Soundarya Lahari of Shri Shankara (Study)

by Seetha N. | 1985 | 67,146 words

The essay studies in English the Soundarya Lahari of Shri Shankara, focusing on its philosophical and devotional aspects. The Saundaryalahari represents an epitome of Shaktism (worship of the divine Goddess) by expounding the ultimate goal of liberation (moksha) through the non-dual knowledge of Nirguna Brahman, as taught by the Advaita philosophy....

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When closely examined, we can see the nucleus of Sakta tantras epitomised in Saundaryalahari. The stanzas 1 to 41 deal with the internal beauty of the Goddess depicting the microcosmic aspects. The latter portion (42 to 103) 156. S.I., 10. 157. "Nadah sanjayate tasya kramadabhyasatah sanaih mattabhrnganganagitas adr sah prathamo dhvanih vansadhvaninibhos parah ghandaravasamah pascad ghanameghasvano parah". Sharadatilaka, p.545. 158. "Samsaramulamajnanam nasayet natra samsayah". Tripurarahasya, 17-64.

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166 deals with the external beauty of Goddess in its macrocosmic aspect. The Samaya mode of worship is depicted in stanzas 1 to 41. The first stanza in Saundarya-lahari, is a revelation of this truth. Siva becomes capable of action only when He gets united with Sakti, ie., only when the four triangles indicating Siva's presence get united with the five triangles 159 indicating Sakti's presence. This union of five triangles with the four triangles is the indication of the Sricakra, the nucleus of tantric philosophy. The four triangles of Siva's presence are called Srikanthas and those indicating Sakti's presence are called Sivayuvatis (five in number). By the worship on Sricakra, the Goddess whose presence is represented is Sricakra, will get awakened. This is the geon The body beginning of the spiritual consciousness in man. and the six Adharacakras constitute the various aspects of Sricakra. The four triangles in Sricakra representing T Siva's presence are called. 1. Astadala (8 petalled lotus) 2. Sodasadala (16 petalled lotus), Vrttatraya (3 circled) and Bhupura-traya (3 puras) or Vasudala, Kalasra, Trivalaya and Bhupura. The 5 Sivayuvatis representing Sakti's presence are 1. Trikona (triangle), Astakona (8-sided one), Dasakonas (two ten sided ones) and Caturdasakona (14 sided one). 11 9 159. 'Sivah Saktya yukto yadi bhavati saktah prabhavitum na cedevan devo na khalu kusalah spanditum api". Saundaryalahari I.

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167 : The Bindu found at the centre is the residence of TripuraBindu is always in union with the triangle. sundari. 160 na It shows the interdependence of the two. The Trikour, Astakona etc. in Sricakra are indicative of the presence of the presiding deities as follows: The triangle is the seat of Kamesvari, Vajresvari and Bhagamalini.161 The Astadala is the representation of 8 Goddesses like Vasini, Jayini, Kamesvari, Modini, Vimala, Aruna, Sarve vari and Kaulini. 162 One of the ten-sided figures (2 in number) is the abode of Jnanaprada, Saktiprada Aisvaryaprada, Jnanamayi, Vyadhivinasini, Adharasvarupa, Papahara, Anandamayi, Raksasvarupini and Ipsitaphalaprada. The other ten-sided figure is the abode of Siddhiprada, Sampatprada, Priyankari, Mangalakarini, Kamaprada, Duhkhavimocini, Mrtyuprasamani, Vighnanivarini, Anangasundari and Saubhagyadayini. 163 In Caturdasara, 14 Goddesses are 9 160. "Trikona-rupini saktih bindurupah parah sivah 161. Avinabhavasambandhah tasmadbindutrikonayoh". Trikone vakkamasakti samsthapurvah kamesvari bhagamalinimahadevyah". Periyapurana, 5 11. 162. "Astare Vasinyadyastakan" Ibid. 5-9. 163. "Antardasare jnanas aktyai svaryaprada, jnanamayi vyadhivinasinyadhara svarupapapahara nandamayI raksasvarupini ipsitaphalapradah" Bahirdasare siddhiprada, sampadprada Periyapurana, 4-1. priyankari mahgalakarini kamaprada dukhavimocini T mrtyuprasamani vighnanivarinyanangasundari saubhagyadayini". Ibid. 8.

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168: are present viz., Samkosobhini, Dravini, Akarsini, Ahladini, Sammohini, Stambhini, Jribhini, Vasankari, Ranjani, Unmadini, Arthasadhini, Sampattipurani, Mantramayi and Dvandvaksayamkari.164 The octogen is the seat of Kusuma, Mekhala, Madana, Madanatura, Rekha, Vegini, Ankusa and Malini. 165 The sixteen petalled one, is the abode of Kamakarsini Buddhyakarsini, Ahankarakarsini, Sabda, Sparsa, Rupa, Rasa, Gandha, Citta, Dhairya, Smrti, Nama, Bija, Atma, Amrta The three Bhupuras outside are and Sarira-akarsinis. Bhukti, 166 the abodes of Anima Laghima, Mahima, Isitva, Vasitva, Iccha, Prapti (outer most one), Brahmi, Mahesvari, Kaumari, Vaisnavi, Varahi, Indrani, Mahalaksmi (Middle one) and Sarvasank sobhini, Sarvadravini, Sarvakarsini, Sarvavasankari, Sarvonmadini, Sarva-mahankusa, Sarvakhecari and Sarvatrikhandaka (innermost one) 167 The four Srikanthas and five Sivayuvatis are representations of human physiology as well as all the aspects in the Universe. 168 Among the nine Dhatus in the human body, skin, blood, flesh, fat and bone are saktimulakas and marrow, A semen, soul and life are Sivamulakas. 169 Just as the 164. Ibid. 6 165. Ibid. 5 166. Ibid. 4 167. Ibid. 1 168. "Tena navarandhararupo dehah navacakrarupan sricakran". Bhavanopanisad 169. Vide P.Shabdataravali, Ch. I, II.

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169 human body is a constituent of the nine principles, so too, the whole universe is a product of the nine Yonis of Siva and 170 Sakti. By knowing this principle everything is known. The point at which the five triangles of the Goddess unite 171 with the four triangles of Siva is called Sudhasindhu. Sudhasindhu is surrounded by five types of trees like Kalpaka, Santana, Haricandana, Mandara, and Parijata. Goddess is seated in the Sivakaramanca. The The waist-band of the Goddess is beaded with gold. Her breasts are like autumnal full moon; Her hands bear bows, arrows, noose and The representations of the bows, arrows, noose and goad. 172 170. "Sricakram srutimulakosa iti te sansara cakratmakam 171. T vikhyatan tadadhisthitaksarasivajyotirmayan sarvatah etanmantramayatmikabhirarunan sri sundaribhirvrtan madhye baindavasimhapithalalite tvam 'Sudhasindhormadhye suravitapivati parivrte manidvipe nipopavanavati cintamanigrhe Sivakare mance paramasivaparyankanilaye Tripuramahimnastotra 28 bhajanti tvam dhanyah katicana cidanandalaharin". Vide. Com: Soundarya-lahari, 8. 172. "kvanat kancidama karikalabha kumbhastanabhara pariksina madhye parinatas arccandravadana dhanurbanan pasam srnimapi dadhana karatalaih purastadastam nah puramathi turahopurusika". Saundaryalahari7

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170 goad, She bears are as follows: Attachment to objects is said to be the noose, intellect is said to be the elephanthook, mind as sugarcane, bow and the objects of senses as 173 arrows. In another version, the noose represents desire to create, elephant-hook represents knowledge, bow represents brilliance and arrow represents power to act. There is still another meaning; the arrows are representations of attraction and captivation of the universe, the goad represents victory over every task and restrains even gods, bow represents the stoppage of illusion and noose represents captivation of death. 174 The Goddess is to be contemplated in the six plexuses, Ajna, Visuddhi, Anahata, Manipura, Svadhisthana and Muladhara. In Saundaryalahari, Sankara effects a change in the order of Cakras by placing Manipura next to Muladhara i.e. second in the order of creation; Muladhara (earth), Manipura 173. Hindu Polytheism, p.266 174. "trijagadanganaksobhane, pasan akarsane vijayamahankusam sayosan devan stambhayati .... capadhyanavasat bhavodbhavamahamohasya vijrmbhanam" Tripuramahimnastotra, 42, 43, 44, 45.

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171 : 175 (water), Svadhisthana (fire) and so on. These Cakras are indicative of the principles of nature, viz., twenty-five i.e., the 5 Mahabhutas, 5 Tanmatras, 5 Karmendriyas, 5 Jnanendriyas, Manas, Maya, Suddhavidya, Mahesvara and Sadasiva. The Kundalini sakti who is the soul of 21 principles upto Manas, ascends through Muladhara and strikes the Bindu after merging with the rest four principles in Sahasrara. The Bindu which is said to be the dwelling place of Tripurasundari, is surrounded by the ocean of ambrosia. The island of gems is in the middle of the ocean. It is surrounded by wish-yielding trees. In this island there is the mansion of wish-yielding jewels near which Nipa trees are elustered. In that mansion, on the couch supported by the four Sivas (Brahma, Visnu, Rudra and Isvara), the Goddess resides. The lap of Sadasiva acts as paryanka (carpet). The Susum nanadi inside which the six Adharacakras exist is 176 specified by the term Kula path. This Nadi is situated in between the two Nadis, Ida and Pingala existing on the right and left side of Merudanda i.e., the continuation of spinal cord in brain. The nerves and their branches mainly 177 start from these three. The whole power of human body, 175. "Mahin muladhare kamapi manipure hutavahan sthitam svadhisthane hrdi marutamakasamupari manopi bhrumadhye sakalamapi bhitva kulapathan Sahasrare padme saha rahasi patya viharase". "Yadyapi adharacakrasyopari svadhisthanam varnaniyan tathapi akasadi tattvotpattikramamavalaibya vyutkramena manipuracakravarnanan krtamityanusandheyam". 176. S.I., 8, 10 S.I.9. Vide Laksmidhara S.I.9 177. Vide Bhavanopanisad

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172 : stuffed in Sahsrara flow through these nerves which have their centres in the six plexuses and compels man to do his actions. The power flowing through these nerves, is divided into Iccha, Jnana and Kriyasaktis i.e., powers responsible for promtitude, 178. knowledgeable actions and mascular actions These powers which have their origin from Kundalinisakti, will cease when Kundalini sakti ceases. The path of Kundalini from Muladhara to Sahasrara is divided into three Soma, Surya and Anala i.e., Lunar Solar and Fiery. The path from Muladhara to Svadhisthana is termed fiery plane; the path from Svadhisthana to Anahata is termed Solar and the path from there onwards to Ajna is known as Lunar. Fire is situated on the surface of Svadhisthana, Sun on Anahata and Moon on Ajna. The seat of fire is called Rudragranthi, the seat of Sun Moon, Brahmagranthi. Visnugranthi and the seat of The Jnana and Kriyasaktis that abide in Ida and Pingala nerves are to be controlled by yogic exercises prescribed in Yogadarsanas, and the rays on fiery plane, become powerful then. Those rays fall on solar plane, and melt the ambrosia in lunar plane 179 o This melted ambrosia flows down to wet Kundalini which gets awakened and pierces the opening of Brahmadvara 180 178. "sa devi trividha bhavati saktyatmana icchasaktih kriyasaktih saksatsaktiriti". Vide: Rudrahrdayopanisad. 179. "Tatophyasapatutvat sahasrasah sadafurtadhara varsati". Vide: Pingalopanisad. 180. "Brahmadvarasya madhye viracayati satan suddha buddhisvabhavo bhitva tallingarupam". Satcakra-nirupana I.50.

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: 173 : Kundalini reaches sahasrara and sports with Parasambhu there. 9 181 The form It is now that the Upasaka attains supreme bliss. of Goddess Tripurasundari can be visualised in the Sricakra, having 44 corners and made of five triangles called Sivayuvatis representing Sakti and four triangles of Siva called Srikanthas. The form of Goddess then visualised, is inexplicable. By visualising the super excellent beauty of Her form, Sadhaka attains the state of liberation. By this attainment he 183 acquires the lustrous complexion of cupid so that everything 184 in the world is captivated by him. The Goddess visualised (by Sadhaka) who dwells, above the adharacakras, rules over the 360 rays, which emanate in them. Muladhara is having Svadhisthana 56 rays and Manipura is having 52 rays. They together form 108 rays of the fiery plane called Rudragranthi. has sixty two rays; Anahata has fifty four rays; they together form 116 rays of solar plane called Visnugranthi. Visuddhi has 72 rays and Ajna has 64 rays; they together form 136 rays of lunar plane named Brahmagranthi. They are indicative of the 6 Rtus, 9 Sarat, Hemanta and Sisira. i.e., Vasanta, Grisma, Varsa, The six Adharacakras are 9 again, a consummation of the Sabdaprapanca i.e., 50 alphabets. 182 181. S.I., 9 182. S.I., 11 183. Saundaryalahari, 12 184. S.I., 13

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- : 174 The 56 rays in Muladhara represent 56 syllables i.e., 50 syllables from 50 alphabets and aim, hrin, srin, ain, klin, sauh. The 52 rays in Manipura have 52 syllables i.e., 50 syllables from 50 alphabets and saun and hrin. Svadhisthana has 62 syllables representing the 62 rays i.e., 50 alphabets, 14 th alphabet repeated four times with ham and sah repeated four times. Anahata has 54 syllables representing 54 rays i.e. 50 alphabets together with yan, ram, lam and vam. Vi suddhi has 72 syllables i.e., aim and hrin together with 14 vowels repeated four times. Ajna has 64 syllables i.e., 16 vowels repeated four times. With these 360 syllables together with ham and sah, Nyasa should be performed for Sricakrapuja. These 360 rays are also indicative of the principles of nature. The 56 rays in Muladhara are divided into two%;B Sakta and Sambhava consisting of 28 rays each. 5 Mahabhutas, 5 Tanmatras, 5 Karmendriyas, 5 Jnanendriyas Manas, Buddhi, Ahamkara, Citta, Kala, Prakrti, Purusa and Mahat. The 52 principles are divided into two Sakta and Sambhava, each having 26 principles each viz., 5 Mahabhutas, and Manas. 9 5 Jnanendriyas, 5 Karmendriyas, the functions of 10 Indriyas The 62 principles in Svadhisthana are divided into Sakta and Sambhava, each having 31 principles, i.e., 5 Mahabhutas, 5 Tanmatras, 5 Jnanendriyas, 5 Karmendriyas and the 10 functions of Indriyas and Manas. Anahata has 54 principles, 27 under Sakta and 27 under Sambhava i.e., 5 Mahabhutas, 5 Tanmatras, 5 Karmendriyas, 5 Jnanendriyas

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: 175 : Manas, Buddhi, Ahankara, Citta, Kala, Prakrti and Purusa. The 72 principles in Visuddhi are divided into Sakta and Sambhava, each having 36 principles i.e., 5 Mahabhutas, 5 Tanmatras, 5 Jnanendriyas, 5 Karmendriyas, Manas, Buddhi Ahankara, Citta, Purusa, Kala, Avidya, Raga, Cit-sakti, Kala, Niyati, Maya, Buddhavidya, Mahesvara, Sada-sakti, Sakti and Siva. The 64 principles in Ajna are divided under Sakta and Sambhava, having 32 principles each i.e., the above said principles excluding the last four principles. The three planes viz., Soma, Surya and Anala under which the six plexuses are divided are abodes of the three 185 Kutas of Srividya i.e., Vagbhava, Kamaraja, and Sakti Kutas of the 16 lettered Vidya. The knowledge of these enables the Sadhaka for the visualisation of Goddess Tripurasundari The first Kuta i.e., Vagbhava, connotes fiery plane, the second Kuta Kamaraja, connotes solar plane and the third Kuta i.e., Sakti connotes lunar plane These are representations of 186 Kriyasakti, Icchasakti, Jnanasakti; Jagrat, Swapna, Susuptyavasthas; Visva, Taijasa, Prajna Vrttis, and Tamo, Raja, Sattvagunas. The Hrllekhas attached to each Kuta i.e., Ka, e i la, 'hrin', ste ha, sa, ka, ha, la, 'hrim' represent the Rudra, Visnu and Brahmagranthis. A 185. Saundaryalahari, 32. 186. Ibid.

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: 176 : These 16 letters represent the Kalas, the 16 th one being Sadakhyakala. By worshipping the Goddess and identifying with Kalas, Sadhaka becomes dissolved into the 16 th one. 9. 9 The Kalas are Darsa, Drsta, Darsanta, Visvarupa, Sudarsana Apyayamana, Apyaya, Sunrta, Ira, Apuryamana Purayanti, Purna, Paurnamasi, and Citkala or Sadakhyakala. The three Kutas in the three planes which have 12 letters are indicative of 10 Pranas i.e., Naga, Kurma, Krkara, Devadatta, Dhananjaya, Prana, Apana, Vyana, Udana, Samana, Jivatma and Paramatma. The three Kakaras in Srividya represent luminosity i.e., identification of nature as Himself 187 A 188 189 The 10 cakras in them represent all Jivas Ekara denotes the very life of Vidya or instrument of memory. Ikara denotes fame, spreading over all worlds Lakara 9 occurs thrice, meaning that it has bearing on the three worlds. 190 191 187. "kakaratrayavacyastu sakala pralaya kalah nirastabheda sarvatra 11 Varivasya-rahasya, p.64; 9 "kan diptaviti dhatoh prakasatvan kakararthah" Ibid. p.121. 188. "Akaraih dasasakhyabhih ucyante jivarasayah" and "vidyayah pranabhutah samstad vacyekadasah" Ibid. p.79. 189. "adhyayanarthadenah syadekarah tadiyakara (narthah' Ibid.121. 190. "Vyaptaviti dhatostasya vyaptih trtiyavarnarthah" Ibid. 121 191. "Bhuvanatraya saibandhadasit tredha lakaro Spi". Ibid. 76

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: 177 : 192 Hakara indicates destruction, 193 sa means wealth i.e., enjoyment. Hrllekha means Parabrahma. 194 This is otherwise called Hadividya, the knowledge of which bestows liberation to the devotee. In the 33 rd stanza Kadividya is depicted and it means Mahabhoga, i.e., immense wealth is vouch-safed to the devotee, by prefixing the seed letters of Smara, Yoni and Laksmi, viz., Klin, Hrin and Srin. The 44 corners in Sricakra are represented in the 3 planes viz., Solar, Lunar and Fiery. In fiery plane they exist representing Agni (1) in the triangle 8 Murtis of Agni in Astakona, 10 Kalas of Agni in Antardasara 10 Vibhutis of Agni in Antardasara, three tongues of Agni made of 14 worlds in Caturdasara. In solar plane it is constituted by 12 Kalas of Sun, 12 Murtis, 12 Rsis, 3 Vedas and 4 Svaras. In lunar plane it is constituted by 16 Kalas and 27 stars. dwells over all planes as the supreme principle. The 360 rays in plexuses are named below: Muladhara:- 1. Uddisvara, 2. Uddisvari, 3. Tripurasundari Jalesvara, 4. Jalesvari, 5. Purnesvara, 6. Purnesvari, 7. Kamesvara, 8. Kamesvari, 9. Srikantha, 10. Gagana, 11. 12. Svarasa, 13. Sankara, Ananta, 14. Mati, 15. Pingala, 16. Pataladevi, 17. Naradakhyah, 18. Nada, 19. Ananda, 192. "Han himsayamiti han sauryam", Varivasya-rahasya, 24, 25. 193. "Sam bhogasadhanam dhanam upabhogarthat" " 194. "Hrllekhayah param brahma' Ibid. Ibid. 76.

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: 178 : 20. Hakini, 21. Alasyah, 22. Dakini, 23. 22. 23. Mahananda, 24. Lakini, 25. Yogyah, 26. Kakini, 27. 28. Sakini, 29. 32. Rakta, 33. 36. Karala, 37. 40. Matangi, 41. 44. Sambari, 45 27. Atitah, Padah, 30. Hakini, 31. Adharesah, Calorisah, 34. Canda, 35. Kurangisa, Madadhrisah, 38. Mahochusma, 39. Anadivimalah, Sarvajnavimalah, 42. Pulinda, 43.Yogavimalah, Siddhavimalah, 46. Vacapara, 47. Samayavimalah 48. Kulalika, 49. Mitresah, 50. Kubja, 51. Uddisah, 52. Laghvi 53. Sasthisah, 54. Caryadhisah, 55. Aja, 56. Kulesvari. Sadyojatah, 2. Maya, 3. Vamadevah Svadhisthana: 1. Sadyo jatah, 4. Srih, 5. Aghorah, 6. Padma, 7. Tatpurusah, 8. Ambika 9. Anantah, 10. Nivrttih, 11. Anathah, 12. Pratistha 13. Janasritah, 14. Vidya, 15. Acintyah, 16. Santa 17. Sasisekharah, 18. Uma, 19. 21. Manivahah, Tivrah, 20. Ganga 22. Sarasvati, 23. Ambuvahah, 24. Kamala 25. Tejodhisah, 26. Parvaty, 27. 29. Caturvidhesvarah, 30. Sukamala, Vidyavagisvarah, 28. Citra 31. Umagangesvarah T 32. Manmatha, 33. Krsnesvarah, 34. Sriya, 35. 36. Laya, 37. Ananta, 38. Sati, 39. Sankarah 40. Ratnamekhala, 44. Srikanthah 41. Pingalah, 42. Yasovati, 43. Sadhyakhyah Hamsananda, 45. Paradivyanaghah, 46. Vama, Maradivyaughah, 48. Jyestha, 49. Pithanaghah, 49. Pithanaghah, 50. Raudri 47. 51. Sarvesvarah, 52. Sarvamayi.

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Manipura:- 1. 4. 8. 12. Paraparah, 2. : 179 : Candesvarah, 3. Paramah Catusmati, 5. Tatparah, 6. Guhyakali, 7. Aparah Samvartah, 9. Cidanandah, 10. Nilakubja, 11. Aghorah, Gandha, 13. Samarasah, 14. Rasa, 15. Lalitah, 16. Smarah, 17. T Svacchah, 18. Sparsah, / 19. Bhutesvarah 20. Sabdah, 21. Anandah, 22. Dakini, 23. Alasyah, 24. Ratnadakini, 25. Prabhanandah, 26. Cakradakini, 27. Yoganandah, 28. 31. Svadah, 28. Padmadakini, 29. 29. Atitah, 30. Kubjadakini 32. Pracandadakini, 33. Yogesvarah, 34. Canda, 35. Pithesvarah, 36. Kosala, 37. Kulakolesvarah, 38. Pavani, 39. Kuksesvarah, 40. Samaya, 41. 41. Srikanthah, 42. Kama, 43. Anantah, 44. Revati, 45. Samkarah, 46. Jvala, 47.Pingalah 48. Karala, 49. Madakhyah, 50. Kubjikah, 51. Kalaratri guruh, hao- 52. Para, 53. Siddhaguruh, 54. Santyatita, 55. Santyatita, 55. Ratnaguruh, 56. Sivaguruh, 60. Samayaguruh, 57. Vidya, 58. Melaguruh, 59. Pratistha, 61. 61. Nivrttih, 62. Santa. Anahata: 1. Khagesvarah, 2. Bhadra, 3. Kurma, 4. Adhara, 5. Mesa, 6. Kosah, 7. Minah, 8. Mallika, 9. Jnanah, 10. Vimalah, 11. Mahanandah, 12. Sarvari, 13. Tivrah, 14. Lila, 15. Priyah, 16. Kumuda, 19. Damarah, 20. Dakini, 21. 24. Lakini, 25. Kamarah, 26. Ramah, 17. Kaulikah, 18. Menaka 22. Rakini, 23. Lamarah, Kakini, 27. Samarahh, 28. Sakini, 29. Hamarah, 30. Hakini, 30. Hakini, 31. 34. Binduh, 35. Kukurah, 36. Adharesah, Kula, 37. 39. Hrdisah, 40. Kamakala, 41. Sirasah, 32. Raka, 33.Cakrisah, T Mayasrisah, 38. Kubjika, 42. Kuladipika,

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: 180 : 43. Sikhesah, 44. Sarvesah, 45. Varma, 46. Bahurupa, 47. Astresah, 48. Mahattari, 49. Paraguruh, 50. Mangala 51. Paradhiguruh, 52. Kosatha, 53. Pujyaguruh, 54. Rama. Vi suddhi:- 1. Hrdayah, 2. Kauliki, 3. Dharah, 4. Kanta, 5. Bhogah, 6. Visva, 7. Bhayah, 8. Yogini, 9. Mahah, 11. Savah, 12. Sabari, 13. Dravah, 10. Brahmasarah, 14. Kalika, 15. Rasah, 16. Justa-candali, 17. Mohah, 18. Aghoresi, 19. Manobhayah, 20. Hela, 21. Kekah, 22. Maharakta, 23. Jnanaguhyah, 24. Kubjika, 25. Kharah, 26. Dakini, 27. Jvalanah, 28. Sakini, 29. Mahakulah, 30. Lakini, 31. Bhiyojvalah, 32. Kakini, 34. Sakini, 35. Murdha, 36. Hakini, 37. 38. Napaghni, 39. Kulah, 40. Simhah, 41. 33. Tejah, Vayuh, Samharah, 42. Kulambika, 43. Visvambharah, 44. Kama, 45. Kotilah, 46. Kunamata, 47. Galavah, 48. Kamakali, 49. Vyomah 50. Svasanah, 51. Nada, 52. Khecarah, 53. Mahadevi, Mahattari, 56. 56. Tatah, 58. Kulatitah, 59. Kulesi, 60. Ajah, 54. Bahulah, 54. Tatah , 55. 57. Kundalini, 61. Isika, 62. Anantah, 63. Anantah, 63. Dipika, 64. Esah, 65. Recika Dipika, 64. 66. Sikhah, 67. Mecika, 68. Paramah, 69. Parah, 70. Para 71. Cid, 72. Vyoma. Ajna:- 1. Parah, 2. Para, 3. Bharah, 4. Bhara, 5. Cit, Citpara, 7. Mahamaya, 8. Mahamayapara, 9. Srstih 6. 10. Srstipara, 11. Iccha, 12. Icchapara, 13. Sthitih,

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: 181 14. 18. 22. 26. Sthitipara, 15. Nirodhah, 16. Nirodhapara, 17. Muktih, Muktipara, 19. Jnanah, 20. Jnanapara, 21. Satyah, Satipara, 23. Asatyah, 24. Asatipara, 25. Sadasat, G Sadasatipara 27. Kriya, 28. Kriyapara, 29. 29. Atma, 30. Atmapara, 31. Indriyasrayah, 32. Indriyasrayapara 33. Gocarah, 34. Gocarapara, 35. Lokamukhyah, 36. Lokamukhyapara, 37. Vedavat, 38. Vedavatpara, 39. 40. Samvitpara, 41. Kundalini, 42. 43. u Samvit, Kundalinipara, Sausmni, 44. Sausumnipara, 45. Pranasutrah, 46. Pranasutrapara, 47. Syandah, 48. Syandapara, 49. Matrkah, 50. Matrkapara, 51. Svarodbhavah, 52. Svarodbhavapara, 53. Varnajah, 54. Varnajapara, 55. Sabdajah, 56. Sabdajapara, 57. Varnajnatah, 58. Varnajnatapara, 59. Vargajah, 60. 61. Samyogah, 62. Samyogajapara, 63. Vargajapara, Mantravigrahah, 64. Mantravigrahapara. The experience of supreme bliss one can have when Kundalini gets awakened is now explained. It is in the descending order, that these are explained i.e., from Ajna The Sadhaka after experiencing the bliss, to Muladhara. lives in Jyotirloka. Siva exists there with the lustre of crores of Suns and Moons together with the Paracitkalas on 195 either sides. In the Visuddhi-cakra the Goddess resides together with Siva having the lustre of lunar beams, and the 195. Soundarya-lahari, 36

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182 : Upasaka feels as if he were a cakora bird consuming the 9 196 lunar rays. Siva and Sakti sport like two heavenly swans, as if it were the personification of the great sentence Brahmajnana, where the mind of the Yogi, "Hamsassoham" i.e., acts as the Manasasaras in which the Heavenly swans sport. The sweet cackling of the swans is heard to the Upasaka as the 18 branches of knowledge, 198 197 i.e., Siksa, Kalpa, Nirukta, Vyakarana, Jyotisa, Chandas, four Vedas, two Mimansas, Nyaya, Purana, T Dharmasastra, Ayurveda, Dhanurveda, Gandharvaveda, four Nitisastras. The Upasaka now becomes well-versed in all branches of knowledge. The contemplation is then concentrated on Samhararudra and His consort Agnijvalarupini in Svadhisthana capable of destroying the whole world. 199 It is very easy for the Sadhaka now, to render inactive the universal fire in no time. Siva dwells in the Manipuracakra 200 with jewelled ornaments showering His cool rays. In Manipuracakra darkness is the prevailing state and Sakti shines there as the lightning. Goddess Parvati and Lord Siva are in their dancing posture in Muladhara; only by Their Will, can creation be done. Here the Goddess is specified by the name Samaya 9 196. S.I., 37 197. S.I., 38 198. S.I., 38 199. S.I., 39 200. Saundaryalahari, 40

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183 meaning She who is equal to God Siva in five aspects i.e., Adhisthana (having the residence in Muladhara), Anusthana After in the process of creation acting as father and mother) Avasthana (dancing posture), Nama (having the name navatman) and Rupa (having the complexion of crimson colour). having the vision of the Goddess the devotee will be blessed with mystical powers and will become talented in Saraswataprayoga, Madana-prayoga, etc., which are performed with the help of the Pancadasaksari a consummation of Sakti worship. The Sadhaka who is blessed with the acquisition of this, need not get accustomed to formalities like Japa, Mudra, Homa, etc., which are part and parcel of Tantric worship. Whatever he does, will be treated as worship of the Goddess, whatever he prattles will be considered as Japa, and whatever 202 The form of the 201 he eats will be considered as Havana. Goddess from head to foot, though inexplicable to human tongue is attempted for depiction. The visualisation of Goddess and the attainment of supreme bliss are thus achieved by Upasaka, which means that he is liberated from the fetters of worldly life, through internal mode of worship and external modes of worship also. 201. S.I., 41. 202. S.I., 27.

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