KAMAKALAVILASA

First Published 1922

Second Edition 1953

Printed by D. V. Syamala Rau, at the Vasanta Press,

The Theosophical

Society, Adyar,

Madias 20

SHRI Y ANTRA

DESCRIPTION OF THE CAKE AS FROM THE CENTRE

OUTWARD
1

2.

Red Point Sarvfmandamaya. (vv. 22-24, 37, 38).

White triangle inverted Sarvasiddhiprada. (vv. 25,

4.

Eight red triangles -Sarvarogahara. (vv. 29, 40).

Ten blue triangles Sarvaraksakara. (vv. 30, 41).

5.

Ten

3.

6.
7.
.S.

9.

iYi).

red triangles

Sarvarthasadhaka.

(vv. 30, 31, 42).

Sarvasaubhagyadayaka. (vv. 31, 43).

Eight-petalled red lotus Sarvasarhksobhana. (vv. 33, 41).
Sixteen-petalled blue lotus Sarvasaparipuraka. (vv. 33, 45).
Yellow surround Trailokyamohana. (vv. 34, 46-49).
Fourteen blue triangles

KAMAKALAVILASA
BY

PUNYANANDANATHA
WITH THE COMMENTARY OF

NATANANANDANATHA
TRANSLATED WITH COMMENTARY
BY

ARTHUR AVALON

WITH

NATHA-NAVARATNAMALIKA
WITH COMMENTARY MANjUSA
Bv BHASKARARAYA

2nd Edition
Revised and enlarged

Publishers

GANE8H

&

Co.,

(MADRAS)
1958

Ltd.,

MADRAS 17

PUBLISHERS' NOTE
The

system

Orientalists'

transliteration

of

has been

followed in this work.

3T

e,

a,

3T1

a,

ai, oft o,

au,

k,

kh,

t,

th,

^ t, ^

th,

i,

"

u,

or

rh,

I,

5
:

JTg,

gh,

d,

tfh,

d,

r,

u,

h.

n,

qT n,

dh,

^ n,

*Tp,

<Jiph,

^b, flbh,

^m,

y,

r,

53 1,

s,

s,

<?

h, 55

v,

1.

ss

r,

<5

1,

c| J

PREFACE
The

KamakalA"vila*sa is an important work in S'rlvidya by

Punya"nanda an adherent of the Hadimata, who is also the

commentator on the Yoginihrdaya, a section called UttaraThe same

of the great Vamakes'vara Tantra.
Catuhs'ati as also the Purvacatuhs'atl have commentaries by
Bhaskararaya. The Kamakalavilasa which means the spreading or emanation or evolution of the Kamakala that is the
Supreme Triangle formed of the Bindu and Visarga, of
Prakas'a and Vimars'a, of S'iva and S'akti, of the 1 (Aham)
and 'This' (Idam) or Universe is, in the supreme sense, the
S'iva-Svarupa and S'akti-Svarupa. To put it quite shortly
catuhs'ati

'

Kamakalavilasa

is

the evolution of the

One

in its

as changeless Consciousness (Cit or Sarhvit)

Power

twin aspect

and changing

and Maya-S'akti) into the multiple universe.

represented by the greatest of Yantras the
S'rlyantra figured on the cover and in a separate Plate showing in colours its several Cakras extending from the Point or
Bindu (called Sarvanandamaya), the Supreme S'iva-S'akti in
the centre, to the outermost section of the Cakras the BhSpura
which is called Trailokyamohana.
The S'rlcakra or S'rlyantra is the Yantra of Lalita" or
Tripurasundari the Devata" of S'rlvidya. Every Devata" has
his or her Yantra.
A general but by no means exhaustive list
of the Yantras is given in the Tantrasara of Krsnananda
of which there are several editions published in Bengal.
(Cit-S'akti

This evolution

is

Lalita

the

is

Supreme

S'akti aspect of the

AniruddhasarasvatI (the all-spreading and

Brahman

Itself

the

Unlimited

KaMA-KALA-VILaSA

vi

It is claimed by great Kaulas, among whom may be

mentioned the great Naiyayika commentator Bhaskararaya,

Power).

that this aspect of the

Brahman

recognised in the Vedas

is

and that among others the Mantra, Catvarak Irh bibhrati

Ksemayanta/i (Rg-veda V. 47. 4) has reference to Her.

The Kamakala

man Substance
in
all

Herself
its

all

is

the

display of activity in the Brah-

when the Devi holds absorbed

the Thirty-six Tattvas of which the Universe in

variety

is

She is then Kavallkrta-nibs'esaShe remains for some time in this

composed.

tattva-grama-svarupinl.
state

first

after Pralaya

holding within

Herself

disturbed by the desire or will

all

the

(Kama)

Tattvas until rest

to create.

is

The move-

ment or stress of this Desire manifests as the Kamakala.

Punyananda has here described the unfolding of the Kamakala according to the Hadimata.
All Tantras have referred to the Kamakala.
The
Gandharva-Tantra, which is a work of great authority and
of philosophic thought, speaks (Ch.
of

Kamakala.

The

first

which

XXX)

is, it

of the three aspects

says, the Sthula or gross

that

in which She is meditated upon as something

Sadhaka (Bahyabhavana). The only text of the
Gandharva-Tantra available to me at the moment is unfortun-

aspect

outside the

ately

defective

so

far

as the account of this aspect

is

Sun Bindu is Her face, the

Moon and Fire Bindus are Her two breasts, and Her womb
or Yoni is Hardhakala.
Dr. Bhandakar in the account he
gives of the Kamakala (Vaisnavism and S'aivism, p. 145) does
concerned.

It

states that the

He

not seem to have understood the scheme.

appears not to

be familiar with the technical terms and has not followed the

commentator Laksmidhara whose

as a result he has
is

made some

text he

errors.

had before him and

Thus he says

Kala.

Again the Devi

latter is the

is

not in Herself

Sakala aspect of the Brahman.

"Aham"

Ha
Ha is

that

called Ardhakala or half part, whereas the half of

for the

PREFACE
have referred elsewhere to

Bindu

as

technical

"Drop"

"Drop".

Bindu

name

a particular state of S'aktl;

Ghanlbhuta
in both

vii

his translation of the

for

is

here not a

The Symbol

S'akti.

Here

East and West.

of the Point

it is

is

term

but a

namely,

well

known

a Metaphysical Point of

Energy about to manifest. The term is fully explained in my

Garland of Letters."
The Sadhaka is directed to realise his identity with the
Kamakala. This aspect is alluded to in V. 19 of the Saundaryalaharl, a beautiful poem the authorship of which has
"

all great commentators such

Raghava Bhatta, Bhaskara, Laksmidhara and others to the
great S'arhkaracarya, though present day Orientalists, both
Indian and Western, incline to cast doubt upon the traditional

been unanimously attributed by

as

account of

its

The Saundaryalahari in verse 11

The second aspect of Kama-

authorship.

speaks of the S'ricakra also.

kala which
is

is

spoken of as Subtle (Suksma) and inward (Antara)

that in which

She

is

the Devi Kundalini like a luminous

from the MuladhSra through the

Brahmarandhrav See my "Serpent Power".
'She is to be meditated upon as half of Ha in the lotus
of a thousand petals.-' This Kamakala is also active (Jagarti)
in all that is moving and motionless.
The third aspect of
Kamakala" is called Mantratanu (Mantra body) also Traylmayl
as existing in everything. In this aspect Samaveda is Her
face Rk and Yajus are Her two breasts and the Atharvaveda
" The Kamakala (the text proceeds) is the
is the Hardhakala.
of lightning extended

flash

six centres to the

'

One

highest

(Turiya)

Tantra quoted
the state of
(Srsti)

Laya

three

and the return

tion)

in

Brahman

Itself."

The Tantrantara v

Bindu as
two Bindus as the state of creation

the SarvollSsa speaks of one

;

Bindus as the state of continuance (Sthiti)

to One Bindu as the state of Laya (absorp-

when the Devi

is

as the Vamakes'vara-Tantra says,

Kabali-kvta-nihs'esa-tattva-gr5ma.svarupinl.

The

S'yama-

KaMA-KALA-VILASA

viii

rahasya quotes from the S'rlkrama Tantra a

full

account of

Kamakala.

The

Sricakra

raja of the

is

described in great detail in the Tantra-

Kadimata the

first

eighteen chapters of which form

forms the subject of the

It also

Vol. VIII of this series.

Nityasoglas'ikamava Tantra which has been published by the

Anandas'rama Press of Poona. For a general description of
the Cakras the reader's attention is drawn to the Introduction
to Vol. VIII.

of the Sadhaka of Lalita is to realise his identity

with the Yantra and Mantra and then with Lalita or

The aim
first

Tripura, the Mahas'akti

the universe

and

Who

Who is the creator and director of

ultimately withdraws creation within

Union with the Ultimate Real or Sat

Sadhakas of the
Hindus. In Chap. VII of the Gautamlya-Tantra, greatly
venerated by Vaisnavas, the Sadhaka is directed to realise that
"
"he is Krsna (Aham Krsnafc) and no one else (na canyo'smi)
that " sorrow is not his portion (na s'okabhak) and that " he is

Some form

Herself/

is

the

aim

of

of all the different classes of

Sat Cit Ananda".

It is also

there said that the bar between

Krsna and the Sadhaka can be removed by Krsna's wish.

The Sakta Sadhaka

J

seeks to realise the identity of himself

Guru and the Istadevata for

Sarvam khalvidam Brahma. Lalita

with the Mantra, the Yantra, the

they are

all

Brahman.

When
the Brahman as the active principle in creation.
Her Power is fully evolved the S'akta seeks Her alone. It is
She Who, visible through Her Manifestations, counts for him.
[Tasyam parinatayam tu na ka&cit para i$yate.]
"Pure (Vimala) Cit S'akti of the Lord is Caitanya".
Bhaskara in commenting on the text above says that the Cit
is

S'akti,

which

is

inherent

in

accepted by the Upanisads,

is

the

Paracit

nousness of Her aspects called Maya".

n2ma)

is

called

creation

(Paracinnistha),

by reason of the multitudi-

(Prapafica)

Her
and

evolution (Parithis

creation

is

PREFACE

IX

CidrSpa, or a form of Consciousness in the Sense of Cit.

That being so

it

[See

real.

is

does not conflict with

Monism

incapable of separation.

my

book " Reality ".]

This

since S'akti and S'aktiman are

Further on he says that the S'akta

does Sadhana of S'akti because without S'akti the Subtle

(Suksma) S'iva has neither name (Nama) nor the power of

So there can be no duty to one who

manifestation (Dhama).
is

nameless nor can such an one help the Sadhaka

in attain-

Bhaskara follows the Kadimata. But both the

Kadi and the Hadi are agreed that by the worship of S'rlcakra
is meant the Sadhana whereby the identity of the knower
(Jnata), the means of knowledge, and knowledge (Jfiana i.e.
Yantra which is the body of both the Devi and the Sadhaka)
and the object of knowledge (J5eya i.e. Tripura) is realised.

ing Nirvana.

The Tantraraja
Jnulu

(xxxv. 6) says

svcltmzt

bhavej jnnnam arghyaifr jneyam bahih-

sthitam sfrlcakra-pujanam tesUm ekikaranam iritam.

The meaning

of this

is

that the Svatma* or self of the Jlva

Sadhaka is the Jnata or knower. Jnana knowledge and

means of knowledge is the body of Jlva which is the Yantra
and offering (Arghya) and Jfieya or object of knowledge is
what is "outside" (Bahih-sthitam) by which is meant the
Devi Who to the ordinary man is something other than himself.
The worship of S'rlcakra is done to effect an union with,
or to realise the identity of, these three.
There are some
or

slight differences
in

between the accounts of the S'aktis as given

and Tantraraja Tantra. These will

the Kamakalavila"sa

be pointed out in the Introduction to the second part of the

Tantraraja-Tantra now in preparation.

It

has been alluded

to in the Introduction to the First Part.

There are some who to-day believe that the feminine

of the Brahman is unknown in the Vedas and

aspect
the

Upanisads.

But

this is quite erroneous.

Thus

in the

'

KaMA-KALA-VILXSA

Chandogya Upanisad we come across the

'

speaks of the

speaks of the
is

namely,

same,

the

texts

'

Tadaiksata'

Tat
Brahman as neuter or nirguna. The second
Brahman as feminine (Sa iyam). The function

The

Seyarh Devataiksata.'

There are many other

first

that

texts

text

by the word

Iksana prior to creation.

of

which might be cited such as the

celebrated Devi-Sukta.
In fact for

man

As already

two.

that
after

what remains
(Svarupinl)

the second

is

the

more important of the

Devi is

stated, in dissolution (Pralaya) the

what the universe

is

in its essence

is

the Tattvas (Tattva-grama) have been

all

completely (nisesa) swallowed up (Kavalikrta) or absorbed

by Her.

Then the verse continues "when however She is

(Tasyam parinatayam) from out this state in

fully evolved

which the universe

ity,

then no other

less

Niskala S'iva

lies

absorbed as mere tendency or potential-

Supreme

is

(Kas'cit para) that

the commentator Bhaskararaya,

the Niskala or
tation

Him.
nance

and there

What

Suksma
is

is

the change-

desired or thought of (Isyate).

S'iva

is

This, says

the Sakta's point of view, for

has neither

name nor

manifes-

neither any duty towards, nor benefit from,

may

be in Itself, apart from Its governo practical concern to those who

The S'aktisangama Tantra (1 3) establishes

Divinity

of the universe, is of

form part of

it.

the identity of the

Kamakala

this

first

creative

movement

with the Pranava.

text of this

work was obtained

found to be defective

in

Kashmir but

it

was

another manuscript was then secured

from the valuable collection of Tantras in the Andul Rajbati

is more reliable and forms the basis of the present edition.
When the present text, the publication of which has been
somewhat delayed, was going through the Press, another

which

was published in Triplicane (Madras) which

some valuable additional illustrative citations which

edition in Sanskrit

contains

are not to be found in the manuscript from which this edition

PREFACE
has been printed.

xi

have added some further notes and given

the references to the S'ruti and other texts quoted by the

commentator Natanananda Natha.

The

KamakalavilcTsa

of its clear

the initial

and

is

now

is

of great value in S'rlvidya because

and succinct account, from the Hadi standpoint, of

development of S'akti and of the great S'rlyantra,
translated for the

Calcutta,

25th Nov. 1921

first

time.

Arthur Avalon

"

By

the

same Author

THE SERPENT POWER

The Serpent Power

a description and explana-

is

Power

tion in fuller detail of the Serpent

S'akti

and

the yoga effected through

occupying a pre-eminent place

It consists

Cakra

in

Kundalini

it,

a subject

the Tantra Shastra.

of a translation of two Sanskrit works " Shat

Nirupana" (description of and

into the six bodily centres)

and

(Five-fold foot-stool of the Guru).

"

investigation

Paduka Pancaka

To

appended

it is

a translation from the Sanskrit commentary by Kalicharana.

some

To

the translation of both the works

is

added

further explanatory notes by the author.

This edition contains also the Sanskrit Texts of

the works here translated

taken from

Yoga

life

besides

Chakras.

eight

The book

5th Edition (1953)

and nine half-tone

showing some positions

original
is

bound

in

plates

Kundalini

coloured plates of the

in full cloth

and

gilt.

Price Rs. 25/-

INTRODUCTION
an ancient and authoritative work on
by PunyanandanStha. It was first published in
1918 by the Kashmir Government as No. 12 in its Sanskrit
Publications Series with a commentary from the pen of
MahSmahopadhyaya Mukundarama S'astri of the Research
Department of that State. In 1921, Sir John Woodroffe published it with a fuller commentary by Sri Natananandanatha.
A second edition has been long overdue and is now brought
Ka"makalA"vila"sa

is

S'rlvidyS

out.

It

scholar

is

is

much

to be regretted that that veteran TSntric

not in our midst

now

to contribute to this edition

the benefit of his ripe experience and deep knowledge in this

field of

sacred literature.

As he has
edition,

"

What

well

pointed out in his Preface to the

Divinity "

may

be in

itself,

first

apart from

its

governance of the universe, is of no practical concern to those

" who form part of it " and there can be " neither any duty
towards nor benefit from Him " conceived of as unrelated to
the world of Name and Form.
Any substance, be it gold or
mud, has no inherent name or inherent form of its own but

when we seek to have relationship with it, it must be clothed

some name and some form. We are therefore concerned

in

with

God

not in His abstractness but in His practical aspect

as in relationship to the world of our experience.

God
is

as the ultimate reality transcends

therefore neither a

the neuter

He

word Brahman.

the universe,

it

is

nor a She but

all

is

distinctions

and
by

best expressed

But conceived as the cause

of

clothed with a father-mother aspect, the

KIMA-KALa-VILaSA

xiv

static non-active principle

being considered as the father and

the dynamic active principle being considered as the mother.

Both are aspects

Where

into two.

same

of the

reality but

seem

to split

a person stands before a mirror,

it

up

true

it is

that he does not undergo any change but a duplicate person

appears instantaneously
is

in the mirror.

essentially not different

The former

not identical with him.

That

reflected person

from the original person and yet

is

is

evanescent seeming

is true Being.
Similarly at the beginning of
the ever changeless Being " desired " to be a

while the latter

God

creation,

The

/ever-changing seeming.

the entire universe of

ceived of

came

name and

as an object of

itself

the this.

absolute Being took on the role

This desire and

of relative becoming.

This

form.

its

initial desire

own

its

fruition

The

brought on

subject self con-

cognition.

The

/ be-

impulse responsible for the

name of Kama. The

known as Kames'vara and his
active desire as Kamgs'vari.
The entire universe is the outcome of the union of these two primary parents/ Though this
truth is never lost sight of, more importance is given to the
creation

the world

of

desireful

is

supreme entity

mother aspect

in

given the

is

Devi worship.

The numeral

six is a reality but is

an abstract mental

concept essentially independent of the particular things to be

counted.
of

it

and

language.

The concept
is

is

the

same

for all

who can conceive

not limited by any considerations of country or

The sound

that

is

produced when the word

six is

pronounced has really nothing to do with the conception of

the numeral but is only a sound-symbol of that concept used
for the purpose of expression

in the

English language.

As

languages and dialects vary, the sound symbols also will vary

though the concept

may remain

the same.

The concept

is

sound symbols are certainly tangible.

Again, the figure 6 which appears in uniting has really nothing
intangible

to

while the

do with the sound produced when the word six is pronounced,

INTRODUCTION

much
6

is

less

XV

with the abstract concept behind

As

but a form symbol of that concept.

more importance

to the ear

we

are attaching

to

the other faculties of sensation,

we

it.

in

The

figure

our experience

and the eye than

clothe every concept

with a sound symbol and with a form symbol so that

we can

through them relate ourselves to the abstract concept which

alone

is real.

Similarly
of

it,

when we conceive

we have

form symbol.

The

Godhead

of

necessarily to give

or any aspect

a sound symbol and a

it

conceptual reality

is

known

as Devata,

the sound symbol as Mantra and the form symbol as Yantra.

subtle

Devata is the life principle, the Mantra its

body and the Yantra the gross body. The Archa or

Image

ordinarily used for worship

It

is

said that the

is

still

grosser body.

In the Vedic and Tantra literature, symbols in sound

and in form have been prescribed as can most appropriately

and accurately represent the Devata. The ancient seers have
pointed out that, just our body of flesh and blood though
seemingly inert is permeated by the life principle in us in
every particle of it, so does the Devata permeate the Mantra
and the Yantra appropriate to that Devata. Any the slightest
variation therefore either in the sound of the Mantra or in the
form of the Yantra will effect a corresponding change in the
concept of the Devata and may possibly do great harm.' In
this Kamakalavilasa, the Devata dealt with is the highest
conceivable one, namely the Divine Mother Tripurasundarl
Her Mantra is the Paflcadas'aksarl and Her Yantra is
Srlchakra.

The

intimate relationship between the Devata,

Mantra and the Yantra is brought out in this book in

several ways and the devotee is asked to identify himself with
them as a necessary step towards the ultimate realisation.
the

The commentator Natananandanatha is a disciple of

Sankarananda and NUthananda and is the author of several
works besides a commentary on Yoginlhridaya. He refers

kama-kala-vilasa

xvi

in his commentary itself to Saccida"nanda-Vasana" and Cid5nanda Va"sanS as his works. Only extracts from the commen-

tary are reproduced in the English translation.

tary

is

simple, explanatory

the text and

is

and very useful

replete with quotations

in

The commenunderstanding

from cognate

literature.

same the treatise will remain a closed book to the lay

reader.
As the commentator has pointed out more than once,
'the details and the method of worship are really matters to be
learnt only after acquiring the requisite competency and
All the

getting initiation from a knowing Guru.

In this volume

is

<j

included S'rlnatha-navaratnamalika of

Mahes'anatha with the commentary of Bhaskararaya the leading authority on Tantric worship.
stotra,

Under

the author has analysed our

life

the guise of

Guru

breaths in various

ways and has pointed out their correspondence with the details
of the Mantra and the Yantra. This work is more cryptic and
The commentary on the
less intelligible to the uninitiate.
first stotra mentions that the stotra consists of ten slokas and
the tenth sloka which gives the Phalas'ruti refers to the pre-

vious slokas as being compiled by Bhaskararaya himself.

This has to be somehow reconciled with the preamble to the

tenth sloka and with the colophon which attribute the authorship to Mahes'anatha.

The

publication of this book making its contents available

and sundry does not and cannot dispense with the two
indispensable conditions of competency and initiation already
To those who have them not, the contents may
referred to.
seem to be meaningless jabber. So is a book on integral

to all

calculus to a history student.

The

publication however

is

useful in creating in the reader an interest which in course of

time

may

ripen into earnest endeavour to appreciate

and realise

the eternal truths taught here.

Srirangam
11-6-53

R. Krishnaswami Aiyar

\% V*
80,

8*, 8H

KIMA-KALI-VILISA

^3^I5JWH^(^8)
3U^0T2^q^TFqt:

^qforcomj

(H>> WftflPT

(\<0
Mo,

cl'IN^IW^M-

^ (V,

V),

....
....
....

^dn^of^ni^^fe^fa^^

f^q^
8V
qiPpfcri

^^Msriffqi^i

88.
ft^qorc.

^TH-

^q-

8V e^foiqfti^f^qt^r^^f^^it

sfircrerfq-

8V

^TOfqj^

....

c t

eo

CONTENTS

O^^Pi

VA.

?frlT*H^Hlf&fiT

Appendix

...
.

&

xix

V9<T,

^^

M*

4
Abbreviations

Appendix

v*^

o-^

....

oV9>

{o^ {{o

ADDENDA AND CORREGENDA

{Continued from page 110)
AGE

Page

Line

Line
e

*
fsfij^f-

omitted
>

omitted

1^

1*
"WW: r%3:

ST? 351

gs^r: arc?;

>

\c

\%

\*

\*

t>

1\

WW
is

tTtTOflt*

KAMA-KALA-VILASA
BY

PUNYANANDANATHA

S'RI

VERSE

May

the

play

of

great
the

He

all

ever wakeful in the blissful

Maintenance and

Him, protect
Merged in Him is

the worlds which issue from

mere illumination

is

Vimarsfa

is

repeated acts of Creation,

Dissolution of
ye.

Lord, who

(Prakztsta).

(-sfakti).

Commentary by

S'ri

NatanInandanItha

Here the honoured Yogi Punyananda wishing to

instruct in the

Mantra, Cakra and worship of Tripurasundan, the presiding Devata

over

all

Vidyas \ speaks

kames'vari

Who

the

in

first

place of

Her form

Kama-

as

a
.

is

ever wakeful

issue from

sthiti-laya-tnaya-lTlavinodanodyuktah).

up or appearance
Maintenance

Laya

Creation

is
is

(Srsti)

Him (SakalabhuvanodayaUdaya or rising or springing

;

Sthiti

or continuance

absorption or Dissolution (Nasa) of

all

is

the

These three (Srsti, Sthiti, Laya) imply

Nirodha and Anugraha, as by Trivrtkarana, Pafictkarana is meant.
He is wakeful in this pleasant play (Lila) which consists of many of
worlds (Sakalabhuvana)*.

these five kinds of action which relate to the world (Paficavidha-

krtyam hi jaganni$tham) whilst the play

t

is

that of the

Lord

(Lila tu

Pfiramesrvari).

Worlds (Bhuvana).

{Bhavatyasm&t

iti

That which comes from Him is Bhuvana

Therefore the word Bhuvana

bhuvanam).

'

KaMA-KALI-VILSSA

by

qualified

all

(Sakala) signifies

'

the Tattvas beginning with

all

S'iva and ending with Ksiti, because the Tattvas have their origin

from, continue through and disappear in Brahman.

which

born they

after being so

know

they enter;

towards

By

Creation

wakeful

'Oh
6-2-1):

(CM. Up.

says

'

'

May

many and born

be

into the world as

Brahman.'

is

'

is

meant that He willed and

(Samkalpa-vis'ista-laksana-srstimukha).

merely this Being (Sat), which

Also

S'ruti says

which they go and into which

live, to

that well, for that

Wakeful (Udyukta).
inclined
S'ruti

So

Up. 3-1-1): 'That from which these Bhfltas were born, by

(Taitt.

is

gentle one! At

One without

and thus

as many,'

By

exists within Himself.

it

there

first

was

a second, Brahman.'

He made
this

is

Himself

meant that

the acts of creation are for the Lord merely His play and are not

(Na prayojanam).

necessitated

wish
it

is

He

elsewhere

picture of the

when

So

it

has been said

throws out and withdraws the universe

said

'

By His mere
Also

in its entirety.'

The Great Lord having drawn on Himself the

world by the brush which is His own Will is pleased
'

As the spider throws out

and withdraws the
Thus the one great Lord becomes the material cause
universe.'
(Upadana) from out of which the world is made, as says the Text,
May I be many.' The Vdmakes'vara Tantra also says
When
She is fully developed (Parinata) there is no further need of Him for
looking thereon.'

and takes back

its

S'ruti also says

'

thread, so Is'vara projects

Creation

'

By

(JNityasodas'ika, IV-5).

'

meant the inseparate-

this is

ness of the world from the Svariipa (own form) of Brahman.

That
the

being

Brahman

as

so

it

may

be

transcending

asked

the

what

world.

is

the Svariipa of

The author

therefore

says

Merged

in

Him

is

Vimarsa

(Antarllna-vimars'a).

'.This

IjPrapanca).

By Idam

is

In the passage in the Taittirlya S'ruti which begins with

Atma

Vimars'a

and 'This' (Idam) is the_ujiiveKe

meant the world created by Paramatma.

{I dam),

experiencing

From

originated Akas'a,' and ends with 'This the tip of the

completion (Pratista),' the word 'this' (Idam)

By

is

the

tail is

the world as object

word Idam is indicated the universe (Prapanca) as contrasted with Brahman (Brahmapratiyogibh&ta). So it has been said' T>\sso\^
of experience (Prapanea-paramarsfa)

the

'

'

'

VERSE
in thejAhamJJ) the
I

Idam

(This)

which isits

Antarlina-

correlative.'

vimars'a means thatwithin

Him

is

which

The

significance of all this

above spoken

is

Who
Whom is

of.

dissolved

Paramatma

is

within

the experience of perfect

Vimarsa

or

Prapanca
is

that the

I-ness

'

{Paripiimaham-

'

bhdvabhdvana-garbhita) withdraws into Himself the manifold universe.

may

Vimars'a

also

So

has been said by Nagananda-:

it

mean the experience (Pardmars'a) that I am the

the Creation, Preservation and Dissolution of the
'

uncreated cause of
universe.'

supreme Bliss *and supreme Illumination and

am

'

Vimars'a

'

is

the

the uncreated one (Akrtimu'ham) " in the form

experience that "

of the universe

(Vis'vakarena), in the manifestation of the universe

Vis'vaprakds'ena) and in the absorption of the universe (Vi&vasatn-

karena).'

By merged

Merged (Antarlina).
experience

of

Tantra says
state of

full
'

I-ness

He

is

nature

like ever is

6
,

because

is

the

detached from 7

it is

9
This means
Supreme Lord and transcends all, is
(Prakas'aikasvabhava).
Such is His

mere Illumination (Prakas-a-matra-tanuh)

but

nothing

Him whose

The S'vachchhanda

Parabrahman who

that

inward-turned.

is

That inward-faced-ness (Antarmukhatva) which

omniscience and the

any object

meant inward-facedness

is

Antarlina-vimars'a thus refers to

(Antarmukhatvam)*.

is

Illumination

the

,0
.

The Kanva 11 says: 'The Devas worship that which is the

One (Amrta) 11 which is verily Itself Life 11 and the Light
The Katha says There shines nor Sun, nor Moon, nor
of Lights.'
There flashes no lightning. What need have we then to
stars.
speak of Fire. All luminaries derive their light from It. By Its
deathless

'

light all is illuminated.'

Agama

also says

'

The innermost Light which

Vak ".

the imperishable (Anapayint) Para

Illumination (Prakas'a).

By

illumination

is

of I-ness {Aham-rupa-vimars'a) indicated in the

*

do and the
'

Brahman

is

Light

is'"'

like in the first person singular

meant the experience

words 'wish,' 'know

Here

it is

said of

'

Param

as united with the five S'aktis of All-mightiness, All-know-

ingness, All-activity, All-completeness, All-pervadingness.

said that

Itself

'

if

the

Sun and other bodies have the power

It

may be

of illumination,


KaMA-KALX-VILISA

why

then

should the

Brahman

alone be called

Paramatma

To meet

Lord (Mahem). He is Great

(Mahan) because neither space nor time limits Him and He is Lord
,6
(Jsv*) because He has the power to control all/ The S'irah S'ruti
the latter

v this

called the Great

is

says

'The Eater {Sathbhaksah)

and

tains

The Makanarayana 17

also says

the beginning and end of

(Prakriti llna=Prakriydtmaka)
Protect ye.

"protects

or

He
'
:

May

'

He Who

19
.

is

beyond,

Mantra

is

on

is

Mahes'vara.'

so called, because

(Mananat

it

of illumination.

and Mantra

is

it

trdyate).

Protection

May the Great Lord who is

The Acarya " has also power

power

also has the

of the Devata, Guru,

constantly creates, main-

Parames'vara protect ye'.

powers of Paramatma.

Mantra

He

called the Great

has this power.

ytion (Prakds'a) protect ye.

nate,

is

saves by thinking (Manana)

Punyananda says
of the

eats all

He

Lord (Makes? a).'

That Svara 18 which is uttered in
the Veda is that in which Prakrti is merged

dissolves. Therefore

is

one

Illuminato illumi-

Therefore the unity

here shown.

Notes
1

i.e.

either the fifteen

Nityas or

all

Mantras.

United Kames'vara and Kames'vari.

Sakalabhuvana

the

Universe with

all

its

parts consisting of the

thirty-six Tativas.
*

This is a translation of the second line of IV-5 of Nityasodas'ika

Vamakes'vara). The verse runs thus

(part of

Kavalikrta-nis'esa-tattva-grdma-svarVpint
Tasyam parinatayath tu na kas'cit Para isyate.
/

At the titr<e of dissolution all the Tativas are absorbed into Her and
She remained in Her own form {Svarupa). When She is fully developed
there is no further need of Him for creation.

By

the ' Tattvas ' according to Punyananda, Bhaskararaya and

Lakshnrtdhara interprets it to
is meant the thirty-six Tattvas.
the five Tattvas. That is, the Universe is the creation of Para
(Siva) and Para (Sakti). Under His influence She works and when
Her work is completed there is no further need of Him for that purpose.
others

mean

*
Consciousness is either looking inwards (Antarmukha) or outwards
(Bahirmukha). The first indicates the supreme experience, the second
world-experience. Therefore the essence of becoming as universe is the
Consciousness is given "another"
conversion of one into the other.
direction, strictly an outer direction, because the supreme experience is

beyond

all relations.

VERSE
*

that

or,
*

not destroyed.

is, is

independent

that

*lit.,

is, is

of.

transcendent.

His body or substance

mere Illumination.

is

"lit., body.
II

One

of the recensions of the

"This word

derived from

is

Brhadaranyaka Upanisad.

na

(not)

mrita

(death).

'Ayuh.

The supreme
1

1 wish,'

'

'

Word

See A. Avalon's " Garland of Letters."

know,' and so forth.

The Atharva S'ira Upanisad.

The Atharvana Upanisad of that name.
Om.
The two are one, as stated in Nitya-sodas'ikha,
Guru.

VERSE
She

the Primordial S'akti

own

true nature

that

is,

who

source or cause) of

and

things which are to be,

excels

and who

all

limitless Bliss,

eternal,

is

moving and motionless

the

all

is

the

Her

in

the seed (Bija,

is

Pure Mirror

which

in

S'iva

experiences Himself.

Commentary
He

here says that the Source of

By

meant

this is

tripura-sundarl

She

is

that

above

By

(Sa).

and

meaning
the true
f

tradition

bhMa)

the

"

"

Moon

supremacy
is

three

Bliss/

is

who

in the

is

form of

She who

(Satsampradayavid).

Lights (Tribhyas tejobhyah),

denoted by

Nirupama

is

be compared.

'

is

being at

all

incomparable

Such

is

Brahman who

is

This

later)

many

(Bliss)

is

S'rutis

',

as there

is

i.e.

the
of

above (Pura
is,

"Sun",

Tripura/ Her

and Smrtis.

It

is eternal, limitless

in

whom

there

is

no

past, present, future).

nothing with which She can

Her nature {Akara.

transcendent Bliss

is

Knowers

Nija means natural

meant

times (Trikala,

that

called

is

She whose true nature

'

is

that

is,

Svariipa).

the unlimited, uncreated Brahma-bliss (Atmananda).

the

of in all the

as given by the great Yogis,

By Snkhamaya

Nitya

Maha-

the universes (Sarva-

all

beyond them (Taduffirya)

also

(Nija-sukhamaya-nitya-nirupamakara).

(Svabhavika).
sorrow.

is

proclaimed everywhere in

is

bhattarika)

meant the Tripura spoken

" Fire " (explained

and

She who

Our Supreme Lady (Para

name Tripura

of the

(Sa jayati s'aktiradya).

are the thirty-six Tattvas beginning with S'iva

and ending with Ksiti

prapaiicatmikd)

all

all.

this is

whom

Upanisads, in

Our Supreme Lady.

also

all is

She the primordial Sakti who excels

is

in all

She

is

S'ruti says that

and above

all.

VERSE
The

Chdndogya

That which

Immense
(Bhiimd) that is Bliss (Sukha). There is no Bliss in the little. The
Immense is Bliss itself. Every endeavour should be made to know
There where one sees
Having so said it proceeds.
the Immense.'
nothing else, hears nothing else, knows nothing else, that is the
Immense (Bhiimd).' It thus describes the Brahman who is Perfect
(7-2-3

says

is

the

'

Bliss (Aparicchinndnanda).

The Brhaddranyaka

says, that

'

other beings enjoy (Upajivanti)

only a fragment (Mdtrd) of this Bliss.'

thus says that

It

other

all

beings are but drops (Viprut) in the ocean Brahma-bliss.

The seed
is

of all

that which

is

which are

to

be {Bhdvicard-carabijam). Bhdvi

about to and will come.

moving and motionless things which

will

She

the Cause of

is

all-'

be and which are.

The Katha S'ruti says (5-2-12): 'The one Controller (Vas'l) of

who is the Inner Self (Antardtmd) of all created beings (Sarva1
into many.'
bhiita) transforms His unity (Ekam riipam)
all

Agama
who

S'akti)

also says
is

in

She the Supreme Power (Parama J

When

'
:

the form of the universe (Vis'varfipim) sees* her

own impulse towards becoming

into being./

Bata

tree

5
,

As the

{Sphurattd), then the Cakra

may

be said that as

it is

the Lord)

(of

'

the seed.'

To meet

this

it is

which Siva experiences Himself

The Svarupa or nature

aham ityevath dkdrath).
(Tasya vimars'ah)
jndnath).

is

exist in the

'.

how can She be

said that She

said to

the pure mirror in

is

is

or

'

Aham

(S'ivasya svariipath

experience (Vimars'a) again of That

the experience of

'

I-ness'

This pure mirror makes manifest

{Aham ityevath rupam

this

knowledge (Tasya

prahas'ane nirmalddars'ah).

The

sense

may

is

thus

reflected.'

(Svdtma&alcU)

who

A handsome

be thus illustrated.

his reflection in a mirror

So
is

which

is

before

king looking at

him knows

looking

Parames'vara

at

'I

am

be

His own

am

all

'

(Paripiirno'ham).

nothing before the mirror then there

is

who

S'akti

within himself (Svddhtnabhiitd) knows his

nature (SvasvarUpam) as

'

(S'ivarupa-vimats'a'tiirmalddars'ah.)

of S'iva

The

comes

not possible for S'iva to create with-

out S'akti nor for Para S'akti without S'iva,

be

in the seed of the

moving and motionless world

so does this

seed in the heart (Hrdayabijastham)

It

great tree exists as potency

own

If there

be

nothing to be reflected.

KAMA-KALX-VILASA

8
Similarly

if

the Paras'akti were not united with

not produce the universe (Prapanca) which

fore the world cannot be created

by both of them that

It is

Agama
there

is

no

says

'

Paranva, She could

within Herself.

S'iva alone nor

is

There-

by S'akti alone.

the Tattvas are produced.

S'iva there is

no Devi.

Without Devi

As between moon and moonbeam there

S'iva.

difference, so there

all

Without

by

is

no difference between S'iva and

is

no

S'akti.'

Notes
1

Some

Pasyet, that

read Blja (seed) for Ritpa (Form).

is,

creatively produces,

and, in the form produced,

experiences.
*

Ch.

I,

The

first

Cakra

vv. 9, 10.

Sfekti.
1

Ficus indica.

in

the S'riyantra, as to

which see Yogimh^daya,

VERSE

The Supreme

S'akti is resplendent.
She is both the seed
and sprout (Angkura) as the manifested union of Siva
and S'akti. She is very subtile. Her form is manifested
through the union of the first letter of the Alphabet (A) and
the Vimar&a letter {Ha).
1

(Blja)

Commentary
Now some

say

(Paripilrtio'ham)

Then how can

argued) that the experiencer (Vimarvaka, that

of being the

meet

supreme

'

')

is

am

all'

be said

(it is

(Vimar&a) 7 'I

the experience

that

the Brahman.

is

the Brahman.

it

He who is conscious

is,

The

verse

is

written to

this difficulty.

Here by Supreme (Part)

Supreme.

She

is

before creation (Prakrta).

speaks of Her as

'

She

is
is

meant Tripurasundarl as
so called because S'ruti

Consciousness, Bliss, Will, Knowledge, Action

(Chidanandecchdpidnakrydmpd).'

She

both the seed and sprout (jSphuta-siva-s'akti-samdgama-

is

bijangkura-rupiiti).

of S'iva

and

S'akti

She is the manifested (SphutaVyakta) union*

and is therefore both the seed and the sprout. For

From the seed the sprout and from the sprout the
v She produces in their order all the Tattvas beginning with
S'iva-tattva and ending with K?iti-tattva.
Siva.
Here by the word S'iva is meant Jndna-s'akti because
it

has been said

'

seed.'

'

'

inherent (Adhithdna) in Jndna-S'akti

and by the
meant Krya-S'akti, for S'aktitattva is inherent in
Kryd-S'akti. It must also be noted that She who is Cidanandasvarftpd
effects the creation of the universe by JMna and K tya.
Subtile.
She is also further spoken of as very subtile (AnuttaraS'iva-tattva

word

riTj>a,

'

is

S'akti

that

is,

is

'

of very subtile form).

S'ruti says,

Verily

more

subtile

KaMA-KALa-VILaSA

10

than the subtile

Agama

'

also says,

Thou

eternal Beingness (Sattva),

is

the Devi

is

verily art That.'

smaller than the smallest (4pfl) and

greater than the greatest.'

Her form

is

laksya-vigrahd).

manifested

By

letter (Ha)

Anuttara-lipi

(Anuttara-vimarsa-lipi-

meant the

is

letter before

which

By Vimarsra-lipi is meant
no other, and that is the letter A
By the union of A and Ha (Aham~l)
the last letter which is 'Ha.
Her Self (Vigraha=Svariipa) becomes known (Laksya= Visible).
there

is

v The sense
letters

of

words

of these

mika) within

whom

(i.e.

is

that the Para-s-akti

between the

letters

is

I-ness

'

(Ahamat-

and Ha) are

all

the

the alphabet "(Antar-garbhita-samasta-vama-kadambaka.)

Her form is the fifty letters beginning with A-hdra and ending with
Ha-kdra (Akdrddi-hahdrdnta-pancds'ad-ahsara-rupini). She is the
Mother (Janayitrl) of all the universe consisting of Varna, Pada,
Mantra and

of Kala, Tattva,

She

Bhuvana.

is

the supreme object of

veneration {Para bhattarika, the innermost self of

bhiitantaratma).
as

'

'

verse.
in

Everywhere

in the

(Ahamahamityevdkdrena).

So

it

all things (SamastaVedanta She appears spoken of

This

is

what has been

the beginning was.

It

knew

Itself

Brahman am '."
A is
The worship of Atma is the meditation
'

said in this

" This Brahman verily

(Tadatmdnam eva veda), I
Brahman, from That came Ahatn (i.e., l). ,x/>

has been said in the Kdnva-s'ruti

'

'

am

bhdvand), and should be kept very secret.

all

'

(Purndham-bhdva-

S'ruti enjoins that

it

should be learnt only from the mouth of the Guru.

Notes
1

As

seed She

is

cause, and as sprout, effect or universe.

Paripurqo'ham

iti

vimars'am eva Brahma. Reference is made

which it is a state.

the experience as a state contrasted with that of

to

-'

VERSE
Upon

the

mass of the rays of the Sun

reflected in the pure Vimarsfa- mirror, the

being

Paras'! va

Mahabindu appears

on the CiUa-w3.ll illumined by the reflected rays.

Commentary
The author
form of

all

the letters,

verses to speak of

Mass

being desirous of describing the Kamakala in the

Her

commences

letter-hood

in this and the following three

{Aksara-svarupaBrahma-svarupa}

Sun Parasiva (Paras'ivaravikarnikare).

Lord Paramas'iva who is mere Prakas'av
The mass of His rays {Karahz=.Kiranah) is

of the rays of the

Parasiva

is

the adored

Prakds'aika-svabhavah.)

the pure {.VisiiddhaNirmala) Vimarsa-mixxot {Vimarsra-darpana).

Vimars'a
limitless

is

movement (Visphurana-s'akti)* which is

She is
So it is said in Pratyabhijnd
(Sa spharatta).'' She is here compared to a mirror bethe S'akti or

(Anavadhikakdra).

Sphuratta.

'

cause of Her thereby manifesting Herself (Sva-svarupa-prakasatvat)

By

Reflected.

own

self

Reflection

'

'

(Svasvarupavalokana).

way, then

{Pratiphalana)

When

is

the self

*.

meant seeing one's

is

seen by reflection

Mahabindu appears on the Citta-wall (Cittamaya=

Jnanaika-svarupa) which is beautifully illumined. 4
The Citta is
compared to a wall (Kudya) because on it appears (the reflection of
in this

'

'

'

'

the)

Mahabindu.

In ordinary experience

we

see that

if

a mirror

is

kept facing the sun, the rays after being reflected therefrom appear on

any wall nearby as a luminous spot (Bindu) produced by the rays of

the sun.

In the same

way when Parames'vara who

is

Prakasa

{Prakas'a-rupa-parames'vara) comes into connection with Vimarsfa

which

is like

a mirror {Darpariavat-svarupa-vimars'a-sambandhejate),

there shines forth the

'

am

all.'

Mahabindu who

is

Parames'vara as Piirno'ham

KlM A-KALl- VI LISA

12
S'ruti also says:
in

'Oh

gentle one, this Being alone there

Brahman

the beginning, the one, non-dual

alone.*

That

was

said

1
many and be born." Also 'She this Devata said
This Brahman alone there was in the beginning, That knew Itself as
'He said (and thought), truly I
'I (Aham) am the Brahman*.

'May

be

'

'

shall create

9
these worlds (Lokas).'

Texts in S'ruti

like these

say

Parabrahman who is looking towards (Abhimukha) His own

S'akti (Svatmas'akti) is the Cause of the universe."
Agama also says: 'When She the Parama S'akti 10 sees Her own
Sphuratta, there comes into being the Cakra.'
In Pratyabhijna also it is said
She the Sphuratta is the great
Being-ness (Mahasattd) beyond time and space (Des'a-kdla-vis'e&ini). 11
It is She who is spoken of as the essence of all (Siiratayd cokta) in
that the

'

the Heart of the

Supreme Lord.

Notes
1

That

is,

Her svarupa

as the substance of

all

the letters.

C/.

A-karah sarva-varQagryah Prakas'ah paramah Sivah,

Ha-karo'tityah halarupo Vimars'akhyah prakirtitah.

'Sphuratta is a common term in these S'astras. The word means

impulse, vibration, throbbing, pulsation, quivering and then springing up,
breaking forth, blossoming, starting into view, expanding and lastly flashing,
glittering, sparkling manifestation, in short, both as impulse towards and
as fact.
*

may also mean JBecause She makes

Brahman (Sva= Brahman =Atman) in Her as in a

SvasvarVpa-prkas'atvat

manifest the svarapa of

Mirror.

That

is,

by the rays

reflected

back on

*Cha., 6-2-1.

*Cha., 6-2-3.
'Cha., 6-3-2.
*

Aitareya, 1.1.

He

10
11

contemplates and assumes Power.

Yoginlhridaya,

She

limits, that

I. 9.
is, is

beyond both.

it.

VERSE
Ahaikkura, which excels
of S'iva and S'akti

A
is

and the

all

and

and Ha, and which holds within

Cit.

is

the massing together

manifested union of the letters

fully

itself

the whole universe,

Commentary
In this verse he describes the notion of " I-ness " (Ahambhava)

which

from the gaze of

arises

AhamMra

is

the

AhamMra

eva vimars'ah).

S'iva

Vimarsa which

perience of I-ness
'

'

is

is

'

upon His own luminous

S'akti.

I-ness' (Yo'yam aham-ahamity-

the cause (Kara=Karatta) of the ex-

{Ahambhava-vitnarsa) which manifests (Vyanjaka)

on the uprising (Udbhuta)

of the experience

which

is

self-recollection

AhamMra such as this excels all. So it has been

Aham experience {Ahambhava Prakas'a) rests in Itself

{Atmasmarana).
4

said,

In the

(Atma-vis'ranti).'*
Cit (Chittamaya)

mere Jfiana {Jnanaika-svabhava).

is

Manifested (Suvyaktahdrna-samarasdMra) owing to the form

which

is

produced by the combination of the

giving rise or

letters

Union {Samarasazz Eka-lolibhiita) or the union

AhamMra

and Ha, each

making manifest the other {Parasparodbhutarupau).

of these

two

letters in

in the

form of

which each desires to be united

-/

in

an equal degree with the other.

Massing together

v S'iva

divine

of Siva

and Sakti {S'tva-vakti-mithunapinda).

Prakas'a, S'akti ssVimars'a.

These are the two who make the

Husband and Wife (Divyadampatlmaya).

The

two, in which they desire to be united in equal degree,

mithunapinda.

AhamMra

tioned contains within

universe (Bhuvana).

it

for reasons implied in

union of these v
is

what

S'iva-s>aktiis

aforemen-

(Kavaltkrta) the sphere (Maydala) of the

By Bhuvana-mandala

is

meant

all

that

is

KaMA-KALa-VILaSA

14

composed
hara,

is

The meaning, by

of Thirty-six Tattvas.

that from the union of Prakasra and

AhamMra,

within

which are the many

So

of

full

many

'Who

surely

3
:

Word

'The

meaning (Nihitartha) by union with

generates
text:

also says S'ruti

art

letters {Varna)'.

thou?' 'It

(Aham)'.

is

of

letters

emanates the whole universe consisting of

Meaning (Artha).

the rule of Pratya-

Vimarm

(S'abda) and

letterless

{Math)

or

its

ways

occurs this

(the reply): All this

'Aham'

is

(Avarna)

S'akti in various

In another Upanisad

Therefore the term

which

the alphabet,

denotes

is
all

things (Sarvabhidhdnam - Sarvavdcakam).'

Notes
1

Chittamaya. Or the verse may be translated" Hamkara is Cittamaya. The form {A ham) is the manifested union of the letters A and Ha
or the coupled S'iva and S'akti in massive union which even endures after
the universe has been withdrawn into Itself."
*

Prakas'asyStma-vis'rantir ahathbhave hi kirtitah.

*Svet., 14-1.
4

Nrsimha Uttara,

7.

VERSES

&

The

two Bindus, white and red, are S'iva and S'akti, Who, in
secret mutual enjoyment, are now expanding and now
contracting. They are the Cause of the creation of Word
(Vak) and Meaning (Artha), now entering and now separating
from one another. Bindu which is Aharhkara (Ahamkczratma)
is the Sun which is the union of these two (white and red
Bindus). The Sun is Kama, which is so called because of
and Kala is the two Bindus which are Moon
its desirableness
their

and

Fire.

Commentary
Having

described

cribes

V. 4

in

appears on the Citta-wall

',

in

passage

the

'

The Mahabindu
now des-

the Svarilpa of the Bindu he

Kamakala.

The two Bindus white (Sita) and red (Sona) are Siva and Sakti
playing in secret with one another, that is, in mutual enjoyment the
one with the other (Vivikta-s'iva-s'akti = Anyonya-viharanapare S'ivastakti),

now

contracting or closing together

),

now opening

out as the

creation of the universe (Prasarahssjagat-sristirupo vikasah).

of the creation of Vak and Artha {Vagarthasrstihetuh).
meant all the sounds Para, Pasyanti and so forth and
meant the thirty-six Tattvas beginning with S'iva and

The Cause

By Vacah *
by Artha

is

is

ending with K$iti.

Uagat)

The

creation of these

is

the creation of the world

of six Adhvas.*

Oh Deves'i, In Thee who art Cit (Ciddtmani)

namely Varna, Kala, Pada, Tattva, Mantra
and Bhuvana.' These two Bindus which enter one another and
separate (Paras-par&nupravistavispastam) are the united white and
It

has been said,

are the six Adhvas,

'

'

KIMA-KALX-VILaSA

16
red

( Sitavonabinduyugalam) which are known as Kama-

Bindus

On

the authority of

Mahesvara

And

'.

the

(S'akti)

the

all

who

is

universe (Prapanca)

that

within whose
in

is

supreme (Para)

is

womb

who

is

the

first

are

all

is

(Mis'ra)

that

Bindu

the Tattvas,

seed form (Btja-rupa) and

Thereafter the

dissolved.

Praka&amaya Bindu which

the

the

From

(Uchchuna).

action

and

On

Herself.

great secret here

sounds of the Vedas and so forth

all

Vitnars'a-S'ahti also enters into

within

is

Bindu (Bindu-bhdva) after having entered

His own body {Svatigabhuta) and in whom

of

state

Vimatsfa-S'akti

He who

S'riiti,

the supreme Lord (Paramevvara)

(A) which generates

letter

attains

The

Husband and Wife.

Kames'vari, the divine

this.

Bindu becomes ready

issues

who

Nadatmika

is all

S'akti*

energy (Tejomayi)

subtile like the tip of a hair

assumes the form of a S'rngataka? In

this

is

for

and

way Prakasra and Vimars'a

which are the Svariipa of Nada and Bindu assume body as I

(Aham). In the same way, of the pair, one, namely Vitnar&a, is the
*

Red Bindu, and

the other, Prakas'a, the

White Bindu, and the union

mixed (Mi&rarupa) and all powerful (Sarvafejomaya),

the Svariipa of which is the Paramatma (Paramatma-svarupa).
S'ruti also says
Avarna (letterless) which is full of meanings

of the

two

is

the

'

(Nihitartha) by union with S'akti in various

ways generates many

letters.'

He further elucidates these three Bindus by speaking of them as

Ahamkaratma and so on. The (mixed) Bindu which is (composed
of) the Red and White Bindus (Binduh sita-rakta-svarupah) is one
with the combined
ha-kara) between

Ahamkara
'

Varnat karah.'

and

A-kara

first letter

which are

signifies

that

.4

A and
all

and

This Bindu

is

the last letter

the

Ha

(Sphararupa-

The Kara

therefore the union of the

two

letters

Ha-kara, which signify the union of Praka&a and

The union

of these

Husband and Wife (Divyadampatirfipasya) is

(SamarasahKnukulyam) in entering into

helpfulness
ing with

in

are letters according to the Sutra

Vimarsra (Etan-tnithuna-samarasaJiarah).
divine

Ha

other letters.

one another.

(Akara= Svariipa)

of

This mutual action

is

The Sun

is

the Bindu.

their

two

mutual

or co-operat-

in the very nature

the

Mixed Bindu
White

(Mivra-bindu), being the union in the manner stated of the

and Red Bindus {Sita-srona-bindu-samarasi-bhutah).

VERSES 6 &

17

In ordinary experience also (Loke'pi) the mixed character {Mivrarilpatvam) of the Sun is spoken of, because it is said that He enters
into

and issues out

of Fire

enter into the risen Sun.

Fire.'

and Moon.

S'ruti says

In the evening again the

So does Fire
Sun enters into

'

The word Amavasya 7

is so called because the Sun and Moon

(4wt=with, Vasatah=a.re). Therefore the
the Sun and the Moon into one another is well known.

conjunction

in

are

entrace of

The Sun consequently

the mixed (Misrd) Bindu.y-

is

He is the object of adoration (Upasya) is shown by

Kama Kama is that which is desired (Kamyate) by the

Kama. That
the word

'

'.

who know

great Yogis,

Supreme Reality (Paramartha)

the

The

their very Self (Svatmatvena).

when

its

as being

reason for their doing so

desirableness {Kamaniyatva)

is

spoken

of,

since

all

is

given

beauty

is

desired.

The Chdndogya Upani$ad

says

'
:

(speaking of the Purua in the Sun)

Golden-bearded, golden-haired,

all

"

He

The

nails.'

bodiless

body,

says

also

imperishable one,

(Akaya),

material

pervades

Is'avasya

pure

(S'uddha),

gold from the tip of the

Paramatma,

the

radiant,

without subtle body, without

beyond

Dharma and Adharma,

all."

The same Upanisad says That most beneficent form of Thine,

That Purusa (in the Aditya-mandala
that do I see by Thy grace.
:

whose body

By

is

the Vyahrtis)

'

He

am.'

describing Kames'vara as beneficent the author praises his

greatness (Mahima).
Kala-

Kala

is

Vimars'a-s'akti. *

Bindus which are Fire and

meaning of

Moon

this is that

Moon Dahanendu-vigrahau bittdu). The

Vimars a-S,akti
,

is in

the nature of Fire and

(Agnl-Soma-rupinl).

Mahatripurasundari

Kames'vara

is

who

is

in

both these and inseparate from

the collectivity of the Bindus and

is

Kamakala.

In

all

A~gamas it is proclaimed that She is the object of adoration^ So

'When white S'iva is in red S'akti, Para being
it has been said:
pierced by S'arhbhu, then such red S'arhbhu

When

red S'iva

and such red

is

is in S'akti

as Paratattva.

in white S'akti, then is the state of Para-S'arhbhu

S'iva in

white S'akti indicates Saccidananda.'

And

KlMA-KALA-VILlSA

18
again

it

said,

is

Oh

ParasMva,

Thy two

make obeisance

Bindu

Kala, whereof the upper

Thy

is

and Nada-bindu (that

breasts,

Thy supreme

to

Face, two other Bindus are

Hardakala)*

is,

the place of

is

10
Rasrana (Ndda-binduras'andgundspadam).'
*

The Bindu which

above E-kara 11

is

is

the

Sun and Her Face,

and below are placed Fire and Moon, Her two breasts, and the
s

which

is

Hakara

half of

The

Nitydsodas'ikd

and below

follows S," meditate

The

12

'Having made the Bindu the Face

it again half of that which

says:

is

upon

it

14

downward

as

turned.'

very secret.

gist

of

all

this

that

is

the

excellent

the great

Yogis,

Mahes'varas, constantly worship the mother Maha-tripurasundari

is

Kamakala, the

divyaksarariipim),

whose very

who

(Prakas'anandasara), and

{Purndhamtdriipim), within

Brahman (Bindutraya-sama&ti-rupaself

The Vijndnabhattaraka
Mandalas

varna) are rising

S'unya

in the

is

in

is

whom

of letters {Anantdksararas'i)

different

is

to

the Bliss which

is

Prakas'a

the nature of complete 1-ness

the seed (Vlrya) of the endless

and great Mantras (Mahamantras).

also says:

(of the S'rlcakra)

up

who

three Bindus in the radiant,

collectivity of the

imperishable and all-pervading

mass

KaU

her Yoni.'

the two breasts and below

it

All this

is

"By

passing through the

where the gross

letters (Sthiila-

Arddhendu, Bindu, Nadanta

Bindurilpa-cakra, one becomes S'iva."

18

and

to the

18

Notes
1

SamkuchanMukuli bhavan,

i.e.

closing like a flower.

"

Plural of Vak.

See Woodroffe's " Garland of Letters ", Chapter on the Sadadhv&s.

Nadatmika Sakti, i.e., Shakti as Nada. Cf. Woodroffe's " Garland

of Letters."
8

triangular pyramidal figure.

*
In day time the Sun absorbs the light of fire and in the evening with
the disappearance of the Sun other lights appear.
1

*
*
18

new moon.

Tithi of the

AsriSviram

veinless.

See next note.

The

place of the Waist-chain

the Yoni being there.

VERSES 6 &

"The Bija
1-kara which

is

formed by the union of A-kSra which

lecha S'akti.

19

is

Prakam

and

"1-20.
lt

i.e.,Ha.

H
i.e.,

the triangle.

" For these terms see Woodroffe's " Garland of Letters."

" The gross letters in Vaikharl form are in the outer Mandalas and
passing through the subtler forms of Sabda, the Sabdabrahman and then

STmya

is

attained.

VERSE

Now this is the VidyU of Kamakala" which deals with the

sequence of the Cakras of the Devi. He by whom this is
known becomes liberated and Mahatripurasundari Herself.
Commentary
Having thus explained the nature of Bindu {Bindusvarupam) he
is Brahmabhava.

says that the fruit of this knowledge and worship

Now

(Iti).

That

is,

after

what has been described

in the previous

paragraphs.

Kamakala is Mahatripurasundari. By Her

of Kamakala.
meant Jnana regarding Her and to complete the sense, it
that this knowledge consists in knowing the sequence or the

Vidya
Vidya
is

said

is

order of arrangement of the Cakras in

By

Sequence or Order (Krama).

Her

S'rlcakra.

this is

meant the order

in

which

the Cakras, Mantras and Devatas are placed, beginning from Sarva-

nandamaya till all is fully

He by whom (Yena).

manifest.

The

suggestion

the grace of S'akti has fallen (S'ahtipata

into enquiry concerning the

is

that the

man on whom

descent of S'akti)

is

drawn

Brahman and meditates and becomes

liberated after attainment of knowledge.

Known (Vidita).
Guru and so forth.

Mastered through

Becomes liberated (Mukto bhavati).

(Viharate) and

is

sitting

at

the feet of the

He, the great Yogi, enjoys

yet able to free himself of all desire, after having

conquered the whole world through his consciousness (Bhavana)

I am always the full and whole I' (Paripurnahathbhava).

So
in

it

has been said in PratyabhijM

the greatness (A isvarya)

Consciousness (Cidghana) and

of
is

the

4
:

He who

Lord by

verily liberated

is

fully instructed

Vidy&s
'

is

massive

'

VERSE

21

The Brhadaranyaka 3 says: 'Men think that by Brahmavidya

we shall be all in all *. Now, what is that which when it is known,
we become all-knowing ?
4
In the end he becomes Mahatripurasundari Herself, that

Supreme Lady {Parabhattarika)

S'ruti says: 'They enter the Supreme Light
puram dhama)' also the knower of the Brahman

is,

our

of Tripura (Trat-

is the Brahman
The Chandogya says': 'He alone who sees thus, who meditates
thus, who knows thus, he verily is drawn to the Atma, has love-play
with the Atma, and is united with Atma which is Bliss Itself
'

'.

{Atmarati, Atmakrlda, Atmamithuna, Atmdnanda)

'.

In the Svacchanda Tantra also occur Texts like the following

'

When

(the

Sadhaka)

then for him there

of true

is

is

united in the same abode with his Devata

no more

birth or death.

Devotion and becomes the Lord

of the

He

6
,

attains the state

Universe {Cakra) \

Notes
1

Cidghana

comes Brahman
*

is

the

Itself.

Brahman.
C/.

'

The

sense of the text

the Brahman is

He who knows

1-4-9.

text begins, " Seekers after

The

Ante'pi, that

7-25-2.

'

that

is,

is,

after death.

here Tripura.

Brahman

say."

is

that

man

Brahman

'.

be-

VERSE
From

the

which

is

Red Bindu about to create

Nada-brahman sprout.

the

came Ether,

Fire,

Air,

arose sound

From

(Ravah)

(Sound)
Water, Earth and the Letters of the
that

alphabet.

Commentary
Here the Yogi Punyananda after having realised within himself
{Atmatvena anubhuya) the Primordial Sundarl* whose name is
Kamakala, now speaks of the origin of the world foom the Bindu
before Creation (Prakrta-bindu) which is the Highest Reality (Paramartha) as also of Her spreading forth (Vildsa) as Devata, Mantra

and Chakra.

From

the

Red Bindu about

Sphurita=TJcchuna, that

is,

(Sphuritddarundd bindoh).

to create

'swelling', 'pregnant", which has been

previously described.

Sound which
ravah).

Ndda

is

is

the

Nadabrahman sprout

the sound (Varrta) which

is

(Nddabrahmdnkuro-

the cause of the origin

Brahman which is Nadabrahman. This

So it has been said 'One
Avaratta* which is Ndda (Ndddtmaka) is divided into all letters. As
6
1
it is called Andhata
This is S'ruti.'
it nevet disappears
Vyoma, Bindu, Nada. This is the order.* Sound (Rava) which
sprouting
Nadabrahman
becomes manifest in the form Pasryanti
is the
of all
is

This

sounds.*

is

the

the Producer {AngkuraUtpddaka).

and so

forth.

It is

Pasyantl and so

proved* that the mass of sound

forth.

Bhiitas, Ether, Air, Fire,

A and

ending with K$a.

S'ruti also says

10
:

This sound (S'abda)

is

Water, Earth, and the

From Ndda-bindu

'From Ak$ara 11

is

the S'aktis Pard,

the origin of the five

letters

beginning with

issues the entire world.

originates this universe.'

VERSE

23

Notes
1

That

is,

movement which as sensed by

the creative

the ear

is

ex-

perienced as physical sound.

*Sundan=SL
beautiful, the

beautiful

woman.

But

And,

All Devis are

the Devi.

is

the

first

all.

See a

readiness to produce.

therefore, of everything else, for all things

A-kara

is

vv. 138-152, Nityasodas'ikGrijava.

is,

Brahman.

and

have a common

origin.

Prakas'a and Paramas'iva,

after the universe is produced the first

of all letters

this is laks.atjartha, that

letter

it

Devi Tripurasundarl being the most beautiful of

Dhygna of Her in Chapter I,

'The state of immediate
6

Here

is

But the Brahmasvarupa

is A-varna in
and soundless {nihs'abda). A-vanta
undifferentiated Power which manifests as the particular letters and

indicates the

the negative sense, that

is,

letterless

here is
other particulars of the universe.

'Lit., 'always is', that is, during the Kalpa.

All creative activity
withdrawn at Pralaya when Power is one with the Power-holder
{Saktlman).

is

Ahata= struck, and anUhata S'abda is that sound which is not

caused by the striking of two things together, that is, by contact of matter.
It is Eternal Power.
"Ether originates from the self-dividing or 'bursting' Bindu, on
which self-division there was Nada. That is, Nada is the productive
Vyoma and the rest. Cf, Athbd-

action which manifests as the produced

stotra, v. 3.
*

Later, in Verse 20.

"Mundaka,
" that

is,

1-7.

Brahman. The word means both

'

letter

'

and

'

imperishable

VERSE

The White

Bindu also

10

the origin of Ether, Air, Fire,

is

The Universe from

Water and Earth.

the most minute to

the Brahma-spheroid consists of these five Vikftis.

Commentary
Having spoken
all-creativeness

of to the all-pervadingness

(Sarvatmatva) and

Red Bindu he now speaks of

White Bindu and Red Bindu, because of the
of the

(Sarvasrstitva)

the sameness of the

inseparateness of the former from the latter.

White (Visrada), All-illuminating (Sarvaprakds'a). It is from

and into this Bindu, which has been previously described, that the
appearance and disappearance of the Endless Brahma-spheroids

composed of the five Bhiitas, Ether and the rest take place.
So S'ruti says
'In which all the Beings (Bhavas) disappear
and having disappeared become manifest again and then again and
1

again disappear like bubbles.'

In this

way

it

Brahman, which is the

Praka&a and Vimars'a, all this

established that from

is

White and Red Bindus, which

are

(universe) originated.

Agama
is

S'iva

also says

and

S'akti

countless world-rays*

'I

bow

to the

Mahapitha*

(S'ivas'akti-padds'raya)*

made manifest

of

Samvit* which

wherefrom emanate

(Vilasita) or flashed forth by

Creative Will (Iccha- s'akti).

Notes
1

ChTdikU Up., 8.
A word which here conveys the sense of a place of great sanctity.
' That is,
Parajnana.
*
Lit., the refuge which is the feet or place of S'iva and S'akti.
* From the Effulgent Consciousness imaged as
a Mass of Light which
is all Wisdom and Power, rays shoot forth which are the worlds, as, it is
said elsewhere, sparks from the great central fire.
'

VERSE
As

11

the two Bindus are indistinguishable

and inseparable, so
Vidyu the indicator (Vedaka), and Devata, the

are

also

indicated (Vedya).

Commentary
Having spoken
he

now

of the inseparateness

says that similarly there

Devata.

Two Bindus (Bindndvitaya)

is

'

(Abheda) of the two Bindus

oneness of the Mantra and the

The two Bindus

previously men-

tioned which are in the nature of Prakas-a and Vimars'a [Prakas'a-

vimars-dtmakam).

As these two

are inseparate,

the wise say that

The two are blended, the one with

the other (Parasparalista).
In the same way there is not the slightest
distinction between Vidya which is the indicator (Vedaka Vacaka)
and the Devata which is the indicated (Vedya Vacya).
and

S'iva

S'akti are

Vidya
Devata

is

So
letters

S'akti

who

'.

the Mantra of fifteen letters (Panchadashaksharl) and

MahatripurasundarT.

it

has been said in Tantrasadbhava

(Vamatmdkd). They again, O

again is Matrka and She again is

in

of the

is

one Tattva

'

All

Mantras consist

of

beloved, are at base S'akti.

S'ivatmika.

She the Matrka

the world appears possessed of the energy and brilliance

Supreme (Paratejah-samanvita) pervades

Brahma and ending with Bhuvana.'

beginning from

all

this universe

VERSE

12

Word

(Vak) and its meaning (Artha) are always united,

They are S'iva and S'akti which are three-fold as Creation.
Maintenance and Dissolution, and as the three Bijas.

Commentary
He

here wishes to say that the world arises out of the inseparate

Ndda-bindu couple, and therefore says that that Couple

of its

own

wish differentiated themselves.

Word and
of

its

meaning (Vak and Artha).

Vak

the form

in

is

Varna, Pada, Mantra (Varnapadamantrarttpd), Artha

Tattva and Bhuvana

(Kaldtattvabhuvandtmd).

Such

is

is

Kald,

the form of

S'iva-S'akti,

because, as S'ruti says^ out of S'abda (Vak) and Artha

which

Prakds'a and

are

Vimarva

whole world consisting of

They

six

(Prakds'a-vimars'dtmaka),

Adhvas (S'adadhvdtmaka)

the

originated.

are therefore always united (Nityayutau-- Nirantara-samsaTctau)

and not casually or accidentally

be put

together.

so, like

a jar and picture which

may

the union were merely accidental, then the

If

ordered universe would not exist.

These two go through the

Maintenance and Dissolution

fold changes of Creation,

three-

(Srsti-sthiti-

laya-bhedau tridhd-vibhaktau).
Creation, Maintenance

meant the appearance

ending with Ksiti. Sthiti

(Laya)

is

and

Dissolution.

of all the

their reunion

is

By

Creation (Sr$ti)

is

Tattvas beginning with S*iva and

the Maintenance thereof, and Dissolution

with, or return to, that which at base they

are (Sv&tmasdksdtkdra).

These three (functions) are from,

in

and

Atma. So it has been said by the honoured Abhinavagupta*

Creation, Maintenance and Dissolution are (all) within the Atma

into the
'

(SvStmagah)

in their

and

are

Artha)

own

nature (Svarupatvena)

mutually

'.

These two (Vak

(Paraspara) united &iva and S'akti

VERSE

12

27

(S'ivas'akti-mayau) and forms of Prakdsa and Vimars'a

(Prakds'avimars>a-svarupau), the activity of these two being of one

and the

same thing (Ubhayor

the function or S'akti

eka-krttvdt), just as in
of burning

the case of

lire

(Vahniddhakatvavat) there

is

and
no

difference (Tattvdntara).

As an honoured teacher
these two
or

also says
The identity (Tdddtmya) of
everlasting (Nityam) like that of Fire (Vahni) and S'akti

is

'

power which burns (Dahika),'

Agama

says: 'As We two are the Self of the World

We two are one with
By reason of Our identity
another We are at all times the life of the world (Jagatalso

(Jagaddtmalvdt)
with one
prdtia)

it.

'.

The

Threefold (Tridha-vibhaktau).
are divided in three

united Prakds'a and Vimars'a

ways (Vibhaktau=Prithagbhiltau).

These three
ways or forms are the three Bijas. The three Bijas are Vdgbhava,
Kamaraja and S'akti Blja. The meaning of this is that Mahatripurasundari

who

is

Brahman

as

Kamakala composed

collectively (Bindutrayasamastibhiitd),

The

Vdmakes'vara* says:

'

is

Tripura

Tattvas (Tattvatrayavinirdistd) and

is

three letters (Varria-s'akti-traydtmikd)*.

s'akti

is

that

is,

who

is

in

Vdgbhavablja and

is

Bindus

of the three

the object of adoration of

is

known by

the

all.

three

the threefold S'akti of the

Vagls'varx which

is

Moksa-rupirti or Liberation

Jnana
itself,

Kamakala is in Kamaraja (Bija)

which is Kriya S'akti (Kriydtmikd) and Kdmarupd (as Kama or Will,
that is, grantor of desires),
Iccha which is the Para S'akti is in
S'akti Blja and is S'iva-rupirti 1
Such is Devi Mahatripurasundari
grantor of Liberation.

the three Aksaras (Bijas),

world, and

Gurus

is

known by

to their disciples

who

loosens the bondage to this

down by

the tradition handed

(Paramparyeya vijndtd)

the line of

'.

Notes
1

six constitute the six Adhvfts (see " Garland of Letters "), of
the first three are in Vak and the remaining three in Artha.

These

which
'

Acarya

'

Nityas'odas'ikS, IV, 16-19.

The Varnas

of the

Kashmlra School.

or letters here are the three Bijas.

Siva-ri2pit}i=Dharmaprada giver of Dharma.

t

VERSES

13

Knower, Knowing, Known are

of the Bija.
The three Lights,

&

14

the three

Bindus and forms

the three Pithas and the

1
three S'aktis are that by which they (the Bindus) are known.

In these again in their order are the three Lingas as also the
three Mutrkus.

who

(Devi),

is

She who

is

this threefold

body

is

the Vidyn

the fourth Pltha (Turiyapitha), and the root of

all differentiation

(Adibhedini)

Commentary
He

here

commences

to

make

Vidya {Mantra) of

the

by describing certain details immanent (Antargata)

letters

fifteen

in

the

Vdgbhava and others.

Knower (Mdtd) is the Lord (h'vara) who knows.
Knowing (Manam) is the Vidya whereby He knows (Avagati-

three divisions (Khanda),

s&dhana-bhuta vidya).

Known

who

is

or

to be

Forms

Known

Object of knowledge (Meya)

is

Mahatripurasundari

known (Jndyamana).

of the Bija are

these three, namely Knower,

Knowing and

divided into three separate Bindus (Bindutrayabhinna-bija-

rupdni).

The

three

Bindus are those already described, namely Red,

White and Mixed.

The Bija

is

The Bija

is

divided into these three Bindus.

the Nirvana Bija which

is

the collectivity of

all

the three

Bindus (Sarvasamasti-bhilta-nirvdndkhyam). By " form " (Riipa) is

meant that they manifest the Bija (TadrupdniTatprakd&akdni).

The

sense of the above

is

that

Light (Parathjyotih) which

is

She who

is

the

Supreme transcendent

Consciousness (Cit), Bliss (Aitanda),

and the massive Atma (ghanattna) with the experience of Ahambhdva

or " I-ness " (Sarvffitd-ciddnandaghanatma'nubhava-riipaham-bhdvas'alini)

enjoys Herself in the form of experience in which there

is

''

VERSE

13

&

14

29

Knower (Matr), Knowing (Mana) and Known (Meya) (Mdtr-mdnameyabhavam anubhuya viharati).
The Kanva 1 says: 'This Atma there was alone in the beginning
as Purusa.

He saw and saw

(So'ham asmi): Thus

first

"

nothing outside Himself.

did he say.

He

Am "

Thereupon arose 'Aham'.

now a person on being accosted first says, It is I

(Aham ayath) and then given his individual name.'
The meaning of the passage is The Atma is the supreme Lord.
Therefore even

'

'

Idath

'

is

the visible

Universe.

'

In the beginning

means

'

first.

'He was', that is, with the Universe within himself. Therefore, that
Paramatma having seen as Himself (Atmatvena), the Universe, with
Himself (Svdtmasdtkrta-prapancam) did not see any other that is,
nothing beyond Himself, because He had withdrawn all things
;

He saw

into Himself.

At that time

the universal form

which

is

'

Himself to Himself as

Massive

continuous (AJchanda),

Consciousness

(Cit),

'

is,

am

(Ghana),

'

am

the experience

Being

(Sat),

and Bliss (A~nanda) (Akhandasacciddttanda-

ghandtmanubhavo'ham)'.

He

He showed

(Svasddhdranarupa), that

enjoyed himself, that

In the beginning, that

is,

is,

before creation

he showed (Prddarvayat) Himself

to

Thereupon arose Aham (I) Aham-ndmdbhavat). Because

I
thus Brahman shows His own self (Svarupa) to Himself as
(Aham), this is itself the name of Brahman. Therefore even in this
Himself.

'

'

'

world

a person be accosted he answers first It is I (Aham) and

he next gives his other * name.
*

if

after thus giving his Brahmasvariipa*,

of Knower and the like are seen to derive from the

Brahman as we can perceive by examining ourselves.
The Catuhiyan* says, that the Supreme Energy (Paramtejah),
which is transcendent (Atttam which is beyond the Bindu) is
Svasamvit (Svetarvisayalcam jnnath= knowledge, the object of
whichjs netlnn^other thanjself). Its characteristic is manifestation
(Udayatmakam(Udayaikasvarupam sadbhdva-viMrarahitath). By

These distinctions

Its mere wish (i.e. by mere Ihsana without being dependent upon or
having recourse to any other being or thing), it made the world-

picture

(Vts'va-mayolleJchah=jagaddtmakam chitram).
(V isrva-rupalca SarvtmaTca) Consciousness

prevading

pleasing. Itself.-. iEL

riiparh).

is

all

Such is A~tma (Atmano

(&^ftc^MMtf) in. Its volution

l^i?^^jLSJ.fHlness '.

Its lightis. contracted

It

(Caitanygy

KaMA-KALA-VILaSA

30
'as

Knower

Knowing (M&na), Known (Meya) and

(Matr),

true

Know-

ledge (Pratna).

These are the three Mandalas

Three Lights (Dhtimatraya).

Moon, Sun,

These are Vagbhava and others.

These are Kdmagiri and others

Three Bijaa (Btjatraya).

Three Pithas {Ptthatraya).

Three Saktis (S'alctitraya).

They (Bindus)
(Bheda).

of

Fire.

are

These are Iccha and others 8

r
.

known (Bhavita) under these three aspects

of the Mahabindu (Mahabindumaya).

These are forms

Therefore in these Three Lights and others there are in their order

(Kramena=Anupurvya)
others*, the threefold

Tripura

who

in

is

(Tat-samastirupa)
said

'

body

She who
is

the three Lingas, viz., Svayathbhu and the

Matrka

classified as

the form of and

is

the Pards'akti

who

is

the threefold body

is

threefold in

'

A, Ka, Tha and the

the collectivity of

all

rest

appeared, and hence

Itthath tritaya-purl ya).

manner hereinbefore

described.

She

is

10
.

things
it is

Her

therefore

the highest or Fourth Pita (Turiyapttha) as the basis (Bhu) where-

from appears and into which disappears the whole universe which
threefold (TrividhdtmaJca-sarvaprapancdvirbhava-tirobhdva-bhuh).
11
says:
the Catuh-s'aii

She who
differentiates

mass

in

this

(I bow
way is
1

Matrha who

to)

of Tattvas

She within

produced by Her own

tattva-kadathbinl)

is

Pltha-rupitn'

is

the Turtyapltha and

Herself (Adibhedini).

is

So

is

whom

will (Svecchaya

the root of
is

all

the endless

udbhavitananta-

in Herself (Svattnany eva) continuous impartite

(Akhanda) Samvit.

An honoured
created

the

three

sage {Abhiyuhta) has said

forms

(Purobhava), because She

(Trimiirti),
is

in the

Because the Devi

because She

is

before

all

form of the three (Trayftnayi) u

because even after dissolution of the three worlds She recreates them
again, the Mother's (Athbika)

In the Catuh-yati " She

name
is

is

appropriately Tripura.'

spoken of as the Devi Tripura who

Knowledge as Supreme experience

itself

is

(Svasarhvit).

Notes
Knower, Knowing and Known are the three Bindus which are forms
the Nirvana Btja or Mahsbindu the collectivity of all three. The three
'

of

VERSES

13

&

14

31

Bindus again are the three lights, three Plthas, three Saktis, three Lingas
and three Matrkas. That is, these are their various aspects.
'

Brhadaraijyaka,

That

Individual.

'

i.e.,

which he

in

1-4-1.
is

one with Brahman.

Nitya$,odas'ika, VI-49-51.

i.e., its

Purijas'aila and Jalandhara.

That

blissfulness

is,

is

not the result of anything outside

These

reflect

Itself.

and are Vrtti of

chit.

Jftana and Kriya Saktis.

Namely Batja, Jtara and Para.

" The Trikona of that name. See " Serpent Power " by A. Avalon.
II

NityU&'odas'ika, Ch. I-vi.

11

i.e.,

Karma, UpHsana and Jflana Katjdas,

Saman.

the vedas consisting of

not, as usually stated, Rk, Yajus,

"Ch. V-

41.

VERSES

16

15,

&

17

Sound, Touch, Form, Taste, Smell these are the subtle

Bhutas. (Of these) each is the producer (Vynpaka) of that
which follows (Vyapya), and thus taking them all in their
order there are fifteen properties (Gupas).

The NiiyU (Tripura) who is (the Mantra) of fifteen letters

known as She appears in the Bhutas (Bhautiku'bhimata).
1
She is surrounded by the fifteen Nityas who are distinguished by the different properties (Gunas) of sound and so forth
is

(Sabdudi-guiia prabheda bhinnah)

The

(fifteen)

NityUs represent the

The

(Tithyukarfth).

rasa) of S'iva and S'akti.

They

lunar days

(fifteen)

lunar days again are the union (Santa-

are the letters in the

They consist of days and nights.

Mantra and have the double nature

and Vimartfa.

of Prakusfa

Commentary
He
'

From

has spoken of the creation of the five Bhutas in the passage

that

commences

who

came Ether,
to

Air,

Fire,

Water and

Earth.'

He

here

speak of the nature (Svariipa) of each of the Devatas

are one with

(each of) the letters of the great Mantra by a

description of the Gutias of the

first

created five Bhutas.

Sound (S'abda) is the Guna of A ka&a, Touch (Sparsra) of Vdyu,

Form (Rupa) of Tejas, Taste (Rasa) of Apas, Smell (Gandha) of
Prthvt.

These Gunas from Akas'a

thus fifteen Gunas are obtained'.

the S'rlvidyd

own form

is

of fifteen

letters.

(Svariipa) of the

fifteen letters are

to Prthvi increase

As there are

In other words, She

Mantra appears as such,

Her form (RUpa).

by one and

fifteen different

Gunas

who

is

the

Therefore the

VERSES
She

She

is

known

on this account worshipped as

is

aspects {Bhuta-sarhbandhitvena

from Her are

in

fifteen

17

33

The Nitya whose form

of that

{Mantra),

Herbhautika
As the Gunas which emanate

is

Vidyd

letters of the

that {Mantra),

who

is

are

the Svarupa

unmoving, changeless and supreme {KUtastha)

is

as the ocean

in or in relation to

istd).

number, so the

fifteen.

just

&

IS, 16

as She appears in the Bhutas (Bhautika'bhimata),

that in which appear and disappear the waves,

is

bubbles and froth, so She

is That in which all the Tattvas appear and

So the Brhaddranyaka * says
This great Being {Bhutan

disappear.

It

'

Brahman)

endless and without limit and

is

is

massive knowledge.

evolves from Itself these Bhutas as Devos, men, and so forth, and,

withdraws them
In the

also, that

is,

withdraws these forms of

Mundaka-Upanisad

also

it

is

said

Itself.'

'That

in

which

all

forms of experience (Bhdva) disappear.'

He
fifteen

li

who is Kutastha

next speaks of the sixteenth Nitya

mbs {Avayava), as in the

fifteen

as being of

lunar days {Tithi) which are the

fifteen Devatas, and as in the form of the Mantra of the fifteen

The

fifteen

Nityas represent

The Nityas

tithydkdrdh).

the

days

are in the form of the lunar days (Tithydkdrdh), that

are Devatas

who

letters.

(Nityas-

These

and ending with

are the Nityas beginning with Kdmesrvari

They

lunar

(fifteen)

are in the form of the lunar days.

are the Tithis (Tithyabhimamnyah).

and end with Pitrnimd.

The lunar days again are the union of Siva and

Citra.

is,

The

they

Tithis

also begin with Pratipat

Sakti

{Tithayasrca

S'iva-S'akti-satnarasdkdrdh), or in other words, they are the united

They

form of Prakds'a and Vimarm.

day and night.

Prakds'a and Vimars'a are day and night.

She the Night makes

said in Cidvilasa

Day

waker-up of

is

verily the

are therefore of the form of

'

all

the worlds sleep.

These Tithis again are the

is,

it is

He

the

all.'

in

letters

the

being in manner aforesaid fifteen in number.

double forms, that

So

Vidyd {Snvarndh)

They have

further the

they are likewise Prakds'a and Vimars-ah)

(Prakds'a -vimars'a-rupdh).

This

Vidyd

of fifteen letters has

been

enunciated in S'aunaka-S'dkhd of the Atharva-veda by the Mantra,

which runs
Vidyd

is also

bibhrati
3

'

kamaW

Kdmo

yonih

shown

in the fifth

ksemayantah

'

and so

and so

Mandala

forth.

forth.

of the

Some

Rgveda

say that this

in Catvdraith

KaMA-KALA-VILaSA

34

The
(S'iva)

sense of all this

and Vimars'a

is

(S'akti)

that this Paras/akti

and appear as the

who

five

is

both Praka&a

Bhutas {Prakasa*

Vimarsra-mayx and Panca-bhutatmika), becomes by a progressive

Gunas the Mantra

increase of
is

of fifteen letters, the fifteen Tithis,

and

manifest as the fifteen Devatas (Devatdsvarupint).

There is some, only one Supreme Mahes'vara

So Agama says
whose name is Prakds'a and the name of whose S'akti is Vimars'a,
She is called Nityd by the wise. She the Devi whose name is Vimars'a
:

becomes

fivefold

'

as Ether (Akas'a), Air (Anila), the Seven-flamed

Water (Salila) and Earth (Avani). By the increase

of Gunas, one by one, She reaches the number of the Tithis (fifteen).
The Devi who is Vimars'a {Vimars'a-rupinl) is known a^s the sixteenth
(Saptdrcih) Fire,

The Parames'vati who

(Sodas'i).

is

these sixteen forms, the last of which

Mahatripurasundarl undergoes
is

Cjtra.

She spreads Herself

The subject is only here hinted at. It should

be known from One's own Agama. He who worships these Devls
one after the other day by day, from Pratipat to Purnima attains, oh
alt

over (the Cakra).

beloved, good fortune {Saubhdgya).'

Devls,

'That

who

is

Kkas'a has one Gutja, namely

Sabda and Spars>a and

;

Mantra.
2-4-12.

Notes

are to be distinguished from the supreme NityS Tripura.

so on.

Sabda

Vayu has two

viz.,

VERSE

18

The Vidya

which is composed of the three Bindus 1 the

vowels and consonants collectively and separately, is both
immanent in and transcends the Thirty-six Tattvas and is
by Herself alone.*
,

Commentary
Here the author wishing to strengthen what has previously been
said says that the Devatd is immanent in and transcends the Universe,
so also does the Vidya.

The vowels

(Svard) are the letters beginning with

and the

consonants (Vyanjana) are the letters beginning with Ka.

The three Bindus (Bindutraya) are the three Bindus which make
Anusvara and Visarga. These taken either singly or in a group make
Her body (Vibhavilakdra udbhavitasvarupa).
She is thus in the Thirty-six Tattvas {Sattrims'at-tattvatmd) that
is, Her body is made up of the Tattvas beginning with S'iva and
ending with Ksiti, and She also transcends them (Tattvdtttd ca), for
She is the place and origin of all the Tattvas (Tattvasamuddyasthdnd).

She

is

therefore alone (Kevald), because there

is

nothing besides

Herself (Sva-vyatiriktasya abhdvdt).

Such

The

is

the Vidya of fifteen letters (Pancadas'dksarl).

divisions of

its

parts are as follows:

The honoured Pnnya-

nanda, a strong adherent of Hddividyd*, speaks of this Vidya as a

whole, that is, as immanent in the Tattvas (TattvdtmaJiatva) and
transcending them (Taduttirnatva) of this Vidya.
In the first part Vdgbhava contains five vowels and seven conIn the secoud Kdmaraja there are
sonants, that is, twelve letters.
six

part

vowels and eight consonants in

known

all

fourteen letters.

as S'akti there are four vowels

and

In the third

six consonants.

The

36

KlMA-KALA-VILlSA
of all these

total

as an

entire

make 36

letters

whole surpasses

tattvatikranta).

This

is

which are the limbs 4

all

(the thirty-six)

This Vidyd

Tattvas' (Sarva-

everywhere well established and known

iPrasiddha).

Kadi also possesses the double quality (Ubhaimmanent and transcendent and as collective
and individual (Vyastisamastirupatvam). The difference between
the two is that in the first part of Hadi there are five vowels and
seven consonants, whereas in the first part of Kadi there are seven
vowels and five consonants. So that in both Vidyas the total in the
S'ruti

says that

yatmahatva) that

section

first

is

is,

as

equally twelve each.

Both Vidyas therefore possess

The method

relating to the worship of both

the double character.

the Vidyas should be learnt from the

mouth

of the

Guru.

Notes
1

i.e., Bindu and Visarga.

Kevala=Eka=Advitlya that is one without another.
'There are three matas or forms of worship, viz., Kadi (Kalikula),
Hadi (Srlkula), and Kahadi. See A. Avalon's Introduction to the
Kadimata portion of Tantra-rUja, Vol. 8, Tantrika Texts.
The grand total is thus 15 vowels and 21 consonants=36 letters
*

VERSE
Vedya

is

sundari.

She

19

is

the subtle Devi Tripura-

The Great Yogis have

ever taught the inseparate-

also

like

this

ness of the Vidya and the Vedya.

Commentary
*'

He

here speaks

the twofold aspect (Ubhaydtmakatva) of

of

Mantra and Devata.

Vedya ( = she who as the subject of knowledge is sought to be
known), She whose Svanlpa is Cit and Ananda, She is "Like this "
(Tddrgdtmd like the Mantra She is immanent in the Tattvas
(Tattvdtmikd) and in the universe {Visfvdtmika) and is beyond and
Devata and

of the oneness of

transcends both (Taduttirnd).

By

Subtle (Suksmd).
divided,

who cannot be

She (Sd)
(Prasiddhd) in

is

all

this

is

meant She who cannot be sub-

defined (Paricchettum as'akyd).

used to indicate the fact that She

is

recognised

Vedantas.

Tiipurasundari

She

Sundarl (beautiful).

is

She

is

so called because She

is

Tripura.

Tripura because She produces

all

and

things

which are

in a threefold state (Tridhdvasthita-samasta-vastupurandt),

and She

is

Sundarl because She

is

the adored of Yogis (Sarvayogi-

and also because of Her charmfulness {SprhaThe word Tripura has previously been defined. The

bhirupdsyatvena)
yiyatvdt).

Svariipa of the Devi

She
(

is

clear Illumination

is

the Para-vak whose play

is

(Svacchaprakds'arupd).

creation and the like of the universe

Vis-vasya jananddi-krlddriipd).

Vidya and Vedya (Vidyd-Vedydtmakayor

The Great Yogis
atyantdbhedam dmananty drydh). All Yogis beginning with Paravara-pramukhah sarvayoginah) establish
(&rya.hz=Parames
mes'vara
.

or uphold (Pratipddayanti) the eternal (Atyanta^Sdrvakdlika) in-

k!ma*kala*vilIsa

38

separateness (Abheda=aikya=: one-ness) of Vidya, that

and Vedya, that

of fifteen letters,

said in Catuhs'atl

particular

"

category

She

Whatever

Tripurasundari.

He who

and
the

is

who

Vidya

is

the Mantra
it

has been
in

any

the Devi Sarves'varl

is

the Great Lord

Bhutaguriatmika

Herself out by the fifteen letters of which

and which

is

with Her
is

is,

So

spoken of as being

S'akti is

(Padartha), that S'akti

(the S'akti of S'iva),

(Mahesvara).

is,

Her mantra

is

spreads

composed

divided into groups of five (which are of Vagbhava), six

(which are of Kamaraja), and four (which are of S'akti)

letters'.

According to the number of vowels and consonants (of which her

Mantra

consists)

prabhedint).

By

She

is

of

thirty-seven

aspects

(Saptatrims'at-

these thirty-seven aspects or variations

as Thirty-six Tattvas.

The Vidya

State of S'iva Himself which excels

Itself

She appears

should be thought of as the

Tattvas*.

all

Notes
1

Nityn$odas>ika, Ch. VII,

That

A k$ara= imperishable

is,

She

is

VV.

31-34.

Bhutas and Gutjas,

TattvatUasvabhavS. Sva= S'iva Svabhava is the State or Bhava of

and as such it excels all Tattvas. The Devi is that.
;

S'iva

or rather these are in Her.

entities.

VERSE
She whose

inner nature

Para.

She again who

It

is

when manifest

20

beyond mind

is

known

is

the Mahes'I as

is

in three different aspects

Matrkas, Pas'yantI and others

as the three

and evolves Herself into the Cakra.

Commentary
Having previously spoken
Devata the author wishing

to

the

of

oneness of the Vidya and

speak of the identity with one another

Cakra and Dmata now proceeds to speak of the mode in which the
Chakra originated (Qakrotpattiprakara). " She whose inner nature is
beyond mind" (Yd Sdntaroharupd antara=antah-karatta or mind
of

uhah (=Vitarkah=ltthamiti-paricchedarahitah)
be described as this or that).

The

sense

is

that

that which cannot

is

She

is

beyond mind

and speech (Avdiimdnasagocaratvdt) and therefore cannot be expressed

in

the words of the Vedantas

*.

The

Mahes'I

is

the Cause of

(Sarvakdrariabhuta) as the ground (Bhumi) wherefrom

six

all

Tattvas from S'iva to Prthivt proceed and that

called

Para the highest or who excels

S'ruti

all

is

all

the Thirty-

why She

is

(Sarvotkrstd).

says

[He has no body nor has He any organ of

one seen who is equal to or greater than Him.]
"

many

sense.

There

His

S'akti is

who

is

Him

(Svdbhdviki) as Kriyas'akti united with Jnana and Bala."

heard of

(in the

Also elsewhere

1
:

"

Vedas) as of

is

no

Para

aspects and immanent in

That from which words along with Manas

being unable to reach return (baffled)."

Agama
(i.e.

also says:

unmanifest)

perishes not

is

"Para Vdk (Supreme Word) which

verily

(Anapdyini).

drta-svarupdydm)

all

Light-in-Itself

When Her own

duty ceases "

is

within

(Svariipajyotireva)

form

is

and

seen {Yusydth

kama-kalS-vilasa

40

This same (Saiva) Para S'akti so described (Evambhutalaksand)

is

known

again

That

in three different aspects.

what

is

is said in

the

passage when manifest &c. &c. Pashyanti and others (Spastd pasyan*

as something objective

Madhyama and
which

is

" Manifest " (Spa$td)

By

tydditrimdtrikdtmd).

is

meant.

Her

first

appearance

"
the expression " and others

By

Vaikhari are intended.

It is

Who

She

power of expression (Abhilapasvarupini),

is

as Vaikhari

the S'akti which

is in

the form of the mass of fifteen letters (Pancadasdksararas'imayi)

and

in

all

and

in

ordinary

many

the

life.

" Para as Pasyantl

She

is

different

So

words used

in the

has been said in Subhagodayavasand

it

the creeper born in the earth

as

this wise, as Trimatrika,

Thus does She

She becomes the Cakra that

excel all."
is,

Madhyama

the fragrance from the flower-bunch and as Vaikhari She

is

the letter of the alphabet (Aksamdld).

Vedas and Tantras

is

In

becomes one

with the Cakra of three parts '.

Notes
1

That is, She is beyond the scope of the highest form of human learning and can be realised by Sadhana alone by the man who deserves to be
called Vidvan.

C/.

NistattvS karyagatnyd'sya siaktir maya'gnis'aktivat

Nahi s'aktim kvacit kas'cit budhyate kdryatah purd.
(

Vidyaranyamuni)

Also

Na s'ilpitdijtlclnayukte

vidvacchabdah prayujyate
Moksaikahetuvidyd yd sd vidyS nSira sams'ayah.

{Brahmdndapurdna)
1

Svetas'vatara VI. 8. The portion within brackets has not been

quoted in the commentary. "Is seen" (Dfsyate) is explained by Narayana to mean "realised by argument " (Yuktyd upalabhyate). "Bala"
here says Bhaskara (under Nitya$oda, VI. 9) implies Icchd {Balas'abdasya
icchdparatvam).
*

Taittirlya

(2, 4, 1, 2. 9. 1)

Brahma

3.

That is, the Brahman light.

Adhikaro nivartate i.e. the question of competency does not apply
such a man. He becomes free from all observances.
* The Mantra
of fifteen letters is given in Tripurdmahopani$ad.
*

to

8.

being published in this series.

'

Bhujanma= Earth-born

There are nine Mandalas

of three sections each.

i.e.

The

corresponding with Pashyantf,

born in the Muladhara.

in the S'rI-Cakra divided into three parts

may also be
Madhyamd, Vaikhari.

three parts

Srsti, Sthiti,

Laya

VERSE

The

21

know no difference between

Paru Herself is the subtle form

wise

Cakra.

and Cakra).

There

and the

the Mahesti

of both these (Devata

no difference between the two

is

in the

gross form also.

Commentary
In this verse he emphasises what has been previously said in the

statement that the wise see no difference or distinction whatsoever

between

Cakra,

the

consisting

the

of

nine

sections

(Avarana)

beginning with Trailokyamohuna and ending with Bindu wherein

Who

Sundarl abides, and Sundarl Herself

Great Lady (Mahes'i) therein.

This

is

the presiding (A dhisthdtrl)

so because the S'ricakra

is

is

the form (Rftpa) of the S'rl-Sundarl.

S'ruti

The

says

Alone She was at

'

Vdmakes'vara *

passage beginning

From

withdraw].

'

first.

She became nine-fold

demonstrates this non-difference

[The

five

S'aktis

in

'.

the

produce and the four Fires

the union of the five S'aktis and the four Fires

[When

there arises the Cakra.

the

Supreme

S'akti sees

Her own

becoming (Sphurattd) then there arises the Cakra},' and ending with
^'The Cakra is the form (Riipa) of the Kamakala in that it is the
.'
going forth (Prasara) of the Supreme Reality (Paramartha)
He speaks of the oneness of these two (the Cakra and the
Devata) in their subtle form (Sitksma-rvpa) by which is meant that
which cannot be defined. The S'ricakra in its subtle form is the
Bindu.

Its

indefinableness

Supreme Akas'a which

on.'

The

is

is

clearly

shown

in

the passage

indefinableness of the Devata has also been

The Vidyd

verse beginning

(Tddrgdtmd)

In the same

'.

'In the

the Bindu (Baindave paramakas'e) and so

(object of knowledge)

way

there

is

is

shown

in

the

also like this

no difference between the

KlMA-KALA-VILlSA

42

two

in

The

their gross form.

grossness of the Cakra

is

in its ex-

pansions beginning with the Trikona (triangle) and ending with the
Caturas'ra (square), and the grossness of the Devata is in Her gradual

from Tripurathbika to Tripurasakti.* The Cakra and

who are as above described, cannot be separated. He
gives a reason for it when he says that Patd, whereby is meant
unfolding

the Devata,

Adis'akti,

is

the subtle form of both these.

The Catuhsatl
Lokas

is

says

'

both gross and subtle

The Mother
'.

There

is

of the origin of the three

thus no difference between

these two (Cakra and Devata) for the wise.

All
Also*
S'ruti* also says
All this verily is the Brahman
men vanquish him who thinks that all things are outside the
Brahman
The author himself says (V. 36)
When She this Mahes'i Para
4

'.

'

'.

unfolds as the Cakra

Thus

it

is

'

'.

established that the Cakra

is

the form (Riipa) of the

Devata.

Notes
1

Tripura-mahopaniad,

One

as in Binducakra and
the Srlcakra consists.

The meaning
3.
became ninefold in

of the Text is
She was
the nine triangles of which

* Nitya-odas'ika, VI-8-24.
The portion within the brackets has not
been quoted by the Commentator, but added by the Translator to make it
more intelligible to English readers. By "own" is meant "inherent".
* The nine Cakras
of which the Srlcakra is composed are presided
over by the Devi under nine different names, indicative of Her nine different
aspects.
These names are (1) TripurS, (2) Tripurcs'vart, (3) Tripurasundari, (4) Tripuravasinl, (5) TripurSs'rt, (6) Tripuramalint, (7) Tripuraslddhi, (8) Tripurathbika, (9) MaMitripurasundarl. The first of
these is in the JBhupura and the last is in the Bindu. The Avarana-Saktis
of each of these are classed as (l) PrakatS, (2) GuptS, (3) Guptatara,

(4) SarhpradayS, (5) Kulakaula, (6) Nigarbha,

rahasya and (9) ParapararahasyS, respectively.
* Nity3$odavik5 IV-4.
*
ChSndogya, 3-14-1.
*
Bfhadaranyaka, 2-4-6.
t

(7)

Rahasya,

(8) Ati-

VERSES

The

Centre of Cakra

When

tattva.

is

22, 23

Para

becomes ready

It

&

24

This

(Parzttnaya).

is

Bindu-

to evolve (Ucchtlna) It trans-

forms and manifests as a triangle. This (triangle) is the

source of the three (S'aktis, namely) Pasfyantl and others and
also the three Bljas.
Varna, Jyestha, Raudri, Ariibika and
Parasfakti are one portion (of the S'rlcakra) \ Iccha, J nana,
is

Kriya and Santa are the other portion \ (These make nine).
The two letters (A and Ha) taken separately and collectively
make with the foregoing nine the eleven-fold Pasfyantl*.
Commentary

He

here desires to speak of the S'rlcakra composed of

(Navayonydtmaka) which

triangles

called

Cakra.

of the

has been already explained.

in

Itself

is

This

(Ham)

Bindusvarupa
signifies that It

(Svasdksdtkrtam) Para or Paras'aktisvarupa.

becomes ready

it

meaning

speaks of the

first

Cakra, Bindutattva.

The word

Bindutattva manifests then there

When

He

rest.

Sarvdnandamaya which is Pards'akti (Pard&aktimaya).

By this is meant the Cakra of nine triangles {Nava-

yonydtmaka) and by Centre

is

nine

the manifestation (Vikdsarupa)

Pasyantl and the

of the S'aktis Para,

Bindu

is

that

is

the Triangle.

(UcchUnam

to evolve.

when under

the-BaindavaTattva

is

He

When

this

therefore says

tac ca yadd).

The

the influence of the Adrta of creatures

about to evolve

It

transforms Itself into a

triangle*'

parinatam spastam)
and the product of the union of A (Anuttardnanda) and / (Icchd).
So it has been said When Citi which is Anuttardnanda is united
with Icchd S'akti 4 there is a triangle which has the beauty of the joy
which

is

of the shape of a S'riigdta (Trihonarupena

of Creation {Visargdmodasundaram), Its light being dimmed as Mdtr,

Mdna, Meya and Pramd. Its form is that of a S'rngdta or Triangle \

This

triangle

is

the

source

of

{Pasyantydditritaya-nidanam) that

the
is,

three

Pasyanti

and others

the three S'aktis Pas-yantl,

KaMA-KALa-VILASA

44

Madhyama and Vaikharl

there originate.

It

the S'aktis Iccha,

is

Jnana and Kriya which change into the three S'aktis Pavyanti,
Madhyama and Vaikari. So it has been said in Vamakes'vara Tantra
(Nitydsoda,

"She
vapusd

vi.

38-40)

manifesting as Pasyanti (Pasyanti-

She

Similarly as Jnanas'akti

sthita).

yama, Vdk

then Icchas'akti

is

is

Jyestha and Madh-

the form of a straight line {Rjurelehdmayi) and protector

in

This same S'akti (Para) as Kriya

of the universe.

and Vaikharl Vdk

(S'akti) is

Raudrl

the form of the body of the universe (Vis'va-

in

vigraha) and as that of a luminous triangle (S'rngdtavapurujjvald).

At the time of Dissolution and Her return journey (Pratydvrttikrametta) She re-assumes the state of Bindu (Baindavath rupam)."

The

Triangle

Kamaraja and

is

S'akti

the Svarupa of the three Bljas* Vagbhava,

which are the three sections (Khanda) of the

whole.
S'riiti

"The

also speaks of

three Puras 8

(Bindus) which

move

the Universe (Vis'va-

carsanl) along three paths wherein are placed the letters A,

Ka, Tha*

wherein again abides the impenetrable transcendent greatness of the

These and other similar

Devatas."

texts

in

S'ruti

speak of the

celestial

S'rhgata-pltha wherein abide the Matrka (Mantra) of three

sections

which

the

is

source wherefrom

arise

all

Vamakes'vara-Tantra (Nityd-soda, VI, 48) also says

"All these

10

Mantras.

are denoted by (V dcyarupdt}i) the complete

'

f thTcoJSjqa^Bxjatritaya-yukta) both singly

and

The

Mantra

collectively ".

The

Triangle containing three Bijas, the three S'aktis, the thee Lingas

is

the imperishable Kamakala."

He

next says that the Bindutattva which becomes the S'ricakra

of nine Triangles

turned

is

also

(four of

the

which are) upward and (five, downward

Para (Pard-bhattdrikdntayam). He

adorable

mentions Varna, Jyestha, Raudrl and Ambika by name and by the

particle
five

cha

(also)

he implies Para S'akti and says that these are the

S'aktis indicated

by the

five reversed triangles

which are the

first

portion (Anuttardms'abhUtdh'B Anuttaramsdh), of the S'ricakra; whilst

the S'aktis Iccha, Jnana, Kriya, S'anta are the other portion or the four
triangles with their

apex upward.

trikonacatu&ayariipah).

(Uttardvayavdh Orddhvamukha-

verses

The meaning
Para

These nine

This has been

the S'ricakra.

Tantra (Nityashodashika, Ch.

the

24

45

VSma, Jyestha, RaudrT, Arhbika,

S'akti, as also Iccha, J nana, Kriya, S'Snta are

Para (Pardvilasanariipdh).
in

&

22, 23

of this is that

Parama Kala wishes

unfolding stages of

S'aktis are the nine triangles

fully dealt with in the

Vamakes'vara

the passage which begins

vi) in

Sphurana" and ending

to see the

"When

" Vaikharl

the body of the Universe

The two

Avyasta
"j

is

Ha) which

By Vyasta

of

meant individual (Vyastiriipam) and

That is the two letter (4 and

is

collective (Samastiriipam).

are the

between them
all

taken separately and collectively (Vyastdvyasta-

letters

tadarnadvayam).

first

and the

last of the

alphabet hold as in a vice

the letters of the Alphabet which are the mother of

all

Mantras within which two

complete 'I-ness

'

letters again is the

(Purnd'ham) which

is

Experience (Bhava)

the union of Prakas'a and

Kamakala.

Vimars'a or Bindutattva the eternal

All

this

is

well

established in the Upanisads.

Here Parabrahman as complete

'I-ness

with His consort and as the doer of

ranydka

(1. 4. 1)

" This

says

Atma

'I-ness*

is

'

to be

actions

was

as united

so the Brhada-

the beginning " M and thereby

in

Parabrahmasvarupa

is

complete and transcendent

(Purna-pardhamtdmaya) and union of

The Text proceeds

Husband.

known

there verily

establishes that the

all

that It shines forth as the creator of

Wife and

celestial

passage quoted below to show

in the

Tattvas

all

"

He verily did not enjoy. For one (who is alone) does not
enjoy.
He desired a second. He verily was like woman and man in
He made this Self of His into two. Thereafter arose
close embrace.
Husband and Wife " " and so on.
So also in another place in

same Upanisad

the

(1-4-17) occurs

the following Text

" This
'

May

Atma

verily

was alone

there be wife (Jdyd) of

have possessions (Vitta).

(Kama)

"

mine

May

in

'.

do

the beginning.

May
acts.

He

desired

be born as many.

This verily

is

May

His desire

and so on.

Texts

like these

The two

letters

show the Brahman as united with His

(A and Ha) already described

will,

consort.
if

taken

together and carefully considered, be seen to have eleven aspects.

;:

KaMA-KALX-VILaSA

46

The

S'aktis

Para to S'anta are ten

collectively one.

and

is

the cause of Pas'yantI S'akti.

" All this verily

lives into

which

if

considered individually and are

Therefore Bindutattva

all

is

is

elevenfold {Ehadastatmaka)

S'ruti

(Chandogya 3-14-1) says

all comes, in which all

Brahman, from which

returns.

Therefore adore

It

with mind free from

either attachment or avarice."

way

In this

the inseparateness of Cause and Effect

is

established.

Notes
I
Anuttarams'a-bhuta=lit. First part. These are the five inverted
triangles or Yonis of the S'rlcakra, or S'rlyantra.

Uttaravayavdh.

These are the

triangles with their

apex upwards

in

the same.

Ekadas'atma pasyantl.
*
That is, A + I=E. The tip of Ekara is formed like a triangle. The
Subhagodayavasana cited in the Madras Ed., p. 6 says that the three S'aktis
*

Iccha and others indicate the creation

etc. of creatures (Pas'u).

* The two lines preceding are not given in the Commentary, vv. 36-40
describe the evolution of Parama Kala or Para S'akti

"When Parama Kala wishes to see the SphuraOa (desire to create), of

Paramas'iva then She assumes the form of Amhika and is called Para Vak.
She is about to manifest (SphutTkartum) the universe then in its seed
state, She is Varna and is so called because She throws out (or vomits
Vis'vasya vamanat). She then assumes the form of a goad (which is of
crooked form) ".

When

'Namely, Aim, Klim, Sauh.

*

Tripuramahopani$ad.

"

i.e.

That

Tripura.

is, the letters of the alphabet is in the A-ka tha triangle.

This
formed by three Bindus between each of which there are 16 letters
forming the sides of the triangle. At the corners of the triangle are the
remaining three letters Ha, La, and Ksha.
is

n That
Itara,
II

is Lingas mentioned in the preceding verses namely the four

Bana, Svayambhu and Parama.

Kula-kaulamnyani.

Bana and

Itara

Lingas.

Kula=Matr, Mana, Meya, that is Svayambhu

Kaula is the collectivity of these three or

Paramalinga.
19

w
14

See the passage quoted ante,

p. 38.

See Verse 13 ante commentary.

Sa vai naiva reme, yasmSd ekaki na ramate, sa dvittyam

aicchat.

Sa haitavanasa yatha strlpumamsau samparishvaktau. Sa imam

evStmanam dvedhSpatayat. Tatah patish ca patnl ca abhavatath.

VERSE

25

In this way the united Kama and Kala are the (three) letters
whose own form (Svarupa) is the three Bindus. It is She
who is the Mother manifest as the three Gunas (TrigupasvarUpipt) and who assumed the form of the triangle.

Commentary
He

next wishes to speak of the

mode

Cakra

of creation of the

wherein are the Cakras of eight triangles, ten triangles and so on,

and before doing so explains the

precedes them all.
In

way

this

origin of the triangular

That

{Evatn).

is

in

manner already

who

the

first

letters

letter

is

described.

By Kama

The united Kama and Kala (Kamakalatma).

Paramas'iva

Cakra which

is

meant

pure Illumination (Prakd&aikasvabhdvah) and

which

is

A\

and Kala

signifies

is

Vimars'a the last of

This dual character (Ubhaydtmakatva) indicates the

I-ness which is its true nature

(Ha).

possession of experience of complete

'

'

(Svdbhdvikaparipilrndhambhdvas'dlitvam).

This has been

fully

ex-

The Kamakalatma who as previously described is

whose own form (Svarupa) is the three Bindus "
(Tribindutattvasvarupavarnamyi). The three Bindus are the Red,
plained in verse 7.

" the (three) letters

White and Mixed Bindus

previously spoken

Bindus previously described.

The

Bindutattva

of.

three letters, by which

the Vagbhava and other Bljas, are forms of the three Bindus.

Rahasydthndya
"

Know

(S'iva addressing the Devi) says

this,

(Svdtma-s'rngdta)
It is

that the beautiful S'rngata

is

made up

ancient (Purdtia) and

is

of three

mdtra) and

is

of

it).

is

In the

which

itself.

It is

the nature of S'iva.

the

meant

is

Thy

very

Bindus mixed, white and

the Pranava

the three lines (which compose

is

It

self

red.

can be known by

pure knowledge (Samvin-

The

red

is self

sustained

KaMA-KALA-VILASA

48
(Niradhara).

The

In the Union

mixed Bindu.
It is

other (white)

she {Sa iyatn=$he

is its

By Sa
Her who is

(is) this).

attention of his reader to

^experience of the massive Bliss which

paramdrthd) and who

ndyasarabhutd)
the

One who

is

beloved and their union

the pure state which

is

is

(She), the author

".

draws the

the supreme reality as the

the tradition {Sakaldm-

all

and by lyam (This), he as

it

were points Her out as

being experienced (Anubhfiyamana) as the

vvitnesscth {Atmasaksitvena)

the

is

Nirvana

Cit {Cidananda-ghanarasa-

the essence of

is

is

Atma who

by great Yogis who are immersed

in the

feeling of their identity with the Universe (Vis'vahambhavanas'dlibhih)

and

is

Manifest as the three Gunas {Trigunasvan'iphn).

She

is

Iccha,

Jnana, Kriya which appear (in the Pas'u) as the three Gunas Sattva,

Rajas and Tamas.

She

It

effects Creation

the one Creatrix of

transcends

all

is

through these Gunas as instruments that

and the
all

She

like.

is

therefore the Mother (Mata)

She

the World.

is

also the

Para

S'akti

the Tattvas {Sarvatattvatitd) for S'ruti {Aita.

who
1-1.)

says
" This

Atma

Assumed

alone, verily,

was

in the

beginning

changed into the form of a triangle as a

supreme Bliss symbolised by the

symbolised by the

which

is

letter

letter

This

is

is

she

union of the

with Iccha, Creative Will,

the Cakra

of triangular

form

all.

The wise know no

Para Herself
is

/.

result of the

most secret and called Sarvasiddhi-pradayaka or that which

accomplishes

There

".

the form of the triangle (Trikonariipam ydta) that

is

difference between the Mahes'I

and the Cakra.

the subtle form of both these (Devata and Cakra).

no difference between the two in the gross form

also.

Notes
1

'

'

Anuttarak$ar5tma.

That

The

is, it is

She

first triangle

mation of Bindu.

to

whom

all

the

Athnayas

point.

which contains the Bindu which

is

the

first transfor-

VERSES

She who

Pam)

next (to

26

&

27

Pas'yantI the Creative Self

{SfstyZltmu) out of which originated the individual mothers
is

is

Vama and others. By reason of this She

became ninefold form {Navntmzt). She the mother Madhyama
is as shown by her two names of two kinds (Dvividhzt), namely,
subtle {Snkftnn) and gross of form (Sthulnkrti).
As subtle
She is ever existent and the nine sounds {Navannda-mayl) as
gross She is the nine groups (of letters) and bears the name
(Vyasti-mmr)

of Bhutalipi.

Commentary
He

who is a manifestation of Par5 as of

(NavdtmaJca) in the form of the Cakra of nine
triangles (Nava-yoni-cakr&tmana).
" She who is next " (Tadanya).
That is Pas'yantI who is the
manifestation of Para (Paravikas'abhuta) is the Creative Self out of
which originated the individual mothers Vama and others {Vamadivyasti-m&tri-srstyatmti) or in other words She is the nine S'aktis
beginning with Vama and ending with S'SntS (Vamadi-s'antantanext speaks of Pas'yantI

ninefold aspect

s'akti-navakamayi).

It

is

on this account that the mother (Mata=

Janant) is of ninefold aspect (Navatma), that is, she becomes the

Cakra of nine triangles which is the Cause of the appearance of the
group of S'aktis beginning with Vama and ending with S'anta.
Vama is so called because she as producer of the universe
( Visrvajanayatri) throws out the Universe of five elements (Prapanca)

which

is

JyesthS

within the S'rngata {S'rngatdntah-sthitaprapafica-vamanat).

Raudrl destroys or dispels all ailments and
all-beneficent

is

Ambika grants
"

Vama

Jyestha
4

(is

(is

all

1
things desired.

So

it

has been said

so called) because of (Her) throwing out the Universe,

so called)

because she

is

beneficent {S'iva-tnoyl)

Raudn

KiMA-KALl-VILASA

50
destroys

disease and burns up" (the fruit of)

all

actions (Dogdhri

all

".

cakhila-ftarmanam)

Of Arhbika the Pratyabhijna says that " She the impulse to

becoming (Sphurattd)

is

Para vak who excels

all

manifestation which

is

pure Being (Mahdsattd)

Her own and

She

".

is

therefore

and sees Her own impulse to

(Sarvdtis'dyini)

full Self.

(Paripiirna-svar&pa'

svdtm asp h u randvalokan acaturd).

The Vamakes'vara

(Nityd-sodas'ikd

When the Parama kala sees the

"

Atma

of the

36) also says

vi.

impulse to becoming (Sphurana)

then she assumes the form of

Ambika and

is

called Para

vak."

The S'aktis
Madhyama and

Iccha,

This has been stated

quoted

in the verses

* S'anta

is

Jnana and Kriya take the forms Pa^yantl,

Vaikharl

S'akti

(Pasryanti-Madhyamd-Vaikharl-rupdh).

in detail in the

commentary

in

as Consciousness

pervading (Nirankus'a)

For

S'akti)

of " the
"
tranquil (S'anta)

who

is all

transcendental
8
.

next speaks of the ninefold character (Navdttnakatva) of

Madhyama.

Madhyama

and Pas'yanti.

Para

22 ante.

(Cinmayl

S'ruti speaks

(Niskala) actionless (Niskriya) and

He

Vamakes'vara (Nityd-sodas'ikd)

to verse

is

She

Union (Samarasdvasthd)

the state of
is

visible or

realisable

minds are inward turned (Antartnukha).

names (which describe Her function)

of

of

by Yogis whose

This S'akti

is

by Her two

two kinds (according to Her

She is either Sthula (gross) or Suksma (subtle). As

She can be apprehended by the power of Samadhi. As gross

functions).

subtle

She

is

capable of utterance as letters of the alphabet alike by the

and illiterate. As subtle She is ever-existent 4 {Sthitd

Sarvadd vartatndnd) and as such She is the nine sounds or Nadas
(Navandda-mayi). As grops She is the nine groups of the letters of

learned

the alphabet (Navavargdtmd).

The

sense of the above

When
sound does

is

this

the Great Mother Kundalini

in

who

contains

many

kinds of

consequence of the breath being restrained leave the

place of Mitravaruna* and after piercing the lotuses of Svadhisthana

and others goes upward

the_JoJuj..j3iJt^^
of S'iva'

when

in

to reach the place of Paramas'iva

She

Samadhi as

is

who

is

on

experienced by the great Sadhakas

their very

own

self

(SvMmatvena).

VERSES 26 & 27
She

the nine sounds (Navanddamayl).

is

from the following

"

We

mahamsa
to his
oil in

should

made
made

This

Guru.

(first)

to

meaning

Hamsa

pervades

Knowing

seed.

it,

all

Hamsa and

Para-

inclination

his

who

bodies like Are in

one reaches not death.

is

devoted

wood and
The anus

be contracted, then the air should be led upwards

and

go round the Svadhisthana three times, it should then be

go through Manipura and Anahata and the airs (Pranan)

should be stopped in the Visuddha Cakra,

The

the Brahmarandhra should be meditated upon.

Ajfia

Cakra and then

Whilst so meditating

Sadhaka) should constantly think of himself as the Trimatra

(the

(Omkara).
the

be understood

of

has controlled his senses (Ddnta) and

sesamum
to

clear the

will

Brahmacarin who has controlled

the

to

who

(S'dnta)

from the Hamsopanishad

text

now make

shall

51

This

He

should next meditate upon Nada, as extending from

Muladhara, which Nada

sathkds'a) for this

verily

is

is

like

Brahman

pure crystal {S'uddha-sphatikathe Paramatma."

By

this the

Upanisad teaches that the Svarupa of the Mulakundalini, who pervades

the body from the Muladhara to the Brahmarandhra, is Nadatmaka,

The
"

text in a later passage says

When Hamsa

the state which

is)

samhara (=cessation

becomes dissolved into (Llna) Nada then

TurydtUa,

Unmanana

(mindless) and

(arise?

AjapopaA

of breathing)."

Nada is divided (by this Upanisad) as follows

" Sound arises of ten kinds. Cini is the first, Cinicini is the
Sound of conchshell
second. The third is bell sound (Ghantanada).
(S'amkhanada) is the fourth. The fifth is the sound from a stringed
instrument (Tantrlndda). The sound of of cymbals (Talanada) is the
:

sixth.

The

seventh

is

the sound of a flute (Venunada) and eighth

that of a kettledrum (Bherinada).

drum (Mrdanga) and

The ninth

is

the sound of clay-made

the tenth the sound of thunder (Meghandda).

8
should practised.
After the ninth has been experienced the tenth
The mind dissolves in that. When the mind is so dissolved when
10
are burnt
Samkalpa and Vikalpa" cease when merit and demerit

then there appears {Prakds'ate) Sadas'iva who is S'akti (S'aktydtma)

Omnipresent {Sarvatrdvasthita) Light itself {Svayamjyotih) Pure
{STuddha) Illumined (Buddha) Eternal {Nitya) Stainless" (Niranjana)
,nd Tranquil (S'&nta),"

KXMA-KALI-VILISA

52
" She

is

groups are A, Ka, Ca, Ta, Ta, Pa, Ya, S'a and

By

The

the nine groups of the lettero " (NavavargitmS) .

sthula (gross)

meant that she

is

is

La M

nine

within the range of

all

ordinary experience (Sarvavi$aya-vyavaha'rinl).

The

Bhutalipis are manifested letters {Bhutan' ceti lipayas'ceti).

(BMtatvam)

existingness

of the letters consists in their capability of

being uttered or expressed by particular efforts (Cesta).

The produc-

mechanical (Tac-ca kaipanam&t-

tion of these letters again is merely

rath eva) for the letters themselves are energies (Tejorupa) and therefore S'akti

The Devi (Madhyama)

(S'aJctydtmaka).

bears the

name

or designation (Akhya) of these.

The Tantra-sadbhava also says

The Matrka who (manifested)
:

"

in

this

world

is in

inseparable

(Samanvita) the Supreme Light (Paratejah), pervades

relation with

(She) O adored of the Suras

things from Brahma to the worlds.
(=Devas) pervades the whole universe as Nada. Beloved, (She is)
all

like the letter

(Siikstna)
in

it.

The

now speak so that Thou mayest

who is Supreme (Para), Subtle

I shall

in all letters.

clearly understand

S'akti

and Formless (Nirakara) is asleep coiled round the Bindu

like a serpent. There also is asleep the self-controlled

MQladhara 1 '

(Yatnl) Great Yogi

who knows and

distended by the Moon,

With Her

desires nothing.

belly

Sun, Fire, the Stars, the fourteen Worlds

(Bhuvan&ni caturdasd) She is in a swoon as if poisoned. Awakened

by the Great Sound (Parena ninadena) and churned by the fire in
Her belly), She becomes free from Her bondage (Bandhana) and

The churning"

conscious (Jndnar&pini).

and continued
first

in the

body

of the S'akti

till

is

circular in

She wakes up.

movement

When

the

unfolding or Division (Bheda) takes place Bindu attains the state

Thus (or by this) Kundall the Subtle Time {Kalasuks-md)

The Bindu which comes after (Uttaraga) S'akti (Nada)
Lord (Prabhu) who is the four Kalas 15 (Catus-kalamaya)
In

of Nada.
is
is

awakened.
the

the middle part or second stage of churning (Madhyamanthanayogena)

there
S'akti

is

straightness (Bjutva

beautifully

Kundali (Amrtakundall)
(Bindunadatva)
Bindus.

She

is

i.e.

placed between

She

is
is

led

(then)

a straight line) which

two Bindus.

The

is

Jyestha

imperishable

by Valkhari to the Bindu-nada state

known

as Lakini

17

between the two

then Tripada (Third step) and spoken of as RaudrX,

verses 26 & 27
She
tion

53

(also) called Rodhini because she obstructs the path of LiberaArhbika's form is that of a portion
(Moksamdrga-nirodhanat) M

is

moon,

of the
S'akti

who

She

is

is

one does

Ardha-candrika, the half-moon. -^The Parain this

way appear

as three.

From them "as

thus distinguished {Abhyo viviktabhyah) have originated the

group of
them.

letters

It is

nine

(Navavargak&h) which are associated (Yuktah) with

She (Paras'ahti Kundali) who

is

thought of in nine ways

being indicated by the nine groups (Navavargopalaksita)

"

so
.

Notes
1

Verses 26-28 are quoted by Laksmidhara in his

Saundaryalahari, v. 34 and he reads them differently.
*

The

Dogdhrl=She who milks

Dagdrl= She who burns up.

text is

mistake for

Commentary

to the

or brings forth, but probably

is

the state of absolute quiescence when there is no activity or

motion Samarasavastha is the state in which two are in a state of absolute
and complete absorption the one by the other.
*

S'anta

That
That

is

is, of course during the Kalpa.

is, Muladhara.
Mahamahes'varas These are Sadhakas who have attained a high

degree of perfection
I

adepts.

That is, from the Muladhara.

The tenth is Param Brahma.

"

The

state of selection,

and

rejection, of this

and that of

all variety, in

short ordinary finite experience.

10
II

Puoya and Papa.

That is, one in whom

there is no doubt, the perfect experiencer.

" This according to the commentator. Others divide the vowels into
two groups and exclude the last.
"in the text the word is " Hrid-Bindu." But this is possibly a
mistake for Mrid-bindu, by which is meant the Svayambhulinga in muladhara which is the region of Earth =Prithvi=Mrid. Here the cosmic
muladhara is spoken of.
14
That is, the cosmic manthana.
" Nivrtti, Pratistha, Vidya, SUnti.
w
That is, the place where the first Bindu is.
" Lakinl=Raudrl. Dakinl^Brahml. Rakini=Jyest ha or Vaisqavl.
u
As it were a barrier preventing what is above descending and what is
below ascending and straying away from the true path. Or the reading
may probably be Bodhinl and Nibodhanat.

* The

three S'aktis

Vama

etc.

'*
The text seems in part correct. Madras edition throws no light on
the right reading, but quotes the passage practically in the same terms.

VERSE

The

first

(i.e.

the other

(i.e.

much

gross

as such

the latter

subtle

is

There

between these two therefore

(the relation)

the gross)

(i.e.

28

Madhyama) is the cause (Kurapa) and

Madhyamn) is the effect (Karya). Inasis

the (same as the) former

(i.e.

the

no difference (between the two), for

the identity of cause (Hetu) and effect (Hetumat) is axiomatic
subtle).

is

verily

(Di$ta).

Commentary
J

The

gross form
"

is

The

whereby

Madhyama which

subtle

one with the

(A~dyd)

"

first

latter
i.e.

the cause of the

is

and that

the

one

spoken of

first

She

is

latter is gross (Sthula) i.e. the effect

of

(PHrvokta),

the cause (Karana) because she precedes the other (Anya).

from the other (Tajjanyatvat).

(Karya) because

As there

is

it

emanates

this relation of cause

and

between these two (Anayoh), namely, the subtle and gross

effect

Madhyama,
in

Madhyama

stated here.

meant the subtle {Sfikpma) Madhyama already described.

is

This

is

is

therefore, the latter (Iyam)

is

the former

no difference (Bheda) between the two.

which there

istic of

made)

is

{TadatmyaszihiX

neither difference nor nondifference)

Cause and

Effect,

as

we

see in the case of

is

the character-

mud and

the (mud-

pot.

S'ruti

"O
known.

(Chandogya

6. 1. 4)

also says

The

variation

is

in

names given

anything

it

made of clay are

when spoken of. The

things

thing becomes different only as an object of speech.

is

spoken of

it

becomes

Note
e.g.

all

to

is real."

The same

Gentle one, by one lump of clay

clay alone

When

(Sd= She). There

Identity

mud-pot becomes mud and

pot.

of

two kinds *.

VERSES

&

29

30

The

Cakra of eight triangles which is constituted of the

Sa and the Pa-varga is an expansion (Vistnra)
of the middle triangle.
These nine triangles together with
the Bindu make the ten {Dasfaha) which are lighted by the
light of Cit (Cid-dipa).
The two lights (Chayadvitayam) of
1
these ten are spread forth as two Cakras of ten triangles each
of which the inner set of ten triangles display the Ta-varga
and Ta-varga and the outer of ten triangles display the Cavarga and Ka-varga.
letters S'a, Sa,

Commentary
He

speaks of the appearance (Avirbhdva) of Vaikharl-

next

by a description of the Cakra

S'akti

Cakras

which are the going

(all)

Energy (Tejas)
The Cakra
destroyer).

of eight triangles

and other

forth (Prasarana) of the Light

and

of the middle triangle (Madhya-s>rngdta).

of eight triangles is called

The

eight

triangles of

Sarvarogahara (All-disease-

which

it

consists are the eight

Sa and the five letters of the PaIt is an expansion (Vistdra=Vikdsa) of the middle triangle
varga.
(Madhyatrikona). The nine triangles (Navakona) are the middle

namely the

letters

triangle

and the eight

the Bindu
of ten

is

letters

(Madhyang

S'a,

Sa,

triangles (here

ca)

make

spoken

of)

these together with

This group

illumined (Dipita) by the light of Cit (Cid-dipa), that

lustrous with the rays which surround Tripura

the

a group of ten (Das>aka).

is, it is

the Mother seated

Bindu-Cakra (Binducakrddhirudhdmbd) who

is

Light

in

Herself

(TejomUrti). So it has been said Nitya?oda. VI. 14)

" The Bindu is the seat of union of the Fire of final Dissolution
:

and Citkala "

In this

way

the ten and their two lights (Chdyd-

dvitayam=Kdntidvitayam) are spread

out.

By

the ten (Dasraka)

is

KlMA-KALA-VILlSA

56

meant the aforementioned three Cakras 1 which are a mass

Chayz. here

(Tejorasfimaya).

These two
'

of ten triangles

triangles each

lights

means Kanti

of light

(Lustre, light).

become spread forth (Vitata) as the two Cakras

These are the inner and outer Cakras of ten

(each).

which also are of boundless

brilliance

(Niravadhika-

Tejomandala). The two lights (Kdnti-dvitaya) relate to these two.

two

""The

Cakras

are called

SarvaraJcsakara (All-protector) and

Sarvartha-Sadhaka (All-accomplisher).

So

evolved (Parinata).

Cakra

it

of ten triangles is the

triangles "

The

*.

triangles in

By

Spread (Vitata)

is

has been said (Nitay$oda. VI, 15

form of the manifested

meant

"The

light of the nine

ten letters of the Ta-varga and Ta-varga are the

the inner Cakra of ten triangles and the ten letters of

Ca-varga and Ka-varga are the triangles in the outer Cakra.

Notes
1

Bhaskararaya who

cites portions of these two verses in

his commentary to VI. 16 of Nityaitodas'ika reads Dr$tam (seen).
The
two lights are the two Cakras of ten triangles each. There are in the whole
Yantra 43 triangles.

Vitatam.

Baindavasana
Bindu.
of

the

samrudha - sathvartanala citkalam.

Baindava

is the Asana by which is meant that it is the source

of seeing (Iksan&tmakavrtti).
On this is seated the

This Bindu
inclination

union of Sathvartanala and Citkala. By Samvartanala is meant the

Fire of Pralaya, the all-devourer Kcilagnirudra and Citkala is Tripura
(Bhaskara).
*

Bindu, Trikona, Vasukona

Navatrikona-spurita'prabhUrUpadasharakam.

(eight triangle).

taken individually and collectively with the Bindu

The
make ten.

nine triangles

VERSE

The

31

light of these (the first) four

Cakras

is

(second or outer) Cakra of ten triangles.

the fully evolved

(Then) appeared

the Cakra of fourteen triangles wherein are the fourteen vowel

letters

beginning with A.

Commentary
The

lights of

prabd-sameta).

these

The

four

(first)

The second

and inner ten-triangled Cakras.

triangles

is

or outer Cakra of ten

here described as the fully evolved (second or outer) Cakra

of ten triangles
is

Cakras (Etach-cakra-catmhka-

four Cakras are Bindu, Trikona, eight-triangled

(Daffdraparindmah).

This second ten-triangled Cakra

united {Satneta = Samyuhta) with the light of the

that

is

first

four Cakras,

the light of the four Cakras spreads over this Cakra on account

of its proximity to the others.

" United

with

So

it

has been said {Nitydsoda. VI. 17

the light of the four

Cakras

is

the evolved

(Cakra)."

In this verse

is

also described the appearance of the

Cakra

of

fourteen triangles wherein are the fourteen vowel letters beginning

with

fl.

This Cakra

all-prosperity).

is

called

Sarvasaubhdgyaddyaka (Grantor

of

VERSE
and Madhyama

Para", Pas'yanti

unuttered) gross letters,

who

is

32
in

her form or aspect as (the

by these three

is

produced Vaikhari

the fifty-one letters of the alphabet.

Commentary
After giving

description

of

the

the Cakras beginning with the

of

Bindu and ending with the Cakra

appearance of Vaikhari

of fourteen triangles, he here speaks

S'akti.

The Nature (Laksana)

Para and other S'aktis has already been described.

here

is

Vaikhari

that

who

is

all-sound

What

is

of

said

(Sarva-vabdatmika)

is

the creatrix {Nirmdtri) of the entire universe (Akhilaprapafica) which

is

composed

of

beginning with

the

of

collectivity

A and ending with

the

Ksa.

letters

{Akara-ras'imaya)

Vaikhari has been spoken of

(Nitydsoda. VI. 40) as pervading the universe or as the " world-form

(

Vis'va-vigrahd)."

Note
1

Madhyama

vargatma. The
26 and 27 ante.
of speech

is

as

Suk$ma

letters are

Madhyama

avanada-mayl and as SthulS, Navais

Madhyama but unuttered. See vv.
as the unuttered gross letters in the evolution
'

formed as

the stage immediately preceding Vaikhari.

VERSE

33

The eight groups of letters beginning with the Ka group

which are Vaikhari S'akti are on the petals of the lotus of
eight petals and it should always be borne in mind that, this,
the lotus of sixteen petals has on

its

petals the (S'aktis which

are the) vowel letters.

Commentary
He

here says
1

moving)

that

the two

and Sarva&aparipiiraka

Cakras, Sarvasamksobhatfa (All-

composed

(Fulfilling all hopes)* are

of the Vaikhari letters (VaiJcharlvatndtmaka).

Vaikhari Sakti.

fire

of

letters

By

this

is

(Asta-vaikharivargdh) the

meant that these, the eight groups

first of which is the Ka=group

{Kadi) are Vaikhari&alcti (Vaikhartyaktisvartipdh).

The

eight petals. (Astadaldbja).

of

lotus

This

is

sathk?obhana-cakra. This the lotus of sixteen petals has on

vowel

letters

The vowel

the Sarvaits

petals the

(Svaragana-samuditatn etad dvyastadaldmbhoruham).

letters

number which

(Svaragana) are the

are

letters

A and

others, sixteen in

(SamudUam=Samyagbhdvitatn) the

petals of the

sixteen-petalled lotus.

This (Etat).
to

something

By

visible

this

we

are to understand that the author points

(Paridrsyamdnam).

Should always be borne in mind.

meditated upon (Sarvadd bhdvanlyam).

Notes
1

Or
Or

it
it

may be
may be

All-moulding.
Filling-all space.

(Samcityam) that

is,

should be

VERSE

The

(three)

circles

are the

34

transformations (Vikara) of

the three lights emanating from the three Bindus.

These are

Bhupura (Bhubitnbatrayam
mothers PashyantI and others * here rest.

The

the circles in the

etat).

three

Commentary
The (three) circles (Tani vrittani). These are the circles which
surround the Cakras of fourteen triangles, the lotus of eight petals
and the lotus

of sixteen petals.

Three Bindus (Bindutraya).

red, white and mixed Bindus.
of

the substance

(Tanmaya)

of

These are the previously spoken of

The three lights (Tejatritaya) are
the three Bindus as they proceed

therefrom.

By
is

speaking of the three circles as the three lights the Cakra

to be composed of the threefold division of Moon, Sun and-

shown

Fire (Somasuryanalatrikhandamaya) so Agama says

" The Mdtrka Cakra is of three divisions consisting of Moon,
Sun and Fire."
:

By

transformations (Vik&ra)

circles of the

the Shaktis*

we have

to understand the three

three Bindus and their lights.

Apima and

others,

In these circles abide

Brahtnl and others and Sarva-

samk$obhini and others.

The three mothers Pasyanti and others here

The meaning of this is

Madhyama and Vaikharl are up

tri-tnatr-vis'rantih).

Pashyanti,

rest

(Pasyantyadi-

that the three S'aktis

to this place luminous

(Vijrmbhamana), that is, they function from the Trikona to the
Bhupura. This has been fully dealt with in the Vamakes-vara
{Nityaoda. Ch. VI. 36-40).

VERSE 34

61

Notes
'The

three

lines are

according to some immediately outside the

sixteen-petalled lotus.

.e.
1

As

Madhyama and

Vaikharl.

to the place of these S'aktis there are divergent views.

VERSE

Movement

is

35

Pada-viksepa

either

or

Kramodaya and is
who

therefore said to be of two kinds, namely, the S'aktis*

surround Her and the

movements of the lotus

These two are the

Mother {AmbnpadUmbuja-

Gurus.

line of

feet of the

parasara).

Commentary
After having fully described the S'rlcakra of Mahatripurasudari

he
J

verses (35-49) speaks of the group of S'aktis in the

fifteen

in

Cakra which surround Her (Kvarana-cakrantargatas'uktinikurumba)

and

of

Guru-mandala which

the

is

near

Her, as the

unfolding

(Parinati) of the body or limbs (Avayava) of the Devi.

Movement (Kramana). The word literally means walking

(Padakrama) Motion is effected by Padavih$epa or by Kramodaya.

By

Padaviksepa

who

countless S'aktis
S'ruti

"The

who

rays which

the

creates,

are

Self-originated

Bhairava-yamala*
Bindu

united

and

maintains

is

Her

Light

itself

with

are

Sadas'iva

withdraws

what made bodies

Worlds

numbers.

and motionless shine.

things

become

can be manifest.

(Jagadut-

(Jyotlrupd) and transcendent (Parakara).

It is

manifest.^

There

It is

is

S'iva!

thousands) ' two thousand,

by and through Her that

/O Mahes'anI

in

hundred thousand, ten millions, hundred millions there

all

Mahes-vari

the

is

the

beyond the Tattvas (Tattvattta).

is

emanating from Her body are rays

their great

rays.

also says:

and

patti-sthiti-sathghara-Jcdrini)

She

Sundarl to produce

of

(Arunopanisad) also says

{S'arlrani)"

" In

meant the power

is

are the countless millions of

by the

all

is

no counting

things moving

light of this

Devi that

nothing which bereft of Her light

Without the creative thinking

(Citi) of

Her who

is

Cit (jCidrUpa) and S'ivas'akti this moving and motionless world would
pf a certainty be enveloped in

Darkness (Andhyam apadyate n&nam).

VERSE 35
"

63

Mahes'vari of the countless millions of rays which are Moon,

Sun and Fire (Soma-suryanalatmana)

there are three hundred and

sixty which are spread throughout (Vyas'ttuvuvduah) the Brahmanda
which is in the midst thereof/ Fire has one hundred and eight. Sun
one hundred and sixteen and Moon one hundred and thirty-six rays.
O S'arhkarl, these illumine the macrocosm {Brahmanda) and the microcosm (Pinddnda) also/ The Sun (illumines) the day the Moon the
night and Fire the twilights (morning and evening): thus is time

divided {Prakasrayantah kalam

ste)

therefore these three (Sun,

Moon

and Fire) are time {Kalatmakas trayah). Three hundred and sixty ^
days make a year and S'ruti 4 says that Mahadeva who is lord of
creatures (Prajapati) is the year " (Hayanatma)."
By Kramodaya is meant going forth (Prasarana) of the Devi as
5
of the Divya, Siddha and Manava groups whose
the Gurumandalas
number is endless and whose nature is illumination (Prahas'atmaha)
Avaranam (=anything that surrounds or
Sakris who surround Her.
prevents the view)

or

encloses

used in the text to signify the

is

commonly called Avarana Cakras

Gurus (Guruparigktih) is meant the circle
or Mandala of Gurus (as above described). These two are the going
forth (Prasara ^Prasarana) or efflorescence (Vijrimbhana) of the
countless S'aktis abiding in what are

of the

lotus feet, that

So

By

Devi.

it

line

feet

is,

which are (S'ripadayuga) of the Mother Tripura.

has been said

"The

light

divided in

many

of

(MahahTejah)
million

ways but

of Tripura
in the

is (it

is

so declared)

midst of these shines trans-

cendent Mahatripura-sundarl Herself."

Notes
'The forms
follows.

of

Kramana

Padavikepa

are explained in the commentary which

step by step " in defined direction.
literally means
'

Krtfmo<toyfl= gradual expansion and unfolding in all direction.

*
Avaranam i.e. avaraita shakiis. These obstruct men from seeing
the Devt like a patch of cloud which is much smaller than the sun yet
prevents it being seen.
*
Laksmldhara in his commentary on Saundaryalaharl v. 24 points
out that the passage in Bhairavayamala beginning: "It is by the light of
" There is no sun no moon "
this Devi " explains the S'ruti text which says
quoted under verse 1 of this book.
'See Samkhayana Aratjyaka I. Taittinya Brahmana 1. 6. 2.
*
The
Cf. Bhavanopaniqad. I. Srlguruh sarvakarattabhuta S'aktih.
also see Tantraraja (XXXV. 2) (Kadiis the S'akti the Cause of all
"
The Guru is the primordial Sakti.
mata " Gururadya bhavech chaktih

Guru

VERSE

36

When

She, this all-excelling Great Queen changes into the

form of the Cakra, then the limbs of Her body change into

Avara^iadevatUs.

Commentary
The author now speaks

in

an orderly form of the mode of Her

going forth (Prasaraprasarant).

She, this (Seyam).

mass

of continuous

By

this the

and endless

author emphasizes that She

light

is

the

and energy Aparicchinnananta-

tejoras'imayi).

Great Queen (Mahes't). By

She is conscious of Her all-embracing
imperial dominion (Samrajya) and powers {Sampad= Vibhiiti), that
She is Bliss eternal, boundless and immense and that She is adored
by countless millions of Yoginis.
By Cakra here is meant
Into the form of the Cakra (Qakrak&rena)
the S'rTcakra made up of nine Cakras the first of which is Bindu and
the last Trailokyamohan. This is the Cakra which is spoken of
{Nityasoda. VI. 13) as " the Cakra of nine Cakras wherein are nine
Changes into (Pariifameta). That is when " She
different Mantras."
sees the Sphuratta of the Atma," by which is meant when She sees
the Atma who is complete Bliss and changes or assumes another
(Parinameta= AkSrSntaram avaheta)
form
Limbs of Her body change into (Taddehfivayavanith parinatih).
Her body (Deha) is a mass of light {TejahpunjUtmaka). The limbs
(Avayava) of the body are the rays.
Change is assumption of
All-excelling

this

is

(Para= SarvotkrstH)

to be understood that

'

'

another state or condition (ParinatihssAvasthSntarSpattih).

Here the surrounding DevatSs (Avaranadevatah) are the countsuch as the groups of Vasrim and others, Ayima and others,

less S'aktis

VERSE 36

who

65

are part of the ocean of Conciousness-bliss {Cidd-nanda-samud-

The

rattnaka).

countless millions of S'aktis appear and disappear like

bubbles {Budbuda) on the face of the ocean.

S'ruti* says

"

That

in

which

all

beings (Bhdvah) disappear and from which

those which disappeared reappear again and again disappear and grow
again like bubbles."

Also
"

Agama

Such

is

{Nityasod*

the Tejas

Cakra

is

composed, the S'aktis therei

Nityaoda VI. 10 and

'This
different

is

seemingly Cult

from the printed

text,

is

slightly

"

VERSES

She (who

is)

(There) She

cakra.

&

37

38

Devi Tripura-sundari abides

in the

Bindu maya-

seated in the lap of Kames'vara, a

is

moon is placed by Her as on adornment on Her

She holds in Her hands the noose, the goad, the
sugarcane bow and the five flowery arrows. She is red like the
rising sun. The Moon, the Sun and the Fire are Her three eyes.
the

digit of

forehead.

Commentary
Before giving an account of the Avarana-S'aktis, namely, Vas>ini

and others he here describes the nature (Svarupa) of the Chief or

Principal Devata (Muladevatd).

By

the Bindumaya-cakra

is

meant the Supreme Ether {Paramd-

The Bindu has elsewhere been spoken of as Paramakas'a

The Bindu is called Sarvdnandamaya(Baindave paramdkds'e).

kds'a).

cakra (Cakra of All-bliss).

By Cakra
with the Xtma.

meant the Pitha

is

in

which She may unite and enjoy

(Atma-sathkramana-viharandrha-pitha).

S'ruti says

" Wherein She moved that became the Cakra "

" Abides in " (Asind) that

is

{Binduparipradesre virajamd.no).

(Sa Tripura-sundari Devi.)

She

is

" She (who

shining above the Bindu

is)

Devi Tripura-sundari

The pronoun She

impress on the mind the fact that She

is

(Sd)

is

used here to

not limited by space or time (Des'akdldkdranavdcchinnd)

Self of

Cause

is

is

is

the very

That (Tatsvarupini) and adorable (Sprhanlya) as She

of all

She

By

who

the Tripura-sundari

is

the

{SarvaMranatvena).
seated in

lap (Anka)

is

the lap of Kamesvara (Kdmesvardnka-nilaya).

meant the

thigh of Kames'vara

who

is

left thigh.

Her abode

the Lord adored by

has been said in Bhairava-ydmala

all

or seat

is

{Sfrlndtha).

the

left

So

it

VERSES 37 & 38

"The knowledge
ParSs'akti

the middle of

She

Lady.

(Vidya) of the greatness (KalaVibhUti) of

the form of the S'rlcakra (S'rlcakrukarariipini)

in

is

the place of the Bindu and in

is

it

it is

with Sadas'iva and

united (Samprkta)

is

67

of Tripura-sundari

is

the universe

is

Tattvas (Sarvatattvatika) and ever-existent (Sati).

Cakra

the

In

*.

Supreme

beyond

Is'vari

all

The

(Brahmanandakaratti)."

itself

This word means that She enjoys Herself (Vinodinx)

Devi.

in

the work (Vyapara) of Creation and the like of the universe.

of the

digit

moon

is

placed by Her, as an adornment, on Her

The

forehead (Kalaya candrasya halpitottams/d).

one which
that

the

life

is

merely an accessory (Upakarana)

digit

is

the

Kalpita,

Moon (Candra-tnan-

enjoyment

for

(Kala)

The word

of the universe (Vurvajivini).

placed (used) shows that the region of the

is,

data)

is

of Bhagavati.

Noose (Pas'a) represents Icchas'akti (Iccharnkti-svarupa) which

is

the bondage causing the distinction between the individual self and

the

Supreme
Goad

Spirit

Svatmabheda-bandhana).

(Aiikusra)

represents

Jnanas'akti

which

the

is

means

(Upaya) whereby the difference (Bheda) between Sva (Brahman) and

Rupa (Form)

is

destroyed.

The sugarcane bow and the

five flowery

arrows (Iksucapa-prasunavarapancalia) represent Kriyas'dkti which

is

cause (Sddhana=lit. instrument) of attachment (Avarjana) to things

(Akara=lit. Forms) outside one's
this

is

that

it

is

the

S'aktis

self

Iccha,

(Svabhinna)

9
.

The

sense of

Jnana and Kriya which

in

obedience to Her behest assume the forms of Pasa and the like and

remain

in

Her

service

(Tadupasanam

acaranti).

So the Vamakes'vara (Nityasoda. VI. 53) says

"
is

The

Will (Icchas'akti), the goad (Ankusa) which

s'akti)

resplendent one holding in her hand the noose (Pas'a) which

and the arrows and the bow which

is

is

Knowledge (Jnana-

Action (Kriyas'akti).

, '

Notes
1

Yad esha cathkramat

derived from the root

tach cakramabhavat.

kramu-to move,

'According to another reading of

translation would read thus

The word " cakra

to step out, to evolve or

this text,

the

first

"

is

emanate.

portion of the

Kalll (=Hardakald) = Vidya (i.e. the Mantra of 15 letters) =Par5s'akti

who assumes the form of, or manifests as, the S'rlcakra.
'
As to Pas'a, Ankusha, bow and arrows compare BMvanopani$ad 21-24,

VERSE

That

39

couple (Kames'vara and Tripura-sundari) are in the

triangle which

constituted by the three Bindus {Bindu-

is

trayZtmaka) and by reason of change of aspect (Gunabhedut)

she assumes the form of three other couples the
is

Kames'I-Mitres'a

first

of which

1
.

Commentary
The author

here speaks of the celestial couple

who

is

the very

Gurumandalas (Qurumandala-svarupa) of the Divya, Siddha

and Manava lines (Ogha) of Gurus who are seemingly different but

self of

the

not really so (Avivesa-bheda-bhinna) That couple (Tan-mithunath),

By the word " That " it is to be understood that the couple Kamakames'varl recognised in

v The meaning
which divides

is

into

Itself

Upanisads

all

that

{Mithuna-rupena viharati).
the text which begins "

enjoy " speaks of the

is

here meant.

Supreme Spirit (Paratnatma)

Female and Male and enjoys as the couple
it

He

the

is

S'ruti also

(Brhadarayyaka

verily did not enjoy because

Brahman who within

1. 4.

3)

by

one cannot

enjoys as the paired

Itself

male and female (Mithundtmaviharanas'ila).

Ugama (Rahasyagama)

Paramasava who is the

Prakava and Vimars>a brought down

also says that

paired or united (Mithumbhuta)

(Samavatarayaf)

all

the Tantras

"SadSs'iva Himself remaining in the positions of (both) Teacher

(Guru) and Disciple (S'isya) by words cast in the form of questions

and answers brings down Tantra (on Earth)."

The couple (Mithuna) who

assume the forms
varl and

are the united

of Mitreshanatha-Mmesfvart,

Kama and

Sasthlmnatha-Bhagamalini as the three

the Divya, Siddha and

Manava

lines (of

Kames'varl

Uddisanatha-Bajres -

Gurus) *.

pairs (Mithuna) of

VERSE 39

69

Notes
1

TripurS is in the centre Bindu. The surrounding Three Bindus

In the single Bindu at foot She is Guru of the
the inverted triangle,
Tretayuga. In the upper right Bindu She is the Guru of the DvUparayuga
and in the upper left Bindu of the Kaliyuga.

make

'See TantrarSja (Vol. VIII, T&ntrik Texts) Chap.

Under V. 52 post the names

given differently.

of the three

I.

Gurus and

Possibly one or other portion of the text

7 and Chap. II.

their S'aktis are
is incorrect.

VERSE
Those
and

that abide in the

the

others

who

are

i(Cakra of eight triangles)

ylDevI,

which

is

the

40

Cakra of eight triangles are Vas'ini

red like the evening sun. This

is

the eight-fold (subtle) body, of the

Cakra and the Self thereof

is

Supreme

the

Experience (Samvid).

Commentary
From

here onwards he describes the form and nature {Svarupa"

bhavan) of the surrounding Devatas (Avarana-devatdh)

abide in the Cakra of eight triangles"

Cakra

of eight

triangles

The

V disease-destroyer).
Cakra.

They

The

Sarvarogahara

(All-

the Cakra called

is

Those that

(Vasukona-nivdsinyah).

eight S'aktis Vasini

and

others abide in this

are powerful to grant the bliss arising from the experi-

ence of complete 'I-ness' (Purnahambhavadana-samarthah).

because they are able to give the experience of complete
this

Cakra

y " The

is

Rogahara.

For

it

'

I-ness

It
'

is

that v

has been said

sense of imperfection

is

disease

and the source misery."

(Apilrnam-manyatd vyadhih kdrpanyaika-niddnabhuh) These S'aktis

shine like the evening sun and are therefore described as red like the

evening sun
^

(Samdhydrund). The Devi

(Samviddtmd) by which

is

is the Supreme Experience

meant that Her own form (Svarupa) is

Knowledge-in-ltself. S'ruti (in reference to the Brahman) speaks of

"Being (Satyam), Knowledge {Jndnam) and Eternity (Anantam) ".
Agama says that the " Devi Tripura is Svasamvid ". By Devi
is meant that She in Her desire " to be many " is playfully moving

about and active {yiharaqa-svabh&vd).

The Cakra
Devi

of

eight triangles

{Cakratanoh

(jCakr&tmika).

is

purya$takatti)

By Cakra

is

the eight-fold (subtle)

in

meant the

the

body

of the

form of the S'ricakra

S'ricakra.

The

subtle

body

VERSE 40
(Puryastaka m Eightfold

compose

They

it.

body)

is

so called because of the eight which

are as the Svacchanda Tantra says

"Citi, Citta, Caitanya, Cetana,

S'arira

71

Indriya-karma, Jiva, Kalaand

1
.

These

S'aktis, are ca

w$oda. VIII. 162)

because they are subtle.

'

Different stages of

Nityti$odas'ika

^StKSla body

jasTBI Manas
(7)

VIII, 160

of the Devi.

Karma and

etc., (4)

(8)

the

Tamas.

lis

commentary on

tute the eightfold

JMnendri-

(I)

the

at

etc., (6)

Kama,

VERSE
As

for

41

Her powers, they having assumed the forms

and others abide

in the inner ten-triangled

beautiful like the

autumnal moon.

Cakra.

of Sarvajfla

They

are

Commentary
Her powers 1 (Visaya-vrttayah) are

in

close

proximity to the

Cakra of eight triangles.

They (Tah). By this is emphasized their well-known power (to
assist the Sadhaka) to maintain the identity of his self and the
(Supreme) Stma (Svdtmaikyarupa-raksana-dhdrinilvena prasiddhdh)'
Having assumed the form of Sarvajna and others (Sarvajnddisvariipam
dpanndh) these powers become the ten S'aktis Sarvajna and others
and abide in the Cakra of ten triangles known by the name of Sarvaraksdkara.
like the

They

are called Nigarbhayogints

and are white and

clear

autumnal moon (S'aradindu-sundardkdrdh).

Notes
1

That

is,

they are the inner Cakra of ten triangles.

This Cakra

is

so close to the Bindu.

He who

realises

them

is

near to

Self-realisation.
*

The

expression

Nigarbha has been defined by Bhaskararaya under

VII. 48 and VIII. 157 Nityasoda.

VERSE

The

42

Yoginis in the series of angles outside this

those the

first

whom

of

is

(last)

They

Sarva-siddhiprada.

are

are the

objects of the Jnanendriyas and Karmendriyas of the Devi

and are adorned with white raiment and ornament.

Commentary
In

(Tad-bahya-pankti-

the series of triangles outside this (last)

konesu).

By "this"

is

meant Sarvaraksakara -cakra, outside which

the Cakra called Sarvarthasadhaka.

is

(Accomplisher of All-aims).

By

In the series of angles {Panktionesu).

this

we

are to under-

stand that the angles of the triangles of which the Sarvarthasadhaka-

cakra

is

composed are

The

ralisakara-cakra.
called Kulakaulas

proximity to the triangles of the Sarva-

in

Yoginis in this Cakra {Sarvarthasadhaka) are

and they are the ten

S'aktis

Sarvasiddhiprada y

and others.
They axe the

objects of sense perception such as sound

They

and karmendriyas of the

These ten S'aktis are the

objects of the jnanendriyas

Devi {Devl-dhl-karmendriyavisaya-maydh).

are clad in white raiment

The

{Vis'ada-vesa-bhilsadhyah).

and

their

is

of hearing

adornment

sense of this

is

and the
is

'

like.

also white

that these S'aktis

are inseparate from or identical with (Abhedariipdh) the Mantra, the

Devata and the Sadhaka's

self

and are white, clad

in

white raiment

and grant Siddhi.

Notes
*

Cf. Nityasoda.

VIIL

151-*55.

*
That is, they help the Sadhaka
and the Devata.

to realise his identity

with the Mantra

VERSE
Those

(S'aktis)

who have

43

their places in the

movements

teen triangles are the unfolding

Cakra of

instruments (of mind and senses) of the Devi.

clad

in

garments (red)

the evening sun

like

four-

of the fourteen*

They

are

and are the

Sampradaya-yoginis and they should be meditated upon as

above.

Commentary
This Cakra of fourteen triangles

ddyaka (Giver

of All-prosperity).

karana) of the Devi are

of

five of

The

is

called Sarva-saubhagya-

fourteen

instruments (Manu-

Jnana (Panca-jrianendriyani), the

five

Karma (Panca-karmendriyani) and Manas, Buddhi, Aharhkdra,

Citta.

Un-folding Movements {Vivarana-sphurana).

(Sphurana)

of

the

senses are

in

The movements

the Cakra of fourteen triangles

{Bhuvanaracakra) as the Saktis therein.

The Devi

Herself

is in

this

Cakra as the fourteen Devatas who are Her fourteen instruments.

The

S'aktis or

Devatas are Sarvasamksobhini and others.

They

are

called Sampradaya-yoginis because they are forms of the Adis'akti

They should be meditated upon as unmanifestv

(Adisraktimayatvena).
{Avyakta).

Note
1

The word Manu

number.

used for 14 and Bhuvana

There are 14 Manus and 14 Bhuvanas.*
is

is

used for the same

VERSE

44

Avyakta, Mahat, Aharhkriti and the (five) Tanmatras having

assumed womanly forms abide resplendent in the lotus of
eight petals.
They are known as the Guptatara-yoginls.

Commentary
By Avyakta

(unmanifest)

is

'Prakrit, by Mahat or Mahattattva

is

meant the Avyakta-tattva i.e.

meant Buddhi and by Ahamkriti

meant Ahathkara-tattva. The Tanmatras are the five Tanmatras

and others. These make eight. These eight have in this
Cakra assumed womanly forms (Svlkrtdrigandkdrah). They are forms
of the Devi (Devydttnikd).
is

of Prthivi

They

are

Guptatara-yoginls because they are within

called

These eight S'aktis who are

Ananga-kusumd and others abide in the Cakra of eight petals which
Abide resplendent (Jayanti) i.e. they
is called Sarvasarhkshobhana.
{Antaranga-bhutd) the

are there excelling

all

Mula-devl.

(Sarvotkar?ena vartante).

Note
1

Antaranga-lit. comprehended; inseparable.

VERSE

The

45

Bhutas, the ten Senses and

Mind (Manas)

are the six-

As Kamakarsini and

teen variations (Vikctra) of the Devi.

others (KumnkarsinyUdisvarupatah) they dwell in the lotus of

sixteen petals.

Commentary
By

the Bhutas

(Prithivyddini).

is

The

These

{Jridnakarmobhayalaksana).

is

karsini

called

and

fifteen

which are

sixteen variations of the Devi

which

of "

meant the elements

Earth " and others

ten senses are the sense of perception

Sarvds'dpariptlraka,

others

and action

and Mind (Manas) are the

in the

Cakra

of sixteen petals

as the sixteen S'aktis

(Kdmdkarsinyddisodasasaktydkdrena).

Cakra called Sarvdsraparipuraka

KamaIn the

(Fulfiller of All-hopes)' dwell the

Gupta-yoginis, Kamakarsini and others

who

are the vowels (Svardt-

tnikdh).

Notes
1

Cf.
*

Bhavanopanisad, (Rk.

Or, that which

fills

up

all

13).

the points of compass, that

is, all

space.

VERSE
All

the MudrSs
They are in

all.

46

including Trikhanda are Sarhvit and excel

the

first

(innermost) section of the Bhupura

and resemble the young sun

in their lustre.

Commentary
Including Trikhanda (Trikhandayd saha) that

Trikhanda Mudra.

fire

Samvit (Samvinmayi

i.e.

is,

along with the

inherent in Cidghana,

Massive Consciousness or Brahman (Cidghananisthdh).

They
.Bhupura. (Adimahlgrhavdsdh = Adimacaturas'ramlaydh
.

that

is

they abide in the

first

or innermost section of the square

1
which is called MaM-grha, {Bhupura and the like).
That the Mudras are of the nature of Sarhvit

is

shown

in the

following text
"

mudra

Mudra moves
is

The

who
said

in the

Ether or Cit (Cid-vyomacdrim).

Khecari

the state of S'iva (S'ivavastha).

ten

dispel

Mudras Sarvasathksobhinl and the rest

and give great Bliss or happiness.

fear

are great S'aktis

So

it

has been

"Mudras
influences of)

men from (the evil

and destroy the many bonds

are so called because they free

Grahas and the

like

(which enslave men)*."

These Mudras are the Queens (Adhisthdna-ndyikd)

of the nine

Cakras beginning with the square (Caturasrddi) and ending with the
Bindu (Baindavdnta). This has been dealt with in the Vamakes'vara
(Nitya?oda. VI. 57-71)" where it is shown how Cit S'akti, when She
makes manifest and cognises the Universe as " This " on Herself as
the basis assumes the forms of the several

Mudras there mentioned.

Notes
1

This Bhupura consists of three sections as the following verses show.

kama-kala-vilIsa

78

Sanskrit ' Muc ' " Dissolve ", " Destroy " is Dravayanti in Sanskrit and is derived from the root Dru=to dissolve, fuse.
In the passage quoted from Nityasoda.
Dravana is used in the sense of
" fusion."
1

'

To

free

'

is

in

'

'

The commentator quotes only the beginning and end of the passage.
The Mudras require a more full treatment and that is why a brief summary
is

given here.

VERSE

Her

nine Adharas

The

Cakras.

become changed

transformed (Parinata) into nine

are

S'aktis

47

of

the

nine

Nathas therefore also

into (Paritiatcl) the forms of the

Mudras

(MudrZlkctrena)

Commentary
The

nine Adharas are Akula*, Muladhara, Svddhisthana, Mani-

These are the

She as the Upasaka {Upasaka-

pura, Anahata, Vis'uddha, Lathbika, Ajria and Bindu.

Adharas

of the

Devi

in the sense that

possesses these.

svarupini)

Similarly the (nine) S'aktis of the nine

Nathas become the nine Mudras.

Notes
1

That

is,

The

centres.

Adhara means a " support "

MuIadhararoot

support.
'

The

red lotus of thousand petals below the Muladhara corresponding

to the white

Sahasrdra

lotus.

vakaih mudras'aktayah

'

Cf.

Bhavanopanisad

and Bhaskararaya's note

13)
thereto.

'
:

Adharana-

VERSE

48

Her

seven Dhatus skin and the rest and Her form manifest
as the forms of the eight Mothers Brahmi and others. They
1
dwell in the middle Bhubimba.

Commentary
Seven Dhatus skin and the

rest.

(Tvagadi-saptadhatavah). These

seven Dhatus of the Devi and Her form (Akara) assume the shape of
the eight Matrikas Brahmi, and others and abide in the middle section
of the

Bhupura (.Madhyama-bhubimba-niketanagah).

Note
1

Bhubimba the

disc or circle of the Bhupura which is the square and

forms the base of the S'ricakra. These S'aktis are in the middle circle.
The Bhavanopattisad (Rk 12) says: Kama-krodha-lobha-moha-madamUtsarya-punya-papamaya Brahmyadyastas'aktayah. And the TantraUrmayah punyapape ca Brahmyadya matarah smrtah.
rZtja also says

VERSE

Her
of

Powers,

(eight)

Animn and others, assume the forms

women and are attainable by other
1

young

beautiful

49

Being of secondary nature they are

(lowest) section of the Bhupura.

practices (Vidy&s).

the last

in

Commentary
Her (Asyah)
and others
Bhutis the

of the Parames'varT

i.e.

first in

enumeration

by

(eight) powers, flnima

which

of

is

Anima.

These are

in the

women (Kamaniya-kamini-rupah).

form of beautiful young

Attainable

Her

These are the eight Siddhis or

(Animadibhiitayah).

other

(Vidyantaraphalabhiitah)

Vidyas

that

is,

these Siddhis or great powers are the fruits attainable by the practice
of other Vidyas such as

Being

Hathayoga and

others.

These not being of

is Moksa are to be

secondary nature (Gtmabhavena)*

of

a nature as important as the Highest

Aim which

considered negligible and ultimately discarded (Guna-bhavena^Upa'

sarjanlbhavena).

niketanagah)
of

the

square.

Are

That

in the last section ot the

is

Bhupura, (Antyabhii-

they are in the lowest (of the three) sections

By worshipping Paramatma

in

this

manner the

Sadhaka becomes the Great Lord (Parames'vara) Himself.

Notes
1

The BhSvanopanisad (Rk.

Niyatih SfHfigaradayo

11 says)
rasa"

atjimadayah

and the Tantrarlija also says

Sricakre siddhayah prokta rasa niyaiisamyutah.
1
The word Guija is here used to mean " Secondary " or " Subordinate "
" Chief " " Foremost ".
as opposed Mukhya which means
:

VERSE
Parama

S'iva

who

the

is

experiences the highest Bliss.

(S'akti)

50

Lord and
It is

is

one with the Bindu

He who

in his

Vimars'a

aspect becomes gradually differentiated and assumes

the form of Kames'a.

Commentary
Having

in

manner described explained the stages

ing of the Cakra (Cakrakrama) which

kala (Kdmakaldvildsanariipa), he
disciples

commences

Parama^iva

in

four

to describe

verses of

is

now

of the unfold-

but a manifestation of
in

his

Kama-

kindness towards his

the series of Gurus beginning with

which

this

is

the

first.

For a true

knowledge of the Cakra, the Devata and Mantra can be gained by

knowing the succession of Gurus who are Parames'vara (Parames/vardtmaka-guru-krama-jndna-bhdvena labhyate)
"Experiences the highest Bliss" (Paramdnanddnu-bhdvah). That
is,

He

is

the

the knowledge or experience (Anvibhdva

One who has

(Parama =Sarvotkrsta).

Jndna) which excels

all

Snanda or

experience as complete ' I-ness (Pari'

S'ruti also says " other creatures experience a

other bliss

Bliss consists in

purndhathbhavarupa).

fragment of this Bliss

Parama Siva who

"

This

'

l
.

is

the Lord and

is

one with the Bindu (Parama'

By Parama Guru is meant the First

Guru (Adindtha) who is Parama S'iva. The Bindu is one with Him.
(NirvivesaAbhinna), The Bindu is the Kamakala (KdmakaUrupa).
He whose Self (Atmd = Svarupa) is the Bindu is the Parama S'iva
who is the First Lord or Guru (Adindtharupl Paramasrivah).
The Upanisads contain various texts like the following " Bliss
is Brahman " (Tait. 3-6.) " Brahman is Truth (or Being), Knowledge
and Eternal " (Tait. 2-9-1). " To the (Brahman who is) pure Cit

guru-nirvishesha-bindvdtmd).

VERSE 50

83

(Cinmdtra), All-seeing (Sarvadrasta), All-witnessing (Sarva-sakt), All-

absorbing

(Sarva-grdsa All devouring)

(Sarvapremdspada),

and

Bliss

who

who

Being

is in Itself

is

the Adored of all

(Sat),

Consciousness (Cit)

(Ananda) dependent on nothing (mdtra) and massive

Experience (Ekarasa)

Uttara. 5-8)

", (Nri.

and again " This Atma

is

pure Being (Sanmdtra), Eternal (Nitya), Knowledge {Buddha), Pure

(S'uddha), Truth

and

(Satya), Free (Mukta), devoid of

Omnipresent

Supreme (Para) "

Non-dual

(Vibhu),

Maya (Niranjana)

(Advaya),

Bliss

(Ananda),

(Nri. Uttara 9-9).

The}' lead to the conclusion that

it is

the very merciful Parames'-

the supreme Truth as massive Consciousness and Bliss and as ^

vara,

both Prakasha and Vimarsha (Chiddnandaghanaparamdrtha-prakdsha-

who divided His own Self into the Bindus making

Kamakala and became Kamakames'vari and other couples who are the
Divya, the Siddha* and Manava lines of Gurus. He thus becomes
the whole body of the Gurus (Gurumandalattna) and protects such as

vimarshdtmd)

are truly devout.

Atma.

The Atma

This

is

the sense.

verily

is

this S'akti.

S'ruti also says

She

is

the

" He

is

this

Becoming (Bhdva)

and non-Becoming (Abhava), the Being and non-Being."

If Paramagurunirvisheshabindvatma be read as two words as
Paratnaguruh and Nirvisheshabindvdtmd then the meaning will be
that

the

Paramaguru which

is

name

another

for

transcendent (Nirvishesha-Nishprapancha) Bindu

(Lakshana) Sat, Chit and Ananda.

"The Supreme Ether

is

Gurumandala the

(Sah punah).

It is

first

the

Sat, Chit

there

is

is

has been said

is

is

the

indicated by

the Bindu which

is

and Ananda, One without a

no distinction of subject and

imperishable (Nirdmaya.)"

The Parames'vara who

the

is

whom

object* (Nirvihalpa) and

it

(Kka&a) which

transcendent (Nisprapancha),

second (Nirabhdsa), in

So

Adinatha

who

is

of

like this did

whom

is

Himself become (Abhiit)

Kamakames'vari.

Paramatma already spoken

of,

"

It is

who by

He "

degrees

(Kratnena) becomes differentiated (Bhinnah) in the manner to be later

shown

as the

Divya and Siddha classes from His Vimarsha part

By Vimarsha is meant His own S'akti as Kama-

(Vimarshangshat).
kala.

By

part (Angsha)

Assumes the form

into the state

is

meant

half of this.

Kamesha (Kdtneshatvang yay<*=Changed

of Kamesha). That is He himself became Kamaraja. The
of

84

KaMA-KALA-VILASA

sense of this

His own

that

is

self

into

and the Disciple

it is

the

Paramatm who

Kama and

of

His own

will divided

Kames'vari and as the Teacher (Guru)

(S'isya) brings

down

all

Tantras.

S'ruti (Brha. Ar,

143) also says:

"

He

divided this

Atma

into

two

thereby arose Husband and

Wife".

Notes
1

Etasyaivanandasyattyani bhutani mStram

_
Aranyaka 4-3-32).
1

SiddhaThese form

Different schools or

the second

Sampradayas have

three classes.
1

Knower and

object of knowledge.

class

different

upajlvanti

of Gurus
names for

in

the

all

{Brhad.

Tantras.

Gurus

of the

VERSE
Guru who abides in
Krta Yuga impart the Vidya"
S'TVA the

51

the Uddlyanapitha did in the

to Her,

His own

S'akti

the

Vimars'a-rupini Kames'varL

Commentary
In this verse he further discusses what has been stated in the

By

preceding verse.

author of

all

So

(Jiidnopadestd).

The word

'

Gu

that which dispels

Who
is

it

(Gurur updyah)

success)."

"

meant the Paramatma who is the

Guru is he who instructs in Jnana
has been said that " the Guru is means (of

'Siva'

is

(Sarvapravartaka).

it,

also 1

signifies

'

Guru

is

darkness and the word

(Asinah

abides in the Uddiyanapitha.

meant that the abode

'

Ru

signifies

'

so called because he dispels darkness."

of S'iva is the

By

S'ripithe),

this

Uddiyana-pitha within the

innermost triangle.
In the Krita

that

it

was

By

Yuga {Krtayugakdle).

in the

this

we

are to understand

beginning of Krta or Satya Age that S'iva imparted

By Vidya

the knowledge of the Vidya.

is

meant the Vidya which

Upanisads and whereby a man can

oneness with the Atma {Atmaikyapraddyinl).
Did impart (Dadau). Fully instructed (Upadides'a).
fully

own

established in

all

The

Sakti (Tasyai svas'aktyai).

to press

kdnandaddyini).

all

His own

creatures
S'akti.

Her, His

pronoun " Her" is

that it is She who gives

force of the

on the reader's attention the

boundless happiness to

is

realise his

fact

{Sarva-bhutdndth, niravadhi-

(Svas'akti).

By

we

this

are to

She who enables the Lord to manifest His own

Being (Svasvarupasattdsathpraddtri). So it has been said
" Even the Supreme if disunited from S'akti is unable to do

understand that

it is

anything.

with S'akti."

Parames'ani

He

is

capable

(of action) if

He

is

united

KlMA-KALl-VILlSA

86

She

Vimarsarupini.
S'akti

is

is

so called because

is

which

Prakas'a and the

is

Kala and

Kamesvari.
in every

way

is

She

grants

Supreme

S'iva

The

is

the

Supreme

and the

is

the

first

letter

Ha

is

letter

So
of all

the last

called Vimars'a."
is

all

so

called

because She at

all

times and

objects of desire (Sarvabhistct'pradayini) and

one with one's own Atma (Svatmabhuta).

Note
1

She

the resting place of) the supreme manifesting

is

has been said, (Samketapaddhati) "

and

is

{lit.

(Anuttardnanda-vis'ranti'SthanabhMa-^akti-para'rupim)

Bliss.
it

which

KulSrnava 1'antra XVII.

7.

VERSES

She who

is

the

Queen

52

&

53

of the (three) places

and bears the

appellations of the Eldest, the Middle or the Second and the

Youngest and who is the object of enjoyment of Parama S'iva

assumed the name of Mitradeva/ It is She who having first
purified the Gurus (by initiation) revealed the Vidya to them

who

are

of which

the seeds
is

the

of

(three)

Ages (yugas) the

first

Treta and who are the Lords of the three Bljas.

It is by these (three Gurus) that the three groups or classes

(Ogha) are maintained. Now has been said the order of the

Gurus (Gurukrama).

Commentary
The
thus

tradition

(Sampraddya) relating to the Gurus may be put

True that these two (Kames'vara and Kames'varl) are of equal

high degree (Samatattvau) and are identical (Samau) and S'akti
is

ever young {Ajara) and the Cause of the universe (Vi&vayom) and

the Sankhayana branch (of the Rgveda) has said " primeval s'akti is
3
the mother of the universe (Vis'vajanyd) " yet Parama
red (Aruna)
S'iva

who was

desirous of revealing His secret system {Rahasyatantra)

containing the essence of

as

is

shown

who

all

the Upanisads did so by the aid of

the Cause of all (Sarvakdra^a rilpinl)

by the expression " Visrva-yoni or Vi&vajanya."

Kames'varl Herself

is

After the creation of the universe in the First (Adi

i.e.

Satya or

He was in the Uddiydria-pUha which is replete

His own Illumination (Prakds'dnanda-sdratrtaya)

Krta) Age abiding as

with the Bliss of

He

under His name S'ri-carya-nanda-natha instructed the adorable

Lady who

is

one with

(S'rlvidydkrama).

He

Him

in

the

Himself says:

rules

relating

to S'fl-vidya,

88

KaMA-KALa-VILaSA
"Verily

do

adore the

which

Great centre of the Cakra

supreme Bliss and the innermost essence of Prakas'a and Vimars'a

(Anuttara vimars'aikasara) and pure experience (Samvinmaya)."
is

She
the
of

in

the Treta,

Gurus

mentioned

(S'dmbhava

S'iva

follows

below

introduce

The

the

in the

very

order of

forms of
system

secret

Gurus

the

is

as

To

Dvapara and Kali Ages did

Tantrum)

understand the gem of S'rI-vidya (either

two

of)

lines of

may be followed. They are the line of Kamaraja and the

Lopamudra. The line of Kamaraja is to be found in every
form of Vidya (Sakala-vidydnusamdhyavicchinna) and this has been
(Sathtana),

line of

said by even the

G urus

They

of old.

say that the line of

runs in sections (Vicchinnatayd pravartate).

There are

Lopamudra

in this seven

Gurus of the Divya class four of the Siddha class and eight of the
Manava class 8 The order of the Divya class is as follows. In the
beginning of the Krta Age, Parama S'iva Himself who abides in the
Uddlydnapltha and is one (Vimristatanu) with Mahatripurasundari
.

who is His own S'akti (Svdtmas'aktydkhyd) is the first Guru under

the name of S'rlcaryanandanatha.
So it has been said
" She who is the body of Kamaraja'abides in the Uddtydnapltha
which
state

is

in

the middle of the (first) triangular

Cakra

in a

soundless

(Asvardkdratdm prdpya tryasrasamgketam adhyagdt)"

At the apex of the inner inverted triangle which is Kdmarupa-

who

pltha abides S'rimad Drddhvadeva-natha

Treta Age and

one with

is

Vdgbhava Blja.
" She who

So
is

has been said

it

at

is

the

Guru

of the

Kames'varl the presiding Devata of

:

the apex of the inverted triangle

is

Kames'I

abiding in Kdmapitha."

At the right hand corner of the inner triangle which is the

is Sasthadeva-natha who is the Guru of the Dvapara

JdlamdharapUha
Age and who is
Vajres'vari

So

it

who

in

a state of inseparate union (Militasvariipa) with

(the presiding

is

Devata

of)

Kamaraja

" At the right-hand corner of the triangle which

pltha

is

Bija.

has been said

is

the J dlamdhara-

Vajres'i ".

At the

left

Purrtagiri-pltha

hand corner
is

of

the middle triangle which

Mitradevanatha

who

is

the

Guru

is

of the Kali

the

Age

verses 52 & 53
and

one with Bhagamalini who

is

So

there.

it

has been said

who

"Bhages'I
the triangle

89

the Devata of the S'akti Blja

is

abides in the

Pumapltha

is

in the left corner of

".

Mitres'adeva did in the beginning of the Kali Age bestow his

grace on the venerated

for

their great

compose the Divya

We

now

She

Lopamudra and Agastya,

(Tapas).

devotion

the couple refulgent

Particulars about the seven

class can only be

known from

who

the Guru.

follow the text.

By

(Sa).

the aforementioned beloved (Prananayika)

this

Parama S'iva is meant. She assumed * the name of Mitradevanatha.

Here the mention of Mitradeva implies the Gurus of the Treta and
Dvapara Ages. She in turn becomes the Gurus of the Treta and

of

other Yugas and continues the tradition.

Lady or Queen

That

the three places (Sthanes'a).

She

is

the

presiding Devata (Js'a=Adhisthdtn) of the apex, the right and

left

corners

of

Vajres'varl

of

middle

the

triangle

is

where She abides as Kames'varl,

and Bhagamalini respectively.

Bears the appellations of the the Eldest the Second and the Youngest.

Jyestha means Eldest or most excellent.^

(Jyestha-madhya-bdldkhyd).

By

this expression S'rlmad

(Madhya)

or

(Bala, which

Second

S'ri

Urddhvadeva-natha

means a boy)

is

meant

S'ri

is

By Middle

meant.

meant and by Youngest

Mitradevanatha. The Devi

Sasthadevanatha

is

bears these names.

The object

By

Cit-prdna

Cit and

is

of
is

Prana

enjoyment

of

Parama Siva (Citprdna-visaya-bhiitd).

meant Parama
itself

S'iva because,

He

is

the Svarupa of

(Prdnarupa).

The Mdnduka S'ruti (1,7) says

" The wise think of the non-dual
:

(S'dntam) and in

He

is

whom

the universe

is

S'iva

who

is

quiescent

absorbed (Prapaficopas'amam).

not inner or subjective cognition (Antahprajnam) nor

outer or objective cognition (Bahihprajnam

world) and

He

is

i.e.

is

He

enjoyer of the gross

not between these two states (Nobhayatahprajnam)

He

is

not massive knowingness {Prajndna-ghanam).

nor

is

any thing unknown to Him.

He

is

unseen.

subject of (pragmatic) knowledge (Avyavahdryam).

the scope of the senses of action (Agrdhyam).

He

*.

He knows not
He is not the
He is beyond

has no attributes

KIMA-KALA-VILASA

90
(Alaksatiam) and

padesyam), but

is

pratyaya-sdram).
Fourth).

He

is

is

incomprehensible and cannot be described (Avyathe

He

experience of one Self (Ekdtma-

essential

deemed to be the highest (Caturtham= lit.

the Atma.
He should be known." S'iva is thus
is

Cinmaya according to S'ruti.

In the same way S'ruti speaks

of

Him

as

Prdnamaya

also.

The

Chdndogya (7-15-1) says:

" As the spokes (of a wheel) are fixed to the hub so is every
thing fixed on to this Prana.
Prana moves by Prana (i.e. by its own
S'akti).
Prana gives Prana for the propagation of Prana (Prdndya).
Prana

verily

sister,

Prana

is
is

The Devi

father,

Prana

is

preceptor (Acdrya)
is

mother, Prana

is

brother, Prana is

".

the object of enjoyment (Visayabhutd = Bhogyabhutd)

Parama S'iva who is as above described. So it has been said " This
Deva ever wishes to have the pleasure of playing with this Devi."
The Supreme Lady of adoration (Pardbhattdrikd) who is as
of

above described, revealed (Prakdsaydmdsa)

Gurus who are the seeds

the Vidya to the three

of the three ages beginning with

Treta as

has already been described.

The words Sthdnes'd, Jyestha-madhya-bdldkhyd and Cit-prdtiamay be read in the plural accusative to qualify Trigurun.

visayabhutd

The

interpretation will in that case also be as given above.

The Lords of the three Bijas (Bija-Mtayddhipatin) The three

Bljas are Vagbhava and others.
They are the Lords (Adhipati) in
the sense

that these Bljas indicate them.

These three kinds of
Gurus (Trividhades'ikdn) the Devi first purifies (Pariksya^S'odhayitvd).
By Vidya is meant the Adividya which issued from the lotus
mouth of Parama S'iva and is the Cause of all causes. The Devi

revealed the Vidya.

By

this

we

are to understand that She instructed

(Upadides'a) the Gurus in the Vidya.

Here by the statement, Revealed the Vidya having

(Pariksya vidydm prakdsaydmdsa),

we

purified them.

are to understand that the

most excellent Guru who is Sadas'iva (S'rt-Sadds'ivdtmd) instructs in

this path which is in accordance with immutable tradition
(Satsampraddya-siddham), the disciple

Atmopisana, has controlled

who

has for a long time done

his inclination (S'dnta), has

senses (Ddnta) and seeks initiation (Upasana).

So

it

conquered his

has been said

verses 52 & 53
"

Great Queen,

instruction relating to

of the

namely Ariavl,

grants union (Sdyujya) with S'iva.

It

the special articles of worship are necessary.

S'akta initiation

for the attainment

is

and

also needed

is

the Para-Devata.

of,

Siddhi by the Sadhana of

of

particular S'akti for the worship of

give

S'cikleyi

In Anavi Dlksd

There

Tarpana and Dhyana

intense devotion to, and

that

Guru should

".

Vidya

of three kinds

is

91

after initiation that the

Sadhana

(Diksd) 7

Initiation

S'dmbhavi.

it is

which a

disciple

is

qualified.

So

it

of

(any form of) S'akti he should then initiate in that (S'akti) alone

has been said

" When the Guru perceives that the disciple

This

without hesitation.

is

ready for Sadhana

called S'dkteyi Dlksd ".

is

S'dmbhavi Dlksd has been thus described :

" S'dmbhavi Dlksd is that which by the mere grace of the Guru

makes manifest the

S'iva

the Bliss of S'iva.

The

and without worldly

desires or motives."

state (S'ivatd-vyaktiJcdrini)

and produces

preceptor and the disciple should be selfless

In the absence of any such initiation there can be no competency

for

Sadhana.

Initiation to be fruitful should be the

bound

to

even at

initiate

qualified for initiation

is

his

own expense

unable to incur

if

of

the

Guru himself

also unable to procure the necessary articles then he should do

concise form. So it has been said

" The Guru should himself with his

He

mere

preceptor

is

the disciple though

If

it.

outcome

The

grace of the preceptor unmixed by any motive.

own money

it

is

in a

initiate the poor.

should liberate the disciple by Diksa and use Durba grass and

water

if

nothing more can be had."

The

who

conclusion

is fully initiated

we thus arrive at
who is competent

is

this

for

that

it

is

Brahma-vidya.

only he
It

has

already been said that initiation becomes effective by propitiation

(Samtarpana)
can

be

the

of

done

by

the

Samtarpana

Para-Devata.
offering

of

oblations

of liquid substance used in particular Ages.

"(Oblation)
substance
alone

can

sacrifice.

of

is

DevatSs

wine

which

offering be

made

is

propitiation

For

it

has been said

The liquid
like excellent nectar.
With this
Para-Devata, like Soma in Agmstoma

however
to

or

of particular kinds

is

by nectar."

'

KaMA-KALa-VILaSA

92

Now

if

it

be said that there

"The Brahmana should

we reply that we do not

is

prohibition in texts like this

not drink wine nor should he eat flesh,"

say that oblation to the Para-Devata should

be made by transgressing prohibitions applicable to particular cases

and prompted merely by one's own

In what

desire.

we have

said

we

are convinced that this S'ambhava Dars'ana is based upon the teachings of the Upanisads. Now it may be said " what about the prohibition
is

"

The answer

Devata
is

is

to

make

extracted from

and

dignity

is

For the

uninitiated.

it

that this prohibition applies to the

initiated the best

with wine.

way

In the Sarhkhyayana S'akha which

the ocean-like Rgveda,

dominion

it

stated that divine

is

be attained by the

can

Adisundarl thus*:
" Those, who after having fully realised Her

Her)

the S'rlcakra which

in

which

has

delirious

there

in

is

worship of the

offer oblations (to

inseparate from their body, with wine

been converted by purification

into

nectar,

10

become

the excess of their joy, dwell in the high region where

neither pain nor sorrow

is

man who

of offering oblation to

and enter the Supreme Light

of

Tripura."

Notes
1

The
The

three angles of the triangle (Kamakala).

colour of the Rajas Guna of Krya- S'akti.

The text quoted
from the Tripuramahopanisat but greatly mutilated though the
sense is not. It is the second half of the 14th
of that Upanisad and runs
thus
Samapradhanau samasattvan samojare tayoh SaktirajarS
*

above

is

As quoted in the text it is not quite correct.

The Lalitarcana-mcMjarl gives the names of the Gurus as follows.
The seven of the Divya class are (l) Paraprakas'anandanatha, (2) Paras'iva-

vis'vayonih.

nandanatha,
ladevyamba,

(3)
(6)

Paras-aktidevyarhba,

(4)

Kules'varanandanatha,

Kaules'varanandanatha, (5) SukKames'varyarhba. The four

(7)

Gurus of the Siddha class are (l) BhogSnandanatha, (2) Klinnanandanatha,

(3) Samayanandanatha, (4) Sabajanandanatha; the eight of the Manava
class are (l) Gagananandanatha, (2) VisVanandanatha, (3) Vimalanandanatha, (4) Madananandanatha, (5) Bhuvanandanatha, (6) Nilanandanatha,
(7) Atmanandanatha, (8) Priyanandanatha.
Those of the first mentioned
class should be worshipped behind and the other two on Her left and right
respectively.
4

C/. Tantraraja xxxv

Gurur Sdya bhavec chaktih sa vimarsiamyl

matot.

VERSES 52 &
also

Bhavanopanisad

'

That

is,

He

is

Taya

tair

s'aktih.

not the state between Jagrat and Svapna.

Tantraraja (Tantrik Text

C/.

93

Srlguruh sarvakaraqabhuta
1

53

vol.

VIII) ch.

I. v.

bhuvane tantram kaipe kalpe vijrimbhate.

(She, the Devi, age after age reveals Tantra through

'The Gandharvatantra speaks

of Mantrf,

them

(the Gurus).

Saktl and Sambhavl.

that

According to another reading " SivatadatmyaJayini " which means

which brings about a sense of inseparateness with S'iva.
'
10

Tripuramahopanisad. Rk.

The

text has

'

7.

Suraya but Bhaskara reads Sudhaya and

'

reading has been adopted in the translation.

'

'

the latter

VERSE
This

is

movements

playful

54

the end of the description by

of the beautiful

Punyananda

of the

woman Kamakala* which

ever attract the desire of the amorous Para S'iva.

Commentary
This

is

the end

(Iti),

The

particle "

Hi "

indicates the end of the

book composed by Punyananda (Uditah punydnanddt).

meaning

of the expression

is

The

literal

" as arisen from Punyananda " the author.

woman Kamakala (Kdmakaldnandmeant Vimars'as'akti who is inseparable

{Avindbhutd) from Kames'vara. She is the beautiful woman (Aiigand)
whose Vilasa or amorous movements appear as the form of the
Xakra, the Xvarana-Devatas and the like. These amorous move/Playful

movements

of the beautiful

By Kamakala

vildsah).

is

ments which have been caused by seeing Her beloved

(i.e.

Para-S'iva)

always (Nityam) attract the mind or heart (Citta) of the amorous

(Bhujanga-=iRasika) Para-S'iva whose nature is pure Illumination
(Prakas'aikasvabhava)

by producing

in

Him

an excess of desire

(BhdvaRdga).
If

" Bhdvdkarsnaharsdya " be read for " Bhdvdkarsitacittdya "

then the meaning will be that the sight of the playful movements

produce

in the

amorous Para-S'iva that gladness which accompanies

the experience of the emotion of love.

sight of the

amorous movements

In ordinary

life

(Loke'pi) the

of the beloved produces in the

of the gay lover a sense of gladness

which

mind

accompanied by the
sentiment of love (S'rrigdra-bhdva). In the same way the play
{Vilasa) of Kamakala who is Cit-S'akti which express itself in the

way She walks (Padaviksepa) and

produces infinite gladness
looking at

Her who

is

in

His own

in other

Para-S'iva
S'akti.

is

movements

who

is

(of

Her body)

facing towards and

VERSE
The name
has

therefore

of this book

is

55

95

Kamakalavilasa.

It is

written by and

emanated from (Uditah) Punyananda.

This book

always gladdens Para-S'iva.

VERSE
Obeisance

nnvika) by whose grace

ing,

55

Lord the boatman {SrirtUthahave crossed this Ocean of Wander-

to the venerated
I

waters of which are desire (TfsnctsaUla) and

the

surface whereof

is

restless

the

with the waves of anxiety {Cintu-

tarangacapala).
This

is

the end of Kamakalavilasa written by Sri

Punyananda

Yogi.

Commentary
" Ocean of wandering" (Prapafwavaras'i). By Prapanca is meant
Samsara or Wandering which is ocean-like (Varas'ih=Varidhih).

May good
This

is

the

be (S'ubham

asttt).

end of Cidvalli composed by

Sri Natananatidanatha.

Books By

JOHN WOODROFFE

SIR

(ARTHUR AVALON)
On Yoga

Philosophy, Tantra Shastra,

" Excellent volumes.

Sir

and lucidity three rare qualities

and Mantra Shastra

John writes with power, knowledge

in authorship".
The Occult Review

" His

books brilliantly inaugurate the study of the Tantras, the

literature of which occupies a front rank in the religious life of
Prof. Sylvain Levi in La Revue Critique
Modern India ".

"

One cannot do enough homage

to the magnificent series of

publications which an English savant under the

Sir
all

of

pseudonym

Revue

Avalon has brought into being".

of

Arthur

Philosophique, Paris

John Woodroffe's works are absolutely indispensable for

students of this very mixed but widespread and important phase

G. R. S. Mead

non-Vedic Hinduism.

These books, dealing with the secret mysticism and magic of

India, are the most interesting which have been published in recent
-Neue Mctaphysische Rundschau
years.
In Mr. Avalon these mystic writings have found an enthusiastic

exponent and a daring investigator who is determined to disentangle

the lofty conceptions of earlier and purer beliefs from much of the
misconceptions and misunderstandings which have grown round them

by the debasing and sensual

rites practised in the

name

of Tantra.

Madras

Mail
Mr. Avalon in his publications insists on the greatness of the
Tantra and seeks to clear away by a dispassionate statement of the
real facts the cloud of misconceptions which have obscured our view
Sri Aurobindo in Arya
of this profound and powerful system."
"

There is no doubt that the author has done good service to the
Tantra Agama and students of philosophy in general by his scholarly
contribution which has filled his heart and is a labour of love.
Quarterly Journal of the Mythic Society
Permit

me

to seize this opportunity to congratulate you on the

excellent get-up of your books of which

" and " SHAKTI
"

VARNAMALA

have been most enlightening.

Publishers

GANESH &

CO.,

have

"

SERPENT POWER",

AND SHAKTA " all of which

A reader from Egypt
(MADRAS) LTD., MADRAS 17

q* s^ftftfa

^>3iJ EWTfasifo&

^qftq^ft'je

g&

5R:

II

II

fl^SRH^StfSl^

^^TTTWTTf^mf

||

ii

II

II

(I

8RT#rftir^ ? <ng *t^t: subhawieM-ji

" awprat

"

spifagq

wiwftfa

|fN^

=r

grdr

srpn^,

sM^fgcfaq; "

ifir

ft

siifi ^rairfara

^W.

^f*^

"

^"

II

T^f^f^

^ht

ft

rot* "

rsrtsi^

tot: s$t-

TO^ftrafaflfo

sffaftr,

fafafNaOTTTSft:
"

sraT^ft

ii

ft*gtffarfa "

TORRTft

$a:

mm ^^Mfa?g^<%

*rT<nft

4Wk ^qi?w^ra

ftrarfrRwptf g^rras^iri

f^TTPr

?3[q^i^

sffa^

3 <R^ftgT

II

fft,

cisit

iroft

"

w^f^ri
f^lf^fci^TOT^sq^

fcrrad

?9iT^T

SOT

"a

^fosfatfq

fcf:

<W1

qT

ft

<RT*rcf:

^^f^i^r

fa'TO:
3*?T

JTH^q^^:^:

^3

ftft^

^ft?^

ft

fo^l:

qft-

q^^T
"

s^fafk:,

qrmTfemmft "

3RR*f^S^

Wlftfa

q?T3n^

mfom

mm aiTOF:

sftgffegrai, "

s*qa

*nwrci*raf

"

*q g^s5Ru?r: "

qq3:

ii

3T^$ " ^5^5^ cWT^qqT$q>

q*T3^

qfe

^t^T

q^ft

mifm

STOrf:

OT 3 3R#f-

33*3 ^?qift<faqq^ qqg-

an

^Tifafa

q^R^t

<JpifeT^[f5I^; a?WSra? <J?lf^Tftte3

ftwr^n^n
n^T,

prefafaifif "

T^W:

fafWTC:

^TfgT#TO:

TOH^T:

" fawf

clWi *R

TO

f^T$ftT

arera*
qJT^RTT,

wn,

a*H**t

TO

mow*

anspsppft

?rft^^RTftlf5R^,

3T,

fMmrafa

fWqflfifa

mUs

=q

"

? f%

a** q*IOTq TR

j<JM

'

Rf faJftW

1:

htht

siM

*m

'

^HTfa

<FHf:

7
'

n mfam^

'

qtf

^ftft

"

f^riS^RI-

"

RW

" swift

"

fulfil n

tfkT'qp#sfq "

f^STf*?

geMrefft q*n

^h^qfft ft# to:

qajTftWITqft

at

*rrercg*nfa

fotfa cWTfa
|?nft

"

II

wr q^^qf^qg " to a

""

? fcf qtf *R ftfej

fft

wj^q^^RrMW qwwft

"

iter*:,

q;q

q;q

ffa

ITS

^Tftqfcf:,

f^f|3I$

m qi^Tln " * =^ht4#)

*T:

afg^ffTs

ffaT

qidfcl fq^TRHT

"

^fqw

S^W:

sfaT-

q^R: qwiwr

^^nfqq^^JT^

cJROT

j4t qq^TqfamsTercnffcn *mq^:

a gsifcnfai^

ftwjsn-lfascn

rwtfr?Ti.

qts^TT^^I^T:

5WTft?|forT3 sftg^qfl^gTCT

^ *f$m

^T^q^tTfi^fT fl&^lVl

q^lW^q^q^

?q f|

faro,

q* qtf SRqfcI

flfaqTfa: *Tfrq

SSWlfaqfa^

*n*4

^iqc^qcl:

qlT

||

OT^np^

^TTqS[

II

" ffa

W Wl"P^T*:"
Cfa

q^MTlcT

" JRsresnopwWl

SePSU

tot

"

TOT ?f|f%^Rt5fq-~

J?;HT^

5fTTrT

fill

qR^tf^cTT:

U^IT:

ftemfo ^Tft ^

=3

from

sftq^

ffcf

"

ftfo

$$t

gfafa

^TqTiRTfz^^l%

II

^mNn^qPwft

q*T

vfa&m

?r*"

*mm*m
f^pPlfi
I

"

II

?T%

fttosraon^

to

TOt

^
?ft

Mr

ft

ffa

q^Tftfl:

3 TTOftiSTOifa

swift

UTOT^

qmi^Tft^

5&*ft

"sr ftfrr

SWH^

ftm ^ft

TO WI^H^HTT

"WWIH
SOTS^ "

ftl3:

ftgspRaf

5f

3T3

fft,

3^*1

%^q$ft ^W:

TOHSlfaiTCfta:

ftn:9^q

"st *nfW ftTO

<rcwf \Tv$wftmi&

cR*fafa faf*re?

"

" ansftenax

^csr*R3& i"

towft^rw si^ift* t area

T^Stf:

TOU^^R

ftsra

II

swftg^fto

"

q cR9<rnrf^r

ftsj?r

Slfaftft^

sfo^fasmT^

m ^rl^PT
wiww

"

ft

"*

"

^
f%

W]$\H-

II

"
II

3T%tfq

^3=52^

ft?TT ftft:

ftlTOTft

Q^,

farm

gara

arreraf

fqfirm

"#r #^*w
" ciil^^ci "

jurf^ngnfei^

rrel^,

ci.-.

aPEOTft

flfT^T

*reR**ro

a*

3WT^5HfHlrt

^fi? frr dr%ffiSRT

^q"

%rt

^foTfeM" f^fan

^ftssranft set, " fri

sfo 5f^T9W3Rft^I

iwift-

farritf

MNra

an^Toftft

s<niftnffoft
i

met

gfq^ot q*

||

"?5^T^ ^t(*| ^'rctafaRgan

ftfsg

q**i

q?m*tff

f^lorTfrr

<M to^? q^

II

"

q^j; n

^fonw&r fo?TT*^

f^^foqftTOmfofo

"
||

to: ^mifM>:,

STW:

5:^Wf*T5fT^^:,

to:

^to: wpf mv.

m WPW<:tof^fftm-tfT^fW
I

ST^lte,

ftwi:

ft:*RPffa&:,
I

fawww

2?

fsaVs^

mil

1"

srpit

^Mimit

*f "it

qg faq^q srqfaqfeq

TORef 1

^Tfi^T fqqT

q*RI%*fq q*qfftq fqqT qJROT?q q

sffafafa, sqq

sq?$ qTfcjf^"

f^TcIR

^Tf ftq^qfaq^faqST^T

fqq& q^TJT^^ 3f|fqN$q

qqq^fafa ^Hifcf

*qrafefrifq*qTqqTflqqgqqvi

qqfa

ftftq

qj,

%qaqT ST^T

q ^tsp 35^

q;<$r q<qf

^faqe^T-

qg<^ qirerfrwft

<s*q*rl^

q*qra %q&q

^WT^q

^fig^T#

qqq

^q:

?r

qiTqqnfo-

gq*T

q*

q^TRqf'?3%a?

"

ftfe^:

q|qT ^f^qig^q^qjifafeamf ^nfa

fq Ifrf qret fq'srqrift

faw

*wfq%iq^q?qTqft

q
i

qT srqfaqfq^

tfjft =q

^sTf^qi^Tq^q^^q^wq^

a^fS^^qqi^sfq fqfoqj qT3q*qqT^

fq|?qo^55=q^ q:

qqN

5WT

*nfcq*FW-

s*q r^i^ft

w^^raqqsaft'ROf q gqjq

*n^r

?fcT

wfrrmjit ^T^g-f% *T*qqqTqq

q**tercrsfq

^^^qqqji^fci qftifefafa

qfaqtft,

9^5^

*ftftfcl,

|fcl

q: f^q^ II"

sgq^

"

jjq^

ft^atfr

||

||

^rr<^i^ti< Br^f^fM<a ^Rii<^i

I

wMtti

sMft

"

'

TOT'S:

f^R^^Is?Rtol?m

fk*K$m

are

TT

-*nf^r n

11

mm\ TfT^l^

aft:

^Rfo^T, ST&I-

fa^s^r iH5if%*fa*fk^, cttoto-

mi * aft: "flft?

^ifp

id

*$^ri?*r:
ffti

" ffa

q^cTT

5fon?5f*n 3f5f ^gfafaft^' f^^ftfoftawifca

snssgft^RgjKiwfeqi:

afcift,

m l^f^S^T

uprtren

TOT Wt:

OTftTO^sR "faft:

fitftw " *r
^ aft: "

*T

aSH^pftft:

^R*?: s wftft:,

*%Ri

fam\ RR>RR

||

3^farfaft|g:
srator

; ft

" smft;

felWM ft*SR$ Vp*

affa.

^ to!
fSnft-

'

<Mn*Nfo>l9:

TOW

^fquft

*TC*T:

'

ag^f^rff^f^lf^T

q^iTS^TclT^iTIW^^^RqgsrJTM

q*T*If

IpT5 ft^WRii^ RdfaTHT

rflim

"^ft-tffftfe

iswra

ST S^TfiT

stare

s 3

gg

*~<*

ss*

3TO1?fT|

rfw^i

*u

T%T

*is#

flfow?? fa*n*-

"

^ET"

Safari &**TOOT5H3Rt flf^f^wfaf f^wfarm,

"

5ft

f^RfiHRR^Wf

sn?wif<r m^softfa

TTWH ftfeft

"

art* fafe*r,

"

3^T?t

gl^TF^ pJR

mK: mwfa:
f^S^:

"

**lftO

^qpne^f[

arcm ft*rw

*r

^ ^ts^T

src>rafts*ft

farftflssft

afcm ft^ ; ft* farcfcW j

c!IT

<*qoi#T

ft^m ^^WfT^l^

"

ST

JNt ft**: 3Sf:

Rf'RftfTIT^

II

f^OT%:

SfijT^Sf-

ft*T5lf^*l: Rlftftcl:

*mfa*rsft

"

qwfa*:

stmt!:

mmw

sfprfiESTHTfe

" ^Tr^" f^q^if-

"
ii

ft**if

t$*ST"

qfaf**ftft

srvM^t
fWTft

&l

^ Rft^Jf ^

ai^W

onftgs

q*

sqfa^

11

sutfta

m sw^Korfag^

farHre
s93*$r qtora

^^NrfecfH sir" "gSts&a"

srmq^ " ^tctwt: q^rsr

11

arwrf:

3qf$K:

far?}:,

q?K:

^ff^TO^OTT3nnft-

toot^r:

^^jptsiqn?:

SrfrfifagsTfW:

terat

'WR^ef^ I^lft,

Wsl,

^5RT

3RI

^it

crw^fafa

^ eR^cTgW^:

^
" q

sqifawfafci "

Tfanq, frrtft qreqw^, " arc qteqf

M ht q: "

* *

ff<i

ffe, atqi*?*,

ft^qT^qafifii^Tqfq

q<fi

|f?r

qiq<#$cT^

3RT:-

sf^t ^faqtoTgoikitaT-

%q*iiqftqf^

^VWZ

" STTSfTq q*^* ftg

flq*S:

cT^t:

Sf^TT^^

St^gqr^ ar^ssTq^s^wftfa

" r

^ ^ *T%qTf*N

sqfstfifci

#
sft

II

cWT,

^rofcfq

II

fiRwHftsgpia^

ftpnftftwsa^^^^n:
" rf:

q*5T

^q**q*$

q^

cTc*

ftr:

3qi vfe-

a^jft

i^mwfaftfo,

mil g^frf ^

^rftr Ti^r sift

A* to,

g*:,

fanwft

"

era

|g:

Slfaqgqfqsq

fq^iqqq^

<Rf:

d^qqt JbTmqp&firft ftfo

q^rarfqq&fefqft

aq>:

^fq^q

3TT<:

flqMqq q^qT?q^^q

^z^mz^

sitf*

cTIT

TOTOft

w^fiqlfo

q^q^:

^ 35

3T5tf*qT?iq*ftfq?q

it

11

q^

srqcqpnpt

"
II

11

f| qt

fI5^T^^^I'el5rTq^qi^fq^ qtf^
I

"
||

ft**
"

an^rataft ^T?T5*q qra qtitefa

s^qTftqsrq^qftqtejqTs foq:

fq^qi^q^qqfc

3*q$^

faq^rf

fq?*$q

sfTO^^^^rfe-

aftrercrfa nq *qT<qTq q*q

ffe

faonfa

q> *rqfo

q:

&fq^Tqqfa

3mqT3qqT?qR q^qtf^fqoi:

Hqq^

WRrfaUTOWft^-

ftrotei4Wr

q^T^I:

*F^fei

q;n?qqqtf*t srqq$: *r*q^

m fqq^fafatffq

;jT3

fift

SfgqfsR??

at

Infan

elf

srfrfi

qml: ftf^

3*nw fa^ nfo^

fa^wfaSTO f

ft^raftsqoi

qifaWlfcPI^,

^faai

fafjftfa

Zftg

irar

II

STHIfT^

ftf^xfi^

s^-

^4 TO
%h

%fh

fl:

SWT

TO:

*ftftftftt%
cTCT

^tqpl^ft

tTOWfcfq

*J?fa?WTTOT

"

f^WTSSW

T5Tf5l3/55?<t

"

TOiT*mW

fall

TO

to: QSW^vi

TO: to:

3lfa>cl:

II

iR?^mTO:

StVffWF:

"
II

3p*wft

^fo^^?3TO5T

cT

<T*to TO"

?tli

fill

"
II

aw

TO#SJffi

ft

^WI^OF WZxM

3TT

^?S[-

wffa^ OT>fora^

fcIWtlW%5r

" riiT^nwi^i*renft? gswffasft"

" g^:

ft%

^^1^53^1

fcWT 1%gcT

^^^^RTftll^n
a*n

faRfolfa^flfo^:, ftitf^toi:

aflPT*

^ yfhmh

fftqfe

"to
I

rl5f

^<?T5

W'JWWafaiT'TTf&TO

"aTfq

flflSTCTT^sg^jft

^ift

qTOITfeq^sffl:
I

cfSTT?2?3r

WafaR^WTfaiTS

Tlftf?*

3W?

ft<^? :

CRT

wnf^

sffl^T

ST: "

jpro
f%*iTf%

TT;^<J?lf ScITSM

Ttfift
I

wnft

3*ftfM3fecl*U

<^1?T:

*TC:

"

ffcl

Wish

^3

ftT^T$l*terftgT|i: KTf$ra

^TOT^IftRftf "R

"q^r^i afofif^r

^Tf^^T^TlfM^TO

^WRf5'ro3^*itarare?nfa T^fo

i^fRf

SHlftd ^JT 3fl

snmfMft

"

fi^toT ^

f?ffflT

" fft

Ml ^1

?T

Ml

cms:,

^^TO

S^fsifa: "

RT

TTcTT

fa<Tlft

f^if^T

mm

facIT

falT

*3*T

5W ftfel, "w?iil

q^ftfteenOTrqrc

rwi&

mi

"

faJNi

q^*T cTt^

f^qq^

*5*TCT

fo*n^ q*4

WT

q^ n "

fttrartr ftffroft ftroft n

faswfi^ ^fq^T^f^

II

snft^Rffas^ TW5RJ*TTf^

dhTOCfi^

TOSTsPfflfrft

"
II

fqoi fa*TT cfT^ qf?ftTOT

^wf^T^fef^Tf^fqofH

ii

r: II

^tfil

tot*

fft

fan fra^

^rfWf TR^
i

s*IT**TOT

^q^I ^T^^tf

*n q(tetftoT$T^rrcwT5

^Aroroifr&ft

II

"

fa^T^T

f^TOJTT

3^

Hf^wj^

flf

f^r r^sfq

" <K

$fit

3^H faf^T 3?WWFnfon WIST

"ftsiMfrt^fa^ 5^ ^ :

qirfts^^h^q:
^Tffofrf

qjq^j

JTgcqi

3TT

SfTfo

atlftqOT9^Hraftfi

fog

^T^nf<^T^;q\ nqft

"

3:;

"

am ^ f ft:

5Wf^5^

"

f fill

I"

3 ^4

cTCT

"

&^5T ASSORT

3**1

^
I

^rttffii

l^iftq^g ?B5^^

sji^^gw^
sfii

air

qN^fagTsi

supra

i ara^

'
I

raa*T

ctct

ii

ftfcn

^1^*1%

snq^tfR

^ iwifwft ^

"
ii

*r

g^.

" ^

'

safari

?t

^stf

qSTTOW^fod

Jjwif e|NI 3Tfa

^W^S3 S^T^T

fa^H

<Rsfi&

II

II

aft:

"aHsiTOn^n? fasiV

q^srSTOWTO: ^ftl^^S^T

q?q^

RTAsft

^q;

^i

3qf^*?

gqfsw^eftsfq

<l^q

f*!T*T^1%

"

3fc??*iraT: sf^foRt

"

wussn^

^T*I

^Tfirff *tg:

^fa

snort

3 ^T^qf^N:

flf^TfFfti

sM

snfaft

ftrofaiwi^

II

"
II

TO

fan^Wt:

ft3T q^5IT$tf

flfflT

TCWTfCT

itraT

^ifts^ft, rra*$&w>. *TraTwft: ^^tsft ^t^*T-

TOlfa

^^5T TOnf&T: 3fT

S^fT

fl$3T

WTT ^ 3^niT

Sf^"?%sfq
ifljifaW

"

Sft

"

4jNil4:

3*

II

sflf

*TTclR^T^5:

f%^*TTcfTf^f^IT

I*?*TO
11%

ffcf

swfl^Hftwr 3*TO

II

fflT

lf*ft

^
ftf^S

^
tfftfa

fa*
RftgT

3T|*TTTO-

gsp*:

cim

Sift

^3<TOf%qflWT<l

ftOTcRfr^ISTfolfa:,

*ERlta4:

^ift

fclfa:

efgft^fil^q^

rI^1T55^, S3:

qft: ftRTft-

fa] WETOflJITO:,

rwmqsr

^^fo^ "3T^^f*4

*ffel5*4tffr|" ffo

fft

ll

fcrawngsjr ft^ft

mm q*^
qqs*taref^&

mi

fg^W7^r%

$i qf^*roH
cWT

"

n&taw

sntfkssqfa:

a$ siw^ smfa[

*3rafcr-

S q^lWT aR'fcf *3im<iftqqGlftfrl3ta

aft aiwfNa: q*<qfaft

^fass:

s^Mq sw^g^qT

ffo

*q^sfq

fq*lte

*1WTqTftq^

^T^qPnfif

"

i?raw-

qterq^*

sfff^W-

"

?ft

"srafti

faspqifagrcT

^T:

qjteq?^ ssfto^ra

fts*T

Wt"

?fcM

"

^ps^^^awtew-

^W9Tfqfae*sT^Twq%aKqsq qq*m*^

fkout ^T^Tfir^sT"^f*rerRrT^R^T s^tht:

sMq^g^^^spnMsr

q^W^ft
STO^T

=q

^twftqm?

t$qf

^ra^Tforerr

set

ftqTftftifciqq*s

fft

II

f^R^TSi

^fiwrw^n:

^^Si^t^tto

^ fa^steM

"
II

II

spirt

m ^ qs-

an^fefSTOf qTOTCTOSn^ faJTSOTTOfq

"qfa^*nST: q^q?3"
"

qra^gon:

?^

ll

"

^ fa$m%

"

f^lT fMfacT

qokfNf

ffcT

^ai^Nt
" <S

tot

to sq^q^fM

tot

TOTOS:

WW ft^S:

q*: $tsfq

q^^

SfTiWT^ 3T55*jfaft %5PTO5I:

im-. s

*rorw:

tet&ftftisn

^inwuwpg^

"

ii

^ *Hm:

f?tfq

51^T5I^Wt

"

^ qipfif^s^fa^Tf^^^f:

q*

'

fan^rerataft

ssfai ^rarafiwi

qwqn?*r

3rf:

qorf:

^if:

sift

qn^RT*?*

SRWHs^

q*i*r

^ ^%

qg to:,

qj TO:,

fgcffa

wi^t
\

^#sRa

^STCTft

^R:

*&wm\

StfflMN

qj

*ra aiswrft,

fan

s<p#q$

5w

flftf

aramfai

%ftq^>%

qs TO:, q^ sq^rttfo
sfeqifcffirenqfaqM
1

"wft

5WIT^S^, %m;

qflftfalT

gi^sr

sqsHTft,

TO:, qs sqSRTfa,

to:, qf

OTnf^PT fe qfa^i

'

fawm&wgf\S&i

^sfq siq qsfewTfa srq^qrfa

TO:,

q&

=t

sq^ff-

^3 qnftfMta

qjqsi" s<q$,

5 "TOt 9tft:" ^T^-

m*w MfTOforw i^wi^wa: "

ITWCT*?^^

f^TswWfsraS?: 51^

swnft'i

en to:, to

MtaRRTRiSTOa

Rl^

fanfa TOTR^fil

fan*,

e^rf ^

TO:,

fong^sfo

*?#Era$wns

faEFFWSM;

$?qT;

qfciwrwT

^wGiroqi faw

riw^wn^a s&
iMta

sqsrarfa

^^lr^^< r ^rHI>^44 mH^| TTf:

fa^T fanfaqn,

ciw^sTftfMnfq

nun

g^n^wi^:

^rarai sift JT55ra5iTO^Pift

su

swifts

qfaq^qfa

Wteran

3T?qf :

II

?^

II

OTIRRTi OTTI

ST;

q*T

fl^?T%

fam-

qtf^q^T:

3m fa^TOf^--"^ TOW: *mpnri

a TO-

Stir

^WhfPwft

TOW"

ft%

^1:

" 31I%T%?:, 33:

ifcf

Rsnqft:

i^IT^,

fa

faqfafafa

ST *TRftft

W "^1

33: SRHW'ter:,

gsategfrr

q y$

s^TOlS fe^T

arte* dtoft

a^smaftfci fa

ftraTs*i ftrars*i

2?

S:

5eftes %fe?rft
l

RflWT^

ft*T *P*T^

" %f3

T^2?T:

SaT-

crat

sM*5n

^ift

^Tclt^sf^?c^

cwsmsrwis
1

f I R^fcl

" srftw

wt f^T 3#

*$t%

s^ft

WWIS^WFOT

"

"fMlT 3

iflpft

OTSTOH

fl*q^

3 TT^

s&ftsSK?!:

?3

moft fogftfa qfal:

1Tnfa$*Tl

STTflcf:

f^Ttf: fa*

tfCTRSWft I*:

ffoTS*J

R^Tft

II

31S^qkqff%

% 3T^

|^

II

*TT*T

II

f%^^^T^:

fsr^mfrfforo^ q^fa qtf

inrftraTr <raqT

II

shifts

"

STHlft

aft

9*nft*f<Rwi3^n

lf*n

tot

ll

^ SPIRIT ^ffefaft^W:

tl

xik$hg&&

q$:aft: "q*T*q srfaftf^r

?wn^W foi^

ii

^f^wri
vm&fr* ftqrftm
WRwwn ^efai*
qtroTftfonocr
i

?i?r^r

ftiftraT

"
II

MNt q^reft

ftqqsrc&r

Aft

?tst

^nfoi^ twt

wfan
*wt-

Nrtt

IN

? fcl

^^miteq^M

<^felT

II

ftin^Fl IN TOlt TOT

fl^f^ifN^srs^Tsn-

f^STOT^WTCtossf:

||

<raT

^qfa^

"

*T^fl

sR^fWTOTfa
5RTlt

TO
ssnfe

q^TO^ifa

*r

SffaTOT:

sti^i

TO%*q*?F%

e{tf^ft

MN

*ft*TT

*ftm

^TOT^

^ST
st sraRft^

^fnTaj

II

T^fa^
II"

||

"

%wwiPi<sM*i:

=q

pwto rorcqwife:

fSFcto

qftqTftff:

^_gjq^j

qjpnvifcnfcn

WPRRl"

qftfc3*Rq,

fti*lfaqflftfa3*T^^f$;q<JI

^ir

%fh

am

?WI

q*q

$q

anftsrfafa

?:

ff^f

^TCT

^fw>I^^:, ft^T

^fa

^5-

wq^ 3^-

laftfasdsfq ftsferta^J^

qfa 'fri
^TORW ^q
II

q* q*TO*qTftsrfofqq;Tfl$q

ft

" 33

U^ffi^sfq
fft

RTf^^

IWTftsn

q^

3W"

q$q-

aqjwt:; sgrorafc

qjpvraro

=q

fft

^t^JK^tsfq " sffafi

ll

ci

ftnf^R

%h

q^3[T^S?qTO5T:

flf

q*T q|sft =q$Tq>i>r qfti*ta

=u

qqq>rcq$

slfaqi

*nn

rfcflr

^Tfeq^iaxK

i^n:

I)

T^Rrft

o^qi^i

fsFs^q

STOWfe

fsr^TOTC

^ ^sswraa q^nrofa;

wfcim

alT

II

qrarftw-

=^

II

sftftfiFETSN^

"

<MWMi!taiti:

aBtefiwanri

"

2?t

ii

3 *ngqn eft RctaRfNaT

^T'^^reSTfrfisftaTft

"

SHmfarar

fot sftaffT

ffo: 3T%q?T ft^qoiT

3Tfal*NT T3Tn 3*Tft

^$q W$

^TOTTO a^T:
*fft*TT

cJ*lT

flftftST:

^RrWF*

II

^
I

ifam*&$&\z tot

to:

atf

T*Tft55SHW

^$T?Hf^raren*Rn
fafa

5%

*nqr

^cTT:

ST^PST

3T*U

fa^f^r"

wrcarort

3^%^;

q*T:

cWT

3^TCT^Tlfc(; ^sftffiqqiTO qqf^arenT-

st

q*n

ftsfq^;

tier

<srag:TOi*

"Istf

srfNfiT;

strata

sqfssqi,

3^

w>
^

sfwt&u

srofg^qn, gihftro-

aw^ifafN^s^fa^m

a?T^

ci^sf5TT*TT^

q^"

??gq^q cpificnw q^^q^q f^^qrft^q?q*mn*i afe?-

fata
sqfNi
^qife

st

a*n

*fe

OTRgsnw^r

?h^mh

qim: "

ifmraq^i

<t%TT5r "

% OTff q*n^J
?

s^t^

sm<^

qftr

nS^i *ndH

8W

?tq<?fte*rq

era:

q<ffa^

am

33cTOFlim

ft

q^

"

*r

I |q

to^"

^ ^ atoma
$3 fqf^cfRR

^1? ^<%q

<^t?tot

"

R*- **
5

II

ll

ftf*R3:,

^^ggfRSlKRFT:,

*TWr:

g^RW

fRi

aIT

m^

faWWFaa?

U&W
I

SHOT

qoiq^R^

flfq^T^facffiR^

foWWlfai
3

I fi

WIS: St^, cR^qT ^

tototo)"

M<r

cfcf:

faR^

fife

||

q^

^flWRt
simf 5ff% RTRR?<ft RTRWfifi R?R&

ffi

II

|1

*H fi^oisRRiqsn ^isRro^wf stoat^r^ $r

*rreRTOTfift:
RroftiR*ft

RfFftfi#, snwnfti^ng^RTRT,

stT^smifa

asRsffoft

f^r^piT

^ri*Str

f|

ffoTi-

s^WTRfosprcggsiift

N&8Wld!

^3"

"STORES

fft

II

^WRtoWT ^

-TTT

*T?rit

STOUT;

ftfN5^

sipft

qTRT

#1,

RT:

*TT

?lsft

qpnft5r^i

SR^ ^ST

3T^T ^ "ST

RT3T;

Ramq;

W3:f^RqW^Tfg^^M^ft^
aifaw W^BJW Slfa*T
$tafasnfift

SWT JUR

^5T fl$R*wfaft

ffcf

g^^-

^mft^m^f^^lf^fa^sre-

^^RJTfw^T ^rt rt^^S:

gqj;

II

WTft5TRrRRrf^!ITOft

SgTOTT?
R3PR(t

5WTft

ftrcR*ft

15WWT"

qf^i^q^^^^TH^R^i^T

2TcT:

?ft

q^Pnrrft^T

a*n ^jjsrtt^

*refft-

" snW^I:

mfrw

*$*T

^STO^T^T

"ft6?**

STT^IT

^,

"WIT^?

1WT

^JUfHT

WT $3T

ST

ftfatf

3H^"

^TTOTT:

q*

JPT**!

fWlftyn ft&T

w "R^fltafa^

WfeSH

3*Rfq

agqRri

^r:R^oftf!9T

3fMffiT-

" sra isqwiflfofci

ftfsraffe

Tfihqj$

S$5T

TfT*n|^: *TO&ST

^5

5|5NT^t ZIHIW J^tET^T ffl#frT

ftfes,

II

f^sicTT

^ITTT^T f^f^?ft

*t*it

fo*T*ft

W^N^II

qf^TOf^WTto^fa^T

m 1Tf^RWfPRRR5S|:

5^T^#ft

II

3*ft*HF*TT

gl^I^R^TS^W^Tfgqflfeft
5lfa$T ST

"

flg^faT

KW^:

f^T#|:;

RT

I^T

5*TTH* *?3ct,

" 3^^bttto[T3-

3RTf3TfasR**T

ftg^

swfa*

%3*T5:

sq^
Stftaft:

ssmto^g;
3qqft
SIRS:

fatfft

wr:

snmt

^iRT^:

|#r:

ton?:

afas*.

ftoftft

f^rf&i

wftW: TOE*TT whwftra: W5^fe:

^TOff

ffcl

" f ft

flis^Rf^qfatffcg^

^RJlf^qi

shafts 4ninrgwF5R^

"

ST

2?lf^: q^T

^HT

Ri^PRRST^nT

11

f?RTqn>ft qftf^T

5fs^ ^mfeT 3 5*n

gsmiffa:

^rafa^l^Fnfa ^fer

11

5??Tto I ST ^ft f^q^J^f

R|5T ST

f?TCT^T

?H$M

^r^n^fq ^ffiT

*rf*raT

agfaST

qh

*T*IT

HmSW 3

it

II

f^t

II

f*K5H:

sffaRTOil

ir*

?J5fT

"

^5T

Srfai:

TOT

ST

5 ft*P*!*rWT

l^nwiRn ^raTOsft n
f^1
sTftrit
m

|riT

^ttt

*WT^M foft ?TT*?n 3

^tt sgf^eT ^mfiftfa^

ST

ft<T<U
ftftsft

5RTTI 5I^1^RT

t$fr&

3f^T ^Tsfrfe^T
ftn ST

q^l

^Rn
fft

**J3T

arc

^ tot

^l^qi

'^^Tfftf^T'

*fti^,

wfa?ffaTS

sft TO^fft

=3

wS*T15

S*C5T*W*THff

WfMfofftgfi&f fTcf^ftw^L

f&R:

qsrowrafa
si

fafat r$&i

awn

Ti^n

^TTT

1WT

3fTOT

to

Ijjlftj^TW

faro
I

a3

a^rBflfar

13T** & f^T^T ^T-

%gTf^T$tf^TSTtaW^ a*

mv*

sjur:

ST

^RORTOiqflT $&Rr

'tfteT S$TT,

"

"s3 gqfero in# ^

folSTW ^faCT

**p^<TTCT:

wfim wn

T^T^T: ^R^I^ftd^aJ

SW^Fjp&TO

qtfta:*refa<n" fft

ft

?ft

II

^tosreraiOT^n^

SItPJI^T: ft^ I" f^Tft

3TT^ft

g sRwhsftfai

st

II

S^ TOh:

3TT*ft gxfrl ftftrBPBI:

II

cPT HTfor-

3TTf

$T^; TO^?R*m 3pU

I

*{$tty{

ss^i

"m >n%^

^ppwf^3^n#^fla3?WT:

rfe$ffrcfa*A

ii

\o

sfaolsr

fl3

iWWSSsranfcft

ft^ra

II

w^,

II

"^RiPTOra3^TftTO5r: l"

ffcl

qg^ta^rcgq^q qmstfd

q^ft

RTft9tes?em

^tas* "%qtf farftmr"

at

*n%"

wft

=q

*Tftftftft

sgfoi*;

wAs

II

WIT

^Wq^W fMfa-

^rcqfarri

^ <#3

sft

^topr^p qi$fa

f|sn qqfecl^

"*rcr

3Tqq&

q# wifawi

fcifl

Mtqtf:;

^ft^:

reroftilw8f:,

*sM

3fgft:

^ftj

**q^ iTforcu

*n*ifarfWi:

"

fft

II

II

^?$$3nnwfofta$qq^

Sift

I^rft,

"%5fl:

ftf**sf

'*ri

=wr

swionn" ffifo^

iq/qfel sffaTOffl Wflrffaai:

^4

'

vim;

sn^' f<gq$%

?g5^

^f^sr^}

"mw.

qw^T

ST

q?TOTftf^n?ftnf^:

af^jf^rsftgw^fq ^^raqftrfci$;q^nf

j[MRiwwM<ti^nw

ii

if

3*Ms<?T

WWII

%ste3T: ftft

snfais^Wfa wft

STpapm^ 3?

ii

^^NW

qfaifaw At

?B5^

=3

f^23^

%l^l

11

ii

ST*TC^

R8li^d:

fft

II

II

*WTf&l9? flfam. sffafecIT

"
||

m "$\s$mm ^ m
\

*TW:,

fts/i^f:,

"

?fa

ife:

nm^ft"

^:3^*T^:,

qfa^ TT^T: s?^^

3fi n^n, "crest

3Hqen:

ffaT*l s^Tfi^t

^g:5Rt ^

" *PRT%

TO ^M: RTO^T:

toll:,

cfat

fft n

ii

Tf^I^HTOTT?ft $Tf%T"*?T3'$^l I J^^?rf^"rT^T

"*T^T

^^WOTWI^"

crw?^

ffcl

ffoej

ran

ffcl

affifclT;

<raT$ rcter#

ll

sqftfl^

II

\6

fiPM,

II

TOR^^wnfawfror

sft

" f^^frfi^ fTCTOffSi

? ft

^tw^^totct^^t-

fT^fq^

gwfarcrcrcraraft

Nq?f ftWft5TPT!

?ft n

tt^:,

TOT

^tK^

%i*Unto&*wiiMjLjLti*iiHMi

fkm*t

ll

ll

I^t fogswwyrat

aft:

"3?^ fa^T W*N

"

H$

fir^:

cfj: fsf^:

^pffrrofatere

f^RT

^
"TO

"

SECTOR:

f$p$

RFT:

rat

RfM

"$

fmft

J3Tffi

31

\%

aw-

awl^W T

^SFTTOTT:

Slftiftfa flq<rat 3!: 30ft

STOTg^fasffa^T:

sft

*rrc^

RffiRT3F%

^Tmf^i sffafa

?RSJ

STftfi:

*nftifa

fllliSR^Tf^

*w ytiivm^z

3fk:

qjR3^s*
$ft

II

||

"

stfft

WW

^ qjR

5*nft:

3^

*Tf%T 3

Slfc^hifaHHj "

"
II

II

5IT^

?ft

II

OTT ^trU^

5>

II

q^fo^s,

3qftfta%,

rsbt:

to* WHhSfaiffannn:

%^iaj

^TSJ

ffcT

II

II

ffclWT:

otpNotk^,

<ra

^3^t:, srWfc^ifa,

^5%<TKm*r^T:

faftRTf*R:

ffe

fft

II

^on^^^RTJ;

^fT^T:

*M

*TTST

cIT:

"

tot

^RffH^ra,

f SHWBTOT:

st:,

^nt^r

^e^ftfci

3T*TCTS^g$TOTf ^

*rcw$9TOTCa

^TIT

3T5qTfiT?n:

fl^fa^bl *fof ffclll

" ftTOfafT

=*T

ST

m tot

f^^TORT^

^^stftflT:

Wf^l^anWTWT:

mfa

g^^ftPr^^T:

^TFf5n^n?(|5n

S*IT:

II

II

ftf^R>^

"
II

II

T^fa^T

FT*T7TrTT

^l$ffiTft3flflTf:3f33T3fa^:

"
II

st:,

hw-

fl4*NitaoiT-

3fRtf*Pr: araf&cTT:

r5?TT^TO% 3

ffcf

II

3T*fa

"

"
II

II

gsjfenswn w$

mwsm

II

cRT

fa* fa

Hsjf^m: writ

^R^

JTfT^vqj

qrak^

J?W?far

afar

^Tte

*SJ^TT^T$flT

fl^S^f^

^BWWWW^Sf

5$:

TOM 3

^ff^airlT

S5*i

qfaftfitar

II

iTTrT?=!T*ITfs?c!T

s&qtfMt

jfoTO 3Sn^WTf^3T

li

II

II

Wnfe

rTcT

cf^

33T^t4^

WW

^mT^

fofldfaS:

5RcW:,

clef

II

<Z

1^11^"

v3

II

sfrq'ft

m
|T%

" RWT ^
3TT^nft
<S#l

siftim;

fif^ft
I

f^foftfrr

l|

II

fa^TO^U TWcKM

^wnfoftw*;

Tim

tftmfo

^TmcfrlT

wftoifr

Tv^T: *%cfSR-

*HteTfa

wfoftaqTfa

m*ft:

ffa

q^ft

I!

Wtifo

gq>fiqftg%;

II

Rfaqi^ftsigq^

WfW^wm
"

flfliSS:,

^^PWF'nPr

RTg^ftFIW

33:

q^qjI^HH^q:, q*q:

iTsngqsfafri " %fh afr

3WT^

q^ftR:,

^fe^TTO5T^q:

s&nftioT

ipTfa

TO

3:

ITftsrWS?ft

s&ni$ ?t49tw? ^rft^R^w^TOnwT

srft f^rarit ftgspr

bipr:

q*:

" zmwfo

site,

3Tf^TlT^, ftfq$q:,

*T

"

fspg;,

qwfcra

awrrit faq:

^mgqftq^?qi

Ifmti ^Tqqs^Tf^^q^T^qilt^^ftsqfq^si^sqf^^qjq^jf^.

<OT ^ftqftqft
ft?lT

ft^Wg;

TIT

" ^q? ^^^R^

STNlCt

TO:

^Sqm?TT

sffiqqqT

?ft

a^rgrBT

TOTO%
ftcqqi

fH^FF^wn^

faaft

sf^H^*t

ton^T

" 3T3RfTO

"

*p

*wd

ftffoi& fttf^

"
II

^fRisn^sfq
5rf%

Wnl:

ftffeA

fo^RlM TO^SHT

shot;

W*.

fa

fft

WT

"

mdqft TfTM TOfrl ?TRg^T

qfagtsft fag-nwfc qtfwT?

^T^T%^Rg^3^o^jn*if?^Tf ?r

^qifan
q**terc

?q

RTf^cT:

frrcifal^;

3<$*nq:

f^l*T3:

swi^:

qm:

qq^rWT^ft

ftwTO^
mft

qft*r

era:

^^

^sroara

fqgq$q<q

a$q
ffol^

qft>

snqr

$T^fa

flrq

*\$\

?ft

II

^q to?qfci

$$wlq

fg^Tf

sqffirif

q|q

sn^q

ITfSRW
<^q

q*n

a*?

q^**q feqq>qi

$ ^otto
mfai

fqifoEHH

R^q"

qnqqq: 5^f: a

stan"

"n^ftapw

qnSfcrc^Rft

" gsftpqq^ fasn *qq*rq

II

aw

qwraq i^q sMt

rfwiWT: quq^T
^

qntoff

Ift

^tost^ I"

UN

5W#^: S^ftraPUM-

f|^q% "

rlIT

ft*j;ftip*q

WW WW

qfti

sftWflsrora, qqH

fqqsq

g*q

q<jft

<sqfqqfq;gT?qT

^qfa^oi: *qi?wfa: VUPP^Tn,

qflfcfRq^;

WWW

q^IWT

smfH

II

rf

f&q

^T^KT

ftcojai

fawi

*raofeqr

ftcgq^T
ffo

asT?ftfa

q^T

soften

*d

iswfofci

laj 35: q^r

5WT

f$R$5^ " 3^T*T:

^jft: *r^T^tf% 3T: flSRTC^T: ^TTfl.

gjoft

ftsjT

" sft

ftq^ifSrewraT

ftsoiT

^^

Msqfaft

STfadw^RfTfcW

slafasTCJ^I

3R5nfq

ftsfefalT

"

fSrafeqi

fagR mfo

ftwi
I

ftfoi

sraTgfefa

qepnft i?Tft ^rfri

*$rft

WftSTT I"

ffrl

R^sq^^f^q^off^cisn^q^r^^i^isii-

qftfq^q:

II

II

Pi cm i fin^T^jrTT^ iTfTTJTTfesRTTiJTftr^^

aw<i> fafor*

qfrrfaferre tragpnffci

q^ii#wiw ^Timfep^p^^M
*faq*

<^q
sra

3TfagT5ft,

sn^fanfcn
q.q

sqgj

^W^T

ftmW!,

q?

TOf*.

m$

qqsitaro

03

ciit

"^Fcf:

ii

qq<S-

n$qr

wifo:

sfa^sj^rcw, qf: ^fag^R^:,

lIlM

feqwfaqq^Ti; ftwm:
qi^4^qpiqft

ii

II

II

ST

q*qfaq
R|l

*f

qft:

qT3:

5Rf^R^rtlPlft

fa^^q^ qw^T* m]
I

q$ jfaq^: q?

JT

q^T^

*T

^Sq^q^qJTTIiq^^ORf^qq^^qq^qqsqjraT?
qw? *r
forcta
% fit*: " ?fa foqq

qmqq^ifq

s*n

sf^ " to m *m ^

"

^WfiV^

*wfq>IT:
SSTfct
shot

flPt

ttf

3TNl4: l"

qM: qT^I

fl*?fq>r^

lift

UFIi

HM:

m\

qsn^RRTOSOT TOftlW ftw^T

*fat-

^T^l RI* 5

STTTO

Rioft

ficlT

wwrftWi awfariH wr^i^fR

RTft

<$Mte^

^Rftfar-

$$3%R, <rf^? WtaT, falT;

" qg^jra fa* gwtft *n
^*Pft ^fasiT

3flJ

ftfaftW:

cflT

1|

'

*r

sst^

ifcn

sfajT

fMngqfa^

3$: "

% " fal^lf^M "

rat ?ft$fa ^TT sfaRT

TOSCTWW

qtf$*T faii

" cjFcimhe^n^ f&w?1*fo?fa^J

*r%5nf%

$wfa

% fa

11

J&s^ftfafa:

fafa^T, 3II0I^5ITTfi^rt^^^

"
I

'

sft^T-

"

" fafalT ST *ft^T

st%#

WIT

stoft %ft wit

snoi^t

<TCT

aforoWt

sn^
ssn

wti

*r

?m

fNfaT

fk

3tRT ST

q*T |IT

falH

q*iqo

^3

ffo*q^^qft3#s;35^:

mfini

ftonsft

qwts*TT2RT*T5*#<T:

?fa

<i*t,

ami,

%f%

mm

to^t

^4

ftm

t*n *n

q^ftrc-. r^*srff

^Tn^it

II

STqS^

II

I!

sst

ii

sfrftft ^qjsrt jrIotijiw iritefa

"

ftH", "sRtawfon^" i^t%t

"

|Tf fa?T*T

fuss

W$J

fttoTfrs s&rc3qq*rfafci

T<Rft qft33T gfa^:

srafrr q*

tt*t

Is*

^<fte**.

^ftafo

^n^^
^T^fts? ft^

<q*TT ftf^flffi

^qFrc^jTsqq^
*l?3<$sf

*?f5FTf&

flfo T^m

II

ii

II

*r|*nft

TO

TfT^ q^r

^nfe

(T

^<J3TT fa9T^? f5Rflq

"mfiwroffenft

fll#T

^sftfiro^

^ft 3*rf:

"

fft

SSf3:

II

few

iffilSwW:, a

$\

&

<rcftrajftra

$m

1T?^^

II

fosr^^T

bw&

II

*M

tfta: ft*,

^rg?raF5rd

3?n^^i:

wft

fforcftfrct

3TT$f$i

5TPT:,

Ntarf&ft

WTOSTfirorgiiw: 3n-

"

3T*nJffits5 eretf

r<wf^fas$OT^$q
II

ffa

awrt

li

ifitf wfcraftft fiw*

sfterRf^farTT
II

VWWMWs^T
II

li

li

SWTHT

II

flying UtTO^C

3>

urafofiss\

"tow: "

aj^t

qft^pq

ssirfewmwi

II

II

?T5i

^srr

forg:

g^;

aft*

fotf:

q^c-

s^(H^ oo

rrTqcq%

%T^?t

qt

?T

#sq*r?iTqT%?r

^THTfcI

^Tcq^ fw:

qtf^HT

SflaPTT Jfyq 1Tq?ft

3RqT

HSSft f^SJT

3T^^T

ffcl

^rrttT^^t

q^cf, fl^fiffi: fl^

qrto^H^i g^:

focF^g^f

cT^oft

q:

||

sng^n,

"gwrrq: "

*<T^

^sj-

II

=qg^t q3&, 3Fq5*

g^:, srat HP!:, gft&gwffitqTq:

fqfsgforT " qrw^

*Tfq*q%

fHT&r

II

^TC^Tt nT:

c^Treftfrrei^sqaT

*Fcftfa it\o^t

*ftafl^Tfq*ft

^R*TT

?f

cttr%?i

qft: qg'sq^

to?pn^T

^^T^RT 3 f=l^

sflgd: f>qqT

?frtt

*rq:

^ f^Jctfr }$Md

<i g^ ^Nftfe
s <^ ^
Rw^ii^ ii*K*k^
I

^()

Srgnrfqg^Hl

11

"

"

ffa

fl^raw.

gw,

"

sqr *q\

i^?ir<i f=f%^f

qrfqct

fopTRt flPT:-(W

qsqfgSl qiftcTTH SqfccTl

W f^^I

rf

> J

^^fe^N

q^r

fft aftr,

ifw.

II

*Rft fl^T

*TWTT*i

q^^mi

"

^?I^F*T^

JTrW^j jp^frt

2^iq*g

It

<nqi|q:

qsi^TR

^f^% ^PTI

II

II

=q

ftsnqr rqf ?ftmjft-

(<\*\)
i

3T^Klf&[

*RfnT

c^fr*

?rttt

^HT^q^T f^n^T^T ^

cTTf^T

*m

^wtf? flrw^i g^ftt

fijf^FrfCTreg

dtU4Mfom

fac*TT:

fo^T ({^)

y&tew:

iNsrggis^Ri^i

^
^

qjff

smf:

(U)

r (*\),

(^)

cr

||

"dfcfefa-

||

^^

JifrWR:

(^ 0 ),

^f^TT^

^TT^%

ll

ll

(^o),

3 (v),

(0 awrfftPfsra^qT:

*rpt^

3^qT ^,

II

wt^5 g^jftt

sgrrc

II

(vs*0

s:, tftafon

||

||

?r

(*<>)

?Tr^qt

m ^
:

Hsil

('AVS^)

^cpnq ft)

ft)

ft)

TO (H)

'flW fto)

ST^PT:

?fci

ftcqT:

eqs^u \

JjtrfiT

(U) ^fcfiT
ftO

*R?c*FfT ftsffiT

(^) to:,

^r^TS-I f|$ ft

SRUT^

"

TOTSKTf&T (\\)

3I*T

g^ftt

II

PlcMMI $T&?f UT0Mt=sq%

^Te#f?qT-

<*<<^ I <d I

TxR^

fto) ufo (\\)

^rtW^

ejoRifiR

II

TSI

"

ftc*TT

II

i^Wfa,

^farcifa:

^^R^t^Tfarq^sfiTfoT

STfrTSTS^T

^Trf?T

SlfaetftSTT:

ten^,

f^qi^

"ss^Tqtei

te,

qflq^qT^q:

qsm^q ^rag^T, fqre*q

^tTC/qg:^ (V0
eta cIRSOT^T
qT^qqiSfrlSf ^o^ifekHJI^ FR^IHf^I^T
I

qraqrorf

q^q ^fl^frfi: (S^U)

fts^Tfa

fTT%fa

^T?ra^qTf^*n^ cfiqa

q^ft&mj^: "

<T STHTc*

3=3^

f3nfcqT

'

"Jr^mT^ gHRT

^q^RTfafq^T

srsfir.

fq:%qcqgqqr^

fcr:

*Rhdc|Uf

sqircqqjrct

^rarqf fqumtsfq
9T5iTf%:

qs>qfq\

q$qi&q

ICTSctq

q^fa:

qiTOfGlfafcl
I

" 3TT%:

H$PU "qifq^qT: qssqfs^c-WM^sqT^sqF g Stqrq

^qrft;

||

flcq^tsfq

<?r*rq

'^'^ftt

r^^n^q^sfq

tqft

qifcs^sfq

qqfeqqeqTfa:
||

sqr^qj^j

|5T?*ffrmi

STOfaw^&qeq

qiRTSw;qY.

gp^nre^T^

gfqq^"

^SJ%q

'

R^R"

acgqeq HT3rs3^faqqtf^rsfq

fTqqjfas ffo

B% E^WzW g TO^folT

q^ qtftqtq^q qf^Mlste+q^q
5*q:

qtfqqtf^q q<JTTqq

STCcqq sqfg^t

qfcl

^fqqiqteiq:

^52Re^

qifer*TT

STfe-

^POT ffct qifliJ^I^ fq<fa^

focqT^T

(^oo)

frrqfai

sj^tsf^i

^T^i^Tf^^lJft^Irfl^ITI

sifqqft,

q^aRt%

?qrqq ^Tfo^qT^q

mm fWt

qamqT: *rt:

4w*TJpifrr

feqq:,

fqlfan^ itfftir:

qq^rq

*nq*r<i"

*qq?% **fann?jj ^qKroq^qfqerT^qr^q

*nqqraTq$jcrqr
arqiTCTSJT qotf:

3^5%

^tsF^T^^n^^T^i

q*g<reg Wfirq^T not^q^^qT^af^Tto^t

qrfciqq?%s c^frfiRt

qqftsfq;

"q^

*a ^^tf! jttr^c g^ftt

tnsfWr

mm

^^tR s^Tf&T

efrr

gwrr

^rcm

it^ctt:

?I5qTl^rT ?ITTTf^g?T fcq*?:

SK$ldl

II

V9

gtf

mfo

<^cq4:

sw^a

fk^ftw

%%req^i ctc^t sfeT

qm f^ft

(H>)

^f^T

II

^cT

*T%;

sftfa

v*

II

*R*TT^

II

tffowire&n^S, ^RT^RTcJTT;

<J

II

STS^to^f

^RTrTc^TJITWTT^^ 35Rre^q: (^oo) q^TcTCT^

3TTf^
a

wntf

%^TcTT
*rero^j

II

11

II

II

$*TT#sS3^qwF*TT:

s%tof:

wrefr

s^sst

(^)

p^t:

^i^T 3Tg#JTP4T:

jiton crrsEfcrrfo JT^ot *fc?qrcT

*ih q??jra:

Slc^Tft

(W

^gfei

^rictl $ifarafeqTfa: sic^R

ffcf

^TfrfifiTftfo

^^R5ll (emu

9i^T3i%^^r:

<?r^

()

fan** fo^tacTFCT

stew ^sra^f^wrt f^^^t^T-

U,

f^T^sfa cTcW^TST frt^Vw ^I't

HiW*Hltf

*FWraT:

\\,

T^5T?IWT5=^^T

RtW^f

^, , \
of^rcFTRi^T-

SST

^JPF5fl

?cTT^f^:

qi5f*to

fawn: fas

arrsroj

*TfeT*W*TT JTTffl[R 7nTTrftH

^JT*TT^5f

f^rajl

J?|$:

I!

||

II

tr^r jngcw^^roft

gfl^

II

APPENDIX

Index of Half Verses

w
v$

M
\^

M
M
*\

\\
faeragft

air

\*

*\
v<:

<l$r

to

ei^jr

V\J

?fS $Jti

few*

*1

v"

*\

W
%%

"

fwiPi

aisiTciir

\M

\*

~*\

\6

\*

1^

)>

\v

1*
It
wisswirwirr

tl

^\

M
^\
\

*\

CT7T

H^sft

*l

%\

M
*\
1\

war wr

Jra'

\\

APPENDIX 2
Index of Works Quoted

3T5t^siJTT^f^:, IS

W*Tfl:,

\1,

^%

S,

\\

v,

v\,

<i*,

IS, \\,

Vj M,

\;
v

i\

s<?ifasT$rfa;r,

VV,

3^"?^,

\,

Vv,

s^fri^,

v,

*v,

VS,

\,
Vv>,

** \\, \\, V,

V, S%

V*,

*\ *X

\, v, s, i^, is,

v%

gos^tofsre^,

n, is
1% 1v,

^S,

}v

v, ^

<u, vS, V>, S, S^

^,

^T!5n*f:,
?5Wt<lfsftil,

sfoatarwrn,

q^,

\%, \\,

s.

n, i*,

S^, SV

^Winq:,
fofS^Tfl:, S,

epfr**,

\, \,
Si IV,

^s, *S

^.fldt,

is,

v,

v^,

S<:

S,

^s, *S

\,

\, v, iv, v,

^iftwafsrq;,

*v, s^

f^lHfowSTW:, HV

n, ^s,

n,

fi^WIWT,

ffcusifo,

ttoFWRim, \*,
gf&, ^,

w, *%

n,

^,

^tows*rttois,

^,

*i>

<\v,

v, *\ ^*ni^i^,\ <u
^\ 1, ^>
V,

*SPHBfrWl, *\\

\,

V*,

APPENDIX 3
Index of Authors Quoted

^,

\i> *\

3T?clR?^:, v, ^v,

^,

aifasragawjr:,

TO:,

*tr*?ir^:,

\; \\ *\
ftim^r:, v,

<0f,

*\

\\

APPENDIX 4
Index of Citations

5%

SffiT

391,

STRrf^:,

qfo

9Tfa$ft^irei tf f

"*,

3T V3f V3f3 1

ergrwFFtf^fa:,

afasf^
s?ffj^aBrftc^,

v*-"**

%ftfirRi$r,

\c,

snfs,

in* * *
aft* sift* X,

sit isrcwiflo, v<f, q?o o

aTswqt >j?Twr,

1?:, ^

3T^U *-V*

s<

30 h

arwFo

3TTWT *T

3?fq

H^Tfq^Rfsf,

a?f*raf?r

Iff,

W,

vsv,

\*, *S 3

vs, slta^*

*ro>

8?Slflfe*ft

\ci

aufwMjn,

a?rar

arfto

3 i*

arr^^RciitfcT,

TO 8

^ppr,

^3

qfaRiwf 3,

arwrarcar sra, >%

sii qsrTgrc:

f*H* *

araRl,

*qw,

sjpftarax

rfir

sr.

c,

Ifflo

v*,

*fc>

wr*

an^rfrcransjqf,

515531

ft*,

^rrkt,

5H

*\

B?PfiT5Trf^RWHT^:,

?s an^no

<?T5!H,

wsro:,*,*,*V?HTT** o *-vi

anew,

arrar>

^,rr*w:

^5rf%i^ll

bitch*

m*.

\\

sTT^sf^icflc^ra.,

an5fqilf

aio

<a

arrgqr^Tr: qtraft!:,

arror^fq

BTT*

a?.
t

answurrq^

3T?fa

^3

srfa hito^i:, vs,

atttfrfw^,

3?^

VI

feRi^o,

anfwfws

a?**?

3"

* ,^3

W,

^30
Vtf, a;u?o ^.^<:

qs

3TWT

W W fcn,

3?N

mfifiEsr^,

v\

3J?re5T^

Wo

Mtow fair,

q*r

&

<:.y

ai-

>

fkm qu

sift;:,

<R?*fa315faft f iv, 1*,

5ir

^WTWIWWr:, S*,
qs iwrcn^, *s is*

*Tqt

^, ^v, ^?;o q[o

Jfflt f?iT

^TcJT TO(^

vvn
\\

^qar,

?ftf*i:

favnw 13

wfa

^tra<p^r, ^v,

?To

to,

W?

sins,

gso

fiwrafeg

q* *Fw*r

<-v

^-v

1
urn

m fawkh, \\ wm:
fa^icta

vfe wre?*fi?^

\\,

VH

^s?a:,

s^r*

^sgo

srtti

So

<i^. 3Igo

?R5lftfi?cltT

3^ff,

n,

?Ro flo

VUv-v^

m,

v\<

W5RT,

qalgftrarw, t*, fa*To

wmft. ^wftfaar <^Tfr,

,o,

5cr

si*

^FJTo

V\<:

1v,

?<?q

cm

qstr q^r ^nr,

srrcr*

VS,

cI5T^Tl qIT flR:,

a^rdfa

??ro

war

safMiifr^ni,

^ ^3^%*,

toSTo

^
i, ^v,

?? Y-V-V^

VII
w, vs, ft?ro
wo
v*, ^ 8?rar

s?thM

<rcr

\",

ci^krqrcsqTjr, \,,

a4tf?W aqft,
aqtfqu&fft^:,
cTC

^c^f^cir

rT^JTIgr

otfwww**,

vn

gw

emii wflwfli, *\, *fta^

3?[T

S^RIT^*

R^lo

WTH,

^,

sfa go Vv

^ffT^,

qm

%o

\,

cTfaT5U?ufiT ^tqiir,

VI

1^^

s^ast^jf, i, fro

i.<

Wfl

faq^

vn

cl^

55>q:

cl?3T

QfTR?^qc%, ^S, 59o qr

clW^
IWBCTR

*s

1*rr, vv,

v,%f^o go

^rf^c?2rX, V, ^=sgo

%?5I^R^, HV, $?

cT^N

211

vi

g% g

^,

cT?I|%9I^T, ^S, IS* VV-S

cUflcl $f*icTr: gjqf:, v,

a^^qfaref*?:,

rT^qr

arf*?

?^r, ^v, ?^5go

rnj^

^ntgw,
1v*,

ff 1-V-1

iv,

|q

fci9:

sn^ft*,

y%TTr,

jjr*

w,

?o ar

af&rqrSR,

^fN?rrar,

fsrg

w tar
fqSCT,

%qWJf5cTq>atsit,

awmr

??ro

v^., ?4t?i?3i

ffaTo

WW-

3^r55t^aR?^, \*,

%^qr:

afkf&

q i

^i, q^T q ^

iv

nicrar *fti f%f%^, iv,

ssr t^ssr, iv,

n,

cuforgqfa^i, iv,

s vi

TOmftrft,

^cr 3 %-\\

i, %, q?r*

ciT^tRT^qtMcT,

?rrq|

cISclcVWI,

q^r

qs*
1%, ?5

iv,

5jfo

OTfTo

v-^v

x, **

qm

f^qftftr

cRurj:

vi,

vv,

^%*f

Www
tlrgn

q^w

5if^:,

t<%

v-v

*<>,

if

?r**r

wf

J^ffR*

v,

otV,

t>**r

^Ttwi,

c I swifts, \e

gra*ft

, vih

phtcwfw\,

filter TO<s?ir

*v

v\

Y%

w-

<-\

'ST,

fag 3o X

1 TT*

TTWIFWq

far* inifrT

5w

^, 5!tIo

^ni, x\ f^f

fqs facial?

hots

^er

^r,

qso

?<

<jfc4

ws$ ftfaw
fts$?5cq

31

wrrt,

q q ^

%,

^cio

5ri'^,

s$rei5fta*iRo

5^[r, v,

sw*R*ot fN

q^ qr

<i^,

5lWtR?c1:

mo

*\v,

jjro

r,

SWa^RJlfWlfiFa:, 1$, SI^o Ho fgo

^R efq^rq^S,

3T|*W:

s^rtff^fa,

w, 3R*

$.*o

q^ftRggqff* VI, qRo

aiirf^sqifiir g, \v,

q* rw ^iji

fts a.

qwR?^f,

n,

sjfit

Rf|f<fti ata:,

sridY

wrwrotoi,

c-'w*

^, wo

q*r ^i^q?r

q*nwff
q*r

%4f,

tm, gn

H?; q

q*T**T 5lf^R:,

<r,

S\

S*t

?[o

sfao

3.

^ijffgffl^iol^q,

o qr

qftgsifai jt^is^, v>$, sfeo

qw^ff^j^siir, -n, f^^To

qr5JTi5?JTftar ^r,

n\*

fq?|^*l5F(qqf,

V*,

fq^o qo 1-^^

sfta^ TOciiwni
l?^t

3tn|?qfa;,

* *, ^3

^v,

c 1x1

qs^

qfo

qw$r%, ^v, v^,

*PHW

nmni

qr^riii

flieq-c^er,

^v,

%JraT,

v
f

fao fj

*rf*rr,

i*.

*-t^

esswreq, *i, 330

TO 3^:,

30 vi

q^n, $c

*rswi

mn

ko qr

%s*ft,

w wo
tpsrf&q

Wflf^ratrlr

V"

fl\w, VI,

^v, afto 3o

vi, fsrjo 30

qr

s^^RR^r, hv,

qro
V9v,

1V-^

55feo

jtkfbi q'tesfw'fa;,

hr?t: srri^q*3,

sror

^dfa %

*iht

f^lir ^,

*?

W^q:

q(R5^:, 1\, If*

fw^i

fafgrn ^f^fir^l, 1*,

g^ar aw&:,iMi,
S's, 11,

J it

^-iv

?i*ir^rm, x^, 530 qr

*f

3ttffl>

sic^o ^ro

g# ^

v^,

i^k ^,

^o

aiwro

ft

Hifo q*

vi*

\t-^vi

^ew*t%,

faro

3mi urn ^wra,

iv

^lf?cl JT5rf^:, ^v

wmrfto,

f ! vi 0

q?::

% iXw-, is, Afro

sir

io-<

<u,

^j?f *qr,

*f

w,

v-i

gefl

fafl^ *i:,v,*i,ft* q

nwi
q^i

m ^q
*5|

11, ?5r

?t

star:,

fcrara craqr,

x%

q^tefliift,

M,

q^cf: q*t ftp:, v,

^3

vim:, xv, feraro

srr%,

r sifa: q?r ^<rr, v%,

Sfl<>

it

VX

SFst x-n-*

qwr sir>>:, 1 1

it

*^

x,

v^,
6

q>l

aj^> *ZlteiB, ^U, 3f$o 3

^SRRtl,

qf^fl^

qr

^v,

i-H

^X,

ar

g^o

w.,

^sijr

wiftijv

siro *-xi

^X,

qq\ ?qq|q^5i^o <n, qtfo

?f?f

mVm

\<,

ffo V-\-\o

\%

are t^r

*w

q^w*r,

mi:

sfta*%,

X*,

^,

HPT, 'i^,

sf^o

^-XX-^

vv

factor 3
fqqsif

ei %qt,

V\

iiw

v, ffinn^r:

y%

fqq^r sqsierqtsfq,

f^r-

qr

fq^qtsfq^ffffa, XV, 5rqoq;To

fq^rfcirqjt

qj% wjffiK3WH,

sfoo

^i^,

q
ftflqsiftafq'sreq,

iv, 3ifa

%^q5^q^};,

i\f,%q

y-vi

qr<>

f^:

"a,

q?% ?rrq?q^qr, x*, ^30

vio

TOnroaw, v% i*
qoi:

5J555T

q4

?r?q,

*U, staT
qr

Wife*!?:,

vgtB*ronf

3<qfi

fq^JT^r,

sqiai

qwiSfor,

\\, faqr (q qr)

szrrBt^r

V, ^3

y -U

sftapq*

sr %qt,

sqtqsqFcrcrseTo
fq$R:, \,

%\

3Tq ^-^x

SRN

qRr qq% wrffotf,

mm fq^q

=q3

3?fa

qwr^,

3?fiw:

Rqqt%q, ^x, ^3
5rfe4tr q^rerRfi, ^x, qrq

^^q^q< \
faqtfqdqwtf,

v-^<

qrq

%\ ^<t s-w
t\ 3R

wuaftaiwrf*,

iqo qro

f^*5q>clf5Bqi55lq<

^RTw^iq9f,

g*io qr

fqfqqi^sf&jsrcra.,
fq
Pqsrt

qpfr

fq^H,

*qift

fl"^,

n,

q %

$rT

ftlf:

fqq&tfqoft ftwr,

x\

afrqq:

vV,

5iTI%qt 5ITflq\

Riq

t[q

arjmt,

q^q q$q,

tf,

q?o
?[nq:

Jfo

Sfalcir 4t"OTTCT,

%f5lfc2llr*l^l^,

S\

VtX

n*t

w ft, \\,

STiTH:,

ipi ikqt

terat

to ?ep>:, x%

SF?>:

ford r^raifsrt, x i , arrio

*\ w-

^ wiN:,

q qro&teit

*faq:
-s-I'aS

q< fc* ^

TOjm

^S5T^^5

*t*

*v*,

3 fMra,

vr,

^3

f5i^ rj,

qtss?igt

?lfil%Sf

iter,

*?Tf:,

92^r, ^V,

g^q s>q,
*#*i3*Rsra,

gsraw, v, 3I F^ 0 <5-V*

^3

qtfo qo

qro

ovRc^qd

^IPTOWWr:,

i v

q<r

q3 a&girat,

v,

^v,

q4ifx5^ ^i,
f

Iffo

8P$o

^,
551 o

mo

swwt^'wfw:,
egfccir
Q'l

in

^wf

^<f,

vs,

^ci^o

IM IW, V^, V^, 9I?^o

4?r

wsirpw:, x*,

q?r lsiq;t^,

, i?

4qt3^rqTfwi:,

^v, rihto

4d*i5<re% 3,

^.^v-i

r* v-iv

fl^^tM

%q ^JcT,

^3*

\X,

<Jfrf,

tk

Tr?r

3<Jlfcfl*T

J^T:, X,

^p

*r

fag: srarg, x*, srsfo

*:,

To

*-X-X

\%,

*frsfa Jrr?ffe*T*f 5if%,

iRff o

x,

i^o

x*,

3?l ar

t^^fefci^RT,

^,

go

arfJio

dfarar, ix,

enrfe^,

(i^

fqo

Y,

PR^RffWy*T

st ar

**

"J

x,
aftft:

5*

x^, fafgo

ft5IT 5<j5<3ta,

sr

x\

X-3T3* X

\,

91% wt

er

srr

x,

m mm ^Tnr,

H, W^o VVX

V,

x\

fliif^:,

Y\,

fc^:,

^SWW?T,
S3

^x,

To

Wo

X*, igo v-xi

^^3^fci^T?cT:,

y, awn:

vy^
fat

sifas

amstw,

^x, XX,

VY,

^1**5%

g^flfftfl?r<$,

r?^!?a

0f5,

x\

sniff:

IV,

3fl

X-A

W5TflSin^ x^,
*$n^<i cmtapi* *X, into

q$<iRq$*KK few,

e?r*|o

Yv, Sc?I &3To

v*,%*

ario

^-w

^sfT ^f^,

x,

aw* S X

^xaqsi

x,

mw

gi*i?9l

3
X-^ Y

ffflJItciTI

V*,

Abbreviations used in the Appendix

art*-

faft<

3qfa<*<t

3
fe

*>

IV

5530

q< go

WW*

To

q*r

srr

q*?qMrfasT

q<r- wr
qrfar*

f^TEfo

fo

ftnrS?rifTf:

stomas
*^tqfaq?t

%aqsfci:

go 30
g3#qfire?L

jftfllo

f0

3o

<

JA _____

APPENDIX 5

ci?=r

qifoio

cis^t^h;

qrfafa^g;,

<:*

^5T2?r^r?ufr

<kim

m3*m

sun,

mrat fwaV

a?TOT

rj?t

*TTW

g4,
fresft

flsr

mwqj

left,

qtfiwjt

oft

ftjr

q vpnfe,

WTtrf?frT? 0

<^

WTW 1*

rrfFir:

m&
3

fl:,

ST^5I

rTtT:,

<\

cT^o ^v->o

*v, fqjr5

%r Well: sftw,

5:

cFsJe

q^rr^,

iv

Addenda and Corregenda

Page

Line

Page

Line

VI

1H

XX

v*

<

*\

fcl:?

1*
Ho

HH

1*

1^

11

1H

hs

1*

11

1*

*i

1*

1H
IV

SH

1*

n
1*

*f

1-

*v
Ho

1H

IS

%\

xvi

11

11

v*

TOOT**

IV
HI

1*
"Stoat

1*

1*

CI

HV
V

\*

V
b

11

Itf

h-*h

qgsrreirfa

By the same Author

THE GREAT LIBERATION

(

M AHANIRVAN ATANTRA

Sanskrit Text, English Translation and Commentary

CONTENTS
CHAPTEB
Preface
I.

II.

III.

IV.

V.

Questions Relating to the Liberation of Beings

Introduction to the Worship of Brahman
Description of the Worship of the Supreme Brahman

The Mantras, Placing of the Jar, and Purification of the

Elements of Worship
The Revelation of the Mantras, Placing of the Jar, and
Purification of the Elements of

VI.

Placing

Worship

Homa, Formation

ShrTpatra,

the

of

of

the

Chakra, and other Rites

VII.

VIII.

IX.

X.
XI.
XII.
XIII.

XTV

Hymn

of

Praise

(Stotra),

Amulet (Kavacha), and the

Description of the Kula-tattva

The Dharma and Customs of the Castes and Ashramas
of Purificatory Rites (Samskara)
and
Rites Relating to Vrddhi S'raddha, Funeral Rites,

The Ten Kinds

Purnabhiseka
of Expiatory Acts
An Account of the Eternal and Immutable Dharma
Installation of the Devata
of the
The Consecration of Shiva Linga and Description

The Account

Four Classes

of

Avadlmtas

willed it and
the World-Mother has again
so that Arthur Avalon
has again desired to manifest Her Power
versxon
has published so beautiful a
is studying the Tantras and
" It

of the

seems as

if

Mahanirvana "Sahitya.

1,000 Pages.
3rd Edition (1953) Cloth Bound-Over

Price Rs. 30/-

By

the same Author

TANTRA

PRINCIPLES OF

(TANTRATATTVA)

CONTENTS
Part

Appearance and Applicability of the Tantra

Scripture II. What is the Necessity for the Tantras
when there is Veda? III. The Ephemeral and
Modern Monism IV. Gayatrl Mantra and Image
Worship V. Commands of S'astra VI. Worship
I.

of

Devatas VII. What

Is

S'akti ?

Worship

(Continued) IX.

S'iva

and S'akti X.

of the Five Devatas.

Part

II

On Mantra XII. Lettered and

On the Guru XIV.

XI.

Sound

? VIII. What

Shakti

Is

XIII.

Unlettered
Discussion

Upon, and Selection Of, the Guru XV. Worship

in General XVI. The Play of Gunas XVII. Outer
Worship XVIII. Ordinances Relating to Worship
XIX. Ceremonial Worship XX. Ceremonial Wor-

ship (Continued).

The

Treatise

ment on the

is

the most remarkable pronounce-

subject which has yet appeared

and
Mr. Avalon is to be thanked for making it accessible
to Western readers.
It is full of points of very great

interest.

The Quest.

Second Edition (1952) Cloth

Bound 1200

Pages.

Price Rs. 30/-