GAEKWAD^S ORIENTAL SERIES

Published under the Authority

of the Government of
His Highness the Maharaja
Gaekwad of Baroda.

GENERAL EDITOR,
B. BHATTACHARYYA,

M. A., PH. D.

Rajyaratna, Jnanajyoti.

No. XG
 SEKODDESATIKA

of

Nadapada ( Naropa )

Being a commentary of the Sekoddesa Section of the

Kalacakra Tantra

The Sanskrit Text edited for the first time with an introduction
in English

BY

MARIO E. CARELLI, Dr. LITT.

1941
Oriental Institute
BARODA
Printed at the Government Press, Baroda and published on behalf of

the Government of Baroda by Benoytosh Bhattacharyya,

Director, Oriental Institute, Baroda

Price

/ I

1174
 TO

A TOKEN OF GRATITUDE

L
 PREFACE

The edition of the present work had been undertaken in 1931

when my master, Dr. G. Tucci, entrusted me with the transcription of
the palm-leaf ms. of Sekoddesatika he had borrowed from the

Maharaja's library,Kathmandu, Nepal. Owing to many delays in my

work the printing could not be started before the early months of
for three years.
1939, when this book had beeii virtually completed
the publishing in its
Again my internment in June 1940, stopped
middle for several months until Dr. Bhattacharyya very kindly
volunteered to revise the proofs and look after the printing of the
remainder.

This work therefore reflects rather an early stage of my researches

and views on the Buddhist Tantras. The edition of the text itself could
have been carried up to a higher level of correctness and faithfulness
to the ms. had it been possible to revise it thoroughly on the palm-
leaf original again. But the Director of the Maharaja's library,
Kathmandu, to whom I am indebted for the first loan of the ms.
could not afford to let me
again during the proof correction,
have it

and a photographic reproduction proved too expensive. Such as it is,

therefore, this work may have to be subjected to a thorough revision
before its second edition.

I must thank here the crowd of masters and friends who helped
me from beginning to end: Prof. Formichi, who very patiently
assisted me in moving my first steps into the mysteries of Tantras;
Miss E. Waugh, Mrs. W. Gardener and Mr. P. Walton, who revised
and corrected the Introduction, Pandit Sadananda Pathaka, who
me in correcting the proofs; all those who were my hosts
helped
and revision of the text:
during the several months of transcription
the families Codacci-Pisanelli, Sansonei.ti and Lauchli, and Mr.
Above all my gratitude goes to Dr. G. Tucci who has
Sinopoli.
in interpreting and getting
throughout been my guide and mspirer
published this book and others to
follow.

M. CARELLI.
 INTRODUCTION
The work means: "a commentary on the treatise of
title of this

the baptism''.^ It would be more exact, though at first less clear, to

"
translate; a tika of the Sekoddesa". The tika is a particular form of a
small explanation of a philosophic work. In the Sekodde^atika itself
we find a clear classification of the tantric treatises belonging to a single
group or cycle. The translation of the relative passage is given below:
"In every Tantra which deals with the yogis and the yoginis there
are three kinds of "uddesU" (exposition of a doctrine) and three kinds
of "nirdesa" (a more specific illustration of it). The word "uddesa"
is explained by itself. The second kind of "uddesa" is called "praty-
uddesi" and the third a "mahoddesa". Even so the word "nirdesa"
is clear by itself, and its second and third kind are respectively styled
"pratinirdesa" and "mahanirdesa". The whole group of the udde^as
and nirdesas forms a "tantrasahgiti," that is to say, the harmony of the
chords, which is a figurative mood to mean the concordance of the
entire set of tantric texts. The whole of the uddeSas is styled a "laghu-
tantra", that is to say, a smaller tantric system. The whole of the nir-
desas is styled a "mulatantra" or a fundamental tantric system, a great
tantra. An example of the
first is the Vimalaprabha in its
edition of one thousand eight hundred verses; an example of the other
is the same work in its greater form of twenty five thousand verses.

In spite of its title the Sekoddesatika ("a commentary of the trea-

tise on the 'tantric'baptism") is an explanation. It con-
not only
tains many important details on tantric rituals and gives many
enlightening interpretations of the underlying theories. The fundaments
of the Vajrayana are mythical, the
development of the doctrine is
concealed under allegoric and abstruse expressions. In the Sekodde^a-
tika and similar works a clear distinction is always drawn between the
outer (bahya) and the inner (adhyatmika) sense, the first being the
literal meaning of the words, and the second the
key of the occult
doctrine on which all the system is grounded. This dualism is not an
artificial one. It reflects a
deeper conception of life, in which the
cosmos is believed to have two aspects and two meanings. In the way
of spiritual
progress everyone may, likewise, reach the former and the
latter stages of perfection and attain to the lower and the
highest visions of
truth. The reader will consequently be struck by the frequent refe-
rences to the twofold series of spiritual attainments (lauldka and lokot-
tara) which are the aim and the confirmation of this mystical training.
According to this bipartition the eleven forms of the rite of baptism are
ranged in two groups; and the supramental visions that are the yogi's
contemplation of cosmos may be also divided into two grades* This is
the innovation that Mahayana and chiefly Vajrayana introduced into
the former buddhist mysticism. All the fivefold series of
which the
here composed of six elements, the
pancatathagata worship consists are
last of which is transcendent. To the common five human senses
to the supreme sense of the mystic know-
jnana is added, that is say,
or the matter of the supreme know-
ledge, the object of which is jnana,
It is not only here that we may notice this use of the same
ledge.
term in two different meanings one of which is subjective and the other
objective. But in this case the sixfold series is opposed to the fivefold
one of the tradition, and is said to belong to the utpannakrama ( the
spiritual progression) while
the group of five represents the stage of the
utpattikrama (the physical development). In this system a further
stage is added to the early buddhist trikaya. A fourth "body" is con-
ceived and styled sahajakaya or elsewhere svabhavikakaya, (the inborn
body). As to the signification of this succession of bodies and to the
definition of them the Sekoddesatika explains the matter very clearly
and points out the manifold connexions between the four conditions of
the human body (waking, dreaming, sleeping and catalepsy), the four
abhisambodhis (progressive development of the psychic power) and the
four kayas.
In all these explanations the term vajra often recurs.
It would overstep the limits of the present work to give an exhaustive
interpretation of this word. It is enough to say that vajra (thunderbolt,
diamond, here only in the latter sense) is the keystone of the whole Vajra-
yana system. As in many other esoteric traditions, a very high stage of
perfection is indicated by this term. In the Hebraic-Greek mysticism
we find that the adept who had reached the last step of initiation was
styled Adamas, either to mean his spiritual rebirth in the "new Adam",
or to show that he now was "a diamond*', steady and hard like the
carbon crystal obtained by the burning of the former individual. The
whole of this system pivots upon the idea of the vajra, which is the
supreme ideal, but at the same time environs the initiate from his first
steps. Everything which concerns this mystic training bears this name.
The water for the preliminary purification, the pot that contains it, the sac-
red formula to repeat over it, the tooth-pick by which a peculiar rite is
performed, all is vajra. The disciple who submits himself to the eso-
teric rules must find a new world and be brought into a strict contact
with it. From the very beginning he must see, hear, touch and taste
sense-objects in a different way than that to which he was accustomed.
He has to be overwhelmed by the sense of a transcendent reality and
led to perceive its symbols in everything around him. Later on, he
will be given a new name, beginning with "vajra".

All the sacred performances described in these texts are not, how-
ever, mere symbols which are adopted in order to bring suggestion on
the disciple and devoid of any objective value. One cannot speak of
them as elements of a psychologic training which has only an abstract re-
ference to ideas and feelings. Of course these rites are psychological.
But there is no denying that they deal with all the functions of the
human body and all the powers of the human soul The scientists,
chiefly Western, must not forget this and must avoid the risk of any
"idealized" interpretation. In Vajrayana and similar systems the
external world is never denied. The western opposition of spirit and
matter is entirely absent in them. Things are looked at in quite a
different way.
As I have said formerly, this text is a tika, that is to say, a short
explanation on the Seka (=sekoddesa).
of the treatise

The word seka means the same as abhiseka, which occurs often in
epic and dramatic poetry as well as in law codes. Most usually
seka is the ceremony of unction which is performed on the head of
every new king.
But symbolic rite is perhaps connected with religious
this
baptism. Royal power was believed to be of heavenly origin and coro-
nation contained religious elements. Symbols are always clues to an
older reality. In the king's coronation the ritual aspersion symbolized
the transmission of royal authority, which in reality was not given by
the holy water, but by the institution of monarchy and the will of the
people. Holy water, consequently, refers to a religious rite in which
it had its real function and which of course,
preceded the monarchical
baptism, or, at least, was one with it. As to the antiquity of this cere-
mony, which exists- now in so many religions, I think it impossible to
say anything exact. But the essential idea present in it is one of
washing. In Sanskrit dictionaries we find that seka and abhiseka
mean also holy bath. The streams of regeneration, had to be the
material correspondent of the streams of a new power with which the
soul was invested. Thus we can conjecture that Indian baptism like
Christian baptism, which was originally performed in Jordan waters,
implied not only an aspersion, but also an immersion or perhaps both.
<

But in historic India we find them two separate rites and the seka that
we shall deal with is a ceremony of aspersion.
In order to get a clearer idea about the evolution of this rite, we
must analyze tibetan name, which is not modelled here, as such
its
terms usually are, on the Sanskrit. Tibetan dban bskitr ba is registered
in Sarat Chandra Das' dictionary as meaning " to consecrate, anoint
with royalty". But if we consider that tibetan dban designated the
mystic powers as well as the royal ones, we shall easily understand
that dban bskur ba signifies a transmission of mystic powers. Beyond
all these attempts to explain the name of this rite from our own point
of view, we must take into consideration what Naropa himself says
about the title of his work. At the beginning we find: "seka iti sicyate'
nena kayadikam nirmalam niravaranam kriyate", that is to say: "the seka
is called so because
by it one is sprinkled, and his body and other
7 '

elements become clean and unobstructed. All this is nothing but

clear etymological explanation. Tibetan translation, however, gives to
the root sic quite a different meaning, since it renders sicyate by akhyud.

But further on in the Sanskrit text still another explanation

of seka is given, which throws much more light upon the metaphy-
sical sense of this rite. It says that the ultimate essence of
 8

the universe the unfathomable effulgence of Being and that one's

is
immersion in this is the seka. This explanation brings us back to the
idea of a sacred bath, numbered among the meanings of seka and con-
firms the tibetan rendering qkhyud = glide into.
Some more words must be added here in order to point out the
differences between this rite and similar ceremonies* Though this last
explanation implies a similarity of seka with immersion in holy water,
seka is not a simple lustration. Classic antiquity offers to us many
examples of lustral rites, which do not seem to belong to the same
type. The word lustration itself derives from Roman culture. It
comprises a number of purificatory rites including holy baths. Such
ceremonies were also performed by the Jews and in the Greek myste-
ries. Their main aim is purification, which takes place without any
active participation of the person who has to be purified. Other rites,
such as the taurobolium and criobolium, seem to belong to quite a
different category. The ceremony was preceded by a long period of
training, in which the disciple was initiated into a series of mysteries,
The soul's way towards redemption was represented in a succession of
symbolic figures. The allegoric bull was the main symbol that the
disciple met in his spiritual journey. It stood for the unconscious
powers of the human being of which the neophyte had little by little
to become aware, until at last he should tame and kill the bull. The
blood of the victim flowing on him symbolized the stream of these
powers, He had diverted them from their ordinary course and was
ready to grasp them with full mastery and clear consciousness.
Indian seka is probably this. It is performed with an active
participation of the initiate and, as in the case of the taurobolium it
conies at the end of a period of deep mystic
training, so that the
disciple may immediately seize the sense of the symbols and turn the
energies disengaged in the rite to his own benefit
So we cannot call the seka a sacrament in the full meaning of the
Christian word. But attention must be paid to the fact that no
religious
act may be performed without it. It is the key to the
religious life.
On the other hand though the efficacy of this rite is partially depen-
dent on the disciple's consciousness and will, its value is not
totally
determined by those subjective elements. It might be defined as an
initiation, both passive and active, by means of which the
rises to the stage of a
neophyte
higher power and acts in accordance with it. In
the sentence quoted above mention is made of the
spiritual obstruc-
tion which seka removes: but it is not a moral idea like
_
original sin in
Christianity. This obstruction is avidva, that is to say, the
of sentient beings, which in actual life fails to
ignorance
recognise their identity
with the invisible root of all.
Therefore, the disciple must leave this
world and be introduced into a new
one, as appears from the words
that he pronounces at the
beginning of the rite "adyaivaham
tnduddhya". Frightened by the terrible Samsara, the disciple seeks
retuge with the Vanquishers. This is a withdrawal from the world,
but here the conception of the world is unlike that in
other religions.
bamsara is not only the multitude of
profane people and profane things,
as in classic mysteries, or the root of bewilderment and
\vrong doing;
this too, but it has a wider
significance. The follower of a religion
it is

that considers the world a

danger for the fulfilment of its ideals, is
eager to flee from it and looks at it with fear and contempt. Tantric
disciple on tne contrary knows that samsira and nirvana are two
aspects of the same cosmos whicii incessantly whirls under the law of
change. He is aware of the necessity of transcending the deceitful
appearance of time and space, but he cannot ignore the fact that his
ascension must begin here among people, and things of which he shall
be rid only when he reaches the top. So he traces his way among
worldly objects and enjoys worldly pleasures. But he does not view
them as an end in themselves or as existing independently. He sees
in everything the phenomenal aspect of transcendency, towards which
he directs the course of all his vital faculties, mental as well as physical.

HISTORY OF SUCANDRA'S COUNCIL

It is noteworthy that the text of the Sekoddesatlka deals with the
origin of vajrayana giving a short account of the legendary events which
were the source of this doctrine. In tantric literature there are several
systems, each of which is attributed to a different revelation. Here it
is said that the
teachings of mantrayana (= vajrayana) were given first
by Dipankara, the Buddha preceding the historic one. But they had
to be adapted to our age and for this
purpose the king Sucandra,
whose _ realm is placed by our text in the mythical Sambhala on the
river Sita, being the nirmanakaya of Vajrapani, went to heaven and
begged Sambuddha to explain the theory of seka. Then Sambuddha
(that is to say, Gautama) summoned a council in Sndhanya.
(
This
Council of Sndhanya was held after that of Grdhrakuta, in which the
system of the Prajnaparamita was first expounded, and as it appears
from our text, was the source of Vajrayana,

THE THEORY OF THE FOUR VAJRAYOGAS

On his way towards release, the disciple must go through four

successive stages. In each of them he becomes more and more free
from the ties which bind human beings to the phenomenal life. These
stages or vajrayogas, are: visuddha,-dharma,-*mantra-and samsthana-
yoga. In order to reach them one must have attained the "four
7

deliverances' (vimoksa) which enable one to escape by means of

meditation, from the conceptions and the conditions of normal life.
These vimoksas are: sunyata-, animitta-, apranihita-and anabhisamskara-
vimoksa. They put human souls in full possession of the faculties
inherent in each of the corresponding vajrayogas. These faculties are
also four, and four are the methods of purification (brahmavihara) with
which the yogas are associated. Every vajrayoga leads the initiate to the
perfection of one of the aforementioned faculties and these perfections
are styled vajra. So in the first vajrayoga we have the kayavajra, that
is to say, "that diamond which is the body" or the yogi's perfection of
the material stage. Ultimately, it means the absoluteness of the physic
sphere, to which we participate with our own body. In the second yoga
 10

the perfection of the verbal sphere (vagvajra) is attained. Cittavajrd,

(mental perfection) and jnanavajra (gnostic perfection,) correspond to the
third and fourth vajrayoga.

Thus we see that the classification of the steps of vajrayanic

asceticism fourfold.
is Later on, we shall go deeper into this classifica-
tion and explain the literal and substantial meaning of the text. Now
a word must be said in order to point out the innovations that this
system introduces and to make clear what we feel inclined to call its
polemical attitude.
Scholars acquainted with Mahayana know that it and in particular
the vajrayanic and tantric works posit four kayas as four successive
stages of mystic realization, in contrast with the other buddhist schools,
\vhich assume only three kayas. Early buddhist tradition speaks of a
trikaya. Maitreya, the great vajrayanic teacher, whose historic existence,
supported by many texts, has been almost definitely demonstrated by
Prof- Tucci, gave the logical ground to the existence of another kaya,
the fourth, which was styled svabhavikakaya or sahajakaya* This means
1 '
the "inborn body and is the apex of tantric asceticism. As
sahajakaya
completes the series of the kayas, so in the other series which the text
deals further we shall find a sahaja element to complete the older
threefold groups.

Also the upanishadic tradition spoke of four steps of perfection.

They are designated by the same names as the natural conditions of the
human being during day and night. Waking, dreaming, sleeping and
catalepsy were assumed to symbolize four stages of mystic absorption
to be reached by means of meditation. The individual consciousness
was darkened as in until at length it was drowned in the univer-
sleep,
sal spirit, that is to say, it was identified with Atman.
But tantric tradition does not
recognise upanishadic authority.
Each stage of vajrayoga is declared to be superior to the corresponding
stage of the classification given by the Upanishads. The text runs:
"The catalepsy is still spoiled by the stains of ineradicable passions
(which are the unconscious attachments to life still present in man
although in subtler form); the sleep is still darkened by tamas (the
cosmic darkness of dead matter, opposed in the
Upanishads to the full
awareness of spirit, sattva); in the dream and not being are bound
being
to the ebb and flow of breathing; in the
waking there is discriminative
consciousness.
The Vedic tradition having been thus
previously Rejected, out text
goes oni "All existent things, since they do not exist as an independent
reality and lack self-consistency, ate void and their condition is
unsubstantially. Void are the past and the future.
aware of this truth and meditating on it is the mental state
Becoming
that is named Voidness. This is
deep and sublime.
It is deep since it has no limits neither in
space nor in time. It is
sublime because looking from it we see that the
past and the future do
not exist by themselves. The mystic
knowledge that is grounded on
 11

itand marked by it is called "Voidness deliverance'* (that is to say,

that freedom which derives from having recognized that all things are
Voidness). Through it the great Bliss which, having overcome the
state of catalepsy is incorruptible, that is the Diamond of gnosis,
endowed with universal charity, attains its utmost purity. It is indeed
the inborn Body, called also Visuddhayoga (attainment of the absolute
1

purity)' .

This is the core and the

pith of vajrayana. Jnana, the highest
human and superhuman faculty by which one discovers the ultimate
truth and becomes one with it, is an experience transcending all that
in normal knowledge is bound to the logical frame and is capable of
being transmitted to others. I dare to translate it by "gnosis" or
"gnostic faculty" since the whole vajrayanic doctrine is so strikingly
similar to gnosticism. In the sentence translated above a principle is
very clearly expressed which always underlies the vajrayanic thought,
but is seldom set forth in such an explicit way.
Sunyata, which I have translated by "unsubstantially", has two
different meanings. The first is objective and microcosmic. It is the
natural of things, which cannot claim a self-contained
condition
reality, since each of them needs another, which in its turn is also
dependent. The second meaning is less evident at first but must
never be forgotten if we wish to penetrate into the very foundations of
this system. It is subjective, microcosmic and represents the unusual
condition of the soul to which the unsubstantial! ty of things has been
revealed. But as the supreme aim of vajrayana is the iden tification
of the subject with the object, it is no wonder if our author, as well as
other similar writers, speaks often of sunyata without specifying whether
he alludes to the subjective or to the objective meaning of the word.
From a phenomenal point of view they are two separate things. But
no distinction is possible when the innermost monistic truth has been
accepted. The word jnana too has two correlative meanings. Vajra-
yana has added a new element to the traditional ones and has named
it jnana, since it
corresponds to the new faculty that this doctrine
posits in the human soul. This dualism is still more striking than that
of sunyata. In that case an objective term becomes subjective, an
attribute of the external world being reflected in the soul, which is quite
usual. Now the supreme faculty of thought is projected in the uni-
verse, in order to find in it an element that can become the object of
this faculty.

-This first vajrayoga, as we have said, is marked by the feeling of

a universal charity. The word used to designate it is katuna, which
means literally compassion. It is an essentially Buddhist feeling and
is strictly connected with sunyata, that is Unsubstantially. As in
vajrayana each upaya (instrument, male element) is the correlative of
a prajfia, (wisdom, female element) so, that wisdom which in its sub-
jective sense is sunyata acts by means of that instrument which is
karuna, compelling every Buddha to work for the sake of the world's
deliverance. This feeling must inspire every act of the mystic
ceremonial.
 12

il The text says that Sahajakaya has overcome the state of catalepsy.
In the Upanishads catalepsy or tunya (litt. "the fourth") stage was
considered the last step in mystic identification. In vajrayana on the
contrary, every thought of identification is dismissed as a wrong
assumption. Moreover, it presupposes a Brahman, while in the whole
Mahayana no idea of Brahman is found. Vajrayanic asceticism rejects
every passive attitude. Its aim is not a gloomy absorption into the
elementary forces, but an ascension and, finally, a voluntary escape
beyond individual consciousness.

Describing the second vajrayoga the text proceeds: "Distinctive

marks (of things), such thoughts as Buddha, bodhi and so on (that is,
thinking of an individual and its qualities as separate) are logical and
discriminative mentality. But since all is unsubstantial there are no
causes (nor effects, that is,there is no room for logic),

That mystic knowledge in which there is no thought of distinctive

marks is the deliverance consisting in the certainty that all things are
devoid of essential characteristics. Purified by this, having overcome
the condition of sleep and therefore being free from
conceptual
oppositions (dvandva), endowed with sympathy, benefactor of all
through the activity of the two bodies (sambhoga-and nirmanakaya),
being beyond all discriminative knowledge, the Spirit is in this stage
the Diamond of the Spirit. It is Dharmakaya,
composed of wisdom
(prajna), and instrument (upaya), it is the attainment of the plane of
Dharma (transcendent reality).

The former vajrayoga was the complete

emancipation of the
adept from every substance, or objective and subjective consciousness.
This immediately lower attainment fixes the initiate's mind on a
reality
which, while objective, is yet totally devoid of individual characteristics.
Dharma is ultimately the same as dharmata, that is to say, that
indiscriminate, universal and monistic being in which
dliarmah,
things, participate emerging each in turn, and into which all are at
last reabsorbed.

From the ordinary point of view each is

complete in itself and
thing
its existence is But any one who has reached the
independent. sight
of the universal sea becomes aware that all the waves
rise from the
same water and are but momentarious alterations of the
surface '

letting the depths lie as still as before,

In this vajrayoga the

disciple overcomes the corresponding sta^e of
upamshadic asceticism. The sleep (susupta), as the text says, is darkened
by tamos, that is cosmic darkness. The brahmavihara
corresponding
to this degree is maitri, the
sympathy between all creatures. Here the
spirit, or rather the intellective
faculty (citta) attains to its perfection
(vajra).

In the third and

vajrayoga dialectical thought desireare resolved
and overcome: "Since no essential characteristics are attributable to
things, dialectical thought is absurd and there is no room for desire
 13

When one's wish to become Buddha (the desire of every disciple)

disappears, one reaches that deliverance which consists in the absence
of wishes. That sound which is not produced by beating and, which
having overcome dreaming, is indefectible and purified by that delive-
rance; that mystic syllable which contains the voice of all creatures,
which is endowed with joy, and is styled mantra because it gives joy
to all creatures by all the sounds that are intelligible to them aud
because it is the soul's (manasas) protection (trana), this syllable is the
diamond of the verbal faculty and is styled sambhogakaya (that is the
plane of the joy-giving manifestation), made up of sacred knowledge
and instrument, attainment of the mantra-plane".
Since things are not deducible from one another and lack neces-
sary connection, man must rid himself of any attachment to them,
which derives from illusion. When he is delivered from this illusory
attraction and repulsion of sensible objects, he is correspondingly deli-
vered from dreaming in which, as I have quoted before, "being and
not being are bound to the ebb and flow of breathing". This ebb and
flow which rules breathing, as well as natural phenomena, is the very
ground of the universe. Inspiration and expiration symbolize the
world's dualism, the root of every imperfection. We
shall see that
vajrayana, following in this the old Yoga systems, aims at stopping the
natural course of microcosmic forces by getting control of breathing,
which represents the outward aspect of the vital energy. The initiate
must master his own breathing, until it becomes the most responsive
and subtle tool in his hand. He must employ it in order to disengage
the innermost principle within him, that force which contains the root
of things and their very names, unknown to the ordinary man. This
is vagvajra, the plane of the Diamond of the Word. Words are mere
allusions to things. Verbum, on the contrary, at the same time creates
things and gives a name to them. There is no distinction between
subject and object. It is a sound rising from itself and self-contained,
not produced by breathing. Word is led to its original plenitude and
becomes an exoteric acting force, not a nominal one.
In this stage, the sentiment which the disciple must feel is muditd,
a disinterested participation in the joy of every sentient being, which
makes of himself a sambhogakaya, a supernatural enjoyment rising
from the manifestation of the supersensuous cosmos.
Now, the fourth and last vajrayoga : "The condition in which
there are neither desires nor production of karma marked by discrimi-
native consciousness and by white and red breath-streams, is the deli-
verance consisting in the absence of karma production. By it the
diamond of the body is purified through the resolution of waking. By
means of the numberless apparitional bodies that it throws forth, it
leads to that path which is antithetical to moral defilement. Since it is
absolute equilibrium it is not spoiled by the passions (of which it takes
the form) which appear as terrific, peaceful and lascivious deities. It
is nirmanakaya,
consisting of sacred knowledge and instrument. It is
the attainment of the
^
plane of forms",
ii
 14

Karma-production (skr.abhisamskara) is a technical expression

\vhichclesiHiiatestheaccumulationofmerits and demerits,
bad and
good wishes, compelling one's being to rebirth. Everyone is bound to
The law of rebirth, but the yogi's rebirth occurs in this very life. The
natural course of human energies tends downwards. Owing to the ini-
tial impulse which they received in creation, living forces, which are
the manifestation of God, are directed towards the acquirement of an
increasing number of attributes, and are scattered in space
and time
until they exhaust themselves in the other pole of concrete things.
But inner evolution follows quite the opposite direction. In early as-
cetic systems sucli as the Upanishads the initiate had to withdraw from
the experience of the concrete world. The changing was absorbed into
the changeless, the many into the one, the multiple into the single,
His spirit had to withdraw from outer beings and to come back to a
prenatal condition in order to become one
with God as He was before
creation. Asceticism of the Vehicle of Diamond also aims at the empire
of spirit but refuses to give up the material world entirely. It follows,

if not properly tlie ideal of Buddha ,

the madhyamarga between
possession and renunciation, the ideal of the Bodhisattva.
This new
development of Buddhist philosophy, which admitted in its ranks such
a thinker as Nagarjuna with his negative madhyamika system denying
both being and not being, was however really a middle conception and
positive rather then negative,
a balancing of spirit and matter as two
parallel forms of creation, both equally opposed, as created, to the uni-
que transcendent principle. Hence derives its necessity of assuming
a new item in all the mystical classification existing before. Hence its
denouncing as illusion every form of "spiritual" attainment and mystic
union, which must never be considered as the supreme aim. Hence the
singular course of the vajrayanic initiation, never rejecting external
experience but always accepting it as a concrete symbol of the inner
experience.

This philosophy is a religion too. It has an emotional tinge. The

sensible world is the body of God, who displays Himself without
necessity, by pure goodness and grace for the sake of universal release.
Things arrf so fur from being illusion that they are, ultimately, God
Himself. We must never forget that in Hinduism, of which Mahayana
is but a buddhist form, Miya, the cosmic appearance is worshipped as
a Goddess, the feminine aspect of the inexpressible one. Even when he
has reached the highest summits, the ascetic keeps connection with the
worldly things and beings, to which he owes the means of his way up
and of which he eagerly desires the deliverance. He is inspired with
kartnrl /compassion), the feeling of God towards creation; he judges
everything with upeksa, the unmovable equanimity and detachment to
which he clings even when he identifies himself with various forms of
God, such as the wrathful and passionate deities. In a word he has
overcome every kind of dualism, as in his subtle bodily constitution he
has detached his life from the everlasting alternation of the twofold
stream, inspiration and expiration, day and night, male and female.
These two streams are the white and the red one alluded to by our
 15

text: he lives now in the central vertical stream (susumna) running

directly from the spinal basis to the top of the head.

Thecondition of waking which is the lowest posited by upanisha-

dic asceticism is transcended by the fourth vajrayoga, the initial step of
this initiation. In waking the physical body has its fullest manifestation.
Self-consciousness is at its height. Everyone feels limited within him-
self and is keenly aware of ego and non-ego. But this self identity is
denied by the doctrine of nirmanakaya. The individual must use the
power that he attains in the course of vajrayoga to get rid of his own
selfish personality and to assume the most different forms. So he comes
into relation with every kind of creature and teaches the path of free-
dom to all sentient beings.

Running on, the text quotes a passage from Vimalaprabha, in

which the same classification of the four kayas, is briefly expounded.
Here jnana is attributed to the dharmakaya too. What deserves our
attention is that, in spite of their progressive character, the four kayas
are not only four successive steps of perfection, but are also simultane-
ously possessed by the adept, since each of them is vajra, that is to say,
transcendent.
THEORY OF THE FOUR ABHISAMBODHIS
The fourfold plane of perfection is completed by the following
theory of the four abhisambodhis. Abhisambodhi literally means full
fc<

enlightenment". The four abhisimbodhis are a way leading to a mystic

interpretation of the cosmos by means of an increasingly simple vision of
it. Each step of this way is connected with a kaya, since each degree
of perfection needs a corresponding degree of awareness. So we see
that the ekaksanabhisambodhi (instantaneous enlightenment) is related
to the svabhavika (= sahaja) kaya, the pancakara (fivefold) is joined
with dharmakaya, the vimsatyakara (twentyfold) leads to sambhogaka-
ya, and the mayajalabhisambodhi, that is the "awareness of the net of
contingency'', corresponds to the nirmanakaya.
But meaning of abhisambodhi refers to the spiritual progression.
this
The same word with the same attributes but in an inverted order
(ekak^ana, pancakara, virhsatyakara, mayajala) is used previously to
mean the growing of the embryo within the maternal womb. So we have
two parallel and opposed series of development, postulated by the
claim of this system to universal symmetry. But the correspondence of
the mystic and bodily development is not causally established. It
reflects and explains the course of cosmic breathing, evolution and
involution by which the divine principle unfolds in a multitude of
objectSj until at the end of the cycle the highest created being, the
spirit, returns from the streams to their source. The rise of the human
body from the protozoic shape to the sentient organism is styled
utpattikrama. The sinking of the supreme seed from the creative atom
(bindu) to the coarsest matter which, if considered in reverse order
represents the ascetic development, is utpattikrama toe. Instantaneous
enlightenment, the first step of bodily growth is the immeasura-
ble moment when a vital principle is inserted into the
 16

cellule in which male and female meet and

germinal
become one. The fivefold enlightenment occurs when the
the five senses.
embryo acquires five sensibilities potentially containing
Then in due time the sensorial mechanism attains its fulness with five
constituent groups (skandha), five elements (dhatu), five perceptions
This is the twentyfold
(indriya) and five perceptive seats (ayatana).
of worldly existence
enlightenment. After birth the endless spreading
is perceived- Then, the process ends when one becomes aware of the
net of contingency.

In the second cycle the instantaneous enlightenment by which

the unconditioned potency bursts into activity and creates is really the
last step of the same upward development described in vajrayoga.
The first appearance of divine power in the sensible world, as well as
the ultimate resolution of the human spirit soaring toward the
infinite, is a point (bindu). This, while itself measureless, is the basis
of all sensible measures, the incalculable instant from which every
temporal duration starts. As the text says, twenty one thousand six
hundred breathings reach their plenitude in it. This means that the
yogi comes to it after a deep meditation on cosmic time, in which he
sees ever greater time duration represented in his breathing. Inspira-
tion and expiration are at first rhythmically ruled by will power and
assumed to signify a period of day and night. Later on the yogi repre-
sents in them the lunar mansions and phases, the bright and
dark fortnight, the month, in which one day is added to the two
fortnights the "immovable" day of full moon. All this psycho-physical
meditation is performed according to an elaborate scheme, with which
our text deals afterwards. It aims at a complete resolution of microcos-
mic time by the disciple who, having successively fixed his mind on ever
greater periods of time and successively rid himself of them in the
course of his breathing, comes at length to the great universal aevum;
including all creation from its beginning to its reabsorption. This
meditation is accompanied by intensive exercises in the rhythm and
control of breathing. Reaching the end of the great aevum the yogi
stops breathing and draws all his vital power inside himself, so that
the irresistible stream of his energies diverted from its usual course is
accumulated within himself and breaks down all spiritual obstructions.
This is the yogic rebirth, briefly and clearly described in the following
quotation from Kalacakratantra: "The birth-place of the Vanquishers
is in one indefectible instant. When the spirit is fixed in the potential
breathing, the actual (outward) breathing extinguished, the divine
perception awakened, the fleshy senses dead, the natural sensibility
stopped, the divine spheres opened to my sight, then I see all,
O Supreme King, there is nothing that I cannot perceive ." In the
hierarchy of transcendent beings established by Mahayana this stage
corresponds to the "Vajrasattva", the Being of Diamond, which is the
ideal of this asceticism. The second degree is mahasattva and is
possessed of the fivefold enlightenment; the third is bodhisattva, the
fourth samayasattva, or initiate. The twelvefold truth as well as the
resolution of the twelve zodiacal
signs are attributed to the-bodhisattva.
 17

[n the samayasattva there is the suppression of the sixteen creative

enjoyments (ananda) classified later on in our text.

The descriptions of the two groups of abhisambodhis are divided

by the sentence "etadvaidharmyena"=in a way opposed to that. It
seems certain that the word abhisambodhi was initially used to desig-
nate spiritual evolution. But, as I have said before, in Vajrayana
we can observe not only the application of physical terms to psychic
realities, but also the contrary. Physical reality is here always consi-
dered from a very high point of view, as the phenomenal working of
superior forces and, reciprocally, spiritual deeds are often indicated by
reference to material things. In this case the whole natural development
of the human being, which runs through the zoological ladder assuming
the form of a fish and of a turtle is taken to represent the involution of
spirit from the preindividual stage to the personal consciousness and
the evolution of matter from the amorphous bulk of the embryo to the
vertebrate organism. The second classification on the contrary may
be taken as an involution of spirit only if considered in the same order
as the text gives it, whilst it is clear that the first stage described is
really the last reached by the initiate.

But the macro^microcosmic symmetry conveyed by this theory

requires a somewhat fuller commentary. As the individual begins his
life from a drop (bindu=drop, point), so God becomes at first manifest
in a very point, which, as I have said formerly, is neither immaterial nor
material and contains potentially all creation. The energies enclosed
there are not allowed to spread (acyuta). It is Being itself (svabhavika)
without any subjective-objective relation, It knows all because it com-
prehends all in a geometric point (bindu) and in one instant (ekaksana).
So it is in creation. In the mystic ascension on the contrary it is the last
and supreme stage; nevertheless if we want to be more exact, it is both
the first and the last step. Since the actual individual is the result of the
natural utpattikrama and the ultimate limit of distinction between
subject and object if he desires to escape the bondages of life, he must
reproduce in himself, in a condition of full awareness, the process that
he has passively undergone. His aim is the breathing-control and the
attainment of instantaneous enlightenment. He strives to catch a glimpse
of divine consciousness (samvit) and to reduce progressively the extent
of the surrounding darkness by means of the aforesaid practice, in
which inspiration means self-illumination (prakasa) and expiration
reflection (vimarsa). This process needs further explanation. The
upanishadic symbolism of the four human conditions is inserted into
this meditation. Waking, as a perceptive condition, is day; and
dream, as acognitive condition represents night. In sleep and
catalepsy day and night are reflected again. But the first two
stages are mutually dependent and in so far dualistic, whilst sleep is

absolute prakasa, that is pure thought, and catalepsy is absolute vimarsa,

that is sheer suppression of even potential thought. The initiate must
keep this meditation until the great cosmic aevum is resolved in
vision and experience. Thus time is drowned in eternity.
 20

by the yogi in his ecstasy, while it cannot be expressed in words other

than by symbols. These are the ten nimittas and contain the esoteric
meaning of the universe in a series of visions each more significant
than the last. The categories (kula) of faculties, senses and sensations
listed above, comprehending the bases, the parts and the faculties of
the human organism were composed of five items in the former philo-
sophic traditions. Here they are sixfold since another transcendent
item has been added to them, just as Vajrasattva has been added to the
five Tathagatas.
The
external ceremonial by means of which utpannakrama takes
place the latter part of Seka.
is After the three former ceremonies
(lokottaraseka) corresponding to utpattikrama, which are performed by
the gisya in connection with his mudra, so that bindu sinks down to
vajramani without going forth; the first part of the initiation has been
performed and the plane of sahaja has been attained by the
neophyte in the lower part of his organism. These three cere-
monies are guhya, kumbha and prajnabhiseka and are also called
karma, jnana and mahamudrd, since they are composed of an
external rite and an esoteric explanation of it.
Substantially they are
the same mystic operation, performed in three
progressive degrees
(mrdu, madhya and adhimatra) so that the same mystic condition is
experienced more and more deeply. The first two ceremonies are
explained by the master to the disciple. When he has performed the
third he is enlightened by the supreme intuition without the
master's
intervention.

But this truth is only dialectically apprehended: now the

disciple
drives back the flow of the vital energies to his forehead in order to
achieve sublimation. In this last ceremony, of
anuttarabhiseka, no
external act is performed. The ascension of bindu to the forehead is
accompanied by a long and complex meditation, which is the gnostic
counterpart of the ritual acts, according to the usual opposition of
prajna and upaya. This is divided into six degrees:
pratyahara,
dhyana, pranayama, dharana, anusmrti and samadhi, which may be
translated; retention, meditation,
breathing-control, fixation, recognition
and ecstasy. In each of these steps he
contemplates the ten symbols
summarizing the cosmic manifestation of the individual Being. At first
the initiate sees it as a smoke or
haze, then successively as a mirage a
hretty, a lamp, a flame, the moon, the sun, a point of lunar
a phase of tnc moon, and conjunction
finally as a drop (bindu). These are the ten
pratipattis. During this last vision the yogi's knowledge is devoid of
any discriminative basis since he is identified with
Being and he is
beyond all duality.

THEORY OF THE ADIBUDDHA

The next section explains the
word Adibuddha and deals with its
meaning and attributes.
Mahayanic Buddhism and especially
vajrayana has developed early Buddhist atheism into a
all former
system in which
assumptions of Indian thought, such as pantheistic, theistic
 21

nd monistic ideas, found their place in harmony together. No trace

ff atheism as such is left But the conception of universal
here.
smptiness, or sunyata, maintains what we may consider the root of
jautama's philosophy. Leaving no room for God in his system,
3uddha never intended to oust Divinity from elsewhere than from
mman mind. His position was perhaps like Eckhart's when he said
hat an imagined God is no more a God. Indian philosophy was
pervaded by this thought in very early times. The upanishadic denial
}f all thinkable divine attributes and the famous exclamation neti neti

:learly marked consider the Absolute in itself as

this inclination to
rreducible to human categories. This was-at least in my own opinion
-by no means a nihilistic attitude, but on the contrary the highest
affirmation of transcendency.

In vajrayana things are conceived as devoid of any substance

'sunyata). They exist in so far as they reflect being, which inheres in
them and at the same time transcends them. At this point the word
and idea of sunyaka require further explanation. Looked at from a
transcendent point of view things appear inconsistent and are spoken
of as sunyata. Now a singular reversion takes place. Owing to the
fact that its exclusive reality causes things to be viewed as unsubstantial,
Being itself is styled unsubstantiality. Mystics are aware of this
phenomenon. In their progress towards ultimate reality they fall
into a state of bewilderment when their mind leaps from more or less
sensible objects and thoughts to the "desert of being." Here intellectual
functions stop, since they show themselves to be insufficient. They are
violently struck by what at first appears as nothingness. All that they
experience after this is inexpressible in human terms. So vajrayana
sometimes calls Being Unsubstantiality and attaches no attributes to it.
But this Being is not only transcendent. We
have an indirect appre-
hension of it in the world. So its immanency is postulated. It spreads
through an immense and varied creation, displaying itself in five forms
ruled by the five Tathagatas and consisting of the five cosmic elements.
These five aspects are basically one. Vajrayana, as we have seen,
adds to each fivefold series this unique transcendent item. The five
Buddhas owe their existence to the unique principle of enlightenment,
which is between transcendency and immanency and is named Adi-
buddha.
The text runs: "Adi means exempt from beginning and end;
Buddha is he who perceives all things as non-contradictory. This
One, being Adi and Buddha, is the Adibuddha, birthless, deathless
and all-knowing. The Namasangiti says: The Buddha who is without
beginning and end is the Adibuddha. He is without connections. His
aspects are universal charity (karuna) and unsubstantiality (which is
connected with karuna as prajna and upaya). He is time (kala) in so
far as his sakti is the Involuted One (samvrtirupini). He is the wheel
(cakra) since he is the endless desert (Sunyata). So he is the Wheel of
Time (Kalacakra), without an equal, imperishable. Analyzing each
syllable, KA means the causality which has stopped in him, LA means
cosmic reabsorption, CA is the mobile mind, KRA is the process: both
iii
 22

arc to be checked. This Causality is the name of the body

signifies:
of enlightenment-thought (bodhtcittakaya). This has stopped since it
has overcome the condition of waking and is thus free from discrimina-
tive thought. It is Nirmanakaya, as the essential element of body
(kayabindu) has been fixed" in the forehead (lalata). Material breathing
hcinjj suppressed and the condition of sleep being thus overcome,
the ver-
bal faculty is fixed in the throat-centre and Sambhogakaya arises. In these
two first stages of wake and the spirit changes according
to the
sleep
eighteen dhitus (six constitutive groups, six elements, six sources of
perception), bewildered by tarnas, inclined to fall, wandering among
sense-objects such as sound and the like. When spirit is curbed
tamas is removed. Dharrnakaya arises when the essential element of
the spirit is fixed in the heart. KRA
means krama> that is evolution,
the fall of the bindus as kayabindu and so on; when it is curbed the
condition of catalepsy is overcome by the bliss of sahaja. It arises when
the essential element of gnostic faculty (jnanabindu) which was formerly
unstable, is fixed in the navel-centre, It is indeed the Kalacakra, the
blessed One, who is said to consist of prajna and upaya because the
cognition and the cognizable are joined in him. Since the mystic
knowledge of the imperishable Bliss resolves every obstruction he is
named time (KALA); upaya made of charity, possessed of the six
supernatural powers which are the five traditional abhijfias to which
jnanabhijna has been added). CAKRAis the world in as much as it is

cognizable, that is the trimundium, the wheel of the endless beings. This
is prajna,
(sop hia, sacred kno wledge) made of unsubstantially, possessed
of all forms. The union of both (KALA=time, upaya the means of
revelation, karuna=universal mercy toward creatures, for the sake of
which the Absolute reveals itself, with CAKRA=world, prajna, that is
unya=unsubstantiality) is KALACAKRA.
The existent world of which mention has been made consists of
the Buddhas' kingdoms, the endless spheres of
sky and so on, with
their threefold aspect of duration, birth and
death, that is all beings in
their sixfold classification.

"The empire of the Victorious One

(Adibuddha) comprises the
Buddhas, the Wrathful Ones (Krodha), the Gods (Sura), the Enlightened
Beings Bodhisattva) endowed with charity and compassion, the cou-
i

ples of Buddnas with their Saktis. All this threefold world is the em-
pire of one Lord."
This chapter closes the theoretical section of Sekoddes'atlka. At the
highest summit of the universal ladder is the Adibuddha. He is the
Absolute itself, no more a manifestation of it. He is transcendent and
still immanent, devoid of attributes
but capable of assuming an infi-
nite number of them. In his manifestations he divides himself into
subject and object. This latter is sakti, samvrtirupim, or the Involuted
One, the potency of the conventional form of the sensible world con-
ceived as a symbol of the transcendent world.
There are two aspects
(murti=image) under which we consider
him: supreme compassion and
unsubstantially. We
consider him as
 23

existent thing in which

Unsubstantially since he is the denial of every
we believe that we recognize being; as Charity, since he is movedour
to
he feels for
reveal himself to us by the infinite compassion that
On the other hand, when conceived as creative instrument
not-being.
that he manifests himself in time
(upaya), he is time (kala). This means
element
In time we see the displaying of the Samvrtirupini, the spatial
Also in this sense he
(cakra) in which he becomes cognizable (jneya). the condi-
immanency in
is karuna, as he sinks down to the plane
of
tioned world and is the benefactor of all creatures. So,
karuna and.
which
kala are the means of creation but also of the ascetic way by
the senti-
the individual rises to Kalacakra. In vajrayoga karuna
is

ment felt in the supreme realization; in the theory of esoteric buddhism

in the
the subject of meditation is time, which must be reproduced
depths of the soul and dissolved into eternity.
As he is creative intel-
the world of space and of endless existence
ligence he is cognizable in
(cakra) and he appears-as we have seen-as pure being in comparison
consist in
with whom the whole universe is void, since it does not
itself but in him.

The text proceeds with a subtle examination of

the material just
to the KA LA CAKRA. There, KA
spoken of even in regard syllables
of which is extinguished in
appears as the symbol causality (KArana)
ot the
him because he is causeless. So, in vajrayoga too the thought
reality of causes must be suppressed.
LA symbolizes dissolution (LAyaj
the ever-
which is not the final dissolution closing a cosmic cycle, but
the everlasting .creation. This
lasting reabsorption of things during
creation itselt, as
dissolution is the counterpart and consequence
of

inspiration follows and balances expiration.

CA represents the
evolution of which (KRAma) has been
unstable spirit (CAlacitta) the
the frame of the
checked. These four syllables are now inserted into
At the stage of Nirmana the invisible seed (bindu)
fourfold vajrayoga.
and the very essence of the material
is fixed in its first seat represents
faculty, or body. This condition is also styled bodhiattakaya. Every
creative impulse (KArana) is extinguished in it.
fixed
In Sambhogakaya breathing stops (LAya) and bindu
is in
cosmic
the throat as the verbal faculty. In the two successive planes
the unstable (GAla) citta
darkness is removed, since in dharmakaya
the essence of the
is retained in the heart and represents
spiritual

faculty, and in Nirmanakaya bindu

is ultimately fixed m
the navel and
is assumed here to mean the essence ot
prevented from falling; and
supreme knowledge.
realization,
Thefour vajrayogas, to each of which a stage of mystic
the system of the abhisambodhis
corresponds, are like a ladder framing of
and pratipattis. They contain the largest and subtlest parallelism
of his
the organs
macro-and microcosm. Man's natural conditions,
of his energies, their seats, his mystic feeling,
ha thought
body, the flow
and the progressive enlightenment of his consciousness, all these con-
which the
cur in the achievement of the hardiest ascetic work, through
material and spiritual world Vanish into voidness and arc reabsorbecl,
 24

THE RITUAL

The vajrayanic doctrine explained above requires

individual experience. All that concerns mystic truth called
is

in Sanskrit pratyatmavedaniya, which means "left to individual's

realization". According to vajrayana truth is one, always the real,
but in the sensible world it cannot appear the same as what it really
is in the noumenal essence. The visible universe is nothing but a
symbol of the innermost truth. This symbol may be interpreted
and viewed in various manners, according to the different degree of
inner light that the individual has achieved in his life. All is truth, all
is God; but there is no denying the existence of worldly hindrances,
called anava in Saivasiddhanta, styled tamas or avidya in vajrayana.
This philosophy does not try to account for the existence of this nega-
tive counterpart of creation. Western interpretations such as "the spirit
failing to recognise itself" or "involution" and "evolution" are the
closest approximations to this field of Indian thought and may be
usefully employed at times to adapt Indian intuitions to European
categories. But they cannot solve the inevitable problem of the present
xvorld nor reduce dualism to monism without residual difficulties.
They displace the problem without getting rid of it and expose inter-
preters to the danger of misleading analogies. What we must bear
in mind is that the Indians never strove to build a logical history
of creation. They have no biblical tradition nor concrete mythologies;
or at least they do not have recourse to their authority and tradition.
They look at the world in its present state of being and change in its
deceitful and exciting course between the positive and negative poles.
They accept it as given and the only development that they seek in
it is that of individual creation.
Accordingly, the only evolution they
strive for is theway of individual release. So one cannot find in this
system any denial of what we usually call reality. This minor reality
is nothing but the female of God. It is the book with which
aspect
the universal spirit, the uppermost Guru teaches each of us the
glory
of transcendency. The core of our being is an inextinguishable
light which can mcertain cases shine forth of a sudden and transform
in one instant all our
being into a bodhisattva, But most frequently
the way of deliverance is not so The Supreme One who sees
easy.
our difficulty and is moved to
compassion by our deafness reveals
himself in the figure of Tathagata and leads men to initiation
by means
of his gurus. So a spiritual teacher and a religious ceremonial is
required. We have seen it in the chapter dealing with the mythical
substructure of vajrayana, when Sucandra
begs Sambuddha to reveal
the doctrine of Seka and the master's c<
explanation begins: srnu
Sucandra", Sucandra, listen.

Sucandra's guru was Sambuddha himself and everybody's

guru
islooked at as a personal manifestation of God. Texts often
speak of
an inner guru, which is
always to be considered as the only authority
for disciples. This is never in contrast with the necessity of an ex-
tenor guru. This only means that the initiate must always be moved
 25

by his own will because freedom cannot be imposed from without but
must be actively won. The inner guru is the centre of our will, and
is also the yogic purusa, the transcendent being which is the immov-
able pivot of our everchanging activity. From this point of view the
outer guru's teachings are nothing but suggestions made in order to
awake in us the consciousness of oui inner light (satvasattvasamata).

Ritual acts are useless they are not vitalized by the conscious
if

will of the individual; there no liturgical value in them by themselves.

is
For the energies which the guru disengages in his ceremonial acts are
by no means exterior to the disciple's world. They are of the same
plane to which the disciple's inner power belongs. The progressive
detachment from personality and individual characteristics that we
remark in the course of initiation is never due to a passive or receptive
self-surrender to an overbearing power. It is due only to the fact that
the greater one's power the less it is personal in the common accept-
ance of the word.

But exterior acts and exterior guru are necessary. They work on
matter pure consciousness works in the spirit. Both must
while
cooperate for the attainment of freedom. They must fit together as
prajna and upaya, as male and female.

The ceremonies of initiation take place in a mandala, that is to

say in a circumscribed sacred territory (temenos). The manciala has an
outstanding importance and its preparation requires the employment
of earth or flowers of a specified colour and a complicated rite. It is
the indispensable ground of every mystic ceremony, since deities are
invited to descend into it, as a two dimensional temple. The "conditio
sine qua non" for initiation is that every mischievous or impure
force be removed from the mandala. A preliminary ceremony is
required and this is raksa which means protection.

(A) RAKSA

The Master performs the of protection for the disciple

ceremony
by purifying his organs (forehead, head, vertex, navel, throat, genitals)
with sacred formulae (mantra) styled in the text "diamonds of the body,
word and spirit", and purifies also the holy unguents and books with
the same mantras. He says: :( 1 trace a sacred ring for the creatures'
release" and performs the same ceremony on other acolytes present with
the disciple at the rite. The mantras are: U
on forehead, I on heart, A
on vertex, AU onnavel, R on
throat, AH
genitals. on The same are
employed for the unguents. On
the books he utters A, I, R, U, E.
:

A prayer to the Buddhas follows, in which the Master says that he will
trace the Kalacakra's sacred ring and begs the Tathagatas and Bodhi-
sattvas to favour the disciple, This rite consists only of formulae
and prayers and merely aims at purifying all the elements of the
ceremony.
 26

(B) THE POTS AND THEIR CONSECRATION

For seka several kinds of pots are required. They may be made
of crystal, silver, human skull, iron,
gold, hard wood or terracotta. A
minute classification assigns a particular kind of pot to each
type of
ritual act. The size and measure are carefully defined. These pots are
"CM HAM HAM HIM
consecrated (adhivasana) with the formula:
HIM HRM HRM HUM HGM HLM HLM, O pot of the ambrosia of
the lotus of diamond,
purify, purify all the things the nature of which
belongs to the plane of Reality (dharmadhatu), svaha". Then the
Master puts the vijayakala^a
(the triumphal pot) in the middle of the
mandala, and worships it with perfume and incense.

(C) THE DISCIPLE'S CONSECRATION

Now the disciple's consecration takes place. It is performed in
three successive steps. The first is the prayer for the sacred ring
(man<4aladhyesana), the second is the gathering of the earth for theman-
cfala (bhurmsangraha), the third is the disciple's introduction into the final
( m The disciple is bathed and clothed in white.
2?i?
When f.?4alaprave.4a).
the mandala has been traced the Master crowns the
disc lple with a garland of flowers,
sprinkles him with
1T ft S
H
SSnt n gS F < r
s
nd
fi
, J
VCS him a tooth-pick twelve
udumvara ) wood or of any other lactiginous
fingers

S MVO P nounces the mantras OM AH HUM HO

HAM KSAH and begs the sacred tooth-pick to
purify the disciple from
S'nT 1 ther filth
is taken here as a
h S to th-pick, as an instrument of
t 7 t
symbol of purification.
cleaning,

tu ned 16 eastern side of the mandala, which is

C If- f
V
I ? more e *^tly the
- side of' the mandala
the to thpick and throws it'u

wh y
ra S f
yaSa kCS Place
pr nou " ced in the rak
' Each limb
n w consecrated with
^
of the disc pie's body on
toe nre?enc
P e of Tr bc that is Vajmsattva. Mantras are
is

OM
AA AM AH and ^"ff
!?!'
^
favou^A, r? ? /
110Wed
tavour the disctple and take T a P ra y er to Vajrasattva who must
possession of him.
(D) HOMAGE TO DEITIES
 27

two universal principles usually styled prajna and upaya. Jnanacakra

literally means "the circle of the mystic knowledge" and more deeply
refers to the vivifying spirit of
transcendency, while samayacakra, mean-
1

ing "the circle of symbols' is all the material world "conceived as a

symbol of the spiritual one and refers more particularly to the objects
used in the following rite, named pitja. When this meditation is per-
formed the normal gap between things and their divine origin is bridg-
ed and all is ready for the initiation. Having accepted his reward and
repeated the aforesaid mantras the Master takes some sandal-wood
with thumb and ring-finger and worships the Nayakas in the exterior
mandala (i. e. perhaps the circle of protection surrounding the holy
ground.
These Nayakas are a kind of goblin, whose warlike spirit the
Master seeks to divert in favour of the disciple, since they can prevent
bigger evil influences from disturbing the ceremony. The little devils
placed on the windows of German gothic churches had perhaps a
similar purpose. Many formulae
of homage follow, which are styled
vidya in and are composed of the sacred syllable OM, the
Sanskrit
name cf each god and the word namah. (homage). At the end "of the
formula there is the word svaha which is employed in propitiatory and
peaceful rites,

(E) PUJA
The pujaan act of veneration to the Master performed
is

by the disciple and accompanied by such gifts as flowers and precious

stones. Now the disciple traces a mandala with golden ornaments and
ftowers by the Master's feet and entrusts himself to him together with
well-bred girl belonging, if possible, to his own family. Then the disciple
"
turning to the right utters the following prayer: Frightened by the
horrible whirlpool of things (samsara) having reached the protection of
the Vanquishers, I come today to your feet which extinguish the
terror of non-existence by means of the threefold
purification of body,
word and mind".

(F) PRANIDHANA
Before entering the new world of illumination in which the dis-
ciple pronounces solemn vows, he must first pronounce the minor
his
vows, a religious pledge styled in the text pramdhana. He says:
lf
I bear on my forehead (= before my spiritual eyes) in the desired
diamond (= the mystic plane that I shall reach) the vajra (a ritual tool,
in the shape of two connected spindles), the bell
(ghanta, symbol of
moon and samsara), the mudra (a symbol of initiation represented
sometimes by a particular position of the fingers and connected with
a determined esoteric truth; mudra means literally "seal" and reminds
us of the sphragis of Greek mysteries) and the Guru (the Master, who
reveals the three aforesaid symbols and together with them constitutes
Vajrasattva). / shall give a gijt to the gem (probably the Buddhist
triratna=trinity) in this discus (the ganacakra, assembly of acolytes); /
 28

keep the Vanquisher's vow (varasamaya). / perform the pujd in the sword
(an attribute of Adibuddha) and I observe the rules for the creatures
release in the family of the clear Lotuses (clear because the Master has
explained their symbolic meaning: they are the second attribute of
Adibuddha). I pronounce the vozv of attaining the Enliglitenment in the
family of Jinajanaka (who is the Buddha's father). I am in '.the mystic
plane of diamond and bear on my forehead the vajra, the bell, the inndra
and the guru while I pronounce my voiv. I shall give a gift. Being in
give a
the family of the gems (another attribute of Adibuddha) / shall
tenfold gift for punyasambhara (in order to get merits) namely, the iron,
the pearl, the Horse, the'cow, the she-goat, the elephant, the girl, the
earth, the beloved wife and my own flesh. I shall '.give this tenfold gift
1

having obtained the philosopher s stone (the highest power, cintamani in

skr.) / keep here in the divine discus _ the supreme mle. Being in the
family of the discus (the whole of Adibuddha's symbols), I preserve
my senses and my constituent groups (that is to say: I render my body
an instrument of realization) and perform the puja in the sword. Being
in the plane of the sword I pay homage to the Master, the
Buddha, the
Boddhisattvas and others with all the ritual prescriptions.
Being in the plane
of the blossoming lotuses and in that of the unique lotus (the transcendent
one); in the communion of the blossoming lotuses, having understood what
is befitting and what is not I
keep the rule of purity. With the words
sllasambharaya (L e, for the accumulation of religious merits) / pro-
nounce my vows. For the creatures' release, being on the
ground from
which the Vanquishers arise, in the one-edged vajra, upaya, I achieve the
Enlightenment of Mahamudra (the greatest realization) made of
Unsubstantiality and Charity. This is my vow. Washed, sprinkled with
perfumes, bound by the vow and the rule, having entered the puna-
bhumi (a sacred territory surrounding the inner mandala,
pomoerium)
I shall receive a tooth-pick in order to attain my own 'realization
(siddhi).
I shall be consecrated with the Vanquisher's
mantras, receive on my
tongue the ambrosia (amrta, baptism-water), utter the highest vow and be
purified with incense in order to befit for avesana (the _wrathful
god's
possession as in the following rite). Only the mantra
with A-RA-L A is fitting to evoke the wrathful Lord."
HUM accompanied

After this prayer the Master performs the

preliminary baptism.
Uttering seven times the mantras OM AH HCM
he throws the tooth-
pick into the inner mandala which contains the ceremonial
pots.
The position of the tooth-pick in relation to the the
pots indicates
type of initiation.

Then the Master sprinkles on

the disciple's face three handfuls
of water for his purification. He gives the
disciple a littirgic band,
leads him back into the pomoerium and
puts on his tongue the five
ambrosias with the corresponding mantras. These
ambrosias are five
organic substances with sacred meaning. Then, consecrated
having
incense with the mantras ROM
A RA LA he the" rite
begins the of
wrathtul God s obsession (krodhave^a).
 (G) KRODHAVESA
ri te is
.
one of the most interesting contained in Sekodde-
In its course unknown powers sleeping in the darkness of the
subconscious spirit are disengaged. They arise and break
tumultuously
into normal consciousness, so that the
disciple is struck with an
excess of furious madness, which is
symbolized as the wrathful Godii
assession of him. These turbulent forces are awakened
chiefly for
fierce purposes. The disciple possessed by the wrathful deity frightens
her mischievous powers and breaks the unconscious ties
present
within him and surrounding him, which
might otherwise be an
unsurmountable hindrance to the mystic realization This effect is
mythically signified by the Maras' destruction. Thus he becomes free
from them and his intrepidity and firmness increase
(nirv&anko nirlajjo
bhavati). On the other hand these dreadful powers, when their blind
impulse has been satisfied, are purified and peaceful (symbolized by the
invocation of benign deities).

The angry Lord (Vajrapani) by the mantra: "OM A RA

is solicited
RA RA RALALA LA LA Vajravesaya HOM which must be repeated
J>

a million times. This means that its efficiency must be multiplied by

repeating it in the proper phases of the breathing process. Here another
accessory rite of seva (worship) takes place. Then Vajrapani takes *

possession of the disciple. His power is so terrific that he can reduce

into a hundred pieces whomsoever he strikes with his armed hands.
He causes the crowd of his enemies, the Maras opposing the triumph
of the Law, to fall motionless to the
ground. Even if he is not skilled
in dancing, he dances
bending forward the left knee and withdrawing
the right leg (which is a characteristic attitude of the terrific
deities).
Doing so he utters the mantra HOM
by which the Maras are frigh-
tened. Even if he is not able to sing he
sings with a voice which no
animal nor man can imitate. So he loses all fear and timidity.

Then the peaceful deities are invoked. They are the Saktis of the
fiveTathagatas. Moreover the other terrific deities are to be invited by
means of their mudras (symbolic sign or a particular position of hands,
compelling a superior force to descend to him who has invoked it,
[See pages 11-12 ].

The second part of the Krodhavesa is the exorcism of the disease

styled ave^opasamana. If the disciple gets easily out of the avesa
the Master merely purifies him with the usual ceremonies (raksa
mantras). Then, clothed in yellow and blindfolded^ he enters the mandala
Here he learns the formulae of the vows and repeats them, as we
see in the next chapter. But if the possession lasts too long the Master,
asks him whether he wants anything. Then he puts on his forehead
a flower consecrated with the mantra OM AH HOM. By this the
possession stops and the Master utters the mantra of protection: the
three letters, OM
on the forehead, HOM on the chest, and HAM
iv
 30

on the top of the head symbolize the upaya while the other
three (HO on navel, AH
on the throat, KSAM
on lower organs) means
the prajfr.i. When these mantras are said with the long vowel they
represent the diamond of the verbal, faculty, when the short, the dia-
mond of the spirit. Then the disciple may enter the mandala.

(H) SUPREME Vows (Vratanf)

The description of this ceremonypreceded by an important ex-
is

planation of certain terms used in it. The

text says ( page 15, /I. 11
samvrtyartham vraiani pravaragatigatani deyani tani, which means :

"
The following vows, leading on the path of the Buddhas, must be
given (taught) for a conventional purpose". The conventional purpose
refers to the relative value of each moral rule, which is to be followed
in order to obtain the Enlightenment, or to escape from Samsara.
Beyond the door of Buddhahood there are no more ethical precepts.
They are valuable only for those who still live in Samsara and arq
styled punyasambhafa, meaning accumulation of merits. Since each
merit or demerit is bound to a particular karma, there is no more merit
or ethical rule when every kind of karma has been overcome. Pravara
is a Sanskrit word signifying those Buddhas who are comprehended
between Vipa& and Sakyamuni, that is to say, the series of the Buddhas
of our age (bhadrakalpa). Their path is the accumulation of works
and wisdom. The Master must teach his disciple this source of
provisory merits, the list of which has been given by the Blessed
One *' Do not kill, do not tell lies, do not take another's wife,
:

do not drink intoxicating liquors. These five things here form an

obstacle to the mystic perfection, the ruin of one's merits. The vow
must be taken in the name of him, who was at that time the Lord
of men and Gods''. Other kinds of sins are numbered here such as the
murder of cows, children, women, men and Buddhas and the minor
sins, for which an additional expiatory vow may be pronounced by
the disciple.

(l) ENTRANCE INTO THE MANDALA (Mandalapravesa)

This ceremony is at first summarized in the text as follows: u The
Master puts a flower in the disciple's hand. He shakes it three times
and throws it. Where it falls, there, in the mandala, is the family of
deities suitable for the disciple's initiation. Here h<? must receive the
seven inferior aspersions and the supreme baptism. Then this same
rite is described at length. The disciple may be initiated in one
type
of mystic operation or in all. In the latter case his face must be ban-
daged with yellow cloth. But in the case of initiation into only one
mystery, the colour shall be that of the corresponding group of deities.
.

Before bandaging the. disciple^ the Master pronounces the mantra

(
*OM dvadaSafiganirodhakarine HOM PHAT" alluding to the puri-
fication x> the twelve limbs, which will be
performed by Vajrasattva. ,

Then he makes the disciple turn. around three times and stops him
before the eastern .door .of .the mandala. The/", Master's
, ritual
pose inhere that pf a.Nayaka (goblin).*/ If the deity stands up in
:
pratyalidha position (the position which the disciple had taken in "the
previous possession of the Krodhavesa rite) the Master, also standing,
If the deity
gives to the disciple the preliminary baptism (pruksana).
sits, so does the Master. Then the Kalyanamitra, an assistant of the
Master in the ceremonies, like the Greek mystagogos, pours water_on
the disciple's head from a shell, uttering the threefold mantra O\l AH
HUM and puts in his hand a flower which has been consecrated seven
times by means of puspanjali (floral gift). The disciple throws the flower
out of the mandala on to the triumphal pot (vijayakala^a). The flower
is not to be thrown into the mandala made of coloured earth, since
this symbolizes the Blessed One's body and the interruption of the
colour caused by the flower would be equivalent to the breaking of a
stupa, which is an almost inexpiable sacrilege.
As formerly, the flower
is thrown in order to reveal the karmic connection between the disciple
and his deity or family of Gods. The text explains that, on the other
hand, it would be impossible to make the flower fall within the mandala
without a divine intervention, because if the sacred ring is very
large the flower would hardly surpass its protective halo
into which
(vajrarcisa) and reach one of the nine fields (kuladis
the inner mandala is divided). During this ceremony the Master paints
five symbolic signs on the triumphal pot. Perfumes and other ritual
objects are put near this pot in the pomoerium.
After the puspaksepa (throwing of the flower) the disciple tears
the bandages from his eyes uttering the mantra "OM divyendriyani 71

udghataya svaha", which means "awake my supranormal senses By .

means of this rite the disciple has found his family of deities which
now he sees and in connection with which his initiation will be
successful.
Later on he will receive the seven sekas and finally the anuttara.
Then the pots necessary for them and the aromatic substances to be
contained in them are described. Twenty five aromatic herbs are
numbered here and the respective proportion that must be taken of
each is given. They are grouped in five classes of five and each
group is connected with a group of female deities. Another
list

contains the legumens, the cereals, the precious stones and the metals
that must be put into the pots. Flowers may be substituted for the
cardinal
gems. The mandala has eight sides corresponding to the
points. Eand W there are the special pots styled jaya (victorious)
and vijaya (triumphal). Black stones must be placed in them,
as well as in the ordinary pots that occupy the and SE E
sides. Pots of the S andSW must contain red stones, those of the and N
NE white, and those of the W and NW yellow. Then the medicinal
herbs are distributed in the cardinal points, taken two by two accord-
to
ing to the aforesaid order, in which each couple of pots corresponds
one of the fivefold group of herbs. A mixture made of all the twenty-five
herbs is thrown into the triumphal pot. Then the sekas take place.

(J) THE SEKAS (baptism)*

A preliminary purification of "the limbs, each
of which is assigned
to a deity, precedes the baptism and is styled kuladcvatavisodhana or
 32

kulaviikiddhi (purification by means of the family of deities). The

Master washes the disciple on the five janmasthana that is on the
vertex, the shoulders! on one buttock and on one loin and pronounces
the muintra **OM sarvatathagatakulavisodhani svaha" which consecrates
the disciple's body to all the five Tathigatas. Another puspaksepa is
performed with the tearing of the bandage. Now the Master shows
the whole mandala to the disciple explaining its meaning and beginn-
ing from the Nayaka and the allotted family of Gods, according to
which all the inner disposition of the mandala has been changed and
other mantras selected. Thus modified the mandala is deeply conne-
cted with the disciple and constitutes the exclusive ground of his
illumination, since it represents his divine genealogy and reflects his
own mystic destiny.
The following first two aspersions aim at the purification of the
body and form the

(1) KAYAVIS'UDDHI

(a) udakabhiseka (water aspersion). From the eastern door the

Master leads the disciple and the assistant to the northern door turning
to the right as the ritual prescribes (pradaksina). Here the aspersion
is performed with the mantras of TaradevI, who is a sakti and the water

godless. Water taken from all the pots is sprinkled on the five
jaemasthanas.
mukutabhiseka (diadem ceremony). The mantras are
(b) OM
A I RU L followed by the formula " pancatathagatapariikiddha
svaha" and a special rite. The Master crowns the disciple with a
golden diadem with precious stones, or with one of cloth. This
crowning is the second seka. These two rites purify the body by
purifying its constituent groups (dhatuskandha) and take place"in a
region of the mandala styled "the field of the perfect body" (kayavajra-
bhumi).

(2) VAGVIS'UDDHI
(a) Pattabhiseka (infula ceremony). Now the Master makes the
disciple retrace his steps always observing the pradaksina. Arrived at
the southern door he performs the two sekas at the
aiming purification
of the verbal faculty.
Pronouncing the formula : "OM A A AM AH
HA HA HAM HAH HO KREM dasaparamitaparipurani svah5" the
Master adorns the disciple's forehead with a golden infula with
gems,
or with a garland of flowers.

Vajravajraghantabhiseka (aspersion of the thunderbolt and the

(b)
bell). The ceremony is the same as the
preceding one. Water is
sprinkled from a shell with the mantras "OM : HOM HO
suryacandra-
visiodhaka svaha" This alludes to .the solar and* the lunar elements
which must be purified before their final union and are
symbolized in
the vajra and the bell that are
put on the disciple's head. Then the
Master offers -him his thumb and leads him so to the eastern door.
 (3) CITTAVAJRAVIS'UDDHI

(a) Vajravratabhiseka ( the seka of the diamond vow ).

The
Master sprinkles the disciple and puts a. flower on each of his
sensonai organs with the mantras "OM A A E AI AR AR O AU AL
:
C

AL visaye idriyavisodhani svaha" which allude to the full purification

of the senses. . .

(b) namabhiseka (the seka of the name).

Aspersing the disciple the Master pronounces the mantras :

IC
OM
HA HA YA YA RA RA VA VA LA LA caturbrahmaviharavteuddha
svaha. The four brahmavihara, as we saw in the chapter of the
vajrayogas are the four purified enjoyments corresponding to the four
great perfections. Then the Master binds the disciple's feet and
hands with an arm-ring, or in lieu of these, with flower garlands.

(4) JNANAVISUDDHI
This ceremony consists of one rite alone* anujnabhiseka (the seka
of mystic experience), Anujila is a Sanskrit word hardly distingui-
shable in its meaning from other words containing the same root, such
as prajna and jnana. All these terms are used in this text and in this
literature in a sense which ordinary dictionaries fail to register. More
properly jnana is the supreme abstract knowledge, a transcedent
consciousness which does not cling any more to concrete objects and
is not at all affected by the normal characteristics of human con-
sciousness. Prajna is a mystic element usually opposite to upiiya and
related to it as the idea is to its actuation or potentiality of the Act.
Prajna has always a definite object; while Jnana is rather a faculty.
For those who are acquainted with early Christian heresies jnana may
be translated gnosis, and prajna sophia. Anujfia derives from the
same root in composition with the prefix ami meaning "according to"
u
'in consequence of*, in function of." Hence I think that anujfia should
31
be translated "the mystic experience because it is used to designate
,

an experience which brings an adept into contact with the deepest forces
of the universe.

Again turning to the right the disciple is led to tlie western door,
where he receives one seka aiming at the purification of jnana. Mantras
are: "OM HA.M KSAM dharmacakrapravartaka svaha" Here the Adi-
buddha himself is invoked. Thus the first seven sekas are performed.
In them baptismal purification brings the four elements of man, the
material, verbal, spiritual and gnostic faculties (kaya, vac, citta, jnana) to
7

the state of "vajra", diamond/

Later on the Master puts a vajra and a bell into the disciple's hand
and teaches him. a new law, which is formally in full contradiction with
the former one. It has an esoteric meaning, which the Master explains.
The Law is: ''Let him commit a murder in the kulisakula (viz. let him
extinguish his own vital stream by stopping and fixing his breathing with
yogic practices. Kulisakula, literally the family of the perfect organs, is
 34

perhaps the body brought to the state of vajra). Let him tell lies in the
sword (khadga). Let him steal the other's precious stone in the ground
of the fine lotuses (reaching iunyata by means of meditation) and take
the other's woman (viz. the prajna). Let him worship intoxicating
liquors, the lamp and all the Buddnas and his own senses in his disc
(that means in his body). The disciple must worship his senses by
means of that meditation which aims at the realization of divine
entities in the human body (see page 20). Let him worship dombi
(literally the laundress. This name symbolizes the middle channel,
susumna or avadhuti into_ which the yogi's vital energy must flow from
the two lateral channels Ida and pingala) in the sword. Let him not
contemn all women nor his own in the heavenly lotus. Thou shalt
not keep this body of realization for thyself, but give it for the sake of
the universal release. There is no other way to Buddhahood and to
the kulasutanantakalpa (the endless cosmic ages of the divine off-
spring). This is the Vanquishers' teaching".

The
ritual value of this
prescription will be explained later on.
Now the three lokottarabhiseka take place within the mandala. Here
the word abhiseka clearly reveals its exact value. The idea of asper-
sion which the root sic conveys, can be noticed in
only a few cases.
In these last abhi?ekas, as well as in the mukuta-,
patta-and vajravrata,
there is no aspersion.

The essential instrument of these initiations are the

kanyas styled
here mudras with the view of
pointing out their mystic use. Mudra is a
means of revelation and, accordingly,
kanyas are used in order to
reveal inner energies and to trace for them a new as we saw in
way,
the theory of the sixteen
anandas. This rite is still grounded on the
macro-microcosmic analogy. The disciple
represents here the
supreme Being, who never exhausts himself in creation nor is bound
to his attributes. As it becomes manifest in
connection with his objec-
tive power, which in Indian
iconography is symbolized by the Sakti,
so the disciple must come into connection
with his own mudra.
The fitst rite is
styled kala saseka, the second guhyaseka and the
*u- j
third prajnaseka. are performed as the
They following verses show ";
1) ^nprajfiasparianam kuce kumbhasekah
" yatprathamamapi
m
eva guhyadguhyabhisJeko bhavati "
' sa
fp -V'., (p. 21), "3)
sarvalankarayuktam (to mean all the attributes) drutakanakanibham
dvadasabdam sukanyam prajnopayatmakena svakuliiamanina kama-
yitva saragam jnatva sisyasya suddhim
kulisamapi mukhe ksepayitva
sabijam pascaddeya svamudra tvatha j>

and further tato guhyapiijam krtva punaraparadhamamargadiyukta

sisyamrtam dadati mudraravindam
calokayati tena guhyabhiseko bhavati (pp.
21-22).
At n this third
w ^ ?f / i?
bindu, styled here
abhi e ka the disciple must retain the
f

bodhicitta, in order to achieve within himself the

bliss of sahajanananda. The retention of bodhicitta is accompanied
by a meditation on the three worlds conceived as "buddhabimba"
 35

which means "the image of Buddhas". This expression often recures

in this work because in another meditation, to be dealt with later

on, buddhabimba is the subject of that mystic realization by which the

yogi sees Buddhahood in
everything.

The very root of our material existence and material desires, the

psycho-physical element which pours energy of life into us and compels

us to move and work without any reasonable direction is the calacitta.
When tliis natural force is controlled by the yogi's will and directed
towards the tranformation of human life into superhuman life, it is

designated as bodhiciita, the means of Enlightenment. The disciple

now actively reproduces in himself that sadangayoga on which he had
long fixed his thought following his Master's teachings. Going through
all the normal acts and the natural
temptations of the samsanc world
he steadily maintains his desire for illumination and looks only for

transcendency. The everlasting struggle between the attractions of the

phenomenic world which is
apt to break down all human resistance,
and the firmness of the ascetic unremittingly determined to under-
stand and transcend it,
is the very
pith of the vajnyanic drama,
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1 These quoted from Guhyasamajatantra (G, O. S. edition,

lines are
p. 162). The
following variant readings are to be remarked: sloka 1:
siddliahsainanyah] ^sauianyamuttanianijnanaiurteiia ca\ 5: bijasamhrlanr,
6: iittainejnanani\ie caiva katyamyogasadangatah] 7:
sevasadatigayogena\
8: sadaiigo yogo; 9: svavrttisihanair, prdtyaharamiti
proktaniaJiarapmii-
paitaye] \Q\pancadha\ 11: vUarkam ca\ vicamni ca\ 12: gnhyiim tarko-
dayam tarkam vicaram tatprqyogatah] 16: niruddhya cendriyam raiucun
dhamyan dharana smrtani] 17: iiiniittamiipajayate] hi instead of
tad andvice versa; 18: dlpavajjvalam\ 19. spharaylta; 20: sams-numt]
22: jhatiti jnaunmspeiltih sainadhirili sanjnitah] 23:
24: dliarananubalanmlyam', 25: niravamnavan bhavct.
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 SEKODDESATIKA
Addenda and Corrigenda

N. B. Scholars to whom this book is dedicated, should forgive

me for the unusual and rather odd sight of an ADDENDA where passa-
off the text have been restored. This is mainly due to the
ges struck
fact that I was not at hand, and my freedom of movement much re-

duced, when the publishing was undertaken.

1. Addenda

The following passages have been omitted, and some replaced

with asterisks on the General Editor's initiative.

PREFACE. P. 34, line la>tbut one; before The retention of bodhi-

citta... read "As I have mentioned before, the
text prescribes bhage Hngam pratisthapya bodhi-
:

cittam na cotsrjet Bhavayed buddhabimbam tu

i

traidhatukama^esatah if

TEXT Page Line Replace asterisks by

24 10

5)
27
25 8

>*
20
26 2

13
15

28 6
10
19
42 22
23
46 24
24

2. Corrigenda

PREFACE Line Instead of Read

Page
14 21 Nagarjuna Nagarjuna
27 12 Close brackets ( )

42 and the Guru and the Guru

 29 6 assession possession
7 fierce three

35 Close brackets ( )

rccures recurs
35 1

TEXT
twice
Gaekwad's Oriental Series

CATALOGUE OF BOOKS Y

1941 if

ORIENTAL INSTITUTE, BARODA

 SELECT OPINIONS

Sylvain Levi The Gaekwad's Series is standing

:

at the head of the many collections now pub-

lished in India.

Asiatic Review, London It is one of the best

:

series issued in the East as regards the get up of

the individual volumes as well as the able
editorship of the series and separate works.

Presidential Address, Patna Session of the Oriental

Conference Work of the same class is being
;

done in Mysore, Travancore, Kashmir, Benares,

and elsewhere, but the organisation at Baroda
appears to lead.
Indian Art and Letters, London The scientific
:

publications known as the

" Oriental Series "
of the Maharaja Gaekwar are known to and
highly valued by scholars in all parts of the
world.

Journal of the Royal Asiatic Society, London :

Thanks to enlightened patronage and vigor-

ous management the " Gaekwad's Oriental
Series" is going from strength to strength.

Sir Jadunath Sarkar, Kt. : The valuable Indian

histories included in the " Gaekwad's Ori-
ental Series " will stand as an enduring
monument to the enlightened liberality of
the Ruler of Baroda and the wisdom of his
advisers.

The Times Literary Supplement, London These :

studies are a valuable addition to Western

learning and reflect great credit on the
editor and His Highness.
 GAEKWAD'S ORIENTAL SERIES

Critical editions of unprinted and original works of Oriental

Literature, edited by competent scholars, and published
at the Oriental Institute, Baroda

I. BOOKS PUBLISHED.
Bs. A.
1. Kavyarmmamsa (^ranffafaT) : a work on poetics, by
Rajasekhara (880-920 AD.): edited- by C. D. Dalai
and R. Anantakrishna Sastry, 1916. Reissued, 1924.
Third edition revised and enlarged by Pandit K. S.
Ramaswami Shastri of the Oriental Institute, Baroda,
1934, pp. 52 +
314 .. .. .. ..2-0
This book has been set as a text-book by several Universities including
Benares, Bombay, and Patna*

2. Naranarayanananda ( sT^TrPTcrar ^
5 a poem on the )
:

Pauranic story of Arjunaand Krsna's rambles on Mount

Girnar, by Vastupala, Minister of King Viradhavala
of Dholka, composed between Sam vat 1277 and 1287,
i.e., AD, 1221 and 1231 edited by C. D. Dalai and
:

R. Anantakrishna Sastry, 1916, pp. 11 + 92+12. Out of print.

3. Tarkasangraha (fra^if^): a work on Philosophy

(refutation of Vaisesika theory of atomic creation)
by
Anandajnana or Anandagiri, the famous commentator
on Saiikaracarya's Bhasyas, who flourished in the
century edited by T. M. Tripathi,
latter half of the 13th :

1917, pp. 36 + 142 + 13 .. .- Out of print.

4, Parthaparakrama ( )
: a drama describing
*rrefa^CT3W
Arj una's the cows of King Virata, by
recovery of
Prahladanadeva, the founder of Palanpur and the
younger brother of the Paramara king of Chandra vatl
(a state in Marwar), and a feudatory of
the kings of
Guzerat, who was a Yuvaraja in Samvat 1220 or
AD. 1164 edited by C, D. Dalai, 1917, pp. S + 29. Out of print.
:

5. Rastraudhavarhsa ( ^rfte^ )
: an historical poem
(Mahakavya) describing the history of the Bagulas of
Mayuragiri, from Rastraudha, king of Kanauj
and the
originator of the dynasty, to Narayana Shah of w

Mayuragiri, by Rudra Kavi, composed in Saka 1518

or AD. 1596~: edited by Pandit Enabar ICrishna-
macharya with Introduction by C. D. Dalai, 1917,
+ 128+4 Out of print.
pp. 24 . . . . - -
 Rs. A.
6. Linganusasana (TWi^wr) : on Grammar, by Vamana,
who lived between the last quarter of the 8th century
and the first quarter of the 9th century edited :

by 0. D, Dalai, 1918, pp. 9 + 24 Out of print. . .

7. Vasantavilasa ( WfiPwre ) an :historical poem

(Mabakavya) describing the life of
Vastupala and
the history of Guzerat, by Balachandrasuri (from
Modheraka or Modhera in Kadi Prant, Baroda State),
contemporary of Vastupala, composed after his death
for his son in Samvat 1296 (A.D. 1240) edited by C. D. :

Dalai, 1917, pp. 16+114+6 . .Out of print. . .

8. Rupakasatka (^^FP*I): six dramas by Vatsaraja,

minister of Paramardideva of Kalinjara., who lived
between the 2nd half of the 12th and the 1st quarter
of 13th century: edited by C. D. Dalai, 1918,
pp. 12+191 . . . . Out of print. . .

9. Mohaparajaya ( ^ft^vrsre ) : an allegorical drama de-

scribing the overcoming of King Moha (Temptation), or
the conversion of Kumarapala, the Chalukya King of
Guzerat, to Jainism, by Yasahpala, an officer of King
Ajayadeva, son of Kumarapala, who reigned from A.D.
1229 to 1232 edited by Muni Chaturvijayaji with
:

Introduction and Appendices by " C. D. Dalai, 1918,

pp. 32+135 +
20 . . . Out of print.
. . .

10. Hammlramadamardana (^fK^r^ff^r) : a drama glorify-

ing the two brothers, Vastupala and Tejahpala, and their
King Viradhavala of Dholka, by Jayasimhasuri, pupil
of Vlrasuri, and an Acarya of the temple of Munisuvrata
at Broach, composed between Samvat 1276 and 1286
or A.D. 1220 and 1239: edited by C. D. Dalai, 1920,
pp. 15+98 .. . . . . . . 2-0
1 1 .
Udayasundarikatha (^^^tswr) a romance (Campu, :

in prose and poetry) by Soddhala, a contemporary of

and patronised by the three brothers, Chchittaraja,
Nagarjuna, and Mummuniraja, successive rulers of
Konkan, composed between A.D. 1026 and 1050 :

edited by C. D. Dalai and Pandit Embar Krishna-

macharya, 1920, pp. 10+158 + 7 . . . . 2-4
12. Mahavidyavidambana ^^rrf^^rrf^^^w )
( a work on :

Nyaya Philosophy, by Bhatta Vadindra who lived

about A.D. 1210 to 1274 edited by M. R. Telang,
:

1920, pp. 44+189+7 .. .. ..2-8

13. Praclnagurjarakavysangraha ^r^^j^^^TRr^l ^ ) a
(
7
:

collection of old Gujarati poems dating from 12th

to 15th centuries A.D. edited by C. D- Dalai, 1920,
:

jpp. 140+30 .. .. .. ..2-4

14. Kumarapalapratibodha ( fwrrq-r^TSTftrftw a bio- :
)

graphical work in Prakrta, by Somaprabhacharya,

composed in Samvat 1241 or A.D. 1195 edited by :

Muni Jinavijayaji, 1920, pp. 72+478 .. 7-8 . .

 Rs. A.
15. Ganakarika ( Jiu<*iR^rr Philosophy ) : a work on
(Pasupata School), by Bhasarvajna who lived in the
Second half of the 10th century edited bv C D. Dalai, :

10+57 ..
1921, pp. .. I. ..1-4
16. Sangitamakaranda ( ^sptrnR^n:^ ) : a work on Music,
by Narada : edited by M. R. Telaiig, 1920, pp. 16+64
Out of print.
17. Kavindracarya List list of :
(
^ft^Tyr^-^^T^c^t )
Sanskrit works in the collection of Kavindracarya,
a Benares Pandit (1656 A.D.) edited by R. Ananta- :

krishna Sastry, with a Foreword by Dr. Ganganatha

Jha, 1921, pp. 20+34 .. .. .. 0-12
18. Varahagrhyasutra ( ^n^a^z^i^ ) : Vedic ritual
(domestic) of the Yajurveda edited by Dr. R. :

Shamasastry, 1920, pp. 5+24 . 0-10 . . . . ,

19. Lekhapaddhati ( ^"iM^fd )

: a collection of models1

of
state and private documents, dating from 8th to 15th
centuries A.D. edited by C. D. Dalai and G. K.
:

Shrigondekar, 1925, pp. 11 130 2-0 + . . . .

20. Bhavisayattakaha or Pancamlkaha ( *rf%^qr TI^R^T ) : a

romance in Apabhramsa language, by Dhanapala (circa
12th century) edited by C. D. Dalai and Dr. P. D.
:

Gune, 1923, pp. 69 148 174 + + 6-0 . . . ,

21. A Descriptive Catalogue of the Palm -leaf and Im-

portant Paper MSS. in the Bhandars at Jessal-
mere ^^K^T^T^^^-y^^^t
( ), compiled by C. D.
Dalai and edited by Pandit L. B. Gandhi, 1923,
pp. 70+101 . . . . .. *. 3-4
22. Parasuramakalpasutra ^^mwns^T^r a work on ( ) :

Tantra, with commentary by Ramesvara edited by :

A. Mahadeva Sastry, B.A^, 1923, pp. 23 + 390. Out of print.

23. Nityotsava ( fsn^n^r )
a supplement to the Parasurama-
:

kalpasutra by Umanandanatha edited by A. Mahadeva :

Sastry, B.A., 1923. Second revised edition by Swami

Trivikrama Tirtha, 1930, pp. 22 252 . . . . + 5-0
24. Tantrarahasya (rTnsnc^r) a work on the Prabhakara :

School of Purvamlmamsa, by Ramanujacarya edited :

by Dr. R. Shamasastry, 1923^ pp. 15 84. Out of print. + .

25. 32. Samarangana ^^TCT-S^ ) a work on architecture,

(
:

town-planning, and engineering, by king Bhoja of Dhara

(llth century) edited by Mahamahopadhyaya T.
:

Ganapati Shastri, Ph.D. lUustrated. 2 vols., 1924-

1925, vol. I, pp. 39 + 290 (out of print) vol. II, ;

pp. 16 +
324 .. . . .. . . 10-0
26. 41. Sadhanamala ( ^mHTT^rr ) a Buddhist Tantric :

text of rituals, dated 1165 A.D,, consisting of 312

small works, composed by distinguished writers :

edited by Dr. B. Bhattacharyya. Illustrated. 2 vols.,

1925-1928, vol. I, pp. 23 + 342 vol. II, pp. 183+295 ;
14-0
 4

RS. A.
27. A Descriptive Catalogue of MSS. in the Central
Library, Baroda ( srs^r^Tsn^r ^re;^) compiled :

by G. K. Shrigondekar, M.A., and K. S. Ramaswami

Shastri, with a Preface by B. Bhattacharyya, Ph.D.,
in 12 vols., vol. I (Veda, Vedalaksana, and Upanisads), ' ' *

vol. I, 1925, pp. 28+264 . . . . . . 6-0

28. 84. Manasollasa or Abhilasitarthacintamani ( *nnft-
WT^ )an encyclopaedic work treating of one hundred
:

different topics connected with the Royal household

and the Royal court, by Somes varadeva, a Chalukya
king of the 12th century edited by G. K. Shrigondekar,
:

M.A., 3 vols., vol. I, 1925, pp. 18 + 146 ;

vol. II, 1939,
pp. 50+304 . . .. .. .. 7-12
29. Nalavilasa ( ^ft^nj ) a drama by Ramachandrasuri,
:

pupil of Hemachandrasuri, describing the Pauranika

story of Nala and Damayanti edited by G. K. :

Shrigondekar, M.A., and L. B. Gandhi, 1926, pp. 40 91 + 2-4

30, 31. Tattvasangraha (rrauf^) a Buddhist philo- :

sophical work of the 8th century, by Santaraksita, a

Professor at Nalanda with Panjika (commentary) by his
disciple Kamalasila, also a Professor at Nalanda edited :

by Pandit Embar Krishnamacharya, with a Foreword

by Dr, B. Bhattacharyya, 2 vols., 1926, vol. I,
pp. 157 + 80 + 582 ;
vol. II, pp. 4+353 + 102 . . 24-0
33, 34, Mirat-i-Ahmadi ftTCTrr-T^^&ft by ALL Maham-
( ) :

mad Khan, the last Moghul Dewan of Gujarat :

edited in the original Persian by Syed Nawab All,

M.A., Professor of Persian, Baroda College, 2 vols.,
illustrated, 1926-1928, voL I, pp, 416 vol. II, pp. 632 ; 19-8
35. Manavagrhyasutra ( *n*r*nyfre^r ) : a work on Vedic
ritual (domestic) of the Yajurveda with the Bhasya
of Astavakra edited with an introduction in Sanskrit
:

by Pandit Ramakrishna Harshaji Sastri, with a Preface

by Prof. B. C. Lele, 1926, pp. 40 + 264 . . . . 5-0
36,68. Natyasastra (^T^T^T^) of Bharata with the com- :

mentary of Abhinavagupta of Kashmir edited by :

M. Ramakrishna Kavi, M.A., 4 vols., vol. I, illus-

trated, 1926, pp. 27 + 397, (out of print) ; vol. II, 1934,
pp. 23+25+464 .. . . .. 5-O
37. Apabhrarhsakavyatrayi ^-q^Tren^H^ ) consisting of : (

three works, the Carcari, Upadesarasayana, and

Kalasvarupakulaka, by Jinadatta Siari (12th century)
with commentaries edited with an elaborate introduc-
:

tion in Sanskrit by L. B. Gandhi, 1927, pp. 124+115 4-0 . .

38. Nyayapravesa (^r*rat?O, Part I (Sanskrit Text): on

Buddhist Logic of Dinnaga, with commentaries of
Haribhadra Suriand Parsvadeva: edited by Principal
A.B. Dhruva, M.A., LL.B. Pro- Vice- Chancellor, Hindu ?

University, Benares, 1930, pp. 39+104 Out of print, . .

 Rs. A.
39. Nyayapravesa (*qiqsrate), (Tibetan Part II Text):
edited with, introduction, notes, appendices, etc., by
Pandit Vidhusekhara Bhattacharyya, Principal,
Vidyabhavana, Visvabharati, 1927, pp. 27+67 . . 1-8
40. Advayavajrasangraha ( ^^J^^ifs ) :
consisting of
twenty short works on Buddhist philosophy by
Advayavajra, a Buddhist savant belonging to the
llth century A.D., edited by Mahamahopadhyaya
Dr. Haraprasad Sastri, M.A., C.I.E., Hon. D.Litt.,
39+68
1927, pp. . . . . . . . . 2-0
42. 60. KalpadrukoSa (*fwigrin) : standard work on
Sanskrit Lexicography, ^by Kesava edited with an :

elaborate introduction by the late Pandit Ramavatara

Sharma, Sahityacharya, M.A., of Patna and index
by Pandit Shrikant Sharma, 2 vols., vol. I (text),
1928, pp. 64+485 vol. II (index), 19X2, pp. 283,
; . . 14-0
43. Mirat-i-Ahmadi Supplement (f*norr-T-^**?l HftJiis):
by Ali Muhammad Khan. Translated into English
from the original Persian by Mr.^ C. N. Seddon, I.C.S.
(retired), and Prof. Syed Nawab Ali, M.A. Illustrated.
Corrected reissue, 1928, pp. 15 + 222 . . . . 6-8
44. Two Vajrayana Works ( cj^'*niij^*j ) : comprising
Prajnopayavinisca-yasiddhi of Anangavajra and
Jfianasiddhi of Indrabhuti two important works
belonging to the little known Tantra school of
Buddhism (8th century A.D.) edited by Dr. B. Bhatta- :

charyya, 1929, pp. 21 118 + .. . . 3-0

45. Bhavaprakasana (HT^^^rr^T): of Saradatanaya, a
comprehensive work on Dramaturgy and Rasa,
belonging ,to A.D. 1175-1250; edited by His Holiness
Yadugiri Yatiraja Swami, Melkot, and K. S. Ramaswami
Sastri, Oriental Institute, Baroda, 1929, pp. 98+410 7-0

46. Ramacarita ( KTO^iXrr )

: of Abhinanda, Court poet
of Haravarsa probably the same as Devapala of the
Pala Dynasty of Bengal (dr. 9th century A.D.) edited :

7-8
by K. S. Ramaswami Sastri, 1929, pp. 29+467 . .

47. Nanjarajayasobhusana ^ra^T^j^^ra^^r) by Nrsimha-

(
:

kavi alias Abhinava Kalidasa, a work on Sanskrit

Poetics and relates to the glorification of Nafijaraja,
son of Vlrabhupa of Mysore: edited by Pandit E.
Krishnamacharya, 1930, pp. 47+270 .. ., 5-0

48. Natyadarpana *TTO^H )(

on dramaturgy, by :

Ramacandra Suri with his own commentary edited :

by Pandit L. B. Gandhi and G. K. Shrigondekar, 4-8

M.A., 2 vols., vol. I, 1929, pp. 23+228 . .

49. Pre-Dinnaga Buddhist Texts on Logic from Chinese

Sources (
^T'ft^V^^^r^Ti )
:
containing the English
translation of fiatdsastra of Aryadeva, Tibetan text and
 English translation of Vigraha-vyavartani of Nasarinna
and_the re-translation into Sanskrit from Chinese of
Upaydhrdaya and Tarkatsastra edited by Prof :

Giuseppe Tucci, 1930, pp. 30+40+32+77 + 89+91 .' . 9_

50. Mirat-i-Ahmadi Supplement (fw^r?-T-^^nfft
Persian text giving an account of Guzerat ^fxftre)
Muhammad Khan edited by Syed Nawab Ali by Ali
:
MA
Principal, Bahauddin Junagadh, 1930, pp. 254:'
College, 6-0
51. 77. Trisastisalakapurusacaritra (flrefoiroTWT s^wf*^)-
of Hemacandra translated into
English with copious
notes by Dr. Helen M.
_Johnson of Osceola, Missouri
U.b.A., 4 vols., vol. I (Adlsvaracaritra), pp 19+530
illustrated, 1931 vol. II, pp. 22+396, 1937
;
v +> 2Q _ Q
52. Dandaviveka ( a comprehensive Penal Code
***ft9* )
:

of the ancient Hindus

by Vardhamana of the 15th
century A.D edited by
:

Mahamahopadhvaya Kamala
Krsna Smrtitlrtha, 1931, pp. 34+380 ".. . . g-8
53. Tathagataguhyaka or Guhyasamaja
the earliest and the most authoritative
work of the
<mrw):
Tantra School of the Buddhists
(3rd century AD)-
edited by B.
Bhattacharyya, Ph.D., 1931, pp. 39+21 o'. .' 4-4
54. Jayakhyasamhita ( onrroffinTT ) an authoritative :

Pancaratra work of the 5th

century A.D. hiffhly
respected by the South Indian Vaisnavas edited :'

by Pandit E. Krishnamacharya of Vadtal, with one

lUustration m mne colours and a
Foreword by B.
Bhattacharyya, Ph.D., 1931, pp. 78+47+454 . . 12-0
55 '
Kavyalankarasarasamgraha ( ^TSTT^WT^^W^ ) of :
the com mentary, the same
TT^X ?"*?*
as Udbhafcaviveka of , probably
Rajanaka Tilaka (llth century
bj K> S Ram aswami Sastri, 1931,
-

ift^fi?
~"

56. Parananda Sutra (^T^TO): an ancient Tantric

work of theHindus in Sutra form
giving details of
many practices and rites of a new School of Tantra -

edited by Swami Trivikrama Tirtha

with a Foreword
by Dr. B. Bhattacharyya, 1931, pp. 30+106 . 3_8
of the Safawi Period of Persian
History ^15th and^ieth
centuries, by Hasani-Rumlu edited by C. N. Seddon,
:

LC.S. (reared) Reader in Persian and Marathi

University of Oxford, 2 vols. (Persian text and
translation in English), vol. I, 1932 T>r ^fi-i-^in-
vol. II, 1934,
' ou-p^j.^ ,
pp 15+301
58.
PadmanandaMahakavya ( ^Tsn^mwrn")":
givin g the
hfe history of
Rsabhadeva, the first TirthaAkara of
tne Jamas by Amarachandra Kavi of the 13th
r^^^
PP- C^-T-V^M
by
.
mm
Ka P adi
,
H R
-
M.A., 1932,"
^
14_
 Rs. A.
59. Sabdaratnasamanvaya -J^^^^M^^^J ) : an interesting
(
lexicon of the Nanartha class in Sanskrit compiled
by the Maratha King Sahaji of Tanjore: edited by
Pandit Vitthala Sastrl, Sanskrit Pafcha6ala, Baroda,
with a Foreword by B. Bhattacharyya, Ph.D., 1932,
pp. 31 + 605 .. .. .. .. 11-0
61. 91. Saktisangama Tantra ( "?rf^i^ir^<nT^ : a voluminous )

compendium of the Hindu Tantra comprising four

books on Kali, Tara, Sundari, and Chhinnamasta :

edited by Dr. B. Bhattacharyya, 4 vols., vol. I,

Kalikhanda, 1932, pp. 13 + 179; vol. II, Tarakhanda,
1941, pp. 12+275 .. .. ..5-8
62. Prajnaparamitas yTimi<f^Hi )
(
commentaries on the
:

Prajnaparamita, a Buddhist philosophical work:

edited by Giuseppe Tucci, Member, Itab'an Academy,
2 vols.,Vol. I, 1932, pp. 55+589 ,. . . 12-0
63. Tarikh-i-Mubarakhshahi (mft^~T-^T*:srsn ?t ) : an i

authentic and contemporary account of the kings of

the Saiyyid Dynasty of Delhi translated into English
:

from original Persian by Kamal Krishna Basu, M.A.,

Professor, T.N.J. College, Bhagalpur, with a Foreword
by Sir Jadunath Sarkar, Kt., 1932, pp. 13+299 . . 7-8
64. Siddhantabindu ( f^nwft^)
: on Vedanta philosophy,
by Madhusudana Saras vatl with commentary of
Puru^ottama: edited by P. C. Divanji, M.A., LLJVL,
1933, pp. 142 + +
93 306 .. .. .. H-0
65. Istasiddhi ( i^f%ft ) : on Vedanta philosophy, by
Vimuktatma, disciple of Avyayatma, with the author's
own commentary: edited by M. Hiriyanna, M.A.,
Retired Professor of Sanskrit, Maharaja's College,
+ 14 ~
Mysore, 1933, pp. 36 697 . . . - -

66. 70, 73. Shabara-Bhasya ( *rr*rc*mzi ) : on the Mimamsa

Sutras of Jaimini :" Translated into English by
Mahamahopadhyaya Dr. Ganganath Jha, M.A., D.Litt.,
etc Vice-Chancellor, University of Allahabad, in 3
vol. II, pp. 20+
vols'., 1933-1936, vol. I, pp. 15+705 ;

708 vol. Ill, pp. 28 1012 + . . . . - . 8-

;

67. Sanskrit Texts from Bali ( srrf^fhrc^rr: ) comprising :

a large number of Hindu and Buddhist ritualistic,

religious and other texts recovered
from the islands of
Java and Bali with comparisons edited by Professor
:

35 + 112 .. - - 3-8
Sylvain Levi, 1933, pp.
71. Narayana Sataka ( 5THJ*4 ^ri <* ) a devotional poem :

of high literary merit by Vidyakara with the

com-
mentary of Pitambara: edited by Pandit Shrikant
Sharma, 1935, pp. 16+91 .. ..2-0
% .

KTST^^^T and an
elaborate :
72. Rajadharma-Kaustubha (
the
)

Smrti work on Rajadharma, Rajaniti require-

ments of kings, by Anantadeva edited by the late :

Mahamahopadhyaya Kamala Krishna Smrtitlrtha, 1(M)

1935, pp. 30 + 506 .. .,
 8

Bs.
74. Portuguese Vocables in Asiatic Languages (
73^qft7t ) translated into English from Portuguese
:

by Prof. A. X. Soares, M.A., LL.B., Baroda College,

Baroda, 1936, pp. 125+520 .. . . . . 12-0
75. Nayakaratna ( ^rr^nff^ ) a commentary on the :

Nyayaratnamala of Parthasarathi Mi3ra by Ram ami j a of

the Prabhakara School edited by K. S. Ramaswami :

Sastri of the Oriental Institute, Baroda, 1937, pp. 69 +

346 . . . . . . - . 4-8
76. A Descriptive Catalogue in the Jain Bhan- of MSS.
dars at Pattan ( TTwrr^unT^sr JJ^t^ ) edited from
the notes of the late Mr. C. D. Dalai, M.A., by L. B.
Gandhi, 2 vols., vol. I, 1937, pp. 72+498 . . . . 8-0
78. Ganitatilaka ( JifadfrM^f ) : of Sripati with the com-
mentary of a Siiphatilaka, non-Jain work on
Arithmetic with a Jain commentary edited by EL R. :

Kapadia, M.A., 1937, pp. 81 116 .. .. + 4-0

79. The Foreign Vocabulary of the Quran ( fFcriro^ifrsj: ) :

showing the extent of borrowed words in the sacred

text compiled by Professor Arthur JefEery of the
:

School of Oriental Studies, Cairo, 1938, pp. 15 311 . . + 12-0

80. 83. Tattvasangraha ( d-g<<j^ of antarak$ita with )
:

the commentary of Kamalaglla translated into English :

by Mahamahopadhyaya Dr. Ganganath Jha, 2 vola.,

vol. I, 1937, pp. 8 + 739 ; vol. II, 1939, pp. 12 + 854 . . 37-0
81. Hamsa-vilasa (^fa^w) of Hamsa Mitthu forms : :

an elaborate defence of the various mystic practices

and worship edited by Swami Trivikrama Tirtha
:

and Mahamahopadhyaya Hathibhai Shastri, 1937,

pp. 13 + 331 .. . . . . ..5-8
82. Suktimuktavali ( ^fTft^ttNtsh ) a well-known Sanskrit :

work on Anthology, of Jalnana, a contemporary of

King Krsna of the Northern Yadava Dynasty (A.D.
1247) edited by Pandit E. Krishnamacharya, Sanskrit
:

Pathasala, Vadtal, 1938, pp. 66 + 463 + 85. . . . 11-0

85. Brhaspati Smrti ^^^rfrf^gfH ) being a reconstructed
( ,

text of the now lost work of Brhaspati edited by :

Rao Bahadur K. V. Rangaswami Aiyangar, Director,

Tirupati Oriental Institute, Tirupati, 1940. Shortly.
86. Parama-Sarhhita ( ^T^ref^rrT )
: an authoritative work
on the Paficharatra system edited by Dewan Bahadur :

S. Krishnaswami Aiyangar, of Madras, 1940,

pp. 45 + 208
+230 .. .. .. .. ..8-0
87. Tattvopaplava ( d^M^<=* ) a masterly criticism of the :

opinions of the prevailing Philosophical Schools by

JayaraSi, an, atheistic writer edited by Pandit :

Sukhalalji of the Benares Hindu University with an intro-

duction by Mr. R. C. Parikh of Ahmedabad, 1940,
pp. 21 144 + .. .. .. . , 4-0
 Bs. A.
88. Anekantajayapataka ( ^vproranwTOT ) : of Haribhadra
Suri (8th century A.D.) with his own commentary and
Tippanaka by Munichandra, the Guru of Vadideva
Suri edited by H. R. Kapadia, M.A., in 2 vols., vol. I,
:

1940, pp. 32+404 . . . . . . . , 10-0

89. Sastradipika ( muei^PwT ) a well-kno\vn Mimamsa :

work: the Tarkapada translated into English by D.

Venkatramiah of Mysore, 1940, pp. 39+233 . . 5-0
90. SekoddeSatlka ( t^rf^r^Nrr ) a Buddhist ritualistic :

work of Naropa describing the Abhieka or the initiation

of the disciple to the mystic fold edited by Dr. Mario'
:

Oarelli, 1941. Shortly,

II. BOOKS IN THE PRESS.

1. NatyaSastra ( *rr*iain*i )
: edited by M. Ramakrishna
Kavi, 4 vols., vol. III.

2. Alamkaramahodadhi ( H^^K'^^FKfV )
: a famous work

on
Sanskrit Poetics composed by Narendraprabha
Suri at the request of Minister Vastupala in 1226
A.D. edited by Lalchandra B. Gandhi of the Oriental
:

Institute, Baroda.

3. Dvadasaranayacakra )
an ancient
( ^T^in:*TO^sfi :

polemical treatise
giving a resume of the different
philosophical systems with a refutation of the same
from the Jain standpoint by Mallavadi Suri with
a commentary by Simhasuri Gani edited by Muni :

CaturvijayajL
4. Krtyakalpataru (*Hj*^id^) of Lak^midhara, minister :

of King Govindachandra of Kanauj edited by :

Rao Bahadur K. V. Rangaswami Aiyangar, vols. I-V.

5. A Descriptive Catalogue of MSS. in the Oriental
Institute, Baroda ( r^<rarw?ta ^^re^t): compiled
by K. S. Ramaswami Sastri, Srauta ^Pandit, Oriental
Institute, Baroda, 12 vols., vol. II (Srauta, Dharma,
and Grhya Sutras).
6. Madhavanala-Kamakandala ( ^rrv^T*T^f^r**q*^^ii )
: a
romance in old Western
Rajasthani by Ganapati,
aKayastha from Amod: edited by M. R. Majumdar,
M.A., LL.B.
7. Anekantajayapataka (^3<*i*riai*jMHrarr ) of Haribhadra :

Suri (c. 1120 A.D.) with his own commentary and

by Munichandra, the Guru of Vadideva
Tippanaka
Suri edited by H. R. Kapadia, M.A., in 2 vols., vol. II.
:

8. Samrat Siddhanta ( *%uefw*rr )

: the well-known
work on Astronomy of Jagannatha Pandit critically :

edited with numerous diagrams by Pandit Kedar Nath,

Rajjyotisi, Jaipur.
 10

Rs. A.
9. Vimalaprabha f^nrowr ( the famous commentary)
:

on the Kalacakra Tantra and the most important

work of the Kalacakra School of the Buddhists :

edited with comparisons of the Tibetan and Chinese

versions by Giuseppe Tucci of the Italian Academy .

10. Aparajitaprccha ( ^^ofsnTTS^T ) a voluminous work :

on architecture and fine-arts edited by Mr, P. A :

Mankad, L.C.E.
11. Parasurama Kalpa Sutra (^K*3<m**M^ a work on ) :

Hindu Tantra, with commentary by Ramesvara second :

revised edition by Pandit Sakarlal Shastri,

12. An Alphabetical List of MSS. in the Oriental Insti-

tute, Baroda ( ^T^TT*?^^ ) compiled from the :

existing card catalogue by Raghavan Nambiyar

Siromani, Catalogue Assistant, 2 vols., vol. I.

13. Vivada Cintamani (f^T^f^rTT^Pn) of VachaspatiMiSra: :

an authoritative Smrti work on the Hindu Law of

Inheritance : translated into English by Mahamaho-
padhyaya Dr. Ganganath Jha.
14. Tarkabhasa ( a work on Buddhist Logic, by
*nffMT*rr )
:

Moksakara Gupta Jagaddala monastery edited

of the :

with a Sanskrit commentary by Pandit Embar Krishna-

macharya of Vadtal.

15. Hetubindutika (^gPi-3Wi ): commentary of Arcata on

the famous work of ^Dharmaklrti on Buddhist logic :

edited from a single MS. discovered at Pattan, by Pandit

Sukhalalji of the Benares Hindu University.
16. GurjararasavaK ( J^K^WT^^V ) a collection of several :

old Gujarati Rasas: edited by Messrs. B. K. Tbakore,

M. D. Desai, and M. C. Modi.

III. BOOKS UNDER PREPARATION.

1 .
Prajnaparamitas ( srsmrrKf^rn ) : commentaries on the
Prajnaparamita, a Buddhist philosophical work : edited
by Prof. Giuseppe Tucci, 2 vols., vol. II.
2. Saktisangama Tantra ^fwsinTrr^r )
( comprising four :

books on Kali, Tara, Sundari, and Chhinnamasta :

edited by B. Bhattacharyya, Ph.D., 4 vols., vols.

III-IV.

Natyadarpana (^i^^quj ) introduction in Sanskrit

:

giving an account of the antiquity and usefulness of

the Indian drama, the different theories on Rasa, and
an examination of the problems raised by the text, by
L. B, Gandhi, 2 vols., vol. II.
 11

Bs. A.
4. Krtyakalpataru ( ^n^ra^m^ one of the earliest )
:

Nibandha works of Laksmidhara edited by Rao :

Bahadur K. V. Rangaswami Aiyangar, 8 vols., vols.

VI-VIII.

5. A Descriptive Catalogue of MSS. in the Oriental

Institute, Baroda ( ^r^^T^rafi^N H'-^'wSt ) : compiled
by the Library Staff, 12 vols., vol. Ill (Smrti MSS.).
6. Manasollasa ( wrsr^wy ): or Abhila^itarthaclntamani,
edited by G. K. Shrigondekar, M.A., 3 vols., voL III."

7 .
Nitikalpataru ^f^re^m^ ( the famous Niti work of )
:

Kgemendra edited
:
by SardarK. M. Panikkar, M.A., of
Patiala.

8. Chhakkammuvaeso (
w^HHJ^dt "*
)
: an Apabhramsa work
of the Jains containing didactic religious teachings :

edited by L. B. Gandhi, Jain Pandit.

9. Nispannayogambara Tantra fsrisq^^fRrT^^rr^' ( )

: de-
scribing a large number of mandalas or magic circles
and numerous deities : edited by B. Bhattacharyya.

10. Basatin-i-Salatin ( ^T^Tf^-^-^Ttsof^r )

a contem- :

account of the Sultans of Bijapur translated :

porary
into English by M. A. Kazi of the Baroda College and
B. Bhattacharyya.
11. Madana Maharnava (*T<^r^niN): a Smrti work
principally dealing with the doctrine
of Karmavipaka
composed during the reign of Mandhata son of
Madanapala edited by Embar Krishnamacharya.
:

12. Trisastialakapurusacaritra (f^feR^n^T s^^^Pc^): of

Hemacandra: translated into English by Dr. Helen
Johnson, 4 vols., vols. III-IV.
13. Brhaspatitattva ( s^sffarper ): a Saiva treatise belonging
to an early stratum of the Agamic literature written in
old Javanese with Sanskrit Slokas interspersed in the
text edited by Dr. A. Zeiseniss of Leiden.
:

14. Anu Bhasya * a standard work

)
of the
( ^nj*m*l
translated into English by Prof.
^uddhadvaita School :

G. H. Bhatt, M.A., of the Baroda College.

the Jain Bhan-
15. A Descriptive Catalogue of MSS. in
dars at Pattan ( irFT*WTOT3n*te ^^ere:ft )
edited from :

the notes of the late Mr. C. D. Dalai, M.A., by L. B.

Gandhi, 2 vols., vol. II.

Alphabetical List of MSS.

An in the Oriental
16
Baroda *^rT*n^?r compiled from the :
Institute, ( )

existing card catalogue by Raghavan H.

Nambiyar
Siromani, Catalogue Assistant, 2 vols., vol.
 12

17. NatyaSastra ( *rrer*cref ) of Bharata with the com-

:

mentary of Abhinava Gupta second revised edition

:

by K. S. Ramaswami Shastri Siromani, vol. I.

18. Natyasastra (*M4juil<d ) of Bharata with the com-

:

mentary of Abhinava Gupta edited by Dr. Rama- :

krishna Kavi, 4 vols. vol. IV.

5

19. Bhojanakutuhala (*ft*M gH4*j ) on the methods of :

preparing different dishes and ascertaining their food

value written by Raghunatha Suri, disciple of
Anantadeva in the 16th century A.D. : edited by
Ananta Yajneswar Shastri Dhupkar.
20. Tattvacintamani ( ^raf^^fn^f^ ) with the Aloka and :

Darpana commentaries edited by Dr. Umesh Misra

:

of the Allahabad University.

21. Rasasangraha ( <HdHd"ij^ )

a collection of 14 old Gujarati
:

Rasas, composed in the 15th and 16th centuries :

edited by M. R. Majumdar, M.A., LL.B., of the Baroda

College.
22. Parasikakosasangraha a collection
( ^qr^^*^^ -^ 1
) :

edited by Dewan
'

of four Persian Sanskrit lexicons :

Bahadur K, M. Zaveri and M. R. Majumdar, M.A.,

LL.B.
23. Dhurtasvami Bhasya (^^rfwr^i): a commentary
on the A6valayana Grhyasutra : edited by A7~Chinna-
swami Shastri.

24. Kodandamandana ( <ifi^M^^^i5r )

: a work on archery
attributed to Mandana Siitradhara :edited by M. Rama-
krishna Kavi.
25. Matangavrtti ^TrTifsfVr ) a commentary on the Matanga
( :

ParameSvara Tantra by Ramakantha Bhatta edited :

by Mahamahopadhyaya Jogendranath Bagchi.

26. Upanisat-Sangraha ( ^qfiitf^ij'ig ) : a collection of
unpublished Upani^ads edited by Shastri Gajanan
:

Shambhu Sudhale of Bombay.

For further particulars please communicate

with
THE DIBEOTOB,
Oriental Institute* Baroda.
 13

THE GAEKWAD'3 STUDIES IN RELIGION AND

PHILOSOPHY.
Rs. A.
1. The Comparative Study of Religions: [Contents:
I, the sources and nature of religious truth. II, super-
natural beings, good and bad. Ill, the soul, its nature,

origin,and destiny. IV, sin and suffering, salvation

and redemption. V, religious practices. VI, the emo-
tional attitude and religious ideals] by Alban G,
:

Widgery, M.A., 1922 . . . . . . 15-0

2. Goods and Bads :
being the substance of a series of
talks and discussions with H.H. the Maharaja Gaekwad
of Baroda. [Contents introduction. I, physical values.
:

II, intellectual values. Ill, aesthetic values. IV,

moral value. V, religious value. VI, the good life, its
unity and attainment] by Alban G. Widgery, M.A.,
:

1920. (Library edition Bs, 5) .-. . . 3-0

3. Immortality and other Essays: [Contents: I, philo-
sophy and life. II, immortality. Ill, morality and
religion. IV, Jesus and modern culture. V, the
psychology of Christian motive. VI, free Catholicism
and non-Christian Religions. VII, Nietzsche and
Tolstoi on Morality and Religion. VIII, Sir Oliver
Lodge on science and religion. IX, the value of con-
fessions of faith. X, the idea of resurrection. XI,
religion and- beauty, XII, religion and history.
XIII, principles of reform in religion] :
by Alban G.
Widgery, M.A., 1919. (Cloth Bs. 3) , . . . 2-0

4. Confutation of Atheism a translation of the Hadis-i-

:

Halila or the tradition of the Myrobalan Fruit trans- :

lated by Vali Mohammad Chhanganbhai Momin, 1918 - . 0-14

Conduct of Royal Servants being a collection of verses

:

from the Vlramitrodaya with their translations in

B. Bhattacharyya,
English, Gujarati, and Marathi: by
M.A., PhJD. -. -.0-6
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