1.

Gandharva Tantra [*MTS=MahaTripura-Sundari]

As long as you are contaminated with notions of me or mine, the self will not be found for it lies beyond cognition & cannot be realised as "my" self Tripurarahasya IX, 13. Gandharva Tantra (GT) is an imp wor! of the school of "hri #idya & follows Vamakeshvari Tantra in having a left slant$ %arts of this wor! are translated into &nglish elsewhere on this site$ This introduction to the "ans!rit te't was written by ($"$)aul in *+,, & is out of copyright$ The abstract is of such interest to students & devotees "hri #idya that it is well worth reproducing here$ To preserve mantras & the li!e, - have used the iTrans format for transcription$ ((()$ Abstract ! GT" .nli!e the Agamas, the Gandharva Tantra begins with the two stan/as, n# ! sa$utati n t th# %$#phant-& d ' th# th#r ! b#n#dicti n inv (in& th# pr t#cti n ! G dd#ss )unda$ini $ This fact in itself reveals that the Tantra must be more or less modern$ The tradition regarding the appearance of the Tantra is that the rival sage #ishvamitra, being envious of the prophetic powers of #asishtha, performs a difficult penance$ 0ailing even thereby to obtain e1uality with #asishtha he goes to the 2orth & implores the help of 3attatreya who consoles him & reveals the GT, which he has heard from 2andi!eshvara$ The tantra is in the form of a dialogue between "hiva & %arvati$ 1st *hapt#r" -t begins with the 1uestion from %arvati about 4rahman, 5oga & the 4ody$ "hiva defines the 4rahman only$ There upon %arvati en1uires after some such secret lore as will enable the humanity to get release from the bondage of actions while en6oying the blessings of the earthly life$ "hiva says that the Tantric $ r# is triun# in natur# as Ta+asi(, ,a-asi(, ' Sattvi( $#adin& r#sp#ctiv#$y t h#$$, h#av#n ' #+ancipati n. 7e advises that care should be ta!en to re6ect the first & informs that the sub6ect matter of the Tantra is already revealed by 7im to )rishna the son of 3eva!i & to 2andi!eshvara$ The former related it to 4rahma & the latter to %ushpadanta & through him to Gandharvas$ The sages received it from 4rahma & -ndra from Angiras & the !ing of the demons from "u!ra$ The result was that everyone became piously minded including even 2amuchi & other demons & the eternal foes of the latter, i$e$ -ndra & other gods lost their high positions$ 4rahma, pitying them went to "hiva & related the grievances of the Gods$ "hiva conse1uently revealed more or less the materialistic "hastras to deceive the demons$ Among these are mentioned the %ashupata-"aiva, the #aisheshi!a, the 2yaya, the "am!hya, the 8harva!as, & the 4auddha$ All the mantras also were polluted as it was with various defilements & the Tantras interpolated with doubtful passages$

.nd *hapt#r" -n this %arvati re1uests "hiva to remove the doubts referred to in the first %atala regarding the "ha!ti lore$ "hiva accedes to the re1uest & relates the i+p ! / rship ! Sha(ti as Turiya. Sh# 0Tripurasundari1 is ca$$#d Turiya 0th# ! urth1 in-as-+uch as )a+#shvari is th# !irst. 2ha&a+a$ini th# s#c nd ' 3a-r#shvari th# third$ After this "hiva reveals the (antra called 4anchadasi 3idya$ The same is of 9:-parts$ The first is called 3a&bhava, as it imparts mystery over all forms of speech$ -t is read as (a # ii $a hrii.+$ The second goes by the name of )a+ara-a & is composed of the 9;-letters ha sa (a ha $a hrii.+. The third is named Sha(ti-bi-a consisting of the 9,-letters sa (a $a-hrii.+$ %anchadasi in this form is !nown by the name of )a+ara-a-vidya$ The forms of the same respectively worshipped by <opamudra, "hiva & "ha!ti are sa (a $a hrii.+, ha sa (a ha $a hrii.+, sa (a $a hrii.+, ha sa (a ha $a hrii.+, sa (a $a hrii.+5 sa ha (a $a hrii.+, ha sa (a ha $a hrii.+, sa (a $a hrii.+. Then comes the "hodashi which is read as hrii.+, (a # ii $a hrii.+, ha sa (a ha $a hrii.+, sa, (a $a hrii.+. The second form of the same is called *hinta+ani read as shrii.+, (a # ii $a hrii.+, ha sa (a ha $a hrii.+, sa (a $a hrii.+. The same "hodashi when read as hrii.+ shrii.+ (a # ii $a hrii.+ ha sa (a ha $a hrii.+ sa (a $a hrii.+ is called Saptadashi$ =a6ara6eshvari is read as shrii.+ hrii.+ ($ii.+ sauh, .+ hrii.+ shrii.+, (a # ii $a hrii.+ ha sa (a ha $a hrii.+ sa (a $a hrii.+ shrii.+ hrii.+ .+ sau6 ai.+ ($ii.+ hrii.+ shrii.+. 3rd *hapt#r" -n the third %atala "hiva reveals the 4ancha+i 3idya, which consists of 9>-)utas$ -t is so called because the whole world consists of the five elements --&arth, ?ater, 0ire, Air & "!y represented by the 9>-)utas respectively presided over by the "ha!tis of 4rahma, #ishnu, =udra, -svara & "adasiva$ These are )ameshvari, #a6reshvari, 4hagamalini, Tripurasundari & %ara$ The #idya is to be read as (a # ii $a hrii.+, ha sa (a $a hrii.+, ha (a ha $a hrii.+, (a ha ya $a hrii.+, ha (a $a sa hrii.+. After this follows the description regarding the way in which the "adha!a is to practise the #idya & of the powers appearing as a result thereof$ &!adasha!sari or the mantra of eleven letters comes last$ -t is read as (a $a hrii.+, (a ha $a hrii.+, sa (a $a hrii.+. 7th *hapt#r" -n this %atala is given the )avacha of =a6ara6eshvari called Trailo!yamohana$ The sage of the )avacha is "hiva, metre #irat, & the Goddess (T"$ The )avacha is said to have various !inds of efficacy, which are detailed in the te't$ -t is efficacious not only when practised but also when borne on different parts of the body after being written on a birchbar!$ The way of writing is that the names of the practitioner & the ob6ect of practice are written in the triangle of the "hricha!ra, the (ulamantra coming at the top & around it the alphabet & around the alphabet the )avacha$

8th *hapt#r" -n this "hiva describes the way in which the "hri cha!ra is to be drawn & the different deities are to receive their worship in the 9+-component parts of "hricha!ra$ The "hricha!ra is to be drawn either on a metallic plate or the earth with red lead by the golden pen$ 3evi is said to have 9:-forms, physical, mental & cognitive$ The first is represented by (udra, the second by 5antra & the third by (antra$ Maha tripura-Sundari as s#at#d in th# $ap ! MahaShiva is t b# / rshipp#d in th# 2inducha(ra r th# c#ntr# $ The maidens forming the 9;-limbs of (ahatripura-"undari "arva6na etc$ as also the 3atal &ternities are to receive their worship in the four sub-1uarters, centre & the 1uarters$ The *>-)alas or *>-vowels are to be worshipped in the triangle, 9>in the right side & 9>-in the left side & 9>-in the base of the triangle$ The 3atal &ternities are to be worshipped through the medium of the lady$ Attendant 3eities$ Th# 93-r#ctan&$#s th#r/is# ca$$#d Trai$ (ya+ hana cha(ra ar# r#sp#ctiv#$y pr#sid#d v#r by 2rah+a, 3ishnu ' Shiva $ <ord 4uddha, & the *9-5oginis, Anima etc$ are to have their worship in the e'ternal rectangle@ in the inner rectangle 9A-(others 4rahmani to (ahala!shmi & in the innermost the (udradevis "an!sobhini etc$ All the 3eities of the 9:-rectangles referred to above go by the name of %ra!atayoginis$ -n the *;-petalled lotus called "arvashapura!a 8ha!ra, 4rahma & *;Guptayoginis )ama!arshani!a etc$ are to be worshipped$ 9A-Guptatara 5oginis & "hiva receive their worship in the 9A-petalled lotus called "arvasan!shobhana$ -n the *,-sided figure called "arvasaubhagyadaya!a 8ha!ra the sun-god & the "ampradayayoginis "arvasan!shobhini etc$ get their worship$ )ula!aula 5oginis & 2arayana are worshipped in the outer decagon called "arvarthasadha!a & in the inner decagon 2igarbha 5oginis$ -n the octagon called "arvarogahara 8ha!ra =ahasya 5ogini #asini etc$ receive their worship$ The 3ivinities of the weapons of %aramashiva & (ahatripura-sundari receive their worship outside the triangle$ )ameshwari, #a6reshvari & 4hagamalini which are the 9:-"ha!tis respectively of =udra, #isnu & 4rahma are to be worshipped in the ape', left & right side of the triangle which is called "arvasiddhiprada 8ha!ra$ These "ha!tis are called Atirahasya 5oginis$ -n the centre of the triangle or the 4indu 8ha!ra %araparahasya 5ogini (aha-Tripurasundari is to receive her worship$ The worship of (T" is 9:-fold, %ara, Apara & %arapara$ -n the Apara the practitioner has to worship her as identical with the )undalini in the body$ -n the Apara she is to receive her worship in "hricha!ra with all the necessary articles of worship$ The third form of worship includes both the inner & the outer aspects of the worship$ :th *hapt#r" -n the si'th %atala "hiva, in reply to the 1uery made by %arvati regarding the third form of worship, gives in detail instructions for the guidance of the practitioner$ These are that the practitioner should rise early in the morning, sit on the %admasana, have the %ranayama e'ercise & meditate upon his Guru seated in the thousand-petalled lotus, dressed in white, having two eyes

& two hands with #ara & Abhaya (udras, with his wife sitting on the left thigh & having 9B-hands one holding the white lotus & the other engaged in the tight embrace of her husband$ (antra of the Guru is ai+ hrii.+ shrii.+ ha sa (ha phr#+, ha sa (sha +a $a va ra yu+, ha sa (ha phr#+, ha sa (sha +a $a va ra i+, hsauh ' na+#s ! th# Guru ' his /i!# ! $$ /#d r#sp#ctiv#$y by anandanatha padu(a+ pu-aya+i ' a+bapadu(a+ pu-aya+i$ 7e should offer the ob6ects of senses through the latter to his Guru, smell as perfume, sound as flower, touch as incense, form as lamp, flavour as 2aivedya$ After this comes the mention of 5oga which is defined as the unification of Civatma & %aramatma & of the 9A-limbs of the 5oga & their detailed description$ At the end is given the description of the centres of )undalini in the body, i$e$, (uladhara, "vadhishthana, (anipura, Anahata, #ishuddha, A6na & the thousand-petalled lotus above them, which in turn is followed by such instructions as those for bathing, application of collyrium to the eyes & the cleaning of teeth$ ;th *hapt#r" -n the above is given the way in which the devotee of (T" is to purify his body & perform the "andhya$ 4athing is said to be of 9:-!inds as also the "andhya$ The !inds are physical, mental & psychic consisting in the purification respectively of the body, the mind & soul$ -n the 9:- !inds of "andhyas done in the morning, mid-day & evening the devotee is to meditate upon (T" in 9:-forms$ The Gayatri of (T" is given as tripurasundari vid+ah# (a+#shvari dhi+ahi tannah ($inna+ prach dayat. &ach of these B,-letters is said to have a peculiar colour & shape$ The muttering of the same results in having release from different !inds of sins$ Agni etc$ are the presiding deities of these B,-letters$ %arashurama, (enanath, Agastya, #asishtha & 3attatreya are declared to have freed themselves from heinous crimes such as matricide etc$ &very important event in the life of a practitioner is to commence with the worship of Tripurasundari & at the end of the "andhya he is to offer a handful of water mi'ed with red flowers & the powder of "andalwood to the sun under the name of (artandabhairava with the (antra hrii.+ ha+sah +artandabhairavaya pra(ashasha(tisahitaya ida+ar&hya+ na+ na+ah$ <th *hapt#r" 3escribes the sacrificial altar & the way in which the practitioner should, while entering it, bow to the presiding deities of the 1uarters & other deities such as Ganesha, )setrapala etc$ & how he should ma!e an offering to the 4hutas with the (antra + hrii.+ sarvavi&hna(rt sarvabhut#bhy h hu+ svaha, how he should remove all obstacles by muttering 9D-times Astra-mantra which reads as ai+ ($ii.+ sauh astraya phat & how he should clean the sacrificial altar$ &very article of worship is to be concealed till the invocation of

the 3evi The 3evotee is instructed to use his discretion in selecting Asana because the fruit of worship varies with the material of which the Asana is made$ =ed blan!et is specially advised for the worship of Tripura$ -t must measure two cubits in length & a cubit & a half in width$ 7e has to sit also on it under the instructions of Asana$ The posture peculiar to the worship of Tripura is 4ad+asana & the = rth is the 1uarter, which the practitioner must face to secure success in the worship of T"$ The practitioner should ta!e care that when worshipping he should have everything red, such as saffron ointment, red dress, red seat etc$ & while following instructions regarding the use of the articles of worship & their places, he should have the "hricha!ra drawn in red lead, placed on the "imhasana$ Towards his left he should place a stand with a pot full of water on a rectangular diagram$ The stand is to be identified with the orb of the fire@ the pot with the solar orb & the water with the moon & these must as such be worshipped with the )alas of the fire, the sun & the moon$ Anandabhairava & Anandahhairavi are to receive their worship through the pot$ 8onch & other vessels are also to be placed in particular places$ The purification of the five elements, constituting the body by removing the impurities attaching to them through the letters peculiar to the elements & by subse1uent infusion of the energy of the 8hangeless =eality is to be attended to & performed as a preliminary to the worship$ 0or this purification the practitioner is to deeply concentrate in the 4indu-cha!ra on the Turiya aspect of (T"$ After this he has to protect himself against all sinister influences by 3igbandhana with the (antra + hrii.+ ha+sah s -aha+ svaha ai+ ($ii.+ sauh tripurasundari +a+ ra(sha ra(sha. >th *hapt#r" -n this chapter is given the Matri(anyasa$ -n performing this the practitioner is first to wash his hand in a particular manner with the mantra a+ aa+ sauh$ Then he has to pay his attention to ,ishinyasa etc$ Then comes the Matri(anyasa of which all details such as =ishi etc$ & the 9;-limbs etc$ are given$ (atri!a is said to be of two !inds as Antar-matri!a & 4ahir-matri!a$ -n case of the former letters of the alphabet are to be meditated upon in the si' centres of the body (uladhara to 4hrumadhya$ -n the latter case letters of the (atri!a preceded each by ($ii.+ are to be meditated upon, vowels individually in the *;-different parts of the head, 9>-groups of letters, gutturals to labials in hands, feet, sides, bac!, navel, & belly, identifiable with the seven constituents of the body, s!in, etc$ vital soul, individual soul & supreme soul in heart, armpits, throat, shoulders, lower end of the heart, hands & feet, belly & face$ 3ifferent poses of the hands are also to be used in performing this 2yasa$ Towards the end various results obtainable from (atri!a-nyasa are described$ 19th *hapt#r" 19th 4ata$a"" The 9;-fold 2yasa of "hrividya as consisting of those of Ganesha, planets, constellations, 5oginis, signs of Eodiac & %itha is described$ Ganesha 2yasa$ -n this the >*-Ganeshas, 3i&hn#shvara t Gan#sha

with their "a!tis are to be contemplated upon in the different parts of the body, forehead etc$ assigning each letter of the alphabet to a couple as a.+ vi&hn#shvaraaya shriyai na+ $a$aaT#. %lanets (Graha) 2yasa$ The planets "un to comet occupy the places heart, middle of the eyebrow, eyes, heart, throat, navel, anus & the feet$ Their letters are respectively vowels, semi-vowels, gutturals, palatals, linguals, dentals, labia-s, aspirates & <a & !sha$ 8onstellations (2a!shatra 2yasa) 3etails regarding this are as given in the following table * a$m aa$m B i$m : ii$m u$m uu$m <eft eye , =Fi$m =F-$m <Fi$m <F-$m =ight ear > e$m ; ai$m D o$m au$m A !a$m + !ha$m ga$m *9 dha$m G2a$m ** cha$m *B 8ha$m 6a$m *: 6ha$m Gna$m *, Ta$m Tha$m

0orehead

=ight eye

<eft ear

=ight nostril

<eft nostril

throat

=ight should$

<eft should$

=ight elbow

<eft elbow

=ight wrist

<eft wrist

*> 3a$m

*; 3ha$m 2a$m <eft hand

*D ta$m tha$m navel

*A da$m dha$m =ight hip

*+ na$m pa$m pha$m <eft hip

B9 4a$m

B* bha$m

BB (a$m

B: ya$m ra$m <eft !nee

B, la$m

B> va$m sha$m <eft leg

B; "ha$m sa$m ha$m =ight foot

BD !sha$m <a$m a$m a7 <eft foot

=ight hand

=ight Thigh

<eft thigh

=ight !nee

=ight leg

5ogini 2yasa$ The 2yasa of 5oginis is to be performed with the mantras in the following manner 5ogini<a!ini )a!ini 8olour 0orm ?hite ?ith one face of three eyes "ha!ini 4lue ?ith two faces having three eyes each 7a!ini =ed ?ith three faces having three eyes each 5a!ini 5ellow ?ith four faces having three eyes each 4rown ?ith five faces having three eyes each ?hite All colours

?ith si' All faces faces having three eyes each

&mblem

"word, winecup, trident, s!ullcrowned

Trident, Thunderbolt, Trident, small vara spare, small hand abhaya hand drum, drum, lotus noose,

4ow, arrows, noose, goad, boo!, 6nana-

"mall hand drum, rosary, s!ull, sword,

All weapons

club

abhaya

mudra

boo!, 6nanamudra (arrow "hu!ra

8onstituents "!in of the human body "eat Throat

4lood

0lesh

0at

4ones

7eart

2avel

<inga

(uladhara (iddle of 8avity in the the head eyebrows 4eans & rice Turmeric All & rice edibles

Hffering

(il! & rice

?hite food

"ugar & rice 8urd & rice

The mantra of the first is a.+ aa.+ i.+ I.+ u.+ ?.+ ,@i.+ ,@I.+ A@i.+ A@I.+ #.+ ai.+ .+ au.+ a.+ a6 Baa.+ Bii.+ Ba+a$avarayuu.+ Baa(inyai na+ daa(ini tva&dhaatu&at# chatuSShaShTi$a(sha( Tiy &inisvaa+ini sarvasattvavasha.+(ai aaGCa.+ +# d#hi +a+a vichch# The mantra of the second is (a.+ (ha.+ &a.+ &ha.+ D=a.+ cha.+ *ha.+ -a.+ -ha.+ Dna.+ Ta.+ Tha.+ raa.+ rii.+ ra+a$avarayuu.+ raa(inyai na+ raa(ini as,@i&dhaatu&at# dvaatri.+sha$$a(sha( Tiy &inisvaa+ini sarvasattvavasha.+(ari aaGCaa.+ +# d#hi +a+a vicch# The mantra of the third is Ba.+ Bha.+ =a.+ ta.+ tha.+ da.+ dha.+ na.+ pa.+ pha.+ $aa.+ $ii.+ $a+a$avarayuu.+ $aa(inyai na+ $aa(ini +aa.+sadhaatu&at# Sh Basha$a(sha( Tiy &inisvaa+ini sarvasattvavasha.+(ari aaGCaa.+ +# d#hi +a+a vicch# The mantra of the fourth is ba.+ bha.+ +a.+ ya.+, ra.+ $a.+ (aa.+ (ii.+ (a+a$avarayuu.+ (aa(inyai na+a6 +#d dhaatu&at# aShTa$a(sha( Tiy &inisvaa+ini sarvasattvavasha.+(ari aaGCaa.+ +# d#hi +a+a vicch# The mantra of the fifth is va.+ sha.+ Sha.+ sa.+ shaa.+ shii.+ sha+a$avarayuu.+ shaa(inyai na+a6 shaa(ini asthidhaatu&at# chatur$a(sha( Tiy &inisvaa+ini sarvasattvavasha.+(ari aaGCaa.+ +# d#hi +a+a vicch# The mantra of the si'th is ha.+ (sha.+ haa.+ hii.+ ha+a$avarayuu.+ haa(inyai na+ haa(ini +a--aadhaatu&at# dvi$a(sha( Tiy &inisvaa+ini sarvasattvavasha.+(ari aaGCaa.+ +# d#hi +a+a vicch# The mantra of the seventh is a.+ aa.+ i.+ ii.+ u.+ uu.+ ,@i.+ ,@I.+ A@i.+ A@I.+ #.+ ai.+ .+ au.+ a.+ a6 (a.+ (ha.+ &a.+

&ha.+ D=a.+ cha.+ *ha.+ -a.+ -ha.+ Dna.+ Ta.+ Tha.+ Ba.+ Bha.+ =a.+ ta.+ tha.+ da.+ dha.+ na.+ pa.+ pha.+ ba.+ bha.+ +a.+ ya.+ ra.+ $a.+ va.+ sha.+ Sha.+ sa.+ ha.+ (sha.+ yaa.+ yii.+ ya+a$avarayuu.+ yaa(inyai na+ yaa(ini shu(radhaatu&at# dasha( Tiy &inisvaa+ini sarvasattvavasha.+(ari aaGCaa.+ +# d#hi +a+a vicch# =ashi 2yasa <i!e the two previous 2yasas the above 2yasa also is prescribed in the table as given below$
* <etters a$m aa$m i$m -$m B : , e$m ai$m > o$m au$m ; a$m a7 sha$m "ha$m sa$m ha$m D !a$m !ha$m ga$m gha$m G2a$m <eft head A cha$m 8ha$m 6a$m 6ha$m Gna$m + Ta$m Tha$m 3a$m 3ha$m 2a$m *9 ta$m tha$m da$m dha$m na$m ** pa$m pha$m ba$m bha$m ma$m *B ya$m ra$m la$m va$m !sha$m <eft an!le

u$m =F-$m .$m <Fi$m =Fi$m <Fi$m

"eat

=ight =ight !nee an!le

=ight 4elly =ight =ight testicle right shoulder head

<eft <eft shoulder belly

<eft <eft testicle !nee

%itha 2yasa$ -n this the practitioner has to identify the >*-%ithas )amarupa etc$ with the different parts of the body & in doing so the letters of the (atri!a are to go along with the names of the pithas one with each with a 4indu at the top$ The chapter ends with the spiritual powers that the practitioner of this "hodhanyasa gets$ 11th *hapt#r" -n the **th %atala are described first the 2yasa of (*) Asana, (B) #asinyadivagdevata, (:) (ulanga, (,) 2avayoni, (>) 8haturvyuha, (;) Tattvanyasa, (D) (ulavidya, & (A) "ammohana$ -n the first, Asanas, i$e$ Amritarnavasana, %otambu6asana, Atmasana, 8ha!rasana, "arvamantrasana, "adhyasana, "adhyasiddhasana, %aryan!asha!tipithasana, & (ahapretasana respectively presided over by Tripura, Tripur#shvari, Tripura-sundari, Tripura-vasini, Tripura-shri, Tripura-+a$ini, Tripura-siddha, Tripur-a+ba, ' Mahatripura-2hairavi are to be contemplated upon in feet, !nees, thighs, hips, private part, (uladhara, navel, heart & cavity in the head$ The (antras to be used are 011 0.1 031 071 081 0:1 a.+ aa.+ sau6 tripuraa+,@itaar=avaasanaaya na+a6 ai.+ ($ii.+ sau6 tripur#shvariip taa, nu-aasanaaya na+a6 hrii.+ ($ii.+ sau6 tripurasundaryaat+aasanaaya na+a6 ai.+ hv$ii.+ hsau6 tripuravaasiniicha(raasanaaya na+a6 hsai.+ hs($ii.+ hssau6 tripurashriisarva+antraasanaaya na+a6 hrii.+ ($ii.+ b$#.+ tripura+aa$iniisaadhyaasanaaya na+a6

0;1

hrii.+ shrii.+ sau6 shiva+ahaapr#tapad+aasanaaya na+a6.

-n the second, 9A-goddesses of speech are to be meditated upon as presiding deities of (*) #owels, (B) Gutturals, (:) %alatals$ (,) <inguals, (>) 3entals, (;) <abials, (D) "emi-vowels, & (A) Aspirates$ Their names, seats & )utas are (*) #ashini, cavity of the head, rb$uu.+ (B) )ameshvari, forehead, ($hrii.+ (:) (odini, middle or the eyebrows, nv$ii.+ (,) #imala, throat y$uu.+ (>) Aruna, heart, -+rii.+ (;) Cayini, navel, hasa$avayuu.+ (D) "arveshvari, <inga, -ha+arayuu.+ (A) )aulini, below the <inga, (sh+rii.+ -n the third, the si' limbs, i$ e$ heart, head, tuft of hair on the head, armour, eyes & the weapons are to be located in the five fingers of the hands & their palm & bac!$ ?hile doing so the practitioner is to mutter in each case the mantras of "hrividya twice$ The si' poses of the hands are prescribed for these si' limbs, the three fingers -- middle, ring & inde' for 7ridaya@ two fingers -- mid & inde' for "hiras@ thumb for "hi!ha@ ten fingers for )avacha, the three above referred to for eyes & the two above mentioned for Astra$ -n the fourth, #ashini etc$ are to be meditated upon in the different parts of the body named in boo! & the muttering of all the three )utas of "hrividya is to be done in each case$ -n the fifth, the 9,-forms of (T", i. #. )a+#shvari, 3a-r#shvari, 2ha&a+a$ini ' Mahatripurasundari are to be contemplated upon below the <inga, in the heart, in the middle of the eyebrows & in the cavity in the head with the four famous centres of her worship & their priests$ The mantras to be muttered are 011 0.1 ai.+ a&nicha(r# (aa+a&iripiiTh# +itr#shanaaathaat+a(# (aa+#shvariirudraat+asha(ti shriipaadu(aayai na+a6 ($ii.+ suuryacha(r# -aa$andharapiiTh# ShaShThiishanaathaat+a(a.+ va-r#shvariiviSh=avaat+asha(ti shriipaadu(aayai na+a6 sau6 s +acha(r# puur=a&iripiiTh# uBBiishanaathaat+a(a.+ bha&a+aa$iniibrah+aat+asha(tishriipaadu(aayai na+a6 turyabii-a.+ brah+acha(r# uduyaanapiiTh# charyaanaathaat+a(# parabrah+aat+asha(tishriipaadu(aayai na+a6

031 071

-n the si'th, the 9:-Tattvas Atma, #idya & "hiva are to be located in the 9:parts of the body, vi/$ (*) from feet to the place below the <inga, (B) thence to heart, (:) from the heart to the middle of the eyebrows, uttering the following mantras 1. ai.+ aat+atattvavyaapi(aayai +ahaatripurasundaryai na+a6 .. ($ii.+ vidyaatattvavyaapi(aayai +ahaatripurasundaryai na+a6

3. sau6 shivatattvavyaapi(aayai +ahaatripurasundaryai na+a6 -n the seventh, the 9:-)utas of "hrividya are to be located$ -n hands, etc$ individually & the fourth bi6a is to have its place in the cavity in the head$ The *>-syllables of the 4anchadasi are located in the cavity in the head, (uladhara, heart, eyes, ears, mouth, arms, bac!, !nees & navel$ -n the eighth, the practitioner is to consider himself as endowed with a body of mantras & meditate upon "hrividya in the mantra form$ ?hile this is being done, 5onimudra is to be placed in the cavity of the head, forehead, middle of the eyebrows, face & heart$ ?hat has been described above relates to the e'ternal worship$ As regards the internal, the practitioner is first to purify his mind & soul through pranayama, which is said to be of the highest value in the spiritual domain$ 4y %rana is meant the life breath & by Ayama the control thereof$ 4ranaya+a c nsists ! th# 93-!uncti ns -- inha$ati n, #Eha$ati n ' r#t#nti n. A/a(#nin& ! )unda$ini$ ?hile doing the pranayama referred to above, the practitioner is to mutter mentally either the whole mantra or its initial syllable$ The )undalini lying dormant in the (uladhara is to be contemplated upon as a thin red flame rising upwards when awa!ened with the help of Aum!ara & piercing the si' life centres in its upward march, till it reaches "hiva & becomes united with 7im in bliss$ Thence she comes down again through the same way to (uladhara$ The )undalini while moving up from (uladhara to the heart receives the name of vahni(u=Ba$inii being fiery, from heart to the throat suurya(u=Ba$inii being solar & from throat to head s +a(u=BA$inii being lunar$ The 9:-)utas respectively get assimilated to her in the 9:-places referred to above$ -n the 4indu, the fourth form of )undalini as embracing all the 4i6as & all forms of light is to be contemplated upon$ (editation on )undalini, which constitutes the inner worship, helps the practitioner to ac1uire freedom from all sins$ 1.th *hapt#r"F*Bth %atala the mental offering of worship & the mental approach to & unification with (aha-tripura-sundari are at length described$ -n the first, the practitioner is to sit on the prescribed Asana !eeping his body erect & with the hands full of red flowers placed near the heart, close the eyes & feeling as it were the august presence of (T" in the heart, offer worship to her with the mental *;-re1uisites of worship$ The 5ogis & sages have recourse to this worship only$ -n the second, i$e$, the 3hyanayoga, the practitioner has to select a solitary place & seat himself in a particular posture with all his mental operations brought under control$ 7e should feel oneness with the Transcendental "elf through absolute introspection$ -n order to rise to that plane of consciousness he has to

immerge the different elements of which the world is composed in the causeless cause$ The order in which these evolutes are absorbed from the following into the preceding is given as follows -The earth element merges in the water, water in the fire, fire in the air, air in the ether, ether in the mind, mind in the ego, ego in the manifest$ The manifest matter in the unmanifest, & the unmanifest in the "upreme "elf$ After the absorptive meditation is over, he has to thin! of evolution$ -n this he is to thin! of evolution of the world from the causeless cause through matter, ego, mind etc$ down to the frog, )alagnirudra, Adharasha!ti in the form of a crocodile & boar holding on the tooth the earth$ There he has to thin! of the nectar-ocean, the coral island, the golden hill, the heavenly garden )alpodyana & of streams & la!es$ Hn the shore of the highest among the la!es he should imagine the e'istence of the desire-granting tree with a 6ewel-pavilion having four gates fitted with diamond doors & coral thresholds & other decorative parts$ After having done so, he is to imagine the presence of one big lotus enclosed in another placed in the centre of the "imhasana arranged on a platform of 6ewels inside the pavilion described above$ The outer lotus represents all the elements, its bulb the bliss, its stal! the consciousness, all the evolutes of %ra!riti furnishing the :B-leaves & the fifty letters furnishing the pericarp of the lotus$ -nside the lotus he has to thin! of the sun, moon & fire one placed below another$ -n the fiery orb there stands the triangular mass of light borne by the 9>!aranas$ -n the centre of this triangle stands the third lotus in which the practitioner is to thin! of the 9D-goddesses Tripura t Tripura+ba$ Hf the last, beautiful description of each part of the body is given in detail in the te't$ ?hile thin!ing so, the practitioner is to be at one with (T"$ 13th *hapt#r" -n this stress is laid first of all on the actual reali/ation of the unity between the worshipper & the worshipped$ &verything else used in the worship receives sanctity by it$ A devotee is en6oined to worship "hrividya both mentally as wtll as physically in case he happens to be rich enough$ All vessels re1uired for worship may be of copper$ A devotee may, if he can, ma!e 9>-vessels from 9>-6ewels which are named as Garuda, (ani!ya, #a6ra, #aidurya & 2ila$ The 4i6as of the 9>-6ewels are &$uu.+, s$uu.+, p$uu.+, +$uu.+, n$uu.+ The pot which is to contain #ishesarghya is to get a place in the ceremonious manner between "hricha!ra & the worshipper on a diagram drawn on the earth$ The diagram is to consist of a rectangle, a he'agon, a circle & a triangle, one enclosing the other$ The mantra to$ be used is ai.+ ($ii.+ sau6 +ahaatripura-sundaryaa ar&hya-paatraasana.+ saadhyaa+i. The stand of the pot, the pot & the li1uid poured into the pot represent the fire, the sun & the moon & hence the former are to receive the worship respectively of the )alas of the latter$ The li1uid to be poured is to be one of the following wine, mil!, coconut-6uice, sugar-cane 6uice, sugar, honey, ghee$ %resence of the sacred waters is to be invo!ed in the pot from the solar orb with the

An(usha+udra$ Then the pot is to be covered over with the hands in the Matsya+udra$ The 6ewels (ani!ya etc, are to be put into the li1uid of the pot, the goddess of 6ewels being worshipped through the 6ewels$ 7er mantra is 9+syllabled as shrii.+ hrii.+ &$uu.+ s$uu.+ p$uu.+ +$uu.+ n$uu.+ hrii.+ shrii.+. The (atri!a is to be contemplated upon in the form of a triangle, vowels occupying the base, consonants (a t ta ' tha t sa th# ar+s, ' ha ' (sha th# c#ntr#$ The 9:-angles & the centre are to be identified with )a+arupa, Ga$andhara, 4urna&iri ' ?ddyana presided over by the 9,-forms of Tripura$ Ananda-bhairava described as ten-armed, five-faced & having ten emblems & "uradevi similarly formed in his lap are to be worshipped inside the pot$ A+riti(arana, Sa(a$i(arana ' 4ara+i(arana are to be done afterwards with Bh#nu+udra ' Maha+udra as also with Musa$a+udra, C ni+udra ' Ga$ini+udra$ The mantras of these are 011 ha sa (sha +a $a va ra yuu.+ aananda-bhairavaaya vauShaT.h 0.1 sa ha (sha +a $a va ra yuu.+ suraad#vyai vauShaT.h -n the purification the verses to be mattered are (*) ha+sa6 etc, (B) pratidviSh=u etc$ (:) trya+ba(a.+ ya-aa+ah# etc$ (,) tadviSh= 6 etc$ (>) viSh= ry ni etc$ The mantra ai.+ ($ii.+ etc$ is to be muttered ten times$ The last items of purification are to be done with the help of the "andipini #idya ai.+ vada vada #tc$ At the end, the practitioner is to offer libation to "hrividya from the li1uid thus consecrated$ 17th *hapt#r" *,th %atala deals with the worshipping of )ameshvari$ -n it the practitioner is to offer the Asana on the )amapitha to )ameshvari invo!ing the presence of Adharasha!ti & others upto )ameshvara who serve as her seat$ )ameshvara is to be contemplated upon as four-armed, seated on the white lotus & holding in the left hand trident & bow & in the right white lotus & 4i6apura$ Then )ameshvari is to be contemplated upon as being seated in the lap of )ameshvara in response to the invocation with the mantra ai.+ hrii.+ sau6 +ahaatripurasundarya+,@itachaitanya+uurti+ (a$payaa+i $ The rites of removing the sinister influences & 3igbandhana come after this$ The vitali/ing of the idol is to be conducted by the "adha!a, after holding the breath & reali/ing through contemplation the presence of (T" in the heart, by conceptuali/ing the vitality in the handful of flowers after it comes out through the nostrils with the 4i6a ya.+ Tri!handa & Avahani (udras, which are described in the te't, should be used as also the Avahani-#idya hrsai+ hs($ii.+ hssrau6 invo!ing the presence of (T" in the idol$ This being over, the practitioner has to address his prayers to (T" for firm stay, for being eye to eye & mind to mind with the practitioner, for success in completion, for being invisible to the undeserving, for being blissful & finally for being merciful using the (udras, such as are prescribed for these acts$ After these preliminary rituals, comes the

offering of 9:-handfuls of flowers & 9:-libations of the consecrated li1uid with the mantras 011 ai.+ ($ii.+ sau6 +ahaatripurasundarii shriipaadu(aa.+ puu-ayaa+i 0.1 ai.+ ($ii.+ sau6 +ahaatripurasundarii shriipaadu(aa.+ tarpayaa+i. &'hibition of the 9+-(udras "am!sobhini to 5oni follows the offering of the following prayer to the Goddess "H Goddess (ay you be !ind to me, may you accept my worship as -, though poor physically as well as in material resources, offer it in a devotional spirit$" After the e'hibition of the (udras, the "adha!a is to present the 9D-items of offerings using na+a6 svadhaa vauShaT wherever necessary$ Tarpana is to be done with Tattva (udra in which the thumb & the inde' fingers of left hand are to be 6oined$ At the end, come Capa & offer of the sacrifice, ointment, collyrium, mirror & umbrella$ 18th *hapt#r" The *>th chapter describes the things to be offered in worship$ These are Asana, %adya, Arghya, Achamana, (adhupar!a, "nana, #astra, 4hushana, Gandha, An6ana, %ushpa, 3hupa, 3ipa, & 2aivedya$ Asana or the seat$ -t is to be either of gold or silver or cloth or 6ewels or flowers or wood$ Among the cloths red blan!et is preferable$ Padya means water for footwash$ 8old water mi'ed with sandal-wood paste & Agaru is to be offered either in a pot of gold or silver or in a conch$ Arghya for the head$ This is to consist of white mustard beans, sesamum, mil!, red sandal & red flowers mi'ed in water$ This is to be offered in a conch li!e other articles with a particular mantra given in the te't$ Achamana or water for sipping$ This is to be pure & scented with camphor & Agaru & offered in the same pot as is prescribed for %adya$ Madhuparka$ This consists of curd, ghee, water, honey, sugar & sugarcane 6uice or of cocoanut-6uice, sugar, curd & ghee in e1ual proportions & honey in a larger 1uantity & offered in a bron/e or silver pot$ Snana$ ?ater mi'ed with camphor, Agaru, mus!, Gorochana, saffron, cocoanut-6uice, honey, sugarcane-6uice, sugar, five products of cow, particular herbs called "arvausadhi, is to be offered in a 6ug or conch for bath$ Vastra$ A pair of cloths figured & sil!en is to be presented for dress$ Bhushana$ *;-!inds of ornaments detailed in the te't all made of gold & set with 6ewels are to serve as 4hushana$ Gandha$ 9>-!inds of perfumery obtainable from certain fragrant substances by powdering, friction, burning, pressing, & from mus!deer are also to be offered$ Anjana$ This is collyrium for application to the eyes$ -t is to be made of lampblac! collected in a golden pot from a burning lamp having ghee or oil & scented with camphor$ Pushpa$ 0lowers to be offered are to be fresh$ 8ertain species such as 4a!ula, )esara etc$ are declared dear to Tripura$ Garlands also made of these flowers please her very much$ Dhupa, or the incense$ -t is to be offered in a pot & consists of si'teen substances, %atra to Agara given in the

te't$ Dipa$ <amps preferably of ghee with a wic! of cotton are offered for illumination$ These should be of gold or silver or earth or iron & placed on stands of similar material with the shape of a tree$ Naivedya, or food$ -t comes last & is to be presented & placed either on the right or on the left or in front, lamps coming always either on the right or in front, incense on the left or in front, scents, flowers & ornaments always in front$ 1:th *hapt#r" "i'teenth %atala is devoted to the description of the offering, such as, drin! & food & of the way & varieties of salutation$ Among the first comes wine$ This is to be distilled in the following manner ?ell-filtered sugarcane-6uice should be allowed to grow stale for some time$ (ango 6uice & honey should be mi'ed with it as also 6uices of 6u6uba, roseapple fruit, dates, cocoanut, wine & into'icative powders such as of (ohini, Cati, 3atura, Catiphala, mace, cardamom, blac! & long pepper, dry ginger & Triphala$ The same should be scented with camphor & !ept in a gold or silver or glass vessel & mi'ed with sugar & allowed to remain cor!ed, being covered over with red cloth for seven nights$ ?hen at the end it becomes thus prepared & ready for use, it should be scented again with sandal paste, Aguru & camphor$ This !ind of wine is reserved for the more or less abstemious people & for those otherwise-minded a common species of the same is prescribed$ -ts use is admissible only in a strictly ceremonious way$ The four !inds of food detailed as chewable$ "uc!able, lic!able & drin!able come after drin!$ &very variety of solid food is to be offered when properly coo!ed & spiced$ &very sweet fruit also is to be offered in cups of gold or silver & food in dishes or gold, silver, copper or stone or even in lotus leaves$ The mantra to be muttered in this offering is mahaatripurasundari vaivedya$m g=Fihaa2a$ After offering the perfumed water for sipping come the offerings to five lifebreaths %rana etc$, with the five fingers$ Hffering of dessert comes last e'cept 2amas!ara$ The latter is said to be of three varieties as physical, lingual & mental$ The physical again is of three !inds as that in which hands are folded & placed on the head & as that in which the head only touches the earth$ The <ingual also is of three !inds$ 0irst is that in which self-composed prayers are offered the second in which prayers from the %uranas, #edas or the Tantras are offered & the third in which prayers composed by others are offered$ The mental also has three !inds according as the mind thin!s well, ill or indifferent$ %rada!shina or circumambulation is included in the bowing$ The former is of si' varieties as triangular, he'agonal, semi-circular, circular, staff-li!e with eight limbs & the terrific$ (oving from the south to the north-west, thence to the north-east & again thence to the south goes by the name of Tri!ona$ That from the middle of the south to the north-west, thence to the north-east & thence to

the middle of the south & again from the south-east to the south-west, thence to the middle of north, & thence to the south-east, goes by the name of "hat!ona$ (oving from the middle of the south to the north-west & thence turning round & going to the middle of the south, goes by the name of Ardhachandra$ (oving with the right hand e'tended & the head bent from the middle point in front of the 3eity, around from the right is called %rada!sina$ =ising from oneIs own seat, going bac! several steps & then prostrating on the earth is called 3anda$ 4owing in which the earth is touched with chin, mouth, nose, 6aws, eyes, ears, & cavity in head goes by the name of Ashtanga$ Touching the earth with the s!ull goes by the name of .gra$ 1;th *hapt#r" -n the *Dth %atala worship, in the 9+-component parts of "hricha!ra, of the attendant deities classified under 9+-categories technically called %ra!atayoginis etc$, is given along with the description of the (udras & their use$ -n the first part called Trailo!yamohana represented by the 9:rectangles the worship is to be conducted from the right unli!e other parts in which the left side is to be adhered to$ -n the e'ternal rectangle 4uddha as the great <ord of 5oginis is to be worshipped with the (antra bu.+ buddhaaya na+a6 along with the t#n psychic p /#rs Ani+a. #tc$ The first four powers occupy the 1uarters beginning with west, second four the sub-1uarters beginning with the north-west & the last two come below & above$ The mantra to be used in the worship of a psychic power is hrii.+ shrii.+ & the name of the psychic power & shriipaadu(aa.+ puu-ayaa+i. -n the inner rectangle the 9A-mothers 4rahmani etc$ & the 9A-4hairavas Asitanga etc$ are to be adored$ -n the innermost rectangle the (udra 3evis "arvasan!sobhini etc$ receive their worship$ 0or the description of "arvasan!sobhini (udra see the te't$ The 4i6a of the (udra is draa.+. -n the second part, i$e$ *;-petalled lotus bearing the name of "arvashapura!a *;datal eternities, & 4rahma receive their worship$ The (antra of 4rahma & the 4i6a of 3ravini (udra to be shown here are respectively .+ brah+a=# na+a6 ' drii.+. -n the third part, i$e$ 9A-petalled lotus called "arvasan!sobhana, "hiva & .ma, the 9A-Guptatara 5oginis Ananga!usuma etc$ are adored$ (antras of "hiva & .ma, 9A-Guptatara 5oginis & the 4i6a of the (udra are ($ii.+ shivaaya na+a6, hrii.+ u+aayai na+a6, Gutturals, %alatals, linguals, dentals, labials, semi-vowels, aspirates, Aa (sha ' ($ii.+. -n the fourth i$e$ *,-sided figure called "arvasaubhagyadaya!a the sun-god, the "ampradaya-yoginis "arvasan!shobhini etc$ & the (udra called "arvavasha!ari come in$ The 4i6a of the (udra is b$uu.+ -n the fifth, i$ e$ e'ternal decagon called "arvarthasadha!a #ishnu (as 7rishi!esha), )ula!aula-yoginis & "arvonmada!ari (udra find thir worship$

The mantra of #ishnu & the 4i6a of the (udra are ($ii.+ h,@ishii(#shaaya na+a6 ' sa6 -n the si'th part i$e$ inner decagon called "arvara!sha!ara, #ishnu (Trailo!yamohana), 2igarbhayoginis, "arva6na etc$ & the (ahan!usha (udra receive their worship$ The 4i6a of #ishnu & the (udra are ($ii.+ ' (r .+ -n the seventh part i$e$ octagon called "arvarogahara, =ahasya-yogints #ashini etc$ receive their worship$ The (udra to be e'hibited is !hechari of which the 4i6a is hasa(haphr#.+ -n the eighth part i$e$ the triangle called "arvasiddhiprada )ameshvari, #a6reshvari & 4hagamalini, the three sha!tis respectively of =udra, #ishnu & 4rahma are to be worshiped in the ape', left & right sides of the triangle$ These "ha!tis are called Atirahasya-yoginis$ (udra to be e'hibited there is 4i6a-mudra , of which the 4i6a is hsau6 -n the ninth part i$e$ centre of the triangle called "arvanandamaya %arapararahasya-yogini i$e$ Tripura-bhairavi is to be worshipped along with (o!shasiddhi & the lion the vehicle of the Goddess$ The (udra to be shown is 5oni-mudra of which the 4i6a is ai.+ The deity-in-chief is to be worshippod in all the 9A-previous parts under different names--Tripura, Tripu-r#shvari, Tripara-sundari, Tripura-vasini, Tripu-rashri, Tripura-+a$ini, Tripura-siddha ' Tripur-a+ba $ 0or the description of the (udras see the te't$ 1<th *hapt#r" -t gives a detailed description of Capa$ -t is said to consist in the repeated muttering of certain syllables$ (editation on & muttering of the (antra are prescribed to be successive, both being necessary for ac1uiring psychic powers$ The rosary meant for Capa is to be considered as consisting of the letters of the alphabet in both the orders, successive & reverse as also of their eight groups$ -t therefore contains *9A beads$ -n the absence of the rosary a devotee is to !eep an account of his muttering by using finger-6oints$ Top & mid-6oints of the inde' fingers are to be avoided$ The rosary made of crystal etc$ before being used for Capa is to be placed either in front or on the left hand & then to be sanctified with proper worship after being besprin!lcd with water$ The mantra of (ala is ai.+ +aa.+ +aa$# +ahaa+aa$# sarvasha(tisvaruupi=i chaturvar&astvayi nyastastasv+aat.h +# siddhidaa bhava After being so purified in the said manner, it is to be held in the right hand with the mantra &$au.+ avi&hna.+ (uru +aa$# tva+.h 8are is to be ta!en in rotating it in a cautious manner, so that it may not slip down from the hand$ The rosary along with 5antra, mantra & mudra is strictly prohibited from being shown to any body$ The -nde' finger is not used at all in the rotation of the rosary$ The five fingers, thumb to the little finger are to be used in the Capa respectively meant for emancipation, destruction of the enemies, earning of

wealth, pacification & attraction$ #irasana is helpful to Capa$ Capa is of three !inds loud, low & mental, the loud being inferior to the low, & the latter to the mental$ -t is to be done neither too 1uic!ly nor too slowly$ The mind at the time of Capa should be entirely withdrawn from the sense-ob6ects$ .nli!e a hymn, Gapa is a$/ays t b# +#nta$ in th# cas# ! Shrividya $ The min-number of times that Capa is to be done comes to *9A, the middle to a thousand & the ma'to ten thousand$ =ules to be observed in Capa are that the practitioner is lightlydressed, must not have his hands wrapped up with cloth & must have his head na!ed & free from cares, be neither angry nor hasty, neither diseased nor hungry$ 7e must above all have his mind concentrated$ Capa at the end is dedicated to "hrividya$ %ranava (Hm!ara) as forming the essence of the #edas is to precede & follow$ Capa is always to be accompanied by 6 +a 0sacri!ic#)$ Hfferings in the 7oma should be e1ual to the *9th part of the mutterings of Capa$ -n case a practitioner be not in a position to do 7oma he is advised to mutter the Mu$a+antra t/ic# th# nu+b#r ! th# !!#rin&s ! 6 +a$ ?orship offered to the 3eity with the various prescribed articles helps the practitioner to get desirable ob6ects determined in each case by the former$ The latter are described at length in the te't$ The nine (udras are to be e'hibited at the beginning & the end of worship$ The following things lead to success in worship -"olitude, "piritual purity, abundant purity of the worshipping material, presence of sweet-smelling substances, mental fortitude, affablehess of manners, nobility of disposition, beautiful dress, devotional tone etc$ 1>th *hapt#r" -n the *+th chapter worship & offerings t 3atu(a, C &inis, )sh#trapa$a ' Gan#sha are described$ The latter are to be located in the four diagrams drawn in north-east, south-east, southwest & north-west of the seat of "hricha!ra$ Hfferings are to consist of various edible (!ind of meat), fish, sugar, curd, mil! & flour$ #atu!a is to be meditated upon as dwarfish, lotus-eyed, gold-yellow & fourarmed bearing in the hands mace, conch, lotus & disc$ The mantras of worship & offering to #atu!a with the left hand thumb & ring-finger are b$ .+ baTu(aaya na+a #hy#hi d#viiputra baTu(anaatha (api$a-aTaabhaarabhaasvara trin#tra -vaa$aa+u(ha sarvavi&hnaan.h naashaya naashaya sarv pachaarasahita.+ ba$i.+ &,@h=a &,@h=a svaahaa. 5oginis$ These are of optional bodily form, gold-yellow, wearing the garland of s!eletons, dressed in red & bearing in arms linga, noose, s!ull & goad$ (antra of offering with the left hand thumb, mid-finger & ring-finger is yaa.+ y &inibhya6 sarvavar=a.+y &inibhy hu.+ phaT.h svaahaa )shetrapala$ 7e is described as collyrium-blac! & bearing sword$ s!ull, trident & small hand-drum$ (antra of the offering with the left-hand fisted & having

the inde'-finger stretched is (shaa.+ (shii.+ (shuu.+ (shai.+ (shau.+ (sha6 (sh#trapaa$a dhuupadiipaadisahita.+ ba$i.+ &,@h=a &,@h=a svaahaa Ganesha$ 7e is described as elephant-headed, four-armed, na!ed, big bellled, holding noose, goad & s!ull-bowl filled with wine, with sha!ti in the lap$ (antra of the offering with the left hand fisted having the mid finger raised up is &aa.+ &ii.+ &uu.+ &a=apatay# varavarada sarva-ana.+ +# vasha+aanaya ba$i.+ &,@h=a &,@h=a svaahaa After ma!ing offerings to various !inds of beings the practitioner is to offer him with the mantra ita6puurva etc$ & the prayers imploring the goddess to accept the offerings overloo!ing the errors of commission & omission$ Towards the end of the chapter it is described how the practitioner has first to immerge the attendant deities in the goddess & then the goddess herself with the help of %ranayama withdrawn from the outside world in the lotus of his own heart$ "hoshi!a, the goddess that is entitled to the 2irmalya receives the practitionerIs attention at the end$ .9th *hapt#r" -n this "hoshi!a is described at length$ 7er (antra is given in two forms as follows 0a1 uch*hiShTa #tc$ 0b1 ai.+ hrii.+ #tc. "he is described as seated on a corpse, dressed in red, bearing in two arms s!ull-bowl & scissors$ The practitioner of her mantra is to ma!e offerings to her & soon after ta!ing food & without washing his body mutter her mantra$ 7er 7oma & Tarpana are to be performed in a rectangle drawn on the ground with curd, white mustard & rice$ 4y offering various !inds of meat in the fire in her name the practitioner ac1uires certain desired ob6ects$ These are detailed in the te't$ .1st *hapt#r" -n the above the last rites of worship are described$ The practitioner is first of all advised to offer 2irmalya to ?cchista+atan&i r S shi(a ta!ing care that no drop falls down on the earth$ The water in the conch is to be held in the left hand & after sanctifying the same with mutterings of the mantra the body is to be besprin!led with the same water through the right hand$ ?ashings of the feet of the goddess are to be drun! & the remainder is to be used in rubbing the head & the rest of the body$ Arghya is offered to the "ungod with his mantra for completing the ceremony$ -n this the !nees of the worshipper are to touch the ground & the mind to be concentrated$ "alutation to & seeing of the sun are to begin & end the ceremony$ The place where the vessels have been arranged should be duly washed with the water & the washing should be thrown into the water or near the root of a tree$ After offering the food to the preceptor & his wife or in their absence to the girls, the remaining part of the same should be eaten by thedevotee$ "uch a food is considered as Amrita$ "ipping water before & after is necessary as also reciting the following prayer shiv daataa shiv bh (taa #tc.

<adies & 4rahmins are to be fed each time the worship is performed$ Hffering of food to the preceptor, girls, 4rahmins & 8ow helps to remove the sin of errors committed in worshipping$ -n doing Capa the concentration of the mind is to be aimed at by believing in & feeling identity with "hrividya either as transcendent or as immanent$ ..nd *hapt#r" This chapter describes the duties of a "adha!a$ These are - (*) =eali/ation of the "upreme =eality as identical with the individual soul$ Anything offered with this conviction receives sacredness$ (B) The worship of Tripura$ -t is to be done either as 2itya or as 2aimitti!a or as )amya$ 4y the first is meant that which is done everyday & omission of which is sinful$ 4y the second is meant that which is done occasionally with a definite end in view & failure in the performance of which is artended with the evil conse1uences$ The last denotes that !ind of worship which is done avowedly to gain some ob6ect$ -n rendering all these !inds of worships it is to be !ept in view that nothing is done contrary to the popular usage$ ?orship in all its forms if done without any desire to gain this or that ob6ect is viewed as "attvi!a$ (:) %erformance of the acts that are prescribed for him by the "hruti & "mriti such as service to the parents & entertainment of friends & relations, maintenance of protection of the dependents@ preservation of peace & order with a view to honouring the righteous & punishing the wic!ed$ (,) (editation upon Tripura Sundari ' Tripura 2hairava ! ur ti+#s a day in th# + rnin&, +id-day, #v#nin& ' +idni&ht. .3rd *hapt#r" This describes the imp of worshipping the girls, their prescribed ages & the way in which they are to be worshipped$ (aidens also are mentioned in this chapter to receive the worship of the practitioner as representing the eight mothers 4rahmi etc$ .7th *hapt#r" -t describes the imp & fruit of offering worship to the girls & the %rayaschitta or penance, that is to be done by the devotee when he misses performance of daily worship$ -t lays stress on the daily worship as compared with the occasional or purposeful & instructs that on the *,th, Ath or *>th days of the bright half of the month as also on the *,th day of the dar! half falling on Tuesday, 5a6na or sacrifice should be offered to Tripura$ 5a6na is considered as a body in which meditation, worship, muttering of the mantra & 7oma constitute the four hands, devotion head, faith heart, s!ill in action eyes, !nowledge of the Atman the "oul & 2yasas the remaining parts of the body$ "uch a *,th day of the dar! half of the month on which Tuesday & the constellation Tishya fall simultaneously is the most sacred day for the devotee of Tripura$ .8th *hapt#r" This chapter is devoted to the description of the sacred spots in -ndia & the merits that a devotee gains by offering worship in these places$ The

sacred places are river ban!s, caves, mountain tops, sources of water, confluences of rivers, forests, gardens, mountain feet, Tulasi groves, cow-sheds, root of the Ashvattha or Amala!i, temple of "hiva, sea shore of ocean, solitary places & those where the preceptor lives or which help in the concentration of the mind, the cities of 4enares & 3wari!a, the #indhya mountain, Aryavarta, 4rahmavarta, %rayaga, %ush!ara, the river )aratoya, 2andi!unda etc$ -t also tells that the devotee is not held bac! from worship by the consideration of impurity arising from death or birth & that he should offer worship mentally in times of such a calamity$ .:th *hapt#r" -t deals with 3i!sha or initiation$ -t is necessary for the practitioner of mantras because it imparts right !nowledge & removes sins$ 4efore having been done by man to man initiation was started by the holy line of nin# divin# t#ach#rs, viH. 4ra(asha, 3i+arsha, Ananda, Gnana, Satya, 4urna, Svabhava, 4ratibha, Subha&a, the first three living eternally in heaven, the middle three partly in heaven & partly on earth & the last three only on earth$ These receive their worship between #imala & Cayani in "hricha!ra$ Jualifications are laid down of both the initiator & the initiate$ The former among other things must have all good 1ualities K be free from vanity, greedless, healthy, pure, spea!ing truth & !nowing sacred laws of the Tantras$ The latter must be orthodo', merciful, attached to the teacher, considerate & greedless$ 7e should avoid all acts of indecency, especially when in the presence of the teach & should have as much faith in him as in his own God or (antra & be respectful towards him$ The months which are prescribed for initiation are given in the following order of importance Assoon, )ata!, 4aisha!h, %hagan, (aghar, 8het, 7ar & (agh$ 3ays of the lunar rec!oning & the wee! days prescribed for the said purpose are *> th, >th, Bnd, Dth, & *:th & *9th & "unday, Thursday, 0riday, (onday & ?ednesday$ The initiation is said to be of three !inds that of mantras, that of "ha!ti & that of "hiva$ The first involves the use of mantras, worship, postures, meditation & concentration etc$ The second has a reference to that in, which the initiator infuses his own spiritual power in the initiate$ The third is that in which a spiritualist pars e'cellence sanctifies the person with no regard to 1ualifications merely by his glance to the e'tent that the =eality becomes visible to him$ The end of the chapter e'plains the details of initiation such as selection & preparation of a place for initiation, ma!ing offering to #astupala together with the #edic recitation & blessing of the learned 4rahmins, sowing of seeds, & rendering worship to the 3i!palas with a view to invo!ing their help in performing initiation, purification of the place, "hricha!ra & the disciple with %anchagavya, performing 7oma & disclosing the mantra called Svapna+anava, i. #. hi$i hi$i shuu$apaa=ay# svaahaa to the disciple & putting him to sleep afterwards, The disciple is instructed to carefully remember the dreams good or bad he has seen in sleep$ The & d dr#a+s ar# th s# in /hich

th# b-#cts s##n ar# a &ir$, an u+br#$$a, a chari t a $a+p, a pa$ac#, a riv#r, sa!!r n #tc$ 4ad dreams on the other hand, involve reference to an ass, a cr /, ditch #tc$ The preceptor has to ma!e a hundred offering with the Astra +antra in cas# th# initiat# s##s bad dr#a+s. .;th *hapt#r" This also is devoted to the description of initiation$ The see!er after initiation is to approach the initiator with the re1uest for initiation after having duly done worship to gods & the manes$ -nitiator is to enter the pavilion raised for the purpose & instal a water-pot of gold or silver or copper on the "hricha!ra drawn on the earth$ The water-pot is to be filled with fragrant substances & certain herbs & varieties of earth, & wrapped with a couple of cloths$ The same is to be placed on a stand$ The stand, the water-pot & the water respectively representing the 0ire, the "un & the (oon are to receive worship through their )alas$ The candidate for initiation is as!ed after this to fill his hands with flowers & throw them so as to see whether their throw is in the auspicious direction or otherwise$ -n the latter case the initiator is to ward off the evil by performing a 7oma$ After performing worship to the attendant deities of Tripurasundari sacrificial food is to be prepared of which a part is to be offered to her & the rest to the fire, care being ta!en that the fire is abla/e$ The candidate is to have his face covered with a cloth & then be besprin!led with the water from #ishesharghya & the initiator is to re1uest the goddess to be !ind to the candidate & inspire him with her devotion$ After this he has to receive instruction from the initiator as to the line of action he should follow in future$ The initiator should imagine that the fetters of sins binding the body of the candidate have been burnt down with the fire of )undalini rising from the (uladhara to the 4rahmarandhra & also enter his body through the 5ogic power & unite his soul with his own$ After having him seated on a diagram of the alphabet the onitiator should bathe him with the water of the water-pot, muttering the three 4i6as of the (ulamantra & then dress him & oint him with sandal-wood & other pastes$ 7e should also instruct the candidate to perform the (atri!a-nyasa & the (antra-nyasa at the end of which his face is to be unveiled & he sees things re1uired for the worship & ta!es food, while muttering the mantras of the Tattvas with the (udra of morsels$ Then the initiator ac1uaints him with the mantras of the Guru & 4ala & the mantra of the candidateIs choice or all mantras at once$ -n doing the latter the initiator !eeps his foot on the head of the candidate$ 7e also gives him a new name of initiation consisting of two or three syllables with the word aanandanaatha coming at the end$ 7aving thus brought him up to the same footing with himself in the spiritual sphere, the initiator should embrace him & smell him on the head$ -n order to !eep his own spiritual power intact the teacher should also perform the Capa of the (ulamantra *99Atimes$ The cadidate should offer due & costly presents so that his preceptor may be satisfied$

.<th *hapt#r" -n this are given the instructions regarding %urashcharana, which is necessary for obtaining success in the mantra$ %urushcharana means performance of the Capa of a mantra either one thousand & eight times or fifty thousand times$ This is necessary to remove the obstacles due to lac! of faith, scepticism & the demerits of the previous lives$ This may be done either by the disciple or by the preceptor or by some worthy 4rahmin in some sacred place either on the *,th or the Ath or the *>th day of the dar! half of the month$ The practitioner is to !eep a fast for the previous day & perform worship to 4rahmins or teachers, Ganesha, mother deities & manes$ The Capa is to be done in a suitable place which is to be selected carefully by testing the same with the help of the diagram called )urmacha!ra consisting of nine sections in which the alphabet or the (atri!a is arranged in a prescribed manner$ The rosary to be used is to consist of the beads of pearl, crystal etc$ 4eads may number a hundred, fifty or twentyeight$ Hne of them which stands for the (eru should be the biggest, the rest being gradually smaller in si/e & each bead should have a !not$ The holy articles of food, such as, curd, mil!, Ghee etc$ should be ta!en & those of the opposed character should be avoided$ The practitioner should also observe sleeping on the earth, celibacy, silence, absence of envy, three daily baths, avoidance of mean acts, daily worship, daily charity, praising of the deity, occasional worship, reliance on the teacher & the deity & avoid the company of & eating with women, "udra, outcast, etc$, lying, cheating, deceitful tal!, hearing the music & seeing a dance etc$ Capa should not be done when the doer is without a %avitra in the hand, na!ed, with the head covered, without a seat, asleep, going or standing in the street, dar! places or tal!ing$ -t should not be continued on seeing, tal!ing to & hearing an outcast, snee/ing, discharging the wind & yawning$ &veryday such an amount of Capa should be done from the morning till midday as has been fi'ed per day$ There should not be a pause of even one day in the period of %urashcharana$ At the end of Capa the offering should be made to the e'tent of its *9th part in the purifying fire$ Tarpana, Mar-ana & the feeding of the 4rahmins should be done respectively to the e'tent of the *9th part of the 7oma, *9th part of the Tarpana & *9th part of the (ar6ana$ The five acts of a sacred bath, purging of the sins, offering water to the "un, sipping of water & %ranayama come after the above$ The large scale worship is to be conducted at the end to complete the %arashcharan$ There is yet another way of performing the same$ Acc to this the "adha!a is to !eep a fast previous to the day on which a "olar or <unar eclipse fails & stand in the river navel-deep & mutter the mantra during the time of the eclipse, & after having done so perform 7oma etc$ .>th *hapt#r" -n the above the practiti n#r is instruct#d t +utt#r th# +antra ! B#vi /ith his /i!# at th# ti+# ! +idni&ht, b#caus# anythin& d n# ! r#$i&i us +#rit at this ti+# has & t !ar &r#at#r si&ni!icanc# than i! d n# at

th#rs. %erformance of Capa nin#-hundr#d th usand ti+#s calculated to 1ualify the practitioner for approach to her$ This is to be done in the following manner -

! B#vi is

Three hundred thousand times when the practitioner has to concentrate his mind upon )undalini in the (uladhara centre coiling her round a phallic mass of light called "vayambhu$ Again three hundred thousand times in the heart with the mind fi'ed on )undalini with the <inga as above called 4ana$ <astly the same number of times in the head with attention fi'ed on )undalini with$ the <inga called -tara$ (ind loses its separate entity & becomes one with the ob6ect of meditation when Capa is performed a crore times$ The serpent power lying dormant is to be awa!ened & raised from centre to centre in the body of the "adha!a & these centres number nine & are located in the (uladhara, <inga, navel, heart, throat, middle of the eyebrows & so on$ The practitioner is advised farther to see that the mautra when muttered is not sub6ected to the impurity, attendant on birth & death$ &ach breath before its beginning & termination is said to have this pollution$ -mmunity from such impurity is obtained by that practitioner who !nows the meaning of the mantra, the life of the mantra & the 5onimudra$ The meaning of the mantra of 3evi Tripurasundari is said to be siE! $d, i.#. $it#ra$ +#anin&, traditi na$ +#anin&, inn#r +#anin&, )au$i(a +#anin&, ccu$t +#anin& ' r#a$ +#anin&. Acc to the literal meaning, the mantra is to be understood as implying the union of "hiva & "ha!ti because the constituent syllables of the same represent either "hiva or "ha!ti$ 7ence the !irst part ! th# +antra ca$$#d 3a&bhava, i.#. ha sa (a $a hrii.+ r#pr#s#nts 3a+a Sha(ti, 2rah+a, G dd#ss ! /isd +, v $iti n ' 4urvba+naya, th# s#c nd ca$$#d )a+ara-a, i.#. ha sa (a ha $a hrii.+, Gy#shta Sha(ti, 3ishnu, G dd#ss ! #arth, c &niti n ' Ba(shina+anya, ' th# third ca$$#d Sha(ti, i #. sa (a $a hrii.+, ,audri Sha(ti, ,udra, acti n ' 4achi+naya$ The syllable at the end of all these parts represents Ambi!a "hanti, "hambhu, "anta, all the three aspects volition etc$ & .ttaramnaya$ All these parts are further viewed as representatives of the 9:-acts of creation, sustenance & destruction$ -n this way in the 3a&bhava with reference to the creation as beginning, ha denotes 4rahma, sa Goddess of wisdom@ with reference to the same as continuing (considered as sustenance) (a denotes #ishnu, $a Goddess of earth@ with reference again to the same as ending, ha denotes =udrani & ra =udra & the syllable ii denotes "hiva "ha!ti & their combination (Ana!hya)$ -n the )a+ara-a ha ' sa represent continuity as beginning, (a ' $a continuity as continuous, ha continuity as ending & ii as Ana!hya$ Addition of ha in this part indicates that it refers to the stage of continuity$ -n the Sha(ti, sa as abbreviation of ha sa denotes destruction as beginning, (a $a destruction as continuity, ha destruction as ending & ii the

same as before$ Acc to the Sa+pradayartha ha d#n t#s s(y, (a-air, ra-!ir#, sa-/at#r ' $a-#arth, &ivin& birth r#sp#ctiv#$y t s(y #tc $ The goddess of the mantra is to be meditated upon as identical with the whole unvierse$ The *>syllables of the mantra respectively represent also the *> 1ualities of the elements, i$e$ one of the s!y, two of the air, three of the fire, four of the water & five of the earth$ The mantra when analy/ed into its constituents including both vowels & consonants resolves itself into the :D parts as five vowels (four a L one ii) & si' consonants ha, sa, (a, $a, ha, ra, in the first part, as si' vowels (five a L one ii) & seven consonants ha, sa, (a, ha, $a, ha, ra in the second part, as four vowels (three a L one ii) & five consonants sa, (a, $a, ha, ra in the third part, as three 4indus at the end of these parts & as a whole$ These :D constituents represent the :; categories both individually & collectively$ The si' haMs in the mantra represent the sound as effect (fivefold) & as cause$ The three iiMs & the 4indu at their end stand for the four forms of touch, three raMs represent three aspects of form, two saMs represent two !inds of water, gross & subtle & the third$ "a stands for the connection between water & nectar$ Three laMs represent the earth as e'isting in the 9:-worlds, three !aMs also represent three classes of cognisers N Ashuddha, "huddha & (ishr, *B aMs represent Civa as such, Civa as breath, Civa as spirit, three 4indus, purusha, =aga, #idya, )ala, 2iyati, )ala, (aya, "huddhavidya, -shvara & "adashiva & three 2adas, "hanti, "ha!ti & "hambhu$ Acc to the inner meaning, the mantra reminds of the identity between "hiva, the teacher & the disciple$ Acc to the )auli!a meaning it reminds of the identity between the mantra, the diagram, the deity, the teacher & the disciple$ -dentity between the mantra & the diagram is thus established Thr## $aIs = thr## r#ctan&$#s, thr## saIs = thr## circ$#s #nc$ sin& th# t/ $ tus#s, thric# thr## parts ! hrii.+, i.#. ha ra ii = nin# trian&$#s, thr## haIs = n# 17 sid#d !i&ur# ' t/ d#ca& ns, thr## (aIs = th# c#ntr#. -dentity between the diagram & the deity is shown as below Hne hundred & elevenO***P deities that are worshippod in the different parts of the diagram attend upon the 3evi & hence she is the main deity of the cha!ra$ "he is also manifest in the form of the planets counting nine as she constitutes the essence of the moon, the sun & the fire, volition cognition & action, "attva, =a6as & Tamas$ Sh# app#ars in th# ! r+ ! c nst#$$ati ns r#pr#s#ntin& s#ns# r&ans 081 activ# r&ans 081 s#ns# ' acti n b-#cts 0191 +ind, /isd +, #& , chitta, +att#r, Jua$iti#s, ' spirit.

The 9;-5oginis Ba(ini t 6a(ini as presiding deities of the si' constituents of the body s!in etc$ & the eight mothers 4rahmi etc$ as presiding over vowels, gutturals, palatals, linguals, dentals, labials, semi-vowels & aspirates are mere representations of the 3evi$ As one with the ten vital currents, limited soul & supreme soul she appears as twelve signs of the /odiac$ The above forms of Ganesha are also traceable from the mantra$ The three parts of the mantra respectively represent #ai!hari, (adhyama, & %ashyanti as presiding over the three groups of si'teen letters each (tha to sa, !a to ta, a to a7)$ 7ence 3evi the deity of the mantra stands as the mistress of all the forms of speech$ As th# +antra has thr## parts, thr## 2indus ' thr## =adas, it r#+inds ! h#r p$an#tary ! r+$ Again as it possesses three parts having five letters (ha ra ii 4indu & 2ada) at the end of each in addition to the remaining letters numbering *B she is to be considered as one with constellations$ As the si' letters suggestive of "ha!ti, i$ e$ three hrii$m & three laMs represent 5oginis she assumes their form$ "imilarly all the letters of the mantra e'cepting the three ending hrii$m counting *B stand for the *B signs of /odiac & hence she appears in the form of =ashis also$ The identity between the teacher the taught This can be ac1uired & reali/ed 6ust as that between the 3eity & her body either as a mantra or as cha!ra, which has been described above$ Acc to the occult meaning the mantra reminds the practitioner again & again to be attentive to the idea of identity between his self & )undalini which wa!es up in the (uladhara & rises from there to the lunar seat in the head$ Acc to the real meaning the "adha!a has to merge himself in the Transcendental "elf$ 39th *hapt#r" The three parts of the incantation of 3evi !nown by the terms 3a&bhava, )a+ara-a ' Sha(ti t &#th#r /ith th# 6a+sa -mantra are described in this chapter$ ha & sa of ha$msa are said to be representative of the vital breath & the soul, e'istence & intelligence, "hiva & "ha!ti$ This mantra is called A6apa because it is not to be muttered but to be meditated upon so much so that the practitioner is to reali/e his unity with the Transcendental "elf$ Hf the (atri!a or the "ans!rit alphabet, vowels constitute the breath & 4indu & #isarga consciousness$ &very incantation becomes lifeless, as it were, if not possessing 4indu, #isarga, ha, sa ' ii. Shrii.+ hrii.+ ha.+sa6 ai.+ ($ii.+ s ha.+ hrii.+ shrii.+ is supp s#d t vita$iH# #v#ry +antra, as d 2 dhini ' Bipini$ (editation on )undalini in the form of a flame, if accompanied by the three )utas above referred to, leads the practitioner to ac1uire respectively e'traordinary wisdom, power of charming & immunity from the effects of poison$ The meaning of )ama!ala & what it stands for & other details regarding the same are given at the end of the chapter$

31st *hapt#r" This chapter gives the details regarding the 7oma or sacrifice$ These are offerings to be made, formation of the )unda & the diagram, sacrificial pots, the incantations meant to invo!e the fire etc$ %articular ob6ects obtainable from ma!ing particular offerings are also fully mentioned together with the measure & weight of the latter at the end of the chapter$ 3.nd *hapt#r" 7ow a particular ring is to be prepared & how the same is to be worn by the worshipper of 3evi are mentioned in this chapter$ The ring li!e the letters of the "ans!rit alphabet is to be considered as identical with the "un, (oon & 0ire$ 7ence the same is to be made up of gold, silver & copper as representing "un, (oon & 0ire$ The metals named above are to be in the ratio of *B, *; & *9$ The ring is to be washed with the five products of cow & five Amritas on a bright Tuesday$ The alphabet should be written in the form of a lotus & the nine pots full of perfume, water & 6ewels should occupy the place of the eight leaves & the centre of the lotus$ -n the central pot should be placed the ring the three parts whereof should be worshipped as (oon$ "un & 0ire with the three 4i6as of 3evi & with the three groups of letters, *; vowels, B, consonants !a to bha & ten other consonants ya to !sha$ 2yasa of "ammohini & (atri!a comes after this$ The goddess of the latter is to be meditated upon as three-eyed, moon-white & wearing the emblems rosary, goad, arrows, noose, two lotuses, bow & boo!$ After offering the worship with flowers, lamps etc$, together with that of attendant deities & muttering the mantra a thousand times, the ring should be put in hand$ The "ampata 7oma also should be done after this$ The disciple who is to wear the ring should be bathed with the water of the nine pots above referred to when placed on the lotus of the (atri!a$ ?hen thus 1ualified, he is to wear the same on the inde' finger$ -t may be made of nine 6ewels, which are sacred to the nine planets, which represent the nine classes into which the "ans!rit alphabet is divided$ 33rd *hapt#r" -t deals with the inv cati n ! th# pr#s#nc# ! B#vi$ -t is said to be possible in 9:-ways in the diagram, in the image & in the disciple$ The disciple should ma!e an image either of a 6ewel or of gold or of silver & have 3evi invo!ed in it$ The image should be ta!en out every month & worship conducted through it with the ;, articles of the same$ The diagram should be washed with the 9>-products of a cow placed in an altar on a conch$ After this he should do either items of worship & having washed the same diagram with different 6uices & waters & put the same on a golden seat$ Then 3evi is to be invo!ed & the diagram retouched & electrified with the mantra aa.+ hrii.+ #tc. Then is the worship to be done with the necessary articles$ =ecitation of the hymns completes the worship$ 37th *hapt#r" -n this the reader finds the details given about the worship of 3evi as done by the follower of )ulachara$ Among many other things, he has to

observe that he does not !eep fasts, does not see a na!ed lady or one with visible breasts, that he avoids anything painful to women, that he eats modestly so as to !eep healthy, that when sacrificing an animal he gets it beheaded by someone else while reciting the mantra udbudyasva etc$ 7e is further directed not to be too much given to hunting, nor to indulge in the gambling but to strictly watch the conduct of women at home$ 7e alone is to ma!e use of the li1uor who is not adversely affected by it but who on the other hand is uniform in treatment to all beings, is e1ually affected by honour or dishonour, by friend or foe, by stone or gold & who spea!s smilingly & with steady eyes$ The best sign of success in worship is afforded by detachment, thirst for release, renunciation, control over everything, the practising of the eight-limbed 5oga, avoidance of en6oyment, mercy towards all beings, ac1uisition of omniscience etc$ 38th *hapt#r" The worship of 3evi through the medium of a lady forms the sub6ect-matter of this chapter$ This is strictly to be done in privacy & at night$ -n laying stress on the use of the necessary material for this sort of worship instances are 1uoted of #ishnu, -ndra, %ushpadanta, 3attatreya & 4alarama$ #arious powers are said to be obtainable from this worship$ 4ut the worshipper is to do every function with the help of his wife$ 3:th *hapt#r" -n this chapter the follower of )ulachara is instructed to have his wife initiated li!e himself by his own teacher who is to treat her as his own daughter$ The )ula worship is to be celebrated on the Ath & *,th day of each half of the month through a diagram drawn on an earthen pot with red lead$ The diagram is to consist of a he'agon inside a lotus$ The image of 3evi is to be drawn with the same material in the middle of the he'agon$ The name of the person to be hypnoti/ed is to occupy the chee!s of the image$ Th# +antra ! B#vi ai.+ ($ii.+ sau6 c +#s b#! r# ' a!t#r. Th# )a+abi-a, i.#. ($ii.+, sh u$d b# pr +in#nt in th# th#r parts ! th# i+a&#. Th# +utt#rin& ! th# 3asantasundari +antra ($ii.+ hrii.+ ai.+ nii$asubha&# hi$i hi$i vicch# svaahaa c +#s a!t#r this. Then he has to electrify the image with the spiritual power & after having done the same perform the actual worship$ The spiritual counterpart of the above is also detailed in this$ The practitioner has to place himself in an even seat in a pure solitary place with the nervous system fully purified$ 7e has to purify the latter with the %ranayamic e'ercises & be in the "undari-mudra in which eyes are fi'ed on the nose-tip or the inner soul, or the middle of the eyebrows & the teeth, lips & tongue are to be closed with the serpent force drawn up from the (uladhara$ 7e has to melt the nectar in the thousand-petalled lotus in the head & with the nectar shower so obtained he is to worship 3evi in the heart-lotus$ Inv cati n ! B#vi is t b# d n# thr u&h inha$ati n ' r#t#nti n ! th# br#ath$ The same nectar is to be offered for the washing of the feet, Arghya & sipping$ Thirtysi' component principles of the world are to serve the purpose of perfume$ The flowers to be offered are nonviolence, abstention from theft, commiseration, forgetfulness, sense-control,

presence of mind, absence of envy, hatred & attachment, & truthfulness$ Air serves the purpose of incense, light of lamp, "un of mirrer, (oon of umbrella, happiness of ornaments, s!y of chamara & heart-throbbing of bell$ The nectar above referred to is the drin! but not the li1uor$ 4y the "undari or the matchless beauty is meant the subtle flame which occupies the central place of the 2ada which ultimately is the essence of the fire, the air, the s!y, the water & the earth$ The practitioner of the worship has to merge the products of the five different elements in the elements themselves, lights in the light & the mind in the 4rahman$ -n the pit of )undalini he is to en!indle the spiritual fire & ma!e into it the offering of all desires, whether definite or indefinite, merit & demerit, with the incantation given in the boo! at pages :B9-:B*$ 3;th *hapt#r" This chapter relates how the things which have heen re6ected by the followers of the #edas can be used by a Tantri! worshipper in a particular manner so as to gain success in worship$ -t is said that there is absolutely nothing pure & nothing impure$ -t is the way of using it that causes its purity or impurity$ ?hat is really needed is the fi'ing of mind on the 4rahman$ -t is variously described as %ra!riti by "am!hyas, as Avidya by the #edantins, as (ahavidya by "haivas & as (ahamaya by Tantri!s$ 4rahma, #ishnu & (aheshvara adore (ahamaya$ 4rahma by worshipping her obtained "avitri representative of the will-power as his consort & #ishnu <a!shmi representing the cognitive power$ "he is said to have two forms gross & subtle$ The gross form is visible in females & the subtle in the )undalini$ -t is therefore, commanded that the females should not be sub6ected to any cold treatment such as beating etc$ ?orship of the subtle form is conducted through the )undalini 5oga$ 3<th *hapt#r" -n this Shiva says that th# B#vi !##$s satis!i#d n t s +uch /ith th# +#nta$ / rship as /ith th# physica$$ -n accounting for the same it is said how she was once praised by 4rahma & how she being pleased conferred on the Trinity, 4rahma, #ishnu & "hiva, their respective powers -- creation, sustenance & destruction & how she was born first as "ati & then as %arvati & how she advised "hiva to marry her as a #ira & how he praised her e'pressing that all his 9A-forms were really her own manifestations & at the end how she appeared before "hiva in the form of the .niverse$ The reader is here to see for himself how much the Tantra has borrowed from the 3urga-saptashati & the 4hagvadgita$ 3>th *hapt#r" This chapter sets forth that spirit & matter are the two eternal principles$ The former is represented by the male se' & the latter by the female$ The latter, therefore, is endowed with the Gunas (1ualities)$ 0rom this viewpoint the 1uestion of purity & impurity attaching to the things of the world is said to be conventional for ta!ing it for granted that the world consists of the five elements, we have to see how the same earth can be considered to give rise to the cast distinction such as, 4rahmin etc, or to the distinction either as divine

or as human etc$ 7e is held to be a 4rahmin who feels really that the soul is different from the body & is one with the 4rahman as "upreme 4liss$ The #edantic description of the 4rahman & of the bodies of the soul, gross, subtle & causal is put in the mouth of the 3evi$ 79th *hapt#r" -n this "hiva & %arvati change positions$ "hiva becomes the 1uestioner & %arvati the replier$ The latter states how the world consists of the two elements "hiva & "ha!ti & how their simultaneous e'istence is essential & how she is to be worshipped through incantation, image etc$ ?hen physical worship is to be conducted the <inga is advised to be worshipped alongside$ The way of worship associated with the )ulachara is fully detailed towards the end$ 71st *hapt#r" -n the above e'planation of the Anuttara or the Transcendental "elf comes first$ -t is defined as the unification between "at & 8hit, %ra!asha & #imarsha, "hiva & "ha!ti (being & !nowing)$ The 4i6a of the 3evi given here points to the same thing so far as its connotation is concerned$ All the incantations are said to lead when practised to the same stage in the long run, though at first they may be helpful to the practitioner Is approach to "hiva or the 3evi$ The practitioner has to bear in mind that the ob6ective world is in nature one with the sub6ective$ The Transcendental "elf manifests itself trebly, first as 4indu, then as 2ada & lastly as 4i6a$ The "haivistic doctrine regarding the cosmic evolution & that of the "ans!rit alphabet is described in elucidation of the Anuttara much in the same way as Abhinava Gupta & )shemara6a have done$ The verse fre1uently 1uoted by the writers on "haivism comes at the end & means an individual soul out on gaining oneness with the supreme reality as supreme bliss energises to merge the ob6ectivity in the sub6ectivity$ 7.nd *hapt#r" This closes the boo! & deals with the description of the physiological & spiritual phenomena as !nown to the e'perts in the Tantri!a lore$ -t is given in the form of 1uestion & replies$ 3evi as!s the following 1uestions *$ ?hence does the speech originate & wherein does it disappearQ B$ ?ho feels appetite & thirst & who sleeps & wa!es upQ :$ ?ho sins & is bound & who emancipatedQ ,$ 7ow is the etheric side of the soul to be accounted for in the bodyQ >$ 7ow does the soul assume the physical bodyQ ;$ ?ho is the soulQ D$ 7ow does the soul seeQ A$ 7ow does it become "a!ala (bound) & how 2ish!ala (released)Q +$ 7ow does it get sustenance & what accounts for its physical appearance & R disappearanceQ Shiva r#p$i#s" *$ "peech comes from & merges in the mind through the instrumentality of Avya!!ta & the vital breath$ B$ #ital breath feels desire for food & drin! & bodily fire en6oys them$ ?ind (#ital breath) causes sleep & wa!ing$ :$ (ind is responsible for sins & bondage$ ?hen the soul being under

control ceases to function, it becames free$ ,$ The soul has three sides, aerial, astral & etheric as breathing, digesting & spea!ing$ >$ The soul appears in the physical form under the influence of matter as "attva, =a6as & Tamas & it is centered in the tip of the nose & heart$ -t lives as embodied so long as the heart & the head continue to function$ ;$ The supreme reality is the soul$ D$ -t sees through the body$ A$ -t becomes "a!ala when -t comes under the influence of %ra!riti & 2ish!ala when it reali/es its unity with the Trancendental "elf$ +$ -t gets sustenance through its actions & appears & disappears through the presence or otherwise of limitations caused by action$ -t rises & falls li!e a ball in the scale of life$ -n e'plaining the above replies "hiva ma!es a reference to the doctrine of the .panishads as revealed to "anat!umara the son of #ishnu$ The last lines of the chapter li!e those of the .panishads$ describe the merit of reciting the Tantra$
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