Bala Mediation

Nivasatu Hridi Bala Nitya Kalyana Seela (Bala Meditation guide) Srividya uapasana is found everywhere throughout the world. People want everlasting happiness in life. They try many ways and finally land on the spiritual methods. Initially they find the Vedas and daily practices, further they read and try to understand through Vedanta’s- the Upanishads. These methods are intellectual with no sight of the real experience. So they search for a Guru and surrender to him. He instructs them on the time-tested, sure to bear fruit method, called the Srividya. The experience of the nature of the entire universe as a play of the Siva and sakthi and that every thing is in the form of Siva and sakthi is the goal of Srividya. This leads to an unlimited experience of bliss. In this path of Srividya there are many steps like Japa, Pooja, homa, dhayna, Samadhi. Of these Japa is the foremost and the first step instructed to an aspirant. The mantras of Ganapathy and Bala along with guru paduka are the first set of mantras initiated to the aspirant by the Guru. Many Tantras are unified in declaring that the mantra of Bala is of three letters. (Aim kliim sauh). The eighteen siddas of the yore also practised the Bala mantra in their own way by chanting ‘ayum kiliyum chauum’ and attained the eight siddhis. Their practical verbatim in Tamil language runs ‘there is no more nourishing food other that milk; there is no more deity above Bala’. The sages of the yore on finding that this mantra being utmost beneficial and easily approached by all for the siddhi cast a curse on it and locked away the powers of this mantra. They have also revealed procedures for lifting this curse and unlocking the powers hidden in this mantra, which are revealed in the Tantras. By tradition the Bala mantra is initiated as a six letters. This is derived by adding the reverse order of the above three letters in the end of the aforesaid mantra (Aim kliim sauh sauh kliim aim). This mantra is devoid of any curse of lock on the powers. Later when the uapasana progresses the Srividya Pancadasi mantra is imparted to the aspirant. Then this Bala mantra takes the form of the Yoga Bala mantra – the Anga mantra (primary attendant) of the pancadasi mantra. There the mantra has a nine letter form which is derived by adding the three letters of the first said Bala, which is in the normal order, after the above six letter mantra.( (Aim kliim sauh sauh kliim aim Aim kliim sauh )This

mantra is not chanted as such by most of Upasakas, the number to be chanted is one-tenth of the Srividya pancadasi mantra’s count.

Bala and Katapayadi number secret code: The katapayadi secret code is as follows: ka denotes the number one, kha two, ga three, gha four, Gna five, ca six, cha seven, ja eight, jha nine and ghna zero, the same number order for the letters from ta, pa and ya. In this order we find that ‘ba’ is three and ‘la’ is also three. The first inference from this that is the code identifies the number of bijaskharas in the Bala mantra namely three. Since there are two three’s for ‘ba’ and ‘la’ , adding these we find number of bijaskhra’s in the Bala mantra(six) imparted by tradition. Multiplying them we find the number of bijaskhara’s (nine) in the anga Bala (Yoga Bala) of Pancadasi. Subtracting them we find zero, which in Sanskrit is denoted as ‘pujya’, which can also be translated as ‘worthy of worship’. Hence inferred that ‘Bala’ is worthy of worship. Dividing them we get one, which denotes ‘ekam sat viprah bahuta vadanti’ -the Brahman which pervades this entire universe. Bala is in the form of ganesa/graha/nakshatra /yogini/ pita/ rasi Placing both the three’s side by side we get thirty three, the number of divine beings in the devaloka, The eleven rudras, twelve adityas, eight vasu and asvini duo make up the divine pantheon ( 11+12+8+2=33). Each of these groups is also denoted as gana. We thus find the ‘Bala’ is ganesa rupini. As seen in the first paragraph multiplying both three’s we find nine, the number of planets in the skies as per tradition, Hence ‘Bala’ is graha rupini In the above calculation multiplying three thrice we find twenty seven the number of stars (nakshatras), so ‘Bala’ is nakshatra rupini Adding the two threes’ we find six the number of yogini’s (hakini etc.) in the six body cakras, therefore ‘Bala’ is yogini rupini When we multiply the first two three’s and add the third three ({3X3} +3 =12) we find twelve the number of rasi’s (zodiac signs), so ‘Bala’ is rasi rupini. The number three denotes the main three pitas (seats of divine powers) kamagiri, purnagiri and jalandhara. Hence ‘Bala’ is pita rupini.

The essence of the above is that Bala is all pervasive and our constant japa with full belief on our guru imparted mantra is the sure road to the goal of self realisation. Bala is matruka : In the daily ritual of nyasa, the barest minimum requirement is matruka nyasa- both outer (bahir) and inner (antar). In the antar matruka nyasa for svadhitana we find the ‘Ba’ in the starting letter, and ‘la’ is the final letter. Hence it is clear that the word ‘Bala’ is formed from the first and last letters of this charka. Thus we infer that Bala is the presiding deity of this charka. Sva + adhistana- one’s own + abode (original seat) is the translation of the name of the charka. We can now admire that Sri Bala also takes the form of the yogini of this charka –kakini. This is the first place of entry of the cit sakthi kundalini from her basal abode muladhara. The Upastha (genitals) –organ for enjoyment is associated with is charka. Summing up we find that Bala is the foremost, Blissful, Primordial energy, Sri Lalitha in her child hood form. In the fifteen nitya devis we find the mantra of vijaya, the twelfth nitya, as ‘bh m r y oom’. It is amazing to see that the consonants in this mantra are between ‘ba’ and ‘la’ and ‘oom’ is placed in the left ear, which is indicative of sakthi pradhanya(left) and tradition(ear-karnaat karnopadesena sampraptam avaneetalam’). Parasurama also gives this as the first mantra during deeksha, ‘vijaya’ means ‘vi’-special and ‘jaya’- victory, the special victory is the atma labha(jaya). So this mantra can be meditated as an expansion of ‘bala’. In the bahir (outer) matruka nyasa ‘Ba’ is placed in the stomach and ‘la’ in the back of neck. Stomach is the organ for digesting the food received, thus absorbing the nutrients needed for the body and rejecting the unwanted. This indicates that we have to imbibe the main idea that the whole world is in the form of the divine couple, rejecting the idea of dualism. The back of neck is the medical part called ‘Medulla oblongata’, the controller of our involuntary movements like breathing, heart beat, etc. This is the main area of the control in the living system. Linking the above we find the perception that the whole world is the play of the divine couple should be our daily breath. In the tatva parayana each tatva is associated with a matrukakshra. ‘a’ for siva, ‘ka’ for sakthi, ‘kha’ for sadasiva etc up to ‘ksha’ for prthvi. The vowels ‘aa’ to ‘ah’ are explaining the splendour of siva tatva. ‘aa’ is Ananda sakthi ‘i’ is ichha sakthi, ‘I’ is Ikshana etc. ( see

paratrisikha for further details) In this order we find ‘ba’ is pada tatva, ‘la’ is rupa tatva and the vowel in both ‘aa’ is Ananda. ‘Pada’ is the organ for locomotion and hence is figurative of a path. Summing up we find the path to the Ananda rupa of Atma is ‘Bala’. As seen above both ‘ba’ and ‘la’ are the third of the tatvas, correspondingly the third of dasamahavidya is sodasi or Srividya so she is the root of this maha mantra. The third mahabhuta also is agni. Since Tripurabhairavi of the Dasamahavidyas is fiery and denotes tapas, we can admire that the bala mantra forms the basis of the Tripurabhairavi and her expansion as tripura sundari (sodai) of the Dasamahavidyas. The meaning of Bala mantra: The meaning of Bala mantra has been explained in many ways by our revered teachers. The first Vagbhava Bija is a vowel ‘Aim’- which can be split up as ‘a’ + ‘i’ + ‘a’ + ‘m’. The first ‘a’ represents the Rig-Veda starting with ‘agni miide..’ and its essence in the mahavvakya ‘pragynanam Brahma’ ; ‘i’ the yajur veda starting with ‘ishetvorje..’ and its essence in the mahavakya ‘aham brahmaasmi’; ‘a’ the sama veda starting with ‘ agna aayaahi..’ and its essence the mahavakya ‘ tatvamasi’ and ‘m’ the atharva veda starting with ‘sanno devi..’(Sam + Na :) and its essence the mahavakya ‘ayamaatmaa Brahma’. Thus this indicates first stage of the aspirant, in search of the unlimited bliss, which is the surrender to a guru, imparting the mahavakyas and showing a path for sadhana. The second Kamaraja Bija is ‘kliim’ can be split as ‘k’+ ‘l’ + ‘iim’. ‘k’ indicates sakthi tatva, ‘la’ the prthvi (earth) tatva . Since siva tava is inherent in sakthi tatva we find that this represents the complete 36 tatvas. ‘iim’ is the kamakala tatva the cause of the whole creation by heavy penance. This is the further development of sadhana as indicated by a Pooja paddhati instructed by the Sri Guru. 36 tatvas indicate the tatva sodhana , the kamakala indicate the kamakala dhayna in the Pooja paddhati. The final Bija is ‘sauh’ which can be split as‘s’+ ‘au’ + ‘h’. ‘s’ represents the thirty one tatvas from prthvi to maya; ‘au’ the suddha Vidya, isvara and sadasiva ; ‘h’ the visarga the sakthi and siva tatvas. Thus this is a miniature universe of all the 36 tatvas. ‘s’ is the letter for sakthi, the universal creatrix, ‘h’ the visarga the created universe and ‘au’ the equalising factor which shows their singular identity ( between the Creatrix and the

universe). This final bija can be inferred as the zenith of sadhana wherein on constant practice as instructed by the Sri Guru the aspirant enjoys unlimited bliss on understanding the this universe is the play of siva sakthi. Bala in LalithOpakhyana: LalithOpakhyana is the final part of the last of the eighteen purana – the Brahmanda purana. Therein we find a descriptive narrative of the tale of Sri Lalitha deviBhandasura’s origin, his conquest, devas yaga, the emergence of Sri Lalitha from the citagni kunda, creation of her army, destruction of the forces and of Bhandasura, creation of Srinagra etc. In the middle we find that Bhandasura deputes his 30 sons to fight the sakthi army. Here we find Sri Bala suddenly, out of the blue, her emergence is hidden. She requests permission to fight the son’s of Bhandasura, rides her chariot drawn by swans (karni ratha) and slays them by the Narayanastra. This is praised by the vasini vagdevatas in the Lalitha sahasranama as ‘Bhanda putra vadothyuktha Bala vikrama nanadita’. The thirty sons of Bhandasura represent the stain caused by the activities of the five organs for knowledge and the five organs for action (total ten) in the three states (waking, sleep and deep sleep). The stain is the limited knowledge that the individual is separate. Bala represents the action packed knowledge of the unlimited Bliss removing the notion of individual consciousness. Bala meditation guide: The usual mediation verse ‘Aruna kirana jalaih..’ is imparted to the most aspirants. Sri Bala is described as of red effulgence engulfing the universe, holding a book, rosary (made of sapthika) , the gestures of dispelling fear and granting boons, seated on the red lotus with a prayer to occupy the aspirant’s heart. While doing japa aspirant is instructed to meditate on the form while chanting the bijas. A method is suggested herewith, by the grace of the Sri Guru, on this procedure. Initially while chanting ‘Aim’ meditate on the upper hand holding the rosary and book of white hue. ‘Kliim’ can be meditated as the lower arms showing the gestures of dispelling fear and granting boons of red hue. ‘Sauh’ can be meditated on the total form of the devi especially the feet of golden hue. This is the procedure for the upasaskas of the three bija Bala mantra.

The six bija Bala mantra upasakas can further meditate thus. While repeating ‘Sauh’ meditate on the feet and that the individual merges in it by the grace of the Sri Guru. While repeating ‘Kliim’ (in the meaning of the mantra above ‘kliim’ is the universe) meditate as pervading the universe, which is the body of the devi. Finally while repeating ‘Aim’ (‘Aim’ is written as a triangular letter in Sanskrit- triangle represents the yoni - the source of creation – the para siva tatva) meditate as being absorbed in the source of creation which is the parasiva tatva. Thus a dhayna Samadhi can be experienced by the aspirants chanting the six bija Bala mantra. Further dhayna can be done by the nine bija Bala upasakas as thus: While repeating ‘Aim’ meditate on the creation of the universe from above the parasiva tatva , ‘kliim’ can be mediated as the creation of this subtle and palpable universe and finally ‘sauh’ can be meditated as play of the siva sakthi in the above expanded universe. This is dedicated to the lotus feet of the Sri Guru who is the unseen guiding spirit in the road of Sadhana

Bālāmantra Japa बबालबामन्ततर जप (This is the simple way of doing Bālāmantra Japa)

Seating: While doing this mantra japa, one has to either face East or North. If one does not have a guru, contemplate on Lord Dks iṣ n āṣ mūrti and mentally accept Him as Guru. 1. Curse removal mantra: बबालबामन्ततरजपत्ववेन शबापववममोचनमन्ततरर कवरष्यवे। bālāmantrajapatvena śāpavimocanamantraṁ karis ṣye। हसस हसकररर हसस hasaiṁ hasakarīṁ hasaiṁ (to be recited 100 times before the commencement of daily japa. The recitation of this mantra can be dispensed with after reciting 100 times for the first few days.) 2. Rṣs ṣyādi nyāsahऋष्यबावद न्यबासस ṣ अस्य शतरर बबालबावततरपपरसपन्दरर महबा मन्ततरस्य। वदद्क्षिणबाममवतर ऋवषस। पवङङतछन्दस। बबालबावततरपपरसपन्दरर दवेवतबा॥ asya śrī bālātripurasundarī mahā mantrasya dks ṣin ṣāmūrti r ṣs iṣ h ṣ|(open the right palm and touch the top of the forehead)| paṅktichandah ṣ (right palm on the mouth)| bālātripurasundarī devatā(right palm on the heart chakra)॥ ऐर बरजर। ससस शवङतस। ङलरर करलकमत॥ शतरर बबालबावततरपपरसपन्दरर दशरन भबाषण वसदध्यरर जपवे वववनयमोगस॥ aiṁ bījaṁ (right shoulder)| sauh ṣ śaktih ṣ (left shoulder)| klīṁ kīlakam (on the navel)|| śrī bālātripurasundarī darśana bhās ṣan ṣa siddhyarthe jape viniyogah ṣ (open both the palms and run them over all parts of the body; from head to feet)|| 3. Karanyāsah ṣ करन्यबासस ऐर - अङगपष्ठबाभ्यबामत नमस। aiṁ - aṅgus ṣt ṣhābhyām namah ṣ| (use both the index fingers and run them on both the thumbs) ङलरर - तजरनरभ्यबार नमस। klīṁ - tarjanībhyāṁ namah ṣ| (use both the thumbs and run them on both the index fingers) ससस- मध्यमबाभ्यबार नमस। sauh ṣ- madhyamābhyāṁ namah ṣ| (both the thumbs on the middle fingers) ऐर - अनबावमकबाभ्यबार नमस। aiṁ - anāmikābhyāṁ namah ṣ| (both the thumbs on the ring fingers) ङलरर - कवनष्ठरकबाभ्यबार नमस। klīṁ - kanis ṣt ṣhīkābhyāṁ namah ṣ| (both the thumbs on the little fingers)

ससस - करतलकरपपष्ठबाभ्यबार नमस। sauh ṣ - karatalakarapr ṣs ṣt ṣhābhyāṁ namah ṣ| (open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm) 4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस ऐर- ह्र्दयबाय नमस। aiṁ - hrdayāya namah ṣ| (open index, middle and ring fingers of the right hand and place them on the heart chakra) ङलरर - वशरसवे स्वबाहबा। klīṁ - śirase svāhā| (open middle and ring fingers of the right hand and touch the top of the forehead) ससस - वशखबायय वषटत । sauh ṣ - śikhāyai vas ṣat ṣ| (open the right thumb and touch the back of the head. This is the point where tuft is kept) ऐर - कवचबाय हप। र aiṁ - kavacāya huṁ| (cross both the hands and run the fully opened palms from shoulders to finger tips) ङलरर - नवेतरत ततरयबाय वसषटत । klīṁ - netratrayāya vaus ṣat ṣ| (open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger. ससस - अस्ततरबाय फटत ॥ sauh ṣ - astrāya phat ṣ|| भमभरवप स्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ||

5. Dhyānam ध्यबानमत रङतकलबाम्बरबार चन्दतरकलबावतर सबार समपद्यदबावदत्यवनभबार वततरनवेतरत बार। ववद्यबाद्क्षिमबालबाभयदबामहस्तबार ध्यबायबावम बबालबामरुणबाम्बपजस्रबामत॥ raktakalāmbarāṁ candrakalāvataṁ sāṁ samudyadādityanibhāṁ trinetrāṁ| vidyāks ṣamālābhayadāmahastāṁ dhyāyāmi bālāmarun ṣāmbujasthām|| (Meaning of dhyāna verse for easy contemplation of Her form: I meditate upon the Bālā Devi, clad in red garments whose forehead is decorated with a crescent moon, who has three eyes, whose brilliance is like that of the rising sun, who is seated on a red lotus and who holds in her four bands a sacred book, rosary, abhaya and varada mudras.) 6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa)

लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi| haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi| yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi| raṁ - agnyātmikāyai dhīpaṁ darśayāmi vaṁ amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi | saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi|| 7. Bālā mantrah ṣ बबालबा मन्ततरस There are three types of Bālā mantra-s and they are known by different names. One has to choose any one of the following. Out of the three, Bālā navāks ṣarī mantra is very powerful and is the best mantra for recitation. It is capable of giving material comforts. The three syllable mantra is related to herbs. Those who make sacred herbal medicines should recite this mantra. The second six syllable mantra is capable of providing liberation from transmigration. 1. Bālā mantra consists of three bījāks ṣara-s – ॐ - ऐर - ङलरर – ससस (om - aiṁ - klīṁ - sauh ṣ) 2. Bālātripurasundarī mantra consists of six bījāks ṣara-s - ॐ - ऐर - ङलरर - ससस -- ससस - ङलरर – ऐर (om - aiṁ - klīṁ - sauh ṣ -- sauh ṣ - klīṁ - aiṁ) 3. Bālā navāks ṣarī mantra - ॐ - ऐर - ङलरर - ससस -- ससस - ङलरर - ऐर -- ऐर - ङलरर – ससस (om - aiṁ - klīṁ - sauh ṣ -- sauh ṣ - klīṁ - aiṁ -- aiṁ - klīṁ - sauh ṣ) 8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस ऐर- ह्र्दयबाय नमस। aiṁ - hrdayāya namah ṣ| ङलरर - वशरसवे स्वबाहबा। klīṁ - śirase svāhā| ससस - वशखबायय वषटत । sauh ṣ - śikhāyai vas ṣat ṣ| ऐर - कवचबाय हप। र aiṁ - kavacāya huṁ|

ङलरर - नवेतरत ततरयबाय वसषटत । klīṁ - netratrayāya vaus ṣat ṣ| ससस - अस्ततरबाय फटत ॥ sauh ṣ - astrāya phat ṣ|| भमभरवप स्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ|| 9. Dhyānam ध्यबानमत रङतकलबाम्बरबार चन्दतरकलबावतर सबार समपद्यदबावदत्यवनभबार वततरनवेतरत बार। ववद्यबाद्क्षिमबालबाभयदबामहस्तबार ध्यबायबावम बबालबामरुणबाम्बपजस्रबामत॥ raktakalāmbarāṁ candrakalāvataṁ sāṁ samudyadādityanibhāṁ trinetrāṁ| vidyāks ṣamālābhayadāmahastāṁ dhyāyāmi bālāmarun ṣāmbujasthām|| 10. Pañcapūjā पञ्चपमजबा लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi| haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi| yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi| raṁ - agnyātmikāyai dhīpaṁ darśayāmi vaṁ amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi | saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi|| 11. Samarpan ṣam समपरनमत गपहबावतगपहगमोप्ततरर त्वर गपहबाणबास्मबात्कपतर जपमत। वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥ Guhyātiguhyagoptrī tvaṁ gr ṣhān ṣāsmātkr ṣtaṁ japam| Siddhirbhavatu me devi tvatprasādānmayi sthirā|| (Meaning: You sustain the secret of all secrets. Please accept this japa performed by me and bestow Your perpetual Grace on me.)

Śrī saubhāgyavidyā pañcadaśākṣarī mantra japaḥ शतरर ससौभबाग्यवविदबा पञ्चदशबाक्षरर मन्ततर जपप 1. Curse removal mantra: Śrī saubhāgyavidyā pañcadaśāks ṣarī mantra japatvena śāpavimocanamantram karis ṣye | शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततर जपत्ववेन शबापववममोचनमन्ततरमत कवरष्यवे। First Part – should be recited seven times: ई ए क ल हतररर ī e ka la hrīṁ ह स क ह ल हतररर ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ Second Part – should be recited three times: ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ ई ए क ल हतररर ī e ka la hrīṁ Third Part – should be recited one time. ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a 2. Rṣs ṣyādi nyāsahऋष्यबावद न्यबासस ṣ Asyaśrī Śrī saubhāgyavidyā pañcadaśāks ṣarī Mahāmantrasya । Śrī Daks ṣin ṣāmūrti r sṣ ṣih ṣ | Gāyatrī chandah ṣ । Śrī Lalitāmahātripurasundari Parābhat tṣ āṣ rikā Devatā | aiṁ - ka e ī la hrīṁ bījaṁ | klīṁ - ha sa ka ha la hrīṁ śaktih ṣ | sauh ṣ - sa ka la hrīṁ kīlakam || Śrī

Lalitāmahātripurasundari

Parābhat ṣt ṣārikā

darśana

bhās ṣan ṣa

siddhyarthe

Śrī

Saubhāgyavidyā Pañcadaśāks ṣarī Mahāmantra jape viniyogah ṣ || अस्यशतरर शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततरस्य । शतरर दवद्क्षिणबाममवतर ऋवषस । गबायततररच्छत न्दस। शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दवेवतबा । ऐर - क ए ई ल हतररर बरजर। ङलरर - ह स क ह ल हतररर शवङतस। ससस - स क ल हतररर करलकमत॥ शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दशरन भबाषण वसदध्यरर शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततर जपवे वववनयमोगस॥ 3. Karanyāsah ṣ करन्यबासस aiṁ - ka e ī la hrīṁ aṅgus ṣt ṣhābhyām namahऐरṣ - क ए ई ल हतररर अङगपष्ठबाभ्यबामत नमस (use both the index fingers and run them on both the thumbs)

klīṁ - ha sa ka ha la hrīṁ tarjanībhyāṁ namah ṣ ङलरर - ह स क ह ल हतररर तजरनरभ्यबार नमस (use both the thumbs and run them on both the index fingers) sauh ṣ - sa ka la hrīṁ madhyamābhyāṁ namah ṣ ससस - स क ल हतररर मध्यमबाभ्यबार नमस (both the thumbs on the middle fingers) aiṁ - ka e ī la hrīṁ anāmikābhyāṁ namah ṣ ऐर - क ए ई ल हतररर अनबावमकबाभ्यबार नमस (both the thumbs on the ring fingers) klīṁ - ha sa ka ha la hrīṁ kanis ṣt ṣhīkābhyāṁ namahङलरर ṣ - ह स क ह ल हतररर कवनष्ठरकबाभ्यबार नमस (both the thumbs on the little fingers) sauh ṣ - sa ka la hrīṁ karatalakarapr ṣs ṣt ṣhābhyāṁ namah ससस ṣ - स क ल हतररर करतलकरपपष्ठबाभ्यबार नमस (open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm) 4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस aiṁ - ka e ī la hrīṁ hrdayāya namah ṣ| ऐर - क ए ई ल हतररर ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra – center of the chest) klīṁ - ha sa ka ha la hrīṁ śirase svāhā ङलरर - ह स क ह ल हतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead) sauh ṣ - sa ka la hrīṁ śikhāyai vas ṣatससस ṣ - स क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept) aiṁ - ka e ī la hrīṁ kavacāya huṁ ऐर - क ए ई ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips) klīṁ - ha sa ka ha la hrīṁ netratrayāya vaus ṣat ङलरर - ह स क ह ल हतररर नवेतरत ततरयबाय वसषटत (open ṣ the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.) sauh ṣ - sa ka la hrīṁ astrāya phat ससस ṣ - स क ल हतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand) भमभरवप स्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ|| (by using right hand thumb and middle fingers make rattle clockwise around the head) 5. Dhyānam ध्यबानमत sakumṣkuma-vilepanāmṣ alika-cumbi-kastūrikāmṣ samanda-hasiteks ṣan ṣām saśara-cāpa-pāśāṅkuśa।

aśes ṣa-jana-mohinīmṣ arun ṣa-mālya-bhūs āṣ mṣbarāmṣ japā-kusuma-bhāsurāmṣ japavidhau smaredamṣbikām ॥ सकपर कप म-ववलवेपनबार अवलक-चपवम्ब-कस्तमवरकबार समन्द-हवसतवेद्क्षिणबामत सशर-चबाप-पबाशबारकपशबामत । अशवेष-जन-ममोवहनरर अरुण-मबाल्य-भमषबारबरबार जपबा-कप सपम-भबासपरबार जपववधस स्मरवेदवर बकबामत ॥ The meaning of this verse is: She is anointed with kumkum and vermilion, which gives a pleasant fragrance, towards which bees are attracted. She looks at Her devotees with a benignant smile. She holds in Her hands bow and arrow, two weaponries. She attracts everybody; which means everybody is attracted to Her irrespective of being Her devotee or not. She is wearing a red garland made out of special sandal wood. Excellent ornaments adore Her and She has the complexion like a hibiscus flower. One has to meditate on this form of Lalitāmbikā during japa time. {sakumṣkuma – with kumkum; vilepanāmṣ – anointing; alika + cumbi – attracted by bees; kastūrikāmṣ –vermilion; samanda + hasita + eks ṣan ṣām (samanda-hasiteks ṣan ṣām)– benignant+ smile + looks; saśara – with arrow; cāpa – bow; pāśa – a weapon; aṅkuśa – a weapon (these two weapons are already discussed in second śloka); + aśes ṣa + jana + mohinīm – attracts people without exception; arun ṣa – red; mālya – a type of sandal wood from Malaysian mountains; bhūs ṣa - ornaments; aṁbarām – without the use of magical feats or incantations (attractions by sheer presence); japā-kusuma – red hibiscus flower; bhāsurām – decorated; japa + vidhau – as per the rules of japa or mantra chanting; smared + ambikām – think about Her.} 6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa) laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi| haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi| yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi| raṁ - agnyātmikāyai dhīpaṁ darśayāmi | vaṁ - amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi | saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi|| लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम।

यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर - अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ 7. Śrī saubhāgyavidyā pañcadaśāks ṣarī Mahā Mantrah ṣ शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबा मन्ततरस ॐ ऐर हतररर शतररर ऐर - क ए ई ल हतररर ङलरर - ह स क ह ल हतररर ससस - स क ल हतररर om aiṁ hrīṁ śrīṁ aiṁ - ka e ī la hrīṁ klīṁ - ha sa ka ha la hrīṁ sauh ṣ - sa ka la hrīṁ (First line -- om is pran ṣava; aiṁ hrīṁ śrīṁ - this is known as tritārī. Second, third and fourth lines consist of three bīja-s of Bālā mantra followed by three kūt ṣā-s of Pañcadaśī mantra. For example, in second line aiṁ is the first bīja of Bālā mantra which is followed by first kūt ṣā of Pañcadaśī mantra.) 8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस (same as per 4 above) aiṁ - ka e ī la hrīṁ hrdayāya namah ṣ| ऐर - क ए ई ल हतररर ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra – center of the chest) klīṁ - ha sa ka ha la hrīṁ śirase svāhā ङलरर - ह स क ह ल हतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead) sauh ṣ - sa ka la hrīṁ śikhāyai vas ṣatससस ṣ - स क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept) aiṁ - ka e ī la hrīṁ kavacāya huṁ ऐर - क ए ई ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips) klīṁ - ha sa ka ha la hrīṁ netratrayāya vaus ṣat ङलरर - ह स क ह ल हतररर नवेतरत ततरयबाय वसषटत (open ṣ the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.)

sauh ṣ - sa ka la hrīṁ astrāya phat ससस ṣ - स क ल हतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand) भमभरवप स्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ||

(by using right hand

thumb and middle fingers make rattle anticlockwise around the head) 9. Dhyānam ध्यबानमत (same as 5 above) sakumṣkuma-vilepanāmṣ alika-cumbi-kastūrikāmṣ samanda-hasiteks ṣan ṣām saśara-cāpa-pāśāṅkuśa। aśes ṣa-jana-mohinīmṣ arun ṣa-mālya-bhūs āṣ mṣbarāmṣ japā-kusuma-bhāsurāmṣ japavidhau smaredamṣbikām ॥ सकपर कप म-ववलवेपनबार अवलक-चपवम्ब-कस्तमवरकबार समन्द-हवसतवेद्क्षिणबामत सशर-चबाप-पबाशबारकपशबामत । अशवेष-जन-ममोवहनरर अरुण-मबाल्य-भमषबारबरबार जपबा-कप सपम-भबासपरबार जपववधस स्मरवेदवर बकबामत ॥ 10. Pañcapūjā पञ्चपमजबा (same as 6 above) laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi| haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi| yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi| raṁ - agnyātmikāyai dhīpaṁ darśayāmi | vaṁ - amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi | saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi|| लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर - अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ 11. Samarpan ṣam समपरनमत guhyāti guhya goptrī tvaṁ gr ṣhān ṣāsmat-kr ṣtaṁ japam| siddhirbhavatu me devi tvatprasādānmayi stirā|| गपहबावत हपह गमोप्ततरर त्वर गपहबाणबास्मतत-कपतर जपमत।

वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥ (Meaning: You sustain the secret of all secrets. Please accept this japa performed by me and bestow Your perpetual Grace on me.)

Mahās oṣ d ṣaśī mantra is formulated like this. First line: om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ (ॐ शतररर हतररर ङलरर ऐर ससस) Place śrī bīja, then place māyā bīja, then kāma bīja, then vāgbhava bīja and finally parā bīja. Thus the first line of this mantra is formed. There is a common doubt whether to include ॐ in the beginning or not. Any mantra should start with ॐ. Kulārn ṣava Tantra (XV.57) says that not beginning a mantra without ॐ causes impurity of birth. Further, Chāndogya Upanis ṣad begins by saying “om iti etat aks ṣaram udgītham upāsīta ॐ इवत एततत अद्क्षिरमत उदगररमत उपबासरत”. This means “this ॐ is closest to Brahman and recite this syllable as part of your worship”. And above all, the three Vedas begin with ॐ. Going by the interpretation of Chāndogya Upanis ṣad, ॐ at the beginning refers to Brahman. Mān ṣd ūṣ kya Upanis aṣ d (1) also says thatॐ is both the cause and the effect. Therefore, ॐ should be prefixed to mahās ṣod ṣaśī mantra, without which the mantra becomes ineffective. Further reasoning is given while discussing sauh ṣ*.

Next to ॐ is śrīṁ (शतररर), which is known as śrī bīja or Laks ṣmī bīja. This is the most important bīja of mahās ṣod ṣaśī mantra, as by adding this bīja, the fifteen lettered Pañcadaśī becomes sixteen lettered S ṣod ṣaśī mantra. Bīja śrīṁ is capable of providing auspiciousness. It promotes positive attitude and positive growth in the mind of the aspirant. This bīja is the root cause for faith, devotion, love and ultimate surrender unto Her. First, one has to have to faith in divinity. This faith later transforms into devotion. When the devotion is strong, it turns into Love for Her. This love alone makes the aspirant to surrender unto Her. As śrī bīja is the cause for surrender unto Her, it leads the aspirant to liberation. Śrīṁ comprises of three letters śa + ra + ī + nāda + bindu (dot) (श + र + ई and वबन्दप), where śa refers to Mahālaks ṣmī (Goddess of wealth), ra refers to wealth; ra bīja is also known as agni bīja and is capable of offering supernatural powers. Nāda is Consciousness about to manifest as the universe. It also means subtle sound. This can be best explained by ṁ. There is no other way to explain this. It is like humming nasal sound. The sound made after closing both the lips is nāda. Without nāda, bindu cannot be effective as bindu cannot be pronounced separately. Nādabindu refers to the union of Śiva and Śakti, where Nāda means Śakti and bindu means Śiva. The dot (bindu) above this bīja removes sorrows and negative energies in the mind of the aspirant.

Based on this

fact, it is said that S ṣod ṣaśī mantra is capable of offering liberation or moks ṣa. It is also said, “S ṣod ṣaśī mantra kevalaṁ moks ṣa sādhanam”, which means that S ṣod ṣaśī mantra offers only liberation, which is the ultimate goal of everyone. Since liberation is not attainable that easily, S ṣod ṣaśī mantra is said to be highly secretive in nature. Next to शतररर is hrīṁ हतररर, which is also known as māyā bīja. This is the combination of three letters ha + ra + ī and nāda and bindu (ह + र + ई + nāda + bindu. Ha refers to Divine Light of Śiva which also encompasses prān ṣa and ākāśā, two important principles without which we cannot exist. The second component of hrīṁ is ra ( र) which is also known as agni bīja. To the properties of ha, now the properties of ra are added. Properties of ra are fire (the fire that is needed for our sustenance), dharma (Agni is known for dharma) and of course agni, itself. It is said that when sun sets, it hands over its fire to Agni and takes it back when the sun rises again next day. Thus Agni also becomes a sustainer, like the sun. Śiva is also known as Prakāśa, the original divine Light. Third of part of hrī ṁ is ī which focuses the aspirants energy and motivate him to pursue the path of dharma. Nāda

refers to Universal Mother (the one who reflects the Light of Śiva to the world and She is also known as Vimarśa, meaning reflection, intelligence, etc) and the bindu (dot) is the dispeller of sorrow, which actually means dispelling innate ignorance, the reason for our sorrows. Hrīṁ हतररर is also known as Bhuvaneśvarī bīja. Bhuvana means the earth and Īśvarī means the ruler. She is known as Bhuvaneśvarī because, She rules the earth. Ha means Śiva and ra means Prakr ṣti (which can be explained as Nature or original substance. Lalitā Sahasranāma 397 is Mūlaprakr ṣtih ṣ, which is explained here). Ī means Mahāmāya, the Divine Power of illusion. Nāda means Śrī Mātā, the Universal Mother. The dot, known as bindu is the dispeller of sorrows. Therefore, hrīṁ can also be explained thus: Śiva (ha) and Śakti (ra) unite to cause creation (nāda) making a person afflicted with illusion. This illusion can be removed by both of them, if an aspirant contemplates them and this removal ignorance is done through bindu or dot. Next to hrīṁ हतररर is klīṁ ङलरर, which is known as kāma bīja. This bīja draws divine energy towards the aspirant. It acts like a magnet. This bīja is known as power of attraction. Kāma here does not mean lust, but means the desire to get into the state of Bliss (one among the four purus ṣārtha-s. Four purus ṣārtha-s are dharma, artha, kāma and moks ṣa). It completes the process of desire to attain Her. Attaining Her and entering into the state of Bliss go together. It increases the level of devotion. This bīja has got three parts – ka + la + am. Ka refers to desire to achieve Her Grace, la refers to contentment in one’s life, which reduces our desires and attachments and am gives happiness and joy. There are interpretations that ka also refers to Lord Kr sṣ ṣn ṣa. It is the bīja through which Śiva shows His Love for Her. In the above three bīja-s, kāmakalā īṁ (ई)र is hidden. Kāmakalā can be explained through the innermost triangle of Śrī Cakra around the bindu (the innermost dot in Śrī Cakra). This dot represents Mahākāmeśvara-Mahākāmeśvari who are identical in all respects. They are seated in this dot, known as bindu. From the bindu, because of their union, creation takes place, resulting in the innermost triangle. The three sides represent Prakāśa (Light of Śiva), Vimarśa (diffusion of the Light of Śiva done by Śakti) and third side of the triangle represents “I am” and “this” (aham and idam). Thus, because of kāmakalā, these bīja-s become capable of creation.

Next to ङलरर is aiṁ ऐर, which is known as vāgbhava bīja. It is the bīja of Sarasvati, Goddess of Knowledge. It has two parts ai + ṁ. ṁ also acts as the dispeller of sorrow. This bīja also represents one’s Guru, who is the dispeller of ignorance and as a result of this bīja, one attains the highest spiritual knowledge. It also adds motivation, will power and dedication to the aspirant. This bīja is the cause for spiritual intellect (buddhi). Mainly intellect refers to the highest level of spiritual knowledge. It directly takes an aspirant to the concerned deity by increasing his level of awareness (consciousness). Next to ऐर is sauh ṣ ससस, known as parā bīja. This is also known as hr ṣdayabīja or amr ṣtabīja. Śiva explains to Śakti about this in Parā-trīśikā-vivāran ṣa (verses 9 and 10), a Trika Scripture. He says to Her, “O! Gracious one! It is the third Brahman (sat or sa स) united with the fourteenth vowel औ (au – out of the sixteen vowels), well joined with that which comes at the end of the lord of vowels (visarga or : - two dots one above the other, used in the sixteenth vowel अस - ah ṣ). Therefore sauh ṣ is formed out of the combination of saस + au औ+ h ṣ = sauh ṣससस. In Parā-trīśikā-vivāran ṣa (verse 26), it is again said, “He, who knows this mantra in its essence, becomes competent for initiation, leading to liberation without any sacrificial rites.” This is known as nirvān ṣa dīks ṣā or initiation for final liberation, where nirvān ṣa means emancipation. The Scripture proceeds to say that the one who elucidates the proper meaning of this bīja is known as Śiva Himself. This bīja is the Cosmic pulsation of the Lord. The third Brahman referred here (sat) is explained in Bhagavad Gītā (XVII.23 - 26) “ॐ, tat and sat are the threefold representation of Brahman and from That alone Vedas, Vedic scholars and sacrificial rites have originated. Hence, during the acts of sacrifices, gifts, austerities approved by Scriptures and during Vedic recitations, ॐ is uttered in the beginning*. tat is recited by those who aim for liberation while performing sacrificial rites, austerities and charities without intent on the fruits of these actions. Sat is recited by those who perform the above acts with faith and on behalf of the Brahman.” Thus sa स (sat) referred in this bīja is Śiva Himself, which represents His creative aspect, the pure Consciousness.

Next comes His three energies Icchāśakti, Jñānaśakti and

Kriyāśakti. During Creation, Cit Śakti of Śiva, after manifesting as Ānanda Śakti (Bliss) becomes the above referred three Śakti-s, before entering into the sphere of Māyā.

Ānanda Śakti is known as Śakti, normally referred as Śiva’s Consort or His Svātantraya Śakti, His exclusive and unique Power of Autonomy. These three powers can be explained as subject I; object That; and subject-object or I and That. These powers of Śiva are also known as Sadāśiva, Iśvara and Suddha Vidyā. Now the fusion between S and AU takes place and सस (sau) is formed. As a result of this fusion, creation happens, which is represented by visarga (two dots one above the other like the punctuation mark colon :) This is the Spanda or throb or pulsation of the Divine towards creation, causing the emission of His three energies contained in AU. With the addition of visarga (h ṣ :) at the end of सस (sau) becomes ससस (sauh ṣ). This parābīja is not meant for recitation or repetition but for the contemplation of Śiva, who alone is capable of offering liberation by removing all differentiations caused by māyā. The one who fully understands the significance of ससस (sauh ṣ) becomes instantly liberated. Thus these five bīja-s form the first line of Mahās oṣ d ṣaśī mantra. Second line of Mahās ṣod ṣaśī mantra is formed thus; after these five bīja-s (in the first line), place pran ṣava, māyā bīja and śrī bīja and the second line appears like this: om - hrīṁ - śrīṁ: ॐ – हतररर – शतररर. ॐ used at the beginning of the mantra refers to the Supreme Self, known as Brahman. The second ॐ placed here represents the individual soul. Thus, this ॐ is to be replaced with ātmabīja, which is given by one’s guru either at the time of initiation or earlier. Everyone will have ātmabīja, which is derived based on several factors. Ātmabīja is discussed here. In case one’s guru has not given any ātmabīja to an aspirant, he can continue to use ॐ as his ātmabīja. The three bīja-s used here refers to three stages. ॐ is apara stage or the individual soul. Hrīṁ represents the union of Śiva and Śakti and is known as parāpara (the stage of cause and effect). The last bīja śrīṁ is the stage of para, the Supreme energy, the state of Supreme Paramaśiva, where Śakti stands merged with Śiva and in this stage, She cannot be identified as a separate entity. For attaining liberation, one has to merge into Paramaśiva. In other words, individual soul (ॐ), transcend māyā, which is represented by hrīṁ, where both Śiva and Śakti are present as separate energies. The aspirant through sādhana (practice) goes past māyā, represented by bīja hrīṁ to merge with the Supreme Self, represented by the third bīja śrīṁ. Only in the second line of mahās ṣod ṣaśī mantra, liberation is explicitly declared.

Third, fourth and fifth lines are Pañcadaśī mantra (15 bīja-s) and Pañcadaśī mantra is explained here. In sixth and last line the bīja-s of the first line are placed in a reverse order. This is known as mantra samput ṣīkaran ṣa. This means that three bīja-s of the second line and Pañcadaśī mantra are encased by the first line and the last line, so that effects of Pañcadaśī mantra and the bīja-s of the second line do not go out of the aspirant and is sealed within the aspirant. Mahās oṣ d ṣaśī mantra thus formed is like this. 1. Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: ॐ शतररर हतररर ङलरर ऐर ससस (5 bīja-s, ॐ omitted) 2. om - hrīṁ - śrīṁ ॐ हतररर शतररर (3 bīja-s) 3. ka – e - ī – la- hrīṁ क ए ई ल हतररर (5 bīja-s) 4. ha - sa – ka – ha - la - hrīṁ ह स क ह ल हतररर (6 bīja-s) 5. sa – ka - la - hrīṁ स क ल हतररर (4 bīja-s) 6. sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ ससस ऐर ङलरर हतररर शतररर (5 bīja-s) Thus Mahās oṣ d ṣaśī has twenty eight bīja-s, excluding the first pran ṣava.

Śrī Mahāṣoḍaśī Mahāmantra Japaḥ शतरर महबाषषोडशर महबामन्ततर जपप (This is the simple way of doing Śrī Mahās ṣod ṣaśī Mahāmantra Japa)

Before reading this article, please read the explanatory notes for this mantra HERE(below in yellow highlighted) All mantra-s are considered secretive in nature and S ṣodaśī is not an exception. Recitation of S oṣ daśī leads to liberation. This mantra does not give any materialistic gains. It leads straight to the Brahman. Normally, one is not initiated into this mantra straight away. Guru decides the timing of initiation into this mantra. Generally one is first initiated into Bālā. Depending upon one’s progress, Pañcadaśī is initiated. If Guru considers that his disciple is fit for final liberation, he initiates him into S ṣodaśī. One should recite 900,000 times of this mantra followed by puraścaran ṣa rituals to attain

siddhi. Puraścaran ṣa is only for 100,000 recitations. Then only liberation is possible. It is also said that initiation into S oṣ daśī depends upon one’s karmic account. S ṣodaśī vidyā is considered as Brahma vidyā, knowledge of the Brahman. Brahman is revealed in the form of mantra-s in S ṣodaśī vidyā. Since S ṣodaśī reveals the Brahman in the form of mantra-s, it is treated as highly secretive in nature. But the important aspect of its secrecy is the replacement of second Om in this mantra with the aspirant’s ātma bīja. The third aspect of the secrecy is the worship of ninth āvaran ṣa of Śrī Cakrā that deals with parā, parāpara and apara states (these states have been dealt with while discussing nāma-s). If one is able to reach the fourth stage of turya or turīya, he gets prepared to attain liberation in the next stage of turyātīta. Turya is reached without any difficulty when S ṣodaśī mantra is mentally recited regularly. (Turya and turyātīta: Turya is the fourth state of consciousness, the other three being active, dream and deep sleep. Turya stage transcends all the above three stages by bundling them out. The level of consciousness at turya stage is very close to the stage of blissfulness, derived from experiment and observation rather than theory. Turyātīta is the stage where one’s consciousness transcends turya stage.

In this stage of blissful

consciousness, the Brahman is realised where one feels that “I am That” or aham brahmāsmi. The final stage of merging into the Brahman is kaivalya, when a soul ceases to transmigrate.} In Pañcadaśī one can transcend the fourth state of consciousness, the turiya state. In S ṣodaśī one can merge with the Brahman, by reaching the fifth state of consciousness, turyātīta. There is nothing beyond this. What happens if one transcends turya state? The self is replaced by SELF. This transformative realization happens in a fraction of a second where near death-like situation is experienced. One is not the same person after that ‘second’. S ṣod ṣaśī mantra is superior to Pañcadaśī. S ṣod ṣaśan means sixteen and s oṣ d ṣaśah ṣ means sixteenth. S ṣod ṣaśī mantra is derived by adding one more bīja to Pañcadaśī mantra. In fact, S ṣod ṣaśī mantra consists of twenty eight bīja-s and formed like this. The first Om is excluded for computation, as all the mantras begin with ॐ. 1. Om ॐ 2. śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: शतररर हतररर ङलरर ऐर ससस (5 bīja-s)

3. om - hrīṁ - śrīṁ ॐ हतररर शतररर (3 bīja-s) 4. ka – e - ī – la- hrīṁ क ए ई ल हतररर (5 bīja-s) 5. ha - sa – ka – ha - la - hrīṁ ह स क ह ल हतररर (6 bīja-s) 6. sa – ka - la - hrīṁ स क ल हतररर (4 bīja-s) 7. sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ ससस ऐर ङलरर हतररर शतररर (5 bīja-s) If this mantra is observed, one can find lines 4, 5 and 6 are the Pañcadaśī mantra and each line representing one kūt ṣa of Pañcadaśī.

If lines 2 and 7 are observed, the bīja-s

contained in the 2nd line are placed in the 7th line in reversed order. For example, the last bīja in line two is sauh ṣ: and this is placed as the first bīja of the 7th line. This is called samṣput ṣikaran ṣa or encasing of a mantra so that the power of mantra remains within the practitioner. This mantra is known as S ṣod ṣaśī because of sixteen bīja-s, each kalā (kalā means a part) representing a kalā of moon. This is arrived at by adding Laks ṣmī bīja śrīṁ (शतररर) at the end of Pañcadaśī mantra. These sixteen bīja-s are arrived at by considering each kūt ṣa of Pañcadaśī mantra as one bīja. This way, lines 4, 5 and 6 are considered as one bīja each, thus forming three bīja-s. The sixteen bīja-s are arrived by adding 5+3+1+1+1+5 (from line 2 to 7). There are two ॐ in this mantra.

The first ॐ is not considered for

calculation. The second ॐ in line 3 is replaced by ātma bīja of the practitioner and this is decided by one’s guru. Such a decision can be made by a guru if he is conversant with mantra-s and bīja-s. A wrong bīja can destroy the practitioner. S ṣod ṣaśī mantra is meant exclusively for liberation and those who seek liberation alone should be initiated in this mantra. S ṣod ṣaśī mantra is the ultimate of all mantra-s and there is no other mantra superior to this. Those who are initiated into this mantra are not supposed to prostrate before anyone except his guru. Śaktī is worshipped in ten different forms and this is known as daśa mahā vidyā and s ṣod ṣaśī is one among them. S ṣod ṣaśī vidyā has too many prescribed rituals. Like every mantra S ṣod ṣaśī mantra also has curse removal mantra, also known as śāpavimocana mantra. All along this mantra is not revealed to all the aspirants. If curses on mantras are not removed, mantras will not fructify. Śāpavimocana mantra for S ṣod ṣaśī mantra is given below for the benefit of sincere aspirants. However, one should obtain prior approval from one’s guru. Śāpavimocana mantra, which consists of three parts

should be recited before the commencement of mantra japa. First part should be recited seven times, second part three times and the third part one time. First Part – should be recited seven times: ई ए क ल हतररर ī e ka la hrīṁ ह स क ह ल हतररर ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ Second Part – should be recited three times: ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ ई ए क ल हतररर ī e ka la hrīṁ Third Part – should be recited one time. ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a

Śrī Mahāṣoḍaśī Mahāmantra Japaḥ शतरर महबाषषोडशर महबामन्ततर जपप (This is the simple way of doing Śrī Mahās ṣod ṣaśī Mahāmantra Japa) Seating: While doing this mantra japa, one has to either face East or North. If one does not have a guru, contemplate on Lord Dks ṣin ṣāmūrti and mentally accept Him as Guru. 1. Curse removal mantra: Śrī Mahās ṣod ṣaśī Mahāmantra japatvena śāpavimocanamantram karis ṣye | शतरर महबाषमोडशर महबामन्ततर जपत्ववेन शबापववममोचनमन्ततरमत कवरष्यवे। First Part – should be recited seven times:

ई ए क ल हतररर ī e ka la hrīṁ ह स क ह ल हतररर ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ Second Part – should be recited three times: ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ स क ल हतररर sa ka la hrīṁ ई ए क ल हतररर ī e ka la hrīṁ Third Part – should be recited one time. ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a 2. Rṣs ṣyādi nyāsahऋष्यबावद न्यबासस ṣ asyaśrī Mahās oṣ daśī Mahāmantrasya - Śrī Daks iṣ n ṣāmūrti r ṣs iṣ h ṣ - Gāyatrī chandah ṣ - Śrī Lalitāmahātripurasundari Parābhat ṣt ṣārikā Devatā | अस्यशतरर महबाषमोदशर महबामन्ततरस्य - शतरर दवद्क्षिणबाममवतर ऋवषस - गबायततरर छन्दस - शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दवेवतबा । aiṁ bījaṁ | sauh ṣ śaktih ṣ | klīṁ kīlakam ||ऐर बरजर। ससस शवङतस। ङलरर करलकमत॥ Śrī

Lalitāmahātripurasundari

Parābhat ṣt ṣārikā

darśana

bhās ṣan ṣa

siddhyarthe

Śrī

Mahās oṣ d ṣaśī Mahāmantra jape viniyogah ṣ || शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दशरन भबाषण वसदध्यरर शतरर महबाषमोडशर महबामन्ततर जपवे वववनयमोगस॥ 3. Karanyāsah ṣ करन्यबासस Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: aṅgus ṣt ṣhābhyām namahॐ ṣ शतररर हतररर ङलरर ऐर ससस अङगपष्ठबाभ्यबामत नमस (use both the index fingers and run them on both the thumbs) om - hrīṁ - śrīṁ tarjanībhyāṁ namah ṣ ॐ हतररर शतररर तजरनरभ्यबार नमस (use both the thumbs and run them on both the index fingers) ka – e - ī – la- hrīṁ madhyamābhyāṁ namah ṣ क ए ई ल हतररर मध्यमबाभ्यबार नमस (both the thumbs on the middle fingers) ha - sa – ka – ha - la - hrīṁ anāmikābhyāṁ namah ṣ ह स क ह ल हतररर अनबावमकबाभ्यबार नमस (both the thumbs on the ring fingers) sa – ka - la - hrīṁ kanis ṣt ṣhīkābhyāṁ namahसṣ क ल हतररर कवनष्ठरकबाभ्यबार नमस (both the thumbs on the little fingers)

sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ karatalakarapr ṣs ṣt ṣhābhyāṁ namahससस ṣ ऐर ङलरर हतररर शतररर करतलकरपपष्ठबाभ्यबार नमस (open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm) 4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: hrdayāya namah ṣ| ॐ शतररर हतररर ङलरर ऐर ससस ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra) om - hrīṁ - śrīṁ śirase svāhā ॐ हतररर शतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead) ka – e - ī – la- hrīṁ śikhāyai vas ṣat सṣ क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept) ha - sa – ka – ha - la - hrīṁ kavacāya huṁ ह स क ह ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips) sa – ka - la - hrīṁ netratrayāya vaus ṣat स ṣ क ल हतररर नवेतरत ततरयबाय वसषटत (open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.) sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ astrāya phat ससस ṣ ऐर ङलरर हतररर शतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand) भमभरवप स्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ|| (by using right hand thumb and middle fingers make rattle clockwise around the head) 5. Dhyānam ध्यबानमत cāpaṁ ceks uṣ mayaṁ prasūnaviśikhān pāśāṅkuśaṁ pustakaṁ mān ṣikyās ṣasr ṣjavaraṁ man ṣīmayīṁ vīn ṣāṁ sarojadvayaṁ | pān ṣibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ sindūrārun ṣa vigrahāṁ bhagavatīṁ tāṁ s oṣ d ṣaśīmāśraye || चबापर चवेद्क्षिपमयर पतरसमनवववशखबानत पबाशबाङकप शर पपस्तकर मबावणङयबाषसपजवरर मणरमयरर वरणबार सरमोजद्वयर। पबावणभ्यबार वरदबा अभयर च दधतरर बतरहबावदसवेव्यबार परबार वसन्दमरबारुण ववगतरहबार भगवतरर तबार षमोडशरमबाशतरयवे॥

Meaning: She has twelve hands, holds (1) a bow made of sugarcane, (2) arrows made of kadamba flowers, (3) a noose, (4) a hook, (5) a book, (6) a rosary made of rubies, displays (7) abhaya (removal of fear) and (8) varadha (giving boons) mudras. She closely holds a veena (a musical instrument) with two hands (9 and 10) and lotus flowers in two hands (11 and 12) one on each side. She is worshipped by Brahmā and other gods and goddesses. She is red in complexion. I surrender unto this Supreme Goddess. (There are other dhyāna verses also) 6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa) laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi| haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi| yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi| raṁ - agnyātmikāyai dhīpaṁ darśayāmi | vaṁ amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi | saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi|| लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ 7. Śrī Mahās ṣod ṣaśī Mahā Mantrahशतṣ रर महबाषमोडशर महबा मन्ततरस om śrīṁ hrīṁ klīṁ aiṁ sauh ṣ -- ॐ शतररर हतररर ङलरर ऐर ससस om hrīṁ śrīṁ -- ॐ हतररर शतररर ka e ī la hrīṁ -- क ए ई ल हतररर ha sa ka ha la hrīṁ -- ह स क ह ल हतररर sa ka la hrīṁ -- स क ल हतररर sauh ṣ aiṁ klīṁ hrīṁ śrīṁ -- ससस ऐर ङलरर हतररर शतररर

Note: 1.There are two ॐ in this mantra and the second ॐ will be replaced by ātmabīja by one’s Guru at the time of initiating this mantra. 2. Please also note that the arrangement of bījā-s in the first line (om śrīṁ hrīṁ klīṁ aiṁ sauh ṣ ) are reversed in the last line (sauh ṣ aiṁ klīṁ hrīṁ śrīṁ). This is known as samput ṣīkaran ṣa or the sealing of the mantra. 8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: hrdayāya namah ṣ| ॐ शतररर हतररर ङलरर ऐर ससस ह्र्दयबाय नमस (open index, middle and ring fingers of the right hand and place them on the heart chakra) om - hrīṁ - śrīṁ śirase svāhā ॐ हतररर शतररर वशरसवे स्वबाहबा (open middle and ring fingers of the right hand and touch the top of the forehead) ka – e - ī – la- hrīṁ śikhāyai vas ṣat सṣ क ल हतररर वशखबायय वषटत (open the right thumb and touch the back of the head. This is the point where tuft is kept) ha - sa – ka – ha - la - hrīṁ kavacāya huṁ ह स क ह ल हतररर कवचबाय हपर (cross both the hands and run the fully opened palms from shoulders to finger tips) sa – ka - la - hrīṁ netratrayāya vaus ṣat स ṣ क ल हतररर नवेतरत ततरयबाय वसषटत (open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle finger.) sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ astrāya phat ससस ṣ ऐर ङलरर हतररर शतररर अस्ततरबाय फटत (open up the left palm and strike it three times with index and middle fingers of the right hand) भमभरवप स्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ||

(by using right hand

thumb and middle fingers make rattle anticlockwise around the head) 9. Dhyānam ध्यबानमत cāpaṁ ceks ṣumayaṁ prasūnaviśikhān pāśāṅkuśaṁ pustakaṁ mān ṣikyās ṣasr ṣjavaraṁ man ṣīmayīṁ vīn ṣāṁ surojadvayaṁ | pān ṣibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ sindūrārun ṣa vigrahāṁ bhagavatīṁ tāṁ s oṣ d ṣaśīmāśraye || चबापर चवेद्क्षिपमयर पतरसमनवववशखबानत पबाशबाङकप शर पपस्तकर

मबावणङयबाषसपजवरर मणरमयरर वरणबार सपरमोजद्वयर। पबावणभ्यबार वरदबा अभयर च दधतरर बतरहबावदसवेव्यबार परबार वसन्दमरबारुण ववगतरहबार भगवतरर तबार षमोडशरमबाशतरयवे॥ 10. Pañcapūjā पञ्चपमजबा laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi| haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi| yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi| raṁ - agnyātmikāyai dhīpaṁ darśayāmi | vaṁ - amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi | saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi|| लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम। हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम। यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम। रर - अग्न्यबावत्मकबायय धरपर दशरयबावम। वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम। सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥ 11. Samarpan ṣam समपरनमत guhyāti guhya goptrī tvaṁ gr ṣhān ṣāsmat-kr ṣtaṁ japam| siddhirbhavatu me devi tvatprasādānmayi stirā|| गपहबावत गपह गमोप्ततरर त्वर गपहबाणबास्मतत-कपतर जपमत। वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥ (Meaning: You sustain the secret of all secrets. Please accept this japa performed by me and bestow Your perpetual Grace on me.)

Note: This mantra has a number of nyāsa-s (placing) to be done all over the body. ADDITIONAL INFORMATION: Variations of SHODASHI MANTRA is given in this posting. 10 comments: SREEJune 17, 2013 at 6:28 PM Raviji, our dhyana mantra is different and nowhere is shodashi name mentioned in the dhyana mantra. When I asked my guruji, he said that in Bala and Panchadasi dhyana mantras also the deity's name is not mentioned. Bala is 9 year old girl form, panchadasi is the woman form between sixteen to forty years and shodashi is the above forty year old form of the same Goddess. Reply Replies MANBLUNDERJune 17, 2013 at 6:48 PM There is no relevance between dhyana verse and name of the concerned deity. In Panchadashi, name is not mentioned. But in one of the dhyana verses of Bālā mantra, name Bālā is mentioned. When we say s ṣod ṣaśī, it wrongly understood as Her age. In fact it refers to 16 kalā-s of the moon and each kalā is represented by one bījāks ṣara. Secondly, when we contemplate Her during our meditation, how do we contemplate Her? She is a woman of excellent beauty, Consort of Shiva, Mother of the Universe who is compassionate and undertakes all the five activities of Brahman on His behalf - creation, sustenance, destruction (individual death, concealment and re-creation. Brahman is beyond modification and you certainly cannot contemplate Her as an elderly woman. If you recite dhyana verse with rapturous attention, She will come and sit before you and tears will start rolling down your cheeks. This is the infant stage of Bliss.

SREEJune 18, 2013 at 5:42 PM Thanks so much raviji for the guidance. Can you also please explain the number of nyāsa-s (placing) to be done all over the body because we have nyasa like that in Navavarna Pooja for us that is shodashi initiated people seperately. Are you referring to the same? Thanks and Regards, S. Sreemahalakshmi

MANBLUNDERJune 18, 2013 at 6:11 PM Apart from 19 nyāsa-s, there are 10 other nyāsa-s relating Śri Cakra. First Śri Cakra followed by individual āvaran ṣa nyāsa-s. Thus 9 + 1 becomes 10 nyāsa-s.

Clarification sought: would like to know the difference between the Panchadasi and Shodashakshari mantras, of course apart from the fact that the later contains one more akshara. Why is the Shodashakshari kept so secret?

Clarification: Panchadasi and Shodasi mantras have been already explained during the course of our discussions on Lalitha Sahasranamam. Shodasi has been explained under nama 587. All mantras are considered as secretive in nature and Shodasi in not an exception. Recitation of Shoadsi leads to liberation. This mantra does not give any materialistic gains. It leads straight to the Brahman. Normally, one is not initiated into this mantra straight away. Guru decides the timing of initiation into this mantra. Generally one is first initiated into Bala. Depending upon one’s progress, Panchadasi is initiated. If Guru considers that his disciple is fit for final liberation, he initiates him into Shodasi. One should recite 900,000 times of this mantra followed by ‘purascharana’ rituals to attain siddhi. Then only liberation is possible. Shodasi Vidya is considered as Brahma Vidya, the knowledge of the Brahman. Brahman is depicted in the form of mantras in shodasi vidya. Since Shodasi depicts the Brahman in the form of mantras, it is treated as secret. But the important aspect of its secrecy is the replacement of second ‘om’ in this mantra with atma bija. The third aspect of the secrecy is the worship of ‘ninth avarana’ that deals with ‘para, para-para and apara’ states. If one is able to reach the fourth stage of ‘turiya’, he gets prepared to attain liberation in the next stage of ‘turiyatita’. Turiya is reached without any difficulty when Shodasi mantra is chanted regularly. In Panchadasi mantra you transcend the fourth state of consciousness, the turiya state. In Shodasi you merge with the Brahman, by reaching the fifth state of consciousness,

turiyatita. There is nothing beyond this. What happens if one transcends turiya state? The self is replaced by SELF. This transformative realization happens in a fraction of a second where near death like situation is experienced. One is not the same person after that ‘second’. Śrī Subhagodaya Stuti – Some Important Concepts of Śrī Vidyā (No IAST fonts are used in this article) Sri Subhagodaya Stuti was written by Sri Gaudapadacharya, Sriguru of Sri Adi Shakaracharya. Subhaga means Sri Maha Tripurasundari. Praise of Sri Maha Tripuradundari is known as Subhagodaya Stuti. This text is totally based on Samayachara method of Srividyopasana. In this work, the author has differentiated Samayachara and Kaulachara. There are total fifty two verses in this work. Some of the important points of this Stuti are translated and given in this present article. 1. Meaning of paravsata: As per vaidikachara, there are 26 tattwa-s. Sadasiva is 25th tattwa and 26th is the para tattwa which is with Sadasiva and is known as “Saadakhya kala”. In sahasrara Sri Devi stays with Siva and that state is called as “paravasta”. 2. As per Subhagodaya, Rudra grandhi is above Swadhishtana chakra, Vishnu grandhi is above Anahata Chakra and Brahma grandhi is above Ajna Chakra. Note: This order is not in agreement with Sri Lalitha Sahasranama. As per Sri Lalita Sahasranama, Order is Brahma grandhi is above Muladhara, Vishnu grandhi is above Manipur and Rudra grandhi is above Ajna. 3. States of Kundalini: As per Taittireeyaranya (Aruna patha), kundalini has three states. They are 1) Kaumara 2) Yoshid and 3) Pativrata. Sahasra dala padma is in centre of Sricharka. This sahasra dala padma is known as “Hiranmayakosa”. This is Bindu sthana. A ray of light (jyoti) is present around this bindu. A sadhaka has to move the kundalini to this Bindu sthana. While kundalini starts its journey to this point it will cross all above

given states ie. Kaumara, Yoshida and Pativrata. Kaumara state is the state where kundalani is in sleeping mode at Muladhara. Yoshida state is the state when it crosses Vishnu grandhi at Anahata. Pativrata state is the state when kundalini reaches Sahasra and stay with her console Siva. This place is also known as Chandra mandala. From here she bless the sadhaka with Amrita dhara. (Flow of amrita). At this stage, Sridevi and Siva unite and show no difference between them i.e. only one state that is Sadakhya kala. Hence, kundalini is known as “Mahakala Bhujagi”. 4. Place of Bindu in Srichakra: Bindu sthana is known as “Kula Griha” (Kula house). Also known as Sudha sindhu. This is the living place of Srimatha. For Samayacharis, sudha sindhu is sahasrara and for Kaulacharis sudha sindhu is Muladhara. Hence, for Kaulachari, bindu will be in innermost triangle of Srichakra but for Samayacharis bindu is out of the innermost triangle and is in sqaure which is above the innermost triangle. It is said that, worshipping bindu in trikona is Avaidika i.e. agaisnt Vedachara. 5. Some samayacharis say that, there is avyakta (=not visible) triangle in square which is resemblence of Rakti, in that there is bindu. 6. Rays of Agni, Surya and Chandra: There are 108 rays of Agni, 116 rays of Surya and 136 rays of Chandra. All these put together 360 rays which form as Hayana(=year). Placement of these rays in shat chakras is as follows: Muladhara 56 Rudra grandhi, Agni Swadhistana 52 Manipura 62 Vishnu grandhi, Surya Anahata

54 Vishudhi 72 Brahma grandhi, Soma Ajna 64 These rays emanate from Srimata and form as avarana devatas. Hence, technically speaking there is no difference between Srimata and all other avana devatas. Note: This could be the one of the reason for worshipping Srimahatripurasundari in each avarana puja of Srichakra puja. 7. Nada has four states. They are para, pasyanti, madhyama and vaikhari. These four states can be contemplated with Srichakra. Innermost triangle (=Sarva Sidhiprada charka) is Para, Pasyanti is Astakona (Sarva Rogahara chakra), Dasara dwaya (Sarva Rakshakara chakra and Sarvardhasadhaka chakra) are Madhyama and Chaturdasara (Sarva Saubhagyadayaka) is Vaikhari. That’s why Srichakra is also known as Nada. 8. Trimekhala (= Three circles in Srichakra): There are three cicles in Srichakra. Generally, they are between Bhupura and Sarvasaparipuraka chakra. But as per Subhgodayastuti, They are like follows: Two circles at outside and inside of Sarvasankshobhana chakra i.e. 3rd avarana, and One at outside of 2nd avarana i.e.Sarvasaparipurka chakra. Above is as per Samayachara. As per Kaulachara, three circles are between Bhupura and Sarvasaparipuraka chakra.

9. Srividyopasana can be practiced by anyone without any restrictions of caste, creed and sex. Persons who worship Indra, tattwas etc without knowing and worshipping Srividya, they will be bound with yama pasa and enter into Andha-tamisra lokas. 10. There are Seventy seven (77=64+8+5) tantras which promulgate Srividya. Out of these seventy seven, 64 are based on Vama and Kaulachara. These tantras will give materialistic advantages but not give moksha. These are against Veda achara. Hence these are not to be practiced espectially by Dwijas. Chandrakala vidyas are eight tantras. They are 1) Chandrakala 2) Jyotsnavati 3) Kalanidhi 4) Kularnavamu 5) Kuleswari 6) Bhuvaneswari 7) Barhasptyamu 8) Durvasamatamu. All four varnas i.e.Brahmana, Kshatriya, Vaisya and Sudra have authority to practice these tantras. But, first three varnas have to practice in Dakshina marga and others have to practice in Vama marga. Since these tantras have both Dakshina and Vama marga, they are known as Misrma tantras and should be avoided. Last five tantras are known as Subhagama panchakaas. They are as per Vaidika marga. Vasista, Sanaka, Suka, Sanandana and Sanatkumara have promulgated these Vaidika marga tantras. Samayachara follows these agamas. These agamas are as per Vedas and hence Samayachara Srividya. 11. Rishi and Chandas: Initially, Srividya was practiced by twelve sadhakas. One of such sadhaka is Manmadha. This Manmadha has opened pancha dasakshari varnas to lokas. Hence he is mantra drashta and is Rishi of this Srividya. Taittereeya brahmana and aaranyakaas have pronounched that Rishi of Srividya is Manmadha. This pancha dasakshari is to be practiced in Gayatri chandas. 12. When and how this vidya is to be practiced?: Srividya is to be practiced during night time only. This is because, as per taittireeya samhita, kundalini will be activated during night time only. During that time madhu (sudha) will flood from Chandra mandala. Hence, Srividya is to be practiced during night time only.

Fifteen Chandra kala-s are there in Ajna Chakra. Sodasi kala is at Bindu sthana which is at Sahasrara. Hence Sahasrara is known as chandra mandala where Chandra bimba is present. This sahasrara is filled with moon light. During amavasya (=No moon day) this Sodasi kala is without Chandra bimba and is unable to cause flow of Sudha. For Samayacharis, square above the innermost triangle is Chandra Mandala/Sahasrara where bindu is present. Hence, on amavasya day one should not practice Srividya. As per samayachara, bahya puja should not be practiced. One should not enter Srimannagaram (Srichakra) by reciting Rishi and Chandas. In internal worship, there is no Rishi and Chandas. This internal worship will lead the Sadhaka to become Srimata himself. Bahya puja is prohibitted for Trivarna-s i.e.Brahmana, Kshatriya and Vaishya. Note: Here it is important to remember SriLalitaRahasya Nama “Antarmukhasamardhya, bahirmukha sudurlubha” 13. If a Samayachari would like to practice Srividya with Rishi and Chandas, he can do so aloof. He should not accept any help from others and he should practice it alone and very secretively. 14. There is no bound on Samayacharis to worship shatchakras. They have to worship Sahasra kamala only. This Sahasrara kamala is Chandra mandala which is square above the innermost triangle where Bindu is present. They have to worship this bindu as SivaShakti rupini and as Sadakhya kala. This type of worship is called as Sahasra kamala worship. Hence, for Samayacharis there is no bahya and sodasopachara puja. 15. Kaulachara: Kula means Adhara chakra. Worshippers of this muladhara is known as Kaulacharis. At muladhara kundalini will be in sleeping state and also there will be Surya rays. Hence, this chakra is andhatamisra loka. Swadhistana chakra is present above this muladhara chakra. This chakra is also andhatamisra loka. Hence, kaulacharis have to worship these two chakras daily. There are two types of kaulacharis, purva kaulachari and

uttara kaulachari. Purva kaulachari will worship Srichakra with bindu at innermost triangle. Uttara kaulachari will worship a live yoni i.e. a woman’s yoni. Kundalini here is known as Kaulini. These type of worships are to be avoided as they are against Vedas. As per Vedas, yoni means bindu. This bindu is located at chatuskona i.e.square which is above the innermost triangle. 16. Worshippers of manipura will get Sarshti rupa mukti, i.e. they will be able to create a place near to Srimannagaram and stay there. Worshippers of anahata will get Saalokya mukti i.e. they will stay in Srimannagaram. Worshippers of visudhi will get Saameepya mukti i.e they will be blessed to worship Srimata directly. Worshipper of ajna will get Saarupya mukti i.e they will become embodiment of Srimata. Worshipper of Sahasrara will get Saayujya mukti i.e. they will become Srimata themself. That means there will be no difference between Srimata and Sadhaka. Srividyopasana will result in both bhoga and moksha. Both samayacharis and kaulacharis will get these two results. But, Saayujya mukti will be get by Samayacharis only. A sadhaka who worship Srimata in Samayachara will become a yogi and he will flourish like Surya during day time, like Chandra during night time and like Agni during Sandhya time. (This article is written by Mr. AUM Raviji and he can be contacted at [email protected]) 1. Yogic breathing: Before we proceed to actual breathing practice, it is important to understand and practice diaphragm breathing, also known as yogic breathing. In many of us, when we inhale, our

abdomen contracts and when we exhale our abdomen expands. If this is the trend of breathing, it should be modified in such a way that when we inhale, our abdomen should expand and when we exhale, our abdomen should be contracted to the extent possible 2. Nād ṣi Śodhana Prān ṣāyāma: (Based on Hat ṣhayoga Pradīpaka and Yoga Cūd ṣāman ṣiUpanis ṣad) Hat ṣhayoga Pradīpaka has allotted an entire chapter (chapter 2 consisting of 78 verses) for prān ṣāyāma. This chapter begins by saying, “After mastering āsana-s, attaining selfcontrol and diet control, one should practice prān ṣāyāma. When the breath is not steady, mind is also not steady. When nād ṣi-s are impure, prān ṣa does not enter sus uṣ mna. Nād ṣi-s’ impurities can be removed by inhaling through left nostril and after holding as long as possible, exhale through the right nostril. Again inhale slowly through the right nostril (through which exhalation was made) and again holding for a specified time, should exhale through the left nostril. This should be practiced for three months and all the nād ṣis will be purified.” Yoga Cūd ṣāman ṣi Upanis ṣad also conveys the same meaning, except that it says that complete purity of nād ṣi-s can be attained in two months of practice. There are twelve stages in nād ṣi śodhana prān ṣāyāma. Stages depend upon the duration of inhalation (pūraka), holding of breath within (kumbhaka) and exhalation (rechaka). For practicing the first three stages, no particular sitting postures have been suggested. However, it would be ideal to sit in padmāsana (lotus posture) or (ardhapadmāsana) half lotus posture. These postures will be discussed in later parts of this series. To begin with, one can take any comfortable posture to sit. While sitting, there should be no tension in any parts of the body. Little finger and the ring fingers should be used to close the left nostril. Middle and index fingers should either be folded or extended outwards. These two fingers should not be placed at ājñācakra, as this could cause varying degrees of pressure on both the nostrils. Thumb should be used to close the right nostril. While closing the nostrils, very moderate pressure is to be applied on the nostrils. Similarly, instead of closing the tip of the nostrils, an inch above the tip of nose can be used to block the breath. However, one should not hold the breath beyond their holding capacity. Holding capacity will increase over a period of time. Always inhalation should be faster and exhalation should be longer.

There are twelve stages in nād ṣi śodhana prān ṣāyāma. All the twelve stages can be mastered in a matter of two months. It is easier to practice the first six stages and it is going to be difficult to practice the next six stages, as the holding period and exhalation period is more here. Holding period mentioned here are only indicatory and one should not hold breath beyond one’s capacity. Holding breath beyond one’s enduring capacity will even cause death. In two months, we have 60 days and the chart below will explain how all the twelve stages can be practiced in 60 days. This chart is only indicatory in nature. Numerals in inhalation, retention and exhalation are only in counts and not in seconds. Approximately 1 to16 can be counted in 8 seconds. Let us take the example of retention period in XII below. This means that breath should be held here for 32 seconds or less. But this will be too strenuous. Therefore, it is advisable to stop at VII below and further practice should be based on one’s holding capacity.

Stage I II III IV V VI VII VIII IX X XI XII TOTAL

inhalation slow slow 5 5 2 4 6 8 10 12 14 16

retention nil nil 2 5 8 16 24 32 40 48 56 64

exhalation slow slow 5 5 4 8 12 16 20 24 28 32

ratio NA 1:0:1 1:0.5:1 1:1:1 1:4: 2 1:4:2 1:4:2 1:4:2 1:4:2 1:4:2 1:4:2 1:4:2

duration 3 days 3 days 3 days 3 days 3 days 3 days 4 days 5 days 6 days 8 days 9 days 10 days 60 days

This schedule is for a period of sixty days. One can make minor adjustments in the number of days. In particular, Stages VII to XII should be practiced very carefully. One should not hold breath beyond one’s capacity. Once stage XII is reached, one should continue to practice this forever. Further, unless perfection is attained in a particular stage, next stage should not be practiced. It is also not mandatory that one should follow

this 60 day schedule and can comfortably be extended to suit one’s convenience. From stage VII, one can allow sufficient gap between two rounds. Numbers in inhalation, retention and exhalation are counts. One can count mentally. The basic principle is that inhalation, retention and exhalation should be in the ratio of 1:4:2. Under any circumstances, retention should not exceed 4 times of inhalation, As far as exhalation is concerned, counts be increased if possible. As a principle, inhalation should be faster and exhalation should be slower. It is important that prān ṣāyāma, bandha-s and mudra-s should be practiced only in empty stomach and should not be practiced when hot weather prevails. It is advisable that these practices should be done only during early morning or late night, when stomach is empty. In general, there should at least be three hours gap between food and practice. Any deviation from the prescribed norms will cause general health impairment. at 8:50 AM No comments: Tuesday, December 24, 2013 GURUJI SPEAKS ON SAMĀDHI - PART 14 Disciple: You said that you will explain further stages of samādhi. Guru: Yes, I have to discuss about savicāra samādhi and nirvicāra samādhi. These two types are almost similar to what we have discussed earlier. Vicāra means enquiry, pondering, deliberation, consideration, reflection, examination, investigation, etc. As you know, all these are related to our mind. Disciple: How? Guru: As I have been repeatedly saying, the Self can be realized only through your mind and in your mind. Whatever and however you try, you have to ultimately go to your mind for Bliss and subsequent liberation. Savicāra samādhi is the state of samādhi, when your mind continues to inquire about duality (Dvaita), while pursuing your spiritual path. This is the stage, when you interact with your spiritual teacher (Guru) quite often. You will have several doubts and queries only when you pursue the path of liberation earnestly. If you do not get doubts, then your mind is not set for Bliss and Liberation. While interacting with your Guru, you read authentic and valuable Scriptures. Reading Scriptures does not mean that you should read too many books. There are select Upanis ṣad-s such as Bhagavad Gītā, Kat ṣha Upanis ṣad, Taittirīya Upanis ṣad, Śvetāśvatara

Upanis ṣad, Chāndogya Upanis ṣad and Br ṣhadāran ṣyaka Upanis ṣad. You have to read a few of them and understand their interpretations. Don’t worry about the verses and go with the meaning and interpretations. You will certainly have doubts and you have to discuss these doubts with your Guru and get them clarified. Thus you gain knowledge. Knowledge and meditation are the two powerful engines which take you forward in your spiritual journey. Disciple: Yes, I have completed reading a few of these Upanis ṣad-s and Bhagavad Gītā as well. I have approached you several times with my doubts based upon my understanding of Upanis ṣad-s. Guru: Yes, you did. Since you are evincing so much of interest in liberation, I am spending most of my time with you. I will be too happy if I am able to take forward one or two like you towards the path of liberation. Not many pursue liberation earnestly and out of those who pursue the path of liberation, only a select few reach the final destination. Since you long for liberation, I am taking so much of personal care in you. Disciple: But does this not amount to favouritism? Guru: How this can be favouritism? There is no question of favouritism here, as only a few choose the path of liberation and I share with them whatever spiritual knowledge and experience I have. My spiritual knowledge is not the ultimate, but I never refuse to share whatever knowledge I have, but this ultimate knowledge is not sought for frequently. One has to transform and evolve both spiritually and emotionally, to commence the path of his or her journey to the ultimate destination. Now, let us not deviate from our discussion about the two types of samādhi-s, savicāra samādhi and nirvicāra samādhi. In savicāra samādhi, you only make inquiries about the Self. In this state, you don’t meditate on the formless Brahman and in fact you can’t. You are still associated with a particular form of God. You make inquiries about the procedural aspects of doing this or that. You may want to know whether this mantra is more powerful or that mantra is more powerful. You ask about using a mālā for your mantra recitation. You count the number repetitions with the mālā. Your consciousness is not even fixed on that particular form of God associated with the mantra. Your still mind wanders; but for the first time, you wonder whether what you are practicing now leads to the path of liberation. You think this way because your study of Upanis ṣad-s prompts you

to think so seriously. Repeated usage of Brahman in the Upanis ṣad-s makes you to think this way. You become confused and go to your Guru to find a solution for your perplexed state of mind. Disciple: Yes, I have exactly experienced what you have said now. Guru: This should be only a passing phase and you have to evolve with the help of your Guru. Guru is the one, who leads you to liberation. That is what ancient sages and saints taught, and many Upanis ṣad-s have references to such conversations, between a Sage and his disciples. When you still have doubts about formless Brahman, your meditation is known savicāra samādhi and when your doubts are completely removed and if you are able to concentrate on the Self within, it is nirvicāra samādhi. Disciple: When the mind is not perfectly attuned to formless Brahman, how this mental state can be called as samādhi? Guru: Good thought. Patañjali explains this (I.45). When the mind is ready to connect to the Self, it faces many hurdles, as our sensory organs are very powerful. But your mind begins to fight and this fight lasts long. This fight is explained in various Scriptures; for example, Śrī Rāma’s battle against Rāvan ṣa. It does not merely refer to the war between them; it is fight between good and bad; fight between antah ṣkaran ṣa (mind, intellect, consciousness and ego) and bāhyakaran ṣa (organs of action and organs of perception, known as indriya-s). Ultimately, good and subtle have to win and prevail and if they don’t, you are not into your spiritual path. You have to have patience, perseverance and dedication to get liberated. More than these three, you have to have the freewill to get liberated. Freewill is your will uninfluenced by any type of external agencies. The thought of liberation should be inherent in your mind. Where there is will, there is always a way. In fact, the entire creation happened only after Śiva willed to create. Disciple: Thank you. I think you need to explain one more samādhi, sabīja samādhi. Guru: Yes, I remember that. This needs more time to explain and we will discuss about this shortly. at 2:07 PM No comments: Saturday, December 21, 2013 WHAT IS ŚAKTI-PĀTA

What is Śakti-pāta? This is a term often used in Trika Philosophy and is explained as the Descent of Śiva’s Grace on an individual. Apart from our spiritual practices, in order to attain Śakti-pāta, we have to have Divine Grace and Divine Grace is directly related to the level of our spiritual evolution. The highest state of spiritual evolution is manifestation of Love for the Divine, a state beyond mantra japa, meditation, etc. Manifestation of Love means that our mind is completely pervaded by Divine thoughts and feelings. In that state of mind, there is no place for any impressions in the mind. What happens when Śakti-pāta is showered on us? To put this simply, our innate ignorance is removed at the time of descent of Śakti-pāta. Who removes our innate ignorance? As we know, Śiva never acts directly and always acts through His Svātantrya Śakti (Independent and Absolute Power of Śiva), which is worshiped by us as Parāśakti. She has three types of forms – gross, subtler and subtlest. Gross forms are Her different forms which we worship. Her subtle form is Kāmākalā form (only from this form, universe is created), as explained in Lalitā Sahasranāma 322. Her subtlest form is Kun ṣd ṣalinī. These three forms can be explained differently. Gross forms are Her S ṣod ṣaśī, Kālī, and other forms as described in Daśamahāvidyā. By worshiping these forms through various rituals, we lay strong foundation for our spiritual evolution. Then we move to Her Kāmākalā form and this form is worshiped through Her various mantras like Pañcadaśī, S oṣ d aṣ śī, etc. Her Kāmākalā form refers to visarga, which means sending forth, creating, producing, etc which also includes different letters and alphabets from which Her various mantras are derived. Though there are millions of mantras, basically mantras are meant to cleanse various impressions from our mind. Mind can be broadly classified into two – conscious mind and subconscious mind. Conscious mind is where desires and attachments are stored as deep impressions and in the subconscious mind, our karmic imprints are stored. When karma is ripe for manifestation, impressions of subconscious mind percolate into conscious mind and make us to perform certain acts. When we surrender to the Divine, we can be sure that whatever acts we do now, will not cause karmic impressions and whatever pains and miseries we undergo are nothing but experiencing of our past karmas embedded in our subconscious mind. Now we can understand that we undergo several transformations in our lives before we become fit for Śakti-pāta.

There are different levels of Śakti-pāta. These levels can be explained through the following example. In every dam, flow of water is arrested by the giant iron shutters in the dam. Water is released from the dam according to the needs. When need is more, shutters are opened fully and water from the reservoir gushes out roaring and when the need is less, shutters are opened slightly, so that the water just flows across the river. Reservoir is Śiva, dam is Śakti, shutters are Śakti-pāta and requirement of water is the level of our devotion. If the shutters are fully opened, when there is no need there will be floods and when there is huge requirement of water and if the shutters are not released, crops will be damaged and life becomes difficult. Similarly, if Śakti-pāta is showered without Love for the Divine, it could go waste and if Śakti-pāta is not given even for the one who has intent Love for the Divine, one could become frustrated. In order to overcome this difficulty, Śakti-pāta is divided into several categories, which are discussed below. We move from the highest intensity of Śakti-pāta to lowest intensity. Intensity does not refer to the power of Śakti-pāta, but is based on our spiritual level. Śakti-pāta always refers to the Grace of Śiva (referred as reservoir above), showered through the medium of Śakti (referred as dam above). 1. Tīvrātitīvra (तरवतरबावततरवतर) śakti-pāta: Tīvrātitīvra means excessively severe, which is normally used with relation to the intensity of penance. This is known as Sever Supreme Grace. This is like fully opening the shutters of the dam, where there is no control over the force of water. If Śiva decides to shower tīvrātitīvra śakti-pāta, any type of human body cannot resist His Power and on whom tīvrātitīvra śakti-pāta is showered, he dies instantaneously. In other words, his physical body is annihilated by Śiva and his soul is liberated instantaneously. This type of Grace is extremely rare and may not be possible, for who always live in this material world. To have this śakti-pāta, one has to live with Śiva perpetually. There is no use of mantra japa or meditation here. It is sheer Love that alone matters. Many times these people are identified as (spiritually) insane. 2. Tīvramadhya (तरवतरमध्य) śakti-pāta: This is His moderately severe Grace. At the time of this śakti-pāta, the aspirant becomes completely illuminated. He is Self-realized instantaneously. But, he continues to live and becomes a Guru due to Śiva’s Grace. He begins to serve the humanity and works as Śiva’s representative and transforms lives of

many by taking them in the right spiritual path and make them liberated at the end of this birth. 3. Tīvramanda (तरवतरमन्द) śakti-pāta: This is His inferior severe Grace (inferior Grace is not about His Grace, but about the person on whom Grace is showered). When tīviramanda śakti-pāta is showered on someone, he or she is blessed with the Guru as explained in 2 above, who takes this person to higher spiritual levels which ultimately leads to liberation in this birth itself. It is always said that one should be blessed to have the right Guru. These types of Gurus never teach anything wrong and never work for material gains. These kinds of Gurus merely glance at their disciples or impart mahāvākya-s (You are That; You are Brahman; You are Śiva) and they are lead to higher levels bypassing mantra japa-s and other spiritual practices (not rituals, which are nothing to do with the highest levels of spiritual states). The disciple explores analyses and understands mahāvākya and becomes a Self-realised person. Entire path of liberation is through conversation between Guru and his disciple (Gurjui speaks). 4. Madhya-atitīvra (मध्यबावततरवतर) śakti-pāta: This is His mediocre Grace (word mediocre is not used here with reference to His Grace, but about the person who receives His Grace). These kinds of people go to Guru as mentioned 2 above, but they are taken through mantra initiations, yoga-s, etc. They have to go through sādhana or spiritual practices. A Guru as explained in 2 above will be able to differentiate his disciples between 3 and 4 discussed here. Even if Guru explained in 2 above wants to make his disciples to emancipate, they will not be enlightened that easily and they have to have to perform sādhana to move to higher spiritual level. Only at the end of his or her sādhana, they are enlightened with the help of Guru explained in 2 above. 5. Madhyamadhya (मध्यमध्य) śakti-pāta: This is His moderately mediocre Grace, lower than 4 above. This is a person, who wants to enjoy his material life and at the same time, has aspirations to attain Śiva. He is also initiated by a Guru explained in 2 above, but he stops at the level of Bliss. He has two ambitions all the time – A. To remain in the material world and enjoy all the material pleasures; and B. To attain Śiva in order to avert transmigration. If we place A and B in a balance, both will be equal. He knows the pains of being born again and again. At the time of his death, he is not reborn and his soul is

rested in the higher planes for a long time and finally his soul merges with Śiva. This person is not reborn. 6. Madhyamanda (मध्यमन्द) śakti-pāta: This is His lower mediocre Grace. This is very similar to 5 above, but if we place both A and B in a balance, the balance will tilt towards A (material world). He also experiences Bliss, but he is reborn again and only in the next birth he gets liberated and becomes one with Śiva. It is said that those who are in the levels of 4, 5 and 6 think about Śiva every half-an-hour once during day time and twice during the entire night. However, the intensity of thought about Śiva decreases from 4 to 6. 7. There are three other lower intensities of śakti-pāta. More or less their spiritual statuses are almost similar, except the intensity of thought about Śiva. Typically speaking, though they want to go to higher spiritual levels, they are bound by their karma yoga and to sustain their family. They will develop intensified feelings of renunciation, but they cannot, due to their material commitments. They are reborn again and again and after several transmigrations, Śiva absorbs them with Him. Tirumūlar, one of the well know Tamil saints, in his famous spiritual classic known as “Tirumantiram” explains about three types of śakti-pāta – slow pace, rapid pace and more rapid pace. In this classic, he also endorses the sayings of Trika Philosophy. He says, “In the dark corner of the chamber of primal stuff, the God of Grace courted the old man (Śiva). When this courtship unfolds, sweet ambrosia is secreted and once this ambrosia is tasted, Bliss is unfolded in his mind and he reaches the shores of Eternal Truth (Śiva). For such a person, She annihilates his karmic account and lifts Her veil of māyā and reveals Śiva in His Prakāśa form.” at 6:32 PM 5 comments:

Bala puja

First take diksha of Bala Sundari Mantra and do the one lakh Jaap (Chant) of this mantra. After

this

Panchadasi

Mantra

Diksha

is

required. This is the first English translation of the five limbs, or panchanga, of the aspect of Goddess known as Bala Tripura. Bala means "girl", this aspect of the Red Goddess is the most highly erotic of Her three aspects, as the 1,000 names show. Bala is an adolescent woman, Tripurasundari a mother, and Tripurabhairavi a woman in whom menstruation has ceased. Bala's root mantra is aim klim sauh and variations of this mantra are used in her daily ritual. Many tantrik devatas have manuals structured along similar lines. The devata is first visualised as residing in the heart, then later drawn out through the breath and "placed" in the yantra. On installation or invocation, various ritual accessories are offered, and the 1,000 adjectives (names) of the particular deity recited. The Devi is then drawn 'back' into one's heart, and the ritual concludes with various elements "cleaning up" the area of worship.

The five limbs of a ritual panchanga are Patala, Paddhati, Kavacha (Armour), 1,000 Names, and Stotra. The first gives the unfolding of the mantra, usually in coded form. It also describes the meditation image and the yantra of the devata, as well as various optional rites. The second limb describes the ritual worship, including worship of the avarana or attendants of the devata, which are really aspects of the god or goddess. The kavacha is an "armour" used to ward off evil and which may either be recited or written and then worn on the body. The fourth limb consists of the 1,000 names, of which there are very many sets in the tantrik literature. The fifth, the Stotra, is the hymn of praise of the ishtadevata, the tutelary devata of a tantrik sadhaka. This particular manual comes from the Devirahasya, a large work which contains many other panchangas relating to different aspects of Shiva and Shakti. Bala Patala Seated on Kailasa Summit is Bhagavan, spouse of Uma, the God with a crescent Moon as His diadem, whose eyes are Sun, Moon and Fire, wearing an elephant skin, mighty, worshipped by the Gods, bowed to by hosts of Gandharvas, mighty Yakshas, and by gods and demons. Having recited mantra, and having read sacred texts, rising up and bowing, Bhairavi questions the Lord. Shri Bhairavi - Lord God, Ocean of Compassion, who reveals all Agamas, by Your grace I have heard of all the Vidyas, O Sureshvara. Now I would like to hear of Bala Tripurasundari. If this can be spoken of, declare the Vidya, O God Maheshvara. Shri Bhairava -- Listen Devi, I speak of the five Limbed Manual (Panchanga) desired by sadhakas, (which consists of) Patala, Paddhati, Armour, 1,000 Names and King of Hymns. O Mahadevi, listen one-pointedly. Parameshani, Shri Bala is the Goddess bestowing both enjoyment and Liberation.

O Mahadevi, one may give away power, dominion, house and wealth. All these may be given away, but one should never give away this thing which is the best of all. In the Kali Yuga there is no other Vidya resembling this Vidya. It is said that Shri Bala Tripura gives siddhi quickly. It should be passed on to peaceful disciples, and to those devoted to their Guru. One should not give this Vidya to the undevoted, O Parameshvari. I will speak of the unfolding of the mantra, yantra, prastara, meditation, and the rites of the Devi, O Maheshvari. First, Deveshi, listen to the unfolding of the Mantra which bestows all fruit. It should be carefully concealed, whoever knows it becomes successful (Siddha). One should place "Shakti" (Sauh) at the end of 'Vagbhava" (Aim) and "Kamaraja" (Klim), ending this with Namah. O Devi, this is the eight lettered Mantra of Bala. (There are) no obstacles, or impurity or restrictions attached to it, it causes one to become a Siddha, O Mahadevi, and is the King of Mantras in the Kali Yuga. Dakshinamurti is the Seer, Pankti is the Metre for pronunciation, the Goddess if TripuraBala, "Aim" is the Seed, "Sauh" the Shakti. "Klim" is the linchpin. Its application is towards Dharma, Artha, Kama and Moksha. One should do (six fold) Nyasa on the head, on the mouth, in the heart, on the feet, on the navel lotus and in all the limbs, O Devi. One should do Nyasa according to the rules doing Seer, Hand and Limb nyasa, using the bijas of the mantra, O Maheshvari. Now I speak of Her meditation, advantageous for all sadhakas:

I meditate on Bala, clothed in red, with a digit of the Moon as Her ornament, effulgent as the rising sun, with three eyes, holding a book and a rosary, showing the gestures of removing fear and giving, seated on a red lotus. Having meditated in this way one should repeat the mantra which gives success. A pure sadhaka should prepare (the mantra by reciting it) 300,000 times. Now I speak of the unfolding of the Yantra of Mahadevi, the Giver of both Enjoyment and Liberation, which is very hard to get to know of for any sadhaka. Bindu, triangle, eight triangles, eight petals, adorned with three circles and enclosed in an earthsquare. This circle of Bala (and Her attendants) is the Destroyer of Pain, O Mountain-Born One! One should worship the Shaktis of the pedestal when inscribing the Yantra. The pedestal Shaktis are Will (Iccha), Knowledge (Jnana), Action (Kriya), Lotus-Girl (Kamini), Giver of Sexuality (Kamadayini), Sexual Pleasure (Rati), Loving the Bliss of Sexual Pleasure (Ratipriyananda), and Mind-Born (Manonmani) lastly. One should place these Shaktis round the pedestal using the mantra "Vyoma Parvata Tartiya Sadashiva Mahapadam Pitha Padmasanaya Namah". This is the pedestal Mantra. Having put, in order, these 16 syllables around the image (Yantra) one should recite the root mantra. One should invoke Devi and worship Her with the ritual accessories according to the rules. Having invoked the desired Devi in the centre of the yoni, one should worship in the triangle, in a similar way Sexual Love (Rati) on the left, Pleasure (Priti) on the right, and Mind-Born (Manobhava) at the apex. One should worship the six Limbs inside the yoni (i.e. central triangle) starting from the South East. Outside the central yoni one should worship, from the East, in a clockwise direction, the Arrow-Devis. In the eight yoni-triangles one should worship the eight Shaktis called Beautiful Bhaga (Bhaga=female sexual organ), Bhaga, Nectar of Bhaga, Bhaga adorned

with Flowers, Primordial Sexual Pleasure, The Flower of Sex, the Girdle of Sex, the Bliss of Sexual Love - these are the eight Shaktis. In the filaments of the lotus one should worship Brahmi and so forth, and in the petals themselves the (eight) Bhairavas. One should also worship, in the petal tips, from the East in a clockwise direction, the Sacred Sites called Kamarupa, Malaya, Kaulagiri, Cauhara, Kulantaka, Jalandhara and Oddyana -- the eighth being Devikuta. In the bhupura one should worship in the cardinal directions Heruka, Tripurantaka, Vetala, Agnijihva, Kalantaka, Kapalini, Ekapada, Bhimarupa, Mala and Hatakeshvara. (Also) in the directions one should worship Indra and the others with the (various) weapons. Outside of this, in the directions, one should worship Vatuka, the Yoginis, Kshetrapala and Ganesha. In the intermediate points one should worship the (eight) Vasus, the Sun, and Shiva. One should worship all the elements and then the weapons. First of all one should meditate on Bala in the embrace of Kameshvara in the centre; A Kaula should worship using the five makaras according to the rules of Kaulachara. The sadhaka skilled in the mantra should worship Mahadevi in the bindu (of the yantra) with scent, unhusked rice, flowers, incense, flame and liquid oblation. This is called Layanga. Listen to the rituals, O Parvati. Whosoever skilled in mantra who does this gains a share of success swiftly, it is certain. The (eight rites) are Paralysing, Deluding, Killing, Attracting, Subjugating, Driving Away, Peace Making and Healing. This sadhana is the Quintessence, invisible, Dear One. One should not give this to those undevoted to Devi, and should keep it concealed and secret from pashus.

(1) On the first day of the Waxing Moon, Devi, having bathed and done the daily rite, one should go to a deserted place at midday. There one should do sacrifice by a 10th part using ghee, curd and so forth. One should do oblation to the Goddess, then immediately one is free to paralyse, this is certain. (2) At dusk, in the cremation ground, one should recite (the mantra) on a seat made of owl feathers. One should do much sacrifice and by a tenth part of this give ghee, wine, grain, shoots and lotus seeds. Then one may delude the world. (3) Having gone in the morning or at night to the place of Ghosts and Elementals (Cremation Ground), the mighty Hero should recite the Vidya of 16 letters in front of a cremation pyre. The mantrin should do much sacrifice of ghee, fragrant gums and hairs of chandalas in the burning funeral pyre. (In this way) one kills an enemy. (4) On an eighth day of the Bright Fortnight the sadhaka should recite (the mantra) in secret. Having recited a myriad times using the root Vidya, and having meditated, O Charming One, one should do sacrifice of a 10th part giving ghee, lac, flowers, menstrual blood, wheat and bamboo shoots. (Then) one may attract women. (5) Dearest, on a ninth day the ritualist, having bathed and done the daily rite, should offer much ghee, fish, eggs, lotus, pearls, and hair of deer. Doing sacrifice in this way, O Lady of Heroes, one is able to make people slaves. (6) On the fourth Lunar Day of a Dark Fortnight one should recite the mantra at the arising of the Moon, Dearest. On a riverbank, seated in Shirsha Asana, the Hero should recite the mantra many times. One should sacrifice a 10th part of this, giving ghee, blue lotus, cloves, black pepper and tamarind. Then one may cause an enemy to flee. (7) On a fifth night, O Deveshi, one should recite the mantra a myriad times. One should sacrifice a 10th of that and should offer ghee, fish, sugar cane and camphor - thus one may calm down great disputes, wars and adversities.

(8) On a great eighth day (of the dark Lunar fortnight) a person1 having bathed, should do sadhana on the best of pedestals. The hero should recite (the mantra) 10,000 times and should sacrifice a 10th part of that, giving ghee, camphor, grapes, many betel leaves, goat flesh and blood. Then one causes healing to occur. This thing which is secret is the form of all, my very Self, O Deveshi, Secret. One should conceal it in the Kali Yuga. On Sundays etc. one should recite the mantra 10,000 times. Then one becomes Siddha, there should be no doubt about this! This celestial chapter is revealed because of Your love. Hide it! It should be concealed, hide it as You would conceal Your own yoni. Shri Bala Paddhati Now I will declare the Paddhati in its spoken form - the essence of Shri Bala Tripureshvari, the Giver of Happiness. Having done morning acts those who are devoted should worship Devi. This puja is fruitless for those impure at the Three (Twilights). Extending from the base of the spine to the top of the head, like a lotus stem, a brilliant, white, slender thread, one should meditate on Devi, Giver of Subjugation, Great Good Fortune and Eloquence; as surrounded by a swarm of black bees; with braided hair garlanded with flowers; with a face marked with a jewel as her forehead mark; her mouth sweetly smiling, wearing a beautiful diadem; her head adorned with pearls and diamonds; with a slender crescent Moon as crest gem; her three bright eyes effulgent as a swarm of sapphire bees; with jewelled coiled earrings, the chief of which is as bright as the Sun: ornamented with shining pearls and gems of dazzling appearance; around her throat a necklace like a line of bees, beautiful and bedazzling, surpassing nectar in its beauty; adorned with beautiful and resplendent garments like the white water of the Ganga in flood; beautiful, sinuous graceful limbs, scented and sweet like creeping vines; covered in gold and by other precious metals, and by glistening jewels, glittering and bright; her beautiful feet and toes like red lotuses with their petals; as bright as the circle of the starry

realm (Nakshatras); adorned with pearl-like blossoms; with her lower left hand holding a book and her upper right hand dispelling the fears of sadhakas; in her two right hands holding a rosary and bestowing boons; She herself being of the dazzling whiteness of snow, milk or the Moon; gracious and charming. Armour of Shri Bala Tripurasundari Shri Bhairavi said - Devadeva, Mahadeva, expander of devotees who please You, the Armour of Devi is hidden. Speak of this to Me! Shri Bhairava -- Listen Devi, I speak of the Armour difficult to get even for gods. One should never reveal this high secret, which gives the wished for siddhi to a sadhaka. The Seer of the Armour is Dakshinamurti. Pankti is the Metre. The Devi is Tripurasundari. Its application in puja is the four aims of Mankind. She wears a pearl diadem, coiled earrings, armlets, a necklace of gems; pearl finger rings; effulgent bracelets and other jewels; a golden hip girdle, glittering anklets; her navel is adorned with a ruby, and she has a bracelet of shells, with a Kala of the Moon on her forehead. She holds a noose, a goad, a book and a rosary in her upper hands and the other hands. May the Vagbhava Aim protect my head, and the Kamaraja Klim my heart! May the Shakti Bija Sauh protect me in my navel, genitals and feet! May Aim Klim Sauh protect my face, and Bala shield me in my siddhi! May Ha Sa Ka La Hrim Sauh Bhairavi shield my throat, and may Sa Ka La Sundari shield me in the region of the navel! May Mahatripurasundari shield my brow, and the point between my eyes! Subhaga protect my forehead! Bhaga shield my throat! Bhagodevi protect my heart! Bhagasarpini, shield my belly!

Bhagamala, shield my navel! Manobhava, protect my penis! May the auspicious Lady, the Queen of Queens, the Mahadevi, shield my anus! Mother of the Cosmos (Jagad Ambika), form of Consciousness, protect my feet! Narayani, protect me at night! Shubhankari shield me in all my actions! May Brahmani protect me in the East, and Vaishnavi in the South! May Varahi protect me in the West, and Maheshvari in the North! May Kaumari protect me in the South East, and Mahalakshmi in the South West! May Chamunda protect me in the North West, and Indrani in the North East! Mahamaya, protect me in Water! Sarvamangala, shield me in Earth! Varada, protect me in Aether! Bhuvaneshvari, protect me everywhere! This Armour is called "Names of the Goddess" and is hard to obtain! The pure person with concentrated mind should arise and recite it at dawn. Whoever does it knows no fear or disease. Nor is he afraid of death or anxious about sin. He is never poor, nor is he vanquished by death. He dwells in the realm of Shiva, O Devi. I say to You that this is most certainly true. O Auspicious One, whosoever should recite this Armour having not been initiated into Shri Vidya gains no fruit, but is struck by lightning. The 1,000 Names of Bala Shri Devi - Shri Natha Shankara, Bliss-Maker, speak! O Lord God, how may one obtain the yoga-power of full devotion, O Ocean of Wine 1 If You have compassion for Me Shambhu, reveal that which is well-hidden!

Shri Bhairava -- By devotion to Shakti one comes to know the entire vermilion ocean of Bliss, the hidden essence of Bala. Dear One, I will speak to You of Her 1,000 Names. One should well hide it, O One with Thighs like Plantain Stems, it is revealed out of deep and amorous affection for You. Whoever meditates on how Devi is hymned immediately gains the whole mass of happiness, and is the cause of Knowledge. (Of this 1,000 Name-Hymn of Shri Bala Sundari, Bhargava is the Seer, Anushtubh is the Metre, Shri Bala Tripura is the Devata. Aim is the Seed, Sauh is the Shakti, Klim the linchpin. The application by reading it are the four aims of Mankind. Rishi Nyasa :Hail to Bhargava the Seer on the head; Hail to Anushtubh the Metre on the mouth; Hail to Shri Bala the Devata in the heart; Hail to the Seed Aim in the genitals; Hail to the Shakti Sauh on the feet; Hail to the Linchpin Klim on the navel; Hail to the Application on all the limbs. Aim hail to the thumbs; Klim obeisance to the index fingers; Sauh hail to the middle fingers; Aim hail to the ring fingers; Klim hail to the little fingers; Sauh to the front and backs of the hands hail Thus the heart and other Nyasa are related. Meditation-) Wearing red clothes, with a Kala of the Moon as Her ornament, effulgent as the rising Sun, holding Book and Rosary, bestowing boons and banishing fears, I meditate on Bala on the Red Lotus. Pleasing and Supremely Blissful Vermilion One. Ultimate Treasure of the Path of Devotion. Deep Left Thing. Manifestation of the Elements. Shankari. Shiva. Boon Giver of Erotic Form. Essence. Auspicious Sphere of Action. Ocean of Ultimate Bliss. Passionate. Actress. Graceful One. Kala of Sexual Play the Colour of Blossom. Dalliance. Absolute. Kala.

Suitable Essence. Creeper Granting All Wishes. Eager-Goddess. Playing with Love's Arrow. Truly Affectionate. Lovely Sweet Form. Effulgent as 10,000,000 Suns. Cool as 10,000,000 Moons. Arrow Limbed One Shedding Nectar. Means by which Heaven is Attained. Gazelle Eyed. Charming. Walking Beautifully. Happy and Peaceful One. Empress. Queen. Worshipped by Mahendra. Lady Moving in the Cosmos. Ultimate Mover in the Cosmos. With Dishevelled Clothing. Irresistible Shakti. With Tinkling Golden Anklets. With Breasts like the Paradise Tree on Mount Meru. Bearing Goad and Noose as Weapons and Giving Boons. Holding Arrows and Sugar Cane Bow in Her Two Beautiful Hands, Face like the Disc of the Moon. With a Beautiful Crest Gem like a Little Moon. Having a Vermilion Forehead Mark. Her Lovely Braided Hair adorned with Flowers. Rejoicing in a Garland of Coral Tree Blossoms. Adorned with a Garland of Gems. Fond of Gold Ornaments. Having a Beautiful Pearl Necklace. Her Mouth is Full of Tambula. Her Mind is Filled with Sexual Bliss. Pleasing and Happy. Essence of Passion. Supremely Compassionate. Lady of Treasure. An Effulgent Gem sits between Her Breasts. Intoxicated with Wine-Essence. Having a Mantra which is the Self of Bindu and Nada. Form of the Fourth. The Lovely Giver of Happiness. Shankari. Fond of Blossoms. The Universe. Complete. Dweller in the Purna Pitha.

Rajyalakshmi. Shri Lakshmi. Mahalakshmi. Beautiful Queen. Santoshima. Excellence. Gold Vessel. Light. All-complete. Supporter of the Cosmos. Creatrix. Increasor of Strength. Magnificence of all Earthly Kings. Mother Ruling All. Lotus-Eyed One. One Gazing Long. Clear Eyed One. Flow of Love. Taste. [100] Chief One. Essence Body. Vermilion Essence. Moving Gracefully. Colour of Pollen. Mad with Bliss in Sexual Intercourse. Inmost Quality. Self of Shakti. Eyes Full of Love. Charming. Goddess of Love. Lovely Bhaga (Female Genitals). Beautiful Bhaga. Taking Pleasure. To be Enjoyed. Giver of Fortune. Lovely. Bhaga. Kala of the Bliss of Yoni and Linga. Dwelling in the centre of the Bhaga. Form of Bhaga. Consisting of Bhaga. Bhaga Yantra. Highest Bhaga. Yoni Mudra. Kamakala. Essence of Kula Nectar. Fire of the Kula Kunda. Subtle. Jivatma. Form of the Linga. Root Cause. Root Form. True Form of Root Action. Longing For It. Lotus-Bliss. Self Dissolved in Consciousness Meditation. Beneficent. White and Red. Form of Bindu. Yoni which is the Sound of Knowledge. Sound of 10,000,000 Bells. Humming One. The Marvellous Risen Disc of the Sun. Dissolved in Sound. Completely Full. Place of Fullness. Many-Bodied. Golden Music. Hereditary Music. Sound of the Drum. Garland of Letters. Siddhi-Kala. Dwelling in the Six Chakras. Sexually Playing in the Muladhara. Svadisthana. Dwelling in the fourth. Situated in the Manipura. Loved. Essence of the Tortoise Chakra. Like a Flame

in the Anahata. Made of Gems. Vishuddha. Pure Sound. Residing in the Awakened Being. Song. Situated in the Ajna Lotus. Emanatrix. Skilful. Triple Circle. Little Moon. Splendid as 10,000,000 Moons. Shining like 10,000,000 Suns. Shadow of the Ruby Red Lotus. Consisting of Eternity and Joy. Shining. Auspicious Liquor. Very Beloved. Still and Joyful Nectar. Charming Limbed One Rejoicing in Intercourse. Having Sweet Nectar. Seated on a Great Pedestal. Satisfied. Wild. Beautiful in Bearing. Drenched in a Shower of Nectar. Expanding Ocean of Redness. Very Red. Fond of Moistness. Wearing Innumerable Earrings and Removing Fear. [200] Excellent Oral Lore. Encircled by Countless Flowers and Fruit. Dear. Auspicious. Beloved of Shiva. Shankari. Shambhavi. Powerful. Self Created. Beloved of the Self. Partner. One's Own. Mother Matrika. Vowel-Being. Refuge. Chaste. Highest Being and Origin of Wine. Fortunate Gladdener. Respected. Devoted to All Good Fortune. Lucky. Slender Thread. Maiden. Bright as a Fragment of a Half Moon. Beautiful Slender Creeper. Dear One. Wicked Deed. Evil Spell. Gazelle Eyed. Excited Eyed. Sharp. Intoxicated with Wine Nectar. Delighted by Intoxicating Liquor. Beauteous as Madira Wine.

Pleased by Kadamba Wine. Handsome. Delighted. Rejoicing in Sideways Glances. One with Slowly Turned Down Eyes Gazing Long and Sweetly. Destroyer of the Family of Demons. Radiant Nectar of Sexual Desire. Suvasini. One with Rounded Body. One With Breasts Heavy with Milk. Truly Beautiful. With Teeth Like Little Pearls. With a Halo. Radiant Mouth. Her Lips Like Tender Shoots. Her Nose Like the Tip of a Til Blossom. Her Forehead Shining Like Gold. With a Face like the Full Moon. With a Young Moon as Her Shining Diadem. Her Lively Eyes Smeared with Orpiment. Her Ears Like Blossoming Flowers. Each Ear like Half a Leaf and resembling a New Moon. With the Sun as a Gem in Her Diadem. Her Gold Earrings Studded with Gems. With Coiled and Begemmed Earrings. Very Beautiful Cheeks. With a Shell-Like Neck. Wearing Alluring Gems. Wearing a Pearl Necklace which is Like the Ganges in Flood and Her Voice Like a Bird. Her Limbs Extending Like Many Lotus Roots. Carrying Noose, Goad and Bow. With Bracelets Entwined Round Her Clothes. Adorned with Various Beautiful Jewels. Her Lotus Hands the Colour of Copper and Her Lovely Nails Shining like Gems. Her Fingers Adorned with Jewels with Beautiful Lines between Her Fingers. Her Two Beautiful Breasts Like the Mandara Tree. The Hair of Her Pubic Region like a Line of Serpents. Her Womanly Deep Navel Encircled by Three Lines. Very Slender of Waist. Wearing a Breast Plate for Battle. Wearing a Beautiful Waist Cloth. Her Buttocks Like the Brows of an Elephant. Her Two Thighs Close Together Like the Cheeks of an Elephant. Her Beautiful Knees and Legs like Unworldly and Bright Paradise Trees. With Hidden Ankles. Her Anklets Adorned with Gems and Making a Charming Ringing Sound. Her Two Feet Meditated on by Yogis. Ocean of Wine Nectar.

Vermilion Ocean. With a Vermilion Forehead Mark. Adorned with Dishevelled Hair. Perfect Nectar. Truly Wise. Intelligent. Most Beautiful of Divinities. Like a Row of Scarlet Rays From a Dawn Sun. Beloved Cow of Heaven. Padmini of the Essence of Nectar. Stream of Rasa. The Beautiful and Ever-present Boon Giving One. Autumnal. Giving True Fortune. Dear to Nataraja. Cosmic Dancer. Male and Female Dancer. Brightly Coloured Yantra. Web of Consciousness. Knowledge Vine. Chief Thing. Dwelling in the Forehead. five-Sectioned One. Panchami. four-Sectioned One. Tripartite Primordial One. Six-Sectioned One. Worshipped in the Vedas. Having 16 Sections. The Fourth. Supreme Kala. Shodashi. Goddess of Mantra and Yantra. Meru Circle. Sixteen Lettered One. Three Lettered One. True Form of Bindu Nada. Above the Letters. Mother of the Letters. Great Happiness Who is the Absolute as Sound. Consciousness Vine. Being with Sections. Kameshi. To Be Seen in Dream. Goddess of Dream. Goddess of Awakened Intelligence. Refuge of the Watchful in the Waking State. Abode of Dream. Deep Sleep. Free from Idleness. Spring Creeper of Fragrant White Flowers (Madhavi). Lopamudra. Queen of Kama. Daughter of Man. Worshipped by Lords of Wealth. Shakambhari. Nandi Vidya. Garland of Light Emanating Blossoms. Mahendri. Served in Heaven. Oral Lore. Refuge of the Best Sadhakas. Chaste. Truly Good. Siddhi Cave.

Lady of the Three Cities. Worshipped by Conquerors of Cities. City Devata. Satisfied Destructrix of Obstacles. Without Qualities. Worshipped by the Celestial Cow. Golden Mother. Lady of Hosts. Secret Mother. With Beautiful Buttocks. Giving Birth to All. Liberation. Initiation. Initiated Matrika. Mother of Sadhakas. Mother of Siddhas. Most Powerful Wizardess. Deluding the Mind. Youthful and Intoxicated. Exalted. Her Beautiful Buttocks Swaying Slowly. Dwelling in the Red and Blue Lotus. Smeared with Red and Adorned with Red Gems. Wearing a Pure Red Rosary. With a Very Beautiful Peacock Feather Crest aim. Satisfied by Kings. Waving Peacock Plumes. Perfume Diffusing in the Cosmos. Earth. Fragrance. Giver of Sexual Love. Beloved. Giving Success in Love to Those Seeking Love. Nandini. Lakshanavati. Devata Resorted to by (Rishi) Vasishta. Devi of Goloka. (400] Protectress of Shri Goloka and all the Worlds. Giver of the Fruits of Sacrifice. Mother of the Gods. Giving Boons to Gods. Partner of Rudra. Auspicious Mother. Wide Expanse of the Ocean of Nectar. Dakshina. Form of Sacrifice. True Maiden. Rejoicing in Resolution. Dwelling in the Ocean Full of Milk. Pure Yoni. Beautiful Eyed. Dwelling in Beauty. Truly Served. Dissolved in Beautiful Scents. True in Actions. Beautiful Tripura. With Beautiful Breasts. With the Breasts of a Young Maiden. Menstruating Girl. Showing Her Menses. Colourful One. With a Bright Garland. Liking Red. Very Red. True Form of Love Making. Mother of Menses and Semen. Intent on Sex Play. Coming in Love Making. Cry of Orgasm. Self of all Love Play. Life of the Gods. Bliss of Svayambhu Menses. Fond of Svayambhu Menses. Pleased and Satisfied by Svayambhu Menses. Cause of

Creation of the Beautiful Svayambhu Menses. Place of Svayambhu Menses. Shakti Hole. All Love Dalliance is Her True and Sacred Pedestal. Very Inner Whore. Duti. Artful. Pleased by Worship. Kullika. Dwelling in a Yantra. Dwelling in a Yoga Pedestal. With Beautiful Body. Form of the Quintessence. Having All Characteristics. Wearing Various Beautiful Jewels. Worshipped With Five Arrows. Residing in the Upper Trikona. Bala. Kameshvari. Worshipped by Hosts. Worshipped by Kulas. Lakshmi. Sarasvati. Pleased by Spring. Beloved. Having Gems on Her Breasts. Bearing a Kala on Her Head. Her Feet Causing Growth. Residing in Kalas. Fond of Flowers. Wearing Flowers. Deludress of Love. Intoxicated with Sexual Desire. Mohini. Kalas of the Moon. Shoshini. Vashini. Rajini. Subhaga. Bhaga. Pusha. Vasha. Sumana. Rati. Priti. Dhriti. Riddhi. Benefic. With a Garland of Rays. With Parts. Moon. True Shadow. Rising Full Moon. Satisfied. Full Amrita. Dwelling in the Female Sex Organ Yantra. Residing in the Linga Yantra. [500] Body of Shambhu. Yogini of Sexual Intercourse. Wine Goddess. Body of Bija. Steady. Dear to Sadhakas. Self of the King of Bija. Giver of Dominion and Happiness. Giver of Desires. Shakti of Menses and Semen. Knower of Shiva' s Semen. All Nectar. Consisting of Nectar. Consisting of Shiva and Shakti. Lady.

Dwelling in the Bliss of Love Making. The Matrika Fond of Love Making. Bliss of the Flowers of Sexual Intercourse. Lovemaking. Expander of Yoga. State of Happiness in Sexual Intercourse. Served by Unified Consciousness-Bliss. True Form of the Substances Used in Offering and Giver of Success in Worship. Samarasya. Supreme One Female Form Fond of Love-Making. Messenger of Knowledge. Accessible to Knowledge. Origin of Knowledge. Abode of Shiva. Consciousness- Kala. Knowledge With All its Parts. True Kula. Beautiful Self of Kula. Four Kalas. Very Subtle Lotus Girl (Padmini). Supreme Being. Dwelling in the Play of Hamsa. Shadowy One. Emanatrix of the Two Parts of Hamsa. Free from Passion. Liberation Kala. Supreme Being Indwelling in Kalas. Very Self Situated in Vidya Kala. Dweller in the Four Kalas. The Vidya Making All Content. Pleased One. The Light of the Supreme Absolute. The Supreme Paramatma. Dissolved in Things. The Fourfold Shakti. The Diffusion of Shanta and Bodha Kalas. The Kala and Inner Essence of the Highest Knowledge. Pashyanti. Supreme Quintessence. The Inner Atma without Parts Known as Akula. Madhyama. Vaikhari. The Bliss of Atma Kala. Dweller in Kalas. Tarini. Swift One (Tarani). Tara. Knower of the Inner Core Dissolved in the Shiva Linga. Mover in the Ultimate Good. Delighting in the Bliss of the Absolute. Intoxicated with Rasa. Highest Rasa. Successful. Fond of Success. Uma. Fond of All Castes. Increasor of the Bliss of Yogis and Yoginis. Bestower of the Heroic Frame of Mind. Celestial One. Giver of True Heroism to Heroes.

Great Giver of the Heroic Mood to Pashus. One Whose Head is Bathed. Queen Shri. The Ultimate Matrika of Warriors. Skilled in Sword and Missile. Grace. Essence Place. Enlivening in Battle. Victorious. Yogini. Pilgrimage. Crusher of Great Armies. Full. [600] Goddess of Wealth. Wealth. Provided with Great Hoards of Treasure. Dwelling in Heaps of Gems. Jewel. Abiding in Necklaces of Gems. Mahishi. Worshipped by Kings. With Hosts. Bearing Hosts. Creatrix. Prostitute. Attainable by Yoga. Mallasena. Female Foot Soldier. Battle Array. Brave in Love. Banner. Dwelling in the Banner. Beautiful Parasol. Little Mother. Mother (Amba). Fragrant. Moving in sadhana. Acting like Kings Act. Consisting of Brahmins and Kshatriyas. Dwelling in Moon and Sun. Fond of Her Priests. Chaste One. Brahmin Girl. Multitude of Sacrifices. Supreme Wine of the Moon. Origin of All. Burning One. Patient One. Opposing Evil. Bearer of All. Creatrix of All. Origin. Moving in Eternity. Gayatri. Attainable by Knowledge. Initiated. Giving the Wished For Goal. Dwelling in the Cosmos Like Jewelled Rays. Life of the Universe. Giver of Success in the Field. Augmentor of All. Little Usurer. Support of Kula. One who Extends Herself Beautifully. Mind's Delusion. Refuge. Pure. Dwelling in the Twice Born. Doer of Actions. Worshipped in Festivals. Going Under Various Guises. Bala. Wanton. Consisting of Kalas. With Beautiful Ears. Highest of All. Freer from Difficulties. Durga. Staying in the Vindhya Forest. Beloved of the God of Love. Pacifier. Black One. Protectress. Intoxicated with Rasa.

Appeaser of Those Fallen From the Three Rules of Conduct. Bestower of Complete Happiness. Little Moon of the Cosmic Pleasure Garden. Giver of Happiness to the Multitude of Siddhas. Worshipped by Hosts of Yoginis. Body of the Sixteen Nityas. Kameshi. Bhagamalini. Nityaklinna. Bherunda. VahniMandala-Vasini. Mahavidyeshvari Nitya. Shiva Duti. Tvarita. Kula Sundari. Nitya. Nilapataka. Vijaya. Sarvamangala. Jvalamala. [700] Vichitra. Mahatripurasundari. Host of Gurus. Supreme Guru. Lady Prakashananda. Form of Shivanandanath. True Form of Shaktyanandanath. Consisting of Devi-Anandanath. Lady Kaulesha Anandanath. Form of the Divyaugha. Lady Samaya Anandanath. Lady Shukla Devi Ananda Nath. Kulesha Ananda Nathini. Body of Klinnanga Ananda (Nath). Samaya Ananda Nathini. Consisting of Veda Ananda Nath. Sahaja Ananda Nathini. Body of the Siddha Augha. Body of the Highest Guru. Gagana Ananda (Nathini). Vishva Ananda Nathini. Vimala Ananda Nathini. Madana Ananda Nathini. Primordial Lady of the Worlds. Primordial Playful One. Nandana Ananda Nathini. Body of Sva Atma Ananda. Priya Ananda Nathini. Self of the Manava Augha Gurus. Lady of the Gurus of the Gurus. Ultimate Secret. Guru Shakti. Fond of Those Who Sing the Praises of Their Own Guru. Known as Bewilderer of the Three Worlds. All Encompassing and Complete One. All-Bewildering One. Residing in the Eastern Amnaya. Shiva-Shakti. Auspicious (Shiva) Shakti. Dwelling in Three Shiva Chakras. Known as the Giver of All Great Good

Fortune. Giver of All Desires to Sadhakas. Called the All Protecting One. Devata of the Southern Amnaya. Dwelling in the Centre of the Disc of the Sun. Devata of the Western Amnaya. Creating and Indwelling the Nine Chakras. Devata of the Northern Amnaya. Worshipped by Kubera. Origin of Kula. Residing in the Exalted Kula Amnaya. Making and Dwelling in the Bindu Chakra. Lady of the Central Lion Throne. Shri Vidya. Mahalakshmi. Lakshmi. Self of the Three Shaktis. Lakshmi Giving All Dominion. Pancha Lakshmi. Shrividya. Supreme Light Source. Supreme Shambhavi Without Parts. Matrika. Panchakoshi. Shrividya Tvarita. Parijateshvari. Trikuta. Panchabaneshi. Panchakalpalata. Pancha Vidya. Source of Amrita. Wine. Lovely Lady. Annapurna. Cow of Plenty. Shri Vidya. Siddha Lakshmi. Matangi. Bhuvaneshvari. Varahi. Pancharatneshvari. One Who Dwells in the Letters of Matrika. Supreme Effulgence. In the Form of All Words. Aindri. Desire. Own Lady. Vision of Shakti. Seed of the Sun. Having the Body of Brahma. Having the Body of Shiva. Having the Body of Vishnu. Residing in the Wheel of Creation. Having the Body of the Sun. Dissolved in the Chakra of Places. Having the Body of Mercury. Mahatripurasundari. True Form of Tattva and Mudra. Pleasant One. [800] Knowledge Mudra. Satisfied by All Ritual Accessories. Dwelling in the Heart. Divinity of the Head. Divinity of the Top of the Head. The Absolute. With Amorous Three Eyes. Dwelling in the Missile. Four Square One. Dwelling at the Doors. Dwelling in Each Door. Anima in the West. Laghima in the North. Mahima in the East. Ishitva Divinity of the Southern Door. Vashitva in the North West. Prakamya in the North East. Bhukti in the South East. Iccha in the South West.

Brahmi. Maheshvari. Kaumari. Vaishnavi. Varahi. Aindri. Chamunda. Mahalakshmi. Dwelling in the Ten Parts. Kshobhini. Dravini Mudra. Akarshana. Unmadana. Mahankusha. Khechari. Bija. Yoni Mudra. Dwelling in the Sarvashapura Chakra. Cause of Successful Siddhi. Kamakarshini Shakti. Buddhi Akarshana. Ahankara Karshini. Shabda Akarshana. Sparsha Akarshana. Rupa Akarshana. Rasa Akarshana. Gandha Akarshana. Chitta Akarshana. Dhairya Akarshana. Smritya Akarshana. Bija Akarshana. Amrita Akarshini. Nama Akarshini. Sharira Akarshinidevi. Atma Akarshana. Form of the Sixteen Vowels. Temple of the Flow of Nectar. Tripureshi. Form of Siddha. Dwelling in the Sixteen Petals. Queen of the All Agitating Chakra. Lady of the Guptatara Shaktis. Ananga Kusuma Shakti. Ananga Kati Mekhala. Ananga Madana. Ananga Madanatura. Ananga Rekha. Ananga Vega. Anangankusha. Ananga Malini. Shakti of the Eight Divisions of the Alphabet. Making and Dwelling in the Eight Petals. Shrimat Tripurasundari. Giver of all Happiness & Dominion. Lady giving Great Good Fortune. Lady of the Sampradaya. Cause of All Agitation. Causing All to Flee. Attractor of All. Shakti Gladdening All. Shakti causing Crushing. Shakti causing all Paralysis. Shakti causing All Delusion. Shakti causing All Subjugation. Shakti who gives Colour to All and Everything. Shakti causing Sexual Awakening. Shakti giving the Fruit of All Desires. Shakti giving All Wealth. Shakti consisting of Mantra. Shakti causing the Dualities to Disappear. [900] Siddhi-Tripura-Vasini. Lady giving All Desires to a Sadhaka. Lady giving the Fruit of All Actions. Lady of the 14 Angle Chakra. Devi giving All Siddhi. Giver of All Prosperity. Shakti Beloved of All. Cause of All Good Fortune.

Full of All Sexual Desire. Liberator from All Sorrow. Alleviator of All Death. Destructress of All Obstacles. Devi Beautiful in All Limbs. Giver of All Great Good Fortune. Tripureshi. Giver of All Siddhi. Dwelling in the 10 Triangles. Lady Bestowing All Protection. Nigarbha Yogini. Knowing All. Shaktii of All. Giver of All Dominion. Devi Consisting of All Knowledge. Destroyer of All Ailments. True Form of All Adharas. Destroyer of All Evil. Devi made of All Bliss. True Form of All Protection. Mahima Shakti Devi. Devi Giving All. Lady Residing in the Inner 10 Angles. Devi Tripura Malini. Lady Destroying All Disease. Rahasya Yogini. Vagdevi. Vashini. Devi Kameshvari. Modini. Vimala. Aruna. Jayini. Sarveshvari. Kaulini. Giver of Siddhi in the eight Angles. Lady who gives All Love. Parapararahasya. Dweller in the Square & Trikona. Self of All Dominion Who consists of the Weapons. Kameshvari Arrow Form. Kameshi Bow Form. Kameshi Noose Form. Kameshi Goad Form. Kameshvari the Indra Shakti. Residing in the Sphere of Fire. Presiding Devi of Kamagiri. Going in the Lowermost Angle of the Triangle. Lady Dwelling in the Rightmost Angle. Vishnu Shakti at Jalandhara. Residing in the Sphere of the Sun. Rudra Shakti in the Leftmost Angle. Brahma Shakti in the Sphere of the Moon. Anuragini Dwelling at Purnagiri. Auspicious Lady of the Sphere of the Triangle. Tripura-Atma-Maheshvari. Lady Residing in the Sphere of All Bliss. Secret One Dwelling in the Bindu. Supreme True Form of the Absolute. Mahatripurasundari. Dwelling Within All Chakras. Chief of the Whole of the Chakras. Lady of All Chakras. Lady of All Mantras. Lady of All Vidyas. Lady of All Speech. All Yogeshvari. Undivided Lady holding Dominion over All Pithas.

Sarva-Kameshvari. Lady of All Tattvas and Dominions. Shakti. Shakti with Eyes Intoxicated with Bliss. Without Duality. Womb of the Dualities. Unextended in the Cosmos. Mahamaya. Extended in the Cosmos. Dweller in Herself. Supporter of All Manifestation in the Cosmos. Ultimate Bliss Sundari. [1,000] Thus the celestial cause of Supreme Bliss has been declared, the Salt Vermilion Waves of Bala giving all satisfaction. O Parvati, of all sets of 1,000 names in the tantras, this is the quintessence. Dearest, this hymn may be recited at all times, at night, and during puja in the morning. When Bala, the Giver of All Dominion and Happiness, is pleased, She bestows jewels of various kinds, wealth, and (answers all) requests. O Parameshvari, She bestows whatever desires a person has, and sons and daughters are born if one wishes it. Enemies are destroyed, ailments are alleviated. If in a difficult situation, things are eased, medicines are bestowed on one. This bestows beautiful palaces, pictures, and all dominion. For a person, agriculture bestows rich harvests, and the heavenly cow seems to dwell for him on earth. His country prospers, and his state is not afflicted with calamities. Great elephants shower him with streams of nectar. He dwells happily in palaces, surrounded by gems and horses. His offspring become rulers, free from strife, ministers of the king. Those known to him please him, he becomes noble and very beautiful, wealthy, always in a good position, alluring. Spoken speech and verse musically flow from him, like the Ganges in flood. He becomes able to expound the various meanings of various verses, becoming skilled in the entire essence of all, successful, his speech like gracious blossoms. Shastras unknown to him are constantly revealed. Those with faults who would attack him become fearful, they sing adoringly of him, like slaves before a king. Swords and missiles hurt not his limbs. Women of all classes become completely subjugated by him.

Poison becomes like wine-nectar for him. The host of opponents are paralysed, and his enemy crushed, if the knower of Yoga should continually practise for a period of nine nights. If he should recite day and night, without idleness, he becomes peaceful of mind, and all created things in all the worlds become subject to him, there is no doubt of it. If one should perform the yoga continually for six months, one becomes the (very essence of) Yogamaya, without question. Whosoever reads this ultimate hymn whilst meditating on Kamakala has women in a state of subjugation seeking him, intoxicated with sexual desire, beautiful, mad with lust, with beautiful enraptured eyes. He knows satiety of love through feminine desire, in this act of subjugation. On a fortunate day, having written the yantra of Devi on birch-bark, colouring it with rochana, kumkum, lac, red dye, or sunflowers, making the womb of the yantra (=triangle) of gold or silver hue, very alluring, one should awaken Bala, having worshipped and established Her. If one should then carry this on one 's head, throat, shoulder, or near to one's heart or navel, one becomes wealthy, victorious, and gains love. There is nothing greater than this in the three Worlds for protection, most certainly. Planets, diseases, and so forth, anxieties, are all banished, one gains happiness and health, it is the cause of strength and virility, and destroys cruel elements and enemies. It gives sons, daughters, increases a host of qualities, gives wealth and grain. In whichever city this best of sadhaka dwells, whilst bearing Her, wealth is gained. In whichever dwelling this stotra is placed and written out, O Varanana, there I - Shiva, Hari and Kamala always dwell, and it is as if all the sacred waters spring from this place. If the best of sadhakas should recite and read this devotedly he knows Knowledge, Bliss and Unity. O Deveshi, by reading this hymn, one gains the fruit of worship. One should recite it very carefully having established oneself in the six fold Nyasa. In the best of all

tantras is the puja of Bala. There the 16 letters are the greatest thing. This, the best of all hymns, is found there. O Sundari, one should never give this to those who are not pupils, the impure, fraudulent, indolent, who make no efforts, the undevoted, those deficient of Vishnu bhakti, the unstable or the stupid. It should be given to those who are devoted, as it is the cause of liberation, and augments devotion. O Varanana, whilst engaging in sexual intercourse (Latayoga), one may read the hymn. One becomes like the Aeon Creeper (Kalpalata), and the fruit of one's desires are achieved. If a sadhaka should steadily recite this whilst in Latayoga, offering blossoms to the gazelle-eyed (partner), he is blessed with the results of 100 sacrifices (Yajna). O Deveshi, Brahma and the other (devatas) worship his feet, he himself becomes like Shiva -- that discriminating person who is attached to devotion to Bala. He becomes one with the Bliss of the Absolute, Jyotsna, in the state of Sadashiva. Shri Bala Stotra Shri Bhairava said - Parvati, now I speak of the Hymn of Devi Bala. Having heard the secret Panchanga, one should always conceal it. (Dakshinamurti is the Rishi of this stotra-mantra of Shri Bala Tripurasundari; Pankti is the Metre; Shri Bala Tripurasundari is the Devata; Aim is the Bija; Sauh is the Shakti; Klim is the Kilaka; its application when reciting it is pleasing Shri Bala.

Hail to Dakshinamurti on the head Hail to the Metre Pankti on the mouth Hail to the Devata Shri Bala in the heart Hail to the Bija Aim on the navel Hail to the Shakti Sauh on the genitals

Hail to the Linchpin Klim on the feet Hail to the Application when Reciting on all limbs

Aim to the heart obeisance Klim to the head Sauh to the peak Aim to the armour Klim to the eyes Sauh to the missile

Aim to the thumbs hail Klim to the index fingers Sauh to the middle fingers Aim to the ring fingers Klim to the little fingers Sauh to the front & back of the hands (Meditation:) Like the coloured red rays of the Sun shining brightly through red dust, the colour of the Japa rose, holding book, dispelling fear, and in Her other hands giving boons and holding a fully blossomed white water lotus. Thus one should establish in one's heart the eternally beautiful form Bala. One should recite Aim, O Tripura Bhavani. One becomes greater than God or Guru, and has dominion and so forth of the partner of the Lord of the Mountains.

Within the course of one day, one should recite the King of Your Mantras known as the triple syllable Kamaraja, that of Kameshvari. The person initiated in Kula should worship the earthly and most beautiful and alluring courtesan. One should recite Sauh, O Tripura, Mother of the three Worlds! You Who Manifest, Play, and bring all to Completion, the core of the Absolute (Brahmapada), Self-Existent! One should worship in the rectangle, the circles, the eight petalled lotus, within the city of the lotus of six petals, worshipping Bala in the Bindu Pitha, in order to become greater than Shiva. Whosoever should recite this hymn of Tripura, which consists of mantra, at night or at dawn, becomes garlanded (praised) on earth, and in three days becomes equal to Shukra, Saura and Lakshmi. Thus this stotra of Devi Bala, consisting of ultimate Mantra, is revealed. One should not give it to the undevoted, and should conceal it as if it were Your own yoni.

VARAHI TARPANA

Use ginger if available. Use Ganga water for Marjana in Mantra Sadhana if available. When both are not available use durva grass and pure water. Marjanam is the purification of the body and mind in Sandhya Vandanam. Marjanam and Punarmarjanam are done by Sprinkling water on the head during Sandhya Vandanam. Purascharana Vidhi generally prescribes ginger which is tied on the water vessel during Marjana. Varahi Krama prescribes water with ghee. Varahi Krama: '..... Do puja to compassionate Kola Mukhi with all avarana devatas. Do 1 lakh (100,000) purashcharana japa, 10,000 homa, 1,000 tarpana (offering water to devi), 100 maarjanam (offering water mixed with ghee on own head) & 10 brahmana bhojanam – To gain the power of Varahi Mantra do homa with flowers

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Purascharana: Purascharana means pura charati iti, that means, that which is performed before or prior. Before the deity or prior to the mantra siddhi. We will come to the q what is mantra siddhi later. Now, what should be done before or prior to complete a purascharana. Purascharana means repeating a mantra for a particular number of times and for a period of time. This is the first and important part of the purascharana. There are five parts / limbs to a purascharana, 1. Mantra japa (repetition of mantra) 2. Homa (fire obulation using the mantra) 3. Tarapana (water obulation using mantra) 4. Marjana (ritualistic sprinkling of water) and 5. Bhojana (feeding of Brahmins / Sadhus). Japa – repeating the mantra for a specified number of times. This is normally n Lakh times, where n stands for the number of characters / alphabets in the mantra. If the mantra is a very big one, than, it is also accepted as 1 lakh repetition. And, at the beginning of the japa everyday, the puja should be performed to the mantra deity or the yantra for the particular mantra. Homa – after performing the reqired number of japa. The Homa should be performed using the same mantra adding a “swaha” to it. And the number of times the homa should be performed is 1 / 10th of the Japa. Likewise, the later stages in the purascharana is 1 / 10th of the former stage. The obulation material or the material for the offering in the fire is generally Ghee (clarified butter), but sometimes, may vary according to the purpose of the pursacharana. Tarpana – water mixed with milk or jiggery etc. is used to perform tarpana. In this, the water is taken in a spoon and it will be poured through the palm, leaving the thumb. This too should be done using the mantra and a “tarpayami” added to it. Marjana – the water is taken in a bowl and a small piece of ginger it tied to the tip of it, through which the water is sprinkled on oneself or the yantra. The sprinkling should be done using the mantra suffixed with a “marjayami” to it. Bhojana – number equal to 1 / 10th of the number of marjana should be fed, as the last part of the purascharana. 2) Importance of Purascharana: Bhaskararaya says: मनततरससधनन हह दसवव पसयय यसवजजजवव हनयतत जपप पव रशचरणरपशच | ऐहहकन कसमयपतरयतगन तव पव रशचरणव हवनस नसहधकसरप | आमव हषमकमसततरसरर पव रशचरणव हवनसऽहप हनतयजपमसततरनण हनवसरह इहत हसरहतप || There are two approaches to mantra-sadhana, one is nitya-japa till one is alive, the other is purashcharana. For aihika (worldly) prayogas of kamya nature, one is not qualified without first completing successful purashcharana ( like without first earning money, how can one spend it?) However, if the purpose is Amushmika (other-worldly such as

moksha) alone, one need not perform formal purashcharana and stick to nitya-japa throughout one’s life. Of course, even in the second case, Bhaskararaya clearly implies that the best or superior course is to first perform purashcharana and then continue with nitya-japa. Not doing purashcharana but only doing nitya japa can thus be inferred as adhama but acceptable paksha for the second case discussed above. The following list gives 112 homa herbs. The Tamil name and the approximate cost (in Rupees) are given. (108, 48, 28 numbers packings are available in shops near big temples in all cities.) 1) Homa Draiviyams: *1* aala vithai 1 kg 20, *2* aalam pattai 1 kg 25, *3* aavara vithai 1 kg 25, *4* aavaram poo 1 kg 15, *5* akil 1 kg 20, *6* alli kilangu 1 kg 20, * *7* amukkala 1 kg 80, *8* annaci poo ¼ kg 30, *9* arakajaa 1 no. 10, *10* arasa vithai 1 kg 20, *11* arathai 1 kg 120, *12* athimadhuram 1 kg 60, *13* avarai elai 1 kg 15, *14* avuri elai 1 kg 20, *15* devadaram 1 kg 40, *16* etti vithai 1 kg 25, *17* idampuri kai 1 kg 40, *18* jathika paruppu ¼ kg 60, *19* javvadhu 1 no. 10, *20* kaattu malli 100 gram 18, *21* kaattu seeragam 1 kg 80, *22* kaattu yelakkai ¼ kg 63, *23* kadal nurai 1 kg 25, *24* kadukkai poo 1 kg 30, *25* kadukkai 1 kg 15, *26* kariveppilai 1 kg 30, *27* karpoga arisi 1 kg 20, *28* karungali 1 kg 20, *29* karungeerakam 1 kg 70, *30* karuppu gunguliam 1 kg 80, *31* karuva pattai 1 kg 120, *32* kasturi 1 doz 10, *33* kasturi manjal 1 kg 55, *34* keela nelli 1 kg 30, *35* kilachikkai ¼ kg 10, *36* kilangu manjal 1 kg 85, *37* kirambu ¼ kg 55, *38* kirambu elai 1 kg 50, *39* kollang kovai 1 kg 30, *40* korai kilangu 1 kg 12, *41* korosanai 1 doz 10, *42* kunguma poo 1 gram 30, *43* machakkai ¼ kg 25, *44* mahali 1 kg 60, *45* makilam poo 1 kg 45, *46* marati mokku 1 kg 30, *47* marikolunthu 1 kg 25, *48* maruvu 1 kg 15, *49* mathulan thodu 1 kg 20, *50* moongil arisi 1 kg 100, *51* mukil 1 kg 20, *52* murungai poo 1 kg 40, *53* nathai soori vithai 1 kg 25, *54* nayuruvi 1 kg 40, *55* nellikkai 1 kg 30, *56* nilapannai ilangu 1 kg 45, *57* omam 1 kg 55, *58* orithal thamarai 1 kg 60, *59* pachilai 1 kg 20, *60* pappali elai 1 kg 30, *61* parangi pattai 1 kg 85, 62* parpadapul 1 kg 20,*63* patchai karpooram 100 gram 22,*64* pinju kadukkai 1 kg 80,*65* poolang kilangu ½ kg 48,*66* poonai kaali vithai 1 kg 65,*67* pulukka pattai 1 kg 55,*68* punga vithai 1 kg 10, *69* punugu 1 no. 10, *70* rampathiri 100 gram 25, *71* roja poo 1 kg 50, *72* sadamanji 100 gram 26, *73*

sakkai matti 1 kg 80, *74* saliyal 1 kg 40, *75* sarana vaer 1 kg 30, *76* school vithai 1 kg 45, *77* seenthil kodi 1 kg 40, *78* sevva pattai 1 kg 25, *79* shenbaga poo ¼ kg 33, *80* siriya nangai 1 kg 28, *81* subja vithai 1 kg 80, *82* sukku 1 kg 60, *83* thaatu pootu 1 kg 30, *84* thalai suruli vaer 1 kg 30, *85* thalisa pathiri 1 kg 70, *86* thamarai kilangu 1 kg 20, *87* thamarai poo 1 kg 60, *88* thanikkai 1 kg 10, *89* thanneer vittaan 1 kg 60, *90* thathiri poo 1 kg 25, *91* thetha vithai 1 kg 40, *92* thinai 1 kg 12, *93* thippili 1 kg 120, *94* thiraviya pattai 1 kg 23, *95* thulasi elai 1 kg 25, *96* vaal milagu 100 gram 29, *97* vaivilangam 1 kg 100, *98* valampuri kai 1 kg 40, *99* valuluvai 1 kg 70, *100* varaghu 1 kg 12, *101* vasambu 1 kg 48, *102* vellai gunguliam 1 kg 90, *103* vellai kilangu 1 kg 40, *104* vellai milagu 100 gram 18, *105* venkadugu 1 kg 40, *106* veppalai arisi 1 kg 90, *107* vetti vaer 1 kg 40, *108* vilamichi vaer 1 kg 45, *109* virali manjal 1 kg 48, *110* vishnugranti 1 kg 20, *111*

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from, http://www.cmpherbs.com/homasaman.html 108 homam items Rs. 266 108 homam items (small packing) Rs.170 52 homam items Rs.70 32 homam items Rs. 45 TamilEnglish- Botanical names at,http://www.cmpherbs.com/Tamil_English_Bo... Above web sites belong to C.M.P & SONS INDIAN HERBS MERCHANTS, 268,East Masi Street, Madurai - 625001 Telephone : (+91) (0452) 4512332 Mobile : (+91) 8144754379 2) Edited: This questioner had opted for voting for the last 14 questions. The first question alone is the exception. 1 answer · Religion & Spirituality · 2 years ago These tantric methods are to be received through Guru. The answer is given as academic point of view. Procedure and mantras variations are there. 1) Nyasa: Nyasa is a very important and powerful Tantrik rite. The word comes from the root, "to place," and means the placing of the tips of the fingers and palm of the right hand on various parts of the body, accompanied by Mantra. Nyasa is of many kinds such as Jiva-nyasa, Matrika or Lipi-nyasa, Rishi-nyasa, Shadamganyasa on the body (Hridayadi-shadamga-nyasa) and with the hands (Amgushthadi-shadamga-nyasa), Pitha-nyasa and so on. The Kularnava Tantra (IV. 20) mentions six kinds. Matrika: Matrika are the fifty letters of the Sanskrit alphabet. (i) Vowels: The vowels are 15 in number. They are अ (a), आ (ā), इ (i), ई (ī), उ

(u), ऊ (ū), ऋ (r ṣ), ॠ (ṝ), ऌ (l )ṣ , ए (e), ऐ (ai), ओ (o), औ (au), अव (aṁ), अप(ah ṣ) (ii) Consonants: The Consonants are 34. क (ka), ख (kha), ग (ga), घ (gha), ङ (ṅa), च (ca), छ (cha), ज (ja), झ (jha), ञ(ña), ट (t ṣa), ठ (t ṣha), ड (d ṣa), ढ (d ṣha), ण (n ṣa), त (ta), र (tha), द (da), ध (dha), न (na), प (pa), फ (pha), ब (ba), भ (bha), म (ma), य (ya), र (ra), ल (la), व (va), श (śa) ,ष (s aṣ ), स (sa), ह (ha), ळ (La) (iii) Combined: क (Ksha) In the Vedic conception the aksharas (letters) are bijas, or seeds of existence. The audible sound is categorized into 50 alphabets of Sanskrit starting from "a" and ending with "ksha". Hence the alphabet is called "akshara", which literally means "infallible" or "supreme". 2) Bahirmatrika Nyasa: The Sadhaka first sets the letters, externally by physical action (Bahirmatrika Nyasa). in their several places. The letters of the alphabet form the different parts of the body of the Devata which is thus built up in the Sadhaka himself. He places his hand on different parts of his body, uttering distinctly at the same time the appropriate Matrika for that part. The external disposition is as follows: The vowels are placed अमत (am) to forehead, आमत (ām) to mouth, इमत (im) to right eye, ईमत (īm) to left eye, उमत (um) to right ear, ऊमत (ūm) to left ear, ऋमत (r ṣm) to right nostril, ॠमत (ṝm) to left nostril, ऌमत (l ṣm) to right cheek,एमत (em) to left cheek, ऐमत (aim) to upper lip, ओमत (om) to lower lip, औमत (aum) to upper teeth, अव (aṁ) to lower teeth, अप(ah ṣ) to tip of the tongue. (If ॡ, l ṣum is included and then the Vowels becomes 16. अमत (am) to forehead, आमत (ām) to mouth, इमत (im) to right eye, ईमत (īm) to left eye, उमत (um) to right ear, ऊमत (ūm) to left ear, ऋमत (r ṣm) to right nostril, ॠमत (ṝm) to left nostril, ऌमत (l ṣm) to right cheek, ॡमत (l ṣum) to left cheek, एमत (em) to upper lip, ऐमत (aim) to lower lip, ओमत (om) to upper teeth, औमत (aum) to lower teeth, अव (aṁ) to tip of the tongue and अप(ah ṣ) to the front neck.) The consonants are placed as shown. कमत (kam), खमत (kham), गमत (gam), घमत (gham), ङमत (ṅam) to right shoulder, right elbow, right wrist, right arm fingers bases, right arm fingers tips respectively. चमत (cam), छमत (cham), जमत (jam), झमत (jham), ञमत(ñam) to left shoulder, left elbow, left wrist, left arm fingers bases, left arm fingers tips respectively. टमत (t ṣam), ठमत (t ṣham), डमत (d ṣam), ढमत (d ṣham), णमत (n ṣam) to right pelvis, right knee, right ankle, right toes bases, right toes tips respectively. तमत (tam), रमत (tham), द (dam), धमत (dham), नमत (nam) to left pelvis, left knee left ankle, left toes bases, left toes tips respectively. पमत (pam), फमत (pham), बमत (bam), भमत (bham), म (mam) to right side trunk, left side trunk, back navel, front navel, stomach respectively. यमत (yam), रमत (ram), लमत

(lam), वमत (vam) to heart, space between right shoulders, neck back, space between left shoulders respectively. शमत (śam) is heart to right hand fingers tips ,षमत (s aṣ m) is heart to right hand fingers tips, समत (sam) is heart to right leg, हमत (ham) is heart to left leg , ळमत (Lam) is legs to tips of toes कमत (Ksham) is navel to top of head. 3) Antarmatrika Nyasa: The Sadhaka sets the letters mentally (Antarmatrika Nyasa) in their several places in the six inner centers (Cakra). Vishuddha Chakra - 16 petals - 16 Vowels (including ॡ, l uṣ m) Anahata Chakra - 12 petals - कमत (kam) to ठमत (t ṣham) Manipura Chakra - 10 petals - डमत (d ṣam) to फमत (pham) Swadhisthana - 6 petals - बमत (bam) to लमत (lam) Muladhara - 4 petals - वमत (vam) to समत (sam) Ajna chakra - 2 petals - हमत (ham) & कमत (Ksham) Sahasrara Chakra - 1000 petals - All the above 50 Aksharas 4) References, Books: (i) Chapter 26, Shakti and Shakta by Arthur Avalon (Sir John Woodroffe) (ii) Srividya in Tamil and Sanskrit (Navavarana Pooja, Homa and Parayanam), Anna (Sri Subramania Iyer), Sri Ramakrishna Mutt, Chennai publication. [email protected]

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C.Sri Vidya Rajagopalan

Any auspicious offerings can be made, like lighting a lamp, offering incense, flowers, fruits, etc. Kumkum and turmeric are excellent, as is pure cow's milk. Abhishekam is always wonderful, as well as archana with fresh flowers. One can also use cardamom pods, cloves, or unbroken white rice. I like to use silver flowers that have been gold-plated.

• Preferred flowers for worship of the Navayoni Sri Chakra-Yantra™ by C. Krishniah Chetty & Sons™ are: Champak (Sampangi); Lotus (Kamalam); Red Rose (Gulabi); Jasmine (Malle puvvu); Bael Leaves (Bilva Patram). In short you may use fresh, fragrant, aromatic flowers to worship the Navayoni Sri Chakra-Yantra™ by C. Krishniah Chetty & Sons™.