Preface
*
"Hymns to the Goddess", by John Woodroffe (Arthur Avalon), [1913],
p. v
Preface
The Goddess or Dev (as the Hindus call Her) is God (as the Western worshippers address Him) in Its Mother aspect. The latter not uncommonly deem such attribution of feminine quality to be "heathenish"; but this condemnation (for the criticism has, of course, this intendment) is itself singularly foolish in that it is thereby implied that of two sets of terms (neither of which is in its strict sense applicable to the Deity as the Author of forms), one is, in fact, a more correct description than the other. In the Navaratnevara it is said: "That Dev, who is existence, consciousness, and bliss, should be thought of as a female or as a male, or as pure Brahman. In reality, however, She is neither male nor neuter (that is to say, that She is not bound to any particular form)." No one contends that the Brahmatattva in the supreme abode beyond appearances is masculine as opposed to feminine, or the latter as contrasted with the former. Like all else in this matter, words are but the babbling endeavour of our plane to express that which is above it. It is not easy, then, to explain the condemnation except upon the assumption that those who pronounce it think their mother's sex to be inferior to their own, and that thus Deity is unworthily described by any other terms than those of masculine excellence. But Hindus, who ever place the name of mother before that of father, and to whom "garbha dhraapobhym pitur mt gariyasi", have no
p. vi
partiality for such mistaken notions. On the other hand, it is possible that they might not understand the Christian expression "Mother of God," nor approve it even after they had learnt the limited and special sense which theology gives to this epithet. The Tntrika would least of all admit the insufficiency of the conception of God as Mother. For the Dev manifests in his own mother, in his prakti (as he calls his wife), and in all women. As the Kubjik Tantra says: "Whosoever has seen the feet of woman let him worship them as those of his guru" ("Strinm pdatalam dritvguruvadbhvayet sad"). Whilst male and female are both Her aspects, yet akti is, in a sense, said to be more revealed in the female than in the male form. And so the Muamla Tantra says: "Wherever there is a akt (female), there I am." On account of this greater manifestation, women are called akti. From this, however, it must not be supposed that akti is less present in such forms as iva and Ka and others. If, as the author of the Tantra Tattva says, a sdhaka who is a worshipper of the Kamrti desires to see Him as Kl, Bhagavn, who fulfils the desires of devotees, will assume that form. All forms come into existence upon the manifestation of consciousness in the play of Her whose substance is consciousness.
Though the Sktnandatarangin says: Dev is worshipped on account of Her soft heart (komalntahkaraam), yet the use of the term "Mother" has other grounds than those which are founded upon an appeal to the natural feelings which the sweetness of the word "Mother" evokes. The meaning of the term "Dev" is "prakstmik", or that which is by its nature Light and Manifestation. And the word is used in the feminine gender because the One, as akti and Prakti, bears and
p. vii
nourishes all things as their Mother. The Dev is therefore the Brahman revealed in Its Mother aspect ("rimt") as Creatrix and Nourisher of the worlds.
Worshippers of Dev or akti are called ktas. But those who have a true knowledge of akti-tattva without which, according to stra, Nirvnamoka is unattainable, will in thought surpass the sectarianism which the terms "kta", "Vaiava" and "aiva" ordinarily connote. Whatever forms the Dev assumes in Her aspect with attributes are but Her forms. As the author last cited says, the sdhaka will know Her, whether the appearance be that of Ka, Durg, or Mahdeva. The Vaiava may consider Her as Viu in the form of akti, or the kta may look upon Her as akti in the form of Viu. To those who, immersed in the ocean of Her substance, which is cits'akti, are forgetful of all differences which appertain to the world of form, Kaakti, ivaakti, or Kliakti, and all other manifestations of akti, are one and the same. And so Rmaprasda, the Bengali poet and Tntrik, sang: "Thou assumeth five principal forms according to the differences of worship. But, O Mother! how can you escape the hands of him who has dissolved the five and made them into one?"
The hymns to the Dev in this volume (introduced by a "stotra" to Her Spouse the Klabhairava) are taken from the Tantra, Pura, Mahbhrata, and ankarcrya, who was "the incarnation of devotion" (bhaktvatra) as well as a great philosopher; a fact which is sometimes ignored by those who do not wish to be reminded that he, whose speculative genius they extol, was also the protagonist of the so-called "idolatrous Hinduism." As his great example amongst many
p. viii
others of differing race and creed tell us, it is not, from the view of religion, the mark of discernment (even though it be the mode) to neglect or disparage the ritual practice which all orthodoxies have prescribed for their adherents. "Stava" and "puj" are doubtless the "sdhana" appropriate to the first of the several stages of an ascent which gradually leads away from them; but they are in general as necessary as the higher ones, which more immediately precede the attainment of "brahmabhva" and "siddhi".
Apart, however, from this aspect of the matter, and to look at it from the point of view of that modern product, the mere "student of religions," who is not infrequently a believer in none, a knowledge of ritual (to use that term in its widest sense) will help to a greater and more real understanding of the "mahvkya" of the ryas than can be gained from those merely theoretical expositions of them which are now more popular. Those, again, whose interests are in what Verlaine called "mere literature" will at least appreciate the mingled tenderness and splendour of these Hymns, even in a translation which cannot reproduce the majesty of the sanskrit lokas of the Tantra and Pura, or the rhyme and sweet lilting rhythms of ankara.
Of the Hymns now published, those from the Mahbhrata and Cand have already been translated; the first, in the English edition of the Mahbhrata, by Protap Chandra Roy and by Professor Muir in his "Original Sanskrit Texts," and the second by Mr. Pargiter, whose rendering of the Mrkaeya Pura (of which it is the most celebrated portion) has been printed by the Asiatic Society of Bengal.
p. ix
[paragraph continues] dyklisvarpastotra has also been previously published as part of a rendering by myself of the Mahnirva Tantra. The first two sets of Hymns have been translated afresh. In the translation of such works a Sanskrit dictionary (however excellent) is not either a sufficient or reliable guide. It is necessary to study the Hindu commentators and to seek the oral aid of those who possess the traditional interpretation of the "stra". Without this and an understanding of what Hindu worship is and means, absurd mistakes are likely to be made. I have thus, in addition to such oral aid, availed myself of the Commentaries of Nlakanha on the Mahbhrata, of Gopla Chakravarti and Ngog Bhatta on Cand, and of Nlakantha on the Devbhgavata. As regards the Tantra, the great Sdhana str, nothing which is of both an understanding and accurate character can be achieved without a study of the original texts undertaken with the assistance of the Tntrik gurus and pandits, who are the authorized custodians of its traditions.
The other "stotras" are now rendered in English for the first time; at least, I have come across no translation of them.
The text of the Tantrasra which has been used is that edited by Shrjut Rasik Mohun Chatterjee. It is not free from faults, which have necessitated reference to other Manuscripts. A more correct text of the Trshtakam, from the Nla Tantra, is given in the Brihatstotraratnkara, to which reference has also been made for the hymns of Vlmki and Indra.
Both Ellen Woodroffe and myself have collaborated in the translation of the hymns by ankara. For the
p. x
rest, as also for the Introduction and Commentary, I am alone responsible. Some of the notes deal with matter familiar enough to the Hindu reader but have been inserted for the use of his English friends. Other portions of the commentary will, I believe, be found to be of use to both.
John Woodroffe
\"March 1, 1913"
"Hymns to the Goddess", by John Woodroffe (Arthur Avalon), [1913],
p. v
Preface
The Goddess or Dev (as the Hindus call Her) is God (as the Western worshippers address Him) in Its Mother aspect. The latter not uncommonly deem such attribution of feminine quality to be "heathenish"; but this condemnation (for the criticism has, of course, this intendment) is itself singularly foolish in that it is thereby implied that of two sets of terms (neither of which is in its strict sense applicable to the Deity as the Author of forms), one is, in fact, a more correct description than the other. In the Navaratnevara it is said: "That Dev, who is existence, consciousness, and bliss, should be thought of as a female or as a male, or as pure Brahman. In reality, however, She is neither male nor neuter (that is to say, that She is not bound to any particular form)." No one contends that the Brahmatattva in the supreme abode beyond appearances is masculine as opposed to feminine, or the latter as contrasted with the former. Like all else in this matter, words are but the babbling endeavour of our plane to express that which is above it. It is not easy, then, to explain the condemnation except upon the assumption that those who pronounce it think their mother's sex to be inferior to their own, and that thus Deity is unworthily described by any other terms than those of masculine excellence. But Hindus, who ever place the name of mother before that of father, and to whom "garbha dhraapobhym pitur mt gariyasi", have no
p. vi
partiality for such mistaken notions. On the other hand, it is possible that they might not understand the Christian expression "Mother of God," nor approve it even after they had learnt the limited and special sense which theology gives to this epithet. The Tntrika would least of all admit the insufficiency of the conception of God as Mother. For the Dev manifests in his own mother, in his prakti (as he calls his wife), and in all women. As the Kubjik Tantra says: "Whosoever has seen the feet of woman let him worship them as those of his guru" ("Strinm pdatalam dritvguruvadbhvayet sad"). Whilst male and female are both Her aspects, yet akti is, in a sense, said to be more revealed in the female than in the male form. And so the Muamla Tantra says: "Wherever there is a akt (female), there I am." On account of this greater manifestation, women are called akti. From this, however, it must not be supposed that akti is less present in such forms as iva and Ka and others. If, as the author of the Tantra Tattva says, a sdhaka who is a worshipper of the Kamrti desires to see Him as Kl, Bhagavn, who fulfils the desires of devotees, will assume that form. All forms come into existence upon the manifestation of consciousness in the play of Her whose substance is consciousness.
Though the Sktnandatarangin says: Dev is worshipped on account of Her soft heart (komalntahkaraam), yet the use of the term "Mother" has other grounds than those which are founded upon an appeal to the natural feelings which the sweetness of the word "Mother" evokes. The meaning of the term "Dev" is "prakstmik", or that which is by its nature Light and Manifestation. And the word is used in the feminine gender because the One, as akti and Prakti, bears and
p. vii
nourishes all things as their Mother. The Dev is therefore the Brahman revealed in Its Mother aspect ("rimt") as Creatrix and Nourisher of the worlds.
Worshippers of Dev or akti are called ktas. But those who have a true knowledge of akti-tattva without which, according to stra, Nirvnamoka is unattainable, will in thought surpass the sectarianism which the terms "kta", "Vaiava" and "aiva" ordinarily connote. Whatever forms the Dev assumes in Her aspect with attributes are but Her forms. As the author last cited says, the sdhaka will know Her, whether the appearance be that of Ka, Durg, or Mahdeva. The Vaiava may consider Her as Viu in the form of akti, or the kta may look upon Her as akti in the form of Viu. To those who, immersed in the ocean of Her substance, which is cits'akti, are forgetful of all differences which appertain to the world of form, Kaakti, ivaakti, or Kliakti, and all other manifestations of akti, are one and the same. And so Rmaprasda, the Bengali poet and Tntrik, sang: "Thou assumeth five principal forms according to the differences of worship. But, O Mother! how can you escape the hands of him who has dissolved the five and made them into one?"
The hymns to the Dev in this volume (introduced by a "stotra" to Her Spouse the Klabhairava) are taken from the Tantra, Pura, Mahbhrata, and ankarcrya, who was "the incarnation of devotion" (bhaktvatra) as well as a great philosopher; a fact which is sometimes ignored by those who do not wish to be reminded that he, whose speculative genius they extol, was also the protagonist of the so-called "idolatrous Hinduism." As his great example amongst many
p. viii
others of differing race and creed tell us, it is not, from the view of religion, the mark of discernment (even though it be the mode) to neglect or disparage the ritual practice which all orthodoxies have prescribed for their adherents. "Stava" and "puj" are doubtless the "sdhana" appropriate to the first of the several stages of an ascent which gradually leads away from them; but they are in general as necessary as the higher ones, which more immediately precede the attainment of "brahmabhva" and "siddhi".
Apart, however, from this aspect of the matter, and to look at it from the point of view of that modern product, the mere "student of religions," who is not infrequently a believer in none, a knowledge of ritual (to use that term in its widest sense) will help to a greater and more real understanding of the "mahvkya" of the ryas than can be gained from those merely theoretical expositions of them which are now more popular. Those, again, whose interests are in what Verlaine called "mere literature" will at least appreciate the mingled tenderness and splendour of these Hymns, even in a translation which cannot reproduce the majesty of the sanskrit lokas of the Tantra and Pura, or the rhyme and sweet lilting rhythms of ankara.
Of the Hymns now published, those from the Mahbhrata and Cand have already been translated; the first, in the English edition of the Mahbhrata, by Protap Chandra Roy and by Professor Muir in his "Original Sanskrit Texts," and the second by Mr. Pargiter, whose rendering of the Mrkaeya Pura (of which it is the most celebrated portion) has been printed by the Asiatic Society of Bengal.
p. ix
[paragraph continues] dyklisvarpastotra has also been previously published as part of a rendering by myself of the Mahnirva Tantra. The first two sets of Hymns have been translated afresh. In the translation of such works a Sanskrit dictionary (however excellent) is not either a sufficient or reliable guide. It is necessary to study the Hindu commentators and to seek the oral aid of those who possess the traditional interpretation of the "stra". Without this and an understanding of what Hindu worship is and means, absurd mistakes are likely to be made. I have thus, in addition to such oral aid, availed myself of the Commentaries of Nlakanha on the Mahbhrata, of Gopla Chakravarti and Ngog Bhatta on Cand, and of Nlakantha on the Devbhgavata. As regards the Tantra, the great Sdhana str, nothing which is of both an understanding and accurate character can be achieved without a study of the original texts undertaken with the assistance of the Tntrik gurus and pandits, who are the authorized custodians of its traditions.
The other "stotras" are now rendered in English for the first time; at least, I have come across no translation of them.
The text of the Tantrasra which has been used is that edited by Shrjut Rasik Mohun Chatterjee. It is not free from faults, which have necessitated reference to other Manuscripts. A more correct text of the Trshtakam, from the Nla Tantra, is given in the Brihatstotraratnkara, to which reference has also been made for the hymns of Vlmki and Indra.
Both Ellen Woodroffe and myself have collaborated in the translation of the hymns by ankara. For the
p. x
rest, as also for the Introduction and Commentary, I am alone responsible. Some of the notes deal with matter familiar enough to the Hindu reader but have been inserted for the use of his English friends. Other portions of the commentary will, I believe, be found to be of use to both.
John Woodroffe
\"March 1, 1913"
