1

JOURNEY TO RI CAKR
This is our journey to ri Cakr. We stand miles away from ri Cakr. We are able to see three huge mountains and another mountain (the fourth one) which is much bigger than the other three. The highest mountain, known as Mah Meru (Supreme Mountain) is in the middle, which is the Abode of Parakti. Towards its eastern side, there is Brahma loka, (world of Brahm) marked as C in the diagram. Towards southwest, there is Viu loka (world of Viu) marked as D in the diagram. Towards northwest, there is Rudra loka (world of Rudra), marked as E in the diagram. B and A in the diagram refer to ri Nagara and ri Cakr respectively. Dotted lines represent the route we take, for our journey to ri Cakr. Out of the four mountains, we are able to see Mah Meru glittering, as it is made up of gold. All the constructions in Mah Meru were planned and executed by Vivakarman, divine creative architect. He is also referred in Vedas. g Veda (X.81.2) says, ..the universal architect, seeing all, creates the earth and creates the heaven with His might. Now we are standing near Brahma loka (marked as C in the image), which is situated in the east of Meru Mountain. We begin our journey from here. First we worship the world of Brahm, but we do not enter this world, as we will be worshipping Him in ri Nagara. Standing before the world of Brahm, we worship Mah Meru from its eastern side. Now, we move towards southern side of Mah Meru and worship Mah Meru from its southern side. Then we move towards southwestern side, known as niti (niti means destruction, dissolution, calamity, etc). Here we see the world of Viu. Without entering into the world of Viu, we continue our journey towards west. We worship Mah Meru from its western side and proceed towards northwestern side, known as Vyu cardinal, where we are able to see Rudra loka, the world of Rudra. We do not enter into Rudral loka. After worshipping Rudra loka, we proceed to the point where we have commenced our journey, the eastern side of Mah Meru, where Brahma loka is situated. We now enter ri Nagara, which has twenty five forts (marked as B in the chart). We can reach ri Cakr only after passing through these twenty five huge forts, running into several thousand miles each. There are forests between any two forts, where many gods and goddesses perpetually worship Parakti. First we enter through the huge entrance gate of the fort made of iron. (Description of length, breadth and all other measurements are omitted.) When we crossed the iron fort, we reach the huge exit gates of the iron fort, we are able to see huge bronze fort, several miles away. Once we exit through the exit gates of iron fort, we see a huge forest consisting of fruit bearing trees, flower trees, etc. We are able to see huge fruits hanging from the trees and the fragrance of flowers grown in trees and shrubs give us divine feeling. We are also able to see a lot of birds like peacocks, parrots, etc. We listen to the hissing sound of several types of bees. In the midst of this dense forest, there are several rivers and lakes, where several varieties of lotus flowers have fully blossomed. On the side of these huge rivers, we are able to see huge palaces. Out of many palaces, we are able to see a

2 huge palace and we walk towards that palace with great reverence. We walk through the main gates of the palace to reach the middle of the palace where, we are able to have daran of Mahkl embracing Bhadrakl, who is dark blue in complexion. We worship both of them, take their blessings and proceed towards the entry gate of the bronze fort. We now enter the bronze fort, whose length is beyond description. After walking through this fort, we reach the exit gates and come out. Once we stand in the open, we see a huge fort made of copper, several miles away. Before we proceed to the entry gates of copper fort, we go around the forest garden situated between bronze and copper forts. This forest/garden is known as forest of kalpavka-s, the forest of divine tree known as kalpavka. There are a number of long and broad rivers and lakes. In the midst of this forest, we see Vasantatunthan, the one who presides over vasantatu (tu means bi-solar months based on seasons and one year has six tu-s, each comprising of two solar months). He is seen with his two wives Madhur and Mdhavar. Vasantatunthan (he presides over spring season) holds an astra (weapon) made of flowers. After worshipping him, we go around this forest and come to the entrance gates of the next fort, the copper fort. We enter the copper fort, which is the third fort from the beginning. This fort is also equally lengthy and after walking through this fort, we reach the exit gates and pass through them to come to another open space. From here, we are able to see a huge lead fort several miles away. Between the copper fort and the lead fort, there is a medium sized forest. This forest has infinite numbers of sandalwood trees and this forest is known as candanavik, the forest of sandalwood trees (candana means sandal and vi means an enclosure). This forest has a number of bees, doves, etc. This forest is extremely hot because of intense heat of the sun. In this enclosure, we are able to see Grmatunthan (god presiding over summer season, known as grmatu) and his two wives ukrar and Sucir. After worshipping them, we proceed to the entrance gates of the next fort, the lead fort. Lead fort is the fourth fort and is equally lengthy like any other forts. We walk through this fort to reach the exit gate. After passing through the exit gates of this fort, we see the brass fort, situated miles away from the point, where we are standing. We are now entering the forest area between the lead fort and the brass fort. This forest too has sandalwood trees and this forest is known as haricandanavik. Haricandana trees are one of the five trees of paradise. The other four trees are Prijta, Mandra, Satna, and Kalpa. Haricandana trees are yellow in colour and are different from candanatrees and produce yellow coloured sandal. In this forest, there are a number of cuckoo birds, which sing in chorus. Inside the forest, we are able to see Varatunthan (god presiding over rainy season) along with his wives Nabhar and Nabhasyar. After worshipping them, we now proceed to the main gates of the brass fort. Brass fort is the fifth fort and as we walk through this fort, we reach the exit gates and enter into an open space. From the exit gates of this fort, we are able to see the fort of pacaloha (combination of five metals copper, brass, tin, lead and iron; there are other versions as well by including gold, silver, etc). We now enter into the forest area between brass and pacaloha forts, which is known as mandravik. This is full of coral tress that can be seen only in

3 heavens. This is one of the five trees of heaven and cannot be seen in other worlds. The flowers of these trees are highly fragrant. When we go around this forest, we see aradtunthan (god presiding over autumn season) along with his wives Iar and rjar constantly worshipping Parakti with fragrant flowers. After worshipping them, we now move towards the entry gates of pacaloha fort. We walk through pacaloha fort and reach its exit gates. After crossing the huge exit gates, we are able to see another huge fort made of silver (seventh fort), situated miles away. We now enter the forest area between pacaloha and silver forts. This forest is full of prijta trees and this forest is named after these trees as prijtavik. This flower is also one of the five tress of heaven and its flowers are large crimson flowers. This forest has very cold weather. Here too, a lot of cuckoo birds sing in chorus. As we walk through p rijtavik, we are able to see Hemantatunthan along with his two wives Sahar and Sahasyar. After worshipping them, we now reach the huge entry gates of silver fort. We walk through this silver fort and after exiting from the fort, we are able to see another huge fort made of gold (eighth fort), which is glittering and shining. We now enter another forest area by name kadambavipinav (vipina means thick and this forest is very dense) situated between silver and gold forts. Parakti is extremely fond of this forest. Lalit Sahasranma (60) says, Kadabavana-vsin, which means that She lives (sojourns) in this Kadabavana. This forest is different from the previous ones. The flowers in this forest are highly fragrant in nature and have a large quantity of pollen. As a result, a lot of honey is produced and there is a huge falls in which only red coloured honey flows. While we are awestruck with the beauty of this forest, we also see iiratunthan along with his wives Tapar and Tapasyar. We worship them and reach the main entry gates of the gold fort. When we are standing before the huge gates of gold fort, we find there is a huge palace, surrounded by divine fragrance of kadamba flowers. We go towards this palace, which has gold steps and a huge hall built with precious rubies (one of the precious gems). There we find a huge throne fully studded with precious gems. On the throne we find Mantrii Dev seated majestically. Immediately, we recollect Lalit Sahasranma 75, Mantrinyambviracita-viagavadha-toit. We request our Guru who is guiding us in our journey to r Cakr, to explain about Mantrini Dev. Now Guru explains; Lalitmbik was delighted with the destruction of demon Viagavadha by Mantrin Devi, who is also known as ymal Devi). She helps us in attaining super natural powers and also eradicates evil influences on us. Mantrin Devi represents the potency of mantra-s. Mantrin Devi destroys evil desires of the devotees of Lalitmbik. Mantrin Devi has her own chakra, which consists of bindu, innermost triangle, five-faced angle, inner eight petal lotus, outer eight petal lotus, sixteen petal lotus and outer square. This chakra is known as Geyacakra and this is explained in Lalit Sahasranma 69, which says Geyacakra-rathrha-mantri-parisevit. The chariot in which she travels is also known as Geyacakra ratha. She is one of the important ministers of Lalitmbik. There is one more nma in Lalit Sahasranma (786) which says, Mantrin-nyasta-rjyadh. Mantrii is the feminine gender for minister (mantri). ymal Devi presides over all the alphabets of

4 Sanskrit. If we worship Her, mantras will fructify easily. She is also known as Rja-Mtag and Rja-ymal. Let us now worship her and take her blessings, as without her permission, we cannot go anywhere near Lalitmbik. After carefully listening to Gurus explanation, we go near her to worship. She appears in multi coloured complexion like the wings of peacock. She is wearing ear studs made out of palm leaves. Her mouth chews betel leaves which emit pleasant fragrance. Her lips are deep red in colour. She has embellished saffron paste all over her body. She is wearing a crown with radiating moon. Her feet are red in complexion. She has a melodious voice. She is wearing red and white coloured garments. She is wearing a beautiful garland made out of kadamba flowers that are grown in kadamba forest. She is also wearing another garland of basil leaves. Her hair is falling on her left shoulders. She has four arms. She holds a parrot in one hand and a lotus flower in another hand. With other two hands, she is playing a veena, a stringed musical instrument and she appears overwhelmed with the melody of her tune. Since, she is so fond of music, she is also known as Sagta Mtk (mother of music). We now stand before her seeking her blessings to have personal daran of Lalitmbik. When she sees such a good gathering of great devotees, headed by the right Guru, She blessed all of us without any hesitation and told us that all our afflictions, such as sorrow, anguish and distress now stand eradicated. With tears of joy, we now move to the next fort. We now move to the entrance gates of gold fort (fort number 8) and walk through the fort and reach the other end of the fort. By walking through exit gates, we once again see huge open space. This place is very well lit by the next fort (fort number 9) made of puparga (topaz. Wearing this stone is said to give wealth. It is worn, when Jupiter is afflicted). When we walk through this open space, we are able to see Siddha-s (Self-realised persons, who constantly affirm ivoham I am iva - meditating on Lalitmbik. When we go around this space, we could see a number of well known Siddha-s. All of them keep their eyes closed. When we go past them, we have goose bumps (goose bumps are possible when divine energy enters into our body). Every one of them appears radiating and this place is not only lit by the effulgent puparga fort, but also by the presence of great Siddha-s, from whom radiating light emerge. They also recite oa and Pacada mantra-s apart from reciting ivoham. After paying our obeisance to the great Siddha-s, we now move to the next fort, puparga fort. We stand before the entry gates of puparga fort (fort number 9) and walk through this fort to reach the other end of the fort. On exiting this fort, we find another open area where craa-s sing in praise of Lalitmbik. Craa-s are those who have surrendered to Her totally. They have got this name because they have made aragati to Her. aragati means taking refuge in Her. They are complexly purified from all their sins and they take care of maintaining r Nagara. They are very fond of true worshippers of Lalitmbik. After paying our respects to them we now move to the next fort padmarga fort. We now stand before the gates of padmarga fort (fort number 10, made of ruby) and enter the fort, only to exit through the other end. We now enter into another open area, where we see many young bachelors known as Vauka-s. All of them are meditating on Lalitmbik. Along with them live certain types of yogin-s (yogin-s are female demons attending on

5 Goddess Durg). They also worship a goddess by name Sakarin After paying our obeisance to Sakarin, Vauka-s and yogin-s, we move towards the next fort. We now proceed towards the entrance gates of the eleventh fort made of gomedaka (known as zircon. It is said to alleviate the evil effects of Rahu. It is also believed that by wearing this gem, one will get rid of all his sins source: Maniml, an ancient treatise on gems). When we leave this fort, we now enter into another huge open space. From the point where we are standing now, we are also able to see the next fort made of vajraramai (known as thunderbolt gem, a type of diamond), which is extremely glittering. In the open space that exists between the forts of gomedaka and vajraramai, there are a number of huge flower gardens, rivers, lakes and several beautiful palaces. In this beautiful place live divine damsels like Ramb, rvas and others. They sing and dance in praise of Lalitmbik. There is a rivulet by name Vajr (vajra means thunderbolt). It is also said that the river is invisible. Water is gushing through this rivulet making a thundering sound. In quiet area of this rivulet, there are swans. On the banks of this river, there is a goddess by name Vajre. She is adorned with diamond ornaments. She is worshipped by Indra, the chief of gods. (Vajre referred here does not mean Vajrevar, nma 468 or Vajri, nma 944 of Lalit Sahasranma. Both of them are the names of Lalitmbik). After worshipping Vajre, who constantly worship Lalitmbik, we proceed towards vajraramai fort. Vajraramai fort glitters like blinding lights. We walk through this fort to reach the other end of the fort. When we exit this fort, we enter into a huge garden. There are a number of well crafted palaces in which live eight huge serpents like Ananta, Vsuki, Takaka, Karkoaka, etc. Apart from these gigantic nga-s, some devoted demons like Bali (he was humiliated by Viu). After paying our respects to them we move on to the next fort. This fort (fort number 13) is made up of vairya (cats eye). We walk through this fort to enter into another open space. When we stand at the exit gate of vairya fort, we could see another huge fort resembling the sky and it is difficult to distinguish between the colour of the sky and this fort. We are now in the open space between this fort and vairya fort. In this place, there are a number of huge palaces. This place is meant for those who never deviated from dharma. In this place live Manu, Bharata, etc. All of them worship only Lalitmbik. After paying our obeisance to them, we move to the next fort, fort number 14, which is made of indranla (sapphire) gems. We are now at the entrance gates of indranla fort. We are now standing before indranla (sapphire) fort. At that time, Guru, who is leading us in our journey to r Cakr told us that we did not have daran of an important goddess, who resides in this area (between vairya and indranla forts) by name todar (Lalit Sahasranma 130). She is known by this name because of her thin waist (todara means thin waisted). We are also able to see a number of great kings paying respects to her. After worshipping her, Guru gave us small lecture about this sapphire fort. Sapphire is a highly auspicious stone. It is often compared to the colour or Bhramara (literal meaning black bee), an analogue to Manmatha (Cupid) of ancient mythology. His complexion is said to be beautiful grey. This gem is available in other colours like the throat of iva (blue in colour) or the complexion of Ka (dark blue, more towards black). Depending upon the nature of the

6 stone, it has the ability to augment ones wealth, fame and prosperity in the family. It is the favorite stone of planet Saturn. Those who worship Lalitmbik only for material wealth, get their wealth from this fort. After listening to Gurus description about sapphire stone, we walk through this fort and reach a huge open space. This space is really huge and beyond our comprehension. To whichever side we turn, we see only beautiful trees with flowers and fruits. We are able to see very huge glittering palaces. The whole place is reverberating with Divine energy. We have not experienced this kind of feeling so far. The length and breadth of this place is too vast to describe. Guruji told us that eight gods who are presiding over eight cardinals live in this place and they are known as aadikblaka-s. We now proceed to have daran of aadikblaka-s and we begin from eastern side, where Brahmaloka (marked as C in the image in part I) is situated outside ri Nagara.

Eastern side is presided over by Indra, who is the chief of all gods and goddesses. Indra also presides over aadikblaka-s. We see Indra mounted on his elephant vehicle known as Airvata (it is also known as Airvaa, which is white in colour), produced while churning the ocean. He is seated on Airvata with his wife a. He is holding a peculiar club (weaponry called thunderbolt) in his hand, known as vajryudha, which is his unique weapon. Vajryudha was given to Indra by Lalitmbik. Vajryudha is made of the spinal cord of a great sage Dadhci, who was constantly meditation on Her. Lalitmbik, in appreciation of his penance, took him with Her by offering him liberation through Vajre, a goddess on the banks of river Vajr, whose daran we had when we were in the open space between 11th and 12th forts. The spinal cord of Dadhci after his liberation was given to Indra as his weapon to destroy demons. Vajryudha is considered as one of the most potent weapons. Ka talks about Indra on three occasions in Bhagavad Gt (Chapter X). He says, I am Indra, among gods; Among elephants, I am Airvata (Indras elephant vehicle) and Among thunderbolts, I am vajryudha. After worshipping Indra, we now move on to South Eastern cardinal. South East is presided over by Agni, the god of fire. We move forward to have daran of Agni, who is the carrier of oblations to the respective gods. He is seated on a sheep with his two wives Svh (her body is said to consist of the four Vedas, and her limbs are the six Aga-s; she is the carrier of offerings made as oblations in fire rituals to gods and goddesses) and Svadh (she is the carrier of offerings made as oblations in fire rituals to departed

7 ancestors). Form of Agni is dreadful. He has two faces, six eyes and seven tongues. These seven tongues are worshiped in all fire rituals (sapta te agne samidhas-saptajihv). Each of these tongues has a name. Agni is seen with a hand fan (used to kindle fire in the fire pits or fire altar, known as homakua-s), sruk ( a large wooden ladle, ), also written as sruc ( ), made out of pala or khadira wood, used to offer ghee into the fire as oblations during fire rituals, sruva (same like sruc but small in size), jyaptra (a vessel to hold clarified butter known as ghee, for offering into the tongues of fire, during oblations), tomara (a long stick) and annaptra (a vessel containing cooked rice for offering as oblations). Guru informed us that Agni is the best purifier. Ka says in Bhagavad Gt (X.23), Among eight Vasu-s, I am Pvaka (Agni). After praying to Agni that he should keep our mind clean, we move towards Southern cardinal. (Further reading on Vaus-s: Vasu-s are a class of gods who are highly benevolent. Their names differ in various scriptures. Vasu-s are eight in number and generally known as aavasu-s. According to Vishnu Purana the names of these gods are pa (Water), Dhruva (the pole star), Soma (moon), Dhava or Dhara, Anila (wind), Anala or Pvaka (fire), Pratyua (the dawn), and Prabhsa (the light). Amongst them Anala or Pvaka is said to be the chief.) As we move towards South, we find darkness. This is known as Yamaloka, the world of Yama, the god presiding over death. Since Yama is known for dharma, he is also known as Dharmarja. That is why Ka says, Among the rulers, I am Yama. He is upright in following dharma guidelines (Law of Karma) prescribed by Lalitmbik. Though every one of us is scared to go anywhere near this place, at the insistence of our Guru, we move forward to have daran of Yama, the upright ruler. When we go near him, we are more scared on seeing his form, complexion and his vehicle. He is very dark in colour and two of his teeth are protruding outside his mouth making him look dreadful. He is seated on a wild ox, which is darker than Yama. He is holding a club and a noose in his hand. Because he is holding a noose, he is also known as pahasta (holder of noose). He uses this rope to take the lives of those who are about to die. There are a number of his assistants around him, who look terribly dreadful than Yama. He is seated on the ox along with his wife ymala. After praying to Yama that he should bestow his grace on us to lead a meritorious life, we move on to South West. South Western cardinal is presided over by a demon called Nirti. Nirti means dissolution, destruction, calamity, evil and adversity. His vehicle is said to be human and he has dreadful weapons made of iron such as knife, etc. He is dark to look at and he is with his wife known as Dhrg. Nirti sometimes is also referred as a female form of demon. After worshipping him, we move on to Western cardinal. Western cardinal is ruled by Varua, who presides over water bodies. He is bright in complexion and is seated on a fish vehicle (sometimes referred as crocodile or sea monster). He has a noose and is seated with his wife Kl (not Goddess Kl). In Vedic parlance, he is explained as the one with extraordinary powers and often worshipped along with Indra. He

8 has extraordinary wisdom and those who violate dharma are punished by him. He is supposed to be presiding over immortality. After worshipping him, we move on North West. North West cardinal is ruled by Vyu, god presiding over air. He is known for the highest level of spiritual knowledge and is extremely wise. He is seated on his deer vehicle with his wives, suumna, i and pigal, the three n-s relating to the movement of Kualin, the subtlest form of Lalitmbik. Vyu always lives amidst great yogis, the important one being Goraka. After worshipping them and seeking his grace for spiritual knowledge, we move on to the next cardinal, North. North cardinal is presided over by Kubera, god of wealth. His place is well lit, with huge gold palaces all-round. The world of Kubera reflects every symptom of prosperity. Kubera is the chief of yaka-s (yaka-s are said to be demigods, unlike Varua or Vyu). Kubera is also known as Vairavaa. He is seated on a horse along with his wife Citrarekh (she is also known as Surgan, one of the beautiful celestial women). He has only a knife as his weapon. Kubera is often seen with another yaka by name Mibhadra, who is also known as prince of yaka-s. All of them worship Lalitmbik with great reverence. Kubera worship Her with his own Pacada mantra. After paying our respects to Kubera, we move on to the next cardinal, North East. North East is the eighth and last cardinal point from East and is presided over by na, who is one of the eleven Rudra-s (ekdaarudra-s). na means wealthy and splendorous. This place has many palaces constructed with gold. There are many temples in this place. na with his wife Ktyyan is seated on a pure white bull (abha vhana). na has moon in his crown. na and Ktyyan are believed to be lower forms of iva and Prvat. The world of na has sixteen varaa-s (like roundabouts in temples). With this, our journey in the space between indranla fort and pearl fort (fort number 15) has come to an end. We have reached the starting point, Indra lok, ready to move into the fort of pearls. Fort of pearl is the fifteenth fort in r Nagara. Once we cross this fort, we have to cross ten more forts to reach the outer walls of r Cakra. We now cross the pearl fort and enter into a huge open space. From this open space, we are able to see the fort of emerald (marakata). In this place there are a lot of palm trees. Each palm tree is shining like gold. Gold pots are fixed on the top of these trees to extract an intoxicating drink known as madhu from the fruits of palm trees (madhu is also referred as spirituous liquor, generated from the skull that drips into the throat during kualin meditation. This is referred in Lalit Sahasranma 106, sudhsrabhi-vari. According to this nma there is one soma chakra in the middle of sahasrra. When Kualin reaches this chakra, out of the heat generated by Paraktis presence, the ambrosia which is stored there gets melted and drips through the throat and enters the entire nervous system). As we go around the open space, we find a huge palace made of emeralds. As we enter into this palace, we see a massive hall with one hundred pillars, also made of emeralds. In that hall, there is a throne, fully made of gold and in the middle of this gold throne there is a gold lotus flower, known as mantrarjam, where we are

9 able to have a glimpse of Vrhi Devi, who is majestically seated. The palace of Vrhi Devi is in no way different from the palace of Mantrin Devi (situated in the space between forts 7 and 8). Both of them form the two front arms of Parakti (Mantrin is in left lower hand and Vrhi is the right lower hand. Vrhi Devi is subtly conveyed in Lalit Sahasranma 11, pacatanmtra-syak (pacatanmtra-s are sound, touch, sight, taste and smell). There are another two nma-s (70 and 76) which speak about Vrhi in Lalit Sahasranma. Apart from these nma-s, there are several subtle references. Vrhi Devi is seated on Kiricakra, her yantra. Her chariot is known as Kiricakra-ratha. We now move closer to Vrhi Devi. Vrha means boar (pig or hog). Since Vrhi has boar like face, she is known as Vrhi. She has beautiful eyes like that of lotus flowers. Her body has lustrous gold complexion. She has the moon on her crown. She is wearing red coloured garments. A red garland adores her body. She has eight hands and six hands are holding six different weapons and two hands show abhaya (removing the fears of devotees of Parakti) and varada (conferring boons) mudras. The rest of the hands hold a plough, a daa (staff appearing like a pestle), a conch, a wheel, an akua (hook) and a pa (noose). She is also known as Daanth because she always carries a daa (staff) with her. She is dreadful to sinners. She is extremely fond of devotees of Parakti and always blesses them. She is surrounded by Svapne, aabhairava-s with their consorts and others like Jambhini, etc. Her mantra is also known as mantrarjam which has 110 akara-s and is considered as one of the most potent mantras, which is reproduced here.

om ai glau ai namo bhagavati vrtli varhi vrhamukhi ai glau ai adhe adhini namo rudhe rudhini namo jabhe jabhini namo mohe mohini nama stabhe stabhini nama ai glau ai sarvaduapratun sarve sarvavkpadacittacakurmukhagatijihvstabha kuru kuru ghra vaa kuru kuru ai glau ai ha ha ha ha hu pha svh || (Please note: This mantra is taken from Mantramahrava and appears as the correct one. There are several versions of this mantra and authenticity of these mantras could not be verified.) Vrh is the chief of Lalitmbiks army. Vrh has the capacity to drive away the evil forces. If Vrh is worshiped on the 18th day of the month of ha (July-August), it is believed that those who have difficulties in getting married will get married. The Bhvanopaniad considers goddess Vrhi as father and Kurukull as mother (we will have

10 her daran later in r Nagara). It says, Vrhi piturp kurukull balidevat mt (

).

It is also said Vrhi Devis 110 akara-s and ymal Devis 98 akara-s, together form 208 akara-s used in r Cakr navvaraa pj. ymal Devi is between forts 7 and 8. After praying to Vrh that She should bless us in having a close daran of Lalitmbik, we move from Her palace and reach the huge entrance doors of the emerald fort. Emerald fort is the 16th fort. When we pass through this fort, the green colour of emerald is very pleasing to our eyes. After exiting this fort, we are able see another fort, far away, which is fully made of corals. Coral fort is the 17th fort. We are now in the open area between the emerald fort and coral fort. When we go around this open space, we find Lord Brahm in a meditative posture. He is in charge of creation of beings and this work is allocated to Him by Lalitmbik. He is also known as Prajpati, meaning lord of creatures. He is often called great-grandfather of the beings, while Viu is called as grandfather and iva as father. We, with great reverence move towards Brahm, who has the complexion of saffron mixed with milk (combination of red and white), giving golden sheen to His body. After worshipping Him from a distance, we proceed towards the coral fort. We walk through the coral fort to reach another open space. From this open space, we are able to see another fort made of navaratna -s (built with nine types of precious gems - pearl, ruby, topaz, diamond, emerald, lapis lazuli, coral, sapphire, and gomedhaka, known as zircon), which is fort number 18. We now begin to walk around outside the coral fort. We find a huge palace built with highly precious rubies. We enter into this fort and in the middle of the fort, we find Viu along with His Consort Lakm, seated on His Garua vhana (Garua referred here is not a regular bird, but a mythological bird, born to sage Kayapa and Vinat. Vinat is the mother of Supara, Arua and Garua). We move closer to Him, as we know that He sustains the universe and is always compassionate. He has the complexion of young leaves of Tamla tree (this tree is said to be dark in colour, but blossoms in white colour). Even from a distance, we are able to see His radiance. He is wearing kuala-s in His ears (kuala means ear stud or ear ring). The radiance of the kuala-s are reflected in His shining cheeks. His lips are red in colour and He is ever smiling. His face appears like the moon. He has kastr tilak in His forehead (kastr means musk, naturally fragrant glandular secretion from the male musk deer). His eyes appear like fully blossomed lotus flowers. He is wearing garlands made of campaka flowers (fragrant yellow flowers). He is wearing pure white silk garments. rvatsa adores His chest. (Viu Sahasranma 601 is rvatsavak and is explained thus: rvatsa is a mark in the chest of Viu, which is considered as very auspicious. Vakas means chest. It is also said that it is the place where His consort Lakm resides. Though the Lord Himself is an embodiment of auspiciousness, the presence of Lakm makes His form more auspicious.) He appears exactly as described in this dhyna verse of Viu Sahasranma: saaakha-cakra sakira-kuala saptavastra sarasruhekaa |sahra-vakasthala-obhi-kaustubha nammi viu iras caturbhujam || Meaning: I pay obeisance to Lord Viu with four hands, who holds conch (Pcajanya) and disc (Sudaranacakra), who is adorned with crown and ear studs, golden

11 raiments, beautiful eyes like lotus flower, His chest bedecked with garlands and kaustubha, a celebrated jewel obtained with thirteen other precious things at the churning of the ocean and suspended on the chest of Viu. He is also adorned with a garland of basil leaves (tulas or tuls). His Consort Lakm is sitting very close to Him. The very sight of this gives us immense happiness. We prostrate before them and seek their blessings. After leaving His place, we moved towards the entry gates of navaratna fort (fort number 18) and walked through this fort to reach the other end of the fort. When we entered into the open space after navaratna fort, at a distance, we are able to see another huge and beautiful fort made of nnratna-s (different types of precious gems), which is known as nnratna fort (fort number 19). We now begin to go around outside navaratna fort. We are able to see a number of massive palaces, vast flower gardens. There are big mountains with high peaks. While we are walking through this place, we find a large hall fully constructed with gold. This hall has one thousand gold pillars. When we are about to enter this palace, we are able to listen to the chants of Vedas. Vedic chants reverberate everywhere. In the middle of this gold hall, we find a throne, fully decorated with tiger skin. In that throne is seated Rudra, along with His consort, Bhavn. In front of Rudra and Bhavn, is seated with great reverence, a bull known as abha. This is bull is said to be Nandi, the vehicle of Rudra. Along with Nandi is seated Bhgi, one of Rudras attendants. Both abha and Bhgi always recite the names of Rudra and Bhavn. Apart from abha and Bhgi there are other attendants and they are known as Rudragaa-s. We prostrate before Rudra and Bhavn and after seeking their blessings, we move to the next fort. (Further reading: iva attains several forms depending upon the necessity. His Supreme form is Paramaiva. This form of iva encompasses Parakti. Both of them are in a single form. However, this form is different from Ardhanrvara, in which akti occupies left side of ivas body. But Paramaiva is different from this form, as akti has not yet been created as a separate entity, but remains in Paramaiva; still She is inherent in this form. At the time of creation, Paramaiva becomes iva and akti, as two separate entities. iva, in order to creates modifies and expands Himself to create the universe through His various forms such as Sadiva, vara, Rudra, etc. This is like water in a well, in a lake and in an ocean. Water is the same and only the container in which the water is held is different. In the same way, inner essence is always iva, who manifests in different names and forms such as Sadiva, vara, Rudra, etc. Modification of iva into various forms depends upon the influence of akti, known as My, on Him.) There are six more forts before we could reach r Cakr. We can begin our journey inside r Cakr only after crossing these six forts. We are now standing in front of huge gates of manomaya fort (fort of mind, mental fort or mental sheath), which is fort number 20. Forts 20, 21 and 22 form the forts of antakaraa. Antakaraa consists of three components as per Trika philosophy (explained in this link in three parts) and four components as per Advaita philosophy. The four components are mind, intellect, consciousness and ego. In Trika, consciousness is not included, as iva Himself is

12 Consciousness. We walk through manomaya fort to reach another open vast space, which is lustrous red in colour. In this open space, we see Amtavpik (lake of nectar). Two banks of the lake are named as sacala (referring to wavering nature of the mind). In this lake, we are able to see swans in the colour of pearls (pure white), moving around. We also find many gold lotus flowers in the lake. Apart from gold lotuses, there are other fragrant watery flowers, and bees fly around these flowers making buzzing sound, which is soothing to our ears. In the middle of this lake, there is a boat, built with pure white pearls. In that boat, we see a beautiful young woman playing with her friends. She is pinkish red in complexion (sindrapalg). She has moon in her crown, her face appears like the full moon and her lower lip is deep red in color, like pomegranate flowers. She has dark curly hair and her eyes are like young does (female deer) eyes. She has bright ear studs, the reflections of which are seen in her shining cheeks. She is being given abhieka (sacred bath, accompanied with recitation of mantras) by her assistants, who also travel with her in small boats. They give her bath by using gold horns (like horns of cow). She is Tr Devi (one of the akti-s of daamahvidy). After worshipping her, we move on to the next fort (four number 21), fort of ego. The fort of mind is a subtle fort (though not explicitly said so). Thought processes of the mind are explained as the banks of the pond and that is why they are named as sacala (sacala means wavering). Gold lotuses represent material desires. Fragrance, colour, complexion, etc refer to lecherousness. Sounds of bees are the material sounds that afflict our minds. Sight and sound are the primary reasons, for causing lasting mental impressions in our minds. In order to remove mental afflictions, Tr Devi is worshipped, as she is known for wisdom and knowledge. When her grace is obtained, we begin to taste the divine nectar (spiritual advancement). (Further reading on Tr Devi: Tr Devi described here and in other mantra texts do not agree. Some of the common descriptions are boat, pearl, etc. There are three types of dhyna for her and they are i, sthiti and sahra dhyna-s (contemplation for creation, sustenance and destruction). Based upon different acts, her dhyna verses also vary. For example, white colour is associated during creation, red during sustenance and black during destruction. It is also said that Brahm and Viu worshipped her with different mantras. Brahm worshipped her with om tr hr hu pha and Viu worshipped her with om hr r kl sau hu ugratre hu pha . But her common mantra is om hr tr hu pha . Her bja is tr ) We are now standing before the gates of fort of intellect (buddhi), which is the 21st fort. As we walk through this fort, we reach another open space. While going around this place, we find another lake by name nandavpik (lake of bliss), which is full of nectar. This lake has steps made of rubies, which are deep red in colour. There is a small boat, built with rubies, in the middle of the lake of bliss. In that boat, is seated Amte. She has compassionate eyes and she is well decorated with shining ornaments. She is also known as Vrui Devi. This Devi is explained in Lalit Sahasranma (333), Vrui-mada-vihval, which is explained

13 thus: Vrui is the extract of dates that is allowed to brew and when consumed causes inebriation. There is a ni (nerve) called vrui which can be controlled by breath. This ni plays a significant role in excretion of bodily waste. If this ni is brought under control by proper breathing exercises, one will never feel tiredness in the body. Sages keep this ni under their control to cope up with longer duration of meditation. Opposite to her, some beautiful divine damsels are seated with gold oars in their hands (to row the boats). We pray to her that she should give us enough knowledge (higher level of spiritual knowledge known as buddhi) to know about Lalitmbik and move to the next fort. Next fort (fort number 22) is fort of ego (ahakra). We walk through this fort to reach yet another open space. This space is known as malayapavamna (malaya mountain range; pavamna being purified; this possibly indicates presence of purified air in this mountain range). We are able to feel the breeze, filled with fragrance of newly blossomed flowers. There are many birds in this region. There are many bees tasting the nectar from the newly blossomed flowers. The buzzing sound of the bees is sweet to our ears. In this mountain range, there is a pond called vimaravpik. This pond is the store house of nectar that flows into the throat during kualin meditation. This is purely a Divine Grace and not everybody is blessed with this flow of nectar. (Further reading on the flow of nectar: This is discussed in two nma-s of Lalit Sahasranma 105 and 106, the essence of which is given here: She has now reached Her destination, the sahasrra, where iva is waiting for Her. Sahasrra is just below the brahmaran dhra, an orifice in the skull that connects to cosmos (The existence of this orifice has not been medically proved. Perhaps this is like the pores that exist in our skin through which sweat comes out. But one can distinctly feel the cosmic connection through this orifice. But according to Ayurveda, there is marma point (also known as varma point here, by name adhipati). The union of iva and akt takes place at sahasrra. The sdhaka, who all along was worshipping only the akt, begins to worship Her along with Her Creator, iva. There is one soma chakra in the middle of sahasrra. When Kualin reaches this cakra, out of the heat generated by Her presence, the ambrosia which is stored there gets melted and drips through the throat and enters the entire nervous system.) We are able to see in the middle of vimaravpik, a boat made of rubies. In the boat we are able to see a beautiful dark green complexioned damsel. She has a well developed body. She has beautiful eyebrows that shames Manmathas bow. She is smiling pleasantly. She is wearing ear studs made of rubies. She is Kurukull Devi. A reference to her is available in Lalit Sahasranma 438 Kurukull, and this nma is explained like this: Kurukull is a goddess who dwells in r Cakra between the boundaries of ego and consciousness. The Bhvanopaniad considers goddess Vrhi as father and Kurukull as mother. It says, Vrhi piturp kurukull balidevat mt ( ). This is based on the principle that our body consists of sensory organs along with flesh and blood that cause the feeling of bodily lust. The physical description of Kurukull is terrifying, probably indicating that lust is one of the factors that form a stumbling block to the spiritual progression.

14 After paying our respects to her, we move to the next fort (fort number 23), the sun fort. We now walk through the sun fort to reach bhnu prkra (bhnu means sun and prkra means roundabout), the roundabout after sun fort. Sun shines from this place and illuminates all the fourteen mythical worlds (seven upper worlds are mentioned in Gytri mantra). As we walk through this prkra, we find a huge hall which is constructed with lustrous rubies. There is a lotus like gold throne placed at the far end of the hall. On the throne is seated Mrta-Bhiarava (mrta refers to the sun). He is wearing a red flower garland. Flowers in the garland are deep red in color and are very fresh (fresh flowers are specifically mentioned to say that the flowers are not affected by suns heat). Light of the sun is known as cakumati, which means faculty of sight. Mrta-Bhiarava has two wives and they are Cakumat and Chy Devi (chya means shadow). Two of his wives represent light and shadow. Sun god, who is also known as Mrta-Bhiarava, is a great devotee of Lalitmbik. A reference to this is available in Lalit Sahasranma 785, Mrtabhairavrdhy, which is explained thus: She is worshipped by Mrta-bhairava. He is posited in the twenty fourth prkra of r Nagara. r Cakra is in the centre of this r Nagara. Anything associated with Her is prefixed with r, a sign of auspiciousness. Sage Durvsa says that he worships him with his wife Chya Devi. After worshipping MrthadaBhairava and his two wives, we proceed to the next fort. Next fort is moon fort (fort number 24) and we move towards this fort. This place is very cool and pure white in colour. There are many stars shining in this place. We find moon shining like a pure white flower and is surrounded by many stars. (It is said in Scriptures that all the twenty seven stars, that are referred in astrology are his wives.) We pay our respects to Candran (moon) and exit through the moon fort. On exiting the moon fort, we find a huge fort called gra fort (fort number 25, the last fort). gra means erotic sentiments. Lalit Sahasranma 376 addresses Her as grarasa-sapr, which means that She is in the form of essence of love. Like all other abstractions, love also originates from Her. gra fort is built with gold and precious gems. There is a deep trench outside this fort. This trench is full of water. There are many gold boats rowing in the trench. These boats are well decorated with precious gems. Every boat carries pretty divine damsels. We find Manmatha amongst them! After praying to Manmatha, we enter into the great gra fort. When we enter into gra fort, we place our feet with great reverence on the cintmai prkra, the roundabout fully constructed with the most precious of all gems, cintmai. It is called cintmai, because it is capable of fulfilling all types of desires. After crossing this cintmai prkra, we find a huge tropical garden with full of different types of herbs, flowering plants, huge lotus ponds with inexplicable and beautiful lotus flowers, very tall trees, etc and this place is known as Mahpadmavi (Lalit Sahasranma 59 Mahpadmav-sasth). Lalitmbik visits this forest garden frequently. In the midst of this Mahpadmavi, there is a very huge palace known as Cintmai Gha, the Abode of Lalitmbik. Lalit Sahasranma 57 says, Cintmai-guhntasth. In the middle of Cintmai Gha is r Cakra and in the centre of r Cakra, is seated Lalitmbik.

15 From the point where we are standing now, we are able to see Cintmai Gha. To reach Cintmai Gha, we are now walking through Mahpadmavi. As we are continuously reciting Lalit Sahasranma, we did not have any difficulty in standing before the Eastern entrance of Cintmai Gha. At the outer side, we find huge vessels made of gold and these are known as arghyaptra-s. These vessels contain pure water. There will be one big vessel in which clean water is poured. There are medium sized vessels for the purpose of drinking, washing hands, washing feet and for gargling. Every time, water is taken from the main vessel and used for the purposes mentioned above and after usage they are accumulated in smaller vessels. Thus we have five vessels and hence it is called pacaptra (1 mai n vessel and 4 medium or small sized vessels). This gold pacaptra is held by god Agni in his hands, who stands outside the entrance of the main gates of Cintmai Gha. Thus, Agni forms the base of these vessels. The main vessel is also known as vardhan kalaa. (vardhana means causing to increase or increase in prosperity). There is another vessel called smnyrghyaptra, usually a conch. Water to this conch is taken from the bigger vessel of pacaptra. Water from this is used to purify the offerings made to Lalitmbik (including garlands, food, etc). Then there is another vessel known as vierghyaptra (special arghya vessel). Vierghyaptra is the body of sun and the contents of vierghyaptra is nectar and this vessel is specially worshipped. There are several maala-s in this vierghyaptra and they are agni (fire), srya (sun), soma (moon) Brahm, (in charge of creation, not the Creator), Viu (sustainer), Rudra (the destroyer), Mahevara (the annihilator or the one who conceals) and Sadiva (the re-creator; the one who creates the annihilated universe by Mahevara). These five (except fire, sun and moon) are known as the chiefs of pacaktya-s. This is explained in Lalit Sahasranma 274 (She is the abode of all the five functions discussed above. Nma 250 Paca-brahma-svarpin says that She is the cause of all these five acts. All these five acts are carried out by Her as prkaa (cit) vimara (akt) mah my svarpin. She is also known as Cit akt. Cit means the consciousness that is absolute and unchanging). These five gods reside inside the vierghyaptra and their palaces are situated beneath vierghyaptra. It is said that all the fourteen worlds (seven below the earth, the earth and six above the earth) are illuminated by these palaces. Preparation of vierghya and worshipping vierghyaptra are important aspects in r Cakra Navvaraa worship. We are now at the main gates of Cintmai Gha. We go around Cintmai Gha to fully understand its grandeur. Now we are on the eastern side. Main entrance gates to Cintmai Gha are situated on the eastern side. We are now facing Cintmai Gha and to our right, is the palace of mala Devi. We have already seen her in the space between forts 7 and 8 (silver and gold forts). This is another palace of mala Devi (this can be explained as a palace for refreshment). To our left is the palace of Vrhi Devi. We have already seen her in the space between forts 15 and 16 (forts of pearls and emerald). Like Mantrin Devi (mala Devi), Vrhi too uses this refreshment. Cintmai Gha has four main entrance gates, one each at the four cardinals. Each of these main gates is guarded by mnya devata-s. Eastern gate is guarded by Bhuvaneavar (representing mantra yoga). South side is guarded by Dakia Kl (path of devotion).

16 Western side is guarded by Kubjik (path of tantra, the main authority being Kubjikatantra). Northern side is guarded by Guhya Kl (path of knowledge). As we go around, at Southeast corner, we find a fire altar, known as Cidagnikua. Lalitmbik originated from this kua. This is explained in Lalit Sahasranma 4, Cidagnikua-sabht, which is interpreted thus: {Cit + agni + kua + sabhta. Cit means
nirgua Brahman or Brahman without attributes (the foundational consciousness). Agni kua means a fire altar, in which fire sacrifices are done by offering oblations. Sa bht means born. Agni kua or the fire altar means the dispeller of darkness. Darkness means lack of knowledge or ignorance which is called a-vidy (vidy means knowledge). This should not be interpreted as the one who was born out of the fire. She is the Supreme Consciousness who dispels ignorance. She dispels ignorance through Her form of pure Consciousness, who illuminates within, dispelling the darkness of my.} After prostrating before this fire altar and after having seen the birth place of

Lalitmbik, we move forward to Southwest, where we find Cakrarja ratha, the chariot of Lalitmbik. This is described in Lalit Sahasranma 68, Cakrarja-rathrha-sarvyudhaparikt, which is reproduced here, as reference is made to ri Cakra in this nma. {Cakrarja is the chariot of Lalitmbik in which She travels along with all types of weapons.
Weapons mean the ways of attaining suddhavidy or pure knowledge which is called the knowledge of the Brahman. This chariot consists of nine tiers. There are other two chariots that accompany this Cakrarja the details of which will be discussed in the next two nma-s. This Cakrarja is said to mean the r Cakra, the place of Lalitmbik. Parikt means adorned. A brief knowledge of r Cakr becomes a necessity to understand this nma. r Cakr consists of nine partitions or angles broadly divided into five akt cakra-s and four iva cakra-s. The triangles facing upwards are called iva cakra-s, and the triangles facing down are akt cakra-s. r Cakr contains forty four triangles in which forty three goddesses (44th is Lalitai) and seventy nine yogin-s (demi-goddesses) live. All the gods and goddesses are said to reside in r Cakra and that is why it is said that one can perform pja to any god/goddess in r Cakra. The nma 996 r Cakrrja nilay confirms Her domicile in r Cakra. Cakrarja also means the six cakra-s (mldhr to ja). Ratha means base or foundation. Arha means control and sarvyudha means pure knowledge which is called suddhavidy. The six cakra -s form the foundation to attain pure knowledge through which mind can be controlled in the sixth cakra. The five psychic cakra-s represent the five basic elements and the ja cakra represents mind. Therefore to control the basic elements and the mind, pure knowledge becomes essential. When cakra-s are controlled, siddhi-s are attained.}

After worshipping Cakrarja, Lalitmbiks chariot, we move on to North western side, where we find Geyacakra ratha, This is the chariot of Mantrin Devi who is also called yamal Devi. After worshipping the same, we move forward to North eastern side, where Kiricakra-ratha is situated. This chariot belongs to Daanth Devi who is also known as Vrh Devi. After worshipping this chariot, we proceed to the main entrance gates of Cintmai Gha. From a distance, through the Eastern gates of Cintmai Gha, we are able to see the outer wall of r Cakra. We are greatly exited to get into r Cakra, for which we are awaiting for

17 necessary permissions from yamal Devi, Vrh Devi and Bhuvaneavar Devi. We are now waiting outside the gate, taking rest under the huge tress of Mahpadmavi. While we are waiting for necessary permissions, our Guru gives a small lecture about r Cakra (should be read as chakra). We have reached this place after crossing twenty five forts and we are about to enter into r Cakra. I am not going into the details of various enclosures now. There are two types of worshipping r Cakra. One is ritualistic worshipping all the nine enclosures with flowers, etc. There are several goddesses in these enclosures and all of them are worshipped before reaching the innermost triangle and the bindu (the dot in the center). The inner most triangle and the bindu are the source of creation of the universe. There is another way of worshipping r Cakra through mind, as explained in Bhvanopaniad (), which is based on certain subtle conveyances of Atharvaveda. Bhvanopaniad is in the form of stra-s (aphorisms) and enlighten the similarity between human body and r Cakra. Bhvana means contemplation, where only the mind is used. When you involve your mind in worship, you are bound to have significant and instantaneous effects. You must always remember that you can reach Her feet only through your mind and not through your sensory organs. At the same time, you must also remember, that you cannot straight away begin mental worship, without going through the process of ritual worship. If you do that, your sdhana will be imperfect and you cannot achieve the desired results. Bhsakararya, one of the greatest devotees of Parakti in recent times spoke about three stages of worship. First one is worshipping Her with gross forms, such as having Her idol, etc. This includes navvaraa pj, Lalit Sahasranma or Triat arcane, etc. In this kind of worship, we always consider Her as someone different from us and we adore Her by placing Her on a higher pedestal. When one attains perfection in these rituals, he moves on to worship Her with mantras, gradually moving away from ritualistic worship. Initiation of mantras happens during this period. One moves from Bl mantra to Pacada and ultimately to oa. Even in mantra sdhana, one begins with all types of nysa-s (touching a particular part of the body with specific fingers of the hand, symbolically placing Parakti all over the body). Over a period of time, he dispenses all nysa-s and concentrate only on the mantra. When he is comfortable with this stage, he begins to move on to the final stage of his sdhana, merely contemplating Her within. He does not need the help of pj-s and mantra recitations and he, on his own establishes a cosmic connection with Her in deep meditation. In the deep state of meditation (nirvikalpa samdhi or deep trance), there should be nothing, except your mind and Her subtle form. This stage is explained in Lalit Sahasranma 254, Dhyna-dhyt-dhyeya-rp (She is the form of a triad the meditation, the meditator and the object of meditation. This triad leads to another triad the knower, the known and the knowledge. Higher level of spiritual knowledge can be attained only through dhyna or meditation. Meditation is only a process of powerful concentration. Reading books and listening to sermons are not knowledge. Knowledge is attained through internal quest and exploration. The store house of knowledge is not extraneous, but within. The store house is nothing but the Supreme Self. Patajali Yoga Stra (III.2) explains this further. Unbroken flow of that concentration in that object is called dhyna.)

18 At the initial stages, he tries to become one with Her, but he is not able to sustain this union for long. However, he continues his practice ignoring his own form and after a long and hectic sdhana, he realizes Her within. Now he knows that there is no difference between Her and his own self, which thought destroys all his dualities, which in turn removes the veil of my in his mind. This can be further explained, but this is not the place to discuss more on this. Concept of Guru is very important in knowing Her truly. Unfortunately, many say that they are realized souls, which is only a myth. This is known as deceptive realization, where their egos play spoil sport. Guru will know his disciple and will take him through the stages over a period of time. The transition from stage one to the third stage depends upon ones devotion, level of sdhana and willingness to move forward, without questioning the intentions of his Guru. A true Guru knows how to uplift his disciple. A true Guru will not take much time to shape his disciple. That is why Bhvanopaniad begins by saying rguru sarvakraabht akti || The next stra says that only because of Guru, the disciple has nine openings in his body. In other words, the Upaniad says that the body of the disciple is in no way different from the body of his Guru. You will be surprised to know that the nine openings of the body (pair of eyes, pair of ears, two nostrils, mouth, organs of excretion and procreation- total nine) are the nine enclosures of r Cakra. This not only establishes that there is no difference between Guru and his disciple but also establishes that there is no difference between our body and r Cakra. Thus, there is no difference between Guru, r Cakra and the disciple. Each of the nine enclosures (varaa) of r Cakra is presided over by a cakrevar (presiding goddess of that particular varaa). Apart from cakrevar, there is a yogin in each of these nine varaa-s (navvaraa- nine enclosures). Cakrevar is not different from Parakti. Every cakrevar represents Parakti, but in a much concealed manner. Let us assume that a lamp is covered by eight different veils. When we complete one varaa, one of the veils will be removed. These veils are known as tiraskarai, who is worshipped in the beginning itself during navvaraa pj. When we move towards inner triangle and bindu, at the end of each varaa, one veil is removed and Parakti reveals Herself more clearly. But yogin-s are different. Yogin-s can be explained as spiritual powers, symbolically represented as divine damsels. Yogin is derived from the world yoke (English word), which means union. Yoke is a word derived from yoga, which also means union. Practice of yoga leads to the union of jvtman with Paramtman. Yogin-s play significant role in making this union complete, by sufficiently providing enough spiritual powers to jvtman, so that jvtman is completely purified to become eligible to unite with Paramtman. Lalit Sahasranma 237 is mah-catu-ati-koi-yogin-gana-sevith (Mah-catu-ati-koi means sixty four crores or 640 million. Yogin-gana are demigoddesses. She is worshipped by these 640 million demigoddesses also known as yogini-s. In r Cakra, there are eight mtk devi-s (also known as ata mta-s) like, Brhm, Mhevar, Kaumr, Vaiav, Vrh, Indr, Cmud, Mahlakm. The ata mta-s have eight deputies called as yogini-s which make sixty four yogini-s. Each of these sixty four yogini-s has one crore or ten million

19 attendant yogini-s. Thus the calculation of 640 million yogini-s is arrived. These yogini-s attend to different aspects of administration of the universe.) Apart from aiding the union of jvtman with Paramtman, yogin-s also cause the intertwining of iva and akti cakra-s of r Cakra in a perfect and smooth manner. At the end of each varaa, one mudra (finger gesture) akti and one of the eight aamasiddhi-s are also worshipped. Therefore, at the end of each varaa, first the concerned cakrevar followed by one of the aamasiddhi-s, mudra akti and finally Lalit Mahtripurasundar Par Bhrik (bhrika means noble and majestic Goddess) are worshipped. While performing r Cakra pj, it is always assumed that She is seated facing the eastern direction and we have to enter through the western direction. When Guru finished, Bhuvaneavar Devi (mnyy Devi) informed us that permission is granted for us to enter Her Abode, r Cakra. We now commence our journey to the Supreme Abode of Lalit Mahtripurasundar Par Bhrik. While we are waiting for necessary permissions, our Guru gives a small lecture about r Cakra (should be read as chakra). We have reached this place after crossing twenty five forts and we are about to enter into r Cakra. I am not going into the details of various enclosures now. There are two types of worshipping r Cakra. One is ritualistic worshipping all the nine enclosures with flowers, etc. There are several goddesses in these enclosures and all of them are worshipped before reaching the innermost triangle and the bindu (the dot in the center). The inner most triangle and the bindu are the source of creation of the universe. There is another way of worshipping r Cakra through mind, as explained in Bhvanopaniad (), which is based on certain subtle conveyances of Atharvaveda. Bhvanopaniad is in the form of stra-s (aphorisms) and enlighten the similarity between human body and r Cakra. Bhvana means contemplation, where only the mind is used. When you involve your mind in worship, you are bound to have significant and instantaneous effects. You must always remember that you can reach Her feet only through your mind and not through your sensory organs. At the same time, you must also remember, that you cannot straight away begin mental worship, without going through the process of ritual worship. If you do that, your sdhana will be imperfect and you cannot achieve the desired results. Bhsakararya, one of the greatest devotees of Parakti in recent times spoke about three stages of worship. First one is worshipping Her with gross forms, such as having Her idol, etc. This includes navvaraa pj, Lalit Sahasranma or Triat arcane, etc. In this kind of worship, we always consider Her as someone different from us and we adore Her by placing Her on a higher pedestal. When one attains perfection in these rituals, he moves on to worship Her with mantras, gradually moving away from ritualistic worship. Initiation of mantras happens during this period. One moves from Bl mantra to Pacada and ultimately to oa. Even in mantra sdhana, one begins with all types of nysa-s (touching a particular part of the body with specific fingers of the hand, symbolically placing Parakti all over the body). Over a period of time, he dispenses all nysa-s and concentrate only on the mantra. When he is comfortable with this

20 stage, he begins to move on to the final stage of his sdhana, merely contemplating Her within. He does not need the help of pj-s and mantra recitations and he, on his own establishes a cosmic connection with Her in deep meditation. In the deep state of meditation (nirvikalpa samdhi or deep trance), there should be nothing, except your mind and Her subtle form. This stage is explained in Lalit Sahasranma 254, Dhyna-dhyt-dhyeya-rp (She is the form of a triad the meditation, the meditator and the object of meditation. This triad leads to another triad the knower, the known and the knowledge. Higher level of spiritual knowledge can be attained only through dhyna or meditation. Meditation is only a process of powerful concentration. Reading books and listening to sermons are not knowledge. Knowledge is attained through internal quest and exploration. The store house of knowledge is not extraneous, but within. The store house is nothing but the Supreme Self. Patajali Yoga Stra (III.2) explains this further. Unbroken flow of that concentration in that object is called dhyna.) At the initial stages, he tries to become one with Her, but he is not able to sustain this union for long. However, he continues his practice ignoring his own form and after a long and hectic sdhana, he realizes Her within. Now he knows that there is no difference between Her and his own self, which thought destroys all his dualities, which in turn removes the veil of my in his mind. This can be further explained, but this is not the place to discuss more on this. Concept of Guru is very important in knowing Her truly. Unfortunately, many say that they are realized souls, which is only a myth. This is known as deceptive realization, where their egos play spoil sport. Guru will know his disciple and will take him through the stages over a period of time. The transition from stage one to the third stage depends upon ones devotion, level of sdhana and willingness to move forward, without questioning the intentions of his Guru. A true Guru knows how to uplift his disciple. A true Guru will not take much time to shape his disciple. That is why Bhvanopaniad begins by saying rguru sarvakraabht akti || The next stra says that only because of Guru, the disciple has nine openings in his body. In other words, the Upaniad says that the body of the disciple is in no way different from the body of his Guru. You will be surprised to know that the nine openings of the body (pair of eyes, pair of ears, two nostrils, mouth, organs of excretion and procreation- total nine) are the nine enclosures of r Cakra. This not only establishes that there is no difference between Guru and his disciple but also establishes that there is no difference between our body and r Cakra. Thus, there is no difference between Guru, r Cakra and the disciple. Each of the nine enclosures (varaa) of r Cakra is presided over by a cakrevar (presiding goddess of that particular varaa). Apart from cakrevar, there is a yogin in each of these nine varaa-s (navvaraa- nine enclosures). Cakrevar is not different from Parakti. Every cakrevar represents Parakti, but in a much concealed manner. Let us assume that a lamp is covered by eight different veils. When we complete one varaa, one of the veils will be removed. These veils are known as tiraskarai, who is worshipped in the beginning itself

21 during navvaraa pj. When we move towards inner triangle and bindu, at the end of each varaa, one veil is removed and Parakti reveals Herself more clearly. But yogin-s are different. Yogin-s can be explained as spiritual powers, symbolically represented as divine damsels. Yogin is derived from the world yoke (English word), which means union. Yoke is a word derived from yoga, which also means union. Practice of yoga leads to the union of jvtman with Paramtman. Yogin-s play significant role in making this union complete, by sufficiently providing enough spiritual powers to jvtman, so that jvtman is completely purified to become eligible to unite with Paramtman. Lalit Sahasranma 237 is mah-catu-ati-koi-yogin-gana-sevith (Mah-catu-ati-koi means sixty four crores or 640 million. Yogin-gana are demigoddesses. She is worshipped by these 640 million demigoddesses also known as yogini-s. In r Cakra, there are eight mtk devi-s (also known as ata mta-s) like, Brhm, Mhevar, Kaumr, Vaiav, Vrh, Indr, Cmud, Mahlakm. The ata mta-s have eight deputies called as yogini-s which make sixty four yogini-s. Each of these sixty four yogini-s has one crore or ten million attendant yogini-s. Thus the calculation of 640 million yogini-s is arrived. These yogini-s attend to different aspects of administration of the universe.) Apart from aiding the union of jvtman with Paramtman, yogin-s also cause the intertwining of iva and akti cakra-s of r Cakra in a perfect and smooth manner. At the end of each varaa, one mudra (finger gesture) akti and one of the eight aamasiddhi-s are also worshipped. Therefore, at the end of each varaa, first the concerned cakrevar followed by one of the aamasiddhi-s, mudra akti and finally Lalit Mahtripurasundar Par Bhrik (bhrika means noble and majestic Goddess) are worshipped. While performing r Cakra pj, it is always assumed that She is seated facing the eastern direction and we have to enter through the western direction. When Guru finished, Bhuvaneavar Devi (mnyy Devi) informed us that permission is granted for us to enter Her Abode, r Cakra. We now commence our journey to the Supreme Abode of Lalit Mahtripurasundar Par Bhrik. FIRST VARAA (First enclosure)

22 We now enter the first varaa (enclosure). We find three tiers of huge square walls, white, red and yellow in colour. All the three walls put together is known as trilokyamohanacakra, which is also known as bhpura. Trilokya mohana means attracting three worlds. Three worlds can be explained both grossly and subtly. Grossly it means the three worlds referred in three vyhti-s of Gyatr mantra, bhr, bhuvar and svar loka-s. Subtly the three worlds are three states of consciousness, active, dream and deep sleep states. There are 28 goddesses in trilokyamohanacakra. Presiding deity of this varaa is Tripurcakrevar; Aimsiddhi is the siddhi devi, Sarvasakobhii mudra is the mudra akti and Prakaayogin is the yogin. At the end of this varaa, all these akti-s are worshipped. Lalit Mahtripurasundar Par Bhrik is also worshipped in each of the varaa-s. Each varaa has one specific mudra with which Parakti is worshipped and apart from the specific mudra, She is also worshipped with yoni mudra at the end of each varaa. As far as worshipping this prathamvaraa (first enclosure) is concerned, first square which is protected by ten akti-s is white in colour is to be worshipped with white flowers. Second wall or second square, which has eight akti-s is to be worshipped with red flowers. Third and the last wall or square, which has ten akti-s is to be worshipped with yellow flowers. Now we are going to have daran of these twenty eight akti-s. (During r Cakra worship, the innermost triangle should be facing the practitioner.) Numbers indicated in the chart and numbers indicated in the narration correspond to the place of that particular akti in the wall. First wall: This wall has ten akti-s, which includes aama siddhi-s (eight akti-s representing supper human powers) and two other akti-s (7 and 8). It is important to note that eight (1 to 8) of them are guarding the eight cardinals; out of which four of them guarding the four entrance gates and the other four guarding other four cardinals. 1. aimsiddhi ; 2. laghimsiddhi ; 3. mahimsiddhi ; 4. itavasiddhi ; 5. vaitasiddhi ; 6. prkmyasiddhi ; 7. bhuktisiddhi ; 8. icchsiddhi ; 9. prptisiddhi ; 10. sarvakmasiddhi .

Second wall: This wall is protected by eight akti-s, who are commonly known as aamt-s (eight mothers or aamt-s. It is important to note that the first four of them (11, 12, 13 and 14) are guarding the four entrances of r Cakra and the rest guarding the four corners (15, 16, 17 and 18) of r Cakra.

23 11. brhmmt ; 12. mhevarimt ; 13. kaumrmt ; 14. vaiavmt ; 15. vrhmt ; 16. mhendrmt ; 17. cmumt ; 18. mahlakmmt . Third wall: This wall is protected by ten mudraakti-s. During navvaraa pj, at the end of each varaa, Parakti is worshipped through these ten finger gestures, known as ten mudra-s. This is also referred in Lalit Sahasranma 977, daamudr-samrdhy. (Mudra-s are the configuration of fingers that represent the energy of the deity concerned. They are the secret signs of exchange between the practitioner and the deity and should never be used in public. Mudra-s are highly powerful.) The last of these mudras can be used only by those, who are initiated into oa mantra. 19. sarvasakobhi mudraakti ; 20. sarvavidrvi mudraakti ; 21. sarvkari mudraakti ; 22. sarvavaakar mudraakti ; 23. sarvonmdin mudraakti ; 24. sarvamhku mudraakti ; 25. sarvakhecar mudraakti ; 26. sarvabja mudraakti ; 27. sarvayooni mudraakti ; (Lalit Sahasranma 982 is Yoni-mudr (iva says to Prvat (Todala tantra II.25) My dear, this yoni mudra removes all illness. Oh! Goddess, without elaborating I can just say that it destroys great diseases and Oh! Goddess, without exaggerating I can say that this mudra causes the realisation of the mantra, brings about direct perception of one s self and bestows on the practitioner the great liberation.). 28. sarvatrikha mudraakti ; (Lalit Sahasranma 983 is trikhae. This mudra is used to invoke Her during rituals. Trikhana mudra also means the union of various triads into single entity. For example, practitioner, his Guru and Devi or the knower, the known and the path of knowing are triads. Merger of triads into a single entity is the supreme knowledge that the practitioner has asked for in the previous nma using yoni mudra. It is also said that this mudra refers to the three ka-s of Pacada mantra. From the broader perspective, this mudra can be termed as the Brahma mudra. The extended pair of fingers point out to creation, sustenance and dissolution. During navvaraa pj, only those who are initiated into oa alone can use this mudra). We have discussed about 28 goddesses in the first varaa, known as trilokyamohanacakra and these goddesses guard three outer walls of ri Cakra. It is also interesting to note that beginning from trilokyamohanacakra, there are no male gods in any of the varaa-s. Even all the four gates of ri Cakra are guarded only by goddesses.

24 Bhvanopaniad says that our body is a replica of ri Cakra and our body parts are related to these nine enclosures. In the first wall of trilokyamohanacakra, also known as bhpura, there are ten siddhi devi-s. The outer most wall is guarded by siddhi devi-s because, siddhi-s are to be ignored, when one attains them. Sage Patajali says in his Yoga Stra says that these siddhi-s are possible only if we develop the highest level of concentration and our ability to connect to an element (like air, water, etc) with our consciousness. In the present day world, attaining such siddhi-s is impossible and if one tries to practice this, with certainty it can be said that he is only wasting his time. Now, let us understand about these ten goddesses in the first wall. 1. Aim means ability to become smaller than an atom. 2. Laghim means ability to float in the air by making the body light. 3. Mahim is the power to become huge. 4. itava is the power of creativity and the ability to rule. 5. Vaitva is the power to subjugate both living as well as insentient objects. 6. Prkmya is the ability to get any task done in no time. 7. Bhukti siddhi is not mentioned by Sage Patajali and this is out of the purview of eight siddhi-s known as aamasiddhi-s. It is the power to enjoy with what is attained. This siddhi is discussed only in tantric scriptures. 8. Icch siddhi is also outside the purview of aamasiddhi-s referred by Patajali. Some are of the opinion that sarvakmasiddhi is icchsiddhi. We go only by the ten goddesses mentioned in authentic texts and hence we consider icchsiddhi and sarvakmasiddhi as two different siddhi-s. Sometimes, sarvakmasiddhi and prkmyasiddhi are considered as the same. But tantric texts have different versions. Icch siddhi means power to attain any form according to his will. He can become an ant and again he can become an elephant. 9. Prpti is the power to go anywhere, even to other worlds. 10. Sarvakma is fulfillment of all his desires. (There could be certain variations while interpreting siddhi-s). As discussed earlier, no male god can enter ri Cakra. Goddesses who guard different cardinal points are known as siddhyab. The ten siddhyaba-s discussed above guard ten cardinal points. For example, Aim siddhyab, guard eastern cardinal, Laghim siddhyab is guarding the western cardinal, etc and other siddhyab-s and their cardinals can be found out from the chart attached to the previous article. It is also said that out of these siddhyab-s, nine siddhyab-s represent navarasa or nine emotional states. Lalit Sahasranma 376 is gra-rasa- sapr, which is explained thus:

25 Lalitmbik is said to be the embodiment of extracts (rasa) of finer things in life. There are said to be eight to ten types of rasa-s, though only nine types of rasa-s are generally mentioned. These ten rasa-s are love (gra), heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity and warmth. In the above interpretation, only nine types of emotional states are mentioned. The tenth one is niyati, which can be interpreted to mean prrabdha karma (that part of karma which is carved out of the total sum of karma accumulated over past several births and known as sacita karma; prrabdha karma is the karma meant for the present life and to be experienced in this life itself). Niyati also forms one of the six kacuka-s (coverings) of my, as per Trika philosophy. Niyati is not included while interpreting Lalit Sahasranma 376, because, Brahman is beyond the concept of karma and hence not applicable to Her. The second wall is protected by eight divine mothers known as aamt-s. According to tantric texts, these aamt-s originated from eight different gods and having thus originated from different gods, aamt-s assist Parakti in Her war against demons (mythical war against sinners). Demons are persistent evil doers who are unwilling to mend their ways. Since Parakti is upholder of the universe, She has to ensure that there is a proper balance between good and bad in the world. If bad begins to predominate, She manifests and annihilate them. During wars against perpetual evildoers, these aamt-s assist Her. Now let us have a look about their origin. Serial number is their numbers in ri Cakra and numeric in parenthesis refers to the serial order of aamt-s 11. (1) Brhm originated from Brahm 12. (2) Mhevari from Mhevara 13. (3) Kaumr from Krttikeya, also known as Skanda. He is also known as Kaumra. He is the son of iva and Prvat 14. (4) Vaiav from Viu 15. (5) Vrh from Vrha, one of the incarnations of Viu 16. (6) Mhendr from Indra 17. (7) Cmu is said to have born from the body of Parakti Herself. 18. (8) Mahlakm from Nryaa It is also said that their consorts are aabhairava-s. There are different versions on this. Obviously, Mahlakm is the Consort of Mahviu. This is explained subsequently. While the ten siddhidevi-s in the outer wall represent emotional status of mind, these aamt-s represent skin, blood, muscle, fat, bone, bone marrow, procreative fluids and vitality. Their places of residence in a human body are jcakra, breasts, navel, heart, throat,

26 face, nose and forehead. But, according ivgama, instead of Mahlakmmt, Ca is named. In that case, the Bhairava consort of Ca is Sahra Bhairava. Aamt-s and their consorts aabhairava-s are given below: (1) Brhm - Asitgabhairava (2) Mhevari Rurubhairava (3) Kaumr - Caabhairava (4) Vaiav Krodhanabhairava (5) Vrh Unmattabhairava (6) Mhendr - kaplbhairava (7) Cmu - Bhaabhairava (8) Cai - Sahrabhairava * *Generally only saptamt-s (seven in number) are referred. In certain Scriptures aamt-s are also referred. In that case, either Mahlakm or Cai is named as the eighth mother. If Mahlakm is referred, then there is no corresponding Bhairava. In certain texts, Yam is mentioned and correspondingly her consort is Yama (lord of death). There is no corresponding Bhairava for Yam too. The third wall is guarded ten mudraakti-s. We have to leave the tenth mudra, sarvatrikha mudra, as this belongs to Parakti. The nine mudras represent nine types of powers and they are (19 to 27 in the same order) power of agitation, power of fighting, power of fascination, power of subjugation, power of insanity, power of motivation, power to connect to ariel beings or the power to move in void, referring to higher spiritual levels and the power to create. Trikhaa means dividing something into three parts and here it means the union of the knower, known and the path of knowing (sdhana). Beyond this, no further information is available about these mudraakti-s. Thus, if we look at the three walls of the first enclosure, we will find three planes corresponding to the three loka-s and they are attainments (ten siddhyaba-s relating to the mind), obstructions (aamt-s causing attachment to physical body) and powers (power of fighting, etc as discussed in the previous paragraph) of normal human activates are represented or these three stages of normal human activity originated form ri Cakra. The latter seems to be more appropriate, as the entire universe has originated only from the central triangle of ri Cakra and the bindu within (representing akti and iva respectively). Hence the first enclosure is called trilokyamohanacakra and the three loka-s are attainments, obstructions and powers as discussed above.

27 We are now going to enter the second varaa (dvityvaraa ). This enclosure is known as sarv-paripraka cakra (- ). Presiding deity of this varaa is Tripurecakrevar (presiding deity of the first varaa is Tripurcakrevar. The difference is Tripur in the first varaa and Tripure in this varaa). Laghimsiddhi is the Siddhi Devi. Sarvavidhrvi is the Mudrakti and Guptayogin is the Yogin. At the end of this varaa, these akt-s are worshipped. . Lalit Mahtripurasundar Par Bhrik is also worshipped in each of the varaa-s. Each varaa has one specific mudra with which Parakti is worshipped and apart from the specific mudra, She is also worshipped with yoni mudra at the end of each varaa.

The second varaa is in the form of lotus petals (oaadala padma ) and there are sixteen such lotus petals that form sarv-paripraka cakra. Between the first enclosure and this enclosure, there are three circles known as trivtta or trivalaya, where tri refers to numeric three and vtta or valaya means circles. There are no akt-s in any of these three circles guarding ri Cakra. There circles are not worshipped. These circles mean three of the four pururtha-s (human pursuits) viz. dharama (prescribed conduct), artha (acquiring wealth) and kma (satiating desires). The fourth pururtha, viz. moka (liberation) can be attained only if we reach the central triangle of ri Cakra. This varaa is worshipped in anticlockwise direction, as indicated by ascending numerical in the chart (in red ink). The sixteen lotus petals are attached to trivtta in the outer side and in the inner side they are attached to the eight lotus petals of the third varaa. Now let us begin our journey in the second varaa for worshipping these sixteen akt-s. It is to be remembered that we are now moving anticlockwise direction. 1. Kmkari nityakaldev . (nityakaldev is to be suffixed to all the devi-s mentioned hereafter). 2. Buddhyakari ; 3. Ahakrkari ; 4. abdkari
; 5. Sparkari ; 6. Rpkari ; 7. Raskari ;

28 8. Gandhkari ; 9. Cittkari ; 10. Dhairykari ; 11. Smtykari ; 12. Nmkari ; 13. Bjkari ; 14. tmkari ; 15. Amtkari 16. arrkari nityakaldev
.

During our journey in the previous varaa, we wound up at 28, as indicated in the chart. This varaa is placed opposite (around 600) to 28. We have to reach 1(indicated in red ink in the chart) of second varaa from 28 of first varaa, moving in anticlockwise direction. Once we reach 1 of this varaa, we move forward only in anticlockwise direction. These sixteen petals refer to multiple things and they are 1. Each petal has one vowel embedded in it. There are sixteen vowels in Sanskrit, a to a ( to ). Since this oaadala padma holds all the sixteen vowels, this cakra produces words, their sound (pronunciation) and meaning. 2. These sixteen petals also represent the following; five pra-s (pra, apna, vyna, udna samna); five jnendriya-s (organs of perception ear, skin, eye, tongue, nose); five karmendriya-s (organs of action mouth, feet, hands, organ of procreation and organ of excretion); and mind, thus making 16 petals of this enclosure. 3. It is also said that these sixteen akti-s represent sixteen tithi-s (one tithi is equivalent to one lunar day). Totally there are sixteen tithinity devi-s and they are worshipped in the innermost triangle of ri Cakra. Sixteen tithinity devi-s include Mahnitty, who is Lalitmbik and She is worshipped in the bindu, which is the central point of ri Cakra. We will be worshipping tithinity devi-s while worshipping eighth varaa. But, in navvaraa pj, they are worshipped in the beginning itself. 4. These sixteen akti-s also represent sixteen kal-s of moon and these sixteen kal-s are represented by sixteen tithinity devi-s, as discussed above. Based on this, nityakaldev is suffixed after their names (nitya also means daily). However, names of the sixteen kal-s are different. These sixteen kal-s of the moon are worshipped during vierghya pj. 5. In their individual capacities, these nityakaldev-s represent the following sixteen attributes desire, intellect, ego, sound, touch, form, taste, smell, thought processes, fortitude (mental courage), recollections (memory), names and forms, source, the self within (jvtman), eternity and the gross body. In the first varaa, we worshipped 28 akti-s and in this varaa, we have worshipped 16 akti-s. Thus, we have so far worshipped 44 akti-s in ri Cakra, who take care different aspects of sustenance of the universe.

29 We are now about to enter the third varaa, known as ttyvaraam ( which is ), also known as sarva sakobhaa cakra ( ). Sakobhaa means commotion and sarva sakobhaa means all types of commotions. All types of mental commotions originate from this varaa. This varaa has eight petal lotus, known as aadala padma ( ). This varaa is presided over by Tripurasundar Cakrevar (presiding deity of the first varaa is Tripur Cakrevar, presiding deity of second varaa is Tripure Cakrevar and the presiding deity of this varaa is Tripurasundar Cakrevar. We have to note the minute difference in their names.) Mahim Siddhi is the siddhi Devi; Sarvkari is the mudra akti and Guptatarayogin is the Yogin. At the end of worshipping these eight devi-s, above akti-s are worshipped and after worshipping them, Lalit Mahtripurasundar Par Bhrik is also worshipped in each of the varaa-s. Each varaa has one specific mudra with which Parakti is worshipped and apart from the specific mudra (in this varaa Sarvkari is the mudra), She is also worshipped with yoni mudra at the end of each varaa. Before, going into the details, let us worship these eight devi-s.

The peculiarity of these devi-s is that their names begin with anaga. Anaga means bodiless. Worshipping varaa devi-s begin from western side as against the eastern side of the second varaa. varaa devi-s are marked in blue ink in eight petal lotus. They are worshipped clock wise, west, north, east, south, north west, north east, south east and south west. 1. anaga kusum dev ; 2. anaga mekhal dev ; 3. anaga madan dev ; 4. anaga madantur dev ; 5. anaga rekh dev ; 6. anaga vegin dev ; 7. anaga agu dev ; 8. anaga mlin dev All these devi-s represent Manmatha (Cupid) in some way or other. Manmatha is also bodiless. These devi-s form flowers, girdle, intoxication, addiction, silhouette, urge, goad and garland of Manmatha. Apart from representing and acting on behalf of Manmatha, they also cause certain subtle modification in the mind of a human being and these modifications are explained as psychophysical in nature. Psychophysical is explained as quantitative relations

30 between physical stimuli and their psychological effects. It is a sort of body-mind combination. There are different interpretations as to how they represent psychophysical properties. According to one version they represent prakti (primordial nature), mahat (mahat means great; according to Skhya philosophy, mahat arises from the union of purua and prakti; the Self within can be realized only due to mahat principle and this depends upon mind), ego (non-essential ego), pacatanmtra-s (sound, touch, sight, taste and smell), five principle elements of the universe (ka, air, fire, water and earth), ten organs of action and perception (karmendriya-s and jnendriya-s), antakaraa (mind, intellect, consciousness and ego) and purua (individual soul, which is being currently discussed in Brahma Stra interpretations in this site). Another interpretation is that these eight devi-s represent expression, apprehension, movement, elimination, lust, rejections, attention and detachment. When we move towards ri Cakra, we shed those qualities represented by different devi-s in different varaa-s and when go near the innermost triangle, we are completely purified, as we are about to become one with iva and akti. When we move away from ri Cakra, we attain these qualities and attributes one by one, so that when we are born, our inner Self is completely covered by my. The former journey is towards liberation and the latter journey is towards creation. We are now entering the fourth varaa, which is known as turiyvaraa (fourth enclosure). This varaa is called as sarva-saubhgya-dyaka cakra (- - ). All types of prosperity originate from this varaa. Sarva-saubhgya-dyaka means giver of all kinds of prosperity, including both material and spiritual. Presiding deity of this varaa is Tripuravsin cakrevar, Sarvavaakar is the Mudrakti and Sapradyayogin is the Yogin. At the end of this varaa, the above akt-s are worshipped. . Lalit Mahtripurasundar Par Bhrik is also worshipped in each of the varaa-s. Each varaa has one specific mudra with which Parakti is worshipped and apart from the specific mudra, She is also worshipped with yoni mudra at the end of each varaa. This varaa is in the form of a triangle and there are 14 akti-s in this triangle. This is the first triangle that we come across when we enter into ri Cakra. ri Cakra has nine triangles like this and out this nine, four triangles are facing upwards and five triangles are facing downwards. These nine triangles intersecting each other give rise six varaa-s and 44 triangles. All these triangles represent Divine Procreative energy. Four upward facing triangles are known as iva cakra-s (triangles) and the five downward facing triangles are known as akti cakra-s. This varaa consists of 14 triangles and this is marked in the above image. When we worship these devi-s, we have to move in anticlockwise manner.

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1. Sarvasakobhi akti (at the end of the name, akti is to be added); 2. Sarvavidravi ; 3. Sarvkarii 4. Sarvhldin ; 5. Sarvasamohin ; 6. Sarvastabhin ; 7. Sarvajbhi 8. Sarvavaakar ; 9. Sarvarajan ; 10. Sarvonmdin ; 11. Sarvrthasdhin ; 12. Sarvasapattipra ; Their worship begins from the East and proceeds in anticlockwise manner. These fourteen akti-s are referred as the fourteen upper worlds as mentioned in Brahmagytr mantra and these worlds are Bh, Bhuva, Sva, Maha, Jana, Tapa and Satya. It is also said that these fourteen akti-s represent fourteen important n-s (tubular vessels) in our body and they are alabhu, kuh, vivodar*, vra*, hastijihv, yaovati*, payasvin*, gndhr, p, akhin, sarasvat*, i, pigal and suumna. These n-s help in excretion, procreation, digestion, locomotion, hearing, vision, taste and of course three divine n-s. i, pigal and suumna. However, Yogacmai Upaniad (verses 18,19 and 20) talks about only ten n-s (* represent those n-s not mentioned in the Upaniad). There are other variations also. The above 14 akti-s are in charge of fourteen qualities or attributes such as mental agitation, chasing away (evil thoughts), attraction (physical), causing happiness, delusion (my), obstruction (in the path Self-realization), release (releasing obstructions in the path of Selfrealization), subjugation (surrendering to Her), rejoicing (experiencing Bliss), maddening, accomplishment of desires (both material and spiritual), providing wealth (material wealth), all mantras (to conquer mind) and dispelling all types of dualities (dispelling ). When this varaa is worshiped, She sends the right Guru to the worshiper who will take him to higher spiritual levels. It is also said that iva Himself appears as Guru in human form. This also establishes the difference between Guru (imparts spiritual knowledge, leading to Self13. Sarvamantramay ; 14. Sarvadvandvakayakar akti

32 realization) and guru (who initiates into mantras and teaches the aspirant about performing pj-s and other rituals). At the end of the fourth varaa, we have worshipped 66 akt-s. (First varaa 28; second varaa 16; third varaa 8 and this (fourth) varaa 14 totalling to 66). We are now entering fifth varaa, which is known as pacamvaraa (fifth enclosure). This varaa is called Sarvrthasdhakacakra ( ). Ten primary pra-s originate from this varaa and each vital breath is represented by a akti. There are ten triangles in this varaa and each triangle is presided over by a akti. Thus there are ten akti-s in this enclosure. By worshipping the akti-s in this varaa, Guru-disciple relationship is strengthened. Sarvrtha means accomplishments of all our aims and objects of this life and in particular, Self-realization and consequent liberation from the process of transmigration. This varaa is presided over by Tripurr Cakrevar and Sarvonmdin is the Mudrakti and Kulotrayogin is the Yogin. She increases spiritual knowledge through strongly bonding Guru-disciple relationship. After worshipping them at the end of this varaa, Lalit Mahtripurasundar Par Bhrik is worshipped with yonimudra. This varaa consists of 10 triangles and this is marked in the above image. When we worship these devi-s, like in the previous varaa, we have to move in anticlockwise manner. These devi-s are marked 1 to 10 in red in the chart above. These devi-s also represent ten vital breaths - pra, apna, vyna, udhna, samna, nga, krma, hkara, devatatta and dhanajaya. Each of these pra-s occupy certain specific parts in a human body. Pra in the chest; apna in the navel and is the cause for procreation and excretion; vyna in nostrils, stomach and is the cause for circulation of blood and lymph; udhna having its abode at throat and circulates in arms and legs; samna causes digestive fire (jahargni). These five are primary pra-s and the next five are secondary pra-s and their functions are nga in vomiting; krma in winking of eyes; hkara in digestion; devatatta in yawning and sleeping; and dhanajaya is the cause for subtle sounds within the body and this does not leave the body even after death; by continuing to remain in the corpse, it makes the corpse to decay and at the time of cremation, it escapes through the skull by breaking open the skull. It continues to remain in the corpse that is buried and makes the corpse to decay and finally escapes through the skull after a few days in the same manner discussed above.

33

1. Sarvasiddhiprad dev ; 2. Sarvasapatprad dev ; 3. Sarvapriyakar dev ; 4. Sarvamagalakri dev ; 5. Sarvakmaprad dev ; 6.Sarvadukhavimocin dev ; 7. Sarvamtyupraaman dev ; 8. sarvighnanivri dev ; 9. Sarvgasundar dev ; 10. Sarvasaubhgyadyin dev .

Their worship begins from the eastern side and proceeds in anticlockwise manner. The difference between the previous varaa is that the former was gross in nature like material wealth, etc and this varaa ias purely in subtle in nature and deals with invisibilities like pra. Apart from controlling pra-s, these ten akti-s control the following. They are bestowing everything, giving material wealth, worthiness (both material and spiritual), fulfilment of all types of desires, removal of sorrow and pain, removing all pains at the time of death and foretelling death (Birth and death are always painful, hence there is an urgent need to get liberated in this birth itself. It is said that everyone knows very clearly, when the process of death is initiated in his or her body. It is also said that process of death does not even last for a few seconds.), removal of all obstructions both in spiritual and material life, giving a good external appearance and good looks and bestowing both material and spiritual prosperity. From this varaa onwards, knowledge about iva is imparted gradually. In order to merge with iva, to whom alone an individual soul can merge to get total liberation, one has to have complete knowledge of iva. iva here means Brahman. Such a

34 soul merges with iva (Brahman), to become one with Him. This can be done only by Lalitmbik, as explained in Lalit Sahasranma 727, iva-jna-pradyin. {Further reading on iva-jna-pradyin: She imparts the knowledge of iva, the Ultimate. iva jna (knowledge) means the knowledge of the Brahman, which is also known as the Supreme knowledge. To know iva, one should first know His akt, who alone is capable of leading a person to the Brahman or iva. Rmyaa says wind can be realized through movements, fire can be realised through heat and iva can be realized only through akt. It can also be said that iva is the source of knowledge for Her. It is said akara caitanyam which means that iva is both jna and kriy. He is the sovereign, pure free will in knowledge and action. Based upon this principle, iva Stra-s opens by saying caitanyamtm. Caitanyam means consciousness of the highest purity and knowledge. There is no difference between Brahman and the highest form of consciousness. But how akt alone is capable of unravelling iva? This is answered by iva Stra (I.6) again which says that by meditating on akt, the universe disappears as a separate entity thereby unveiling Self illuminating iva. The process of such happening is described in Spanda Krik (I.8) (another treatise of Kashmiri Saivism) which says the empirical individual cannot ward off the urge of desires. But entering the energetic circle of the Self (iva), he becomes equal to that Self. The seeker of iva becomes iva himself. This is known as iva jna and She imparts this kind of Supreme knowledge. It is also said that iva cannot be attained without first realising akt. She alone can lead one to iva. iva is inaccessible directly. Unless She chooses to impart the required Supreme knowledge, none can realise iva. Hence, She is called iva-jna-pradyin.} We are now entering the sixth varaa (ahvaraa), which is known as Sarvarakkaracakra (). This varaa has ten triangles as indicated in blue colour in the chart and each varaa is presided over by a akti. On the subtle side, sarvarakkara means protection from the spiritual stage attained. This is presently being explained in detail in the series on Brahma Stra. Guru-disciple relationship that was strengthened in the previous varaa leads to destruction of duality in this varaa, which ultimately leads to liberation. On the grosser side, these ten akti-s represent ten digestive fires. Ten pra-s of the fifth varaa, now transforms into ten digestive fires (ten aspects of digestion, absorption and excretion). This varaa is presided over by Tripuramlin Cakrevar. Sarvamahku is the Mudrakti and Nigarbhayogin is the Yogin. In this varaa also, worship is to be done in anticlockwise manner. Now, let us worship these ten akti-s.

35

1. Sarvajdev ; 2. Sarvaaktidev ; 3. Sarvaivaryapraddev ; 4. Sarvajnamaydev ; 5. sarvavydhivinindev ; 6. Sarvthrasvarpdev : 7. Sarvappahardev ; 8. Sarvnandamaydevi ; 9. sarvaraksvarpidev ; 10. Sarvepsitaphalapraddev . Like other varaa-s, we proceed from the Eastern side in anticlockwise manner. If we look at devi-s in various varaa-s, we can understand that their activities become more subtle as we proceed towards the central triangle. An aspirant who has reached this stage is further fine tuned to make him eligible to attain Her. However, he has to be still more perfected to merge into the Praka form iva. iva is worshipped in the bindu, the central point of ri Cakra. Creation begins from Him and leads to the immediate next triangle, the innermost triangle of ri Cakra. The three angles of the innermost triangle represent icch, jna and kriya akti-s. Let us find out how these akti-s cleanse the aspirant. First devi gives him all the requisite knowledge so that he is completely freed from my. In this stage, the aspirant begins to realize I am That. This devi imparts this knowledge by saying, You are That. Second devi gives him necessary spiritual energy to transform into a yog, in whom the union between the individual soul and Brahman takes place. A yog is the one, whose individual consciousness is yoked with Supreme Consciousness. Third devi assists him in attaining mastery over all types of knowledge that leads him to realization. Fourth devi ensures that such knowledge stays with him. During spiritual practices, one will not pay attention to his or her physical body. Due to lack of physical activities, he is bound to have some disease or other (in modern times it is about diabetes and heart ailments). He has no time or inclination to take care of his body. Instead, this devi takes care of his body and frees him from all types of diseases (it can be observed that those who are at highest spiritual level have paunch. This

36 is the reason why many ancient sages have been depicted with big bellies). Sixth devi supports all his or her spiritual practices (please recall Lalit Sahasranma 659 sarvdhra. Every devi in ri Cakra is connected to any one of the nma-s of Sahasranma. This will be discussed towards the end of this series). When one attains liberation, even the traces of karmic imprints have to be removed. Seventh devi does this. Parakti is an embodiment of purity. In order to go anywhere near Her, one has to be purified. This purification process is related to mind. When one is able to reach this varaa, it means that he has almost disowned his body. This concept is not applicable to navvaraa pj, which is done externally. What is being discussed here is related to Bhvanopaniat (mental worship; bhvana means contemplation). (There is a reference about physical and mental worship. A king built a temple and fixed a date for its consecration. He prayed to iva that He should be present personally during consecration rituals. But iva refused and said that He has already accepted invitation from someone else, who is also building a temple very close to kings temple and the consecration is fixed and both these dates coincided. King was surprised and asked his men to find out this temple. His men could not find any temple nearby. King was surprised and requested iva to show him the temple so that he can be present to attend the consecration function. iva told him the place and asked the king to go to that place only the next day, the day fixed for consecration. King went to that place and he did not find any temple. But there was a hut in that place and in front of the hut, there was a man in rags who was bursting with emotions with tears rolling down his eyes. King called him and without opening his eyes he told the king not to disturb him as he was performing consecration of his temple. Now king understood why iva did not accept kings invitation and gladly accepted the poor mans invitation. This story highlights the power of mental worship.) Eighth devi causes Bliss. When the mind sheds all types of thought processes, mind becomes pure. In a completely purified mind, all types of dualities are annihilated. When the mind is pure, one experiences Bliss. This stage cannot be explained that easily. This Bliss is to be experienced. For no reason, one becomes emotional and enters into the state of Bliss. The only external symptom of Bliss is tears rolling down. Ninth devi protects this yog completely (this is the stage where one cannot fall from his spiritual level attained; there are many instances where one falls from his hard earned spiritual level. If one falls from his spiritual level, it is virtually impossible to get back to his original spiritual level. Therefore one has to be extremely cautious while pursuing spiritual path). Tenth devi grants his two wishes of falling at Her lotus feet first and later getting liberated. This devi approves him to go to the next varaa. We are now about to enter the seventh varaa or saptamvaraa (sapta means seven; please recall saptamat-s), which is known as sarvarogaharacakra (). This varaa has eight triangles, as indicated in blue colour in the chart and each varaa is presided over by a vgdev. These eight vgdev-s composed Lalit Sahasranma. While reciting Lalit Sahasranma, they are worshipped as i-s (in ydi nysa they are worshipped as vainydi vgdevat aya ). They composed Lalit Sahasranma

37 and made its maiden rendition*. On the subtler side, they preside over all the 51 Sanskrit alphabets and hence they are known as vgdev-s (this can also be written as vcdev-s). Vc means to express, to speak, etc. Without sound, we cannot understand anything. Parakti has given them powers to administer everything related to alphabets. These eight vcdev-s have attained complete mastery over language. But for their mastery, Lalit Sahasranma, an amazing masterpiece, would not have come into existence. Like primeval stage of vc**, they work on the subtleties of human mind such as spiritual ignorance, mind, intellect and ego. Subtleties of mind need through transformation in order to understand the teachings of Guru, tat tva asi (You are That). When Guru teaches the concept of tat tva asi, the student should affirm aha brahma asi (I am That). Merely making a statement saying that I am Brahman is not realization. Brahman is to be experienced through Bliss. These eight devi-s do this subtle work for those who are eligible to have this Supreme Knowledge. Mental afflictions are called roga (sickness) and as these eight vcdev-s remove mental sickness. This varaa is known as sarvarogaharacakra, where sarva mens all; roga means sickness and hara means destroying. Their place of residence is indicated as 1 to 8 in red colour. Now, let us get to know these eight vcdev-s. As in other varaa-s, they are also worshipped in anticlockwise manner.

1. Vain vgdev ; 2. Kmevar vgdev ; 3. Modin vgdev ; 4. Vimal vgdev ; 5. Aru vgdev ; 6. Jaini vgdev ; 7. Sarvevar vgdev ; 8. Kaulin vgdev . Apart from what is explained above, these eight vcdev-s also represent puryaaka*** which consists of the following eight - 1) five organs of action (karmendriya-s), 2) five organs of senses (jnaendriya-s), 3) antakaraa (four in numbers - manas, buddhi, cittam and ahakra or ego), 4) five pra-s (pra, apa, etc), 5) five elements (ka, air, etc) 6) desire, 7) ignorance and 8) karma.

38 With this varaa, worshipping of secondary deities in ri Cakra gets completed. Including this varaa, we have so far worshipped 94 akti-s. However, fifteen tithi nity devi-s are yet to be worshipped and they will be worshipped outside the innermost triangle. This will be discussed in subsequent parts. Below Jaini vgdev (marked as 5 in the image), three lines can be noticed. This is called Guru Maala, where Guru-s reside. There are four types of Guru-s. First is Paraguru, who is the first Guru or di Guru. di Guru is Mahkmevara. It is He, who has initiated Mahkmevar into r Vidy. Thus iva becomes the first Guru and the first disciple of r Vidy lineage is Parakti. Therefore di Guru Mahkmevara and His disciple Mahkmevar are worshipped in the inner most triangle and the bindu within. If we look at the image, above the flat end of the innermost triangle and below the triangle where Jaini vgdevi resides, there are three horizontal parallel lines. This is the place our Guru-s live. There are three types of Guru-s in r Vidy cult. Ones own Guru is known as svaguru. He is the one who has initiates the aspirant into r Vidy cult. He is often called Guruji!!. He should be a Self-realized person and should be capable of taking the aspirant beyond my. A true Guru is the one who carefully follows up with those who are initiated and takes them to successive higher stages, till Parakti is realized. His job does not end here. After making the aspirant to realize Parakti, he has to make the aspirant realize iva. A Guru has to tirelessly work hard with his students, till they are able to evolve themselves. Only this type of Guru is considered on par with Parakti and not those who merely initiate his disciples. If the second type of guru is considered on par with Parakti, both the guru and his students accrue huge amount of insurmountable karma. This is to be always kept in mind before getting initiated into r Vidy cult. Lalit Sahasranma 713**** says that Lalitmbik Herself is in the form of Guru Maala. Guru Maala in detail will be discussed in the next part. {*Further reading: This scene takes us back to the situation at the time of first appearance of this Sahasranma. All gods and goddesses are seated in Lalitmbik-s royal court. Sapta (seven) rii-s, other rii-s, eighteen siddha-s and other saints are also seated. The seating arrangement was as per the protocol. There is a huge throne made out of gold and the best of precious stones. Suddenly, there was a divine fragrance that spread throughout the royal court and the whole area was filled with radiating red light. Lalitmbik entered the court along with Her assistants. All those seated got up and paid their obeisance to Her. Her form is described in dhyna verses. She had earlier summoned Her eight Vc Devi-s and spoke to them thus: The eight of you got the power of your vc (mastery of speech) through my blessings. You are appointed to provide the power of vc to my devotees. You are aware of the secrets of my r Cakra. You perpetually chant my name with great devotion. Therefore, I command you to script a verse about me consisting of 1000 nma-s. When my devotees recite this verse, I should derive immense satisfaction. The verse should have my name as its cachet. She emphasized three points for composing the verse. First, it should have 1000 nma-s; second, the verse should have Her name embossed; third, She should be gratified when Her devotees recite the verse. Bearing Her command in mind, Vc Devi -s composed

39 such a verse and were ready for the recitation. When Lalitmbik nodded Her head, Vc Devi-s commenced their recitation and Lalit Sahasranma was declared to the universe. She expressed Her immense happiness by nodding Her head often and smiling frequently while attentively listening to their rendition. She also encouraged the Vc Devi -s by saying good and excellent.} ** Please refer Lalit Sahasranma 366 to 371 *** {Further reading on puryaaka: (as told by sage Vsiha to Lord Rama in Yoga-vsiha - VI.5). Brahman who is without beginning or end and which is the seed of the universe, becoming differentiated is jva (soul); subjecting itself to the idea of separateness, it becomes ahakra (ego) with manana (contemplation), it becomes manas (mind); with the certainty of intelligence, it becomes buddhi (intellect); then the five elements (sound, etc) through indriy-s (sensory organs). With the thought of the body, it becomes the body itself; with the thought of a vessel, it becomes the vessel. A form (subtle body), having such a nature is called puryaaka body or eight constituents of the body. The eight constituents are mind, ego, intellect, sound, touch, sight, taste and smell, the last five together known as tanmtras.} ****Further reading: Lalit Sahasranma 713 is Guru-maala-rpi and is explained thus: This nma subtly conveys that the meaning and interpretation of kmakal should be learnt only from a Guru as this has intrinsic and subtle meaning. Most of these interpretations have already been dealt with elaborately. Guru maala means lineages of Guru-s. r Vidy attaches great importance to Guru and his lineage. Whatever Guru says should be final. Lineage of Guru is stressed because, rituals and certain procedures differ from maala to maala (maala here means group) and each maala follows different customs and practices. Each r vidy student will have three categories of Gurus - Guru, Paramaguru (Gurus Guru) and Paramehiguru (Paramagurus Guru). During navvaraa pja, all these Guru-s are worshipped along with many other Guru-s. This nma says that She is in the form of Guru maala. There is no difference between Guru and Lalitmbik, hence this nma. The first Guru or di Guru is iva. Guru is also worshipped in sahasrra, where She conjoins iva. Primarily there are three types of Guru Lineages. They are for kdividhy upsaka -s, oa upsaka-s and hdividhy upsaka-s. Upsaka-s mean worshippers. What is described here is the one that belongs to oa upsaka-s. There are three types of Guru-s in each of these lineages. They are Divyaguru-s, Siddhaguru-s and Mnavaguru-s. Let us now understand them. Each mnya has one principle Guru. He is the one who had laid down the methods of worship in that particular mnya. mnya means sacred tradition*. Number of Guru-s under each group differs from tradition to tradition and similarly, the names of Guru-s also differ. Ones Guru is worshiped in the lower most dotted line. Gurus Guru, known as Paramaguru is worshiped in the middle line (marked in red) and Paramagurus Guru is known as Paramehi Guru and he is worshipped in the top line (marked in red)**. Paramehi means supreme. In other words, Guru would have been initiated by his Guru (who is Paramaguru for

40 us) and Paramaguru would have been initiated by Paramagurus Guru (who is P aramehi Guru for us). Tradition followed in this article is as per Paraurma kalpa stra, the best authentic version of r Vidy upsaa. **There are variations about where to worship these three types of Guru-s. The right method would be to worship divyaguru-s in C, as they are very close to Parakti. Siddhaguru-s should be worshipped in B and Mnavaguru-s should be worshiped in A, away from Parakti, which means they have to intensify Her contemplation still further. If we look at the image above, we can find three lines marked A, B and C. In A our Paramehi Guru is worshiped along with five other divyaguru-s. Nine Divyaguru-s are (from 1 to 5): 1. Vyomttmb ; 2. Vyomeyamb ; 3. Vyomagmb ; 4. Vyomacriyamb 5. Vyomasthmb In B our Paramaguru is worshiped along with nine Siddhaguru-s and they are (from 1 to 9) 1. Unmanka nandantha ; In subsequent eight names, nandantha () is to be added next to their names. 2. Samanka ; 3. Vypaka ; 4. aktyka ; 5. Dhvanyka ; 6. Dhvanimtr ; 7. Anhatka ; 8. Bindvka ; 9. Indrka . In C our Guru (the one who has initiated into r Vidy cult, is worshiped along with nine mnavaguru-s and they are (from 1 to 9) 1. Paramtma nandntha ; In subsequent eight names, nandantha () is to be added next to their names. 2. mbhava ; 3. Cinmudra ; 4. Vgbhava ; 5. Ll ; 6. Sambhrma ; 7. Cida ; 8. Prasanna ; 9. Vivnandantha . A Guru, either at the time of initiation or during prbhieka confers a dk name to the aspirant. Method of initiation is purely Gurus choice. He can initiate either through one of the normal procedures (verbally, etc) or by performing prbhieka. Mostly, normal initiation is done first and depending upon the progress of the disciple prbhieka is done subsequently and at that time dk name is given to him. Such dk names should be used only during Gurus presence or among the disciples of the same Guru. This name should not be used in public except in the case of sanysin-s. The dk name given by a Guru will

41 also end with nandantha. Sometimes, deika and bhaaraka are used instead of nandantha (technically it is only ntha). Before worshipping Guru Maala, the three sides of innermost triangle and the bindu within the triangle are worshipped. Triangle represents Parakti and the bindu represents iva. Innermost triangle has three sides, left, right and top. Inside the triangle, there is a bindu (marked in red). It is Mahkmevara (Paramaiva), who initiated Mahkmevar during Kita yuga (consisting or 1,728,000 years). This is the first of four yuga-s. In r Vidy cult, Mahkmevara who initiated Mahkmevar is known as Carynandantha (carya means to be practiced or to be performed, signifying the importance of sdhana). Carynandantha is also known by other names such as Vidynandantha and Paramaivnandantha. After having initiated Mahkmevar in Kita yuga, Mahkmevara initiated Unandantha in Tret yuga (1,296,000 human years), ahnandanta in Dvpara yuga (864.000 human years) and Mitrenandantha in the present Yuga (Kali yuga comprising of 432,000 human years; 2013-14 is 5115th year of Kali yuga). Thus, Mahkmevara is worshiped in the bindu and the three Gurus who were initiated directly by Paramaiva along with three other Gurus are worshipped in the three sides of the innermost triangle.

Mahkmevara (Paramaiva) is worshipped in the bindu with this mantra: om ai hr r ai hr r ai kl sau glau hskhphre hasakamalavaray hsau sahakamalavaray shau rvidynandanthtmaka carynandantha r mahpdukk pjaymi ||

42 The Gurus who are initiated by Paramaiva are worshiped on the three sides of the innermost triangle. On the left side of the triangle (left side of the practitioner) following Gurus are worshiped. 1. Uanandantha ; 2. Praknandantha ; 3. Vimarnandantha ; 4. nandanandantha . On the top of the triangle, following Gurus are worshipped. 1. anandantha ; 2. Jnnandantha ; 3. Satynandantha ; 4. Prnandantha . On the right side of the triangle (right side of the practitioner) following Gurus are worshiped. 1. Mitrenandantha ; 2. Svabhvnandantha ; 3. Pratbhnandantha ; 4. Subhagnandantha . In general, in r Vidy cult, great importance is attached to Guru and Guru Maala. It is also said that Paramaiva not only initiated Gurus into r Vidy, but also imparted tmavidy (tat tvaasi or you are That, where That stands for Brahman). At the time of initiation, Guru apart from initiating a mantra, also gives G urupduk mantra. Gurupduk mantra is given for the Guru who initiates, Gurus Guru (Paramaguru for the one who is being initiated and Paramagurus Guru (Paramehi Guru for the one who is being initiated). During this process, dk names of all the three Gurus are revealed to the disciple. There are three types of mantras for Guru, Paramaguru and Paramehi Guru. A disciple has to pay his respect to his Guru by using mgmudra (mg means female deer, a doe). Further readings: * Further reading on mnya-s Guru and the process of initiation Before we proceed to eighth varaa, we should know about tithi nity dev-s as they are worshipped in the outer side of the innermost triangle. Before entering into eighth varaa we will be worshiping Her four weaponries placed outside the innermost triangle. This will be discussed in the next part. Tithi nity dev-s represent fifteen digits of the moon and each digit is known as tithi or lunar day. There are fifteen tithi-s or lunar days and each tithi is represented by a nity dev and hence they are known as tithi nity dev-s. Technically speaking, there are only fourteen tithis and the fifteenth tithi is either full moon (prim) or new moon (amvsy). Fifteenth

43 lunar day, either full moon (prim) or new moon (amvsy) is represented by Mahkmevar Herself. Pacada has fifteen letters and each of these letters represent one kal (digit) of the moon. But, kal also means sixteenth part (1/16). But we have only fifteen letters in Pacada mantra. The sixteenth kal is oa bja r (), which is hidden and always remains subtle. As there are only fifteen tithi nity dev-s, how to worship the sixteenth oa kal? Answer to this question is considered as secret, as the answer reveals Mahkmevar. Sixteenth kal is worshiped in the bindu, the place of iva. But in the bindu, iva is not worshiped while worshipping tithi nity dev-s, but Mahkmevar is worshiped. This also subtly conveys the union of iva and akti. Though there is no separate procedure for oa upsaka-s (those who are initiated into oa), when Mahkmevar is worshipped in the central bindu, the above aspect is to be contemplated. It would be ideal to worship Mahnity (Mahkmevar) in the bindu with oa mantra for the sixteenth kal, though it is not explicitly mentioned; but it is implied. Texts say that while worshipping Mahnity, Pacada mantra should be encased (sampukaraa) between two a (). Each nity dev represents fifteen vowels from a to a ( to ). But, those who are initiated into oa should use oa mantra, instead of Pacada mantra. It is also said that during uklapaka (waxing moon), tithi nity dev-s should be worshiped from 1 to 16 (anticlockwise) as shown in the image. But during kapaka (waning moon), they should be worshiped in clock wise manner, i.e. from 16 to 1. However, one has to follow what his or her Guru says. In r Vidy worship, one has to meticulously follow what his or Guru says and there should be no deviation from his instructions, as he follows the traditions of his Guru and Paramaguru. But, it should always be remembered that he should be a Guru, who has attained mastery over the various types of worshiping ri Cakra and should remain with Parakti all the time. Each tithi nity dev have their own yantra-s and mantra-s. They have their own mlamantra-s, varaa pj-s, etc. The innermost triangle is formed by the first three tithi nity dev-s, viz. Kmevar, Vajrevari and Bhagamlin, each representing one corner of the triangle. Though as tithi nity dev-s, they do not hold the innermost triangle, they hold this triangle as three devi-s representing three gua-s. This will be discussed in the next varaa, viz. eighth varaa. In fact, the innermost triangle is held by them. However, there are other views on this, which says that Lalitmbik, Kmevar nity and Bhagamlin nity hold the innermost triangle. But this argument cannot be accepted. When Lalitmbik is seated on the lap of iva, obviously, She cannot be holding this triangle. Further, She cannot be compared to other nity dev-s, who function under Her. Following are the tithi nity dev-s and their abode is marked as 1 to 15 in the image above and mentioned in anticlockwise manner. Worship of tithi nity dev-s begin with the worship of Mahnity, Lalitmbik. She is worshipped like this in the bindu, three times using the following mantra. Om ai hr r ( ) followed by the initiated mlamantra (either Pacada or oa) and at the end of mlamantra alphabet a () is recited followed by Lalit

44 Mahtripurasundar Par Bhrik pjaymi (tarpaymi) nama. Tarpaymi is included only while performing navvaraa pj. Navvaraa pj will be dealt with separately, in due course.

1. Kmevarinity (nity is to be suffixed to all the names); 2. Bhagamlini ; 3. Nityaklinn ; 4. Bherun ; 5. Vahnivsini ; 6. Mahvajrevar ; 7. ivadt ; 8. Tvarit ; 9. Kulasundar ; 10. Nity ; 11. Nlapatk ; 12. Vijay ; 13. Sarvamagal ; 14. jvlmlin ; 15. Citr ; Finally Mahtripurasundar Par Bhrik preceded by initiated mlamantra in the bindu. She is known as Mahnity. Fifteenth tithi is either full moon or new moon and hence She is worshiped on these days. It is also said that on full moon day, She is in the form of Pacada mantra and on the new moon day, She is in the form of oa mantra. There is a reason for this, which is also considered as highly secretive. During new moon day, both sun and moon come together signifying the union of iva and akti, which is explained in Lalit Sahasranma 999 ivaakty-aikya-rpi. Based on this principle, it is said that oa surely gives liberation. Though, She is the cause for liberation, merger of the individual soul with the Self happens only with iva. For the same reason, She is addressed as is iva jna pradyin in Lalit Sahasranma 727. Merger with iva can happen only if She is fully realized. That is why, the knower, the path of knowing and the known should become one during contemplation. Liberation is possible only if She fully pervades our mind. Unless we become one with Parakti, obviously, when She unites with iva, merger of our individual soul cannot merge with iva. Sixteenth kal is invisible and immortal. There is a reference to this in Bhadrayaka Upaniad (I.v.14). The Upaniad says, Nights and days are his (Hirayagarbha*) fifteen digits and the constant one is His sixteenth digit. ..Through this sixteenth digit, he permeates all these living beings on the new moon night. It is also

45 important to note that iva too has sixteen kal-s and it is said that ivas lunar and solar aspects culminate. This is the reason, why oa is considered as the most powerful mantra and should not be initiated to those who are not worthy of it. A Guru takes extraordinary care before initiating someone into oa. Literally, Guru is paving way for the liberation of his disciple when he initiates him or her into oa. It is often believed that a Guru does not initiate a person into oa without Her approval. Many of these tithi nity dev-s are referred in Lalit Sahasranma. * Hirayagarbha: Vednta Paribhs a 17th century scripture explains hirayagarbha. It says Hirayagarbha is the first soul to be born and is different from Brahm, Viu and iva. The subtle body consisting of the five vital forces, the mind, the intellect and the ten organs is produced from the five basic elements. This paves the way for the soul to experience the result of actions or in other words it causes karma-s. The subtle body is of two kinds, superior and inferior. The superior one is the subtle body of hirayagarbha and the inferior is the subtle body of living beings. The subtle body of hirayagarbha is called as mahat or the cosmic intellect and the subtle body of living beings is called ego. We are about to enter the eighth varaa, which is the innermost triangle. Within this triangle is the bindu. Tithi nity dev-s were worshipped outside this triangle. Guru Maala was worshiped above this triangle. This is the triangle from which, the entire universe was born. Eighth varaa or aamvaraa is known as Sarvasiddhiprad, which bestows all attainments, leading to a completely transformed stage from mundane consciousness to the highest level of spiritual attainment. This is the stage where one can experiences the highest level of Bliss. This varaa is presided over by Tripurbcakrevar. Sarvabja is the Mudrakti and Atirahasyayogin (atirahasya means highly secretive) is the Yogin. There are only three Devi-s in this varaa. Before worshipping them, we need to worship Lalitmbiks weaponries, which are placed outside this triangle. These weaponries are marked as A, B, C and D in the image below. It is very important to note that both Mahkmevara and Mahkmevar have the same weaponries. Both of them have arrows, bows, nooses (pa) and hooks (akua). Now a doubt could arise in our minds, whether they hold these weaponries jointly or individually. This doubt arises because the mantras mention both of them. For example, let us take the mantra for bows which goes like this. kmevar kmevara dhanurbhy nama| baakti pjaymi ||

This means that we worship the bows of both Kmevar and Kmevara, as usage of dhanurbhy signifies two and not one. In reality, both of them are not different. They are the same. What Kmevar holds is nothing but the mirror image of the weaponries, which Kmevara hold. This subtly conveys that our inherent my has not yet been annihilated, even at this point of time. Why our my has not yet been annihilated, though we are very

46 close to the innermost triangle? My can be annihilated only if we realize and merge into Her. This has not yet happened as we are still outside the innermost triangle. Unless we enter into the innermost triangle (innermost triangle is the place where our merger with Her takes place), our inherent my will continue to be present. Though major portion of my has been annihilated, still traces continue to remain even at this stage. We must always bear in mind that Parakti is svtantrya akti of iva and is in no way different from Him. Both of them are single entity and not two separate entities. It is due to my or delusion that they appear as different to our mind. These details have been elaborately dealt with in differnt articles. We now proceed to worship their weaponries. A is their ba, which means arrow. Both of them have five arrows. These five arrows imply pacatanmtra-s (sound, touch, sight, taste and smell). This is explained in Lalit Sahasranma 11, Pacatanmtra-syak. B is their bow. This bow is made up of sugar cane. Lalit Sahasranma 10 calls this bow as koda (Manorpeku-koda). This bow implies the mind. Mind involves both sakalpa and vikalpa. Sakalpa means resolve, process of thought. Vikalpa means difference of perception. Both are opposite to each other. Mind is also subtle, like knowledge. Mind is reflected through the five sensory organs. It has both sakalpa and vikalpa qualities, as it acts through the impressions received from sense organs that get fine tuned in the form of thought and finally explode in the form of actions. C is pa, the noose. Lalit Sahasranma 8 (Rgasvarpa-phy) speaks about this pa. She pulls all the desires of Her devotees using this noose, which represents icc akti, the desire. When a devotee reaches this stage, She annihilates all his desires by using this noose and transforms him into absolute purity. This transformation happens because in the next stage he is going to merge with Her, by entering into the innermost triangle. D is hook or akua and this is explained in Lalit Sahasranma 9 (Krodhkrakuojval). A hood is a weapon to control elephants. Mind by nature, always leans towards sensory organs. By using this akua, She ensures that the devotee gets himself detached from all types of sensory excesses. After worshipping these weaponries, we are freed not only from the afflictions of the mind, such as desire, attachment, ego, sensory pleasures, but also relieved from my to a very great extent. All types of delusions get annihilated, just before we enter into the inner most triangle, yet the traces remain. Parakti is the embodiment of purity and before we merge into Her, all our impurities are annihilated. These impurities will not rear their heads again, because She showers Her Grace on us during this time. This stage can be attained only if our karmic account permits. All our karmas should have been experienced and we should have surrendered to Her much before entering into the first varaa of ri Cakra, which is not merely a yantra. Ultimate goal of reaching Her is often not achieved as we merely consider ri Cakra as an yantra. It is the point of origin of the universe. The innermost triangle and the bindu within is the point of origin and the manifestation of the universe is complete before the entry into ri Nagara (not ri Cakra), which has been discussed in the beginning of this

47 series. Therefore, when navvaraa pja is performed, one has to mentally stay connected with Her. This is also the reason for performing navvaraa pja in as much privacy as possible. This concept is explained in Lalit Sahasranma 871 (Bahirmukha-sudurlabh - She is very difficult to attain for those who are not able to look within. Mind is the prime factor to look within. Unless senses are controlled, it is difficult to control the mind. This nma says that She cannot be attained only by external means.)

After being purified, we are ready to enter into the eighth varaa. This is the innermost triangle, from where the universe was born and into which the universe will merge at the time of annihilation. There is a veil in the centre of the triangle. This veil is called tiraskarai, which means a veil. This is the veil of mahmya (the Divine Power of illusion). This v eil can be removed only by the three Devi-s protecting the three corners of this triangle and that too, only on Her command. These Devi-s are marked as1, 2 and 3 in the innermost triangle. These Devi-s alone are capable of conferring mantra siddhi. These three Devi-s are the cause for trikhaa mudra, which can be used only by those who are initiated into oa. These three Devi-s are also worshiped in anticlockwise manner, beginning from east, proceeding to South and then to North. 1 represents Mah Kmevar (not Parakti; Mah and Kmevar are two separate words here) and she protects the eastern corner, the point of triangle facing down. She represents fire, Divine creative aspect (power of Brahm), Divine energy that permeates the universe and individual self (jvtman or individual soul). She also represents icch akti. (Lalit Sahasranma 658, Icchakti-jnaakti-kriyakti-svarpi). She also represents kmagiripha. 2 represents Mah Vajrevar and she represents the sun, antartman (antartman means internal feelings of the mind; possibly, this could mean ones karmic account), jnaakti and the power of Viu, the Divine aspect of sustenance. She also represents prnagiripha.

48 3 represents Mah Bagamlin and she represents destruction, annihilation, kriyakti, presence of the Self within the individual self, also known as Paramtma (Paramtman means the Supreme Spirit, yet not the Self or Brahman. Brahman, also known as the Self is Paramaiva, with whom we are going to merge in the next varaa). She also represents jlandharapha. All the three Devi-s are now satisfied with our spiritual attainment and they remove the veil of tiraskarai and we now become speechless as we are seeing Lalit Mahtripurasundar Par Bhrik with our biological eyes. She is not seated in the bindu as we were thinking all these days. She is seated quite a distance away from the Bindu towards West. Bindu also remains veiled. Bindu is the seat of iva. We are awe struck. We become totally immobile for several moments till She calls us by our names. She is fully aware of our past, present and future. We are not able to speak. We forget all the mantras, hymns and verses that we have been practicing till now. We fall flat before Her and by touching Her pinkish feet, we reach the Supreme stage Bliss. Our individual consciousness is now totally lost. We forget ourselves. We are literally unconscious now. We need nothing now. We have attained the goal of our lives. She calls us by names and makes us to sit on Her lap. We now understand that ivas lap is meant for Her and Her lap is meant for us. She looks into our eyes with compassion and love. We are blessed to notice that everlasting smile in Her face. We now understand what infinity is. We are now half dead. We are not aware of what is happening around us. We feel the Divine Fragrance throughout this innermost triangle. We have no mind to leave Her lap. We now fully understand the DIVINE MOTHER, about whom we were talking about for years and years. She is the Supreme Power of iva, known as Parabrahmaakti and presides over Mahoyapha. We continue to remain in Her lap, in spite of Her willingness to take us to iva. We dont want to leave Her lap. We do not even want liberation. We are completely satisfied by remaining on Her lap. Practically speaking there is no ninth varaa, which is the Bindu (bindusthna), as this is within the innermost triangle. Ninth varaa (navamvaraa) has myriad significances. It is also known as sarvnandamayacakra. Sarvnandamaya means Absolute Bliss, which cannot be explained at all. It is very important to note that r Mahtripurasundar is the Cakrevar of this varaa. This is because She presides over Bindu, where iva is seated. This subtly conveys how meticulously She takes care of Her Consort. Sarvayoni is the Mudrakti and Parparti-rahasya-yogin is the Yogin (Parparti-rahasya means extremely sercretive). Nobody has access to this Bindu except Parakti. All the acts of Divine originate from this Bindu, as only here the Divine procreative union of iva and akti takes place. The principle acts of Divine are creation or si (LS 264), sustenance or sthiti (LS 266) and destruction known as sahra (LS 268). There are other two acts, which are also equally important and they are annihilation (LS 270; this is also known as tirodhna which means concealment or disappearance) and recreation (LS 273; anugraha or recreation out of compassion). This is explained in Lalit Sahasranma LS 905, as Baindavsan (baindava means bindu and sana means seat.) All these five acts originate from this Bindu, go towards the outer triangle and from there various energies are diversified and creation is completed at the entry point of r Nagara. From this entrance point, manifestation of the universe is completed. This procedure

49 is with regard to creative aspect or sikrama. The reverse process is known as sahrakrama. At this point, let us understand that sikrama refers to our birth and sahrakrama refers to our liberation. Different krama-s will be dealt with later in this series, as we are going to be liberated shortly. In the ninth varaa, union of iva and akti happens. Their union varies according to the krama. If it is sikrama (creation), their union is different and if it is sahrakrama, their union is on different plane. Sahra here refers to liberation and now, we are only discussing about liberation. During sikrama, during their union, only both of them alone remain. But during sahrakrama, we are also present along with Her. It is like a mother holding the hands of her child and handing over the child to the childs father. During sikrama, She attains the form of Kmakal (LS 322 Kmakal rp) and their union is symbolized in the form of a Liga, where the bottom portion represents akti and the upper portion represents iva. At the end of eighth varaa, we continued to remain in Her lap and we refused even liberation, the ultimate goal of anyones life. But She takes pains in explaining to us the importance of liberation. She told us about the pains of birth and death, how we have worked hard in our sdhana (spiritual practice) to reach this level, etc. She also told us that Her Consort will be more compassionate and more lovable to us. Reluctantly we agreed to Her sermons. In any moment from now, we are going to be liberated. She is now raising up from Her throne (LS 3) and by holding our hands, She enters into the Bindu. Bindu is full of Splendorous Light and in the midst of blinding light we could not see anything around. The place is full of Divine Fragrance. We could not move any further as the Light was so blinding. We have read in Upaniad-s, how this Light would be. But we have an opportunity to personally experience this Light now. When She moves towards the Light, the blinding white Light gradually turning red and iva is revealed to us, who is fully radiant, in crystal complexion, extraordinary brilliance throughout His body. He cannot be explained at all. The energy from Him is so powerful and we feel as if we are being pushed towards Him. This is what is known as the energy of liberation, which is explained as Mah-grs (LS 752). Kaha Upaniad (I.ii.25) says the best among all people are like food to the Self. Death overcomes everyone, yet even death is a mere condiment for the Self. Parakti is now seated by ivas side. The crystal complexion of iva now looks like the colour of the rising moon on a full moon day. We now understand that this is the Bindusthna, the place from which the universe originates and dissolves. As we have almost lost our consciousness, nothing goes into our minds. We have lost our mind, intellect, consciousness and ego. All the four components of antakaraa are already annihilated when we entered the eighth varaa. At this point where we are now, our body, mind and soul are completely purified. We have read that merger into Brahman cannot take place unless these are purified. What we have read once, we are experiencing now. For any experience, knowledge is very important and without knowledge, spiritual experiences cannot be explained or defined.

50 She now asks all of us to come near Her and She makes us to sit on Her lap again. By sitting on Her lap, we are able to have close daran of iva. He smiles at us and then He looks at Parakti. Now She begins to move slowly towards iva and ultimately She merges with Him. Now we understand what is really meant by iva-akty-aikya-rpi (LS 999). We are now inside iva and we are liberated, not to be born again! As far as ninth varaa is concerned, there is an additional procedure for those who are initiated into oa. The mantra for oa upsaka encompasses everything that is possible in this universe. She is worshiped as Praka Vimara smarasya rpin. Praka refers to iva, (praka means Light, principle of Self-revelation, by which everything else in the universe is made known) and Vimara is akti (vimara refers to that part of praka, which makes the worldly objects visible, the state of manifestation of the universe) and smarasya is the procreative union of iva and akti (smarasya is explained as the identity of Consciousness, in which all differentiation has disappeared). This completes the first section of this series. This series will be continued later, for the purpose of understanding ritual aspects of ri Cakra and other intricacies. Contemplating our body with ri Cakra with the help of Bhvanopaniad will also be dealt with.

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