Notes

n.1See Blonay (1895), p. 25; Martin (1996), p. 94; Beyer (1978), p. 476n53.

n.2Against the Degé witness, we follow the Narthang and Stok Palace Kangyurs in reading jaya instead of jāya for the six words beginning with acittajaya.

n.3Against the Degé witness, we follow Narthang and Stok Palace in reading kiṇi kiṇi in place of kini kini. This is based on parallel uses of kiṇi kiṇi in other dhāraṇīs.

n.4Against the Degé witness, we follow Narthang and Stok Palace in reading vajramahākaruṇika in place of vajramamamahākaruṇika.

n.5Against the Degé witness, we follow Narthang and Stok Palace in reading saṃtrāsaya in place of santrasaya.

n.6This dhāraṇī has been reproduced primarily as it appears in the Degé witness of the Tibetan translation, and the word divisions have been arranged in a way that seems most appropriate given the available readings. This dhāraṇī employs conventions typical of dhāraṇīs, which are difficult to understand with precision and to translate. Moreover, it is evident that the transmission of this dhāraṇī has suffered from various corruptions. Therefore, it is not possible to conjecture alternative readings or offer a complete translation. Generally, the dhāraṇī can be understood to invoke the goddess as one who is described as victorious in various ways. She is asked to recollect her vows (smara smara) and to manifest beautifully (vilasa vilasa) as a great, boon-granting goddess. Her connections with vajra-emptiness and compassion are evoked, and she is asked to spring forth (sphuṭa sphuṭa), enter or possess (āveśa āveśa), shake (kampa kampa), and to make others shake (kampaya). Her fragrance and white color are mentioned, she is asked to terrorize obstructive forces (santrāsaya vighanān), to “surround us” and provide protection (parivalāya asmākaṃ asmākaṃ), and spring into action (cara cara). She is then described as one who is rich in driving force (vegavatī). The dhāraṇī ends by paying homage to her (namo namo namaḥ svāhā).

n.7Reading mtshan dag in accordance with the Narthang and Stok Palace Kangyurs. Degé and other editions have mtha’ dag.

n.8Tentatively interpreting the Tib. phrase dbang phyug rab dga’ as a variant of dga’ rab dbang phyug, which is an epithet of Kāmadeva.

n.9Tib. sngo ba and sngon po (both appear in the Tibetan verse) can refer to a range of colors from green (Skt. harita) to blue (Skt. nīla).

n.10Tib. mi mchog dam pa (Skt. narottama or naravarapravara), which more literally means “the very best of humans.”

n.11Narthang, Lhasa, and Stok Palace read rje (“lord”) instead of rjed (“to honor, to respect”), which makes “Lord over Candra and the outstanding gods.”

n.12Tentative for sred bya dang ni sred bya’i bar.

n.13Three folds or lines on the belly that typify feminine beauty in classical Indian aesthetics.

n.14Tib. sgyu ’phrul sgyu ’phrul ldan zhing ’dul. Tentatively reading the repeated word sgyu ’phrul (Skt. māya, “illusion” or “illusory display”) as first referring to Tārā herself. The Phukdrak Kangyur reads sgyu phrul rdzu ’phrul ldan zhing ’dul, “you tame the field of illusory and miraculous displays.”

n.15In Tibetan the word rgyags, whose meaning ranges from “exhilaration” to “vanity,” is repeated twice in close succession. Here it is translated as “elation” and “exhilaration” to avoid the repetition.

n.16Tib. tshangs par ldan, possibly from Skt. brahmavat. Could also be read as “possessing and granting purity.”

n.17Reading bde ma as attested in Narthang and Stok Palace. Degé reads bde ba.

n.18Reference unclear. Could also be read as “You hold [a sprig of] neem leaves as your companion.”

n.19Reading the Tib. dbyig as dbyig pa, corresponding to the Skt. daṇḍa.

n.20Tib. rlung dang ldan, possibly from Skt. vāyuvat, here understood as “wind-like” rather than the more literal reading “endowed with wind.” Understood as vāyuvat, this phrase could also be read as “swift like Vāyu,” referring to the wind god.

n.21Following Stok Palace ’od ’phro ma (Kangxi and Yongle also have ’od ’phro dang, with the same general meaning). Other versions have ’od ’phrog ma, “steals the light of the supreme goddess.”

n.22Tentatively reading ping ka as an abbreviation for ka la ping ka (Skt. kalaviṅka ), the kalaviṅka bird.

n.23Translation tentative.

n.24Meaning unclear; Lhasa has stobs mang (“many strengths”) rather than stobs med (“lack of strength”), but all other editions agree on stobs med.

n.25The reading of this verse is quite tentative. In the Tibetan, the relationships between Tārā’s skill and voice, a courtyard or (banquet) hall, and being illuminated by a bouquet of campaka flowers, are not made explicit. We read khyams dang khyams bza’ (“courtyard and hall”) with the Narthang Kangyur, where Degé has the repetition khyams dang khyams bzang (“courtyard and excellent courtyard”).

n.26This reading is also highly conjectural. We read ser mo tsan pa as ser mo btsun pa (“yellow-[clad] venerable ones”), for lack of a better alternative, despite the high level of agreement between the different witnesses. The Tibetan syllable tsan exists as part of the word tsan dan (“sandalwood”), so if tsan were taken to be short for tsan dan, a literal reading would be something like “excellent support for those to do with yellow sandalwood.”

n.27Another occurrence of the obscure word gshal ka, here tentatively translated as “ornament.”

n.28“Understanding” and “intelligence” here translate the same Tibetan word, blo (“intellect”).

n.29“Qualities” here translates the Tibetan word chos, Skt. dharma, which has a wide range of meanings.

n.30Reference unclear.

n.31Could also be understood as the Blessed One himself, meaning that the Buddha has recited the dhāraṇī at one point as well.

n.32Referring to the dhāraṇī that opens this text.

n.33Meaning unclear. Here, the Tib. term rab ’byed pa is understood to align with the Skt. term prabhāvana.

n.34Reading khyad par stobs, following the Lhasa, Narthang, Phukdrak, and Stok Palace Kangyurs. Degé reads khyab par stobs (“pervading power”).