Lalitopakhyana (Lalita Mahatmya)

by G.V. Tagare | 1958 | 103,924 words | ISBN-10: 8120838246 | ISBN-13: 9788120838246

This page describes meditation on the goddess which is Chapter 44 of the Lalitopakhyana (or Lalita-Mahatmya), an important scripture within Shaktism embedded as the final part in the Brahmanda-Purana. It is presented in the form of a dialogue between sage Agastya and Hayagriva, which is incarnation of Vishnu and also includes the Lalita Sahasranama.

Chapter 44 - Meditation on the Goddess

Hayagrīva said:

1. The disciple conversant with the Mantras shall do as follows:—[1]

He should enter the special place intended for Japa bringing with him his seat (Darbha mattress etc.). Repeating the requisite Mantras duly, he shall sprinkle water (over the place of sitting) in the manner mentioned by the preceptor.

2. He should then meditate upon his own soul and the form of the deity without any distinction (between the two). He should sit in the Padmāsana posture facing the east. He shall sit steadily without thinking about anything else.

3. He should then make the Trikhaṇḍa Mudrā. After making obeisance to the preceptor, elders and others, he should perform the rite of Nyāsa with ‘Bālābīja’ Mantras repeating each twice in the fingers beginning with the middle finger in due order.

4. He shall then purify the hand and continue the rite till Vahniprākāra (fiery rampart wall) with the respective Astra Mantras.

5. The Mantras beginning with the Pāda (foot) should be repeated in the reverse order and those beginning with “KA” in the usual order. After imposing the Vyāpakanyāsa (the pervading Nyāsa), he shall make it pervaded with Vāgbhava etc.

6. He should allot the three types of physical bodies viz. Kāraṇa (causal), Sūkṣma (subtle) and Sthūla (gross). Then he should perform the rite of Nyāsa of the Bālābīja Mantras in the navel, in the heart and in the middle of eyebrows.

7. He shall place the Mātṛkā Mantras in the navel[2] etc. in due order after making them contracted at the root (i.e. Mūla Mantras). Then he shall place the Bālābījas repeating them twice.

8-10. He should place them on the fingers beginning with the middle one, as well as in the two palms and not otherwise. Then he should perform the Nyāsa etc. in the navel as well as on the pair of feet, knees, buttocks, private parts, anus, navel, heart and head in due order. He should then place in the heart the nine seats viz. Brahmā, Viṣṇu, Rudra, Īśvara, Sadāśiva, Pūṣan, Tūlikā, Prakāśaka and Vidyāsana too and show it in the heart.

11-12. Then he should show Mudrā called Padmatrikhaṇḍayonī. He should then fill (the mouth) with wind and produce the sound Huṃ Huṃ Huṃ through half-closed lips. Thus he wakens Kuṇḍalinī (the primordial cosmic energy lying encoiled with the body) by the power of Mantras. At the end of the twelfth (? repetition) the disciple should think about his identity with Śiva and then place him in his position and place the Bīja Mantras of Vāgbhava etc. at the root, heart and arms.

13-14. After placing his hands over the entire head as well as at the root, in the middle and the tips of the hand in due order, the disciple should place them in the limbs, beginning with the thumb and ending with the palms as well as in the heart etc. Then he shall perform Kuṃkuma Nyāsa.

15. Afterwards he shall perform the Nyāsa of pure Mātṛkā encased by the third Bīja. After placing the first two Bījas, he should place the last Bīja.

16-17. Afterwards he should perform the Vinyāsa rite (placing the hand etc. ceremoniously) of Bhūtala (surface of the Earth) but not very elaborately. He shall place the eight Vargas (groups of letters) in the navel, heart and the throat. Among these he shall take Śa, Ṣa, and Sa at the outset and place them at the root in the heart and on the head. He should place them at the armpit, hip, right shoulder, left shoulder, loins and the heart also.

18. For most of the lower six limbs he shall perform the Vinyāsa rite through the letters beginning with “DA” (“Ha” in N.) The sage shall be the Śabda-Brahman (Brahman in the form of sound) and the metre Bhūtalipi[3] (? the characters of the alphabets of the socalled Bhūtas[4] (spirits etc.)

19-23. Śrīmūla-Prakṛti (The primordial matter) is mentioned as the deity of this Mantra. The disciple should meditate upon Bhairavī favourably disposed towards her devotees, in the following manner. She is matchless and she holds the rosary and the book in the upper hands and flowery arrows as well as the bow and (represents the Mudrās viz. (Vara) boon and freedom from fear (Abhīti) with the other lotus-like hands. Around her neck she wears the Akṣamālā necklace (that accords) protection. She has heroic accoutrements covered by necklaces, armlets and bangles. She is adorned with gemset ear-rings along with divine unguents. Beneath the Lipikalpadruma (Wisḥ-yielding tree called letters of Alphabet (?) she stays in an embodied lotus. She is identical with the Lipis (characters). She is embellished by many crores of Dūtis (messengers) surrounding her. After meditating thus he shall place the letters on the surface of the Earth as well in the due order.

24. He should place the Vargāṣṭaka (eight groups of consonants) in those beginning with Mūla and ending with Ājñā (These are the mystical Cakras). After placing ŚA, ṢA and SA on the head, he shall place the vowels in these.

25-26. The letters beginning with HA should be placed in the five parts of the face beginning with above as well as in the root, in the middle, at the roots of the fingers, in the wrists, in the arms and in the feet, on the stomach at the sides viz. the right and the left, at the navel and at the back. He should place Śa, ṢA and SA at the root, in the heart or on the head. Or he shall place “LA” and other (letters) too.

27-30. The order of letters in the Bhūtalipi is as follows, (At the outset) the five short (vowels) viz. A, I, Ṛ, ṭ[?] then the conjunct letters four in number (i.e. E, Ai, O and AU), then HA, YA and RA then VA and LA, then A and KA along with KHA and GA in the beginning. This is the order in the remaining groups. Then ŚA, ṢA and SA should be placed.

The forty-two letters are grouped (into nine classes). The first group consists of five letters (the five vowels). The second one consists of four letters (E, AI, O and AU). Then there are six groups each consisting of five letters (Ha, Ya, VA, RA and LA and then the famous five groups gutturals etc. and the ninth one consists of letters (ŚA, ṢA and SA). There are nine Īśvaras (lords) of letters. They are Brahmā, Viṣṇu and Rudra, Dhaneśa (Kubera), Indra, Yama, Varuṇa, Soma and the three Śakti’s (the last one taken as one deity). This is the order in the Bhūta lipi.

31. The Pāṭha (Reading) in the Sṛṣṭi (creation) is thus. It is the opposite one in Saṃharti (Annihilation). The Sthānas (Places of Nyāsa) are these alone. But Visarga and Bindu (Visarga and Anusvāra) are to be added at the end of letters.

32-33. Thereafter, the intelligent disciple shall perform Nyāsa rites of Rati, etc. along with meditation. They resemble Japā flowers (China rose). Their bodies are pink like saffron. They should be meditated as seated on the left lap of Kāma holding arrows and bow.

Kāma[5] is endowed with pleasure in sexual dalliance. He is the lover of a loveable woman.

34. Being lustrous he is accompanied by Mohinī (enchantress). He is of loveable body. He follows a lady fond of quarrel, with appeasing movements. He is accompanied by Vilāsinī (the graceful and charming woman).

35. Kama is accompanied by Kalpalatā, Kāmuka (Lustful one) is accompanied by a lady of dark complexion. Kāma is beaming with pure smiles. Bandhaka (A person who catches) is accompanied by Vismṛta (v.l. in N. Vismayayuta “full of adbhuta sentiment.”)[6]

36. Ramaṇa (One who diverts himself) is accompanied by Vismitākṣī. Kāma is accompanied by Lelihānā (Licking) woman. Ratinātha (Lord of Rati) is having quarters for his garments (i.e. is naked). He is fond of sexual dalliance.

37. Ratinātha is accompanied by a beautiful hunchbacked woman. He is accompanied by Dharā (? Earth). Ramākānta (Lover of Ramā i.e. Viṣṇu) is worthy of being worshipped by Ramā. The Niśācara (Night-wanderer) is enjoying sport.

38. The lord of Mohinī is an auspicious one; Nandaka (one who gladdens) is accompanied by Uttama (excellent woman). Nandin (one who gives joy) is accompanied by excellent Suras. Nandana (the pleasing one) is one who delights.

39. The five-arrowed one is endued with good handsome features. He is a boy and lord of treasures. He is accompanied by a lady fond of quarrel. Again, he is the companion of Rati (or accompanied by Rati).

40. Flower-bowed one is accompanied by (a beautifuleyed lady). He is the lord with a good (charming face). He wields a great bow. He is blue in colour (?) and Jaṭilya (full of matted hair). He wanders gradually. He is the husband of Pālinī.

41. Śivā’s lover is wandering. It is an illusion. He wanders along with a beautiful woman. He who causes illusion is attained by Ramā. He who is caused to wander is regarded as Bhṛṅga (Bee).

42. His conduct is confused on account of Locanā (one having beautiful eyes) with long tongue. She (?) follows that which is illusory and conducive to illusion. Mohana (the enchanter) follows Ratipriyā (one who is fond of sexual dalliance).

43. Mohaka (one who fascinates) (is accompanied) by Palāśākṣī (one whose eyes are like Butea frondosa flowers). Fascination is desirable in a housewife. Vikaṭeśa (Lord of the female deity Vikaṭā) is the upholder of delusion. He is increasing in size and is accompanied by Dharā.

44. Lord of inebriation is incomparable. Manmatha is accompanied by Malaya (the Southern breeze). He is the cause of intoxication. He is accompanied by Hlādinī (the deity of delighting power). He is (sexually) desirous. He has faces all round.

45. He is the leader with black bees ahead. He is a musician accompanied by Nandinī. He should be known as Gaṇaka (one who counts) when accompanied by Anāmā (Nameless one). He is regarded as a dancer in the company of Kālī.

46. When accompanied by Kālakarṇī (deity of misfortune) he indulges in playing and joking. When he is intoxicated he is regarded as Kandarpa. As the husband of Śyāmalā he is a dancer. He is sportive and engaged in amorous diversion when accompanied by his vehicle fish).

47. Coming into close contact with Unmattā (overpassionate woman) he rejoices increasing love and lust.

Thereafter, he shall perform the Nyāsa rite of Śrīkaṇṭha etc. along with meditation.

48-50. The disciple shall remember Ardhanārīśvara[7] (lord Śiva half of whose body is a woman), whose halves are similar (in colour) to saffron and gold, half of whose form is the daughter of the mountain. Hara is the king in whose hands there are two nooses, rosary and (Mudrā) of granting whatever is desired. After meditating thus he should perform the Nyāsa rite of the desired object in the spots of Lipis (characters of the alphabet).

These shall be Varamūrtis (excellent lords (idols) viz.—Śrīkaṇṭhūti, Ananta, Sūkṣma, Trimūrti, Amareśvara, Urvīśa, Bhārabhūti, Atithīśa (? Tithīśa), Sthāṇuka, Hara, Caṇḍīśa, Bhautika, Sadyojāta, Anugraheśvara, Akrūra and Mahāsena.

51-54. Then Krodhīśa, Caṇḍīśa, Pañcāntaka, Śivottama, Ekarudra, Ekakūrma and Ekanetra along with Caturānana (four-faced Brahmā), Ajeśa, Śarva, Someśa, Hara, Lāṅgali, Dāruka, Ardhanārīśvara, Umākānta, Cāpāḍhya, Daṇḍin, Atri, Mīna, Meṣa, Lohitā, Śikhin, Khaḍgadaṇḍa, Dvidaṇḍa, Sumahākāla, Vyālin, Bhujaṅgeśa, Pinākin, Khaḍgeśa, Baka, Śveta, Abhra, Lakulin, Śiva and Saṃvartaka.

55-57a. The following are Svaraśaktis[8] (the presiding deities of vowels):—Pūrṇodarī, Virajā, Śālmalī, Lolākṣī, Vartulākṣī, Dīrghaghoṇā, Suḍīrghamukhī, Gomukhī, Dīrghajihvikā, Kuñjarī, Ūrdhvakeśā, Dvimukhī, Vikṛtānanā, Satyalīlā, and Kalāvidyā.

57b-61. The following are the Varṇaśaktis (Presiding deities of Varṇas or letters (i.e. consonants) viz.—Mahākāli, Sarasvatī, these two are endowed with all powers or are accompanied by all Śaktis viz. Gaurī, Trailokyavidyā, Mantrātmaśaktikā, Lambodarī, Bhūtamātā, Drāviṇī, Nāgarī, Khecarī, Mañjarī, Rūpiṇī, Vīriṇī, Koṭarā, Pūtanā, Bhadrā, Kālī, Yoginī, Śaṅkhiṇī, Garjiṇī, Kālarātri, Kūrdinī, Kapardinī, Vajrā, Jayā, Sumukheśvarī, Revatī, Mādhavī, Vāruṇī, Vāyavī, Rakṣāvadhāriṇī, Sahajā, Lakṣmī, Vyāpinī and Māyā.

62-63. The Raṅga (platform) should be made with the letters (colours) of Bālā mentioned twice before and the sixfold Nyāsa rites are to be performed for the achievement of identity with the deity. The disciple should at the outset place Vighneśa and others there along with meditation.

64-71a. They resemble the midday sun, they have elephant-faces and three eyes. They have in their hands the noose, goad, boon and freedom from fear (the last two in the form of Mudrās) and they are endowed with power. The following Gaṇeśas are the presiding deities of the fifty one letters in due order, viz.—Vighneśa, Vighnarāja, Vināyaka, Śivottama, Vighnakṛt, Vighnahantā, Vighnarāṭ, Gaṇanāyaka, Ekadanta, Dvidanta, Gajavaktra, Nirañjana, Kapardavān, Dīrghamukha, Śaṅkukarṇa, Vṛṣadhvaja, Gaṇanātha, Gajendrāsya, Śūrpakarṇa, Trilocana, Lambodara, Mahānāda, Caturmūrti, Sadāśiva, Āmoda, Durmada, Sumukha, Pramodaka, Ekapāda, Dvipāda, Śūra, Vīra, Sanmukha, God named Varada, Vakratuṇḍa, Dvidantaka, Senānī, Grāmaṇī, Matta, Mattarnūṣakavāhana, Jaṭin, Muṇḍin, Khaḍgin, Vareṇya, Vṛṣaketana, Bhakṣyapriya, Gaṇeśa, Meghanāda and Gaṇeśvara.

71b-76a. The following are their Śaktis:—Śrī, Hrī, Puṣṭi, Śānti, Tuṣṭi, Sarasvatī, Rati, Meḍhā, Kānti, Kāminī, Mohinī, Tīvrā, Jvālinī, Nandā, Suyaśas, Kāmarūpiṇī, Ugrā, Tejovatī, Satyā, Vighneśānī, Svarūpiṇī, Kāmārtā, Madajihvā, Vikaṭā, Ghūrṇitānanā, Bhūti, Bhūmi, Dviramyā,[9] Āmārūpā (?), Makaradhvajā, Vikarṇabhrukuṭi, Lajjā, Dīrghaghoṇā, Dhanurdharī, Yāminī, Rātri, Candrakāntā, Śaśiprabhā, Lolākṣī, Capalā, Ṛjvī, Durbhagā, Subhagā, Śivā, Durgā, Guhapriyā, Kālī and Kālajihvā.

76b-78a. Thereafter, the disciple shall perform the Nyāsa rites of the planets[10] with concentration and mental purity along with meditation. He shall remember the sun and other planets who have boons and freedom from fear depicted in their hands (by means of Mudrās) who are embraced by their Śaktis and who resemble saffron, milk, blood, jasmine, gold, conch, cloud, smoke and darkness (the traditional complexions assigned to planets).

78b-79. After positing the sun beneath the heart, the moon on the head and Mars on the eyes the devotee should perform the Nyāsa rite of Śukra in the heart, Budha (Mercury in the middle of the heart), Bṛhaspati on the neck, Śanaiścara (Saturn) in the navel, Rāhu in the mouth and Ketu on the pair of feet.

80-84a. The Tārās (constellations) have the lustre of the blazing deadly fire but they have the Mudrās of bestowing boons and freedom from fear in their hands. The disciple shall place these constellations after meditating upon them, as adorned by all ornaments. They shall be placed in the forehead, in the pair of eyes, the pair of ears, in the pair of nostrils, in the neck, on the pair of shoulders, then on the elbows (Reading should be Kūrparayoḥ but then the metre goes wrong), on the wrists, on the breasts, in the navel, in the hips, on the thighs, on the knees, on the calves and on the pair of feet.

The Nyāsa rite of the ceremonious placing of Yoginīs[11] should be performed by the pure disciple in the heart, in the navel, in the mystic Plexus called svādhiṣṭhāna cakra, in the middle of the eyebrow (the Ājñācakra) and on the head in due order. The disciple shall place the Varṇaśaktis (Śaktis of the letters of the alphabet) in the middle of the lotus, moon and pericarp as well as on the petals. He should place all on the tips of the petals of the lotus and on the head.

84b-89. The following are the Śaktis[12] of the letters grouped in different classes. The following (?) sixteen Śaktis (are concerned with vowels, their names being with those very vowels except in certain cases). They are Amṛtā, Ānandinī, Indrāṇī, Īśānī, Umā, Ūrddhvakeśī, Ṛdviduṣī, Lṛkārikā, Ekapādātmikā, Aiśvaryakāriṇī, Auṣadhātmikā, Ambikā and Rakṣātmikā[13].

The following twelve Śaktis should be known in the proper order. They are Kālikā, Khecarī, Gāyatrī, Ghaṇṭādhāriṇī, Nādātmikā, Cāmuṇḍā, Chatrikā, Jayā, Jhaṅkāriṇī, Saṃjñā, Ṭaṅkahastā and Ṭaṅkāriṇī.

The following should be known as Dvayapannagā (Ten?) Śaktis, Ḍoṅkāriṇī, Ṭhaṅkāriṇī, Ṇāminī, Tāmasī, Ṭhaṅkāriṇī, Dayā, Dhātrī, Nādinī, Pārvatī and Phaṭkāriṇī.

90. The following six Śaktis are in the proper orders—[14]Bandhinī, Bhadrā, Majjā, Yaśasvinī, Ramā and Lāminī.

91. There are four Śaktis viz. Varadā, Śrī, Ṣanḍhā [Ṣaṇḍhā?] and Sarasvatī. Then there are two Śaktis viz. Hākinī and Kṣamā.

92. Thereafter, he should place Meṣa and other Rāśis[15] (signs of the zodiac) beginning with right foot and ending with left foot in this order viz.—foot, penis stomach, heart, arm, head (All of the right side), head, hand, heart, stomach, penis and foot (all of the left side).

93-100. Then the disciple shall perform the Nyāsa rite for the following Pīṭhas (i.e. holy cities where Devī shrines are famous) and one more namely Cakra [also see Geographical list of Pīṭhas]. These Nyāsas are performed in the mind (altogether fifty-one). They are Vārāṇasī, Kāmarūpa, Nepāl, Pauṇḍravardhana, Varasthira, Kānyakubja, Pūrṇaśaila, Arbuda, Āmrātakeśvara, Ekāmra, Trisrotas, Kāmakoṣṭhaka, Kailāsa, Bhṛgunagara, Kedāra, Candrapuṣkara, Śrīpīṭha, Ekavīra, Jālandhara, Mālava, Kulānna, Devikośa, Gokarṇa, Māruteśvara, Aṭṭahāsa, Viraja, Rājaveśman, Mahāpatha, Kolāpura, Kailāpura, Kāleśvara, Jayantikā, Ujjayinī, Citrā, Kṣīraka, Hastināpura, Uḍīra, Prayāga, Ṣaṣṭimāyāpura, Gaurīśa (?), Salaya, Śrīśaila, Maru, Girivara, Mahendragiri, Vāmanagiri, Hiraṇyapura, Ṃahālakṣmīpura, Purodyāna and Chāyākṣetra. These fifty-one are in the order of fifty-one letters. They shall be placed in the positions of letters.

101. He shall place others in the positions mentioned. They are united by the transit (conjunction?) of letters (?). The sixfold Nyāsa rite mentioned by Īśvara himself has been recounted by me.

102. After having thus performed the Nyāsa rite of the parts of the body, the disciple shall be Devatāvigraha (one who has attained the physical body of the deity). Thereafter, having performed six Nyāsas, the disciple should perform Śrīcakra-nyāsa.[16]

103. With Mantras beginning with Aṃśa and ending with Anantyamūrti he should perform the Vyāpaka (pervading) rite. He should place in the heart the Mantras for dedication to Mystical circle of Cakreśvarī (goddess of the mystic circle, i.e. Śrīcakra)

104-107. He shall place others viz. Gaṇapati and the rest in the positions mentioned. The left thigh is on a par with the right thigh. He shall place all of them in due order viz. Gaṇeśa, Kṣetrapāla, Yoginī and Baṭuka. At the outset Indra and others should be placed at the tips of the big toes of the feet, knee, side, shoulder, head, face and Mūlādhāra (the first mystic plexus in the body).

The ten Siddhis beginning with Aṇimā should be placed on the shoulder, hand, back, chest, tips of the toes, buttocks, arms, back, head and the feet.

108. The Siddhis are Aṇimā, Laghimā, Mahimā, Īśitva, Vaśitva, Prākāmya, Prāpti, Icchā, Rasa, and Mokṣa.

109-110. Thereafter, O Brāhmaṇa, the intelligent disciple should place the eight Mother-goddesses in due order on the head, to the left, left-knee, right knee, right shoulder and left shoulder.

111-116. Mothers are Brāhmī, Māheśvarī, Kaumārī Vaiṣṇavī, Vārāhī, Indrāṇī, Cāmuṇḍā, and Mahālakṣmī. These should be known in due order by the learned men. He shall place the eight deities of the Mudrās on these eight positions and place the remaining two cm the head and the foot.

Mudrās are:—Sarvasaṃkṣobhiṇī, Sarvavidrāviṇī, Sarvārthākarṣaṇī, Sarvavaśakāriṇī, Sarvapriyakāriṇī, Sarvamahāṅkuśī, Sarvakhecarī, Trikhaṇḍā, Sarvabījā, Sarvaprapūrikā and Yonimudrā. These should be known as Mudrās. The disciple shall place Cakreśvarī thereafter dedicating the Cakra (the mystic circle) that fascinates the three worlds and making it pervade his own physical form.

Thereafter, he shall place the sixteen Kalā and Nityā deities in due order.

117-122a. These deities are—Kāmākarṣaṇarūpā, Śabdākarṣaṇarūpiṇī, Ahaṃkārarūpiṇī, Buddhyākarṣaṇarūpiṇī, Sparśākarṣaṇarūpā, Rūpākarṣaṇarūpiṇī, Rasākarṣaṇarūpā, Gandhākarṣaṇarūpiṇī, Cittākarṣaṇarūpā, Dhairyākarṣaṇarūpiṇī, Smṛtyākarṣaṇarūpā, Hṛdākarṣaṇarūpiṇī, Śraddhākarṣaṇarūpā, Ātmākarṣaṇarūpiṇī, Amṛtākarṣiṇī and Śarīrākarṣiṇī.

The places where they are to be allotted in the Nyāsa rite, are the right ear, back, shoulder, elbow, back of the palm of the right hand, the right buttocks, knee, calf and forepart of the right foot. Then in the reverse order as regards the left foot etc.

122b-123. After placing Cakreśī and after worshipping the Cakra, he should make it pervade his own physical form and then place the eight deities beginning with Anaṅgakusumā in the (right part of) the bone of the forehead, right clavicle, right thigh and right calf. In the left it is in reverse order:

124-125. Those eight deities are: Anaṅgakusumā, Anaṅgamekhalā, Anaṅgamadanā, Anaṅgamadanāturā, Anaṅgarekhā, Anaṅgavegā, Anaṅgāṅkuśā and Anaṅgādhāramālinī.

126. After placing Cakreśī, worshipping the Cakra and making it pervade his own physical form, he shall place the the Śakti-deities beginning with Sarvasaṃkṣobhiṇī.

127. He shall place them in forehead, cheek, root of the foot, knee, in the calf both above and below and in the case of the left side, in the reverse order.

128-131a. (The Śakti deities are) Sarvasaṃkṣobhiṇī, Sarvavidrāviṇī, Sarvākarṣaṇī, Śarvaprahlādinī, Sarvasammohinī, Sarvastambhinī, Sarvajṛmbhiṇī, Sarvavaśakāriṇī, Sarvarañjinī, Sarvonmādinī, Sarvārthasādhinī, Sarvāśāpūriṇī, Sarvamantramayī and Sarvadvandvakṣayaṅkarā.

131b-133a. After placing Cakreśī, worshipping the Cakra and making it pervade his own physical form, the disciple should perform the Vinyāsa rite of the ten deities beginning with Sarvasiddhipradā in the right nostril, at the root of teeth, right breast, (right) elbow and wrist. In the leftside it is in the reverse order.

133b-135. The deities are:—Sarvasiddhipradā, Sarvasampatpradā, Sarvapriyaṅkarā, Sarvamaṅgalakāriṇī, Sarvāgha-

mocinī, Sarvaduḥkhavimocinī, Sarvamṛtyupraśaminī, Sarvavighnavināśinī, Sarvāṅgasundarī and Sarvasaubhāgyadāyinī.

136-138. After placing Cakreśī and dedicating Cakra (If the reading is Samar[?]ya—“After worshipping the Cakra”) and having made it pervade (his own) physical form, the disciple should place Sarvajñā and other deities in the chest and the teeth.

These deities are: Sarvajñā, Sarvaśakti, Sarvajñānapradā, Sarvajñānamayī, Sarvavyādhivināśinī, Sarvādhārasvarūpā, Sarvapāpaharā, Sarvānandamayī, Sarvarakṣāsvarūpiṇī and Sarvepsitaphalapradā.

139-141. After placing Cakreśi, dedicaling the Cakra and making it pervade his own physical form, the intelligent disciple should place at the outset Vāmā and others and then Pakṣiṇī[17] and others on the right side of the chin, neck, breast, navel and sides.

Those deities are Vāmā, Vinodinī, (v. l. Vimocanī) Vidyā, Vaśitā, Kāmikī, Kāmeśvarī, Parā, Mohinī, Vimalā, Aruṇā, Jayinī, Sarveśvarī and Kaulinī. These are their names mentioned by the wise.

142-143. After dedicating the Cakra and having made it pervade (his own) physical form, he should place Cakreśvarī in the heart after making a triangle. In the directions beginning with the East outside it, the intelligent disciple should place the four weapons. In the middle, in the corners beginning with South-east he should place the four Pīṭhas.

144-148. After making a circle in the middle he should place the sixteen Nityā deities viz.: Kāmeśvarī, Bhagamālinī, Nityaklinnā, Bheruṇḍinī, Vahnivāsinikā, Mahāvajreśvarī, (Śivā) Dūtī, Tvaritā, Kulasundarikā, Kulyā, Nīlapatākā, Vijayā, Nityamaṅgalā, Prabhāmālinī and Citrā. These should be placed in another triangle in the heart, beginning with the foot (i.e. Apex kept down-wards).

149-151. Pramodinī the eternal goddess and goddess Tripurasundarī are on either side and the disciple shall place Devī Akhaṇḍajagadambikā in their middle.

After placing Cakreśvarī in the heart and making the Cakra raised up, he should show Mudrā named Yoni and perform Japa of Sarvānanda Mantra. Thus the Cakradevī of the mystical circle will become one’s own.{GL_NOTE::}

Footnotes and references:

[1]:

VV. 1-16 (and even later)deal with the procedure of meditating upon Lalitā. The main principle is: you can worship a deity after identifying yourself with the deity. Hence, the necessity of Nyāsas (vide vv. 8-18).

[2]:

Letters of alphabet have a special yogic significance. It is presumed that all the letters of the alphabet from A to Kṣa are distributed on the nerve-plexuses or the Yogic Cakras, from the lowest-Mūlādhāra Cakra upto the Ājñā Cakra which carries the last two Ha-Kṣa on its two ‘Petals’ thighs (vide verse 24).

[3]:

Bhūta-lipi is explained as of the following order:

1. Short Vowels—a, ī, u, , .
2. mixed or conjunct vowels e, ai, o, au.
3. Ka-varga (gutturals).
4. Ca-varga (palatals).
5. Ta-varga (Cerebrals).
6. Ta-varga (Dentals).
7. Pa-varga (Labials).
8. Ha, la, Va, Ra and La.
9. Śa, ṣa, Sa.

[4]:

They are under the dominance of the following nine Īśvaras: Brahmā, Visṇu, Rudra, Kubera, Indra, Yama, Varuṇa, Soma and Devī (consisting of three Śaktis).

[5]:

These appear to be a garland of epithets.of the God of Love, though have tried to construe them as the description of Kāma.

[6]:

not intelligible.

[7]:

The cult of Ardhanārīśvara seems to be once popular in South India. In the Kailāsanātha temple at Kāñcī and other seven places in South India we have idols of Ardhanārīśvara. (Gopinath Rao—Elements of Hindu Iconography II.1) The androgynous figure (a tersa[terra?] cotta bust) discovered in the excavation of Taxilā and head of an image from Rājghāṭ (now in the Mathura Museum) show the spread of the cult in the north also.

[8]:

From V. 55 onwards we have the Tāntrika-yogic significance of the fifty-one letters of the alphabet. Thus for example:

(i) VV.55 to 61 mention Śaktis presiding over the letters of the alphabet.

(ii) VV 64-71a enumerate the Vighneśas i.e. the impediment-warding Gaṇeśas.

(iii) VV.71b-76a: The Śaktis of the above Vighneśas.

The trouble in tabulating them per letter of the alphabet is due to their irregular (less than fifty-one) number in some cases. VV.55-57 give the Śaktis of 15 vowels while vv.57-61 regard Mahākālī and Sarasvatī as the main deities endowed with 33 Śaktis which are supposed to be of consonants. Thus the number of Śaktis enumerated here is 15 + 33 = 48 and not 51 as required.

[9]:

v.l. Dvirambā, Umā, Mārūpī.

[10]:

Belief in the influence of planets is very old. They (nine in number) must be posited by Nyāsa at the various parts of the body; the Nyāsa of planets is given in vv.76-79.

Similar belief about stars (and constellations) prevailed among ancient men and they are to be posted by Nyāsa on different parts of the body as instructed in vv.80-82a.

[11]:

Yoginīs are appropriately posted on the Yogic Cakras in our body by Nyāsa (VV. 81b-84a).

[12]:

Letters of the alphabet have their separate Śakti each per letter. VV 84b-91 give an alphabetic list of Śaktis. Thus VV.84b-86a give the list of Śaktis beginning with a, ā, i, ī etc. but ṃe number of vowel Śaktis is 13 and not 17. VV 86b-91 give an alphabetic list of Śaktis of consonants which are 35 as given here. Thus Svara-Śaktis 13 + Vyañjana-Śaktis 34=47 and 51 (the required number for all letters).

[13]:

Actually only 13 Śaktis and not 16 Śaktis are enumerated here.

[14]:

vardhinī in this text is not correct.

[15]:

Placement of different Rāśis (signs of zodiac) on different parts of the body.

[16]:

After performing the preliminary Nyāsas the devotee is to perform the Nyāsa of Śrī-Cakra. It is very elaborate and should be read in the translation of vv.103 onward.

[17]:

The reading vaśinī in N. 44.140 is correct as there is no Pakṣiṇī in the following list.

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