KAMA-KALA-VILASA

ARTHUR AVALON
(SIR JOHN WOODROFFE)

GANESH & CQ, (MADRAS) LTD.

 KAMA-KALA-VILASA
ARTHUR AVALON
(SIR JOHN WOODROFFE)

GANESH & CO.. (MADRAS) LTD.

Second Edition 1953 Price Rs. 61-
KAMAKALAV1LASA
 First Published 1922
Second Edition 1953

Printed by D. V. Syamala Rau, at the Vasanta Press,

The Theosophical Society, Adyar, Madras 20
 Srm ^ ^ <rc^mn: ii

DESCRIPTION OF THE CAKRAS FROM THE CENTRE

OUTWARD
1. —
Red Point Sarvanandamaya. (vv. 22-24, 37, 38).
2. —
White triangle inverted Sarvasiddhiprada. (vv. 25, 89).

3. Eight red triangles — Sarvarogahara. (vv. 29, 40).

4. Ten blue triangles — Sarvaraksakara. (vv. 30, 41).

5. Ten — Sarvarthasadhaka.
red triangles 30, 31,
(vv. 42).

6. Fourteen blue triangles— Sarvasaubhagyadayaka. 31, 43). (vv.

7. Eight-petalled red lotus — Sarvasamksobhana. (vv.

33, 41).

8. Sixteen-petalled blue lotus — Sarvas'aparipuraka. (vv.

33, 45).

9. Yellow surround — Trailokyamohana. (vv.

34, 46-49).
 f

KAMAKAL AVILAS A
BY
PUNYANANDANATHA
WITH THE COMMENTARY OF
NATANANANDANATHA
TRANSLATED WITH COMMENTARY
BY
ARTHUR AVALON

WITH
NATHA-NAVARATNAMALIKA
WITH COMMENTARY MAfijOSA
By BHASKARARAYA

2nd Edition
Revised and enlarged

Publishers :

GANESH & Co., (MADRAS) Ltd., MADRAS— 17

1953
 PUBLISHERS’ NOTE

The Orientalists’ system of transliteration has been

followed in this work.

an a % i. f h * u, <b u, 3f5

o, au,
“:
m or m, : h.

^ k, ^kh, ^8. *gh, ^;h,

S ch, %'h * IK
$th, 5
*\
d,
'
•
* dh, °T n,

^th, * dh, *n,

%P. ph, *b, n bh, ^m,

S 1* \v> ^ s\

*?> ^ s, \h, 55 1.
 PREFACE
The Kamakalavilasa is an important work in S'rividya by
Punyananda an adherent of the Hadimata, who is also the
commentator on the Yoginihrdaya, a section called Uttara-
catuhs'atl of the great Vamakes'vara Tantra. The same
Catuhs'ati as also the Purvacatuhs'atl have commentaries by
Bhaskararaya. The Kamakalavilasa which means the spread-
ing or emanation or evolution of the Kamakala that is the
Supreme Triangle formed of the Bindu and Visarga, of
Prakas'a and Vimars'a, of S'iva and S'akti, of the I (Aham) * ’

and ‘This’ (Idam) or Universe is, in the supreme sense, the

S'iva-Svarupa and S'akti-Svarupa. To put it quite shortly
Kamakalavilasa is the evolution of the One in its twin aspect
as changeless Consciousness (Cit or Samvit) and changing
Power and Maya-S'akti) into the multiple universe.
(Cit-S'akti
This evolution is represented by the greatest of Yantras the —
S'rlyantra figured on the cover and in a separate Plate show-
ing in colours its several Cakras extending from the Point or
Bindu (called Sarvanandamaya), the Supreme S'iva-S'akti in
the centre, to the outermost section of the Cakras the Bhupura
which is called Trailokyamohana.
The S'ricakra or S'riyantra is the Yantra of Lalita or
Tripurasundarl the Devata of S'rividya. Every Devata has
his or her Yantra. A general but by no means exhaustive list
of the Yantras is given in the Tantrasara of Krsnananda
of which there are several editions published in Bengal.
Lalita is the Supreme S'akti aspect of the Brahman the
Aniruddhasarasvatl (the all-spreading and Itself Unlimited
VI KlMA-KALA-VILlSA

Power). It is claimed by great Kaulas, among whom may be

mentioned the great Naiyayika commentator Bhaskararaya,
that this aspect of the Brahman is recognised in the Vedas
and that among others the Mantra, Catvara/t Im bibhrati
KsemayantaA (Rg-veda V. 47. 4) has reference to Her.
The Kamakala is the first display of activity in the Brah-
man Substance after Pralaya when the Devi holds absorbed
in Herself all the Thirty-six Tattvas of which the Universe in

all its variety is composed. She is then Kavallkrta-nibs'esa-

tattva-grama-svarupiril. She remains for some time in this

state holding within Herself all the Tattvas until rest is

disturbed by the desire or will (Kama) to create. The move-

ment or stress of this Desire manifests as the Kamakala.
Punyananda has here described the unfolding of the Kama-
kala according to the Hadimata.
All Tantras have referred to the Kamakala. The
Gandharva-Tantra, which is a work of great authority and
of philosophic thought, speaks (Ch. XXX) of the three aspects

of Kamakala. The first which is, it says, the Sthula or gross

aspect — that
which She is meditated upon as something
in

outside the Sadhaka (Bahyabhavana). The only text of the

Gandharva-Tantra available to me at the moment is unfortun-
ately defective so far as the account of this aspect is
concerned. It states that the Sun Bindu is Her face, the
Moon and Fire Bindus are Her two breasts, and Her womb
or Yoni is Hardhakala. Dr. Bhandakar in the account he
gives of the Kamakala (Vaisnavism and S'aivism, p. 145) does

not seem to have understood the scheme. He appears not to

be familiar with the technical terms and has not followed the
commentator Laksmldhara whose text he had before him and
as a result he has made some errors. Thus he says that Ha
is called Ardhakala or half part, whereas the half of Ha is

Kala. Again the Devi is not in Herself “Aham” for the

latter is the Sakala aspect of the Brahman.

 PREFACE VII

Ihave referred elsewhere to his translation of the term

Bindu as “Drop”. Bindu is here not a “Drop” but a
technical name for a particular state of Sakti; namely,
Ghanibhuta S'akti. The Symbol of the Point is well known
in both East and West. Here it is a Metaphysical Point of
Energy about to manifest. The term is fully explained in my
“Garland of Letters.”
The Sadhaka is directed to realise his identity with the
Kamakala. This aspect is alluded to in V. 19 of the Saun-
daryalaharl, a beautiful poem the authorship of which has
been unanimously attributed by all great commentators such
as Raghava Bhatta, Bhaskara, Laksmldhara and others to the
great S'ariikaracarya, though present day Orientalists, both
Indian and Western, incline to cast doubt upon the traditional
account of its authorship. The Saundaryalahari in verse 11
speaks of the S'rlcakra also. The second aspect of Kama-
kala which is spoken of as Subtle (Suksma) and inward (Antara)
is that in which the Devi KundalinI like a luminous
She is

flash of lightning extended from the Muladhara through the

Brahmarandhra. See my “Serpent Power”.
six centres to the
She is to be meditated upon as half of Ha in the lotus
of a thousand petals. This Kamakala is also active (Jagarti)
in all that is moving and motionless. The third aspect of
Kamakala is called Mantratanu (Mantra body) also Trayimayl
as existing in everything. In this aspect Samaveda is Her
face; Rk and Yajus are Her two breasts and the Atharvaveda
is the Hardhakala. “ The Kamakala (the text proceeds) is the

One highest (Turiya) Brahman Itself.” The Tantrantara

Tantra quoted in the Sarvollasa speaks of one Bindu as
the state of Laya ;
two Bindus as the state of creation
(Srsti) ;
three Bindus as the state of continuance (Sthiti)

and the return to One Bindu as the state of Laya (absorp-

tion) when the Devi Vamakes'vara-Tantra says,
is as the
Kabali-krta-nihs'esa-tattva-grama-svarupinl. The S'yama-
 viii kama-kala-vilasa

f rahasya quotes from the S'rlkrama Tantra a full account of

I
Kamakala.
The S'ricakra is described in great detail in the Tantra-
raja of the Kadimata the first eighteen chapters of which form
Vol. VIII of this series. It also forms the subject of the
Nityasodas'ikarnava Tantra which has been published by the
Anandas'rarna Press of Poona. For a general description of
the Cakras the reader’s attention is drawn to the Introduction
to Vol. VIII.
The aim of the Sadhaka of Lalita is to realise his identity
first with the Yantra and Mantra and then with Lalita or
Tripura, the Mahas'akti Who is the creator and director of
the universe and Who ultimately withdraws creation within
Herself. Some form
Union with the Ultimate Real or Sat
of
is the aim Sadhakas of the
of all the different classes of
Hindus. In Chap. VII of the Gautamlya-Tantra, greatly
venerated by Vaisnavas, the Sadhaka is directed to realise that
“ he is Krsna (Aham KrsnaA) and no one else (na canyo’smi) ”

that “ sorrow is not his portion (na s'okabhak) and that “he is
Sat Cit Ananda”. It is also there said that the bar between
Krsna and the Sadhaka can be removed by Krsna’s wish.
The S'akta Sadhaka seeks to realise the identity of himself
with the Mantra, the Yantra, the Guru and the Istadevata for
they are all Brahman. Sarvaih khalvidam Brahma. Lalita
is the Brahman as the active principle in creation. When
Her Power is fully evolved the S'akta seeks Her alone. It is
She Who, visible through Her Manifestations, counts for him.
[Tasycim parinatUyUm tu na kaslcit para isyate .]

“Pure (Vimala) Cit S'akti of the Lord is Caitanya ” 4

Bhaskara in commenting on the text above says that the Cit

S'akti, which is inherent in the Paracit (Paracinnistha),
accepted by the Upanisads, is by reason of the multitudi-
nousness of Her aspects called Maya. Her evolution (Pari-
pama) is called creation (Prapafica) and this creation is
 PREFACE ix

Cidrupa, or a form of Consciousness in the Sense of Cit.

That being so it is real. [See my book “ Reality ”.] This
does not conflict with Monism since S'akti and S'aktiman are
incapable of separation. Further on he says that the S'akta
does Sadhana of S'akti because without S'akti the Subtle
(Suksma) S'iva has neither name (Nama) nor the power of
manifestation (Dhama). So there can be no duty to one who
is nameless nor can such an one help the Sadhaka in attain-
ing Nirvana. Bhaskara follows the Kadimata. But both the
Kadi and the Hadi are agreed that by the worship of S'rlcakra
is meant the Sadhana whereby the identity of the knower

(Jnata), the means of knowledge, and knowledge (Jnana i.e.

Yantra which is the body of both the Devi and the Sadhaka)
and the object of knowledge (jfleya i.e. Tripura) is realised.
The Tantraraja (xxxv. 6) says :

JnUtU svUtma bhavej jnztnam arghyam jneyaih bahih-

sthitam stricakra-ptijanam tesftm ekikaranant iritam.

The meaning of this is that the Svatma or self of the Jlva

or Sadhaka is the Jnata or knower. Jnana knowledge and
means of knowledge is the body of Jlva which is the Yantra
and offering (Arghya) and Jneya or object of knowledge is
what is “outside” (Bahih-sthitam) by which is meant the
Devi Who to the ordinary man is something other than him-
self. The worship of S'ricakra is done to effect an union with,
or to realise the identity of, these three. There are some
slight differencesbetween the accounts of the S'aktis as given
in the Kamakalavilasa and Tantraraja Tantra. These will
be pointed out in the Introduction to the second part of the
Tantraraja-Tantra now in preparation. It has been alluded
to in the Introduction to the First Part.
There are some who to-day believe that the feminine
aspect of the Brahman is unknown in the Vedas and
the Upanisads. But this is quite erroneous. Thus in the
x
KaMA-KALA-VILISA
’

texts ' Tadaik?ata

Chandogya Upanisad we come across the
The first text by the word Tat
‘
Seyam Devataiksata.’
Brahman as neuter or nirguna. The second
speaks of the
Brahman as feminine (Sa iyam). The function
speaks of the
the same, namely, thatIksana prior to creation.
of
is
as the
There are many other texts which might be cited such
celebrated Devl-Sukta.
In fact for man the second is more important of the
the

two. As already stated, in dissolution (Pralaya) the Devi is

in its essence
what remains— that is what the universe
is

the Tattvas (Tattva-grama) have

been
(Svarupinl)— after all

completely (nisesa) swallowed up (Kavallkrta) or absorbed

however She is
by Her. Then the verse continues “when
fully evolved (Tasyam parinatayam)
from out this state in
or potential-
which the universe lies absorbed as mere tendency
(Kas'cit para) that is the change-
ity, then no other Supreme

less Niskala S'iva is desired or

thought of (Isyate). This, says
S'akta’s point of view, for
the commentator Bhaskararaya, is the
neither name nor manifes-
the Niskala or Suksma S'iva has
neither any duty towards, nor benefit
from,
tation and there is

What Divinity may be in Itself, apart from Its gover-

Him.
nance of the universe, is of no practical concern to those who
form part of it. The S'aktisangama Tantra (1-3) establishes
Kamakala— this first creative movement
the identity of the
with the Pranava.
A text of this
Kashmir but it was
work was obtained in
was then secured
found to be defective; another manuscript
the Andul Rajbati
from the valuable collection of Tantras in
present edition.
which is more reliable and forms the basis of the
present text, the publication of which
has been
When the
another
somewhat delayed, was going through the Press,
Triplica ne (Madras) which
edition in Sanskrit was published in
illustrative citations which
contains some valuable additional
from which this edition
are not to be found in the manuscript
 PREFACE XI

has been printed. I have added some further notes and given
the references to the S'ruti and other texts quoted by the
commentator Natanananda Natha.
The Kamakalavilasa is of great value in S'rlvidya because
of its clear and succinct account, from the Hadi standpoint, of
the initial development of S'akti and of the great S'rlyantra,
and is now translated for the first time.

Calcutta, Arthur Avalon

25th Nov. 1921
By the same Author

THE SERPENT POWER

The Serpent Power is a description and explana-

tion in fuller detail of the Serpent Power Kundalini

S'akti — and the yoga effected through it, a subject

occupying a pre-eminent place in the Tantra Shastra.

“
It consists of a translation of two Sanskrit works Shat

Cakra Nirupana” (description of and investigation

”
into the six bodily centres) and “ Paduka Pancaka
(Five-fold foot-stool of the Guru). To it is appended

a translation from the Sanskrit commentary by Kali-

charana. To the translation of both the works is added

some further explanatory notes by the author.

This edition contains also the Sanskrit Texts of

the works here translated and nine half-tone plates

taken from life showing some positions in Kundalini

besides eight original coloured plates of the

Yoga
Chakras. The book is bound in full cloth and gilt.

Price Rs. 25/-

5th Edition (1953)
 INTRODUCTION
KSmakalavilSsa an ancient and authoritative work on
is

S'rlvidya by Punyanandanatba. It was first published in

1918 by the Kashmir Government as No. 12 in its Sanskrit

Publications Series with a commentary from the pen of
Mahamahopadhyaya Mukundarama S'astri of the Research
Department of that State. In 1921, Sir John Woodroffe pub-
lished with a fuller commentary by Sri Natananandanatha.
it

A second edition has been long overdue and is now brought

out. It is much to be regretted that that veteran Tantric
scholar is not in our midst now to contribute to this edition
the benefit of his ripe experience and deep knowledge in this
field of sacred literature.
As he has well pointed out in his Preface to the first

edition, “ What Divinity ” may be in itself, apart from its

governance of the universe, is of no practical concern to those

“ who form part of it ” and there can be “ neither any duty

towards nor benefit from Him ” conceived of as unrelated to

the world of Name and Form. Any substance, be it gold or

mud, has no inherent name or inherent form of its own but
when we seek to have relationship with it, it must be clothed
in some name and some form. We are therefore concerned
with God not in His abstractness but in His practical aspect
as in relationship to the world of our experience.
God as the ultimate reality transcends all and
distinctions

is therefore neither a He nor a She but is best expressed by

the neuter word Brahman. But conceived as the cause of
the universe, it is clothed with a father-mother aspect, the
XIV KlMA-KALA-VILASA

static non-active principle being considered as the father and

the dynamic active principle being considered as the mother.
Both are aspects of the same reality but seem to split it up
into two. a person stands before a mirror, it is true
Where
that he does not undergo any change but a duplicate person
appears instantaneously in the mirror. That reflected person
is essentially not different from the original person and yet is

not identical with him. The former is evanescent seeming

while the latter is true Being. Similarly at the beginning of
” to be a
creation, God the ever changeless Being “ desired
ever-changing seeming. The absolute Being took on the role
of relative becoming. This desire and its fruition brought on
the entire universe of name and form. The subject self con-
ceived of itself as an object of its own cognition. The I be-

came the this. This initial desire impulse responsible for the
creation of the world is given the name of Kama. The
desireful supreme entity known as Kames'vara and his
is

active desire as Kames'vari. The entire universe is the out-

come of the union of these two primary parents. Though this
truth is never lost sight of, more importance is given to the
mother aspect in Devi worship.
The numeral six is a reality but is an abstract mental
concept essentially independent of the particular things to be
counted. The concept is the same for all who can conceive
of it and not limited by any considerations of country or
is

language. The sound that is produced when the word six is

pronounced has really nothing to do with the conception of
the numeral but is only a sound-symbol of that concept used
for the purpose of expression in the English language. As
languages and dialects vary, the sound symbols also will vary
though the concept may remain the same. The concept is
intangible while the sound symbols are certainly tangible.
Again, the figure 6 which appears in uniting has really nothing
to do with the sound produced when the word six is pronounced,
 ;

INTRODUCTION XV

much less with the abstract concept behind it. The figure
6 is but a form symbol of that concept. As in our experience
we are attaching more importance to the ear and the eye than
to the other faculties of sensation, we clothe every concept
with a sound symbol and with a form symbol so that we can
through them relate ourselves to the abstract concept which
alone is real.

Similarly when we conceive of Godhead any aspect

or
of it, we have necessarily to give it a sound symbol and a
form symbol. The conceptual reality is known as Devata,
the sound symbol as Mantra and the form symbol as Yantra.
It is said that the Devata is the life principle, the Mantra its

subtle body and the Yantra the gross body. The Archa or
Image ordinarily used for worship is a still grosser body.
In the Vedic and Tantra literature, symbols in sound
and in form have been prescribed as can most appropriately
and accurately represent the Devata. The ancient seers have
pointed out that, just our body of flesh and blood though
seemingly inert is permeated by the life principle in us in
every particle of it, so does the Devata permeate the Mantra
and the Yantra appropriate to that Devata. Any the slightest
variation therefore either in the sound of the Mantra or in the
form of the Yantra will effect a corresponding change in the
concept of the Devata and may possibly do great harm. In
this Kamakalavilasa, the Devata dealt with is the highest

conceivable one, namely the Divine Mother Tripurasundari

Her Mantra is the Paficadas'aksarl and Her Yantra is
Srlchakra. The intimate relationship between the Devata,
the Mantra and the Yantra is brought out in this book in
several ways and the devotee is asked to identify himself with
them as a necessary step towards the ultimate realisation.
The commentator Natananandanatha is a disciple of
Sankarananda and Nathananda and is the author of several
works besides a commentary on Yoginlhridaya. He refers
XVI KaMA-KALA-VILaSA

in his commentary itself to Saccidananda-Vasana and Cida*

nanda Vasana as his works. Only extracts from the
commen-
tary are reproduced in the English translation.
The commen-
tary is simple, explanatory and very useful in understanding
the text and is replete with quotationsfrom cognate literature.
to the lay
remain a closed book
All the same the treatise will
reader. As the commentator has pointed out more than once,
really matters to be
the details and the method of worship are
learnt only after acquiring the requisite
competency and
getting initiation from a knowing Guru.
of
In this volume is included Shlnatha-navaratnamalika
Mahes'anatha with the commentary of Bhaskararaya the lead-
ing authority, on Tantric worship. Under the guise of Guru
the author has analysed our life breaths in various
stotra,

ways and has pointed out their correspondence with the

details
is more cryptic and
of the Mantra and the Yantra. This work
less intelligible to the uninitiate.
The commentary on the
first stotra mentions that the stotra
consists of ten slokas and
refers to the pre-
the tenth sloka which gives the Phalas'ruti
vious slokas as being compiled by
Bhaskararaya himself.

This has to be somehow reconciled with the preamble to the

the author-
tenth sloka and with the colophon which attribute
ship to Mahes'anatha.
The publication of this book making its contents available
to all and sundry does not and cannot dispense with the two
already
indispensable conditions of competency and initiation
referred to. To those who have them not, the contents may
seem to be meaningless jabber. So is a book on integral
The publication however
is
calculus to a history student.
useful in creating in the reader an interest
which in course of
time may ripen into earnest endeavour to appreciate and realise
the eternal truths taught here.
Srirangam R. Krishnaswami Aiyar
11 - 6-53
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 CONTENTS xix

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ADDENDA AND CORREGENDA
{Continued from page 110)
 KAMA-KALA-VILASA
BY
S'RI PUtfYANANDANATHA
VERSE 1

May the great Lord, who is ever wakeful in the blissful

play of the repeated acts of Creation, Maintenance and
Dissolution of all the worlds which issue from Him, protect
ye. He is mere illumination (Prakds'a). Merged in Him is

Vimarsfa (- sfakti).

Commentary by S'ri Natananandanatha

Here the honoured Yogi Punyananda wishing to instruct in the

Mantra, Cakra and worship of Tripurasundarl, the presiding Devata
over all Vidyas 1 ,
speaks in the first place of Her form as Kama-
a
kames'varl .

Who is ever wakeful . . . issue from Him ( Sakalabhuvanodaya -

sthiti-laya-maya-lllavinodanodyuhtah). Udaya or rising or springing
up or appearance is Creation ( Srsti ) ; Sthiti or continuance is

Maintenance ; Laya is absorption or Dissolution ( Nds'a ) of all the

worlds ( Sakalabhuvana )*. These three (Srsti, Sthiti, Laya) imply
Nirodha and Anugraha, as by Trivrtkarana, Pahclkarana is meant.
He is wakeful in this pleasant play (Lila) which consists of many of
these five kinds of action which relate to the world (Pahcavidha-
krtyam hi jagannisthatn), whilst the play is that of the Lord (Lila tu
Paramesfvarl).
Worlds (Bhuvana). That which comes from Him is Bhuvana
(Bhavatyasmat iti bhuvanam). Therefore the word Bhuvana
 — ) )

2 KAMA -KALI- VILAS A

qualified by ‘all’ ( Sakala signifies all the Tattvas beginning with

S'iva and ending with Ksiti, because the Tattvas have their origin
from, continue through and disappear in Brahman. So S'ruti says

( Taitt . Up. 3*1-1):

— ‘That from which these Bhutas were born, by
which after being so born they live, to which they go and into which
they enter; know that well, for that is Brahman.’
Wakeful ( Udyukta ). By ‘
wakeful ’
is meant that He willed and
inclined towards Creation ( Samkalpa-vis'ista-laksana-srstimukha ).

S'ruti says ( Cha . Up. 6-2-1):

— ‘Oh gentle one! At first there was
merely this Being (Sat), which is One without a second, Brahman.’
Also ‘
May I be many and born as many,’ and thus He made Himself
into the world as it exists within Himself. By this is meant that
the acts of creation are for the Lord merely His play and are not
necessitated (Na prayojanam). So it has been said
— ‘ By His mere
wish He throws out and withdraws the universe in its entirety.’ Also
it is elsewhere said
—
The Great Lord having drawn on Himself the
‘

picture of the world by the brush which is His own Will is pleased
when looking thereon.’ S'ruti also says
— As the spider throws out
‘

and takes back its thread, so Is'vara projects and withdraws the
universe.’ Thus the one great Lord becomes the material cause
(Upaddna) from out of which the world is made, as says the Text,
*
May I be many.’ The V dmakes'vara Tantra also says
— When
‘

She is fully developed ( Parinatd ) there is no further need of Him for

4
Creation
’

( Nityasodas'ikd , IV-5). By this is meant the inseparate-

ness of the world from the Svarupa (own form) of Brahman.
That being so it may be asked what is the Svarupa of
the Brahman as transcending the world. The author therefore
says
Merged in Him is Vimarsa (Antarlina-vimars'a). Vimars'a is

experiencing ‘This’ (Idam), and ‘This’ ( Idam is the universe

(Prapanca) . By Idam is meant the world created by Paramatma.
In the passage in the Taittinya S'ruti which begins with *
From the
Atma originated Akas'a,’ and ends with ‘This the tip of the tail is

completion ( Pratista ),’ the word ‘this’ (Idam) is the world as object
of experience ( Prapanca-pardmars’a ).
word Idam is indi- By the ‘ ’

cated the universe (Prapanca) as contrasted with Brahman {Brahma-

pratiyogibhuta). So it has been said— Dissolving ( Pralayang kurvan) ‘
 VERSE 1 3

in the Aham (I) the ldatn (This) which is its correlative.’ Antarlina-
vimars'a means that within Him is dissolved Vimars'a or Prapanca
which is above spoken of. The significance of all this is that the
Paramatma Who is supreme Bliss arid supreme Illumination and
within Whom is the experience of perfect ‘
I-ness ’
( Paripurnahath -
bhdvabhavand-garbhita) withdraws into Himself the manifold universe.
Vimars'a may also mean the experience ( Paramars’a ) that ‘
I am the
uncreated cause of the Creation, Preservation and Dissolution of the
universe.’ So it has been said by Nagananda :
*
Vimars'a ’
is the
experience that “ I am the uncreated one ( Akrtimo’ham ” in the form

of the universe ( Vis'vakarena ), in the manifestation of the universe

Vis'vaprakas'ena) and in the absorption of the universe (Vis'vasam-

hdrena).’
Merged ( Antarlina ). By merged is meant inward-facedness
( Antarmukliatvam )
B
. Antarllna-vimars'a thus refers to Him whose
experience of full I-ness is inward-turned. The S'vachchhanda
Tantra says :
‘
That inward-faced-ness ( Antarmukhatva ) which is the
6
state of omniscience and the like ever is ,
because it is detached from 7
’
any object *.

9
He is mere Illumination This means ( Prakdsa-matra-tanuh ) .

that Parabrahman who is the Supreme Lord and transcends all, is

nothing but Illumination (Prakds’aikasvabhava) Such is His .

,(l
nature .

The Kanva 11 says The Devas worship that which is the :

*

,s
deathless One ( Amrta )“, which is verily Itself Life and the Light
of Lights.’ The Katha says There shines nor Sun, nor Moon, nor :
*

stars. There flashes no lightning. What need have we then to

speak of Fire. All luminaries derive their light from It. By Its
light all is illuminated.’
Agama also says :The innermost Light which is Light Itself is
‘

the imperishable ( Anapdyinl) Para Vak M ’

.

Illumination ( Prakas’a ). By illumination is meant the experience

’

of I-ness (Aham-rupa-vimars’a) indicated in the words ‘wish,’ ‘know

18
*
do and the
’
like in the first person singular . Here it is said of Param
Brahman as united with the five S'aktis of All-mightiness, All-know-
ingness, All-activity, All-completeness, All-pervadingness. It may be
said that if the Sun and other bodies have the power of illumination,
4 kama-kalI-vilasa

then why should the Brahman alone be called Paramatma ? To meet

this the latter is called the Great Lord (
He
Mahes'a ). is Great

(Mahan) because neither space nor time limits Him and He;
is Lord
16

( Js'a
because He has the power to control all. The S'irah S’ruti

says : ‘The Eater ( Sambhaksah eats all He constantly creates, main-

tainsand dissolves. Therefore He is called the Great Lord (Mahes'a).'

18
The Mahanarayana also says: ‘That Svara which is uttered in
17

the beginning and end of the Veda is that in which Prakrti is

merged

(
Prakriti-lina=Prakrtyatmaba ) He 19
. Who is beyond, is Mahes'vara.’

Protect ye. He has this power. Mantra is so called, because it

protects or saves by thinking ( Manana) on it ( Mananat trdyate).

Puoyananda says :
*
May Parames'vara protect ye’. Protection is one

of the powers of Paramatma. May the Great Lord who is Illumina-

tion (Prakas'a) protect ye. The Acarya » has also power to illumi-
nate, Mantra also has the power of illumination. Therefore the unity

of the Devata, Guru, and Mantra is here shown.

Notes
1
i.e. either the fifteen Nityas or all Mantras.
8
United Kames'vara and Kames'vari.
1
Sakalabhuvana the Universe with — all its parts consisting of the
thirty-six Tattvas .

4
This is a translation of the second line of IV -5 of Nitya$odas'ika
(part of Vantakes'vara). The verse runs thus
Kavallkrta-nis>esa-tattva-grama-svarupinl
Tasyatn parinatciyam tu na kas'cit Para isyate.

At the time of dissolution all the Tattvas are absorbed into Her
and
She remained in Her own form (Svarupa). When She is fully developed

there is no further need of Him for creation.

By the Tattvas according to Punyananda, Bhdskarardya and
‘ ’

others is meant the thirty-six Tattvas. Lakshmldhara

interprets it to
Tattvas. That the Universe is the creation of Para
mean the five is,

(Siva) and Para (Sakti). Under His influence She works and
when
Her work is completed there is no further need of Him for that purpose.

* Consciousness is either looking inwards ( Antarmukha or outwards

(Bahirmukha). The first indicates the supreme experience, the second

is the
world-experience. Therefore the essence of becoming as universe ’

Consciousness is given another

conversion of one into the other.
experience is
direction, strictly an outer direction, because the supreme
beyond all relations.
 VERSE 1 5

'
that is, is not destroyed.
*
or, independent of.
* transcendent.
that is, is

’
lit., His body or substance is mere Illumination.
10
lit., body.
11
One of the recensions of the Brhadaranyaka Upanisad.
IJ
This word is derived from na (not) mrita (death).

“Ayuh.
“ The supreme Word * ’. See A. Avalon’s “ Garland of Letters.”
18 ‘
I wish,’ ‘
I know,’ and so forth.
18
The Atharva S'ira Upanisad.
|T
The Atharvana Upanisad of that name.
18
Om.
18
The two are one, as stated in Nitya-§odas'ikha.
M
Guru.
 VERSE 2

She the Primordial S'akti who excels all and who in Her
own true nature is eternal, limitless Bliss, is the seed (Blja,
that is, source or cause) of all moving and motionless
the
things which are to be, and is the Pure Mirror in which S'iva
experiences Himself.

Commentary

He here says that the Source of all is also Our Supreme Lady.
She the primordial Sakti who excels all (Sa jayati s'aktirddyd).
By this is meant that Our Supreme Lady ( Para bhattdrikd) Maha-
tripura-sundarl is above all.

She (Sa). By this is meant the Tripura spoken of in all the

Upanisads, in whom are the thirty-six Tattvas beginning with Siva
and ending with Ksiti who is in the form of all the universes ( Sarva -
prapancdtmikd) and is also beyond them (Taduttlrnd) . This is the
meaning of the' name Tripura as given by the great Yogis, Knowers of
the true tradition ( Satsampraddyavid ). She who is above( Purd

bhiitd) the three Lights ( Tribhyas tejobhyah), that is, “Sun ”,

“ Moon ” and “Fire” (explained later) is called Tripura. Her
supremacy is proclaimed everywhere in many S'rutis and Smrtis. It

is She who is denoted by '

She whose true nature is eternal, limitless

Bliss/ (Nija-sukhamaya-nitya-nirupamdkdrd). Nija means natural

( Svdbhavika ). By Sukhamaya (Bliss) is meant in whom there is no
sorrow. Nitya is being at all times ( Trikdla ,
i.e. past, present, future).
Nirupama is ‘
incomparable as there is nothing with which She can
’,

be compared. Such Her nature Akdra that is, Svarupa). She is

is ( .

the unlimited, uncreated Brahma-bliss ( Atmdnanda ). S'ruti says that

the Brahman who is transcendent Bliss is in all and above all.
 . )

VERSE 2 7

The Chandogya (7-2-3 Immense says: ‘That which is the

(Bhiima) that is Bliss ( Sukha). There The is no Bliss in the little.

Immense is Bliss itself. Every endeavour should be made to know

the Immense.’ Having so said it proceeds. ‘
There where one sees
nothing else, hears nothing else, knows nothing else, that is the

Immense ( Bhiima ).’ It thus describes the Brahman who is Perfect

Bliss ( Aparicchinndnanda ).

The Brhadaranyaka says, that ‘

other beings enjoy (Upajivanti)
only a fragment (Malta) 'of this Bliss.’ It thus says that all other
beings are but drops (Viprut) in the ocean Brahma-bliss.
The seed of all . . . which are to be (Bhavicara-carabij am). Bhdvl
isthat which is about to and will come. She is the Cause of all
moving and motionless things which will be and which are.
The Katha S'ruti says (5-2-12) The one Controller ( Vas'l) of :
*

all who is the Inner Self (Antardtma) of all created beings ( Sarva-

bhiita) transforms His unity (Ekam rupam) 1

into many.’

Agama also says :

‘
When She the Supreme Power ( Parama
2
S'akti ) who is in the form of the universe ( Vis'varupinl sees her
3
own impulse towards becoming (Sphuraltd), then the Cakra comes
into being. As the great tree exists as potency 4 in the seed of the
Bata tree*, so does this moving and motionless world exist in the
seed in the heart (Hrdayabijastham) (of the Lord) ’.

It may be said that as it is not possible for S'iva to create with-

out S'akti nor for Para S'akti without S'iva, how can She be said to

be ‘
the seed.’ To meet this it is said that She is the pure mirror in

which Siva experiences Himself (

S'ivarupa-vimars’a-nirmalddars'ah .)

The Svariipa or nature of S'iva is ‘

I ’
or Aham ( S'ivasya svarupam

aham ityevam akarath). The experience (Vimars'a) again of That

(Tasya vimars'ah) is the experience of ‘I-ness’ (Aham ityevam rupam

jhdnam). This pure mirror makes manifest this knowledge (Tasya
prabas'an e nirmaladars'ah)
The sense may be thus illustrated. A handsome king looking at

his reflection in a mirror which is before him knows *

I am he who
is thus reflected.’ So Parames'vara looking at His own S'akti

(Svdtmas’ahti) who is within himself (Svadhinabhiita) knows his own

nature (Svasvarupam) as ‘I am all ’ (Paripurno’ham). If there be

nothing before the mirror then there is nothing to be reflected.

8 KAMA-KALA-VILASA

Similarly if the Paras'akti were not united with Paras'iva, She could
not produce the universe ( Prapanca ) which is within Herself. There-
fore the world cannot be created by S'iva alone nor by S'akti alone.

It is by both of them that all the Tattvas are produced.

Aganta says Without S'iva there is no Dev!. Without Devi
:
1

there is no S'iva. As between moon and moonbeam there is no

difference, so there is no difference between S'iva and S'akti.’

Notes

‘Some read Blja (seed) for Rupa (Form).

*
Pasyet, that is, creatively produces, and, in the form produced,
experiences.
*
The first Cakra in the S'rlyantra, as to which see Yoginlhrdaya,
Ch. I, vv. 9, 10.
4
S'akti.
*
Ficus indica.
 )

VERSE 3

The Supreme S'akti is resplendent. She is both the seed

1
{Bija)and sprout ( Angkura as the manifested union of S'iva
and S'akti. She is very subtile. Her form is manifested
through the union of the first letter of the Alphabet (A ) and
the Vimars'a letter {Ha).

Commentary
Now some say that the experience ( Vimars'a)* *1 am all’

(Paripuryo'ham) is the Brahman. Then how can it be said (it is

argued) that the experiencer (Vimars’aka, that is, He who is conscious

of being the supreme ‘
I ’) is the Brahman. The verse is written to
meet this difficulty.

Supreme. Here by Supreme {Para) is meant Tripurasundarl as

She is before creation {Prakrta). She is so called because S’ruti
speaks of Her as *
Consciousness, Bliss, Will, Knowledge, Action
{Chiddnandecchdjndnakrydrupd).'
She is both the seed and sprout ( Sphuta-s'iva.s’akti-samdgama
-

bijdngkura-riipinl). She is the manifested {Sphuta=Vyakta) union

of S'iva and S'akti and is therefore both the seed and the sprout. For
it has been said :
*
From the seed the sprout and from the sprout the
seed.’ She produces in their order all the Tattvas beginning with
S’iva-tattva and ending with Ksiti-tattva.
Siva. Here by the word *
S'iva ’
is meant Jndna-s'akti because
S'iva-tattva is inherent ( Adhisthana) in JMna-S'akti ;
and by the
word *
S'akti ’
is meant Kryd-S'akti, for S'aktitattva is inherent in

Kryd-S'akti. It must also be noted that She who is Ciddnandasvarupd

effects the creation of the universe by Jndna and Kryd.
Subtile. .She is also further spoken of as very subtile {Anuttara-
riipd, that is, of very subtile form). S'ruti says, ‘
Verily more subtile
10 KaMA-KALI-VILASA

than the subtile is eternal Beingness ( Sattva ), Thou verily art That.’

Agama also says, *

the Devi is smaller than the smallest (Anti) and
greater than the greatest.’
Her form is manifested . . . letter (Ha) (Anuttara-vimars'a-lipi-

laksya-vigrahd). By Anuttara-lipi is meant the letter before which

there is no other, and that is the letter A By V imars'a-lipi is meant
the last letter which is 'Ha. By the union of A and Ha (Aham— I)
Her Self ( Vigraha=Svarupa ) becomes known (L aksya= Visible).
The sense of these words is that the Para-s-akti is ‘
I-ness ’
( Aharndt

tnikd) within whom (i.e. between the letters A and Ha) are all the

letters of the alphabet (Antar-garbhita-samasta-varna-kadambaka.)

Her form is the fifty letters beginning with A-hdra and ending with
Ha-kdra ( Akdrddi-hakdrdnta-pahcds’ad-aJcsara-rupim ). She is the
Mother ( Janayitrl of all the universe consisting of Varna Pada, ,

Mantra and of Kata, Tattva, Bhuvana. She is the supreme object of

veneration ( Pard bhattarikd,

the innermost self of all things (Samasta-

bhxitdntardtmd). Everywhere in the Vedanta She appears spoken of

as I * (Ahamahamityevdhdrena). This is what has been said in this
’

verse. So it has been said in the Kanva-sruti Brahman verily “ This

in the beginning was. It knew(Tadatmanam eva veda), I

Itself ‘

Brahman am A is ‘ Brahman, from That came Aham (i.e., I).’

The worship of Atmd is the meditation ‘
I am all ’ (Piirndham-bhdva-
bhdvand), and should be kept very secret. S'ruti enjoins that it

should be learnt only from the mouth of the Guru.

Notes
1
As seed She is cause, and as sprout, effect or universe.
3
Parip ttr no’ ham iti vimars’am eva Brahma. Reference is made to
the experience as a state contrasted with that of which it is a state.
 —,

VERSE 4

Upon the mass of the rays of the Sun Paras'iva being

reflected in the pure Vimarsta- mirror, the Mahabindu appears
on the Citta- wall illumined by the reflected rays.

Commentary
The author being desirous of describing the Kamakala in the
form of all the letters, commences in this and the following three
verses to speak of Her letter-hood ( Aksara-svarupa= Brahma-svariipa .*
Mass of the rays of the Sun Parasiva ( Paras'ivaravikarnikare ).
Parasiva is the adored Lord Paramas'iva who is mere Prakas'a
Prakds’aika-svabhdvah.) The mass of His rays {Karah~Kiranah) is
the pure Vis'uddha—Nirmala ) Vimars'a- mirror {Vimars'a- darpana).
(

Vimars’a is the S'akti or movement ( V isphurana-s'akti) which is

5

limitless ( Anavadhikakdra ). So it is said in Pratyabhijnd She is :

‘

Sphurattd. ( Sd sphurattd).' She is here compared to a mirror be-

cause of Her thereby manifesting Herself ( Sva-svariipa-prakdsatvdt ) *.

Reflected. By *
Reflection ’
( Pratiphalana ) is meant seeing one’s
own self ( Svasvariipdvalokana ). When the self is seen by reflection
in this way, then '
Mahabindu appears on the Citta-wall ’
( Cittamaya
4
Jnanaika-svariipa) which is beautifully illumined. The Citta is

compared to a ‘
wall ’
( Kudya ) because on it appears (the reflection of
the) Mahabindu. In ordinary experience we see that if a mirror is

kept facing the sun, the rays after being reflected therefrom appear on
any wall nearby as a luminous spot ( Bindu ) produced by the rays of
the sun. In the same way when Parames'vara who is Prakas’a
{Prakds'a-riipa-parames’vara) comes into connection with Vimars'a
which is like a mirror {Darpandvat-svarupa-vimars’a-sambandhe j ate)
there shines forth the Mahabindu who is Parames'vara as Purifo'ham —
‘
I am all.’
 5

12 kama-kala-vilasa

S'ruti also says :

*
Oh gentle one, this Being alone there was
in the beginning, the one, non-dual Brahman alone. That said:
5 7
*
May Imany and be born.’
be Also ‘
She this Devata said *

‘
This Brahman alone there was in the beginning, That10 knew Itself as

‘I ( Aham ) am the Brahman’. *

He said (and thought), truly I
8
shall create these worlds ( Lokas ).’ Texts in S'ruti like these say
that the Parabrahman who is looking towards ( Abhimukha ) His own
9
S'akti ( Svatmas'akti ) is the Cause of the universe.
Agama also says: ‘When She the Parama S'akti sees Her own
Sphuratta there comes into being the Cakra.’
,

In Pratyabhijna also it is said :

‘
She the Sphuratta is the great
n
Being-ness ( Mahasattd beyond time and space ( Des'a-kala-vis'esini ).

It is She who is spoken of as the essence of all ( Sdrataya cokta) in

the Heart of the Supreme Lord.

Notes
1
That is, Her svarupa as the substance of all the letters. C/.

A-karah sarva-varqagryah Prakas ah paramah Sivah, f

Ha-karo'ntyah kaldrupo Vimars'dkhyah praklrtitah.

2
Sphuratta is a common term in these S'astras. The word means
impulse, vibration, throbbing, pulsation, quivering and then springing up,
breaking forth, blossoming, starting into view, expanding and lastly flashing,
glittering, sparkling manifestation, in short, both as impulse towards and
as fact.
* Sva-svarupa-prkas'atvat may also mean Because She makes :

manifest the svarapa of Brahman (Sva= Brahman = Atman) in Her as in a

Mirror.
4
That is, by the rays reflected back on it.
I
Cha., 6-2-1.
#
Cha., 6-2-3.
T
Cha., 6-3-2.
8
Aitareya, 1.1.
8
He contemplates and assumes Power.
10
Yoginlhridaya, 1. 9.
II
She limits, that is, is beyond both.
 ) ) )

VERSE 5

Ahamknra, which excels all and is the massing together

of S'iva and S'akti and the fully manifested union of the letters
A and Ha, and which holds within itself the whole universe,
1
is at .

Commentary

In this verse he describes the notion of “ I-ness ” ( Ahatiibhava)

which arises from the gaze of S'iva upon His own luminous S'akti.
Ahathkara is the Vittiars’a which is * I-ness’ {Y o'yam aham-ahamity-
eva vimars’ah). Ahathkara is the cause (Kdra=Karana) of the ex-

perience of * I-ness ’
( Ahatnbhdva-vimars’a) which manifests ( Vyahjaka
on the uprising ( Vdbhuta) of the experience which is self-recollection

(Atmastnarana). Ahathkara such as this excels all. So it has been

said, *
In the Ahatn experience ( Ahathbhava Prakas’a) rests in Itself

(A tma-vi&ranti).' 2
Cit mere Jhdna (Jhdnaika-svabhdva).
( Chittamaya ) is

Manifested ( Suvyaktdhdrna-samarasdkara owing to the form

which is produced by the combination of the letters A and Ha, each
making manifest the other ( Parasparodbhutarxipau ).
giving rise or
Union ( Samarasa— Eka-lolibhuta or the union in the form of
Ahathkara of these two letters in which each desires to be united in
an equal degree with the other.
Massing together of Siva and Sakti {S'iva-s’akti-mithunapinda).
S'iva = Prakas'a, S'akti = Vimars'a. These are the two who make the
divine Husband and Wife ( Divyadathpatimaya ). The union of these

two, in which they desire to be united in equal degree, is S'iva-s'akti-

inithunapinda. Ahathkara for reasons implied in what is aforemen-

tioned contains within it ( Kavalikrta ) the sphere (Mandala) of the

universe ( Bhuvana ). By Bhuvana-tnandala is meant all that is

 )

14 KaMA-KALa-VILaSA

composed of Thirty-six Tattvas. The meaning, by the rule of Pratya-

hara, is that from the union of Prakas'a and Vimars/a which is

Ahathkara, within which are the many letters of the alphabet,

emanates the whole universe consisting of Word ( S'abda and its

Meaning ( Artha ). So also says S'ruti *: ‘The letterless {Avarna)

full of meaning ( Nihitartha ) by union with S'akti in various ways
4
generates many letters {Varna)’. In another Upanisad occurs this
text: ‘Who art thou?’ ‘ It is I ( Aham ) (the reply): All this is

surely I {Aham)’. Therefore the term ’Aham’ or ‘I’ denotes all

things (Sarvabhidhanam = Sarvavacakam).’

Notes
1
Chittamaya. Or the verse may be translated “ Hamkara is Citta-
—
maya. The form {Aham) is the manifested union of the letters A and Ha
or the coupled S'iva and S'akti in massive union which even endures after
the universe has been withdrawn into Itself.”
1
Prakas'asyatma-vis'rantir ahambhave hi kirtitah.

*Svet., 14-1.
‘Nrsimha Uttara, 7.
 ) ) )

VERSES 6 & 7

The two Bindus, white and red, are S'iva and S'akti, Who, in
their secret mutual enjoyment, are now expanding and now
contracting. They are the Cause of the creation of Word

( Vnk
and Meaning ( Artha ), now entering and now separating
from one another. Bindu which is Ahamkara CAhamknrntmn )
is the Sun which is the union of these two (white and red

Bindus). The Sun is Kama, which is so called because of

its desirableness ;
and Kalu is the two Bindus which are Moon
and Fire.

Commentary

Having described in V. 4 in the passage *

The Mahabindu
appears on the Citta-wall the Svarupa of the Bindu he now des-
cribes Kamakala.
The two Bindus white (Sita) and red (Sona) are Siva and Sakti
playing in secret with one another, that is, in mutual enjoyment the

one with the other ( Vivikta-s'iva-s’akti = Anyonya-viharanapare S’iva-

s’akti ), now contracting or closing together *), now opening out as the
{Prasarah—J agat-sristirupo vikasah).
creation of the universe
The Cause of the creation of Vak and Artha ( Vdgarthasrstihetuh).
By Vacah 2 is meant all the sounds Para, Pas-yanti and so forth and ;

by Artha is meant the thirty-six Tattvas beginning with S'iva and

ending with K$iti. The creation of these is the creation of the world

(Jagat) of six Adhvas .*

It has been said, ‘

Oh Deves-i, In Thee who art Cit ( Cidatmani

are the six Adhvas, namely Varna, Kala, Pada, Tattva, Mantra
and Bhuvana.’ These two Bindus which enter one another and
separate ( Paras-paranupravistavispastam are the united white and
 ) ) )

16 KaMA-KALa-VILaSA

red Bindus (Sitas'onabinduyugalam) which are known as Kama*

Kames'vari, the divine Husband and Wife. The great secret here is
this. On the authority of S’ruti, He who is supreme (Para) is
1

Mahes'vara And the supreme Lord ( Parames'vara who is the first

letter (A) which generates all sounds of the Vedas and so forth
attains the state of Bindu ( Bindu-bhava after having entered
Vimars'a-S'akti who is His own body (Svdngabhuta) and in whom
(S’akti) all the universe ( Prapanca ) is dissolved. Thereafter the
Vimars'a-S’akti also enters into the Prahas'amaya Bindu which is

within Herself. On that the ( Mis'ra ) Bindu becomes ready for

action ( Uchchuna ). From that Bindu issues Nadatmika S'akti 4
within whose womb are all the Tattvas, who is all energy ( Tejomayi

and in seed form (Bija-riipd) and subtile like the tip of a hair and
assumes the form of a S'rngataka .* In this w ay Prakas'a and Vimars'a
7

’
which are the Svariipa of Nada and Bindu assume body as *
I

( Aham ). In the same way, of the pair, one, namely Vimars'a, is the
Red Bindu, and the other, Prakas'a, the White Bindu, and the union
of the two is the mixed (Mis'rariipa) and all powerful ( Sarvatejomaya),
the Svariipa of which is the Paramatma ( Paramdtma-svarupa ).
S'ruti also says :
‘
Avartia (letterless) which is full of meanings
(Nihitdrtha) by union with S'akti in various ways generates many
letters.’

He further elucidates these three Bindus by speaking of them as

Ahamkdratmd and so on. The (mixed) Bindu which is (composed
of) the Red and White Bindus (Binduh sita-rakta-svariipah) is one

with the combined first letter A and the last letter Ha (Spharariipa-
ha-kara) between which are all the other letters. The Kara in
Ahathkara signifies that A
and Ha are letters according to the Sutra
‘
Varnat kdrah.’ This Bindu is therefore the union of the two letters
A-kara and Ha-kara, which signify the union of Prakas'a and
Vimars’a ( Etan-mithuna-samarasakdrah ). The union of these two
divine Husband and Wife ( Divyadampatiriipasya) is their mutual
helpfulness ( Samarasah—Anukuly am ) in entering into or co-operat-
ing with one another. This mutual action is in the very nature
(Akdra= Svariipa) of the Bindu. The Sun is the Mixed Bindu
(Mis'ra-bindu), being the union in the manner stated of the White
and Red Bindus ( Sita-s'ona-bindu-samarasi-bhUtah ).
 . . ) -

VERSES 6 & 7 17

In ordinary experience also ( Lohe'pi the mixed character ( Mis’ra

riipatvam) of the Sun is spoken of, because it is said that He enters

into and issues out of Fire and Moon. S'ruti says :

‘
So does Fire
enter into the risen Sun. In the evening again the Sun enters into
®
Fire.’

The word Amavdsyd 1 is so called because the Sun and Moon

are in conjunction (i4«ij=with, Vasatah— are). Therefore the

entrace of the Sun and the Moon into one another is well known.

The Sun consequently is the mixed ( Mis'ra ) Bindu.

Kama. That He is the object of adoration Updsya ) is shown by (

the word Kama \ Kama is that which is desired ( Kainyate ) by the

‘

great Yogis, who know the Supreme Reality ( Paramartha ) as being

their very Self {Svatmatvena) The reason for their doing so is given

when its desirableness ( Kamanlyatva ) is spoken of, since all beauty is

desired.
The Chdndogya Upanisad (speaking of the Purusa in the Sun)

says: ‘Golden-bearded, golden-haired, all gold from the tip of the

nails.’ The Is'avdsya also says: “He the Paramatma, radiant,

bodiless ( Akdya ), imperishable one, without subtle body, without

material body, 8
pure ( S'uddha ), beyond Dharma and Adharma,
pervades all.”

The same Upanisad says That most beneficent form of Thine,

:
*

that do I see by Thy grace. That Purusa (in the Aditya-mandala

whose body is the Vydhrtis) He I am.’
By describing Kames'vara as beneficent the author praises his
greatness ( Mahima ).
Kala- Kala is Vimars'a-s'akti.

Bindus which are Fire and Moon Dahanendu-vigrahau bindu). The

meaning of this is that Vimars'a-S’akti is in the nature of Fire and

Moon ( A gnl-Soma-riipini)
Mahatripurasundarl who is in both these and inseparate from
Kames'vara is the collectivity of the Bindus and is Kamakala. In all

Agamas it is proclaimed that She is the object of adoration. So

it has been said: ‘When white S'iva is in red S'akti, Para being
pierced by S'arhbhu, then such red S'ambhu is in S'akti as Paratattva.

When red S'iva is in white S'akti, then is the state of Para-S'ambhu

and such red S'iva in white S'akti indicates Saccidananda.’ And
2
18 KAMA-KALA-VILaSA

again it is said, *
Oh Paras'iva, I make obeisance to Thy supreme
Kala, whereof the upper Bindu is Thy Face, two other Bindus are
9
Thy two breasts, and Nada-bindu (that is, Hdrdakald is the place of
10
Ras'ana CNdda-binduras'andgundspadam ).’
‘The Bindu which is above E-kdra 11 is the Sun and Her Face,
and below are placed Fire and Moon, Her two breasts, and the Raid
which is half of Hakara is her Yoni
12
The Nitydsodas'ikd ‘Having made the Bindu the Face
says:
and below it the two breasts and below it again half of that which
14
follows Sa,
13
meditate upon it as downward turned.’

All this is very secret.

The gist of all this is that the excellent Yogis, the great
Mahes'varas, constantly worship the mother Maha-tripurasundari who
is Kamakala, the collectivity of the three Bindus in the radiant,
imperishable and all-pervading Brahman ( Bindutraya-samasti-rupa-
divydksararupini ), whose very self is the Bliss which is Prakds'a
(
[Pralcds'dnandasdrd ), and who is in the nature of complete 1-ness
(Purndhamtdriipini), within whom is the seed (Vlrya) of the endless
mass of letters ( AnantdksararcLs'i and great Mantras ( Mahdmantras ).
The Vijndnabhattdraka also says: “By passing through the
different Mandalas (of the S'ricakra) where the gross letters ( Sthula -
varna) are rising up to Arddhendu, Bindu, Nadanta and
1
* to the
16
S'unya in the Bindurupa-cakra one becomes S'iva.” ,

Notes
1
Samkuchan — Mukull bhavan , i.e. closing like a flower.
*
Plural of Vdk.
See Woodroffe’s “ Garland of Letters
3
”, Chapter on the Sadadhvas.
Ndda C/. Woodroffe’s “
4
Nadatmikd Sakti ,
i.e., Shakti as . Garland
of Letters
*
A triangular pyramidal figure.
8
In day time the Sun absorbs the light of fire and in the evening with
the disappearance of the Sun other lights appear.
7
Tithi of the new moon.
8
Asnaviram : veinless.
9
See next note.
10
The place of the Waist-chain ;
the Yoni being there,
 VERSES 6 & 7 19

11
The Bija formed by the union of A -kata which is Prakas'a and
I-kara which is Icchd 8'akti .

13
1 - 20 .

i»c»f Ha*
14
i.e. % the triangle.
For these terms see WoodrofFe’s “ Garland of Letters.”
15

The gross letters in Vaikharl form are in the outer Mandalas and
18

passing through the subtler forms of Sabda the Sabdabrahman and then
,

Sunya is attained.
 ) )

VERSE 8

Now this VidyU

is the of Kamakala which deals with the
sequence of the Cakras of the Devi. He by whom this is

known becomes liberated and Mahatripurasundarl Herself.

Commentary

Having thus explained the nature of Bindu ( Bindusvarupam ) he

says that the fruit of this knowledge and worship is Brahmabhdva.
Now ( Iti ). That is, after what has been described in the previous

paragraphs.
Vidya of Kamakala. Kamakala is Mahatripurasundarl. By Her
Vidyd is meant Jndna regarding Her ;
and to complete the sense, it

is said that this knowledge consists in knowing the sequence or the

order of arrangement of the Cakras in Her S'ricakra.
Sequence or Order ( Krama ). By this is meant the order in which
the Cakras, Mantras and Devatas are placed, beginning from Sarva-
nandamaya till all is fully manifest.
He by whom ( Yena ). The suggestion is that the man on whom
the grace of S'akti has fallen (S'aktipata : descent of S'akti) is drawn
into enquiry concerning the Brahman and meditates and becomes
liberated after attainment of knowledge.
Known Vidita ). ( Mastered through sitting at the feet of the
Guru and so forth.
Becomes liberated (Mukto bhavati). He, the great Yogi, enjoys
( Viharate ) and is yet able to free himself of all desire, after having
conquered the whole world through his consciousness ( Bhdvand
‘
I am always the full and whole I* Paripurndhambhdva ).
(

So it has been said in Pratyabhijnd :

*
He who is fully instructed
in the greatness ( Ais'varya of the Lord by Vidyds is massive
Consciousness ( Cidghana ) and is verily liberated
* 1
f
 . ) —

VERSE 8 21

The Brhaddranyaka 2 says: ‘Men think that by Brahmavidy a,

we shall be all in all s Now, what is that which when it is known,
.

’
we become all-knowing ?
In the end 4 he becomes Mahatripurasundari Herself, that is, our
Supreme Lady (Parabhattarika)
S'ruti says: ‘They enter the Supreme Light of Tripura (Trai-
puram dhama)’ also the knower of the Brahman
;
‘ is theBrahman
The Chdndogya says*: ‘He alone who sees thus, who meditates
thus, who knows thus, he verily is drawn to the Atma, has love-play
with the Atma, and is united with Atma which is Bliss Itself
( Atmarati , Atmakrida, Atmamithuna, Atmananda) \
In the Svacchanda Tantra also occur Texts like the following
6
‘
When (the Sadhaka ) is united in the same abode with his Devata ,

then for him there no more birth or death. He attains the

is state

of true Devotion and becomes the Lord of the Universe ( Cakra ’.

Notes
1
Cidghana is the Brahman. The sense of the text isthat man be-
comes Brahman Itself. Cf. ‘
He who knows the Brahman is Brahman ’.

1
1 -4- 9 .
*
The text begins, “ Seekers after Brahman say.”
4
Ante’pi, that is, after death. _
‘
7 25 2
- - .

* that is, here Tripura.

 VERSE 9

1
From the Red Bindu about to create arose sound (Ravah)
which is the Nada-brahman sprout. From that (Sound)
came Ether, Air, Fire, Water, Earth and the Letters of the
alphabet.

Commentary

Here the Yogi Punyananda after having realised within himself

(Atmatvena anubhuya) the Primordial Sundarl* whose name is
Kamakala, now speaks of the origin of the world foom the Bindu
before Creation \Prakrla-bindu) which is the Highest Reality ( Para -
mdrtha) as also of Her spreading forth ( Vilasa ) as Devata, Mantra
and Chakra.
From the Red Bindu about to create (Sphuritadarunad bindoh).
Sphurita=Ucchuna, that is, ‘swelling’, ‘pregnant’ 3 which has been ,

previously described.
Sound which is the Nadabrahman sprout (N adabrahmankuro-
ravah). Nada is the sound ( Varna which is the cause of the origin

is the Brahman which is Nadabrahman.

4
of all sounds. This This
is the Producer ( Angkura=Utpadaka ). So it has been said ‘One :

Avarana 3 which is Nada ( Naddtmaka is divided into all letters. As

6 7
it nevet disappears it is called Andhata This is S'ruti.’
.

Vyoma, Bindu, Nada. This is the order.* Sound ( Rava) which

is the sprouting Nadabrahman becomes manifest in the form Pasyanti
9
and so forth. It is proved that the mass of sound is the S'aktis Para,
Pasyanti and so forth. This sound ( S’abda) is the origin of the five
Bhutas, Ether, Air, Fire, Water, Earth, and the letters beginning with
A and ending with K§a. From Nada-bindu issues the entire world.
S'ruti also says
10
: ‘From Aksara 11 originates this universe.’
 VERSE 9 23

Notes
1
movement which as sensed by the ear is ex-
That
the creative
is,

perienced as physical sound.

7
Sundarl= a beautiful woman. Here it is the Devi. All Devls are
beautiful, the Devi Tripurasundarl being the most beautiful of all. See a
Dhyana of Her in Chapter I, vv. 138-152, Nitya$odas'ikarnava.
*The state of immediate readiness to produce.
4
And, therefore, of everything have a common origin.
else, for all things
6
A-kara of all letters and is
is the first Prakds'a and Paramas’iva.
But this is that is, after the universe ^produced the first
lak$andrtha ,

letter A indicates the Brahman. But the Brcihmasvarupa is A-vartia in

the negative sense, that is, letterless and soundless (nihs'abda).
A-varna
undifferentiated Power which manifests as the particular letters and
here is
other particulars of the universe.
*Lit., ‘always is', that is during the Kalpa. All creative activity
is withdrawn at Pralaya when Power is one with the Power -holder
(S aktimdn).
Ahata=struck, and anahata s'abda is that sound which is not
1

caused by the striking of two things together, that is, by contact of matter.
It is Eternal Power.

Ether originates from the self-dividing or ‘bursting’ Hindu, on

8

which self-division there was Nczda* That is, Nada is the productive
action which manifests as the produced Vyoma and the rest. C/. Athbd -
stotra , v. 3.
9
Later, in Verse 20.
10
Mundaka, 1-7.
1
11
that is, Brahman. The word means both letter *
and *
imperishable
 VERSE 10

The White Bindu also is the origin of Ether, Air, Fire,

Water and Earth. The Universe from the most minute to
the Brahma-spheroid consists of these five Vikrtis.

Commentary
Having spoken of to the all-pervadingness ( Sarvdtmatva and
all-creativeness (Sarvasrstitva) of the Red Bindu he now speaks of
the sameness of the White Bindu and Red Bindu, because of the
inseparateness of the former from the latter.
White ( Vis'ada ), All-illuminating ( Sarvaprakds'a ). It is from
and into this Bindu, which has been previously described, that the
appearance and disappearance of the Endless Brahma-spheroids
composed Bhutas Ether and the rest take place.
of the five ,

So SWuti says 1
‘In which all the Beings ( Bhdvas disappear
:

and having disappeared become manifest again and then again and
again disappear like bubbles/
way it is established that from Brahman, which is the
In this
White and Red Bindus, which are Prakas'a and Vimars'a all this ,

(universe) originated.
Agama also says : ‘I bow to the Mahdpitha 2 of Samvit 3 which
is S'iva and S'akti
f
( S ivas'akti-padas'raya ) wherefrom emanate 4

8
countless world-rays made manifest ( Vilasita or flashed forth by
Creative Will ( Iccha-s'akti ).

1
Notes
Chulika Up., 8.
*
A word which here conveys the sense of a place of great sanctity.
8
That is, Parajrlana .

4
Lit., the refuge which is the feet or place of S'iva and S'akti.
5
From the Effulgent Consciousness imaged as a Mass of Light which
is all Wisdom and Power, rays shoot forth which are the worlds, as, it is
said elsewhere, sparks from the great central fire.
 — ) ) )

VERSE 11

As the two Bindus are indistinguishable and inseparable, so

also are VidyU the indicator ( Vedaka ), and Devata, ]
the
indicated ( Vedya ).

Commentary

Having spoken of the inseparateness ( Abheda of the two Bindus

he now says that similarly there is oneness of the Mantra and the
Devata.
Two Bindus ( Bindudvitaya ) 4
The two Bindus previously men-
tioned which are in the nature of Prakas'a and Vimars'a ( Prakas'a -
vimars atmakam ). As these two are inseparate, the wise say that
S'iva and S'akti are The two are blended, the one with
one Tattva ’.

the other ( Parasparalista ). way there is not the slightest

In the same
distinction between Vidya which is the indicator ( Vedaka=Vacaka

and the Devata which is the indicated ( Vedya=Vacya ).

Vidya is the Mantra of fifteen letters ( Panchadashdksharl ) and
Devata is Mahatripurasundarl.
4
So it has been said in Tantrasadbhava : All Mantras consist of

letters ( Varnatmaka ). They again, O beloved, are at base S'akti.

S'akti again is Matrka and She again is S'ivatmika. She the Matrka
who in the world appears possessed of the energy and brilliance
of the Supreme ( Paratejah-samanvita pervades all this universe
beginning from Brahma and ending with Bhuvana .’
 VERSE 12

Word (Vnk) and its meaning ( Artha ) are always united,

They are S'iva and S'akti which are three-fold as Creation.
Maintenance and Dissolution, and as the three Bijas.

Commentary

He here wishes to say that the world arises out of the inseparate
Ndda-bindu couple, and therefore says that that Couple of its own
wish differentiated themselves.
Word and meaning (Vdk and Artha). Vdk is in the form
its

of Varna, Pada, Mantra ( Varnapadamantrarupd), Artha is Raid,

Tattva and Bhuvana ( Kaldtattvabhuvandtmd ). Such is the form of

1

S'iva-S'akti, because, as S’ruti says, out of S'abda (Vak) and Artha

which are Prakds'a and Vitnars'a ( Prakds'a-vimars'dtmaka ), the
whole world consisting of Adhvas (S' adadhvdtmaka) originated.
six

They are therefore always united ( Nityayutau—Nirantara-samsaktau

and not casually or accidentally so, like a jar and picture which may
be put together. If the union were merely accidental, then the
ordered universe would not exist. These two go through the three-
-
fold changes of Creation, Maintenance and Dissolution ( Srsti-sthiti

laya-bhedau tridhd-vibhaktau).
Creation, Maintenance and Dissolution. By Creation (Srsti) is

meant the appearance of all the Tattvas beginning with S’iva and
ending with Ksiti. Sthiti is the Maintenance thereof, and Dissolution
(Laya) is their reunion with, or return to, that which at base they

are (Svdtmasaksdtkdra). These three (functions) are from, in and

into the Atind. So it has been said by the honoured Abhinavagupta* ;

‘Creation, Maintenance and Dissolution are (all) within the Atma

’

(Svatmagah) in their own nature (Svaritpatvena) These two (Vak

and Artha) are mutually ( Paraspara united S'iva and S'akti
 ) ) ) )

VERSE 12 H
( S'ivas'akti-mayau and forms of Prakds'a and Vimars'a {Prakas’a-
vimars'a-svarupau ), the activity of these two being of one and the
same thing ( Ubhayor eka-hrttvdt)> just as in the case of fire and
the function or S'akti of burning (V ahniddhakatvavat) there is no
difference ( Tattvdntara ).
As an honoured teacher also says ‘The identity ( Tdddtmya of :

these two is everlasting ( Nityam like that of Fire ( Vahni ) and S'akti
or power which burns ( Ddhika ),’
Agarna also says: ‘As We two are the Self of the World
Jagaddtmatvdt We two are one with it. By reason of Our identity
(,

with one another We are at all times the life of the world (Jagat
-

prana) \
Threefold ( Tridhd-vibhaktau ). The united Prakds'a and Vitnars'a
are divided in three ways ( Vibhaktau=Prithagbhiitau ). These three
ways or forms are the three Bijas The V dgbhava . three Bljas are ,

Kdmardja and Sakti Bija. The meaning of this is that Mahatripura-

sundari who is Brahman as Kdmakald composed of the three Bindus
collectively ( Bindutrayasamastlbhuta ), is
the object of adoration of all.

The Vdmakes'vara 3
says: ‘Tripura is known by the three

Tattvas ( Tattvatrayavinirdistd ) and is the threefold S'akti of the

three letters ( Varna-s’akti-traydtmikd )

4
. Vdgls'varl which is Jndna
s akti
r
is in Vdgbhavablja and is Moksa-rupinl or Liberation itself,

that is, grantor of Liberation. Kdmakald is in Kdmardja {Bija)

which is Kriyd S'akti {Kriydtmikd) and Kdmarupd (as Kama or Will,

that is, grantor of desires). Icchd which is the Para S'akti is in
S'akti Bija and is S'iva-rupini
6
. Such is Devi Mahatripurasundarl
who is the three Aksaras ( Bljas ), who loosens the bondage to this

world, and is known by the tradition handed down by the line of

Gurus to their disciples {Paramparyena vijndtd) \

Notes
1 “ Garland of Letters ”)» of
These constitute the six AdhvEs (see
six
which the first three are in Vdk and the remaining three in Artha .

3
Acdrya of the Kashmira School.
8
Nityas'odas'ikd , IV, 16-19.
4
The Varnas or letters here are the three Bijas.
8
Siva’ruptnl=Dharmapradd giver of Dharnta. i
 ) ) )

VERSES 13 & 14

Knower, Knowing, Known are Bindus and forms

the three
of the Bija. The three Lights, the three Pithas and the
three S'aktis are that by which they (the Bindus ) are known
1
.

In these again in their order are the three Lingas as also the
three Mutrkus. She who is this threefold body is the V idyll
(Devi), who is the fourth Pitha ( Turiyapitha ), and the root of
all differentiation ( Adibhedini).

Commentary
He here commences to make the Vidya ( Mantra) of fifteen

letters by describing certain details immanent ( Antargata in the

three divisions ( Khanda ), Vagbhava and others.

Knower (Mata) is the Lord (Is’vara) who knows.
Knowing ( Manatn ) is the Vidya whereby He knows ( Avagati -
sadhana-bliuta vidya).
Known or Object of knowledge ( Meya ) is Mahatripurasundari
who is to be known (Jndyamana).
Forms of the Bija are these three, namely Knower, Knowing and
divided into three separate Bindus ( Bindutrayabhinna-bija
-
Known
rupani).
The three Bindus are those already described, namely Red,
White and Mixed. The Bija is divided into these three Bindus.
The Bija is the Nirvana Bija. which is the collectivity of all the three
Bindus ( Sarvasamasti-bhuta-nirvanakhyam ). By “ form ” ( Rupa ) is
meant that they manifest the Bija ( Tadrupani—Tatprakas'akdni ).
The sense of the above is that She who is the Supreme transcendent
Light ( Paramjyotih) which is Consciousness (Cit) Bliss (Ananda), ,

and the massive Atma ( ghandtmd

Ahambhdva
with the experience of
or “ I-ness ” (Sarvatitd-ciddnandaghandtmdnubhava-rupdham-bhava-
s'dlini enjoys Herself in the form of experience in which there is
 \

VERSE 13 & 14 29

Knower ( Mdtr ), Knowing ( Mdna ) and Known ( Meya ) (Mdtr-mdna-

meyabhdvatn anubhiiya viharati).
The Kdnva 1 says: ‘This Atma there was alone in the beginning
as Purusa. He saw and saw nothing outside Himself. “ He I Am ”
(So’ham asmi): Thus first did he say. Thereupon arose ‘
Aham
Therefore even now a person on being accosted first says, ‘
It is I
*

( Aham ayarii) and then given his individual name.’

The meaning of the passage is : The Atmd is the supreme Lord.

‘
Idam* is the visible Universe. ‘In the beginning’ means first.

‘
He was’, that is, with the Universe within himself. Therefore, that
Paramdtmd having seen as Himself ( Atmatvena ), the Universe, with
Himself ( Svdtmasdtkrta-prapaiicam ) did not see any other ; that is,

He saw nothing beyond Himself, because He had withdrawn all things

into Himself. At that time He showed Himself to Himself as ‘
I am
the universal form *
( Svasddhdranarupa ), that is, ‘
I am the experience
which is continuous ( Ahhanda ), Massive (Ghana), Being (Sat),

Consciousness (Cit), and Bliss (Ananda) ( Akhandasacciddnanda -

ghandtmdnubhavo'ham) \ In the beginning, that is, before creation
He enjoyed himself, that is, he showed (Prddars'ayat) Himself to
Himself. Thereupon arose ‘
Aham 1
(I) Aham-ndmdbhavat). Because
thus Brahman shows His own self (Svartipa) to Himself as ‘
I
*

(Aham), this is itself the name of Brahman. Therefore even in this

world if a person be accosted he answers first ‘

It is I *
(Aham) and
after thus giving his Brahmasvariipa 5 he next gives his other ,
4
name.
These distinctions of Knower and the like are seen to derive from the
Brahman as we can perceive by examining ourselves.
6
The Catuhs'atl says, Supreme Energy (Paramtejah),
that the
which is transcendent (AtTtam=wh\ch is beyond the Bindu) is
Svasamvit (=Svetarvisayalcam jnnam= knowledge, the object of
which is nothing other than Self). Its characteristic is manifestation

(Udaydtmakam=(Udayaikasvarupam sadbhdva-viJcdrarahitam). By
Its mere wish (i.e. by mere Ihsana without being dependent upon or
having recourse to any other being or thing), it made the world-
picture (Vis'va-mayollehhah=jagaddtmakam chitram). It is all

prevading (Vis'va-rupa'ka= Sarvtmaha) Consciousness (Caitanya)

6
pleasing Itself in its own blissfulness . Such is Atmd (Atmano
rupam). Its light is contracted (Samkucatprabham) in Its evolution
 .

30 kama-kala-vilasa

as Knower (Mdfr), Knowing ( Mdna ), Known ( Meya) and true Know-

ledge ( Prama ).
Three Lights ( Dhamatraya ). These are the three Mandalas of
Moon, Sun, Fire.

Three Bijas (
These are Vdgbhava and others.
Bljatraya).
7
Three Pithas ( Plthatraya ). These are Kamagiri and others .

8
Three Saktis ( S'aktitraya ). These are lccha and others .

They ( Bindus ) are known ( Bhdvita ) under these three aspects

( Bheda ).
These are forms of the Mahabindu ( Mahabindutnaya ).
Therefore in these Three Lights and others there are in their order
{Kramena— Amipurvyd) the three Lingers, viz., Svayambhu and the
10
others
9
,
the threefold Mdtrkd classified as A, Ka, Tha and the rest .

Tripura who is in the form of and is the collectivity of all things

( Tat-samastirupd )
is the Pards'akti who appeared, and hence it is

said ‘
She who is the threefold body ’
Ittham tritaya-purl yd). Her
body is threefold in manner hereinbefore described. She is therefore

the highest or Fourth Pita ( Turlyapltha ) as the basis ( Bhu) where-

from appears and into which disappears the whole universe which is

threefold {Trividhdtmaka-sarvaprapancdvirbhdva-tirobhdva-bhuh). So
n says: (I bow to) Mdtrkd who is Pltha-rupinV
the Catuh-s’atl *

She who in this way is the Turlyapltha and is the root of all
differentiates Herself ( Adibhedinl ). She within whom is the endless
mass of Tattvas produced by Her own will ( Svecchayd udbhavitdnanta •
tattva-kadambinl) is in Herself ( Svatmany eva) continuous impartite
Akhanda )
(.
Saihvit.

An honoured sage ( Abhiyukta ) has said :

‘
Because the Devi
created the three forms ( Trimurti ), because She is before all
11
( Purobhava ), because She is in the form of the three (Traylmayl) ,

because even after dissolution of the three worlds She recreates them
again, the Mother’s Ambikd ) name is appropriately Tripura.’
(

In the Catuh-s'ati She is spoken of as the Devi Tripura who

18 is

Knowledge as Supreme experience itself ( Svasathvit ).

Notes
1
Knower, Knowing and Known are the three Bindus which are forms
of the Nirvana Blja or Mahabindu the collectivity of all three, The three
 VERSES 13 & 14 31

Bindus again are the three lights, three Pithas, three Saktis, three Lingas
and three Mdtrkas. That is, these are their various aspects.
* Brhadaranyaka, 1-4-1.
* That in which he is one with Brahman.
*
Individual.
5
i.e., N itya^od as'ika VI-49-51.
* i.e., its blissfulness is not the result of anything outside Itself.
’
Purnas'aila and Jalandhara. These reflect and are Vrtti of chit.

*
That is, J Turn a and Kriya Saktis.
*Namely Sana, Itara and Para.
“ The Trikona of that name. See “ Serpent Power ’’
by A. Avalon.
11
Nityas'odas'ika, Ch. I-vi.
i.e., the vedas consisting of Karma, Upasattd and Jiiana Kcindas,
,J

not, as usually stated, Rk, Yajus, Saman.

“ Ch. V- 41.
 . :

VERSES 15, 16 & 17

Sound, Touch, Form, Taste, Smell these are the subtle

Bhutas. (Of these) each is the producer ( Vydpaka ) of that
which follows ( VyUpya), and thus taking them all in their
order there are fifteen properties ( Gunas ).
The NityU (Tripura) who is Mantra) of fifteen letters
(the

is known as She appears in the Bhutas ( Bhautiku'bhimatu ).

1
She is surrounded by the fifteen Nitytfs who are distinguish-

ed by the different properties (Gunas) of sound and so forth

(S'abdndi-guna-prabheda bhinnuli)
The (fifteen) Nityus represent the (fifteen) lunar days
(Tithyukdruh). The lunar days again are the union ( Santa -
rasa) of S'iva and S'akti. They consist of days and nights.

They are the letters in the Mantra and have the double nature
of Prakusta and Vimarsfa.

Commentary

He has spoken of the creation of the five Bhutas in the passage

*
From that came Ether, Air, Fire, Water and Earth.’ He here
commences to speak of the nature (Svarupa) of each of the Devatas
who are one with (each of) the letters of the great Mantra by a
description of the Gunas of the first created five Bhutas.
Sound (S'abda) is the Guna of Akds'a, Touch ( Spars'a ) of Vdyu,
Form (Rupa) of (Gandha) of
Tejas, Taste (Rasa) of Apas, Smell
Prthvi. These Gunas from Akas'a to Prthvl increase by one and
thus fifteen Gunas are obtained*. As there are fifteen different Gunas
the S'rlvidyd is of fifteen letters. In other words, She who is the
own form (Svarupa) of the Mantra appears as such, Therefore the
fifteen letters are Her form (Rupa).
 ) ;

VERSES 15, 16 & 17 33

She is known as She appears in the Bhutas ( Bhautikd'bhimatd ).

She is on this account worshipped as in or in relation to Herbhautika
aspects ( Bhiita-sambandhitvena istd). As the Gunas which emanate
8
from Her are fifteen in number, so the letters of the Vidya are
fifteen. The Nityd whose form is that ( Mantra ), who is the Svarupa
of that ( Mantra ), is unmoving, changeless and supreme (Kutastha )
just as the ocean is that in which appear and disappear the waves,
bubbles and froth, so She is That in which all the Tattvas appear and
disappear. So the Brhaddranyaka 4 says :
‘
This great Being (Bhutan
Brahman) is endless and without limit and is massive knowledge.
It evolves from Itself these Bhutas as Devos, men, and so forth, and,

withdraws them also, that is, withdraws these forms of Itself.’

In the Mundaka-Upanisad also it is said : ‘That in which all

forms of experience ( Bhdva ) disappear.’

He next speaks of the sixteenth Nityd who is Kutastha as being of
fifteen'limbs (Avayava), as in the fifteen lunar days ( Tithi which are the

fifteen Devatds, and as in the form of the Mantra of the fifteen letters.

The fifteen Nityas represent the (fifteen) lunar days ( Nityds -

tithydkdrdh ). The Nityds are in the form of the lunar days. These
are the Nityds beginning with Kdmes'vari and ending with Citrd .

They are in the form of the lunar days ( Tithydkdrdh ), that is, they
are Devatas who are the Tithis ( Tithyabhimaninyah ). The Tithis
also begin with Pratipat and end with Purnitna.
The lunar days again are the union of Siva and Sakti ( Tithayas'ca
S iva-S akti- samarasakdrah),
f
or in other words, they are the united
form of Prakds'a and Vimars'a . They are therefore of the form of
day and night. Prakds'a and Vintars'a are day and night. So it is

said in Cidvilasa : ‘She the Night makes all the worlds sleep. He the
Day is verily the waker-up of all.’

These Tithis again are the letters in the Vidya ( Srivarnah )

being in manner aforesaid fifteen in number. They have further the

double forms, that is, they are likewise Prakds'a and Vimars'ah)
( Prakds'a-vimars'a-riipdh ).
This Vidya of fifteen letters
has been
enunciated in Saunaka-S'dkhd of the Atharva-veda by the Mantra,
which runs ‘
Kdmo yonih kamald ’
and so forth. Some say that this
Vidya is also shown in the fifth Mandala of the Rgveda in Catvdraim
9
bibhrati ksemayantah and so forth,
3
 •

34 KlMA-KALA-VILlSA

The sense of all this is that this Paras'akti who is both Prakas’a

(S'iva) and Vimars'a (S'akti) five Bhutas Prakdsa

and appear as the (

Vimars'a-mayi and Panca-bhutatmika), becomes by a progressive

increase of Gunas the Mantra of fifteen letters, the fifteen Tithis, and
is manifest as the fifteen Devatas ( Devatasvariipini ).

So Agama says some, only one Supreme Mahes'vara

:
‘
There is

whose name is Prakas'a and the name of whose S'akti is Vimars'a,

She is called Nitya by the wise. She the Devi whose name is Vimars'a
becomes fivefold as Ether (Akas'a), Air (Anila), the Seven-flamed
Water (Salila) and Earth (Avani). By the increase
(Saptarcih) Fire,
of Gunas, one by one, She reaches the number of the Tithis
(fifteen).

The Devi who is Vimars'a ( Vimars'a-rupini) is known as the sixteenth

(Sodas !). 1
The Parames'varl who is Mahatripurasundari undergoes

these sixteen forms, the last of which is Citra. She spreads Herself
alt The subject is
over (the Cakra ). only here hinted at. It should

be known from One’s own Agama. He who worships these Devls

one after the other day by day, from Pratipat to Purnima, attains, oh
beloved, good fortune (Saubhdgya).’

Notes

‘
Devls, who are to be distinguished from the supreme Nitya Tripura.
’That is Akas'a has one Gutta, namely Sabda ;
Vayu has two viz.,
Sabda and Spars'a and so on. ;

* Mantra.
4
2 - 4 - 12 .
 ))

VERSE 18

1
The V idyll which is composed of the three Bindus ,
the

vowels and consonants collectively and separately, is both

immanent in and transcends the Thirty-six Tattvas and is
by Herself alone*

Commentary

Here the author wishing to strengthen what has previously been

said says that the Devata is immanent in and transcends the Universe,
so also does the Vidya.
The vowels (Svara ) are the letters beginning with A and the
consonants ( Vyanjana ) are the letters beginning with Ka.
Bindutraya ) are the three Bindus which make
The three Bindus (.

Anusvdra and Visarga. These taken either singly or in a group make

Her body (Vibhdviidkdra—udbhdvitasvarupd).
She is thus in the Thirty-six Tattvas ( Sattrims'at-tattvatmd that

is, Her body is made up of the Tattvas beginning with S'iva and
ending with Ksiti, and She also transcends them ( Tattvatita ca), for

She is the place and origin of all the Tattvas ( Tattvasamudayasthana ).

She is therefore alone ( Kevala), because there is nothing besides

Herself ( Sva-vyatiriktasya abhavdt).
Such is the Vidya of fifteen letters ( Pancadas’dksari).
The divisions of its parts are as follows: The honoured Punya-
nanda, a strong adherent of Hadividyd *, speaks of this Vidya as a
whole, that is, as immanent in the Tattvas ( Tattvdtmakatva and
transcending them ( Taduttirnatva ) of this Vidya.
In the first part Vdgbhava contains five vowels and seven con-
sonants, that is, twelve letters. In the secoud Kamaraja there are

six vowels and eight consonants in all fourteen letters. In the third

part known as S'akti there are four vowels and six consonants, The
 -

36 kXma-kalX-vilIsa

total of all these which are the limbs 4

make 36 letters This Vidyd .

as an entire whole surpasses all (the thirty-six) Tattvas ( Sarva

tattvdtikrdntd). This is everywhere well established and known

(Prasiddha).
S'ruti Kadi also possesses the double quality ( Ubha -
says that
ydtmahatva) that is, as immanent and transcendent and as collective
and individual ( Vyasti-samastirupatvam ). The difference between
the two is that in the first part of Hadi there are five vowels and
seven consonants, whereas in the first part of Kadi there are seven
vowels and five consonants. So that in both Vidyds the total in the
first section is equally twelve each. Both Vidyds therefore possess
the double character. The method relating to the worship of both

the Vidyds should be learnt from the mouth of the Guru.

Notes
1
Bindu and Visarga.
i.e.,

* Kevala=Eka=Advitlya : that is one without another.

There are three tnatas or forms of worship, viz., Kadi (Kalikula),
*

Hadi (Snkula), and Kahadi. See A. Avalon’s Introduction to the

Kadimata portion of Tantra-rdja, Vol. 8, Tantrika Texts.
*
The grand total is thus 15 vowels and 21 consonants=36 letters
 VERSE 19

Vedya is also like this — She is the subtle Devi Tripura-

sundarl. The Great Yogis have ever taught the inseparate-
ness of the Vidya and the Vedya.

Commentary

He here speaks of the twofold aspect ( Ubhaydtmakatva ) of

Devata and of the oneness of Mantra and Devata.

Vedya ( = she who as the subject of knowledge is sought to be
”
known), She whose Svarupa is Cit and Ananda She ,
is “Like this

( Tddrgatmd — like the Mantra She is immanent in the Tattvas

( Tattvdtmikd ) and in the universe ( Vis'vdtmikd ) and is beyond and
transcends both ( Taduttlrna:).
Subtle (Suksma). By this is meant She who cannot be sub-
divided, who cannot be defined ( Paricchetturh as'akyd).
She (Sa) is used to indicate the fact that She is recognised
(Prasiddhd) in all Vedantas.
Tripurasundari — She is so called because She is Tripura and
Sundarl (beautiful). She is Tripura because She produces all things
which are in a threefold state ( Tridhdvasthita-samasta-vastupurandt ),
and She is Sundarl because She is the adored of Yogis ( Sarvayogl -
bhirupdsyatvena) and also because of Her charmfulness ( Sprha -
niyatvdt). The word Tripura has previously been defined. The
Svarupa of the Dev! is clear Illumination ( Svacchaprakds'arupd ).
She is the Para-vak whose play is creation and the like of the universe

( Vi&vasya jananddi-kriddriipd).
The Great Yogis . . . Vidya and Vedya ( Vidya-Vedyatmakayor
atyantdbhedam dtnananty drydh ). All Yogis beginning with Para-
mes'vara (Aryah= Paratnes'vara-pratnukhdh sarvayoginah) establish
or uphold ( Pratipddayanti the eternal {Atyanta—Sdrvakdlika) in-
38 KAMA*KALA-VILASA

separateness (Abheda=aikya= one-ness) of Vidya, that is, the Mantra

of fifteen letters, and Vedyd that ,

is, Tripurasundarl. So it has been
said in Catuhs'ati 1
:
“
Whatever S'akti is in any spoken of as being
particular category ( Padartha ), that S'akti is the Devi Sarves'varl
(the S'akti of S'iva), and He who is with Her is the Great Lord
2
( Mahes'vara ). She the Vidya who is Bhutagundtmikd spreads
Herself out by the fifteen letters of which Her mantra is composed
and which is divided into groups of five (which are of Vdgbhava ), six
8
(which are of Kamaraja ), and four (which are of S'akti) letters .

According to the number of vowels and consonants (of which her

( Saptatrims'at
-
Mantra consists) She is of thirty-seven aspects
prabhedirii ) . By these thirty-seven aspects or variations She appears
as Thirty-six Tattvas. The Vidya Itself should be thought of as the
State of S'iva Himself which excels all Tattvas 4 .

Notes

Nityasodas ikd 9 Ch. VII, VV. 31-34.

1
f

*
That is, She is Bhutas and Gun as, or rather these are in Her.
8
A k§ara= imperishable entities.

Tattvatitasvabhdva. Sva=S'iva; Svabhava is the State or Bhava

4
of
S'iva and as such it excels all Tattvas. The Devi is that.
 ) ) )

VERSE 20

She whose inner nature is beyond mind is the Mahes'i as

Para. It is She again who is known in three different aspects

when manifest as the three Matrkas, Pas'yanti and others

and evolves Herself into the Cakra.

Commentary

Having previously spoken of the oneness of the Vidya and

Devata the author wishing to speak of the identity with one another
of Cakra and Devata now proceeds to speak of the mode in which the
Chakra originated ( Cakrotpattiprakdra ). “She whose inner nature is
beyond mind’* (Yd Sdntarohariipd ;
antara=antah-karana or mind ;

uhah ( =Vitarkah=Itthamiti-paricchedarahitah ) is that which cannot

be described as this or that). The sense is that She is beyond mind
and speech ( Avanmdnasagocaratvdt and therefore cannot be expressed
in the words of the Vedantas The Mahes'I is the Cause of all
*.

(Sarvakarariabhutd) as the ground Bhumi wherefrom all the Thirty-

(

six Tattvas from Siva to Prthivl proceed and that is why She is

called Para the highest or who excels all ( Sarvotkrstd ).

Sruti 2 says:
“ [He has no body nor has He any organ of sense. There is no
one seen who is equal to or greater than Him.] His S'akti is Para
who is heard of (in the Vedas) as of many aspects and immanent in
Him ( Svdbhdviki as Kriyas'akti united with Jnana and Bala.”
8
Also elsewhere : “That from which words along with Manas
being unable to reach return (baffled).”
Againa also says: “ Para Vdk (Supreme Word) which is within
#
(i.e. unmanifest) is verily Light-in-Itself ( SvarUpajyotireva ) and
perishes not ( Anapdyinl ). When Her own form is seen ( Yasydm
” 4
drsta-svarupdydm) all duty ceases
 : ) )

40 kIma-kala-vilasa

This same ( Saiva Para S'akti so described (Evarhbhutalaksand)

is known in three different aspects. That is what is said in the
again
passage when manifest &c. &c. Pashyanti and others (Spastd pasyan-
tydditrimdtrikdtmd). By “Manifest” ( Spastd ) Her first appearance
”
as something objective is meant. By the expression “ and others
Madhyama and Vaikhari are intended. It is She Who as Vaikharl
which is power of expression (Abhildpasvarupini) ,
is the S'akti which
6
is in the form of the mass of fifteen letters ( Pancadasaksararas'imayi )
and in all the many different words used in the Vedas and Tantras
and in ordinary life. So it has been said in Subhagodayavdsand :

“ Para as Pas'yantI is the creeper born in the earth 7

as Madhyama
She is the fragrance from the flower-bunch and as Vaikhari She is

the letter of the alphabet ( Aksamdld ). Thus does She excel all.” In
this wise, as Trimatrika, She becomes the Cakra that is, becomes one
with the Cakra of three parts 8 .

Notes
1
That is , She is beyond the scope of the highest form of human learn-
ing and can be realised by Sddhand alone by the man who deserves to be
called Vidvdn.
Cf . : Nistattvd kdryagamyd'sya S'aktir mdyd'gnis'aktivat
Nahi s aktim kvacit kas'cit budhyate kdryatah pura.
f

( V idydranyamuni)
Also
N a s'ilpadijrlanayukte
vidvacchabdah prayujyate
Moksaikahetuvidyd yd sd vidyd naira saths'ayah.
( Brahmdndapurana
8
S’vetds’vatara VI. 8. The portion within brackets has not been
quoted in the commentary, “is seen” (Drsyate) is explained by Nara-
yana to mean “realised by argument” (Yu ktyd up alabhy ate), “Bala”
here says Bhaskara (under Nitya§oda VI. 9) implies Icchd ( Balas'abdasya ,

icchdparatvam ).
8
Taittirlya (2, 4, 1 , 2. 9. l) ;
Brahma 3 .

4
That is, the Brahman light.
5
Adhikdro nivartate i.e. the question of competency does not apply to
such a man. He becomes free from all observances.
* The Mantra of fifteen letters is given in Tripuramahopanisad. 8.
being published in this series.
7
Bhujanma = Earth-born i.e . born in the Muladhara.
8
There are nine Mandalas in the S'rl-Cakra divided into three parts
of three sections each. The three parts may also be Sf§ti, Sthiti ,
Laya
corresponding with Pashyanti , Madhyama ,
Vaikhari.
 ) ) )

VERSE 21

The wise know no difference between the Mahe&i and the

Cakra. ParU Herself is the subtle form of both these (Devatft
and Cakra). There is no difference between the two in the

gross form also.

Commentary

In this verse he emphasises what has been previously said in the

statement that the wise see no difference or distinction whatsoever
between the Cakra ,
consisting of the nine sections ( Avarana
beginning with Trailokyamohana and ending with Bindu wherein
Sundarl abides, and Sundari Herself Who is the presiding (A dhisthatri)

Great Lady ( Mahes'i ) therein. This is so because the S'ricakra is

the form {Rupa) of the S ri-Sundari

f
.

1
S'ruti says :
‘
Alone She was at first. She became nine-fold \
2
The Vdmakes'vara demonstrates this non-difference in the
passage beginning: ‘[The five S'aktis produce and the four Fires
withdraw]. From the union of the five S'aktis and the four Fires
there arises the Cakra. Supreme S'akti sees Her own
[When the
becoming ( Sphurattd ) then there arises the Cakra],’ and ending with
‘TJie Cakra is the form ( Riipa of the Kamakala in that it is the

going forth ( Prasdra of the Supreme Reality ( Paramartha ).’

He speaks of the oneness of these two (the Cakra and the
Devatd) in their subtle form ( Sukstna-rfipa ) by which is meant that
which cannot be defined. The S'ricakra in its subtle form is the
1
Bindu. Its indefinableness is shown in the passage
clearly In the :

Supreme Akas'a which is the Bindu ( Baindave paramdkds'e) and so

on.* The indefinableness of the Devatd has also been shown in the

verse beginning :
‘
The Vidya (object of knowledge) is also like this

(Tddrgdtma) ’. In the same way there is no difference between the

42 KaMA-KALA-VILASA

two in their gross form. The grossness of the Cakra is in its ex-
the
pansions beginning with the Trikona (triangle) and ending with
Caturasra (square), and the grossness of the Devatd is in Her gradual
unfolding from Tripurdmbikd to Tripuras' a kti? The Cakra and
the Devatd who are as above described, cannot be separated.
,
He
gives a reason for it when he says that Pard whereby is meant ,

Adis’akti ,
is the subtle form of both these.
The Catuhs’ati says
4
: ‘The Mother of the origin of the three

Lokas is both gross and subtle ’. There is thus no difference between

these two ( Cakra and Devatd ) for the wise.

S'ruti
5
also says :
1
All this verily is the Brahman \ Also 6 :
‘
All

men vanquish him who thinks that all things are outside the

Brahman *.

The author himself says (V. 36) When She this Mahes’i Pard :
‘

unfolds as the Cakra \

Thus it is established that the Cakra is the form ( Rupa ) of the

Devatd .

Notes

Tripura-mahopanisad 3. The meaning of the Text is— She was

1
,

One as in Binducakra and became ninefold in the nine triangles of which

the Srlcakra consists.
*
Nitya-sodas'ikd VI-8-24. The portion within the brackets has not
,

been quoted *by the Commentator, but added by the Translator to make it
more intelligible to English readers. By own is meant inherent .

*The nine Cakras of which the Srlcakra is composed are presided

over by the Devi under nine different names, indicative of Her nine different
These names are— (1) Tripura 12) Tripur es’varl (3) Tripura
-
aspects. , ,

sundarl (4) Tripur

,
avdsinl, (5) Tripuras'rt (6) Tripuramdlinl (7) Tn -
, ,

puraslddhi (8) Tripurdmbikd

,
(9) MahatripurasundarL The first of,

these is in the Bhupura and the last is in the Bindu. The Avarana-S aktis
of each of these are classed as (1) Prakatd (2) Gupta (3)
Guptatara, , y

(4) Sampraddya (5) Kulakauld (6) Nigarbhd

,
(7) Rahasyd (8) Ati- , , ,

rahasyd and (9) Pardpararahasyd> respectively.

4
Nityasodas’ika IV-4. ,

6
Chdndogya 3-14-1. ,

P
Brhaddraqyaka 2-4-6. ,
 ) )

VERSES 22, 23 & 24

The Centre of Cakra Para (ParUmaya). This is Bindu-

is

tattva. When It becomes ready to evolve ( Ucchuna ) It trans-

forms and manifests as a triangle. This (triangle) is the
source of the three (S'aktis namely) Pastyantl and others and
,

is also the three Bljas. VuinU, Jyestha Raudri Aihbiku and , ,

Pardstakti are one portion (of the S'rlcakra)

1
,
Jndna
Iccha, ,

and Santa are the other portion*.

Kriyci (These make nine).

The two letters (4 and Ha) taken separately and collectively

make with the foregoing nine the eleven-fold Pastyanti .

Commentary
He here desires to speak of the S'rlcakra composed of nine
triangles ( Navayonyattnaka ) which is the manifestation (
Vikasarupa

of the S'aktis Para, Pasyantl and the rest. He first speaks of the
Bindu called Sarvanandamaya which is Pards'akti ( Paras'aktimaya ).
Cakra. By this is meant the Cakra of nine triangles (Nava-
yonyatmaka) and by Centre of the Cakra, Bindutattva. Bindusvarupa

has been already explained. The word This ( Idam) signifies that It

is in Itself (Svasaksdtkrtam) Para or Paras'aktisvarupa. When this

Bindutattva manifests then there is the Triangle. He therefore says

When it becomes ready to evolve. ( Ucchunam tac ca yada). The

meaning is that when under the influence of the Adrsta of creatures
the-BaindavaTattva is about to evolve It transforms Itself into a triangle

which is of the shape of a S'rngata ( Trikonarupena parinatam spastarh)

and the product of the union of A ( Anuttarananda and / ( Iccha ).

So it has been said : When Citi which is Anuttarananda is united

with Icclid S'akti there is a triangle which

4
has the beauty of the joy
of Creation ( Visargamodasundaram ), Its light being
dimmed as Matr ,

Mana, Meya and Prama. Its form is that of a S'rngata or Triangle

’.

This triangle is the source of the three Pasyanti and others

(Pasyantyaditritaya-niddnam) that is, the three S'aktis Pasyantl ,
44 kama-kala-vilasa

Madhyamd and Vaikhari there originate. It is the S'aktis Iccha ,

Jhdna and Kriyd which change into the three S'aktis Pasyanti,
Madhyatnd and Vaikarl. So it has been said in Vamakes'vara Tantra
5
( Nityasoda ,
vi. 38-40) :

“She is then Icchas'akti manifesting as Pasyanti ( Pasyanti -

vapusd sthitd). Similarly as Jnanas'akti She is Jyestha and Madh-
yamd Vdk,
in the form of a straight line (RjureJchdmayl) and protector
of the universe. This same S'akti (Para) as Kriya (S'akti) is Raudri
and Vaikhari Vdk in the form of the body of the universe ( Vis va -
f

vigrahd) and as that of a luminous triangle ( S'rngdtavapurujjvald ).

At the time of Dissolution and Her return journey ( Pratydvrttikra -
mena) She re-assumes the state of Bindu ( Baindavam rupam)”
6
The Triangle is the Svarupa of the three Bljas Vagbhava,
Kamaraja and S'akti which are the three sections ( Khanda ) of the

whole.
7
S'ruti also speaks of :

8
“The three Puras (Bindus) which move the Universe (Vis'va-
carsanl) along three paths wherein are placed the letters A Ka Tha
, ,
9

wherein again abides the impenetrable transcendent greatness of the

Devatas.” These and other similar texts in S'ruti speak of the

celestial S'rngata-pltha wherein abide the Matrka (Mantra) of three

sections which is the source wherefrom arise all Mantras. The
Vamakes'vara-Tantra ( Nitya-soda ,
VI, 48) also says :

10
“All these are denoted by (V acyarupdni) the complete Mantra
11
of three Bljas ( Bljatritaya-yukta ) both singly and collectively . The
Triangle containing three Bljas, the three S'aktis, the thee Lingas is

the imperishable Kamakala.”

He next says that the Bindutattva which becomes the S'ricakra
of nine Triangles (four of which are) upward and (five, downward
turned is also the adorable Para (Pard-bhattdrikdmayam). He
mentions Varna, Jyestha, RaudrI and Ambika by name and by the
particle cha (also) he implies Para S'akti and says that these are the
five S'aktis indicated by the five reversed triangles which are the first

portion (Anuttardms'abhutdh** Anuttaramsdh) ,

of the S'ricakra; whilst

the S'aktis Iccha, Jnana, Kriya, S'anta are the other portion or the four
triangles with their apex upward. {Uttar dvayavdh =* Urddhvamukha -
trikonacatustayarupah).
 : ) A )

verses 22, 23 & 24 45

The meaning of this is that Varna, Jyestha, Raudrl, Ambika,

Para S'akti, as also Iccha, Jnana, Kriya, S'anta are unfolding stages of
Para ( Paravilasanariipdh ). These nine S'aktis are the nine triangles

in the S'ricakra. This has been fully dealt with in the Vamakes'vara
Tantra ( Nityashodashika Ch. ,
vi) in the passage which begins “When
the Parama Kala wishes to see the Sphurana” and ending “ Vaikharl
” 12
the body of the Universe .

The two letters taken separately and collectively ( Vyastdvyasta -

tadarnadvayam). By Vyasta
meant individual (Vy astir up am) and
is

Avyasta is collective ( Samastirupam ). That is the two letter ( and

Ha) which are the first and the last of the alphabet hold as in a vice
between them all the letters of the Alphabet which are the mother of
all Mantras within which two letters again is the Experience ( Bhdva
of complete ‘
I-ness ’
(Piirnd'ham) which is the union of Prakas'a and
Vimars'a or Bindutattva the eternal Kamakala. All this is well
established in the Upanisads.
Here Parabrahman as complete T-ness is to be known as united *

with His consort and as the doer of all actions so the Brhadd - ;

rany ah a (1. 4. 1) says :

“This Atma there verily was in the beginning ” 18

and thereby
establishes that the Parabrahmasvarupa is complete and transcendent
T-ness’ (Purna-pardhamtatnaya) and union of celestial Wife and
Husband. The Text proceeds in the passage quoted below to show
that It shines forth as the creator of all Tattvas :

He verily did not enjoy. For one (who is alone) does not
“

enjoy. He desired a second. He verily was like woman and man in

close embrace. He made this Self of His into two. Thereafter arose
Husband and Wife ” 14 and so on.
So also in another place in the same Upanisad (1-4-17) occurs
the following Text
“ This Atma verily was alone in the beginning. He desired
1
May there be wife Jdyd
(,
of mine*. May I be born as many. May
I have possessions ( Vitta ). May I do acts. This verily is His desire
(Kama) ” and so on.
Texts like these show the Brahman as united with His consort.
The two letters (A and Ha) already described will, if taken
together and carefully considered, be seen to have eleven aspects.
 ) : :

KaMA-KALA-VILaSA
46
individually and are
The Para to S'anta are ten if considered
S'aktis
Bindutattva is elevenfold ( Ekadasatmaka)
collectively one. Therefore
S’ruti Chandogya 3-14-1) says i

and is the cause of Pas'yantI S'akti. (

comes, in which all

“ All this verily is Brahman, from which all

with mind free from

which all returns. Therefore adore It
lives into

either attachment or avarice.” .. , ,

and Effect establis e

the ihseparateness of Cause
is .

In this way
Notes
These are the five inverted
nart
Ty; r cf
rirst par
Anut tar ams a -bhut a — lit.
i . .
x 1

S'ricakra, or Snyantra.
triangles or Yonis of the
upwards in
’ Uttaravayavdh. These are the triangles with their apex
the same.
’ Ekadas'dtma pas-yantl.
is formed like a triangle.
1 he
That s A + I = E. The tip of Ekara
*
i
that the three Sa
6 says
Subhagodayavasana cited in the Madras Ed., p.
{Pas'u).
creation etc. of creatures
Iccha and others indicate the
in the Commentary, vv. 36-40
‘The two lines preceding are not given
evolution of Parama Kala or Para
Sakti
describe the
Kala wishes to see the Sphurapa (desire ^
c reate), of
“When Parama Para V a k.
of Ambika and is called
Paramas'iva then She assumes the form then in its seed
Sphuttkartum the universe
When She is about to manifest ( because She throws out o vom.ts
,

Se She is V5m, and is so called

«..<»). She then assumes the torn, ot a goad
(which is of
'

”.
crooked form)
* Namely, Aith, Klhn, Sauh.
1
Tripuramahopanisad.
' i.e. Tripura.
the letters of the alphabet is in the
A-katha triangle. This
• That is,
Bindus between each of which there are 16 letters
is formed by three
triangle. At the corners of the triangle are the
forming the sides of the
remaining three letters Ha, La, and
Ksha.
10
That is Lingas mentioned in the preceding verses namely the four
Bana, Svayambhu and Parama.
Itara,
is Svayambhu
Kula-kaulamayani. Kula=Matr, Mana, Meya, that
11

Kaula is the collectivity of these three or

Bana and Itara Lingas.
Paramalinga.
See the passage quoted ante, p. 38.
11

“ See Verse 13 ante commentary.

sa dvittyam aicchat.
14
9a vai naiva reme, yasmad ekaki na ratnate,
yatha stripumathsau samparishvaktau. Sa imam
Sa haitdvandsa patnl abhavatam
evatrnanam dvedhapatayat. Tatah patish ca C(t .
 VERSE 25 l

In this way the united Kama and Kala are the (three) letters
whose own form (Svarupa ) is the three Bindus. It is She
who is the Mother manifest as the three Gunas ( Triguna -

svarUpini and who assumed the form of the triangle.

Commentary

He next wishes to speak of the mode of creation of the Cakra

wherein are the Cakras of eight triangles, ten triangles and so on,
and before doing so explains the origin of the triangular Cakra which
precedes them all.
In this way ( Evatn ). That is in manner already described.
The united Kama and Kala ( Kamakalatma ). By Kama is meant
Paramas'iva who is pure Illumination ( Prakas'aikasvabhavah ) and is
the first letter which is A
and Kala signifies Vimars'a the last of
1
,

letters (Ha). This dual character ( Ubhayatmakatva indicates the

possession of experience of complete I-ness which is its true nature
‘ ’

(Svabhavikaparipurnahambhavas'alitvam). This has been fully ex-

plained in versfe 7. The Kamakalatma who as previously described is

”
“ the (three) letters whose own form (Svarupa) is the three Bindus

( Tribind
utattvasvarupavarnamyi ). The three Bindus are the Red,
White and Mixed Bindus previously spoken of. Bindutattva is the

Bindus previously described. The three letters, by which is meant

the Vagbhava and other Bijas, are forms of the three Bindus. In the

Rahasyathnaya (S'iva addressing the Devi) says :

“ Know this, that the beautiful S'rngata which is Thy very self

(Svdtma-s’rngata) is made up of three Bindus mixed, white and red.

It is ancient (Purdna) and is the Pranava itself. It can be known by

the three lines (which compose it). It is pure knowledge (Sathvin-
matra ) and is of the uature of S'iva. The red is self sustained
48 kama-kala-vilasa

(Nirddhara). The other (white) is its beloved and their union is the
mixed Bindu. In the Union is the pure state which is Nirvana ”.

It is she ( Sd iyam = she (is) this). By Sa (She), the author draws the
attention of his reader to Her who is the supreme reality as the
experience of the massive Bliss which is Cit ( Cidananda-ghanarasa -
paramdrthd) and who is the essence of all the tradition Sakaldm
(
-

1
nayasarabhutd) and by lyam (This), he as it were points Her out as
the One who is being experienced (Anubhuyamdnd) as the Atma who
witnesseth ( Atmasdksitvena )
by great Yogis who are immersed in the

feeling of their identity with the Universe (Vis'vdhambhavands'alibhih)

and is Manifest as the three Gunas ( Trigunasvarupini ). She is Iccha,

Jnana, Kriya which appear (in the Pas'u) as the three Gunas Sattva,
Rajas and Tamas. It is through these Gunas as instruments that
She effects Creation and the like. She is therefore the Mother (Mata)

the one Creatrix of all the World. She is also the Para S'akti who
transcends all the Tattvas (Sarvatattvdtitd) for S’ruti ( Aita . 1-1.)

says :

“ This Atma alone, verily, was in the beginning ”.

Assumed the form of the triangle (Trikonarupam ydtd) that is she

changed into the form of a triangle as a result of the union of the
supreme Bliss symbolised by the letter A with Iccha, Creative Will,
3
symbolised by the letter /. This is the Cakra of triangular form
which is most secret and called Sarvasiddhi-pradayaka or that which
accomplishes all.

The wise know no difference between the Mahes'I and the Cakra.
Para Herself is the subtle form of both these (Devata and Cakra).
There is no difference between the two in the gross form also.

Notes
1
Anuttardksardtmd.
* That is, it is She to whom all the Amnayas point.
* The first triangle which contains the Bindu which is the first transfor-
mation of Bindu.
 ) ) : ) -

VERSES 26 & 27

She who is next (to Pam ) is Pas'yantI the Creative Self

(SrstyntmU out of which originated the individual mothers
(Vyasti-mUtr) Vama and others. By reason of this She
became ninefold form {Navatmri). She the mother Madhyama
is as shown by her two names of two kinds (Dvividhu), namely,

subtle (Snkpnzt) and gross of form (Sthnlakrti). As subtle

She is ever existent and the nine sounds {Navamda-mayl) as
gross She is the nine groups (of letters) and bears the name
of Bhutalipi.
Commentary
He next speaks of Pas'yantI who is a manifestation of Para as of
ninefold aspect ( Navatmdka in the form of the Cakra of nine
triangles (
Nava-yoni-cakrattncma ).
“ She who is next ” ( Tadanya ). That is Pas'yantI who is the

manifestation of Para ( Pardvikas'abhutd )

is the Creative Self out of

which originated the individual mothers Vama and others ( Vamadi

vyasti-matri-srstydtma) or in other words She is the nine S'aktis
beginning with Vama and ending with S'anta ( Vatnddi-s'dntdnta

s’akti-navakatnayi). It is on this account that the mother {Mata—

Janani) is of ninefold aspect ( Navatma ), that is, she becomes the

Cakra of nine triangles which is the Cause of the appearance of the

group of S'aktis beginning with Vama and ending with S'anta.

Vama is so called because she as producer of the universe
{Vis'vajanayatn) throws out the Universe of five elements {Prapancd)
which within the S'rngata {S’rngatantah-sthitaprapanca-vamanat).
is

Jyestha is all-beneficent ; RaudrI destroys or dispels all ailments and

1
Ambika grants all things desired. So it has been said
“ Vama (is so called) because of (Her) throwing out the Universe,

Jyestha (is so called) because she is beneficent ( S'iva-mayi RaudrI

4
 : . — -

50 KAMA-KALA-VILXSA

destroys all disease and burns up* (the fruit of) all actions ( Dogdhrt

cakhila-karmanam)
Of Ambika the Pratyabhijna says She the impulse to that “

becoming ( Sphuvatta ) is pure Being (Mahdsatta) She is therefore .

Para vak who excels all ( Sarvdtis'dyini) and sees Her own impulse to
manifestation which is Her own and full Self. ( Paripurna-svarupa
svdtmasphurandvalokanacatura).
The Vamakes'vara (Nitya-sodas’ika vi. 36) also says :

“ When the Parama kala sees the impulse to becoming ( Sphurana )

Ambika and is called Para
of the Atma then she assumes the form of

vak.”
The S'aktis Iccha, Jnana and Kriya take the forms Pasyantl,
Madhyama and Vaikharl (Pasyantl- Madhyama-Vaikharl-rupah).

This has been stated in detail in the Vamakes'vara

(ftitya-sodas’ika)

in the verses quoted in commentary

to verse 22 ante.

S'anta is S'akti as Consciousness (Cinmayl S’akti)

who is all
pervading ( Nirankus'a
) For S'ruti speaks of “ the transcendental

(Niskala) actionless (Niskriya ) and tranquil (S'anta) ” *.

He next speaks of the ninefold character (Navatmakatva) of

Madhyama. Madhyama Union (Samarasdvasthd) of
is the state of
by Yogis whose
Para and Pas'yanti. She is visible or realisable
is by Her two
minds are inward turned (Antarmukha). This S'akti

(which describe Her function) of two kinds (according to

Her
names
functions). She is either Sthula (gross) or Suksma (subtle). As
She can be apprehended by the power of Samadhi. As gross
subtle
She is capable of utterance as letters of the alphabet alike by the
4
and illiterate. As subtle She is ever-existent (Sthitd=
learned
nine sounds or Nadas
Sarvadd vartamdnd) and as such She is the
(Navandda-mayi). As gross She is the nine groups of the letters
of

the alphabet (N avavargdtmd)

The sense of the above is this :

When the Great Mother Kundalini who contains many kinds of

being restrained leave the
sound does in consequence of the breath
piercing the lotuses of Svadhisthana
place of Mitravaruna* and after
place of Paramas'iva who is on
and others goes upward to reach the
experienced by the great Sadhakas
the lotus of twelve petals. She is
very own self ( Svdtmatvena ).
of S'iva* when in Samadhi
as their
 ) ) ) )) ) ) —
) ))

verses 26 & 27 51

She is the nine sounds ( Navanddamayl). This will be understood

from the following text from the Hathsopanishad :

“ We shall now make clear the meaning of Hamsa and Para-

mahamsa to the Brahmacarin who has controlled his inclination
( S'anta who has controlled his senses ( Ddnta and who is devoted
to his Guru. This Hamsa pervades all bodies like Are in wood and
oil in sesamum seed. Knowing it, one reaches not death. The anus
7
should (first) be contracted, then the air should be led upwards and
made to go round the Svadhisthana three times, it should then be
made to go through Manipura and Anahata and the airs ( Prandn
should be stopped in the Visuddha Cakra, The Ajiia Cakra and then
the Brahmarandhra should be meditated upon. Whilst so meditating
(the Sadhaka) should constantly think of himself as the Trimatra
(Omkara). He should next meditate upon Nada, as extending from
the Muladhara, which Nada is like pure crystal S'uddha-sphatika (
-

samkasta) for this is verily Brahman the Paramatma.” By this the

Upanisad teaches that the Svarupa of the MulakuridalinI, who pervades

the body from the Muladhara to the Brahmarandhra, is Nadatmaka,

The text in a later passage says :

“ When Hamsa becomes dissolved into ( Lina Nada then (arises

the state which is) Turydtlta, Unmanana (mindless) and Ajapopa-

samhcira (=cessation of breathing).”

Nada is divided (by this Upanisad) as follows :

“ Sound arises of ten kinds. Cini is the first, Cinicini is the

second. The third is bell sound {Ghantanada ) Sound of conchshell .

(S'athkhanada) is the fourth. The fifth is the sound from a stringed

instrument ( Tantnnada). The sound of of cymbals ( Talanada) is the
sixth. The seventh is the sound of a flute ( Venunada ) and eighth
that of a kettledrum ( Bhennada ). The ninth is the sound of clay-made

drum ( Mrdanga and the tenth the sound of thunder ( Meghanada ).

8
After the ninth has been experienced the tenth should practised.

The mind dissolves in that. When the mind is so dissolved when

10
Samkalpa and Vikalpa* cease when merit and demerit are burnt

then there appears ( Prakds'ate Sadas'iva who is S'akti ( S'aktyatma

Omnipresent ( Sarvatravasthita Light itself (Svayamjyoiih) Pure
11
(S 'uddha) Illumined ( Buddha Eternal ( Nitya Stainless ( Niranjana )
"
and Tranquil (S'anta)
 ) ) ) . ))

5Z KXMA-KALX-VILXSA

" the nine groups of the letters ”

(Navavargatma) The nine
She is
1
groups are A, Ka, Ca, Ta, Ta, Pa, Ya, S'a and La *.

By sthula (gross) is meant that she is within the range of all

ordinary experience ( Sarvavisaya-vyavaharitii ).
Bhutalipis are manifested letters ( Bhiitas' ceti lipayas'ceti). The
existingness ( Bhutatvam of the letters consists in their capability of

being uttered or expressed by particular efforts ( Cesta ). The produc-

tion of these letters again is merely mechanical ( Tac-ca kalpanamat-
ram eva) for the letters themselves are energies ( Tejorilpa ) and there-
fore S'akti ( S'aktyatmaka ). The Devi ( Madhyama ) bears the name
or designation ( Akhya ) of these.
The Tantra-sadbhava also says :

The Matrka who (manifested) in this world is in inseparable

“

relation with ( Samanvita ) the Supreme Light ( Paratejah ), pervades

all things from Brahma to the worlds. (She) O adored of the Suras
(=Devas) pervades the whole universe as Nada. Beloved, (She is)

like the letter A in all letters. I shall now speak so that Thou mayest
clearly understand it. The S'akti who is Supreme (Para), Subtle
(Suksmd) and Formless ( Nirakard ) is asleep coiled round the Bindu
in Muladhara ,a
There also is asleep the self-controlled
like a serpent.

(Yaml) Great Yogi who knows and desires nothing. With Her belly
distended by the Moon, Sun, Fire, the Stars, the fourteen Worlds
(Bhuvandni caturdas'a) She is in a swoon as if poisoned. Awakened
by the Great Sound ( Parena ninadend) and churned by the fire in
Her belly), She becomes free from Her bondage ( Bandhana ) and
14
conscious ( Jnanarupinx )• The churning is circular in movement

and continued in the body of the S'akti till She wakes up. When the
first unfolding or Division ( Bheda ) takes place Bindu attains the state

of Nada. Thus (or by this) Kundall the Subtle Time (Kalasuks’md

is awakened. The Bindu which comes after ( Uttaraga S'akti (Nada)
1
is the Lord ( Prabhu who is the four Kalas * (Catus-kaldmaya) . In
the middle part or second stage of churning ( Madhyamanthanayogena
there is straightness ( Bjutva i.e. a straight line) which is Jyestha
S'akti beautifully placed between two Bindus. The imperishable

Kundall (AmrtaTcundali) is led by Valkhari to the Bindu-nada state

w She (then) known as LakinI
17
between the two
( Bindunadatva ) . is

Bindus, She is then Tripada (Third step) and spoken of as Raudri,

 verses 26 & 27 53

She is (also) called Rodhin! because she obstructs the path of Libera-
tion Molcsamarga-nirodhandt)
18
. Ambika’s form is that of a portion
(

of the moon,— She is Ardha-candrika, the half-moon. The Para-

1
S'akti who is one does in this way appear as three. From them ® as
thus distinguished ( Abhyo viviktabhyah) have originated the nine
group of letters (JV avavargakah) which are associated ( Yuktah ) with
them. It is She ( Pards'ahti Kundali) who is thought of in nine ways
” 20
being indicated by the nine groups ( Navavargopalak§ita ) .

Notes
Verses 26-28 are quoted by Laksmidhara in his Commentary to the
I

Saundaryalahari, v. 34 and he reads them differently.

* The text is Dogdhrl- She who milks or brings forth, but probably is a

mistake for Dagdrl= She who burns up.

® S'anta is the state of absolute quiescence when there is no activity or

motion Samarasavastha is the state in which two are in a state of absolute

;

and complete absorption the one by the other.

4
That is, of course during the Kalpa.
*
That is, Muladhara.
* —
Mahamahes'varas These are Sadhakas who have attained a high
degree of perfection —adepts.
’
That from the Muladhara.
is,
8
The tenth is Param Brahma.
* The state of selection, and rejection, of this and that of all variety, in

short ordinary finite experience.

10
Puny a and Papa.
That is, one in whom
II
there is no doubt, the perfect experiencer.
18
This according to the commentator. Others divide the vowels into
two groups and exclude the last.
“ In the text the word is “ Hrid-Bindu." But this is possibly a
mistake for Mrid-bindu, by which is meant the Svayambhulinga in mula-
dhara which is the region of Earth =Prithvl=Mrid. Here the cosmic
muladhara is spoken of.
14
That is, the cosmic manthana.
u
Nivftti, Pratiqtha, Vidyd, Sdnti.
14
'
That is, the place where the first Bindu is.
11
Lakinl-Raudn. Dakinl- Brahml. Rakinl=Jye$tha or Vai$navl.
As it were a barrier preventing what is above descending and what is
18

below ascending and straying away from the true path. Or the reading
may probably be Bodhinl and Nibodhanat.
**
The three S'aktis Varna etc.

The
text seems in part correct. Madras edition throws no light on
the right reading, but quotes the passage practically in the same terms.
 VERSE 28

The first ( i.e subtle Madhyamu) is the cause {Knrana) and

the other {i.e. gross Madhyamu) is the effect ( Kurya). Inas-
much as such is (the relation) between these two therefore
the latter {i.e. the gross) is the (same as the) former (i.e. the
subtle). There is verily no difference (between the two), for
the identity of cause {Hetu) and effect {Hetumai) is axiomatic
{Dista).
Commentary
The subtle Madhyama which is the cause of the Madhyama of
gross form is one with the latter and that is stated here.
“The first” (Adya) i.e. the one first spoken of (Purvoktd),
whereby ismeant the subtle ( Suksmd) Madhyama already described.
She is the cause ( Kdrana ) because she precedes the other {Anya).
This latter is gross {Sthtila) i.e. the effect ( Karya ) because it emanates
from the other {Tajjanyatvdt). As there is this relation of cause and
effect between these two ( Anayoh ), namely, the subtle and gross

Madhyama, therefore, the latter ( Iyam ) is the former (Sa= She). There
is no difference {Bheda) between the two. Identity (Tadattnya— that
in which there is neither difference nor nondifference) is the character-
istic of Cause and Effect, as we see in the case of mud and the (mud-
made) pot.

S'ruti {Chandogya 6. 1. 4) also says :

“O Gentle one, by one lump of clay all things made of clay are
known. The variation is in names given to it when spoken of. The
clay alone is real.’’

The same thing becomes different only as an object of speech.

When anything is spoken of it becomes of two kinds *.
Note
1
e.g. A mud-pot becomes mud and pot.
 VERSES 29 & 30

The Cakra of eight triangles which is constituted of the

letters S'a, Sa, Sa and the Pa- varga is an expansion ( VistUra )
of the middle triangle. These nine triangles together with
the Bindu make the ten ( Dasfaka) which are lighted by the
light of Cit ( Cid-dipa ). The two lights ( ChUyctdvitayam) of
1
these ten are spread forth as two Cakras of ten triangles each
of which the inner set of ten triangles display the Ta-varga
and Ta-varga and the outer of ten triangles display the Ca-
varga and Ka-varga.

Commentary

He next speaks of the appearance ( Avirbhdva of Vaikhari-

S'akti by a description of the Cakra of eight triangles and other

Cakras (all) which are the going forth ( Prasarana ) of the Light and
Energy ( Tejas ) of the middle triangle ( Madhya-srngdta ).
The Cakra of eight triangles is called Sarvarogahara (All-disease-
destroyer). The eight triangles of which it consists are the eight

letters namely the letters S'a, Sa, Sa and the five letters of the Pa-

varga. Itan expansion (_Vistd.ra-Vilid.sd) of the middle triangle

is

(Madhyatrikond). The nine triangles ( Navakona are the middle

triangle and the eight triangles (here spoken of) ; these together with

the Bindu ( Madhyang ca) make a group of ten (Das' ah a). This group
of ten is illumined ( Dipita ) by the light of Cit (Cid-dipa), that is, it is

lustrous with the rays which surround Tripura — the Mother seated in

the Bindu-Cakra (Binducakrddhirudhdrhbd) who is Light Herself

(TejomUrti). So it has been said Nityd§oda. VI. 14) :

“ The Bindu is the seat of union of the Fire of final Dissolution

and Citkala ” *. In this way the ten and their two lights (Chayd-
dvitayam=Kdntidvitayam ) are spread out. By the ten (Das'aka) is
56 KIma-kala-vilasa

meant the aforementioned three Cakras 8 which are a mass of light

( Tejoras'itnaya ). C/mya here means Kdnti (Lustre, light).

These two become spread forth (Vitata) as the two Cakras
lights

of ten triangles (each). These are the inner and outer Cakras of ten
triangles each which also are of boundless brilliance ( Niravadhika -
Tejomandala). The two lights ( Kanti-dvitaya relate to these two.

The two Cakras are called Sarvaraksdkara (All-protector) and

Sarvdrtha-Sadhaka (All-accomplisher). By Spread ( Vitata is meant
evolved ( Parinata ). So it has been said ( Nitdysoda VI, 15 . : “The
Cakra of ten triangles is the form of the manifested light of the nine
”4
triangles . The ten letters of the Ta-varga and Ta-varga are the
triangles in the inner Cakra of ten triangles and the ten letters of
Ca-varga and Ka-varga are the triangles in the outer Cakra.

Notes
1
Vitatam. Bhaskararaya who
cites portions of these two verses in
his commentary 16 of Nitydsodas'ikd reads Detain (seen).
to VI. The
two lights are the two Cakras of ten triangles each. There are in the whole
Yantra 43 triangles.
*
Baindavdsana - samrudha samvartdnala - citkaldm
- . Baindava=
Bindu. This Binduthe Asana by which is meant that it is the source
is
of the inclination of seeing (Iksanatmakavrtti). On this is seated the
union of Sarhvartdnala and Citkald. By Samvartdnala is meant the
Fire of Pralaya ,
the all-devourer Kdldgnirudra and Citkald is Tripura
(Bhaskara).
*
Bindu Trikona Vasukona
, ,
(eight triangle).
4
Navatrikoqa-spurita-prabhartipadashdrakam. The nine triangles
taken individually and collectively with the Bindu make ten.
 -:

VERSE 31

The light of these (the first) four Cakras is the fully evolved
(second or outer) Cakra of ten triangles. (Then) appeared
the Cakra of fourteen triangles wherein are the fourteen vowel
letters beginning with A.

Commentary

The lights of these (first) four Cakras ( Etach-cahra-catushka

praba-sameta). The four Cakras are Bindu, Trikona, eight-triangled

and inner ten-triangled Cakras. The second or outer Cakra of ten
triangles is here described as the fully evolved (second or outer) Cakra
of ten triangles ( Das'draparinatnah ). This second ten-triangled Cakra
is united ( Sameta=SamyuJcta ) with the light of the first four Cakras,

that is the light of the four Cakras spreads over this Cakra on account
of its proximity to the others. So it has been said ( Nityasoda . VI. 17
“United with the light of the four Cakras is the evolved
(Cakra).”
In this verse is also described the appearance of the Cakra of
fourteen triangles wherein are the fourteen vowel letters beginning
with fl. This Cakra is called Sarvasaubhagyaddyaka (Grantor of
all-prosperity).
 )

VERSE 32

Para, Pas'yantI and Madhyama in her form or aspect as (the

unuttered) gross letters, —by these three is produced Vaikhari
who is the fifty-one letters of the alphabet.

Commentary

After giving a description of the Cakras beginning with the

Bindu and ending with the Cakra of fourteen triangles, he here speaks
of the appearance of Vaikhari S'akti. The Nature ( Laksana ) of
Para and other S'aktis has already been described. What is said
here is that Vaikhari 1
who is all-sound ( Sarva-s'abdatmikd ) is

the creatrix ( Nirmdtrl ) of the entire universe ( Akhilaprapahca ) which

is composed of the collectivity of the letters ( Aksara-ras'imaya
beginning with A and ending with Ksa. Vaikhari has been spoken of
(. Nityasoda VI. 40) as pervading the universe or as the “ world-form
.

( Vis'va-vigrahd)”

Note
is N avanada-tnayl and as Sthuld Nava -
1
Madhyamd as Suk§md ,

vargdtma. The letters are formed as Madhyama but unuttered. See vv.
26 and 27 ante .Madhyamd as the unuttered gross letters in the evolution
of speech is the stage immediately preceding Vaikhari .
 ) ) .

VERSE 33

The eight groups of letters beginning with the Ka group

which are Vaikhari S'akti are on the petals of the lotus of
eight petals and it should always be borne in mind that, this,
the lotus of sixteen petals has on its petals the (S'aktis which
are the) vowel letters.

Commentary

He here says that the two Cakras, Sarvasathksobhana (All-

moving) 1
and Sarvas'aparipuraka (Fulfilling all hopes)* are composed
of the Vaikhari letters ( Vaikharivarnatmaka).
Are Vaikhari Sakti. By this is meant that these, the eight groups
of letters ( Asta-vaikharlvargdh the first of which is the Ka= group
(Kadi) are Vaikharis'akti (Vaikhans'aktisvariipdh).
The lotus of eight petals. (Astadaldbja). This is the Sarva-
sathksobhana-dakra. This the lotus of sixteen petals has on its petals the

vowel letters (Svaragaya-samuditam etad dvyastadaldmbhoruham).

The vowel Svaragana are the letters A and others, sixteen in
letters (

number which are ( Samuditam—Samyagbhavitatn ) the petals of the

sixteen -petalled lotus.
This (Etat). By this we are to understand that the author points
to something visible (Paridrsyamanam)
Should always be borne in mind. ( Samcityam ) that is, should be
meditated upon (Sarvadd bhavaniyam).

Notes
1
Or it may be All-moulding.
* Or it may be Filling-all space.
 VERSE 34

1
The (three) circles are the transformations ( Vikara) of
the three lights emanating from the three Bindus. These are
Bhupura ( Bkubimbatrayam
the circles in the etat). The three
mothers PashyantI and others * here rest.

Commentary

The (three) circles ( Tanl vrittani). These are the circles which
surround the Cakras of fourteen triangles, the lotus of eight petals
and the lotus of sixteen petals.

Three Bindus ( Bindutraya ). These are the previously spoken of

red, white and mixed Bindus. The three lights ( Tejastritaya ) are
of the substance ( Tanmaya ) of the three Bindus as they proceed
therefrom.
By speaking of the three circles as the three lights the Cakra
is shown to be composed of the threefold division of Moon, Sun and
Fire ( Somasuryanalatrikhandamaya ) so ; Agama says :

“ The Matrka Cakra is of three divisions consisting of Moon,

Sun and Fire.” \

By transformations ( Vihara ) we have to understand the three

circles of the three Bindus and their lights. In these circles abide
the Shaktis* Ariimd and others, Brdhml and others and Sarva-
samk§obhiy,i and others.
The three mothers Pasyanti and others here rest ( Pasyantyadi -
tri-mdtr-vis'ranlih). The meaning of this is that the three S'aktis
PashyantI, Madhyama and Vaikharl are up to this place luminous
( ijrmbhatndna) , that is, they function from the Trikopa to the
Bhupura. This has been fully dealt with in the Vamakes'vara
(Nityfyoda. Ch. VI. 36-40).
 VERSE 34 61

Notes
1
The three lines are according to some immediately outside the
sixteen-petalled lotus.
*
i.e. Madhyama and Vaikharl.

to the place of these S'aktis there are divergent

views.
•
As
 ) ) : ) )

VERSE 35

Movement is either Pada-viksepa 1 or Kramodaya and is

therefore said to be of two kinds, namely, the S'aktis* who

surround Her and the line of Gurus. These two are the
movements of the lotus feet of the Mother (Antbupadcltnbuja-
parasard).
Commentary
After having fully described the S'rlcakra of Mahatripurasudarl
he in fifteen verses (35-49) speaks of the group of S'aktis in the
Cakra which surround Her ( Avarana-cakrantargatas'aktinikurumba
and of the Guru-mandala which is near Her, as the unfolding
( Parinati ) of the body or limbs ( Avayava ) of the Devi.

Movement ( Kramana ). The word means walking literally

(Padakrama) Motion is effected by Padaviksepa or by Kramodaya.

By Padaviksepa is meant the power of Sundarl to produce

countless S'aktis who are the countless millions of Her rays.
S’ruti ( Arunopanisad also says

“The rays which are Self-originated are what made bodies

(S'arirdnt).” Bhairava-yamala 8 also says:
“ In the Bindu united with Sadas-iva is the Mahes'varl
who creates, maintains and withdraws the Worlds ( Jagadut -
patti-sthiti-sarnghdra-Tcdrim ) and is beyond the Tattvas (Tattvatlta).
She is Light itself (Jyotirupa) and transcendent ( Parakard). 0 S'iva!

emanating from Her body are rays in thousands, two thousand,

hundred thousand, ten millions, hundred millions there is no counting
their great numbers. It is by and through Her that all things moving

and motionless shine. O Mahes-anl It is by the light of this Devi that

!

all things become manifest. There is nothing which bereft of Her light
can be manifest. Without the creative thinking ( Citi of Her who is
Cit ( Cidrupa and S'ivas'akti this moving and motionless world would
of a certainty be enveloped in Darkness ( Andhyam apadyate mnam).
 VERSE 35 63

“ Mahes'vari of the countless millions of rays which are Moon,

O
Sun and Fire (Soma-suryanalatmana) there are three hundred and
sixty which are spread throughout ( Vyas'nuviivanah ) the Brahmanda
which is in the midst thereof. Fire has one hundred and eight. Sun
one hundred and sixteen and Moon one hundred and thirty-six rays.
O S'amkarl, these illumine the macrocosm ( Brahmanda) and the micro-
cosm JPindanda also. The Sun (illumines) the day the Moon the
(

night and Fire the twilights (morning and evening) thus is time :

divided ( Prakds'ayantah kalath ste) therefore these three (Sun, Moon

:

and Fire) are time ( Kalatmakas trayah). Three hundred and sixty

days make a year and S'ruti says that Mahadeva who is lord of
4

creatures ( Prajapati is the year ” ( Hayanatma ).”

By Kramodaya is meant going forth (Prasarana ) of the Devi as
the Gurumandalas* of the Divya, Siddha and Manava groups whose
number is endless and whose nature is illumination (Prakas'dtmaka )
Saktis who surround Her. Avaranam (=anything that surrounds or
encloses or prevents the view) is used in the text to signify the

countless S'aktis abiding in what are commonly called Avarana Cakras

of the Devi. By line of Gurus ( Guruparigktih is meant the circle
or Mandala of Gurus (as above described). These two are the going
forth (Prasara= Prasarana) or efflorescence (V ijrimbhana) of the
lotus feet, that is, feet which are ( S'npadayuga ) of the Mother
Tripura.

So it has been said :

“The light ( Mahah=Tejah) of Tripura is (it is so declared)

divided in many million ways but in the midst of these shines trans-
cendent Mahatripura-sundar! Herself.”
Notes
‘The forms of Kramana are explained in the commentary which
follows. Padaviksepa literally means step by step ” in defined direction.
Kramoday = gradual expansion and unfolding in all direction.
_ _
Avaranath i.e. avarana shaktis.
* These obstruct men from seeing
the Devi like a patch of cloud which is much smaller than the sun yet
prevents it being seen.
* Laksmidhara in his commentary on Saundaryalaharl v. 24 points
“ It is by the light of
out that the passage in Bhairavayamala beginning:
” text which says “ There is no sun no moon”
this Devi explains the S'ruti
quoted under verse 1 of this book.
‘See Sathkhayana Arariyaka I. Taittirlya Brahmana 1. 6. 2.
4
Cf. Bhavatiopanisad. I. Srlguruh sarvaiiaranabhuta s'aktih. The
Guru is the S'akti the Cause of all also see Tantrardja (XXXV. 2) ( Kadi -

—
;

” The Guru is the primordial Sakti.

mata “ Gururadya bhavech chaktih
 VERSE 36

When She, this all-excelling Great Queen changes into the

form of the Cakra, then the limbs of Her body change into
Avaranadevatus.

Commentary

The author now speaks in an orderly form of the mode of Her

going forth ( Prasdraprasaranl ).
She, this ( Seyatn). By this the author emphasizes that She is the

mass of continuous and endless light and energy Aparicchinnananta-

tejoras'imayi).
All-excelling ( Pard=Sarvotkrsta) Great Queen ( Mahes'i ). By
this is to be understood that She is conscious of Her all-embracing
imperial dominion ( Samrdjya ) and powers
(Saihpad=Vibhfdi), that
She is Bliss eternal, boundless and immense and that She is adored

by countless millions of Yoginis.

Into the form of the Cakra ( Cakrakarena). By Cakra here is meant

the S'rlcakra made up of nine Cakras the first of which is Bindu and
the last Trailokyatnohan. This is the Cakra which is spoken of
(Nitydsoda. VI. 13) as “ the Cakra of nine Cakras wherein are nine
differentMantras.” Changes into Parinameta). That is when “ She
(

sees the Sphuratta of the Atma,”

1
by which is meant when She sees

the Atma who is complete Bliss and changes or assumes another

form. ( Parinameta= Akdrantaram dvaheta).

Limbs of Her body change into ( Taddehdvayavandfh parinatih)
Her body (Deha) is a mass of light ( Tejahpunjdtmaka). The limbs
(Avayava) of the body are the rays. '
Change ’
is assumption of
another state or condition ( Parinatih— Avasthantarapattih ).

Here the surrounding Devatas ( Avaranadevatah ) are the count-

less S'aktis such as the groups of Vas’inl and others, Artimd and others,
 * ):

VERSE 36 65

who are part of the ocean of Conciousness-bliss ( Cida-nanda-samud -

ratmaka ). The countless millions of S'aktis appear and disappear like
bubbles ( Budbuda) on the face of the ocean.
S'ruti says:
“ That in which all beings ( Bhdvah disappear and from which
those which disappeared reappear again and again disappear and grow
again like bubbles.”
Also Agama (Nityasoda VI. 55) says .

“ Such is the Tejas (Light and Energy) of which the Cakra is

composed, the S'aktis therein being like heaving waves.”

Notes
1
Nityasoda VI. 10 and Yoginihrdaya I. 10.

’This is seemingly Culikopanisad v. 18 but the reading is slightly

different from the printed text.

9
 VERSES 37 & 38

She (who Devi Tripura-sundari abides in the Bindu-maya-

is)

cakra. (There) She is seated in the lap of Kames'vara, a

digit of the moon is placed by Her as on adornment on
Her
forehead. She holds in Her hands the noose, the goad, the
sugarcane bow and the five flowery arrows. She is red like the
rising sun. The Moon, the Sun and the Fire are Her three eyes.

Commentary

Before giving an account of the Avarana-S'aktis, namely,

Vas’ini
Svarupa of the Chief or
and others he here describes the nature ( )

Principal Devata (Muladevata)

the Bindumaya-cakra is meant the Supreme Ether ('JParama
-
By
kas'a). The Bindu has elsewhere been spoken of as Paramakas'a
(Baindave paramdkds'e). The Bindu is called Sarvdnandamaya-

cakra (Cakra of All-bliss).

By Cakra is meant the Pltha in which She may unite and enjoy
Atma-samkramana-viharandrha-pUha).
with the Xtma. (

S’ruti says
”
“ Wherein She moved that became the Cakra
*.

“ Abides in ” Aslnd) that is She is shining above the Bindu

(

(Bindupariprades'e virdjamdnd).
“ She (who is) Devi Tripura-sundari -

Tripura-sundari Devi.) The pronoun She (So) is used here to

(S<?

impress on the mind the fact that

She is the Tripura-sundari who is

not limited by space or

time (Des'akdldkdranavdcchinnd) is the very

Self of Tatsvarupinl and adorable {Sprhanlya) as She is the

That (

Cause of all (
Sarvakaranatvena).
She is seated in the lap of Kamesvara (Kdmes'vardnka-nilayd).

By lap (Anka) is meant the left thigh. Her abode or seat is the left
who the Lord adored by all ( S'rlndtha ). So it
thigh of Kames'vara is

has been said in Bhairava-ydmala

 ) : ) ) ))) -

VERSES 37 & 38 67

“The knowledge ( Vidya of the greatness (Kald=Vibhuti) of

Paras'akti is in the form of the S'ricakra ( Sricakrakdrarupinl \ In
the middle of it is the place of the Bindu and in it is the Supreme
Lady. She is united ( Samprktd with Sadas'iva and is beyond all
Tattvas ( Sarvatattvdtikd ) and ever-existent O Is'varl ! The
9
Cakra of Tripura-sundarl is the universe itself (Brahmdnandakdrarii)'
Devi. This word means that She enjoys Herself ( Vinodinl ) in
the work ( Vydpdra of Creation and the like of the universe.

R digit of the moon is placed by Her, as an adornment, on Her

forehead ( Kalayd candrasya kalpitottams'd). The digit ( Kald ) is the
one which is the life of the universe ( Vis'vajivini ). The word Kalpita ,

that is, placed (used) shows that the region of the Moon ( Candra-mcin
dala) is merely an accessory ( Upakarana ) for enjoyment of Bhagavati.
Noose ( Pas'a ) represents Icchas'akti ( Icchds'akti-svarupa which
is the bondage causing the distinction between the individual self and
the Supreme Spirit Svatmabheda-bandhana).
Goad (Arikus'a) represents Jnanas'akti which
means is the

(Updya ) whereby the difference ( Bheda between Sva (Brahman) and

)

Rupa (Form) is destroyed. The sugarcane bow and the five flowery
arrows ( Ihsucapa-prasunas'arapancaka ) represent Kriyas'akti which is

cause ( Sddhana=lit instrument) of attachment ( Avarjana ) to things

.

(Akara=lit. Forms) outside one’s self ( Svabhinna ) s The sense of .

this is that it is the S'aktis — Iccha, Jnana and Kriya which in

obedience to Her behest assume the forms of Pasa and the like and
remain in Her service ( Tadupasanam dcaranti).
So the Vamakes'vara ( Nitydsoda VI. 53) says . :

“The resplendent one holding in her hand the noose ( Pas'a which
is Will ( lccha-s'akti ), the goad (Atikus'a) which is Knowledge (Jnana-
s'akti) and the arrows and the bow which is Action ( Kriyd-s'akti ).’*

Notes
Yad esha camkramat tach cakramabhavat. The word " cakra ”
1
is
derived from the root kratnu = to move, to step out, to evolve or emanate.
'According to another reading of this text, the first portion of the
translation would read thus
Raid. ( =Hardakalct ) = Vidya ( t.e the Mantra of 15 letters) = Paras'akti .

who assumes the form of, or manifests as, the S'ricakra.

1
As to Pas'a, Ankusha, bow and arrows compare Bhdvanopanisad 21-24,

L
 ) ) ) )

VERSE 39

That couple (Kames'vara and Tripur a-sundari) are in the

triangle which is constituted by the three Bindus (Bindu-
trayutmaka) and by reason of change of aspect (Gunabhedut)
she assumes the form of three other couples the first of which
1
is Kames'l-Mitretfa .

Commentary

The author here speaks of the celestial couple who is the very
self of the Gurumandalas ( Gurumandala-svarupa of the Divya, Siddha
and Manava lines (Ogha) of Gurus who are seemingly different but

not really so ( Avisresa-bheda-bhinna ) That couple ( Tan-tnithunath ).

By the word “ That ” it is to be understood that the couple Kama*
kames'vari recognised in all Upanisads is here meant.
The meaning is that it is the Supreme Spirit ( Paramatma
which divides Female and Male and enjoys as the couple
Itself into
(Mithuna-rupena viharati). S’ruti also ( Brhaddranyaka 1. 4. 3) by
the text which begins “ He verily did not enjoy because one cannot
enjoy ” speaks of the Brahman who within Itself enjoys as the paired
male and female ( Mithunattnaviharanas'ila ).
Agama (Rahasy agama) also says that Paramas'iva who is the
paired or united (Mithunibhuta) Prakds’a and Vimarsra brought down
(Samavatdrayat) all the Tantras :

“ SadSs'iva Himself remaining in the positions of (both) Teacher

(Guru) and Disciple ( S'isya by words cast in the form of questions

and answers brings down Tantra (on Earth).”
The couple ( Mithuna who are the united Kama and Kames'vari
assume the forms of Mitreshandtha-kames'vari, Uddisanatha-Bajres'-
varl and S'asthis'andtha-Bhagamdlim as the three pairs (Mithuna) of
the Divya, Siddha and Manava lines (of Gurus)*.
 VERSE 39 69

Notes
1
is in the centre Bindu.
Tripura The surrounding Three Bindus
make the inverted triangle. In the single Bindu at foot She is Guru of the
Tretayuga. In the upper right Bindu She is the Guru of the Dvfiparayuga
and in the upper left Bindu of the Kaliyuga .

*
See Tantraraja (Vol. VIII, Tantrik Texts) Chap. I. 7 and Chap. II.
Under V. 52 post the names of the three Gurus and their S'aktis are
given differently. Possibly one or other portion of the text is incorrect.
5c 5c ... ;.:^v

VERSE 40

Those that abide in the Cakra of eight triangles are Vas'inl

1
and the others who are red like the evening sun. This
(Cakra of eight triangles) is the eight-fold (subtle) body, of the
Devi, which is the Cakra and the Self thereof is the Supreme
Experience ( Samvid).

Commentary

From here onwards he describes the form and nature ( Svarupa -

bhdvan) of the surrounding Devatas Avarana-devatdh ) “ Those that
(

abide in the Cakra of eight triangles” ( Vasukona-nivdsinyah ). The

Cakra of eight triangles is the Cakra called Sarvarogahara (All-

disease-destroyer). The eight S'aktis Vasini and others abide in this

Cakra. They are powerful to grant the bliss arising from the experi-
ence of complete ‘I-ness’ ( Purndhambhdvaddna-samarthdh ). It is
9
because they are able to give the experience of complete *
I-ness that
this Cakra is Rogahara. For it has been said
“The sense of imperfection is disease and the source misery.”
( Apurnam-manyatd vyadhih kdrpanyaika-niddnabhuh) These S'aktis
shine like the evening sun and are therefore described as red like the
evening sun (Sariidhyarurid). The Devi is the Supreme Experience
(Sarhviddtmd) by which is meant that Her own form ( Svarupa is

Knowledge-in-Itself. S'ruti (in reference to the Brahman) speaks of

“Being ( Satyam ), Knowledge (Jndnam) and Eternity (Anantam)

Agama says that the “ Devi Tripura is Svasamvid ”. By Devi
is meant that She in Her desire “ to be many ” is playfully moving

about and active ( Viharaya-svabhdva ).

The Cakra of eight triangles is the eight-fold (subtle) body of the

Devi ( Cakratanoh purya$takarii) in the form of the S'rlcakra

( Calcrdtmikd ). By Cakra is meant the S'rlcakra. The subtle body
 VERSE 40 71

(Puryastaka = Eightfold body) is so called because of the eight which

compose it. They are as the Svacchanda Tantra says :

“ Citi, Citta, Caitanya, Cetana, Indriya-karma, JIva, Kala and

a
S'arlra .

Notes
1
These S'aktis, are called Rahasyayoginls (see Nitydsoda. VIII. 162)
because they are subtle.
* Different stages of Cit-S'akti Bhaskararaya in his commentary on
:

Nityft$odas'ikd VIII, 160-164 enumerates what constitute the^eightfold

Sthula body of the Devi. They are (l) Karmendriyas (I) the Jnanendri- ,

yas , (3) Manas etc., (4) the Pranas (5) the elements Viyat etc., (6) Kama
,
,

(7) Karma and (8) Tamas.

 VERSE 41

As for Her powers, they having assumed the forms of Sarvajffa

and others abide in the inner ten-triangled Cakra. They are
beautiful like the autumnal moon.

Commentary
1
Her powers ( Visaya-vrttayah ) are in close proximity to the
Cakra of eight triangles.
They ( Tah ). By this is emphasized their well-known power (to

assist the Sadhaka) to maintain the identity of his self and the
(Supreme) Atma ( Svatmaikyarupa-raksana-dharinitvena prasiddhah)?
Having assumed the form of Sarvajna and others (Sarvajnddisvarupath
dpanndh) these powers become the ten S'aktis Sarvajna and others
and abide Cakra of ten triangles known by the name of Sarva-
in the

raksdkara. They are called Nigarbhayoginls 3 and are white and clear
f
like the autumnal moon (S aradindu-sundarakarah).

Notes
1
That is , they are the inner Cakra of ten triangles.
*
This Cakra is so close to the Bindu. He who realises them is near to
Self-realisation.
s
The expression Nigarbha has been defined by Bhaskararaya under
VII. 48 and VIII. 157 Nitya$oda.
 .

VERSE 42

The Yoginxs in the series of angles outside this (last) are

those the first of whom is Sarva-siddhiprada. They are the
objects of the Jflanendriyas and Karmendriyas of the Devi
and are adorned with white raiment and ornament.

Commentary

In the series of triangles outside this (last) (Tad-bahya-pahkti-

konesu). By “ this ” is meant Sarvaraksakara-cakra, outside which is

the Cakra called Sarvarthasadhaka. (Accomplisher of All-aims).

In the series of angles (Pahktionesu) By this we are to under-

stand that the angles of the triangles of which the Sarvarthasddhaka-

calcra is composed are in proximity to the triangles of the Sarva-
raksakara-cakra. The Yoginis in this Cakra (Sarvarthasadhaka ) are
called Kulakaulas 1
and they are the ten S'aktis Sarvasiddhipradd

and others.
They are the objects of the jnanendriyas and karmendriyas of the
Devi (Devi-dhi-karmendriyavi$aya-maydh). These ten S'aktis are the
objects of sense perception such as sound is of hearing and the like.

They are clad in white raiment and their adornment is also white

( Vis'ada-vesa-bhu$adhyah ). The sense of this is that these S'aktis

are inseparate from or identical with ( Abhedarupah ) the Mantra, the

Devata and the Sadhaka’s* self and are white, clad in white raiment
and grant Siddhi.

Notes
1
Cf. Nity3$oda. VIII. 151-’5S.
* That is, they help the Sadhaka to realise his identity with the Mantra
and the Devata.
 ) , -

VERSE 43

Those (S'aktis) who have their places in the Cakra of four-

teen triangles are the unfolding movements of the fourteen
instruments (of mind and senses) of the Devi. They are
clad in garments (red) like and are the
the evening sun
Sampradaya-yoginls and they should be meditated upon as
above.

Commentary

This Cakra of fourteen triangles is called Sarva-saubhdgya

ddyaka (Giver of All-prosperity). The fourteen 1 instruments ( Manu -

karana of the Devi are five of Jnana (Panca-jnanendriyani) the five
of Karma ( Panca-karmendriydni ) and Manas, Buddhi, Ahamkara,
Citta. Un-folding Movements ( Vivarana-sphurana ). The movements
(Sphurana) of the senses are in the Cakra of fourteen triangles
(Bhuvanaracakra) as the Saktis therein. The Devi Herself is in this
Cakra as the fourteen Devatas who are Her fourteen instruments.
The S'aktis or Devatas are Sarvasamksobhint and others. They are
called Sampraddya-yoginis because they are forms of the Adis'akti
(Adis'aktimayatvena) . They should be meditated upon as unmanifest
(Avyakta).

Note
1
The word Manu is used for 14 and Bhuvana is used for the same
number. There are 14 Manus and 14 Bhuvanas.
1*
vr: A A C
 VERSE 44

Avyakta, Mahat, Ahamkriti and the (five) Tanmatras having

assumed womanly forms abide resplendent in the lotus of
eight petals. They are known as the Guptatara-yoginls.
\ •
^

Commentary

By Avyakta (unmanifest) is meant the Avyakta-tattva i.e.

Prakrti , by Mahat or Mahattattva is meant Buddhi and by Ahamkriti

is meant Ahamkdra-tattva. The Tanmatras are the five Tanmatras
of Prthivi and others. These make eight. These eight have in this
Cakra assumed womanly forms (Svlkrtdngandkdrdh). They are forms
of the Devi ( Devydtmikd ).
They are called Guptatara-yoginls because they are within 1

( Antaranga-bhutd ) the Miila-devi. These eight S'aktis who are

Ananga-kusumd and others abide in the Cakra of eight petals which
is called Sarvasamkshobhana Abide resplendent (Jayanti) i.e they
. .

are there excelling all ( Sarvotkarsena vartante).

Note
1
Antaranga=lit. comprehended; inseparable.
 )

VERSE 45

The Bhutas, the ten Senses and Mind (Manas) are the six-
teen variations ( Vikura of the Devi. As KamakarsinI and
others (Kumukarsinyudisvarupatah) they dwell in the lotus of
1
sixteen petals .

Commentary

By the Bhutas is meant the elements of “ Earth ” and others

( Prithivyadini ). The ten senses are the sense of perception and action
(Jnanakarmobhayalaksayia). These fifteen and Mind (Manas) are the
sixteen variations of the Devi which are in the Cakra of sixteen petals
which is called Sarvds'aparipuraka, as the sixteen S'aktis Kama-
karsinl and others ( Kamakarsinyadisodasa$aktyakdreya ). In the
Cakra called Sarvds'aparipuraka (Fulfiller of All-hopes)* dwell the
Gupta-yoginls, KamakarsinI and others who are the vowels [Svarat -
(

mikah).

Notes
1
Cf. Bhavanopanisad, (Rk. 13).
*
Or, that which fills up all the points of compass, that is, all space.
 VERSE 46

All Mudr5s including Trikharid5 are Samvit and excel

the
all. They are in the first (innermost) section of the Bhupura
and resemble the young sun in their lustre.

Commentary

Including Trikhanda ( Trikhandaya saha) that is, along with the

Trikhanda Mudra. fire Samvit ( Sarhvinmayl i.e. inherent in Cidghana,

Massive Consciousness or Brahman ( Cidghananisthah ).

They Bhupura. (Adimahigrhavasdh=Adimacaturas'ranilaydh
. . .

that is they abide in the first or innermost section of the square

1
which is called Mahi-grha, (Bhupura and the like).

That the Mudras are of the nature of Samvit is shown in the

following text
“ Mudra moves in the Ether or Cit (Cid-vyotnacarint). Khecari
mudra is the state of S'iva (S’ivavastha).
The ten Mudras Sarvasamksobhini and the rest are great S'aktis

who dispel fear and give great Bliss or happiness. So it has been
said
“Mudras are so called because they free men from (the evil
influences of) Grahas and the like and destroy the many bonds
(which enslave men)*.”
These Mudras are the Queens (Adhisthana-nayika) of the nine
Cakras beginning with the square ( Caturasradi) and ending with the
Bindu (Baindavanta). This has been dealt with in the Vamakes'vara
(Nityasoda. VI. 57-71)* where it is shown how Cit S'akti, when She
makes manifest and cognises the Universe as “This” on Herself as
the basis assumes the forms of the several Mudras there mentioned.

Notes
1
This Bhupura consists of three sections as the following verses show.
78 kama-kala-vilasa

free * is in Sanskrit ‘ Muc * “ Dissolve ”, “ Destroy ” is Drava -

* ‘
To
yanti Sanskrit and is derived from the root Dru=to dissolve, fuse.
in
In the passage quoted from Nitydsoda . Drdvaqa * is used in the sense of
‘

“ fusion.”
*
The commentator quotes only the beginning and end of the passage.
The Mudras require a more full treatment and that is why a brief summary
is given here.
 VERSE 47

1
Her nine Adharas are transformed ( Parinata) into nine
Cakras. The S'aktis of the nine Nathas therefore also
become changed into ( Paririatd the forms of the Mudras
(Mudrukdrena).

Commentary

The nine fldharas are Akula*, Muladhara , Svadhisthana, Mani-

pura, Anahata, Vis'uddha, Larhbikd, Ajna and Bindu. These are the
Adharas of the Devi in the sense that She as the Upasaka ( Upasaka
svarupini) possesses these. Similarly the (nine) S'aktis of the nine

Nathas become the nine Mudras.

Notes
*
That is, The centres. Adhara means a “ support ” ; Muladhara = root
support,
* The Muladhara corresponding
red lotus of thousand petals below the
Sahasrara lotus. Cf. Bhavanopani§ad [lik— 13)
to the white Adhdrana- :
‘

vakarh mudras' aktay ah and Bhaskararaya’s note thereto.

 — —

VERSE 48

Her seven Dhatus skin and the rest and Her form manifest
as the forms of the eight Mothers Brahmi and others. They
1
dwell in the middle Bhubirhba.

Commentary

Seven Dhatus skin and the rest. ( Tvagadi-saptadhdtavah ). These

seven Dhatus of the Devi and Her form (Akara) assume the shape of
the eight Matrikas Brahmi/ and others and abide in the middle section
of the Bhupura (Madhyama-bhubimba-niketanagah).

Note
1
Bhubi*nba= the disc or circle of the Bhupura which is the square and
forms the base of the S'ricakra. These S'aktis are in the middle circle.
—
The Bhavanopanisad (Rk 12) says :
Kama-krodha-lobha-moha-mada-
matsarya-puijya-papamaya Brahmyadyastas'aktayah. And the Tantra-
raja also says : Urtnayah putjyapape ca Brdhmyddyd matarah smrtdh.
 :

VERSE 49

Her (eight) Powers,Animu and others, assume the forms

of beautiful young women and are attainable by other
1

practices ( Vidycls ). Being of secondary nature they are in

the last (lowest) section of the Bhupura.

Commentary

Her (Asydh) i.e. of the Parames'vari Her (eight) powers, finima

and others (Animadibhutayah) These are the eight Siddhis or
.

Bhiitis the first in enumeration of which is Animd. These are in the

form of beautiful young women ( Kamanlya-kamini-rupah ).
Attainable by other Vidyas ( Vidydntaraphalabhiitdh ) that is,

these Siddhis or great powers are the fruits attainable by the practice
of other Vidyas such as Hathayoga and others.
Being of secondary nature (Gunabhavena) .* These not being of
a nature as important as the Highest Aim which is Moksa are to be

considered negligible and ultimately discarded ( Guna-bhavena=*Upa

•

sarjanlbhdvena). Are in the last section ot the Bhupura, ( Antyabhu -

niketanagah) . That is they are in the lowest (of the three) sections

of the square. By worshipping Paramatma in this manner the

Sadhaka becomes the Great Lord (Parames'vara) Himself.

Notes
1
The Bhavanopanisad (Rk. 11 says)
Niyatih s’ringaradayo rasa atiirtiddayah
and the Tantraraja also says :

Srlcakre siddhayah prokta rasa niyatisamyutah.

* The word Guna is here used to mean
“ Secondary ” or “ Subordinate ”
means “ Chief ” “ Foremost ”.
as opposed Mukhya which

»
6
 .

VERSE 50

Parama S'iva who is the Lord and is one with the Bindu
experiences the highest Bliss. It is He who in his Vimars'a
(S'akti) aspect becomes gradually differentiated and assumes
the form of Kames'a.

Commentary

Having in manner described explained the stages of the unfold-

ing of the Cakra (Cakrakrama) which is but a manifestation of Kama-

kala ( Kdmakalavilasanarupa ),
he now in his kindness towards his

disciples commences Gurus beginning with

to describe the series of

Paramas'iva in four verses of which this is the first. For a true

knowledge of the Cakra, the Devata and Mantra can be gained by
knowing the succession of Gurus who are Parames'vara (Paratnes'va-
rdtmaka-guru-krama-jndna-bhdvena labhyate).
“Experiences the highest Bliss” (Paraitidnanddnu-bhavah). That
is, He is the One who has the knowledge or experience ( Anubhava^
Jndna ) which excels all other bliss (Parama = Sarvotkrsta) This
as complete ( Pari
-
Ananda or Bliss consists in experience *
I-ness ’

purnahambhdvarupa) . S'ruti also says “ other creatures experience a

” *.
fragment of this Bliss
Parama Siva who is the Lord and is one with the Bindu ( Parama -
guru-nirvishesha-bindvdtma). By Parama Guru is meant the First
Guru (Adinatha) who is Parama S'iva. The Bindu is one with Him.
(Nirvis>esa= Abhinna), The Bindu is the Kamakala (Kdmakaldrupa).
He whose Self ( Atma = Svarupa) is the Bindu is the Parama S'iva
who is the First Lord or Guru (Adindtharupi Paramas'ivah).
The Upanisads contain various texts like the following “ Bliss :

is Brahman ” (Tait. 3-6.)

“ Brahman is Truth (or Being), Knowledge

and Eternal ” (Tait. 2-9-1). “ To the (Brahman who is) pure Cit
 VERSE 50 83

(Cinmdtra), All-seeing ( Sarvadrastd), All-witnessing ( Sarva-sdJcsz ), All-

absorbing (Sarva-grdsa^ All devouring) who is the Adored of all
(Sarvapremdspada) ,
who is in Itself Being (Sat), Consciousness ( Cit )
and (Ananda) dependent on nothing (mdtra) and massive
Bliss
Experience (Ekarasa) ”, (Nri. Uttara. 5-8) and again “ This Atma is ;

pure Being ( Sanmdtra), Eternal ( Nitya ), Knowledge (Buddha), Pure

(S'uddha), Truth (Satya), Free (Mukta), devoid of Maya (Niranjana)
and Omnipresent (Vibhu), Non-dual ( Advaya ), Bliss (Ananda),
Supreme (Para) ” (Nri. Uttara 9*9).
They lead to the conclusion that it is the very merciful Parames'-
vara, the supreme Truth as massive Consciousness and Bliss and as
both Prakasha and Vimarsha ( Chiddnandaghanaparamdrtha-prahdsha -
vimarshdtmd) who divided His own Self into the Bindus making
Kamakala and became Kamakames'varl and other couples who are the
Divya, the Siddha
2
and Manava lines of Gurus. He thus becomes
the whole body of the Gurus (Gurumandalatmd) and protects such as
are truly devout. This is the sense. S'ruti also says :
— “He is this

Atma. The Atma verily is this S'akti. She is the Becoming (Bhdva)
and non-Becoming ( Abhava ), the Being and non-Being.”
If Paramagurunirvisheshabindvdtmd be read as two words as

Paramaguruh and Nirvisheshabindvdtmd then the meaning will be

that the Paramaguru which is another name for Adinatha is the
transcendent (Nirvishesha-Nishprapancha) Bindu who is indicated by

( Lakshana ) Sat, Chit and Ananda. So it has been said :

“ The Supreme Ether (Akds'a) which is the Bindu which is

transcendent ( Nisprapancha ), is Sat, Chit and Ananda, One without a

second ( Nirdbhdsd), in whom there is no distinction of subject and
5
object (Nirvikalpa) and is imperishable (Nirdmaya.)”
The Parames'vara who is like this did Himself become (A bhut)
the Gurumandala the first of whom is Kamakames'varl. “ It is He”
(Sah punah). It is the Paramatma already spoken of, who by degrees
(Kratnena) becomes differentiated (Bhinnah) in the manner to be later
shown as the Divya and Siddha classes from His Vimarsha part
(Vimarshdngshdt). By Vimarsha is meant His own S'akti as Kama-
kala. By part (Angsha) is meant half of this.

Assumes the form of Kamesha (Kdmeshatvang yayau= Changed

into the state of Kamesha). That is He himself became Kamaraja. The
 — .

84 KaMA-KALA-VILASA

sense of this is that it is the Paramatma who of His own will divided

His own self into Kames'varl and as the Teacher (Guru)

Kama and
and the Disciple ( S’isya) brings down all Tantras. S'ruti ( Brha
Ar. .

143) also says

:

“ He divided this Atma into two ; thereby arose Husband and

Wife

Notes
1
Etasyaivanandasyanyani bhutani matram upajlvanti ( Brhad
Aranyaka 4-3-32).
* Siddha —
These form the second class of Gurus in all Tantras.
or Sampradayas have different names for the Gurus of
the
Different schools
three classes.
* Knower and object of knowledge.
 VERSE 51

S'iva theGuru who abides in the Uddlyanapitha did in the

Krta Yuga impart the Vidya to Her, His own S'akti the

Vimars'a-rupini Kames'vari.
Commentary
stated in the
In this verse he further discusses what has been
preceding verse. By ‘Siva’ is meant the Paramatma who is the
author of all ( Sarvapravartaka ). Guru is he who instructs in Jnana

(Jnanopadesta). So it has been said that “ the Guru is means (of

1
success).” ( Gurur upayah)', also :

“ The word ‘
Gu ’
signifies darkness and the word ‘
Ru ’
signifies

that which dispels it, Guru is so called because he dispels darkness.”

Who abides in the Uddlyanapitha. ( Asinah s’rtpithe), By this

is meant that the abode of S'iva is the Uddlyana-pitha within the

innermost triangle.
In the Krita Yuga ( Krtayugakdle). By this we are to understand

that it was in the beginning of Krta or Satya

Age that S'iva imparted
the knowledge of the Vidya. By Vidya is meant the Vidya which is
fully established in all Upanisads and whereby a man can realise his

oneness with the Atma (Atmaikyapradayini )

Her, His
Did impart ( Dadau ). Fully instructed (Upadides'a).
“ Her”
own Sakti ( Tasyai svas’aktyai). The force of the pronoun
is

to press on the reader’s attention the fact that it is She who gives
creatures Sarva-bhutdndm niravadhi-
boundless happiness to all ( ,

kanandadayini). His own S'akti. {Svas’akti). By this we are to

understand that it is She who enables the Lord to manifest His own
Being ( Svasvarupasattdsampradatri). So it has been said:
“ Even the Supreme if disunited from S akti is unable to do
anything. O Parames-ani ! He is capable (of action) if He is united

with S'akti.”
&6 KaMA-KALa-VILaSA

Vimarsarupini. She is so called because She is the Supreme

S'akti which is (lit. is the resting place of) the supreme manifesting
Bliss. (Anuttarananda’Visranti-sthanabhiita-s'akti-para-riipini). So
it has been said, ( Samketapaddhati “ The letter A is the first of all

and is Prakas'a and the Supreme S'iva and the letter Ha is the last
which is Kala and is called Vimars'a.”
Kamesvari. She is so called because She at all times and
in every way grants all objects of desire (Sarvabhista-praddyini) and
is one with one’s own Atma (Svdtmabhuta).

Note
1
Kul&rnava Tantra XVII. 7.
 —) . ) — )

VERSES 52 & 53

1
She who is the Queen and bears the
of the (three) places
appellations of the Eldest, the Middle or the Second and the
Youngest and who is the object of enjoyment of Parama S'iva
assumed the name of Mitradeva. It is She who having first
purified the Gurus (by initiation) revealed the Vidya to them
who are the seeds of the Ages yugas ) the first
(three) (

of which is Treta and who are the Lords of the three Bljas.
It is by these (three Gurus) that the three groups or classes

( Ogha are maintained. Now has been said the order of the
Gurus ( Guruhrama).

Commentary

The tradition ( Sathpraddya ) relating to the Gurus may be put

thus :

True that these two (Kames'vara and Kames'vari) are of equal

high degree ( Samatattvau ) and are identical ( Samau) and S'akti
is ever young ( Ajar a and the Cause of the universe (Vis'vayoni) and

the Sankhayana branch (of the Rgveda) has said “ primeval s'akti is

red (Arttna) * the mother of the universe ( Vis'vajanya) ” yet Parama

S'iva who was desirous of revealing His secret system ( Rahasyatantra

containing the essence of all the Upanisads did so by the aid of
Kames'vari Herself who is the Cause of all ( Sarvakarana rupini)
as is shown by the expression “ Vis’va-yoni or V isvajanyd."
After the creation of the universe in the First ( Adi i.e. Satya or
Krta) Age abiding as He was in the Uddiyatia-pitha which is replete

with the Bliss of His own Illumination ( Prakas'ananda-sdramaya)

He under His name S'ri-carya-nanda-natha instructed the adorable

Lady who is one with Him in the rules relating to S'ri-vidyd
(S'rividydkrama) He Himself says :
 : : )

88 KaMA-KALa-VILaSA

“Verily do I adore the Great centre of the Cakra which

is supreme Bliss and the innermost essence of Prakas'a and Vimars'a
(Anuttara-vimars'aikasdra) and pure experience ( Sathvinmaya ).”
She in the Treta, Dvapara and Kali Ages did in the forms of
the Gurus mentioned below introduce the very secret system
( S dmbhava
f
of S'iva Tantrum). The order of the Gurus is as
follows
Tounderstand the gem of S'rl-vidya (either of) two lines of
(Samtdna ), may be followed. They are the line of Kamaraja and the
line of Lopamudra. The line of Kamaraja is to be found in every
form of Vidya ( Sakala-vidyanusariidhyavicchinna ) and this has been
said by even the Gurus of old. They say that the line of Lopamudra
runs in sections (Vicchinnatayd pravartate). There are in this seven
Gurus of the Divya class four of the Siddha class and eight of the
Manava class 8 The order of the Divya class is as follows. In the
.

beginning of the Krta Age, Parama S'iva Himself who abides in the
Uddlyanapltha and is one ( Vimristatanu ) with Mahatripurasundari
who is His own S'akti ( Svdtmas'aktyakhyd ) is the first Guru under
the name of S'rlcaryanandanatha. So it has been said
“ She who is the body of Kamaraja abides in the Uddlyanapltha
which is in the middle of the (first) triangular Cakra in a soundless
state ( Asvardkaratdm prdpya tryas'rasamgketam adhyagdt ).”
At the apex of the inner inverted triangle which is Kdmariipa -
pltha abides S'rlmad Orddhvadeva-natha who is the Guru of the
Treta Age and is one with Kames'varl the presiding Devata of

Vdgbhava Blja. So it has been said :

“ She who is at the apex of the inverted triangle is Karnes'!

abiding in Kdmapltha”
At the right hand corner of the inner triangle which is the

J dlamdharapitha is Sasthadeva-natha who is the Guru of the Dvapara

Age and who is in a state of inseparate union { Militasvarupa with
Vajres'varl who is (the presiding Devata of) Kamaraja Blja .

So it has been said

“ At the right-hand corner of the triangle which is the J dlamdhara-
pltha is Vajresi
At the left hand corner of the middle triangle which is the
Piirniagiri-pitha is Mitradevanatha who is the Guru of the Kali Age
 :

verses 52 & 53 89

and is one with Bhagamalini who is the Devata of the S'akti Blja
there. So it has been said :
f
u corner of
Bhages'I who abides in the Piirnapltha is in the left

the triangle ”.
Mitres'adeva did in the beginning of the Kali Age bestow his
grace on the venerated Lopamudra and Agastya, the couple refulgent
for their great devotion ( Tapas ). Particulars about the seven who

compose the Divya class can only be known from the Guru.
We now follow the text.
She (So). By this the aforementioned beloved ( Prananayika )
of Parama S'iva is meant. She assumed the name of Mitradevanatha. 4

Here the mention of Mitradeva implies the Gurus of the Treta and
Dvapara Ages. She in turn becomes the Gurus of the Treta and
other Yugas and continues the tradition.
Lady or Queen of the three places ( Sihdnes'd ). That is She is the
presiding Devata ( Is'a—Adhisthatri ) of the apex, the right and left

corners of the middle triangle where She abides as Kames'varl,

Vajres'varl and Bhagamalini respectively.
£ears the appellations of the the Eldest the Second and the Youngest.
(Jyestha-madhya-baldkhya). Jyestha means Eldest or most excellent.
By this expression S'rlmad Urddhvadeva-natha is meant. By Middle
is meant and by Youngest
( Madhya ) or Second S'rl Sasthadevanatha

{Bala, which means a boy) is meant S'rl Mitradevanatha. The Devi

bears these names.
The object of enjoyment Parama Siva {Citprdna-visaya-bhiita).
of

By Cit-prana is meant Parama S'iva because, He is the Svarupa of

Cit and is Prana itself ( Prdnarupa ).

The Mdnduka S'ruti (1, 7) says

“ The wise think of the non-dual S'iva who is quiescent

{S antam) and in
f
whom the universe is absorbed {Prapancopas'amam).
He is not inner or subjective cognition {Antahprajnam) nor is He
outer or objective cognition ( Bahihprajnatn i.e. enjoyer of the gross
5
world) and He is not between these two states {Nobliayatahprajnam ) .

He is not massive knowingness ( Prajndna-ghanam ). He knows not

nor any thing unknown to Him. He is unseen. He is not the
is

subject of (pragmatic) knowledge ( Avyavahdryam ). He is beyond

the scope of the senses of action {Agrdhyam). He has no attributes
90 KaMA-KALA-VILaSA

( Alaksanam and is incomprehensible and cannot be described ( Avya

-

padesyam), but is the essential experience of one Self ( Ekdtma -

pratyaya-sdram ). He deemed to be the highest (Caturtharh^lit.
is

Fourth). He is the Atma. He should be known.” S'iva is thus

Cinmaya according to S'ruti,
In the same way S'ruti speaks of Him as Prdnamaya also. The
Chdndogya (7-15-1) says:
“ As the spokes (of a wheel) are fixed to the hub so is every
thing fixed on to this Prana. Prana moves by Prana ( i.e . by its own
S'akti). Prana gives Prana for the propagation of Prana ( Prdndya ).
Prana verily is father, Prana is mother, Prana is brother, Prana is

sister, Prana is preceptor ( Acdrya )

The Devi is the object of enjoyment ( Visayabhutd^Bhogyabhutd )
ofParama S'iva who is as above described. So it has been said “ This :

Deva ever wishes to have the pleasure of playing with this Devi.”
The Supreme Lady of adoration ( Pardbhattdrikd ) who is as
#
above described, revealed (Prakds'aydmdsa) the Vidya to the three
Gurus who are the seeds of the three ages beginning with Treta as

has already been described.

The words Sthdnes'd Jyestha-tnadhya-baldkhyd and Cit-prdna -
,

visayabhiitd may be read in the plural accusative to qualify Triguriin.

The interpretation will in that case also be as given above.
The Lords of the three Bijas ( Bija-trltayddhipatin ) The three
Bljas are Vagbhava and others. They are the Lords ( Adhipati in
the sense that these Bljas indicate them. These three kinds of
Gurus ( Trividhades'ikan ) the Devi first purifies (Parlksya = S'odha-
yitvd). By Vidya meant the Adividya which issued from the lotus
is

mouth of Parama S'iva and is the Cause of all causes. The Devi
revealed the Vidya. By this we are to understand that She instructed
( Upadides'a the Gurus in the Vidya.
Here by the statement, Revealed the Vidya having purified them.
( Pariksya vidydrii prakdsaydmdsa ), we are to understand"* that the

most excellent Guru who is Sadas'iva (S'ri-Sadds'ivdtmd) instructs in

this path which is in accordance with immutable tradition (Sat-
sampraddya-siddham), the disciple who has for a long time done
Atmopasana, has controlled his inclination (Santa), has conquered his
senses (Ddnta) and seeks initiation (Upasana). So it has been said ;
 VERSES 52 & 53 91

“ O Great Queen, it is after initiation that the Guru should give

instruction relating to Sadhana of the Vidya

Initiation ( Diksa ) 7
is of three kinds namely Anavl, S'akteyl and
S'ambhavi. It grants union ( Sayujya ) with S'iva. In Anavl Diksa
the special articles of worship are necessary. There is also needed

intense devotion to, and Tarpana and Dhyana of, the Para-Devata.

S'akta initiation is for the attainment of Siddhi by the Sadhana of

that particular S'akti for the worship of which a disciple is qualified.

So it has been said

“ When the Guru perceives that the disciple is ready for Sadhana
of (any form of) S'akti he should then initiate in that (S'akti) alone
without hesitation. This is called S'akteyl Diksa, ”.

S'ambhavi Diksa has been thus described :

“ S'ambhavi Diksa, is that which by the mere grace of the Guru

makes manifest the S'iva state (S' ivata-vyaktikarinl ) * and produces
the Bliss of S'iva. The preceptor and the disciple should be selfless
and without worldly desires or motives.”

In the absence of any such initiation there can be no competency

for Sadhana. Initiation to be fruitful should be the outcome of mere
grace of the preceptor unmixed by any motive. The preceptor is

bound to initiate even at his own expense if the disciple though

qualified for initiation is unable to incur it. If the Guru himself is

also unable to procure the necessary articles then he should do it in a

concise form. So it has been said

“ The Guru should himself with his own money initiate the poor.

He should liberate the disciple by Diksa and use Durba grass and
water if nothing more can be had.”
The conclusion we thus arrive at is this — that it is only he
who is fully initiated who is competent for Brahma-vidya. It has
already been said that initiation becomes effective by propitiation
(Samtarpana) of the Para-Devata. Samtarpana or propitiation

can be done by the offering of oblations of particular kinds

of liquid substance used in particular Ages. For it has been said :

“(Oblation) of DevatSs however is by nectar.” The liquid

substance is wine which is like excellent nectar. With this
alone can offering be made to Para-Devata, like Soma in Agnistoma
sacrifice.
 — :

92 kIma-kala-vilasa

Now if it be said that there is prohibition in texts like this

“ The Brahmana should not drink wine nor should he eat flesh,”
we reply that we do not say that oblation to the Para-Devata should
be made by transgressing prohibitions applicable to particular cases
and prompted merely by one’s own desire. In what we have said we
are convinced that this S'ambhava Dars'ana is based upon the teach-
ings of the Upanisads. Now it may be said “ what about the prohibi-
tion ? ” The answer is that this prohibition applies to the man who
is uninitiated. For the initiated the best way of offering oblation to

Devata is to make it with wine. In the Sarhkhyayana S'akha which

is extracted from the ocean-like Rgveda, it is stated that divine

dignity and dominion can be attained by the worship of the

9
Adisundarl thus :

“Those, who after having fully realised Her offer oblations (to

Her) in the S'rlcakra which is inseparate from their body, with wine
10
which has been converted by purification become into nectar ,

delirious in the excess of their joy, dwell in the high region where

there is neither pain nor sorrow and enter the Supreme Light of
Tripura.”

Notes
1
The three angles of the triangle (Kamakala).
3
colour of the Rajas Guna of Krya S'akti.
The The text quoted
above from the Tripur amahopani$at but greatly mutilated though the
is
sense is not. It is the second half of the 14th Rk of that Upanisad and runs
thus : —
Samapradhdnati samasattvau samojare tayoh Saktirajara
vis'vayonih. As quoted in the text it is not quite correct.
8
The Lalitarcana-matljari gives the names of the Gurus as follows.
The seven of the Divya class are (1) Paraprakas'anandanatha, (2) Paras'iva-
nandan&tha, Paras'aktidevyamba, (4) Kaules'varanandanatha, (5) Suk-
(3)
ladevyamba, Kules'varEnandanatha, (7) Kames'varyamba. The four
(6)
Gurus of the Siddha class are (1) Bhoganandanatha, (2) Klinnanandanatha,
(3) Samayanandanatha, (4) Sahajanandanatha; the eight of the Manava
class are (l) Gagananandanatha, (2) Vis'vanandanatha, (3) Vimalananda-
natha, (4) Madananandanatha, (5) Bhuvanandanatha, (6) Nilanandanatha,
(7) Atmanandanatha, (8) Priyanandanatha. Those of the first mentioned
class should be worshipped behind and the other two on Her left and right
respectively.
4
C/. Tantraraja xxxv :

Gurur adyd bhavec chaktih sd vimars'amyl mat’d %

 verses 52 & 53 93

alsoBhdvanopanisad I
Srlguruh sarvakdranabhutd s'aktih.

1
That is He is not the state between Jagrat and Svapna.
,

Cf. Tantraraja (Tantrik Text vol. VIII)

# ch. 1. v. 8

Taya fair bhuvane tantram kalpe kalpe vijrimbhate .

(She, the Devi, age after age reveals Tantra through them (the Gurus).
1
The Gandharv at antra speaks of Mantrl Saktl and S dthbhavl.
,

According to another reading Sivatadatmyaddyinl which means

# “ ”

that which brings about a sense of inseparateness with S'iva.

9
Tripuratnahopanisad. Rk 7.
10
The text has Surayd but Bhaskara reads
‘
1 *
Sudhaya and
’ the latter
reading has been adopted in the translation.
 ) ) )

VERSE 54

This is the end of the description by Punyananda of the

playful movements of the beautiful woman Kamakala which

ever attract the desire of the amorous Para S'iva.

Commentary

This is the end (Iti), The particle “ Hi ” indicates the end of the

book composed by Punyananda (Uditah punyanandat). The literal

”
meaning of the expression is “ as arisen from Punyananda the author.
Playful movements woman Kamakala ( Kamakalanand
of the beautiful
-

vilasah). By Kamakala is meant Vimars'as'akti who is inseparable

( Avinabhuta )
from Kames'vara. She is the beautiful woman ( Angaria
whose Vilasa amorous movements appear as the form of the
or

Cakra, the Avarana-Devatas and the like. These amorous move-

ments which have been caused by seeing Her beloved (i.e. Para-S'iva)
always ( Nityam ) attract the mind or heart ( Citta ) of the amorous
(Bhujanga=Rasika) Para-S'iva whose nature is pure Illumination
(Prakds'aihasvabhava) by producing in Him an excess of desire
(Bhdva—Raga).
If “ Bhdvdkarsnaharsaya ” be read for “ Bhavakarsitacittdya ”

then the meaning will be that the sight of the playful movements
produce in the amorous Para-S'iva that gladness which accompanies
the experience of the emotion of love. In ordinary life ( Loke’pi the

sight of the amorous movements of the beloved produces in the mind

of the gay lover a sense of gladness which is accompanied by the

sentiment of love ( S’rngdra-bhava ). In the same way the play
Vilasa ) of Kamakala who is Cit-S'akti which express itself in the
(

way She walks ( Padaviksepa and in other movements (of Her body)
produces infinite gladness in Para-S'iva who is facing towards and
looking at Her who is His own S'akti.
 .

VERSE 55 95

The name of this book is Kamakalavilasa. It is written by and

therefore has emanated from ( Uditah ) Punyananda. This book

always gladdens Para-S'iva.

VERSE 55

Obeisance Lord the boatman {S'ririatha-

to the venerated
nuvika) by whose grace I this Ocean of Wander-
have crossed
ing, the waters of which are desire ( Trstmsalila) and the
surface whereof is restless with the waves of anxiety ( CintU -
tarangacapala)

This is the end of Kamakalavilasa written by Sri Putiyananda Yogi.

Commentary

“ Ocean of wandering ” ( Prapancavaras'i) By Prapanca is meant

.

Samsdra or Wandering which is ocean-like (Vdrds’ih=Varidhih).

May good be ( S'ubham astu).

This is the end of Cidvalli composed by S ri N atananandandtha.

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 APPENDIX 1

Index of Half Verses

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 APPENDIX 2

Index of Works Quoted

as,
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qaqiHHT, a^
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APPENDIX 3

Index of Authors Quoted

sqftqqgaqRT:, ^X, X't, *X qsRR^s/Wt, is,

3?T«S^r:, U, IX, XI, XX, X«,Xv,vX »?Tf«5!ftfq5iqq;rc:, \»v

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 APPENDIX 4

Index of Citations

9? 9?fs*3cia*333q ,
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gfggpg g§g, 3*, ^® 3fi® v<> fgregg gggjggt, sag® qg» v-3-3

f^H34 s%^uj, 3®, fagT® fgRgqag>arqgi® q.'A, fggr® gr®

fL$g^q fwfarn® v3 ,
grn® 3-** f4=eagi ggfsgl, \, aas® |® ^

OSSRSjfgfK fgag, 3 v, %g® 33 ?g^gg agaeg, atrai®

 q^qa, <n, ^a® v-i*
^aif^ifan^® 'R, «im«r:

^31^*141^® WT® *1 -'*'° %w«qw:, x*>, sr ? 4t® i-v-S

steram, sfe® *- 1 *
| 5 pre*nfq >,
3 %qwxi 5i^F%, V\, ?ifa:

^551 ^:, *i\ v»°, i*irai% afsuRH, ’U, asi® X

ffg?i %afacqr g, *fa? 5r«
5gqu4 f.3 n^[o ^fa®

SR^IrRT flsfan, v*, $*° *f°

Abbreviations used in the Appendix IV

8f3f® a» fgo aft&rar^fefe: %q~q° %q^qfgq^

awlfiw: qfcft® ^qftqgqftqs:
3w4®
aifV?3^ir: ift® fa® 4jrufq^i
Slffl®

3ifa®g® aifwggaaqi^i: ^3® qg-.iiiat

mz* fa^® *®

^o go awfaffra^ fq^r® ftRra^rcraT

3

3Ufirccti*: faf|® faftaie;

attSIT®

|5l« ^5® ^fHftftqgi

gq® sqftqgL SI?4t® Sf^wm

3J® *3® sBfgfen tfa® ar®

^cl® %fa® 3® afmftftftqa;

^go g« fsfS® 3® ftgdqftq^

*53® q;5tqftq<*. ft® ?® ftsuwt

q>rai® wi® qjMroqqiffoq, fts® ftww:
$55f<facl«m, cTf» gRildrfqsft
jar®
 55§o 553 ^ 51 ^:
»
q(«» io

TOTo qt°
g«
qwi’etqfqqci

qw^jpj:
qwqfqq'tq't
3fs5o

qm»
sfeaVmniFin
qi?Rq<ta>i.

W° q0 q^rqsarfe^T v am» qtq¥sw;qg

Wo 5Tfo q^rar^Ri^r f%fIT« «•
q<ro qr® quqraqr siq^o qN*raf$:

qrfoio go qrfafagjPi; ??%« 5lfgiqf|s*cF3:

1° go f^iqo go raqgaq. _/

sr«jo a^qfqqq f5tq° i° %qgaife: J

5jc^o qtfo acqffliiraft^T / fw® faqR'5:

Rc^o scqfaurf^qn. ^ Wta?qo

STW® anT[faiq;qqqq; ’atarno MfaropF*:

f5?R«T«q; %Cf»

m* a#qfqqq. qgo ^• qsFqqnircaJi

*{o qr« ^qqrqag qgo qijo qgyqqgiqqn
k?To qr» aiRRR'ntqf^qci S%o g%aqi;fci:

mwfo ur«5^ftq^?t gf^o wtRTsiwpircRr

fllfeo mfoftrqsrq: g° go gqiatqftq^

go^o g*?o gwter:
q^o q$:gfa: g«o qjo gqqt^Jiqrg^r

qlPlo £o qtfoft?qq»i; f 0 an 0 aWqg^qt^g.

qtfto f« cqfo jftfoftfqqsqpRr star® |o sW*F?^
gio wrarofa?: ^q^o
?fo ari^o ^qxfjo *qxg;q<F;an.

*5« airar* w^rrawi/ i% o ^qt^’srig

*5* 3« ^qtqftqq: BiRfo 9FfSF[?cia:
 APPENDIX 5

q^q pif ^IT HfSIT: aggRqRJRWg®, *\

Art giftrer®, c\
WREta:, <rv

qafqtffig;, *»
^qfqqi *t‘-, *\ 5Rf®
qj-2-q.q.qqqq:,
$55T° f551<n^5rn, C*l
wfaiRFm®, *%, 3'?T® V<£<
^?sU ° q ; ^rc3N!Jl ,

05^*ire^, S^r: fqRr: aqf:, <sX, $3T® xvxv

gjqt®

a;^o fiJSRRiq;, *\, c\, 1\,

g^qR:, fgq® VS
fewr® t\ =qqR q XlfrfifiT:, cc, cF^® ^-X
,

qif&lo qrfoift^q., «v ^RTtJW WRT®, 6\

fqi55o ftsf^q,, adt f<RR?: t\ a?5T® V»-X°
s?qgTRsrRR*3t:, c\
qrrcqr® g?5jT! wnlwm, *x
%r® ffcrcgR, cFURgrtta
c|
fagrl;, sircqi® xv
<T5^qi q f ^T 5R^ff?;: cR^T ftsiFW^T, „ X*

ggaRS*:, 6 % d^gfaga^ gft, *\, arcs® X-X-*X

q^jsqrqqdt 5R:, C'*
gRjfaT:, <S
ftfaqsR:, *% ^gsffans*^, <c

%55gffl:, ^RqTffsW, cv»

JT^WTO:, <j<\ ?r «a?d fetd, <\

faanjpff a^ft, ^RH® IS'**
n^JWRf 5TJTFR|h>^RT
ftgn?rwT%PWfsit, <f^® v»-x*
fSfcqrifltfteraR:, **
STfrat qmdt *rfd:, c\
%fa*tT3 ,
areqr urir qR^ft, arc^T® xv
srgr*n
aTsjqteqiftRrcr, 6%, 3?5I«» ^-X
q*T9RR*Fq:, s'!, OTRT®
a?fRT ei?i 3®4, srcqr® «)v
SWI RS?ft fasir
sreteJRifaft, <z\ qrfa® <-V"
„ „ „
rraw^r gdft, fqiR®
^rvq^Ti^a^n^:, cv»

ansrotwT qt ?nro, & mg^iHji5ir«ng:, *s»a^®

srrfrM qqgqR:, cc tu^qji^rrq a^® ^
jftipdt dt ji ^Rifa, siR^r® xv

3*01%
d
%* foxjtfc, <sx q^i qg w Tq°% ^
U°
*T^5T», C\ arm: aS^T areatfo t\

arfa^ar: aa> at fa® SSaTfaafsaP^rffl, *X 3*a® X*-XX

araroar sasnai, <:s siaarat^ e$£tqr*R, c%, ft<ar®

*T5iat 5TX5I <R:, <\ 5F5T® X'M® s^asaffr sa>s®, *x,fsr® v-xx*
^ 5:, c*, faffs® gaararjaar g?r, *x, =a*xr® xx",

«[?% ua 0"^« saaraVft, c%, faRr®

sraRiaftfa: H^rama^, *\ saaa: atw, «\ ?Ra« x*-XX

arm: q?fwm:, c% *ataa?ar ?^ar fasir, c\

^ait: fqar^fa, vm» xv ?a: a? q^rrfa, cx, sircar® xv

«fta$X*ircg SR>a:, «> a*a® X«-XX §€: gtsi TFaaa:, c\

Addenda and Corregenda

Page Line Page Line
V <x gas?qrear VX XH fa:?
m\ %wr<r% vX c aaa
yy
XX
<x sa^a: V'* V arg^R^Rklfcegraq-
x
<)v» “patera”, “srrarcfca sfaataan
ft

srcaft
”
V V fa^afea®
i® X'X ctTarcfa <VX a'ftaffatfr

xx X® a f$r M 77 faaarfi?arf*iar®

xx X sarfarja \\ fa?a^

XX *ftaatfs: XX %ar a*r®

<16
xx XX ^siajrsrfasftfa"?) XX airarfa®
<*•
Xv» xv 3a^%® XX fsraR®

ft
X® atarftsa^ Xv X ffaaat:

a® X SfTCaa'tanafer: 71
V* ss:

Xv X'A rtrarcfts V\ n ^IR^o

XX V Xfrfs, “fasr® * ?a: gftaar:

XX “ sar aarrst® v*y fast®

yy

yy
XV a*aar NfVS ^ «rfa*r

XX arcStarsfassafa <JV» qgsrreiTfa

X* l»

XX “ %asi> «U g?a?at
X* 71

XX arffaufMiir ci aasq a
77

77
XV fsratsafafa \% \ garfs®
V° V Sir sftfor V <\c gatxafa®
By the same Author

THE GREAT LIBERATION

(MAHANIRVANATANTRA)
Commentary
Sanskrit Text, English Translation and

CONTENTS
CHAPTER
Preface
Beings
I. Questions Relating to the Liberation of
II. Introduction to the Worship of Brahman
Description of the Worship of the
Supreme Brahman
III.
Purification of the
IV. The Mantras, Placing of the Jar, and
Elements of Worship
the Mantras, Placing of the Jar,
and
V. The Revelation of

Purification of the Elements of

Worship
Formation of the
VI. Placing of the Shrlpatra, Homa,
Chakra, and other Rites
the
VII. Hymn of Praise (Stotra), Amulet (Kavacha), and
Description of the Kula-tattva
and Ashramas
VIII. The Dharma and Customs of the Castes
IX The Ten Kinds of Purificatory Rites (Samskara)
S'raddha, Funeral Rites, and
X. Rites Relating to Vrddhi
Purnabhiseka
XI. The Account of Expiatory Acts
Dharma
XII. An Account of the Eternal and Immutable
XIII. Installation of the Devata
and Description of the
XIV. The Consecration of Shiva Linga
Pour Classes of Avadhutas
again willed it and
“ It seems as if the World-Mother has

again desired to manifest Her

Power so that Arthur Ava on
has
beautifu avers
is studying the
Tantras and has published so
” Sahitya.
of the Mahanirvana

Price Rs. 30/-

3rd Edition (1953) Cloth
Bound-Over 1,000 Pages.
By the same Author

PRINCIPLES OF TANTRA
(TANTRATATTVA)
CONTENTS
Part I

Appearance and Applicability of the Tantra

I.

—
Scripture II. What -is the Necessity for the Tantras
—
when there is Veda ? III. The Ephemeral and
—
Modern Monism IV. Gayatri Mantra and Image
—
Worship V. Commands of S'astra VI. Worship —
of Devatas —
VII. What Is Shakti ? VIII. What —
Is S'akti ? ( Continued) — IX. S'iva and S'akti —X.
Worship of the Five Devatas.

Part II

On Mantra — XII. Lettered and

XI. Unlettered
Sound — XIII. On the Guru — XIV. Discussion
Upon, and Selection Of, the Guru XV. Worship —
in —
General XVI. The Play of Gunas XVII. Outer —
—
Worship XVIII. Ordinances Relating to Worship
—
XIX. Ceremonial Worship XX. Ceremonial Wor-
ship ( Continued).

The Treatise is the most remarkable pronounce-

ment on the subject which has yet appeared and
Mr. Avalon is to be thanked for making it accessible
to Western readers. It is full of points of very great

interest. The Quest.

Second Edition (1952) Cloth Bound — 1200 Pages. Price Rs. 30/-
—
1