Chapter 88 - Rādhādimantra Nirūpaṇa—Mantras of Rādhā and others

[Sanskrit text for this chapter is available]

Sūta said:

1-2. O brahmins, after hearing thus of the mode of worship of all incarnations along with their mantra and procedure of meditation, Nārada of divine vision, humbly asked him of the names of incarnations of Śrī Rādhā, the primordial mother of the universe.

Nārada said:

3. O sage, I am blessed and contented thanks to your grace, since I have heard the greatness of the mantras of the mothers of the universe.

4-5. Just as the incarnations of Lakṣmī and others have been glorified, so also, (please recount) the greatness of the incarnations of Rādhā. I wish to hear it. O foremost among the knowers (of greatness) what is their number? What are their features and powers of the incarnations of Rādhā? Please recount them truly as all of them are the bestowers of all attainments.

6. On hearing these words of Nārada, Sanatkumāra, the son of Brahmā, meditated on the lotus-like feet of Rādhā and said.

Sanatkumāra said:

7. Listen, O brahmin, I shall mention the secret of secrets, the story of the incarnations of Rādhā. It is the bestower of desired achievements to those who are devoted to her.

8-11, Candrāvalī and Lalitā are the two everlasting beloved friends. Candrāvalī is the chief among the group of eight beginning with Mālāvatī. Lalitā is the mistress of the eight beginning with Kalāvatī. In the worship of Rādhā’s feet, Mālāvatī and others are mentioned. Now listen to the names of those of whom Lalitā is the chief. They are Kalāvatī, Madhumatī, Viśākhā, Śyāmalā, Śaivyā, Vṛndā and Śrīdharā. They are possessed of the form similar to hers. There are other friends also mentioned to be thirty-two among whom Suśīlā is their chief.

12-15. O highly blessed one, listen to them. I shall mention their names. They are: Suśīlā, Śaśilekhā, Yamunā, Mādhavī, Ratī, Kadambamālā, Kuntī, Jāhnavī, Svayamprabhā, Candrānanā, Padmamukhī, Śāvitrī, Sudhāmukhī, Śubhā, Padmā, Pārijātā, Gauriṇī, Sarvamaṅgalā, Kālikā, Kamalā, Durgā, Virajā, Bhāratī, Surā, Gaṅgā, Madhumatī, Sundarī, Candanā, Satī, Aparṇā, Manasā, Ānandā, these are the thirty-two friends of Rādhikā.

16. Once, gentle lady Lalitā assumed the male form of Kṛṣṇa. She created sixteen Kalās (parts) having the same lustre like her.

17. O excellent sage, I shall describe their mantra, meditation and their mystic diagram and their mode of worship. It is a great secret in all Tantras.

18-21.^[1] The following Śaktis are vowels: Vāta (a) marut (ā), agni (i), vahni (ī), dharā (u), Jalam (ū), vibhu ([?]) svaḥ ([?]), cara (e), śuci (ai), bhūḥ (o), vanam (au), kham (am).

Prāṇa (ka), tejas (kha), Sthirā (ga), vāḥ (gha), dyuḥ (ṅa), vāyu (ca), prabhā (cha), jyā (ja), kam (jha), abhram (ña), nāda (ṭa), dāvaḥ (ṭha), kuḥ (ḍa), pātha (ḍha), vyoma (ṇa), rayaḥ (ta), śikhi (tha), gotrā (da), toyam (dha), śūnyam (na), javī (pa), dyuti (pha), bhūmi (ba), rasa (bha), nabhaḥ (ma), vyāpta (ya), dāha (ra), rasā (la), ambu (va), viyat (śa), sparśa (ṣa), hṛt (sa), haṃsa (ha) ilā (la), grāsa (kṣa) are of the nature of hal (consonants).

22. Rādhā herself is lying in grāsa (kṣa) and she is of the nature of śakti. the remaining sixteen are her kalās and the thirty-two are known to be their kalās.

1. Tripurasundarī

23-25. The entire sphere of Vāk, O lord of sages, is permeated by these śaktis. Śrī Radhā^[2] has assumed the form of Ṣoḍaśī (the sixteenth) among those led by Lalitā. She is called the goddess Sundarī by the Tāntrikas. How Kurukullā Vārāhī and both Candrāvalī and Lalitā came into being and the number of mantras also will be recounted by me to you in the proper way.

Hṛt (sa), prāṇa (ka), ilā (la), haṃsa (ha) with dāha (ra), vahni (ī) and sva (.) is cited as Lalitā.^[3]

26-27. With the difference of arrangement of haṃsa (ha) she is of three forms, listen to it according to its sequence. The first one is preceded by haṃsa, the intermediate one in which ha is lying in the middle and the third is the basic one. The fourth one is she herself with them (that is three groups of syllables) by the last hrīm. Among the bījas the fourth one is conducive to liberation and the three others are conducive to possession.

28-30. Thus the Vidyā of Tripurasundarī has been recounted.

The bīja of Vaśinī^[4] is mentioned by dāha (ra), bhūmi (va), rasā (la), kṣmā (ū) and sva (.) (that is vlūm). The great Kāmeśvarī bīja is mentioned by prāṇa (k), rasā (la) joined with śakti (hrīm) (that is klhrīm). The mantra of Mohinī is formed by the combination of śūnya (na), ambu (va), rasā (la), vahni (ī) and sva (.) (nvlīm). The bīja of Vimalā is mentioned by the combination of vyāpta (ya), rasā (la), kṣmā (ū) and sva(.) (that is ylūm). By the combination of jya (ja), nabha (ma), dāha (ra), vahni (ī) and sva (.) the mantra of aruṇa is formed.

31-32. The mantra of Jayinī^[5] is cited as the bestower of victory everywhere. The mantra consists of kam (jha), nabha (ma), dāha (ra) vyāpta (ya), kṣmā (ū) and sva (ṃ) (that is jhmryūm).

The mantra of Sarveśvarī is the bestower of victory everywhere.

The mantra of Kaulinī consists of grāsa (kṣa), nabhaḥ (ma), dāha (ra), vahni (ī), sva (.) (that is kṣmrīm).

33. The nyāsa rite is to be performed with these eight mantras of śaktis (vaśinī etc.) along with vargas (that is placing a k c ṭ t p y ś) in the beginning and ending with vāgdevatā (vāgdevatāyai namaḥ), by dint of which one should become one with the goddess.

34. He should fix in the cerebral orifice, on the forehead, in the joint of the eyebrow, on the throat, in the heart, in the navel, in mūlādhāra, in two feet from the root upto the end of them.

35-37. He should perform the ṣaḍaṅga rite with the bīja adding with six long vowels.

He should meditate on Lalitā, the red-complexioned one who is holding in her hands the arrows, the bow, the noose and the goad. She is joyous and kept in restraint on the lap of Kāmarāja. The goddess stationed in the middle is only one but she assumes sixteen forms. Hence, one should worship the other fifteen in her limbs. Śiva is the sage, the metre is ukta, Lalitā and others are the deities.

38. Later on, I shall explain in detail the surrounding deities of Nityās and application of mantras in the chapter called Nāmasañcaya (the collection of names).

2. Kāmeśvarī:

39. Among the sixteen Nityā deities^[6] Kāmeśvarī is mentioned to be the second and is the bestower of all desires. Listen, O Nārada.

40-42. Śuci (e) is joined with sva (.) Lalitā shall be the second. Śūnya, agni, raya and vyāpta (i.e. nityā), prāṇa, rasā, agni, the pair of śūnya, cara, nabho gotrā, (i.e. Klinnamadā) gotrā (da) again is attached with dāha (ra), ambu (va) is joined with cara (e) (i.e. drave), hṛt (sa) is joined with śakti (:) and vana (au) (i.e. sauḥ). This Kāmeśvarī Nityā consists of eleven letters. It is the bestower of desires.

43-46. He should conceive the six aṅgas with the mūlavidyā in the proper sequence. With one, the heart is conceived, the head is also conceived with that much, the advayam the tuft with the third and the fourth, with the fifth and sixth kavaca, with seventh, eighth, ninth and tenth the eye, and with the one viz the last one astra is to be done. He should fix the syllables of vidyā in the pair of eyes, ears and nostrils, in the tongue, in the heart, in the navel, in the anus. Then he should perform the nyāsa^[7] spreading it all over the limbs beginning with the head and ending with the forefoot. Then again, he should perform the nyāsa of the syllables of vidyā in these locations. Thereafter, with the entire thing he should perform the vyāpaka rite in the aforesaid manner.

Henceforth, I shall mention meditation which is prescribed for the daily ritual and whereby the deity being highly pleased grants the desired objects without any strain.

Meditation:

47-51. She resembles a crore of rising suns, who is shining splendidly with ruby-set crown. She is bedecked in necklaces, garlands, girdles, rings, ankletsand other ornaments. She has six arms and three eyes, the digit of the moon has adorned her crest. She is present in a lotus of five^[8] petals, eight petals, sixteen petals, two circles, a hexagon and a square. Her gentle smile heightens the beauty of her face, she has slow benign look of mercy. She holds in her hands, noose,^[9] goad, sugarcane bow, the flower arrows, a jewelled vessel full of nectar and a boon. Thereafter, the devotee should apply the mantra for practical purposes when the mantra has become mature.

3. Bhagamālinī:

52-73. I shall say about the third named Bhagamālinī. The first syllable of Kāmeśvarī is the first (that is aim), then rasa (bha), sthirā (ga) rasa (bha) attached with dharā (u), then sthirā (ga) with cara (e) (that is bhuge), then rasa (bha), sthirā (ga) and śūnya (na) joined with agni (ī) (that is gni), then rasa (bha) sthirā (ga) with (o) (that is bhago) gotra (da) with dāha (ra) and agni (i) (that is bhagodari), then rasa (bha), sthirā (ga), nabha (ma) joined with marut (ā), rasa (la) attached with cara (e) (i.e. bhagamāle), then rasa (bha) sthirā (ga) joined with marut (ā), ambu (va), haṃsa (ha) attached with cara (e) (i.e. bhagāvahe) then rasa (bha), sthirā (ga) then sthirā (ga) joined with dharā (u) (gu), haṃsa (ha) is attached with vyāpta (ya) and cara (e) (bhagaguhye), then rasa (bha), sthirā (ga), vyāpta (ya) attached with bhu (o) śūnyam (na) joined with agni (i) (bhagayoni), rasa (bha), sthirā (ga), śūnya (na) with agni (i) marut (a) with javī (pa), raya (ta) agni (i), śūnya with agni (i) (bhaganipātini), then hṛt (sa), dāha (ra) with ambu (va), (that is sarva), rasa (bha), sthirā (ga) (bhaga), ambu (va), viyat (śa) with bindu (.), prāṇa (ka) dāha (ra) with agni (i) (that is sarvabhagavaśaṃkari), then rasa (bha), sthirā (ga), kṣmā (u) is attached with dāha (ra) (i.e. ru), this again is joined with cara (e) and javī (pa) (that is bhagarūpe), then from the former vidyā (that is Kāmeśvarī) the letters from the third onward Lethe four consecutive letters are to be taken (they are nityaklinne) then rasa (bha) then sthirā (ga) then hṛt (sa) is joined with ambu (va), then dāha (ra) is attached with kṣmā (u) (i. e. rū), javī (pa), is joined with cara (e) that is bhagasvarūpe), hṛt (sa) is joined with dāha, ambu and marut (va, ā and ra) (= sarva), vyoma (nā) is joined with agni (i) (sarvāṇi) then rasa (bha), sthirā (ga) joined with marut (ā) śūnyam (na) with agni (i), then nabha and cara (ma and e), then haṃsa (ha) joined with vyāpta and marut (ya and ā), śūnyam (na) vyāpta (ya), then ambu (va), dāha (ra) with cara (e)(varade). dāha (ra) is similarly so (i.e. re) and raya ta is also like that (i.e. te), then hṛt (sā) with dhara (u) (i.e. su) is joined with dāha and raya along with (e) (i.e. rete), rasa (bha) sthirā (ga) then prāṇa (ka) with rasa (la), agni (i) (kli), then the pair of śūnyā (nna) along with cara (e) (i.e. bhagaklinne), then the two letters of the former are the first two that follows, that is, kli then the pair of śūnya (na), (klinna), then gotra (da) with dāha (ra) (dra) then cara (e) with ambu (va) (drave) then prāṇa (ka) along with cara (e) and rasa (la) (kle), gotrā (da) vyāpta (ya) gotra (da) with dāha (ra) and marut (ā) ambu (va) vyāpta (ya) (drāvaya). Vāta (a), nabha (ma) joined with bhu (o), vaḥ (gha) (amogha) then cara (e) (amoghe), rasa (bha) sthirā (ga) ambu (va) with agni (i) and the pair of vāyu (ca and ca) with cara (e) (bhaga vicce), then grasa (kṣa) with dharā (u), rasa (bha) with śakti (:), then again grasa (kṣa) with bhuḥ (o) rasa and vyāpta (bhaya) (that is kṣobhaya), then hṛt (sa) dāha (ra) with ambu (va), hṛt (sa), raya (ta) with ambu (va) and marut (ā) then śūnya (na) without the vowel sound (that is sarvasattvān), then rasā (bha) and sthirā (ga) is joined with cara (e), viyat (śa) is joined with ambu (va), dāha (ra) is joined with agni (i) (ahageśvari). Then śuci (ai) is joined with sva (.) (aim), Bhūmi (ba) is attached with rasa and kṣmā and sva (bhum), this composite seed lies in five places after the other. The five seed mantras are adorned with bindu. They are as follows: jyā (ja) with cara (e) (jem), rasa (bha) (bhem) and bhuḥ (o) is joined with nabha (ma) (mom), haṃsa (ha) with cara (e) (hem), it comes twice (hem), then prāṇa (ka) is joined with rasa (la), agni (i) (kli), then the pair of śūnya (nn) joined with cara (e) (klinne), then hṛt (sa) dāha (ra) ambu (va) with marut (ā) (sarvā) vyoma (na) with agni (i) rasa (bha) sthirā (ga) is joined with marut (ā) then śūnya (na) with agni (i) (sarvāṇi bhagāni), nabha with cara (me) ambu (va) viyat (śa), nabha (ma) joined with marut (ā) śūnya (na) vyāpta (ya) (me vaśamānaya) then hṛt (sa) is associated with raya, dāha, sva and vahni (strīm), then haṃsa (ha) with dāha (ra) ambu (va) rasa (la) cara (e) svam (.) (hrvlem), then the last one is haṃsa (ha) is joined with dāha, (r) vahni (ī) and sva (.) (hrīm). This nityā called Bhagamālinī is made of one hundred and thirty-five letters.

74-78. The aṅgas are to be conceived with the first syllable of the mantra. With the first letter the nyāsa on the head (is performed) then with the four the head is cited, with the three the tuft is prescribed, then with three groups of four^[10] the remaining limbs are prescribed (i.e. kavaca, netra and astra to be fixed in sequence).

He should then meditate on the goddess who is pink-red in colour. She is a beautiful lady with pink embellishment. She has a smiling face with three eyes and six arms. She is seated on a lotus. She holds in her left hand the kalhāra flower, the noose, the bow of Puṇḍra variety of sugarcane. In her right hands she holds a lotus, the goad and the flower arrow. She is surrounded on all sides with the groups of Śaktis similar in form and who are eulogised by the other deities emanated from the letters. They are of the nature of intoxicating love and rapturous in excitement. Thus, the third deity has been mentioned who is the enchantress of the mind of women.

4. Nityaklinnā:

79-83. O great sage, listen to the fourth vidyā called Nityaklinnā. Haṃsa (ha) is joined with dāha (ra), vahni (ī) and sva (.) (i.e. hrīm) and the eight letters beginning from the three belonging to Kāmeśvarī (i.e. Nityaklinne madadrave), then hṛt (sa), ambu (va) and marut (ā) and haṃsa (ha) is joined with marut (ā) svāhā. It contains eleven letters. The aṅgas are to be conceived with the letters of vidyā. The hṛdaya is to be conceived with the first (bīja) and with two each of the remaining limbs are to be conceived. He shall perform the nyāsa rite beginning with the root of the thumb and ending with the tip of the little finger and then going up. Then fixing the remaining letters in two palms he should fix the syllables in the heart, in the eyes, in the ears, in the two nostrils, in the skin, in the penis, in the anus, and in the feet.

Meditation:

84-86. He should meditate thus: She is red and pink in embellishment. She is clad in pink garments. Her garlands and unguents are pink-coloured. Her lotus-like face wears a charming smile. Her face appears splendid with the three eyes. She shines with pearl-like drops of sweat on her forehead. The crescent moon adorns the crest of her crown. In her four hands she holds the noose, the goad, the drinking vessel and fearlessness. She occupies a lotus as her seat. She is slow and lazy due to intoxication.

87. After meditating thus he should worship Nityā called Nityaklinnā along with her śaktis. O sage, the meritorious fourth deity has been recounted, who is called Nityaklinnā.

88-92. By the repetition of the mantra, women, delicate like fresh butter, melt as butter melts in contact with fire.

5. Bheruṇḍa:

Bhuḥ (o) joined with sva (.) (om), then prāṇa (ka) joined with dāha (ra) and with the former letter (that is krom), similarly, rasa (bha) joined with dāha(ra) and the former(om) (bhrom), again prāṇa (ka) joined with dāha (ra) and with vana (o) and sva (.) (krom), then kam (jha) joined with dāha (ra) and with that (i. e. om) (jhrom), then prabhā (cha) joined with dāha (ra)and that (i.e. om) (chrom), then jya (ja) joined with dāha (ra) and with that (om) and the last two letters of Nityaklinnā i.e. svāhā. This nine-syllabled mantra of Bheruṇḍa is the bestower of all attainments. He should fix the six aṅgas with six syllables lying in the middle excluding om and svāhā.

Then he should perform the rite of varṇanyāsa (nyāsa with letters). He should fix in the cerebral orifice, in the middle of the eye-brow, in the mouth, in the throat, in the heart, in the navel, in the cāra, and on the pair of feet. After performing the mātṛkānyāsa he should fix nine syllables. Henceforth, I shall mention meditation of the goddess. It is the bestower of all attainments.

Meditation

93-95. Her body resembles molten gold. She has three eyes. She has a charming smile beautifying her face. She is bedecked in divine ornaments. She is embellished with ear-rings, necklace, shoulderlets and cluster of jewels. She is exceedingly beautiful with ornaments like girdle, anklet, ring etc. She is holding in her hands the noose, the goad, the shield, the sword, the iron club, thunderbolt, bow and arrows. She is seated during the worship but differently at the time of practical application.

96-97. The śaktis have the same form and features who are adorned with shining weapons. They are surrounding her and have smiling faces. The devotee should worship vijaya etc. O leading sage, thus the fifth deity has been recounted. She is called Bheruṇḍā. Merely by remembering her, three kinds of poisons are destroyed instantaneously.

6. Vahnivāsinī

98. O excellent brahmin, the sixth deity is Nityā called Vahnivāsinī. Listen to the procedure of her worship. It is the bestower of excellent attainments on the aspirant.

99-100. The first syllable of Bheruṇḍā is the first syllable of her and the second syllable of her is the first syllable of Nityaklinnā (i.e. oṃ hrīm) then ambu (va), śūnya (na) along with haṃsa (ha) and agni (i) (that is vahni), then ambu (va) joined with marut (ā) then hṛt (sa) joined with marut (i) (si), then śūnya (na) joined with vyāpta (ya) and śuci (ai) (nyai) then again śūnya (na) joined with nabha (ma) with śakti (:) (i.e. namaḥ). Thus the nine-syllabled mantra is mentioned.

101. One should add long vowels with the second bīja of vidyā. After the syllable māyā (hrīm) and the six vowels at its end he should conceive aṅgas into the limbs and the hands.

102-103a. One should fix nine syllables of vidyā in the nine holes of the body. He shall perform nyāsa spreading over the limbs with the entire mantra for the realisation of self.

103b-109a. Meditation: She resembles the molten gold. She is a beautiful lady in the fresh bloom of youth. Her lotuslike face wears a charming smile. Her three eyes shine splendidly. She possesses eight arms. Ornaments set in ruby make her shine well. Her garments are made to appear red due to the combination of rays from the ruby on her crown. She is clad in yellow silk garments. Her anklets and girdle are bejewelled. She looks splendid with the bunches of flowers and ornaments mingling with pearls forming red hue. With her left hand she holds a jewelled lotus, the couch, the bow of Puṇḍra variety of sugarcane and the disc of full moon. In her right hands she holds Kalhāra, a golden horn, the flower arrow and mātuluṅga (pomegranate), on all sides she is surrounded by Śaktis having the same form and features. After meditating thus he should worship vahnivāsinī (of fiery form). By remembering her the three worlds become subservient.

109b-110a. O sage, then there is the seventh deity. She is Mahāvajreśvarī Nityā. I shall mention her vidyā which yields excellent siddhis unto the aspirant.

7. Mahāvajreśvarī Nityā Vidyā:

110b-113. The second syllable of Vahnivāsinī (hrīm), then the fourth (and fifth) syllable of Nityaklinnā (klinne), the first syllable of Bhagamālā (aim), the second syllable of Bheruṇḍa (krom), then the second, third, sixth, seventh, eighth, ninth syllables (nitya mada) and the first syllable of her becomes the last (hrīm).

He shall make them into groups of two, one, one, two, two, and two syllables. After making them encased in hrīm, he should conceive the six aṅgas. He should perform the nyāsa with all the syllables separately encased in hrīm each and do it in six limbs with the ten syllables of the mantra one after the other.

114-119. He should fix them in the eyes, ears, nose, speech, heart, navel, and the private parts.

Meditation

She is red-complexioned and clad in red garments. She has red fragrant garlands and ornaments. She has four arms and three eyes. She is highly brilliant with the ruby-set crown. In her hands she holds the noose, goad, sugarcane bow, and arrows made of pomegranate flowers. With her merciful, subduing and cool eyes she glances at the devotee. She is comfortably seated in the Cakra diagram with the triangle, a hexagon, lotus and the square. Her lotus-like face is charming with a smile. She is surrounded by Śaktis of similar features like her. She is staying in the middle of a raft. She is surrounded by the Śaktis seated in rafts that swing all round her throne. She is in the middle of a pink sea in which the rafts move to and fro. She is chatting jokingly with those śaktis. Thus one should meditate on the mistress of mantras placed in the red sea. This is said to be the seventh deity. Now listen to the eighth Dūtī.

8. Dūtī:

120-121. The last syllable of Vajreśvarī is the first syllable (hrīm), then viyat (sa) joined with agni (i), then ambu (va) joined with marut (ā), gotra (da) joined with kṣmā (u), then raya (ta) joined with vyāpta (ya) and śuci (ai) and the last two syllables of vahnivāsinī (namaḥ). Thus the Dūtī Nityā is mentioned.

122-126. The nyāsa on six limbs is performed with the first syllable of the vidyā after having joined it with six long vowels. Then encasing the mantra within he should do the nyāsa in five limbs beginning with the ear and fix the sixth in the mind. Then he should perform the pervasive nyāsa with the vidyā.

Meditation on the deity

She has the lustre of the midday sun of the summer season. Her crown has all the nine gems set in it. She has three eyes. Her garments are pink-coloured. She has the refulgence of ornaments. She has pure smiles. She has eight arms and is being eulogised by great sages. In her left arms she holds the noose, iron club, mace and the jewelled bowl. In her right arms she holds the goad, sword, dagger and the lotus. She is always engaged in granting boons to her devotees.

127. After meditating thus, one should worship the goddess Dūti, the destroyer of immoral conduct. Thus, the remover of all mishaps has been recounted unto you.

9. Tvaritā Nityā

128-131a. O Nārada, I shall tell you about Tvaritā Nityā, the ninth one, who causes glory, the giver of Śiva-hood and the bestower of all Siddhis. She grants fame, learning, wealth, health and happiness.

The first syllable of vahnivāsinī (om) and the first syllable of Dūtī (hrīm), haṃsa (ha), dharā (u) joined with sva (.) (hum), teja (kha) with cara (e) (khe), vāyu (ca), prabhā (cha) joined with cara (e) (cche), grasa (kṣa) is joined with śakti (:) (kṣaḥ) vahni (i) is associated with hṛt (sa), raya (ta) dāha (ra) and agni (ī) (strī) which is the eighth bīja. Then haṃsa (ha) is joined with kṣmā (u) and sva (.) (hum), then grāsa (kṣa) is joined with cara (e) (kṣe) then the second syllable of her again (hrīm), then dyuti (pha) is joined with nāda (ṭa). Thus Tvaritā Nityā consists of twelve syllables.

132b-135. He shall conceive the aṅgas with seven letters of the vidyā beginning with the fourth and then taking two for each he should perform the nyāsa of fingers and six limbs.

By placing the second in the first, then the first in the second and then again the second and the ten mantras in the middle, he should fix the mantras on the head, forehead, throat, heart, navel, mūlādhāra, the pair of thumbs, knees, calves and the pair of feet. The mantra begins with om. Now listen to the mode of meditation which brings about all siddhis.

Meditation

136-140. She is dark-coloured. She has auspicious features. She is splendid in the freshness of youth. Eight serpents in four pairs constitute her shining ornaments such as ear-rings, shoulder- lets, girdle and anklets. They are of four castes of brahmins, Kṣatriyas, Vaiśyas and Śūdras. Their bodies are huge and terrible. She is clad in shoots of leaves as her clothes. Her arms are bedecked in bangles which are adorned with pretty looking peacock feathers. She is resplendent on account of the ruby-set crown. Her crown, her umbrella and her emblem too are adorned with peacock feathers. The string of berries shines over her breasts where saffron is scattered over. She has a charming face of three eyes. Her lotus-like face wears a sweet smile. Her four hands shine holding a noose, a goad, fearlessness and the granting of boon.

141-143a. After meditating on goddess Totalā (Tvaritā) thus, one should worship her surrounded by the Śaktis. Goddess Sphaṭkārī is staying before her shining with arrows and bow and is hurrying in, being pleased and granting boons to the devotee. O lord of sages, thus the ninth vidyā called Tvaritā has been recounted.

10. Kulasundarī Nityā:

143b-145a. The first is śuci (ai) joined with sva (.), then the second is prāṇa (ka) joined with rasa (la) and Vahni (ī) (Klīm), the third is vana (au) hṛt (sa) and Śakti (:) (sauḥ). Thus the Kulasundarī Nityā consisting of three syllables has been recounted. A mere remembrance of her yields omniscience.

145b-150a. The devotee shall perform nyāsa properly in the fingers, on the limbs and in the mouth with the three bījas, joining them with long vowels. He should do it in the beginning of the ritual, before the japa, in the middle of the japa and after the japa. Then he should perform the Vaktranyāsa in due sequence in the upper, the east, the south, the north and the lower faces putting aim in the beginning and nati (namaḥ) at the end, placing the vaktra name in the middle. He shall fix the mantra in the ādhāra, in the cerebral orifice and in the heart first, then secondly in three eyes. Thirdly in the ears and the chin, fourthly in the nostrils and the palate, fifthly in the shoulders and the navel, and lastly in the hands and the pair of feet. He should perform nyāsa nine times at the root, middle and the tip.

Meditation

150b-156. She is red-complexioned. She is served by the group of Śaktis with red features. She has red garments, ornaments, garlands and unguents. She has six lotus-like faces. She shines resplendently in her ruby-set crown studded with costly jewels and gems. Her chest is refulgent with the cluster of lustre of a bunch of jewels. She is auspicious. She is highly blissful in showing grace and is seated in a red lotus seat. She is adorned with twelve arms. In her right hands she holds the literary heritage of all, the coral rosary garland, a lotus, a jewelled water-bowl, a bowl full of jewels, a citron and the gesture of explanation. In her left hand she holds the book, a red lotus, a gold stylus, a jewel garland, a conch and the boon. On all sides she is being eulogised by gods, Gandharvas, Yakṣas, Rākṣasas, Daityas, Sages, Siddhas, Vidyādharas and others.

After meditating thus, he should worship the Nityā for achieving fluency of speech, good fortune and splendour.

157-158. In order to attain the fluency of speech the white-complexioned goddess is to be worshipped; the gold- complexioned one for attaining good fortune, for mitigating the enmity of foes, for their death and restraint; the blue one shall be remembered for causing dumbness. Thus for different purposes different aspects of the goddess are to be remembered.

Thus the tenth Kulasundarī has been recounted to you.

11. [The Eleventh Nityā]:

159-161. Now, I shall tell you of the tenth Nityā having three composite mantras. It is the combination of haṃsa (ha), hṛt (sa), prāṇa (ka) dāha (ra), kuḥ (ḍa). It is joined with the vidyā of Kulasundarī according to the tradition. This Nityā consists of three syllables after being joined with the six composite letters then after being joined in the opposite order and multiplied in seventy-two^[11] different ways. By worshipping her man shall become a siddha and happy, able to become a Khecara.

162. He will be able to exercise punishment and show grace to the three worlds. The six nyāsas are to be performed by means of ha and sa along with long vowels.

163. He should fix the syllables of vidyā in due order between the eyebrows, in the throat, in the heart, in the navel, in the private parts and in the mūlādhāra. The letters of the vidyā should be fixed in due order joining bindu to each of them.

164. After performing the pervasive nyāsa with the entire mantra in the proper procedure, he should meditate on the goddess Śivā who is identical with everything for the purpose of obtaining all riches.

165-168. She is resplendent as the disc of the rising sun, she shines with ruby-set crown, she is embellished with ruby stones, she is clad in red silken garment, she is brilliant with six lotus-like faces shining with charming smiles. She has three eyes in every face, has twelve arms in the left of which she holds the noose, the rosary, the rope, the bow of Puṇḍara variety of sugarcane, the iron club and the trident. In her right hands she holds the goad, the book, the flower arrow, the lotus, the human skull and the gesture of fearlessness. He should meditate on the goddess with the mind not turning to anything else.

12. Nīlapatākā / Nīlapatākinī

169-172. Thus the eleventh deity has been recounted O Nārada, listen to the twelfth one. The first syllable shall be the penultimate one of Tvaritā (hrīm), then dyuti (pha) is joined with dāha (ra), cara (e) and bindu (.) (phrem), then hṛt (sa) is attached with dāha (ra), kṣmā (ū) and bindu (.) (srūm), the fifth of vajreśī (om) is the fourth, then marut (ā) with bindu (.) (ām), the middle and the first bīja of the tenth vidyā (i.e. kulasundarī) (klīm, aim), then bhūmi (va), rasa (la), kṣmā (ū) attached with bindu (.) (i.e. blūm), then the letters from the sixth onward belonging to vajreśī (nityamadadrave), then the third belonging to Tvaritā (hum), then dyuti (pha) dāha (ra) cara (e) and bindu (.) (phrem), then the first letter belonging to her (hrīm). Thus the Nityā called Nīlapatākā consisting of seventeen syllables has been recounted.

173-175a. The aṅgas are conceived by means of the syllables of the mantra grouped into two, two, five, two and six syllables in each. He shall fix all the seventeen syllables of the mantra in the ears, in the nostrils, in the vāk (speech), in the throat, in the heart, in the navel, in the ādhāra and in the joints of the feet, in the proper order. He shall duly perform the pervasive nyāsa rite with the entire mantra.

Meditation of the deity

175b-180a. She resembles sapphire and shines with a crown set with brilliant jewels. She has five faces and three eyes. She is clad in red silk garments. She has ten hands and is bedecked in. refulgent ornaments of pearls and jewels. Her body is richly decorated with clusters of gems and jewels, her faces beam with charming smiles. In her left hands embellished with all ornaments she holds the noose, the flag, the shield, the śārṅga bow and boon. In her right hands she holds the goad, the śakti (javelin), the sword, the arrow, and the gesture of fearlessness. She is seated on a lotus seat and is surrounded by a group of śaktis resembling the same feature, complexion, dress, facial look, ornaments and weapons in the hands. She should be worshipped as surrounded by the śaktis in the ritual of the Nityā deity.

180b-184. After drawing mystic diagram of a lotus containing eight petals inside a triangle within a hexagon and an eight-petalled lotus, outside surrounded by two bhūpuras. These two puras must have four doorways in the four quarters. The figure must have subways. Thus the deity should be surrounded by the group of śaktis and then worshipped. This twelfth Nityā called Nīlapatākinī has been recounted to you. She is the bestower of powers like pādukā, añjana, khaḍga and victory in the battles. She is the giver of powers over vetāla, yakṣiṇī, ceṭas piśācas etc. She enables one to discover treasure trove, ready cooked food, urged by the devotee’s desire.

O Nārada, henceforth, I shall describe the thirteenth Nityā, listen to it.

13. Vijayā Nityā

185-87. Rasa (bha), nabha (ma), dāha (ra), vyāpta (a), kṣmā (ū) joined with vana (au) and bindu (.) (bhmyaraum). Thus O sage, the vidyā Vijayā consists of a single combined bīja. The four letters of consonants combined with long vowels are to be used for conceiving the aṅgas. Then with the remaining two one should perform the nyāsa rite of the six limbs in the fingers and in the limbs of the body. He should perform nyāsa on all the organs of senses beginning with the ears and ending in the citta. He should fix syllables in the proper order adding bindu to them.

Meditation on the deity

188-192. She has five faces and ten hands. She has three eyes in each of the faces. She is resplendent with a shining crown adorned with the crescent moon. She has all ornaments and is brilliant in her yellow garments. The lustre of her body is like the disc of the rising sun. She has pure smiles. In her left hands she holds the conch, the noose, the iron club, the bow and the kalhāra flower. In her right hands she holds the discus, the goad, the sword, the arrow and the pomegranate. For the practical purpose she is thought of as terrible-looking, but during the devotional worship she is very gentle and seated on a lion. On all sides she is surrounded by Śaktis riding on tigers. She is seated comfortably during the battle, at the time of worship and during other rituals of practical utility she is to be thought of so seated.

193. The śaktis too are comfortably seated in the course of worship. All the deities have similar facial features and weapons in their hands.

194. After drawing two squares with four nice doors and eight pathways he should worship therein as before.

195-196. Inside of it, there must be two circles, within it one should draw an octagon. Inside of it is the mystic lotus of sixteen petals. He should make another lotus of eight petals and invoke the ḍeity therein. He should then worship her with the requisite services. She must be surrounded by the respective Śaktis.

197. This is mentioned to be the thirteenth deity. She is the bestower of victory in argument and in the battle.

Henceforth, I shall mention the Nityā called Sarvamaṅgalā.

14. Sarvamaṅgalā

198-204. Hṛt (sa), ambu (va), vana (au), are joined with sva (.) is the nityā sarvamaṅgalā (svaum). It is a single-syllabled mantra. One who has achieved Siddhi in this vidyā becomes the wanderer in the void instantaneously. He should fix the mūlavidyā along with long vowels in six limbs of the body.

Meditation:

He should meditate on that Nityā of golden lustre with ornaments set in pearls and rules. She has a ruby-set crown and has two benign looks of her eyes. She has two arms. She is seated in her seat of lotus with thirty-two petals. The seat has four doorways and two bḥūpuras. In her lotus-like right hand she holds a pomegranate. With her left hand she grants riches to her devotees. On all sides, she is surrounded by Śaktis similar to herself. She is accompanied by another group of seventy-six Śaktis emanated from the letters. During prayogas (practical application) she is different, but during the daily rituals she is associated with those aforesaid,Śaktis. This is mentioned as the fourteenth deity. Now listen to the fifteenth.

15. Jvālāmālinī

205-213. Bhū (o), two śūnyas (na na) then bhū along with nabha (mo) (onnamo), then rasa (bha), sthirā (ga), ambu (va), raya (ta) joined with agni (i) (bhagavati), then jyā (ja) along with ambu (va) marut (ā) (jyā), then rasa (la) with marut (a), then nabha (ma) with marut (ā), then rasa and śūnya (la and na) are joined with agni (i) each, gotra (da) joined with cara (e), then ambu (vā), then the previous letter (i.e. de) and ambu (va) is joined with agni (i) (devi), then hṛt (sa) dāha (r) ambu (ra and va) (sarva), then rasa (bha) and kṣmā (ū) raya (ta) hṛt (sa) joined with sva (.), then haṃsa (ha) is associated with marut (ā) then added to dāha (ra) (i.e. sarvabhūtasamhāra) then prāṇa is joined with marut (ka with ā) (kā), then dāha (ra) with agni (i) (i.e. kari), then prāṇa (ka) with raya (e) (ke), then jyā (ja) joined with marut (ā), raya (ṭa), ambu (va) with cara (e) (ve), then gotrā (da) hṛt (sa) with agni (i) (i.e. jaṭavedasi, then jyā (ja) with ambu (va) (jva) rasa (la), (i.e. jvala) it should be repeated (i.e jvala jvala), then jvala (pa) joined with dāha (ra) and associated with the former two letters (i.e. prajvala). It should also be uttered twice. Then haṃsa (ha) joined with dāha (ra) and vahni (i) and sva (.) (hrīm), then haṃsa (ha) kṣmā (u) and sva (.) (hum), then dāha (ra) should be uttered seven times, then the words from the eighth to the twelfth letter of the vidyā should be uttered, then the penultimate letter of the Nīlapatākā vidyā (hum), the ultimate letters of Tvaritā (phaṭ) and the eighth and the ninth letters of Bheruṇḍā are to be uttered (svāhā).

The Nityā Jvālāmālinī is cited. It consists of sixty-three syllables.

The six aṅgas should be conceived by one, two, four, five, four and ten letters of the mūlamantra from the beginning. He should perform nyāsa in fingers and limbs of the body. Then with the remaining letters of the mantra one should perform the pervasive nyāsa. Then he should meditate on the eternal deity.

214-216. She is as resplendent as the blazing fire. She shines with ruby-set crown. She has six faces and twelve arms. She is bedecked with all ornaments. In the pairs of lotus-like hands she holds the noose and the goad, the sword and the iron club, the bow and the arrows, the mace and the conch, the trident and the fire, the boon and fearlessness. On all sides, she is surrounded by Śaktis of her own stature. Her lotus-like face shines with charming smiles. She has three eyes.

217-218. After drawing two squares equipped with four doors and branches in the middle he shall draw an eight-petalled lotus. Thereafter, he shall make a triangle and a hexagon inside. After making a triangle within a hexagon he shall worship Śiva therein.

The fifteenth deity is thus mentioned to you. O Nārada, listen to the sixteenth one. 

16. Citrā

219-220. Vāyu (ca), prāṇa (ka), vana (au) and sva (.) (cakaum) is citrā which consists of two syllables which when achieved is conducive to the acquisition of wealth, food, grain, the realisation of self and of treasure. He should conceive the six aṅgas with (ca) the first of the vidyā, joining it with long vowels and do the nyāsa in the proper sequence. He should perform the mātṛkā nyāsa along with vidyā in the aforesaid manner.

Meditation:

221-224. She resembles the shining disc of the rising sun and is adorned with nine kinds of precious gems. Her crown is studded with nine precious jewels and is highly resplendent with the silk garments. She has four arms, three eyes, pure smiling and bright face. She is of the form of bliss of every kind, a Nityā who is the bestower of all desires. In her four hands she holds the noose, the goad, the gestures of boon and fearlessness. She is stationed in the pericarp of the lotus, which (the pericarp) is made of nine triangles like that of Sarvamaṅgalā. In the Cakra (diagram) she should be worshipped along with the Śaktis like those of Sarvamaṅgalā.

225-229. Prāṇa and dāha attached each with dharā (i.e. kuru), then again the first (ka) joined with (u) and the pair of rasa (la) along with marut (ā) (kullā)^[12], then vyāpta (ya) with marut and śakti (yāḥ) then bhuḥ joined with sva (om), then again the three syllables (kuruku) and the pair of rasa (lla) along with cara (e), then haṃsa (ha) joined with dāha (ra), vahni (ī) and śakti (:) (hrīḥ), then nabha (ma) uttered twice (mama), then hṛt (sa) with dāha (r) joined with ambu (va) (sarva), then jyā (ja) along with śūnya (na) attached with sva (.) followed by ambu (va) viyat (śa) and nabha (ma) attached with marut (ā), then again followed by śūnya (na) and vyāpta (ya), then bhū is attached with haṃsa (ha ha) and the pair of two syllables of the fifth deity (svāhā). It takes three forms of mantra.

From the sixth onward upto the tenth and the pair of the last when uttered is mentioned as of the first kind. The second is cited as when it is uttered from the eleventh and the last two syllables. The third is mentioned as consisted of twenty-five syllables. Thus the mantras are mentioned in their order.

By means of the three bījas of Bālā or with the two or three mantras the six aṅgas are to be conceived.

230-232. He shall meditate as follows: She is naked. Her tresses are dishevelled. She is red-complexioned. She is of the form of bliss. She holds the bow, arrows, noose and goad. The deities outside have the same complexion, features and weapons. They have taken their bath after the menstrual flow.

Their vaginal passages throb. Their eyes are always red and delighted. Thus, at the end of Kurukullā, Candrabālā herself told this.

Vārāhī:

233-249. Śuci with sva (aim), then śūnya and bhu (namo), then rasa, sthirā, ambu, rayā with agni (bhagavati), then ambu with marut (vā), the pair of raya (tta), attached with marut (ā) and agni (i) joined with ilā (la) (vāttālī), these three are repeated once again, then ambu (va) is attached with marut (ā) and dāha with marut (rā) and haṃsa with agni (hi), then these three are repeated once again, then ambu is attached with dāha and marut, then haṃsa (vārāha). Then nabha (ma) is joined with dharā (u) (mu) and teja (kha) joined with agni (i) mukhi), then these five syllables are repeated once again. Then vāta (a) is joined with sva (m), then toya (dha) is joined with cara (e) (andhe), then again the previous letter (am), toya (dha) is joined with agni (i) (dhi), then śūnya (na) is joined with vyāpta and śuci (nyai), then again śūnya (na) is joined with nabha (ma) with śakti (namaḥ). Then dāha, dharā joined with sva (rum), then toya (dha) with cara (e) (dhe), these are to be attached with the former four syllables (i.e. dhinyai namaḥ) then jyā (ja) with bindu (jam) is joined with rasa (bha) and cara (e) (jambhe), then the previous jam is joined with rasa (bha) associated with agni (i) and the aforesaid (nyai namaḥ), then again nabha is joined with bhu (mo) and haṃsa with cara (mohe), then the syllable preceded by he is now joined with haṃsa and agni (i) and the former nyai namaḥ these three are attached, then hṛdayam (sa) joined with, sva stam, rasa, and cara (bha), then again the previous one of this stam and rasa with agni (bhi) and then the former three (nyai namaḥ). Then vāta (a), dharā with nabha (mu) prāṇa with sva (kam), then hṛdaya. with sva (stam) rasa (bha) and vyāpta (ya) (stambhaya), this is repeated once again. Then hṛt (sa) along with daha (r) and ambu (va) (sarva) followed by gotrā (da) joined with dharā (u) and sparṣa (ṣa) with nāda (ṭa), then it is again joined with javī and dāha (praduṣṭa) which is further joined with marut (ā), śūnya (na) marut (ā) sva (ṃ) (nāṃ), then again hṛt (sa) is joined with dāha (ra) ambu (v) and cara (e) (sarve) which is again joined with sparśa (ṣa) and marut and sva (ṣām) then jyā with agni (ji) along with haṃsa ambu and marut (hvā) and hṛdaya with sva (stam) which again is joined with rasa along with sva (bham), then prāṇa and dāha are attached with dharā (kuru), it is repeated, then vahni with viyat (śī) and vāh (gha) along with dāha (ra), joined with sva (ṃ), then ambu (va) attached with viyat, vyāpta and sva (śyam), then the aforesaid kuru, then śuci attached with sva (aim), then sthirā (ga) rasa (la), vana (au) along with sva (.), then two ṭhas (ṭha ṭha) and haṃsa (h) is attached with dharā and sva (hum) then again dyuti with nāda (phaṭ), then hṛt, ambu along with marut (svā) and haṃsa along with marut (hā). This is the vidyā with hundred and ten syllables. She is Vārāhī, Pañcamī, Vārttālī, Viśvavijayā and is also known as Bhadra- Kaumudī. She is the bestower of all desires such as arresting of enemies etc. The aṅgas are to be conceived with the syllables of the mantra in groups of seven, six, ten, seven and seven letters adorned with the jātis namaḥ, svāhā etc.

250-255. The devotee should make a diagram having a triangle, a circle, a hexagon and two circles. He should write his name there and worship her. He should meditate on her as follows: She has the face of a boar; she is refulgent as gold, up to the neck; she has the feminine form. She is like a tawny lotus that blazes. She has three eyes and eight hands. She holds in her hands a discus, conch, goad, noose, iron club, plough, fearlessness, boon. The devotee should think of her as seated comfortably on the shoulder of Garuḍa. O sage, in the case of daily rituals the devotee should remember her Śaktis similar to her. In the application he should think of her as seated on a lion or a tiger, or an elephant or a horse or Garuḍa along with Śaktis. Though she is dark in complexion, she is red, yellow and also has the body like the blue lotus.

256-258. In different practical applications one should meditate on her according to the acquisition of different objects. Pañcamī (i.e. Vārāhī) is to be thought of red complexion in the rites for attraction, yellowish for arresting, in the impassable path she should be meditated upon as dark-complexioned, in order to attain destruction of the enemy in the battle he should think of her as white-complexioned. The excellent brahmin aspirant shall meditate on her as smoke-coloured in the rites for exorcising.

Thus these sixteen Nityā deities have been succinctly recounted to you. They are the bestowers of desired things on those who worship her. They cause instantaneous destruction of all sins.

Footnotes and references:

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[1]:

These verses give the code of alphabets as followed by Tantrarāja. These modes are quite different from those which we have followed so far. From the above account we do not find Visarga, but on the perusal of the text we find that śakti to represent Visarga.

[2]:

In order to colour the text with the Vaiṣṇava tradition Rādhā is stated to be the Supreme Śakti and all things are her emanations. From the aspect of mātṛkā she represents kṣa, the last of the consonants, candrāvalī and Lalitā, stand for haṃsa (ha) and ilā (la) respectively. The sixteen vowels are their kalās and consonants are the kalās of those vowels. Hence the entire creation of words is thus permeated with these Śaktis.

[3]:

This gives the vidyā of Lalitā which is as follows: Sakala hrīm.

[4]:

These verses give the mantras of Vaśinī, Kāmeśvarī, Modinī, Vimalā, Aruṇā, Jayinī, Sarvasiddhikarī, Kaulinī.

In Nityaṣoḍaśikārṇava we have these deities mentioned along with their bījas. The deities are connected with the letters of alphabets. These groups of eight are the presiding deities of the eight groups of alphabets respectively. Vāmakeśvara Tantra adds that the deities being propitiated properly, a person who worships them can have control over the entire world. See Nityā Soḍhā, p. 90.

[5]:

The text does not give the mantra of Jayinī. It may be restored from Tantrarāja Tantra, Chap IV. p. 68 thus Haṃsaḥ Sahṛdrasāmbuḥ syād vyāpta kṣmā svair yuto manuḥ.

The combination of the mantra is as follows: hamsaḥ (ha) with hṛt (sa) rasā (la), ambu (va), vyāpta (ya), kṣmā (u) and sva (.) that is hslvyūm.

The commentator of T. R. takes kam as la, then the mantra will read lu ryum.

The nyāsa rite makes the devotee one with the deity. His identification with the deity makes him worthy to worship her, for it is stated in the Tantra ṃat after having attained Devī-hood in oneself one should worship Devī.

The commentator of T. R. does not give the inner meaning of the word Yantrita. He only states that it is to be known from the teacher.

[6]:

The deities called Nityās are sixteen. The central one is described as aṅginityā and the other Nityās are aṅgas, the one is the body and the others are limbs. Lalitā is Kāmeśvarī seated in the lap of Kāmeśvara. Her seat is in the centre of Śrīyantra and her mantra according to our text is sakala hrīm, ha is placed in the beginning, middle and end and by changing its positions other mantras are obtained. The fifteen Nityās are but the emanations and the surrounding deities of the Ādyā Nityā and serve as veils (āvṛti).

[7]:

The nyāsa on the limbs and fingers are performed with the letters of the mantra. The procedure is given in the verse. It should be remembered that each syllable should be attached with the jāti (i.e. namaḥ, svāhā, vaṣat etc).

The vyāpaka nyāsa is prescribed to be performed after all the nyāsas. See Commentary of T. R., p. 126.

[8]:

The diagram is to be drawn in the following method. At first draw a square, inside which draw a hexagon, two circles apart from each other by one digit, then draw a third circle apart from the second by four digits. Then draw five petals round the inmost circle, then draw eight petals round the second, and sixteen petals round the third circle.

[9]:

The weapons are to be conceived as placed in the left upper hand and then in the lower hand and then in the third lower hand. In the same way the three other weapons are conceived to be held by the deity first by the upper hand and then by the second and by the lower, and then the last one by the lowest hand.

[10]:

Guṇavedākṣaraiḥ [guṇa-vedākṣara] means the four syllables for kavaca, netra and astra for each. These three are guṇas and veda means four. For performing the nyāsa rite four syllables are taken separately from the mantra and fixed in the above-mentioned locations.

[11]:

In Kulasundarī Vidyā there are six syllables. By permutation and combination the vidyā becomes seventy-two in number.

[12]:

Kurukullā Vidyā consists of twenty-five syllables. It has three divisions. The deity is known as the balidevatā (receiver of offerings) belonging to the Nityās and is non-different from them. She is considered as a part or limb of Lalitā.