We continue our exploration of the mind, as the Tibetan Book of the Dead with his translator, Philippe Cornu, who publishes a new version of Bardo in Thödol Buchet -Chastel. Today he insists on the crucial contribution of Chögyam Trungpa for Buddhism modern, showing how the six worlds are so many moments in life that crosses your mind. The bardo is not limited to after-death, but manifests itself by the tone of consciousness at the present time, dye-based experience the "life script" peculiar to each. Ph. Cornu also restores the concept of bardo its doctrinal background, which dates back to ancient India. He finally explains how the convention and related practices can help overcome the suffering, the solidification of the experience of pain and loss of a loved one.
What do you think is the best work to date on the bardo?
The best interpretation is that Thödol Bardo by Francesca Fremantle, conducted in collaboration with Chogyam Trungpa. Trungpa Rinpoche was not involved in the Tibetan translation of the text, but he made an oral commentary was transcribed. In his book, he puts in the hands of Westerners in a more practical and emotional content of the Book of the Dead and Bardos, which is good because the tradition has not remained something foreign to students of Buddhism.
story is very interesting because we know that the Thödol Bardo is a Tibetan book, but is less well known that the idea bardo is an ancient concept in Buddhism. She was born in India in the first centuries after Buddha's death. We are talking about antarabhava, intermediate state (anta, between and bhava, existence). It is a period that begins after the phenomenon of death and rebirth until, or rather the design. The question was: how to understand the continuity between one life and one where there is no self? How, if there is no permanent element, is the transmission of karma? It was from there that the idea was born to be a antarabhava. And
What precisely is the bardo?
The bardo is not a world but an inter-world, through a state of becoming. Depending on the actions of the person, karma will ripen and project in a particular scenario of existence. For example, if one has cultivated anger, aggression and violence throughout his life, we created corresponding impregnations. This will create a mental projection made in anger, aggression and violence, we will call hell. We are creating ourselves our own scenarios, in addition we must live! Author and actor in the scenario, the six worlds are six scenarios of possible life. By analogy, the film is very useful to understand the stream of consciousness, as these images are repeated at a certain speed and create a sense of continuity. Trungpa much used the notion of projector: the film is projected on the screen but the lamp is not responsible for what is played, although this is the source. It is a way to explain the basis Trungpa primordial spirit from the mind itself is a projection. The lamp is the source and not the cause, because as causal temporality level only in the film. When Trungpa explains
six worlds or scenarios of existence, it shows that we have in our lives. It is also not the first to say, there are some who claim he has turned the tradition to put the six worlds in the hands of Westerners. But there have been a Zen master in Japan seventeenth sicèle who presented well. A nineteenth-century Thai king, who had been a monk for 25 years before ascending the throne, had also made the analogy of the six worlds with life situations.
What can not hear the West is that one should not exclude the other. This is not because they are tinged existential situations which our lived every moment, insofar as these dominant tones do not occur in reality. And so, we may be reborn into a scenario with an environment and appropriate body because the body is also a production that comes from the karmic mind. Everything is by conditioning the mind, on a basis of ignorance, not understanding the true nature of things. As is offset from this source which is the primary basis of mind, we interpreted it all wrong. That's what hurts and why samsara is considered overdue, because suffering is the result of being offset from the real. These scenarios are more or less good or bad, but they all have the quality of being transient.
What does it at the time of death? Originally
is clarity, like a lamp which is not involved in the film. It is as if we had waves frozen in place and lived phenomena on ice floes where the water is no longer free. Our world is an ice floe, a solidification of life. At the time of death, things are not so strong, it's a crucial time when the famous aggregates disintegrate. This no longer holds. This karma is exhausted. Physical and psychic disintegration, concepts about things, awareness of the senses disappear, then the mental consciousness has no object is ultimately the alaya. We discover the true nature of our mind, or rather it is discovered at the end of the process of death, the fundamental clear light of death. The problem is that the truth is too dazzling for us. If you do not already got a glimpse of the bright light in this life, we will not recognize it but turning away. Then came the vision of the deities, which are all opportunities for release, because we can recognize that they are the manifestation of our mind. This brings us back to the source, as along a river. If it still failed, the demonstrations turned into bright karmic reactions, because the power of karma muted until then resets itself. This is the entrance into the bardo of becoming, with visions of more ordinary, like a dream or a nightmare depending on the karma that arise. These hallucinations are pushing us towards a door of rebirth, the matrix where we will be reborn. It is then crucial not to go to his habits and tendencies. As is typical, it is on one side lights pure and dazzling wisdom and dull side lights, which are preferred because they are in our habits. This is the error that prevents the spiritual path.
How this text can help us in life?
Do not forget that this is a complete ritual accompanying the period of mourning. I happened to practice for a friend killed in an accident. I did it for twenty-one days after his death, then the 49th day, I burned the card that represented him by his name was really a final farewell. This helps to mourn exemplary manner, because you are in contact with the person, rather than with your grief and your loss. You've done something for another without feeling sorry for you, it totally changes the game. No more guilt of being alive, because you can do good to the person, thinking it really. There is a therapeutic process, a form of active mourning. This is to illustrate that this text is practical and can help us in concrete terms. Understand that this cycle helps the dying to leave his ordinary mind and free themselves from their conditioning. These texts are actually used in Tibet when people die because of tradition Tibetan what matters is the experience first.
Further reading:
Philippe Cornu, Encyclopedic Dictionary of Buddhism , Seuil, 2001
Fremantle and Trungpa, The Tibetan Book of the Dead , E-Book , 1979
Chogyam Trungpa, Bardo. Beyond madness , Seuil, 1995
Buddhism News, No. 123, April 2010. On newsstands now.
What do you think is the best work to date on the bardo?
The best interpretation is that Thödol Bardo by Francesca Fremantle, conducted in collaboration with Chogyam Trungpa. Trungpa Rinpoche was not involved in the Tibetan translation of the text, but he made an oral commentary was transcribed. In his book, he puts in the hands of Westerners in a more practical and emotional content of the Book of the Dead and Bardos, which is good because the tradition has not remained something foreign to students of Buddhism.
story is very interesting because we know that the Thödol Bardo is a Tibetan book, but is less well known that the idea bardo is an ancient concept in Buddhism. She was born in India in the first centuries after Buddha's death. We are talking about antarabhava, intermediate state (anta, between and bhava, existence). It is a period that begins after the phenomenon of death and rebirth until, or rather the design. The question was: how to understand the continuity between one life and one where there is no self? How, if there is no permanent element, is the transmission of karma? It was from there that the idea was born to be a antarabhava. And
What precisely is the bardo?
The bardo is not a world but an inter-world, through a state of becoming. Depending on the actions of the person, karma will ripen and project in a particular scenario of existence. For example, if one has cultivated anger, aggression and violence throughout his life, we created corresponding impregnations. This will create a mental projection made in anger, aggression and violence, we will call hell. We are creating ourselves our own scenarios, in addition we must live! Author and actor in the scenario, the six worlds are six scenarios of possible life. By analogy, the film is very useful to understand the stream of consciousness, as these images are repeated at a certain speed and create a sense of continuity. Trungpa much used the notion of projector: the film is projected on the screen but the lamp is not responsible for what is played, although this is the source. It is a way to explain the basis Trungpa primordial spirit from the mind itself is a projection. The lamp is the source and not the cause, because as causal temporality level only in the film. When Trungpa explains
six worlds or scenarios of existence, it shows that we have in our lives. It is also not the first to say, there are some who claim he has turned the tradition to put the six worlds in the hands of Westerners. But there have been a Zen master in Japan seventeenth sicèle who presented well. A nineteenth-century Thai king, who had been a monk for 25 years before ascending the throne, had also made the analogy of the six worlds with life situations.
What can not hear the West is that one should not exclude the other. This is not because they are tinged existential situations which our lived every moment, insofar as these dominant tones do not occur in reality. And so, we may be reborn into a scenario with an environment and appropriate body because the body is also a production that comes from the karmic mind. Everything is by conditioning the mind, on a basis of ignorance, not understanding the true nature of things. As is offset from this source which is the primary basis of mind, we interpreted it all wrong. That's what hurts and why samsara is considered overdue, because suffering is the result of being offset from the real. These scenarios are more or less good or bad, but they all have the quality of being transient.
What does it at the time of death? Originally
is clarity, like a lamp which is not involved in the film. It is as if we had waves frozen in place and lived phenomena on ice floes where the water is no longer free. Our world is an ice floe, a solidification of life. At the time of death, things are not so strong, it's a crucial time when the famous aggregates disintegrate. This no longer holds. This karma is exhausted. Physical and psychic disintegration, concepts about things, awareness of the senses disappear, then the mental consciousness has no object is ultimately the alaya. We discover the true nature of our mind, or rather it is discovered at the end of the process of death, the fundamental clear light of death. The problem is that the truth is too dazzling for us. If you do not already got a glimpse of the bright light in this life, we will not recognize it but turning away. Then came the vision of the deities, which are all opportunities for release, because we can recognize that they are the manifestation of our mind. This brings us back to the source, as along a river. If it still failed, the demonstrations turned into bright karmic reactions, because the power of karma muted until then resets itself. This is the entrance into the bardo of becoming, with visions of more ordinary, like a dream or a nightmare depending on the karma that arise. These hallucinations are pushing us towards a door of rebirth, the matrix where we will be reborn. It is then crucial not to go to his habits and tendencies. As is typical, it is on one side lights pure and dazzling wisdom and dull side lights, which are preferred because they are in our habits. This is the error that prevents the spiritual path.
How this text can help us in life?
Do not forget that this is a complete ritual accompanying the period of mourning. I happened to practice for a friend killed in an accident. I did it for twenty-one days after his death, then the 49th day, I burned the card that represented him by his name was really a final farewell. This helps to mourn exemplary manner, because you are in contact with the person, rather than with your grief and your loss. You've done something for another without feeling sorry for you, it totally changes the game. No more guilt of being alive, because you can do good to the person, thinking it really. There is a therapeutic process, a form of active mourning. This is to illustrate that this text is practical and can help us in concrete terms. Understand that this cycle helps the dying to leave his ordinary mind and free themselves from their conditioning. These texts are actually used in Tibet when people die because of tradition Tibetan what matters is the experience first.
Interview by Nicolas Inca
Further reading:
Philippe Cornu, Encyclopedic Dictionary of Buddhism , Seuil, 2001
Fremantle and Trungpa, The Tibetan Book of the Dead , E-Book , 1979
Chogyam Trungpa, Bardo. Beyond madness , Seuil, 1995
Buddhism News, No. 123, April 2010. On newsstands now.
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