AGAMANUSANDHANA SAM1TI.

7 A, Chaltabagan, Calcutta.

*

The object of the Society is the preservation and promulgation of a
knowledge of the Agama by the publication of Texts and other works on the
Sh&stra, by the copying and suitable distribution of Texts and other works
dealing with the Agamas.

LIST OF PUBLICATIONS

Vol. I. Tantr&bhidh&na with Bljanighantu and Mudranighantu.—k
Tantrik Dictionary. (Revised and enlarged 2nd Ed. In preparation, )

Vol. II. Shatchakranirupana. — A work on Ku«ialiniyoga with two
lucid Commentaries. Padukapinchaka— with Commentary.

Edited by Taranatha Vidyaratna. Introduction by Arthur Avalon.

2nd Ed. thoroughly revised with variant readings ... ... 3 0

Vol . III. Prapanchasara Tantra.— h Tantrik Compendium by

ShamkarAcharya. 2nd Ed. with the Commentary of Padmap&da
and a gloss thereon. The book contains the general rules applicable
to all the different forms of Tantrik Sadhana and worship as also
a summary of eacu of the different systems ( nearly ready ) ...

Vol. IV. Ktilachiidamaninigama. Introduction by AkrAaya Kumara

Maitra, c.i.e., k.i.h. ... ••• ••• ••• 2 0

Vol. V. Kularnava Tantra. The most authoritative work on Kula
Dharma. Edited by Taranatha Vidyaratna. Introduction by Arthur
Avalon ... ••• ••• ••• ••• 4 0

Vol. VI. KaltUvildsa Tantra.— Edited by Mahamahopadhyaya Parvati

Chara«a Tarkatlrtha. Introduction by Arthur Avalon ... 20

Vol. VII. Shrichakrasambhara.— Edited by Kazi Dawasamdup. A
Buddhist Tibetan Tantra. Foreword on the Vajrajana by Arthur
Avalon — {out of pr' c nt) ... ••• ••• •••

Vol. VIII. Tantraraja ( Kadimata ). Part I. Commentary by Subhaga-
nanda-natha. Edited by Mahamahopadhyaya Lak^mawa Shastri
This along with vol. XII gives a detailed account of Kadimata, one
of three schools into which Shaktas of tne Shrlkula are divided.

Full Summary ( 37 pages ) in English by Arthur Avalon ... 4 o

Vol. IX. KarpUradi-stotra. The famous hymn to Kali by Mahakala.

Text, with Introduction and Commentary containing the esoteric
interpretation of the hymn by Vimalananda-Svaml. Translated
by and with notes of Arthur Avalon ... .,.40

[ ii ]

Vol X. Kdmaka lav Has a . Commentary by Na/ananandanatha. Edited
by Mahamahopadhyaya Sadashiva Mishra. Complete translation by
and notes of Arthur Avalon. This is a poetic description by
Pu/syanda of the unfolding of the Divine creative impulse ... 4 o

Vol XI Kaulopanishad , Tripuramopanishad , Bhcivanopanishad. Commen-
taries on these and the Prayoga on the Bhavana by Bhaskararaya.
Bahvrichopanishad , Arunopanishad , with Commentary ; Kdlikopan -
ishad. Introduction by Arthur Avalon. Edited by Sltarama Shastrl.

The Prayoga by Bhaskara shows how UpanL/zadik teachings can
and ought to be imbibed ... ... ... 4 o

Vol. XII. Tantraraja . Part II. Commentary by Subhaganandanatha.
Edited by Mahamahopadhaya Sadashiva Mishra. Summary ( 74
pages ) in English by Arthur Avalon. This part gives the philosophy
of Tantrik rituals. It also contains a description of the four stages
of uttered sound. The student of astronomy will find much of
interest in Ch. 25. ... ... ... ... 6 0

Vol. XIII. Mahanirvdna Tantra , with the Commentary of Hari-

harananda Bharatl. Printed from Mss. of Raja Rammohun Roy... 7 8
Vol. XIV. Kauldvalmirnaya. By Jnanananda Paramahamsa. A com-
pilation from various original Tantras. It gives an account of the
rituals of Kula Dharma and also contains an account of the three
classes into which mankind is divided and other important parti-
culars necessary for an adequate knowledge of the Sampradaya ... 4 o

Vol XV. Brahmasamhild with the commentary of Jiva GosvamI and
Vishnusahasranama with the commentary of Shamkaracharya. Both
these are highly venerated by Vai^avas. The Brahma Samhita
was greatly valued by Shrl-Chaitanyadeva the founder of the present-
day Bengal Vai^wavism. Jlva Gosvami wrote the commentary in
compliance with the desire of Chaitanyadeva. These books show
that there can be no conflict between the VaiVtova Tantras and
those of other schools ... ... ... ###

Vols. XVI 1 XVII. Sharadatilaka Tantra : By Lak^ma^adeshikendra.
Commentary by Raghavabhatfa named Padartkadarsha— with a
Summary ( 72 pages) in English. This is similar in character to the
Prapanchasara. The text and the commentary which is very lucid
and exhaustive will be of help for a proper understanding of also the
Prapanchasara the language of which is at times rather involved.

An alphabetical index of the verses is appended to the book ... 120

Dr. VVinternitz, in his History of Indian Literature, says
“It is Sir John Woodroffe ( under the pseudonym of Arthur Avalon )
who by a series of essays and the publication of the most important
Tantra texts has enabled us to form a just judgment and an
objective historical idea of this relegion andjts literature”

[ in ]

WORKS ON TANTRA BY ARTHUR AYALON

The Great Liberation . ( Mahanirva/^atantra). A Translation from the

Sanskrit, 2nd Ed. revised with copious additional notes ... 150

Principles of Tantra ( Tantratattva ). Vols. I and II— ( out of print )

The Serpent power ( Shatchakranir upana ). A translatian of Vol. II
Tantrik Texts with Introduction and copious notes by Arthur
Avalon and colour plates of the Chakras. 3rd Ed. Contains the
Text as in Vol. II Tantrik Texts ... ... ... 20 o

Wave of Bliss . ( Anandalahari ) 2nd Ed. ... ... ... 1 8

Greatness of Shiva, ( Mahimnastava ). 2nd Ed. ... ... 1 8

BY ARTHUR & ELLEN AVALON

Hymns to the Goddess ( from the Tantras and the Stotras of Shangkar-
acharya )— ( out of print )

WORKS BY SIR JOHN WOODROFFE

Creation according to Tantra

•i.

...

... I

0

Shakti 6° Shakta. 3rd Ed. Studies in

Kaula doctrine and ritual

... 12

8

Garland of Letters, Studies in the Mantra Shastra

• • •

... 7

8

Is India Civilised T 3rd Ed.

...

• t •

... 2

8

The Seed of Race, Thoughts on Education. 2nd Ed.

... 1

0

Bharata Shakti Addresses on Indian Culture 3rd Ed.

... 1

I

The World as Power

Reality

in

... 2

0

Ditto

Life

in

... 2

0

Ditto

Mind

in

2

8

With Prof. P. N. Mukhop£dhyaya.

Ditto

Matter

...

... 2

8

Ditto

Causality

• M

... 2

0

Ditto

Mdhamdya

• ••

— 5

0

TANTRIK TEXTS

- EMERALD -PRINTING WORKS ^ _

9t Nanda Kumar Chaudhuri 2nd Lane, Calcutta.

TANTRIK TEXTS

Edited by

ARTHUR AVALON

VOL. XVI

5 H A R A D ATI LA KATA NTRA/A

PART. I.

Chapters I — VII.

Published for the

AGAMANUSANDHANA SAMITI

BY

The Sanskrit Press Depository,
30, Cormvallis Street,

CALCUTTA*

1933

EMERALD PRINTING WORKS,

CALCUTTA,

INTRODUCTION.

The text alone of this book was first published by
Rasikamohana Cha^/opadhyaya, who brought out so many
Tantrik works, from Calcutta, in the Bengali year 1285
( A. D. 1880 ), and it was printed in the Bengali character.
Shortly thereafter Pandit Jlvananda Vidyasagara brought out
an edition in Devanagara character. The first edition printed
(in Benares) along with the commentary of Raghavabha//a was
in the Samvat era 1953 (A. D. 1886 ). This book was also
published along with a commentary named Gurt%arthadlpika
by Madhavabha//a in the Samvat era 1941. This latter
commentary is older than that of Raghavabha/z'a, for Raghava
in some places cites it and controverts its interpretation.
Raghava says that he wrote his commentary in the Samvat
year 1551 (A D. 1484).

The present edition is published in compliance with the
desire of His Highness the late Maharajadhiraja Rameshwar
Singh of Darbhanga, the President of the Agamanusandhana-
samiti. His knowledge of, and reverence for, the Brahmanik
scriptures were very great, and being a great admirer of
Raghava’s commentary he felt that a better presentment of the
book was desirable. The Benares edition was evidently based
on a single manuscript, and suffers in consequence. We have
had the advantage of consulting the following manuscripts : —

(1) Manuscript loaned by the Asiatic Society of Bengal
through the courtesy of its erudite Secretary Mr. Johan
van Manen, C.I.E.

(2) Manuscript loaned by Kumar Sharat Kumara Roy,
M.A., of Dighapatia, Founder and President of the Varendra
Research Society, Rajshahi, Bengal.

(3) A summary of Raghava’s commentary presented to us
by Rai Ishvari Prasad of Kallyasthana, Patna.

(4) A manuscript belonging to Pandit Amiilya Chara^a
Vidyabhu^awa, a copy of which was obtained.

2

INTRODUCTION

(5) A Press Copy of the first eight chapters of the book
prepared by the late Pandit Satlsh Chandra Siddhantabhuj*a*a.

1 here are several other commentaries on the Sharada
which have not been published. There is one such named
Shabdartha-chintamam in the Sanskrit College Library,
Calcutta, by Premanidhi Pantha a well-known authority on
Tantra Shastra. His wife Prawamanjari wrote a commentary
on the Tantraraja an abstruse Tantrik work published as
Vols. VIII & XII of the present series.

^^Nothing much about hakshmana Deshikendra the author
> 6 ( the Sharadatilaka is known. At the end of his book he says
that his father was Shnkrishna, his grand-father was Acharya
Yandlta and his great-grand-father was Mahabala. All of
them, he says, were men of great piety and erudition and
enjoyed great reputation for the same. We are not aware if
he wrote any other book. Raghava places him on a very
high pedestal and gives us the further information that
Laks/imaua was the disciple of Utpalacharya and in the line
of his Gurus are Utpalacharya, Somananda, Vasumat and
Shnkantha. He further says that hakshmana was impelled to
write the book because of his compassion for men who wanted
to know something about all the different forms of worship, but
could not do so by reason of the voluminousness of the
different Tantras, each of which dealt with a single form of
worship, and also because of the abstruse character of the same.
These Tantras the majority of men of his time were unable to
master, as they were of limited intelligence and short-lived.

Of Raghava we get the following particulars. His family
belonged to Maharashtra and the name of the village is
Janasthana (Nasik). His grand-father was Rameshvara Bha/Za
and his father P^thvldhara. Both of them were famed for their
great learning. Pmhvldhara migrated to Varanasi ( Benares )
and died there. The son was instructed in and became a master
of the Vedanta and all other forms of Nyaya, BhaZZanaya,
Gamta (Mathematics) in all its forms, Sahitya (Belles Lettres)’
Ayurveda, the ICalas ( Fine Arts ), Kamashastra ( Science of

Introduction

3

Love ) and Artha-shastra ( Science of Polity and Political
Government ). He had a profound knowledge of the Vedas,
and was proficient in vocal and instrumental music. The
commentary bears ample testimony to the many-sidedness and
the encyclopaedic nature of his learning. He is the author,
among others, of a commentary on the Lllavatl and on
Kalidasa’s Shakuntala. The commentary on the Sharada
gives an adequate idea of not merely the greatness of the
spiritual culture of India but shows the great progress that had
been made in every sphere of human activity. In expounding
the text he has cited passages not from Mantrashastra alone,
but has drawn his materials from mathematical and astro-
nomical works, the Ayurveda, the Vedas and the Upani^ads,
the Purawas and the Samhitas, the Shrauta Sutras and the
Grzhya Sutras, the Brahmawas and the Shulvashastras, the
Darshanas, the Chhandas, the Pancharatras, and a whole host
of other authorities named and unnamed.

The Prapanchasara is one of the books most frequently
cited in support of his own interpretations, more so when
he differs from that of other people ; and not merely has
the text of the Prapanchasara been utilised for the purpose but
in several places Padmapadacharya’s commentary thereon has
also been cited as authority. In the majority of instances a
text from the Prapanchasara has been cited as that of the great
Acharya, the expression being always in the honorific plural.
Padmapada’s name is also cited in the plural number. This is
almost conclusive evidence that the Prapanchasara is the work
of the great rnonist Shamkaracharya. There is a tendency
among some scholars to cast a doubt about the authorship of
the Prapanchasara. But in the face of the testimony of
Raghavabha^a and other eminent commentatators such as
Bhaskararaya, Lakj^mldhara, Nilaka^Ma and others, it is hard
to agree with them.

Both the Prapanchasara and the Sharadatilaka contain
descriptive. accounts of the various aspects of the Brahmanik
faith prevalent in India, and in both works the different forms

4

INTRODUCTION

of faith are dealt with in a manner which shows a complete
freedom from bias, a characteristic which is peculiarly that of
Brahmanik India. That is so because they recognise that all
the different forms of faith in the world lead to one goal, as it
has been beautifully put by PuMpadanta in his Mahimna-stotra
( see Arthur Avalon’s ‘Greatness of Shiva’ ).

It is perhaps not known that the Guru if he is wise, very
seldom, if ever, initiates the disciple into his own form of
worship. A disciple is initiated into that form alone for
which he is competent. He is not even initiated into

the form which was that of his ancestors. It is held that
the man who has attained Siddhi in one particular form of
worship becomes an adept in every other form and is able
to understand fully these other forms. Shamkaracharya, for
instance, was a Vai^/zava ; but his soul-stirring hymn to the
Devi in the eleventh chapter of the Prapanchasara would lead
any one to believe that he was a Shakta. His hymns to other
aspects of the Supreme Brahman such as Shiva and others are
just as soulfully worded. It is on this account that one

belonging to the Brahmanik faith is enjoined not to speak
slightingly of any other Shastra. We have become accustomed
these days to hear of the various forms of worship being in
conflict with one another. But in reality there is no conflict.

It is only in the early stages of Sadhana, during, so to say, the
period of probation, that the Sadhakas of the different forms
of faith devote themselves exclusively to the forms into which
they have been severally initiated. Ignorance of this and
similar facts has in many instances led to very disastrous and
discreditable results on the part of our present-day “scientific”
researchers into Indian philosophy and culture generally.

The Sharadatilaka is divided into 25 Chapters, twentyfive
being the number of the Samkhyan Tattvas. The first chapter,
says Raghava (under verse 87 Chapter XXV), is Prakmi as it
deals with Creation. The twenty-three Chapters which follow
demonstrate Prakrzti-Vik/'zti, and the last chapter which is
devoted to Yoga demonstrates Purujv£a which is beyond

INTRODUCTION

5

Prakrzti and Vikrzti. It may incidentally be noted that the
Prapanchasara as also the Tantraraja are divided into thirty-six
Chapters which is the number of the Shaiva Tattvas.

CHAPTER I.

The first verse of the Sharada is an adoration of the
Supreme Being, Who is named Maha*. This Maha/i may
be interpreted to mean the Supreme in either Its Male or
Female aspect. This is dealt in detail in Chapters XXIII
and XXV. Its body is ever-enduring Bliss. By the fifty
letters of the Alphabet which are constantly emanating
from that Maha^, is this universe of moving and motionless
objects, of sound and the meaning thereof, pervaded. Men
who are masters of the Vedanta call It Shabda- Brahman
which is the inner Chaitanya ( stress towards particu-
larized conciousness ) which abides in all. The moon adorns
Its forehead, and It is the Lord of Speech. The verse as it
stands, it will be noted, refers to the Maha/z (Radiant Energy)
in the neuter gender. Raghava shows how this can be in-
terpreted to apply either to Shiva or Shakti. In doing so, he
also shows how the Shiva and the Shakti aspects are intimately
connected with one another. The connection is that of
A-vinabhava, i. e., that the one cannot be without the other,
like heat and fire, a word and its meaning, and so forth. This
Chapter, as has already been stated, deals with Creation. From
this, ascending step by step, the Sadhaka reaches to an appre-
hension of the formless and attributeless Brahman, the first
glimpse of which is given in Chapter 23 and which is more
fully dealt with in Chapter 25 and of which it is said that any
expressions we use with regard to it are merely indicative
(Laks^aka) and not attributive (Vachaka). Raghava discusses
how this attributeless Mahai, as associated with Shakti, is
competent to create.

Verse 2 is an adoration of the consort of the Maha/l of the
first verse. The third verse is an adoration of the Gurus.

6

INTRODUCTION

Raghava cites texts which say that the Guru is not to be
looked upon as a mortal. He who does so can never
attain Siddhi by the repetition of Mantras and worship of
Devatas. The reason for this is that the human Guru is
but the channel through whom Grace descends, and is the
material embodiment of the supreme Shiva or Brahman who
is the Guru. Raghava cites texts from Shruti, Smnti and
Agama which show the necessity of a Guru.

In verses 4 and 5 the Author says that he shall in
this book give the essential parts of the Tantras which
are helpful in the attainment of the fourfold aims of
human existence, viz., Dharma, Artha, Kama and Mokj/fca.
He also speaks of the Creation of the Word and of the
Meaning thereof, and of Muni, Chhanda/6, Devata and the
rules relating to Yantras and Mantras. The word Sharada
is capable of different interpretations. One of these is
She who grants the fruit of one’s Karma and at the same
time destroys the same as Chit-shakti and leads to Libera-
tion. He defines the Muni of a Mantra to mean the sage
who discovered the Mantra. Chhanda/2 is that which envelops
and thereby protects the Deva who is concealed therein.
Devata is that which is revealed by the Mantra. The Prayoga
of a Mantra is the use of it, according to the injunction of the
Shastras, for the attainment of Dharma, Artha, Kama and
Moksha. He next cites texts from Ar^eya Brahmawa,
Katyayana Shrauta-sutra and Yajnavalkya Smnti which speak
of the absolute necessity for a person practising a Mantra of
knowing these. All these however, says RaghavabhaZ/a, are
for those who worship Devatas in their gross form. He then
quotes some verses from the Tantraraja ( Chapter 35 ) which
say that one’s own Atma is the Devata. It pervades the
universe. Nyasa, Japa, Puja, Horna and other rites are useful
for the realisation of this. The author next proceeds to
describe creation - this has been dealt with by Sir John
Woodroffe in his paper ‘Creation in the Tantra’, which has
been reprinted in his book ‘Shakti and Shakta’.

INTRODUCTION

7

Up to verse 1 3 the author speaks of creative Sound in its
ara state, and this is followed by a description of the work-
ings of PashyantI and Madhyama.

Having spoken of Shiva in Its two-fold aspect of Nir-
guna. (Attributeless) and Sa-gu^a ( Endowed with attributes )
an of the manifestation of Shakti, Nada and Bindu
and of the emanation of Bindu, Nada and Blja from the firs!

indu, the author proceeds to say that from the second Bindu
originated Raudri and from Nada originated ]yesktka and from
ija originated Varna and from these three emanated Rudra

I ? T- r d .y^ U - They are res P ectiveI y Jnana ( wisdom )
hchha ( will ), Kriya ( action ) and correspond with Vahni

( Fire X Indu ( Moon ), Arka ( Sun ). When the first Bindu
ursts and divides itself into two, there arises a volume of
sound in which the letters of the alphabet are indiscernible.

his sound is Shabda-Brahman. Some define Shabda-Brahman
to mean mere external spoken sound ; others speak of it as
inner sound ( Antara-Shabda ). Both these interpretations are
erroneous ; for Shabda-Brahman, says Ubhasa, is some-
nng inert ( Jatfa ) but is the Chaitanya in all beings i e it is
the stress towards articulate sound. This is the Pars stage of

thTf 4 Th, l Sh o b , da ' Brahman ’ H is Said in verse > 4 , assumes
the form of Kumfall and manifests itself in the form of letters
in all animate creatures.

In verses 15 and 16 it is said that from Shambhu who is

Bindu, (Bind vatma) and 0116 with Kala ( Kalatma ) and

co-eval with Kala ( Time ) originated Sadashiva who is the
allpervading witness of the world. From Sadashiva emanated
isha from him Rudra, then Vi^u and then Brahma.

ava sa y s that the eternalness ascribed to Prakmi and
Kala is Apek^aka ( consequential ).

Puru^a alone is by his very nature eternal, for when every
ting isappears, Pururia endures. Raghava cites a text (which
also occurs in Kramadipika which is a Vaisfeava work) wherein
the process of dissolution is described. In verse ,7 the author
begins to speak of the creation of the Tattvas and says that when

8

INTRODUCTION

there is a change in the unmanifest Prakmi — the Supreme
Substance and the root of all — there emanates therefrom Mahat-
tattva which is the aggregate of the three Guzzas (Sattva, Rajas
and Tamas) and is one with Buddhi, Ahamkara and Chitta.
The Shaivas identify Mahat-tattva with Buddhi-tattva. The
Ahamkara here spoken of is of three kinds, viz., Vaikarika,
Taijasa and Bhutadi. From the first which is Sattvika emanate
the ten Devas, viz., Dik ( Space, Ether ), Vata ( Air ), Arka
(Sun), Prachetas ( Varuzza, Water ), the Ashvins (Herbs),
Vahni ( Fire ), Indra ( Ruler), Upendra ( Vi^zzu, Protective
principle ), Mitra ( Sun ) and Ka ( Brahma, Creative principle ).
From Taijasa Ahamkara which is Rajasika emanate besides
Manas, the ten organs of sense, namely, five of perception and
five of action. And from Bhutadi Ahamkara which is Tamasika
originated the five elements, viz. Ether, Air, Fire, Water and
Earth in the order of the Tanmatras which first originated.
From Sound (Shabda-tanmatra) originated Ether ; from Touch
( Sparsha-tanmatra ), Air ; from Form ( Rupa-tanmatra ),
Fire ; from Liquidity (Rasa-tanmatra), Water ; and from Smell
( Gandha-tanmatra ), Earth. The text proceeds to say that
Ether is transparent ; Air is black ; Fire, red ; Water, white ;
Earth, yellow. The region of Ether is circular, that of Air is
hexagonal, of Fire is triangular, of Water is of the form of a
half-moon with a lotus therein and that of Earth is square in
shape. These have been fully dealt with in the ‘Serpent
Power’ for the English reader. In the Devl-bhagavata, ( Book
3 chapter 4 ), these have been described in greater detail and in
a popular form ; and though there is some difference in minor
particulars, a study of that will greatly help in understanding
the scheme. The great commentator Nllaka«/^a in commen-
ting on the text of the Devi-bhagavata has cited these verses
from the Sharada.

Verses 25 and 26 say that the regions or Mazzz/alas
of the five Bhutas contain the letters which belong to the
different Bhutas. It may be noted here that the letters are
classified into five classes according to the number of the

introduction

9

Bhutas. This is described in greater detail in Chapter VI. It
is here also stated that the five Bhutas originate from the five
Kalas, — Nivmti, VraXisktha., Vidya, Shanti and Shantyatlta
which in their turn have' originated from Nada.

Verse 27 says that this universe of moving and motionless
objects is composed of the five Bhutas. Motionless objects are
divided into countless forms such as mountains, trees and
the like. Moving objects (V. 28 ) are of three kinds, viz.,
(1) Moisture-born ( Sveda-ja ), (2) Egg-born ( Arcafa-ja ) and
(3) Womb-born (Jarayu-ja). Moisture produces worms and
the like, from eggs are born serpents and the like, and from
the womb ( V. 29 ) are born human beings and the like.

Then the text goes on describing how out of the union of
'Mian and woman conception takes place and explains the cause
of the birth of a male, female and hermaphrodite. In verse
31 it is said that some disembodied soul bound by its own
actions ( Karma ) enters into the foetus and animates it.

In this connection Raghava cites another text which des-
cribes the birth of a tree from its seed, the process being
somewhat similar to Maithuna Sriskt'u

Verses 32 to 38 describe the gradual growth, day after day,
month after month, of this foetus ; how from a tiny
gelatinous lump it grows into full human shape with all its
senses. Raghava cites among others a text from Adhyatma-
viveka which describes this process of growth and says that
the Ojo-dhatu ( Ojas ) comes into the foetus in the eighth
month and is then in a constant state of restlessness, now
moving into the mother, now returning to the child. This
Ojas is of a transparent yellowish red ( Shuddham a-pita-
raktam ), and is the immediate cause ( Nimitta ) of vitality.

In verse 39 the author says that the body born partakes
of the nature of Fire and Moon or the Sun and the Moon.
The right side is Sun, the left side is Moon. In verse 40,
the text speaks of the principal Naafts and in Verse 43
it says that the Naate are countless. Verse 44 speaks of the
ten airs, viz., Pra«a, Apana, Samana, Vyana and Udana ;

2

IO

INTRODUCTION

also Naga, Kurma, Krzkara, Devadatta and Dhananjaya.
Raghava says that according to some there are fourteen
Vayus ( airs ), the names of the other four being Vairambhazza,
Pradyota, Praknta and Sthanamukhya. They function in
different ways in the body and are named accordingly. The
names of the ten- Fires are in the same way given by Raghava
and they are, he says, named differently by different authors.

In verse 47 it is said that the nerves ( Snayu ), bones
( Asthi ) and marrow ( Majja ) are derived from the father ;
and the skin (Tvak), flesh (Mangsa) and blood ( Asra )
from the mother. Raghava cites an authority who differs
from this view. Verses 48 and 49 describe how the child
remains in the womb and its birth.

The text proceeds to say ( Vv. 51—57) that thereafter
Ku«a!alinl Shakti who is Chaitanya-rupa ( Consciousness-em-
bodied ), all-pervading and lightning-like, who is in all Tattvas
and all Devas, subtler than the subtle and is Shabda- Brahman,
manifests herself in the child at the time of its birth.

The text then proceeds to describe ( Vv. 58-107 ) how
Kuttdfalinl is in the Mantras, Yantras arid every thing else.
Verses 108 and 109 say that Kurcdalinl who is Shabda-
Brahman and all-pervading brings forth Shakti, then Dhvani,
therefrom Nada, Nirodhika, Ardhendu, Bindu, one from the
other. From Bindu comes Para sound and thereafter PashyantI,
Madhyama and Vaikharl sounds. Raghava, in commenting on
these, cites texts from the Tantraraja ( Ch. XX VL ) which
describe the process by which Para changes into PashyantI,
PashyantI into Madhyama and this last into Vaikharl. He also
quotes from the i?zgveda ( 1,164,45 ) which shows th^t the
three different stages preceding articulate sound are recognised
in Shruti also. In verse 112 it is said that Nirodhika is
Fire, Ardhendu ( Half-moon ) is Moon and Arka ( Sun ) is
the union of the two ; as the letters originated from Bindu,
they therefore partake of the nature of Shiva and Shakti,
because the Sun is both Shiva and Shakti.

INTRODUCTION

II

CHAPTER IT.

In this chapter the author speaks of the Vaikhari Srisht\ }
i. e. creation manifest as the spoken word. The letters of
the alphabet, it is said ( Vv. 1-6 ), are pushed along the
channel of the Suj^umna and articulated with the help of the
throat and other vocal organs. Of these articulate letters the
vowels are called lunar ( Saumya ), and the consonants solar
(Saura) and the Vyapakas, letters from Ya ( q ) to K^a (qf),
are fiery ( Agneya ). There are 16 vowels, 25 consonants and
10 Vyapakas. Of the consonants 24 are the 24 Tattvas, the
letter M (*j) being the Puru^a. The first of each couple of
vowels is short and the second is long. The four vowels in
the middle ( i. e. 7th, 8th, 9th and 10th ) are neuter.

In verse 8 it is said that without the vowels the consonants
can not be articulated, It is on this account that the letters
are called united Shiva and Shakti (Shiva-Shakti-maya). The
vowel which helps the articulation being Shakti ( power ) and
the portion articulated being Shiva. The attention of the
reader is drawn to V. 1. of the famous poem by Shamkara-
charya called the Ananda-lahari ( The Wave of Bliss ), In
verses 9 and 10 it is said that as the letters of the alphabet
have originated from the Bindu from which the five Bhutas
( Elements ) have emanated, the letters fall under five heads,
and belong to one or other of the five Elements. The
commentary says A (q), A (qi), E (q), Ka (qf), Cha (q), 7 a
(z), Ta (cf). Pa (q), Ya (q), Sh a (q), are aerial ; I (f), I (t),
Ai (q), Kha (<q), Chha (®), Tkz (3), Tha (q), Pha (qj), Ra (q),
Ksha. (^) are igneous, and so forth. The letters are again
classified as Lunar, Fiery, Solar; the 16 vowels are lunar;
the twenty-four consonants ( Sparsha ) which are to be coupled
as Ka-Bha, ( qf-* ), ICha-Ba ( ?q-q ) and so forth are solar,

and the ten Vyapaka letters are fiery.

: The names of the 38 Kalas of the letters are given in
verses 12-16. The Tara or Pra^ava ( Omkara ) has fifty
Kalas and the names of these are given in verses 17-28.

12

INTRODUCTION

Verses 29-35 give the fifty names of Rudra which corres-
pond with the fifty letters of the alphabet. Verses 36 to 44
give the names of the Shaktis of the fifty Rudras.

Verses 45 to 56 give the names of the fifty aspects of
Vi^«u and their respective Shaktis. These also correspond
with and are forms of the fifty letters.

Verse 57 says that all Mantras are composed of the Matnka
letters and Mantras are either masculine, feminine or neuter.
Verse 59 says those which end with Hung or Pha* are
masculine, those ending with Svaha are feminine and the

neuters end with Nama^. The text proceeds to say how and

when the Mantras awaken, and verses 64 to no give an
account of the various defects that may be in different

Mantras. Verse in says that the these defects can be
cured by Yoni-mudra ; but, in the case of those who cannot do

Yoni-mudra, the same can be cured by a process described in
verses 1 12-123.

Verses 124- 140 of the Chapter contain rules regarding
Japa of one’s Mantra. There are in this connection
injunctions about food, the place where Japa should be
done, and the necessity of getting initiated by a good

Guru is emphasised. A good Guru is defined ( Vv. 141-144 )
to be a man pure of birth, himself of a pure disposition
having his senses controlled. He should know the true
meaning of the Agamas and all Shastras, and be always
doing good to others, as also Japa, Puja, Dhyana, Homa.
His mind is always peaceful and he has the power of granting
favours. He knows the Vedic teachings, is competent in Yoga
and is charming like a Deva. Raghava has cited a number
of authorities and illustrations in amplifying this. The charac-
teristics of a good disciple are also given ( Vv. 145-152 ). He
should be of good parentage, of a guileless disposition, be a
seeker of the fourfold aims of human existence, read in the
Vedas, intelligent, his animal desires completely controlled,
always kind towards all animals, possessed of faith in the
existence of the next world. He does not associate with the

INTRODUCTION

*3

non-believer, is assiduous in his duties, alert in the discharge
of his duties towards his parents, not conscious of the pride of
birth, wealth and learning in the presence of his Guru, willing
to sacrifice his own interests in the discharge of his duties to-
wards the Guru, and ever ready to serve the Guru as a servant.

Verse 153 speaks of the time it usually takes to ascertain
the fitness of the disciple. It takes one year in the case of a
Brahmawa, two years in the case of a K^atriya, three in
the case of a Vaishya and four for a Shudra, to ascertain the
candidate's competency for initiation.

CHAPTER III.

Speaks of the rites which should be performed before
initiation. These are Vastu-yaga ( worship of the Devatas
Brahma and others who keep the Raks^asa ( demon ) Vastu
down ) f selection of the site for the erection of a Mawdapa and
erection of the same, Homa, the making of the Vedl and
directions regarding drawing a Yantra on the Vedl and rites
connected therewith. Raghava has added long notes to what
is said by Laks/fcmawa. Great stress is laid on the dimensional
accuracy o< the Vedl, the Ku«</a and of everything, else used
in the different rites which have to be done. The calculations
are given in detail.

CHAPTER IV.

Deals with initiation in all its different aspects. The word
Dlk^a ( initiation ) means that which imparts Divya-jnana
( knowledge which illumes ) and causes Ky/zaya ( destruction )
of evil. Verse 3 speaks of four kinds of Dlky^a, namely,
Kriyavatl, Varzzamayl, Kala and Vedha. The first of these, if
the occasion demands it, may be an elaborate ritualistic process.
It is described in this chapter. The disciple on initiation is
instructed to meditate on the oneness of the Mantra, the
Devata and the Guru. When he has realised this he has to
advance further and experience the identity of his own Atma
with these. The commentary gives details regarding bathing

14

INTRODUCTION

and other preliminary rites. The whole of the chapter contains
details of ritual which should be performed on the first day.
The process by which the mind and body of the disciple is
made fit to receive initiation is shortly described. Apart from
the importance of the text of the Sharada and the notes
of the commentator for the ritualist, the student of religious
psychology will find therein much of interest to him. A careful
study will convince any fair-minded critic that these are not
meaningless mummery but have a solid and reasonable
foundation.

CHAPTER V.

Continues the same subject and begins with injunctions
relating to consecration of Fire for the purpose of Homa.
Raghava cites texts which say that when the purificatory rites
are being done the Guru meditates on the form of the
Brahman adopted for his Sadhana.

With verse 75 begin the rites to be performed on the
second day when Homa is to be done. Verse 77 says that
after transferring the Chaitanya of the Shis^ya into himself and
uniting it with his own Chaitanya, the Guru should effect a
purification of the six Adhvas, namely, Kala, Tattva, Bhuvana,
Var«a, Pada and Mantra. The Kalas are Nivrztti, Prati^Ma,
Vidya, Shanti and Shantyatlta named in Chapter I. verse 26.
The Tattvas are 36 according to the Shaivas, 32 according
to the Vai^«avas, 24 according to the Maitras ( Samkhya ).
The Shaiva Tattvas are classed under three heads, namely,
Pure, Pure-Impure and Impure. The Prakrzti Tattvas are
ten. The Tattvas of Tripura are seven. The names of the
five different classes of Tattvas are given in verses 81-89.
By Bhuvanadhva is meant, according to Raghava, the
Etherial, the Aerial, the Igneous, the Aquatic and the Terres-
trial regions. The Vayavlya Samhita says the Bhuvanas are
the different stages of Sadhana beginning with the Muladhara
ending with UnmanI when the mind is merged in the object
of adoration. The Vardas are the Matrzka letters. By

INTRODUCTION

^5

Mantradhva all the Mantras are meant. Padas are words
formed by the combination of 'the letters. Verses 92-95
describe the process of the purification of the Adhvas. The
word Adhva means a pathway ; here, these six are the six
paths which lead to Brahman-experience,

Verse 96 says that the Guru first transfers his own
Chaitanya into the Shi^ya. This is followed by an account
of some further rites. In verse 1 10 it is said that the Guru
• should worship his own Devata who is placed in the body of
the Shii^ya and then (V. 1 1 1 ) communicate the Vidya
( Mantra ) to the disciple. The Shi^ya then mentally recites
the Mantra meditating on the oneness of the Guru, the Mantra
and the Devata and thereafter bows to the Guru lying flat on
the ground and placing the feet of the Guru on his head and
offers up to the Guru his own body and all he is possessed of.
Raghava here gives a detailed account of all that is done,
citing texts from different Shastras. Other rites connected
with Kriyavatl Dlk^a end with verse 115.

Verses 116-120 contain rules relating to Varwamayi

Dlk^a.

Verses 121 to 126 speak of Kalavat! and verses 127- 139
of Vedhamay! Diks^a.

By Vedha Dlk^a, it is said, the disciple attains the
perfection of Shiva immediately on initiation. These three
forms of initiation are not for men of average competency.
Varna. DlksM is for persons who are above the average.
Kalavati is for those of a still higher competency and
Vedhamay! is for the highest class of aspirants. In the com-
mentary it is stated that XJ tpalacharya the Guru of hakskmana
was initiated in this way by Somanandacharya. He gives
another instance of initiation in this way, that of Shivasvam!
by ChaWeshvaracharya. The process is briefly described in
verses 127 to 139. This is followed by injunctions relating
to Homa after initiation. The commentator cites a text
which says that there are, besides the above four, ten other
kinds of initiation which go by the generic name of A«avl.

INTRODUCTION

16

CHAPTER VI.

Deals with the Devi Matrz'ka or Sarasvati whose body is
composed of the Letters of the Alphabet. The letters taken
together form a Mantra of which the Rishi is Brahma, the
Chhanda^ is Gayatrl and Sarasvati, the Devata. It should
be noted that whenever a Mantra is mentioned the name
of its Muni or Rishi is first given, then the Chhanda/£ and then
the Devata.

In the Prapanchsara ( Ch. VII. ) also, the Sadhana of the
Devi Sarasvati is first introduced as she is the Queen of the
Letters and Awakener of all knowledge ( Bodha-dlpika ).

Verse 4 gives the Dhyana of Sarasvati. Her body is
composed of the said letters and on her forehead is a fragment
of the Moon. Her breasts are large and high. She is
carrying in each of her ( four ) hands ( 1 ) the gesture of
Jnana-mudra, ( 2 ) a rosary of Rudrak,y/za, ( 3 ) a jar full of
nectar and ( 4 ) the gesture of Pustaka-mudra. She is white
and has three eyes.

Raghava here quotes a long passage from the Tantrantara
giving Dhyanas of all the different letters. Verses 5-8 contain
rules relating to Nyasa of the letters and verse 9 speaks of
Purashchararca. It is by Purashchara«a that the Sadhaka
becomes an adept in the Mantra. The Mantra has to be
repeated in manner enjoined a specified number of times
followed by Homa and other rites. Verse 10 gives the
Yantra. This is followed by rules relating to her rituals with
the names of her attendant Shaktis and their Dhyanas. These
Shaktis are mostly the intellectual powers personified. After
ritualistic worship, Nyasa ( verses 28, 29 ) should be done in
three ways, namely, Srishti ( creative ), Sthiti ( continuing ),
and Samhara ( withdrawing ). After Sthiti Nyasa she should
be meditated upon along with her consort. The Dhyana is
given in verse 30. After Samhara Nyasa she is to be again
meditated upon as the Queen of the Letters. The Dhyana is
given in verse 33.

INTRODUCTION

*7

Verses 34-36 contain the rules relating to Nyasa and
worship. She should next be meditated upon in her aspect of
Sharada. The Dhyana is given in verse 37. Verses 38-40
describe her ritualistic Nyasa which is amplified in the
commentary. Verse 41 gives the Dhyana of Ardhanarlshvara.
Verse 45 gives a Dhyana of united Vi^«u and Lakj^mi, like
Ardhanarlshvara is of Shiva and his consort. Verse 49
gives another Dhyana of the Devi as the Queen of the
Universe. Verse 53 gives a Dhyana of Lak^ml.

Verse 57 gives a Dhyana of the Devi as the Mother of All,

( SakalajananI ). The Poet Kalidasa has a beautiful hymn to
this aspect which is not much known.

Verse 61 contains a Dhyana of the Devi as having eight
hands.

Verse 67 contains a Dhyana of Brahman as the trans-
cedent Tejas, immeasurable, the one root of the Universe,
pervading all creation as Sat and Chit, imperishable, a mass of
nectar. The five Mantras, the first of which is the Pra«ava
point towards him. This is the Prapancha-yaga-murti.

Verses 68-82 describe Prapancha yaga which begins with a
particular form of Nyasa. Raghava here cites a text which
gives the names of the Rish\ and Chhanda^ of each of the
MatWka letters. It is partially corrupt and the different
manuscripts have not been of any great help.

Verses 84-86 speak of the wonderful properties of Brahml
( a kind of bitter herb ) and how it helps in the perfection
of the intellectual powers as also clear enunciation. This
vegetable has been spoken of in several other places in this
book. The rest of the chapter gives ritualistic rules.

CHAPTER VII.

Verses 2 to 4 give the Bhutalipi Mantra. It is made up of
the five short vowels, the four compound ( Sandhi ) vowels,
the eight Vyapaka letters, and the twentyfive Sparsha ( con-
sonant ) letters. These letters are divided into nine groups
and arranged in an order described in the text. Verse 5 says

3

i8

INTRODUCTION

that the letters of the Bhutas ( Elements ), Ether, Air and
others, are in these nine groups, only there is no Earth-letter
in the second and in the ninth group there is neither a Water-
letter nor an Earth-letter. The verses which follow give the
Rishis and the Devatas of the nine groups ( Vargas ).
Var«eshvarl ( Queen of the Letters ) is the Devata of the
Mantra. This is another aspect of the Devi Sarasvatl. The
letters are looked at in a different way. The Tantra Shastra
attaches great importance to the letters, as all Mantras are
made up of the letters.

Verses 9 to 14 describe the Tree of Letters ( Lipitaru )
under which the Dev! is seated. The tree is made up of the
letters. Parasamvit is its seed. Bindu and Nada are its two
tap-roots. Its branches which are the Earth-letters are spread
in all directions ; its leaves which are the Water-letters cover
the three worlds ( upper, middle and lower ) ; its sprouts
which are the Fire-letters are bright like gems ; the Air-
letters are its flowers and illumine its body ; the Ether-letters
are its fruits which are the refuge of all creatures. The honey
of heavenly nectar from the tree is sprinkling the Devi. The
Vedas, the Agamas and the like add to its height and beauty.
It is Shiva and Shakti. The three worlds find shelter under it.
The Munis by the help of this get what they desire.

Verse 15 gives the Dhyana of the Devi. She is like ( of
the effulgence of ) ten million stainless moons. Her breasts
are large and high. On Her head is the crescent moon. Her
three eyes are half-closed by reason of the libations of nectar of
which she has partaken. In each of her four hands she is
carrying the gesture of granting boons, a rosary, the gesture
of J nana and a skull. She is in the pride of youth. Her
body is composed of the Letters of the Alphabet. She is the
Queen of Speech.

Verses 16 to 52 contain rules relating to ritualistic worship
of the Devi in the course of which the names of the attendant
Devatas and the articles of worship are enumerated.

Verse 53 describes Viyat Yantra ( Yantra of Ether ).

iNfRODUCTION

19

Verse 55 describes the Vayavlya Yantra ( Yantra of Air ).
Verses 57-59 describe the Agneya Yantra ( Yantra of Fire ).
Verse 60 describes Varuwa Yantra ( Yantra of Varu«a : the
Deva of Water ) and Verse 62 describes Parthiva Yantra
( Yantra of Earth ). These descriptions are in each case
followed by a statement as to what the Yantras are useful for.

Verse 65 contains the Vagvadini Mantra of ten letters. It
grants the power of speech. Raghava here quotes a hymn
by Shamkaracharya which is not traceable in his collected
works. Verse 66 gives the names of the Risk i, Chhanda/k and
Devata of the Mantra and directions about Nyasa.

Verse 67 contains a Dhyana of the Devi of the Mantra.
Verses 68-79 give rules relating to Purashchararca and ritua-
listic worship. This is the method followed in the case of
almost every Mantra right through the book. That is, the
Mantra is followed by the names of the Risk i, the Chhanda/6
and the Devata. This again is followed by the Dhyana
of the Devata and thereafter are given the rules relating to
Purashchara«a, worship and Prayoga.

Verse 80 gives the Mantra of sixteen letters. Verse 82
gives the Dhyana of the Dev! of the Mantra and Verses 83-86,
the rituals.

Verse 87 gives the Mantra of eleven letters, verse 89, the
Dhyana, verses 90-95, rituals.

Verse 96 gives another Mantra of eleven letters, verse 98
the Dhyana, verses 99-103, rituals. In the course of this the
author advises the use of Brahmlghrfta which is to be prepared
in a way somewhat different from that described in the
previous chapter. Verse 104 gives another Mantra, verse
106, the Dhyana and verses 1 07-1 12 describe rituals.

Verses 1 13-123 give rules of conduct of the worshipper of
the Sarasvatl. The fruits and vegetables not to be eattrn are
named. He should not eat anything stale or kept over-night.
He should not chew pan ( betel leaf ) at night. He should
not go with a woman during day time nor with one who is in
her flowers. He should not look at a naked woman. He

20

INTRODUCTION

should not cast aspersions on a woman. In the mornings he
should remain silent and never at any time speak falsehood.
He should not study on the 14th, 8th and 1st day of the lunar
half month, nor on the day of an eclipse ( Solar or Lunar )
nor on the last day of the month. When explaining any thing
he should be fully awake and not lazy, avoid yawning and
not get angry, avoid spitting and touching any limbs below
the waist. If a man, a snake, a cat, a frog, a mongoose or

any other animal passes between him and his auditor he
should stop.

CHAPTER VIII.

This chapter begins by saying, ‘I shall now speak of the
Mantras of Shrl, which grant wealth and good fortune’. Verse
2 gives a Mantra and 3 speaks of the Risk i, Chhanda/& and

Devata and Nyasa. Verse 4 gives her Dhyana, which is as
follows ; —

. } adore ShrL She is se ated on a lotus. Her effulgence
is like that of gold. She has a lustrous crown on her
head. She is raimented in silk which shines over her rounded
buttocks. In two of her hands she is holding two lotuses
and with the other two is making the gestures of Vara
( Boons-granting ) and Abhaya (Fear-dispelling). Four
elephants resembling the Himalaya mountain are pouring
nectar over her out of golden jars held in their uplifted trunks.

The verses which follow ( 5-7 ) give the rules relating to
Purashcharawa of the Mantra and worship. Verses 8-19 give
the names and description of her nine Shaktis, the Anga-
devatas and so forth. Verses 20-29 speak of the benefit
gained by her worship.

Verse 30 gives another Mantra of Shrl. Verse 31 gives
the Dhyana of the Devi of this Mantra. It says : —

I adore the beloved of Hari. She is seated on a lotus.
She is lustrous like the;ruby. In two of her lotus hands, she
holds two lotuses and the other two are held in the gestures
of Vara and Abhaya. Four large elephants of the colour of

INTRODUCTION

21

snow are constantly pouring water out of jewelled jars held
in their upifted trunk. She is the heavenly Parijata who
grants all desires.

Verses 32 and 33 give the rules of Purashchara«a whereby
Siddhi is attained in the Mantra.

Verses 34-37 give another Mantra and the names of the
Rts/ii, the Chhanda/6 and the Devata as also the rules relating
to Nyasa. Verse 38 gives the Dhyana of the Devi of this
Mantra which is as follows : —

May Kamala protect and nourish ye ! She is seated on a
lotus and has a smiling face. In two of her lotus hands she
is holding two lotuses and the other two are held in the gestures
of Dana ( Vara ) and Abhaya. Her body is luminous like
lightning. Over her large and high breasts are shining ropes
of pearls. By her sidelong glances she is gladdening ( her
consort ) Hari.

Verses 39 44 give rules regarding Purashchararca, articles
of worship and so forth.

Verses 45 to 52 give a fourth Mantra, the names of its
Rish\, Chhanda/& and so forth. Verse 53 says that after
doing Nyasa, the Sadhaka is to meditate upon a beautiful
garden described in detail in verses 53-71. Having meditated
upon this garden he should think of a beautiful Parijata tree in
the middle of it ; and under it on a jewelled throne, he should
meditate on Mahalakj/£ml seated thereon. The Dhyana,
given in verses 74-88, is as follows : —

Meditate on the Supreme Devata. She is the lustre of the
of the rising sun, luminous with the crescent moon on her
shining diadem and the garland she is wearing. She is decked
with ornament set with gems. She is leaning forward as if
with (the weight of ) her (heavy) breasts. In two of her hands,
she is holding two lotuses. In one of her other hands is held
a sheaf of Shali paddy and in the other, the gem Kaustubha.
Her face is illumined by her gracious smile. Her three eyes
are like three fullblown lotuses. On her lotus feet are tinkling
bells. The girdle round her waist is set with nine kinds

22

iNtRODtJCtlON

of gems. Her stomacher studded with pearls, rubies and
beryH is resting on her belly beautiful with its three folds
( Tnvali ) Her navel is beautiful like a whirlpool in the
waters of the Jahnavi ( Ganga : the Ganges ). Her breasts
are adorned with the paste of sandal, camphor and saffron.
Ropes of large pearls, like drops from the rain clouds
adorn her. Her vestment is of silk. Her armlets of pure'
gold are studded with beryls and her wristlets of shining
gold are studded with rubies. She is decked with rings Jt
wit rubies. Chains and collars of pure gold adorn her
erneck resembling (in contour) the conchshell is adorned
with various beautiful ornaments. Her gem-studded ear-orna-

iT nt u ?r ble the nsing SUn - Her be autiful lips are red
hke the hibiscus and coral. Her teeth are like the seeds of the

pomegranate. Her face is like the stainless fullmoon. Her
three beautiful eyes are shaped like the petals of the lotus
Her eyebrows excel in beauty the bow of Kandarpa ( Cupid’s
bow ). Her nose vanquishes the beauty of the Tila flower
( sesamum ). Her forehead puts to shame the beauty of the
half-moon and the Tilaka there, is fragrant with the fragrance
of musk. Her lotus face is adorned by curls of hair like
hungry black bees ( round a lotus ). Her hair is tied up with
the flowers of the Parijata. The crown on her head is studded
with priceless gems. She is the abode of charm and beauty
and the source of all Greatness ( Tejas ).

v erses 89-118 give the rules relating to Purashchara*a
of her Mantra, Asana-mantra, names of the Parshvadevatas
and other details relating to her worship. The verses which
follow ( Vv. 119-140 ) speak of the Prayogas of her Mantra.
Verses 141-143 give her Yantra.

Verses 144 *45 give another Mantra of twentyseven letters.
Verses 146-147 give the Nyasa of the Mantra. Verse 148
gives the Dhyana - *

Meditate always on the supreme beloved of Sharngl
( Wxsknu ). She is of the redness of Vermillion and is seated
on a lotus. She is the gem of the ocean of beauty. She is

INTRODUCTION

23

adorned with a crown, armlets, garlands, ear-ornaments, waist-
chains and the like. In one of her lotus-like hands is held
the casket of wealth ( Vasu-patra) in the other a looking glass
and in the other two, are two lotuses. She is surrounded by
her hand-maidens.

Verses 149-159 give rules relating to Purashchararca, the
articles to be used in her worship, the names of the attendant
Devatas and the fruit to be gained by her worship.

Verse 160 speaks of the wellknown Vedik Shrlsukta. It
is to be noted that when Vedik ^?eks are referred to they are
rarely set down in the text. The commentator says that the
Shrlsukta which consists of the fifteen ^?fks of the Bahv^fchas
is wellknown and he quotes a long passage from the Tantran-
tara which gives the rules relating thereto as also the
Shriyantra.

This, it is hoped, will remove the erroneous impression
that the Vedas contain no trace of the worship of the female
aspect of the Brahman. Later on other instances of this will
be found in this book.

Verse 16 1 to the end of the chapter lay down rules of
conduct for the worshipper of Shrl. It is said here that
the Sadhaka who wants Shrl should always be truthful.
He should face the west when taking his meals. He should
be gentle in his speech, and speak with a smiling countenance,
and use scents and flowers. He should always be pure, sleep
in a pure bed and with a young woman ( Taruwi ) and
with no one else. He should never eat when he has had oil
rubbed over him. He should never rub turmeric on his face,
nor sleep when he is impure in any way. He must not write
anything on the ground. He must not eat salt or oil by
itself. He must always be clean and avoid unclean food and
so forth.

The commentator quotes a passage from the Prapancha-
sara ( Ch. XII. ) which also lays down similar injunctions.

24

INTRODUCTION

CHAPTER IX.

The second verse gives the Bija of Bhuvaneshvarl. Verse
3 gives the names of the Risk i, the Chhanda^ and the Devata
of the Mantra. Verses 4-13 speak of Nyasa. It is said in
verse 5, that the object of doing Nyasa is the attainment of
Devatabhava. This means that the Sadhaka’s mind becomes
competent to receive things divine. The commentator cites
a passage from the Prapanchasara ( Ch. X. ), showing Sham-
karacharya’s method of dealing with this particular class of
Nyasa.

Verse 14 gives the Dhyana of Bhuvaneshl. She is the
lustre of the rising sun. The moon is on her diadem. Her
breasts are high. She has three eyes and a smiling face.
With two of her hands she is making the gestures of Vara
and Abhaya and in the other two, are held an Angkusha
and a Pasha.

Verse 15 speaks of the Purashchara«a of her Mantra and
Homa. Verses 16 and 17 describe her Yantra. Her nine
PiMa Shaktis, named in verse 18, are Jaya, Vijaya, Ajita
Aparajita, Nitya, Vilasini, Doghdhri, Aghora, Mangala.
Verse 19 gives her PiMa-mantra. In describing the mode of
worship ( Vv. 22-32 ) it is said, among other things, that
the following couples ( Mithunas ) are to be worshipped, viz ,
Gayatri and Brahma, Savitri and Vis/zttu, Sarasvatl and
Rudra, Kuvera and Mahalak^mi, Madana and Rati, Ga«esha
( Vighnaraja ) and Vuskt\, his beloved. Each of these
couples is described here. There should also be worshipped
( Vv. 33-42 ) the two Nidhis ( Gems ) and the Angadevatas,
namely, - Ananga-kusuma, Anangakusumatura, Ananga-
madana, Ananga-madanatura, Bhuvana-pala, Gagana vega,
Shashirekha and Gagana-rekha ; as also her sixteen others
Shaktis, viz., Karall, VikaralT, Uma, Sarasvatl, Shrl, Durga,
U^a, Lak^mi, Shruti, Snmti, Dhrfti, Shraddha, Medha, Mati,
Kanti and Arya. The eight Mate's, Brahma«z' and others
should also be worshipped. Her hand-maidens, Anangarupa

INTRODUCTION

25

and others are also to be worshipped. Verses 43 to 50 describe
rites for the attainment of worldly advantages. Verses 51-57
describe five Yantras.

Verse 58 gives a different Mantra. Verse 59 speaks of
N yasa with the Mantra. Verse 60 gives the Dhyana of the
Devi of the Mantra. In this Dhyana, the Devi is described
as of the colour of vermilion. She has three eyes. On her
head is a crown of rubies the brightness of which is enhanced
by the lustre of the moon on her forehead. She has a smiling
face and large breasts. She has two hands, in one of which
she is holding a Cha^aka ( cup ) filled with gems and in the
other a red lotus. Her feet are resting on a gem-studded jar.
She is benign of aspect and is the mother of all.

Verses 61-62 speak of Purashcharawa.

Verse 63 says that by daily taking Brahml Ghnta over
which the Mantra has been said, the Sadhaka becomes, in the
course of a year, a poet. The commentator describes how this
Ghma should be made. Ayurveda says that Ghnta ( clarified
butter ) preserves unimpaired the properties of herbs used in
medicine. Verses 64-66 give other Prayogas.

Verse 67 gives another Mantra. Verse 68 gives its Nyasa.
Verse 69 gives the Dhyana of the Devi of the Mantra

She is Shyama ( colour of gold ). The moon is on her
forehead. With one hand she is making the gesture of Vara
and with another hand she is holding a red lotus. In her third
hand is a Chay^aka full of gems and with the fourth she is
making th the gesure of Abhaya. Ropes of pearls shine over
her large breasts. She has got three luminous eyes and is
seated on a red lotus. She is the beloved of Hara. She is
the adored of the Suras ( Devas or seekers of the Brahman ).
She is eternal.

Verses 70-79 describe her worship.

Verse 80 gives another Mantra, its Riski, Nyasa and so

forth.

Verse 81 gives the Dhyana of the Devi of the Mantra

She is seated on a lotus. Two of her hands are held in

4

26 INTRODUCTION

the gestures of Vara and Abhaya and in the other two she
is holding an Angkusha and a Pasha.

Verses 82-90 describe the mode of worship.

Verses 91-94 describe the Gha/'argala Yantra.

Verse 95 gives a Mantra of sixteen letters. Verses 96-104
describe how the Yantra is to be used and the benefits gained
thereby.

Verses 105-108 describe two other Yantras.

CHAPTER X.

In Verse 1, it is said that the Devi Tvarita is so called
because she grants fruits quickly. The Sanskrit word means
“quickly”. In support of this, the commentator quotes a
verse from the Prapanchasara ( Ch. XIII. ) where the Sadhana
of the Devi is described. The second line of verse 1 and
verse 2 give the Mantra of 12 letters. Verse 3 gives the
names of the Muni, Chhanda^ and so forth.

Verse 4-6 speak of Nyasa. Verse 7 gives the Dhyana : —

I adore the Devi Kairatl who is Shyama and whose head
is adorned by the tail-feathers of a peacock. She is raimented
with leaves and ropes of red Gunja seeds rest on her large
breasts. Eight great serpents adorn her ears, arms, waist
and toes. She has three eyes and her hands are uplifted to
grant boons and dispel fear.

The commentator says that the serpents Ananta and
Kulika, who are Vipras, the colour of fire and each possessed
of a thousand hoods, are the ear-ornaments. The serpents
Vasuki and Shangkhapala who are K^atriyas, yellow of colour
each with 700 hoods, are the ornaments for the upper arm.
Taks^aka and Mahapadma two other serpents who are
Vaishyas, blue of colour, each with 500 hoods are the girdle.
Padma and Karkateka who are Shudras, white of colour, each
with 300 hoods are the toe-ornaments.

Verses 8-19 describe Purashchararca of the Mantra and her
worship, give the names of her attendant Devatas and
describe how these latter are to be worshipped Verses 20-33

INTRODUCTION

#7

describe Homa with different articles for the attainment of
different ends, such as, Shanti ( Peace ), 7 ?zddhi ( Prosperity )
and so forth. Verses 34 to 43 describe five different Yantras
and speak of the benefits to be gained thereby.

Verse 44 gives the Trikaw^akl Mantra as also rules relating
to Nyasa therewith. Verse 45 gives the Dhyana : —

May the three-eyed Devi dispel all your fears ! She is
blue below the navel, red below the neck and her face is
white. She has four mouths with fierce fangs on the four sides
of her belly and is terrific to behold. In her hands she is
holding two lights ( Dipa ), a conchshell and a Chakra. In
her matted hair is the crescent moon.

In verse 48 is given another Mantra of the Trika«/akl.
Verse 49 speaks of the Purashcharawa of this Mantra and the
fruits to be gained thereby.

Verse 50 gives the Mantra of 15 letters of Nitya. Verse
51 gives the Nyasa of this Mantra and verse 54 describes
the place of her abode. She is seated there on a lotus placed
on a throne. Her Dhyana is given in verse 55 : —

Adore Nitya ! She has got the young moon on her fore-
head. She is red and three-eyed, She is carrying a Pasha
and an Angkusha, the wish-granting creeper and a skull and is
playing on the melodious Vi«a.

Verses 56 to 68 give the rules of Purashchararca, worship
and other details.

Verse 69 gives a Mantra of 12 letters and Verse 70 gives
the rules relating to Nyasa.

Verse 71 gives the Dhyana : —

Meditate upon the wife of Shiva. She has got the half-
moon on her forehead and is red of colour. Her raiment,
ornament and decorations are all red. She has three eyes and
is elated with wine. In her hands she is carrying a lotus, a
Pasha ( noose ), S rim ( goad ) and a skull filled with wine.
She is the adored of the immortals.

Verses 72-76 give rules of Purashchararca and other rites.

Verse 77 gives the Mantra of Vajraprastarmi. It is of

28

INTRODUCTION

twelve letters. Verses 78-79 name Risk i, Chhanda/&, Devata.

Verse 80 gives her Dhyana : —

We seek refuge in the mother who is seated on a lotus of
twelve petals placed on a red boat in an ocean of blood. Her
body is red ; on her red forehead is shining the crescent moon.
She has three eyes and a smiling face. In her hands she is
holding a pomegranate, an arrow, a noose, a goad, the bow of
Madana (Deva of Love) and a skull. She is bending forward
with the weight of her breasts.

Verses 81-87 give rules relating to rituals.

Verse 88 gives the Mantra of Tripura, and the following
verse names the Risk i, Chhanda^ and Devata and gives rules
of Nyasa. Verse 90 says that the Devi should be meditated
upon as seated on two lotuses placed one above the other on a
beautiful throne placed on the pericarp decorated by a Skat-
kona ( hexagon ). The seat is placed on a jewelled altar under
a charming canopy under a Kalpa ( wish-granting ) tree in
the middle of a forest of Parijata trees.

Her Dhyana [ V, 91. ] is as follows : —

Meditate on the primordial Shakti. She is of the colour of
a golden lotus and leaning forward with the weight of her
breasts. She is adorned with jewelled toe-rings, girdles,
neckchains and the like. She has a jewelled crown on her
head and three eyes. In her lotus hands she has a bow, a
noose, two lotuses, a goad and flowery arrows.

Verse 92 says that she is surrounded by her handmaidens
who have large breasts and are carrying fly-whisks, boxes
containing betel leaves and mirrors in their hands. The Devi
is looking at her votary with eyes which are raining, as it
were, a shower of nectar on him.

The following verses describe the ritual. It is here said
that Lak^mi and Visknu, Gaurl and Hara, Rati and Smara
are to be worshipped all round her beginning from the S. E.
corner and the two gems Shangkha and Padma are to be
worshipped on either side, and the Lokapalas are to be wor-
shipped in their feminine aspects.

INTRODUCTION

29

Verses 101 and 102 contain the Mantra, composed of
thirteen letters, of Devi Ashvarua^a ( Seated on a horse ).
Verse 104 gives her Dhyana.

Meditate always on her who is seated on a horse. She is
red and beautiful. A digit of the moon is on her forehead.
She has three eyes. She is adorned with beautiful garlands
and bending forward with the weight of her breasts. With
her left hand she is pulling the Sadhya ( woman against
whom the rites are directed ) who is tied by a noose and is
helpless with an access of love and in her right hand is a
golden cane.

Verses 105-107 describe Purashchararca and 108 her Yantra.

Verse 109 gives the Mantra of Annapurna and no her
Dhyana : — •

Adore Bhagavatl ( Annapurna ) ! She is red and clothed
in beautiful raiment. She has the young moon on her fore-
head and is bending forward with the weight of her breasts.
She is looking pleased as she is watching Shiva who with the
crescent moon on his head is dancing in front of her. She
is the giver of good and removes the pains of Samsara.

The two verses which follow describe her worship.

Verse 1 13 contain the Mantra of Padmavati. Verse 115
is her Dhyana. She is seated on a lotus. In her two hands
she holds two lotuses. She has three eyes and is red of
colour and wearing all kinds of ornaments. Her face is
beautiful like a lotus.

Verse 119 gives her Yantra.

Verses 120- 123 speak of Ama^a Nyasa.

CHAPTER XI.

Verses 1 and 2 contain the Mantra of Durga and the two
following verses speak of the Rish\, Chhanda^, Devata and,
so forth. Verse 5 is the Dhyana: —

May Durga destroy all the evils which beset ye ! She has
three eyes and is seated on a lion. On her forehead is • the
moon. In her four hands which are of the colour of emerald

30

INTRODUCTION

she is holding a conchshell, a bow, a discus and arrows.
She is wearing armlets, garlands, wristlets, girdles and toe-
rings with tinkling bells thereto. Her ear-ornaments are set
with brilliant gems.

The thirteen verses which follow describe the mode of
worship. Verse 19 gives the Yantra.

Verses 21 to 24 contain the Mantra of Mahu^amardinl.

Verse 25 is the Dhyana : —

She is the colour of emerald. She has a ( third ) eye
on her forehead. She is adorned with gems on her head and
ears, She is seated on the head of a buffalo. She is holding a
Chakra (discus), a Shangkha (conchshell), a Knpazza (sword),
a Khe/aka ( shield ), Bazza ( arrows ), Karmuka ( bow ), Shula
( spear ) and TarjanI Mudra ( threatening gesture ) in her
hands. The moon is on her head. I adore her.

Verses 26-33 describe Purashcharazza and Prayoga.

Verse 34 gives the Mantra of Jaya Durga.

Verse 37 gives the Dhyana, —

I adore Jaya Durga who is worshipped by those who seek
Siddhi. She is of the colour of the firmament. Her fierce
looks frightens the enemies. On her forehead is the crescent
moon. She is seated on a lion. In her hands are a Shangkha,
a Chakra, a Krzpazza and a T rishikha ( trident ). She has
three eyes. Her Tejas ( glory, radiance ) pervades the three
worlds. All the Devas surround her.

Verses 38-40 contain rules of Purashcharazza and Prayoga.

Verse 41 contains Shulin! Durga Mantra.

Verses 42-45 speak of the Risk i, Chhanda-6, Devata and so
forth.

Verse 46 gives her Dhyana : —

I meditate on Shulinl. She is seated on a lion and is of the
dark colour of the rainladen cloud. In her ( eight ) hands are
a Shula, a Bazza, a Kz'zpazza, an Ari ( discus ), a lotus, a mace,
a Bow, a Pasha. She has three eyes and has the moon on her
forehead. She is attended by four hand-maidens who are
carrying Khe/akas. She is the terror of the enemy army,

INTRODUCTION

31

Verses 47-62 give rules of Purashcharawa and so forth.

Verses 63-65 give Vana-Durga Mantra. The Devi is also
called Vindhya-vasinl. Four verses which follow give name
of Rishi and so forth. Verse 70 is her Dhyana : —

Meditate on her who abides in the Vindhya ( Mountains ).
She is seated on a golden lotus and has three eyes. She is
lustrous like lightning and has in two of her hands a Shangkha
and a Chakra and the other two are in the attitude of granting
boons and dispelling fear. Her face is beautiful as the full
moon and on her forehead is the crescent moon. Neckchains,
armlets, garlands and earrings adorn her. The Devas hymn
her. By her side is Shiva.

Verse 71-75 speak of Purashchara«a and rituals.

Verse 76 contains a Dhyana for the Sadhaka who seeks
the protection of the Devi : —

She is like the fire of final dissolution ( Kala-pavaka ) and
in her hair is the half-moon. She has an eye on her forehead.
She is seated on a fear-inspiring lion. In her ( eight ) hands
are held the Chakra (discus), a Shangkha (conch), a K^/pa«a
( sword ), a Khe/aka ( shield ), a Chapa ( bow ), a Bana
( arrow ), a Karo/ika ( skull ) and a Shula ( trident ). She
subdued the whole army of the Asuras.

Raghava quotes other similar Dhyanas from the Prapan-
chasara and other texts. Different Prayogas are given
( Vv. 76-123 ).

Verse 123 gives the Raks^akara (protective) Yantra of
Vindhya-vasinl. It is helpful in the attainment of wealth,
immunity from evil influences and the like.

CHAPTER XII.

This chapter begins with a prayer to Tripura.

Verse 3 gives the Mantra of Tripura. Raghava cites texts
which say that she is so called because she created the three
( viz. , Brahma, Vishnu and Rudra ) and so preceded them,
because the three "Kandas of the Vedas are by her pervaded
and also because she is even at the time of Pralaya.

32

INTRODUCTION

Verse 4 says that the Mantra is composed of three parts.

Verses 5-32 contain the names of the Rishis and so forth
and a long account of how Nyasas to be done with the Mantra.
This is supplemented by Raghava by other texts.

Verse 31 gives the Dhyana : —

She is of the colour of a thousand rising suns and garmen-
ted in red silk. Her face beautiful like a red lotus is lighted
by her three eyes. Her breasts are smeared with red sandal.
She is wearing a garland of heads. On her head is a crown
on which is the moon. She is smiling gently. In each of
her hands is held a rosary, a book, the gesture of granting
boons and that of dispelling fear.

Verses 32-70 contain an account of the Purashcharawa and
ritualistic worship and Prayoga.

Verse 71-75 describe three Yantras.

Verse 77 gives the Bala Mantra. Verses 78 and 79 give
the Gayatrl. Verses 81-94 contain a hymn of praise. The
opening verse of which says that as even Brahma and other
great Devas do not know the subtle ( Suky^ma ) form of the
Devi who is the source from which the universe emanated
the hymner therefore sings the praise of the gross ( Sthula)
form.

Verses 96-99 contain the Mantra of RajamatanginI which
is made up of 88 letters. Verses 100- 127 contain directions
for Nyasa and verse 128 contains her Dhyana : —

She is seated on a gem-studded altar and listening to the
pleasing notes of the parrots. One of her feet is resting on a
lotus. She is playing on a Vwa. She is elated with the
nectar of which she has partaken. She is slightly dark of hue.
On her forehead is the crescent moon. Her shining hair is
made into a charming knot. Her raiment is red. She is
wearing a garland of waterlilies. On her forehead is shining
a Tilaka. She has armlets made of conchshells.

This is followed by rules relating to Purashchara«a and
ritualistic worship.

Verses 157-166 contain a Hymn of the Devi.

INTRODUCTION

33

CHAPTER XIII. _

This chapter gives an account of the worship of the different
aspects of Gazzesha. The Prapanchasara ( Ch. XVII. ) deals
with this.

Verse 2 contains the Bija of Gazzesha which is Gang and
verse 3 speaks of the way Nyasa is to be done therewith.

Verse 4 contains the Dhyana : —

He is the colour of vermilion, three-eyed and has a large
belly. In each of his lotus hands is held a tusk ( his own ),
a noose, a goad and the gesture of granting boons. His face
is that of the lord of elephants and at the end of his thick
trunk is a beautiful pomegranate. On his forehead is shining
the young moon and his cheeks are flooded with the copious
flow of Dana ( exudations from an elephant’s temple when
in rut ). His raiment and the unguent on his body are red.
Huge serpents are his adornment.

Verses 5-26 describe Purashchara/za of the Mantra, the
articles to be used in his worship, and give the names of the
PiMa-shaktis and attendant Devatas.

Verses 27-28 give the Mantra of twenty-eight letters of
Mahagawaipati.

Verse 29 says that the Risk i of the Mantra is Gazzaka, the
Chhanda^ is Nivrzt Gayatrl and verse 30 describes the
Nyasa of the Mantra.

Verses 31-38 say that he is to be meditated upon as
seated on a lotus consisting of the letters of the alphabet
( Matrzkambuja ). The Sadhaka should meditate upon an
island composed of nine gems, placed in an ocean of sugar-
cane juice ; a soft gentle breeze blows over the island and
makes the waves wash the shore thereof. The place is a
forest of Mandara, Parijata and other Kalpa trees and creepers,
and the light from the gems thereon casts a red glow on the
ground. The six gladdening seasons are always there. The
sun and the moon brighten up the place. In the middle of
the island is a Parijata tree whereon are the nine gems and
5

34

INTRODUCTION

beneath it is the great Pl^a ( altar ) on which is the lotus
whereon is seated Mahagawapati. His face is that of the
great elephant with the moon on it. He is red and has three
eyes. He is held in loving embrace by his beloved who is
seated in his lap and has a lotus in her hand. In each of his
ten hands he is holding a pomegranate, a mace, a bow, a
trident, a discus, a lotus, a noose, a red water-lily, a sheaf of
paddy and his own tusk. He is holding a jewelled jar in his
trunk. By the flapping of his ears, he is driving away the
bees attracted to his temples by the fluid exuding therefrom,
and he is scattering gems from out of the jar held in his
trunk. He is wearing a ruby-studded crown and is adorned
with gems.

Verses 39-61 give a description of Purashcharawa and
Prayogas.

Verse 62 gives the Blja of Bhumi ( The Earth ).

Verses 63 65 describe the Yantra of Mahaga«apati.

Verses 66-67 give the Mantra of 26 letters of Virigawapati
and verse 68 speaks of the Muni, Chhanda^ and Devata.

Verse 69 gives directions about Nyasa and says that
Virigarcapati is to be meditated upon in a place similar to that
described in the Dhyana of Mahagawapati.

Verse 70 gives the Dhyana : — He is the colour of vermilion
and has the face of an elephant. On his head is the half-
moon. He has three eyes. In three of his hands he is
holding a noose, a goad and a skull full of wine and his fourth
hand is resting on the Yoni of his consort Vxisht'i and at
the end of his trunk he has a vessel full of wealth. Pu^i is
touching his Linga and embracing him with her right hand
and in her other hand is held a lotus.

Verses 71-76 contain directions regarding Purashcharawa,
worship, Homa and the like. There is also given here the
fruits gained by such worship.

Verse 77 gives the Mantra of twelve letters of Shakti-
gawapati and verse 78, the Rish\, Chhanda^ and Devata and
rules of Nyasa of the Mantra, Verse 79 gives his Dhyana

INTRODUCTION

35

We adore him who is of the bright colour of pearl. He
has the face of an elephant in rut. He has three eyes and
the moon is on his forehead. A jewelled crown is on his head.
He has a lotus, a goad and a jar full of gems in each of his
three hands and his fourth hand is resting on the Yoni of the
Devi seated in his lap. His trunk is resting on the jar of
gems. The Devi who is of the colour of the lotus is hold-
ing in one hand a lotus whilst with the other she is touching
his Linga.

Verses 80-83 give the usual rules of Purashchara^a, wor-
ship and particulars relating to Prayoga.

Verse 84 gives another Mantra of eleven letters and 85 the
Risfn and other details. Verse 86 gives the Dhyana : —

I ever meditate upon the Omnipresent One who is of the
colour of red hibiscus. He has the face of an elephant with
three eyes and the halfmoon is on his forehead. In each of his
four hands he is holding a sugarcane, the gesture of gran-
ting boons, a noose and a goad. The tip of his trunk is
resting on the Yoni of his Shakti who is embracing him and
holding the tip of his Linga with one hand and with the other
a lotus. She is the colour of molten gold. He is full of desire.

Verses 87-90 give directions about rituals and the like.

Verses 90 and 91 give the Mantra of K^ipraprasadana
Garcesha. It is of ten letters. Ks^ipraprasadana means
‘quickly pleased’. Verse 93 give his Dhyana : —

May the Elephant-headed One protect ye ! He is red and
has three eyes The young moon is on his forehead and he
is wearing a shining garland. In each of his hands is held a
noose, a goad, a Kalpalata and one of his own tusks and he
has a pomegranate at the tip of his trunk.

Verses 94-102 give rules of worship, Homa and the like.

Verse 103 says when Tarpawa (oblation ) is made, he is to
be meditated upon as seated on a lotus and beautiful like a
mountain of gold, and as coming out of the effulgence of the
sun, down rows of silver steps into the water with which the
Tarpa/za is made.

36

INTRODUCTION

Verses 105-106 give the Mantra of Heramba Ga«esha and
describe the way Nyasa is to be done therewith.

His Dhyana is given in verse 107 : —

I adore Heramba who is of the lustre of the sun. He is
seated proudly on a lion. He has five faces each like that of
an elephant, and one of them is on top and upward turned.
They are of the colour of pearl, gold, blue, Kunda flower
( white ) and red respectively. The moon is on the forehead
of each of these. With two of his hands he is making the
gestures of granting boons and dispelling fear and in each of
the other eight is held a ball of sweets, his tusk, an axe, a
skull, a rosary, a hammer, a goad and a trident.

Verses 1 08-1 13 contain directions regarding worship, Homa
and the like. Verses 114-119 describe the Yantra to be worn
as an amulet and give the Mantra to be written thereon.

Verses 1 19-120 give the Mantra of Subrahmawya or
Kartikeya. Verse 121 gives his Dhyana : —

We adore Subrahmawya. He is of the colour of vermilion
and his face is beautiful like the moon. Beautiful armlets,
garlands and other ornaments adorn him. He is holding
in each of his hands a lotus, the gesture of dispelling fear, a
cock and the weapon Shakti. He is raimented in red and
the unguent on his body is also red. He grants the happiness
of heaven to, and destroys the fear of, his votaries.

The eight verses which follow give details of worship.

Verses 131-151 are a hymn in adoration of Garaesha. In it
he is, among other attributes, spoken of as one with Omkara
and therefore Shabda Brahman.

CHAPTER XIV.

Verses 1-3 give the Mantra of Soma ( Chandra, Moon).

Verse 4 contains the Dhyana : —

I always adore Soma, the ocean of nectar. He is of the
whiteness of camphor and pure crystal. His face is the circle
of the full moon and the blue tresses which surround it
enhance its beauty. Ropes of pearls which adorn his body

INTRODUCTION 37

uproot darkness. In his two hands are held a waterlily and
the gesture of granting boons. The stain on his surface is
due to the deer he has in his lap.

Verses 5-27 describe Purashcharawa, worship and Prayoga.
Verse 28 gives the Mantra of Surya ( Sun ). The Mantra
is of eight letters. Verses 29 to 35 contains rules of Nyasa
and other details and verse 36 gives his Dhyana : —

I adore the Lord of the Day. He is of the redness of the
Bandhuka flower and seated on a red lotus. He has three
luminous eyes and a ruby crown on his head. He is holding
a lotus in each of two of his hands and with the other two
is making the gestures of dispelling fear and granting boons.
He is adorned with armlets, garlands and so forth.

Verses 37-57 describe Purashchara«a, worship and Prayoga.
Verse 58 gives Prayojana-tilaka Mantra and 59 and 60
Nyasa. Verse 61 gives the Dhyana of the Devata : —

I adore Bhanu ( an aspect of Surya ). He is seated on a
red lotus. He is the ocean of endless good and the Lord of
the limitless Universe. In two of his hands he is holding two
lotuses and the other two are held in the attitudes of dispelling
fear and granting boons. He is red and is wearing a ruby
crown. He has three eyes.

Verses 62-65 give rules of Purashcharawa and rituals.

Verse 66 gives the Blja of MartaWa Bhairava. This Blja
is very difficult to pronounce and the commentary says that it
is only the Guru who can show the way to do it. If this Blja
is placed between two Vimba Bljas and repeated then it
becomes very effective. The verses which follow give rules
of Nyasa. Verse 71 gives the Dhyana of MartaWa : —

We adore Martawafa. He is of the redness of a golden
lotus and coral. He has four beautiful faces with three eyes in
each. He is holding in each of his lotus-like hands a beautiful
Kha^vanga, a lotus, a discus, a Shakti, a noose, a goad, a
very beautiful rosary and a skull. The left half of his body is
that of his beloved. On his head is a jewelled crown and
he is wearing a shining garland.

INTRODUCTION

3§

Verses 7 2 to 79 describe the ritual beginning with
Purashchara«a.

Verses 80-88 give the Ajapa Mantra ( Hamsa/fc ) and
other particulars. The Devata of the Mantra is the Lord of
Girija who is the beginning of creation. The reason for
giving it here, says Raghava, is that this Mantra partakes of
the nature of Agni and Soma — ( Agnl^omatmaka ).

Verse 83 gives the Dhyana : —

May he who is half the Mother and half the Lord, who is
the Root of the Universe protect ye ! He is of the colour of
the rising sun and like a flash of lightning. In his hands are
a noose, the gesture of dispelling fear, the gesture of granting
boons and a battle-axe. Celestial ornaments made of nine
kinds of gems adorn him. His body is Moon (Soma) and Fire
( Agni ). He has three eyes. On his forehead is the Moon.

In the Nyasa of the Mantra ( Vv. 84-90 ) parts of the
Hamsavatl Rt k of the i?fgveda is to be used.

Verse 91 states the benefit gained by the Sadhana of this
Mantra. There is a long passage cited by Raghava from the
Tantrantara in which a more detailed account of the ritual is
given. In this, the way we breathe and how often we do it in
the course of twentyfour hours and other details are given.

The identity of the Hangsa^ Mantra with the Pra«ava is
recognised among Sadhakas and fully explained by, among
others, Shamkaracharya in the Prapanchasara ( Ch. IV. ).
This Mantra is called the Root of the Universe as it is the
breath of life.

It may incidentally be noted that it is this Hangsa/fc and
not a ‘Swan’ which is the carrier ( Vahana ) of Brahma.

Verses 92-94 give the Mantra of Agni ( Fire ) and other
particulars. Verse 95 gives the Dhyana : —

I adore red Agni. He has a golden garland resting on
his shoulders. He is adorned with red garlands and red
sandal paste. The mass of flames shining on his head are like
so many matted locks. His raiment is very white. In each
of his hands he is carrying a Shakti, a Svastika, a Darbha-

INTRODUCTION

39

mushti, a rosary, a sacrifical ladle ( Sruk ) and spoon ( Sruva ),
the gestures of dispelling fear and granting boons. He has
three beautiful eyes.

Verses 96-115 deal with Purashchara«a and so forth.

Verses 116 and 117 give the Mantra of Turagagni
( Vadavagni : Horsefire ) and 1 19 gives the Dhyana : —

He is of the form of a horse and he has come out of a
golden Ashvattha tree, and is red like a mass of vermilion.
Flames are the hairs on his body. His beauty charms the
world. Ornaments of priceless gems adorn his neck. Gems
come out of his organs ( Indriyas ) are spread all over the
world.

The rest of the chapter describes the ritual and the
different benefits derived therefrom.

CHAPTER XV.

This chapter deals with the worship of Vishnu. Verse 2
gives a Mantra of eight letters. The text ( Vv. 10-1 1 ) speaks
of a Mantra of twelve letters and then proceeds ( Vv. 12-21 )
to speak of Nyasa and other rites.

Verse 22 contains a Dhyana oi Vishnu : —

I ever adore the Supporter of the Universe. He is lustrous
with the lustre of ten million rising suns and in his hands
are a conchshell, a mace, a lotus and a discus. On either
side of him are beautiful Lak^mi and Vasumatl. He has a
crown on his head and is wearing armlets, garlands and
ear-ornaments. His raiment is yellow. The Kaustubha gem
enhances his lustre and on his breast is the sign of Shrivatsa.

Shrivatsa is the curl of white hair on the breast of Vishnu.

Verses 23-36 contain ritualistic rules.

Verse 37 gives another Mantra of twelve letters ; and the
three following verses speak of the Risk i and so forth as also
of Nyasa. Verse 41 contains the Dhyana. This is similar
to the last, only Vasumatl and Lak^mi are not in this and
he is described as of the colour of ten million moons of
autumn. This aspect is adored by great Munis.

40

INTRODUCTION

Verse 47 contains a Mantra of 14 letters. The Dhyana
according to this Mantra is in verse 50 : —

He is of the colour of lightning and the moon. Half his
body is Vaiku«^a ( Vishnu ) and the other half is Kamalaja
( Lakj^mi ). This union is due to mutual affection. He is
adorned with gem-set ornaments. He is carrying in each of
his eight hands the Vidya-mudra, a lotus, a mirror, a jar of
gems, again a lotus, a mace, a conchshell and a discus.

Vishnu is Vaiku^Ma as he is beyond ( vi ) all Ku«Ma or
limitation. The name Vis^«u again, means he who pervades
Creation. The word comes from the root vish = to enter.

Verse 53 contains a Mantra of eighteen letters ; after
naming the Rishi and so forth ( Vv. 54-57 ) the Dhyana is
given in verse 58 : —

We worship him who is of the radiance of pearls and
is seated on the moon. Nine different kinds of gems are in
his ornaments. His lotus-like face is adorned with locks of
hair like black bees. In his lotus hands are held a golden
jar filled with pure water and a cup of gold full of curd
and rice.

Verses 59-68 describe rituals and Yantra.

Verses 69 and 70 contain a Mantra of Vi^«u as Hayagrlva
( Horse-headed ). This is followed by names of Risk i and so
forth. Verse 72 is the Dhyana : —

He is of the lustre of the autumnal moon and adorned with
ornaments set with pearls. His head is that of a horse. In
two of his hands he is holding a discus and a conchshell and
the other two are resting on his knees.

Verses 8j gives the Mantra of Rama.

Verse 84 gives Dhyana : — I always adore Raghava who is
of the charming radiance of dark rain clouds. He is seated in
the Vlrasana posture, with one hand in the gesture of
Jnana-mudra and the other resting on his knee. He is adorned
with a crown, armlets and various other ornaments. Sita who
is lustrous like lightning and is holding a lotus in her hand
is seated by his side and looking at him.

INTRODUCTION 4 1

Verses 85-98 describe rituals and the Dhara^a Yantra or
amulet.

Verses 99-100 give the Mala Mantra of forty-seven letters
of Rama and verse 101 gives the Mantra of ten letters.

Verses 103- 105 give the Mantra of Varaha and the two
following verses speak of Nyasa and other details.

Verse 108 gives his Dhyana. Verses 109-127 describe
the rituals and Yantra. Verse 128 gives Varaha Blja.

The Yantra of Varaha (V. 132 ), buried in manner
enjoined, in a selected spot in a village, town or like place,
ensures its stability and prosperity.

Verse 134 gives the Dhara-hmlaya ( Heart of the Earth )
Mantra.

Verse 138 gives the Dhyana : — We adore Vasudha ( Earth
as container of all wealth ). She is green. She is seated on
a lotus. She is adorned with variegated gems and raiment
and is bending forward with the weight of her large breasts.
She is holding in her hands two lotuses, a sheaf of fresh
Shali-paddy and a parrot.

The rest of the chapter gives ritual.

CHAPTER XVI.

The chapter begins with the Mantra of Nara-simha ( Man-
lion ). This is one of the aspects of Visknu. The Mantra
is Vedik. After naming the Rishi and so forth ( 3-6 ) the
Dhyana of Nara-simha is given in verse 7 : —

I ever adore the omnipresent Nara-simha. He is of the
lustre of a mountain of rubies. By his effulgence are the
Rak^asas panic-struck. Two of his hands rest on his
knees and in the other two are held the Chakra and the
Shangkha. He has three eyes. His ornaments are brilliant
red. Flames of fire issuing from his fangs and tongue light
up his face. His hair is standing on end.

This is the placid ( Saumya ) Dhyana. Verse 13 gives the
Dhyana of his fierce ( Krura ) aspect. As such Nara-hari
( Man-lion ) is of the effulgence of ten million rising suns. He
6

4 2

INTRODUCTION

is ornamented with a shining crown and neckchains. His
fangs make his face fierce. By his long arms tipped with
shining nails he is tearing open the king of Asuras. The
Sun, the Moon and the Fire are his three eyes. His matted
hair shining like lightning frightens. He is belching fire.

1 he word Asura is ordinarily translated as the equivalent
of ‘Demon’. Shamkaracharya ( Vide Com. Sanat-sujatiya )
interprets it also to mean a person who seeks the pleasures of
the senses. The king is Hira^ya-kashipu who, as the name
shows, is the embodiment of pride of wealth.

In verse 14, it is said that for the purpose of Saumya
( propitiatory ) rites the Saumya Dhyana is appropriate and
in Krura ( cruel ) rites, the Krura Dhyana. After describing
( Vv. 15-31 ) the ritual and the benefits therefrom, the Puja
Yantra is described in verse 32 and another Yantra in verse 38.

Verse 39 gives the Blja ( K^raung ) of Nrzsimha.

Verses 40-42 give the Mantra of Jvala-nrfsimha.

Verse 45 gives his Dhyana : — He is terrific like the
Fire of Pralaya ( final dissolution ). He has three eyes.
Flames of fire add to his lustre. He has fierce fangs and is a
terror to the Rak^asas. His matted locks scattered in all
directions make him awful to behold. In each of his hands
is held, a conchshell, a discus, a sword and a shield.

Verse 48 gives the Mantra of Lak^ml-nrfsimha and verse
50, his Dhyana.

In his commentary to verse 54 Raghava quotes long
passages from Agasti-samhita, Mantra- tantra-prakasha, Vaya-
, vlya-samhita, Kula-prakasha-tantra, Vaishampayana-samhita
and some unnamed authorities giving rules relating to
Purashchara«a. Here is also cited a text from the Vayavlya-
samhita describing the three forms of Japa, namely, XJchcha
(spoken), Upangshu (muttered) and Manasa (mental).

The Gita is cited to say that the rite of Japa is the
highest rite and the very self of the Lord.

Verse 64 describes a Yantra of Nmimha,

Verse 67 gives the Sudarshana Mantra,

INTRODUCTION

43

The attention of the reader is drawn to the Nn’simhatapanI
and the .SVka^chakra Upanis/kads.

Verse 75 contains the Dhyana of Wxsknn as Muraripu or
Murari ( Enemy of Mura ) : —

He is resplendent like the sun at the time of final
dissolution. By his glory and radiance he fills up the three
worlds. His eyes are red and hair, tawny. He is the terror
of all enemies. His fangs are terrific. He is laughing loudly
in derision. In his hands are a discus, a conch-shell, a mace,
a lotus, a huge hammer, a bow, a noose and a goad. Thus
should the enemy of Mura be pictured in the mind.

Mura is usually said to be the name of a demon. It also
means anything which distracts the mind and thereby obstructs
the path to Liberation.

Verses 76-131 describe Purashchara^a and ritual.

Verses 132-140 describe six Yantras.

CHAPTER XVII.

This chapter begins with the Puru^ottama Mantra and the
rites relating thereto. In the Prapanchasara ( Ch. XXIII.
2nd Edition ) Shamkaracharya has dealt with the same subject.
It is called the Guptapa/ala by Raghava.

A Christian writer speaks of the Prapanchasara as a “foul
book”, alluding possibly, to the description of the ecstacy of
the devotees of the Mantra. Regrettable as such remarks
undoubtedly are, one should not wonder at it, for writers
of this type are not capable of the emotions which the
true devotee experiences. They do not, it may be surmised,
believe in and appreciate their own Bible. If they did, the
Song of Solomon would have taught them to be more
circumspect in the language used in dealing with sentiments
which are foreign to them.

The Mantra given ( Vv. 2-1 1 ) is one of two hundred
letters. The verses which follow give the usual particulars.

After describing a beautiful garden ( Vv. 23-29 ) ; it is said
( V. 30 ) that the Deva Puruyiottama should be meditated

44

introduction

upon there, as united with his consort who is of the colour of
a lotus and is holding a lotus in her left hand and embracing
him with her right. He is looking smilingly at her.
He is holding in each of hi s hands the conchshell, the noose,
the hammer, the bow, the arrow, the sword, the mace and
the goad.

Verses 31 to 58 contain ritulistic rules.

Verse 59 gives Shrikara Mantra of eight letters.

Verses 62-65 show how Nyasa is to be done with the
Vedik ifok beginning ‘Brahmawo’sya mukham aslt’ in the
Puru^a-sukta and verse 67 gives the Dhyana : —

He is lustrous as a mountain of gold and in his lotus face
has lotus-like eyes. On his chest is the gem, Kaustubha.
He is beautiful to look at and is adorned with a crown,
armlets and other ornaments. He is seated on the bird-king
Gaxuda. In his four hands he is carrying a conchshell,
a discus, a mace and a lotus, He is imperishable.

Verses 68-81 describe rituals.

Verses 82 and 83 give the Gopala Mantra and this is
followed by the Dhyana of the Deva in verse 89. The
Dhyana is preceded by a description of Bmidabana with the
thousands of Gopinls whose faces are like lotuses and who
in the excess of their desire are reduced to helplessness.

The description may be compared with that in the Gupta-
paiala of the Prapanchasara.

Verses 90-102 describe ritual and Gopala Yantra.

Verse 103 gives the Ymda Bija.

The commentator cites, under this verse, long passages
containing Dhyanas of the boy Krishna.

Verse 104 gives a Mantra of six letters of Krishna, and
verse 105, one of ten letters, verse 106, one of sixteen letters
and verses 107-109, one of thirty-two letters.

Verse no gives the Kama-linga Yantra. Verse in gives
a Mantra of thirty-two letters which is to be inscribed on the
Yantra. Verses 1 1 2-1 13 give directions as to how the Yantra
is to be drawn with the Mantras therein.

Introduction 45

Verses 114-116 describe another Yantra and the Mantra
to be inscribed therein.

Verse 1 1 7 gives the Mantra of Kama. It is of one letter.
Verse 120 gives the Dhyana of Kama and verses 121-143
describe rituals. Verse 144 gives his Yantra. Verse 145
gives his Gayatrl. Verses 146-147 give the Mala Mantra of
Kama. It is of forty-eight letters. Verse 148 describes
another Yantra of Kama.

Verses 150-161 contain a hymn to Vi^«u wherein he is
adored in all his different incarnations. In this among the

ten incarnations Buddha is included. In speaking of the

Buddha incarnation, it is here said that for the suppression
of the Asuras he assumed the Kauplna ( a bit of rag ) as his
garb and composed Shastras which are almost irrefutable
( Amogha-kalpa ). In the Prapanchasara, Buddha is not
recognised as one of the Avataras.

CHAPTER XVIII.

In this chapter are given various Mantras of Shiva.
The name Shiva is derived from the root, vash => to rule.
His carrier is Vrisha. which means Dharma. Shiva’s rule is
based on Dharma. Vrisha. is commonly translated to mean a
bull, which it also means.

In verse 2 is given his Mantra of six letters. Verses 3-6
describe Nyasa.

The commentator cites a verse which says that the six
limbs ( Skadanga ) of Shiva are, — All-knowingness, Content-
ment, Limitless knowledge, Self-dependence, Imperishability
and Limitless power.

The text proceeds to give ( Vv. 7-12 ) Golaka Nyasa.

Verse 13 contains the Dhyana of Shiva : —

He is lustrous like a mountain of silver with the beautifully
shining moon on his forehead. He is adorned with gems and
carries in each of his four hands a battle-axe, a deer and the
gestures of granting boons and dispelling fear. He is gracious
of mien, seated on a lotus, raimented with a tiger-skin and

46

INTRODUCTION

surrounded by all the Devas who are singing his praise.
He is the source of the universe. His form is the universe.
He dispels all fears. He has five faces with three eyes in each.

This is followed by ( Vv. 14-31 ) rules of Purashchara#a
and other rites.

Verses 32-33 contain a Mantra of eight letters and rules
relating there to.

Verse 34 contains the Dhyana of Shiva as the Deva of
the Mantra : —

He is red like the Bandhuka flower and has three eyes.
A digit of the moon is on his forehead. He has a smiling face
and in each of his hands is held, a trident, a skull and the
gestures of granting boons and dispelling fear. On his left
knee is seated his beloved, holding in her left hand a beautiful
red lotus and with the other hand embracing him. She is
adorned with gem-studded ornaments.

Verses 35-48 contain rules of Purashchararaa and other
rites.

Verse 49 contains the Prasada Mantra and this is followed
by ( Vv. 5°*55 ) rules relating to Nyasa and so forth.

The commentator here cites the Vedik Rtks of Ishana,
1 at-puruj^a, Aghora, Vama deva and Sadyo-jata. Verses
56-84 describe how Nyasa is to be done with the ^?fks.

Verse 85 contains the Dhyana of Sadashiva : —

He is the Lord whose five faces are, respectively, the
colour of pearl, yellow, rain-cloud, mother of pearl and hibiscus
flower. He has three eyes in each face. He is of the efful-
gence of millions of fullmoons. In each of his ten hands he
has a trident, a battle-axe, a sword, the thunderbolt, the fire,
a great serpent, a bell, a goad, a noose and the gesture of
dispelling fear. He is adorned with priceless gems.

This is followed by rules relating to Purashchara^a and
other rites.

Verse 98 contains the Prasada Mantra of eight letters.

Verse 100 contains the Dhyana of the Deva : —

I adore him who is of the colour of vermilion. On his

INTRODUCTION

47

head is a gem-studded crown and the Moon. On his forehead
is shining his third eye. His lotus face is illumined with a
smile. The gems and ornaments he is wearing are of celestial
excellence. On his left knee is placed the right hand of his
beloved who, with the other hand, is holding a red water-lily.
One of his hands is on the rounded and high breast of
his beloved and with the others he holds the Veda, a battle-
axe and the gesture of granting boons.

Verses 101-104 contain rules of Purashchararca and rituals.

Verse 105 contains the Mantra of Shiva as Mmyunjaya
( Conqueror of Death ) and verse 108 his Dhyana

His three eyes are the Moon, the Sun and the Fire. He
has a smiling face. He is seated on a lotus and another lotus
is above him. He is of the effulgence of the moon. One of
his hands is held in the gesture of Jnana-mudra, and in each
of the others is a noose, a deer and a rosary of kkska. beads.
The nectar flowing from the Moon in his matted hair,
bathes his body. He is wearing garlands and other gems.
His beauty charms the universe. He is the Lord of creatures
and the Conqueror of Death.

Verses 109-124 contain rules relating to Purashcharawa
and so forth. Verse 125 says that, he, the Lord of Uma,
should be meditated upon in the heart for the alleviation of
all pain. Verses 126-128 contain some more ritualistic rules
and verse 129 gives his Yantra.

CHAPTER XIX.

Verses 2 and 3 give the Mantra of Dak^ma-murti. This
is followed by the usual particulars about the name of the
Rish\ and so forth. Verses 10-18 contain a description of the
place where he is, and as his subtle ( Suk^ma ) form is

ineffable, the Dhyana in verse 19 is of his gross ( Sthula )
form : —

1 adore him who is like the Mount Kailasa. On his matted
locks is the crescent moon. His gaze is fixed on the tip of
his nose. He is three-eyed and is seated in the Vira posture

48

INTRODUCTION

( Vfrasana ). He is gracious of mien carrying in three of his
hands the Jnana-mudra, a battle-axe and a deer and one hand
is placed on his thigh. Serpents encircle his waist. He is
surrounded by the Munis.

It may be noted that all the Dhyanas given in the book
are of the Sthula forms only for the help of the Sadhaka
towards that which words cannot describe.

This is followed by rules relating to Purashchara«a and so
forth.

Verses 25 and 26 contain directions regarding a method of
making of Brahmlglm'ta by Sadhakas of this Mantra.

Verses 27, 28 give another Mantra and this is followed by,
as usual, the name of the Rishx and so forth.

Verse 31 contains the Dhyana of Daks^i«a-murti as the
Deva of this Mantra : —

I adore him who is three-eyed and is of the colour of
crystalline silver. In two of his hands are a rosary of pearls
and a jar of nectar, and with the other two he is making the
gestures of Vidya and Jnana. On his forehead is the Moon.
He is adorned with many kinds of ornament. Serpents
encircle his waist.

Verses 32-41 deal with Purashchara«a and rituals.

Verses 42, 43 contain the Mantra of Shiva as NilakawMa
( Blue-throated ) and verse 48 is his Dhyana : —

He is seated on a lotus. His effulgence is that of ten
thousand young suns. On his matted locks is a digit of
the moon. He is raimented with tiger-skins and great
serpents are his adornment. He is beautiful and has
five faces with three eyes in each. In each hand of his
is held a rosary, a trident, a skullcup and a skull-mounted
staff.

Verses 49-54 describe Purashchara^a and other rites.

Verse 55 gives the Chintamam Mantra Verse 58 contains
the Dhyana which is that of Ardhanarishvara.

Verses 59-82 describe Purashchara«a, rituals and Yantras.

Verse 83 contains the Tumburu Bija.

INTRODUCTION

49

Verse 90 gives the Dhyana : —

He is red and has four faces with three eyes to each. His
noses are flat. The crescent moon adorns his head. He is
decked with priceless adornment. He is smeared with red
unguent and his raiment is red. He is decked with red
flowers. In his hands are a skull-mounted staff ( Kha/vanga ),
a noose, a goad and a white skull -cup.

Verses 91-108 contain Purashcharawa and rituals and 109
the Yantra.

Verses no, hi contain Khaafga-ravarca Mantra.

Verse 120 gives the Dhyana : — He has five faces and ten
hands, is red in colour and his raiment is red.

This is followed ( Vv. 1 21-132 ) by Purashchara#a and
rituals.

CHAPTER XX.

Verses 2-4 give the Aghorastra Mantra of 51 letters. Verse
10 gives the Dhyana of Aghora : —

He is dark like the heavily laden rain-clouds. He has
three eyes and terrific fangs. His raiment is red, so also is the
unguent on his body. In his hands are a battle-axe, a Z?amaru
( small drum ), a sword, a shield, a bow, an arrow, a trident
and a human skull. Serpents circle round him.

He is to be meditated upon as of different hue for different
Prayogas ; such as, black for Abhichara, white for Moksz&a
and so on.

Verses 12-21 deal with Purashchara«a, rituals and Prayogas.

Verses 22 and 23 describe two Yantras.

Verse 25 gives the Pashupatastra Mantra of six letters.
Verse 27 gives the Dhyana of Pashupati.

This as also Aghora are fearsome aspects.

Verses 28-31 deal with Purashcharawa and other rites.

Verse 32 contains the Mantra of K^etrapala and verse
34 the Dhyana : —

He is dark like a mountain of dark blue collyrium.
His hair is of a tawny hue. He is raimented with space,

7

INTRODUCTION

$

Serpents are his adornment. His eyes are round and angry.
In his hands are a mace and a skull. He has terrific fangs.
His body is wonderful. I bow to him.

Verses 35-40 deal with Purashcharawa, rituals and Prayogas.

Verses 44-45 contain Apaduddharawa ( rescuing from
danger ) Mantra of Vaifuka. It is of 21 letters.

Verse 50 gives the Dhyana of Va/uka in his Sattvika
aspect : —

He is a boy, bright and white like crystal. He has three
eyes and his face is cheerful and charming with its curly hair.
He is decked with ornaments of great beauty, set with nine
kinds of gem. His raiment is white. In his two hands he is
holding a trident and a stick.

Verse 52 gives the Rajasa Dhyana of VaAika : —

He is in colour like the rising sun, three-eyed and is
smeared with red unguent and wearing a red garland. He
has a smiling face. With two of his hands he is making
the gestures of granting boons and dispelling fear and in each
of his other two hands is held a skull and a trident. His throat
is blue. He is decked with hundreds of rich ornaments.
On his head is shining the moon. His raiment is of the
redness of the Bandhuka flower.

Verse 53 gives the Tamasa Dhyana : —

He is of the colour of a blue mountain. He has a digit
of the moon on his head, fear-inspiring fangs and three eyes.
He has tawny hair and the points of the compass are his
raiment. Serpents adorn him and he is wearing a garland of
heads and on his feet are toe-rings set with gems. In his
hands he holds a serpent, a bell, a skull, a small drum, a goad,
a sword, a noose and the fear-dispelling gesture.

Sattvika Dhyana is for those who wish to avoid accidental
death, seeks happy long life and Liberation ( Moksha ).
Rajasa Dhyana is for those who seek Dharma, Artha and
Kama and Tamasa for such as seek to injure their enemies
and counteract evil influences.

Verses 55-131 deal with Purashchara^a, and Prayoga.

v

introduction 51

Verses 132-134 give the Yantra for averting danger.
Verses 135-136 contain the Cha«^a Mantra of 3 letters.
Verse 139 gives the Dhyana of Chazz^a : —

He is red, three-eyed, garbed in red and on his head is
the Moon. He has in each of his hands a battle-axe,
a trident, a rosary of crystals, and a Kamazzz&du.

Verses 140-148 give rules of Purashcharazza, and so forth.
Verses 149-159 is a hymn to Shiva : —

Thou art the form of Earth, Water, Fire, Air, Ether,
the Sacrificer, the Moon and the Sun.

Thou art beneficent and abidest in all that is :

Obeisance to Thee !

Thou abidest in the Upanij/zads,

Thou art Shruti, Shruti owes her birth to Thee.

Thou art beyond the senses.

Thou art the eternal Maha^ :

To Thee Obeisance again and again.

Thou art neither gross nor subtle.

Thou art good ( Shambhu ).

Thou destroyest the ills of this world.

Obeisance to Thee, O Bhava !

Thou art far beyond all polemics.

All-knowing Thou art and grantest the fruits of penance,
And the fourfold aims of human life.

Obeisance to Thee and again obeisance t
Thou hast no beginning, no middle and no end.

Thou dispellest all fear.

Attributeless art Thou and great.

Yogins alone can meditate on Thee :

To Thee obeisance and again obeisance !

Thou art the Universe, and beyond thought.

Thou destroyest the pride of Kama.

Thou annihilatest Time.

On Thy forehead shines the Moon.

To Thee obeisance again and again !

52

INTRODUCTION

Thou eatest poison and

Art seated on the constantly moving Vrisha.

The flowing waters of Ganga holds like a string
Thy matted locks in place :

To Thee obeisance !

Pure Thou art and purifiest,

Thou art the innermost Atma of the pure.

Thou art the destroyer of Tripura.

Thou art all and Thy name purifies :

To Thee obeisance !

Thou grantest Enjoyment and Liberation to Thy votaries,
And art to them devoted.

Thou hast no home, no cloth to cover Thyself,

Yet art Thou the Ruler of the Universe :

To Thee obeisance again and again !

Thou art the root of the Three ( Brahma, Vishnu, Rudra ).
Thou hast three eyes. Obeisance to Thee !

Thou art the Light of the three Lights ( Sun, Moon, Fire ).
Thou destroyest rebirth :

To Thee obeisance !

The gems in the diadems of Devas and Asuras tint,

With a rosy tint, Thy feet.

Charming and beloved Thou art,

And hast to Thy beloved given half Thine own body :
Obeisance to Thee again and yet again !

CHAPTER XXL

After having described the rituals of the five classes of
worshippers ( Panchopasakas ) commonly known as Tantrikas
the author here begins to speak of Vedik Mantras. In this
chapter he first speaks of the Gayatrl Mantra which makes
the Sach-chid-ananda Brahman manifest. The twenty-four
letters of the Gayatrl ( V. i ) are the twenty-four Tattvas.

Raghava cites a long passage from the Prapanchasara
( Ch. XXX ) which shows how the Vyahntis and the Gayatrl
point towards the Brahman.

Introduction

53

Verses 2*8 give the names of the Risk is of the Vyahntis
and of the Gayatrl, the Chhanda/fc, the Devatas and so forth.
The Mantra itself being Vedik has not been given.

Verses 9*14 speak of the different forms of Nyasa to be
done.

Raghava cites a long passage from the Kalpantara which
shows how each single letter of the Gayatrl has to be placed
when doing Nyasa.

Verse 15 gives the Dhyana of the Devi Gayatrl : —

She has five faces which are of the colour of pearl,
coral, gold, and blue and white respectively. Each face
has three eyes. Her gem-set crown has the Moon on it.
The twenty-four letters of the Mantra compose her body.
Two of her hands are held in the gestures of granting boons
and dispelling fear and in each of the other hands she
holds a goad, a whip, a white skull, a noose, a conchshell,
a discus and two lotuses.

Raghava cites texts which shows the different ways the Devi
is to be meditated upon in three different times of the day,
namely, morning, midday, evening. The Mahanirvawa-tantra
also gives the three Dhyanas. ( See Avalon’s ‘Great Liberation
Ch. V. ).

Verses 16-31 give directions about Purashcharawa and so
forth. Raghava here gives the fourth part of the Gayatrl, of
which use is made by those who seek Liberation.

Verse 32 speaks of the TrisMip Mantra.

The Mantra is given by Raghava in his commentary and
he says that being a very wellknown Mantra in the /?zgveda
it has not been given by the author. It is of 44 letters.

Verses 33-38 contain information about Risk i, Chhandai,
Devata and so forth and the rules of Nyasa.

Verse 39 gives the Dhyana of Durga as AnalatmikS
( Fire ) : —

She is of the effulgence of streaks of lightning
and is seated on a lion. She is terrific of aspect and
surrounded by young virgins who are carrying swords and

54

INTRODUCTION

shields. She has three eyes and has the Moon on her forehead
She has in each of her hands a discus, a conchshell, a sword,
a shield, a bow, an arrow, a trident and the Tarjanl-mudra
( Chiding gesture ).

Verses 40-56 give rules of Purashchararca, ritualistic
worship, Prayoga and information about articles to be used
in, and the proper time and place for doing, the rites.

Inverse 57 it is said that the previous Mantra becomes,
if reversed ( Vilomapa^ita ), the Agneyastra Mantra.

The Dhyana of the Devata of the Mantra it is said
( V. 59 ) has to be learnt frnm the Guru.

With verse 60 begins a description of how Vedik Mantras
made up of parts of the Trij///up Mantra are to be used for
gaining worldly advantages, injuring enemies and so forth.

In describing these rites the Mantras of Durga in her
different aspects are given. These forms are Atidurga Garn-
durga, Vishva-durga, Sindhu-durga, and Agni-durga.

Verse 146 gives the Yantra.

CHAPTER XXII.

In verse 2 it is said that the Ati durga Mantra is called
Dinastra and ( V. 3 ) if it is reversed it is called Kmyastra.

Verses 3-88 contain injunctions relating to the different
purposes for which these Mantras may be used.

Verses 89-97 give the Lavaca Mantra and the name of the
Risk i and other particulars.

Agni, Ratri, Durga and Bhadrakali are the Devatas of the
Mantra.

Verses 100, 101 give the Chi/i Mantra of 24 letters.
Verse 102 gives the Dhyana of Agni, 103 of Ratri, 104 of
Durga and 105, of Bhadrakali.

Verses 106-164 contain rules relating to Purashchara«a
worship and the manner the Mantra is to be used for the
attainment of the object desired.

INTRODUCTION

55

CHAPTER XXIII.

This chapter speaks of the Traiyambaka or Anu^/up
Mantra. It is of 32 letters. The Mantra which is Vedik is not
given in the text but Raghava supplies it from the ^fgveda.

Verses 2-8 give the name of the Risk i, Chhanda^ and
so forth and direction regarding Nyasa.

Verse 9 gives the Dhyana : —

I adore Shiva. He is seated on a lotus of transparent
whiteness. He is beautiful like Mount Kailasa. He has
three eyes. On his diadem is the digit of the moon. With
two of his hands he is bathing his head with nectar out of
two jars held in two other hands. In two of his other hands
are held a deer and a rosary. On two hands resting on the
body are placed two jars.

Verses 10-33 £P ve rules relating to Purashcharawa, worship
and the way the Mantra is to be used in Prayoga.

Verse 34 says that the Mantra of 100 letters is made
up of the letters of the Mantras of Gayatri ( 24 ), Trisktup
( 44 ) and Anm^/up ( 32 ).

Verse 3 7 gives the Dhyana : —

I adore the great Maha^ who is Truth and im-
measurable, the Source of the words of Shruti, Cause of
the Universe, spread over the moving and the motionless,
the object of meditation of those Munis who have restrained
their senses. He is the Sun, Fire and Moon. The hundred
letters of the Mantra form his body. He is the Prawava,
all-spreading Nityananda ( Enduring Bliss ) and beyond the
three Gumis ( Sattva, Rajas, Tamas ).

Raghava interprets this verse with illustrations from Shruti
and gives an alternative interpretation whereby the Dhyana
becomes applicable to Kum/alini Shakti.

This shows the relation of in-separateness ( A-vina-
bhava ) between Shiva and Shakti.

Verses 38-51 contain Purashcharami and other particulars.

Verse 52 speaks of the Varum Rik.

56

INTRODUCTION

The Rik which is in .ftfgveda is supplied by Raghava.

Verse 57 gives the Dhyana of Varuwa : —

He is seated on a lotus and is lustrous like the moon.
Gracious of aspect he is holding in two of his hands a
noose and a goad and with the other two, making the
gestures of dispelling fear and granting boons. He is
adorned with pearls.

This is followed by ( Vv. 58-70 ) rules of Purashcharawa
worship and so forth.

In verse 71 the author says “I now speak of the rules of
Prawapratfo^Ma ( Life-infusing ) Mantra whereby the Mantras
previously mentioned become quick with Life*”

Verses 72-75 describe the Mantra. This is followed by
the name of its Ristn and so forth.

Verse 85 gives the Dhyana of the Devi of the Mantra : —

She is red and is seated on a red boat in a red ocean.
She has three eyes. In each of her hands is held a noose,
a goad, a bow, an arrow, a trident and a skull.

Verses 86-103 give rules of Purashcharawa and so forth.

Verse 104 gives the Yantra.

Verses 105- 1 14 describe different kinds of Mudra.

Verses 1 15-120 describe different kinds of rosary and the
benefits that are respectively derived therefrom.

Verses 1 21-135 speak of .S^a^karma, that is, the different
rites for attaining the six objects, such as, Shanti ( Peace ),
Stambhana ( Paralysing ) and so forth.

Some of the technological expressions used in the book
are also explained ( Vv. 136-145 ). Raghava has further
illustrated this by citing texts from various authorities.

CHAPTER XXIV.

This chapter ( Vv. 1-86 ) describes thirty-six different kinds
of Yantras. They are to be worn for averting evil influences,
curing fever, averting the effect of Abhichara employed by
an enemy, controlling a recalcitrant wife and various other
purposes.

INTRODUCTION 57

Verses 87-110 is a hymn to the Devi Anandamayl ( Bliss )
who is Shabda Brahman and Cause of the Universe.

The hymn begins by saying “O Mother ! I sing Thy
praise so that thereby my words may be purified. Thou art
the primordial Mother of all. Thou hast created the bodies
of Brahma, Vishnu and Shiva and Thou dost create, maintain
and withdraw into Thyself the three worlds.” Again the
hymn says (V. 91 ) that though the Devi is the first
of all ( preceded creation ) yet She is in the first flush of
Her youth ; though She is the daughter of the rocky
Mountain ( Himalaya ) yet is She soft ( kind ) ; though She
is the Mother of the Vedas, She is not seen by them ; though
meditated upon, She is beyond the scope of the mind. It is
again said ( V. 102 ) that Shiva not satisfied with looking at
and admiring Her with two eyes created in the excess of his
adoration a third eye on his forehead the more fully to see the
beauty of Her thighs.

CHAPTER XXV.

This chapter deals with Yoga. It begins by saying
( Vv. x — 3 ) that according to Vedanta the union of Jlva and
Atma is Yoga ; according to the Shaivas, the knowledge of
the oneness of Shiva and Atma is Yoga ; according to the
Uttaramnaya the realisation of the inseprateness of Shiva and
Shakti is Yoga. The dualistic Vais^zavas and others say
that the knowledge of the Purawapuru^a is Yoga.

Pura#apurui/&a, according to the dualistic Vai^wava, is
Purm^ottama ; Sankhya says it is Puru^a ; Naiyayikas
say it is Ishvara.

The first thing, the aspirant for Yoga has to do, is ( V.4 )
to conquer the six enemies, namely, Kama ( Desire for sexual
and other enjoyment), Krodha (Urge to injure), Lobha
( Thirst for wealth and the like ), Moha ( Ignorance of the
Real, the Tattva ), Mada ( Pride of birth, wealth, learning and
the like ), Matsara ( Envy ).

These can be conquered by ( V. 5 ) the eight limbs

8

58

INTRODUCTION

( Angas ) of Yoga. These are Yama, Niyama, Asana, Pra-
wayama, Pratyahara, Dhararca, Dhyana and Samadhi.

Yama, it is said ( V. 7. ), consists of Ahimsa ( Disin-
clination to injure ), Satya (Avoidance of untruth ), Asteya
( isinchnation to steal ), Brahmacharya ( Disinclination for
sexual enjoyment ), IOz'pa ( Compassion ), Arjava ( Guileless-
ness ), K^ama ( Absence of anger towards an aggressor ),
nti ( Imperturbability ), Mitahara ( Restriction of food to
just what is needed for the preservation of the body ),
Shaucha ( External purity leading to purity of disposition ).

Raghava cites texts which explain these more fully. He
says that by Ahimsa and Brahmacharya, Kama is vanquished •
and by Knpa. and Mama, Krodha. By the practice of
Asteya, Satya and Arjava, Lobha is killed. Mitahara and
Shaucha destroy Moha. By Mama and Arjava is Mada

Matsara^ AhlmS *’ Kri &> Arjava and Mama destroy

Niyama comprises ( V. 8. ) Tapas ( Penance ), Santoiia
( Contentment ), Astikya ( Belief in a future life leading to the
practice of Dharma ), Dana ( Charity according to one’s
means for discharging debts due to the Devas Pitre and
MaiMyas ), Devapujana ( Worship of the I^a-devata *
Form of the Brahman adopted by the Sadhaka ), Siddhanta-
shrava«a ( Listening to the teachings of the UpanMads and
other Shastras ), Hri (Aversion towards low and wicked
pursuits), Mati (Discrimination), Japa (Recitation of

Mantra with concentration in manner enjoined by the Guru )
and Homa. '*

Verses 9 to 15 describe the five Asanas, namely, Padma
Svastika, Vajra, Bhadra and Vlra.

Verses 16-22 describe Pra«ayama and its different stages.

Verses 23 defines Pratyahara to be the restraint of the
senses from the objects thereof.

Verses 24 and 25 describe Dhara«a. Shortly it means
the restraint of the vital air ( Pratta-vayu ) in different part of
the Sadhaka’s system.

introduction 59

This is fully explained by Raghava by citing a text from
Vashis^^a Samhita.

Dhyana means (V. 26 ) meditation on the Sadhaka’s own
Is/£/a-devata as the Atma, with mind unperturbed and
immersed in his own Chaitanya.

Samadhi (V. 27 ) is the constant realisation ol the oneness
of the Jivatma and the Paramatma.

After saying ( V. 28. ) that the length of a man’s
body is 96 fingers’ width of his own fingers and that in the
human frame are both Shiva and Shakti or as some say
both Fire and Moon or as others say both Semen and Blood,
the text proceeds to describe Kuwdalinl Yoga.

The Na^is and Chakras are ( Vv. 29—32 ) described as in
the .S/kaA:hakra-nirupa«a ( vide Arthur Avalon’s ‘Serpent
Power* ).

In speaking of the Chakras or Adharas the author says
( V. 33. ) that there is a difference of opinion as to the
number of the same. Verse 34 speaks of the Naafe.

Raghava states that some say that there are twelve
Chakras, others that there are sixteen and others again, that
they are many. He cites some texts in support of this.

Verses 35-38 say that KundaYmi abides in the Muladhara
and resting on the Hamsa^ unites with the Paramatma.
Hamsa^ rests on vital breath ( Pra«a-vayu ).

Verses 39-47 describe how and when the Sadhaka should
sit and begin his practices and how he should proceed.
Particular attention is drawn to the necessity for the Yog! to
know which of the Bhutas ( Elements ) is dominant in his
system at the time.

Verses 48, 49 speak of the manifestation in the inner
consciousness of the Yog! of the ten kinds of Dvani
( Sound ).

The different sounds are the same as in the HamsopanE/Jat
cited by Raghava.

Verses 50-53 speak of the origin of the Pra#ava. It is
here shown how the Pra«ava is immanent in the Ajapa

6 o

INTRODUCTION

( Hamsa^ ) Mantra which is both male and female — Ham
being male ( Pum ) and Sa/£, female ( Praknti ).

Verse 54 describes Pra^ava. It is supreme Bliss and ever
is. It is Chaitanya or Jnana and inseparate from Atma.

Verses 55-57 speak of the ineffable Ku^astha Brahman.
He is far beyond the word of the Vedas. From him emanate
the Shastras. He is self-manifest, Bliss itself and Light itself.
He is Truth and beyond all arguments, the source of the
Vedas, the Cause of the Universe, spread over all that is
moving and motionless and without compare. He is the inner-
most Chaitanya. The Sun, Fire and Moon are his body as
He is Light ( Prakasha ). He is seen by the Yogis whose
senses are controlled. He is realised by the seven parts of the
Prawava. He is immeasurable. The Upani^ads lead up to
Him. He is Samvit all-spreading, unchanging and imperish-
able. He is the transcendent Tejas the massive nectar of
Bliss. [ The text has the neuter pronoun ].

All that has here been said of the Ku/astha or Nirgu^a
Brahman do not describe but merely point towards him.

For the benefit of those who cannot apprehend and
worship the Nirgu^a or attributeless Brahman, verses 58-61
speak of the worship of the Brahman in his creative and other
aspects as preparatory steps towards it. As such He is
Hira^ya-garbha, variegated Light, Source of the three
( Brahma, Vxsknu and Shiva ), the Seed of the Vedas and
other Shastras, the Chaitanya in the region of the Sun,
the Puru,y/£a no bigger than the thumb ( Angu^Ma-matra
Purus^a ). He is again described as resting on the Great
serpent Ananta ( Bhujanga-bhoga ) in the ocean of milk. He
is united with Kamala ( Lak^mi ), dark like collyrium with
lotus-like eyes, the bridge between Dharma and Adharma
( Dvivararca ) and so on. Meditation on the Pra«ava as
one with the body of Shiva is the highest form of image
worship.

The inner meaning of Bhujanga bhoga or Ananta-bhoga is
different from what is popularly understood. Bhujanga or

Introduction

6i

Atlanta means the Brahman who is endless. He who enjoys
( Bhungkte ) this Ananta is Ananta-bhoga. The sense is
that the Brahman with attributes emanates from and rests
on the attributeless Brahman.

Verses 62, 63 speak first of Sabija Yoga. It is said that
YLunddiWm is Yinda. which means lumped up, A. U. M. and is
therefore the Pra^ava. She is Shiva ( Shivatma ). Hamsa^,
the inner self ( Antaratma ) of all, is her place ( Pada ). Bindu
is the form ( Rupa ) of limitless lustre. The union of Shiva
and Shakti is beyond form. Sadhakas when they go beyond
this world of forms to the apprehension of the Union of
KuWalini with Shiva attain Sayujya Mukti. When every-
thing is dissolved in Shiva who ever is, and nothing is
desired, it is Nirblja Yoga. This is Sarupya Mukti.

Verses 64-79 describe Raja Yoga which is effected by
meditation on KuwofalinI whereby the Atrna is realised.

Ku«^alinl ( V. 64 ), when she wakes up and moves from
the Muladhara upward like a flash of lightning along the
channel of Sus/Jumna, pierces the six Chakras as she goes
upward and when she reaches the Sahasrara, she unites with
her Lord, Para Shiva. Then she returns to her own abode in
the Muladhara.

Verses 65-72 give some attributes indicative of the subtle
and transcendent nature of Kuwafalini and a description of her
progress to the Sahasrara and end by saying that though,
for the purposes of Sadhana, she is endowed with attributes
she cannot be known by them, she can only be meditated
upon ( Dhyeya na vedya gundJxh ).

Verses 73-76 contain a hymn to Ku«afalinl intended
further to stimulate the Sadhaka’s earnestness for Yoga. It is
said (V. 73 ) when she goes up shining like lightning the
lotuses on her path put on a smiling appearance gladdened by
the charm of her presence.

Verses 77-82 contains a Dhyana of Ku«^alinl. In this
further details of her progress upward is given.

Verse 77 says that the letters of the alphabet, as also the

62

INTRODUCTION

Sliaktis, Z?akini and others, the Devas, Brahma and others are
in the six Chakras. Verse 78 says that when Kuwafalinl moves
up like a streak of lightning, she unites with the three Shivas,
Svayambhu in the Muladhara, Vawa in the Anahata and Itara
in the Ajna Chakra. The three coils of Ku«^alini are the
three Guwas, — Sattva, Rajas, Tamas.

In Verse 82 it is said that the Yog! gets the fruit of Yoga
when with his senses perfectly controlled and his Dhl
( higher unerring mind ) absolutely immobile, he places his
own Atma in the Parashiva who is the void not limited by
space and time, the mere Chaitanya and in whom the five
Karawas are dissolved.

The five Karawas or causes of any action, Raghava says,
are, — Upadana, Samavayi, Nimitta, Prayojaka, Sahakari.

The proofs were in part read by Sj. Haridasa Mitra, m.a.
and partly by Sj. Panchanana Sankhya-Vyakararcatlrtha.

April 1933

A.S.

Note on the first Chapter
by Sj. Jnanendra Lai Majumdar.

“I shall speak the beneficial Saradatilaka which is the essence of the
Tantras, the first cause for the attainment of Dharma, Artha, Kama and Mokra
( religious merit, wealth, desire and liberation )”. With this introduction
( x. 4 ), the author, Lakxma«a, begins the book, a compendium of Tantras
extant in his time, and in 25 chapters deals with the theory and practice of
Tantrik worship. As the Tantra Shastra is preeminently a practical Shastra
dealing with Upasana or worship of the Deity with rites, Mantras and Yoga, the
author has devoted only a small chapter, tne first, to the philosophy underlying
the practice.

The philosophy of the Tantra.

2. “Eternal Shiva should be known as Nirgu«a and Sagu«a. Nirgu«a is
dissociated from Praknti and Sagu«a is associated with Prak^/ti” ( 1. 6 ).
Thus, in the beginning, there were two ultimate principles, Shiva and Praknti,
the principle of consciousness and the principle of unconsciousness. This looks
like Sankhya dualism, but it is not so. For in Sankhya unconscious Praknti is
the Cause and there is no room for God or Ishvara. Nor is it the dualism of
the Yoga system of Patanjali, for therein an individual, enjoying freedom from
the troubles of the world, is the Ishvara, and Praknti is the cause. Here
( *• 7 )> however, “the supreme Ishvara who is rich in the wealth of
Sat ( Existence )-Chit ( Consciousness )-Ananda ( Bliss ) jand associated
with Praknti”, is the cause. ( Light is a better rendering of Chit than
Consciousness, and perhaps Life is a better word for Sat than Existence. )
It is, therefore, a form of monism in which Shiva is dissociated from and
associated with Praknti ( mrgun&h sagu«ashcha ). This Shiva cannot be the
ultimate principle of absolute consciousness as conceived in Shankara’s monism
in which the principle of consciousness or Brahma is the only reality, Praknti
and its products being really unreal, and even Ishvara or creator God
vanishes in moksha or ultimate dissolution ( “ishvarastur!yagrasa^”-Nnsimhata-
pani Upanuad ). Verse I speaks of one Shiva, and not two Shivas, dissociated
from and associated with Praknti. Hence he cannot be identified with
Brahma of Shankara’s philosophy who is never associated with Praknti, the
unreality. It cannot also be said that the association of Brahma with Praknti
is the view-point of the ignorant Jiva, for here the author is enunciating the
first principle in his system of philosophy and presenting an ideal for attainment

6 4

INTRODUCTION

by Tantrik Sadhakas. At least in the absence of farther elucidation by the
author himself we cannot be justified in identifying his Saguwa-Nirgu^a Shiva
with the Nirgu^a Brahma of Shankara’s philosophy. Moreover, it should be
considered that Tantra being preeminently an upasana shastra cannot hold up
Nirgu^a Brahma, who is in no way associated with the Action of creation, as the
object of upasana. Upasana must, somehow, be theistic.

3. The authority for such a view of monism may be found in such texts
of Shruti as, —

“te dhyanayoganugata apashyan devatmashakting svagu«aimigthf/&am”
( Shvetashvatara Upaniiad 1, 3 ) — Rapt in meditative concentration they saw
the self-energy ( atma-shakti ) of the Divinity hidden by its potencies ( gurcas ) ;

“m&yang tu praknting vidyan mayinang tu maheshvaram” ( I bid IV, 10 )
— Maya should be known as Prak^/ti and the May! [ the lord of of Maya ) as
Maheshvara ( great Ishvara ) ;

“sa vishvaWdvishvavidatmayonirjna^ kalakala gu«i sarvavit” (I bid VI, 16) —
He is the maker of the universe, the knower of the universe, Himself His own
cause, the sentient, the death of Death ( or time ), the possessor of gu«as
( potencies ), the cogniser of all.

4. The association of the Divinity with Prakr/ti or Maya is pithily put
fprth in the Gita, — “daivl hyesa gu«amayl mama maya duratyaya” ( Bhagavad-
Glta VII, 14 ) — this Divine Maya of mine, consisting of gu^as ( potencies ), is
difficult to surpass.

5. Indeed all sects of Upasakas, the treaders of the path of Bhakti princi-
pally, seem to have idealised a form of Divinity in which the Supreme, who is
all consciousness, is associated with unconscious creative energy for the purpose
of creation which is His sport ( Ilia ), maintaining at the same time His own
purity and blissfulness. According to the dualistic VaL/savas, He is ever
sagu^a, possessed of infinite inscrutable potencies, the nirguwa aspect being
only a passive phase in His creative manifestation or emanation. He is the
infinite God with infinite expansion out of whom an infinite number of atomic
Jlvas have been flung out as pawns in His divine Sport of Love, ever remaining
distinct from Him but finding their summum bonum in their service of Him
in His kingdom of Heaven. According to the Shaktas He is sagu«a as the
Creator and nirguwa as the Liberator, all Jlvas being, on liberation, merged in
the infinitude of His eternal Being. He is both sagu^a and nirgu^a, neither
sagu^a nor nirgu«a, beyond all gu^as but still of them. Between Him, the
Shiva, and the Jlva, there is only the bar of the bonds of individuality
( Jlvahood ). The Jlva, when he has thrown off this bondage, becomes Shiva,
“P^shabaddho bhavejj'iva^ pashamukto maheshvara^”.

6. Sagurca Shiva, “rich in the wealth of Existence or Being, Consciousness
and Bliss”, is the Self-sufficient ( svatantra, svayampur/za ) energised conscious
Being out of whom creation is evolved. He is both the material and the
efficient cause of the creation. The first steps of the evolution are as follows —

INTRODUCTION

65

Sagu«a Shiva ( energised consciousness )

Shakti ( conscious energy )

Nada ( conscious energy in undifferentiated
vibration )

Para Bindu
or

Shabda— Brahma ( conscious energy in undiffer-
entiated consolidation )

Table I ( verses 7-16 )

I

Bindu

( differentiated
conscious
energy =
Shiva )

1

Rudra

= Ichchhashakti
( volition energy )
called Fire,
representing
Tamas gurca.

Blja

( differentiated
conscious energy =
Shakti, the seed
of creation )

.1

Visnu

= Jnana Shakti
( cognition energy )
called Sun,
representing
Sattva gutfa.

1

Nada

( the resultant conscious
energy in vibration due
to the coalescence of
Bindu and Blja )

1

Brahma
■= Kriya Shakti
( action energy )
called Moon,
representing
Rajas gutfa.

7. This is a creative evolution, without any vikara or diversifying change,
in Sagu^a Shiva, caused by His will ( Ishvara-chodita ). In Him, the infinite
energised conscious Being, there awakes, first of all, conscious energy, the
Shakti or Maham&ya who is the Mother of the world and with whom He is one.
This Shakti or, rather, Shiva-Shakti, rouses in Herself a cosmic creative vibra-
tion, not yet gathered in diversified centres, and is called Nada. This infinite
undifferentiated conscious vibratory energy becomes next somewhat consoli-
dated ( ghanlbhuta ), that is, attains a state of imminent differentiation
( vyakara^onmukhata ).. This is called Para ( supreme ) Bindu. He is more
significantly called Shabda-Brahma, the universal conscious sound, the cosmic
toll in which shape Sagurca Shiva, the Parameshvara, rings out the creation as
an endless diversity of conscious energy. ( It should be remembered that mass
and energy are interchangeable according to modern science ). In the
individual living being it is the Ku^alin! energy. Shabda — Brahma is the first
creative aspect of the Great God out of which evolve the differentiations of
conscious energy in three forms, namely Bindu, the parent of will or volition,
Blja, the parent of perception or cognition, and Nada, the parent of action
which springs out of a combination of cognition and volition. ( Cf. Parasya
shaktirvividhaiva shruyate SvabhavikI jnanavalakriya cha. Shvetashvatara Up.
VI. 8 ). In volition there is the play of desire, born of ignorance. In it,
therefore, Tamas, that is, the blinding potency ( gurca ) of Praknti, pre-

9

66

INTRODUCTION

dominates. In cognition there is the light of knowledge. In it Sattva* the
revealing or enlightening potency of Prakriti, predominates. And in action
Rajas, the active or exciting potency of Prakriti, predominates. They represent
Rudra, Vi^rn and Brahma, the Destroyer, the Preserver and the Creator, of
Hindu theology, the differentiated triple aspect of Parama Shiva or Mahamaya
or Shabda-Brahma who are one.

8. Out of Para Bindu or Shabda-Brahma evolves the endless diversified
creation, with which we are acquainted, from the subtlest conscious energy,
Mahat or intelligence, to the grossest energy constituting the physical world
which seems to be entirely devoid of consciousness, though we have no right
to say that it is really so. The following table ( Table II ) gives the order ;

Table II ve rses 17 — 26) Para Bindu or Shabda — Brahma

Mahat ( intelligence )

I

Ahangk&ra ( egoism ; I— sense )

(The 10 senses— 5 senses of perception
and 5 senses of action — are consi-
dered as conscious energies, their
consciousness aspects being the
presiding deities of their unconsci-
ous energy aspects, the sense or
nerve powers which are the
kara«as or instruments of their
presiding deities. )

The Tanm&tras, 5 in number,
which are the subtle princi-
ples of solidity, fluidity,
luminosity, vitality and
spatiality.

The deities presiding over
the senses, 10 in number
( sattvika )

The senses
( indriyas ),

10 in number

Shabda Tanmatra

Akasha ( sound or spatiality )

( space )

( life or vital air )

Vayu

Sparsha Tanmatra
( touch or vitality )

( fire or light )

Tejas

Rupa Tanmatra
( form or luminosity )

Apa

( the waters, liquid and
gaseous fluids )

Rasa Tanmatra
( taste or fluidity )

Kriti
( earth )

Gandha Tanm&tra
( smell or solidity )

INTRODUCTION

6 7

The original ( verse 18 ) speaks of io presiding deities, but Raghava
Bha//a, following the Sankhya classification, explains Ka as referring to both
PrajSLpati, the deity presiding over the sexual organs, and Moon ( Chandra ),
the deity presiding over mind, thus making the number of deities and of the
senses eleven, with mind as the nth sense. But as the text runs, we should
rather include mind in Mahat as a phase of the inner sense ( Anta/£kara;za,
verse 17 ).

9. From Shabda-Brahma or the conscious cosmic sound, the conscious
cosmic energy stirred up to the point of diversifying creative potentiality, evolves
Mahat or cosmic intelligence, from the Mahat, Ahangk&ra or cosmic feeling as I,
one universal ego out of which the diversified world of subjects and objects is to
evolve, the samaj/i Puruja comprehending in Himself the world of subjects and
objects.

The fulfilment of the “I” — sense, necessitated by the creative urge, comes
from the evolution, out of it, of the subject as the cogniser and actor, the
object as the cognised and the instruments of cognition and action. Hence
evolve the universal deities presiding over the universal indriyas for the
cognition of the universal objects, the sense-gods, the senses and the objects of
the senses, all out of the universal Ahangkara. As regards the objects of the
senses, Hindu Philosophy has never recognised any essential differences between
them. They are all of the same origin, differing only in the degree of cohesion
or consolidation and thus giving rise to different distinctive properties cognised
by the different senses. They are all manifestations of energy and in their
subtle forms are characters rather than matters with characters and are hence
called Tanmatras or Tanm&tras ( tat- that, matra- only ), things in their essential
character. The subtlest of the Tanmatras is Shabda ( sound ), a mere vibration
or pulsation of energy. From it evolves, in the grosser scale, Akasha or space,
the seat of all material vibrations. The next of the Tanmatras, evolving out of
Shabda, is Sparsha ( touch ), the character which constitutes the root of all
perceptions, for all perceptions are primarily the feelings of touch of the per-
ceiver with the objects perceived. It is the vitality or life-principle underlying
all perceptions. Out of it evolves, in the grosser field, Vayu, or vital airs, which
in the material body, constitutes its life.

10. The word Vayu is generally taken to mean the physical air, probably
because the presence of air is generally proved by sparsha or touch only. But it
is doubtful whether even the ancients could consider the physical air as a subtler
matter than light or heat. Moreover, the Rig Veda speaks of the apa ( the
waters, as they are usually but perhaps incorrectly translated ) as being both
water and air. For, the heavenly bodies, the sun and the moon are said to be
moving in currents of ipa, certainly meaning thereby currents of physical air
which, they thought, pervaded all space ( 1 ). The sun is called apangnapat,

( I ) Cf. Rigveda I, 23, 17 ; VII, 49, 4 ; VII, 85, 3 ; II, 35, 4 ; VII, 30, 4
Where celestial waters are spoken of.

68

INTRODUCTION

that is, the son of apa ( 2 ). Hence apa would include all fluids, both liquid and
gaseous. From such considerations I have taken Vayu to mean the vital airs,
the life-principle of the senses which function through sparsha or touch. In
the Upanirads the senses or indrlyas are called pra«as ( modes of life ), and
Vjyu is pra«a, The indriyas are the shaktis of perception, the prjwas
underlying it, and Vayu constitutes these shaktis or pra«as. Again, the Chhando-
gya Upanuad speaks of the physical world as constituted of tejas, apa and anna
(fire, the waters and food or earth )( 3 ). This tripartite (trirnt)
constitution of the physical world can never be complete without air, for even
a barbarian will say that air is a necessary constituent of it. Commentators,
therefore, who consider Vayu to mean air, have been obliged to consider the
Chhandogya statement as incomplete and seek to supplement it by statements
from the Bnhadara«yaka and other Upanisads which speak of the creation of
Akasha and Vayu before the creation of Tejas. But the proper view should,
I think, be to divide the five -Akasha, Vayu, Tejas, Apa and Kriti— into
two groups, placing Akasha and Vayu in one group, and Tejas, Apa and Ksiti
in the other, so that the principles of space and vitality may be separated from
the principles of heat, light, fluidity and solidity of which the material world,
as we call it, is constituted. And this is what the Chhandogya Upaniiad seems
to have done.

11. From the Sparsha-Tanmatra evolves the Rupa Tanmatra, the principle
of visibility or luminosity, which gives the visible appearance ( rupa ) to objects,
and from it evolves, in the grosser scale, heat and light ( tejas ). The next in
order is Rasa-Tanmatra or the principle of fluidity which gives to every object
its distinctive rasa or taste and from which evolve all liquids and gases. The
last is the Gandha-Tanmatra, the principle of solidity which has the distinctive
characteristic of smell, it was supposed, and out of which the solid earth is
evolved.

12. These five, Bhutas ( existents ) as they are called, are forms of Shakti
or energy. The energy in Akasha ( space ) is called Shantyatita, the Very
Quiescent. The energy in Vayu ( vital air ) is Shanti, the Quiescent. That
in Tejas ( heat & light ) is Vidya, the Enlightener. That in Apa ( the fluids )
is Prattf// 5 a, the Stay. And that in Ksiti ( Earth ) is called Niwtti, the F inal.
All these evolve from Nada, the conscious energy in vibration which is personi-
fied in Brahma, the Creator or Kriyashakti ( action-energy ) who is the result-
ant of the coalescence of Rudra, the Ichchha-shakti ( volition-energy ), and
Vir«u, the Jnana-shakti ( cognition-energy ). See Table I.

13. Here ends the order of universal creative evolution by the will of God-
The involution is in the reverse order, says Raghava Bhatfa.

14. All this world, c onsisting of moving and non-moving things, is

v v V ' 35 ; l > 22 > 6 : VI > 5 °> *3 i VII, 34, i S ; VII, 9, 3 i

a> 2, 7 ; x, 30, 4.

( 3 ) Chhandogya Up. VI, 2, 3-4.

INTRODUCTION

69

composed of the five Bhutas ( existents, Ksiti, Apa, Tejas, V&yu and Akasha ).
Many are the forms into which non-moving things are divided such as rocks,
plants and so forth. Moving things, however, are divided into three classes,
namely, those which are born out of secretions or heat (svedaja), those which are
born out of eggs (aw^aja) and those which are born out of the womb ( jariyuja ).
Man belongs to this last class of jarayujas ( uterines ).” ( Verses 27-29 ).

It should be noted that things are divided into moving and non-moving things
and not into living and non-living things. The Hindus have always known
plants to be living although non-moving and have always been averse to
classify any objects as absolutely non-living. They have rather the idea that
there is life or sensation in every thing, however much obscure or crude it may
be. Everything in the universe, they suppose, is made up of a conscious factor
and an unconscious factor, the conscious factor manifesting itself as the living
subject capable of sensation and the unconscious factor manifesting itself as the
object of sensation through sight, touch and so forth. This point has been
tersely put by Hindu philosophers as “d/ishyatvat jadatvam”, the fact of being
unconscious comes from the fact of being an object of perception. Thus such
parts of a man as are capable of being seen, heard, touched, tasted or smelt, or
becoming in any way objects of perception make up the unconscious factor in
him and the part of him which can perceive the sensations of sight and so forth
is his conscious factor. And it is the blending of these two, the conscious
factor and the unconscious factor, which constitutes life. The world is evolved
out of energised consciousness, Sagu^a or Sakala Shiva, that is, consciousness
in intimate association with Gu«a or Praknti or unconsciousness. Hence no
part of it is absolutely devoid of consciousness, as no part of it is absolutely
devoid of unconsciousness. And through this intimate association of the two
there is life or sensibility everywhere, whether we detect it or not.

15. Into the womb enters a Bindu ( drop ) which is male, female or neuter
and a combination of ovum and sperm, “and then an atma controlled by the
chain of nescience in consonance with previous karma assumes jlvahood ( the
state of individualised existence ) therein ( in the Bindu )” ( verse 31 ). The
Bindu is surely not the spirit that inhabits it. But the question is, how did the
spirit come to inhabit it ? Was the spirit in the sperm or was it in the ovum
or was it in neither but came later to the body built in the womb ? The
Shruti leans to the idea that it was in the sperm ( vide Panchagnividya, the
science of Five Fires, in Chhandogya and B/ ihadarawyaka Upani^ads ). But
the author here seems to hold the idea that it is after the sperm and the ovum
have combined to form a Bindu or drop-like substance, the blastosphere, or
cytula ( as Haeckel calls it ), of physiology, that the spirit comes to reside in it.
But what again is this spirit ( atma ) that comes to reside in the Bindu that
enters into the womb to develop into the future body of the individual ? Is it
the 3-tma who is consciousness itself and eternal and with whom there is no
such thing as being born or dying ? Or, is it the jiv^tma, the consciousness

;o

INTRODUCTION

of life, that is, the conciousness that illumines the mind or subtle body which
re-incarnates from gross body to gross body, thus suffering life and death ?
Raghava Bha//a, the commentator, thinks that here the appearance of an eternal
atma has been spoken of in accordance with the Sankhya conception of
multiplicity of eternal atmas, and considers such an atma “as entering a
body as one enters a house”. But an eternal atma, though one of many such
atmas according to Sankhya, is infinite and inactive f'nukriyaj at the same
time. Hence it is almost meaningless to say that such an atma enters a body
and assumes jivahood therein, if he was not already a jiva there. More
probably what the author here means to say is that the jlvatma, who was,
according to Shruti, sleeping in the sperm in the father’s body, awakes, in the
mother’s womb, to assume the burdens jivahood in the fertilised egg.

1 6. In the womb the Bindu is nourished by the food taken by the
mother and grows into a body complete with all necessary paraphernalia, and
at last the child is bom into sunlight. It is the belief of all Hindus, a belief
that has come down from the days of the Upanijads, that the jiva in the
matured foetus is enlightened about his past karma, sorely grieves for the
karma that binds him to the wheel of life and death and makes up his mind
to undo this karma by meritorious karma in his present life on earth. But
the pain of birth makes him unconscious and brings about a total forgetfulness
of all this. The author here also echoes this idea.

17. It has been said before that Para Bindu or Shabda-Brahma, the
undiversified infinite conscious energy, out of whom evolves the diversified
world of subjects and objects, appears in the individual body as Ku/^falinl
shakti or conscious spiral energy. She is the concious creative energy, the
Mother of all things that constitute the individual, the world of Shabda and
Artha in him. Shabda is the vibration which gradually becomes language and
ultimately issues out of the vocal organs as articulate sound. An Artha is
the conceptual counterpart of a Shabda which has first a mental shape or
thought-form and ultimately assumes the form of an object perceptible to any
of the senses or the mind.

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