So you're saying this is within you, and then it's within the essence of your own mind, which is here. So within that central deity there, then you see, again, the Dhanapada, Nundas, let it down in Macha Rosary. They're lying flat. It's three-dimensional. So on top, if you look down on it, you would just see a six-pointed star. And if you look on the side, you would see this whole thing coming down into a point. It's like taking a pyramid and turning it upside down. So that if you looked on top of an upside down pyramid, it would just be flat. But you look from the side, it's coming down. So here, actually, it's two, three-sided pyramids which come down to one point. But on the top, actually, it's a double six-point star or two triangles. So if you visualize that within the heart of the central, or the principal deity, the body manda.

[01:01]

And then, as you recite the mantra, then you just think, actually, from that syllable bump in the mantra raiser you can hear hard, many light rays are going out, so they fill your body, purify you of everything, and also they issue out from the pores of your body and purvey the entire universe. And by these light rays going out, it helps all sentient beings, it touches all living beings of this world, helping them, purifying them of their sins and aspirations, and all of these people are always becoming Vajrayogini. At the same time, these light rays are going out to all the different Buddha realms to make offerings to all the Buddhas and Bodhisattvas. And then, due to making offerings to all the Buddhas and Bodhisattvas, they confer their blessings upon you. So, in other words, the blessings of Vajra Gini, also of all the Buddhas and Bodhisattvas, in the form of red light rays, may have come back from all these different directions and will absorb right into that syllable one and mantra rosary in the heart of the central Vajra Gini within your heart. recite the mantra, you keep visualizing these light rays going out, making offerings to the enlightened ones, getting their blessings, light rays coming back, light rays going out, helping sentient beings, light rays going out, making offerings to the enlightened ones, light rays coming back in the form of blessings.

[02:12]

And you keep visualizing this pulsating of light issuing out from your heart, central, from this mantra in your heart. And then you recite the mantra with them. And that's the principle of visualization you do. However, if you can't keep that visualization, or you don't feel comfortable with it after some time, then you can change. You can, for example, listen to the sound of the mantra, listen to yourself reciting the mantra, and then merge your mind and your sound of the mantra together. Just keep your mind concentrated somewhere as you're doing the visualization. Or again, like this morning, we've been doing the concentration meditation. So we also do the concentration meditation as you recite the mantra. Recite the mantra and visualize the central eye on the middle of the forehead. Recite the mantra and visualize one of the eyes. the right eye, the left eye, the nose, the mouth. Visualize any part of the body, the right hand stretched out. Visualize the bird knife. Visualize the flames of fire surrounding you. Visualize one of the deities in the body mana. Visualize another one. Visualize the other one. Visualize the right one or the right one or the green one.

[03:13]

Just keep your mind somewhere within the sadhana, within the practice. And as long as you keep it within there somewhere, then actually you're concentrated. This is a point of concentration. And it ripens the efficacy or the fruits of the mantra recitation because your mind is concentrated somewhere within the actual practice. So you can move your mind to one or other of these visualizations. You can move the mind just to listen to the sound of the mantra. And if you're tired of that, just move the mind to emptiness itself. Don't try to listen to anything. Don't think of anything. Just recite the mantra and let the mind rest in its own nature. Let it rest in its own relaxed nature. on purity in recite the mantra. So in this way you can shift the mind if it's uncomfortable. It's best to keep it in one place and you don't want to jump too much, but then you can move it here and there within the sadhana, within the practice of the recitation.

[04:14]

So it's very important actually at the time of reciting the mantra that you do have some form of concentration and visualization. I mean, actually, in the teaching, it says that if you recite the mantra for 100,000 years and don't concentrate, it won't help. It won't happen like that. And also, it says in teaching that people practice like that, and then they blame. They say the teacher is no good. He didn't give me good initiation. Or someone wrote the sadhana poorly. Or you'll blame me and say it was chanted or something. But actually, if you don't concentrate, the result doesn't happen. So it's really important to concentrate once you're doing the rest of the mission. According to certain scriptures, actually there's a Dharani written by the Buddha where it says, actually, if you recite this first mantra, Om Ruchi Ramana for about 208 svaha, and bless the Rosary with that, it increases many hundred thousands fold. Every time you recite one mantra, it's like millions. So that's the purpose of reciting the mantra, to bless the Rosary for that. And then we'll recite the mantra here, say for about 40 or 45 minutes or so.

[05:16]

The middle one. The mantra. Actually, there's different ways to recite the mantra, depending on where you are, what you're doing. Generally speaking, there's four thoughts in reciting the mantra. One, if it's too loud, it's a thought because it'll disturb others. And also, it says that you lose the power of it. Actually, others take the power of the effects of your recitation. If you recite it too low, also no results will come. However, in a group, I think it's probably better just to help each other that it's a good sound. Basically, the best way it says to recite is to say it loud enough that if someone was sitting on your shoulder, they could hear it, no one else. That's about how loud it would be. Also, it says there's the thought of trying to recite too slow, because you should never finish even reciting one mantra. And then also there is the thought of reciting too fast, because then you'll miss syllables. and they'll become third so it should be not too fast not too slow and also the madness really should be almost like a whisper and that's actually in the older scriptures like the idolatry tantra it says that you should do it in a way in the low east voice almost with a tune but there and she was also describing that you are far somewhere in between with the nature and between with the sound of the mantra

[06:50]

Actually, there's a mental recitation in the short process for patient practice, which we're going to concentrate on tonight. But just to get an idea of what it's like, actually, there's some breathing meditation to do with it, but we're going to do that tonight. So just to get an idea of what the visualization is like, so you have the next session. If you think now, again, you're in a form of adrogenia in your heart, is the body number that leads, the 30, And then all of a sudden this group really transforms back into the letters. With the center, the red one becomes the letter BUM. And with the four surrounding those, the white, green, red, and yellow, merge back into the letter BUM itself, because there's only one other BUM in the center. And with the 32 Vajra Guinness around the edge of the sun disk, it becomes So think, now, in your heart, with this Dhammakara, here now it becomes a moon disk, and then these letters appear now, instead of the deities.

[08:08]

And then just think all of a sudden, as you inhale, just think actually, the inhalation of the breath pushes this whole thing from your heart straight down to your navel. And you just think of who's down with that. And then right at the level of the navel, just rest. And then when you look down, or mentally look in, and you look down on top of that demikata, and you see those letters, and sometimes you see the letter from them. And then in front, starting from the front, and going towards your left, and kind of talking like the action, you see the letters om, om, om. And then they go by twos, actually, then you see om, om, om. from back to front, sarva and buddha, bha-ki-ni-ye, again, in twos, you see it coming, so you see, an-an-an, in sarva, buddha, bha-ki-ni-ye, vajra, vana, ni-ye, vajra, vajro, and here are three letters, cha-ni-ye, an-an-an-an, he-he-he, an-an-an-an,

[09:19]

So actually what you're seeing now at Love of Naval is just these letters. And what you should do now is just look at them and then just try to read by your mind just the letters. Just look at the letters and sort of go around with them. Just look at them. And then just read that with your mind. Look at those letters and read them. and this for us, these two are empty. And then just look straight at that. Look down, you're looking down onto the temple. You have the letter palm in the central side of the March Rosary. Actually, it's around here. And then just watch these four, and they're turning very quickly in a counter-clockwise direction. They're sort of like reddish color. And just concentrate your mind on them. Just put your mind down for that. And this also can be leveled in evil.

[10:23]

and everything just dissolves. Then think, move yourself in the form of God you're being. From the secret organs straight up through the center of the body, coming right up to the top of the head and then floating down to the place between the eyebrows is the central vein, which is right inside and right outside. It's very straight, very transparent, very subtle, very soft at the edge of a rose petal, and also very flexible, firm standing straight up. And here, in this case, I actually see it to be about the size of, like your central finger from the central finger, just rising up about that width, still up for your body. And then, at the very end, at the bottom end of the central vein, within the vein, there's another blissful, like that little thing which is visualized, right at the bottom, which is red in color, turning very quickly to the left, Then at the top of the head, or at the place between the eyebrows, at the upper end of the papaduki is another one, but this one's white intolerant.

[11:38]

It's getting very quickly on the papaduki. And just think about those. Think about yourself as arguing about the nature of light, the central vein rising up from the superior to the place between the eyebrows. And then the two, this rose, the bottom one red, top one white, it's getting very quickly. just watch them, watch it spinning around very quickly with them. And as you watch it there, very slowly, it just starts to rise up through the abadutti, just very stern, very loosely, but continuing to spin and kind of pop on the direction. And it rises up, well up through the central room, and gets up to the center of the body, and over the heart, and just remains there. And as it's rising up, in the sense that your whole body, your mind, all the appearances that you see, are created by bliss, in our recognition. It also seems to be of a reddish color. We concentrate on the rightness, right at the top of the abertitude, the face between the eyebrows, light and color.

[12:48]

As you concentrate on that, when the skulls spin up through the top of the abertitude to the top of the head, it starts to descend down through the abertitude. Also, you hear a white arrow spinning very quickly to the final path of direction. And as it spins, you can see all appearances in your mind. Everything is related by the nature of emptiness and also otherwise its power. Very quickly to the left. And they start to come to the other. And the final of these form one little crystal, which is a pinkish arrow. It spins very fast, very fast. And finally, it spins so fast that it just leaves eyes So still you're in the form of that beginning. And then you should think that

[13:54]

There's a small bajudin at the level of your navel, by the size of your thumb, by the headway of all the ornaments. And then, leading at the navel are the basis of the three veins, aviduti in the center, rasna on the right, nalana on the left. And the aviduti goes straight up to the top of the, the bramara on the opening at the top of the head. While the other two veins here, they curve down from the front of the head, and they curve down as to end of their respective nostril apertures. then located at the conjunction of the three veins of the navel, said small Vajrayogini. Then from this Vajrayogini, I enable another one, an exact same occurrence, that's smaller, tissues forth and rises up along with the exhalation through the rastom of them on the right side, and emerges from the right nostril, and remains just outside the nostril. From this Vajrayogini, countless small Vajrayoginis emanate to go up in every direction, the anonymous bitter ones, in order to make offerings to all the bodies and go to set this, Having made offense, the minimal Vajrayoginis go out through all three realms of existence, and through their touch of mere presence, all things, both animate and inanimate, are purified and transformed into the Vajrayoginis.

[15:07]

Then all these Vajrayoginis return and are absorbed into the Vajrayoginis who are made outside of one's own nostrils. Next, this Vajrayogini enters through the left nostril along with the inhalation, and descends through the lino again on the left side of one's body. Arriving at the navel, she is reabsorbed into the original Vajra Yudhini. Then take the light rays issued from the Vajra Yudhini at the navel and for every part of your body. The limbs of the body dissolve into light and merge the trunk of the body, and the trunk of the body itself dissolves into a ball of light. As Vajra Yudhini slowly ascends through the upper two vein, the lower parts of the three veins in the body of light are absorbed up into her. As she arrives at the top of the head, all the veins and the remainder of the light are cured into her. Finally, she merges from the Bramaranda opening at the top of one's head, and then quickly goes straight up into the sky and arrives into the pure rock of Kanchara. Having arrived there, she vanishes into the pure light of the Dhammadato, the state of emptiness, and then disrupts her mind from the inner state, mind-dressed with power of emptiness.

[16:18]

And as she arrives at the place of the Bramaranda opening at the top of the head, And we, once again, will appear on the part of the Gini. This time without any objects that might be spelled out. And also without any ornaments. And then we go right up to the mandal opens. So this time, because it's at noon, we'll include the Mahakala bandha. Sorry, the mandal opens. So first we'll do the part of the Gini from our friend. And then the short Mahakala Thummah offering at the bottom of that other page of the Lord of Cemetery. Then the Lord of Cemetery's mandala offering. And then finally, the blackness. So on page 90, first one page 90. Out of the state of emptiness, from our horizon a sun spot, which is wide and vast,

[17:46]

Inside of this, from the dissolution of the five needs, the five networks, and the five Transcendental Knowledgees, arises a great ocean of Transcendental Knowledge Network. Om. [...] Lightways issue from one's heart to invoke from the Akinishtha realm, the Reverend Bajra Yogini, surrounded by Buddhas, Varusakhas, Buddhas, Yoginis, Dhanapals, and worldly gardens. These appear in the sky in front of them. Om Bajra Samadra Om Om Om Sarva Buddha Dakinye Bajra Vananiye Bajra Vajrananiye Om Om Om

[18:52]

Om Akharumukhan Sava Damanam Avivlipana Tvada Amahum Hussara Om Om Om Sava Vero Lakiye Vajah Vananiye Vajah Vajah Chaniye Om Om Akharumukhan Sava Damanam Avivlipana Om Vajrayogini Sathariwara I offer this holy offering to the Nails of Reverend Vajrayogini in the Assembly of Viras Ngakimis.

[20:12]

Thank you. So it's at the bottom of the sheet. Om Aho Che.

[21:15]

Om Aho Che. [...] From the palace of pure and very good, the very powerful one illuminates from the heart of the earth, Bhagavad Gita. Then, there is some change. From one's heart, light reads, and in the sky before one, appears a wind medulla, and an ocean of blood, above which is the vast surface ground.

[22:19]

On this rests the mount matter of skeletons, on top of which is a four-sided palace of skulls. Inside this, upon the seats of Hortus and Sun, send the various lords of the cemetery, father and mother, surrounded by an infinite retinue of worldly and super-mundane vacations. Om Vajra Sarna Jaya Vajra Pathan Muda Vajra Samaya Swam Om Giraja Giraja Kuma Kuma Kumtis Maha Kishachi Satharevara Vidam Vajin Bunja Kaka Kahi Kahi Sava Siddhamle Om Gya Raja Gya Raja Kuma Kuma Kuntis Maha Pishachi Sathari Vara Gidam Valing Bunja Kaka Kahi Kahi Sava Sri Maha Pishachi Sathari Vara Gidam Valing

[23:39]

I offer this holy oblation to the mouths of the glorious lords of the cemetery in their reconnoe. Perform those deeds which caused the doctrine of the Buddha to spread, and bless goodness to rise in the world. I'm afraid of that, who needs a speech?

[25:08]

Om vaja arali ho, ya hum bam ho, vaja dakine samayas tom yashya ho. Om kakha kahi kahi, swagai yaksha vaksha sa, gota peta pishachi, umadha, Apasmara, Dakar, Patkiniya, Daya, Iman, Balin, Vinantu, Samaya, Rakshantu, Mamas, Sibunle, Prayacantu, Yatevan, Yateshtan, Bunjata, Jigata, Tipata, Matikramata, Mamas, Sarva, Kariya, Setsu, Kham, Vishulaye, Sahayita, Babantu, Konghana, Om Kaikai Kaidi Kaidi Svabha Yaksha Rakshasa Bhuta Peta Pishachi Humada Ahasmara Dakha Valkiniyadaya Minam Vali Pinantu Samaya Rakshantu Mama Sarasidame Krayacantu Hidivam Yidishtham Bunjata Jigitha

[26:47]

Te patta mati kramata mamasava kara satsukandu shudai sahayika bhavantu om om te te sova om katha kadi kadi sova yakshya rakshasa gota katha kishachi umadha akasmara dhaka dhakiniya dhaya imam valinan ganantu Samaya Rakshanti Mamasavasitane Yateshvam Viteshtam Bhunjata Jagata Te Patta Mati Krumata Mamaswava Kariya Satsukam Ishidaya Sahayika Kabantu Hohen Tete Swaha Om Arvamswaha Om Parvamswaha om kushbe soha, om dube soha, om alokhe aham, om genbe aham, om naredi aham, om shedda aham, om aham.

[28:01]

Buddha dhakini, Vajra dhakini, Ratna dhakini, Pema dhakini, Vishwa dhakini, and the life. He sent me various and dhakinis in three places. Please take in the suffering of sacrificial cake and guard the teachings of the Buddhists. Hold on to the praise of the Lord. Ensign, allow the venerable holy to live home, allay in all directions in unfavorable circumstances, obstacles, and opposition to us predicators, our disciples, and our sponsors. May our thoughts and actions be reported with one. May we attain our desires, and J. Mladenings can try, protect, and greatly assist us to see the activities.

[29:10]

Thank you. Thank you.

[30:37]

Thank you. Normally speaking, the rosary is held in your left hand between the thumb and the fourth finger. Actually, according to the Saki study, it says that there's different types of activities you can do. Like certain deities are the nature of different. activities such as peaceful deities, deities of increasing deities of power, deities of violence. So according to the Sake, it says actually if you're doing a deity of peacefulness, you hold it between the thumb and the first finger, you recite like that. So these deities actually means like deities of purification, like Vajrasaika, right Tata, or actually more like Vajrasaika, different forms of Avalokiteshvira for peaceful type of deities.

[31:46]

And deities of increasing means to increase your life, to increase your wealth, like Jambala, or even long-life deities like Amitais, like this, that you would use the middle finger and the right hand. And then for deities of power, which means like Red Tata or Kurukuli, where you bring different forces under your control, you would use the salmon third finger, the ring finger. And then for violent deities, such as Mahakala or other violent deities, that you'd use the small finger. But actually, this is, you can buy a door for about two minutes, and then the third time is quite different. So generally, actually, we use, just sort of, kind of, use the left-hand thumb and it's working. This is Vajrayogini, actually. It's an Anantara Tantra deity. And here, actually, we say that Vajrayogini is really a deity of enlightenment. It's not a specific activity, per se, that by the practice of Vajrayogini, you can gain the state of enlightenment itself. Though, usually, with Anantara-type

[32:47]

deities on top of yoga type deities that you can apply to different types of activities like the poor activities such as physical activities in the environment and subduing and increasing by different types of visualization uh generally speaking i would say that you need just an enlightened deity or enlightenment deity which means actually the difference actually is that certain deities like if you have certain obstacles like if you want to die soon or you can have some obstacles to your life that you would use a a deity like Raitara or Amitayus to overcome these obstacles to your life. Or maybe you want to increase your wisdom so to understand Dharma, so you meditate on Manu Shri, like this. So these are known actually as indirect deities. I mean, indirect in the sense that they don't lead you directly to enlightenment. They help you along the way. And then it's still in the same direction towards enlightenment. There are certain Amitara, you have a contract deity, such as like when you're in your Bible, you have chapters in that room, like this. These are called enlightenment deities. It means that by their facts alone, the path is direct to an item without beating around the bush.

[33:51]

But actually, these other data is for different types of obstacles or problems or things that you have, but they're employed and used to help you. So when you're doing an item in data, also you can use the first, the thumb, and the fourth finger. And generally speaking, you can use different types of rosers to practice For these four different types of activities, it's said, actually, that for a peaceful activity, a white-colored rosary is best, and white made out of some kind of stone. Pearls, or something like this, or... No, it's only for violin. Or like this, yeah. crystal or corals or some of these, or even a white coral I found. For increasing, actually, it's good to have a yellow color rosary, such as amber or something like that, or different types of...

[35:09]

Amber. But something like this. Agate. Like yellow or orange. Then for power type of data, you would use a red color. And for violent data, either black or bone. Actually, this type, which is called a Bodhitsi, this actually is from a special tree in Nepal, and this is very popular in Quebec and India, and it still is good. And it's said actually with this, which has a very special blessing in the Buddha, that you can do outdoor activities with this, so it's one of the best type of rosary to use. You don't have to worry about trying to bite both rosaries, but at least have one. It depends what type of blue. Generally blue is described. Chinese speaking.

[36:13]

Blue and black have that idea. Actually I think that's from Burma. It's a kind of tree. I think so. So these are actually just general ideas. of using the rosary. Also, when you use the rosary, there's different ways, actually, it's taught to use it. It's important, actually, sense, actually, that when you use it, you should be turning the rosary towards you, the beads towards you. And this means, actually, that the attainments are coming to you. You put it out, you want to give other people attainments, then you turn it out towards others. Yeah, well, usually, actually, it's coming in towards you, no matter what, but you turn the hand outwards. And also when you circle the rosary, when you come to the top, there should be a head on that rosary, but you don't go over that.

[37:21]

But when you get to that, then you turn around. And the head of the rosary generally is supposed to represent the Dhamma back to the ultimate reality. So you don't want to go past the ultimate reality. You just want to get there. And then you turn around and go back a little. And you circle. Also, with different types of deities, when you're doing a retreat, generally speaking, it's good to do it on certain times. If you're doing, for example, like deities of increasing, it's good to start in the second half of the month, or at the time of the waiting moon, when the moon is going down, and to finish a retreat in the first half of the month. So it means that you enter in darkness when you start to retreat, and when you come out, you come out in light. So it's an idea actually of increasing. Also, for increasing type of deities, such as for long life or wealth, it's good to end in the morning, when everything is increasing. For deities such as Bajrugini or enlightenment deities, it doesn't matter, because black and white, night and day, it's all the same routine and enlightenment.

[38:22]

But generally, there's sort of just a tradition, still in any case, to start a retreat in the afternoon, the first day. And when you end it, you end in the morning before noon. So the first session, let's say, if you do three sessions during a retreat, like you would do in the start, in the afternoon, your first session, and then you might find a second session, and then go to the retreat, however many days, a month, you're doing it. And then the final day, in the morning, you would do one long session, and then finish before noon, so that it would, sort of like the first day in the last day, I'd end up with three sessions, so they sort of combine together in one. And then in between, you're doing three sessions every day. And if you end before sunrise, or I mean before noon, again, it's this idea of increasing, and just like my suspicious son, suspicious woman, coming at the retreat. So I mean, this and this is a weekend retreat. We cannot do it because this is too short. We don't have that time to do it. But generally for long retreats, if you can, it's good to do to get those kind of, just have the signs or the connections.

[39:24]

Things are increasing. Things are growing. If there's any questions. is first just go right to the sadhana, starting with the lineage prayer to the gurus, then do the sadhana right throughout the mantra recitation, and do that for a little while, and then we'll step into the mantra recitation a bit more clearly, first clearing the airs, how to clear the airs out properly, and then also how to do the vows retention of breath, and then we'll do it complete, actually, the mental recitation, along with the vows retention of breath, so you have it complete, as it should be done in the sadhana.

[40:25]

So we will start off now on page 51st with the first one piece of verse. I pray to the great Vajradara, Vajraya Jini, Mahasiddha Narotaka, the ten three brothers, Charakse, Mahaloksa, Satyata, Sachin Kunga Nimbo, and to the brethren and warriors, Sonam Senwa and Bapa Gyasi. I pray to Satya Kunshin, Kaka Rinpoche, Koncho Kaya, Choje Grapuka, Sonam Gyasi, Nisik Hatena Kapuwaya, Sengi Gyasi, and Sonam Gyakcho. I pray to Janayam and Bapa Gyasi, Bacchen Choje, Lordo Gyasi, the relinquish of all, the relinquish of the master of Sarchin, Jaya and Kinsey, and to Laxin, and Giyasin.

[41:31]

I pray you want to welcome Sonam Chokton, Sonam Chogu, the auspicious camera of Murchin Jaya, Giblia, Mesa, and the Kundalera. I pray you to your chinyak, . [...] and to the real peace. By the power of meditating upon the yoga of the profound kachare process of creation, and the yoga of a central vein process of completion, bless me that there arise in me a great place simultaneously arisen, transcendental in our lives, and to abstain the truth of truth.

[42:49]

on page 51. Visualize it, you'll see it within a very few of the holy Buddha realm, such as the realm of Kachata itself. And the realm is made of sapphire with many drawings on it, made from gold designs. And a very pleasing, very beautiful place, completely conducive to happiness and also conducive to the practice of dominance. And in the center of this realm, on top of which is the lotus jewel-turned, other lotus, nubus, and then one's own Buddha, in the form of Buddha Vajintana, Buddha Vajintana, whose body is red and pale, one face with two hands, the right hand holding the diamond roof, and with the left hand he holds his scarlet, and his scarlet build with nectar. On his left shoulder, he holds a final step, and also his feet across in the back position, he's doing with many jewels, and also he would do with silver and iron. Then, And the ground in front of this is one's self, one's right, one's father, one's left, one's mother, in front of all enemies and people's spirits, and then also reprimand on all sides.

[43:55]

All the sentient beings in this six ground existence, they're all in the form of human beings. And from this time until you yourself gain the state of doing perfect enlightenment through your own body, voice, and mind as well as through the body, voice, and mind of all sentient beings, through great devotion and great faith, especially creating a faith in the Triple Jam, in the Goodwin Triple Jam, if we recite the record, please. Twenty-one counts. O, you step fast from this time to the essence of a 90-minute week, and, at all open beings, who are equal to space, take refuge in the most holy and venerable preceptors, who take refuge in the perfectly united ones, the blessed ones, who take refuge in the holy teachings, who take refuge in the noble assemblies. The bodies are transformed in the form of factory beauty, and the mind is transformed in the Alakaya, and each one of them is practically overwhelmed.

[44:58]

Then the Guru moves south from the head downwards, going upwards to the down, so through a small ball and a tight. This comes down, enters in through the top of your head, and merge into your heart, into your own mind. Triple Jin, Guru, Toreda, and Sangha are completely merged together. That's why I'm calling you, you know, creating very great faith, and actually a sign of faith really is that the intensity of your devotion rises very greatly, that even the hairs on your body will stand on end, where the tears will come to your eyes when you think of real devotion to the Buddha, actually these are sort of signs of devotion being produced in your mind. So with that kind of devotion and great thought, you know, devotion and faith who is the one who can, in a very similar moment, bestow in you the blessings for the arising, the realization of transcendental wisdom within your own mind, and then make this prayer a few times.

[46:07]

To the root is that during a great time, restation for about 10 minutes, then remembering the various visualizations, the principal one being the martial religion within the heart of the central deity in the body, Mandala. So that means that within your own heart, in the center of your body, there's Dhammakata, sun disk, and in the center is a red Vajragini, surrounded by four other Vajraginis, and then outside of that, there are two red Vajraginis. And in the center, the central Vajragini, in her heart, is small Dhammakata, also a moon disk, and then the light of the palm, surrounded by the mantra rosary. And thinking that light rays should be out from this, to make offerings to all the Buddhists and Bodhisattvas, and also to purify and accomplished the aims of all sentient beings. And the blessings and the power, compassion, love, wisdom of all the enlightened beings in the form of great light rays return and absorb back into the better bound of mantra's room. And keeping that visualization of light rays going and coming back and recite the mantra. And also again, if you wish, move the visualization of different parts of the body or just to the sound of the mantra itself.

[47:20]

There's two types of micro-recitation. One is vocal recitation, like we're doing now. And there's the mental recitation, which we did earlier at once, but we'll go very carefully now. And the mental recitation, actually, we're supposed to devise retention of breath. So in order to do devise retention of breath, let me explain a little bit, so we'll do that first. In order to do devise retention of breath, actually, this is a breathing process. When any breathing practice is done, it's very important that you sit in a very good meditative position, which means that your back is really straight. You can, with your feet in the vajra position, or at least crossed over, and if your back is straight, not tight, but straight, and you're not leaning to any side, or right side, or left side, or back, you're really straight. As it says in scripture, especially, actually any time you do meditation, but especially when you're doing breathing practices, if you're not sitting straight, If you're leaning to one side, then great desire will arise in your body.

[48:23]

Or if you lean to the other side, great hatred will arise in your body. Or if you're leaning up, you'll see things in front of you like a snake or something. And these aren't there, it's actually just the air that's not passing through the veins properly. So that's why it's very important that you sit in a proper meditation position, especially when you're doing breathing. And when you start the breathing, actually, first of all, what you do is to purify the inner airs. So actually with inner airs, I mean just the residual airs which are staying in the lungs. Actually in our normal breathing habits, we don't get the air out. Actually we breathe, take in some air and then breathe out. There's always some kind of residue stuck in there. And that residue of air within the lungs actually creates a lot of conceptualizations. And if we can get that out, it helps to purify the mind, helps to clear the mind. So the method for doing this is actually It may actually be a little difficult when you have a cold.

[49:26]

But what you do is you take your right hand and you put it in the half-back position. So in other words, the middle finger is upright and the index finger is on the back of that. So you're pushing it, just like a vajra. Back to right, it generally says the left, so it's like this vajra, capital vajra, that's what you're making now. And then, You hold the right nostril, press the right nostril, and breathe in very strongly to the left, so you really pull up the lungs. And then you hold the left nostril, press the left lung, and then you go out to the right. And first, very soft, and then really push it out, and then soft. So it goes in three movements, like soft, hard, and soft. You breathe in to the left. and then up to the right, soft. Very hard.

[50:26]

So you really feel that you're getting it out. Then keeping your hand on your left nostril when you breathe into the right. And then hold the right nostril and breathe up to the left again with the three, soft, very hard and soft. And even at the end, actually, it's pushed out so much, it always gets a sound of like you really get in all the air without your lungs. And then you pour it in through both nostrils, breathe in through both, and then exhale through. There, here's a box of cleaning for you. Now you know why I haven't been teaching this for the last couple of days.

[51:30]

And then you breathe in through both, and then exhale again through both. First soft, hard and soft. So this is called nine exhalations. This is called a matter of exhaling nine times. So if you're just going to do this like in a daily practice, and you're going to do this a little bit, you can do that one time, these nine absolutions, it's enough. If you're going to do a long breathing session, it's good to do it three times, so twenty-seven and a half. So one set of left nostril, right nostril, both together, is nine. You've got soft, hard, soft, so three, so nine all together. And that whole set you should do three times when you're done. when you're going to do a longer session of breathing. So, why don't you do that first? So, left hand up. And sitting very straight. Very well. Then, first breathe.

[52:41]

Press in the right hand, so breathing it below. and up to the right, soft, hard, soft. And then press the right and up to the left, soft, hard, soft. So, let me keep that one more time. Heart soft.

[54:12]

Move through both. And exhale through both. Soft heart soft. And again, come through the left. Exhale through the right. Exhale to the left. Then in through both. So actually this way should really be cleaning out.

[55:25]

And then on the last one, when you completely exhale, you get all the air out. Now at this time, see this is just a preliminary, it's called the preliminary cleansing. Now what we had was that visualization, if you remember, in part was the body of the central Vajragini, surrounded by the four Vajra Guinness and the thirty-two. Now the central one and the four around her, they all merge together and they become another bum again. And then the thirty-two on the sun disc now become thirty-two syllables of the mantra, Vajra Guinness mantra. And then also you should visualize it as the only luminous instead of the sun disc. And then that visualization changes. And then When you're doing this exhalation, on the last exhalation, when you throw out the air through both nostrils, you're empty, actually, air, you throw it out. Then you sort of bend down. It's actually the idea, it's called scooping, like if you scoop up some earth.

[56:29]

So you sort of bend down and breathe in. And as you breathe in, you swallow a little spittle and it comes down. And then you lower your chin a little bit as it comes down. And when you think that that thing at the heart, that visualization of the Dharmakara with the letter Bum and the mantra rosary, when you're bringing the air down also and the spittle down, that letter also goes down. That whole thing goes down. Okay? So this forces this whole thing down right down through your navel. Okay? So actually what we're doing also, in the vase retention of breath, when the vase is done properly, actually there's three parts to it. First, expelling airs is just a preliminary cleansing. Then in a vase retention, a vase retention actually gives the name is because it's like a vase, like the vase in the consecration. The bottom part has a leg, you know, like a leg on the bottom like this. And then you actually have the vase itself.

[57:29]

And then on top of the vase you have a covering. So the vase retention of breath is like that also. You create a vase in your stomach. So actually what you do is to bring up lower air. It's called lower air. And this is actually a yogic process. where you open the anus and then draw in air. The first one, just a little bit. It's more or less like just opening and closing. So a little air comes up. And this is actually the base of the vase. It's like the legs of the vase. And then you bring in the upper air, what's called the upper air. And this is the belly of the vase, when the vase is round. And then on the third time, the third step is to bring in lower air. And this time actually a bit more forcefully, And it actually says that you sort of open and close the innus three times, like first time, second time, and on the third time, you really pull, you feel like you really pull air in. And this air comes in, and you think it comes up and around on top of the vase. It forms the cover on top of it. And then you have a leg, you have the vase, and then you have a cover.

[58:32]

And then right inside of that, you have these letters, the letter bump, and then, oh, oh, oh, sorry, the letter left. This is inside the vase. Actually, we use the vase retention for many things. Here it's to place the letters, also for deep practice and everything else. We also use the vase for holding the breath. So when you do the vase retention of breath, basically it's to bring the air down to about the level of the navel, really push it down. What you really want to feel actually is that your stomach really comes out and you really make a vase like a pipe down but when you really practice in the practice, the practice of the practice, your stomach actually extends, or distends at that time, and it really becomes big, like a ball. In the beginning, actually, according to some of the teachers, they say actually that the lower air causes trouble, the upper air does not cause trouble, trouble to your mind, actually.

[59:34]

So a lot of people in the beginning, when they practice this, they only take in upper air, they don't use lower air. Because what happens sometimes with the lower air, you push too hard, and it brings the air up too high towards the solar plexus. And that creates a little mental unhappiness. Sometimes you become unhappy, you feel discomfort, you feel like a ball at your solar plexus. And this creates too much air in the stomach air, in the solar plexus air. So what you can do, in the beginning, you just try it very lightly to bring in a little lower air with not much force. And then you draw in the upper air, and then you can draw draw the lower air again, but again, not much worse. But if you practice this a lot in the beginning, it's better just to take in upper air and just think that the lower air is there. Then when you become accustomed to it, then bring in lower air. Because whenever you bring in lower air, you always have to make sure that it stays down, that the air doesn't come up, doesn't rise up too high in the body. And as long as it's down about the level of the navel, then it's good. You're sitting in a proper place,

[60:35]

What part of the body? That's right. Lower air means coming down from below. Upper air means the one coming in from above. It's just a gentle name, native word. Okay, so then, for this meditation then, what we're doing is you clean out the airs nine times, or if you do a long period, 27 times. And then, first, you're drawing a little lower air. Just sort of open and close the anus very leisurely. And then you bring in this upper air with a scoop, a little spittle. And you think the whole visualization now goes down right to the navel. And then nearly pull the air right down and press it down. And then you bring in the lower air again while you're pressing the air down and then bring that on top. And then you read the mantra inside. Here's the praxis. So we'll try it actually. Usually in a meditation session every day what you can do is, I mean basically you're doing the mantra itself, and then a few times you can do, like you said, three times, or five times, seven times, you can just do the mental recitation.

[61:47]

There was actually one Lama, one Sakhi Lama, who, there's a way of doing the retreat of Ajughini when you recite the mantra 3,700,000 times, actually this mantra, like 100,000 times each of the body-mandal-deities, but he did this with the vase retention. reading the letters in the book and the mental presentation instead of the vocal one, which I've been looking for for too many years, upholding his breath and counting the mantra three minutes seven hundred thousand times, reading his mind. But as a general practice, you don't need so many, just two or three times in a session, okay? So, what we're trying to do now, do you remember all the steps? First is the preliminary cleansing, And then, at that point, you exhale all the air from you. Then take in a little lower air, and just do it very, very easily. That's right, at that point. And then draw in a little lower air, and then really bring in a good amount of upper air, and then really push it down, really feel that it goes right down to your navel.

[62:56]

And as it goes down, take a little spittle with it, and think that your visualization goes down to the navel. Maybe this time don't even take any more air. Just think it's right there at that point. And then start to visualize the letter. Read it with your mind. You're holding your breath so you can't say it with your words. So at this point, then you just think, you're looking at the letters. And you're looking right around the edge of that moon disk with your label. And you read it like that while you're holding your breath. And then what you should do is hold your breath as long as you can and recite it. But you shouldn't hold the breath too long that you hurt yourself and you feel pain, actually. because you can cause pain, you can cause discomfort to the body physically and mentally. So when you get to a point where you feel you want to let go of it, then you let the air go very leisurely. You don't hold it and then just throw all the air out like you have no control over it. Actually it says that when the air goes out, it should be so leisurely and so gentle that even the hairs in your nose don't move. So it means you have control over your breath.

[63:58]

It's very important. You should let the air out really slow. Then when you let it out, you start again. Bring a little lower air in. You don't need the preliminary cleansing again. If you've done it once, it's not. And then try it again. Bring upper air in. And then think again that the material because that's been later. And then hold it and read it. And we'll do like this a few times. So we'll do the cleansing one time. And then we'll go into it. So first, holding the right astral. Do that to the left. I can't even know. get in the middle of lower air scoop in the upper air get down with a little spittle and move the visualization down to the mirror move the mantra

[65:38]

keep the visualization of the Dharmakata at the navel. And instead of concentrating on the mantra, as we just think of the mantra itself, just leave it. And then on the four wings, or on the two sides, here, there are these bliss rules. And this time, actually, what we do is just to concentrate on them, spinning very quickly to let red in color. So if you wish, actually, you can do, again, the vase retention of red. mind directed to the Dermakata as a navel, but concentrate on the glisteros. And if you don't want to utilize retention, just concentrate on the glisteros spinning very quickly to the left within the double triangles. You have the navel of this Dermakata wound disc. that are done in the multiliches, just dissolves into emptiness, just disappears like that.

[70:36]

And then there's, at this point actually there's, usually in the sadhana, what's done is known as a supplementary process of creation practice, I'm sorry, process of inclusion practice. So, here for this actually, we did it once this morning, or this afternoon, where we want to visualize the central vein, with the central vein running right through the center of the body, from the secret organ right to the top of the head and then curving balance between the eyebrows. And again, if you remember, you can visualize it like about the size of your middle finger, not that way. And at the lower end of it, there's the red visceral spinning very quickly to the left. And at the top of the right visceral spinning very quickly to the left. And if you remember, what we did was that we visualized the red one coming up to the heart and the left one, or the right one, one at the top of the white, coming down to the level of heart and then merging together in disappointment instead of emptiness. So actually this is a process of completion practice, because if you wish, again, when you hold the mind and emptiness at the end, you can do the vast retention of breath.

[71:43]

But again, when you do the vast retention of breath, you bring it at the navel, you can hold it at the heart, and that visualization of the navel itself, the vast retention, the visualization is at the heart. And this is actually a very important practice, it's a very significant practice, It's almost, in a sense, it's almost like a fall practice, a practice from the time of death. Because what this really is doing, when you're conceived in the mother's womb, actually what happens is the three things come together, white element from the father, red element from the mother, and in your mind, your mind consciousness from the previous life. When these three come together, at that point there's conception, you have to have all these three. If you have only two of these three, you won't have conception of the child. And at that point, actually, once it's conceived, and the first thing that grows within the womb, actually, is the central vein. The central vein starts a bit longer and goes up. And when that happens, actually what happens is the red element from the mother descends, and generally it resides at the navel, and that's where it stays throughout your life.

[72:50]

And the white element, which comes from the father, rises up through the central vein and goes to the top of the head, and there's actually a letter hung there, which is naturally made of the white element, and it stays there. for all your life unless you have some kind of physical imbalance and these things start to move a bit and you have obstacles or sickness or whatever. So they stay there for all your life. And then when you die, what happens is the various elements of the body start to dissolve within the body, like your air elements and the fire elements, water elements, and air elements. But the last thing to dissolve just at the time of death is these elements, the white element, the red element. And what happens actually at the moment of death at the very last moment of death is actually that the red element starts rising up through the central vein and the white element starts to descend through the central vein and when they get to the heart region it's like the essence of the white element and the essence of red element actually when you're also conceived it's like a very pure red element and a very pure white element the essence of your mind these three come together then also when you die the last thing the last perception you have within your own consciousness the time of death

[74:00]

is this red element rising up through the central vein. And really, the time when you're about to die, everything becomes really red. And then the white element comes down through the central vein from the top of the head, and really everything, the visions you have at that time are white. And then they merge together at the heart. And at that point, one, it's sort of like three very clear red elements, or droplets of red elements, three very clear droplets of white elements. In your mind, these three, which are sort of like indestructible at that point, they come together. And at that point, there's a fraction, of light. It's actually like the flash of light, of the Dharma Datta, actually it's a flash of ultimate reality. And if you realize that at that time, you can gain a stage of liberation. So this practice, by doing this here, on a daily basis, is to habituate you to that thing that's going to happen when you die. And if you can really practice it at this time, and do the visualization, and even during this time, you can gain a very high realization. And if you cannot, When it starts to happen at the time of death and you're not aware of it, and all of a sudden you feel like this red element rising up and bliss pervading the body, redness pervading, and you feel the white element descending and getting this feeling of emptiness, then you know, you've already practiced, you know what's going to happen.

[75:13]

And you know at that point also there's going to be a flash of dharmadakti, or a flash of alternate reality. Generally what happens when we die is that, one thing, it flashes so fast, it's actually much faster than a snap of your fingers, so fast. But one, we can't catch it. We don't hold it. And two, actually, it frightens us at times of death because we don't know what's going on. But through practicing this kind of teaching here, especially, we're aware of what's going to happen. And since we've been doing it, when it happens, we place our mind in a state of emptiness at that time, and then actually we can gain liberation. So it's a very special practice. And here it's actually given in the Bhagavad Gita teaching, Actually, during the initiation, if you remember, this was the manner of introducing or recognizing the secret of Vajrayogini, which is the essence of your mind. So, in a sense, actually, it's purification of death. And also, it's almost like a polar practice, because you can utilize it, a natural event, which is going to happen at the top of that, to gain a state of meditation, a state of realization.

[76:23]

These are tikla. The elements are tikla. It's just another name for elements. Well, any element is tikla. And tikla means a drop of element. A form of liberation, not ultimate liberation, some form of liberation. I mean, it depends actually on your spiritual development, what type of liberation you gain by using that That's actually even like koa practices. There's different types of liberation you can gain with koa, depending on the view of ultimate reality you have. And whatever view of ultimate reality you've accomplished through your meditations, you combine that at the time of using some practice like koa or bardo or even meditation, and that joins together with the level of your realization of or your understanding of ultimate reality. And it changes the depth of your realization.

[77:25]

That's why there's many levels of utilization. At the time of death. Actually, the time of death for most people, when it happens, one, it's very fast. They don't catch it. And it's just like a, you know, it's like being out in a dark place and all of a sudden there's a big flash of lightning and it frightens you. And then we run. Your mind starts running in a very frightening way. And you go up into the barter state. This animal? Sort of. Little bit. Not complete, actually, very incomplete. So it actually can't be in the position. So if you can, actually, at the end of your sadhana every day, you can do this practice, it's good, because then you habituate yourself. So we're going to do it now for a little bit. So again, if you want, what we'll do actually, Explain it once and you listen to it and meditate on it.

[78:26]

And then you do it yourself a few times and you start the whole thing again. Bring the veins up with the right arm at the top and the right arm at the bottom. And rising up and descending, merging together your heart and disappearing. Place your mind in the state of emptiness. And then again, think of it again. The right arm at the top and the right arm at the bottom. And just do the visualization a few times just to get a feel for it. Like the top of your finger. Very smart. Like a pea. Like if you cut a pea in half. Like that. At the end, when you... Actually you can do it two ways. The whole time you can hold your breath. Or you can do it right at the end when the mind goes into the state of emptiness. Or actually here it's a combination of bliss and emptiness. You join together. and then disappear, at that point you can hold.

[79:27]

Or if you want, actually, you can do the vise retention, and then start to hold visualization, and then hold it as long as you can. And if you wish, also, don't do the vise retention also, just do the visualization itself. The purpose of the vise recitation or the vise retention is that breathing actually creates thoughts, and the more you breathe, the more thoughts you have. The record types of breathing you have, the record types of thoughts you have, the record types of thoughts. So when you're able to hold the breath, the mind comes down, and you can actually gain a non-conceptual state. So it's a very dramatic method, actually, a very strong method of holding the mind, holding thoughts, and decreasing it. So that's a perfect sign. Okay. So we should visualize we're in the form of Bajra Gini, complete with all the ornaments. Our body is a miniature of light, and then rising up straight through the body, From the secret organ straight to the top of the head and then further down to the place between the eyebrows is the central vein, which is about width, thickness of your own middle finger.

[80:34]

The outside is bright, the inside is red. It's very straight, but at the same time very transparent and very subtle, just very thin. And then you should visualize the base of this the central vein is the red bliss wheel spinning very quickly to the left. And the top of the central vein, raised between the eyebrows, is the white bliss wheel, also spinning very quickly to the left. And now, bring your mind to the bliss wheel at the base of the avidupi, and watch it, feel it rise up through the central vein, rising up very slowly, more legially, and then you spin to the left. And as it rises up, all of your mind, your body is provided by bliss, And also, at the same time, everything is provided by a redness. Then watch it come up very slowly from the left of your heart.

[81:37]

And then direct your head, or direct your mind to the place between your eyebrows and see the white viscous feeling very quickly from the left. This one now, as you watch it very leisurely, rises up through the central head to the top of the head. And then very slowly, or leisurely, just like a feather being blown by the wind, just very softly comes down, straight down through the outer deep vein, turning to the right, or turning to the left, or quickly. And then also, all of your thoughts and bodies, the way you have conception of emptiness, or thought of emptiness, and also all of your senses, for it to be white. And this also descends down through the center deep vein, through the level of the heart, And then the red, this roll, underneath the white one on top, is spinning very quickly to the left. And now they start to spin faster and faster and faster, very violently. And so finally they're completely merged together into a pink color of this roll. And it spins faster, still faster, and finally just really dissolves into the state of emptiness, which is here the nature of your own mind, which is the combination of this and emptiness, when you start to mind, that's the next thing.

[82:48]

central vein. Sing yourself in the central vein. This right at base, the right one at the top, bring them down into an end. Then do that once or twice. The vein itself just stays, it remains unable to touch it, and inside of that, these things are rising and sending.

[85:14]

Yeah, it fits in there quite nicely. It gets smaller. It spins anti-clockwise to the left as it rises up. So it's spinning like this, and it's coming up through you. On top, also spinning to the left. So it's spinning up, and then it comes down, also spinning to the left. Anti-clockwise. No, no, no, no. To the left means anti-clockwise. Your breathing, actually, I mean, if you do the vaso retention, it's best for the whole thing. Otherwise, you don't concern yourself with breathing. No, actually, if you do it, you just hold the vaso retention for the whole period of bringing the red one up and the white one down and merging together.

[86:23]

All that is within the vaso retention. If you're not doing that, then just And would you like to get to this while you're holding the breath without retention? Actually, it's a combination of this and emptiness when you're holding the breath without retention. You're still holding the breath. That's right. It's quite outside, right inside. So after that, then we'll go to Uncannable Meditation Beyond Thought, which is on page 77. And we'll just go through a frequent, and then tomorrow we'll be doing this one. So again, you visualize yourself as Bajrugini. Still, it's formed Bajrugini. And at your navel, there's another Bajrugini at the side of your thumb,

[87:26]

also without any hand objects and omnis. The meeting of the navel are the basic three veins, avaduti in the center, rasna on the right, ravana on the left, and the avaduti vein goes straight up to the brahmadanda opening at the back of the head, while the other two veins go straight up to the crown of the head, where they curve down towards the end of their respective nostril apertures. Located at the conjunction of the three veins of the navel is the small virgin unit. From this Vajjiginia, the navel, another one, in the exact same appearance but smaller, issues forward and rises up along with the exhalation of breath through the rasnirin, on the right side, and emerges from the right natural, and remains to the south side of the natural. From this Vajjiginia, countless smaller Vajjiginians emanate and go off in every direction, in the numberless portal realms, in order to make offerings to all the good as a modus operas, having made offerings to the moon will emerge. the innumerable Vajjiginians go out to fill all the three black realms of existence, and through their touch and mere presence, all things, both eminent and innately, are purified and transformed into the Vajjiginians.

[88:33]

Then all these Vajjiginians return into the Vajjiginian, through the need, outside of one's nostrils. Next, this Vajjiginian enters through the left nostrils, along with the inhalation, and descends through the Lama vein on the left side of one's body. Arriving at the navel, she is reabsorbed into the vision of Vajrayudhini. So here it says to do Vajrayudhini, we'll do that tomorrow. And then, light rays issue from the Vajrayudhini at the navel and fill every part of your body. The limbs of the body dissolve into light and merge with the trunk of the body. Then the trunk of the body dissolves into a ball of light. As Vajrayudhini slowly ascends through the orbit of the vein, the lower parts of the three veins and the body of light are absorbed up into her. As she arrives at the top of her head, all the veins and the remainder of light are absorbed into her. Finally, she emerges from the ground around the opening of the top of one's head, and then quickly goes straight up into the sky, and arrives the pure realm of the tower.

[89:36]

Having arrived there, she vanishes into the pure light on the realm of bathroom, the state of emptiness. We'll just place your mind in the state of emptiness, or actually a combination of cloud and emptiness, which is the nature of mine itself. without grasping for a moment. It sends through the sky, and as she arrives, you come around the opening at the top of your head. You once stand in the door in the form of Aishu Gini. But this time, your self is arriving with Aishu Gini, but naked with ornaments and hand objects. Then on 62, we continue in the sadhana, where it says, Once off in the form of Aishu Gini, naked with ornaments and without hand objects. And then again, you have red Humbam at the navel, is the essence of Vajraya. Blue Humbam, the heart, is the essence of Yama. Trim Humbam at the mouth, is the essence of Mohami. Yellow Trim Trim, the forehead, is Chilbani.

[90:37]

Green Humbam, the essence. Green Humbam, the head, the essence of Chimbani. Om Sundani Sunda Ho [...] Through this note, then may I, having attained the Holy Kichari, quickly place upon her stage all beings without exception.

[91:42]

May we read the prayers to that you hear, 1st of page 79, the prayer to behold the present faces. From among the everywhere visible samsatic and nirvanic miraculous manifestations, the dance of the blissful world of the infinitely victorious ones. Now and here comes the holy, pleasing Pachata. From my heart I remember you, the tough being of peace for Kington Grace. The silent famously risen mother of conquerors in Alpaniṣṭha, the place for one of the keys of the twenty-four shrines, the former Mojo women who fed the world, reverend ones,

[92:46]

You are the protector and refuge with God, the O.D. You are the manifestation of one's own mind, whose empty and the real thong of the age triangle in the Bible city. In the island of illusion, you are clearly shown as a field for demons, and as a maiden who regularly stars. Now surely, now having found a which truly exists, no matter how it is searched about, this person with a toil-wearied mind is resting in the forest's hermitage away from thought. O, arise now, Vahkini, from the town of Haida. Bride me by the truth of the saying found in the tree Heruka, king of Tantras. Attain it as one by reciting the near-essence mantra of the Vahka Fringe. Having saved the Lord of our families, Vajraya Bhantava, by the bliss of your fist and embrace, in the secluded dense forest of Haudenosa, you then led me to Pachata around.

[93:56]

Likewise, save me also. Here is the length of the bundle. Here lay head into the sphere of the sky, and as you accept it, Bhantava, Take me also to Kachara, the city of dancers. Through the connection of the root and line preceptors, through the specialist witness to the profound path of the ultimate secret country, and through the fire of pure aspirations of I, Yubi, I am in the universe, and face the Kachara of Israel. Then on page 83. The blessings of the collections of holy venerable Buddhas, Maha, Bhagavad Gita, Panjumata, and others, who gloriously possess all wealth and virtue, and to him who are festive, may give our minds our lives.

[95:12]

The supreme heaven of the conquerors, the perfection of the wisdom, the nature of your general body, Acharya, from the beginning is empty and clear. The world of conceptualizations and die creases and gathers all hundred and innumerable things, make your dreams arise. Your body of enjoyment, the sun that has been born, is a very beautiful, blazing body adorned with the splendid nature of the mind and works. Your voice, endowed with sixty films, retains the superior vehicle, and your mind, possessed with five transcendental analogies, is a non-conceptual real gift. Your good one is Christ. Your emanation's body, born in the bitter fields, accomplishes all which

[96:07]

@Transcribed_UNK
@Text_v005
@Score_66.79