Description of the Navaratra Festival

Navaratra literally means the festival which continues through nine nights wherein the Supreme Being is worshipped ni in his femine form as Durga. In-as-much as this celebration is performed every year (varse, varse), this appears to be an obligatory (Nitya) festival in contradistinction to the optional (kamya) which is performed according to a particular need and is done with limited motives. The period : The nine-day celebrations begins from the 1 st of the bright fortnight of the month of Asvina in the autumn season to the 10 th. This period is called Navaratra. The observance of this festival is considered so much important that it has been compared to merits 97 arising out of performance of suitable rites during a thousand of eclipses (uparaga) of the sun and the moon, a myriad of Vyatipatas and one hundred thousand of 97. 98. 98 Eclipses or uparagas are considered to be impure. Hence during such period some propitiatory rites are prescribed to be performed which is believed to result in benefit for the performer. And similar is the case with Vyatipatas and Samkrantis. Vyatipata is a particular astronomical yoga when the sun and the moon are in the opposite Avana and have the same declination, the sum of their longitudes being = 180° (Monier-Williams, p.1030).

99 Sankrantis in accruing benefits and rewards to the performer (97.1-4). 314 Various modes of observances during Navaratra with the attributed benefits are tabulated below to acquaint the readers with the variety and vastness of its observance. Sr.No. Observances Results attributed 1. The vow of taking food once a day. 2. 3. 4. 5. 99. The vow of nocturnal observances as per the injunctions of scripture Spontaneous (apdeckte) performance of the Vrata as prescribed in Samrajya-lakshmi-pithika While adhering to the principle of not begging (ayacita) Who observes fast during this period while only living on fruits, Repetition of Gavatrimantra through out the noon. leads one to the creator's feet in the celestial car. leads to the world of Visnu approachable only to the'' yogins. leads one to Kailasa, the abode of Siva. he is said to reach the highest world (parama-loka) endows one with the merits of Mapa of seven crores of any other formula. Sankranti is the passage of the sun from one zodiacal sign to another.

Sr.No. Observances 315 Results attributed 6. 7. 8. 9. 10. Recitation of the Vedas during this period By reading the glory of goddess with rahasya (secret doctrine) Attentive or sincere repetitions of eight or twelve-syllabled 100 formula of Visnu or the respective' formulae of Rama 101 or Krsna 102 By attentive repetition of 03 the formulae of Vamana -do- of. Nrsimha, 104 of gavatri of 105 11. -do- of Sudarsana 106 ) 12. -do- formula of Garuda 13 - he five-lettered formula) of Siva 107 100. Eight Syllabled formula Twelve syllabled formula 101. For the formula of Rama 102. ensures wealth and proficiency in the vedic lore for seven lives. one lives as a rich man and attains liberation after death. are said to end up in securing the benefits a crore-fold or best of enjoyments in this world and riddance from all types of sins. form Also, one is said to athein the Supreme World of Visnu or the highest seat (paramapada) or liberation while riding the celestial car, luminous with gems. Om namo narayanava. Om namo bhagavate vasudevaya see Saradatilakam, p.369, Pancaratra-Sesa-Samhita, p.214 etc. For the Krsnamantra see Saradatilakam (17.85). 103. Pis,p.39, 105. Pancaratra-Sesa-Samhita, p.207 104. Uddamaresvara tantra, p.47 106. Saradatilakam, p.527 107. It is very famous, namah 108. Sakta-Pramoda, p.420. Sivaya

Sr.No. Observances 14. Recitation of Saivapuranas with Rudra Nyasa 15. Formula of any god 16. Through repetition 108 of the formula of Durga and recitation of her glories 316 Results attributed leads ane to Sivaloka leads to attainment of the divine world of that god. one gets aisvarya in this world and attains Moksa after death. (5-19) Homa and allied performances during Navaratra In the preceding section we have seen how repetition of particular mantras during the Navaratra becomes effective on him in a number of ways for the practicant and bestows various benefits. Here are enumerated in a similar way, homa of a number of articles and allied performances which, when performed during this period, are supposed to bless the performer with innumerable rewards. Articles of oblation, formulae and results are represented here in a graphic manner. 108. Sakta-Pramoda, p.420.

317 Sr.No. Article of oblation/gift 1. Homa with sesame 2. 3. 4. 5. Blades of grass soaked in trimadhu (sugar, honey and ghee) Faggots of black grapes (amrtakanda) soaked in milk for 108 times or while repeating 108 names of Visnu Worship of the Sungod as per rules of Trea. Tarpana with se same and rice to gods and manes everyday during Formulae God 'tryambakam...'(Rg-Veda 7.59.12) held to be dispeller of death offered to Siva, the conquerer, of death Offered to Visnu for 10,000, 1,000 or 100 times to one's capacity. Treavidhana (Atharvaveda XIX) With the concerned formulae Results/Benefits The practicant lives for hundred autumns rid from fear of death. The performer conquers death. Free from all diseases, one attains liberation at the end. Free from diseases and blessed with wealth and prosperity, he lives for a hundred years. The performer attains their blessings or is able to please them for a kalpa. Navaratra 6. Feeding of the brahmins with 7. 8. Sweetened rice (mr stannam). Feeding of Suvasini ladies taking them to be durga Feeding of young girls (Kumarika) taking them to be Candika leads to attainment of kingdom of Indra while riding celestial chariot. leads one to eternal company of nymphs. leads to attainment of all types of fortunes.

Sr No. Article of oblation /Gift Formulae/God 318 Results/Benefits 9. The observance of the vow of silence 10. Gift of perfume, clothes and flowers to please Rama (Laksmi) enables one to attain all types of learning, both prose and poetry. Ends up in the eternal presence of Rama in one's house. 11. Gift of cows, land and gold etc. every day during this period. One gets back these articles, multiplied into crores. Thus, in the three worlds, Navaratra is held to be sacred by gods, demons and mortals. Samrajya-lakshmi-pithika states that any one, who performs this vow is sure to get all his desires fulfilled (98.1-18). Construction of the Meru (temple) The Navaratra festival which spans through nine days (Asvina-sukla 1 st to 10 th) is performed in honour of goddess Durga with objectives like causing

319 satisfaction to celestial beings like Yaksas, Kinnaras, Gandharvas, gods, monsters (danavas), goblins (raksasas)) spiritual beings like Bhuta, Preta and pisaca and for protection of the kingdom (rastra-gupti) Samrajya-lakshmi-pithika prescribes that a sovereign, a king, ruler of a small principality or head of a town or city - all, should perform such celebrations (99.4-7). The Hall and Pavilion : For the purpose, the king, after due consultation with his ministers should get built one beautiful asthana mandapa (Audience/Hall) on a plain and broad stretch of ground in front of his palace. This is required to be very high and fitted with steps that are inlaid with corals. It is with an altar studded with Vaidurva-gems, the pillars are deeked with pearls and the balcony or turret (valabhI), with manikya-gems to which, in turn, are fitted colourful flags and banners. Its frontage provides sufficient space for the free movement of the actors and singers. singers. All around it are placed huge stands for candles in shape of trees and cars. To its both flanks are arranged nine huge chariotshaped temples, resembling the Mandara mount, which

320 have crests, shaped after the uncouth faces of goblins (pisaca). These too are fitted with colourful flags, decorated with gold and tinkling bells are tied to the flag-tops. Besides this, inside the royal palace, another flower-bedecked-pavilion is made to the north of which is performed worship of goddesses like Durga, Rama (Laksmi), etc. (8-15). The Worship : The worship begins on the morning of pratipad when the king with his principal queen, having accomplished his morning chores, honours the priest, some old men, brahmins, ladies and meditates on his tutelary deity. The priest, in his turn, makes the king sit on the throne and ties a gold ribbon (pratisara) to his right hand while chanting the following formulae (16-21). "I herewith tie this gold ribbon to your hand, O sinless one; you should, till the end of celebrations, remain as truly restraint, take food for once a day, observe reticence in matter of speech, stay in other's esteem and meditate while adopting yogic postures - thus, you should stay attentive throughout " (100.2-3).

321 Invocation to goddess Samrajya-lakshmi : Thus having tied the ribbon, the priest now invokes goddess Samrajya-lakshmi into the person of the king (tadgatre) with the following formulae:- "0 omniscient king, the master of your subjects, in you do reside all the divinities. 0 all-god-souled one, (sarvadevatman) in you do I invoke now goddess Samrajya-lakshmi to enable you to rule the sea-girt-earth. O king of kings, I now invoke goddess Samrajya-lakshmi in you to enable you to protect the good and punish the wicked, at ease" (5-7). The author informs us that by such invocation, the king looks doubly beautiful with his inner lustre, $ strength and boldness all enhanced by the vitality of the goddess like a jewel which is just whetted on a whetstone (sana), etc. By coming into contact with goddess Samrajya-lakshmi, the king becomes enriched with supernatural powers (aisvarvas) as the burning power of wood is further heightened by the wick and oil or he is rendered more lustrous like a piece of gold when it comes in contact with the root of srivalli (Acacia Concinna - a variety of jasmine). Thus, by his contact with the goddess, he is able to become master of the world. A cooking vessel

322 though soaked in sap and smell (spices) does not vie without its contact with fire. fire. Similarly, the king without goddess Sri remains without the regal powers in his kingdom. Therefore, concludes Samrajya-lakshmi-pithika that invocation to the goddess Samrajya-lakshmi should be made into the body of the king in the manner, the divinities are invoked into idols and worshipped (8-14). The benedictory verses: Having thus invoked, the priest now augments strength, prosperity, etc. (Vardhana) into the king through his benedictions (asih), in the following manner : "The entire earth is rendered peaceful by you O overlord of the whole earth, do you live long and protect this earth by your righteousness". texts. "Do you live long and stay happy O master, your inner mind has attained composure owing to perusal of Agama Do you bestow happiness on all and punish the wicked". "Do you live long and stay happy O master, you are versatile in the Lores of royal administration (samrajyatantra-viinana). You have fame as the only wealth on (Yasodhana) and you bestow desired boons to all who respectfully bow before you".

323 "Do you live long and stay happy O master, you serve goddess Laksmi, you preside over sixtyfour kalas, you are the enthroned master and the indweller in the circle of array of pratapa (glow)". "Do you live long O master, by the host of benedictory verses that are invaluable and redeemers from sins ( (aghaharin)" (15-20). Instructions on royal duties (rajadharma Thus strengthened by the benedictions, now the king listens to vital instructions given to him by the royal-chaplain (purohita) on his duties as a king. His role in judiciary, dealing with enemy and his ideal behaviour: (The primary duty of a king rests in his acting Judiciary as head of the : in resolving disputes. In such occasion he is advised first) to listen patiently to all persons separately who intend speaking on the matter, broods over, and still tempts them to speak more and finally, gives his verdict betraying ignorance about one another's view. He is advised to take away everything of the enemy by following the dictates of science of polity

324 on the matter, while keeping his movements secret and still resorting to some other pretext. Taking the pretext of discussing policy in general adopted by other kings, he should destroy the designs of the enemy while raising the example of the plantain tree (sarataru). The precepts of the royal-lore (nayatantra) should be spread among his subjects while the king exemplifies in him all ideal behaviour like showing due respects to his preceptors, gods and elders. Thus, he should imbibe in himself all the qualities of Lord Narayana, as it were (101.4-8). His punishments and rewards : Those of the subjects who either boast of their expertise in a variety of hallucinative arts or magic, the king should crush their pride by exhibition of his knowledge in each of the lores (pratitantza). On the otherhand, those, who are really learned but mostly unassuming, who only politely indicate their perfection or accomplishment in a particular art, craft or magic, the king, by suitable and precious presents, should further encourage their perseverence in the field. The king should protect his subjects from a cob-web of troubles - like a mother. While consistently thinking

325 about their well-being, he should be oblivious of causing any harm to them. He should similarly protect the brahmins while doing honour to them. Those of the subjects who have trodden the inavertible (anivarva) path, the king, after due thought, should try to educate them through good advice (9-12). Spread of the vedic lore: He should always endeavour to spread the preachings of the Vedas, scriptures and Puranas and honour and protect those who possess an indepth knowledge of the se on account of their continuous study and who are evercontended because of their training in the science of self-knowledge (Atma-Viinana) (13-14). Honouring the ascetics, guests etc. The ascetics who live by austerities like yama (restraint) and niyama ( a set of rules for curbing desire) and who preach self-knowledge, they should be served by the king with purity and devotion, geared through his triad of internal organs i.e. mind, heart and intelligence. He should see them comfortably settled in sacred places of pilgrimage and through the supply of various articles should regularly honour them (15-16).

326 The guests who arrive on appointed hour (abhyagata) and those others, who make an unscheduled arrival - • all should be reverentially received and fed. Similarly, are to be honoured by the king people like those, who possess an insight into the intricacy of death (Kalasutra), those who are versed in astronomical sciences, those who are not wicked (anatatayin), those peace-loving ones and those who are mild and subdued (danta) (16-17). Similarly are to be protected with love, a number of experts in various fields. Royal protection to physicians : The physicians, who are born of exalted families, who tread the path of righteousness, prepare ambrosial decoction (Siddhamrta), who are experts in the doctrine related to perfeet beings (siddha-vidya) (or in Siddha school of medicine), followers of truth with exemplary behaviour and who possess the desire for universal wellbeing (18-19)Should also be protected. The tantra-sadhakas : There are others, who are of a calm disposition (sadacara) having an established rule of conduct, who

327 have the power to bless or chastise - adepts in their daily chores, mentally dwelling on the identity of the individual and Supreme Soul, the knowers of the secrets of spells and incantations, experts in the lores of tantra and sixtyfour arts who have reached great heights through following the path of knowledge as the only power (aisvarya) and who have brought into control, mind and other organs, by untiringly meditating on sacred formulae - the practicants of tantra, who should be protected by the king (20-22). The fire-priests : worshippers The fire-best (agnihotrin), who possess the L knowledge of the Vedic lore with its six ancillaires (sadanga) and preach the six-fold path (sadad hvamarga) of Indian Philosophy, whose heart is rendered pure by perusal of all the conclusive doctrines (siddhanta) and who indwell on the highest Brahman, the performers of the highest Soma libations into the sacrificial fires they have lit, truthful, of equal vision towards all deserve the vigilant protection of the king (23-24). Poets: The poets, who know what's to be done and what is not, who correctly advise the king in every matter when

328 in so required, who are versed on the Agama literature L pertaining to the Saiva and Vaisnava cults, the knowers of self, the perusers of the essence of eighteen principal Puranas, who can compose beautiful verses in many a variegated form of poetics and others, having the deftness e of making instantaneous and tucid poetry (asukavi). all such poets should be patronised by the king with intermittant presents of ornaments, clothes and gold (25-27). Singers The singers, who possess dulcet voice like that of the divine choristers (gandharvas), attained through intake of a number of medicinal herbs, who sing exhilerating songs and who count music as the supreme reality (Nada-Brahman) and revel in it, should be greatly honoured (88). Actors and Musicians: Persons, who have insight into the intricacies of dramatic lore, who possess indepth knowledge of scriptural treatises like Natyasastra, who are experts in stage management, who specialise in the different musical timings (tala). be highly honoured (29). the actors and musicians, should

329 Archers, Wrestlers etc. The expert archers who specialise in the precepts and practices of Dhanurveda and can hit targets. of various description like the fixed targets or those, which are moving, by speedy discharge of arrows, the wrestlers (boxers), who have won in many a bout, others, who are strong and are rulers of villages under the direct supervision of the king, are of calm and composed nature such and many other famous heroes and warriors should be gathered and patronised (30-32). Warrior-class : who carry A number of people from warrior class (ksatriya) marks of arrows (while fighting in battlefield) on their body, Who easily can solve insuperable quarrels among heroes (durvaravirakalaha), who sport with weapons with well-built physiques, are with a firm and deep mind and with perceptible growth in age should be protected (32-34). Traders and sudras : The Vaisvas (traders), who possess an intimate knowledge of all commodities in this world and who live

331 advanced in age the king should know the correct gradation in which he should hold each in honour and give protection to them (37-39). Iron administration to protect sanctity of four-fold caste system : Time and again, he should ponder over the relative superiority of a class and prevent intermixing of castes (iatisamkarya) by way of marriage and rule his kingdom. If any one from the high or low caste is found to tread the path prescribed for him - he should be encouraged. On the other hand, if any one is found acting in a contrary manner and is found guilty of transgressing the norm in an inverted way (vyatyasta), such a person should be taught (his correct duty) and brought back to his original position. The king should be vigilant enough to grasp the internal difference among persons p belonging to the four-fold caste system and offer suitable advice befitting to each class and caste (39-43). Attending the diseased animals : Also, he should take care to administer proper medicines to the diseased and the afflicted among the animals, viz. cows, elephants, horses and camels (43-44).

332 Attention to servants, store, thrift etc. Royal servants who are in charge of maintenance of different roads and buildings should be given due attention. Position of different stores from corns to chillies should be maintained to the optimum and kept on being replenished as these are spent. In matters of spending, he should observe thrift so as to take into account even the spending of chaff (tusa) of grains. And, knowing his requirements, he should spend more or less (44-47). Merchants, servants, spies etc. : All members of business community like the gold merchants etc., his royal officers and others, who are like the creator (visvakaraka) who can fathom and indicate the mind of the subjects i.e.y spies, who are skilled in accomplishing fame and fortune in favour of the master all should be carefully collected and pressed into service under the benign patronage of the king (47-49). The king should administer with utmost care, while performing the just duties and neglecting others, which do not belong to his purview as an administrator. Thus, by active efforts and by wise counsel, he should protect his subjects and be at peace (49-50).

333 Counsel on the principle of Truth and Reality (Tattvopadesa): The necessity of such an occasion : The king who has received sermons on various aspects of polity from the priest now feels agitated (disturbed) lest there should be occasions, when the royal path of righteousness might be reversed (Dharmavyatyayasamka) To allay such fears of the king and to make his mind free again from the doubts, the priest now counsels him on the nature of truth and reality (102. 2-3). The description that follows appears to sum up the highest truth as embedded in the Vedanta systems of Indian Philosophy. Theory of delusion : First of all is brought home the theory of delusion. The priest says that having been born as a man, he should not unnecessarily be decluded by objects that are illusion-oriented or unreal (mayakalpita). He should be guided by the real nature of worldly objects. The human body is but transient in nature and is the result of amalgamation of the seven constituent

334 elements, (viz. chyle, blood, flesh, fat, bone, marrow and semen) - known as saptadhatu (4-5). Body Soul relation : The king should think that though his soul is pure, its association with the body is wholly owing its origin to desires (volitions, formed in the mind or as impelled or born of desires, samkalpajanya) . Further, he should think that his descent into this world is designed to favour other living beings. The king himself represents this world. He pervades all living beings of different description as the individual who is intelligence manifest (inanakara). The different forms through which he is now seen, may be alluded to the multi-pronged-nature of the concept of illusion (mavasankalpa-vaicitrya)). The king, who in reality, is as pervasive as the ether (sky) carries the Ahanta (individual distinctive mark of selfconsciousness) for playful purposes only, But (in reality) he should know his real nature; as matter of fact, he is the universe (macrocosm- microcosm). If he perceives the world in a calm and composed mind, he cannot find anything nor can hear anything which is different from him. Perceiving him (the soul) as

335 immutable, calm and without any beginning or end and dwelling in it for ever now, he should feel himself 109 accomplished and relieved (6-11). with these sagacious words, the priest, now in different ways, consecrates the king with a number of (spells) formulae (12). Consecration (Abhimantrana) of the king: Aspects of royal personality associated with god-heads, mounts, rivers etc : Now, the priest, while concentrating on various aspects of the personality of the king is described to consecrate him. Each of his aspects like is associated with a particular god-head. the king is visualised as a great flame bravery, etc. At the outset surrounded by ministers in the shape of smaller lights, while seated in the circle of royal assembly (sat sabhacakra). For prosperity, he is consecrated with suitable formulae while meditating on Srisa (Visnu) . Similarly, for glory and power (pratapa) he, who is seated on the royal throne while circularly surrounded by members of the royal assembly, is meditated as having the combined glow and lustre of a number of suns rising together 109. The doctrine of Bhagavadgita (2.17-25) appears to have cast its influence on our author.

336 and is consecrated. For endowing him with sovereignty, and royalty, he is consecrated while meditating him as having the cool and bright splendour of a number of moons, as it were. For enabling him to destroy the enemy, he is thought in the shape of the fierce and violent wind (Candavayu). For effecting rains, he is viewed as the black cloud (Kalamegha). Likewise, the reader comes across a number of other images through which he should be viewed and consecrated for effecting a particular end (103.2-6). For firmness (sthairya) the image of Kulacala (chief mountain range like Mahendra, Malaya, Sahya, Suktimat, Rksa, Vindhya and Pariyatra), for protecting the twice-borns (dvija) that of Visnu, in destruction that of Rudra and for valour (saurya) that of Indra is used. In incendiary activities (pertaining to enemy establishments), on him is cast the image of fire-god while in cruel and fierce action, he is visualised as Vaivasvata. For riddance from the fear of raksasa (demons) he is meditated as Nirrti while in matters of swimming a water-course, he is imagined in the shape of Varuna and for causing delight, the image of

337 110 Malavanila is considered apt. For wealth the god in whose form he is meditated, is said to be Dhanada (Kubera) and for attaining perfection in knowledge, the image of Isana is thought to be potent (7-12). While the priest performs such consecration of the king with suitable formulae, another one thousand priests are engaged in reciting a number of Vedic, Tantric and Puranic formulae. Such is the way described for the consecration of an emperor who is already initiated or coronated (diksanvita) (13-14). Hymns, recited during Navaratra The ritual of consecration of the king, in a number of ways and with different formulae, is performed in the night of the first day of Navaratra after which the chaplin (purohita), on behalf of the king, honours a number of Brahmins, 1,000, 500 or 100, while providing them with seats, with offering of flowers, perfume, etc. 110. Literally, a wind blowing from the Malaya mountains. More appropriately, it is described as 'an odoriferous wind prevalent in Southern and central India during hot season' (Monier-Williams,p.792.3).

338 and makes a sankalpa to get a number of hymns recited by them for the satisfaction of Durga, Laksmi, Bharati, Visnu etc., for prosperity of the king and kingdom and such other purposes like the general peace and happiness of the year (samvatsara). The hymns and prayers that the meant to be recited are mentioned as under : 1. Durgasukta (RVkh. 10.127), 2. Laksmisukta (Rv 10.71. 1 ff. also known as devisukta), 3. Sarasvatasukta (Rv 6.61), 4. Revanta sukta, 5. Asvasukta (Ap.Gr Su.8.22.16: Ap.M.p.2.21.20-30), 6. Gajasukta (Ap.GrSu 8.22.17: Ap.M.p,2.21.31), See Sakta-Pramoda, 7. Gosukta (Rv 6.28.1-8, 8.101.15-16 etc.), 8. Rsabhasukta (Rg-Veda 10.166), 9. Ganesasukta (Rv 2.23.1 ff), 10. Stavaraja perhaps, here also the Ganesastavaraja is meant. Ganesatantram, pp. 509-510, 11. Durgasukta (RvKh- 10.127.9), 12. Jatavedassukta (Rg-Veda 1.99.1, 10.188.1-3, Atharvaveda 7.84.1), 13. Vayusukta (Rg-Veda 8.26.21), 14. Akasa sukta, 15. Asvina sukta (Rg-Veda 1.47.1-10), 16. Saurasukta (Rg-Veda 1.50. 1-33, 1.115.1-6 etc.), 17. Candrasukta (Rg-Veda 1.91.16), 18. Bhaumasukta (Rg-Veda 8.44.16), 19. Budhasukta (Rg-Veda 1.101.1), 20. Brhaspatisukta (Rg-Veda 2.23.15), 21. Sukrasukta (Rg-Veda 6.58.1), 22. Sanisukta (Rg-Veda 8.18.9), 23. Rahusukta (Rg-Veda 4.31.1),

339 25. Indrasukta (Rg-Veda 1.7.10) 27. Yamasukta (Rg-Veda 10.14.13) 24. Ketusukta (EV.1.6.3) 26. Agnisukta (Rg-Veda 1.1.1) 28. Nairrtasukta (Rg-Veda 1.38.6) 29. Varunasukta (Rg-Veda 1.25.21) 30. Vayusukta (Rg-Veda 8.26.21) 31. Kuberasukta (Rg-Veda 1.91.8) 32. Isanasukta (Rg-Veda 1.43.1) 33. Brahmasukta (Atharvaveda 11.7.1-27) 34. Ananta sukta 35. Astrasukta (Rg-Veda 5.48.5) 36. Sastrasukta 37. Raksoghnasukta (Rg-Veda 4.4.1-15,10.87.1-25 etc.) 38. Apratirathasukta (Atharvaveda 19.13) 39. Manyusukta (Rg-Veda 10.83, 84.1-7). 40. Dundubhisukta (Rg-Veda 6.47.29-31, Atharvaveda 5.20.1-12, 21.1-9) 41. Sumangalisukta (Rg-Veda 10.85.33), 42. Sakuna suka (Rg-Veda 2.42.43) 43. Svastisukta (Rg-Veda 5.51.11-15, 1.89.6 etc.) 44. Rudrasukta (Rg-Veda 1.114.1-8), 45. Visnusukta (Rg-Veda 1.154) 46. Saurasukta (Rg-Veda 1.50.1, Atharvaveda 19.9.1 ff) 47. Pavamana sukta (Rg-Veda 9.1.2) 48. Santisukta (Rg-Veda 7.35.1-11, 8.65.13-18 etc. 1.89.1-10 etc.) 49. Samgrama sukta (Rg-Veda 6.75.1-19) 50. Ayusyasukta (Rg-Veda 10.17.4, Atharvaveda 18.2.55) 51. Yaksmaha Yasukta (Atharvaveda 3.11,19.36 etc.) 52. Ghrtasukta (Rg-Veda 4.58.1-11) 53. Ratrisukta (Rg-Veda-Khila-Sukta 10.127.1, Atharvaveda 19.47.1)

340 54. Vastsukta (Rg-Veda 7.54.1-3,55.1, 8.17.14, Atharvaveda 3.12.1-9) - 55. MrtasamiivinIsukta (Rg-Veda 7.59.12) 56. Yamana sukta (Rg-Veda 1.164.1-10) 57. Naravanasukta ( 58. Purusasukta (Rg-Veda 10.90.1 ff) 59. Astava susukta 60. (Sapta) Marutsukta (Rg-Veda 1.37.1-15) 61. (Dvadasa) Adityasukta (Rg-Veda 2.27.1-17) 62. Matr sukta K 63. (Ekadasa) Rudrasukta (Taittiriya-samhita 4.5, (11 anuvakas) 64. Vanaspatisukta (Rg-Veda 10.97.1-23) 65. Satruk sayakarasukta (Atharvaveda 2.23.1-5,6.65.1-3) 66. Satrupalayanakarasukta (Atharvaveda 3.1.5,3.2.4) 67. Indrasukta (Rg-Veda 1.9.1-10 etc.) 68. Visnusukta (Rg-Veda 1.22 17-21,Rg-Veda 1.154.1-6 etc.) 69. Harisukta 70. Namatrava sukta 71. Devimahatmya (Markandevapurana, ch.81-93) - 72. Sahasranamastotra (two) Possibly, of Siva and Visnu. see Sakta-Pramoda, (pp.457-474 and 567-578) 73. Saivapancaksara (Namahsivava) 74. Visnuastaksara (On namonarayanaya) 75. Visnud vada saksara (Om namo bhagavate vasudevaya) 76. Sivakavaca See Sakta-Pramoda (Siva tantra pp.481-487) 77. Rudrakavaca (Sanyasa) 78. Sivasankalpa-mantras - (VS.32.1-6) 79. Ramanamasahasra (See Ramarcanacandrika) 80. Raghavendrakavaca (Ibid).

341 81. Hanumatkavaca (See Brhannaradiyapurana, 1.3 in Ramakosa. II I. pp.214-15) 82. Sudarsanamantra (See Pancaratra-Sesa-Samhita, p. 207,Saradatilakam, p.391 etc.) 83. Garudamantra (Vacaspatyam, Vol. IV, p.2544) 84. Narasimhamantra (See Saradatilakam, P.379) 85. Kartaviryakavaca (See Pancaratra-Sesa-Samhita, p.193) 86. Raksakarakavacani (For Narayana kavaca see Sakta-Pramoda, pp. 559-562) 87. Pancasanti 88. 111 For Sivakavaca see Sakta-Pramoda, 481-487) For Devikavaca see (Kalikapurana, 56 Chapter) Maha santi (Kausitaki 8.23 ff, Gonda, V.R., p.229.) At the end, the priest hands over to the king the consecrated grains of whole rice, rendered pure with sacred formulae and having caused the king to be revitalised (abhivardhita) with a number of benedictions showered on him, proceeds for the ritual worship of goddesses like Durga, Laksmi etc. (104.3-27). 111. The five santis referred to by the author here are not easy to ascertain. Kane in Kane quotes as many as 10 santis from Matsyapurana like abhaya santi, Saumya santi, Vaisnavi-santi etc. Added to these however, he makes a mention of Vinayaka santi, graha santi, ugrarathasanti, bhaimarathisanti and udaka santi. And we feel that the formulae used in these five santis are referred to by our author here. For details see Kane , Vol. V Part I, Section III.

Worship of Durga, Laksmi etc.: 342 The king, wearing a leather coat of mail and holding a sword is conducted to the flower-bedecked-pavilion while two brahmins keep chanting hymns like Svasti (RVI.89.6 etc.) and sakuma (Rg-Veda 2.42.43). On his arrival, he occupies his seat, performs preliminaries like announcing of place and time, etc. and invokes Durga, Laksmi and Vagdevi (the goddess of speech) into the jars of gold, silver, copper or earth which are covered (Sapidhana) probably, with a silk cloth and filled with haridra (Curcuma Longa) (turmeric) and grains of rice to the chanting of a number of vedic, tantric and puranic formulae. Then he proceeds to worship Revanta the god of horses by offering perfume, garlands and articles of food etc. reverentially going round the idol and saying a number of prayers (105.3-9). Worship of thirty-two weapons: Next, in order, are worshipped thirtytwo weapons. These are described as 1. Capa (bow) with its four varieties like Kodanda, Trinata, Gulikastram (from which balls can be released) and Bhidocitam (from which penetrating

343 arrows can be discharged.), 2. Arrow with its five varieties like Ardhacandra (crescent-shaped), Ksurapra (knife-shaped), karirankurasannibha (Shaped after a bamboo-shoot), Karaviradalakara (shaped like the leaf of a karavira or Oleander (Terminalia Arjuna) flower and Adhomukha kantaka (the point facing down). 3. Asi (sword) with foer varieties, viz. khadga, sadhanakhadga, Pattasa and Karavalaka. 4. Ksurika (dagger), 5. Parasu (hatchet), 6. Cakra (discus), 7. Sula (Spike), 8. Sakti (spear), 9. Bhindivalaka (crooked club), 10. Parigha (battering-ram), 11. Vaira (thunderbolt), 12. Laguda (club with iron nails), 13. Gada (mace or bludgeon), 14. Khetaka (shield), 15. Bhalla (sharp arrows), with its three varieties namely, Bhalla, Varahabhalla and Totra. 16. Salla probably from Salva (sharp pointed weapon), 17. Mudgara (hammer), 18. Kunta (lance), 19. Kuthara (battle-axe), 20. Musala (pestle), 21. Srni (elephant-goad or sickle), 22. Yasti (staff), with its three varieties, viz. Yasti, Phanivasti and Avalambanayastika, 23. Nalikastra (musket or carbine), Svastika (probably, a weapon with this shape), 25. Tanka (hatchet), 26. Hala (Plough like weapon), 27. Vetra (staff), 28. Kasa (A string, rope or thong), 24.

344 29. Prasa-sadihastocita (spear, carried by a horse-soldier), 30. Tomara (Tomahawk or Javelin), 31. Kampana (dart or javelin) 32. Kuta (mallet or a concealed weapon like a sword-stick) (10-23). These weapons are worshipped by the king with offering of flowers, articles of food, etc. while suitable vedic, tantric and puranic formulae are chanted by the priests. Treasury and royal insignia : The king now proceeds to worship the treasury apartment (Kosagara) and the royal insignia, sixteen in number. These are, 1. Simhasana (throne), 2. Sveta-chatra (white parasol), 3. Camaradvandva (two chowries), 4. Kalaci (a kind of vessel), 5. Kuncika (bamboo-shoot), 6. Kundika (water-pot), 7. Ivajana (fan), 8. Ratnakambala (Jewel-studded blanket), 9. Sibika (palanquin), 10. Andolika (swing), 11. Dhvala (banner), 12. Pataka (banner), 13. Dundubhi (largecattle-drum), 14. Palvana (saddle), 15. Kalina (bridle-reins) and 16. Kasa (a sting or rope). Having performed such worship in his palace, now, the king moves out for similar performance to be done in honour of the elephants and horses (24-30).

345 Worshipping horses etc. and appearing at the Royal Assembly: First of all, elephants and horses are described to be worshipped with sixteen upacaras (articles of offering) and next, the king ties ribbons (pratisara) to their neeks, bows and goes round them. Thus, concluding their worship, he is required to witness the Lasya performance presented by the courtezans while being regaled by the eulogy of the singing bards. He is now attended to also by a number of other kings = allies and tributary chiefs, poets, singers, musicians, etc. Whose services he often acknowledges in a number of ways, by nod of his head, sweet smile, a pleasing glance, etc. (106.2-6). After spending some/time while viewing the Lasya performance, now, he reaches the Audience Hall and Occupies his seat on the altar with a few confidential servants while facing east and meditating on his tutelary 112 deity. At then, Kautukamangala of the king is said to be performed by the priest. He, now in full regalia, is L 112. Kautukamangala or kautukasutra literatly means 'tying of a thread' duly sanctified, on the rightwrist of a person before conducting any sacred rite like marriage etc. See Prayogaparijata, Samskara prakarana (pp.21-27).

346 leisuredly fanned by two ladies-in-waiting with chowries and is fancifully compared by our poet to a mountain sandwiched between a frolicking stream and arcanut 113 trees (7-10). Now, while wishing to partake of the pleasures of a number of a musements that would last for three muhurtas, he stays there in the company of the whole a Assembly consisting of feudatory kings, learned men, poets, singers, jesters, actors and astrologers (kalasucaka)(7-16). A number of royal amusements during Navaratra Here we get a glimpse of the full Royal Assembly, gathered to witness the various martial and sportive pranks performed before the king as a part of the Navaratra celebrations. It is specifically mentioned that such items are twentyfive in number (Pancavimsativinodan). The description of the pageantry and tableaux, as we shall see, resembles the modern day performance of the ceremonial March-past of a military contingent. Samrajya-lakshmi-pithika also expressly states that the king remains present there to review the troops (sainvavalokanamukha) (107.7). n 113. 'Sravatniriharapugabhyamanvito nagaradiva (106.10) This image is not peculiar to Samrajya-lakshmi-pithika alone. It is possible that it also serves as a fitting testimony to the partiality of the landscape with which our author was probably acquainted.

347 The March-past of the four-fold army : Such a rally begins with the marching of the contingent of the charioted soldiers gaily decorated with gold and flying a number of flags, kept aflutter their chariots. They are followed by elephant and horse-soldiersthe latter performing a number of feats with their gaits like bhram (circular movements) and utpluti (upward leaps). Now pass before him the array of foot-soldiers causing the firmament resounding to their tumultuous sounds as it were (8-12). The officers bearing presents : Then the king witnesses officers carrying a number of precious presents. We further learn that on this occasion the king used to receive costly presentations of articles like gems, etc. sent to him by his subordinates from all parts of the kingdom (12-13). The dancing courtezans : Next in order, pass before the royal throne, the troupe of the dancing courtesans and actresses who perform Lasya and acting etc. to the accompaniment of lyre and drums (13-14).

348 The amazing Performances : Then, we have reference to such amazing arts of acrobatics (ascarvakarini vidya) which were performed on a sharp iron-stake (sula), fitted to the top of a very 114 high pole (14-15). The drama-troupe : Now, the king is said to witness a number of dramatic performance, The author opines here that the artists through their superb acting, could enable old historical themes, that were chosen to be dramatised, to come alive as it were ' (15-16). Puppet play : This is followed by the play of the Puppets (Pancalika) on some ancient theme, who were controlled by persons from behind the screen (Yavanikavitakavamanan tarasthita). Poets : The group consisting of poets who have embellished themselves with a number of unusually puffed up words 114. Perhaps some amazing feats of balance performed by seasoned artists are referred to here.

349 (Vika tatopa bha sabhusanabhusita) passes before the king while gaily dressed in splendid attaires (17-18). Tableau of a huge boat : Also forms part of such tableaux a grand boat, seated with replicas of people of other islands who have uncouth appearance and terrible forms Strange arts and wrestling-bouts : 115 (18-19). Now follows presentation of a number of curious and astonishing performance in strange arts which are described to render into insignificance (phalgu) the variety of creator's creation (spti-vaicitrya). As examples are mentioned magical feats like solidification of water and quenching of fire which respectively reminds 117 us of the feats of Duryodhana and Hanumat. Now, the king is said to witness an examplary bout of wrestling and boxing which, the author adds, belittles the importance of similar fight of Lord Krsna with Canura and 118 Mustika (19-23). may A 115. We infer here that the boat with replicas of people from alien lands suggests maritime activities of the patron king. 116. 117. 118. 'Vedha sah srsti-vaicitryam yaya sphurati phalguvat' Here we have allusion to magical performances like Jalastambha, Agnistambha etc. The epica anecdotes referred to here are found in Mahabharata 9.28-29 and Ramayana (5.54). Hanumat's herculean feat of burning the city of Lanka, while fire tucked to his tail-end, is described with gusto by Valmiki. See next page.

350 Animal-fight : The ram-fight presents a curious sight wherein the contenders angrily rival each other and tearfully dash and hit their horns generating sparks of fire in the process (23.24). buffaloes (vangalulava) In a similar fight the wild are seen angrily fighting with their faces downwards while heavily rending the floor with their hooves (24-25). Artificial birds, animals and goblins : is Another amazing item of the show the spectacle ^ 119 of a variety of birds and animals, made of wood, cloth and hides. In this connection one specially observes the image of lord Hanumat, which is designed in such a way that it easily reminds one of the speed (janghala) with which he had crossed the sea (to reach Lanka) (26-27). Now, the king beholds the motiffs of a pair of bhuta (goblin) depicted in their most fearful form in which human intestines are shown sticking to their tooth-ends (27-28). Contd. from previous page. 118. Lord Krsna's celebrated fight and routing of wrestlers, Canura and Mustika as we come across in Harivansa 2.75-76 etc. is alluded here. 119. See Ramayana (5.1)

351 The diparatha etc. Huge chariots of lamps (diparatha) which form a part of such celebrations are poetically alluded to mountains with stars (iyotisa) who had hidden for fear from Indra's thunderbolt. A number of wooden contrievances in shape of horses also are brought out for public view (28-29). Display of Pyrotechny : At the end, we have description of some bright and luminous lights capable of turning night into day, followed by bursting of a variety of crackers, arranged in tree-like coloumns and some emitting chowrie-like flames in a tangent manner (29-31). All such amusements are stated to be signalled to a close with the thundering tumult of a great cracker creating the illusion of the roars of the black patches of clouds that appear at the time of the great-deluge (pralava) (31-32). Such performances are mentioned to be a regular phenomenon on all the days of the Navaratra. At the end the patron king honours the tributary chiefs, ministers, priests and the participants with presentations of perfume, camphor, betels etc. and leaves for his inner apartments on a well-bedecked elephant (33-39).

352 On his arrival he spends sometime narrating the 120 day's episode to the ladies of the harem . They also receive him by adoringly waving before him camphored lamps, placed on a golden platter (nirajana) (40). The author, at the end, enlists a number of benefits that accrue from such performances and seeks evidences of such celebrations in the examples of ancient kings like Sagara, Dilipa, Kakustha, Yayati t L and Rama, and hopes that modern kings should emulate from such examples (41-46). Vijayadasami celebration : Significance of the day : The 10 th of the bright fortnight of Asvina is known as Vijaya. It is so called as it is known to 121 confer victory on kings. This day is held to be very sacred and powerful and it is believed that a king who (symbolically) releases arrows against the enemy on this day, for him the enemy is made to remain ever 120. 121. This suggests that ladies were not emancipated enough to comebut to see even the public functions. And we presume the prevalence of Purdah system during the time of our author. Yasmadvijayada rainam tasmat sa vijayabhidha (108.4).

353 vanquished (jayya). Any art begun on this day is easily mastered and so also the case with any new enterprise, which becomes fruitful. Therefore, the day is considered auspicious for any new beginning (108.4-7). Catussalam and other preparations : The king who intends to discharge arrows against the enemy on this day should get built a big hall (catussala) towards north or east of his palace at a distance of about one krosa (approximately two miles) on a suitable ground. The hall should be quite spacious. It has four doors, is surrounded on four sides by walls, supported by pillars and is not without tufts (turrets). It is decorated with canopies, arches, coloured flags, banners, chowries and mirrors (8-12). The Kuta and the sami tree : Inside the middle of this Catussala another smaller Kuta (mansion) is erected with an exalted roof in the shape of a mountain peak. At its centre is planted a sami tree (Prosopis Spicigera or Mimosa Suma), which, at its base is supported by a circular altar. The

354 tree is decked with wreaths of flowers. Outside the main Hall, to the four directions are kept four new chariots (one in each) decorated with gold and banners. When thus the arrangements are complete, the priest resumes his work with svastivacana etc. (12-16). Worship of deities : On the morning of the Vijayadasami day the king, as usual, performs his routine ablution and effects a beginning to all forms of learning (vidya) through the utterances of the preceptor who is duly honoured by him earlier. At the appropriate moment, the king, with permission from the priest, worships golden idols of the following B deities namely, Jayadurga, Batuka Ganesa, who has a bent mouth, Bhairava, Kartavirya, Nrsimha, Garuda, Hanumat, the mighty, Rama with the bow, the triad of Brahma, Visnu and Mahesvara and his tutelary family deity and at the end gives away the idols to suitable brahmins with donations (16-23). Worship of Weapons: The sword, bow and arrows which are already worshipped by the priest are now addressed by the king as 'bestow on me' and the priest prays to these while individually addressing them as follows :

355 in war, '0 sword, the sharp-edged-one, thou art dreadful Do you the killer of the heroes of the enemy. cause death to deadly enemies and protect my master'. 'My salutations to you, O king of arrows. Thou art the penetrator into enemy's heart. Do you destroy the enemy and his weapons and protect my master in war'. After saying these prayers, the priest hands over the weapons to the king and causes his vitality tobe increased with benedictions (23-28). Worship of the Sami, Placement of the weapons etc : On receiving the weapons from the priest the king pays his respects to these and asks the priest to place these in the Sami carrys the weapons palanquin (sibika) tree and worship. tree and worship. The priest, in turn, to the Sami tree in a covered and on his arrival there, places these in the Sami tree and worships with perfume, flowers, in-cense and lights. Also, he worships there Laksmi and Narayana and returns to the king and at his behest recites the following verses in Sloka metre tutelary deity (109.1-6). before the Whatever (good) had happened to Vainateya, the son of Vinata, in the past while engaged in the act of wresting ambrosia, let that be mine (today)'.

356 'Whatever (good) had accrued to the wielder of the thunderbolt in the past while intending to kill the demons at the time of (churning the sea for) begeting the nectar, let that be mine'. 'Whatever (benediction) had accrued to Visnu in the past while making three steps in his attempt to kill Bali, let that be mine'. 'Whatever benediction had accrued to Mahadeva, the bearer of the trident at the time of killing of the ferocious monster, Tripura, let that be mine'. 'Let Brahma, Visnu and Mahesvara, the creater, sustainer and destroyer (of the world) grant victory to me, again and again, in my victorious marches'. 'Let the guardians of quarters with their vahanas (carriers), ayudhas (weapons) and the diggajas (protective elephants of quarters) grant victory to me in my victorious marches'. 'Let the Adityas, Vasus, Rudras, the Asvins and the Maruts grant victory to me in my victory-marches'. 'Let the gods (devas), demons (danavas), celestial choristers (gandharvas), the yaksas, the raksasas and the kinnaras (semi-divine beings) bless me in my victorymarches' (6-14).

357 The royal journey : Thus praying, the king solicits victory from the gods and now stirs out, while meditating on the guardian of the direction to which he proceeds. L At the outset, he covers some distance while riding a palanquin (sibika), then boarding a swiningpalkee (andola), then riding a playful chariot (kridaratha), then switching to a horse and finally, the ancestral elephant which is described to be good-natured and accutred with war-equipments. En route, he is pleased by the retinue of bards who keep on showering eulogies on him with raised hands. Now, in full military uniform, like the helmet and the coat of mail, he speeds off to release arrows against the enemies while preceded by experienced warrior-chiefs with swords and shields, who keep running with upward-leaps (utpluti), his flanks are covered by spear-wielding horse-soldiers and from all sides he is guarded by the princes on elephant-back. Similarly, a number of musical instruments follow such procession in a well-distributed manner and thus the king, intending victory, reaches the vicinity of the SamI tree (15-24).

358 King's worship at the Sami tree : On reaching the Sami tree, the king worships Laksmi-Narayana with offerings of perfume, flowers, Naivedya, etc., circumambulates, bows and says his prayers and thus pleases the Sami. Weapons like sword, bow and arrows are next worshipped with puranic, tantric and vedic formulae (24-26). Symbolic release of arrows: The worship over, the king comes out, while holding the sword, the bow and arrows. He faces east, meditates on the guardian of quarters namely, Indra and aiming at the enemy in that direction, releases an arrow on the floor while drawing the bow-string hard up to his ear (akarna). Similarly, he repeats the feat in case of the rest three directions (27-29). His return and inspection of troops : On completion of such symbolic release of arrows against the enemy, he resumes his journey back while inspecting the heavy contingents of the four-fold army, positioned in rows to both his flanks and when thus he reaches back the Assembly Hall, he is described to sit

359 for some time on the high throne to honour the ministers and the priests with,various presents of neck and ear ornaments with which the day's assignments are said to be concluded. At night, another round of dance, drama and similar presentation of clothes and ornaments to the actors and actresses takes place. Such performance, is further stated to nullify the bad effects of an untimely and unseheduled journey (akalavatra) (30-36).