Philosophy and Religion / Mahanirvana Tantra

    Mahanirvana Tantra: The Formation of the Mantras, Placing of the Jar, and Purification of the Elements of Worship

    Shri Sadashiva said:

    Thou art the Adya Parama Shakti1, Thou art all Power2. It is by Thy power3 that We (the Trinity) are powerful4 in the acts of creation, preservation, and destruction. Endless and of varied colour and form are Thy appearances, and various are the strenuous efforts whereby the worshippers may realize them. Who can describe them? (1-2).

    In the Kula Tantras and Agamas5 I have, by the aid of but a small part of Thy mercies and with all My powers, described the Sadhana and Archana6 of Thy appearances; yet nowhere else is this very secret Sadhana revealed. It is by the grace of this (Sadhana), O Blessed One7! that Thy mercy in Me is so great (3-4).

    Questioned by Thee I am no longer able to conceal it. For Thy pleasure, O Beloved! I shall speak of that which is dearer to Me than even life itself (5).

    To all sufferings it brings relief. It wards off all dangers. It gives Thee pleasure, and is the way by which Thou art most swiftly obtained (6).

    For men rendered wretched by the taint of the Kali Age8, short-lived and unfit for strenuous effort, this is the greatest wealth (7).

    In this (sadhana) there is no need for a multiplicity of Nyasa9, for fasting or other practices of self-restraint10. It is simple and pleasurable, yet yields great fruit to the worshipper (8).

    Then first listen, O Devi! to the Mantroddhara11 of the Mantra, the mere hearing of which liberates man from future births while yet living12 (9).

    By placing "Pranesha" on "Taijasa," and adding to it "Bherunda" and the Bindu, the first Bija13 is formed14. After this, proceed to the second (10). By placing "Sandhya" on "Rakta," and adding to it "Vama-netra" and Bindu, the second Mantra is formed15. Now listen, O Blessed One! to the formation of the third Mantra.

    Prajapati is placed on Dipa, and to them is added Govinda and Bindu16. It yields happiness to the worshippers: After making these three Mantras add the word Parameshvari17 in the vocative, and then the word for Vahni-kanta18. Thus, O Blessed One! is the Mantra of ten letters formed19. This Vidya20 of the Supreme Devi contains in itself all Mantras21 (11-13).

    The most excellent worshipper should for the attainment of wealth and all his desires make Japa of each or all of the first three Bijas22 (14).

    By omitting the first three Devi the Vidya23 of ten letters become one of seven24. By prefixing the Vija of Kama25, or the Vagbhava26, or the Tara27, three Mantras of eight letters each are formed28 (15).

    At the end of the Mantra of ten letters the word Kalika29 in the vocative should be uttered, and then the first three Vija30, followed by the name of the Wife of Vahni31 (16).

    This Vidya32 is called Shodashi33, and is concealed in all the Tantras34. If it be prefixed by the Vija of Vadhu35 or by the Pranava36, two Mantras of seventeen letters each are formed37 (17).

    O Beloved! there are tens of millions upon tens of millions38, nay an hundred millions39, nay countless Mantras for Thy worship. I have here but shortly stated twelve of them40 (18).

    Whatsoever Mantras are set forth in the various Tantras, they are all Thine, since Thou art the Adya Prakriti41 (19).

    There is but one sadhana in the case of all these Mantras, and of that I shall speak for Thy pleasure and the benefit of humanity (20).

    Without Kulachara42, O Devi! the Shakti-Mantra43 is powerless to give success, and therefore the worshipper should worship the Shakti with Kulachara rites. (21)

    O Adya44! the five essential Elements in the worship of Shakti have been prescribed to be Wine45, Meat46, Fish47, parched Grain48, and the Union of man with woman49 (22).

    The worship of Shakti without these five elements50 is but the practice of evil magic51. That Siddhi which is the object of sadhana is never attained thereby, and obstacles are encountered at every step (23).

    As seed sown on barren rocks does not germinate, so worship52 without these five elements is fruitless (24).

    Without the prior performance of the morning rites53 a man is not qualified to perform the others. And therefore, O Devi! I shall first speak of those which are to be performed in the morning (25).

    In the second half of the last quarter of the night54 the disciple should rise from sleep. Having seated himself and shaken off drowsiness, let him meditate upon the image of his Guru:55

    Dhyana

    As two-eyed and two-armed, situate in the white lotus of the head56 (26);

    clad in white raiment, engarlanded with white flowers, smeared with sandal paste. With one hand he makes the sign which dispels fear, and with the other that which bestows blessings. He is calm, and is the image of mercy. On his left his Shakti, holding in her hand a lotus, embraces him. He is smiling and gracious, the bestower of the fulfilment of the desires of his disciples (27-28).

    O Kuleshvari57! the disciple should, after having thus meditated upon his Teacher and worshipped him with the articles of mental worship58, make Japa with the excellent Mantra, the Vagbhava-Vija.59 (29).

    After doing Japa60 of the Mantra as best lies in his power, the wise disciple should, after placing the Japa61 in the right palm of his excellent Guru, bow before him, saying meanwhile the following (30):

    Mantra

    I bow to thee, O Sad-guru,
    Thou who destroyeth the bonds which hold us to this world,
    Thou who bestoweth the vision of Wisdom,62
    Together with worldly enjoyment and final liberation,63
    Dispeller of ignorance,
    Revealer of the Kula-dharmma,64
    Image in human form of the Supreme Brahman65 (31-32).

    The disciple, having thus made obeisance to his Guru, should meditate upon his Ishta-devata66, and worship Her as aforesaid67, inwardly reciting the Mula-mantra68 meanwhile (33).

    Having done this to the best of his powers, he should place the Japa in the left palm of the Devi, and then make obeisance to his Ishta-devata with the following (34):

    Mantra

    To thee I bow Who art one with, and the Supporter of, the Universe,
    I bow to Thee again and yet again, the Adya Kalika69, both Creatrix and Destructress70 (35).

    Having thus made obeisance to the Devi, he should leave his house, placing his left foot first, and then make water, discharge his bowels, and cleanse his teeth (36).

    He then should go towards some water, and make his ablutions in the manner prescribed. First of all let him rinse his mouth, and then enter the water (37),

    and stand therein up to his navel. He should then cleanse his body by a single immersal only, and then, standing up and rubbing himself, rinse his mouth, saying the Mantra the while71 (38).

    That best of worshippers, the Kula-Sadhaka72, should then sip a little water73 and say:

    Mantra

    Atma-tattvaya Svaha

    After that he should again sip74 water twice, followed in each case by the

    Mantras

    Vidya-tattvaya Svaha.
    Shiva-tattvaya Svaha,

    respectively. Lastly, he should rinse the upper lip twice75 (39).

    Then, O Beloved! the wise disciple should draw on the water the Kula-yantra76 with the Mantra77 in its centre, and do Japa over it with the Mula-mantra78 twelve times (40).

    Then meditating on the Water79 as the Image of Fire80, let him offer it thrice to the Sun in his joined palms. Sprinkling it thrice over his head, let him close the seven openings therein81 (41).

    Then for the pleasure of the Devi he should immerse himself thrice, leave the water, dry his body, and put on two pieces of clean cloth82 (42).

    Tying up his hair whilst reciting the Gayatri83, he should mark on his forehead with pure earth or ashes the tilaka84 and tri-pundra85, with a Vindu86 over it (43).

    Let the worshipper then perform both the Vaidika and Tantrika forms of Sandhya87 in their respective order. Listen while I now describe to you the Tantrika Sandhya (44).

    After rinsing his mouth in the manner described, he should, O Blessed One! invoke into the water the Waters of the holy Rivers thus (45):

    Mantra

    O Ganga, Yamuna, Godavari, Sarasvati, Narmmada, Sindhu, Kaveri,

    come into this water88 (46).

    The intelligent worshipper having invoked the sacred Rivers with this Mantra, and made the Anukasa89-mudra, should do Japa with the Mula-mantra90 twelve times (47).

    Let him then again utter the Mula-mantra, and with the middle and nameless91 fingers joined together throw drops of that water thrice upon the ground (48).

    He should then sprinkle his head seven times with the water, and taking some in the palm of his left hand cover it up with his right (49).

    Then inwardly reciting the Vija of Ishana92, Vayu93, Varuna94, Vahni95, and Indra96 four times, the water should be transferred to the right palm97 (50).

    Seeing (in his mind’s eye) and meditating upon the water as Fire98, the worshipper should draw it through the nose by Ida99, expel it through Pingala100 (into his palm), and so wash away all inward impurity (51).

    The worshipper should then three times101 dash the water (so expelled into his palm) against an (imaginary) adamant102. Uttering the Astra-Mantra103, let him then wash his hands (52).

    Then rinsing his mouth, oblation of water should be offered to the Sun with the following (53):

    Mantra

    Ong Hring Hangsa
    To Thee, O Sun, full of heat, shining, effulgent, I offer this oblation; Svaha104 (54).

    Then let him meditate morning, midday, and evening upon the great Devi Gayatri105, the Supreme Devi, as manifested in her three different forms and according to the three qualities106 (55).

    Dhyana

    In the morning meditate upon Her in Her Brahmi form107, as a Maiden of ruddy hue, with a pure smile, with two hands, holding a gourd108 full of holy water, garlanded with crystal beads, clad in the skin of a black antelope, seated on a Swan (56).

    At midday meditate upon Her in Her Vaishnavi form109, of the colour of pure gold110, youthful, with full and rising breasts, situated in the Solar disc, with four hands holding the conch-shell, discus, mace, and lotus, seated on Garuda, garlanded with wild-flowers111 (57-58).

    In the evening the Yati should meditate upon Her as of a white colour, clad in white raiment, old and long past her youth, with three eyes, beneficent, propitious, seated on a Bull, holding in Her lotus-like hands a noose, a trident, a lance, and a skull112 (59-60).

    Having thus meditated on the great Devi Gayatri, and offered water three times in the hollow of his joined hands, the worshipper should make Japa with the Gayatri either ten or a hundred times (61).

    Listen now, O Devi of the Devas! while I out of my love for Thee recite the Gayatri (62).

    After the word "Adyayai" say "vidmahe," and then "Parameshvaryyai dhimahi: tannah Kali prachodayat."113 This is Thy Gayatri which destroys all great sins (63).

    The inward recitation of this Vidya114 thrice daily obtains the fruit of the performance of Sandhya. Water should then be offered to the Devas, Rishis115, and the Pitris116 (64).

    First say the Pranava117, and then the name of the Deva (the Rishi or the Pitri) in the accusative case, and after that the words "tarpayami namah."118 When, however, oblation is offered to Shakti, the Maya Vija119 should be said in place of the Pranava, and in lieu of Namah the Mantra Svaha120 (65).

    After uttering the Mula-mantra,121 say "Sarvva-bhuta-nivasinyai," and then "Sarvva-svarupa" and "Sayudha" in the dative singular, as also "Savarana" and "Paratpara," and then "Adyayai, Kalikayai, te, idam arghyam: Svaha".

    (When the Mantra will be.)122

    Mantra

    Hring, Shring, Kring, to the Supreme Devi. O Supreme Devi, Thou Who dwelleth in all things and Whose image all things are, Who art surrounded by attendant deities, and Who bearest arms, Who art above even the most high to Thee, Who art the Adya Kalika, I offer this oblation: Svaha (66-67).

    Having offered this arghya to the Mahadevi, the wise one should make Japa with the Mula-mantra with all his powers, and then place the Japa in the left hand of the Devi123 (68).

    Then let the Sadhaka bow to the Devi, take such water as is needed for his worship, bowing to the water whence he has drawn it, and proceed to the place of worship124, earnestly meditating on and reciting hymns of praise to the Devi meanwhile. On his arrival there let him wash his hands and feet, and then make in front of the door the Samanyarghya125 (69-70).

    The wise one should draw a triangle, and outside it a circle, and outside the circle a square, and after worshipping the Adhara-shakti place the vessel on the figure126 (71).

    Let him wash the vessel with the Weapon-Mantra127, and while filling it with water let him say the Heart-Mantra128. Then, throwing flowers and perfume into the water, let him invoke the holy Rivers into it (72).

    Worshipping Fire, Sun, and Moon in the water of the vessel, let him say129 the Maya Vija130 over it (73).

    The Dhenu and Yoni Mudras131 should then be shown.132 This is known as Samanyarghya133. With the water and flowers of this oblation the Devata of the entrance to the place of worship should be worshipped (74),

    such as Ganesha, Kshetrapala134, Vatuka135, Yogini136, Ganga, Yamuna, Lakshmi, and Vani137 (75).

    The wise one, lightly touching that part of the door-frame which is on his left, should then enter the place of worship with his left foot forward, meditating the while on the lotus-feet of the Devi (76).

    Then, after worship of the presiding Deva of the site, and of Brahma in the south-west corner, the place of worship should be cleansed with water taken from the common offering138 (77).

    Let the best of worshippers then with a steady gaze139 remove all celestial obstacles140, and by the repetition of the Weapon-Mantra141 remove all obstacles in the Anta-riksha142 (78).

    Striking the ground three times with his heel, let him drive away all earthly obstacles, and then fill the place of worship with the incense of burning sandal, fragrant aloe143, musk, and camphor. He should then mark off a rectangular space as his seat, draw a triangle within it, and therein worship Kama-rupa with the

    Mantra

    To Kama-rupa144, Namah: (79-80).

    Then for his seat spreading a mat145 over it, let him worship the Adhara-Shakti146 with the

    Mantra

    Kling, Obeisance to the Adhara-Shakti of the lotus-seat147 (81).

    The learned worshipper should then seat himself according to the "tied heroic" mode148, with his face towards the East or the North, and should consecrate the Vijaya149 (81).

    (With the following)

    Mantra

    Ong Hring. Ambrosia, that springeth from ambrosia, Thou that showereth ambrosia, draw ambrosia for me again and again. Bring Kalika within my control. Give siddhi; Svaha150.

    This is the Mantra for the consecration of Vijaya (83-84).

    Then inwardly reciting the Mula-mantra151 seven times over the Vijaya, show the Dhenu152, the Yoni153, the Avahani154, and other155 Mudras (85).

    Then satisfy the Guru who resides in the Lotus of a thousand petals156 by thrice offering the Vijaya with the Sangketa-Mudra, and the Devi in the heart by thrice offering the Vijaya with the same Mudra, and reciting the Mula-mantra157 (86).

    Then offer oblations to the mouth of the Kundali158, with the Vijaya reciting the following

    Mantra

    Aing (O Devi Sarasvati), Thou Who art the Ruler of all the essences, do Thou inspire me, do Thou inspire me, and remain ever on the tip of my tongue; Svaha159 (87).

    After drinking the Vijaya160 he should bow to the Guru, placing his folded palms over the left ear, then to Ganesha, placing his folded palms over his right ear, and lastly to the Eternal Adya Devi161, by placing his folded palms in the middle of his forehead, and should the meanwhile meditate on the Devi. (88).

    The wise worshipper should place the articles necessary for worship162 on his right, and scented water and other Kula articles163 on his left (89).

    Saying the Mula-mantra terminated by the Weapon-Mantra164, let him take water from the common offering and sprinkle the articles of worship with it, and then enclose himself and the articles in a circle of water165. After that, O Devi! let him by the Vahni Vija166 surround them with a wall of fire (90).

    Then for the purification of the palms of his hands he should take up a flower which has been dipped in sandal paste, rub it between the palms, reciting meanwhile the Mantra Phat, and throw it away (91).

    Then in the following manner let him fence all the quarters so that no obstructions proceed from them.167 Join the first and second fingers of the right hand, and tap the palm of the left hand three times, each time after the first with greater force, thus making a loud sound, and then snap the fingers while uttering the weapon-Mantra168 (92).

    He should then proceed to perform the purification of the elements of his body.169 The excellent disciple should place his hands in his lap with the palms upwards, and fixing his mind on the Muladhara Chakra170 let him rouse Kundalini by uttering the Vija "Hung." Having so roused Her, let him lead Her with Prithivi171 by means of the Hangsa Mantra to the Svadhishthana Chakra172, and let him there dissolve173 each one of the elements of the body by means of another of such elements174 (93-94).

    Then let him dissolve Prithivi together with odour, as also the organ of smell, into water.175 Dissolve water and taste, as also the sense of taste itself176, into Fire (95).

    Dissolve Fire and vision and form, and the sense of sight itself,177 into air.

    Let air and touch,178 as also the sense of touch itself, be dissolved into ether.179 (96).

    Dissolve ether and sound into the conscious Self180 and the Self into Mahat,181 Mahat itself into Prakriti, and Prakriti Herself into Brahman (97).

    Let the wise one, having thus dissolved (the twenty-four) tattvas,182 then think of an angry black man in the left side of the cavity of his abdomen of the size of his thumb with red beard and eyes, holding a sword and shield, with his head ever held low, the very image of all sins183. He is of the size of a thumb, with red beard and red eyes, holding a sword and shield, angry, with his head ever held low (98-99).

    Then the foremost of disciples should, thinking of the purple Vayu Vija184 as on his left nostril, inhale through that nostril sixteen times. By this let him dry the sinful body (100).

    Next, meditating on the red Vija of Agni185 as being situate in the navel, the body with all its sinful inclinations should be burnt up by the fire born of the Vija, as also by sixty-four Kumbhakas186 (101).

    Then, thinking of the white Varuna Vija187 in his forehead, let him bathe (the body which has been so burnt) with the nectar-like water dropping from the Varuna Vija by thirty-two exhalations188 (102).

    Having thus bathed the whole body from feet to head, let him consider that a Deva body has come into being (103).

    Then, thinking of the yellow Vija of the Earth189 as situate in the Muladhara circle190, let him strengthen his body by that Vija and by a steadfast and winkless gaze191 (104).

    Placing his hand on his heart and uttering the

    Mantra

    Ang, Hring, Krong, Hangsah, So’hang.192

    let him infuse into his body the life of the Devi (105).193

    O Ambika! having thus purified the elements194 (the disciple) with a mind well under control, and intent upon the nature of the Devi195, should do Matrika-nyasa.196 The Rishi197 of Matrika.198 is Brahma, and the verse is Gayatri199, and Matrika200 is presiding Devi thereof; the consonants are its Seed201, and the vowels its Shaktis202, and Visarga203 is the End. In Lipi-nyasa,204 O Mahadevi! each letter should be separately pronounced as it is placed in the different parts of the body. Having similarly performed Rishi-nyasa, Kara-nyasa and Ang-ga-nyasa should be performed (106-108).205

    O Beauteous Face! the Mantras enjoined for Shad-ang-ga-nyasa206 are Ka-varga207 between Ang and Āng208, Cha-varga209 between Ĭng and Īng210, Ta-varga211 between Ŭng and Ūng212, Ta-varga213 between Eng and Aing214, and Pa-varga215 between Ong and Aung216, and the letters from Ya to Ksha217 between Vindu218 and Visarga.219 respectively (109-110),

    and having placed the letters according to the rules of Nyasa, the Sadhaka should then meditate upon Sarasvati:

    Dhyana

    I seek refuge220 in the Devi of Speech, three-eyed, encircled with a white halo, whose face, hands, feet, middle body, and breast are composed of the fifty letters of the alphabet, on whose radiant forehead is the crescent moon, whose breasts are high and rounded, and who with one of her lotus hands makes Jnana-mudra221, and with the other holds the rosary of Rudraksha222 beads, the jar of nectar, and learning223 (112).

    Having thus meditated upon the Devi Matrika224, place the letters in the six Chakras225 as follows: Ha and Kska in the Ajna226 Lotus, the sixteen vowels in the Vishuddha227 Lotus, the letters from Ka to Tha in the Anahata228 Lotus, the letters from Da to Pha in Manipura229 Lotus, the letters from Ba to La in the Svadhishthana230 Lotus, and in the Muladhara231 Lotus the letters Va to Sa. And having thus in his mind placed these letters of the alphabet, let the worshipper place them outwardly (113-115).

    Having placed them on the forehead, the face, eyes, ears, nose, cheeks, upper lip232, teeth, head, hollow of the mouth, back, the hump of the back233, navel, belly, heart, shoulders, (four) joints in the arms, end of the arms, heart, (four) joints of the legs, ends of legs, and on all parts from the heart to the two arms, from the heart to the two legs, from the heart to the mouth, and from the heart to the different parts as above indicated, Pranayama should be performed234 (116-118).

    Draw in the air by the left nostril whilst inwaedly uttering the Maya Vija235 sixteen times, then fill up the body by Kumbhaka by stopping the passage of both the nostrils with the little, third finger, and thumb whilst making japa of the Vija sixty-four times, and, lastly, exhale the air through the right nostril whilst making japa of the Vija thirty-two times236 (119-120).

    The doing of this thrice through the right and left nostrils alternately is Pranayama.

    After this has been done, Rishi-nyasa237 should be performed (121).

    The Revealers238 of the Mantra are Brahma and the Brahmarshis239, the metre is of the Gayatri and other240 forms, and its presiding Devata is the Adya Kali (122)241.

    The Vija is the Vija of the Adya242, its Shakti is the Maya Vija243, and that which comes at the end244 is the Kamala Vija245. Then the Mantra should be assigned246 to the head, mouth, heart, anus, the two feet, and all the parts of the body (123)247.

    The passing of the two hands three or seven times over the whole body from the feet to the head, and from the head to the feet, making japa meanwhile of the Mula-mantra248, is called Vyapaka-nyasa249, which yields the declared result (124).

    O Beloved! by adding in succession the six long vowels to the first Vija250 of the Mula-mantra, six Vidyas251 are formed. The wise worshipper should in Angga-kalpana252 utter in succession these or the Mula-mantra253 alone (125),

    and then say "to the two thumbs," "to the two index fingers," "to the two middle fingers," "to the two ring fingers," "to the two little fingers," "to the front and back of the two palms," concluding with Namah, Svaha, Vashat, Hung, Vaushat, and Phat in their order respectively254 (126).

    When touching the heart255 say "Namah," when touching the head "Svaha," and when touching the crown lock thereon "Vashat." Similarly, when touching the two upper portions of the arms, the three eyes256 and the two palms, utter the Mantras Hung and Vaushat and Phat respectively. In this manner nyasa of the six parts of the body should be practised, and then the Vira should proceed to Pithanyasa257 (127-128).

    Then let the Vira258 place in the lotus of the heart259, the Adhara-shakti260, the tortoise261, Shesha serpent262, Prithivi263, the ocean of ambrosia264, the Gem Island265, the Parijata tree266, the chamber of gems which fulfil all desires267, the jewelled altar268, and the lotus seat (129-130).

    Then he should place on the right shoulder, the left shoulder, the right hip, the left hip, respectively and in their order, Dharmma269, Jnana270, Aishvaryya271, and Vairagya272 (131),

    and the excellent worshipper should place the negatives of these qualities on the mouth, the left side, the navel, and the right side respectively273 (132).

    Next let him place in the heart Ananda Kanda274, Sun, Moon, Fire275, the three qualities276, adding to the first of their letters the sign Vindu277, and the filaments and pericarp of the Lotus, and let him place in the petals of the lotus the eight Pitha Nayikas278 – Mangala, Vijaya, Bhadra, Jayanti, Aparajita, Nandini, Narasinghi, Vaishnavi279, and in the tips of the petals of the lotus the eight Bhairavas280 – Asitanga, Chanda, Kapali, Krodha, Bhishana, Unmatta, Ruru, Sanghari. These should be placed on the tips of the petals of the lotus and then after Pitanyasa is done in this way Pranayama should be done (133-135).

    Then the worshipper should, after forming his hands into the Kachchhapa Mudra281, take two fragrant flowers, and, placing his hands on his heart, let him meditate upon the ever-existent Devi (136).

    The nature of meditation upon Thee, O Devi! is of two kinds, according as Thou art imagined formless or with a form.282 As formless Thou art ineffable and incomprehensible, imperceptible. Of Thee it cannot be said that Thou art either this or that, Thou art omnipresent, unobtainable, attainable only by Yogis through penances and acts of self-restraint (137-138).283

    I will now speak of meditation upon Thee in corporeal form in order that the mind may learn concentration, that desires be speedily achieved, and that the power to meditate according to the subtle form may be aroused284 (139).

    The form of the greatly lustrous Kalika, Mother of Kala285 Who devours all things, is imagined according to Her qualities286 and actions287 (140).

    Dhyana

    I adore the Adya Kalika Whose body is of the hue of the (dark) rain-cloud, upon Whose forehead the Moon gleams, the three-eyed One288, clad in crimson raiment289, Whose two hands are raised – the one to dispel fear, and the other to bestow blessing290 – Who is seated on a red lotus in full bloom, Her beautiful face radiant, watching Maha-Kala291, Who, drunk with the delicious wine of the Madhuka flower292, is dancing before Her (141).

    After having meditated upon the Devi in this form, and placed a flower on his head, let the devotee with all devotion worship Her with the articles of mental worship (142).

    Let him offer the lotus of the heart293 for Her seat, the ambrosia trickling from the lotus of a thousand petals294 for the washing of Her feet, and his mind as arghya295 (143).

    Then let him offer the same ambrosia as water for rinsing of Her mouth and bathing of Her body, let him offer the essence of the ether to be raiment of the Devi, the essence of scent to be the perfumes, his own heart296 and vital air297, the essence of fire298, and the ocean of nectar to be respectively the flowers, incense, light, and food offerings (of worship). (144-145).

    Let him offer the sound in the Anahata Chakra299 for the ringing of the bell, the essence of the air for the fan and fly-whisk300, and the functions of the senses and the restlessness of the mind for the dance before the Devi301 (146).

    Let various kinds of flowers be offered for the attainment of the object of one’s desire302: amaya303, anahangkara304, araga305, amada306, amoha307, adambha308, advesha309, akshobha310, amatsaryya311, alobha312, and thereafter the five flowers – namely, the most excellent flowers, ahingsa313, indriya-nigraha314, daya315, kshama316, and jnana317. With these fifteen flowers, fifteen qualities of disposition318, he should worship the Devi (147-149).

    Then let him offer (to the Devi) the ocean of ambrosia319, a mountain of meat and fried fish, a heap of parched food320, grain cooked in milk with sugar and ghee, the Kula nectar321, the Kula flower322, and the water which has been used for the washing of the Shakti323. Then, having sacrificed all lust and anger, the cause of all impediments, let him do japa (150-151).

    The mala (rosary) prescribed consists of the letters of the alphabet, strung on Kundalini324 as the thread (152).

    After reciting the letters of the alphabet from A325 to La, with the Vindu326 superposed upon each, the Mula-mantra327 should be recited. This is known as Anuloma328. Again, beginning with La and ending with A, let the sadhaka make japa of the Mantra. This is known as Viloma329 and Ksha-kara330 is called the Meru331 (153-154).

    The last letters of the eight groups should be added to the Mula-mantra332, and having made japa of this Mantra of one hundred and eight letters333 the japa should be offered (to the Devi334) with the following (155):

    Mantra

    O Adya Kali, Who abidest in the innermost soul of all335, Who art the innermost light336, O Mother! accept this japa of my heart337. I bow to Thee (156).

    Having finished the japa, he should mentally prostrate himself, touching the ground with the eight parts338 of his body. Having concluded the mental worship, let him commence the outer worship (157).

    I am now speaking of the consecration of the Vishesh-arghya339, by the mere placing whereof the Devata is exceedingly pleased. Do Thou listen (158).

    At the mere sight of the cup of this offering the Yoginis340, Bhairavas341, Brahma, and other Devatas dance for joy and grant siddhi342 (159).

    The disciple should on the ground in front of him and on his left draw with water taken from the Samanyarghya343 a triangle, with the Maya Vija344 in its centre, outside the triangle a circle, and outside the circle a square, and let him there worship the Shakti345 of the Adhara346 with the

    Mantra

    Hring!
    Obeisance to the Shakti of the Adhara347 (160-161).

    He should then wash the Adhara, and place it on the Mandala348, and worship the region of Fire with the

    Mantra

    Mang!
    Obeisance to the circle of Fire possessed of ten sections.349
    And having washed the arghya vessel with the Mantra Phat, the worshipper should place it on the Adhara350 with the Mantra Namah (162-163).

    He should then worship the cup with the

    Mantra

    Ang!
    Obeisance to the circle of Sun who has twelve divisions;351
    and fill the vessel (in which the offering is made) whilst repeating the Mula-mantra352 three parts with wine and one part with water, and having placed scent and flower in it, he should there worship, O Mother!353 with the Mantra following (164-165):

    Mantra

    Ung!
    Obeisance to the Moon with its sixteen digits354 (166).

    He should then place in front of the special offering, on bael leaves355 dipped in red sandal paste, durva grass356, flowers, and sun-dried rice357 (167).

    Having invoked the holy waters (of the sacred Rivers into the arghya) by the Mula-mantra and Angkusha-mudra, the Sadhaka should meditate upon the Devi, and worship Her with incense and flowers, making japa of the Mula-mantra twelve times (168).

    After this let him display over the arghya358 the Dhenu Mudra359 and the Yoni Mudra360, incense sticks and a light. The worshipper should then pour a little water from the arghya into the vessel361 kept for that purpose, and sprinkle himself and the offering therewith. The vessel containing the offering362 must not, however, be moved363 until the worship is concluded (169-170).

    O Thou of pure Smiles! I have now spoken of the consecration of the special offering364. I will now pass to the principal Yantra365 which grants the aims of all human existence366 (171).

    Draw a triangle with the Maya Vija367 within it, and around it two concentric circles (the one outside the other). In the space between the two circumferences of the circles draw in pairs the sixteen filaments, and outside these the eight petals of the lotus, and outside them the Bhu-pura368, which should be made of straight lines with four entrances, and be of pleasing appearance (172-173).

    In order to cause pleasure to the Devata369 the disciple should (reciting the Mula-mantra370 the meanwhile) draw the Yantra either with a gold needle, or with the thorn of a bael tree on a piece of gold, silver, or copper, which has been smeared with either the Svayambhu, Kunda, or Gola flowers,371 or with sandal, fragrant aloe,372 kungkuma,373 or with red sandal paste. A clever carver may also carve the Yantra on crystal, coral, or lapis lazuli (174-176).

    After it has been consecrated by auspicious rites, it should be kept inside the house; and on this being done all wicked ghosts, all apprehensions from (adverse) planets, and diseases are destroyed; and by the grace of this Yantra the worshipper’s house becomes of pleasing aspect. With his children and grandchildren, and with happiness and dominion374, he becomes a bestower of gifts and charities, a protector of his dependents, and his fame goes abroad (177-178).

    After having drawn the Yantra and placed it on a jewelled altar375 in front of the worshipper, and having worshipped the Devata of the Pitha376 according to the rules of Pitha-nyasa, the principal Devi377 should be adored in the pericarp of the Lotus378 (179).

    I will now speak of the placing of the jar379 and the formation of the circle of worship380 by the mere institution of which the Devata381 is well pleased, the Mantra382 becomes fruitful, and the wishes of the worshipper are accomplished (180).

    The jar is called kalasa, because Vishva-karma383 made it from the different parts384 of each of the Devatas (181).

    It should be thirty-six fingers breadth (in circumference) in its widest part, and sixteen in height. The neck should be four fingers breadth, the mouth six fingers, and the bottom five fingers breadth. This is the rule for the design of the kalasha (182).

    It should be made either of gold, silver, copper, bell-metal, mud, stone, or glass, and without hole or crack. In its making all miserliness385 should be avoided, since it is fashioned for the pleasure of the Devas (183).

    A kalasha of gold, one of silver, one of copper, and one of bell-metal give enjoyment, emancipation, pleasure of mind, and nourishment respectively to the worshipper. One of crystal is good for the attainment of Vashikarana386, and one of stone for the attainment of Stambhana387. A kalasha made of mud is good for all purposes. Whatever it is made of it should be clean and of pleasing design (184, 185).

    On his left side the worshipper should draw a hexagon with a point388 in its centre, around it a circle, and outside the circle a square (186).

    These figures should be drawn either with vermilion or Rajas (Kula-pushpa)389, or red sandal paste; the Devata of the support should then be worshipped thereon (187).

    The Mantra for the worship of the Shakti or Devi of the support is –

    Mantra

    Hring,
    salutation to the Shakti of the support390 (188).

    The support391 for the jar should be washed with the Mantra namah, and placed on the Mandala, and the jar392 itself with the Mantra Phat, and then placed on the support (189).

    Let the disciple then fill the kalasha with wine, uttering meanwhile the Mula-mantra and the Matrika Varnas, with Vindu in Viloma order393 (190).

    The wise one who is then himself possessed of the disposition of the Devi394 should worship the region of Fire, Sun, and Moon in the support in the jar and in the wine395 in the manner already described (191).

    After decorating the jar with vermilion, red sandal paste, and a garland of crimson flowers396, the worshipper should perform Panchikarana397 (192).

    Strike the wine-jar with a wisp of kusha grass, saying Phat; then, whilst uttering the Vija Hung, veil it by the Avagunthana Mudra398, next utter the Vaja Hring, and look with unwinking eye upon the jar, then sprinkle the jar with the Mantra Namah. Lastly, whilst reciting the Mula-mantra, smell the jar three times399 this is the Panchikarama ceremony400 (193).

    Making obeisance to the jar, purify the wine401 therein by throwing red flowers into it, and say the following (194):

    Mantra

    Ong, O Devi Sudhe! by the Supreme Brahman, Who is One without a second402: and who is always both gross403 and subtle404, destroy the sin of slaying a Brahmana which attached to thee (the wine) by the death of Kacha405 (195).

    O Thou Who hast Thy abode in the region of the Sun406, and Thy origin in the dwelling-place of the Lord of Ocean407 (in the churning of which thou, O Nectar! wast produced), thou who art one with the Ama408 Vija, mayest Thou be freed from the curse of Shukra (196).

    O Devi! as the Pranava of the Vedas is one with the bliss of Brahman409, may by that truth be destroyed Thy sin of slaying a Brahmana (197).

    Mantra410

    Hring:411 the Supreme Hangsa412 dwells in the brilliant Heaven413, as Vasu It moves throughout the space between Heaven and Earth414. It415 dwells on earth in the form of the Vedic Fire, and in the Sacrificer,416 and is honoured in the Guest417. It is in the household418 Fire and in the consciousness of man, and dwells in the honoured region. It resides in Truth and in the Ether419.

    It is born in water, in the rays of light in Truth and in the Eastern Hill where the Sun rises. Such is the great Aditya, the Truth, Which cannot be bound or concealed, the Great420 Consciousness Who dwelleth everywhere – Brahman.

    Exchange the vowel of the Varuna Vija421 for each of the long vowels,422 then say "Salutation to the Devi of Ambrosia, who is relieved of the curse of Brahma."423 By the repetition of the entire Mantra seven times, the curse of Brahma is removed (198-199).

    Substituting in their order the six long vowels in place of the letter o in Angkusha,424 and adding thereto the Shri and Maya Vijas,425 say the following:

    Mantra

    "Remove the curse of Krishna426 in the wine: pour nectar427 again and again: Svaha"428 (200).

    Having thus removed the curse of Shukra, of Brahma and of Krishna, the worshipper should with mind controlled worship Ananda-Bhairava and Ananda-Bhairavi429 (201).

    The Mantra of the former is:

    Mantra

    "Ha-Sa-Ksha-Ma-La-Va-Ra-Yung:
    Salutation to Ananda-Bhairava: 430 Vashat" (202);

    and in the worship of the Ananda-Bhairavi the Mantra is the same, except that its face is reversed, and in place of its Ear the left Eye should be placed, and then should be said:

    Mantra

    "Sa-Ha-Ksha-Ma-La-Va-Ra-Ying:
    Salutation to the Wine Devi: Vaushat"431 (203).

    Then, meditating upon the union of the Deva and Devi432 in the wine, and thinking that the same is filled with the ambrosia of such union, japa should be made over it of the Mula-mantra twelve times (204).

    Then, considering the wine to be the Devata,433 handfuls of flowers should be offered with japa of the Mula-Mantra. Lights and incense-sticks should be waved before it to the accompaniment of the ringing of a bell434 (205).

    Wine should be always thus purified in all ceremonies, whether puja435 of the Devata, Vrata,436 Homa,437 marriage, or other festivals (206).

    The disciple, after placing the meat438 on the triangular Mandala in front of him, should sprinkle it with the Mantra Phat, and then charge it thrice with the Vijas of Air439 and Fire440 (207).

    Let him then cover it up with the Gesture of the Veil441, uttering the Kavacha-Mantra,442 and protect it with the Weapon-Mantra Phat. Then, uttering the Vija of Varuna,443 and displaying the Dhenu-Mudra,444 make the meat like unto nectar445 with the following (208):

    Mantra446

    May that Devi whose abode is in the breast of Vishnu and in the breast of Shankara447 purify this my meat, and give me a resting-place at the excellent foot of Vishnu448 (209).

    In a similar manner, placing the fish449 and sanctifying it with the Mantras already prescribed, let the wise one say the following450 Mantra over it (210):

    Mantra451

    "We worship the Father of the Three452; He Who causes nourishment453, He Who is sweet-scented. As the fruit of the Urvaruka454 is detached of itself from the stalk on which it grows, so may He free us whilst living from the bond of Karmma, until we are finally liberated, and made one with the Supreme"455 (211).

    Then, O Beloved! the disciple should take and purify the parched grain456 with the following:

    Mantras457

    Ong! As the Eye of Heaven458 is plainly visible to those of the common man, so do the Wise have constant vision of the Excellent Foot of Vishnu (212).

    The Intelligent and Prayerful, whose mind459 is awake and controlled, see the most excellent Foot of Vishnu460 (213).

    Or all the Tattvas461 may be consecrated by the Mula-Mantra itself. To him who has belief in the root,462 of what use are the branches and leaves?463 (214).

    I say that anything which is sanctified by the Mula-Mantra alone is acceptable for the pleasure of the Devata (215).

    If the time be short, or if the disciple be pressed for time, everything should be sanctified with the Mula-Mantra, and offered to the Devi (216).

    Truly, truly, and again truly, the ordinance of Shankara464 is that if the Tattvas be so offered, there is no sin or shortcoming465 (217).


    End of Fifth Joyful Message, entitled "The Formation of the Mantras, Placing of the Jar, and Purification of the Elements of Worship."

    Footnotes

    1. That is, Primordial Supreme Power. In this chapter Sadasiva
    describes the particular worship (Vishesharadhana) and of Devi in which Mantra and Yantra is used (Bharati).

    2. Sarva-sakti-svarupini. That is the Devi is the one Sakti which manifests itself in different forms.

    3. Tava saktya.

    4. Saktah.

    5. See Pnnciples of Tantra.

    6. As to the specific meaning of these terms, which, speaking generally, mean spiritual discipline and worship, see Woodroffe’s Sakti and Sakta.

    7. Kalyani. This word has elsewhere been intepreted to mean "Giver of Liberation" - Mokshadayini.

    8. The last and worst age.

    9. See Shakti and Shakta.

    10. Samyama.

    11. See note, ch iii, 11, ante.

    12. Jivanmukta.

    13. Or Mantra. As to the meaning of Bija Mantra see Woodroffe’s Garland of Letters.

    14. For secrecy the letters are given different names which are only known to the learned. They may however also be got from the Bijakoshas one of which is published as Tantrabhidhana in vol I of my series of Tantrik Texts. Pranesha means “the Lord of Life,” and signifies the letter Ha. Ha-kara may mean either Visnu or Siva, or the latter alone, according to the Mantrabhidhana. Ha-kara is the Bija of Akasha (Vyoma)—Shiva being Mahakasha-rupi: in the form of the Great Ether. Taijasa (Tejas) means Fire, and signifies the letter Ra (Rang being the Bija of Fire). Bhe-Tunda, an attendant of Durga, signifies the long vowel i. Thus, Ha+Ra= Hra+i=Hri+the Bindu (point or sign Anusvara)=Hring.

    15. Sandhya=Sha, Rakta=Ra, Vama-netra=the long vowel i, and Bindu is the point Anusvara. Thus, Sha+Ra=Shra+i=Shri+the Bindu=Shring. As to the significance of Bindu see "Garland of Letters".

    16. Praja-pati, or Brahma, Lord of creation=Ka, Dipa, or Fire (whose Bija is Rang)=Ra, Govinda=long vowel i, and Bindu is the sign Anusvara which is Hasanta Makara, i.e., the letter M without the vowel. Thus, Ka+Ra=Kra+i=Kri+Bindu=Kring.

    17. Title of the great Devi, as the Supreme Lord.

    18. Consort of Vahni—Fire—that is, the Mantra "Svaha,” used in making oblation to Fire or at the conclusion of the feminine Mantras (see post)

    19. That is, Hring, Shring, Kring Paramesvari Sva-ha. The vowels are the Shaktis of the consonants, which cannot be uttered without them. Therefore, consonant and vowel annexed are treated as one letter. See Ananda-lahari, v.1.

    20. Vidia is the fermnine Mantra, the sex of the Mantra changing with that of its presiding Devata. The Sarada-tilaka says that if a Mantra is followed by Hung or Phat, it is a masculine Mantra (Purusa; Pung-Mantra). Those which end with Svaha are feminine, and those ending with Namah are neuter.

    21. Sarva-vidya-mayi is Sarvavidyasvarupa (Hari-harananda Bharati). All the Vidyas are included in it (Tarkalangkara). The Vidya is identical with its Devata, Cf. Devata mantrarupini.

    22. Hring, Shring, Kring. Bharati gives a variant—"for the attainment of piety (Dharma), desire (Kama), wealth (Artha)".

    23. Femmine Mantra (vide ante).

    24. That is, omitting the first three letters, Hrim, Srim and Krim. The Mantras is then Pa-ra-me-sva-ri Sva-ha.

    25. The Bija of Kama-Deva of Desire-is Kling.

    26. Vagbhava is Sarasvati, Devi of Learning, Music, Speech, the Fine Arts, and so on. Her Bija is Aim.

    27. That is, the Pranava=Om.

    28. That is, to the Mantra of seven letters thus formed either of the following three Mantras are added—that is, Kling, or Aing, or Om— then separate Mantras of eight letters each are formed, which are Kling Parameshvari Svaha, Aing Parameshvari Svaha, Om Parameshvari Svaha.

    29. Title of the Devi.

    30. That is, Hring, Shring, Kring.

    31. That is, Svaha.

    32. The Mantra thus formed is; Hring, Shring, Kring Parameshvari Kalike, Hring, Kring Svaha.

    33. Feminine of Shodasha, so called because composed of sixteen letters.

    34. But is disclosed by Sadashiva out of his affection for Parvati (Bharati).

    35. That is, the Vadhu (woman) Vija—String.

    36. Ong.

    37. That is, the Mantra in Note 5, ante, plus either “String” or "Ong.”

    38. Koti.

    39. Arvuda.

    40. Namely one of ten letters in v.13, one of three letters and three of one letter in v.14, one of seven letters and three of eight letters in v.15 and in v.16 two of seventeen letters each.

    41. Tvam adya prakritir yatah. Primordial material cause as Maya-Sakti and efficient cause as Chit-Sakti. Here is established the connection between Prakriti and all Mantras (Tarkalangkara). All Devas, Devis, and Mantras have originated from the Parabrahma united witii Prakriti either directly or mediately They are not separate from Him. Therefore whatsoever Devas, Devis or Mantras are worshipped it is the Adya Herself who is worshipped.

    42. Tantrika doctrine in its Kaula form.

    43. The Mantra of the Devi—Shakti of Shiva.

    44. Adya, Who is from the beginning.

    45. Madya (or other fermented liquor).

    46. Mangsa.

    47. Matsya.

    48. Mudra, a term here used in its technical Tantrika sense, but which ordinarily means “ritual gestures with the fingers or postures of the body.’’ See as to these last four tattva the Introduction.

    49. Maithuna.

    50. Ordmanly called the Panca-Makara (Five M’s), as to which see Sakti and Sakta. They are here called Panca-tattva, and elsewhere Pancha-dravya.

    51. Abhicara. Abhicara is a ritual to injure or destroy, and is, according to Hariharananda-Bharati, the equivalent of Himsa-karma—an act injurious to others. Jaganmohana-Tarkalamkara says that if the special treatment presenbed by the Tantras is not followed then the sensual procivities are not eradicated and the ritual is for the desired end of Tantra useless as magic which leads only to the injury of others. See also Woodroffe’s Shakti and Shakta.

    52. Puja.

    53. Pratah-kritya, such as bathing, morning prayers, etc. (vide post).

    54. Arunodaya.

    55. For the purpose of meditation a definite picture is formed in the mind’s eye, which is to be the subject of Dhyana.

    56. One of the higher Chakras—the Lotus of twelve white petals under the Sahasrara, where the Sushumna Nadi ends.

    57. Feminine of Kuleshvara, a name of Shiva.

    58. Manasa upachara = articles of mental worship (see verses 142-157 of the Chapter).

    59. That is, "Aing," Vagbhava being Sarasvati (vide ante). The mode of mental worship (Manasapuja) is Kanishthabhyang. Lang Prithivyatmakang gandhang samarpayami Namah Amgushthabbyang Hang Akashatmakang pushpang samarpayami Namah and so on.

    60. Recitation of the Mantra (see Introduction).

    61. That is, the merit of it.

    62. Jnana-drishti.

    63. See Yoga-Vashishtha, Nirvana-Prakarana, III., chap. Ixxxv.

    64. Tantrika doctrine of the Kaulas.

    65. The Guru is not a mere man. It is not as such that obedience to Him is due. He is Shiva the Supreme Guru (Adiguru) in human form.

    66. That is, the particular Devata whom the particular disciple worships. "There" that is in the head (Bharati). Tarkalangkara says this is unusual, for ordinarily Ishta-devata is worshipped in the heart. To Her also mental offering should be made (v.post). They are not the same as those made to the Guru.

    67. That is, the way the Guru has been worshipped.

    68. That is, the root or primary Mantra—Hring, Shring, Kring, Parameshvari Kalike, Hring, Shring, Kring Svaha.

    69. Vide chap, iv., verse 31 ante.

    70. Kartri and Hartri. She both creates and withdraws creation into Herself.

    71. Mantram acamanam, or rinsing the mouth and reciting the Tantrika Mantras at the same time.

    72. Tantnka-worshipper of the Kula Sampradaya.

    73. Acamana.

    74. The worshipper here offers with the Mantra Svaha oblation of water to the thirty-six Saiva-Sakta-Tattvas or stages of involution into the supreme “I” (Purnaham) of duality, vtz, Atma-tattva, from Prthivi to Prakrti Vidya-tattva, viz, Maya-Kancukas, Sadvidya and including Sadakhya Tattva and Siva Tattva including Siva Tattva and Sakti Tattva. See Woodroffe’s Garland of Letters.

    75. This is the method of rinsing one’s mouth referred to in verse 38, and called Mantra manner of rinsing the mouth.

    76. Diagram.

    77. That is, the Bija of the Devi

    78. Vide ante, note under v 33.

    79. The water of the Kula-yantra—that is, the Yantra drawn as above.

    80. Tejorupa. Tejas=Fire or radiance.

    81. That is, the two eyes, two ears, two nostrils, and mouth.

    82. Suddha-vasasi.

    83. Tantriki Gayatri Mantra is given later in this Chapter.

    84. The sectarian mark on the forehead or between the eyebrows.

    85. A mark consisting of three lines on the forehead, back, head, and shoulders, or three horizontal lines across the forehead, worn by Saivas or Saktas. The Pranatosini (2nd Ed, 198) gives a full account of these marks which are also dealt with in Kalagnirudropanisad.

    86. Literally, drop, point, here, a mark like the point Anusvara.

    87. The rite here described.

    88. The vocative forms in e and i are not given.

    89. Anukusa is a hook used to drive an elephant. The first finger is bent at the second joint in the shape of a hook, the first being closed.
    Cf. Jnanarnava Tantra
    Daksamustim vidhayathatha tarjanyankusa-rupini
    Ankusakhya maha-mudra trailokyakarsanaksama.

    90. Vide ante, note under v. 33.

    91. The ring finger.

    92. Isana is the name of Siva, and the presiding Deva of the Mantra Ham.

    93. Lord of the element of Air, and the presiding Deva of the Mantra Yam “His noise comes rending and resounding, moving onward he makes all things ruddy. He comes propelling the dust of the earth. The gusts of air rush after him, and congregate upon him as women in an assembly. Hasting forward, he never reels. Friend of the waters first bom, holy, in what place was he born! His sounds have been heard, but his form is not seen ”(Hymn to Vayu, Muir, O.S.T., verse 146)

    94. Varuna, originally Deva of the Heavens, and regarded later in the Puranas as Lord of the Waters (Jala-pati), whose Mantra is Vam (see as to Varuna, Muir, O.S.T., verses 58, 64, 73, 75, and Visnu Purana).

    95. Agni, or Vahni (he who receives the Homa), is the presiding Deva of Fire, whose Mantra is Ram.

    96. Indra, Deva of the Firmament, King of Celestials, presiding over the Mantra Lam. He is Svarga-pati, Lord of Heaven (Svah), whose home is on Mount Meru, in the City of gems and gold built by Visvakarma, amid shady gardens of fragrant flowers and luscious fruits, inhabited by beautiful Apsaras and resounding with song and music. The five Bijas given are those of the Devatas of the five Cakras in the body from Visuddha to Muladhara.

    97. The whole Mantra is then Ham, Yam, Vam, Ram, Lam.

    98. Tejomaya.

    99. That is, the left nostril.

    100. Or right nostril.

    101. In other Tantras, and as a matter of practice, it is only once.

    102. Vajra-Sila. This process is known as “Agha-marsana,” or destruction of sin. Water is expelled with the sins through Pingala, and then for the destruction of the latter dashed against an imagined adamant. In practice the water is dashed against the left palm, which the Sadhaka conceives to be of adamantine hardness. Tarkalangkara inclines to the view that the Mantra Phat should be thrice repeated and the water dashed once only.

    103. That is, the Weapon-Mantra, or "Phat".

    104. Om Hrirn Hamsa, ghrinisurya idam arghyam tubhyam svaha.

    105. The Devi of the Gayatri Mantra. In the Puranas, Gayatri is represented as Consort of Brahma. Gayatri is also Vak, Mother of the Vedas. See Woodroffe’s Garland of Letters.

    106. Guna, or qualities-viz., Sattva, Rajas, Tamas. In her Sattvika form She is represented as Vaishnavi; in her Rajasika form as Brahmi; and in her Tamasika form as Shaivi.

    107. Rajasika as Brahmi. The Shakti of Brahma who is generally pictured as a red man with four hands, seated on a Hangsa, dressed in white.

    108. Kamandalu.

    109. Sattvika as Vaisnavi. Visnu is pictured as of a dark blue colour, four-armed, holding the articles mentioned, riding upon the bird Garuda, dressed in yellow robes. The Mahabharata pictures Him as seated in Vaikunta, the heaven of Visnu, on a seat glorious as the midday sun, resting on white lotuses with his consort Laksmi, who shines like a continued blaze of lightning, and from hose body the fragrance of the lotus extends 800 yojanas away.

    110. Shyama-varna. According to Commentator on Satcakranirupana, v. 21, it means of the colour of gold.

    111. Vanamala which does not mean garland of forest or wild flowers but a garland of this particular size extending from neck to knee:
    Ajanulambml mala sarvartukusumojjvala
    Madhye sthulakadambadhya vanamaleti kirtita.

    112. Tamasika as Saivi. Each Deva or Devi has His or Her Vahana or vehicle. In this case the Bull Nandi. Siva is always represented of a "white colour, and is described in the Siva-stotra as shining like a mountain of silver (Rajata-giri-nibha). Yati is the self-controlled worshipper.

    113. “Let us think upon Adya, let us meditate on Paramesvari (the Supreme Devi). May Kali direct us (in the path of Dharma, Artha, Kama, and Moksa)”. Adya, Paramesvari, and Kali are one and the same. To the Sakta reciting this Gayatri the Adya is the only Divinity he thinks of, knows, and contemplates. To Her alone his whole soul is bent with a prayer for the attainment of the fourfold aim of sentient being. Bharati reads: "May Kali Whom we seek to know and on Whom we meditate that we may attain the Adya Parameshvari, may She Who is werily the Cause of this universe, direct us in the path of Dharma, Artha, Kama and Moksa.”

    114. Feminine Mantra.

    115. Seer.

    116. Forefathers.

    117. Om.

    118. "Him I satisfy: Namah." The Mantra for the offering is given in the verse which follows and runs: Om Devan tarpayami Namah, Om Rishin tarpayami Namah, Om Pitrin tarpayami Namah, Hrim Adyam Kaling tarpayami Svaha, for Devas, Rishis, Pitris and Adya Sakti respectively (Bharati). Tarkalankara says the mode of Tarpana is not fully given, but following the authority of other Tantras it should be done with the Tattva Mudra (formed by the union of the thumb and ring finger of the left hand). In doing Tarpana (as in Rahasya tarpana) to a male Devata it should be done in the Sadhaka's own head within a triangle the apex of which is upwards and to a female Devata in the heart the triangle having its apex downward. The triangle so placed is symbolic of the Yoni or Cause of all.

    119. That is, Hrim.

    120. That is, the Devas, Rsis and Pitrs are worshipped with the Mantra prefixed by Om, and ending with Namah but a Devi with Hrim, or whatever Her Bija may be, concluding with Svaha.

    121. The primary Mantra - that is, "Hrim, Srim, Krim, Paramesvari Svaha". Shiva proceede to describe the formation of the Mantra for offering oblation.

    122. The Mantra is thus “Hrim, Srim, Klim, Parameshvari, Svaha. Sarva-bhuta-nivasinyai Sarva-svarupayai Sayudhayai Savaranayai Paratparayai Adyayai Kalikayai te idam arghyam Svaha”.

    123. That is, the merit of it is offered to Her.

    124. Yaga-mandapa

    125. Samanyarghya, the common or umversal oblation—that is, the oblation which is to serve for the whole ritual worship which follows. The following verses to the seventy-fourth explain it.

    126. That is, the worship is to be of the Sakti which supports the vessel of oblation—Adhara-shakti. This worship is done with scents, flowers and the like and with the Mantra Om. Adhara-shaktaye Namah (Om obeisance to the Sakti of support) for the umverse is sustained in and by Her.

    127. That is the Astra-Mantra or Phat.

    128. Hrin-Mantra, or Namah—said in the heart.

    129. Mantrayet, by which the power of the Mantra is discharged into it.

    130. That is, Hrim.

    131. The Yoni-Mudra - symbolical of the sexual organ of woman—is used in the Durga and Kali-Puja. The little finger is placed on little finger, the first finger on the first finger, and the thumb on thumb. The knuckles of second and thisd fingers of each hand are bent, and rest on one another. A triangular Yantra is thus formed, of which the first fingers are the apex and the others the base. The Dhenu (Cow) Mudra representing the udder of a cow is shown when offering food, water, etc., to the Devata changing it to Amrita. See, post, VI, verses 137-138.

    132. That is, over the vessel containing the Arghya.

    133. Vide p 97 note 4.

    134. The Deva protector of the ground. The Mantra for His worship is Ksam Kshetra-palaya Namah and for Vatuka Vang Vatukaya Namah.

    135. One of the manifestations of Bhairava.

    136. Yogini is an influence or force recognised in Hindu Astrology which shifts from place to place in all the eight directions, like N., N.E., E., S.E., S., S.W., W., N.W.

    137. Laksmi, or Sakti of Visnu, and Vani or Sarasvati, Sakti of Brahma.

    138. Samanyarghya

    139. Divya drishti—literally, “celestial gaze,” which is achieved by practice of the process of Hatha Yoga called Trataka. The Sadhaka without winking, gazes at some minute object until tears start from his eyes. Practice in Trataka secures Divya-drishti (see the Second Upadesa of the Gheranda Samhita). A Deva’s eyes do not wink. The gaze is steady. The Sadhaka’s must be that.

    140. Divya-vighna—those obstructive beings which originate from Svah.

    141. Astra-Mantra, or Phat.

    142. The Plane Bhuvah, between earth and heaven (Svah).

    143. Aguru a kind of aromatic wood obtainable in the Garo hills—much used in worship.

    144. Who is the Presiding Divinity or Adhishthatri Deva of the place.

    145. Asana, generally, a mat of Kusha grass.

    146. Sakti of the support.

    147. Kling Adhara-shakti-kamalasanaya Namah—that is, the power of support of the lotus-seat.

    148. Baddha-virasana. Cf Gheranda Samhita:
    Ekapadam athaikasmin vinyased urusangsthitam
    Itarasming statha pashchad virasanam udahritam

    149. That is, the narcotic Bhang (hemp) or siddhi, as it is called in Bengali, and which is used in all ceremonies.

    150. "Amrite amrtodbhave amrita-varsini amritam akarsaya-karshaya: siddhim dehi: Kalikam me vasam-anaya svaha".

    151. Vide p 96, note 8.

    152. The Cow-Mudra. The two little and ring fingers are joined, the latter crossing one another. The two middle cross one another, and join two index fingers. See note under v. 74.

    153. Vide ante, note 5 under v. 74.

    154. The two hands joined together, showing the palms with two thumbs turned in the gesture with which honoured guests are received.

    155. The other Mudras referred to, but not mentioned in the text, are—(1) Avahani, (2) Sthapani, (3) Sannidhapani, (4) Sannirodhini, and (5) Sammukhikarani. These are gestures of—(1) invoking and welcoming, (2) placing, (3) fixing or placing on a seat, (4) restraining or detaining, and (5) confronting. All these gestures are made by the fingers and palms.

    156. That is the Sahasrara Lotus in the head. The Mantra when bowing to the Guru is Om Shrighrubhyo Namah, to Ganesa Om Ganesaya Namah; to Adya Kalika Shakti Om Sanatanyai Adyayai Kalyai Namah (Bharati). Other lengthier Mantras are given by Tarkalangkara.

    157. Bharati says: Reciting the Mantra, "Aing (name of Guru) Ananda-natha—Sri-guru-Sri-padukam tarpayami: Namah", and with the peculiar gesture (Sanketa-Mudra) taught by the Guru, the Guru should be satisfied three times by (offer of) Vijaya (Bhang) and reciting the Mula-mantra-i.e., "Hring Adyang Kaling tarpayami: Svaha" --and with the Sangketa-Mudra the Devi should be satisfied three times in the heart. The Sangketa Mudra in the text is the Tattva-Mudra taught by the Guru.

    158. That is, the Sakti Kundalini, as to whom see A. Avalon's "Serpent Power". Oblation is made to Kundali by the Sadhaka, placing the Vijaya in his own mouth.

    159. "Aim vada vada Vagvadini mama jivhagre sthiri-bhava sarva-sattva-vasamkari: Svaha"

    160. Bham.

    161. The pnmordial Devi.

    162. Puja dravya, that is, flowers and the like.

    163. Kula-dratya—i.e., wine, etc

    164. Phat.

    165. That is, water is taken in the hand, and a few drops allowed to drop at a tune while the hand make a circle. A streak of water is thus made to surround (according to the text) the articles of worship. According, however, to Tarkalangkara's Bengali translation, the worshipper (Sadhaka) surround both himself and the articles with the water.

    166. That is, Ram, the Bija of Fire.

    167. This is the Dig-bandhana rite.

    168. Astra—that is, “Phat”.

    169. This is the Bhuta-rite in which the component elements of the body are purified by an imagined process similar to the real Kundalini Yoga. See A. Avalon's "Serpent Power" and "Shakti and Shakta".

    170. The lowest of the six Cakras in the human body (see "Serpent Power").

    171. Earth element. The Prithivi Tattva together with whatever there is in the Muladhara is brought up and dissolved in the Jala-tattva. The Tattva in each of the lower centres is first united with and then dissolved into that in a higher.

    172. The Cakra next above the Muladhara at the sexual organs (see "Serpent Power"). In actual Yoga the Vayu is gently driven up the middle of the Susumna Nadi, by the Hamsa Mantra and Prthivi, which is in the Muladhara, is absorbed in Kundali.

    173. Niyojayet=Vilapayet.

    174. Here commences the description of the rite of Bhuta-shuddhi

    175. The Guna of Prthivi is smell. This Guna and the sense of smell is dissolved in Water. Odour is the objective and the sense of Smell the subjective side of Prthivi. Both are dissolved in “Water” in the Svadhisthana.

    176. The tongue. The objective physical quality of Water affects us as Taste. Subjectively the Tattva is the sense of Taste through the organ the tongue.

    177. The eyes. Both objective Fire and Form and subjective Vision are dissolved in Air.

    178. Everytlung that can be touched.

    179. Vyoma—that is, the void in which Ether is.

    180. The “I-making” faculty of Consciousness, from which the five subtle elements (already in the worship ideally dissolved) proceed.

    181. Mahat, or the Mahat-tattva, that is, Buddhi.

    182. There are altogether twenty-five Tattvas, categories, principles, or elements in the Samkhya Philosophy. The twenty-three emanations fiom Prakrti are dissolved into Her who is one with Brahman.

    183. Papatmakam deham=papam atmani svasmin asya evam bhutam deham (Bharati)—the body wherein sin abides. This is the Papapurusa. See “Sinful body’’ next verse.

    184. That is Yang. The colour Dhumra is smoky grey—the reddish colour of fire seen through smoke. Vayu is a friend of fire because it is necessary to and fans it.

    185. That is, Ram—Bija of Fire.

    186. Kumbhaka. The technical name of inspiration is Puraka; of expiration, Rechaka; and the restraining or holding of breath is known as Kumbhaka. Here, then, there are to be sixty-four Kumbhakas, at the same time sixty-four repetitions of the Agni Bija, that is, the period is one requiring sixty-four repetitions of the Bija.

    187. That is, Vang—Bija of Water.

    188. Recaka, which is also repetitions of Varuna-Bija, is to be performed thirty-two times.

    189. Prthivi-Bija—Lang.

    190. The Muladhara Lotus, two digits below the sexual organ and two digits above the anus.

    191. Divya-dristi. Here ends the rite of Bhuta-shuddhi, and the Text proceeds to the rite known as Jivanyasa (see verses 106-108). Tarkalangkara says that in this verse Jivanyasa is only given in brief. The full procedure is as follows. After Bhuta-shuddhi, the Sadhaka places his hand on his heart and says "He I am" (So'ham). The sense of the Mantra is “She I am" “I am the Adya Kalika who is Brahman (Brahmamayi).” Thereafter he puts Kula-Kundalini and others in these places and with his hand on the heart recites the followmg Mantras—Am, Hrim, Krom, Yam, Ram, Lam, Vam, Sam, Sam, Sam, Haum Haum, Hamsah, Srimadadya-Kalikayah prana iha pranah. (The Pranas or vital airs of the glorious primordial Kalika are the vital airs here). Then, repeating the Bijas as above says Srimadadya-Kalikaya jiva iha stitah. (The Jiva or life of the glorious Adya Kalika is here). Then same Bijas Shrimadadya-Kalikayah sarvendriyani; same Bijas Shrimadadya Kalikaya vangmanashcaksuh srotra ghrana prana cagatya sjkham ciram tistantu Svaha (may all the senses of the glorious Adya Kahka, may the speech, mind, vision, hearing, smell, life of the Adya Kalika come here and abide in happiness always).

    192. That is, “He I am” Sah=he, Aham=I. The two words, when combined, according to the rules of Sandhi, become So'ham, or the umty of the individual and Supreme Spirit.

    193. Literally, “Place the vital air of the Devi into his body” Taddehe Devyah pranan mdhapayet. The Sadhaka puts into the newly formed body of his the life of the Devi. He realises in his body the identity of himself with Her. This Shloka concludes Jiva-nyasa, and then next proceeds to Matrka-nyasa (see “Sakti and Sakta”).
    Cf.:
    1. The Deva alone should worship Deva:
    A non-Deva (a-deva) should not worship Deva.
    —Gandharva Tantra
    2. An a-Visnu (non-Visnu), should he worship Visnu, gains
    no merit thereby Become Visnu yourself before you
    worship Visnu —Yoga vashishtha
    3. By worship of Rudra one becomes Rudra himself.
    By worship of Surya one becomes Surya himself.
    By worship of Visnu one becomes Visnu, and
    By worship of Sakti one becomes Sakti.
    —Agni Parana.

    194. i.e., performed Bhuta-shuddhi.

    195. Devibhava-parayana.

    196. Disposition of the letters of the alphabet or body of the Devata upon the body of the Sadhaka. The meaning of Matrica-nyasa is as follows: After the destruction of the body which is the product of Avidya a Deva-body is created by Bhuta-suddhi.
    The identity of the individual and Brahman is realised. Then in the body of the Sadhaka which is a microcosm (Ksudra-brahmanda) produced the Devatas and the like of the six Cakras Tarkalamkara then quotes the following Texts “From Sambhu who is the Bindu (Bindvatma) the associate of Kala (Kala-bandhu) and Kala (Kalatma) originated Sadasiva who is all pervading and witness of the world (Jagatsaksi). From Sadasiva came Isa, from Isa, Rudra, from Rudra Visnu and then Brahma. Thus did they originate (Sarada-tilaka, vv 15-16). After this by Jiva-nyasa the Prana, Indriyas, and the like Brahmarupa Devi are placed in the body of the Sadhaka. Thereafter he utters different letters which constitute the different parts of the body of the Devata. They are placed in the corresponding parts of the Sadhaka's body. The body of the Devata is composed of the letters of the Matrika.

    197. Revealer, he who proclaimed the Mantra to the world.

    198. That is, the Matrka-Mantra.

    199. A form of verse.

    200. That is, Sarasvati, as the origin of the letters.

    201. Bija.

    202. The vowels are the Saktis, which enable the utterance of the consonants (the Bijas), which by themselves cannot be uttered. The latter merely interrupt the vowel sounds.

    203. Final hard-breathing h, which comes at the end of the letter, and is the end or Kilaka. Kilaka literally means a peg, a fence.

    204. Or Matrka-nyasa.

    205. In vv 107 and 108 Sadasiva wishing to show the mode of doing Matrka-nyasa speaks of Rsi-nyasa and says that it is necessary to state the object (Viniyoga) of the rite. The prelimmary Nyasa called Rsi-nyasa is done thus Sirasi (on the head) Brahmane Namah (obeisance to Brahman). Mukhe (on the mouth) Gayatryai chhandase Namah. Hrdaye (in the heart) Matrkayai Sarasvatyai Devatayai Namah (to the Devata Matrka Sarasvati) Guhye (in the anus which is in the region of the Muladhara) Vyanjanebhyo Bijebhyo Namah (obeisance to the Bijas the consonants) Padayoh (on the two feet) Svarebhyah Saktibhyah (the vowels which are the Saktis) Namah Sarvangesu (on all the limbs) Visargaya Kilakaya Namah (to Visarga the Kilaka). For the attainment of Dharma, Artha, Kama and Moksa Lipi-nyasa (=Matrka-nyasa) is employed (Viniyoga).

    206. Sad-amga-nyasa is done by placing the hands on six different parts of the body, and Kara-nyasa is done with the five fingers and palms of the hands only. The latter is also called Angustadi-sad-anga-nyasa. As to Kara-nyasa cf 1, 3, 25 Satapatha Brahmana, and 3, 2, 1, 6, for Anganyasa. For Dhyana of letters, see Latyayana Srauta Sutras, 2, 9, 12, as to Nyasa see S Br , 7, 5, 2, 12. As to Mudra cf Katyayana Srauta Sutra, 16, 3, 4 also S Br , 6, 8, 2, 6. This group is placed on the thumb in Kara-nyasa and in the heart in Anga-nyasa with namah.

    207. That is, the five letters—Ka, Kha, Ga, Gha, and Na.

    208. Short and long A of Sanskrit alphabet, with nasal Anusvara superposed placed on the thumbs and the heart.

    209. That is, the letters Ca, Cha, Ja, Jha, and Na on index fingers and head with Svaha.

    210. Short and long I. On middle fingers and crown lock (Sikha) with Vasat.

    211. That is, hard Ta, Tha, Da, Dha, Na (Murdhanya).

    212. Short U and long U.

    213. That is, soft Ta, Tha, Da, Dha, Na (Dantya) on ring fingers and Kavaca with Hum.

    214. E and Ai of alphabet, with nasal Anusvara.

    215. That is, letters Pa, Pha, Ba, Bha, and Ma on little fingers and three Eyes with Vausat.

    216. O and Au.

    217. That is, Ya, Ra, La, Va, Sa (Talavya), Sa (Murdhanya), Sa, (Dhantya), Ha, La (pronounced with a rolling sound), and Ksa placed on the palm and back of the hands.

    218. The nasal sign.

    219. The hard-breathing h.

    220. Asraye=Bhaje=I adote (Bharati).

    221. A gesture of the hands. The index finger is pointed upwards, and the fingers closed. She is represented with four arms. The text has Mudra only which the Commentator says is Jnana-mudra.

    222. Rudraksa is the stone of fruit, which grows in Nepal, in use by Saivas.

    223. Vidya, learning, which consists of (1) Anviksiki, Logic and metaphysic, (2) Trayi, the three Vedas, (3) Varta, Practical Arts, such as Apiculture, Medicine, etc ; (4) Danda-niti, Science of Government. To thes Manu adds (vii, 43) a fifth-Atma-vidya, Knowledge of the Spirit. Others divide Vidya into fourteen sections Four Vedas, Six Vedangas, Puranas, the Mimamsa, Nyaya, and Dharma-sastra, or Law Others, again add the four Upa-vedas, making the division eighteen. The Vedangas are Siksa (Science of proper articulation), Kalpa (ceremonial), Vyakarana (linguistic analysis, or Grammar), Nirukta (explanation of Vedic words), Jyotisa (Astrononiy), and Chandas (Metre). These are regarded as auxiliary to, and in this sense as part of the Vedas. Some people interpret Vidya to mean the Mudra of that name.

    224. Sarasvati.

    225. That is, the six Cakras or centres situate between the eyebrows (Ajna), in the region of the throat (Visuddha), heart (Anahata), navel (Manipura), sexual organ (Svadhisthana), and in that portion of the perineum which lies two digits from that organ and the anus respectively (Muladhara). The letters are said, and with suitable action placed in these six regions.

    226. Ajna-Cakra, a Lotus of two petals, with the letter Ha and Ksa, whose presiding Sakti is Hakini. Within the petal there is the eternal Seed, brilliant as the autumnal moon. (Siva Samhita, chap v, verses 96-119; and Satcakra-nirupana, A Avalon’s Serpent Power).

    227. Visuddha-Cakra, the Lotus Circle of sixteen petals, with the sixteen vowels, whose presiding Sakti is Sakini (see Siva Samhita, chap v, verses 90-95).

    228. Anahata-Cakra, the Lotus Circle of twelve petals, with the letters Ka, Kha, Ga, Gha, Na, Ca, Cha, Ja, Jha, Na, Ta, Tha (Ibid, verses 83-89).

    229. Manipura, a Lotus of ten petals, with the letters Da, Dha, Na, Ta, Tha, Da, Dha, Na, Pa, Pha (Ibid, verses 79-82)

    230. Svadhishthana Cakra of six petals, situate at the root of the organ of generation. The six petals contain the letters Ba, Bha, Ma, Ya, Ra, La. Its Sakti is Rakini.

    231. The Muladhara, Root Lotus of four petals, with Va, Sa, Sa, Sa, two fingers above the anus and two below the genital organ, with its face towards the back. This space is called the root (mula). In this Cakra dwells the Devi-Kundalini, embodied energy and like burning gold. There is the seed (Bija) of Karma (Karma-Bija), beautiful as the Banduka flower, brilliant like burnished gold. Its Bija is the great energy, subtle with a flame of fire. It encircles Svayambhu-Linga (see Serpent Power by A. A.).

    232. See Woodroffe's Sakti and Sakta. In the text only Osta (upper lip) is mentioned, but the practice is as described in the work cited.

    233. Kakud. The hump of the bull is called Kakud. Here it means the portion of the back between the two shoulder-blades, where a hump, if it existed, would be.

    234. See Serpent Power and Woodroffe's Sakti and Sakta. Mode of doing Matrka-nyasa is as follows. With middle and third fingers place letter A on forehead and say Am Namah. With first, middle and third fingers put round the mouth and say Am Namah. With thumb and third place I on nght eye and say Im Namah. Same fingers on left eye Im Namah. Back of thumb on right ear Um Namah and left ear Om Namah. Little finger and thumb on right nostrils Rm Namah. on left nostiils Rm Namah First, second, third on right cheek Lim Namah: on left Lim Namah. Middle finger upper lip Em Namah. On lower lip Aim Namah. Third finger upper teeth Om Namah. Lower teeth Aum Naraah. Middle finger head Am Namah. Third finger on opened mouth Ah Namah.
    Then passing to the consonants, with middle, third and little fingers joined together place on right shoulder Kam, on elbow Kham, on wrist Gam, With same fingers place on lower forms of fingers of right hand Gham and on tips of fingers Nam in the same way on left arm place Cam, Cham, Jam, Jham and Nam. Then on right leg on hip-joint mee ankle, lower joints and tips of toes place Tam, Tham, Dam, Dam, Nam and on the left place Tam, Tham, Dam, Dham and Nam. With same fingers on right side place Pam on left Pham, on back Bam. With tnumb middle third and little fingers place Bham on navel. On belly place Mam with all the fingers. On the heart put Yam saying Tvagatmane Namah with the palm of the hand. On the right shoulder with palm put Ram saying Asrigatmane Namah. With palm place Lam on me hump saying Mangsatmane Namah. On left shoulder place Vam with palm saying Meda atmane Namah. From the heart to the right shoulder place Shang saying Asthyatmane Namah. From the heart to the left shoulder Shang saying Majjatmane Namah. From heart to right leg place Sang saying Sukratmane Namah. From heart to left leg place Hang and say Pranatmane Namah. From heart to belly place Lam and say Paramatmane Namah. From heart to mouth place Ksam and say Paramatmane Namah. This is the Vahirnyasa of Matrika (Tarkalamkara). For those who cannot do the prescribed Mudras a flower may be used (Cf. Ullasa iii, 44 et seq.).

    235. That is Hrim. See as to this and other Bijas as Saguna-Sakti Woodroffe's Garland of Letters.

    236. This is Puraka, Kumbhaka, Rechaka. The air inhaled by Puraka increases in volume by the heat of the body five time during Kumbhaka, and, when exhaled two-fifths only passes out, and the remaining three-fifths is retained, the object of Pranayama being the increase of the vital forces and the lightness of the body. The more the air (vital breath) is kept in, the lighter becomes the body and the stronger the vitality.

    237. As to the meaning of Nyasa see "Sakti and Sakta".

    238. Rsi, the inspired Teacher by whom it has been originally seen—that is, to whom it has been revealed.

    239. Mind-born sons of Brahma.

    240. Usnik, Anustup, Brihati, Pangkti, Tristup and Jagati, are with Gayatri, the seven metres.

    241. VV. 122, 123 give the Rsyadi-Nyasa of the Mantra that is the Rsi-Nyasa and other kinds of Nyasa which are required to the done.

    242. I.e., Krim

    243. I.e., Hrim

    244. I.e., the Kilaka

    245. I.e., Srim

    246. Nyasa. To these different parts these Bijas should be assigned —that is, when the Mantra is said, it is thought of as being located in the head, mouth, etc., the hands touching the part in question. Vinyaset=Nyasa should be done=should be placed.

    247. The mode of doing Rsyadi Nyasa of the Mantra Hrim, Srim, Krim, Parameivari Svaha is as follows: On the head place the hand saying salutation to Brahma, the Brahmarsis and other Rsis. On the Mouth salutation to the metres Gayatri and others. On the heart salutation to the Srimad Adya Kalika the Devata. In the Muladhara salutation to the Bija Krim. On the two feet salutation to the Sakti Hrim and on every part of the body salutation to the Kilaka Srim. The Rsis of this Mantra are Brahma and the Brahmarsis. The metres are Gayatri and others. Srimad-Adya-Kalika is the Devata. Krim is Bija (of Kali), Hrim is Sakti and Srim is Kilaka. The object of using this Mantra is attainment of the four Purusarthas by Rsyadi-nyasa.

    248. The chief Mantra of the Rite.

    249. From Vyapaka, meaning diffusive, comprehensive, spreading all over, which is Yathokta-phala-siddhi-da. Here follows Kara-nyasa which is done with the fingers.

    250. Hrim.

    251. That is, Hrang is assigned to the thumb, Hring to the first finger, Hrung to the middle finger, Hraing to the fourth finger, Hraung to the little finger, Hrang to the palm and back of each hand.

    252. That is, Angustadi-sadanga-nyasa. The Nyasa of the whole body, as distinguished from that of the fingers, is called Hridayadi-sadanga-nyasa.

    253. Hrim Srim Krim Paramesvari Svaha.

    254. These verse speak of Angustadi-sadanga-nyasa, beginmng with thumb as Kara-nyasa. The Mantras are Hram Angustabhyam Namah, Hrim, Tarjanibhy Svaha, Hraum Madhyamabhyam Vasat, Hraim Anamikabhyam Hum, Hraum Kanisthabhyam Vausat, Hrah Karatala-prstabhyam Phat.
    Kara Nyasa is done as follows: Hram Namah to the two thumbs, Hrim Svaha to the two first fingers, Hrum Vasat to the two middle fingers, Hraim Hum to the two third fingers, Hraum Vausat to the two little fingers, Hrah Phat to the palm and back of the hand. In ordinary Kara Nyasa the thumbs and fingers abovementioned are used. But the method is different in different Sampradayas.
    In vv 125, 126 direction is given as regards Kara-nyasa and Anganyasa.

    255. The ceremony which now follows is called Hrdayadi-sadanga-nyasa that is, Nyasa done with the six parts of the body, beginning with the heart-viz., heart, head, the crown lock, Kavacha (literally, armour, the covered hands touch arms above the elbow), the three eyes (see next note), and two palms. The Mantra is Hram Hrdayaya Namah, Hrim Sirase Svaha, etc.

    256. The central eye, situated in the forehead between the other two. The eye of Wisdom (Jnana-caksu).

    257. Here the Pitas take the place of the Matrika. These Pitas are the ten from Adhara Sakti to Padmasana.

    258. From here to verse 135 Pita-nyasa is dealt with.

    259. Hrdayambuje. The Lotus, with all it “contains, is called Ananda-Kanda (vide post) This is the Sthula aspect for worship of that whic exists in the twelve-petalled lotus.

    260. Adhara-sakti, Sakti of support. Everything in the universe has a support, or energy by which it is upheld.

    261. Kurma on which the worlds are said to rest. The Kurma is the emblem of patient endurance. Cf Sh. Br., vii, 5, 1.

    262. Which is on the Tortoise. The Deva, King of Serpent, with a thousand hoods, crown on its head, red like the leaf of a mango-tree, brown-bearded, brown-eyed, wearing yellow silk cloth, holding lotus, mace, conch, and discus, adorned with ornaments lying in the ocean of milk (Bhavishya Purana). He supports the worlds (Kurma Parana, verse 48, where the the Dhyana is given).

    263. Prithivi, or Prithivi, Devi Earth. Supported by Sesha. In the body it is in Muladhara below which in the lower limbs are the previous supporting Saktis.

    264. Sudhambudhi.

    265. Isle of Gems (Mani-dvipa) in the Ocean of Ambrosia. There are seven oceans, of milk and other substances. The Rudra-yamala says: "Outside and beyond the countless myriads of gross word-systems, in the centre of the Ocean of Nectar, more than 1000 crores of Yojanas in extent, is the Gem Island, 100 crores of Yojanas in area, the lamp of the world. There is the supreme city of Shri-vidya, three lakhs of Yojanas in height, adorned with twenty-five halls, representing the twenty-five Tattvas”.

    266. A Tree with scented flower in the Heaven of Indra. One of the five celestial Trees in the garden of Indra-viz., Mandara, Parijata, Santana, Kalpa-vrksha, Hari-candana. Here a tree in the Isle of Gems.

    267. Cintamani-griha. Cintamani is that gem which yields all objects desired. Of that the chamber or house is built in the Isle of Gems. In the house of Cintamani, which is on the northern side of Shringara-vana, all is Chintamani. In the commentary on the Gandapada Sutra (no. 7) the Cintamani house is said to be the place of origin of all those Mantras which bestow all desired objects (Cintita). The Lalitasahasra-nama speaks of the Devi as residing there (Cmtamani-grihantahstha).

    268. The jewelled altar is in the Cintamani Griha and on the altar is the Lotus-seat on which is Devi with whom the Jivatma is one. She is Svasamvit-tripura Devi (see Yoginibridaya Tantra). The Mantra for placing them in the heart lotus is: Hridayambuje (in the heart lotus) Adhara-shaktaye Namah, Kurmaya Namah, Sheshaya Namah, Prithivyai Hamah, Sudhambudhaye Namah, Mani-dvipaya Namah, Parijata-tarave Namah, Cintamani-grihaya Namah, Manimanikya-vedikayai Namah, Padmasanaya Namah

    269. The universal and special Law.

    270. Knowledge.

    271. Dominion and Power.

    272. Dispassion, the state of freedom from all desires.

    273. The Mantra is Daksa-skandhe Dharmaya Namah, Vama-skandhe Jnanaya Namah,Vama-katau Aisvaryaya Namah, Daksa-katau Vairagyaya Namah, Mukhe Adharmaya Namah, Vama-parsve Ajnanaya Naman, Nabhau Anaisvaryaya Namah, Daksa-parshve Avairagyaya Namah.

    274. Literally “Root of Bliss” which gives the name to an eight-petalled lotus in the heart (which, however, is not one of the six Cakras), where the Ishta Devata is thought of. It is immediately beneath the Anahata Cakra, facing upwards to the Anahata Cakra, which faces downwards. The eight petals of this lotus are the eight Siddhis. The eight Nayikas whose names are given in the Text are the eight Saktis, and the eight Bhairavas their consorts are emanations of Siva.
    By Surya, Soma, and Hutasana (Eater of Oblations) are meant the Sthula aspect of “Sun,” “Moon” and “Fire” in the head, as to which see Chapter so-named in Woodroffe’s "Garland of Letters" and "Serpent Power". In the early stage of Sadhana the Devata is here invoked. On attainment of Yoga-siddhi the lotus is merged in the Sahasrara.

    275. Standing for Ida, Pingala, and Susumna.

    276. That is, Sattva, Rajas, Tamas.

    277. That is, the Sadhaka says: Sam Sattvaya Namah, Ram Rajase Namah, and Tam Tamase Namah.

    278. The Nayikas like all other subordinate Saktis represent different aspects and portions (Amsa) of the general Power in beneficence, supremacy, happiness, continuance in victory, invincibility, pleasing (Nandini=daughter so called because pleasing to parents), majesty and might (Narasimhi), Sakti of Kartikeya (Kaumari) or of Visnu (Vaisnavi) which last name is given in ch vi, vv 99, 100 post.

    279. The ceremony is accompanied by the following Mantra: Hridaye Ananda-kandaya Namah, Suryaya Namah, Somaya Namah, Agnaye Namah, Sam Sattvaya Namah, Ram Rajase Namah, Kesarebhyo Namah, Karnikayai Namah, Hritpadma-patrebhyo (to the petals of the heart lotus) Namah, Mangalayai Namah, Vijayayai Namah, etc. Hrtpadma-patragrebhyo (to the tips of the petals of the heart lotus) Namah, Asitamgaya Namah, etc.

    280. He of the black body, the Fierce One, the Wearer of skulls, the Angry One, the Terrific One, the Mad One, Ruru, and the Destroyer. These Bhairavas are aspects or emanations of the God Shiva (see notes under ch II v. 23 and ch VI v. 2). Some texts read Bhayamkara for Unmatta.

    281. The Sadhaka first makes with his hands the Kachchhapa or Kurma (Tortoise) Mudra (as to which, see Tantrasara, p 639), and, keeping his hands in this postion, picks up the flower.

    282. Dhyana as Sa-rupa or A-rupa.

    283. Sama—control of the inclinations (Antahkarana). Dhyana is of two kinds, namely, Sthula, gross or with form and Suksma or subtle. If the Brahman is thought of with form and attributes then it is Sthula Dhyana. Dhyana of the formless (Nirakara) and attributeless (Nirguna) is Sukshma Dhyana. The latter again is of two kinds: (a) Bindudhyana, (b) Sunyadhyana. The Bindu or Point has neither length nor height nor depth nor breadth. It is however united with Maya (Mayayukta). It is from this Bindu that Brahma, Visnu and Mahesvara and others originated. Meditation on that which is undifferentiated (Aparicchinna), attributeless, changeless, incomprehensible Sat Cit Ananda is Sunya-dhyana. This is beyond the scope of mind and speech. When by Yoga practice another “sense” is awakened then Yogis by Yoga-power experience the Bindu or Sunya. This is called Brahma-saksatkara (Tarkalamkara).

    284. That is, the meditation of the Devi as the Formless One. Dhyana is of two kinds. Some speak of three kinds of Dhyana, Sthula, Suksma and Para. The Gheranda Samhita speaks of three forms of Dhyana - Sthula, Jyotih, and Suksma.

    285. Kala-mata which may mean as in Text or she who "measures", that is, creates time (Kala).

    286. Sattva, Rajas and Tamas.

    287. Creation, Preservation, and Destruction, Anugraha and Nigraha or Nirodha. In this verse is given the answer to the anticipated question. "One may meditate on form in Sthula-Dhyana but how can there be Sthula-Dhyana of Her who is formless without beginning or end?”

    288. Symbolising the Past, Present and Future of Time, of whom she is the Mother.

    289. The Asana of the Devi is also red, which is the Rajasika colour. Red is an active (Rajasika) colour. The flower of these Tantnkas is the red Japa-puspa (hibiscus), and in the ritual of Lata sadhana the Madanagara is sprinkled with red sandal. Red indicates Will and Desire (Iccha) and Vimarsa Sakti and so it is said Sarvasya etasya lauhityam Vimarsah. See Introduction to Tantraraja, Vol VIII Tantrik Texts, Ed A Avalon.

    290. That is, She makes the Abhaya-mudra and Vara-mudra.

    291. Siva as the destroyer or as the embodiment of Time. In Tantraraja (ch 36, v. 40) Siva says “whatever the letters in the word Kala signify that is my body”

    292. The Madhuka flower, of which an intoxicating liquor is made. The Kaulikachara-bheda Tantra, which speaks of the different wines which should be drunk on different occasions, says: “On a joyful occasion should Madhvika be drunk.” Maha-kala is dancing because of the benignant state of the Adya. Here the worship is mental (Manasa) not exterior (Bahya).

    293. The eight-petalled lotus—Ananda-kanda (see verse 133, ante).

    294. The Lotus which is situated in the Brahma-randhra (Cavity of Brahma) is called Sahasrara (the thousand-petalled).

    295. Arghya=offering of worship.

    296. Chitta-the heart considered as the seat of intellect as modified by the sentiments. Akashatattva (Ether) or space itself is offered as raiment because the Devi being all-pervading, it is limitless space alone which can be imagined as Her garment. Outer space is the objectification of the infinite extensity of the supreme experience.

    297. Pranah.

    298. Tejastattva in Manipura. The ocean which follows (Sudhambudhi) is one of the seven oceans by which the universe is surrounded.

    299. The Yogis hear the sound as of a bell in this Cakra (See Manasollasa verse 39 and ninth Sloka of the Daksina-murti Stotra). The Cakra is so called because there without a sound-producing cause-e.g., a stroke-sounds are heard, emanating from the Shabda Brahma. This is the Pulse of the Universal Life.

    300. Camara, which is used in the worship of the image.

    301. ln full worship there is always dancing and singing before the Devata for its entertainment. This is Rajasika-puja. The Puja of the text is Sattvika, the dance being the ideal one of the mind and senses. All things offered are in the human body, which is called the Ksudra Brahmanda, or small egg or spheroid, of Brahma.

    302. Bhava-siddhi. That is leading to Suddha-bodha or Brahma-jhana. Svabhipreta-padartha-nispatti (Bharati).

    303. Guilelessness.

    304. Absence of egoism. Ahamkara=Atmani atipnyatvabhimanah.

    305. Detachment. According to Bharati=absence of anger.

    306. Absence of pride=Dhanavidyadi-nimittakam cittasya utsukatvam (Bharati).

    307. Freedom from delusion. Viveka-Power to discriminate the real and unreal, coupled with dispassion.

    308. Absence of duplicity straightforwardness or absence of hypocrisy (Dambha=Kapatata).

    309. Want of all enmity.

    310. Freedom from mental disturbance or repentance.

    311. Absence of envy.

    312. Absence of greed. Desire for more even when possessed of what is necessary.

    313. Harmlessness. No oppression of others.

    314. Control of the senses such as of the eyes over their objects.

    315. Mercy, pity, kindness. The desire to remove the pain and suffering of others without hope of reward.

    316. Forgiveness.

    317. Spiritual knowledge. Knowledge of what is essential and non-essential (Sarasaravivekanaipunyam).

    318. Bhavarupa: Bharati says Bhavyante, chintyante iti bhavah tadrupaih bhavyamanair ity arthah. Bhavarupa is the mental attitude and content of the Sadhaka.

    319. Wine.

    320. Mudra.

    321. Kulamrta, nectar produced by means of Sakti. It is defined by Hariharananda as Sakti-ghatitam amrtavisesam.

    322. Tatpuspa that is, Stri-puspa or Kulapushpa. When a girl attains puberty and its symptoms, she is said to have "borne the flower". A ceremony is celebrated in the inner apartments on this occasion, which is called Pushpotsava.

    323. Pitha-kshalana-vari, or water which has been used in washing the Pitha of the Kula-nayika, of which it is said that he who offers an Arghya of the same becomes a great Yogi (see Tantrasara, 698 et seq.). Hariharananda says Stryamga-visesadhavanambtian.

    324. The Devi awakened in the Muladhara. Usually a rosary is used for Japa. Here the beads are the letters of the Alphabet, and the string is Kundalini herself.

    325. Which is called Sri-kantha. The letter A is so called because it is an enquivalent of Visnu, and Sri-kantha is one of His names.

    326. The nasal sound. The verse answers the question as to the kind of rosary to be used in this internal Japa by saying that it is to be the letters of the alphabet strung on Kundali.

    327. Hrim, Srim, Krim, Paramesvari Svaha.

    328. That is, the ordinary order, as Viloma is the reversed order.

    329. That is, the ordinary order, as Viloma is the reversed order.

    330. The letter Ksa.

    331. The central and most prominent bead in the rosary (Mala, or Japa-mala).

    332. Vide above, note 2.

    333. Varga The eight Vargas are A, Ka, Ca, Ta, Ta Pa Ya, Sa, which are the first letters of each group; the last letters are Ah, Nga, Nya, Na, Na, Ma, Va, La.

    334. It is offered to the left hand.

    335. Antaratma.

    336. Antar-jyotih—that is, the divine Light seen by the inward or central eye of the Siddha when the others are closed.

    337. Antar-japa, that is said within.

    338. Feet, hands, knees, breast, head, eyes, mind (Manas), and word (Vac).

    339. The Visesarghya is the special offering, as contrasted with the Samanyarghya, placed in front of the room where, worship is being performed.

    340. Attendants of numerous kinds of the Devi, who is Herself called Yogini. Generally however the Yoginis are the Avarana Devatas of various classes. The Yoginis (see Jnanarnava Tantra, Ch. XVI, 140 el seq., Tantraraja, Tantrik Texts, Vol VIII) are of nine classes as appearing in the nine Cakras of the great Shriyantra, viz. (proceeding from the outermost Cakra, inwards) Prakata, Gupta, Guptatara, Ati-guptatara, Kula-kaula, Nigarbha, Rahasya, Pararahasya, Parapararahasya. The first is in the outermost Cakra called Trailokya-mohana and the last in the innermost, called Sarvanandamaya. In the same order the names of the Devata worshipped are Tripura, Tripureshi, Tripurasundari, Tripuravasini, Tripurashri, Tripuramalini, Tripurasiddha, Tripuramba, Mahd-tripurasundari. The names of the Cakra in the same order are (1) Trailokya-mohana,
    (2) Sarvaiapanpuraka, (3) Sarva-samksobhana, (4) Sarva-saubhagyaprada, (5) Sarvarthasadhaka, (6) Sarva-raksakara, (7) Sarva-rogahara, (8) Sarva-siddhiproda, (9) Sarvanandamaya.
    In (1) are eight Yoginis, viz, Brahmi, Mahesvari, Aindri, Kaumari, Vaishnavi, Varahi, Chamunda, Mahalaksmi, eight Matrika Yoginis and eight Siddhis. Worship is of these, as it is of the others, in their respective Cakras.
    In (2) there are sixteen, viz, Kamakarshini, Buddhyakarsini, Ahmgkarakarshini, Shabhdakarshini, Sparshakarsini, Rupakarsini, Rasakarshini, Gandhakarsini, Cittakarsmi, Dhairyakarsini, Smrityakarsini, Namakarsim, Bijakarsini, Atmakarsini, Amritakarsini, Sharirakarsini.
    In (3) there are eight viz , Anamga-kusuma, Anamga-mekhala, Anamgamadana, Anamga-madanatura, Anamga-rekha, Anamga-vegini, Anamgangkusha, Anamga-malini.
    In (4) there are fourteen, Sarva-samksobhini, Sarva-vidravini, Sarvakarshini, Sarvahladini, Sarva-saimnohini, Sarva-stambhini, Sarva-jambhini, Sarva-vasamkari, Sarva-ranjini, Sarvonmadini, Sarvartha-sadhani, Sarva sampa tipurini, Sarva-mantramayi, Sarva-dvandva-ksayamkari.
    In (5) there are ten, viz , Sarva-siddhi-prada, Sarva-sampat-prada, Sarva-priyan-gkari, Sarva-mangala-kanni, Sarva-kama-prada, Sarva-sau-bhagya-dayini, Sarva-mrityu-prasamani, Sarva-vighna-nivarini, Sarvamgasundari, Sarva-duhkha-vimochani.
    In (6) there are ten, viz, Sarvajna, Sarva-sakti-prada, Sarvaishvaryaprada, Sarajnanamayi, Sarvavyadhivinashini, Sarvadhara, Sarva-paapa-hara, Sarvanandamayi, Sarva-raksa, Sarvepsita-phala-prada.
    In (7) there are eight, viz, Vashini, Kameshvari, Modini, Vimala, Aruna, Jayini, Sarveshvari, Kaulini.
    In (8) there are three viz, Kamesvari (Rudrani-Sakti) Vajreshvari (Vaisnavi-shakti), Bhagamalini (Brahmi Shakti).
    In the (9) there is only one that is the supreme Yogini who is Mahatripurasundiri. This Cakra is Brahma-bindu, Cit-svarupa, Samvid-vedya. The above total 78.

    341. See note under ch I, 23.

    342. Success. Accomplishment of one's aim. The next verse proceeds to consecration of Vishesharghya.

    343. The Vishesharghya is the special offering, as contrasted with the Samanyarghya, placed in front of the room where worship is being performed. In Kalikula there is no Vishesharghya but in Srikula there is. Adya-kali belongs to the latter.

    344. That is, Hring.

    345. Devi of the Adhara.

    346. A tripod.

    347. Hring Adhara-shaktaye Namah (see note 6, p 117) Here the tripod is the support.

    348. The diagram drawn as above.

    349. Mam Vahni-mandalaya dasha-kalatmane Namah. Ten aspects or digits of manifestation are mentioned in Chapter V, verse 25. As to Kala see Woodroffe’s "Garland of Letters".

    350. The tripod or other support on which the Kalasa is placed.

    351. Ang Arka-mandalaya dvadasa-kalatmane Namah. The Kalas are referred to in Chapter VI, verses 32, 33.

    352. That is, the chief Mantra of the particular Devi worshipped, e.g., here it is Hring, Sring, Kring, Paramesvari Svaha.

    353. Ambika, a title of the Devi.

    354. Ung Soma-mandalaya shodasha kalatmane Namah. The sixteen digits or Kalas are given in Chapter VI, verses 32, 33.

    355. The bael leaf (Bilva-patra) is sacred to Siva.

    356. The bael leaves, grass, and flowers are placed at the end of projecting from, the vessel, their stems being in the wine and water. Durva is Panicum dactylon.

    357. Aksata. This is commonly called Atapa rice.

    358. Arghya, consisting of Japa flower (hibiscus or Rosa Sinensis), bael leaf, grass, rice, and red sandal, with wine and water.

    359. Vide p. 104, note 3.

    360. Vide p 101, note 8.

    361. Proksani-patra=a vessel for holding water to sprinkle.

    362. Arghya.

    363. Lest by so doing the Devata be disturbed.

    364. Visesarghya.

    365. Yantra-raja, the King of all Yantras. This Yantra or Diagram of worship is similar in form to that figured at p. 732 of the Tantrasara as the Rudra-Bhairavi-Yantra. Yantra-raja=Kmg of all Yantras so called in order to emphasise its importance in this particular form of Sadhana.

    366. Samasta-purusartha—i.e., the fourfold aim of existence—Dharma, Artha, Kama, Moksa.

    367. That is, Hrim. The triangle is equilateral with apex downward.

    368. That is, the base upon which the Yantra is drawn.

    369. Devata-bhava-siddhaye, which may also mean “for the attainment of a celestial disposition”, but the interpretation adopted in the text is that of Bharati.

    370. Vide ante, note under v. 16.

    371. These are three kinds of the Kula-puspa, the Tantrika significance of which is given in note under ch iv, v. 66. Svayambhu is the Kula-puspa of any woman; Kunda, that of a girl born of a married woman by any other than her husband , and Gola, that of the daughter of a widow. In conformity with its general character, this Tantra (Chapter VI, verse 15) substitutes for the Kula-puspa (of whatever kind) red sandal paste.

    372. Aguru.

    373. The red powder made from a fruit, which is thrown in the Holi. (Dola-yatra) Festival; also saffron.

    374. Aisvarya (see p 119, note 3).

    375. Ratna-simhasana, lit. jewelled lion-seat or throne.

    376. That is, the supporting Devata of the Yantra. As to Pita-nyasa, vide ante.

    377. Mula-Devata: here Adya Sakti or Kali.

    378. i.e., the lotus in the Yantra.

    379. Kalasa, a jar made of mud or metal, used for the drawing of water from the river, etc., and in worship, and in which—according to Kauhka ritual—the Tattva of wine is kept in the Chakra. He now begins to speak of the rules of worship of the Mahadevi with the Pancatattva.

    380. Cakra The text here refers to the celebrated circles of Tantrika worship. The chief Sadhaka and his Sakti—who may be, but not necessarily are, the host and hostess (Grhini) in whose house the circle takes place sit in the centre, the Sakti on the Sadhaka’s left. Between and in front of them are the articles of worship referred to in the text, and the large jar (Kalasa) of wine, which is called by the Tantrikas Karana-vari and Tirtha-vari. In the Jnanarnava Tantra it is said that the Kula articles of worship should—when purified—be considered as the image of Brahman and the Ista-devata worshipped. The other worshippers sit round in a circle, men and women alternating, the latter on the left of the former.

    381. i.e., Ista-devata.

    382. Mantra-siddhi and Iccha-siddhi.

    383. The Celestial Architect.

    384. Kala. The meaning is that the Kalasa contains the properties of the different Devatas.

    385. Vitta-shatya=parsimony, that is, one who is able to afford a costly metal should not make it of a cheap material.

    386. Vasikarana is one of the six satkarma or magical powers (siddhis), the bringing of a thing or person under control—e.g., causing a woman to love a man.

    387. Stambhana is another of such powers, such as stopping forces of nature, making a person speechless, etc. The other powers are Marana, Ucchatana, Vidvesana, Svastyayana (Santikrya) Tarkalamkaia sa)s that the defect of a stone jar is that wine kept therein in a short time loses its elating qualities in a considerable measure Hence in some Tantras it is prohibited Possibly the stone here spoken of is a variety free from this defect.

    388. Brahma-randhra, i.e., a small circle like °. The Hexagon is a figure made of two equilateral triangles one with the apex upwards and the other downwards Some Tantras speak of a triangle within the hexagon.

    389. Rajas or Kula-pushpa, see p. 130, note 5.

    390. Hring Adhara-saktaye Namah.

    391. The tripod (see ante).

    392. Kalasha. This term, as well as Ghata, are used in the text for the Kalasa, which in the translation is employed throughout.

    393. The Viloma Matrika followed by the Mula-mantra Hring Shring Kring Parameshvari Svaha. Viloma-Matrka is the Matrka (letters) uttered in a reversed order, begining with Kshang and ending with Ang. Japa should be done of this when filling the jar with wine.

    394. Devi-bhava-parayana - that is the mind and body are full of the presence of the Devi.

    395. Tirtha, a ritualistic term for Madya. There are other names such as Karanavari, Sudha, etc.

    396. Such as the Japa Pushpa, the Tantrika-Shakta flower of the Devi

    397. Literally, mixing of five things, or the doing of five ceremonies. The ceremony is described in the next verse.

    398. Or Gesture of the Veil.

    399. Gandham trirdadyat, which literally means offer scent three times. The translation given in the text is that of Tarkalamkara, who supports it by the observation that the practice amongst all the different communities (Sampradaja) of Tantrika Sadhakas is to close the right nostril and to inhale the scent from the Kalasa three times by Ida, and then to exhale it by Pingala to a place away from the jar.

    400. Tarkalamkara says that whatever is done in Puja has a meaning. The ritual sigmficance of Pancikarana is to make the wine in the jar the celestial nectar (Divyasudha) which manifests Brahman-bliss. This Karana (wine or cause) is the Ajnana which is the cause of the material world produced of the collectivity of the five subtle Bhutas The Sadhaka in doing Pancikarana (making fivefold) of the five unmixed (Apanchikrita) Bhutas first of all realises sound the property of Akasa by striking the jar. Then he limits or condenses Akasa by the veiling gesture (Avagunthana Mudra) and mentally realises the sense of touch. Then by looking with winkless eyes he unites Tejas with the last and sees form. Thereafter by dropping a little water he realises taste. Lastly thinking of the earth-element he becomes aware of smell which is the property of Prthivi. By smelling this celestial nectar the Nadis of the Sadhaka are durified and then impurities are thrown out through Pingala to a distance.

    401. Sura: the first of the five Tattvas of the Tantrika ritual.

    402. Om ekam eva param Brahma. The Brahman is verily one that is without a second: Ekameva=Advaitam eva.

    403. Sthula.

    404. Suksma.

    405. Son of Brhaspati and disciple of Sukra, Priest of the Demons. Kaca was burnt by the Asuras, and his ashes mixed with the wine that Sukra drank. The latter, when he discovered what he had done cursed wine. Krisna also cursed wine because the Yadavas took to drinking and began quarrelling and killing one another so much so that the Dynasty became extinct.

    406. The allusion is to the concealment of Amrita by the Devas in the Surya-mandala (Mahabharata, Adi Parva, chap. xviii. The place of Varuna is the ocean.

    407. Varuna. As to the Churning of the Ocean, from which Amrita was produced, see Mahabharata, Adi Parva, chap xviii. The place of Varuna is the ocean.

    408. Ama is the sixteenth digit (Kala) of the Moon.

    409. Brahmanandamaya.

    410. This is the celebrated Hamsavati Rik of the Rgveda.
    Hrim Hangsah Shuchisad Vasur Antariksasat
    Hota Vedisad Atithir Duronosat
    Nrisad Varasad Ritasad Vyomasad Abja
    Goja Ritaja Adrija Ritam Brihat.
    Rigveda Samhita Mandala 4, Adhyaya 4, Sukta 40, Rik 5, Max Muller, 1st Ed., Vol. III, p. 195; and yajurveda X, 24 and XII, 24. See also Kathopanisad, V 2. As to the Mantra cf. Ait. Br., 420; Sh. Br., 5. 4-3, 22, 6, 7, 3, 11.

    411. This is the Maya Bija which Tantra prefixes to the Vedic Mantra. See Woodroffe’s "Garland of Letters".

    412. Shangkara (Commentary on Kathopanishad) says that Hangsa is either Surya the solar deity or Paramatma (of whom it is a form). Surya is Aditya so called, according to Sayana, from Hanti (=Gachchhati) because he is in perpetual motion and also because he destroys
    Ahambhava. Hangsa is the Ajapa Mantra said in breathing. By the Sun all life is maintained. Hangsah is So’ham reversed.

    413. Shuchisat or dweller (as the Sun) in the sky (Samkara). By this its position in Svah is shown (Sayana). Or is in the sun in the sky (Tarkalamkara).

    414. Vasur Antariksasat. Its light pervades the airs. Sayana says it is Vasu because it dwells (Vas) everywhere as does the all-pervading air (Vayu) in the middle region, the Bhuvah or Antarisha. Sangkara says Vasu is He who maintains the beings of the world and Antarikshasat-who (in the form of Vayu (air) dwells in the space mid Heaven (Svah) and Earth (Bhu).

    415. Hota Vedisad Atithir Durona-sat The Mantra now goes on to show that the Supreme is not only in Heaven (Svah) and the mid-rcgion between Heaven and Earth (Antariksa) but also on Earth (Bhu).

    416. Hota is as Samkara says fire or who dwells in the senses and experiences sounds and so forth.

    417. Authir is a guest so called because he does not stay longer Tithi that is fifteenth part of the lunar half month. Samkara says it means here Soma-rasa.

    418. Durona-sat (Sayana) According to Samkarait means that "That which is in the jar of Soma-rasa or who is in Houses".

    419. Vyomasat (Samkara).

    420. Brihat as He is the Cause of all (Sarva-karana) according to Samkara. Brihat comes from the root Brih or Brinh which is the root of the word Brahman. The object of the Mantra is to establish the unity of the Paramatma without attributes, the Saguna Isvara and of all things which have proceeded from Him. As used here it indicates the unity of the Devi Sudha (wine) with all the Devatas mentioned in the Mandala. Wine is Tara Devi in liquid form (Dravamayi). The Devi who thus manifests is displayed in all things in her Svarupa as Chinmayi one with the Supreme Shiva or Paramatma.

    421. That is, Vam Bija of the Lord of Waters.

    422. That is, Vam, Vim, Vum, Vaim, Vaum, Vah.

    423. Brahma-sapa-vimocitayai Sudha-devyai Namah. Brahma under the influence of liquor, luster after his own daughter, and therefore cursed it, saying that he that should drink it was as guilty as one who killed a Brahmana, and would go to hell. "Non-Tantrikas say that, even when the curses are removed, wine should not be drunk, to which the Tantrikas reply that Pashus are ignorant (Ajnani), and that if their views were correct then no one should make Japa of the Gayatri, which also is afflicted with three curses. Yet, after the curses are removed, worshippers make Japa of the Gayatri" ("Pancha-tattva-Vichara," by Nilamani Mukhyopadhyaya, Calcutta, p. 19).

    424. That is, the Bija Krom.

    425. That is, the Bijas Srim and Hrim. Sri is a name of Laksmi.

    426. Krsna’s family, the Yadu-kula, was destroyed through drink, which he therefore cursed.

    427. Amrta, the ambrosia of immortality.

    428. The Mantra is thus: Kram, Krim, Krum, Kraim, Kraum, Krah Sudha-Krsna-sapam mocayamritam sravaya sravaya: Svaha.

    429. Siva and His Sakti are so called when the worshippers are in a joyful mood. The Tantrantara gives the following meditations on million suns and cool like ten million moons. The Deva has five faces with three eyes in each and eighteen arms. He is on a Brahmapadma in the middle of the ocean of nectar. His throat is blue. He is decked with ornaments and seated on a bull. He holds a skull and Khatvanga (The club surmounted by the skull; a piece of wood half burnt from a funeral pyre is also so called) and makes a music with bell and drum (Damaru). He holds the noose (Pasa), goad (Angkusha), mace (Gada), spear (Mushala), sword (Khadga), shield (Khetaka), axe (Pattisha), hammer (Mudgara), trident (Shula) and staff (Danda). He holds a vajra (Thunderbolt) and a severed head and makes the Mudra (gesture) of granting boons and dispelling fear.
    Anandabhairavi, the Devi Sudha, should be meditate upon as lustrous as a hundred thousand millon moons white as snow and the Kunda flower. She has five faces with three eyes in each and eighteen arms. She is eager to give joy to all, She is large eyed, smiling and seated in front of the Devadevesha. The rest is as above.

    430. That is, the seven Sanskrit letters, followed by Yum Ananda-Bha vaya Vasat

    431. That is, the same seven letters (the first two letters being reversed)—Sa-Ha-Ksha-Ma-La-Va-Ra-Ying (instead of Yum)—followed by Sudhadevyai vaushat. The "ear" and "eye" mean U-kara and I-kara, which they resermble.

    432. Samarasya of Ananda-Bhairva and Ananda-Bhairavl.

    433. Devatabuddhya. For wine is the saviour (Tara) in liquid form. The Buddhi or higher mind of the worshipper should be such that he believes the wine to be Devata.

    434. This is called Arati. In the right hand is held the light or burning incense-stick, and as these are being waved round and round the bell is rung with the left hand.

    435. See Sakti and Sakta, by Woodroffe.

    436. See Ibid.

    437. See Ibid.

    438. Then follows the purification (shuddhi) of meat, the second Tattva of the five.

    439. The Vayu-Bya “Yam”.

    440. The Vahni-Bija “Ram”.

    441. The Avagunthana Mudra.

    442. Or Armour Mantra “Hum”.

    443. i.e.,“Vam”.

    444. Or Cow gesture (vide, p 104, note 3).

    445. Literally, “having made into nectar”—Amrititkritya.

    446. Visnor vaksasi ya devi ya devi Samkarasya cha
    Mamsam me pavitrikuru kuru tad Visnoh paramam-padam

    447. Siva.

    448. Or perhaps “make it sacred like that which is in the abode of Visnu”.

    449. The following is the ritual for the purification of the third Tattva—Fish (Matsya).

    450. This is a Rk from Rg-Veda, Seventh Mandala, fourth chapter, forty-ninth Sukta, twelfth Mantra. The translation and interpretation given is that of the Bengali translation by Tarkalamkara. It occurs also in Ullasa viii, verse 244, post.

    451. Om Tryambakam yajamahe sugandhim pustivardhanam
    Urvarukara iva bandhanan-mrtyor muLsiya mamrtat.

    452. A name of the three-eyed Siva esoterically the mother of the “Three” that is Brahma, Visnu and Rudra.

    453. That is who is as the seed of the world nourishing the body and increasing the wealth of the worshipper and whose beneficent deeds are mamfested everywhere.

    454. Bandhana that is the bond of death Urvaruka is a kind of melon which when npe detaches itself from the stalk. The fruit though detached from the stalk is not dead Cf. Sanatsujaliyam Pan passu

    455. That is, Sayujyamukti (see Chap. VIII post). This Mantra is called Mrityunjaya (Death-conquering).

    456. Mudra—the fourth Tattva.

    457. Om Tad Visnoh paramam padam sada pasyanti surayah.
    Diviva caksuratatam.
    Om Tadvipraso vipanyavo jagrvamsah samindhate.
    Visnor yat paramam padam.
    These two Rikas are from the Rg-veda, Mandala, IV, Chap V, Sukta 22, Rik, 20, 21. They occur in Krsimha Purva Up., V, 13 and in other places also.

    458. Atatam—Circular, spreading, revealing (Vartulam, Prakasatmakam,
    Sarva-prakasabhibhavakaranam).

    459. Vipanyavah—such as have Dharana-sakti in Samadhi (Medhavinah samadhau dharansaktiyuktah).

    460. These Riks are for the Niskama Sadhaka. The Parampada is the ocean of milk, the hub (Nabhi) of the wheel of the universe. He who has reached there attains Sayujya-phala, union with the Supreme. By the expression “Supreme abode of Visnu” (Visnohparamam padam) is to be understood the Supreme abode which is Visnu (Samkaracharya).

    461. i.e., the five Tattvas.

    462. Mula.

    463. Mule tu shrad dadhano yah, kim tasya dala-shakhaya?

    464. Siva.

    465. Literally, wanting of parts—Amga.




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