Preface
*
"Hymn to Kali", by Arthur Avalon (Sir John George Woodroffe), [1922],
p. 1
Preface
This celebrated Kaula "Stotra", which is now translated from the Sanskrit for the first time, is attributed to Mahkla Himself. The Text used is that of the edition published at Calcutta in 1899 by the Sanskrit Press Depository, with a commentary in Sanskrit by the late Mahmahopdhyya Khantha Nyya-pacnana, who was both very learned in Tantra-stra and faithful to his Dharma. He thus refused the offer of a good Government Post made to him personally by a former Lieutenant-Governor on the ground that he would not accept money for imparting knowledge.
Some variants in reading are supplied by this commentator. I am indebted to him for the Notes, or substance of the notes, marked K. B. To these I have added others, both in English and Sanskrit explaining matters and allusions familiar doubtless to those for whom the original was designed, but not so to the English or even ordinary Indian reader. I have also referred to the edition of the "Stotra" published by Gaea-Candra-Ghoa at Calcutta in 1891, with a translation in Bengali by Guruntha Vidynidhi, and commentary by Durgrma-Siddhntavga Bhattcrya. I publish for the first time Vimalnanda-Svm's Commentary to which I again refer later. When in this Introduction or in the Commentary I have not mentioned these two works my authorities are the Tantras or Tntrik works which I cite, or. the information I have gathered from those whom I have consulted.
p. 2
One of the chief features of this "Stotra" is that it gives the "mantroddhra" of the Dakshina-Klik. It not only gives us the "Dhyna", "Yantra", "Sdhana" and "Svarpa-varnan" of the Mahdev, but it also contains the chief Mantras of Dakiaklik. The adjective "Tava manu-samuddharaajanu" qualifying "idam stotram" in loka 21 expressly states this fact.
Among the various Mantras of Daki Klik the greatest is the "Vidy-rj" consisting of 22 syllables ("Dvviskar"). This mantra gives the fullest and the truest symbol of the Svarpa of Her. This mantra is contained in the first five lokas.
The
first
loka
contains
"Kr, Kr, Kr"
(3 \"akaras")
2nd
"H, H"
(2 )
3rd
"Hr, Hr"
(2 )
4th
"Dakine Klike"
(6 )
5th
"Kr, Kr, Kr, H, H, Hr, Kr, Svh"
(9 \"akaras")
So the first five lokas give us altogether 22 "akaras" i.e. the full "Vidyrj".
In Vimalnanda-Svm's "Tk" of the 5th loka in the revised Sanskrit text he has proved by quotations from the 9th patala of "ktnanda-tarangi" that this 22-syllabled "mantra" is the full and true representation of the Svarpa of the Mahdev. See the quotation which begins with
"Krm-kro mastaka devi Krm-kraca laltaka"
and ends with
"Sv-abdena pada-dvandvam h-krea nakha tath"
The words "Svarpa" (5th sl.) and "Sakala" (6th sl.) point to this "Vidyrj". After the full "Vidy-rj" has
p. 3
been given in the first five lokas, the 6th loka gives the various other Mantras of less importance and significance--ranging from one syllabled to nine-syllabled, 15-syllabled, 21-syllabled and so forth.
This Mantroddhra has been made following the authority of Klik-ruti, Niruttara-Tantra and other Tantras. Many commentators, however, have apparently in the view of Vimalnanda failed to consult the above authorities, and have thus fallen into errors and have given a different "Mantroddhra". Some take the 1st loka to give a one-syllabled "mantra", the 2nd sloka as also the 3rd, two two-syllabled "mantras", the 5th a nine-syllabled one and so on: a view which it is contended is opposite to such passages as "atha haina brahmarandhre brahma-svarpinm pnoti.......... bhad-bhnu-jy uccaret" in the 1st Skta of Klikopaniad; or passages in Niruttara-Tantra (Ch. II) beginning with "Atha vaksye Kuleni Dakin-kalik-manu" and ending with "Sarva-mantra-may vidy sti-sthityanta-kri"." The Svm further refers me to the end of the Klikopaniad where dealing with the various Mantras of the Dakia-Klik it is said "Atha sarvm vidym prathama eka dvaya v traya v nmatrayaputita v ktv japet"." The great Tntrik Prnanda Giri explaining the passage says "Sarvm vidym-iti prvoktadvvimatyakaryh prathama bja v bja-dvaya v" etc. (vide ym-rahasya, Rasikamohan's edition, p. 36.)
From the above consideration, it is clear that at the very beginning in the first 5 lokas the 22-syllabled "Mantra" is given and then the others. It may be added here that the fact of Mahkla's composing the Hymn in 22 lokas not more nor less--is also an indication of the correctness of the Svm's view, who, in further support of it cites 5 lokas dealing with the "Mantroddhra" from the "Krama-stava" of the
p. 4
[paragraph continues] Dakia-Klik under the first 5 lokas of the Karprdi, which will be found in the printed text.
In course of revising his "Vykhy" Vimalnanda-Svm has in the first six lokas given good grounds to prove that the "Stotra" not only contains the "Mantroddhra" and the "Sdhana" of r-r-Dakina-Klik but also in it are given the "Mantras" and "Rahasyapj" of ri-ri-Tr and r-r-Tripura-sundar.
In addition to the Mantroddhra the following matters are contained in the "Stotra".
No. of Slokas
Dhyna
1, 2, 3, 4, 5, 6, 7, 8, 11
Yantra
18
Sdhana
10, 11, 15, 16, 17, 18, 19, 20
Madya
13
Msa
19
Maithuna
10
Phala-ruti
21, 22
The lokas 9, 12, 14 contain "stuti" only.
lokas 10, 15-18, 20 refer to the Tntrik "vrcrasdhana". "Vrcra" is for the class of "sdhaka" who are "vrabhva" and "abhiikta". To those who follow "pavcra" this ritual is strictly forbidden. The nature of the "rahasyapj" is indicated in the text, to which I have added an explanatory commentary in English and Sanskrit.
To the "Pau", "sdhana" by night is prohibited, for it connotes in kta-sdhana, worship with the "Pacatattva". The "Pau" is still bound by the "pa" (bonds) of desire, etc., and he is, therefore, not "adhikr", for that which, if undertaken by the unfit, will only make these bonds stronger. For him, on the contrary, there are severe restrictions in this matter, for, as the ktakrama cited by the commentator says, "Maithuna tatkathlpa tadgoh parivarjayet"."
p. 5
[paragraph continues] (The "Pau" should avoid "maithuna", conversation on the subject, and the like.) The "Pau" should avoid the eight forms of "maithuna" known as "atga maithuna"--viz., "smaraa" (thinking upon it), "krtanam" (talking of it), "kelih" (play with women), "prekaam" (looking upon women), "guhyabhaa" (talk in private with women), "sakalpah" (wish or resolve for "maithuna"), "adhyavasyah" (determination towards it), as well as "kriynipattih" (actual accomplishment). The Nity Tantra, which the commentator cites, says: "Rtrau naiva yajed devi sandhyy vparhnake"--"He (the "Pau" should never worship the Dev during the latter part of the day or in the evening or at night." To this, from amongst many other authorities, I may add the Svatantra, which says that the Paubhva Sdhaka should do one lakh of "japa" in day time and that a "Vra" devoted to his own cra should do one lakh of "japa" at night;
Paubhvarato mantr div laka japa caret.
Svcranirato viro rtrau laka japa caret.
In connection with this verse I must observe that in the notes to verse 20 it is said that the first half of the 20th loka is meant for "Pausdhakas" and that the 2nd half refers to the "prbhiiktavrasdhaka"," as also that the word "para" (afterwards) means and refers to the time when the Pau having received "abhieka" enters "vrcra" and is "adhikr" for the midnight "puracaraa". Vimalnanda tells me that this is wrong and that the whole loka has reference to the "vra" or "divya-sdhaka" and that no portion of it refers to the "Pau-sdhaka".
The quotation just made from the Svatantra-Tantra no doubt seems to lend support to the view that the first part of the loka refers to the Pau, but he informs me and I fully accept the correction that he and other followers of the stra knew the passage to bear a meaning which is consonant
p. 6
with his view, that is, it means this:--"Mantr" means the "vrasdhaka"; the "mantr" should perform "laka-japa" in the day time following the "cra" of the "pau" ("pau-bhvaratah"). The "vra-sdhaka" should perform "laka-japa" in the night following his own "cra" ("svcra-niratah"). The word "svcra" (own "cra") points to his interpretation being correct.
In support of his view the Svm cites the following Verses which all say the same thing namely that the initiate should be Brahmacr during day and at night worship according to Kulcra. Kaulval says:
Nakta-bhoj haviynna japed vidym div ucih.
Dvivsh sarvath vro brahmacr bhavet sad.
Rtrau sapjayed dev kulcra-kramea tu
Dvijanman tu sarveam dvidh vidhi-rihocyate.
Again, Klikopaniad says:
"Sbhava-dksu ratah kteu v div brahmacr rtrau nagnah sad maithunsaktamnasah Japa-pjdi-niyama kuryd iti".
Kaulval again says:
Unmukhyh Klikyca vieah kathyate dhun.
Divase brahmacaryea sviyasakhyjapa caret.
Rtrau mssavairmatsyairmudrbhir maithunod-bhavaih.
The reason of the "vrasdhaka" being instructed to adopt the "cra" of "brahmacr" in the day-time is the necessity for the concealment of the "vrcra" from the public which Tantra so often insists upon. iva says that "vrcra" cannot be understood aright by the common people and therefore must be concealed, as closely as a man should conceal his own mother's sin "gopayet mt-jra-vat"."
p. 7
Moreover, the worship of Kl in "pavcra" is totally forbidden by iva. The "Pau" is precluded by Tantra from the worship of Kl. For example the Niruttara-Tantra says:
Divya-bhava vra-bhva vin Kl prapjayet.
Pjane naraka yti tasya duhkha pade pade.
Paubhva-rato devi yadi Kl prapjayet.
Raurava naraka yti yvad bhta-samplava.
(By the worship of Kl without "Divyabhva" and "Vrabhva" the worshipper suffers pain at every step and goes to hell. If a man who is of the "Paubhva" worships Kl then he goes to the "Raurava" Hell until the time of final dissolution).
Vimalnanda-vmi says: The worship of Kl without the use of wine, though seen in many places, is Paurik and not Tntrik ("i.e." sanctioned by the Tantra.)
Verses 1-8, 11, the first part of verse 20, and 21 (except at midnight) deal with "japa" of the "mantra" of, and "dhyna" upon, the Dev, which, of course, may be done by the "Pau". Verses 9, 12, 13, and 14 are "stuti", and 22 is the usual "phala-loka", which states the reward to be gained by the reading of the "Stotra".
Verses 10, 15-18, and the second portion of verse 20 deal with "Latsdhana". The "akti" of this "sdhana" is ordinarily the own wife of the "sdhaka", married according to the Vaidik injunctions; the "svaakti" or "dyakt", as she is technically called in Tantra. One's own wife is dy-akt and "Sdhana" should be done with her aid ("dy-akth svadrh syt tmevatya sdhayet"). With her is practised that "aktsdhana", the aim of which is the acquirement of self-control, which, checking the outward-going current, places the "sdhaka" upon the path of "nivtti". Indeed, the Kaulikrcanadpik says, "Without "dy akti" worship is but evil magic". ("dyakti vin pj abhicrya kalpate"). It is only the "siddha", which term is here used in the special sense of one
p. 8
who has obtained complete control over his passions, to whom is permitted another "akti" ("paraakti"). So the Pratoin quotes, "a man shall obtain "siddhi" with his own "akti", and afterwards (that is, when he is "siddha") he should make "japa" with "paraakti" ("Svaaktau siddhim pnuyt paraaktau tad japet"). And similarly Niruttara Tantra says, that the "sdhaka" who is "siddha" in Kulcra may worship "another" woman. ("Siddhamantr kulcre parayom prapjayet"). In both these cases "paraakti" has a double meaning viz., "another" woman that is corporeal woman, or "Supreme" that is the Supreme Woman who in the body is Kudalin-akti. This latter appears to be sense in the quotation which speaks of the "siddhamantr". It has been said also, as in the Mahnirva Tantra, that "paraakti" must (if unmarried) be married either by Vaidika or aiva rites, or (if married and the husband is dead) according to the latter rite. Further, that which determines the moral character of an act is the intention with which it is done. As the Kaulvalya says, when a man's intention is bad then his act is so, otherwise there is no fault:
Ata eva yad yasya vsan kutsit bhavet.
Tad doya bhavati nnyath daa kvacit.
As an example of the same act and varying intention, it is aptly said: "A wife is kissed with one feeling and a daughter's face with another". ("Bhvena cumbit knt bhvena duhitrnanam"). A "Mantrin" who is given over to lust, for the subjugation of which the "sdhana" is prescribed, goes, as is said in the Tantrasra, to the Hell called Raurava. ("Lingayonirato mantr raurakang narakang brajet"). In the words of the hrabheda-Tantra--"Vmcro bhavet tatra vm bhtv yajet parm". "One may be a Vmcr if one can worship "Vm" being oneself a woman." This is on the principle that a worshipper should always be like the
p. 9
object of his worship. Woman is "Devat", and the embodiment of the Supreme akti, and is as such honoured and worshipped, and is, when "pjy akti", never the subject of enjoyment.
Verses 15 and 16, as sufficiently appears from their context, refer to the "sdhana" of those who are not "siddha".
Verses 10, 17, and 18 apply to both "sdhaka" and "siddha", as to verse 20, see pp. 4, 5 "ante".
By such "sdhana" the last vestiges of the most powerful of such bonds is sought to be destroyed, and with such destruction the seed of "karma" and rebirth. He, like iva, becomes destroyer of Smara, and iva Himself. Verses 4, 18, and 20 refer directly to this fruit of sdhana. Others indicate the material and intellectual greatness on earth of the sdhaka, who devoutly worships the Dev. To him is given mastery over all persons and things of the world, which on death, if siddha, he leaves for the dwelling by the Supreme Feet (verse 17), or Nirva. As iva says in the Klvilsa-Tantra "I have told you, my beloved, all about the five Tattvas, Sdhana in the cremation ground and with the funeral pyre now listen to the doctrine of the Siddha-vra."
Madya matsya tath msa mudr maithunam-eva ca.
manasdhana bhadre citsdhanam eva ca.
Etat to kathita sarva siddhaviramata iu.
It is the "sdhana" of the cremation-ground on which all passion is burnt away. There are two kinds of cremation-ground, of which the one is the funeral pyre ("cit"), and the other "yonirp mahkl". As the first Chapter of the Niruttara-Tantra says there are two cremation grounds namely that which is the funeral pyre and the "yoni" which, in its "skma" sense, is the Dev, the "masna" being in the same sense dissolution or "pralaya". ("manam dvividha"
p. 10
\"devi chit yoni prakrtit"). In even the "sthla" sense the "sdhaka" must be "susdhaka", for union without right disposition--"japa", "dhyna" etc.--is the animal "maithuna" of a "pau".
loka 19 refers to animal and human sacrifice to Kl. Reference to this sacrifice is also made in the Klik-Pura, and the Tantrasra speaks of a substitute in the figure of a man made of the paste of cereals. The latter work also says that by the sacrifice of a man one acquires great prosperity, and the eight "siddhis". ("Naradatte maharddhih syd atasiddhir-anuttam"). But it adds that this is not for all. For the Brhmaa may not make such a sacrifice. ("Brhman narabalidne ndhikrah"). And if he does so, he goes to Hell. Moreover according to K. B., who cites as his authority the Ymala quoted in the Klkalpalat, the King alone can make such a sacrifice.
This leads one to point out that the Hymn has other than these gross ("Sthla") meanings. In Brhamanism everything has three aspects--Supreme ("Para"), Subtle ("Skma") and Gross ("Sthla"). Thus the nineteenth loka when referring to the sacrifice of various animals and of man himself intends according to the subtle sense the six great sins for which they stand, ranging from Lust (goat) to Pride (man). It is these which must be sacrificed by the knowers who are worshippers of the Mother the age of material sacrifice, so universal throughout the world, having passed away. So again the word Paraakti may refer to the Supreme akti or may be used in the sense of a akti other than the "svaakti" or Sdhaka's wife who, may in the case of the competent ("adhikr") be an associate in the worship on the principle stated in the Guhyaklkhada of the Mahkla-Sahit.
"As is the competency of the Sdhaka, so must be that of the Sdhik. In this way only is success attained and not otherwise even in ten million years".
p. 11
Ydah sdhakah proktah Sdhikpi ca tdah
Tatah siddhim-avpnoti nnyath vara-kotibhih.
This principle rests on the fact that man and woman together make one whole and can only co-operate in the rites where the attainments or "Adhikra" of each is the same. But this does not necessarily mean that such co-operation is by "Maithuna" in its sexual sense; quite the contrary. In the same way in the Vaidik ritual the wife is "Sahadharmi". But such ritual is only for the competent within the bounds of stric injunction for, as the aktisagama Tantra (Part IV) says,--"Though a man be a knower of the three times, past, present and future and though he be a controller of the three worlds, even then he should not transgress the rules of conduct for men in the world were it only in his mind".
Yadyapyasti triklajas-trailokyvaraakamh.
Tathpi laukikcram manaspi na laghayet.
But "Paraakti" again may mean no woman at all, but Supreme akti or the Mother Herself whose forms they are and in such sense the union of the Sdhaka is with the "woman" within himself--the Kudalin akti who in Yoga unites with Her Supreme Husband Paramaiva. (See A. Avalon's "Serpent Power"). The context must be known as in the misunderstood saying "Maithunena mahyog mama tulyo na saayah"," which does not mean, as a recent English work on Hinduism suggests, that by sexual connection ("Maithuna") the "Mahyog" becomes without doubt the equal of iva or God. This is on its face absurd and had it not been that such criticism is clouded with prejudice the absurdity would be recognised. How can sexual connection make any one God or His equal? The person spoken of is a "Mahyog" who, as such, has no connection physical or otherwise with women. "Maithuna" means "action and
p. 12
reaction" and "coupling" and sexual intercourse is only "one form" of such coupling. Thus when Mantra is said there is a coupling or "Maithuna" of the lips. In Yoga there is a coupling ("Maithuna") of the active and changeless Principles of the Universe. The saying means that the "Mayyog" who unites Kudal-akti in his body with Paramaiva becomes himself iva.
So again it is said in an apparently alarming verse quoted by Tarklakra, in his commentary on the Mahnirva.
Mt-yonau kipet ligam bhaginyh-stanamardana
Guror-mrdhni pada dattv punarjanma na vidyate.
This verse in its literal sense means that if any one commits incest with his mother and sister and places his foot on the head of his Guru he is liberated and is never again reborn. But of course that is not the meaning. The first half of the line refers to the placing of the "Jvtm" in the triangle situated in the "Mldhra" centre with the "Svayabhuliga" in it which triangle is called "Mt-yoni". The "Liga" is the "Jvtm". From this point upwards, after union with Kudalin, the "Jvtm" is to be led. The union of "jvtm" with Kudalin is spoken of in the second half of the first line. Kudalin is the sister of the "Jvtm" both being in the same body. The meaning of the last line is as follows:--after union of Kudalin and "Jvtm" the united couple are led up to the "Sahasrra" or thousand-petalled lotus in the head which is situated above the twelve-petalled lotus which again is the abode of the Guru. When the Yog is above the twelve-petalled lotus his feet may be described as being on the head of the Guru. Moreover it is said that at this point the relationship of Guru and disciple ceases. "Mt-yoni" is also the term given to those sections of the fingers between the joints on which count of the Japa or recital of the mantra is "not" to be done. If "Mat-yoni" suggests incest, then this verse
p. 13
is a prohibition of it--"Mt-yoni parityajya viharet sarvayoniu". There are many other technical terms in Tantra-stra which it is advisable to know before criticising it. One of the tests to which an intending disciple may be put consists in being questioned as to such passages. If he is a gross-minded or stupid man his answer will show it.
In order therefore that the Hymn may be understood in its various aspects I have given in the notes explanations of or in respect of its "Sthla" or gross meaning. This is followed by the valuable commentary given to me, some years ago and now first published, by Vimalnanda-Svm which is called "Svarpavykhy"; that is, it gives the subtle ("Skma") or, as we should say in English, the inner sense or esoteric meaning according to the teaching of his own Guru Mahmahopdhyya-Rmnandasvm-Siddhntapacnana. The text books and Commentary are preceded by an admirable little essay of Svm Vimalnanda by way of Introduction to the "Vimalnandadyin svarpa-vyakhy" on his "Lord of Hymns" which is commonly known as the Karprdi Stotra chanted by Mahkla to, and in honour of, Daki-Klik. It, as also the inner-sense Commentary are written for those liberation-seeking Sdhakas who, worshipping rvidy, meditate not on the gross form ("Sthlamrti") but on the "Svarpa-tattva" of Brahmavidy Klik. As such many will be glad, as I was, to read it and will derive benefit therefrom.
I may note here that the Svm while revising the Vykhy, has given a new interpretation of the line "te Lakm-lsya-ll-kamala-dala-dah vma-rph bhavanti" in the 5th loka and of "rati-rasa-mahnanda-niratm" in the 13th loka.
On the attainment of "siddhi", ritual ceases. There is neither sacrifice nor worship, nor "yoga", "puracaraa", "vrata", "japa", or other "karma". For all "sdhana" ceases when it has
p. 14
borne its fruit in Siddhi. The Siddha-Kaula is beyond all rules.
For the meaning of these and other terms, the reader is referred to the Author's "Principles of Tantra, (Tantra-tattva), akti and kta, Serpent-Power" and "Garland of Letters" which is a study on the Mantra-stra; and for other Hymns to the Dev, his and Ellen Avalon's "Hymns to the Goddess," translated from the Sanskrit of the Tantra, Pura, and the Dev-stotra of akarcrya, which gives other specimens of the Hindu Hymnal, of which that now published is but one and a special type.
Arthur Avalon
\"Puri",
30, May 1922.
"Hymn to Kali", by Arthur Avalon (Sir John George Woodroffe), [1922],
p. 1
Preface
This celebrated Kaula "Stotra", which is now translated from the Sanskrit for the first time, is attributed to Mahkla Himself. The Text used is that of the edition published at Calcutta in 1899 by the Sanskrit Press Depository, with a commentary in Sanskrit by the late Mahmahopdhyya Khantha Nyya-pacnana, who was both very learned in Tantra-stra and faithful to his Dharma. He thus refused the offer of a good Government Post made to him personally by a former Lieutenant-Governor on the ground that he would not accept money for imparting knowledge.
Some variants in reading are supplied by this commentator. I am indebted to him for the Notes, or substance of the notes, marked K. B. To these I have added others, both in English and Sanskrit explaining matters and allusions familiar doubtless to those for whom the original was designed, but not so to the English or even ordinary Indian reader. I have also referred to the edition of the "Stotra" published by Gaea-Candra-Ghoa at Calcutta in 1891, with a translation in Bengali by Guruntha Vidynidhi, and commentary by Durgrma-Siddhntavga Bhattcrya. I publish for the first time Vimalnanda-Svm's Commentary to which I again refer later. When in this Introduction or in the Commentary I have not mentioned these two works my authorities are the Tantras or Tntrik works which I cite, or. the information I have gathered from those whom I have consulted.
p. 2
One of the chief features of this "Stotra" is that it gives the "mantroddhra" of the Dakshina-Klik. It not only gives us the "Dhyna", "Yantra", "Sdhana" and "Svarpa-varnan" of the Mahdev, but it also contains the chief Mantras of Dakiaklik. The adjective "Tava manu-samuddharaajanu" qualifying "idam stotram" in loka 21 expressly states this fact.
Among the various Mantras of Daki Klik the greatest is the "Vidy-rj" consisting of 22 syllables ("Dvviskar"). This mantra gives the fullest and the truest symbol of the Svarpa of Her. This mantra is contained in the first five lokas.
The
first
loka
contains
"Kr, Kr, Kr"
(3 \"akaras")
2nd
"H, H"
(2 )
3rd
"Hr, Hr"
(2 )
4th
"Dakine Klike"
(6 )
5th
"Kr, Kr, Kr, H, H, Hr, Kr, Svh"
(9 \"akaras")
So the first five lokas give us altogether 22 "akaras" i.e. the full "Vidyrj".
In Vimalnanda-Svm's "Tk" of the 5th loka in the revised Sanskrit text he has proved by quotations from the 9th patala of "ktnanda-tarangi" that this 22-syllabled "mantra" is the full and true representation of the Svarpa of the Mahdev. See the quotation which begins with
"Krm-kro mastaka devi Krm-kraca laltaka"
and ends with
"Sv-abdena pada-dvandvam h-krea nakha tath"
The words "Svarpa" (5th sl.) and "Sakala" (6th sl.) point to this "Vidyrj". After the full "Vidy-rj" has
p. 3
been given in the first five lokas, the 6th loka gives the various other Mantras of less importance and significance--ranging from one syllabled to nine-syllabled, 15-syllabled, 21-syllabled and so forth.
This Mantroddhra has been made following the authority of Klik-ruti, Niruttara-Tantra and other Tantras. Many commentators, however, have apparently in the view of Vimalnanda failed to consult the above authorities, and have thus fallen into errors and have given a different "Mantroddhra". Some take the 1st loka to give a one-syllabled "mantra", the 2nd sloka as also the 3rd, two two-syllabled "mantras", the 5th a nine-syllabled one and so on: a view which it is contended is opposite to such passages as "atha haina brahmarandhre brahma-svarpinm pnoti.......... bhad-bhnu-jy uccaret" in the 1st Skta of Klikopaniad; or passages in Niruttara-Tantra (Ch. II) beginning with "Atha vaksye Kuleni Dakin-kalik-manu" and ending with "Sarva-mantra-may vidy sti-sthityanta-kri"." The Svm further refers me to the end of the Klikopaniad where dealing with the various Mantras of the Dakia-Klik it is said "Atha sarvm vidym prathama eka dvaya v traya v nmatrayaputita v ktv japet"." The great Tntrik Prnanda Giri explaining the passage says "Sarvm vidym-iti prvoktadvvimatyakaryh prathama bja v bja-dvaya v" etc. (vide ym-rahasya, Rasikamohan's edition, p. 36.)
From the above consideration, it is clear that at the very beginning in the first 5 lokas the 22-syllabled "Mantra" is given and then the others. It may be added here that the fact of Mahkla's composing the Hymn in 22 lokas not more nor less--is also an indication of the correctness of the Svm's view, who, in further support of it cites 5 lokas dealing with the "Mantroddhra" from the "Krama-stava" of the
p. 4
[paragraph continues] Dakia-Klik under the first 5 lokas of the Karprdi, which will be found in the printed text.
In course of revising his "Vykhy" Vimalnanda-Svm has in the first six lokas given good grounds to prove that the "Stotra" not only contains the "Mantroddhra" and the "Sdhana" of r-r-Dakina-Klik but also in it are given the "Mantras" and "Rahasyapj" of ri-ri-Tr and r-r-Tripura-sundar.
In addition to the Mantroddhra the following matters are contained in the "Stotra".
No. of Slokas
Dhyna
1, 2, 3, 4, 5, 6, 7, 8, 11
Yantra
18
Sdhana
10, 11, 15, 16, 17, 18, 19, 20
Madya
13
Msa
19
Maithuna
10
Phala-ruti
21, 22
The lokas 9, 12, 14 contain "stuti" only.
lokas 10, 15-18, 20 refer to the Tntrik "vrcrasdhana". "Vrcra" is for the class of "sdhaka" who are "vrabhva" and "abhiikta". To those who follow "pavcra" this ritual is strictly forbidden. The nature of the "rahasyapj" is indicated in the text, to which I have added an explanatory commentary in English and Sanskrit.
To the "Pau", "sdhana" by night is prohibited, for it connotes in kta-sdhana, worship with the "Pacatattva". The "Pau" is still bound by the "pa" (bonds) of desire, etc., and he is, therefore, not "adhikr", for that which, if undertaken by the unfit, will only make these bonds stronger. For him, on the contrary, there are severe restrictions in this matter, for, as the ktakrama cited by the commentator says, "Maithuna tatkathlpa tadgoh parivarjayet"."
p. 5
[paragraph continues] (The "Pau" should avoid "maithuna", conversation on the subject, and the like.) The "Pau" should avoid the eight forms of "maithuna" known as "atga maithuna"--viz., "smaraa" (thinking upon it), "krtanam" (talking of it), "kelih" (play with women), "prekaam" (looking upon women), "guhyabhaa" (talk in private with women), "sakalpah" (wish or resolve for "maithuna"), "adhyavasyah" (determination towards it), as well as "kriynipattih" (actual accomplishment). The Nity Tantra, which the commentator cites, says: "Rtrau naiva yajed devi sandhyy vparhnake"--"He (the "Pau" should never worship the Dev during the latter part of the day or in the evening or at night." To this, from amongst many other authorities, I may add the Svatantra, which says that the Paubhva Sdhaka should do one lakh of "japa" in day time and that a "Vra" devoted to his own cra should do one lakh of "japa" at night;
Paubhvarato mantr div laka japa caret.
Svcranirato viro rtrau laka japa caret.
In connection with this verse I must observe that in the notes to verse 20 it is said that the first half of the 20th loka is meant for "Pausdhakas" and that the 2nd half refers to the "prbhiiktavrasdhaka"," as also that the word "para" (afterwards) means and refers to the time when the Pau having received "abhieka" enters "vrcra" and is "adhikr" for the midnight "puracaraa". Vimalnanda tells me that this is wrong and that the whole loka has reference to the "vra" or "divya-sdhaka" and that no portion of it refers to the "Pau-sdhaka".
The quotation just made from the Svatantra-Tantra no doubt seems to lend support to the view that the first part of the loka refers to the Pau, but he informs me and I fully accept the correction that he and other followers of the stra knew the passage to bear a meaning which is consonant
p. 6
with his view, that is, it means this:--"Mantr" means the "vrasdhaka"; the "mantr" should perform "laka-japa" in the day time following the "cra" of the "pau" ("pau-bhvaratah"). The "vra-sdhaka" should perform "laka-japa" in the night following his own "cra" ("svcra-niratah"). The word "svcra" (own "cra") points to his interpretation being correct.
In support of his view the Svm cites the following Verses which all say the same thing namely that the initiate should be Brahmacr during day and at night worship according to Kulcra. Kaulval says:
Nakta-bhoj haviynna japed vidym div ucih.
Dvivsh sarvath vro brahmacr bhavet sad.
Rtrau sapjayed dev kulcra-kramea tu
Dvijanman tu sarveam dvidh vidhi-rihocyate.
Again, Klikopaniad says:
"Sbhava-dksu ratah kteu v div brahmacr rtrau nagnah sad maithunsaktamnasah Japa-pjdi-niyama kuryd iti".
Kaulval again says:
Unmukhyh Klikyca vieah kathyate dhun.
Divase brahmacaryea sviyasakhyjapa caret.
Rtrau mssavairmatsyairmudrbhir maithunod-bhavaih.
The reason of the "vrasdhaka" being instructed to adopt the "cra" of "brahmacr" in the day-time is the necessity for the concealment of the "vrcra" from the public which Tantra so often insists upon. iva says that "vrcra" cannot be understood aright by the common people and therefore must be concealed, as closely as a man should conceal his own mother's sin "gopayet mt-jra-vat"."
p. 7
Moreover, the worship of Kl in "pavcra" is totally forbidden by iva. The "Pau" is precluded by Tantra from the worship of Kl. For example the Niruttara-Tantra says:
Divya-bhava vra-bhva vin Kl prapjayet.
Pjane naraka yti tasya duhkha pade pade.
Paubhva-rato devi yadi Kl prapjayet.
Raurava naraka yti yvad bhta-samplava.
(By the worship of Kl without "Divyabhva" and "Vrabhva" the worshipper suffers pain at every step and goes to hell. If a man who is of the "Paubhva" worships Kl then he goes to the "Raurava" Hell until the time of final dissolution).
Vimalnanda-vmi says: The worship of Kl without the use of wine, though seen in many places, is Paurik and not Tntrik ("i.e." sanctioned by the Tantra.)
Verses 1-8, 11, the first part of verse 20, and 21 (except at midnight) deal with "japa" of the "mantra" of, and "dhyna" upon, the Dev, which, of course, may be done by the "Pau". Verses 9, 12, 13, and 14 are "stuti", and 22 is the usual "phala-loka", which states the reward to be gained by the reading of the "Stotra".
Verses 10, 15-18, and the second portion of verse 20 deal with "Latsdhana". The "akti" of this "sdhana" is ordinarily the own wife of the "sdhaka", married according to the Vaidik injunctions; the "svaakti" or "dyakt", as she is technically called in Tantra. One's own wife is dy-akt and "Sdhana" should be done with her aid ("dy-akth svadrh syt tmevatya sdhayet"). With her is practised that "aktsdhana", the aim of which is the acquirement of self-control, which, checking the outward-going current, places the "sdhaka" upon the path of "nivtti". Indeed, the Kaulikrcanadpik says, "Without "dy akti" worship is but evil magic". ("dyakti vin pj abhicrya kalpate"). It is only the "siddha", which term is here used in the special sense of one
p. 8
who has obtained complete control over his passions, to whom is permitted another "akti" ("paraakti"). So the Pratoin quotes, "a man shall obtain "siddhi" with his own "akti", and afterwards (that is, when he is "siddha") he should make "japa" with "paraakti" ("Svaaktau siddhim pnuyt paraaktau tad japet"). And similarly Niruttara Tantra says, that the "sdhaka" who is "siddha" in Kulcra may worship "another" woman. ("Siddhamantr kulcre parayom prapjayet"). In both these cases "paraakti" has a double meaning viz., "another" woman that is corporeal woman, or "Supreme" that is the Supreme Woman who in the body is Kudalin-akti. This latter appears to be sense in the quotation which speaks of the "siddhamantr". It has been said also, as in the Mahnirva Tantra, that "paraakti" must (if unmarried) be married either by Vaidika or aiva rites, or (if married and the husband is dead) according to the latter rite. Further, that which determines the moral character of an act is the intention with which it is done. As the Kaulvalya says, when a man's intention is bad then his act is so, otherwise there is no fault:
Ata eva yad yasya vsan kutsit bhavet.
Tad doya bhavati nnyath daa kvacit.
As an example of the same act and varying intention, it is aptly said: "A wife is kissed with one feeling and a daughter's face with another". ("Bhvena cumbit knt bhvena duhitrnanam"). A "Mantrin" who is given over to lust, for the subjugation of which the "sdhana" is prescribed, goes, as is said in the Tantrasra, to the Hell called Raurava. ("Lingayonirato mantr raurakang narakang brajet"). In the words of the hrabheda-Tantra--"Vmcro bhavet tatra vm bhtv yajet parm". "One may be a Vmcr if one can worship "Vm" being oneself a woman." This is on the principle that a worshipper should always be like the
p. 9
object of his worship. Woman is "Devat", and the embodiment of the Supreme akti, and is as such honoured and worshipped, and is, when "pjy akti", never the subject of enjoyment.
Verses 15 and 16, as sufficiently appears from their context, refer to the "sdhana" of those who are not "siddha".
Verses 10, 17, and 18 apply to both "sdhaka" and "siddha", as to verse 20, see pp. 4, 5 "ante".
By such "sdhana" the last vestiges of the most powerful of such bonds is sought to be destroyed, and with such destruction the seed of "karma" and rebirth. He, like iva, becomes destroyer of Smara, and iva Himself. Verses 4, 18, and 20 refer directly to this fruit of sdhana. Others indicate the material and intellectual greatness on earth of the sdhaka, who devoutly worships the Dev. To him is given mastery over all persons and things of the world, which on death, if siddha, he leaves for the dwelling by the Supreme Feet (verse 17), or Nirva. As iva says in the Klvilsa-Tantra "I have told you, my beloved, all about the five Tattvas, Sdhana in the cremation ground and with the funeral pyre now listen to the doctrine of the Siddha-vra."
Madya matsya tath msa mudr maithunam-eva ca.
manasdhana bhadre citsdhanam eva ca.
Etat to kathita sarva siddhaviramata iu.
It is the "sdhana" of the cremation-ground on which all passion is burnt away. There are two kinds of cremation-ground, of which the one is the funeral pyre ("cit"), and the other "yonirp mahkl". As the first Chapter of the Niruttara-Tantra says there are two cremation grounds namely that which is the funeral pyre and the "yoni" which, in its "skma" sense, is the Dev, the "masna" being in the same sense dissolution or "pralaya". ("manam dvividha"
p. 10
\"devi chit yoni prakrtit"). In even the "sthla" sense the "sdhaka" must be "susdhaka", for union without right disposition--"japa", "dhyna" etc.--is the animal "maithuna" of a "pau".
loka 19 refers to animal and human sacrifice to Kl. Reference to this sacrifice is also made in the Klik-Pura, and the Tantrasra speaks of a substitute in the figure of a man made of the paste of cereals. The latter work also says that by the sacrifice of a man one acquires great prosperity, and the eight "siddhis". ("Naradatte maharddhih syd atasiddhir-anuttam"). But it adds that this is not for all. For the Brhmaa may not make such a sacrifice. ("Brhman narabalidne ndhikrah"). And if he does so, he goes to Hell. Moreover according to K. B., who cites as his authority the Ymala quoted in the Klkalpalat, the King alone can make such a sacrifice.
This leads one to point out that the Hymn has other than these gross ("Sthla") meanings. In Brhamanism everything has three aspects--Supreme ("Para"), Subtle ("Skma") and Gross ("Sthla"). Thus the nineteenth loka when referring to the sacrifice of various animals and of man himself intends according to the subtle sense the six great sins for which they stand, ranging from Lust (goat) to Pride (man). It is these which must be sacrificed by the knowers who are worshippers of the Mother the age of material sacrifice, so universal throughout the world, having passed away. So again the word Paraakti may refer to the Supreme akti or may be used in the sense of a akti other than the "svaakti" or Sdhaka's wife who, may in the case of the competent ("adhikr") be an associate in the worship on the principle stated in the Guhyaklkhada of the Mahkla-Sahit.
"As is the competency of the Sdhaka, so must be that of the Sdhik. In this way only is success attained and not otherwise even in ten million years".
p. 11
Ydah sdhakah proktah Sdhikpi ca tdah
Tatah siddhim-avpnoti nnyath vara-kotibhih.
This principle rests on the fact that man and woman together make one whole and can only co-operate in the rites where the attainments or "Adhikra" of each is the same. But this does not necessarily mean that such co-operation is by "Maithuna" in its sexual sense; quite the contrary. In the same way in the Vaidik ritual the wife is "Sahadharmi". But such ritual is only for the competent within the bounds of stric injunction for, as the aktisagama Tantra (Part IV) says,--"Though a man be a knower of the three times, past, present and future and though he be a controller of the three worlds, even then he should not transgress the rules of conduct for men in the world were it only in his mind".
Yadyapyasti triklajas-trailokyvaraakamh.
Tathpi laukikcram manaspi na laghayet.
But "Paraakti" again may mean no woman at all, but Supreme akti or the Mother Herself whose forms they are and in such sense the union of the Sdhaka is with the "woman" within himself--the Kudalin akti who in Yoga unites with Her Supreme Husband Paramaiva. (See A. Avalon's "Serpent Power"). The context must be known as in the misunderstood saying "Maithunena mahyog mama tulyo na saayah"," which does not mean, as a recent English work on Hinduism suggests, that by sexual connection ("Maithuna") the "Mahyog" becomes without doubt the equal of iva or God. This is on its face absurd and had it not been that such criticism is clouded with prejudice the absurdity would be recognised. How can sexual connection make any one God or His equal? The person spoken of is a "Mahyog" who, as such, has no connection physical or otherwise with women. "Maithuna" means "action and
p. 12
reaction" and "coupling" and sexual intercourse is only "one form" of such coupling. Thus when Mantra is said there is a coupling or "Maithuna" of the lips. In Yoga there is a coupling ("Maithuna") of the active and changeless Principles of the Universe. The saying means that the "Mayyog" who unites Kudal-akti in his body with Paramaiva becomes himself iva.
So again it is said in an apparently alarming verse quoted by Tarklakra, in his commentary on the Mahnirva.
Mt-yonau kipet ligam bhaginyh-stanamardana
Guror-mrdhni pada dattv punarjanma na vidyate.
This verse in its literal sense means that if any one commits incest with his mother and sister and places his foot on the head of his Guru he is liberated and is never again reborn. But of course that is not the meaning. The first half of the line refers to the placing of the "Jvtm" in the triangle situated in the "Mldhra" centre with the "Svayabhuliga" in it which triangle is called "Mt-yoni". The "Liga" is the "Jvtm". From this point upwards, after union with Kudalin, the "Jvtm" is to be led. The union of "jvtm" with Kudalin is spoken of in the second half of the first line. Kudalin is the sister of the "Jvtm" both being in the same body. The meaning of the last line is as follows:--after union of Kudalin and "Jvtm" the united couple are led up to the "Sahasrra" or thousand-petalled lotus in the head which is situated above the twelve-petalled lotus which again is the abode of the Guru. When the Yog is above the twelve-petalled lotus his feet may be described as being on the head of the Guru. Moreover it is said that at this point the relationship of Guru and disciple ceases. "Mt-yoni" is also the term given to those sections of the fingers between the joints on which count of the Japa or recital of the mantra is "not" to be done. If "Mat-yoni" suggests incest, then this verse
p. 13
is a prohibition of it--"Mt-yoni parityajya viharet sarvayoniu". There are many other technical terms in Tantra-stra which it is advisable to know before criticising it. One of the tests to which an intending disciple may be put consists in being questioned as to such passages. If he is a gross-minded or stupid man his answer will show it.
In order therefore that the Hymn may be understood in its various aspects I have given in the notes explanations of or in respect of its "Sthla" or gross meaning. This is followed by the valuable commentary given to me, some years ago and now first published, by Vimalnanda-Svm which is called "Svarpavykhy"; that is, it gives the subtle ("Skma") or, as we should say in English, the inner sense or esoteric meaning according to the teaching of his own Guru Mahmahopdhyya-Rmnandasvm-Siddhntapacnana. The text books and Commentary are preceded by an admirable little essay of Svm Vimalnanda by way of Introduction to the "Vimalnandadyin svarpa-vyakhy" on his "Lord of Hymns" which is commonly known as the Karprdi Stotra chanted by Mahkla to, and in honour of, Daki-Klik. It, as also the inner-sense Commentary are written for those liberation-seeking Sdhakas who, worshipping rvidy, meditate not on the gross form ("Sthlamrti") but on the "Svarpa-tattva" of Brahmavidy Klik. As such many will be glad, as I was, to read it and will derive benefit therefrom.
I may note here that the Svm while revising the Vykhy, has given a new interpretation of the line "te Lakm-lsya-ll-kamala-dala-dah vma-rph bhavanti" in the 5th loka and of "rati-rasa-mahnanda-niratm" in the 13th loka.
On the attainment of "siddhi", ritual ceases. There is neither sacrifice nor worship, nor "yoga", "puracaraa", "vrata", "japa", or other "karma". For all "sdhana" ceases when it has
p. 14
borne its fruit in Siddhi. The Siddha-Kaula is beyond all rules.
For the meaning of these and other terms, the reader is referred to the Author's "Principles of Tantra, (Tantra-tattva), akti and kta, Serpent-Power" and "Garland of Letters" which is a study on the Mantra-stra; and for other Hymns to the Dev, his and Ellen Avalon's "Hymns to the Goddess," translated from the Sanskrit of the Tantra, Pura, and the Dev-stotra of akarcrya, which gives other specimens of the Hindu Hymnal, of which that now published is but one and a special type.
Arthur Avalon
\"Puri",
30, May 1922.
