u/Straight-Cable433

MAHANIRVANA TANTRA

CHAPTER X: RITES AND INITIATION

PART V: PURNABHISEKA, THE SECRET INITIATION AND THE PREPARATIONS FOR THE RITE

Slokas 109 to 133

THE GREAT SECRET OF PURNABHISEKA

Having heard of the greatness of the Fully Initiated Kaula, Devi asks Sri Sadasiva to explain the procedure of Purnabhisheka.

Sloka 109

Purnabhisiktakaulasya mahatmyam kathitam Prabho |

Vidhanam abhisekasya krpaya sravayasva mam ||

Meaning:

The greatness of the Fully Initiated Kaula has been described. The procedure of Abhisheka is now requested to be explained.

Sloka 110

Vidhanam etat paramam guptam asit yugatraye |

Guptabhavena kurvanto nara moksham yayuh pura ||

Meaning:

This procedure was exceedingly secret during the three former Ages. In those times, those who performed it in secrecy attained Liberation.

Sloka 111

Pravarte Kalikale tu prakasah Kulavartmanah |

Naktam va divase kuryat saprakasabhisecanam ||

Meaning:

When the Kali Age prevails, the path of Kula becomes manifest. The Abhisheka may then be performed openly, whether at night or during the day.

Sloka 112

Nabhiseke bina Kaulah kevalam madyasevanat |

Purnabhisekat Kaulah syat Cakradhisah Kulanayakah ||

Meaning:

A person does not become a Kaula merely through drinking wine without Abhisheka. Through Purnabhisheka, the Kaula becomes the Lord of the Cakra and the leader of the Kula.

The text therefore distinguishes the external act of drinking from the status and initiation conferred through Purnabhisheka.

WORSHIP OF VIGHNESA BEFORE THE ABHISEKA

On the day preceding the Abhisheka, the Kaula should worship Vighnesa with offerings according to his capacity, for the removal and pacification of all obstacles.

Sloka 113

Tatrabhisekapurve hni sarvavighnopasantaye |

Yathasaktyupacarena Vighnesam pujayet Kaulah ||

Meaning:

On the day preceding the Abhisheka, the Kaula should worship Vighnesa with such offerings as are within his means, for the removal and pacification of all obstacles.

Sloka 114

Gurus cen nadhikari syat Subhapurnabhise cane |

Tadabhisiktakaulena samskaram sadhayet Priye ||

Meaning:

If the Guru is not qualified to perform the auspicious Purnabhisheka, then the Samskara should be performed by an initiated Kaula.

THE BIJA AND NYASA OF GANAPATI

The preliminary procedure now turns to Ganapati and the Mantra associated with Him.

Sloka 115

Khantarnam bindusamyuktam bijam asya prakirtitam ||

Meaning:

The Bija of Ganapati is declared in this verse.

Sloka 116

Ganako sya rsis chando nivrt Vighnas tu Devata |

Kartavyakarmano vighnasantyarthe viniyogita ||

Meaning:

Ganaka is the Rsi of this Mantra, Nivrt is its Chandas, and Vighna is its Devata. Its application is for the removal and pacification of obstacles to the rite that is to be performed.

Sloka 117

Sad dirghayuktamulena sadangani samacaret |

Pranayamam tatah krtva dhyayed Ganapatim Sive ||

Meaning:

With the Mula-Mantra joined successively with the six long vowels, the Sadanga should be performed. Having then performed Pranayama, one should meditate upon Ganapati.

THE DHYANA OF GANAPATI

Sloka 118

Sindurabham trin etram prthutarajatharam hastapadmair vahantam |

Khadgam pasankuses tany uruk aravilasad arunipurnakumbham |

Balendudiptamaulim karipativadanam bijapuradrigandam |

Bhogindrabaddhabhusam bhajata Ganapatim raktavastrangaragam ||

Meaning:

One should worship Ganapati, who is vermilion-coloured, three-eyed and possessed of a very large belly.

In His lotus-like hands He bears the sword, noose, elephant-goad and the sign of blessing. His great trunk holds a vessel filled with wine.

The young Moon shines upon His head. His face is that of the King of elephants. His cheeks are covered with the flowing ichor of the elephant.

His body is adorned with the coils of the King of Serpents. He is clothed in red garments, and His body is tinged with red.

THE POWERS OF THE SEAT

Sloka 119

Dhyatvaivam manases t abhih Pithasaktih prapujayet |

Tivra ca Jvalini Nanda Bhogada Kamarupini ||

Meaning:

Having meditated upon Ganapati in this manner, one should worship the Powers of the Seat with mental offerings.

These Powers are Tivra, Jvalini, Nanda, Bhogada and Kamarupini.

Sloka 120

Ugra Tejasvati Satya madhye Vighnavinasini |

Purvadito rcayitvaitah pujayet Kamalasanam ||

Meaning:

The remaining Powers are Ugra, Tejasvati and Satya, with Vighnavinasini in the centre, the Destroyer of Obstacles.

These should be worshipped beginning from the East, and then the Lotus Seat itself should be worshipped.

THE MANY FORMS OF GANAPATI

Sloka 121

Punardhyatva Gan esanam Pancatattvopacarakaih |

Abhyarcya tac caturdiksu Ganesam Gananayakam ||

Meaning:

Having again meditated upon Ganesa, the excellent Kaula should worship Him with the offerings of the five Tattvas.

In the four directions, Ganesa, the Lord of the Ganas, is to be worshipped.

Sloka 122

Gananatham Ganakridam yajet Kaulikasattamah |

Ekadantam Raktatundam Lambodaragajan anau ||

Meaning:

The excellent Kaulika should worship Gananatha, Ganakrida, Ekadanta, Raktatunda, Lambodara and Gajanana.

Sloka 123

Mahodaram ca Vik atam Dhumrabham Vighnanasanam ||

Meaning:

He should also worship Mahodara, Vikata, Dhumrabha and Vighnanasana.

THE SAKTIS, DIKPALAS AND THEIR WEAPONS

Sloka 124

Tato Brahmimukhah Saktir Dikpalan s ca prapujayet |

Tesam astrani sampujya Vighnarajam visarjayet ||

Meaning:

Thereafter, the Saktis beginning with Brahmi and the Dikpalas should be thoroughly worshipped.

Their weapons should also be worshipped. Having completed this worship, Vighnaraja should be dismissed.

ADHIVASANA AND THE FEEDING OF KAULAS

Sloka 125

Evam sampujya Vighnesam adhivasanam acaret |

Bhojayec ca Pancatattvair divyajnan an Kul asadhakan ||

Meaning:

Having thus worshipped Vighnesa, one should perform the preliminary Adhivasana rite.The Kula-Sadhakas who possess Divine Knowledge should then be entertained with the Pancatattvas.

THE DAY AFTER THE WORSHIP OF VIGHNESA

Sloka 126

Tatah paradine snatah krtanityauditakriyah |

Ajanmakrtapapanam ksayartham tilakancanam |

Utsrjet Kaulatrptyartham bhojyam caikam api Priye ||

Meaning:

On the following day, having bathed and performed the prescribed daily rites, one should give sesame and gold for the destruction of the sins accumulated from birth.One should also give at least one Bhojya for the satisfaction of the Kaulas.

WORSHIP OF THE DEITIES AND THE VASUDHARA

Sloka 127

Arghyam dattva Dinesaya Brahma-Visnu-Mahesvaran |

Arcayitva Matrganan Vasudh aram prakalpayet ||

Meaning:

Having offered Arghya to the Sun, one should worship Brahma, Visnu and Mahesvara, as well as the group of Mothers.Thereafter, one should perform Vasudhara.

VRDDHI-SRADDHA

Sloka 128

Karmano bhyudayarthiya Vrddhisraddham samacaret |

Tato gatva Guroh parsve pranamya prart hayed idam ||

Meaning:

For the successful advancement of the rite, one should perform Vrddhi-Sraddha.Then, approaching the Guru and bowing before him, one should make the following prayer.

THE PRAYER TO THE GURU

Sloka 129

Trahi Natha Kulacaranal inikulavrksakam |

Tvatpadambhoruhacchayam dehi murdhni Krpanidhe ||

Meaning:

O Lord, protect me. O Ocean of Mercy, grant upon my head the shade of Your lotus feet and protect the sacred Kula path.

Sloka 130

A jnam dehi Mahabhaga Subhapurnabhisecane |

Nirvighnam karmanah siddhim upaimi tvatprasadatah ||

Meaning:

O greatly blessed one, grant me permission for the auspicious Purnabhisheka.By Your grace, may I attain the successful completion of this rite without obstacles.

THE GURU GIVES PERMISSION

Sloka 131

Sivasaktyajnaya Vatsa kuru Purnabhisecanam |

Manorathamayi siddhir jayatam Sivasasanat ||

Meaning:

By the command of Siva-Sakti, the Purnabhisheka should be performed.May the Siddhi corresponding to the cherished desire arise by the command of Siva.

Sloka 132

Ittham ajnam Guroh prapya sarvopadravasantaye |

Ayurlaksmibalarogyaya Sadgurum pujayet ||

Meaning:

Having thus obtained the permission of the Guru, one should worship the Sadguru for the pacification of every obstacle and for the attainment of long life, prosperity, strength and freedom from disease.

CHOOSING THE GURU FOR PURNABHISEKA

Sloka 133

Tatas tu krtasankalpo vastralankarabhusanaih |

Karanaih suddhisahitair abhyarcya vrnuyad Gurum ||

Meaning:

Having made the Sankalpa, the Sadhaka should honour the Guru with garments and ornaments, together with Karana accompanied by Suddhi, and formally invite the Guru to undertake the rite.

KEYWORDS AND TERMS

Purnabhisheka: The complete or full Abhisheka through which the Kaula receives the higher initiation described in this section.

Abhisheka: A ritual consecration or initiation involving sacred substances and Mantras.

Kaula: A practitioner belonging to the Kula tradition.

Cakradhisa: Lord or master of the Cakra.

Kulanayaka: Leader of the Kula.

Kula: The sacred Kaula tradition, lineage and spiritual principle.

Vighnesa: Ganapati as the Lord associated with the removal and pacification of obstacles.

Ganapati: The Deity worshipped at the beginning of this preparatory sequence for the removal of obstacles.

Bija: A seed syllable or essential Mantric sound.

Nyasa: The ritual placement of Mantras upon or in relation to parts of the body.

Rsi: The seer associated with a Mantra.

Chandas: The metre associated with a Mantra.

Devata: The Deity presiding over a Mantra or ritual.

Viniyoga: The ritual application or purpose for which a Mantra is employed.

Mula-Mantra: The principal or root Mantra of a particular worship.

Sadanga: The six-part ritual application associated with a Mantra.

Pranayama: Regulation of the breath as part of spiritual and ritual practice.

Dhyana: Meditation or contemplative visualization.

Pitha: A sacred seat or ritual foundation.

Pitha-Sakti: The sacred Powers associated with the ritual seat.

Tivra: One of the Powers worshipped in the ritual seat.

Jvalini: One of the Powers worshipped in the ritual seat.

Nanda: One of the Powers worshipped in the ritual seat.

Bhogada: One of the Powers worshipped in the ritual seat.

Kamarupini: One of the Powers worshipped in the ritual seat.

Ugra: One of the Powers worshipped in the ritual seat.

Tejasvati: One of the Powers worshipped in the ritual seat.

Satya: One of the Powers worshipped in the ritual seat.

Vighnavinasini: The Power who destroys obstacles.

Kamalasana: The Lotus Seat.

Pancatattva: The five Tattvas used in the prescribed Kaula worship.

Gana: A group or host of divine beings associated with Ganapati.

Gan anatha: Lord of the Ganas.

Ganakrida: A form or name of Ganapati.

Ekadanta: The One-Tusked form of Ganapati.

Raktatunda: A form of Ganapati associated with the red trunk.

Lambodara: The Large-Bellied form of Ganapati.

Gajanana: The Elephant-Faced form of Ganapati.

Mahodara: The Great-Bellied form of Ganapati.

Vikata: A form of Ganapati.

Dhumrabha: A form of Ganapati.

Vighnanasana: The Destroyer of Obstacles.

Sakti: Divine Power or energy.

Brahmi: One of the divine Saktis.

Dikpala: A guardian of a direction.

Adhivasana: A preliminary consecratory or preparatory rite performed before the main ritual.

Kula-Sadhaka: A practitioner of the Kula tradition.

Divyajnana: Divine or higher spiritual knowledge.

Bhojya: Food or a food offering.

Arghya: A ritual offering of water and other sacred substances.

Vasudhara: A ritual act involving the pouring or offering of a stream of sacred substance.

Vrddhi-Sraddha: A form of Sraddha associated with the successful advancement of an auspicious rite.

Sankalpa: A formal ritual resolve or statement of intention.

Sadguru: The true or principal spiritual Guru.

Karana: A ritual substance or preparation used in the prescribed Kaula rite.

Suddhi: Purification.

Siva-Sakti: The united principle of Siva and Sakti.

Siddhi: Accomplishment, attainment or spiritual perfection.

Kaulika: One belonging to or embodying the Kaula tradition.

MAHANIRVANA TANTRA

CHAPTER X - RITES AND INITIATION

PART I : VRDDHI-SRADDHA: THE RITES, THEIR OCCASIONS, AND THE BEGINNING OF THE CEREMONY

Chapter X opens with Parvati asking Shiva about Kushandika, Vrddhi-Sraddha, and the occasions on which these rites are to be performed. Shiva first distinguishes what has already been taught among the ten Samskaras and then explains the circumstances in which Vrddhi-Sraddha and Kushandika are to be performed.The teaching then enters the detailed procedure of Vrddhi-Sraddha, beginning with the worship of the Devas and the preparation of the Kusha-Brahmanas.

PARVATI ASKS ABOUT KUSHANDIKA AND VRDDHI-SRADDHA

Shloka 1

Kushandikavidhir natha samskarash ca dasha shrutah |

Vrddhishraddhavidhim deva krpaya me prakashaya ||

Meaning:

Parvati said:

“O Lord, I have heard the procedure of Kushandika and the ten Samskaras. O Deva, out of Your grace, reveal to me the procedure of Vrddhi-Sraddha.”

Shloka 2

Kasmin kasminsh ca samskare pratishthasu ca kasv api |

Kushandikavidhanan ca vrddhishraddhan ca Shankara ||

Meaning:

“O Shankara, tell me in which of the Samskaras, and in which kinds of Pratishtha, the rites of Kushandika and Vrddhi-Sraddha are to be performed.”

Shloka 3

Kartavyam va na kartavyam tan mam acakshva tattvatah |

Matpritaye Maheshana jivanam mangalaya ca ||

Meaning:

“Tell me truly whether these rites are to be performed or not, O Maheshana, both for my satisfaction and for the auspiciousness of living beings.”

Maa Parvati's question is concerned not only with the rites themselves, but also with their proper occasions and applicability. Shiva now gives the answer.

SHIVA DESCRIBES WHAT HAS ALREADY BEEN PRESCRIBED

Shloka 4

Jivasekadivahantadashasamskarakarmasu |

Yatra yad vihitam bhadre savishesham prakirtitam ||

Meaning:

Shiva said:

“O Auspicious One, in the ten Samskara rites beginning with Jiva-seka and ending with marriage, whatever has been prescribed in each place has already been specifically declared.”

Shloka 5

Tad eva karyam manujair atatjnyaihitam icchubhih |

Anyatra yad vidhatavyam tac chrnushva varanane ||

Meaning:

“That alone is to be performed by people who desire their welfare. What is to be done in other cases, hear that from Me”

Shiva then proceeds to the specific occasions in which these rites are prescribed.

THE OCCASIONS FOR VRDDHI-SRADDHA AND KUSHANDIKA

Shloka 6

Vapikupatadaganam devapratishthakrtes tatha |

Grharamavratadinam pratishthakarmasu priye ||

Meaning:

“O Beloved, at the consecration of Vapi, wells and tanks, at the consecration of Deities, and in the consecration rites connected with houses, gardens, vows and the like...”

Shloka 7

Sarvatra pancadevanam matrnam api pujanam |

Vasudhara ca kartavya vrddhishraddhakushandike ||

Meaning:

“In all these cases, the Pancha-Devas and the Matrs are to be worshipped, and Vasudhara is also to be performed, together with Vrddhi-Sraddha and Kushandika.”

Shloka 8

Strinam vidheyakrtyeshu vrddhishraddham na vidyate |

Devatapitrtrptyarthe bhojyam ekam samutsrjet ||

Meaning:

“In rites that are to be performed by women, there is no Vrddhi-Sraddha. Instead, one should offer food for the satisfaction of the Devatas and the Pitrs.”

Shloka 9

Devamatrarcanam tatra vasudhara kushandika |

Bhaktya striya vidheyavya rtvija Kamalanane ||

Meaning:

“O Lotus-faced One, there the worship of the Devas and Matrs, Vasudhara, and Kushandika are to be performed by the woman with devotion, with the assistance of the Rtvij.”

Shloka 10

Putrash ca pautro dauhitro jnatayo bhaginisutah |

Jamatrsh caiva deyadipitre shastah pratinidhau Shive ||

Meaning:

“O Shiva, the son, grandson, daughter's son, relatives, sister's son and son-in-law are prescribed as substitutes when a person cannot personally perform the rite.”

The chapter then turns from these general rules to the actual procedure of Vrddhi-Sraddha.

Shloka 11

Vrddhishraddham pravakshyami tattvatah shrnu Kalike ||

Meaning:

“O Kalike, I shall now explain Vrddhi-Sraddha in detail. Listen.”

BEGINNING THE VRDDHI-SRADDHA

Shloka 12

Krtva nityoditam karma manavah susamahitah |

Gangam Yajneshvaram Vishnum Vastvisham Bhupatim yajet ||

Meaning:

Having performed the Nityodita daily rite, the practitioner, being composed and attentive, should worship Ganga, Yajneshvara, Vishnu, Vastvisha, and Bhupati.

THE KUSHA-BRAHMANAS

Shloka 13

Tato darbhamayan vipran kalpayet pranavam smaran |

Pancabhir navabhir vapi saptabhis tribhir eva va ||

Meaning:

Then, remembering the Pranava, he should prepare Brahmanas made of Darbha grass, in groups of five, nine, seven, or three.

Shloka 14

Nirgarbhaish ca kushaih sagrair dakshinavartayogatah |

Sardhadvayavartanena urdhvagrair arcayed dvijan ||

Meaning:

The Brahmanas are to be fashioned from Kusha grass, with the prescribed arrangement and turning, using the specified number of rotations and with their ends directed upward.

Shloka 15

Vrddhishradde parvanadau shad viprah parikirtitah |

Ekoddishte tu kathita eka eva dvijah Shive ||

Meaning:

“O Shive, in Vrddhi-Sraddha, Parvana-Sraddha and the like, six Brahmanas are prescribed. In Ekoddishtha, only one Brahmana is prescribed.”

Shloka 16

Tato vipran kushamayan ekasmin eva bhajane |

Kauberabhimukhan krtva snapayed amuna sudhih ||

Meaning:

Then the wise practitioner should place the Kusha-Brahmanas in one vessel, turn them toward Kubera, and bathe them with the following Mantra.

Shloka 17

Hrim shanno Devir abhishṭaye shanno bhavantu pitaye |

Sham yor abhisravantu nah ||

Meaning:

“May the Goddesses be auspicious for our desires. May they be auspicious for our drinking. May auspiciousness flow toward us.”

Shloka 18

Tatas tu gandhapushpabhyam pujayet kushabhusuran ||

Meaning:

Then the Kusha-Brahmanas should be worshipped with fragrance and flowers.

THE SIX VESSELS AND THEIR ARRANGEMENT

Shloka 19

Pashchime dakshine caiva yugmayugmakramat sudhih |

Shatpatrani sadarbhan i sthapayet tulasītilaih ||

Meaning:

The wise practitioner should place six vessels, in pairs, in the western and southern areas. These vessels are to contain Darbha, Tulasi, and Tila.

Shloka 20

Patradvaye pashchimayam yamye patracatushtaye |

Purvas yav uttaramukhan shad vipran upaveshayet ||

Meaning:

In the two vessels placed in the west and the four vessels placed in the south, the six Brahmanas should be seated according to the prescribed arrangement, facing east and north respectively.

Shloka 21

Daivapaksham pashchimayam dakshine vamayam yayoh |

Pitur matamahayasya api pakshau dvau viddhi Parvati ||

Meaning:

“O Parvati, know the Deva side to be in the west. In the south, in the left and right divisions, are the two sides belonging respectively to the father and the maternal grandfather.”

Shloka 22

Nandimukhash ca pitaro Nandimukhyash ca Matarah |

Matamahadayo 'py evam matamahyadayo 'pi ca |

Shraddhe namny abhyudayike samuccherya varanane ||

Meaning:

“O beautiful-faced One, in the Abhyudayika Sraddha, the Nandimukha Pitrs and the Nandimukhi Mothers are to be named. Likewise, the maternal grandfathers and maternal grandmothers are to be mentioned according to the prescribed order.”

THE DIRECTIONS FOR DEVA AND PITR RITES

Shloka 23

Dakshinavartenottarasyo daivam karma samacaret |

Vamavartena dakshinas yah pitrkarmani sadhayet ||

Meaning:

Facing north and moving in the Dakshinavarta manner, one should perform the rites for the Devas. Facing south and moving in the Vamavarta manner, one should perform the rites for the Pitrs.

Shloka 24

Sarvam karma prakurvita daivadikramato Shive |

Langhanan matrmatrnam shraddham tad viphalam bhavet ||

Meaning:

“O Shive, all the rites should be performed according to the order beginning with the Deva rites. If the prescribed order concerning the Mothers and the maternal line is transgressed, that Sraddha becomes fruitless.”

Shloka 25

Kuberabhimukho 'nujnavakyam daive prakalpayet |

Yamyasyah kalpayed vakyam pitrye matamahe 'pi ca |

Tatradau daivapakshe tu vakyam shrnu shucismite ||

Meaning:

Facing toward Kubera, one should formulate the Anujna-vakya for the Deva side. Facing south, one should formulate the corresponding statement for the paternal and maternal-grandfather sides.

“O Pure-smiling One, first hear the statement to be used for the Deva side.”

THE ANUJNA-VAKYA

Shloka 26

Kaladini nimittani samullikhya tatah param |

Tat-tat-karmabhyudayartham uktva sadhakasattamah ||

Meaning:

Having first stated the relevant time and other particulars, the excellent practitioner then states that the rite is being undertaken for the prosperity and auspicious development associated with that particular ceremony.The following Shlokas specify the names and lineages that are to be mentioned.

Shloka 27

Pitradinam trayanam tu matradinam tathaiva ca |

Matamahanam ca matamahyanam api priye ||

Meaning:

“O Beloved, the names of the three paternal ancestors, likewise those of the maternal line, and those of the maternal grandfathers and maternal grandmothers are to be included according to the prescribed form.”

Shloka 28

Shashthyantam kirtayen nama gotroccaranapurvakam |

Vishveshan caiva devanam shraddhe padam udiret ||

Meaning:

The names should be pronounced in the genitive form, preceded by the utterance of the Gotra. In the Sraddha, the designation referring to all the Devas should then be uttered.

Shloka 29

Kushanirmitayoh pashcat viprayor aham ity api |

Karishye Parameshani ity anujnavakyam iritam ||

Meaning:

After this, with reference to the two Brahmanas made of Kusha, the words “aham”, meaning “I”, and “karishye”, meaning “I shall perform”, are uttered. Thus the Anujna-vakya, the statement seeking permission, is prescribed.

Shloka 30

Vishvan devan parityajya pitrpakshe tu Parvati |

Tatha matamahayasya api pakshe 'nujna prakirtita ||

Meaning:

“O Parvati, for the paternal side, and likewise for the maternal-grandfather side, the Anujna is prescribed after leaving out the mention of the Vishva-Devas.The central instruction here is that the Vishva-Devas are omitted when the statement is made specifically for those Pitrsides.

THE MANTRA FOLLOWING THE ANUJNA

Shloka 31

Tato japed Brahmavidyam Gayatrim dashadha Shive ||

Meaning:

“Then, O Shive, one should recite the Brahma-Vidya Gayatri ten times.”

Shloka 32

Devatabhyah pitrbhyash ca mahayogibhyah eva ca |

Namo 'stu pushtaye svahayai nityam eva bhavantv iti ||

Meaning:

“Salutation to the Devatas, to the Pitrs, and also to the great Yogis. Salutation to Pushti and to Svaha. May these auspicious occasions ever be.”

KEYWORDS AND TERMS

Kushandika: A prescribed ritual involving the preparation and consecration of the sacred fire and associated rites.

Vrddhi-Sraddha: A Sraddha rite performed on auspicious occasions connected with growth, prosperity, consecration, family rites, and other prescribed ceremonies.

Samskara: A sacramental or purificatory rite marking an important stage in life.

Pratishtha: Consecration or ritual establishment of a Deity, sacred object, house, garden, vow, or other prescribed entity.

Panca-Devas: The five Deities worshipped together in the prescribed ritual arrangement.

Matrs: The Mothers or Mother Deities invoked and worshipped in the rite.

Vasudhara: A ritual offering or stream of ghee associated with the prescribed Sraddha and auspicious rites.

Pitrs: The ancestral beings to whom offerings and Sraddha rites are directed.

Devatasi: The Deities.

Rtvij: The officiating priest who assists in the performance of a ritual.

Pratinidhi: A substitute or representative who performs a prescribed rite on behalf of another person.

Nityodita: The daily rite that is to be performed regularly.

Ganga: The sacred river Goddess invoked and worshipped in the rite.

Yajneshvara: The Lord associated with the sacrifice or Yajna.

Vishnu: The Deity invoked as part of the prescribed worship at the beginning of the rite.

Vastvisha: The Lord associated with the dwelling or sacred space.

Bhupati: The Lord of the earth.

Pranava: The sacred syllable Om.

Darbha: Sacred ritual grass used in Vedic and Tantric rites.

Kusha: Sacred grass used in ritual arrangements and offerings.

Kusha-Brahmanas: Symbolic Brahmanas fashioned from Kusha grass and used in the Sraddha procedure.

Kubera: The Deity associated with the northern direction and wealth.

Tulasi: The sacred Tulasi plant used in worship.

Tila: Sesame seeds used in ritual offerings, particularly in rites connected with ancestors.

Deva-paksha: The side or division associated with the Devas.

Pitr-paksha: The side or division associated with the ancestors.

Nandimukha Pitrs: Ancestors invoked in auspicious rites connected with prosperity and ceremonial growth.

Nandimukhi Matrs: The corresponding Mothers invoked in auspicious rites.

Abhyudayika Sraddha: An auspicious form of Sraddha associated with prosperity, growth, and favorable occasions.

Anujna-vakya: The formal statement through which permission is sought to perform the prescribed rite.

Gotra: A traditional lineage designation.

Brahma-Vidya: Spiritual knowledge relating to Brahman or the Supreme Reality.

Gayatri: A sacred Vedic mantra, here prescribed to be recited ten times.

Vishva-Devas: The collective Deities invoked in the Deva portion of the Sraddha rite.

Pushti: Nourishment, growth, prosperity, or the sustaining power invoked in the concluding formula.

Svaha: A sacred exclamation used in offerings, especially when making oblations into the sacred fire.

Pitrkarma: Ritual acts and offerings performed for the ancestors.

Pinda: A ritual food offering prepared for the ancestors.

MAHANIRVANA TANTRA - CHAPTER IX

PART VII - SHAIVA AND CAKRA MARRIAGE.

THE COMPLETION OF THE MARRIAGE RITE

The marriage rite described in the preceding section now moves into further regulations concerning the completion of the marriage. The Tantra then distinguishes different forms of marriage and proceeds to describe the Shaiva and Cakra forms of union.

The text further describes the consecration of such a couple, the invocation of the Goddess, the rules concerning lineage and offspring, and the conduct prescribed for those born of these unions.

Shloka 263

Ashmamandalikasamaroho kuryad amantrakam |

Nishayam cet tada stribhih paryet Dhruvamandalam ||

Meaning:

The prescribed rite involving the ascent upon the stone-circle should be performed. If the rite takes place at night, the woman should look upon the Dhruva-mandala.

Shloka 264

Pradakshinyagner samyag upavishya varas tada |

Svishtikrid homatah purnahutyantena samapayet ||

Meaning:

Having properly circumambulated the Fire, the bridegroom should then sit. The rite should be completed beginning with the Svishtikrit-homa and continuing through the final Purnahuti.

THE BRAHMA MARRIAGE AND THE WIFE OF THE HOUSEHOLD

Shloka 265

Brahmo vivaho vihito doshahinah svavarnaya |

Kuladharmanusarina gotrabhinnasapindaya ||

Meaning:

The Brahma marriage is prescribed with a woman of the same varna, free from the stated defects, following the customs of the family, and belonging to a different Gotra and different Sapinda relationship.

Shloka 266

Brahmodvahena ya grahya saiva patni grheshvari |

Tad anujnam vina bahyavivaham nacaret punah ||

Meaning:

The woman who has been taken in marriage through the Brahma form is the wife and mistress of the household. Without her permission, another external marriage should not again be undertaken.

Shloka 267

Tasya apatye tad ansho niyaman na Kuleshvari |

Shaivodvahya patnyah dayarhani bhavanti na ||

Meaning:

The text then sets forth a rule concerning the share belonging to her offspring and the inheritance connected with the children of a Shaiva marriage.

Shloka 268

Shaivo 'shvaryapatnyah dayarhino bhavanti na |

Yathavibhavam acchadanam grasash ca Parameshvari ||

Meaning:

The text continues with provisions concerning inheritance and the maintenance of those belonging to the Shaiva marital arrangement. According to the means available, clothing and food are to be provided.

TWO FORMS OF SHAIVA MARRIAGE

Shloka 269

Shaivo vivaho dvividha kulabhede vidhiyate |

Cakrasya niyamenaiko dvitiyo jivamatratah ||

Meaning:

The Shaiva marriage is described as being of two kinds according to the distinction of the Kula. One is governed by the rules of the Cakra, while the second is of the other prescribed form.

MARRIAGE DURING CAKRA PRACTICE

The Tantra now enters a distinct section concerning union within the Cakra. Here the text describes the consent of the participants, the permission of the Bhairavi and Vira, the mantra, the worship of Kali, and the formal acceptance of the woman.

Shloka 270

Cakranushthanasamaye svaganeh shaktisadhakaih |

Parasparecchayodvaham kuryad virah samahitah ||

Meaning:

During the observance of the Cakra, among the practitioners of Shakti, the Vira, being attentive and composed, may undertake the union according to the mutual desire of the participants.

Shloka 271

Bhairavivirayos tu svabhiprayam nivedayet |

Avayoh shashvatodvahe bhavitum manyatam ||

Meaning:

The intention should be communicated between the Bhairavi and the Vira. They should seek acceptance that the union between the two may take place.

Shloka 272

Tesham anujnam adaya japtva shadaksharam manum |

Aghorataratavrittya pranamet Kalikam param ||

Meaning:

Having obtained their permission, the Vira should recite the six-syllabled mantra and, with the prescribed Aghora-related observance, bow to the supreme Kali.

Shloka 273

Tato vadet tam ramanim Kaulanam sannidhau Shive |

Akaitavena cittena patibhavena mam vrnu ||

Meaning:

Then, in the presence of the Kaulas, he should address the woman:

“With a mind free from deceit, choose me with the feeling of a husband.”

Shloka 274

The supplied text does not preserve the wording of this shloka clearly enough to reproduce the damaged letters responsibly.

The visible passage describes the woman's acceptance and the joining of the hands in the presence of the Kaulas. After her acceptance, the prescribed joining and consecratory procedure follows.

Meaning:

The woman, having accepted the Vira according to the prescribed Cakra procedure, participates in the joining of the hands and the subsequent rite.

CONSECRATION OF THE CAKRA COUPLE

Shloka 275

Tato 'bhishincet Cakreshah mantren anena dampati |

Tada Cakrashthitah Kaulah bruyuh svastity adaram ||

Meaning:

Thereafter the Lord of the Cakra should consecrate the couple with the prescribed mantra. At that time the Kaulas who are established in the Cakra should respectfully utter “Svasti.”

Shloka 276

Rajarajeshvari Kali Tarini Bhuvaneshvari |

Rama Kamala Nitya yuvam rakshantu Bhairavi ||

Meaning:

May Rajarajeshvari, Kali, Tarini, Bhuvaneshvari, Rama, Kamala, and Nitya protect you both, O Bhairavi.

Shloka 277

Abhishincet dvadashadha madhuna va ashtadravyashah |

Tatas tau pranatau vidvan shravayed Agamam kramam ||

Meaning:

The couple should be consecrated in the prescribed manner, with honey or with the eight prescribed substances. Thereafter, when the two have bowed, the learned one should recite and teach the prescribed Agamic procedure.

Shloka 278

Yathadridhikrtam tatra tabhyam patyam prayatnatah |

Shambhavoktavidhanena kulinabhyam Kuleshvari ||

Meaning:

Thereafter, the two should carefully uphold what has been firmly established between them, according to the Shambhava procedure and the prescribed Kula method.

RULES CONCERNING SHAIVA MARRIAGE

Shloka 279

Vayovarnavicharo 'tra Shaivodvahe na vidyate |

Asapindam parinitam Kuleshanushasanat ||

Meaning:

In this Shaiva marriage, consideration of age and varna does not apply in the same manner. The prescribed marriage is to be understood according to the Kula injunction concerning a woman who is not a Sapinda.

Shloka 280

Parinita Shaivadharme Cakranirdharanena ya |

Apatyarthi rtum drishtva Cakrasthite tu tam tyajet ||

Meaning:

The woman who has entered the Shaiva marriage through the determination of the Cakra is subject to the rules stated here concerning offspring and the prescribed Rtu. The Vira is instructed concerning her according to the circumstances established by the Cakra.

CHILDREN BORN OF SHAIVA UNIONS

The Tantra now turns from the marriage itself to the status and conduct associated with children born through these forms of union.

Shloka 281

Shaivabharyodbhavapatyam anulomena matrvat |

Samacared vilomena tat tu samanyajativat ||

Meaning:

The offspring born from a Shaiva wife, when arising through the Anuloma form, should be treated like the mother. In the reverse order, the offspring is to be treated according to the ordinary social category.

Shloka 282

Evam sankarajatinam sarveshu pitrkarmasu |

Bhojyapradanam Kaulanam bhojanam vihitam bhavet ||

Meaning:

Thus, in the ancestral rites concerning such mixed-born groups, the offering of food and the feeding of Kaulas is prescribed.

Shloka 283

Nrinam Shambhubhojam Devi priyam bhojanam eshu ca |

Saddeshaya hitarthaya Shaivadharme nirupitam ||

Meaning:

O Devi, the food associated with Shambhu is declared dear among these people. This has been prescribed within the Shaiva Dharma for the stated purpose and benefit.

Shloka 284

Ata eva Maheshani Shaivadharmanisevanat |

Dharmarthakamamokshanam prabhur bhavati nan yatha ||

Meaning:

Therefore, O Maheshani, through the observance of Shaiva Dharma, one becomes master of Dharma, Artha, Kama, and Moksha; not otherwise.

KEYWORDS AND TERMS

Udvaha: Marriage or the formal act of taking a bride in marriage.

Vivaha: Marriage.

Shaiva: Relating to Shiva or to the Shaiva tradition.

Shaiva Dharma: The religious and ritual framework associated with the Shaiva tradition described in the text.

Cakra: The sacred ritual circle or assembly in which the prescribed Cakra practice is performed.

Kaula: One belonging to or following the Kaula tradition.

Kula: The spiritual and ritual tradition or lineage associated with Kaula practice.

Bhairavi: A woman regarded within the Tantric tradition as the feminine counterpart of Bhairava.

Vira: The heroic practitioner who participates in the prescribed Tantric practice.

Cakreshah: The Lord or presiding authority of the Cakra.

Kali: The Goddess Kali.

Rajarajeshvari: The Goddess regarded as the supreme Queen.

Tarini: The Goddess who is understood as the one who carries beings across or protects them through difficulty.

Bhuvaneshvari: The Goddess who is regarded as the sovereign of the worlds.

Rama: A name of the Goddess associated with Lakshmi.

Kamala: A name of the Goddess associated with Lakshmi and the lotus.

Nitya: The eternal or ever-present Goddess.

Shambhava: Relating to Shambhu, Shiva, or the prescribed Shaiva method associated with him.

Agama: A traditional body of sacred teaching concerning ritual, worship, doctrine, and practice.

Abhisheka: Ritual consecration or ceremonial bathing.

Svasti: An auspicious blessing or expression of well-being.

Mantra: A sacred formula recited as part of spiritual or ritual practice.

Shadakshara Mantra: A mantra consisting of six syllables.

Aghora: A Shaiva mode or principle associated with that which is beyond ordinary concepts of purity and impurity.

Gotra: A traditional lineage designation.

Sapinda: A relationship defined through a specified degree of family or ancestral connection.

Anuloma: A prescribed order of relationship or descent described in the traditional social framework.

Viloma: The reverse order in relation to Anuloma.

Varna: The traditional social classification referred to in the text.

Rtu: The prescribed period associated with fertility and conception.

Pitrkarma: Ritual observances performed in relation to ancestors.

Dharma: Righteous order, duty, religious conduct, and the sustaining principle of life.

Artha: Material prosperity, resources, and the pursuit of worldly well-being.

Kama: Desire, enjoyment, and the fulfillment of legitimate worldly desires.

Moksha: Liberation from bondage and the attainment of spiritual freedom.

Purnahuti: The final complete offering made in a Homa.

Svishtikrit Homa: A concluding fire offering performed to complete and rectify the sacrificial rite.

Dhruva Mandala: The sacred stellar region associated with Dhruva, traditionally connected with the Pole Star.

MAHANIRVANA TANTRA

CHAPTER IX: THE TEN SAMSKARAS

PART VI: UDVAHA AND VIVAHA: THE MARRIAGE RITE

Having described the preceding samskaras, the Tantra now turns to Udvaha, the marriage ceremony.

The rite begins with the preparations on the day of marriage, the worship of the Devas and Mothers, and the arrival of the bridegroom. It then proceeds through his ceremonial reception, Madhuparka, the formal declaration of lineage and purpose, the giving of the bride, and the sacred Fire rites performed by the newly married couple.

The sequence is presented through the prescribed actions and utterances of the giver, bridegroom, bride and officiating Guru.

I. PREPARATIONS ON THE DAY OF MARRIAGE

Shloka 232

Vivahahni kritasnanah kritanityakriyah kriti

Pancadevan samabhyarcya Gauryadimatrikas tatha

Vasudh aram kalpayitva Vrddhishraddham samacaret

Meaning:

On the day of marriage, having bathed and completed his daily duties, the performer should worship the Five Devas and the Mothers beginning with Gauri. Having performed Vasudhara, he should then perform Vrddhishraddha.

II. THE ARRIVAL OF THE BRIDEGROOM

Shloka 233

Ratrau pratishrutam patram gitavadyapurahsaram

Chayamandapaman iya upaveshya varasane

Meaning:

At night, the bridegroom who has been formally received should be brought to the Chay amandapa, accompanied by songs and musical instruments, and seated upon the prescribed excellent seat.

Shloka 234

Vasavabhimukham data pashcimabhimukho vishet

Acamya svastimrdghosham kathayed brahmanaih saha

Meaning:

The prescribed directions are established for the giver and the bridegroom. Having performed Acamana, the auspicious declarations should be made together with the Brahmanas.

III. RECEIVING AND HONOURING THE BRIDEGROOM

Shloka 235

Sadhup rashnam varam pricched vacanad ashramena ca

Varat prashnottaram nitva padyarghyair arcayet

Meaning:

The giver should address the bridegroom with the appropriate auspicious inquiry. Having received his response, he should honour him with Padya, Arghya and the other prescribed offerings.

Shloka 236

Samarpayami vakyena deyadravyam samarpayet

Padayor ghyam padyam shirasy arghyam nivedayet

Meaning:

With the words "I offer this to you", the prescribed articles should be presented. Padya should be offered for the feet and Arghya for the head.

Shloka 237

Acamyam vadane dadyat gandham malyam suvasasi

Divyabharanaratnani yajnasutram samarpayet

Meaning:

The articles for Acamana should be given for the mouth. Fragrant substances, garlands, beautiful garments, divine ornaments and jewels, and the Yajnasutra should

then be offered.

IV. MADHUPARKA

Shloka 238

Tatastu bhajane kamsye kritva dadhi ghrtam madhu

Samarpayami vakyena Madhuparkam kare rpayet

Meaning:

Thereafter, in a bronze vessel, curd, ghee and honey should be combined. With the words "I offer this to you", the Madhuparka should be placed in the hand of the bridegroom.

Shloka 239

Varopi patram adaya vame panau nidhaya ca

Dakshangushthanamikabhyam pranahutyuktamantrakaih

Meaning:

The bridegroom should take the vessel and place it in his left hand. With the thumb and ring finger of his right hand, and with the mantras prescribed for the Pranahutis, he performs the prescribed act concerning the Madhuparka.

Shloka 240

Pancavaram tatpatram udicyam dishi dharayet

Madhuparkam samarpya punar acamayet varam

Meaning:

He should hold the vessel towards the northern direction five times. Having completed the offering of Madhuparka, the bridegroom should again perform Acamana.

V. DECLARING LINEAGE AND THE FORMAL CHOICE OF THE BRIDEGROOM

Shloka 241

Dvyakshatabhyam janumulam dhrtva janu dakshinam

Smrtva Vishnum tat sad iti masapakshatithims tatah

Meaning:

With two Akshatas, the giver touches the root of the bridegroom's right knee. Remembering Vishnu and uttering "Tat Sat", he then states the month, Paksha and Tithi.

Shloka 242

Samuddishya nimittani vrnuyad varam uttamam

Gotrapravaranamani pratyekam prapitamahat

Meaning:

Having stated the purpose for which the act is being performed, he should formally choose the excellent bridegroom. The Gotra, Pravara and names are to be stated successively, beginning from the great-grandfather.

Shloka 243

Pancantani samudghoshya varasya janakav adhi

Dvitiyantam varam bruyat gotrapravaranamabhih

Meaning:

The lineage and names are to be declared through the bridegroom's ancestors up to his father. The bridegroom himself is then named in the prescribed form together with his Gotra and Pravara.

Shloka 244

Tathaiva kanyam uddishya Brahmodvahena panditah

Datum bhavantam ity uktva vrneham iti kirtayet

Meaning:

In the same manner, referring to the bride, the learned giver should declare the prescribed details and, saying that he wishes to give her in a Brahma marriage, should make the formal declaration of choosing.

VI. THE BRIDEGROOM ACCEPTS THE MARRIAGE

Shloka 245

Vrto smiti varo bruyat tato data vadet varam

Yathavihitam ity uktva vivahakarma kuru iti

Varo bruyat yathajnanam karishyami taduttaram

Meaning:

The bridegroom should say, "I have been chosen."The giver should then tell the bridegroom to perform the marriage according to what has been prescribed.The bridegroom should reply, "I shall perform it according to my knowledge."

Shloka 246

Tatah kanyam saman iya vaso lankaranadibhih

Grihantare saman iya varasye samupasthitam

Meaning:

The bride is then brought, adorned with garments and ornaments, and brought into the place of the marriage so that she stands before the bridegroom.

Shloka 247

Punar api samarpye vaso lankaranadibhih

Varasya dakshine panau kanyapanim niyojayet

Meaning:

The giver should once again honour the bridegroom with garments, ornaments and the like, and should place the hand of the bride in the bridegroom's right hand.

Shloka 248

Tan madhye pancaratnani phalatambulam eva va

Dattvacchadayitva tanayam varaya vidushe rpayet

Meaning:

Five jewels, or alternatively fruit and Tambula, should be placed between their joined hands. Having thus covered and prepared the offering, the daughter should be entrusted to the learned bridegroom.

VII. THE FORMAL GIVING OF THE BRIDE

Shloka 249

Atmanah kamam uddishya caturthyantam varam vadet

Meaning:

The giver should state his own purpose or desire and then formally address the bridegroom in the prescribed form.

Shloka 250

Kanyam imam dvitiyantam arcitam sakalalankrtam

Sacchadanam Prajapatidevatakam udirayan

Meaning:

The giver should declare this maiden, honoured and fully adorned, clothed and belonging to Prajapati as her presiding deity.

Shloka 251

Tubhyam aham iti procya dadyat sampradade vadan

Varah svasti iti svikuryat sampradata varam vadet

Meaning:

Saying, "I give her to you", the giver should formally present the bride.The bridegroom should accept her with the words "Svasti". The giver then addresses the bridegroom.

Shloka 252

Dharme car the ca kame ca bhavata bharya saha

Vartitavyam varo bruyat kamastutim pathet

Meaning:

The giver says that the bridegroom is to live and conduct himself with his wife in Dharma, Artha and Kama.The bridegroom should respond accordingly and recite the praise of Kama.

VIII. KAMA AS GIVER AND RECEIVER

Shloka 253

Data Kamo grhita pi Kamayadaca Kaminim

Kamena tam pragrihnami Kamah purno stu cavayoh

Meaning:

Kama is the giver and Kama is also the receiver. For Kama, the Kamini has been given.Prompted by Kama, I receive her. May the Kama of both of us be fulfilled.

Shloka 254

Tato vadet sampradata kanyam jamataram prati

Prajapatiprasadena yuvayor abhivancitam

Purnam astu Shivash castu Dharmah palyatam yuvam

Meaning:

The giver then addresses the daughter and son-in-law:"By the grace of Prajapati, may the cherished desire of you both be fulfilled. May it become complete and auspicious. May you two uphold Dharma."

Shloka 255

Tata acchadya vadhum sampradata sumangale

Parasparabhalokam karayed varakanyayoh

Meaning:

The bride and bridegroom are then covered, and their first auspicious mutual viewing is brought about.

Shloka 256

Tato hiranyar atnani yathashaktyanusaratah

Jamatre dakshinam dadyat krtamishtam shubhecchaya

Meaning:

Thereafter, according to his capacity, the giver should present gold and jewels as Dakshina to the son-in-law, wishing that the rite has been properly and auspiciously completed.

IX. ESTABLISHING THE SACRED FIRE

Shloka 257

Varas tu bharya ya sardham tadratrau divase pi va

Kushandikoktavidhina vahn isthapanam acaret

Meaning:

The bridegroom, together with his wife, should on that night or on the following day establish the sacred Fire according to the procedure prescribed for Kushandika.

Shloka 258

Yojakakhyah pavako tra Prajapatyashrukah smrtah

Dharantam karma sampadya dadhyat pancahutih

Meaning:

Here the Fire is known by the name Yojaka, and the Prajapatya Shruka is prescribed. Having completed the rite up to Dhara, the five oblations should be offered.

Shloka 259

Shivam Durgam tatha Vishnum Brahmanam Vajradharinam

Dhyan n ekena samuddishya juhuyat samskrte nale

Meaning:

Meditating upon Shiva, Durga, Vishnu, Brahma and the bearer of the Vajra, the prescribed oblations should be offered to them individually in the consecrated Fire.

X. TAKING THE HAND OF THE BRIDE

Shloka 260

Bharyayah pan iyugalam grhniyad ity ud iran

Pan im grhnami subhage Gurudevavrata bhava

Grhasthyam karma dharmena yathavad anushilaya

Meaning:

Taking both hands of his wife, the husband should say:"I take your hand, O fortunate one. Be devoted to the Guru and the Devas. Perform the duties of household life properly according to Dharma."

XI. THE BRIDE'S OBLATIONS

Shloka 261

Ghrtena svamidattena lajair atrahutaih Shive

Prajapatim samuddishya dadyad vedahutir vadhu

Meaning:

With the ghee given by her husband and the fried grain used for the rite, the bride should make the prescribed four oblations, addressing Prajapati.

XII. CIRCUMAMBULATION OF THE SACRED FIRE

Shloka 262

Pradakshinikrtya vahnim uttarya bharyaya saha

Durgam Shivam Rama Vishnum Brahmim Brahmanam eva ca

Yugmam yugmam samuddishya tridha havanam caret

Meaning:

Having circumambulated the Fire and risen together with his wife, the husband should perform the prescribed offerings, addressing the divine pairs:

Durga and Shiva,

Rama and Vishnu,

Brahmi and Brahma,

offering to each pair three times.

THE MARRIAGE RITE AND THE SACRED FIRE

The Tantra has now moved the marriage from its ceremonial beginning into the heart of the sacrificial Fire.

The bridegroom has been received and honoured. His lineage and purpose have been formally declared. The bride has been brought before him and entrusted to him by the giver. The rite then invokes Kama in relation to the union of the couple.

The sacred Fire is subsequently established according to the Kushandika procedure. The bridegroom takes the hands of the bride and instructs her regarding their shared household life according to Dharma. The bride then performs her prescribed offerings to Prajapati, and the couple circumambulates the sacred Fire.

Part VI therefore brings the marriage rite into its central sacrificial stage and establishes the couple's shared life through Dharma, sacred Fire and the prescribed ritual actions.

KEYWORDS AND TERMS

Udvaha: The marriage ceremony or the rite by which the bride is formally united with the bridegroom.

Vivaha: Marriage or the formal marriage rite.

Samskara: A prescribed rite of consecration or purification marking an important stage of life.

Pancadevas: The five Devas worshipped in the prescribed preliminary rite.

Gauri: The Divine Mother named first among the Mothers worshipped in the marriage preparation.

Matrikas: The Mothers or divine Mother-powers worshipped in the ritual.

Vasudhara: A prescribed ritual associated with the preparation for the ceremony.

Vrddhishraddha: A ritual offering performed for auspicious increase and the satisfaction of the Devas and Pitrs.

Chayamandapa: The ceremonial pavilion or shaded pavilion in which part of the marriage rite is performed.

Acamana: Ritual purification by taking water in the prescribed manner.

Padya: Water offered for washing the feet.

Arghya: A respectful ritual offering, here offered to the bridegroom.

Madhuparka: A ceremonial preparation of curd, ghee and honey offered to the honoured guest or bridegroom.

Pranahuti: An offering associated with the vital breaths and accompanied by prescribed mantras.

Akshata: Unbroken grains of rice used in ritual offerings and auspicious acts.

Tat Sat: A sacred expression used in the formal ritual declaration.

Gotra: The traditional lineage designation of a family.

Pravara: The lineage or ancestral seers invoked in a ritual declaration.

Tithi: The lunar day.

Paksha: The lunar fortnight.

Brahma Vivaha: The form of marriage in which the bride is formally given by her family according to the prescribed sacred procedure.

Kanya: The bride or maiden being given in marriage.

Kanyadana: The formal giving of the bride in marriage.

Prajapati: The Deity associated with creation, progeny and the continuation of life.

Kama: Desire and the principle of desire invoked in the marriage rite.

Kamini: The woman or bride in the context of the verse concerning Kama.

Dakshina: A prescribed offering or gift given in connection with a ritual.

Jamatri: The son-in-law or bridegroom.

Kushandika: The prescribed fire ritual procedure used for establishing and conducting the sacred Fire.

Agni: The sacred Fire used as the ritual medium.

Yojaka: The name given to the Fire in this marriage rite.

Shruka: A ritual ladle used for making offerings into the Fire.

Prajapatya Shruka: The Shruka prescribed in connection with Prajapati.

Dhara: A prescribed stage or continuous stream-related portion of the fire ritual.

Homa: The ritual offering made into the sacred Fire.

Panchahuti: Five prescribed oblations.

Vajra: The thunderbolt weapon associated with Indra.

Prajapatividhi: The prescribed ritual procedure connected with Prajapati.

Bharya: Wife.

Grihastha: A householder who has entered the household stage of life.

Grihasthya: The duties and conduct belonging to household life.

Dharma: Righteous conduct, duty and the order governing proper life.

Pradakshina: Circumambulation performed by moving around a sacred object in the prescribed direction.

Rama: The Divine feminine name paired with Vishnu in the prescribed offering.

Brahmi: The feminine form associated with Brahma and named as one of the divine pairs.

Svasti: An auspicious expression signifying welfare and blessing.

MAHANIRVANA TANTRA

CHAPTER VIII

PART IX : THE CONDUCT OF THE AVADHUTA, BRAHMA-JNANA, AND THE GLORY OF THE KULA-AVADHUTA

The Conduct of the Sannyasin

After receiving Sannyasa and being established in the knowledge of Brahman, the renunciate is described as one who has abandoned attachment to possessions, social dependence and personal identity. He lives without a fixed home, remains forgiving and fearless, and moves upon the earth without claiming anything as his own.

Shloka 271

aniketah kshamavritto nihshankah sangavarjitah |

nirmamo nirahankarah sannyasi viharet kshitau || 271 ||

Homeless, forgiving, fearless and free from attachment, claiming nothing as his own and devoid of egoism, the Sannyasin should wander upon the earth.The Sannyasin is further described as one who has gone beyond ordinary injunctions and prohibitions. Knowing the Atman, he does not remain concerned with acquiring or preserving possessions. Happiness and sorrow are regarded equally, and he remains steady, self-controlled and free from desire.

Shloka 272

mukto vidhinishrebhyo niryogakshema atmavit |

sukhaduhkhasamo dhiro jitatma vigatasprihah || 272 ||

Freed from injunctions and prohibitions, knowing the Atman, he is without concern for acquisition or preservation. He is equal in happiness and sorrow, steadfast, self-controlled and free from desire.Even when sorrow comes, his inner state remains steady. When happiness comes, he does not become attached to it. He remains ever-blissful, pure, peaceful, independent and undisturbed.

Shloka 273

sthiratma praptadukho pi sukhe prapte pi nishprihah |

sadanandah shuchih shanto nirapeksho nirakulah || 273 ||

His mind remains steady even when sorrow comes, and he remains without desire even when happiness comes. He is ever-blissful, pure, peaceful, independent and undisturbed.The renunciate is instructed to cause no distress to living beings and to remain devoted to their welfare. He is free from anger and fear, controls his senses, and does not remain occupied with personal schemes or efforts directed toward preserving the body.

Shloka 274

nodvejakah syaj jivanam sada pranihite ratah |

vigatamarshabhir danto nihsankalpo nirudyamah || 274 ||

He should cause no distress to living beings and should always be devoted to the welfare of creatures. Free from anger and fear, with his senses controlled, without personal schemes or desires, he does not strive for the preservation of his body.The renunciate remains free from grief and resentment and sees friend and enemy alike. He endures cold, wind and heat, and remains even-minded in honour and dishonour.

Shloka 275

shokadveshavimuktah syat shatrau mitre samo bhavet |

shitavatatapassahah samo manapamanayoh || 275 ||

He should be free from grief and resentment, equal towards friend and foe, enduring cold, wind and heat, and regarding honour and dishonour alike.He remains equal in good and evil fortune and is content with whatever comes to him without effort. He goes beyond the three Gunas, remains free from conceptual distinctions, abandons greed and does not accumulate possessions.

Shloka 276

samah shubhashubhe tushto yadricchapraptavastuna |

nistraigunyo nirvikalpo nirlobhah syad asanchayi || 276 ||

He is equal in good and evil fortune and content with whatever comes to him without effort. He is beyond the three Gunas, free from conceptual distinctions, free from greed and does not accumulate possessions.

The Atman as the Foundation of the Body

The teaching then turns inward. Just as the apparent and changing universe rests upon the underlying Truth, the body itself rests upon the Atman. Knowing this relationship, the knower becomes happy.

Shloka 277

yatha satyam upashritya mrisha vishvam pratishthati |

atmashritas tatha deho janann eva sukhi bhavet || 277 ||

Just as the unreal universe rests upon the Truth, so does the body rest upon the Atman. Knowing this, he becomes happy.

The senses perform their respective functions independently. The Atman does not perform these actions but remains the detached Witness. By knowing this distinction, the aspirant attains Liberation.

Shloka 278

indriyany eva kurvanti svam svam karma prithak prithak |

atma sakshi vinirlipto jnatvaivam mokshabhag bhavet || 278 ||

The organs of sense perform their respective functions, each separately. The Atman is the detached Witness. Knowing this, he attains Liberation.

Conduct and Restraint of the Sannyasin

The Sannyasin is instructed to avoid receiving metals, speaking maliciously of others, falsehood, dalliance with women and the discharge of semen.

Shloka 279

dhat upratigraham nindam anritam kridanam striya |

retahskhalanam asyam cha sannyasi parivarjayet || 279 ||

The Sannyasin should avoid receiving metals, calumny, untruth, dalliance with women and the discharge of semen.The renunciate is then instructed to cultivate equal vision everywhere. He should see no essential distinction between an insect, a Deva and a human being, knowing all existence to be Brahman.

Shloka 280

sarvatra samadrishtih syat kite deve tatha nare |

sarvam brahmeti janiyat paribarham sarvakarmasu || 280 ||

He should have equal vision everywhere, in an insect, in a Deva and in a human being. He should know all to be Brahman.

The same equality is applied to food. Whether food comes from a Vipra or from a Shvapacha, the Sannyasin should receive it without making distinctions based upon its source, place, time or the person from whom it comes.

Shloka 281

viprannam shvapachannam va yasmad tasmat samagatam |

desham kalam tatha patram ashn iyad avicharan || 281 ||

Whether food comes from a Vipra or from a Shvapacha, or from whatever source it may come, he should eat it without making distinctions concerning place, time or person

.

The Life and Study of the Avadhuta

The Avadhuta is instructed to spend his time in the study of the Adhyatma-Shastras and in constant contemplation of Tattva. His life is directed toward knowledge and realization rather than worldly occupation.

Shloka 282

adhyatmashastradhyayanaish sada tattvavicharanaih |

avadhuto nayet kalam svechchhacharap arayanah || 282 ||

The Avadhuta should pass his time in the study of the Adhyatma-Shastras and in constant contemplation of the Tattva, living according to his own course.The text then describes what is to be done with the body of a Sannyasin after death. Unlike ordinary cremation, the body of the Sannyasin is not to be burned. It is first worshipped with scents and flowers and is then buried or immersed in water.

Shloka 283

sannyasinam mritam kayam dahayen na kadachana |

sampujya gandhapushpair nikhaned apsu majjayet || 283 ||

The dead body of a Sannyasin should never be cremated. It should be worshipped with scents and flowers and then buried or immersed in water.

Those Drawn to Ritual Action

The text now distinguishes between those who have attained Yoga and those who have not. For persons who have not attained Yoga and remain desirous of enjoyment, the inclination toward Karma naturally arises.

Shloka 284

apraptayogamarty an am sada kamabhilashinam |

svabhavaj jayate devi pravrittih karmasankule || 284 ||

O Devi, in those persons who have not attained Yoga and who are always desirous of enjoyment, the inclination towards the path of action naturally arises.

Such persons remain attached to meditation, worship and Japa. For those who possess firm faith in these practices, these disciplines are regarded as the appropriate means toward their highest good.

Shloka 285

tatra api te sanurakta dhyanarchajapasadhane |

shreyas tad eva janantu yatraiva dridhanishchayah || 285 ||

They remain attached to meditation, worship and Japa. Let those who have firm faith in these practices know that to be the highest good for them.The various injunctions concerning Karma are therefore prescribed for the purification of the mind. The many Names and Forms are also established for this purpose.

Shloka 286

atah karmavidhanani proktani chittashuddhaye |

namarupam bahuvidham tadartham kalpitam maya || 286 ||

It is for this reason that the various injunctions concerning Karma have been spoken for the purification of the mind. For the same purpose, I have devised the many Names and Forms.

Brahma-Jnana and Renunciation of Karma

The teaching then makes a distinction between ritual action and Brahma-Jnana. For one who seeks Brahma-Jnana, merely continuing to perform Karma without renouncing it does not lead to Liberation.

Shloka 287

brahmajnanarate devi karmasannyasanam vina |

kurvan kasminsh chid karma na bhaven mukthibhag janah || 287 ||

O Devi, without Brahma-Jnana and the renunciation of Karma, a person performing any number of actions cannot attain Liberation.

The Kula-Avadhuta

The teaching culminates in the Kula-Avadhuta, who is described as a knower and one who is liberated while still living. Though appearing in human form, such a person is to be recognized by the householder as Narayana Himself and worshipped accordingly.

Shloka 288

kulavadhutas tu jno jivanmukto narakritih |

sakshan Narayanam matva grihasthas tam prapujayet || 288 ||

The Kula-Avadhuta, the knower who is liberated while living and who has the form of a human being, should be regarded by the householder as Narayana Himself and worshipped as such.

The Glory of the Kula-Avadhuta

The final teaching declares the spiritual glory associated with seeing an ascetic who has subdued his passions. Even merely seeing such an ascetic is said to free a person from all sins and to confer the merit associated with pilgrimage, vows, austerities, gifts and sacrifices.

Shloka 289

yater darshanamatrena vimuktah sarvapatakat |

tirthavratatapodanasarvayajnyaphalam labhet || 289 ||

By merely seeing an ascetic who has subdued his passions, a person is freed from all sins and obtains the merit acquired through pilgrimage, vows, austerities, gifts and all sacrifices.

KEYWORDS AND TERMS

Sannyasin : A renunciate who has entered Sannyasa and relinquished ordinary worldly and ritual identifications.

Sannyasa : The state and discipline of renunciation.

Avadhuta : A renunciate who has gone beyond ordinary worldly limitations and is established in spiritual realization.

Kula-Avadhuta : An Avadhuta described in this section as a knower who is liberated while living and who is to be revered by the householder as Narayana.

Brahma-Jnana : Knowledge or realization of Brahman.

Tattva : A fundamental principle or reality. Tattva-vicharana refers to contemplation or inquiry into the nature of Reality.

Nirmama : Free from possessiveness or the sense of "mine."

Nirahankara : Free from Ahamkara, the sense of individual ego.

Nirdvandva : Free from pairs of opposites such as happiness and sorrow, honour and dishonour, attraction and aversion.

Nishkama : Free from personal desire.

Nirvikalpa : Free from conceptual distinctions or mental differentiation.

Nirlobha : Freedom from greed.

Samadrishti : Equal vision, seeing without essential distinction.

Sakshi : The Witness, the Atman understood as the detached witness of the activities of the senses and body.

Indriya : The sense faculties or organs through which perception and action take place.

Adhyatma-Shastra : Scriptures or teachings concerned with the inner Self and spiritual knowledge.

Karma-Sannyasa : Renunciation of Karma, particularly in the context of the movement from ritual action toward knowledge of Brahman.

Chitta-Shuddhi : Purification of the mind.

Archana : Worship or ritual offering to a Deity.

Nirguna : Beyond or free from the three Gunas.

Grihastha : A householder, one living within the household stage of life.

Narayana : A name of the Supreme Divine, here used in describing the spiritual status of the Kula-Avadhuta.

Tirtha : A sacred place or pilgrimage.

Vrata : A religious vow or observance.

Tapas : Austerity, spiritual discipline or ascetic practice.

Dana : Giving or religious charity.

Yajna : Sacrificial or ritual offering.

Jivanmukta : One who is liberated while still living.

Shvapacha : A term used in the text for a person belonging to a socially marginalized group.

Pratyavaya : Fault, adverse consequence or spiritual impediment arising from failure to follow a prescribed duty.

Svechchhachara : Conduct according to one's own will or spontaneous course of action, as used in the context of the liberated renunciate.

MAHANIRVANA TANTRA

CHAPTER VIII

PART VIII : TATTVA-HOMA, RENUNCIATION OF THE SACRED THREAD AND SHIKHA, AND THE RECOGNITION OF THE DISCIPLE AS BRAHMAN.

The Offering of the Tattvas and Bodily Functions

The renunciation rite now proceeds to the offering of the remaining Tattvas and bodily functions into the sacred fire.The organs of hearing, touch, taste and smell, together with the organs of knowledge, are contemplated as offerings. Manas, Buddhi, Chitta and Ahamkara, together with the bodily functions, are also included in this offering.

Shloka 251

shrotram tvan cha jihva ghranam buddhindriyani cha |

mano buddhish cha chittash chahankaro dehajah kriyah || 251 ||

The organs of hearing, touch, taste and smell, together with the organs of knowledge, then Manas, Buddhi, Chitta and Ahamkara, and the bodily functions.The actions of all the Indriyas and the functions of the Pranas are then also offered.

Shloka 252

sarvanindriyakarmani pranakarmani yani cha || 252 ||

All the actions of the Indriyas and all the functions of the Pranas are also to be offered.After each group has been offered, the aspirant declares that these elements belonging to him should be purified. He then utters the prescribed formula expressing his identity with the inner Light and his freedom from Rajas and sin.

Shloka 253

etani me padante cha shudhyantam padam uchcharet |

hrim jyotir aham viraja vipapma bhuyasam ity api || 253 ||

After each group, he should say, "May all these of mine be purified." He should then utter:"Hrim, I am the Light; may I be free from Rajas and from sin."This is uttered as prescribed in the rite.The twenty-four Tattvas and the bodily functions are then offered into the fire. Having completed this offering, the aspirant becomes free from action and contemplates the body as though it were dead.

Shloka 254

chaturvimshatitattvani karmani daihikani cha |

hutvagnau nishkriyo deham mritavach chintayet tatah || 254 ||

Having offered the twenty-four Tattvas and the bodily functions into the fire, he becomes free from action and should then contemplate the body as dead.The contemplation of the body as dead and devoid of all action prepares the aspirant for the abandonment of the sacred thread. Keeping the Supreme Brahman in remembrance, he removes the Yajna-sutra.

Shloka 255

vibhavya mritavat kayam rahitam sarvakarmana |

smaran tat param brahma yajnasutram samuddharet || 255 ||

Having contemplated the body as dead and devoid of all action, and remembering that Supreme Brahman, he should remove the sacred thread.

The Sacred Thread Is Offered into the Fire

The sacred thread is now removed from the shoulder through the prescribed Mantra. It is taken into the hand, the three Vyahritis are recited, and the offering is completed with Svaha. The sacred thread, anointed with ghee, is then placed into the sacred fire.

Shloka 256

aim klim hamsa iti mantrena skandhad uttarayet tatah |

yajnasutram kare kritva pathitva vyahrititrayam |

vahnijayam samuchcharya ghritaktam agnau kshipet || 256 ||

With the Mantra "Aim Klim Hamsa", he should remove the sacred thread from his shoulder. Taking it in his hand, he should recite the three Vyahritis, ending with Svaha, and then cast the sacred thread, anointed with ghee, into the fire.After offering the sacred thread, the aspirant utters the Kama Bija. He then cuts off the Shikha, takes it in his hand and places it in ghee.

Shloka 257

hutvaivam upavitam cha kamabijam samuchcharan |

chhittva shikham kare kritva ghritamadhye niyojayet || 257 ||

Having thus offered the sacred thread into the fire, he should utter the Kama Bija, cut off the Shikha, take it in his hand, and place it in the ghee.The Shikha is addressed as a sacred principle associated with Brahman, described as having the form of a child and an ascetic. It is now consigned to the purifying fire.

Shloka 258

brahmaputri shikhe tvam hi balarupa tapasvini |

diyate pavake sthanam gachchha devi namo stu te || 258 ||

"O Shikha, daughter of Brahman, you are of the form of a child and an ascetic. A place is now given to you in the purifying fire. Depart, Devi. Reverence be to you."The three Bijas, Kama, Maya and Kurcha, are then uttered, and the Homa of the Shikha is performed in the duly sanctified fire.

Shloka 259

kamam mayam kurchamantram bijatrayani udirayan |

tasmin susamskrite vahnau shikhahomam samacharet || 259 ||

Uttering the three Bijas, Kama, Maya and Kurcha, he should perform the Homa of the Shikha in the duly sanctified fire.The text then explains the significance of the Shikha. The Pitris, Devas and Devarshis, together with the duties belonging to the various Ashramas, are said to have their support in the Shikha.

Shloka 260

shikham ashriya pitaro deva devarshayas tatha |

sarvany ashramakarmani nivasanti shikhopari || 260 ||

The Pitris, Devas and Devarshis, as well as all the duties of the Ashramas, reside in and have their support in the Shikha.

Renunciation of the Shikha and Sacred Thread

Having thus satisfied the Devarshis, Pitris and Deities associated with the Shikha, the aspirant abandons both the Shikha and the sacred thread. Through this abandonment, the embodied being is described as becoming Brahman.

Shloka 261

atah santarpya tah sarva devarshipitridevatah |

shikhasutraparityagadehi brahmamayo bhavet || 261 ||

Therefore, having satisfied all these Devarshis, Pitris and Deities, by abandoning the Shikha and the sacred thread, the embodied one becomes Brahman.For the twice-born, Sannyasa is accomplished through the renunciation of both the sacred thread and the Shikha. For Shudras and others, the rite is accomplished through the offering and renunciation of the Shikha.

Shloka 262

yajnasutrashikhatyagat sannyasah syat dvijanmanam |

shudranam itareshan cha shikham hutvaiva samskriya || 262 ||

For the twice-born, Sannyasa is accomplished through the renunciation of the sacred thread and Shikha. For Shudras and others, the rite is accomplished through the renunciation of the Shikha alone.Having become free from the Shikha and sacred thread, the disciple then prostrates before the Guru with his whole body. The Guru raises him and speaks the great instruction into his right ear.

Shloka 263

tato muktashikhasutrah pranamet dandavad gurum |

gurur utthapya tam shishyam dakshakarne vaded idam || 263 ||

Then, freed from the Shikha and sacred thread, he should prostrate before the Guru like a staff upon the ground. The Guru should raise the disciple and speak the following into his right ear.The Guru gives the central instruction of the rite. The disciple is taught to contemplate Tat Tvam Asi, "That you are", together with the identity expressed through Hamsah and So ham. He is instructed to remain free from possessiveness and ego and to move happily according to his own nature.

Shloka 264

tattvam asi mahaprajna hamsah so ham vibhavaya |

nirmamo nirahankarah svabhavena sukham chara || 264 ||

"O greatly wise one, Tat Tvam Asi, That you are. Contemplate Hamsah, So ham. Being without possessiveness and without ego, move happily according to your own nature."The ritual objects are then removed. The knower of Brahma-Tattva regards the disciple as his own Atma-Svarupa and bows before him.

Shloka 265

tato ghatam cha bahish cha visrijya brahmatattvavit |

atmasvarupam tam matva pranamech chiras a guruh || 265 ||

Then, after removing the vessel and the fire, the knower of Brahma-Tattva, regarding the disciple as his own Atma-Svarupa, should bow his head before him.

The Guru Bows to the Disciple

The recognition of the disciple as Brahman is expressed through the Guru's salutation. The distinction between "you" and "me" is transcended through the recognition of the same Brahman in both.

Shloka 266

namas tubhyam namo mahyam tubhyam mahyam namo namah |

tam eva tat tad rupam vishvarupa namo stu te || 266 ||

"Salutation to you; salutation to me. Salutation to you and to me again and again. You are That, and That is your form. O One of Universal Form, salutation to you."The text then describes another form of the Sannyasa rite for those who worship the Brahma-Mantra, know the Tattva and have conquered themselves. For them, the cutting of the Shikha with their own Mantra constitutes the taking of Sannyasa.

Shloka 267

brahmamantropasakanan tattvajnanam jitatmanam |

svamantrena shikhachchhedat sannyasagrahanam bhavet || 267 ||

For the worshippers of the Brahma-Mantra, who know the Tattva and have conquered themselves, the taking of Sannyasa is accomplished through cutting off the Shikha with their own Mantra.The text next speaks of those who have been purified through Brahma-Jnana. For such persons, the external ritual obligations described earlier are no longer regarded as necessary. Those devoted to acting according to their own will are described as being free from fault.

Shloka 268

brahmajnanavishuddhanam kim yajnaish shraddhapujanaih |

svechchhacharaparanam tu pratyavayo na vidyate || 268 ||

For those purified by Brahma-Jnana, what need is there of Yajnas, Shraddha or ritual worship? For those who are devoted to acting according to their own will, there is no fault.

The Disciple Established in Brahman

After Sannyasa, the disciple is described as free from the pairs of opposites, without desire and steady in mind. He may move according to his own will, established in the recognition that his true nature is Brahman.

Shloka 269

tato nirdvandvarupasau nishkamasthiramanasah |

viharet svechchhaya shishyah sakshad brahmamayo bhuvi || 269 ||

Then, being free from the pairs of opposites, desireless and steady in mind, the disciple may wander according to his own will, being directly Brahman upon the earth.

The final contemplation extends this recognition to the whole of existence. Everything from Brahma down to the smallest blade of grass is contemplated as having the nature of Sat. The distinctions created by name and form are set aside, and the aspirant meditates upon the Atman within the Atman.

Shloka 270

abrahmastambaparyantam sadrupena vibhavayan |

vismaran namarupani dhyayann atmanam atmani || 270 ||

Contemplating everything from Brahma down to a blade of grass as having the nature of Sat, he forgets name and form and meditates upon the Atman within the Atman.

KEYWORDS AND TERMS

Tattva : A fundamental principle or category of existence. In this section, the Tattvas and bodily functions are offered into the sacred fire as part of the renunciation rite.

Tattva-Homa : The ritual offering of the Tattvas into the sacred fire.

Indriya : The sense faculties or organs through which perception and action take place.

Manas : The mind, particularly the faculty involved in thought, perception and mental processing.

Buddhi : The faculty of understanding, discernment and intelligence.

Chitta : The mental consciousness or inner field in which impressions and thoughts arise.

Ahamkara : The sense of "I" or individual self-identification.

Prana : The vital life-force and its functions within the body.

Yajna-Sutra : The sacred thread worn as part of the traditional religious discipline of the twice-born.

Shikha : The tuft of hair traditionally retained at the crown of the head. In this rite it is ritually removed and offered into the sacred fire.

Vyahriti : Sacred utterances used in Vedic ritual, here forming part of the rite of offering the sacred thread.

Kama Bija : The seed syllable associated with Kama, used here during the ritual abandonment of the Shikha.

Maya Bija : The seed syllable associated with Maya.

Kurcha : A Mantra or seed-form used in the ritual of the Shikha Homa.

Shikha-Homa : The offering of the Shikha into the sacred fire.

Pitris : The ancestral beings or departed forefathers.

Ashrama : A stage or order of life, together with the duties associated with that stage.

Sannyasa : The state of renunciation in which worldly and ritual identifications are relinquished.

Dvijanman : One who belongs to the twice-born classes.

Tat Tvam Asi : "That you are." A great Upanishadic statement expressing the identity of the individual Self with the Supreme Reality.

Hamsah : A sacred expression associated with the identity of the individual consciousness with the Supreme.

So ham : "I am That." A contemplative expression of identity with the Supreme Reality.

Atma-Svarupa : The essential nature or form of the Atman.

Nirmama : Free from possessiveness or the sense of "mine."

Nirahankara : Free from Ahamkara, the sense of individual ego.

Nirdvandva : Free from pairs of opposites such as pleasure and pain, attraction and aversion.

Nishkama : Free from personal desire.

Sat : Being, existence or the reality that truly is.

Nama-Rupa : Name and form, the distinctions through which differentiated existence is perceived.

Avadhuta : A liberated renunciate who has gone beyond ordinary social and ritual limitations.

MAHANIRVANA TANTRA

CHAPTER VIII

PART VII : SANNYASA, THE AVADHUTA, THE THREE DEBTS, AND THE FUNERAL RITES OF RENUNCIATION

THE BEGINNING OF SANNYASA

The teaching now turns from the Tattva-cakra to the Dharma of Sannyasa.Parvati had asked about the Dharma prescribed for the ascetic life. Shiva now explains that in the Kali Age, the Ashrama of the Avadhuta is called Sannyasa. He begins by describing the inner qualification required for entering this stage and then explains the practical conditions that must be fulfilled before renunciation.The teaching presents Sannyasa not simply as physically leaving the household, but as a transition that should take place after Brahma-jnana has arisen, attachment to worldly action has weakened, household responsibilities have been fulfilled, and the aspirant has become inwardly prepared for the renunciant life.

Shloka 221

Avadhutasramo Devi kalau sannyasa ucyate

Vidhina yena kartavyas tat sarvam srnu sampratam

Meaning:

O Devi, in the Kali Age the Ashrama of the Avadhuta is called Sannyasa. Now hear all that is to be done according to the prescribed rule.The first qualification is connected with knowledge of Brahman and detachment from worldly action. One who has attained Brahma-jnana, become detached from all Karma, and is skilled in Adhyatma-vidya is instructed to enter the Sannyasa Ashrama.

Shloka 222

Brahmajnane samutpanne virakte sarvakarmani

Adhyatmavidyanipunah sannyasasramamasrayet

Meaning:

When Brahma-jnana has arisen and there is detachment from all Karma, one who is skilled in Adhyatma-vidya should enter the Sannyasa Ashrama.The text then places an important condition upon renunciation. Sannyasa is not presented as an excuse for abandoning people who are elderly, young, dependent or otherwise unable to care for themselves.

Shloka 223

Vihaya vrddhau pitarau sisum bharyam pativratam

Saktan asamarthan bandhums ca pravrajann araki bhavet

Meaning:

If, on entering the ascetic life, one abandons aged parents, a young and devoted wife, and dependent or helpless relatives, one becomes subject to a miserable state.The teaching therefore establishes that the aspirant must first deal responsibly with those who depend upon him. Renunciation is to follow the completion of household obligations rather than being used to escape them.

THE QUALIFICATION FOR KULA-AVADHUTA SANNYASA

The text next expands the qualification for the Kula-Avadhuta initiation. The four commonly named Varnas together with the Samanya class are all said to possess the qualification for the Kula-Avadhuta Samskara.

Shloka 224

Brahmanah ksatriyo vaisyah sudrah samanya eva ca

Kulavadhutasamskare pancanam adhikarita

Meaning:

The Brahmana, Kshatriya, Vaisya, Sudra and Samanya, all five have qualification for the Kula-Avadhuta Samskara.Before leaving household life, the aspirant must complete the duties belonging to the household and satisfy those who depend upon him. Only after this should he leave with freedom from possessiveness, freedom from personal desire and mastery over the senses.

Shloka 225

Sampadya grhakarmani paritosyapar an api

Nirmamo nirgrhad gacchen niskamo vijitendriyah

Meaning:

Having completed the duties of the household and satisfied the others dependent upon him, he should leave the house without possessiveness, free from desire and with his senses conquered.The departure from household life is not to be carried out secretly or without regard for those around the aspirant. The person who wishes to renounce is instructed to call together relatives, kinsmen, villagers and neighbours and seek their permission.

Shloka 226

Ahuyasvajan bandh un gramast han prativasinah

Srey o 'numatim icchet grhaj jigamisur janah

Meaning:

One who wishes to leave the house should call together his relatives, kinsmen, those dwelling in the village and his neighbours, and seek their permission.After receiving their permission, the aspirant bows to the Supreme Deity, circumambulates the village and departs from the household without worldly expectation.

Shloka 227

Tesam anumatim labdhva pranamya paradevatam

Gramam pradaksinikrtya nirapekso grhad iyat

Meaning:

Having obtained their permission and bowed to the Supreme Deity, he should circumambulate the village and then leave the house, free from worldly expectation.The aspirant has now reached the threshold of renunciation. Freed from worldly bonds and filled with the aspiration for supreme bliss, he approaches a Kula-Avadhuta who is established in the knowledge of Brahman.

Shloka 228

Muktah samsarapas e bhyah paramanandanirvrtah

Kulavadhutam brahmajnam gatva samprarthayed idam

Meaning:

Freed from the bonds of worldly existence and filled with supreme bliss, he should approach a Kula-Avadhuta who is a knower of Brahman and make the following request.

THE ASPIRANT APPROACHES THE GURU

The text now moves into the relationship between the aspirant and the Guru.The Guru is not merely a teacher giving philosophical instruction. The Kula-Avadhuta who is established in Brahma-jnana becomes the one who examines the aspirant and gives the authorization for entry into the ascetic stage.The aspirant explains that his period of household life has reached its completion and requests the Guru's grace for undertaking Sannyasa.

Shloka 229

Grhasrame parabrahman mamaitad gatam vayah

Prasadam kuru me natha sannyasagrahanam prati

Meaning:

O Parabrahman, my life in the householder's Ashrama has now come to its end. O Lord, be gracious to me concerning my undertaking of Sannyasa.The Guru then examines the aspirant. The household duties must have been completed, and the aspirant must possess the qualities of calmness and discrimination. Only then does the Guru direct him into the second Ashrama, the ascetic stage.

Shloka 230

Nivrttagrhakarmanam vicarya vidhivad guruh

Santam vivekinam viksya dvitiyasramam adiset

Meaning:

The Guru, having examined whether the duties of the household have been completed, and having found the aspirant to be peaceful and discerning, should initiate him into the second Ashrama, the ascetic stage.

FREEDOM FROM THE THREE DEBTS

Once the Guru has accepted the aspirant for Sannyasa, the next stage concerns freedom from the three debts.The disciple bathes, controls the mind and completes the prescribed daily duties. He then worships the Devas, the Rishis and the Pitrus for the purpose of becoming free from the three debts.

Shloka 231

Tatah sis yah kr tasn ano yatatma vihitahnikah

R natrayavimuktyartham devars in arcayet pitr n

Meaning:

Thereafter the disciple, having bathed, controlled his mind and completed his prescribed daily duties, should worship the Devas, Rishis and Pitrus for the purpose of becoming free from the three debts.The text then identifies the Devas and Rishis who are included in this worship.

Shloka 232

Deva Brahma ca Visn us ca Rudras ca svagana ih

Rsayah Sanakadyas ca devar sibrahmarsayas tatha

Meaning:

The Devas are Brahma, Vishnu and Rudra together with their respective hosts. The Rishis are Sanaka and the others, together with the Devarshis and Brahmarshis.The teaching then turns specifically to the Pitrs who are to be worshipped.

Shloka 233

Atra ye pitarah pujya vaks yami srnu tan api

Meaning:

Now I shall tell you which Pitrs are to be worshipped. Listen to them also.The ancestral line includes the father, grandfather and great-grandfather, as well as the corresponding maternal and paternal female ancestors. The maternal line is also included.

Shloka 234

Pita pitamahas caiva prapitamah a eva ca

Mata pitamahi Devi tathaiva prapit amahi

Matamahadayo 'py evam matamahyadayo 'pi ca

Meaning:

The father, paternal grandfather and paternal great-grandfather; the mother, paternal grandmother and paternal great-grandmother; and likewise the maternal grandfather and those preceding him, and the maternal grandmother and those preceding her, are to be worshipped.

THE DIRECTIONS OF WORSHIP

The text next gives the directions in which the different groups are to be worshipped during the rite of Sannyasa.The Devas and Rishis are associated with the East, the paternal ancestors with the South, and the maternal ancestors with the West.

Shloka 235

Pracyam rsin yajed devan daksinasyam pitr n yajet

Matamahan praticyam pujayen nyasakarmani

Meaning:

In the rite of Sannyasa, the Devas and Rishis should be worshipped in the East, the paternal ancestors in the South, and the maternal ancestors in the West.The seats for the various groups are then prepared beginning from the East, and the respective Devas and ancestors are invoked and worshipped in their prescribed order.

Shloka 236

Purvadikramato dvyasananam dvayam dadyat

Devadin kramatas tatr ahvaya pujam samacaret

Meaning:

Beginning from the East, two seats should be prepared on each side. The Devas and the others should then be invoked there in their respective order and worshipped.The ritual worship continues through offerings of Pindas. Each group receives its offering separately, and the aspirant then stands with folded hands and addresses the ancestral deities.

Shloka 237

Samarcya vidhivat tebh yah pindan dadyat prthak prthak

Pindapradanavidhina dattva pindam yathakramam

Krtanjaliputo bhutva prarthayet pitr devatah

Meaning:

Having worshipped them according to the prescribed rule, he should offer Pindas to each separately. Having given the Pindas in the prescribed manner and order, he should stand with folded hands and pray to the ancestral deities.The prayer asks the ancestors, Devas, Devarshis and the Mothers to be satisfied and to release the aspirant from the debts that bind him as he moves toward the state beyond the Gunas.

Shloka 238

Trpyadhvam pitaro deva devarsimatrka ganah

Gunatitapade yuyam anrnikuruta acirat

Meaning:

O Fathers, O Devas, O Devarshis, O hosts of Mothers, be satisfied. May you soon free me from all debts as I proceed toward the state beyond the Gunas.Having completed the prayer and bowed repeatedly, the aspirant is described as becoming free from the three debts. He then proceeds to a remarkable rite: the performance of his own Sraddha.

Shloka 239

Ityanusya prarthayitva pranamya ca punah punah

R natrayavinirmukta atmasraddham prakalpayet

Meaning:

Having thus prayed and bowed again and again, and having become free from the three debts, he should perform his own Sraddha.

THE ASCETIC PERFORMS HIS OWN FUNERAL RITES

This is one of the most striking transitions in the entire section.Before entering the ascetic life, the aspirant performs his own funeral rite. Symbolically, the identity connected with the former worldly life is brought to an end.The text gives a theological explanation for this rite by identifying the Atman with the true ancestral principle.

Shloka 240

Pita hy atmaiva sarvesam tat pita prapitamahah

Atmany atmanam arpanarthaya kuryad atmakriyam sudhih

Meaning:

For all, the Atman itself is the father; its father is the grandfather, and its father is the great-grandfather. Therefore the wise one should perform his own funeral rite for the purpose of offering the individual self into the Supreme Self.The aspirant then faces North and, upon the seat prepared according to the prescribed arrangement, invokes his own ancestral forms, worships them and offers the Pinda.

Shloka 241

Uttarabhimukho bhutva purvavat kalpitasane

Avahy atmapit rn devan dadyat pindam samarcayan

Meaning:

Facing North, upon the seat prepared as before, he should invoke his own ancestral forms, worship them and offer the Pinda.The arrangement of the sacred kusa grass is then described. For the different offerings, the grass is arranged according to the prescribed directions, while in the aspirant's own rite the ends are directed toward the North.

Shloka 242

Pragagran daksinagran s ca pascimagran yathakramat

Pindasmantare darbhan udagagran svakarmani

Meaning:

For the respective Pinda offerings, he should arrange the Kusa grass with its ends directed toward the East, South and West in the prescribed order. For his own rite, the Kusa should be arranged with its ends toward the North.After completing the Sraddha according to the instructions given by the Guru, the seeker of liberation performs a further practice for purification of the mind.

Shloka 243

Samapya sraddhakarmani gurunirdistavartmana

Mumuksus cittasuddhyartham imam mantram satam japet

Meaning:

Having completed the Sraddha rites according to the path indicated by the Guru, the seeker of Liberation should repeat the following Mantra one hundred times for the purification of his mind.

THE MAHAMRTYUNJAYA MANTRA

The Mantra prescribed at this point is the Mahamrtyunjaya Mantra. It is repeated after the funeral rites as part of the aspirant's preparation for the renunciant life.

Shloka 244

Tryambakam yajamahe sugandhim pustivardhanam

Urv arukam iva bandhanan mrtyor muksiya ma amrtat

Meaning:

We worship Tryambaka, the fragrant One, the increaser of nourishment. May I be liberated from the bondage of death, like the cucumber from its stalk. May I not be separated from immortality.

THE GURU BEGINS THE INITIATION

The ritual now moves from the aspirant's completion of the ancestral and funeral rites to the formal initiation performed by the Guru.According to the form of worship being followed, the Guru prepares the Vedi and Mandala and places the Kalasha there. The formal worship then begins.

Shloka 245

Upasananus arena vedim mandalam ekakam

Samsthapya kalasam tatra guruh pujam samarabhet

Meaning:

According to the form of the worship, the Guru should prepare the Vedi and the appropriate Mandala, place the Kalasha there, and commence the worship.The Guru then meditates upon Parabrahman and performs the worship according to the Sambhava path. Being established in the knowledge of Brahman, the Guru then establishes the sacred fire.

Shloka 246

Tatas tu paramam brahma dhyatva sambhavavartmana

Vidhaya pujam brahmajno vahn isthapanam acaret

Meaning:

Thereafter, having meditated upon Parabrahman and performed the worship according to the Sambhava path, the Guru who is a knower of Brahman should establish the sacred fire.Into the fire that has been purified according to the previously established procedure, the Guru offers the oblation prescribed by his own Kalpa. The disciple is then called and participates in the Sakalya Homa.

Shloka 247

Praguktasamskrte vahnau svak al pokto hutir guruh

Dattva sisyam samah uya sakalyam homayet tu tam

Meaning:

Into the fire purified according to the previously described procedure, the Guru should offer the oblation prescribed by his own Kalpa. He should then call the disciple and have him perform the Sakalya Homa, the complete offering.

PRANA-HOMA

The initiation proceeds into Prana-homa.The Guru first makes offerings with the Vyahr tis and then performs the rite concerning the five vital airs, namely Prana, Apana, Samana, Udana and Vyana.

Shloka 248

Adau vyahrtibhir hutva pranahomam prakalpayet

Pranapanau saman as codanavyanau ca vayavah

Meaning:

First, having made the offerings with the Vyahrtis, he should perform Prana-homa. The vital airs are Prana, Apana, Samana, Udana and Vyana.

TATTVA-HOMA BEGINS

The ritual then enters the Tattva-homa.The purpose of this rite is stated directly: it is performed for liberation from identification of the Self with the body.The first group of Tattvas introduced consists of the five great elements: Earth, Water, Fire, Air and Ether.

Shloka 249

Tattvahoma m tatah kuryad ihat madhyasamuktaye

Prthivi salilam vahnir vayur akasam eva ca

Meaning:

Thereafter he should perform the Tattva-homa for liberation from the identification of the Self with the body. The Tattvas begin with Earth, Water, Fire, Air and Ether.The next group consists of the five objects of the senses: Smell, Taste, Form, Touch and Sound.Following these come the organs of action, beginning with Speech, Hands and Feet, and then the organs associated with excretion and generation.

Shloka 250

Gandho rasas ca rupas ca spar sas sabdo yathakramat

Tato vagadipad as ca payupasthau tatah param

Meaning:

Then come Smell, Taste, Form, Touch and Sound, in that order. Thereafter come Speech, Hands and Feet, followed by the Anus and Organ of Generation.

The Tattva-homa has now begun. The following section continues the process through the remaining Tattvas and further aspects of the body and mind, eventually bringing the aspirant toward the deeper realization that the body and its identifications do not constitute the true Self.

KEYWORDS AND TERMS

Sannyasa : The life of renunciation. In this section it is identified with the Avadhuta Ashrama in the Kali Age.

Avadhuta : A renunciant associated with a state of spiritual freedom beyond ordinary worldly attachment and convention.

Avadhuta Ashrama : The ascetic stage referred to in this section as Sannyasa in the Kali Age.

Kula-Avadhuta : An Avadhuta belonging to the Kula tradition. In this section, the Kula-Avadhuta who is a Brahma-jnanin acts as the Guru for the aspirant entering Sannyasa.

Kula-Avadhuta Samskara : The initiation or sacramental rite through which the aspirant enters the Kula-Avadhuta path.

Brahma-jnana : Knowledge or realization of Brahman.

Adhyatma-vidya : Knowledge concerning the Self and spiritual reality.

Karma : Action and the consequences associated with action. In this section, the aspirant is expected to develop detachment from worldly Karma before entering Sannyasa.

Pravrajya : The act of going forth from household life into the life of renunciation.

Guru : The spiritual teacher who examines, guides and initiates the aspirant.

Sishya : The disciple or aspirant who receives instruction and initiation from the Guru.

Three debts : The traditional debts owed to the Devas, Rishis and Pitrs. The aspirant performs worship for the purpose of becoming free from these debts before entering full renunciation.

Deva : A divine being or deity.

Rishi : A seer or sage associated with revealed spiritual knowledge.

Pitrs : The ancestral beings or departed forefathers to whom ritual obligations are traditionally owed.

Devarshi : A Rishi associated with the divine realm.

Brahmarshi : A Rishi established in Brahmic knowledge.

Pinda : A ritual offering, especially one associated with ancestral rites.

Sraddha : A ritual connected with the ancestors. In this section, the aspirant performs his own Sraddha before entering Sannyasa.

Atman : The Self or innermost spiritual principle.

Paramatman : The Supreme Self.

Atmakriya : The funeral or ancestral rite performed in relation to the Self. In this section it refers to the aspirant's own funeral rite before renunciation.

Parabrahman : The Supreme Brahman, the ultimate reality.

Mahamrtyunjaya Mantra : A sacred Mantra invoking Tryambaka and asking for liberation from the bondage of death and separation from immortality.

Tryambaka : A name used in the Mahamrtyunjaya Mantra.

Vedi : The ritual altar or sacred platform prepared for the sacrificial rite.

Mandala : A sacred ritual arrangement or diagram used during worship.

Kalasha : A ritual vessel used in worship and consecration.

Sambhava path : The mode of spiritual practice associated with Sambhava, followed here by the Guru while performing the initiation.

Agni : The sacred fire used in the ritual offering.

Homa : A ritual offering made into the sacred fire.

Sakalya Homa : The complete offering made into the sacred fire as part of the initiation.

Prana-homa : The fire offering associated with the vital airs.

Prana : The vital life force associated with inward and outward life processes.

Apana : The vital air associated traditionally with downward-moving functions.

Samana : The vital air associated traditionally with digestion and assimilation.

Udana : The vital air associated traditionally with upward-moving functions.

Vyana : The vital air associated traditionally with circulation and movement throughout the body.

Vyahrti : A sacred utterance used in Vedic ritual recitation and fire offerings.

Tattva : A fundamental principle or category of reality.

Tattva-homa : The fire offering in which the Tattvas are progressively addressed. In this section its purpose is explicitly connected with release from identification of the Self with the body.

Pancha Mahabhutas : The five great elements: Earth, Water, Fire, Air and Ether.

Karmendriyas : The organs or faculties of action. The section begins their enumeration with Speech, Hands, Feet, the organ of excretion and the organ of generation.

Gunas : The fundamental qualities or modes of Prakriti. The prayer of the aspirant seeks movement toward the state beyond the Gunas.

Mumukshu : One who longs for liberation.

Vairagya : Detachment or freedom from worldly attachment.

Viveka : Discrimination, especially the capacity to distinguish the enduring spiritual reality from the transient.

MAHANIRVANA TANTRA

CHAPTER VIII

PART VI : THE GLORY OF THE BHAIRAVI-CAKRA AND THE TATTVA-CAKRA

The teaching now continues with the glory and sanctity of the Bhairavi-cakra. Shiva explains the special conditions that prevail within this sacred circle, the freedom from ordinary distinctions of caste, and the conduct expected of those who enter it.The Bhairavi-cakra is presented as a sacred field in which ordinary restrictions concerning place, time, and the origin of offerings do not apply. Articles brought into the Cakra are accepted without consideration of who brought them.

Shloka 181

Na desakalaniyamo na va patravicharanam

Yena kenahritam dravyam cakre'smin viniyujyate

Meaning:

Within this Cakra there is no restriction concerning place or time, nor is there consideration of the particular person by whom an article has been brought. Whatever article has been brought may be used within the Cakra.

Shloka 182

Duradesat samanitam pakvam vapyapacameva va

Virena pi ca pasena cakramadhyagatam suci

Meaning:

Whatever has been brought from a distant place, whether cooked or uncooked, becomes pure when it enters the Cakra, whether it has been brought by a Vira or a Pasu.The text then describes the spiritual power associated with the beginning of the Bhairavi-cakra. When the Cakra is established, obstacles are said to retreat before the spiritual radiance of the Vira practitioners.

Shloka 183

Cakrarambhe Mahesani vighnah sarve bhayakulah

Bibhitaste palayante viranam brahmatejasa

Meaning:

O Mahesani, when the Cakra begins, all obstacles, overcome by fear, flee away, terrified by the Brahma-tejas of the Viras.The text extends this imagery to various classes of supernatural beings. The establishment of the Bhairavi-cakra is described as an event before which beings associated with harmful or fearsome forces withdraw.

Shloka 184

Pisaca guhyaka yakshah vetalah krurajatayah

Srutvatra bhairavicakram duram gacchanti sadhvasam

Meaning:

On hearing that a Bhairavi-cakra has been formed, Pisacas, Guhyakas, Yakshas, Vetalas and beings of cruel nature go far away in fear.The Cakra is then described as attracting sacred powers rather than harmful ones. All Tirthas, including the great Tirthas, are said to gather there, together with the hosts of the Devas.

Shloka 185

Tatra tirthani sarvani mahatirthadikani ca

Sendramaraganah sarve tatragacchanti sadaram

Meaning:

There all Tirthas, including the great Tirthas, come together. All the hosts of the Devas, together with Indra, approach that place with reverence.The place in which the Cakra is formed is therefore regarded as a Mahatirtha, a great sacred pilgrimage place, greater than other Tirthas. The text further says that even the Devas desire the excellent offering presented there to the Devi.

Shloka 186

Cakrastanam mahatirtham sarvatirthadhikam Sive

Tridasa yatra vanchanti tatra naivedyamuttamam

Meaning:

O Sive, the place where the Cakra is formed is a Mahatirtha, greater than all Tirthas. There the thirty-three Devas themselves desire the excellent offering made to the Devi.

The teaching then makes the principle of purification even more striking. Food brought by people belonging to communities regarded by the ordinary social order as outside the accepted ritual hierarchy is nevertheless regarded as pure when it is offered into the hand of a Vira.

Shloka 187

Mlecchena svapacenapi kiratenapi manavaih

Amam pakvam yadanitam virahastarpitam suci

Meaning:

Whatever food, raw or cooked, is brought by a Mleccha, a Svapaca, a Kirata or any other person becomes pure when it is offered into the hand of a Vira.The sanctity of the Bhairavi-cakra is then connected with liberation itself. The Sadhakas gathered there are described as manifestations of the Divine, and merely seeing the Cakra and those Sadhakas is said to free beings afflicted by the poison of worldly existence.

Shloka 188

Drstva tu bhairavicakram mama rupams ca sadhakan

Mucyante pasavah sarve samsaravisadusitah

Meaning:

By seeing the Bhairavi-cakra and the Sadhakas who are My forms, the Pasus, afflicted by the poison of worldly existence, are liberated from it.The text next gives a specific instruction concerning the Kali Age. It states that when Kali is powerful, the Cakra should not be concealed and that the Vira should practise Kula-sadhana everywhere and at all times.

Shloka 189

Prabale kalikale tu na kuryaccakragopanam

Sarvatra sarvada virah sadhayet kulasadhanam

Meaning:

When the Kali Age is in full force, the Cakra should not be concealed. Everywhere and at all times, the Vira should practise Kula-sadhana.Within the Cakra, the participants are also instructed to maintain disciplined conduct. Idle conversation, frivolity, excessive speech and certain forms of physical impurity are to be avoided. Most importantly, distinctions based on caste are not to be introduced into the Cakra.

Shloka 190

Cakramadhye vrithalapam cancalyam ca bahubhasanam

Nisthivanamadho vayum varnabhedam vivarjayet

Meaning:

Within the Cakra, one should avoid idle talk, frivolity, excessive speech, spitting, breaking wind and distinctions of caste.The text then specifies who should be kept away from the sacred circle. Those described as cruel, wicked, sinful, opposed to the Kula teachings, or hostile to the Kula scriptures are not to be admitted.

Shloka 191

Kruran khalan pasun papan nastikan kuladusakan

Nindakan kulasastranam cakradurataram tyajet

Meaning:

Cruel persons, wicked persons, Pasus, sinners, atheists, those who defile the Kula, and those who revile the Kula Sastras should be kept far away from the Cakra.A Vira is specifically warned against allowing an unsuitable person into the Cakra merely because of affection, fear or personal attachment. Such an act is presented as a violation of Kula-dharma.

Shloka 192

Snehadbhayadanuraktya pasum madhye pravesayan

Kuladharmat paribhrasto viro'pi narakam vrajet

Meaning:

If, through affection, fear or attachment, a Vira allows a Pasu to enter into the Cakra, he becomes fallen from Kula-dharma and even that Vira goes to Hell.

EQUALITY WITHIN THE CAKRA

The teaching now turns directly to the question of caste. Within the Bhairavi-cakra, people belonging to different social classes are to be regarded according to their adherence to Kula-dharma rather than according to their ordinary social identity.

Shloka 193

Brahmanah ksatriya vaisyah sudrah samanyajatiyah

Kuladharmavrat asakta ye pujyaste devavat sada

Meaning:

Brahmanas, Kshatriyas, Vaisyas, Sudras and persons of the Samanya class who are devoted to the observance of Kula-dharma are always to be worshipped like the Devas.The text then gives a strong warning against introducing pride of Varna into the Cakra. Even a person highly learned in Vedanta is said to fall if he creates distinctions of Varna within the sacred circle.

Shloka 194

Varnabhimanaccakre tu varnabhedam karoti yah

Sa yati ghoranirayam api vedantaparagah

Meaning:

He who, through pride in his Varna, creates distinctions of Varna within the Cakra goes to a terrible Hell, even if he is learned in Vedanta.The reason for this equality is expressed through the spiritual identity of the participants. The pure-hearted Kaulas within the Cakra are described as being directly of the nature of Shiva.

Shloka 195

Cakrantargatakaulanam sadhunam suddhacetasam

Saksacchivasvarupanam papasanka bhavet kutah

Meaning:

How can there be any suspicion of sin regarding the pure-hearted Kaulas who are within the Cakra and who are directly of the nature of Shiva?The text then makes an important distinction between the state within the Cakra and ordinary social life outside it. Those Vipras who follow the Saiva path are instructed to observe Sambhavamcara while they remain within the Cakra.

Shloka 196

Yavattisthanti cakresu vipra ye saivamarginah

Tavattu sambhavacaras careyuh sivasasanat

Meaning:

So long as the Vipras who follow the Saiva path remain within the Cakra, they should follow Sambhavacara according to the command of Shiva.Once the participants leave the Cakra, however, the ordinary duties associated with their respective Varna and Ashrama are to be observed again. The transcendence of caste distinction within the sacred Cakra therefore does not mean that the text abolishes the Varna-Ashrama duties of ordinary worldly life.

Shloka 197

Cakrannisritah sarve svavarnasramoditam

Lokayatr prasiddhyartham kuryuh karma prthak prthak

Meaning:

Once they have departed from the Cakra, all should perform separately the duties prescribed for their respective Varna and Ashrama, for the proper continuation of worldly life.

THE FRUITS OF BHAIRAVI-CAKRA WORSHIP

The teaching next describes the extraordinary fruits attributed to the Bhairavi-cakra. A single repetition of the Mantra within the Cakra is compared with the immense fruits obtained through extensive spiritual practices.

Shloka 198

Purascaryasatenapi savamundacitasanat

Cakramadhye sakrjjaptva tatphalam bhajate sudhih

Meaning:

The wise person obtains within the Cakra, by a single repetition of the Mantra, the fruit that would otherwise be obtained by a hundred Purascaryas, or through practices performed upon a corpse, a skull or a funeral pyre.The greatness of the Bhairavi-cakra is then declared to be beyond adequate description. A person who performs it even once is said to become freed from all sins.

Shloka 199

Bhairavicakramahatmyam ko va vaktum ksamo bhavet

Sakrd etat prakurvanah sarvaih papaih pramucyate

Meaning:

Who could adequately describe the greatness of the Bhairavi-cakra? One who performs this even once is freed from all sins.The text then describes progressive fruits associated with continued practice. Six months of practice are associated with becoming a ruler of the earth. A year of practice is associated with becoming a Mrtyunjaya, and daily practice is said to lead to Brahma-nirvana.

Shloka 200

Sanmasam bhumipalah syat varshe mrtyunjayah svayam

Nityam samacaran martyo brahmanirvanamapnuyat

Meaning:

He who performs this for six months becomes a ruler of the earth. By performing it for a year he becomes himself a Mrtyunjaya, conqueror of death. The person who performs it daily attains Brahma-nirvana.

KULA-DHARMA IN THE KALI AGE

The teaching then emphasizes the importance of the Kula-marga in the Kali Age. The text declares that there is no other path for attaining happiness in this world and the next.

Shloka 201

Bahuna kimihoktena satyam janihi Kalike

Ihamutra sukhavaptyai kulamargo hi naparah

Meaning:

What need is there to say more, O Kalika? Know this with certainty: for the attainment of happiness in this world and the next, there is no path other than the Kula-marga.The next verse gives another warning concerning concealment. When the Kali Age becomes dominant and Dharma declines, even a Kaula is said to fall if the Kula-dharma is deliberately concealed.

Shloka 202

Kaleh prabalyasamaye sarvadharmavivarjite

Gopan at kuladharmasya kaulo'pi naraki bhavet

Meaning:

When the Kali Age is dominant and Dharma has declined, even a Kaula becomes destined for Hell by concealing the Kula-dharma.

THE TATTVA-CAKRA

Having completed the teaching concerning the Bhairavi-cakra, Shiva introduces another and more elevated form of sacred circle, the Tattva-cakra.

The Bhairavi-cakra has been described as a means for both Bhoga and Moksha. The teaching now turns to the Tattva-cakra, which is given a still more restricted qualification.

Shloka 203

Kathitam bhairavicakram bhogamoksaikasadhanam

Taccakram Kulesani sampratam vaksmi tat srnu

Meaning:

I have spoken of the Bhairavi-cakra, the sole means for the attainment of both Bhoga and Moksha. Now, O Kulesani, I shall speak of that Cakra. Listen.The Tattva-cakra is described as the Cakra-raja, the King of Cakras, and as the Divya-cakra. Its qualification is not open to everyone. It is reserved for those who are established in or genuinely devoted to Brahma-jnana.

Shloka 204

Tattvacakram cakrarajam divyacakram taducyate

Natradhikarah sarvesam brahmajnanasadhakan vina

Meaning:

The Tattva-cakra is the King of Cakras and is called the Divya-cakra. Not everyone is qualified to participate in it. Those established in Brahma-jnana alone have the qualification.The text then describes the qualities expected of those who are qualified. They worship Parabrahman, are devoted to Brahman, possess a pure inner being, remain peaceful, and work for the welfare of all beings.

Shloka 205

Parabrahmopasaka ye brahmajna brahmatatparah

Suddhantahkaranah santah sarvaprani hite ratah

Meaning:

Those who worship the Parabrahman, who know Brahman, who are devoted to Brahman, whose inner being is pure, who are peaceful, and who are devoted to the welfare of all beings.The next verse continues this description. The qualified practitioner is to be free from inner disturbance and divisive thought, compassionate, firm in vows and established in truth.

Shloka 206

Nirvikarah nirvikalpah dayasilah drdhavratah

Satyasankalpakah brahman te evatra adhikarinah

Meaning:

Those who are free from disturbance and conceptual division, compassionate, firm in their vows, and whose resolve is founded upon Truth are the ones qualified here.The essential qualification is therefore not merely external learning or social identity. It is the realization of Brahman and the transformation of one's inner vision.Those who behold the moving and unmoving universe through Brahma-bhava are called Tattva-jnanins and are declared qualified for the Tattva-cakra.

Shloka 207

Brahmabhavena tattvajna ye pasyanti caracaram

Tesam tattvavidam pumsam tattvacakre'dhik arita

Meaning:

Those Tattva-jnanins who behold all moving and unmoving existence through the vision of Brahma-bhava, those knowers of Tattva, have the qualification for the Tattva-cakra.The realization expected within the Tattva-cakra is then stated even more directly. The participants are those in whom the understanding has arisen that everything is pervaded by Brahman.

Shloka 208

Sarvam brahmamayam bhavam cakre'smin tattvasamjnake

Yesam sanjayate Devi ta eva tattvacakrinah

Meaning:

O Devi, those in whom the realization arises that everything is pervaded by Brahman in this Cakra known as the Tattva-cakra, those alone are the participants in the Tattva-cakra.

THE PROCEDURE OF THE TATTVA-CAKRA

The text next describes the manner in which the Tattva-cakra is to be established. Unlike elaborate external ritual, the emphasis here is placed upon Brahma-bhava, the awareness of Brahman.

Shloka 209

Na satssthap anamatra sti na bahulyena pujanam

Sarvatra brahmabhavena sadhayet tattvasadhanam

Meaning:

Here there is no need for the sixfold installation, nor for elaborate worship. The Tattva-sadhana should everywhere be performed with the consciousness of Brahman.The person who presides over the Cakra is called the Cakresvara. He should possess the Brahma-mantra and be established in Brahman. The Tattva-cakra is to be commenced together with Sadhakas who possess Brahma-jnana.

Shloka 210

Brahmamant ri brahmanistho bhavet cakresvarah priye

Brahmajna ih sadhakaih sardham tattvacakram samarabhet

Meaning:

O Beloved, the Cakresvara should be one who possesses the Brahma-mantra and is established in Brahman. He should commence the Tattva-cakra together with Sadhakas who possess Brahma-jnana.The place chosen for the Cakra should be beautiful, clean and comfortable for the Sadhakas. A suitable and beautiful seat is prepared there.

Shloka 211

Ramye sunirmale dese sadhakanam sukhavahe

Vicitr asanaman iya kalpayedimamasanam

Meaning:

In a beautiful, perfectly clean place, pleasant for the Sadhakas, a variegated and beautiful seat should be brought and this seat should be prepared.The Cakresvara then sits together with the Brahma-Sadhakas and places the Tattvas before him.

Shloka 212

Tatropavisya cakresah sahito brahmasadhakaih

Asadayettu tattvani sthapayedagratah sudhih

Meaning:

The wise Cakresvara should sit there together with the Brahma-Sadhakas. He should obtain the Tattvas and place them before him.The text then gives the Mantric procedure. The Cakresvara repeats the Mantra one hundred times, beginning with Tara and ending with the Prana-bija, and utters it over all the Tattvas.

Shloka 213

Taradipranabijantam satavrttya japan manum

Sarvatattvesu cakresa imam mantramudirayet

Meaning:

Repeating one hundred times the Mantra beginning with Tara and ending with the Prana-bija, the Cakresvara should utter this Mantra over all the Tattvas.The central spiritual understanding of the rite is expressed through the famous teaching that the offering, the oblation, the sacrificial fire, the act of offering and the one who performs it are all understood through Brahman.

Shloka 214

Brahmarpanam brahmahavir brahmagnau brahmana hutam

Brahmaiva tena gantavyam brahmakarmasamadhina

Meaning:

The offering is Brahman. The oblation is Brahman. It is offered into the fire that is Brahman by Brahman. He whose consciousness is absorbed in Brahman-action goes to Brahman alone.An alternative procedure is then given in which the Mantra is repeated three times and all the Tattvas are purified.

Shloka 215

Tatha va tridha japtva tani sarvani sodhayet

Meaning:

Alternatively, having repeated the Mantra three times, he should purify all those Tattvas.The ritual then proceeds with worship of the Paramatman using the Brahma-mantra. A Brahma-yajna is performed, after which the Sadhakas partake together of the consecrated drink and food.

Shloka 216

Tato brahm en a manuna sampujya paramatmane

Brahmayajnah sadhakaih sardham vidhadyat panabhojanam

Meaning:

Thereafter, having worshipped the Paramatman with the Brahma-mantra, he should perform the Brahma-yajna and together with the Sadhakas partake of the consecrated drink and food.The Tattva-cakra is then described as a Brahma-cakra. Within it, distinctions of Varna do not apply. There are likewise no restrictions concerning place, time or the person who participates.

Shloka 217

Brahmacakre na varnabhedam vijayet

Na desakalan iyamo na patran iyamas tatha

Meaning:

In the Brahma-cakra there is no distinction of Varna. There is likewise no restriction concerning place or time, nor any restriction concerning the person who participates.The text again warns against bringing ordinary distinctions into the Divya-cakra. Those who negligently create distinctions of Kula or Varna within it are said to fall into a degraded state.

Shloka 218

Ye kurvanti nara mudha divyacakre pramadatah

Kulabhedam varnabhedam te gacchantyadhamam gatim

Meaning:

Those foolish people who, through negligence, create distinctions of Kula or Varna within the Divya-cakra go to a low and degraded state.The teaching concludes the section on the Tattva-cakra by urging the excellent Sadhaka who possesses Brahma-jnana to undertake it with full effort. Its fruits are described in terms of the four aims of human life.

Shloka 219

Atah sarvaprayatnena brahmajna ih sadhakottamah

Tattvacakramanustheyam dharmakamarthamoksaye

Meaning:

Therefore, with every effort, the excellent Sadhaka who possesses Brahma-jnana should perform the Tattva-cakra for the attainment of Dharma, Kama, Artha and Moksha.

THE TRANSITION TO SANNYASA

The teaching has now moved from the Bhairavi-cakra, with its transcendence of ordinary caste distinctions, to the more restricted Tattva-cakra, whose qualification rests upon Brahma-jnana and the realization that all existence is Brahman.At this point, the subject changes again.Maa Parvati asks about the Dharma of Sannyasa. The earlier teaching had included the Dharma of householders, and she now asks for the teaching concerning those who renounce worldly life.

Shloka 220

Sri Devi said:

Grhasthanamaropena dharman akathayat Prabho

Sannyasavihitan dharman krpaya vaktumarhasi

Meaning:

O Lord, You have spoken of the Dharma prescribed for householders. Kindly tell me, out of Your grace, the Dharma prescribed for Sannyasa.

Part VII begins with Shloka 221 and continues with the Dharma of the Avadhuta and Sannyasin in the Kali Age.

KEYWORDS AND TERMS

Bhairavi-cakra : The sacred circle or ritual assembly described in this section. It is presented as a powerful field of Kula-sadhana in which ordinary distinctions of Varna are not observed.

Tattva-cakra : The sacred circle associated with realization of Tattva and Brahman. It is described as the King of Cakras and as the Divya-cakra.

Cakra : Literally, a circle or wheel. In this context it refers to a sacred ritual assembly established for Tantric practice.

Cakresvara : The presiding Lord or master of the Cakra. In the Tattva-cakra, the Cakresvara is required to possess the Brahma-mantra and be established in Brahman.

Vira : A spiritually qualified practitioner following the Vira mode of Tantric practice. Within the Bhairavi-cakra, the Vira is associated with the observance of Kula-dharma.

Pasu : Literally, an ordinary or bound being. In Tantric terminology, it refers to one who remains bound by ordinary worldly consciousness and limitations.

Kula : The sacred Tantric spiritual tradition or family of Shakti practice. In this section, Kula is closely associated with the Divine power and the Kula-dharma.

Kula-dharma : The Dharma or sacred discipline belonging to the Kula tradition.

Kula-sadhana : Spiritual practice performed according to the Kula tradition.

Kula-marga : The path of the Kula tradition.

Kaula : A practitioner or follower of the Kula tradition.

Divya-cakra : The divine Cakra. In this section it is used particularly for the Tattva-cakra.

Brahma-jnana : Knowledge or direct realization of Brahman.

Brahma-bhava : The inner awareness or state of seeing existence in the nature of Brahman.

Tattva-jnani : One who knows or realizes Tattva, especially through the vision of Brahman.

Parabrahman : The Supreme Brahman, the ultimate Absolute Reality beyond limitation.

Brahma-mantra : The Mantra associated with Brahman and used in the Tattva-cakra.

Brahma-yajna : A sacred offering or sacrificial act performed in the awareness of Brahman.

Brahma-nirvana : Liberation or absorption into Brahman.

Bhoga : Enjoyment or experience of worldly existence and its legitimate fruits.

Moksha : Liberation from bondage and the cycle of worldly existence.

Mahatirtha : A great sacred pilgrimage place or place of exceptional spiritual sanctity.

Tirtha : A sacred place associated with pilgrimage and spiritual purification.

Naivedya : Food or an offering presented to the Deity.

Varna : The traditional social classification discussed in the text, including Brahmana, Kshatriya, Vaisya and Sudra.

Ashrama : A stage or mode of life within the traditional framework of Dharma, such as household life or renunciation.

Varna-Ashrama : The combined framework of social duties and stages of life.

Sambhavacara : A mode of conduct associated with Sambhava, here prescribed for certain practitioners while they remain within the Cakra.

Purascarya : A structured and usually extended programme of Mantra practice undertaken to accomplish a particular spiritual purpose.

Mrtyunjaya : Literally, conqueror of death. In this passage it is used as a designation of the extraordinary fruit attributed to sustained practice.

Prana-bija : The seed syllable associated with Prana, the vital life force. The text refers to a Mantra beginning with Tara and ending with the Prana-bija.

Dharma : The principle of right conduct, sacred duty, order and righteous living.

Artha : Material prosperity, resources and the legitimate aims associated with worldly life.

Kama : Desire, enjoyment and the fulfillment of legitimate human aspirations.

Moksha : Spiritual liberation and freedom from worldly bondage.

Sannyasa : The life of renunciation, in which a person withdraws from ordinary worldly obligations and dedicates life to spiritual realization.

Avadhuta : A highly liberated renunciant whose conduct is described in the Tantric tradition as transcending ordinary social conventions.

Jai Maa Adya MahaKali 🙏♥️

MAHANIRVANA TANTRA

CHAPTER VIII

PART V : SERVANT-DHARMA, THE BHAIRAVI-CAKRA, AND THE EQUALITY OF THE VIRAS

Servant-Dharma

The text first describes the duties of a servant toward his master. It states that in matters such as borrowing, agriculture, trade, and every other undertaking, whatever a person has agreed to do should be carried out according to the approval of the Shastra.

Shloka 141

Rine krishau cha vanijye tatha sarveshu karmasu |

yadavangikritam martyastatkaryam shastrasammatam || 141 ||

Meaning:

In borrowing, agriculture, trade, and all other undertakings, whatever a person has agreed to do should be carried out. This is approved by the Shastra.The servant is then described through qualities of discipline, cleanliness, truthfulness, wakefulness, self-control, vigilance, freedom from laziness, and devotion to service.

Shloka 142

Dakshah shuchih satyabhashi jitanidro jitendriyah |

apramatto niralasyah sevavritto bhavennarah || 142 ||

Meaning:

A servant should be skilful, clean, truthful, wakeful, and one who has control over his senses. He should remain vigilant, free from laziness, and devoted to his service.The master is to be regarded with great respect, while the master's wife is to be regarded as one's own mother. The servant should also honour the master's relatives.

Shloka 143

Prabhur vishnusamo manyastajjaya jananisama |

manyastadbandhava hyatra ihamutra sukhepsubhih || 143 ||

Meaning:

Desiring happiness in this world and the next, he should regard his master as equal to Vishnu and his master's wife as equal to his own mother. He should honour his master's kinsmen.The master's friends are to be regarded as one's own friends, and the master's enemies as one's own enemies. The servant should remain respectful and attentive, always waiting for the master's commands.

Shloka 144

Svamitrani mitrani janiyattadarinarin |

sabheetih sarvada tishthet prabhorajnam pratikshayan || 144 ||

Meaning:

He should regard his master's friends as his own friends and his master's enemies as his enemies. He should always remain respectfully attentive, awaiting his master's commands.The text further instructs the servant to carefully preserve the honour and privacy of the household. Matters concerning the master's dishonour, household secrets, confidential information, and anything that could bring blame upon the master should not be disclosed.

Shloka 145

Apamanam grihachidram guptyartham kathitanch yat |

bharturnindakaram yachcha gopayedatiyatnatah || 145 ||

Meaning:

He should carefully conceal his master's dishonour, the secrets of the household, whatever has been told to him in confidence, and anything that would bring blame upon his master.The servant should not be greedy for the master's wealth. Instead, he should remain devoted to the master's welfare. In the master's presence, he should avoid improper speech, frivolous play, and excessive laughter.

Shloka 146

Alobha syat svamidhane sada svamihite ratah |

tatsannidhavasadvacham kridam hasyam parityajet || 146 ||

Meaning:

He should not be greedy for his master's wealth, but should always remain devoted to his master's welfare. In his master's presence he should avoid improper speech, play, and frivolous laughter.The text also establishes restrictions concerning the maidservants of the master's household. The servant should not look upon them with a sinful or lustful mind and should avoid private sleeping arrangements, laughter, and play with them.

Shloka 147

Na papamanasa pashedapi tadgrihakinkarin |

viviktashayyam hasyanch tabhih saha vivarjayet || 147 ||

Meaning:

He should not even look upon the maidservants of his master's household with a sinful or lustful mind. He should avoid sleeping privately with them, as well as laughter and play with them.The possessions of the master are not to be used for the servant's own purposes. This includes the master's bed, seat, vehicles, clothing, vessels, footwear, ornaments, and weapons.

Shloka 148

Prabhoh shayyasana yanam vasanam bhajanani cha |

upanadbhushanam shastram natmartham viniyojayet || 148 ||

Meaning:

He should not use for his own purposes his master's bed, seat, vehicles, clothes, vessels, footwear, ornaments, or weapons.If the servant commits an offence, he should sincerely seek forgiveness from the master. He should avoid excessive boldness, impertinent speech, and conduct that treats himself as equal to his master.

Shloka 149

Kshamam kritaparadhashchet prarthayedyatnatah prabhoh |

pragalbhyam praudhavadanch samyacharam vivarjayet ||

149 ||

Meaning:

If he commits an offence, he should earnestly seek his master's forgiveness. He should avoid forwardness, impertinence, and behaving as though he were equal to his master.

Marriage and Food Outside the Cakra

The teaching then turns to the rules concerning marriage and food outside the Bhairavi-cakra and Tattva-cakra. Outside these two sacred Cakras, each Varna is instructed to marry within its own Varna and to eat with its own Varna.

Shloka 150

Sarve varnah svasvavarnavivaham tathashanam |

kurviran bhairavichakrat tattvachakradrte shive || 150 ||

Meaning:

O Shive, except in the Bhairavi-cakra and Tattva-cakra, all Varnas should marry within their respective Varna and should eat with their own Varna.Within both the Bhairavi-cakra and Tattva-cakra, a Shaiva form of marriage is prescribed. Within these Cakras, distinctions of Varna do not apply to taking food and drink.

Shloka 151

Ubhayatra maheshani shaivodvahah prakirtitah |

tathadane cha pane cha varnabhedo na vidyate || 151 ||

Meaning:

O Maheshani, in both these Cakras, marriage in the Shaiva form is prescribed. Likewise, in taking food and drink, there is no distinction of Varna.

The Bhairavi-cakra

The text next introduces the Bhairavi-cakra and Tattva-cakra. Their nature and procedure are then explained.

Shloka 152

The question concerning these Cakras is introduced as follows:

Kimidam bhairavichakram tattvachakrancha kidrisham |

tatsarvam shrotumichchami kripaya vaktumarhasi || 152 ||

Meaning:

What is this Bhairavi-cakra, and what is the Tattva-cakra like? I desire to hear all about them. Kindly speak of them.The procedure of the Cakra is connected with Kula worship and special worship. It is to be performed by excellent Sadhakas at the appropriate time of special worship.

Shloka 153

Kulapujavidhau devi chakranushthanamiritam |

visheshapujasamaye tatkaryam sadhakottamaih || 153 ||

Meaning:

O Devi, in the procedure of Kula worship, the performance of the Cakra has been taught. It should be performed by excellent worshippers at the time of special worship.The Bhairavi-cakra is not bound by the same strict timing. It may be formed when the appropriate occasion arises.

Shloka 154

BhairavichakraviShaye na tadringiyamah priye |

yathasamayamasadya kuryachchakramidam shubham || 154 ||

Meaning:

O Beloved, there is no such strict rule concerning the Bhairavi-cakra. This auspicious Cakra may be formed whenever the appropriate occasion arises.The procedure of this Cakra is described as beneficial to Sadhakas. Through the worship of the Devi in this Cakra, the desired result is said to be swiftly attained.

Shloka 155

Vidhanamasya vakshyami sadhakanam shubhavaham |

aradhita yena devi turnam yachchhati vanchhitam || 155 ||

Meaning:

The procedure of this Cakra will now be explained. It brings benefit to Sadhakas, and when the Devi is worshipped through it, She swiftly grants what is desired.

Formation of the Bhairavi-cakra

The Kulacharya begins the formation of the Bhairavi-cakra by selecting a beautiful and pleasant place and spreading an excellent seat there. The seat is purified using the Kama and Astra Bijas, after which the Kulacharya takes his seat.

Shloka 156

Kulacharyo ramyabhumavastiryasanamuttamam |

kamayenastrabijena sanshodyopavishettatah || 156 ||

Meaning:

The Kulacharya should spread an excellent seat in a beautiful and pleasant place. Having purified it with the Kama and Astra Bijas, he should then sit upon it.A Mandala is then prepared. It consists of a triangle and a square and may be drawn using vermilion, red sandalwood, or simply water.

Shloka 157

Sindurena kusidena kevalena jalena va |

trikonam chaturasram cha mandalam rachayet sudhih || 157 ||

Meaning:

The wise worshipper should draw a Mandala consisting of a triangle and a square, using vermilion, red sandalwood, or simply water.A beautifully decorated vessel is then brought. It is adorned with curd and unbroken rice, accompanied by fruits and flowers, and marked with vermilion.

Shloka 158

VichitraghatamanIya dadhyakshatavibhushitam |

phalapushpasamyuktam sinduratilakanvitam || 158 ||

Meaning:

He should bring a beautifully decorated jar, adorned with curd and unbroken rice, furnished with fruits and flowers, and marked with vermilion.The vessel is filled with perfumed water and placed upon the Mandala while the Pranava is uttered. Incense and light are then offered.

Shloka 159

Suvasitajalaih purnam mandale tatra sadhakah |

pranavena tu samsthapya dhupadipau pradarsayet || 159 ||

Meaning:

The Sadhaka should fill the jar with perfumed water, place it upon the Mandala while uttering the Pranava, and offer incense and light before it.After worshipping the vessel with fragrance and flowers, the Sadhaka meditates upon the Ishta-devata within it and performs the worship according to the shortened form of the ritual.

Shloka 160

Sampujya gandhapushpabhyam chintayedishtadevatam |

sankshep pujavidhina tatra pujam samacharet || 160 ||

Meaning:

Having worshipped the jar with fragrance and flowers, he should meditate upon his Ishta-devata within it and perform the worship according to the shortened form of the ritual.The text then gives a special feature of this form of worship. The nine vessels associated with the Guru and others are not required to be established here.

Shloka 161

Visheshamatra vakshyami shrunushvamaravandite |

gurvadinavapatranam natra sthapanam ishyate || 161 ||

Meaning:

O You who are adored by the Immortals, I shall now speak of the special feature of this rite. Here there is no need to place the nine vessels for the Guru and the others.

Worship within the Cakra

The Sadhaka then takes such Tattvas as are desired and places them before himself. They are sprinkled and purified with the Astra-mantra and then regarded with divine vision.

Shloka 162

Yatheshtam tattvamadaya samsthapya purato vrati |

prokshayedastramantreNa divyadrishtya vilokayet || 162 ||

Meaning:

The devoted Sadhaka should take such of the Tattvas as he desires and place them before himself. He should sprinkle and purify them with the Astra-mantra and then behold them with divine vision.Fragrance and flowers are placed within the inner space, and the Sadhaka meditates there upon Ananda-Bhairavi Devi and Ananda-Bhairava.

Shloka 163

Astyantare gandhapushpam datva tatra vichintayet |

anandabhairavim devim anandabhairavam tatha || 163 ||

Meaning:

Having placed fragrance and flowers within the inner space, he should meditate there upon Ananda-Bhairavi Devi and Ananda-Bhairava.Ananda-Bhairavi is visualized as endowed with the full bloom of youth, with a form radiant like the rising Sun and a lotus-face illuminated by a beautiful smile.

Shloka 164

Navayauvanasampannam tarunarunavigraham |

charuhasasmita bhasollasad vadanapankajam || 164 ||

Meaning:

He should meditate upon Her as endowed with the full bloom of youth, Her form radiant like the rising Sun, Her lotus-face illuminated by the light of Her beautiful smile.She is further visualized as delighting in dance and song, adorned with many ornaments, wearing varied garments, and holding lotus-like hands that grant boons and dispel fear.

Shloka 165

Nrityagitakritamodam nanabharanabhushitam |

vichitravastram dhyayet varabhayakarambujam || 165 ||

Meaning:

He should meditate upon Her as delighting in dance and song, adorned with many ornaments, wearing beautiful and varied garments, and with lotus-hands bestowing boons and dispelling fear.Having meditated upon the bliss-filled form of Ananda-Bhairavi, the Sadhaka then turns his meditation toward Ananda-Bhairava.

Shloka 166

Ityanandamayim dhyatva smaredanandabhairavam || 166 ||

Meaning:

Having thus meditated upon the Bliss-filled Ananda-Bhairavi, he should meditate upon Ananda-Bhairava.

Dhyana of Ananda-Bhairava

Ananda-Bhairava is described as radiant and white like a mass of camphor. His eyes are large and lotus-like, and His body is adorned with celestial garments and ornaments. In His left lotus-hand He holds a vessel filled with nectar, while His right hand holds a ball of Shuddhi.

Shloka 167

Karpurapuradhavalam kamalayataksham |

divyambarabharanabhushitadehakantim |

vamen panikamalena sudhadhyapatram |

dakshena shuddhigutikam dadhatam smarami || 167 ||

Meaning:

I meditate upon Him who is white like a mass of camphor, whose eyes are large and lotus-like, whose bodily lustre is adorned with celestial garments and ornaments, who holds in His left lotus-hand a vessel filled with nectar and in His right a ball of Shuddhi.

After meditating upon both Ananda-Bhairavi and Ananda-Bhairava, the Sadhaka contemplates their Samarasya, their state of union. He then worships Them with the Nama-mantra beginning with the Pranava and ending with Namah, using fragrance and flowers. After this, the Karana is purified.

Shloka 168

Dhyatvaivamubhayostatra samarasya vichintayan |

pranavadinamontena namamantrena deshikah |

sampujya gandhapushpabhyam shodhayet karanam tatah || 168 ||

Meaning:

Having meditated upon both of Them in this manner, the worshipper should contemplate Their Samarasya, their state of union. He should then worship Them with the Nama-mantra beginning with the Pranava and ending with Namah, using fragrance and flowers, and thereafter purify the Karana.The Kula worshipper purifies the Karana by repeating the Pasaditrika Bija ending in Svaha one hundred and eight times.

Shloka 169

Pashaditrikabijena svahantena kularchakaha |

ashtottarashatavrittya japan hetum vishodhayet || 169 ||

Meaning:

The Kula worshipper should purify the Karana by repeating the Pashaditrika Bija, ending in Svaha, one hundred and eight times.

The Three Sweets

The text then gives a provision specifically for householders in the Kali Age whose minds are deeply occupied with domestic desires. For such householders, the three sweets are prescribed as the representative of the first Tattva.

Shloka 170

Grihakamaikachittanam grihinam prabale kalau |

adyatattvapratinidhau vidheyam madhuratrayam || 170 ||

Meaning:

When the Kali Age is in full force, for householders whose minds are wholly occupied with domestic desires, the three sweets should be used as the substitute for the first Tattva.The three sweets are milk, sugar, and honey. They serve as the substitute-form of wine and are offered to the Deity.

Shloka 171

Dugdham sita makshikancha vijneyam madhuratrayam |

arirupamidam madyam devataya nivedayet || 171 ||

Meaning:

Milk, sugar, and honey are to be known as the three sweets. This is the substitute-form of wine and should be offered to the Deity.The text explains that those born in the Kali Age are described as having minds distracted by desire and therefore may not recognize Shakti in Her true form through ordinary understanding.

Shloka 172

Svabhavat kalijanmana kamavibhrantachetasah |

tadrupena na jananti shaktim samanyabuddhayah || 172 ||

Meaning:

Those born in the Kali Age are, by nature, weak in understanding and their minds are distracted by desire. Because of this, ordinary-minded people do not recognize Shakti in Her true form.For such persons, the remaining Tattva is represented through meditation upon the lotus-feet of the Devi and repetition of one's Ishta-mantra.

Shloka 173

Atastesham pratinidhau sheshatattvasya parvati |

dhyanam devyah padambhoje sveshtamantrajapastatha || 173 ||

Meaning:

Therefore, O Parvati, for such persons, in place of the remaining Tattva, there should be meditation upon the lotus-feet of the Devi, together with inward repetition of one's Ishta-mantra.The Tattvas that have been obtained, beginning with Pallala and the others, are each to be consecrated by repetition of the prescribed Mantra one hundred times.

Shloka 174

Tatastu praptatattvani pallaladini yani cha |

pratyekam shatadha nena manuna chabhimantrayet || 174 ||

Meaning:

The Tattvas that have been obtained, beginning with Pallala and the others, should each be consecrated by repeating this Mantra one hundred times.The Sadhaka closes both eyes and meditates upon everything as pervaded by Brahman.The offerings are then made to Kali as before, after which the consecrated food and drink are partaken of.

Shloka 175

Sarvam brahmamayam dhyatva nimilya nayanadvayam |

nivedya purvavat kalyai panabhojanamacharet || 175 ||

Meaning:

Having closed both eyes and meditated upon everything as pervaded by Brahman, he should offer it to Kali as before and then partake of the consecrated food and drink.

The Great Secrecy of the Bhairavi-cakra

The Bhairavi-cakra is now described as a teaching kept secret throughout the Tantras. It is presented as a profound essence of the Tantric teaching and is revealed within this instruction.

Shloka 176

Idantu bhairavichakram sarvatantre gopitam |

tavagre kathitam bhadre saratsaram paratparam || 176 ||

Meaning:

This Bhairavi-cakra is kept secret in all the Tantras. O Auspicious One, it has been revealed here. It is the essence of essences and higher than the highest.The text then returns to the matter of marriage within the Bhairavi-cakra and Tattva-cakra. In both, marriage according to the Shaiva path is prescribed for the excellent Sadhaka.

Shloka 177

Vivaho bhairavichakre tattvachakrepi parvati |

sarvatha sadhakendrena kartavyah shaivavartmana || 177 ||

Meaning:

O Parvati, in the Bhairavi-cakra and also in the Tattva-cakra, the excellent Sadhaka should in every case enter into marriage according to the Shaiva path.The text states that a Vira who engages in the service of Shakti without marriage incurs the sin associated with going with another man's wife.

Shloka 178

Vina parinayam virah shaktisevim samacharan |

parastrigaminam papam prapnuyadatra sanshayah || 178 ||

Meaning:

A Vira who engages in the service of Shakti without marriage incurs, without doubt, the sin of one who goes with another man's wife.

Equality of the Varnas within the Bhairavi-cakra

When the Bhairavi-cakra is entered, all Varnas are regarded as being like the highest of the twice-born. Once the Bhairavi-cakra concludes, the distinctions between the Varnas are restored.

Shloka 179

Samprapte bhairavichakre sarve varna dvijottamah |

nivritte bhairavichakre sarve varnah prithak prithak || 179 ||

Meaning:

When the Bhairavi-cakra is entered, all the Varnas become like the highest of the twice-born. When the Bhairavi-cakra ends, all the Varnas return to their respective distinctions.Within the Cakra, caste distinctions and distinctions concerning food such as Ucchishta are set aside. Those who participate as Viras within the Cakra are regarded as manifestations of the Divine, appearing in human form.

Shloka 180

Natra jativicharosti nochchishtadivivechanam |

chakramadhyagata vira mama rupa narakhyaya || 180 ||

Meaning:

Within this Cakra there is no consideration of caste and no distinction concerning food as Ucchishta and the like. The Viras who are within the Cakra are My own form, appearing in human form.

Keywords and Terms

Shastra: Sacred scripture or authoritative religious teaching.

Dharma: The principle of conduct, duty, or righteous order.

Sevavrtta: A life or conduct devoted to service.

Kulacharya: The Acharya or teacher who presides over Kula worship.

Kula: The Tantric spiritual tradition or sacred Kula principle.

Bhairavi-cakra: The sacred Tantric circle or ritual assembly described in this section.

Tattva-cakra: The sacred circle associated with the Tattvas and their ritual use.

Varna: A traditional social classification referred to in the text.

Shaiva: Relating to Shiva and the Shaiva spiritual path.

Sadhaka: A practitioner engaged in spiritual discipline or Sadhana.

Vira: A Tantric practitioner characterized in the text by the Vira mode of practice.

Tattva: A principle, element, or fundamental reality. In this section it also refers to the substances used within the Cakra.

Mandala: A sacred ritual diagram or arrangement used in worship.

Kama Bija: The seed syllable associated with Kama.

Astra Bija: The seed syllable associated with the Astra or ritual weapon principle.

Pranava: The sacred syllable Om.

Ishta-devata: The chosen or personally worshipped form of the Deity.

Ananda-Bhairavi: The blissful form of the Goddess invoked in the Bhairavi-cakra.

Ananda-Bhairava: The blissful form of Bhairava invoked together with Ananda-Bhairavi.

Samarasya: A state of harmony, equality, or union.

Karana: The ritual substance or cause-related element that is purified during the Cakra worship.

Nama-mantra: A Mantra formed around the name of the Deity.

Svaha: A sacred exclamation used in ritual offerings and Mantra.

Shakti: Divine power or the Goddess as the active power of consciousness.

Pallala: A Tattva or ritual substance referred to in the text.

Brahman: The supreme, all-pervading reality.

Ucchishta: Food or remnants treated according to rules concerning ritual purity and sharing.

Dvija: Literally twice-born, a traditional term used for certain Varnas.

Shaivodvaha: Marriage according to the Shaiva path.

Kali Age: The present age referred to in the text, characterized here by particular limitations affecting spiritual practice.

Madhuratraya: The three sweets, namely milk, sugar, and honey, used as the prescribed substitute for the first Tattva.

Shuddhi: Purification, or the purified substance used in the ritual context described here.

Puja: Ritual worship of the Deity.

Dhyana: Meditation or visualization of the Deity.

Aradhana: Worship or devotional practice directed toward the Deity.

Cakra: A sacred ritual circle or assembly.

MAHANIRVANA TANTRA

CHAPTER VIII

PART III : PURITY, SANDHYA, GAYATRI, JAPA AND SACRED TIMES FOR CHARITY

After describing the conduct and responsibilities of the Grihastha, the teaching continues with the qualities expected from an ideal householder. It then turns to the meaning of purity, distinguishing external purification from the deeper internal purity of offering oneself to Brahman.The teaching proceeds to Sandhya, Gayatri, daily Japa and the distinction between Vaidika and Tantrika forms of practice. It then explains appropriate times for Japa and Dana, sacred places and pilgrimage, and finally begins the teaching concerning the duties of women.

QUALITIES OF THE GRIHASTHA

The Grihastha is first described as one who has mastery over the senses, maintains a cheerful and thoughtful mind, remains firm in his vows and acts with vigilance and foresight.

Shloka 61

jitendriyah prasannatma suchintyah syad dridhavratah |

apramatto dirghadarshi matrarthan vicharayet || 61 ||

Meaning:

He should have control over his senses, a cheerful mind, a thoughtful nature and firmness in his vows. He should remain vigilant and far-sighted and carefully consider the proper measure and relation of the objects of the senses.The householder should also exercise discipline in speech. Truthfulness, gentleness and usefulness should characterize his words, while self-praise and criticism of others should be avoided.

Shloka 62

satyam mridu priyam dhiro vakyam hitakaram vadet |

atmautkarshyam tatha nindam paresham parivarjayet || 62 ||

Meaning:

The wise person should speak words that are truthful, gentle, pleasing and beneficial. He should avoid praising himself and speaking against others.

SERVICE TO THE WORLD

The teaching then describes certain forms of service and conduct through which a person is said to have conquered the three worlds.Establishing water reservoirs, planting trees, constructing places where travellers can rest and building bridges are presented as great acts of benefit.

Shloka 63

jalashayas cha vrikshash cha vishramagrihamandanani |

setuh pratishthito yena tena lokatrayam jitam || 63 ||

Meaning:

One by whom reservoirs of water, trees, resting houses and bridges are established is said to have conquered the three worlds.The welfare of one's family and the good reputation that arises from righteous conduct are likewise praised.

Shloka 64

santushtau pitarau yasmin anuraktah suhritganah |

gayanti yashaso lokas tena lokatrayam jitam || 64 ||

Meaning:

One whose mother and father are pleased, whose friends are devoted to him and whose fame is spoken of by people is said to have conquered the three worlds.Truth, compassion and mastery over desire and anger are then identified as further marks of such a person.

Shloka 65

satyam eva vratam yasya daya dineshu sarvatha |

kamakrodhau vashe yasya tena lokatrayam jitam || 65 ||

Meaning:

One whose vow is Truth, who is compassionate toward those in distress and who has Kama and Krodha under control is said to have conquered the three worlds.Freedom from improper desire and jealousy is

also emphasized.

Shloka 66

viratah paradareShu nishprihah paravastushu |

dambhamatsaryahino yas tena lokatrayam jitam || 66 ||

Meaning:

One who abstains from another person's wife, remains free from desire for another person's possessions, and is without hypocrisy and jealousy is said to have conquered the three worlds.The teaching also praises courage in the protection of Dharma.

Shloka 67

na bibheti ranayo vai sangramepy aparanmukhah |

dharmayuddhe mrto vapi tena lokatrayam jitam || 67 ||

Meaning:

One who does not fear battle and does not turn away even in combat, and who dies in a righteous war, is said to have conquered the three worlds.Purity of mind, freedom from doubt and devotion to the Shambhava path are then added to these qualities.

Shloka 68

asanshayatma sushuddhah shambhavacharatatparah |

machchasane hito yash cha tena lokatrayam jitam || 68 ||

Meaning:

One whose mind is free from doubt, who is thoroughly pure, who is devoted to Shambhavachara and who follows the divine command is said to have conquered the three worlds.The teaching concludes this group of qualities by emphasizing knowledge and equal vision while carrying out worldly responsibilities.

Shloka 69

jnanina lokayatrayai sarvatra samadarshina |

kriyante yena karmani tena lokatrayam jitam || 69 ||

Meaning:

One by whom actions are performed with knowledge, for the conduct of worldly life, while seeing all equally, is said to have conquered the three worlds.

EXTERNAL AND INTERNAL PURITY

The teaching now turns to Shaucha, or purity. Two forms are distinguished: external purity and internal purity.

Shloka 70

shauchantu dvividham devi bahyabhyantarabhedatah |

brahmany atmarpanam yat tat shaucham antarikam smritam || 70 ||

Meaning:

Purity is of two kinds, external and internal. Offering the self to Brahman is known as internal purity.External purity concerns the removal of bodily impurities through appropriate means.

Shloka 71

adbhir bhasmana vapi malanam apakarshanam |

dehashuddhir bhaveyena bahihshaucham tad uchyate || 71 ||

Meaning:

The removal of impurities by water, ashes or whatever brings about purification of the body is called external purity.Various natural sources of water are then described as means of purification.

Shloka 72

ganga nadyo hrada vapya kupash cha sushkalah |

sarvam pavitrajananam svarnadi kramat priye || 72 ||

Meaning:

The Ganga, rivers, lakes, tanks and wells, together with the various other waters, are described as sources of purification in their respective order.The teaching also identifies materials used for external purification.

Shloka 73

bhasmatra yajnikam shreshtham tatra tu mrit vijita |

vaso jinatrinadini mridujnanini suvrate || 73 ||

Meaning:

Among ashes, the Yajnika ash is regarded as excellent. Earth is also used for purification. Garments, antelope skin, grass and similar things are known as suitable means in the observance of purity.The essential principle is then stated simply. The purpose of external observance is ultimately connected with purity of mind.

Shloka 74

kim atra bahunoktena shauchashauchavidhau shive |

manahputam bhaveyena grihasthas tat tad acharet || 74 ||

Meaning:

What need is there to say much about the rules of purity and impurity? The Grihastha should perform whatever makes the mind pure.The teaching then specifies occasions when external purification is required.

Shloka 75

nidrante maithunasyante yagante malamutrayo |

bhojanante male chapi bahihshaucham vidhiyate || 75 ||

Meaning:

External purification is prescribed after sleep, after sexual intercourse, after worship, after passing urine and faeces, after eating and after contact with impurities.

SANDHYA AND THE GAYATRI

The teaching now turns to Sandhya, which is to be performed three times each day. It distinguishes the Vaidika and Tantrika forms according to the form of worship being followed.

Shloka 76

sandhya traikaliki karya vaidiki tantriki kramat |

upasanaya bhedeNa pujam kuryad yathavidhi || 76 ||

Meaning:

Sandhya is to be performed three times daily. It may be Vaidika or Tantrika according to the respective form of worship. The worship should be performed according to the prescribed procedure.For those who follow the Brahma-mantra, the Vaidika Sandhya is connected with Gayatri Japa and knowledge of Brahman.

Shloka 77

brahmamantropasakanan gayatrIjapanat priye |

jnanad brahmeti tad vachyam sandhya bhavati vaidiki || 77 ||

Meaning:

For those who worship through the Brahma-mantra, Vaidika Sandhya is performed through Japa of the Gayatri together with the knowledge that what is denoted by it is Brahman.For others, the Vaidika Sandhya involves worship of the Sun, offering Arghya and performing Gayatri Japa.

Shloka 78

anyesham vaidiki sandhya suryosthanapurvakam |

arghyadanam dineshaya gayatrIjapanam tatha || 78 ||

Meaning:

For others, Vaidika Sandhya is performed with Suryopasthana, preceded by offering Arghya to the Sun, together with Gayatri Japa.The teaching then gives the prescribed numbers for Japa during daily observances.

Shloka 79

ashtottaram sahasram va shatam va dashadha api va |

japanam niyamo bhadre sarvatr ahnikakarmani || 79 ||

Meaning:

In daily religious observances, the prescribed number of Japa may be one thousand and eight, one hundred or ten times.The teaching then addresses the authority of the Shudra and Samanya communities in relation to the Agamic method.

Shloka 80

shudrasamanyajatinam adhikaro sti kevalam |

agamoktavidhau devi sarvasiddhis tato bhavet || 80 ||

Meaning:

The Shudra and Samanya communities have authority in the procedure prescribed by the Agama. Through that procedure, all accomplishment is attained.The three daily times of Sandhya are then identified.

Shloka 81

pratah suryodayah kalo madhyahnas tadanantaram |

sayam suryastamayas trikalanam ayam kramah || 81 ||

Meaning:

In the morning, the time is sunrise. Thereafter comes midday, and in the evening comes sunset. This is the order of the three daily Sandhyas.

THE QUESTION OF VAIDIKA SANDHYA IN THE KALI AGE

A question now arises concerning the distinction between the Tantrika and Vaidika methods. Since the chapter has already established Tantrika rites for the five Varnas in the Kali Age, the reason for prescribing Vaidika observances for the Vipras is asked.

Shloka 82

shridevy uvacha |

vipradipanchavarnanam vihita tantriki kriya |

tad eva kathitam natha samprati prabale kalau || 82 ||

Meaning:

Parvati points out that the Tantrika rites have been declared for the five Varnas beginning with the Vipra in the fully established Kali Age.She therefore asks how the Vipras are now being engaged in Vaidika rites.

Shloka 83

tad idanim katham deva vipran vaidikakarmani |

niyojayasi tat sarvam visheshaktum arhasi || 83 ||

Meaning:

She asks how the Vipras are to be engaged in Vaidika rites when the Tantrika method has already been prescribed, and asks that this distinction be fully explained.

THE TANTRIKA AND VAIDIKA FORMS

The response establishes that the Tantrika path is applicable to all and is capable of giving both Bhoga and Moksha.

Shloka 84

shrisadashiva uvacha |

sadayam bravishi tattvajne sarvesham tantriki kriya |

lokanam bhogamokshaya sarvakarmasu siddhida || 84 ||

Meaning:

The Tantrika rite is for all. It gives Bhoga and Moksha and brings accomplishment in all actions.The Brahma-Savitri is then explained as having both Vaidika and Tantrika forms.

Shloka 85

iyam tu brahmasavitri yatha bhavati vaidiki |

tathaiva tantriki jneya prashastobhayakarmani || 85 ||

Meaning:

This Brahma-Savitri, as it exists in the Vaidika form, is likewise to be understood in the Tantrika form. Both forms of practice are approved.The teaching then speaks specifically of the authority over Gayatri among the Dvijas in the Kali Age.

Shloka 86

ato tra kathitam devi dvijanam prabale kalau |

gayatryam adhikaro sti nanyamantre karhichit || 86 ||

Meaning:

Therefore, in the fully established Kali Age, the Dvija has authority over the Gayatri, but not over another Mantra.The specific forms of Savitri for the three Dvija Varnas are then given.

Shloka 87

taraya kamalaya cha vagbhavadya yathakramat |

brahmanakshatriyavaishyanam savitri kathita kalau || 87 ||

Meaning:

In the Kali Age, the Savitri for the Brahmana, Kshatriya and Vaishya is respectively declared with Tara, Kamala and Vagbhava as prescribed.The distinction between the Dvijas and Shudras in relation to Vaidika Sandhya is then stated.

Shloka 88

dvijadinam pramedartham shudrebhyah parameshvari |

sandhyeyam vaidiki prokta prag evahnikakarmanam || 88 ||

Meaning:

For the distinction between the Dvijas and the Shudras, this Vaidika Sandhya is prescribed for the Dvijas before their daily AhniKa rites.The teaching then returns to the Shambhava path and emphasizes the certainty of the principle being stated.

Shloka 89

anyatha shambhavo margah kevalah siddhimargabhavet |

satyam satyam punah satyam satyam etan na sanshayah || 89 ||

Meaning:

Otherwise, the Shambhava path alone would be the path to accomplishment. This is declared emphatically as true, without doubt.

SANDHYA WHEN THE PROPER TIME HAS PASSED

Even if the prescribed time for Sandhya has passed, the observance should not simply be abandoned.

Shloka 90

kalatyaye pi sandhyeyam kartavya devavandite |

om tat sat brahma charghyam mokshechchhubhir anaturaih || 90 ||

Meaning:

Even when the proper time has passed, Sandhya should be performed. Those who desire Moksha and are not prevented by illness or incapacity should perform the rite with Om Tat Sat Brahma and the offering of Arghya.The principle of purity is then extended to the objects used in household life.

Shloka 91

asanam vasanam patram shayya yanam niketanam |

grihyakam vastujatam cha svachchhat svachchham prakalpayet || 91 ||

Meaning:

The seat, clothing, vessel, bed, vehicle, dwelling and household articles should all be kept clean and as pure as possible.After completing the daily duties, the householder should continue with study or useful household activity rather than remaining idle.

Shloka 92

samapyahnikakarmani svadhyayam grihakam va |

grihastho niyatam kuryan naiva tishthen nirudyamah || 92 ||

Meaning:

After completing the daily AhniKa duties, the Grihastha should regularly perform Svadhyaya or attend to his household duties. He should not remain idle.

JAPA, DANA AND SACRED TIMES

The teaching now identifies certain occasions considered especially suitable for Japa and Dana.

Shloka 93

punyatIrthe punyatithau grahane chandrasuryayoh |

jape danam prakurvanah shreyasam niyo bhavet || 93 ||

Meaning:

At a sacred Tirtha, on an auspicious Tithi and during an eclipse of the Moon or Sun, one should perform Japa and give Dana. By doing so, one becomes devoted to what is auspicious and beneficial.The teaching then addresses fasting in the Kali Age.

Shloka 94

kalau mandagataprana nopavasah prashasyate |

upavasapratinidhav ekam danam vidhiyate || 94 ||

Meaning:

In the Kali Age, when the vital powers of people are weak, fasting is not commended. In place of fasting, one act of Dana is prescribed.Dana is then given particular importance.

Shloka 95

kalau danam maheshani sarvasiddhikaram bhavet |

tasmat kevalam jneyo daridrah sattvavarjitah || 95 ||

Meaning:

In the Kali Age, Dana brings accomplishment. Therefore, one who is without charity is regarded as lacking in virtue.A number of auspicious days and occasions are then listed.

Shloka 96

masavatsarapakshanam arambhadinam ambike |

chaturdashyashtami shukla tathaivaikadashi kuhuh || 96 ||

Meaning:

The beginning day of a month, year or fortnight, together with Shukla Chaturdashi, Ashtami, Ekadashi and Kuhu, are declared to be auspicious times.One's own birthday and certain days associated with one's parents and prescribed festivals are also regarded as sacred occasions.

Shloka 97

nijajanmadinam chaiva pitror maranavasarah |

vaidhotsavadinam chaiva punyakah prakititah || 97 ||

Meaning:

One's own birthday, the day of the death of one's parents and prescribed festival days are declared to be auspicious times.

SACRED PLACES AND PILGRIMAGE

The teaching then turns to Tirtha. Certain places are specifically recognized as sacred.

Shloka 98

ganganadi mahanadyo guroh sadhanam eva cha |

prasiddham devatakshetram punyatirtham prakirtitam || 98 ||

Meaning:

The Ganga, great rivers, the dwelling of the Guru and famous Devata-kshetras are declared to be sacred Tirthas.However, pilgrimage does not replace the duties of daily life. The next verse makes this especially clear.

Shloka 99

tatra svadhyayanam pitroh shushrusha dararakshanam |

narakaya bhavet tirtham tirthaya vrajatam nrinam || 99 ||

Meaning:

For those who go to a Tirtha while neglecting Svadhyaya, service to their parents and protection of their wife, the Tirtha becomes a cause of Hell rather than a means of sacred pilgrimage.

DUTIES CONCERNING WOMEN

The section concludes by beginning the teaching concerning women and their prescribed observances.

Shloka 100

na tirthaseva narinam nopavasadikah kriyah |

naiva vratanaam niyamo bhartrishushrushanam vina || 100 ||

Meaning:

For women, pilgrimage and observances such as fasting are not prescribed in the same manner; nor is there a rule concerning vows apart from service to the husband.

KEYWORDS AND TERMS

Grihastha: A householder who follows the Grihasthya stage of life.

Grihasthya: The householder stage and its associated duties.

Shaucha: Purity or cleanliness, both external and internal.

Bahya Shaucha: External purity involving purification of the body and surroundings.

Antarika Shaucha: Internal purity, described here as offering the self to Brahman.

Sandhya: A daily period of religious observance performed at the transitional times of the day.

Vaidika: Relating to the Vedic form of religious practice.

Tantrika: Relating to the Tantric form of religious practice.

Gayatri: A sacred Mantra and form of Savitri used in the prescribed Sandhya practice.

Brahma-Savitri: The Savitri associated with Brahman and the Gayatri tradition described in this section.

Savitri: A sacred form of Mantra connected with the Sun and Gayatri practice.

Brahma-mantra: A Mantra connected with the worship or realization of Brahman.

Japa: Repeated recitation of a Mantra.

Suryopasthana: Worship or reverential observance directed toward the Sun.

Arghya: A ritual offering, especially an offering of water to a deity or the Sun.

AhniKa: Daily religious duties and observances.

Svadhyaya: Study, recitation or contemplation of sacred teachings.

Dana: Charity or religious giving.

Tirtha: A sacred place or pilgrimage site.

Punyatirtha: A sacred Tirtha regarded as especially meritorious.

Tithi: A lunar day used in determining religious and ritual observances.

GrahaNa: An eclipse of the Sun or Moon.

Moksha: Liberation from worldly existence.

Bhoga: Enjoyment or experience of worldly life.

Dvija: Literally twice-born, a term used for the traditionally twice-born Varnas.

Shudra: One of the Varnas referred to in the chapter.

Samanya: The fifth category of Varna recognized in the Kali Age in this chapter.

Shambhavachara: The mode of conduct or spiritual path associated with Shambhava.

Tattva: A fundamental principle or truth of reality.

Kama: Desire.

Krodha: Anger.

Sattva: Virtue, purity or a state of spiritual refinement.

Devata-kshetra: A sacred place associated with a Devata.

Guru: The spiritual teacher or guide.

Kuhu: A particular lunar day or phase identified in the text as an auspicious time.

Shukla: The bright or waxing half of the lunar fortnight.

Chaturdashi: The fourteenth lunar day.

Ashtami: The eighth lunar day.

Ekadashi: The eleventh lunar day.

Pativrata: A woman devoted and faithful to her husband.

Jai Maa ♥️

MAHANIRVANA TANTRA

CHAPTER VII - HYMN AND AMULET

PART III : THE PROTECTIVE MANTRA OF ADYA KALI - TRAILOKYA-VIJAYA KAVACHA

THE REVELATION OF THE KAVACHA

The teaching now moves from the hundred names of Adya Kali to Her Kavacha, the protective mantra.The Kavacha is called Trailokya-vijaya, meaning the one associated with victory over the three worlds. Before giving the actual protective verses, the text identifies its Rishi, Chandas, Devata, Bija, Shakti, Kilaka and Viniyoga.

Sloka 55

Kathitam param brahmaprakriteh stavanam mahat

Adyayah Shrikalikayah kavacham shrinu sampratam

The great hymn of the Prakriti of the Supreme Brahman has already been spoken.The teaching now proceeds to the Kavacha of Adya Shri Kalika.

Sloka 56

Trailokyavijayasya kavachasya Rishih Shivah

Chhando Anushtup Devata cha Adya Kali prakirtita

For the Trailokya-vijaya Kavacha, Shiva is the Rishi.Its Chandas is Anushtup, and its Devata is proclaimed to be Adya Kali.

Sloka 57

Mayabijam bijam iti Rama Shaktir udahrita

Krim Kilakam Kamyasiddhau Viniyogah prakirtitah

The Maya Bija is declared to be the Bija.Rama is declared to be the Shakti.Krim is the Kilaka.The Viniyoga is for the attainment of the desired object.

THE KAVACHA BEGINS

The protection now proceeds through the body of the practitioner.Different forms and names of the Goddess are invoked to protect particular parts of the body. The Kavacha begins with the head, face, heart and throat and then proceeds through the eyes, ears, breath, tongue, teeth, lips, chin, arms, hands, shoulders, back, sides, waist, navel, generative region, thighs, feet and vital breaths.

Sloka 58

Hrimabha me shirah patu Shrim Kali vadanam mama

Hridayam Krim Para Shaktih payat kantham Paratpara

May Hrimabha protect my head.May Shrim Kali protect my face.May Krim Para Shakti protect my heart.May Paratpara, the One beyond the beyond, protect my throat.

Sloka 59

Netre patu Jagaddhatri Karnau rakshatu Shankari

Pranam patu Mahamaya Rasanam Sarvamangala

May Jagaddhatri protect my eyes.May Shankari protect my ears.May Mahamaya protect my vital breath.May Sarvamangala protect my tongue.

Sloka 60

Dantan rakshatu Kaumari Kapolau Kamalalaya

Oshthadharau Kshama rakset Chibukam Charuhasini

May Kaumari protect my teeth.May Kamalalaya protect my cheeks.May Kshama protect my lips.May Charuhasini, She of the beautiful smile, protect my chin.

Sloka 61

Shrim Hrim payat Kuleshani Kakut patu Kripamayi

Haum Bahu Bahuda rakset Karau Kaivalyadayini

May Kuleshani protect me.May Kripamayi, She who is full of compassion, protect my nape.May Bahuda protect my arms.May Kaivalyadayini, the giver of Kaivalya, protect my hands.

Sloka 62

Skandhau Kapardini patu Prishtham Trailokyatarini

Parshve payad Aparna me Katim me Kamathasana

May Kapardini protect my shoulders.May Trailokyatarini, the saviour of the three worlds, protect my back.May Aparna protect my sides.May Kamathasana protect my waist.

Sloka 63

Nabhau patu Vishalakshi Prajasthanam Prabhavati

Uru rakshatu Kalyani Padau me patu Parvati

May Vishalakshi, the wide-eyed Goddess, protect my navel.May Prabhavati protect the place of generation.May Kalyani protect my thighs.May Parvati protect my feet.

Sloka 64

Jayadurga tu Pranan Sarvangam Sarvasiddhida

Rakshahinam yat sthanam varjitam kavachena cha

May Jayadurga protect my vital breaths.May Sarvasiddhida, the giver of all Siddhis, protect my entire body.Whatever part of the body has been left without protection, whatever place has been omitted from this Kavacha,

Sloka 65

Tat sarvam me sada rakshed Ya Kali Sanatani

Iti te kathitam divyam Trailokyavijayabhidham

may the eternal Kali always protect all of it for me.Thus the divine Kavacha known as Trailokya-vijaya has been revealed.

THE NATURE AND POWER OF THE KAVACHA

The text now turns from the actual protective verses to the fruits obtained through the Kavacha.

Sloka 66

Kavacham Kalikadevyah Adyayah Paramadbhutam

This is the exceedingly wonderful Kavacha of the Goddess Kalika, Adya.

Sloka 67

Pujakale Pathed Yas tu Adyadhishthitamanasah

Sarvan Kaman Avapnoti Tasyasya Suprasidati

Mantrasiddhir Bhaved Asya Kshudrah Shudrasiddhayah

Whoever recites this Kavacha during Puja, with the mind fixed upon Adya, obtains all desires, and Adya becomes greatly pleased with that practitioner.Mantra Siddhi arises for him, while the lesser Siddhis become subordinate.

Sloka 68

Aputro Labhate Putram Dhanarthi Prapnuyad Dhanam

Vidyarthi Labhate Vidyam Kami Kaman Avapnuyat

One without a child obtains a son.One who seeks wealth obtains wealth.One who seeks knowledge obtains Vidya.One who has a desire obtains the desired object.

THE PURASHCHARANA OF THE KAVACHA

The text then gives the number of repetitions connected with the Purashcharana of this protective teaching.

Sloka 69

Sahasravrittipathena Trailokye Asya Purashkriya

Purashcharanasampannam Yathoktaphaladam Bhavet

By reciting it one thousand times, its Purashkriya in the three worlds is accomplished.When the Purashcharana is completed, it gives the fruits that have been described.

WEARING THE KAVACHA

The text next explains another way in which the Kavacha is used.It is written on Bhurja bark using particular fragrant and auspicious substances, formed into a Gutika, enclosed in gold and then worn by the practitioner.

Sloka 70

Chandanagarukasturikunkume Raktachandane

Bhurje Vilikhya Gutikam Svarnastham Dharayed Yadi

If the Kavacha is written upon Bhurja bark using Chandan, Aguru, Kasturi, Kunkuma and Raktachandana, made into a Gutika, enclosed in gold and worn,

Sloka 71

Shikhayam Dakshine Bahau Kanthe Va Sadhakah Karau

Tasyasya Kalika Vashya Vanchhitartham Prayacchati

the Sadhaka may wear it upon the Shikha, on the right arm, around the neck or at the waist.Through this, Kalika becomes favourable to the practitioner and grants the desired object.

THE FRUITS OF WEARING THE KAVACHA

Sloka 72

Na Kutrapi Bhayam Tasya Sarvatra Vijayi Bhavet

Arogi Chirajivi Syat Balavan Dharanaksamah

There is no fear for such a person.He becomes victorious everywhere.He becomes free from disease, long-lived, strong and capable of endurance.

Sloka 73

Sarvavidyasu Nipunah Sarvashastrarthatattvavit

Ihaiva Tasya Mahipala Bhogamokshau Karasthitau

He becomes skilled in all Vidyas and understands the essential meaning of all Shastras.For such a person, O Lord of the Earth, Bhoga and Moksha are present here itself, as though held in the palm of his hand.

Sloka 74

Kalikalmashayuktanam Nihshreyasakaram Param

For those affected by the conditions of the Kali age, this is supremely conducive to Nihshreyasa, the highest good and final spiritual attainment.

KEYWORDS AND TERMS

Kavacha : A protective mantra or hymn. The word conveys the idea of spiritual armour or protection.

Trailokya-vijaya : Trailokya means the three worlds and Vijaya means victory or conquest. Trailokya-vijaya is the name given to this Kavacha.

Rishi : The Rishi of this Kavacha is Shiva.

Chandas : The metre or poetic form of a Sanskrit verse.

Anushtup : A classical Sanskrit metre. It is identified as the Chandas of this Kavacha.

Devata : The deity associated with a mantra, hymn or spiritual practice. Here the Devata is Adya Kali.

Bija : A seed syllable carrying the essential mantraic power of a deity or spiritual principle.

Maya Bija : The Bija associated with Maya. The text identifies the Maya Bija as the Bija of this Kavacha.

Shakti : The power or energy associated with a mantra or deity. In this Kavacha, Rama is identified as the Shakti.

Kilaka : The locking or binding element associated with a mantra or Kavacha. Here Krim is identified as the Kilaka.

Viniyoga : The intended purpose or application of a mantra or hymn. Here the Viniyoga is connected with the attainment of the desired object.

Mahamaya : The Great Maya, the supreme power of manifestation and divine appearance.

Jagaddhatri : The Goddess who supports or sustains the universe.

Shankari : A name of the Goddess connected with Shankara, Shiva.

Kaumari : A form or name of the Goddess associated with Kumara.

Kamalalaya : She whose abode is the lotus.

Kshama : Forgiveness, patience or forbearance. It is also used here as a name of the Goddess.

Charuhasini : She who has a beautiful or graceful smile.

Kuleshani : The Goddess or sovereign of Kula.

Kripamayi : She who is full of compassion.

Bahuda : The giver of strength or power to the arms.

Kaivalyadayini : She who grants Kaivalya, spiritual liberation.

Kapardini : A form of the Goddess associated with Kapardin, Shiva.

Trailokyatarini : She who carries beings across or saves them from the difficulties of the three worlds.

Aparna : A name of Parvati and the Goddess. It is traditionally connected with severe austerity.

Kamathasana : A name used in the Kavacha for the Goddess protecting the waist.

Vishalakshi : The wide-eyed Goddess.

Prabhavati : The radiant or powerful Goddess.

Kalyani : The auspicious and beneficent Goddess.

Parvati : The Goddess associated with Parvata, the mountain, and a major form of Shakti.

Jayadurga : Durga as the victorious Goddess.

Sarvasiddhida : She who gives all Siddhis.

Sanatani Kali : The eternal Kali. Sanatani means eternal or everlasting.

Puja : Formal worship of the deity through prescribed ritual actions, offerings and mantras.

Mantra Siddhi : The attainment or perfection of a mantra through spiritual practice.

Siddhi : An attainment, accomplishment or spiritual power arising through spiritual practice.

Purashcharana : A prescribed discipline involving systematic repetition and associated practices undertaken for the accomplishment of a mantra or spiritual practice.

Purashkriya : A preparatory or accomplishing ritual discipline connected with a mantra or sacred practice.

Bhurja : Birch bark traditionally used as a writing material for sacred mantras and texts.

Gutika : A small sacred object or amulet prepared by enclosing a written mantra or Kavacha for wearing.

Chandan : Sandalwood.

Aguru : A fragrant substance traditionally used in worship and ritual.

Kasturi : Musk, a fragrant substance traditionally used in ritual and ornamentation.

Kunkuma : A red or reddish sacred powder used in worship and ritual.

Raktachandana : Red sandalwood.

Shikha : The tuft of hair traditionally maintained at the back or crown of the head.

Bhoga : Enjoyment or experience of worldly life and its results.

Moksha : Liberation from bondage and the cycle of worldly existence.

Vidya : Knowledge, learning or spiritual knowledge.

Shastra : A sacred or authoritative body of teaching, scripture or systematic knowledge.

Nihshreyasa : The highest good, supreme welfare or final spiritual attainment.

MAHANIRVANA TANTRA

CHAPTER VII - HYMN AND AMULET

PART II : THE PHALASHRUTI OF ADYAKALI SHATANAMA STOTRA

CONTINUATION OF THE HUNDRED NAMES

In the previous section, Shiva revealed the Adya-Kali-Svarupa Shatanama, the hundred names through which Adya Kali is praised. The text then continues by describing the nature of this hymn, the fruits obtained through its recitation, the occasions in which its remembrance is especially powerful, and the protection and blessings associated with devotion to Adya Kali.The following verses continue directly from the hundred names.

THE COMPLETION OF THE HUNDRED NAMES

Sloka 32

Krim Hrim Shrim Mantravarnena Kalakantakaghatini

Ity Adyakalika Devyah Shatanama Prakirtitam

Through the mantra syllables Krim, Hrim and Shrim, She is the destroyer of the obstacles or thorns associated with Kala.

Thus the hundred names of the Goddess Adya Kalika have been proclaimed.

THE NATURE OF THE HUNDRED NAMES

Sloka 33

Kakakarakutakathitam Kalirupasvarupakam

This has been spoken as the form and essential nature of Kali.

FRUITS OF RECITING THE HUNDRED NAMES

Sloka 34

Pujakale Pathet Stutva Kalikakritamanasah

Manahsiddhir Bhaved Asya Tasya Kali Prasidati

During the time of Puja, one should recite this hymn with the mind devoted to Kalika.Through such recitation, the desires of the mind become accomplished, and Kali becomes pleased with the devotee.

Sloka 35

Buddhir Vidyam Labhate Guror Devaprasadatah

Dhanavan Kirtiman Bhuyad Annashilo Dayanvitah

Through the grace of the Guru and the Deva, one obtains intelligence and knowledge.One becomes prosperous, renowned, inclined toward nourishment and giving, and endowed with compassion.

Sloka 36

Putrapautrasukhaibhogair Modate Sadhako Bhuvi

The Sadhaka rejoices in this world through the happiness of children and grandchildren and through worldly enjoyments.

WORSHIP OF MAHAKALI ON THE TUESDAY AMAVASYA

The text now describes a particular time for the worship of Mahakali.It refers to Amavasya occurring on Tuesday and to the prescribed Masa Cakra. At such a time, Mahakali, the Goddess who is the ruler of the three worlds, is worshipped.

Sloka 37

Bhaumavasyanishabhage Mashacakrasamanvitah

Pujayitva Mahakalim Mayam Tribhuvaneshvarim

During the night portion of Amavasya occurring on Tuesday, accompanied by the prescribed Masa Cakra, one should worship Mahakali, Maya, the Goddess who is the Mistress of the three worlds.

Sloka 38

Pathitva Shatanamani Sakshat Kalimayo Bhavet

Nasadhyam Vidyate Tasya Trishu Lokeshu Kinchana

After reciting the hundred names, the practitioner becomes completely filled with Kali.For such a person, nothing in the three worlds is said to be unattainable.

THE QUALITIES ATTAINED THROUGH THE HUNDRED NAMES

Sloka 39

Vidyayam Vachaspati Sakshad Dhane Dhanapatir Bhavet

Samudra Iva Gambhirye Bale Cha Balinām Apih

In learning, one becomes like Vachaspati himself.In wealth, one becomes like Dhanapati.In depth, one becomes like the ocean, and in strength, one becomes powerful even among the strong.

Sloka 40

Timiramushitir Durdharshah Shashivat Shubhadarshanah

Rupe Manmathah Sankashah Kamo Yoshitam Hridayasthitah

The practitioner becomes formidable and difficult to overcome.His appearance becomes auspicious like the Moon.In beauty, he becomes comparable to Manmatha, and Kama becomes established in the hearts of women.

THE GRACE OF ADYA

The text now describes the power of the Stotra in fulfilling a desired purpose.The hymn is described as a Stavaraja, a king among hymns. When a person approaches the hymn with a particular desire, the text declares that the desired result is obtained through the grace of Adya.

Sloka 41

Sarvatra Jayam Apnoti Stavarajasya Prasadatah

Yam Yam Kamam Puraskritya Stotram Etad Udirayet

Through the grace of this Stavaraja, one obtains victory everywhere.Whatever desire one places before oneself and then recites this hymn,

Sloka 42

Tam Tam Kamam Avapnoti Shrimad Adya Prasadatah

Rane Rajakule Dyute Vivade Pranasankate

That very desire is obtained through the grace of Shri Adya.The hymn is also remembered in situations such as battle, in the royal court, in gambling, in disputes and when life is in danger.

Sloka 43

Dasyubhyah Gramadahe Simhavyaghraadibhitaye Tatha

It is remembered for protection from robbers, during the burning of villages, and when there is fear from lions, tigers and other dangerous creatures.

Sloka 44

Aranye Prantare Durge Graharajabhayesvapi Va

Jvaradau Chintayate Ghore Maharogadisankule

In forests, wildernesses and difficult or inaccessible places, and when surrounded by hostile rulers or enemies, the Goddess is to be remembered.She is also remembered during fever, terrible illness and other severe afflictions.

Sloka 45

Balagraharoge Cha Tatha Duhsvapnadarshane

Dustare Salile Vapi Pote Vataprapidite

She is remembered during illnesses affecting children, upon seeing dreadful dreams, in difficult or dangerous waters, and when a boat is severely troubled by the wind.The sequence of these verses presents the remembrance of the Goddess as a source of protection in many forms of danger and difficulty.

NO FEAR FOR THE DEVOTEE

The teaching now turns from particular situations of danger to the general protection obtained by one who recites the hundred names with firm devotion.

Sloka 46

Vichintya Paramam Mayamayim Kalim Paratparam

Yah Pathec Chatanamani Dridhabhaktisamanvitah

Whoever, endowed with firm devotion, meditates upon Kali, the Supreme Maya who is beyond the beyond, and recites these hundred names,is freed from all dangers.

Sloka 47

Sarvapadbhyo Vimucyeta Devi Satyam Na Sanshayah

Na Papebhyo Bhayam Tasya Na Rogebhyo Bhayam Kvachit

The text declares this to be certain and without doubt.For such a person there is no fear from sins and no fear from diseases.

Sloka 48

Sarvatra Vijayas Tasya Na Kutrapi Parabhavah

Tasya Darshanamatrena Palayante Vipadganah

Such a person is victorious everywhere and does not suffer defeat.At the mere sight of such a person, calamities are said to flee away.

THE BLESSINGS OF KNOWLEDGE, PROSPERITY AND HONOUR

Sloka 49

Sa Vakta Sarvashastranam Sa Bhokta Sarvasampadam

Sa Karta Jatidharminam Jatinam Pramukheshu Sah

He becomes a speaker of all the Shastras and an enjoyer of all forms of prosperity.He becomes a leader among the various groups and foremost among those of his community.

Sloka 50

Vani Tasya Vased Vaktre Kamala Nishchala Grihe

Tatsthana Manavah Sarve Pranamanti Samagamah

Vani remains upon his speech, and Kamala remains steadfast in his home.All people who come into his presence bow before him.

THE HUNDRED NAMES AND PURASHCHARANA

The text now returns to the name and identity of the hymn itself.

Sloka 51

Drishtva Tasya Trinayante Hyanimadyashtasiddhayah

Adyakalishvarupakhyam Shatanama Prakirtitam

Before such a person, the Siddhis beginning with Anima become as insignificant as blades of grass.Thus the hundred names known as the Adya-Kali-Svarupa have been proclaimed.

Sloka 52

Adhoreshvaratantrasya Purashcharyasya Giyate

Purashcharyavihinam Stotram Sarvabhishtaphalapradam

The Purashcharana of this is spoken of in the Adhoreshvara Tantra.Even without performing Purashcharana, this Stotra bestows all desired fruits.

THE HUNDRED-NAME STUTI

Sloka 53

Shatanamastutim Imam Adyakalikasvarupinim

Patheda Pathayed Vapi Shrinuyac Chravayed Api

Whoever reads this hundred-name Stuti, which embodies the form of Adya Kalika, or causes it to be read, hears it, or causes others to hear it,

Sloka 54

Sarvapapavinirmukto Brahmasayujyam Apnuyat

becomes completely freed from all sins and attains Brahma-sayujya.

KEYWORDS AND TERMS

Adya Kali : Adya means primordial, original or first. Adya Kali refers to the primordial form of Kali.

Shatanama : Shata means hundred and Nama means name. Shatanama means a collection of one hundred names.

Sthotra : A hymn of praise offered to a deity through names, qualities, forms and powers.

Stuti : Praise or a hymn of praise directed toward a deity.

Stavaraja : A supreme or foremost hymn, literally described as the king among hymns.

Maya : The power through which the Divine manifests, conceals and projects the phenomenal universe. In this section, Kali is described as the Supreme Maya.

Paratpara : Beyond the beyond, indicating that which transcends even what is regarded as supreme.

Kala : Time. In Tantric usage it can also indicate the power associated with limitation, transformation and dissolution.

Kalakantaka : That which destroys or overcomes the obstacles or threatening aspects associated with Kala.

Amavasya : The new moon day or night, traditionally regarded as an important time for particular forms of worship.

Bhauma Amavasya : Amavasya occurring on Tuesday. Bhauma is associated with Tuesday and Mars.

Masa Cakra : A prescribed ritual Cakra or arrangement associated with the worship described in this passage.

Mahakali : The great Kali, the vast and powerful form of the Goddess associated with Time, transformation and dissolution.

Tribhuvaneshvari : The Mistress or sovereign Goddess of the three worlds.

Vachaspati : A title associated with the lord or master of speech, learning and eloquence.

Dhanapati : The Lord of Wealth.

Manmatha : A name of Kama, the deity associated with desire and attraction.

Vani : The Goddess or principle associated with speech, learning and eloquence.

Kamala : A name associated with Lakshmi and the lotus, representing auspiciousness, prosperity and abundance.

Siddhi : An attainment or accomplishment resulting from spiritual practice. The text specifically refers to the great Siddhis beginning with Anima.

Anima : A Siddhi traditionally described as the ability to become extremely minute.

Purashcharana : A prescribed preliminary or preparatory discipline for a mantra or spiritual practice, generally involving systematic repetition and associated observances.

Adhoreshvara Tantra : The Tantra named in this passage as the source in which the Purashcharana connected with this teaching is said to be described.

Abhishta : A desired object, aim or result.

Sarvabhishta Phalaprada : That which grants all desired fruits or results.

Brahma : The supreme spiritual reality, the ultimate principle referred to in Vedantic and Tantric traditions.

Brahma-sayujya : Union with Brahman. The final verse presents this as the supreme result of hearing, reciting or causing the hundred-name hymn to be heard.

Adya Prasada : The grace or favour of Adya Kali.

Bhaya : Fear.

Apad : Danger, calamity or difficult circumstance.

Papam : Sin or wrongful action. The text states that the devotee becomes freed from all such Papas.

Kavacha : A protective mantra or hymn, literally conveying the idea of spiritual armour or protection. The Kavacha teaching begins after this section.

Maya : The divine power of manifestation and appearance. Here the text specifically describes Kali as the Supreme Maya.

Adya-Kali-Svarupa : The form or essential nature of Adya Kali. The Shatanama is specifically identified by this name.

Jai Maa Adya MahaKali 🔱 ♥️

MAHANIRVANA TANTRA

CHAPTER VI: MANTRAS AND RITES

PART VIII : JAPA, ATMA-SAMARPANA, THE DEVI'S PRASADA AND THE KAULA RITE

The preliminary preparation for Japa has been completed.The Tantra now proceeds to the worship of the Mala, its consecration with the nectar of the Sri-patra, and the prescribed repetition of the Mula-Mantra.After the Japa is completed, its fruits are offered to the Devi. The Sadhaka then performs Atma-Samarpana, offering everything that has been done through Prana, mind, body, speech, action, hands, feet and the organs of generation, through the states of waking, dream and deep sleep.The Devi is then respectfully dismissed. The rite continues with the worship of Nirmalya-Vasini, the receiving of the Devi's Naivedya, the prescribed relationship between the Sadhaka and his Shakti, the preparation of the drinking vessels, Pana and Bhojana, and finally the inner offering to Kula-Kundalini.

WORSHIP OF THE MALA

SHLOKA 171

Tato Malam Samadaya Pravaladisamudbhavam

Male Male Mahabhage Sarvashaktisvarupini

MEANING

Thereafter, the Sadhaka takes the Mala, which is made from materials such as Pravala and other prescribed substances.The Mala itself is worshipped as a manifestation of all Shakti.The Sadhaka addresses it with the prescribed words:

Male Male Mahabhage Sarvashaktisvarupini.

The Mala is therefore treated as sacred and is not regarded merely as an ordinary rosary.

SHLOKA 172

Chaturvargas Tvayi Nyastas Tasman Me Siddhida Bhava

Iti Sampujya Malam Tam Sripatrasthamritena Cha

MEANING

The Sadhaka declares that the fourfold aim of life has been placed within the Mala and asks it to become the giver of Siddhi.Having worshipped the Mala in this manner, he consecrates it with the Amrita contained in the Sri-patra.

SHLOKA 173

Tridha Mulena Santarpya Sthirachitto Japam Charet

Ashtottarasahasram Vapy Athav Ashtottaram Shatam

MEANING

The Sadhaka consecrates or satisfies the Mala three times with the Mula-Mantra.With a steady and collected mind, he then performs Japa.The Mula-Mantra is to be repeated either 1,008 times or 108 times.

OFFERING THE FRUITS OF JAPA

SHLOKA 174

Pranayamam Tatah Kritva Sripatrajalapushpakaih

Guhyatiguhyagoptri Tvam Grihanasmatkritam Japam

MEANING

After completing Pranayama, the Sadhaka takes water and flowers from the Sri-patra and offers the fruit of his Japa to the Devi.The prescribed prayer is :

Guhyatiguhyagoptri Tvam Grihanasmatkritam Japam.The Devi is invoked as the Protectress of the most secret of secrets, and the Japa performed by the Sadhaka is offered to Her.

SHLOKA 175

Siddhir Bhavatu Me Devi Tvatprasad an Maheshvari

Iti Mantrena Matiman Devya Vamakarambuje

MEANING

The wise Sadhaka offers the fruit of Japa into the left lotus-hand of the Devi.The prescribed prayer asks that Siddhi arise through the grace of the Devi, addressed here as Maheshvari.

SHLOKA 176

Tejorupam Japaphalam Samarpya Pranamed Bhuvi

Tatah Kritanjalir Bhutva Stotrancha Kavacham Pathet

MEANING

Having offered the fruit of Japa in the form of radiance, the Sadhaka bows upon the ground.He then joins his hands in Anjali and recites the prescribed Stotra and Kavacha.

ATMA-SAMARPANA

The rite now moves from offering the fruits of Japa to Atma-Samarpana, the complete offering of oneself.The Sadhaka gathers together everything that has been done, thought, remembered, spoken and performed and offers it to the Divine.

SHLOKA 177

Tatah Pradakshinikritya Vishesharghyena Sadhakah

Vilomarghyapradanena Kuryad Atmasamarpanam

MEANING

The Sadhaka first circumambulates the Devi, keeping Her to his right.He then performs Atma-Samarpana through the offering of Vilom arghya.The ritual now turns towards the complete surrender of everything connected with the Sadhaka.

SHLOKA 178

Itah Purvam Pranabuddhidehadhikarat

Jagratsvapnasushupthyante Avasthasu Prakirtayet

MEANING

The Sadhaka declares what has been done previously through Prana, Buddhi, the body, Dharma and the prescribed sphere of action.This declaration encompasses the three states:

Jagrad, the waking state.

Svapna, the dream state.

Sushupti, the state of deep sleep.

Thus, the surrender is not limited to actions performed in the ordinary waking state. The text gathers together the activities associated with all three states of experience.

SHLOKA 179

Manasante Vacha Tadanantaram Karman a Tadanantaram

Hastabhyam Padbhyam Udaren Tatah Param

MEANING

Everything that has been done is progressively offered through the different faculties and means of action.It is offered through:Mind.Speech.Action.Hands.Feet.The organ of generation.

The ritual therefore gathers every mode through which the Sadhaka may have thought, spoken or acted into the act of surrender.

SHLOKA 180

Shikshaya Yat Kritan Choktva Yat Smritam Padato Vadet

Yad Uktam Tat Sarvam Iti Brahmarpanam Udiret

Bhavatv Ante Mam Mad iyam Sakalam Tadanantaram

MEANING

Whatever has been done through Shiksha, whatever has been remembered and whatever has been spoken is brought into the act of surrender.

The Sadhaka declares : Yad Uktam Tat Sarvam Iti Brahmarpanam.

Whatever has been said, all that is offered to Brahman.

He then declares that everything concerning himself and everything that belongs to him is likewise to be offered.

SHLOKA 181

Adyakali Padambhoje Arpayami Padam Vadet

Pranavam Tat Sat Ity Uktva Kuryad Atmasamarpanam

MEANING

The Sadhaka offers everything at the lotus-feet of Adya Kali.

He declares : Adya Kali Padambhoje Arpayami.

I offer it at the lotus-feet of Adya Kali.

He then utters : Om Tat Sat.

Through this, he performs Atma-Samarpana, the complete offering of himself.

The entire preceding sequence gathers together what has been done, remembered, spoken, thought and performed through the various faculties and states of experience, and offers all of it to Brahman and to the lotus-feet of Adya Kali.

PRAYER AND DISMISSAL OF THE DEVI

After Atma-Samarpana, the Sadhaka offers prayer to the Ishta-devata and then performs the prescribed dismissal of the Devi.

SHLOKA 182

Tatah Kritanjalir Bhutva Prarthayed Ishtadevatam

Mayabijam Samuchcharya Sri Adye Kalike Vadet

MEANING

With hands joined in Anjali, the Sadhaka prays to his Ishta-devata.After uttering the Maya Bija, he addresses the Devi as : Sri Adye Kalike.The prescribed prayer to the Devi is then continued.

SHLOKA 183

Pujitasi Yathashaktya Kshamasveti Visrijya Cha

Samharamudraya Pushpam Aghraya Stapayet Hridi

MEANING

The Sadhaka acknowledges that the Devi has been worshipped according to his capacity and asks Her forgiveness.He then dismisses the Devi through the prescribed procedure.Using the Samhara-Mudra, he takes the flower, smells it and places it upon his heart.The external worship of the Devi is therefore brought back into the inner awareness of the Sadhaka.

NIRMALYA-VASINI

The rite now proceeds to Nirmalya-Vasini, the Devi associated with Nirmalya.

SHLOKA 184

Aishanyam Mandalam Kritva Trikonam Suparishkritam

Tatra Sampujayed Devim Nirmalyapushpavarina

Hrim Nirmalyapadan Choktv a Vasinyai Nama Ity Api

MEANING

In the Ishana direction, the north-east, the Sadhaka prepares a carefully formed triangular Mandala.There he worships the Devi using the water associated with the Nirmalya flowers.The Hrim Bija is uttered together with the prescribed words associated with Nirmalya and Vasini.The salutation is then offered to Vasini.This worship is directed to Nirmalya-Vasini.

DISTRIBUTION OF THE DEVI'S NAIVEDYA

SHLOKA 185

Brahmavishnushivadibhyah Sarvadevebhya Eva Cha

Naivedyam Vitar et Pashchat Grihniyat Shaktisadhakah

MEANING

The Naivedya is distributed to Brahma, Vishnu, Shiva and the other Devas.It is offered to all the Deities according to the prescribed rite.After this distribution, the Shakti-Sadhaka receives and partakes of the Naivedya.

THE SADHAKA AND HIS SHAKTI

SHLOKA 186

Sviya Shaktim Vamabhage Samsthapya Prithag Asane

Ekasano Pavishto Va Patram Kuryan Manoramam

MEANING

The Sadhaka seats his own Shakti on his left side upon a separate seat.Alternatively, he may sit together with his Shakti upon one seat.He then prepares the prescribed vessel for the rite.

THE DRINKING VESSEL

SHLOKA 187

Panapatram Prakurvita Na Panchatolakadhikam

Tolakatrityan Nyunam Svarnam Rajatam Eva Cha

MEANING

The Sadhaka prepares the Pana-patra, the vessel used for the prescribed drinking rite.The vessel should not exceed five Tolakas in measure and should not be less than three Tolakas.It may be made of gold or silver.

SHLOKA 188

Athava Kachajananam Narikelodbhavam Va

Adharopari Samsthapya Shuddhipatrasya Dakshine

MEANING

Alternatively, the Pana-patra may be made of glass or from a coconut.It is placed upon its support to the right of the Shuddhi-patra.

SHLOKA 189

Mahaprasadam Aniya Patreshu Pariveshayet

Svayam Va Bhratriputrair Va Jyeshthanukramatah Sudhih

MEANING

The wise Sadhaka brings the Mahaprasada and distributes it among the vessels.He may distribute it himself, or it may be distributed by the sons of his brothers according to the prescribed order of seniority.The rite therefore establishes a specific order for the distribution of the Mahaprasada.

PANA AND SHUDDHI

SHLOKA 190

Panapatre Sudha Deya Shaundye Shuddhyadikan i Cha

Tatah Samayikaih Sardham Panabhojanam Acharet

MEANING

Sudha, the prescribed sacred drink, is placed in the Pana-patra.The prescribed Shuddhi and other substances are placed in the Shuddhi-patra.After this, together with the Samayikas, the Sadhaka performs the prescribed Pana and Bhojana.

THE INNER OFFERING TO KULA-KUNDALINI

The text now moves from the external reception of the Devi's Prasada to an inner offering connected with Kula-Kundalini.

SHLOKA 191

Adav Astaranarthaya Grihniyat Shuddhim Uttamam

Tato Atihrishtamanasa Samastah Kulasadhakah

MEANING

First, the Kula-Sadhaka takes the excellent Shuddhi for the prescribed arrangement and preparation.Then, with a mind filled with great joy, the entire Kula-Sadhaka proceeds with the rite.

SHLOKA 192

Svasva Patram Samadaya Paramamritapuritam

Muladharadijihvantam Chidrupam Kulakundalim

MEANING

The Sadhaka takes his own vessel, filled with Paramamrita.He then contemplates Kula-Kundalini as extending from the Muladhara to the tongue.She is contemplated as being of the nature of Chit, pure consciousness.

SHLOKA 193

Tribhavya Tanmukhambhoje Mulamantram Samuchcharan

Parasparajn am Ad aya Juhuyat Kundalimukhe

MEANING

Having contemplated Kula-Kundalini in the prescribed threefold manner, the Sadhaka utters the Mula-Mantra at the lotus of Her mouth.Having received one another's permission, the offering is made into the mouth of Kundalini.The rite therefore presents the act of receiving and partaking as an inner offering to Kula-Kundalini.

PANA AMONG THE KAULAS

The Tantra now describes the prescribed forms and limits of Pana among the Kaulas.

SHLOKA 194

Alipanam Kulastrinam Gandhasvikaralakshanam

Sadhakanam Grihasthanam Panchapatram Prakirtitam

MEANING

For Kula women, Alipana is described in connection with the acceptance of the associated fragrance.For householder Sadhakas, five Patras are prescribed.The terminology here refers to the prescribed form of the Kaula drinking rite.

SHLOKA 195

Atipan at Kul inanam Siddhihanih Prajayate

MEANING

Excessive drinking results in loss of Siddhi for the Kulinas.The text therefore places a clear limitation upon Pana.It is not presented as ordinary unrestricted drinking.

THE MEASURE OF PANA

SHLOKA 196

Yavan Na Chalay ed Drishtim Yavan Na Chalayen Manah

Tavat Panam Prakurvita Pashupanam Atah Param

MEANING

The Sadhaka should drink only for as long as his sight does not become unsteady and his mind does not become unsteady.Beyond that point, the drinking is described as Pashu-pana.The prescribed measure is therefore connected with maintaining steadiness of both perception and mind.

THE WARNING AGAINST DISGUST

SHLOKA 197

Pane Shrantir Bhaved Yasya Ghrini Cha Shaktisadhake

Sa Papishthah Katham Bruyad Adyam Kalim Bhajamy Aham

MEANING

If fatigue or disgust arises in the Shakti-Sadhaka during Pana, the text questions how such a person could truthfully say : Adyam Kalim Bhajamy Aham.

I worship Adya Kali.The teaching connects the prescribed Kaula rite with the required inner attitude of the practitioner.

NO DISTINCTION IN THE DEVI'S PRASADA

SHLOKA 198

Yatha Brahmarpite Annadau Sprishtadosho Na Vidyate

Tatha Tava Prasade Pi Jatibhedam Vivarjayet

MEANING

Just as food offered to Brahman is not regarded as affected by the fault of having been touched, so too, in the Devi's Prasada, distinctions of caste are to be abandoned.The Prasada of the Devi is therefore not to be treated according to ordinary distinctions of caste.

PANA AND BHOJANA

SHLOKA 199

Evam Eva Vidh anena Kuryat Panancha Bhojanam

Hastaprakshalanam Nasti Tava Naivedyasevane

Lepavanodanam Kuryad Hastre na Pathasa Api Va

MEANING

Pana and Bhojana are to be performed according to the prescribed manner.When partaking of this Naivedya, the ordinary washing of the hands is not performed.The remaining substance or lepa upon the hands is nevertheless to be removed according to the prescribed procedure, including through the use of water where appropriate.

THE NIRMALYA FLOWER

SHLOKA 200

Tato Nirmalyakusumam Vidhrit ya Shirasa Sudhih

Yantralepam Kurchadeshe Vihared Devatavashi

MEANING

Thereafter, the wise Sadhaka takes the Nirmalya flower and places it upon his head.He then removes the remaining Yantre-lepa in the prescribed Kurcha region according to the ritual procedure.

KEYWORDS AND TERMS

Pravala : Coral, one of the materials mentioned for the Mala.

Sarva-Shakti-svarupini : She who is of the nature or form of all Shakti.

Chaturvarga : The fourfold aim of human life.

Siddhi : Spiritual accomplishment, attainment or perfection.

Amrita : Nectar, the sacred or divine substance used in the ritual.

Sri-patra : The sacred vessel associated with the ritual nectar and offerings.

Mula-Mantra : The principal or root Mantra of the Devata.

Pranayama : Regulation and discipline of the breath.

Devata : The Divine Being or Divine principle being worshipped.

Maheshvari : A name of the Devi meaning the Great Goddess or Great Sovereign.

Tejas : Radiance, brilliance or spiritual luminosity.

Kavacha : A protective sacred hymn.

Anjali : The gesture of joining the palms together in reverence.

Atma-Samarpana : The complete offering or surrender of oneself to the Divine.

Pradakshina : Circumambulation performed while keeping the sacred object or Devata to one's right.

Arghya : A ritual offering, generally involving water and other prescribed substances.

Vilom-Arghya : The prescribed reverse or special form of Arghya used here in Atma-Samarpana.

Buddhi : The faculty of discernment, understanding and higher intelligence.

Jagrad : The waking state.

Svapna : The dream state.

Sushupti : The state of deep sleep.

Brahmarpana : The offering of an act or its fruits to Brahman.

Adya Kali : The primordial form of Kali worshipped in this rite.

Om Tat Sat : A sacred expression used here in the act of complete surrender.

Ishana : The north-east direction.

Mandala : A sacred ritual diagram or consecrated arrangement.

Trikona : A triangle used as a sacred ritual form.

Hrim : A Bija Mantra associated with the Divine Shakti.

Nirmalya : The sacred remnants of worship, including flowers and other ritual remains.

Nirmalya-Vasini : The Devi associated with Nirmalya.

Naivedya : Food or other offerings presented to the Devata.

Shakti-Sadhaka : A Sadhaka engaged in the prescribed Shakti-oriented rite.

Pana : The prescribed drinking rite of the Kaula tradition.

Pana-patra : The vessel used for the prescribed Pana.

Tolaka : A traditional unit of weight used here to specify the measure of the drinking vessel.

Shuddhi : A prescribed sacred substance or purifying preparation used in the Kaula rite.

Shuddhi-patra : The vessel in which the prescribed Shuddhi and associated substances are placed.

Mahaprasada : The sacred food or substance that has received the status of Prasada.

Samayika : A participant or practitioner belonging to the prescribed Samayika group in the rite.

Bhojana : The prescribed act of partaking of food.

Paramamrita : Supreme nectar or the highest form of Amrita contemplated in the inner rite.

Muladhara : The foundational or root centre from which Kundalini is contemplated as arising.

Kula-Kundalini : Kundalini understood in the Kula tradition and contemplated here as extending from the Muladhara to the tongue.

Chit : Pure consciousness.

Alipana : The prescribed form of Pana associated with Kula women in this section.

Kulina : One belonging to the Kula tradition.

Pashu-pana : Drinking beyond the prescribed limit at which steadiness of sight and mind is lost.

Prasada : Sacred food or substance received as the grace of the Devata.

Jati-bheda : Distinction based on caste or social birth.

Lepa : The remaining substance or residue left upon the hands after the prescribed rite.

Yantre-lepa : The remaining substance associated with the Yantra after the ritual.

Kurcha : The prescribed ritual region or arrangement referred to in the concluding rite.

Ullasa : A section or division of the Tantra. Here, the sixth Ullasa reaches its conclusion.

Maya Bija : The seed syllable associated with Maya and its power of manifestation.

Ishta-devata : The chosen form of the Divine worshipped by the Sadhaka.

Kavacha : A protective Mantra or sacred formula.

Samhara-Mudra : A ritual gesture used for withdrawing or dissolving the invoked Divine presence according to the prescribed rite.

Nirmalya flower : The flower remaining from the worship of the Devata and used in the concluding ritual procedure.

Svaha : A sacred exclamation used while making an offering into Fire.

MAHANIRVANA TANTRA

CHAPTER VI: MANTRAS AND RITES

PART VII : THE INNER HOMA: THE THREE NADIS, THE OBLATIONS AND THE COMPLETION OF THE FIRE RITE

THE CONTINUATION OF HOMA

The Homa now moves from the preparation of the Ghee to the actual offerings into the sacred Fire.The Sadhaka first contemplates the three Nadis, Ida, Pingala and Sushumna. He then makes successive offerings into the right eye, left eye, forehead and mouth of Fire.After these preliminary offerings, the principal Homa is performed for the Ishta-devata. The prescribed number of oblations is then made, followed by offerings according to the Sadhaka's particular purpose.The Homa concludes with Purnahuti, the withdrawal of the Devata into the heart, and the dismissal of the sacred Fire.The text then moves from Homa to Japa and begins by establishing the essential unity of Devata, Guru and Mantra.

IDA, PINGALA AND SUSHUMNA

SHLOKA 151

Vame Dhyayed Idam Nadim Dakshine Pingalam Tatha

Madhye Sushumnam Sanchintya Dakshabhagat Samahitah

MEANING

The Sadhaka meditates upon Ida Nadi on the left and Pingala Nadi on the right.In the centre, he meditates upon Sushumna.Having contemplated these three Nadis and become inwardly collected, he proceeds from the right side.

THE FIRST OBLATION INTO THE RIGHT EYE OF FIRE

SHLOKA 152

Aajyam Grihitva Matiman Dakshanetre Hutashituh

Mantren Anena Juhuyat Pranavante'gnaye Padam

MEANING

The wise Sadhaka takes the Ajya, or clarified butter, and makes an offering into the right eye of Fire using the prescribed Mantra.The word Agni is uttered after the Pranava in the prescribed form.The Mantra concludes with Agni and Svaha.

THE OBLATION INTO THE LEFT EYE OF FIRE

SHLOKA 153

Svahanto Manur Akhyato Vamabhagad Viharet

Vamanetre Huned Vahneh Om Somaya Dvitho Manuh

MEANING

The Mantra is prescribed to end with Svaha.The Sadhaka then moves to the left side and takes the offering.He makes the offering into the left eye of Fire with the Mantra:

Om Somaya Dvih

Om Somaya Svaha

MEANING

Om, to Soma, twice.Om, to Soma, Svaha.

THE OBLATION TO THE FOREHEAD

SHLOKA 154

Madhyad Aajyam Samaniya Lalate Havanam Charet

Agnishomau Sapranavau Turyadvivachan Anvitau

MEANING

The Sadhaka takes the Ajya from the middle portion of the Ghee and makes an offering upon the forehead of Fire.Agni and Soma are invoked together, preceded by the Pranava and expressed in the prescribed dual form.

The resulting Mantra is : Om Agnishomabhyam Svaha

MEANING

Om, to Agni and Soma, Svaha.

THE NEXT OBLATION AND THE SVIStIKRIT OFFERING

SHLOKA 155

Svahanto'yam Manuh Proktah Punar Dakshinato Havih

Grihitva Namasa Mantri Pranavam Purvam Uchcharet

MEANING

This Mantra is declared to end with Svaha.The Mantrin again proceeds toward the right side and takes the offering.He first utters the Pranava together with the prescribed form of Namah before proceeding with the next offering.

SHLOKA 156

Agnaye cha Svishtikrite Vahnikantam Tato Vadet

Anena Vahnivadane Juhuyat Sadhakottamah

Bhur Bhuvah Svahantena Vyahritya Homam Acharet

MEANING

The Sadhaka then invokes Agni as Svishtikrit.The excellent Sadhaka makes this offering into the mouth of Fire using the prescribed Mantra.After this, Homa is performed with the Vyahritis:

Bhur

Bhuvah

Svah

The Svishtikrit offering is connected with making the sacrifice properly completed and auspicious.

THE THREE FURTHER OBLATIONS

SHLOKA 157

Taro Vaishvanarapadat Jataved Iha Vaha

Bahulohitapadante cha Takshasarvapadam Vadet

Karmani Sadhaya Svaha Tridha Anenahutir Haret

MEANING

Beginning with the Pranava, the Sadhaka utters the prescribed invocation beginning with Vaishvanara and Jatavedas and continuing through the prescribed expressions associated with Bahulohita and the succeeding form.

He then utters:

Karmani Sadhaya Svaha

Meaning:

Accomplish the works, Svaha.

With this Mantra, three oblations are made.

THE PRINCIPAL HOMA

SHLOKA 158

Tato'bhishtam Ahuyya Pithaih Saha Pujanam

Kritva Svahantamanuna Mulena Panchavimshatih

MEANING

The Sadhaka now invokes the desired Devata and worships the Devata together with the Pithas.After completing this worship, he makes twenty-five oblations using the Mula-Mantra ending in Svaha.

UNITY OF FIRE, SELF AND DEVI

SHLOKA 159

Hutva Vahnyatmanor Devyah Aikyam Sambhavayan Dhiya

Ekadashahutir Hutva Mulena Anga-devatah

MEANING

After making the prescribed offerings, the Sadhaka contemplates with his mind the unity of Fire, the Self and Devi.He then makes eleven oblations with the Mula-Mantra for the Anga-devatas.The Homa is therefore not regarded merely as an external offering. The Sadhaka contemplates the unity of the sacred Fire, his own Self and the Devata.

HOMA ACCORDING TO ONE'S DESIRE

SHLOKA 160

Hutva Svakamam Uddishya Tilajyamadhumishritaih

MEANING

The Sadhaka then directs the Homa toward his desired purpose.For this, offerings are made with sesame, Ajya and honey mixed together.

SHLOKA 161

Pushpair Bilvadalaish Chapi Yathavihitavastubhih

Yathashakty Ahutim Dadyan Na Nyunam Prakalpayet

MEANING

Flowers, Bilva leaves and other substances prescribed for the particular rite may also be offered.The Sadhaka should make the number of oblations according to his capacity, but should not reduce them below the prescribed minimum.

PURNahuti

SHLOKA 162

Tatah Purnahutim Dadyat Phalapatrasamanvitam

Svahantamulamantrena Tatah Samharamudraya

Tasmad Devim Samaniya Sthapayet Hridayambuje

MEANING

The Sadhaka then makes the Purnahuti.The final offering is accompanied by fruit and leaves and is made with the Mula-Mantra ending in Svaha.After this, using the Samhara-Mudra, he withdraws the Devata from the Homa and establishes Her within the lotus of his heart.The Devata who was invoked and worshipped externally is thus brought back into the inner heart of the Sadhaka.

DISSOLUTION OF FIRE AND COMPLETION OF HOMA

SHLOKA 163

Kshamasveti cha Mantrena Visrijet Hutashanam

Kritadakshino Mantri Achchidram Avadharayet

MEANING

With the Mantra containing the word Kshamasva, meaning "forgive", the Sadhaka dismisses Hutashana, the sacred Fire.After completing the Dakshina, the Mantrin should ascertain that the Homa has been completed without defect or interruption.

SHLOKA 164

Hutashesham Shruvormadhye Dharayet Sadhakottamah

MEANING

The excellent Sadhaka retains the remaining portion of the Homa offering between the two Shruvas, the ritual ladles.

THE COMPLETION OF THE HOMA

SHLOKA 165

Esha Homavidhih Proktah Sarvatragamakarmani

Homakarma Samapyaivam Sadhako Japam Acharet

MEANING

This is declared to be the method of Homa for the Agamic rites.Having completed the Homa in this manner, the Sadhaka should proceed to Japa.The ritual therefore now moves from the outer fire offering into the discipline of Mantra repetition.

THE UNITY OF DEVATA, GURU AND MANTRA

SHLOKA 166

Vidhanam Shrunu Deveshi Yena Vidya Prasidati

Devatagurumantranam Aikyam Sambhavayed Dhiya

MEANING

The text now gives the method by which the Vidya becomes pleased.The Sadhaka should contemplate with his mind the unity of three principles:

Devata

Guru

Mantra

They are to be understood and contemplated as one.

SHLOKA 167

Mantrarnam Devata Prokta Devata Gururupini

Abhedena Yajet Tu Tasya Siddhir Anuttama

MEANING

The letters of the Mantra are declared to be the Devata.The Devata is of the form of the Guru.Therefore, the Sadhaka should worship them without seeing them as separate.

When Devata, Guru and Mantra are worshipped as one, the text declares that supreme Siddhi is attained.

MEDITATION UPON GURU, DEVATA AND MULA-VIDYA

SHLOKA 168

Gurum Shirasi Sanchintya Devatam Hridayambuje

Rasanayam Mulavidyam Tejorupam Vichintya cha

Trayanam Tejasaasanam Ekibhutam Vichintayet

MEANING

The Sadhaka meditates upon the Guru upon his head.He meditates upon the Devata within the lotus of his heart.Upon his tongue, he meditates upon the Mula-Vidya in the form of radiance.He then contemplates the radiance of all three becoming one.Thus the Guru, Devata and Mula-Vidya are brought together within the Sadhaka's own awareness.

JAPA ENCLOSED BY THE MATRKA

SHLOKA 169

Taren Samputikritva Mulamantranch Saptadha

Japtva Tu Sadhakah Pashchan Matrkaputam Smaret

MEANING

The Sadhaka first encloses the Mula-Mantra with the Pranava and recites it seven times.He then remembers the Mula-Mantra enclosed by the Matrka.The Matrka refers to the sacred arrangement of the letters of the Sanskrit alphabet, from A through Ksha, which are used to enclose the Mula-Mantra according to the prescribed method.

PREPARATION FOR JAPA

SHLOKA 170

Mayabijam Svasirasi Dashadha Prajapet Sudhih

Vadane Pranavam Tadvat Punarmayam Hridayambuje

Prajapya Saptadha Mantri Pranayaman Samacharet

MEANING

The wise Sadhaka recites the Maya Bija ten times upon his own head.He similarly recites the Pranava ten times in his mouth.He then recites the Maya Bija seven times within the lotus of his heart.After completing these preliminary recitations, the Mantrin performs Pranayama.The preliminary preparation for Japa is now complete.

KEYWORDS AND TERMS

Homa : A sacred fire ritual in which offerings are made into consecrated Fire.

Ajya : Clarified butter used as an offering in Homa.

Ida : The Nadi associated with the left side.

Pingala : The Nadi associated with the right side.

Sushumna : The central Nadi through which the inner spiritual current is contemplated.

Nadi : A subtle channel through which the vital and spiritual currents are understood to move.

Agni : Sacred Fire.

Soma : The lunar principle invoked together with Agni in the prescribed offering.

Hutashana : A sacred name of Fire.

Jatavedas : A sacred name of Agni.

Vaishvanara : A form or aspect of Fire associated with the universal Fire.

Svishtikrit : The form of Agni associated with making the sacrifice properly completed or auspicious.

Vyahriti : The sacred utterances Bhur, Bhuvah and Svah used in ritual.

Pitha : A sacred seat or place associated with a Devata.

Mula-Mantra : The principal or root Mantra of the Devata.

Anga-devata : The subsidiary or limb Deities associated with the principal Devata.

Purnahuti : The final or complete offering that concludes the principal Homa.

Samhara-Mudra : A ritual gesture used here for withdrawing the invoked Devata from the Homa and returning the Divine presence to the heart.

Kshamasva : A word meaning "forgive", used here in the dismissal of Fire.

Dakshina : The prescribed offering or gift given upon completion of a ritual.

Shruva : A ritual ladle used for making offerings into the sacred Fire.

Japa : Repetition of a sacred Mantra as a spiritual practice.

Devata : The Divine Being or Divine principle being worshipped.

Guru : The spiritual teacher or guiding principle through whom the sacred knowledge is received.

Mula-Vidya : The principal sacred Vidya or root spiritual formula associated with the Devata.

Matrka :The sacred principle of the Sanskrit letters, understood as the Mother of the letters and used here in enclosing the Mula-Mantra.

Pranava : The sacred primordial syllable Om.

Maya Bija : The seed syllable associated with Maya and its power of manifestation.

Bija : A seed syllable containing the concentrated power of a particular Divine principle.

Pranayama : Regulation and discipline of the breath as part of spiritual practice.

Siddhi : Spiritual accomplishment, attainment or perfection resulting from the practice.

Svaha : A sacred exclamation used at the time of making an offering into Fire.

Bilva : The sacred Bilva leaf used in ritual worship.

Ghee : Clarified butter used as a sacred offering.

Mantra : A sacred sound, word or formula used for worship, meditation and spiritual practice.

Chaitanya : Consciousness or the conscious presence of the Divine principle.

Ishta-devata : The chosen form of the Divine worshipped by the Sadhaka.

Sadhakottama : An excellent or highly accomplished Sadhaka.

Anjali : The gesture of joining the palms together in reverence.

Svah : The higher or celestial realm represented in the Vyahriti sequence Bhur, Bhuvah and Svah.

Bhur : The earthly or physical realm in the Vyahriti sequence.

Bhuvah : The intermediate or subtle realm in the Vyahriti sequence.

Ram : The Fire Bija in its commonly written form.

Hum : A powerful Bija used in ritual invocation and protection.

Phat : A ritual Mantra expression used for cutting, protection or forceful invocation.

Namah :A sacred expression of reverence or offering.

MAHANIRVANA TANTRA

CHAPTER VI: MANTRAS AND RITES

PART VI : THE INNER WORSHIP OF THE HOMA: FIRE, VAGISHVARI, VAHNI AND THE SACRED OFFERING

THE CONTINUATION OF HOMA

The preceding section established the Sthandila and the Homa Yantra. The ritual now proceeds into the inner worship connected with the sacred Fire.The Sadhaka first worships the qualities and their opposing qualities within the Yantra. He then worships the Solar and Lunar Mandalas, the fiery Shaktis, the seat of Fire, Vagishvari and Vagishvara, and finally establishes and awakens the sacred Fire itself.

After the Fire has been established, its different forms, tongues, Shaktis, Nidhis and the guardians of the directions are worshipped. The section concludes with the preparation of Ghee for the first Homa offerings.

THE QUALITIES AND THEIR OPPOSITES

SHLOKA 126

Agnyadikonay Dharmanch Jnanam Vairagyameva cha

Aishvaryam Pujayitva tu Purvadishu Disham Kramat

MEANING

Beginning with the eastern direction and proceeding according to the prescribed order, the Sadhaka worships four qualities within the Yantra:

Dharma, righteousness

Jnana, knowledge

Vairagya, dispassion

Aishvarya, lordship or spiritual power

These qualities are placed in their prescribed positions within the ritual diagram.

SHLOKA 127

Adharmam Ajnanamiti Avairagyamanantaram

Anishvaryam Yajenmantri Madhye'nantanch Padmakam

MEANING

The corresponding opposing qualities are then worshipped:

Adharma, unrighteousness

Ajnana, ignorance

Avairagya, absence of dispassion

Anishvarya, absence of lordship

In the centre, Ananta and Padma are worshipped.Thus, the Yantra contains both the four principal qualities and their corresponding opposites, together with Ananta and Padma at the centre.

THE SOLAR AND LUNAR MANDALAS

SHLOKA 128

Kalasahitasuryasya Tatha Somasya Mandalam

Pragadikeshareshveshu Madhye Chaitah Prapujayet

MEANING

The Sadhaka next worships the Mandala of the Sun together with its Kalas, and the Mandala of the Moon together with its Kalas.They are worshipped beginning from the eastern parts of the Yantra, according to the prescribed arrangement, with the associated forms placed in the centre.The Solar Mandala is associated with twelve Kalas, while the Lunar Mandala is associated with sixteen Kalas.

THE FIERY FORMS

SHLOKA 129

Pita Shveta Aruna Krishna Dhumra Tivra Tathaiva cha

Sphulingini cha Ruchira Jvaliniti Tatha Kramat

MEANING

The fiery forms are then worshipped in their prescribed order:

Pita

Shveta

Aruna

Krishna

Dhumra

Tivra

Sphulingini

Ruchira

Jvalini

These represent different fiery qualities and appearances, progressing through forms described as yellow, white, tawny-red, black, smoky, fierce and radiant.

THE SEAT OF FIRE

SHLOKA 130

Pranavadi Namontena Sarvatra Pujanam Charet

Ram Vahnyasanayeti Namontena Prapujayet

MEANING

The Sadhaka performs the prescribed worship using Mantras beginning with the Pranava and ending with Namah.He then worships the Vahnyasana, the seat of Fire, using the prescribed Mantra beginning with the Raṃ Bija and ending with Namah.

MEDITATION UPON VAGISHVARI

SHLOKA 131

Vagishvarim Ritusnatam Nilendivaralochanam

Vagishvarena Samyuktam Dhyatva Mantri Tadasane

MEANING

The Sadhaka meditates upon Vagishvari seated upon the sacred seat.She is envisioned as having undergone her prescribed bath, with eyes resembling the blue lotus, and united with Vagishvara.The meditation establishes Vagishvari and Vagishvara together before the further establishment of Fire.

SHLOKA 132

Mayaya Tam Pujyatha Vidhivad Vahnim Anayet

Mulena Vikshanam Kritva Phat Avahanam Acharet

MEANING

Having worshipped Vagishvari with the Maya Bija, the Sadhaka brings the Fire according to the prescribed procedure.He regards the Fire with the Mula-Mantra and then performs its Avahana, or invocation, with Phat.The Fire is therefore not merely brought physically. It is ritually invoked and established through Mantra.

THE YOGA-PITHA OF FIRE

SHLOKA 133

Pranavam cha Tato Vahniyogapithaya Hum Manuh

Yantre Pitham Pujayitva Dikshu Chaitah Prapujayet

Vama Jyeshtha Tatha Raudri Ambiketi Yathakramat

MEANING

The Sadhaka first utters the Pranava and then performs the Mantra of the Vahni-Yogapitha with Hum.After worshipping the Pitha of Fire within the Yantra, four Shaktis are worshipped in their prescribed directions:

Vama

Jyeshtha

Raudri

Ambika

They are worshipped in order around the Pitha.

THE STHANDILA AND VAGISHVARI

SHLOKA 134

Tato'mukya Devatayah Sthandilaya Namah Padam

Iti Sthandilam Apujya Tanmadhye Mularupinim

MEANING

The Sadhaka next worships the Sthandila of the Devata with the prescribed Mantra ending in Sthandilaya Namah.After worshipping the Sthandila, the Mularupini, the Devi in her essential form, is contemplated in its centre.

SHLOKA 135

Dhyatva Vagishvarim Devim Vahnibijapurasaram

Vahnimurtim Mulante Kurchamantram Samuchcharan

MEANING

The Sadhaka meditates upon Vagishvari Devi.Preceded by the Vahni Bija, he brings forth the form of Fire. At the end of the Mula-Mantra, the Kurcha-Mantra is uttered.Thus the worship moves from the sacred seat and the Divine Feminine principle into the actual establishment of Fire.

SHLOKA 136

Kavyadebhyo Vahnijayam Kravyadansham Parityajet

Astrena Vahnim Samvikshya Kurchenevavagunthayet

MEANING

A portion belonging to the Kravyadas, those associated with the consumption of raw flesh, is set aside in the prescribed manner, using the appropriate Vahni-Mantra.The Sadhaka then regards the Fire with the Astra-Mantra and covers or veils it with the Kurcha.The Fire is therefore ritually protected and enclosed before its further establishment.

ESTABLISHING FIRE IN THE YONI YANTRA

SHLOKA 137

Dhenva Chaivamritikritva Hastabhyam Agnim Uddharet

Pradakshinyakramena Agnim Bhramayan Sthandilopari

MEANING

The Sadhaka makes the Fire into Amrita through the Dhenu-Mudra and raises the Fire with both hands.He then moves the Fire over the Sthandila in the Pradakshina order, moving clockwise according to the prescribed procedure.The Fire is thereby ritually prepared for placement in the Yoni Yantra.

SHLOKA 138

Tridha Janusprishtabhumi Shivabijam Vichintayan

Atmano'bhimukhikritva Yoniyantre Niyojayet

MEANING

With the knees touching the ground, the Sadhaka contemplates the Shiva Bija.He turns the Fire toward himself and places it within the Yoni Yantra, specifically in the portion of the Yantra nearest to the worshipper.The Fire is now established within the sacred Yoni Yantra.

WORSHIP OF THE FORM AND CONSCIOUSNESS OF FIRE

SHLOKA 139

Tato Mayam Samuchcharya Vahnimurtincha Dyutam

Namo'ntena Prapujyatha Ram Vahneh Paratah Sudhih

Chaitanyaya Namo Vahneh Chaitanyam Paripujayet

MEANING

The Sadhaka next utters the Maya Bija and worships the radiant form of Fire, the Vahni Murti, with the prescribed Mantra ending in Namah.Then, using the Ram Bija, he worships the Chaitanya, the conscious presence of Fire, with the Mantra ending in Namah.

Thus both aspects are worshipped:

The visible and radiant form of Fire

The conscious principle within Fire

KINDLING THE FIRE

SHLOKA 140

Namasa Vahnimurtishcha Chaitanyam Parikalpya cha

Prajvalayettato Vahnim Mantren Anena Mantravit

MEANING

Having established through the prescribed worship both the form and Chaitanya of Fire, the Mantra-knowing Sadhaka kindles the Fire using the prescribed Mantra.

SHLOKA 141

Pranavam Purvam Uchcharya Chitpingala Padam Tatha

Hana Hana Daha Daha Pacha Pacheti Tato Vadet

MEANING

The Sadhaka first utters the Pranava and then the expression associated with Chitpingala.

He then utters the commands:

Hana Hana

Daha Daha

Pacha Pacha

These express the successive fiery actions of striking, burning and cooking or ripening.

SHLOKA 142

Sarvajnajnapaya Svaha Vahniprajvalane Manuh

Tatah Kritanjalir Bhutva Prakuryad Agnivandanam

MEANING

The Mantra for kindling the Fire concludes with:

Sarvajnajnapaya Svaha

After this, the Sadhaka joins his hands in Anjali and performs Vandana, the reverential salutation to Agni.

THE RADIANT FIRE

SHLOKA 143

Agnim Prajvalitam Vande Jatavedam Hutashanam

Suvarnavarnam Amalam Samiddham Sarvatomukham

MEANING

The Sadhaka now bows to the kindled Fire : I bow to the kindled Fire, to Jatavedas, to Hutashana, golden in colour, pure, blazing and facing in every direction.

Fire is here recognized through sacred names such as Jatavedas and Hutashana and is contemplated as radiant, pure and fully awakened.

WORSHIP OF FIRE AS THE ISHTA-DEVATA

SHLOKA 144

Ityupasthapya Dahanam Chadayet Sthandilam Kushaih

Sveshtanamna Vahni Nam Kritvabhyarchanam Acharet

MEANING

Having established the Fire, the Sadhaka covers the Sthandila with Kusha grass.He then gives the Fire the name of his own Ishta-devata and performs its worship.Fire is therefore worshipped externally as an expression of the chosen Deity of the Sadhaka.

WORSHIP OF THE SEVEN TONGUES OF FIRE

SHLOKA 145

Taro Vaishvanarapadat Jatavedapadam Vadet

Ihavahav ahetyuktva Lohitakshapadantaram

MEANING

Beginning with the Pranava, the Sadhaka utters the prescribed expression invoking Vaishvanara and Jatavedas.He then invokes the Fire with the words expressing the command:Come here.This is followed by the expression associated with Lohitaksha, the red-eyed form.

SHLOKA 146

Sarvakarmani Padatah Sadhayante'gnivallabha

Ityabhyarchya Hiranyadi Saptajihvah Prapujayet

MEANING

The Mantra concludes with the prescribed command that all works be accomplished.The Sadhaka then worships the seven tongues of Fire, beginning with Hiranya.The seven tongues are worshipped as distinct fiery manifestations within Agni.

THE HEART AND SIX LIMBS OF FIRE

SHLOKA 147

Sahasrarchihpadam De'ntam Hridayaya Namo Vadan

Shadanga Pujayed Vahnes Tato Murtir Yajet Sudhih

MEANING

The Sadhaka utters the prescribed expression beginning with Sahasrarchi and ending with the appropriate form, followed by Hridayaya Namah.He worships the heart of Fire and then performs the worship of the six limbs, the Shadanga, of Fire.After this, the wise Sadhaka worships the different Murtis, or forms, of Fire.

SHLOKA 148

Jatavedaprabhrutayo Murtayo'shtau Prakirtitah

MEANING

Eight Murtis of Fire are declared, beginning with Jatavedas.

They are:

Jatavedas

Saptajihva

Vaishvanara

Havyavahana

Ashvodara

Kaumara-tejas

Vishvamukha

Deva-mukha

These eight forms represent the different manifestations through which Vahni is worshipped.

THE EIGHT SHAKTIS, EIGHT NIDHIS AND DIKPALAS

SHLOKA 149

Tato Yajed Ashtashaktir Brahmyadyas Tadanantaram

Padmadyashta Nidhin Ishtva Yajed Indradi Dikpatin

MEANING

The Sadhaka next worships the eight Shaktis, beginning with Brahmi.

The eight Shaktis are:

Brahmi

Narayani

Maheshvari

Chamunda

Kaumari

Aparajita

Varahi

Narasimhi

After worshipping these, he worships the eight Nidhis, beginning with Padma.

The eight Nidhis are:

Padma

Mahapadma

Shankha

Makara

Kacchapa

Mukunda

Nanda

Nila

After this, Indra and the other Dikpala, the guardians of the directions, are worshipped.

PREPARING THE GHEE FOR HOMA

SHLOKA 150

Vajradyastrani Sampujya Pradeshaparimanakam

Kushapatradvayam Nitva Ghritamadhye Nidhapayet

MEANING

Having worshipped the weapons beginning with the Vajra, the Sadhaka takes two blades of Kusha grass of the prescribed Pradesha measure.These two blades are placed lengthwise within the Ghee.They divide the clarified butter into three portions, preparing it for the successive offerings of the Homa.

KEYWORDS AND TERMS

Sthandila : The prepared sacred ground or ritual altar on which the Homa Yantra and Fire are established.

Homa Yantra : The sacred geometric arrangement used as the ritual foundation for the Homa.

Vahni : Fire, especially Fire understood as a sacred Divine principle.

Vahnyasana : The seat of Fire.

Vagishvari : The Shakti associated with speech, knowledge and Divine expression.

Vagishvara : The corresponding masculine Divine principle united with Vagishvari.

Maya Bija : The seed syllable associated with Maya and its power of manifestation.

Mula-Mantra : The principal or root Mantra of the Devata being worshipped.

Vahni Bija : The seed syllable associated with Fire.

Ram : The Bija associated with Fire.

Kurcha : A ritual Mantra or protective principle used for covering, enclosing or veiling.

Astra : The ritual weapon principle invoked for protection and purification.

Dhenu-Mudra : A sacred hand gesture used here to transform or consecrate something as Amrita.

Amrita : The nectar of immortality. In ritual usage, something transformed or consecrated into a sacred and purified state.

Pradakshina : Moving in a clockwise direction around a sacred object or ritual centre.

Yoni Yantra : The sacred Yantra in which the Fire is established in this Homa procedure.

Chaitanya : Consciousness or the conscious living presence of the Deity or sacred principle.

Avahana : The ritual invocation and calling of the Devata or sacred presence.

Vandana : Reverential salutation or bowing before the sacred presence.

Jatavedas : A sacred name of Agni, referring to the all-knowing or all-perceiving Fire.

Hutashana : A sacred name of Fire, referring to Fire that consumes the offerings.

Ishta-devata : The chosen or personally worshipped form of the Divine.

Saptajihva : The seven tongues or seven fiery manifestations of Agni.

Shadanga : The six limbs of the Devata or sacred principle being worshipped.

Murti : A form or manifestation of the Divine principle.

Nidhi : A sacred treasure or form of spiritual abundance.

Dikpala : A guardian of one of the directions.

Mandala : A sacred arrangement or symbolic diagram representing a particular Divine principle or cosmic order.

Kala : A particular aspect, portion or manifestation of a Divine power.

Pranava : The sacred primordial sound Om.

Bija : A seed syllable containing the concentrated power of a particular Divine principle.

Kusha : A sacred grass used in Vedic and Tantric ritual practices.

Ghee : Clarified butter used as a sacred offering in Homa.

Pradesha : A prescribed traditional measure used in the ritual preparation.

Dharma : Righteousness, sacred order and right conduct.

Jnana : Knowledge or spiritual wisdom.

Vairagya : Dispassion and freedom from attachment.

Aishvarya : Lordship, mastery or Divine sovereignty.

Adharma : That which opposes Dharma or sacred order.

Ajnana : Ignorance or absence of spiritual knowledge.

Avairagya : Absence of dispassion or continued attachment.

Anishvarya : Absence of lordship or mastery.

Ananta : The infinite or endless principle, associated with the serpent Ananta.

Padma : The lotus, and also the name of one of the Nidhis.

Chamunda : A fierce form of the Divine Mother.

Aparajita : The unconquered or invincible Shakti.

BhairavaKalikeNamostute 🔱♥️

Jai Maa Adya MahaKali 🔱♥️

MAHANIRVANA TANTRA

CHAPTER VI : MANTRAS AND RITES

PART V : ASHTA BHAIRAVAS, THE DIKPALAS, BALIDANA, AND THE BEGINNING OF HOMA

THE EIGHT BHAIRAVAS

After the worship of the eight Nayikas, the surrounding circle of Adya Kalika is further completed through the worship of the eight Bhairavas.

Shloka 101

Dalagreshu yjedashtabhairavan sadhakottamah ॥

Meaning:

The excellent Sadhaka should worship the eight Bhairavas at the tips of the eight petals.

Shloka 102

Asitango Rurushchandah Krodhonmatto Bhayankarah ।

Kapali Bhishanashchaiva Samharoashtau cha Bhairavah ॥

Meaning:

The eight Bhairavas are:

Asitanga

Ruru

Chanda

Krodhonmatta

Bhayankara

Kapali

Bhishana

Samhara

These eight Bhairavas are worshipped at the tips of the eight petals surrounding the principal Devi.

THE TEN DIKPALAS

The worship then extends to the guardians of the ten directions.

Shloka 103

Indradidashadikpalan bhupurantah prapujayet ।

Teshamastrani tadbahye pujaye tarpayet tatah ॥

Meaning:

The Sadhaka should worship Indra and the other ten Dikpalas within the Bhupura.Outside the Bhupura, their respective weapons are worshipped.Tarpana is then performed to the Dikpalas.

The ten guardians and their associated weapons are:

Indra with Vajra

Vahni with Shakti

Yama with Danda

Yaksha with Khadga

Varuna with Pasha

Vayu with Ankush

Kubera with Gada

Ishana with Shula

Brahma with Padma

Ananta with Chakra

BALIDANA TO THE DEVI

After completing the surrounding worship, the ritual proceeds to Balidana.

Shloka 104

Sarvopacharaih sampujya balim dadyat samahitah ॥

Meaning:

Having worshipped the Devi with all the Upacaras, the Sadhaka, remaining collected and attentive, should offer Bali to Her.

THE TEN ANIMALS DECLARED SUITABLE FOR BALIDANA

Shloka 105

Mrigashchhagashcha meshahcha mahishah shukarastatha ।

Shalyaki shashako godha kurmah khadgi dasha smritah ॥

Meaning:

The Tantra names ten animals as suitable for Balidana:

Mriga, deer

Chhaga, goat

Mesha, sheep

Mahisha, buffalo

Shukara, hog

Shalyaki, porcupine

Shashaka, hare

Godha, iguana

Kurma, tortoise

Khadgi, rhinoceros

The text gives this list directly as part of the prescribed rite.

Shloka 106

Anyanapi pashun dadyat sadhakechhanusaaratah ॥

Meaning:

Other animals may also be offered according to the desire of the Sadhaka.Thus, the text does not restrict Balidana only to the ten animals listed above.

PREPARING THE ANIMAL

The chosen animal is then prepared according to the prescribed ritual.

Shloka 107

Sulakshanam pashum devya agre samsthapya mantravit ।

Arghyodakena samprokshya dhenumudramritikritam ॥

Meaning:

The Sadhaka who knows the Mantras places an animal possessing the prescribed good characteristics before the Devi.He sprinkles the animal with Arghya water and, using the Dhenu-Mudra, makes it into Amrita according to the ritual procedure.

Shloka 108

Kritva chhagaya pashave nama ityamuna sudhih ।

Sampujya gandhasindurapushpanaivedyapathasa ।

Gayatrim dakshine karne japet pashavimochanim ॥

Meaning:

The wise Sadhaka worships the goat, or the animal being offered, with the prescribed Mantra.He offers Gandha, Sindura, Pushpa, Naivedya, and the prescribed substance.He then recites the Pasha-vimochani Gayatri into the animal's right ear.This Gayatri is connected with the release of the animal from its Pasha, or bondage.

THE PASHA-VIMOCHANI GAYATRI

The Tantra then gives the construction of the Gayatri Mantra.

Shloka 109

Pashupashaya shabdante vidmahe padamuchcharet ।

Vishvakarmane cha padat dhimahiti padam vadet ॥

Meaning:

After the expression Pashupashaya, the word Vidmahe is uttered.After Vishvakarmane, the word Dhimahi is uttered.

Shloka 110

Tatah prodirayet mantri tanno jivah prachodayat ।

Esha tu pashugayatri pashupashavimochani ॥

Meaning:

The Mantrin then completes the Gayatri with:Tanno Jivah Prachodayat.The Tantra identifies this as the Pashu-Gayatri and the Pashu-Pasha-Vimochani, the Gayatri associated with release from the bonds of the Pa shu.

The complete form given through these two Shlokas is:

Pashupashaya vidmahe Vishvakarmane dhimahi tanno jivah prachodayat ॥

Meaning:

The Sadhaka meditates upon the bonds of the Pashu and upon Vishvakarman, seeking the awakening and release of the Jiva.

WORSHIP OF THE SACRIFICIAL SWORD

The Khadga used in the prescribed Balidana is itself ritually worshipped before the act.

Shloka 111

Tatah khadgam samadaya kurchabijena pujayet ।

Tadagramadhyamuleshu kramat pujayetiman ॥

Meaning:

The Sadhaka takes the Khadga, the sacrificial sword, and worships it with the Kurcha-Bija.The prescribed Deities are then worshipped successively at the tip, middle, and root of the sword.

Shloka 112

Vagishvarinca Brahmanam Lakshminarayanau tatah ।

Umamaheshvarau mule pujayet sadhakottamah ॥

Meaning:

At the tip of the sword, the Sadhaka worships Vagishvari and Brahma.At the middle, Lakshmi and Narayana are worshipped.At the root, Uma and Maheshvara are worshipped.Thus the sword itself is ritually associated with these Divine pairs.

Shloka 113

Anantaram Brahmavishnushivashaktiyutaya cha ।

Khadgaya nama ityantam khadgapujanam ॥

Meaning:

The Sadhaka then completes the worship of the Khadga with the prescribed Mantra ending in Namah.The sword is worshipped as being united with Brahma, Vishnu, Shiva, and Shakti.

DEDICATION OF THE ANIMAL

Before the act of Balidana, the animal is formally dedicated to the Devi.

Shloka 114

Mahavakyenotsrijya kritanjaliputo vadet ।

Yathoktena vidh anena tubhyamastu samarpitam ॥

Meaning:

Having dedicated the animal through the Mahavakya, the Sadhaka joins his hands in Anjali and formally declares its dedication according to the prescribed rite.

THE ACT OF BALIDANA

Shloka 115

Ityam nivedya cha pashum bhumisamstham tu karayet ।

Devibhavaparo bhutva hanyattivrapraharatah ॥

Meaning:

After formally presenting the animal, the Sadhaka has it placed upon the ground.Remaining completely absorbed in the Bhava of the Devi, the prescribed act of Balidana is then performed through a powerful strike.

The Tantra presents this as part of the Kaulika Balidana within Kulachara.

Shloka 116

Svayam va bhratriputrena bhratra va suhrida eva va ।

Sapindenatha va chhedyo naripaksham niyojayet ॥

Meaning:

The prescribed act may be performed by the Sadhaka himself, by his brother's son, by his brother, by a friend, or by a Sapinda, a kinsman.A person belonging to the opposing or enemy side is not to be appointed for this act.

THE BLOOD AND HEAD OFFERING

Shloka 117

Tatah kosh nam rudhiram vatukebhyo balim haret ।

Sapradi pashirshabalim naimo devyai nivedayet ॥

Meaning:

The warm blood is then offered as Bali to the Vatukas.The head, with a fire light placed upon it according to the prescribed rite, is then offered to the Devi.

THE KAULIKA BALIDANA

Shloka 118

Evam balividhi proktah kaulikanam kulachare ।

Anyatha devatapritirjayate na kadachana ॥

Meaning:

This is the Balidana procedure prescribed for Kaulikas within Kulachara.The Tantra presents this particular procedure as the form through which the Devata is to receive the prescribed offering within this tradition.

THE BEGINNING OF HOMA

After the completion of the Balidana section, the text moves into the preparation for Homa.

Shloka 119

Tato homam prakurvita tadvidhanam shrinu priye ।

Sv adakshine valukabhirmandalam chaturasrakam ॥

Meaning:

The Sadhaka then proceeds to perform Homa.A square Mandala is prepared with sand on his right side.The text now begins describing the specific arrangement required for the Homa.

PREPARATION OF THE HOMA MANDALA

Shloka 120

Chatur hastaparimitam kritva mulena vikshanam ।

Asrena tadayitva cha tenaiva prokshanam charet ॥

Meaning:

The square Mandala is made four Hastas in measure.The Sadhaka then observes or consecrates it with the Mula-Mantra.It is struck or ritually marked with the Astra and then sprinkled with water through the prescribed Prokshana.

WORSHIP OF THE STHANDILA

Shloka 121

Kurchabijenav agunthya devatanamapurvakam ।

Sthandilaya nama iti yajet sadhakasattamah ॥

Meaning:

The excellent Sadhaka veils or covers the prepared Mandala with the Kurcha-Bija.He then worships the Sthandila with the prescribed Mantra.

THE LINES OF THE HOMA MANDALA

Shloka 122

Pragagra udaggrashcha rekhah pradeshasammitah ।

Tisrastisro vidhatavyastatra sampujayediman ॥

Meaning:

Three lines pointing toward the East and three lines pointing toward the North are drawn.Each line is made according to the measure of a Pradesha.The prescribed Deities are then worshipped upon these lines.

THE DEITIES OF THE LINES

Shloka 123

Pragagrasu cha rekhasu Mukundeshapurandaran ।

Brahmavaivasvatendunshcha uttaragrasu pujayet ॥

Meaning:

Upon the lines pointing toward the East, the Sadhaka worships Mukunda, Isha, and Purandara.Upon the lines pointing toward the North, he worships Brahma, Vaivasvata, and Indu.These names correspond to Vishnu, Shiva, Indra, Brahma, Yama, and Chandra respectively.

THE HOMA YANTRA

The Homa Mandala is then developed into the prescribed Yantra.

Shloka 124

Tatah sthandilamadhye tu h asaurgarbham trikonakam ।

Shatkonam tadvahirvrittam tatoashtadalapankajam ।

Bhupuram tadbahirvidvan vilikhedyantramuttamam ॥

Meaning:

In the centre of the Sthandila, the learned Sadhaka draws a triangle containing Hsau.Outside the triangle, he draws a hexagon.Outside the hexagon, a circle is drawn.Outside the circle, an eight-petalled lotus is drawn.Outside the lotus, the Bhupura is drawn.

The Homa Yantra is therefore formed in the following order:

Hsau-containing triangle

Hexagon

Circle

Eight-petalled lotus

Bhupura

WORSHIP OF THE HOMA YANTRA AND ITS ADHARA

Shloka 125

Mulena pushpanjalina sampujya pranavena tu ।

Homadravyani samprokshya karnikayam yajet sudhih ।

Mayamadhara-shaktyadin pratyekam va prapujayet ॥

Meaning:

The wise Sadhaka worships the Yantra with a Pushpanjali and the Mula-Mantra.The Homa-dravyas are then sprinkled with the Pranava for purification.In the Karnika, the central part of the lotus, the prescribed Deities are worshipped.Maya, Adhara-Shakti, and the other prescribed powers are then worshipped according to the stated arrangement.

KEYWORDS AND TERMS

Ashtabhairavas: The eight Bhairavas worshipped around Adya Kalika in the prescribed Avarana.

Dikpala: A guardian of a direction.

Dikpalas: The guardians of the ten directions.

Bhupura: The outer enclosure of a Yantra, generally represented as a square boundary.

Vajra: The thunderbolt weapon associated with Indra.

Shakti: The weapon associated with Vahni in this section.

Danda: The staff associated with Yama.

Khadga: The sword associated with Yaksha and also the sacrificial sword used in the Balidana rite.

Pasha: The noose associated with Varuna.

Ankush: The elephant-goad associated with Vayu.

Gada: The mace associated with Kubera.

Shula: The trident associated with Ishana.

Padma: The lotus associated with Brahma.

Chakra: The discus associated with Ananta.

Balidana: The prescribed ritual offering of Bali to the Devata.

Pashu: The animal or bound being referred to in the ritual context.

Pasha: Bondage or binding condition.

Pasha-vimochani: That which releases from Pasha or bondage.

Pashu-Gayatri: The Gayatri described in the Tantra as the Pashu-Pasha-Vimochani.

Gayatri: A specific Mantric meter and form of sacred invocation.

Jiva: The individual living principle or embodied life-consciousness.

Kurcha-Bija: The prescribed seed syllable used in the relevant purification and ritual procedures.

Dhenu-Mudra: A ritual Mudra used in the consecration procedure.

Gandha: Fragrant substance used in worship.

Sindura: Vermilion used as a ritual offering.

Naivedya: Food offered to the Deity.

Khadga: The ritual sword used in the prescribed Balidana procedure.

Mahavakya: The formal declaration used to state the ritual dedication and relevant details of the offering.

Kulachara: The ritual conduct and practice belonging to the Kula tradition.

Kaulika: One belonging to or following the Kaula tradition.

Vatuka: A youthful or attendant form associated with Bhairava and worshipped in the prescribed ritual circle.

Homa: A fire ritual in which offerings are made into sacred fire.

Sthandila: The prepared ritual ground or square foundation on which the Homa is performed.

Mandala: A sacred ritual diagram or prescribed geometric arrangement.

Pradesha: A traditional ritual unit of measurement.

Homa-dravya: The substances prepared and used as offerings in Homa.

Yantra: A sacred geometric diagram used as the ritual support for the Deity.

Karnika: The central part or pericarp of a lotus diagram.

Maya: The Divine power associated with manifestation and the appearance of multiplicity.

Adhara-Shakti: The foundational or supporting Shakti of the ritual structure.

Pranava: The sacred syllable Om used in the prescribed ritual procedures.

Pushpanjali: An offering of flowers held in the joined hands and presented to the Deity.

Om Bhairavaya Namaha 🔱♥️

Jai Maa Adya MahaKali 🔱♥️

MAHANIRVANA TANTRA

CHAPTER VI

MANTRAS AND RITES

PART III : THE WORSHIP OF ADYA KALIKA, BALIDANA AND PRANA PRATISHTHA OF ADYA KALIKA (INSTALLATION OF HER LIFE)

The ritual now proceeds from the preparation of the vessels into the worship of Adya Kalika and the Devatas surrounding Her.The Sadhaka first performs Tarpana to Adya Kalika using the Amrita of the Bhoga-patra. This is followed by Tarpana to Her Anga and Avarana Devatas with the Amrita of the Shakti-patra.

The worship then expands outward. Bali is offered to the Vatukas, Yoginis, Kshetrapala, Ganapati and all Bhutas. A separate Bali is also offered to Shiva.

After these external offerings are completed, the ritual turns inward. The Sadhaka meditates upon Adya Kalika within the lotus of his own heart. Through the inner path of the Sushumna, Her presence is brought to the Sahasrara and then transferred through the path of the breath into a flower. The flower is then used to establish Her presence in the Yantra.

The final portion of this section concerns Avahana and Prana-pratishtha. The Sadhaka invokes the Pranas, Jiva, senses and faculties of the Devata and establishes them within the Yantra through the prescribed Mudra.

TARPANA TO ADYA KALIKA

Shloka 51

Tatah svahridayambhoje bhogapatramritena cha

Adyam Kalim tarpayami nijabijapurahsaram

Meaning

The Sadhaka now performs Tarpana to Adya Kalika in the lotus of his own heart.The substance used for this Tarpana is the Amrita from the Bhoga-patra, and the offering is preceded by the Bija of Adya Kalika.The worship therefore begins with the direct offering of the consecrated substance to Adya Kalika within the inner lotus of the Sadhaka.

Shloka 52

Svahantena tridha mantri tarpayet Ishtadevatam

Shaktipatramritenaiva tadangavaranatarpanam

Meaning

The Mantrin performs Tarpana to the Ishta-devata three times using the prescribed Mantra ending in Svaha.The Amrita from the Shakti-patra is then used for Tarpana to the Angas and Avarana Devatas of the Devata.The ritual thus proceeds from the worship of Adya Kalika Herself to the worship of the Devatas who form Her associated sacred arrangement.

TARPANA TO KALIKA AND THE OFFERING TO THE VATUKAS

Shloka 53

Yoginipatrasamsthena sadhujnam saparivaram

Santarpya Kalikam Adyam Vatukebhyo balim haret

Meaning

Using the Amrita contained in the Yogini-patra, the Sadhaka performs Tarpana to Adya Kalika together with Her attendants and associated retinue.After this Tarpana is completed, Bali is offered to the Vatukas.The worship therefore moves from the principal Devata and Her retinue toward the protective and attendant forces associated with the ritual.

Shloka 54

Svabhage samanyam mandalam svayet sudhih

Sampujya sthapayet tatra samishannam sudhanvitam

Meaning

The wise Sadhaka should draw the prescribed Samanya Mandala in the designated portion of the ritual space.After worshipping the Mandala, he places there food containing meat together with Sudha.This prepared offering becomes the substance used for the subsequent Bali offerings.

Shloka 55

Vangmayakamalabijair Vatukaya Namah padam

Sampujya purvabhage cha Vatukasya balim haret

Meaning

The Vatuka is worshipped using the prescribed Bijas of Vak, Maya and Kamala, followed by the words Vatukaya Namah.After worshipping the Vatuka, the Sadhaka offers Bali to the Vatuka in the eastern part of the ritual arrangement.

OFFERINGS TO THE YOGINIS

Shloka 56

Tatastu yam Yoginibhyah Svaha yam hared balim

Meaning

The next Bali is offered to the Yoginis.Using the prescribed Mantra ending with Svaha, the Sadhaka makes the Bali offering in the southern part.The offering is made with the food that has been prepared with Sudha and meat.

OFFERING TO KSHETRAPALA

Shloka 57

Shaddirghayuktam sambhutam Kshetrapalaya Hoomanuh

Anena Kshetrapalaya balim dadyat tu pashchime

Meaning

The prescribed Mantra for Kshetrapala is formed using the six long vowels together with the Ksha-Bija and the required ending.With this Mantra, the Sadhaka offers Bali to Kshetrapala in the western part of the ritual arrangement.

OFFERING TO GANAPATI

Shloka 58

Khantabijam samudghushya shaddirghaih svarasamyutam

Deantam Ganapatim choktva Vahnijayam tato vadet

Meaning

The Sadhaka first utters the prescribed Khanta-Bija together with the six long vowels.He then utters the name of Ganapati with the prescribed ending and thereafter the Vahni-jaya ending.With this Mantra, the Bali to Ganapati is performed.

Shloka 59

Uttarasyam Ganesaya balim etena kalpayet

Madhye tatha sarvabhutabali dadyat yathavidhi

Meaning

The Bali to Ganesha is offered in the northern part using the prescribed Mantra.After this, Bali is offered in the centre to all Bhutas according to the prescribed procedure.The ritual arrangement has therefore now received offerings in the east, south, west, north and centre for the different Devatas and beings associated with the ritual.

THE BALI TO ALL BHUTAS

Shloka 60

Hrim Shrim sarvapadashaktya vighnakridbhyas tato vadet

Sarvabhutebhya ityuktva Hum Phat Svaha Manur matah

Meaning

The prescribed Mantra for the Bali to the Bhutas is now used.The Mantra includes Hrim and Shrim, the prescribed expression referring to those who cause obstacles, the words Sarvabhutebhya, followed by Hum, Phat and Svaha.With this Mantra, the Sadhaka offers Bali to all Bhutas.

THE BALI TO SHIVA

Shloka 61

Tatah Shivayai vidhikritabalim ekam prakalpayet

Grihna Devi Mahabhage Shive Kalagnirupini

Meaning

The Sadhaka now prepares one Bali according to the prescribed procedure for Shiva.The offering is presented with the following invocation:

Accept this offering, O greatly blessed Devi, O Shiva, whose form is that of Kalagni.

Shloka 62

Shubhashubham phalam vyaktam vrinu grihna balim tava

Mulamantrena balih pashchat Shivaye Nama ityapi

Chakranushthanam etat tu tvayai kathitam Shive

Meaning

The Sadhaka asks Shiva to accept the Bali and to reveal the manifest result, whether auspicious or inauspicious.The Bali is then offered with the Mula-Mantra, followed by the words Shivaye Namah.This completes the prescribed observance of the Chakra at this stage of the ritual.

MEDITATION UPON ADYA KALIKA

Shloka 63

Chandanagurukasturivasitam sumanoharam

Pushpam grihitva panibhyam Karakachchhamudraya

Meaning

The Sadhaka now prepares for the inner meditation upon Adya Kalika.A beautiful and fragrant flower is taken in both hands. The flower has been perfumed with Candana, Aguru and Kasturi.It is held using the Karaka-Kacchapa-Mudra.

Shloka 64

Nitva svahridayambhoje dhyayed Adyam paratparam

Meaning

The flower is brought to the lotus of the Sadhaka's own heart.There he meditates upon Adya Kalika, who is described as the Supreme beyond the Supreme.The outer ritual now turns toward an inner process in which the presence of the Devata is contemplated within the heart.

BRINGING ADYA KALIKA INTO THE YANTRA

Shloka 65

Sahasrare mahapadme Sushumnabrahmavartmana

Nitva sananditam kritva brihannishvasavartmana

Dipadipantaram iva tatra pushpe niyojya cha

Meaning

Within the great lotus of the Sahasrara, the Sadhaka brings the Devata through the path of the Sushumna, which is described as the path leading to Brahman.He brings Her there in a state of joy.Then, through the path of the breath, Her presence is brought forth in the manner of a flame being transferred from one lamp to another.That presence is placed into the flower.The flower now serves as the means through which the presence of Adya Kalika is transferred into the Yantra.

Shloka 66

Yantre nidhapayet Mantri dridhabhaktisamanvitah

Kritanjaliputo bhutva prarthayed Ishtadevatam

Meaning

The Mantrin, filled with firm devotion, places the Devata into the Yantra.After doing so, he joins his hands in Anjali and offers prayer to the Ishta-devata.

PRAYER FOR THE DEVATA TO REMAIN

Shloka 67

Deveshi bhaktisulabhe parivara samanvite

Yavat tvam pujayishyami tavat tvam susthira bhava

Meaning

The Sadhaka asks the Devi, who is easily approached through devotion and who is accompanied by Her entire retinue, to remain firmly established in the place of worship for as long as the worship continues.The purpose of this prayer is to establish the Devata's presence steadily within the Yantra throughout the ritual.

Shloka 68

Krim Kalike Devi parivaradibhih saha

Ihagachchha dvidha proktva iha tishtha dvidha punah

Meaning

The Sadhaka now directly invokes Kalika together with Her attendants and retinue.The invocation calls Her to come here and remain here.The repetition emphasizes both the arrival of the Devata and Her continued presence in the place of worship.

Shloka 69

Iha shabdat sannishehi iha sannirudhyasva

Sthirasva padam abhashya mama pujam grihana cha

Meaning

After calling the Devata into the place of worship, the Sadhaka asks Her to enter here, remain here, become firmly established here and accept the worship being offered.The invocation is therefore not merely a request for the Devata to appear. It establishes the intention that Her presence remain steady within the Yantra during the ritual.

PRANA-PRATISHTHA OF THE DEVI

Shloka 70

Ity avahanam kritva devyah pranan pratishthayet

Meaning

Having completed the Avahana, the Sadhaka now establishes the Pranas of the Devi.The ritual has moved from calling the Devata into the Yantra to establishing Her living presence within it.

Shloka 71

Om Hrim Krom Shrim Vahnijaya pratishthamantra iritah

Amushya Devatayash cha prana iha tatah param

Prana iti tatah panchabijani tadanantaram

Meaning

The Prana-pratishtha Mantra begins with the prescribed Bijas and the Vahni-jaya ending.The Sadhaka then invokes the Pranas of the Devata into the place of worship.The prescribed five Bijas are subsequently uttered.This stage establishes the Pranic presence of the Devata within the invoked form.

Shloka 72

Amushya jiva iha cha sthita ity uchcharet punah

Panchabijany amushyas cha sarvendriyani kirtayet

Meaning

The Sadhaka next invokes the Jiva of the Devata, asking that it be present and remain here.The five Bijas are again pronounced.The Sadhaka then invokes all the senses of the Devata.Thus the Prana-pratishtha extends beyond the Pranas to the Jiva and the sensory faculties.

Shloka 73

Punastani cha bijani amushyavachanat tatah

Vangmanonayanaghrana shrotratvakpado vadet

Meaning

The same five Bijas are again uttered.The Sadhaka then invokes the specific faculties of the Devata.

These are:

Vak, speech

Manas, mind

Nayana, sight

Ghrana, smell

Shrotra, hearing

Tvak, touch

The enumeration is part of the prescribed Prana-pratishtha procedure and establishes the different faculties within the invoked presence of the Devata.

Shloka 74

Prana ihagatya sukham chiram tishthantu tadgriham

Meaning

The Sadhaka invokes the Pranas to come here and remain here happily for a long time.The Devata's Pranas, Jiva, senses and faculties are thereby established within the ritual form.

ESTABLISHING THE PRANAS WITH THE LELIHANA-MUDRA

Shloka 75

Iti tridha yantramadhye Lelihanakhyamudraya

Sansthapya vidivat pranan kritanjaliputo vadet

Meaning

The Prana-pratishtha is performed three times.The Sadhaka then establishes the Pranas in the centre of the Yantra using the Lelihana-Mudra according to the prescribed procedure.After this, with the hands joined in Anjali, he speaks the prescribed words.The Lelihana-Mudra therefore completes this stage of establishing the living presence of Adya Kalika within the Yantra.

KEYWORDS AND TERMS

Adya Kalika: The primordial form of Kali, worshipped as the principal Devata in this section.

Tarpana: A ritual offering made to a Devata, Guru or other recipient through the prescribed consecrated substance.

Bhoga-patra: The ritual vessel associated with Bhoga and used here to provide Amrita for Tarpana to Adya Kalika.

Shakti-patra: The ritual vessel associated with Shakti and used for Tarpana to the Anga and Avarana Devatas.

Yogini-patra: The ritual vessel associated with the Yoginis.

Anga: The limbs or associated aspects of the principal Devata.

Avarana Devatas: The Devatas forming the surrounding or enclosing sacred circle of the principal Devata.

Bali: A ritual offering made to Devatas, attendant beings, protective forces and Bhutas.

Vatuka: A youthful attendant or protective form associated with Bhairava worship.

Yogini: A female Shakti or divine attendant associated with the Tantric sacred circle.

Kshetrapala: The guardian or protector of the sacred place or ritual field.

Ganapati: The Devata associated with the removal and regulation of obstacles.

Bhuta: A being or elemental spirit. In this ritual, Bali is offered collectively to the Bhutas.

Shiva: The feminine form or Shakti designation used in this passage for the Devata receiving the prescribed Bali.

Kalagni: The fire of Time, representing a powerful form of destructive and transformative fire.

Samanya Mandala: The general Mandala drawn for the prescribed Bali offering.

Sudha: The purified or nectar-like ritual substance used in the preparation of the offering.

Candana: Sandalwood.

Aguru: A fragrant substance used in ritual worship.

Kasturi: Musk, used here as a fragrance for the flower.

Karakacchha-Mudra: The prescribed Mudra used while holding the flower during the meditation and transfer of the Devata's presence.

Sahasrara: The thousand-petalled lotus associated with the highest centre of consciousness.

Sushumna: The central subtle channel through which the inner movement of the Devata is described in this ritual.

Brahma-vartma: The path associated with Brahman.

Avahana: The ritual invocation and calling of the Devata into the place of worship.

Yantra: A sacred geometric ritual form used as the seat or locus of the Devata.

Anjali: The gesture of joining the palms in reverence and prayer.

Prana-pratishtha: The ritual establishment of the Pranas or living presence of the Devata within the worshipped form.

Jiva: The individual living principle or life-consciousness.

Indriya: A sense or faculty of perception and action.

Vak: Speech.

Manas: Mind.

Nayana: Sight or the faculty of seeing.

Ghrana: Smell or the faculty of smelling.

Shrotra: Hearing or the faculty of hearing.

Tvak: Touch or the faculty of tactile perception.

Bija: A seed syllable containing concentrated Mantric power.

Mula-Mantra: The principal or root Mantra of the Devata.

Ishta-devata: The chosen or principal Devata of the Sadhaka.

Svaha: A sacred ending used in Mantras associated with offerings.

Hrim: A Bija associated with Shakti and the power of divine manifestation.

Shrim: A Bija associated with auspiciousness, prosperity and Shakti.

Krim: The principal Kali Bija associated with Kali Shakti.

Hum: A powerful Bija used in protective and forceful ritual contexts.

Phat: A Mantric expression used for cutting, protection and the removal of obstacles.

Lelihana-Mudra: The prescribed Mudra used here for establishing the Pranas in the centre of the Yantra.

Pratishtha: Establishment or firm installation of the Devata's presence.

Kula: The sacred Tantric principle or spiritual family associated with Shakti worship.

Cakra: The ritual sacred circle or organized assembly of Devatas and practitioners.

Saparivara: Together with the associated retinue or attendants.

Samarasya: Unity or complete identity of essence between two principles.

JAI MAA ADYA MAHAKALI ♥️

MAHANIRVANA TANTRA

CHAPTER VI

MANTRAS AND RITES

PART II : THE SOLAR AND LUNAR KALAS AND THE CONSECRATION OF THE SRI-PATRA

The ritual now continues with the establishment and consecration of the Sri-patra. The sequence begins with the ten Kalas of Vahni, followed by the twelve Kalas of Surya and the sixteen Kalas of Soma. After these are established, the Sri-patra is filled and consecrated through a series of Mantras. The ritual then proceeds to the arrangement of the nine vessels and the offering of Tarpana to Ananda-Bhairava, Ananda-Bhairavi and the Guru lineage.

THE TEN KALAS OF VAHNI

Shloka 26

Sachaturthinamoantena pujya vahneh kalah dashah

Meaning

The ten Kalas of Vahni are to be worshipped individually. Their names are used in the fourth case and each worship is completed with Namah.The ten Kalas belonging to Vahni are therefore established and worshipped according to the prescribed procedure.

Shloka 27

Mam vahnimandalayaiti dashante cha kalatmane

Avasane namo dattva pujayad vahnimandalam

Meaning

The Vahni-mandala is then worshipped with the prescribed Mantra beginning with Mam. The Mantra refers to the ten Kalas and is completed with Namah.In this way, the region of Vahni established within the Adhara is worshipped.

THE TWELVE KALAS OF SURYA

Shloka 28

Tatoarghyapatram aniya phatkarena vishodhitam

Adhare sthapayitva tu kalah suryasya dvadasha

Kabhadivarnabijena thadantena prapujayet

Meaning

The Arghya-patra, the vessel used for offering, is now brought and purified with the Mantra Phat.It is placed upon the Adhara. The twelve Kalas of Surya are then worshipped using the prescribed Bija Mantras beginning with the letters from Ka through Bha and ending according to the stated sequence.The solar region is thus established within the Arghya-patra.

Shloka 29

Tapini Tapini Dhumra Marichir Jvalini Ruchih

Sudhumra Bhogada Vishva Bodhini Dharini Kshama

Meaning

The twelve Kalas of Surya are:

Tapini

Tapini

Dhumra

Marichi

Jvalini

Ruchi

Sudhumra

Bhogada

Vishva

Bodhini

Dharini

Kshama

These twelve Kalas represent the various aspects of the solar principle, including heat, radiance, enjoyment, knowledge and sustaining power.

Shloka 30

Am Suryamandalayaiti dvadashante kalatmane

Namoantenarghyapatre tu pujayet Suryamandalam

Meaning

The Surya-mandala is now worshipped within the Arghya-patra. The Mantra begins with Am, refers to the twelve Kalas and concludes with Namah.The solar region is thereby established and worshipped within the offering vessel.

FILLING THE SRI-PATRA

Shloka 31

Vilomamatrikam tadanmulamantram samuccharan

Tribhangam purayen mantri kalashasthena hetuna

Meaning

The Mantrin now pronounces the Matrika letters in reverse order together with the Mula-Mantra.Using the Hetu contained in the Kalasha, the Sri-patra is filled to three parts of its capacity.The wine is taken from the previously established vessel while the reverse sequence of the Matrika Bijas is pronounced.

Shloka 32

Vishesharghyajalaih shesham purayitva samahitah

Shodashasvarabijena namamantrena pujayet

Sachaturthinamoantena kalah somasya shodasha

Meaning

Remaining attentive and composed, the Sadhaka fills the remaining portion with the water of the Vishesharghya.The sixteen Kalas of Soma are then worshipped using the sixteen vowel Bijas and the prescribed Mantra ending with Namah. The names of the Kalas are used in the fourth case.Thus the lunar Kalas are established and worshipped within the water contained in the Arghya-patra.

THE SIXTEEN KALAS OF SOMA

Shloka 33

Amrita Manada Pusha Tushtih Pushtir Ratir Dhritih

Shashini Chandrika Kantir Jyotsna Shrih Pritir Angada

Purna Purnamrita Kamadainyah Shashinah kalah

Meaning

The sixteen Kalas of Soma, the Moon, are:

Amrita

Manada

Pusha

Tushti

Pushti

Rati

Dhriti

Shashini

Chandrika

Kanti

Jyotsna

Shri

Priti

Angada

Purna

Purnamrita

These sixteen Kalas belong to Soma and are described as Kamadaini, the powers that bestow the fulfilment of desires.

Shloka 34

Om Somamandalayaiti shodashante kalatmane

Namoantena yajet mantri purvavat Somamandalam

Meaning

As in the preceding worship, the Mantrin now worships the Soma-mandala.The Mantra begins with Om, refers to the sixteen Kalas and concludes with Namah.The lunar region is thus established within the water of the Arghya-patra.

THE SUBSTANCES PLACED IN THE VESSEL

Shloka 35

Durvakshatam raktapushpam karviram Aparajitam

Mayaya prakshipet patre tirtham avahayet api

Meaning

Druva grass, unbroken rice, red flowers, Karavira and Aparajita are placed into the vessel with the Maya Bija.The sacred waters, known as Tirtha, are also invoked into the vessel.The substances are therefore incorporated into the consecrated vessel as part of the continuing Sri-patra ritual.

PROTECTION AND AMRITIKARANA

Shloka 36

Kavachenavagunthyastramudraya rakshanam kuryat

Dhenva chaivamritikrutya matsyamudraya chchhadayet

Meaning

The contents of the vessel are first covered with the Kavaca and protected with the Astra-Mudra.They are then transformed into Amrita through the Dhenu-Mudra and covered with the Matsya-Mudra.The vessel is therefore protected, transformed and sealed through these prescribed Mudras before the next stage of consecration.

INVOCATION OF THE ISHTA-DEVATA

Shloka 37

Mulena sajapya dashadha devatavahanam charet

Avahya pushpanjalina pujayet Ishtadevatam

Akhandadyaih panchamantrair mantrayet tadanantaram

Meaning

The Mula-Mantra is first repeated ten times. The Devata is then invoked into the ritual.After invoking the Ishta-devata, the Sadhaka worships the Devata with Pushpanjali, offering flowers held in the joined palms.After this, the contents of the vessel are consecrated with the five Mantras beginning with Akhanda.

THE FIVE MANTRAS OF CONSECRATION

Shloka 38

Akhandaikarasanandanakare parasudhatmani

Svachchhandasphuranamatra nidhehi kularupini

Meaning

The first consecrating Mantra invokes the Kula-rupini, the embodiment of Kula.The Parashudha is described as the source of bliss arising from one undivided essence. Within this, Svachchhanda-sphurana, the spontaneous and freely arising manifestation, is invoked into the consecrated substance.

Shloka 39

Anangasthamritakare shuddhajnanakalevare

Amritatvam nidhehyasmin vastuni kimnarupini

Meaning

The second Mantra invokes the form of nectar abiding in Ananga and the body of pure knowledge.Amritatva, immortality, is placed within the substance. The imagery identifies the substance with the form of Kinnara.

Shloka 40

Tadrupenaikarasyam cha kritva tattvarupini

Bhutva kulamritakaram mayi visphuranam kuru

Meaning

The third Mantra asks that the Arghya become one in essence with Tat.The substance is to become of the nature of Kulamrita, and that Kulamrita is invoked to manifest within the Sadhaka.

Shloka 41

Brahmandarasasambhutam ashesharasasambhavam

Apuritam mahapatram piyusharasam avaha

Meaning

The fourth Mantra invokes Piyusha-rasa, the nectar essence arising from the essence of the Brahmanda and from all forms of Rasa.This nectar essence is brought into the Mahapatra, which has been filled with the ritual substance.The vessel is therefore understood as containing the essence of the whole Brahmanda.

Shloka 42

Ahantapatrabharitam idantaparamamritam

Parahantamaye vahnau homasvikaralakshanam

Meaning

The fifth Mantra describes the excellent nectar of Idanta contained within the vessel of Ahanta.

This nectar is offered into Vahni, which is of the nature of Parahanta.The terms Ahanta, Idanta and Parahanta are retained because they are central to the structure and meaning of this Mantra.

Shloka 43

Ityamantrya tatastasmim Shivayoh samarasyakam

Vibhavya pujayed dhupadipav api cha darshayet

Meaning

After completing these five Mantras, the Sadhaka contemplates within the consecrated substance the Samarasya of the two Shivas.The substance is then worshipped, and Dhupa and Dipa are offered.

THE CONSECRATION OF THE SRI-PATRA

Shloka 44

Iti Sripatranskarah kathitah kulapujane

Ashuddhah papabhag mantri puja cha viphala bhavet

Meaning

The consecration, or Samskara, of the Sri-patra has now been described as part of Kula-puja.The text emphasizes that purification is essential. If the Mantrin remains Ashuddha, the ritual becomes fruitless and the practitioner becomes a partaker of sin.The consecration of the Sri-patra is therefore completed only after the prescribed purification and ritual preparation have been properly carried out.

THE NINE VESSELS

Shloka 45

Ghata Sripatrayor madhye patrani sthapayed budhah

Gurupatram Bhogapatram Shaktipatram atah param

Meaning

The ritual arrangement now expands beyond the Sri-patra.Between the Kalasha and the Sri-patra, the practitioner places the remaining ritual vessels in their prescribed order.

The first three are:

Guru-patra

Bhoga-patra

Shakti-patra

Shloka 46

Yoginivirapatre cha Balipatram tatah param

Padyachamanayoh patram Sripatrana nava kramat

Samanyarg hasya vidhina patranam sthapanam charet

Meaning

After these come the Yogini-patra, Vira-patra and Bali-patra.There are also vessels for Padya and Achamana.Together with the Sri-patra, these form the nine vessels used in the ritual arrangement.They are placed in the prescribed sequence according to the procedure of the Samanyargya.

The nine vessels are therefore:

Guru-patra

Bhoga-patra

Shakti-patra

Yogini-patra

Vira-patra

Bali-patra

Padya vessel

Achamana vessel

Sri-patra

FILLING THE VESSELS

Shloka 47

Kalashasthamriteneva tribhagam paripuryacha

Mashapramanam patreshu shuddhikhandam niyojayet

Meaning

The vessels are filled to three parts of their capacity with the Amrita contained in the Kalasha.A portion of Shuddhi, measuring the prescribed amount of one Masha, is then placed in each vessel.The same procedure is carried out throughout the vessel arrangement.

Shloka 48

Vamangushthangulibhyam amritam patrasamsthitam

Grihitva shuddhikhandena dakshaya tattvamudraya

Sarvatra tarpanam kuryat vidhir eshah prakirtitah

Meaning

The Sadhaka takes the Amrita contained in the vessel using the prescribed fingers of the left hand.With the right hand, the piece of Shuddhi is taken using the Tattva-Mudra.Tarpana is then performed throughout the vessels.This is declared to be the prescribed procedure.

TARPANA TO ANANDA-BHAIRAVA AND ANANDA-BHAIRAVI

Shloka 49

Sripatrat paramam bindum grihitva shuddhisamyutam

Anandabhairavam devam Bhairavim cha pratarpayet

Meaning

The Sadhaka now takes an excellent Bindu from the Sri-patra together with Shuddhi.This is used to perform Tarpana to Ananda-Bhairava and Bhairavi.The ritual therefore moves from the consecration of the vessel into the direct offering of its essence to the divine forms of Ananda-Bhairava and Bhairavi.

TARPANA TO THE GURU LINEAGE

Shloka 50

Gurupatramriteneva tarpayet gurusantatim

Sahasrare nijagurum sapatnikam pratarpya cha

Vagbhvadisvasamjnabhis tadguruchatushtayam

Meaning

The Amrita from the Guru-patra is now used for Tarpana to the Guru-santati, the succession of Gurus.Within the Sahasrara, the Sadhaka first performs Tarpana to the Nija-guru together with the Guru's wife.The offering is then extended to the fourfold Guru lineage through the prescribed names and Bija Mantras beginning with Vagbha and the other designated Bija forms.

The four levels of the Guru lineage are:

Nija-guru

Parama-guru

Parapara-guru

Parameshthi-guru

The ritual has therefore moved from the consecration of the Sri-patra, through the establishment of the nine vessels, to Tarpana offered to the divine Bhairava and Bhairavi forms and finally to the Guru lineage.

KEYWORDS AND TERMS

Sri-patra: The principal ritual vessel being established and consecrated in this section.

Vahni: Fire, or the principle of ritual fire.

Vahni-mandala: The ritual region or sphere associated with Vahni.

Kalas: Specific aspects or portions of a deity or cosmic principle that are ritually invoked and worshipped.

Surya: The Sun.

Surya-mandala: The ritual sphere or region associated with Surya.

Soma: The Moon.

Soma-mandala: The ritual sphere or region associated with Soma.

Arghya-patra: A vessel used for holding the offering known as Arghya.

Adhara: The supporting base or foundation on which the ritual vessel is established.

Matrika: The sacred series of letters used in Tantric ritual and Mantra practice.

Mula-Mantra: The principal or root Mantra of the Devata being worshipped.

Bija: A seed syllable used as a concentrated form of Mantric power.

Hetu: The ritual substance taken from the Kalasha and used in filling the Sri-patra.

Vishesharghya: A specially prepared Arghya used at this stage of the ritual.

Tirtha: Sacred or ritually invoked water.

Maya Bija: The Bija associated with Maya Shakti.

Kavaca: A protective Mantra or ritual covering.

Astra-Mudra: A protective Mudra used to guard the ritual arrangement.

Dhenu-Mudra: The Mudra associated with the Cow, used here in the transformation of the substance into Amrita.

Matsya-Mudra: The Fish Mudra, used to cover and seal the consecrated substance.

Amrita: Nectar, immortality, or the transformed sacred essence used in the ritual.

Amritikarana: The ritual transformation of a substance into Amrita.

Ishta-devata: The chosen or principal Devata of the practitioner.

Pushpanjali: An offering of flowers held in the joined palms.

Kula-rupini: She who embodies or takes the form of Kula.

Parashudha: The supreme or excellent form of Sudha, the purified nectar essence.

Svachchhanda-sphurana: Spontaneous and freely arising manifestation.

Amritatva: Immortality or the state of being deathless.

Kinnara: A term used in the imagery of the consecrating Mantra.

Tattva: A fundamental principle, reality or category of existence.

Kulamrita: The nectar associated with Kula.

Brahmanda: The cosmic universe or totality.

Piyusha-rasa: The nectar essence invoked from the essence of the Brahmanda and all forms of Rasa.

Ahanta: The principle or awareness of I-ness.

Idanta: The principle or awareness expressed as thisness.

Parahanta: The supreme form of I-consciousness.

Vahni: Fire into which the ritual offering is symbolically received.

Samarasya: Unity, equal essence or harmonious identity of the two principles.

Dhupa: Incense offering.

Dipa: Lamp or light offering.

Samskara: Ritual consecration or purification.

Kula-puja: Worship performed according to the Kula tradition.

Kalasha: A ritual vessel used to hold consecrated substance or Amrita.

Guru-patra: The vessel associated with offerings to the Guru lineage.

Bhoga-patra: The vessel associated with Bhoga.

Shakti-patra: The vessel associated with Shakti.

Yogini-patra: The vessel associated with the Yoginis.

Vira-patra: The vessel associated with the Vira.

Bali-patra: The vessel used in relation to Bali offerings.

Padya: Water offered for washing the feet.

Achamana: Water used for ritual sipping or purification.

Samanyargya: The general Arghya procedure according to which the vessels are arranged.

Shuddhi: The prescribed ritual substance used together with the Amrita in the vessels.

Masha: A traditional unit of measure used here to specify the quantity of Shuddhi.

Tattva-Mudra: A Mudra used in the prescribed handling of the ritual substance.

Tarpana: A ritual offering made by presenting or pouring the consecrated substance to a Devata, Guru or other recipient.

Bindu: A point, drop or concentrated essence. Here it refers to the portion taken from the Sri-patra for Tarpana.

Ananda-Bhairava: The form of Bhairava to whom Tarpana is offered at this stage.

Bhairavi: The corresponding Shakti form receiving Tarpana together with Ananda-Bhairava.

Guru-santati: The succession or lineage of Gurus.

Sahasrara: The thousand-petalled lotus associated with the highest centre of consciousness.

Nija-guru: One's immediate or personal Guru.

Parama-guru: The Guru above the Nija-guru in the lineage.

Parapara-guru: The Guru representing the higher continuation of the lineage.

Parameshthi-guru: The highest or supreme Guru in the fourfold Guru lineage.

Jai Gurudev ♥️ Jai Maa ♥️

MAHANIRVANA TANTRA CHAPTER VI : MANTRAS AND RITES

PART I : THE FIVE TATTVAS, THEIR FORMS, PURIFICATION, AND THE ESTABLISHMENT OF THE SRI-PATRA

Chapter VI begins with the detailed explanation of the Pancha-tattva and the ritual observances connected with it. The text first describes the different forms of Sura, then the three classes of Mamsa, the varieties of Matsya and Mudra, and the importance of purification. It then explains the fifth Tattva and proceeds to the establishment of the Sri-patra, the sacred vessel used in the worship.

The ritual sequence is presented as a continuous process. The substances used in worship are first identified, then their proper purification is established, and finally the sacred vessel and its Yantra are prepared.

THE THREE KINDS OF SURA

Sloka 1

Sri Devyuvacha

Yattvaya kathitam panchatattvam pujadikarmani

Vishishya kathyatam natha yadi te'sti kripa mayi

The teaching begins with a request for a more particular explanation of the Pancha-tattva used in worship and other ritual acts. The text now turns from the earlier general instructions to a detailed description of each Tattva and its proper use.

Sloka 2

Sri Sadashiva Uvacha

Gaudi paishthi tatha madhvi trividhachottama sura

Saiva nanavidha prokta talakharjurasambhava

Sura is described as having three principal and excellent forms: Gaudi, Paishthi and Madhvi.

Gaudi refers to Sura associated with molasses. Paishthi refers to Sura prepared from grain or flour. Madhvi is associated with Madhuka flowers.The text further recognizes other varieties of Sura, including those produced from Tala and Kharjura.

Sloka 3

Tatha deshavibhedena nanadravyavibhedatah

Bahudheya samakhyata prashasta devatarchane

Sura may differ according to the region where it is produced and according to the substances from which it is prepared. It is therefore known in many forms.These different forms are regarded as suitable for the worship of the Devata when they are used according to the prescribed ritual conditions.

Sloka 4

Yena kena samutpanna yena kenaahritaapi va

Natra jativibhedo'sti shodhita sarvasiddhida

The origin of the Sura or the person who brings it does not determine its ritual suitability. Once it has undergone the prescribed purification, no distinction of caste is made regarding it.Purified Sura is described as capable of bestowing Siddhi.

MAMSA, THE THREE KINDS OF MEAT

Sloka 5

Mamsantu trividhom proktam jalabhuchar khecharam

Yasmattasmaat samanitam yena tena vidhatitam

Tat sarvam devatapreetyai bhavedeva na samshayah

Mamsa is divided into three broad classes according to the realm from which the creature comes.Jalachara refers to creatures of the waters.Bhuchara refers to creatures of the earth.Khechara refers to creatures of the sky.

The text states that whatever has been brought from its appropriate source and obtained by whatever person, when properly used as an offering, becomes pleasing to the Devata.The ritual classification is therefore based on the nature and origin of the substance rather than on the person who obtained it.

Sloka 6

Sadhakechcha balavati deye vastuni devate

Yadyadatmapriyam dravyam tattadishtaya kalpayet

The personal inclination of the Sadhaka is also taken into account when determining the substance to be offered to the Devata.Whatever substance is dear to the Sadhaka may be prepared and offered to the chosen Devata, according to the ritual context.

Sloka 7

Balidanavidhau devi vihitah purushah pashuh

Stripashurnaiva hantavyastatra shambhavashasanat

In the rite of Balidana, the text prescribes the male animal.A female animal is not to be killed in this rite. This is stated as the command of Shambhu.

MATSYA, THE THREE KINDS OF FISH

Sloka 8

Uttamastrividha matsyah shalapathinarohitah

Madhyamah kantakairhina adhama bahukantakah

Tepi devyai pradatavya yadi sushthu vibhajitah

Three kinds of fish are described as excellent: Shala, Pathina and Rohita.Fish without bones are classified as being of middle quality, while fish having many bones are classified as inferior.Even these may be offered to the Devata when they have been properly prepared and fried.

MUDRA, THE PARCHED FOOD OFFERING

Sloka 9

Mudrapi trividhah prokta uttamadivibhedatah

Chandrabimbanibham shuklam shalitanndulasambhavam

Yavagodhuma jam vapi ghritapaktam manor amam

Mudra is also divided into three classes according to quality.The excellent form is white like the disc of the Moon and is prepared from Shali rice.It may also be prepared from barley or wheat and cooked in clarified butter. Such preparation is described as pleasing and suitable.

Sloka 10

Mudreyam uttama madhyah bhrashtadhanyadisambhava

Bh arj itanyanyabijani adhama parikirtita

The Mudra described above is regarded as excellent.Mudra made from parched grain and similar substances is considered to be of middle quality.Other roasted seeds are classified as inferior.

SHUDDHI, THE PURIFICATION OF THE TATTVAS

Sloka 11

Mamsam minashcha mudra cha phalamulani yani cha

Sudhadane devataya samjna shuddhiririta

Meat, fish, Mudra, fruits, roots and other substances offered to the Devata together with Sudha are brought under the principle of Shuddhi.

The text now moves from describing the ritual substances themselves to explaining the purification that must precede their use.

Sloka 12

Vina shuddhya hetudanam pujanam tarpanam tatha

Nishphalam jayate devi devata na prasidati

Without Shuddhi, the offering of Hetu, worship and Tarpana become fruitless.The Devata is not pleased when the prescribed purification has not been performed.

Sloka 13

Shuddhim vina madyapanam kevalam vishabhakshanam

Chirarogi bhavenmantri svalpayurriyatechirat

The text gives a strong warning regarding the use of wine without purification.Drinking wine without Shuddhi is compared to consuming poison.The Mantrin is described as becoming afflicted with disease and having a shortened life.

The central teaching is that the ritual substance by itself is not sufficient. Its prescribed purification is essential to its ritual use.

THE FIFTH TATTVA

Sloka 14

Sheshatattvam Maheshani nirvire prabale kalau

Svak iya kevala jney a sarvadoshavivarjita

The fifth or remaining Tattva is described in relation to the condition of the age and the absence of a suitable Vira.When Kali is powerful and the Vira is lacking, the Sadhaka is instructed to understand the remaining Tattva as his own Shakti, free from defects.

Sloka 15

Athavatra svayambhvadi kusumam pranavallabhe

Kathitam tantranirdishtau kusidam parikirtitam

An alternative is also given.The flowers beginning with Svayambhu and the other flowers prescribed by the Tantra are mentioned, and Kusida, understood here as red sandal paste, is given as their substitute.

Sloka 16

Ashodhitani tattvani patrapushpaphalani cha

Naiva dadyanmahadevyai dattva vai naraki bhavet

The Tattvas, as well as leaves, flowers and fruits, must not be offered to Mahadevi without purification.The text gives a severe consequence for making such offerings without the prescribed Shuddhi.

THE SRI-PATRA AND THE SADHAKA'S SHAKTI

The text now moves from the general treatment of the Pancha-tattva to the establishment of the Sri-patra.

The Sri-patra is prepared in association with the Sadhaka's Shakti, who is described as possessing good qualities and character.

Sloka 17

Shripatrastapanam kuryat striyaya gunashilaya

Abhishinchet karanena samanyarghyodakena va

The Sri-patra should be established with one's Shakti, who is possessed of good qualities and conduct.She is to be sprinkled with Karana or with water from the Samanyarghya.This establishes the ritual relationship between the Shakti and the Sri-patra within the prescribed worship.

Sloka 18

Adau balam samuchcharya tripurayai tato vadet

Namahshabdavasane cha imam shaktimudirayet

The prescribed Mantra construction begins with Bala, followed by Tripurayai.The expression referring to the Shakti is then uttered at the conclusion marked by Namah.The verse gives the sequence of the Mantric formulation used in establishing the Shakti for this rite.

Sloka 19

Pavitri kurushabdante mama shaktim kuru dvitah

At the conclusion of the words Pavitrikuru, the Mantra declares the Shakti to be made one's Shakti, followed by the prescribed concluding expression.The purpose of this portion is to establish the ritual identity and purity of the Shakti within the Sri-patra rite.

Sloka 20

Adikshita yada nari karne mayam samuchcharet

Shaktayo'nyah pujaniya nangayostadanakarmani

When the woman is not initiated, the Maya Bija is to be uttered into her ear.The other Shaktis who are present are to be worshipped. They are not to be treated as objects of enjoyment.The verse therefore distinguishes between the Shakti directly involved in the prescribed rite and other Shaktis who remain worthy of worship.

THE YANTRA FOR THE SRI-PATRA

The text now establishes the Yantra upon which the Sri-patra is to be prepared.

The diagram is constructed through a series of geometric enclosures, beginning with the central triangle and extending outward through the circle, hexagon and square.

Sloka 21

Athatmay antrayormadhye mayagarbham trikonakam

Vrittam shatkonamalikhya chaturasram likhedbahih

Between oneself and the Yantra, a triangle containing the Maya Bija is drawn.Outside the triangle, a circle is drawn.Outside the circle, a hexagon is drawn.The outermost enclosure is a square.The Yantra is therefore formed through successive layers surrounding the central Maya Bija.

THE FOUR PITHAS

Sloka 22

Asrakone purnashailam uddiyanam tathaiva cha

Jalandharam kamarupam sachaturthinamonantakam

Nijanamadibijadhyam pujayet sadhakottamah

In the four corners of the square, the excellent Sadhaka worships the four Pithas:

Purnashaila

Uddiyana

Jalandhara

Kamarupa

Each is worshipped through its prescribed name, its corresponding initial Bija and the appropriate form ending in Namah.These four Pithas form the four principal supports established within the outer enclosure of the Sri-patra Yantra.

THE SIX LIMBS, THE TRIANGLE AND ADHARA-SHAKTI

Sloka 23

Shatkon eshu shadangani mulenaiva trikonakam

Mayam adharashaktim cha namo'ntena prapujayet

The six limbs, known as the Shadanga, are worshipped in the six corners of the hexagon.The central triangle is worshipped with the Mula-Mantra.Maya and Adhara-Shakti are also worshipped with the prescribed Mantra ending in Namah.The inner and outer portions of the Yantra are thus progressively consecrated before the ritual vessel is established.

THE TEN KALAS OF VAHNI

Sloka 24

Namas a kshalitadharam samsthapya tatra purvavat

Vrittopari yaje dvahneh kalah svasvadimaksharaih

The Adhara is washed with the prescribed Namah expression and established there as before.Upon the circle, the Kalas of Vahni are worshipped.Each Kala is associated with its prescribed initial letter used as the corresponding Bija.

Sloka 25

Dhumrarchirjvalini sukshma jvalini visphulingini

Sushrih surupa kapila havyakavyavaha tatha

The ten Kalas of Vahni are:

Dhumra

Archi

Jvalini

Sukshma

Jvalini

Visphulingini

Sushri

Surupa

Kapila

Havyakavyavaha

These ten Kalas form the Vahni aspect of the ritual arrangement. Their worship continues in the following section of the chapter.

KEYWORDS AND TERMS

Pancha-tattva: The five ritual principles or substances used in the prescribed Kaula worship.

Sura: The ritual substance referred to as wine or sacred liquor in this chapter.

Gaudi: One of the three principal forms of Sura, associated with molasses.

Paishthi: A form of Sura associated with grain or flour.

Madhvi: A form of Sura associated with Madhuka flowers.

Mamsa: Meat used as one of the ritual Tattvas.

Jalachara: A creature belonging to the waters.

Bhuchara: A creature belonging to the earth.

Khechara: A creature belonging to the sky or air.

Matsya: Fish used as one of the ritual Tattvas.

Mudra: The ritual food substance described in this chapter, particularly forms of parched or roasted grain and seeds.

Shuddhi: Purification. The prescribed process through which ritual substances are purified before being offered.

Hetu: The ritual substance or offering referred to in connection with the Pancha-tattva worship.

Tarpana: A ritual act of offering or satisfying a Devata through prescribed offerings.

Sudha: Nectar, or the sacred nectar used in the ritual purification and offering process.

Shakti: Divine feminine power. In this context it can also refer to the female ritual partner of the Sadhaka.

Sri-patra: The sacred vessel established and consecrated during the ritual.

Karana: A prescribed ritual substance used in the consecration of the Shakti.

Samanyarghya: The ordinary or general Arghya, a vessel or offering of consecrated water used during worship.

Maya Bija: The Bija associated with Maya and used at specific points in the construction and worship of the Yantra.

Yantra: A sacred geometric diagram used as a support for ritual worship and concentration.

Pitha: A sacred seat or sacred power-centre.

Purnashaila,Uddiyana,Jalandhara,Kamarupa: The four Pithas established in the Sri-patra Yantra.

Shadanga: The six limbs of the Mantra or Devata, established in the six corners of the hexagon.

Adhara-Shakti: The supporting Shakti or foundational power upon which the ritual arrangement is established.

Vahni: Fire.

Kala: A particular aspect, power or functional division of a Devata or cosmic principle.

Dhumra: Smoke-coloured aspect of Vahni.

Archi: Flame or radiance of Vahni.

Jvalini: The flaming aspect of Vahni.

Sukshma: The subtle aspect.

Visphulingini: The spark-producing or spark-like aspect.

Sushri: The auspicious or beautiful aspect.

Surupa: The beautiful-formed aspect.

Kapila: The tawny or reddish-brown aspect.

Havyakavyavaha: The power that carries offerings to the Devatas and ancestral beings.

Siddhi: Accomplishment, attainment or perfected spiritual power.

Sadhaka: The practitioner performing the spiritual or Tantric discipline.

Mantrin: One who performs or practices through Mantra.

Mula-Mantra: The principal root Mantra of the Devata being worshipped.

Namah: A Mantric expression of salutation, reverence or offering.

Bali: A ritual offering.

Balidana: The ritual act of offering Bali.

Vira: The heroic or spiritually qualified practitioner associated with Vira-oriented Tantric practice.

Kali: Here,The present age in the traditional cycle of four Yugas.

Devata: A deity or divine power being invoked and worshipped.

Puja: Ritual worship.

Pujadikarma: Worship and related ritual actions.

Tattva-Shuddhi: Purification of the Tattvas or their ritual substances before use.

Kalasa: A sacred ritual vessel.

Arghya: A ritual offering, commonly involving consecrated water or another prescribed substance.

Vahni-Kala: A specific power or aspect of Fire established during the preparation of the ritual vessel.

Jai Maa ♥️

MAHANIRVANA TANTRA

CHAPTER V: THE WORSHIP OF SHAKTI

PART VIII: SLOKAS 196 TO 216 (last part)

THE PURIFICATION OF WINE, ANANDA BHAIRAVA AND ANANDA BHAIRAVI, AND THE FINAL CONSECRATION OF THE TATTVAS

The previous section ended with the purification of the Visesharghya and the establishment of the sacred vessel. The ritual now proceeds to the deeper purification of the wine and the remaining Tattvas used in the worship.

The wine is purified through successive Mantras connected with the traditional curses associated with Kacha, Shukra, Brahma and Krishna. Once these impurities are removed, the wine is contemplated as the union of Ananda Bhairava and Ananda Bhairavi and is treated as Amrita.

The Tantra then gives the corresponding purification of Mamsa, Matsya and Mudra. Finally, it gives an important alternative: when circumstances prevent the performance of every subsidiary procedure, the Mula Mantra itself may be used to purify all the Tattvas.

I. THE BRAHMA BIJA AND THE REMOVAL OF BRAHMA HATYA

Sloka 196

Vedanam pranato bijam brahmanandamaya yadi |

Tena satyena te devi brahmahatya vyapohatu ||

Meaning:

The Sadhaka invokes the Pranava, the sacred sound associated with the Vedas, and declares that if it is of the nature of Brahmananda, then by that Truth the Brahma hatya attached to the sacred substance may be removed.The purification therefore begins by invoking the highest Truth as the power capable of removing the remaining impurity.

II. THE HAMSA MANTRA

Sloka 197

Hrim hamsah shucishad vasur antarikshasad |

Hota vedishad atithir duroṇasat |

Nrishad varasad ritasad vyomasad abja |

Goja ritaja adrija ritam brihat ||

Meaning:

The Sadhaka now recites the Hamsa Mantra, contemplating the Supreme Reality as present throughout existence.The Supreme is recognized as present in the pure realms, in the atmosphere, in the sacrificial fire, in the household, among human beings, among higher beings, in cosmic Truth, in the ether, in things born from water, in things born from the earth, in that which arises from Truth and in that which arises from the mountains.The mantra concludes by identifying the Supreme with Rta, the cosmic Truth and order, and Brihat, the Vast or Infinite.The purpose of this recitation is to establish the awareness that the Divine is not confined to one place or form, but pervades the entire field of existence.

III. REMOVAL OF THE BRAHMA SHAPA

Sloka 198

Varunena cha bijena shad dirgha svara bhajina |

Brahma shapa vimocitayai padam vadet |

Sudha devyai namah pashchat saptadha brahma shapanut ||

Meaning:

The Sadhaka now uses the Varuna Bija together with the six long vowels and utters the prescribed Mantra invoking Sudha Devi as one who has been released from the curse of Brahma.This Mantra is repeated seven times.Through this process the Brahma Shapa is ritually removed from the sacred substance.

IV. REMOVAL OF THE KRISHNA SHAPA

Sloka 199

Ankusham dirgha shatkena yutam Shri Mayaya yutam |

Sudha pashchat brahma shapam mocayeti padam tatah |

Amritam sravayed vam dvithanto manur iritah ||

Meaning:

The Sadhaka now employs the Ankush Bija together with the six long vowels and the Shri and Maya Bijas.The prescribed words for removing the Krishna Shapa are then uttered, followed by the invocation of Amrita.The purpose of this Mantra is to remove the curse associated with Krishna and cause the sacred substance to flow as nectar.

The purification has therefore moved through successive stages:

Kacha related impurity

Shukra Shapa

Brahma Shapa

Krishna Shapa

Amrita

The wine is no longer regarded merely as an ordinary substance. Through the ritual process, it is transformed in the awareness of the Sadhaka into a purified and sacred substance.

V. ANANDA BHAIRAVA AND ANANDA BHAIRAVI

Sloka 200

Evam shapan mocayitva yajet tatra samahitah |

Ananda Bhairavam devananda Bhairavim tatha ||

Meaning:

Having released the sacred substance from the various Shapas, the Sadhaka, with a concentrated mind, worships Ananda Bhairava and Ananda Bhairavi within it.The purified substance now becomes the locus in which the blissful union of Bhairava and Bhairavi is contemplated.Ananda Bhairava represents the Bhairava principle in its blissful aspect, while Ananda Bhairavi represents the corresponding Shakti.

Sloka 201

Hasakshamalashabdante varayum militam vadet |

Ananda Bhairavam de-antam vashadanto manur matah ||

Meaning:

The prescribed Mantra for Ananda Bhairava is constructed through the specified sequence of sacred syllables, followed by the prescribed form of the Ananda Bhairava Mantra and its Vashat ending.The Sadhaka uses this Mantra for the worship of Ananda Bhairava within the purified substance.

Sloka 202

Asyasya viparitam cha shravane vamalochana |

Sudha devyai vaushadanto manur asyah prapujane ||

Meaning:

The Mantra for Ananda Bhairavi is formed through a corresponding reversal of the preceding arrangement.The prescribed vowel associated with the left eye is employed, and the Mantra invokes Sudha Devi in the form of Ananda Bhairavi with the Vaushaṭ ending.The complementary arrangement of the two Mantras reflects the relationship between Bhairava and Bhairavi.

VI. THE UNION OF ANANDA BHAIRAVA AND ANANDA BHAIRAVI

Sloka 203

Samarasyam tayos tatra dhyatva tad amritaplutam |

Dravyam trivar am tasyordhve mulam dvadashadha japet ||

Meaning:

The Sadhaka now meditates upon the Samarasya of Ananda Bhairava and Ananda Bhairavi within the sacred substance.Samarasya means complete harmony, identity and union. The substance is contemplated as being completely flooded with the Amrita arising from this union.The Sadhaka then recites the Mula Mantra twelve times over the substance.At this stage, the wine is no longer approached merely as wine. It is contemplated as Amrita arising from the union of Bhairava and Bhairavi.

VII. OFFERING TO THE CONSECRATED WINE

Sloka 204

Mulena devata buddhya dattam pushpanjalim tatah |

Darshayed dhupa dipau cha ghanta vadanapurvakam ||

Meaning:

With the Mula Mantra, and while holding the awareness that the sacred substance itself is now the Devata, the Sadhaka offers Pushpanjali.He then offers or displays Dhupa and Dipa while ringing the bell.The substance is therefore treated with the same reverence that would ordinarily be given to the Devata.The ritual has transformed the substance from an ordinary offering into a consecrated embodiment of the Divine.

VIII. THE GENERAL APPLICATION OF THIS PURIFICATION

Sloka 205

Ittham tirthasya samskarah sarvada devapujane |

Vrata hom e vivahae cha tathaivotsava karmani ||

Meaning:

This is the prescribed Samskara of the sacred substance.The same purification is applicable in Devata worship, Vrata, Homa, marriage ceremonies and other ritual festivals.The teaching therefore extends beyond this particular worship. The purification of a sacred substance follows this principle whenever such a substance is employed within these ritual contexts.

IX. PURIFICATION OF MAMSA

The Tantra now proceeds to the second Tattva, Mamsa.

Sloka 206

Mamsam aniya puratas trikonamandalopari |

Phata abhyukshya vayu vahni bijabhyam mantrayet tridha ||

Meaning:

The Sadhaka brings the Mamsa and places it upon the triangular Mandala prepared before him.He sprinkles it with the Phaṭ Mantra.He then consecrates it three times using the Vayu Bija and Vahni Bija.The Mamsa is therefore subjected to the prescribed process of ritual purification before it is used in the worship.

Sloka 207

Kavachenavagunthyatha samraksh ed astra mantratah |

Dhenva amritikrutya mantram etam udīrayet ||

Meaning:

The Sadhaka next covers the Mamsa through the Kavacha and the prescribed Avagunthana gesture.He protects it through the Astra Mantra.He then uses the Dhenu Mudra to transform it into Amrita and proceeds with the prescribed Mantra.The substance is thus protected, consecrated and ritually transformed before being offered.

Sloka 208

Vishnor vakshasi ya devi ya devi Shankarasya cha |

Mamsam me pavitrikuru kuru tad Vishnoh paramam padam ||

Meaning:

The Sadhaka invokes the Devata who abides in the heart or breast of Vishnu and in that of Shankara.The prayer asks that the Mamsa be purified and made sacred and that the Supreme Abode of Vishnu be attained.The purification therefore places the physical offering within the awareness of the Divine rather than treating it as an ordinary material substance.

X. PURIFICATION OF MATSYA

The Tantra next turns to Matsya.

Sloka 209

Ity evam minam aniya prokta mantrena samskritam |

Mantren anena matiman tam minam abhimantrayet ||

Meaning:

In the same manner, the Sadhaka brings the Matsya and purifies it according to the procedure already described.The wise Sadhaka then consecrates the Matsya with the Mantra that follows.

Sloka 210

Om tryambakam yajamahe sugandhim pushti vardhanam |

Urv arukam iva bandhanan mrityor mukshiya ma amritat ||

Meaning:

The Sadhaka recites the Mritunjaya Mantra:Om. We worship the Three Eyed One, who is fragrant and who increases nourishment. May I be released from the bondage of death, like a cucumber separated from its stalk, but not from immortality.This is the well known Mritunjaya Mantra.

The Matsya is therefore consecrated through a prayer directed toward freedom from mortality and attainment of Amrita.

XI. PURIFICATION OF MUDRA

The Tantra then proceeds to Mudra.

Sloka 211

Tathaiva mudram adaya shodhayet amuna priye |

Om tad Vishnoh paramam padam sada pashyanti surayah |

Diviva chakshur atatam ||

Meaning:

The Sadhaka similarly takes the Mudra and purifies it with the prescribed Mantra.The Mantra directs contemplation toward the Paramam Padam, the Supreme Abode of Vishnu, which the wise continually behold, spread out like an eye across the heavens.The purification therefore places the Mudra within the awareness of the Supreme Reality.

Sloka 212

Om tad vipraso vipanyavo jagrivamsah samindhate |

Vishnor yat paramam padam ||

Meaning:

The Sadhaka continues with the declaration that the Paramam Padam of Vishnu is contemplated and kindled by the awakened and inspired seers.The Mudra is thus further consecrated through contemplation of the Supreme Abode.

XII. THE MULA MANTRA AS THE UNIVERSAL PURIFIER

The Tantra now gives an important alternative to the detailed purification procedures.

Sloka 213

Athava sarva tattvani mulenaiva vishodhayet |

Mule tu shraddhavan yah kim tasya dala shakhaya ||

Meaning:

Alternatively, all the Tattvas may be purified through the Mula Mantra alone.The Tantra then gives a simple analogy:

For one who has faith in the root, what need is there for the branches and leaves?

The teaching is that the Mula Mantra is the essential root of the entire ritual. When the root is properly understood and applied, the many subsidiary procedures do not have to be regarded as independently essential.

Sloka 214

Kevalam mula mantrena yad dravyam shodhitam bhavet |

Tad eva devata prityai suprashastam mayocyate ||

Meaning:

Any substance that has been purified solely through the Mula Mantra is declared to be fully acceptable and excellent for the pleasure of the Devata.The Mula Mantra therefore possesses the power to sanctify the offering by itself.This does not erase the detailed procedures given earlier. Rather, the Tantra establishes the Mula Mantra as their essential foundation.

XIII. THE SHORTENED FORM WHEN TIME IS LIMITED

Sloka 215

Yatha kalasya sankshepat sadhakantarakankshatah |

Sarvam mulena samshodhya mahadevyai nivedayet ||

Meaning:

When there is insufficient time, or when circumstances prevent the Sadhaka from performing the complete sequence, everything may be purified with the Mula Mantra and offered to Mahadevi.The Tantra therefore provides a shortened form of the ritual without abandoning its essential principle.The central act remains the purification of the Tattvas through the Mula Mantra and their conscious offering to the Mahadevi.

XIV. THE FINAL DECLARATION

Sloka 216

Na chatra pratyavayo asti nangavaigunya dushanam |

Satyam satyam punah satyam iti Shankara shasanam ||

Meaning:

There is no fault arising from following this shortened method, nor is there blame for the absence of the subsidiary ritual parts.The teaching is emphasized three times:Truth, truth, again truth.This is presented as the command of Shankara.The Tantra therefore makes the essential principle very clear. When the Tattvas are properly purified through the Mula Mantra and offered to the Mahadevi, the absence of subsidiary procedures does not invalidate the essential purpose of the worship.

KEYWORDS AND TERMS

Mula Mantra: The root or principal Mantra of the Devata. It is treated here as the essential Mantra capable of purifying the Tattvas.

Tattva: A fundamental principle or category of existence. In this section the term also refers to the substances used in the ritual, including Mamsa, Matsya and Mudra.

Shuddhi: Purification or sanctification.

Samskara: A ritual process that purifies, consecrates or transforms something for sacred use.

Shapa: A curse or ritual impurity attached to a substance or principle.

Brahma Hatya: Literally the killing of Brahmana. In this ritual context it refers to the specific impurity that is ritually removed from the sacred substance.

Brahma Shapa: The curse associated with Brahma that is removed through the prescribed purification.

Krishna Shapa: The curse associated with Krishna that is removed in the purification of the sacred substance.

Pranava: The sacred syllable Om, regarded as the primordial sound and associated with the Vedas.

Hamsa Mantra: A sacred mantra used here to establish awareness of the all pervading Supreme Reality.

Sudha: Nectar or the divine principle of purified nectar.

Sudha Devi is invoked during the purification of the sacred substance.

Amrita: Nectar, immortality or the deathless principle. In this section the purified substance is contemplated as Amrita.

Bhairava: The fierce and transcendent form of Shiva associated with power, consciousness and protection.

Bhairavi: The corresponding Shakti or Divine Feminine power of Bhairava.

Ananda Bhairava: Bhairava in his blissful aspect.

Ananda Bhairavi: Bhairavi in her blissful aspect.

Samarasya: Complete harmony, equality, identity or union. Here it refers to the complete unity of Ananda Bhairava and Ananda Bhairavi.

Mamsa: Meat, one of the ritual Tattvas.

Matsya: Fish, one of the ritual Tattvas.

Mudra: A ritual offering or consecrated substance. The term can also refer to a sacred hand gesture depending on the context.

Dhenu Mudra: A prescribed ritual hand gesture used in the consecration of a substance.

Kavacha: A protective ritual formula or enclosure.

Astra Mantra: A protective Mantra used to remove or repel obstructing influences.

Vayu Bija: The seed syllable associated with the principle of Air.

Vahni Bija: The seed syllable associated with the principle of Fire.

Varuna Bija: The seed syllable associated with the principle of Water and Varuna.

Ankush Bija: The seed syllable associated with the ritual power represented by the Ankush, or goad.

Bija: A seed syllable carrying a concentrated form of a particular Shakti or principle.

Pushpanjali: An offering of flowers made with joined hands.

Dhupa: Incense offered during worship.

Dipa: The ritual lamp or light offering.

Vashat: A ritual Mantric ending used in certain forms of offering.

Vaushaṭ: A related ritual Mantric ending used in the prescribed worship of Bhairavi.

Vrata: A religious observance undertaken according to prescribed discipline.

Mritunjaya Mantra: The famous Three Eyed Shiva Mantra beginning with Om Tryambakam Yajamahe, traditionally associated with protection, healing, liberation from mortality and attainment of Amrita.

Paramam Padam: The Supreme Abode or highest state.

Shraddha: Deep faith, trust and conviction in the sacred principle being followed.

Mahadevi: The Great Goddess, the supreme feminine Divine principle.

Bhutashuddhi: The internal purification in which the elemental constitution of the ordinary body is dissolved and a divine body is reconstructed.

Nyasa: Ritual placement of Mantras, letters or Divine powers upon parts of the body.

Pitha: A sacred seat or sacred locus of Divine power.

Jai Maa ♥️