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FRONTISPIECE

SAUNDARYA-LAHARI

(THE OCEAN OF BEAUTY)

S'RI S'AMKARA-BHAGAVAT.PSDA

WITH

Transliteration. English Translation, Commentary^
Diagrams and an Appendix on Prayoga

BY
PANDIT S. SUBRAHMAlifYA S'ASTRI, F. T- S.

AND

T. R. S'RINIVASA AYYAlfJGAR, B.A., L.T.

THE THEOSOPHICAL PUBLISHING HOUSE

Adyak, Madras, India

1948

First Edition 1931
Second „ 1948

INTRODUCTION

The Saundarya-lahari, " the Flood of Beauty '\
eminently shares the characteristics of (i)
a Poem displaying the finest touches of
poetical fancy, (ii) a Stotra, Hymn in praise
of the Goddess Tri-pura-sundari, {Hi) a series
of Mantra-s, mystic formulae, to be used by
the Upasaka along with the corresponding
Yantra-s, Diagrams, wherein the Devi is to
be conceived as abiding, and (iv) an exposition
of the Agama-s and Tantra-s, bearing on the
worship of the Supreme Being in Its aspect
of the S'akti, Creative Energy, known as the
S'ri-vidya, embodying the underlying principles
of Vaidika-dharma and as such having the
sanction of the Veda-s. In its first forty-one
stanzas it encompasses the Snanda-lahari,
*'the Flood of the Blissfully Sublime ". As
the very names and the design of the two parts
indicate, it points, on the one hand, to the way
of approach to the Paramatman, attainable

only through true spiritual devotion and know-
ledge of the real nature of the Paramatman,
supplemented by the successful accomplish-
naent of the highest Yoga of Nir-vikalpa-
samadhi ; on the other hand, it leads in eiffect
to the merging of the Jivatman of the Upasaka
into the non-differentiated Brahman, so ex-
quisitely expounded in the Upanisad-s and
other authoritative works dealing with the
Monistic Ideal of the Vedanta, through the
worship of the qualified Brahman, so well
portrayed in Stotra-s, Agama-s, Tantra-s^
Purana-s and the Karma-kanda, thus typifying
Nir-gunopasana through Sa-gunopasanS in
essence.

A unique feature of the Sanatana-dharma
©f the ancient Rsi-s of this Punya-bhumi of
ours, which has enabled this time-hallowed
system of theirs to endure through the ages,
consists in the fact that it is elastic and
comprehends systems adapted to the capacity,
idiosyncrasy and stage of development attained
by the various classes of persons owing allegi-
ance to it, from individuals on the highest to
the lowest rungs of the ladder of spiritual
Evolution. The highest forms of worship

envisaged by the Vedic Seers of yore stand
far above the ken of the vast majority, for
whose delectation suitable forms of worship of
VisQU, S^iva, the S'akti and other Vedic deities
have been elaborated by the large number of
Agama-s, Tantra-s, Purana-s, Itihasa-s, etc.,
all within the ambit of the Vedic ideal, and
these have captured the imagination of these
classes and continue to hold sway over their
minds even to the present day.

One of such forms of worship is the S'ri-
vidya, the worship of the Supreme Being in
Its feminine aspect of the Sakti, Creative
Energy, which embraces two forms : (t) the
Internal, meant for the more advanced, assum-
ing the character of worship of the Supreme
Being in the aspect of S'iva conjoint with thp
S'akti, at the various centres of energy of the
human body, passing through various stages on
to the highest, eschewing all rituals and cere-
monies ; and (ii) the External, intended for the
less evolved, assuming the form of worshipping
Yantra-s inscribed on the Bhurja leaf, gold
and other metallic plates, coloured linen or
slabs, to the accompaniment of the repetition
of particular Mantra-s made up of the

vin

Matrka-s, with appropriate gestures, postures,
facing of particular cardinal points, offer-
ings of Dhupa, Dipa, Naivedya, etc., all
with a view to acquiring special psychic
powers, gratification of specific desires, etc.,
of the Upasaka. The former, known as the
Samaya-marga, is based' on the Samhita-s
of the S'ubhagama-pancaka, the works of
five great Seers, and does not, in any way,
run counter to Vedic principles. The lat-
ter, known as the Kaula-marga and dealt
with in the sixty-four Tantra-s, although
primarily intended for the worship of the Devi,
has, in course of time, afforded scope for
the inclusion of vulgar practices (Vamacara)
smacking of Kapalika and Ksapanaka usages,
appealing to the venal side of human nature
and exercising a demoralizing influence on the
vot;aries to an extent not countenanced by the
Veda-s. These unwholesome features of the
Sakta cult began to weigh on the minds of
high-souled reformers of the type of S'amkara-
bhagavat-pada, who soon opened a crusade
against such practices by expounding the sub-
lime truths of the Samaya-marga in their
writings and preachings, with a view to uphold

the beautiful methods of the Samaya doctrine
and supplant the ugly features of the Kaula-
marga. Hence this work is appropriately
called the Saundarya-lahari, the Flood of
Beauty, washing out in its torrent the filth ac-
cumulated in the Kaula-marga and restoring
the purity of the S'ri-vidya in relation to its
external forms and ceremonies. In this laud-
able attempt he seems to have been ably
served, in a later generation, by Laksmi-dhara
and Bhaskara-raya, two celebrated scholars
and stalwart mystics acquainted with the inner
working of the worship of the S'ri-vidya, in
thqir commentaries on several works relating
to it. Laksmi-dhara's zeal for the preserva-
tion of the Samaya-marga in all its purity and
for the reform of the Kaula-marga is so great
that he even steps beyond the province of a
mere commentator and differs from the author
of the original work in matters of detail, where
he thinks his own personal experience of the
recondite practices warrants him to do so.

S'rl S'ainkara-bhagavat-pada is accredited
as the author of the Saundarya-lahari^ by

^ Vallabha-deva, who is assigned to the fifteenth century a.d.»
in his Su-bhasitavali, quotes the twenty-seventh stanza of this work,
ascribing its authorship to S'ri S'anikara-bhagavat-pada.

Laksmi-dhara, Bhaskara-raya, Kaivalyas^rama,
Kames'vara-suri, Acyutananda and a host of
other commentators of the work. The author
of the gloss, Sudha-vidyotini, on this work^
however, ascribes it to his own father, Pravara-
sena, the son of Dramida, a king of the
Dramicja country, and says that on the strength
of the information directly obtained from
his father he wrote the said gloss. There are
others who say that S'iva himself is the author
of the Stotra, and yet others who maintain
that it had its origin in the teeth of Lalita,
the Prime S'akti.^ Those who ascribe it to
S^amkara-bhagavat-pada also aver that the
Dravida-s^is'u, referred to in stanza 75 of the

^ There is yet another tradition about the prime source o£ this
work. The story_ goes that Sanakara-bhagavat-pada, who is
considered to be Is'vara incarnate, paid a visit to Kailasa, clad m
the robes of a mendicant, and took the Mantra -s'astra placed by
the Devi on the throne of Is'vara. "While he was about to leave
Kailasa along with the spoil, Nandikes'vara, who was on duty
hard by, snatched the book from his hands. After grappling with
him for a while, the Acarya succeeded m retaining a portion of
the book, which contained the first forty-one stanzas of the
Saundarya-lahari, to which were added fifty-nine more stanzas
composed later on by him to complete the work. All these
traditions apart, any unsophisticated student of the S'ri-vidya,
after a thorough and close study of the literature bearing on it, is
bound to arrive at the conclusion that this work of S aipkara gives
a faithful rendering of the views of his Parama-guru, S'ri Gauda-
p§da-carya as expounded by him m the Subhagodaya, m the first
forty-one stanzas of this work for the delectation of the more
advanced student, rounded off with a highly poetic adoration of
the Devi, in the latter portion.

work, is S'amkara himself, one of them, Kaival-
yas'rama, even going to the extent of making
a remark, in his gloss on one of the stanzas,
that it is not found in the manuscripts of the
Malaiyalam country, seeking thereby to fix
the Malaiyalam country as the place of origin
of the work and indirectly hinting that
S'amkara-bhagavat-pada was a native of
Malabar. The fact that there are as many as
thirty-five glosses of this work known to be
extant in various parts of India, of which only
one attributes the authorship to a person other
than S^amkara-bhagavat-pada, at least affords
us greater proof of the genuineness of S'arn-
kara-bhagavat-pada's authorship of this Stotra,
than of several other Stotra-s ascribed to him.
Even if the reference to the Dravida-s'is'u in
the work be taken to point to some other
person, whether it be Pravara-sena, as is
claimed by one of the commentaries, of S'rl
Jiiana-sambandha, as is claimed by some
chronologists, one noteworthy fact results out
of this reference, ws., that the Dravida-s^is'u
must either have been a contemporary of the
author of this work or one belonging to a
prior period. Till the identity and other

Xll

antecedents of Pravara-sena, king of the
Dravida country, are fairly well established
and his chronology fixed with a fair amount
of accuracy, we are not warranted in
drawing any inference therefrom relating to
the genuineness of the claim put forward in
his favour. As for S'ri Jnana-sambandha, who
is said to have flourished about 1,200 years
ago, if the Dravida- s'is'u under reference is to
be taken to point to him,' we have to infer that
S'aipkara-bhagavat-pada, to whom almost
universally this work is attribrfted, must have
flourished in the eighth century A. D., an
inference which is supported by the view of
European scholars that S'ri S'amkaracarya,
the author of the S'ariraka-mimamsa-bhasya,
flourished, between a. d. 788 and 820. If the
opinion held by Indian scholars that Adi S'am-
kara flourished in the sixth century B. C. should
be adhered to and this work attributed to him,
then the internal evidence afforded by the
Dravida-s'is'u will be perfectly useless, unless
some other Dravi4a-s'is'u answering to the
description is dragged out of oblivion and
presented to us as the one referred to by
S'aipkara-bhagavat-pada. We are loath to

Xlll

acquiesce in the view that S'amkara-bhagavat-
pada sought to refer to himself as the
Dravida-s'is'u indicated in such vainglorious
terms in the poem. We *are therefore of
opinion that the Dravida-s'is'u referred to is
S'rl Jnana-sambandha and that this Stotra is
the genuine work of S'rl-S'amkara-bhagavat-
pada, who lived in the eighth century a.d.

In editing the text of the work, we have
mainly followed the work published by the
Government of Mysore as No. 11 of the
BiBLiOTHECA Sanskrita of the Government
Oriental Library Series, after adopting suit-
able readings wherever we thought it neces-
sary. The various readings gleaned from
the commentaries of Laksmi-dhara, Kaival-
yas'rama, Kames'vara-suri and Arthur Avalon's
edition of the Snanda-laharl have been given
as foot-notes under the several stanzas, and
we hope that they will afford an opportunity
to the reader to appreciate the various
shades of meaning sought to be read into the
text. In the English rendering and the
commentary of the stanzas we have largely
drawn from the mine of information available
in the commentaries mentioned above, the

XIV

Malaiyalaixi commentary of Brahma-sri Kan-
tiyur Mahadeva S'astrin and the editions of
the Ananda-laharl with English rendering,
notes and comments by Arthur Avalon and
R. Ananta-krsna S'astrin. We may add in
this connection that the MS, copy of the
commentary, Arunamodini of Kames'vara-
suri, which has not so far been published
and which contains a fund of rare material
for the elucidation of the work, was made
available to us by the courtesy of our friend
Mr. T. Vis'va-natha Rao.

We have added in the form of an appendix
the Prayoga relating to each stanza, gleaned
from several sources for the benefit of Upasaka-
readers and ja preliminary note at the end of
the first stanza as to the detailed procedure to
be adopted for worship, common to all the
stanzas. The Yantra-s relating to each stanza
will also be found inserted in their proper
places.

In this connection we would strongly recom-^
mend a close study of the * Varivasya-rahasya *
by S^ri Bhaskara-raya ' The Serpent-power ' by
Arthur Avalon, and *The Cakra-s' by the
Rt. Rev. C. W. Leadbeater to advanced

students of the S'ri-vidya, who will find therein
plenty of interesting additional material relating
to the Cakra-s and how far the practitioner
could rely on them in the course of his practice,
as also the pitfalls to be avoided by him- We
have however to sound a note of caution here.
The very essence of the S^ri-vidyS consists in
its being availed of by its votaries to serve
lofty and altruistic purposes. Hence care should
be always taken to see that it is not dethroned
from its high pedestal, to serve ignoble and
selfish ends.

We have, in conclusion, to acknowledge our
deep indebtedness to M, R. Ry. R. Krsna-
svami S'astrin, B. A., the celebrated scholar,
for the various suggestions and explanations
of recondite portions so kindly offered by
him in the course of our work.

Tanjore S. Subrahmanya S'Sstri

15-10-1937 T. R. S'rinivIsa Ayya^gSr

NOTE

The modern system of transliteration has
been followed in this work :

^ a, ^ a, f i, t i, gr u, 3» u, ^ r, ^ f, ^ 1,
^ ll, ^ e, ^ ai, sqt o, 3^ au, — in or lii, : h,

^ k. ?^kh, JX.g, g^gh, ^n,
^c, ^ch, ^j, ^jh, ^S,
5^t, 5^th, ;i;d, ^dh, oi;n,
cj;t, q^th, ^d, ^dh, ^n,
IP, "^ph, l.b, :i^bh, \m,
\Y, 'C.r, ^^1, q^v,
^s', ^s, g^s,
? h, ^ 1.

3r^^TOf^5FinJT j^^ijEji^iteT

Stanza

Page

Stanza

Page

^^%^^^ .

;^o^

i%^ q^^r^^

v*^

^^r^ %

nv^

T^r^ct qfsirc^Ti: .

\\<

3?^m%%§ .

^YO

1% 'fi^!*4:3Ji^1J^ .

1v»<5

^l\^: ^mj^^J^

*=i^s

^I^fi^^^ic^g^ .

'\%^

Brfl^Iprpg^

5n%\?irfecT^: .

\-\

3|f%?3fFcHl

"W^

Fi^Rif%T:n .

^VNS

m^ frrem: .

^'^i

m^i ft^ciR'a: .

^^^

^: #

. nv^^

=^l:^sm ^A: .

*i^v

. H>f*^

=^af^: ^'^^''3:

^\m ^z^H^ .

. ^*>*i

^^ic^ci 'Sficrr ,

^ o o

^s^m W^\:

. W\

^'Tt ^'??'?:

"i»K

^^1: ^l^ .

. Hv^

^f%c^=^ ?a4c^l

. IM^

^^Ti ^^J^^, .

. "5^^

ctR|^cl?4tll .

■ ^^

^^tm ^S[^o .

. "i^^

^ift3?M ^fsq^ .

. \%

^#^iyrin

^gxgsi^fir^% .

^.%

i%??^7<?l¥2r: .

^sr '(rc(i^fl

. ^"^^

f%(][^lR!i^ .

. ^o^

cT^ ^rf%si% .

. ■»>,«»

W^ Hil'Mwi

. ^^^

ciq[^^5jj^«r5g[^ .

. in

^Mt # .

. 'J^v*

XVlll

Stanza

Page

stanza

%% >i:sros;f .

Page
c

XIX

Stanza

Page

Stanza

Page

?Ii^55?3^g: .

"i^c

'FJ^S^^F^'^^o .

I^VS

ms^m: '^i

%cS

B^i 3ftfty^ .

1^\

g??^irr ^tjif

f^5Rrf3#OT3TT^qi

. ISK

grMfrnkni

^^^>^Tf^: .

11^

asiT«IRTSSeR: .

^^qs^I^Io ,

. ^I^*

^ ovs

iR^c^WRI^^T .

. \%

imfe?^fr«^ ,

-^^

fi*iii?t i^ctsjni

. Wi

f^^d ^im=^<:i: .

. \\<>

SAUNDARYA-LAHARI

The votaries of the S'akti, the Kundahni, may be roughly
divided into two classes : the Samaym-s or those who
belieye m the sameness of the S^akti and S'iva, and the
Kaula-s or those who worship the Kaulmi, the sleeping
I^undalmi, i.e,, the &akti, which resides in the MtUa-
dhara, which is known as the Kula-plexus. The former
believe in the rousing of the above Kuridalini, the
grossest form of Cit, and its being worked up m succes-
sive stages, by UpasanE, Tapas and Mantra- japa,
through the six Cakta-s, which are the centres of Energy,
on to the thousand-petalled lotus, wherein abide the Sat
and the Cit, and where the unification of the Jivatman
with the Paramatman is to be effected. This form of wor-
ship is therefore exclusively internal. The Kaula-s, on the
other hand, worship the Kundalinl, even without rousing
her from sleep and are satisfied with the attainment and
enjoyment of purely temporal objects, believing, at the
same time, that, with the rousing of the Kundalinl, they
attain Liberation. This form of worship is therefore
mainly external. Mention may also be made, here, of

2 SAUNDARYA-LAHARI

some worshippers of the S'akti, who, in addition to
attaching due importance to the external forms of worship
of the Kaula-s, try to rise higher, by making Upasana
with Yantra-s, made of gold and other metals, awake the
Kundalini and even work her up as far as the An-ahata
in the heart. Their worship may be characterized as
partaking of both the external and internal forms.
S^ankara-bhagavat-pada, the foremost exponent of the
Samayacara, extols Samaya, the Sadakhya, the sixteenth
digit of the Moon, m all her aspects, in the following
hundred and three stanzas.

As, without a thorough grasp of the details of the
formation of the Srz-cakra^ the full significance of the
first forty-one stanzas, which baffle even advanced
students of Mantra- lore, cannot be adequately understood,
a short description of the Sn-cakra would be a fitting
prelude to the elucidation attempted in the following
pages.

The following construction is given by Kaivalyas'rama,
a commentator of this work, for the building of the Sn-
eaky a ; Describe a circle, with an imaginary vertical line
of a suitable length as its diameter. Divide the diameter
into forty-eight equal parts and mark oiF the sixth,
twelfth, seventeenth, twentieth, twenty-third, twenty-
seventh, thirtieth, thirty-sixth and forty-second divisions
from the top. Draw nine chords, at right angles to the
diameter, through the nine points marked off, and number
them accordingly. Rub off l/16th „ part of No. 1,
5/48ths of No. 2, l/3rd of No. 4, 3/8ths of No. 5, l/3rd
of No. 6, 1/1 2th of No. 8, and l/16th of No. 9, at both

SAUNDARYA-LAHARI 3

ends of each/ Draw triangles with lines, Nos. 1, 2, 4, 5,

6, 8 and 9 as bases and the middle points of Nos. 6, 9, 8,

7, 2, 1 and 3 respectively as their apexes. Draw also
the two triangles with Nos, 3 and 7 as their bases and
the lower and the upper extremities of the diameter as
apexes respectively. Thus we get forty-three triangles
pointing outwards, composed of one in the middle, eight
triangles around it, two sets of ten triangles around the
eight triangles, one set about the other, and fourteen
triangles around them. Then, by marking off eight points
m the circumference 'Equidistant from one another, com-
mencing from the upper extremity of the diameter and
constructing one petal over each of them, is formed the
eight-petalled lotus. Then, circumscribe a circle touching
the outer extremity of the petals. Divide the circumfer-
<ence of the circle so described into sixteen equal divisions
and draw symmetrically sixteen petals over them, as

^ In the constructiOB of the S'n-cakra adopted by some
worshippers, m actual practice, l/12th of the chord No. 2 is
rubbed off on either side, instead of 5/48ths, as given by Kaivalyg-
s'rama Further, adopting l/48th of the vertical diameter of the
inmost circle as the unit, the positions of the several terms of the
Srl-cakra are also fixed as under * The height of the entire
Snxakra is ninety-six units, of which forty-eight are taken up by
the inmost circle, leaving twenty-four units at the top and twenty-
four at the bottom. The eight-petalled and sixteen-petalled lotuses
will touch the 1 circles cutting the vertical diameter produced both-
ways, at the eleventh and twentieth unit-distances from the upper
and lower extremities of the diameter. Of the four remaining
units, the three' concentric circles lying beyond the sixteen-
petalled lotus will take up one unit* The three units yet remaining
will mark the extremities of the three quadrangles forming the
outermost boundary of the Srl-cakra. By marking off forty-three
units from either extremity of the outermost quadrangle, the
intervening space of ten units should be rubbed off on the four
sides of the three quadrangles forming the Bhu-grha, This will
give the four gateways of the Cakra.

4 SAUNDARYA-LAHARi

before. Then, circumscribe a circle round the sixteen-
petalled lotus, as before, and enclose the second circle so
described in two concentric circles at equal distances from
each other. Construct three squares about the outermost
circle, with sides equidistant from each other, the inner-
most square not to touch the outermost circle. Marking
off four doorways on the four sides, each equidistant
from either extremities, rub off the interspaces. The
figure thus formed is the Sn-cakra. The centre of the
circle is known as the Bindu, The five triangles with
their apexes pointing downwards are indicative of the
S'akti and the four with their apexes pointing upwards
are of S'iva, according to the Vamakes'vara-tantra, the
recognized authority on Sn-Vtdya. {Vide Frontispiece.)

Laksmi-dhara, a reputed commentator of this work,,
holds that, in the Sn-cahra^ the five triangles pointing
upwards are of the S'akti and the four pointing downwards
are of S'iva and speaks of the construction of the Cakra^
as consisting of two different processes, the Samhara-
krama, from without inwards, and the Srsti-krama from-
withm outwards. The Sn-cakra of the Samhara-krama
of Laksmi-dhara can be obtained by turning the Sn-
cakra recognized by the Vamakes'vara-tantra upside
down* This is given as the diagram relating to the
twenty-second stanza. The Srl-cakra of ^ the Srsti-krama
is given as the diagram relating to the thirty-first stanza.

The mode of constructing the Sn-cakra, in the Srsfi-
krama, of the Samayin-s, according to him, is as follows :
Draw an isosceles triangle with its apex pointing upwards
and its base parallel to the bottom line of the sheet.

SAUNDARYA-LAHARi 5

Place the Bindu, a dot, a little above the base, in an
imaginary vertical line bisecting the base. A little above
the Bindu, draw a straight line parallel to the base,
intersecting the sides of the original triangle. Draw an
isosceles triangle with apex pointing upwards over this
line. Draw a straight line through the apex of the first
triangle, parallel to its base and construct an isosceles
triangle on it, with apex pointing downwards, so that its
sides may pass through the points of intersection of the
base of the second triangle with the sides of the first
triangle. These two points, where three straight hnes
intersect each other, are technically styled Marman-s, to
distinguish them from the points of intersection of two
straight lines, which are known as * Samdhi-s»
Thus, then, are formed the eight corner-triangles
pointing outwards, which together are known as
the Asta-kona-cakra. By producing the topmost
and the bottom-most of the three horizontal lines
both-ways and constructing two isosceles triangles, one
of them with apex down and the other with apex up, so
that the sides of the former may pass through the
•extremities of the bases of the two triangles pointing
upwards and the sides of the latter triangle may pass
through the extremities of the base of the original
triangle pointing downwards. By producing the sides
xiownwards, of the inner triangle with apex up and
drawing a straight line parallel to the base, through the
apex of the triangle pointing downwards, a new triangle is
formed. Similarly, by producing the sides upwards, of the
triangle with apex down and drawing a straight line

6 SAUNDARYA-LAHARi

parallel to the base, through the apex of the first outer
triangle with apex up, another triangle is formed. At
this stage are obtained ten corner-triangles pointing out-
wards, which together form what is known as the Ant at-
das'ara, the inner ten-spoked Cakra. Similarly, by
producing the horizontal bases, drawing the arms of
triangles at corner-points, so as to form Marman-s and
drawing straight lines parallel to the bases, through the
apexes of triangles pointing up and down, the ten corner-
triangles pointing outwards and known as the Bahir-
damra or the outer ten-spoked Cakra, is formed*
Again, by producing both-was^s the bases at the top and
the bottom of the Antar-das'Bra and constructing
isosceles triangles with apex down and apex up ; and
again by producing the sides of triangles whereby
Marman-s could be formed and drawing straight lines
parallel to the bases? passing through the apexes of the
freshly constructed triangles, the fourteen corner-
triangles pointing outwards known as the Catur-da&'ara,
t;he fourteen-spoked Cakra, will be obtained. Thus, we
get, in all, forty-three corner-triangles, including the
inmost one, twenty-four Satpdhi-s and eighteen Marman-s.
It may, however, be noted here, that Laksmi-dhara
commits an error in giving the number of Marman-s as
twenty-four and, quoting the Candra-jSana-vidya in this
connection, seeks to reconcile the figure twenty-eight
given therein, as of the Marman-s, by pointing out that
the eight-petalled lotus, the sixteen-petalled lotus, the
three outermost circles and the three quadrangles may be
treated as four Marman-s, which, together with his

SAUNDARYA-LAHARi 7

twenty-four, would go to make up the twenty-eight
Marman-s of the Candra-jSana-vidya. This is appar-
ently a laboured explanation, which, m trying to hide one
fault, only results in making it two* A more ingenious
attempt at reconcihation would have been, for him, to
treat the six points of contact of the Catur-das^ara with
the inmost circle also as Marman-s. According to the
Samaym-s, the four Cakra-s constituted by the Bindu
(of the form of the Sn-cakra, viz., circular), the eight-
petalled lotus, the sixteen-petalled lotus and the
quadrangular Bhu-grha, are of S'iva, which are inter-
related with the Tri-kona, the Asta-konay the dyad of
Dasfa-kofia's and the Catur-das^a-kona, of the S'akti'
respectively, the Bindu of the quadrilateral standing
apart from these. On the other hand, another, set of
Samaym-s hold that the eight-petalled lotus, the sixteen
petalled lotus, the Mekhala-traya (the triad of concentric
circles), and the Bhu-grha (the three quadrilaterals) are
the S'lva-cakra-s, and the Tri-kona, the A^ta-kona, the
dyad of Das^a-koim-Sy and the Cafur-das^a-kona are the
five S^akti-cakra-s, and aver that the Bindu representing
the S'iva-cakra-s, when placed in the middle of the S akti-
cakra-s, would indicate the pervasive character of the
S'iva-cakra-s m the S'akti-cakra-s. It has, however, to be
noted that the Vamakes'vara-tantra, while recognizing
the Bindu as a Cakra, does not do so in relation to the
Mekhala-traya, as will be seen from the enume?:ation of
the Cakra-s according to it, which is as follows : " The
Bindu in the middle, the triangle thereafter, the eight-
spoked one thence, the two ten-spoked ones thereabout,

8 SAUNDARYA-LAHARi

the fourteen-spoked one about them, the eight-petalled
lotus outside it, the sixteen-petalled lotus thereabout and
last of all, the Bhu-pura, are named respectively the
Sarvananda-maya first, the Sarva-siddhi-prada next,
the Sarva-roga-hara thereafter, the Sarva-raksa-kara
similarly, the Sarvartha-sadhaka-cakra, the Sarva-
saubhagya-dayaka, the Sarva-samksobhana the next
one, the Sarvas'a-panpuraka, and lastly the Trailokya-
mohana— -thus the nine with the nine names.'*

1. S'lvaiti s'aktya yukto yadi bhavati s'aktah

prabhavitum
na ced evam devo na khalu kus'alah spandi-

tum api ;
Atas tvam aradhyam hari-hara-virmcadibhir api
pra^antura stotum va katham a-^krta-punyah

prabhavati.
Only if conjoint with the Sakti (Thyself),
would S'iva earn the privilege to become over-
lord ; otherwise the God is not able even to stir.
While so, how dares one, who has acquired
no merit, either to salute or to praise Thee, (O

1 oi^fir|?^3fff^f^^ft-^

SAUNDARYA-LAHARI 9

Goddess!) who art worthy of being adored
€ven by Hari, Hara, Virifica and others ?

In keeping with the time-hallowed tradition among
great writers of Dars'ana literature, to forestall, m
essence, the content of the entire work at the very
beginning, the first stanza of this work may be said to
contain the quintessence of the Sn-vidya^ the worship of
the Devi. Though Liberation is the goal aimed at by
all votaries of the Sn-vidya, still, m view of the various
ways of approach, due to differences in temperament,
idiosyncrasy, as well as their intellectual and spiritual
advancement, there is room for the said goal being
looked upon from various angles of vision. Kames'vara-
suri, the talented commentator of this work, has, in his
elaborate commentary of the first stanza, dealt with
fourteen difi'erent aspects of S^iva and the S^akti, inter-
preting the stanza from the following points of view : (l)
Vedanta, (2) Samkhya, (3) The Chief Deity of ffn-vidya,
(4) Significant Words, (5) Their Significance, (6)
Genesis of Sounds, (7) The Yantra, (8) The Pranava, (9)
The Matrka, the Samskrt Alphabet, (10) Kadi-vidya,
(11) Hadi-vidya, (12) The Pancaksari, (13) The Guru, the
Initiator, and (14) Candra-kala. In addition to the plain
English rendering of the first stanza given above, the
fourteen different aspects of KamesVara-suri are also set
forth in the form of fourteen different renderings
hereunder :

1 . Only when in conjunction with the S'akti, (the Maya
with the two -fold functions of Avarana — veiling the real.

10 SAUNDARYA-LAHARI

and Viksepa— showing the unreal, not independently
however of the Brahman, which is S'lva) would S'lva (the
auspicious, undefiled Bliss, ^'.e., the Brahman, which is
the Supreme Existence, Consciousness and Bliss, and
becomes IsVara when amalgamated with the Maya)
acquire the power to create, (sustain and destroy the ele-
ments, Ether, etc., and the variants evolved out of them,
as also to become one with them) ; otherwise the Deva
(who indulges in the pastimes of creation, etc.,) becomes
incapable even of stirring, (not to speak of engaging m
the direction of such pastimes). While so, how dares
one, who has not (purified his mind, by the accumulation
of) virtuous deeds (through many a previous incarnation,
has not studied intensively the Upanisadic lore and
attained Self-realization, through the grace of his Guru
and thereby been enabled to comprehend Thy real
nature, by the removal of the cobwebs of illusion, which
ensnare even the great), either to salute (by way of
bidding adieu to Thee) or to extol (with a view to being
spared Thy attentions) Thee, (that hast endowed even
Is'vara with such powers and that art proficient in render-
ing what is impossible, possible), (0 Maya !) that art
worthy of being served even by Hari (Visnu, the sus-
tamer), Hara (Rudra, the destroyer), VinSca (Brahman,
the creator) and others (of that type, subject to Avidya) ?
2. Only when in conjunction with the S'akti (Prakrti,.
the blind creative Energy, endowed with the three proper-
ties : Sattva, Rajas and Tamas— Rhythm, Mobility and
Inertia) would S'iva (the lame Purusa, called IsVara,
characterized by indifference and not capable of acting

SAUNDARYA-LAHARi 1 1

independently (acquire the reputation of being the creator
and enjoyer of the world. Should it be otherwise, the
Deva (Is'vara) becomes totally incapable even of stir-
ring, (much more so, of any action he is reputed to be the
author of, as it is from the Prakrti, m the presence of the
Purusa, that the Mahat, Aham-kara, Tan-matra-s, etc.,
in their order, have had their origin). While it is so, how
dares one who has not acquired Thy Sattva-guna (and
hence, the proper knowledge derived from a study of
Kapila's system, with the help of a Guru) to salute or to
sing the praise (m some such manner as, " What shall I
say of Thee, crest-jewel of chaste women ! that hast
established Thy greatness, without m any way affecting
Thy husband's, Thyself blind and He indifferent"), of
Thee (0 Goddess 1) that art worthy of being served, even
by Hari, Hara and VinSca, (each one of them, by par-
taking of the Sattva, Tamas and Rajas respectively of
Thy Guna-s, in their work of sustenance, destruction
and creation) and such others ?

3. Only when frolicking with the Sakti (His consort,
Haimavati, seated on His lap) would S'iva (possessed of
infinite auspicious qualities, from whom Bhava — the
creator, Mrda — the sustainer, and Hara — the destroyer,
take their origin, who has His seat on Mount Kailasa
and in the inmost core of the Sn-cakra) be capable of
procreating (as His progeny, the entire universe, nourish-
ing it and becoming its overlord) ; otherwise, the Deva
(though self- effulgent) becomes powerless even of stirring;
(much less would there be scope for Him to be credited
with achievements, such as the burning of the three

12 SAUNDARYA^LAHAR!

Pura-s, swallowing the virulent Hala-hala and the hke).
While so, how dares one, (who cannot lay any claim to
having worshipped at Thy lotus -feet during" previous
lives,) either to make obeisance (by body, word of mouth
and mind) before, or to glorify Thee (O Goddess !) that
art served by Hari, Hara, Vinnca (and Is'vara, as the
four legs of Thy couch, by Sada-s'iva as Thy mattress,
Mahendra as Thy spittoon and so on) ?

4, Only when m conjunction with (what is implied
by the word) * S'akti ', viz., the letter ' E *, the GuQated
combination of * A ' and 'I'm the inverse order, z.c,
I ' and ' A ')» does the word * S'lva ' acquire a form
denoting a deity for the welfare of all the world ; if not
so, this word forfeits its luminosity and is turned into a
mere sibilant and dento-labial stump, unpronounceable
and meaningless. While so, how dares one, who has
acquired no merit, either to salute or to praise Thee,
(i.e., the vital letter * E ') that art muttered in prayer
with the word ' S'iva ', by Hari, Hara, Virinca and
others ?

5* Only by the conjunction of the ffakti (the appro-
priate group of words in their proper sequence) would S^iva
(the aggregate of their significances) acquire the quality of
appealing to the hearts of wise men ; otherwise the Deva
(the mere thought, without the expression) will not serve
his purpose m everyday life. While so, how dares one,
who has acquired no merit, either to salute or to praise
Thee, (that art inseparably yoked with thought-forms),
Goddess ! that art worthy of being adored even by
Han, Hara, Virinca and others (for that very reason ) ?

SAUNDARYA-LAHARi 13

5. Only in conjunction with the S'akti, (the Para-s'akti,
the essential basic principle of the S'abda-brahman, who,
though one, is spoken of with different names by persons
of different persuasions, e.g., as the S'akti by S'akta-s, as
the Cit by S'aiva-s, as the Kui^dalmi by Yogm-s, as the
Prakrti by Samkhj^a-s, as the Brahman by Vedantin-s,
as the Buddhi by Bauddha-s, as the Maha-satta by
Jati-vadin-s and as the absolute Dravya by Dravya-
vadm-s, and who has assumed diverse forms due to the
conditions brought about by the Maya-s'akti dependent on
her) would S'lva, (the S^abda-prapaSca) acquire the power
to manifest itself (m the Pas'yanti, Madhyama and Vaik-
hari stages ; and while m the Madhyama stage, to attain
the form of S^abda and Artha and the interrelation
between the two). Otherwise, (without the Para-s'akti)
the Deva, the S'abda-brahman, could not be pronounced
with the help of the palate and other vocal organs and
thus not attain the Vaikhari stage. While so, how dares
one, who has acquired no merit, either to salute or to
praise Thee (that art the prime cause of the manifesta-
tion of the qualified Brahman and the unfolding of the
phenomenal world), Goddess ! that art worthy of being
adored even by Hari, Hara, Virinca and other gods,
(who have, at their command, the four stages of Para,
Pas^yanti, Madhyama and Vaikhari) ?

7. Only if S'lva (the set of four triangles of the nine
triangles of the Sn-cakra^yantra) comes to be placed with
the S'akti (the set of five remaining triangles of the same
Cakra) or if ffiva {viz., the Bindu, the point) gets insepar-
ably connected with the S'akti {viz., the Tri-kona, the

14 SAUNDARYA-LAHARi

triangle) (ue., on the bodies of the two thus coming
together) would there be scope for the formation of the
eight, the two sets of ten and the fourteen konas, triangles
pointing outwards, along with the eight-petalled and the
sixteen-petalled lotuses and the two triads of circles and
quadrangles, as also for the creation, sustenance and
destruction of the world. If neither of these is the case,
the Deva (the aforesaid S'lva) would be incapable of
affording scope for the formation of the different parts
of the Cakra detailed above, or for its division into the
creative, sustaining and destructive aspects, or for the
three Prastara-s mto Ku, S'a and La, signifying the Earthy
the golden Meru and Mount KaiZ^sa. While so, how dares
one, who has acquired no merit, either to salute or to
praise Thee, with an adequate knowledge of the Tantra-s,
venerable One ! that art served by Hari — the Sun,
Hara— the Fire, Virinca — the Moon, (Vas^mi, etc, Varna,
etc., and other S^akti-s, as well as the fifty-one letters of
eight groups of the Alphabet, seated in their respective
seats as prescribed, in the Cakra) ?

8. Only when brought into union with the S'akti,
C A ') with * ^ '), would S'iva (the dyad of * U ' and ' M 'j
acquire the power of assuming the form of Pranava, the
embodied form of Nada, etc., assuming the stages of
Para, Pas'yanti, etc., wherefrom originate the Svara-s,
Varna-s, Pada-s and Vakya-s galore. If not, the Deva
(the dyad of * U ' and * M ') becomes utterly incapable of
producing the Pranava, becoming dumbfounded. While
so, how dares one, who has acquired no merit, either to
salute or to praise Thee (of the form of the Pranava),

SAUNDARYA-LAHARi 15

O Goddess ! that art worthy of bemg adored by Hari,
Hara and ViriSca — as the deities of the components of
the Pranava ; Agni, Vayu and Surya — their Rsi-s ;
Gayat-tri, Tristubh and Jagati — their metres ; Rakta,
&ukla and Krsna — their coloars ; Jagrat, Svapna and
Susupti—their states ; Bhumi, Antariksa and Svarga—
their seats ; Udatta, An-udatta and Svarita — their Svara-s;
Rk, Yajus and Saman — their Veda-s ; Garha-patya, Aha-
vaniya and Daksina — their Agni-s ; Prahna, Madhyahna
and Apar^hna — their Kala-s ; Sattva, Rajas and Tanias —
their Guna-s ; Srsti, Sthiti and Samhara — their functions :
all these standing m the order appropriate to them ?

9. Only in combination with the S'akti, (the group of
sixteen vowels, representing the six Nitya-s'akti-s and
the sixteen different modes of intonation), would S^iva,
(the group of thirty-five consonants, taken individ-
ually and all of them taken collectively, representing the
thirty-six Tattva-s in all), acquire the power of generating
the several Veda-s, Purana-s and other lore. Otherwise
the Deva would become unpronounceable and meaning-
less. While so, how dares one, who has acquired no
merit, either to salute or to praise Thee, Goddess ' that
art adored by Hari, Hara, Virmca and others, as the
Alphabet made up of the vital vowels and consonants
and all that they go to make up ?

10. S'iva, (the syllable * Ka^j only when placed in jux-
taposition with the S akti, (the syllable * E '), pronounced
separately thereafter, would take the form of the sacred
fifteen-syllabled or the sixteen-syllabled Mantra. If the
initial syllable ' Ka ' is not so placed along with the

16 SAUNDARYA-LAHARi

syllable * E ', the Deva, (the syllable * I ', even though
followed by) Ku-s^a-la, tthe Prthvi-bija, ' La '), is
impotent by itself to form a Mantra, Then, by (the
dyad of ' Ha-s ' and the dyad of ' Sa-s ', respectively
represented by the Sun and the Moon, indicated by the
word) Hari ; by Hara, (the syllable * Ka ') ; by Vinncaj^
(the syllable ' Ka ') ; (by the dyad of ' La«s ', represented
by) Adi, (the foremost of the gods) ; (thus producing the
two sets of five and three syllables, viz., ' Ha Sa Ka Ha
La ' and * Sa Ka La *, which, along with the foregoing
set of four syllables, viz.^ * Ka E I La *, constitute the
three sets of twelve syllables in the aggregate) ; (and the
three Hrl-lekha-s obtained from Han-hara-'Vi-rim, in the
followmg manner : the first * Hrlm ' from Han-rim, the
second from Harof-vi-nm, and the third from Hara-
t?i-rim, by suppressing the italicized and suitably
combimng them; thus getting the full-fledged
Mantra, called the PaiSca-das'aksari (the fifteen-sylla-
bled Mantra), with each of the three * Hrim-s ' placed
immediately after the three sets of syllables already
obtained ; by the suppression of the italicized in ' Bivah ^
(with which the^stanza begins) and the addition of * rim \
the last syllable so far dealt with, * S'rim ', the Bija
of Cadi, (Laksmi who took birth before the Moon,
indicated by * Ca '), which, together with and pervading
through the foregoing fifteen syllables, forms the
Sodas^aksari (the sixteen-syllabled Mantra). While so,
how dares one, who has acquired no proficiency in
Mantra-lore, either to salute or to praise Thee,
Goddess 1 that art of the form of Kadi-vidya and that

SAUNDARYA-LAHARI 17

art meditated upon by Hari, Hara, ViriSca and others,
as assuming fifteen or sixteen diverse forms of the
fifteen or sixteen syllables pervading the entire
universe ?

IL S'lv^, (the syllable * Ha '), only when placed in
juxtaposition with the S'akti, (the syllable ' Sa ', there-
after), would take the form, of the sacred fifteen-syllabled
Mantra. If the initial syllable * Ha * is not so placed
along with the syllable ' Sa ', the Deva, (the syllable

* Ka 0, though followed by Ku-s'a-la, (the Prthvi-blja,

* La ')j turns out to be powerless by itself to form a
Mantra. Thus the fiirst set of four syllables * Ha Sa Ka
La ' is obtained. Again ' Ha ' (standing for S'iva), * Sa *
(for the Sakti) and * Ka ' (for the Deva), as before, and
Kha4u (the Aka's'a-bija, ' Ha and Ku-s'a-la (the Prthvi-
bija, * La being placed thereafter, will yield the second
set of five syllables, * Ha Sa Ka Ha La \ Then, by Hari,
(the syllable ' Sa \ the Vayu-bija), Hara, (the syllable

* Ka ') and ViriSca, (the syllable ' La ', which precedes,
m the order of the Alphabet, the letter ' Va ',) is yielded
the third set of the three syllables * Sa Ka La ' ; by
adding the syllable ' Hrim ' to each of the three sets,
after deriving the three ' Hrim-s ' from Hari- Hara- vi-
rim : the first ' Hrim * from Hari -rim, the second from
Harcf-'Pi-fim, and the third from Hccra-vi-rim by suppress-
ing the italicized and suitably combining them , the full
Mantra called the Paiica-das'aksari of the Hadi-vidya,
devoutly worshipped by Lopa-mudra, is formed.
While so, how dares one, who is unfit to worship
Thee, not knowing Thy greatness, as described in

18 SAUNDARYA-LAHARI

the Daksi^a-murti-samhita, either to salute or to
praise Thee ?

1 2. (The crude form,) * Siva,* when under the influ-
ence of the S'akti, C E ' of the * Ne ' of Pacini's tech-
nique, i.e., the dative singular termination, by super-
adding* the indeclinable, ' Namah ', indicated by the
same S'akti), would be capable of being formed into the
PaScaksari -mantra, vtz,^ * S'ivaya namah \ If not»
the Deva (the crude form * S'iva ' is incapable of being
pronounced as a Mantra, proclaiming the oneness of
S'lva and S'iva. Therefore, how dares one, who has no
merit either to salute or to praise Thee, Goddess !
that art of the form of the Paiicaksari- mantra
and so worshipped by Hari, Hara, ViriSca and
others ?

13. Only when S'iva, (the Guru), is endowed with the
Sakti (the accomplishments resulting from muttering
the SYl'Vidya-mantra^ devotion to the Goddess of Sri-
vidya^ etc.), would the S^isya be able to give a good
account of himself, with the grace of the Guru, who is
the embodiment of Parames'vara. If his grace is not so
accomplished, even the S'isya, though shining otherwise,
becomes incapable of acquiring even the smallest
capacity. Hence, how dares one, who has acquir-
ed no merit, either to salute or to praise Thee, O
Goddess ! the embodiment of the Guru-mHrti, that
art worshipped as such by Hari, Hara, Virinca and
others, as, otherwise, it would not be possible for
them to understand the esoteric significance of the
Mantra ?

SAUNDARYA-LAHARl 19

14. SWa, (the first digit of the waxmg Moon, known
as Dars'a, which has the character of S'iva-tattva), only
•when conjoined with the S^akti, (the second digit of the
same, known as Drsta and of the character of S'akti-
tattva) would be able to acquire the quality of being seen
and to be hailed, in the heavens. If not, the Deva, (the
first digit), is incapable of shining and gladdening the
hearts of the world, so as to conduce to its welfare, as
-also to add to the grace of the remaining lunar digits,
Dars'ata and others. Hence, how dares one, who has
not accumulated religious merit in his previous mcar-
aations, either to salute or to praise Thee, Goddess !
-of the form of the eternal Candra-kala, (the sixteenth
digit], that art worthy of being worshipped by Hari,
Hara, Virinca and others ?

According to the Bhairava-yamala, the Bindu of the
Tri-kona and the three Cakra-s lying outside the Catur-
das^ara, viz*, the Asta-dala, the Sodas' a-dala and the
Bhu-grha, these four are representative of S'iva ; while
the Tri-kofta^ the Asta-kona, the Antar-das'ara, the
Bahir-da&ara and the Catur-das'ara are lepresentative
<of the S akti. Without their conjunction, the Sn-cakra^
which may be taken to signify the origin of the world,
cannot be formed. In other words, the universe will
cease to be, when there will be the Maha-pralaya, the
final dissolution. The VSmakes'vara-tantra says that
S'iva ceases to have either name or manifestation,
without theS'akti. The Devi-bhagavata avers that S'lva,
deprived of the Ku^dalmi-s'akti, is but S'ava, a corpse*
Acyutananda, a commentator, remarks that the creative

20 SAUNDARAYA-LAHAR!

Energy of the S'akti, in her three-fold aspects of Iccha—
Will, JSana— Wisdom, and Knya— Activity, is essential
for S'iva, to accomplish anything ; and Hari, Hara and
Virinca stand for * A ', * U ' and * M ' respectively, the
constituents of the Pra^ava-mantra and the other
Devata-s referred to by the word, ' Adi ', are other
Mantra-s. The Pranava is the foremost Mantra of the
Veda-s. Hence it follows that the Sakti is fit to be
worshipped with the Prariava and the other Veda-
mantra-s. *Ham', the Bija of S^iva, when combined
with * Sah ', the Blja of the S'akti, yields the Hanisa-
mantra, which helps one to realize the import of the
Maha-vakya, ' Tat tvam asi ', by reminding him of it^
%vith its form ' So 'ham \ Again, Hamsa, the cosmic
breath, which is made up of 'Ham* (S'iva), the oiit-
going breath, and ' Sab * (the S'akti), the ingoing breath,
symbolizes creation m the form of Evolution and disso-
lution m the form of Involution. S'iva and the Sakti
(consonants and vowels, contributing to make up
Aksara-s (imperishables) remain as the Nis-kala-brahman,
during the Pralaya, as Para-s'iva and S'anta, (transcend-
ing the thirty-six Eternal Verities), in a state of quie-
scence. Or S'anta's awakening and operating on S'iva as
the S'akti, there is brought about the creation of the world.
From the combination of S'iva and the Sakti, Kaival-
yas'-rama derives the ParS-prasada-mantra— ' Hsau^i '
and the An-uttara-mantra — ' Ah *, wherein * H ' and * A *
stand for S'iva, and *Sauti' and the Visarga for the
S'akti respectively* He also derives the PSs'adi-try-aksari-
mantra, made up of the triad of monosyllables, **Am

SAUNDARYA-LAHARI 21

Hrim Krom ' from * Tva " ma *' radhyam hari-hara-
vinScadibhir api ' of this stanza, construing it as
— Thee (the Bhuvanes'vari, Hrim^) served (on
one side) by * Am ' (the Pas'a) and (on the other
side) by Hari Com'), Hara CR'), and Virinca
(* K ')j in the reverse order, /.e., * Krom ' (the
Ankus'a).

The word ' Adi ' in * Han-hara-vinncadibhih ' is
wide enough to comprehend any number of Upasaka-s
with their characteristic ways of approaching the
Goddess. So far as could be ascertained from Tantric
literature, fifteen such Upasaka-s with their characteris-
tic Mantras are enumerated hereunder : (l) Hari — Ha
Sa Ka La Hrirn, Ha Sa Ka Ha La Hrim, Sa Ka
La Hrim, Sa Ha Ka La Hrim, Sa Ha Ka Ha La
Hrim, Sa Ha Sa Ka La Hrim/ (2) Hara— Ha Sa
Ka La Hrim, Ha Sa Ka Ha La Hrim, Sa Ka
La Hrim, Ha Sa Ka La Ha Sa Ka Ha La Sa
Ka La Hrim. (3) ViRiScA-Ka E I La Hrim, Ha
Ka Ha La Hrim, Ha Sa Ka La Hriin. (4) Manu—
Ka Ha E I La Hrim, Ha Ka E I La Hrim, Sa
Ka E I La Hrim. (5) Canbra— Sa Ha Ka E I La
Hrim, Ha Sa Ka Ha E I La Hrim, Ha Sa Ka E I
La Hrim, (6) Kubera— Ha Sa Ka E I La Hrim,
Ha Sa Ka Ha E I La Hrim, Sa Ha Ka E I La
Hrim. (7) Lopa-mudra— Ha Sa Ka La Hrim, Ha Sa
Ka Ha La Hrim, Sa Ka La Hrim. (8) Agastya— Ka E

^ The fourth and sixth Kha^da-s of this Vidya are, according to
the Jnanari[iava-tantra, Sa E I La Hrim and Sa Ka E I La Hxijri
respectively, as construed by Kaivalyas'rama,

22 SAUNOARYA-LAHARl

I La Hrirn, Ha Sa Ka Ha La Hrim, Sa Ha Sa Ka La.
Hritp (9) NANl)IKES^VARA~Sa E I La Hrim, Sa Ha Ka
Ha La Hrim, Sa Ka La Hr!m. (10) SuRYA— Ha Sa Ka
La Hrim, Sa Ha Ka La Hririi, Sa Ka Ha La Hrim.
(11) Skanda— Ha Sa Ka La Hrim, Ha Sa Ka
Sa Ka La Hrim, Sa Ha Ka Ha La Hrlni. (12)
Manmatha— Ka E I La Hrim, Ha Sa Ka Ha
La Hrim. Sa Ka La Hrim. (13) S'akra— Ka E I
La Hrim, Ha Ka Ha La Hrim, Sa Ka Ha La
Hrim (?). (14) DuRVASAS— Ha Sa Ka La Ha Sa
Ka Ha La Sa Ka La Hrim/ (15) Yama— Ka Ha
E i La Hrim, Ha La E I La Hrim, Sa Ka E I
La Hrim.

According to a commentator, S^amkara-bhagavat-pada,,
although he has ostensibly framed the entire work on the
basis of the Paiica-das'aksara, is said to have not been
entirely oblivious of the importance of the Sodas'aksari^
as may be inferred from the fact that in composing
the first half of the first stanza, he has significantly
made use of sixteen distinct words. The same question
is further dwelt upon at length under stanza the thirty-
second.

The Saundarya-lahari, in addition to dealing with all
aspects of the Devi as the consort of S'iva, is also looked
upon as a collection of Mantra-s possessed of considerable
sanctity and merit. Each stanza has a Yantra with

' ' La Hriip ', the last two syllables of this Mantra are apparent-
ly taken to be ' Lahari ' by BhSskara-raya, as will be seen from
"^Hah^suryah, sas' candrah, ko *gEih, tan eanti bhmattiti ha-&a-ka-
ha ; sa ca sa lahari ceti tatha, durvaso-vidyaySip: hakSra-rephayor
vibhajyapi pathat, * ' m his Sfetu-bandha.

SAUNDARYA-LAHARI 23

Bijaksara, prescribed courses of worship, Japa and a
distinctive aim to be achieved by the practice of the
Mantra.

The following general remarks may be offered re-
garding the worship of the Devi, with the Yantra and
the Bijaksara of the respective stanzas and the prayer
of the Devi, with the muttering of the respective stanzas
sitting before the Yantra, attended with the PaJicopacara
and other observances as detailed below. As the Yantra-s
are themselves considered to be possessed of Caitanya,
they are generally inscribed on gold plates. The
worship in the case of each Yantra, is to the last for a
prescribed number of days, and the formalities pre-
scribed for each Yantra should be scrupulously adhered
to, on each of the days of worship. Such worship is
credited with the bestowal of specific fruits. In the
case of one who is a successful adept in the practice of
any other Mantra, the fruit of worship of the Maha-
tnpura-sundari with the muttering of these stanzas is
easily accomphshed. In the case of others, success
depends on the faith and devotion brought to bear on the
worship. It is considered reprehensible to put the
efficacy of any Mantra to test. Should there be any
delay or difficulty experienced by the worshipper, more
devotion is the only sovereign remedy.

Rules of Observance ^— L Rsyadi : For this Stotra
of Sri Saundarya-lahari, Govinda is the Rsi (seer) ;

24 SAUNDARYA-LAH^I

Anustubh is the Chandas (metrical form) ; Sfi Maha--
tripura-siindati is the Deity; 'S'ivah s'aktya yuktah
(S'iva conjoint with the S'akti) is the Bija : ' Sudha-
sindhor madhye ' (In the middle of the ocean of
nectar) is the S'akti ; * Japo jalpah s'llpam ' (All
prattle is the muttering of thy prayer) is the Kilaka.
11. Kara-nyasa: Hrarp, to the thumbs Namah;
Hrira, to the forefingers Svah§; Hrum, to the
middle fingers Vasat ; Hraim, to the ring-fingers Hum ;
Hrautp, to the little fingers Vausat ; Hra|i, to the palms
and the backs of the hands Phat. III. Ailga-nyasa '
HrSm, to the heart Namah ; Hrim, to the head Svaha ;
Hrum, to the tuft of hair Vasat ; Hraim, to the armour
Hum ; Hraum, to the three eyes Vausat ; Hrah, to the
missile Phat. IV. Dhy'&na : My salutations to the deity
that has conquered the colour of the Japa flower with

?!w#p3?f ?^Tf T ; i ^^^^]^^J ^^^ ; | arffifiriMf i ; i

ff ^mm ^3^; I: aiR^rw 'oszj v. '^iwi— "^^.
i^r^fcRqff §iTT3^t qraiffsjil wgft^ m^F^ i ctm^iT-

SAUNDARYA-LAHARl 25

her ruddy complexion, that carries in her hands the
Pas'a (noose), the Ankus'a (goad), the bow and the arrows,
that has copper-coloured efes, and that wears the red
garland as her special ornament, with her mouth filled
with Tambula, the Tri-pura-sundarl, V. PaHcopacara,
which should be performed as follows : Lain, to thee of
the form of PrthivL (Earth), I offer Gandha (sandal
paste) ; llam, to ^thee of the form of Akas'a (Ether), I
offer flowers ; Yam, to thee of the form of Vayu (Air), I
offer Dhupa (incense) ; Ram, to thee of the form of
Vahni (Fire), I offer Dipa (light ofFermg) ; Vam, to
thee of the form of Jala (Water), I offer Naivedya
(food offering). VI. Japa : the muttermg of the respec-
tive stanzas for the requisite number of times. VI L The
prescribed Naivedya (food offering).

The Yantra with Bijaksara-s relating to each stanza is
appended under each. /^
Other particulars r^- ^-Z
garding (1) the inscrip-
tion of the Yantra, (2)
the number of days of
worship, (3) the num-
ber of times for mut-
tering the stanza, (4)
particulars regarding
Naivedya, (5) any
other particulars and/^
(6) the fruit of the^^
Japa, are shown in a tabular statement as an Appendix at
the end.

26 SAUNDARYA-LAHARi

^^^ i\^: ^m ^^ T^^i

2. Taniyamsatn pamsum tava carana-panke-ruha-

bhavam

viriScih sanicinvan viracayati lokan a-vikalam ;

Vahaty enam s'aurih katham api sahasrei^^a

s'irasatn
harah samksudyainam bhajati bhasitoddhulana-

vidhim.

ViriSci, having gathered the tiniest speck
of dust of Thy lotus-like feet, creates the
worlds, leaving nothing to be desired ;
Sanri carries the same with much effort on his
thousand heads ; while Hara, pulverizing the
same, smears (his body) with it, as though with
ashes.

VirMci-^the same as Viriiica of the first stanza ;>oth
the words denote Brahman, the creator. Speck of dust—
used m a collective sense, as otherwise the worlds could

SAUNDARYA-LAHARi 27

not ostensibly be created out of a single speck, nor
would it require the thousand heads of S'auri to carry
It with effort, nor would it be enough to smear the pro-
digious body of Hara with. Thy lotus-like feet—Thy :
of Thee, the prime cause of all the worlds ; hence the
dust on her feet acquires all her virtues. According
to Ka^ada, the founder of the Vais'esika school and
i\ksa-pada, the founder of the NyEya school, the world
is made up of the primary atoms of Earth, Water,
Fire and Air, which, at the desire of Is'vara, arrange
themselves, in the first instance, into Dvy-anuka-s con*
sistmg of two atoms each, which, in their turn, arrange
themselves into Try-anuka-s, consisting of three Dvy-
aijuka-s each. It is on groups of these Try-a^uka-s,
that the cosmogony of these two schools is based. Such
a conception of the order of creation should not be
considered as a mere surmise of the poet, as it is the
fact that the Paramanu (of the Devi's feet) is the prime-
cause of the creation of the world, that forms the basis
of their theory. The worlds — both animate and inani-
mate. The seven upper worlds : Bhur, Bhuvar, Suvar,
Mahar, J ana, Tapas and Satya, as also the seven nether
worlds: A-tala, Vi-tala, Su-tala, Rasa-tala, Tala-tala,
Maha-tala and Patala may also be meant. Saim — Visnu,
the sustainer, who is said to be lifting the fourteen worlds,,
the nether seven in the form of S'ims'umara, a porpoise,
and the upper seven as S'esa. Laksmi-dhara construes
the word as Bala-bhadra, (the descendant of Sfea, the
Yadava-chief) lifting the worlds m the form of S'esa. It
may however be noted that, according to Aniara-simha,

28 SAUNDARYA^LAHARI

S'auri is one of the recognised names of Visnu and not
of Bala-bhadra. Hara — Saniha,ra-riidra, the destroyer.
The greatness of the Devi is borne testimony to by
the abject dependence of the creator, the sustainer and
the destroyer of the worlds on the dust of her feet, for
carrying out their respective avocations. It is further
enhanced by the fact, that the single speck of her feet
provides material for the creator to create all the worlds,
with their various contents. The same speck calls forth
great effort from Visnu, the thousand -headed, to Hit
its weight with his myriads of heads, and the mighty
Samhara-rudra, with his prodigious form, has to reduce
this tiny speck to ashes, by way of destroying the worlds,
for his Bhasma-snana. Again, as observed by Kaival-
yas'rama, the ashes are but the residuum left by all the
elements and their various transformations, after the
application of his Samhara-s'akti by Rudra, with a view
to smear his body with ashes, in conformity with the
Mantra prescribed therefor. Further, the same com-
mentator, fortified by Dattatreya's view, explains the
esoteric significance of the speck of dust as follows :
The Devi has four feet, named S^ukla, Rakta, Mis'ra and
Nirvana, the first two resting on the two-petalled lotus
of the Aj^U-cakra^ the third on the twelve-petalled lotus
of the heart, and the fourth on the thousand-petalled
lotus of the Dva-dmanta, with Visnu, Brahman, Rudra
and Sada-s'iva as their respective deities, who, assuming
their characteristic Guiia-s — Sattva, Rajas, Tamas and
Gu^atitatva, through the speck of dust resting on the four
feet, occupy themselves in their respective avocations of

SAUNDARYA-LAHARi

creation, sustenance, destruction and bathing m the nectar
of the region of the Moon in the thousand-petalled lotus.
KamesVara-suri, however, rebuts this view and points
out that it runs counter to what S^aipkara-bhagavat-pada
would uphold, as, everywhere in the entire work, he
refers to only one pair of feet of the Devi, and that as
such It IS far-fetched, and adds that if it was meant
merely to derive the three Guna-s of Hari, Virmci and
Hara, that could as well be attained by explaining that
the speck of dust, being of variegated colours, partakes
of the three Guija-s. Kaivalyas'rama's view may, how-
ever, be reconciled by pointing out that his exposition is
only esoteric and should not be taken to hold good to
the very letter.

Excluding the thousand-petalled Cakra, reference has
been made above to
the two Cakra-s, viz,^
AjTia and An-ahata.
These, along with
four others, are cen-
tres of psychic energy
in the human body.
They are : (l) Mula-
dhara of four petals,
in the region lying
two Angula-s above the anus : (2) Svadhisthana of six
petals, in the region of the genitals ; (3) Mafii-pura of
ten petals, in the region of the navel ; (4) An-ahata of
twelve petals, in the region of the heart ; (5) Vwuddhi
of sixteen petals, in the region of the throat; and

30 SAUNBARYA-LAHAR!

(6) SjTia of two petals, in the region between the
eyebrows. When meditating upon these Cakra-s, the
four letters from * Va * to * Sa ' should be thought of as
resting on the four petals of the Muladhara^ the six
letters from * Ba ' to ' La ' on the six petals of the
Svadhisthana, the tttx letters from * Da ' to * Pha * on
the ten petals, of the Ma^i-pura^ the twelve letters from
* Ka ' to ' Tha ' on the twelve petals of the An-ahata,
sixteen letters from * A ' to * Visarga ' on the sixteen
petals of the Yismddhh and the two letters * Ha* and
Ksa' on the two petals of the AjTia-cakra.

3, Avidyanam antas-timira-mihira-dvlpa-nagarl

jadanam caitanya-stabaka-makaranda- s r u t i -

jhari ;
Daridranam cinta-mani-gunanika janma-jaladhau
nimagnanam damstrS mura-ripu-v arahasya

bhavatL

Thou art the island-city of the Suns, illu-
mining the internal darkness of the ignorant ;

SAUNDARYA-LAHARI 31

(Thou art) the stream, ever flowing with the
honey of the cluster-of-flowers of consciousness,
for the dull-witted ; (Thou art) the Cinta-mani-
duplicate (in bestowing their heart's desire) on
the destitute ; and the tusk of the Wild Boar
(Avatara) of Mura-ripu, in the case of those
submerged in the ocean of births (and deaths).

Thou— the rendering of the original word ' Bhavati *
stands for the Devi. With the reading * Bhavati ',
meaning ' becomes ', * Pamsu ', ' the speck of dust ' of
the previous stanza, will have to be understood as the
subject. The island-city of the Suns — this may be
taken to mean some imaginary island in the middle of
the ocean, wherefrom the disc of the Sun apparently
rises above the horizon, The implication is that
the Sun of knowledge dispels the darkness of ignor-
ance from the mmd of the wordly-minded. As the
internal darkness, accumulated during numberless
previous births, is so intense as to occupy every nook
and corner of the mind of the person harbouring it, one
commentator is of the view that the Mihira, the Sun,
refers to the twelve Aditya-s,^ rising simultaneously with
all their effulgence from their island-abode, so as to drive
away even the smallest vestige of such darkness. The
reading ' Timira-mihiroddipana-kari,* (m the Fem.

1 The twelve 3.ditya-s are— (1) Dhat:r, (2) Mitra, (3) Aryaman,
(4) Rudra, (5) Varuna, (6) Surya, (7) Bhaga, (8) Vivasvat.
(9) Pusan, (10) Savitr, (11) Tvastr and (12) Visnu.

32 SAUNDARYA-LAHARi

gender) meaning * causing the Sun of knowledge to
manifest itself in all its glory/ if adopted, will not permit
of * Patpsu ' (Mas. gender) being taken as the subject^
while it will make complete sense with the reading
' Bhavat! ** The ignorant — not possessed of VidyS, which
may be construed as either Devata-jnana or Atma-j5ana>
i.e.f mere Karmafha-s, who indulge in the observance of
Jyotistoma and other rituals according to the rules
prescribed in the Karma-kanda , or those that are under
the delusion that the world entirely depends on Brah-
man, Visnu and Rudra, while m reality it hangs on the
mercy of the Devi, whose dependants these three gods
are. The duster of flowers — z.e., all forms of conscious-
ness. Cinta-wani-'duplicaie — Cinta-maijii is the gem
said to be in the possession of Indra and is credited with
the power of bestowing whatever is thought of by its
Upasaka-s, Here the Devi is figuratively represented
to be the duplicate of the gem with all its powers, as she
is the embodiment of the Dana-s'akti. According to one
commentator, * Cinta-mani-gunanika ' means a rosary of
Cmta-mai^i beads* Mura-ripu — Visi^iu, the destroyer of
Mura, a demon. The reference here is to the incarnation
of Visnu m the form of a Wild Boar, who is said to have
lifted on his tusk the submerged worlds and rescued
them after vanquishmg Hiranyaksa, his foe.

Kames'vara-suri takes the first line of the stanza to
imply that the Devi dispels the darkness of ignorance
pervading the minds of those that hold the view that
Avidya is the root-cause of the world, by imparting the
true knowledge of Is'vara, He takes the second line to

saundarya-lahar!

imply the dispelling of the igiporance of the Samkhya-s
who believe that the Jada, non-sentient Mula-prakrti, is
the cause of the worlds, by the adoption of similar means.
Again he takes the third line to imply that the Dev!
warns the Paranaanu-vadm-s, who hold the primary
atoms to be the cause of the world, to be more circum-
spect, should they be disposed to arrive at the correct
theory. The last line implies, according to him, the
questionable ways adopted by the least evolved persons
immersed in satiating their carnal instincts and appetites
in their everyday-life, and suggests the remedial measure
of the precepts m the Maha-bharata and other
works bearing on right conduct, as the means of
saving them.

According to Kaivalyas'rama, this stanza is indicative
of the deity of the
Kama-raja-m a t r k a,
who should be medi-
tated upon, by all
votaries of the Srt-
vidyay as effulgent
with the radiance of
myriads of morning
Suns, holding in her
four hands the rosary
of crystal beads, the
sugar - c a n e - b w ,
Cupid's five arrows
and the Holy Writ, as having three eyes and wear-
ing the crescent-moon as her crest-jewel. He is
3

34 SAUNDARYA-LAHARI

also of o;>inion that the Vag-bhava-bija, 'Aim' of
the Tn-para, which occupies the forefront of the
three Bija-s, Vag-bhava, Kama-raja, and S'akti, is
indicated by the stanza, for the reason that Aim '
is composed of * A ', the initial letter of the Rg-
veda, * A ', that of the Sama-veda, and ' I ', that of the
Yajur-veda, construed as follows : The initial letters of
the Sama-veda and the Yajur-veda combined go to form

* E ', and with the initial letter of the Rg-veda placed
before and combined with it, would result in * Ai ', which,
with the nasal Ardha-matra of the Upaniaad-s, becomes

* Aim \ the Trayi-mayi-vidya, which has the virtues of
dispelhng Avidya, ignorance, with the first ' A\ of
removing Jadatva, non-sentience, with the second ' A \
and of bestowing one's heart's desires with * I ' and
Kaivalya with the Ardha-matra.

4. Tvad anyafe panibhyam abhaya-vara-do daivata-

ganas

tvam eka naivasi prakatita-varabhity-abhinaya ;

Bhayat tratum datum phalam api ca vaScha-

samadhikam
s'aranye lokanam tava hi carai^iav eva nipuQau,

SAUNDARYA-LAHARl 35

(O Goddess), who afFordest shelter to all the
^fugitive) worlds ! The league of gods, save
Thee, dispels fear and bestows boons with
two hands. Indeed, Thou alone dost not
demonstrate the boon-bestowing and fear-
dispelling gestures (with Thy hands). For, Thy
feet, by themselves, are proficient in affording
immunity from fear and bestowing boons
transcending (one's) desire.

Who affordest shelter — S'arapya, the Samskrt equi-
valent, means * who affords shelter '. It may also be
taken to signify, ' who has the Sn-cakra as her worthy
(S'arana) abode '. All the fugitive worlds— the worlds
that have their origin m the feet of the Devi, seeking
shelter at the very place of their origin ; what is more,
the very gods, who pose with their hands the dispelling
of fear and the granting of boons, themselves seek
shelter at the Devi's feet. Thou alone dost not
demonstrate'—'EYidentlY this refers to the fact that,
whereas the gods merely employ their hands for posing,
the Devi, the unique Goddess that she is, even though
she has four hands, engages them otherwise, in carrying
the Pas'a, the Ankus'a, the sugar-cane-bow and arrows,
and, at the same time, causes her feet to do not merely
what the other gods profess to do, but even more in
granting what her devotees seek at her hands. It
is worthy of note that while some of the gods are
capable of granting Svarga^bhoga and others Mok^a

SAUNBARYA-LAHARl

alone, the Devi bestows on her votaries both
the enjoyment of celestial pleasures and liberation.
Gestures— the Abhaya-da-posture assumed by the right
palm uplifted, as if to denote * do not fear ', and the
Vara-da*posture with the left palm pomting" downwards^
as if to indicate readmess to give. The Bala-mantra
* Aim Kllm Sauh ' is indicated by this stanza.

SAUNDARYA-LAHARi 37

5. Haris tvam aradhya pra^tata-jana-saubhSgya-

JananirpL
piara nari bhutva pura-ripum api ksobham:

anayat ;

Smaro 'pi tvam natva rati-nayana-lehyena vapusa

muninam apy antah prabhavati hi raohaya

mahatam.

Having adored Thee, the bestower of pros-
perity to those that make obeisance before
Thee, Hari, of yore, assumed the form of a
damsel and fascinated even the destroyer of
the (three) Pura-s. Smara likewise, by wor-
shipping Thee, is powerful enough to rouse
the passion of even great sages, with a
(charming) frame fit to be Jicked by Rati's
eyes.

Adored Thee — meditated upon the Devi by worship-
ping her in the form of the Sr$-cakra and muttermg the
Vidya, viz,^ the Panca-das'aksari, which is of her shape.
There is a peculiar appropriateness m Visniu worshipping
the D^vi, as he is the seer of the first Kha^da of the
Panca-das'aksari, as well as the first Prastara, made up
of the LopS-mudra- and the Nandikes'vara-vidyas, as
mentioned in the JSanarx^ava-tantra. Prosperity —
implies beauty of form, fine accomplishments, progeny,
opulence, etc* Of yore — Laksmi-dhara narrates the
incident of Kanaka-svamm, whom Vi§i^u fascinated in

38 SAUNDARYA-LAHARi

the form of a beautiful damsel and eventually killed ,
when requested by Siva to appear before him in that
form, Vis^u did so, with the result depicted m the stan/a.
Other commentators take it back to the days of the
churning of the ocean by the Deva-s and the Danava-s
for the extraction of nectar, when Vis^u is said to have
appeared as Mohinl, whose beauty so enraptured the
Danava-^s that they were altogether deceived by Visiiu at
the time of the distribution of the nectar amd were thus
rendered mortal. The rest of the story is as narrated
by Laksmi-dhara. This only enhanced the powers of
the Devi, as, after all, Visnu, as a true worshipper given
to muttering constantly the syllable, * Im ', denoting her
Kama-kala form, assumed her form, i.e., that of the
loveliest woman imaginable and attracted the attention
of even S'iva, the saintliest among the gods and the
destroyer of Manmatha* Smara likewise — likewise,
i.e., with equal potency and in the same manner as
Visnu, Smara, Manmatha, who, along with his consort
Rati, is first worshipped at the entrance to the holy of
holies at the time of worship of the Tri-pura-sundari, is
the seer of the PaSca-das'aksari of three Khanda-s, which,
with the Sri-bija, * S'rim * as the fourth Khanda, becomes
the Sodas'iksari of the Sri-vidya^ with the sixteen
Nitya-s constituting the sixteen Kala-s, which, again,
with its four * !m-s ', takes its origin from the Rg-veda-
mantra, ' Catvara Im bibhrati ksemayantah '. Those
who attach greater sanctity to the Kadi-vidyA of
fifteen syllables (than to the Hadi-vidya of an equal
number of syllables) hold that the former, by itself

SAUNDARYA'LAHARi

answers to the description of the Rg-veda-mantra,
as it contains four ' I-s '. But this construction
of ' Catvara Im bibhrati * is defective from the point
of view of syntax and for the reason that the
Mantra contains one ' I ' and three * Im-s ' and, with a
view to conform t-o the requirement of the Vedic text,
the three * I-s ' (of the Hrim-s therein) are separated and,
together with the ' I ' of the Vidva, are made to answer to
the description of the Vedic text. On the other hand,
the Mula-vidya of sixteen syllables, made up of four
Khanda-s, each of them containing an ' Im ', is on all
fours with the requirements of the Vedic text. This
view is also supported by the Taittirlya-brahmana III, x,
1 and 10.
Acyutananda derives from this stanza the Sadhya-

siddhasana-vidya —

Uf t *Hrim, Klirn, Blern',

^ the fourth of the

Catur-asana - nyasar

m the following

manner : ' H ' and

^^•*R' from 'Harih*;

* Itn * from ' Jana-

nim * ; Klim, the

Kama-bija, as mdi-

-^ cated by the word

A|^*Smara'; *V',

(which is the same

as ' B ') from ' Vapusa ' , ' Le * from ' Lehya *, and ' M *

from * Muninam '.

40 SAUNDARYA-LAHARi

^: ^^ ^1 ^^^^^i^rl ^m ^f5i€T
mim 55s^^T ^^f^^^st %^ II ^ II

6. Dhanuji pauspam maurvi madhu-kara-mayi pafica

vis'ikha
vasantah samanto malaya-marud ayodhana-

ralhah ;
Tatha *py eka]b sarvam hima-giri-sute kam api

krpSm
aparigat te labdhva jagad idam anango vijayate.

Daughter of the snow-capped Mountain !
That Ananga, (whose) bow is of flowers,
(whose) bow-string is of (a row of) bees, (who
has but) five arrows, (who has as) his feudatory,
Vasanta, and the Malaya-breeze (as his,
war-chariot, (he), even though thus equip-
ped, having obtained some grace from Thy
side-glance, conquers all this world single-
handed.

One phase of the greatness of Ananga, the formless
Manmatha, due to the grace of the Devi and redounding
to his credit, i.e., his subjugating the unconquerable will
and rousmg the passions of great sages, has been dealt
with m the previous stanza. Yet another phase, which
further enhances the greatness of this seer of the Prastara

SAUNDARYA LAHARI

called after him, is referred to in this stanza, viz.y
though ill-equipped as a warrior, i.e., with flimsy weapons,
poor following and no armament worth the name, he has
won the unique distinction of being the conqueror of the
world, all due to the marvellous effect of the Devfs
side-glance cast on him, as if to recompense him for the
loss of his body, which was burnt to ashes by the fire
from the third eye (the JSana-caksus) of S'lva, her Lord,
when his Yoga was sought to be disturbed by Manmatha,
in his attempt to rouse the passion of S'iva for his
Mountam-bride, the
Devi.

' Klim ', the Kama-
bija, is indicated by
this stanza and could
be derived there-
from m the follow-
ing manner : * K '
from ' Kam api ',
'^L ' from * Malaya ',
* i ' from * Maurvi '
and the Anusvara
from * Pauspam '.

SAUNDARYA-LAHARI

7. Kva^at-kSfici-dama kari-kalabha-kuinbha-stana-

nata

pariksina madhye parii^ata-s'arac-candra-vadanS ;

Dhanur baiian pSs^am sr^im api dadhana karatalaih

purastad astarji nab pura-mathitur abo-purusikS.

May the great Pride (incarnate) of the Van-
quisher of the (three) Pura-s, with a jingling
girdle, (slightly) bent (under the weight of)
the breasts resembling the frontal globes of
a young elephant, slim in the waist, with a
face (bright) like the autunrjnal full-moon, and
wielding a bow, arrows, a noose and a goad
with Her hands, stand forth before us !

The great Pride {incarnate) of the Vanquisher of the

{three) Pura-s—kc-
cording to Diigidima, a
cop-tmentary, S^iva is
very fond of worship-
ping in this form the
Devi, to whom he is
so devoted. Iho-puru-
siku'-'the S a rp s k r t
equivalent of * Pride',
may be construed in
two different ways :
' Aho ' is the interjection indicating surprise, ' Purusa '
is the Pratyag-atman, which is the same as the

SAUNDARYA-LAHARl 4J

Aham', * I '. Hence the abstract noun from the com-
pound formed would mean * the Pride incarnate', which^
being of the redoubtable Maha-deva, is the * great Pride
incarnate ' , or ^ Aho ' means the * Atman */ I ', which
with * Purusa * would mean, ' verily, I am the Purusa ' ;
hence * Aho-purusika ', means *the state of being such
Purusa, possessed of the self- consciousness indicative of
having the S'akti as his DevL' Pura-mathitr—is the
S'lva who IS the vanquisher of the three Pura-s ; this
may also be construed as ' the extractor of the three
syllables \ forming the Tri-pura-bija, ' Aim Klim Sauh \
which, according to the Rudra-yamala, the great god
extracted as the essence, after churning the Samskrt
Alphabet therefor, even as one churns the curds for the
extraction of butter. The coupling of the words * Pura-
mathituli ' and ' Aho-purusika ', in a way, indicates the
necessity for the worship of the two conjointly, so
beautifully elaborated m the first stanza. Jingling —
so as to be heard m the heart-lotus of the meditating
Yogin. Wielding a bow, etc, — The Devi carries in her
lower left arm the sugar-cane-bow with a string of bees,
in her lower right arm the five arrows of Kamala, Rakta-
kairava, Kahlara, Indivara, and Sahakara flowers ; in
her upper left arm the Pas'aJ^ noose, shining like coral^
and in her upper right arm the Ankus^a, goad, shining
like the crescent. These weapons of the Devi are said to
assume the Sthula (gross), the Suksma (Mantra-maya),
and the Para (Vasana-raaya) forms. The first of these
has been indicated above» As for the subtle form assumed
by them, the bow is of the form of the syllable ' Tham ',

44 SAUNDARYA-LAHARl

the five arrows of the forms of * Dram \ * Drim ', ' Klim \
' Blum ' and ' Sah ', the Pas'a of * Hrim ' and the Ankus'a
of * Krom '. As for the Para-rupa in the form of Vasana,
the bow is the Manas, the five arrows are the five
Tan*matra-s, sound, touch, etc., passions constitute the
Pas'a, while anger is the Ankus'a. Before tis — i.e., in
our Hrdaya-kamala ; moving from the Mafti-pura on to
the An-ahata of the heart-lotus, while we are in the act
of meditatmg on the Devi. The resplendent form of the
Devi is of three aspects, gross, subtle and of the form of
Vasana. The Sthula form has been described above ;
the Suksma aspect is of the form of the Paiica-das'aksari
or the Sodas'aksari, as the case may be ; and the Para
aspect IS the Kundalini-s'akti itself. The esoteric
significance of this stanza is that S'iva, the Prakaa'a*
becomes conscious of himself, only when reflected in the
Devi, the Vimars'ams'a.

From this stanza is said to be derived the Vas'ini-
bija, * BMra \^ thus : * B ' fronqt the word * Banan ', * L '
from * Kara-talait ', * tj ' from * Pura-mathitu|i ', and
the Bindu from * Astam '.

^ The Vas'mi-bija is represented to be * Rbluip ' by the
Vamakes'vara-tantra, m, which case the * Rb ' may be derived from
* Bhanur-banSn

8. Sudha-smdhor madhye sura-vitapi-vati-parivrte
maiji-dvipe nipopavana-vati cmta-mani-grhe ;
S'lva kare mance parama-s'iva-paryanka-mlayam
bhajanti tvatn dhanyah katicana cid-ananda-

laharira.

Blessed are the few that serve Thee, the
flood of Consciousness and Bliss, having, as
Thy abode, the mattress of Parama-s'iva, laid
on the couch of the (multi-triangular) form
of S'iv5, in the mansion built of Ci^ta-mani-
stones, attached to the pleasure-garden of Nipa
trees, in the isle of gems, surrounded by an
avenue of Kalpa trees and situated amidst the
ocean of nectar.

Blessed are the few — the few : those rare souls who,
through worship, internal as well as external, of the
Devi, their affinity to the Panca-das^aksari, and the pure
life that they lead during their last incarnate existence m
this mundane world, are really blessed, for, they have
discharged the duties incumbent upon human bemgs,
preparatory to their being merged in the transcendent
Existence, Consciousness and Bliss. Serve Thee — -
worship Thee in the Sn-cakra, This stanza refers to
the worship of the Sn-cakra as the Viyac-cakra
(Ethereal centre), worshipped externally as on the
pedestal, with the symbol inscribed on a Bhurja leaf,
a piece of clean linen, gold or silver plate, as is the

46 ^AUNDAIWA-LAHARi

practice of the Katila-s, and internally in the ethereal
space, Dahara, of the heart, as is the practice of the
Samaym-s, The mode of worship indicated in this
stanza is of the form of the Devi, as abiding in her
mansion, the Sn-cakra^ dealing as it does with the
special environment m which the Devi has to be
meditated upon, herself assuming the special form
depicted in the previous stanza, which only amplifies
what is here indicated about the Dev!. The description
given here closely follows the account given in the
Bhairava-yamala, which represents the Devi, as abiding
for ever as the Kundalmi-s'akti, piercing the solar region
of the Dahara, covering the Brahma-randhra inside the
thousand-petalled lotus, liquifying the lunar region, and
dehghtmg in the flood of nectar flowing therefrom. The
Kundalini, abiding in the Kula-patha, the Susumnfi path,
leaves it to reach the SahasrUra and, after filling the
entire system of Nad!-s with the nectar above referred to,
returns to her abode \ the Svadhisthafta, and sleeps there-
in. Ocean of nectar— stsinds for the Bamdava-sthana,
the quadrilateral seat of the Btndu, which is the essential
one and brings within its scope the forty -three triangles
forming the Sn-cakray the mansion of the Devi. The
five triangles pointing upwards may be said to represent
the five rows of Kalpa trees forming a fence around the
mansion^ Of the form of Siva — is.^ * E ', multi-tri-
angular, the Sn-cahra^ her abode, being made up of

^ The abode of the KuiKjalmi is fixed by some m the MulMhura,
and by others in the Svadhisthana, Yet others hold that, when
she IS asleep, she abides in the MulMMra, and when awake, resorts
to the SvMhisthana, which hterally means her ' own abode '.

SAUNDARYA-LAHARi 47

forty-three triangles. The couch— The Devi is said to
reclme on a couch made up of Brahman, Hari, Rudra and
Is^ara as the four feet, occupying the South-east, South-
west, North-west and North-east corners respectively,
Sada-s'iva as the plank, Para-s'iva, the All-witness,
transcending the three Guria-s, turned by the Devi's
glance into the mattress, not to speak of the other
gods servmg other ^purpo^es, all because of their
desire to serve the Goddess, they being capable
of assuming any desired form, as they are Kama-
rupa-s.

This stanza is deftly enough made by Karnes' vara- siiri
to bear on * the Ananda-lahari ', the first part of this
work, as follows : Sura-vitapi-vatl, etc— full of pilgrim
resorts, such as S'ri-s'aila and other abodes of the several
gods reputed to bestow the heart's desires of pilgrims,
very much hke the Kalpa trees. ManUdvipa is to be
understood as, * wherein are various places specially fitted
for meditation * ; Ctnta-mani-grha, as, * wherein there are
temples studded with Cinta-mani gems ' ; Sudha-
sindhohj as meaning, ' from the Himalaya, the abode
of white glaciers, to the southern ocean ' ; Sivakare
maUce, as, ' Mount Kailasa, which is as white as
crystal and thus resembles S'iva in aspect ' ; Parama-
mva'paryanka'nilayam, as, * blessed by being placed
on the lap of the divine couple, Parvati and Parama-
s'iva ' ; Cid-ananda-lahanm^ as " the work of the name
of * Ananda4ahari ', ext)Ounding the purely Cit-aspect
of the S'akti". The story is that SWkara-bha-
gavat-pada, the author of this work, after finishing it.

SAUNDARYA-LAHARI

took it all the Tay to Kailasa, there to lay it at
tfie feet of the divine couple and receive their approba-
tion, but on reaching Kailasa, to his wonder, saw the
couple being praised with the stanzas of the self-same
Ananda-lahari and in consequence drenched m the Bliss
of Supreme Consciousness.
This stanza is capable of yet another interpretation,
* ^ which IS this : '* Bless-

^ ed are the few that adore

Thee, the Cid-ananda-
lahari, who ever abidest
in the An-akata of the
heart -lotus, situated
midway between Sudh^,
the Muladhara (or the
feet), on the one side^
and the Moon in the
crest ever filling the
system of Nadi-s with
nectar, on the other, of the human body, adorable because
it embraces m its form all the gods and contains the
substitutes for the several reputed places of pilgrimage,
such as S'ri-s'aila, in the crest, etc, (or the heart-lotus,
the seat of Cinta, thought, dependent on the Atman and
therefore lustrous), well-protected by the ten vital airs,
Pra^a and others (or the deities presiding over the ten
organs of sense), studded with the Muladhara and other
centres of Energy, radiant like so many isles of gems and
encasing within itself the Jiva, which is as expansive as
a tree from top to bottom.**

SAUNDARYA-LAHARI 49

The expression ' Parama-s'tva-paryaitka-nila^afn '
suggests, by implication, the union of Parama-s'iva, the
Bindu with the ParS-s'akti, the Nada, in the Omkara,
the couch made up of ' A ', ^ U ', * M ' and the Ardha-
matra, representmg Brahman, Han, Rudra and Is'vara*
The name of the Devi, ' PaEca-brahmasanasthita,* as
given in the LalitS-sahasra-nama-stotra, is further
illustrated by this stanza.

The Bija of Kames'vari, ' Klirn,' and that of Maha-
preta, ' Hsauh ', may be derived from this stanza.

^t mw ^^T^ ^T^% %m

^l# q^ ^f ^f^ mi ^f#^ II <^ II

9. Mahim mtiladhare kam api mani-pure huta-vaham
sthitam svadhisthane hrdi marutam akas'am

upari ;
Mano 'pi bhrS-madhye sakalam api bhittva

kula-patham
sahasrare padme saha rahasi patya viharase.

Thou art diverting Thyself, in secrecy with
Thy Lord, in the thousand-petalled lotus,

50 SAUNDARYA-LAHARI

having pierced through the Earth situated in
the Mnlndhnra, the Water in the Mani-pura,
the Fire abiding in the Svudhisthnna^ the Air
in the Heart (An-uhata), the Ether above {the
Vis^uddhi)^ and Manas between the eyebrows
{the Aj%u) and thus broken through the entire
Kula-path.

This stanza contains m a nutshell the quintessence of
the sublimest truths of the Vedanta and the Yoga
systems in harmonious combination, in relation to the
worship of the Devi, as the KuQdalini-s'akti of the
Pmdanda, (Microcosm) and as the Tri-pura-sundari of the
Brahma^da, (Macrocosm). For a proper appreciation
of the same, a short account of the Eternal Verities,
according to the conception of the ancient Rsi-s of India
and their bearing on the Cosmogony of the Microcosm
and the Macrocosm, will be found useful.

An Eternal Verity may be defined as that which gives
scope for functioning to all orders of creation, till their
final dissolution. Some Tantra-s classify the Eternal
Verities into three groups, the Atma-tattva-s, the Vidya-
tattva-s and the S'iva-tattva-s. Those comprised under
the first group are characterized by Jadatva, non-senti-
ence ; those of the second group partake of Jadatva and
Prakas'akatva, both non-sentience and sentience ; and
those of the third group are characterized by Prakas^a-
katva, sentience pure and simple, with absolute Con-
sciousness standing above them all. According to the

SAUNDARYA-LAHARI 5 1

Kalpa-sutra-s, twenty-four fall under the first group,
seven under the second, and five under the third, and
may be arranged as shown hereunder, with their charac-
teristic properties: (l) Prthivt — Earth,' possessed of
solidity ; (2) i^)— Water, possessed of fluidity ; (3) Tejas
— Fire, possessed of heat : (4) Vayu—Air, of the charac-
ter of perpetual motion; (5) Ahas'a — Ether, of the
character of space ; (6) Gandha-tan-matra — Smell, in
the form of subtle Earth ; (7) Rasa-tan- matra — Taste, '
m the form of subtle Water ; (8) Rupa-tan-matra —
Form, in the form of subtle Fire ; (9) Sparse a-ian-matr a
—Touch, m the form of subtle Air ; (10) Sahda-tan-
matra — Sound, in the form of subtle Ether ; (11) 8'rotra
— the auditory sense that perceives sound ; (12) Tvac —
the tactile sense that perceives touch ; (13) Caksus — the
optic sense that perceives form , (14) Jihva — the gusta-
tory sense that perceives taste; (15) Ghraita — the
•olfactory sense that perceives smell : (16) VUc — speech,
the motor organ of articulate expression ; (17) Pani —
the hand, the motor organ of grasping and leaving ;

(18) Pada — the foot, the motor organ of locomotion ;

(19) Payu — the motor organ of evacuation ; (20) Upastha
— the motor organ of generation and carnal pleasure ;

(21) Manas — the Mmd, the inner sense that is attained,
when Rajas, the mobility of misery, preponderates over
Sattva and Tamas, the rhythm of happiness and the
inertia of delusion, and which is the root of all volition ;

(22) BuddM—the Intellect, the inner sense which is
attained, when rhythm preponderates over mobility and
inertia, and as such ,is at the root of all conviction

52 SAUNDARYA-LAHARi

(23) Aham-kara — Egoism, the inner sense which is
attained, when inertia preponderates over rhythm
and mobility, and which is the root of all fancy,
converging towards the self; (24) Prakrii, otherwise
known as the C^^a— which is attained by the equipoised
state of rhythm, mobility and inertia; {25) Purusaot
the Jlva (of the Microcosm) — which, though full in
itself, commands only to a hmited extent the five powers
detailed below; [2S)Kala — the Kriya-s'akti, the power
to do all thingSf but to a limited extent, inhering in th^
Jlva , (27) Avidycty also called Vidya — the JBana-s'akti^
in a veiled form and thus hmited in its operation,
inherent in the Jiva ; (28) Raga — the Iccha-s'akti, per-
petual satisfaction, which operates only partially and
IS therefore limited m extent, inherent in the Jiva ;
(29) Cit'S^akti — perpetuity inherent m the Jlva, when
limited by the operation of the six changes denoted by
' exists \ * takes birth \ * grows \ * ripens ', * wanes ', and
* perishes ' ; (30) Niyati — that which causes Avidya to
veil the Ananda-s'akti, absolute independence, inherent
in the Jiva; (31) Maya — the condition operating upon
the Is'vara, causing it to look upon the phenomenal
world as ' this ', f .e,, an entity separate from itself ;

(32) Suddha-vidy a— the condition operating upon the
Sada-s^iva, causing it to identify itself with the
phenomenal world, with the impression, * I am this * ;

(33) Mahesfvara—thai which is operated upon by
the Maya ; (34) Sada^^siva — that which is operated upon
by the SWdha-vidya ; (35) Sakti—thQ desire which is
but the impression of the world to be created ; (36) S'tva—

SAUNDARYA-LAHARi 53

the absolute non-differentiated existence, when con-
-ditioned by the S'akti.

Fifteen more are added to the number of Eternal
Verities by some, by a process of further elaboration,
thus making fifty-one in all, answering to the fifty-one
letters of the Samskrt Alphabet. The other fifteen are
the seven Dhatu-s, humours, (1) Tvac—the external
sheath of organs ; (2) Asrj — blood ; (3) Mamsa—Aesh ;
(4) Medas—ht; (5) Asfhi— hone ; (6) Majja—mztrow
and (7) SuMa— semen ; the five vital airs, (8) Pran(^,
(9) Apana, (lO) Vyana, (11) Udana, (12) Samana; and
the three Gu^a-s, (13) Rhythm, (14) Mobility and
(15) Inertia. The five Elements, the five Tan-matra-s,
the five organs of perception, the five organs of motor
action, the Mind, the Maya, the S'uddha-vidya, the
Mahes'vara and the Sada-s'iva are the twenty-five Eternal
Verities from the Vedic standpoint, while the others
are capable of being mcluded in the twenty-five.

In this stanza, the Devi of the Macrocosm, in the
form of her exact prototype, the Kuii^alini of the
Microcosm, is represented as having broken through the
entire Kula-^2iX\i containing tKe six Cabra-s of psychic
energy, indicative of the twenty-one Tattva-s, to reach
her Lord in the Sahmrara, the habitat of the four
remaining sentient Tattva-s, there to divert herself in
secrecy with her Lord. Even as Parama-s'iva, in the
absence of his conjunction with the Tri-pura-sundari, is
powerless, so also the Jiva, without the operation of the
Ku^dalini, will be very much the same as a corpse. The
vital force, which is inherent m every limb, muscle,

54 SAUNDARYA-LAHARI

nerve-centre and other physiological organs and which
causes the entire frame to function, is but one aspect
of the Kundalini. It is the self-same vital force that is
the root-cause of the functioning of the entire pheno-
menal world and could be comprehended only by those
rare mortals who have gained mastery over it. It is upon
this fundamental fact that the system of Yoga is based,
as the Pranayama, or the control of this vital force, forms
the bedrock of that system. If only the secret of control
of this vital force and the human mind (psychic force),
which is only a subtle variety of the vital force, should
be mastered by any person, he may be said to have
conquered the phenomenal world. No wonder the Yogin
takes his stand upon the Pranayama and Mano-laya for
the successful accomplishment of the state of Samadhi,
his goal. It is with that end in view that the Yogm
concentrates his mind, controls the vital force and
projects them towards the MTdadhara, the first psychic
centre of energy, which results in the rousing of the
Kundalini, dormant with its form of tlyree-and-a-half
spirals coiled therein. Those that are proficient in the
Yoga-s'astra hold that this machine of the human frame,
which is controlled by the Kundalini, contains Seventy-
two Thousand Na(Ji-s, the main ones among them, e.g.,
the Susumna, the Ida, the Piiigala, etc*, having distinct
functions connected with the respiratory system allotted
to them, and the other important Nadi-s controlling the
sensory and motor organs. The psychic energy requisite
to control the various organs is said to abide in the six
Cakra-s of the Susumna-path, provided with the three

SAUNDARYA-LAHARI 55

Stages, known as the Rudra-, Visnu-, and Brahma-
gran thi-s (knots), which are respectively the regions of
Fire, the Sun and the Moon, each of them situated at
the end of a pair of these Cakra-s, in the order given
above. In the case of ordinary mortals, their vital
energy is wasted through the Ida and Pingala, but in the
case of the initiated, it is regulated m such a way that
the Pra^a, coursing through the Ida and PingaM, and also
the Apana, are made to conserve the purpose of rousing
the Kundalini and sending her up to the Brahma^randhra.
All impulses, psychic and organic, may be classified
as volitional, cognitional and actional, corresponding to
the Iccha-, Jfiana- and Kriya-s'akti-s of the Devi*
These, when pertaining to the body, are attributable to
the Kuridalini, while the corresponding cosmic impulses
are attributable to the Tri-pura-sundari.

Thoii—m the form of the Tri^pura-sundari of the
Macrocosm and the KuQdalini of the Microcosm. Thy
Lofrf—the SWa of the Macrocosm and the Jlva of the
Microcosm, bereft of Maya, illusion. The thousand-
Retailed lotus— which, is no other than the upper Sri-
cakra, the Bindu of which represents the S'iva and the
Jiva bereft of Maya, as the case may be. This is the
final resort, the Nirvarja of the accomplished seeker,
lying beyond the Kula-path, the Susum^S-marga, which
contains the six Cakra-s mentioned m the stanza, in the
ascending order of subtlety, with the three Granthi-s in
their appropriate places. The SahasrUra is considered
to be the inner Bn-cakra to be meditated upon with
all the fifty-one letters of the Samskrt Alphabet. The

56 SAUNDARYA-LAHARi

view is taken by some that the Bindu has its position
in the Bindu of the Cakra and the other fifty letters are
to be arranged consecutively over the thousand petals,
twenty times. S'uddha-vidya in coalescence with Sada-
s'lva IS known as the Sadakhya or the ParamStman,
which may be characterized as the twenty-sixth Tattva,
on the attainment of which is experienced Nirvaigia or
Jivanmukti. It is this aspect that is referred to in this
stanza as the diversion of the Devi in secrecy with her
Lord. Having pierced through — i.e., having got beyond,
after overcoming and absorbing m her own form. The
ascent and the descent of the Ku9.dalmi constituting the
Kuodalini-yoga are said to form an Antar-yaga. The
Earth situated in the Muladhara — but for the MUla-
dhara, which partakes of the character of the Earth-
element through its subtle form of Gandha-tan-matra, the
body will become unstable with its equilibrium disturbed.
This Cakra is no other than the Tn^-kofta of the Srhcakra,
Piercing through this element would mean conquering
it. The Yogin who does so is said to attain the power of
penetration through massive stone walls, etc. Water in
the M^^i-i>wm— Maiji-pura, the interior of which the Devi
is said to fill with gems ; hence the practice among the
Samayin-s of the offering of jewels studded with various
kinds of gems, while meditating on her in this seat»
Although the Mani-pura is the third m the order of the
Cakra-s, it has been given the second place in the stanza
to suit the order of the elements* This Cakra represents
water m its Rasa-tan-matra form. Conquest of this by
the Yogin is said to confer on him the next higher power

SAUNDARYA-LAHARi 57

of mastery, such as floating, walking, etc., over water.
The inner Das^ara of the Srt-cakra is indicated by this.
The Fire in the Svadhi^thana — ^where the Devi is said
to take her stand in the form of Kundalini, of her own
accord, making the knot of Rudra-granthi thereon. The
fire, in the form of the Rupa-tan-matra. The conquest
of this by the Yogin is credited with the bestowal of the
power of fire-walking, etc. The Asta-hona of the Sr
cakra is indicated by this. The Air in the heart—
the Air, in the form of Spars'a-tan-matra. The heart
signifies the An-ahata-cakra of the heart-lotus. The
word ' An-ahata' means the Nada, sound, produced
without impact in the recess of the heart ; hence the
name of the Cakra. The outer La^ara of the Sn-cahra
is indicated by this. By the conquest of Air, the Yogin
is said to attain the fleetness of wind, buoyancy, etc.
The Ether--~m the form of S'abda-tan-matra. Above— ix,,
* above the heart ', by which is meant the Cakra which is
clear as crystal, viz,, the Vis'uddhu The Catur-das'ara
of the Srl-cakra is indicated by this. By the conquest
of this the Yogin attains the power of traversing the
ethereal regions. It may be noted here that Purnananda-
svamin, the author of the Sat-cakra-nirupaija and other
Tantrika-s are of the view that the elements, Earth,
Water, Fire, Air and Ether have, as their corresponding
Cakra-s, the MulUdhara, thtSvadhisthana, the Mani-
i>ura, the An-ahata and the Vis'uddhi, which, as will
be seen from this stanza, is at variance with the view of
Kankara-bhagavat-pada, the author of this work, who has,
in this respect, the support of the Vamakes'vara-tantra

58 SAUNDARYA-LAHARi

in his favour, as explained by Bhaskara-raya in
his Setu-bandha.* Further, the letters indicated by the
MahesVara-sutra-s — " Ha Ya Va Rat " and " Lani '',
which enumerate the Bija-s of the five elements in the
order m which they were revealed by Mahes'vara's
Damaru, when placed in juxtaposition with the names of
the five Cakra-s in their natural order, from the upper
to the nether, the names of the five elements correspond-
ing to the respective Bija-s, as also the names of the
parts of the Sn-cakra which they indicate, in the
Samhara-krama, bear out, beyond doubt, the correctness
of the author's view.'^ Manas between the .eyebrows
— Manas, which embraces within itself the five senses
of perception and the five senses of motor action,
i,e*i in all, eleven Tattva-s. ' Between the eyebrows ' refers
to the AjUa-cakra, so called because it is at this stage
that a speck of knowledge about the Devi dawns. As
she is bent on breaking through the Brahma-granthi on
the way to the Sahasrara^ she remains there only for a
trice manifesting herself in the form of a streak of

Cakra Part, of Srt-cakra

Vis'uddhi Catur-das'ara

An-ahata Bahir-das'S.ra

Map.i-piSra Antar-das'Sra

Svadhi§thana Asta-koiEia
Muladhara Tri-koisia

Bija'

Bhuta

Ham

Ethpr

Yam

Air

Vaiii

Water

Raijx

Fire

Laiji

Earth

SAUNDARYA-LAHARI 59

lightning. The Catuq-kona, i.e., the Bhu-grha of the
Sn^akra^ is indicated by this. By conquering the mind,
the Yogin is said to attam mystic powers, such as clair^
voyance, clairaudience, telepathy, etc. The mystic-
powers ascribed above, as resulting from the mastery of
these Cakra-s at the various stages, are really so many
pitfalls to be avoided by the practitioner, as they are
likely to lead him astray from his final goal of Nirvana.
These six Cakra-s are but temporary stages or planes
wherein the Kundalin! rests awhile, avowedly for

mastering them, while the Sahasrara is her permanent
abode, whence the practitioner should not lose sight of
his final goal, Nirvana, beguiled by the temptations
o6Fered by the psychic powers attainable at the lower
centres, but should lead the Kuiidahni on to the Sahas-
rara, there to effect her union with her Lord, Up to the
moment of such blending the practitioner retains his
individual consciousness and thereafter enters on the

60 SAUNDARYA-LAHARI

blissful state of Nirvana as long as the Kuiidalini rests
in the Sahasrara prior to her descent therefrom. •The
duration of her stay there depends on the strength of
practice and the previous experience of the practitioner.
Broken through the entire path of Kula—BXid thus
having transcended the twenty-one Tattva-s from
Prthivl to Manas, and the six Cakra-s, .which, when
taken together, would form the lower Sn-cakra.

w\x^m fc^T ^fqf^ i55|o| f^f^foi' 11^ oH

10. Sudha-dhara-sarais' carana-yugalantar vigalitaih
prapaScam sincanti punar api rasamnaya-

mahasali ;
Avapya svam bhumim bhuja-ga-nibham adhyusta-

valayam
svam atmanam krtva svapisi kula-kunde

kuharini.

Having in-filled the pathway of the Nadi-s
with the streaming shower of nectar flowing
from Thy pair of feet, having resumed Thine
own, position from out of the resplendent

SAUNDARYA-LAHARi 61

Lunar regions, and Thyself assuming the
form of a serpent of three-and-a-half coils,
sleepest Thou in the hollow of the Kula-
kunda.

The previous stanza read along with this is said to
contain the Kundahni-rahasya-sopana, i.e., the secret
ladder used by the Ku^jdalini, both for ascent and descent.
The former deals with the Unneya-bhumika, ix,^ the
ascent from the MMadhUra to the Sahasrara, which has
been fully set forth already. In this, the Anvaya and
the Pratyavrtti-bhumika-s are briefly touched upon.
By ' Anvaya ' is meant the aftermath, viz., the in-filling,
through the Susumna, of all the Nadi-s of the Samayin ;
by * Pratyavrtti ' is meant the descent of the Kundalini
back to her hollow in the EMadhara^ there to resume
her sleep.

In-filled — as a result of the sprankling of nectar. The
pathway of the Nadi-s—Tht original word * PrapaSca '
is interpreted as the * Nadi-prapaSca ', i.e., the system «of
NEdi-s comprising the seventy-two thousand, all of them
interrelated and connected with the main Na(Ji, the
SusumnS, which passes through the six Cakra-s with
their three Granthi-s. From Thy pair of feet~i,e.,
from the intermediate space between them. The nectar
that flows therefrom is said to be the water that has
washed the Devf s feet, which, by filling the entire body of
the practitioner through the Nadi-s, makes him realize the
Supreme Bliss. Those that hold the view that the Devi
has four Caraija-s, the S^ukla, the Rakta, the Mis'ra and

62 SAUNDARYA-LAHARi

the Nirvaija, would have the S'ukla and the Rakta as the
pair of feet referred to in this stanza, for the reason that
it is these two that have the AjTia-cakra of the middle
of the eyebrows as their seat. Lunar regions — The
word 'RasSmnaya-mahas', occurring in Tantric literature,
refers to the Moon, as it literally means * endowed with
splendour issuing, out of the exuberance of nectar.'
The word is also construed as " light revealing the six ^
Amnaya-s, eastern, southern, western, northern, upward
and downward, embracing the Mind in the Aj%a^ the ether*
in the Vis'uddhi, the J^ix in the An-ahata, Water in
the Mafti'pura, Fire in the Svadhisthana^ and Earth
in the MuladharaJ' If this meaning is adopted, the
reading * Rasamnaya-mahasa ' would be appropriate,
when this part of the stanza would mean * having
resumed Thine own position along with the splendour of
the six Amn^ya-s, etc.* Thine own position — viz., the
Muladhara^ which is, the seat of the Kui^dalini, whose
form the Devi assumes in the Microcosm. Three-and*
aihalf coi7s— the word * Adhyusta * of the original has
the accepted significance of * three-and-a-half ' and does
not admit of any etymological explanation. Hollow of
the Kula-kunda — the knot-like form of the Muladhara^
where there is a hollow. In the case of the reading
' Kuhariiji ' (Norn, case) the meaning would be, " Thou,
(the Kmg^alini) who dwellest in the hollow." Here is
said to abide the Ku^dalin! in the form of a fine lotus-
fibre. Kula-kui3i(3a is also taken to indicate the Tri-kofta

^ The conventional word ' Rasa ' in * Rasamnaya ' indicates six.
Rasas being six in numher.

SAUNDARYA-LAHARI

in the pericarp of the four-petalled lotus of the MuW-
dhara. The Samaym-s treat the disc of the Moon in
the crest, as well as the external one, as the Sn-cakra,
as, in their view, the Sn-cakra of the 8n-vidyais
itself a Moon of sixteen Kala«s.

The Kundalini, during her ascent through the

Susumna-path,

breaks through the

six Cakra-s, which,

being absorbed by

her, become invisible.

As these have to be

reproduced and made

manifest once again,

she does this, out of

her own radiant form,

on her return journey

homeward, after

sprinkling nectar

over the PrapaSca, which signifies the Microcosm as well

as the Macrocosm, as represented by the six Cakra-s. By

construing the word * Rasamnaya-mahas ' as implying the

* Vidhana ', * doing ', and the ' Prakas'a ', * manifestation ',

of the Rasa-s, the lotuses, this purpose is achieved. In

this view the stanza may be rendered thus : " Having

sprinkled the PrapaSca (composed of the twenty-one

Tattva-s represented by the six Cakra-s), and again

having produced and made them manifest, out of Thme

own resplendent form, having resumed Thme own seat,

Thyself assuming Thine o^n form, serpent-like with the

64 SAUNDARYA-LAHARI

three-and-a-half coils, Thou of the abode of the hollow of
the Muladhara sleepest (there)."

^m% mi cf^ 5l^oi#JiT:' qROi^T: II U It

11. Caturbhih s'ri-kantait s'iva-yuvatibhiU paficabhir

api
prabhinnabhih s'ambhor navabhir api mula-

prakrtibhil;i ;

Trayas'-catvarims'ad vasu-dala-kalas'ra-tri-valaya-

tri-rekhabhih sardham tava s'araQa-konah

parinalah*

The angles contained in what constitutes
Thy mansion (the Sri-cakra)^ which is built
of the nine Mula-prakrti-s (the basic triang-
les), vi%.^ the four S'ri-kantha-s (with apex
downward) and the five S'lva-yuvati-s (with
apex upward), all lying apart from S^ambhu
(tfie B%ndu), along with a lotus of eight petals,
one of sixteen petals, the three circles and

SAUNDARYA'-LAHARI 65

the three lines, turn out to be forty-three (in
number).

Th& angles contained in what constitutes Thy man-
sion — i.e., the angles of the S'rl-cakra, which forms' the
DevVs S'arana, abode. The word * angles * should be
understood as the angles at the apex of the triangles
pointing outwards m the Sn-cakra, Others take it in
the sense of * triangles ', probably with a view to avoid
what they consider to be the contingency of having to
reckon two more angles m takmg the inmost triangle
into account. There is no room, m our view, for any
such contingency. In calculating the number of Kona-s
in the Sn-cakra, we should start with the initial
triangle with which we began the design of the 8n-
cakra in Srsti-krama, and not the inmost triangle, which
was derived later on. As the angles at the base of the
initial triangle form two of the corner angles of the
Aqta'kon(^j the angle pointing upwards alone has to be
taken into account. The nine Mula-prakrii'S — the nme
root-causes of the Sn-cakra, i,e., the nine triangles
having as their bases the nine horizontal lines drawn
perpendicular to the diameter. They also signify the
prime cause of PrapaSca, i.e., primordial matter, and
are also appropriately called the nine Yoni-s, which are
said to be of the form of the nine Dhatu-s which go to
make up the body of the Microcosm. The five Dhatu-s,
humours : Tvac, Asrj, Mamsa, Medas and Asthi, origin-
ate from the S'akti ; and Majja, S'ukla, Prana and the
Jiva of the Microcosm originate from S^va; w-hile

66 SAUNDARYA-LAHARi .

the five Bhuta-s, the five Tan-matra-s, the five
JSanendriya-s, the five Karmendriya-s and the Manas of
the Macrocosm have their origin m the S'akti, and like-
wise Maya, S^uddha-vidya, Mahes'vara and Sada-s'iva
are from S'iva. Thus it will be seen that the nme basic
triangles, involving the twenty-five Tattva-s, stand for
the entire Microcosm and Macrocosm. * S'ri-kantha-s *
and ^ S'iva-yuvati-s ' are the triangles so designated.
Lying apart from Sambhu—^ S'ambhu * stands for the
Bindih which lies in the quadrilateral and therefore apart
from the nine triangles. The words Vasu and Kala in
Samskrt are conventional for 8 and 16, and here denote
the eight-petalled and the sixteen-petalled lotus respective-
ly. The three circles and the three lines — in drawing the
S n-cakr a somt describe only one circle in the place of
the three Mekhala-Sy forgetting that the two' already
existing circles form the pericarps of the eight-petalled
and the sixteen-petalled lotus. This is against the
view of the majority. The three lines-^thQ author of
the Saundarya-lahari is not apparently of the view that
four doorways, one on each side, should be provided for
the quadrangular Bhu-grha of three lines, as, otherwise,
he would have specifically made mention of them here.
Although Vamakes'vara-tantra and some others hold the
view that the Bhu-grha has four doorways, still
Bhaskara-raya, in his Setu-bandha makes mention of the
fact that the Yamala is silent^ about the doorways and

SAUNDARYA-LAHARI 67

S'aiikara-bhagavat-pada m his Saundarya-lahari follows
suit with the same view* Strangely enough, Laksmi-
dhara, who strongly supports the view in lavour of the
doorways, quotes the selfsame authority in support of his
view, taking care, however, to fatbncate a reading of his
own, convenient for his purpose. The word * Dvaro-
panta ' occurring in stanza 96 infra^ however seems to
lend support to Laksmi-dhara's view. Forty-three in
^wm6er— comprising the vertical angle of the mitial
Tri-kona^ the eight corner angles of the AstU'-kona
pointing outwards, the twenty corner angles of the
internal and external Das'ara-s pointing outwards,
and the fourteen corner angles of the Catur-
das'ara pointing outwaids are the forty-three Ko^as
meant. The portions of the Sn-cakra lying outside
these angles are considered as merged in them, the
Asta-dala-padma in the Tri-kona, the Soda&'a-dala
in the Asta-hofja^ Mekhala-traya in the two Das^ara-s,
and the Bhu-grha in* the Catur-das'ara respectively.
Those who adopt the reading * Catus'-catvarims'at * under-
stand the word * S'arana-ko^ali ' as, ** Bindu, the kbode
of S'iva, and the angles and give their number as
forty-four."

The Srl'Cahra (containing the fifty-one letters of the
Alphabet), which is the Devi's abode, inside which is
the abode of Laksmi, is construed as of the character of
Soma, Surya and Anala. Some hold the view that it
contains the three regions of the Moon, the Sun and

68 SAUNDARYA-LAHAR!

Fire in the descending order, in three distinct parts,,
among the six Cakra-s forming part of it. . Others
maintain 'that it partakes of the character of each of
the three, offering the following explanation : The forty-
three andes of the S'n-cakra are represented by the
sixteen Kala-s of the Moon and the twenty-seven stars
m its Soma aspect ; by the twelve Kala-s, twelve Murti*s,
twelve Bsi-s, the three Veda-s and the four Svara-s in its
Surya aspect ; and by the Tn-kona representing Agni, the
Asta-kona^ the eight Murti-s of Agni, the Antar-das^ara^
the ten Kala-s of Agni, the B^^^^i^-daB'ara^ the ten
Vibhuti-s of Agni, the Vis'va over which the three tongues
representing the three Guna-s of Agni spread, made up'
of the fourteen worlds representing the Catur-daS'ara in
its Agni aspect. It may be pointed out in this connection
that this stanza is considered by some as the Bahir-
yaga, the external sacrifice of the Upasaka-s of the Devi,
while the previous two stanzas deal with the Antar*
yaga, the internal sacrifice, as both of them culminate in
the partaking, by the Upasaka, of the ParSmrta
as Havya.

There are three ways in which the parts of the Sn-
cakra are viewed, as providing abodes for the deities,
each ond of them forming the basis of a distinct form of
worship. They are known as the Meru-, the Kailfisa-,
and the BhiT-prast^ra-s.^ The arrangement of the

^ Umanaada-natha, m his treatise named Nityotsava» which
deals with the daily worship of the Devi, mfeikes mention of the
Bhu-prastara and the Meru-prastSra only, leaving off the KailSsa-
•^prastara, citing the Tantra-rSja as his authority According to him

SAUNDARYA LAHARl 69

sixteen Nitya-s according to the design of the Mem-
prastara is as follows : The sixteen Nityi-s, viz.,
Maha-tri-pura-sundari, Kames'vari, Bhaga-malini, Nitya-
Hmna, Bherunda, Vahni-vasini, Maha-vidyes'vari, S'lva-
duti, Tvarita, Kula-sundari, Nitya, Nila-pataka, Vijaya,
Sarva-mangala, Jvala-malinika and Cit-kala are split
into eight pairs, in the order above named. The fifty-
one letters of the Alphabet are similarly divided into the
foUoviring eight groups, viz., A-varga, Ka-varga, Ca-varga,
Ta-varga, Ta-varga, Pa-varga, Ya-varga and S'a-varga.
The pairs of deities along with the groups of letters are
then considered as having their places over the eight
petals of the Asta-dala-padma, commencing from the
petal pointing to the east, clockwise. Each petal thus
comes to be identified with a distinct pair of deities and
a group of letters* In the same manner, commencing
from the angle pointing eastwards of the Asta*konci,
the same pairs of deities and groups of letters should be
considered as inherent m each corresponding angle of
the Asta-kona, The same Nitya-s coupled with the
sixteen vowels should be identified as having their place

Hie Bhu-prastara has for its requisite a flat plate of gold four
inches square and weighing six, tolas, over which is worked out
m relief the Sn-cakra, Meru-prastara is spoken of as of three
kinds : {a) The three Cakra-s commencing from the Bhu-pura or
Bhu-grha constituting the Srsti-cakra-s, the next three constituting
the Sthiti-cakra-s and the "last three constituting the Sainhara-
cakra~s are wrought in massive gold m three stages rising one
above the other m the form of a pyramid ; (6) the Bhu-pura as
the first stage, the two lotuses as the second stage, and the six
other Cakra-s a!s the third rising one above the other in the form
of a pyramid , and (c) the nine Cakra-s nsmg one above the other
in nine stages

70 SAUNDARYA-LAHARi

in the sixteen petals of the Sodas^a-dala-padma and as

inherent in the Dvi-das'ara. The first two of the Nitya-s

are considered to be of the form of the Tri-kona and

the Bindu respectively ; the other fourteen Nitya-s are

considered as inherent in the fourteen angles of the

CatuT'das^ara. This is how the Nitya-s are considered

to inhere in the Sn-cahra* The arrangement of the

fifty-one Matrka-s according to the design of the Kailasa-

prastara is as follows : The sixteen vowels, the very

life of the Alphabet, corresponding to the sixteen Nitya-s»

are compressed into * Ah * which is made up of the * A ^

preceding the * E ' and the * Visarga ' derived from ' Sa '

of the PaSca-das'Sksarl This is assigned its place in

the Baindava-sthana and should be considered as also

inhering there* The consonants, commencing from * Ka '

and ending with * Ma ', known as the * Spars'a \ with

the three syllables * Am ', * Hrim \ * Krom ' (the Pas'an-

kus'a-bija-s), these twenty-eight should be considered as

inherent in the angles of the Asta-kofta and the two

Das'Ura-s^ one letter in each angle, the remaining nine

letters commencing from ' Ya ', after duplication,.

should be considered as inherent in the fourteen angles

of the Catur^da^a-koija and the four S'iva-cakra-s, one

'in each. This is how the Matrka-s are considered to

inhere in the Sn-cakra. The arrangement of the deities

consisting of Vas^inl and others, according to the design

of the Bhu'prasiara^ is as follows : The sixteen Nitya-s

split into eight pairs along with one of the eight deities^

viz.y Vas'ini, Kames'varl, Modini, Vimala, Aruna, Jayinv

Sarves'vari and Kaulini added to each pair, the eight

SAUNDARYA-LAHARi 71

groups of three deities each thus formed, should be
considered as inherent in the eight Cakra-s lying beyond
the Bindu and the Tri-kona, one in each. The Maha-
tripura-sundari should be considered as inherent in the
middle of the Sn^cakra ; the eight Varga-s, the eight
deities, Vas'ini, etc., the remaming fifteen Nitya-s
and the twelve Yogiui-s, viz., Vidya-yogini, Recika-
yogini, Mocika-yoginl, Amrta-yogini, Dipika-yogini,
JSana-yogini, Apyayani-yogini, Vyapini-yogmi, Medha-
yogini, Vyoma-rupa-yogin!, Siddhi-riipa-yogini and
Laksmi-yogin, constituting forty-three m all, should
be considered inherent in the forty-three angles of
the Sn-cakray one in each. In the four door-
ways, the four deities, viz,, Gandbakarsini, Rasa-
karsmi, Rupakarsini and Spars'akarsini, should be con-
sidered as inherent. This is how the Vas'mi, etc., are
considered to inhere in the Sn-cakra. The worship of
the ffrt-cakra as well
as the successful
accomplishn^ent o f
the Yogic practice of
rousing the Kuijdalini
and leading it to the
Sahasrara, thence
back to the Mula-
dhara, by the Rsi-s
of yore is borne testi-
mony to by the
Taijtiriyar a n y a k a,
when it makes reference to'the Pfs'ni-s (Tait. I, 27).

72 SAUNDARYA-LAHARi

12. Tvadiyam saundaryam tuhma-giri-kanye tulay-

itum
kavindrah kalpante katham api virinci-prabhr-

tayah ;

Yad-alokautsukyad amara -lalana yanti manasa

t a p b h i r dus-prapam api giris^a-sayuiya-

padavim.

Daughter of the snow-capped Mountain !
The foremost poets, such as Virinci and
others, .are baulked in their attempt to find a
match for Thy beauty, as (evenj celestial
damsels, in their eagerness to appreciate
\yhich, menltally attain at-one-ment with
(|iiri"S'a, which is hard to attain even by
severe penance.

It this stanza the author extols, though indirectly,
the Sayujya, the state of at-one-ment brought about

SAUNDARYA-LAHARi

by the merger of S^iva and the S'akti, the presiding deity
of the Ananda-lahari, after describing her abode, the
Sn-cakra^ m the previous one.

The foremost poets — those, that indulge in portraiture
of the subhme and
the beautiful, out of
the flights of their
fancy, with the aid of
rhetorical devices.
Brahman is here
spoken of as one of
the foremost poets, in
fact the foremost
among them, for the
reason that he is the I
author of the most beautiful among created things, and
any attempt made by a poet in this direction could
but be a poor imitation of Brahman's artistic skill.
Further the Veda-s, which afford the sublimes.t examples
of poesy, owe their origin to him. Baulked— hecBMse
they do not command that power of mental analysis
and expression which would enable them to draw a pen-
picture of the Devi's beauty, at least m terms of equally
beautiful objects. Their only possible resource in this
respect would be the celestial nymphs. But these in
their own estimate fall so far short of the Devi that, in
their eagerness to have a look at her, they always think
of S'iva, who alone has the privilege of enjoying the
Devi's beauty at close quarters, and in their emulation
become one with him. . In the case of the reading * Yad

74 S.AUN"DARYA-LAHARi

alokya *— having seen which, ' Manasa ' — with the mind^
the meaning would be * having meditated upon Thy
beauty '. The celestial nymphs, fay the sheer strength of
such Dhyana-yoga, attain that one-ness with S^iva, which
IS denied even to the greatest of sages, notwithstanding
their severe austerities. There is another reading
'Pas'unam' for ' Tapobhih '—meaning 'by those who
are Pas'u-s ' (animals), m that they do not follow the
Tantra-s.

13. Naranx varsiyamsam nayana-virasam ^narmasu

jadam
tavapangaloke patitam anudhavanti s'atas'ah ;
Galad-venx-bandhah kuca-kalas'a-visrasta-sicaya
hathat trutyat-kaficyo vigalita-dukula yuva-

tayah^

Damsels in hundreds, with their locks dis-
hevelled, their sarees flying off their figures,
their girdles bursting asunder with force, their
silk garments slipping down, run after a
decrepit, ugly and impotent man, who falls
within the range of Thy side-glances.

SAUNDARYA-LAHARi 75

This Stanza may be characterized as one wherein the
poet's fancy has run
riot, m extolhng the
potency of the Devi's
side-glances. If any
description, in the
true classic style, of

women unhinged by the influence of passion is to be
attempted by the saintliest of poets, it is to be met wi^
in this stanza.

Run after — madly follow in the wake of, in tl\e belief
that he is Madana incarnate. To the exquisitely beauti-
ful side-glances of the Devi i^ attributed the virtue of con-
verting e^^n the most repulsive into the most attractive
in this stanza, and the same feature is dwelt upon further
in the eighteenth and nineteenth stanzas infra, the motif
in all the three cases bemg to raise Kama, the satisfaction
of desire and passions, to the rank of one of the four
Purusartha-s, the ends and aims of human existence.
This is what is known as the Madana-prayoga.

14, K§itau sat-paScSs'ad dvi-samadhika-p a n c a s' a d

udake
hutas'e dva-sastis' catur-adhika-paiJcas'ad anile

75 SAUNDARYA-LAHARI

Divi dvih-sat-trims'an manasi ca catuh-sastir

iti ye
mayukhas tes^m apy upari tava padambuja-

yugam.

Thy pair of lotus-like feet is far above
those rays, viz,, the fifty-six (rays) of (the
Muludhura^ of the character of) Earth, the
fifty-two of (the Mani-pura, of the character
of) Water, the si5«ty-two of (the SvUdhistMna
of the character of) Fire, the fifty-four of (the
An-uhata^ of the character of) Air, the seventy-
two of (the Vishiddhi^ of the character of)
Ether, and the sixty-four of (the Ajna^ of the
character of) the Mind.

In this stanza the exalted nature of the Devi's
pair of feet, resting on the Sahasrara^ is described in
detail, with reference to the ^ix Cakra-s below the
Sahasrara. The Mayakha-s referred to in this stanza
may be understood from four different points of view, (l)
They are rays effulging from Agni, Surya and Soma,
having as their position the Rudra-, Visnu- and Brahma-
granthi-s, over contiguous pairs of the six Cakra-s in
the ascending order, their number being three hundred
and sixty in all. (2) They indicate the lunar year of
360 Tithi-s, each Tithi representing a digit of the
Moon, with the six seasons, Vasanta, Grigma, Varsa>
S'arad, Hemanta and S'is'ira, corresponding to the six;

SAUNDARYA-LAHARi 77

Cakra-s, knd the Devi's feet standing above them
all as Nada and Bindu, being Kala-go-cara (trans-
cending all time), (3) The Mayukha-s may be taken
to indicate the several Tattva-s represented by the
elements corresponding to the Cakra-s, in two sets, so
that one set may be ascribed to the S'akti and the other
to S'iva, the Devf s feet being Tattvatita and therefore
transcending them all. (4) The Mayukha-s'may also be
construed as the Matrk§-s or letters of the Alphabet
grouped as follows : 1. The fifty letters of the Alphabet,

* Ksa ' being left out of account, and the Bija-s ' Aim ',

* Hrim ', * S'rim ', * Aim ', ' Klim ' and * Sauh ', indicative
pf Earth. 2. The fifty letters as. above and the
Bija-s * Saum ' and ' SVirn ', of Water. 3. The fifty
letters, the fourteenth letter repeated four times, the
Bija-s * Ham ' and * Sah ' repeated four times, of Fire.
4. The fifty letters and ' Yam ', ' Ram ', ' Lam ' and

* Vam ', of Air. 5. The first fourteen vowels repeated
five times and the Bija-s * Aim ' and ' Hrim \ of Ether.
6. The sixteen vowels repeated four times, of the Manas.
It is said that with the three hundred and sixty syllables
thus arrived at, together with 'Ham* and' Sah '» the
requisite NySsa should be performed in the six Cakra-s,
[Vide Introduction to Serpent-Power, by Arthur
Avaion.)

'According to the first of these views each ray is given
a distinct Avarana-devata of its own. In this classifi-
cation are involved two kinds of Tantra-s, the Purva and
the Uttara, the first pertaining to the S'akti and hence
known as S'akta and the second pertaining to S^va and

78 SATJNDARAYA-LAHARI

styled S'Smbhava, From the conjunction of the non-
differentiated All-Witness, S'iva with the S'akti for the
creation of the world, there effulges a radiance, known
as Para, pervading from the Brahma-randhra to the
Aj%^ in the middle of the eyebrows* This is known as
the deity presiding over the humour MajjS— marrow.
By her are generated the five deities known as Iccha,
JfiSna, KnyS, Kundalini and MStrkS, manifesting them-
selves respectively m the Vtsmddhi of the throat, typi-
fying Ether, m the An-ahata of the heart, typifying Air,
in the Mani-jnlra of the navel, typifying Water, in the
SvadMsihuna of the genitals, typifymg Fire, and in the
Muladhara of the region above the anus, typifying
Earth, presiding over Tvac, Asrj, MSmsa, Medas and
Asthi and makmg up the entire, creation, animate and
inanimate. The number of rays pertaining to AgAj and
manifesting in the MTdadham and the Mani-imra
enveloping the first Khanda is 108. The number of
rays of the Sun manifesting in the Svadhtsthana and
the An-ahata and enveloping the second Khanda is 116 \
The number of rays of the Moon manifesting in the

* The Sun and Fire» it should be understood, are of identical
nature. The Sun shines over the Svadhisthana and the An-ahata
which lies beyond the Ma^ii-pura. Fire blazes forth m the Mula-
dhara and the Majii-pura which lies beyond the Svadhi^thana.
Thus there is an interlacing of the two regions, This is explained
thus : the rays of the Sun have the power of evaporating moisture,
which is then condensed into clouds during the MahS-pralaya. In
the event of the Fire blazing forth to devastate the Microcosm as
well as the Macrocosm, the tremendous downpour from the gathered
Saipvarta clouds will have the effect of quenching the flame and
bringing it under control*

SAUNDARYA-LAHAR!

Vtsmddhi and the A:;^a and enveloping the third
Khanda is 136. It has to be observed that the Moon of
this region with its fifteen waxing and waning Kala-s is
but a reflection of the full Moon with perpetual Kala-s
which has its place in the middle of the Sahasrara.
Kaivalyas^rama gives the names of the 360 deities
presiding over the Mayukha-s in the order of the groups
given m this stanza. These names are mentioned in the
footnote under stanzas 36-41.

These rays are also looked upon as representing the
Eternal Verities m -^ ,/*
the following manner : *--^M^
The five Tan-matra-s,
the five elements, the
ten organs of percep-
tion and motor action,
the four A n t a h -
karana-s, Kala, Pra-
krti, Purusa and
Mahat, twenty-eight
in all, dupUcated so
as to represent the S'akti and S'iva, yield fifty-six
as pertaining to Earth. The five elements, the
ten organs of perception aiad motor action, their ten
distinctive functions and Manas, twenty-six m all,
duplicated as above, yield fifty-two as of Water. The
five elements, the five Tan-matra-s, the ten organs of
perception and motor action, their ten distinctive func-
tions and Manas, thirty-one in all, duplicated as above,
yield sixty-two as of Agni. The twenty-eight Tattva-s

80 SAUNDARYA-LAHARi

of Earth, excluding Mahat therefrom, is,, the twenty-
seven so obtained, when duplicated as above, yield
fifty-four as of Vayu. The thirty-six Tattva-s of the
Kalpa-sutra-s {vide note under stanza 9) duplicated as
above yield seventy-two as of Ether. The same Tattva-s
excluding the last four, i.e.^ thirty-two, when duplicat-
ed, yield sixty-four as of the Manas. These rays are
generated in the first instance from the Devi's feet and
are thence derived by the Moon, the Sun and Fire, who
worship at her feet, for the evolution of the world. The
special qualities possessed by these rays are described m
detail m Bhairava-ySmala. The Brl-vidya is otherwise
known as the Candra-kala-vidya or the lore relating
to the waxing and waning of the fifteen Kala-s, re-
presented by the fifteen Tithi-s of the Purva- and Apara-
paksa-s, which form the basis of calculating duration.
The year, which is thus one aspect of the manifestation
of the Kala-s^aktr, is said to be Praj^-pati, the
creator. Hence these rays are verily the cause ot the
creation, sustenance and dissolution of the universe^
the Microcosm as well as the Macrocosm. As there are
myriads of such Microcosms and Macrocosms affected by
the Sun, the Moon and Fire, through whom are diffused
these rays which originate from the Devfs feet, the
Mayukha-s referred to are not merely three hundred and
sixty, but infinite. It also follows that the Baindava-
sthana if the Candra-kalS-cakra, wherein the Devi
reigns supreme and wherefrom these rays originate
and manifest themselves, transcends 'all worlds for
all time.

SAUNDARYA-LAHARi 81

1 6. S'araj-jyotsna-s'ubhram s'as'i-y u t a- j a t a-j u t a •

makutam
vara-trasa-trana-sphatika-ghutika- p u ^ t a k a -

karam ;
Sakrn na tvam natva katham iva satam satnnida-

dhate
madhu-ksira-draksa-madhurima-dhurina bhani-

tayah

How will words, which are of the sweetness
pf honey, milk and grape-juice, not be in the
command of such as have bowed even once
to Thee, who art bright as the autumnal moon-
beams, who hast as Thy crown the coiled
plaited-hair with the (crescent) Moon on, and
who holdest in Thy hands the boon-bestowing
(and) the security-affording (postures), a rosary
of crystal beads and a book ?

SAUNDARYA-LAHARI

Even as the miraculous ejfFect of the Devi*s side-
glance has been
adverted to in the
thirteenth stanza,
the marvellous
powers inherent m
approaching the
Devi with the right
kind of meditation
and prayer are
expounded in this
and the six accom-
panying stanzas.
In this stanza is described the greatness of medi-
tation of the Sattvika type on the Devi's form, through
the Vag-bbava-kufa of the PaSca-das'aksar!. To Thee —
the Devi in the form of the Vag-bhava-kuta. Bowing
even once to the Devi is credited with making the
Upasaka a great poet and attain all knowledge. The
Devi is said to be in the form of Kriya-s'akti, when
meditated upon as the source of poetic talents. This
stanza and the next two are spoken of as referring to
the Sarasvata-prayoga.

SAUNDARYA LAHARI

16. KavindraBam ceta!h-kamala-vaiia-balatapa-

mcim
bhajante ye santah kati cid arunam eva

bhavatim ;

V 1 r i n c i-preyasySs tarugia-tara-s'rngara-laharl-

gabhirabhir vSgbhir vidadhati satam rafijanam

ami.

Such rare, high-souled men, who worship
Thee as Aruna, radiant as the morning sun-
light, (causing) the lotus-Hke minds of great
poets (to bloom), dehght (the assembly of)
wise men, with their diction, profound like
the fresh flood of erotic sentiments flowing
from Viriiici's beloved spouse.

The gift of poesy,

as the result of exclusive
worship of the Devi
as ArunS m the heart
of the votary, is indi-
cated in this stanza.
The greatness of
meditation of the
Rajasic type on the
Devi's form, through
the Vag-bhava-kuta,
is indicated m this
stanza. Some are of opinion that, for the reason that
there is reference in this stanza to erotic sentiment, the

84 SAUNDARYA-LAHARi

Deva as Icch§-s'akti presiding over the KSma-raja-kuta
is indicated in this stanza. Minds — i.e., hearts. Poets*
who meditate on the Devi as Aru^a in their heart-
lotuseSj become, as a result of the Devi's grace, so many
Sarasvati-s for the nonce, and with the choice diction and
command of erotic sentiments, characteristic only of the
Goddess of Learning, delight the assembly of wise men ;
in other words, the Devi has the power of converting:
her votaries into as many Sarasvati-s.

17. Savitribhir vScSm s'as'i-maigii-s'iia-bhanga-rucibhir
vas'iny-adyabhis tvSm saha janani sam-cinta-

yati yah
Sa karta kavySnam bhavati mahatSm bhangi^

subhagair
vacobhir vSg-devi-vadana-kamalamoda-madhu-

raih*

Mother I whoever contemplates Thee
along with the generators of speech, Vas'ini
and others, who are resplendent like the freshly
cut moon-stones, becomes the author of great

SAUNDARYA-LAHARl 85

Kavya-s, replete with words erudite in style
and sweet with the fragrance of the lotus-like
mouth of the Goddess of Learning,

The Upasana of the Devi in the form of Aruna was
credited, in the previous stanza, with the bestowal of the
gift of fluency. In this stanza persistence in the same
meditation, but of the Sattvika type, is said to turn the
votary into a reputed author of epic poems.

Generators of speech, Vas'inl and others — the eight
deities, Vas'ini and
others of the Sar-
vd-ro-ga- har a-
c a kr ay whose
names and relation-
ship with the Sn-
cakra have been
dealt with under ^*.
stanza 11. They ^ *-
are said to preside over the eight groups of the letters
of the Alphabet, A-, Ka-, Ca-, Ta-, Ta-, Pa-, Ya-,
and S'a-varga-s. They are, according to the Agama-s,
of the colour of bright crystal Their respective seats
have been already noted in explaining the Bhu-prastSra.
The twelve Yogmi^s and the four guardians of the door-
ways of the Bhu-grha are also implied by Vas^ini and
others '. Some say that the vowels are of crystal white
colour, the letters Ka to Ma of the colour of coral, the
nme letters from Ya, yellow, and Ksa, red. Others hold
that the vowels are of the colour of smoke, letters from

86 SAUNDARYA-LAHARi

Ka to Tha of vermilion, from Da to Pha white, from Ba
to La which includes La scarlet, from Va to Sa of the
colour of gold, and Ha and Ksa of the colour of light-
ning, Laksmi-dhara holds that the latter is the view held
by the author. This verse is said^to refer to the fruit of
meditation on the Dev! in the form of the JSana-s'akti
presiding over the S'akti-kufa.

^iiim mm: ^fir ^fcf ^ Tftqkuf^^T: ii Uli

18. Tanuc-chayabhis te taruiia-taraQi-s'ri-dharanibhir
divam sarvam urvim arutiiitpa-nimagnam smarati

yah ;

Bhavanty asya trasyad-vana-harina-s'alina-nayanah

sahorvas'ya vasV^lti kati kati na girvana-gaijikali.

How many among the celestial courtesans,
inclusive of Urvasl, with the shy eyes of the
timid wild deer, would not be caught in the
clutches of him, who conceives the entire
Heaven and Earth submerged in the red
radiance caused by the lustrous graces of Thy

^oi

saunoarya-lahar! 87

body, forming, as it were, the abodes of the.
splendour of the rising Sun.

This stanza deals with the power bestowed by
meditation on the Devi presiding over the Kama-raja-

kuta in the form of Iccha-s'akti. With shy eyes of
the timid deer — the deer express their shyness and
timidity with their tremulous eyes. Urvas^i and other
celestial damsels, whose eyes are naturally steady and
unwinking, because of their celestial birth, are so much
filled with passion at the sight of the votary, that

88 SAUNDARYA-LAHARI

even their unwinking eyes betray restlessness, all on
account of the Devi's grace. Graces — graceful features.
The abodes of splendour — wherein the splendour
abides.

^ m: 4^^ mf^ €mi f?^|cf$5f

Mqjt^^i^ m^T^ ^fr^^m^ II ^^. l»

19. Mukham bindum krtva kuca-yugam adhas tasya

tad-adho
harardham dhyayed yo hara-mahisi te man-

matha-kalam ;

Sa sadyah samksobham nayati vanita ity ati-laghu

tri-lokim apy as'u bhramayati ravindu-stana-

yugam.

Queen of Hara ! It is but a trifle that
one who contemplates Thy Manmatha-kala,
taking the Bindu to be the face, what is there-
under to be the breasts, and still underneath
to be one half of Hara {i.e., a triangle), at
once fascinates women (in general) ; (what is
more) he very soon causes even Tri-loki (the

SAUNDARYA-LAHARi 89

three worlds together) who has the Sun and
the Moon as her breasts, to swirl.

This stanza, like the previous one, also affords an
example of the Madana-prayoga and deals with the fruit
of meditation on the Devi, as IcchS-s'akti presiding
over the KSma-raja-kuta, m virtue of which the votary
acquires the power of fascinating women. 'Queen of
Hara — i.e., the Devi of the form of Sac-cid-ananda, being
the spouse of Hara, the Paramatman» who absorbs the
entire universe unto Himself. This is also construed
as the Tri'kona^ which is the resort of the Bindu in
the form of Hara, Thy Manmatha-kala — the Kama-
kala indicating Thee, i.e., (l) * Klim ', which, accord-
ing to the Deva-nagari script, is made up of one Bindu
at the top, two Bindu-like curves on either side
of the * K ' thereunder and what is thereunder, vlz.^
the * L '. (2) Bereft of the ' K ' and * L ', this B%ja
becomes the Gupta-maha-sarasvata-bija, viz., * Im '
which is made up of three Bzndu-s, one above and two
thereunder, the former indicating the Sun and the latter
Fite and the Moon thereunder. (3) Which is of the form
of ' E ' i.e., the Yoni, and (4) which is power in the
form of the three Guna-s, i.e., the Universe which
is the product of the union of S'lva and the S'akti.
Taking— 'i.e., conceiving by the strength of medi-
tation. One half of Hara — there is also another
reading, * Hakarfirdham ', meaning ' one half of Ha-
k^ra,* which is the same as Hara. * HakarSrdha '
is capable of being construed in the following

90 ismjf^9f^m-'^^^iM^

ways . (1) The upper half of ' Ha ' being neglected, the

lower half, which resembles * E ', is construed as the

Yoni. (2) ' Ha ' is S'iva and one half of S^iva will be

S'lva, made up of S', I, V and A ; eliding the consonants

S' and V, the other half ' I ' and * A ', when combined,

yields *E', which is the Yoni. (3) *Ha' stands for

' Ravi ' and when half of it, viz., the consonants ' R '

and * V ' are elided, the resultant ' A ' and * I ', when

combined, yield *E% the Yoni. According to S'ri-

krama, the three Bindu-s are : the first or Fire,

indicating Rajas and presided over by Brahman, is

the face, the second and third Bindu-s, which are

the Sun and the Moon, indicating Sattva and

Tamas, presided over by Hari and Rudra, are the

breasts. Below that, a subtle Cit-kaM, which is

one half of * Ha ' with the upper half neglected, and

transcends all the three Guna»s, is the Yoni, i.e., the

triangle connecting the three Bmdu-s, indicating the

three Guna-s, the characteristics of Brahman, Hari and

Rudra. (4) ' Ha ' is the * Hamsafe ' and the one half of

it, vtz,, the consonants * H ' and * S ' being elided, the

other half, ' Am ' and * Ah ', yield three Bindu-s, which

should be meditated upon as the Manmatha-kal3i, viz*f

* E *, the Yoni. (5) Harardham—one half of Hara, i.e.^

the S'akti, which means the Yonu Besides these there

is also an esoteric significarice, which should be received

out of the mouth of the Guru. While the first half of

the stanza extols the influence of the Devi on the votary

with reference to women in general, the second half deals

with the extraordinary influence which, through her

SAUNDARYA-LAHARi

grace, her votary lias over the three worlds personified
as the woman par excellence, and in virtue of which he
becomes the lord of the three worlds, within the three
S'akti-s in harmony
with his wishes.
According to the
Rudra-yamala, the
Tn-loki is said to
assume the form of
the KSma-raja-kala
with the Sun and
the Moon as her
breasts. To swirl
— by the extraordi-
nary powers he
commands as the true devotee of the Devi in the
form of Iccha-s'akti. Some hold the view that this
verse speaks of Panca-raa-yaga, esoterically, the union
of the Kundalmi with Parama-s'iva and of Maithuna on
the material plane.

2 i«^ss«iRftiwr.

SAUNDARYA-LAHARl

20. Kirantlm angebhyah kirana-nikummbSmrta-rasam
hrdi Iv^ra adhatte hima-kara*s'ila-murtim iva

yah;

Sa sarpanam darpam s'amayati s'akuntSdhipa iva

j vara-plustSn drstya sukhayati sudhS-^sSra-siraya.

He who contemplates Thee in his heart, who
diffusest nectar in the form of beams from
(Thy) limbs, as an image carved out of a moon-
stone, quells the pride of serpents, like the king
of birds, and cures those afflicted with fever,
with a look resembling the nectar-showering
Nadi.

Thee— who hast assumed the form of Amrtes'vari.

Quells the pride
f serpents — a t
the very sight of
the votary serpents
are said to seek
safe places of re-
^ treat, as, in virtue
of the power ac-
quired by him from
meditation on
the Devi, he ap-
pears to their eyes
as Garutmat, the
king of birds and the traditional vanquisher of ser-
pents. The votary is thus indirectly an antidote to

SAUNDARYA-LAHARi 93

snake-bite. By * fever ' is meant any chronic disease, such

as malaria, which afflicts mankind in general Diseases

are cured by the ordinary medical practitioner with the

administration of drugs. But the votary of the Devi,

through her grace, is endowed with the miraculous power

of healmg the afHicted by the mere casting of a look.

Resembling the nectar-showenng Nadi — the Nadi

referred to is the Amfta-nadi recognized by the Yogin-s,

which, in filling the entire system of Nadi-s with nectar,

fills the accomplished Yogin with the ecstasy of Bhss.

, This stanza refers to the special powers acquired by the

Yogin, from worship of the Devi, wherewith even death

could be conquered.

2L Tadil-lekha-tanvim tapana-s^as'i-vaisVanara-ma-

yim
nisannam sannam apy ^upan kamalanam tava

kalam ;

Maha-padmafavyam mrdita-mala-mayena manasa

mahantah pas'yanto dadhati paramahlada-la-

harim.

Great men, who, with their minds bereft of
impurity and illusion, look on Thy Kala,

1 q|?fiTWf^^.

94 SAUNDARYA-LAHARi

slender as a streak of lightning, of the essence
of the Sun, the Moon and Fire, and abidinj^
m the great forest of lotuses, standing far
above even the six lotuses, derive a flood of
infinite Bliss.

Bereft of impurity and illusion — with impurities
such as carnal desire, volition, assumption, etc,, which are
the result of illusion, completely attenuated. Thy Kala—
the Kala known as Para of the Dev! in the form of
Candra-kaia. This form is assumed by the Devi m the
Bamdava-sthana of the Sahasrara, when she is con-
joined with S^iva. Streak of lightning — m the Ajta-cakra
and thereafter. Essence of the Sun, etc, — as without the
Devi, the Sun, etc*, cannot exist* It may also be noted
that the Sun, the Moon and Fire derive their luminosity,
etc., only through the Devi's grace. Great forest of
lotuses — the thousand-petalled lotus in the Dva-das^anta
is meant by this. In the case of the reading * Mrdu-
tamam \ the meaning would be ' without effort '. The
meditation on the Kama-kala in the form of the Tri-pura-
sundari, the mother of Brahman, Visr^u and Rudra>
referred to in stanza 19, is said to be the Bahya, or
outer meditation. Stanza 21 is said to formulate the
Abhyantara, or inner meditation on the pure Cit-
svarupa of the Devi, attainable only by the great.
This form is very subtle, while the forms referred
to previously are intended for votaries of lower
capacities.

SAUNDARYA-LAHARi

Meditation on the Devi along with the Mantra
should be confin-
ed to the following
eighteen seats of
the Linga-s'arira :
the Kula-padma,
i.e., the Sahasrara
opening upwards
from its place a
little below the
Muladhara, the
Vt^Uj one of the
two lotuses of eight and six petals respectively
between the Kula-padma and the Muladhara, the
Muladhara^ the Mani-pura, the Svadhtst^na, the
An-ahata, the Vis'uddht, the Lambikagra, the 1/^^, the
Indu, the Ardha-candra^ the Rodhinl, the Nada, the
Nadanta, the Saktt, the Vyaptka, the Sa-mana and the
Un-mana. The fifteen syllables of the Pafica-das'aksari
should be conceived as inherent in the first fifteen of
these seats from below, one in each, and also every prior
one of the fifteen syllables should be conceived as being
dissolved in the immediately succeeding one, in order, the
last of the fifteen being dissolved in the fire of the form
of Yoni in the Vyapika, the Yoni conceived as in
Is'vara of the form of the three Bindu-s, Surya, Agni
and Soma, and dissolved, the Surya in the Afeni, the
Agni in the Soma, in the Sa-man^ and the Soma in the
Sa-parardha-kaia of the Un-mana, When all are dissolved,
the Yogin, conceiving of the conjoint Siva and the S^akti

96 SAUNDARYA-LAHARi

as his own Self, attains one-ness with the S'ada-s'iva-
tattva and becomes a Jivan-mukta.

mi^ ^ s[T^ ^f^t to ^fl ^^^^T-

22. Bhavfei tvam dise mayi vitara drstim sa-karuiftam
iti stotum vaSchnn kathayati bhavani tvam iti

Tadaiva tvam tasmai dis'asi nija-sa-yuiya-padavim
mukunda-brahmendra-sphuta-makuta-nirajita-

padam.

When one, desirous of earnestly beseeching
Thee with tlie words, '^ Bhavani ! mayest
Thou cast Thy merciful glance on me, Thy
slave", pronounces the words, '* Bhavani
tvam *\ (may I be Thou), that very moment,.
Thou bestowest on him the status identically
Thine own, rendered lustrous by the brilliant
crowns worn by Mukunda, Brahman and
Indra.

This stanza extols, by implication, the worship of the
Devi, with the conception, by the worshipper, of bis
identity with her, in preference to the other forms of

SAUNDARYA-LAHARI

worship, such as by the performance of Japa, Homa, etc.,
as it is held, that the mere utterance of words, conveying
the idea of the Mah§-vakya-s, such as * Tat tvam asi '
etc., either intentionally or by accident, carries with it
the full fruits attainable by the * realization of their
contents. The author of this work, after dealing with
the Antar-yiga and Bahir-ySga methods of dpproach in
the previous stanzas, deals with the potency of Bhakti

or devotion in this stanza. Bhakti is held by a school
of thought as leading to liberation m the form of
Sa-lokya, reaching the abode of the Supreme
Being,' Samipya, proximity to the Supreme Being,

■98 SAUNDARYA-LAHARI

Sa-rupya, becoming of the form of the Supreme Being,
and Sa-yujya, At-one-ment with the Supreme Being*
The liberation referred to here is S3-yujya, Rendered
lustrous — the implication is that Mukunda, Brahman
and Indra hold the status referred to above in such high
esteem, and so venerate it, as to perform Kirfijana (the
waving of lights), as it were, before it, with their
dazzlmg bright crowns serving the purposes of lights in
the ceremony.

23. Tvaya hrtvS vSmam vapur a-paritrptena manasS
s'arirSrdham s'ambhor aparam api s'anke hrtam

abhut ;
Yad etat tvad-rupam sakalam arunflbham tri-

nayanam
kucabhyflm Snamram kutila-s'as^i-clKjaia-maku

Jam.

I fancj^ that the other (half) as well, of
Sambhu's frame, has been absorbed by Thee,

SAUNDARY^-LAHARl 99 ,

with Thy mmd, not satisfied with having
absorbed the left one ; for, this, Thy form,
is entirely of a red colour, has three eye*s,
is slightly bent with (the weight of) the
breasts, and wears over its cr6wn the Crescent-
moon;

The theme of this stanza, as of several others, is the
complete union of S'iva with the S'akti. But the author

accomplishes this purpose adroitly enough, by makingr
use of the hermaphrodite form of Ardha-naris'vara, ia

100 SAUNDARYA-LAHARi

which Siva is worshipped, wherein he occupies the
right half, and Uma, his spouse, the left half* The
distinct characteristics of S'iva are a pale-white colour, a
crown with the crescent on and the three eyes* The
Sakti is represented to have such a mastery over S'iva
that, in the first instance, she gradually encroaches on his
form and annexes one half of it, viz.^ the left, wherein
her characteristics, viz,^ the colour of the rising Sun and
her left breast replace Shiva's, while the third eye and the
crown with the crescent on are shared in common. Not
satisfied with this achievement of hers, she further
encroaches on the right half of S^ambhu's form as well,
and, having absorbed his entire form by eclipsing his
colour and developing another breast, assumes the
female-form, ^o well depicted m this stanza, thus showing
beyond doubt that she has become more than one half
of her Lord. This stanza may also be taken to support,
by itnplication, the well-known doctrine of the Uttara-
kaula-s, for whom there is no S'iva-tattva apart from the
S'akti-tattva, as the former stands absorbed in the latter,

m^ TOT iR<^fct ^: ^m^

24, Jagat sute dhata harir avati rudrah ksapayate

tiras-kurvann etat svam api vapur is^as

tirayati ;

SAXJNDARYA-LAHARi 101

Sada-purvah sarvam tad idam anugrhtiati ca

s'lvas
tavajfiam alambya k§a^a-calitayor bhru-lati-

kayot.

The Dhatr creates the world ; Hari sustains
it ; Rudra destroys it ; making ail this dis-
appear, Is'a causes his own form to disappear
as well ;' while Sada-s'iva, in pursuance of the
mandate from Thy slightly-knit creeper-like
eyebrows, blesses all this*

The evolution and the involution of the Macrocosm
preparatory to its creation once again, are indicated in
this stanza* The world is in a state of evolution,
through Brahman discharging his function* of creating
it and Visnu discharging his function of sustaining it.
Then commences the mvolution with the destruction of
the world by Rudra, whereupon IsVara catjses the de-
stroyed universe to disappear along with Brahman, Visnu
and Rudra, and himself disappears. During the process
of mvolufeion, the lower Tattva-s merge into the higher
Tattva, is'vara, who represents the lower Tattva-s
in their collective form and ceases to have an
independent existence, after the process of involu-
tion is complete. There, then, remains Sada-s'iva
alone, who is the all-witness, and absorbs all the Tattva-s
including Is'vara in the Bija-form withm himself, and in
his passive attitude implies his approval of the actions of
the lower po\^^ers, who carry out the work of involution,

102

SAUNDARYA-LAHARi

in obedience to the pre-ordained laws of evolution and
involtition, himself standing changeless and eternal,
preparatory to the creation of the universe once again,

11/ w w U/ \1/ Uf

m /i\ A m /i\ /if

at the instance of the Devi, who conveys her mandate
throtgh the knitting of her eyebrows, as represented in
this stanza* The implication is that the Devi is All-
supreme and th^ iSve powers, through whom she carries
out he^, mandates, are but her agents.

SAUND ARYA-LAHARl 1 03

25. TraySnam devanam tri-guna-janitanam tava s'lve
bhavet puji puja tava caratiayor yS viracita ;
Tatha hi tvat-pModvahana-mani-pithasya nikate
sthita hy ete s'asVan mukulita-karottainsa-

makutah.

Spouse of S'iva ! the homage rendered
to Thy feet becomes by itself the homage
rendered to the three gods born of Thy three
Guna-s. It is, therefore, meet that these (gods)
ever stand by the jewelled seat on which Thy
feet rest, with their folded hands adorning
their crowns^

This stanza implies that those who worship the Devi
stand in no need *of
separately worship-
ping Brahma, Visnu
and Rudra, who are
but her agents, stand-
ing by her foot-stool,
ever at her beck
and call and m the
act of adoring her.

104 SAUNDARYA-LAHARi

%m ^^i\ ^^% ^^^ ^11^ f^^^'l I
'mt ^i¥t f^^fci# M^f^ ?5Tt'
^fwiK sf^qi^^f5(T% ^f^ m^^iit www

26. VitiScih paScatvam vrajati harir apnoti viratim
vinSs'am kinSs^o bhajati dhana-do y&ti nidha-

nam;
Vi-tandri raShendri vitatir api sammilati drs'Sm
mah^-samhSre 'smin viharati sati tvat-patir

asau.

Queen of chastity I Virinci goes back to
the five elements ; Hari ceases to exist ;
KinSs'a meets with destruction; Kubera
perishes ; the array of the ever- wakeful eyes of
Mahendra is also closed (for ever) ; in this
great deluge, this Lord of Thine (alone) has
His diversion.

This 3tan2a extols tht chastity of the Devi, in virtue
of which her husband is not merely spared the
general holocaust of gods, but strangely enough diverts

SAUNDARYA-LAHARI 105

Tiimself amidst such weird environment. ViriSci,

Hari, KInas'a (i.e.,

Yama, the god of

<ieath), Indra and

other gods, who are

Amara-s according to

tradition, meet with

their death, during

the Maha-pralaya,

but the Devi*s Lord

alone survives u n-

concerned.

27. Jape jalpat s'ilparp sakalam api mudra-viracana
gatih pra-daksinya-krama^am as'anEdy ahuti-

vidhit ;
Pranamah sarnves'a^i sukham akhilam atmarpa^a-

das'a
saparya-paryayas tava bhavatu yan me vilasitam.

Whatever action it is of mine, may be
taken (as intended) for Thy worship : (my)

106 SAUNI^ARYA-LAHARi

prattle, as muttering (Thy) prayer ; the mani-
fold forms of my manual work, as the Mudra-s
(gestures) employed in (Thy) worship; (my)
loitering, as going round (Thee) clockwise;
my taking nourishment, as offering oblations
(to Thee) ; (my) lying down, as prostrating
(before Thee) ; and (my) attending to all
other comforts, as dedicating my entire self
(to Thee).

After descanting on the greatness of the Devi and the

miraculous powers
acquired by her
votaries, as a result
of meditating on her
form with the appro-
priate Cakra-s, the
author, in this
stanza, deals with
the manner in which
a typical Jivan-
mukta would worship the Devi, as prescribed in
the Bhavanopanisad. The worship of the Devi is
of a two-fold character, viz,^ exoteric (the lower
form) and esoteric (the higher form). The former
contains all the elements of prayer, gesture, circumambu-
lation, oblation and prostrat^n, as practised by the
ordinary worshipper. The latter, which does not attach
any importance to ceremonial forms, is referred to here

SAUNDARYA-LAHARl 107

as practised by the ever-hallowed Jivan-mukta-s. The
author so thoroughly identifies himself with this method,
that he uses the words * of mine ' significantly enough.
Prattle — being made up of the MatrkS-s, which are
divine, turns out to be prayer of some* form, either
mental or muttered or recited aloud. Mudra-s — such as
are used at the mvocation of a deity and other connected
rituals, which take the form of manual gestures.
Nourishment — various kinds of solid and liquid food.
This IS considered as offering oblations to the Devi in
the form of the Jatharagni, vital energy in the belly*
Lying down — includes sleep, turning one's limbs while
in bed, etc. Laksrai-dhara is of opinion that the worship
of the Devi as the Sadakhya-tattva in the Sahasrara^
and not the external ,kind, wherein the Devi is mounted
on a pedestal, etc., is meant by this stanza. Though
Samayin-s have nothing to do with external forms, still
there rs a class of Samayin-s who resort to the worship
of the Devi in the middle of the solar disc, with Pas'a,
Ankus'a, etc. in her arms, based on the authority of the
Candra-jnana-vidya. This stanza contains the essence
of the practice of JSan^-yoga, wherein all action is
dedicated to the Paramatman here represented by th&
Tri-pura-sundari. In this sense every natural act and
function without exception should be construed as an act
of worship of the Devi.

108 SAUNDARYA-LAHARi

28, Sudham apy asvadya pratibhaya-jara-mrtyu-hari-

r>im
vipadyante vis^ve vidhi-s'ata-makhadyfl divi-

sadah ;

KarSlam yat ksvelam kabaiitavatah kSla-kalana

na' s'ambhos tan-mulam tava janani tatanka-

mahima.

Mother ! all the denizens of the celestial
regions, such as Vidhi, S'ata-makha and others,
perish even after drinking nectar, which is
reputed to confer immunity from terrible old
age and death. If the period of life of
S'ambhn, who has swallowed virulent poison, is
beyond computation, it is all due to the peculiar
virtue of Thy Tatanka-sXear-ornaments),

Having given some indication of the fruits attainable
by a votary through Bhakti,. devotion to the Devi, the
author sets about, in this stanza, describing the marvel-
lous powers exercised by the Devi's Tatanka-s, through
which alone eternal prosperity is vouchsafed to her
devotees* Immunity from terrible old age and death —
the apparent incongruity involved in conceiving of
Brahma, Indra and other gods as perishing^ in spite of
their having drunk nectar, will vanish, if we take into
account the fact that even the Deva-s meet with their

SAUNDARYA-LAHARl

109

dissolution at the time of the great deluge. Peculiar
virtue of Thy Taianka-s— the word 'Tataiika* is
understood by some as the Mangalya-sutra, which it is
the privilege of all Sumangall-s, i.e., women with their
husbands alive, to wear around » their necks. But the
correct view is that the TStanka-s are ear-ornaments
which are the outward symbols of Sumangali-s, who are
enjoined not to forsake their TStanka-s by any means,
as their doing ,so would amount to their assuming the
outward symbol of widowhood. In this view, the Devi's
Tatanka-s would lose their hold on her ears, only when
S'ambhu could be ytt
overtaken by cata-
strophe, a contingency
which IS impossible,
as the Devfs Tatan-
ka-s, whereon the
very origin, duration
and end of Kaia, i.e.,
Time, depends. It is
on this account that
even the most virulent
poison, which S'aipibhu drank, had apparently no
effect on him. So wonderful is the influence of the
Devi on the longevity of her husband's life !

Mi %Ti€ ^fw 3^: |j^f^?:

^lR5:3gf.

1 10 SAUNDARYA-LAH ARI

^^f^TFicsn^ rig «?R^5it^iiirq^ li r^. n

29. Kiritam vairmcam parihara purah kaitabha-bhidah

kathore kotire skhalasi jahi jambhari-makutam ;

Pranamresv etesu prasabham upayStasya bhava-

nam
bhavasySbhyiitthame tava parijanoktir vijayate.

Glory to the words (of caution) of Thy
servants : '' Pray avoid the crown of Virifici
(lying) afore Thee ! " *^ You will topple over
the hard crest of the slayer of Kaitabha ! "
** Please keep off frorn the head-gear of the
foe of Jambha!'' — while all these three lay
prostrate before Thee, — when, all of a sudden,
Thou startedst to receive Bhava, who had
corae to Thy abode!

Here is a touchingly graphic description of the recep-
tion accorded to her Lord by the Devi, while holding
her court, surrounded by her maids^-in-waiting and with
the prostrate forms of Brahma, Hari and Indra supplicat-
ing afore her, the maids administering here a timely warn-
ing, lest she should stumble on the crowns of the suppli^
catmg gods, in the warmth of her reception.' Keep off
from the head-gear 0/ the foe of Jambha~the
Samskrit verbal form * Jahi ' is here used in the sense of

SAUNDARYA-LAHARi 1 1 1

' Jahihi ', (from the root ' Ha ', * to abandon ') and should
not be construed as
the Imperative second
person singular o f
'Han', *to kiir,
which would land us
in an absurdity. To
avoid this the read-
ing Jahihindrasya
makutam ' may as
well be suggested, but
this would detract
from the grandeur of
the original

30. Sva-dehodbhutabhir ghrnibhir a^imS-^dySbhir

abhito
nisevye nitye tvam aham iti sad§ bhSvayati

yah;
Kim as'caryam tasya tri-nayana-samrddhim

trrjayato
mahS-satnvartagnir viracayati nirajana-vidhim.

1 12 SAUNDARYA-LAHARi

(0 Goddess) who art eternal and art served
all around by the rays, Anima and others
emanating from Thine own frame 1 What is
there to wonder at, if the Fire of the great
Deluge should perform the ritual of waving
lights before whosoever always conceives
Thee as * I am (Thou) \ treating the wealth
of Tri-nayana as mere straw ?

Eternal — that has neither begmnmgj nor end. Rays

emanating from
Thine own frame y
i,e.t the Sri-cakra of
nine parts, m the
form of Avarana-
devata-s as detailed
below : The three
quadrangles of the
Bhugrha, where-m
abide the eight
Siddhi-s— Anima, Laghimi, MahimS, Vas'itva, Is'atv^,
PrakSmyS, PrSpti and Sarva-kama-pradayini,. in
the first quadrangle; the eight Matr-s— Brahmx,
Mates'vai^ *Kaumari, Vaisna\i, VSrahi, Mahendri^
Camunda and Maha-laksmi, in the second quadran-
gle; the ten Mudra-s — Sarva-samksobhini, Sarva-
vidravitii, Sarvakarsmx, Sarva-vas'am-karx, Sarvonmadini,
Sarva-mahankus^a. Sarva-khe-cari, Sarva-bija, Sarva-yoni

SAUNDARYA-LAHAR! 1 13

and Sarva-tri-kha^da, in the third quadrangle ; the
sixteen Devata-s — Kamakarsini, Buddhy-akarsini, Aham-
karakarsini, S'abdakar§mi, Spars^akarsi^i, Rupakarsini,
Rasakarsini, Gandhakarsi:Cii, Cittakarsini, Dhairyakarsiui,
Smrty-^karsiiji, Namakarsi^i, Bijikarsini, Atmikarsim,
Amrtakarsini and S'arirakarsini, in the sixteen-petalled
lotus ; the eight Devata-s — Ananga-kusumi, Ananga-
xnekhal^, Anaiiga-madana, Ananga-madan^tura, Ananga-
rekha, Ananga-vegini, Anangankus'a and Ananga-
malini, in the eight -petalled lotus : the fourteen Devata-s
— Sarva-samksobhini, Sarva-vidravini, Sarvakarsini,
Sarvahladini, Sarva-sammohani, Sarva-stambhini, Sarva-
jrmbhini, Sarva- vas'arp -kari, Sarva-ranjani, Sarvon-
madini, Sarvartha-sadhanx, Sarva-sarppatti-purani, Sarva-
mantra-mayi and Sarva-dvandva-ksayam-kari, in the
Catur-das'ara; the ten Devata-'s — Sarva-siddhi-prada,
Sarva-sampat-prada, Sarva-pnyam-kari, Sarva-mangala-
kSrini, Sarva-k§ma-prad^, Sarva-saubhSgya-dayini,
Sarva-mrtyu-prasfamani, Sarva-vighna-nivarini, Sar-
vanga-sundari and Sarva-duhkha-vimocani, in the
Bahir-das'ara , the ten Devata-s~Sarva-jna, Sarva-
s'akti, Sarvais'varya-prada, Sarva-jfiana-mayi, Sarva-
vyadhi-vinas'ani, Sarv^dhara-sva-rupS, Sarva-pSpa-hara,
Sarvananda-mayi, Sarva-raksa-sva-rupini and Sarvepsita-
phala-prada, in the Antar-das'ara ; the eight Devat^-s
— Vas'ini, K^mesl, "Modmi, Viraaia, Aruna, Jaymi,
Sarves'i and Kaulini, in tlie Aqta-kona ; the 'three
Devata-s— Kames'vari, Vajres^i and Bhaga-maM, in the
Tri'koft^ ; and the Tri-pura-sundari in the middle.
' Frame ' is also taken by some to indicate the feet, the
8

1 14 SAUNDARAYA-LAHAR!

Mayukha-s sent out by which have been dealt with in
stanza 14. This stanza represents the Yogm, who has
attained one-ness with the Devi, as looking upon the
untold wealth of Sada-s'iva as a mere trifle, there being
nothing else worthy of acquisition.

31. Catub-sastyS tantraih sakalarn atisamdhaya bhu-

vanam
sthitas tat-tat-siddhi-prasava-para-tantraih pas'u-

patih ;
Punas tvan-nirbandhad akhila-purusarthaika-gha-

tana-
sva-tantram te tantram ksiti-talam avatitarad

idarn^

Pas'u-pati, having deluded all the worlds
with the sixty-four Tantra-s, which have as
their sole purpose the conferring of the several
Siddhi-s attributed to each, has once again
broifight down to this" world, on account of Thy

2 o5[e¥r'??cF|: ; osrgqq^^:.

SAUNDARYAaAHARI 115

persuasion, Thy Tantra, which, of its own
accord, would bring about the several ends and
aims of human existence.

Having deluded — into accepting the Siddhi-s, which
stand far apart from the scripturally ordained path, and
thus deceived them, they being incapable of distinguish-
ing the spurious from the genuine. In this connection
it may be observed that the so-called delusion, referred
to above, is not the work of Pas'u-pati, but is of the
people's own making. According to Pas'u-pati's design
the Candra-kala-vidyS comprised in the eight works,
Candra-kaia, Jyoti^-mati, KalS-nidhi, Kularnava, Kules^-
vari, Bhuvanes'vari, Barhas-patya and Durvasa-mata,
is meant lor the exposition of the Sri-vidya to be
followed by the twice-born by adopting the Savya (right)
path, constituting the SamayScara, and by other classes
by adopting the Apa-savya (left) path, constituting the
VamScara, otherwise known as KulScara. As the Vidya
comprehends both the paths referred to above, it is also
known as the Mis'ra or mixed path. Further, according
to Pas'u-pati's design, there are the sixty-four Tantra-s,
which are intended exclusively for the Kaula-s, As
such, it will be seen that no sort of differentiation be-
tween the various classes is aimed at in his design. On
the other hand, the difference is inherent in the classes

^ The Samaym-s also have works exclusively relating to their
icara, known as the S'ubhagama-pancaka or the five Saiphita-s
attributed to the sages Vasistha, Sanaka, S'uka, Sanandana and
Sanat-kumara.

116 SAUNDARYA-LAHARI

themselves, due to difference of birth, which mean&
breeding, mental equipment attained, and other con-
sequential features. Pas'u-pati, in his supreme mercy,
has ordained the two paths, the one more advanced and
the other less, to suit the varying capacities of all classes.
The sixty-four Tantra-s, if at all they prove defective,
make no difference between the classes, as even wise men
are as much subject to be drawn away by the worldly
purposes attributed to the Tantra-s, to the exclusion of
the attainment of the scriptural goal. All the ijoorlds—
Laksmi-dhara and Kames'vara-suri take these words
to indicate the low-born and the hybrid class, known
as Anu-loman and Prati-loman, with an admixture of
aboriginal blood running in their veins, who are con-
sidered by them to be beyond the pale of the scrip-
tural path, as, according to them, this path could be
adopted only by the twice-born classes, because of their
supposed high birth. Kaivaly^s'rama adopts the reading
' Ahhisamdhaya\ which means 'having attracted*,
along with ^ Prasabha'para^ta.ntrmK\ which means
* categorically asserting ', and would construe the passage
in some such way as follows : Pas'u-pati, having a|:tract-
ed the people of the world to acheive one or other of the
four aims of human existence, through the sixty-four
Tantra-s, categorically asserting the several Siddhi-s
attributed to each, has, at the persuasion of the Devi,
brought down into this world a single Tantra, which-
would, by itself, enable them to acheive their several
ends, thus incorporating the purposes served by the
sixty-four Tantra-s.

SAUND ARYA-LAH ARi 1 1 7

With the sixty -Jour Tantra-s— the sixty-four
Tantra-s are : (l) Maha-maya'S^ambara—hdiving as its
aim the deluding of the senses and the intellect. (2)
Yogint 'jala - s'amham — legerdemain, involving the
agency of Yogini-s, accomplished by resorting to the ere-
matory and other ways of a repulsive nature and adopting
questionable practices. (3) Tattvas'ambara—hy caus-
ing the elements to appear as though mutually trans-
forming themselves. (4) Siddha-hhairava, (5) Vatuka-
hhqirava, (6) Kankctla-bhairava, (7) Kala*bhairava,
(8) Kalagni'bhairava, (9) Yogim-bhairava, (lO) Maha-
bhairavay (11) Sakti-bhaimva— the eight Tantra-s
having as their presiding deities the eight-fold aspects of
Bhairava, which, although apparently serving some
useful purpose to man, such as the finding of a treasure-
trove, etc, are considered objectionable, as they
partake of Kapahka doctrines. (12) Brahma, (13)
Mahes'varit (14) Kauman, (5) Vaisnavl^ (16) VaraM^
(17) Mahendn, (18) Camunda, (19) Stva-dutl— the
-eight Tantra-s constituting the Bahu-rupastaka, where-
in importance is attached to the eight S'akti-s. Even
these are reprehensible, as they stray far away from the
Vedic path, a.lthough they involve some knowledge of
the S'ri-vidya incidentally, (20) Brahma-yamalaf (21)
Visnu-yamala, (22) Rudra-yamala, (23) LaksmJ-
^amalai (24) Mma-yamala, (25) Skanda-yamalat (26)
Ganes^a-yamala^ (27) ' Jayadratha-yamala — ^the eight
arts relating to Yamala, otherwise known as Kama-
siddha, aimmg at the gratification of several desires,
■which, not having the sanction of the Veda*s, are

118 SAUNDARYA-LAHARi

considered objectionable, so much so that even the sixty-
four Tantra-s are sometimes spoken of collectively as
Yamala. (28) Candra-jTiana— which expounds the sixteen
Nitya-s and is however considered objectionable, as
smacking of Kapahka tenents. There is also a Tan^ra of
the same name, which has nothing to do with any of the
sixty-four Tantra-s herein mentioned. (29) MalinJ-vidya
— wherewith oceans could be crossed. (30) Mc^/ja-sawmo-
hana— -which brings on sleep in persons even during
their waking state. As this involves the cutting of the
tongue of a child to render the acquisition of such power
possible, it IS reprehensible. (31) Vama-justa, (32)
Maha-deva — productive of awkward habits and tenden-
cies, which may be characterized as Vamacara, filthy
conduct. (33) Vatulq^^ (34) Vatulottara^ (35) Kamika —
incidentally expounding the rules relating to the pro-
cedure to be adopted for the several processes connected
with the erection of temples, etc., commencing from the
withdrawal and ending with the establishment of powers,
^tc, but involving features not countenanced by the
Veda. (36) Hrd-bheda-t antra — which, though aiming
at bursting through the six lotuses from Muladhara
onwards to the thousand-petalled one, falls within the
province of 'the Kapahka- tantra, as it has recourse to
the adoption of Vamacara. (37) Tantra-bheda, (38)
Guhya-tanfra'—which involve retaliatory processes, both
overt and covert, aiming at the destruction of what has
been achieved by other Tantra-s and the causation of
severe pain to living beings, and as such are reprehensi-
ble. (39) Kala-vada — expounding the secrets relating

SAUNDARYA-LAHARi 1 19

to the digits of the Moon, such as are dealt with in
Vatsyayana's sexual science, which, though dealing with
a very useful branch of knowledge, involves such
objectionable features as the grasping and releasing
of Kala-s, the power of influencing the ten parts, the
induction of the Candra-kala-s and the countenancing
of the wicked practice of alluring others' wives, and are
on that account reprehensible. Although these have no
direciE bearing on the Kapalika-tantra, still they amount,
in effect, to such perverse doctrines that those who have
recourse to such practices are bound to have more or
less a leaning towards such views. (40) Kala-sara —
which expounds the rules relating to the excellence of
colour and is, as such, a Vam^cara. (41) Kundtka-
mata — which deals with the attainment of marvellous
powers by administering special pills. (42) Matottara —
which deals with the conquest of quicksilver by special
processes laying claim to alchemic and panaceal virtues.
(43) Vin^khya — which deals with command over a
Yaksini of that name, having influence over sexual
virility. (44) Trotala — dealing with magical tankards,
collyna and sandals, the first credited with marvellous
medicinal properties, the second with magical clair-
voyant powers, and the third with mysterious powers of
locomotion. (45) Trotalottara — credited with the power
of bringing the sixty-four-thousand Yaksi^i-s face to
face. (46) PaUcamrta — dealing with the immortality
inhering in the PindSnda, microcosm of the five elenients,
and the bestowal of such immortality on the votary of
the Tantra. This is also of the KSpalika type.

120 SAUNDARYA-LAHARI

(47) Rupa-bheda, (48) Bhutoddamara, (49) Kula-sara,
(50) Kuloddls^a, (51) Kula-cudamani—dll of which are
credited with the power of briBging about death and are,
as such, not recognized by the Veda. (52) Sarva-jUanot-
tara, (53) Maha-haU-mata, (54) Arunes'a, (55) Modi-
nts'a, (56) Vikutithes^var a— the five Tantras, which have
to be given up as they deal with the tenets of the Dig-
ambara-s. (57) Purvamnaya, (58) Pas'cimamnaya^ (59)
Dahsinamnaya, (60) Uttaramnaya, (61) Nir-uttaram-
naya, (62) Vimala^ (63) Vimalotta and (54) Devt-mata
— which have reference to the doctrines of the Ksapa-
naka-s and are as such to be discarded.

These are the sixty-four Tantra-s enumerated in the
VamakesVara-tantra, quoted by Laksmi-dhara and ex-
plained by him. Bhaskara-raya, the reputed commentator
of the same treatise, however, differs from Laksmx-dhara
in the enumeration of the Tantra-s and treats (4 to 11)
the Bhairavastaha as one Tantra, and (31 and 32)
Vama-justa and Maha-deva as a single Tantra giving
the name of Mahocchusman to it, and includes eight
Tantra-s not enumerated by Laksmx-dhara, viz», (1)
Maha-laksmf-mata, (2) Siddha-yagls'van-mata^ (3)
Ku-rupika-mataj (4) Deva-rupika-maia, (5) Sarva-v^ra-
mata, (6) VimalU-mata, (7) J%anarfjava and (8) F^ra-
vaU m the Ust. He also calls into question the view
held by Lak§mi-dhara of considering the sixty-four
Tantra-s as reprehensible and as upholding practices which
have not the sanction of the Veda-s, and avers that,
as the Tantra-s have been recognized by the Varna-
kes'vara-tantra and the Kalpa-sutra-s as S'astra-s, and as

S AUNDARYA-LAH ARi 121

all S'astra-s have the sanction of the Upanisads. Laksmi-
dhara's view is either coloured by prejudice or due to an
imperfect understanding of the true import and utility of
these Tantra-s. It may however be added m Laksml-
dhara*s defence that he pins his faith on a saying attri-
buted to Is'vara, which he quotes to the effect that both
the Mis'ra- and Kaula-paths , are to be discarded. He
therefore holds that the Samaya-marga alone should be
followed by the twice-born and that such is also the view
of S'amkara-bhagavat-pada.

Thy Tantra — taking ' Idam ' as the attribute of the
word ' Tantram,' Laksmi-dhara understands the words to
imply, " this, i.e., what immediately follows (in the next
stanza), Thy Tantra ". Bhaskara-raya in his Setu-bandha,
however, holds a diflFerent opinion, viz.^ that by the words

* Thy Tantra * used in this stanza, the Vamakes'vara-
tantra is meant, incidentally referring to the views held by
others that it is the JSanarijava and yet others that it is
the Tantra-raja ; he refutes them for the reason, among
others, that those Tantra-s themselves depend m certain
respects upon the Varaakes'vara-tantra , for support.
Evidently he takes the word * Idam ' as an attribute of

* Ksiti-talam,' meaning * this world '.

Acyutananda, in his commentary on this stanza, alludes
to the prevalent tradition that S'lva is in the habit of
narrating Tantra-s to the Devi in Kailasa, which GanesU
records then and there, and after completion communi-
cates to Maharsi-s on Earth, and this practice continues
for all time. Hence none of the Tantra-s could, accord-
ing to the orthodox view referred to above, be considered

122

SAUNDARYA-LAHARI

unauthorized because of their later origin, as their
validity will hold for all time. The commentator holds
that whatever is established by the Pura^a-s and the
Agama-s should be held to be ever existent by the wise
and not called into question from the point of view of the

time of their origin, as they appear and disappear, accord-
ing as they are revealed or withdrawn, and their impor-
tance lies entirely m the Siddhi-s to which they lead
and the actual results flowing from them. * Thy Tantra ',
which is significantly called ^ Sva-tantra *, is, in this view
the creation of the Lord and should not be confounded
with the sixty-four Tantra-s.

SAUNDARYA'LAHARi ] 23

It may be observed here that the authorities relied
upon by the Samaya school, to which Laksmi-dhara
belongs, are alleged by them to be Moksa-s'astra-s, or
authorities inculcating the attainment of Moksa through
the practice of the internal form of worship advocated by
them. It is not however apparent on what authority this
school of worship maintains that the Kaula form of wor •
ship does not lead to the attainment of Moksa and how,
beyond the assertion that the Kaula practice of worship-
ping the Devi in the Muladham is reprehensible, they
seek to support it by quoting chapter and verse of any
scriptural authority, which they hold as settling the ques-
tion one way or the other.

f5fS[: 5?Fftfi: ^W: f^^m 1% ^W%V^:

32. S'ivah s'aklih kamah ksitir atha ravih s'ita-kiranah
smaro harn^ah s'akras tad-anu ca para-mara-

harayab ;
Ami hrl-lekhabhis tisrbhir avasanesu ghatita
bhajante varnas te tava janani namavayavatam.

Mother I S'iva, Sakti, Kama and Ksiti ;
and then, Ravi, S'ita-kirana, Samara, Hamsa
and S'akra ; and thereafter, Para, Mara and
Hari ; these (three sets of) syllables, when

124 SAUNDARYA-LAHARI

conjoined severally at their ends with the three
Hri-lekha-s, become the components of Thy
name.

The Tantra premised by the words ' Thy Tantra ' in
the previous stanza, as understood by Laksmi-dhara, is
further elaborated in this stanza, which may be termed
as the coping stone of the Samayin-s' arch of worship.
The Mantra itself, the Sodas'aksari, it is said, cannot be
given out publicly, but should be imparted by the Guru
to the devout pupil in secret. This may be inferred from
the fact that the sixteenth syllable does not find a place
•m the description given in the stanza. Merely because
the stanza fmskes mention of only fifteen syllables, it
should not be understood that the Mantra indicated is
the PaSca-das'aksari. The sixteenth syllable is the
fourth Kha^da of the Mantra and, like the fourth Pada of
the GSyat-tri, should be muttered only by adepts who
are highly evolved spiritually, as only they could con-
ceive with their minds the fourth Khanda, which is
beyond the range of speech and thought and transcends
all the Tattya-s, being of the essence of pure cqnscious-
ness. The stanza merely mentions fifteen conventional
names indicative of syllables, which, when construed
in the proper way, would yield the following result;
S'lva is 'Ka'; S'akti represents 'E', KSma, 'l':
' Ksiti, ' La ' ; this is the first Khanda. Ravi is
' Ha ' ; S'ita-kirana, * Sa ' ; Smara, * Ka ' ; Hamsa,
* Ha ' ; and S'akra, * La ' ; this is the second Khanda.
Para is * Sa ' ; MSra, ' Ka ' ; and Han, ' La ' ; this is

SAUNDARYA-LAHARI 125

the third Khanda. When the Hrl-Iekha, i.e., ' Hrim',
is added to each of the three Khanda-s, the result is the
PaSca-das'Sksari- mantra* Thy name—hy treating
Nama ' of the last line as an indeclinable, the last
words may be construed as ' verily become what con*
stitutes Thee'. The chief component of the Mantra,
viz.i the Rama-bija, when added on to tide end, will
convert the Panca-das'aksarl into the Sodas'aksari, which
is really implied by the stanza. These sixteen syllables
are the sixteen Candra-kala-s or the fifteen Tithi-s of
the lunar fortnight, and the sixteenth designated the
Cit-kala, with Tri-pura-sundari and other Nitya-s as
their presiding deities. The first syllable 'Ka* with
the last * La ' of the Panca-das'aks'ari, makes the Prat-
yahara, 'Kala', implying all the Matrka-s contained
therein. Soma, Surya and Agni, which preside over the
three Kha^da-s of the Mantra, respectively indicate
sixteen, twenty-four (by reduplication of the number
indicated), and ten Kalas, thus making up fifty Kala-s ;
these constitute the fifty Matrka-s of the Devi, which are
known by the Pratyahara Aksa (-mala), made up of the

* A ', occurring before the ' £ ' of the first Khanda, and

* Ksa,' yielded by the ' ita ' and * Sa ' of the third
Khafda.

KamesVara-suri fully sets out the implications of the
several conventional names occurring in the stanza, also
in a different manner and as construed by him it would
mean : Mother of all the Devata-s ! SWa— indicating
Sada-s'iva, and Bhava, MT4a and Rudra taking their
origin from him ; S^al^tl — indicating the Tri-pura-sundan

1 26 SAUNDARYA-LAHARI

and through her the sixteen Nitya-s including herself,
as also other deities ; Kama — indicating Manas and
through it, its functions, volition, etc. ; Ksiti— the Earth
and through it the five elements , then, Ravi — known
as Satya, the illuminator of all including the Earth, and
through mutual affinity the fire ; S'ita-kiraria — the Moon ;
Smara — his comrade ; Hamsa — Brahman, the creator ;
S'akra— the king of the gods ; thereafter, the Para»s—
indicating other S'akti-s ; Mara — the Yama, who deals
death to all ; and Hari — Visnu, who have respectively been
assigned their seats from Kailasa up to Vaikuntha by
Thee, the syllables indicated by the above along with
the three Hrl-lekha-s or groups of the inner senses with
the characteristics of Rhythm, Motion and Inertia, all
these gods and the Matrka-s reputed to be Thy form
serve Thee.

The first four syllables of the Sodas'aksarl constitute
the first Khan(ia, relating to Agni, representing Kriya-
s'akti, the Jagrat state, the Vis'va-vrtti and Tamo-guna.
The next five syllables constitute the second Khaijda,
relating to Surya, representing Iccha-s'akti, the Svapna
state, ^he Taijasa-vrtti and Rajo-gu^ia, The Hrl-lekha
between the two represents the Rudra-granthi. The
next three syllables constitute the third Khanda relating
to Soma, representing JnSna-s'akti, the Susupti-state,
the Prajna-vrtti and Sattva-guna. The HrMekha be-
tween the second and third Khanda-s represents the
Visnu-granthi. The fourth Khanda of one syllable,
known as the Candra-kala, which should be imparted by
the Guru, is implied after the three aforesaid Khanda-s.

SAUNDARYA-LAHARI 127

The Hrl-lekha between the third and foarth Khanda-s
represents the Brahma-granthi.

The sixteen syllables of the Mantra are to be looked
upon as made up of the sixteen Nitya-s. The reason
■why the Para-kala, which is of the essence of pure con-
sciousness, IS known as Nitya is because of its resm-
blance to the sixteenth Kala of the Moon of the
Sahasrara, reflected on the sixteenth petal of the
sixteen-petalled lotus of the Vis'uddhi-cakra. This
alone is the essential and prime cause of the other fifteen,
which are only its subordinate divisions. This sixteenth
Kaia is * S ' plus * r ' plus ' i ' plus ' m ', from which the
Vidya itself derives its name of Sn-vidya. The six-
teen syllables form the Prakrti-s of the sixteen Kala-s or
Tithi-s commencing from the S'ukla-pratipad on to the
Purnima, and similarly from Krsna-pratipad on to the
AmS-v^syS respectively, of the bright and dark lunar
fortnights* Pratipad, the first Kala, takes its origin from
Surya m the bright fortnight and enters into it in the
dark fortnight of the lunar month. Similarly the other
Kala-s are to be understood to take their origin from and
enter into the Surya to the bright and dark fortnights
respectively. When there is an interval of fifteen
Kala-s between the Sun and the Moon, we have the
full-moon, and when such interval vanishes, we have the
new-moon. According to the Kaulacara, the Nitya
corresponding to the Kala of every day should be wor-
shipped. The Samayin-s on the other hand worship inter-
nally the sixteenth Kala of the form of pure consciousness
along with the Kala of the day, every day. Although

128 SAUNDARYA-LAHARI

the sixteenth, known as the Cit-kala, is sometimes given
tile name of ' Tri-pura-sundari ' by which name the first
Kala is known, it should not be understood that the two
Kala-s are the same. The sixteen Nitya-s have their
position on the sixteen petals of the Vis'uddhi-oakra
cpmmencmg from the petal pomting eastwards ; similarly
the twelve Aditya-s have their posi,tion on the twelve
petals of the An-ahata and exercise their influence over
the twelve months of the year, one over each.

The influence of the Sun and the Moon over the
human body and the part taken by them in helping the
Yogin in the successful accomplishment of Yoga may
be summarized thus : The Sun ^ and the Moon incessantly
influence the Ida- and Pingala-n§di-s day and night.
The Moon through the Ida m-fills all the Seventy-two-
thousand Nadi-s with his nectar. The Sun m his turn
gathers, up the same nectar. As and when the Sun and
the Moon have their conjunction in the AdhSra-cakra,
there is the new-moon, during which the Kundalmi has
its sleep in the hollow of the Muladhara, wherein is
gathered the nectar flowing out of the lunar disc, melted
in the presence of the rays of the Sun. Hence its
sleeping state is represented to be during the dark fort-
night. When the Yogin controls the pkssage of the Sun
and the Moon along with the vit£(.l air through the
Nadi-s, by performing Kumbhaka, the Sun and the
Moon being deprived of their functions of in-filling
and gathering the nectar, the Amrta-kunda in the
Muladhara gets dried up by the' fire induced by
the vital air, the Kundalini becomes' famished and

saundarya-lahar! 129

is roused from sleep, as it were, with the Phut-kara
of the snake, bursts through the three Granthi-s
and bites the disc of the Moon in the middle of the
thousand-petalled lotus. The shower of nectar flowing
from the Moon drenches the lunar region of the AjHU"
cakra, and the whole body gets filled with nectar from
the shower. Hence the fifteen Kala-s of the Moon in
the AjM'Cakra then become Nitya-s, perpetually shin-
ing. These Kala-s then reach and pervade the Vis^ud-
dhi'Cakra. The lunar disc in the middle of the
thousand-petalled lotus is the Baindava-sthana, That
Kala of the character of pure consciousness is said to
be of the form of Bliss. That alone is the Tn-pura-
'sundari. Hence follows the secret of the Yogin^s
successful accomplishment of rousing the Kundalini
only in the bright half of the lunar month. All the
Tithi-s of the bright half are therefore known as* the
Full-moon, while the Tithi-s of the dark half inhere m
the New-moon. Hence the Muladhara is the region
which is pitch dark. The Svadhiqihana being subject
to the influence of the Sun and the Moon is a region
of darkness and light mixed together, while the Mani-
pura, though essentially belonging to the region of Fire,
is a region of darkness and light mixed together, owing
to the reflection, in the water there, of the rays of
the Sun, The An-ahata is the region of brightness.
Thus, till the An-ahata is reached, the regions of the
Cakra-s are either dark or of a mixed nature. The
Vis'uddhi lies in the region of the Moon. The AjHa,
being the seat of the Moon, is the region of nectar. As
9

130 SAUNDARYA-LAHARI

in these two regions there is the admixture of the Sun's
rays, there is no Moon-light. The thousand-petalled
lotus, on the other hand, is a region of Moon-hght alone*
The Moon there being possessed of the Nitya-kala is
perpetual, without ^vaxing and waning. The disc of
that Moon is the Srhcakray while its Kala is the Sada-
khya. The Tri-kona is the Muladhara, The eight-
spoked Cakra is the Svadhtsthana. The inner ten-spoked
Cakra is the Mani-pura. The outer ten-spoked Cakra
is the An-ahata. The fourteen-spoked one is the
Vismddhi. The four triangles of S'iva constitute the
AjUa-cakra. The Bindusthana m the quadrilateral
is the thousand-petalled lotus. The Moon of the Ajfia
has fifteen Kala-s and contains the reflection of the
sixteenth. In the disc of the Moon of the form of the
Sn-cakra, there is 'only one Kala and that the ParamS-
kala! The three Anu-svara-s of the Panca-das'aksari
indicate the Bindu and, by implication, the Nada
thereof. Thus, the Sn-cakra of the character of Nada,
Bindu and Kala is also made up of three Khanda-s*
The Sad^khya, which is the same as the Sn-vidya^
lies beyond the Nada^ Bindu and Kala, The fifty
Kala-s described above inhere in the sixteen Nitya-s
as follows : The sixteen vowels, the sixteen consonants
horn * Ka ' to * Ta ', the sixteen consonants from * Tha '
:o ' Sa ', these inhere in the sixteen Nitya-s in triads.
The Akas'a-bija 'Ha' inheres m the Akas'a of the
Bindu ; while * Ksa ', which is composed of ' Ka ' and
' Sa ', inheres in the Nitya-s corresponding to its com-
ponents. The sixteen Nitya-s being of the form of the

SAUNDARYA-LAHARI 131

sixteen syllables, the sixteen syllables being of the form
of the fifty Matrka-s, the fifty MatrkS-s being of the
form of the Sun, the Moon and the Fire, which in their
turn form the three Granthi's, thus the four kmds of
harmonious relations become patent.

Similarly the Cakra^s and the Mantra-s harmonize
thus : The three Hrim-s and the S'ri-bija inhere in the
form of the Bmdu of the Tri-kona, which represents
the four S'lva-cakra-s. The letters comprised in the
Pratyahara-s ' Kala ' and * Aksa ' inhere m the Srt-
cakra as follows , the four semi-vowels and the four
sibilants in the Asta'kona\ the twenty letters from
' Ka ' to * Ma ' the nasals excepted, in the two Das'Ura-s ;
the nasal consonants through the Anu-svara, the Anu-
sv^ra and the Visarga, m the Bindu ; and the remaining
fourteen vowels, in the Catur-das'Ura,

Even as the Mantra is composed of three Khanda-s,
the Cakra may be looked upon from the aspects of Soma,
Surya and Agni. The sixteen Kala-s of the Moon
inhere in the Indu-kha^da of the Mantra, which in its
turn inheres m the Indu-aspect of the Yantra. So also
the twenty-four Kala-s of the Sun inhere in the Saura-
khaigida of the Mantra, which inhere m the Solar aspect
of the Yantra. Likewise, the ten Kala-s of Agni inhere
in the Agni^handa of the Mantra, which mheres in the
Agni aspect of the Yantra. Thus is the harmony between
the Kala-s of the Yantra and the Mantra.

The names of the sixteen Kala-s as gathered from the
Veda-s are : Dars'a, Drsta, Dars'ata, Vis'va-rupa, Sudar-
^'ana, ApyayamSna, ApyayamSna, ApySyS, Sunrta, Ira,

132

SAUNDARYA-LAHARI

Apuryamma, Apuryamana, Purayanti, Puri^^a, Paunja-
masi and *Cit-kala. The deities that preside over them
respectively are Tri-pura-sundarl, Kames'vari, Bhaga-
malinl, Nitya-khnna, Bheru^da, Vahni-vasini, Maha-
vidyes'vari, S'iva-duti, Tvarita, Kula-sundari, Nitya^
Nilapataka, Vijaya, Sarva-mangalfi, Jvala-malinika and
Cit-kala. The Tattva-s represented by them respectively
are S^ve, Sakti, Maya, Suddha-vidyS, Jala, Tejas^
Vayu, Manas, Prthivi, Akas'a, Vidya, Mahes'vara,.
Para-tattva, Atma-tattva, Sad^-s'iva-tattva and Sada-
khya-tattva. The Devata influencing the entire group is
Kama-deva, while Kames'vari presides over them alL
Even as the sixteen syllables of the Mantra are divided
into four Khaijda-s, the Kala-s may be divided in thfr
same manner into four Khanda-s, with Agni. Surya,
Soma and Sadakhya as their presidmg deities.

Kaivalyas'rama takes this stanza as indicating the

Lopa-mudra- v i d y a,
the Bija of all Man-
tra-s, in which case the
first Kha^da will have
to be interpreted thus :
' S'lva ' stands for
*Ha', *S^aktr for
' Sa ', * Kama * for
*Ka\ and ' Ksiti ' for
*La', the other
Khapda-s being under-
stood as in the other case* He is also of opinion that
the Trayo-das'aksari-vidya of Durvasas could also be

SAUNDARYA-LAHARl 133

taken as indicated by this stanza, by dropping the first
two Hrl-lekha-s of the Lopa-mudra-vidya, generally
known as Hadi-vidya. According to the Dindima, this
stanza contains the essence of the Veda-s. It quotes
from the Tri-purE-tapini Upanisad in support of this
view. Certain commentators not only take this stanza
to refer to the Hadi-vidya, but also state that the
Mantra indicated is Sodas^aksarl, which forms the basis
of the Samaya form of worship, the sixteenth syllable not
"expressly mentioned having to be learnt from the Guru.

33. Smaram yoninf laksmim tri-tayam idam adau tava

manor
nidhayaike nitye nir-avadhi-m aha-bhoga-

rasikab ;
B |i a j a n 1 1 tvam cinta-ma^i-guija-nibaddhaksa-

valayah
s'iva-'gnau juhvantati surabhi-ghrta-dhara-"huti-

s'ataih.

1 34 SAUND ARYA-LAHARI

Goddess eternal ! having placed this triad of
Smara, Yoni aud Laksmi before Thy Mantra,
some (devotees of Thine), bent on the boundless
enjoyment of Beatitude, worship Thee with
rosaries strung with Cinta-mani beads, while
offering hundreds of oblations with streams
of Surabhi's ghee, on the fire of S'iva (triangle).

This stanza ostensibly deals with the worship of the
Devi by the Samayin-s, with all the external forms
obtaining among Kauila-s, while the next deals with the
form of the Devi herself in the same strain. Stanza 35
clothes her in the aspect of pure matter, which is the
basic principle of the doctrine of the Kanla-s. The-
next six stanzas of the Ananda-laharl exclusively deal
with the Samaya doctrine.

Starting with the Devi's Mantra, as given in the
previous stanza, as the basis, this stanza deals with the,
procedure to be adopted by votaries desirous of achiev-
ing the special purposes of acquisition of power, wealth,
beatitude, etc., without having recourse to any external
forms, of worship or prayer. The device suggested
herein is the placing before the Mantra of the triad of
syllables represented by the conventional names, Smara,
Yoni and Lak§mi, which are capable of being inter-
preted in two ways : (l) ' Smara ', meaning the Madana-
bija— * Klim ' ; ' Yoni \ meaning the BhuvanesVari-bija—
Hrim* ; and * Laksmi ', meaning the Rama-bija— S^rira \
By placing these three before the Kadi-vidya indicated

SAUNDARYA'LAHARI 1 1^

by the previous stanza and meditating upon the Devi as
of the form of the resultant Mantra, it is claimed that
Maha-bhoga, immense wealth and mfluence, is vouchsafed
to the votary. * MahS-bhoga ' may also be construed as
final beatitude ', the boundless enjoyment of which is
the Yogm's goal It is on this sense that our English
rendering has been based. (2) By placing the trisylla-
ble Ka E i *, obtained from ' Smara * meaning — ' Ka *,
' Yoni * meaning— E *, and ' Laksmi ' meaning—* I \
in the place of * Ha Sa Ka ' of the Hadi-vidyS indicated
by the previous stanza, the Mantra stands converted to
KSdi-vidy^. The HMhvidyS is credited with the power
of bestowing Liberation and is therefore considered
superior to the KSdi-vidya, which is credited only with
the power of bestowing enjoyment of all forms, in this as
well as in the other worlds.

There is also the reading 'Cint^'mam-gum^nib&ddha-
hsara-layah \ in which case the meaning would be— and
attain Liberation m the Aksara, viz.^ the S'abda-
brahman, that is the Cit-kala, associated with the
Guna-s — Sattva, Rajas and Tamas *. Cinta-mani is a
gem to which is credited the virtue of bestowing all that
is desired* As the MStrk^-s of the Devi have similar
virtues, the word * Cinta-mani-guna ' may be taken to
mean " the assemblage of Matrka-s strung in the form
of a rosary, with * Ksa * serving as the Meru, the central
bead, (which should not be crossed, while performing
Japa) ". Surabhi is the K^ma-dhenu, the celestial cow,
granting all desires. Surabhi is also understood as mean-
ing ' fragrant ' and is said to indicate the fragrance of the

136 SAUNDARYA-LAHARI

current of nectar flowing in Go-loka, the abode of VisQu.
On the Fire of Siva {triangle) — as the form of worship
indicated her is entirely internal in accordance with the
SamayScSra, the worshipper is enjoined to place the
Agni of the Svadktsthana in the Baindava-sthanay
which IS the Tri-kona, and then conceive of the Tri-
kona with the Aj^ni as transposed upwards and, at the
same time, the Devi of the thousand-petalled lotus as
transposed downwards to the heart, and mentally perform
offerings over the Fire as described in the stanza.
KaivalySs'rama, who adopts the view that the Mantra

^'indicated by *the
previous stanza is
Hadi-vidyS and is
turned to KSdi-vidy^
by adopting the
changes referred to
in the first line, con-
strues this stanza as
describing the wor-
ship of the Devi in
the following man-
ner*. Some devotees
of Thine, with their external senses rendered devoid
of their functions, by employing their minds m
the mvestigation of the BhavSrtha, Sampradayartha,
Ni^arbhartha, Kaulikartha , Rahasyartha and Parama-
rahasySrtha of the Mantra/ with a view to the total

^ For a detailed exposition o£ the several meanings of this
Mantra* the reader is referred to pp. 128-137 of the Vanvasya-
rahasya, Vasanta Press Edition.

SAX]NDARYA4.AHARi 137

annihilation of all previous impressions left on their
mmds relating to worldly attachment, which is so
full of egotism and inimical to the attainment of
the Paramatman, offer them as oblations of continu-
ous streams of nectar-like ghee on the sacrificial Fire,
•effulgent with the radiance brought about by the
mental attitude, *I am S'lva*, that refined alter-
ego of the altruistic type. * Juhvantah ' is treated
by some as the Present participle Nom. singular of
' Hu ' 3rd conj. Parasm. * to sacrifice \ But the
correct form is ' Juhvatah ' ; probably the form used
is archaic. With a view to avoid the grammatical
blunder some suggest the form 'Juhvanah', which
is equally open to the same objection, the root
being only Parasmai-padin. To avoid this contingency,
Kai valySs'rama construes ' Juhv-antah'Surabhi-ghrta"
dhara-hutt'S'ataih \ as a single compound word
meaning, "with hundreds of oblations of streams of
fragrant ghee flowing out of the Juhu, the ladle."
The same commentator understands the st^-nza as
indicating Antar-yaga and signifying : Some devotees,
intent on offering the full oblation (PurnShuti), worship
Thee, conceiving, with their mmds, Thee, of the form of
the Ku^<Jalml, stretching from the Muladhara to the
Brahmarandhm, in the form of the string of the fifty
MatrkS-s, themselves assuming a firm posture, and
offering the Purnahuti of a continuous stream of ghee
of tho form of Su-vasana-s, through the ladle of Un-
manli over the Fire of S'lva, with the mental attitude,
'* I am Swa. \

138 saundArya-laharI

34. S'ariram tvam s'amboh s'as'i-mihira-vakso-ruha-

yugatn.
tavatmSnam manye bhagavati navatmanam

an-agham ;

Atab s'esah s'esity ayam ubhaya-sadhara^ataya

sthitah sambandho vam sama-rasa-parananda-

parayoh,

Glorious Goddess ! Thou art the frame
of S'arnbhu with the Sun and the Moon as
the breasts, I conceive Thy flawless frame
to be Navatman (S'arnbhu), Hence the re-
lationship of the essential and the accessory^
in the case of Ye both, equipoised of Trans-
cendent Bliss and Transcendent (Conscious-
ness), stands even.

The Sun and the Moon — the Devi's breasts are
referred to as these two heavenly bodies, which at the
same time form part of Kala, one of the nine aspects

2 oqgf^:

SAUNDARYA-LAHARi 139

of S'lva. Hence they form part of his frame. Thy
flawless frame— v^hich is no otlier than the Srhcakra^
made up of the mne Yoni-s, the nine aspects of the
Devi. Navmman—^d^mh\i\x is characterized by the
nine Vyuha-s : Kala, Kula, Naman, JSana, Citta, Nada,
Bindu, Kala and Jiva. Kola designates duration, from
the period taken by the twmkbng of an eye up to the
end of infinite Time. The Sun and the Moon are
comprised hereunder. Kula comprehends blue, white
and other colours. NUman is conventional nomen-
clature, such as Ghata, Pata and others. J nana is
knowledge of the concrete and the arbstract type. Cttta
is made up of Aham-kara, Citta, Buddhi, Mahat and
Manas. Nctda is made up of Para, Pas'yantI, Madhya-
ma and Vaikhari sounds. Bindu is made up of the six
Cakra-s, the Muladhara and others. Kala comprises
the fifty letters of the Alphabet. Jjva is the group of
Jivatman-s, the enjoyers. The Devi is also character-
ized by the nine Vyuha-s: Varna, Jyestha, Raudri and
Ambika, the four Yoni-s of the Sn-cakra pomtmg
downwards ; and Iccha, Jnana, Kriya, S'anta and Para,
the five Yoni-s of the same pointing upwards. Ananda-
bhairava who is Satnbhu of the form of Transcendent
Bliss is said to be identical with Maha-bhairavi, the
S'akti of the form of Transcendent Consciousness.
Hence either of them " is neither more nor less than the
other. The two together form the whole. One cannot
conceive of the one as separate from the other. Hence
the relationship of the essential and the accessory'
subsists mutually between them. While the functions

140

SAUNDARYA-LAHARI

of creation, sustenance and destruction are being-
discharged, the Devi's element predominates and

Is'vara's subser-
ves. After the
Deluge, when
those functions
are in a state of
quiescence, Is'va-t
ra's element pre-
vails and the Devfs
subserves. Hence
the predominance
and the subservi-
ence of the two
are evenly matched. This stanza, in a way, mdicates
the oneness of S'iva and the S'akti as Adhara and
Adheya.

mm^ ^T^^l^^ ^Tlml^\ ^ H q^q i
ik^m^WK Tm^^T^ ^1%^ f^r^ II W II

35. Manas tvam vyoma tvam marud asi marut-

sarathir asi
tvam apas tvam bhumis tvayi parinatayam na

hi param ;
Tvam eva svatmanam parinamayitum vis'va-

vapusa
cid-anandakarain s'iva-yuvati bhEvena bibhrse.

SAUNDARYA^LAHARi 141

youthful spouse of Siva ! Thou art the
Mind, Thou the Ether, Thou the Air, Thou
the Fire, Thou the Water, and Thou the
Earth. When Thou hast transformed Thy-
self (thus), there is nothing beyond. Thyself,
with a view to manifesting Thyself in the form
of the Universe, inwardly assumest the form
of Consciousness and Bliss.

With a view to demonstrating the Devfs being of the
essence of the eight Murti-s, the author extols her in
this stanza from all points of view.

The Mind-— the Yajaraana, one of the eight Murti-s,
tfie sacnficer, who makes up the resolve, ' I shall per-
form the sacrifice*. As the Moon is, accordiiig to a
Vedic text, derived from the Mind, the word * Mmd '
;omprehends the Moon also. The Fire — owing to the
close afSnity subsisting between the Sun and Fire,
the Sun is also comprehended by the term * Fire '.
Thus the Mind and the five elements, whiph the Devi
is represented to be, clothe her with Asta-murti-tva — the
Asta-murti-s constituting the Universe. Consciousness
and Bliss — are the forms of the Brahman, which are
interwoven with the eight forms related above. The
esoteric significance of the tradition may be given as
follows : Goddess ! thou art the Mind existing in the
AfttS, the Ether in the Yis'uddhi, the Air in the An-ahata^
the Fire in the SvadhisihanUj the Water in the Mani-
^urcft and the Earth in the Mtiladhara, all in their

142 SAUNDARYA-LAHARi

subtle forms. While thou art in this transformed state in
the Microcosm, as Vis'va, Taijasa and PrajSa, as well as
in the Macrocosm, as Viraj, Hiranya-garbba and Antar-
yamm, with a view to assuming a gross form, thou, with
the power of thy Iccha-s'akci, assumest the forms of the
S'akti, {ix,^ Cit), and S'iva, (i.e., Ananda), in this manner.
This phenomenal world is essentially evolved out of the
five elements and their subtle variants. The latter are
only the other forms of the Devi. After the Deluge there
remains only the Brahman, which is no other than S'iva
and the S'akti combined. S'iva stands apart, all alone,
with no functions of his own. The S'akti in combination
with S'iva is the prime cause of the Universe. The
Universe is the manifestation of the S'akti. Forms and
names are transient, while the substance is eternal. It
is this substance, the substratum below names and
forms, which is operated upon by and evolved out of
the S'akti.
From the accompanying table it will be seen that the

Devi, who transcends all, manifests herself as the six
Deva-s, with their six abodes, represented by the six

SAUNDARYA-LAHARI

143

Tattva-s, which have, as their centres, the six Cakra-s,
from a combination of which the entire Universe is
made. The Devi, notwithstanding her gross and subtle
transformations, remains the Cit, transcending all
Tattva-s, in combination with the Bliss of the Para-
matman*

Tattva-s

LdKA-S

Deva-s

Cakra^s

Satya

Para-s'akti

Sahasrara

Manas

Tapas

SWa

Ajna

Akas'a

J ana

Sada-s'iva

Vis^uddhi

Vayu

Mahar

Mahes'vara

A-n-ahata

Tejas

Suvar

Rudra

Svadhisthana

Bhuvar

Visiju

Mani-pura

Prthivl

Bhur

Brahman

MuiadhSra

According to the Uttara-kaula doctrme, the Para-
s'akti which is the Pradhana is the creator of the Uni-
verse. The Devi, being the Pradhana, there is no need
for her subservience to any other Tattva.

144 SAUNDARYA-LAHARi

36. Tavajfia-cakra-stham t a p a n a-s'as'i-koti-dyuti-

dharam
param s'ambhum vande parimilita-pars'vam para-

cita ;
Yam aradhyan bhaktya ravi-s'as'i-s^ucinam a-visaye
nir-atanke loko nivasati hi bha-loka-bhavane,

I salute the Supreme S'ambhu, who stands
in Thy AjnU-cakra^ who is effulgent with the
radiance of myriads of Suns and Moons,
whose (left) side is embraced by the Supreme
Consciousness, and by worshipping whom^
with all devotion, one takes abode in that
luminous region, which transcends the reach
of the Sun, the Moon and Fire, devoid of
all agony.

In the following six stanzas, the six Cakra-s of the
Devi's form are dealt with, in the order of evolution,
from the subtle to the gross, and the votary is represented
to worship S'lva and the S^akti, as their presiding deities, in
the manner in which they appear to him in the Cakra-s.
Supreme. Sarnhhu — the name Rara-s^ambhu-natha is
given to this deity. In Thy Ajna-cakra—il) who is
withm the ambit of thy command, i.e., ever at thy
command ; or (2) standing in the AjHa-cakra of two
petals in the middle of thy eyebrows, or (3) in the
Manas-tattva of thy form. Kames'vara-suri here
observes as follows : If the question arises — how can

SAUNDARYA-LAHARl

145

there be the Aj^a-cakra in the form of the Devi, who
has no special form of her own, the answer is that even
though the real form of the Devi may not have the Cakra,
still, in the form assumed by her m sport, there is the
necessity for the Cakra-s» so as to enable her to meditate
on her own form as combined with her Lord*s. In this
connection he criticizes the view held by Laksmi-dhara,
who interprets * TavajM- cakra- stham ' as ** the four
S'iva-cakra-s of the S'n-cakra, situated m the middle of
the eyebrows of the practitioner", and **not the twcJ-
petalled Ajna-cakra ", by pointing out that the word
* Tava ' will m that case be meaningless or superfluous,
and adds that ' Tava ' is absolutely necessary for the
reason pointed out m connection with the necessity for
assuming the Cakra-s in the Devfs form, and that it is
the two-petalled lotus of the AjHa-cakra that is really
meant. This criticism will hold good m the case of the
next five stanzas also.
The Supreme Con-
sciousness — i.e., the
Devi of that form, to
wit, thyself. She is
given the name of Cit-
par^mbS. Which
transcends the reach
o/— for, the Sun, the
Moon and Fire are
situated in the ne-
ther regions, ws., the
An-ahata^ the Ajna and
10

the MulUdhar a

146 SAUNDARYA-LAHARi

respectively, i.e.^ far below the Sahasrara which
IS the region of his quest. The Moon m the Sahas-
rara being Nitya-kaia would not come . under this
description. Luminous region — the Sahasrara, the
abode of perpetual moonshine. In the case of the
reading * Nir-aloke \ the meaning is ' where there is no
light (of the kind known to us) ', Ago^^?— resulting from
the cycles of births and deaths. The forms of the
deities, Para-s'ambhu-natha and Cit-paramba, should be
conceived of in the middle, and the sixty-four Manasa-
mayukha-s as surrounding them, when practising medi-
tation as indicated in this stanza/ Some reverse the order
of stanzas 36-41 m the ascending order of the Cakra-s.

'The sixty-four Manasa-mayiikha-s are : (1} Para, (2), Para, (3)
Bhara, (4) Bhara, (5) Cit. (6) Cit-parS, (7) Maba-maya, (8) Maha-
maya-parS, (9) Spsti, (10) Srsti-para, (11) Icclia, (12) Iccha-para,
(13) Sthiti, (14) Sthiti-para, (15) Nirodha, (16) Nirodha-para, (17)
Mukti, (18) Mukti-para, (19) JSana. (20) Jnana-para (21) Sat.
{22) Sati-para. (23) Asat, (24) Asati-para, (25) Sad-asat, (16) Sad-
asati-para, (27)Knya» (28)iCnya-para, (29) Itman, (30) Atma-para,
(31) Indriyas'raya, (32) Indriyis'^raya-para, (33) Go-cara, (34) Go-
cara-para, (35) Loka-mukhya, (36) Loka-mukhya-parS, (37) Vedavat
(^^) Vedavat-para, (39) Saipvid. (40) Saipvit-para, (41) Kupdalmi,
{42) Kii];Ldalmi-para, (43) Sausumrii, (44) Sausura^ii-para, (45) Prana-
sutra, (46) Pra^a-sutra-para, (47) Syanda. (48) Syanda-para, (49)
Matrka, (50) Mat^ka-para, (51) Svarodbhava, (52) SvArodbhava-
para, (53) Varpa-ja, (54) Var^a-ja-para, (55) S'abda-ja, (56) Sabda-
ja-para, (57) Varria-jnata, {5Z) Var^ia-jnata-para, (59) Varga-ja,
(60) Varga-ja-para, (61) Saipyoga-ja, (62) SaQiyoga-ja-para» (63)?.
Mantra-vigraha, and (64) Mantra-vigraha-para.

SAUNDARYA-LAHARl 147

37. Vis'uddhau te s'uddha-sphatika- Vis'adam vyoma-

janakam
s'lvam seve devim api s'lva-samana-vyavasitam ;
Yayoh kantyayantya s'as'i-kirana-sarupya-saranim
vidhutantar-dhvanta vilasati cakoriva jagati,

I worship; in Thy Vts^addhi^ S'iva, clear as
pure crystal and generating Vyoman, as also
the Goddess, whose functions are the same as
S'lva's ; m virtue of the lustre of them both
assuming equality of status with the moon-
beams, the Universe, rid of its internal dark-
ness, delights like a she-partridge.

It may be observed here that, as in the worship of the
Vis'uddhi-cakra of the ^

■thioat, there is obstruc-
tion caused by the
practitioner in the func-
tioning of the Sun and
the Moon coursing
through the I d a - a n d
Pingala-nadi-s and, as
the sixteen Kala-s,repre-
sented by Tri-pura-sun-
<iari and other Nitya-s

148 SAUNDARYA-LAHARI

having their seats on the sixteen-petalled lotus of
the Vismddhi'Cakra, lose their injSuence m conse-
quence, it is the lustre of S'iva and the S'akti alone
that serves the purpose of moonbeams m lighting
up this region. The deities referred to in the stanza
are given the names of VyomesVara and Vyomes'-
van and are to be meditated upon by the practitioner,
as m the middle, surrounded by the seventy-two
Nabhasa (Ethereal) Mayukha-s/ Generating Yyoman
— being the prime cause of Ether, as borne out by
the S'ruti, * From the Atman is generated Ether \
She-patridge—the mystic quality of subsisting on
moombeams is traditionally ascribed to the Cakora
bird. Some commentators take the S'lva indicated in
this stanza as Ardha-naris'vara.

Tit m^ ^fk ^^ mm^^ I

^ The seventy-two Nabhasa-mayukha-s are (1) Hrdaya, (2)
Kauhki, (3) Dhara, (4) Kanta, (5) Bhoga. (6) Vis'vS. (7) Bhava. (8)
Yogini. (9) Maha, (10) Brahma-sara, (11) Sava, (12) S'abari, (13)
Drava, (14) Kalika, (15) Rasa, (16), Ju§ta-cai:i4ali, (17) Moha, (18)
A-ghores'i» (19) Mano^bhava, (20) Hela. (21) Keka, (22) Maha-rakta,
(23) Jnana-guhya, (24) Kubjxka, (25) Khara, (26) Dakinl. (27)
Jvalana, (28) Sakmi, (29) MahS-kula, (30) Lakmi, (31) Bhiyojj-
vala. (32) Kakmi, (33) Tejas, (34) SSkmi, (35) Murdhan, (35)
Hakmi, (37) Vamii, (38) IJfapaghni (?) , (39) Kula, (40) Simhx (41)
Sai^iliara. (42) Kulambika, (43) Vis'vani-bhara, (44) Kama, (45)
I<:autila, (46) KTina-mata, (47) Galava, (48) Kankati, (49) Vyoma,
(50) Vyoma, (51) Svasana, (52) Nada. (53) Khe-cara, (54) Maha-
devi, (55) Bahula. (56) Mahat-tari, (57) Tata, (58) Ku^idalmi, (59)
Kulatita, (60) Kules'i, (61) Aja. (62) Idhika, (63) An-anta, (64>
Bxpika, (65) Esa, (66) Recika, (67) S'ikha, (68) Mocika, (69)
Parama, (70) Para, (71) Para and (72) Cit.

SAUNDARYA-LAHARi 149

38. Samunmilat-samvit-karnala-makarandailca-rasikam
bhaje hamsa-dvandvam kim api mahatam

manasa-caram ;
Yad-alapad asta-d^s'a-gunita-vidya-pariiiatir
Yad adatte dosad gunam akhilam adbhyah

paya iva.

1 worship that unique pair of swans, sub-
sisting entirely on the honey of the blooming
lotus of wisdom (the An-nhata) and gliding
over the Manasa of great minds ; from whose
matual cackle, there results the exposition of
the eighteen Vidya-s, and which extracts all
the good from the bad, even as it would; milk
from the water (which dilutes it).

Pair of swans — the * Ham * in * Hamsah ' indicates
the male-S'iva, and the * Sah ' indicates the female-
S'akti. Hence the pair of syllables that make up the word,
mdicatmg S'lva and the S'akti combined, is compared
to a Hamsa-pair swimming in the minds of the great.
Further, tradition ascribes to this bird the mystic
property of separating the pure milk from the water

1 I f v I pf

2 ^w^^.

150 SAUNDARVA-LAHARI

With which it is adulterated. Hence it is that the^
Hamsa-pair is said to extract the good from the bad.
The names of the couple of deities referred to are given
as Hamses'vara and Hamses'vari. Manasa — there is-
a pun on this word, implying Manasa, the mind and also
the lake of that name, far-famed for its swans. Great
minds — some high-souled Samayin-s, who are afiepts
m the several stages of Yoga, are meant by this. Mutual
cackle — when the two deities are m the waking state
and when Rhythm predominates, their conversation
assumes the form of the ' exposition of the Veda-s and
the S'astra-s, through the Yogm-s m whose hearts they
dwell; when Mobility predominates, it results m the
appeasement of hunger, thirst, etc., of the Yogin-s ;
similarly, with the preponderance of Inertia, anger, fear,
etc., are generated in the Yogin-s. The eighteen Vidya-s
are (1) S^iksa, (2) Kalpa, (3) Vyakarana, (4) Nirukta, (5)
Jyotisa, (6) Chandas, (7) Ec, (8) Yajus, (9) Saman, (10)'
iVtharvan, (U) Purva- and Uttara-mimSms^, (12) Nyaya,
(13) Pura^a, (14) Dharma-s'astra, (15) Ayur-veda, (16)
Dhanur-veda, (17) Gamdharva and (18) Niti-s'astra.
There is also the reading *-Parinatim samadhatte ',
when the meaning would be, " by constantly conversing
about which (pair of swans) (the Sadhaka, practitioner)'
attains ripe mastery over the eighteen Vidya-s and
discriminates between good and bad, even as (the
Hamsa) would, between milk and water."

The worship indicated in this stanza, of the pair
of swans in the heart-lotus, is followed by some
Samaym-s. But S'amkara-bhagavat-pada, as explained

SAUNDARYA-LAHAR!

151

by him m his commentary on the Subhagodaya, is of
the opinion that S'iva
in the form of a
flame, known a s
S'lkhm, shines hke a
spout of light in the
An-ahata-cakra, m •
conjunction with
the Devi of the
name of SSkhini.
Xhe deities Hamses'-
vara and Harnses'-
vari should be medi-
tated upon as m the middle of the Cakra surrounded
by the fifty-four Vayavya (x\erial) Mayukha-s.^

^ The fifty-four Vayavya-mayukha-s are : (1) Khages'vara, (2)
Bhadra, (3) Kurma, (4) Adhara, (5) Mesa, (6) Kos'a, (7) Mina, (8)
Mallika, (9) JSiana, (10) Vimala, (11) MaMnanda, (12)Sarvari, (13)
Tivra, (14) Lila, (15) Priya, (16) Kumuda, (17) K^laka, (18) Menaka,
(19) ]jamara, (20) Dakmi, (2lVRamara, (22) Rakini, (23) Lamara
(24) Lakmi. (25) Kamara, (26) Kakmi, (27) Samara, (28) Sakmi,
(29) Hamara. (30) Hakini, (31) Adhares'a. (32) Rsika, (33) Cakris'a.
(34) Bandu, (35) Kukura, (36) Kula, (37) Mayas'ns'a. (38) Kubjika.
(39) Kfrdis'a, (40) Kama-kala, (41) S'lrasa, (42) Kula-dipika, (43)
S'lkhes'a. (44) Sarves'a, (45) Varman, (46) Bahu-rupa, (47) As'ales'a.
(48) Maha-tari, (49) Para-guru, (50) Mangala, (51) Faradhi-guru,
(52) Kos'ata, (53) Pujya-guru and (54) Rama

152 SAUNDARAYA-LAH ART

39. Tava svadhisthane huta-vaham adhisthaya

niratani
tarn ide samvartatn janani mahatim tarn ca

samayam ;
Yad-aloke lokan dahati mahati krodha-kalite
dayardra yad-drsbh s'ls'iram upacaram racayati.

Mother ! I glorify that Samvarta, who
abides in Thy Svudhisthuna^ presiding over
Agni-tattva, and also that great Saniaya, whose
glance, glistening with pity, applies the chilling
(soothing) process, when His mighty stare,
pregnant with rage, consumes the worlds.

The deities referred to are given the names of
Samvartes'vara and SamaySmba and should be meditated
upon by the practitioner, as in the middle, surrounded by
sixty-two Taijasa (fiery) Mayukha-s/ Some commen-
tators, by adopting the reading ' Ya drstih ', and under-
standing * Sa ', make the glance as of the Devi yi the
Mani'i>ura and thus make Samaya also participate m
the burning of the world, when * Yadaloke ' will have

^ The sixty-two Taijasa-mayukha-s are . (1) Parapara. (2) Cande-
s'vara , (3) Parama, (4) Catusmati, (5) Tat-para, (6) Guhya-k^li»
(7) Apara, (8) Sairivarta, (9) Cid-ananda, (10) Nila-lcubja^

SAUNDARYA-LAHARi 153

io be repeated twice, to comprehend the eye-glances of

Samaya and Sam-

varta. The same is

achieved bj^ another

readings which is far

better suited for

the purpose, viz.,

* DayardrSbhir ' drgbhih s'ls'ram upacarara racayasi '.

In the regular order of the Cakra-s, from the AjTia

downwards, we should expect the Mam-pura here.

The author apparently follows the order of the Tattva-s

represented by the Cakra-s, m adopting the order of the

stanzas.

^TwK^^i mm] mm^kwn^Km]

(11) A-ghora, (12) Gandha, (13) Sama-rasa, (14) Rasa, (15) Lalita»
(16) Smara, (17) Svaccha, (18) Spars'a, (19) Bhtites'vara,
(20) S'abda, (21) Ananda, (22) Dakmi, (23) Alasya, (24) Ratna-
dakm! (25) Prabhananda, (96) Cakra-dakmi, (27) Yogananda,
(28) Padma-dakmi, (29) Atita, (30) Kubja-dakmi, (31) Svada,
(32) Praca^da-dakmi, (33) Yoges'vara. (34) Canda, (35) Pithes'vara»
(36) Kos'ala, (37) Kula-koles'vara, (38) favani, (39) Kukses'vara,
00) Samaya, (41) Sri-kantha, (42) Kama, (43) An-anta, (44) Recall,
.(45) Saip-kara. (46) Jvala,* (47) Pmgala, (48) Karala, (49) Madakhya,
(50) Kubjika, (5l) Karala-ratri-guru. (52), Para (53) Siddha-guru,
(54) S'anty-atita (55) Ratna-guru, (55) S'anta, (57) S'lva-guru,
(58) Vidya, (59) Mela-guru, (60) Pratistha (61) Samaya-guru and
162) Nivrtti.

1 54 SAUNDARYA-LAHARi

40. Taditvantam s'aktyS timira-panpanthi-sphuranaya.
sphuran-nana-ratnabharaQa-parinaddhendra'dha-

nusam ;
Tava s'yamam megham kam api mani-puraika-

s'araijiarn
niseve varsantam hara-mihira-taptam tn-bhu-

vanam»

I worship that redoubtable dark-blue cloud,
abiding for ever in Thy Mani-pura, endowed
with lightning in the form of the Sakti, whose
lustre controverts darkness, with a rainbow
caused by the sparkhng of variegated gems
set in the jewels (of the Kundalini), and
showering rain over the worlds scorched by
Hara (Fire) and Mihira (the Sun).

The names of the deities to be meditated upon m the
Mani-pura-cakra are said to be Meghes'vara and
Saudamani. They are also known as AmrtesVara and
Amrtes'vari and are to be meditated upon by the
practitioner as m the middle and surrounded by fifty-
two Apya (watery) Mayukha-s/ Dark-blue cloud — the-
form assumed by Meghes'vara. Sakti — known as
Saudamani. Darkness — of the Mani-pura which is

' The fifty-two Apya-ma-yukha-s ate (1) Sadyo-jata, (2) Maya,
(3) Vama-deva, (4) S'ri, (5) A-ghora, (6) Padma, (7) Tat-purusa, (8)
Ambika, (9) An-anta, (10) Nivrtti, (11) A-natha, (12) Pratisthi, (13)
Janas'rita, (14) Vidya, (15) A-cmtya, (16) S'anta. (17) S'as'i-s^ekhara,
(18) Uma, (19) Tivra. (20) Gariga, (21) Mani-vaha, (22) Sarasvati,
(23) Ambu-vaha, (24) Kamala, (25) Tejo'-dhis'a, (26) Parvati, (27)
Vidya-vagis'vara» (28) Citra, (29) Catur-vfdhes'vara, ,(30) Su-
karaala, (31) Uma-ganges'vara, (32) Manmatha, (33) Krs^es'vara,

SAUNDARYA-LAHARI

155

rendered into a region of light mixed with darkness, i.e.^
Mis^ra-loka, by the hght effulgmg from the Ktindalini-
s'akti. There is the traditional view held that the rays
of the Sun from the An-ahata, conjointly with the heat-
rays of the Fire of Svad^fe's^/iana, convert the. water of
the Mani-i)Ura into clouds, which drench with their
showers the world-conflagration caused hy the Svadht-
sfancr-Fire at the time of the Deluge. There is also
the reading, * Smara-mihira-taptam,* which means, " con*
sumed by the Sun of Desire ". * Hara-mihira' is taken by
some to indicate the twelve Aditya-s, of the form of Hara^
appearing at the Deluge to consume all the three worlds.
The following points culled from Laksml-dhara's
elaborate commen-
tary on this stanza
are noteworthy ; The
Siddha ghutika, a
treatise on occultism,
not known now to be
extent, speaks of
Sada-s^va, manifest-
mg himself in the
Mam-pur a as a
wmter-c loud and
shining there with
his spouse of the

(34) S'riya, (35) S'ri-ka^tha, (36) Laya (37) An-anta, (38)Sati, (39)
S'aip-kara, (40) Ratna-mekhala, (41) Pmgala, (42) Yas'o-vati, (43)
Sadhyakhya, (44) Hai^isananda, (45) Para-divyaugha, (46) Varna,
(47) Mara-divyaugha, (48) Jyestha, (49) Pithaugha. (50) Raudri,
(51) Sarves'vara and (52) Sarva-mayi

1 56 SAUNDARYA-LAHARI

form of resplendent ligbtnlng. A chapter in the
Taittiriyarai^yaka, wherein is ^iven a. detailed de-
scription of the origin of the Sun, Moon and Fire
and also of the stars and other luminaries making
days and nights, all from water, is quoted from.
Therein the essence of water — nectar, is referred to as
pervading the disc of the Sun, and the Yogin is represent-
ed as apostrophizing to the water of the Mafii-jMra,
asking for " the essence of that essence, which is of the
highest order ". The essence of water is explained to be
the Moon. From the Ap-tattva of the Mani-pura, the
Yogm desires to get at the Moon, the fountain source of
all nectar, which, flowing from the lunar disc, passes
on to the disc of the Sun, which it nourishes, as long
as it flows. As the place of the Moon, the Baindava-
sthana, is in the Sahasrara^ the essence of the highest
order is the nectar oozmg out of the Sahasrara and
filling up all the Nadi-s. A quotation from the Yajur-
veda (I, V, 1 1) deals with the crossing of the ocean of
Samsara m strongly built, well-designed and equipped
teats, which could withstand the severest hurricanes
and storms, wherewith the Yogin could attain Salvation.
These boats are said to be comprised, m the Sn-vidyUy
one of Fire m the Svadhistana^ another of Earth
m the Muladhara, another of Ether in the Vis'uddhi^
another of Mind in the Aj^a^ another of Air in the
An-ahata, and yet another of Water in the Mant-
pUra,

SAUNDARYA-LAHARl 157

41. Tavadhare mule saha samayaya Msya-paraya

navatm^nam manye nava-rasa-maha-tandava-

natam ;
Ubhabhyam etabhyam udaya-vidhim uddis'ya"

dayaya
sanathabhyam jajne janaka-jananl-maj jagad

idam.

I conceive, in Thy MulUdhUra, the Deity
dancing the great Tandava, replete with the
nine sentiments, along with Samaya intent
upon Lasya, as Navatman. This world came
to own its father atld mother in these two,
with their manifest grace for the act of
Creation.

The names of the deities to be meditated upon m this
Cakra are Adi-nata and Las'yes'vari, surrounded by the
fifty-six Parthiva (Earthly) Mayukha-s.'*

3 The fifty-six Parthiva-mayiikha-s ate. (1) Uddis'vara, (2)
XJddisVari, (3) Jales'vafa, (4) Jales'vari, (5) Pur^Wvara, (6)
Piirnes'vari, (7) Kames'vara, (8) Kames'vari, (9) S'ri-kaptha,

158 SAUNDARYA-LAHARI

Samaya — the Devi that attains similarity with Siva
in Adhisthana. Avasthana, Anusthana, Rupa and
Naman. Similarly, the term * Samaya ', when applied
to Siva, should be construed as Is'vara who attains
similarity with the Devi m the above respects. The
doctrme relating to the worship of Samaya and Samaya
is known as Samaya-mata. When the Adi-nata and
the Lasyes'vari, engaged m Tandava and Lasya res-
pectively, catch a glimpse of each other, the world is
said to originate from them. When the Tanidava
and Lasya cease, the world ceases to exist. This is
the Kaula-doctrine. As the Muladhara and the Svadhi-
sthana both belong to the region of darkness, the
external worship of the Devi in those Cakra-s is
countenanced exclusively by the Kaula-s ; even though
the Samaym-s have nothing to do with such form of
worship, still they may worship the Devi of the
Sahasrara mentally as having her place in these two
gross Cakra-s, in keeping with their own doctrine. It
is with a view to stressing this feature that the Devi has
been designated significantly as Samaya m this and the
previous stanza but one, which deal with the Muladhara
and the Svadhisthana^ which belong exclusively to the

(10) Gagana, (U) An-anta, (12) Svarasa, (13) S'aip-kara, (14) Mati.
(15) Pmgala. (16) Patala-devi. (17) Naradakhya. (18) Nada, (19)
Ananda. (20) Dakini, (21) Alasya, (22) S akmi. (23) Mahananda, (24)
LaHni. (^5) Yoga, (26) Kakmi. (27) Atita, (28) Sakini, (29) Pada, (30)
Hakini. (31) Adhares^a, (32) Rakta, (33) Cakiis'a, (34) Cauda, (35)
Kurangis'a, (36) Karala^(37) Madadhris'a, (38) Mahocchusma, (39)
An-adi-vimala, (40) Matangi, (41) Sarva-jSa-vimala, (42) Pulmda,
(43) Yoga-vimala, (44) S'ambari, (45) Siddha-vimala, (46) Vaca-
para, (47) Samaya-vimala, (48) Kulalika, (49) Mxtres'a, (50) Kubja,
(51) Uddis'a, (52) Ladhva, (53) Sasthis'a, (54) Kules'varl, {55)
Caryadhis'a and (56) Aja

SAUNDARYA-LAHARI 1 59

province of the Kaula-s. According to the Kaula-
marga, the Bindu is in the Tri-konci of the Mula-
dhara. Hence the Kaula-s worship the Bindu m the
Tn-kona every day. That Tri-kona is of two kinds :
one IS situated in the middle of the nme Yom-s of the
Srt'Cakra and the other in the organ of a beautiful
young woman. The Purva-kaula-s worship the former
painted or engraved m the Bhurja leaf, gold plate, a
piece of silk-cloth or on a platform. The Uttara-kaula-s
worship the actual organ of the damsel. These are
exclusively external m form and not internal, and as
such their worship pertains only to the Muladhara-
cakra* The Kundalini therein is known as Kaulmi.
The worship of the Tri-kona pointing downwards
therefore amounts to the worship of the Kaulini of the
form of Bindu, She is given to sleeping always and
IS therefore worshipped, while she is asleep. When she
IS roused from her sleep, that constitutes the Liberation
for the Kaula-s. She is propitiated with liquor, flesh,
fish, etc., mnemonically grouped as the Pafica-makara-s.
As these and the similarly degenerate practices of the
Dig-ambara-s and Ksapapaka-s are not countenanced
by the Veda-s, they should be considered reprehensible.
According to the Samaya form, the six Cakra-s of the
Srl'oakra are identical with the six Cakra-s of the
human body. The original Tri-kona, with which we
began to design the Sapkoita of the Sn-cakra, is reputed
to be the Baindava-sthana, That is in effect a quadri-
lateral. We have already seen how this quadrilateral,
which contains the Baindava-sihana, is no other than the

160 SAUNDARYA-LAHARi

disc of the Moon in*the thousand-petalled lotus. It is this
Baindava-sthana that is otherwise known as * Sudha-
sindhu ' and ' Saragha \ Hence, neither the external
worship of the Baindava-sthana of the Purva-kau!a-s,
nor the degenerate practices of the Uttara-kaula-s
can even be remotely meant by or associated with
the Samaya form of worship of the Tri-kona,
The worship of the Samaya-Samaya-con junction m
the Sahasrara is alone the goal of the Samayin-s.
The similarity between the Deva and the Devi m
all the five respects is indicated in this stanza.
The identity of abode is established by the words
* Tavadhare ', meaning that the Deities have their abode
in the Muladhara of the Devi. The Lasya or female-
dance and the Tandava or male-dance, both being types
of the same Nrtya, their identity of Avastha or condition
is established. The words ' Udaya-vidhim uddis'ya '
establish the identity of Anusthana or occupation, both
of them being intent on the same purpose, viz,y the
creation of the world. The identities of form and name
between the two are established by the word ' Navatman '
occurring m this stanza, as further amplified by
the same word occurring m stanza 34. Similarly m
the five other stanzas preceding this, wherein the
two deities are conceived as placed in the middle of
the other five * Cakra-s, their identity m these five
respects may be established from a careful examination
of the stanzas.

For the Samayin-s the worship of the six Cakra-s
is not essential, while that of the Sahasrara is the

saundarya-lahar! 161

stne qua non of their doctrine, which consists in the con-
ceivmg of the form of the disc of the Moon in the middle
of the Sahasrara as the quadrilateral, which is the seat of
the Bindu, and the Bindu therein as the Sadakhya trans-
cending the twenty-five Tattva-s, as it is the twenty-
sixth Tattva of the form of the conjunction of the S'akti
with Sada-s'iva. When the Samaya form of worship
does not countenance external forms, it is needless to
point out that observances, such as the sixteen kinds of
Upacara-s, are beyond the province of such worship.
The identity between the six Cakra-s of the body, {such
as the Muladhara and others), with the six Cakra-s
of the Srl'Cakra^ (such as Tri-kona and others), that
between the quadrilateral containing the Bindu of the
Srl-cakra and the Sahasrara^ similarly that between
the Bindu and S'iva, as also that between the S'n-cakra
m its entirety and the PaSca-das'aksari, these four kinds
of identities are looked upon as forming the essential
features of the Samaya form of worship.

Some are of the opinion that there are six kinds of
identities. The Para, one of the four divisions of Nada,
is of the form of the Tri-kona which does not contain
the Bindu. Of the other three divisions of the Nada^
Pas'yant! is of the form of the Asia-koita of the Sri-
cakra ; while the Madhyama is of the form of the two
DaS'ara'S^ and the Vaikhari of the Catur-das'ara. The
S'iva-cakra-s, consisting of the two lotuses, ihtMekhala-
fraya and the Bhu-grha^ are inherent in the Sakti-cakra-s
detailed above. Hence the Brl-cakra is implied m the
term Nad a. The six Cakra-s, Muladhara and others
11

1 62 SAUNDARYA-LAHAR!

of the body, are implied in the term * Bindu \ The
Kala-s^ which may be taken either as fifty or three-
hundred and sixty in number, and are comprehended in
the five elements and the Manas-tattva, are far below the
twenty -sixth Tattva. Hence the Bhaga-vat! stands far
above the Nada, the Bindu and the Kala» The Saha-
srara is beyond the Bindu of the six Cakra-s and is of
the character of the Baindava-sthana^ the same as the
SudhU'Sindhu and described also as Saragba in the
Veda The Tattva beyond the Nada is the Sadakhya
the same as the 'S'n-vtdya or the Brahma-vidya and
described by the term Cit-kala, transcending the fifteen
Kala-s, Dars'a, Drsta, Dars'ata and others, of the form
of the fifteen syllables ' Ka E I La Harim * and others,
having as their names Tn-pura-sundari and others. The
SIX identities referred to are the identities between the
permutations of N^da, Bindu and Kala^ taken two at
a time. By worshipping the Devi with the conception
of the six identities referred to above, the practitioner
becomes dissolved in the Sadakhya-kalS. It is only
after this, that, through the power acquired by
meditation on the Devi, having in view the six identities,
and the power of Maha-vedha obtained, by the grace of
the Guru, the Bhaga-vati suddenly bursts through the
Muladhara and the Svadhtsthana centres of energy
and manifests herself directly m the Mani^imra. The
manner in which the Maha-vedha is acquired is as
follows : Having at first, during the practising stage, got
access to the Maha-vidyS from the Guru in whose
custody alone it is, and received instruction only from

SAUNDA^YA-LAHARI 163

the mouth of the Guru, practising the mere muttering of
the Mantra in the manner indicated by the Guru, he
should at the hour of midnight, on the Astami Tithi
known as the Maha-navami, in the bright half of the
AsVa-yuja month, catch hold of the feet of his Guru. As
a result of that, due to the contact of the Guru's hand
placed on the crest of the disciple and the imparting once
again by him of the Mantra, the procedure to be adopted
for the worship of the six Cakra-s, and the maimer m
which the six kinds of identities are to be experienced by
the disciple, there ongmates the power known as Saiva-
maha-vedha, whereby the practitioner realizes the mani-
festation of the Sadakhya. When once the Mah^-vedha
is generated in the practitioner, the Bhaga-vati manifests
herself in the Mani-pura. Commencing from Arghya,
Padya and the like and till the offering of jewels set
with gems, all the details of worship should be followed
with due reaHzation of the Kundalmi in the Mani-pura^
and the Devi should thence be transposed to the An-ahata
chamber of the heart, where offerings, from Dhupa
onward till the offering of food and water for cleansing,
should be made, and thereafter m the Vis'uddhi she
should be enthroned. While she is engaged in conversa-
tion with her comrades there, she should be worshipped
with the crystal-like sixteen Kala-s of the Moon there,
as with so many gems and transposed to the Ajfta-cakra^
where she, the Kames'vari, should be propitiated by
means of various kinds of waving of lights. Thereafter,^
suddenly, like 'a streak of lightning, she flashes into the
thousand-petalled lotus and, having entered that region,

164

SAUNDARYA-LAHARi

frolics in the company of Sada-s'iva, in the pleasure -
garden, under the shadow of the Kalpaka trees
in Mai3ii-dvipa, in the middle of the ocean of nectar.
Just then the screen should be dropped, and the
practitioner should stand all alone till the Devi
makes her exit therefrom on her way back to the
Muladhara,
The view of S'amkara-bhagavat-pada, as could be

inferred from his de-
scription of the Devi in
* Kvanat-kSnci-dS ma '
(St. 7) and others, is
that the Devi manifests
herself in the Mani"
pura of the practitioner
after his realizing the
four kinds of identity.
The other view, that the
manifestation is the re-
sult of the six kinds of
identity being realized by the practitioner, is Laksmi-
dhara's.

Hence the only means open to a2Samaym to achieve
his objects successful, in this as wellTasI in the other
world, is the internal form of worship and the internal
form of worship alone*

q|^!f^^2i^^* qif^rirf&ifir: m^^M

SAUNDARYA-LAHARi 165

42. Gatair maQikya-tvam gagana-ma^ibhih sandra-

ghatitam

kirltam te haimam hima-giri-sute kirtayati yah ;

Sa nideyac-chayac-churana-s^abalam candra-s'a-

kalam
dhanuh s'aunasiram kim iti na nibadhnati

dhisanam.

O Daughter of the snow-capped Mountain !
lie who describes Thy crown of gold closely
set with the (twelve) Suns, why will he not
gain the impression that the cresent Moon
(beside), variegated with the diffused lustre of
the various gems embedded therein, is but
S'unasira's bow?

Having thus far described the Bliss derived by medi-
tation on the Devi in her various aspects, in detail,
with a view to acquainting the worshippers, who are not
fortunately circumstanced to meditate upon her in the
f equisite manner, with the grace and charms of her form,
from head to foot, the author of this work has devoted
for that purpose the rest of the stanzas composing it,
Ijnown as the Saundarya-lahari, " the flood of beauty ",

166

SAUNDARYA-LAHARI

as opposed to the Ananda-lahari, the prior portion of the

work, so known

because of the
flood of spiritual
Bhss wherein her
votaries find them-
selves merged on
going through it.
However, this dif-
ferentiation is not
recognized by
L aksmi-dhara,
BhEsk a r a - r a y a,
Kaivalyas^rama and other learned commentators, who-
call the entire work the Saundarya-lahari. With^a view
to singing the praises of the Devi, whose pair of feet stand
far above the three hundred and sixty rays emanating
from them (as described m stanza 14) the author sets
about describing her form from her crown down to her toes.
The twelve Suns — the original word * Gagana-manibhih '
literally means ' the sky-gems ' ; hence the Suns which
are twelve in number. Sunaslra—lndxa. According
to KaivalySs'rama, the Kirlta-mantra ' Hiranya-kiritaya
sahasr§ditya-tejase namah ', " Salutation to the golden
crown dazzling with the lustre of a thousand Suns ", is
derived from this stanza describing the Devi's crown.

SAUNDARYA-LAHARi

167

43 DhuDotu dhvantam nas tuhta-dalitendlvara-vanam
ghana-snigdha-slak^nam c i k u r a-nikurumbam

tava s'ive ;
Yadiyam saurabhyatp sahajam upalabdhtim su-

manaso
vasanty asmm manye vala-mathana-vati-vita-

O Spouse of v^iva ! may Thy lock of hair^
which resembles an expanse of blue lilies in
bloom and which is thick, shining and soft,
drive away our (internal) darkness. I take it
the flowers of the trees of the garden of the
slayer of Vala, take up their abode in this (lock)
(as though) to acquire its inherent fragrance.

The Devl*s dark locks reflected on the heart of the
meditating votary have
the miraculous power
of driving away the
darkness therefrom.
This enhances the
greatness of the Devi
to a remarkable extent.
The slayer of Vala—
Indra, who is reputed
to have killed Balasura.
The form 'Vala^

168 SAUNDARYA-LAHARl

which, by the way, accentuates the effect of alliteration,
is prevalent in South India, being the same as * Bala *.
The trees referred to are Kalpa trees and the garden is
Nandana. Again, it is usual for women to wear flowers
for adding fragrance to and enhancing the beauty of
their locks ; but in the case of the Devi, as the poet
puts it, it is just the reverse.

44. Vahanti smduram prabala-kabari-bhara-timira-

dvisSm brndair Ibandi-krtam iva navinarka-

kiranam ;
Tanotu ksemam nas tava vadana-saundarya-

lahari
parivaha-srotah-saranir iva simanta-saranih.

May the parting line of the hair over Thy
forehead, wfiich verily marks the track taken
by the surging flood of beanty of Thy face and
which bears the vermilion streak, resembling
a beam of the newly rising Sun held in bond-
age by adversary hordes, viz.^ the immensely

SAUNDARYA-LAHARi

159

powerful elements of darkness in (the form of
Thy) locks of hair, vouchsafe our welfare.

The language is hyperbolical and presents poetic
imagery of a high
order. This stanza is
also read with its former
and latter halves
changing places. The
reading adopted by us
is the one which is
quoted by Appayya
Diksita in his Kuvala-
yananda.

45. Aralaih svabhavyad ali-kalabha-sa-s'ribhir alakaih
paritamte vaktram panhasati panke-ruha-rucim ;
Dara-sraere yasmin das'ana-ruci-kiSjalka-rucire
su-gandhau madyanti smara-dahana - c a k s u r -

madhu-lihah.

^ T?l^ T5^ ^ 1^.

170

SAUNDARYA-LAHAR!

Surrounded by curly hair resembling*
(swarms of) young bees. Thy face scoffs at the
beatuy of the lotus-jElower ; in which face,
smiling gently, rendered handsome by the fila-
ment-like brilliance of the teeth and endowed
with fragrance, the bees of the eyes of the
Destroyer of Smara revel.
The destroyer of Smara — S'iva. Young bees —

* Kalabha ' the Samskrt
word is generally used
to signify the young
one of an elephant.
Here it is used to indi-
cate the young one of a
bee.

2 o3*i?rf:clH<?I5HTf^cl:.

saundarya-lahar! 171

46, Lalatam lavanya-dyuti-vimalam abhati tava yad
dvitiyam tan manye makuta-ghatitam candra-

s'akalam ;
Viparyasa-nyasad ubhayam api saipbhuya ca

mithati
sudha-lepa-syutih parmamati raka-bima-karah.

I fancy, Thy forehead, which shines bright
and clear in the effulgence of its beauty, is a
second crescent fixed on to (Thy) crown. For,
the two, by being placed invertedly (one above
the other) and by blending together, turn out
to be the Full-moon besmeared with the balm
of nectar.

Besmeared with the balm of nectar — there is a pun
on the Samskrt
equivalent of this
phrase which also
means " cemented
together with a
coating of plaster ".
The idea is that
the two crescents,
by bemg placed in
such a manner as
to make their horns meet together, form themselves
into the Full-moon, the flow of Sudha from both of
them completing the cementing process.

172 SAUNDARYA-LAHARi

^^g 5^ ^ fm^Jh ^^\r^m^ II «^3 II

47. Bhruvau bhugne kim cid bhuvana-bhaya-bhaiiga-

vyasanini
tvadiye netrabhyam madhu-kara-rucibhyim

dhrta-gunam ;

Dhanur manye savyetara-kara-grhitam rati-pate^

prakosthe mustau ca sthagayati nigudhantaram

ume

Uma, ever intent on the annihilation of
the world's fear ! I see in Thy slightly knitted
pair of eyebrows the bow of Rati's consort,
strung with Thy bee-like pair of eyes, and held
(aloft) in his left hand with the middle part
hidden, his wrist and clenched fist covering
them.

SAUNDARYA'LAHARI

173

The underlying idea is this: the Devi with her
shghtly knit eyebrows
demonstrates, as it
were, her sole purpose
of dispelling fear from
the hearts of her
countless votaries, as,
when she is m that
posture, the eyebrows
assume the form of a
bow readily strung.

^^V^^ ^^:qt

II 8<1 II

48. Ahaii sute saVyam tava nayanam arkatmakataya
tn-yamam vamam te srjati rajani-nayakatay§ ;
Trtiya te drstir dara-dahta-hemambuja-rucih
samSdhatte samdhyam divasa-nisfayor antara-

carim.

Thy right eye, being of the form of the
Sun, begets the Day, while Thy left (eye),

174

SAUNDARYA'LAHARl

of the form of the Moon, begets the Night ;
Thy third eye, which resembles a slightly
blossomed gold-lotus, brings forth Twilight,
which intervenes Day and Night.

This stanza, wherein the Devi's three eyes are said to

bring forth day and
night with the inter-
vening twilight, may
be said to indicate
her character as
transcending K a 1 a,
all time, ftom day
and night on to in-
finite time. Her be-
ing described a s
having three eyes
indicates also her

oneness with' Is'vara, who is reputed to have three

eyes.

gq cra^TTTsqqfl^oiqtJjn T^^ 11 «^ II

49. Vis'Sia kalyani sphuta-rucir a-yodhya kuvalayaih
krpa-dhara-"dhSra kim api madhura bhoga-

vatika ;

SAUNDARYA-LAHARI

175

Avanti drstis te bahu-nagara-vistara-vijaya
dhruvam tat-tan-nama-v yavaharan a-yogya

vijayate.

The glance of Thine eyes is all-compre-
hensive (Vis'ala) ; spells prosperity (Kalyani) ;
serenely dazzles and (as such) cannot be faced
in battle (A-yodhya) by blue lilies ; is the
fountain-head of the stream of mercy (Dhara) ;
is superbly sweet (Madhura) ; enjoys immense
happiness (Bhoga-vati) ; is the saviour (Avanti)
(of the devoted) ; outrivals in extenso (Vijaya,
nay) several (other) cities ; and is indeed
capable of being (appropriately) indicated by
their respective names. All glory to it !

The glance of the Devi's eyes is said to be of an eight-
fold character, each
one of which is
represented to indi-
cate the name of a
great city. These
eight kinds of
glances are com-
mon to all women.
The glance known
as Vis'ala is said to
bloom inward ; that
known as Kalya^i
is said to be filled with surprise ; the A-yodhya-glance

1 76 SAUNDARYA-LAH ARl

represents one with the expanded pupil ; the Dhara-
glance denotes idleness; the MadhurS-glance is that
which shows a slight swirl; the Bhoga-vati is the
friendly one ; Avanti is the one of an innocent nature ;
and Vijaya is the oblique one. The Devils glances
produce respectively the following effects : agitation^
attraction, melting, infatuation, subjugation, exorcising,
antagonizing and death -dealing.

50. KavinSm samdarbha-stabaka-makarandaika-rasi-

kam
kataksa-vyaksepa-bhramara-kalabhau k a r ri a-

yugalam ;

A-muncantau drstva tava nava-rasasvada-taralav

asuya-samsargad ahka-nayanam kimcid arunam.

The (third) eye on Thy forehead is somewhat
red, (as though) influenced by jealousy, seeing
tliatThy two young-bee4ike obliquely-glancing
(eyes), in their eagerness to swallow the nine
Rasa-s (poetic sentiments), do not leave off
Thy pair of ears, which chiefly delight in the

SAUNDARYA-LAHAR!

177

honey of the cluster-of-flowers of poetic com-
positions.

Celestial and other bards smg the praises of the Devi
with their choicest
diction and always
fill, as it were, her
ears with the honey
flowing from their
composition. As her
right and left -eyes
partake of it on ac-
count of their proxi-
mity to the ears, the
third eye of the Dev!
IS said to grow
jealous of this and
turn red in consequence.

178

SAUNDARYA-LAHARI

5L S^ive s'rngarardra-tad-itara-jane kutsana-para
sa-rosS gangayam giri-s'a-carite vismaya-vati :
Haraiaibhyo bhita ^arasi-ruha-saubhagya-jayini
sakhl^u smerS te mayi fanani drstih sa-karupa.

Mother ! Thy look is soft with love to-
wards Siva ; scQrnful towards other folk ;
spiteful towards GaJiga ; expressive of wonder
at Giri-s'a's life-career; full of dread (when
confronted) with the snakes (ornaments) of
Hara ; eclipses the beautiful colour of the
lotus ; smiles on Thy comrades ; and is full of
grace towards me.

Of the nine Rasa-s (sentiments), S'rngara (love),
Bibhatsa (disgust), ' Raudra (pas-
sion), Adbhuta (wonder), Bhaya-
naka (terror), Vira (heroism), H§sya
(mirth), Karuna (compassion), and
S'anta (composure), all except the
last one, 6nd in the Devi's glance
a resort, m the order mentioned in
this stanza.

SAUNDARYA-LAHARI

179

n ^^ II

52. Gate kar^abhyarnam garuta iva paksmSni

dadhati
puram bhettus^ ciita-pras^ama-rasa-vidrava^a-

phale ;
Ime netre gotra-dhara-pati-kulottamsa-kalike
tavS-kar^akrsta-smara-s'ara-vilasam kalayatati.

O Crest-bud of the dynasty of the King of
the Mountains ! these two eyes of Thine,
fringed with feather-like eyelashes, reaching
Thine ears, and causing disturbance in the
profound mental placidity of the Destroyer of
the Cities (Siva), play the part of Smara's
arrows, drawn up to the ear.

Samam—ue,i Manmatha, the god of love« To him
is ascribed the power
of agitating the minds
of his victims with
his flower-a r r o w s»
The eyes of the Devi
are here compared
to Manmatha's ar-
rows, her quarry be-
ing her Lord, S'lva.
The poet significant-
ly uses the word

180 SAUNDARAYA-LAHAKi

* Phala ', with a pun on the word, as it means * fruit '
as well as * an arrow-head *.

H^: mi ^m^ ffci ^m^l mf^^ w h^ it

53. Vibhakta-trai-varnyam vyatikanta-lilaiijanataya
vibhati tvan-netra-tritayam idam is'ana-dayite ;
Punah srastum devan drahitia-han-rudran upa-

ratan
rajah sattvam bibhrat tama iti gunanSm tra-

yam iva.

Beloved of iVana ! this triad of Thine
eyes, displaying the three colours severally,
smeared as it is with toilet-coDyrium, shines
out, as if possessing the triad of Guna^-s— Rajas,
Sattva and Tanaas — so as to create once again
the Deva-s — Druhina, Hari and Rudra— when
they cease to exist.

The three co^owrs— red, white and dark, characteristic
of the three Guna-s—Rajas, Sattva and Tamas respec-
tively. Create once again—the allusion is to the

1 offt^l^crgqff; o5ft^i¥|5f^^f.

SAUNDARYA-LAHARi

181

tradition that the Tn-murti-s perish at the Great Deluge,
when the universe
has its involution,
and are brought into
existence once again
after the Deluge,
when the work of
creation is under-
taken by S'lva m
conjunction with the
S'akti.

mm Mm^mf^ ^^^^jm^! ii ^8 ii

54. Pavitri-kartum nah pas^u-pati-paradhma-hrdaye
dayS-mitrair netrair aruija-dhavala- s' y 3 m a •

rucibhih
Nadah 3^05.0 gangi tapana-tanayeti dhruvam

amum
traya^am tirthan^m upanayasi sambhedam

an-agham.

O (Goddess) with a heart entirely devoted
to Pas^u-pati ! Thou verily bringest about, with
Thy merciful eyes, which are red, white and

182 SAUNDARYA-LAHARl

dark in colour, this hallowed (sin-washing)
confluence of the three sacred streams of the
rivers — S'ona, Ganga and Tapana-tanaya, to
sanctify us all.

Tapana'tanaya—litetBily the daughter of the Sun,
the Jumna.

55, Nimesonmesabhy§m pralayam u d a y a m yati

jagati

tavety ahuh santodharax^i-dhara-rajanya-tanaye,

Tvad-unmesaj jatam jagad idam as'esam pralayatab

paritrStum s^afike panhrta-nimesSs tava drs'ah

S AUND AEYA- LAH ARl 1 83

Daughter of the King of the Mountains !
the Sages say that the world has (its) dissolu-
tion and genesis with the closing and opening
of Thine eyes. Methinks, Thine eyes are
bereft of winking, with a view to save from
dissolution this entire universe, which had its
origin in the opening of Thine eyes.

Here the Devi is represented to be ever wide awake,,
lest the universe
should come to ruin,
should she ever
shut her eyes, thus
demonstrating her
concern, as the
Divme Mother, for
the welfare of her
progeny, the world.

184

SAUNDARYA-LAHARi

56* Tav^arne karne-japa-nayana-pais'unya-cakita
nillyanle toye niyatam a-nimesah s'apharikah
Jyam ca s'rir baddhac-cbada-p uta-kavatam

kuvalayam

jahati pratyuse nis^ ca vighatayya pravis'ati.

O Aparna! the (glittering) S'apharika fish

ever hide themselves under water without

winking, afraid of the tell-tale nature of Thine

eyes, which are so close to Thine ears. The

Goddess of Beauty, again, leaves the blue-lily

at daybreak, when its doorlike petals close,

and forces an entrance (into it) at nightfall.

The Devi's eyes resemble both the S^apharika fish and

the blue-lily. The poet
weaves out of his imagina-
tion the situation so clever-
ly portrayed in this stanza.
The aquatic asylum sought
by the fish, which are ever
awake, is said to be due to
their ' fear, lest their rivals,
the Devi's eyes, which are
so close to her ears, should
carry any tales against them.
Similarly the lilies lose their
beauty at daybreak, when their petals close, and bloom
with the fullness of their beauty at nightfall, when
the Devi's eyes, being closed in sleep, would not out-
shine the beauty of the lilies.

SAUNDARYA-LAHARI 185

^.^m ^ m^ f qr^T mm f^i^ t

57. Drs'a draghiyasya dara-dalita-nllotpala-ruca

daviyamsam dinam snapaya krpaya mam api

.Vive :
Anenayam dhanyo bhavati na ca te hanir lyata
vane va harmye v^ sama-kara-nipato hima-

karali.

Spouse of Siva ! may Thou graciously
bathe even me, who stands helpless at a far
off distance, with Thy far-reachmg glance,
beautiful like the slightly blossomed blue-lily.
This (mortal) will derived the summum honum
of existence from such (action). By such
action, no loss is after all sustained by Thee.
The snow-beamed (Moon) sheds the selfsame
lustre on a forest as well as a mansion.

The Arthantara-nySsa in the last line rnay be noted*
The votary appeals
to the Devi to extend
her glances, which
are capable of being
extended to an un-
limited distance, to

186 SAUNDARYA-LAHARi

him also, as he stands separated by a very long distance
from her holy presence.

58. Aralam te pali-yugalam aga-rajanya-tanaye

na kesam adhatte k u s u m a-s'ara-kodaijda-

kutukam
Tiras'cino yatra s' r a v a ^ a-p a t h a m ullanghya

vilasann
apanga-vyasaiigo dis'ati s'ara-s a m d h a n a-^

dhisanam,

O Daughter of the King of the Mountains !
to whom would the arched pair of ridges
(between Thine eyes arid ears) not convey the
grace of the bow of the flower-arrowed (god of
love) ? For, Thy long side-glance, directed
across which (ridges) and reaching the vicinity
of Thine ear, creates the impression of the
mounting of an arrow (on the bow-string).

The negative interrogative of the first half of the
stanza presupposes an affirmative reply. In the second

SAUNDARYA-LAHARf 187

half .the oblique glance of the Devi is portrayed as the
mounting of an arrow
on the bow-string, the
eye bein^ compared
to an arrow.

59. Sphurad-gandabhoga-pratiphalita-tatanka-yugaiam
catus'-cakram manye tava mukham idam man-

matha-ratham ;
Yam aruhya .druhyaty avani-ratham arkendu-

caranatn
maha-viro marati pramatha-pataye sajjitavate-

This face of Thine, with the pair of
Tatanka-s (ear-ornaments) reflected on Thy

188 saundarya-lahar!

glistening cheeks, I fancy to be the four-
wheeled chariot of Manmatha, mounted on
which, Mara, the vahant warrior that he is,
confronts the Lord of the Pramatha (hosts)
who (once) got ready (for battle, mounted on)
the Earth-chariot with the Sun and the Moon
as its wheels.

* The comparison of the Devi's face 1o a four-wheeled

chariot is reahstic,
the face being the
body of the chariot^
and the two
Tatanka-Sj ear-
♦ ) rings, suspended

from the ear-lobes,
and their reflected images cast on her cheeks form-
ing the four chariot-wheels. The implication is that
Manmatha, taking advantage of the beauty of the Devfs
face, used it as his chariot and not only challenged the
redoubtable field-marshal of the Pramatha-gana-s, who
using the Earth itself as his chariot, mounted on the Sun
and the Moon as its wheels, once confronted the three
Pura-s, but also vanquished him with the adventitious
aid of the Devi's beauty. Kaivalyas'rama suggests that
*As'ritya' would be a better reading for *Aruhya',
remarking that it would be highly improper to conceive
of Manmatha mounting on the Devi's countenance.

SAUNDARYA-LAH AR! 1 89

60. Sarasvatyah suktir amrta-lahari-kaus'ala-harlli
pibantyah s'arvaiji s'ravapa-culukabhyam a-

viralam ;
CamatkSra-s'lagha-calita-s'irasah kuBdala-gano
jhaijat-karais tiraih prati-vacanam acastaivate.

Consort of S'arva ! while Thou hast been
continuously drinking in, with the hollow of
Thine outstretched ears, the sweet words of
the goddess Sarasvati, which keep far in the
background the flood of nectar, and been
shaking Thy head by way of appreciating the
merit (of the composition), Thy various ear-
ornaments echo in unison, as it were, with
loud chimes.

The sweet words of the goddess Sarasvatl~m praise
of the Devi. The implication is that the goddess of
learning, in her attempt to please her patron and wm her
approbation, had produced such an exquisitely beautiful
composition, wherem she had risen to the exalted heights

1 90 saundarva-lahar!

of the art of Poesyj her own field, as to have wrung
from the Devi an appreciation indicated by the involun-
tary shaking of her head ; not merely that, but also the
Devi's ear-ornaments, inanimate though they were,
chimed m unisori with their mistress's thoughts, as if
touched by the description of their mistress's greatness.
Lak§mi-dhara construes the stanza in a different

manner altoget her,
taking the sweet
words as coming
from the mouth of
the Devi herself, on
hearing which Saras-
vati, the goddess of
learning, is so much
over-powered by their
grace, as to express
her approbation by
shaking her head, when her ear-ornaments also chime in
unison* Laksmi-dhara takes the last word ' Te ' in the
stanza as applying to * Suktili ', ignoring the proximity of
the word, * Sarasvatyab \ which immediately precedes it.
Wbilej. therefore, the natural arrangement of the words
in the stanza support our rendering given above, it
must be admitted, in Laksml-dhara's defence} that the
very design of the author in describing the Devi from
head to foot, in the latter part of the poem lends support
to Laksmi-dhara's interpretation, as this stanza is
ostensibly in praise of the 'Vag-jhari', sweet flow
of words of the Devi, and does not pertain to the

SAUNDARYA-LAHAFI 191

proficiency of Sarasvati m her art, as it is not germane to
the topic of this part of the poem. Adopting the same line
of argument, it may be noted that the position, assum.ed
by the other commentators and followed by ns in our
rendering, is strengthened, as the description by the poet
'of the Devi's shaking of her head in appreciation of
Sarasvati's Vag-jhari comes Within the design adopted
by the author in the latter part of the poem, such
description being only of the Devi's face.

^^:^^] ^^^^]^\ ^f^f^ ^ ^^wTmi\ ikui

61. Asau nasa-vams'as tuhma-giri-vams^a-dhvaja-pat!
tvadiyo nediyah phalatu phalam asmakam

ucitam ;

Vahann antar muktab s'ls'ira-tara-ms'vasa-ghatitah

samrddhya yas tasam bahir api ca mukta-mam-

dharah.

Flag of the staff (dynasty)" of the snow-
capped Mountain ! may this, the bamboo of
Thy nose, immediately bear us the cherished

192 SAUNDARYA-LAHARI

fruit. Bearing in its (hollow) interior pearls,
kept in their places by Thy very cool breathy
it wears a pearl outside also, there being an
abundance of them (pearls therein).

Flag — Here is a clever metaphorical reference made
by the poet to the Devi, the daughter of Himavat, she
being represented by imphcation as the flag conspicu-
ously floating at the top of the dynasty of Himavat
which is represented to be the bamboo-staff on which
flag floatfe.

Staff- -note the pun on the ongmal word 'Vams'a',
•which means ' bamboo \, as well as * dynasty \ Here the
Devi's nose is compared to the bamboo, which encloses
a hollow within and which, accordmg to the tradi-
tion obtaining among Samskrt writers, is described as
producing pearls. The cherished fruit — ostensibly the
pearl of the bamboo, but really the Kaivalya sought
from the Devi. The fact that the Devi's nose wears as
an ornament a pearl outside, is taken advantage of by
the poet, who represents it as one of the pearls m the
hollow of the bamboo-like nose, cast by the exhaling
breath ot the Devi and forming an index, as it
were, to the pearls mside, Laksmi-dhara adopts the
following reading : " Vahaty antar mtikta}^ msnra-
kara'nis'vasa-galitam samrddhya yat tasam bahir
apt ca mukta-mani-dharah ", and takes ' S'lS'irakara \
which means * the Moon ', as indicating the breath
passing through the left (Ida) Nadi, wherein, according
to Yoga-s'astra, the Moon functions. Then he construes

SAUNDARYA-LAHARI

193

the compouBd word ' MtMct-mani-dharah ' as * Mukta-

mamnt dkrfavan \ and not satisfied with this, suggests as

a better reading,

' Mukta - m anim

adhat \ In that

case the latter half

would mean : "It

bears pearls m its

(hollow) interior

and hence wears a

pearl outside also,

cast as it were by

the lunar (left

nostril) breath,

there being an abundance of thetji (pearls therein)."

Herei^n is reference to the South Indian custom of boring

a hole through the left side of the nose of women, so as

to attach an ornament with a pearl pendant.

m^% mmA ^^^% qj^ fli^scri i

1 94 SAUND ARYA-LAHARl

62. Prakrtya •' raktayas tava sudati dantac-chada-ruceh
pravaksye sadrs'yam janayatu phalam vidruma-

lata;
Na bimbam tvad-bimba-pratiphalana-ragad aruxju-

tam
tuISm adhyarodhum katham iva na lajjeta

kalaya,

O (Goddess) with beautiful (rows of) teeth !
I shall presently name what equals the lustre
of Thy naturally red lips. Let the coral-
creeper bear fruit. It is not the Bimba fruit
Having turned red because of the redness
caused by the reflection of Thy form, how
will it not feel ashamed to be weighed in the
balance, even to the slightest extent ?

Having described the nose of the Devi, the poet next
proceeds to describe her lips, but finds himself baffled m

calling to mind any
object m nature,
which, like the
Devi's body, from
head to foot, is of
rJ a naturally red col-
our and, at the same, time, has a part redder still,
corresponding to her hps. In the first flush, he lands on
the coral creeper, which is of a similar hue, root and
branch, and as he could not conceive of any part of it

SAUNDARYA-LAHARl 195

comparable to the Devi's lips, he fancies that, possibly,
when the creeper bears fruit, the latter might be redder
still and on that account resemble the Devi's lips. But
as he has not heard of or seen the coral fruit, he pauses
and IS forced to say, ' Let the coral-creeper bear fruit '.
Then he lights on the Bimba fruit, as an alternative, but
has to reject that also, for the reasons stated in the
stanza. The reading ^ Drg-himha'pratiphalana ' means,
** caused by the reflection of the Sun (one of the Devi's
eyes) thereon", the underlying idea being apparently
that the Bimba fruit has its colour turned to red, only
as it ripens under the influence of the Sun's rays ; while
the reading ' Tad-bimba, etc.,' means " caused by the
reflection of the hps themselves ", the word ' Tad ' indi-
cating ' Dantac-chada ', 2.e., lips. How will it not feel
ashamed, etc. ?— as the Bimba fruit does not make the
slightest approach m point of colour to the Devi's lips,
it is bound to feel ashamed at the very suggestion that
it should stand such a comparison.

63. ^ita-jyotsna-jalam tava vadana-candrasya pibatam
Cakoranam Ssid ati-rasataya caScu-jadima ;

196

SAUNDARYA-LAHARi

Atas te s'itams'or amrta-laharim amla-rucayalhi
pibanti svac-chandam nis'i nis'i bh|:s''am kaBjika-

dhiya*

There was satiety in the beaks (reached) ^
owing to excessive sweetness, by the Cakora
birds drinking the moonlight-like smile on Thy
moon4ike face. Hence, eager to taste some-
thing sour, they freely drink, every nighty
ardently, the nectar flowing from the Moon^
in the belief that it is gruel.

Something sowr-— by way of a change. Gmel—which
resembles nectar in appearance.

^^Ts^q^sfM ^^ wiff^ f5r|i mf^ m i

i o=s3f^igf^:

SAUNDARYA-LAHARI 197

64. A-vis^rantam patyur gu^a-gana-katha-^mredana-

japa

japa-puspac-chaya tava janani jihva jayati sa ;

Yad-agraslnayah sphatika-drsad-acchac-c h a v i-

mayl
sarasvatyE murtih parii^amati manikya-vapusa*

Mother ! glory to that tongue of ThinCj
which is of the colour of the Japa flower, and
which unceasingly mutters prayers, reiterating
the glorious achievements of Thy Lord, while
the crystal-like, bright^-white body of Sarasvati
seated at the tip (of Thy tongue) gets trans-
formed into a ruby.

Ruby—d.s a result of the piece of crystal being set oif
against a red background.

198 SAUNDARYA-LAHARi

65. Rane jitvH. daityan apahrta-s^iras-trai^l? kavacibhir
nivrttais' candams'a-tri-pura-hara-n i r m a ly a-

vimukhaih ;

Vis''akhendropendraiii s'as'i-vis'ada-karpura-s'akala

viliyante matas tava vadana-tambula-kabalah.

Mother ! the (chewed) betel-and-nut
(mixed) with the powder of refined camphor
radiant like the Moon, (spit) off Thy mouthy
is eagerly set upon by Vis'akha, Indra and
Upendra, on their return after vanquishing the
Daitya-s in battle, with their head-gear doffed
and clad in armour, having given up the offal
of Tri-pura-hara as falling to the share of
Canda.

Vis'akha—Skanda, the commander-in-chief of the
celestial army. Upendra — Visnu. Canda — a devotee

SAUNDARYA-LAHARi

199

of S'lva, worshipped as one of the Pafica-murti-s in
S'iva shrmes, whose privilege it is to claim as his the
Nirmalya, what is
thrown ofF^ by his
Lord. Skanda and
his lieutenants, re-
turning victorious
from the battle-field,
are represented here
as sharing among
themselves the chew-
ed betel, nut and
refined camphor spat
out of the Devfs
mouth, viewing it as a worthy meed for their
trouble, after giving up to Canda the undisputed
ownership of S'lva's ofFal The doffing of the head-
gear is by way of showing their veneration for
the Devi.

200 saundarya-lahar!

66. VipaScya gayanti vividham apadanam pura-npos
tvaya "rabdhe vaktu calita-s'irasa sadhu-

vacane ;
Tadiyair madhuryair apalapita-tantri-kala*ravam
nijam vinam van! niculayati coleim nibhrtam.

Vani, rendering upon the harp (songs recount-
ing) the various past achievements of Pura-
ripo, quietly covers with its sheath her own
instrument, the sweet notes of whose strings
being far excelled by the soft melody of the
words of praise with which Thou beganest,
shaking Thy head, . to applaud (her render-
ing).

V^wf— Sarasvatl. the Goddess of Learning, Pum-
ripti— 'Lord S'iva, The sweet music of the Devi's words

so far excelled the
melodious notes
prodticed b y t h e
delicate touches of
Sarasvat! o n h e r
harp, that the lat-
ter, so well reputed
as the finest player
on the harp, the instrument ever associated with her
name, quietly laid it aside and began to cover it with its
sheath, as thfere was little chance of her making the

saundarya-lahar! 201

feeblest approach even with her instrument to the Devi's

inelodious voice,

%mi mm '^%^^wm\ w \^ w

67. Karagrena sprstam tuhma-girma vatsalatayS
giris^enodastam rauhur adhara-panSkulataya ;
Kara-grahyam stobhor inukha-mukura-vrntam

giri-sute
katham-karam brumas tava cibiikam aupamya-

rahitam.

O Daughter of the Mountain ! m what
maHiier shall we describe Thy chin, touched-
by Hima-vat with the tips of his fingers by
way of showing his affection towards his child,
raised often and often by the Lord of the
Mount (Kailasa) with eagerness to implant a
kiss, fit to be fondly handled by S'ambhu,
matchless and forming the base of Thy mirror-
like face ?

202 SAUNDARYA-LAHARl

This Stanza describes the chm of the DevL

68. Ehujas'lesSn nityam pura-damayituh kantaka^vati
tava griva dhatte mukha-kamala-nala-s' r i y a m

iyam;
Svatah s'veta kalaguru-bahula-jambala-malina
mrnali-lahtyam vahati yad-adho hara-latika.

This neck of Thine, horripilated often owing
to the embrace of the vanquisher of the (three)
Pura-s, assumes the aspect of the stalk Thy
lotus-like face, for the reason that the pearl-
necklace (worn) thereunder, itself white, but
rendered dark owing to the profuse application
of the black mud-like Aguru-paste, attains the
beauty of the tender part of the lotus-stalk.

SAUNDARVA'LAHARi

203

The Devi's face is the lotus, her hornpilated neck is its
stalk covered with ^^
horny processes, and^
the pearl necklace
with the dark Aguru-
paste IS the tender
part of the stalk em-
bedded in the tttud.

69. Gale rekhSs tisro gati-gamaka-gitaika-nipune

vivaha-vyanaddha-praguna-guna-samkbyS-prati-

bhuva!^ ;

Virajante nana-vidha-madhura-ragakara-bhuvam

trayanam gramanatn sthiti-myama-simgna ivate.

O unique Demonstrator of procedure, un-
dulations and song ! on Thy neck shine forth
three lines, as though denoting the number of

' e5!^f^ra''T«

204 saundarya-lahar!

strings made of twisted threads auspiciously
tied (round the neck) during (Thy) marriage
forming as it were the boundaries demarcating
the positions of the three Grama-s, which consti-
tute the treasure-mine of the various kinds of
melodious modes of Music.

Proc6£iura~differentiated as Marga and Des'i, ac-
cording to the Science of Music ; the former is the

original type known as

Brahma-glta, adopted

^^ ^ when music came into

^ /\ ^v vogue, while the latter

represents the types
adopted in the differ-
ent Des'a-s or parts of
the country. Undulations— Ane to variations m the
modulation. Song — words set to music, t.d musical com-
positions. Gramas — musical scales, known as Sadja-j
Madhyama- and GSm-dhara-graraa-s, according as they
comipence . f rom Sadja-, Madhyama- and Gandhara-
svaras. The last Grama is not in vogue in our world,
while the second is recognized by some old writers to
have been in vogue m their days. It is not, however^
recognized nowadays by modern exponents, such as
Venkata-makhin. Evidently all the three are known to
celestial Music. Kaivaly ashram a makes mention of the
PaScama-grSma in the place of the GandhSra-
grama.

SAUNDARYA-LAHARl 205

70. Mrnali-mrdvinam tava bhuja-latanam catasrnani
caturbhih saundaryam sarasi-ja-bhavah stauti

vadanaih ;
Nakhebhyah samtrasyan prathama-mathanad

andhaka-ripos'
caturnam s'lrsSnSm samam abhaya-hastarpana-

dhiya.

The lotus-born (Brahman) praises the
beauty of Thy four creeper-like armsj with
his four faces, afraid of the nails of the enemy
of Andhaka, one of their fellows (the fifth
head) having been once chopped off, in the
belief that (the Devi's arms) would vouchsafe
safety to his four (remaining) heads at the
same time.

Afraid o/— and therefore seeking the Devi's grace,
so as to ward off a similar contingency. The enemy of

205

SAUNDARYA-LAHAR!

Andhaka—SiYB., The allusion is to the chopping off of
the fifth head of Brahman by Parama-s'iva. The story goes

q/^ that Brahman had
"""^ ■■ ■ ■■ "'■" ■ ^■■ ■ " """-"" ■ - ■ " •— ^ originally five heads

like Parama-s' i v a
and was vaunting,
on that account, to
have attained equal-
ity with the latter.
Hence, to teach him
a salutary lesson,
Parama-s'iva punish-
ed him thus and de-
prived him, once for
all of the reason for such vainglory,

m]fk§j m^ m^ ^mi i?cr ^H55

71. NakhanSm uddyotair nava-nalma-ragam vihasatSm
karanam te kantim kathaya kathayamah

katham ume :

KayScid va sSmyam bhajatu kalaya hanta kamalam

yadikridaMaksmi-carana-tala-l§ksa-'runa-dalam.

o^I^Rg^o]^.

saundarya-lahar!

207

Uma! how shall we characterize the
splendour of Thy hands which, with the lustre
of their finger-nails, throw into the background
the bright hue of the newly bloomed lotus ?
Pray tell us. In case the lotus (has) its petals
turned red (from contact) with the lac-dye on
the soles of Laksmi's feet playing upon it,
then, by all means, let it (the lotus) somewhat
resemble (Thy hands), as it cannot be helped.

The underlying idea is that there is nothing comparable
to the splendour of
the Devfs hands, and
if at all an approach
IS made to it by any
thing, it is by the
lolus flower. Even
that IS due to its
having derived its
hue from the lac-dye
on Laksmfs feet
playing upon it.

^M ^: %i m ^^^ ^^m\ \

208

SAUNDARYA-LAHARl

72. Samam devi skanda-dvipa-vadana-pitaai stana-

yugam
tavedam nah khedam haratii satatam prasnuta-

mukham ;
Yad alokyas'anka-"kulita-hrdayo hasa-janakah
sva-kumbhau herambah parimrs'ati hastena

jhatiti,

Goddess! may Thy breasts, ever flow-
ing with milk and sucked simultaneously by
Skanda and Dvipa-vadana — on seeing which
Heramba, his mind distracted with doubtj,
suddenly touches his own pair of frontal globes
with his hand, creating laughter — drive away
our misery.

Dvipa-vadana — the elephant-faced, «,e., Ganes'a.

Heramba — is also
Ganes'a. Doubt---

as to whether he
was suckmg from
the frontal globes
ot his own head or
from his mother's
breast. The con-
fusion is due to the
close similarity be-
t w e e n the two

pairs, to express which he scratches his head with

his hand.

saundarya-lahar! 209

73. Amu te vakso-jav amrta-rasa-manikya-kutupau

na samdeha-spando naga-pati-patake mana^i

nah ,
Pibantau tau yasmad a-vidita-vadhu-samgama-

rasau
kumarav adyapi dvi-rada-vadana-k r a u fi c a -

dalanau.

O Emblem of the Lord of the Mountains !
These two breasts of Thine are verily contamers
(chiselled out) of ruby and filled with nectar.
There is not even the slightest doubt in our
minds (about this). As Dvi-rada-vadana and
Kraufica-dalana who drink (out of the two)
are innocent of copulative pleasure, they are,
even to-day, children.

Dvi-rada-vadana — Ganes'a. KraiMca-dalana — the
breaker of KrauiScadri, t,e,, Skanda. Are, even to-day^
children — as both Ganes'a and Skanda, though long past

210

SAUNDAKYA LAHARI

the age of childhood, are ever m the enjoyment of the
Bliss of the Brahman, the idea of copulative pleasure

does not at all enter
their minds, even
though they are ever
m the company of
Siddhi"! a k s m ! and
Deva-sena, their re-
spective consorts, and
as such are verily
children even to-day,
bemg innocent of the
worldly pleasure so
often associated with the company of women.

74. Vahaty amba stambe-rama-danu-ja-kumbha-pra-

krtibhih
samarabdham mukta-ma^bhir amalam hara-

latikam ;

Kucabhogo bimbadhara-rucibhir antah s'abalitatn

pratapa-vyamis'ram pura-damayituh ' kirttim

iva te.

gif^^l^^r:

SAUND^Ai^YA-LAHARl 21 1

O Mother ! the region of Thy breasts wears
a creeper-hke lucid garland, strung with pearls
from the skull of Stambe-rama-danu-ja, its
natural lustre variegated with the reflected
lustre ot Thy Bimba lips, (thus) resembling
the fame of the vanquisher of the (three)
Pura-s intermixed with his valour.

Skull of Stambe-rama-danu'ja — 2.6. , of GajSsura
a demon m the form of an elephant, said to have
been vanquished by
S'lva, who, to mark
his victory over him,
wore his hide as a
garment. Pearls of
various colours, ac-
cording to tradition,
are said to be found
in the skull of an
elephant, the hollow
of a bamboo, the hood of a snake, the cloud, the sugar-
cane and the pearl-oyster. The pearls obtained from the
skull of Gajasura are worn by the Devi as a trophy
round her neck. Again, fame is described by poets as
of a white colour and valour as of a red colour. Hence
the comparison between the pearl-necklace of the Dev!
tinged with the red lustre of her lips and the fame and
valour of her Lord.

212 SAUNDARYA-LAHARi

75. Tava s t a n y a m manye dharani-dhara-kanye

hrdayatah
payah-paravarah parivahati sarasvata iva ,
Daya-vatya dattam dravida-s'is'ur asvadya tava yat
kavinam praudhanam ajani kamaniyaii kavayita*

O Daughter of the Mountain 1 I fancy that
the ocean of the milk of poesy rising out of
Thy heart verily causes the milk of Thy breasts
to flow, on swallowing which (milk) given by
Thee with grace, the Dravidian child became
the poet-laureate among great poets.

Thy heart — the Devi's heart is here represented to
contam the ocean of the milk of poesy, which ebbs and
flows there. During sprmg-tide the milk of poesy over-
flows and mixes with the milk of her breasts. No wonder
that the Dravidian child, nursed on such milk coupled
with the Devi's grace, developed poetic talent of a
high order.

SAUNDARYA-LAHARl 213

Regarding the identity ot the Infant Prodigy, the
Dravida-s'is'u here referred to, there are various versions*
Laksmi-dhara, Kaivalyas'rama and others maintain that
the reference is to SWkara-bhagavat-pSda himself. The
story IS, according to KaivalySs'rama, as follows ;
SWkara's father, who was a pious devotee of the Devi,
would never fail to visit the local temple every day and,
after bathing the Devi with milk and making Puja,
was m the habit of returning home with a small quantity
of Nirmalya milk on which his little child was fed every
day. When he had to be temporarily absent from his
village, he left instructions with his wife that the Puja
should be performed by her as usual during his absence.
She was carrying out her husband's mandate, but as she
had to keep aloof during her menstrual period, she
directed her child, the infant SWkara, to go to the
temple and perform Puja m her stead. The child, m his
simplicity, was under the impression that the milk was
intended to be drunk by the Devi and felt surprised that
the Devi would not partake of it. When at the im-
portunity of the child, the Devi drank all the milk, he
burst into tears and called upon her to return to him the
usual quantity intended for his use. The Devi, out of
compassion, suckled the child, whereupon it burst into
rhapsodies of praise and returned home, singing songs
which automatically came out of his mouth. Just then
the cTiild's father returned from his journey and greeted
him with inexpressible joy. The Devi soon appeared to
the father in a dream and prophesied a remarkable career
for the child blessed by her breast-feeding,

214 saundarya-lahar!

Kames'vara-surij after narrating the above^ gives
another version of it, adding that that version was cur-
rent at KaSci and its neighbourhood m his days, In this
version the father, who is very poor, is out on his
begging excursion, while the mother is away fetching
water from the river, and the child, suddenly waking in
his cradle, cries for milk. PSrvat! and Parames'vara,
who happen just then to pass that way in their Akas^a-
yana, hear the appealing cries of the infant and hie
thither, when PSrvati takes the child m her arms and
suckles him out of compassion. The rest of the story is
the same as the previous one.

There is yet another account given m the Malaiyalam
edition of Saundarya-lahari by Kantiyur Maha-deva
S'Sstrm, in his commentary on the forty-first stanza, z.e.,
the last of the Ananda-lahari portion. According to this
version, the entire work was of a Siddha of the name of
Dravida-s'is'u, who had it inscribed on the slopes of Mount
Kailasa, and when S'amkara-bhagavat-pada paid a visit
to the Mount as a pilgrim and was reading the work^
the Devi called the attention of the Siddha thereto and
commanded him to wipe off the work as it contained
profound secrets not to be revealed to mortals. Even
before the Siddha carried out the said command, Sam-
kara was able to commit to memory forty-one stanzas
at random out of the hundred. Before he could memo-
rise the rest, the entire work had been cleanly wiped
off by the Siddha. On his return home S'amkara wrote-
out from memory the forty-one stanzas, which now
form the first part of the work, and composed the other

SAUNDARYA-LAHAR! 215

Stanzas requisite to make up the one hundred. The
difference m the style and theme between the two parts
IS given out as a reason for credence bemg attached
to this story of the authorship of the work. Dravida-
s^s'u's marvellous powers of word-portraiture are as-
cribed in this story to his having been fed on the Devi's
milk, Mah^-deva S'Sstrm gives this story for what it
IS worth and does not express any opinion of his own on
its authenticity.

Another commentator^ the author of Sudha-vidyotmi,
says that the Dramida-sls'u referred to is one Pravara-
sena, son of Dramida, a Ksattriya prmce of the Diamida
country. This commentator, whose name cannot be
traced, says that he is the son of Pravara-sena and claims
that the account given by him is authentic, as it is based
on the direct testimony of the Dramida-s'is'u himself,
i.e., his father, the child oi Dramida. The story is that
Dramida, as soon as Pravara-sena was born, was advised
by his minister Suka that the birth of the son was an
evil portent for his family, and should the child be
allowed to survive, he would lose his kingdom. The
king ordered his men to abandon the child in the neigh-
bouring hill-tracts, A tiger carried the child to its cavern
and left him at its mouth taking him to be a bundle of
gems. The child soon became reminiscent of his Yogic
powers acquired during his previous birth and began
to praise the Devi, who, taking pity on the child,
nursed him. Some time thereafter the child was
rescued by a party of ^ hunters and restored to the
throne.

216 SAUNDARYA-LAHARI

Yet others look upon S'ri Jiiana-sambandha as the
Dravida-s'is'u, This is one of the four reputed Tamil
Saints, (the others being Appa, Sundara, and Matiikya-
vacaka) who are the authors of several hymns m praise
of S'iva, and are almost deified throughout the Tamil
country. SVi JnSna-sambandha is said to be a native of
Shiyali. His father, S'iva-p§da-hrdaya, and his mother,
Bhaga-vati, were pious Brahmaijia-s, ever devoted to the
worship of the God presiding over the local ffiva temple.
By the Lord's grace a child was born to them after
a long penance. One day, when this child was about
three years old, he was taken to the temple-tank by
S'iva-pada-hrdaya, who leaving him on the Ghat, went to
bathe in the tank. The child, left alone in an unfamiliar
environment, soon began to cry, calling out " Mother !
Father 1 " This touched the heart of the Lord S'lva of
the temple, who at once asked his spouse to take the
child and feed him with her milk. The child was soon
appeased and stood there with milk flowing out of his
mouth. On noticing this, the father, who returned after
bathing, questioned him as to who had suckled him.
Whereupon the child bur^st forth with a song in praise of
S'lva, and became later in life one of the recognized bards
of Tamil Hymns. S'ri JSana-satnbandha is said to have
flourished about twelve centuries ago and was hence
possibly a contemporary of SWkara-bhagavat-pada.

It has to be noted, however, thai the two stories
narrated here, which have a direct bearing on S'amkara-
bhagavat-pada as the Dravida-s'is'u, are not borne out by
any accounts of S^ri SWkaracarya's life and times,

3AUNDARYA-LAHAR1

217

and the fact that SWkaracarya would not have given
such a high testi-
monial to himself as
indicated by the last
line of the stanza,
but would probably
have couched a ref-
erence to his capa-
city as a poet m
much milder langu-
age, militates against
the position taken by
Laksmi-dhara and
others.

76. Hara-krodha-jvala-"valibhir avalidhena vapusS
gabhire te nSbhi-sarasi krta-sango manasi-jafc ;
Samuttasthau tasmid acala-tanaye dhuma-latika
janas tarn j^nite tava janani romavalir iti.

Daughter of the Mountain ! Manasi-ja
drowned himself in the tank of Thy navel
with his body enveloped in the flames caused
by Harass anger. Thence rose a creeper^ike

218 SA0NDARYA-LAHARI

(column of) smoke. O Mother ! the world
takes it to be the line of down (above Thy
navel).

Manasi'ja — Manmatha, the god of love. Here the
popular notion that flame, when quenched, will send
up smokej is effectively made use of by the poet. The
allusion is to the burning of Manmatha by Hara, when
the former tried to rouse the passion of the latter.

SAUNDARYA-LAHARI 2 19

77. Yad etat kalindi-tanu-tara-tarangakrti s'lve

krs'e madhye kim cij janani tava tad bhati su-

dhiyam ;

Vimardad anyo*nyam kuca-kalas'ayor antara-gatam

tanu-bhQtam vyotna pravis'ad iva nabhim kuhari-

nim,

spouse of S'iva, Mother (mine) ! this
something, assuming the form of the ripples
of Kalindi on Thy slim waist, appears to the
enlightened (to be) the attenuated Ether inter-
vening the two pot-like breasts, entering the
hole of Thy navel, owing to the pressing
against each of the two (breasts).

SometJnng — the Romavall. Kalindi — the daughter
of Mount Kahnda,
2.0., the Jumna,
whose water is rep-
resented to be of
a dark colour.
Ether — is also rep-
resented as dark
in colour. This
stanza also describes
the Romavall of the
Devi. The Ether,
when pressed, is represented as seeking shelter m the navels

220 SAUNDARYA-LAHARl

78. Sthiro gang'a-'Vartab stana-mukula-romavali-

lata-
n 1 j a V a 1 a m kundani kusuma-s'ara-tejo-huta-

bhujah ;

Rater lila-'garam kim api tava nabhir giri-sute

bila-dvaram siddher gin-s'a-nayananSm vijayate,

O Daughter of the Mountain ! all glory to
Thy navei (which may be characterized) in
some such way (as) a motionless eddy of the
Ganges ; a trench for the growth of the creep-
er of the Ime of down, with the breasts as
buds ; the pit for maintaining the sacrificial
Fire of the prowess of the flower-arrowed
(Kusnma-s'ara) ; the pleasure-bower of Rati ;
the mouth of the cavern for the attainment
(of Yoga) by Giri-s'a's eyes !

This stanza gives a description of the Devi's navel,
as assuming various aspects. Kusiima-s^ara — literally, the

SAUNDARYA-LAHAR!

221

iiower-arrowed, e.g., Manmatha, the god of love. Mouth
of the caver n —
Yogin-s resort to
secluded spots such
as caverns of hills for
practising Yoga and
thereby attaining
l^hss. The Devfs
navel is compared
to such a spot, rest-
ing m which, the
eyes of Giri-s'a (as so many Yogm-s) seek to attain Bliss.

79. Nisarga-ksiDasya stana^tata-bharena klama-juso
naman-murter nabhan valisu ca s'anais trutya-

ta iva ;
Ciram te madhyasya trutita-tatmi-tira-taruna
Samavastha-sthemno bhavatu kus'alam s'aila-

tanaye,

Daughter of the Mountain ! may safety
be vouchsafed to Thy waist, which is by

' •yjffrt^^^ m^^

2i22

SAUNDARVA-LAHARI

nature slim, which is in form as if about to
give way in the region of the navel and the
folds, and whose firmness is akin to that of

a tree standing on the fragile bank of a

river.

Fragile bank — likely to give way at any momentj

carrying the tree
thereon along
with it. The con-
dition of the
Devi's waist is
similarly precari-
ous, as it might
apparently give
way (owing to

the weight of the two breasts above) at its weak spots.

viz,, the navel and the folds. The optative form is

significant, as the votary finds no one directly to

appeal to.

^ m^^^-

saundarya-lahar!

223

80 Kucau sadyah-svidyat-tata-ghatita-kurpasa-bhidu-

rau

kasantan dor-mule kanaka-kalas'abhau kalayatS ;

Tava tratum bbangSd alam iti valagnam tanu-

bhuva
tndhS naddhaip devi In-vali lavali-valibhir iva.

O Goddess ! Thy three-folded waist has
been bound, as it were, by Tanu-bhu, three
times over with the Lavali-creeper, with a
view to save it from breaking, he having
caused Thy two breasts, which resemble pots
of gold, to burst the garment covering their
sides perspiring at that moment and to rub
against the armpits.
TanU'bhu — Manma
^ha, the god of love.
Lavali — a wild creeper
known for its enduring
qualities. To burst —
as a result of the
surging passion. Arm-
^iifs— encroaching upon
them owing to increase
in size.

ftia^i?rt^9 aft sw^ ^

224 SAUNDARYA-LAHARi

8L Gurutvam vistSram ksiti-dhara-patih parvati mjaR

nitambad acchidya tvayi harana-rupena nidadhe ;

Atas te yistirno gurur ayam as'esSm vasu-matim

nitamba-prag-bharah sthagayati laghutvam nay-

ati ca.

Parvati ! the King of the Mountains
bestowed on Thee, by way of dowry, heaviness
and vastness taken out of his flanks. Hence
these, Thy prodigious hips, being (both)
broad and heavy, hide from view the entire
terrestrial world and make it light as well.

The king of the mountains — Himavat, the Devi's
father. Hide from view — throw into the background.

SAUNDARYA-LAHARi 225

82. Karindranam s'uijdah kanaka-kadali-kainda-pataiim
ubhabhyam urubhyam ubhayatn api nirjitya

bhavati ;
Su-vrttabhyam patyuh praQati-kathmabhyam giri-

sute
vijigye janubhyam vibudha-kari-kumbha-dvayam

api.

O Daughter of the Mountain I having sur-
passed alike the trunks of lordly elephants
and the clusters of golden plantain-stumps
with Thy two thighs. Thou hast likewise sur-
passed the pair of frontal globes of the divine
elephant with Thy pair of perfectly round knees,
hardened by (constant) prostration before Thy
Lord.

225

SAUNDARYA-LAHARI

The divine elephant— Aimv^itdLi Indra's elephant. It
is usual to compare the thighs of a woman to the trunk
of an elephant as well as to the stump of a plantain treca

83. Parajetum rudram dvi-guna-s'ara-garbhau giri-sute
nisangau janghe te visama-vis'ikho badham

akrta ,

Yad-agre drs'yante. das'a s^ara-phalah pada-yugali-

nakhagrac-chadmanah sura-makuta-s'a^iaika-

nis'itati.

SAUNDARYA-LAHARl

227

Daughter of the Mountain 1 to vanquish
Rudra (in battle) Visama-vis'ikha has forsooth
turned Thy two shanks into two quivers,
encasing twice the number of arrows, and over
their crests are revealed the ten arrow-heads
in the form of toe-nails on Thy pair of feet,
exclusively sharpened over the whet-stones of
the crowns of the gods.

Visama-vis'tkha — literally one having an odd number
of arrows, viz,, five,
i.e., Manmatha, the
god of love. Twice
the number — vtz.i
ten, each toe-nail
being compared to
an arrow-head, pro-
truding from the
quiver. Whet-stones
— the crowns of the
gods, as tliey come
into contact with the Devi's feet, while they prostrate
themselves before her, are so many whet-stones.

^€m\ m\^ ^^f^ ^^ ^ ^wm^i

NO <\

228

SAUNDARYA-LAHARi

84* S'rutinEm murdh§no dadhati tava yau s'ekharataya

mamapy etau mEtah s'lrasi dayaya dhehi caranau;

Yayoh pldyam pEthah pas'u-pati-jatE-juta-tatml

yayor laksE-laksmir aruna-Jhari-cudE-mani-rucih»

Mother ! pray place those feet of Thine,
in the plenitude of Thy mercy, on my head,
feet which the foremost parts of the Veda-s
wear as a crest-bud, the water washing which
(feet) forms the river (Ganges) flowing over
the matted-hair of Pas'u-pati, and the beautiful
lac-dye over which (feet) is the lustre of the
red crest- jewel of Hari.

The sanctity, as well as the beauty of the Devi's feetj,
is described here.

SAUNDARYA-LAHARI 229

85. Namo-vakam brumo nayana-ramaniySya padayos
tavasmai dvandvaya sphuta-ruci-ras3-laktaka-

vate ;
Asuyaty atyantam yad-abhihanan2,ya sprhayate
pas'unam is'Snah pramada-vana-kankeli-tarave.

Our salutations we respectfully tender to
this Thy pair of feet, ravishingly beautiful,
distinctly bright with the lac-dye freshly
pamted over them. The Lord of Pas'u-s grows
extremely jealous of the Kaiikeli tree in (Thy)
pleasure-garden, which ardently aspires to be
kicked by them (Thy pair of feet).

Jealous of the Kankeli — the Kankeli is a tree which,
according to tradition, when barren, blossoms only when
kicked by the tender feet of women of the highest
class, known as Padmmi-s. S^iva is represented here as

230

SAUNDARYA-LAHARl

envying the barren Kankeli tree m the Devi's garden, for

the exclusive privilege,
which it enjoys, of
receiving kicks, from
its mistress's feet. In
other words, he wishes
very much that some
of them be admmister-
ed to himself.

86- Mrsa krtvE gotra-skhalanam atha v a i 1 a k s y a-

namitam
lalEte bhartaram carana-kamale tEdayati te ;
Cirad antah-s'alyam dahana-krtam unmulitavata
tula-koti-kvanaih kili-kilitara isana-npuna.

When Thy lotus-like foot kicked, on the
forehead, Thy husband, who, having frivolously
blundered in calling (Thee by a wrong) name,
was in conseqnence bent with shame ; through

SAUNDARYA-LAHARi 231

the jingling of (Thy) anklets, there was an
acclamation of triumph, as it were, from Is^ana's
foe, who thus had his vengeance, generated by
(his) being burnt to ashes and rankling for a
long time, wreaked.

The poet creates, out of his imagmation, an amorous
interval, wherein
S'lva IS represented
as being found out
by his spouse, when,
m jest, he calls her
by a wrong name, the
implication being that the Devi scents therein his
amour with some other woman and punishes him
therefore with a kick, Manmatha, who was only waiting
for an opportunity for venting his spleen on his enemy
S^iva, by seeing him lowered in esteem, uses the jmgling of
the anklet as a sign of his triumph over S'lva. It may
alsa be noted that, m this stanza, the poet creates an
opportunity cleverly enough for the Lord to receive the
kick he so much longed for, as shown m the previous
stanza, by creating a situation as depicted here, viz,, the
blunder of using a wrong name.

232 SAUNDARYA-LAHARi

87. Himini-hantavyam hima-giri-nivasaika-caturau
nis^am nidra^arn nis'i ca para-bhage ca

vis'adau ;
Param laksmi-patram s'riyam atisrjantau sama-

ymam
sarojam tvat-padau janani jayatas' citram iha

kim.

O Mother 1 what (is there to) wonder at, if
Thy two feet, quite adapted to abide in the
snow-capped mountain, bright all through
night and its counterpart (the day) and lavish-
ing their grace on their devotees, have out-
done the lotus-flower, which easily blights
with snow-fall, sleeps during night and only
slightly attains Laksmi's grace ?

It is usual for poets to compare the Devi's feet to the
lotas flower. In this stanza the poet tries to show the
fallacy as it were, lurking in such a comparison, as it is
only m one respect, and that too only slightly, that such

2 f^^^f^ ;g^p^^

SAUNDARYA-LAHARI

233

resemblance can hold good. Laksmfs grace — the grace
of the Devi's feet,
tx , red colour and
that too slightly, dur-
ing only a part of the
day, z.6m during day-
light, when the lotus
js m bkom.

88. Padam te kirttlnam prapadam a-padatp devi

vinadam
katham nitam sadbhih kathma-kamathi-khar-

para-tulam ;
Katham cid babubhyam upayamana-kale pura-

bhida
yad adaya nyastam drsadi dayamanena manasa.

O Goddess 1 how is it that the fore-part of
Thy foot, which is the seat of all fame, which

234

SAUNDARYA-LAHARl

cannot be touched by danger (of any kind)y
and which was somehow lifted at the time of
(Thy) marriage by the vanquisher of the
(three) Pura-s, with a soft heart, and placed on
a stone, has been made a peer of the hard
tortoise-'Shell by great poets ?
Here the poet calls into question the propriety of

comparing the fore-
part of the Devi's
foot, which has be-
come reputed as the
bestower of the ends
and aims of exist-
ence and as warding
off all danger, to a
hard tortoise-shell,
which does little
credit to the artistic
skill of great poets. There is also a reading *' Katham vS,
etc.", when the meaning would be : "How did S'iva manage
to lift, etc. ? " implying thereby that S'lva was light-hearted
enough to do the wrong thing by placing the Devf s soft
feet on a hard piece of flint. Kaivalyas'rama remarks m
his gloss on this stanza : " This Stanza is not in accord
with S'amkaracarya s Sampradaya, as it is not found
either m the Malaiyalam manuscript or m the South
Indian manuscripts." But Arthur Avalon, in his Intro-
duction to his edition of Ananda-lahari, quotes this re-
mark and applies it to stanza 99, apparently by mistake.

SAUNDARYA-LAHARl 235

^fw^ m f^^^^f^^^n^ ^^it II <c^ II

89. Nakhair naka-strinam kara-kamala-samkoca-s'as'i-

bhis

larunam divyanam hasata iva te cai^di caranau ;

PhalSni svah-sthebhyah kisalaya-karagrena dada-

tam
dandrebhyo bhadram s'nyam anis'am ahnaya

dadatau.

Candl ! Thy two feet, which lavish plenty
of wealth at all times and at once, on the poor,
laugh as it were with their toe-nails, which
resemble (so many) moons causing the closing
of the lotus-like hands of celestial women,
at the Kalpaka trees which give their fruit
exclusively to the denizens of the celestial
world, with their finger-like sprouts.

The Devi's feet, which have the quahty of bestowing
plenty on the needy at all times and at once, are made by
the poet to laugh at Kalpaka trees, which, notwithstand-
ing their much talked of pretensions as regards granting
boons to all, after all grant the desires of people above
want (the Svastba-s). There is a play on the wotd

236 SAUNDARYA-LAHARl

* Svastha-s ', which means (1) who are above want, and

(2) who are celes-
tial. Again, the
crescent-like t o e -
nails, which are so
many moons, extort
the homage of celes-
tial women, as their
hands, which resem-
ble the lotus-flower,
are forced to be
closed in venera-
tion, on their approaching the Devi's feet, which contain
many moons.

90. Dadane diiiebhyati s'nyam anis'am Ss'a-'nusadrs'im
a-mandam saundarya-prakara-makarandam viki-

rati ;

Tavasmifl mandara-stabaka-su-bhage yatu carane

mmajjan maj-jivah karana-caranah sat-carana-

tam.

SAUNDARYA-LAHARi 237

May my soul attain the quality of a six-
footed (bee), with the (six) senses as its feet,
by immersing in this, Thy foot, which is ever
giving to the helpless, wealth in proportion to
their desire, scattering abundant honey in the
form of a flood of beauty, and which is aus-
picious as a cluster of Mandara flowers.

In this stanza the poet compares the Devfs feet to a
cluster of Mandara
flowers, in point of
auspiciousness, scat-
tering of honey and
beauty and the be-
stowing of wealth on
the needy, and the
soul of the votary possessed of the six senses to a six-
footed bee. The underlying idea is : The votary prays
that his mmd be ever absorbed m meditating on the
Devi's feet.

238 SAUNDARYA-LAHARl

9L Pada-nyasa-krida-paricayam ivarabdhu-manasas'
carantas te khelam bhavana-kala-hamsa na

jahati ;

Sva-viksepe s'lksam subhaga-mani-maiijira-raxTiitac-

chalad acaksaijiam carana-kamalam caru-carite.

Goddess with a stately carriage 1 Thy
household swans, frolicking as if prone to
practise the balancing of their steps, do not
leave off Thy lotus-like foot, which imparts
instruction in its own art (of balancing steps)
as it were, by the tinkling of the beautiful
anklet (filled) with gems.

The Devi's beautiful gait is represented by tbe poet as
imparting instruction to her household swans, who
themselves have a graceful gait.

SAUNDARYA-LAHARI 239

^M ^f T^ m %^ ?5it ^f^^ 13^^ II ^^ II

92. Gatas te maScatvam druhina-hari-rudres'v^ara-

bhrtah
s'ivah svacchac-chaya-ghatita-kapata-pracchada-

patah :

Tvadiyanam bhasam pratiphalana-ragarunataya

s'ariri s'rngaro rasa iva drs'ara dogdhi kutukam*

Thy servants, Druhina, Hari, Rudra and
Is'vara, have become Thy cot. S'iva with His
imaginary bedsheet of a transparent hue,
(Himself) tinged red with Thy lustre reflected
therein, yields pleasure to Thine eyes, assum-
ing as it were the form of erotic sentiment
incarnate.

Druhina, Han, Rudra and Is'vara — the four agents
inherent in the Sada-s'iva-tattva. The six Cakra-mansions
commencing from the HTiladhara and endmg with the
AjTia, representing respectively Earth, Fire, Water,
Air and Ether in their subtle and gross forms, and
Manas, as also the ten organs of sense, contain the
twenty-one Tattva-s. Thus these twenty-one Tatlva-s
are contained m and constitute the six Cakra-s, The
four Tattva-s standing above them, viz., Maya, S'uddha-
vidya, MahesVara and Sada-s'iva, take their rest on the
four doors of the triad of quadrangles, known as Bhu-
pura, m their order commencing from the door facing

240

SAUNDARYA-LAHARI

the East, on the other side of the Brahma-Rranthi. The
four Tattva-s so situated are the four legs of the cot.

As S'uddha-vidya
bears affinity to
Sada-s^iva, the lat-*
ter is overshadowed
by the former and
on that account
becomes identical
with it. S'lva and
the S'akti have their
conjunction m the
Batndava-sthafta,
otherwise described as ' Sudha-sindhu ' and * Saragha ',
in the middle of the S^ri-cakra with the four doors, of the
form of the pericarp of the Sahasra-dala-kamala,

Mwi ^^i^ mm ^st^T ^^^l I

93. ArSla kes^esu prakrti-sarala manda-hasite

s'lrisSbha gatre drsad iva kathora kuca-tate ;
Bhrs'am tanvi madhye prthur api vararoha-visaye
jagat tratum s'atnbhor jayati karuna ka cid aruna.

saundarya-lahar! 241

The transcendent Aruna, SWs Grace incar-
nate, curly in Her hair, artless in Her gentle
smile, S'irisa-like in Her frame, hard like stone
in the region of Her breasts, extremely slim in
Her waist, and prodigious in the region of
Her hips, excels in Her Glory for the welfare
of the world.

Aruna — the Devi, as Kames'vari is referred to.

94. Samanitah padbhyam maiji-mukuratam ambara-

manir
bhayad asyad antah stimita-kiraiia-s'reni-masr-

nah ;

242 SAUNBARAYA-LAHARi

Dadhati tvad-vaktra-pratiphalanam as'ranta-vika-

cam
nir-atarikam candran nija-hrdaya-pafike-ruham

iva.

The Sun, having attained the position of a
mirror (cut out) of crystal for Thy feet,
rendered him with his beams withdrawn for
fear of (burning) Thy face, reflects Thy face,
as it were, viz., his own heart-lotus, which, by
no means troubled by the Moon, is ever in
bloom.

According to Laksmi-dhara stanzas 94, 99 and 102
are interpolations. Hence they have not been dealt with
m his gloss. The posifion of a mirror for Thy feet —
standing there as he does, for Pada-seva, the Sun being
worthy of only such a position and not of facing Thee and
directly serving the purpose of a mirror for thy face.
By no means troubled by the Moon — as the presence of
the Moon would not have the effect of closing its petals, it
being overshadowed by the presence of the Devi. Lotuses
generally bloom in sunlight and close their petals at
nightfall But the heart-lotus of the Sun, in the presence
of the Devi, would be ever in bloom and thus resemble
the Devf s lotus-like face in a way. There is the impli-
cation that the face of the Devi, reflected in the mirror
of the Sun, causes an imprint of it, as it were, to appear
in the heart of the Sun, which is all the while meditating
upon the Devi,

SAUNDARYA-LAHARi 243

r^m\ ^ ^teT^ ^ ^ ^^ II ^'A II

95. Kalankh kasturi rajani-kara-bimbam jala-mayam
kalabhih karpurair marakata-karagdam nibi-

ditam ;

Atas tvad-bhogena prati-dmam idam nkta-kuharatji

vidhir bhuyo bliuyo nibidayati nunam tava krte.

The (Moon*s) dark spot is the musk ; the
watery disc of the Moon is the canister of
emerald, replete with the (lumps of) camphor
(called) the digits of the Moon. Hence Vidhi
verily fills the empty (canister) depleted by
Thy use, every day over and over again, on
Thy account.

The Moon is here compared to an emerald-canister
containing musk and refined camphor for the daily use of
the Devi. As the supply is exhausted every day, it is
being replenished by Brahman, the Devi's servant, then
and there. To bring about this effect the poet has
artfully pitched upon the Moon with its waxmg and
waning as the Devi's toilet-canister and made the bright

244

SAUNDARYA-LAHAR!

white kala-s (digits) of the Moon serve the purpose of

the white crystals
of refined camphor^
The waning and
waxing processes
of the Moon in the
design of Nature
complete the pic-
ture of the supply
being exhausted
and replenished
daily, the Devi's

day consisting of an entire lunar month.

96. Purarater antah-puram asi tatas tvac-caraijayoh

saparya-maryada tarala-karananam a-su-labha ;

Tatha hy ete nitah s'ata-makha-mukhah siddhim

a-tulam
tava dvaropanta-sthitibhir anima-'* dyabhir amarah-

Thou art the harem of the foe of the (three)
Pnra-s. Therefore the privilege of adoring
Thy feet is unattainable by the fickle-minded.
Hence it is that these gods, with S'ata-makha

SAUNDARYA-LAHARi 245

as their leader, have been reduced to a status
equal to that of the psychic powers, Anima
and others, standing near Thy doorway.

Unattatnable by the fickle-tmnded— not even the
gods dare disturb the
privacy of the
Devi's home and face
the Vanquisher of
Pura-s there. How
then can poor mor-
tals even thmk of
making an attempt
to have a Dars'an of
the Lord and his
Lady m their bed-chamber ? Sata-makha — the per-
former of a hundred sacrifices, i.e,^ Indra. The
succeesful completion of a hundred sacrifices is be-
lieved to be rewarded with Indra's crown, according to
tradition. Indra and other gods, by merely standing
at the doorway of the harem, are credited with attaining
psychic powers.

245

SAUNDARYA-LAHARI

97, Kalatram vaidhatram kati kati bhajante na kavayalt
s'riyo devyah ko va na bhavati patih kair api

dhanaih ;

Maha-devam hitva tava sati satinam a-carame

kucabhyam asangah kuravaka-taror apy a-

su-labhah»

O Ideal of chastity ! how many poets have
not courted the wife of Vidhatr ? Who does
not become the lord of S'ri-devi (the goddess
of wealth) by (commanding) whatever (little)
wealth ? O foremost amongst the chaste I
saving the Great Lord (Maha-deva), the
embrace of Thy breast is unattainable even
by the Kuravaka tree.

The wife of Vidhatr — the wife of Brahman, i.e ,

Sarasvati, the goddess
of learning, at whose
command is the gift
of poesy and whose
favour IS therefore
courted by poets.

Sri'dev^—lLBksmlj,
the goddess of wealths
Wealth — in the form
of hoards of precious-
metals, gems, coins, grain, elephants, horses and other
emblems of prosperity. Even the possession of a little
of one or more of the above evokes praise of the

saundarya-lahar! 247

owner, as a Laksmi-pati, lord of wealth. The vem
of levity assumed by the poet m his references to
Sarasvat! and Laksra! as fickle-mmded is for the purpose
of heightening the effect of the Devi's chastity. Even
the inanimate Kuravaka tree is denied the pleasure of
the Devi's embrace, to be cured of its barrenness.

I?: wl ^ mm'^^^m^ I

98. Giram ahur devim druhma-grhinim agama-vido
hareh patnim padmam hara-sahacarim adri-

tanayam ;
Turlya ka *pi tvam dur-adhigamn-nih-sima-

mahima
maha-maya visVam bhramayasi para-brahma-

mahisi.

Queen of the Paia-brahman I the knowers
of the Sgama-s call only Thee as the goddess
of letters who is the wife of Druhina ; they
call only Thee as Padma who is the wife of
Hari; they call only Thee the partner of
Hara, the daughter of the Mountain ; while
Thou perplexest the world, as the transcend-
ent fourth entity unattainable, and with Thy

248

SAUNDARYA-LAHARi

boundless splendour, as the Great Illusory
Being and the fountain of all chastity.

Here the manifold purpose served by the Devi, and
the various aspects in which she is worshipped by her
diverse followers, are referred to.

99. Samudbhuta-sthula-stana-bharam uras' caru hasi-

tarn
katakse kamdarpal? kati cana kadatnba-dyuti

vapuh ;
Harasya tvad-bhratitim manasi janayanti sma

vimala
bhavatya ye bhaktah pannatir amisam iyam

ume.

saundarya-laharI 249

Uma ! a chest bearing well-developed
breasts, a charming smile, a side-glance emit-
ting Cupids as it were, a Kadamba-like frame,
all these (conspire) together to create in Hara's
mind a delusive impression, if it were Thou.
Whoever are Thy faultless devotees, this is
their consummation.

The implication is that all devotees of the Devi, by
constantly meditating on her form, themselves develop
a similar form, as constant believing is seeing, seeing
develops into knowing, and knowing is becoming.

mi ?# ^M: m^ ^f^m^'^m^

100» Kada kSle matah kathaya kahtalaktaka-rasam

pibeyam vidyarthi tava carana-nirnejana-jalam ;

Prakrtya mukanam api ca kavita-kSrariataya

yad adhatte vaiji-mukha-kamala tambula-rasa-

tarn.

Mother! pray tell (me), when shall I,
who am eagerly desirous of (imbibing) wis«
dom, drink the water which has cleansed Thy

250 saundarya-lahar!

feet and is (thereby) rendered red with the lac-
dye ; water, which assunmes the quality of the
chewed betel-juice, (spat out) of the mouth of
Vani, through enabling even deaf-mutes to
become poets.

Here the marvellous qualities possessed by the wash-
ings of the Devi's feet
m inducing even deaf-
mutes to burst into
hymns of praise of the
Devi are indicated.
Quality of the chew-
ed betel — instances of
devotees of the God-
dees of Learning
blossoming into great
poets by chewing the chewed betel-and-nut spat out of her
mouth, or otherwise winning her favour, are not wanting
according to tradition, e,g,, Kah-dasa, the great lyric
poet, Muka, the author of the Muka-panca-s'ati, etc.
This stanza is said to refer to the seeker in quest of
Samipya-mukti, liberation attained by proximity.
Laksmi-dhara is of the opinion that this stanza extols
the Samaya doctrine of worshipping the Devi in the
Sahasrara, the washings of whose feet are coveted by
the seeker, and that the Kaula form of worship is not
indicated, as in that case it cannot be maintained that
the Devi in the form of the Kundalini in the hollow

SAUNDARYA-LAHARi 25 1

)f the Muladhara has Carana-s. He also seeks the
support of stanza 10 to strengthen his contention, and
iays that the former half of that stanza refers to the
5amaya form and the latter half to the Kaula form of
►vorshipping the Devi.

101. Sarasvatya laksmj'-a vidhi-hari-sapatno viharate

rateh pati-vratyam s'lthilayati ramyena vapusa ,

Ciram jivann eva ksapita-pas'u-pas'a-vyatikarah

parSnandabhikhyam rasayati rasam tvad-bha-

jana-van.

Thy devotee diverts himself with Sarasvats
md Laksmi, (i.^., becomes enlightened and
3pu]ent), and thus excites the jealousy of Vidhi
md Hari, (their husbands) ; shatters Rati's
:hastity with his beautiful frame ; and,
endowed with long life, tastes the sweetness
)f what is called exquisite Bliss, bereft of the
gnorance incidental to mortals.

252 SAUNDARYA-LAHARI

Shatters — fascinates and thus renders lier devotion to
her lord inconstant. Taking this stanza as the penul-
timate one of the work, Laksmi-dhara says that this
stanza indicates the worshipper's piercing through the
SIX Cakra-s m order to reach the Sahasrara. In sub-
stantiation of this view he proceeds thus ; The Jtvan-
mukta continues to function m the body out of sheer
Vasana, even after the removal of ignorance, even as
the potter's wheel continues to whirl after the pot has
been brought into shape completely. The Bhajana
indicated m the last Ime is of two kinds : by the worship-
ping of the six Cakra-s and by DhSrana. As regards the
former, the first two Cakra-s, being m a region of dark-
ness, are unworthy of being worshipped. The other five
Cakra-s, including the Sahasrara, alone are to be taken
into account. Worshippers of the Mani-pura attain the
liberation known as Sarsti, which consists in raising a
city by the side of the Devi's city and abiding there,
ever engaged m her service. Worshippers of the
An-ahata attain liberation of the Sa-lokya type. Sa-
lokya is residence in the Devi's city. Worshippers of
the Vis'uddht attain liberation of the Saniipya type.
Samipya consists m ministering to the comforts of the
Devi. Worshippers of the AjTta attain liberation of the
Sa-rupya type. Sa-rupya consists m attaining similar-
ity of form with the Devi, which, however, being
distinct and separate, is not SS-yujya, The aforesaid
four types of liberation are known as Gauna or acces-
sory, for the reason that external torments alone are
warded off in these types. Worshippers of the Sahasrara

SAUNDARYA-LAHARi 253

alone have the privilege of attaining hberation of the
Sa-yujya type, wherem even internal torments vanish,
and which is therefore the ideal type of perpetual hbera-
tion referred to in the last line of the stanza.

After getting over all sorts of difficulties, the votary
renders himself fit for attaining Sa-yujya. When Sa-
yujya is reached he merges mto the conjoint forms of
S'iva and the S'akti. This is Kaivalya.

The identity of the six Cakra-s of the body, viz,, the
Muladhara and others, with the six Cakra-s of the
Sri'Cakra, vtz., the Tn-kona and others, has already
been dealt with. The same also establishes the identity
of the Nada with the Bindu, The Nada is the Sn-
cakra. The Bindtt, as will be shown presently, is
the group of six lotuses. The Muladhara is of four
petals. Its pericarp is the Tri-kona. The Svadhisthana
is of six petals. Its pericarp is the Asta-kona. The
Mam-pura is of ten petals. Its pericarp is the Antar-
das'ara. The An-ahata is of twelve petals. Its pericarp
is the Bahir-^das'ara, The Vismddhi is of sixteen petals.
Its pericarp is the Catur-das^a-kofia, Thus far the
identity of the S'akti-cakra-s with the five Cakra-s of
the body. The Ajna is of two petals. Its pericarp is
of two phases ; the Asta-dala-padma is of one phase
and the Sodas^a'dala-padma of the other phase. Of the
three circles, one is of the character of the Rudia-granthi
at the end of the Svadhisthana^ another is of the
character of the Visnu-granthi at the end of theA/z-
ahata, and the third is of the character of the Brahma-
granthi at the end of the AjTia-cakra. Above these, the

254 saundarya-lahar!

three quadrilaterals with the four doors have flights of
steps at the four doors. This Bhu-grha is the pericarp of
the Sahasra-dala-padma, There are a thousand petals
to this lotus. The Baindava-sihana is in the middle of
the pericarp with the four doors. In this manner the
identity of the Sn-cakra with the Kamala-s serving
as palaces for the Devi may be seen. This identity,
known as that of the Nada with the Bindu, should be
preserved as a profound secret and has to be divulged
only by the Guru for the benefit of the disciple.

The inhering of the fifty Kala-s in the six Cakra-s
has already been dealt with. The vowels inhere in the
lunar Khanda, the five Vargas from Ka to Ma in the
solar Khanda, the rest excluding Ha and La m the Agni-
kha^da, and Ha and La in the Baindava, while Ksa
inheres in all The mhering of the Kala-s in the petals
of the Muladhara and other Cakra-s has likewise been
already dealt with. From the above will be clearly
seen the Tithi-character of the Kala-s, the Kala-
character of the Nithya-s, the character of the Kala-s as
inhering m the fifteen letters of the Mula-mantra, the
fifteen letters being of the character of the three Khanda-s,
the three Khanda-s being of the Moon, Sun and Fire,
the latter being of the character of the three Granthi-s,
the three Granthi-s being of the character of the three
Hrim-s of the Mantra, the Hrim being of the character
of the Bhi^vanes'vari-mantra, the Bhuvanes'vari-mantra
being of the character of being included in the Mula-
mantra, the identity of the Mula-mantra with the Sri-
cakra^ the nine Cakra-s of the same being identical with

SAUNDARYA-LAHAR! 255

the six Cakra-s and the three Granthi-s as well as the
pericarp of the thousand-petalled lotus of the human
body. This alone establishes the identity of the Kala
with the Nada.

With the Nada is the Btndu identical, the Kala with
the Bindu, the Kala with the Nada^ the Bindu with the
Kala, the Nada with the Kala and ^11 these five with
the Sr%'Vidya» The five-fold nature of this identity
should be understood from the precept of the Guru.
Thus the six kinds of identity form the worship of the
Devi. This means that the Goddess, viz., the Srl-vidya
with her ten forearms manifesting herself directly in the
Mani-pura, should be propitiated with the formalities of
%vorship.

Now is described the real form of the Bindu* The
Bindu IS made up of the five Cakra-s commencing from
the Muladhara. It is the cause of the creation and the
dissolution of the world and is the power wielded by
S'lva. That alone is the S'akti-tattva of the character of
the quadrilateral which is in the middle of the pericarp
with four doors of the one-thousand-petalled lotus. The
S'lva-tattva m the middle of this is the Nada, Its four-
fold character has already been explained. As both the
S'akti and S'lva are of the form of the S'abda (word)
and Artha (its significance), the character of the Kala is
common to them. Therefore their union transcends the
Nada, Bindu and Kala. This is the secret of the
Samaya doctrine.

This Bindu is divided into ten divisions, each one
occupying the four petals of the Muladhara and the six

256 SAUNDARYA-LAHARi

petals of the Svadhisthana. The four divisions of the
Bindu, on the four petals of the Muladhara, are Manas,
Buddhi, Aham-kara and Citta of the character of matter^
which are the cause of the creation of the universe. The
SIX divisions of the Bmdu on the six petals of the Sva-
dhisthana are Kama (lust), Krodha (anger), Lobha
(covetousness), Moha (delusion), Mada (infatuation) and
Matsarya (spite).

The Mam-pur a is of ten petals because of its being
made up of the characteristics of the MuladhUra and
the SvadhtsthUna. Of the twelve petals of the An-ahata^
ten are of the character of the Mani-pura and the
two remaining petals represent the Muladhara and the
Svadhisthana, Of the sixteen petals of the Vts'nddhi^
twelve represent the An-ahata and four the Muladhara^
or ten of them represent the petals of the Mani-pura
and six the petals of the Svadhisthana, The two petals
of the Ajna represent the two Cakra-s of the Muladhara
and the Svadhisthana, Thus the four Cakra-s beginning
from the Mani-pura and ending with the A3W. are based
on the Muladhara and the Svadhisthana. As the four
other Cakra-s inhere in the two Cakra-s, the Muladhara
and the Svadhisthana, the ten-fold character of the
One Bindu becomes established.

Even though the Kaula-s by, restricting their worship
only to the first two Cakra-s, profess to attain the full
fruits of worship, still, as the worship through the
six identities is entirely absent m their form of worship,
tbey cannot obtain the fruits of the several stages of the
Samaya form of worship. The Samaym-s, on the other

SAUNDARY^-LAHARl 257

haod, even though they restrict their worship to the four
Cakra-s above the first two, m effect attain the full
fruits of the worship of all the six Cakra-s.

As for the other way of w^orship by Dharana-s;
Dharana is the restraining of the vital air m the six
Cakra-s by means of the Nada and the Kala. There are
SIX kinds of DharanS-s, one m each of the six Cakra-s, and
if the Sahasrara is also included, the kinds of Dharana-s
will be seven m all. At the rate of fifty Dharana-s m each
Cakra, the total number will be 7X50 = 350. These,
when severally combined with the Nada, Btndu and
Kala and formed into permutations, will become infinite
in number, and further light should be sought from
the Guru thereon. The fruits of the Dharana-s as
generated m the six Cakra-s are m order— Mati, Smrti,
Buddhi, PrajiSa, Medlia, and Pratibha (various grades
of intellect). For further details reference is made by
Laksmi-dhara to works such as the Subhagodaya,
the Caran^gama, etc.

Reference has already been made to the Kaula practice
of worship of the four-petalled Muladhara inhering in the
Svadhisfhana, as also to the doctrine of the Samaym-s,
in accordance with which they worship the Dev! that has
reached the Mani-pura, after bursting through the
SvadhisthUna, One other point that may be noted m
this connection is that the five Elements along with the
Manas are established as identical with the six lotuses.
Meditation on the identity of the Microcosm with the
Macrocosm, the identity of the six lotuses, of the five
kinds of similarities and the six kinds of identities,

258

SAUNDARYA-LAHARI

exercises so great an influence as to make the Microcosm
manifest itself as
the Mac r o c o s m.
This is the secret
imderlying all S'as-
tra-s bearing on
Yoga, which enjoin
on the Yogin to
have recourse to
the practice of such
meditation with a
view to his success-
ful accomplishment of Yoga. This is also endorsed by
the S'ruti, which says : " (The Yogin should meditate on)
the identity of the Microcosm with the Macrocosm, like-
wise of the Linga with the Sutratman, of the sleepmg
with the unmamfested states, and of the Ksetra-jna with
the Paramatman."

102. Nidhe nitya-smere nir*avadhi-gune niti-nipune
nir-Sgh^ta-jSane niyama-para-cittaika-nilaye ;
Niyatya nirmukte nikhila-nigamanta-stuta-pade
nir-atanke nitye nigamaya mamapi stutim

imEm*

SAUNDARYA-LAHARi 259

O Treasure-mine ! ever smiling, possessed
of boundless qualities, proficient in holding
the scales even, uninterrupted fountain of
Wisdom, ever abiding in well-controlled minds,
by no means bound to conventions, with
feet glorified by all the Upanisad-s, void
of risks and eternal, hallow this laudatory
composition of even mine (Thy humble
devotee).

This stanza is commented upon by Kames'vara-suri,
which indicates that it finds a place m his manuscript
and has been recognized by him as part of the work.
The poet characterizes the Dev! as a Treasure-mine and
gives tis some specimens of the gems it contains, without
forcing ns to the necessity of delving deeply into it.
Mark the alhteration.

103. Pradlpa-jvalabhir divasa-kara-nlrajana-vidhih

sudhS-sutes^ candropala-jala-lavair a r g h y a-

racan^ ;
Svakiyair ambhobhih salila-n idhi-sauhitya-

karanam
tvadlySbhir vSgbhis tava janani vacSm stutir

iyam.

260 SAUNDARYA-LAHARI

O Mother of diction ! composing this hymn
(in praise) of Thee, in words originating
from Thee, is very much like adoring the Sun
by waving a light (before him), offering, the
Moon, drops of water (flowing out) of a moon-
stone, and pleasing the Ocean by (pouring)
water into it.

The poet here says that his attempt at composing this

work IS very much
kke " carrying coals
to Newcastle ", if one
more simile may be
used to explain his
several similes.
Kaival y a s^ r a m a 's
gloss deals with all
the 103 stanzas. He
is however of opinion

that stanza 88 is an interpolation.

n ^ ^mri n

APPENDIX

262

SAUNDARYA-LAHARi

Stanza

No.

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Number per
diem of repeti-
tion of stanza

(a) Designed in colour-
ed flour, with a ghee
lamp in front

(b) Gold plate ; wor-
ship facing the east

12
12

1,000

Gold plate ; worship
facing the north

1,000

(a) Gold plate ; wor-
ship facing north-east
(6) do.

54
15

2,000
1,000

(a) Silver plate ; wor-
ship facing the east
(6) Gold plate

16
36

1,000
3,000

Copper plate; facing
the east

2,000^ with
plate on the

crest

Gold plate ; facing the
east

500

Gold plate or holy
ashes ; facing the east

1,000-plate to
be worn on the

cresf

Red"Sandal-paste , to
be worshipped with
red flowers

1,200

APPENDIX

263

Particulars of food
offering

Fruit of the Japa

TrMnadhura, i.e., scraped
cocoanut-kernel mixed
with jaggery and ghee

Sweet cake

Milk-gruel

Black-gram -cake

do.
Turmeric-Pongal with red-
do.

gram dhal

Jaggery-gruel and Pongal
with green-gram dhal

Successful accomplishnaent
of desired objects.

All prosperity , overcoming
all obstacles.

Winning over matter and
fascination of the world.

Knowledge of the Veda-s.

All wealth and learning.

Overlordship of an empire.

Immunity from penury, dis-
ease and other torments.

Prepossession moneys favour
and infatuation of people.

21 pieces of sugar-cane Cure for impotency,

Milk-gruel and cooked rice Winning over the enemy.

Black pepper

Release from prison and
success m all enterprise.

26+

SAUNDARYA-LAHARi

Stanza
No.

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Gold plate besmeared
With civet

Number per
diem of repeti-
tion of stanza

1,000

10 Gold plate

11 Gold plate or butter; 8

(butter to be par-
taken after Japa)

12 Vessel full of water; 45

(to be drunk after
Puja)

13 Gold plate or lead 6

sheet , (to be worn
as a talisman on the
neck after Japa)

14 Gold plate 45

1,000-mounted

on red silk cord

to be tied round

wrist

1,000

15 Gold plate (as talis-
man) ; water (to be
drunk after Japa)

LOGO

16 Gold plate

LOGO

APPENDIX

265

Particulars of food
offering

Fruit of the Japa

Milk-gruel

Fruit

Mastery over elements and
return, from foreign coun-
try, of relations.

Virility , development of
breasts and normal men-
sti nation,

Jaggery-gruel, cakes and
Maha-naivedya

Honey

Removal of sterility (by
tying the tailsman round
the waist).

Eloquence and poesy.

Tri-madhura or cooked rice Fascination of women.

Milk-gruel, cakes and
cooked rice

Honey, frmt and
refined sugar

Immunity from famine and
pestilence.

Poesy and enlightenment.

Honey

Vedic and S'astraic know-
ledge and pleasing the
assembly.

266

SAUNDARYA-LAHARi

Stanza

No.

Number
Yantra with Bija to be of days
inscribed on to be wor-

j shipped

Number per
diem of repeti-
tion of stanza

17 Gold plate

1,000

18 Gold plate, sandal,
flower, saffron or
turmeric

1,000

19 Gold plate, holy ashes,
sandal, Kunkuma,
or Svayambhu flower

12,000

{a) Holy ashes or
water
(6) do.

1,000
2,000

Gold*, Sliver-, or
Copper-plate

1,000

Gold plate ; (to be
worn as a talisman)

1,000

Gold plate ; (to be
worshipped m the
house)

3,000

Gold plate , (to be
worn as a talisman)

1,000

Gold plate

1,000

APPENDIX 267

Particulars of food
oflfering

Fruit of the Japa

Honey, fruit, milk, sugar Mastery over all S^astra-s.
and sugar-candy

Milk-gruel and pan-supari Infatuation of women, men,

animals, Deva-s and de-
mons.

Milk, honey and fruit Bewitching kings, demons^

animals and women.

Antidote against poison and
febrifuge.
Fascinating snakes.

Fruit, honey and jaggery Wmnmg over the enemy.

Honey, tri-madhura, curds, Attainment of all worldly
milk and spiced rice of desires and living above
various kinds want.

Milk^gruel Relief from disease, debts,

demons and danger.

Honey, black-gram-c a k e Immunity from evil spirits,
and sweetened sesamum

Honey Places of honour and emolu -

ment

268

SAUNDARYA-LAHARI

Stanza
No.

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Number per
diem of repeti-
tion of stanza

26 (a) Gold plate with 6 new-

tbe name of the moon-
quarry
(6) Gold plate

27 Gold or other plate

28 Gold plate or Tatan-

ka, (to be worn as
a talisman)

29 Gold plate; (to be

worn on the wrist)

30 Gold plate; (—do.—)

31 Gold plate

1,000

32 {a) Gold plate

(6) do, (to be ifixed to
the place of busmess)

days

1,000

33 Gold plate ; (to be
placed in a box made
of antelope horn and
buried)

1,000

APPENDIX * 269

Particulars of food
offering

Fruit of the Japa

All-round success.

Jaggery-gruel Winning over the enemy.

J aggery -gruel Attainment of Atma-jQana.

Tn-madhura, milk-gruel Immunity from unnatural
and pan-supan death and attainment of

all ends.

Honey and black-gram- Taming of wild natures,
cake

Honey, tn-madhura and The eight psychic powers
pan-supan and fire- walking.

Honey and milk Popularity with men, espe-

cially kings.

Curd-nce and black-gram- Successful accomplishment
cake of alchemy and other

sciences.
Sweet Pongal Success in business.

(A com to be held in the Acquisition of wealth ; ten
closed fist and Japa per- times the value of the com
formed) held.

270

^AUNDARYA-LAHAKI

Stanza
No.

Yantra with Bija to be
inscribed on

Number
of days

to be wor-
shipped

Number per
diem of repeti-
tion of stanza

34 Gold plate

1,000

Gold plate, (to be
worn as a talisman)

1,000

(a) Gold plate

1,000

(&) Water in a vessel

1,000

{a) Gold plate orvessel
of water

...

5,000

(b) do.

1,000

(a) Cold plate

1,000

(b) do. and vessel of
water
Gold or silver plate

4
12

4,000
108

40
41

Gold plate

Gold plate (as talis-

45
30

l,000-(to be
placed under a
pillow)
4,000

man) or salt (to be
administered as medi
cine)

APPENDIX 271

Particulars of food
offering

Fruit of the Japa

(a) Honey, (b) Pepper (<:?) Will bloom into a genius,

powdered and mixed with (b) Cure for rheumatism

ghee of the joints.

Sagarj honey, milk and Cure for consumption,
milk-gruel

Honey and black-gram- {a) Cure ior incurable dis-

cake •eases.

Cooked nee mixed with (b) do.

pepper

Fruit, cocoanut and jag- {a) Release from the effects

gery-gruel of " possession " by Brah-

ma-raksas,

Black-gram, sweet-cakes (b) Cure for all diseases also,
and milk gruel m addition to the above.

11 black-gram-cakes, (a) Cure for infantile dis-

cocoanut and pan-supan eases.

(6) do.

Milk, milk-gruel and honey, Avoidance of bad dreams,
or Pongal

Honey, milk-gruel and pin- Foreseeing the future

supari through dreams.

Honey Cure for dyspepsia and other

stomach diseases.

272

SAUNDARYA-L/IHARI

Stanza

No,

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Number per
diem of repeti-
tion of stanza

42 Gold plate or Kuruvaj- 45 1,000

nce-flour mixed with
Omam-powder

43 Gold plate; (to be 40 3,000

worn as a talisman
m the form of a ring)

Gold plate; also in
saffron-powder and
turmeric (to be mark-
ed on the forehead)

1,000

Gold plate

1,000

Gold plate ; (to be

1,000

worn as a talisman)

47 Gold plate, (to be 25

worn on the crest)
or holy ashes

48 Gold plate 45

7,000

1,000

49 Turmeric charred and
ground m sesaraum
oil after. Japa and
used as a collynum
by a person with blue
eyes under 25 years

1,000

APPENDIX

273

Particulars of food
offering

Fruit of the Japa

Refined sugar (the nee- Cure for dropsy
flour to be taken as medi-
cine after Japa)

Honey

Fascination of all.

Jaggery-gruel and honey Fascination, alleviation of

suffering and hysteria.

Tri-madhura and honey
Milk-gruel and honey

Fortune-telling.

Return of husband ; pro-
geny.

Cocoanut, fruit and honey Favourable disposition of

deities.

Spiced nee of various Counteracting ad-
kinds, fruit and honey verse planetary influence.

Pongal and honey

Discovery of treasure-trove.

1«

274

saundarya-lahar!

Stanza

No.

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Number per
diem of repeti-
tion of stanza

50 Gold plate or water;

or butter (to be taken
as medicine)

51 Gold plate, or sandal

paste ; (with mark
on the forehead)

1,000

Gold plate or holy ashes

1,000

Gold plate or the
floor (with a lamp
burning beside)

...

3,000

Gold plate or medi-
cinal herb, also water
m a vessel

1,000

55
56

Gold plate or myro-

balan
Gold plate or the

tooth or skull of a

Makara fish

2,500
20,000

Gold plate

1,000

(a) Gold plate; (to be
worn along with ear-
ornament)

(6) Kunkuma; (to be
marked on the fore-
head after Japa)

5
45

1,000
1,000

APPENDIX 275

Particulars of food
offering

Fruit of the Japa

Refined sugar, sugar-candy, Immunity from small-pox.
jaggery, honey, fruit and
cocoanut

Black-gram-cake and honey Fascinating all people and

bestowal of all desires.

Sesamuni-rice and milk- Curative for all eye- and ear-
gruel diseases.

Sweet cake, black-gram- If the flame burns brightly
cake and milk-gruel it is a good portent ; if dim,

otherwise.

Jaggery-gruel Cure for venereal diseases.

Fruit, milk-gruel, honey Cure for hydrocele, etc. ,
and pan-supan

Honey Locks and fetters will yield

and watch -men run away.

Milk-gruel and honey All prosperity.

{a) Fascination of men.

Honey {b) Royal favour.

276

saundarya-lahar!

Stanza
No. ^

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Number per
diem of repeti-
tion of stanza

Gold plate or turmeric
(to be used for toilet)

1,000

Gold plate

1,000

Gold plate or necklace

1,2000

(and to be worn as
a jewel by women)

62 Gold plate ; (to be

placed under the pil-
low after Japa)

63 Gold plate (stanza to

be inscribed and worn
round the waist)

64 Kunkuma or gold plate

(to be worn as a
nose- screw)

65 Gold plate, worship-

ping S^ri-cakra with
red flower and incense

8,000

30,000

10,000

1,000

66 (o) Gold plate

1,000

(6) Holy ashes

5.000

67 Gold plate; (by the
couple jointly)

1,000

APPENDIX

277

Particulars of food
offering

Fruit of the Japa

Sugar-Pongal and honey Fascination.

Honey and milk-gruel Acquisition of learning.

Cocoanut, fruit and honey Fascinating men and grati-
fication of desires.

Black-gram-cake and honey Profound sleep.

Cocoanut

Ready obedience.

Jaggery-gruel and honey Fascination of people or

cure for venereal diseases.

Honey

Fascination of people.

Jaggery-gruel and honey (a) Accomplishment in Vina

and other instruments.
{b) do. ib) Cure for all diseases.

Honey, milk-gruel and Royal favour,
pan-supan

278

SAUNDARYA-LAHARI

Stanza

No.

Yantra with Bija to be
inscribed on

Number
of days

to be wor-
shipped

Number per
diem of repeti-
tion of stanza

Kunkuma, with
stanza inscribed on
it and worship of
SVi-cakra

1,000

Gold plate ; mutter-
ing the stanza with
Campaka flower (to
be given to a) woman
after Japa

1,000

Gold plate

1,000

Gold plate ; mutter-
ing the stanza seated
under a banyan tree

12,000

Gold plate or a walk-
ing stick

1,000

Gold plate or water
(to be drunk or
sprinkled after Japa)

1,000

Gold plate, m front of
the Devi

108

Gold plate

12,000

Gold plate

1,000

APPENDIX

279

Particulars of food
offering

Fruit of the Japa

Honey and pan-supari Royal favour

Honey

Fascination of that woman «

Cocoanut and honey
Honey

Fascinating men.
Command of faines.

Honey

Honey and milk

Night4ravel without fear.

Increased flow of milk m
women and cows.

Milk-gruel and honey Enhanced reputation*

Fruit and honey

Poesy and flow of milk
in women's breasts.

Cocoanut, fruit, honey and Fascination of people and
curd-rice acquisition of all powers.

280

SAUNDARYA-LAHARi

Stanza

No.

Yantra with Blja to be
inscribed on

Number
of days
to be wor-
shipped

Number per

diem of repeti

tion of stanz

77 Yantra and stanza to 15

be inscribed on char-
coal of the red lotus
flower, mixed with
the ghee of a smoke-
coloured cow and to
be worn as a mark
on the forehead after
Japa

78 Red sandal paste mix- 45

ed with rose water
and civet (to be worn
as a mark on the
forehead)

79 Gold plate

80 Gold plate (to be

placed on the yoni on
first puberty)

81 Gold plate, facing

south-east

82 Bhurja leaf or a pair

of wooden sandals or
a log of As'vakarna
tree under the back.

83 Gold plate, worship- 12

ped with Japa (red
cotton) flower

2,000

108

1,000

APPENDIX 281

Particulars of food
offering

Fruit of the Japa

Honey and fruit Royal favour.

Honey and black-gram- Royal favour and success
cake m all endeavours.

Honey and milk-gruel Legerdemain,

Honey Legerdemain.

Honey, jaggery-gruel and Floating on fire.
black -gram-cake

Cocoanut, fruit and honey Floating on water.

Jaggery-gruel and honey Keeping at bay an entire

army.

282

SAUNDARYA-LAHARI

Stanza

No.

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Number per
diem of repeti-
tion of stanza

Gold plate

365

1,000

Gold plate, to be wor-
shipped with flowers
of eight different
colours

1,000

Gold plate with a pot
of water (to be used
for bathing after
worship)

1,000

Ashes from a crema-
torium or sandal
paste

1,000

Gold or silver plate

180

1,008

Gold plate or holy
ashes

1,000

Gold plate

1,000

91 Gold plate, (Yantra 45 1,000

and stanza)

92 Gold plate or holy 45 2,000

ashes

APPENDIX 283

Particulars of food
offering

Fruit of the Japa

Milk-gruel, spiced rice of Entering other bodies,
various kinds and honey

Milk-gruel, jaggery-drink Warding off evil spirits.
and fruit

Milk-gruel, cocoanut and Warding off evil spirits,
honey

Milk-gruel, honey, fruit and Calling off snakes,
cocoanut

Jaggery -gruel, fruit and Calling off animals,
cocoanut

Jaggery-gruel and honey Alleviation of disease.

Milk-gruel and honey Counteracting the influence

of witchcraft and bestowal
of all desires.

Milk-gruel Acquisition of land and

wealth.

Spiced rice of various Bestowal of a kingdom and
kinds, milk, milk-gruel warding off evil spirits,
and pan-supari

284

saundarya-lahar!

Stanza

No.

Yantra with Bija to be
inscribed on

Number
of days
to be wor-
shipped

Number per
diem of repeti-
tion of stanza

Gold plate

1,000

Gold plate

2,000

Gold plate or sesa-
mum oil

108

A piece of the white
Arka plank with tur-
meric (to be marked
on the forehead)

1,000

Gold or copper plate
or water

1,000

100

Gold plate or holy
ashes

2,000

101

Gold plate

1,000

103

Gold plate

100,000, for
the entire
period

APPENDIX 285

Particulars of food
offering

Fruit of the Japa

Honey Accomplishment of desires.

Pongal, cocoanut and fruit Gratification of desires.

Sesamum-rice and jaggery Healing of wounds.

Honey and milk-gruel Acquisition of learning.

Cooked nee and honey Physical strength and viril-

ity.

Honey Virility and fecundity, after

riddance of disease.

Td-madhura, black-gram- Valour,
cake and fruit

Fruit and cocoanut Accomplishment of desired

objects.

Printed by C. Subbarayudu, at the Vasanta Press,
The Theosopbical Society, Adyar, Madras.

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