KAM.AKAL.A.VIL...viii rahasya quotes from the S'rikrama Tantra a full account of Kamakala. The S'ricakra is described in great detail in the Tantra raja of the Kadimata the first eighteen

KAM.AKAL.A.VIL.ASA

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First Published 1922

Second Edition 1953

Printed by D. V. Syamala Rau, at the Vasanta Press, The Theosophical Society, Adyar, Madras 20


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SHRI YANTRA

DESCRIPTION OF THE CAKRAS FRO:\I TIIE CJ-;:~TRE

OUT\VARD

1. 0 .:...

3. 4. 5. 6. 7. k. ().

Red Point~-Sar\'anandamaya. (vv. 22-24, 37, 38).

\Vhite triangle invcrted-Sarvasiddhiprada. (vv. 25, !19).

Eight red tl'"iangles --Sarvarogahara. (vv. 29, 40).

Ten blue triangles-Sarvarak~akara. (vv. 30, 41).

Ten red triangles-Sarvarthasadhaka. (v\'. 30, 31, 42).

Fourteen blue triangles-Sarvasaubhagyadayaka. {vv. 31, 43).

Eight-petalled red lotus-Sarvasari1k~obhat)a. (vv. 33, 41). Sixteen-petalled blue lotus-Sarvas,aparipuraka. (vv. 33, 45).

Yellow surronnd--Trailokyarnohana. (vv. 34, 46-49).


KAMAKALA VILASA BY

PUNYANANDANATHA •

WITH THE COMMENTARY OF

NATANANANDANATHA

TRANSLATED WITH COMMENTARY

BY

ARTHUR AVALON

WITH

NATHA-NAVARATNAMALIKA WITH COMMENTARY MANJO$A

Bv BHASKARARAYA

2nd Edition

Re11ised and enlarged

PUBLISHERS :

GANESH & Co., (MADRAS) LTD., MADRAS-17

19oS


PUBLISHERS. NOTE

The Orientalists' system of transliteration has been followed in this work.

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~ e, ~ ai, -dlt o, idll au, :. rp. or Ih, : ~-

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~ jh, ~ ii,

~ t, ~ th, ~ c,l, ~ c,lh, O,! Q,

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t{_p, ~ ph, ii.. b, ~ bh, '\

'I._m,

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PREFACE

THE KAMAKALAVILASA is an important work in S'rlvidya by Pui:iyananda an adherent of the Hadimata, who is also the commentator on the Yoginihrdaya, a section called Uttaracatul).s'atl of the great Vamakes'vara Tantra. The same Catu}:is'atl as also the Purvacatu}:is'at1 have commentaries by Bhaskararaya. The Kamakalavi1asa which means the spreading or emanation or evolution of the Kamakala that is the Supreme Triangle formed of the Bindu and Visarga, of Prakas'a and Vimars'a, of S'iva and S'akti, of the 'I' (Aham) and 'This' (I dam) or Universe is, in the supreme sense, the S'iva-Svarupa and S'akti-Svarupa. To put it quite shortly Kamakalavilasa is the evolution of the One in its twin aspect as changeless Consciousness (Cit or Samvit) and changing Power (Cit-S'akti and Maya-S'akti) into the multiple universe. This evolution is represented by the greatest of Yantras-thc S'riyantra figured on the cover and in a separate Plate showing in colours its several Cakras extending from the Point or Bindu (called Sarvanandamaya), the Supreme S'iva-S'ak.ti in the centre, to the outermost section of the Cakras the Bhupura which is called Trailokyamohana.

The S'rlcakra or S'dyantra is the Yantra of Lalita or Tripurasundarl the Devata of S'rividya. Every Devata has his or her Yantra. A general but by no means exhaustive list of the Yantras is given in the Tantrasara of KrnIJananda of which there are several editions published in Bengal.

Lalita is the Supreme S'akti aspect of the Brahman the Aniruddhasarasvatl (the all-spreading and Itself Unlimited


vi KIMA·KALA•VILi.SA

Power). It is claimed by great Kaulas, among whom may be mentioned the great Naiyayika commentator Bhaskararaya, that this aspect of the Brahman is recognised in the Vedas and that among others the Mantra, Catvarah Im bibhrati K~emayantah (~g-veda V. 47. 4) has reference to Her.

The Kamakala is the first display of activity in the Brahman Substance after Pralaya when the Devi holds absorbed in Herself all the Thirty-six Tattvas of which the Universe in all its variety is composed. She is then Kavalikrta-nibs'e~atattva-grama-svarupiI}L She remains for some time in this state holding within Herself all the Tattvas until rest is disturbed by the desire or will (Kama) to create. The movement or stress of this Desire manifests as the Kamakala. PuI)yananda has here described the unfolding of the Kamakala according to the Hadimata.

All Tantras have referred to the Kamakala. The Gandharva-1'antra, which is a work of great authority and of philosophic thought, speaks {Ch. XXX) of the three aspects

.; of Kamakala. The first which is, it says, the Sthula or gross aspect-that in which She is meditated upon as something outside the Sadhaka (Bahyabhavana). The only text of the Gandharva-Tantra available to me at the moment is unfortunately defective so far as the account of this aspect is concerned. It states that the Sun Bindu is Her face, the Moon and Fire Bindus are Her two breasts, and Her womb or Yoni is Hardhakala. Dr. Bhandakar in the account he gives of the Karnakala (Vaig1avism and S'aivism, p. 145) does not seem to have understood the scheme. He appears not to be familiar with the technical terms and has not followed the commentator Lak~midhara whose text he had before him and as a result he has made some errors. Thus he says that Ha is called Ardhaka]a or half part, whereas the half of Ha is Kala. Again the Dcvi is not in Herself "Aham" for the latter is the Sakala aspect of the Brahman.


PREFACE vii

I have referred elsewhere to his translation of the term Bindu as "Drop". Bindu is here not a II Drop" but a technical name for a particular state of S'akti; namely, Ghanibhuta S'akti. The Symbol of the Point is well known in both East and West. Here it is a Metaphysical Point of Energy about to manifest. The term is fully explained in my

"Garland of Letters." The Sadhaka is directed to realise his identity with the "

Kamakala. This aspect is alluded to in V. 19 of the Saundaryalahari, a beautiful poem the authorship of which has been unanimously attributed by all great commentators such as Raghava Bhatta, Bhaskara, Lak~midhara and others to lhe great S'amkaracarya, though present day Orientalists, both Indian and Western, incline to cast doubt upon the traditional account of its authorship. The Saundaryalahari in verse 11 speaks of the S'ricakra also. The second aspect of Kama- ,,, kala which is spoken of as Subtle (Suk~ma) and inward (Antara} is that in which She is the Devi Km;idalini like a luminous flash of lightning extended from the Muladhara through the

six centres to the Brahmarandhra, See my" SP-rpent Power". 'She is to be meditated upon as half of Ha in the lotus

of a thousand petals.,• This Kamakala is also active (Jagarti) ;., in all that is moving and motionless. The third aspect of .J

Kamakala is called Mantratanu (Mantra body) also Trayimayl as existing in everything.,, In this aspect Samaveda is Her face; ~k and Yajus are Her two breasts and the Atharvaveda is the Hardhakala. "The Kamaka]a (the text proceeds) is the •' One highest (Turiya) Brahman Itself."· The Tantrantara ,,,

Tantra quoted in the Sarvollasa speaks of one Bindu as the state of Laya ; two Bindus as the state of creation (Sr~ti); three Bindus as the state of continuance (Sthiti) and the return to One Bindu as the state of Laya (absorption) when the Devi is as the Vamakes'vara-Tantra says, Kabali-krta•nil)s'e,a-tattva-grama-svarupi.Q.l. The S'yama•


viii

rahasya quotes from the S'rikrama Tantra a full account of Kamakala.

The S'ricakra is described in great detail in the Tantraraja of the Kadimata the first eighteen chapters of which form Vol. VI II of this series. It also forms the subject of the Nitya!;1ocJas1ikarI).ava Tantra which has been published by the Anandas'rama Press of Poona. For a general description of the Cakras the reader's attention is drawn to the Introduction to Vol. VII I.

.,-The aim of the Sadhaka of Lalita is to realise his identity first with the Yantra and Mantra and then with Lalita or Tripura, the Mahas'akti Who is the creator and director of the universe and Who ultimately withdraws creation within Herself . ../ Some form of Union with the Ultimate Real or Sat is the aim of all the different classes of Sadhakas of the Hindus. In Chap. VII of the Gautamiya-Tantra, greatly venerated by Vaig1avas, the Sadhaka is directed to realise that "he is Krnva (Aham Knn.1ah) and no one else (na canyo'smi) " that " sorrow is not his portion (na s1okabhak) and that '' he is Sat Cit Ananda ". It is also there said that the bar between I{r~oa and the Sadhaka can be removed by Kr~va's wish.

The S'akta Sadhaka seeks to realise the identity of himself Jwith the Mantra, the Yantra, the Guru and the I~tadevata for they are all Brahman. Sarvath khalvidam Brahma. Lalita is the Brahman as the active principle in creation. When Her Power is fully evolved the S'akta seeks Her alone. It is She Who, visible through Her Manifestations, counts for him. [Tasyzzm J,ariv,at-ayam tuna ka~cit para i-,yate.]

"Pure (Vimala) Cit S'akti of the Lord is Caitanya ". Bhaskara in commenting on the text above says that the Cit S'o.kti, which is inherent in the Paracit (Paracinni~tha), accepted by the Upani~ads, is by reason of the multitudinousness of Her aspects called Maya. Her evolution (PariQama) is called creation {Prapaftca) and this creation is


PREFACE ix

Cidrupa, or a form of Consciousness m the Sense of Cit. That being so it is rea1. [See my book " Reality".) This does not conflict with Monism since S'akti and S'aktiman are incapable of separation. Further on he says that the S'akta does Sadhana of S'akti because without S'akti the Subtle (Suk~ma) S'iva has neither name (Nama) nor the power of manifestation (Dhama). So there can be no duty to one who is nameless nor can such an one help the Sadhaka in attaining Nirva.J}.a. Bhaskara fo1lows the Kadimata. But both the Kadi and the Hadi are agreed that by the worship of S'ricakra is meant the Sadhana whereby the identity of the knower (Jiiata), the means of knowledge, and knowledge {Jiiana i.e. Yantra which is the body of both the Devi and the Sadhaka) and the object of knowledge (jiicya i.e. Tripura} is realised. The Tantraraja (xxxv. 6) says :

Jn:at£1, sv£1,tm<Z bhavej jn<Znam arghyatii jneyam bahih

sthitam S'ricakra-pujanatii te~-am ekikarav,ain iritam.

The meaning of this is that the Svatma or self of the }Iva or Sadhaka is the Jfiata or knower. Jfiana knowledge and means of knowledge is the body of Jiva which is the Yantra and offering (Arghya) and Jfleya or object of knowledge is

what is "outside" (Bahil)-sthitam) by which is meant the Devi Who to the ordinary man is something other than him· self. The worship of S'ricakra is done to effect an union with, or to realise the identity of, these three. There are some slight differences between the accounts of the S'aktis as given in the Kamakalavilasa and Tantraraja Tantra. These will .be pointed out in the Introduction to the second part of the Tantraraja-Tantra now in preparation. It has been alluded to in the Introduction to the First Part.

There are some who to-day believe that the femin.ine aspect of the Brahman is unknown in the Vedas and the U pani~ads. But this is quite erroneous. Thus in the


X KiMA·KALi-VILXSA

Chandogya Upani?ad we come across the texts 'Tad:iik~ata' ' Seyarh Devataik~ata.' The first text by the word 'Tat' speaks of the Brahman as neuter or nirguI)a. The second speaks of the Brahman as feminine (Sa iyam). The function is the same, namely, that of Ik~ai:ia prior to creation. There are many other texts which might be cited such as the

celebrated Devi-Sukta. In fact for man the second is the more important of the

two. As already stated, in dissoluti(JO {Pralaya) the DevI is what remains-that is what the universe is in its essence {SvarUpinI)-after a11 the Tattvas (Tattva-grama) have been completely (ni?e?a) swallowed up (Kavalikrta) or absorbed by Her. Then the verse continues "when however She is fully evolved (Tasyam pari1ptayam) from out this state in which the universe lies absorbed as mere tendency or pott=:ntiality, then no other Supreme (Kas1cit para) that is the changeless Nit=ikala S'iv~ is desired or thought of (I~yate). This, says the commentator Bhaskararaya, is the S'alda's point of view, for the Ni~kala or Suk~ma S'iva has neither name nor manifestation and there is neither any duty towards, nor benefit from, Him. What Divinity may be in Itself, apart from Its governance of the universe, is of no practical concern to those who form part of it. The S'aktisangama Tantra (1-3) establishes the identity of the Kamakala-this first creative movement with the PraQava.

A text of this work was obtained in Kashmir but it was

found to be defective; another manuscript was then secured from the valuable collection of Tantras in the Andu1 Rajbati which is more reliable and forms the basis of the present edition. When the present text, the publication of which has been somewhat delayed, was going through the Press, another edition in Sanskrit was published in Triplicane (Madras) which contains some valuable additional illustrative citations which are not to be found in the manuscript from which this edition


PREFACE xi

has been printed. I have added some further notes and given the references to the S'ruti and other texts quoted by the commentator Natanananda Natha.

The Kamakalavilasa is of great value in S'rividya because of its c1ear and succinct account, from the Hadi standpoint, of the initial development of S'akti and of the great S'riyantra, and is now translated for the first time.

Calcutta, 25th Nov. 1921

ARTHUR AVALON


By the same Author

THE SERPENT POWER

The Serpent Power is a description and explana

tion .in fuller detail of the Serpent Power--KuQdalini

S'akti-and the yoga effected through it, a subject

occupying a pre-eminent place in the Tantra Shastra.

It consists of a translation of two Sanskrit works "Shat

Cakra N irupaJJa n (description of and investigation

into the six bodily centres) and "Paduka Paiicaka"

(Five-fold foot-stool of the Guru). To it is appended

a translation from the Sanskrit commentary by Kali

charana. To the translation of both the works is added

some further explanatory notes by the author.

This edition contains also the Sanskrit Texts of

the works here translated and nine half-tone plates

taken from life showing some positions in KuQdalini

Yoga besides eight original coloured plates of the

Chakras. The book is bound in full cloth and gilt.

5th Edition ( 1953) Price Rs. 25/-


INTRODUCTION

KAMAKALAVILASA is an ancient and authoritative work on S'rividya by Punyanandanatha. It was first published in 1918 by the Kashmir Government as No. 12 in its Sanskrit Publications Series with a commentary from the pen of Mahamahopadhyaya Mukundarama S'astri of the Research Department of that State. In 1921, Sir John Woodroffe published it with a fu11er commentary by Sri N atananandanatha. A second edition has been long overdue and is now brought out. It is much to be regretted that that veteran Tantric scholar is not in our midst now to contribute to this edition the benefit of his ripe experience and deep knowledge in this field of sacred literature.

As he has we11 pointed out in his Preface to the first edition, " What Divinity" may be in itself, apart from its governance of the universe, is of no practical concern to those "who form part of it" and there can be "neither any duty towards nor benefit from Him " conceived of as unrelated to the world of Name and Form. Any substance, be it gold or mud, has no inherent name or inherent form of its own but when we seek to have relationship with it, it must be clothed in some name and some form. We are therefore concerned with God not in His abstractness but in His practical aspect as in relationship to the world of our experience.

God as the ultimate reality transcends alJ distinctions and is therefore neither a He nor a She but is best expressed by the neuter word Brahman. But conceived as the cause of th.~ universe, it is clothed with a father-mother aspect, the


xiv KiMA·KALi•VILiSA

static non-active principle being considered as the father and the dynamic active principle being considered as the mother. Both are aspects of the same reality but seem to split it up into two. Where a person stands before a mirror, it is true that he does not undergo any change but a duplicate person appears instantaneously in the mirror. That reflected person is essentially not different from the original person and yet is not identical with him. The former is evanescent seeming while the latter is true Being. Similarly at the beginning of cn:ation, God the ever changeless Being " desired" to be a

,/ ever-changing seeming. The abso]ute Being took on the role of relative becoming. This desire and its fruition brought on the entire universe of name and form. The subject self conceived of itself as an object of its own cognition. The / became the this. This initial desire impulse responsible for the creation of the world is given the name of Kama. The desireful supreme entity is known as Kames'vara and his active desire as Kames'vari. The entire universe is the oµtcome of the union of these two primary parents/ Though this truth is never lost sight of, more importance is given to the mother aspect in Devi worship.

The numeral six is a reality but is an abstract mental concept essentially independent of the particular things to be counted. The concept is the same for all who can conceive of it and is not limited by any considerations of country or language. The sound that is produced when the word six is pronounced has really nothing to do with the conception of the numeral but is only a sound-symbol of that concept used for the purpose of expression in the English language. As languages and dialects vary, the sound symbols also will vary though the concept may remain the same. The concept is intangible while the sound symbols are certainly tangible. Again, the figure 6 which appears in uniting has really nothing to do with the sound produced when the word six is pronounced,


INTRODUCTION xv

much less with the abstract concept behind it. The figure 6 is but a form symbol of that concept. As in our experience we are attaching more importance to the ear and the eye than to the other faculties of sensation, we clothe every concept with a sound symbol and with a form symbol so that we can through them relate ourselves to the abstract concept which

alone is real. Similarly when we conceive of Godhead or any aspect

of it, we have necessarily to give it a sound symbol and a' form symbol. The conceptual reality is known as Devata, the sound symbol as Mantra and the form symbol as Yantra.

It is said that the Devata is the life principle, the Mantra its subtle body and the Yantra the gross body. The Archa or Image ordinarily used for worship is a still grosser body. ·

In the Vedic and Tantra literature, symbols in sound and in form have been prescribed as can most appropriately and accurately represent the Devata. The ancient seers have pointed out that, just our body of flesh and blood though seemingly inert is permeated by the life principle in us in every particle of it, so does the Devata permeate the Mantra and the Yantra appropriate to that Devata. Any the sl~ghtest variation therefore either in the sound of the Mantra or in the form of the Yantra will effect a corresponding change in the concept of the Devata and may possibly do great harm:' In this Kamakalavilasa, the Devata dealt with is the highest conceivable one, namely the Divine Mother Tripurasundari; Her Mantra is the Paiicadas'ak~ari and Her Yantra is Srlchakra. ✓ The intimate relationship between the Deva.ta, the Mantra and the Yantra is brought out in this book in several ways and the devotee is asked to identify himself with them as a necessary step towards the ultimate realisation.

The commentator Natananandanatha is a disciple of Sankarananda and Nathananda and is the author of several works besides a commentary on Yoginihridaya. He refers


xvi KlMA·KALA·VILiSA

in his commentary itself to Saccidananda-Vasana and Cid~nanda Vasana as his works. Only extracts from the commentary are reproduced in the English translation. The commentary is simple, explanatory and very useful in understanding the text and is replete with quotations from cognate literature. AlJ the same the treatise will remain a closed book to the lay reader. As the commentator has pointed out more than once,

.I the details and the method of worship are really matters to be learnt only after acquiring the requisite competency and getting initiation from a knowing Guru. -.1

In this volume is included S'rinatha-navaratnamalika of Mahes'anatha with the commentary of Bhaskararaya the leading authority on Tantric worship. Under the guise of Guru stotra, the author has analysed our life breaths in various ways and has pointed out their correspondence with the details of the Mantra and the Yantra. This work is more cryptic and less intelligible to the uninitiate. The commentary on the first stotra mentions that the stotra consists of ten slokas and the tenth sloka which gives the Phalas'ruti refers to the previous slokas as being compiled by Bhaskararaya himself. This has to be somehow reconciled with the preamble to the tenth sloka and with the colophon which attribute the authorship to M ahes'anat!ia.

The publication of this book making its contents available to all and sundry does not and cannot dispense with the two indi8pensable conditions of competency and initiation already referred to. To those who have them not, the contents may seem to be meaningless jabber. So is a book on integral calculus to a history student. The publication however is useful in creating in the reader an interest which in course of time may ripen into earnest endeavour to appreciate and realise the eternal truths taught here.

Srif'angam 1 l- 6- 53

R. KRISHNASWAMI AIYAR


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CONTENTS . XIX

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ADDENDA AND CORREGENDA

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KAMA-KALA-VILASA BY

gRI PU~YANANDANATHA

VERSE 1

MAY the great Lord, who is ever wakeful in the blissful play of the repeated acts of Creation, Maintenance and Dissolution of all the worlds which issue from Him, protect ye. He is mere illumination (Prak'ZZS'a). Merged in Him is VimarS'a (-S'akti).

COMMENTARY BY S'Ri NATANiNANDANiTHA

Here the honoured Yogi Pm:iyananda wishing to instruct in the Mantra, Cakra and worship of Tripurasundari, the presiding Devata over all Vidyas 1, speaks in the first place of Her form as Kama• kameS'vari 2•

Who is ever wakeful ... issue from Him (Sakalabhuvanodayasthiti-laya-maya-lilavinodanodyuktah ). Udaya or rising or springing

up or appearance is Creation (Sn~ti) ; Sthiti or continuance is Maintenance; Laya is absorption or Dissolution (Nns'a) of all the worlds (Sakalabhuvana) •. These three (Sr!}ti, Sthiti, Laya) imply

Nirodha and A nugraha, as by Trivrtkara1J,a, Paiicikara{1a is meant. He is wakeful in this pleasant play (Lila) which consists of many of these five kinds of action which relate to the world (Pafi.cavidhakrtyam hi jaganni~tham), whilst the play is that of the Lord (Lilii ttt PtirameS'vari).

Worlds (Bhuvana). That which comes from Him is Bhuvana (Bha'Datyasmdt iti bhuvanam). Therefore the word Bhuvana


2 KIMA·KALI·VILISA

qualified by 'all' (Sakala) signifies all the Tattvas beginning with / S'iva and ending with K1Jiti, because the Tattvas have their origin

from, continue through and diEappear in Brahman. So S'ruti says (Taitt. up. 3-1-1) :-' That from which these Bhutas were born, by which after being so born they live, to which they go and into which they enter; know that well, for that is Brahman.'

Wakeful (Udyullta). By 'wakeful' is meant that He willed and inclined towards Creation (Samkalpa-vis1i!}ta-lak$a{1a-sr$timukha). S'ruti says (Cha. Up. 6-2-1) :-' Oh gentle one ! At first there was merely this Being (Sat), which is One without a second, Brahman.' Also 'May I be many and born as many,' and thus He made Himself into the world as it exists within Himself. By this is meant that the acts of creation are for the Lord merely His play and are not necessitated (Na prayoja11am). So it has been said-' By His mere wish He throws out and withdraws the universe in its entirety.' Also it is elsewhere said-' The Great Lord having drawn on Himself the picture of the world by the brush which is His own \Vill is pleased when looking thereon.' S'ruti also says-' As the spider throws out and takes back its thread, so Is1vara projects and withdraws the universe.' Thus the one great Lord becomes the material cause (UJ,iiddna) from out of which the world is made, as says the Text, 'May I be many.' The ViimakeS't•ara Tantra also says-' When She is fully developed (Pari'nata) there is no further need of Him for Creation '• (Ni'tya~odas1ikii, IV-5). By this is meant the inseparateness of the world from the Svariipa (own form) of Brahman.

That being so it may be asked what is the Svarupa of the Brahman as transcending the world. The author therefore says-

Merged in Him is Vim.area (Antarlina-vimars1a). YimarS'a is_ ~ exp~!!C!l_ci_f!g __ .~Ei~~-- (/dam), and I This' Vt!am)._ i_s. __ J_h~---~.niv.er.e

[PraJ,aiica). By ldam is meant the world cr~~ted by Paramatmii. In the passage in the Taittiriya S'ruti which begins with ' From the Atma originated AkiiS'a,' and ends with 'This the tip of the tail is completion (Prati$fa),' the word 'this' (/dam) is the world as object of experience (Praj,anca-paramars1a}. By the word 'ldam' is indicated the universe (Praj,afica) as contrasted with Brahman (Brahmapratiyogibhuta). So it has been said-' Dissolving (Pralayani kurvan)


VERSE 1 3

in_ th.e _A h~!1!_Q}.!_~e~Jdq1?J. Jrh.is) which fajt.? cqr~e)a~iye.' A ntarlit1a

vimars1a means that within .H_i_rn js dissolveq Vimars,a or Prapanca which is above spoken of. The significance of all this is that the .,Paramatma \Vho is supreme Bliss• and supreme Illumination and

within \Vhom is the experience of perfect 'I-ness' (Paripfirnaha1n

bhiivabhava11ii-garbhita) withdraws into Himself the manifold universe.•

Vimars'a may also mean the experience (Pariimars'a) that 'I am t.he

uncreated cause of the Creation, Preservation and Dissolution of the universe.' So it has been said by Nagananda--: ' VimarS'a' is the experience that "I am the uncreated one (Akrtimo'ha1i1.) " in the form of the· universe (Vis1vak,ire~1a), in the manifestation of the univer~e ViS'vaprakiis'ena) and in the absorption of the universe (Vis1vasa11i- ✓

hiirena}.' Merged (An.tarlina). By merged is meant inward-facedness

(Antarmukhati•ani} 1• A11tarli11a-vimars1a thus refers to Him whose experience of full I-ness is inward-turned. The S'i,achchhanda •. Tantra says: 'That inward-faced-ness (Antarmukhatva) which is the state of omniscience and the like ever is 6, because it is detached from 7

any object' 8•

He is mere Illumination (Prakas,a-mtitra-tanuh) 9• This means

that Parabrahman who is the Supreme Lord and transcends all, is nothing but Illumination (Prakiis1aikasvabhava). Such is His

nature 10•

The /{iit;iva 11 says: 'The Devas worship that which is the deathless One (Amrta) 11, which is verily Itself Life 11 and the Light of Lights.' The Katha says : ' There shines nor Sun, nor Moon, nor stars. There flashes no lightning. What need have we then to speak of Fire. All luminaries derive their light from It. By Its

light all is illuminated.' Agama also says : ' The innermost Light which is Light Itsdf is v

the imperishable (Anaj,ayinf) Para Vak ' a.

Illumination (Prakas1a). By illumination is meant the experience of 1-ness (Aham-riij,a-vimars1a) indicated in the words 'wish,' 'know '

' do ' and the like in the first person singular 11• Here it is said of Param .,, Brahman as united with the five S'aktis of All-mightiness, All-know• ingness, All-activity, All-completeness, All-pervadingness. It may be said that if the Sun and other bodies have the power of illumination,


4 KiMA·KALl·VILISA

then why should the Brahman alone be called Paramatma ? To meet ,1this the latter is called the Great Lord (M«heS'a). He is Great

(Mahan) because neither space nor time limits Him; and He is Lord (1s1a) because He has the pow~r to control all."' The S'irah S'ruti 16

says: 'The Eater (Sanibhak[}ah) eats all He constantly creates, main•

tains and dissolves. Therefore He is called the Great Lord (MaheS'a).' The Mahii11iiriiya~1a 17 also says: 'That Svara 111 which is uttered in the beginning and end of the Veda is that in which Prak:rti is merged

(Pt'akriti-lina=Prdkrty,itmaka) 111• He Who is beyond, is MaheS'vara.' Protecl ye. He has this power. Mantra is so called, because it

Jprotects or saves by thinking (Manana) on it (Mananiit trayate).

Pul).yananda says : ' May ParameS'vara protect ye'. Protection is one of the powers of Paramatma. May the Great Lord who is Illumina

Jtion (Prakiis•a) protect ye. The Acaryii 18 has also power to illuminate, Mantra also has the power of illumination. Therefore the unity of the Devata, Guru, and Mantra is here shown.

NOTES

1 i.e. either the fifteen Nityas or all Mantras. ' United Kames'vara and Kames'vari. • Sakalabhuvana-the Universe with all its parts consisting of the

thirty-six Tattvas. ' This is a translation of the second line of IV-5 of Nitya~odas•ika

(part of Vamakes•varci). The verse runs thus-

K avalikrta-nis1e[ia-tattva-gram a-svariiJ,i tJJ Tasyam parit)afayatit tu 11a kas•cit Para ifyate.

✓ At the tiwe of dissolution all the Tattt•as are absorbed into Her and She remained in Her own form (Svarupa). When She is fully developed there is no further need of Him for creation.

By the 'Tatt'Cms' according to Ptmyananda, Bhiiskararaya and others is meant the thirty-six Tattvas. Lakshmidhara interprets it to mean the five Tattvas. That is, the Universe is the creation of Para (S'iva) and Para (S'akti). Under His influence She works and when Her work is completed there is no further need of Him for that purpose.

• Consciousness is either looking inwards (Antarmukha) or outwards (Ba1iirniukha). The first indicates the supreme experience, the second world-experience. Therefore the essence of becoming as universe is the conversion of one into the other. Consciousness is given "another" direction, strictly an outer direction, because the supreme experience is beyond all relations.


'that is, is not destroyed. 'or, independent of, • that is, is transcendent.

VERSE 1

1 lit., His body or substance is mere Illumination. 10 lit., body. 11 One of the recensions of the BrhadaraQyaka Upani~ad. "This word is derived from 11,a (not) m rita (death). 11 Ayuh. 1' The supreme 'Word'. See A. Avalon's "Gat'land of Letters." 11 ' I wish,' ' I know,' and so forth. 18 The Atharva S'ira Upani~ad. 11 The A tharvaQa U paui~ad of that name. 18 0 m. 11 The two are one, as stated in Nitya-fiodas 1ikha. 10 Guru.


VERSE 2

SHE the Primordial S'akti who excels all and who in Her own true nature is eternal, limitless Bliss, is the seed (Bija, that is, source or cause) of all the moving and motionless things which are to be, and is the Pure Mirror in which S'iva experiences Himself.

COMMENTARY

He here says that the Source of all is also Our Supreme Lady. She the primordial Sakti who excels all (S,'i jayati s1aktiradyii).

By this is meant that Our Supreme Lady (Pa,-a bhattiirika) Maha

tripura-sundari is above all. She {Sa). Bv this is meant the Tripura spoken of in all the

• · U pani$ads, in .wham a.re the thirty-six Tattvas beginning with S'iva and ending with 1{$iti; who is in the form of all the universes (Sarvaprapancatmikd) and is also beyond them (Tadutfi,-tia). This is the

meani.ng_~fJhe .nam.~. T_ript1r~ as given by the great Yogis, Knowers of the true tradition (Satsarnpradayavid). She who is above (Pura

"'bht?ta) the three Lights (Tribhyas tejobhyah), that is, "Sun", 11 Moon" and "Fire" (explained later) is called Tripura."' Her supremacy is proclaimed everywhere in many S'rutis and Smrtis. It

./ is She who is denoted by 'She whose true nature is eternal, limitless Bliss,' (Nija-sukhamaya-nitya-nirupamiikarti). Nija means natural (Svabhiivika). By Sttkhamaya {Bliss) is meant in whom there is no sorrow. Nitya is being at all times (Trikiila, i.e. past, present, future).

NiruJ,ama is ' incomparable ', as there is nothing with which She can be compared. Such is Her nature (Akara. that is, Svarflpa). She is the unlimited, uncreated Brahma-bliss (Atmiinanda). S'ruti says that

the Brahman who is transcendent Bliss is in all and above alJ. Downloaded from https://www.holybooks.com

VERSE 2 7

The Chandogya (7-2-3 says : 1 That which is the Immense (Bhuma) that is BJiss (Sukha). There is no Bliss in the little. The Immense is Bliss itself. Every endeavour should be made to know the Immense.' Having so said it proceeds. ' There where one sees nothing else, hears nothing else, knows nothing else, that is the Immense (Bhiima).' It thus describes the Brahman who is Perfect Bliss (A paricchinnananda ).

The Brhadara{tyaka says, that • other beings enjoy (Upajivanti) only a fragment (Matrt'i) 'of this Bliss.' It thus says that all other beings are but drops ( Viprut) in the ocean Brahma-bliss.

The seed of all ... which are to be (Bhavicara-carabijam). Bhiivi is that which is about to and will come. She is the Cause of all-' moving and motionless things which will be and which are.

The Katha S'ruti says (5-2-12}: 1 The one Controller (Vas•i) of all who is the Inner Self (Antariitmii) of all created beings (SarvabhiUa) transforms His unity (Bkani r11,pam) 1 into many.'

Agama also says: ' \iVhen She the Supreme Power (Parama -1

S'akti) who is in the form of the universe (Vis1varfipini) sees 1 her own impulse towards becoming (Sphurattii), then the Cakra I comes into being./ As the great tree exists as potency ' in the seed of the Bata tree 11, so does this moving and motionless world exist in the seed in the heart (Hrdayabijastham) (of the Lord) '.

It may be said that as it is not possible for S'iva to create without S'akti nor for Para S'akti without S'iva, how can She be said to be 'the seed.' To meet this it is said that She is the pure mirror in "1

which Siva experiences Himself (S'ivan1,pa-vimars1a-nirmaladars•ah.) The Svarapa or nature of S'iva is 'I' ·or Aham (S'ivasya svari,pam v·

aha1n ityevmn iikiiram). The experience (Vimars1a) again of That •/ (Tasya vimars•ah) is the experience of '1-ness' (Aha1h ityeva,n ri,path jniinatn}. This pure mirror makes manifest this knowledge (Tasya prakas1ane nirmaladars1ah ).

The sense may be thus illustrated. A handsome king looking at his reflection in a mirror which is before him knows 'I am he who is thus reflected.' So ParameS'vara looking at His own S'akti (SvtittnaB'akti) who is within himself (Sviidhinabhiita) knows his own nature (Svasvarupam) as 'I am all' (Paripi,rno'ham). If there be nothing before the mirror then there is nothing to be reflected.



Similarly if the Pa-raS'akti were not united with ParaB'iva, She could not produce the universe (Prapanca) which is within Herself. There• fore the world cannot be created by S'iva alone nor by S'aktLalone. It is by both of them that all the Tattvas are produced.

Agama says: 'Without S'iva there is no Devi. Without Devi there is no S'iva. As between moon and moonbeam there 1s no difference, so there is no difference between S'iva and S'akti.'

NOTES

1 Some read Bfja (seed) for Rupa (Form). 'Pas•yet, that is, creatively produces, and, in the form produced,

experiences. 1 The first Cakra in the S'r1yantra, as to which see Yoginihrdaya,

Ch. I, vv. 9, 10. • S'akti. • Ficus i,idica.


VERSE 3

THE Supreme S'akti is resplendent. She is both the seed (Bija) and sprout (Angkura) 1 as the manifested union of S'iva and S'akti. She is very subtile. Her form is manifested through the union of the first letter of the Alphabet (A) and the Vimars'a letter (Ha).

COMMENTARY

Now some say that the experience ( Vimars•a)3 ' I am all' (Pari/Jurti,o'kam) is the Brahman. Then how can it be said (it is argued) that the experiencer (VimarS'aka, that is, He who is conscious of being the supreme ' I ') is the Brahman. The verse is written to meet this difficulty.

Supreme. Here by Supreme (Para) is meant Tripurasundari as She is before creation (Pralqta). She is so called because S'ruti speaks of Her as ' Consciousness, Bliss, WilJ, Knowledge, Action ( Chidanandecchaj1iiinak1•yiiriipa).' . .

She is both the seed and sprout (Sphiita-S'iva-s•akti-samiigama-bijangkura-ruPiii1). She is the manifested (Sphuta= Vyakta) union!+'' of S'iva and S'akti and is therefore both the seed and the sprout. For it has been said : ' From the seed the sprout and from the sprout the seed."-✓ She produces in their order all the Tattvas beginning with S'iva-tattva and ending with K~iti-tattva.

Siva. Here by the word ' S'iva' is meant Jniina-s·akti because S'iva-tattva is inherent (Adhi~thana) in Jiiana-S'akti; and by the word ' S'akti ' is meant Krya-S'akti, for S'aktitattva is inherent in Ktya-S'akti. It must also be noted that She who is Cidiina11dasvari1pa effects the creation of the universe by Jfiiina and Krya.

Subtile. She is also further spoken of as very subtile (Anttttararflj,a, that is, of very subtile form). S'ruti says, 'Verily more subtile


10 KiMA·KALI•VILiSA

than the subtile is eternal Beingness (Sattva), Thou verily art That.' Agama also says, ' the Devi is smaller than the smallest (Atiil) and

greater than the greatest.' Her form is manifested . . . letter (Ha) (A nuttara·-vimarS'a-liJ,i

lak$ya-vigraha). By Anuttara-lij,i is meant the letter before which there is no other, and that is the letter A. By VimarS'a-lij,i is meant the last letter which is •Ha. By the union of A and Ha (Aham=I) Her Self ( Vigraha=Svarfij,a) becomes known (Lak$ya= Visible).

VThe sense of these words is that the Para-s•akti is ' 1-ness' (Ahamiitmik,i) within whom (i.e. between the letters A and Ha) are all the letters of the alphabet -'(Antar-garbltita-samasta-var1Ja-kadanibaka.) Her form is the fifty letters beginning with A-kiira and ending with Ha-kara (Akanidi-hakarii11ta-pmicas1ad-ak$ara-rftj,ini). She is the Mother (Janayitri) of all the universe consisting of Var~a, Pada, Mantra and of l{aUi, Tattva, Bhuvana. She is the supreme object of veneration (Parii bhattiirikti, the innermost self of all things (Samastabhtitantaratmii). Everywhere in the Vedanta She appears spoken of as' I' (Ahamahamityevakliret)a). This is what has been said in this verse. So it has been said in the l{iim:a-s'ruti: "This Brahman verily in the beginning was. It knew Itself (Tadatmanam eva veda), ' I Brahman am'," 'A is Brahman, from That came Ahatn (i.e., I).'V The worship of Atma is the meditation ' I am all' (P1irniiham-bhiiva- ,/ bhiiva,ui), and should be kept very secret. S'ruti enjoins that it -' should be learnt only from the mouth of the Guru.

NOTES

1 As seed She is cause, and as sprout, effect or universe. 'Pari/iiir11o'ham iti t•in1ars1am eva Brahma. Reference is made to

the experience as a state contrasted with that of which it is a state.


VERSE 4

UPON the mass of the rays of the Sun Paras'iva being reflected in the pure Vimars'a-mirror, the Mahabindu appears on the Citta-wall illumined by the reflected rays.

COMMENTARY

The author being desirous of describing the. Kamakalii in the form of all the letters, commences in this and the following three verses to speak of Her letter-hood (Ak$ara-sva,-apa = Brahnia-svarupa.1

Mass of the rays of the Sun Parasiva (ParaS'it•aravikarnikare). Parasiva is the adored Lord ParamaS'iva who is mere Prakas•av Prakiis1aika-svabhiivah.) The mass of His rays (I(ariih=l{ira~iah) is the pure ( Vis•uddha=Nirmala) Vimars1a-mirror ( V-imars'a••darpa~ta). Vimars•a is the S'akti or movement (Visphura{ia-s•akti) = which is limitless (Anavadhikiikara). So it is said in Pratyabliij1i,i : ' She is Splmratta. (S,i sPhttrattii).' She is here compared to a mirror because of Her thereby manifesting Herself (Sva-svarapa-prakas·atvd!) •.

Reflected. By • Reflection ' (Pratiphalana) is meant seeing one's own self (Svasvarfipavalokana). When the self is seen by reflection in this way, then 'Mahabindu appears on the Citta-wall' (Cittamaya= J1ianaika-svarfiPa) which is beautifully illumined.' The Citta is compared to a • wall ' (l{udya) because on it appears (the reflection of the) Mahabindu. In ordinary experience we see that if a mirror is kept facing the sun, the rays after being reflected therefrom appear on any wall nearby as a luminous spot (Bindu) produced by the rays of the sun. In the same way when Parames•vara who is Prakiis'a J

(Prakas,a-ri,pa-parames•vara) comes into connection with Vi-marS'a which is like a mirror (Darpaiiavat-svarupa-vimars•a-sambandhejdte), there shines forth the Mahabindu who is Parames•vara as PRrl)o'ham-• I am all.'


12 KlMA-KALl-VILlSA

S'ruti also says: 'Oh gentle one, this Being alone there was in the beginning, the one, non-dual Brahman alone.' That said: '.May I be many and be born.'• Also ' She this Devata said ' : ' 1 This Brahman alone there was in the beginning, That knew Itself as • I (Aham) am the Brahman'. 'He said (and thought), truly I shall create these worlds (Lokas).' 8 Texts in S'ruti like these say that the Parabrahman who is looking towards (Abhimuklta) His own S'akti (Sviitmas•akti) is the Cause of the universe.9

Agama also says: '\Vhen She the Parama S'akti 10 sees Her own SJ,huratta, there comes into being the Cakra.'

In Pratyabhij11a also it is said: 'She the Splmratta is the great Being-ness (Maluisattii) beyond time and space (Des'a-llala-viS'esini).11

It is She who is spoken of as the essence of all (Stirataya cokta) in the Heart of the Supreme Lord.

NOTES

1 That is, Her svaruj,a as the substance of all the letters. CJ.

A-kiirah sarva-var?J,agryah Prakas•alt paramah Sivah, Ha-karo'ntyah kalarupo Vimars•akhyah prak1rtitah.

• Sphura'l},a is a common term in these S'astras. The word means impulse, vibration, throbbing, pulsation, quivering and then springing up, breaking forth, blossoming, starting into view, expanding and lastly flashing, glittering, sparkling manifestation, in short, both as impulse towards and as fact.

• Sva-svarupa-t,rkas•atviit may also mean : Because She makes manifest the svarat,a of Brahman (Sva=Brahman=Atman) in Her as in a Mirror.

• That is, by the rays reflected back on it. 1 Chi., 6-2-1. 1 Chll .• 6-2-3. 'Chi .• 6-3-2. • Ai tareya, 1. 1. • He contemplates and assumes Power.

10 Yoginthridaya, 1. 9. 11 She limits, that is, is beyond both.


VERSE 5

Ahamk'llra, which excels all and is the massing together of S'iva and S'akti and the fully manifested union of the letters A and Ha, and which holds within itself the whole universe, is Cit.1

COMMENTARY

In this verse he describes the notion of" 1-ness" (Ahati1bhava) which arises from the gaze of S'iva upon His own luminous S'akti. Ahanikara is the VimarS'a which is I I-ness' (Yo'yani aham•ahamityeva vimars1ah). Aha11ikifra is the cause (Kiira=l{ara?ia) of the experience of' I-ness' (Ahambhiiva-vimarS'a) which manifests (V:vafijaka) on the uprising (Vdbhfita) of the experience which is self-recollection (Atmasmaratia). Ahanikiira such as this excels all. So it has been said, ' In the Altatn experience (Aha1hbhava Prakas1a) rests in Itself (A tma-vis1riinti).' i

Cit (Chittamaya) is mere Jiiii11a (Jfiiinaika-svabhiiva).

Manifested (Swvyaktahiir{ia-samarasakara) owing to the form which is produced by the combination of the letters A and Ha, each giving rise or making manifest the other (Parasf>arodbhiUar17j,a11).

Union (Samarasa= Elia-lolibhiUa) or the union in the form of ✓ Ahamkdra of these two letters in which each desires to be united in an equal degree with the other.

Massing together of Siva and Saldi (S'iva-s'akti-mitlitmapi~ula). v S'iva = PrakaS'a, S'akti = VimarS'a. These are the two who make the

divine Husband and Wife (Divyadaritf>atimaya). The union of these ✓ two, in which they desire to be united in equal degree, is S'iva-S'akti• mithuttaj,i1;z~a. Ahamiara for reasons implied in what is aforemen• tioned contains within it (Kavalikrta) the sphere (Ma~dala) of the universe (Bkuvana). By Bhuvana-ma1Jdala is meant all that is


14 KIMA·KALI·VILXSA

composed of Thirty-six Tattvas~ The meaning, by the rule of Pratyii• hara, is that vfrom the union of PraktiS'a and VimarS'a which. is Ahamkiira, within which are the many letters of the alphabet, emanates the whole universe consisting of Word (S'abda) and its Meaning (Artha). So also says S'ruti 1 : 'The letterless (Avart1a) full of meaning (Nihitiirtha) by union with S'akti in various ways generates many letters ( Var~a)'. In another U pani~ad' occurs this text: • Who art thou?' • It is I (Aha11i) (the reply): All this is surely I (Aha1il)'. Therefore the term 'Alta,n' or 'I' denotes all things (Sarviibhidhana1ii = Sarvavacakam ). '

NOTES

1 Chittamaya. Or the verse may be translated-" Harhkara is Cittamaya. The form (Aham) is the manifested union of the letters A and Ha or the coupled S'iva and S'akti in massive union which even endures after the universe has been withdrawn into Itself."

'Prakas1asyatma-vis1r'iintir ahathbhatn hi kirtitah. 1 Svet.1 14-1. 'Nrsithha Uttara, 7.


VERSES 6 & 7

THE two Bindus, white and red, are S'iva and S'akti, Who, in their secret mutual enjoyment, are now expanding and now contracting. They are the Cause of the creation of Word (Vtik) and Meaning (Artha), now entering and now separating from one another. Bindu which is Ahamkara (Aha1i1kllr'llt11az) is the Sun which is the union of these two ( white and red Bindus). The Sun is Kllma, which is so called because of its desirableness; and Kalil is the two Bindus which are Moon and Fire.

COMMENTARY

Having described in V. 4 in the passage ' The Mahabindu appears on the Citta-wall ', the Svarfi,pa of the Bindu he now des

cribes Kamakala. The two Bindus white (Sita) and red (Sona) are Siva and Sakti

playing in secret with one another, tha.t is, in mutual enjoyment the one with the other (Vivikta-s•iva--s•akti == A nyonya-1.,ihara1;1aj,are S'iva

B'akti), now contracting or closing together 1), now opening out as the creation of the universe (Prasarah=Jagat·srit}firiipo vikasah).

The Cause of the creation of Vak and Artha (Viigarthasr$fihetuh). By Vacah I is meant all the sounds Para, PaS'yanti and so forth; and by Artha is meant the thirty-six Tatt-vas beginning with S'iva and ending with KQiti. The creation of these is the creation of the world Uagat) of six Adhvas.•

It has been said, 'Oh Deves•i, In Thee who art Cit (Cidatmani)

are the six Adhvii.s, namely Vart,a, /{ala, Pada, Tattva, Mantra and Bliuvana.' These two Bindus which enter one another and separate (Paras-J,aranuJ,ravi$tavispa~tam) arc the united white and


16 KIMA•KALI·VILISA

red Bindus (SitaS'o1_tabinduyugalam) which are known as Kama•

KameS'vari, the divine Husband and Wife. The great secret here is this. On the authority of S'ruti, ' He who is supreme (Para) is MaheS'vara '. And the supreme Lord (ParameS'vara) who is the first letter (A) which generates all sounds of the Vedas and so forth attains the state of Bindu (Bindit-bhiiva) after having entered VimarS'a-S'«kti who is His own body (Svii1igabhi'"itii) and in whom (S'akti) all the universe (Prapaiica) is dissolved. Thereafter the Vimars•a-S'akti also enters into the Prakiis1amaya Bindu which is within Herself. On that the (MiS'ra) Bindu becomes ready for action (Uchchflna). From that Bindu issues Nadatmika S'akti' within whose womb are all the Tattvas, who is all energy (Tejomayi) and in seed form (Bija-riipa) and subtile like the tip of a hair and assumes the form of a S'nigdtaka.5 In this way PrakaS'a and Vt'.lnarS'a which are the Svarflpa of Nada and Bindu assume body as I I' (Aham). In the same way, of the pair, one, namely Vitnars1a, is the Red Bindu, and the other, Prakiis'a, the \Vhitc Bindu, and the union of the two is the mixed (Mis•ran7pa) and all powerful (Sart1atejomaya), the Svari7pa of which is the Paramatma (Paramatma-svari7pa).

S'ruti also says: 1 Avar~a (letterless) which is full of meanings (Nihitartlta) by union with S'akti in various ways generates many letters.'

He further elucidates these three Bindus by speaking of them as Aha11i.kariitmii and so on. The (mixed) Bindu which is (composed of) the Red and White Bindus (Binduh sita-rakta-svarupah) is one with the combined first letter A and the last letter Ha (Sphiirarupaha-kara) between which are all the other letters. The Kara in Ahamkara signifies that A and Ha are letters according to the Siitra ' Var~dt karah.' This Bindu is therefore the union of the two letters A-kiira and Ha-kiira, which signify the union of PrakaS'a and Vimars•a (Btan-mithima-samarasiikarah). The union of these two divine Husband and Wife (Divyadampatir1i.J,asya) is their mutual helpfulne!:s (Samarasah=Anukulyam) in entering into or co-operat• ing with one another. This mutual action is in the very nature (Akara=Svarupa) of the Bindu. The Sun is the Mixed Bindu

• (Mi8'ra-bindu), being the union in the manner stated of the White and Red Bindus (Sita•S'ona-bind11-samarasi-bhutah).


VERSES 6 & 7 17

In ordinary experience also (Loke'j,i) the mixed character (MiS'ra

rupatvam) of the Sun is spoken of, because it is said that He enters ,.,, into and issues out of Fire and Moon. S'ruti says : ' So does Fire enter into the risen Sun. In the evening again the Sun enters into Fire.'•

The word Amii-vasya 7 is so called because the Sun and Moon are in conjunction (Ami=with, Vasatah=are). Therefore the entrace of the Sun and the Moon into one another is well known. The Sun consequently is the mixed (Mis•rii) Bindu. ✓

Kam.a. That He is the object of adoration (Upasya) is shown by the word 'l{iima ', l{iima is that which is desired (/{iimyate) by the .,, great Yogis, who know the Supreme Reality (Paramiirlha) as being their very Self (Sviitmatvena). The reason for their doing so is given when its desirableness (Kamaniyat'i.•a) is spoken of, since all beauty is desired.

The Chiindogya Uj,ani$ad (speaking of the PurU$Cl in the Sun) says: 'Golden-bearded, golden-haired, all gold from the tip of the nails.' The is1iivasya also says: "He the Paramatma, radiant, bodiless (Akiiya), imperishable one, without subtle body, without material body,8 pure (S'uddha), beyond Dharma and .Adharma, pervades all."

The same Uj,ani$ad says : 'That most beneficent form of Thine, that do I see by Thy grace. That Puru$« {in the Aditya-mandala whose body is the Vyahrtis) He I am.'

By describing Kames•vara as beneficent the author praises his greatness (Mahimii).

Kala, Kala is V imarS'a-S'akti. ,1

Bindus which are Fire and Moon Dahanendu-·c.'igrahau bindu). The meaning of this is that VimarS'a•S'akti is in the nature of Fire and •' Moon (Agni-$oma•rupi,:ii).

Mahatripurasundari who is in both these and inseparatc from ./ KameS'vara is the collectivity of the Bindus and is Kamakala. In all Agamas it is proclaimed that She is the object of adoration:' So it has been said: 1 When white S'iva is in red S'akti, Para being

pierced by S'arhbhu, then such red S'arhbhu is in S'akti as Parate.ttva. When red S'iva is in white S'akti, then is the state of Para•S'arhbhu and such red S'iva in white S'akti indicates Saccidananda.' And

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18 KlMA·KALi•VILiSA

again it is said, ' Oh Paras1ivi, I make obeisance to Thy supreme Kala, whereof the upper Bindu is Thy Face, two other Bindus are Thy two breasts, and Nada-bindu (that is, Hiirdakala) • is the place of RaS'ana (Nada-bindura8'anagu11dsj,adatn).' 10

'The Bindu which is above E-kara 11 is the Sun and Her Face, and below are placed Fire and Moon, Her two breasts, and the Kala

' 1 which is half of Hakara is her Yoni.' The Nityii!;odas1ika 12 says: 'Having made the Bindu the Face

and below it the two breasts and below it again half of that which follows Sa,u meditate upon it 1' as downward turned.'

All this is very secret. The gist of all this is that the excellent Yogis, the great

MaheS'varas, constantly worship the mother Maha-tripurasundari who is Kamakala, the collectivity of the three Bindas in the radiant, imperishable and all-pervading Brahman (Bindutraya-sama$li-ruj,adivyiik$arariij,ini), whose very self is the Bliss which is PrakiiS'a (Prakiis1anandasiira), and who is in the nature of complete 1-ness (Pur{iiiharnt,iritj,ini), within whom is the seed (Virya) of the endless mass of letters (A nantall$araras•i) and great Mantras (MaJuimantras).

The Vijiianabhattiiraka also says: "By passing through the different Mandalas (of the S'ricakra) where the gross letters (Sthulavartia) are rising up to Arddhendu, Bindu, Nadanta 11 and to the S'unya in the Binduriipa-cakra, one becomes S'iva." 111

NOTES

1 Samkuchan = Mukuli bhavan, i.e. closing like a flower. 1 Plural of Vak. 3 See Woodroffe's O Garland of Letters", Chapter on the ~adadhvis. 'Nadatmika S'akti, i.e., Shakti as Nada. CJ. Woodroffe's" Garland

of Letters." 1 A triangular pyramidal figure. • In day time the Sun absorbs ihe light of fire and in the evening with

the disappearance of the Sun other lights appear. • 1 Tithi of the new moon.

• Asnaviram : veinless. • See next note • .. The place of the Waist-chain; the Yoni being there.


VERSES 6 & 7 19

11 The Bija formed by the union of A-klira which is Prakas•a and 1-kara which is lccha s·akti.

11 1-20. it. H i.e., a. 16 ' ht' 1 i.e., t e nang e. 16 For these terms see Woodroffe's "Garland of Letters," 18 The gross letters in Vaikharf form are in the outer Mand alas and

passing through the subtler forms of S' abda, the Sabdabrahmnn and then S'unya is attained,


VERSE 8

Now this is the Vidyzi of Kamakala which deals with the sequence of the Cakras of the Devr. He by whom this is known becomes liberated and Mahatripurasundari Herself.

COMMENTARY

Having thus explained the nature of Bindu (Bindusvar1ipam) he says that the fruit of this knowledge and worship is Brahmabhiiva.

Now (/ti). That is, after what has been described in the previous paragraphs.

Vidya of Kamakala. Kamakala is Mahatripurasundari. By Her Vidya is meant Jna11a regarding Her; and to complete the sense, it is said that this knowledge consists in knowing the sequence or the order of arrangement of the Cakras in Her S'ricakra.

Sequence or Order (Kroma). By this is meant the order in which the Cakras, Mantras and Devatas are placed, beginning from Sarvanandamaya tpl all is fully manifest.

He by whom (Yena). The suggestion is that the man on whom the grace of S'akti has fallen (S'aktiJ,ata: descent of S'akti) is drawn into enquiry concerning the Brahman and meditates and becomes liberated after attainment of knowledge.

Known (Vidita). Mastered through sitting at the feet of the Guru and so forth.

Becomes liberated (Mukto bhavati). He, the great Yogi, enjoys (Viharate) and is yet able to free himself of all desire, after having conquered the whole world through his consciousness (Bhavanii) ' I am always the full and whole I' (PariJ,iir1Jahanibhiiva).

So it has been said in Pratyabhijiia : • He who is fully instructed in the greatness (Ais-varya) of the Lord by Vidyiis is massive Consciousness (Cidghana) and is verily liberated' 1•


VERSE 8 21

The Brhadiirat)yaka 2 says: 'Men think that by Brahmavidyii we shall be all in all 8• Now, what is that which when it is known, we become all-knowing?'

In the end' he becomes Mahatripurasundari Herself, that is, our Supreme Lady (Parabhattiirikii).

S'ruti says: 'They enter the Supreme Light of Tripura (Trai•

pura1it dhama)' ; also 'the knower of the Brahman is the Brahman'. The Chandogya says 1 : 'He alone who sees thus, who meditates thus, who knows thus, he verily is drawn to the Atma, has love-play with the Atma, and is united wlth Atma which is Bliss Itself (Atmarati, Atmakrida, Atmamithuna, Atmiinanda) '.

In the Svacchanda Tantra also occur Texts like the following

' When (the Siidhaka) is united in the same abode with his Devatii 6, then for him there is no more birth or death. He attains the state

of true Devotion and becomes the Lord of the Universe (Cakra) '.

NOTES

1 Cidghana is the Brahman. The sense of the text is that man be• comes Brahman Itself. CJ.' He who knows the Brahman is Brahman',

' 1-4-9. • The text begins, "Seekers after Brahman say.''

' Ante'J,i, that is, after death. 1 7-25-2. • that is, here Tripura.


VERSE 9

FROM the Red Bindu about to create arose sound 1 (Ravah) which is the Nada-brahman sprout. From that (Sound) came Ether, Air, Fire, Water, Earth and the Letters of the alphabet.

COMMENTARY

Here the Yogi Punyananda after having reaJised within himself (Atmatvena anubktiya) the Primordial Sundari 2 whose name is Kamakala, now speaks of the origin of the world foam the Bindu before Creation (Prakrta~bindu) which is the Highest Reality (Para

martha) as also of Her spreading forth ( V ilasa) as Devata, Mantra and Chakra.

From the Red Bindu about to create (Sf,huritiidartmiid bindoh). Sphurita= Ucchiena, that is, ' swelling', • pregnant ' 8, which has been previously described.

Sound which is the Nadabrahman sprout (Niidabrahmii1ikuroravah). Nada is the sound (Var~a) which is the cause of the origin of all sounds.' This is the Brahman which is Nadabrahman. This is the Producer (A11gkura= Utpadaka). So it has been said: 'One A-vara~a• which is Nada (Nddatmaka) is divided into all letters. As it nevet disappears 6 it is called Aniihata 1• This is S'ruti.'

Vyoma, Bindu, Nada. This is the order.• Sound (Rava) which is the sprouting Nadabrahman becomes manifest in the form Pas'Yanti and so forth. It is proved• that the mass of sound is the S'aktis Para, PaB'yanti and so forth. This sound (S'abda) is the origin of the five Bhutas, Ether, Air, Fire, Water, Earth, and the letters beginning with A and ending with Kia. From Nada•bindu issues the entire world. S'ruti al~o says 10 : 'From .Ak1ara 11 originates this universe.'


VERSE 9

NOTES

23

1 That is, the creative movement which as sensed by the ear is eA· perienced as physical sound.

1 Sundari=a beautiful woman. Here it is the Devi. All Devis are beautiful, the Devi TripurasundarJ being the most beautiful of all. See a Dhyana of Her in Chapter I, vv. 138-152, Nitya!jodas1ikar11ava.

'The state of immediate readiness to produce. • And, therefore, of everything else, for all things have a common origin, 11 A-kara is the first of all letters and is Prakas1a and Paramas•iva.

But this is lak!jci'}artha, that is, after the universe is produced the first letter A indicates the Brahman. But the Bralimasvarujui is A-vanJa in the negative sense, that is, letterless and soundless (1tihs 1abda). A-van.ui here is undifferentiated Power which manifests as the particular letters and other particulars of the uni verse.

• Lit., 'always is', that is, during the Kalpa. All creative activity is withdrawn at Pralaya when Power is one with the Power-holder (S aktiman).

1 Ahata= struck, and anahata s1abda is that sound which is not caused by the striking of two things together, that is, by contact of matter. It is Eternal Power.

8 Ether originates from the self-dividing or I bursting' Bindu, on which self-division there was Nada. That is, Nada is the productive action which manifests as the produced Vyoma and the rest. CJ. A,hbiistotra, v. 3.

• Later, in Verse '20. 10 Mu?J,daka, 1-7. 11 that is, Brahman. The word means both 'letter' and 'imperishable',


VERSE 10

THE \Vhite Bindu also is the origin of Ether, Air, Fire, Water and Earth. The Universe from the most minute to the Brahma-spheroid consists of these five V ikrtis.

COMMENTARY

Having spoken of to the all-pervadingness (Sarviitmatva) and all-creativeness (Sarvasr$titva) of the Red Bindu he now speaks of the sameness of the vVhite Bindu and Red Bindu, because of the inseparateness of the former from the latter.

White (ViS'ada.), All-illuminating (Sarvaj,rakas'a). It is from and into this Bindu, which has been previously described, that the appearance and disappearance of the Endless Brahma-spheroids composed of the five Bhiitas, Ether and the rest take place.

So S'ruti says 1 : ' In which all the Beings (Bhavas) disappear and having disappeared become manifest again and then again and again disappear like bubbles.'

In this way it is established that from Brahman, which is the White and Red Bindus, which are Prakas'a and Vimars'a, all this (universe) originated.

Agama also says : • I bow to the Mahiif,itha • of Sa,nvit • which is S'iva and S'akti (S'ivas•akti-padas•raya) • wherefrom emanate countless world-rays II made manifest (Vilasita) or flashed forth by Creative \Vill (Iccha-s•akti),

NOTES 1 Chulik'IJ Up., 8. 'A word which here conveys the sense of a place of great sanctity. • That is, Parai1tana. 'Lit., the refuge which is the feet or place of S'iva and S'akti. 11 From the Effulgent Consciousness imaged as a Mass of Light which

is all Wisdom and Power, rays shoot forth which are the worlds, as, it is said elsewhere, sparks from the great central fire.


VERSE 11

As the two Bindus are indistinguishable and inseparable, so also are Vidytt the indicator ( V edaka), and Devata, the indicated ( Vedya).

COMMENT A HY

Having spoken of the inseparateness (Abheda) of the two Bindus he now says that similarly there is oneness of the Mantra and the Devata.

Two Bindus (Bindudvitaya)-' The two Bindus previously men• tioned which are in the nature of Prakiis•a and Vimars•a (Prak,1s'a• vimars·iitmakam). As these two are inseparate, the ,vise say that S'iva and S'akti are one Tattva '. The two are blended, the one with the other (Paraspariili:Jta). In the same way there is not the slightest distinction between Vidyii which is the indicator (Vedaka= Vac,1ka) and the Devatii which is the indicated (Vedyac=Vficya).

Vidya is the Mantra of fifteen letters (Panchadashiikshari) and Devata is Mahatripurasundari.

So it has been said in Tantrasadbhii.va: 'All Mantras consist of letters ( Varmitmaka). They again, 0 beloved, are at base S'akti. S'akti again is Mati·ka and She again is S'ivatmika. She the Matrka who in the world appears possessed of the energy and brilliance of the Supreme (Paratejah-samanvita) pervades all this universe beginning from Brahma. and ending with Bhuvaua.'


VERSE 12

WORD ( Vnk) and its meaning (A1·tha) are always llnited, They are S'iva and S'akti which are three-fold as Creation. Maintenance and Dissolution, and as the three Bijas.

COMMENTARY

He here wishes to say that the world arises out of the inseparate Niida-bindu couple, and therefore says that that Couple of its own wish differentiated themselves.

Word and ils meaning (Vak a11d Artha). Vak is in the form of V «nJ,a, Pada, Mantra ( Var{iapadamantrariepa), Artha is ]{alii,

Tattva and Bhuvana 1 (Kaliitattvabhuvanatma). Such is the form of S'iva-S'akti, because, as S'ruti says( out of S'abda ( V iik) and Artha

which are Prakas'a and VimarS'a (Prakiis'a•vimars1iitmalla), the whole world consisting of six Adhvas (S'adadhvatmaka) originated. They are therefore always united (Nityayutau=-=-·Nirantarci-samsaktau)

and not casually or accidentally so, like a jar and picture which may be put together. If the union were merely accidental, then the ordered universe would not exist. These two go through the threefold changes of Creation, Maintenance and Dissolution (Sr§ti•sthiti•

laya-bhedau tridha•vibhaktau).

CreaUon, Maintenance and Dissolution. By Creation (Sr$ti) is meant the appearance of all the Tattvas beginning with S'i-oa and ending with K$iti. Sthiti is the Maintenance thereof, and Dissolution (Laya) is their reunion with, or return to, that which at base they are (Svdttnasdk$iifkara). These three (functions) are from, in and into the Atma. So it has been said by the honoured Abhinavagupta 1 ;

'Creation, Maintenance and Dissolution are (all) within the Atmi (Svatmagali) in their own nature (Svarilj,atvena) '. These two (Vak and Artha) are mutually (Parast,ara) united S'iva and S' akti


VERSE 12 27

(S1ivas•~ikti-mayau) and forms of Prakas'a and Vimars'a (Prakas'a

vimarS'a-svar-apau), the activity of these two being of one and the

same thing (Ubhayor eka-krttvii.t), just as in the case of fire and

the function or S'akti of burning ( Vahnidahakatvavat) there is no difference (Tattva11tara).

As an honoured teacher also says: 'The identity (Tiidiitmya) of these two is everlasting (Nityam) like that of Fire ( Va/mi) and S'akti or power which burns (Dahika),'

Agama also says: 'As We two are the Self of the \Vorld

(Jagadiitmatvat) We two are one with it. By reason of Our identity

with one another We are at all times the life of the world (Jagat•

J,ratJ,a) '. Threefold (Tridha-vibhaktau). The united Prakiis'a and Vimars'cl

are divided in three ways (Vibhaktau=Prithagbhi'itcrn). These three

ways or forms are the three Bi,ias. The three Bijas are Vagbhava, Kamariija and S'akti Bija. The meaning of this is that Mahatripura

sundarI who is Brahman as Kiimakalii composed of the three Bindus

collectively (Bindutrayasama~tiblu7ta), is the object of adoration of all.

The V amakes'vara 3 says: 'Tripura is known by the three

Tattvas (Tattvatrayavinirdi$tii) and is the threefold S'akti of the

three letters ( VanJa-s•akti-trayiitmika) •. Vagis'vari which is J1iiimi

s•akti is in V iigbhavabija and is M ok$a-rupivi or Liberation itself,

that is, granter of Liberation. Kamakala is in Kiimaraja (Bija) which is Kriya S'akti (Kriyiitmikii) and KiimariZPii {as Kama or \Vill,

that is, granter of desires). Jccha which is the Para S'akti is in

S'akti Bija and is S'iva-r1,pi'IJ,i 1• Such is DevI Mahatripurasundari

who is the three Ak$aras (Bijas), who loosens the bondage to this

world, and is known by the tradition handed down by the Hnc of

Gurus to their disci pies (Paramf>arye~ia vijfi,ata) '.

NOTES

1 These six constitute the six Adhvas (see "Garland of Letters"), of which the first three are in Vak and the remaining three in A rtha.

• Aciirya of the Kishmlra School. • Nityas1odas1ika, IV, 16-19. ' The Varnas or letters here are the three Bljas. • Siva-ruJ>i°tJf=DharmaJ>rada, giver of Dharma.


VERSES 13 & 14

KNOWER, Knowing, Known are the three Bindus and forms of the Bija. The three Lights, the three P;,thas and the three S'aktis are that by which they (the Bindus} are known.1

In these again in their order are the three Lingas as also the three M-atrkas. She who is this threefold body is the Vidyzi (Devi), who is the fourth Pitka (Turiyapitha), and the root of all differentiation (Adibhedini).

COMMENTARY

He here commences to make the Vidya (Mantra) of fifteen letters by describing certain details immanent (A ntargata) in the three divisions (l(handa), V agbhava and others.

Knower (Mata) is the Lord (ls•vara) who knows. Knowing (Manam) is the Vidya whereby He knows (Avagati

sadhana-bhfita vidya). Known or Object of knowledge (Meya) is MahatripurasundarI

who is to be known (Jriayamana).

Forms of the Bija are these three, namely Knower, Knowing and Known divided into three separate Bindus (Bindtttrayabhinna-biiarftPatti).

The three Bindus are those already described, namely Red, White and Mixed. The Bija is divided into these three Bindus. The Bija is the NirviitJa Bija which is the collectivity of all the three Bindus (Sarvasam«$ti-bh11ta-nirviitzakhyam). By II form" (RuJ,a) is meant that they manifest the Bija (TadruJ,iitJi=Tatt,rakiiB'akani). The sense of the above is that She who is the Supreme transcendent Light (Parariijyotili) which is Consciousness (Cit), Bliss (Ananda), and the massive Atma (ghanatmti) with the experience of Ahambha'Oa or " I-ness" (Sarvatita-cidanandaghaniitmanubhava-riij,iiliam-bltavas'alini) enjoys Herself in the form of experience in which there is


VERSE 13 & 14 29

Knower (Matr), Knowing (Mana) and Known (Meya) (M,itr-niii11a• meyabhavam anubln7ya viharati).

The Kiit;iva I says: 'This Atma there was alone in the beginning as Puru~a. He saw and saw nothing outside Himself. "He I Am•· (So'ham asmi): Thus first did he say. Thereupon arose 'Aha,it '. Therefore even now a person on being accosted first says, ' It is I ' (Aha1it aya1n) and then given his individual name.'

The meaning of the passage is: The Atnui is the supreme Lord. '!dam' is the visible Universe. 'In the beginning' means first. 'He was', that is, with the Universe within himself. Therefor~, that Paramdtma having seen as Himself (Atmatvena), the Universe, ,vith Himself (Sviitmasiitkrta-prapaficam) did not see any other; that is, He saw nothing beyond Himself, because He had withdrawn aJl things into Himself. At that time He showed Himself to Himself as 'I am the universal form' (Svasiidhiirauariij,a), that is, ' I am the experience which is continuous (Akha~ida), Massive (Ghana), Being (Sat), Consciousness (Cit), and Bliss (Ananda) (Aklta~1dasaccid,inandagltaniitmiinubhavo'lza11·1) '. In the beginning, that is, before creation He enjoyed himself, that is, he showed (Priidar.rtayat) Himself to Himself. Thereupon arose 'Ahani' (I) Aham-11iimdbltavat). Because thus Brahman shows His own self (Svariepa) to Himself as 'I ' (Aham), this is itself the name of Brahman. Therefore even in this

world if a person be accosted he answers first 'It is I ' (Aham) and after thus giving his Bralunasvari'ipa•, he next gives his other' name. These distinctions of Knower and the like are seen to derive from the Brahman as we can perceive by examining ourselves.

The Catuhs1ati II says, that the Supreme Energy (Para,ntejah), which is transcendent (Atitam=which is beyond the Bit,du) is .,. S'Oasamvit ( =Svetarvi$ayaka11i jnna11i =knowledge, the object of

which is_ n.Q~hii;tg_E_ther __ !.~-~~-S_elf). Its characteristic is manifestation ( U dayatmakam= ( U dayaikasvarupam $«dbhava-vi kiirarahitani). By Its mere wish (i.e. by mere lk$«tia without being dependent upon or having recourse to any other being or thing), it made the worldpicture (Vis"va-mayollekhah=jagadatmakam chitram). It is all

prevading (Vis"va-rupaka= Sarvtmaka) Conscjgusness (Caitq_nya)_ pleasing .ItselLin. Jls ___ own blissfJJlness 8, Such is Atma (Atmano rupam). Its Jight.Js. __ contracted.(S..a,nkucalprabham}in.ltsevol-ution


30 Ki.MA·KALI-VILi.SA

~as Knower (Matr), Knowing (Mana), Known (Meya) and true Knowledge (Prama).

Three Lights (Dhamatraya). These are the three Mandalas of Moon, Sun, Fire.

Three Bijas (Bijatraya). These are V iigbhuva and others. Three Pithas (Pithatraya). These are Kamagiri and others 7•

Three Saktis (S'aktitraya). These are Icchii and others 8•

They (Bindus) are known (Bhiivita) under these three aspects (Bheda). These are forms of the Mahabindu (Mahiibindumaya). Therefore in these Three Lights and others there are in their order (Iframe1;1a=Anupfirvyii) the three Lingas, viz., Svayati1bhu and the others 9, the threefold Matrka classified as A, Ka, Tha and the rest 10•

Tripura who is in the form of and is the collectivity of all things (Tat-sama$tirupa) is the Pariis•akti who appeared, and hence it is said I She who is the threefold body ' Ittham tritaya-puri ya). Her body is threefold in manner hereinbefore described. She is therefore the highest or Fourth Pita (Turiyapithii) as the basis (Bhu) wherefrom appears and into which disappears the whole universe which is tb reefold ( Trividhatmaka-sarvapraJ,ancavirbhiiva-tirobhiiva-bMih ). So the Catuh-S'ati 11 says : ' (I bow to} Matrka who is Pitha-r17J,ini '.

She who in this way is the TuriyaJ,itha and is the root of all differentiates Herself (Adibhedini). She within whom is the endless mass of Tattvas produced by Her own will (Svecchaya udbhavittinantatattva-kadambini) ii in Herself (Svtitmany eva) continuous impartite (Akha~da) Sam'Oit.

An honoured sage (Abhiyukta) has said: • Because the Devi created the three forms (Trimfirti), because She is before all (Purobhava), because She is in the form of the three (Trayimayi) 11,

because even after dissolution of the three worlds She recreates them again, the Mother's (Ambikii) name is appropriately Tripura.'

In the Catuh•S'ati 11 She is spoken of as the Devi Tripura who is Knowledge as Supreme experience itself (S"Vasamvit).

NOTES

1 Knower, Knowing and Known are the three Bindus which are forms of the Nin,ana Bria or Mah~bindu the collectivity of all three. The three


VERSES 13 & 14 31

Bindus again are the three lights, three Prthas, three S aktis, three Lin.gas and three Matrkas. That is1 these are their various aspects,

• Brhadara11yaka1 1-4-1 . . • That in which he is one with Brahman. • IndividuaJ. 1 i.e., Nityiifodas1ikii1 VI-49-51. • i.e., its blissfulness is not the result of anything outside Itself. 'Purt1as1a1Ja and J iila1tdhara. These reflect and are V rtti of cliit . • • That is, J1tana and Ifriya S aktis. • Namely Ba11a, Itara and Para.

11 The Triko11a of that name. See" Serpent Power" by A. Avalon. II Nityas1odas1ika, Ch. 1-vi. u i.e., the vedas consisting of Karma, Ufllsana and Jtfana RatJdas,

not, as usually stated, ]Jk, Yaju.s, Saman. 11 Ch. v. 41.


VERSES 15, 16 & 17

SouND, Touch, Form, Taste, Smell these are the subtle Bhutas. (Of these) each is the producer (Vyt1paka) of that which follows (V1J1Z1pya), and thus taking them all in their order there are fifteen properties (Gurias).

The Nityct (Tripura) who is {the Mantra) of fifteen letters is known as She appears in the Bhutas (Bhautikct'bliimatn). She is surrounded by the fifteen Nity'lls 1 who are distinguished by the different properties (Gutt,as) of sound and so forth (S'abd-adi-gutia-prabheda bhin11:i1h).

The (fifteen) Nity'lls represent the (fifteen} lunar days (Tithy"llkllr"i'lh). The lunar days again are the union (Samarasa) of S'iva and S'akti. They consist of days and nights. They are the letters in the Mantra and have the double nature of Prak'lls'a and Vimars'a.

COMMENTARY

He has spoken of the creation of the five Bhiitas in the passage:

'From that came Ether, Air, Fire, Water and Earth.' He here

commences to speak of the nature (Svari'ipa) of each of the Devatas

who are one with (each of) the letters of the great Mantra by a description of the Gu?zas of the first created five Bhutas.

Sound (S'abda) is the Gu~ia of Akas'a, Touch (SparS'a) of Vayu, Form (Z.:.iiJ,a) of Tejas, Taste (Rasa) of Apas, Smell (Uandha) of

Prthvi. These G m;ias from Akas1a to Prthvi increase by one and

thus fifteen Gul).as are obtained 1• As there are fifteen different GuQas the S'rividya is of fifteen letters. In other words, She who is the

own form (Svarupa) of the Mantra appears as such, Therefore the fifteen letters are Iler form (Ri1f,a).


VERSES 15, 16 & 17 33

She is known as She appears in the Bhutas (Bhautikii'bhimatii). She is on this account worshipped as in or in relation to Her bhautika aspects (Bhilta-sambandhitvena i$tii). As the Gm:ias \I\- hich emanate

from Her are fifteen in number, so the letters of the Vidyd I are fifteen. The Nitya whose form is that (Mantra), who is the Svarupa of that (Mantra), is unmoving, changeless and supreme (K11tasthii); just as the ocean is that in which appear and disappear the waves,

bubbles and froth, so She is That in which all the Tattvas appear and disappear. So the Brhadara1J,yaka • says: 'This great Being (Bhuta= Brahman) is endless and without limit and is massive knowledge. It evolves from Itself these Bhutas as Devas, men, and so forth, and, withdraws them also, that is, withdraws these forms of Itself.'

In the Mu1J,daka-Upani$ad also it is said: 'That in which all forms of experience (Bhava) disappear.'

He next speaks of the sixteenth Nityii who isKutastlui as being of fifteen Ii mbs (Avayava), as in the fifteen lunar days (Tithi) which are the

fifteen Devatas, and as in the form of the Mantra of the fifteen letters. The fifteen Nityas represent the (fifteen) lunar days (Nityas•

tithyakiil'tih). The Nityas are in the form of the lunar days. These

are the Nityiis beginning with Kames•vari and ending with Citrii. They are in the form of the lunar days (Tithyakiirah), that is, they

are Devatas who are the Tithis (Tithyabhimiininyah). The Tithis also begin with Pratipat and end with Pilrt_iimii.

The lunar days again are the union of Siva and Sakli (TithayaS'ca S'i'Va-S'akti-samarasiikarah), or in other words, they are the united form of Prakiis•a and Vimars•a. They are therefore of the form of

day and night. PrakaS'a and Vimars•a are day and night. So it is said in Cidvilasa: 'She the Night makes all the worlds sleep. He the

Day is verily the waker-up of all.' These Tithis again are the letters in the Vidya (Srit,ar~ah)

being in manner aforesaid fifteen in number. They have further the

double forms, that is, they are likewise PrakiiS'a and Vimars•ah) (Prakiis•a-vimars•a-rupah). This Vidya of fifteen letters has been enunciated in S'aunaka-S'akliii of the Atharva-veda by the Mantra, which runs 'Kamo yonih kamalii' and so forth. Some say that this Vidya is also shown in the fifth Ma~dala of the ];lgveda in Catviiraim

bibhrati k1emayantah' and so forth. 3


34 KiMA·KALi.-VILlSA

The sense of a11 this is that this PariiS'akti who is both PrakaS'a

(S'iva) and Vimars•a (S'akti) and appear as the five Bhutas (Prakas•al'imarS'a-mayi and Pafica-bhiUiitmilld), becomes by a progressive

increase of GuQas the Mantra of fifteen letters, the fifteen Ti this, and

is manifest as the fifteen Devatiis (Devatdsvariij,h;ii). So Agama says: 'There is some, only one Supreme MaheS'vara

whose name is Prakas'a and the name of whose S'akti is VimarS'a, She is called Nityii by the wise. She the Devi \\ hose name is Vimars•a becomes fivefold as Ether (Akas1a), Air (Auila), the Seven-flamed

(Saptiircih) Fire, \Vater (Salila) and Earth (Avani). By the increase

of Gm:ias, one by one, She reaches the number of the Tithis (fifteen).

The Devi who is Vimars'a ( Vimars•a-rfij,i~ii) is known ~sJ_h~ ?ixteenth ($odas•i). The Parames•vari who is Mahatripurasundari undergoes

these sixteen forms, the l21.st of which is_ Citra. She spreads Herself

ah over (the Cakra). The subject is only here hinted at. It should

be known from One's own Agama. He who worships these Devis

one after the other day by day, from Pratipat to Pfir~iima attains, oh beloved, good fortune (Saubhagya).'

NOTES

1 Devis, who are to be distinguished from the supreme Nitya Tripura. 1 That is Akas•a has one Gu11a, namely Sabda; Vayu. has two uis.,

Sabda and Spars•a; and so on. • Ma11tra.

'2-4-12.


VERSE 18

THE V idyzt which is composed of the three Bindus 1, the vowels and consonants collectively and separately, is both immanent in and transcends the Thirty-six Tattvas and is by Herself alone.'

COMMENTARY

Here the author wishing to strengthen what has previously been said says that the Devatii is immanent in and transcends the Universe, so also docs the Vidyii.

The vowels (Svara) arc the letters beginning ""ith A and the consonants (Vya11jana) arc the letters beginning with l{a.

The three Bindus (Bindutraya) are the three Bindus which make Anusvara and Visarga. These taken either singly or in a group make Her body ( Vibhiivitiikiirii= udbhai.,itasi,ari"ifta).

She is lhus in lhe Thirty-six TaHvas ($attrimS'at-tattviifmii) that is, Her body is made up of the Tattvas beginning with S'iva and ending with K~iti, and She also transcends them (Tattvii.titii ea), for She is the place and origin of all the Tattvas (Tattvasamudiiyasthiinii). She is therefore alone (l{e-valii), because there is nothing besides Herself (S'Va-vyatiriktasya abhii-c:iit).

Such is the Vidyii of fifteen letters (PancadaS'iik$ari). The divisions of its parts are as follows: The honoured Punya

nanda, a strong adherent of Hii.dividyii 8, speaks of this Vidyfi as a whole, that is, as immanent in the Tattvas (Tattviitmakatva) and transcending them (Taduttir1J,atva) of this Vidyii.

In the first part Viigbhava contains five vowels and seven consonants, that is, twelve letters. In the secoud Kiimaraja there are six vowels and eight consonants in all fourteen letters. In the third part known as S'akti there are four vowels and six consonants. The


36 K.iMA•KALA·VILISA

total of all thege make 36 letters which are the limbs•. This Vidya as an entire whole surpasses all (the thirty-six) Tattt•as, (Sarvatatft1atikrii11ta). This is everywhere well established and known

(Prasiddha). S'ruti says that Kadi also possesses the double quality (Vbha

yatmakatva) that is, as immanent and transcendent and as co1lective

and individual (Vya!}fi-sama!}tiriipatvam). The difference between

the two is that in the first part of Hadi there are five vowels and

seven consonants, whereas in the first part of Kadi there are seven

vowels and five consonants. So that in both Vidyas the total in the

first section is equally twelve each. Both Vidyas therefore possess

the double character. The method relating to the worship of both

the Vidyas should be learnt from the mouth of the Guru.

NOTES

1 i.e., Bindu and Visarga. • Keualii=Eka=AdvitJya: that is one without another.

• There are three ma/as or forms of worship, viz., Kadi (Kalikula), Hadi (Snkula), and KaMidi. See A. Avalon's Introduction to the Kadimata portion of Tantra-raja, Vol. 8, Tantrika Texts.

4 The grand total is thus 15 vowels and 21 consonants=36 letters


VERSE 19

VEDYA is also like this-She is the subtle DevI Tripurasundari. The Great Yogis have ever taught the inseparateness of the Vidya and the Vedya.

COMMENTARY

He here speaks of the twofold aspect ( Ubhayiitmakatva) of .I

Devata and of the oneness of Mantra and Devata. Vedya (-=she who as the subject of knowledge is sought to be

known), She whose Si•ari,pa is Cit and Ananda, She is "Like this"

(Tadrgatma-like the Mantra She is immanent in the Tattvas J

(Tatti·atmika) and in the universe ( ViS'viUmika) and is beyond and transcends both (Taduttin;za).

Subtle (Suk~;,nii). By this is meant She who cannot be subdivided, who cannot be defined (Pariccheltum as•akyii).

She (Sa) is used to indicate the fact that She is recognised (Prasiddha) in all Vedantas.

Tripurasundari-She is so called because She is Tripura and Sundari (beautiful). She is Tripura because She produces all things., which are in a threefold state (Tridhiivasthita·samasta-i•astupiira,;zat), and She is Sundari because She is the adored of Yogis (Sarvayogibhirupasyatvena) and also because of Her charmfulne$S (S:Prhatiiyatvat). The word Tripura has previously been defined. The St•arf,pa of the Devi is clear Illumination (Svacchaprakiis'arupa). She is the Para-vak whose play is creation and the like of the universe ( Vis·vasya jananadi-krldtiriipti).

The Great Yogis ... Vidya and Vedya (Vidyii-Ve,dyiUmakayor atyantabhedam amananty aryah). All Yogis beginning with Parames'vara (Arya.h=Parames•i,ara-pramukhiih sarvayoginah) establish or uphold (Prati[,ddayanti) the eternal (Atyanta=Sarvakalika) in-


38

separateness (Abheda=aikya= one-ness) of Vidya, that is, the Mantra of fifteen letters, and Vedya, that is, Tripurasundari. So it has been said in CatuhS'afi 1 : "Whatever S'akti is spoken of as being in any particular category (Padartha), that S'akti is the Devi SarveS'vari (the S'akti of S'iva), and He who is with Her is the Great Lord (Mahes1vara). She the Vidya who is Bhutagu,;atmika1 spreads Herself out by the fifteen letters of which Her mantra is composed and which is divided into groups of five (which are of Vagbhava), six ( which are of Kamariija), and four (which are of S'akti) letters 1,

According to the number of vowels and consonants (of which her Mantra consists) She is of thirty-seven aspects (Saptatritiz.s•atJ,rabhedini). By these thirty-seven aspects or variations She appears as Thirty-six Tattvas. The Vidya Itself should be thought of as the State of S'iva Himself which excels all Tattvas'.

NOTES

l Nit~/a,odas1ika, Ch. VII, vv. 31-34. • That is, She is Bhutas and Gut}as, or rather these are in Her. • A kfara =imperishable entities.

'Tattvatitasvabhava. Sva=S'iva; Svabhiva is the State or Bhava of S'iva and as such it excels all Tattvas. The Devi is that.


VERSE 20

SHE whose inner nature is beyond mind is the Mahes'I as Para. It is She again who is known in three different aspects when m:.i.nifest as the three l\1atrkas, Pas'yanti and others and evolves Herself into the Cakra.

COMMENTARY

Having previously spoken of the oneness of the Vidya and

D~vata the author wishing to speak of the identity with on~ another of Cakra and DJvatii now proceeds to speak of the mode in which the Chakra originated (Cakrotpattiprakara). "She whose inuer nature is

beyond mind" (Yii SJ1itarohar11,pa; antara=antah-kara~ta or mind;

uhah ( = Vitarkah=ltthamiti-paricchedarahitah) is that which cannot be described as this or that). The sense is that She is beyond mind

and speech (Ava,im.fnasagocaratvat) and therefore cannot be expressed in the words of the Vedantas 1• The Mahes•i is the Cause of all (SarvakiiraQ,ab/ziitii) as the ground (Bluimi) wherefrom all the Thirty

six Tattvas from S'iva to Prthivi proceed and that is why She is called Para the highest or who excels all (Sarvotkr~fii).

S'ruti I says: "[He has no body nor has He any organ of sense. There is no

one seen who is equal to or greater than Him.] His S'akti is Para who is heard of (in the Vedas) as of many aspects and immanent in

Him (Svabhiiviki) as Kriyas•akti united with J nan a and Bala." Also elsewhere 1 : 11 That from which words along with Manas

being unable to reach return (baffled)." Agama also says: 11 Para Vak (Supreme Word) which is within

(i.e. unmanifest) is verily Light-in-Itself (Svarupajyotireva) 1 and perishes not (A naj,aJ,ini). When Her own form is seen ( Y e,1syiim

dr1ta-sva,·apayii1n) all duty ceases "'


40 KiMA-KAL.i-VJLiSA

This same (Saiva) Para S'akti so described (Bvambhutalak~a~ia) is again known in three different aspects. That is what is said in the passage when manifest &c. &c. Pashyanti and others (Spa$tti pas'yan•

tyiiditrimiitrikiitmii). By " Manifest " (Spa,;ta) Her first appearance

as something objective is meant. By the expression II and others " Madhyama and Vaikhari are intended. It is She Who as Vaikhari.

which is power of expression (Abhiliipasvarupi,;i), is the S'akti which is in the form of the mass of fifteen letters (Pancadasiik$araras1imayi) • and in all the many different words used in the Vedas and Tantras and in ordinary life. So it has been said in Sttbhagodayavasana: " Para as Pas•yanti is the creeper born in the earth 7 as Madhyamii She is the fragrance from the flower-bunch and as VaikharI She is the letter of the alphabet (Ak$amiilii). Thus does She excel all." In this wise, as Trimatrika, She becomes the Cakra that is, becomes one with the Cakra of three parts 9•

NOTES

1 That is, She is beyond the scope of the highest form of human learning and can be realised by Sadhanii alone by the man who deserves to be called V idvlin.

CJ.: Nistattva karyagamya'sya s1aktir ,niiya'gnis1aktivat Nahi s1aktim kvacit kas1cit budhyate karyatah purii.

( V idyaranyamuni) Also:

Na srilJ,adiji@nayukte vidvacchabdah J,rayujyate Mokfaikahetzwidya ya sii vidya natra sams1ayah.

(Brahmandafmra11a) • Svetas1vatara VI. 8. The portion within brackets has not been

quoted in the commentary. "Is seen" (Drs1yate) is explained by NarayaQa to mean "realised by argument" (Yuktya uj,alabh:yate). "Bala" here says Bhaskara (under Nitya[ioda, VI. 9) implies Iccha (Balas1abdas31a icchiiJ,aratvam).

• Taittinya (2, 4, 1, 2. 9. 1) ; Brahma 3. ' That is, the Brahman light. 'Adhikaro nivartate i.e. the question of competency does not apply to

such a man. He becomes free from all observances. • The Mantra of fifteen letters is given in Tripur'ilmahoJ,ani[Jad. 8.

being published in this series. 'Bhujanma=Eartb-born i.e. born in the Miilidhiira. 1 There are nine Mandalas in the S'r!-Cakra divided into three parts

of three sections each. The three parts may also be Snti, Sthiti, Laya corresponding with Pashyanti, Madhyamll, Vaikharf.


VERSE 21

THE wise know no difference between the MalteS'i and the Cakra. Para Herself is the subtle form of both these (Devaf'll, and Cakra). There is no difference between the two m the gross form also.

COMMENTARY

In this verse he emphasises what has been previously said in the statement that the wise see no differencP. or distinction whatsoever between the Cakra, consisting of the nine sections (A ~·aratia) beginning with Trailokyamohuna and ending \vith Bi11dtt wherein Sundar"i abides, and S,mdar'i Herself \Vho is the presiding (A dhi!}ihatr'i) Great Lady (Mahes'i) therein. This is so because the S'ricakra is the form (Rt7pa) of the S'ri-Sundari.

S'ruti 1 says: • Alone She was at first. She became nine-fold'. The Vamakes•vara 1 demonstrates this non-difference in the

passage beginning: ' [The five S'aktis produce and the four Fires withdraw J. From the union of the five S'aktis and the four Fires there arises the Cakra. [When the Supreme S'akti sees Her own becoming (Sphuratta) then there ari5es the Cakra] ,' and ending with

v 'The Cakra is the form (Rupa) of the Kamakala in that it is the going forth (Prasiira) of the Supreme Reality (Paramartha).'

He speaks of the oneness of these two (the Cakra and the, Devatii) in their subtle form (Suk$ma-riipa) by which is meant that which cannot be defined. The S'ricakra in its subtle form is the Bindu. Its indefinableness is clearly shown in the passage : ' In the Supreme Akiis•a which is the Bindu (Baindave paramakiis'e) and so on.' The indefinableness of the Devata has also been shown in the verse beginning: 'The Vidya (object of knowledge) is also Jike this (Tadrgatma) '. In the same way there is no difference between the


42 K.iMA·KALi-VILiSA

two m their gross form. The grossness of the Cakta is in its expansions beginning with the Triko,:ta (triang]e) and ending with the Caturas•ra (square), and the grossness of the Devafa is in Her gradual unfolding from Tri/nmlmbikii to TripuraS'akti.1 The Cakra and the Devata, who are as above described, cannot be separated. He gives a reason for it when he says that Pata, whereby is meant Adis·akti, is the subtle form of both these.

The Catuhs•ati says': 'The Mother of the origin of the three Lokas is both gross and subtle '. There is thus no difference between these two (Crikra and Devata) for the wise.

S'ruti • also says: ' All this verily is the Brahman '. Also 1 : • AH men vanquish him who thinks that all things are outside the Brahman'.

The author himself says (V. 36): '\\Then She this Maheti'i Para unfolds as the Cakra '.

Thus it is established that the Cakra is the form (Rapa) of the De"Vata.

NOTES

1 TriJ,ura-mahopani11ad, 3. The meaning of the Text is-She was One as in Binducakra and became ninefold in the nine triangles of which the S ricakra consists.

1 Nityii-§odas•ika, Vl•8-24. The portion within the brackets has not been quoted by the Commentator, but added by the Translator to make it more intelligible to English readers. By "own" is meant "inherent".

• The nine Cakras of which the Sricakra is composed are presided over by the Dev! under nine different names, indicative of Her nine different aspects. These names are-(1) TriJ,ura, (2) Tri,Pures1varJ, (3} Tri,Purasundari, (4) TriJ,uYavasinJ, (5) Trit,uras•rJ, (6) TriJ,uramalinJ, (7) Trit,uriis'f.ddhi, (8) Tripurambika, (9) Mahatripurasundari. The first of these is in the Bhiipura and the Jast is in the Bindu. The Avara11a-Saktis of each of these are classed as (1) Prakata, (2) Gupta, (3) Guptatara, (4) Sampradiiya, (5) Kulakaula, (6) Nisarbhii, (7) Rahas31a, {8) Atirahasya and (9) Parllpararahasya, respectively.

• Nil31a1odas•ika, IV-4. • Chandogya, 3-14-1. • BrhadaratJyaka, 2-4-6.


VERSES 22, 23 & 24

THE Centre of Cakra is Par"ll (Parllma'ya). This is Bindutattva. \Vhen It becomes ready to evolve (Ucch11na) It transforms and manifests as a triangle. This (triangle) is the source of the three (S'aktis, namely) Pastyanti and others and is also the three Bijas. Vmn"ll, Jye~tha, Raudri, A 1itbik"ll and Parlls'akti are one portion (of the S'ricakra) 1, Icchc1,, Jnana, Kriyc1, and S'llntll are the other portion 1• (These make nine). The two letters (A and Ha) taken separately and collectively make with the foregoing nine the eleven-fold Pas'yanti 1•

COMMENTARY

He bere desires to speak of the S'ricakra composed of nine triangles (Navayonyiitmaka) which is the manifestation ( Vikiisarupa) of the S'aktis Parii, Pas•yanti and the rest. He first speaks of the Bindu called Sarviinandamaya which is Pariis•akti (PariiS'aktimaya).

Cakra. By this is meant the Cakra of nine triangles (Nava

yonyatmaka) and by Centre of the Cakra, Bindutattva. Bindusvariipa has been already explained. The word This (J dam) signifies that It is in Itself (Svasak!}atkrtam) Para or Paras1aktisvarilpa. When this Bindutattva manifests then there is the Triangle. He therefore says When it becomes ready to evolve. ( Ucchunam tac ea yada). The meaning is that when under the influence of the Adp#a of creatures tbe,Baindava Tattva is abou~. to evolve It transforms Itself into a triangle.' which i's of the shape of a S'r,igiita (Trik01;iaritpe~ta parinata1n spa$fam) and the product of the union of A (Anuttariinanda) and J (/ccha). So it has been said: When Citi which is Anuttariinanda is united with Iccha S'akti' there is a triangle which has the beauty of the joy

of Creation ( Visargiimodasundaram), Its light being dimmed as Matr, Mana, Meya and Pramil. Its form is that of a S'rngiita or Triangle•.

This triangle is the source of the three Pasyanti and others (Pas•yantyaditritaya-nidanam) that is, the three S'aktis Pas-yauti,


44 KiMA·KALi-VILiSA

Madhyama and Vaikhari there originate. It is the S'aktis lcchii, Jnana and Kriya which change into the three S'aktis PaS'yanti, Madhyamii and Vaikari. So it has been said in Vamakes'vara Tantra (Nitya!}oda, vi. 38-40) 1 :

"She is then Icchas1akti manifesting as Pas·yanti (Pas'yantivaj,u!}li sthita). Similarly as J fianas1akti She is J ye!}tha and Madhyama, Vak in the form of a straight line (]J,jrtrekhamayi) and protector of the universe. This same S'akti (Para) as Kriya (S'akti) is Raudri and Vaikharl Vak in the form of the body of the universe ( Vis1vavigrahii) and as that of a luminous triangle (S'rngatavaj,uruJjvala). At the time of Dissolution and Her return journey (Pratyavrttikrametia) She re-assumes the state of Bindu (Baindava1n rupam)."

The Triangle is the Svarupa of the three Bijas I Vagbhava, Kamaraja and S'akti which are the three sections (Kha1J,da) of the whole.

S'ruti 7 also speaks of : "The three Puras 8 (Bindus) which move the Universe (Vis1va

car!Ja~zi) along three paths wherein are placed the letters A, Ka, Tha 9

wherein again abides the impenetrable transcendent greatne~s of the Devatas." These and other similar texts in S'ruti speak of the celestial S'rngata•pitha wherein abide the Matrka (Mantra) of three sections which is the source wherefrom arise all Mantras. The Vamakes•vara-Tantra (Nityd-l}oda, VI, 48) also says:

"All these 10 are denoted by (Vacyaruj,avi) the complete Mantra of thr~~ Bijas (Btj_qtrit,aya:yu.l!ta_) both singly and collectively 11 • The Triangle containing three Bijas, the three S'aktis, the thee Lingas is the imperishable Kamakala."

He next says that the Bindutattva which becomes the S'ricakra of nine Triangles (four of which are) upward and (five, downward turned is also the adorable Para (Para-bhattarikamaya,n). He mentions Va.ma, Jyef?tha, Raudri and Ambika by name and by the particle cha (also) he implies Para S'akti and says that these are the five S'aktis indicated by the five reversed triangles which are the first portion (Anuttarams•abliutah = Anuttaramsah), of the S'ricakra; whilst the S'aktis Iccha, J fiana, Kriyi, S'anta are the other portion or the four triangles with their apex upward. (Uttaravayavah • OrddhtJamukhatrikot1,acatu1tayarupah ).


VERSES 22, 23 & 24 45

The meaning of this is that Va.ma, Jye~tha, Raudri, Ari1bika, Para S'akti, as also Iccha, J iiana, Kriya, S'anta are unfolding stages of Para (ParcivilasanaritjJah). These nine S'aktis are the nine triangles in the S'ricakra. This has been fully dealt with in the Vamakes1vara

Tantra (Nityaslwdashika, Ch. vi) in the passage which begins "\Vben the Parama Kala wishes to see the Sphurai;ia II and ending "Vaikhari the body of the Universe 11 12 •

The two letters taken separately and collecHvely (Vyastiivyastatadan;iadi•ayam). By Vyasta is meant individual (Vya~tir11pa111) and At,yasta is collective (Sama!}tirupam). That is the two letter (A -~d

·1,: Ha) which are the first and the last of the alphabet hold as in a vice between them all the letters of the Alphabet which are the mother of all Mantras within ,-.·hich two letters again i; the Experience (Bhai,a) of complete '1-ness' (Piirna'ham) which is the union of Praka,sra and Vimers'a or Bindutattva the eternal Kamakalii. All this is well established in the U pani~ads.

Here Parabrahman as complete '1-ness' is to he known as united with His consort and as the doer of all actions ; so the Brhadiirat,yaka (1. 4. 1) says:

" This Atma there verily was in the beginning " is and thereby establishes that the Parabral1masvariipa is complete and transcendent

'I-ness' (Punza-pariilzamtamaya) and union of ce1estia1 Wife and Husband. The Text proceeds in the passage quoted below to show

that It shines forth a:; the creator of aU Tattvas : " He verily did not enjoy. For one {who is alone) does not

enjoy. He desired a second. He verily was like woman and man in close embrace. He made this Self of His into two. Thereafter arose Husband and Wife" 14 and so on.

So also in another place in the same U pani~ad (1-4-17) occurs

the following Text: " This Atma verily was alone in the beginning. He desired

'May there be wife (J,iya) of mine'. May I be born as many. May I have possessions ( Vitta). May I do acts. This verily is His desire (Kama) " and so on.

Texts like these show the Brahman as united with His consort. The two letters (A and Ha) already described wilJ, if taken

together and carefully considered, be seen to have eleven aspects, Downloaded from https://www.holybooks.com

46 KiMA·KALl·VILISA

The S'aktis Para to S'anta are ten if considered individually and are collectively one. Therefore Bindutattva is elevenfold (BkadaS'atmaka) and is the cause of Pas•yanti S'akti. S'rttti (Chiindogya 3-14-1) says:

" All this verily is Brahman, from which all comes, in which all lives into which all returns. Therefore adore It with mind free from

either attachment or avarice." In this way the inseparateness of Cause and Effect is established.

NOTES

1 Anuttara1hs1a-bhuta=lit. First part. These are the five inverted triangles or Yonis of the S'ricakra, or S'riyantra.

1 Uttarava:},aviih. These are the triangles with their apex upwards in the same.

• Ekudas1atma pas1yanti. 'That is, A+ I=E. The tip of Ekijra is formed like a triangle. The

Subhagodayavasana cited in the Madras Ed., p. 6 says that the three S'aktis Iccha and others indicate the creation etc. of creatures (Pas•u).

1 The two lines preceding are not given in the Commentary. vv. 36-40 describe the evolution of Parama Kala or Para S'akti :

"When Parama Kala wishes to see the Sphurar;ia (desire to create), of Paramas'iva then She assumes the form of Ati1hika and is called Pm·a Vak. When She is about to manifest (Sphut1kartum) the universe then in its seed state, She is Vamll. and is so called because She throws out {or vomits ; Vis1 vasya vanumat). She then assumes the form of a goad (which is of crooked form) ".

I Namely, Aim, Klrm, Sauh. ' Tripttramahopanit,ad. • i.e. Tripura.

• That is, the letters of the alphabet is in the A-ka tha triani;rle. This is formed by three Binclus between each of which there arc 16 letters forming the sides of the triangle. At the corners of the triangle are the remaining three letters Ha, La, and Ksha. ·

18 That is Lingas mentioned in the preceding verses namely the four Itara, Bal).a, Svayambhu and Parama.

11 Kula-kaulamrryani. Ku1a=Matr, Mana, Meya, that is Svnyambhu Bi"Qa and ltara Lingas. Kaula is the collectivity of these three or Paramal i nga.

11 See the passage quoted ante, p. 38. 11 See Verse 13 ante commentary.

"Sa vai naiva reme, yasm'iid ekaki na ramate, sa dvitryam aicchat. Sa haitavaniisa yatha strffmmathsau samf,arishvaktau. Sa imam evatmanam dvedhapatayat. Tatah J,atish ea t,atni ea abha"'atiim,


VERSE 25

!N this way the united Kama and Kala are the (three) letters whose own form (Svarupa) is the three Bindus. It is She who is the Mother manifest as the three Gunas (Triguv,asvarupiv,i) and who assumed the form of the triangle.

COMMENTARY

He next wishes to speak of the mode of creation of the Cakra wherein are the Cakras of eight triangles, ten triangles and so on, and before doing so explains the origin of the triangular Cakra which precedes them al1.

In this way (Evam). That is in manner already described.

The united Kama and Kala (l{iimakaliitmii). By Kama is meant Paramas•iva who is pure Illumination (Prakiis•aikasvabhiivah) and is the first letter which is .A 1, and Kala signifies VimarS'a the last of letters (Ha). This dual character (UbhaJ1iitmakatva) indicates the possession of experience of complete '1-ness' which is its true nature

(Sviibhiivikaparipur1;1iiha1nbhavas1alitvam). This has been fully explained in verse 7. The Kamakalatma who as previously described is "the (three} leHers whose own form (Svarupa) is the three Bindus" (Tribindutattvasvariipavart;1amyi). The three Bindus are the Red,

White and Mixe.d Bindus previously spoken of. Bindutattva is the Bindus previously described. The three letters, by which is meant the Vagbhava and other Bijas, are forms of the three Bind us. In the Rahasyiimniiya (S'iva addressing the Devi) says:

" Know this, that the beautiful S'rngata which is Thy very self (Sviitma-s•rngiita) is made up of three Bindus mixed, white and red. It is ancient (Pura~a) and is the Pranava itself. It can be known Ly the three lines ( which compose it). It is pure knowledge (Sanivin

mtitra) and is of the nature of S'iva. The red is self sustained Downloaded from https://www.holybooks.com


(Niriidhcira). The other {white) is its beloved and their union is the

mixed Bindu. In the Union is the pure state which is N irvlir;ia ".

It is she (Sii iyam=she (is) this). By Sa (She), the author draws the attention of his reader to Her who is the supreme reality as the

:-·experience of the massive Bliss which is Cit (Cidiinanda-ghanarasa• paramiirtlui) and who is the essence of all the tradition (Sakalani.niiyasiirablzt7tti),,. and by /yam (This), he as it were points Her out as

the One who is being experienced (Anubhziyamiinii) as the Atma who witnesscth (if tmasak$itvena) by great Yogis who are immersed in the feeling of their identity with the Universe {Vis1vahani.blziivaniis1iilibhih) and is Manifest as the three Gunas ( Trigu~wsvar-z7pi~1i). She is lccha, Jfiana, Kriya which appear (in the PaS'u) as the three GuQas Sattva,

Rajas and Tamas. It is through these Gui:ias as instruments that

She effects Creation and the like. She is therefore the Mother (Mata) the one Creatrix of all the World. She is also the Para S'akti who

transcends all the Tattvas (Sarvatattvatitii) for S'ruti (Aita. 1-1.)

says: "This Atma alone, verily, was in the beginning".

Assumed l:he form of the triangle (Trikot;ari7pam yiit ci) that is she changed into the form of a triangle as a result of the union of the

supreme Bliss symbolised by the letter 4.. ~jtJ1J.ccJ)~, Creative Will, symbolised by the letter I. This is the Cakra I of triangular form which is most secret and called Sarvasiddhi-pradayaka or that which accomplishes all.

The wise know no difference between the MaheS'i and the Cakra.

Para Herself is the subtle form of both these (Devatli and Cakra). There is no difference between the two in the gross form also.

NOTES 1 Anuttarak~aratma. • That is, it is She to whom all the A.mnayas point.

• The first triangle which contains the Bindu which is the first transformation of Bindu.


VERSES 26 & 27

SHE who is next (to Par'lt) is Pas'yantI the Creative Self (Sr~tyzttm'lt) out of which originated the individual mothers ( Vya~ti-m'lltr) Vama and others. By reason of this She became ninefold form (Nav'lttmci). She the mother Madhyama is as shown by her two names of two kinds (Dvividh'll), namely, subt1e (Sakpt'lt) and gross of form (Sthlll'llkrti). As subtle She is ever existent and the nine sounds (N avan'ltda-mayi) as gross She is the nine groups (of letters) and bears the name of Bhutalipi.

COMMENTARY

He next speaks of Pas•yanti who is a manifestation of Par§. as of ninefold aspect (Navatmaka) in the form of the Cakra of nine triangles (N ava-yon.i-cakratmanii).

"She who is next" (Tadanyii). That is Pag,yanti who is the manifestation of Para (PariivikaS'abhiltii) is the Creative Self out of which originated the individual mothers Vama and others (V iimiidivyaIJti-mlitri-sn;tyatmii) or in other words She is the nine S'aktis beginning with Va.ma and ending with S'anta (Viimadi-s1iintiinta

s•akti-navakamayi). It is on this account that the mother (lJlatd=

Janani) is of ninefold aspect (Naviitmii), that is, she becomes the Cakra of nine triangles which is the Cause of the appearance of the group of S'aktis beginning with Va.ma and ending with S'anta.

Va.ma is so called because she as producer of the universe (Vis"vajanayatri) throws out the Universe of five elements (Prapanca) which is within the S':pi.gii.ta (S'riigiitantah-sthitapraJ,anca-vamanat). Jye~tha is all-beneficent; Raudri destroys or dispels all ailments and Ambika grants all things desired.1 So it has been said:

"Va.ma (is so called) because of (Her) throwing out the Universe, Jye~tha (is so called) because she is beneficent (S'iva•mayi) Raudrl

... Downloaded from https://www.holybooks.com

50 KIMA-KAL.i-VILiSA

destroys all disease and burns up 1 (the fruit of) all actions (Dogdhri cakhila-karmat)am) ".

Of Arhbika the Pratyabhijfi.a says that " She the impulse to becoming (Sphuratta) is pure Being (Mahasatta) ". She is therefore Para vak who excels all (SarwitiS'ayini) and sees Her own impulse to manifestation which is Her own and full Self. (Paripiirt)a-svarupasvatmasphurat)iit•alokanacaturii).

The VamakcS'vara (NityiH;odasrikd vi. 36) also says : "\Vhen the Parama kala sees the impulse to becoming (Sphura,tJa)

of the Atma then she assumes the form of Arhbika and is called Para . vak."

The S'aktis Iccha, J fi.ana and Kriya take the forms PaS'yanti, Madhyama and Vaikhari (PaS'yanti-Madhyama- Vaikhari-ri,pah).

This has been stated in detail in the Vamakes1vara (Nitya-$odaS'ika) in the verses quoted in commentary to verse 22 ante.

" S'anta is S'akti as Consciousness (Cinmayi S'akti) who is all pervading (Nirai'1kus1a): For S'ruti speaks of " the transcendental {Nif;kala) actionless (Ni$kriya) and tranquil (S'anta) " 1•

He next speaks of the ninefold character (Naviitmakatva) of Madhyama. Madhyama is the state of Union (Samarasii'rJastha) of Para and Pas'yanti. She is visible or realisable by Yogis whose minds are inward turned (Antarmukha). This S'akti is by Her two names (which describe Her function) of two kinds (according to Her functions). She is either Sthula (gross) or Suksma (subtle). As subtle She can be apprehended by the power of Sama.dhi. As gross She is capable of utterance as letters of the alphabet alike by the learned and illiterate. As subtle She is ever-existent' (Sthita= Sarvadii vartamanii) and as such She is the nine sounds or Nadas (Na'rJauada-mayi). As grofs She is the nine groups of the letters of the alphabet (Navavargtitmii).

The sense of the above is this :-When the Great Mother Kt11)dalini who contains many kinds of

sound does in consequence of the breath being restrained leave the place of MitravaruQa I and after piercing the lotuses of Svadhi~tbana and others goes upward to reach the place of ~~amaS'iva who~ the lotmi,~.etaJs. She is experienced by the great Sadhakas of S'iva • when in Samadhi as their very own self (Svatmatvena).


VERSES 26 & 27 51

She is the nine sounds (Navanadamayi). This will be understood from the following text from the Hamsopanishad :-

" We shall now make clear the meaning of Harh!?a and Para• mahamsa to the Brahmacarin who has controlled his inclination (S'anta) who has controlled his senses (Danta) and who is devoted to his Guru. This Harhsa pervades all bodies like fire in wood and oil in sesamum seed. Knowing it, one reaches not death. The anus should (first) be contracted, then the air should be Jed upwards 7 and made to go round the Svadhi~thana three times, it should then be made to go through MaQipiira and Anahata and the airs (Priit1,iin) should be stopped in the Vi~uddha Cakra, The Ajfia Cakra and then the Brahmarandhra should be meditated upon. Whilst so meditating (the Sadhaka) should constantly think of himself as the Trimatra ., (Orilkara). He should next meditate upon Nada, as extending from the Muladhara, which Nada is like pure crystal (S'uddha-sphatikasamkiis1a) for this is verily Brahman the Paramatma." By this the U pani~ad teaches that the Svarupa of the M ulakuQdalini, who pervades the hody from the Muladhara to the Brahmarandhra, is Nadatmaka,

The text in a later passage says : "When Harhsa becomes dissolved into (Lina) Nada then (arise~r

the state which is) TuryiitUa, Unmanana (mindless) and Ajapopa-1 samhiira (=cessation of breathing)."

Nada is divided (by this U pani-?ad) as follows : " Sound arises of ten kinds. Citii is the first, Ci~iici~ti is the

second. The third is bell sound (Ghai1tani'ida). Sound of conchshell (S'mitkhanada) is the fourth. The fifth is the sound from a stringed instrument (Tantriniida). The sound of of cymbals (Tiilanada) is the sixth. The seventh is the sound of a flute (Venundda) and eighth that of a kettledrum (Bheriniida). The ninth is the sound of clay-made drum (Mrdatiga) and the tenth the sound of thunder (Meghaniida). After the ninth has been experienced the tenth 8 should practised. The mind dissolves in that. \Vhen the mind is so dissolved when Sarhkalpa and Vikalpa 9 cease when merit and demerit 10 are burnt then there appears (Prakas1ate) SadaS'iva who is S'akti (S'aktyiitmii) Omnipresent (Sarvatrai,asthita) Light itself (Svayamjyotih) Pure (S'uddha) Illumined (Buddha) Eternal (Nitya) Stainless 11 (Nirafi,iana)

,~nd Tranquil (S'anta),"


52 Ki.MA·KALl·VILlSA

'' She is lhe nine groups of lhe letters" (Na'Oa'Vargatma). The nine groups are A, Ka, Ca, 'fa, Ta, Pa, Ya, S'a and La 11•

By sthula (gross) is meant that she is within the range of all ordinary experience (Sarva-r.'i$aya-vyavahcirini).

Bhutalipis are manifested letters (BhfltiiS' ceti lipayas•ceti). The existingness (BliiUatvam) of the letters consists in their capability of being uttered or expressed by particular efforts (Ce$tii). The production of these letters again is merely mechanical (Tac-ea kalpanamat• ram e-va) for the letters themselves are energies (Tejorupa) and therefore S'akti (S'aktyiitmaka). The Devi (Madhyamii) bears the name or designation (Akhya) of these.

The Tantra-sadbhai,a also says: "The Mat:rka who (manifested) in this world is in inseparable

relation with (Saman-vitii) the Supreme Light (Paratejah), pervades all things from Brahma to the worlds. (She) 0 adored of the Suras (=Devas) pervades the whole universe as Nada. Beloved, (She is) like the letter A in all letters. I shall now speak so that Thou mayest clearly understand it. The S'akti who is Supreme (Para), Subtle (Si7k$mii) and Formless (Nirakiira) is asleep coiled round the Bindu in Muladhara 11 like a serpent. There also is asleep the self-controlled (Yami) Great Yogi who knows and desires nothing. With Her belly distended by the Moon, Sun, Fire, the Stars, the fourteen Worlds (Bhwcanani caturdaS'a) She is in a swoon as if poisoned. Awakened by the Great Sound (Paretta niniidena) and churned by the fire in Her belly), She becomes free from Her bondage (Bandhana) and conscious (Jniinaruj,it;ii). The churning 1' is circular in movement and continued in the body of the S'akti till She wakes up. When the first unfolding or Division (Bheda} takes place Bindu attains the state of Nada. Thus (or by this) KmJdaJi the Subtle Time (Kiilasuks1ma) is awakened. The Bin':lu which comes after (Uttaraga) S'akti (Nada) is the Lord (Prabhu) who is the four Ka]i.i.s 111 (Catu~-kaliimaya). In the middle part or second stage of churning (Madhyamanthanayogena) there is straightness (ljjutva i.e. a straight line) which is Jye~tha S'akti beautifully placed between two Bindus. The imperishable KuI)dali (Amrtakuttdali) is led by Vaikhari to the Bindu-nada state (Bindunadatva) 11• She is (then) known as Lakini n- between the two l3indus. She is then Tripada (Third step) and spoken Qf as Raudrf,


VERSES 26 & 27 53

She is (also) called Rodhini because she obstructs the path of Liberation (Mok$amarga-nirodhanat) 11• Arhbika's form is that of a portion of the moon,-She is Ardha-candrika, the half-moon. -/The ParaS'akti who is one does in this way appear as three. From them 19 as thus distinguished (Abhyo viviktiibhyah) have originated the ni~e group of letters (Navavargakah) which are associated ( Yukttih) with them. It is She (Paras,akti Kuvdali) who is thought of in nine wq.ys being indicated by the nine groups (Navavargopalak$itii) " 10•

NOTES

1 Verses 26-28 are quoted by Lak~midhara in his Commentary to the Saundaryalahari, v. 34 and he reads them differently.

1 The text is Dogdhri=She who milks or brings forth, but probably is a niistake for Dagdn = She who burns up.

'S'a.nta is the state of absolute quiescence when there is no activity or motion; Samarasavastha is the state in which two are in a state of absolute and complete absorption the one by the other.

' That is, of course during the Kalt,a. 11 That is, MUladhara. • Mahama.hes'varas-These are Sadhakas who have attained a high

degree of perfection-adepts. 1 That is, from the Muladhara.

11 The tenth is Param Brahma. 11 The state of selection, and rejection, of this and that of all variety, in

short ordinary finite experience. 10 PuQya and Papa. 11 That is, one in whom there is no doubt, the perfect experiencer. 11 This according to the commentator. Others divide the vowels into

two groups and ex.elude the last. 11 In the text the word is "Hrid-Bindu." But this is possibly a

mistake for Mrid-bindu, by which is meant the Svayambhulinga in muladhara which is the region of Earth=Prithvi=Mrid. Here the cosmic rnuliidhiira is spoken of.

1' That is, the cosmic manthana. II Nivrtti, Prati,tha, Vid:va, Santi. 11 That is, the place where the first Bindu is. 17 Lakini=Raudri. Dakini== Brahml. Rakini=JyeJtha or V'ai,,:zavi. 11 As it were a barrier preventing what is above descending and what is

below ascending and straying away from the true path. Or the reading may probably be Bodhini and Nibodhatiat.

•• The three S'aktis Va.ma etc. 10 The text seems in part correct. Madras edition throws no light on

the right reading, but quotes the passage practically in the same terms. Downloaded from https://www.holybooks.com

VERSE 28

THE first (i.e. subtle M adhyam7Z) is the cause (K'llraria) and the other (i.e. gross Madhyam"ll) is the effect (K"llrya). Inasmuch as such is (the relation) between these two therefore the latter (i.e. the gross) is the (same as the) former (i.e. the subtle). There is verily no difference (between the two), for the identity of cause (Hetu) and effect (Hetumat) is axiomatic (Dif}ta).

COMMENTARY

.J The subtle ?\fadhyama. which is the cause of the Madhyama of gross form is one with the latter and that is stated here.

"The first" (Adya) i.e. the one first spoken of (Piirvokta), whereby is meant the subtle (Sitk{lma) Madhyama already described. She is the cause (Kiirana) because she precedes the other (Anya). This latter is gross (SthiUa) i.e. the effecl (l{arya) because it emanates from the other (Tajjanyatviit). As there is this relation of cause and· effect between these two (Anayoh), namely, the subtle and gross Madhyama, therefore, the latter ([yam) is the former (Sii=She). There ii no difference (Bheda) between the two. Identity (Tadatmya=that in which there is neither difference nor nondifference) is the characteristic of Cause and Effect, as we see in the case of mud and the (mudmade) pot.

S'ruti (Chandogya 6. 1. 4) also says: "0 Gentle one, by one lump of clay all things made of clay are

known. The variation is in names given to it when spoken of. The clay alone is real.''

The same thing becomes different only as an object of speech. When anything is spoken of it becomes of two kinds 1•

NOTE

1 e.g. A mud-pot becomes mud and pot. Downloaded from https://www.holybooks.com

VERSES 29 & 30

THE Cakra of eight triangles which is constituted of the letters S'a, Sa, Sa and the Pa-varga is an expansion (Vistllra) of the middle triangle. These nine triangles together with the Bindu make the ten (Dastaka) which are lighted by the light of Cit (Cid-dipa). The two lights (Ch"llyttdvitayam) of these ten are spread forth 1 as two Cakras of ten triangles each of which the inner set of ten triangles display the Ta-varga and Ta-varga and the outer of ten triangles display the Cavarga and Ka-varga.

COMMENTARY

He next speaks of the appearance (A.virbhiiva) of VaikhariS'akti by a description of the Cakra of eight triangles and other Cakras (all} which are the going forth (Prasarana) of the Light and Energy (Tejas) of the middle triangle (Madhya-s1r,igt'ita).

The Cakra of eight triangles is called Sarvarogahara (All-diseasedestroyer). The eight triangles of which it consists are the eight letters namely the letters S'a, $a, Sa and the five letters of the Pavarga. It is an expansion ( V istiira = V ikasa) of the middle triangle

(Madhyatriko~ia). The nine lriangles (Navako~1a) are the middle triangle and the eight triangles (here spoken of) ; these logether with the Bindu (Madhyang ea) make a group of ten (Das1aka). This group of ten is illumined (Dipita) by the light of Cit (Cid-dipa), that is, it is lustrous with the rays which surround Tripurii-the Mother seated in the Bindu-Cakra (Bindi,cakradhirudhambii) who is Light Herself (Tejomurti). So it has been said Nitya$oda. VI. 14} :

" The Bindu is the seat of union of the Fire of final Dissolution and Citkala" 1• In this way the ten and their two light.s (Chii;yiid,Jita1am=Kantidf.1ita1am) are spread out. By the ten (Das1aka) is


56 K.iMA·KALi-VILISA

meant the aforementioned three Cakras I which are a mass of light (TejoriiS'imaya). Chaya here means Kanti (Lustre, light).

These two lights become spread forl:h (Vitata) as the two Cakras 1 of ten triangles (each). These are the inner and outer Cakras of ten

triangles each which also are of boundless brilliance (NiravadhikaTejomat.tdala). The two lights (Kiinti-dvitaya) relate to these two .

.; The two Cakras are called Sarvarak~akara (All-protector) and Sarvartha-Siidhaka (All-accomplisher). By Spread (Vitata) is meant

. evolved (Pari~iata). So it has been said (Nitiiy$oda. VI, 15: "The V

Cakra of ten triangles is the form of the manifested light of the nine triangles"'. The ten letters of the Ta-varga and Ta-varga are the triangles in the inner Cakra of ten triangles and the ten letters of Ca-varga and Ka-varga are the triangles in the outer Cakra.

NOTES

1 Vitatam. Bhaskararaya who cites portions of these two verses in his commentary to VI. 16 of Nityafioda,q'ika reads Dr!itam (seen). The two lights are the two Cakras of ten triangles each. There are in the whole Yantra 43 triangles.

• Baindavasana - samrudha - sathvartiinala - citkalam. Baindava= Bindu. This Bindu is the Asana by which is meant that it is the source of the inclination of seeing (fk~al'}atmakavrtti). On this is seated the union of Samvartanala and Citkala. By Samvartanala is meant the Fire of Pralaya, the all-devourer Kalagnirudra and Citkala is Tripura (Bhaskara).

• Bitidu, Trikona, Vasuko11a (eight triangle). 'NavatrikotJa-spurita-prabharupadasharakam. The nine triangles

taken individually and collectively with the Bindu make ten.


VERSE 31

THE light of these (the first) four Cakras is the ful1y evolved (second or outer) Cakra of ten triangles. (Then) appeared the Cakra of fourteen triangles wherein are the fourteen vowel letters beginning with A.

COMMENTARY

The llghts of these (first) four Cakras (Etach-cakra-catushkaJ,raba-sameta ). The four Cakras are Bindu, Trikona, eight-triang]ed

and inner ten-triangled Cakras. The second or outer Cakra of ten

triangles is here described as the fully evolved (aecond or ouler) Cakra

of ten triangles (DaS'draJ,arinamah). This second ten-triangled Cakra

is united (Sameta=Satityukta) with the light of the first four Cakras,

that is the light of the four Cakras spreads over this Cakra on account

of its proximity to the others. So it has been said (Nitya$oda. VI. 17: "United with the light of the four Cakras is the evolved

(Cakra)."

In this verse is also described the appearance of the Cakra of

fourteen triangles wherein are the fourteen vowel letters beginning

with .a. This Cakra is called Sarvasaubhagyadayaka (Grantor of

all-prosperity).


VERSE 32

PARA, Pas'yanti and Madhyama in her form or aspect as (the unuttered) gross letters,-by these threP- is produced Vaikhari who is the fifty-one letters of the alphabet.

COMMENTARY

After g1vmg a deicription of the Cakras beginning with the Bindu and ending with the Cakra of fourteen triangles, he here speaks of the appearance of Vaikhari S'akti. The Nature (L«k$«{ia) of Para and other S'aktis has already been described. What is said here is that VaikharI 1 who is all-sound (Sarva-S'abdiitmikii) is the creatrix (Nirmiitri) of the entire universe (Akhilaprapa1ica) which is composed of the collectivity of the letters (Ak$ara-ras1imaya)

beginning with A and ending with K$a. Vaikhari has been spoken of (Nityii!joda. VI. 40) as pervading the universe or as the "world-form ( Vis1va-vigraha)."

NOTE

'Madhyama as Suk~ma is Navaniida-mayi and as Sthulii, Navavargatma. The letters are formed as Madhyama but unuttered. See vv .• 26 and 27 ante. Madhyama as the unuttered gross letters in the evolution of speech is the stage immediately preceding Vaikhari,


VERSE 3.3

THE eight groups of letters beginning with the Ka group which are Vaikhari S'akti are on the petals of the lotus of eight petals and it should always be borne in mind that, this, the lotus of sixteen petals has on its petals the (S'aktis which are the) vowel letters.

COMMENTARY

He here says that the two Cakras, Sarvasamk:}obhava (Allmoving) 1 and Sarvas•aparipi1raka (Fulfilling all hopes) 1 are composed oI the Vaikhari letters (VaikharivartJ,t'Umaka).

8re Vaik.hari Sakti. By this is meant that these, the eight groups

of letters (A$ta-vaikharivargah) the first of which is the Ka=group

(Kadi) are Vaikharis'akti ( VaikhariS'aktist.1ar11J>iih). The lotus of eight petals. (A.$tadalabja), This is the Sarva

samk~obha1J,a-cakra. This the lotus of sixteen petals has on its petals the

vowel letters (Svaraga,;ia-samuditam etad dvya$tadaliimbhoruham). The vowel letters (Svarag«1Ja) are the letters A and others, sixteen in number which are (Samuditam=Samyagbhiivitam) the petals of the sixteen-petalled lotus,.

This (Etat). By this we are to understand that the author points

to something visible (ParidrS'yamanam).

Should always be borne in mind. (Samcityam) that is, should be

meditated upon (Sarvada bhavaniyam).

NOTES

1 Or it may be All-moulding. 1 Or it may be Filling-all space.


VERSE 34

( V ik"ltra) of These are The three

THE (three} circles 1 are the transformations the three lights emanating from the three Bindus. the circles in the Bhupura (Bhubimbatrayam etat). mothers Pashyanti and others I here rest.

COMMENTARY

The (three) circles (Tani vrittani). These are the circles which surround the Cakras of fourteen triangles, the lotus of eight petals and the lotus of sixteen petals.

Three Bindus (Bindutraya). red, white and mixed Bindus. of the substance (Tamnaya) of therefrom.

These are the previously spoken of The three lights (Teja$tritaya) are the three Bindus as they proceed

By speaking of the three circles as the three lights the Cakra is shown to be composed of the threefold division of Moon, Sun andFire (Somasuryanalatrikhandamaya); so Agama says :

"The Matrka Cakra is of three divisions consisting of Moon, Sun and Fire.''

By transformations (Vikara) we have to understand the three circles of the three Bindus and their lights. In these circles abide the Shaktis • A1J,ima and others, Brakmi and others and Sar,oasamk$obhi1J,i and others.

The three mothers Pasyanti and others here rest (Pa&1yantyaditri-matr-vi&1ra11tih ). The meaning of this is that the three S'aktis Pashyanti, Madhyamii and Vaikhari are up to this place luminous ( V ijrmbhamanii.), that is, they function from the Trikooa to the Bhupura. This has been fully dealt with in the ViimakeS'vara (Nitya,oda. Ch. VI. 36-40).


VERSE 34

NOTES

61

1 The three lines are according to some immediately outside the sixteen-petalled lotus.

1 i.e. Madhyama and Vaikharl. • As to the place of these S'aktis there are divergent views.


VERSE 35

MOVEMENT is either Pada-viktiepa 1 or Kramodaya and is therefore said to be of two kinds, namely, the S'aktis I who surround Her and the line of Gurus. These two are the movements of the lotus feet of the Mother (Ainbz,,pad-ambuja,Parasara).

COMMENTARY

After having fully described the S'ricakra of MahatripurasudarI he in fifteen verses (35-49) speaks of the group of S'aktis in the

J Cakra which surround Her (Avara1Ja-cakrantargatas1uktinikuruniba.) and of the Guru-mai;idala which is near Her, as the unfolding

(Parinati) of the body or limbs (Avayava) of the Devi. Movement (Kramatia). The word literally means walking

(Padakrama,) Motion is effected by Padavik$epa or by Kramodaya. By Padaviksepa is meant the power of SundarI to produce

countless S'aktis who are the countless millions of Her rays. S'ruti (Aru~wpani$ad) also says: "The rays which are Self-originated are what made bodies

(S' aririitii)." Bhairava-yiimala • also says: " In the Bindu united with Sadas'iva is the MaheS'varI v

who creates, maintains and withdraws the Worlds (Jagadutpatti-sthiti-samghara-karini) and is beyond the Tattvas (Tattvdtita). She is Light itscJf (Jyotiri7Pa) and transcendent (Parakara). 0 S'iva ! emanating from Her body are rays in thousands~ two thousand, hundred thousand, ten millions, hundred miJlions there is no counting

their great numbers. It is by and through Her that aJI things moving ..,. and motionless shine. ,0 Mahes•ani I It is by the light of this DevI that

all things become manifest:-" There is nothing which bereft of Her light can be manifest, Without the creative thinking (Citi) of Her who is

Cit (Cidrupa) and S'ivaS'akti this moving and motionless world would

Qf a certainty be enveloped in Darkness (Andkyam apadyate nunam). Downloaded from https://www.holybooks.com

VERSE 35 63

" 0 Mahes•vari of the countless millions of rays which are Moon, Sun and Fire (Soma-suryii11alatmana) there arc three hundred and sixty which are spread throughout (Vyas1nuvuva11ah) the Brahmanda which is in the midst thereof.·· Fire has one hundred and eight. Sun one hundred and sixteen and Moon one hundred and thirty-six rays. ,/ 0 S'arhkari, these illumine the macrocosm (Bralt1nlit1da) and the microcosm (PhidaJJ,da) also . ./ The Sun (illumines) the day the Moon the night and Fire the twilights (morning and evening): thus is time,./ divided (Pralliis'ayantah kiilii1n ste) : therefore these three (Sun, Moon and Fire) are time (Kliliitmakas trayah). Three hundred and sixty ..days make a year and S'ruti ' says that M ahiideva who is lord of creatures (Prajiipati) is the year" (Hiiyanatmii)."

By Kram.odaya is meant going forth (Prasara~za) of the DevI as the Gurumandalas II of the Divya, Siddha and Manava groups whose number is endless and whose nature is iliumination (Prakiis1ii.fmaka).

Saklis who surround Her. Avara~1a1iz (=anything that surrounds or encloses or prevents the view) is used in the text to signify the countless S'aktis abiding in what are commonly called Avara1Ja Cakras of the DevI. By line of Gurus (Gul'ltpa1igktih) is meant the circle or Mandala of Gurus (as above described). These ~wo are the going

forth (Prasara-,~""Prasara~ia) or efflorescence ( Vijrinibh«i'.Za) of the lotus feel, that is, feet which are (S'ripadayuga) of the Mother Tripura.

So it has been said : " The light (Mahah= Tejah) of Tripura is (it is so declared)

divided in many million ways but in the midst of these shines transcendent Mahatripura-sundari Herself."

NOTES

1 The forms of KramatJa are exRlained in the commentary which follows. Padm.1ik1;epa literally means 'step by step" in defined direction. Kramodaya=gradual expansion and unfolding in all direction.

1 Avarana,h i.e. avara?J,a slwktis. These obstruct men from ;~ein; the Devt like a patch of cloud which is much smaller than the sun yet prevents it being seen.

'Laksmidhara in his commentary on Sau1tdar:valahar'l v. 24 points out that the passage in Bhairavayamala beginning: "It is by the light of this Devi" explains the S'ruti text which says "There is no sun no moon" quoted under verse 1 of this book.

'See Sathkh'iiyana AratJyaka I. Taittiriya Brahmatia I. 6. 2. 1 Cf. Bhavanopan.i~ad. I. Sriguruh sarvaka·ra11abhuta s1aktih. The

Guru is the S'akti the Cause of all; also see Tantraraja (XXXV. 2) (Kadimata "Gururadya bhavech chaktih "-The Guru is the primordial Sakti.


VERSE 36

WHEN She, this all-excelling Great Queen changes into the form of the Cakra, then the limbs of Her body change into Avararz,adevatns.

COMMENTARY

The author now speaks in an orderly form of the mode of Her going forth (Prasaraprasarani).

She, this (Seyam). By this the author emphasjzes that She is the mass of continuous and endless light and energy AparicchinnanantatejoriiS'imayi).

All-excelling (Parti=Sarvotkr#a) Great Queen (Mahes•i). By this is to be understood that She is conscious of Her all-embracing imperial dominion (Samrajya) and powers (Sam.pad= Vibhuti), that She is Bliss eternal, boundless and immense and that She is adored by countless millions of Yoginis.

Into the form of the Cakra (Cakriikare1J,a). By Cakra here is meant the S'ricakra made up of nine Cakras the first of which is Bindu and the last Trailokyamohan. This is the Cakra which is spoken of (Nitya,oda. VI. 13) as "the Cakra of nine Cakras wherein are nine different Mantras." Change■ into (Pari1J,ameta). That is when "She sees the Sphuratti of the Atma," 1 by which is meant when She sees the Atma who is complete Bliss and changes or assumes another form. (Pari1J,ameta= Akarantaram a"Daheta). - ·

Limb• of Her body change into (Taddeha"Dayaviintim parit,tatih). Her body (Deha) is a mass of light (TejahJ,unjiitmaka). The limbs (A vaya"Da) of the body are the rays. • Change ' is assumption of another state or condition (Parinatih=AfJasthantariipattih).

Here the surrounding Devatas (A"Darat,tade"Oattih) are the count• less S'aktis such as the groups of VaB'ini and others, Anima and others, . . I ,


VERSE 36 65

who are part of the ocean of Conciousness-bliss (Cidii-nanda-samud

ratmaka). The countless millions of S'aktis appear and disappear like bubbles (Budbuda) on the face of the ocean.

S'ruti 1 says: "That in which all beings (Bhiivah) disappear and from which

those which disappeared reappear again and again disappear and grow again like bubbles."

Also Agama (Nity«$Od, "Such is the Tejas (

composed, the S'aktis therei

1 Nity'ii~oda VI. 10 and l 1 This is seemingly Culi

different from the printed text

: Cakra is

is slightly


VERSES 37 & 38

SHE (who is) Devi Tripura-sundari abides in the Bindu-mayacakra. (There) She is seated in the lap of KameS'vara, a digit of the moon is placed by Her as on adornment on Her forehead. She holds in Her hands the noose, the goad, the sugarcane bow and the five flowery arrows. She is red like the rising sun. The Moon, the Sun and the Fire are Her three eyes.

COMMENTARY

Before giving an account of the Avara'IJ,a-S'aktis, namely, Vas1ini

and others he here describes the nature (Svarupa) of the Chief or Principal Devata (Muladevatii).

By the Bindumaya-cakra is meant the Supreme Ether (Paramd

kas•a). The Bindu has elsewhere been spoken of as Paramaka.S'a (Baindave paramiikas•e). The Bindu is called Sarviinandamaya

cakra (Cakra of All-bliss). By Cakra is meant the Pitha in which She may unite and enjoy

with the Atma. (Atma-samkrama1J,a-viharanarha-pitha).

S'ruti says : "Wherein She moved that became the Cakra " 1•

" Jlbides in " (Asina) that is She is shining above the Bindu

(Bindupariprades•e viriijamtinii). "She (who is) Devi Tripura-sundari •• (Sa Tripura-sundari Devi.) The pronoun She (Sii) is used here to

impress on the mind the fact that She is the Tripura-sundari who is not limited by space or time (Destakalakiira'1J,a'Viicchinnii) is the very

Self of That (Tatsvarupi1Ji) and adorable (SPrhat;tiya) as She is the Cause of all (Sarvakiirat;tatvena).

She is seated in the lap of Kamesvara (KcimeS'varanka-nilayci). By lap (Atika) is meant the left thigh. Her abode or seat is the left

thigh of KameS'vara who is the Lord adored by all (S'rinatha). So it bas been said in Bhairava-yamala :


VERSES 37 & 38 61

"The knowledge ( Vidya) of the greatness (Kalii= Vibhflti) of ParaS'akti is in the form of the S'ricakra (S'ricakriikii.rariif,ini) '. In the middle of it is the place of the Bindu and in it is the Supreme Lady. She is united (SamPrktii) with SadaS'iva and is beyond all · Tattvas (Sarvatattvritikii) and ever-existent (Safi). 0 Is1vari ! The Cakra of Tripura-sundari is the universe itself (Brahmanandiikiiram ).'' ,

Davi. This word means that She enjoys Herself (Vinodini) in the work (V}•aplira) of Creation and the like of the universe .

.R. digit of l:he moon is placed by Her, as an adornment, on Her forehead (Kalay,i candrasya kalf,itottanis1,i). The digit (Kaltz) is the one which is the life of the universe ( Vis1vajii,i11i). The word Ka!pita, that is, placed (used) shows that the region of the Moon (Candra-mat}• dala) is merely an accessory (Upakara~w) for enjoyment of Bhagavati.

Noose (Pas'a) represents lccha.srakti (/ccha.rnkti-svarii,pa) which is the bondage causing the distinction between the individual self and the Supreme Spirit Svatmabheda-ba11dhana).

Goad (A 1ikus1a) represents J iHinaS'akti which is the means (Upaya) whereby the difference (Bheda) between Sva (Brahman) and Rupa (Form) is destroyed. The sugarcane bow and lhe.· five flowery

arrows (lk!}uciipa-prasli1ias1arapancalw) represent Kriyas1c1kti which is cause (Sadhana=lit. instrument) of attachment (Avarjana) to things (Akara=lit. Forms) outside one's self (Svabli.inna) 5• The sense of this is that it is the S'aktis-Iccha, J fiana and Kriya which in obedience to Her behest assume the forms of Pasa and the like and remain in Her service (Tadupasanam acaranti).

So the VamakeS'vara {Nityii{wda. VI. 53) says : "The resplendent one holding in her hand the noose (PaS'a) which

is Will (lccha-s 1akti), the goad (A1ikus1a) which is Knowledge (Jiiana• s1akti) and the arrows and the bow which is Action (Kriyii-•s1akti)."

NOTES

· 1 y ad esha camkramat tach cakramabhat•at. The word " cakra " is derived from the root kramu = to move, to step out, to evolve or emanate.

1 According to another reading of this text, the first portion of the translation would read thus:

Kal'tl (=Hardakata) = Vidya (i.e. the Mantra of 15 letters)=Pariis'akti who assumes the form of I or manifests as, the S'ricakra.

• As to Pa.s'a, Ankusha, bow and arrows compare Bhavanopaniiad 21•24, Downloaded from https://www.holybooks.com

VERSE 39

THAT couple (Karnes'vara and Tripura-sundari) are in the triangle which is constituted by the three Bindus (Bindutray'iltmaka) and by reason of change of aspect (Guv,abhed'ilt) she assumes the form of three other couples the first of which is Kames'i-Mitres'a 1•

COMMENTARY

The author here speaks of the celestial couple who is the very self of the Guruma.Qdalas (Guruma,:idala-svariipa) of the Divya, Siddha and Manava lines (Ogha) of Gurus who are seemingly different but not really so (AviS'e$a-bheda-bhinna) That couple (Tan-mithunam). By the word " That " it is to be understood that the couple KamakiimeS'vari recognised in all U pani$ads is here meant.

,./ The meaning is that it is the Supreme Spirit (Paramatmii)

which divides Itself into Female and Male and enjoys as the couple (Mithuna-ri7PetJa viharati). S'ruti also (BrhadiiratJyaka 1. 4. 3) by the text which begins " He verily did not enjoy because one cannot enjoy" speaks of the Brahman who within Itself enjoys as the paired male and female (Mithuniitmavihara,;,as1ila).

Agama · (Rahasyiigama) also says that ParamaS'iva who is the paired or united (Mithunibln7ta} PrakaS'a and VimarS'a brought down (Samavatiirayat) all the Tantras :

"SadaS'iva Himself remaining in the positions of (both) Teacher (Guru) and Disciple (S'i~ya) by words cast in the form of questions and answers brings down Tantra (on Earth)."

The couple (Mithuna) who are the united Kama and Kiimes•vari assume the forms of Mitreshaniitha•kiimeS'vari, Uddi,anatha-BajreS'vari and S'a$thiS'anatha-Bhagamalini as the three pairs (Mitluma) of

the Divya, Siddha and Manava lines (of Gurus) 1•


VERSE 39

NOTES

69

1 Tripura. is in the centre Bindu. The surrounding Three Bindas make the inverted triangle. In the single Bindu at foot She is Guru of the Tretayuga, In the upper right Bindu She is the Guru of the Dv?lt,arayuga and in the upper left Bindu of the Kaliyuga.

• See Tantt-araja (Vo1. VIII, Tantrik Texts) Chap. I. 7 and Chap. II. Under V. 52 post the names of the three Gurus and their S'aktis are

given differently. Possibly one or other portion of the text is incorrect.


VERSE 40

THOSE that abide in the Cakra of eight triangles are Vas'ini and the others 1 who are red like the evening sun. This

iakra of_ eig~t triangles) is the eight-folc::l (!mJ:>t_l~) body, of the ·✓ evi, which 1s the Cakra and the Self thereof 1s the Supreme

xperience (Samvid).

COMMENTARY

From here onwards he describes the form and nature (Svarupabhiivan) of the surrounding Devatas (Avararia-devatiih) "Those that abide in the Cakra of eight triangles" ( Vasuko~ia-nivasinyah). The Cakra of eight triangles is the Cakra called Sarvarogahara (A11-

·..f disease-destroyer). The eight S'aktis Vasini and others abide in this Cakra. They are powerful to grant the bliss arising from the experience of complete 'I-ness' (Pitr'IJahatitbhii:vadana-samarthah). Jt is because they arc able to give the ex_p_c_ti_~nce of complete 'I-ness' that v

this Cakra is Rogahara. For it has been said: ·✓" The sense of imperfection is disease and the source misery."

(Apur1Ja1n-manyatii vyiidhih kiirpa~iyaika-nidanabhiUi) These S'aktis shine like the evening sun and are therefore described as red like the evening sun (Samdhyiiruti,a). The DevI is the Supreme Experience . .,

J (Samvidiitma) by which is meant that Her own form (Svariipa) is Knowledge-in-Itself. S'ruti (in reference to the Brahman) speaks of

.J" Being (Satyam), Knowledge (Jiiiina1n) and Eternity (Anantam) ". Agama says that the " DevI Tripura is Svasamvid ", By Devi

is meant that She in Her desire II to be many" is playfully moving about and active (Viharat,ta-svabliava).

The Cakra of eight triangles ls the eight.fold (subile) body of the Devl (Cakratanoh purya!}takam) in the form of the S'ricakra (Cakratmikii). By Cakra is meant the S'ricakra. The subtle body


VERSE 40 71

(Purya$taka • Eightfold body) is so called because of the eight which compose it. They are as the Svacchanda Tantra says :

"Citi, Citta, Caitanya, Cetana, Indriya•kar~a, Jiv~, Kala and ✓ S'arira 1•

1 These S'aktis, are ea because they are subtle.

1 Different stages of ( Nityci$odas1ika VIII, 160

VSthula body of the Devi. ~as,fjj Manas etc., (4) the (7) Karma and (8) Tamas.

,a~oda. VIII. 162)

1is commentary on tute the eightfold (I) the Jna11endri'at etc., (6) Kama,


VERSE 41

As for Her powers, they having assumed the forms of Sarvajfta and others abide in the inner ten-triangled Cakra. They are beautiful like the autumnal moon.

COMMENTARY

Her powers 1 (Vi[Jaya-vrttayah) are in close proximity to the Cakra of eight triangles.

They (Tiih). By this is emphasized their well-known power (to assist the Sadhaka) to maintain the identity of his self and the (Supreme) Atma (Svii.tmaikyarrtpa-rakfia~ia-dhii.ri,;itvena prasiddhiih).' Having assumed the form of Sarvajna and others (Sarvajnadisvaritj,am apanniih) these powers become the ten S'aktis Sat'vajna and others and abide in the Cakra of ten triangles known by the name of Sarva

rak:;iikara. They are called Nigarbhayoginis a and are white and clear like the autumnal moon (S'aradindu-sundariikarah).

NOTES

1 Tliat is, they are the inner Cakra of ten triangles. 1 This Cakra is so close to the Bindu. He who realises them is near to

Self-realisation. • The expression Nigarbha has been defined by Bhi:iskarari:iya under

VII. 48 and VIII. 157 Nit31a!Joda.


VERSE 42

THE Y oginis in the series of angles outside this (last) are those the first of whom is Sarva-siddhiprada. They are the objects of the Jfianendriyas and Karmendriyas of the DevI and are adorned with white raiment and ornament.

COMMENTARY

In the series of triangles oulside this (lasl) (Tad-bahya-j,anktiko~te$U). By "this" is meant Sarvarak!}akara-cakra, outside which is

the Cakra called Sarvarthasiidhaka. (Accomplisher of All-aims).

In the series of angles (Patiktio1:ie$u). By this we are to under•

stand that the angles of the triangles of which the Sarvarthasiidhaka•

cakra is composed are in proximity to the triangles of the Sarvarak$ii.kara-cakra. The Y oginis in this Cakra (Sarvarthasadhaka) are

called Kulakaulas 1 and they are the ten S'aktis Sarvasiddhiprada .1

and others. They are the objects of the jnanendriyas and karmendriyas of the

Davi (Devi-dhi-karmendriyavi$aya-mayah). These ten S'aktis are the

objects of sense perception such as sound is of hearing and the like. " They are clad in white raiment and their adornment is also white ( Vis1ada-Ve$a-bhu$adhyah ). The sense of this is that these S'aktis

are inseparate from or identical with (Abhedari7.J,ah) the Mantra, the Devata and the Sadhaka's1 self and are white, clad in white raiment ,

and grant Siddhi.

NOTKS

• Cf. Nitya1oda. VIII. 151-'55. • That is, they help the Sadhaka to realise his identity with the Mantra •

and the Devati, Downloaded from https://www.holybooks.com

VERSE 43

THOSE (S'aktis) who have their places in the Cakra of four• teen triangles are the unfolding movements of the fourteen·· instruments (of mind and senses) of the Devi. They are clad in garments (red) like the evening sun and are the Sampradaya-yoginis and they should be meditated upon as

above.

COMMENTARY

This Cakra of fourteen triangles is called Sarva-saubhagyadayaka (Giver of All-prosperity). The fourteen 1 instruments (Manukara~) of the Devi are five of J fiana (Paiica-jiianendriyiit:zi), the five of Karma (Pa,ica-karmendriya1,1i) and Manas, Buddhi, Ahamkiira, Citta. Un-folding Movements (Vivara,;ta•sJ,hura~ia). The movements (SphuratJ,a) of the senses are in the Cakra of fourteen triangles

(Bhuvamiracakra) as the Saktis therein. The Devi Herself is in this Cakra as the fourteen Devatas who are Her fourteen instruments. The S'aktis or Devatas are Sarvasamk$obhit:zi and others. They are called Samj,radaya-yoginis because they are forms of the Adis1akti (AdiS'aktimayatvena). They should be meditated upon as unmanifest,; (Avyakta).

NOTE

1 The word Manu is used for 14 and Bhuvana is used for the same number. There are 14 Manus and 14 Bhuvanas.•


VERSE 44

AVYAKTA, Mahat, Aharhkriti and the (five) Tanmatras having assumed womanly forms abide resplendent in the lotus of eight petals. They are known as the Guptatara-yoginis.

COMMENTARY

By Avyakta (unmanifest) is meant the Avyakta-tatt'Oa i.e. "Prakrti, by Mahat or Mahattattva is meant Buddhi and by Ahamkriti

is meant Ahamkara-tattva. The Tanmatraa are the five Tanmatras of Prthivi and others. These make eight. These eight have in this Cakra assumed womanly forms (Svikrtiinganiikiiriih). They are forms of the Devi (Devyatmikii).

They are called Guptatara-),oginis because they are within 1

(Antaranga-bhutii) the Miila-devi. These eight S'aktis who are Anatiga-kusuma and others abide in the Cakra of eight petals which is called Sarvasamk$hobhana. Abide resplendent (Jayant-i) i.e. they are there excelling all (Sarvotkar$e~a vartante).

NOTE

1 Antaratiga=lit. comprehended; inseparable.


VERSE 45

THE Bhutas, the ten Senses and Mind (Manas) are the sixteen variations (Vikllra) of the Devi. As Kamakar~ini and others (K£Zmzikar~iny'i1,disvaropatah,) they dwell in the lotus of sixteen petals.1

COMMENTARY

By f:he Bhutas is meant the elements of " Earth" and others (Prithi'Vyiidini). The ten senses are the sense of perception and action (Jniinakarmobhayalak$atia). These fifteen and Mind (Manas) are f:he sixteen variations of the Devi which are in the Cakra of sixteen petals which is called SarvaS'aj,arij,fer(1ka, as the sixteen S'aktis Kamakar$ini and others (Kamakarsinyiidi!}oda!}a!jaktyakare1Ja). In the Cakra called Sarviis1aparipuraka (Fulfiller of All-hopes)1 dwell the

Gupta-yoginis, l(iimii.kar$ini and others who are the vowels (Svariit·

mikah).

NOTES

1 Cf. BhavanoJ,ani[Jad, (~k. 13}. • Or, that which fills up all the points of compass, that is, all space.


VERSE 46

ALL the Mudras including Trikha1;,1da are Sarbvit and excel all. They are in the first (innermost) section of the Bhupura and resemb]e the young sun in their lustre.

COMMENTARY

Including Trikhanda (Trikha~idaya saha) that is, along with the TrikhaQ.da Mudra. Are Samvit (Sa11ivinmayi i.e. inherent in Cidghana, Massive Consciousness or Brahman (Cidghanani!jdhiih).

They ... Bhupura. (Adimahigrhavasah = Adimacaturas'ranilayah that is they abide in the first or innermost section of the square which is called ]f ahi-grha, (Bhii-pura and the like).1

That the M udras are of the nature of Sarhvit is shown in the following text:

"Mudra moves in the Ether or Cit (Cid-'t•yomaciirini). Khecart mudrii is the state of S'iva (S'ivavastha).

The ten M udras Sarvasamkt:obhi~1i and the rest are great S'aktis who dispel fear and give great Bliss or happiness. So it has been said:

"Mudras are so called because they free men from (the evil influences of) Grahas and the like and destroy the many bonds (which enslave men) 1.''

These Mudras are the Queens (Adhi$thiina-nayika) of the nine Cakras beginning with the square (Caturasradi) and ending with the Bindu (Baindavanta). This has been dealt with in the Vamakes•vara (Nitya~oda. VI. 57-71) 1 where it is shown how Cit S'akti, when She makes manifest and cognises the Universe as "This" on Herself as the basis assumes the forms of the several Mudras there mentioned.

NOTES

1 This Bhupura consists of three sections as the following verses show. Downloaded from https://www.holybooks.com

78 KiMA·KALl·VILi.SA

'' To free' is in Sanskrit 'Muc' "Dissolve", 11 Destroy" is Dravayanti in Sanskrit and is derived from the root Dru=to dissolve, fuse. In the passage quoted from Nityiisoda. 'Drava11a' is used in the sense of " fusion."

1 The commentator quotes only the beginning and end of the passage. The Mudras require a more full treatment and that is why a brief summary is given here.


VERSE 47

HER mne Adharas 1 are transformed (Paritt,ata) into nine Cakras. The S'aktis of the nine Nathas therefore also become changed into (Paripat"il) the forms of the Mudras (M udr'llkllreria}.

COMMENTARY

The nine Adharas arc Akula 1 , Muliidhiira, Sviidhi$thana, Ma~ipi1,ra, Anahata, Vis1uddha, Lambika, Ajfia and Bindu. These are the Adharas of the Devi in the sense that She as the U pasaka ( UpasakaS'Varupi{ii) possesses these. Similarly the (nine) S'akti.3 of the nine Nathas become the nine Mudras.

NOTES

1 That is, The centres. Adhira means a "support"; Muladhara=root support.

• The red lotus of thousand petals below the Muladhara corresponding to the white Sahasrara lotus. Cf. Bhavan.opani1ad (.{?k-13): • Adharana"'akam mudras1aktayah' and Bhaskararaya's note thereto.


VERSE 48

HER seven Dhatus skin and the rest and Her form manifest as the forms of the eight Mothers BrahmI and others. They dwell in the middle Bhubirhba.1

COMMENTARY

Seven Dhatua skin and the rest. (Tvagadi-saptadhiitavah). These seven Dhatus of the Devi and Her form (Aktira) assume the shape of the eight Matrikas Brahmi, and others and abide in the middle section of the Bhiipura (Madhyama-bhi"ibimba-niketanagah).

NOTE

1 Bhubimba=the disc or circle of the Bhupura which is the square and forms the base of the S'ricakra. These S'aktis are in the middle circle. The Bhavanopani:jad Wk-12) says :-Kiima-krodha-lobha-moha-mada~ matsarya-PutJya-papamaya Brahmyiid),a:jtas,aktayah. And the Tantraraja also says :-Urmayah Pu11yapape ea Brahmyadya matarah smrtah.


VERSE 49

HER (eight) Powers, Avimt1 and others, assume the forms of beautiful young women 1 and are attainable by other practices ( V idyas ). Being of secondary nature they are in the last (lowest) section of the Bhupura.

COMMENTARY

Her (Asydh) i.e. of the Paramesivari Her (eight) powers, 8nima and others (Av-imii.dibhtitayah). These are the eight Siddhis or Bhiitis the first in enumeration of which is A,;iimii. These are in the form of beautiful young women (I{amaniya-kamint-rfif,ah) .

.Attainable by other Vidyae (Vldyiintaraphalabhiitah) that is, these Siddhis or great powers are the fruits attainable by the practice of other Vidyds such as Hathayoga and others.

Being of secondary nature (G111Jabhiivena). 1 These not being of

a nature as important as the Highest Aim which is Mok$a are to be

considered negligible and ultimately discarded (Gu~a-blui't•ena= Upa• sarjanibhavena). Are in the last section ot the Bhupura, (A ntyabhu

niketanagah). That is they are in the lowest (of the three) sections

of the square. By worshipping Paramatma in this manner the Sadhaka becomes the Great Lord (ParameS'vara) Himself.

NOTES

1 The Bha-vano,f,ani!Jad (Rk. 11 says): Niyatih s1ri,igaradayo rasa a11imadayah

and the Tantrar'lJja also says: Sr1:cakre siddhayah prokta rasi'i niyatisamyutah.

• The word Gut1a is here used to mean " Secondary " or " Subordinate " as opposed Mttkhya which means" Chief" "Foremost".


VERSE 50

PARAMA S'iva who is the Lord and 1s one with the Bindu experiences the highest Bliss. It is He who in his Vimars'a (S'akti) aspect becomes gradua1ly differentiated and assumes the form of Kames'a.

COMMENTARY

Having in manner described explained the stages of the unfolding of the Cakra (Cakrakrama) which is but a manifestation of Kamakala (Kamakalavilasanarupa), he now in his kindness towards his disciples commences to describe the series of Gurus beginning with Paramas•iva in four verses of which this is the first. For a true knowledge of the Cakra, the Devata and Mantra can be gained by knowing the succession of Gurus who are ParameS'vara (ParameS'vardtmaka-gurrt-krama-jn{ma-bhavena labhyate).

"Experiences the highest Bliss,. (Paramiinandiinu-bhiivalt). That is, He is the One who has the knowledge or experience (Anubhiiva= Jnana) which excels all other bliss (Parama=Sarvotkr$t«). This Ananda or Bliss consists in experi~nce as complete ' I-ness' (Paripurr,ahambhiivar11J,a). S'ruti also says "other creatures experience a fragment of this Bliss" 1•

Parama Siva who ia the Lord and is one with the Bindu (ParamaRuru-nirvishesha-bindviitmii). By Parama Guru is meant the First Guru (Adinatha) who is Parama S1iva. The Bindu is one with Him. (Nirvis•e~a=Abhinna), The Bindu is the Kamakala (Kiimakaltirupa). He whose Self (Atmii=Svarupa) is the Bindu is the Parama S'iva who is the First Lord or Guru (AdiniitharuJ,i ParamaS'i'Vah).

The Upani!?ads contain various texts like the following: "Bliss is Brahman" (Tait. 3-6.) 11 Brahman is Truth (or Being), Knowledge

and Eternal" (Tait. 2-9-1). "To the (Brahman who is) pure Cit


V:ERSE 50

(Cinmdtra), All-seeing (Sarrc,adra$tii), All-witnessing (San:a-sak~i), All

absorbing (Sarva-grdsa = All devouring) who is the Adored of all (Saruaj,remasj,ada), who is in Itself Being (Sat), Consciousness (Cit) and Bliss (Ananda) dependent on nothing (miitra) and massive Experience (Bkarasa) ", (Nri. Uttara. 5-8) ; and again "This Atma is pure Being (Sanmatra), Eternal (Nitya), Knowledge (Buddha), Pure (S'uddha), Truth (Satya), Free (Mukta), devoid of Maya (Niraiijana)

and Omnipresent ( Vibhu), Non-dual (Advaya), Bliss (Ananda), Supreme (Para) " (Nri. Uttara 9-9).

They lead to the conclusion that it is the very merciful ParameS' .. vara, the supreme Truth as massive Consciousness and Bliss and as r1.

both Prakasha and Vimarsha (Chid,inandaghanaparamiirtha-prakiisha

vimarshiitmii) who divided His own Self into the Bindus making Kamakala and became Kamakames•vari and other couples who a.re the Oivya, the Siddha I and Manava lines of Gurus. He thus becomes the whole body of the Gurus (Gurumatidaliitmii) and protects such as are truly devout. This is the sense. S'ruti also says:--" He is this,.., Atma. The Atma verily is this S'akti. She is the Becoming (Bhava) and non-Becoming (Abha;,c•a), the Being and non-Being."

If Paramagurunir-oisheshabindvatma be read as two words as Paramaguruh and Nirvisheshabfodvatma then the meaning will be that the Paramaguru which is another name for Adinatha is the transcendent (Nirvishesha-Nishj,raj,ancha) Bindu who is indicated by (Lakshana) Sat, Chit and Ananda. So it has been said :-

" The Supreme Ether-(Akiis1a) which is the Bindu which is transcendent (Ni$j,rapancha), is Sat, Chit and Ananda, One without a

second (Nirabhdsa), in whom there is no distinction of subject and object 1 (Nirvikalpa) and is imperishable (Niriimaya.)"

The ParameS'vara who is like this did Himself become (Abhut)

the Gurumandala the first of whom is Karnakames•vari. "It is He•• (Sah punah). It is the Pararnatma already spoken of, who by degrees (Kramena) becomes differentiated (Bhinnah) in the manner to be later shown as the Divya and Siddha classes from His Virnarsha part (Viniarshangshat). By Vimarsha is meant His own S'akti as Kamakala. By part (Angsha) is meant half of this.

Assumes the form of Kameaha. (Kiimeshatvang ,va,vau=Changed into the state of Kamesha). That is He himself became Kamaraja. The


84 KiMA·KALi•VILiSA

sense of this is t.hat it is the Paramatma who of His own wiH divided ,, His own self into Kama and KameS'vari and as the Teacher (Gttru)

and the Disciple (S'i$ya) brings down all Tantras. S'ruti (Brha. Ar. 143) also says:-

" He divided this Atma into two; thereby arose Husband and Wife".

NOTES

1 Etasyaivanandasy,myani bhutani matram u.pajivanti (Brhad. Aranyaka 4-3-32).

1 Siddha-These form the second class of Gurus in all Tantras. Different schools or Sampradayas have different names for the Gurus of the three classes.

'Knower and object of knowledge.


VERSE 51

S'ivA the Guru who abides in the UddiyaQapitha did in the Krta Yuga impart the Vidya to Her, His own S'akti the Vimars'a-rupiIJ'i Kames'vari.

COMMENTARY

In this verse he further discusses what has been stated in the preceding verse. By 'Siva' is meant the Paramatma who is the author of all (Sarvapravartaka). Guru is he who instructs in Jfiana (J1i,inopade$tii). So it has been said that "the Guru is means (of success)." (Gurur upiiyali); also 1 :-

" The word ' Gu ' signifies darkness and the word 'Ru ' signifies that which dispels it, Guru is so called because he dispel:; darkness.''

Who abides in the Uddiyanapitha. (ifsinah s'ripithe), By this is meant that the abode of S'iva is the UddiyaQa-pitha within the innermost triangle.

In the Krita Yuga (Krtayugakiile). By this we are to understand that it was in the beginning of Krta or Satya Age that S'iva imparted the knowledge of the Vidya. By Vidya is meant the Vidya which is fully established in all U pani!?ads and whereby a man can realise his oneness with the Atma (if ttnaikyapradiiyini).

Did impart (Dad,m). Fully instructed (Upadides'a). Her, His

own Sakti (Tasyai svaS'aktyai). The force of the pronoun " Her" is to press on the reader's attention the fact that it is She who gives boundless happiness to all creatures (Sarva-bhutiinam, niravadhikiinandadiiyini). His own S'akti. (Svas1akti). By this we are to understand that it is She who enables the Lord to manifest His own Being (Svasvari,pasattiisampradiifri). So it has been said:-

" Even the Supreme if disunited from S'akti is unable to do anything. 0 ParameS'ii.ni I He is capable (of action) if He is united with S'akti."


86 KIMA·KALI•VILISA

Vimarsarupinl. She is so called because She is the Supreme S'akti which is (lit. is the resting place of) the supreme manifesting Bliss. (A nuttarananda-vis•ranti-sthanabhuta-S'akti-j,ara-ruj,ini). So it has been said, (Sa1nketaj,addhati) "The letter A is the first of all and is PrakaS'a and the Supreme S'iva and the letter Ha is the last which is Kala and is called Vimars1a."

Kamesvari. She is so called because She at all times and in every way grants all objects of desire (Sartiabhi,ta•J>radayini) and is one with one's own Atma (Stidtmabhuta).

NOTE

1 Kularnaoa Tantra XVII. 7.


VERSES 52 & 53

SHE who is the Queen of the (three) places 1 and bears the appellations of the Eldest, the Middle or the Second and the Youngest and who is the object of enjoyment of Parama S'iva assumed the name of Mitradeva.J It is She who having first purified the Gurus (by initiation) revealed the Vidya to them who are the seeds of the (three) Ages (yugas) the first of which is Treta and who are the Lords of the three Bijas. It is by these (three Gurus) that the three groups or classes (Oglta) are maintained. Now has been said the order of the Gurus (Gurukrama).

COMMENTARY

The tradition (Samj,radiiya) relating to the Gurus may be put thus:-

True that these two (KameS'vara and KameS'vari) are of equal high degree (Samatattvau) and are identical (Samau) and S'akti is ever young (Ajani) and the Cause of the universe (ViS'vayoni) and the Sa.Iikhayana branch (of the ~gveda) has said " primeval S'akti is red (Aru~a) 2 the mother of the universe ( Vis•vajanyii) " yet Parama S'iva who was desirous of revealing His secret system (Rahasyata·ntra) containing the essence of all the U pani~ads did so by the aid of Kames•vari Herself who is the Cause of all (Sarvakara,:ta rapi,;i) as is shown by the expression "Vis-va-yoni or ViS'vajanya."

After the creation of the universe in the First (Adi i.e. Satya or Krta) Age abiding as He was in the Uddiyiif)a-J,itha which is replete with the Bliss of His own Illumination (Prakds1iinanda-saramaya) He under His name S'ri-carya-nanda-natha instructed the adorable Lady who is one with Him in the rules relating to S'ri-vidyii (S~iwdytikrama). . He Himself says:-


88 KIMA·KALI·VILASA

11 Verily do I adore the Great centre of the Cakra which is supreme Bliss and the innermost essence of PrakaS'a and Vimars•a (Anuttara-vimars•aikasara) and pure experience (Samt,itmiaya)."

She in the Tretii, Dvapara and Kali Ages did in the forms of the Gurus mentioned below introduce the very secret system of S'iva (S',imbhava Tantram). The order of the Gurus is as fo11ows :-

' To understand the gem of S'ri-vidya {either of) two Jines of

(Sanitana), may be followed. They are the line of Kamaraja and the line of Lopamudra. The line of Kamaraja is to be found in every form of Vidya (Sakala-vidya,zusarhdhyavicchinna) and this has been said by even the Gurus of old. They say that the line of Lopamudra runs in sections ( Vicchinnatay,z pravartate). There are in this seven Gurus of the Divya class four of the Siddha class and eight of the Manava class 1 . The order of the Divya class is as follows. In the beginning of the Krta Age, Parama S'iva Himself who abides in the Uddiya~iapuha and is one ( Vimri~tatanu) with Mahatripurasundari who is His own S'akti (Sviitmas'aktydllhya) is the first Guru under the name of S'ricaryanandanatha. So it has been said:

u She who is the body of Kamaraja'""abides in the Uddiyiinapitha

which is in the middle of the (first) triangular Cakra in a soundless state (AsvariikiiraUim. prapya tryas•rasmitgketam adhyagat)."

At the apex of the inner inverted triangle which is Kiimart,pa• J,itha abides S'rimad Orddhvadeva-natha who is the Guru of the Trcta Age and is one with KameS'vari the presiding Devatii. of Vagbhava Bija. So it has been said:

" She who is at the apex of the inverted triangle is KameS'i abiding in Kamapuha."

At the right hand corner of the inner triangle which is the Jiilamdharaf>itha is ~a~thadcva-natha who is the Guru of the Ova.para Age and who is in a state of inseparate union (Militasvarupa) with Vajres•vari who is (the presiding Devata of) Kiimaraja Bija.

So it has been said: "At the right-hand corner of the triangle which is theJalamdhara•

,Pitka is Vajres·i ". At the left hand corner of the middle triangle which is the

Pun;iagiri-J,itha is Mitradevanatha who is the Guru of the Kali Age


VERSES 52 & 53 89

and is one \\'ith Bhagamalini who is the Devata of the S'akti Bija there. So it has been said :

"Bhages'i who abides in the Pfir~iapitha is in the left corner of the triangle ".

Mitnsadeva did in the beginning of the Kali Age bestm,v his

grace on the venerated Lopamudra and Agastya, the couple refulgent

for their great devotion (Tapas). Particulars about the seven who

compose the Divya class can only be known from the Guru.

We now follow the text.

She (Sii). By this the aforementioned beloved (Prifoaniiyika) of Parama S'iva is meant. She assumed' the name of Mitradevanatha.

Here the mention of M itradcva implies the Gurus of the Treta and

Dvapara Ages. She in turn becomes the Gurus of the Treta and

other Yugas and continues the tradition.

Lady or Queen of the three places (Sihancs•ii). That is She is the

presiding Dcvata (ls•d=A dhi:c;thiitri) of the apex, the right and left

corners of the middle triangle where She abides as KameS'vari,

VajreS'vari and BhagamalinI respectively.

Bears the appellations of the the Eldest the Second and the Youngest. (Jye$fha-madhya-b.iliildzyli). Jye!}tha means Eldest or most excellcntY

By this expression S'rimad Orddhvadeva-natha is meant. By Middle (Madhya) or Second S'rI ~a~thadevanatha is meant and by Youngest (Bala, which means a boy) is meant S'ri Mitradevanatha. The DevI

bears these names.

The object of enjoyment of Parama Siva (Citpra~w-vi!jaya-bhftti'i).

By Cit-pra{ia is meant Parama S'iva because, He is the Svariipa of

Cit and is Prar:ia itself (Pr,zuanipa).

The Mii.nduka S'ruti (I, 7) says:

"The wise think of the non-dual S'iva who is quiescent

(S'antam) and in whom the universe is absorbed (Praj,aficopas•amam). He is not inner or subjective cognition (Antahprajtiam) nor is He

outer or objective cognition (Bahihprajiiam i.e. enjoyer of the gross world) and He is not between these two states (Nobhayatahprajii.am) •. He is not massive knowingness (Prajiiiina-ghanatn). He knows not

nor is any thing unknown to Him. He is unseen. He is not the

subject of (pragmatic) knowledge (Avyavahuryam). He is beyond the scope of the senses of action (Agriihyam). He has no attributes


90 K.iMA·KALA·VILi.SA

(Alak~atiam) and is incomprehensible and cannot be described (Avya• J,ades•yam), but is the essential experience of one Self (Ekatmapratyaya-saram ). He is det::med to be the highest (Caturtham= lit. Fourth). He is the Atma. He should be known." S'iva is thus

Cimnaya according to S'ruti. In the same way S'ruti speaks of Him as Pra1Jama)1a also. The

Chiindogya (7-15-1) says: " As the spokes (of a wheel) are fixed to the hub so is every

thing fixed on to this Prar:ia. Prar:ia moves by Prar:ia (i.e. by its own S'akti). Prar:ia gives Prar:ia for the propagation of Prai:ia (Praniiya). Prar;ia verily is father, PraQ.a is mother, Pra.Qa is brother, Pra.Qa is

sister, Prar:ia is preceptor (Accirya) ". The DevI is the object of enjoyment (Vi$ayabhiUa=BhogyabhtUii)

of Parama S'iva who is as above described. So it has been said : "This Dcva ever wishes to have the pleasure of playing with this Devi."

The Supreme Lady of adoration (Pariibhattarikii) who is as above described, revealed (Prakas·ayamd$a) • the Vidya to the three Gurus who are the seeds of the three ages beginning with Treta as

has already been described. The words Sthanes'a, Jye!}tha•madhya-balakhya and Cit-prii1J,a•

vi$ayabhuta may be read in the plural accusative to qualify Trigurun.

The interpretation will in that case also be as given above. The Lords of the three Biias (BiJa-tritayiidhipatin) The three

Bijas are Vagbhava and others. They are the Lords (Adhi,Pati) in

the sense that these Bijas indicate them. These three kinds of Gurus (Trividhades1ika11) the Devi first purifies (Parik~ya = S'odha

yitva). By Vidya is meant the Adividya which issued from the lotus mouth of Parama S'iva and is the Cause of all causes. The Devi

revealed the Vidya. By this we are to understand that She instructed ( Upadides1a) the Gurus in the Vidya.

Here by the statement, Revealed the Vidya having purified them. (Parikfya vidy,uii prakds-aydmasa), we are to understand that the most excellent Guru who is Sadas1iva (S'ri-Sadas1ivatmii) instructs in this path which is in accordance with immutable tradition (Satsampraddya-siddham), the disciple who has for a long time done Atmopasana, has controlled his inclination (S'anta), has conquered his

senses (Diinta) and seeks initiation ( Upasana). So it has been said;


VERSES 52 & 53 91

u O Great Queen, it is after initiation that the Guru should give instruction relating to Sadhana of the Vidya ".

Initiation (Dik$ii) 7 is of three kinds namely Aiiavi, S'iikieyi and S'ambhavi. It grants union (Sayujya) with S'iva. In ,:f~avi Dik~a the special articles of worship are necessary. There is also needed intense devotion to, and Tarpal)a and Dhyana of, the Para-Devata. S'akta initiation is for the attainment of Siddhi by the Sadhana of that particular S'akti for the worship of which a disciple is qualified. So_it has been said:

"When the Guru perceives that the disciple is ready for Sadhana of (any form of) S'akti he should then initiate in that (S'akti) alone without hesitation. This is called S'akteyi Dik$a ".

S'iimbha·vi Dik!}ii has been thus described : "S'ambhavi Dik;ci is that which by the mere grace of the Guru

makes manifest the S'iva state (S'ivata-vyaktikarini) 8 and produces the Bliss of S'iva. The preceptor and the disciple should be selfless and without worldly desires or motives."

In the absence of any such initiation there can be no competency for Sadhana. Initiation to be fruitful should be the outcome of mere grace of the preceptor unmixed by any motive. The preceptor is bound to initiate even at his own expense if the disciple though qualified for initiation is unable to incur it. If the Guru himself is also unable to procure the necessary articles then he should do it in a concise form. So it has been said :

"The Guru should himself with his own money initiate the poor. He should liberate the disciple by Dik~ii. and use Dii.rba grass and water if nothing more can be had."

The conclusion we thus arrive at is this-that it is only he 1

who is fully initiated who is competent for Brahma-vidya. It has already been said that initiation becomes effective by propitiation (Samtarpa,;ia) of the Para-Devata. Samtarpaoa or propitiation can be done by the offering of oblations of particular kinds of liquid substance used in particular Ages. For it has been said:" (Oblation) of Devatas however is by nectar!' The hquid substance is wine which is like excellent nectar. With this alone can offering be made to Para•Devata, like Soma in Agni~toma sacrifice.


92 KAMA· KALA•VILASA

Now if it be said that there is prohibition in texts like this:

"The Brahmar:ia should not drink wine nor should he eat flesh," we reply that we do not say that oblation to the Para-Devata should be made by transgressing prohibitions applicable to particular cases

and prompted merely by one's own desire. In what we have said we are convinced that this S'arhbhava Dars1ana is based upon the teachings of the U pani?ads. Now it may be said "what about the prohibi

tion ? " The answer is that this prohibition applies to the man who is uninitiated. For the initiated the best way of offering oblation to Devata is to make it with wine. In the Sarhkhyayana S'akha which

is extracted from the ocean-like ~gveda, it is stated that divine dignity and dominion can be attained by the worship of the

Adisundari thus 9 :-

" Those, who after having fully realised Her offer oblations (to Her) in the S'ricakra which is inseparate from their body, with wine

which has been converted by purification into nectar,1° become delirious in the excess of their joy, dwell in the high region where there is neither pain nor sorrow and enter the Supreme Light of

Tripura."

NOTES

1 The three angles of the triangle (Kamakala). 1 The colour of the Rajas Gm1a of Krya S'akti. The text quoted

above is from the Tripuramahopanifjat but greatly mutilated though the sense is not. It is the second half of the 14th ]Jk of that U pani~ad and runs thus :-Sa11iapradhanau, samasattvait samojare tayoh S aktirajar<i vis1vayonih. As quoted in the text it is not quite correct.

1 The Lalita,·cana-ma'Tljari gives the names of the Gurus as follows. The seven of the Divya class are (1) Parapraka.S'anandanlltha, (2) Paras'ivanandanatha, (3) Paras•aktidevyarhba, (4) Kaules1varanandanatha, (5) S'ukladevyarhba, l6) Kules'varll.nandanitha, (7) Kames'varyarhba. The four Gurus of the Siddha class are (1) Bhogilnandanatha, (2) Klinnanandanatha, (3) Samayanandanatha, (4) Sahajanandanatha; the eight of the Manava class are (1) Gagananandanatha, (2) Vis'vanandanatha, (3) Vimaliinandanith~, (4) Madananandanatha, (5) Bhuvanandanatha, (6) Nilanandanatha, (7) Atmanandanatha, (8) Priyanandanatha. Those of the first mentioned class should be worshipped behind and the other two on Her left and right respecti ve]y.

'CJ. Tantraraja xxxv:

Gurur ad;ya bhavec chaktih sa vimarSJam;yr: mata. Downloaded from https://www.holybooks.com

VERSES 52 & 53

also Bhavanopani.1ad I : Brfguruh sarvakaratJabhuta s1aktih.

1 That is, He is not the state between Jagrat and Svapna.

'CJ, Tantraraja (Tantrik Text vol. VIII) eh. 1. v. 8: Taya tair bltui1ane tantra1ii kalpc lmlPe vifri1iibhate.

93

(She, the Devi, age after age reveals Tantra through them (the Gurus). 'The Gandharvata11tra speaks of Ma11tri, 8ahti and S!i1nbhaVJ. 1 According to another reading II Siwitad,UmJ,ada,yim" which means

that which brings about a sense of inseparatcness with S'iva.

'TriPitramahopani~ad. /Jll. 7. 10 The text has ' Suraya' but Bhaskara reads ' Sudliaya' and the latter

reading has been adopted in the translation.


VERSE 54

THIS is the end of the description by Pul)yananda of the playful movements of the beautiful woman Kamakala which ever attract the desire of the amorous Para S'iva.

COMMENTARY

This is the end (/ti), The particle "Iti" indicates the end of the book composed by Puryyananda ( Uditah pu,:i:vanandat). The literal

meaning of the expression is II as ari5en from Pur:iyananda" the author. ✓'Playful movements of the beautiful woman Kamakala (K iimakaliinandvilasah). By Kamakala is meant Vimars'aS'akti who is inseparable (AvinabhiUa) from Kames•vara. She is the beautiful woman (A1igan,1)

whose Vilasa or amorous movements appear as the form of the "CHkra, the Avarat)a-Devatas and the like. These amorous move

ments which have been caused by seeing Her beloved (i.e. Para-S'iva) always (Nityam) attract the mind or heart (Citta) of the amorous (Bhujcniga=Rasika) Para-S'iva whose nature is pure Illumination (PrakaS'aikasvabhtiva) by producing in Him an excess of desire (Bhava-:Raga).

If " Bh,ivakanp;iahar!}tiya" be read for "Bh,'ivakar$ifacittiiya" then the meaning will be that the sight of the playful movements produce in the amorous Para-S'iva that gladness which accompanies the experience of the emotion of love. In ordinary life (Loke'j,i) the sight of the amorous movements of the beloved produces in the mind of the gay lover a sense of gladness which is accompanied by the sentiment of love (S'rngiira-bhava). In the same way the play (Vilasa) of Kamakala who is Cit-S'akti which express itself in the way She walk:; (Padavik$epa) and in other movements (of Her body) produces infinite gladness in Para-S'iva who is facing towards and looking at Her who is His own S'akti.


VERSE 55 95

The name of this book is Kamakalavilasa. It is written by and therefore has emanated from (Uditah) Pur;iyananda. This book always gladdens Para-S'iva.

VERSE 55

OBEISANCE to the venerated Lord the boatman (S'rinathan'llvika) by whose grace I have crossed this Ocean of Wandering, the waters of which are desire (Trf}?t"ilsalila) and the surface whereof is restless with the waves of anxiety (Cint'i1-

taraftgacapala).

This is the end of KamakalavilascJ written by Sri Pu']yananda Yogi.

COMMENTARY

"Ocean of wandering" (PrapaficaviiriiS'i). By Prapanca is meant Samsiira or \Vandering which is ocean-like (Variis1ih=Va1·idhih).

May good be (S'ubhmn astu).

This is the end of Cidvalli composed by S,·i Natanii11a11daniitha.


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-~u !1ollh2lh ~~111~~blfl:t.e~ : ~~.1:0hl:'bll:' ~~!ibll:'~~

11 ~ II ~J ~~~~ Elfl~lli~ill rd~~~lt"el}t!tse:~1!

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~/ J.Si~l!Jt-,..hleltst



APPENDIX 1

Index of Hal/ Verses

~-0cp11iefS~l f4~ffll'eIT"1t6itfoicf.T .

3ae~r 3e~~'-'T

6tJol!~iffal;~51lj 0 ~, ~arf+t't•m!ilr~a:_ ""' 8'fan:rrf~fu;:l!) s~ll'r: " ~EJf:felij "' ~ij{~J~{o ,~ {ti:f ctifij<fi~T~IH "' attT f.ro<{r~fq f.i;:~: ,41, <liTfo:f~n:~r~~qf:.Ja 0 "\~

at.J,!f): ij._~ijJ~{l ", qif;J: qiijifflf\'1'1.ff ,o

at•a ~~rn:f.rci5lf T: \o cfifijf~llljJf~ o ~\ ~aw1.rfcliro: ~ !liT~ fi:r~~o "'' i:ijilj"'iij(~ifi@o "' ~IQ"Utfii~ll'f ~l.t

at~llT~fqffrft;:l:iijrli o '' qiijlij q~~~q: '-\~

atrf~;,~1 1Ni:fTUT: '" =qifi~~rfq 'lt~lJT ", anf'{':ef{lJOJita o "\~ f=qf!ijljfS~-.JiT{: ,, atr~T i:fiT{IJJ;i";lJT "\ 0 f:.Je11r0Jfcllill!~1.r_ \t':{

atrl:lT{ifi:f<fiii~f: '" f.q;m;:i:ml'a{ci5 o '" atrcr~ui !lqq:;g:_f ~: "\\ ~ufl!fWfllfi:r~ "\,

atrti'r-1: tfiq1~ ,, cla'-iJqii:flq'i:Jg'll! o "\,

aJT6'rilT f4;!q~ .... " a~Ui:fllcUifT "\'-\

~=our1fiffiliijTijr;:ar: v~ o~Tm'ie"'RncfiTutj ,, (@ cfifJ{i:liwT~T , .... <tfi(ll'-f'!~ 1.f ~('ff: ,. ~q ~all's~ ~r p, afi;ii~;:i !10Jit~nt 1-\&

ij~if cl!Q ll'~T v~ o~i:r~'lifij+ft{OJ 0 ~" '3~6: S"'ITif~Ht. "~ ... i\ ' clflJ ~~ ~cf~tf(lJ ,, {tcfiT 1HJ clif'--liT "" 6if ifcfRi:rT iitTi:H "" ~~~s!Gili 0 "'' as ~Ill ~lo ~~

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fci~%a~ lJ~ fif~i!fil(Tfilf

aft~f,ra1Jrt'fiqa't-l ll'fll'·U~iir~q

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• r "i' olf,aro21~ a~ 0

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APPENDIX 2

Index of Works Quoted

~:rSl'irr~fijR[:, , '

erWJ,m{=, '-', '' 8'filif:, ,, ", ,,, 'I\,,,,~,,\•,

\ 'I, \lo\, Vo, ""• 1-\o, ~\, \,5o 1 ""

alT~fqoH::, ~

~arr~'{ , , " aqf.:fl!f((, \, '-i., 'to,,,, ,c:, "", t.,r-,,

lo\\, "' ,alij'i_, ,v \qt=ijt qfil'ttn. , , " tirer, ", ", ififflllfUrli. t , "

~ij:raat, \, "' ':l\, \l, \", v~, v'\,

V\, "'", Vt:, '\\, ~t, \'t, ,,, \V

f =if'(141{{(~'1. , \"

~~fil~~fijiff, , 1-\, V 't

~flwr~:, ,, , \, \ '-i. or~)'~'l, \, "', ,, ,~, ,,, "' amft~ilPI{ , , ~R,-O'~qf.{fl(c( J ,, ~

fif~ll'{lft{. , ",

6ffqifiiJ!ffer:, , ., , , "

q(~tfflfirflf<t, Vt:

quqiar~clil', \, ~ q{fiJJRlifT, , ,

tt.:sr~ta-:, "' Sl~e_i)q~a:_' ...,,

51~f~~r<iir~r, , ~, , , , ~ ", , ~, ·u., vv, "'", ' '

sr~fil~Tij,_=lt{_ , , , \, , \ , , \

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1.1~:sta=, ,,, ,", vo, ~lo\

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{~fflll:, 'I\, ,o, ,,, "', '-\'-\, \c:: {~~)qf.Na:_ t \' I '-\\I> lo\\ I '\t J \t O I \t, 0~a\qi1elJA'1., \, , , , lo\\, "\

cf~il'l., ,. v, ,v, "", ~"' qf ~cfi'Jn'{ J , 0 I '\ , l ' ' ! \ , I 't , !

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fel~ra_tq'lff ~-.fiT, v, , \ \ , , "\, \ c:

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fijif~ij_ I "I " O

ffllr.1{1_:iltm:, ", " 0

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~oT\io{~ , ", , , ttircflf ijf~cf ll_ , '-\ '-\, ""

~iiioqlfa:, ~'-', , l ij~~fifr~i:lHliff, , o

6~ll'fll'if ijl-T, ' o , " , , "\

l"~qfif~<l , "', ~ \ ij~rit~ll':, ••q ijijfl)C::ijcifTijifT, \,, V,, V ~, '-\', '-\ ",

"'', ,,, '" tf,~fll;l'j~lfl~ll'~ 1 ' ,

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,~lfij_~ij,, '

APPENDIX 3

Index of Authors Quoted

Sff~.:rcf ~aqr~r:, , , , l , , " \

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iff JJTwl''r<lJ: , "'

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8ffll~~ fq:i'fT=if~ o , "V, lilt o ~T 0

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8Jfwi'fl fqfftta~:, "", ~filo ~o \-,\9° atl.:~~;:~w1r~rra, , ", fiil=to 0

e:,~~ql ~~T q'lijo 'It\, ~.:510

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anf~{T~:, ~ t:, ~o ao 81T~U~iill(T, \ ~, ~(o '30

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APPENDIX 5

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8)½f\-/l ~ 7 b '\. '\ D.: /") Downloaded from https://www.holybooks.com

By the same Author

THE GREAT LIBERATION (MAHANIRVANATANTRA)

Sanskrit Text, Engli&h Translation and Cormnentary

CONTENTS CHAPTER

Preface

I. Questions Relating to the Liberation of Beings II. Introduction to tho Worship of Brahman

III. Description of the ··worship of the Supremo Brahman IV. The Mantras, Placing of the Jar, and Purification of the

Elements of ,v orship V. The Revelation of the Mantras, Placing of the Jar, and

Purification of the Elements of Worship VI. Placing of the Shripatra, Homa, Formation of the

Chakra, and other Rites VII. Hymn of Praise (Stotra), Amulet (Kavacha), and the

Description of the Kula-tattva VIII. The Dharma and Customs of tbo Castes and Ashramas

IX. The Ten Kinds of Purificatory Rites (Smhskara) X. Rites Relating to V:rddhi S'raddha, Funeral Rites, and

Purnabhi~eka XI. The Account of Expiatory Acts

XII. An Account of the Eternal and Immutable Dharma XIII. Installation of the Devata XIV. The Consecration of Shiva Linga and Description of the

Four Classes of Avadhutas

"It seems as if the World-Mother has again willed it and has again desired to manifest Her Pow(•r so that Arthur Avalon is studying the Tantras and has published so beautiful a version

of the Mahanirva:r;ia "-Sahilya.

3rd Edition (1953) Cloth Bound-Over 1,000 Paqes. Price Rs. 30/-


By the same Author

PRINCIPLES OF TANTRA {T ANTRAT ATTV A)

CONTENTS

Part I

I. Appearance and Applicability of the Tantra Scripture-II. \Vhat is the Necessity for the Tantras when there is Veda ?-III. The Ephemeral and Modern Monism-IV. Gayatri Mantra and Image Worship-V. Commands of S'astra-VI. Worship of Devatas-VII. \Vhat Is $hakti ?-VIII. What Is S'akti ? (Continued)-IX. S'iva and S'akti-X. Worship of the Five Devatas.

Part II

XI. On Mantra-XII. Lettered and Unlettered Sound-XIII. On the Guru-XIV. Discussion Upon, and Selection Of, the Guru-XV. Worship in General-XVI. The Play of Gunas-XVII. Outer Worship-XVIII. Ordinances Relating to WorshipXIX. Ceremonial Worship-XX. Ceremonial Worship (Continued).

The Treatise is the most remarkable pronouncement on the subject which has yet appeared and Mr. Avalon is to be thanked for making it accessible to Western readers. It is full of points of very great interest.-The Quest.

Second Edition (19S2) Cloth Bound-12O0 Pages. Price Ra. 30/-


Documents

KAM.AKAL.A.VIL...viii rahasya quotes from the S'rikrama Tantra a full account of Kamakala. The S'ricakra is described in great detail in the Tantra raja of the Kadimata the first eighteen