12

Tantric Incantation in the Dev Pur na: a Padam l Mantra Vidy aa a

Lina Gupta

a Embedded in the rich mythology of the Skta text called the Dev Pur na is a a potent incantation, the Padam l Mantra Vidy . In this paper, I discuss the Dev aa a Pur na and particularly its use of the Padam l Mantra Vidy , a Tantric mantra a aa a vidy (incantation of mystical knowledge) that is central to the Vmcra Skta a a a a a Tantra tradition. Although the Padam l Mantra Vidy seems to be one of the aa a later interpolations added to the core text of the Dev Pur na, it nonetheless a instructs us in our search for the roots of Tantra. The Dev Pur na1 is an ancient a and authenticated text belonging to the body of work called the Upapurnas. The a renowned scholar R. C. Hazra notes that the Dev Pur na is not mentioned in the a eighteen Mahpurnas; however, the Ek mra Pur na includes it as one of the a a a a eighteen Upapurnas.2 Raghunandan in his Malam satattva also identied the a a Dev Pur na as one of the eighteen Upapurnas.3 The text offers discussions on a a a wide range of subjects including cosmography, astronomy, astrology, divination, and medicine, to name a few. It also furnishes information about the different incarnations of the Dev, her original or essential nature, her various manifesta tions, her functions and activities, her connections with Siva and other deities. Dev is, however, the primary focus of the text along with the sixty-four vidy s a (types of knowledge) that she confers on devotees. While references to Dev or Sakti abound in the Mahpurnas and Upapurnas, in no other text is the sua a a premacy of the Dev so rmly established as it is in the Dev Pur na. The work was a composed specically in the Vmcra Skta tradition because it focuses on the a a a a worship of Dev in her most terrifying forms as Kl, Durg, Cmunda, et al. a a a Vmcra Skta rituals follow sacred codied texts that contain secret Tantric rites. a a a a a The other branch of Sktas, the Dakincras, worship the tranquil goddesses s a a Sarasvat, Lakm, and a pacied form of Durg. s a a Most of the Skta Purnas are believed to have been written in the southa eastern part of Bengal and Assam, particularly in Kamarupa and Kamakhya. The Dev Pur na contains a large number of Bengali words and grammatical pecu a liarities of the Bengali language; for this reason, Bengal seems likely as the place of origin. The text, however, is a compilation of work by many people of various 231

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periods and possibly from other regions. Its various compilers seem to have been familiar with different parts of India, e.g., Kamarupa, Kashmir, Simhala, etc. Despite the difculties presented to the reader of this text, one recognizes the signicance of the work for worshiping the goddess. Although considered an Upapurna, it, nonetheless, is recognized as an important text for the correct a performance of many Vedic rituals as well as Tantric ceremonies. The authority of n a a the text was conrmed by writers such as Sa karcrya (seventh century ..) and the astronomer Bhskaracrya (tenth century ..), who consulted the Dev a a Pur na on various matters. Valllasena, in his D nas gara (twelfth century ..), a a a a commented on the inuence of the Dev Pur nas Tantric injunctions on Hindu a religion as did the Smrta Raghunandan, a devotee of Lord Gaurnga, in the a a fteenth century .. Most important, the Dev Pur na is recognized for its a contributions to the ritual worship of Durg;4 it is used for the most important a part of Durg P j, the ritual that is performed on the the penultimate night of the a ua Nava Rtri celebration. a Worship of the goddess is not unique to the Dev Pur na. Certainly, Vedic a texts mentioned the names of several goddesses and referred to their powers; but the central deity of the Dev Pur na is not like the seemingly benign goddesses of a the Vedas. In contrast, she is a erce and dangerous divinity who ghts and destroys her enemies. She is also, unlike the Vedic goddesses, viewed as the supreme universal power or Sakti; she is second to none. The Goddess of the Dev Pur na clearly exhibits two distinct origins: she is a both non-Vedic and Vedic. Her non-Vedic character is evinced by the location of her home in the Vindhya Mountains, an area where the Pulindas, Savaras, Kirtas, a Varvaras, and Kplins, aboriginal and immigrant tribes who lived on roots and a a dressed in bark, made human sacrices to female deities.5 It is the ercesome tribal aspect of the Dev that is central in the Dev Pur na and that became prevalent in a Indias classical period. Classical references to her aboriginal origins abound in the lyrical compositions of many famous poets and writers. For example, Klidsa in a a his Kum rasambhava and Raghuvama writes of the frightening Saptamtks and a s ar a Cmunda. Bnabhata in his Haracarita informs us that as Durg she is wora a t s a shiped in a forest temple under the control of a Dravidian hermit and, in his K dambar, he tells of the goddess of the Savaras as one who is worshiped with a human sacrice. Dandin in his Daakum racarita speaks of the Goddess Candika s a who is worshiped in a temple where the hunters (Savaras) sacrice boys in order to gain sorceric powers. Subandhu writes of the bloodthirsty Ktyyan in his V sa a a avadatta Dev. In the Kath sarits gara, Somadeva tells the story of Jm tavhana a a u a who was captured by thugs who then took him to a Savara village in order to sacrice him to Durg. a When was the Dev Pur na written? It is difcult to determine the exact a date of the text; but, from the internal evidence, it may be said that the book postdated the early Buddhist period because the text identies Buddha as one of the ten incarnations of Vinu and refers to the Jainas as a heretical sect. Varhamihira s a

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of sixth century .. cited the contents of the Dev Pur na in his Bhatsamhita; a r thus, we can postulate that the main body of the text must have been formulated after the sixth century ... and before the sixth century .. The question is, when did the initial compilation of the materials in the Dev Pur na begin? In the seventy-third chapter, the Dev Pur na employs two a a words, hor and drekk na, in relation to a discussion on the hours and days. The a a P rar Hor which was written between the twelfth and tenth centuries ... a as a a discusses the same two words, as does Varhamihira, centuries later, in the a Bhatsamhit . In addition, the Dev Pur na refers to various other customs, rites r a a and practices that were neither prevalent in Purnic times nor acknowledged in a other Purnas. In other words, the textual evidence contains antique words and a refers to customs that had been abandoned by the time of writing the other Purnas. Thus, the evidence suggests that the core of the Dev Pur na was written a a before the compilation of the other Purnas. a In the rst chapter, the Dev Pur na refers to itself as being Ved nta-tattva a a sahit ;6 a phrase claiming that the text contains the Vedic truth and the essential a meaning of the Vedas. In addition, Vedic inuence is obvious in its injunctions, Ny sa, mudr ,7 mantra, homa, and kun as.8 In particular, the Padam l Mantra a a d aa Vidy incantation is referred to as Vedasiddh ntakarma Pratip dan, that is, it a a a conforms to the injunctions of Vedic laws and principles.9 Such characterizations assert attempts at synchronized realizations of the Brahman, the Ultimate Reality, in the form of the Goddess. Throughout the text and integrated with the Vedic elements are irrefutable Tantric components such as particular rites, customs, oblations, invocations, incantations, utterance of mystic syllables, and applications of sorcery. Some of the rites may have originated in part in the Vedic-Brhmanic tradition. It seems a obvious that the Dev Pur na relied on the Vedas to a certain extent, yet gravitated a toward Tantrism as a way to assert power by way of magical ritualistic acts. According to the Dev Pur na, performance of the vidy s bestows magical powers a a such as the Tantric eight powers (ata siddhi) on the s dhaka.10 s a It is possible to postulate a tentative framework for the origination of the text; germination possibly was based on the religious practices of the pre-Vedic aboriginal tribes, both indigenous and immigrant. Dev worship as found in the rst three Vedas might have inspired redaction of an early section of the Dev Pur na sometime in the rst few centuries ... through which the aboriginal a material was reinterpreted. Subsequently, various topics from the Atharva Veda were integrated into the work; in fact, the Dev Pur na recognizes the Atharva a Veda as authoritative and as its guiding source.11 Various interpolations and additions augmented the text during the next few centuries as Tantrism spread and was sanctioned throughout India. The nal redaction of the Dev Pur na, which a by this time was encyclopedic in scope, must have occurred about the time of Varhamihiras Bhatsamhit in the sixth century .. a r a The Dev Pur na speaks of sixty-ve types of vidy , the most important a a

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being the K mik , Padam l , Apar jit , Mohin, M tyu jaya, Pupaka, Kha ga, a a aa a a r n s d M la, A gana, and Guika. Any one of these vidy s, when successfully performed a n t a and practiced, can confer magical powers on the s dhaka and bring liberation from a earthly bondage. Here, we will focus only on the Padam l Mantra Vidy , which aa a also is known by various other names in the Dev Pur na (Atibhairava Padam l ,12 a aa Bhairava Vidy ,13 Padam l Mah Vidy ,14 Padam l ,15 Mantram l or Mana aa a a aa aa trapada,16 Naravimohine Vidy and C mun a Padam line Mah Vidy 17). a a d a a a Here we are concerned particularly with the Padam l Mantra Vidy ,18 a aa a magical spell used by Siva to invoke the Dev so that she might engage in the legendary destruction of the demon Ghora. The text relates that the incantation is Atharvavedic in origin and that it was revealed in ten hundred thousand verses to Vinu by Siva. It eventually was transmitted to the sage Agastya who narrated the s story of its divine origin to King Npavhana.19 The Padam l Mantra Vidy r a aa a consists of thirty-two mantras that are used to invoke the presiding deity Cmund a a and to obtain the s dhakas goals. Because the exceedingly powerful thirty-two a germ-syllables (bja mantras) have been deliberately excluded by the editor, only explanations of the purposes and effects of performing each incantation are provided.20 They are as follows: 1. By taking the vow (vrata) of a hero (vra), while muttering the rst mantra four hundred thousand times, the s dhaka achieves veneration a and popularity (sammato bhavati). 2. By performing the second mantra, the s dhaka separates his subtle body a from his physical body in order to visit a cremation ground (maana s s pravesanam). 3. By obtaining success in the performance of the third mantra, the worshiper minimizes the required hours for chanting other mantras (mantr balambanam). a 4. The fourth mantra empowers the s dhaka to repel all arms hurled by a others (sarva astra stambhanam). s 5. By owning the power of the fth mantra, rain can be stopped at will (vti v ranam). rs a 6. By achieving success in the performance of the sixth mantra, the s dhaka develops the power to vanish and reappear at will (antardh na a a karanam). 7. The seventh mantra empowers the s dhaka to have control over all a forms and all bodies of water (jala s dhanam). a 8. The eighth mantra enables the s dhaka to free himself from all types of a weapons (astramokanam). s s 9. The ninth mantra helps to cut through all obstacles (sarva vighna niv ranam). a 10. By performing rituals in accordance with the tenth mantra, the wor-

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11. 12.

13. 14. 15. 16. 17. 18. 19.

20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

shiper can spread epidemic diseases among his or her enemies (m r a praveanam). s By constant chanting of the eleventh mantra during confrontation, an enemys weapons can be paralyzed (parasainya stambhanam). By repeating the twelfth mantra, the s dhaka persuades the deity to a churn (the contents of ) a skull for attracting spiritual wine (kap lamathanam samasta mady karanam). a a s By chanting the thirteenth mantra, it is possible to attract women (stry karanam). a s By repeated utterance of the fourteenth mantra, killing someone can be accomplished from a distance (visarjjanam). By reciting the fteenth mantra, the power of a sword can be subdued (kha ga stambhanam). d By successful chanting of the sixteenth mantra, one can achieve magical control over all animals and other beings (sarvasattva vasikaranam). By repeating the seventeenth mantra properly, the action of other mantras can be subdued (paramantra cchedanam). By the power achieved from applying the eighteenth mantra, a female Tantric companion will become available (bhairavkaranam). With the successful repetition of the nineteenth mantra, Dev is pleased to grant whatever the aspirant desires (svayam devy as dhyam a a s dhayati). a With the power of the twentieth mantra, the evil inuence of planets and stars can be repelled (grahagahasayanam). The twenty-rst mantra when muttered successfully attracts spirits ( vesanam). a The twenty-second mantra when chanted properly causes a spirit to be smeared with ash and made to dance (bhasman n ty payati). a r a By repeating the twenty-third mantra, adverse symptoms of any kind can be driven away (upasarganiv ranam). a The twenty-fourth mantra endows the Tantric powers of sorcery (k a p lika s dhanam). a a Successful repetition of the twenty-fth mantra agitates all the senseorgans (ripu kobhanam vaikara ca damaruke a). s s n n The twenty-sixth mantra, repeated properly with proper oblation, enables one to make another insane (unmatta homena unmatti karanam). By chanting the twenty-seventh mantra, one causes another to be bitten by a snake (sarpairdamapayati). s With the power of the twenty-eighth mantra, the aspirant inspires another to dance (n ty payati). r a By muttering the twenty-ninth mantra, the aspirant feeds delicious and sumptuous food to others (bhu jayati). n

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Lina Gupta 30. By chanting the thirtieth mantra with proper Tantric oblation, one obtains the power to hypnotize women (moc payati). a 31. With the power achieved from the thirty-rst mantra, the s dhaka a achieves power to burn down a city (puradahajananam). 32. The thirty-second mantra bestows power on the s dhaka to purge all a types of fevers (sarvajvar veakaranam). a s

These are the merits of the Padam l Mantra Vidy provided they are aa a uttered according to the directions specied in the Dev Pur na. Sitting in the a cremation ground, wearing a black garment and a black garland, a s dhaka repeats a each one of the thirty-two mantras eight thousand times while performing proper oblations and other ritual requirements. As a result, he/she is able to create a unique verbal charm or spell to produce the desired effects. In addition to the thirty-two specic achievements of the Pamadamala Mantra Vidy , the Dev Pur na mentions an additional one hundred eight goals a a attainable through chanting the powerful incantation. For example, the sin of Brahmanicide can be nullied by a single utterance of the incantation and, whether chanting or listening to the mantras, one is assured of receiving merit equivalent to a bath in the holy river or equal to the performance of all rituals.21 In fact, all ailments and harmful situations are remedied by the Padam l Mantra aa Vidy when uttered with utmost devotion and according to prescription. a The Dev Pur na tells us that the vidy is not limited to any particular group a a of people, but the text cautions that agnostics or those without reverence for the Dev and, most important, those who lack control over the senses should not be given this incantation.22 The text emphasizes that this vidy is the Mah vidy , the a a a Supreme Knowledge, the sum and substance of all mantras and Tantras; as such it empowers material and spiritual success, that is, bhukti and mukti. Each part of the mantra is uniquely and individually powerful. When parts of the mantra are chanted separately, a s dhaka is rewarded with a specic earthly goals (bhukti); a when rendered in full, the Padam l Mantra Vidy leads to mukti. To understand aa a the connection between the individual and combined effects of the mantra, it is necessary to recognize that, with completion of each section, the reciter changes internally as well as externally. With each attainment of a material nature, caused by uttering one section of the Padam l Mantra Vidy , one gains added insight aa a into ones own being and the nature of reality. The unied power of the thirty-two mantras surpasses the limited power of the individual mantra and liberates the aspirant from all ignorance. The signicance of the full mantra becomes clearer as one understands the importance of sound within the Tantric paradigm in which the human body is a microcosm of the material universal macrocosm; both are produced by the power of the original sound called n da, which eternally permea ates and pulsates throughout the cosmos. The ultimate goal of human life, according to Tantrism, is to internalize the cosmos and unify the inner vibrations with the outer. That is, to be self-realized is to internalize ones own being by traveling

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back to the original sound; thus, emphasis is placed upon sound and the efcacy of mantra. When macrocosm and microcosm become one through repetitions of mantras or intensied thought in the form of sound, the adept becomes empowered. One can better understand the nature and origin of the Padam l Mantra aa Vidy by recognizing the resemblance of some of the mantras to certain rites and a practices addressed in Vedic literature. Two hymns of the Rg Veda describe a rite that is efcacious in getting rid of a co-wife or controlling a husband.23 Other references in the Rg Veda pertain to healing24 and destruction.25 Both the Tait tirya Samhit 26 and Taittirya Br hmana27 refer to practices to win someones love a a or favor. Without doubt, the precursors of many later Tantric incantations and spells can be found in the Vrtya Book of Atharva Veda.28 In this chapter, mystea rious hymns praise Brahman as the heavenly Vrtya who is none other than the a great God (Mahdeva) Rudra (sana); the heavenly Vrtya is the macrocosmic a I a counterpart of the microcosmic earthly Vrtyas, who belonged to certain aborigia nal tribes. The special cult of the Vrtyas29 practiced mystical spells, incantations, a prayers, sorcery, and necromantic practices.30 Possibly in the eighth century ..., the Atharvavedic A girasa were involved in practices that in a later time n would be called Tantric. In the fth century ..., the Buddha encountered Atharvavedic Brahmins engrossed in spells, charms, and rituals; he called them Atharvanikas because of their preoccupation with sorcery.31 By the time of Emperor Aoka, cross-cultural relationships and contacts had greatly expanded and s the Atharvavedic cult was enriched by the further contributions from the Vrtyas a and indigenous tribes and inuences from immigrant Huns, Psandins and a a others. While we need to exercise caution in postulating direct inuences, there are similarities among the specied functions of Padam l Mantra Vidy and certain aa a Vedic mantras. However, the Dev Pur na species that the Padam l Mantra a aa Vidy is Atharvavedokta,32 meaning that it conforms to injunctions in the a Atharva Veda or enables one to perform a signicant number of rituals prescribed in the text.33 Many of the mantras of the Padam l Mantra Vidy closely resemble aa a passages from the Atharva Veda Samhit . Specic correspondences are as follows: a
Padam l Mantra Vidy aa a Verse 2 4 11 14 20 32 Atharva Veda V, 2021 III, 16 III, 16; V, 20, 21 III, 25 VII, 4 VI, 9; XXIX, 5

While certain passages from the Atharva Veda may have inspired some sections of the Padam l Mantra Vidy , there can be no doubt that the mantras are aa a

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credited with the type of inordinate potency that is attributable only to Tantrism. The Dev Pur na asserts that the Padam l Mantra Vidy is a mah vidy that a aa a a a guarantees success in all actions. Its power is singular because it contains the essence of all the texts and scriptures disclosed by Siva in the m latantra (root of u 34 It seems likely that many of the thirty-two separate mantras of the Tantra). Padam l Mantra Vidy have been inuenced by Vedic texts and mantras, particuaa a larly the Atharva Veda; but, as noted above, the Padam l Mantra Vidy also aa a contains non-Vedic elements. Two words used in the Padam l Mantra Vidy paticularly clarify the conaa a nection between Tantric mantras and rituals as well as illuminate the antiquity of some Tantric practices; they are kapal mathana and mady karana. Kap a a s a lamathana is a compound of two words kap la (skull) and mathana (churning). a The kap la or skull cup is an essential implement for Tantric ritual. An explanaa tion of its importance is provided in the fth skandha of the Dev Bhagavata Pur na wherein Siva, having become angry with Brahm for telling a lie, cuts off a a his head. Part of his penance for the sin of Brahmnicide required that Siva use a Brahms skull (kapala) for alms. Reenacting the myth, the Kplikas and the a a a followers of Vmcra Skta Tantra schools use a skull cup for alms. The same a a a a myth also informs us that Siva is the origin of the Tantrism.35 Later Kplikas and a a Vmcras practiced sitting in a cremation ground and using wine-lled skulls for a a a oblations. Drinking the spiritual wine (k rana-v ri), it was believed, destroyed a a earthly bondage (m y ) and the eight hindrances (atapa) to liberation. The aa s as historical Buddha noted Atharvavedic Brahmins who where engrossed in rituals utilizing skulls (cavasisa manta)36 and, particularly, those who predicted the future by tapping on skulls (kap la kotani).37 He specically referred to a contemporary a Atharvavedic Brahmin, a possible native of Bengal named Va gisa, who was adept n at skull tapping.38 Such references leave little doubt that the ritual use of skulls was known in both the Atharva Veda and in the Tantric tradition. The skull-tapping ritual was a practice particularly prevalent in Bengal and upper Assam, the region where most of the Vmcra texts have been found. a a a The word mady karana is the compound of madya (wine) and akarana (to a s s attract). These two compound words explain the ritual acts that correspond to the twelfth incantation. In order to receive the Devs blessing, the aspirant must offer her a skull lled with wine. Churning the wine in the skull combined with repeated utterance transforms the ordinary physical wine into spiritual liquor, an oblation suitable for the Dev. Like the nectar of the gods, this spiritual liquor becomes a source of immortality for the s dhaka. After offering the wine to the a Goddess, the aspirant drinks it, and thereby is able to transcend the tamasic to the sattvic state and remain in an eternally blissful condition.39 The Kul rnava Tantra a informs us that this ritual awakens the serpent power (kulakun alin) that remains d dormant in the pelvic center (m l dh ra cakra).40 The awakened power rises up ua a the spinal cord, piercing the remaining cakras of the spinal cord including the nal brahmarandhra cakra that is controlled by the pineal gland (candra granthi). Once

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the serpent power reaches this cakra, a secretion called am ta (nectar) is released. r The nectar then ows from the brain to the aspirants tongue and, once imbibed, the s dhaka is absorbed in ecstasy ( nandasudh p narato nara ). a a a a h The wine in the skull cup has a vital role in Tantric ritual because it helps stimulate the experience of Kun alin. Once important in early Vedic ritual, the d use of wine was abandoned at a later time and, thus, was absent from all Hindu ritual with the exception of the Vmcra Skta practices. For the Vmcra a a a a a a a aktas, wine was one of the ve necessary ritual ingredients (pa catattva or pa S n n camak ra). In Tantra, madya is a mah d na or a great gift that generates the state a a a of Siva, the equivalent of moka. Madya symbolically removes atapa, the eight s s as afictions of bondage, and opens the path to liberation. By imbibing ritual wine, one symbolically consumes the entire universe, an expression not to be taken literally, but one that is a metaphor for becoming so spiritually extended that the entire universe can be contained within the self.41 Also, madya is described sym bolically as the nectar essence of the union of Siva-Sakti owing into the highest 42 cerebral region. In each of the thirty-two different mantras of the Padam l Mantra Vidy , aa a Dev is addressed by a different name.43 Each indicates the way in which she is perceived by her devotees when performing the concomitant rituals. The names refer to Devs appearance and identities when she destroys the demons. Altogether the thirty-two names portray the presiding deity Cmunda as she embodies the a essence of Padam l Mantra Vidy or vice versa. These thirty-two names respecaa a tively are the following: 1. In the rst mantra, Dev is addressed as Bhagavat Cmunda, meaning a the goddess who slaughtered the demons Canda and Munda. s 2. In the second mantra, Dev is called Smaanavsin, a name that refers a to someone who resides in a cremation ground. 3. In the third mantra, Dev is invoked as Khavngakaplahaste, a deity t a a who holds a rib bone and a human head. 4. The epithet of the fourth mantra is Mahpreta Samrudhe or one who a a is mounted on ghosts or great spirits. 5. In the fth mantra, Dev is addressed as Mahvimnamlkule, one a a aa who is well decorated with garlands and is seated on a form of ying transportation. 6. In the sixth mantra, Dev is called Klartri, referring to an entity who a a is like the darkest night. 7. In the seventh mantra, she is Bahuganapariv te or someone surrounded r by innumerable attendants. 8. In the eighth mantra, Dev is hailed as Mahsukhe Bahubhuje, mean a ing many-handed blissful goddess. 9. In the ninth mantra, Dev is addressed as Ghanta Damaru Kinkinin a daabda Bahule; in this guise, she is adorned with a bell, a percussion s

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Lina Gupta instrument covered with skin, and ornaments producing rhythmic sounds. In the tenth mantra, Dev is called Atattahse or someone who roars t a with frightening laughter. In the eleventh mantra, Dev is visualized as Ca Kranetre, one who has a squinting eyes. In the twelfth mantra, Dev is called Lalanjihve, referring to her lolling a tongue. In the thirteenth mantra, Dev is invoked as Bhrukuimukhi referring t to the pronounced frown on her face. In the fourteenth mantra, Devs name is Humkrabhayatrsin, some a a one who scares others with her bellowing voice. In the fteenth mantra, Dev is Sphurita Vidy tsamaprabhe or a deity u as beautiful as streaked lightning. In the sixteenth mantra, Dev is Kapla Ml Vetita Jaamukua a a a s t t s Saankadhrin, one holding a moon in her matted crest and adorned a with a wreath of skulls. In the seventeenth mantra, Dev is venerated as Atahse, a term re t a minding the devotee of her roaring laughter. In the eighteenth mantra, Dev is called Bibho, a reference to the all pervading Cmund. a a In the nineteenth mantra, Dev is recognized as Vicce; here she is black, erce, infallible, and a giver of blessings. In the twentieth mantra, Dev is addressed as Hum Hum; in this embodiment, she mutters hum as a bja mantra and bestows the four aims (puruartha) of life. s In the twenty-rst mantra, Dev is Damstr Ghorndhakrin, mean a a a ing one with dreadful teeth and creatrix of a dark abyss. In the twenty-second mantra, Dev is addressed as Sarvabighna Vin ain in order to convey her power to destroy all obstacles. s In the twenty-third mantra, Dev is Urdhake, a term that refers to her s spiked hair. In the twenty-fourth mantra, Dev is called Ulukavadane, one with a frightening owl-like face. In the twenty-fth mantra, Dev is addressed as Karamgamldhrin; aa a it describes her as holding a garland of water pots (kaman alu). d In the twenty-sixth mantra, Dev is invoked as Vik tar pin, the god r u dess with a hideous face. In the twenty-seventh mantra, Dev is addressed as Knabuja ga rs n Vetitaarre or one whose body is encircled with a black snake. s s In the twenty-eighth mantra, she is Pralamvathi, the one with pens dulous lips.

10. 11. 12. 13. 14. 15. 16.

17. 18. 19. 20.

21. 22. 23. 24. 25. 26. 27. 28.

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29. In the twenty-ninth mantra, Dev is addressed as Bhagna Nsike, one a who has a broken nose. 30. In the thirtieth mantra, Dev is invoked as Cipiamukhe; the names t refers to someone who has a sunken face. 31. In the thirty-rst mantra, Dev is addressed as Kapilajae Jvlmukh, a t aa deity with tawny complexion and matted hair. 32. In the thirty-second mantra, Dev is addressed as Rakaki P rnamay t s u a or one who has blood shot eyes. Whether used separately or together, these thirty-two epithets depict a erce and abhorrent vision of the goddess, she who is the presiding deity of the Padam l Mantra Vidy . According to the description of her physical features, she is as aa a beautiful as lightning (and possibly as swift and unpredictable) and, at the same time, hideous and frightening like an owl with a sunken face, a prole suitable to her wrathful countenance on the battleeld. Her complexion is tawny or black; she has squinting bloodshot eyes, a broken nose, pendulous lips, a lolling restless tongue, and dreadful teeth, features attributable to the goddess Cmunda. The a shining sharp teeth are indicative of her aggressive and dangerous nature. Her hair is either matted or spiked and is decorated with a crescent moon, an attribute that connects her with Siva. Her adornments enhance her violent image, that is, a garland of skulls and a snake. Her methods of transportation are appropriate for her fearsome role: she is mounted on ghosts and moves about on some sort of ying conveyance. Her violent nature is characterized by a bellowing voice and roaring laughter. She is prepared for the ultimate battle against demons and thus is arrayed with a full range of frightful characteristics. War is horrifying and her appearance merely mirrors the situation; it is meant to instill fear in her opponent. Suitably paralyzed from horror, her opponent loses the battle.With the hum of the bja mantra, she energizes herself for war. Normally beautiful when she grants boons to adepts, the exigencies of war require that she takes on an abhorrent appearance. Three of Devs names given in the Padam l Mantra Vidy are particularly aa a evocative, that is, Klartri, Khavnga, and Kaplahaste. In the sixth incantation, a a t a a she is Klartri, an epithet used to indicate her awful appearance and terrifying a a disposition. The rst part of the word, k la, is a masculine noun denoting time. a Time, as perceived by Vedic seers, is where everything takes place; in fact, it is the framework in which all of creation unfolds. Vedic seers conceived of k la as being a a powerful deity; the deied Kla was the creator and sustainer of the universe.44 a Everything that is created and preserved also must be destroyed by and in time; thus the Vedic image of Kla as the devourer of all things is signicant and was a syncretized with Rudra, the Vedic god of destruction.45 Ultimately Kla became a Mahkla and Rudra became Siva and the two were fused in the Purnic and a a a Tantra literature.46 According to the Mah nirv na Tantra, during the dissolution a a

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of the universe, Kla or Mahkla devours the entire universe, but the supreme a a a goddess who is the spouse of Mahkla or Siva even engulfs Kla and hence is a a a known as Kl. a In the Dev M h tmyam,47 Kl is called Cmunda, the goddess of the a a a a Padam l Mantra Vidy , the terrifying deity associated with the ultimate dissoluaa a tion and destruction of the demon Ghora. The word is a feminine noun referring to the darkness after sunset. According to the R tris kta of the Rg Veda,48 the sage a u Kuika while absorbed in meditation realized the enveloping power of darkness s and invoked Rtri as the all-powerful goddess. Thus, the darkness after sunset was a deied and was invoked by sages to deliver mortals from all fears and earthly bondage. Later she was identied with various goddesses; in the Atharva Veda, Rtridev is called Siva or Durg, the consort of Siva.49 In the Bhad Devat , a a r a 50 but, elsewhere the name Rtri identied Vgdev was identied with Sarasvat; a a Sarasvat, goddess of knowledge and wisdom who delivers the ignorant from bondage.51 In the Purnas, Klartri signies Raudr, the goddess who kills the a a a demon Ruru and Kl-Cmunda who kills the demons Canda and Munda.52 a a Rtr, then, was the agent of destruction and eliminator of oppressive forces and a ignorance. Addressing the Dev as Klartri in the Padam l Mantra Vidy serves two a a aa a purposes: (1) to invoke the appropriate deity for the task at hand; and (2) to empower the s dhaka with the devouring quality of Kla and the all-consuming a a quality of Rtri. Thus, the presiding deity of the mantra will eliminate all obstacles a and grant success to the devotee. In addition, the word k lar tri in Tantra refers to a a the darkness of night, a state normally frightening to ordinary individuals but benecial to worshipers of the Supreme Goddess. Here the word K lar tri does a a not refer to the entire night but rather to different hours of darkness. Each time of night, according to Tantric tradition, is under the sway of a particular terrifying goddess who grants a particular desire to the aspirant.53 When Klartri is invoked a a in the sixth mantra of the Padam l ritual, the s dhaka seeks the power to vanish aa a and reappear at will, an ability that removes one of the eight afictions called atapa in Tantra. s as Similarly, Devs names in the third mantra of the Padam l Mantra Vidy , aa a Khavnga and Kaplahaste, grant the power to cut through the spells inicted by t a a others. The ramications of these two names can be understood in light of a myth narrated in the Ram y na in which Dev appeared as Raktevar, a wrathful form a a s of the Supreme Goddess, to destroy the demon Vrasena in response to the prayers of King Dilipa (also called Khavnga). Having killed the demon, Dev drank his t a blood from his severed head.54 While the word khav nga ordinarily refers to the t a leg of a bed, in Hindu myth it also signies a skull attached to a rib bone; as such it is a menacing, deadly weapon. In a story from the Ram y na, it was used as an a a alternate name for King Dilipa and possibly it referred to one of his accoutrements of war. The V mana Pur na relates that Kl, dressed in a tiger skin and adorned a a a with a garland of human skulls, holds a khatv nga.55 The khatv nga appears in a a

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myths in which Kl is called upon to save humans from a peril that only she can a eliminate. Likewise, Kaplahaste, the third name of interest here, refers to one who a holds a kap la or skull. In this invocation, Cmunda is identied with the deity a a Raktevar of the Ram y na. In the Dev Pur na, Siva intones the Padam l s a a a aa Mantra Vidy so that the Goddess will come forth to destroy the virtually invula nerable demon Ghora. Addressing her as Kaplahaste and Khavnga, he calls a t a forth her deadliest form. Ontologically the s dhaka, by ritually uttering the two a names, also evokes Devs most powerful aspect, that which obliterates obstacles to the attainment of bhukti and mukti. According to the Dev Pur na, mere recitation of the mantras is ineffectual a without performing the proper ritual (siddhis dhana) with its regulations and a restrictions (bidhi), repeated muttering (japa), loud chanting (krtana), and silent utterance of the mystical germ-syllables (bja mantra). The thirty-two mantras are performed along with special invocations and concentration on the particular deity at a specied time and at a particular location. Specically, Dev worship must occur on the fourth (caturth), fth (pa cam), eighth (atami), ninth n s (navam), eleventh (ek da) days of the full moon and full moon days. Rituals a s performed on the eighth, (called Mahstam) and the ninth (called Mahnavam) a a days of the full moon are particularly efcacious. Their designation as mah , a meaning great, indicates their status as the holiest times for worship. In addition and as prescribed by the Dev Pur na, the Goddess is worshiped on the rst day a s (pratipada tithi) of the month of Avina (sixth month of the Hindu calendar) for nine days, in the month of Caitra (March 14 to April 13) and, on the ninth day of the lunar fortnight, various animals are sacriced and devotees offer their own blood for attainment of specic goals. Sacrices of esh and blood also should be made on the ninth day of lunar fortnight of Jyaitha (16 May to15 June). Dev s Cmunda is not worshiped at the home altar or even in a temple; rather worship is a performed in a cemetery or a cremation ground. As is typical in Tantrism, the ritual performance of the Padam l Mantra Vidy exhibits a distinct structure that aa a can be grouped into the following categories: (1) the prerequisites, (2) the preparation, (3) the procedure, and (4) the performance. The very specic and controlled ritual is as dynamic as it is complex; its delineation in the Dev Pur na offers a unique insight into the heart of the Tantric tradition. Proper initiation (dka) by a competent guru is the primary and inviolable s requirement for performance of the Padam l Mantra Vidy ; its success, in fact, is aa a contingent on an initiation. Tantric scriptures designate that a iya (aspirant), ss a before performing rituals, must undergo initiation. Skta teachings, in particular, are transmitted directly from guru to disciple because secret knowledge may be heard, deciphered, and retained only by the competent and dedicated. a According to Skta tradition, no ritual can be performed without the bja mantra. Because bja mantras are never written or disclosed in public, they can only be learned directly from a guru. Conforming to this tradition, no edition of

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the Dev Pur na provides the bja mantras for any one of the sixty-ve vidy s a a discussed in the text. Such potent secret information can be revealed only to one who has been properly prepared. The Rudray mala claries the signicance of a initiation; in a conversation between Siva and the Goddess, Siva explains that an uninitiated aspirant neither achieves success (siddhi) in Tantra performances nor liberation.56 The Dev Pur na asserts that, without proper dka, all efforts are a s futile and, unless both the guru and initiate are competent, all mantras are fruitless.57 Furthermore, both the guru and iya are cautioned about their mutual ss selection of each other. The guru must have full mastery, that is, have the ability to advise on various types of vidy s, a judicious temperament, and most important, a the capacity to remove the disciples doubts. The Kul rnava Tantra adds that a a competent guru is one who is actively involved in the unbroken tradition of Tantra, that is, that which originated with Siva and has been handed down from generation to generation; it also afrms that a competent guru is well versed in the mantras and is one who guards the traditional doctrine.58 Because the guru is successor to the divinely originated knowledge, the disciple regards the guru not as an ordinary human, but as a deity. If the guru is a male, he is worshiped as Siva; if female, she is adored as Sakti. As one who confers divine knowledge, the guru restrains or removes the darkness of bondage from the devotee; thus, the deeper signicance of a guru does not refer merely to the ability to teach, direct, and guide, but also to the capacity to cause the disciple to internalize his/her identity, purpose, and meaning of life. Thus, a person with the power to remove anothers bondage is no ordinary human. As to the initiate (iya) of the Padam l Mantra Vidy , the Dev Pur na ss aa a a asserts that there are no gender or caste specications; the knowledge is accessible to anyone who adores the goddess, but success depends on the students preparation through initiation. A disciple must rely solely on the guru and be prepared to surrender everything to the guru. In Tantric dkas, the guru confers divine knowledge and, as a consequence, s destroys the initiates ignorance or sin. The purpose of the dka then relates to the s two roots da (to give) and ka (to destroy). Tantric initiation, regardless of the sect, s is a complicated procedure. Some aspects of Tantric initiations appear to be greatly elaborated versions of tribal initiation rites that still prevail in parts of India. Such rites traditionally were a rite of passage and a symbolic rebirth wherein an experienced elder led the young into adulthood. The lack of caste and gender requirements for Tantric initiation is distinct from Vedic initiation, which is limited to the rst three castes; such liberalism may underscore the Tantric connection to tribal practices. A second prerequisite for participation in the Padam l Mantra Vidy ritual aa a is internal and external preparation. Internal preparation begins with specic mental and physical practices (aparih rya pr rambhik) involving cleansing the a a mind of negative impulses and inclinations of a debasing nature. The Dev Pur na a specications are typically Tantric in that the s dhaka must prepare mentally a

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(bh va) in order to grasp the signicance of Tantric regulations (vidhe), perform a ritualistic practices and strenuous physical exercises and utter germ-syllables (bja mantra).59 External preparation involves living on alms (bhikanna bh jana), s o following specic religious rules and taboos in relation to food habits, behavior, time and space (puracarana). Also the Dev Pur na species that preparation for s a the Padam l Mantra Vidy requires the iya to make a vow called vravrata aa a ss (literally heros vow). Ordinarily the word vra refers to someone who is courageous, but within the context of Tantrism, the term indicates a being who through discipline and mental preparation (bh va) has evolved beyond the afa icted state of ordinary humans (pau). Only by following strictly prescribed s procedures including control of the senses, cleansing the self of negative inclinations, meditation, penance, and following the ways of justice and truth can a person transcend the pau state to become a vra. Having taken the vow, the seeker s then becomes a vra s dhaka. The term vra is derived from v (freedom from) and a ra (passion or desire).60 While in the state of vra, the seeker must be devoid of desires, ignorance, and worldly activities; perform the required Tantric rites; and conform to the scriptural injunctions.61 The vra state is one that requires great moral effort and the courage to confront endangering situations and steadfast pursuit of spiritual success (siddhi). One of the most grueling of the Vmcra a a a a Skta practices performed by the vra s dhaka is the nilasadhana. On a special a night, the s dhaka must sit on a corpse in a deserted location such as a cremation a ground, riverbank, or pond and offer an oblation of consecrated esh (mah m msa) to the re deity. Through successful completion of the rite, he trana a scends to the highest state wherein he/she is united with the deity. According to the Dev Pur na, the s dhaka must perform the Padam l a a aa Mantra Vidy only when wearing black clothing (kna vastra) and a black garland, a rs a string of black beads for chanting mantras. He/she also must be anointed with a special black paste (kna anulepanan) on the forehead and body. The black paste rs made from the residual ash of sacricial alters and claried butter. Special types of honey and black sesame are to be used for the oblations. At the end of the ritual, the s dhaka eats the consecrated meat that has been offered to the Dev. Ingrea dients used in the performance of the Padam l Mantra Vidy are those typical of aa a Vmcra Skta Tantric rituals. In particular, two types of specially prepared a a a a honey are required. Preparation begins with extracting the juice directly from various owers and canes; the juices are fermented, mixed together, and kept in sealed containers for an extended period of fermentation. Honey thus prepared is carefully combined in three specic ways and is categorized as spiritual liquor (k ranav ri) which has sattvic, rajasic, and tamasic natures. a a Another of the requirements for performing the Padam l Mantra Vidy is aa a the offering of consecrated esh or mah m msa. The sacrice is prepared from a a eight types of meat sacred to the goddesshuman, cow, ram, horse, buffalo, boar, goat, and deer. After offering the mah m msa to the goddess, the s dhaka is a a a required to eat it. Vedic texts mention sages who, in their ritualistic performances,

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used certain animal meats for oblations and afterward ate the meat as a blessing from the divine.62 But it is only the Vmcra Skta rituals that require offering a a a a mah m msa to the deity. In Tantrism, the spiritual liquor represents Sakti, the a a Goddess as energy, and the meat represents Siva. When taken together, radiant bliss and moka are realized by the s dhaka while in a living state.63 s a The actual performance of the Padam l Mantra Vidy ritual consists of aa a three partsritual offerings, physical actions or movements, and vocal aspects. Various oblations include offerings of the mah m msa, black sesame seeds a a (kaun agni homa), spiritual water (k ranav ri tarpana), claried butter, and the d a a three special types of honey (trimadhu tarpana). The physical actions are com prised of visualization of the presiding deities on different parts of the body (ny sa), drawing special diagrams on a birch leaf (yantra man ala on bhurja patra), a d carrying a talisman that includes the deitys name or a particular mantra (kavaca), practicing hand or nger gestures needed for spiritual attainment (mudr ), and a practicing breathing exercises (pr n y ma). Simultaneously, the s dhaka must aa a a fulll the vocal requirements of the ritual, that is, chant spells (mantrocc rana), a utter germ syllables (japa) and repeat the thirty-two mantras eight thousand times in fulllment of what is known as the puracarana. s The puracarana primarily refers to the repetition of mantras. Although in s Hinduism there are various types of puracarana, in Tantric s dhana it is the s a foremost act. The success of the Padam l Mantra Vidhya rests on the specic aa number of repetitions of the mantras; particularly efcacious, repetition ensures the likelihood of attaining the goal. Although normally mantras are repeated to propitiate a deity, in this ritualistic context, the repetitions call forth the appropriate aspect of the deity. The ve stages of puracarana are: (1) muttering the japa s germ syllables and repeating mantras; (2) homa (oblations to the ceremonial re); (3) tarpana (offering spiritual water or liquor to the deity); (4) abhieka (ablution s and consecration of the deity; (5) virprabhojana giving Brahmins the food offered to the deity. In addition, there are elaborate rules and restrictions for performing the puracarana. In general, twelve injunctions (dv dasaite dharma ) are followed s a h to achieve success in muttering mantras (mantrasiddhidan).64 Thus not only is the s dhaka required to chant the thirty-two mantras of the Padam l Mantra Vidy , a aa a but he must do so according to the puracarana requirements as well. s The Dev Pur na, while not considered a full-edged Purna, is, nonethe a a less, a work of great authority on the worship of Dev. Steeped in Tantric lore, rich in incantations and ceremonial hymns, and lled with ritual prescriptions, the text is invaluable. Certainly the work provides fertile ground for the study of the a origins of Tantrism in general and more specically the origins of Skta Tantrism. Many of the features of its myths and rituals harken back to an antiquity rooted in non-Vedic aboriginal rites, as well as the Vedas, notably the Atharva Veda. We may deduce from various sources that worship of goddesses as described in the rst three Vedas inspired the initial compilers of the Dev Pur na to compose the a nuclear portion in the early centuries ...; and toward the end of the rst

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century ..., elaboration and interpolations on the Atharva Veda augmented the original core. When Tantrism emerged as a distinct religious path in the late Epic period, the Dev Pur na was expanded and became the authoritative Purna a a concerning worship of the Goddess in her most dreadful Tantric manifestation. The completed encyclopedic work, replete with intricate Tantric rituals must have been completed about the time of Varhamihira (sixth century ..) or soon a thereafter. Central to its Tantric character is the Dev Pur nas inclusion of the a sixty-four types of vidy s, the most powerful of which is the Padam l Mantra a aa Vidy . It is the master ritual for the attainment of the highest spiritual goals and a one that demands the utmost seriousness and dedication from its performers.
NOTES 1. Five different manuscripts of the Dev Pur na are known; three of these manu a scripts are written in Devanagiri and two in Bengali script. There are serious discrepancies among the ve versions The Dev Pur na at our disposal has only the second of four original a chapters (p das). In addition to the three missing p das, the bja mantras or the germ a a syllables, the most signicant part of the mantras are missing from the text. The editors of the published versions caution that the bja mantras have not been included because they can be uttered only by informed practitioners. Two publisheded editions of the Dev Pur na a a are The Dev Pur na, rev. ed., ed. Acrya Pancanan Tarkaratna (Calcutta: Nava Bharat a Publishers, 1975); and ed. Puspendra Kumar Sharm (New Delhi: Shri Lal Bahadura a Shastri Kendriya Sanskrita Vidypeetham, 1976). a 2. R. C. Hazra, Studies in the Upapur nas 2 (Calcutta: Sanskrit College Research a Series, 1963), 2:71. 3. Ibid., Inuences of Tantra on the Tattvas of Raghunandan, Indian Historical Quarterly 9 (1933): 678704. 4. Cf. The B hatn va yadiya Pur na, ed. Hrishikesh Shastri (Calcutta: Bibliotheca r a a India, 1891); the K lik Pur na, 2nd rev. ed., ed. Pa chanan Tarkaratna (Calcutta: Nava a a a n Bharat Publishers, 1977), chs. 5960; and Dev Pur na, chapter 21, 22, 23, and 60. a 5. Mah bh rata. IV:6 (Virta-parvan) and VI:23 (Bhsma-parvan); See The Maa a a h bh rata, trans. J. A. B. van Buitenen (Chicago: The University of Chicago Press, 1973, a a 1975, 1979). 6. Sharm, ed., Dev P. 1:55. a 7. Ibid., 7:6566 and 88. 8. Ibid., 1:55; 7:22; and 8:6. 9. Ibid., 9:6264. 10. Ibid, 39:2739. 11. Devpur na Atharvadipananim, ibid., 9:64. a 12. Dev, p. 9:49. 13. Ibid., 9:50. 14. Ibid., 9:52 15. Ibid., 9:53

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16. Ibid., 9:66. 17. Ibid., 9:70. 18. Ibid., chapter 9. 19. Ibid., 2:14 24. 20. Ibid., 9:6768. 21. Ibid., 9:73. 22. Ibid., 9:74. 23. Rg Veda (hereafter RV, ed. Bijon Bihari Goswami (Calcutta: Haraf Prakasani, 1987), 10:145 and 159; Cf. Maurice Winternitz, History of Indian Literature, 2 vols. (Calcutta: University of Calcutta, 1962), 1:156. 24. RV 10:162. 25. RV 1:191; 6:52; 7:50, 104. 26. Taittirya Samhit , 2.3.10; see The Veda of the Black Yajus School, Taittirya Sa hit , a n a Harvard Oriental Series, ed. Arthur Berriedale Keith (Cambridge, Mass.: Harvard University Press, 1914). 27. Taittirya Br hm na, ibid., vol. 18 2.3.1. a a 28. Atharva Veda, ed. Bijon Bihari Goswami (Calcutta: Haraf Prakan, 1988). as 29. Hazra, Upapur nas, 2:6567. a 30. M. Winternitz, A Concise Dictionary of Eastern Religion (Oxford: The Clarendon Press, 1919), 137. 31. J taka, 7 vols., V. Fausbol ( London: 18771897), 2:21, 33, 217 and 4: 436. a 32. Dev P. 9:6264. 33. Ibid., 9:69. 34. Ibid., 9:65. 35. G.Tucci claims greater antiquity for the Tantras than that of the Kplikas, Journal a a of the Asiatic Society of Bengal, 26 n.s. (Calcutta:1930):128ff. Cf. . . . genuine Tantras can be proved to have existed before the seventh. century .. and the Kplikas . . . a a Similarly, Winternitz assessed that some of the elements of Tantrism are already found in earlier works; see History, 2:599. 36. Vinaya Piaka, ed. Herman Oldenberg ( London: 18791883), 2:15 t 37. M la Sarv stiv da Vinaya, ed. Nalinaksa Dutta (Calcutta: 19421950), 2:80. u a a 38. Therag th Commentary of Buddhaghoa (Srilanka: Simon Hewavitarne Bequest a a s Publication, n.d.), 2:192. 39. Kaulm rga Rahasyam, Bangiya Sahitya Parisat Series 76, ed. Satish Candra Vida ybhusana (Calcutta: Bangiya Sahitya Parisat Publishers, n.d.), 32. a 40. Kul rnava Tantra, ed. Sir John Woodroffe and M. P. Pandit (Delhi: Motilal Banara sidass, 1984r), 5:107108. 41. Ibid., 5:125. 42. Ibid., 5:31, 32, 39, 108, 109, etc. 43. Dev P. 9:70. 44. AV, K la S kta, 19:53:69. a u 45. Pupata S tras, Trivandrum Sanskrit Series 143 (Trivandrum: University of Travas u ancore, 940), verse 2:3.

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46. Karp r di Stotra (Hymns to K l), Tantrik Texts 9 ( Calcutta: n.d.), 2. ua a 47. Dev Mahatmyam,, ch. 5. 48. RV X:127:18. 49. AV XIX: 4, 5, 3 50. B had-devat , Harvard Oriental Series 5, 6, ed. Arthur Avalon (Cambridge, Mass: r a 1904), 2:74 77. 51. Sarasvat, ed. Amulyacaran Vidybh sana (Calcutta:1933), I:61. a u 52. Var ha Pur na (Mathura: Gita Press, n.d.), chapters 9096. a a 53. Various Tantric and Purnic texts enumerate the list of k lar tris during which one a a a of the Dasamahvidy (Ten manifestations of the Supreme Goddess) presides. a a 54. Ram y na, ed. J. M. Mehta and others (Baroda: Oriental Institute, 1960), Yuddha a a Kan a. d 55. V mana Pur na, ed. Anand Swarup Gupta (Benares: All-India Kashiraj Trust, a a 1968), chapter 2; Srimad Devbh gavatam, skandha 5; Pranab Bandyapadhyaya, Mother a Goddess K l (Calcutta: KLM Pvt. Ltd., 1993), 69. a 56. Rudray mala, ed. Jvnanda Vidysgar (Calcutta: 1892), Uttara Taranga, 3rd a a aa patala. 57. Dev P. chapter 125. 58. Kul rnava Tantra 13:38112. a 59. Kaul valnirnaya of J anasiddhi, Tantric Text Series 14, ed. Arthur Avalon a n (Calcutta: n.d.), 4:4 7. 60. Kul rnava Tantra 17:25. a 61. Par sur ma Kalpa S tra, Gaekwad Oriental Series 22, pt. 1 (Baroda: n.d.), 5:22. a a u 62. Aval yana G hya S tram, ed. Kunhanraja (Calcutta: Adyar Library Publication, s a r u 1937), 2:24; cf. Gobhila Grhya Sutram, pt. 1, ed. Candrakanta Tarkalamkara (Calcutta: 1908), 3:10:1534. 63. Rudray mala, Uttara Taranga 26. a 64. Gautamya Tantra, Rashik Mohan Chattopadhyaya (Calcutta: Chattopadhyaya Publisher, 1888), chapter 14.