Chapter 6 The Sixth Dalai Lama Tsangyang Gyatso and His Love Poems

The sixth Dalai Lama, Tsangyang Gyatso (1683-1745) (?), is a famous figure in Tibetan history.Born in Lawo Yusong, Menyu, he was gifted as a spiritual being since he was a child. He once worshiped the fifth Panchen Lama as his teacher.Later, he was welcomed to the Potala Palace. Under the direct training of the famous scholar Sanjay Gyatso, he studied astronomy, calendar, medicine and literature, and had a deep knowledge of poetry.At the age of twenty-five, Tsangyang Gyatso, who was a victim of the power struggle of the upper ruling class, began his wandering life.Has traveled around Qinghai, Gansu, Mongolia, Sichuan, U-Tsang, India, Nepal and other places.He used to be a beggar and gave away corpses, and his life was extremely difficult.Because of the contact with the broad masses of the people and rich life practice, he wrote beautiful and moving works.One said that Tsangyang Gyatso was murdered on the way to Beijing, and his works were written before he was twenty-five years old.

Tsangyang Gyatso (1683-1706) is one of the most famous Tibetan poets.His poems are well-known at home and abroad, not only have an important position in the history of Tibetan literature, have a wide and far-reaching influence on the Tibetan people, but also are a remarkable flower in the world poetry circle, which has attracted many scholars research interests.Some of the original works in Tibetan are published in manuscripts, some are printed in woodcuts, and some are circulated orally.It shows how deeply the Tibetan people love it; at least ten Chinese translations have been published and published, either in neat five-character or seven-character characters, or in lively free verse, which are welcomed by people of all ethnic groups in the country; the English translation was published in 1980. Published, Professor Yu Daoquan annotated the original Tibetan poem with Chinese meaning, and translated it into Chinese and English.The Chinese translations are carefully considered, carefully considered, faithful and accurate, and maintain the charm of the original poems. Together with Dr. Zhao Yuanren's international phonetic notation, it has set up a model for scientifically recording and translating Tibetan literary works.

Tsangyang Gyatso's contribution to Tibetan poetry is enormous, creating a new style of poetry, which is always worthy of commemoration and respect. 1. Book title and edition (hereinafter referred to as "Love Song"), according to the original Tibetan title, it should be translated as "Poetry of Cangyang Gyatso".Because the content is mostly love works, they are generally regarded as "love songs".Some interpret it as a religious poem, while others interpret it as a political poem. "Love Song" is generally identified as the work of the sixth Dalai Lama Tsangyang Gyatso.However, some people think that it was not Cangyang Gyatso who made it, but someone with ulterior motives who forged it to frame him.Others believe that not all love songs are the works of Tsangyang Gyatso, some may be written by Tsangyang Gyatso, and some may be recorded folk songs.In this regard, there is currently no sufficient material to verify this.According to the general saying of Tibetans, we believe that it is the work of Tsangyang Gyatso.

According to what is known so far, there are fifty-seven poems in the Lhasa Sanskrit-style woodblock edition, sixty-two poems in the Tibetan and Chinese-English bilingual edition by Professor Yu Daoquan, and sixty-six poems in the Tibet Autonomous Region Cultural Bureau edition. Qinghai Nationalities Publishing House has 74 poems, and there is also a Tibetan manuscript of more than 440 poems.Others say that there are more than a thousand poems, but they have never seen them.It seems that the seventy or so are more credible. 2. The author's life Tsangyang Gyatso was born in Wujianling, Nawo Yusong, southern Tibet.His father, Tashi Tenzin, and his mother, Caiwang Lamo, belong to a family that has believed in Nyingma Buddhism for generations.When Tsangyang Gyatso was born, it happened not long after the fifth Dalai Lama escaped from obscurity, and the political struggle in Tibet was complicated. He was identified as the "reincarnated soul boy" of the fifth Dalai Lama by Sangye Gyatso, the ruler of Tibet at that time. . In 1697, Tsangyang Gyatso was fifteen years old. In Langkazi County, he took the fifth Panchen Lama Lobsang Yeshe as his teacher and received the precepts. He took the dharma name Lobsang Rinchen Tsangyang Gyatso.In the same year, the enthronement ceremony was held at the Potala Palace in Lhasa, becoming the sixth Dalai Lama.Before that, Tsangyang Gyatso lived among the people, living a free life of ordinary people.Although the family has believed in Nyingma (or Red Sect) Buddhism for generations, the canon of this school does not prohibit monks from marrying wives and having children.Another example is that the love life of the Tibetan people at that time was relatively free, so Baiyang Gyatso formed a free thought on love.However, he was later identified as the Dalai Lama, and the Gelug Sect (or Yellow Sect) Buddhism to which the Dalai Lama belongs strictly prohibits monks from marrying, starting a family, and approaching women.What's more, as the Dalai Lama, it is even more necessary to lead by example.This contradicted his original thinking and understanding, and made it difficult for him to accept the rules and regulations of this extreme asceticism. Therefore, regardless of criticism from all sides, he broke through many obstacles, changed his name, and often went to Lhasa city late at night. Mixed in "tea houses and restaurants" and made many "love affairs" that violated religious regulations.And these things were precisely used by the opposition, making the young Tsangyang Gyatso a victim of the political struggle in Tibet. In 1706, he died on the shore of Qinghai Lake on the way to Beijing by the imperial envoy.

There are still various theories about the final outcome of Tsangyang Gyatso.There is a legend that: When Tsangyang Gyatso followed the imperial envoy in handcuffs and shackles to Tashiqi in Qinghai, he escaped with supernatural powers and went to practice in the cave of Mount Wutai.One day, a girl came suddenly and gave him a portrait of Guanyin.He hung the portrait on the wall and recited the "Saint Image Curse". At this time, the girl suddenly got up from the ground and slowly walked into the portrait. Only then did I realize that the girl is the incarnation of Avalokitesvara.Therefore, the portrait is called "The Talking Image", and the cave where he practiced is called "Guanyin Cave".Later, he went from Mount Wutai to Alashan Banner, Mongolia, where he grazed sheep for a family. Many sheep were eaten by wolves. What they eat, please reason with them!" The owner was amazed and realized that he had a history.In addition, in the 13th Dalai Lama: Biography, there are words: "When the 13th Dalai Lama went to Wutai Mountain to pay pilgrimage to the Buddha, he personally visited the temple where Tsangyang Gyatso retreated and meditated"; it is also said that he was under house arrest. Wutai Mountain.It shows that the theory of going to Mount Wutai is quite popular.

Regarding the statement that Cangyang Gyatso did not die on the way to Beijing, the "Secret History of Cangyang Gyatso" written by the Mongolian lama Ngawang Dorje is the most detailed. "Secret History" said: When Cangyang Gyatso was sent to Qinghai by the imperial envoy, the emperor's imperial decree arrived, and the imperial envoy was reprimanded for not doing well, saying: "You welcome the master to the inland, where will he be placed? How to make offerings ?” Because of the fear of crime, the imperial envoy secretly let Cangyang Gyatso go past.After that, Tsangyang Gyatso went to Mount Emei in Sichuan via Amdo and Kham districts, where he was warmly received by the monks in the monastery.Then return to the Tibetan area, Jinglitang, Batang and go to Lhasa.He also went to the south of the mountain to pay homage to temples such as Samye and Changzhu.Unexpectedly, Lhazang Khan knew about it and sent someone to capture him. He escaped on the way to Lhasa, traveled far away to Nepal and India, and returned to Lhasa via Nyalam, Tingri, Menyu, Gongbu and Tabu.Recognized by others, so she can't hide, so she flies away.Has toured in Qinghai, Mongolia and other places. In 1717, he traveled to Beijing and returned to Alashan Banner in Mongolia half a year later. He used this as his station in Xixi and was active in Mongolia and Qinghai. He passed away in 1746 at the age of sixty-four.

From this point of view, further research can be done on the second half of Tsangyang Gyatso's life. 3. Thought content For the ideological nature of "Love Song", we must analyze and understand it in combination with the historical era and social environment in which Tsangyang Gyatso lived and his special identity.As mentioned earlier, according to the regulations of the Gelug Sect, monks must strictly abide by the precepts of asceticism.What's more, the Dalai Lama, who is the supreme religious leader, should be an example for others.However, Tsangyang Gyatso not only did not set an example, on the contrary, with this unique and prominent identity, he made a lot of "love affairs", wrote the affectionate "Love Song", and boldly challenged the Buddhist rules and regulations. The challenge itself, from the Nyingma point of view, is not strange at all.However, it was undoubtedly a serious challenge to the Gelug Sect and the entire Buddhist thought of transcending the world, which was advertised as strictly abiding by precepts at that time, so it has extraordinary practical significance.In his love song he wrote:

"If you follow the heart of a beautiful girl, In this life, I have no place to study Buddhism, If you go to the mountains to practice, And I'm in love with the girl. " (Translated from Qinghai Provincial Ethnic Publishing House Tibetan-Chinese Contrasting Poem No. 24) This poem raises a sharp question: Is it to become a monk to practice Buddhism, or to live at home?Is it the persistent pursuit of real life, or abandoning this life to seek the illusory happiness of the next life?This question is in front of every monk and is on the mind of every monk.Among the majority of monks, it is a contradictory issue with universal significance and profound content.This kind of contradiction is so irreconcilable, either one or the other, the two must be one of the two, and every monk has to make his own choice.However, in old Tibet, under the serf system ruled by theocracy, people did not have personal freedom and freedom of belief.If there are two boys in a family, one should be sent to become a monk; if there are three boys, two should be sent to become monks.Therefore, freedom of belief is completely obliterated here, and one's right to choose is deprived.In this regard, Tsangyang Gyatso suffered the same fate as the majority of monks.

But the shackles of action are not the same as the stifling of thought.Cangyang Gyatso is unwilling to lose the freedom of love.So in "Love Song" the following song is sung again: "The face of the lama I meditate on, but cannot be manifested in the heart; The face of a lover without meditation, But it is clearly reflected in my heart. " In Buddhist concepts, "Buddha, Dharma, and Sangha" are called "Three Jewels".That is to say, the Buddha, teachings and monks are the supreme, sacred and inviolable in Buddhism.Any believer must worship, and no disrespect, let alone blasphemy, is allowed.Among them, the lama who taught himself the Buddhist scriptures was the personal teacher who guided him into the sect and guided him to the path of liberation, and he was the spokesperson of the Buddha.It is even more necessary to be respectful and obedient to them, and to observe and practice them at all times in the practice of the Dharma, otherwise, it will be a big rebellion and the crime will be intolerable.However, in this poem, Tsangyang Gyatso compares the lama who taught him to practice Buddhism with the "lover" whom Buddhism strictly prohibits contact with.Moreover, he also declared without hesitation that the lamas he practiced on purpose did not appear in his mind, while his lover who did not practice them occupied his heart.This fully shows that the poet is indifferent to Buddhism and lamas, but passionately pursues life in the world.

There are seven or eight poems with such content in "Love Song".These poems not only negate the Buddhist thought of being born out of this world, but also give a powerful attack on the system of theocratic unity that forces monks to become monks and assigns them as servants to serfs.It expresses the aspirations of the majority of monks, and also reflects the dissatisfaction of the broad masses of the people with this system and the criticism of irrational Buddhist asceticism, which makes these poems have profound parliamentary significance.This is the fundamental reason why "Love Song" can be widely spread among the people and loved by the people.What's more, the poet also sings:

"Frost on hair grass, And the messenger of cold wind, Of course they are, Break up the flower bees! " (The 8th song in the same book) The whole poem uses metaphors, vivid images, and powerfully points the finger of attack at all "frost" and "cold wind" that destroy love, and its social significance is even more general. In "Love Song", we can also read poems about the pursuit and praise of steadfast love, such as: "With a heart full of love, Ask if Yi can be a partner? Answer: Unless you die, As long as you live, you will never be separated! " (The 23rd song in the same book) "The stamped black seal, can't speak, Please put the small seal of faith, Embedded in each heart" (Song 14 of the same book) "Written in small black letters, has been washed away by the rain; The picture of the unpainted heart, You can't wipe it off! " (song 13 in the same book) There are also many poems in "Love Song", which describe all kinds of complicated and tortuous scenes and subtle and changeable psychological states in the whole love life, all of which are true, delicate and have a certain universal significance.Such as depicting first love: "Among the crowd, Molu, our true love, If you want to, Please pass it on with your eyebrows! " (song 71 of the same book) Expressions of love and joy such as: "The cuckoo comes from Mendi, bring the breath of spring; I meet my lover, (Song 46 of the same book) Expressing missing feelings such as: "First best not to see, lest they fall in love with each other; Second best not to know, Lest we miss each other. " (song 66 of the same book) Symptoms of uneasiness such as: "Though skin to skin, But don't know the heart of the lover; It's better to draw pictures on the ground, Can count the stars in the sky. " (song 49 of the same book) This poem delicately reflects the uneasiness of a man and a woman when they are not sure of each other's true feelings in the process of dating. The emotions of joy, anger, sorrow, and joy in love life expressed in the "Love Song" mentioned above, and the taste of ups and downs, all appear in the love life of ordinary young men and women.This also makes the poet and the masses have a similarity in emotion. Regarding Tsangyang Gyatso, the two political forces in Tibet exerted strong pressure on him from different directions.Supporting Tsangyang Gyatso as the contact of the Dalai Lama, Sangye Gyatso, told him to abide by the rules, not violate the precepts, and concentrate on reading scriptures.This is clearly recorded in "The Biography of Sangye Gyatso" and "The Secret History of Tsangyang Gyatso".This is obviously for the purpose of not giving the other party an excuse in the political struggle.Lhazang Khan on the other side took advantage of Tsangyang Gyatso's "absurd behavior" and tried his best to attack him, saying that what Sankyi Gyatso set up was not the real Dalai Lama.In short, all criticisms and attacks from all sides fell on Tsangyang Gyatso.In this regard, the poet did not give in.On the one hand, he expressed his willingness to hand over the laurel crown of "Dalai Lama" to his close teacher, the Fifth Panchen Lobsang Yeshe; on the other hand, he also used his poems to make a loud and powerful answer: "People gossip about me, I don't think I'm bad at it, Boy my footprints, Into the hostess's house. " (song 61 of the same book) This is compared with another poem: "The old dog is full of hair and beards, and its heart is smarter than people. It is said that I have gone out at night, let alone return at dawn!" The latter is obviously written in the early days, revealing that the poet is afraid of himself. Anxiety about being known by others Affection.The former is the poet's outspoken confession of his own behavior, while at the same time giving a strong rebuttal to those accusations: "Don't talk about Tsangyang Gyatso, To find a lover. just like what I've been looking for, Others need it too! " (song 67 of the same book) Not only that, but the poet made up his mind and declared to them loudly: "The vicious dragon demon behind, It doesn't matter whether you are afraid or not, Sweet apples ahead, I must pick it up! " (song 65 of the same book) This poem shows the poet's strong will and determination to break through all rules and regulations, and pursue love and love life in spite of all attacks and censures. All of these were like a deafening thunderbolt to the upper class of Tibetan society at that time, especially the religious circle, which was regarded as sacred and inviolable. It was a serious challenge and blow.Therefore, Cangyang Gyatso was blamed.However, this violation of religious regulations is obviously only a fuse, and more importantly, political reasons. Therefore, they seized Tsangyang Gyatso's life performance, took advantage of it, made up charges, and sued the central imperial court. achieve their political goals.However, because of this, it more clearly shows the progress and great social significance of "Love Song". 4. Artistic achievements "Love Song" not only has positive and progressive ideological content, but also has a high degree of artistic skills.In terms of metrical structure, "Love Song" adopts the form of "harmonious style" (four sentences and six character styles) folk songs, except for a few sixties and eight sentences.Basically, there are four sentences in each song, six syllables in each sentence, two syllables and a pause, divided into three beats, that is, four lines of six syllables and three pauses in the folk song rhythm.The rhythm is loud and catchy, and it can also be sung in folk songs, which is full of musical beauty. "Love Song" contains emotions in metaphors, and uses more metaphors; it expresses the heart directly, and adopts the technique of line drawing, which is natural and smooth, easy to understand, and has a strong charm of folk songs. "Love Song" also uses a variety of artistic methods.There are metaphors throughout.Such as: "The willow loves the bird, The bird loves the willow, As long as you both love each other, Harrier Hawk can't be destroyed! " (song 62 of the same book) In the poem, the common natural scene of birds perched on willows is used as a metaphor for the love between men and women; the hostile relationship between hawks and birds is used as a metaphor for destroyers and their vicious nature, which are very appropriate and full of life.There are also the first two sentences Bixing, and the last two sentences Sentences are realistic, such as: "The fierce horse fled to the mountains, Can be captured with a lasso. When lovers turn against each other, Mana is also hard to catch! " (No. 37 of the same book) The first two sentences compare the rebellious and bad horse with the rebellious lover in the last two sentences, which can be said to be a close comparison, which has quite national characteristics. There are also many poems in "Love Songs" that adopt a line-drawing technique that directly expresses the heart.Such as: One put a hat on his head, One with braids from behind, One said please go slowly, One said please keep your pace, One said don't feel bad, One said they would meet soon. " (No. 56 of the same book) The actions of wearing a hat and shaking braids are very common, but when the poet writes poems, they appear so real, delicate, and give people a moving picture; a few lines of dialogue also seem ordinary.But the lingering and deep affection is lingering in the plainness; it is common to say goodbye to each other, but once the love wine is poured, the scene will make people extremely intoxicated.In just six lines of poems, when writing actions, men and women are clearly distinguished; when writing dialogues, the words are short and the meaning is long.There is love in the scene, and there is painting in the poem, which becomes a wonderful farewell sketch full of life.It's not that the poet loves life and observes deeply and meticulously, how can he reach such a superb state! Some poems in "Love Song" also skillfully use the technique of contrast.Such as: "I went to the Lama, Please enlighten me. Helpless heart hard to accept, Run to the lover's side. " (song 17 of the same book) This poem compares the two sharply contradictory things, the lover and the lama, love and Buddhism, and uses the choice of the heart as a lever for comparison. , all performed vividly.Comparing the two, the images are extraordinarily vivid and the feelings are stronger, achieving a high degree of artistic effect. Some poems in "Love Song" are very romantic in terms of conception and artistic conception, such as: "The sky is white and the crane, Please spare me your wings, Not far to fly, Just go back to Litang! " (No. 57 of the same book) This poem reveals the poet's detached and romantic temperament.At the same time, it also expresses the poet's eager desire to break out of the cage and gain freedom, which makes people feel refreshed and happy when reading, and has always been loved and sung by the masses.After liberation, the masses also took advantage of this metric to create a new popular new folk song "Crane in the sky, please lend me your wings, don't fly far away, and return as soon as you arrive in Beijing!". In terms of the use of language by poets, they are simple and unadorned, lively and lively, fresh and lively, easy and popular, and most of them are the language of the masses.This is also one of the important reasons why his poems can be widely circulated among the masses.People who don't know the source of the poem just sing it as a general folk song.This shows the degree of "popularization" of "Love Song" in terms of language art and thoughts and feelings.Especially at that time, the upper-class literati were mostly influenced by the "Nian'a" poetry style, advocating elegance and profundity, emphasizing the accumulation of words, and despising "vulgar words and slang". The language written into the poems is unique, and it refreshes the eyes and ears of the literary world at that time, which is even more commendable.This situation fully demonstrates that an accomplished poet must always learn from folk songs and draw nutrients from them in order to enrich himself.The same can be seen from the poems of Milarepa in the eleventh century and Kunga Gyaltsen in the twelfth century. To sum up, it can be said that the ideological content is positive and healthy, and it sweeps away the habit of feudal literati who must have religious content in their works.It has unique achievements in art, jade embellishes pearls, spits nature, and is full of folk song charm. It is a beautiful poem with a harmonious unity of thought and artistry. A gorgeous flower.