From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

I have a book entitled The Turquoise Bee, subtitled
The Lovesongs of the Sixth Dalai Lama, which I
purchased in 1995 though it says copyright 1998.
It contains an introduction, lyrics, and illustrations,
and was translated by Rick Fields and Brian Cutillo
and illustrated by Mayumi Oda.

The 6th Dalai Lama, Tsangyang Gyatso (March 1, 1683 |o-C-o November 15, 1706),
whose monastic name was Lobsang Rinchen Tsangyang Gyatso, was an exceptionally legendary figure in Tibetan history.
He was not only the spiritual leader of the Gelug school (Yellow Hat sect) of Tibetan Buddhism but also a world-renowned folk poet.
His brief life intertwined religious duty, political intrigue, and
a yearning for romantic freedom, making him an enduring cultural icon transcending time and space.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

I have a book entitled The Turquoise Bee, subtitled
The Lovesongs of the Sixth Dalai Lama, which I
purchased in 1995 though it says copyright 1998.
It contains an introduction, lyrics, and illustrations,
and was translated by Rick Fields and Brian Cutillo
and illustrated by Mayumi Oda.

=========================
I. An Unusual Origin and an Involuntary Path to Becoming a Living Buddha

Tsangyang Gyatso was born in southern Tibet (present-day Cona County, Shannan Prefecture, Tibet) into the Monpa ethnic group|o-C-omaking him the only Dalai Lama in history who was neither ethnically Tibetan nor Mongolian.
His family followed the Nyingma school (Red Hat sect) of Tibetan Buddhism, which permits its monks to marry|o-C-oa fact that would later foreshadow his unconventional life choices.

His identity as a reincarnated lama emerged from a political secret: after the Fifth Dalai Lama, Lobsang Gyatso, passed away in 1682,
the regent Desi Sangye Gyatso concealed the death for 15 years to consolidate power, claiming publicly that the Fifth Dalai Lama had entered deep meditation.
During this period, Sangye Gyatso secretly searched for the reincarnation and eventually identified Tsangyang Gyatso as the chosen child. In 1696, while suppressing the Dzungar rebellion,
Emperor Kangxi of the Qing Dynasty accidentally discovered that the Fifth Dalai Lama had long been deceased. Enraged, he demanded accountability from Sangye Gyatso. Consequently,
in 1707|o-C-oat the age of 14|o-C-oTsangyang Gyatso was formally escorted to Lhasa|o-C-Os Potala Palace and enthroned as the Sixth Dalai Lama, though largely as a figurehead.

II. A Puppet in the Potala Palace and a Rebel in the Secular World

Tsangyang Gyatso|o-C-Os tenure as Dalai Lama was marked by contradiction and repression. Though honored with the title |o-C-Lthe greatest king of the Snowland,|o-C-Y he held no real authority and remained a pawn in the power struggle between Sangye Gyatso and the Mongol Khoshut Khanate.
The Gelug school|o-C-Os strict monastic code|o-C-owhich forbade any contact with women or marriage|o-C-oclashed sharply with his upbringing in the more liberal Nyingma tradition and his naturally free-spirited disposition. To him, the red walls of the Potala Palace resembled a gilded cage.

In defiance of this confinement, Tsangyang Gyatso sought liberation through a unique lifestyle: under the alias "Dakshang Wangpo," he frequently slipped out of the Potala Palace at night, wandering through Lhasa|o-C-Os streets,
drinking and singing with commoners, and even falling in love with women. His famous line|o-C-o|o-C-LWandering the streets of Lhasa, I am the most beautiful lover in the world|o-C-Y|o-C-oepitomized both his rebellion against religious constraints and his pure pursuit of freedom and true love.

In 1702, during his full ordination ceremony in Shigatse, he shocked onlookers by tearing off his monastic robes and declaring,
|o-C-LCan a living Buddha|o-C-Os robe shield humanity from suffering?|o-C-Y This audacious act laid bare his rejection of the hypocrisy embedded in the politico-religious system.


III. Love Poetry for the Ages: A Literary Treasure Beyond Borders

Tsangyang Gyatso|o-C-Os enduring legacy lies in his poetic works. Centered on themes of love, his poetry is strikingly candid, sincere, and imbued with ethereal beauty.
Breaking from the obscure conventions of traditional religious literature,
he fused the simplicity of folk love songs with the philosophical depth of Buddhist verses, pioneering a new literary form in Tibetan known as doha (spiritual songs).

He composed approximately 66 poems in his lifetime, collected in The Love Songs of Tsangyang Gyatso (also known as The Poems of Tsangyang Gyatso).
These include the poignant dilemma: |o-C-LIs there a way in this world to honor both the Buddha and my beloved?|o-C-Y;
the tender longing: |o-C-LOn the eastern mountain peak, the moon rises bright and clear|o-C-Y;
and his haunting final verse: |o-C-LWhite crane, lend me your wings|o-C-oI|o-C-Oll not fly far, just to seek my love.|o-C-Y
Initially transmitted orally, his poems later circulated via handwritten and woodblock manuscripts.
Today, they have been translated into over 20 languages and celebrated worldwide as rare blossoms in global poetry,
holding a pivotal place in Tibetan literary history.

IV. An Unsolved End and an Eternal Spiritual Legacy

In 1705, Tibet|o-C-Os political landscape shifted dramatically: the power struggle between Lha-bzang Khan of the Khoshut Mongols and Sangye Gyatso reached its climax.
Accusing Sangye Gyatso of treason and denouncing Tsangyang Gyatso as |o-C-Lmorally corrupt and thus not the true Dalai Lama,|o-C-Y
Lha-bzang Khan launched a coup, killed Sangye Gyatso, and petitioned the Qing court to depose Tsangyang Gyatso. In 1706, at the age of 24,
Tsangyang Gyatso was taken under guard toward Beijing|o-C-obut his fate ended abruptly near Qinghai Lake. Official Qing records state he |o-C-Ldied of illness,|o-C-Y
and his body was abandoned in the wilderness according to Tibetan custom. Yet popular legends offer more romantic endings: some claim monks from Drepung Monastery rescued him,
allowing him to live incognito as a wandering yogi; others|o-C-othe |o-C-LAlashan theory|o-C-Y|o-C-oassert he settled in Alashan Banner,
Inner Mongolia, where he presided over 13 monasteries and lived to the age of 64 before passing away.

Though his final days remain shrouded in mystery, Tsangyang Gyatso|o-C-Os influence endures. As one high lama remarked: |o-C-LThrough worldly expressions,
he revealed to ordinary people the vast spiritual realm of the Dharma. His poetry has purified the hearts of generations.|o-C-Y
Thus, he continues to be revered by Tibetans as the legitimate Sixth Dalai Lama.

Today, his verses remain a vital symbol of Tibetan culture. Every year on the 15th day of the first Tibetan lunar month|o-C-othe Butter Lamp Festival|o-C-opeople in Lhasa|o-C-Os Barkhor Street light butter lamps and recite his poems in his memory.
The timeless tension captured in |o-C-Lhonoring both the Buddha and my beloved,|o-C-Y along with his unwavering devotion to freedom and authentic love, resonates across cultures and eras|o-C-oensuring that this
|o-C-LPrince of Love Poetry of the Snowland|o-C-Y lives forever in the hearts of people around the world.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

I have a book entitled The Turquoise Bee, subtitled
The Lovesongs of the Sixth Dalai Lama, which I
purchased in 1995 though it says copyright 1998.
It contains an introduction, lyrics, and illustrations,
and was translated by Rick Fields and Brian Cutillo
and illustrated by Mayumi Oda.

==============================
Tibet has four major schools of Tibetan Buddhism|o-C-ocommonly distinguished by colors:
the Yellow Sect, Red Sect, Sakya (or "Multicolored") Sect, and Kagyu (or "White") Sect|o-C-oas well as the indigenous Bon religion.


the four major sects of Tibetan Buddhism:
The four major sects of Tibetan Buddhism are Nyingma, Sakya, Kagyu and Gelug. Below is a detailed introduction to these four sects:

Nyingma Sect:
As the oldest sect of Tibetan Buddhism, the term "Nyingma" literally means "ancient" or "old" in Tibetan.
The sect is named for its focus on inheriting and propagating the old tantric teachings translated and transmitted during the Tubo period.
In the strict sense, the formal formation of the Nyingma Sect did not take place until the 11th century,
when the "Three Zurgs" built monasteries and launched large-scale religious activities.
It was not until the 16th and 17th centuries that the sect had monasteries of considerable scale.
Its renowned monasteries include Dorje Drak Monastery and Mindrolling Monastery in Tibet,
as well as Kathok Monastery and Dzogchen Monastery in Sichuan.
The heritage of the Nyingma Sect mainly consists of two parts: scriptural transmission and terma transmission.
After the 14th century, terma transmission took precedence. As early as the 14th century, the Nyingma Sect had spread to Bhutan and Nepal.
In modern times, its monasteries have been established in countries such as India, Belgium, Greece, France and the United States.

Sakya Sect:
Founded in 1073 by Kh|a-|n K|a-|nchog Gyalpo with the construction of Sakya Monastery, the sect is commonly known as the "Striped Sect" because the walls of its monasteries are painted with red, white and black stripes, symbolizing Manjushri, Avalokiteshvara and Vajrapani Bodhisattvas respectively. The leadership of the Sakya Sect is passed down through generations within the same family, and its followers are not prohibited from marrying and having children. The sect practices both exoteric and esoteric Buddhism, with a focus on the inheritance of esoteric doctrines. The Sakya Sect reached the height of its power during the Yuan Dynasty. Phags-pa was appointed Imperial Preceptor and State Preceptor by Kublai Khan, Emperor Shizu of the Yuan Dynasty, and was put in charge of the Bureau of Buddhist and Tibetan Affairs, administering the political and religious affairs of the Tibet region. In terms of exoteric Buddhism, the Sakya Sect emphasizes the translation of Buddhist scriptures and treatises as well as scriptural debates. In esoteric Buddhism, it boasts the Thirteen Golden Dharmas of Sakya, among which the "Path and Fruit Teaching" is its most distinctive doctrine.

Kagyu Sect:
Formed in the 11th century, the sect was inherited by the master-disciple lineage of Marpa and Milarepa. The term "Kagyu" means "oral instruction" or "lineage transmission" in Tibetan, reflecting the sect's emphasis on the oral transmission of esoteric teachings from master to disciple. Milarepa made great contributions to the dissemination and formation of the sect. Starting from him, living in remote wilderness areas to engage in rigorous ascetic practices has become a major characteristic of the sect. Later, the Kagyu Sect split into "four major sub-sects and eight minor sub-sects", becoming the sect with the largest number of sub-branches in the Tibetan region. Eventually, the main surviving sub-sects include Karma Kagyu, Zhigpo Kagyu, Dagon Kagyu and Drukpa Kagyu. It was also the first sect in the Tibetan region to adopt the Living Buddha reincarnation system.

Gelug Sect:
Founded in the 15th century by Tsongkhapa, it is also the latest formed sect among Tibetan Buddhism sects. The term "Gelug" means "virtuous discipline" in Tibetan. The sect is named for advocating that monks strictly observe religious precepts and follow a sequential approach to Buddhist study and practice, and is commonly known as the "Yellow Hat Sect". Ganden Monastery is the ancestral monastery of the Gelug Sect. After its establishment, the sect developed rapidly. With the support of the central governments of the Ming and Qing dynasties, it gained the dominant position in the entire Tibetan region and strengthened the theocratic system there. The Gelug Sect has a rigorous system of scriptural study and a sound monastery management system. Both the Dalai Lama and Panchen Lama reincarnation systems originate from this sect. Its famous monasteries include Ganden Monastery, Drepung Monastery and Sera Monastery in Lhasa, as well as Tashilhunpo Monastery in Shigatse, Ta'er Monastery in Qinghai and Labrang Monastery in Gansu.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

I have a book entitled The Turquoise Bee, subtitled
The Lovesongs of the Sixth Dalai Lama, which I
purchased in 1995 though it says copyright 1998.
It contains an introduction, lyrics, and illustrations,
and was translated by Rick Fields and Brian Cutillo
and illustrated by Mayumi Oda.

=========================
His 2 poems


Here is an English translation of the classical Chinese version poem

"Is There a Way to Have It All?"

I once feared that deep affection might harm my spiritual path;
Yet entering the mountains, I dread parting from my beloved.
Is there any way in this world to have both|o-C-o
To be true to the Buddha and true to you?

This poem poignantly captures the poet|o-C-Os inner conflict|o-C-o
as a religious leader torn between sacred vows and worldly love|o-C-o
and remains a timeless expression of his profound dilemma.



"If Only We Had Never Met"



Once we met, we knew each other|o-C-Os hearts;

Yet meeting brings more pain than never meeting at all.

How I wish I could bid you a final farewell|o-C-o

So neither life nor death would be haunted by longing for you.

This poem masterfully conveys the anguish of unfulfilled love|o-C-o
the torment of knowing someone so deeply yet being unable to be with them|o-C-o rendering heartbreak with haunting clarity and emotional depth.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


Shein fans <user11874@newsgrouper.org.invalid> posted:

David Dalton <dalton@nfld.com> posted:

I have a book entitled The Turquoise Bee, subtitled
The Lovesongs of the Sixth Dalai Lama, which I
purchased in 1995 though it says copyright 1998.
It contains an introduction, lyrics, and illustrations,
and was translated by Rick Fields and Brian Cutillo
and illustrated by Mayumi Oda.

=========================
His 2 poems

Here is an English translation of the classical Chinese version poem

"Is There a Way to Have It All?"

I once feared that deep affection might harm my spiritual path;
Yet entering the mountains, I dread parting from my beloved.
Is there any way in this world to have both|o-C-o
To be true to the Buddha and true to you?

This poem poignantly captures the poet|o-C-Os inner conflict|o-C-o
as a religious leader torn between sacred vows and worldly love|o-C-o
and remains a timeless expression of his profound dilemma.

"If Only We Had Never Met"

Once we met, we knew each other|o-C-Os hearts;

Yet meeting brings more pain than never meeting at all.

How I wish I could bid you a final farewell|o-C-o

So neither life nor death would be haunted by longing for you.

This poem masterfully conveys the anguish of unfulfilled love|o-C-o
the torment of knowing someone so deeply yet being unable to be with them|o-C-o
rendering heartbreak with haunting clarity and emotional depth.

On the Eastern Mountain Top
A bright moon rises high
The face of my beloved
Gradually comes to my mind


I once feared that love would hinder my monastic path
Yet retreating to the mountains means parting from my beloved
Is there a way in this world to have both
Upholding my faith and not letting you down

From the moment we met, I knew my heart
Better not to have met than to suffer this smart
How can I bid you a final farewell
To end this longing that haunts life and death as well
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism

=========================
His 2 poems

Here is an English translation of the classical Chinese version poem

"Is There a Way to Have It All?"

I once feared that deep affection might harm my spiritual path;
Yet entering the mountains, I dread parting from my beloved.
Is there any way in this world to have both|o-C-o
To be true to the Buddha and true to you?

This poem poignantly captures the poet|o-C-Os inner conflict|o-C-o
as a religious leader torn between sacred vows and worldly love|o-C-o
and remains a timeless expression of his profound dilemma.

"If Only We Had Never Met"

Once we met, we knew each other|o-C-Os hearts;

Yet meeting brings more pain than never meeting at all.

How I wish I could bid you a final farewell|o-C-o

So neither life nor death would be haunted by longing for you.

This poem masterfully conveys the anguish of unfulfilled love|o-C-o
the torment of knowing someone so deeply yet being unable to be with them|o-C-o
rendering heartbreak with haunting clarity and emotional depth.

On the Eastern Mountain Top
A bright moon rises high
The face of my beloved
Gradually comes to my mind

I once feared that love would hinder my monastic path
Yet retreating to the mountains means parting from my beloved
Is there a way in this world to have both
Upholding my faith and not letting you down

From the moment we met, I knew my heart
Better not to have met than to suffer this smart
How can I bid you a final farewell
To end this longing that haunts life and death as well

============================================

The full text of the poem


Meditate in a Single Tear



All these years
You have dwelled within my heart, calm and clear
I have let go of heaven and earth wide
Yet never once have I let go of your side

Whether gradual enlightenment unfolds slow
Or sudden awakening makes my spirit grow
Beyond life and death, what is there to rue?
What in this world is not trivial, through and through?

I sit alone atop Mount SumerurCOs height
Gazing through clouds that drift, endless and light
One plays the zither where the snowflakes whirl
Another listens, a soulmate in that pearl of pearl

Farewell to every mountain, every riverrCOs flow
Bid them adieu, one by one, as winds will blow
Funeral flowers bloom and fade, in timerCOs own grace
Bodhi fruits resound through empty mountainsrCO space

Tell me, please
Those footprints hidden rCOneath the fallen leaves
How many memorial days do they imply?
Days for my wanderings, beyond DharmarCOs tie

First, misunderstanding, across snow-capped hills we stand
Then spend a lifetime, running hand in hand
I attain enlightenment in a dewdroprCOs gleam
Yet stumble orCOer myself when I turn to dream

Karmic ties follow fate, wherever it leads
Connections linger on, in endless deeds
White clouds drift by, and all troubles cease
When I leave, the mountains stand in empty peace

Who can truly let go of whom, in the end?
Go, go, gorColet the past trends descend
I trace back every road that the world bestows
Just to meet you, in this life, as destiny shows

In my past life, I left room for faterCOs decree
I sit beneath the Bodhi tree, wordlessly
Between you and me, a single dream divides
No one can read itrCoonly the wind provides

Buds burst, catkins fly, spring and autumn rotate
Whose sword can pierce the rainbow, bold and fated?
At dawn, I hold scriptures to transcend all mortal beings
On my birthday, my path stretches from bowls to swordrCOs sharp wings

Bearing endless mourning, who deserves this legacy unspoken?
Past lives and present, gains and losses, hearts are broken
Return to where you came from, let your true self start
The moon shines back on the lake, where wild cranes depart

I step into your world, where snowflakes start to pour
A heavy snowfall seals all things, to wake no more
We discuss our next life orCOer a lotus fair
Then spend a lifetime running, without a care

Returning from mountain travels, years have passed a thousand fold
The ways of the world and hearts of men have turned to new mold
In the distance, cold mountains and boats that sway
Those who break faith sweat through the night, till dawnrCOs first ray

Plum blossoms beyond the mortal world cling to the past, petal by petal
Who uses lingering snow to whitewash peace, fragile and brittle?
The flowers now have naught to do with springrCOs warm glow
My throat is coated with mortal dust, where pure breezes used to blow

Rivers and streams play out of tune on the zitherrCOs string
This life and the nextrColet the DharmarCOs voice sing
A single BuddharCOs name is the other shore
Slipping from white clouds, I fall to mortal lore

Prayer wheels spin round and round, in ceaseless motion
Guanyin Bodhisattva contemplates her heartrCOs devotion
Who are you, and who am I, in this mortal sphere?
I can only love you for a moment, not a lifetime, my dear

Should I move forward, or step back on samsararCOs path?
I tremble with fear, at this karmic aftermath
Hundreds of flowers bloom in beautiful, reckless ways
Cuckoos cry their endless songs, through nights and days

The sound of flowers blooming and falling, soft and low
Let the busy bees translate it, to the world below
Love has long vanished from the lines upon my palm
Silence is not sufferingrCoit is a soothing calm

Drinking water can quench anotherrCOs thirsty tongue
All Buddhas under heavenrCono beginning, no end, young
If I can meditate in a single tearrCOs embrace
At this moment, all my doubts shall leave no trace

My mind is pricked by eyes like lotus flowers, pure and bright
LiferCoone wrong thought makes leaves fall, in the autumn light
The days grow cold, the air turns crisp and clear
Every tear warms the Buddhas, drawing them near

The old stories of the world are too old to retell
Where have the falling flowers and flowing waters dwelled?
A promise made for a lifetime, firm and stout
Vajra melts into tears, without a doubt

Those who peek at me attain Buddhahood, in a blink
Is it looking down on all, or emptiness, I think?
Who am I, and who is me, in this grand charade?
AmitabharCoBuddhas of ten directions, in light arrayed

The stars that fill the night sky in dreams, one and all
Are lotus flowers, answering DharmarCOs call
How can one walk all roads the world doth own
In a single journey, to make liferCOs meaning known?

Peach blossoms have just fallen, in a pinkish haze
I know this death is absurd, in so many ways
This Buddha-light-drenched plateau, pure and vast
Heaven is but three steps awayrCoso near, so fast

Beneath the lotus, blood is harder than ironrCOs edge
Which memorial day is not worthy of my rebirthrCOs pledge?
Non-existence becomes existence, then fades again
Existence turns to non-beingrCocycles, time and men

I meet you in the dense forest, where shadows play
Within reach, yet we can only gaze, without a word to say
And at the critical moment, when fate is to decide
The moon curves low, and longing swells, deep inside

A sharp crack rings out, and the world shatters, thin and thin
When fate arrives, flowers bloom; when it leaves, they spin
From now on, I rest my head on green mountains, at peace
From a single lotus to snow-capped peaks, my soulrCOs release

Who can cross this six-syllable mantra, holy and pure?
A thin layer of dreams covers three lifetimes, obscure
In the age of DharmarCOs decline, where hope is dim
Some set off on journeys; some return to homerCOs bright rim

Cattle and sheep lead one astray from destinyrCOs track
In dreams, the grass turns fresh, and the earth turns back
I pause at the crucial juncture, where paths divide
The Buddha hesitates, where truths abide

In this world, the only thing that loves one to death
Is the parrotrCOs song, with its tender breath
Filled with boundless spring sentiment, warm and mild
I quietly nurture my heart, in DharmarCOs gentle child

Who glanced at me, by chance, in a fleeting hour
And made the snow-capped plateau tremble, in its power?
Every time I raise a prayer flag, for all beingsrCO sake
The omnipresent Buddhas scatter the mantra they makerCo

**Om Mani Padme Hum**

Sanskrit chants, white clouds, traces of dreams that stay
Cultivate stillness in meditation, insight in the fray
A single flash of inspiration, swift and keen
Spans a thousand years, where mortal memories lean

After receiving blessings, mountains and rivers turn green
Lotus flowers bloom, and BuddhasrCO smiles are seen
Heaven and earth are impermanent, as all may tell
Looking backrCoI am the Buddha, and the Buddha is me, well

When one heart aligns with another, beat to beat
How much love does it take, to make life complete?
Right now, how can poetry and painting impart
The subtleties of love, straight from the heart?

She raises her head and glances at me, soft and shy
The snow-capped plateau trembles, reaching for the sky
That day I raised a prayer flag, for you, my dear
The omnipresent Buddhas scattered the mantra, clearrCo

**Om Mani Padme Hum**

After enlightenment, the sky turns blue and bright
Plants and trees are filled with compassion, day and night
That woman sets out from her beauty, fair and fine
Passes all Buddhas, to be with me, in this life of mine

Promises are traps set for the next liferCOs game
Those crowding left are skilled at self-inflicted shame
Those slipping right cling to the past, without a break
Standing on a narrow bridge, where choices make or take

The fresh flowers in my hands veil your past liferCOs glow
Behind you, someone holds a flower and a knife, below
If a person lives forever, what joy can there be?
No end to liferCono hope, no free

I withdrew from the mortal world, before the fray
Yet you arrived late, between cause and effectrCOs sway
When someone shatters like jade, on the third lunar night
Someone else is restored, on the fifteenth, in light

Mountains and rivers enough to last a lifetime, wide and far
Who should be the one to comprehend what they are?
SpeakrCothe truth is simpler than a lionrCOs roar
In the vast sea of people, who am I, to ask for more?

Who am I, and who is me, in this mortal race?
In the comings and goings, time picks up the pace
Beautiful women drown in the windrCOs sweet call
The perfectly harmonious moon hides sounds, one and all

Birth and death, beyond samsararCOs endless wheel
The remaining mountains and rivers, no one to heal
Constantness is impermanence, as sages say
Impermanence is constantness, come what may
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


Shein fans <user11874@newsgrouper.org.invalid> posted:

How many secrets must one hide


How many secrets must one hide
To navigate through life with poise and grace?

This Buddha-light-drenched plateau
Heaven lies merely three steps away
Yet so many souls linger here
Weighed down by the heaviness of their hearts
Unable to take another step forward

How could one traverse all roads of the world in a single journey?
Peach blossoms have just fallen
And I know this death is absurd beyond measure

Beneath the lotus, blood is harder than iron
Which memorial day is not worthy of my resurrection?
Non-existence turns to existence
Existence turns to non-existence
Non-existence becomes existence, then non-existence again
Existence becomes non-existence, then existence once more

I met you in the dense forest
Within armrCOs reach, yet we could only gaze in silence
At the critical moment
The moon curves, and longing swells full
A sharp crack rings out
The affairs of the world shatter into pieces

When fate arrives, flowers bloom
When fate departs, flowers fade
From then on, I rest my head on green mountains in peace
From a single lotus flower to a snow-capped mountain
Who can cross this six-syllable mantra?

A thin veil of dreams
Covers the bright sunshine of three lifetimes

In the age of the DharmarCOs decline
Some set out on their journeys
Some return home

Cattle and sheep lead one astray from their true destiny
In dreams, the grass turns fresh and green
I paused at the crucial crossroads
The Buddha hesitated at the pivotal moment

In this world, the only thing that can love someone to death
Is the parrot

Filled with boundless spring sentiment
I gently nourish my soul in the BuddharCOs teachings

Who was it
That glanced at me by chance
Making the snow-covered plateau tremble?

Every time
I raise a prayer flag to bless all sentient beings
The omnipresent Bodhisattvas
Scatter the six-syllable mantra across the valleys

Sanskrit chants, white clouds, traces of dreams
Cultivate stillness in meditation, insight in action
A single flash of inspiration
Spans a thousand years, ten thousand eons

After receiving the divine blessings
The mountains and rivers before my eyes turn entirely green
Lotus flowers bloom
The whole world is filled with the BodhisattvasrCO smiles

Heaven and earth are impermanent
Looking back
The Buddha is me
I am the Buddha
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


Shein fans <user11874@newsgrouper.org.invalid> posted:

Shein fans <user11874@newsgrouper.org.invalid> posted:

That cryrCoraw, unadorned, and utterly sincererCocame from a youth over three hundred years ago,
trapped within the mantle of a living Buddha.
It is precisely this untamed honesty that lies at the heart of the poemrCOs enduring power,
allowing it to transcend time and space.



The Lover-PoetrCOs Lament

(Translation of Tsangyang GyatsorCOs poem, with rhythmic cadence preserved)


Fair maidens are not born of mortal womb,
But spring from peach trees in their full bloom.
I grieve that peach blossoms fade too soonrCo
Yet even falling petals outdo thee in sweet perfume.
In stillness, I practice meditationrCOs art;
In motion, I watch the world with mindful heart.
Yet my belovedrCOs face lingers, clear from the startrCo
If I turned this longing to the Dharma, enlightenment would not be far apart. We tied the knots of love, we sealed the bond of fate,
Though life is fleeting, our affection is intimate and great.
When we meet again in the next reincarnationrCOs date,
I shall be a graceful youth, tall and straight.
I heed not birth and death, nor impermanencerCOs call,
But drift through samsara, marching toward the graverCOs dark hall.
The wisest souls boast of their worldly wit and allrCo
Yet when it comes to this, they are bewildered, one and all.
The wild steed on the mountain is untamed and free,
Yet snares and traps can still its restlessness constrain.
I sighrCothough spiritual powers dwell within me,
I cannot tame the one who lies beside me on the bedrCOs domain.
I yearn to lean by the green window, with thee to abide,
Yet regret the path of Dharma I have left untried.
My heart inclines to hold the alms bowl, in the monastery to reside,
Yet I betray the tender love my fair lady has supplied.
I sit in quiet meditation, and my wisdom eye doth open wide,
Praying to the Three Jewels, let their grace in my soul abide.
Yet among the saints in the vision, none have appeared at my siderCo
Instead, my beloved comes unbidden, with no need to invite.
I climb the mountain to visit the enlightened monk so wise,
Begging the guru to teach me the logic of cause and effectrCOs ties.
But loverCOs longing knows no bounds, no rules, no disguiserCo
My wandering mind and restless heart stray back to my loverrCOs eyes.
I once feared that deep love would mar my monastic way,
Yet retreating to the mountains means parting from my radiant fay.
Is there a way in this world to have both, come what may?
To honor the Buddha, and not let my belovedrCOs heart decay.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

Shein fans has posted some more information on
Tsangyang Gyatso and some samples of his poems,
including some longer ones not in the book I
mentioned, just on alt.philosophy.taoism .

If indeed he was a poet and not also a musician,
maybe instead of musical special ability as a
primary siddhi he had poetry special ability
(like Heracles, Taliesin, and the composer of
the Havamal).

I still think he escaped death at age 23 and
maybe went on tour with his lover.

Indeed, several of the longer poems are not his original works, but
rather later creations composed by others who took his authentic verses as a core motif and
reimagined them in his poetic spirit|o-C-omuch like a symphony that develops numerous variations around a central theme.


Did he compose music?

Tsongkhapa Gyatso (1683|o-C-oc.1706), the Sixth Dalai Lama, did not leave behind any musical scores or formal compositions as a composer in the modern sense. However, within Tibetan cultural tradition, his poems were inherently songs|o-C-ospecifically, mgur (Tibetan devotional or philosophical folk songs)|o-C-oand thus intrinsically musical.
Key points:
1. His poems were meant to be sung
In Tibetan Buddhist tradition, mgur are lyrical verses expressing spiritual insights or personal emotions, composed in rhythmic, rhyming language and intended for vocal performance.
Like the famous yogi Milarepa before him, Tsangyang Gyatso wrote in this sung-poetry form. His "love songs" were not merely literary texts but lyrics set to melody.
2. He likely adapted existing tunes, not invented new ones
As a learned religious figure familiar with liturgical and folk traditions, he probably composed his verses to fit well-known folk melodies of his time.
However, Tibetan oral culture did not rely on written musical notation; music was transmitted orally.
Therefore, there is no evidence he created original melodies, only that he may have matched his words to existing tunes|o-C-omuch like filling lyrics into established poetic "tunes" (e.g., Chinese cipai).
3. Modern "Tsangyang Gyatso songs" are later arrangements
Contemporary renditions by Tibetan singers (such as Rongzhong Erjia, Alan Dawa Dolma, or Tseten Dolma) use modern musical arrangements based on traditional folk styles.
These beautiful melodies are not his original compositions, but artistic interpretations by later generations.

In summary:
Tsangyang Gyatso was not a composer in the Western sense, but his poetry was born as song|o-C-owritten to be sung, shaped by rhythm, and carried by voice. He gave words a soul; the melodies were woven by tradition and later artists.

As one scholar put it:
|o-C-LThe moment his verses left his lips, they carried sound; the moment they reached an ear, they became song.|o-C-Y
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

Shein fans has posted some more information on
Tsangyang Gyatso and some samples of his poems,
including some longer ones not in the book I
mentioned, just on alt.philosophy.taoism .

If indeed he was a poet and not also a musician,
maybe instead of musical special ability as a
primary siddhi he had poetry special ability
(like Heracles, Taliesin, and the composer of
the Havamal).

I still think he escaped death at age 23 and
maybe went on tour with his lover.

================================================

a-

"|o-C-yPotala|o-C-O |o-C-o A love song by Tsangyang Gyatso, brimming with heartfelt longing, and a cherished folk favorite across Tibet."


https://www.bilibili.com/video/BV1oc41117j2/?spm_id_from=333.337.search-card.all.click



a

"Better Never to Have Met"

https://www.bilibili.com/video/BV1pW411x7K1/?spm_id_from=333.337.search-card.all.click



b
"That Day, That Month, That Year, That Lifetime"

https://www.bilibili.com/video/BV1vr4y117Jx/?spm_id_from=333.337.search-card.all.click
https://www.bilibili.com/video/BV1T34y1m7pA/?spm_id_from=333.337.search-card.all.click

c

"On the Eastern Hilltop"

https://www.bilibili.com/video/BV1hP4y1577W/?spm_id_from=333.788.recommend_more_video.-1&trackid=web_related_0.router-related-2206419-k4qpm.1765098201340.657


d https://www.bilibili.com/video/BV1hz42117VW/?spm_id_from=333.337.search-card.all.click

https://www.bilibili.com/video/BV1gZ421y7C7/?spm_id_from=333.337.search-card.all.click

e.

https://www.bilibili.com/video/BV1N34y1v75Q/?spm_id_from=333.337.search-card.all.click
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton posted:

I have a book entitled The Turquoise Bee, subtitled
The Lovesongs of the Sixth Dalai Lama, which I
purchased in 1995 though it says copyright 1998.

ChatGPT says,

"The edition translated by Rick Fields and Brian Cutillo,
with illustrations by Mayumi Oda, was first published in 1993 (hardcover)
by Harper San Francisco."

Maybe you had two copies?
Or, one at a time, the first of which
was the 1993 edition. Then, it vanished,
going where a point on the horizon line is
known to do that given a perspective.

Like train tracks.
Only different.

- thanks! Cheers!
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

Shein fans has posted some more information on
Tsangyang Gyatso and some samples of his poems,
including some longer ones not in the book I
mentioned, just on alt.philosophy.taoism .

If indeed he was a poet and not also a musician,
maybe instead of musical special ability as a
primary siddhi he had poetry special ability
(like Heracles, Taliesin, and the composer of
the Havamal).

I still think he escaped death at age 23 and
maybe went on tour with his lover.

There are over 15 English translations of Tsangyang Gyatso's poetry, completed by translators with diverse backgrounds such as Tibetologists and poets. Their styles vary significantly, with some emphasizing scholarly rigor and others leaning toward literary artistry. The following are several influential and distinctive classic English translations:

**Yu Daoquan's Translation (1930)**
This is the earliest complete trilingual (Tibetan, Chinese, and English) translation, featuring 66 poems (62 verses), published in *Love Songs of the Sixth Dalai Lama*. As the pioneering academic translation, it maintains the rigorous style of its Chinese version, prioritizing literal translation to preserve the original Tibetan semantics and structure. It also includes contextual annotations, providing reliable textual material for Western Tibetology research. However, the language tends to be academic with minimal literary embellishment, making it more suitable for scholarly reference rather than literary appreciation by general readers.

**Marion H. Duncan's Translation (1961)**
Duncan translated 66 of Tsangyang Gyatso's poems in his work *Love Songs and Proverbs of Tibet*, marking the first complete English translation of the poems overseas. As a Tibetologist who lived extensively in eastern Tibet, his translation carries distinct scholarly characteristics. Its most notable feature is the bold attempt to use 11 English syllables per line to correspond to the original Tibetan verse|o-C-Os 6 syllables per line. The translation often adopts a quatrain form, resembling the iambic pentameter common in English poetry of that era. For example, his rendition of the lines "When seated in Potala|o-C-Os hall, / I am the lama, Tsangyang Gyatso. / But in the tavern, drunk by beauty|o-C-Os side, / I am the wanderer of this world" vividly highlights the dual identity of Tsangyang Gyatso.

**Peter Whigham's Translation (1969)**
Included in *The Blue Winged Bee*, this translation features 30 poems and stands out for its literary individuality. As a poet, Whigham did not confine himself to literal translation; instead, he artistically reinterpreted the poems to align more closely with modern English poetry. He flexibly adapted the original imagery and rhetoric, occasionally incorporating Western allusions and third-language elements, infusing the translation with a distinct Western literary flavor. While this version transcended the framework of purely academic translation and gained popularity in the English-speaking world for its literary appeal, its liberal adaptations also resulted in noticeable semantic deviations from the original.

**Geoffrey R. Waters' Translation (2007)**
Published in *White Crane: Love Songs of the Sixth Dalai Lama*, this translation is renowned for its extensive collection, featuring 120 poems. Its style strikes a balance between conveying the original emotional essence and ensuring readability in English poetry. It avoids excessive academic rigidity that might lead to obscurity, as well as over-artistic modification that could distance it from the core of the original work. Waters sought equilibrium between preserving the poetic (artistic conception) of Tibetan poetry and catering to Western readers|o-C-O habits, making it a representative example among later diverse translations.

**Paul Williams' Translation (2004)**
Included in *Songs of Love, Poems of Sadness: The Erotic Verse of the Sixth Dalai Lama*, this translation comprises 66 poems. It focuses on exploring the intertwined themes of love and sorrow in Tsangyang Gyatso's poetry. The language is(refined), adept at conveying the delicate emotions of the original through precise word choices. For instance, Williams employs expressions that align with English emotional conventions to depict the(contradictory) feelings of "renunciation and engagement," enabling Western readers to empathize more easily with Tsangyang Gyatso's inner struggles.

**Lobsang Tsering's Translation (2009)**
Published in *Ocean of Melody: Songs of the Sixth Dalai Lama*, the translator's Tibetan identity provides unique advantages in restoring cultural imagery. His deeper understanding of the cultural context and implied meanings of Tibetan poetry helps minimize semantic loss due to cultural gaps. His translations of culturally specific vocabulary and scenes are more authentic to the original, offering readers an English interpretation from an ethnic perspective. However, the exact number of poems in this translation requires further verification.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

Shein fans has posted some more information on
Tsangyang Gyatso and some samples of his poems,
including some longer ones not in the book I
mentioned, just on alt.philosophy.taoism .

If indeed he was a poet and not also a musician,
maybe instead of musical special ability as a
primary siddhi he had poetry special ability
(like Heracles, Taliesin, and the composer of
the Havamal).

I still think he escaped death at age 23 and
maybe went on tour with his lover.

The poetry of Tsangyang Gyatso has been widely circulated, and there is no definitive "best" translation, as different translators have their own distinct styles that cater to various reading preferences. Below are several highly regarded and stylistically distinctive classic translations, categorized according to the translators|o-C-O characteristics:

1. **Yu Daoquan's Translation |o-C-o The Academic Benchmark, Exemplar of Literal Translation**
This is the first complete Chinese translation of Tsangyang Gyatso's poetry, published in 1930, and is renowned for its rigorous scholarly approach.
**Features**: Primarily literal, it preserves the original Tibetan syntax and meaning to the greatest extent possible, with minimal literary embellishment. It includes detailed annotations and contextual explanations, making it an essential reference for scholarly research on Tsangyang Gyatso's poetry.
**Limitations**: The language tends to be formal and lacks the lyrical rhythm often associated with poetry, making it more suitable for academic study than for literary appreciation by general readers.

2. **Zeng Jian's Translation |o-C-o The Classical Metrical School, Faithful to Artistic Conception**
This is the most widely circulated and "classically Chinese" translation, rendering Tsangyang Gyatso's poems into the form of seven-character quatrains or regulated verse.
**Features**: The diction is elegant and the parallelism is precise, seamlessly integrating the romantic and philosophical themes of Tibetan poetry into the metrical structure of classical Chinese poetry. It is highly rhythmic and memorable, as exemplified by the famous line, "How can one find a way to have both? Neither Buddha nor you to leave."
**Limitations**: To fit the metrical requirements, some artistic adaptation of the original text occurs, making certain parts more akin to the translator's creative reinterpretation, with minor deviations from the literal meaning of the original.

3. **Liu Xiwu's Translation |o-C-o Concise and Refreshing, Balancing Literal and Free Translation**
Published in 1939, this translation strikes a balance between Yu Daoquan's literal approach and Zeng Jian's metrical style.
**Features**: The language is concise and lively, primarily in five-character lines. It maintains the core meaning of the original while incorporating a poetic rhythm, avoiding excessive embellishment and offering a clean, transparent reading experience.
**Target Audience**: Readers who seek to balance "faithfulness to the original meaning" with "aesthetic reading pleasure."

4. **Modern Vernacular Translations |o-C-o Easy to Understand, Aligned with Contemporary Reading Habits**
These translations, mostly by modern translators, abandon classical meter and interpret Tsangyang Gyatso's poetry in vernacular Chinese, making them more accessible to general readers.
**Representative Works**: Gao Ping's translation (*The Poetry and Biography of Tsangyang Gyatso*) presents the poems in straightforward and fluent language, accompanied by biographical accounts of Tsangyang Gyatso, blending poetry and biography for enhanced readability. Another example is Nie Zuoping's translation, which features fresh and natural language, emphasizing the themes of love and freedom in the poems.
**Features**: Low barrier to understanding, but may lack the classical charm of earlier translations.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


David Dalton <dalton@nfld.com> posted:

Shein fans has posted some more information on
Tsangyang Gyatso and some samples of his poems,
including some longer ones not in the book I
mentioned, just on alt.philosophy.taoism .

If indeed he was a poet and not also a musician,
maybe instead of musical special ability as a
primary siddhi he had poetry special ability
(like Heracles, Taliesin, and the composer of
the Havamal).

I still think he escaped death at age 23 and
maybe went on tour with his lover.

=====================================================
Comparative Analysis of Translations

Selected Chinese translations:
Yu Daoquan and Zeng Jian
The Chinese versions will first be translated into English, followed by a comparative analysis.

Selected English translations:
Geoffrey R. Waters and Paul D. Williams ----------------------------------------
Paul Williams (ver.2004)


Concerned that too much feeling might impair my sacred work,
I|o-C-Ove dreaded going into retreat among the hills,
Afraid to leave the one whose looks could overthrow a city.
How, in this world, can I turn my back on Buddha
And not on her as well?



Yu Daoquan's Version (1930):

If I follow her wishes,
I sever my ties with the Dharma in this life;
If I roam the empty mountains in solitude,
I go against her heart's desire.


Geoffrey R. Waters (ver.2007)


I|o-C-Ove feared that passion would damage my practice
so I|o-C-Ove resisted entering the mountain retreat.
Is there any way in this world
to be true to Buddha and also to her?


Zeng Jian's Version (1939):

Once feared that passion might impair my sacred vows,
Yet dread to leave the beauty rare in mountain's retreat.
How can this world offer a way of twofold grace?
To neither fail my Buddha nor my love, so sweet.
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


Shein fans <user11874@newsgrouper.org.invalid> posted:

David Dalton <dalton@nfld.com> posted:

Shein fans has posted some more information on
Tsangyang Gyatso and some samples of his poems,
including some longer ones not in the book I
mentioned, just on alt.philosophy.taoism .

If indeed he was a poet and not also a musician,
maybe instead of musical special ability as a
primary siddhi he had poetry special ability
(like Heracles, Taliesin, and the composer of
the Havamal).

I still think he escaped death at age 23 and
maybe went on tour with his lover.

=====================================================
Comparative Analysis of Translations

Selected Chinese translations:
Yu Daoquan and Zeng Jian
The Chinese versions will first be translated into English, followed by a comparative analysis.

Selected English translations:
Geoffrey R. Waters and Paul D. Williams ----------------------------------------
Paul Williams (ver.2004)

Concerned that too much feeling might impair my sacred work,
I|o-C-Ove dreaded going into retreat among the hills,
Afraid to leave the one whose looks could overthrow a city.
How, in this world, can I turn my back on Buddha
And not on her as well?

Yu Daoquan's Version (1930):

If I follow her wishes,
I sever my ties with the Dharma in this life;
If I roam the empty mountains in solitude,
I go against her heart's desire.

Geoffrey R. Waters (ver.2007)

I|o-C-Ove feared that passion would damage my practice
so I|o-C-Ove resisted entering the mountain retreat.
Is there any way in this world
to be true to Buddha and also to her?

Zeng Jian's Version (1939):

Once feared that passion might impair my sacred vows,
Yet dread to leave the beauty rare in mountain's retreat.
How can this world offer a way of twofold grace?
To neither fail my Buddha nor my love, so sweet.

Chinese=>English is difficult
I like Zeng Jiang's Chinese version.
It's difficult to translate it into English and still convey the beauty of Chinese!
Give a few more attempts


Lest mortal love should mar my monastic way,
To mountain retreats I fear to stray,
lest I leave my fairest stay.
Is there a way on earth that can both ends repay?
Let me not fail the Buddha, nor betray my lady gay.

Afraid deep passion would my sacred vows defile,
Yet fearing to abandon love in mountains deep.
Could life ever grant a way to reconcile?
To keep both BuddharCOs path and her love to keep.

I once feared that passion would stain my holy path,
Yet to enter the mountains, I dread to leave my love.
In this world, is there a way to have it all,
To fail neither my Buddha, nor you, my dearest love?

I once worried that deep love would impair my sacred practice,
But to retreat to the mountains, I feared to part with my peerless beauty.
How in this world can there be a method for both,
That betrays neither the Tathagata, nor you?

My loving heart, I feared, would break my sacred vow,
But the mountains call, and I cannot bear to leave you now.
Is there no perfect art in this whole world to find,
To keep my soul for Buddha, and my heart for thine?


I once feared that love would taint my sacred vow,
Yet entering the hills, I dread to leave my love behind.
Is there a way in this world to have both paths allowedrCo
To honor Buddha true, and still be kind to thine?
Certainly! Here is a pure English translation of the poem without any Chinese words:

Once I feared that deep affection would mar my quest for Buddhist sanctity,
Yet in the mountains, I dread parting from the one who could topple a city.
How can one in this world achieve a perfect solution,
To not betray the Buddha, nor the beloved.


Once Fearing Passion Would Mar My Monastic Life
Once I feared that deep affection would impair my monastic way,
Yet entering mountains, I dread parting from the fair one's sway.
How could there be in this world a perfect, dual-fulfilling plan,
To honor both the Buddha and not let my beloved be gone?

Once I feared deep feeling harmed my holy vow,
To seek the mountain path, yet dread to leave you now.
In all the world, is there a way to truly find:
To serve the Buddha and not fail love's tender mind?
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


aye posted:

Like train tracks.
Only different.

Eye can imagine the Last Train
to Clarksville having only lyrics.

It would be and would not be
the same as it was, and is.

- thanks! Cheers!
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


aye posted:

Like train tracks.
Only different.

Eye can imagine the Last Train
to Clarksville having only lyrics.

@ three in the morning
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


eye posted:

@ three in the morning

Four in the after noon is an
other quip about the monks
having keys to a realm.

Unless it's the sage.
The wise that is that argh.

- aye forgets
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


aye posted:

eye posted:

@ three in the morning

A form of Gemini says it's
zhao san mu si.

Four in the after noon is an
other quip about the monks
having keys to a realm.

uLYE+euU<occ

Unless it's the sage.
The wise that is that argh.

An imperfect example?

- aye forgets

- Cheers!
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


one posted:

uLYE+euU<occ

https://terebess.hu/english/tao/ChuangTzu-palmer.pdf

<< begin quote from above >>

What is, is, what is not, is not.

The Tao is made because we walk it,
things become what they are called.
...
In their difference is their completeness;
in their completeness is their difference.
...
... the sage, who manages to harmonize
right and wrong and is content to abide by the Natural
Equality of Heaven. This is called walking two roads.

<< end of quote from above >>

Walking two dao.

- thanks! aye. Cheers!
--- Synchronet 3.21a-Linux NewsLink 1.2

From Newsgroup: alt.philosophy.taoism


Shein fans <user11874@newsgrouper.org.invalid> posted:

David Dalton <dalton@nfld.com> posted:

Shein fans has posted some more information on
Tsangyang Gyatso and some samples of his poems,
including some longer ones not in the book I
mentioned, just on alt.philosophy.taoism .

If indeed he was a poet and not also a musician,
maybe instead of musical special ability as a
primary siddhi he had poetry special ability
(like Heracles, Taliesin, and the composer of
the Havamal).

I still think he escaped death at age 23 and
maybe went on tour with his lover.

=====================================================
Comparative Analysis of Translations

Selected Chinese translations:
Yu Daoquan and Zeng Jian
The Chinese versions will first be translated into English, followed by a comparative analysis.

Selected English translations:
Geoffrey R. Waters and Paul D. Williams ----------------------------------------
Paul Williams (ver.2004)

Concerned that too much feeling might impair my sacred work,
I|o-C-Ove dreaded going into retreat among the hills,
Afraid to leave the one whose looks could overthrow a city.
How, in this world, can I turn my back on Buddha
And not on her as well?

Yu Daoquan's Version (1930):

If I follow her wishes,
I sever my ties with the Dharma in this life;
If I roam the empty mountains in solitude,
I go against her heart's desire.

Geoffrey R. Waters (ver.2007)

I|o-C-Ove feared that passion would damage my practice
so I|o-C-Ove resisted entering the mountain retreat.
Is there any way in this world
to be true to Buddha and also to her?

Zeng Jian's Version (1939):

Once feared that passion might impair my sacred vows,
Yet dread to leave the beauty rare in mountain's retreat.
How can this world offer a way of twofold grace?
To neither fail my Buddha nor my love, so sweet.

==========================================

Based on Liu Xiwu's translation, there are four English versions(Experimental translation) for comparison.


To win her heart's desire,
Dharma I can't admire.
To cut the love's tight wire,
Her I'd unjustly tire.

To please her heart's desire,
Dharma I cannot admire.
To cut the love's thin thread,
Her I'd betray, alas, instead.


Her wish I'd e'er fulfill,
Dharma bends not to will.
LoverCOs thread I'd seek to kill,
Yet her trust I'd betray still.


I'd grant her every plea,
Dharma stands in the way.
I'd end love's agony,
She's let down all the way.
--- Synchronet 3.21a-Linux NewsLink 1.2