WAVE OF 'BLISS ANANDALAHARi

SANSKRIT TEXT WITH

ENGLISH TRANSLATION AND COMMENTARY

BY

AR,THUR AVALON

TOGETHER WITH

SAUBHAGYAVARDHANI

(THE SANSKRIT COMMENTARY BY S'RI KAIVALYXS'RAMA)

AND FORBWORD BY -SRI S. ANANTHARAMA AYYAR, B.A., B.L,

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FOREWORD

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THE necessity and importance of Mother Worship and the superiority of that worship over others have been proclaimed by the Vedas, the Upani~ads and the great Seers of India like S'ri S'ari1kara. Why? No S'akti-no movement, no action, no function, inclusive of Creation, Preservation and Destruc­tion (~f2-w~f0-a~rt). From dawn to dusk and throughout the whole night are we not floating, as it were, in the ocean of Her special MArcy and Love, protected on all sides by Her ever vigilant Hand from the storms and tempestuous waves of life? Can anybody deny the fact that our Mother is ever showering Her Love, Mercy and Grace on all creatures, high and low, rich and poor, strong and weak, alike, with a wakefulness, that lmows no fatigue and with an interest, that suffers no slackness.? In fact, the Mother's heart is ever knit with the child's heart with the silken thread of Lo\·e, Mercy and Grace, regardless of the child's vagaries, idiosyncrasies and perversitiP.s. The door of Her Mercy is never shut, the gates of Her Grace are never closed but ever open to the suppliant. '' fo!Jslt 'irTito ~f~ftT ~~nor if ~fa." Is r:ot this mother worship enforced as a daily duty to every Hindu? "~fll ~CI~ \:J'ht~ I N~T ~if; q:q")~~Hi ·" Is it not the Mother, who bcati.rs our hearts and guides •nd helps us in our struggles

iv WAVE OF BLISS

and conflicts \'Vith the temptations of life? Is it not the Mother, who chastises us when we rebel and go wrong, who cheers us when we are dutiful and obedient to Her laws, who grants all our desires when we sincerely yearn, who leads us to the Saints and Seers, whose c.ontact makes our mind pure and truly spiritual? Is not the Mother like the balmy breeze to the drooping frame, like the charming music to the heavy heart, the vernal shower to the withering pl;~.nt, the silver stream to the weary hart and the shining star to the wayfarer lost in the wilderness? Can anybody deny the spontaneity of Her Love, the abundance of Her Grace, the purity and the illimitable and the inimitable character of Her Mercy? As such, who but She can be the cheribhed object of our personal and unstinted gratitude, devotion and lo\'e?

Human child, a microscopic atom in the Creation of God! blot out the monster of Egoism in you, the root cause of all ruination; eradicate the most deadly poison of Ingrati­tude, 's!larper than a serpent's tooth' from your mind, medi­tate on your Mother's Love, Grace and Mercy, surrender Thy self to Her cheerfully and absolutely and save yourself.

Lord Parames'vara, out of His abundant Love and with a view to save humanity, lost and bewildered in the wilder­ness of [gnorance (Ajnana) and encircled and tormented by the wild fire of Samsara, left off His mouna (silence) under the Sacred Banyan tree and came to this world in the garb of S'ri S'ankara.

'' ar~rra~;:rqfaofi!T~J:Ifq~~~: 51Hi it'"rr. ~~CffW9TaJI1qJq=oqiffi!T;"f_ I ~ ,n;i q(l;fci(;fq-1l ~o) f.:lr.qcr--c:ir

~m~ta~ti~fo ~Cf~ ~cnu:qt~~ 11 ''

S'r1 S'ankara lived only for 32 years and during the short span of life, He has done wonderful things to revivf', in its pristine pur~ty, the .. grand religion of the U pani,ads, (" the

. J'ORI!WOltl) . v

solace of one's life" as Schaupenhaur puts it) and He also composed many hymns for the benefit of humanity. Of these hymns, Suund,uyalahari is the most magnificent, whether con· sidered as a hymn or as a Tantra of S'ri-Vidya. The first 41 slokas of this hymn are known as Anandalahari. No other hymn has so many commentaries as this work. It has about 35 commentaries, the most common and wellknown of which are those of Lak!?midhara, KaivalyaS'rama, Kt1mes•vara-Suri, Appayya-Dik!jiita, etc. Of these Kaivalyas•rama's commentary, by name Saubhzzgyavardhani is a work of great merit and is "the most popular in I nclia ". This is evident from the fact that this commentary is referred to by the talented com­mentator, Kames'vara-Suri and by two of the greatest protagonists of S'ri-Vidya, Arthur Avalon and Anantha­krishna Sastriar and on a perusal of their commentary under sloka, 1, 14 and 36 to 41 of Anandalahari. He also gives a new interpretation of the term Paficadasak~ari so as to mean that this has five-fold stages or Das•Js, namely genera­tiel', increase, activity, changes ~nd destruction. Somehow it does not seem to have been published so far. This commen­tator Kaivalyas'rarr:in is k11own to have written the following two other works viz. Stutikzzmadhemt and Tripurasundari­varivasy-avidhi. My friend Mr. Hamachandra Sarma has, I am happy to state, been working in the field of research on this Brahm a-Vidya for the past several years and has published Bhavanopanishad and Laghustuti. He has now published this rare work SaubkllgyavardhanJ. I sincercJy pray that our Universal Mother may bless him with success. I have also to thank Mr. Subbaiya of Messrs. Ganesh & Co. who has been evincing keen interest in publishiPg su.ch works ·and who has undertaken to publish this work also.

I wish to conclude this humble foreword of mine witl1 a quotation from an eminent writer on "the true spirit of worship,. and with prayers to our Universal Mother.

yj WAVE OF BLISS

11 The true spirit of worship is the sacrifice, the entire eff..tcem~nt of the sense-bewitched self, with its desires and cravin~s, until the soul learns completely to confide and joyfully to possess its all, in God. Man's career in We ought to b~ like the railway journey of a little child, with no ticket to purchase, no benh to reserve, no luggage to book, no pro· visions to carry, seated on the mother's lap, nvurished in the mother's bosom, secure in the mother's arms, restful under the mother's smiles, the darling cherub is conveyed to its destination, enjoying the freedom from care, that a sage would covet and commanding a solicitousness and attention, which a prince would envy. Truly the full formation of this child-spirit is the perfection of the Sadhan of worship".

"May our Universal Mother, the embodiment of Sat, Cit, Ananda, vouchsafe unto us, in the abundance of Her Grace and the fulness of Her Mercy, a wholehearted devotion to Her all·controlling Purpose, a cheerful obedience to Her ali-govtrning Will, a conscious participati0n in her all-saving Grace, a rapturous delight in Her all-entici11g Beauty, a direct vision of Her indwelling Glory, and ultimately a persLmal communion with Her Immanent Spirit".

"Lead me, kindly Light, amid the encircling gloom, the appalling tumult, the gaping, yawning, engulfing abyss, the receding light. Lead me on, Kindly Light; not my course but Thy course; not my purpose but Thy purpose; not my will but Thy will ; not as a cross to be borne but as a joy to be realised, a strength to be acquired, a success to be achieved".

" Sri V idya " K alladakurichi 12th July, 1953

S. AN ANTHARAMA A \"YAR

Foreword Preface • Translation

PAGE

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PREFACE

THIS celebrated poem together with the "Wave of Beauty 11

(Saundarya-lahari) which follows after verse 41, is commonly attributed in India to the great Vedantin Scholastic S'arhkara­carya, as is also the other Hymn of the same name translated in "Hymns to the Goddess" by my wife and myself. The text used is that given in the second part of S'arhkaracarya's Granthavali edited by Prasanna Kum'itra S7tstri (Calcutta 1316 B.S. 1908). This contains the commentary of Achyuta­nanda. I have also made use of Pandit Anantt1-Kr~va

S'itstri's commentary on the poem which largely follows the commentary of Lak~midhara. The "Wave of Bliss 11 deals with the bodily centres Ku:r;tdall-Yoga and other Tantrik subjects. With the former I have dealt in my work now in preparation on the " Serpent Power". To this the reader is referred. I have also said something there as to the present work and its numerous commentaries.

On the question of S'arhkara's alleged authorship of " Tantrik, works the reader is referred to an article in the Calcutta Review (July, 1915) by Mahamahopadhyaya Satii}­Chandra Vidyllbhflliart-a. The latter also at my request was good enough to send me the following note compiled under his guidance and instruction by his student and research scholar Dinesh Chandra Bhattachczrya on the poem the first 41 verses of which are called Anandalahari and the remaining Saundaryalahari. (See notes to v. 41 post.)

(Vide preface in the Mysore Ed. with Lak11midhara's commentary.)

WAVE OF BLISS

11 It is not easy to trace verses from the Saundarya-lahari in any standard work of high antiquity a.s the Stotras handed down orally for recitation are r.ot generally quoted in support

of any statement so long as there are original works to draw upon. Nevertheless a verse from the Saundarya-lahari is found quoted in the famous anthology S'ubhtt~ifilvalJ of Valla­bhadeva as from S'ri S'arhkaracarya (No. 3525-\ilqr if~q:

f?il~q;:r, etc.) The antiquity if not also the authenticity of

S'arhkara's Saundarya-lahari is, however, sufficiently ensured by the fact that it has got by far the largest number of com­mentaries (in Stotra literature). Some 35 are known to exist in different parts of India- a fact which at least affords greater proof of genuineness than can be produced for the rest of the very large numbP.r of Stotras and miscelianeous poems ascribed to S'atnkara. That the great S'aivite Jeader was the author of a number of poems besides his monumental works on Verlanta is in our opinion very clearly corroborated by a stanza of R7tjas'ekhara (circa A.D. 900) quoted in the Sakti­'Jnuktilvali o{ J alha?J-f.l. (thirteenth century)-

~?.la'T JJleq1CJ;'1TCJ;(qf(! fo:rt~~JJ~nfq ft 1

fCJ;qfq ~q~a cnoft ~~jf:qilff~ ~f::r.{T II

(Bhandarkar's Report, 1897, p. XII). (There is a pun on ~; the words of S'arhkara, sweet as they are by nature

being composed in the poetic art of m~~Cfit:fTCfi, have a peculiar

relish for one whose mind is in S'arhkara, i.e., S'iva). ''The commentators mostly, though not unanimously

ascribP. the authorship to l=fT!q('qT<::&l~Cfon~ who is said to refer to himself as ~~sf~51 in verse 75. But according to

the late S'e~agirJ S'astrJ (vide Catalogue of MSS .• pt. 2, pp. 92-98) the reference is to an event in the life of one of the 63 S'aivit.e Saints of Southern India and he finds simi­lar references to several other of those saints in two other

PREFACE 3

poems of S'arilkara. The earliest commentators, by their manner leave us in no doubt as to the fact of S'amkara's authorship. Kaivalyas'rama, whose date is unknown, but who, from the nature of the works he quotes, seems to be an early commentator begins "W"JC{FI. tR'f<fiT~m: ~'WTC{~R: l!>i\"~<fi{T:ql~: ffiq~<f~\~~ ~qfqtl 8'<fit?tlq'§8'f~U'T.JT: ifiRTf~~~f:q~ffi: ~fu~u, etc." Kaivalyas'rama by the way makes an important remark which may throw some light on the place of origin of the poem; in stating that the verse "a+rro:r1~: ~I~." etc., is an interpolation he says "iffq W<fi: ~<fiU't:lTT.!TcrrT att:~~rfi:ref;: ~T.!Tt?­~'TT.!To:fT (Malabar?) 3f~~9; qffi 'ilif~ iflfq ~TfPJU'fl(.l13fo~" (vide Aufrecht's Oxford Cat.) Both Kaivalyas'rma and Lakfimi­dhara (fl. under Prataprudradeva of Orissa, 1504-32, not in the 14th century as the Mysore editors surmise) refer to a work ito:IT\+rr which happens to be an earlier commentary on four Chapters of the Anandalahari by Saltajanandtznatha, pupil or' Sacc£d(Jnanda, the latter being described as ~f~J~­!J;~cffiqqaffiti;::TT.J~8'1RUo:f1~waf'i!{;::lii~iflq, SaccidZlnanda actually occurs in the succession list of Gurus at Sp'lgeri Math (vide Descriptive Catalogue of Madras MSS., vol. XIX, p. 7606) and the commentary of one so connected with the very Sarhpradaya of S'arilkaracarya is some proof on the question of authorship.

"LakfimJdhara cites g~rlt~l!' as a work of the S'aivagama ascribed to S'arhkaracarya (mark speci1.lly on page 126 fcfRf\fg

~iPTI~~ mtt~~ igfaoll:)-Ramnnanda, author of a fslgitqf.:tqr!XIJI_ thus refers to this work.

~n~~H;;rT~liiiT~ trif;:~r~ ~'hnnrfqe:ntJ~llt~~T~1~ 1

~o:r :~o:r: a1~ fqf:q;~q ~~~T ij~oeeJo:rr ~ncqf:&:r~ C~iilf;:r II

LakfimJdhara on page 123 quotes a half verse as from ~~;;qr~ro:r also by S'amkaracarya. This is in our opinion

a commentary on a Stotra (of Subhaga a manifestation of

4 WAVE OF BLISS

S'akti) also called tJWIT~: ascribed to Gaudafilldllcllrya. These

show that an extensive literature existed on the S'aivagama in the time of S'arhkaracarya, viz., the Q~~ a Tantrik work

with its commentary by Padmaplld7lcllrya, the famous pupil of S'arhkara (quoted very frequently by Rllghava-Bhatta who wrote his commentary on Saradlltilaka in A.D. 1493).

~~51; and its commentary again by PadmajJ7ldllc7lrya {p. 235), etc. It is necessary therefore to disprove the existence (quoted by Bhllskarllcllrya in his commentary on +tJCJi'llqf.:rt«t.) or ascription of all these numerous works before the authenti­city of S'arhkara's Saundarya-lahari is put in doubt."

Speaking for myself the nature and worth of a work is of more importance than its authorship. I am content to leave these historical questions, which do not greatly concern me, to others who are more competent to deal with them. I therefore have no opinion of my own to offer on this debated poin-t-a position I also took up in the Introduction I wrote for the Prapancas7lra Tantra (vol. III, Tantrik Texts). This did not however save me from the misrepresentation of one critic who, apparently anxious to convict me of something, made me out as saying that S'arhkaracarya (that is Adi-S'arhkara) was the author of that Tantrik work when I had done nothing of the kind. Amongst other matters yet to be determined is the age of the Adi-S'arhkara himself. I may however take this opportunity of writing that since then a writer in one of the Indian journals has given the following list of well-known writers who, he writes, support the traditional authorship namely: Amalllnanda Yatindra (contemporary of Hemlldri, the author of Caturvarga Cintllmatti), in his Vedantakatpa­taru quotes from the Prapancasllra of S'arhkara whom he calls Bhagavatpada. Saya~;:ta, his brother Madhava, Rllghava­Bhatta commentator on the S'arada-Tilaka and NilakaQta in his Tika on the Devt-Bhllgavata are quoted to support the

PREFACE 5

tradition ; as also Nrsiinha in his 11 Durgapradipa" and "TCZriZbhaktisudh'llrtr-ava" Appaya Dikf!ita and the Bengali Pandits Raghunandana and Krlitta-Candra-Agamavt:lgis'a. As against this another writer attributes the Prapaficasara to 11 a Tantrik S'arnkara of Bengal in the early fifteenth century" stating that all Tantrik works which go under the name of S'amkara-(and therefore presumably the present one) are by him. The same writer affirms that in many of the Hindu almanacs be names an era called S'arhkarabda which is some thirty·six years earlier than that which bears the name of Chaitanya. As against these confident statements, we have the following facts noted in the review of vol. II I of the Tantrik Texts under the initials of Mahamahopadhyaya Sati[i­Candra Vidyabhufiatr-a (Calcutta Review of Mc..y, 1903) to which I have already referred. He states that the Prapafica­sara cannot be the work any S'ari1kara of the fifteenth century. For Sllyatt"ilcczrya (flor. 1350) wrote a commentary on the Prapaficasara known as the Prapaficast:lra-Saingraha. The Prapaficasara is mentioned in the Vedantakalpataru (Adhyaya I, Pad. 3, AdhikaraQa 8, Sutra 33) a work composed about 1210 which speaks of the Prapancas71ra as written by Acarya which in that work means the author of the S't1riraka·Bhafiya who is said according to European Orientalists to have lived A.D. 788-8.20. According to some Indian notions .A.di-S'arilkara is here confused with Abhinava Sainkara who at the Kama­ko~ipi~a at Kafi.ci was the 38th successor of Adi-S'amkara who lived in the 6th century B.C. {See " The Age of S'arnkara," by T. S. Nztrllyatta Sastri). Again R'llghava Bhatta in the commentary on the S'arada-tilaka (431 Benares Ed.) quotes the interpretation by PadmaPildiZc'llrya of V, 31, Patala 32 of Prapaflcasara. He wrote a commentary on the work and was the disciple of S'amkara. To these facts I may add another which has since been brought to my notice namely that the commentary of the Nrsiinha-tiZpani Upanifad by

6 WAVE OF BLISS

Sarilkara refers to the Prapancastzra as having been written by the commentator of the U pani$ad. The critic who advancP.s the claims of the fifteenth century S'amkara was doubtless correct in saying that we must upon the question of authorship look also to mternal evidence as afforded by the character of the work. He is however in error in speaking of the Pra­pancasllra, with which he seems to be unacquainted, as being dualistic. How can a Tantra which (to mention but one instance) counsels the Sadhaka to realise the Mahavakya " He I am" (So'ham) be other than monistic? Whether the monism is that of t!-le Mayavada Scho0l is another matter. I am, however, as I have already said, content to leave all these questions to the PaQ.dits and others interested in histor­ical questions, who, I am sure wiil give them all the attention which they are worth. It is sufficient for my purposes that the Anandalahari is universally acknowledged to be an ancient and authoritative Tantrik work the Text of and commentaries on which have great intrinsic value to all students and followers of the Agama.

I might have enlarged the commentary in many cases to the advantage of the reader but considered it unnecessary seeing that I have {as above stated) more fully dealt with the subject in my work (now in press) on "The Serpent Power". What I have here given will I trust make this great poem at least superficially intelligible to those unacquainted with the matters with which it deals.

10th June, 1916

ON THE PADMA

ARTHUR AVALON

WAVE OF BLISS ANANDALAHARi

VERSE 1

ONLY when united with S'akti' has S'iva power to create, but without Her the Deva ·cannot even stir. How then can I without worth, bow down to (One so great a~) Thee or sing Thy praises-Thou Who are served by Hari, Hara, Viriflci and others.

COMMENTARY

S'iva can do nothing without S'akti which is of threefold aspect as Icchii {will), Jfiana (knowledge), and Kriyii (action). The author here speaks of the Mantra Hathsah. Ham is the Bija of S'iva and Sah that of S'akti. Ham+Sah=Hathsah=Sah+Ham=So Ham= So'Ham=Sah+Aham, So Ham being Sah+Harh=S'akti+S'iva; if S and H be eliminated therefrom there remains Ong or Om the Pral}ava. Prapaiicasara (vol. III, Tantrik Texts), IV, 21. The Harhsah is thus the Pral}ava in a slightly gross form. This is the first state of Spandana. HSAUH is the Preta·bija. In this S'iva (H) and S'akti (S) arc in a state of quiescence during Pralaya. Preta (Pra+ ita) means "completely gone". This precedes the state when S'akti becomes Ucchuna. The Supreme Hathsah is the cosmic breath. Ham is the outgoing breath which symbolises creation and Sah the ingoing breath which in a cosmic sense is dissolution. Mahavi~Qu, i.e., the Brahman says to Brahma "The duration of your life is my outgoing breath "-Taviiyur Mama NiS'S'Viisah (Prapaficasara, 1). The union

8 WAVE OF BLISS

of S'iva and S'akti is shown also in the articulated consonant letters. The consonants by themselves which are S'iva cannot be articulated. It is by their union with the vowel sounds which are S'akti that they can be articulated. The letters of the Alphabet are called Ak9ara (imperishable). At the time of Pralaya they are not destroyed but remain dissolved in the Ni-:;;kala Brahman. S'ruti says~ " Ak~aram paramarh Brahma." Thus both S'iva and S'akti are imperishable (Ak~ara). Their union is symbolised by the figures of nine triangles four of which represent S'iva and five S'akti. S'iva as the Supreme is worshipped by Hari, Hara and Virifici who are the Trinity (Trimiirti) Vi~l)u, Rudra and Brahma. These three are mentioned by name as they are in Orhkara which is formed by the combination of A, U, M. A is Hari or Vi9QU the protector, U is Hara or Rudra the withdrawer and M is Brahma or Virifici the creator. Orhkara­the subtile Harhsah is the first of Vedik Mantras. By saying that She is " served by Hari, Hara, Virifici" the intention is to show that she is adored by the Vedik Mantras the first of which is Othkara. The Nitya~odaS'ikarl)ava which is a part of the Great Vamakes•vara Tantra contains a Verse (iv, 7) which says: "Without S'akti the subtile S'iva has neither a name nor manifestation (Dhama= PrakaS'a)." The Devi-Bhagavata also says: "Even S'iva bereft of KuQQ.alini S'akti becomes S'ava (corpse)."

VERSE 2

VIRINCI created the worlds from the tiny speck of dust whieh he gathered from Thy lotus-feet. S'auri upholds them on his thousand heads with all his great might; and Hara having reduced them to ashes, besmears himself therewith.

COMMENTARY

S'akti is Cause of the Universes which are countless and which, countless though they be, are yet nothing but a transformation of a speck of the dust of S'akti's feet. The power of Brahmi (Virincl) and other Devatas is derived from Her, who manifests the universe

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with the aid of the Gm;tas. These Gut:tas, namely, Sattva, Rajas, Tamas are lcca, Kriya, J fiana S'akti's of the Brahman viewed object­ively. Hara or Rudra besmeared with a5hes is the power of dissolu­tion. In His case the ashes are those of the worlds which He has destroyed. S'auri (=mighty one) is Narayal}a or Vi~Qu. As Ananta {the endless one) he is the great Serpent with a thousand heads who upholds the Universes. See Puru!}a Siikta: " SahasraS'Ir!}ii. Puru!}ah, sahasriik!}ah sahasrapat."

This verse speaks of the illimitable character of the Devi's Great­ness compared with which the powers of creation and so forth, great as they are, are insignificant.

VERSE 3

Thou :1rt the Sun which illumines the inner darkness of the ignorant. Thou art the channel running with the honey of Consciousness for the unknowing. Thou art the Rosary of CintamaQ.i stones of the poor and the tusk of the boar Muraripu for such as are sunk in the ocean of births (and deaths).

COMMENTARY

Worship of S'akti dispels ignorance. In the original text consciousness is spoken of as Caitanyastabaka, i.e., a bunch (Stabaka) of consciousness. The worshipper of the Devi is rewarded with the essence of all forms of consciousness. Desires are fulfilled ; bliss gained and so is Liberation. " Channel running with," etc. : that is She is the Giver of special knowledge {ViS'e!?ajfiana) to the ignorant. Cintiimat:ti is a Gem which grants all wishes. The Devi is DiinaS'akti-the source of all blessings. She is spoken of as the rosary of Cintiimat:ti as it is through Her Grace that the lf?tadevata may be attained. The Devi is the rosary of the poor who obtain the fulfilment of their desires from Her. Muraripu (Enemy of Mura) is a name of Vi~t:tu as the destroyer of the Daitya Mura, incarnated as the Boar (Variiha) incarnation (Avatara). She raises and gives

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liberation to those immersed in worldly action ; so powerful is She­just as the Boar raised with His tusk the world which was immersed in the Great Waters.

VERSE 4

ALL other Devas grant desires and dispel fear by the ges­tures of their hands. But not Thou Who alone, having granted freedom from fear, and the fulfilment of desires, even with Thy feet art thus, Oh protectress of the worlds, able to save from fear and to grant even more than the fruit of (our) desires.

COMMENTARY

What the Devatas do with their hands She does with Her feet :

indicative of the superiority of S'akti. In the Dhyana of Tripura· sundari in Vamakes•vara Tantra, Tantraraja (Tantrik Texts, VIII) Bhii.vanopani~ad (Tantrik Texts, XI) She is not shown as making the gestures of granting boons and dispelling fear with Her hands. Achyutananrla observes that what others have to accomplish by their gestures the Devi Tripurasundari does without any effort. Some Devas grant heaven (Svarga) and others liberation (Mok~a). S'akti gives both enjoyment (Bhukti) and liberation (Mukti). This verse contains the Balii. Mantra: Aim Kliril Sauh.

VERSE 5

IN ancient days Hari through having worshipped Thee the Giver of prosperity to Thy devotees was able on taking the form of a (charming) woman to stir even the mind of S'iva the destroyer of the three cities. Smara too through worshipping Thee was powerful to raise passion even in the minds of great sages by his charming body so greatly pleasing to the eyes of Rati.

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COMMENTARY

The first sentence refers to the assumption by Vi!?t;lU of the Mohini·Miirti. S'iva though a Yogi and the Destroyer of th~ three cities of the great Asuras could not resist the Devi's power exerted through Hari in the form of the beautiful woman Mohini. Smara is Kama the God ·of Love whose consort is Rati. At the time of worship of Tripnra Devi both Rati and Kama are first worshipped at the place of entrance. This verse can be, says Achyutananda, inter­preted another way. Instead of reading Pral)atajanasaubhagyajanani in the accusative it may be read in the vocative case with In joined to it by Samdhi. The translation should then begin: "0 Thou who grantest prosperity to Thy devotees, in ancient days, Hari through having worshipped Thee as I (i.e., Kamakala) was able to take the form of a woman and so forth." See Tantraraja and Kamakala­vilasa. This verse contains the Vidya called Sadhya-siddhasana· vidya. H and R in the word Hari, long I and Anusvara {m) in the word Jananim, spell the Bija Hrim. The word Smara (Kama} indicates the Kama Bija or Klim. V in the word Vapuh, Le in the word Lehya, and Anusvara in the word M uninam spell the Bija Blerh. The Vidya is therefore Hrirh, Klim, Blem.

VERSE 6

BLESSED by the favour of a wondrous side glance from Thine eyes, 0 daughter of the Himalaya Mountain! the Bodiless Kama with a bow of flowers, a bow string of black bees, five (floral) arrows, Spring as his charioteer and the Malaya wind for a war chariot alone (and without other aid) conquers the whole world.

COMMENTARY

The Bodiless One (Ananga) is Kama the Deva of Love whose body was destroyed by fire from the third eye of S'iva when he sought to disturb His Yoga by exciting passion in Him for His consort

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Parvati. The destruction of Kama (desire) by the third eye (of Jiiana or wisdom) denotes the conquest of Kama by Jiiii.na. Having the Devi's grace he does not require formidable weapons. He can conquer the whole world with his sweet soft weapons of love, made of the flowers and bees seated with his chief attendant the short Spring Season of love in His chariot which is the gently blowing wind from the Malaya mountains. The Kama Bija " Klim "· is here indicated and is extracted as follows. K from Kamapi, L from Malaya, long I from Maurvi, a.ud Bindu (m) from Pau~pam.

VERSE 7

MAY She who is the Pride of S'iva appear before us with large full breasts like the temples of a young elephant, with slender waist girdled with tingling bells, Her face like the full moon holding bow, arrow, noose and a goad in Her hands.

COMMENTARY

The Pride of S'iva (Puramathitur ahopuru~ika=S'ivasya aharh­karariipa). This is the popular interpretation. The inner meaning is that S'iva as Prakas•a sees Himself reflected in Her the VimarS'a· s•akti and becomes conscious of Himself. This is very fully illustrated in Kama-Kala- Vilasa. Ahopuru~ika like Aharhkara is popularly interpreted to mean ' pride ' but its primary significance and that is the sense here, is the consciousness of one's self: 'I am'. Pura· mathita (destroyer of Pura) is a name of S'iva: Cf. Tripurari.

" Blum" the Vas•ini-Bija is here delivered; B being taken from the word Bal}a, L from the word Karatala, U from the word Pura· mathituh and Bindu from the word Astam.

VERSE 8

Fortunate indeed are the few, who worship Thee the Wave of Consciousness and Bliss, Whose abode is that couch

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which is Paramas'iva the supports whereof are the (four) S'ivas in the house of Cintamal)i, adorned with a garden of Nipa Trees, which is in the Island of Gems surrounded with a grove of celestial trees, in the midst of the Ocean of Nectar.

COMMENTARY

Here the Sthiila-S'aktimiirti (gross S'akti form) is contemplated in the heart between the three lower and three higher psychic centres. The text may also mean "whose abode is the couch which is Parama­S'iva's 11 that is who is united with Paramas•iva in the Prar;tava; the Nada over the Orhkara being the couch on which is resting the Parama-S'iva in his Bindu form. The Bindu is S'iva and S'akti. A, U, M, Nada, Bindu, the five component parts of" Orh 11 and the S'ricakra (Yantra) are here referred to. Cintamar;ti is the jewel which grants all desires. The well-known Tiintrik meditation in the heart lotus of worship below the Aniihata is here referred to. The Bahuriipii!;itaka and Bhairavayiimala say " There is the supreme temple (Mandira) of Devi full of Cintamar;ti stones. The great couch is S'iva (Parama-S'iva). On that couch the cushion (KaS'ipu, i.e., Mattress) is SadiiS'iva; the pillow (U pabarhal)a) the great lS'ana. The four suppmts (pada) are lS'iina, Rudra, Hari, Brahma: and the great Indra is the spittoon (Patadgrhr:ta). On that bed Oh great ls•ana! reclines the supreme Tripurasundari. 11 Hence the Devi in the Lalita, v. 22 is called Paiicabrahmasanasthitii..

By " Ocean of Nectar 11 (Sudhasindhu) is meant Kulamrta Karar;tavari (consecrated wine). In this verse are the Bijas of KameS'vari (Klirh) and Mahapreta (Hsauh).

VERSE 9

Oh Devi, having pierced Earth in Muladhara, Fire in Svadhi~tana, Water in Ma:r;tipura, Air in the heart, Etber above it, and Manas between the eye-brows, and having thus passed through the whole of the Kula way, thou dost enjoy with Thy Lord in the secret Sahasrara lotus.

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COMMENTARY

The ascent of Kul)Q.ali is here mentioned as described in the Yoga dealt with. This is Antarayaga. The Body of KuQQ.ali has eight parts (Anga), namely, the six centres Miiladhara to Aji'ia­Cakra and S'iva Her Lord. The six centres are temporary stages where KuQQ.ali rests for a while to make Herself Mistress of that plane of being. As PaQdit R. Anantakp;~zna S'astri (in his Commentary on this poem) points out there is a great temptation to the Yogi to stay at these lower centres as luxurious happiness is there experienced. But the Sahasrara is the permanent abode and this is his ultimate aim. There the interblcnding takes place previous to which the individual consciousness is retained. In this verse KuQQ.ali is described as having broken through the six psychic centres and reached the causal (KaraQa) plane.

The places of Fire and Water as given here and in V. 37 post differ from those in the $atchakra NiriipaQa; also see my "Serpent Power".

VERSE 10

THEN again, having made manifest the Cakras by sprinkling them with the streaming shower of nectar which flows from Thy two feet, Thou attainest Thine own abode and having assumed Thine own form, serpent-like with threefold coils Thou sleepest in the c:tvity of the Kulaku1,1da.

COMMENTARY

V. 9 described the ascent and, this the descent or return of KuQQ.ali from the Sahasrli.ra or upper S'ricakra to the remaining six fanning the lower hexagon. The Cakras become invisible when absorbed by Kut:~Q.ali on Her upward journey. As She comes down again to Miiladhara, She produces and thus makes manifest (Rasli.rhnli.yamahasa) these Cakras from Herself. Ktilicaratza says that Amnli.ya=Vidhiinam {doing) and Mahas=PrakiiS'a (manifesta· tion). Rasa are the lotuses: for as Kiilicaratza elsewhere says:

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Rasa=Vi~ayarasa or attachment to worldly things. Unless man has the qualities (Vrtti) which are in the lotuses he is without attachment. These Vrttis, that is, the Cakras to which they belong are made manifest on Km:tQali's return. She bathes the Prapanca that is the Six Centres of which it is composed with the nectar flowing from the tips of Her feet when She is in union with Paramas•i'a in the Sahasrara. She thus returns to the Kulakm:tQa which is in the Miiladhii.ra that is the triangle there in the middle of which is the Svayarhbhu Linga round which Kui)Qali clings. The translation adopted is according to the Commentary of Achyutiinatzda. Kuhara meaning cavity he reads KuhariQi in the locative case as an adjective qualifying Kulakui)Qe also in the locative. Kalicharat;~a reads Kuhari1.li in nominative as an adjective of Kui)Qali which is under­stood. KuhariQ.i is then She who dwells in the cavity (MuHi.dhara).

The Kulakui)Qa is described as being the root of the Nagis, placed by some in the Muladhara and by others in the Svadhi~?tiina. But as Pandit Anantakr~?I)a Sastri points out when the text refers to the sleeping posture the Muladhii.ra is intended. Kui)Qali does net stay long in the Sahasrara; the actual duration of such stay depending on the strength of practice and previous experience. The Yogi makes effort at each attempt to prolong this stay. On the upward journey there is colour and sound. Sound is he:trd or vibration is felt in the heart. The Sahasrara is soundless and colourless (N irvarQa).

VERSE 11

THY abode is made by four S'rikaotas and five S'ivayuvatis which are the nine several Prakrtis of S'arhbhu (S'iva). The angles are forty-three in number. It also has three circles and three lines and (two) lotuses of eight and sixteen petals (respectively).

COMMENTARY

This is outer worship (Bahiryaga). The S'rika:;ttas are the four triangles with points upwards. These represent the S'iva element.

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The S'ivayuvatis are the five downward pointed triangles which represent the S'akti element. By the Mulaprakrti of S'iva Who is in the form of Bindu the nine are formed. The three lines and circles are the three outer sections in the Yantra and the lotuses of eight and sixteen petals are the inner ones in the same. This Yantra is the celebrated S'riyantra or S'ricakra figured on the outer cover of this book. The nine Prakrtis are the root Prakrti (Mula-Prakrti) and the eight issuing Vikrtis which are also Prakrti in relation to what they produce.

Pandit Anantakr$na Shastri, ed. Anandalahari 39 says: (See also Bhaskararaya on Lalita, v. 116.)

"These nine angles by their action and interaction from the im­mediate cause for the manifestation of the universe. The formation of the S'ricakra is here described. In "Kamika," a Mantra S'astra, the human Body is taken to be the S'ricakra, and the correspondences given as below :

MICROCOSM

Five S'akti angles Four S'iva angles

1. Tvak Skin 6. Majja Marrow 2. Asrk Blood 7. S'ukra Semen 3. Mamsa Flesh 8. Pra~1a Vital force 4. Meda Lymph 9. Jiva Soul 5. Asthi Bone

MACROCOSM

S'akti's angles

Five Bhutas, five Tanmatras, five J fianendriyas, five Karmendri· yas, and five PraQas.

S'iva's angles

Maya, S'uddhavidyii, MaheS'vara and Sadiis•iva.

In giving these correspondences some mention 51 Tattvas, some others 94, while yet some others hold the other Tattvas are all in­cluded under the 25 which they calculate. The commentaries contain instructions as to how to engrave the S'rlcakra, and quote Vedic

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authority to support their statements. There are three ways of designing S'ricakra-Meru, Kailasa and Bhuh. Each of these designs varies from the other in the arrangement of the houses of Deities and bas a distinct form of worship. The identification with the sixteen Nitya deities forms Meru; with eight Matrka Deities, KaiHisa; and with eight VaS'ini Deities, Bhuh. "Taitiriyaranyaka " states that the ~~is named ' Pr~nis ' worshipped the S'ricakra and attained success in the Yogic practice of leading the KuQ<:Jalini to Sahasriira. As to the number of angles in a full-blown Sricakra there is some difference of opinion. Some say that it must have 44, and others 43 angles. As appears from the above the Text here translated gives forty-three. Maya, S'uddhavidya and the others are S'aiva Tattvas issuing forth in the reverse order of that stated. S'uddhavidya is also called Sadvidya and Sadas•iva is called Siidakhya which means Sat iikhya yatah or "that state in which there is the first notion of being " ; for here the world-experience commences as the notion "I am".

VERSE 12

Oh Daughter of the snowy mountain, Brahma and the others (Vi~ou and Rudra) Great Devas are scarcely able to imagine Thy beauty. The Devis by meditation on Thy transcendent beauty gain that Union with S'iva which is scarcely to be had by (all) austerities.

COMMENTARY

Daughter is She of the Snowy King Himalaya. The Devas are poets both on account of the S'ii.stra attributed to them and of their concern in the making, maintenance, and destruction (the prelude of rebirth) of the universe. The meaning of the second sentence is that the Devis or celestial Spirits who see Her beauty get by merely wishing for it that Union which ~~?is and others can scarcely obtain by means of hard austerities. According to another reading which has " PaS'iinarh " for "Tapobhih " the meaning is " unattainable by those who are Pawu and follow not the " Tantras ''.

2

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As in the 11th verse the S'rfcakra was described this refers to its presiding Deity to whom the Anandalahari is addressed-the first Cause which is reached by uniting S'akti and S'iva in the Sabasrara. Their merger is Sayujya.

VERSE 13

If but a glance from Thine ·eye falls on a blind old man incapable (through his years) of love, then hundreds of youth­ful women with loosened hair will follow him, their upper ci~>ths slipping from their breasts rounded like jars and their girdles and lower cloth falling from about them.

COMMENTARY

According to Pandit Ananta Kr~1Ja some Commentators regard this and verses 18 and 19 as Madanaprayoga for the attainment of the third Puru~artha (Kama) : sed quaere; the description is rhetorical only and v. 19 refers to the Kamakala. So great is She the Desirable One (Kamaniya) that but a side glance from Her upon any person or thing makes him or it the object of desire. This is a classic Sanskrit description of the state of women under the influence of passion.

VERSE 14

Oh Mother, there are fifty-six rays of the Earth, fifty-two of Water, sixty-two of Fire, fifty-four of Air, seventy-two of Ether and sixty-four of mind but Thy two lotus feet shine above them all (in the letters Ham and Sah).

COMMENTARY

By the "rays" (Mayilkha) are meant days and nights. The rays of the six Cakras collectively, make a lun':lr year of three hundred

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and sixty days of six seasons. The two feet of the Devi are Nada and Bindu and are "beyond time" (KaHigocara). Spring (Vasanta) is fifty-six days, summer (Gri~ma) is fifty-two days and so on. Each Cakra represents a season. Above all there are the two feet of the Devi which are Brahman and Parabrahman, Niida, Bindu, that is, they are beyond time. Some say that the fifty-six Mayukhas are the twenty-eight Tattvas of Earth duplicated: twenty-eight for S'iva and twenty-eight for S'akti. The fifty-two Mayukhas of water are twenty­six duplicated as above and so on. Above these shine the two feet of the Devi which are Tattvatita that is beyond all (objective) Tattvas.

Achyutdnanda who gives the above as alternatives, ~tates his own view which is that the Mayiikhas are letters of the alphabet grouped in different ways:

(1) Fity-six Mayiikhas are the fifty letters and the Bijas Aing, Hrlm, S'rim, Aing, Klim, Sauh. These are the Mayiikhas of Earth.

(2) Fity-two Mayukhas are the fifty letters and the Bijas Saurh S'rim. These are the rays of Water.

(3) Sixty-two Mayukhas are the fifty letters and the fourteenth vowel repeated four times and the letters Ham, Sah repeated four times. Tnesc are the rays of Fire.

(4) Fity-four Mayukhas are the fifty letters and Yam, Ram, Lam, Vath. These are the rays of Air.

{5) Seventy-two Mayiikhas are the first fourteen vowels repeated five times and Aim, Hrim. These are the rays of Ether.

(6) Sixty-four Mayfikhas are the sixteen vowels four times repeated. These are the rays of Manas.

Some say that Nyasa should be done with these three hundred and sixty letters together with Hath and Sah in the six Cakras. See Introduction to "Serpent Power".

VERSE 15

How can the words of sages become sweet with the sweet· ness of honey, milk, and the juice of grape if they have not bowed. to and meditated upon Thee Who art white as autumn

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moonlight ; on \Vhose head of coiled and matted hair is the moon; Who in (two) hands (dost hold) a book, and crystal rosary and (with the two others) dost make the gestures of (granting) boons and dispelling fear.

COMMENTARY

According to Achy~ttananda the meditation (Dhyana) of Kriyi S'akti (energy of action) as the source of Speech (Vagbhavarilpa) is here indicated. See notes to v. 32. This and the two succeeding verses have been described as the Sirasvata prayoga which makes one a great poet (maker).

VERSE 16

Such wise men as worship Thee, red and beauteous as the morning sun (shining) in the lotus-like garden of the heart of great poets delight alJ men by words full of the waves of tender amorous passions issuing from Sarasvati.

COMMENTARY

That is, just as the sun makes bloom the lotus so does She make bloom the heart of great poets.

Virificipreyasi is the beloved or wife of Virifici or Brahma that is Sarasvati or speech of which She is the Goddess. Amorous passion is S'rrigara Rasa. This is the form of Devi as Iccha S'akti. She is the presiding Divinity of Kamakuta as Kriya S'akti is of Vagbhava. See last note.

VERSE 17

Oh Mother, he who contemplates Thee in company with (Thy attendant Devis) Vas'ini and others, the givers of good speech, beautiful as the moon-gem, becomes (himself) a great

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poet whose words charming in their expression are sweet with the fragrance of the lotus mouth of Sarasvati.

COMMENTARY

This verse g1ves the fruit of meditation on Jiilinas·akti, the presiding Divinity of S'aktikuta. The eight S'aktis are Vasini, KameS'vari, Modini, Vi mala, AruQii, J ayini, Sarves•vari and Kaulini. These eight who are white like the Moon-gem are the Devi;; of the eight groups {Vargas) of letters. The first of which are the vowels grouped as one and the rest are Ka, Ca, Ta, Ta, Pa, Ya and S'a groups. (See Tantraraja, K~makalaviHisa, Nitya!jiodas•iklirQava). They are in the Cakra called Sarvarogahara.

VERSE 18

He who calls to mind the heaven and earth as bathed in the beauty of Thy Body like unto that of the rising sun sub­jugates many Ia celestial damsel with beauteous trembling eyes like those of the forest deer.

COMMENTAltY

This verse gives ·the fruit of meditation on Jiillna S'akti the presiding Divinity of S'aktikilta. The eyes of damsels being celestial are naturally steady or winkless. But even their eyes tremble. This, as last verse, is a poetical description symbolic of the great powers attained by worship of Ji'iana-S'akti. Literally put the latter part of the Verse would read thus: "Are not all the many celestial courtesans the first among whom is U rvaS'i and whose eyes are restless and beautiful like those of timid forest dear obedient to him!" By this comparison the greatness of the Sadhaka's power is shown, for the eyes of the celestials are winkless. This also shows the excess of their passion.

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VERSE 19

Oh Queen of Hara (S'iva), whoever contemplates Thy Manmathakala thinking of one Bindu as the face, and below it {on other two Bindus) as Thy breasts and be-low these on Hakarardha, can forthwith !Oubjugate women. But this is for him a very trifling thing (since) he can at his pleasure move Triloki (three worlds) whose breasts are the sun and the moon.

COMMENTARY

By " Queen of Hara" it is denoted that she is Saccidananda. Hara is He who absorbs (harati) the universe into Himself. S'rikrama says: There are three Bindus-The first or Fire is indicator of Rajas GuQa and Brahma. This is the face (Mukha). The second and the third are the two breasts which are Hari (Vi~Qu) and Hara (Rudra) and indicate Sattva and Tamas GuQas. Below that is " half of Ha" the subtle Citkala which is the Yoni. The latter which is formed by the triangle connecting the three Bindus indicates the three Gm;.tas which are characteristics of Hari, Hara and Brahma. The universe is the product of Cit-S'akti and Maya-S'akti. This Yoni has three angles. The form of the Kamakala is thus described.

Manmathakala is Kamakala. This according to A chyutanantla is the display of power in the forrn of the three GuQas (TriguQatmaka­vibhuti); that is the universe which is the product of the union of S'iva and S'akti.

Triloki, the three worlds are compared to a woman whose breasts are the Sun and Moon. To one who can conquer such a "woman" the conquest of an ordinary woman is but a trifling thing. The sense is he becomes Lord of the three worlds and all the S'aktis therein are in harmony with his wishes. This verse speaks of Pancamayaga, esoterically, the Union of Kun,<;lalini with Parama-S'iva and. of Maithuna on the material plane. This is an oft quoted verse.

VERSE 20

HE who in his heart contemplates Thee Who hast the form of the Himalaya Mountain, and dost diffuse from all parts of

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Thy body numbers of nectar-like rays; such an one over­comes the pride of serpents as does the Bird King Garuda. He by his mere look which sheds cooling ambrosia assuages those who burn with fever.

COMMENTARY

The Commentator DiQQima says that here the AmrteS'vari Marti is indicated. Yogis enjoy the ambrosia issuing from the Amrta-Nadi.

VERSE 21

GREAT men who with mind free of Maya see without effort Thy Kala wherein is Sun, Moon, and Fire, which (Kala) is subtle as a lightning-flash placed above the Six Lotuses in the forest of the Great Lotus, are immersed in the wave of Supreme Bliss.

CoMMENTARY

Verse 19 speaks of Kamakalii. in the form of Tripurasundart the Mother of the three Bindus, (Brahma, Vi9QU and Rudra), Kama= Kamaniya {desira~le). Kala=Sun, Moon and Fire. She is the l~tadcvatii. of all Who is worshipped by Viracaris. The previous meditation is the outer (Bahya) Dhyana. Lak§midhara and Achyu· tifnanda say that this verse formulates the pure Svat upa contempla· tion attainable only by the great. That is the inner (Abhyantar·a) subtle meditation (Suk~madhyana). This is the subtle (Sok~ma) form ; the previous forms being for lower capacities. The Kala in this verse is Devi as Consciousness (Citsvarupa) which by its S'akti appears as the three Bindus or Kalas of Sun, Moon and Fire. As to the meaning of Kala, see my "Serpent Power". The Sahasriira is spoken of as 'the forest of the Great Lotus' (Mahapadmatavi) on account of the great number of its petals. 1'be YQmala also uses the same expression.

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VERSE 22

"Oh Bhavani, do thou-give a compassionate look upon me, Thy servant." To him who thus praying says" Oh Bhavani Thou " then and there Thou dost give the state of union with Thee, that state adorned by the brilliant crowns of Brahma, Vi~1,1u and Rudra.

COMMENTARY

As Lak~midhara ~ays that "Bhavani" as a Verb means" May I be" and Bhavani tvam=" let me be (one with) Thee"; taking it as the optative first person singular of the verb Bhii. He who thus worships the Devi becomes one with Her. The very utterance of the words "Bhavani tvam " attracts Her attention. The expression "Bhavani tvam" has two meanings. Bhavani is the vocative form of Bhavani and is also the lot (optative) first person singular of the root Bhii (=to be). The author says that when the Sadhaka is supplicating the Devi for Her Grace addressing Her as Bhavani (the consort of Bhava or S'iva) She out of Her Great Mercy mistakes as it were the meaning of the Sadhaka and understands him, when the first two words are uttered, to say " May I be Thou " and grants his prayer. Ditp;lima says that hitherto Antaryiiga and Bahiryaga have been taught and here Bhakti or devotion leading to Salokya, Samipya, Sariipya and Sayujya; that is reaching the same abode as, nearing, attaining the quality of and union with the Devata. Here the union given is Sayujya. By saying 'adorned by the crowns, etc.,' the author means that this high reward is unattainable by even the Great Devas named who have parted with their most va]ued crowns to obtain it and yet not been successful. To place one's head dress at the feet of another is a token of great abasement.

VERSE 23

THou Who hast stolen the left half of the body of S;ambhu art yet methinks dissatisfied therewith. It would seem that

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the other half has been stolen also, so that Thou art now red anrl three-eyed weighted with two breasts, and with the whole of the crescent moon Thou art crowned.

COMMENTARY

The combined androgyne form called Ardhanaris•vara is composed of half S'iva and half S'akti. S'akti was thm golden red and S'iva pale-white. She shared the three eyes. She had one breast and shared the common crown on which was part of the half moon. She has now encroached on the other half and is therefore red and so forth : the two breasts showing that She is more than half the body. The verse is in eulogy of the greatness of S'akti and speaks of the change from Ardhanaris•vara into Tripurasundari.

The verse indicates the Union of S'iva and S'akti as also it is said by Pandit Anantakrishnasastry the doctrine of the Uttara Kaulas that there is no S'iva-Tat tva without or distinct from S'akti· Tattva.

VERSE 24

AT Thy command shown by a slight motion of Thine eyelids Brahma creates, Hari preserves and Rudra destroys the world. lsha considering these actions to be of no moment remains unmoved and Sadas'iva withdraws all things into Himself.

CoMMENTARY

See Introduction to "Serpent Power". The Devi is the object of adoration of the five S'ivas.

VERSE 25

Oh Sivt, the worship of Thy two feet is the worship of the three Devas (Brahma, Vi~QU and Rudra) born of the three

26 WAVE OF BLISS

Gu:Q.as (Rajas, Sattva and Tamas). These Devas with high crowns and folded hands ever remain in obeisance at the jewelled-foot-stool which supports Thy feet.

COMMENTARY

S'iva is the Mother of all and all things are in Her. Therefore, when She is worshipped all that is included in and subordinate to Her is worshipped. All Devas owe their greatness to the worship of Devi. Worship of Her is worship of all Devas emanating from Ht:r Supreme power.

VERSE 26

Oh Chaste One, Thy Spouse alone exists at the time of the great Dissolution. All else dies, Brahma, Hari, Yama, Kubera; and even the wakeful opened eyes of Great Indra close.

COMMENTARY

At the great Dissolution all being re-enters S'iva with whom She is one, All then is gone but S'iva·S'akti. Yama and Kubera are the Devatas of Death and Wealth respectively. lndra the King of the celestials has a thousand eyes. He is the Lord of Svarga (heaven) the enjoyment of which is transitory. The Devi as Supreme S'akti eternally exists with S'iva.

VERSE 27

Oh Mother, even Brahma and Indra who performed a hundred sacrificial rites and other Devas, though they live in heaven, and have drunk the nectar which destroys the fear of the enemies, old age and death, must yet perish. But S'iva who drank even deadly poison did not die through the greatness of Thy ear ornaments.

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COMMENTARY

The heavenly world in which there is no fear, age and death as earthly mortals know it, is yet a transitory thing coming to an end with the exhaustion of the merits of its denizens and the dissolution of the universe. But the Devi's greatness is such that S'iva did not die when He drank the poison which issued at the churning of the ocean. Ear ornaments are signs of married life. The allusion is to the belief that the husband's life depends on the length of time that the wife is destined to remain a $adhava (woman with a husband).

VERSE 28

Oh Mother, may all my speech, howsoever idle, be recitation of Mantra (Japa); may all the actions with my hand be the making of ritual gesture (Mudra) ; may all my walking be the pacing around (Thy image in worship) ; may all my eating and other functions be Homa rites; may the act of my lying down be prostration before Thee; may all my pleasures be an offering to the great self (Atma). Whatsoever I do may it be counted for the worship of Thee.

COMMENTARY

This verse which according to Achyutiinanda is the essence of the practice of jfiana Yoga dedicates all action to God; Atma here standing for Paradevata. With this intention every natural act and function without exceiltion is an act of worship. The action of the tongue is Japa, of the hand Mudra, of the feet Pradak~iQa or circu· mambulation of the image which is a part of its worship. Eating, etc., is a Homa sacrifice. Lying down is salutation (PraQima) for when one lies down all the different parts of one's body touch the ground and one form of prostration is with the eight parts of the body (A$tanga). According to Achyut4nanda "all my pleasures " means " qnly the union with S'akti " (~'aktisarilyoga·sukhamltram) which

28 WAVE OF BLISS

appears to me to be a poor unnecessary limitation of a fine sentiment. " Counted fer" lit, "a step in the . process of worship" (Saparyi· paryaya). Cf. Prapancasara Tatttra, Ch. XI. v. 67.

VERSE 29

Oh Mother, may I with my six organs as my feet be as it were the six-footed (bee) and may I seek Thy Feet which ever give to the poor prosperity which Thou alone can; Thy Feet beautiful like bunches of Mandara flowers shedding the honey of loveliness.

COMMENTARY

The poet compares himself to a Bee which hovers upon and sucks happiness from the luscious flowers which are the Mother's feet. The Bee has six feet, :Man's six organs are the five Jnanendriyas and Manas.

VERSE 30

On Bhava (S'iva) coming to Thee unannounced, and on Brahma, Vi~Q.U and lndra then prostrating themselves, Thy attendants warning Thee say-and their saying triumphs­" Avoid the crowns of Virii'ici (Brahma) and Jambhari {Indra); Take care lest Thou stumble on the hard head ornament of the slayer of Kaitabha (Vi!?Q.U)."

COMMENTARY

The Devi is about to welcome S'iva, and Her attendants, warn Her to be careful as She goes, because She might stumble on the hard crowns of the prostrated Devas. The head ornament or crown of Vio?QU is the Kotira.

VERSE 31

PAS'UPATI having known all things in the Universe by means of the Sixty-four Tantras, was proficient in the Siddhis with

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which each of these Tantras deal. But again on being pressed by Thee he took down to earth this Tantra of Thine, which is Svatantra and in which are brought together all the four aims of human existence (Puru~artha).

COMMENTARY

The Gloss of Achyutiinanda adds that according to tradition S'iva speaks the Tantra to Devi in Kailasa and Ganes'a records it and when complete communicates it to some Mahar!?i or Siddha on earth. This is being done to the present day, The so-called "historic" attack on some Tantras as being without authority because they are alleged to be modern is according to orthodox views of no validity. The Tantra is eternal (Nitya); the Commentator citing a saying: PuraQagamasiddantarh nityam ahur manishinah. (The teachings of the purii.na and Agama are by the wise said to be ever-existent.) The Tantras however appear and disappear according as they are revealed or withdrawn. Their authority does not depend on the fact that they were published to men on a particular date but on the Siddhi to which they lead; that is, the actual result flowing from them. This result proves the authority of the Tantra even though it were revealed yesterday. S'iva or PaS'upati, Lord of the pashu or animal world and the senses, became all-knowing by His knowledge of the 64 Tantras which are Nitya and which were promulgated for each of the three Kranta:>.1 He at first remain~d engrossed in the teachings (jfHina) of the 64 by reason of their greatness. Thereafter (Punah) on ' Thy (the Devi's) insistence' (Tvan-nirbandhat) ' He brought down ; (Avatitarat) to this world (K!?ititalam) 'Thy Tantra' (Te tantram) in which are brought together ~!1 the four human aims' (Puru~artha) or all the Siddhis, which is called 'Svatantra,' which here may mean indfpendent-that is, independent of all Tantras or that whereby the aims of human existence are attained. (Akhilapuru~arthaghatanat

svatantram). According to Bhaskararaya in the Introduction to his Commentary on the Nitya$odaS'ikarvava the Tantra here spoken of

a See my Introduction to " Principles of Tantra" where these Tantras are euumerated.

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is the V iimakeS'tmra ; others say it is the J iianiirl)ava and others again take it to be the Tantraraja. The Commentator Lak~midhara who is opposed to the Uttara Kaula school says that these 64 Tantras or Agamas as also portion of the Mis·ra1 Vamacara are intended for people who seek the attainment of selfish QPje~_t.s_thraugh Kima and ~rtha_a_~d are followed only by _S'udra.s, Anulomas and Pratilomas (people of crossed and mixed parentage). The twice born who follow them should be excommunicated for they as also S'udras of good habits should follow the eight Agamas which are S'hastras of Libe­ration (Mok!?adharma). The Sanatkumiira-Samhita one of the five Agamas (which I have not seen) is cited by Pamlit Anantakr~1Ja S'iistri as saying that outer worship (Bahyapiija) is performed by Kaulas, K!?apaQakas, Kapalikas and Digarhbaras and followers of the ltihasas and such Agamas as Bhaira'f.•a- Yamala. Lak~midhara says that "one will incur sin even if one thinks of such men ". The inner worship (Antarapiija) practitioners are Brahmaviidins followers of the five Agamas of the good tradition (S'ubhagama-paficaka) and Jivanmuktas. In this view the S'astras alleged to be concerned with Ka!fla a!ld :f\rtha were supplemented by the Moksha S'astras of the ?am;1ya school to which this Commentator belonged, and in which according to him the S'akti Kut:tdali is raised to the S'ahas­rara for the attainment through this continued practice of Mok~a. I am not however aware of the authority for the statem~nt, that the Kaula is not a Mok~a-S'astra or that Kaula worship is in the MiiHidhara only. See introduction to my "Serpent Power".

VERSE 32

Oh Mother, the following letters with "Hrim" at the end of each Kuta of the Mantra, are Thy name and form. These are S'iva, S'akti, Kama and K~iti ; then Ravi, S'Itakirar:ta, Smara, Hamsa and S'akra ; then Para, Mara and Hari.

a See Introduction to " Serpent Power ".

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COMMENTARY

The author here gives the Hadi Vidya. See Tripuriimahopani$at (Tantrik Texts, XI) ~k. 9. The above said letters in each Kuta (group) are the parts of Her name. S'iva=Ha; S'akti=Sa; Kama= Ka; K~iti=La, etc.:

The Mantras are-Ha Sa Ka La Hrirh called the Vagbhavakuta. Ha Sa Ka Ha La Hrirh called the Kamarajakuta. Sa KaLa Hrirh called the S'aktikuta also called Trailokyamohini. The whole is called the Trikuta or Lopamudrli Vidya. This

Lopamudra is the Bija (seed) of all Mantras. Here the ~1antra of $odaS'i which is the basis of the Samaya form of worship is indicated. It is called the Pai'icadaS'lik!?:tra Mantra because the 16th letter which is not mentioned is to be learnt from the Guru. The Mantra contains 4 Padas or parts. The first Pada is Agni, Surya and Candra; the second the Kriya, Iccha, ji'iana S'aktis or Vigm, Brahma, Rudra; the third the Jagrat, Svapna and Su!?UIJti states (Ava!;thii) corre!'ponding to Vis•va, Taijasa, and Praji'ia; Sattva, Rajas, Tamas; and fourthly Paras•akti or Caitanya. Oniy in outer worship is the I;l$i, Devatii, etc., of the Mantra known. In the inner worship nothing is known but that which is the object of contemplation.

\VERSE 33

Oh Thou Who art Eternal, those who greatly desire tbe path of Enjoyment and Liberation place "Smara ", "Yoni ", "Lak'(imi," at the beginning of Thy Mantra, and then with Homa to the mouth of Kula-kui)dalini with hundreds of offer­ings of poured out fragrant ghee make Japa of Thy Mantra, and attain Liberation in the S'abda Brahman Who is Cit, associated with the Gul].as-Sattva, Rajas and Tamas.

COMMENTARY

"Smara" "Yoni" 11 Lak~mi" stand respectively for Ka, E, I. These three letters are to be changed for the first three letters in the

32 WAVE OF BLISS

Mantra or Vidya in the preceding verse. In this way the Kadi-Vidya is formed. See Tripuriimahopanif!at Rik 8 and Bahvrichopani$at (A. A. Tantrik Texts, XI) and LalitiitriS'ati and S'amkaracarya's commentary thereon. According to some by " Smara " "Yoni" "Kamala" the Bijas Klimg, Hrimg, S'rimg are meant. S'ivagni is the mouth of KuQc;lalini. The "fragrant ghee" is here said to be the current of nectar flowing in Goloka. " Goloka " says the Ga11famiya Tantra "is the abode of the Supreme Vi!?QU ". Liberation (Laya) is absorption in Ak!?ara or S'abda Brahman; CintiimaQi is Citkala for therein is nectar flowing in Goloka. " Goloka" says the Gauta· miya Tantra " is the power of all that is desired. The GuQas of Cit-kala are Sattva, Rajas, Tamas.

VERSE 34

THou art the body of S'ambhu with two breasts which are the Sun and Moon. Oh Bhagavati, Thou art the all-pervading stainless One ; therefore the connection between each of Thee as part and whoJe is the nature common to both, to wit, the same Lordship and Supreme Bliss.

COMMENTARY

The Devi is the body of S'ambhu or Brahman Her Spouse with Whom She is one. Her breasts are Sun ilnd Moon and Her Face (see v. 19 ante) is Fire, all three being aspects of S'akti manifesting as Iccha, J iiana, Kriya, the three Gur;tas and so forth. She is Bhagavati as possessor of all Lordship (AiS'varya). "All-pervading" Bhavatma (lit. "self of the universe") that is in the form of the

· world, BrahmarG.pa: therefore all-pervading. They are • part and whole': for considered singly He is Puru~a and She is undivided Prakrti. But as being one Prakrti-Puru$a they are the whole. Their common unity lies first in a common Lordship (Ais•varya) for Sarna· rasa, according to the Commentator, means this : and in a common Supremacy of Bliss (Parananda) ; Lordship representing Their creative, maintaining and destructive aspect as Ishvara, and Supreme

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Bliss Their aspect as Para Brahmam. In this verse is shown the Oneness of S'iva and S'akti as Adhara (container) and Adheya (contained). To adhere to the text the translation should begin "To my mind".

VERSE 35

Oh, youthful spouse of S'iva, Thou art Mind, Ether, Air, Fire, Water, Earth and dost thereby transform Thyself into the universe. Nevertheless there is nothing beyond Thee. Bv Thy play Thou dost manifest Thy Consciousness and Bliss in the body of the universe.

COMMENTARY

The Commentator says-mind is ParamaS'iva's abode, which is Maharloka. By Parama S'iva is here meant S'iva as the creative aspect of the Brahman. Parama S'iva the transcendental S'iva abides in Satyaloka. By "mind" reference is made to the Ajna Cakra. Ether (Vyoma) is Tapoloka, the place of Sadas•iva. It is to be noted that Consciousness of the S'aiva Sadakhya Tattva is all diffusive. Nada which corresponds with it is spiritual "sound" or motion and sound in the gross sense is the GuQa of Akasha. Air (Vayu) is Janaloka, Isba's a.bode. Fire (Agni) is Svarloka, Vi~Q.u's abode. Water (Apah)=Bhuvarloka, Rudra's place and Earth (Bhumi)=Bhiir· loka (earth) or Brahmas abode. The Shatchakra have subtle and gross aspects. In other words She manifests as (1) the six Devas, Shambhu, Sadiishiva, etc.; (2) whose abodes are Maharloka, etc. (3) which in the grosser Tattvas are represented by Ether, Air, etc. (4) which again have their six centres in the human body, and (5) from the combination of the Principles, Ether, etc., which are in the Cakras the whole universe is made. KuQcjali manifests as the six. But notwithstanding all Her subtle and gross transformations (Tvayi pariQatayam) She remains ever the same Cit (Feeling consciousness) and Ananda (Bliss) for the Atma in its nature (Svarupa) as distin­guished from its Powers (S'akti) and their products is the same in all

3

34 WAVE OF BLISS

times and places. In the Kaivalya Kalika as also in the Shat-chakra• nirupa~;~a the place of Water is Svadhishthana and of Fire is Mani· pura. See my "Serpent Power". See v. 9 ante.

VERSE 36

Oh Mother-Father, I salute Him (Brahma) who is the form of Siva with Thy Samaya (Savitri) who (Savitri) is skilled in dancing in the Muladhara Cakra. Her Spouse is H imse1f skilled in the great dances in which He displays the nine sentiments. By these two, Oh Mother, thi!S world with all its wealth was Thy mercy created in order to accomplish by mutual help Their joint design.

COMMENTARY

In the six verses beginning with this-the six different aspects of the Devi are described. Here Brahma the creator and his consort Savitri are spoken of. The Commentator Lak~midhara who is adverse to the Kaula School says that this verse refers to the form of worship in the Muladhara adopted by them and condemns such wor­ship. It is said,1 according to Samayacara, that the Muladhara and

· Svadhishthana are Tamasic centres and worship in them is not permitted. This ven:e however speaks of the commencement at the lowest centre and is followed by others relating to higher centres. It does not follow that because this verse refers to the Muladha.ra that it connotes practice in that centre only. In fact this and the following verses describe forms of worship in all the six Cakras. Acyutiinanda says that this verse speaks of the origin of the Universe from these two. Samaya, he says, means Kala-a part of the Devi.

VERSE 37

Oh Mother, I salute Him (Rudra) who abides ever in the Svadhi~thana (Cakra) who as Sambarta is Fire. I also sing

1 I quote Pap.Qit Ananta Knl)a S'llstri's notes on this verse. But see as to thia, the Introduction to " The Serpent Power ".

WAVE OF BLISS 35

the praise of the Great Samaya (i.e., Rudras'akti). When Rudra burns the world with the gaze of His great eyes in­censed with wrath it is Thou, Oh Mother, Who dost assuage by Thine eyes moistened with kindness.

COMMENTARY

Having described Brahma and Savitri in the previous verse the author describes Rudra and Rudral)i. Here Rudra and his ~'akti are placed in Svadhi!;ithana whereas in the ~atcakranirupal)a Vi!;il)U and Water are placed there. Some read Jananim for Mahatim.

VERSE 38

I worship the ineffable Vi~QU Who is dark like the dark-blue raincloud and His S'akti who by Her darkness-destroying radiance adorns Him, as lightning does the cloud. MaQipura is where He dwells. He showers His mercy on the three worlds heated by the Sun of Hara.

COMMENTARY

According to some the reading is Smaramihira and not Hara­mihira (Sun of Hara) and the meaning is consumed by the S<.tn or power of desire. This verse then says that meditating on the Vi!;il)U form of S'iva in the MaQipiira he who is tortured by the fire of desire gains peace. See last note. "Sun of Hara": at the dissolution of the worlds twelves Suns (Aditya) appear to consume it. The S''akti is N arayaQi. The sense of this verse is that the people of this world who are being consumed by the fire of their desire attain peace by meditating on S'iva or Brahman in His aspect as Vi~Qu in the MaQipura Cakra.

VERSE 39

In Thy Amihata Lotus I salute the wondrous pair who are Harh and Sah swimming in the mind of the great, who ever

36 WAVE OF BLISS

delight in the honey of the blooming lotus of knowledge. A Sadhaka by meditation thereon becomes the knower of the eighteen sciences and discriminates that which is of worth from that which is faulty (like the swan which sips) the milk alone from wat~r (with which it is mingled).

COMMENTARY

Here the Author speaks of ls'vara and his consort. Harh is · "Male" or S'iva; Sah is "Female" and S'akti. S'iva-S'akti are

therefore Harhsa which combined means a swan. They swim in or

manifest in the mind, of the great. The Sanskrit word is Hamsa· dvandva 'the Harhsah two or pair' or 'Harhsah in which there are or which is made up of two'. Cf. Pum-prakrityatmako harhsa tadatmakam idam jagat; that is Harhsa is both Male {Purh) and Female (Prakriti) and this world is made of and pervaded by them.

S'iva is here the combined Puruf?a·Prakrti. See v. 1, ante. The Lotus feet of knowledge {Jiiana) or consciousness in which they delight is spiritual consciousness. It is blooming. The S'aivas speak of the supreme state as Sphuratta or (perfect) blooming and this is shared by the great in whose minds they manifest. The Harhsa (swan or goose) is said in Sanskrit literature to have the capacity of drinking up the milk from the water with which it is mingled. So also the wise discriminate what is of worth from the worthless: the right from wrong: the enduring from what is transitory.

The 18 Vidyas, or Sciences as enumerated in Vi~!)u PuriiQa, are: (1) S'ikf?a, (2) Kalpa, {3) VyakaraQa, (4) Nirukta, (5) Jyoti~a.

(6) Chandas, (6) ~gveda, (8) Yajurveda, (9) Samaveda, (10) Atharva­veda, {11) Mimarhsa, (12) Nyaya, (13) DharmaS'iistra, (14) Purii!)a, (15) .A.yurveda, (16) Dhanurveda, (17) Gandharvaveda, and (18) ArthaS'astra.

VERSE 40

I salute S'iva, white and transparent as a crystal, of ethereal form abiding in Thy Vis'uddha lotus and the Devi Who is

WAVE OF BLISS 37

one with Him. The world freed of its inner darkness by their radiance which is like unto that of the rays of the moon rejoices as does the Cakori bird (in the rays of the moon).

COMMENTARY

S'iva here is in His androgyne aspect, as SadaS'iva. The

mythical Cakora bird satisfies its hunger by eating the rays of the Moon. As such bird flying towards the moon gets pleasure, in drinking the moonlight, in like manner by the contemplation of Deva

and Devi, a Sadhaka gets Brahma Bliss. This is the ArddhanariS'vara form (Murti). The darkness of him who contemplates Sadas•iva is dispelled. "Devi who is one with" (S'ivasamanavyasanini). The term means who enjoys the same as S'iva does. "Samanavyasanini" refers to the creation by them of the universe. They are then as to this in Samarasya. Yet beyond is the changeless Paramas·iva.

Some read Vyomajanakam for Vyomasadrs·am and say that they are Lords of Vyoma (Ether) as the Cause thereof.

VERSE 41

I salute Paras'ambhu, abiding in Thy Ajflacakra, lustrous as millions of Moons and Suns with whom is united Supreme Cit-S'akti. Men worship with devotion, Him who dwells in the region of Light which needs no light and which is beyond the lights of Sun, and Moon and Fire.

COMMENTARY

Here Parama S'iva and His consort Cit-S'akti are spoken of. ParaS'ambhu is Parama S'iva -; for worship and Siddhi in the Ajiia lead to this. Worship is in Ajfia but the Deity is conceived as being ·./

beyond in the Sahasrllra, and His reflection in Aii'ia. Sun, Moon and Fire shed their rays only on the six Cbakras. They do not reach the Sahasrara, the u shining abode " (Bhaloka) of Cidinanda. The

38 WAVE OF BLISS

Gitii-tattva says "There does not shine the Sun nor Moon nor Fire. By knowing It, man docs not return. That is My supreme abode which is beyond all."

Na tatra bhasayate suryo na s'aS'arhko na pavakah, Yaj jiiatva na nivarttante tad dhama paramarh mama.

This place is "lightless" in the sense that it requires no other light whether Sun, Moon or Fire. It is Light (Prakas•a) Itself for It is pure Chit. It is the abode of Cidananda (Consciousness-Bliss). By meditation thereon that Brahma-knowledge arises which is liberation from all the Hierarchies of suffering forms. Some read the last six verses beginning with this verse which deals with the Ajiia-Cakra. The remaining verses constitute that part of the poem which is called Saundaryalahari "Wave of Beauty" since it describes the bodily perfections of the Devi's form (Sthulariipa). At this verse therefore the Anandalahari closes.

HERE ENDS TH.li: WAVE OF BLISS

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! ltzl=&l!Ut !~It I It.l!e&lt~e~~ J;!jtyR~lij2~l~~B~!1!l=~J:t~1~ ~h~J

P~LLhr.t!~.fBt.t!~ ~~l!a~ ~~ 1 :~tt~Jtlth.l!~le~lftth:ats~~elt~lJ;!l!~h!l=

-b~~ ~!Rle ! :2!}~It~h!l= .1:!~ ~eJ~ ~t~t!lt& 1 ijl!J~~fia

II ?l II .tal h.h :.b!ttQ~J:l.lnfi ~".}t ~~!t -~Jio'tjhlla'ti~J~i!J:Aa!Z.bl biQibh

I &lh:.QJ!lJ:l ~.at! ~J:l~ ~::ll:!~ ~

.!f=Jijl~l~bQb!!'i ~J~ ~

-~lel.l!2~e~b~itlt~:th2h1.1:!R1l:!lt~

II 6'\ ~ II 11:! 1.1!~:. ': 1h£ll :J;!ijh

:19ilh~!1ijR&~~lela :tt.tt~zl:Utl.l! I Q.&l!~2 1~ ~~:. '\t'ih ~1: ~2~1i!~ ~!lJ;!h 1 :.l:!tk ~! ~J:tl& et:tl~~= n~te tJ;!~1~=1~2hJ;!~t!l= :~n :~'L

~~a I ij&~~ elJ~l: HhjijJ;!l!~H~!!l?ijJ.tl~~lrftl HltJ~ij~J;!

.:a'Y 'ay'L Wl!~ !1:!& 1a :mJHt.l!:~~l&lnz~J~~ lb~~lbl~ lb~l!li

:~n le a~ I ij&~~J Ol~l= l.b~}til~ij~l.I:!!Us~~~~ll4t~~l!lij u~~e

-~1~~ tJ;!a :mjz&h:lltlalnt!l=jlijt?; l.h~b lb~1.!h :tnh :'h ~ll~ nllit:t

~J!l!JJ.e a~

{fij I m (a~~ ~JJ{~~a~no~SCI~T: I oSI ~TJf~CI~'JTliT ~~T a'"gOfT~l.j o~T~M ~Cifa, ~~~R~Tif{~q: I ~ft;:rt 'I~ ~~)gor: q~Cifa, a~ qrfor•wnttruff{;lfCJttl~: 1 li~T oif: qijCifo, o~T f.fiTetfii~T­

~'~fimfa:oliCJttR: I lf~T ({~ ~'fTHi~~ T'J;:c:;~q~q iiliROf: ~~CfiT<15Tfa:­qRR~?ToT~TS\O'fiff~~ ij"l~T~Gt~oalfT ij~ffio~~CfiT<15Tf~qR~~C::~If-

"" qftttllor ~~ijfci;:JJT5i fil~faw.JT'J;:c:;~ti gorJJTC::~ ; aT~'if: qq ~CI lf~T ~~~ti <U~ qfulf'5lf {iJ{ll.~ 1\l'f{ijlfi ~6) li~Tc::~ a~fu 1 ~awr ~a: a)~filfa ~a~ JJtttCJT~lfT~sner<ii ~~~{~~Jicltl~ti ij~ ~fa at~lfi~: 1

~frPci{~{t~~ ~tit '{_\iql, e~~ CIT; =if§;:q'Ql~~Tlfolf{~iflf: qfta: ~liT:, eitliT CIT II ~ t. II

snJJqrffi ~~~~if!l~liRrtt-

""' ~eraRlaR l""~qfelaA fifUI t1 &ftc ~~ Gr;rf;r ~~ nf 'ill' 13''1'tm{ I

trcue~ ~~ qm ~r" qr)~~~ '.(trmf 'U m: ~fitlt!r':qri: ~fff II ~\ II ~ 1 oCI ~cnf'li!T~ ; wrrf~~~~~c::~q;:rJJeit ; ~act~JJNIWI

fwRa'l.; CJ~~qiflf~~lf foi~ci f.f~;:a{ st'ffijii;:a~, ~~ ; ~g;~ 1 tiC~a~; ~~~ 1 ~ ~iffir l ;r&a1 qEfiJ~'5ctT~r~~~~" ~Jiclij&J{6~ijEfi«sla­

.tERTfcfift'@T, {iiff~T ; aifliT~TifT =if ~'g I lf~T~)~ ~~'l. C::ttfa ~ttffi ifiNCfi~~; u"{P.l~a ~f6 ~ft: ~5iliit ~{tnCfiR~~~ir~mS\r~ C1f~1~ ~Efil'l. ~~ta ; ;r~tfa Efi~q'tCJaT'la~~Pija ~ftfiq{a;:~ ll~~ tict6"'='mlf

aiM {f6 eGIP1if: I ef~~'Tift~RtiCJ~CI~aCJaPci~ fftf6 f.fiN);:~ ~~ifl1wf);ifituf ~ff6Tif<i5: ~fflif. ~)~tif. ~~fij I liT ~if: ~liH{T if!: ftrftr{a~RR {=ifllta; fq~t~~llt ~ff~t ti;:r~aoogonit~tt fciPJ td\'w ~Uftt I ll~ mllo'Tfa ~TCf: I ~ffd'l:l{: ~~llJill ~fa ~Cf-

1 ~I! ~1!2ol.e)l.Q)~~t~ij~.e~I!J:t.a&~l!.l!~nul" ! '!t2l!~ol.e.L)hJ:HI!.I!

.I!UHll!.l! I )& ~~~ lhh~hJ:t.Q ! )Q lhhJ:t.Q I lt~l~ ~~ Hlil:M»fc . . . 'lh!li)ij~~~~ ! lhlhh1~ '~J:t~~i~e ! ~lal~ ~a.e 1 ~~

II ~A II '&\l(JI•Ebij!l!"'!.tta.~ ~ ~tL'\lbl.kl:l

lb~ bh\)li~h'bitlhtllg~lh~.2

I '&.i.IUartoll.li)Utt))bl! ~ ¥1b.)ll!t,.

lb)btitli) Jhbblt la s@lt )lldle'i

-)11!1h2~~ ~~J:t~~lh ~1bJ:t~

II o 8 II 11! lhl!?. ':1hM. !h.t!:~h:llR.IA

-11\~ ~tJ.b ! 11! \!t.t!3 '~~1 .t!3h l!: lh:t~l~~ :.ti?.tJ;!~ I ~ ~~a oo~a& 1hh:th~~~~ !I?.t~~ ~~ ~~~I! tt~~lt~ !~tijh1.e~.e!i~~ -h~~~ ! &!!l!itlij !}.Q~ltl1~ !f1h~ tt~ltlh?.lt~l!:Jl!h}b~J:t~~~ ! '!ttn.l&

-~~lltlb .ta.e I :~h~ltlh1.t!:~~~!it~h2 :~.tltla~~~1ltl1.1l!hltllJmfl!:h.tt>

:tn~le&ta~ ! '!tt.l;a~~~tnijh :~.tlt1M!11.1:!1.1?!1.!&t ~~El~j.e 1h~le~ ~1.e:n

! u:t :tnih !ol.!&i ~~.e 1 :~n~j~i n.a~~ :~l!~ !ltlij 'lti!Ji ~~h

nilltj~ ! lntn:t.!&i~iijh1~1ij ttt~~e~ ~~l!~~.e 1 ijtya~a

II oA II ha!~J ~l8~ll p•)'ta ~

~~~~.I@Jli .b.Jd ~-'! ~:1 ~ I bbJ.ita)S.a~ln(Jblo)bJif)l~JIA)i\,.

,lblo)ii'Ulft)lb~lij ~~ ,P•Ja.)-lljj

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II ~ 't. II 11! lh~

':tnM. a~ijh :t~~"L :nh~~l:t~~~h~ ! 11! ~4-:. '~~1. ~h ~

l)bl,a)!Ue \\

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II d ~ II ijltltef!~ltaJSl!t1~~l~.tt ~~S~i

I Iil~tij~l?!Jt:j~J ~lte~l~Ii!tti ~l~U.th ~}b!tl: iji I :tt2Q~lte~lh!ti~li a 'lo~l.t:ll!j:~l~ lf!eltlt ~!iL2~i ~ e ':tet:jb :}t~.e lnll':I~!Slt~lee

~h ~12 I lijl " lf!ititl ta!!le 1;1:! fiJ2.1:! ~~ ~LLQ~lt!S: , '\_~J!ijb e. Hd~ 1 :ellt ij~e ':e~ e~~ijlb\_~t:! ~liS: ~il ~e~lf!llt

ltatt 1 :~u~ltlf!l~lt!lliJlf!llt ~~lt~S: !121U:!~e~ !l'lt.l!S~~tiae~olf!tt~~

~l!Q~I.t~S: lo~\et:! n12\~.ttl ~2~~tt~S: ~1a~tt lo~.t:~l;te~HJt:-~~ 1 ~~~.e ~IS: ~l:ttP.I:!!S:!S.I:!~S: ! ~lt~S: ~! ' ltll'l1l!j:ltllej~~ ! !h1ltal.l:!fi lnelt

-Io1l!Slolh4.Jia .t'Abs.ttl n~sl! ! lhl'l~ 'nla!fl;ltl:)jh~ f!lt~S: !~11l~!:f

-~.tt ! WJli~lijh~.e '&ltt1Lelij!Sl:t~ta.l:!2.1:!}ij!h.tk~~l~ ! 'klht.lQ!!lh1tlt.e

Sl'r) ~~tt.t~

A bbt'eviations used in the Appendix 4

aTfi:IOJ!f o atf~Ofii!JR!ffiU: qf&~· qf~~ffi:

~\1151• affi151tw'l~fi qiJ)o qif){q( (arlif{~~r~;qr)

!ll;~o 'll;'!gif~~~ qr;;~. ~n;;€t~r~:

l!lif~o ~~~•H'!l{ 'tTo ~o 1l!Q:'fiT~~~l{

,;fc~i!!iT o tf.>~'fif6ri!l'ij_ qrcl;llih q~C!!!JU"fJI. t t

'i'i 0 'ii'I3{1Qf~ ~)fi1'11 0 ~)fil;ft~C{lfr:£

iiili o <llli~gfa: ~U! • "i'T~!fi.'ifll:

"i(io "i;J,:~c!\' ~tiT• ~tilm:ureotq_ f?<i'.!,_ o :q o f:q~'lil;;jf;:~::'fit {!i• {g~qr:

r {~o ~)o {f{~llf~f~~)!JT'II{ ~Tif o ~fi'TTOJCf; ..

Cfo arro i3lT{Il~"liij_ ~· ll{~rqar:r.

d• lilT• ~fttftlJBJTiil!Jfl{ ~o w~~o<r:

~o 6· ~ftt~tiftar !flo {(o 'l'Tf~{fij(~Q{q_

f:;rsu o fir3uui'<r: f<i o 51 o fct~T~SI=:firf~'fil f$ro ao fs!~oqfil~ tlT. ~n • :UoQ?:riiiT"'IIfli

1('6 D ~'ftf;flJ: tlTt~cr • qrf~i:i~1fii'lif a: en ° ~<i't3{T"fl{ 'lTH!\1 o qrT{~ffa\!l'fjl{

il<f{fl • if<i{fTIJTfw'fiT fu<l 0 ~<f{f2:

q'~ 0 !JIQ'i:ilfuif1 tftfc{o ll}o ~1fif~~ftR;r

'RT o !JUeol'l'l{ ~. qo eta~fa:

qfto !Jftliw: e!f.a o ~'fiai:ilil~:

!JTfGro ~· !JTfOJfir!:l:'ll{ ij~'lo gqfjt~q;

stqlif 0 Sfq'llifij({: e'lifi'ct. ~ili~TQfl{

'Ill • ¥t'~cnOoT ~<{o ijo ~<{:r;u-~;

¥t~li o ¥t~liarrtrra1qfirffcr. ~~·~tAl'~

"" 0 lllflll{(ll{

er~: ~li: ~!i't, ..- ' <lio~'IT~MT, 'I

eri!'T ~~~~r~:. ~" aroncll t''IT ~, 'I" erfoillli'W~T'I•cr:, 'I o

~~rflar~~TJ{ , "> ~

<JiUili <!'~~~~ "~ <licft~urt ~6:, \'I

f.l;{O'(jlij~lf: I \ V

fititri ~f~<i' v' ifil1lciiiTQ1;;:rJJr, w ~5" ~q4JT~it, ' ~ \ llw~Tii~T:, ''

"' 'il$1:li2'iT oo:~:. ~\

~: ~<Jiol, '\t:

~~~«1.~ "llffi' \"

;srqf;a Ciff ~o:arJJfVr • "' it1U :sr~: f~~. \\ oR.ccF6 ~i'f~T 1 "'. \

(f~~o:cft, \V (f'f(titllj: Q~ I '\ 't

(f'ff il cq~ 1 \ 1$

at~r 11 t~ttl'l~ o, \,

APPENDIX 1

Index of half Verses

a~<r eci a~~ I \ "

(fifflffti q~1 G

5i!~3Tlllfl!t=~, ''I

~<! ~liT~ ~. "'i. ~"' ~·nfe1mir, "> "> ('!'lf~T'il!ii~ I l.o, ~

o<rfl:lr\" ~~ ">i. ~<rl~tf~ ilr~T{ o 1 v '\

Sl<f~(ilrff~~ 1 'I'

Sll!TIJfT 1:<rTiiT I 3 t:

fiil'i(i'lf: qrfVr~~, "~ ~<r~Tlf 6\;:~q I ~'I ccrir11 ~rcJJJii, ">'I

~li'!JT ~~ !ilif1 \"

~if.!' ~T;r~:. V'\

;;:ftl(rurt f;qo:ar~tfur o, '\ •

f~:;f.r fi:li~~<I.. ~' "i!J: ~~q ~q11 '\V

'l:Jiliurr~ qr~, "" if~ ll!illlt~, ~' srr~illftf~~ra:, v\ 31uri!~as 3l'lilll., v' 511Jflll': ~~;, vo

~'fr('SI~ i{T~, 'I' ~~~ :il~~~. l'l ~<nf.J tci f(M, ~ \ ""'~ &;J)q tcr' II,,

q;flsfq ~r.rs11'' , ~ IT#li!ltlli!ll~f, '" ""~i\", ,~ 5~ flli:~ ~' t~ ~<{!mil{~<{~' II,~

~~~ wl'<tiT~, "\"\

~~Iitcfi1~~RRt, ''I O!fiTTUlMJO{ ~!f~T, "'.'

~lf): 'li!~T 'If~, II,\ ~~;:i ~1R:, r.

~~u qr(r!U, \' f.IR:flil: q!liR<i, \\ ~ft~sr21~r:, , , ~1~R•, '-\\

~l.limt~:,"\•

~:,"\• ~:, "\•

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~{J~)<:~i'l'r~~t. \. qJ{t{ t~ fir~):, )f \

f~<t qJf'Qi: <tiTIT:, 'lf~

fuCI': ~!f~ ~'{li:, 'I

ftrift<6rl' qlif, , ~o, e iiiaf iiifO~Tifi', \' ~fiilc'IT or ~!it, \ "

r .r ~~rtt_<r: acr, \ r. ij!Ji'if\'<i5Cij'Fcfll_, II, )f

ef<i'51'1flv-li~i, \, e ~~= ~~~. '~ e eqfart 1\ri, '~ ... gf.!PiU{fttH::, '11t

gl:lfz:ttq)""''fl~, )f'

g•um;:~qiit, ,~~,

tz:t( ~)~ (il5~' )f' ~q{\sfq c<rt if"tc~T, 'I\

ttft~TITRTUr, 'I '

APPENDIX 2

Index of Authors

l:liTRraf:, \' ~Tijlli(~lf:, \

fWT{Vlf~1'ii{Uf(:, ~' ~~r:cr~:, ~~~,, 'lf ..

APPENDIX 3

Index of works

Sl'f~~:, ,..,, \~. '\•

t(q"{:, '1'\

ero'ftw!llJ.f:\ ~ , '!Ill~~=. "(~ llil~'lol{, , , H, \ '\, vo..,, ~..,

~~'!fira;:51"~ , '\, 'v 'liot~ftr:, ,,, ~"' ~Ulll. \ "~il=~~n. ~. ,~;, '~~ '' ~~~tWI=i!F'.a:'.fir, ~

ll~'f:, '· H, ~"'' f51~~rmr:, "'~ , ~ ~cfil{IVI~ I \'

~"~~~RI:, '' WICIUifftfSlf:T, "'',

f~Vqfft:ift 1 " 1 '\t 1 ' /; 1 \ o

IRI~'fll I ~\t qftqe: (ll'trtfi!•(\SI{r'iliT)1 \

suvr~. n II'Qiii'~Ht:, "("(

i{ZJI!f'ltmr I 'W ,

'li!Rqr (a;:'IU318lf~T), '1"'1

~iiTU11vftliJ{. ' \t

&l(l¥1rol1{ ' '

qftR~iJm:, "'"

llfq'.fiT~~J{ , ~

qf"!{!Ti!!l~:, ,, \, "(1 \o, ~l •. ,.., l:rT~0~ll3UIJI~, ~ lillll~~T{l"'f~ , ~ ~ ~lffl~~q, f., w, '¥'\

{§~~:, ll,o

U:~TJJ'w~, ~, H, \,,~'I

{~~ll fijf;a~i)qril~ , 'I"

<nf~n~tuullvr~ I t. RVf{Oll ~1'if{IJIT: I

~t~iif<HfQ'!fir, \ /; ~T{ii\Tfa~lf.q , ~, v, ', ~., \ ~, "( ~,

f~<ltf2:, ~. ' ~1Fci~rtf~fq'lir, ..,.., ~Wtl!lrtfsr'lirm'.fir, " llfi~<tU'il~:, 'C'-\, VII,'-\"

!!fa:,,,'· ,o, ,,, '~· n, -\, "(~;,...,, ~ifioq~::.fa:, '-\ ,..,, \v, ~'

a'liw~;roiteo!.f:, "''' ft¥~il)~zr:' l f. ;e"\ IIT~ZI'lf.~li, , 'I \, "( e, '-: •

~lf.~3{rvr~~ " 1 ..._,, "''

~i{'t:~~"'=· 't"( ~o;:ero;:'lli., "("'.

APPENDIX 4

11tdex of Citations

at~ 1f11', ' Biiil(: ~cfqOJfJ;1f:, ..... e. q .. 8i!iil«=~ fclttiiOJ' ~' ftlct .. 8flliRT~: ~Til~!(:, 't 't, 'Iii~ o 't '".· \ '".

lli'lir~r~f%l3JJf;:ar:, ~, ~:rr• ~" atSii51tJ\?<ii q_~:, ,,1 ~0

at~f~ililil'l'Ui'ci I ~I CIT 0 ~~ 0

llfflfawr 'f~•m I '", ra o JTr • n-"· , -\ 8ift!Rfu il~IJ I ~I ¥1~11 0 , .....

"r""f ~a~~. , , , , a • Jl'r o , ...... ,

8iOIQ 'ijij~ilt, ',I ij-. ~0 , ...... ,, t • •

eta~ij ~i'fiJO:~TllJT1 ~"i, ~qo iJo

llffaqrttrTil'IJ., "> 1 ~ • Jl'l o \. "'. \

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lfiiPeT ii5!8t:n~, " 1 fer o sr • etil~r ~~ar: uii 1 ~v, f<r • u .. 8fii'Al;:ar rri~:, ..._,, U~o ', .lor mil, "• fttCfo

~il!Jii.Rl•, '".V, lfTilo

~"' q~ Q(';U, ,,,r;r~ .. eAilri\lrmt i\1, 'J llllW. '. c:"

a{rq;!_ff<!J ilf~lj'liJfQ I '\I ffsiilfi! •

a{~~q~q~~fra t \ I <i~ 0

a{;:iJ aT<i'li'l~i::~ 0 ~ f~~ 0 "' ..

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atoz>~rfra~t~tlciil:rll, , ' 8f'lil1 ~1l:rrf{11T; 1 ~~ 1 ~{TOJo

atozrf<!~fa~~·n"'t, ''">, ,r .. ~"''. at~ fiio:~fiia~~;:ci 1 '". 1 fra<r • at~ ~'ellil'U ~f, ~,, ifl'(o , ..... ,V <3i~fil Sl'ii5~ t~OJ., "i", quo '".•

an

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~m 8 11~m !fir&:T•, \~, lil~o ~ti !Jllft<\~'ll!1lT:, '\, f'lS{.T• .:<ti ~~if. ~·41, ~ VRC{To

~~) lflli'TftJ:, Y~, ~o \-Y1t-'1~

q=aqt ~a) it'li:, ''"-• tf~lfiJo ~ ~T;!f"I'~T iij'Z:, \ ~, 'lil'f~ o

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t ~.rn V!fi~~l~:' 'I VJ{~T 0

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s;ui~'llq!fill=l!t, ll. \, !Jlf53fifiJo

,~ ~~. '"· {e:• mo pc~ lilq'lil ~R'IT, ll. '"., !i~'lil o

!Ji~toif~iff fiR1t, ,,, '<~'~• JJeq qllffif~ ~Ta:., ,,, rafJft~•

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II II II ~C:I II

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