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WORSHIP
There are four different forms of worship corresponding with four states (bhava).1 The realization that the jivātma and parāmātma are one, that everything is Brahman, and that nothing but the Brahman exists, is the highest state or brahma-bhava. Constant meditation by the yoga process upon the Devatā in the heart is the lower and middlemost (dhyana-bhava); japa (q. v.) and stava (hymns and prayer) is still lower, and the lowest of all mere external worship (puja) (q. v.). Puja-bhava is that which arises out of the dualistic notions of worshipper and worshipped; the servant and the Lord. This dualism exists in greater or less degree in all states except the highest. But for him who, having realized the advaita-tattva, knows that all is Brahman, there is neither worshipper nor worshipped, neither yoga nor puja, nor dharana, dhyana, stava, japa, vrata, or other ritual or process of sadhana.
In external worship there is worship either of an image (pratima), or of a yantra (q.v.), which takes its place. The sadhaka should first worship inwardly the mental image of the form assumed by the Devi, and then by the life-giving (prana-pratistha) ceremony infuse the image with Her life by the communication to it of the light and energy (tejas) of the Brahman which is within him to the image without, from which there bursts the lustre of Her whose substance is consciousness itself (caitanya-mayi). She exists as Sakti in stone or metal, or elsewhere, but is there veiled and seemingly inert. Caitanya (consciousness)
1. Sec " Principles of Tantra." is aroused by the worshipper through the prana-pratistha mantra.
Rites (karma) are of two kinds. Karma is either nitya or naimittika. The first is both daily and obligatory, and is done because so ordained. Such are the sandhya (v. post), which in the case of S'udras is in the Tantrik form, and daily puja (v. post) of the Ista-and Kula-Devatā (v. post); and for Brahmanas the panca-maha-yajna (p. post). The second or conditional karma is occasional and voluntary, and is karnya when done to gain some particular end, such as yajna for a particular object; tapas with the same end (for certain forrns of tapas are also nitya) and vrata (v. post.)
The S'udra is precluded from the performance of Vaidik rites, or the reading of Vedas, or the recital of the Vaidik mantra. His worship is practically limited to that of the Ista-Devatā and the Bana-linga-puja, with Tantrik and Pauranik mantra and such vratas as consist in penance and charity. In other cases the vrata is performed through a Brahmana. The Tantra makes no caste distinctions as regards worship. All may read the Tantras, perform the Tantrik worship, such as the sandhya (v. post), and recite the Tantrik mantra, such as the Tantrik Gayatri. All castes, and even the lowest candala, may be a member of a cakra, or Tantrik circle of worship. In the cakra all its members partake of food and drink together and are deemed to be greater than Brahmanas ; though upon the break-up of the cakra the ordinary caste and social relations are re-established. All are competent for the special Tantrik worship, for in the words of the Gautamlya-Tantra, the Tantra-Śāstra is for all castes and for all women.1 The latter are also excluded under the present Vaidik system, though it is said by S'ankha Dharma-Śāstra-kara that the wife may, with the consent of her husband, fast, take vows, perform homa and vrata,2 etc. According to the Tantra, a woman may not only receive mantra, but may, as a Guru, initiate and give it.3 She is worshipful as Guru, and as wife of Guru4. The Devi is Herself Guru of all Śāstras8 and women, as, indeed, all females who are Her embodiments are, in a peculiar sense, Her earthly representatives.
FORMS OF ACARA
There are seven, or, as some say, nine, divisions of worshippers. The extra divisions are bracketed in the following quotation. The Kularnava-Tantra mentions seven, which are given in their order of superiority, the first being the lowest: Vedacara, Vaisnavacara, S'aivacara, Dak§inacara, Vamacara, Siddhantacara, (Aghoracara,6 Yogacara), and Kaula-cara, the highest of all.7 The acara is the way, custom
1. Sarva-varnadhikarascha narinam yogya eva ca (chap. i). 2. It has been said that neither a virgin (kumari), a pregnant woman (garbhinl), nor a woman during her period, can perform vrata. 3. Rudra-yarnala, 2 Khanda (chap, ii); 1 Khanda (chap, xv.), where the qualifications are stated. 4. Ibid., I Khanda'(chap, i); Matrka-bheda-Tantra (chap, viii); Annada-kalpa Tantra cited in Prana-tosinI, p. 68. As the Yoginl-Tantra says, guru-patnl maheS'Sni gurureva (chap. i). 5. Karikala-malini-Tantra (chap. li). 6. This is generally regarded as a distinct sect though the author below cited says it is, in fact, not so. Aghora means, it is said, one who is liberated from the terrible (ghora) samsSra, but in any case, many worshippers for want of instruction by a siddha-guru have degenerated into mere eaters of corpses. 7. Chapter II. A short description (of little aid) is given in the Visva-sara-Tantra (chap. xxiv). See also Hara-tattva-dldhiti, fourth edition, pp. 339, et seq. and practice of a particular class of sadhakas. They are not, as sometimes supposed, different sects, but stages through which the worshipper in this or other births has to pass before he reaches the supreme stage of the Kaula. Vedacara, which consists in the daily practice of the Vaidik rites, is the gross body (sthula-deha), which comprises within it all other acaras, which are, as it were, its subtle bodies (suksma-deha) of various degrees. The worship is largely of an external and ritual character, the object of which is to strengthen dharma. This is the path of action (kriya-marga). In the second stage the worshipper passes from blind faith to an understanding of the supreme protecting energy of the Brahman, towards which he has the feelings of devotion. This is the path of, devotion (bhakti-marga), and the aim at this stage is the union of it and faith previously acquired. With an increasing determination to protect dharma and destroy adharma, the sadhaka passes into Saivacara, the warrior (ksatriya) stage, wherein to love and mercy are added strenuous striving and the cultivation of power. There is union of faith, devotion (bhakti), and inward determination (antar-laksa). Entrance is made upon the path of knowledge (jfiana-marga). Following this is Daksinacara, which in Tantra does not mean "right-hand worship", but "favourable "—that is, that acara which is favourable to the accomplishment of the higher sadhana, and whereof the Devi is the Daksina-Kalika. This stage commences when the worshipper can make dhyana and dharana of the threefold sakti of the Brahman (kriya, iccha, jnāna), and understands the mutual connection (samanvaya)
1. See as to this and following the SanStana-sadhana-tattva, or Tantia-rahasya of SacchidSnanda Svami. of the three gunas until he receives purnabhiseka (q. v). At this stage the sadhaka is S'akta, and qualified for the worship of the threefold sakti of Brahma, Vişņu, Mahesvara. He is fully initiated in the Gayatri-mantra, and worships the Devi Gayatri, the Daksina-Kalika, or Adya Sakti—the union of the three S'aktis. This is the stage of individualistic Brahmanattva, and its aim is the union of faith, devotion, and determination, with a knowledge of the threefold energies. After this a change of great importance occurs, marking, as it does, the entry upon the path of return (nivrtti). This it is which has led some to divide the acara into two broad divisions of Daksinacara (including the first four) and Vamacara, (including the last three), it being said that men are born into Daksinacara, but are received by initiation into Vamacara. The latter term does not mean, as is vulgarly supposed, " left-hand worship " but worship in which woman (vama) enters, that is, lata-sadhana. In this acara there is also worship of the Vama-Devi. Vama is here " adverse," in that the stage is adverse to pravrtti, which governed in varying degrees the preceding acara, and entry is here made upon the path of nivrtti, or return to the source whence the world sprung. Up to the fourth stage the Sadhaka followed pravrttimarga, the outgoing path which led from the source, the path of worldly enjoyment, albeit curbed by dharma. At first unconsciously, and later consciously, sadhana sought to induce nivrtti, which, however, can only fully appear after the exhaustion of the forces of the outward current. In Vamacara, however, the sadhaka commences to directly destroy pravrtti, and with the help of the Guru (whose help throughout is in this necessary)1 to cultivate nivrtti. The method at this stage is to use the forces of pravrtti in such a way as to render them self-destructive. The passions which bind may be so employed as to act as forces whereby the particular life of which they are the strongest manifestation is raised to the universal life. Passion, which has hitherto run downwards and outwards to waste, is directed inwards and upwards, and transformed to power. But it is not only the lower physical desires of eating, drinking, and sexual intercourse which must be subjugated. The sādhaka must at this stage commence to cut off all the eight bonds (pasa) which mark the pasu which the Kulār-nava-Tantra enumerates as pity (dayā), ignorance (moha), shame (lajja), family (kula), custom (sila), and caste (varna).2 When S'ri-Krsna stole the clothes of the bathing Gopis, and made them approach him naked, he removed the artificial coverings which are imposed on man in the samsara. The Gopis were eight, as are the bonds (pasa), and the errors by which the jiva is misled are the clothes which Sri Krsna stole. Freed of these, the jiva is liberated from all bonds arising from his desires, family, and society. He then reaches the stage of S'iva (sivatva). It is the aim of Vāmācāra to liberate from the bonds which bind men to the samsara, and to qualify the sādhaka for the highest grades of sādhana in which the sāttvika guna predominates. To the truly sāttvik there is neither attachment nor fear nor disgust. That
1. It is comparatively easy to lay down rules for thé parvrtti-mSrga, but nothing can be achieved in Vamācara without the Guru's help. 2. There are various enumerations of the " afflictions" (pasa) which are, however, merely elaborations of the smaller divisions. Thus, according to the Devl-Bhagavata, Moha is ignorance or bewilderment, and Maha-moha is desire of worldly pleasures. which has been commenced in these stages is by degrees completed in those which follow—viz.: Siddhantacara, and according to some, Aghoracara and Yogacara. The sadhaka becomes more and more freed from the darkness of the samsara, and is attached to nothing, hates nothing, and is ashamed of nothing, having freed himself of the artificial bonds of family, caste, and society. The sadhaka becomes, like S'iva himself, a dweller in the cremation ground (smasana). He learns to reach the upper heights of sadhana and the mysteries of yoga. He learns the movements of the different vayus in the microcosm, the ksudra-brahmanda, the regulation of which controls the inclinations and propensities (vritti). He learns also the truths which concern the macrocosm (brahmanda). Here also the Guru teaches him the inner core of Vedacara. Initiation by yoga-diksa fully-qualifies him for yogacara. On attainment of perfection in astanga-yoga he is fit to enter the highest stage of Kaulacara.
Kaula-dharma is in no wise sectarian, but, on the contrary, is the heart of all sects. This the true meaning of the phrase which, like many another touching the Tantra, is misunderstood, and used to fix the kaula with hypocrisy—antah-saktah, bahih-saivah, sabhayam vaisnavamatah, nana-rupadharah kaulah vicaranti mahitale; (outwardly Saivas; in gatherings,1 Vaisnavas; at heart, Saktas; under various forms the Kaulas wander on earth). A Kaula is one who has passed through these and other stages, which have as their own inmost doctrine (whether these worshippers know it or not) that of Kaulacara.
1. The vaisnavas are wont to gather together for worship singing the praise of Hari, etc. It is indifferent what the Kaula's apparent sect may be. The form is nothing and everything. It is nothing in the sense that it has no power to narrow the Kaula's own inner life ; it is everything in the sense that knowledge may infuse its apparent limitations with an universal meaning. So understood, form is never a bond. The Visva-sara Tantra says1 of the Kaula that "for him there is neither rule of time nor place. His actions are unaffected either by the phases of the moon or the position of the stars. The Kaula roams the earth in differing forms. At times adhering to social rules (sista), he at others appears, according to their standard, to be fallen (bhrasta). At times, again, he seems to be as unearthly as a ghost (bhuta or pisaca). To him no difference is there between mud and sandal paste, his son and an enemy, home and the cremation ground."
At this stage the sadhaka attains to Brahma-jfiana, which is the true gnosis in its perfect form. On receiving mahapurna-diksa he performs his own funeral rites and is dead to the samsara. Seated alone in some quiet place, he remains is constant samadhi, and attains its nirvikalpa form. The great Mother, the Supreme Prakrti Mahasakti, dwells in the heart of the sadhaka which is now the cremation ground wherein all passions have been burnt away. He becomes a PaRāma-harhsa, who is liberated whilst yet living (jivan-mukta).
It must not, however, be supposed that each of these stages must necessarily be passed through by each jiva in a single life. On the contrary, they are ordinarily traversed in the course of a multitude of
1. Chapter XXIV. births. The weaving of the spiritual garment is recommenced where, in a previous birth, it was dropped, on death. In the present life a sadhaka may commence at any stage. If he is born into Kaulacara, and so is a Kaula in its fullest sense, it is because in previous births he has by sadhana, in the preliminary stages, won his entrance into it. Knowledge of Sakti is, as the Niruttara-Tantra says, acquired after many births; and, according to the Mahānirvāņa-Tantra, it is by merit acquired in previous births that the mind is inclined to Kaulacara.
MANTRA
S'abda, or sound, which is of the Brahman, and as such the cause of the Brahmanda, is the manifestation of the Cit-sakti itself. The Visva-sara-Tantra says1 that the Para-brahman, as S'abda-brahman, whose substance is all mantra, exists in the body of the jivātma. It is either unlettered (dhvani) or lettered (varna). The former, which produces the latter, is the subtle aspect of the jiva's vital sakti. As the Prapanca-sara states, the brahmanda is pervaded by sakti, consisting of dhvani also called nada, prana, and the like. The manifestation of the gross form (sthula) of sabda is not possible unless sabda exists in a subtle (suksma) form. Mantras are all aspects of the Brahman and manifestations of Kulakundalini. Philosophically, sabda is the guna of akasa, or ethereal space. It is not, however, produced by akasa, but manifests in it. S'abda is itself the Brahman. In the same way, however, as in outer space, waves of sound are produced by movements of air (vayu); so in the space
1. Chapter II. within the jiva's body waves of sound are produced according to the movements of the vital air (prana-vayu) and the process of inhalation and exhalation. S'abda first appears at the muladhara and that which is known to us as such is, in fact, the sakti which gives life to the jiva. She it is who, in the muladhara, is the cause of the sweet indistinct and murmuring dhvani, which sounds like the humming of a black bee.
The extremely subtle aspect of sound which first appears in the Muladhara is called para; less subtle when it has reached the heart, it is known as pasyanti. When connected with buddhi it becomes more gross, and is called madhyama. Lastly, in its fully gross form, it issues from the mouth as vaikhari. As Kula-kundalinl, whose substance is all varna and dhvani, is but the manifestation of, and Herself the Para-mātma, so the substance of all mantra is cit, notwithstanding their external manifestation as sound, letters, or words; in fact, the letters of the alphabet, which are known as aksara, are nothing but the yantra of the aksara, or imperishable Brahman. This, however, is only realized by the sadhaka when his sakti, generated by sadhana, is united with the mantrasakti.
It is the sthula or gross form of Kulakundalini, appearing in different aspects as different Devatās, which is the presiding Devatā (adhisthatrl) of all mantra, though it is the subtle or suksma form at which all sadhakas aim. When the mantrasakti is awakened by the sadhana the presiding Devatā appears, and when perfect mantra-siddhi is acquired, the Devatā, who is saccidananda, is revealed. The relations of varna, nada, bindu, vowel and consonant in a mantra, indicate the appearance of Devatā in different forms. Certain vibhutis, or aspects, of the Devatā are inherent in certain varnas, but perfect Sakti does not appear in any but a whole mantra. Any word or letter of the mantra cannot be a mantra. Only that mantra in which the playful Devatā has revealed any of Her particular aspects can reveal that aspect, and is therefore called the individual mantra of that one of Her particular aspects. The form of a particular Devatā, therefore, appears out of the particular mantra of which that Devatā, is the adhis-thatri-Devatā.
A mantra is composed of certain letters arranged in definite sequence of sounds of which the letters are the representative signs. To produce the designed effect mantra must be intoned in the proper way, according to svara (rhythm), and varna (sound).' Their textual source is to be found in Veda, Purana, and Tantra. The latter is essentially the mantra-Śāstra, and so it is said of the embodied Śāstra, that Tantra, which consists of mantra, is the paRāmātma, the Vedas are the jivātma, Darsana (systems of philosophy) are the senses, Puranas are the body, and Smrtis are the limbs. Tantra is thus the sakti of consciousness, consisting of mantra. A mantra is not the same thing as prayer or self-dedication (ātma-nivedana). Prayer is conveyed in what words the worshipper chooses, and bears its meaning on its face. It is only ignorance of sastrik principles which supposes that mantra is merely the name for the words in which one expresses what one has to say to the Divinity. If it were, the
1. For those reasons a mantra, when translated, ceases to be such, and becomes a mere sentence. sadhaka might choose his own language without recourse to the eternal and determined sounds of Śāstra.
A mantra may, or may not, convey on its face its meaning. Blja (seed) mantra, such as Aim, Klirh, Hrirh, have no meaning, according to the ordinary use of language. The initiate, however, knows that their meaning is the own form (sva-rupa) of the particular Devatā, whose mantra they are, and that they are the dhvani which makes all letters sound and which exists in all which we say or hear. Every mantra is, then, a form (rupa) of the Brahman. Though, therefore, manifesting in the form and sound of the letters of the alphabet, Śāstra says that they go to Hell who think that the Guru is but a stone, and the mantra but letters of the alphabet.
From manana, or thinking, arises the real understanding of the monistic truth, that the substance of the Brahman and the brahmanda are one and the same. Man- of mantra comes from the first syllable of manana, and -tra from trana, or liberation from the bondage of the samsara or phenomenal world. By the combination of man- and -tra, that is called mantra which calls forth (amantrana), the catur-varga (vide post), or four aims of sentient being.1 Whilst, therefore, mere prayer often ends in nothing but physical sound, mantra is a potent compelling force, a word of power (the fruit of which is mantra-siddhi), and is thus effective to produce caturvarga, advaitic perception, and mukti. Thus it is said that siddhi is the certain result of japa (q. v.).
1. See "The Garland of Letters" and chapter on Mantra-tattva in " The Principles of Tantra ". By mantra the sought-for (sadhya) Devatā is attained and compelled. By siddhi in mantra is opened the vision of the three worlds. Though the purpose of worship (puja), reading (patha), hymn (stava), sacrifice (homa), dhyana, dharana, and samadhi (vide post), and that of the diksa-mantra are the same, yet the latter is far more powerful, and this for the reason that, in the first, the sadhaka's sadhana-sakti works, in conjunction with mantra-sakti which has the revelation and force of fire, and than which nothing is more powerful. The special mantra which is received at initiation (diksa) is the bija or seed mantra, sown in the field of the sadhaka's heart, and the Tantrik sarhdhya, nyasa, puja and the like are the stem and branches upon which hymns of praise (stuti) and prayer and homage (vandana) are the leaves and flower, and the kavaca, consisting of mantra, the fruit.
Mantras are solar (saura) and lunar (saumya), and are masculine, feminine, or neuter. The solar are masculine and lunar feminine. The masculine and neuter forms are called mantra. The feminine mantra is known as vidya. The neuter mantra, such as the Pauranik-mantra, ending with namah, are said to lack the force and vitality of the others. The masculine and feminine mantras end differently. Thus, Hum, phat, are masculine terminations, and tham, svaha, are feminine ones.1
The Nitya-Tantra gives various names to mantra, according to the number of their syllables, a one-syllabled mantra being called pinda, a three-syllabled
1. See SSradS-tilaka (chap, ii) one kartari, a mantra with four to nine syllables bija, with ten to twenty syllables mantra, and mantra, with more than twenty syllables mala. Commonly, however, the term bija is applied to monosyllabic mantra. The Tantrik mantras called bija (seed) are so named because they are the seed of the fruit, which is siddhi, and because they are the very quintessence of mantra. They are short, unetymological vocables, such as Hrim, S'rim, Krirn, Aim, Phat, etc., which will be found throughout the text.1 Each Devatā has His bija.3 The primary mantra of a Devatā is known as the root mantra (mula-mantra). It is also said that the word mula denotes the subtle body of the Devatā called Kama-kala. The utterance of a mantra without knowledge of its meaning or of the mantra method is a mere movement of the lips and nothing more. The mantra sleeps. There are various processes preliminary to, and involved in, its right utterance, which processes again consist of mantra, such as, for purification of the mouth (mukha-sodhana),3 purification of the tongue (jihva-sodhana)4 and of the mantra (asauca-bhanga),5 kulluka,6 nirvana,7 setu,8
1. See also the mantra portion of the Atharva-Veda to which the Tantra stands in close relation. 2. Krltft (KSli), Hrlrh (Maya), 3. See Chapter X, SSrada-Tilaka, Japa of pranava or the mantra varies with the Devatā—e.g., Orh Hsau for Bhairava. 4. Seven japas of one-lettered bija triplicated, pranava triplicated, then one-lettered bija triplicated. 5. Japa of mula-mantra preceded and followed 6. See SSradS (loc. cit). Thus Kulluka (which is done over the head) of Kalika is 7. Japa of Mola-and Matrka-blja* in the Manipura. 8. Generally the mahamantra Orh or MayS-blja Hrim, but also varies. Thus Setu of Kali is her own bija (krirh), of Tara, Kurcca, etc. nidhra-bhanga, awakening of mantra,1 mantra-cai-tanya, or giving of life or vitality to the mantra.2 Mantrarthabhavana, forming of mental image of the Divinity.3 There are also ten samskaras of the mantra.* Dipani is seven japas of the bija, preceded and followed by om. Where hrim is employed instead of Om it is prana-yoga. Yoni-mudra is meditation on the Guru in the head and on the Ista-Devatā in the heart, and then on the Yoni-rupa Bhagavati from the head to the muladhara, and from the muladhara to the head, making japa of the yoni bija (em) ten times.5 The mantra itself is Devatā. The worshipper awakens and vitalizes it by cit-sakti, putting away all thought of the letter, piercing the six Gakras, and contemplating the spotless One.6 The sakti of the mantra is the vacaka-sakti, or the means by which the vacya-sakti or object of the mantra is attained. The mantra lives by the energy of the former. The saguna-sakti is awakened by sadhana and worshipped, and she it is who opens the portals whereby the vacya-sakti is reached. Thus the Mother in Her saguna form is the presiding deity (adhisthatrl-Devatā of the Gayatri-mantra. As the nirguna (formless) One, She is its vacya-sakti. Both are in reality one and the same; but the jiva, by the laws of his nature and its three
1. Japa of the Mantra is preceded and followed by Im seven times. 2. Japa of Mnla-mantra in Manipura preceded and followed by Matrka-bija. Meditating on the mula-mantra in the sahasrara, anahata, mula-dhara, with Hum, and again in Sahasrara. The mlila is the principal mantra, such as the pancada^i. 3. Lit., thinking of meaning of mantra or thinking of the matrka in the mantra which constitute the Devatā from foot to head. 4. See Tantrasara, p. 90. 5. See Purohita-darpanam. 6. Kubjika-Tantra (chap. v). gunas, must first meditate on the gross (sthula) form 1 before he can realize the subtle (suksma) form, which is his liberator.
The mantra of a Devatā is the Devatā. The rhythmical vibrations of its sounds not merely regulate the unsteady vibrations of the sheaths of the worshipper, thus transforming him, but from it arises the form of the Devatā which it is.2 Mantra-siddhi is the ability to make a mantra efficacious and to gather its fruit3 in which case the mantra is called mantra-siddha. Mantras are classified as siddha, sadhya, susiddha, and ari, according as they are friends, servers, supporters, or destroyers—a matter which is determined for each sadhaka by means of cakra calculations.
THE GAYATRI-MANTRA
The Gayatri is the most sacred of all Vaidik mantras. In it the Veda lies embodied as in its seed. It runs : Om bhur-bhuvah-svah : tat savitur varenyam bhargo devasya dhlmahi dhiyo yo nah pracodayat. Om. " Let us contemplate the wondrous spirit of the Divine Creator (Savitr) of the earthly, atmospheric, and celestial spheres. May He direct our minds, that
1. These forms are not merely the creatures of the imagination of the worshipper, as some " modernist" Hindus suppose, but, according to orthodox notions, the forms in which the Deity, in fact, appears to the worshipper. 2. S'rnu devl pravaksySmi bljanam deva- rupatath. Mantroccaranamatrena, deva-rupam prajayate. —(Brhad-gandharva-Tantra, chap, v.) 3. Yam Yam prarthayate kamarh Tarn tam3pnoti niscitam. (Whatever the sadhaka desires that he surely obtains) —Prana-tosinI, 61S. is ' towards' the attainment of dharma, artha, kama, and moksa, Om."
The Gayatri-Vyakarana of Yogi Yajnavalkya thus explains the following words : Tat, that.1 The word yat (which) is understood.2 Savituh is the possessive case of Savitr derived from the root su, " to bring forth." Savitr is, therefore, the Bringer-forth of all that exists. The Sun (Surya) is the cause of all that exists, and of the state in which they exist. Bringing forth and creating all things, it is called Savitr. The Bhavisya-Purana says Surya is the visible Devatā. He is the Eye of the world and the Maker of the day. There is no other Devatā eternal like unto Him. This universe has emanated from and will be again absorbed into, Him. Time is of and in Him. The planets, the Vasus, Rudras, Vayu, Agni, and the rest are but parts of Him. By Bhargah is meant the Aditya-Devatā, dwelling in the region of the Sun (surya-mandala) in all His might and glory. He is to the Sun what our spirit (ātma) is to our body. Though He is in the region of the sun in the outer or material sphere He also dwells in our inner selves. He is the light of the light in the solar circle, and is the light of the lives of all beings. As He is in the outer ether, so also is He in the ethereal region of the heart. In the outer ether He is Surya, and in the inner ether He is the wonderful Light which is the Smokeless Fire. In short, that Being whom the sadhaka realizes in the region of his heart is the
1. Tat is apparently here treated as in the objective case agreeing, with varenyam, etc., but others holding that the vyahrti (Bhur-bhuvah-svah) form part of and should be linked with, the rest of the Gayatrl treat tat as part of a genitive compound connected with the previous vyahrti, in which case it is tesam. 2. It may, however, be'said that yat is there in Yo nah. Aditya in the heavenly firmament. The two are one. The word is derived in two ways: (1) from the root bhrij, " ripen, mature, destroy, reveal, shine." In this derivation Surya is He who matures and transforms all things. He Himself shines and reveals all things by His light. And it is He who at the final Dissolution (pralaya) will in His image of destructive Fire (kalagni), destroy all things. (2) From bha = dividing all things into different classes; ro = colour; for He produces the colour of all created objects; ga, constantly going and returning. The sun divides all-things, produces the different colours of all things, and is constantly going and returning. As the Brahmana-sarvasva says : " The Bhargah is the Ātma of all that exists, whether moving or motionless, in three lokas (Bhur-bhuvah-svah). There is nothing which exists apart from it."
Devasya is the genitive of Deva, agreeing with Savituh. Deva is the radiant and playful (lilamaya) one. Surya, is in constant play with creation (srsti), existence (sthiti), and destruction (pralaya), and by His radiance pleases all. (Lila, as applied to the Brahman, is the equivalent of maya.) Varenyam = varaniya, or adorable. He should be meditated upon and adored that we may be relieved of the misery of birth and death. Those who fear rebirth, who desire freedom from death and liberation and who strive to escape the three kinds of pain (tapa-traya), which are adhyatmika, adhidaivika, and adhibhautika, meditate upon and adore the Bharga, who dwelling in the region of the Sun, is Himself the three regions called Bhur-loka, Bhuvar-loka, and Svar-loka. Dhimahi = dhyayema, from the root dhyai. We meditate upon, or let us meditate upon. Pracodayat = may He direct. The Gayatri does not so expressly state, but it is understood that such direction is along the catur-varga, or four-fold path, which is dharma, artha, kama, and moksa (piety, wealth, desire and its fulfilment, and liberation, vide post). The Bhargah is ever directing our inner faculties (buddhi-vrtti) along these paths.
The above is the Vaidik Gayatri, which, according to the Vaidik system, none but the twice-born may utter. To the S'udra, whether man or woman, and to women of all other castes it is forbidden. The Tantra which has Gayatri-Mantra of its own, shows no such exclusiveness ; Mahānirvāņa-Tantra, Chapter III, verses 109-111, gives the Brahma-gayatrl for worshippers of the Brahman : " Paramesvaraya vidmahe; para-tattvaya dhimahi; tan no Brahma pracodayat" (May we know the supreme Lord, Let us contemplate the Supreme essence. And may that Brahman direct us).1
YANTRA
This word in its most general sense means an instrument, or that by which anything is accomplished. In worship it is that by which the mind is fixed on its object. The Yogini-Tantra says that the Devi should be worshipped either in pratima (image), mandala,2 or yantra.3 At a certain stage of spiritual progress the sadhaka is qualified to worship yantra. The siddhayogi
1. " The Great Liberation ". 2. A figure frequently drawn or made with various colours. The difference between a mandala and a yantra is that the former is used in the case of any Devatā, whereas, a yantra is appropriate to a specific Devatā only. 3. Or where these are not available then in other substances, such as water, the flowers aparajita, jaba, karavira, drona, etc. (KaulSvaliya-Tantra). yogi in inward worship (antar-puja) commences with the worship of yantra which is the sign (samketa) of brahma-vijfiana as the mantra is the samketa of the Devatā. It is also said that yantra is so called because it subdues (niyantrana) lust, anger, and the other sins of jiva and the sufferings caused thereby.1
The yantra is a diagram engraved or drawn on metal, paper, or other substances,2 which is worshipped in the same manner as an image (pratima). As different mantras are prescribed for different worships, so are different yantras. The yantras are therefore of various designs, according to the objects of worship.3 The one on the next page is a Gayatri yantra belonging to the author. In the centre triangle are3 engraved in the middle the words, S'ri Sri Gayatri sva-prasada siddhim kuru (" S'ri S'ri Gayatri Devi: grant me success"), and at each inner corner there are the bijas, Hrim and Hrah. In the spaces formed by the intersections of the outer ovoid circles is the bija " Hrim ". The outside circular band contains the bija " Tha" which indicates " Svaha", commonly employed to terminate the feminine mantra or vidya. The eight lotus petals which spring from the band are inscribed with the bija, " Hrim, Irh, Hrah". The outermost band contains all the matrkas, or letters of the alphabet, from akara to ksa.4 The whole is enclosed in the way common to all yantras by a bhupura, by which
1. " Principles of Tantra ", (SSdharana-upasana-tattva). 2. Thus the magical treatises speak of yantra designed on leopard's and donkey's skin, human bones, etc. 3. A considerable number are figured in the TantrasSra. 4. In this and other metal yantras no figures of Devatā are shown. These not uncommonly appear in yantras drawn or printed on paper, such as the eight Bhairava S'akti, etc.
Gāyatri Yantra. as it were, the yantra is enclosed from the outer world.1 The yantra when inscribed with mantra, serves (so far as these are concerned) the purpose of a mnemonic chart of that mantra appropriate to the particular Devatā whose presence is to be invoked into the yantra. Certain preliminaries precede, as in the case of a pratima, the worship of a yantra. The worshipper first meditates upon the Devatā, and then arouses Him or Her in himself. He then communicates the divine presence thus aroused to the yantra. When the Devatā has by the appropriate mantra been invoked into the yantra, the vital airs (prana) of the Devatā are infused therein by the prana-pratistha ceremony, mantra, and mudra. The Devatā is thereby installed in the yantra,2 which is no longer mere gross matter veiling the spirit which has been always there, but instinct with its aroused presence, which the sadhaka first welcomes and then worships. Mantra in itself is Devatā and yantra is mantra in that it is the body of the Devatā who is mantra.3
MUDRA
The term mudra is derived from the root mud, " to please," and in its upasana form is so called because it gives pleasure to the Devas. Devanam moda-da mudra tasmat tam yatnatascaret. It is said that there are 108, of which 55 are commonly used.4
1. In painted yantra serpents are commonly shown crawling outside the bhu-pura. 2. See, e g., Mahā-nirvāaria-Tantra, chap, vi, verses 63 et seq. The process is the same as that employed in the case of images (pratima). 3. Yantram mantram-mayarh proktarh mantrātma Devatāiva hi. Dehātmanor-yatha bhedo, > antra-Devatāyostatha (Kaulavaliya Tantra). 4. S'abda-kalpa-druma—sub voc mudra, and see chap. xi. Nirvana Tantra. As to the special sense of mudra in pancatattva, vide post sub voc. The term means ritual gestures made with the hands in worship or positions of the body in yoga practice. Thus of the first class the matsya-(fish) mudra is formed in offering arghya by placing the right hand on the back of the left and extending, fish-like, on each side the two thumbs with the object that the conch which contains water may be regarded as an ocean with aquatic animals; and the yoni-mudra which presents that organ as a triangle formed by the thumbs, the two first fingers, and the two little fingers is shown with the object of invoking the Devi to come and take Her place before the worshipper, the yoni being considered to be Her pitha or yantra. The upasana mudra is thus nothing but the outward expression of inner resolve which it at the same time intensifies. Mudras are employed in worship (arcana), japa, dhyana (q.v.) kamya-karma (rites done to effect particular objects), pratistha (q.v.), snana (bathing), avahana (welcoming), naivedya (offering of food), and visarjana, or dismissal of the Devatā. Some mudras of hatha yoga are described sub voc, " Yoga". The Gheranda-samhita1 says that knowledge of the yogzt mudras grants all siddhis, and that their performance produces physical benefits such as stability, firmness, and cure of disease.
SAMDHYA
The Vaidiki samdhya is the rite performed by the twice-born castes thrice a day, at morning, midday, and evening. The morning sarbdhya is preceded by the following acts. On awakening, a mantra is said in invocation of the Tri-murti and the sun, moon, and 1. Chapter III. verses 4, 8, 10.
planets, and salutation is made to the Guru. The Hindu dvi-ja then recites the mantra: " I am a Deva-I am indeed the sorrowless Brahman. By nature I am eternally free, and in the form of existence, intelligence, and bliss." He then offers the actions of the day to the Deity, confesses his inherent frailty,1 and prays that he may do right. Then, leaving his bed and touching the earth with his right foot, the dvi-ja says, " Om, O Earth ! salutation to Thee, the Guru of all that is good." After attending to natural calls, the twice-born does acamana (sipping of water) with mantra, cleanses his teeth, and takes his early morning2 bath to the accompaniment of mantra. He then puts on his castemark (tilaka) and makes tarpanam, or oblation of water, to the Deva, Rsi and Pitr. The sarhdhya follows, which consists of acamana (sipping of water), marjana-snanam (sprinkling of the whole body with water taken with the hand or kusa-grass), Prānāyāma (regulation of prana through its manifestation in breath), agha-marsna (expulsion of the person of sin from the body; the prayer to the sun, and then (the canon of the sarhdhya) the silent recitation (japa) of the Gayatri-mantra, which consists of invocation (avahana) of the Gayatri-Devi; rsi-nyasa and sadanganyasa (vide post), meditation on the Devi-Gayatri in the morning as Brahmani; at midday as Vaisnavi; and in the evening as Rudrani; japa of the Gayatri a specified number of times;
1. " I know dharma and yet would not do it. I know adharma, and yet would not renounce it. " The Hindu form of the common experience—Video meliora proboque ; deteriora stquor. 2, The householder is required to bathe twice, the ascetic at each of the three sarhdhyas. dismissal (visarjana) of the Devi, followed by other mantras.1
Besides the Brahminical Vaidiki-samdhya from which the Sudras are debarred, there is the Tantriki-sarhdhya, which may be performed by all. The general outline is similar; the rite is simpler; the mantras vary ; and the Tantrika-bijas or " seed " mantras are employed.
PUJA
This word is the common term for worship of which there are numerous synonyms in the Sanskrit language.2 Puja is done daily of the Ista-Devatā or the particular Deity worshipped by the sadhaka—the Devi in the case of a S'akta, Vişņu in the case of a Vaisnava, and so forth. But though the Ista-Devatā is the principal object of worship, yet in puja all worship the Panca-Devatā, or the Five Devas—Aditya (the Sun), Ganesa, the Devi, S'iva, and Vişņu or Narayana. After worship of the PancaDevatā the family Deity (Kula-Devatā), who is generally the same as the Ista-Devatā, is worshipped. Puja, which is kamya, or done to gain a particular end as also vrata, are preceded by the samkalpa; that is, a statement of the resolution to do the worship; as also of the particular object, if any, with which it is done.3
1. The above is a general outline of the Sama Veda sarhdhya, though as each Hindu is of a particular sect and Veda, the sarhdhya differs in detail. See Kriyakandavaridhi and the Purohita-darpana, and S'rls'a Chandra-Vasu, " Daily Practice of the Hindus." The positions and mudr3 are illustrated in Mrs. S. C. Belnos' " Sarhdhya or Daily Prayer of the Brahmin " (1831). 2. Such as arcanS, vandana, saparyya, arhana, namasya, area, bha-jana, etc. 3. It runs in the form : "I—of gotra—etc., am about to perform this pOja (or vrata) with the object," etc- There are sixteen upacaras, or things done or used in puja ; (1) asana (seat of the image) ; (2) svagata (welcome) ; (3) padya (water for washing the feet); (4) arghya (offering of unboiled rice, flowers, sandal paste, durva grass,1 etc., to the Devatā) in the kushi, (vessel) ; (5 and 6) acamana (water for sipping, which is offered twice) ; (7) madhuparka (honey, ghee, milk, and curd offered in a silver or brass vessel); (8) snana (water for bathing) ; (9) vasana (cloth) ; (10) abharana (jewels) ; (11) gandha (scent and sandal paste is given) ; (12) puspa (flowers); (13) dhupa (incense stick) ; (14) dipa (light) ; (15) naivedya (food) ; (16) vandana or namaskara (prayer). Other articles are used which vary with the puja, such as Tulasi leaf in the Vişņu-puja and bael-(biiva) leaf in the S'iva-puja, The mantras said also very according to the worship. The seat (asana) of the worshipper is purified. Salutation being made to the S'akti of support or the sustaining force (adhara-sakti), the water, flowers, etc., are purified. All obstructive spirits are driven away (bhutapasarpa-na), and the ten quarters are fenced from their attack by striking the earth three times with the left foot, uttering the Astra-bij a " phat ", and by snapping the fingers (twice) round the head. Prānāyāma (regulation of breath) is performed and (vide post) the elements of the body are purified (bhuta-suddhi). There is nyasa (vide post) ; dhyana (meditation) ; offering of the upacara; japa (vide post), prayer and obeisance (pranama). In the asta-murtl-puja of S'iva, the Deva is worshipped under the eight forms: Sarva (Earth), Bhava (Water), Rudra (Fire), Ugra (Air),
1. Kus'a grass is used only in pitr-kriya or straddha, and in homa. Arghya is of two kinds—samanya (general), and vis"esa (special). Bhima (Ether), Pasupati (yajamana—the Sacrifice man), Isana (Sun), Mahadeva (Moon).1
YAJNA
This word, which comes from the root yaj (to worship), is commonly translated "sacrifice". The Sanskrit word is, however, retained in the translation, since Yajna means other things also than those which come within the meaning of the word " sacrifice ", as understood by an English reader. Thus the "five great sacrifices " (panca-maha-yajna) which should be performed daily by the Brahmanaare: The homa2 sacrifice, including Vaisva-deva offering,3 bhutayajna or bali, in which offerings are made to Deva, Bhuta, and other Spirits and to animals; pitr-yajna or tarpana, oblations to the pitr; Brahma-yajna, or study of the Vedas and Manusyayajna,4 or entertainment of guests (atithisaparya). By these five yajfias the worshipper places himself in right relations with all beings, affirming such relation between Deva, Pitr, Spirits, men, the organic creation, and himself.
Homa, or Deva-yajfia, is the making of offerings to Fire, which is the carrier thereof to the Deva. A firepit (kunda) is prepared and fire when brought from the house of a Brahmana is consecrated with mantra. The fire is made conscious with the mantra, Vam vahni-caitanyaya namah, and then saluted and named. Meditation is then made on the three nādīs (vide ante)—Ida, Pingala, and Susumna—and on Agni,
1. Sec Chapter V of Todal a-Tantra. 2. Vide post. 3. Offerings of food and other things are made in the domestic fire. (See Krlya-kanda- varidhi, p. 917). 4. Also called Nri-yajna (man facrifice). the Lord of Fire. Offerings are made to the Ista-Devatā in the fire. After the puja of fire, salutation is given as in Sadanga-nyasa, and then clarified butter (ghee) is poured with a wooden spoon into the fire with mantra, commencing with Om and ending with Svaha. Homa is of various kinds,1 several of which are referred to in the text, and is performed either daily, as in the case of the ordinary nitya-vaisva-deva-homa, or on special occasions, such as the upanayana or sacred thread ceremony, marriage, vrata, and the like. It is of various kinds, such as prayascitta-homa, srstikrt-homa, janu-homa, dhara homa and others, some of which will be found in the " Principles of Tantra ".
Besides the yajna mentioned there are others. Manu speaks of four kinds: deva, bhauta (where articles and ingredients are employed, as in the case of homa, daiva, bali), nryajfia, and pitr-yajna. Others are spoken of, such as japa-yajna, dhyana-yajna, etc. Yajnas are also classified according to the dispositions and intentions of the worshipper into satvika, rajasika, and tamasika yajna.
VRATA
Vrata is a part of Naimittika, or voluntary karma.2 It is that which is the cause of virtue (punya), and is done to achieve its fruit. Vratas are of various kinds. Some of the chief are Janmastami on Krsna's birthday ; S'ivaratri in honour of S'iva; and the satpancami, Durv-astami, Talanavami, and Anantacaturdasi performed
1. See Kriya-kanda-varidhi; p. 133. Homa may be either Vaidlk, Pauranik, or Tantrik. 2. Vide ante. at specified times in honour of Laksmi, Narayana, and Ananta. Others may be performed at any time, such as the Savitri-vrata by women only,1 and the Kartikeya-puja by men only.2 The great vrata is the celebrated Durga-puja, maha-vrata in honour of the Devi as Durga, which will continue as long as the sun and moon endure, and which, if once commenced, must always be continued. There are numerous other vratas which have developed to a great extent in Bengal, and for which there is no Sastric authority, such as Madhu-sarhkranti-vrata, Jalasarhkrantivrata and others. While each vrata has its peculiarities, certain features are common to vratas of differing kinds. There is both in preparation and performance sarhyama, such as sexual continence, eating of particular food such as havisyanna,3 fasting, bathing. No flesh or fish is taken. The mind is concentrated to its purposes, and the vow or resolution (niyama) is taken. Before the vrata the Sun, Planets, and Kula-Devatā are worshipped, and by the " suryah-somoyamah-kala" mantra all Devas and Beings are invoked to the side of the worshipper. In the vaidika vrata the sarhkalpa4 is made in the morning, and the vrata is done before midday. 1. To attain good wifehood, long life for the husband in this world and life with him in the next. 2. To secure children. 3. To prepare havisyanna, particular kinds of fruit and vegetable such as green bananas, dill, sweet potatoes (lal alu, in the vernacular), together with unboiled rice are placed in one pot. Only so much water is poured in as is necessary to make the whole boil. It should be boiled until no water is left. After the pot is taken off the fire, ghee and salt are added. 4. Vide ante, p. 97. TAPAS
This term is generally translated as meaning penance or austerities. It includes these, such as the four monthly fasts (catur-masya), the sitting between five fires (pancagnitapah), and the like. It has, however, also a wider meaning, and in this wider sense is of three kinds, namely, sarira, or bodily; vacika, by-speech ; manasa, in mind. The first includes external worship, reverence and support given to the Guru, Brahmanas and the wise (prajna), bodily cleanliness, continence, simplicity of life and avoidance of hurt to any being (ahimsa). The second form includes truth, good, gentle, and affectionate speech, and the study of the Vedas, The third or mental tapas includes self-restraint, purity of disposition, silence, tranquillity, and silence. Each of these classes has three subdivisions, for tapas may be satvika, rajasika, or tamasika, according as it is done with faith, and without regard to its fruit; or for its fruit; or is done through pride and to gain honour and respect; or, lastly, which is done ignorantly or with a view to injure and destroy others, such as the sadhana of the Tantrika-sat-karma,1 when performed for a malevolent purpose (abhicara).
JAPA
Japa is defined as "vidhanena mantroccaranam", or the repeated utterance or recitation of mantra according to certain rules.2 It is according to the
1. S'unti, Vasikarana, Stambhana, Vidvesana, Uccatana and Marana. See Indra-jala-vidya; the Kamaratna of NSga-bhatta; Sat-karmadlpika of S'ri-Krsna Vidya-vaglsa Bhattacarya, Siddha-yogesvari-Tantra, Siddha-Nagarjuna, Kaksa-puta, Phet-karinI, and other Tantras (passim).
2. Though mere book knowledge is, according to the Sat-karmadlpika, useless.
Pustake likita vidya yena sundari japyate, Siddhir na jayate devi kalpa-koti-s'atair api. Tantrasara of three kinds: Vacika or verbal japa, in which the mantra is audibly recited, the fifty matrkas being sounded nasally with bindu; Upamsu-japa, which is superior to the last kind, and in which the tongue and lips are moved, but no sound, or only a slight whisper, is heard ; and, lastly, the highest form which is called manasa-japa, or mental utterance. In this there is neither sound nor movement of the external organs, but a repetition in the mind which is fixed on the meaning of the mantra. One reason given for the differing values attributed to the several forms is that where there is audible utterance the mind thinks of the words and the process of correct utterance, and is therefore to a greater (as in the case of vacika-Japa), or to a less degree (as in the case of upamsujapa), distracted from a fixed attention to the meaning of the mantra. The Japas of different kinds have also the relative values, attachable to thought and its materialization in sound and word. Certain conditions are prescribed as those under which japa should be done, relating to physical cleanliness, the dressing of the hair, and wearing of silk garments, the seat (asana), the avoidance of certain conditions of mind and actions, and the nature of the recitation. The japa is useless unless done a specified number of times of which 108 is esteemed to be excellent. The counting is done either with a mala or rosary (mala-japa), or with the thumb of the right hand upon the joints of the fingers of that hand (kara-japa). The method of the counting in the latter case may differ according to the mantra.1
1. See as to Japa, Tantrasara, 75, et seg.
SAMSKARA
There are ten (or, in the case of S'udras, nine) purificatory ceremonies, or "sacraments," called samskaras, which are done to aid and purify the jiva in the important events of his life. These are jiva-sheka, also called garbhadhana-rtu-samskara, performed after menstruation, with the object of insuring and sanctifying conception. The garbhadhana ceremony takes place in the daytime on the fifth day and qualifies for the real garbhadhana at night—that is, the placing of the seed in the womb. It is preceded on the first day by the rtu-sarhskara, which is mentioned in Chapter IX of Mahānirvāņa-Tantra. After conception and during pregnancy, the purnsavana and simantonnayana rites are performed; the first upon the wife perceiving the signs of conception, and the second during the fourth, sixth, or eighth month of pregnancy.
In the ante-natal life there are three main stages, whether viewed from the objective (physical) standpoint, or from the subjective (super-physical) standpoint.1 The first period includes on the physical side all the structural and physiological changes which occur in the fertilized ovum from the moment of fertilization until the period when the embryonic body, by the formation of trunk, limbs, and organs, is fit for the entrance of the individualized life, or jivātma. When the pronuclear activity and differentiation are completed, the jivātma, whose connection with the pronuclei initiated the pronuclear or formative activity,
1. For what follows on the medical side, see the Appendix, vol. i. p. 194. on the Samskaras, by Dr. Louise Appel, in the " Pranava-vSda" of Bhagava'n Das. enters the miniature human form, and the second stage of growth and development begins. The second stage is the fixing of the connection between the jiva and the body, or the rendering of the latter viable. This period includes all the anatomical and physiological modifications by which the embryonic body becomes a viable foetus. With the attainment of viability, the stay of the jiva has been assured; physical life is possible for the child, and the third stage in ante-natal life is entered. Thus, on the form side, if the language of comparative embryology is used, the first sarhskara denotes the impulse to development, from the " fertilization of the ovum " to the " critical period ". The second sarhskara denotes the impulse to development from the " critical period " to that of the " viability stage of the fcetus " ; and the third sarhskara denotes the development from " viability " to " full term".
On the birth of the child there is the jata-karma, performed for the continued life of the new-born child. Then follows the nama-karana, or naming ceremony, and niskRāmana in the fourth month after delivery, when the child is taken out of doors for the first time and shown the sun, the vivifying source of life, the material embodiment of the Divine Savita. Between the fifth and eight month after birth the annaprasana ceremony is observed, when rice is put in the child's mouth for the first time. Then follows the cuda-karana, or tonsure ceremony ;x and in the case of the first three or !i twice-born" classes, upanayana, or investiture with the sacred thread. Herein the jiva is reborn into spiritual life. There is, lastly, udvaha, or
1. A lock of hair is left at the top of the head, called slkha. As when a king visits a place, the royal banner is set up, so on the head in whose thousand-petalled lotus the Brahman resides, Sakha is left. marriage, whereby the unperfected jlva insures through offspring that continued human life which is the condition of its progress and ultimate return to its Divine Source. These are all described in the Ninth Chapter of this Tantra. There are also ten sarhskaras of the mantra (q. v.). The sarhskaras are intended to be performed at certain stages in the development of the human body, with the view to effect results beneficial to the human organism. Medical science of to-day seeks to reach the same results, but uses for this purpose the physical methods of modern Western science, suited to an age of materiality; whereas in the samskaras the superphysical (psychic, or occult, or metaphysical and subjective) methods of ancient Eastern science are employed. The sacraments of the Catholic Church and others of its ceremonies, some of which have now fallen into disuse,1 are Western examples of the same psychic method.
PURAS'CARANA
This form of sadhana consists in the repetition (after certain preparations and under certain conditions) of a mantra a large number of times. The ritual2 deals with the time and place of performance, the measurements and decorations of the mandapa, or pandal, and of the altar and similar matters. There are certain rules as to food both prior to, and during, its performance. The sadhaka should eat havisyanna,5 or alternatively boiled milk (ksira), fruits, or Indian vegetables, or anything obtained by begging,
1. E.g., the blessing of the marital bed, which bears analogy to the Hindu garbhadhana rite. 2. For a short account, see Puraicarana-bodhinl, by Hara-kumara-Tagore (1895) and see Tantrasara, p. 71. 3. See ante. and avoid all food calculated to influence the passions. Certain conditions and practices are enjoined for the destruction of sin, such as continence, bathing, japa (q. v.) of the Savitri-mantra 5008, 3008, or 1008 times, the entertainment of Brahmanas, and so forth. Three days before puja there is worship of Ganesa and Ksetra-pala, Lord of the Place. Panca-gavya,1 or the five products of the cow, are eaten. The Sun, Moon, and Devas, are invoked. Then follows the sarhkalpa.2 The ghata or kalasa (jar), is then placed into which the Devi is to be invoked. A mandala or figure of a particular design is marked on the ground, and on it the ghata is placed. Then the five or nine gems are placed on the kalasa, which is painted with red and covered with leaves. The ritual then prescribes for the tying of the crown lock (sikha), the posture (asana) of the sadhaka, japa (q.v.)s nyasa (q.v.), and the mantra ritual or process. There is meditation, as directed. Kulluka3 is said and the mantra " awakened " (mantra-caitanya), and recited the number of times for which the vow has been taken.
BHUTA-STJDDHI
The object of this ritual, which is described in Mahānirvāņa-Tantra, Chapter V, verses 93 et seq, is the purification of the elements of which the body is composed.4
1. Milk, curd, ghee, urine, and dung, the two last (except in the case of the pious) in smaller quantity. 2. See ante. 3. See ante. 4. And not " removal of evil demons " as Professor Monier Williams's Dictionary has it. The Mantra-mahodadhi speaks of it as a rite which is preliminary to the worship of a Deva.1 The process of evolution from the Para-brahman has been described. By this ritual a mental process of involution takes place whereby the body is in thought resolved into the source from whence it has come. Earth is associated with the sense of smell, water with taste, fire with sight, air with touch, and ether with sound. Kundalini is roused and led to the svadhisthana Cakra. The " earth " element is dissolved by that of " water " as " water," is by " fire," " fire " by " air," and " air " by " ether." This is absorbed by a higher emanation, and that by a higher, and so on, until the Source of all is reached. Having dissolved each gross element (maha-bhuta), together with the subtle element (tan-matra) from which it proceeds, and the connected organ of sense (indriya) by another, the worshipper absorbs the last element, " ether," with the tanmatra sound into self-hood (aharhkara), the latter into Mahat, and that, again, into Prakrti, thus retracing the steps of evolution. Then, in accordance with the monistic teaching of the Vedanta, Prakrti is Herself thought of as the Brahman, of which She is the energy, and with which, therefore, She is already one. Thinking then of the black Purusa, which is the image of all sin, the body is purified by mantra, accompanied by kumbhaka and recaka,9 and the sadhaka meditates upon the new celestial (deva) body, which has thus been made and which is then strnegthened by a " celestial gaze." 3
1. Taranga i.: Devarca-yogyata-praptyai bhuta-suddhirh saraacaret. 2. See PranaySma, sub. eoc. Yoga post. 3. Vide post. NYASA
This word, which comes from the root " to place," means placing the tips of the fingers and palm of the right hand on various parts of the body, accompanied by particular mantras. The nyasas are of various kinds.1 Jiva-nyasa2 follows upon bhuta-suddhi. After the purification of the old, and the formation of the celestial body, the sadhaka proceeds by jiva-nyasa to infuse the body with the life of the Devi. Placing his hand on his heart, he says the " soham" mantra (" I am He"), thereby identifying himself with the Devi. Then placing the eight Kula-kundalinis in their several places, he says the following mantras: Aim, Krim, Klim, Yarn, Ram, Lam, Vam, Sam, Sam, Sam, Horn, Haum, Hamsah: the vital airs of the highly blessed and auspicious Primordial Kalika are here.2 " Aim, etc., the embodied spirit of the highly blessed and auspicious Kalika is placed here."4 " Aim, etc., here are all the senses of the highly auspicious and blessed Kalika;"5 and, lastly, "Aim, etc., may the speech, mind, sight, hearing, smell, and vital airs of the highly blessed and auspicious Kalika coming here always abide here in peace and happiness Svaha."6 The sadhaka then becomes Devatā-maya. After having thus dissolved the sinful body, made a new Deva body, and infused it with the life of the Devi, he proceeds to matrkanyasa. Matrka are the
1. See Kriya-kanda-vSridhi (p. 120, chap, ii et seq.) 2. See Mahānirvāņa-Tantra, Chapter V. verse 105, where a fuller account is given of the above. 3. S'rimad-adyakalikayah prana iha pr3nah. 4. S'rixnad-adya 5. S'rimad-adya-kalikayah sarvendrlyani sthitani. 6. S'rimad-adya-kalikayah fifty letters of the Sanskrit alphabet; for as from a mother comes birth, so from matrka, or sound, the world proceeds. Sabdabrahman, the " Sound," " Logos," or " Word," is the Creator of the worlds of name and form.
The bodies of the Devatā are composed of the fifty matrkas. The sadhaka, therefore, first sets mentally (antar matrka-nyasa) in their several places in the six cakras, and then externally by physical action (Bahyamatrkanyasa) the letters of the alphabet which form the different parts of the body of the Devatā, which is thus built up in the sadhaka himself. He places his hand on different parts of his body, uttering distinctly at the same time the appropriate matrka for that part.
The mental disposition in the cakras is as follows: In the Ajna Lotus, Ham, Ksam, (each letter in this and the succeeding cases is said, followed by the mantra namah);1 in the Visuddha Lotus Am, Am, and the rest of the vowels; in the Anahata Lotus kam, kham to tham; in the Manipura Lotus, dam, dham, etc., to pham: in the Svadhisthana Lotus bam, bham to lam; and, lastly, in the Muladhara Lotus, vam, iam,2 sam,3 sam. The external disposition then follows. The vowels in their order with anusvara and visarga are placed on the forehead, face, right and left eye, right and left ear, right and left nostril, right and left cheek, upper and lower lip, upper and lower teeth, head, and hollow of the mouth. The consonants kam to vam are placed on the base of right arm and the elbow, wrist, base and tips of fingers, left arm, right
1. Thus, Harh namah, Ksarh namah etc., 2. Talavya s'a—soft, palatal sh. 3. Murdhanya sa—hard cerebral sh. and left leg, right and left side, back, navel, belly, heart, right and left shoulder, space between the shoulders (kakuda), and then from the heart to the right palm sam is placed; and from the heart to the left palm the (second) sam; from the heart to the right foot, sam; from the heart to the left foot, ham ; and, lastly, from the heart to the belly, and from the heart to the mouth, ksam. In each case om is said at the beginning and namah at the end. According to the Tantrasara, matrka-nyasa is also classified into four kinds, performed with different aims—viz: kevala where the matrka is pronounced without bindu; bindu-samyuta with bindu; sarhsarga with visarga; and sobhya with visarga and bindu.
Rsi-nyasa then follows for the attainment of the caturvarga.1 The assignment of the mantra is to the head, mouth, heart, anus, the two feet, and all the body generally. The mantras commonly employed are: " In the head, salutation to the Rsi (Revealer) Brahma ;2 in the mouth, salutation to the mantra Gayatrt ;" in the heart, salutation to the Devi Mother Sarasvati ;4 in the hidden part, salutation to the bija, the consonants ;" salutation to the sakti, the vowels in the feet ;" salutation to visargah, the kilaka in the whole body."? Another form in which the bija is employed is that of the Adya; it is referred to but not given in Chap. V, verse 123, and is: "In the head,
1. Dharmartha-Kama-rnoksaye rsi-nyase viniyogah. 2. S'irasi Brahmarsaye namah. 3. Mukhe Gayatryai-cchandase namah. 4. Hrdaye mStrkayai sarasvatyai Devatāyai namah. 5. Guhye (that is, the anus) vyarijanaya bljaya namah. 6. Padayoh svarebhyoh daktibhyo namah. 7. Sarvangesu visargaya ktlakaya (that is, that which comes at the end or closes; the hard breathing) namah. salutation to Brahma and the Brahmarsis;1 in the mouth, salutation to Gayatrl and the other forms of verse;2
Then follows anga-nyasa and kara-nyasa. These are both forms of sadanga-nyasa.7 When sadanga-nyasa is performed on the body, it is called hrdayadi-sadanga nyasa; and when done with the five fingers and palms of the hands only, angusthadi sadanganyasa. The short vowel a, the consonants of the ka-varga group, and the long vowel a are recited with "hrdayaya namah" (salutation to the heart). The short vowel i, the consonants of the ca-varga group, and the long vowel i, are said with "sirasi svaha" (svaha to the head). The hard ta-varga consonants set between the two vowels u and u are recited with " sikhayai vasat" (vasat to the crown lock); similarly the soft ta-varga between the vowels e and ai are said with " kavacaya 8 hum." The short vowel o, the pa-varga, and the long vowel o are recited with netra-trayaya vausat (vausat to the three eyes).9 Lastly, between bindu and visarga 10 the consonants ya to ksa with " karatalakara prsthabhyam
1. S'irasi brahmane brahmarsibhyo namah. 2. Muke gayatryadibhyascandobhyo namah. 3. Hrdaye adyayai kalikayai Devatāyai namah. 4. Guhye Krlrh-bljaya 5. Padayoh krlm-^aktaye namah. 6. Sarvangesu ^rlrh-kalikayai namah. 7. Sat (six), aiiga (limb), nyasa (placing). 8. The kavaca is the arms crossed on the chest, the hands clasping the upper part of the arms just beneath the shoulders. 9. Including the central eye of wisdom (jnāna-caksu) 10 The nasal sound and hard breathing. astraya phat" (phat to the front and back of the palm).1
The mantras of sadanga-nyasa on the body are used for kara-nyasa, in which they are assigned to the thumbs, the " threatening " or index fingers, the middle fingers, the fourth, little fingers, and the front and back of the palm.
These actions on the body, fingers, and palms also stimulate the nerve centres and nerves therein.
In pitha-nyasa, the pithas are established in place of the matrka. The pithas, in their ordinary sense, are Kamarupa and the other places, a list of which is given in the Yoginl-hrdaya.2
For the attainment of that state in which the sadhaka feels that the bhava (nature, disposition) of the Devatā has come upon him, nyasa is a great auxiliary. It is, as it were, the wearing of jewels on different parts of the body. The bija of the Devatā are the jewels which the sadhaka places on the different parts of his body. By nyasa he places his Abhista-Devatā in such parts, and by vyapaka-nyasa, he spreads its presence throughout himself. He becomes permeated by it losing himself in the divine Self.
Nyasa is also of use in effecting the proper distribution of the saktis of the human frame in their proper positions so as to avoid the production of discord and distraction in worship. Nyasa as well as Asana are
1. In all cases the letters are sounded with the nasal anusvSra, as (in the last) am, yarn, ram, lam, vam, sarn, sam, sarn, ham, ksham, ah, etc. 2. See BhaskararSya's Commentary on sloka 156 of the Lalita-sahasra-nama and ante. The number of Pithas is variously given as 50 or 51. necessary for the production of the desired state of mind and of cittasuddhi (its purification). " Das denken ist der mass der Dinge." 1 Transformation of thought is Transformation of being. This is the essential principle and rational basis of all this and similar Tantrik sadhanas.
PANCATATTVA
There are as already stated, three classes of men— Pasu, Vira, and Divya. The operation of the gunas which produce these types affect, on the gross material plane, the animal tendencies, manifesting in the three chief physical functions—eating and drinking, whereby the annamayakosa is maintained, and sexual intercourse, by which it is reproduced. These functions are the subject of the pancatattva or pancamakara (" five m's"), as they are vulgarly called—viz : madya (wine), mamsa (meat), matsya (fish), mudra (parched grain), and maithuna (coition). In ordinary parlance, mudra means ritual gestures or positions of the body in worship and hathayoga, but as one of the five elements it is parched cereal, and is defined2 as Bhristadanyadikam yadyad chavyaniyam prachaksate, sa mudra kathita devi sarvesam naganandini. The Tantras speak of the five elements as pancatattva, kuladravya, kulatattva, and certain of the elements have esoteric names, such as karanavari or tirthavari, for wine, the fifth element being usually called latasadhana3 (sadhana with woman, or sakti). The five elements, moreover have various meanings, according as they form part of the tamasika (pasvacara)
1. Prantl, 2. Yoginl-TSntra (chap. vi). 3. " Creeper " to which woman, as clinging to the male tree, is likened. rajasika (viracara), or divya or sattvika sadhanas respectively.
All the elements or their substitutes are purified and consecrated and then, with the appropriate ritual, the first four are consumed, such consumption being followed by lata-sadhana or its symbolic equivalent. The Tantra prohibits indiscriminate use of the elements, which may be consumed or employed only after purification (sodhana) and during worship1 according to the Tantric ritual. Then also, all excess is forbidden. The Syama-rahasya says that intemper-rance leads to Hell, and this Tantra condemns it in Chapter V. A well-known saying in Tantra describes the true " hero " (vira) to be, not he who is of great physical strength and prowess, the great eater and drinker, or man of powerful sexual energy, but he who has controlled his senses, is a truth-seeker, ever engaged in worship, and who has sacrificed lust and all other passions. (Jitendriyah, satyavadi, nityanu-sthanatatparah, kamadi-baiidanasca sa vira iti giyate).
The elements in their literal sense are not available in sadhana for all. The nature of the Pasu requires strict adherence to Vaidik rule in the matter of these physical functions even in worship. This rule prohibits the drinking of wine, a substance subject to the three curses of Brahma, Kaca, and Krsna, in the following
1. See Tantrasara, 608. citing Bhava-cudamani. As regards maithuna, the BrhSnnila-Tantra (chap, iv) says s ParadSrlnna gaccheran gacchecca prajapedyadi (that is, for purpose of worship) and similarly the Uttara-Tantra:
Pujakalarh vina nanyarh purusarn manasa sprset Pujakaleca devest vegyeva paritosayet.
The same rule as regards both madya and maithuna is stated in the Kulamrta as elsewhere. terms ; Madyam apeyam adeyam agrahyam ("Wine 1 must not be drunk, given, or taken"). The drinking of wine in ordinary life for satisfaction of the sensual appetite is, in fact, a sin; involving prayascitta, and entailing, according to the Visnu Purana;" punishment in the same Hell as that to which a killer of a Brahmana goes. As regards flesh and fish the higher castes (outside Bengal) who submit to the orthodox Smartha discipline eat neither. Nor do high and strict Brahmanas even in that Province. But the bulk of the people there, both men and women, eat fish, and men consume the flesh of male goats which have been previously offered to the Deity. The Vaidika dharma is equally strict upon the subject of sexual intercourse. Maithuna other than with the householder's own wife is condemned. And this is not only in its literal sense, but in that which is known as A~tailga (eightfold) maithuna-viz., smaranam (thinking upon it), kirttanam (talking of it), keli (play with women), preksanam (looking upon woman), guhyabhasanam (talk in private with woman), sarnkalpa (wish or resolve for maithuna), adhyavasaya (determination towards it), kriyanispati (actual accomplishment of the sexual act). In short, the pasu (and except for ritual purposes those who are not pas us) should, in the words of the Saktakramrya, avoid maithuna, conversation on the subject, and assemblies of women(rnaithunam tatkathalaparn tadgosthirn parivarjayet). Even in the case of the householder's own wife marital continency
1. From the standpoint of Tantrika-ViracSra, the drinking of wine here referred to is ordinary drinking, and not the ritual worship (of those qualified for it) with the purified substance which is Tara (the Saviour) Herself in liquid form (dravamayl). 2. Vişņu-Purana (Bk. II, ehap. vi) is enjoined. The divinity in woman, which the Tantra in particular proclaims, is also recognized in the ordinary Vaidik teaching, as must obviously be the case given the common foundation upon which all the Śāstras rest. Woman is not to be regarded merely as an object of enjoyment, but as a house-goddess (grhaDevatā).1 According to the sublime notions of S'ruti, the union of man and wife is a veritable sacrificial rite—a sacrifice in fire (homa), wherein she is both hearth (kunda) and flame—and he who knows this as homa attains liberation.2 Similarly the Tantrika-Mantra for the Sivasakti Yoga runs: " This is the internal homa in which, by the path of susumna, sacrifice is made of the functions of sense to the spirit as fire kindled with the ghee of merit and demerit taken from the mind as the ghee pot Svaha."3 It is not only thus that wife and husband are associated; for the Vaidikadharma (in this now neglected) prescribes that the householder should worship in company with his wife.4 Brahma-carya, or continency, is not as is sometimes supposed, a requisite of the student asRāma only, but is a rule which governs the married householder (grhastha)
1. Cited in the Commentary on the Karpuradistotra (verse 15), by Mahamahopadhyaya Krsnanatha Ny3ya-panchanana BhattScharyya. 2. See thirteenth mantra of the Homa-prakarana of the Brhadaran-yaka-Upanisad. The Niruttara-Tantra (chap, i) says : Yonirupa mahakali savah sayya Prakirtita. Smadanam dvividhaih devi cita yonirmahesvari. 3. Orb. dharmadharma havirdipte ātmagnau manasa sVuca. susumna vartmana nityam aksavrttirjuhomyaharh 4. S'astriko dharmamacaret (see also chap, xxxi of the Matsya-S'ukta-Tantra) also. According to Vaidika injunctions, union of man and wife must take place once a month on the fifth day after the cessation of the menses, and then only. Hence it is that the Nitya Tantra when giving the characteristic of a pasu, says that he is one who avoids sexual union except on the fifth day (rtukalarh-vina devi Rāmanam parivrajayet). In other words, the pasu is he who in this case, as in other matters, follows for all purposes, ritual or otherwise, the Vaidik injunctions which govern the ordinary life of all.
The above-mentioned rules govern the life of all men. The only exception which the Tantra makes is for purpose of sadhana in the case of those who are competent (adhikari) for viracara. It is held, indeed, that the exception is not strictly an exception to Vaidik teaching at all and that it is an error to suppose that the Tantrika-rahasyapuja is opposed to the Vedas. Thus, whilst the Vaidik rule prohibits the use of wine in ordinary life and for purposes of mere sensual gratification it prescribes the religious yajfia with wine. This ritual use the Tantra also allows, provided that the sadhaka is competent for the sadhana, in which its consumption is part of its ritual and method.
The Tantra enforces the Vaidik rule in the cases, ritual or otherwise, for those who are governed by the vaidikacara. The Nitya-Tantra says: " They (pasu) should never worship the Devi during the latter part of the day, in the evening or at night " (ratrau naiva yajeddevirh samdhyayarii va paranhake) ; for all such worship connotes maithuna prohibited to the pasu. In lieu of it, varying substitutes1 are prescribed, such as either an offering of flowers with the hands formed into the kaccapamudra, or union with the worshipper's own wife. In the same way, in lieu of wine, the pasu should (if a Brahmana) take milk, (if a Ksattriya) ghee, (if a Vaisya) honey, and (if a S'udra) a liquor made from rice. Salt, ginger, sesamum, wheat, mashkalai (beans), and garlic are various substitutes for meat; and the white brinjal vegetable, red radish, masur (a kind of gram), red sesamum, and paniphala (an aquatic plant), take the place of fish. Paddy, rice, wheat, and gram generally are mudra.
The vira, or rather he who is qualified (adhikari) for viracara—since the true vira is its finished product —commences sadhana with the rajasika pancatattva first stated, which are employed for the destruction of the sensual tendencies which they connote. For the worship of S'akti the pancatattvas are declared to be essential. This Tantra declares that such worship without their use is but the practice of evil magic.
Upon this passage the commentator Jaganmohana Tarkalarhkara observes as follows: Let us consider what most contributes to the fall of a man, making him forget duty, sink into sin, and die an early death. First among these are wine and women, fish, meat and mudra, and accessories. By these things men have lost their manhood. S'iva then desires to employ these very poisons in order to eradicate the poison in the human system. Poison is the antidote for poison. This is the right treatment for those who 1. See as to these and post, the KulacUdamanl, and chap, i of Bhairava-yamala.
long for drink or lust for women. The physician must, however, be an experienced one. If there be a mistake as to the application, the patient is likely to die. Siva has said that the way of kulacara is as difficult as it is to walk on the edge of a sword or to hold a wild tiger. There is a secret argument in favour of the panca-tattva, and those tattvas so understood should be followed by all.1 None, however, but the initiate can grasp this argument, and therefore Siva has directed that it should not be revealed before anybody and everybody. An initiate, when he sees a woman, will worship her as his own mother or goddess (Istade-vata), and bow before her. The Vişņu-Purana says that by feeding your desires you cannot satisfy them. It is like pouring ghee on fire. Though this is true, an experienced spiritual teacher (guru) will know how, by the application of this poisonous medicine, to kill the poison of sarhsara. Siva has, however, prohibited the indiscriminate publication of this. The meaning of this passage would therefore appear to be this : The object of Tantrika worship is brahmasayujya, or union with Brahman. If that is not attained, nothing is attained. And, with men's propensities as they are, this can only be attained through the special treatment prescribed by the Tantras. If this is not followed, then the sensual propensities are not eradicated, and the work for the desired end of Tantra is as useless as magic which, worked by such a man, leads only to die injury of others. The other secret argument here referred to is that by which it is
1. Mahānirvāņa-Tantra, Chapter V, verses 23, 24. (See also Kailasa-Tantra, POrva Khanda, chap, xc), where reasons are given why the worship of Devi is fruitless without the five elements ; and where also they are identified with the five pranas and the five mahapretas. shown that the particular may be raised to the universal life by the vehicle of those same passions, which, when flowing only in an outward and downward current, are the most powerful bonds to bind him to the former. The passage cited refers to the necessity for the spiritual direction of the Guru. To the want of such is accredited the abuses of the system. When the patient (sisya) and the disease are working together, there is poor hope for the former; but when the patient, the disease, and the physician (guru) are on one, and that the wrong side, then nothing can save him from a descent on that downward path which it is the object of the sadhana to prevent. Verse 67 in Chapter I of Mahānirvāņa-Tantra is here, in point.
Owing, however, to abuses, particulary as regards the tattva of madya and maithuna, this Tantra, according to the current version, prescribes in certain cases, limitations as regards their use. It prescribes1 that when the Kaliyuga is in full strength, and in the case of householders (grhastha) whose minds are engrossed with worldly affairs, the " three sweets " (madhuratraya) are to be substituted for wine. Those who are of virtuous temperament, and whose minds are turned towards the Brahman, are permitted to take five cups of wine. So also as regards maithuna, this Tantra states2 that men in this Kali age are by their nature weak and disturbed by lust, and by reason of this do not recognize women (sakti) to be the image of the Deity. It accordingly8 ordains that when the Kaliyuga
1. Chapter VIII, verse 171. 2. Chapter VIII, verse 173. 3. Chapter VI, verse 14. is in full sway, the fifth tattva shall only be accomplished with sviyasakti, or the worshipper's own wife, and that union with a woman who is not married to the sadhaka in either Brahma or S'aiva forms is forbidden. In the case of other sakti (parakiya and sadharani) it prescribes,1 in lieu of maithuna, meditation by the worshipper upon the lotus feet of the Devi, together with japa of his ista-mantra. This rule, however, the Commentator says, is not of universal application. Siva has, in this Tantra, prohibited sadhana with the last tattva, with parakiya, and sadharani sakti'2 in the case of men of ordinary weak intellect ruled by lust; but for those who have by sadhana conquered their passions and attained the state of a true vira, or siddha, there is no prohibition as to the mode of latasadhana.3 This Tantra appears to be, * in fact, a protest against the misuse of the tattva, which had followed upon a relaxation of the original rules and conditions governing them. Without the pancatattva in one form or another, the saktipuja cannot be performed. The Mother of the Universe must be worshipped with these elements. By their use the universe (jagatbrahmanda) itself is used as the article of worship. Wine signifies the power (sakti) which produces all fiery etements; meat and fish all terrestrial and aquatic animals; mudra all vegetable life; and maithuna the will (iccha), action (kriya) and knowledge (jnāna) Sakti of the
1. Chapter VIII, verse 174. 2. See Uttara, Guptasadhana, Nigamakalpadruma, and other Tantras and TantrasSra, (P. 698 et. seq.) 3. Sec MahanirvSna-Tantra, Bhakta edition, p. 345. 4. For I have not yet had the opportunity of comparing the current Bengali with the Nepalese text. Supreme Prakrti productive of that great pleasure1 which accompanies the process of creation.2 To the Mother is thus offered the restless life of Her universe.
The object of all sadhana is the stimulation of the sattvaguna. When by such sadhana this guna largely preponderates, the sattvika sadhana suitable for men of a high type of divyabhava is adopted. In this latter sadhana the names of the paiicatattva are used symbolically for operations of a purely mental and spiritual character. Thus, the Kaivalya3 says that " wine" is that intoxicating knowledge acquired by yoga of the Parabrahman, which renders the worshipper senseless as regards the external world. Meat (marhsa) is not any fleshy thing, but the act whereby the sadhaka consigns all his acts to Me (Mam). Matsya (fish) is that sattvika knowledge by which through the sense of "mineness"4 the worshipper sympathizes with the pleasure and pain of all beings. Mudra is the act of relinquishing all association with evil which results in bondage, and maithuna is the union of the Sakti Kundalini with S'iva in the body of the worshipper. This, the Yogini-Tantra says,5 is the best of all unions for those who have
1. S'iva in the Matrkabheda-Tantra (chap, ii) says: (Yadruparil para-manandam tannSsti bhuvanatraye). 2. Nigama-Tattvasara (chap, iv) See chap, xv of the Hara-Tattva-dldhiti; Mahānirvāņa-Tantra, chap, v, verses 23, 24, and Kamakhya-Tantra. The Kailasa-Tantra Purva-Khanda (chap, xc identifies the pentad (paiicatattva) with the vital airs (pranādī) and the five mahapretas (vide post and ante). 3. See p. 85 of Pancatattvavicara, by Nilamani Mukhyopadhyaya. 4. A play upon the word matsya (fish). 5. Yogini-Tantra (chap, v) : Sahasraropari bindau kundalya melanarh give, Maithunarh paRāmarh yatinam parikirtitam. already controlled their passions (yati). According to the Agama-sara, wine is the somadhara, or lunar ambrosia, which drops from the brahmarandhra; Mamsa (meat) is the tongue (ma), of which its part (arhsa) is speech. The sadhaka, in " eating" it controls his speech. Matsya (fish) are those two which are constantly moving in the two rivers Ida and Pingala.1 He who controls his breath by Prānāyāma (q.v.), "eats" them by kumbhaka.2 Mudra is the awakening of knowledge in the pericarp of the great Sahasrara Lotus, where the Ātma, like mercury, resplendent as ten million suns, and deliciously cool as ten million moons, is united with the Devi Kundalini. The esoteric meaning of maithuna is thus stated by the Agama: The ruddy-hued letter Ra is in the kunda,3 and the letter Ma, 4 in the shape of bindu, is in the mahayoni.5 When Makara (m), seated on the Harhsa in the form of Akara (a), unites with rakara (r), then the Brahmajfiana, which is the source of supreme Bliss, is gained by the sadhaka, who is then called ātmaRāma, for his enjoyment is in the Ātma in the Sahasrara. This is the union on the purely sattvika plane, which corresponds on the rajasika plane to the union of S'iva and Sakti in the persons of their worshippers.
1. The nādī, so called (vide ante). 2. Retention of breath in Prānāyāma. 3. The Manipura-Cakra (vide ante) 4. This letter, according to the Kamadhenu-Tantra (chap, ii), has five corners, is of the colour of the autumnal moon, is sattva guna, and is kaivalyarupa and prakrtirupi. The coloration of the letters is variously given in the Tantras. See also Bhaskararaya's Commentary on the Lalita citing the Sanatkumara-Samhita and Matrkaviveka. 5. That is (here) the lightning-like triangular lines in the Sahasrara. Bindu is literally the dot which represents the nasal sound. As to its Tantrik sense (vide ante). 6. For this reason, too, the name of Rāma, which word also means sexual enjoyment, is equivalent to the liberator Brahman (Ra-a-ma). The union of S'iva and Sakti is described as a true yoga1 from which, as the Yamala says, arises that joy which is known as the Supreme Bliss.2
CAKRAPUJA
Worship with the paficatattva generally takes place in an assembly called a cakra, which is composed of men (sadhaka) and women (sakti), or Bhairava and Bhairavi. The worshippers sit in a circle (cakra), men and women alternately, the sakti sitting on the left of the sadhaka. The Lord of the cakra (cakrasvamin, or cakresvara) sits with his Sakti in the centre, where the wine-jar and other articles used in the worship are kept. During the cakra all eat, drink, and worship together, there being no distinction of caste.3 No pasu should, however, be introduced. There are various kinds of cakras, such as the Vira, Raja, Deva, Maha—Cakras productive, it is said, of various fruits for the participators therein.4 Chapter VI of the Mahānirvāņa-Tantra deals with the paficatattva, and Chapter VIII gives an account of the Bhairavi and Tattva (or Divya) cakras.5 The latter is for worshippers of the Brahma-Mantra.
1. See Tantrasara, 702 ; S'ivaiaktisamayogSb, Yoga eva na sarhs'ayab. 2. Ibid., 703; Sariiyogajjayate suakhyam paRāmanandalaksanam: 3. Vide ante. 4. The Rudra-yamala says: Rajacakra rajadarh syat, Mahacakre samrddhidam, Devacakre ca saubhagyam, Viracakramca moksadam. 5. Verses 153, 202, et seq. |
