KAMA-KALA-VILASA ARTHUR AVALON (SIR JOHN WOODROFFE) GANESH & CQ, (MADRAS) LTD. KAMA-KALA-VILASA ARTHUR AVALON (SIR JOHN WOODROFFE) GANESH & CO.. (MADRAS) LTD. Second Edition 1953 Price Rs. 61 - KAMAKALAV1LASA First Published 1922 Second Edition 1953 Printed by D. V. Syamala Rau, at the Vasanta Press, The Theosophical Society, Adyar, Madras 20 Srm ^ ^ ^ s\ *?> ^ s, \h, 55 1. PREFACE The Kamakalavilasa is an important work in S'rividya by Punyananda an adherent of the Hadimata, who is also the commentator on the Yoginihrdaya, a section called Uttara- catuhs'atl of the great Vamakes'vara Tantra. The same Catuhs'ati as also the Purvacatuhs'atl have commentaries by Bhaskararaya. The Kamakalavilasa which means the spread- ing or emanation or evolution of the Kamakala that is the Supreme Triangle formed of the Bindu and Visarga, of Prakas'a and Vimars'a, of S'iva and S'akti, of the * I ’ (Aham) and ‘This’ (Idam) or Universe is, in the supreme sense, the S'iva-Svarupa and S'akti-Svarupa. To put it quite shortly Kamakalavilasa is the evolution of the One in its twin aspect as changeless Consciousness (Cit or Samvit) and changing Power (Cit-S'akti and Maya-S'akti) into the multiple universe. This evolution is represented by the greatest of Yantras — the S'rlyantra figured on the cover and in a separate Plate show- ing in colours its several Cakras extending from the Point or Bindu (called Sarvanandamaya), the Supreme S'iva-S'akti in the centre, to the outermost section of the Cakras the Bhupura which is called Trailokyamohana. The S'ricakra or S'riyantra is the Yantra of Lalita or Tripurasundarl the Devata of S'rividya. Every Devata has his or her Yantra. A general but by no means exhaustive list of the Yantras is given in the Tantrasara of Krsnananda of which there are several editions published in Bengal. Lalita is the Supreme S'akti aspect of the Brahman the Aniruddhasarasvatl (the all-spreading and Itself Unlimited VI KlMA-KALA-VILlSA Power). It is claimed by great Kaulas, among whom may be mentioned the great Naiyayika commentator Bhaskararaya, that this aspect of the Brahman is recognised in the Vedas and that among others the Mantra, Catvara/t Im bibhrati KsemayantaA (Rg-veda V. 47. 4) has reference to Her. The Kamakala is the first display of activity in the Brah- man Substance after Pralaya when the Devi holds absorbed in Herself all the Thirty-six Tattvas of which the Universe in all its variety is composed. She is then Kavallkrta-nibs'esa- tattva-grama-svarupiril. She remains for some time in this state holding within Herself all the Tattvas until rest is disturbed by the desire or will (Kama) to create. The move- ment or stress of this Desire manifests as the Kamakala. Punyananda has here described the unfolding of the Kama- kala according to the Hadimata. All Tantras have referred to the Kamakala. The Gandharva-Tantra, which is a work of great authority and of philosophic thought, speaks (Ch. XXX) of the three aspects of Kamakala. The first which is, it says, the Sthula or gross aspect — that in which She is meditated upon as something outside the Sadhaka (Bahyabhavana). The only text of the Gandharva-Tantra available to me at the moment is unfortun- ately defective so far as the account of this aspect is concerned. It states that the Sun Bindu is Her face, the Moon and Fire Bindus are Her two breasts, and Her womb or Yoni is Hardhakala. Dr. Bhandakar in the account he gives of the Kamakala (Vaisnavism and S'aivism, p. 145) does not seem to have understood the scheme. He appears not to be familiar with the technical terms and has not followed the commentator Laksmldhara whose text he had before him and as a result he has made some errors. Thus he says that Ha is called Ardhakala or half part, whereas the half of Ha is Kala. Again the Devi is not in Herself “Aham” for the latter is the Sakala aspect of the Brahman. PREFACE VII I have referred elsewhere to his translation of the term Bindu as “Drop”. Bindu is here not a “Drop” but a technical name for a particular state of Sakti; namely, Ghanibhuta S'akti. The Symbol of the Point is well known in both East and West. Here it is a Metaphysical Point of Energy about to manifest. The term is fully explained in my “ Garland of Letters.” The Sadhaka is directed to realise his identity with the Kamakala. This aspect is alluded to in V. 19 of the Saun- daryalaharl, a beautiful poem the authorship of which has been unanimously attributed by all great commentators such as Raghava Bhatta, Bhaskara, Laksmldhara and others to the great S'ariikaracarya, though present day Orientalists, both Indian and Western, incline to cast doubt upon the traditional account of its authorship. The Saundaryalahari in verse 11 speaks of the S'rlcakra also. The second aspect of Kama- kala which is spoken of as Subtle (Suksma) and inward (Antara) is that in which She is the Devi KundalinI like a luminous flash of lightning extended from the Muladhara through the six centres to the Brahmarandhra. See my “Serpent Power”. She is to be meditated upon as half of Ha in the lotus of a thousand petals. This Kamakala is also active (Jagarti) in all that is moving and motionless. The third aspect of Kamakala is called Mantratanu (Mantra body) also Trayimayl as existing in everything. In this aspect Samaveda is Her face; Rk and Yajus are Her two breasts and the Atharvaveda is the Hardhakala. “ The Kamakala (the text proceeds) is the One highest (Turiya) Brahman Itself.” The Tantrantara Tantra quoted in the Sarvollasa speaks of one Bindu as the state of Laya ; two Bindus as the state of creation (Srsti) ; three Bindus as the state of continuance (Sthiti) and the return to One Bindu as the state of Laya (absorp- tion) when the Devi is as the Vamakes'vara-Tantra says, Kabali-krta-nihs'esa-tattva-grama-svarupinl. The S'yama- viii kama-kala-vilasa f rahasya quotes from the S'rlkrama Tantra a full account of I Kamakala. The S'ricakra is described in great detail in the Tantra- raja of the Kadimata the first eighteen chapters of which form Vol. VIII of this series. It also forms the subject of the Nityasodas'ikarnava Tantra which has been published by the Anandas'rarna Press of Poona. For a general description of the Cakras the reader’s attention is drawn to the Introduction to Vol. VIII. The aim of the Sadhaka of Lalita is to realise his identity first with the Yantra and Mantra and then with Lalita or Tripura, the Mahas'akti Who is the creator and director of the universe and Who ultimately withdraws creation within Herself. Some form of Union with the Ultimate Real or Sat is the aim of all the different classes of Sadhakas of the Hindus. In Chap. VII of the Gautamlya-Tantra, greatly venerated by Vaisnavas, the Sadhaka is directed to realise that “ he is Krsna (Aham KrsnaA) and no one else (na canyo’smi) ” that “ sorrow is not his portion (na s'okabhak) and that “he is Sat Cit Ananda”. It is also there said that the bar between Krsna and the Sadhaka can be removed by Krsna’s wish. The S'akta Sadhaka seeks to realise the identity of himself with the Mantra, the Yantra, the Guru and the Istadevata for they are all Brahman. Sarvaih khalvidam Brahma. Lalita is the Brahman as the active principle in creation. When Her Power is fully evolved the S'akta seeks Her alone. It is She Who, visible through Her Manifestations, counts for him. [ Tasycim parinatUyUm tu na kaslcit para isyate .] “Pure (Vimala) Cit S'akti of the Lord is Caitanya ” 4 Bhaskara in commenting on the text above says that the Cit S'akti, which is inherent in the Paracit (Paracinnistha), accepted by the Upanisads, is by reason of the multitudi- nousness of Her aspects called Maya. Her evolution (Pari- pama) is called creation (Prapafica) and this creation is PREFACE ix Cidrupa, or a form of Consciousness in the Sense of Cit. That being so it is real. [See my book “ Reality ”.] This does not conflict with Monism since S'akti and S'aktiman are incapable of separation. Further on he says that the S'akta does Sadhana of S'akti because without S'akti the Subtle (Suksma) S'iva has neither name (Nama) nor the power of manifestation (Dhama). So there can be no duty to one who is nameless nor can such an one help the Sadhaka in attain- ing Nirvana. Bhaskara follows the Kadimata. But both the Kadi and the Hadi are agreed that by the worship of S'rlcakra is meant the Sadhana whereby the identity of the knower (Jnata), the means of knowledge, and knowledge (Jnana i.e. Yantra which is the body of both the Devi and the Sadhaka) and the object of knowledge (jfleya i.e. Tripura) is realised. The Tantraraja (xxxv. 6) says : JnUtU svUtma bhavej jnztnam arghyam jneyaih bahih- sthitam stricakra-ptijanam tesftm ekikaranant iritam. The meaning of this is that the Svatma or self of the Jlva or Sadhaka is the Jnata or knower. Jnana knowledge and means of knowledge is the body of Jlva which is the Yantra and offering (Arghya) and Jneya or object of knowledge is what is “outside” (Bahih-sthitam) by which is meant the Devi Who to the ordinary man is something other than him- self. The worship of S'ricakra is done to effect an union with, or to realise the identity of, these three. There are some slight differences between the accounts of the S'aktis as given in the Kamakalavilasa and Tantraraja Tantra. These will be pointed out in the Introduction to the second part of the Tantraraja-Tantra now in preparation. It has been alluded to in the Introduction to the First Part. There are some who to-day believe that the feminine aspect of the Brahman is unknown in the Vedas and the Upanisads. But this is quite erroneous. Thus in the x KaMA-KALA-VILISA Chandogya Upanisad we come across the texts ' Tadaik?ata ’ ‘ Seyam Devataiksata.’ The first text by the word Tat speaks of the Brahman as neuter or nirguna. The second speaks of the Brahman as feminine (Sa iyam). The function is the same, namely, that of Iksana prior to creation. There are many other texts which might be cited such as the celebrated Devl-Sukta. In fact for man the second is the more important of the two. As already stated, in dissolution (Pralaya) the Devi is what remains— that is what the universe is in its essence (Svarupinl)— after all the Tattvas (Tattva-grama) have been completely (nisesa) swallowed up (Kavallkrta) or absorbed by Her. Then the verse continues “when however She is fully evolved (Tasyam parinatayam) from out this state in which the universe lies absorbed as mere tendency or potential- ity, then no other Supreme (Kas'cit para) that is the change- less Niskala S'iva is desired or thought of (Isyate). This, says the commentator Bhaskararaya, is the S'akta’s point of view, for the Niskala or Suksma S'iva has neither name nor manifes- tation and there is neither any duty towards, nor benefit from, Him. What Divinity may be in Itself, apart from Its gover- nance of the universe, is of no practical concern to those who form part of it. The S'aktisangama Tantra (1-3) establishes the identity of the Kamakala— this first creative movement with the Pranava. A text of this work was obtained in Kashmir but it was found to be defective; another manuscript was then secured from the valuable collection of Tantras in the Andul Rajbati which is more reliable and forms the basis of the present edition. When the present text, the publication of which has been somewhat delayed, was going through the Press, another edition in Sanskrit was published in Triplica ne (Madras) which contains some valuable additional illustrative citations which are not to be found in the manuscript from which this edition PREFACE XI has been printed. I have added some further notes and given the references to the S'ruti and other texts quoted by the commentator Natanananda Natha. The Kamakalavilasa is of great value in S'rlvidya because of its clear and succinct account, from the Hadi standpoint, of the initial development of S'akti and of the great S'rlyantra, and is now translated for the first time. Calcutta, 25th Nov. 1921 Arthur Avalon By the same Author THE SERPENT POWER The Serpent Power is a description and explana- tion in fuller detail of the Serpent Power Kundalini S'akti — and the yoga effected through it, a subject occupying a pre-eminent place in the Tantra Shastra. It consists of a translation of two Sanskrit works “ Shat Cakra Nirupana” (description of and investigation into the six bodily centres) and “ Paduka Pancaka ” (Five-fold foot-stool of the Guru). To it is appended a translation from the Sanskrit commentary by Kali- charana. To the translation of both the works is added some further explanatory notes by the author. This edition contains also the Sanskrit Texts of the works here translated and nine half-tone plates taken from life showing some positions in Kundalini Yoga besides eight original coloured plates of the Chakras. The book is bound in full cloth and gilt. 5th Edition (1953) Price Rs. 25/- INTRODUCTION KSmakalavilSsa is an ancient and authoritative work on S'rlvidya by Punyanandanatba. It was first published in 1918 by the Kashmir Government as No. 12 in its Sanskrit Publications Series with a commentary from the pen of Mahamahopadhyaya Mukundarama S'astri of the Research Department of that State. In 1921, Sir John Woodroffe pub- lished it with a fuller commentary by Sri Natananandanatha. A second edition has been long overdue and is now brought out. It is much to be regretted that that veteran Tantric scholar is not in our midst now to contribute to this edition the benefit of his ripe experience and deep knowledge in this field of sacred literature. As he has well pointed out in his Preface to the first edition, “ What Divinity ” may be in itself, apart from its governance of the universe, is of no practical concern to those “ who form part of it ” and there can be “ neither any duty towards nor benefit from Him ” conceived of as unrelated to the world of Name and Form. Any substance, be it gold or mud, has no inherent name or inherent form of its own but when we seek to have relationship with it, it must be clothed in some name and some form. We are therefore concerned with God not in His abstractness but in His practical aspect as in relationship to the world of our experience. God as the ultimate reality transcends all distinctions and is therefore neither a He nor a She but is best expressed by the neuter word Brahman. But conceived as the cause of the universe, it is clothed with a father-mother aspect, the XIV KlMA-KALA-VILASA static non-active principle being considered as the father and the dynamic active principle being considered as the mother. Both are aspects of the same reality but seem to split it up into two. Where a person stands before a mirror, it is true that he does not undergo any change but a duplicate person appears instantaneously in the mirror. That reflected person is essentially not different from the original person and yet is not identical with him. The former is evanescent seeming while the latter is true Being. Similarly at the beginning of creation, God the ever changeless Being “ desired ” to be a ever-changing seeming. The absolute Being took on the role of relative becoming. This desire and its fruition brought on the entire universe of name and form. The subject self con- ceived of itself as an object of its own cognition. The I be- came the this. This initial desire impulse responsible for the creation of the world is given the name of Kama. The desireful supreme entity is known as Kames'vara and his active desire as Kames'vari. The entire universe is the out- come of the union of these two primary parents. Though this truth is never lost sight of, more importance is given to the mother aspect in Devi worship. The numeral six is a reality but is an abstract mental concept essentially independent of the particular things to be counted. The concept is the same for all who can conceive of it and is not limited by any considerations of country or language. The sound that is produced when the word six is pronounced has really nothing to do with the conception of the numeral but is only a sound-symbol of that concept used for the purpose of expression in the English language. As languages and dialects vary, the sound symbols also will vary though the concept may remain the same. The concept is intangible while the sound symbols are certainly tangible. Again, the figure 6 which appears in uniting has really nothing to do with the sound produced when the word six is pronounced, INTRODUCTION XV much less with the abstract concept behind it. The figure 6 is but a form symbol of that concept. As in our experience we are attaching more importance to the ear and the eye than to the other faculties of sensation, we clothe every concept with a sound symbol and with a form symbol so that we can through them relate ourselves to the abstract concept which alone is real. Similarly when we conceive of Godhead or any aspect of it, we have necessarily to give it a sound symbol and a form symbol. The conceptual reality is known as Devata, the sound symbol as Mantra and the form symbol as Yantra. It is said that the Devata is the life principle, the Mantra its subtle body and the Yantra the gross body. The Archa or Image ordinarily used for worship is a still grosser body. In the Vedic and Tantra literature, symbols in sound and in form have been prescribed as can most appropriately and accurately represent the Devata. The ancient seers have pointed out that, just our body of flesh and blood though seemingly inert is permeated by the life principle in us in every particle of it, so does the Devata permeate the Mantra and the Yantra appropriate to that Devata. Any the slightest variation therefore either in the sound of the Mantra or in the form of the Yantra will effect a corresponding change in the concept of the Devata and may possibly do great harm. In this Kamakalavilasa, the Devata dealt with is the highest conceivable one, namely the Divine Mother Tripurasundari ; Her Mantra is the Paficadas'aksarl and Her Yantra is Srlchakra. The intimate relationship between the Devata, the Mantra and the Yantra is brought out in this book in several ways and the devotee is asked to identify himself with them as a necessary step towards the ultimate realisation. The commentator Natananandanatha is a disciple of Sankarananda and Nathananda and is the author of several works besides a commentary on Yoginlhridaya. He refers XVI KaMA-KALA-VILaSA in his commentary itself to Saccidananda-Vasana and Cida* nanda Vasana as his works. Only extracts from the commen- tary are reproduced in the English translation. The commen- tary is simple, explanatory and very useful in understanding the text and is replete with quotations from cognate literature. All the same the treatise will remain a closed book to the lay reader. As the commentator has pointed out more than once, the details and the method of worship are really matters to be learnt only after acquiring the requisite competency and getting initiation from a knowing Guru. In this volume is included Shlnatha-navaratnamalika of Mahes'anatha with the commentary of Bhaskararaya the lead- ing authority, on Tantric worship. Under the guise of Guru stotra, the author has analysed our life breaths in various ways and has pointed out their correspondence with the details of the Mantra and the Yantra. This work is more cryptic and less intelligible to the uninitiate. The commentary on the first stotra mentions that the stotra consists of ten slokas and the tenth sloka which gives the Phalas'ruti refers to the pre- vious slokas as being compiled by Bhaskararaya himself. This has to be somehow reconciled with the preamble to the tenth sloka and with the colophon which attribute the author- ship to Mahes'anatha. The publication of this book making its contents available to all and sundry does not and cannot dispense with the two indispensable conditions of competency and initiation already referred to. To those who have them not, the contents may seem to be meaningless jabber. So is a book on integral calculus to a history student. The publication however is useful in creating in the reader an interest which in course of time may ripen into earnest endeavour to appreciate and realise the eternal truths taught here. Srirangam 11 - 6-53 R. Krishnaswami Aiyar t. h. h. % \°- u- tH. «, t«. *Vt«. U- K. Ho. H?. HH-H8. flqfcf Sr*R . efeoTcR asw: gftq#ficqWR wmw. . qqqq^fMitqiRnq;^^wi s^ren^r smfajtforatfjR 8jqf sshtpijr ^RTNT «rfq ^^qTrfRK^ra^tfq^qoR • ^^cPTtWqqf^'TT^^KT ^ra^iSRSW^R qq^qcTqftqqqp-jqji. rv rs p r ^ ^qf^PR '• — m gqfaRqqpsq^q qRqqqiFI RRlfiK^qr^- qpTJR(HH), fofitorqtffcq qR^fsteft^T- q^SW (HH, .H«), gswir \-£ %r\\ W-W \\-\\ HVH's Hvs-H^ HH, Ho \% HH HVH* H«-HH HH, H* ^\9-«o 80 , 8? 8?, «H B xviii KaMA-KALa-VILISA (\\), qufq^q^qrqT: q^F^n: *q^qfts- qqq (^), fW- qwwt^: ^^qqsqqiqil^rqqfciqi^q^ fq^FiSKi ^ifqqfqfq^qapU^, \°), q^rcqqfa^q^ (^0> ^^if^g&irc- qq-ciqqiq>qq5KT l^taifiK^TOFR. (\\), arg^tei^^q^qt: ^qfq^qGiq. (\\), gqq^^q^m: I ^nqw^^q- *»*fr.(\ 0> ^faWR(Vs, V), WR- qn^ter^f^sqfogjreq ^sqfe^HH^g?- qu^^rai g|fefen?qfq^qqqi ftqfofiw (\^) .... vo. gqdqinf^m^qqqi^qciqf^^qT^qt *wr- {q^qqjq^ . • • 8^-8^. 5^r- f^Rs^JUJJ^ .... 8^. ^l^qr^rq^qqg^rrrqqif^TrqT sJRra* qtfaqtai ^qqfaq^qq . «8. g&^qqiftoi^q^qqif^Tqt gHcrcqtfoftqT fq^TO .... 8<\. Hqf^iqR^if^qqi^r^qqjfeFfiqt ^wiqrfq- qqi^qf ft^qorc. 8^. g^fafeq*:°R 8v9. gqigefiFf^ftoqT: ?ft^TT STTqiwqqjFq STtW- q^qfafNPTO, €h qqqiq^qrqcqni- qfqqp-rq^ . gsraqqr *\-\\ \\-*& V>> \\ \s-\\ CONTENTS xix g29S*T feraRi c^nrfo 8 V v® V. . • • V®*^. \\-\\. sprftor gaf^tai liTOr^w, . • '»•-'»£ <\a. ^ va. s^jpi . . • • «£> ^ 5fam^«Wlf&*RT . Appendix 1 „ 2&3 . „ 4 Abbreviations . Appendix 5 KK, ^-\oM) { oV ®, \o£ \°% U« ADDENDA AND CORREGENDA {Continued from page 110) KAMA-KALA-VILASA BY S'RI PUtfYANANDANATHA VERSE 1 May the great Lord, who is ever wakeful in the blissful play of the repeated acts of Creation, Maintenance and Dissolution of all the worlds which issue from Him, protect ye. He is mere illumination (Prakds'a). Merged in Him is Vimarsfa (- sfakti ). Commentary by S'ri Natananandanatha Here the honoured Yogi Punyananda wishing to instruct in the Mantra, Cakra and worship of Tripurasundarl, the presiding Devata over all Vidyas 1 , speaks in the first place of Her form as Kama- kames'varl a . Who is ever wakeful . . . issue from Him ( Sakalabhuvanodaya - sthiti-laya-maya-lllavinodanodyuhtah). Udaya or rising or springing up or appearance is Creation ( Srsti ) ; Sthiti or continuance is Maintenance ; Laya is absorption or Dissolution ( Nds'a ) of all the worlds ( Sakalabhuvana )*. These three (Srsti, Sthiti, Laya) imply Nirodha and Anugraha, as by Trivrtkarana, Pahclkarana is meant. He is wakeful in this pleasant play (Lila) which consists of many of these five kinds of action which relate to the world (Pahcavidha- krtyam hi jagannisthatn), whilst the play is that of the Lord (Lila tu Paramesfvarl). Worlds (Bhuvana). That which comes from Him is Bhuvana (Bhavatyasmat iti bhuvanam). Therefore the word Bhuvana 2 KAMA -KALI- VILAS A qualified by ‘all’ ( Sakala ) signifies all the Tattvas beginning with S'iva and ending with Ksiti, because the Tattvas have their origin from, continue through and disappear in Brahman. So S'ruti says ( Taitt . Up. 3*1-1): — ‘That from which these Bhutas were born, by which after being so born they live, to which they go and into which they enter; know that well, for that is Brahman.’ Wakeful ( Udyukta ). By ‘ wakeful ’ is meant that He willed and inclined towards Creation ( Samkalpa-vis'ista-laksana-srstimukha ). S'ruti says ( Cha . Up. 6-2-1): — ‘Oh gentle one! At first there was merely this Being (Sat), which is One without a second, Brahman.’ Also ‘ May I be many and born as many,’ and thus He made Himself into the world as it exists within Himself. By this is meant that the acts of creation are for the Lord merely His play and are not necessitated (Na prayojanam). So it has been said — ‘ By His mere wish He throws out and withdraws the universe in its entirety.’ Also it is elsewhere said — ‘ The Great Lord having drawn on Himself the picture of the world by the brush which is His own Will is pleased when looking thereon.’ S'ruti also says — ‘ As the spider throws out and takes back its thread, so Is'vara projects and withdraws the universe.’ Thus the one great Lord becomes the material cause (Upaddna) from out of which the world is made, as says the Text, * May I be many.’ The V dmakes'vara Tantra also says — ‘ When She is fully developed ( Parinatd ) there is no further need of Him for Creation ’ 4 ( Nityasodas'ikd , IV-5). By this is meant the inseparate- ness of the world from the Svarupa (own form) of Brahman. That being so it may be asked what is the Svarupa of the Brahman as transcending the world. The author therefore says — Merged in Him is Vimarsa (Antarlina-vimars'a). Vimars'a is experiencing ‘This’ (Idam), and ‘This’ ( Idam ) is the universe (Prapanca) . By Idam is meant the world created by Paramatma. In the passage in the Taittinya S'ruti which begins with * From the Atma originated Akas'a,’ and ends with ‘This the tip of the tail is completion ( Pratista ),’ the word ‘this’ (Idam) is the world as object of experience ( Prapanca-pardmars’a ). By the word ‘ Idam ’ is indi- cated the universe (Prapanca) as contrasted with Brahman {Brahma- pratiyogibhuta). So it has been said— ‘ Dissolving ( Pralayang kurvan) VERSE 1 3 in the Aham (I) the ldatn (This) which is its correlative.’ Antarlina- vimars'a means that within Him is dissolved Vimars'a or Prapanca which is above spoken of. The significance of all this is that the Paramatma Who is supreme Bliss arid supreme Illumination and within Whom is the experience of perfect ‘ I-ness ’ ( Paripurnahath - bhdvabhavand-garbhita) withdraws into Himself the manifold universe. Vimars'a may also mean the experience ( Paramars’a ) that ‘ I am the uncreated cause of the Creation, Preservation and Dissolution of the universe.’ So it has been said by Nagananda : * Vimars'a ’ is the experience that “ I am the uncreated one ( Akrtimo’ham ) ” in the form of the universe ( Vis'vakarena ), in the manifestation of the universe Vis'vaprakas'ena) and in the absorption of the universe (Vis'vasam- hdrena).’ Merged ( Antarlina ). By merged is meant inward-facedness ( Antarmukliatvam ) B . Antarllna-vimars'a thus refers to Him whose experience of full I-ness is inward-turned. The S'vachchhanda Tantra says : ‘ That inward-faced-ness ( Antarmukhatva ) which is the state of omniscience and the like ever is 6 , because it is detached from 7 any object ’ *. He is mere Illumination ( Prakdsa-matra-tanuh ) 9 . This means that Parabrahman who is the Supreme Lord and transcends all, is nothing but Illumination (Prakds’aikasvabhava) . Such is His nature ,(l . The Kanva 11 says : * The Devas worship that which is the deathless One ( Amrta )“, which is verily Itself Life ,s and the Light of Lights.’ The Katha says : * There shines nor Sun, nor Moon, nor stars. There flashes no lightning. What need have we then to speak of Fire. All luminaries derive their light from It. By Its light all is illuminated.’ Agama also says : ‘ The innermost Light which is Light Itself is the imperishable ( Anapdyinl ) Para Vak ’ M . Illumination ( Prakas’a ). By illumination is meant the experience of I-ness (Aham-rupa-vimars’a) indicated in the words ‘wish,’ ‘know ’ * do ’ and the like in the first person singular 18 . Here it is said of Param Brahman as united with the five S'aktis of All-mightiness, All-know- ingness, All-activity, All-completeness, All-pervadingness. It may be said that if the Sun and other bodies have the power of illumination, 4 kama-kalI-vilasa then why should the Brahman alone be called Paramatma ? To meet this the latter is called the Great Lord ( Mahes'a ). He is Great (Mahan) because neither space nor time limits Him ; and He is Lord ( Js'a ) because He has the power to control all. The S'irah S’ruti 16 says : ‘The Eater ( Sambhaksah ) eats all He constantly creates, main- tains and dissolves. Therefore He is called the Great Lord (Mahes'a).' The Mahanarayana 17 also says: ‘That Svara 18 which is uttered in the beginning and end of the Veda is that in which Prakrti is merged ( Prakriti-lina=Prakrtyatmaba ) 19 . He Who is beyond, is Mahes'vara.’ Protect ye. He has this power. Mantra is so called, because it protects or saves by thinking ( Manana ) on it ( Mananat trdyate). Puoyananda says : * May Parames'vara protect ye’. Protection is one of the powers of Paramatma. May the Great Lord who is Illumina- tion (Prakas'a) protect ye. The Acarya » has also power to illumi- nate, Mantra also has the power of illumination. Therefore the unity of the Devata, Guru, and Mantra is here shown. Notes 1 i.e. either the fifteen Nityas or all Mantras. 8 United Kames'vara and Kames'vari. 1 Sakalabhuvana — the Universe with all its parts consisting of the thirty-six Tattvas . 4 This is a translation of the second line of IV -5 of Nitya$odas'ika (part of Vantakes'vara). The verse runs thus Kavallkrta-nis>esa-tattva-grama-svarupinl Tasyatn parinatciyam tu na kas'cit Para isyate. At the time of dissolution all the Tattvas are absorbed into Her and She remained in Her own form (Svarupa). When She is fully developed there is no further need of Him for creation. By the ‘ Tattvas ’ according to Punyananda, Bhdskarardya and others is meant the thirty-six Tattvas. Lakshmldhara interprets it to mean the five Tattvas. That is, the Universe is the creation of Para (Siva) and Para (Sakti). Under His influence She works and when Her work is completed there is no further need of Him for that purpose. * Consciousness is either looking inwards ( Antarmukha ) or outwards (Bahirmukha). The first indicates the supreme experience, the second world-experience. Therefore the essence of becoming as universe is the conversion of one into the other. Consciousness is given another ’ direction, strictly an outer direction, because the supreme experience is beyond all relations. VERSE 1 5 ' that is, is not destroyed. * or, independent of. * that is, is transcendent. ’ lit., His body or substance is mere Illumination. 10 lit., body. 11 One of the recensions of the Brhadaranyaka Upanisad. IJ This word is derived from na (not) mrita (death). “Ayuh. “ The supreme * Word ’. See A. Avalon’s “ Garland of Letters.” 18 ‘ I wish,’ ‘ I know,’ and so forth. 18 The Atharva S'ira Upanisad. |T The Atharvana Upanisad of that name. 18 Om. 18 The two are one, as stated in Nitya-§odas'ikha. M Guru. VERSE 2 She the Primordial S'akti who excels all and who in Her own true nature is eternal, limitless Bliss, is the seed (Blja, that is, source or cause) of all the moving and motionless things which are to be, and is the Pure Mirror in which S'iva experiences Himself. Commentary He here says that the Source of all is also Our Supreme Lady. She the primordial Sakti who excels all (Sa jayati s'aktirddyd). By this is meant that Our Supreme Lady ( Para bhattdrikd) Maha- tripura-sundarl is above all. She (Sa). By this is meant the Tripura spoken of in all the Upanisads, in whom are the thirty-six Tattvas beginning with Siva and ending with Ksiti ; who is in the form of all the universes ( Sarva - prapancdtmikd) and is also beyond them (Taduttlrnd) . This is the meaning of the' name Tripura as given by the great Yogis, Knowers of the true tradition ( Satsampraddyavid ). She who is above ( Purd bhiitd) the three Lights ( Tribhyas tejobhyah), that is, “Sun ”, “ Moon ” and “Fire” (explained later) is called Tripura. Her supremacy is proclaimed everywhere in many S'rutis and Smrtis. It is She who is denoted by ' She whose true nature is eternal, limitless Bliss/ (Nija-sukhamaya-nitya-nirupamdkdrd). Nija means natural ( Svdbhavika ). By Sukhamaya (Bliss) is meant in whom there is no sorrow. Nitya is being at all times ( Trikdla , i.e. past, present, future). Nirupama is ‘ incomparable ’, as there is nothing with which She can be compared. Such is Her nature ( Akdra . that is, Svarupa). She is the unlimited, uncreated Brahma-bliss ( Atmdnanda ). S'ruti says that the Brahman who is transcendent Bliss is in all and above all. VERSE 2 7 The Chandogya (7-2-3 says: ‘That which is the Immense (Bhiima) that is Bliss ( Sukha ). There is no Bliss in the little. The Immense is Bliss itself. Every endeavour should be made to know the Immense.’ Having so said it proceeds. ‘ There where one sees nothing else, hears nothing else, knows nothing else, that is the Immense ( Bhiima ).’ It thus describes the Brahman who is Perfect Bliss ( Aparicchinndnanda ). The Brhadaranyaka says, that ‘ other beings enjoy (Upajivanti) only a fragment (Malta) 'of this Bliss.’ It thus says that all other beings are but drops (Viprut) in the ocean Brahma-bliss. The seed of all . . . which are to be (Bhavicara-carabij am). Bhdvl is that which is about to and will come. She is the Cause of all moving and motionless things which will be and which are. The Katha S'ruti says (5-2-12) : * The one Controller ( Vas'l ) of all who is the Inner Self (Antardtma) of all created beings ( Sarva- bhiita) transforms His unity (Ekam rupam) 1 into many.’ Agama also says : ‘ When She the Supreme Power ( Parama S'akti ) who is in the form of the universe ( Vis'varupinl ) sees 2 her own impulse towards becoming (Sphuraltd), then the Cakra 3 comes into being. As the great tree exists as potency 4 in the seed of the Bata tree*, so does this moving and motionless world exist in the seed in the heart (Hrdayabijastham) (of the Lord) ’. It may be said that as it is not possible for S'iva to create with- out S'akti nor for Para S'akti without S'iva, how can She be said to be ‘ the seed.’ To meet this it is said that She is the pure mirror in which Siva experiences Himself ( S'ivarupa-vimars’a-nirmalddars'ah .) The Svariipa or nature of S'iva is ‘ I ’ or Aham ( S'ivasya svarupam aham ityevam akarath). The experience (Vimars'a) again of That (Tasya vimars'ah) is the experience of ‘I-ness’ (Aham ityevam rupam jhdnam). This pure mirror makes manifest this knowledge (Tasya pr abas' an e nirmaladars'ah) . The sense may be thus illustrated. A handsome king looking at his reflection in a mirror which is before him knows * I am he who is thus reflected.’ So Parames'vara looking at His own S'akti (Svdtmas’ahti) who is within himself (Svadhinabhiita) knows his own nature (Svasvarupam) as ‘I am all ’ (Paripurno’ham). If there be nothing before the mirror then there is nothing to be reflected. 8 KAMA-KALA-VILASA Similarly if the Paras'akti were not united with Paras'iva, She could not produce the universe ( Prapanca ) which is within Herself. There- fore the world cannot be created by S'iva alone nor by S'akti alone. It is by both of them that all the Tattvas are produced. Aganta says : 1 Without S'iva there is no Dev!. Without Devi there is no S'iva. As between moon and moonbeam there is no difference, so there is no difference between S'iva and S'akti.’ Notes ‘Some read Blja (seed) for Rupa (Form). * Pasyet, that is, creatively produces, and, in the form produced, experiences. * The first Cakra in the S'rlyantra, as to which see Yoginlhrdaya, Ch. I, vv. 9, 10. 4 S'akti. * Ficus indica. VERSE 3 The Supreme S'akti is resplendent. She is both the seed {Bija) and sprout ( Angkura ) 1 as the manifested union of S'iva and S'akti. She is very subtile. Her form is manifested through the union of the first letter of the Alphabet ( A ) and the Vimars'a letter {Ha). Commentary Now some say that the experience ( Vimars'a )* *1 am all’ (Paripuryo'ham) is the Brahman. Then how can it be said (it is argued) that the experiencer (Vimars’aka, that is, He who is conscious of being the supreme ‘ I ’) is the Brahman. The verse is written to meet this difficulty. Supreme. Here by Supreme {Para) is meant Tripurasundarl as She is before creation {Prakrta). She is so called because S’ruti speaks of Her as * Consciousness, Bliss, Will, Knowledge, Action {Chiddnandecchdjndnakrydrupd).' She is both the seed and sprout ( Sphuta-s'iva.s’akti-samdgama - bijdngkura-riipinl). She is the manifested {Sphuta=Vyakta) union of S'iva and S'akti and is therefore both the seed and the sprout. For it has been said : * From the seed the sprout and from the sprout the seed.’ She produces in their order all the Tattvas beginning with S’iva-tattva and ending with Ksiti-tattva. Siva. Here by the word * S'iva ’ is meant Jndna-s'akti because S'iva-tattva is inherent ( Adhisthana ) in JMna-S'akti ; and by the word * S'akti ’ is meant Kryd-S'akti, for S'aktitattva is inherent in Kryd-S'akti. It must also be noted that She who is Ciddnandasvarupd effects the creation of the universe by Jndna and Kryd. Subtile. .She is also further spoken of as very subtile {Anuttara- riipd, that is, of very subtile form). S'ruti says, ‘ Verily more subtile 10 KaMA-KALI-VILASA than the subtile is eternal Beingness ( Sattva ), Thou verily art That.’ Agama also says, * the Devi is smaller than the smallest (Anti) and greater than the greatest.’ Her form is manifested . . . letter (Ha) (Anuttara-vimars'a-lipi- laksya-vigrahd). By Anuttara-lipi is meant the letter before which there is no other, and that is the letter A . By V imars'a-lipi is meant the last letter which is 'Ha. By the union of A and Ha (Aham— I) Her Self ( Vigraha=Svarupa ) becomes known (L aksya= Visible). The sense of these words is that the Para-s-akti is ‘ I-ness ’ ( Aharndt ■ tnikd) within whom (i.e. between the letters A and Ha) are all the letters of the alphabet (Antar-garbhita-samasta-varna-kadambaka.) Her form is the fifty letters beginning with A-hdra and ending with Ha-kdra ( Akdrddi-hakdrdnta-pahcds’ad-aJcsara-rupim ). She is the Mother ( Janayitrl ) of all the universe consisting of Varna , Pada, Mantra and of Kata, Tattva, Bhuvana. She is the supreme object of veneration ( Pard bhattarikd, the innermost self of all things (Samasta- bhxitdntardtmd). Everywhere in the Vedanta She appears spoken of as * I ’ (Ahamahamityevdhdrena). This is what has been said in this verse. So it has been said in the Kanva-sruti : “ This Brahman verily in the beginning was. It knew Itself (Tadatmanam eva veda), ‘ I Brahman am ‘ A is Brahman, from That came Aham (i.e., I).’ The worship of Atmd is the meditation ‘ I am all ’ (Piirndham-bhdva- bhdvand), and should be kept very secret. S'ruti enjoins that it should be learnt only from the mouth of the Guru. Notes 1 As seed She is cause, and as sprout, effect or universe. 3 Par ip ttr no’ ham iti vimars’am eva Brahma. Reference is made to the experience as a state contrasted with that of which it is a state. VERSE 4 Upon the mass of the rays of the Sun Paras'iva being reflected in the pure Vimarsta- mirror, the Mahabindu appears on the Citta- wall illumined by the reflected rays. Commentary The author being desirous of describing the Kamakala in the form of all the letters, commences in this and the following three verses to speak of Her letter-hood ( Aksara-svarupa= Brahma-svariipa .* Mass of the rays of the Sun Parasiva ( Paras'ivaravikarnikare ). Parasiva is the adored Lord Paramas'iva who is mere Prakas'a Prakds’aika-svabhdvah.) The mass of His rays {Karah~Kiranah) is the pure ( Vis'uddha—Nirmala ) Vimars'a- mirror {Vimars'a- darpana). Vimars’a is the S'akti or movement ( V isphurana-s'akti) 5 which is limitless ( Anavadhikakdra ). So it is said in Pratyabhijnd : ‘ She is Sphurattd. ( Sd sphurattd).' She is here compared to a mirror be- cause of Her thereby manifesting Herself ( Sva-svariipa-prakdsatvdt ) *. Reflected. By * Reflection ’ ( Pratiphalana ) is meant seeing one’s own self ( Svasvariipdvalokana ). When the self is seen by reflection in this way, then ' Mahabindu appears on the Citta-wall ’ ( Cittamaya — Jnanaika-svariipa) which is beautifully illumined. 4 The Citta is compared to a ‘ wall ’ ( Kudya ) because on it appears (the reflection of the) Mahabindu. In ordinary experience we see that if a mirror is kept facing the sun, the rays after being reflected therefrom appear on any wall nearby as a luminous spot ( Bindu ) produced by the rays of the sun. In the same way when Parames'vara who is Prakas’a {Prakds'a-riipa-parames’vara) comes into connection with Vimars'a which is like a mirror {Darpandvat-svarupa-vimars’a-sambandhe j ate) , there shines forth the Mahabindu who is Parames'vara as Purifo'ham — ‘ I am all.’ 12 kama-kala-vilasa S'ruti also says : * Oh gentle one, this Being alone there was in the beginning, the one, non-dual Brahman alone. 2 * 4 5 * That said: * May I be many and be born.’ 5 Also ‘ She this Devata said * : 7 ‘ This Brahman alone there was in the beginning, That knew Itself as ‘I ( Aham ) am the Brahman’. * He said (and thought), truly I shall create these worlds ( Lokas ).’ 8 Texts in S'ruti like these say that the Parabrahman who is looking towards ( Abhimukha ) His own S'akti ( Svatmas'akti ) is the Cause of the universe. 9 Agama also says: ‘When She the Parama S'akti 10 II sees Her own Sphuratta , there comes into being the Cakra.’ In Pratyabhijna also it is said : ‘ She the Sphuratta is the great Being-ness ( Mahasattd ) beyond time and space ( Des'a-kala-vis'esini ). n It is She who is spoken of as the essence of all ( Sdrataya cokta) in the Heart of the Supreme Lord. Notes 1 That is, Her svarupa as the substance of all the letters. C/. A-karah sarva-varqagryah Prakas f ah par amah Sivah, Ha-karo'ntyah kaldrupo Vimars'dkhyah praklrtitah. 2 Sphuratta is a common term in these S'astras. The word means impulse, vibration, throbbing, pulsation, quivering and then springing up, breaking forth, blossoming, starting into view, expanding and lastly flashing, glittering, sparkling manifestation, in short, both as impulse towards and as fact. * Sva-svarupa-prkas'atvat may also mean : Because She makes manifest the svarapa of Brahman (Sva= Brahman = Atman) in Her as in a Mirror. 4 That is, by the rays reflected back on it. I Cha., 6-2-1. # Cha., 6-2-3. T Cha., 6-3-2. 8 Aitareya, 1.1. 8 He contemplates and assumes Power. 10 Yoginlhridaya, 1. 9. II She limits, that is, is beyond both. VERSE 5 Ahamknra, which excels all and is the massing together of S'iva and S'akti and the fully manifested union of the letters A and Ha, and which holds within itself the whole universe, is at . 1 Commentary In this verse he describes the notion of “ I-ness ” ( Ahatiibhava ) which arises from the gaze of S'iva upon His own luminous S'akti. Ahathkara is the Vittiars’a which is * I-ness’ {Y o' yam aham-ahamity- eva vimars’ah). Ahathkara is the cause (Kdra=Karana) of the ex- perience of * I-ness ’ ( Ahatnbhdva-vimars’a ) which manifests ( Vyahjaka ) on the uprising ( Vdbhuta ) of the experience which is self-recollection (Atmastnarana). Ahathkara such as this excels all. So it has been said, * In the Ahatn experience ( Ahathbhava Prakas’a) rests in Itself (A tma-vi&ranti).' 2 Cit ( Chittamaya ) is mere Jhdna (Jhdnaika-svabhdva). Manifested ( Suvyaktdhdrna-samarasdkara ) owing to the form which is produced by the combination of the letters A and Ha, each giving rise or making manifest the other ( Parasparodbhutarxipau ). Union ( Samarasa— Eka-lolibhuta ) or the union in the form of Ahathkara of these two letters in which each desires to be united in an equal degree with the other. Massing together of Siva and Sakti {S'iva-s’akti-mithunapinda). S'iva = Prakas'a, S'akti = Vimars'a. These are the two who make the divine Husband and Wife ( Divyadathpatimaya ). The union of these two, in which they desire to be united in equal degree, is S'iva-s'akti- inithunapinda. Ahathkara for reasons implied in what is aforemen- tioned contains within it ( Kavalikrta ) the sphere (Mandala) of the universe ( Bhuvana ). By Bhuvana-tnandala is meant all that is 14 KaMA-KALa-VILaSA composed of Thirty-six Tattvas. The meaning, by the rule of Pratya- hara, is that from the union of Prakas'a and Vimars/a which is Ahathkara, within which are the many letters of the alphabet, emanates the whole universe consisting of Word ( S'abda ) and its Meaning ( Artha ). So also says S'ruti *: ‘The letterless {Avarna) full of meaning ( Nihitartha ) by union with S'akti in various ways generates many letters {Varna)’. In another Upanisad 4 occurs this text: ‘Who art thou?’ ‘ It is I ( Aham ) (the reply): All this is surely I {Aham)’. Therefore the term ’Aham’ or ‘I’ denotes all things (Sarvabhidhanam = Sarvavacakam).’ Notes 1 Chittamaya. Or the verse may be translated — “ Hamkara is Citta- maya. The form {Aham) is the manifested union of the letters A and Ha or the coupled S'iva and S'akti in massive union which even endures after the universe has been withdrawn into Itself.” 1 Prakas'asyatma-vis'rantir ahambhave hi kirtitah. *Svet., 14-1. ‘Nrsimha Uttara, 7. VERSES 6 & 7 The two Bindus, white and red, are S'iva and S'akti, Who, in their secret mutual enjoyment, are now expanding and now contracting. They are the Cause of the creation of Word ( Vnk ) and Meaning ( Artha ), now entering and now separating from one another. Bindu which is Ahamkara C Ahamknrntmn ) is the Sun which is the union of these two (white and red Bindus). The Sun is Kama, which is so called because of its desirableness ; and Kalu is the two Bindus which are Moon and Fire. Commentary Having described in V. 4 in the passage * The Mahabindu appears on the Citta-wall the Svarupa of the Bindu he now des- cribes Kamakala. The two Bindus white (Sita) and red (Sona) are Siva and Sakti playing in secret with one another, that is, in mutual enjoyment the one with the other ( Vivikta-s'iva-s’akti = Anyonya-viharanapare S’iva- s’akti ), now contracting or closing together *), now opening out as the creation of the universe {Prasarah—J agat-sristirupo vikasah). The Cause of the creation of Vak and Artha ( Vdgarthasrstihetuh ). By Vacah 2 is meant all the sounds Para, Pas-yanti and so forth ; and by Artha is meant the thirty-six Tattvas beginning with S'iva and ending with K$iti. The creation of these is the creation of the world (Jagat) of six Adhvas .* It has been said, ‘ Oh Deves-i, In Thee who art Cit ( Cidatmani ) are the six Adhvas, namely Varna, Kala, Pada, Tattva, Mantra and Bhuvana.’ These two Bindus which enter one another and separate ( Paras-paranupravistavispastam ) are the united white and 16 KaMA-KALa-VILaSA red Bindus (Sitas'onabinduyugalam) which are known as Kama* Kames'vari, the divine Husband and Wife. The great secret here is this. On the authority of S’ruti, 1 He who is supreme (Para) is Mahes'vara And the supreme Lord ( Parames'vara ) who is the first letter (A) which generates all sounds of the Vedas and so forth attains the state of Bindu ( Bindu-bhava ) after having entered Vimars'a-S'akti who is His own body (Svdngabhuta) and in whom (S’akti) all the universe ( Prapanca ) is dissolved. Thereafter the Vimars'a-S’akti also enters into the Prahas'amaya Bindu which is within Herself. On that the ( Mis'ra ) Bindu becomes ready for action ( Uchchuna ). From that Bindu issues Nadatmika S'akti 4 within whose womb are all the Tattvas, who is all energy ( Tejomayi ) and in seed form (Bija-riipd) and subtile like the tip of a hair and assumes the form of a S'rngataka .* In this w 7 ay Prakas'a and Vimars'a which are the Svariipa of Nada and Bindu assume body as * I ’ ( Aham ). In the same way, of the pair, one, namely Vimars'a, is the Red Bindu, and the other, Prakas'a, the White Bindu, and the union of the two is the mixed (Mis'rariipa) and all powerful ( Sarvatejomaya ), the Svariipa of which is the Paramatma ( Paramdtma-svarupa ). S'ruti also says : ‘ Avartia (letterless) which is full of meanings (Nihitdrtha) by union with S'akti in various ways generates many letters.’ He further elucidates these three Bindus by speaking of them as Ahamkdratmd and so on. The (mixed) Bindu which is (composed of) the Red and White Bindus (Binduh sita-rakta-svariipah) is one with the combined first letter A and the last letter Ha (Spharariipa- ha-kara) between which are all the other letters. The Kara in Ahathkara signifies that A and Ha are letters according to the Sutra ‘ Varnat kdrah.’ This Bindu is therefore the union of the two letters A-kara and Ha-kara, which signify the union of Prakas'a and Vimars’a ( Etan-mithuna-samarasakdrah ). The union of these two divine Husband and Wife ( Divyadampatiriipasya ) is their mutual helpfulness ( Samar asah—Anukuly am ) in entering into or co-operat- ing with one another. This mutual action is in the very nature (Akdra= Svariipa) of the Bindu. The Sun is the Mixed Bindu (Mis'ra-bindu), being the union in the manner stated of the White and Red Bindus ( Sita-s'ona-bindu-samarasi-bhUtah ). VERSES 6 & 7 17 In ordinary experience also ( Lohe'pi ) the mixed character ( Mis’ra - riipatvam) of the Sun is spoken of, because it is said that He enters into and issues out of Fire and Moon. S'ruti says : ‘ So does Fire enter into the risen Sun. In the evening again the Sun enters into Fire.’ ® The word Amavdsyd 1 is so called because the Sun and Moon are in conjunction (i4«ij=with, Vasatah— are). Therefore the entrace of the Sun and the Moon into one another is well known. The Sun consequently is the mixed ( Mis'ra ) Bindu. Kama. That He is the object of adoration ( Updsya ) is shown by the word ‘ Kama \ Kama is that which is desired ( Kainyate ) by the great Yogis, who know the Supreme Reality ( Paramartha ) as being their very Self {Svatmatvena) . The reason for their doing so is given when its desirableness ( Kamanlyatva ) is spoken of, since all beauty is desired. The Chdndogya Upanisad (speaking of the Purusa in the Sun) says: ‘Golden-bearded, golden-haired, all gold from the tip of the nails.’ The Is'avdsya also says: “He the Paramatma, radiant, bodiless ( Akdya ), imperishable one, without subtle body, without material body, 8 pure ( S'uddha ), beyond Dharma and Adharma, pervades all.” The same Upanisad says : * That most beneficent form of Thine, that do I see by Thy grace. That Purusa (in the Aditya-mandala whose body is the Vydhrtis) He I am.’ By describing Kames'vara as beneficent the author praises his greatness ( Mahima ). Kala- Kala is Vimars'a-s'akti. Bindus which are Fire and Moon Dahanendu-vigrahau bindu). The meaning of this is that Vimars'a-S’akti is in the nature of Fire and Moon ( A gnl-Soma-riipini) . Mahatripurasundarl who is in both these and inseparate from Kames'vara is the collectivity of the Bindus and is Kamakala. In all Agamas it is proclaimed that She is the object of adoration. So it has been said: ‘When white S'iva is in red S'akti, Para being pierced by S'arhbhu, then such red S'ambhu is in S'akti as Paratattva. When red S'iva is in white S'akti, then is the state of Para-S'ambhu and such red S'iva in white S'akti indicates Saccidananda.’ And 2 18 KAMA-KALA-VILaSA again it is said, * Oh Paras'iva, I make obeisance to Thy supreme Kala, whereof the upper Bindu is Thy Face, two other Bindus are Thy two breasts, and Nada-bindu (that is, Hdrdakald ) 9 is the place of Ras'ana C Ndda-binduras'andgundspadam ).’ 10 ‘The Bindu which is above E-kdra 11 is the Sun and Her Face, and below are placed Fire and Moon, Her two breasts, and the Raid which is half of Hakara is her Yoni The Nitydsodas'ikd 12 says: ‘Having made the Bindu the Face and below it the two breasts and below it again half of that which follows Sa, 13 meditate upon it 14 as downward turned.’ All this is very secret. The gist of all this is that the excellent Yogis, the great Mahes'varas, constantly worship the mother Maha-tripurasundari who is Kamakala, the collectivity of the three Bindus in the radiant, imperishable and all-pervading Brahman ( Bindutraya-samasti-rupa - divydksararupini ), whose very self is the Bliss which is Prakds'a ( [Pralcds'dnandasdrd ), and who is in the nature of complete 1-ness (Purndhamtdriipini), within whom is the seed (Vlrya) of the endless mass of letters ( AnantdksararcLs'i ) and great Mantras ( Mahdmantras ). The Vijndnabhattdraka also says: “By passing through the different Mandalas (of the S'ricakra) where the gross letters ( Sthula - varna) are rising up to Arddhendu, Bindu, Nadanta 1 * and to the S'unya in the Bindurupa-cakra , one becomes S'iva.” 16 Notes 1 Samkuchan — Mukull bhavan , i.e. closing like a flower. * Plural of Vdk. 3 See Woodroffe’s “ Garland of Letters ”, Chapter on the Sadadhvas. 4 Nadatmikd Sakti , i.e., Shakti as Ndda . C/. Woodroffe’s “ Garland of Letters * A triangular pyramidal figure. 8 In day time the Sun absorbs the light of fire and in the evening with the disappearance of the Sun other lights appear. 7 Tithi of the new moon. 8 Asnaviram : veinless. 9 See next note. 10 The place of the Waist-chain ; the Yoni being there, VERSES 6 & 7 19 11 The Bija formed by the union of A -kata which is Prakas'a and I-kara which is Icchd 8'akti . 13 1 - 20 . i»c»f Ha* 14 i.e. % the triangle. 15 For these terms see WoodrofFe’s “ Garland of Letters.” 18 The gross letters in Vaikharl form are in the outer Mandalas and passing through the subtler forms of Sabda , the Sabdabrahman and then Sunya is attained. VERSE 8 Now this is the VidyU of Kamakala which deals with the sequence of the Cakras of the Devi. He by whom this is known becomes liberated and Mahatripurasundarl Herself. Commentary Having thus explained the nature of Bindu ( Bindusvarupam ) he says that the fruit of this knowledge and worship is Brahmabhdva. Now ( Iti ). That is, after what has been described in the previous paragraphs. Vidya of Kamakala. Kamakala is Mahatripurasundarl. By Her Vidyd is meant Jndna regarding Her ; and to complete the sense, it is said that this knowledge consists in knowing the sequence or the order of arrangement of the Cakras in Her S'ricakra. Sequence or Order ( Krama ). By this is meant the order in which the Cakras, Mantras and Devatas are placed, beginning from Sarva- nandamaya till all is fully manifest. He by whom ( Yena ). The suggestion is that the man on whom the grace of S'akti has fallen (S'aktipata : descent of S'akti) is drawn into enquiry concerning the Brahman and meditates and becomes liberated after attainment of knowledge. Known ( Vidita ). Mastered through sitting at the feet of the Guru and so forth. Becomes liberated (Mukto bhavati). He, the great Yogi, enjoys ( Viharate ) and is yet able to free himself of all desire, after having conquered the whole world through his consciousness ( Bhdvand ) ‘ I am always the full and whole I* ( Paripurndhambhdva ). So it has been said in Pratyabhijnd : * He who is fully instructed in the greatness ( Ais'varya ) of the Lord by Vidyds is massive Consciousness ( Cidghana ) and is verily liberated * 1 f VERSE 8 21 The Brhaddranyaka 2 says: ‘Men think that by Brahmavidy a, we shall be all in all s . Now, what is that which when it is known, we become all-knowing ? ’ In the end 4 he becomes Mahatripurasundari Herself, that is, our Supreme Lady (Parabhattarika) . S'ruti says: ‘They enter the Supreme Light of Tripura (Trai- puram dhama)’ ; also ‘ the knower of the Brahman is the Brahman The Chdndogya says*: ‘He alone who sees thus, who meditates thus, who knows thus, he verily is drawn to the Atma, has love-play with the Atma, and is united with Atma which is Bliss Itself ( Atmarati , Atmakrida, Atmamithuna, Atmananda) \ In the Svacchanda Tantra also occur Texts like the following — ‘ When (the Sadhaka ) is united in the same abode with his Devata 6 , then for him there is no more birth or death. He attains the state of true Devotion and becomes the Lord of the Universe ( Cakra ) ’. Notes 1 Cidghana is the Brahman. The sense of the text is that man be- comes Brahman Itself. Cf. ‘ He who knows the Brahman is Brahman ’. 1 1 - 4 - 9 . * The text begins, “ Seekers after Brahman say.” 4 Ante’pi, that is, after death. _ ‘ 7 - 25 - 2 . * that is, here Tripura. VERSE 9 From the Red Bindu about to create arose sound 1 (Ravah) which is the Nada-brahman sprout. From that (Sound) came Ether, Air, Fire, Water, Earth and the Letters of the alphabet. Commentary Here the Yogi Punyananda after having realised within himself (Atmatvena anubhuya ) the Primordial Sundarl* whose name is Kamakala, now speaks of the origin of the world foom the Bindu before Creation \Prakrla-bindu) which is the Highest Reality ( Para - mdrtha) as also of Her spreading forth ( Vilasa ) as Devata, Mantra and Chakra. From the Red Bindu about to create (Sphuritadarunad bindoh). Sphurita=Ucchuna, that is, ‘swelling’, ‘pregnant’ 3 , which has been previously described. Sound which is the Nadabrahman sprout (N adabrahmankuro- ravah). Nada is the sound ( Varna ) which is the cause of the origin of all sounds. 4 This is the Brahman which is Nadabrahman. This is the Producer ( Angkura=Utpadaka ). So it has been said : ‘One Avarana 3 which is Nada ( Naddtmaka ) is divided into all letters. As it nevet disappears 6 it is called Andhata 7 . This is S'ruti.’ Vyoma, Bindu, Nada. This is the order.* Sound ( Rava ) which is the sprouting Nadabrahman becomes manifest in the form Pasyanti and so forth. It is proved 9 that the mass of sound is the S'aktis Para, Pasyanti and so forth. This sound ( S’abda ) is the origin of the five Bhutas, Ether, Air, Fire, Water, Earth, and the letters beginning with A and ending with K§a. From Nada-bindu issues the entire world. S'ruti also says 10 : ‘From Aksara 11 originates this universe.’ VERSE 9 23 Notes 1 That is, the creative movement which as sensed by the ear is ex- perienced as physical sound. 7 Sundarl= a beautiful woman. Here it is the Devi. All Devls are beautiful, the Devi Tripurasundarl being the most beautiful of all. See a Dhyana of Her in Chapter I, vv. 138-152, Nitya$odas'ikarnava. *The state of immediate readiness to produce. 4 And, therefore, of everything else, for all things have a common origin. 6 A-kara is the first of all letters and is Prakds'a and Paramas’iva. But this is lak$andrtha , that is, after the universe ^produced the first letter A indicates the Brahman. But the Brcihmasvarupa is A-vartia in the negative sense, that is, letterless and soundless (nihs'abda). A-varna here is undifferentiated Power which manifests as the particular letters and other particulars of the universe. *Lit., ‘always is', that is , during the Kalpa. All creative activity is withdrawn at Pralaya when Power is one with the Power -holder (S aktimdn). 1 Ahata=struck, and anahata s'abda is that sound which is not caused by the striking of two things together, that is, by contact of matter. It is Eternal Power. 8 Ether originates from the self-dividing or ‘bursting’ Hindu, on which self-division there was Nczda* That is, Nada is the productive action which manifests as the produced Vyoma and the rest. C/. Athbd - stotra , v. 3. 9 Later, in Verse 20. 10 Mundaka, 1-7. 11 that is, Brahman. The word means both 1 letter * and * imperishable VERSE 10 The White Bindu also is the origin of Ether, Air, Fire, Water and Earth. The Universe from the most minute to the Brahma-spheroid consists of these five Vikrtis. Commentary Having spoken of to the all-pervadingness ( Sarvdtmatva ) and all-creativeness (Sarvasrstitva) of the Red Bindu he now speaks of the sameness of the White Bindu and Red Bindu, because of the inseparateness of the former from the latter. White ( Vis'ada ), All-illuminating ( Sarvaprakds'a ). It is from and into this Bindu, which has been previously described, that the appearance and disappearance of the Endless Brahma-spheroids composed of the five Bhutas , Ether and the rest take place. So SWuti says 1 : ‘In which all the Beings ( Bhdvas ) disappear and having disappeared become manifest again and then again and again disappear like bubbles/ In this way it is established that from Brahman, which is the White and Red Bindus, which are Prakas'a and Vimars'a , all this (universe) originated. Agama also says : ‘I bow to the Mahdpitha 2 of Samvit 3 which is S'iva and S'akti ( S f ivas'akti-padas'raya ) 4 wherefrom emanate countless world-rays 8 made manifest ( Vilasita ) or flashed forth by Creative Will ( Iccha-s'akti ). Notes 1 Chulika Up., 8. * A word which here conveys the sense of a place of great sanctity. 8 That is, Parajrlana . 4 Lit., the refuge which is the feet or place of S'iva and S'akti. 5 From the Effulgent Consciousness imaged as a Mass of Light which is all Wisdom and Power, rays shoot forth which are the worlds, as, it is said elsewhere, sparks from the great central fire. VERSE 11 As the two Bindus are indistinguishable and inseparable, so also are VidyU the indicator ( Vedaka ] ), and Devata, the indicated ( Vedya ). Commentary Having spoken of the inseparateness ( Abheda ) of the two Bindus he now says that similarly there is oneness of the Mantra and the Devata. Two Bindus ( Bindudvitaya ) — 4 The two Bindus previously men- tioned which are in the nature of Prakas'a and Vimars'a ( Prakas'a - vimars atmakam ). As these two are inseparate, the wise say that S'iva and S'akti are one Tattva ’. The two are blended, the one with the other ( Parasparalista ). In the same way there is not the slightest distinction between Vidya which is the indicator ( Vedaka=Vacaka ) and the Devata which is the indicated ( Vedya=Vacya ). Vidya is the Mantra of fifteen letters ( Panchadashdksharl ) and Devata is Mahatripurasundarl. So it has been said in Tantrasadbhava : 4 All Mantras consist of letters ( Varnatmaka ). They again, O beloved, are at base S'akti. S'akti again is Matrka and She again is S'ivatmika. She the Matrka who in the world appears possessed of the energy and brilliance of the Supreme ( Paratejah-samanvita ) pervades all this universe beginning from Brahma and ending with Bhuvana .’ VERSE 12 Word (Vnk) and its meaning ( Artha ) are always united, They are S'iva and S'akti which are three-fold as Creation. Maintenance and Dissolution, and as the three Bijas. Commentary He here wishes to say that the world arises out of the inseparate Ndda-bindu couple, and therefore says that that Couple of its own wish differentiated themselves. Word and its meaning (Vdk and Artha). Vdk is in the form of Varna, Pada, Mantra ( Varnapadamantrarupd), Artha is Raid, Tattva and Bhuvana 1 ( Kaldtattvabhuvandtmd ). Such is the form of S'iva-S'akti, because, as S’ruti says, out of S'abda (Vak) and Artha which are Prakds'a and Vitnars'a ( Prakds'a-vimars'dtmaka ), the whole world consisting of six Adhvas (S' adadhvdtmaka) originated. They are therefore always united ( Nityayutau—Nirantara-samsaktau ) and not casually or accidentally so, like a jar and picture which may be put together. If the union were merely accidental, then the ordered universe would not exist. These two go through the three- fold changes of Creation, Maintenance and Dissolution ( Srsti-sthiti - laya-bhedau tridhd-vibhaktau). Creation, Maintenance and Dissolution. By Creation (Srsti) is meant the appearance of all the Tattvas beginning with S’iva and ending with Ksiti. Sthiti is the Maintenance thereof, and Dissolution (Laya) is their reunion with, or return to, that which at base they are (Svdtmasaksdtkdra). These three (functions) are from, in and into the Atind. So it has been said by the honoured Abhinavagupta* ; ‘Creation, Maintenance and Dissolution are (all) within ’ the Atma (Svatmagah) in their own nature (Svaritpatvena) These two (Vak and Artha) are mutually ( Paraspara ) united S'iva and S'akti VERSE 12 H ( S'ivas'akti-mayau ) and forms of Prakds'a and Vimars'a {Prakas’a- vimars'a-svarupau ), the activity of these two being of one and the same thing ( Ubhayor eka-hrttvdt)> just as in the case of fire and the function or S'akti of burning (V ahniddhakatvavat) there is no difference ( Tattvdntara ). As an honoured teacher also says : ‘The identity ( Tdddtmya ) of these two is everlasting ( Nityam ) like that of Fire ( Vahni ) and S'akti or power which burns ( Ddhika ),’ Agarna also says: ‘As We two are the Self of the World (, Jagaddtmatvdt ) We two are one with it. By reason of Our identity with one another We are at all times the life of the world ( Jagat - prana) \ Threefold ( Tridhd-vibhaktau ). The united Prakds'a and Vitnars'a are divided in three ways ( Vibhaktau=Prithagbhiitau ). These three ways or forms are the three Bijas . The three Bljas are V dgbhava , Kdmardja and Sakti Bija. The meaning of this is that Mahatripura- sundari who is Brahman as Kdmakald composed of the three Bindus collectively ( Bindutrayasamastlbhuta ), is the object of adoration of all. The Vdmakes'vara 3 says: ‘Tripura is known by the three Tattvas ( Tattvatrayavinirdistd ) and is the threefold S'akti of the three letters ( Varna-s’akti-traydtmikd ) 4 . Vdgls'varl which is Jndna s r akti is in Vdgbhavablja and is Moksa-rupinl or Liberation itself, that is, grantor of Liberation. Kdmakald is in Kdmardja {Bija) which is Kriyd S'akti {Kriydtmikd) and Kdmarupd (as Kama or Will, that is, grantor of desires). Icchd which is the Para S'akti is in S'akti Bija and is S'iva-rupini 6 . Such is Devi Mahatripurasundarl who is the three Aksaras ( Bljas ), who loosens the bondage to this world, and is known by the tradition handed down by the line of Gurus to their disciples {Paramparyena vijndtd) \ Notes 1 These six constitute the six AdhvEs (see “ Garland of Letters ”)» of which the first three are in Vdk and the remaining three in Artha . 3 Acdrya of the Kashmira School. 8 Nityas'odas'ikd , IV, 16-19. 4 The Varnas or letters here are the three Bijas. 8 Siva’ruptnl=Dharmapradd i giver of Dharnta. VERSES 13 & 14 Knower, Knowing, Known are the three Bindus and forms of the Bija. The three Lights, the three Pithas and the three S'aktis are that by which they (the Bindus ) are known . 1 In these again in their order are the three Lingas as also the three Mutrkus. She who is this threefold body is the V idyll (Devi), who is the fourth Pitha ( Turiyapitha ), and the root of all differentiation ( Adibhedini ). Commentary He here commences to make the Vidya ( Mantra ) of fifteen letters by describing certain details immanent ( Antargata ) in the three divisions ( Khanda ), Vagbhava and others. Knower (Mata) is the Lord (Is’vara) who knows. Knowing ( Manatn ) is the Vidya whereby He knows ( Avagati - sadhana-bliuta vidya). Known or Object of knowledge ( Meya ) is Mahatripurasundari who is to be known ( Jndyamana ). Forms of the Bija are these three, namely Knower, Knowing and Known divided into three separate Bindus ( Bindutrayabhinna-bija - rupani). The three Bindus are those already described, namely Red, White and Mixed. The Bija is divided into these three Bindus. The Bija is the Nirvana Bija. which is the collectivity of all the three Bindus ( Sarvasamasti-bhuta-nirvanakhyam ). By “ form ” ( Rupa ) is meant that they manifest the Bija ( Tadrupani—Tatprakas'akdni ). The sense of the above is that She who is the Supreme transcendent Light ( Paramjyotih ) which is Consciousness (Cit) , Bliss (Ananda), and the massive Atma ( ghandtmd ) with the experience of Ahambhdva or “ I-ness ” (Sarvatitd-ciddnandaghandtmdnubhava-rupdham-bhava- s'dlini ) enjoys Herself in the form of experience in which there is VERSE 13 & 14 29 Knower ( Mdtr ), Knowing ( Mdna ) and Known ( Meya ) (Mdtr-mdna- meyabhdvatn anubhiiya viharati). The Kdnva 1 says: ‘This Atma there was alone in the beginning as Purusa. He saw and saw nothing outside Himself. “ He I Am ” (So’ham asmi): Thus first did he say. Thereupon arose ‘ Aham \ Therefore even now a person on being accosted first says, ‘ It is I * ( Aham ayarii) and then given his individual name.’ The meaning of the passage is : The Atmd is the supreme Lord. ‘ Idam* is the visible Universe. ‘In the beginning’ means first. ‘ He was’, that is, with the Universe within himself. Therefore, that Paramdtmd having seen as Himself ( Atmatvena ), the Universe, with Himself ( Svdtmasdtkrta-prapaiicam ) did not see any other ; that is, He saw nothing beyond Himself, because He had withdrawn all things into Himself. At that time He showed Himself to Himself as ‘ I am the universal form * ( Svasddhdranarupa ), that is, ‘ I am the experience which is continuous ( Ahhanda ), Massive (Ghana), Being (Sat), Consciousness (Cit), and Bliss (Ananda) ( Akhandasacciddnanda - ghandtmdnubhavo'ham) \ In the beginning, that is, before creation He enjoyed himself, that is, he showed (Prddars'ayat) Himself to Himself. Thereupon arose ‘ Aham 1 (I) Aham-ndmdbhavat). Because thus Brahman shows His own self (Svartipa) to Himself as ‘ I * (Aham), this is itself the name of Brahman. Therefore even in this world if a person be accosted he answers first ‘ It is I * (Aham) and after thus giving his Brahmasvariipa 5 , he next gives his other 4 name. These distinctions of Knower and the like are seen to derive from the Brahman as we can perceive by examining ourselves. The Catuhs'atl 6 says, that the Supreme Energy (Paramtejah), which is transcendent (AtTtam=wh\ch is beyond the Bindu) is Svasamvit (=Svetarvisayalcam jnnam= knowledge, the object of which is nothing other than Self). Its characteristic is manifestation (Udaydtmakam=(Udayaikasvarupam sadbhdva-viJcdrarahitam). By Its mere wish (i.e. by mere Ihsana without being dependent upon or having recourse to any other being or thing), it made the world- picture (Vis'va-mayollehhah=jagaddtmakam chitram). It is all prevading (Vis'va-rupa'ka= Sarvtmaha) Consciousness (Caitanya) pleasing Itself in its own blissfulness 6 . Such is Atmd (Atmano rupam). Its light is contracted (Samkucatprabham) in Its evolution 30 kama-kala-vilasa as Knower (Mdfr), Knowing ( Mdna ), Known ( Meya ) and true Know- ledge ( Prama ). Three Lights ( Dhamatraya ). These are the three Mandalas of Moon, Sun, Fire. Three Bijas ( Bljatraya ). These are Vdgbhava and others. Three Pithas ( Plthatraya ). These are Kamagiri and others 7 . Three Saktis ( S'aktitraya ). These are lccha and others 8 . They ( Bindus ) are known ( Bhdvita ) under these three aspects ( Bheda ). These are forms of the Mahabindu ( Mahabindutnaya ). Therefore in these Three Lights and others there are in their order {Kramena— Amipurvyd) the three Lingers, viz., Svayambhu and the others 9 , the threefold Mdtrkd classified as A, Ka, Tha and the rest 10 . Tripura who is in the form of and is the collectivity of all things ( Tat-samastirupd ) is the Pards'akti who appeared, and hence it is said ‘ She who is the threefold body ’ Ittham tritaya-purl yd). Her body is threefold in manner hereinbefore described. She is therefore the highest or Fourth Pita ( Turlyapltha ) as the basis ( Bhu ) where- from appears and into which disappears the whole universe which is threefold {Trividhdtmaka-sarvaprapancdvirbhdva-tirobhdva-bhuh). So the Catuh-s’atl n says: * (I bow to) Mdtrkd who is Pltha-rupinV . She who in this way is the Turlyapltha and is the root of all differentiates Herself ( Adibhedinl ). She within whom is the endless mass of Tattvas produced by Her own will ( Svecchayd udbhavitdnanta • tattva-kadambinl) is in Herself ( Svatmany eva) continuous impartite (. Akhanda ) Saihvit. An honoured sage ( Abhiyukta ) has said : ‘ Because the Devi created the three forms ( Trimurti ), because She is before all ( Purobhava ), because She is in the form of the three (Traylmayl) 11 , because even after dissolution of the three worlds She recreates them again, the Mother’s ( Ambikd ) name is appropriately Tripura.’ In the Catuh-s'ati 18 She is spoken of as the Devi Tripura who is Knowledge as Supreme experience itself ( Svasathvit ). Notes 1 Knower, Knowing and Known are the three Bindus which are forms of the Nirvana Blja or Mahabindu the collectivity of all three, The three VERSES 13 & 14 31 Bindus again are the three lights, three Pithas, three Saktis, three Lingas and three Mdtrkas. That is, these are their various aspects. * Brhadaranyaka, 1-4-1. * That in which he is one with Brahman. * Individual. 5 i.e., N itya^od as'ika , VI-49-51. * i.e., its blissfulness is not the result of anything outside Itself. ’ Purnas'aila and Jalandhara. These reflect and are Vrtti of chit. * That is, J Turn a and Kriya Saktis. * Namely Sana, Itara and Para. “ The Trikona of that name. See “ Serpent Power ’’ by A. Avalon. 11 Nityas'odas'ika, Ch. I-vi. ,J i.e., the vedas consisting of Karma, Upasattd and Jiiana Kcindas, not, as usually stated, Rk, Yajus, Saman. “ Ch. V- 41. VERSES 15, 16 & 17 Sound, Touch, Form, Taste, Smell these are the subtle Bhutas. (Of these) each is the producer ( Vydpaka ) of that which follows ( VyUpya ), and thus taking them all in their order there are fifteen properties ( Gunas ). The NityU (Tripura) who is (the Mantra) of fifteen letters is known as She appears in the Bhutas ( Bhautiku'bhimatu ). She is surrounded by the fifteen Nitytfs 1 who are distinguish- ed by the different properties (Gunas) of sound and so forth (S'abdndi-guna-prabheda bhinnuli ) . The (fifteen) Nityus represent the (fifteen) lunar days (Tithyukdruh). The lunar days again are the union ( Santa - rasa) of S'iva and S'akti. They consist of days and nights. They are the letters in the Mantra and have the double nature of Prakusta and Vimarsfa. Commentary He has spoken of the creation of the five Bhutas in the passage : * From that came Ether, Air, Fire, Water and Earth.’ He here commences to speak of the nature (Svarupa) of each of the Devatas who are one with (each of) the letters of the great Mantra by a description of the Gunas of the first created five Bhutas. Sound (S'abda) is the Guna of Akds'a, Touch ( Spars'a ) of Vdyu, Form (Rupa) of Tejas, Taste (Rasa) of Apas, Smell (Gandha) of Prthvi. These Gunas from Akas'a to Prthvl increase by one and thus fifteen Gunas are obtained*. As there are fifteen different Gunas the S'rlvidyd is of fifteen letters. In other words, She who is the own form (Svarupa) of the Mantra appears as such, Therefore the fifteen letters are Her form (Rupa). VERSES 15, 16 & 17 33 She is known as She appears in the Bhutas ( Bhautikd'bhimatd ). She is on this account worshipped as in or in relation to Herbhautika aspects ( Bhiita-sambandhitvena istd). As the Gunas which emanate from Her are fifteen in number, so the letters of the Vidya 8 are fifteen. The Nityd whose form is that ( Mantra ), who is the Svarupa of that ( Mantra ), is unmoving, changeless and supreme (Kutastha ) ; just as the ocean is that in which appear and disappear the waves, bubbles and froth, so She is That in which all the Tattvas appear and disappear. So the Brhaddranyaka 4 says : ‘ This great Being (Bhutan Brahman) is endless and without limit and is massive knowledge. It evolves from Itself these Bhutas as Devos, men, and so forth, and, withdraws them also, that is, withdraws these forms of Itself.’ In the Mundaka-Upanisad also it is said : ‘That in which all forms of experience ( Bhdva ) disappear.’ He next speaks of the sixteenth Nityd who is Kutastha as being of fifteen'limbs (Avayava), as in the fifteen lunar days ( Tithi ) which are the fifteen Devatds, and as in the form of the Mantra of the fifteen letters. The fifteen Nityas represent the (fifteen) lunar days ( Nityds - tithydkdrdh ). The Nityds are in the form of the lunar days. These are the Nityds beginning with Kdmes'vari and ending with Citrd . They are in the form of the lunar days ( Tithydkdrdh ), that is, they are Devatas who are the Tithis ( Tithyabhimaninyah ). The Tithis also begin with Pratipat and end with Purnitna. The lunar days again are the union of Siva and Sakti ( Tithayas'ca S f iva-S akti- samar asakdr ah), or in other words, they are the united form of Prakds'a and Vimars'a . They are therefore of the form of day and night. Prakds'a and Vintars'a are day and night. So it is said in Cidvilasa : ‘She the Night makes all the worlds sleep. He the Day is verily the waker-up of all.’ These Tithis again are the letters in the Vidya ( Srivarnah ) being in manner aforesaid fifteen in number. They have further the double forms, that is, they are likewise Prakds'a and Vimars'ah) ( Prakds'a-vimars'a-riipdh ). This Vidya of fifteen letters has been enunciated in Saunaka-S'dkhd of the Atharva-veda by the Mantra, which runs ‘ Kdmo yonih kamald ’ and so forth. Some say that this Vidya is also shown in the fifth Mandala of the Rgveda in Catvdraim bibhrati ksemayantah 9 and so forth, 3 34 KlMA-KALA-VILlSA The sense of all this is that this Paras'akti who is both Prakas’a (S'iva) and Vimars'a (S'akti) and appear as the five Bhutas ( Prakdsa • Vimars'a-mayi and Panca-bhutatmika), becomes by a progressive increase of Gunas the Mantra of fifteen letters, the fifteen Tithis, and is manifest as the fifteen Devatas ( Devatasvariipini ). So Agama says : ‘ There is some, only one Supreme Mahes'vara whose name is Prakas'a and the name of whose S'akti is Vimars'a, She is called Nitya by the wise. She the Devi whose name is Vimars'a becomes fivefold as Ether (Akas'a), Air (Anil a), the Seven-flamed (Saptarcih) Fire, Water (Salila) and Earth (Avani). By the increase of Gunas, one by one, She reaches the number of the Tithis (fifteen). The Devi who is Vimars'a ( Vimars'a-rupini ) is known as the sixteenth (Sodas 1 !). The Parames'varl who is Mahatripurasundari undergoes these sixteen forms, the last of which is Citra. She spreads Herself alt over (the Cakra ). The subject is only here hinted at. It should be known from One’s own Agama. He who worships these Devls one after the other day by day, from Pratipat to Purnima, attains, oh beloved, good fortune (Saubhdgya).’ Notes ‘ Devls, who are to be distinguished from the supreme Nitya Tripura. ’That is Akas'a has one Gutta, namely Sabda ; Vayu has two viz., Sabda and Spars'a ; and so on. * Mantra. 4 2 - 4 - 12 . VERSE 18 The V idyll which is composed of the three Bindus 1 , the vowels and consonants collectively and separately, is both immanent in and transcends the Thirty-six Tattvas and is by Herself alone* Commentary Here the author wishing to strengthen what has previously been said says that the Devata is immanent in and transcends the Universe, so also does the Vidya. The vowels ( Svara ) are the letters beginning with A and the consonants ( Vyanjana ) are the letters beginning with Ka. The three Bindus (. Bindutraya ) are the three Bindus which make Anusvdra and Visarga. These taken either singly or in a group make Her body (Vibhdviidkdra—udbhdvitasvarupd). She is thus in the Thirty-six Tattvas ( Sattrims'at-tattvatmd ) that is, Her body is made up of the Tattvas beginning with S'iva and ending with Ksiti, and She also transcends them ( Tattvatita ca), for She is the place and origin of all the Tattvas ( Tattvasamudayasthana ). She is therefore alone ( Kevala ), because there is nothing besides Herself ( Sva-vyatiriktasya abhavdt). Such is the Vidya of fifteen letters ( Pancadas’dksari ). The divisions of its parts are as follows: The honoured Punya- nanda, a strong adherent of Hadividyd *, speaks of this Vidya as a whole, that is, as immanent in the Tattvas ( Tattvdtmakatva ) and transcending them ( Taduttirnatva ) of this Vidya. In the first part Vdgbhava contains five vowels and seven con- sonants, that is, twelve letters. In the secoud Kamaraja there are six vowels and eight consonants in all fourteen letters. In the third part known as S'akti there are four vowels and six consonants, The 36 kXma-kalX-vilIsa total of all these make 36 letters which are the limbs 4 . This Vidyd as an entire whole surpasses all (the thirty-six) Tattvas ( Sarva - tattvdtikrdntd). This is everywhere well established and known (Prasiddha). S'ruti says that Kadi also possesses the double quality ( Ubha - ydtmahatva) that is, as immanent and transcendent and as collective and individual ( Vyasti-samastirupatvam ). The difference between the two is that in the first part of Hadi there are five vowels and seven consonants, whereas in the first part of Kadi there are seven vowels and five consonants. So that in both Vidyds the total in the first section is equally twelve each. Both Vidyds therefore possess the double character. The method relating to the worship of both the Vidyds should be learnt from the mouth of the Guru. Notes 1 i.e., Bindu and Visarga. * Kevala=Eka=Advitlya : that is one without another. * There are three tnatas or forms of worship, viz., Kadi (Kalikula), Hadi (Snkula), and Kahadi. See A. Avalon’s Introduction to the Kadimata portion of Tantra-rdja, Vol. 8, Tantrika Texts. * The grand total is thus 15 vowels and 21 consonants=36 letters VERSE 19 Vedya is also like this — She is the subtle Devi Tripura- sundarl. The Great Yogis have ever taught the inseparate- ness of the Vidya and the Vedya. Commentary He here speaks of the twofold aspect ( Ubhaydtmakatva ) of Devata and of the oneness of Mantra and Devata. Vedya ( = she who as the subject of knowledge is sought to be known), She whose Svarupa is Cit and Ananda , She is “Like this ” ( Tddrgatmd — like the Mantra She is immanent in the Tattvas ( Tattvdtmikd ) and in the universe ( Vis'vdtmikd ) and is beyond and transcends both ( Taduttlrna :). Subtle (Suksma). By this is meant She who cannot be sub- divided, who cannot be defined ( Paricchetturh as'akyd). She (Sa) is used to indicate the fact that She is recognised (Prasiddhd) in all Vedantas. Tripurasundari — She is so called because She is Tripura and Sundarl (beautiful). She is Tripura because She produces all things which are in a threefold state ( Tridhdvasthita-samasta-vastupurandt ), and She is Sundarl because She is the adored of Yogis ( Sarvayogl - bhirupdsyatvena) and also because of Her charmfulness ( Sprha - niyatvdt). The word Tripura has previously been defined. The Svarupa of the Dev! is clear Illumination ( Svacchaprakds'arupd ). She is the Para-vak whose play is creation and the like of the universe ( Vi&vasya jananddi-kriddriipd). The Great Yogis . . . Vidya and Vedya ( Vidya-Vedyatmakayor atyantdbhedam dtnananty drydh ). All Yogis beginning with Para- mes'vara (Aryah= Paratnes'vara-pratnukhdh sarvayoginah) establish or uphold ( Pratipddayanti ) the eternal {Atyanta—Sdrvakdlika) in- 38 KAMA*KALA-VILASA separateness (Abheda=aikya= one-ness) of Vidya, that is, the Mantra of fifteen letters, and Vedyd , that is, Tripurasundarl. So it has been said in Catuhs'ati 1 : “ Whatever S'akti is spoken of as being in any particular category ( Padartha ), that S'akti is the Devi Sarves'varl (the S'akti of S'iva), and He who is with Her is the Great Lord ( Mahes'vara ). She the Vidya who is Bhutagundtmikd 2 spreads Herself out by the fifteen letters of which Her mantra is composed and which is divided into groups of five (which are of Vdgbhava ), six (which are of Kamaraja ), and four (which are of S'akti) letters 8 . According to the number of vowels and consonants (of which her Mantra consists) She is of thirty-seven aspects ( Saptatrims'at - prabhedirii ) . By these thirty-seven aspects or variations She appears as Thirty-six Tattvas. The Vidya Itself should be thought of as the State of S'iva Himself which excels all Tattvas 4 . Notes 1 Nityasodas f ikd 9 Ch. VII, VV. 31-34. * That is, She is Bhutas and Gun as, or rather these are in Her. 8 A k§ara= imperishable entities. 4 Tattvatitasvabhdva. Sva=S'iva; Svabhava is the State or Bhava of S'iva and as such it excels all Tattvas. The Devi is that. VERSE 20 She whose inner nature is beyond mind is the Mahes'i as Para. It is She again who is known in three different aspects when manifest as the three Matrkas, Pas'yanti and others and evolves Herself into the Cakra. Commentary Having previously spoken of the oneness of the Vidya and Devata the author wishing to speak of the identity with one another of Cakra and Devata now proceeds to speak of the mode in which the Chakra originated ( Cakrotpattiprakdra ). “She whose inner nature is beyond mind’* (Yd Sdntarohariipd ; antara=antah-karana or mind ; uhah ( =Vitarkah=Itthamiti-paricchedarahitah ) is that which cannot be described as this or that). The sense is that She is beyond mind and speech ( Avanmdnasagocaratvdt ) and therefore cannot be expressed in the words of the Vedantas *. The Mahes'I is the Cause of all (Sarvakarariabhutd) as the ground ( Bhumi ) wherefrom all the Thirty- six Tattvas from Siva to Prthivl proceed and that is why She is called Para the highest or who excels all ( Sarvotkrstd ). Sruti 2 says: “ [He has no body nor has He any organ of sense. There is no one seen who is equal to or greater than Him.] His S'akti is Para who is heard of (in the Vedas) as of many aspects and immanent in Him ( Svdbhdviki ) as Kriyas'akti united with Jnana and Bala.” Also elsewhere 8 : “That from which words along with Manas being unable to reach return (baffled).” Againa also says: “ Para Vdk (Supreme Word) which is within (i.e. unmanifest) is verily Light-in-Itself ( SvarUpajyotireva ) # and perishes not ( Anapdyinl ). When Her own form is seen ( Yasydm drsta-svarupdydm) all duty ceases ” 4 40 kIma-kala-vilasa This same ( Saiva ) Para S'akti so described (Evarhbhutalaksand) is again known in three different aspects. That is what is said in the passage when manifest &c. &c. Pashyanti and others (Spastd pasyan- tydditrimdtrikdtmd). By “Manifest” ( Spastd ) Her first appearance as something objective is meant. By the expression “ and others ” Madhyama and Vaikhari are intended. It is She Who as Vaikharl which is power of expression (Abhildpasvarupini) , is the S'akti which is in the form of the mass of fifteen letters ( Pancadasaksararas'imayi ) 6 and in all the many different words used in the Vedas and Tantras and in ordinary life. So it has been said in Subhagodayavdsand : “ Para as Pas'yantI is the creeper born in the earth 7 as Madhyama She is the fragrance from the flower-bunch and as Vaikhari She is the letter of the alphabet ( Aksamdld ). Thus does She excel all.” In this wise, as Trimatrika, She becomes the Cakra that is, becomes one with the Cakra of three parts 8 . Notes 1 That is , She is beyond the scope of the highest form of human learn- ing and can be realised by Sddhand alone by the man who deserves to be called Vidvdn. Cf . : Nistattvd kdryagamyd'sya S'aktir mdyd'gnis'aktivat Nahi s f aktim kvacit kas'cit budhyate kdryatah pura. ( V idydranyamuni) Also : N a s'ilpadijrlanayukte vidvacchabdah prayujyate Moksaikahetuvidyd yd sd vidyd naira saths'ayah. ( Brahmdndapurana ) 8 S’vetds’vatara VI. 8. The portion within brackets has not been quoted in the commentary, “is seen” (Drsyate) is explained by Nara- yana to mean “realised by argument” (Yu kt yd up alabhy ate), “Bala” here says Bhaskara (under Nitya§oda , VI. 9) implies Icchd ( Balas'abdasya icchdparatvam ). 8 Taittirlya (2, 4, 1 , 2. 9. l) ; Brahma 3 . 4 That is, the Brahman light. 5 Adhikdro nivartate i.e. the question of competency does not apply to such a man. He becomes free from all observances. * The Mantra of fifteen letters is given in Tripuramahopanisad. 8. being published in this series. 7 Bhujanma = Earth-born i.e . born in the Muladhara. 8 There are nine Mandalas in the S'rl-Cakra divided into three parts of three sections each. The three parts may also be Sf§ti, Sthiti , Laya corresponding with Pashyanti , Madhyama , Vaikhari. VERSE 21 The wise know no difference between the Mahe&i and the Cakra. ParU Herself is the subtle form of both these (Devatft and Cakra). There is no difference between the two in the gross form also. Commentary In this verse he emphasises what has been previously said in the statement that the wise see no difference or distinction whatsoever between the Cakra , consisting of the nine sections ( Avarana ) beginning with Trailokyamohana and ending with Bindu wherein Sundarl abides, and Sundari Herself Who is the presiding (A dhisthatri) Great Lady ( Mahes'i ) therein. This is so because the S'ricakra is the form {Rupa) of the S f ri-Sundari . S'ruti 1 says : ‘ Alone She was at first. She became nine-fold \ The Vdmakes'vara 2 demonstrates this non-difference in the passage beginning: ‘[The five S'aktis produce and the four Fires withdraw]. From the union of the five S'aktis and the four Fires there arises the Cakra. [When the Supreme S'akti sees Her own becoming ( Sphurattd ) then there arises the Cakra ],’ and ending with ‘TJie Cakra is the form ( Riipa ) of the Kamakala in that it is the going forth ( Prasdra ) of the Supreme Reality ( Paramartha ).’ He speaks of the oneness of these two (the Cakra and the Devatd) in their subtle form ( Sukstna-rfipa ) by which is meant that which cannot be defined. The S'ricakra in its subtle form is the Bindu. Its indefinableness is clearly shown in the passage : 1 In the Supreme Akas'a which is the Bindu ( Baindave paramdkds'e) and so on.* The indefinableness of the Devatd has also been shown in the verse beginning : ‘ The Vidya (object of knowledge) is also like this (Tddrgdtma) ’. In the same way there is no difference between the 42 KaMA-KALA-VILASA two in their gross form. The grossness of the Cakra is in its ex- pansions beginning with the Trikona (triangle) and ending with the Caturasra (square), and the grossness of the Devatd is in Her gradual unfolding from Tripurdmbikd to Tripur as' a kti? The Cakra and the Devatd , who are as above described, cannot be separated. He gives a reason for it when he says that Pard , whereby is meant Adis’akti , is the subtle form of both these. The Catuhs’ati says 4 : ‘The Mother of the origin of the three Lokas is both gross and subtle ’. There is thus no difference between these two ( Cakra and Devatd ) for the wise. S'ruti 5 also says : 1 All this verily is the Brahman \ Also 6 : ‘ All men vanquish him who thinks that all things are outside the Brahman *. The author himself says (V. 36) : ‘ When She this Mahes’i Pard unfolds as the Cakra \ Thus it is established that the Cakra is the form ( Rupa ) of the Devatd . Notes 1 Tripura-mahopanisad , 3. The meaning of the Text is— She was One as in Binducakra and became ninefold in the nine triangles of which the Srlcakra consists. * Nitya-sodas'ikd , VI-8-24. The portion within the brackets has not been quoted *by the Commentator, but added by the Translator to make it more intelligible to English readers. By own is meant inherent . * The nine Cakras of which the Srlcakra is composed are presided over by the Devi under nine different names, indicative of Her nine different aspects. These names are— (1) Tripura , 12) Tripur es’varl , (3) Tripura - sundarl , (4) Tripur avdsinl, (5) Tripuras'rt , (6) Tripuramdlinl , (7) Tn - puraslddhi , (8) Tripurdmbikd , (9) MahatripurasundarL The first of these is in the Bhupura and the last is in the Bindu. The Avarana-S aktis of each of these are classed as (1) Prakatd , (2) Gupta y (3) Guptatara, (4) Sampraddya , (5) Kulakauld , (6) Nigarbhd , (7) Rahasyd , (8) Ati- rahasyd and (9) Pardpararahasyd> respectively. 4 Nityasodas’ika , IV-4. 6 Chdndogya , 3-14-1. P Brhaddraqyaka , 2-4-6. VERSES 22, 23 & 24 The Centre of Cakra is Para (ParUmaya). This is Bindu- tattva. When It becomes ready to evolve ( Ucchuna ) It trans- forms and manifests as a triangle. This (triangle) is the source of the three ( S'aktis , namely) Pastyantl and others and is also the three Bljas. VuinU, Jyestha , Raudri , Aihbiku and Pardstakti are one portion (of the S'rlcakra) 1 , Iccha, Jndna , Kriyci and Santa are the other portion*. (These make nine). The two letters (4 and Ha) taken separately and collectively make with the foregoing nine the eleven-fold Pastyanti . Commentary He here desires to speak of the S'rlcakra composed of nine triangles ( Navayonyattnaka ) which is the manifestation ( Vikasarupa ) of the S'aktis Para, Pasyantl and the rest. He first speaks of the Bindu called Sarvanandamaya which is Pards'akti ( Paras'aktimaya ). Cakra. By this is meant the Cakra of nine triangles (Nava- yonyatmaka ) and by Centre of the Cakra, Bindutattva. Bindusvarupa has been already explained. The word This ( Idam ) signifies that It is in Itself (Svasaksdtkrtam) Para or Paras'aktisvarupa. When this Bindutattva manifests then there is the Triangle. He therefore says When it becomes ready to evolve. ( Ucchunam tac ca yada). The meaning is that when under the influence of the Adrsta of creatures the-BaindavaTattva is about to evolve It transforms Itself into a triangle which is of the shape of a S'rngata ( Trikonarupena parinatam spastarh) and the product of the union of A ( Anuttarananda ) and / ( Iccha ). So it has been said : When Citi which is Anuttarananda is united with Icclid S'akti 4 there is a triangle which has the beauty of the joy of Creation ( Visargamodasundaram ), Its light being dimmed as Matr , Mana, Meya and Prama. Its form is that of a S'rngata or Triangle ’. This triangle is the source of the three Pasyanti and others (Pasyantyaditritaya-niddnam) that is, the three S'aktis Pasyantl , 44 kama-kala-vilasa Madhyamd and Vaikhari there originate. It is the S'aktis Iccha , Jhdna and Kriyd which change into the three S'aktis Pasyanti, Madhyatnd and Vaikarl. So it has been said in Vamakes'vara Tantra ( Nityasoda , vi. 38-40) 5 : “She is then Icchas'akti manifesting as Pasyanti ( Pasyanti - vapusd sthitd). Similarly as Jnanas'akti She is Jyestha and Madh- yamd , Vdk in the form of a straight line (RjureJchdmayl) and protector of the universe. This same S'akti (Para) as Kriya (S'akti) is Raudri and Vaikhari Vdk in the form of the body of the universe ( Vis f va - vigrahd) and as that of a luminous triangle ( S'rngdtavapurujjvald ). At the time of Dissolution and Her return journey ( Pratydvrttikra - mena) She re-assumes the state of Bindu ( Baindavam rupam)” The Triangle is the Svarupa of the three Bljas 6 Vagbhava, Kamaraja and S'akti which are the three sections ( Khanda ) of the whole. S'ruti 7 also speaks of : “The three Puras 8 (Bindus) which move the Universe (Vis'va- carsanl) along three paths wherein are placed the letters A , Ka , Tha 9 wherein again abides the impenetrable transcendent greatness of the Devatas.” These and other similar texts in S'ruti speak of the celestial S'rngata-pltha wherein abide the Matrka (Mantra) of three sections which is the source wherefrom arise all Mantras. The Vamakes'vara-Tantra ( Nitya-soda , VI, 48) also says : “All these 10 are denoted by (V acyarupdni) the complete Mantra of three Bljas ( Bljatritaya-yukta ) both singly and collectively 11 . The Triangle containing three Bljas, the three S'aktis, the thee Lingas is the imperishable Kamakala.” He next says that the Bindutattva which becomes the S'ricakra of nine Triangles (four of which are) upward and (five, downward turned is also the adorable Para (Pard-bhattdrikdmayam). He mentions Varna, Jyestha, RaudrI and Ambika by name and by the particle cha (also) he implies Para S'akti and says that these are the five S'aktis indicated by the five reversed triangles which are the first portion (Anuttardms'abhutdh** Anuttaramsdh) , of the S'ricakra; whilst the S'aktis Iccha, Jnana, Kriya, S'anta are the other portion or the four triangles with their apex upward. {Uttar dvayavdh =* Urddhvamukha - trikonacatustayarupah). verses 22, 23 & 24 45 The meaning of this is that Varna, Jyestha, Raudrl, Ambika, Para S'akti, as also Iccha, Jnana, Kriya, S'anta are unfolding stages of Para ( Paravilasanariipdh ). These nine S'aktis are the nine triangles in the S'ricakra. This has been fully dealt with in the Vamakes'vara Tantra ( Nityashodashika , Ch. vi) in the passage which begins “When the Parama Kala wishes to see the Sphurana” and ending “ Vaikharl the body of the Universe ” 12 . The two letters taken separately and collectively ( Vyastdvyasta - tadarnadvayam). By Vyasta is meant individual (Vy astir up am) and Avyasta is collective ( Samastirupam ). That is the two letter ( A and Ha) which are the first and the last of the alphabet hold as in a vice between them all the letters of the Alphabet which are the mother of all Mantras within which two letters again is the Experience ( Bhdva ) of complete ‘ I-ness ’ (Piirnd'ham) which is the union of Prakas'a and Vimars'a or Bindutattva the eternal Kamakala. All this is well established in the Upanisads. Here Parabrahman as complete T-ness * is to be known as united with His consort and as the doer of all actions ; so the Brhadd - r any ah a (1. 4. 1) says : “This Atma there verily was in the beginning ” 18 and thereby establishes that the Parabrahmasvarupa is complete and transcendent T-ness’ (Purna-pardhamtatnaya) and union of celestial Wife and Husband. The Text proceeds in the passage quoted below to show that It shines forth as the creator of all Tattvas : “ He verily did not enjoy. For one (who is alone) does not enjoy. He desired a second. He verily was like woman and man in close embrace. He made this Self of His into two. Thereafter arose Husband and Wife ” 14 and so on. So also in another place in the same Upanisad (1-4-17) occurs the following Text : “ This Atma verily was alone in the beginning. He desired 1 May there be wife (, Jdyd ) of mine*. May I be born as many. May I have possessions ( Vitta ). May I do acts. This verily is His desire (Kama) ” and so on. Texts like these show the Brahman as united with His consort. The two letters (A and Ha) already described will, if taken together and carefully considered, be seen to have eleven aspects. 46 KaMA-KALA-VILaSA The S'aktis Para to S'anta are ten if considered individually and are collectively one. Therefore Bindutattva is elevenfold ( Ekadasatmaka) and is the cause of Pas'yantI S'akti. S’ruti ( Chandogya 3-14-1) says i : “ All this verily is Brahman, from which all comes, in which all lives into which all returns. Therefore adore It with mind free from either attachment or avarice.” .. , , In this way the ihseparateness of Cause and Effect is establis e . Notes i . Ty; r cf nart These are the five inverted x Anut tar ams 1 a -bhut a — lit. rirst par . triangles or Yonis of the S'ricakra, or Snyantra. ’ Uttaravayavdh. These are the triangles with their apex upwards in the same. ’ Ekadas'dtma pas-yantl. * That i s A + I = E. The tip of Ekara is formed like a triangle. 1 he Subhagodayavasana cited in the Madras Ed., p. 6 says that the three Sa Iccha and others indicate the creation etc. of creatures {Pas'u). ‘The two lines preceding are not given in the Commentary, vv. 36-40 describe the evolution of Parama Kala or Para Sakti : “When Parama Kala wishes to see the Sphurapa (desire ^ c reate), of Paramas'iva then She assumes the form of Ambika and is called Para V a k. When She is about to manifest ( Sphuttkartum ) the universe then in its seed Se She is V5m, and is so called because She throws out o , ' vom.ts «..<»). She then assumes the torn, ot a goad (which is of crooked form) ”. * Namely, Aith, Klhn, Sauh. 1 Tripuramahopanisad. ' i.e. Tripura. • That is, the letters of the alphabet is in the A-katha triangle. This is formed by three Bindus between each of which there are 16 letters forming the sides of the triangle. At the corners of the triangle are the remaining three letters Ha, La, and Ksha. 10 That is Lingas mentioned in the preceding verses namely the four Itara, Bana, Svayambhu and Parama. 11 Kula-kaulamayani. Kula=Matr, Mana, Meya, that is Svayambhu Bana and Itara Lingas. Kaula is the collectivity of these three or Paramalinga. 11 See the passage quoted ante, p. 38. “ See Verse 13 ante commentary. 14 9a vai naiva reme, yasmad ekaki na ratnate, sa dvittyam aicchat. Sa haitdvandsa yatha stripumathsau samparishvaktau. Sa imam evatrnanam dvedhapatayat. Tatah patish ca patnl C(t abhavatam . VERSE 25 l In this way the united Kama and Kala are the (three) letters whose own form ( Svarupa ) is the three Bindus. It is She who is the Mother manifest as the three Gunas ( Triguna - svarUpini ) and who assumed the form of the triangle. Commentary He next wishes to speak of the mode of creation of the Cakra wherein are the Cakras of eight triangles, ten triangles and so on, and before doing so explains the origin of the triangular Cakra which precedes them all. In this way ( Evatn ). That is in manner already described. The united Kama and Kala ( Kamakalatma ). By Kama is meant Paramas'iva who is pure Illumination ( Prakas'aikasvabhavah ) and is the first letter which is A 1 , and Kala signifies Vimars'a the last of letters (Ha). This dual character ( Ubhayatmakatva ) indicates the possession of experience of complete ‘ I-ness ’ which is its true nature (Svabhavikaparipurnahambhavas'alitvam). This has been fully ex- plained in versfe 7. The Kamakalatma who as previously described is “ the (three) letters whose own form (Svarupa) is the three Bindus ” ( Tribind utattvasvarupavarnamyi ). The three Bindus are the Red, White and Mixed Bindus previously spoken of. Bindutattva is the Bindus previously described. The three letters, by which is meant the Vagbhava and other Bijas, are forms of the three Bindus. In the Rahasyathnaya (S'iva addressing the Devi) says : “ Know this, that the beautiful S'rngata which is Thy very self (Svdtma-s’rngata) is made up of three Bindus mixed, white and red. It is ancient (Purdna) and is the Pranava itself. It can be known by the three lines (which compose it). It is pure knowledge (Sathvin- matra ) and is of the uature of S'iva. The red is self sustained 48 kama-kala-vilasa (Nirddhara). The other (white) is its beloved and their union is the mixed Bindu. In the Union is the pure state which is Nirvana ”. It is she ( Sd iyam = she (is) this). By Sa (She), the author draws the attention of his reader to Her who is the supreme reality as the experience of the massive Bliss which is Cit ( Cidananda-ghanarasa - paramdrthd) and who is the essence of all the tradition ( Sakaldm - nayasarabhutd) 1 and by lyam (This), he as it were points Her out as the One who is being experienced (Anubhuyamdnd) as the Atma who witnesseth ( Atmasdksitvena ) by great Yogis who are immersed in the feeling of their identity with the Universe (Vis'vdhambhavands'alibhih) and is Manifest as the three Gunas ( Trigunasvarupini ). She is Iccha, Jnana, Kriya which appear (in the Pas'u) as the three Gunas Sattva, Rajas and Tamas. It is through these Gunas as instruments that She effects Creation and the like. She is therefore the Mother (Mata) the one Creatrix of all the World. She is also the Para S'akti who transcends all the Tattvas (Sarvatattvdtitd) for S’ruti ( Aita . 1-1.) says : “ This Atma alone, verily, was in the beginning ”. Assumed the form of the triangle (Trikonarupam ydtd) that is she changed into the form of a triangle as a result of the union of the supreme Bliss symbolised by the letter A with Iccha, Creative Will, symbolised by the letter /. This is the Cakra 3 of triangular form which is most secret and called Sarvasiddhi-pradayaka or that which accomplishes all. The wise know no difference between the Mahes'I and the Cakra. Para Herself is the subtle form of both these (Devata and Cakra). There is no difference between the two in the gross form also. Notes 1 Anuttardksardtmd. * That is, it is She to whom all the Amnayas point. * The first triangle which contains the Bindu which is the first transfor- mation of Bindu. VERSES 26 & 27 She who is next (to Pam ) is Pas'yantI the Creative Self ( SrstyntmU ) out of which originated the individual mothers (Vyasti-mUtr) Vama and others. By reason of this She became ninefold form {Navatmri). She the mother Madhyama is as shown by her two names of two kinds (Dvividhu), namely, subtle (Snkpnzt) and gross of form ( Sthnlakrti ). As subtle She is ever existent and the nine sounds {N avamda-mayl) as gross She is the nine groups (of letters) and bears the name of Bhutalipi. Commentary He next speaks of Pas'yantI who is a manifestation of Para as of ninefold aspect ( Navatmdka ) in the form of the Cakra of nine triangles ( Nava-yoni-cakrattncma ). “ She who is next ” ( Tadanya ). That is Pas'yantI who is the manifestation of Para ( Pardvikas'abhutd ) is the Creative Self out of which originated the individual mothers Vama and others ( Vamadi - vyasti-matri-srstydtma) or in other words She is the nine S'aktis beginning with Vama and ending with S'anta ( Vatnddi-s'dntdnta - s’akti-navakatnayi). It is on this account that the mother {Mata— Janani) is of ninefold aspect ( Navatma ), that is, she becomes the Cakra of nine triangles which is the Cause of the appearance of the group of S'aktis beginning with Vama and ending with S'anta. Vama is so called because she as producer of the universe {Vis'vajanayatn) throws out the Universe of five elements {Prapancd) which is within the S'rngata {S’rngatantah-sthitaprapanca-vamanat). Jyestha is all-beneficent ; RaudrI destroys or dispels all ailments and Ambika grants all things desired. 1 So it has been said : “ Vama (is so called) because of (Her) throwing out the Universe, Jyestha (is so called) because she is beneficent ( S'iva-mayi ) RaudrI 4 50 KAMA-KALA-VILXSA destroys all disease and burns up* (the fruit of) all actions ( Dogdhrt cakhila-karmanam) Of Ambika the Pratyabhijna says that “ She the impulse to becoming ( Sphuvatta ) is pure Being (Mahdsatta) . She is therefore Para vak who excels all ( Sarvdtis'dyini ) and sees Her own impulse to manifestation which is Her own and full Self. ( Paripurna-svarupa - svdtmasphurandvalokanacatura). The Vamakes'vara (Nitya-sodas’ika vi. 36) also says : “ When the Parama kala sees the impulse to becoming ( Sphurana ) of the Atma then she assumes the form of Ambika and is called Para vak.” The S'aktis Iccha, Jnana and Kriya take the forms Pasyantl, Madhyama and Vaikharl (Pasyantl- Madhyama-V aikharl-rupah). This has been stated in detail in the Vamakes'vara (ftitya-sodas’ika) in the verses quoted in commentary to verse 22 ante. S'anta is S'akti as Consciousness (Cinmayl S’akti) who is all pervading ( Nirankus'a ) : For S'ruti speaks of “ the transcendental (Niskala) actionless ( Niskriya ) and tranquil (S'anta) ” *. He next speaks of the ninefold character (Navatmakatva) of Madhyama. Madhyama is the state of Union (Samarasdvasthd) of Para and Pas'yanti. She is visible or realisable by Yogis whose minds are inward turned (Antarmukha). This S'akti is by Her two names (which describe Her function) of two kinds (according to Her functions). She is either Sthula (gross) or Suksma (subtle). As subtle She can be apprehended by the power of Samadhi. As gross She is capable of utterance as letters of the alphabet alike by the learned and illiterate. As subtle She is ever-existent 4 (Sthitd= Sarvadd vartamdnd) and as such She is the nine sounds or Nadas (Navandda-mayi). As gross She is the nine groups of the letters of the alphabet (N avavargdtmd ) . The sense of the above is this : — When the Great Mother Kundalini who contains many kinds of sound does in consequence of the breath being restrained leave the place of Mitravaruna* and after piercing the lotuses of Svadhisthana and others goes upward to reach the place of Paramas'iva who is on the lotus of twelve petals. She is experienced by the great Sadhakas of S'iva* when in Samadhi as their very own self ( Svdtmatvena ). verses 26 & 27 51 She is the nine sounds ( Navanddamayl ). This will be understood from the following text from the Hathsopanishad : — “ We shall now make clear the meaning of Hamsa and Para- mahamsa to the Brahmacarin who has controlled his inclination ( S'anta ) who has controlled his senses ( Ddnta ) and who is devoted to his Guru. This Hamsa pervades all bodies like Are in wood and oil in sesamum seed. Knowing it, one reaches not death. The anus should (first) be contracted, then the air should be led upwards 7 and made to go round the Svadhisthana three times, it should then be made to go through Manipura and Anahata and the airs ( Prandn ) should be stopped in the Visuddha Cakra, The Ajiia Cakra and then the Brahmarandhra should be meditated upon. Whilst so meditating (the Sadhaka) should constantly think of himself as the Trimatra (Omkara). He should next meditate upon Nada, as extending from the Muladhara, which Nada is like pure crystal ( S'uddha-sphatika - samkasta) for this is verily Brahman the Paramatma.” By this the Upanisad teaches that the Svarupa of the MulakuridalinI, who pervades the body from the Muladhara to the Brahmarandhra, is Nadatmaka, The text in a later passage says : “ When Hamsa becomes dissolved into ( Lina ) Nada then (arises the state which is) Turydtlta, Unmanana (mindless) and Ajapopa- samhcira (=cessation of breathing).” Nada is divided (by this Upanisad) as follows : “ Sound arises of ten kinds. Cini is the first, Cinicini is the second. The third is bell sound {Ghantanada ) . Sound of conchshell (S'athkhanada) is the fourth. The fifth is the sound from a stringed instrument ( Tantnnada ). The sound of of cymbals ( Talanada ) is the sixth. The seventh is the sound of a flute ( Venunada ) and eighth that of a kettledrum ( Bhennada ). The ninth is the sound of clay-made drum ( Mrdanga ) and the tenth the sound of thunder ( Meghanada ). After the ninth has been experienced the tenth 8 should practised. The mind dissolves in that. When the mind is so dissolved when Samkalpa and Vikalpa* cease when merit and demerit 10 are burnt then there appears ( Prakds'ate ) Sadas'iva who is S'akti ( S'aktyatma ) Omnipresent ( Sarvatravasthita ) Light itself (Svayamjyoiih) Pure (S 'uddha) Illumined ( Buddha ) Eternal ( Nitya ) Stainless 11 ( Niranjana ) and Tranquil (S'anta) " 5 Z KXMA-KALX-VILXSA " She is the nine groups of the letters ” (N avavargatma) . The nine groups are A, Ka, Ca, Ta, Ta, Pa, Ya, S'a and La 1 *. By sthula (gross) is meant that she is within the range of all ordinary experience ( Sarvavisaya-vyavaharitii ). Bhutalipis are manifested letters ( Bhiitas' ceti lipayas'ceti). The existingness ( Bhutatvam ) of the letters consists in their capability of being uttered or expressed by particular efforts ( Cesta ). The produc- tion of these letters again is merely mechanical ( Tac-ca kalpanamat - ram eva) for the letters themselves are energies ( Tejorilpa ) and there- fore S'akti ( S'aktyatmaka ). The Devi ( Madhyama ) bears the name or designation ( Akhya ) of these. The Tantra-sadbhava also says : “ The Matrka who (manifested) in this world is in inseparable relation with ( Samanvita ) the Supreme Light ( Paratejah ), pervades all things from Brahma to the worlds. (She) O adored of the Suras (=Devas) pervades the whole universe as Nada. Beloved, (She is) like the letter A in all letters. I shall now speak so that Thou mayest clearly understand it. The S'akti who is Supreme (Para), Subtle (Suksmd) and Formless ( Nirakard ) is asleep coiled round the Bindu in Muladhara ,a like a serpent. There also is asleep the self-controlled (Yaml) Great Yogi who knows and desires nothing. With Her belly distended by the Moon, Sun, Fire, the Stars, the fourteen Worlds (Bhuvandni caturdas'a) She is in a swoon as if poisoned. Awakened by the Great Sound ( Parena ninadend) and churned by the fire in Her belly), She becomes free from Her bondage ( Bandhana ) and conscious ( Jnanarupinx )• The churning 14 is circular in movement and continued in the body of the S'akti till She wakes up. When the first unfolding or Division ( Bheda ) takes place Bindu attains the state of Nada. Thus (or by this) Kundall the Subtle Time ( Kalasuks’md ) is awakened. The Bindu which comes after ( Uttaraga ) S'akti (Nada) is the Lord ( Prabhu ) who is the four Kalas 1 * (Catus-kaldmaya ) . In the middle part or second stage of churning ( Madhyamanthanayogena ) there is straightness ( Bjutva i.e. a straight line) which is Jyestha S'akti beautifully placed between two Bindus. The imperishable Kundall (AmrtaTcundali) is led by Valkhari to the Bindu-nada state ( Bindunadatva ) w . She is (then) known as LakinI 17 between the two Bindus, She is then Tripada (Third step) and spoken of as Raudri, verses 26 & 27 53 She is (also) called Rodhin! because she obstructs the path of Libera- tion ( Molcsamarga-nirodhandt ) 18 . Ambika’s form is that of a portion of the moon,— She is Ardha-candrika, the half-moon. The Para- S'akti who is one does in this way appear as three. From them 1 ® as thus distinguished ( Abhyo viviktabhyah) have originated the nine group of letters (JV avavargakah) which are associated ( Yuktah ) with them. It is She ( Pards'ahti Kundali) who is thought of in nine ways being indicated by the nine groups ( Navavargopalak§ita ) ” 20 . Notes I Verses 26-28 are quoted by Laksmidhara in his Commentary to the Saundaryalahari, v. 34 and he reads them differently. * The text is Dogdhrl- She who milks or brings forth, but probably is a mistake for Dagdrl= She who burns up. ® S'anta is the state of absolute quiescence when there is no activity or motion ; Samarasavastha is the state in which two are in a state of absolute and complete absorption the one by the other. 4 That is, of course during the Kalpa. * That is, Muladhara. * Mahamahes'varas — These are Sadhakas who have attained a high degree of perfection — adepts. ’ That is, from the Muladhara. 8 The tenth is Param Brahma. * The state of selection, and rejection, of this and that of all variety, in short ordinary finite experience. 10 Puny a and Papa. II That is, one in whom there is no doubt, the perfect experiencer. 18 This according to the commentator. Others divide the vowels into two groups and exclude the last. “ In the text the word is “ Hrid-Bindu." But this is possibly a mistake for Mrid-bindu, by which is meant the Svayambhulinga in mula- dhara which is the region of Earth =Prithvl=Mrid. Here the cosmic muladhara is spoken of. 14 That is, the cosmic manthana. u Nivftti, Pratiqtha, Vidyd, Sdnti. ' 14 That is, the place where the first Bindu is. 11 Lakinl-Raudn. Dakinl- Brahml. Rakinl=Jye$tha or Vai$navl. 18 As it were a barrier preventing what is above descending and what is below ascending and straying away from the true path. Or the reading may probably be Bodhinl and Nibodhanat. ** The three S'aktis Varna etc. The text seems in part correct. Madras edition throws no light on the right reading, but quotes the passage practically in the same terms. VERSE 28 The first ( i.e . subtle Madhyamu) is the cause {Knrana) and the other {i.e. gross Madhyamu ) is the effect ( Kurya ). Inas- much as such is (the relation) between these two therefore the latter {i.e. the gross) is the (same as the) former (i.e. the subtle). There is verily no difference (between the two), for the identity of cause {Hetu) and effect {Hetumai) is axiomatic {Dista). Commentary The subtle Madhyama which is the cause of the Madhyama of gross form is one with the latter and that is stated here. “The first” (Adya) i.e. the one first spoken of (Purvoktd), whereby is meant the subtle ( Suksmd ) Madhyama already described. She is the cause ( Kdrana ) because she precedes the other {Anya). This latter is gross {Sthtila) i.e. the effect ( Karya ) because it emanates from the other {Tajjanyatvdt). As there is this relation of cause and effect between these two ( Anayoh ), namely, the subtle and gross Madhyama, therefore, the latter ( Iyam ) is the former (Sa= She). There is no difference {Bheda) between the two. Identity (Tadattnya— that in which there is neither difference nor nondifference) is the character- istic of Cause and Effect, as we see in the case of mud and the (mud- made) pot. S'ruti {Chandogya 6. 1. 4) also says : “O Gentle one, by one lump of clay all things made of clay are known. The variation is in names given to it when spoken of. The clay alone is real.’’ The same thing becomes different only as an object of speech. When anything is spoken of it becomes of two kinds *. Note 1 e.g. A mud-pot becomes mud and pot. VERSES 29 & 30 The Cakra of eight triangles which is constituted of the letters S'a, Sa, Sa and the Pa- varga is an expansion ( VistUra ) of the middle triangle. These nine triangles together with the Bindu make the ten ( Dasfaka ) which are lighted by the light of Cit ( Cid-dipa ). The two lights ( ChUyctdvitayam ) of these ten are spread forth 1 as two Cakras of ten triangles each of which the inner set of ten triangles display the Ta-varga and Ta-varga and the outer of ten triangles display the Ca- varga and Ka-varga. Commentary He next speaks of the appearance ( Avirbhdva ) of Vaikhari- S'akti by a description of the Cakra of eight triangles and other Cakras (all) which are the going forth ( Prasarana ) of the Light and Energy ( Tejas ) of the middle triangle ( Madhya-srngdta ). The Cakra of eight triangles is called Sarvarogahara (All-disease- destroyer). The eight triangles of which it consists are the eight letters namely the letters S'a, Sa, Sa and the five letters of the Pa- varga. It is an expansion (_Vistd.ra-Vilid.sd) of the middle triangle (Madhyatrikond). The nine triangles ( Navakona ) are the middle triangle and the eight triangles (here spoken of) ; these together with the Bindu ( Madhyang ca) make a group of ten (Das' ah a). This group of ten is illumined ( Dipita ) by the light of Cit (Cid-dipa), that is, it is lustrous with the rays which surround Tripura — the Mother seated in the Bindu-Cakra (Binducakrddhirudhdrhbd) who is Light Herself (TejomUrti). So it has been said Nityd§oda. VI. 14) : “ The Bindu is the seat of union of the Fire of final Dissolution and Citkala ” *. In this way the ten and their two lights (Chayd- dvitayam=Kdntidvitayam ) are spread out. By the ten (Das'aka) is 56 KIma-kala-vilasa meant the aforementioned three Cakras 8 which are a mass of light ( Tejoras'itnaya ). C/mya here means Kdnti (Lustre, light). These two lights become spread forth (Vitata) as the two Cakras of ten triangles (each). These are the inner and outer Cakras of ten triangles each which also are of boundless brilliance ( Niravadhika - Tejomandala). The two lights ( Kanti-dvitaya ) relate to these two. The two Cakras are called Sarvaraksdkara (All-protector) and Sarvdrtha-Sadhaka (All-accomplisher). By Spread ( Vitata ) is meant evolved ( Parinata ). So it has been said ( Nitdysoda . VI, 15 : “The Cakra of ten triangles is the form of the manifested light of the nine triangles ” 4 . The ten letters of the Ta-varga and Ta-varga are the triangles in the inner Cakra of ten triangles and the ten letters of Ca-varga and Ka-varga are the triangles in the outer Cakra. Notes 1 Vitatam. Bhaskararaya who cites portions of these two verses in his commentary to VI. 16 of Nitydsodas'ikd reads Detain (seen). The two lights are the two Cakras of ten triangles each. There are in the whole Yantra 43 triangles. * Baindavdsana - samrudha - samvartdnala - citkaldm . Baindava= Bindu. This Bindu is the Asana by which is meant that it is the source of the inclination of seeing (Iksanatmakavrtti). On this is seated the union of Sarhvartdnala and Citkald. By Samvartdnala is meant the Fire of Pralaya , the all-devourer Kdldgnirudra and Citkald is Tripura (Bhaskara). * Bindu , Trikona , Vasukona (eight triangle). 4 Navatrikoqa-spurita-prabhartipadashdrakam. The nine triangles taken individually and collectively with the Bindu make ten. VERSE 31 The light of these (the first) four Cakras is the fully evolved (second or outer) Cakra of ten triangles. (Then) appeared the Cakra of fourteen triangles wherein are the fourteen vowel letters beginning with A. Commentary The lights of these (first) four Cakras ( Etach-cahra-catushka - praba-sameta). The four Cakras are Bindu, Trikona, eight-triangled and inner ten-triangled Cakras. The second or outer Cakra of ten triangles is here described as the fully evolved (second or outer) Cakra of ten triangles ( Das'draparinatnah ). This second ten-triangled Cakra is united ( Sameta=SamyuJcta ) with the light of the first four Cakras, that is the light of the four Cakras spreads over this Cakra on account of its proximity to the others. So it has been said ( Nityasoda . VI. 17 : “United with the light of the four Cakras is the evolved (Cakra).” In this verse is also described the appearance of the Cakra of fourteen triangles wherein are the fourteen vowel letters beginning with fl. This Cakra is called Sarvasaubhagyaddyaka (Grantor of all-prosperity). VERSE 32 Para, Pas'yantI and Madhyama in her form or aspect as (the unuttered) gross letters, — by these three is produced Vaikhari who is the fifty-one letters of the alphabet. Commentary After giving a description of the Cakras beginning with the Bindu and ending with the Cakra of fourteen triangles, he here speaks of the appearance of Vaikhari S'akti. The Nature ( Laksana ) of Para and other S'aktis has already been described. What is said here is that Vaikhari 1 who is all-sound ( Sarva-s'abdatmikd ) is the creatrix ( Nirmdtrl ) of the entire universe ( Akhilaprapahca ) which is composed of the collectivity of the letters ( Aksara-ras'imaya ) beginning with A and ending with Ksa. Vaikhari has been spoken of (. Nityasoda . VI. 40) as pervading the universe or as the “ world-form ( Vis'va-vigrahd)” Note 1 Madhyamd as Suk§md is N avanada-tnayl and as Sthuld , Nava - vargdtma. The letters are formed as Madhyama but unuttered. See vv. 26 and 27 ante . Madhyamd as the unuttered gross letters in the evolution of speech is the stage immediately preceding Vaikhari . VERSE 33 The eight groups of letters beginning with the Ka group which are Vaikhari S'akti are on the petals of the lotus of eight petals and it should always be borne in mind that, this, the lotus of sixteen petals has on its petals the (S'aktis which are the) vowel letters. Commentary He here says that the two Cakras, Sarvasathksobhana (All- moving) 1 and Sarvas'aparipuraka (Fulfilling all hopes)* are composed of the Vaikhari letters ( V aikharivarnatmaka ). Are Vaikhari Sakti. By this is meant that these, the eight groups of letters ( Asta-vaikharlvargdh ) the first of which is the Ka= group (Kadi) are V aikharis'akti (Vaikhans'aktisvariipdh). The lotus of eight petals. (Astadaldbja). This is the Sarva- sathksobhana-dakra. This the lotus of sixteen petals has on its petals the vowel letters (Svaragaya-samuditam etad dvyastadaldmbhoruham). The vowel letters ( Svaragana ) are the letters A and others, sixteen in number which are ( Samuditam—Samyagbhavitatn ) the petals of the sixteen -petalled lotus. This (Etat). By this we are to understand that the author points to something visible (Paridrsyamanam) . Should always be borne in mind. ( Samcityam ) that is, should be meditated upon (Sarvadd bhavaniyam). Notes 1 Or it may be All-moulding. * Or it may be Filling-all space. VERSE 34 The (three) circles 1 are the transformations ( Vikara ) of the three lights emanating from the three Bindus. These are the circles in the Bhupura ( Bkubimbatrayam etat). The three mothers PashyantI and others * here rest. Commentary The (three) circles ( Tanl vrittani). These are the circles which surround the Cakras of fourteen triangles, the lotus of eight petals and the lotus of sixteen petals. Three Bindus ( Bindutraya ). These are the previously spoken of red, white and mixed Bindus. The three lights ( Tejastritaya ) are of the substance ( Tanmaya ) of the three Bindus as they proceed therefrom. By speaking of the three circles as the three lights the Cakra is shown to be composed of the threefold division of Moon, Sun and Fire ( Somasuryanalatrikhandamaya ) ; so Agama says : “ The Matrka Cakra is of three divisions consisting of Moon, Sun and Fire.” \ By transformations ( Vihara ) we have to understand the three circles of the three Bindus and their lights. In these circles abide the Shaktis* Ariimd and others, Brdhml and others and Sarva- samk§obhiy,i and others. The three mothers Pasyanti and others here rest ( Pasyantyadi - tri-mdtr-vis'ranlih). The meaning of this is that the three S'aktis PashyantI, Madhyama and Vaikharl are up to this place luminous ( V ijrmbhatndna) , that is, they function from the Trikopa to the Bhupura. This has been fully dealt with in the Vamakes'vara (Nityfyoda. Ch. VI. 36-40). VERSE 34 61 Notes 1 The three lines are according to some immediately outside the sixteen-petalled lotus. * i.e. Madhyama and Vaikharl. • As to the place of these S'aktis there are divergent views. VERSE 35 Movement is either Pada-viksepa 1 or Kramodaya and is therefore said to be of two kinds, namely, the S'aktis* who surround Her and the line of Gurus. These two are the movements of the lotus feet of the Mother (Antbupadcltnbuja- parasard). Commentary After having fully described the S'rlcakra of Mahatripurasudarl he in fifteen verses (35-49) speaks of the group of S'aktis in the Cakra which surround Her ( Avarana-cakrantargatas'aktinikurumba ) and of the Guru-mandala which is near Her, as the unfolding ( Parinati ) of the body or limbs ( Avayava ) of the Devi. Movement ( Kramana ). The word literally means walking (Padakrama) Motion is effected by Padaviksepa or by Kramodaya. By Padaviksepa is meant the power of Sundarl to produce countless S'aktis who are the countless millions of Her rays. S’ruti ( Arunopanisad ) also says : “The rays which are Self-originated are what made bodies (S'arirdnt).” Bhairava-yamala 8 also says: “ In the Bindu united with Sadas-iva is the Mahes'varl who creates, maintains and withdraws the Worlds ( Jagadut - patti-sthiti-sarnghdra-Tcdrim ) and is beyond the Tattvas (Tattvatlta). She is Light itself (Jyotirupa) and transcendent ( Parakard ). 0 S'iva! emanating from Her body are rays in thousands, two thousand, hundred thousand, ten millions, hundred millions there is no counting their great numbers. It is by and through Her that all things moving and motionless shine. O Mahes-anl ! It is by the light of this Devi that all things become manifest. There is nothing which bereft of Her light can be manifest. Without the creative thinking ( Citi ) of Her who is Cit ( Cidrupa ) and S'ivas'akti this moving and motionless world would of a certainty be enveloped in Darkness ( Andhyam apadyate mnam). VERSE 35 63 “ O Mahes'vari of the countless millions of rays which are Moon, Sun and Fire (Soma-suryanalatmana) there are three hundred and sixty which are spread throughout ( Vyas'nuviivanah ) the Brahmanda which is in the midst thereof. Fire has one hundred and eight. Sun one hundred and sixteen and Moon one hundred and thirty-six rays. O S'amkarl, these illumine the macrocosm ( Brahmanda ) and the micro- cosm ( JPindanda ) also. The Sun (illumines) the day the Moon the night and Fire the twilights (morning and evening) : thus is time divided ( Prakds'ayantah kalath ste) : therefore these three (Sun, Moon and Fire) are time ( Kalatmakas trayah). Three hundred and sixty days make a year and S'ruti 4 says that Mahadeva who is lord of creatures ( Prajapati ) is the year ” ( Hayanatma ).” By Kramodaya is meant going forth ( Prasarana ) of the Devi as the Gurumandalas* of the Divya, Siddha and Manava groups whose number is endless and whose nature is illumination (Prakas'dtmaka ) . Saktis who surround Her. Avaranam (=anything that surrounds or encloses or prevents the view) is used in the text to signify the countless S'aktis abiding in what are commonly called Avarana Cakras of the Devi. By line of Gurus ( Guruparigktih ) is meant the circle or Mandala of Gurus (as above described). These two are the going forth (Prasara= Prasarana) or efflorescence (V ijrimbhana) of the lotus feet, that is, feet which are ( S'npadayuga ) of the Mother Tripura. So it has been said : “The light ( Mahah=Tejah ) of Tripura is (it is so declared) divided in many million ways but in the midst of these shines trans- cendent Mahatripura-sundar! Herself.” Notes ‘The forms of Kramana are explained in the commentary which follows. Padaviksepa literally means step by step ” in defined direction. Kramoday a = gradual expansion and unfolding in all direction. _ _ * Avaranath i.e. avarana shaktis. These obstruct men from seeing the Devi like a patch of cloud which is much smaller than the sun yet prevents it being seen. * Laksmidhara in his commentary on Saundaryalaharl v. 24 points out that the passage in Bhairavayamala beginning: “ It is by the light of this Devi ” explains the S'ruti text which says “ There is no sun no moon” quoted under verse 1 of this book. ‘See Sathkhayana Arariyaka I. Taittirlya Brahmana 1. 6. 2. 4 Cf. Bhavatiopanisad. I. Srlguruh sarvaiiaranabhuta s'aktih. The Guru is the S'akti the Cause of all ; also see Tantrardja (XXXV. 2) ( Kadi - mata “ Gururadya bhavech chaktih ” — The Guru is the primordial Sakti. VERSE 36 When She, this all-excelling Great Queen changes into the form of the Cakra, then the limbs of Her body change into Avaranadevatus. Commentary The author now speaks in an orderly form of the mode of Her going forth ( Prasdraprasaranl ). She, this ( Seyatn ). By this the author emphasizes that She is the mass of continuous and endless light and energy Aparicchinnananta- tejoras'imayi). All-excelling ( Pard=Sarvotkrsta ) Great Queen ( Mahes'i ). By this is to be understood that She is conscious of Her all-embracing imperial dominion ( Samrdjya ) and powers (Saihpad=Vibhfdi), that She is Bliss eternal, boundless and immense and that She is adored by countless millions of Yoginis. Into the form of the Cakra ( Cakrakarena ). By Cakra here is meant the S'rlcakra made up of nine Cakras the first of which is Bindu and the last Trailokyatnohan. This is the Cakra which is spoken of (Nitydsoda. VI. 13) as “ the Cakra of nine Cakras wherein are nine different Mantras.” Changes into ( Parinameta ). That is when “ She sees the Sphuratta of the Atma,” 1 by which is meant when She sees the Atma who is complete Bliss and changes or assumes another form. ( Parinameta= Akdrantaram dvaheta). Limbs of Her body change into ( Taddehdvayavandfh parinatih) . Her body (Deha) is a mass of light ( Tejahpunjdtmaka ). The limbs (Avayava) of the body are the rays. ' Change ’ is assumption of another state or condition ( Parinatih— Avasthantarapattih ). Here the surrounding Devatas ( Avaranadevatah ) are the count- less S'aktis such as the groups of Vas’inl and others, Artimd and others, VERSE 36 65 who are part of the ocean of Conciousness-bliss ( Cida-nanda-samud - ratmaka ). The countless millions of S'aktis appear and disappear like bubbles ( Budbuda ) on the face of the ocean. S'ruti * says: “ That in which all beings ( Bhdvah ) disappear and from which those which disappeared reappear again and again disappear and grow again like bubbles.” Also Agama ( Nityasoda . VI. 55) says : “ Such is the Tejas (Light and Energy) of which the Cakra is composed, the S'aktis therein being like heaving waves.” Notes 1 Nityasoda VI. 10 and Yoginihrdaya I. 10. ’This is seemingly Culikopanisad v. 18 but the reading is slightly different from the printed text. 9 VERSES 37 & 38 She (who is) Devi Tripura-sundari abides in the Bindu-maya- cakra. (There) She is seated in the lap of Kames'vara, a digit of the moon is placed by Her as on adornment on Her forehead. She holds in Her hands the noose, the goad, the sugarcane bow and the five flowery arrows. She is red like the rising sun. The Moon, the Sun and the Fire are Her three eyes. Commentary Before giving an account of the Avarana-S'aktis, namely, Vas’ini and others he here describes the nature ( Svarupa ) of the Chief or Principal Devata (Muladevata ) . By the Bindumaya-cakra is meant the Supreme Ether ( 'JParama - kas'a). The Bindu has elsewhere been spoken of as Paramakas'a (Baindave paramdkds'e). The Bindu is called Sarvdnandamaya- cakra (Cakra of All-bliss). By Cakra is meant the Pltha in which She may unite and enjoy with the Xtma. ( Atma-samkramana-viharandrha-pUha ). S’ruti says : “ Wherein She moved that became the Cakra ” *. “ Abides in ” ( Aslnd ) that is She is shining above the Bindu (Bindupariprades'e virdjamdnd). “ She (who is) Devi Tripura-sundari - (Sesa= Abhinna), The Bindu is the Kamakala (Kdmakaldrupa). He whose Self ( Atma = Svarupa ) is the Bindu is the Parama S'iva who is the First Lord or Guru (Adindtharupi Paramas'ivah). The Upanisads contain various texts like the following : “ Bliss is Brahman ” (Tait. 3-6.) “ Brahman is Truth (or Being), Knowledge and Eternal ” (Tait. 2-9-1). “ To the (Brahman who is) pure Cit VERSE 50 83 ( Cinmdtra ), All-seeing ( Sarvadrastd ), All-witnessing ( Sarva-sdJcsz ), All- absorbing (Sarva-grdsa^ All devouring) who is the Adored of all (Sarvapremdspada) , who is in Itself Being (Sat), Consciousness ( Cit ) and Bliss (Ananda) dependent on nothing (mdtra) and massive Experience (Ekarasa) ”, (Nri. Uttara. 5-8) ; and again “ This Atma is pure Being ( Sanmdtra ), Eternal ( Nitya ), Knowledge (Buddha), Pure (S'uddha), Truth (Satya), Free (Mukta), devoid of Maya (Niranjana) and Omnipresent (Vibhu), Non-dual ( Advaya ), Bliss (Ananda), Supreme (Para) ” (Nri. Uttara 9*9). They lead to the conclusion that it is the very merciful Parames'- vara, the supreme Truth as massive Consciousness and Bliss and as both Prakasha and Vimarsha ( Chiddnandaghanaparamdrtha-prahdsha - vimarshdtmd) who divided His own Self into the Bindus making Kamakala and became Kamakames'varl and other couples who are the Divya, the Siddha 2 and Manava lines of Gurus. He thus becomes the whole body of the Gurus (Gurumandalatmd) and protects such as are truly devout. This is the sense. S'ruti also says : — “He is this Atma. The Atma verily is this S'akti. She is the Becoming (Bhdva) and non-Becoming ( Abhava ), the Being and non-Being.” If Paramagurunirvisheshabindvdtmd be read as two words as Paramaguruh and Nirvisheshabindvdtmd then the meaning will be that the Paramaguru which is another name for Adinatha is the transcendent (Nirvishesha-Nishprapancha) Bindu who is indicated by ( Lakshana ) Sat, Chit and Ananda. So it has been said : — “ The Supreme Ether — (Akds'a) which is the Bindu which is transcendent ( Nisprapancha ), is Sat, Chit and Ananda, One without a second ( Nirdbhdsd ), in whom there is no distinction of subject and object 5 (Nirvikalpa) and is imperishable (Nirdmaya.)” The Parames'vara who is like this did Himself become (A bhut) the Gurumandala the first of whom is Kamakames'varl. “ It is He” (Sah punah). It is the Paramatma already spoken of, who by degrees (Kratnena) becomes differentiated (Bhinnah) in the manner to be later shown as the Divya and Siddha classes from His Vimarsha part (Vimarshdngshdt). By Vimarsha is meant His own S'akti as Kama- kala. By part (Angsha) is meant half of this. Assumes the form of Kamesha (Kdmeshatvang yayau= Changed into the state of Kamesha). That is He himself became Kamaraja. The 84 KaMA-KALA-VILASA sense of this is that it is the Paramatma who of His own will divided His own self into Kama and Kames'varl and as the Teacher (Guru) and the Disciple ( S’isya ) brings down all Tantras. S'ruti ( Brha . Ar. 143) also says : — “ He divided this Atma into two ; thereby arose Husband and Wife Notes 1 Etasyaivanandasyanyani bhutani matram upajlvanti ( Brhad . Aranyaka 4-3-32). * Siddha — These form the second class of Gurus in all Tantras. Different schools or Sampradayas have different names for the Gurus of the three classes. * Knower and object of knowledge. VERSE 51 S'iva the Guru who abides in the Uddlyanapitha did in the Krta Yuga impart the Vidya to Her, His own S'akti the Vimars'a-rupini Kames'vari. Commentary In this verse he further discusses what has been stated in the preceding verse. By ‘Siva’ is meant the Paramatma who is the author of all ( Sarvapravartaka ). Guru is he who instructs in Jnana (Jnanopadesta). So it has been said that “ the Guru is means (of success).” ( Gurur upayah)', also 1 : “ The word ‘ Gu ’ signifies darkness and the word ‘ Ru ’ signifies that which dispels it, Guru is so called because he dispels darkness.” Who abides in the Uddlyanapitha. ( Asinah s’rtpithe), By this is meant that the abode of S'iva is the Uddlyana-pitha within the innermost triangle. In the Krita Yuga ( Krtayugakdle ). By this we are to understand that it was in the beginning of Krta or Satya Age that S'iva imparted the knowledge of the Vidya. By Vidya is meant the Vidya which is fully established in all Upanisads and whereby a man can realise his oneness with the Atma (Atmaikyapradayini ) . Did impart ( Dadau ). Fully instructed (U padides'a). Her, His own Sakti ( Tasyai svas’aktyai). The force of the pronoun “ Her” is to press on the reader’s attention the fact that it is She who gives boundless happiness to all creatures ( Sarva-bhutdndm , niravadhi- kanandadayini). His own S'akti. {Svas’akti). By this we are to understand that it is She who enables the Lord to manifest His own Being ( Svasvarupasattdsampradatri ). So it has been said: “ Even the Supreme if disunited from S akti is unable to do anything. O Parames-ani ! He is capable (of action) if He is united with S'akti.” KaMA-KALa-VILaSA &6 Vimarsarupini. She is so called because She is the Supreme S'akti which is (lit. is the resting place of) the supreme manifesting Bliss. (Anuttarananda’Visranti-sthanabhiita-s'akti-para-riipini). So it has been said, ( Samketapaddhati ) “ The letter A is the first of all and is Prakas'a and the Supreme S'iva and the letter Ha is the last which is Kala and is called Vimars'a.” Kamesvari. She is so called because She at all times and in every way grants all objects of desire (Sarvabhista-praddyini) and is one with one’s own Atma (Svdtmabhuta). Note 1 Kul&rnava Tantra XVII. 7. VERSES 52 & 53 She who is the Queen of the (three) places 1 and bears the appellations of the Eldest, the Middle or the Second and the Youngest and who is the object of enjoyment of Parama S'iva assumed the name of Mitradeva. It is She who having first purified the Gurus (by initiation) revealed the Vidya to them who are the seeds of the (three) Ages ( yugas ) the first of which is Treta and who are the Lords of the three Bljas. It is by these (three Gurus) that the three groups or classes ( Ogha ) are maintained. Now has been said the order of the Gurus ( Guruhrama ). Commentary The tradition ( Sathpraddya ) relating to the Gurus may be put thus : — True that these two (Kames'vara and Kames'vari) are of equal high degree ( Samatattvau ) and are identical ( Samau ) and S'akti is ever young ( Ajar a ) and the Cause of the universe (Vis'vayoni) and the Sankhayana branch (of the Rgveda) has said “ primeval s'akti is red (Arttna) * the mother of the universe ( Vis'vajanya ) ” yet Parama S'iva who was desirous of revealing His secret system ( Rahasyatantra ) containing the essence of all the Upanisads did so by the aid of Kames'vari Herself who is the Cause of all ( Sarvakarana rupini) as is shown by the expression “ Vis’va-yoni or V isvajanyd." After the creation of the universe in the First ( Adi i.e. Satya or Krta) Age abiding as He was in the Uddiyatia-pitha which is replete with the Bliss of His own Illumination ( Prakas'ananda-sdramaya ) He under His name S'ri-carya-nanda-natha instructed the adorable Lady who is one with Him in the rules relating to S'ri-vidyd (S'rividydkrama) . He Himself says : — 88 KaMA-KALa-VILaSA “Verily do I adore the Great centre of the Cakra which is supreme Bliss and the innermost essence of Prakas'a and Vimars'a (Anuttara-vimars'aikasdra) and pure experience ( Sathvinmaya ).” She in the Treta, Dvapara and Kali Ages did in the forms of the Gurus mentioned below introduce the very secret system of S'iva ( S f dmbhava Tantrum). The order of the Gurus is as follows To understand the gem of S'rl-vidya (either of) two lines of ( Samtdna ), may be followed. They are the line of Kamaraja and the line of Lopamudra. The line of Kamaraja is to be found in every form of Vidya ( Sakala-vidyanusariidhyavicchinna ) and this has been said by even the Gurus of old. They say that the line of Lopamudra runs in sections (Vicchinnatayd pravartate). There are in this seven Gurus of the Divya class four of the Siddha class and eight of the Manava class 8 . The order of the Divya class is as follows. In the beginning of the Krta Age, Parama S'iva Himself who abides in the Uddlyanapltha and is one ( Vimristatanu ) with Mahatripurasundari who is His own S'akti ( Svdtmas'aktyakhyd ) is the first Guru under the name of S'rlcaryanandanatha. So it has been said : “ She who is the body of Kamaraja abides in the Uddlyanapltha which is in the middle of the (first) triangular Cakra in a soundless state ( Asvardkaratdm prdpya tryas'rasamgketam adhyagdt ).” At the apex of the inner inverted triangle which is Kdmariipa - pltha abides S'rlmad Orddhvadeva-natha who is the Guru of the Treta Age and is one with Kames'varl the presiding Devata of Vdgbhava Blja. So it has been said : “ She who is at the apex of the inverted triangle is Karnes'! abiding in Kdmapltha” At the right hand corner of the inner triangle which is the J dlamdharapitha is Sasthadeva-natha who is the Guru of the Dvapara Age and who is in a state of inseparate union { Militasvarupa ) with Vajres'varl who is (the presiding Devata of) Kamaraja Blja . So it has been said : “ At the right-hand corner of the triangle which is the J dlamdhara- pltha is Vajresi At the left hand corner of the middle triangle which is the Piirniagiri-pitha is Mitradevanatha who is the Guru of the Kali Age verses 52 & 53 89 and is one with Bhagamalini who is the Devata of the S'akti Blja there. So it has been said : f u Bhages'I who abides in the Piirnapltha is in the left corner of the triangle ”. Mitres'adeva did in the beginning of the Kali Age bestow his grace on the venerated Lopamudra and Agastya, the couple refulgent for their great devotion ( Tapas ). Particulars about the seven who compose the Divya class can only be known from the Guru. We now follow the text. She (So). By this the aforementioned beloved ( Prananayika ) of Parama S'iva is meant. She assumed 4 the name of Mitradevanatha. Here the mention of Mitradeva implies the Gurus of the Treta and Dvapara Ages. She in turn becomes the Gurus of the Treta and other Yugas and continues the tradition. Lady or Queen of the three places ( Sihdnes'd ). That is She is the presiding Devata ( Is'a—Adhisthatri ) of the apex, the right and left corners of the middle triangle where She abides as Kames'varl, Vajres'varl and Bhagamalini respectively. £ears the appellations of the the Eldest the Second and the Youngest. (Jyestha-madhya-baldkhya). Jyestha means Eldest or most excellent. By this expression S'rlmad Urddhvadeva-natha is meant. By Middle ( Madhya ) or Second S'rl Sasthadevanatha is meant and by Youngest {Bala, which means a boy) is meant S'rl Mitradevanatha. The Devi bears these names. The object of enjoyment of Parama Siva {Citprdna-visaya-bhiita). By Cit-prana is meant Parama S'iva because, He is the Svarupa of Cit and is Prana itself ( Prdnarupa ). The Mdnduka S'ruti (1, 7) says : “ The wise think of the non-dual S'iva who is quiescent {S f antam) and in whom the universe is absorbed {Prapancopas'amam). He is not inner or subjective cognition {Antahprajnam) nor is He outer or objective cognition ( Bahihprajnatn i.e. enjoyer of the gross world) and He is not between these two states {Nobliayatahprajnam ) 5 . He is not massive knowingness ( Prajndna-ghanam ). He knows not nor is any thing unknown to Him. He is unseen. He is not the subject of (pragmatic) knowledge ( Avyavahdryam ). He is beyond the scope of the senses of action {Agrdhyam). He has no attributes 90 KaMA-KALA-VILaSA ( Alaksanam ) and is incomprehensible and cannot be described ( Avya - padesyam), but is the essential experience of one Self ( Ekdtma - pratyaya-sdram ). He is deemed to be the highest (Caturtharh^lit. Fourth). He is the Atma. He should be known.” S'iva is thus Cinmaya according to S'ruti, In the same way S'ruti speaks of Him as Prdnamaya also. The Chdndogya (7-15-1) says: “ As the spokes (of a wheel) are fixed to the hub so is every thing fixed on to this Prana. Prana moves by Prana ( i.e . by its own S'akti). Prana gives Prana for the propagation of Prana ( Prdndya ). Prana verily is father, Prana is mother, Prana is brother, Prana is sister, Prana is preceptor ( Acdrya ) The Devi is the object of enjoyment ( Visayabhutd^Bhogyabhutd ) of Parama S'iva who is as above described. So it has been said : “ This Deva ever wishes to have the pleasure of playing with this Devi.” The Supreme Lady of adoration ( Pardbhattdrikd ) who is as above described, revealed (Prakds'aydmdsa) # the Vidya to the three Gurus who are the seeds of the three ages beginning with Treta as has already been described. The words Sthdnes'd , Jyestha-tnadhya-baldkhyd and Cit-prdna - visayabhiitd may be read in the plural accusative to qualify Triguriin. The interpretation will in that case also be as given above. The Lords of the three Bijas ( Bija-trltayddhipatin ) The three Bljas are Vagbhava and others. They are the Lords ( Adhipati ) in the sense that these Bljas indicate them. These three kinds of Gurus ( Trividhades'ikan ) the Devi first purifies (Parlksya = S'odha- yitvd). By Vidya is meant the Adividya which issued from the lotus mouth of Parama S'iva and is the Cause of all causes. The Devi revealed the Vidya. By this we are to understand that She instructed ( Upadides'a ) the Gurus in the Vidya. Here by the statement, Revealed the Vidya having purified them. ( Pariksya vidydrii prakdsaydmdsa ), we are to understand"* that the most excellent Guru who is Sadas'iva (S'ri-Sadds'ivdtmd) instructs in this path which is in accordance with immutable tradition (Sat- sampraddya-siddham), the disciple who has for a long time done Atmopasana, has controlled his inclination (Santa), has conquered his senses (Ddnta) and seeks initiation (Upasana). So it has been said ; VERSES 52 & 53 91 “ O Great Queen, it is after initiation that the Guru should give instruction relating to Sadhana of the Vidya Initiation ( Diksa ) 7 is of three kinds namely Anavl, S'akteyl and S'ambhavi. It grants union ( Sayujya ) with S'iva. In Anavl Diksa the special articles of worship are necessary. There is also needed intense devotion to, and Tarpana and Dhyana of, the Para-Devata. S'akta initiation is for the attainment of Siddhi by the Sadhana of that particular S'akti for the worship of which a disciple is qualified. So it has been said : “ When the Guru perceives that the disciple is ready for Sadhana of (any form of) S'akti he should then initiate in that (S'akti) alone without hesitation. This is called S'akteyl Diksa, ”. S'ambhavi Diksa has been thus described : “ S'ambhavi Diksa, is that which by the mere grace of the Guru makes manifest the S'iva state (S' ivata-vyaktikarinl ) * and produces the Bliss of S'iva. The preceptor and the disciple should be selfless and without worldly desires or motives.” In the absence of any such initiation there can be no competency for Sadhana. Initiation to be fruitful should be the outcome of mere grace of the preceptor unmixed by any motive. The preceptor is bound to initiate even at his own expense if the disciple though qualified for initiation is unable to incur it. If the Guru himself is also unable to procure the necessary articles then he should do it in a concise form. So it has been said : “ The Guru should himself with his own money initiate the poor. He should liberate the disciple by Diksa and use Durba grass and water if nothing more can be had.” The conclusion we thus arrive at is this — that it is only he who is fully initiated who is competent for Brahma-vidya. It has already been said that initiation becomes effective by propitiation (Samtarpana) of the Para-Devata. Samtarpana or propitiation can be done by the offering of oblations of particular kinds of liquid substance used in particular Ages. For it has been said : — “(Oblation) of DevatSs however is by nectar.” The liquid substance is wine which is like excellent nectar. With this alone can offering be made to Para-Devata, like Soma in Agnistoma sacrifice. 92 kIma-kala-vilasa Now if it be said that there is prohibition in texts like this : “ The Brahmana should not drink wine nor should he eat flesh,” we reply that we do not say that oblation to the Para-Devata should be made by transgressing prohibitions applicable to particular cases and prompted merely by one’s own desire. In what we have said we are convinced that this S'ambhava Dars'ana is based upon the teach- ings of the Upanisads. Now it may be said “ what about the prohibi- tion ? ” The answer is that this prohibition applies to the man who is uninitiated. For the initiated the best way of offering oblation to Devata is to make it with wine. In the Sarhkhyayana S'akha which is extracted from the ocean-like Rgveda, it is stated that divine dignity and dominion can be attained by the worship of the Adisundarl thus 9 : — “Those, who after having fully realised Her offer oblations (to Her) in the S'rlcakra which is inseparate from their body, with wine which has been converted by purification into nectar , 10 become delirious in the excess of their joy, dwell in the high region where there is neither pain nor sorrow and enter the Supreme Light of Tripura.” Notes 1 The three angles of the triangle (Kamakala). 3 The colour of the Rajas Guna of Krya S'akti. The text quoted above is from the Tripur amahopani$at but greatly mutilated though the sense is not. It is the second half of the 14th Rk of that Upanisad and runs thus : — Samapradhdnati samasattvau samojare tayoh Saktirajara vis'vayonih. As quoted in the text it is not quite correct. 8 The Lalitarcana-matljari gives the names of the Gurus as follows. The seven of the Divya class are (1) Paraprakas'anandanatha, (2) Paras'iva- nandan&tha, (3) Paras'aktidevyamba, (4) Kaules'varanandanatha, (5) Suk- ladevyamba, (6) Kules'varEnandanatha, (7) Kames'varyamba. The four Gurus of the Siddha class are (1) Bhoganandanatha, (2) Klinnanandanatha, (3) Samayanandanatha, (4) Sahajanandanatha; the eight of the Manava class are (l) Gagananandanatha, (2) Vis'vanandanatha, (3) Vimalananda- natha, (4) Madananandanatha, (5) Bhuvanandanatha, (6) Nilanandanatha, (7) Atmanandanatha, (8) Priyanandanatha. Those of the first mentioned class should be worshipped behind and the other two on Her left and right respectively. 4 C/. Tantraraja xxxv : Gurur adyd bhavec chaktih sd vimars'amyl mat’d % verses 52 & 53 93 also Bhdvanopanisad I : Srlguruh sarvakdranabhutd s'aktih. 1 That is , He is not the state between Jagrat and Svapna. # Cf. Tantraraja (Tantrik Text vol. VIII) ch. 1. v. 8 : Taya fair bhuvane tantram kalpe kalpe vijrimbhate . (She, the Devi, age after age reveals Tantra through them (the Gurus). 1 The Gandharv at antra speaks of Mantrl , Saktl and S dthbhavl. # According to another reading “ Sivatadatmyaddyinl ” which means that which brings about a sense of inseparateness with S'iva. 9 Tripuratnahopanisad. Rk . 7. 10 The text has ‘ Surayd 1 but Bhaskara reads * Sudhaya ’ and the latter reading has been adopted in the translation. VERSE 54 This is the end of the description by Punyananda of the playful movements of the beautiful woman Kamakala which ever attract the desire of the amorous Para S'iva. Commentary This is the end (Iti), The particle “ Hi ” indicates the end of the book composed by Punyananda (Uditah punyanandat). The literal meaning of the expression is “ as arisen from Punyananda ” the author. Playful movements of the beautiful woman Kamakala ( Kamakalanand - vilasah). By Kamakala is meant Vimars'as'akti who is inseparable ( Avinabhuta ) from Kames'vara. She is the beautiful woman ( Angaria ) whose Vilasa or amorous movements appear as the form of the Cakra, the Avarana-Devatas and the like. These amorous move- ments which have been caused by seeing Her beloved (i.e. Para-S'iva) always ( Nityam ) attract the mind or heart ( Citta ) of the amorous (Bhujanga=Rasika) Para-S'iva whose nature is pure Illumination (Prakds'aihasvabhava) by producing in Him an excess of desire (Bhdva—Raga). If “ Bhdvdkarsnaharsaya ” be read for “ Bhavakarsitacittdya ” then the meaning will be that the sight of the playful movements produce in the amorous Para-S'iva that gladness which accompanies the experience of the emotion of love. In ordinary life ( Loke’pi ) the sight of the amorous movements of the beloved produces in the mind of the gay lover a sense of gladness which is accompanied by the sentiment of love ( S’rngdra-bhava ). In the same way the play ( Vilasa ) of Kamakala who is Cit-S'akti which express itself in the way She walks ( Padaviksepa ) and in other movements (of Her body) produces infinite gladness in Para-S'iva who is facing towards and looking at Her who is His own S'akti. VERSE 55 95 The name of this book is Kamakalavilasa. It is written by and therefore has emanated from ( Uditah ) Punyananda. This book always gladdens Para-S'iva. VERSE 55 Obeisance to the venerated Lord the boatman {S'ririatha- nuvika ) by whose grace I have crossed this Ocean of Wander- ing, the waters of which are desire ( Trstmsalila ) and the surface whereof is restless with the waves of anxiety ( CintU - tarangacapala) . This is the end of Kamakalavilasa written by Sri Putiyananda Yogi. Commentary “ Ocean of wandering ” ( Prapancavaras'i) . By Prapanca is meant Samsdra or Wandering which is ocean-like (Vdrds’ih=Varidhih). May good be ( S'ubham astu). This is the end of Cidvalli composed by S ri N atananandandtha. 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(gRW?qrqT ^rtot fqqin fa-.^qmqT sraqqiq; qirqf qgqqracqqiqTa ffi g q T^-- g^fafaftfa l q^qfgq^qqrfa: i ^itt: qwffqfa: ( 0i33Xffll3?R o arc Mh a?5T^ft: sgpTWTCI apctlxircfiRWlJ arfflafaf^RT. aisq^qg^iffgo a^I^lf^H^ 0 aqf^q^ XS^IST: erif^qoma® aqsH wwrcr 3ircR;ra$*K*n: afW>i ggq^p*: stfdfa: «#W& ■irital 5«3Tgrcf*WM^l: ffg ssmaifMir *rc qr g^r m qxr gfxa: qif a^qi tT^sJTC^o t£OTaq>fqffa: qg?«qfgii^ 0 gzg^r xx t&tNfaera IX *P ^I«T®5I?*IT ^ q*fxfaxsfa5qrqa° -x<* q;rc: X® ^Rl^oqifxo ^ qqJteft fa^n° X^ qjiJt^uirggqr «,x q^%i: X* ^qrfa iftwi fawratssw. xv fa^T^sT^® ^x g^rarfgrrcfaq x«, gj^\v» > vx ggiaq^pR^S X^ clfffl*^ a^tara: v\ ^qiSqqqq'tl 11 !* \»<£ "x\» ?f*r gqrrcr ^jtci %3 f®3° fxqgft5iR«R3Ts vx MWta^Pw 0 33^F *X u V V» M •xl IX V*X xx M M X* fqgi ^qqqfoft \\ fa^rftcisairarcr: >> fMiRRqjaijyiT: «raKi?«§rcsqr >> fqsnfq ^i?niwi x« q^R^rgg?: $v» fqgr^gr^qf: X* qgir qqqfgrfq q sq^isq^d qqqo vx q^fgqgsrwqrco ve sqjqqjqra sqi^«i fag: x* fq^qwcgr ^o gr gqfa gfagrar qtgfqgqrfqqqta. v»X fgg^gfq^gqgo u sruqrf^qf^q XX ifq fastq^q vx grfqqgqgfH %q qg g|qft V\ gq^rsnwsRT: XX %qrq faggnr »X HjiijftfXwqgqs XX g%q q f| it?: V ^Tsrsrqitaci M sfgftqfagq^ XX q*q qq^q *qf^ v^ eqsr q?qfsrrf?o Vo gwfaqFsqr g? 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Questions Relating to the Liberation of Beings II. Introduction to the Worship of Brahman III. Description of the Worship of the Supreme Brahman IV. The Mantras, Placing of the Jar, and Purification of the Elements of Worship V. The Revelation of the Mantras, Placing of the Jar, and Purification of the Elements of Worship VI. Placing of the Shrlpatra, Homa, Formation of the Chakra, and other Rites VII. Hymn of Praise (Stotra), Amulet (Kavacha), and the Description of the Kula-tattva VIII. The Dharma and Customs of the Castes and Ashramas IX The Ten Kinds of Purificatory Rites (Samskara) X. Rites Relating to Vrddhi S'raddha, Funeral Rites, and Purnabhiseka XI. XII. XIII. XIV. The Account of Expiatory Acts An Account of the Eternal and Immutable Dharma Installation of the Devata The Consecration of Shiva Linga and Description of the Pour Classes of Avadhutas “ It seems as if the World-Mother has again willed it and has again desired to manifest Her Power so that Arthur Ava on is studying the Tantras and has published so beautifu avers of the Mahanirvana ” — Sahitya. 3rd Edition (1953) Cloth Bound-Over 1,000 Pages. Price Rs. 30/- By the same Author PRINCIPLES OF TANTRA (TANTRATATTVA) CONTENTS Part I I. Appearance and Applicability of the Tantra Scripture — II. What -is the Necessity for the Tantras when there is Veda ? — III. The Ephemeral and Modern Monism — IV. Gayatri Mantra and Image Worship — V. Commands of S'astra — VI. Worship of Devatas — VII. What Is Shakti ? — VIII. What Is S'akti ? ( Continued ) — IX. S'iva and S'akti — X. Worship of the Five Devatas. Part II XI. On Mantra — XII. Lettered and Unlettered Sound — XIII. On the Guru — XIV. Discussion Upon, and Selection Of, the Guru — XV. Worship in General — XVI. The Play of Gunas — XVII. Outer Worship — XVIII. Ordinances Relating to Worship — XIX. Ceremonial Worship — XX. Ceremonial Wor- ship ( Continued ). The Treatise is the most remarkable pronounce- ment on the subject which has yet appeared and Mr. Avalon is to be thanked for making it accessible to Western readers. It is full of points of very great interest. — The Quest. Second Edition (1952) Cloth Bound — 1200 Pages. Price Rs. 30/- — 1