Tibetan autobiography

Although autobiography is traditionally considered to be a Western genre, the Tibetan autobiography arose separately from the Western form, with examples of the genre dating back to as early as the eleventh century,[1] with a significant increase in production in the sixteenth century and a boom in the nineteenth and twentieth centuries. Unlike many other branches of Tibetan literature which originated in Indic or Chinese culture, there are no analogous genres in either canon. However, according to Janet Gyatso, "there remains a possible influence from Persian Islamic literature, in which didactic religious autobiographies are also known from the tenth century onwards, but such a connection remains to be demonstrated"[2] (Gyatso 1992, 467).

Throughout the canon of Tibetan autobiography, authors present a wide span of attitudes towards themselves and their accounts of their lives, ranging from extraordinarily self-deprecating to excessively self-praising. Tertöns tend towards humility and self-deprecation, typically stemming from uncertainty in their realizations in treasure revelation. On the opposite side of the spectrum, many authors, such as Kalu Rinpoche detail numerous acts of compassion and great meditative abilities in their autobiographies, while others add hagiographical elements to their autobiographies to elevate perceptions of them. While this variety in tone typically stems from the autobiographer himself, disciples do frequently impact tone (See Authorship) and add honorific titles in praise of their instructors.[2]

The majority of Tibetan autobiographers were Buddhist practitioners who wrote about their personal experiences for their instructional value to their disciples, as well as any other readers. However, although most autobiographers were members of the clergy, members of all classes and religiosity have written autobiography.[2] Because of the emphasis of this genre as a means of teaching, the author's discussion of self does not conflict with Buddhist doctrine. Instructional and directive elements within Tibetan literature are also found in other genres, such as in mGur poetry, where, in some cases, Buddhist teachings and popular themes were combined as a means of better propagating the Dharma.[4] Reflection through both outer and inner autobiography also provides a means for authors to legitimize their other writings and demonstrate spiritual progress.
Tibetan autobiographers frequently include accounts of past lives, which in addition to glorifying and legitimating the author's actions, models Buddhist Jataka tales.[2]

While autobiography is traditionally considered to be an account of someone's life written by the subject of the work, authorship in Tibetan autobiography frequently blends material written by the subject with that of other authors. Especially given the role of many Tibetan autobiographers as instructors and teachers, disciples often influence autobiographical content. Many autobiographers dictate their autobiographies to their students, who, in turn, tend to add their own elements to the work. While more blatantly EXTERNAL components, such as chapters regarding the death of the autobiographer, as in the autobiographies of Milarepa[5] and Orgyan Chokyi,[6] are regularly added by disciples, less obvious additions blur the distinction between autobiographer and disciple even further.

Disciples often add honorific titles in praise of the autobiographer attesting to the merit of their teacher, which would superficially seem to be an obvious external contribution; however, Tibetan autobiographers exhibit a wide array of egotism, ranging from the expected Buddhist diffidence to grandiose self-admiration (see Tone. Components that would be expected to come directly from the autobiographer, such as accounts of dreams and visions in the secret autobiography, may, in some cases, actually be recorded by disciples that learned of them orally.[2]

• Tibetan Literature
• See this link for a number of autobiographies of Tibetans born in the 20th Century.