The Shakta concept of Para, Pasyanti and Vaikhari

[Some technical terms in Sakta tantras (9) Para, Pasyanti and Vaikhari]

Suddhavidya (pure knowledge) evolves the expression of sounds through the medium of Para (super-beyond) Pasyanti 115 (appearance or cognised) and Vaikhari (manifested sound) In the state of Para i.e., in Muladhara, sound is heard at it s sublimest state. At this stage, yogin in trance, is aware of an inexplicable tendency to experience something happening in him more intensely. Actually it is not sound, but a state of agitation of cosmic power%;B called the Ksobha or disturbance of samanyaspanda (general movement). This is fully revealed in Vaikhari (manifested sound). When Para strikes ear and mind, sound is produced. Pasyanti is more gross than Para, when yogin becomes aware of some potentiality striving to emerge into a perceptual fact. 116 this may be Madhyama is still more advanced, proclaiming the In the state of Vaikhari potentiality of future expression. sound is more clear, expressive and suggestive. 114. Nityotsava, p.7 115. See S. & P.W., p.580 116. Ibid.

141 To the Saktas, the greatest chant is Sodasaksari (16 lettered chant) in which Nada, Bindu and Kala play equally important role, as representations of important principles. Sodasaksari is otherwise called Srividya. The 32 nd verse in Saundaryalahari, is indicative of this. The words Sivah, Saktih, Kamah and Ksitih represent the letters ka e 9 117 i and la. The words Ravih, Sitakiranah, Smarah, Hansah and Sakrah, represent ha sa ka ha and la and Para, Mara and Hari represent sa ka and la. These together are twelve in number. When the Hrllekha, hrin is suffixed to the three parts, it forms a fifteen-lettered chant and when Srin the Ramabija is prefixed in the beginning it becomes the sixteen lettered Vidya i.e., Srin ka e i la hrim ha sa ka ha la hrin sa ka la hrim. letters are divided into three parts called Kutas Vagbhavakuta, Kamarajakuta and Saktikuta 118 117. "Krodhisah srikantharudrah konatryam laksmih mamsam anuttararudham vagbhavakutam prakirtitam paraman siva hamsabrahmaviyaccakrah pratyekam These viz., The three sivato viyato muktam trtiyamidameva saktikutakhyam hrllekhanam tritayam kutatrayepi yojyamante syad" Varivasya-rahasya, 9, 10, 11 - p.9 118. "Vakkamasaktikutairavayavaso vigraho matuh pratipadyo Stra kanthadamadhyada ca padagrad vedobharatyau madhavalaksmyau rudra-parvatyau". Ibid. 114 p.97

142 Kutas show the presence of Brahman and Bharati in the first Kuta, Madhava and Laksmi in the second Kuta and Rudra and Parvati in the third Kuta. The letters in the three Kutas are said to make effects in three centres. The first Kuta touches Anahatacakra (in heart) beginning from Muladhara (at the tip of gentials) and is like diluvian fire. The second is lustrous like ten million suns and touches Ajnacakra (in between eyebrows) from Anahata (in the heart) and the third, is having million Moons' lustre and touches the lalatamadhya (on the middle of forehead). These letters from like beads 42 L on the rosary. When Sodasak sari is pronounced, it should be as follows: The first Kuta is to be pronounced immediately with the second group, the Nada of the second group should be 119. In the pronounced along with third group and not separately There are 31 matras in the three Kutas altogether. first Kuta there are 11 matras in the second Kuta there are 120 11 and in the third Kuta 8. There are 6 distinct letters 119. "Nadah prathamikastu dvitiyakutena sakamuccaryah dvaitiyikam nadam tartiyenoccarenna prthak bindvadinavakayostu praktanakutasthayoranayoh sammelanena sabalam tartiyikam vibhavayet kutam + ekadasavakkute sardha ekadasodita madhye sardha astau saktavekaika lavonita matrah samhatyaikatrimsanmatra mantre lavatrayanyunah." Varivasya-rahasya, 27-28, p.20 120. Varivasya-rahasya, p.20.

143 representing Brahma, Rudra and Parvati respectively. too viz., ka e i la ha sa Bharati, Visnu, Laksmi,