The Biographies of Rechungpa: The Evolution of a Tibetan ...

The biographies of Rechungpa 192
pride’, as does Shamarpa and The Hundred Thousand Songs of Milarepa. Unlike
Tsangnyön, however, as an expression of respect for Rechungpa, Lhatsun uses the
honorific form of ‘pride’ (thugs-rgyal) instead of the common form (nga-rgyal). 111
Only the first two lines of Milarepa’s song concerning his welfare are supplied, as this
is a collection focussed upon Rechungpa’s songs. As is evident, for example, in the first
line of this song, even though his own teacher authored The Hundred Thousand Songs, it
is The Life and Songs of Shepay Dorje version that Lhatsun Rinchen Namgyal mostly
relies upon. 112
Rechungpa’s request in prose and song for Milarepa to honour the teachings he has
brought back is taken from The Life and Songs of Shepay Dorje and not the version in
The Hundred Thousand Songs, 113 as are the first two lines of Milarepa’s next song in
which he lists the practices which make him happy, which was entirely omitted in The
Hundred Thousand Songs. 114 Rinchen Namgyal gives in full Rechungpa’s next song,
which The Hundred Thousand Songs combined into one with Rechungpa’s preceding
song. 115
The first two lines of Milarepa’s song ‘to break Rechungpa’s pride’ follow, 116 and then
‘the Running-song’ (mdur-dbyangs) 117 is in The Life and Songs of Shepay Dorje
version. 118
Rinchen Namgyal’s narrative omits any reference to Milarepa’s song of advice, 119 and
merely mentions that Milarepa sang a song inside the yak horn, 120 and so quickly reaches
what is here called Rechungpa’s ‘shivering song’ (‘dar ma dbyangs), 121 delivered as he
looked into the horn, trembling with the cold. This song is again The Life and Songs of
Shepay Dorje version and not Tsangnyön’s variant. 122
Rinchen Namgyal omits the episode of the old woman in the encampment who dies,
probably because this is devoid of songs, and jumps forward to Milarepa’s suggestion
that they go to meditate at Kailash, while Rechungpa wishes to go to a nearby hermitage
to rest. This prompts Milarepa’s song of ‘the eight sufficiencies’, which is only referred
to here, Rinchen Namgyal reproducing only Rechungpa’s counter-song, which pleads
that though one’s body alone is sufficient as a hermitage, one still needs an external
hermitage, and so on. 123
They proceed to Kyipuk cave (sKyid-phug, which means ‘happiness cave’) at Dramar
Khyungding (Brag-dmar Khyung-lding), which means ‘Floating Garuda at Red Rock’. In
The Life and Songs of Shepay Dorje, they went to an unspecified cave at Chonglung
(mChong-lung), previously referred to in that text as Dramar Chongling (Brag-dmar
mChong-gling); in The Hundred Thousand Songs they go to Nyima Dzong (Nyi-ma
rDzong) cave at Dramar Potho (Brag-dmar sPo-mtho), while Gyadangpa set this scene at
Tröpuk (Brod-phug) cave in Nyanam (sNya-nam).
In an abbreviated narrative, Rechungpa is sent for water (with no reason given) and
watches 100 kyang and their young playing, without wolves, as in The Golden Garland
of Ralung version, while also corresponding with The Hundred Thousand Songs.
Milarepa prays that the beneficial texts may go into the hands of the and those
pages fly into the rock wall (as in The Life and Songs of Shepay Dorje and Gyadangpa, a
detail that is omitted by The Hundred Thousand Songs). Milarepa burns the remainder
and, following The Life and Songs of Shepay Dorje narrative closely, Rechungpa hurries
back, becomes worried on smelling burned paper and finds his worst fears confirmed.