-32.
Tshe[-rin] don[-grub] (ed.), 1987, Yar-kluh bkra-éis zol-pa'i lha-mo'i 'khrab-
giuh [abbr. *khrab-giuh\ Bod-ljons mi-rigs dpe-skrun-khan, Lhasa.
Zva-sgab-pa, dBan-phyug bde-ldan, 1976, Bod kyi srid-don rgyal-rabs (I-II),
Kalimpong.
Éol-khan dar-rgyas 1985, "Glu-gar gyi rgya-mtsho", Ées-bya'i zegs-ma 24,
Mi-rigs dpe-skrun-khan, pp. 28-46.
Éol-khan dar-rgyas, 1987, "sTod-gzas dan nan-ma'i gzas kyi byuh-ba mdo-
tsam brjod-pa", Bod rig-pa'i gros-mol tshogs-'du'i ched-rtsom gces-bsdus,
Lhasa, pp. 429-449.
gZi-rim 'dzin-grua gsum-pa'i slob-deb rig-pa'i nin-byed [abbr. Reader III
and TV], Tibetan Cultural Print. Press, Dharamsala.
Wang Yinuan, 1980, Tshahs-dbyans rgya-mtsho'i mgul-glu (Cängyäng Jiäcuö
Qinggê), mTsho-snon mi-rigs dpe-skrun-khan, Xining.
Yang Huachun (comp.), 1980, "Bod kyi dmaris-glu", Bod kyi rtsom-rig sgyu-
rtsal 1980 (1), pp. 82-83.
Ye-ées 'phrin-las, 1983, "Mon-yul gyi gzi-rtsa'i gnas-tshul", Bod kyi rig-gnas
lo-rgyus rgyu-cha bdams-bsgrigs, Bod ran-skyon-ljons chab-srid gros-
 465

tshogs rig-gnas lo-rgyus rgyu-cha u-yon lhan-khan ('don-then gfiis-pa);

Bod-ljons mi-rigs dpe-skrun-khah, Lhasa, pp. 132-163.
Ye-ses 'phrin-las, 1984, "Mon-yul du Tdiruns-pa'i snan-nag mkhas-can tà-
la'i bla-ma sku-phren drug-pa Tshahs-dbyahs rgya-mtsho'i lo-rgyus fiun-
bsdus", IHo-kha'i rtsom-rig sgyu-rtsal 1984 (2), (ed. Bod-ljoris lho-kha-
khul rig-rtsal lhan-tshogs), Lhasa, pp. 87-89.
Yon-tan rgya-mtsho et al. (eds.), 1988, gSo-rig-skor gyi rgyun-mkho gal-che-
ba bdam-bsgrigs, Mi-rigs dpe-skrun-khari, Beijing.
Huang Hao & Wu Biyun, 1982, "Tâ-la sku-phreiï drug-pa Tshans-dbyans
rgya-mtsho'i lo-rgyus rags-tsam dpyad-pa", Bod-ljons iib-'jug 1982 (1),
pp. 97-109.
Xiao Diyan, 1987-88, "Tshaûs-dbyans rgya-mtsho'i mgur-glu gsar-'grel",
sBran-char 1987 (3), pp. 90-95; 1987 (4), pp. 55-57; 1988 (1), pp. 64-70;
1988 (2), pp. 61-72; 1988 (3), pp. 47-56, mTsho-snon mi-rigs dpe-skrun-
khan, Xining.
Zhuang Jing, 1981a, Rig-'dzin Tkhans-dbyans rgya-mtsho'i gsun-mgur dan
gsan-baï rnam-thar, Mi-rigs dpe-skrun-khan, Beijing.

Chinese S o u r c e s

Guo Weiping ( fß J£ ^p ), 1985, "'Cängyäng Jiäcuö mizhuàn' de zhênshixing

bào ( W & & $ ^ F & f Ä ) 1985 (2), pp. 49-54.

Huang Hao & Wu Biyun ( I^M&^zïÊrit ), 1982, Cângyâng Jiäcuöjiqiqing-
gê yânjiû ( ^ & ^ f é & £ t t W £ ) , Xîzàng Yânjiu (Tibetan Studies)
( W $ 9 F £ ) Coll. 3, Xîzàng Rénmin Chubànshè ( ffiJ^ÀOU^i ),
Lhasa.
J i a Lasen ( | f $L ^ ), 1984, "Yoüquän "Cängyäng Jiâcuô zhuàn w de ji gè wèn-
tT(iîk <4;&#ftfê> t/j A ^ R M X x^ei Minzû Xuéyuàn Xuébào
( W ^ h ^ ^ ^ f ô ^ a ) 1984 (3), pp. 31-37.
Jiang Daren ( fê ^ f i ), 1980, "Cängyäng Jiäcuö qinggê de sîxiàngxing hé
y i s h ù x î n ^ C ^ ^ ^ t ^ ^ ^ ^ ^ U ^ X ^ i i ), XîzàngRibào (W%
H & ) , Aug. 20.1980.
Li Ming ( 3g $j ), 1988, "Jiniân Cängyäng Jiäcuö ji qi qinggë yânjiû zöng-
shù w ( ^ - f c : k & f ê & & f f î M £ ^ ) , Xîzàng Minzû Xuéyuàn Xué
bào ( W % R * f Fx f t ) 1988 (1-2), pp. 47-54.
Li Xueqin ( £ ^ ) f 1986, "Qiàntân "xié" tï qinggê ji qi yuânyuân" ( $
"\f " f r i t f t Ä * « ! « ) . Qînghài Minzû Xuéyuàn Xuébào f #
R f Ä 1986, No. 11 (4), pp. 83-«9.
466

Mao Jizu ( € & * & ) , 1979, "Shitan Cängyäng Jiäcuö qînggê" ( i £ $ ^ # %#

fô ft ), QOwWi Mfoztf Xuéyuàn Xuèbào ( # # & M ¥P& f $ ) 1979, No. 4
(2), pp. 67-81.
Meng Xi ( % ffi ), 1980, "Cängyäng Jiàcuô qinggê" ( -fr & % fê ft ft ), Xîzàng
Ribào ( W $ H & ), Jan 16. 1980.
Meng Zhaoyi ( î B& ft ), 1988, "Cängyäng Jiäcuö qi'nggè' yù "Shïjing"
* # 1 t f t - 5 < # ^ > ) , ^ « à n ^ Mr/wö Xuéyuàn Xuébào ( &&
# $ ) 1988 (1-2), pp. 55-59.
Wang Zhenhua ( £ | f t ^ ) , 1980, "Càngyàng Jiäcuö hé tä de qînggê"
^JfP'ffcWifrft), QinghàiHÛ {*%%), 11,1980.
Wen Chen (^t P | ) , 1987, ""Xié" Ü mingê tànyuân" ( " î *
Xteàng M ^ z u Xuéyuàn Xuébào ( f f i # & & # l £ ^ $ ) 1987 (1), pp. 38-42.
Xiao Diyan ( ^ • ^ ^ • ) , 1985, "Cängyäng Jiäcuö qi rén qi s h f (fa •& & fè & X
$.%), Xîzàng Minzû Xuéyuàn Xuébào ( ® & & & ^ | & f & ) 1985 (1),
pp. 44-51.
Yu Naichang (f- ft §, ) (ed.), 1979, Ménbàzû mtnjiân wènxué ziliào ( f i G
jfc&föifc^järft). CXfeàng M^nzö Xuéyuàn Ménbâzû Minjiân Wénxué
Diàochâzu) ( ( W & & & ¥ l & n C & & f ô * : # l H 4 S ) ) , publ. by Xizàng
Minzû Xuéyuàn Këyânchu ( l ? Ä R a # R # 9 f Ä ) . Lhasa.
Yu Naichang ("f"7J a ), 1980, "Ménbâzû minjiân qinggë yù Cängyäng Jiä-
cuö" ( H G # E & |B] t f r f t ^ ^ ^ * i # ),fflKtn$ Wén
Literature) 1980 (1), pp. 69-72.
Yu Naichang ( "f ^ i ), 1982, "Cängyäng Jiäcuö shêngping shüyi"
# & f & Ü0, Xfaà^? YaTyïû ( W j% 9f £ ) 1982 (3), pp. 86-93.
Zhang Jianghua (•£ Ü dfc), 1984, "Ménzàng lishï guânxi chûyi" (H $LÏÏ! £
£ 3fc £ Ü ) , ^ 2 à n g M t o u Xuéyuàn Xuébào ( W $ & $ # P £ # & ) 1984
(1), pp. 77-85.
Zhang Songzao(?fe4 v ^), 1987, "Döngfang shéntan shàng de pànnizhë
Cängyäng Jiäcuö" ( ^ ^ f é i f t ^ J ^ - ^ j ^ f ê ) , Xtzàn8 Minzû Xué-
yuàn Xuébào ( W A & f é ^ f ê ^ B f c ) 1987 (2), pp. 46-55.
Zhuang Jing (ßLEk), 1981b, Cängyäng Jiäcuö qinggê ji mizhuàn &
i f ft&$#) (transi, of Zhuang Jing 1981a), Minzû Chûbânshè
IMPRESSUM
Verleger: Arbeitskreis für Tibetische und Buddhistische Studien
Maria Theresien-Straße 3/4/26, A-1090 Wien, Austria
Herausgeber und für den Inhalt verantwortlich:
Prof.Ernst Steinkellner, Reisnerstraße 6, A-1030 Wien
Druck: Ernst Becvar Ges.m.b.H., Lichtgasse 10, A-1150 Wien
 WIENER STUDIEN ZUR TIBETOLOGIE UND BUDDHISMUSKUNDE

1: Ernst Steinkellner, Verse-Index ofDharmakirti's Works (Tibetan Versions). 1977.

XIV, 225 p. OS 200,-
2: Lobsang Dargyay, Die Legende von den Sieben Prinzessinnen (Saptakumärikä-
Avadäna). In der poetischen Fassung von Guhyadatta/Gopadatta aufgrund der t i -
betischen Übersetzung herausgegeben, übersetzt und bearbeitet. 1978. X, 162 p.
vergriffen
3: Piotr Klafkowski, The Secret Deiiverance of the Sixth Dalai Lama, as narrated by
Dharmatäla. Edited from the Hor Chos-'byuri and translated into English, with an
introduction and comments. 1979. VI, 93 p. vergriffen
4: Gudrun Bühnemann, Der Allwissende Buddha. Ein Beweis und seine Probleme.
R&tnakîrti's Sarvajfiasiddhi. 1980. L, 175 p. vergriffen
5: Helmut Tauscher, Candrakïrti - Madhyamakävatärah und Madhyamakävatärabhä-
syam (Kapitel VI, Vers 166-226). 1981. XXVII, 2\A p. vergriffen
6: Lobsang Dargyay, Gun than dKon mchog bsTan pa*i sgron me*i rNam thar mdor
bsdus béugs. - A Concise Biography of Gun than dKon mchog bsTan pa*i sgron
me. 1981. VI, 45 p. OS 65,-
7: Ernst Steinkellner (Ed.), Gun than dKon mchog bsTan pa*i sgron me*i rNam thar
sgo gsum gyi mam bzag pa Legs bead rgya mtsho'i rba rlabs. 1981. 20p. OS 35,-
8: Gudrun Bühnemann, Jitäri: Kleine Texte. [Description of a manuscript from the
Bihar Research Society with 10 small texts of Jitäri, and the edition of the
following texts in Sanskrit: Vedäprämänyasiddhi, Sarvajfiasiddhi, Nairätmyasiddhi,
Jätiniräkrti, 'îsvaravâdimataparïksâ.j 1982. 21985. 48 p. OS 100,-
9: Josef Kolmaâ, Ferdinand Stoliczka (1839-1874): The Life and Work of the Czech
Explorer in India and High Asia. 1982. XI, 58 p. OS 80,-
10: E. Steinkellner / H. Tauscher (Ed.), Contributions on Tibetan Language, History
and Culture. Proceedings of the Csoma de Körös Symposium held at Velm-Vienna,
Austria, 13-19 September 1981, vol.1,1983.XX,479 p. vergriffen
11: E. Steinkellner / H. Tauscher (Ed.), Contributions on Tibetan and Buddhist
Religion and Philosophy. Proceedings of the Csoma de Körös Symposium held at
Velm-Vienna, Austria, 13-19 September 198U vol.2,1983.XII,334 p. vergriffen
12: Tilman Vetter, Der Buddha und seine Lehre in Dharmakïrtis Pramänavärttika.
Der Abschnitt über den Buddha und die vier Edlen Wahrheiten im Pramänasiddhi-
KapiteL Eingeleitet, ediert und übersetzt. 1984. 21990. 183 p. OS 230,-
13: Andräs Rona-Tas, Wiener Vorlesungen zur Sprach- und Kulturgeschichte Tibets.
1985. 397 p. OS 490,-
14: Michael Aris, Sources for the History of Bhutan. 1986. 203 p. OS 250,-
15: Ernst Steinkellner, Dharmottaras Paralokasiddhi. Nachweis der Wiedergeburt,
zugleich eine Widerlegung materialistischer Thesen zur Natur der Geistigkeit.
Tibetischer Text kritisch herausgegeben und übersetzt. 1986. 57 p. OS 80,-
16: Per K. Sorensen, Candrakïrti - Trisaranasaptati. The Septuagint on the Three
Refuges. Edited, translated and annotated. 1986. 89 p. OS 120,-
17: David P. Jackson, The Entrance Gate for the Wise (Section III). Sa-skya Pandita
on Indian and Tibetan Traditions of Pramäna and Philosophical Debate. 2 vols.,
1987. 619 p, OS 620,-
18: Michael Torsten Much, A Visit to Rähuia Särikrtyäyana's Collection of Negatives
at the Bihar Research Society: Texts from the Buddhist Epistemo- logical School.
1988. 35 p. OS 52,-
19: Andrâs Rôna-Tas, Mongolisches Lesebuch. Lesestücke in Uigur-Mongolischer
Schrift mit grammatikalischen Bemerkungen. 1988. 65 p. OS 100,-
20: Victor Van Bijlert, Epistemology and Spiritual Authority. The Development of
Epistemology and Logic in the Old Nyäya and the Buddhist School of Episte-
mology with an Annotated Translation of Dharmakîrti's Pramänavärttika II
(Pramânasiddhi) vv. 1-7. 1989. XIII, 191 p. OS 230,-
21: Tom J.F.Tillemans and Derek D.Herforth, Agents and Actions in Classical Tibetan.
The Indigenous Grammarians on bdag and gzan and bya byed las gsum. 1989.
XXIII, 114 p. OS 150,-
22: Helmut Tauscher, Verse-Index of Candrakïrti's Madhyamakàvatàra (Tibetan
Versions). 1989. IX, 71 p. OS 130,-
23: David P.Jackson, The Early Abbots of 'Phan-po Na-lendra: The Vicissitudes of a
Great Tibetan Monastery in the 15th Century. 1989. 79 p. OS 130,-
24: Tom J.F. Tillemans, Materials for the Study of Äryadeva, Dharmapäla and Candra-
kirti. The Catuhsataka of Äryadeva,Chapters XII and XIII, with the Commentaries
of Dharmapäla and Candraklrti: Introduction, Translation, Sanskrit, Tibetan and
Chinese Texts, Notes. 2 vols., 1990. XXXVI,290; IV, 188 p. OS 520,-