At that point, the foremost goddesses such as Vajrabhūtinī and the others experienced doubt and were disheartened. They all asked the Blessed One, “Blessed One, please clear away our doubts. We have doubts about reaching accomplishment through song and the nine dramatic sentiments as explained in this chapter. What is the purpose of song and dance? What is conduct for one who is consecrated as the deity? How are they represented by the mudrās of anger and the like? How do you explain all the seed syllables in the chapter on mantras? What doubts have arisen about the seed syllables of these goddesses? What power do the seed syllables of the embodied beings have? Blessed One, how do samaya holders act?”
The Blessed One responded, “a ko yi gha ṇa pi ṭa ṭa yi ra hā hā kā re ma hā kā la | uccha la ya yi kakko le gha ṇa ḍa ma ru vajra ji yā yi | kā ru ṇe yā yi | na ro li yā yi | ta hiṃ ma hā māṃ sa ni ba bha re khā hi yā yi | pi ba yi ma ya ṇā ghaṇṭe | ha re kā li jñā ja ra pa yi sa yi bā yi yā yi | duṃ du ta ra mā ga pa i patte | ka stu ra kā ta tha ri sihla ca u sa ma lā gā bi yā yi | si li ni | bha ra māṃ sa kī ta hi la hi yā yi | nā ṭe gīṃ taṃ e ko na mu yi | lī lā bha ra ṇa mā lā gha ri yā yi | ta hiṃ pa ṇi yā yi | sa hā gā thi ṇa kun du ru pa yi yā yi | ḍā ma ru nā da uccha li yā yi.
“ ‘Dancing’ means to be in union with Mahākāla, in whatever manner is pleasing, at dawn and with a mind immersed in meditative concentration. The mind steeped in familiarity refers to nothing other than the mother yoginīs who are the suchness of all buddhas. These dances and songs give rise to supreme bliss. This is precisely what protects oneself and protects the gathering. It is the five ambrosias, and it is the mantra focused on power, the recitation of which effortlessly performs activities in the world. One should therefore always receive the siddhi.
“They should dance in the middle, over and over. The lord of the assembly himself first apprehends the smell of a vulture, and second the smell of Lakṣmī and Nārāyaṇa wafting toward his nose. Third, he enjoys the various smells of musk, saffron, and the like. This is the stage of a lord of yoga. After that, the song’s blessings create the sounds of bees, geese, cuckoos, and frogs. If one dances, all the sounds will be the same.
“Then there is the song’s blessing for the assembly. External beings, beginning with kinnaras and Nārāyaṇa, should follow samaya. All the symbols should be continuously displayed at the edge of a town, in a grove, or in a forest. The siddhis will then be certain.”
“Blessed One,” the Goddess asked, “please explain how those who are interested in benefiting the beings of Jambudvīpa and those who are interested in practicing alchemy make correct use of the methods for enthralling rites and so forth.”
At that point, the foremost goddesses such as Vajrabhūtinī and the others experienced doubt and were disheartened. They all asked the Blessed One, “Blessed One, please clear away our doubts. We have doubts about reaching accomplishment through song and the nine dramatic sentiments as explained in this chapter. What is the purpose of song and dance? What is conduct for one who is consecrated as the deity? How are they represented by the mudrās of anger and the like? How do you explain all the seed syllables in the chapter on mantras? What doubts have arisen about the seed syllables of these goddesses? What power do the seed syllables of the embodied beings have? Blessed One, how do samaya holders act?”
The Blessed One responded, “a ko yi gha ṇa pi ṭa ṭa yi ra hā hā kā re ma hā kā la | uccha la ya yi kakko le gha ṇa ḍa ma ru vajra ji yā yi | kā ru ṇe yā yi | na ro li yā yi | ta hiṃ ma hā māṃ sa ni ba bha re khā hi yā yi | pi ba yi ma ya ṇā ghaṇṭe | ha re kā li jñā ja ra pa yi sa yi bā yi yā yi | duṃ du ta ra mā ga pa i patte | ka stu ra kā ta tha ri sihla ca u sa ma lā gā bi yā yi | si li ni | bha ra māṃ sa kī ta hi la hi yā yi | nā ṭe gīṃ taṃ e ko na mu yi | lī lā bha ra ṇa mā lā gha ri yā yi | ta hiṃ pa ṇi yā yi | sa hā gā thi ṇa kun du ru pa yi yā yi | ḍā ma ru nā da uccha li yā yi.
“ ‘Dancing’ means to be in union with Mahākāla, in whatever manner is pleasing, at dawn and with a mind immersed in meditative concentration. The mind steeped in familiarity refers to nothing other than the mother yoginīs who are the suchness of all buddhas. These dances and songs give rise to supreme bliss. This is precisely what protects oneself and protects the gathering. It is the five ambrosias, and it is the mantra focused on power, the recitation of which effortlessly performs activities in the world. One should therefore always receive the siddhi.
“They should dance in the middle, over and over. The lord of the assembly himself first apprehends the smell of a vulture, and second the smell of Lakṣmī and Nārāyaṇa wafting toward his nose. Third, he enjoys the various smells of musk, saffron, and the like. This is the stage of a lord of yoga. After that, the song’s blessings create the sounds of bees, geese, cuckoos, and frogs. If one dances, all the sounds will be the same.
“Then there is the song’s blessing for the assembly. External beings, beginning with kinnaras and Nārāyaṇa, should follow samaya. All the symbols should be continuously displayed at the edge of a town, in a grove, or in a forest. The siddhis will then be certain.”
“Blessed One,” the Goddess asked, “please explain how those who are interested in benefiting the beings of Jambudvīpa and those who are interested in practicing alchemy make correct use of the methods for enthralling rites and so forth.”
Sutraya