November 27, 2024 • 19 mins
What does the “Tibetan Book of the Dead” tell us about being dead? Will we see the Peaceful and Wrathful deities?
- Bardo
- Tibetan Book of the Dead
- Bardo Thodol
The 42 Peaceful Deities of the Bardo
The 58 Wrathful Deities of the Bardo
#Buddhism #Vajrayana #Tibet #DoubleDorje #Bardo #TibetanBookOfTheDead
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:08):
Hello all you wonderful people who are kind enough to listen. This is the Double Dorje podcast. I'm Alex Wilding, and today we're going to take a bit of a look at what the so-called Tibetan Book of the Dead tells us about what might happen between dying and being reborn.
There are a couple of common misconceptions I want to disperse, and we could well do with looking squarely at what it does say and what it doesn't say.
Firstly, as quickly as I can, the usual two things (00:39):
Please take a moment to like, subscribe or whatever. It really does help, and if your platform doesn't show you the extra material, like the list of words that you might want to look up, that I usually provide, you'll find that on podbean where this podcast is hosted.
(01:03):
A recent episode was about death, particularly from the point of view of the bereaved
That episode wasn't really concerned with what actually are important matters grief, and how to deal with it,
but rather in the sense of what Buddhists might do when someone close to them dies.
In that episode, I spoke about the rather twisty-turny way that this somewhat misleading title, Tibetan Book of the Dead came to be chosen for that book.
(01:34):
The title was a marketing ploy cooked up in the 1920s, and it was successful enough that many, many later translations - and I have to say better translations - echoed that title in one way or another.
If you haven't read that book and feel that you might like to get hold of a copy and have a look,
(01:55):
I have to confess that I'm not sure which particular translation I would recommend.
That being said, I would absolutely disrecommend, if that's a word, that early effort edited by Evans Wentz.
Apart from the rather weird, mock King James Bible, diction, the work which I suppose we must call editing done by Evans Wentz has sadly earned a lot of criticism.
(02:23):
Just as one illustration, though not in fact, from this book, a few years later he published a work which he entitled Tibetan Yoga and Secret Doctrines.
And one of the sections in that book concerned a single page, single folio text called, if I remember correctly, the Yoga of the Long Hum.
(02:46):
Now, hum or hung is a syllable that's totally central to the body of Buddhist mantras.
If by some chance - good or bad chance, I don’t know – you find yourself amongst a bunch of yogis all intoning the same syllable,
it's a good bet that, if they're all going Om Om Om, they are practising some form of Hindu-derived yoga.
(03:13):
But if they're all going Hum Hum Hum, you can fairly safely bet that they are some kind of Tibetan Buddhists.
Anyway,
in that single-page text, five components of the way this syllable HUM is written are assigned colours,
and are associated with the five wisdoms and the five Buddha families.
(03:39):
Some of you may be saying “the five what's?”
These are in fact well known themes in Vajrayana practice,
which of course you're not necessarily familiar with. But relax. To understand what I'm saying, you only need to know that these ideas do exist and that they have names. They are kind of standard formulations in this literature.
So, probably because he thought that he knew better than the original author, Evans Wentz swapped a couple of these assignments around in order, as he believed, to correct what he supposed to be a mistake.
(04:15):
Having done that, he nevertheless provided a reproduction of the folio concerned as one of the books plates.
Perhaps at the time Evans Wentz thought that while his audience might be enthralled by the magic of this really rather charming illustration, they would not be able to understand it.
I can only assume that he assumed that they would merely wonder at it.
(04:42):
However, the fact that he has changed the assignments is plain to see if you can read even a little bit of Tibetan.
In fact, both the assignment as actually described in the text itself, and the assignment that he writes as what he believes to be a correction, are both known to the tradition. Both are possible. Neither can be said to be right or wrong.
(05:08):
The disappointing thing, of course, is the low level of respect that he has shown to the text.
Best to avoid.
Anyway, anyway, anyway, that's a bit of a byway. Let's just be clear that a proper translation of the title of this so-called Book of The Dead would be Liberation by Hearing in the In-between State.
(05:41):
The word bardo means neither more nor less than “in between”.
It is true that in these contexts the word is usually taken to refer to the state or the bardo in between death and a next life.
But we should be aware that there are other in between states.
It's even possible to say that everything is an in between state because nothing, no circumstances, no status, nothing like that, lasts forever.
(06:11):
Here I am now in the bardo of writing and talking about what people have written and said about the bardo!
The book we're talking about here describes six particular in between states or bardos, although that doesn't have to be the end of the story.
There can be longer lists.
One of these bardos is the state of ordinary life,
(06:35):
the one we are in at the moment.
At least I believe that's what we're in. Your mileage may vary.
Then there's the bardo of dream, occurring somewhere between waking and sleeping. There is the bardo of being absorbed in meditation.
And, in the zone of interest here between death and life,
three bardos are talked about.
(07:05):
I will take a look at those in a minute, but there is one, not uncommon, misconception it would be good to avoid.
The bardo, the bardo between death and life, is not thought of in this system as a kind of limbo or purgatory state, a spiritual waiting room where dead people hang out but from which they should escape.
(07:30):
Or perhaps need to escape.
You can meet an idea like that in literature from the Western spiritualist movement.
There is a rather well known book which I haven't read, but have good reason to believe is really rather good, known as Lincoln in the Bardo.
As I understand it, the author, George Saunders, presents a picture of an afterlife here as a place where dead people interact with one another, in particular with Abraham Lincoln.
(08:02):
In the Buddhist sense, however, that would be considered a kind of birth in some sort of spirit realm.
The bardo, as we speak of it in the Vajrayana, is necessarily a temporary state. We are blown through it helplessly. Willy-nilly, by the winds of karma and habit. Even if we try to hang on to something apparently solid, it doesn't work.
(08:30):
The bardo is spoken of as a dangerous pathway in which the winds of karma howl.
The only question - the big question - is this:
Which is our exit gate? The white gate? Green gate? The blue black, yellow or red gate? We'll come back to this question. So for now, let's just say that you have a boarding card stamped by the actions and habits of your last life.
(08:59):
The book, let's start calling it the Bardo Thodol as a short version of its proper name,
is actually from a much larger treasure revealed by a treasure revealer, Karma Lingpa, about 700 years ago.
There is another point that it's good to know, which is that in fact it's not hugely important in the great scheme of Tibetan Buddhism.
(09:27):
The body of teaching and practice related to death and dying in Tibetan Buddhism is rich and big. Huge, you might say.
Our book here is a small sample of this kind of text, which just somehow bubbled up and caught the attention of the West in the early 20th century.
It's not really meant as a guide that a large number of typical people, I might say people like you and me, would be likely to read in preparation for dying.
(09:59):
It's a liturgy for a spiritual or preceptor or teacher, of someone who has invested time and effort into practising and studying in this tradition.
A lot of the material has roots in an older work, the Tantra of the Secret Essence, which is a text central to the Nyingma tradition.
(10:21):
If you go to a good book shop - I'm imagining that one still exists within reach of where you live - and you look for a travel guide, for instance, to London, there will be a wide choice.
In a similar way, the Bardo Thodol is one of many teachings providing a guide to the death and dying process.
(10:51):
So, of the six bardos spoken of here, three in particular concern death and dying.
The first is the chikai bardo, and concerns the process of dying itself.
This is usually described in terms of somebody dying more or less peacefully, step by step, stage by stage. For people who die suddenly or violently the whole process is, of course, greatly compressed.
(11:21):
The text, like other texts from the tradition concerned with the dying process, describes the dissolution of the elements into one another, the fading of the senses and the bodily energy.
Details are drawn from the Indo-Tibetan tradition, but there isn't anything terribly strange about it, if you ask me.
(11:43):
As the elements collapse, the dying person falls into a swoon.
At this point, something interesting is taught to occur, something not spoken of at all, or at least not at any great length, in, for example, Western occult traditions.
This is the stage that has proved fascinating to many Westerners, including even its adoption by Timothy Leary as a component of his LSD-dropping movement.
(12:13):
This is the chonyid bardo, the temporary state in which reality is experienced nakedly.
It is held that, at the time when an ordinary experience ceases,
there is a moment at which the true nature of things dawns on us as a dazzling vision of infinite beauty.
(12:34):
Part of this teaching is that such a moment does occur from time to time during ordinary life, but, for a good number of us, the moment passes without even being noticed.
For those of us who have not trained in these things, the whole of this chonyid bardo is likely to pass in a flash, just in the same way as most of us don't notice the clear light as we fall asleep.
(13:00):
For those who do succeed in maintaining some awareness,
this is when the visions for which the Bardo Thodol is famous appear.
It's colourful! It's amazing! It's a phantasmagoria!
Radiant Buddhas appear, and we have the chance of recognising the particular form of wisdom that they embody.
(13:23):
Assuming that we fail, the visions of these various Buddhas become increasingly wrathful and
appear in increasing numbers.
This particular tradition, as I mentioned before, is largely based on the Tantra of the Secret Essence, where we can find a description of the 42 peaceful deities who are likely to appear, followed by the 58 wrathful deities.
(13:49):
We shouldn't forget either that these can have many emanations, and emanations of emanations, so you can probably see why the acid trippers thought that they were onto something here.
Likely as not, however, we will not recognise any of these deities as the manifestation of our own enlightened nature.
(14:11):
We will drift on to the third bardo.
This is called the sidpa bardo, the bardo of becoming.
It's the process of ending up in one of the six worlds.
It is taught that each of these worlds or realms emits a pleasant coloured glow.
(14:33):
The one to which our karma is pulling us will have the most attractive glow.
The realm of the gods, the paradises where everything is wonderful, at least for as long as it lasts, emits a soft white glow.
The demigods or jealous gods, who are actually quite well off, but would really like to be in the paradise at the top of the tree, and therefore fight fiercely and destructively against one another to try and get there,
(15:00):
emits a soft red light.
The human realm, where things are sometimes bad and sometimes good, but where it is - on occasion, with good fortune - possible to come into contact with the liberating teachings (15:03):
this world emits a charming soft blue light.
The realm of the animals, which of course is often marked by fear and endless labour, gives off a gentle green light.
(15:30):
The light from the world of the hungry ghosts is yellow, while that of the hell realms has a smoky colour.
You might recognise some of this from the episode of this Double Dorje podcast that touched on meditations connected with the six syllable Mani mantra and its application in the vision of these six worlds.
(15:51):
The idea is that having failed to recognise, or even turned our back on, the dazzling clarity of the enlightened deities, peaceful or wrathful as they may be,
we are now drawn to something relatively familiar and comfortable.
All the same, if we are able to rise to at least some level of awareness, it might be possible even now to avoid being sucked into the worst parts of the cycle of existence.
(16:21):
If we can manage to raise both our faith in the refuges and our compassion, we may be able to wangle a birth that is in some way useful to ourselves or others.
The Bardo Thodol contains many more instructions, and as I said, it is only one example of the large body of Tibetan literature that treats these matters.
(16:48):
But I'm not here to teach you its contents anymore than to be your regular Buddhist teacher. I just hope to have provided a bit of advice, especially for newcomers. And, with luck, hung a bit of a warning sign on a couple of the common misunderstandings.
Before I go, however, there is one other big question.
(17:10):
Why?
Why should we believe any of this?
It's not as if there is any reproducible evidence for these images.
Yes, it's true, some people have had near death experiences.
But there are two problems here. Firstly, the reports brought back are not all the same. They are in conflict.
(17:35):
The second point is that, for somebody whose thinking is contained in the physicalist loop,
they will want to say that these people weren't dead anyway.
According to that line of thought, any report of a near death experience is, by definition, not from someone who's been dead.
(17:57):
If they are alive, they weren't dead, so goes the thinking. It's not unreasonable, but perhaps it's not absolutely certain either.
The answer, if answer is
not too bold a word,
is that any confidence we might have that these teachings are, at least in general terms, meaningful and helpful,
(18:18):
can only emerge from a body of experience.
The teachings themselves come to us from people with deep experience of meditation.
They have an internal consistency and cogency.
Some people, of course, when they are introduced to these teachings, will develop a sense of enthusiasm and confidence straight away.
(18:40):
But as a rule, confidence is much more likely to develop - and probably more likely to remain - if it comes against a background of theory and serious practice.
Nobody can tell you that this is the way it is.
If you feel confident and are enthusiastic about this, then great.
(19:01):
It might take some effort, but you'll be able to get authentic teachings from someone qualified to give them. But if you can't swallow the teachings, then - also quite obviously - that's fine.
Pretending is the one thing that won't help.
So once again, that was a little teaspoonful from the delicious cauldron of vajrayana teaching soup.
(19:27):
I hope you enjoyed it.
Please remember to like, to subscribe, tell your friends and all that stuff and remember:
Don't be frightened of the clear light.
Bye.
Hello all you wonderful people who are kind enough to listen. This is the Double Dorje podcast. I'm Alex Wilding, and today we're going to take a bit of a look at what the so-called Tibetan Book of the Dead tells us about what might happen between dying and being reborn.
There are a couple of common misconceptions I want to disperse, and we could well do with looking squarely at what it does say and what it doesn't say.
Firstly, as quickly as I can, the usual two things (00:39):
Please take a moment to like, subscribe or whatever. It really does help, and if your platform doesn't show you the extra material, like the list of words that you might want to look up, that I usually provide, you'll find that on podbean where this podcast is hosted.
(01:03):
A recent episode was about death, particularly from the point of view of the bereaved
That episode wasn't really concerned with what actually are important matters grief, and how to deal with it,
but rather in the sense of what Buddhists might do when someone close to them dies.
In that episode, I spoke about the rather twisty-turny way that this somewhat misleading title, Tibetan Book of the Dead came to be chosen for that book.
(01:34):
The title was a marketing ploy cooked up in the 1920s, and it was successful enough that many, many later translations - and I have to say better translations - echoed that title in one way or another.
If you haven't read that book and feel that you might like to get hold of a copy and have a look,
(01:55):
I have to confess that I'm not sure which particular translation I would recommend.
That being said, I would absolutely disrecommend, if that's a word, that early effort edited by Evans Wentz.
Apart from the rather weird, mock King James Bible, diction, the work which I suppose we must call editing done by Evans Wentz has sadly earned a lot of criticism.
(02:23):
Just as one illustration, though not in fact, from this book, a few years later he published a work which he entitled Tibetan Yoga and Secret Doctrines.
And one of the sections in that book concerned a single page, single folio text called, if I remember correctly, the Yoga of the Long Hum.
(02:46):
Now, hum or hung is a syllable that's totally central to the body of Buddhist mantras.
If by some chance - good or bad chance, I don’t know – you find yourself amongst a bunch of yogis all intoning the same syllable,
it's a good bet that, if they're all going Om Om Om, they are practising some form of Hindu-derived yoga.
(03:13):
But if they're all going Hum Hum Hum, you can fairly safely bet that they are some kind of Tibetan Buddhists.
Anyway,
in that single-page text, five components of the way this syllable HUM is written are assigned colours,
and are associated with the five wisdoms and the five Buddha families.
(03:39):
Some of you may be saying “the five what's?”
These are in fact well known themes in Vajrayana practice,
which of course you're not necessarily familiar with. But relax. To understand what I'm saying, you only need to know that these ideas do exist and that they have names. They are kind of standard formulations in this literature.
So, probably because he thought that he knew better than the original author, Evans Wentz swapped a couple of these assignments around in order, as he believed, to correct what he supposed to be a mistake.
(04:15):
Having done that, he nevertheless provided a reproduction of the folio concerned as one of the books plates.
Perhaps at the time Evans Wentz thought that while his audience might be enthralled by the magic of this really rather charming illustration, they would not be able to understand it.
I can only assume that he assumed that they would merely wonder at it.
(04:42):
However, the fact that he has changed the assignments is plain to see if you can read even a little bit of Tibetan.
In fact, both the assignment as actually described in the text itself, and the assignment that he writes as what he believes to be a correction, are both known to the tradition. Both are possible. Neither can be said to be right or wrong.
(05:08):
The disappointing thing, of course, is the low level of respect that he has shown to the text.
Best to avoid.
Anyway, anyway, anyway, that's a bit of a byway. Let's just be clear that a proper translation of the title of this so-called Book of The Dead would be Liberation by Hearing in the In-between State.
(05:41):
The word bardo means neither more nor less than “in between”.
It is true that in these contexts the word is usually taken to refer to the state or the bardo in between death and a next life.
But we should be aware that there are other in between states.
It's even possible to say that everything is an in between state because nothing, no circumstances, no status, nothing like that, lasts forever.
(06:11):
Here I am now in the bardo of writing and talking about what people have written and said about the bardo!
The book we're talking about here describes six particular in between states or bardos, although that doesn't have to be the end of the story.
There can be longer lists.
One of these bardos is the state of ordinary life,
(06:35):
the one we are in at the moment.
At least I believe that's what we're in. Your mileage may vary.
Then there's the bardo of dream, occurring somewhere between waking and sleeping. There is the bardo of being absorbed in meditation.
And, in the zone of interest here between death and life,
three bardos are talked about.
(07:05):
I will take a look at those in a minute, but there is one, not uncommon, misconception it would be good to avoid.
The bardo, the bardo between death and life, is not thought of in this system as a kind of limbo or purgatory state, a spiritual waiting room where dead people hang out but from which they should escape.
(07:30):
Or perhaps need to escape.
You can meet an idea like that in literature from the Western spiritualist movement.
There is a rather well known book which I haven't read, but have good reason to believe is really rather good, known as Lincoln in the Bardo.
As I understand it, the author, George Saunders, presents a picture of an afterlife here as a place where dead people interact with one another, in particular with Abraham Lincoln.
(08:02):
In the Buddhist sense, however, that would be considered a kind of birth in some sort of spirit realm.
The bardo, as we speak of it in the Vajrayana, is necessarily a temporary state. We are blown through it helplessly. Willy-nilly, by the winds of karma and habit. Even if we try to hang on to something apparently solid, it doesn't work.
(08:30):
The bardo is spoken of as a dangerous pathway in which the winds of karma howl.
The only question - the big question - is this:
Which is our exit gate? The white gate? Green gate? The blue black, yellow or red gate? We'll come back to this question. So for now, let's just say that you have a boarding card stamped by the actions and habits of your last life.
(08:59):
The book, let's start calling it the Bardo Thodol as a short version of its proper name,
is actually from a much larger treasure revealed by a treasure revealer, Karma Lingpa, about 700 years ago.
There is another point that it's good to know, which is that in fact it's not hugely important in the great scheme of Tibetan Buddhism.
(09:27):
The body of teaching and practice related to death and dying in Tibetan Buddhism is rich and big. Huge, you might say.
Our book here is a small sample of this kind of text, which just somehow bubbled up and caught the attention of the West in the early 20th century.
It's not really meant as a guide that a large number of typical people, I might say people like you and me, would be likely to read in preparation for dying.
(09:59):
It's a liturgy for a spiritual or preceptor or teacher, of someone who has invested time and effort into practising and studying in this tradition.
A lot of the material has roots in an older work, the Tantra of the Secret Essence, which is a text central to the Nyingma tradition.
(10:21):
If you go to a good book shop - I'm imagining that one still exists within reach of where you live - and you look for a travel guide, for instance, to London, there will be a wide choice.
In a similar way, the Bardo Thodol is one of many teachings providing a guide to the death and dying process.
(10:51):
So, of the six bardos spoken of here, three in particular concern death and dying.
The first is the chikai bardo, and concerns the process of dying itself.
This is usually described in terms of somebody dying more or less peacefully, step by step, stage by stage. For people who die suddenly or violently the whole process is, of course, greatly compressed.
(11:21):
The text, like other texts from the tradition concerned with the dying process, describes the dissolution of the elements into one another, the fading of the senses and the bodily energy.
Details are drawn from the Indo-Tibetan tradition, but there isn't anything terribly strange about it, if you ask me.
(11:43):
As the elements collapse, the dying person falls into a swoon.
At this point, something interesting is taught to occur, something not spoken of at all, or at least not at any great length, in, for example, Western occult traditions.
This is the stage that has proved fascinating to many Westerners, including even its adoption by Timothy Leary as a component of his LSD-dropping movement.
(12:13):
This is the chonyid bardo, the temporary state in which reality is experienced nakedly.
It is held that, at the time when an ordinary experience ceases,
there is a moment at which the true nature of things dawns on us as a dazzling vision of infinite beauty.
(12:34):
Part of this teaching is that such a moment does occur from time to time during ordinary life, but, for a good number of us, the moment passes without even being noticed.
For those of us who have not trained in these things, the whole of this chonyid bardo is likely to pass in a flash, just in the same way as most of us don't notice the clear light as we fall asleep.
(13:00):
For those who do succeed in maintaining some awareness,
this is when the visions for which the Bardo Thodol is famous appear.
It's colourful! It's amazing! It's a phantasmagoria!
Radiant Buddhas appear, and we have the chance of recognising the particular form of wisdom that they embody.
(13:23):
Assuming that we fail, the visions of these various Buddhas become increasingly wrathful and
appear in increasing numbers.
This particular tradition, as I mentioned before, is largely based on the Tantra of the Secret Essence, where we can find a description of the 42 peaceful deities who are likely to appear, followed by the 58 wrathful deities.
(13:49):
We shouldn't forget either that these can have many emanations, and emanations of emanations, so you can probably see why the acid trippers thought that they were onto something here.
Likely as not, however, we will not recognise any of these deities as the manifestation of our own enlightened nature.
(14:11):
We will drift on to the third bardo.
This is called the sidpa bardo, the bardo of becoming.
It's the process of ending up in one of the six worlds.
It is taught that each of these worlds or realms emits a pleasant coloured glow.
(14:33):
The one to which our karma is pulling us will have the most attractive glow.
The realm of the gods, the paradises where everything is wonderful, at least for as long as it lasts, emits a soft white glow.
The demigods or jealous gods, who are actually quite well off, but would really like to be in the paradise at the top of the tree, and therefore fight fiercely and destructively against one another to try and get there,
(15:00):
emits a soft red light.
The human realm, where things are sometimes bad and sometimes good, but where it is - on occasion, with good fortune - possible to come into contact with the liberating teachings (15:03):
this world emits a charming soft blue light.
The realm of the animals, which of course is often marked by fear and endless labour, gives off a gentle green light.
(15:30):
The light from the world of the hungry ghosts is yellow, while that of the hell realms has a smoky colour.
You might recognise some of this from the episode of this Double Dorje podcast that touched on meditations connected with the six syllable Mani mantra and its application in the vision of these six worlds.
(15:51):
The idea is that having failed to recognise, or even turned our back on, the dazzling clarity of the enlightened deities, peaceful or wrathful as they may be,
we are now drawn to something relatively familiar and comfortable.
All the same, if we are able to rise to at least some level of awareness, it might be possible even now to avoid being sucked into the worst parts of the cycle of existence.
(16:21):
If we can manage to raise both our faith in the refuges and our compassion, we may be able to wangle a birth that is in some way useful to ourselves or others.
The Bardo Thodol contains many more instructions, and as I said, it is only one example of the large body of Tibetan literature that treats these matters.
(16:48):
But I'm not here to teach you its contents anymore than to be your regular Buddhist teacher. I just hope to have provided a bit of advice, especially for newcomers. And, with luck, hung a bit of a warning sign on a couple of the common misunderstandings.
Before I go, however, there is one other big question.
(17:10):
Why?
Why should we believe any of this?
It's not as if there is any reproducible evidence for these images.
Yes, it's true, some people have had near death experiences.
But there are two problems here. Firstly, the reports brought back are not all the same. They are in conflict.
(17:35):
The second point is that, for somebody whose thinking is contained in the physicalist loop,
they will want to say that these people weren't dead anyway.
According to that line of thought, any report of a near death experience is, by definition, not from someone who's been dead.
(17:57):
If they are alive, they weren't dead, so goes the thinking. It's not unreasonable, but perhaps it's not absolutely certain either.
The answer, if answer is
not too bold a word,
is that any confidence we might have that these teachings are, at least in general terms, meaningful and helpful,
(18:18):
can only emerge from a body of experience.
The teachings themselves come to us from people with deep experience of meditation.
They have an internal consistency and cogency.
Some people, of course, when they are introduced to these teachings, will develop a sense of enthusiasm and confidence straight away.
(18:40):
But as a rule, confidence is much more likely to develop - and probably more likely to remain - if it comes against a background of theory and serious practice.
Nobody can tell you that this is the way it is.
If you feel confident and are enthusiastic about this, then great.
(19:01):
It might take some effort, but you'll be able to get authentic teachings from someone qualified to give them. But if you can't swallow the teachings, then - also quite obviously - that's fine.
Pretending is the one thing that won't help.
So once again, that was a little teaspoonful from the delicious cauldron of vajrayana teaching soup.
(19:27):
I hope you enjoyed it.
Please remember to like, to subscribe, tell your friends and all that stuff and remember:
Don't be frightened of the clear light.
Bye.
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