Schloterman, J.a. - Satsahasra Samhita Chapters 1-5 (244p)

THE SATSÀHASRA SAMHITÀ *

«

Chapters J-5

EDITED, TRANSLATED AND ANNOTATED

BY

J. A. SCHOTERM AN

L E ID E N

E. J. B R IL L 1982

C IP -D A T A S ch o term an , J,A . — T he S atsahaw a s a tn h itit ch apters 1*5 / éd., transi, an d an n o t. hy L A . S ch o term an . Leaden: Brill. — (O rientali;: rhenptia ie c tin a . vol. 27) LD C : 891.2

ISBN 90 04 06850 3

Copyright IWÌ2 hy E J Bril!, Leiden, The Nel herlands

All rights reserved. No part o f this book ruay he reproduced or translated in any form, tty print, photoprint, microfilm, microfiche or any other means without written permission from the publisher PRINTtl> IN THE NF.THF.Rt^NITS

Vis d isp u tare? Ita. Q uid est ita ? lek en weets niet. Soo sijdy d an viclus; tis een schctel beschees siet. (fro m ; ben schoone ende w onderlijckc prognosiicatic van Sloctoors Ulenspieghels caie l i ] ali e (A ntw erpen, 1560))

For Bibi

CONTENTS P r e f a c e ................................................... A b b re v ia tio n s...........................................................................................................

ix x

PART ONE

IN T R O D U C T IO N G eneral R em ark s..................................................................................................... The School o f K u b jik à ........................................................ The S atsâhasra S a m h i t â ........................... S atsâhasra Sam hitâ 1-5.......................................................................................... The M a n u s c rip ts ..................................................................................................... T he T ext o f S atsâhasra S am hitâ 1-5 M etrics and G r a m m a r .................................

3 5 12 15 16 20 22

PART TWO

SA T SÀ H A SR A SA M H IT Â F atala P atata P alala P alala

1 2 3 4

...................................................................................................................... 31 ...................................................................................................................... 69 ............................................................................................................................. 92 / 5 .................................................. 126

A ppendix T: P rastâra an d G a h v a ra ......................................................................... 181 S upplem ent......................................................................................................................198 A ppendix II: M âlinï and S a b d a r à s i ...................................................................210 A ppendix 111 : The D aughters an d Sons o f D e v i ............................................ 222 B ib lio g r a p h y ................................................................................................................226 In d e x .................................................................................................................................230

PREFA CE O n th e occasion o f the publication o f my doctoral thesis at the State U niversity of U trecht, The N etherlands, I wish to th an k my supervisor. Prof. D r. H, W. Bodewitz, w ho kindly to o k the trouble to familiarize him self p rofoundly with the subject and w hose critical rem arks and suggestions have been o f great value to me. T o D r. T G o u d riaan , who acted as co-referent, i am very deeply indebted for th e kind an d p atient way in which he followed and supported my research in the field o f H indu T anirism . W ithout the never failing su p p o rt o f his extensive know ledge o f the subject and his dedication to it the present study w ould have suffered from m any m ore shortcom ings. D r. M . W itzel has been o f indispensable assistance in procuring m icrofilm s of the m anuscripts from the N ational A rchives (K ath m an d u ), w hen he was stationed in the Valley for the G erm an-N epal M anuscript Preservation Project. The Institute o f O riental Languages (U trecht) has shown every possible co-operation in acquiring the m icrofilm s and in perm itting m e the use o f th e equipm ent to read them . A lthough P r o f D r. J. G onda had no direct concern w ith the realization o f this study I consider it a m a tte r o f personal obligation to express here my feelings o f sincere g ratitu d e and ad m iration tow ards this scholar; I have alw ays regarded it a rare privilege to have had a guru o f such qualities. Finally I whish to th an k my father, because he allowed m e to becom e an Indologist, an d w hose su p p o rt has always been very reliable. 1 am proud to have such a friend J .A . S choterm an, Leiden, 1981.

A B B R K V IA TIO N S Agni P ASB AV BEFEO BhP BK1 BSOAS IHQ JRAS KA KJftN KmT KnT KP K RP MBh MbhT MNT MVT M.-W. NAK RgS SamP SamT SatSS ST $T* SVT T TA VS ZD M G

= — = = = = = — = =

Agni Purâna. Asiatic Society o f Bengal. Atharva Veda. Bulletin de (‘École Française d ’Extrêmc Orient. Bhâgavata Purâna. Bijdragen tot de Taal-, Land- en Volkcnkundc. Bulletin of the School o f Oriental and African Studies. Indian Historical Quarterly. Journal of the Royal Asiatic Society. Kautilïya A rthasâstra. K aulajnànanirnaya — K ubjikâm ata T antra. — K ubjikânityàhnikatilaka. = Kàlikâ Purâna. = K ulam ülaratnapancakâvatàra. = M ahâbhàrata. = M âtrkâbheda Tantra. = M ahânirvâna Tantra. Mâlinïvijayottara Tantra. — Sir M orier M on ier-Williams' A Sansk rit-English Dictionary = National Archives at K athm andu (Nepal). = Rgveda Samhitâ. = S am vartârthaprakâsa. = Samvarodaya Tantra. = Satsâhasra Samhitâ. = Sâradâtilaka Tantra. = Sâradàtilaka T antra (ed. by Bakshi). = Svacchanda Tantra. = Tippanî. Tanlrâloka, = Vâjasaneyi Samhitâ. = Zeitschrift der Deutschen Morgenlândischen üesellschaft.

PART ONE

IN T R O D U C T IO N

IN T R O D U C T IO N General Rem arks O f the enorm ous m ass o f In d ian religious literature which is available from the Vedic period onw ards, a not insignificant p art is form ed by a group o f texts which are called T an tras o r which propagate T an trie ideas. W ith the exception o f the Sikh religion th e m ajo r In d ian religions have produced their ow n body o f T ant rie literature. Thus we find H in d u 1, B uddhist and Jain T antras. Especially the H indu an d B uddhist T antras constitute a rath er volum inous body o f literature. O riginating from the Indian S ubcontinent the H in d u an d B uddhist T an tras have found their way to m any A sian countries. W ith the expansion o f Buddhism over Asia the B uddhist T antras gained great p o p u larity in countries such as T ibet, M ongolia (cf. Tucci & Heissig 1970: 341 ff.) and C hina (cf. Van G ulik 1961 : A ppendix I). In m uch the same way H indu T an tras becam e widely spread in Southeast A sia (cf. C oedès 1964; C ch ab ra 1965), but unfortunately no tangible p ro o f in the form o f m anuscripts is available. Yet from inscriptions (cf. the Sdok kak T hom inscription; G o u d ria a n & G u p ta 1981: 21) it becomes clear that a t one tim e H indu T an tras were found in, for instance, C am bodia ( c f Bagchi 1926 & 1930; S h aran 1974: Index s.v. T antra). Only recently the existence o f p art o f the V ïnàsikha T an tra, an old Saiva T a n tra , was attested for on the island o f Bali (G o u d riaan 1981; 477 ff,). In o u r tim es H indu T antras are confined to India and N epal. Especially th e latter coun try is im portant for the study o f H indu T antrism because m any o f th e T an tric texts were preserved in this country after the M uslim conquest o f n o rth ern India. A lthough especially in th e last fifty years T a n tra has becom e a subject for study by Indologists an d has gained some p opularity w ith a wider audience in E urope a n d abroad, T antrism and the ideas it stands for are still insufficiently know n T here are several reasons to account for this lack o f knowledge. F o r a long period T antric literature was ignored by Indologists as a p art o f their studies m ainly because o f the alleged depravity o f its contents. In the past T an tras w ere often regarded as "m ere m anuals o f mysticism, m agic and superstition o f th e w orst and m ost silly k in d " (M onier-W illiam s 1877, rcpr. 1951: 90). T ogether w ith the fact th a t th e kind o f Sanskrit found in these texts could hardly m eet Pânmian stan d ard s, T antric literature w as readily shoved aside. D u e to the publications o f the form er Justice o f the H igh C o u rt at C alcu tta, Sir lo h n W oodroffe (alias A rth u r A valon), a tru e appraisal o f

1 With Hindu Tantras the Tantric texts of the Saivas, Èàktas and Vaisnavas are meant.

4

INTRODUCTION

T antric literature and its ideas developed w ith western scholars. It is quite true that T antric Sanskrit often deviates from the rules o f Classical Sanskrit, but in itself this is no reason to condem n it as bad or inferior Sanskrit. Ju st as E dgerton has show n th a t the kind o f Sanskrit found in m any B uddhist texts should be regarded as a separate idiom , in the same way H indu T antric S an sk rit m ight one day becom e accepted as a kind o f Sanskrit with its own m erits an d peeularities. T o achieve this, however, a careful study o f the oldest T antric texts is necessary, w hich is only possible w hen critical editions o f these texts are available (cf. Schoterm an 1979: 325 ff.). H ere we encounter one o f the m ost serious obstacles which block the way for a full appreciation o f T antric literature, i.e. the lack o f critically edited texts. The m ajority o f T antric texts w hich are available in printed form suffer from a to tal absence o f any critical stan d ard s, but at least they are edited. M ore often, however, we d o not have at o u r disposal prin ted editions o f T antric texts. The fact th at the texts are often available in the form o f m anuscripts only increases the inaccessibility o f T antric literature seriously. To som e extent this situation is im proved u p o n by the G erm an-N epal M anuscript Preservation Project which has collected on m icrofilm an im pressive am o u n t o f T antric m anuscripts from N epal. It can only be hoped th a t m anuscripts from India will becom e available to international scholars in m uch the same way. A p art from th e fact th a t th e Sanskrit as found in m any T antric texts is now slowly gaining its own place w ithin the context o f Sanskrit in general, the contents o f T antric texts are n o longer regarded as sheer nonsense o r as the products o f deranged m inds. The period that a publisher could be brought to trial because he edited a T an tra (cf. W oodroffe 1975: 44) has passed long since. In view o f the foregoing th e deficient state o f ou r knowledge o f T antrism becomes understandable. C onsequently it is difficult to answ er such rather basic questions as w ith regard to th e true n atu re o f a T a n tra , its ideas, origins, antiquity etc. In recent years the study o f H indu Tantrism by western scholars has resulted in th e publication o f tw o im portant w orks: ‘Recherches sur la Sym bolique et l'Énergie de la Parole darts certains textes Tamriques', w hich still aw aits an English translation, by A ndré Padoux (Paris, 1963 ; repr. 1975), an d ‘Hindu Tantric Literature In Sanskrit' by T eun G ou d riaan (in: G o u d riaan & G u p ta 1981). Especially in the second publication one finds a serious attem p t to answ er th o se questions pertaining to the contents, age etc. o f H indu T antras, all w ithin the lim ited context o f o u r present know ledge o f H in d u T antrism . I d o not think it useful to repeat here all the conclusions the a u th o r o f the above study has reached. Yet it is perhaps convenient to quote the a u th o r on som e problem s w ith regard to H indu T antrism , which have long been the source o f a general m isunderstanding. T hus it is pointed out that the early developm ent o f H indu T antrism , especially the Saiva

INTRODUCTION

5

com ponent o f it. “ was n o t based upon a popular m ovem ent, but was the o u tg ro w th o f th e special isti c position o f an intellectual élite o f religious functionaries from the upper classes, as a rule o f B rahm ans” (op. cit., p. 9), and th a t “ th e existence o f H indu T an tras can n o t as yet be proved fo r the period before A .D . 800, b u t th a t the origins o f T antric literature may very well lie in a considerably earlier p erio d " {op. cit., p. 22). The School o f K ubjikâ A m ong th e num erous texts o f H indu T antrism there exists a rather independent g ro u p o f m anuscripts which m ainly deal with the w orship and cult o f th e goddess K u b jik a as a m anifestation o f Devi, The first scholar w ho p aid some atten tio n to this deity and to the T antric School to which she belongs, was H. P. Sâstri. In the two volum es o f his catalogue o f m anuscripts from the D u rb a r Library (the present N ational Archives) at K ath m an d u (Sâstri 1905 an d 1915) m ention is m ad e o f som e twenty-five m anuscripts belonging to th e School o f K ubjikâ. Special atten tio n is paid by â astri to o u r M S A (ââstri's G (overnm ent) G (upta) M S ; see p. 16), w hich belongs to the collection o f th e Royal A siatic Society o f Bengal. A fter S âstri’s rem arks at the beginning o f this century no further progress in the study o f this p articu lar T an tric School is reported, although the colophons o f the various m anuscripts were used to som e extent to establish the early and medieval history o f N epal (cf. Regm i 1965 & 1966) because o f the dates they contain. In th e early Seventies a group o f scholars at the Institu te o f O riental Languages (S tate U niversity o f U trecht, T he N etherlands)’decided to prepare a critical edition o f the K ubjikàm ata T a n tra (cf. Van K ooy 1973; 628), the oldest text o f this T antric School. In the course o f research a list containing m ore th a n 250 m anuscripts was com piled, all belonging to the School o f K ubjikâ (cf. Schoterm an 1977; 932). A lthough o u r knowledge o f the School o f K ubjika has increased since, it is still far from com plete. Many fundam ental questions rem ain to be answ ered. The fact th a t all th e relevant m anuscripts originate from N epal, seems to justify the assum ption th a t the cull o f K ubjikâ is prim arily o f N epalese origin (cf. G o u d riaan & G u p ta 1981: 52), alth o u gh references to K ubjika and her School are occasionally found in texts from In d ia 2. One does not find any 1 There are two tests outside the body or texts belonging directly to the Kubjikâ School, in which references are found to Kubjika or the Kubjikàmata. Thus in the Agnipurâna there are five chapters dealing with the cult of Kubjikâ (AgniP 143-147). It appears that the contents of these chapters are drawn from the SatSS and the KnT rather than from the KmT (cf. Schoterman I9R0: 346). The othertext is the Goraksa Samhita which shows a close relationship to the S lima lot tara Tantra, a text of the Kubjikâ School (cf. Sâstri 1903 : LXXVIII&2; Pàndeya 1976: d). The manuscript of the Êrimatoti ara Tantra which Sâstri describes, ends with the same lines as the 27th chaplet of the Goraksa Samhitâ (Sâstri 1905: 257; Gorakja Samhita 27,240;

6

INTRODUCTION

co rro b o ra tio n for this assum ption in the texts themselves, however. The origin o f th e K ubjikam ata T a n tra and th e Satsâhasra Sam hitâ, a text which is closely related to the K ubjikam ata T an tra, in historical times is set at an Indian b ack g ro u n d : th e nine N âth as w ho propagated the doctrine o f K ubjikà in o u r tim es, are all o f N o rth Indian origin (cf. p. 37). Besides this, one region in India, nam ely K onkana, seems to be o f special im portance for the School (cf. Schoterm an 1977: 934), A re its historical origins still a mystery, the developm ent o f the School in N epal is equally unknow n. Since the oldest m anuscripts o f th e K ubjikam ata T an tra are dated in the first h alf o f the 12th century A .D . (M SS B&D), the existence o f the School o f K ubjikà is attested for the beginning o f the 12th century, but may well be several centuries earlier, D espite the rem ark by A. B harati th a t K ubjika is still w orshipped by th e B hütiyas of A lm ora a n d th a t she has m any small shrines in the N epalese an d Indian terai (B harati 1965: 66), I have not been ahle to find any confirm ation for this statem ent. It seems th a t K ubjikà ceased to be w orshipped som etim e aro u n d th e 15th or 16th century A .D . (cf. Regmi 1966: 585), although m anuscripts o f th e School were still being copied in our century (M S C ; cf, p. 19). D espite th e ab undance o f m anuscripts relating to the K ubjikà School w hich is available and w hich suggests a rath er great popularity o f the cult for the period betw een 900-1600 A .D . in N epal, references to K ubjikà and the K ubjikà School are very rare in contem p orary literature. T here are. for instance, a few quo tatio n s from the K ubjikà School in A bhinavagupta's T an trâlo k a, w hich I have not been able to trace back in the texts so far, but o n the w hole contem p o rary sources keep silent on the K ubjikam ata. T he sam e applies to later sources. W e are confronted then with a T antric school w hich m ust have been rather p o p u lar a t one tim e in view o f the m any m anuscripts and texts still available, but w hich rem ained very independent an d stood aloof from the o ther T antric schools. This does not imply, however, th at the fundam ental concepts followed by th e School o f K ubjikà are com pletely different from those o f the

24 ted-244) The beginning of the Gora ksa Samhitâ probably deals with the Santânabhuvana of (he SatSS (1.6-10), but unfortunately the edition of the text is not complete (cf. Gora ksa Samhitâ 2,26ab where irisandhyà (SatSS 1,Ua >and !rikapâ;ârgalà (SatSS 1,8d) are mentioned). The rest of the second chapter appears to deal with the Mahàpïthas, and shows a dose resemblance with chapter 4/5 of the SatSS (Gora ksa Samhitâ pp. 9ff.), Furthermore, the prat tara- and gahvara system (cf. Appendix 1) is found in the Goraksasamhitâ: vajragahyaram prastârya (14,6c). Id the 24th chapter Vajrakubjika is discussed (24,75 ff.). who features in the 39lh chapter of the SatSS (see p. 15). The initial line of the 10th chapter of the Goraksa Samhitâ (10,lab) is identical wilh KmT 7.1 ab {= SatSS 13, lab yd sd de va para yonih samayó kubjini para). There can be found many more instances which point to a close relationship between the Goraksa Samhitâ and the texts of the Kubjikà School. A connection between the Kubjikà School and the tradition of Goraknàth was already assumed by Bharati (Bharati 1965: 66).

INTRODUCTION

7

oth er T antric schools o f the period. T hus concepts as the triple o r fourfold division o f creation (e.g. parâpara; para, süksm a, sthüla; cf. 3, 103-104 Notes), the six C ak ras, the fo u r Siddhas (K hagendra, K ürm a, M esa, M atsyendran â th a ; cf. Schoterm an 1977: 934) are shared by the K ubjikâ School w ith the o th e r T antric schools o f K ashm ir Saivism. O nly further study o f the relevant texts m ay reveal in w hat aspects the K ubjikâ School differs from the other T an tric schools, a n d w hat its p articular features are (cf. the five C akras: 3, 32a). A lthough the doctrine o f the K ubjikâ School appears to be rather independent, this does not m ean th a t it could escape classification within the T antric trad itio n , even if the School itself m ay have wished to do so. In the classification o f th e various T antric schools in the six â m m y a s, or ‘traditions* ( c f G o u d riaan & G u p ta 1981: 17; G u p ta a.o. 1979: 41 ff.), the K ub jik àm ata is alloted to the Pascim àm nàya, o r W estern T radition. References to this W estern T radition, however, are conspicuous by their absence in the text o f the Satsâh asra S a m h ita 3, although the system o f classification in ânsnâyas appears to be recognized in the te x t4. T he p articu lar âm nâya am ong w hich the texts o f the K ubjika School reckon them selves an d w hich is frequently m entioned in the colophons, is the so-called K ulàlikâm nàya. Since this expression is im portant w ith regard to the School o f K ubjikâ, it m ight be useful to pay som e atten tio n to it. The com p o u n d K ulàJikâm nâya is usually understood as ‘The T radition o f the Potters* (cf. G o u d ria a n & G u p ta 1981: 52), w hich m ade B harati obviously believe th a t K ubjikâ is the tutelary deity o f the ‘low -caste’ potters (B harati 1965: 66). In In d ian society the p o tte r (kulâia) belongs to the lowest stratum , the Südras, This seems to justify their qualification as ‘low -caste’, but one should keep in m ind th a t in a varna- dom inated society the m ajority o f the people are reckoned am ong the Sudras. It appears, however, th at the potters occupy a ra th e r p rom inent place am ong these ‘low -castes’. A lthough they are 5 Although Sâstri slates that there aie many references to the Pascimàmnàya in our MS A of the SatSS (Sàtri 1905 ■LXXX), I have been able to find only one such a reference in the 39ih Chapter of the SatSS. which appears to be lacking, however, in the manuscript of MS A which [ had at my disposal. The mention of the Pascimàmnàya in the 39th chapter is made in connection with the instructions for drawing the Vajra Gahvara (cf. Appendix I) : “only the foliowen of the Paicìmàmnàya have access to the Vajra Gahvara” (MS. B F.3I8B) 4 Thus we find a reference to the Pûrvimnàya in chapter 29 (MS H F.244A), while the followers of the Pürvàmnàya are mentioned in 3,112. The Daksiràmnâya is mentioned in the 18th chapter (MS B F 168B), and the Uttarâmnâya in the 13th chapter (MS B F.104B). Besides the division in âmmyas there exists a, probably older, devision according to sratas, current': Daksina, Varna and Siddhânta (cf. Gupta a.o. 1979: hi ; Goudriaan & Gupta 1981 : I6ff.), This division is also referred to in the SatSS (cf. 3,33 Notes). A division of Tantric texts which is based °tt geographical principles, is the. division into three so-called krâmas, ‘steps’ (cf. Gupta a.o. 1979: 43IT.). WoodrofTe mentions the Kubjikâ Tantra as belonging to the Yisnukranta, one of the three 'steps' (WoodrofTe ) 978: 73). this Kubjikâ Tantra which especially in Bengal is very popular, has nothing to do with the Kubjikàmata Tamra (cf. Schoterman 1977 : Note 6). Of this Kubjikâ Tantra there appears to be a printed edition (cf. Woodroffe 1978: 75).

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INTRODUCTION

excluded from Vedic ritu al and their product, the p o t, is considered to be anurie (cf. Rau 1972: 13), the potters are m entioned in the S atarudriya (VS 16, 27) together w ith other m em bers o f the w orking classes. Being the offspring o f an illicit union o f a Brahm in an d a Vaisya-female (K ane II-l : 78) they are regarded as bfwjyânnax, i.e. food prepared by them could be partaken by Brahm ins (K ane l l - l : 122). It is quite understandable th at the potters enjoyed some respect am ong th e Südras. In a rural com m unity the presence o f a p o tte r is alm ost indispensable because o f the produci he m anufactures, namely a pot. Besides as the p roducer o f this im portant daily utensil the p o tier appears to have carried out “certain ritual tasks w hich may date from prehistoric urn burial an d have augm ented to m ake him virtually the priest to certain low er castes” (K osam bi 1977: 21). N ext to this the potter is credited w ith the invention o f the clay-plaster in bone-setting (K osam bi 1977: 22). All this m akes it clear that th e p o tte r played a significant role in the socioreligious life o f an In d ian village com m unity from very early tim es onw ards. The p o t m anufactured by the p o tter is an im portant daily utensil, b u t next to this th e pot is often regarded as D evi H erself or as H e r local m anifestation. In m any Indian villages D evi is simply represented with an earthen p o t (cf. W hitehead 1921: 37 ff. ; Index s.v.). In view o f the foregoing it is understandable that the p o tter m ay have gained an im portant position in a T antric context. In T antric ritual the pot is often a central feature as a representation o f the wom b an d by th a t o f the M other (cf. Przyluski 1950: 122; N eum ann 1963: 132; 1 62)s. D uring T antric rituals and cerem onies Devi is b orn again in th e pot for th e d u ratio n o f the ritual. F o r this reason the p o t is filled w ith liq u o r or w ater (cf. 3, 21-23 N otes; D evi U panisad 3; m ama yottir apsv am a samudre), and to sym bolize the union o f Devï w ith H er m ale consort a w hite thread ( = sukra, ‘semen virile’) is knotted aro u n d it (cf. 3, 22d). F o r a supporter o f T antric concepts the p o tter him self is closely related to four out o f the five elements which constitute hum an life (mahâbhüias) : earth (prthivf), w ater (Spa.t), fire (lejas) and wind (rayu). F ro m the foregoing th e relatio n o f th e p o tters w ith one o f the âmnâyas becom es acceptable. O ne m ight, however, raise some objections to the tran slatio n o f K ulàlikàm nàya with ‘T rad ition o f the P otters’. The first m em ber o f the co m pound kutâlikâm nâya is kulâlikà o r kulâlikà, m ost likely th e latter as the suffix -ikà usually denotes a fem inine noun (cf. Panini 3, 108111; 3, 118 where in th e com m , kaulâtaka, ‘p o ttery ’, is m entioned), T hus kulâlikà is a fem inine derivation from kulâla which denotes a p o tte r (cf. VS 16, 27 U vata: kulâlâh kum bhakàrâh) C onsequently the expression K ulâ* A very early example for the connection of the Mother-Goddess and the pot is constituted by a potsherd of a jar from the 2nd millennium B.C. (Mahcsvar, Nâvdâ Toit excavations), which shows a nude female figurine with spread legs and pronounced breasts the fundam ental characteristic o f a sioka- W ithin a pada the w riter has every possible freedom w ith regard to the length o f the syllables as long as the fifth an d the sixth syllables are short an d long, respectively. To achieve this latter condition, a short fifth and a long sixth syllable, even g ram m ar Is m ade subm issive to m etrics, as we will see below. T he outw ard appearance o f the slokas is very regular th ro u g h o u t the text o f the first five chapters. T here are only tw o instances found, where the division betw een two pâdas is ignored. In b o th cases it concerns an enum eration -f > -yd and -i > -yà. In conclusion atten tio n should be paid to a p articular use o f the optative mood. In a few instances it appears th a t the optative m ood is used to indicate a subordinate clause w ith o u t a conjunction: l,47cd kâm arüpàni pasyela kêtm rû p a m tu tat xm rtam , ‘Because She can see [there every] form at will, th at [place] is know n as K â m a rü p a ’; 3,102cd yàcayed bhâvhâtm dnah âcâryah pratipàdayet, ‘W hen [the pupil] sincerely requests [instruction], then the teacher should teach him 1, (n one instance the optative m ood seems to have replaced the Present indicative (l,5 6 ad >*a.v tv atec caiva trailokye ... eahealânanda ucvate, ‘T h e one w ho ro am s a b o u t in the Three W orlds ... th a t one is called C a n c a lâ n a n d a ’).

■* According to Damais tup. cit.. p. 413) the forms Câmundâ and Camundi have geographical implications : "Câmundâ est donc du Nord et Cârwtndi du Sud”. I do not think that such a rather fondamental statement is corroborated by the facts which we have at our disposal at the time.

PART TWO

S A T SÀ H A SR A S A M H IT Â Cri! ica! Text, Translation and Notes

FA T A L A 1

PA TA LA

1

jja m v a rtâ m a n d a là n te 2 k ram ap ad an ih itan an d asak tih 1 subhlm à jretînyâye4 catu sk am 4 ak u lak u lag atam 4 p ahcakam cân yasatkam [ catv arah p ancako 'n y a h s p u n ar api e a tu ra h sodasâjnâbhisekam Üevyàstau* mÜTtimadhye h a -1 sa 7 k h a p h a ra kalà bindupuspam 8 k h a-m udrày | V âlam 10 k a u tn â ra v rd d h am 10 pa ram as iva kalà cak rad ev ï11 kram ànàm irin âth am can d rap u ry âm ria vunavak alitarti12 yugm abhedais13 tu sâram | gjd d h às'4 trîn y 14 a v a ta ra m 14 p ratham akaliyuge koiikane câdhikâram (esani vai p utrasisyâ n av ap u ru su k ram âs1* tesu m ad h y etfi d v irâ stau 17 || la n tâ n a m g o trap m d am k ra m a p a d a sak a la in 1* ,sodasântam 1!) kram ântam lesâ vai m an d a lâ n â m iU paribhram avim alam püjyasadbhâvavrndam 21 | id a v astàd asàn tam ku lak ram asak alam m an d alo tth an ap ü rv am MUnskâram trih k ra m o tth a rn 32 p asu m alak say ak rt23 pindasuddhih sivâgnau j| m adbye visràm abhüm au24 p rasa ra m 25 anubhavam pratyayam svâdhikâram lùm srstam yena tasm ai n a m a th a 26 guruvaram bhairavam srïkujesam || jjptfttyâdhyustakram ârtham 27 racitam anubhavam khanjinîm ürtipîirvarn jpivyaugharn devasam jnam 28 p u n a r a p i2‘J ap aram m ànavam trihkram augham -, fcbedànekair vibhinnam sak alap ad ak ram am m andalam satprakâram èariketam 30 kàdipürvam sak alagunayutam m andalam b h airav am 31 ta m 31 | ï . A opens wilh om svasti om (hüm( srisivàya sridcvyai gumbhyah snkramüganapataye namah; • with hum sivâya srikulaganâdhipaïaye namah ; C reads am namah sivâya sri ku Iaga nàd hi pat aye temah 2. A srisamvar lama nd alâ nte 3. U. kramapatha-, SamP -sahitânanda4. out •de the microfilm of B; C catuskam akula-; SamP caluskam Iv akula5. AB 'nyarp 4k SaipP divyâ7. A sa ha, C illegible 8. SamP -puspâ 9. C sva-; BC -mudrâh JiO- A vrddham kaumârabâlam 1). SamP vaktradevim 12, B -kalilâ 13. B yugmà-; |C -bhedas 14. SamP trini siddhâvalâram 13. A -kramam, SamP -kramc t f> BC madhyâd 17. SamP dvirastau 18. SamP padakramasakalam 19, BC sodasâraih; SwnP çodaiârcam 20 SamP mandalâm 21. B -sadbhava* 22. SamP tri-; A SamP 'kramera 23. A -malaharinim 24 BC -bhümim; SamP -bhûmir 25. BC prasavam 26. SamP Damala 27. A vrtyàdyu-; BC -stam kra-; SamP vrttâdhyustam anïrtham 28 A 29. SamP api hy 30. ABC samkcta31, A bhairavâritam.

1 In th e centre o f the S am vartàm an d ala [arises] À n andasakti, em bedded in [all] the stages o f the T rad itio n , terrifying; in the p attern o f creation there are the F o u r relating (o both akula an d kula, the Five, next the Six, [again] F our, an o th er Five, an d again F o u r; there is the consecration according to the sixteenfold in stru ctio n ; there arc the eight goddesses em bodied in H er fo rm , there are [the consonants] H A , SA, K H A , PH A , and R A ; the kalà, and the ‘i/ndu-flow er’; there is th e KHA-mwifra; 2 there t$ [the subdivision in] bàia, kaum àra, and \rddha', She is C akradevï, the limited energy o f P aram a Siva, for [all] traditions.

32

l’ATALA I

Srinâtlia was in C an d rap u ri. provided with the eighteen [N âihasJ; because they were distinguished in couples, there was firm ness; three Siddhas were his incarnations; thus [he made] the Rule in (the country at] K otikana a t the beginning of the Kali Y uga. These [three] had nine putrasisyas; from am ong these [originated] the sixteen [disciples], 3 then the contin u o u s succession [of teachers], the lineage and families together constituting all the stages o f the T radition, the hum an body, the com pletion o f the T radition, T here arc other groups [bringing about] the purification o f the erroneous, and a host o f those w hose n ature is w orthy o f w orship. In the beginning there was th e inclusive group o f the eighteen [N âthasj, the whole o f the K ula-tradition, preceded by the rise o f the [Sam vartâ-]m andala ; there was th e hallow ing sprung from the three ways, destroying the defilement o f the uninitiated, the purification o f the body in the fire o f Siva: 4 in the centre, in the ‘Place o f R epose’, there is progress, understanding, confidence, and [finally] self-authority — you h o n o u r H im W ho has em anated [all this], the m ost em inent am ong the gurus, Bhairava, Srikujesa! 5 Kor the sake o f the series o f three and a h alf vrm 't?) there is made understanding preceded by [m editation on] the form o f K hahjint; the D ivyaugha is called after the gods, an o th er one [is called] M â n a v a — thus is th e threefold way. D istinguished by various parts, [but] for the T radition com plete in [all] its stages, is the sixfold m ainala', as an agreem ent it is called K àdipürva. Thus is the mandala o f B hairava, provided w ith all Ihe qualities. As introduction the KmT and the SatSS boih open with a mangata, the so-called Sam vartâm andalasütra. The version o f this süira as found in the SatSS is considerably longer than in the KmT. The SamP which explains the longer version o f the siitra (sec below), mentions this difference explicitly. After its explanation of the words api caturuh (1c) it states: anyatru ladanantaram tallealo mandatateli coki am ; samsrsiam iiyàdibhih pü rita m . idam lagitusamvariürthah; ayant lu brhatsamvariàkatvàd adhikataram uktam, ‘elsewhere, immediately after that (sc. api calura fi), iati vaio manda iena is said; it is completed with the words sarpsrytam etc.; that is the scope of the shorter Sam vartâm andalasütra; here, however, something additional is said became it concerns the longer Sam vartâm andalasütra’. Thus the shorter Sam vartâm andalasütra reads in its third pâda api calura.s iati rato mandatemi', and its fourth pâda is identical with pâda 4b o f the SatSS (samsrsiam y erta Iasmai ...), The statement o f the SamP is correct with regard to the Sam vartâm andalasütra of the KmT, which consists o f only one verse corresponding to the lines labe and 4b of the SatSS. Instead ol mandatena at the end of the third pâda which the SamP reads, the KmT has martdaledam (v.l. rmrtdulesam). The Sam vartâm andalasütra, in both its versions, is composed in the sragdhammetre ( i ^ — . «■ 1 which is applied correctly in the major part of the text. There are only a few transgressions against the metre. These will be dealt with when discussing each of the pâdas separately.

PATALA I

33

The Sam vartam andala sût ra appears to present in a very concise way the line along phich from the very beginning the teachings of the Kula-tradition have come down to IB. The proposed translation of the B rhatsam variâm andalasùtia should be considered in attem pt. Only when the complete SatSS and its secondary texts have been edited IUK) translated, it might prove possible to understand the sûtra to its full extent. As far If I know, the longer version of the Sam vartâm andalasütra is commented upon in pftly one text, the S am vanârthaprakâsa (SamP), o f which only one MS is available. Among many other topics relating both to the contents of the K m T and the SatSS, |jjOtn Folia 4B onwards the Br hat sam varta m anda lastitra is explained. The text quotes lim y word from the sütra, and explains it. These pratikas have been included in the faticai apparatus. The fifth stanza of the sülfa is given in full, hut not explained. |»ela: The sütra derives its name obviously from its opening words (samvurtamatidatfnte). In the SamP the Sam vartam andala is described: atasipuspasamkasatn akhanditthiiyodiiam sarvagam iântam , ‘it has the outw ard appearance of the flower of the p, it arises constantly and completely, it is omnipresent and tranquil’. The ription is not o f much help. Significant is perhaps the reference to the flower o f : hemp [atasipuypa), which is of a blue colour. The colour blue has some importance relation with (he goddess Kubjika (cf. Schoterman 1977:937), as well as with Devi |h general. Moreover, hemp is sometimes used as a narcotic in Tantric rituals. The explains the name Sam vartam andala as the mandata o f the [goddess] Samvarta: Sakti is together with Siva destroying the worlds {samvartana), She is called jlu p v a rtâ’. Obviously, the author of the SamP mistook the final -â o f samvarta for a jpRUnine ending, while it is clearly the lengthening o f a vowel at the joint o f a ind {sa>nvarta-manda)a). Apparently the term Sam vartam andala refers to the :at destruction o f the world, and the beginning o f a new one (cf. 2,14 Notes), is reason the Sam vartam andala is called in the Sam P the 'egg* (anda = jiffa, ‘the m undane egg’). According to the SamP Bhairava and His ia k ii spfcairavi or A nandasakti reside in the centre of the mandala ( ladante tarunadhye ; for Ifeue, ‘in the centre', see G onda 1938: 457 ff.). This A nandasakti features in all the Étages [pâda) of the tradition [krama), viz. the tradition according to the Kula-systcm fe tm P : kratnah kuiakramah). She appears at the beginning o f a new Yuga, in the Jfcntre o f the Sam vartam andala which marks the period o f dissolution between the iQtnccssive Yuga s. W hen Siva and His sakti are united, creation starts and the Kulaio ctrin e is proclaimed.

t t

Ë

# Ibc: In the pattern of creation (srstinyaya) the first phase in the propagation o f the kula-doctrine-is symbolized bv the series of Four, Five, Six, Four, Five, and Four. This series which am ounts to twenty-eight in total, is appropriately called the Aaffivimsatikrama, ’the Series of the Twenty-eight’. This Astâvimsatikrama features in leverai instances in the SatSS (cf. 2,21b ff.). The order of the units (4-5-6-4-5-4) is fixed in the texts, but their ’contents’ may vary. Thus the SamP explains the six units here as follows: 1) lcchâ, Jnàni, Kriyà, Buddhi, 2) earth (prthivi), water (âpas), fire (lejas), wind (vayu), sky (akasa), 3) the six âmnâyas, the six deities D àkinï up to Hàkinì, or the iix vijâânârthas (ivac, cakyus, ghrâna, jihvâ, ira vana, manas), 4) the four M ahàpïthas (Odiyâna, Jâlandhara, Pürnagiri, K ârnarüpa), 5) the five tanmüiras {gartdka, rasa, râpa, sparsa, sabda), 6) sattva, rajas, tamas, gunütita. This explanation o f the SamP does not correspond with any similar enumeration in the SatSS or cognate texts, although some of the units are common (cf. Schoterm an 1980:344). The enumeration of the SamP contains several units well-known from other Tantric texts and Sàmkhya-

34

FATALA I

philosophy. In some instances the usual number is increased in order to reach the number required for the Astâvimsatikrama. Thus in the first unit which should consist o f four parts, the fixed triad Icchâ, Jnàni, and Kriyà (K R P F .ISA: saktirraya) is completed with Buddhi. The second unit consists of the well-known five mahdhhutas. The third unit offers a choice out of three possibilities according to the SamP. It consists either of the six ànmâyas (cf. G upta a.o. 1979:41), the goddesses p akini, Râkini, Làkini, Kàkinî, Sâkim, and H ikinï, or the six vijfiâtiârihas as they are called in the SamP. which are the five jnâneru!riya$ of the ST (1,34) completed with manas. In the SvT (10,1094) these five arc called the huddhindriyas (cf. SatSS 21,67 where Ivac, caksus,jihvâ, and ghrâna are called the buddhlndriyacaimka). The fourth unit consists of the four M ahâpîthas, which are well-known in Tantric texts. In the SatSS a fifth M ahâpïtha, (he M âtangapitha, is sometimes added to these four. The fifth unit consists o f the five tanmafras. The sixth unit comprises the three gunas completed with a fourth which is 'beyond the gunas' (gmâtlta). The SamP explains akulakulagata (lb ) with akularfi laukikam kulam tàntrikam, 'akula is everyday life, kula is Tantrism*. More likely it refers to Siva [akula) and Sakti (kula), the participants in creation when united [kulàkula; cf, 1,21). The expression akulakulagata should be connected wilh each o f the six units o f the Astâvimsatikrama In the second line o f the first verse we come across the first metrical irregularity. The reading catuskam akufakitlagaiatn would result in a short seventh syllable (-skam) of the line instead of the required lung syllable. MS A 'solves' this problem by reading catuskam | akulakulagatam. Only the SamP reads catuskam tv akulakulagatam, which is metrically correct. From the eighteen MSS o f the KmT at our disposal, sixteen read catuskam akula- here; only two MSS read catuskam akula-. The reading of the SamP seems to be a correction not attested in any other manuscript. Obviously the ending in an attusmra in catuskam despite the following vowel of akula- Junctions here as a means o f lengthening the syllable -ska as required by the metre. For this reason 1 have accepted in the text the reading catufkam akula-, rather than inserting tv as the SamP does. To what the 'consecration according to the sixteenfold instruction’ (lc: sodasùjhàbhiseka) exactly refers, is not clear to me. The SamP explains it as consisting o f Ihe Six Paths (sadadhvan), the nine conditions o f existence ina vaga ri), and the vit kalà. The Six Paths {bhùia, bhâva, sâkla, mântrajânava, raudra, sàtrtbha va ; or: bhmana, pada, vartia, dvadasa (-m a n tr a ), kalâ, tat i va (cf. ST 5,7?; Padoux 1975: 261 fi'.)) are discussed in the 17lh chapter of the SatSS ( — KmT 10). The nine conditions o f existence (na vaga If) do not feature anywhere in the SatSS, as far as I know the Buddhists reckon six gatis usually. The ci! kalâ is the 17th kalâ o f which there are usually sixteen (cf. Padoux 1975: 80). In the SatSS this I7th kalâ is also called mahâdtptâ (chapters 15; 17) or nityü (chapter 42). Although the enum eration o f the SamP indeed am ounts to sixteen (6-1-9 + 1), the explanation is not very convincing. The SamP offers another explanation for the number sixteen: sixteen places (sthâna) of which the first is called the bhargasthana (bha rgasihünüdayas caiva sodasa). Bharga is a name o f Rudra, but what is meant with the bhurgust harm I do not know ; perhaps it refers to a particular letter of the Skt alphabet (see notes on Id). Id : The eight goddesses (devyastau) are the A stam àtrkà. viz. Brahmani, Màhesvafï, Kaumàrì, Vaisnavl, Vâràhï, Aindrâni, Càm undâ, and Mahàlaksmi. The expression ha sa kha pha ra kalâ hindupuspatp forms a bija according to the SamP: IISK H PH R E M The word kalâ represents the vowel e. The ‘7»rnd«-flower’ (bindupuspa) is the anusvâra which adorns the bija on its top like a flower (SamP: puspavac chirobhusanatti), The hïja H SK H PH R EM is the so-called kulak Cita, the most prom inent sacred syllable o f the Kula-tradition (pa (aia 34). The bija H SKI 1PH REM belongs to Siva, while the

PATALA I

35

form o f the same bija as SHKHPHREM ( = MS A) belongs to Sakti. A bija beginning With an b belongs to Siva; with an ,v for its first letter it belongs to Sakti (cf. Schoterman 1980: 345 note 7; Appendix II; palaia 34). The explanation of the SamP teems correct, but another possibility should also be considered. It is possible to regard kalâ in the text as a plural instead of a singular. In this way kaiah refers to the sixteen vowels of the Skt alphabet. Consequently, one should then count sixteen bijas: H SKHPHRAM , HSKHPHRAM ... up to HSKHPHRAHM. These sixteen bijas might then be related to Ihe concept of the 'consecration according to the sixteen fold instruction’ in the previous line. We have suggested above (lc) that the bhargastkâna o f the SamP might refer to a particular letter of the Skt alphabet. If this suggestion is ■Detect, the bhargmthâna should represent the vowel a. As is shown in Appendix II the fifty letters of the Skt alphabet can he represented by a manifestation of Devî (Mâlinï) « ^ iva (Sabdarâsi). In the list of the fifty manifestations of Siva the vowel a is ffepresented by Snkaniha. It is not unlikely, though, that other lists exists featuring Other manifestations of Siva as representatives of one of the fifty letters. In one of such h m Bharga might represent the vowel a. The number sixteen seems to be significant. Jh riu p s it refers io the sixteen disciples (2d): each of them could have possessed his Bwn personal bija, all being variants of the kulaküta. ju T h e KHA -tundra refers to the Khecarï-mudrâ, which is dealt with in pataia 10 of the (cf. Brunner 1974: 144; Briggs 1973: r.v.). iS,fcu2a: The first pâda of the second verse provides a second problem connected with I te metre. Obviously, one has to read balakaumàravrddham, which produces, however, |jj&kbort second syllable, whereas the metre requires a long second syllabic. As we have jÿttn above (lb), the anusvâra is used here again to regulate the metre (balam luumàravrddhant). The SamP explains this triad with avasthâtrayatn ; bâiakramakaumârakramavrddhak ramatn iti kramatrayarn, which is hardly of any help. Probably it refers to the nine Siddhas (Gagana etc.; see below). These nine are ‘classified' Meording to this threefold division: Gagana, Padma, and Deva are called bàianathas; ILmmida, Kamala, and Rama are kaumâranâthas; Bhairava, Siva, and Krsna are Ifddhamthas (cf, palala 43). The KnT, moreover, assigns authority (adhikara) to the three groups in the three Lokas; Mur, pâtâla, and gagana (KnT F.18A). The distinction o f a unit in three gradations, as we see here vahnigâ aukâra- > vahnigaukâra-. This results ..following three btjas for the door-keepers: H R A U M , SRA UM and K SRAUM . ^ v e seen in the previous sloka, the three door-keepers are actually the sun, the and an aspect o f Agni. This fits with the syllables allotted to them, The sun and cn are represented by the HA and the SA respectively. The third door-keeper, la, is not Agni himself, but an aspecL o f Agni. Therefore, Kâlânala is not the letter RA which belongs to Agni. The T does assign the letter RA to it dvârapâtatray openam ( = He) \ dvârapàiatrayam kâlàm lam RA ... Comon iloka 7cd the T explains: eta d dhâmatrayam yaihâ | kalânalah agnih RA ... ii no doubt, however, that K âlànala should be connected with the letter KSA. foe K nT (F.49A) the btjas of the three door-keepers are also given ; here Kâlànala is connected with the KSA (hànta). K âlànala represents Agni at the end o f a world, when the worlds are destroyed by fire. In this way the identification o f a with the Bhairava tailed Samvarta ( = KSA) becomes probable. We have that Samvarta points to the periodical destruction o f the worlds, as does naia. Moreover, the letter KSA comes at the end o f the alphabet, in which way it parable with the lire at the end o f a world-period. Besides K àlânala, the sun and moon axe also connected with the concept of Fire or Light. Therefore the btjas of

46

PATALA 1

all three of them have one basic syllable in common, the RA {19b vahniga), the aksara o f Agni. The vowel in all three bijas is the AU. According to the T on sioka 16d bhuvana ( = S a nt a na b hu va n a) is characterized by the AU. As the three door-keepers belong to this Santanabhuvana, it is only natural that they also should be charac­ terized by the AU. The KnT also has the vowel au in the three bijas. Following the reading of MS A for pâda 19b t vaimigokârû) the three bijas should be H R Ü M , SRÛM and K SRÜM . In this way the vowel in the three bijas is the same as the vowel in the bija o f Siva and Sakti when residing in this Santànabhuvana {sioka 16). As MS A often reads a instead of au, one cannot be sure whether the reading is correct or not here. For this reason the reading of the MSS BC has been followed, although the reading of MS A is not without sense. In the section of the K nT (MS 5-8541/101 F F .7 lA ff.) on the three door-keepers, the D vârapâlircana, we find the dhyânashikas of the three. All three have four hands, in which they hold the same attributes: in their left hands a trident (süia) and a skull-cup (kapaia). in their right hands a sword (khadga\ MS l-239.'201k: a club ik/iaivànga)), and a lotus Ipadma) N isatana is of a white colour {.rifu); TamoTi is red {rakta)-, Kàlânala has a massive form (sihula) The m ounts of the three door-keepers point to their relationship with the sun, the moon and Agni : TamoTi is seated on a horse (vajin)', N isatana rides a hare (sztio); K àlânala is mounted on a ram (mesa).

20 d ak sak o n e tu lakulî vàm e v a i1 b h rgudevatà | an te sa m v a rta n â th as2 tu a n te 1 câg ram 4 u d â h n a m / ). BC ca

2. C samvaità-

3. A anta

4. A cogram.

20 In th e S outhern corner is L akulin; in the N o rth is the deity B hrgu; at the end is S ain v artan ath a — with ‘en d ’ the top is m eant. In pâda 20a we find one" of the few instances where the sixth syllable of a pâda is short instead o f long. Lakulin is obviously the same Bhairava as Lâkula (16a; 19a (MS B Lakula)). The name o f this 49th Bhairava is subject to a variety o f readings: Lakutlsa (Appendix 11), Lakuli (ST 2,35a), Lakulânanda (SatSS 17,154c), Lagùlìsa (Tantrasàrasam graha 1,57c). The initial I of the name becomes sometimes n (ST 1 ibid.). To obtain a correct metre one should read iâkuio here, as the form Lakulin o f the nam e is not attested. Sioka 20 provides the locations of the three door-keepers in the Santànabhuvana, but instead of using their proper names (Tam o’ri etc.) the names of the Bhairavas representing their characteristic syllables are mentioned. Thus La ku lin/Tam o ’ri is in the South, Bhrgu/N tsâtana is in the N orth, and Sam varla/K âlànala is at the end. The locations o f the three door-keepers are, of course, related to the three corners o f the triangular Santànabhuvana. The end or the top of this triangle is situated in the West (cf. L,14d). The T in its commentary on sioka 7cd situates T am o’ri at the top (agrakorte). N isàtana in the N orth, and Kâlànala in the South. The K nT follows the SatSS.

21 akulam ca kulam caiva tathâ caiva kulâkulam j k a p â tà s 1 tra y a 2 vâtàdyà durbhedyâh su d rd h àh priye I I.A kapàtas

2. BC ratra.

PA IA LA 1

21

47

(T he three door-keepers are) A kula, K ula and K ulàkula. T here are [three] door-panels, Vat a etc., difficult to break through, very solid, O Lovely O ne. Finally, the three door-keepers are put on the same line as Akula, Kula and Kulàkula. Akula stands for Bhairava, the transcendental energy, W ho is to be united with His Sakti in order to activate His energy. Kula, ‘l'énergie originelle de la m anifestation’ (Padoux 1475: 196), represents Sakti. Kulàkula, hence, is the union of Kula and A kula or Siva and Sakti. from which the visible creation originates (cf. Padoux 1975: 195 ff.>. After discussing the three door-keepers the doors itself are dealt with in the next lines. In pàda 21c the reading of MS A has been followed despite the fact that the form traya is grammatically incorrect. It should be traya. The singular kapatas might be considered to be a ‘slip o f the pen', but the form traya serves a specific purpose, namely to obtain a short fifth syllable in the pâda. The grammatically correct form trayo results in a long fifth syllable, which should be avoided. The reading o f BC (taira) is evidently a non-committal tedia facitior in order to obtain a regular metre and a grammatically correct pada. There are a few other instances in the text, where no case-ending is added for metrical reasons (cf. 1, 36a ; 36b 2,27a) O ne wonders, why the author of MS A did not write simply kapâtâs trini here, which is metrically correct, while the form trini (neuter) with a masculine nom. pl. (kapâtâs) is not unusual in our text (cf. 1,2c stddhâs tritty ; 1,22c argalas trini). In our translation of the text the word kapâla has been translated with ‘door-pa nel’, which it usually means. Here, however, the word kapâta clearly denotes the complete door consisting o f two leaves. The three doors are identified with Vâta etc. ( vâlâdyâ), which are explained in the next iloka.

22 svam parti te 1 tu vaksyâm i vâtapiU asalesm ikâh | argalas tr ïr i tatraiv a vyâpinï sam an o n m an à ;! 23 rodh asam jn â imâ trini rau d rarü p â m ah âb alâh | tais tu sam rak sitam 2 yac2 ca na jâ n a n te 2 vim ohitàh || t. BC tais

2. A tain raksitam yas

3. BC -mi.

[ will tell Y ou [their] true n atu re: they are V âta, P itta and Salesm ika. There are also three bolts: Vyâpinï, Sam aria an d U nm anâ. 23 These three are called ‘ob stru ctio n ’. They are o f a fierce nature, and are very strong. W h at is shielded by these, th e foolish-m inded do not know . 22

As already hinted at in the previous iloka (21c) the three doors are identified with the three hum ours o f the hum an body: wind (vâta), bile (pitta), and phlegm (salesmika). The latter is usually called ilcsman or Hcsmaka, but the form salesmika can be understood as a case o f an epenthetic a (cf. Edgerton 1972: 1,29). The three bolts of the doors are the goddesses Vyàpiriï, Samanâ and Unmanfi. This triad is well-known (cf. Padoux 1975: 83-85; 346), and represents the three highest, and most subtle phases in the process of em anation o f sound (Padoux 1975: 83).

48

FATALA I

Because these three are very difficult to pass l'or the Sàdhaka in his endeavour to reach the complete oneness o f Siva and Sakti which lies beyond these three, they are designated as 'bolts' and 'obstruction'. The T identifies the three bolls with desire (kâma), w rath (krodha), and greed (lobila), which are the first three of the Six Enemies (sad ari-, the other three being móna, macia and ma tsary a (KA 1.6,1 ff.). The Sàdhaka should avoid these three (cf. VtNT 8,65cd). 24 tccha jn à n ï kriyü tesàm g u n âs la tra trid e v a tà h | srstip à k m a sttm h à re b ra h m a v is n u m a h e s v a rà h 1 || 25 p râ k â râ s trini ta ira i va sa ttv a m ra ja s ta m a s ta th â p a th â s 3 trini sa m u d d istâ id â pin g â tu m a d h y a m â || l. C brahmâ-

2. BC panthâs.

24 lcchâ, Jn à n ï and K riyà [are the Saktis] o f these. There are [three] qualities w ith three deities; Brahm a, Visnu an d M ahesvara, related to em anation, m aintenance an d ab so rp tio n [respectively], 25 T h ere a re a lso th ree w alls: S at tv a, R ajas a n d T a m a s. T h re e p a th s a re m e n tio n e d : Id a , P ingâ a n d M a d h y am â , The slokas 24 and 25 are the explanation of the pâdas 7b and 8b. Thus the three Saktis (7b) are Icchà. JflânT and Kriyà. The three qualities (7b g u m ) are em anation, maintenance and absorption. The three qualities are connected with Brahma, Visnu and Mahesvara ( = Siva), who are not referred to in the sh k a 6-8. The three walls (8b) are identified with Sattva, Rajas and Tamas. which are known as the Three Gunas. The three paths (8b) are the three main iiâdis in the human body: Idâ, Pingâ or Pingalâ. and the central nâdi M adhyamâ (lit: the Central One), or Susumnà. T he name Pingâ instead of the more usual Pingalâ is probably metri causa, as Pingalâ would result in a long fifth syllable (idâ pingalâ madhyamâ). The T explains the epithets of the pâdas 7b and 8b in a slightly different way. The three Saktis are the same (lcchâ etc.). The three qualities are Sattva, Rajas and Tamas. The three walls are Brahma, Visnu and Mahesvara. The three paths are identical (Idâ etc.). 26 yogm âm ca trisa n d h y a ' y a m 1 âvistah2 tisih ate p rabhuh

santànarp pascim àm nàyam etac candragrham -1 sm rtam |] I, BC -sandheyam

2 ABC -slam

Î. A -guham,

26 W h at is the T risandhyâ for the Yogins, [with that] invested is the L ord. This is the S an tàna(-bhuvana), the Pascim àm nàya, know n as C an dragrha. In pâda 26b the reading o f the three MSS (âvistam) has been emended to the more correct âvistah. The reading o f pâda 26a, for which MS A has been followed, is not correct S kt; the MSS BC intend to read here perhaps yoginâm ca tri.sandhycyam. The Trisandhyâ is the threefold division o f the day (morning, noon and evening), on which

PATALA I

49

the daily worship is performed. According to ihe T these three are identical with the three kinds of breathing exercised in Y oga: exhalation (reeaka), inhalation (püraka), and stopping of the breath (kumbhaka). Perhaps the mention of yoginant in the text (26a) points to the explanation of the T. In the translation o f pâda 26b we have regarded âvistah as directly related to the previous pâda. In this way it is the same as à vestiturn in trisandhyâvesiitam (8 a). It is also possible, however, that avis tah refers to the contents o f the previous .i/okas, from iloka 14 onwards. In this way all the epithets do not belong to the Santanabhuvana, as is the case in the slokas 6ff., but to Bhairava (cf. p 42). The words list ha te prabhuh (26b) refer then to sh ka 11c {list hate bhatra-

vïsânuh). With iloka 26ab the explanation of the introductory verses is completed. It is apparent, however, that the SatSS does not explain every epithet in these slokas. M oreover, the order o f its explanations does not follow the order of the epithets in the text too closely. The T, on the contrary, explains every epithet in its order of occurrence in the slokas 6-8. The T then is not an explanation of SatSS 14-26, but o f SatSS 6-8. The epithets not explained in the SatSS itself, are explained as follows in the T : anekàkârarupinam (6d) = nanamrnadhamm, ‘having different colours’; try as. ram (2a) = trini konâni, ‘three corners’, triprakârum (7a) = em anation (srsti), mainte­ nance (pdlana), and absorption (satrthdra) (cf. 1,24c); ujjvalam (7b) = antarbhaxitam, ‘radiant from within’; .iloka 7cd (instead of -vurcasam the T reads tejasam) is explained with etad dhâmatrayatn yathâ \ kâlânaiah agrtih ra dakse risàia ruth candrah sa vâme tamo'rih \ stiryah ha agrakone j etad dhamatrayam. The only word in the slokas 6-8 the T does not explain is divyam (8a). The Santànabhuvana is called Pascimâmnâya (26c), the Western Tradition, in the SatSS, whereas the T refers to it as pascimagrha. Since the Santànabhuvana has the shape of a triangle (7a), the T idcntteftes it with the yoni, and subsequently wilh the letter e, the yontbija, probably on account o f its form resembling a triangle. The reading candragrha (26d) of the MSS BC is also found in the T here (for the reading o f MS A, candraguha. cf. sioka 30). The T ends its explanation with the statement, that the Santànabhuvana is also called Samvarla. 27 tn e ru p a sc im a d îg b h â g e 1 p rth iv y â m 2 pascim e d ale g a n d h a m à d a n a p ü rv e n a vijn ey am ta d v id air* n a ra ih || 1. B merau pa-, C meruh pa-.

2. A -vyâ,

3, A -vidhair.

27 [The S an tàn ab h u v an a is located] on the W estern side o f M t. M eru, in the W estern region o f the earth , E ast o f M t. G an d h a m àd a n a — thus the adepts should know . The location of the Santànabhuvana corresponds wilh that of the C andraparvata in the K m T (l,56d fT.), and the CandravTpa in the 47th chapter o f the SatSS: meruf KmT : merohlpascimadigbhâge gandhamâlyasamïpatah (Km T 1,59cd = SatSS 47.106a b). The Candraparvata or CandradvTpa, however, is completely round (KmT 1,60b = SaSS 47,106d: samantât parimandalam), whereas the Santànabhuvana is o f a triangular form (1,7a). Although the G anòham àlya is not known to me as the name of a mountain, it is most likely identical with the G andham àdana in s h k a 27c. The T does not comment on the slokas 27-35, nor are they quoted in full.

50

PA TA I. A I

28 sira m 1 m en iti2 sarruiddislanr1 sari ram prthivi sm rta ! cülikâdhas trikûtam tu4 vijneyam g an d h am àdanam | J. C ' i ir o ,

28

22. A m e r u ,

3. C ' -s ja h.

4. BC ca.

The M eru is know n as the h ead ; the earth is the body; beneath the crow n o f th e head, w ith three peaks — th u s one should imagine the G an d h am àd an a. In sioka 28 the three localities which were mentioned in the previous sioka, are identified with three parts of the human body. The identification o f the Meru with the head is also found in sioka 39b of this chapter, as well as in the K RP {F.39B: sir as ca merunâmânam). Since the Meru ( = the head) rests on the earth, the identification o f the latter with the body [sarird) becomes plausible. The second pari o f this sioka proves to be enigmatic at first sight. It is very tempting to regard irikfiwm (28c) as the name of a mountain, which it actually is in sioka 36c and 40c. Mt Triküta, however, is not located beneath the cûiika (cf. 40cd). whereas the G andham àdana is (39cd) Moreover, in the previous sioka there is no mention o f the Ml. T riküta. For these reasons I have regarded irikûtam as an epithet of the G andham àdana, In the passage of the SatSS dealing with the CandradvTpa (see above) there are mentioned three peaks (trini küiâni), but it does not become clear whether they belong to the G andham âlya or not because the text is difficult to understand and seems to be rather corrupt. The names o f the three peaks are here; Triküta (sic). Kiskindliaka, and Candradvlpa.

29 b ra h m a ra n d h rasy a 1 s a n tâ n a m î bhâvagam yaip irikotiagam | sam vartam andatas-5 cakra[m ]3 ta tra candrasila sthita || I. BC brahmâ-,

2. BC sumsthânam,

3. C -mandalai tacca; B -mandata tac ca.

29 T he S antân a(-b h u v an a) o f the B rah m arandhra should be regarded as a triangle. F ro m th e S am vartâm an d ala [originatesi a circle; there is the C andrasilà located. The Santànabhuvana or Sam vartâm andala when located on the Brahm arandhra, has the shape of a triangle (for other localities of the Sam vartâm andala in connection with the body, see 2,4-15). The expression bhavagamya occurs rather frequently in the SatSS (cf. 2,8b). Its original meaning might be ‘to be conceived by the mind (only)’ (M.-W ,: i.v.) which is found in the M eghadüta (uilaramegha 25; M allinatha ; sambhâvanayotpreksyatn), but in the SatSS its meaning seems to have become less specific. Therefore, bhavagamya has been translated with ‘to be regarded; to be im agined’, although the idea that the process is chiefly mental, should be kept in mind. In pâda 29c the reading o f A has been followed, although the form sarpvurtâmaijda[ia]tas is irregular. The use o f -mandalaias would, of course, result in a pâda o f nine syllables. MS C also expresses the idea of an ablative here, while MS B appears to read a nominative i'mandala[m]). The image is that of the triangular Santànabhuvana or Sam vartâm andala from which a circle originates (29c cakra). This circle is probably the C andraparvata o f the

51

PATALA ]

KmT, or rather the Candradvipa of the SatSS, which is completely round (cf. notes on sloka 27). In this circle the Candrasilâ is located (K m T 1,61c (atra madhye sdà ramyà).

30 sâ ca cand rag u h à p ro k tâ visargasthilnam âsritâ | yogapïtham ca vijneyarn kathitam m ayâ sphutam || 30 This is called the C an d rag u h à, associated w ith the visargasthana. It should be

know n as the Y ogapitha — thus 1 have told clearly. From the text it appears that the Candrasilâ (lit: Moon-rock) is also called Candraguhà (lit: Moon-cave). More likely, though, the Candraguhà is a particular cave on this Candrasilâ. In the KmT the C andraparvata where the Candrasilâ is located, is described as ‘having many caves' (KmT l,57d gahvarânekasamkula). The followers o f the Kulàcâra hold three caves in high esteem: the C andràkhyà, the Yakçini and the Sankhinï (K R P F.I5B). The C andraguhà is most likely identical with the C andràkhyà o f the K RP. In pâda 30b the Candraguhà is connected with the visargasthana, the place from which creation starts. Yogapitha in pada 30c refers to the circle which originated from the triangular Santânabhuvana on the Brahm arandhra (29c). Yogapitha appears to be another name of the Sam vartâniaudala, when it is located on the B rahm arandhra: it is at the end o f the D vâdasànta, and constitutes the base for the Susumnâ (cf. SatSS 28,15cd: I6ab visargam ca susumnàyâ àdhâram dvadasSniagam \ kvacic ca yogapïtham lu kvacìt samvartâmantjhlam). In the C atuspitha Tantra, a Sahajayâna text, Yogapitha is included in a list o f four Pithas, all of them being philosophical concepts instead o f actual localities (Sircar 1973: 11).

31 su su m n àd h àrab h îitam 1 tu d v àd asàn tam '1 ta d a n ta g a rrr état tu 3 m andai am divyarn püjyam 4 dhyeyam t u s sannaraih II 1, A -b h ü tas 5. BC ca.

2, A -n tân la d a n ta g a h ; B C -m am i a da àg ata m

3. BC ta n

4. A püjya

31 It has the S usum nâ as its base, and comes at the end o f the D vâdasânta. Thus then is the divine circle, w hich th e right people should w orship and m editate upon. In sloka 31 the Y ogapitha is explained in further detail. Pada 31b is rather curious w ith regard to the formation of the words. Evidently the pâdas 3 la b correspond with SatSS 28,I5cd ( visargam ca su$umnâyâ âdhâram dvâdasântagatti ; see above), o f which visargam has been allotted to the Candraguhà (30ab). Since the expression susumnàyâ âdhâram ('the base o f the Susum nâ’) corresponds to susumnâdhàrabhûtam (31a), dvàdasântagam should correspond to pâda 3 lb. The Y ogapitha of the Brahm arandhra is found at the end o f the D vâdasànta, viz. at the end o f the inverted pyramid (see sloka 15 Notes). A com pound expressing this idea would be dvâdasânlàniagam, which looks rather confusing. Perhaps for this reason the author has avoided it, and has split the com pound into two parts with a connecting tad inserted in between. Thus pâda 31b means literally ’going to the end of that, namely the D vâdasânta’, Separation o f the parts of a com pound does occur (cf. H azra 1963: 123), sometimes with insertion o f an indeclinable w ord (H azra 1963: J24), but tad is not indeclinable. A nother solution

52

PATALA 1

for this pâda might be the reading o f A Idvàtiasânlfinia-d-antaga), in which the consonant d functions as an intervening hiatus-bridger (cf. Hazra 1963: 104, Edgerton 1972: 1,37). The result, however, is a very confusing compound with one unta too much. ■2

e ta c c a k r a v u r a m a s y a m a d h y à d

;3

v in is k r â n ta m â s r a m a m

M

d iv y a r n 1 y a tr a v is v a m

v a r a r o h e n a

v ijâ n a n ti m ù d h a d h ìh 4

p a r a m a n i d iv y a m n a

p a s y a n ti k a lp a k o tis a ta ir a p i !

a tr a s th a m

tu

c a tu s k à d y a m

its c e n tr e th e

il

p u n a r y â n ii7 h y a n e k a d h à

3. BC -hhedatah

13 v i r a s t a n t a , in

[[

4. A -rihi

a p iu r ifo r m

w h ic h

5. püdus 33ab omitted

e v e r y t h i n g is b a s e d .

w a y ,

O V a r à r o h à . T h i s t h e f o o l i s h - m i n d e d d o n o t r e c o g n i z e . It i s t h e m o s t

a p p e a rs ,

e xc e lle n t, d iv in e 34

[5

T h i s is th e d iv in e , m o s t e x c e lle n t o f [a ll] c irc le s , o n F r o m

33

j

d iv y â d iv y a ir n is e v ila m ^

g u ru h T n â

1 BC devi 2. BC viniskrântam in BC 6. A -ta h 7. BC ySli. 32

p ra tis lliita m

d v i r a s t a n t a m 2 a n e k â k â r a b b e d i t a m 3 11

re fu g e , fre q u e n te d

P e o p le w ith o u t a K a l p a s ! B e in g

G u r u

th e re

th e

d o

b y g o d s a n d

m o rta ls .

n o t p e r c e iv e it, n o t e v e n

F o u r

e tc. g o

a g a in

in a th o u s a n d

m illio n s o f

in v a rio u s w a y s .

The expression D virastànta, or Sodasânta is a designation o f the human body (cf. .iioka 3a Notes), which is connected with the number sixteen in the next sioka. In pâda 34cd the A s tS vims a ti k rama is referred to (catufkùdya-, cf. iioka I be), symbolizing the creation. Punar yànti (pi!) expresses the idea that after a period o f absorption, the visible world appears again from the Y ogapitha (cf. 47,113cd; 114ah tatra sihàrte lay ant krtvâ lîlayâ p a ra m m o ri ; avyak tatihgarüpâ aâ sffiim satnhrtya sâmbhüvî),

35

s a m a n tà d v is rs ta m

!. B C

d v y a s t a k â d 1 y a s * â d in à th e n a

vy u s tà k o tis

35 T h at w h i c h to

th e

e ta l k u la k a le v a r a m

|

2. B C y o g a -,

[o rig in a te s ]

K u la -tr a d itio n .

in n u m e r a b le

tu

y o g i v r n d a n i k e t a n a m 2 ||

fr o m

It

is

th e

c o m p le te

e m a n a te d

b y

s ix te e n ,

is

A d în â t h a ;

th e

it

b o d y is

th e

a c c o rd in g a b o d e

for

Yogins.

The reading of pâda 35a is uncertain. The ligature -ddvya- in MS A is scarcely legible. The MSS BC seem to read -dvyu-, or perhaps -ddhyu-. I have opted for the reading o f MS A because o f its connection with the body: dvyastaka (‘sixteen’) corresponds with dvirasta in the expression D virastànta, which denotes the human body (32c). In the 28th chapter o f the SatSS it is stated that Kubjikâ surrounded by sixteen saktis resides together with Bhairava in the Yogapitha, which is described as a lotus; from here She

PATALA

I

‘throw s’ (ksìpaie) the sixteen saktis in the human body {SatSS 28,lf>cd-l7cd talpadmakarnikàmadhye kujeso bhairuvuh xvarar» kubjika ca sthità taira saktibhìh sodasair tria ] su saktïh ( M S sakti j kfipale delie kramàrthe ca krame 'dhvani). Probably the sixteen saktis are located in the sixteen petals of the lotus, in the pericarp {karmka) of which Kubjika and Kuiesa Bhairava reside. The sixteen saktis are most likely the sixteen vowels (cf. 2,17 If.)

36

h im a v àn m e ru c a n d r â d i’ g a n d h a m à d a n a 2 srig irih i

trik ü ta m d a ra d a n d i c a s ih â n a m o la m b a s a m jita k a m 3 I; j 7 k a râ lam b a n i* sa sa h y â k h y a m u c c h u sm a v a n a sa m jh a k a m 1 h ra d a m n ìla h ra d a m ca iv a ili5 sth a n ü s tra y o d a s a f> il 1, B eandràdyâ 6. A -sah.

2. C' -nah

3, A olambha-

4

BC karâlasvam

5. BL ete

36 T h e H im a v a t, M erit, C a n d râ d i, G a n d h a m à d a n a , S rïg iri, T rik ü ta , D aradandT , th e place called O la m h a , 37

K a ra la m b a to g e th e r w ith S a h y â k h y a , [the place] called U cc h u sm a v a n a , H ra d a an d N T lahrada — th u s a re th e th irte e n localities. In the pâdas 36ab there are two irregularities which are probably due to the rule, that the fifth syllable o f a pâda should he short and the sixth long. Thus none o f three MSS adds a nominative ending to meru (36a), which would result in a long fifth syllable in this pâda (merus). One might argue that the word meru is considered here as a neuter, but this seems highly improbably as the gander of meru Is always masculine tn the text (cf. 1,28a; 39b). In pâda 36b all three MSS om it the nominative ending of gandhamàdana; MS C shows a correction (C' gundhamàdanalt), which does not seem to be correct as the name gandhamàdana appears to be of the neuter gender (cf. 1,23d ; 39d). Again, the nominative ending seems to be dropped in order to acquire a short fifth syllable in the pàda (N.B. due to the r in the following sri this com bination of two consonants does not necessarily lengthen the preceding syllable; cf. Notes on paribhranta (1,3b)), The Him avat and the Meru are, o f course, two well-known mountains. The Candrâdi or C andrâkhya ( Î ,39c) is most likely identical with the C andraparvata (cf. Notes on sloka 1,27). T he G andham àdana has been discussed in sloka 28. The S rigiri or Sriparvata, and the Triküta are also familiar mountains. D aradandi appears to be the name of a cave rather than that of a mountain (SatSS 47,122 gartâ yù ca krkâlikà daradandi samàkkyâtâ; cf. sloka 4 (ab). This assumption is corroborated by the fact that the first part of the name {dara) actually means ‘d e ft’ or ‘cave’. The next locality, a place called Olam ba, is not known to me from other sources. The name appears in the MSS as U lamb ha/OI am bha (MS A), and Ulamba/OJamba (MSS BC); the T reads Olamba, Since the place is identified with the M ahâpitha Odiyâna (cf. 1,42), I have opted for an initial o-. The preference for Olam ba instead o f Olam bha is mainly based on K m T 2,34-40; when Devi goes around in Bhârala Varsa, She visits, am ong other places (cf. p. 149), D aradandi (Km T 2,34); next She goes to the Western Himagahvara (KmT 2,36), where Lambìkà resides (yatra tu lamhika nâma tiff hate vanapâlika] . It is noteworthy that o f the eighteen MSS of the K m T at my

54

[• A T A L A

I

disposal nine seem to point to a name U/OI(l)anibika (am ong these nine MSS are three palm-leaf MSS'. AJ yatra itlambikâ nâma, H yatra oiamluku ndtna). Moreover, also in the KmT the visit of Devi to this deity is brought in relation with the M ahâpïtha Odiyâna (KmT 2,40cd = SatSS 4/5,16cd). Accepting a relation between Lambika. the protectress o f the forest i vanapaltkà), in the KmT and a locality called O lam ba in the SatSS, one might consider Olamba to be a small village in the forest (vanapalhka) The name Olam ba is perhaps derived from Skt avaiamba (cf. Edgerion 1972; II, s.v,). The next locality, Karàlamba, likewise provides a puzzle, since no locality of this name is mentioned elsewhere. The reading Karâlâsya (MSS RC) seems to be a lectio facilior; the T reads Karalatnbha. We have chosen for the reading Karàlam ba for not quite substantional reasons: perhaps the name is related to K alam bakubja (Sircar 1973: 114), or with Kalam bàìpàda (KJnN 8,18), The KtnT (2,50b) mentions as the next place after the residence of Lambika, a locality called Karala, which is obviously the same as K aràlam ba. To make any sense of the name, one should perhaps expect K aralâm bâ(-sthàna). Sahyàkhya, the next locality, probably refers to the Sahya mountain-range, or to a particular forest in this region (cF. 4/5,62b). In the K m T (2.63d) Dev? visits afier Karàla a forest (sahyam mah avo­ uant = SatSS 4/5,62b). Ucchusmavana, the forest of Ucchusma, is most likely a sacred grove dedicated to Ucchusma, a manifestation of Siva. This form of Siva is mentioned in late Vedic literature (AV-parisisla, 36 ucchusmakalpa). There seems to exist an U cchusmahhairava or Ucchusmasastra, a text referred to in the Sivasülravimarsinï o f Ksemaraja, in the Tantrasâra and Parâtrimstkâvyâkhyà by Abhinavagupta, and in the Svacchand a tantra (Kavirâj 1972: 68-69), In the 43rd chapter o f the Sa l SS we read pisâcocchusmacaryâ. In Hindu Tantrism Ucchusma seems to be a form of Siva/ Bhairava, as we learn from the TÂ (28,390-391 dera era gurusvemt ttflhasur dasadha bkavet | ucchusmaéabaracandagumatangaghvrântakograhalahalakdh \ krodkt huhthulur ete dasa guravah sivamayâh pürve). In the KmT as the next stop after Sahya M ahàvana the river Ucchusmà is mentioned (K m T 2,82d), which is located in Mahocchusmavana (K m T 2,83a; cf. 103b), In the MâlinTstava (K m T 2, dandaka) Màlinî is called mahocchttsmayâgapriyâ. Also in Buddhist sources Ucchusma is the name of a deity (Edgerton 1972: II, s.v.-, Sam T 8,38), a fierce variety o f Jam bhala (Kram risch 1964: 157), considered to be an emanation from Aksobhya (Bhattacharya 1968 : 239). In the Sàdhanamàla we find four sâdftanas o f Ucchusma Jam bhala (Nos. 291-294). The two ponds, H rada and NTIahrada, are most probably located in the vicmity o f Uccbusmavana, but are not identified with any known locality. The KmT (2,83cd) refers to the two ponds as M ahocchusmahrada and Nîla M ahâhrada. Since Ucchusmavana is identified with K àm arüpa (K m T 2,89-90; SatSS 1,44), the two ponds might be located in the same area. Significant perhaps in this context is the name NTIahrada : the darkblue colour [ntla) is strongly associated with Devi as Kâmàkhyâ, living on the Nila Mahâgiri (KP 72,35) or the Nîlaküta (K P 62,1), a m ountain located in the region o f Kàmarüpa. 38 b à h y a r t h a m 1 k a t h i t a m d e v i s t h â n â s c a i v a t r a y o d a s a 2 / d e h a s th à n 3 s a m p r a v a k s y â m t y o g in â m 39

h im a v â n

k u la y o g in â m

il

t u * m a n o * y a s * c a m e r u s c a iv a s ira h s m r ta h

c a n d r â k h y a m 3 c ü lik à s th â n a m

1. BC hâh y e m e 6. A -nah

2. A -d aiali

i

t a s y â d h o g a n d h a m à d a n a m 6 II

3. AU -stha

4

B C m an o virâm as

5. A -kliyârp

PATALA I

36

I

h a v e

to ld

[ Y o u ]

th e

th irte e n lo c a litie s . N o w

m a c ro c o s m i c

39

T h e

H im a v a t

w h ic h

th e y

O

D e v i;

a rc lo c a te d

[th e se in Ih e

a re j

ih e

b o d y

o f

a s th e h e a d ; th e C a n d r à k h y a

is

K u la y o g in s .

is t h e m i n d ; t h e M e r u

th e c re s t, b e n e a th

s ig n ific a n c e ,

I s h a ll le ll [ Y o u ] h o w

th e Y o g i n s , [e s p e c ia lly ] o f th e

55

is k n o w n

th e G a n d h a m à d a n a

is lo c a te d .

In sioka 38 it is said that the macrocosmic meaning {hûhyârtkam) o f the thirteen localities has been told (sc. the enumeration in the two previous s takas), and that subsequently their location in the body (dahasthân) shall be explained. With dehastha the microcosmic meaning is meant, o f course (cf. Moka 12c; 13a bâhyârrham and adhyâtmam). The identification o f these thirteen localities with ihirteen parts o f the human body is valid for Yogins in general, but is o f special importance for those Yogins who follow the K ula-doctrine {kulayogin). In pâda 39a the reading of MS A has been followed, as the reading o f BC has nine syllables in this pâda. The T {himavàn ma/w vireimam) points to the reading of BC. The reading o f MS A corresponds with stoka 14a, while the reading of the MSS BC supported by the T or perhaps based on the T, seems to be a n attem pt to compress the contents o f two pâdas (14ab) into only one pâda. An attem pt which is not too successful, as the result is a pâda o f nine syllables. The Meru is identified with the head (siras)— an identification which follows pâda 28a. The C andràkhya (A C andràkhyà; cf. C andràyà of MS B in sioka 36a) or Candrgdi (36a) is identified with the top o f the head (cülikâ). As we have seen before (28c), the G andham àdana is located beneath the eülikâ. N o mention is m ade here o f its having three peaks {28c triküta). According to the T Mt. G andham àdana represents the joint o f the neck (krkâtikà), which is located in the middle o f ihe crest (gandhamûdanam krkâtikà çütikâyà madhye). 40

s r ip a r v a ta m tr ik ü t a m

i. A -sam

40

T h e T h e

h u tâ s a s 1 tu

d h ü m r a v a r tis 2 tu

c a m J r a p u r y â k h y a m

2. B C d h ü m a -

S r ip a r v a ta T r ik ü t a

is t h e is

a p p e a ra n c e o f a

[th e

b â h y e

3. A yas

m a s ta k e

y a c 3 c a tr ik o n a k a m 4

4. A -k a h .

E a t e r o f O b la tio n s , th e c o lu m n p la c e ]

c a lle d

C a n d r a p u r i,

o f s m o k e

w h ic h

h a s

o n th e

th e

h e a d .

o u tw a r d

tria n g le .

The Sriparvata or Srigiri (36b) is identified with the 'Eater o f O blations’ (40a hulâsa), another name for Agni, who appears as a column o f smoke (40b dhiimravartt) on the top of the head. As the T explains here, the Sriparvata is the Brahm arandhra or the abode o f D hümâgni ( J sriparvatam brahmarandhram dhümâgâîsthânam). This Dhümâgni, ‘Smoky Agni' has the shape o f a colum n o f smoke with a length of twelve aàgulas. It leads upwards from the Brahm arandhra to the base of the inverted pyramid, on which the Santànabhuvana is located (cf. sioka 15 Notes). The twelve aAgulas are identified with the series of A, U, MA, Bindu, A rdhacandra, Nirodhikâ, Nâda, N âdànta, Sakti, VyàpinT, Samanà, and U ntnanà, which constitute the D vâdasânta (SatSS 28,2-3; cf. Padoux 1975: table opposite p. 346). At the end of this

56

PATALA I

column or smoke, e.g. above Unm anâ, resides Para Sakti consisting of (ur text and elsewhere (five M ahàpïthas, five M ahàbhütas, five Tattvas etc.), it is incertain to what pancagatà exactly refers. In the K RP (F.3B) it is explicitly stated hat Devi or rather Sakti appears in a fivefold form in the body: icehâ jnànï zriyânandâ pancami kundalì maià . rad et ad vividhâk hyà ram saktih parfcavldhS kule. The epithet tattvëkâra (51b) refers most likely to the five Tattvas, and possibly at he same time to the five M ahàpïthas (cf. 4/5,24 Notes). The statement o f Bhairava, hat He has explained all this in an earlier work (5 Id pürvagranthe) might refer to the purious slokas 77 and 78 of the first chapter of the KmT. Here, however, with Tattva he fifty letters of the Sanskrit alphabet are meant, which constitute the human body, ’robably, however, the reference to an earlier work should be understood here as a lev ice for avoiding further explanation. asm in d e h e m a y â 1 srsta m sid d h â n â m c a c a tu sta y a m |

:ancalo2 àn av àn an d o vyâpàrisas trtìy ak ah || •ivânandas c a tu rth a s tu p a n c a m i tu k u là m b ik â || A ni aha-

2. C ' c a n ta la .

FATALA

]

63

In l^ ‘s body a n u m b e r o f fo u r S id d h as h a s been e m a n a te d by M e : C aricala, A n a v â n a n d a , V y â p a rîsa as th e th ird , j 4 S iv â n a n d a as th e fo u rth , a n d K u lâ m b ik â is th e fifth. In the T the four Siddhas and léulârnbikü (T Kujâmbikâ) are related with the scries of five in iloka 52ab, e.g. Cane a la = marias, A navânanda = mantra', Vyâpârisa = ôtman \ Sivânanda = Siva; Kulâmbikâ = Sakli. The names o f the four Siddhas do not feature anywhere else in the SatSS, which is rather striking: one should expect the first four Siddhas em anated by Bhairava, to occupy an important place in the text. In this respect one should notice that two of the four Siddhas have a name ending in -ânanda (sc: Anavânanda and Sivânanda). In the T the names of all the four Siddhas end in ânanda (CaricaIânanda, Vyâpârïsânanda)..The reason why in the slokas 53 &. 54 only two ° f 'h e Siddhas have a name ending ending in -cmuttdn, is metri causa. In its commentary on the 17th chapter of the SatSS the T gives the rules of'nam e-giving' for a pupil (sifw ) after his initiation. A m ong the various names he is given (cf. p. 37), the pupil receives a secret name [gupianâma), which should end in -ùmrnlu. Most likely the same rule is appropriate here. The names of the lour Siddhas mentioned here are probably the 'secret names’ o f the four Siddhas or Gurus, who feature in the Astàvimsatikramapüjâ : Mitra cat ha, O ddanâtha, Saslhanâlha and Cary a nâtha. In the Astàvimsatikramapüjâ these four are connected with the four M ahâpîthas — a fact which is nicely linked up with the last six localities of the series o f thirteen (sec above). The four Siddhas are supplied with a fifth, Kulâmbikâ, who is obviously female and no Siddha. In the mantras of the four Siddhas used during the ritual o f the Astâvimsatikramapüjâ (KnT F.54A 'G urucatuska'), the four Siddhas are all con­ nected with an aspect of Devi (Kubjikà, K ul es va ri etc.). It seems acceptable therefore, that K ulâm bikâ should not he regarded here as the fifth in a series of five, but rather as the female consort of the four Siddhas. This assumption is confirmed in s h k a 61a of this first chapter, where Devi is dearly connected with M itranâtha or Mitresàna (see also the Notes on sioka 61). ■srldevy u v àc a // i|p ye sid d h à d ev a c a tv â ra h p a n c a m ï tu k u lâ m b ik â k a th itâ h ke ca te svâm in k a th a y a s v a p ra s à d a ta h | srïb h a ira v a 1 u v âc a || ?» yas tv atec ca iv a trailo k y e c in tà d h à ro 1 m a h â p r a b h u h ] k â m a rü p â m s a d h à rï3 c a c a n c a lâ n a n d a 4 u cy a te | *7 a n u r ü p e 3 slh ito y asm àt p a r y a te t6 sa rv a ja n tu su | jà la p ïth e sv à b h â v a s tu à n a v à n a n d a 7 u cyate || tt

sa m astesu ca b h ü le su v y â p â ra m k u ru te tu y ah |

pûrnapT thâTnsabhâvais c a v y â p â rîsa h sa u cy a te || 55 âjfiâsa b d à rth a sâ strà n i y a ts a k â s â t8 p r a v a rta te i o d d a p ïth ü m sa b h â v a is9 ca sîv â n a n d a h sa u cy a te 11 ® ia k tis â m â r th y a to 10 b u d d h ir âjiiâ y asya a k h a n d itâ i tv a m ca vai k u b jik e svâm i c a tu s p îth â d h ik â rin l i| & tn itre sâ n a sa m â y u k tâ b h â v itâ si k a le v a re 11 || iti s a ts â h a s re 12 srïm a te p r a th a m a h p a ta la h ||

64

fatala

i

1. A siibhairav 2. B UMâdhûru 3. B -rupàt, Jdhâri 4 BC' caficai ânamlah sa: C dhàfànandah sa 5, C -riipa 6. R paryale 7. ABC ànavànandah sa 8. ft vai., )kjniât 9. C adda[0. B saktisâsâmâ11. B -varo 12 B satsasre; C -sahasra Srïdevî said:

Those four Siddhas with K ulâm bikâ as th e fifth, ab o u t whom Y ou have t o l d , who are they, O M aster? Please tell it to M e! S rlb h airav a said : 56 T he one who roam s ab o u t in the T hree W orlds, bearing the m ind, the G reat L ord, th a t one is called C an calân an d a, integrally connected with K âm arüpa. 57 Because he goes around in the form o f an ato m in all living beings, he is called  n av àn an d a, integrally connected with Jâlandhara. 58 The one who concerns him self with all living heings, that one is called V yàpàrisa, integrally connected w ith the P ürnapilha. 59 From whom instruction, the m eaning o f w ofds and the Sastras com e forth, he is called S ivànanda, integrally connected w ith the O ddaptha. 60 W hose m i n d a n d authority are unim paired o n account o f Sakti, t h a t i s You, O K ubjikâ, O M istress, wielding au th o rity i n the f o u r Pithas. 61 T ogether w ith M itresana Y ou are im agined in the body.

55

Thus in the S atsâhasra, in the S tim ata the first chapter. 56: In iioka 56 and following the names of the four Siddhas are explained, and connected with one of the four M ahapithas (cf. sh k a s 53, 54 Notes). Caricala or more correctly Cancalânanda ‘roams about’ in the Three Worlds, The use of the verb in ­ here is caused by the meaning of cancaia, 'moving to and fro'. H e bears the mind (56b), which refers to manas in iioka 52a. The expression -arnsadhdrin (lit: 'bearing a share o f’) seems to be synonymous with -aniiabhava (58c; 59c) and svâbhâva (57c), all three of them being used in the same context. For this reason we have translated them in the same manner 'integrally connected with’. 57: The name of the second Siddha, Ânava, is clearly derived from (he word ana, which denotes an ‘atom ’. For this reason he is described as anurüpe srhito (57a). According to the T this  navànanda is connected with manlra in iioka 52a (see .iioka 52 Notes), but at first sight no such connection is laid in sioka 57, in coni radi sii net ion with the previous Siddha Cancalânanda, who was clearly connected with m a m s o f iioka 52a by means of the epithet cintâdhâra ( 56b), A possible connection with mantra, though, might be found in the word anu. It appears that mantra and anu are interchangeable, or at least their derivatives mantra and ânava. in the enum eration o f the Six Paths (,radadhvan): the fourth Path is called either mantra or ânava (cf, p. 34). Therefore the expression anurüpe sthito in pâda 57a might refer to mantra in sioka 52a. The use of anu for ntantra is perhaps based on the same concept b y which the word bija may denote a mystical letter or syllable of a mantra. Both anu and bija express something very minute. A navanda is related to the M ahàpïtha Jâlandhara, which is called here simply Jâla (cf. 48d: Jâlaka). 58: The third Siddha, Vyàpàrisa, should be connected with the Self (52: âtman). In the pàdas 58ab his name is explained with the expression yyâpùram kr~, 'to concern

FATALA

1

65

oneself w ith'. The T explains vyâpàra simply wilh karman. ‘action’. The Siddha Vyâparïsa is connected wilh the M ahâpitha Pürnagiri. 59: Sivânanda, the fourth Siddha, is identified with Siva of sloka 52b. Although Siva is not mentioned by name, the contents of the pâdas 59ab certainly pertain to Siva. Because the majority o f Tantric texts have the form o f a dialogue between Siva and Devi, in which Siva answers the questions of Devi, the reference to instruction (âjiïâ), the meaning of words (sabdânha) and the Sâstras becomes understandable. Sivânanda is connected with the M ahâpitha Odiyàna, which is here simply called Odda. Noteworthy is the fact that ail three MSS have the same reading o f the name for this M ahâpitha (the reading adda of MS C is obviously a scribal error). Elsewhere MS A reads in most instances Odra, while the MSS BC have the form Odda. W ith the fourth Siddha the explanation of the first four Siddhas or G urus ends. The order o f the M ahàpïthas with which they are connected, is contrary to their usual order: Odiyâna, Jâlandhara, Pürnagiri, and Kârnarüpa. The M ahâpitha Odiyàna seems to he the most im portant one here. We have already remarked that it is situated in the centre of the Mali ni Gahvara [sloka 42 Notes). Here in Odiyâna resides Sivânanda who is identified with Siva Himself, and who is united there with His Sakti (61 ab). 60: In sloka 60 the Sakti of sloka 52b is identified with Kulâm bikà (54b), or as She is called here Kubjika (60c), From the epithet catusptthàdhikàrinl, ‘wielding authority in the four P ithas’, it becomes dear that Kubjikà is the female consort of each of the four Siddhas (cf. sloka 54b Notes). The form svanii (60c) which is a vocative fem. sg., supposes a nominative sg. svâmî instead o f the regular form svamìitT. 61 : M itresâna should be the same as Sivânanda or Siva. United with him Kubjikà resides in the body. This is confirmed in the T (sâ ca rrtirresâdisamyuktâ variale). For the ‘real' names of the other three Siddhas see the Notes on ih k a 53; 54.

PA T A L A 2

PATALA 2 s rïd e v y

u v â c a

il

s a ip v a r iâ m a n d a la m s a k tib h ih

d e v a

p u r a t o 2 d e v a

a n y a g r a n th â v a tâ n e

tu

s r im a tïy a m

y e n a

k a th a y a s v a

p ra s â d e n a

te n a p r a b h o

k r t a m 1 |

p r a s à d a ta h

b h r â n tir a d y â p i m e

|l

p r a b h o 3 |

n â m a b h e d e r i a l a k s y a t e 4 11

â rlb h a ira v a 6 u v â c a

s th â n a m

m à n a m

y a t h à k r a m a m

||s

||

s a m v a r t â m a n d a la m y o g in â m

k a th a m

k a th a y a s v a

d e v i7 k a th a y â m y

s a m s a d a k a la m

y a tr a

s th â n e

a n u p ü r v a s a h 8 | p r a v a r ta le

||

1. A t r t a h 2. BC p a r a to ; pâdus led virtually illegible in A 3. A p ra b h u h .; pàda 2a illegible in A A. B laksyata 5. pâtin 3b illegible in A 6.A irib b a ira v 7. pàda 4a illegible in A ; p erhaps A reads yns ca instead of devi 8. A -p ü rv ak a h

^ rid ev i said : H o w ,

O

D e v a ,

L o r d ,

in

fo r m e r

g ra c io u s n e s s , O S till I a m 0 th e

is

th e tim e s

to g e th e r

w ith

m a d e

th e

[b y

i a k tis l

Y o u ] P le a s e

in

th a t

te ll

m a n n e r , O

[th a t]

in

Y o u r

b y

w h ic h

D e v a !

c o n fu s e d

L o r d , P le a s e tra d itio n

S a m v a r tà m a n d a la

w ith

re g a rd

te ll [m e ] in

o f th e

to

Y o u r

S r im a ta

Y o u r

a p p e a ra n c e s in o th e r te x ts ,

g ra c io u s n e s s

th e

is c h a r a c t e r iz e d , th e

d iffe re n t n a m e s p la c e

a n d

th e

id e a s , [a ll] in

d u e o rd e r. â r ïb h a ir a v a

s a id ;

1 w ill e x p la in [rig h t] tim e

[to

Y o u ] , O

fo r th e Y o g in s

D e v i, to

th e

S a m v a r tà m a n d a la

a s s e m b le , [a n d ] th e

in

re g u la r o rd e r, th e

p la c e w h e r e

it t a k e s p l a c e .

In these introductory slokas Devi asks Bhairava how he 'm ade' ( lb krta) the Samvartàmandala in former limes together with the saktis. As it appears from the answer of Bhairava, there are four different Sa mva flam and alas to be distinguished (514ab). The T agrees with this number, and mentions the following four Samvartâm andatas: 1) in the Brahm arandhra, 2) in the heart, 3) in the À dhâra C akra, 4) in the Tradition (T sarti va riamandola vyâ varnanam \ brahmarandhrasihani hrdistham ûdhârasîhant I tathâ kramagatam ca). In pâda 3b it is uncertain to what sthanam and rruìnam exactly refer, Sthâna might refer to the place for the Yogins to assemble (4ab) in order to perform the rite of the Samvartàmandala, but no explanation is given by Bhairava with regard to this in the present chapter. Perhaps it anticipates the exposition o f the innitiation o f a pupil as given in the third chapter o f o u r text (3,18 ff). W ith matta the doctrine itself of the K ulâlikâm nâya could be meant, in which way móna is almost synonymous with the more usual mata, or it might perhaps be understood as ‘honour’. In the latter case móna also refers to the third chapter o f the SatSS.

70

PATALA

2

In pàda 4c it is difficult to decide whether to read sam sadâ kit lam or satpsadâkâlam. In the first case there is an irregular use o f the instr. (from surm ud) , in the latter one has to accept a nominative fem. nantiadà instead of the ntasc. sartisuda. Most likely -ù is added to the consonant stem samsad (fern.)-, by which the feminine gender of the word is retained (cf. Edgerton 1972: 1,15.9). The a in sam sadâ- is necessary for metrical reasons (a long sixth syllabic). 5

s a r n v a r tà m a n d a la m

ta c c a

b r a h m a r a n d h r a s y a

k h e c a r T c a k r a m a d h y a s th a m 6

s r is a ila v a n a m a d h y a s th a m ta tr a s ih a m

7

m a n d a i a m

c a tu s k â d y a m

tu

ü r d h v a g a m

m à t a ti g a p a d a m a d h y a g a m

c a tu h p T t h o r d h v a s a m s tb ita m 1

d iv y a m

y a tr a s th a m

d iv y a d iv y a ir

k u je s e n a tu

n is e v ita m

n ir m ita m

s a m v a r t â m a n d a la m

ta c 6 c a

3

I4

c a tu rv im s a s o d a s a ir b h e d a ir a s tà b h is c a v y a v a s th ita m s

11

||’

||s

h h â v a g a m y a tn c a y o g in a m

|

1. sloka 5 illegible in A 2. BC c a n d ra p ith o -; jA -sih itah 3. pâda 6d illegible in A 4. pâdas 7 ab virtually illegible in A t p erh ap s A reads kubjiiena instead o f ktijt'icna 5. ptiikt 7c illegible in A 6. (as.

5

T h e

[firs t] S a m v a r t a m a n d a l a th e n

m id d le o f th e

K h e c a r lc a k r a , in

is l o c a t e d a b o v e t h e

th e c e n tre o f th e a b o d e

R r a h m a r a n d h r a , in th e o f M à t a n g a ;

6

it is in t h e c e n t r e o f t h e S r T s a i l a v a n a , a b o v e t h e f o u r P i t h a s . T h e r e is t h e d i v i n e

7

[U

M a n d a la , fre q u e n te d is

th e

a c c o rd in g «

T h u s

p la c e ] to

w h e r e

b y g o d s th e

a n d

F o u r

o th e rs . e tc . a re , c re a te d

th e d is tin c tio n b e tw e e n 2 4 , 1 6 a n d

th e [firs t] S a m v a r t a m a n d a l a

s h o u ld

b y

K u je s a .

It

is

a rra n g e d

8 .

b e re g a rd e d

b y

th e Y o g i n s .

The first Sam vartam andala is located above the Brahm arandhra (5b), whereas the T situates it in or on the Brahm arandhra (T brahmarandhrasiha), a location which agrees with SatSS 1.29. Furtherm ore this first Sam vartam andala is situated in the middle of the Khecarlcakra (5c). This refers to the Five Cakras, a very important concept to the tradition o f the Srim ata: srïmaiam tu varârohe ebhis cakrais tu mudritam (SatSS 20,4ab). The Five Cakras are the Devi-, Dütï-, Mâtr-, Yogini- and Khecari-cakra. The 'highest’ Cakra o f these Five is the Khecarlcakra. The Five Cakras are dealt with in great detail in the chapters 21 to 25 o f our text (cf. KmT Ch. 14-16). These five chapters of the SatSS are preceded by a chapter entitled Kulâbhiseka, in which the initiation o f the pupil is discussed and the qualities o f the G uru. The im portance o f the concept o f the five Cakras for the Èrïmata may be derived from the fact, that they are dealt with immediately after the exposition of the initiation o f the pupil into the Kuladoctrine. In pâda 5d the first Samvartamandala is said to be in the centre of the abode of Mât a hga (mâtangapâda). this refers to the fifth M ahâpitha, which is called M àtanga. Like the first Sam vartam andala it is situated above the Brahm arandhra, and in the centre o f the Khecarlcakra (4/5,119ab). While the first Sam vartam andala is located in the Forest o f the Srisaila (6a srisaila vanamadhyastJtam), the Srisaila itself is stated to be in the M âtanga M ahâpitha (4/5,119c). and above the Brahm arandhra ( 19,63cd brahmarandhrasya ûrdhve tu srîsaihm yatra parvatam). Consequently an

PATALA

1

71

identification between the first Samvartâmandala and the fifth M ahàpïtha M âtanga appears to be evident, while the relation between these two and the Khecaricakra too seems to be very close. In pâda 6b the reading of A has been preferred: ca 2 7 5 . A sam âghate 279. B C m a h in t a m 280. A athavâ

2 8 1 . A nâpunye 28 2. B C 1 abbate 28 3. B C loke 284. A -ta 2 8 5 . A â jn à m 286. A -k e 2 8 7. B C tu 288. B C -p ü ja n a tn 289. B p ü rv a f ], C p ü rv â ( ]ye 290, A y a ; C y a m , B iy a m 2 9 1 , B C sm rta m 29 2. B d ev a tm a sta k a m 29 3. B C Itârayîlvâ 294. A d e sik a h 2 9 5. B C iti srim ate satsàhasre sam h Ita y â m trtïy a h p a ta la h

PA T A L A 3

107

T he faccom panying] pujâ has been told earlier. N ow follows the rem aining part o f the ritual. H aving read aloud [the text] up to th e S am vartâm andala on the first day, he then should celebrate a M ah o tsav a on that day on which the tradition is em anated. The wise should pass [the rest of] the day in practising cakrakrïdâ. T hus he does on th e first day, and o n every following day, w ith devotion, according to th e rules, the intelligent one. A t night tim e he olTers a haii with care. U ntil the text is com pletely gone through, he should follow this rule. O therw ise there occurs a disappointing event am idst the assem bly o f the Y oginis by th e extensiveness [of the text]. As it is conform to the m ind [thus] it should be done day after day. H erew ith, O Devi, 1 have told Y ou the G reat K ula-doctrinc o f the Srim ata. It is not obtained by im pure people : they are bereft o f the yoginïgarbha, and b o m from the yoginïgarbha is T h e M other, K onkanâm bikâ ! It is told to people w ho possess [genuine] devotion, by [a teacher] who dreads the ocean o f the Sam sara. A t th e beginning, in th e m iddle and a t the end püjâ should be perform ed according to the rules. D ay after day it should be perform ed. O ne should w orship according to capacity. The one w ho is know n as a P ürvâm nâyin [teaching]: “ T he Purusa one should hear first” , [that one] know s the eight deities o f the body due to th a t opinion o f his. T he teachers [who o rdain]: “ A gain and again one should perform the inauguration by m eans o f a pitcher” ; they know it therefore in an easy way, not bothered by alternatives. Thus in th e K .ulàlikàmnâya, in the SrTdevyaughasadbhava, in the K ubjikâm ata, in th e S atsâh asra Sam hitâ, in the Srisrim ata the third chapter.

CO M M EN TA RY In comparison with the two preceding chapters, the third chapter o f the SatSS is o f a more narrative character. It does not deal with the basic concepts regarding the macro- and microcnsmic ideas held in esteem by the followers o f the Srimata. Probably hecause of this, the T on this third chapter is merely marginal: it shortly indicates its contents, and concludes with the statement that everything in this chapter is sufficiently clear, and hence no detailed explanation is necessary (trtiyapatala ùranibhuh j| iridevy uvâca \ srlmuturp tu mahâjùànam ityâdi irriyapatalàvadhir yâvaf vyâkhyâlekhanavidhis tathâ guruiisyasamuyalakfanddikarrt spastârtham |j iti satxâhasre trtïyafi patalah (1), Because o f this m ore general character o f the third chapter wc have abstained from the method followed in the first two chapters, namely to add an explanation immediately after the translation o f a iloka. The contents o f the verses in the first two chapters of the SatSS are frequently o f such a highly intricate nature, that a translation of these verses becomes only understandable when, immediately followed by extensive notes. The translation o f the third chapter as well as the next chapter is sufficiently clear in itself. For this reason wc present the translation o f the third and fourth/fifth chapter of the SatSS in a whole, while the Notes are given after the complete translation because they are not o f primary im portance for understanding the translation. The central subject o f the third chapter o f the SatSS regards the transmission o r the text itself by the teacher to his pupil, and the proper ritual connected with this procedure (stokas 18-29; 91-95; 98-108). The calamities one is likely to meet when not strictly following the rules prescribed for the above-mentioned ritual arc vividly described as well as the horrors o f the Kali Yuga. Besides this we find a vehement fulmination against those teachers who restrict the initiation of a pupil to a mere sprinkling with water. In relation to this, the characteristics of the true teacher and pupil are explained. In this the third chapter of the SatSS has only a loose relationship with the third chapter o f the KmT. In the latter we also find an exposition on the characteristics o f the true teacher and his pupil, but the cuntents o f this passage (KmT 3,40-134) have little in common with the similar passage in the SatSS.

1: The ‘great knowledge o f the Srim ata' (la srintaie tu niahâ/nânani, note that the prattka of the T (see above) follows the reading o f BC) refers to the contents of the two preceding chapters. Devi inquires after the prescribed rules (vidhàna) with regard to the exposition o f the text by the teacher to his pupil (vyâkftyâ), the suitable occasion for this (kâla), and how the text should be written down by the pupil (cf. 3a vyâkhyalekhanakâte), As we shall see below, the teacher recites the text while the pupil notes it down at the same time in order to procure a copy o f the text for himself. 4; In the pàdas +ab we have translated the verb prakupyanti (4a) two times It is also possible to regard the two pàdas as a unity: 'Like diseases kings rage over their subjects’.

6 : Pigeons (Skt: sg. !) and crows are regarded as ominous birds, especially when they perch down on a house or a palace (cf. Kohlbrugge 1938: 123; Negelein 1912: 215 IT.). Mainly because of their resemblance to a jackal dogs are also considered as ominous animals (cf. Negelein 1912: 302 ff.). In pâda 6c two dogs are mentioned. This

FATALA 3

109

probably refers to the two dogs o f Vama, King of Death. Although the wailing o f a dog is a bad portent as such, the relation o f these two dogs to Yama seems to be the more im portant here, as it is the cause o f untimely deaths (6d). In pâda 6c BC have a different reading: LWhen there is a halo around the sun o r the m oon’, which is also a bad portent. 7: In pàdas 7ab (note the alliteration o f gaganatn gannii' ... gar him-) the thunder o f the sky causes the occurrence o f miscarriages or prem ature births. The falling o f meteors (ulkâpüta) is frequently mentioned as an omen. The expression utkâpàta does not necessarily refer only to meteors, but may also denote thunder, lightning etc. (cf. Kohlbrugge 1938: 39). It is easily imagined that the falling down o f meteors or the striking of lightning may cause houses to be set afire (7d). The explanation of the expression diiam dâgho (7c) is uncertain. It may refer here to a natural phenomenon as ulkâpàta, or it may be the result of the falling down o f meteors. As a natural phenomenon the burning o f the sky-rcgions is a bad portent (of. Kohlbrugge 1938; 34 fT), and a Brahmin should not recite the Vcdas, for instance, 'while the sky is preter naturally red’ (M anu 4,115 digdàha, trs, Biihler), It is also possible, however, to regard disàm dâgho as the result of the falling down of meteors. In this way it stands on the same line as grhe dû ha (7d), and might refer to a forest-fire as a contrast to the fire in one’s house (cf. Negelein 1912: 196 nagara-gràma-dàham ca disunì dâham tathaiva ca). In our translation we have opted for the second possibility,

8 : In pâda 8a svaprtâti, ’he sleeps', is probably wrong for svapmntc (cf. Negelein 1912: 282 y adì pasyati svapnànie ...), or one might read svapnâni raudrânî, 'horrible dream s’, although in correct Skt svapna is usually o f the masculine gender. 9: Snakes are regarded as very ominous animals, especially when they are found inside the house (cf. Negelein 1912: 2 82ff.). The relation between snakes and rain is amply attested for in India and elsewhere. N ote that in pâda 9c vâcitvâ is incorrect for vacavitv â. N ara da (9c) is the name o f a well-known Rsi, but this does not make any sense here. We have translated nârada here w ith ‘cloud’ on the following grounds. The Rsi N ârada is supposed to be the messenger between the gods and men. In this capacity he travels between heaven and earth, and can therefore easily be identified with a cloud. Moreover, the name N ârada can be explained as ‘the W ater-giver’ (cf. nîra-da, ‘water-giver; cloud’), and he is described as bearing a water-pot and appears o n a cloud (cf. G onda 1969: 221).

10: In pâda 10b the form srimatedarn is wrong for snmatam idarn, which would result in a pâda o f nine syllables, however. The reading o f A in pâda 10c {vidkvantsakamm) is not correct with regard to the m etre: the fifth syllabic is long instead o f short, whereas the reading o f BC (vidhvamsukâni) is metrically correct. The reading of A, however, fits better in the context. The jackal is one o f the most inauspicious animals in India because it ostentatiously devours corpses (Negelein 1912: 284). Its howling is also considered a bad omen with disastrous effects (Negelein 1912: 286). I I : The literal translation o f pâdas lla b runs: ‘in one's house the sound of ichneumons [is heard], they are constantly angry’. The reading o f BC seems to be a lectio f a d ! h r : ’in one’s house the ichneumons constantly m ake noises’. W e have translated pihgala with ‘ichneumon’, but it is also possible that some kind of owl is meant (cf. Negelein 1912' 220).

110

patala

3

The receiving of blows by an invisible hammer (1 Ic) is noi known to me as a bad portent or as the effect o f one. It is. however, inauspicious when one dreams about a hammer |cf. Negelein 1912: 350}. In Buddhist literature we find the story o f A m batlha who is threatened by a yakkha with a ham mer invisible to other people, when he fails to answer a question of the Buddha (DTghanikàya: A m batlha Suita). 12: Samayaghna, 'one who violates the Sam aya’ (I2d). In this context sumuya refers to the eight rules of conduct, which are to be strictly followed. The eight rules are enumerated in the 17th chapter o f the SatSS. The first Samaya prescribes: ‘One should always honour the authority o f one’s guru, the Saslra, o n e’s personal munirti {istamaittra), Bhairava. spirituous liquor, Devi, and oneself. The other seven Samayas run likewise, prescribing what to do and what to leave, 14: With târkika (14d) a sceptic or dialectician is probably meant. The Stimata should not be told to such a person, because he might raise a different opinion with regard to some of the topics related to him by his teacher. In this context one should understand iloka 16cd, where it is advised not to discuss the meaning of separate words or syllables with the pupil. 15: Samcâlaka (15a) is probably wrong for samcâraka, 'leader; guide" (the consonants I are r are easily interchanged). Note that in pàda )5c the genitive is used twice (su bh ak lasy a, sidânimya) instead o f the locative which we find in I5d (dhàrmtke) and 16a b (-bhukie, durjane). Probably the use of the genitive in pàda 15c is brought about by the occurrence o f the genitive in pàda 15a. In pàda )5d the form satyavàdìne is a dative sg. from satyavàdi/t according to correct gramm ar. In view of the fact, however, that in the same pàda the m ore correct locative idhürmike) is found, it becomes plausible that sutyavàdine is to be regarded as a locative sg. from satyavâdina. In the same way one should regard the form lyàgî/ie (BC for dhârmike) as a loc. sg. from lyâgirui, which stands besides the more correct !y agin. 16: In the com pound gurudevàgnibhakta (16a), ‘someone with devotion to his guru, the Gods and Agni', agni refers most probably to the sacrificial fires, hecause the deity Agni is included among the Gods (deva). This reference to the sacrificial fires points to the fact that the pupil should fulfil his sacrificial duties properly. 17 : From pàda 17b it appears that a guru should send his pupil to another teacher, when the pupil wants to discuss or question single words or topics told to him by his guru (cf. 14d; lócd). 18: Pùrnâ (18a) is the name o f an auspicious nthi, ‘lunar day'. It may denote the 5th, 10th or 15th day of a lunar fortnight, but it is particulary connected with the 15th day o f the m oon at full moon. The meaning o f pàda 18b is uncertain. Like Pürnâ Riktà may also denote a particular lithi: the 4th, 9th or 14lh day o f a lunar fortnight. On the other hand rikta may simply mean ‘em pty’. Taken together with sur y ay or (‘sun & m oon', cf. pitarau ‘father & m other’) it may denote a day without sun or moon, perhaps an eclipse o f either the sun or the moon, or twilight. In this way the ceremony should be performed on the 5th, the 10th or the 15th day o f a lunar fortnight when there is no sun nor moon. The reading of BC (rîkiâ sûry erta y â bhavet) might indicate that the appropriate tim e for the ceremony is at night.

PATA LA 3

III

In pâda 18d the form -riksa- in the com pound is noteworthy. According to the sandhi-rules the complete com pound should be dustarksavi tar/7 te, which would, however, result in a pâda o f only seven syllables. It is not unusual in the manuscripts of our text, that instead of n simply r is written. Thus MS A writes almost invariably pry a instead o f priva. Here we find the reverse : instead o f rksa riksa is written. MS C ‘solves’ the problem by accepting a hiatus within the com pound, and writes dusta rkfa-. 19: In stoka 19 the place is described where the initiation o f the pupil should take place. The word maudira usually denotes a temple, or at least some kind o f building It is, however, doubtful whether we should translate it in this sense here. Tantric initiations and other rituals generally take place at some lonely spol, where there is no danger of being watched by others. In the 2flth chapter o f our text another initiation is described, the so-called Kulàbhiseka, o f which the preparations arc very much like the present ritual. In the case of the Kulàbhiseka the place for the ceremony is described as follows: sugupte nirjane sthâne gandhapuspàdivâsite tàm bùiàdua mak irne candanàguruvàsite (MS B), ' on a secluded and lonely place, scented by perfumes and flowers, strewn with betel etc., fragrant by sandal and aloe". This description o f the place harmonizes very well with the present description except for the fact that no mandira is mentioned. It is im portant, that the place is ‘secluded’ (sitgupia) and ’not accessible to others; lonely’ [nirjanu). It is possible to translate mandira with ’the place where one abides ; spot’, as we have done in our translation of this sioka (martd-, ‘to stay; to rest’), As in chapter 20, however, the actual place of the ritual is simply called sthâna. It is therefore very tempting to see in mandire an adjective belonging to sthâne in pâda 19c. U nfortunately an adjective mandira is not attested for. Perhaps mandire in the text actually stands for mandre, ‘pleasant; agreeable’, which appears to be an important qualification for the place (cf. ramye in the same pâda). Moreover, the epithet susama, ‘sm ooth; flat", is hardly appropriate for a.temple, but does fit for some place in the woods where one finds a clearance with a smooth or flat surface: the surface o f the ground has to be flat for the purpose of drawing a mandala on it (sioka 20), and perhaps for the gathering to sit on. The pâda I9d o f MS A obviously is not grammatically quite correct, although its meaning is clear. The reading o f BC (kuhkumâgurucarcite, ‘covered with saffron and aloe’) is more correct, but seems to be a lectio facitior. 21-23: These three slokas describe the putting down o f the so-called Kula-jar (24a kuiakwnbha) on the central svastika o f the square. The com pound in pâda 22a seems to be o f the same kind as the one in sioka 19d. In our translation we have connected it with the followingparipûrya (22b), however, which is not grammatically quite correct. Perhaps ‘being filled to the brim ’ (paripûrya) does not refer to the gems, gold and flowers mentioned in pâda 22a, In the case o f the similar ceremony o f the Kulàbhiseka (Ch. 20; see above) the kurpbha is described as follows: âdâya kalasant divyam refers, again (cf. 23b), to a manuscript o f the SatSS, which the teacher had previously placed on top o f the Kula-jar (see above). ‘The deities o f the body’ (28c dehasthâ dévalas) probably refers to ihe fifty goddesses o f the Maiini-system, and the fifty Rudras or Bhairavas o f the Sabdarasi-system The deities of both systems are connected with a particular part of the human body (cf. A ppen­ dix II). The ‘honouring of the deities o f the body’ actually means that the teacher consecrates the body by means o f nyâsa for the following ritual, the body thus becoming consecrated to M ài inl ( = Sakti) and Sabdaràsi ( = Siva). A nother group of ‘deities o f the body’ which might be intended are the gods and goddesses o f the five MahapTthas am ong which we also find the goddesses o f the Malinl-system (cf. Appendix III). These are explained in the next chapter o f our text, and are already introduced in the present chapter by a question of Devi (43ab katham pithSdhipa devyâ[h\ sarïre samvyavasthitâh). W ith regard to this consecration o f the body by means o f the ‘deities o f the body' one may wonder whose body is actually consecrated. It may refer to the body of the teacher himself, but more likely the body of the pupil is meant, which is consecrated by the teacher. In this way a kind o f varnamayl diksa (cf. G upta a.o. 1979: 85) is performed. 29: The subject o f vàcayet (29d) is the teacher 30-31 : The slokas 30; 3 lab possibly refer to Ihe introductory stanzas o f the SatSS (1,1-5), which seem to be of primary im portance (cf. sioka 33). In pàda 3 1d the expression abhitecaka. ‘a sprinkler’, refers to the kind o f guru who initiates his pupil by a mere sprinkling with water. To this kind o f guru and initiation our text is heavily opposed (cf. Mokas 50 fï.). 32: The Five Cakras (32a) are explained in the chapters 21-25 o f our text with an iatroductory chapter on the Kulabhiseka (Ch. 20). The text states implicitly that the Stim ata is characterized by these Five Cakras (20,4ab srtmaiam tu varârohe ehhis eakrais tu mudritam\ cf. sioka 2,5 Notes). From pàda 32a it follows that the Tripurarnava (32b) and the H amsabheda (32c) are also the names o f texts, characterized by the Satkuta and ihe Purusa respectively (cf. sioka 112). Both texts have not been edited so far, and according to Kavirâj (1972: s.vi) are only mentioned ill other texts; no manuscript of either of the two texts seems to have been found. Consequently, it is not possible to verify the statement o f the SatSS. For the same reason it is not possible to define with any certainty the nature of the Satkuta and the Purusa. Possibly the Satkuta is a particular mantra consisting o f six bijas, whereas Purusa might possibly refer to the well-known Pu rusa-hymn (cf. sioka 112 Notes). 33: It is not clear to which five slokas the text refers in pâda 33d. It is possible that the five introductory verses (1,1-5) are meant, although actually they are not composed in the y/oftu-metre, Since sioka may also denote a verse or stanza in general, the expression paflcasioka can refer to the five (4 1■2 actually) stanzas in the sragdharâmetre at the beginning o f the first chapter. A nother possibility is that the expression refers to the five chapters in which the Five C akras are explained (see above).

114

PATALA

3

35: From the padus 35ab it appears that the K ula-tradition (35d kulacchâyâ) is sometimes referred to as the ‘Southern Reflection' or as the ‘Siddhântikà [Reflection]'. The mention of Daksina and Siddhântikà indicates that we find here most probably a reference to the old subdivision of Tantras according to the srotai-system . According to this classification of Tantras there are three different ‘stream s’ (jro/as): Daksina (South). VS ma (Left) and Siddhànta (Established) or Vfadhyama (Middling) (cf. G upta a.o. 1979: 41; G oudriaan & G upta 1981: I6fi’.}. According to the text the Kulacchâyà is sometimes called or identified with the Daksina and the Siddhànta. This same connection is mentioned in the 13th chapter of the SatSS, where it is stated that Samayâ K ubjikâ (cf. Schoterman 1977: 936) is the same in the Vàma and Daksina Tantras (MS B F.97B vâmadaksimtaniresu sâmânyâ samayâ paru ( - K m T 7,10cd)). The use of chdy à in connection with the sroJo.t-system is not known to me from other sources (cf. l,49cd; 50ab Notes). 36: Note that in pâda 36a samastedam is wrong for samastam idam, which would result in a pâda of nine syllables, however (cf. 10b). Cakra in pâda 36c should be understood as ‘circle or group o f insiders'. 38: In pâda 38a the reading devaloke instead o f deva ìoke is theoretically possible, but makes no sense in the context, Kubjikâkhyarn mahâmatam (38b) refers, o f course, in the first place to the K ubjikàm ata T antra and its contents. 39: The teachings o f the K ubjikâ School are the ultimate truth. Consequently it makes no difference whether they are told in fragments or as a whole, in correct order or reversed order: they are the only T ruth, in what form whatsoever stated. 40-41 : In the pàdas 40ab the author o f the SatSS takes a firm stand against pure ritualism. Possibly. Vedic ritualism is meant in particular with its elaborate sacrificial proceedings, which may easily cause doubt or uncertainty. H ie teachings o f the Srim ata, however, are clear and leave no room for doubt (40b nihsamdigdhakari\ cf. 42a). Para (40b) may stand for parala. In the ib k a s 40cd; 4 la b the ‘history’ of the K ubjikàmata T antra — already mentioned in 38b — is explained. ‘The half o f the half of 24.000’ means 6.000. From these 6.000 the thousand numbering dhyusta (41a) originates. Since we are dealing with texts the numbers denote the number o f verses of a text. Thus there is a text oT 24.000 verses, one o f 12.000 verses, one o f 6.000, and a text with dhyusta-thousand of verses. The mûla-text of the Kubjikâ School should contain 24.000 verses. This number is indeed mentioned in the colophons o f the M anthanabhairava Tantra. but this text should not be regarded as the basic text o f the K ubjikâ School, which is rather the K ubjikàmata Tantra. A version o f 12.000 verses is not known to me. The 6.000 verses undoubtedly refer to the Satsâhasra Samhitâ, which contains indeed approximately 6,000 verses. The num ber o f verses called dhyustasamkhyarn sahastatn should refer to the K ubjikàm ata T antra, which contains approximately 3500 verses (Schoterman 1977 : 932). Consequently dhyusia ought to mean ‘three and a h a lf. U nfortunately the word dhyuffa is not attested for in any text or dictionary. The only Skt numeral which sounds familiar with dhyufta and also means ‘three and a half, is adhyusta which is the Skt counterpart o f Prakrit addhutiha. Perhaps we have to accept a form dhyusta besides adhyusta (cf. 1,5a; 3,49a), or emend pâda 41 a to tanmadhyâdhyusiaAI though it is not explicitly stated here, the four versions might be connected with the four Y ugas. In the first Yuga the mula-text counted 24.000 verses, a number which gradually decreases in a regular way (24.000-12.000-6.000) until in the fourth Yuga,

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the present Kali Yuga, there are only 3.500 verses left nf the original. Thus in our time we possess the Kubjîkàma Tantra o f 3.500 verses. This phenomenon o f a decreasing original text through the various Y ugas is frequently met with in Tantric texts. It is peculiar, however, that the author of the SatSS places his text chronologically before the KmT, while in reality it comes after the KmT, A lthough the author o f the SatSS does not mention his text in so many words, his intention seems clear: the identifi­ cation o f the SatSS with the 6.000 verses is too obvious to be overlooked. Perhaps we have to see in this an attem pt to establish the authority o f a later text, in r a w the SatSS, at the cost o f the original text, the KmT. 43 : The Lords o f the PTthas and their distribution over the body of Dcvï are explained in the next chapter (cf. sloka 28 Notes). The reading of BC, 'the Lords of the Pit has [and] the Devis’, is also possible since in the next chapter both male and female deities are enumerated in connection with the different parts o f the human body. The reading of BC could be meant by MS A also, when one does not regard the form devyâh as the gen. sg. o f devi, but as the nom. pi. of devyu, which is perfectly acceptable. One might even prefer the lalter interpretation o f the pâdas 43ab because o f the more regular distinction between the two pâdas at the caesura. 45-47 : In these three slokas there are enumerated sixteen different ways in which the teachings o f K ubjika are possibly veiled or handed down in a disguised form. Consequently, by recognizing a particular method used for obscuring the true teachings it becomes possible for the adept to learn the teachings of K ubjikà from texts which appear at first sight to teach something else. The teachings o f Kubjikà are the only Truth, in what form soever stated (of. sloka 38). The exact meaning of the sixteen is not always clear. 1) The Kudras refer to the Sabdarâsi-order o f the alphabet, i.e. the fifty aksaras from a to ksa each identified with a particular Rudra or Bhairava (cf. Appendix II), 2) the 'essence of MâlinT' refers to the M âlinî-order o f the alphabet, i.e. the fifty aksaras from na to pha each identified with a particular manifestation or Mâlinï/DevT (cf. Appendix II), 3) & 4) both am biguous and inverted order of speech may lead to true knowledge, at least when it is recognized as such, 5) allhough in a Veiled form, the teaching o f Kubjika is present in all other Tantras since it is the Ultimate T ruth; it is only in the Kubjîkàma ta T antra. the Satsàhasra Samhita and other texts of the same school, that the teachings of Kubjika are openly revealed, 6) ‘w ords’ (45d padaih), in com parison with the others pada seems to be somewhat insignificant and vague. For this reason I have connected it with the preceding anyaiantrâvaiâraîs. By doing sc, however, the number sixteen may be obtained by reading in pada 45a ‘by means o f Màlinì, by means of the Tattvas'. The Tattvas refer then to ‘essences’ which constitute the human body, 7) The ‘Lion’s L ook’ might refer to a particular way o f going through a text: proceeding onwards in the teachings but at the same time keeping in mind what has been learned earlier and connecting it with the newly learned things, 8) repetitions, 9) the ‘Frog-leap’ is a grammatical term meaning ‘the skipping o f several s&iras and supplying from a previous süira' (the usual name is mandükapiuti). N ote that the caesura is neglected, a feature not frequently found in our text. One is tempted to assume that the author has deliberately done so, having in mind the literal meaning of the com pound (‘the frog leaps over (the caesura]’), 10) the ‘combining of the Pithas' is puzzling. Perhaps the various texts belonging to the different Pithas are meant. Since the traditional PTthas form a whole as the different parts of DevT’s body, the texts belonging to these Pithas might also constitute a unity representing the body of Devi, 11) the ‘Lotus-vajras beginning with

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the F o u r’ refer to the Astàvimsatikrama (cf. 1,1); it is not clear, however, why they arc referred to as 'lotus-vajras' here, 12) ihe M âtrkâs are a designation for the sixteen vowels; àdi (’etc.1) refers to the consonants, 13-16) the ‘fourfold lineage o f KubjV refers perhaps to the sons and daughters of the Goddess in the four M ahaplthas (cf. potala 4/5), This effort to account for each o f the sixteen ways by which the teachings o f Kubjikà could he learned is only an attem pt and far from perfect. All three manuscripts agree with each other on the text in essentials. One might assume that the list is traditional within the school, hut so far I have not been able to trace a similar enum eration in other texts o f the school nor in texts outside it. 48, F or sabàhyâbhyaniare see 1,12; 13. Perhaps the expression a/iekopàyabhedotah (],12d) refers to the sixiecnfold division of Reality (47d bltàra), as we find it in the slokas 45-47ab. In pàda 48b the reading o f BC (sa reità) has been followed. The reading of A, saceia, is perhaps a shortening of' saeelasâ which would result in a pàda o f nine syllables, however. 49: It is nut d ea r why only 'three and a half crore* of people (49a) will enter the Hellish Sea in the Kali Yuga. Perhaps there is a relation with the number o f slokas of the K m T (see above). The Hellish Sea (49b narakdrnava) refers to the Kali Yuga, and the Samsara, 50-57: In these itokas we find a strong opposition against those initiations which are merely ritual performances and have little or no import at all (cf. iloka 40a). In the Kali Yuga initiations are still perform ed, but they have been reduced to an obsequious performing o f the prescribed rules. Consequently, even foots can perform an initiation, as long as they know how to perform the ritual. The people of the Kali Yuga, however, still value these ‘empty* initiations, because they are completely blinded by the m ore or less spectacular phenom ena which occur at initiations (shaking, flying through the air etc.). These phenomena are regarded as sufficient proof for the validity o f an initiation. Although ritual actions (ammhâna) form part o f the initiation, one should be well aware of their theoretical implications and values (guna). It is not sufficient to know only the proper rules for the performance o f an initiation (vidhdna) in order to acquire real authority (brbat iva to) or become superior (jye$fha). True insight (jbàna) is only acquired by profound knowledge o f the basic nature of the ritual action. The value o f an initiation does not depend on the ritual nor on the person who performs it, but the main reason for its validity lies in the actual contents of the instruction. Therefore teachers who derive their superiority or authority only from their being initiated (dïkfâjyestha) should be inferior to those teachers who derive their authority from true knowledge o f the theoretical implications (guttajyestha). 58; The text of sioka 58 seems to be corrupt, but its contents are sufficiently clear. A pparently in the Kali Yuga people speek different languages (58a), which leads to m utual misunderstanding. The idea is perhaps that o f a Babel o f tongues. In pàda 58d varrta means possibly ‘syllable* or ‘letter*. It refers to the fact that in the Kali Yuga the letters or the texts are no.t understood in the proper way. Wilh 'letters' possibly bijas might be meant, 59: We have seen in iloka 48d that in the Kali Yuga people have fallen from the Kula-teachings (kulacyuta). The same applies to the tradition tkramu) itself of the Kula School: people set value on outw ard things only. In pâda 59b Devi has the eDithet kramesvarì, ‘Lady o f the Tradition*. In most of the instances the eoithets eivcn

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to Devi do not appear to have any specific function (Bhâminï, V arârohâ. Priya etc.). but here the epithet k rames van is very functional indeed. 60: The word guna should be understood here as 'theoretical implication and value1 (cf. slokas 50-57 Notes). 61 : The pâdas 6 led refer to the fact that in the Kali Yuga people are blinded by outw ard phenomena such as flying through the air etc. (cf. i h k a 5 lab). The same applies obviously to the performers of such acts. In our translation the words vidydbaia and anusfharm have been regarded as two independent nouns. It is also possible to understand the com pound vidyâhala as an adjective to anus/hdna: 'they are blinded by their ritualistie performances, the power o f which lies in [pure] magic'. 62: Goldsmiths and blacksmiths (cf. Ruben 1959) are looked upon with awe; their forges are situated at the fringe of the village. K ândàra is the designation for the member o f a certain kind of mixed caste. The occupation o f its members is not known to me. Possibly they are reed-cutters (cf. kdnda, ‘reed; cane"). People who earn their livelihood with skins are flayers; those who earn their livelihood on the stage are, o f course, actors. Both groups do not rank high in Indian society. The people mentioned in sloka 62cd have in com m on that they all have a rather low social status in society. Goldsmiths and blacksmiths may also have a magical function (cf. the Pascks in modern Bali), 64: For Samaya see sloka 12 Notes. 67 : It requires no great wisdom to tell the present, and it is difficult to check any prediction o f the future. Yet, teachers who tell these things are regarded as trustw orthy guides by the blinded people of the Kali Yuga, The contents of the pâdas 67cd are uncertain. The meaning is probably that initiation is performed by teachers who know the contents of the sacred texts only from the hearsay of others they did not really study the contents —, and who look upon their pupils with glances which seem fuH of wisdom, but which arc actually destitute of any real wisdom. 68: I do not understand why true insight is ignored twice (68a dvibhis) by the foolish teachers. Perhaps it denotes a Strong affirma lion. 69-70: The idea which is expressed in the ilokas 69ed & 70ab, is that in the Kali Yuga old-established values are lost. Before the Kali Y uga the whole world was neatly defined or arranged by ’bolts' larga/a) or concepts based on descent ijült), appearance {âkrtt), wealth (dhana) and mutual understanding (samjna) In the present Kali Yuga, however, all this is left, and is everything ruled by illusion imàyà). The whole world is turned topsy-turvy (of. 7 5 ff). More or less the same picture is described in the BhagavadgTtâ < l,40ff). N ote that pâda 69c has nine syllables, 72; In pâda 72b ‘fractionally’ (yyas/a) refers to the fact that every other Tantra is believed to contain at least some part of the Kula-doctrine. In the pâdas 72cd the w ords kaule and yâgam are not incorrect, but one wonders why kauie instead o f kule is used and for w hat reason the SrTmata is called a ‘ritual’ iyâga). It is very tempting to read instead k a h u yuge, ‘in the Kali Yuga’, although one ignores the caesura in that case.

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75: The Mïmâmsâbhâsya (75a) îs best known as the oldest existing commentary on the Mïmârnsasütra, by Sabarasvlm in. Otherwise, one might assume that the expres­ sion mmiàntsàbhâsya refers in a more general way to the mode of arguing of the Mimâmsakas. It follows, however, that ai the time of compilation of the SatSS the doctrine of the Mimamsakas had gained considerable influence — and so much influence that the author of the SatSS judged it appropriate to warn against it. In other places of the SatSS the followers of the Mlmàrnsa-doeirine are likewise condemned: in the 17th chapter, for instance, one is earnestly warned to avoid the company of the Mimamsakas ( varjayet ... mmwmsakàms lat ha). Contrary to the Mïmâtnsakas, the author of the SatSS seems to be in favour of the Küpâtikas and the Kâlavaktras, who Lare forced to embrace another doctrine' (by misguided public opinion?). The Kâlavaktras are most probably-identical with the Kalamukhas, who in their turn are closely related to the Kâpâlikas (cf. Lorenzen 1972: passini). 76: In the pàdas 76ab probably people are meant, who stick to the old texts and doctrines which are no longer understood in the Kali Yuga, and arc therefore accused by the ignorant people of performing obsolete and immoral practices. The same may apply to the Yogins who are ‘steadfast in their scriptures': because the blind and foolish people o f (he Kali Yuga do not understand the true doctrines any longer, the Yogins who perform rituals according to these texts are believed to do improper things. 77 : The Digambaras ('sky-clothed1) most probably refers to one o f the two types of Jain ascetics, i.e. to those who go around naked. Because o f this nakedness they are easily mistaken for Saiva ascetics by the blinded people of the Kali Yuga, Viprujana (77d) refers to the Brahmins, the upholders of the orthodox religion (cf. sfolto 74) against the (Tantrie) Saiva ascetics. 78: The third phase in the life o f an orthodox Hindu consists o f leaving his family and homestead, and taking up the life in the forest (vâm pras(ha‘, cf. Sprockhoff 1979). In the Kali Yuga the misled vâmprasthas return to their families again, where only slavery awaits them (78b), The reason for this slavery is the following* one can only leave one’s family and take up a life in the forest, when a son is left behind to take care o f the family. When the vânaprasiha returns to his family, he is likely to become submissive to the son he left earlier in charge of the family. In pâda 78c the term maga refers to the Magas or Sâkadvipa-Brahmins, who worshipped the Sun (Gonda 1963: 63; Pandey 1971: r.v.). 79: In pâda 79a the reading o f BC seems to be the most acceptable. The compound mâihâpatya should refer to the position/function of the head o f a M ath, who is usually called mathadhtpati or mathapali. The derivation mâihâpatya from mafhapait is perfectly understandable, although not quite correct. 80: The Brahmins o f the Kali Yuga are depicted as selling rasavedâgni (80b). They obviously sell their knowledge o f the Vedas and their sacrificial Tires (sc. the performances o f oblations by them) for good money. Next to these two, sell they also rasa. We have translated rasa intentionally with ‘philtre1, which seems to indicate the state of debauchery the Brahmins have reached in the Kali Y uga better, than the translation ‘spirituous liquor' for rasa. M oreover, for the Tanlrics liqour is not despicable at all. Theoretically one might consider another translation o f the

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com pound, in which rasa denotes the number six: 'Brahmins selling the six Vedas and Agni’. Five Vedas are accepted, viz. the traditional four Vedas plus the Puranas as the fifth Veda. When Brahmins succeed in selling six Vedas in the Kali Yuga, this fact clearly bears testimony of the cunning on the part of ihe Brahmins and the utmost stupidity o f the prospective buyers. Yet, I do not think this latter translation is meant by the author of the SatSS, especially since com pounds as rasavikraya and rasavikrayin are attested for, in which rasa means ‘philtre’ or love-potion'. The exact grammatical construction of pâdas 80cd is not clear, although the intended meaning is obvious: in the Kali Yuga children have no respect for their parents, Perhaps one should emend mâià pità ca (80c) to mâtâpitarau or màtàpitarâ (archaic dual). 81 : In the Kali Yuga the teachers o f the Kula-tradilion do not worship any longer the Ancestors (pitr). the Gods (deva) and Agni. As in sioka 16a (gurudevàgni-) agni "denotes here the sacrificial fires. 83; Ashes and matted locks (83c) are the most striking outw ard characteristics of ascetics, Sàdhus and the like. The 'characteristics', however, can also easily be adopted by imposters The same applies to nakedness (83d), It is, o f course, possible here to see a reference to the Jain Di gam bara s who were mentioned in sioka 77c, but a more general application o f the term seems likely, since Sdiva ascetics also used to go around scarcely clothed. 84: It does not take much trouble for an imposter to learn a number of mudrâs in order to impress his audience, nor would it take great pains for him to walk around with a skull {kapâla), in which way he is easily mistaken for a real Kàpâlika, for instance. Religious mendicants often possess a single or triple staff (84b). In pàda 84c dambha (‘hypocrisy’) and kauiilya (‘dishonesty’) are abstract nouns, whereas pàsantfa means ‘heretical’ or 'an heretic’. In view o f the first two members of the com pound, however, posando has been translated as an abstract nouns also (‘heresy’). 85: According to the pâdas 85ab in the Kali Yuga people rob the gurus and the gods o f their possessions. The possessions o f the gods (deiadraiya) arc probably the temple treasures. N ote that the verb ganiiyyunti is connected both with an ace. (85a) and with a loc. (85b). 86: In pàda 86b the use of mudritam, 'm arked; impressed’, is significant in this context. We saw earlier (69cd ; 70ab) that in the Kali Yuga the whole world was no longer defined (mudrita) by descent etc.; lawlessness prevailed. In order to restore the situation in which everybody knows his place, the Srimata is told by Bhairava (ef. 72c). 87 : F or pâdas 87ab see s h k a 76. 89; F or pâdas 89ab see 2,45ab. In pàda 89c idant ratnam refers, of course, to the Snm ata. 90; Kridu (90b) may refer to the ritual copulation which .constitutes a basic part in the ritual (cf. 106a cakrakrttfa), representing the union o f Siva and His Sakti.

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Obviously, to people who consider this part of the ritual as mere debauchery or partake in it only for sensual pleasure, the Srimata should not be told, For Samaya (9Ub) see sloka 12 Notes. With sidiihanatho (90c) a true teacher o f the K ula-tradition is evidently meant. 91. F or rikse (91c) see sloka 18 Notes. 93 ; In pâda 93d the word yogtnyas should be an acc. pi. in this context. The ace. pi. o f yogini is, however, yoga iit, which we find in exactly the same pâda of sloka 98d It is not clear why A reads here yogturas, while it has the correct form in 98d together with BC. I'he reading o f BC for pâda 93d (yoginynu, tw o Yoginis') is not very likely. There is no indication ai all that only two Yoginis are present at the ritual. Probably yoginyas is incorrect for yoginydi, the acc.'pi. o f yog im a. For Yogini and K um ariki see sloka 24 Notes. 94: Samayins, Sâdhakas and Putras arc probably three kinds of teachers or adepts, who were initiated by different diksas F or Pu tra see K m T 2, dantfuka, A Màtanga belongs to the lowest level in Indian society, and can be com pared with a Candala. It is an accepted fact that people of low birth play a significant p an in Tantric religion, or at least are entitled to receive instruction in the Tantric teachings (cf. 88b). A M àtanga fits nicely in this pattern o f course, hut in our text he appears to occupy a rather special position. We have already seen (2,5) that the first Samvartamandala is located in the abode of M àtanga (màiahgapadamudhyaga) above the Brahm arandhra, and that it is equalized with the Khccari C akra (cf. 2,5 Notes). Furtherm ore, besides the four traditional M ahàpïthas (Odiyâna, Jàlandhara, Pürnagin and K âm arüpa) our text recognizes a fifth M ahâpitha, the M âtanga Pïtha, which is incorporated in all (he four other M ahàpïthas (cf. 4/5,22). The author o f the SatSS has probably deliberately put the M àtanga on a par with the Twice-born, i.e. the Brahmins; two classes o f people between whom normally quite a difference o f position exists. H e does so in order to indicate that for him no difference between the very low M àtanga and the very high Brahmin really exists. It only matters whether they have authority or not. As if expecting or perhaps even provoking the following question by Devi, He adds that ‘no transgression is committed by th a t’ (95b). 96: Devi, of course, takes up the lead offered to Her by Bhairava, and asks Him lo account for this seeming contradiction, [n pâdas 96cd jyv$tha and guna refer to the Brahmin, while kunyasa and nirguna refer to the M àtanga. The form gunasya (96d) is noteworthy. One would rather expect sagunasya o r sugunasya, which is impossible, however, since it would result in a pâda of nine syllables. Thus guna should be regarded here as an adjective rather than a substantive. 97: In only two pâdas (9?bc) Bhairava solves the dilemma o f Devi: one should not judge anyone on his status or rank, but look at his actual doings (sc. in religious practices). 99; The word mandalo (99b) does not refer to a mystic drawing which was already made in the initial phase o f the ritual (cF, 22 ff.), but here has its hasic meaning ‘circle’ (cf, sloka 100c where the word cakra is used instead). The teacher thus invites the Yoginis and the Kumàrikàs to form a circle. Although not ‘explicitly stated here, one might assume that the circle also includes male attendants, an assum ption to which sloka 101b seems to point.

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100: The cups which are raised (100d), probably contain liquor {ali), which is available o r the ritual ground (cf. 92d). 101: The teacher lights the lamos which were placed on the four corners o f the square (cf. 20d ff.). 102 : F or pâda 102a see ,tinka 26cd ff. 103-104: In a very concise way the teacher here explains the three phases o f the creation, only mentioning the name o f each phase and its location with regard to the human body. Thus para ( beyond’) is in the D vàdasània, or rather at the 'End of the Twelve’; süksma (‘subtle') is in the R rahm arandhra; stirida ('gross’) is situated below the Brahm arandhra, i.e. on the human body. The third phase, it hula, is further defined with catuskâdîni mandale (104b), which refers to the Astâvimsatikrama (cf. 1,1 Notes) and to the Sam vartâm andala. In the 28th chapter of the SatSS this threefold division o f the creation is explained in greater detail. Moreover, a fourth phase is mentioned, paràpara, which, however, has no direct relation with creation as such, anti is therefore omitted here. For a concise survey o f the four phases o f creation as described in the 28lh chapter o f the SatSS the following table has been draw n up: I] paràpara II] para

111] suksma

IV] sthüla

Param a Siva Para Siva & Para Sakti 1) U rimana 2) Samanà 3) Vyâptnl 4) Sakti 5) N àdânta 6) N ada 7) N irodhikâ 8) A rdhacandra 9) Bindu 10) MA 11) U (cf. Padoux 1975, table after page 346). 12) A The fifty letters o f the alphabet (n-kia), and Siva & Sakti.

In pâda 104c piirvam refers to sioka 28 ff. 105: Vâcayiivà (105a) should be supplied w ithpustakam (cf. 29d). As becomes clear from the following lines, the text is recited by the teacher in parts to the pupil until the complete text is recited and at the same time noted down by the pupil (cf. 107cd). Keeping in mind the actual size of the SatSS, viz. 6000 siokas, one can easily imagine that it takes several days before the complete text has been recited and noted down. On the first day of recitation the teacher Teads the text as far as the Sam vartâm andala (105b), by which probably the five introductory verses are meant {1,1-5). In sioka 30; 3la b we saw perhaps also a reference to this part of the text to be recited on the first day of the ritual. This first day is referred to by kramasrsiidine (!05c). It indicates that on this day the kranta starts — again — because o f the recitation o f the text, expecially its introductory stanzas. After the recitation of this first part o f the text the teacher should celebrate a mahotsava. 'great festival’ or 'great rcjoycing’ o )g i-: B C -m a y a 40. A d e v i 4 1 : A la y o p â y a it

S rïb h airav a spoke : Form erly, O Devi^ I have explained th e inherence o f the P ithas w ith the h um an body. This I will tell Y ou [again, but m ore in detail]; it should not be told to som eone w ith o u t [true] devotion. F orm erly o n occasion o f a conversation between b o th D eva and Devi, when th e conversation becam e decisive w ith regard to the relation betw een teacher an d pupil, on th a t m om ent [Deva] em phatically said [to Devi] the following w ords: “ G o to B h àrata V arsa [to establish] th e au th o rity [of the doctrine) everyw here; ' in Pithas, U p ap ith as an d K setras create offspring in a m anifold way. W hen [Y our offspring] is com pleted, Y ou will have sons, daughters and guardians: o f all o f them together the num ber will be 134 on earth. W hen this is accom plished, there will be an union betw een Y ou and M e here [again]; on th eir side they will form a com m unity on e a rth encom passing millions o f people. G o to B h àrata V arsa, and create such an ofTspring!” . T here are five D evas an d also five Y oginis, and a num ber o f five Pithas. I will tell Y o u Y o ur retinue in c a c h 'b f them briefly. In th e first Pit ha Y o u r retinue consists o f respectively eight, eight and six; respectively ten, ten an d six is this com plete [retinue] in the second [Pitha]; respectively twelve, twelve an d six in the th ird [Pitha]; thirteen, thirteen and seven respectively is Y o u r retinue in th e fo u rth [Pitha]; respectively nine, nine an d five is Y o u r retinue in th e fifth [Pitha], O Devi, m entioned. As long as these Pithas are not established [by Y ou] in B h àrata V arsa, no union takes place between Y ou and M e. She has gone, O Devesi, to [different] lands. N o rth an d S o u th o f th e M eru [She w ent next[. W here there is a small village in the forests nam ed U la m b ik l, and a goddess dressed in red, standing in [a pool] o f blood, delighting in am orous enjoym ent, there She to o k H er aìiode in a cave, dw elling secretly in the abyss. As long as She stayed there, th e w hole place w as filled w ith Y ogins. T he goddess was pleased by these in every aspect, in m any ways. T hen

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ta ta h prasan n ag am b h iram uvàcedam kujesvari42 '| 15 anek o p ây aracan â vìvekagunasàlinl | ram ate ta tra susroni p an casarn am ay a4'1 ta n u h I1 16 süksm âdisabdasam ghasya44 u dditâ45 tisthate sadâ ad d ita 4 6 yena uddTse47 tenedam uddiyânakam 48 |j I? sabdasam ghasya visrâm am vrnà lena sru tir na hi , bhavisyanti purâvasthâj astau kotigunâsrayâh |( IK àgatya khccarïcakrâd àd h ârïsah prabhus t ava49 | astau te m ân asâh p u trâ bhavisyanti ca sad gunâh [| 19 sà k m y astak am âtâ40 tvam astau sim hâsanâdhipâh | ta ttv a d h à ra g a tâ 51 saktih k ath itâ dehagâ srnu I 20 sro tu k âm â t u 52 o d d â k h y e 43 v ak tu k àm â tu jâla k e 44 j p u sty à rth e 45 caiva p ü rn âk h y e46 kâm akhye ceksanccchayâ47 || 21 cbhih sth ân aih sth itâ dcvî p ïth â tn s58 c a 49 svagunojjvalàn | m ü k ân d h ab ad h irâh klTbâh sattv â jây an ti tair vinâ |i 22 pancam arn yan rnahàpïthaip pit he pit he vy avast hi ta m 1 asprsyam 60 tam ad rastav y am 61 m àtah g av anam âsrilatn || 23 agam yam ca g am am 62 nityam ab h ak sam 63 b h aksane64 ratam*’4 I yena kàryena câm nàyam sarire püjayanti ca |! 24 h h u k tim u k tip rad âs tesâm an y a sâ strâ n ta k ârak âh 66 | kath in y o sn ad rav am 61 sîghram 68 chidram caiva ka leva ram 44 25 tesâm hhâv â ime jney a ojâpükais tu p ìth ajaih10 , tesâm sthânâni vaksyâm i ye yatraiva vyavasthitâh || 26 o d ra 11 àd h àrav y àp tis11 tu sth ân ân i kathayâm y aham | k rttisth àn esu 72 r udrà ni7 2 ru d rasâk ï73 tu m ürdhaje 11 27 p àn y ah g h ry o s74 caiva gov ak trâ sum ukhi sm asrunâm ake"15 | v â n a rî76 tu dvijâvâse71 k e k a râ 78 asth ijâp u re || 28 k âlarâtris tu snâyunî b h a ttik â 74 sth airy ak âpure , m â n d h â tâ 80 rom apîthe ca âdhâriso vyavasthitah || 29 yas tu àd h àrab h û tas tu sthâvare jangam e sth ita h 81 | àdh ârïsas tu sa82 p ro k to 82 na tu kâsthâsm am rnm ayah ||

4 2 . A k u le sv a ta h 46. A

u d r iiâ

4 3, B p a n câ sa v arn a m a y â 4 7, A

ud rise

48. A

44, A -sa m g a sy a

u d riy â n a k a m

49. A

4 5, B C u d d ilo ; A u d ra iâ tath à

50. B C s à k m y -;

A sâ sin y a stâ m â là 5 1 . B C tvam tv â d h à ra g a tà 52. B C la d 53. A o d y â k tiy e 54. A jâ ta k a(b > 55. A p u s ly â k h y e 56. A -k h y a m 5 7. A c a k s a 58. B C p îth à m ; A p ith âs 59. B C s v a 60. A ap rsa m 6 1 . A a d fsta v y a m 6 2. B C gam en 63, B C ab h a k sa 64. A b h ak sa n i 65. A rata h 66. A -s â s tiâ n ti- ; B C an y e sâ m b h râ n u k à r a k â h 6 7. A k a n lh in y o sn a d ra v a 68. A sîg h ra m 69. A -v a ra ti 70. B C -jà h 7 ) . B C o d d iâ n a s lu 72 , A h rd i sthàne lu r u d r in â m 73 . A -s à k î 74. A -n g h rié 75 . A -n a m ik e 76. A v in a r i sita h

77. B C dvyâvàm e 8 2, A sam p ro k ta m

78. A ktn ka râ

79. A b a h ik â

80. A m a n d a ta

8 t. A

P A T A IA 4/5

129

K ujesvari said the following w ords w ith a distinct, low voice: “ [A G oddess] w hose arrangem ent is in different ways, and w ho abounds in the qualities o f tru e know ledge abides there, O Susroni. C onsisting o f the fifty letters is H er body. C o n stan tly She is connected w ith the totality o f speech, i.e. süksm a etc. Because She is connected [thus] in U ddïsa, therefore this place here [will be know n] as U d d iy à n a k a ” . It is the repose o f the totality o f speech: w ithout it there is consequently no hearing. There will be the places o f ‘to w n s’, the eight recipients o f crores o f qualities. C om ing from th e K hecarïcakra, A dhârïsa will becom e yo u r lord. Y ou will have eight sons in h u m an shape, endow ed with six qualities. Y ou will be th e m other o f the eight Sâkinïs. Eight in num ber will be the S im hâsanâdhipas. Y ou are the base o f reality as S ak ti; Y ou are told to he in the hum an body: listen [to that]. W hen Y ou desire to hear. You are in the place called O d d a ; w hen Y ou desire to speak, Y o u are in J à la k a ; for thriving Y ou are in the place called P ü rn a ; w hen Y ou wish to see, Y ou are in K âm âkhya. W ith these places Devi is connected; [one should consider these] Pithas as splendid by their own qualities. W ithout these [four Pithas] people are m ute, blind, d e a f an d im potent. T he fifth P itha, th a t one is in each o f th e o ther [four] Pithas : it can not be touched, n o r seen; it is dependent o n the M âlafigavana. [Although] inaccessible, one has constantly access to it; [although] it stands for fasting, one enjoys eating there. By w hat [ever] sacred perform ance people h o n o u r th e  m nâya w ith regard to th e body, [these Pithas] g ran t them enjoym ent and liberation; to [the followers of] o th er S âstras they cause destruction. Firm ness, heat, fluidity, m otion an d ap ertu re — these constitute the hum an body. The n a tu re o f these should be know n by m eans o f O J P u and K A , which originate from th e [five] Pithas. I will tell [You] their localities, and which [sons, daughters etc.] are stationed where. O d ra is inherent to the base; now I will tell [You] the localities [of O dra]. In th e skin is R u d râ n ï; R u d rasâk l is in th e hair on the head; G o v ak trâ is in the hands an d feet; Sum ukhi is in the [town] called ‘b ea rd ’; Vànarï is in the place o f the teeth; K ekarâ is in the tow n o f the bones; K âlaràtri is in the sinews, an d B hatlika is ip the tow n o f firmness. As vlândhâtr A dhârïsa is situated in th e pores o f the skin. T h e one w ho constitutes a firm base in b o th the im m ovable and the moving, th a t one is called A d h ârïsa: such a one is n o t m ade o f wood, stone o r m ud.

130

30

31

32

33

34

35

36

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39

40

F A T A L A 4 fï

pancâsad dhi y u tâ 83 ye ca srstâh sim hâsanâdhipâh tais tu tan m àlitam sarvam m âlinyà-saktisarnyutam *4 | sim hasabdena sthânâni d ehànte adh ip âs tu ye | sim hâsanâdhipas te t u HS m âîinyâdikram aih86 sritâ h 8* || vàm ano nâm a nâdinyâ yugm am caiva k am ûrdhvajam 87 cûlïsim hàsanam 88 srstam devyâ vâcakam ürdhvajam 89 ;| harsanas',l> ca ni vrtty âk h y â91 sim havaktrafh] pratisth ik â92 | m ahâb alas ca vidyàkhyâ93 m ahâk âlas c a s â n ti ca j ete94 bhâiord h v ag â9 ! jneyâs catu rb h ir m undam àlikâ9'’ | ek avaktras ca g rasanï sth itâ h 97 k âm ath am andale98 || caksuryugm e s th itâ s " caiva bhairava[h] p riyadarsanl | p racan d o guhyasaktis ca nâsâyâm c a vyavasthità[h] 11 àdhàrisàd h ìk àram tu etam te kath itam m aya | niràsrayâ[t] triTyam100 tu an tah in en a m anditam || antariksena sob h âd h y am à d h ârïsârcan âk saram 101 | catu rb h u jo g an â d h y a k so 102 g ajavaktro m a h o tk a ta h 103 || airâv aty o 104 vinàyakyah sad ete p raticârak âh etesâm caiva sam y o g ah lus p u râ p ro k to 1Ub *pi yan m aya || â d ip îth a p a riv â ra m 107 kath itam tu varànane || iti p ra th a m a p îth â v atâ ra h | srïb h airav a108 uvâca || e ta d

d h y 10 9 a n a n t a r e d e v i ll t > 'k a r à l a m b a m l u

g a tà

m a h à jv â lâ lis a m d tp la m 1 12 d T p tà n a la s a m a p r a b h a m 41

m a h à j v â l à v a l t d h o p a m 1 1 3 .d e v y â s * 1 4 s a u m y a m

42

d h r to llb

c o g r a s y a 1 15 s a b d a s y a y e n a

p ra tà p o

m â y à jâ la m 1 11 d h r ta m

y e n a

p a ra m a n i s m rta m

jâ la s a tn jn a k a m

p ra v a ra m

ta in

c a y o g i n â m 1 1 8 ||

te n a jâ la n d h a r a m 1 19 n â m a m â y â ja la n iy â m a k a m 12 0

44

v ic itr a r a c a n à n e k â 12 3 p a s y a ty 12 4 a g r e n d r a jâ la k a m 12 4

|

k a s y a is â

||

45

m a tte ja s à m

83, B yu ty a 89. A -jà h

p ü rv a n

p ra b h à v e n a

k a rà la v a d a n e

tu b h y a m

84, A -tâ h 90. A h a ia n a i

94. B C etair

|

p a r y â y e 12 1 p r a b h ü ta k ir a n o jjv a la m 1 22

ra c a n â d iv y à

95. A b l l o -

n â s T d l2 S ih â d h v a r e 12 6

tu s tà 12 7

n a t2 T

||

|

43

k in c it k â la s y a

i

le jo 11 4 m a h â d b h u ta m

ta t s th â n a m

’s y â s te n e d a m

p u n a h |

\

tv a m 12 7 p a lâ y itâ 12 7 |

m à y à j â l a n i y â m i k e 1 2 8 || 8S. A stu 86, A -k ra m e (r v rtü h ) 8 7. A -jà h 88. A m û la 9 1 . B -k h y a u ; C -k h y o 9 2. A prati( ) 93. A d iv y â k h y â 96. A

m u n d i-

9 7. A B

sth itâ

98. B C k a m a la m a n d a le

y9. A {sth it)â s ; B C sthitâ 10 0 . A trtiy à 1 0 1 . B C -e k sa ra ra ; A -k s a r â h 10 2 . B g an â vy a k so 10 3 . B C b a lo tk a ïa h 10 4 . A e râ v a ty o 10 5 , A s a m y u g â h 10 6 . A .p r o k ià 10 7, B C à d ip i the p a rïv à ra m 10 8 . A -b h a ira v 10 9 . om itted in B C MO, B d evi 1 1 1 . C k a râ la sv atn 112 . A m aho- 11 3 ; A m aho1 1 4 . A d iv y a m tejam 115 . A câ g ra sya 1 1 6 . B ( J to ; A d h rta 1 1 7 . A -jâ lâ 11 8 . A y o g in â h 1 1 9 . A jà là n d h a ra m 12 0 . A -n iy im a k a h p a rya n tyà in d ra ja v a t 128. C -n iyâ m a lte

1 2 1 . A paryâyet 12 5 . A n âsrad

12 2 . A -la h 12 6 . B C iv â -

12 3 . A v iv rtira c a n â 12 4 . A 12 7 . A tu stâ n â m tv a p ra lâ p ita b

PA TALA D/5

131

T he Sim hàsanàdhipas w ho are created together with the fifly, by them this w hole (body] is garlanded an d related to the S aktis o f M âlinï. W ith the w ord “simha' the [various] locations [on the body are m eant] the lords w ho are o n th e body, these then are the S im hàsanàdhipas connected w ith the series o f M âlinï etc. The one called V àm ana form s a couple with Nàdiriï, which originates above B rah m a; as th e sirtihâsanu o f the crest it has been created above the m outh o f Devi. H a rsa n a and the o n e called N iv n ti, S im h avaktra and P ratisthikâ, M ahàbala an d the one called Vidyâ, M ah àk àla a n d Santi ; these are to be know n ab ove th e forehead; by these four is'C onstituted the garland o f skulls. E k av ak tra an d G rasan ï are located on the head. In th e p air o f eyes are located B hairava and Priyadarsanï. P racanda and G uhyasakti are established on th e nose. T hus I have told Y ou the sphere o f influence o f Ad ha risa. T he third [letter] after th e [letter] ‘w ith o u t su p p o rt’, adorned w ith [the letter] ‘w ithout en d ’, and brilliantly endow ed w ith [the letter called] ‘atm osphere’ — th a t is the syllable for praising À dhàrïsa. C atu rb h u ja, G anâdhyaksa, G ajav ak tra, M ah o tk ata, A iravatya, an d V inâyakya: these a re th e six servants. The relation between them [and their localities?] has previously been to ld by Me. [Herewith] I have told [You] Y o u r retinue in the first Pitha, O V arànanà. Thus is th e m anifestation [of Devi] in the’first Pitha. S ribhairava spoke; Im m ediately hereafter, O Devi, She went o n to K aràlam ba. [the place] w as set o n fu;e by the stream s o f mighty flam es; it had the radiance o f a blazing fire; it appeared as to be touched by m ighty flames! T he tejqj o f Devi is indeed a great m arvel! [Yet] it is [at th e sam e time] cool; it is th o u g h t to be the place par excellence o f th e ‘fierce w o rd ’. Because H e r b rilliance.is endured [there], [the place] is consequently called J ila , Because the illusion o f M àyà is controlled [here], it is [the place] for Y pgins pre-em inently, an d is th erefore called Jà la n d h a ra since it restrains the illusion o f M àyâ. A fter th e expiration o f som e tim e [Devi], w hose arrangem ent is in various w onderful ways, saw before H er an In d rajàlak a flam ing by intense beams. [Devi spoke:] “ W ho is responsible for this divine fabrication? Form erly it was n ot o n this p ath . By th e might o f M y tejas you are [obviously] silenced; you have not been scared aw ay. [Therefore] fo r you a re [the epithets] ‘Big M o u th ’ and ‘R eslrainer o f M ây â’s illusion’” .

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l’A TA LA 4/5

jà la n d h a râ d h ip aty e 129 tv a m 130 bhavisyasy131 aciren a131 tu | âgatya khecaricakrâc chnsiddhakundalT yakah132 | asesârthavido nâm a s a 133 te 133 n âth o bhavisyati | b h av isy an ti134 karàlinyo dasaiva d u h itâ 13S tava H bhavisyanty u tta râ n a n d â 136 d asa sim hâsanâdhipàh. 1 praticàrâs ca s ad b h ad re evam àdikram ena tu h usnatve sam sthitâ m âlâ sivâ ca d a h a n â tm a k e 137 | d u rg â ca pacanàkhye tu pâvanT v arn ag o care138 ! h arsam sarv ab h ak sân g e135 sp rstâsp rstesu 140 carcikà l su p rab h â ca dyutisthàne p rab h â ca p ratib h âp u re |i c a n d â 141 c a iv a 141 p ra b h âv asy â141 rug tn tn l143 jy o tig ah v are144 | anyais caiv a143 g u n a ih 143 sa tn y a k 145 kuitdalïso vyavasthitah II sa k u n is146 caiva càm undâ locane ca trtlyake | s u m a to 147 vajrinl easy e14 8 nando vai k a n k atà tath â ;| gopâlah kâlikà caiva dvibhir d an ta is '44 c a 149 cord hvagaih149 | p itâm ah ah sivâ caiva pallavo ghoraghosikâ || a d h o d a n ta d v ib h ir130 jn e y â ' s 1 m eghanirghosa khi[r]varâ157 | bâh y e133 v in irg atair153 d a m stra ih 153 p a n c a k a m '34 c a 154 d v ìja[n ]tak e'33 sikhivaktras ta th â m aya jih v âsim h âsan asth itâh 136 | m ahâdhvajas ca vâgesï v âcày âm 1S7 ca niyojitâ[h] | k â la k ü tâ k h y a 158 n â tn a l3f) c a l3S saktir n àràyanï sthicâ i susum nàyâm ca vijiieyâ niscayena m ah àtm ane | | jà la n d h a râ d h ip aty e 139 te 139 kundalîsaparigrahe | k u n d ale160 catu rasre tu try asrem caiva sadasrake l | k u n d e 182 isâg n iy u k to 162 yah kundalisah sa ucyate | y asy o d d h ârita163 tasyâdyam 163 visam àngena184 carcitam || v ib h âg ab h ü sitam 16 5 krtvâ bïjam vai kim dalïyakam m eg h av arn o 168 b rh atk u k sir ck adam stro gancsvarah || v ig h n arâjo 187 m a h â n a n d a h 187 sad etc p u tra k âs la v a 186 i iti169 dvitîyapîthasya k a th ito 170 nirpayo m ay a171 || v y aptibhüto varàro h e tâ n y 172 esârn171 ktilayoginàm || 129. A jâ lâ -

13 0 , A ’sau

13 4 . B C b h av isy ati v a r tm a -; A -g o c a rì

1 3 1 . A Iv a d bhavisyat )cjn â

13 2 . A -k â h

13 3 , A so 'pi

13 5 . B d u h itâ s ; C d u h itâ h 136. A -n d c 13 7 . A d u h a 13 8 . B C 139. A -b h a k sâ n g ï 14 0 . A srstâsrslesu 1 4 1 . A p ra can d a ca

14 2 . C -v e s y â ; B -ve sm a 14 3 . B C T u km m ï 14 4 B C jy o tis a m k a re 145. A caryag utie 14 6 . A s a m k u n ii 14 7 . B C su m a n o 148. A câ sy a 14 9 . A p rslh e hy a d a (m slra )jau 15 0 , A a d h o d a rn çtra1 5 1 . A jà e y o 15 2 . A k h a rp a râ 15 3 . A b â h y a v tn irg a le d arpslrâ 154. A p a n ca va k tra 15 5 . A d vijâ n ta re 15 6 . A -s im g h à s a n is B C -sth itâ 15 7 . B C b h âsâ yâ m 15 8 . A k ila ( )k h y a n â m a c a ; B C k â la k ü ta s c a n â m a n o 15 9 . A jà là rtd h a rà d d ip atyan te ; B C -p a t y t hy cte 16 0 , A k u n d a la m 16 1 . A (try a sre ); B C tryaste 16 2 . B k u n d e a is â g n i-; A k u n d a lïy ig n i16 3 . A y a sy a ru d h ati ta syâ d ya 16 4 . A sva sa m angeria 16 5 B C -sû cita n i 16 6 . A (m e )g h a -, B C -v a rn â 16 7 . B vig h n arâ l ) h ; C v ig h n arà jo [ ]n a n d a h { )n y esâ

16 8 . A

tath â

16 9 . B C etad

17 0

A ka th ita

1 7 1 . A m ahat

17 2 . A

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Soon y o j will becom e the ruler o f Jâlan d hara. Coining from the K hecaricak ra there will he Srïsiddhakundalïyaka, called A sesàrthavida: he will be your lord. Y ou will have ten daughters, K arâlinïs. T here will he ten Sim hâsanâdhipas o f suprem e bliss, and sia servants, O B h a d ra ; in this o rd er [1 will explain them ]: [n the heat is M âlâ; Sivà is in [the town] characterized by ‘b u rn in g '; D u rg â is in [the tow n] called ‘co o k in g '; Pâ van! is in realm o f colours; H arsanI is in that p art [o f the body] where everything is consum ed; C arcika is in [the town] which is b o th touched and not touched; S up rab h â is in th e place o f sp len d o u r; P rab h â is in th e tow n o f lustre; C an d â then dwells in brightness; R ugm ini is in the cave o f light. U nited with the o th er qualities stands K undallsa. Sakuni an d C âm u n d â are located in th e th ird eye; Sum ata and VajrinT are in the m o u th ; N a n d a an d K ankatâ, G opâla and K âlikâ are [associated] with the tw o [rows of] the upper-teeth; P itâm ah a a n d Siva, Pallava an d G horaghosikâ are to be know n by the two [rows of] the low er-teeth; M eghanirghosa and K hirvarâ are [associated] w ith the teeth which app ear a t the fro n t; the five am ong th e [other] teeth; Sikhivaktra an d Mfiyâ are located in the sim hasaw o f the tongue, M ahâdhvaja and Vâgesî are connected w ith the voice; the o n e called K àlak ü ta an d his sa k ti N ârâyanï are know n to be in the Susum nâ fo r sure, O M ah àtm an à. These are in the sovereignty o f Jâlan d h ara, in the retinue o f K undallsa. The o n e w ho is in the circle, the square, the triangle and the hexagon, — in the kunda associated w ith Tsa an d A gni, th a t one is called K undallsa. T he first [letter] after the o n e tak en [previously] ‘covered* w ith the [letter called] Visam ànga, and ad o rn ed w ith the [letter called] V ibhaga, th a t is the bija o f K undallsa. M eghavarna, B rhatkuksi, E kad am stra, G anesvara, V ighnaràja, and M ah àn an d a these are Y our six servants. Thus E have told th e arrangem ent o f th e second F ith a completely revealed, O V arâro h â; these things are [only] for the Kuta-yogins.

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62 63 64 65 66

67 68

69 70 71 72 73 74 75 76

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iti dvìtTyapithàvatàrah173 || sribhairava174 uvàca || ev am 175 u k tv à m ahesànt g atâ sah y am 176 m ahàvanam sam p ü rn am an d alârcib h ih ” 7 p ü ra y a n tï jag attray am [ jag ac chariram ity uktam tà lu rd h v a sth a 178 tu y a J 79 k a là 179 ru d râ d y a n ta jag a tsâ ra m 180 jïvitam câm rten a tu nihsesa[in]iai n ik h ilam 102 visvam 182 lo k alo k an tasam sth itam 183 | yav at sam tisthate ta tsth à navopàyaìr an ekadhà || kurvantT184 vividhopâyaih sa kâryaracanà[n] b a h ü n 185 | te jo b h â b h ih 186 p ra d ïp y a n tî187 c a n d â k sin y â p y '88 a th e riiâ 188 || tas m in a d ra u 189 sthità devi dedîpyàrci[r]190 ghanojjvalâ190 tat pradesam sthiram jâtam a n y a d 19 L dagdham carâcaram âpüritam idam sarvam an ek aracan âd ib h ih | pasyate parv atam m à tà k alp ân te192 m u d itek sa n â193 I] tâvac candâksinl tv agre p a sy a ty 194 am itatejasâ197 | divyâm rtena p ü ry a n tïm 196 divyaughagunasàlinïm 197 || uvàcedam m ahâdevi sà d h u 198 p ü rn a m a n o rath e yen edam p û ritam sthânam tenedam p û rn arü p in î || bhavîsyaty à d h ip aty atv am 199 p a rv a to 200 ’y a m 201 ta p o tk a ta h | visuvena tu yogena yenedam sam skrtam tvayâ || ten a pïthesvarï tvam hi bhavisyasi yuge yuge jîv ask an d h âsan am 102 tubhyam d v àp aran tàd h ik àrip i || bhavisyati203 b h av e304 sid d h ah 205 k u rah g ïsah208 patis tava | sam p ü rn am an d alâd h âro g ra n th â d h â ro 207 m ahesvarah208 || dvàdasaiva bhave209 tubhyam bhavisyanti k u m àrikâh | tebhyas tv 210 ek aik ak o tis210 tu âd h ip aty âd h tk ârik âh | bhavisyanti ta th â p u trà h p ra tîh â râ s211 ta d a rd h a ta h 212 | ad h y âtm am 2*3 sam pravaksyàm i y a th â 114 devyâ p u ro v rtâ h 2 lî || ham sâvalï dravàkhye tu su ta r a 216 sainyakâsraye217 1 h arsâ318 slesm akhyapîthe219 tu vânï asrtm ivàsînï || subhâks!220 bïjarâ[y]e221 lu m ah àn an d à lu m ajjagâ | 173. B dvirtl )iârah; A -tara 174. A -bhairav 175. A etan 176. A sahya 177. A -reïbhih 178. À utrüvasthà [79. C [ J 180. A mdrâdyànta-, BC -sire 181. A nisesa 182. A nikhile visve 183. A -sthitah; BC -sthità 184. A -ntïm 185. BC bahu 186. A -bhâti 187. A -ntïm; C -nti 188. A -ksinyo pase stnrli 189. A yadrau; illegible in B 190 BC dipyârcih sughanojjvala 191. A anya 192, A -ma 193. A -ksanai 194. B pasyanty; A pasyante 195. A ’mita196. BC pürantim 197. A divyogha198. BC sâ[ ] 199. BC -patye te 200. A paryato 201. B yan; C yat 202. A -skandà203. A bhavisyanti; BC bhavisyasi 204. BC bhavet; A bhava 205. A siddbi 206. A kurungisah 207. A grantha-; C granthyâ; B grânthyâ208. BC mahesvarah 209. C bhavet; A bhava 210. A te nya kakotis 211. A pratlhâra, BC pralïcàrâs 212. A tad ucyateh 213. A -tma; BC -tme 214. C yadà 215. BC vrtâ 216. A sudhârà 217, A sinyakï priye; BC saitya218. A harsa 219. A (kle)smâ220, A subhaksi 221. A bhîia-

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Thus is th e m anifestation [of Devi] in the second Pïtha.

62 '■&

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Sribhairava spoke : A fter She had spoken thus, O M ahesâhï, She went to Sahya, the great forest ; [there] She filled th e three worlds with th e lustre o f the S am pürnam andala, — ‘w o rld ’ m eans [in this context] th e hum an body, [or] the kalà which is above th e p alate: it is th e quintessence o f the ‘world* beginning and ending w ith th e R udras, and subsisting o n A m rta — [filling] com pletely, entirely an d wholly [the three worlds] which encom pass b o th th e w orlds a n d beyond. A s long as [Devi] abides there, She accom plishes by m eans o f the various ways o f H er wisdom, an d by all kind o f [other] m eans the m any arrangem ents o f H er task, a t the sam e tim e setting alight [the three worlds] w ith the splendour o f H er brightness. Then She was addressed by C atidâksini [with th e words]: “ O n th a t m o u n tain stan d s Devi, brilliant in H er lustre, bright as the lightning. This region has becom e lasting, while the rest o f the w orld w as burnt. Filled is this com plete [region] by th e various kinds o f H er arran g em en ts” . The M o th er w ith a joyful glance sees the m o u n tain , at the end o f the K alpa. Suddenly [Devi] o f infinite splendour, sees before H er C andàksinï becoming filled w ith the divine A m rta, aboun d in g in the qualities o f the divine hosts, [To her] M ahàdevï said th e follow ing: “ Very good, O you w hose desire is satisfied ! Because this place is filled [by you], therefore [you] will possess a com plete form here. T here will be [for you] sovereignty [over this place]; this m o u n tain will becom e ab o unding in tapas. Since y ou have com pletely form ed [this region] in every detail, you will be th e mistress o f th is P ïth a in every Y uga. The jivaskandha will be y o u r ‘seat’; y o u r au th o rity will reach th e end o f the D vâpara-yuga. In this existence you will have th e Siddha K urahglsa as h u sband: this great lord is the su p p o rt o f b o th th e S am p ü rn am an d ala and the Book. Twelve daughters you will have in this existence : from each o f them there will be a crore o f [other daughters] w ho will yield authoritative pow er, Besides, you will have [twelve] sons, an d h a lf th a t [num ber of] servants” . I will tell [You] how th e ‘tow ns’ are covered by D evi in a m icrocosm ic way. H atpsâvafi is in [the town] called ‘fluidity’; S utârâ is in the place o f sa in ya ka ; H a rsà is in the P ïth a called ‘phlegm ’; V ani abides in the tears; âu b h àk sï is in th e realm o f sem en ; M ah ân an d â is in the m arrow ; S unandâ is

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su n an d à m edavâhe222 ca k o tarâk sï ca rak tagâ |l 77 visvâksi227 visnuvâhe224 ca sv edavàhe225 yasovatï225 I

visâlàksi srutau p ïth e 227 sundari c â m rtâ n u g â 23* (i 78 sesair gunaih kurafigîsah229 sam sth itah 230 p a ra m esv a rah 230 |

vâlis231 c a 231 m ohinî232 caiva n an d ah p ra jn â 233 tathaiva ca || 79 sim hâsan âd h ip âs234 te 234 vai bhüsanau v âm adaksinau233 | dasag rïv ah 23* st hit a h 236 kanthe ta th â ca sikhivahinï | KO hayagrïvas ca lâm â ca h ayas237 caiva vinâyakï b ih u y u g m e sthitâ|s] caiva yojayed varavarnini II23* üi sugrïvas234 c a 234 kapâlinyâ vâm a has te 2417 kapâiake j go p atih p u n ii ma caiva vàm adaksak arad v aye || 82 jh a n k a rï b h ism ak o p età241 daksahastângulisu ca | sik h an d ï242 k u rd a n i243 caiva vâm ahastângulisthità{h]244 ! 83 süladatide sthitâ[s]245 caiva k h an d alo d ip an i ta th â 1 trisüle ca sthitâv etau jay an tî suk ra eva ca | [ 84 sülam etad viboddhavyam 246 can d âk h y o bhîsani tath â i ek ask an d h e147 sth itâs247 te tu jneyâ[h] pûrnâkhyasam jnake ]| 85 k u raiig isap arîv âram 248 etad jneyam k ulâm bike249 i ku-sabdena b h a v e t25* p rth v î251 rati gay ed yo n avâm bunà232 ;[ ae kurangisas2 M tu sah p ro k to n a 254 ra n g o 234 y as tu k u tsitah | k u n d alïsatrtiy am 255 tu k rtv ârg h îsasiro g atam 256 [] 87 sv ân k itam 217 vai238 k u ran g îsam 239 m antrain etad u d â h n a m 260 | âm odas ca p ra m o d a s261 ca d u rm u k h o 262 sum ukhas262 ta th â [| 88 v ig h n ak artâ c a vighnesah sad ete p âlak âh sm rtâh | trtly asy a tu pithasya p urnas ainjnasya2*3 pârvati || 89 k ath itam tu p arlv àratn etad dhî kulayoginàm | [ iti1*4 t rtïy apithâva t âr a h26 s |] srib h airav a266 uvàca |[ 90 evam 267 uktvâ gatâ p ü rn am y atro cch u sm â268 m ah ân ad ï I m ah o cch u sm av an ln tasth â dîvyâdivyaughavâhinï [| 91 m ahocchusm avanam y a tra y atra hflam 269 m ah âh rad am | 222. A -vâhî 223. A visvaksì, C bimbàkst 224. B (viçdu)-; A -vihi 22S. A -vâhï 226. BC yaiasvinï 227. B pàthe 228. BC amrtâ229. A kuruftgïsam 230. A -si hit am paramesvarï 231. A bhllâm ca; B balisa 232. C mohani 233. A pràjna 234. A simhâsanâdhipatyâsthe 235. A mama daksinau 236. A dasagrîi )ta 237. A jayas 238. in BC pâda 80cd comes after pàda 82ed 239. A dasagriva 240, A vâ( )sl< 241. B bhïsmakornatà 242. BC sikhandih 243. A dahanî 244. A (-sthilâh) 245. BC sthilas 246 A -vya 247. A -skandc ( }s 248 A kurungesaparivâram ca-m 249. BC kulânvaye 250. B bhave 251. A prsye 252, A navâmbhuvâ ; B navâslunâ 253. A kurungisas 254. A ina) rang! 255. A -irtïyas 256. A krlvâdt(ksT)sirogalah 257. A svâhkita; BC khafikitam 258. B khe vai; A kha 259. BC kuraiigîsa; A kurungïsa 260. A -tah 261. A prabodhas 262. A sumukho durmukhas 263. BC -jnas lu 264. omitted in AB 265. A -pïthàdikàrah 266, A -bbairav 267. BC pancam 268. A -sma 269. A linam

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in the flow o f fa t; K o tarâk sï is in the b lo o d ; Visvàksl is in the flow o f V isnu; in the stream o f perspiration is Y aso v ati, V isâlàksî is in th e P itha o f the tw o ears; S undarl is in the A m rta. A ssociated w ith th e other qualities stands K uranglsa, the suprem e lord. Vali and M ohinl, N an d a an d Prajnà, they are th e S im hàsanàdhipas o f th e [car-]ornam ents, b o th left and right; D asagrlva an d Sikhivâhînï are located o n the th ro a t; H ayagrlva a n d L am a. H ay a and V inàyakï, stand on the pair o f arm s — [there] one should fix them , O V aravarnini; SugrTva an d K apàlinyâ are in the skull in the left h a n d : G opati and P ürnim à are o n the left an d right hands, Jh a n k a ri together w ith B hlsm aka is o n the fingers o f the right hand; Sikhandin an d K urd an l are situated o n th e fingers o f the left h an d ; on the shaft o f th e trident are located K h an dala and D ipani ; on the trident [itself] stan d Jay an tl an d Sukra — [trident] may also be simply denoted as ‘spear1 — ; the one called C anda and Bhlsanl are situated o n one shoulder These then one should know in the [Pitha] called Pürna. This is to be know n as the retinue o f K uranglsa, O K ulâm bikâ. W ith the w ord 'k u the earth is m eant ; th e one w ho colours [the earth] w ith fresh water, th a t one is called K uran g lsa; a colour w hich is despicable is not m eant. H aving m ad e th e th ird [letter] after K undallsa and above A rghlsa, and m arked by its self — thus is the m antra o f K urahgîéa m entioned. A m oda, P ram oda, D u rm u k h a, Sum ukha, V ighnakartr, an d Vighnesa : they are know n as the six guardians. O f the third P ith a w hich is know n as P ürna, O Pàrvatì, I have told [You Y our] retinue — this is [intended] only for the Kula-yogins. T hus is the m anifestation [of Devi] in th e third Pitha. Sribhairava spoke: A fter She h ad spoken thus, [Devi] w ent all the way to U cchusm à, the big river, w hich is situated in th e forest called M ahocchusm a, and which bears along its stream the host o f gods and m ortals. In th e forest M ahocchusm a w here one finds the [pools] N ila and M ahâhrada,

138

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t a ir a sà ra m a te d e v i v à m a d a k s e k s a n â n ta g â 2 7 0 || 92

u b h a y o s t a la m a d h y a s th â r a m it v â c â m b îk â h v a y a m 3 7 1 | y â v a t p a s y a t i v is v â n g î t a t t v â n g ï la v a i p a s y a t ì 11

93

k â m a b h o g a k rtà t o p â v a sa n ta ra c a n o jjv a lâ I d râ v a y a n t ï d r a v a n t ï s a 2 7 2 îk s a n a ir b h u v a n a t ra y a m 2 7 3 ||

94

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95

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k â m â n g n d a p h a lâ 2 8 0 v y à p t is te n a k â m e s v a r î b h a v a ||

97

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98

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99

a s e s â rt h a v id o 2 8 3 n â t h a h 1 8 3 s a r v a jf ia h p a ra m e s v a ra h I k â m u k e k â m u k a m s ü n y a m k à m a d e v o 2 8 6 b h a v is y a t i 11

100

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101

p u t r â s tra y o d a s a h y e v a m s a p t a iv a m 2 9 2 p râ t ic à ra k à h 2 9 3 ,

102

sp a n d a n â k h y e p ra b h â 2 9 6 d e v i 2 9 6 p r a s ü t ih p a n v a rt a n e 2 9 7 |

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s a m s â â k u n c a n â k h y e t u b h â n u m a ty à p ra sâ ra n e J

103

s r ïb a lâ v a p a n a g rà m e h â r in ï v a lg a n e 2 9 8 ta th â |

104

k a n d u k ï 3 0 0 h a sa n e c a iv a m u k t â v a li 3 0 1 tu ja lp a n e |

105

y â ca s u k o d a r i 3 0 4 d e v ï sâ n a ih s v a n a p a d e 3 0 5 s t h it â !

h a r in ï d h â v a n e c a iv a m â lin ï jn n b h a n e t a t h â 2 9 9 ||

g a u t a m ï g h ü rn n a n e 3 0 2 c a iv a k a u s i k ï 3 0 3 s o s a n à p u re ||

s e s a b h â v a ir m a h â s id d h a [h ] s v à jn â n a n d o 3 0 6 v y a v a s t h t t a h 3 0 7 ||

106

v à y u v e g â 3 0 8 ca b h â n u s ca s k a n d h e 3 0 9 c a iv a d v it îy a k e i p â v a n y â n a n t a h e t u s 3 1 0 c a 3 1 0 h rt p ra d e s e v y a v a s t h it a h ||

107

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|

270. A -dakseksadhontagâ 271 A cambi kâ svayam 272. A sa 273. A -trayait 274. A màtu 275. A {jànas tv) 276. A jânante 277. BC livocchusma 278. A imâ279. A mahârlhe 280. BC -phala 281. A purà(n) 282. A -skandaupravit > 283, BC ca 284. A -kâ 285. A -vtdu nâthâ 286. A kâmavif )m 287. A bhavisyati gunânandos 288. A yoginyâ 289, A -panna 290. A tâva 291. A djkarikâ 292. BC saptaiva 293. BC prati294. A jagaddhepà 295. BC -kâriltâh 296. BC mahâdcvï 297. AB parivartate 298. A vallane; C vaiate 299. BC punah 300. A kanduki 301. A -valli 302- A jürmane 303. A kauçaltl 304. AB sü305. A ca ncsvapade 306. A -ode 307. A -tà 308, A -vegli 309. A skande . 310. A yâvanyâ; BC -ntadehe tu 311. A sugajâ ambhikâ prâne r oca ne sa vyavasthitah

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there D evi rested inbetw een the left and th e right eye. Bad A biding am idst th e shores o f b o th [pools] A m bikâ rejoiced, and [made] the p ro clam atio n : “As long as VisvâhgT sees, th a t long T attvàngï sees; f p one has a m ultitude o f kâm a an d bftoga, the o th e r is bright by the arrangem ent o f sp rin g ; o n e m akes th e three w orlds ‘ru n ’ w ith her glances, [the other] runs to th e three w orlds w ith her glances” . m H aving seen [Devi], th e m o th er started laughing [and said]: “ W ho are you; why have y ou com e h ith e r? ” H aving seen her, the M o th er w as stupefied: although She knew , She did not understand. H H aving paused for a m om ent, as so o n as She looked again [She knew] instantly ‘She is M ahocchusm â w ho has com e here, for My sake, leading aw ay sorrow ’. K [Next She spoke:] “ Very good, K àm inï, in every aspect, w hat you have show n to M e: the om nipresence [of you here] which results in the bliss o f k ü n u i; therefore be K àm esvari! B [Because this region] has been m ade [by you] in yo u r kindness as a m anifold form o f kâm a before my eyes, therefore it [shall be known] a s K âm arüpa, [where there is] the observing o f th e form s o f kâm a. ■ Y ou will shortly have a h u sband in this kalpa, namely C a k rà n a n d a ; he is engaged in th e vâyuskandha. m aking clear the distinction o f that. ■ Y o u r lord knows everything com pletely, he is the all-know ing, suprem e lord. F o r th e one w ho wishes he [provides] the [feeling o f| w ishing; he is the void; K âm adeva he will become! ■ T here will be [thirteen] Y oginls blissful th ro u g h their m erits, provided with thirteen qualities, in possession o f yoga, so m uch youthful and beautiful. k Likewise y ou will have thirteen sons, an d seven servants; they will be the ‘lights o f the w o rld ’, bringing ab o u t bliss for the people” . ■ P ra b h â is in [the tow n] called ‘quivering’, O D evï; Prasüti is in ‘turning a ro u n d ’ ; S am sâ is in [the tow n] called ‘b ending’ ; B hàm im atyà is in ‘stretching o u t’; ■ Sribalà is in the tow n [called] ‘cu ttin g o f f ; H àririï is in ‘jum ping’; H arini is in ‘ru n n in g ’; M âlinï is in ‘y aw ning’; ■ K an d u k i is in ‘laughing’; M uktàvalï is in ‘chattering’; G au tam l is in ‘sh ak in g ’; K ausikl is in the tow n [called] ’p an tin g ’; B th e goddess S u k o d ari then, she is located in the place o f ‘sighing’. The M ahàsid d h a S vàjn àn an d a is associated w ith the o ther constituents. k V âyuvegâ an d B hànu are on th e o th e r sh o u ld er, Pàvanyà and A n an ta h etu are situ ated in th e region o f th e heart ; P S u iâja an d his sa k ti L am bikâ stan d in the belly; S am hàrï and S undara are in

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sam h àrï312 sundaro nabhyàm m ah âm âtry ârju n o 31 3 vìduh || 108 chagalìsam sthito314 dakse stane ca p arik ìrtitàh 31!

bhTmo vai p ü ta n â devi stane yukte dvinyake 11 109 d ro n a k a h caiva31h âm o tî317 k s ïre c a pansair>slhilâ[h]318 I 110 111

112

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118

119 120

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12

122

b h asm ak ah p aram âtm î ca p aram âtm ag atâ viduh | an tak o am bikâ prâne icchà ketudhvajas ta th â \ hastaprsthe vijànïyâs ta th â caivam ni tarn bake II310 visâlàkso m ahàkâli k aly ân ah 320 k u su m ây udhâ320 j g uhyasth ân e321 sth itâ 32* caivam 321 an y am 321 caivam 321 a ta h 321 srn u 32’ || su k râ 322 devi c a tu rv a k trah sukre ca parisam sthitâ | kâm âkhye3 23 m an g alâ324 hy ete yugm âs ca varavarnini ,| sesabhâvàs325 ca ye devi cak rân an d o vyavasthitah j m adyais ca dvip rak ârais326 ca327 jn ân ad ravyasam udbhavaih || c ak ram ânandayed yas tu cak rân an d ah sa ucyate i tn sid d h y â d y a m 328 c a 329 yad bijatn sarasvatyâ33U vibhûsitam 331 I, m ah âb ilag atam 332 püjyam 333 c a k râ n a n d am 334 tv anena tu | lam p atc g h an tak arn as ca sth ü lad an to g ajânanah I b rh atk u k sih sunandas ca m ah o tk atas ta th à p a ra h , sap taite k ath itâ bhadre p ra tic à ràs33 5 tu cânvaye336 |] état te k ath itam devi kàm âk h y asy a337 tu nirnayam | catu rth asy a tu pïthasya g o p y ât338 g opyataram param |j iti c a tu rth a p ïth â v atà ra h 339 || srïb h airav a340 uvâca | état p ro k ta m tu g à trâ n te 341 catu rth am p ithavâcakam 342 kosthordhva[m J343 cordhvagam dh arm i pltha[m j m âlah g asam jn ak am 344 H34* b rah m aran d h rasy a cordhve346 tu k hecaricakram adhyastham srïsailani cocyate y atra kram am ta tra p arâp aram II ta tra sà tu 347 gatâ devi nïskalàbhâvarüpinï cin m àtrà bhâvagam yâ sâ p ith à rth a m 348 sthâpane sthitâ | h ârik â can d ram â rü d h â hârï vai iksattâp u re [ gan d h ârl g an dhavisrâm e349 vira ca k am ath âp u re || n a k h ï350 ca hrtpradese tu jvâlini tu 3S1 sikhâpure351 |

312. A saodârî 313. A mahatma-; BC mahâmâtryajano 314. A cbagafisa sthiià, BC jagalïsam sthilâ 313. A-tâ 316. A siddha 317. Bàmolï 318. A -tah 319. pàdas HÛcd omitted in BC 320 BC nitambe pariklrtitah 321. BC püspâyudhà ca kalyâna guhyc caiva vyavasthitah 322. BC sukra 323. B kâkâniâkhye 324. BC samsthiiâ 325. A se( Jarnaddhas 326. BC dvih327. BC tu 328. B.-dyas 329 BC tu 330. B -tyâd 331. A -tah 332. BC -bilam gatam 333. B pûjyes ; B'C püjyas 334. B cacakra335. BC p ra ti336 A câryate 337. BC kâmâksasya 338. A gnpyâ 339. BC caturthah pi-; omitted in A. 340 A -bhairav 341. A gol ri nte 342. A -kah 343 A kosthârddha 344. A -kah 345, pâda s MScd omitted in BC 346. BC Ürdhve 347. BC nu 348 A -rtha 349. A'cogavisrâme 350. B narkhî; C nartghïï 351 BC sikhinâpurc

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the navel; Arjuna is together with the Mahàmàtri — thus they know; MR together with Chagall they are known to be in the right breast; Bhlma and the goddess Pütanâ are associated with the other breast; |09 the Siddha Drnnaka and À moti are situated in the milk; Bhasmaka and Paramàtmï are in the parumûtma — thus they know; iio Antaka and Ambikà are m the breath; Icchâ and Ketudhvaja are to be known on the back o f the hands; likewise are on the buttocks pi Visàlàksa and Mahâkâlî; Kalyâna and Kusumâyudhâ stand in the secret parts; hear next the other [pairjt the goddess Sukrâ and Caturvaktra are in the ovary. These auspicious couples, O Varavarnini, are in [the Pltha] Kàmàkhya. The other constituents which there are, O Devi, [with those] Cakrânanda is associated. The one who with two kind o f madya , viz. originating from knowledge and from real substance, mi brings the circle in a state o f bliss, that one is called Cakrânanda. The bija which is the first after the three siddhis, adorned with Sarasvafi •ft and gone in the mahâbila — with that [bija\ Cakrânanda should be worshipped. Lampata, Ghantakarna, Sthüladanta, Gajanana, ■K Brhatkuksi, Sunanda, and M ahotkata as the last one; thus arc told the seven servants, O Bhadrà, in the [Kula-]tradition. W! Thus I have told You, 0 Devi, the arrangement o f Kàmàkhya, the fourth Pïtha ; it should be extremely carefully guarded ! Thus is the manifestation [of Devi] in the fourth Pïtha. Srïbhairava spoke: ■■ Thus is proclaimed the fourth Pitha-description with regard to the body. A bove the body, being at the top, O Dharmï, is the [fifth] Pitha called ‘M âtahga’. ■“ It is above the Brahmarandhra, in the centre o f the Khecarïcakra. Where [in this Pitha] the ârïsaila is mentioned, there the Parâpara Krama is. There went D evi then, without ‘parts’, in a transcendent form : one should envisage Her there as only consisting o f mind. She was there for the sake o f establishing this [fifth] Pitha. ■* Hârikâ has ascended the m oon; Hârï is in the town o f ‘seeing’; Gandhàrï is in the abode o f ‘smell’; Vira is in the town o f the tortoise; Nakhi is in the region o f the heart; Jvalini is in the town o f the crest;

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sumukhi332 nâhhimadhye tu pingalâ visnu-r-antagà3 53 || 12 3 brahmarandhre sukesî ca sesabhâvâs35* tathâniyaje | srïphalam3” caiva târâ[m] ca uruy ugme3 56 vilaksayet || 124 kasmalas337 ca tathâ358 cando338 jneyau338 jnânakriyâyutau338 1 jânvante359 samsthitau359 hy etau jnàtavyati380 sàdhakena tu || I2S candâlas caiva sâvitri gâyatrl cetakas351 tathâ j janghâyâm samsthitâ hy ete yugmarüpe tu362 dehagâh II 126 mâtango da ha ni caiva phctkàrï bahujas363 tathâ | daksapâde tathâ vâme yugam yugam vilaksayet 11 127 esà mâtargapïthasya pancamasya mayâ ta va ' vyâptih364 proktà na cânyesâm ante kulayoginàm365 128 viro366 avyaktanàma366 ca mâtahga367 antyajâs367 tv ime | mâtâ kundalinî proktâ tasyânge yâ368 vy avast hitâ368 || m mâtaiigah procyate so "tra na mâtango yathetarah | antyam369 antyam 37t> tathântyam371 ca kotihhâgam vieâryale172 || 13 0 antyajah sa tu vijneyo yathâ loke na cetarah | herambho373 dhülisamjnas ca pisâcah374 k ubja vâmanah || LÏI pancaite pàlakà375 bhadre bhavisyanti knlâdhvare37* | pancamasya tu plthasya vyâptir esà377 udâhrtâ376 || 132 snehâd bhaktyà379 ca devesi kule ca prakatïkrtâ || iti p a Scarna pi thàv a tara h380 | sribhairava381 uvâcà || 133 pâlakâ yatra samsthâpyâs382 tatra te kathayàmy aham | caturbhujo ganâdhyakso gajavaktro balotkatah'H 134 airâvatyo383 vinâyakyo meghavarnas tu saptamah | brhatkuksyekadamstrâs384 ca ganeso vighnarât tathâ || 133 mahânando mahodas ca pram odo385 durmukhas tathâ I sumukho vimukhas caiva vighnakartà ca lampatah || 136 ghantàkarnah3 86 sthüladamstro387 gajinanas tathâparab | brhatkuksih sunandas ca mahotkatas tathâparah I 137 herambho388 cülisamjnas ca pisâcah kubjavâmanah | ete vrirpsad mayâ khyàtàh. pithapancakapâiakâh389 j 352. BC sumukhâ 353. C sis nam antagâ ; B sîstam atttagà 354. A -bhâvâ 355. A -phalams 356. BC kuru357. B kasmalas, A kasmalams 358. A [tathâ] sando jîleyau jhâ(nanà)kryute jâ( ) 359. B jâtvante at ht tau; C jitvanantc sthitau, A tatra sanistbitau 360. BC -vyah; A -vyo 361, A cedakas 362. BC -na 363. A (bahukas) 364. A vyâptaih 365, A -nâh 366. illegible in A 367. BC mâtango antyajâ 368. A ye vyavast hilâh 369. A antye-m 370. BC anlya 371, A -mya(i) 372, BC vidhîyate 373. C herambc; B hi rambo 374. A pisàca 375. A pâlaka 376. A kulà( ) 377. BC evarn 378. EIC udir ita 379. A bhaklyâs 380. BC pafica[nia)- I .181. A -bhairav 382. A -sthâpya 383. A eravatyo 384. illegible in A 385. A pramado 386. B kantâkarnah; C karnikarnah 387. illegible in A 388. BC hîranyamukho. After hiranyamukho 3 repeats the names from vimukhas (135c) up to ghamakarnah (136a); C bas four horizontal strokes before cülisamjnas ( ] 37a) 339. BC pilbâ paficakapâlakàh

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SumukhI is i*r the centre o f the navel; Pingalà is in Visnu; in the Brahm arandhra is SukesT, The other constituents are connected with Antyaja. One should imagine Sfiphala and Tara in the two thighs; g4 Kasmala and C anda are to be known connected with Jnâna and Kriyà — they are situated on the knees; thus these two {pairs} are known by the S ld h a k a ; ^ Candâla and Sâvilfï, G âyatrï and Cctaka: these are situated on the shanks; thus they are in pairs on the body; « M âtahga and DahanT, Phetkàrï and Bàhuja: these one should imagine in pairs on [respectively] the right and the left foot. Herewith I have told the inherence of You with the fifth [Pilha), the M âtangapitha. [This should] not [be told} to other people; [it should only be told] at the end to Kulayogitis. ■ Vira and the one called Avyakta: these are [respectively] M âtanga and Antyaja. The M other is called Kundalinï, who is contained in the body of him, H namely the one who is called M àtanga here. There is no one other as M âtahga. The one who is examined millions and millions o f times, p , that one is known as Antyaja: like him there is no other in this world. Heram bha, the one called Dhüli, Pisàca, Kubja, and Vâtnana; these will be the five guardians, O Bhadrâ, on the Kula-path. Herewith is explained [Your] inherence with the fifth Pitha. , Out o f love and attachm ent [to You], O Devesi, 1 have made this clear with regard to the Kuia[-doctrine]. Thus is the manifestation [of Devi] in the fifth Pitha. Sribhairava spoke; Where the guardians are to be placed [on the body], that Î will tell You. C aturbhuja, Ganâdhyaksa, G ajavaktra, Balotkata, -A irâvatya, Vinâyakya, M eghavarna the seventh, Brhatkuksi, Ekadam stra, Ganesa, Vighnaràj, S M ahananda, M ahoda, Pram oda, D urm ukha, Sumukha, Vimukha, Vighnakartr, Lam pata, * G hantàkarna, Sthüladam stra, G ajânana next, Brhatkuksi, Sunanda, M aho­ tkata next, * Heram bha, the one called Cüli, Pisàca, Kubja and Vamana: thus I have named the thirty guardians of the five Pithas.

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pithatrike tnsatkarn3qo ca cat uri he sapta eva ca I pancame panca vijneyâ dchasthan341 kathayâmy ahum H 13 9 daksakanisthikâyàrii192 ca y a vad vâmakanisthikâ | caturbhujâdiganesàntâhJÿi karârigulisu sam sthitàh |, 14 0 daksapâdârgalïlagnâ3y4 yàvad vâtnapadam gatâh | vighnarâjâditah krtvâ ghantâkarnântagâ393 vtduh l| mesonmcse3156 vyàye àye397 nirodhe398 ca vijrmbhane i 141 hikkàchikkontake3^9 caiva kâse ca dasame sthitâ h || 142 sthuladam âdiuih krtvâ vâm anâniâ40n vyavasthitâh yo jânâti prayatnena kulâcàryah sa ucyate l|401. 143 na kevalam ime pïtha dehamadhye vyavasthitâh | dinam adhyodayam tesâm sat sat ca402 ghatikâfh] sm rtâh j| 144 udayam pancapithânâm pïthaikaike vidur budhâh403 i mâse dinàni satpaîica ca varse ca kathayâmy aham |[ 14 5 satani trini sastis404 ca dinâh4" s sam vatsare403 sthitâh | udayam pancapithânâm pïthaikaike kathayâmy aham || 146 dvâsaptati dinâny eva406 pïthe pïthe vilaksayet ( evam vyàptam samastam hi407 pïthànâm paficakena tu II 147 yathâ bâhye40* tathâ dehe jnâtavyam tu kulaknime464 . pïthàmsakas4 10 tu yo411 yasya nâm am adhyc piavarlate [[ 148 tam tathâham prava ksyâmi anusthânâtm anâm 412 pnye | pancaiva4’3 pïthabïjâni 0M -kârâdyantâ[s]414 cântim âh414 |, 149 âdau deyâ ime pascâd varnanyâsam tu kàrayet || RA417 SA418 kïrtitàh ;| 150 odrapïthe4 1s A U O416 G H A TA THA jâlapïthe  O A U 419 CA THA DA BA LA HA surapüjite || püm apïthe I E AM KHA JA DHA NA MA SA parikïrm âh || kâmapïthe F AI AH KA CHA DA DH A 410 BHA VA susobhane431 || m âlabgapïthc R R L L GA JH A 433 TA PA YA SA413 udàhrtâh || sva-svapîthodaye pïthan434 püjayed yah sam âhitah i 15 1 likhitvâ pustake vâtha pathate ca dine dine |[ vâm ad ra vy âbh ipüjy am4 25 ca krtvâ y ah pathate sadâ | 15 2 I 38

390. illegible in A 391. A -sthà 392. A daksam ka-; BC daksc kanisthikâyâs 393. A calurbhujâl )sânlam 394. B daksâ-. BC -ngule lagna 395. A -karnïnlaghâ 396. A -mes! 397, A âyâ 398. A niroddha 399. A -chiko-; BC -chikko[ ]ke 400. A vâmanàntar 401. After iloka 142 BC add; pancànâm caiva pithânâm praty ekaike ir riu s va lat (B tab) l nâmasa(bda)nava$amketà tathâ sodasabbir yulâ || sarpketais ca varârohe dltyanamantrâdhikam dhiye (C dhipe) ] pürvagranthe mayâ coktam (C proktam) atra kincid udahrtam 402. A sat 403. illegible in A 404. A sosti 405. A ditvàne) vatsare 406. A evam, B aiva 407. A te 408. A bàhya 409. A -kta mi am) 410. A pli hai ); B pithâi )akas 411.A(yad) 412. A -nâ 413. BC vaktre ca 414. BC R-kârâdyâtiimântimab 415. BC odda416, BC U; after this letter both B and C write two horizontal strokes 417. BC LA 4 18 . A S I 419 C R 420. C D H A V A 421. B su b h a n e ; C sobhane 4 22. C D H A 423. A SA 4 24 . A plthe 425. A -dravyam pujyattt

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pg In th e [first] three Pithas there are thrice six [of them ]; in the fourth [PiLha] there are seven; in the fifth [Pitha] one should discern five. I will tell Y ou how they a re located on the body. F ro m the little finger o f the rig h t h and to the little finger o f the led hand is the series from C atu rb h u ja up to G ancsa; Ihey are located on the fingers, ■0 A ttach ed to the toes o f the right foot u p to the [toes o f the] left foot one should know the series from V ighnaràj u p to G h an tâk arn a. in In the shutting o f the eyes, in the opening o f the eyes, in exhaling, in inhaling, in keeping the breath, in yawning, in hiccups, in sneezing, in belching, and as th e tenth in coughing [the others] are located; m thus are located [the guardians] from S th ü lad an ta up to V arnana T he one w ho knows this carefully, he is called a kulàcàrya. n These Pithas are not only distributed over the body. The appearance o f these [five PTlhus] is at n o o n ; the tw o tim es six [letters] are know n as ghatikas. mt T he wise know th e ap p earance o f the five P ithas for each P ith a separately. In [one] m o n th there are thirty days, i will tell Y ou [how m any days there are[ in [one] year; ■f in [one] year there are 360 days. I will tell Y ou the appearance o f the five P ithas for each P itha separately. ■ k O ne should discern in every P itha 72 days. In this way the whole [of the year] is pervaded by the five Pithas. ■* B oth outw ard and on the body [the five Pithas] should be know n in the K ulatradition. W hich p art o f th e Pithas occurs in the nam e o f which [Pitha], B th a t I will tell Y ou for the benefit o f those who are dedicated to religious practices, O Lovely One. The five bijas o f the Pithas are preceded and followed by the syllabic O M . These [five Injas] are placed first; next one should perform the varnanyâsa. In th e Pith a O dra the A U O G H A TA T H A PHA RA and SA are m entioned. In the P ith a Jâla are the A 0 A U C A TH A D A BA LA and H A , O S urapüjità. In th e PTtha P ürna are m entioned the I E A M K H A JA D H A N A M A and SA. In the P itha K am a a re the I AI A H KA C H A DA D H A BH A and VA, O S usobhanâ. In th e P itha M âtanga are said the R ft L L G A JH A TA PA YA and SA. ■ t The one w ho devoutly honours th e [five] Pithas w ith regard to the appearance [of the letters] for each P itha — nam ely having w ritten dow n [the letters] in a b o o k or w hen one recites them every day, ■ 2 and having h o noured th e vâmadravyas, recites them constantly — fo r him

E

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na tasya m andire vyàd h ir na ca m a ri p rav artate416 !| 15.1 nàgnir d a ha ti tadvcsm a him syante417 na ca him sakaih428

sàn tir vrddhir bhaved devi dvipade ca catuspade | 154 âjnâ ca4ìy visphured429 divyà430 trikàlam p ath ate tu yah 15 5

15 6

15 7

158 159 IMI 161

162

163 164 165

desaksobham p u rak so b h am slripum àtn k sobhanam bhavet II vibfiutir431 vipulà431 tasya pïthânârn sevanàd432 bhavet rà tra u suptasya dcvesi jàyate sub h ad arsan am 11 etat sarvam varàro h e labhyate g u ru v ak tratah 433 | gu ru v ak tram pitâ m â tâ m âtà m a h a p ità m ah àli || any e43 4 ’p**34 ye414 gurusthâne te g u ru h p arik ïrtitâh ! guruv ak tram hhaved any at tac435 ca433 saktim ukham sm rtam || tad v ib o d h en a436 sidbyanli sarvakâryâni bhülale | kulam ârgah437 sam arth o 437 ’sm in v yâkhyàto438 yas tu cânvaye || sa gurus câny ag u rv an h as434 tatsak àsât p rav artate440 | yasyaiva441 sâtnbhavî441 dlksâ sad y ah p ratyayakârikà442 || sa guru r nànyavedhais443 ca k u n jak aih |sâk ta-cân av aih 444 | s as tram 44 5 tasya445 g u ro h 445 pàrsvâd viveko446 devapüjanam 447 | snànam dhyânam tap o 44S hom am av a tâ ra m 449 kram asya ca , m an tram 450 m u d râ ta th â vidyâ ta tsa k à sâ t p h alap ra d â 451 || tasm ât pûjyah sadâ so hi àtm an en a452 d h anena ca || guroh453 sam o naiva454 hi m artyaloke ta th â visesena hi455 cSntarikse455 | yas tàrayed d u h k h atn ah ârn av au g h ât kim tasya k artu m ksam ate sa sisyab 1 na m â tâ na pîtâ caiva456-na p u tro 457 na ca bândh av ah 458 . u p a k â ra m 450 hi kurvanti yàdrsam k u ru tc460 guruh460 [! y a tp ra sâ d â t prasidhyantî461 sarvam antrâs ca bhûtale ' sa guruh püjyatc kim na462 sàksâd devo m ahesvarah || iti kulâlikâm nâyc463 srïm ate satsâhasre464 sam hitâyàm 465 p an cam ah p a ta la h 11

426. A -li 427. BC himsanli 428. BC hàrisakàti 429, BC visphurate 430. A devyâ 431. A vibhüte vipulâip 432. A vevanâm 433. A -vakiragah 434. A anyam caiva 435. A lai ca; BC tattva436. A lad vibodhyali 437. BC kulasâstrasya martyo 438. ABC -là 439. A -gunivam 440. A prava [rta )tc 441. BC yasya sàmbhavtye 442. A -kârakà 443. B nânyabhedaii 444. A Éàkiadânnavai 445, A Èastrâd asya guruh 446. BC vivekam 447. A -pùjanah 448. BC japam 449. C a vatara 450. AC mantra 451. A phalam pradâ 452. BC âtmanâ ca 453. A guru 454. B natta 455. A bhi (yâJmarik.se 456. B tv eva 457. BC putrâ 458. BC -vàh 459. BC upacâram 460. A guru(vesamn) 461.A-nle 462. illegible in A 463 omitted in BC 464. A -sa465. omitted in BC.

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there is no disease in his body, nor does d e a th occur [for him]. F ire does not b u rn dow n his house, n o r are [his kinfolk] h u rt by wild beasts. T here will be peace and prosperity, O Devi, for men and anim als. U nlim ited, divine pow er will be his share, w hen he recites it three tim es: he will be able to d istu rb lands an d tow ns, and to excite men and w om en. T here will be an extensive ab undance for him as the result o f w orshipping the [five] Pithas. W hen he sleeps at night, O Devesi, auspicious dream s occur for him. All this; 0 V arârohâ, is obtained [by him] on the authority o f the G u ru . The au thority o f a G u ru [have] th e father, the m other, the m aternal grandfather, and th e p atern al g ran d fath er: w hat o th er people there m ay be in th e position o f a guru, [only] these are called [rightly] ‘G u ru ’. [Yet] th e au thority o f a G uru can be one o ther thing, e.g. th a t w hich is called saklim ukha. W hen one realizes this, then all o n e ’s enterprises are successful on earth. The K ula-path is suitable for this [purpose]. The one w ho is explained in .the [Kill a “]t rad iti on [as a G uru], he is a [real] G uru an d an exam ple for o th er G urus. F o r whom there is the SâmbhavT D îksâ w hich effects in stant faith, from the presence o f such [a G uru], th a t one is a [real] G u ru , a n d not by m eans o f o ther vedhast namely the kunjakas, sâ kta a n d ânava. The S astra [one obtains] through this G uru, [as well as] true know ledge, [the p roper rules for] w orshipping the gods, b athing, m editation, asceticism , oblations, the m anifestations o f the [Kula-] trad itio n , m antras, mudras and secret know ledge — [obtaining these] from the presence o f such [a G uru] it bears fruit ! C onsequently [such a G uru] should be revered constantly, b o th by m eans o f spiritual an d m aterial m eans! A m ong m an k in d nobody equals the G u ru , and certainly not [anyone] in the interm ediate space; th e pupil then is indulgent to perform the m eanest task for him, who will save him from stream s o f the great ocean o f sorrow . N either the m other, nor the father, n o r a son o r relative can offer such a help, as the G u ru can provide. [The G u ru ] th an k s to whose graciousness all the m antras are successful on earth , such a G u ru is venerated ; why n o t? He is the personal m anifestation o n earth o f G o d , o f M ahesvara! T hus in the K ulàlikàm nâya, in the § rim a ta, in the S atsâhasra S am hità the fifth chapter.

C O M M EN TA RY Introduction The first thing to note with regard to the present chapter of the SatSS is its actual number. In the captions o f this chapter we have deliberately left this question open bydenoting it as 'patata 4/5’. The chapter preceding the present chapter is unmistakably the third : this num ber is found in the colophons o f all the three MSS. as well as at rhe beginning {irltya put ala drambhah) and the end (iti satsàhaxre irtïyah patalah) of the TW ith regard to the chapter following the present chapter we see the same: both the MSS and the T agree that it is the sixth palala. This leaves us with the question which number should be assigned to the present chapter, four or five. Either way, one chapter is missing. The three [VISS agree in their respective colophons that the present chapter is the fifth, thus om itting a fourth palala On the other hand the T, which comments upto line 150 o f the text, begins ils commentary with can/rrha palala aratnhhah, and finishes with iti saisâkasre caturthah pntalah. Consequently, according to the T the present chapter should be the fourth, thus omitting a fifth chapter. W hereas the three MSS o f the SatSS do not seem to bother about this obvious incongruity in the sequence o f their chapters, the T seems to be aware o f it. Thus the author of the T begins his com m entary on the sixth chapter with the words: tal ha pahcame patate yâvat pîthavyâptih sas the patate yâthâ. indicating that the fifth chapter begins after what is called the pïthavyâpti, ‘the pervasion [of Dev7) into the [five) Pithas*. In this way the fifth chapter might begin after stoka 132 o f the text, which ends the description o f the five Pithas. There seems to be a break in the text at this point: the names o f all the guardians are repeated and they are connected with different parts o f the body or with some physical phenomenon. It is noteworthy in this regard that the strict division o f the guardians over the five PTthas as we saw it before, is abandoned. Thus the first five of the six guardians belonging to the first Pitha are taken together and identified with the fingers o f the right hand ; the last o f them joins the first four o f the second Pitha as the five fingers o f the left hand etc. A nother indication for the assumption that after 132 a new part begins could be found in the fact that line 132 is only a half-r/oia, which appears often at the end o f a section or chapter in a text. The present chapter of the SatSS is the first of this text which has a direct relation to the KmT. Its contents are based on the second chapter o f the KmT, and quite a few lines are almost literally repeated. As we shall see in the notes, the SatSS has added much to the text o f the KmT. The quintessence of the present chapter in the SatSS and of the second chapter o f the K m T are the same: Devi goes around in Bharata Varsa, visiting various places where She obtains daughters, sons and guardians. The number of places visited by Devi on Her tour varies- between the two texts, as we shall shortly see. In the KmT (2,24 If.) Devi successively visits the Srim alkaum araparvala or Sriparvata, north o f which is situated a great forest full with tihgas (2,25d : lingapûrm mahâvana) \ the Mt. T riküta; the D aradandt, the Western Him agahvara; K arâla; the great forest of Sahya; the river Ucehusmà; a place not mentioned by name, but described as mâlaàgakulasambhava (2,102d) and possibly identified with the river Trisrotrà (2,111b); D evikota; A )tahasa; Kollagiri; Ujjenï; Prayâga. V aranà ( = Vara­ nasi); Viraja; Ekâm raka, and other places (2 ,ll6 d ). The most important o f this

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enumeration are the Western Himagahvara, Karàla, the Forest o f Sahya. the river Ucchusmà, and Lhe locality not mentioned by name: in these five places Devi obtains daughters, sons and guardians, all of whom are mentioned by name. The five places are, o f course, identified with the five M ahâpîthas (Odiyàna, Jàlandhara, Pûrnagiri, K âm arüpa and M atanga). The present chapter o f the SatSS only mentions these five places at this instance, but in the first chapter o f our text the others preceding the Western Himagahvara in the K m T arc mentioned in this context. Thus (I-V denote the five M ahâpîthas) :

I II III IV

K m T 2,24-116

S a tS S 1,36-3 7

S a tS S 415,26-132

K aumâ rapa rva ta/S riparv a ta T riküta D aradandï Pascima H im agahvara Karàla Sahya M ahàvana Ucchusmà N adi Nila' M ahàhrada

Him a van Meru Candrâdi G andham àdana Srigiri Triküta D aradandï Olam ba K aràlam ba Sahyâkhya Ucchusmà Vana H rad a Nila h rada

U Iambi kâ K aràlam ba Sahya M ahàvana Ucchusmà M ahânadï Nïla M ahàhrada

V DevTkota. etc. N.B.: the fifth Pitha, Màtariga, has no ‘real’ locality (cf.: SatSS 4/5,120), The names o f the daughters, sons and guardians obtained by Devi in the five M ahâpîthas agree almost completely in both texts. The SatSS, however, deals more extensively with the subject. All the daughters, sons and guardians are connected wilh specific parts of the human body, or with a particular physical phenomenon. M ore­ over, the sons o f Devi are provided with a sakti o f their own. The names o f these iaktis are the same as the different manifestations of the goddess Màlinî, and their respective location on the human body is the same as in the Mâlim-system as it is explained in the seventh chapter o f the SatSS (Appendix I). The order, however, o f the M alini-iait/ir as given in the present chapter differs widely from the order o f the Mâlinî-system proper (cf. p. 225). The connection o f the daughters etc. o f Devi with a particular part o f the body or a physical faculty as it is found in the SatSS, might be due to the fact that the SatSS appears to put more stress on the practical side of the worship th an the KmT (Schoterman 1977: 932): this connecting with the human body could be related wilh the practise of nyâsa. The appearance of the Malinkraftiw as consorts o f the sons in the SatSS can be explained from the form of Devi on H er visit to Bhàrata Varsa As we have pointed out before (Schoterman 1977: 935-937), it appears that the goddess who actually visits the various places is Kubjikà or Màlinî as a manifestation o f Devi. This specification of Devi as Kuhjikâ/M âlinï is only found in the K m T in this phase o f the text, as it is missing in the SatSS, Yet the author of the SatSS seems to have understood this identification: not only are the fifty MalinT-itffcfij inserted in the text as consorts for the sons in each of the five M ahâpîthas, but in a row o f lines taken directly from the

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Km T (SatSS 4/5,]2-19ab) two lines are inserted which are not found in the KmT (4/5,15cd-I6ab). Here it is stated beyond doubt that the goddess has a body consisting of the fifty letters of the Skt alphabet (4/5,15d), which refers clearly to Mâlinï. 1 : It is doubt fui I to which occasion pürvarp (la), ‘formerly’, precisely refers. Most likely the reference is to the first chapter of the text (4 lcd ff.), where the four Pithas are connected with the ears, the mouth, the uvula, and the ‘central aperture’ (madhyarandhra) respectively. The fifth Pitha has no actual geographical location (see Introduction to this chapter). As the connection o f the four Pithas with the body in 1,4 led ff. only becomes clear in the T and not in the text itself, one might perhaps consider pürvani as a reference to l,48cd ; 49ab ( = 4/5,20), where this connection with the body is explicitly stated. 2: Again, the sioka begins with pur vani (2a) referring to a conversation between Bhairava/Deva and Devi, especially on the topic o f the relation between teacher and pupil (2d). This refers to K m T 2,l8cd (/vani gurur mama devesi aham re na vicârartâr, ‘You be My teacher, O Devesi, and I will be Y ours — no doubt about th a t!’). 3: The term hhârala varsa (3c), 'K ing B harata’s realm’, indicates India, of course 4: In the present chapter only the five M ahàpïlhas are discussed, which are visited by Devi on H er tour in India. The other Pithas, U pa pit has, K set ras and Upaksetras (4a) are not mentioned by name in the text o f this chapter. The mentioning o f 'pitha' in this series might, of course, refer to the five M ahàpïlhas, but no Upapithas, Ksetras or Upaksetras are mentioned as being visited by Devi, Probably this mentioning of other places besides the five M a ha pit has refers to K m T 2,115 f t , which mentions several places visited by Devi after H er stay in the fifth M ahàpïtha: Devlkota, A ttahâsa, etc. {cf. p. 148). In 4c the verb pratisthayed is noteworthy as a denom inative from praiisjha, ‘standing firmly, steadfast’. 5: According to 5ab the daughters, sons and guardians who are obtained by Devi on the occasion o f Her visit to the five M ahâpïthas, number 134 in total. In reaching this number the female consorts are not included in the enum eration. In pâda 5d the reading o f the MSS BC is chosen, as it harmonizes with K m T l,50d. 6 : The meaning of pâda fiab is that the daughters and sons of Devi will create their own — numerable offspring in due course, which will adhere to the Kula-d oc trine. 7: Instead of panca (7 a) the MSS BC read evarp, ‘thus’. This change between panca and evam is explicable, since there is but a small difference between e and pa, and between va and ca in writing. M oreover, an anusvâra not placed exactly above the aksara pa {A reads pamca) but slightly behind it, may have helped to cause the reading evam for panca (pamca). The reading of A (vedâs) is a com m on perm utation for de vas, which is obviously meant here. 8: In the next lines the number o f daughters, sons and guardians in each M ahâpitha is given by making use o f the numeral value som e Skt words have. These symbolic words always start with the units, followed by the tens, the hundreds and the thousands. This method o f presenting a num ber in a ‘concealed’ way is usually found in metrical texts or inscriptions, where writing the figure in numerals would disturb the m etre (cf. Sircar 1965: 228 ff.).

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Thus iti the compro und vus vasta va tsaràrdham (Sa) the number o f daughters, sons and guardians o f the first M ahâpïtha is given: vas it means ‘eight’ (the eight Vasus); asfa means, o f course, also ‘eight’ ; vaisarârdha, ‘half o f the year’, denotes the number ‘six’ because a year (vatsard) has twelve months, and half (ardita) o f it makes ‘six’. In this way there are eight daughters, eight sons and six guardians in the first M ahâpïtha. As we shall see with regard to the other M ahâpîthas, the number of the daughters and the sons is equal in each o f the M ahâpîthas. Consequently, the question which arc mentioned first, the daughters or the sons, has no practical value, since the number is always the same: there are both eight daughters and eight sons in the first M ahâpïtha. However, one might surmise that with vasu the eight daughters are meant, and with asta the eight sons, since when both groups are mentioned by nam e (26cdff,), the names of the daughters always precede those of the sons. On the other hand the T explains each com pound by giving the number o f daughters and sons of the respective M ahâpîthas the other way around. Thus, in case o f the fust M ahâpïtha, it states clearly that with wzsu the sons are meant (vasuiabdena asta lasmal parrà aytau), and th a t asta refers to the eight daughters (ayta duhirâftakam). For the second M ahâpïtha the number of the offspring and guardians is Tound in the pàda 8c {dikkaytha r favai). The reading is based on the T, since none of the MSS o f the text itself furnishes a satisfactory reading. The word dik (from dii), ‘quarter’, stands for the ten quarters (East, South. West, N orth; the four intermediate quarters; zenith and nadir) and denotes the num ber ‘ten’. Kâffhâ has the sam e meaning as d ii in this context, and subsequently also denotes ‘ten’. The last word indicates the number o f the guardians: rtuvas, ‘the seasons’, denotes the num ber ‘six', as there are usually six seasons counted in a year. U nfortunately, this reading is only found in th e T . The reading or BC does not make any sense. MS A reads dha lavas, which might be wrong for dhdiavas. The word dfmlu, however, usually denotes the num ber ‘five’, which is impossible, as there are definitely six guardians in the second M ahâpïtha (cf. 4/5,59cd; 60ab). 9: In pâda 9a màsa, ‘m onth’, means o f course ‘twelve’. Arka, ‘sun’, also denotes the number ‘twelve’. Rasa, ‘flavour’, means six, as there are believed to be six basic kinds o f rasa {tnadhura, àmia etc.). The way in which the num ber o f the daughters and sons o f the fourth M ahâpïtha is presented is peculiar, and differs from what we have seen with regard to the first three M ahâpîthas. The number o f daughters and sons is ‘hidden* in the com pound agnmdutridharâh (9d): agni, ‘fire*, denotes the number ‘three’ (there are three sacrificial fires: G ar ha paly a, Ahavaniya and D aksina); indu, ‘m oon’, means ’one’; tri is, o f course, ‘three’; dharà, ‘earth’, means again ‘one’. Thus the com pound should be read as ‘3-1 -3-1 As both the daughters and the sons are mentioned with this com pound, it follows we should divide it into 3*1 & 3-1. In the notes to iloka 8 we have already remarked that these symbolic words always start with the units, followed by the lens etc. Thus there are thirteen daughters and the same number o f sons, and not thirtyone. N ote that as in English and other languages, in Sanskrit the w ord ‘thirteen’ is the reverse o f the numeral: irayodaia & IS. O ne might w onder why the author uses this system o f expressing the number ‘thirteen’, while ‘twelve’ was represented simply by mâsa o r arka (see above). The explanation is probably that no symbolic word exists for the number ‘thirteen’. T he num ber o f guardians is described wilh svaràit (9b), which denotes ‘seven’, as there are seven notes on the musical scale (ttifâda, rsibha, gândhâra, yadja, madhyama, dkaivata, paficama). In pàda 9d the respective numbers are given as grahâ tutadds tu pancakam. Grafia, ‘planet’, here denotes the number ‘nine’; nanda refers to the nine N andas o f Pàtalìputra, and subsequently also means ‘nine*;

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pahcaka is, o f course, ‘five’. The T has a different reading o f this pâda: grahâ nandânka pahcame. Here the number 'five’ is represented by a n ha, which can symhnlize the number ‘five’ in its meaning ‘object of the senses’, of which there are five. Pa ficame, ‘in the fifth', T c f e r s then to the fifth MnhapTtha. Since the text itself every time mentions the number o f the specific M ahâpitha (âdipltke, dviilya.sya, tris the, eaiurthasya), the reading o f the T seems to be preferable to the reading o f the three MSS. 10: In pâda lOd the reading of BC appears to be a lectio faeilior, in which the gender o f plika is changed from neuter to masculine for metrical reasons. The form a-sthapyaie, in which the a- is an alpha privans, is permissible, although such formations are rather rarely met with. 11 : For pâda t Ic the reading o f A has been chosen, although the form galas is not correct since the subject (Devi) is singular. Probably one should read deiüm gaiâ sta devesi, in which the word m is enriched with an initial s-. This phenomenon is sometimes found with words beginning with an t-. Both A and B read desarn (acc. pl.), which refers most likely to those places visited by Devi before She comes to Ulambikâ (1,36-37, p. 149). In pâda 11c it is said that She goes to a place which lies to the South (dakfina) and N orth (vama) of Mt. Meru Obviously this is the location of Ulambikâ, a small vilage in the forest (I2ab ... ulambikâ ... vanapallikà). Also in 1.4lcd the location is situated to the South and N orth of Mt. M eni. The corresponding place in the KmT is called pascima himagahvara (Km T 2,36d). 12: In the village o f Ulambikâ there is a local goddess, who is only described with the term devi (12c). No specific name of this deity is mentioned here. The corresponding passage in the Km T, however, reads raktâ instead o f devi (K m T 2,37c) which is probably the name of this local goddess (‘The Red O ne’). This supposition is corroborated by a spurious line in two MSS (A&B) in the 22nd chapter o f the KmT, where the local deity Raktà is enumerated as the first o f the four deities of the four M ahàpïthas (raktakarâlacandâkslm mahocchusmâm naumi). T hat one should regard raktà as a personal name becomes also evident from the T, which reads olambikâ nâma vanupaliikâh ... latra odyàne raktà d e v i... O ne may w onder why the SatSS has replaced Raktâ o f the KmT by the non-committal devi, while in the case o f the other M ahàpïthas the local goddess is explicitly m entioned by name. Perhaps this is due to the fact that the pâda raktârpbaradharâ devi was already ‘standardized* at the time o f composition o f the SatSS. We find, for example, in the Pancasarasvatlm antra from Bali (G oudriaan & H ooykaas 1971 : No. 800) five slokas for five different forms of the goddess Sarasvatl, The difference between these five forms of Sarasvafi lies only in the particular colour she has: the five slokas are completely identical except for five different colours mentioned in each o f them: the second Sarasvatl is described as raktâmbaradharâ devi raktamâlyânulepanâ \ rak lapuypapriyà devi ... ]| (cf. also G oudriaan & Hooykaas 1971 : Nos. 801-803). 13: It is not clear who is the subject in this Moka, but probably it is DevT Herself- A hint to this could be found in the use of the word gahvara (13a) which is easily connected with Mâlinï, the form in which Devi visits Bhârata Varsa (see Introduction to this chapter). In pâda 13b it is uncertain how to read the pâda: guhâgahana- or guhâ gahana-. We have opted for the first possibility an d translated guhâ with ‘secretly’, which is, however, actually Vcdic (gùhâ). It seems, however, that R aktâ is not aware of D evi’s presence, and only notices that the place suddenly becomes filled with Yogins

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(13d), probably because Devi also practises austerities while abiding in the cave. Taking pâda 13b as one com pound it means ‘dwelling in the abyss of a cavern’, which also makes good sense. 14: In pâda 14a devi refers to the goddess Rakia. Because DcvT observes that Raktà is pleased with Her practising yoga. She addresses Herself to her. Devi speaks with a ‘distinct (prasanna), iow {gambhira) voice’ (14c). Since we have assumed earlier th at Devi is hiding in a deep cave, Her voice will be low and sonorous. She is called here Kujesvari, a common name for Dev! in the SatSS and the KmT. 15: Pâda L5cd is not found in the K m T at this instance (see: p. 150). 16: Sükfm àdi- in pâda 16a refers to the creation in general, and to the phases in which ‘speech’ (sabda) originates in particular, e.g. süksma and slhula (cf. 3,103; 104 Notes). The Lines 15cd and 16ab are inserted by the author o f the SatSS between lines taken directly from the KmT to stress the im portance of Mâlinï here as the female representative o f the fifty akfaras, which form the basts of creation in T ant rie concepts. The pseudo-etymological explanation o f the name O diyâna in lócd is not clear to me : BC both read addito in pâda 16b, while A reads here uçtratâ which is probably wrong for udrirâ (cf. 16c). The meaning o f both words is unfortunately uncertain : both readings are obviously past passive participles, but it is puzzling from which verbs they are derived. The form addita is likely to be connected with the verb ud-di-, 'to fly upwards’, which has, however, uddim for its p.p.p. Besides, the meaning ‘flown up’ does not seem to m ake any sense in the context. The form abrita of MS A is perhaps even more enigmatic, since it cannot be connected with any known Skt verb. We have chosen for the reading uddita, which the K m T reads also in this instance, and translated it with a non-committal ‘connected w ith’. 17; Pâda 17ab is not found in the KmT, and seems to anticipate sioka 20a, in which the M ahàpïtha Odiyâna is related to the faculty o f hearing. As we have seen in 1,42, this M ahàpïtha represents the two ears at both sides of the head (M t. Meru). W ithout it there is deafness (T terta pithem vim badhiralvam). W ith the term purâvasthâ (17c), ‘the places o f tow ns’, those particular physical places are meant, to which the daughters of Devi are related. Instead of the term pura, we find also synonyms such as gocara, sthâna, âvâsana, gahvara, âxraya, pitha, ràjya, g rin ta , pada, visrâma, and pradesa. The sons o f Devï are not connected with ‘tow ns’ etc. but here the term stmhâsana is used (cf 31). 18; The lord o f the goddess Raktà will be Âdhârïsa, who will descend from the K hecartcakra (cf, 2,5 Notes). In the K m T the name of the future husband is M itrànanda (Km T 2,47b), From him Rakta will receive eight sons, who are described as fadgurtu ( 18d), ‘endowed with six qualities’. It is doubtful to which this refers: perhaps the six actions o f à king in foreign politics are meant (M anu 7,160), but this does not seem very likely. The KmT has the same reading (KmT 2,42b), and the number ‘six’ is again referred to with regard to the eight sons in K m T 2,48b where the sons are described with fafkulâdhipaitsvurâh, 'M asters o f the group o f six commanders [udhipatiy. It seems that gurta and kula are used here much on the same line, but the meaning of both words differs considerably. It, requires, however, only a small emendation to remove this difference: instead of sadgunâh one should read fa d garnit in, pâda 18d, ‘the six groups'. Obviously this refers to the six guardians o f the firs»

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M ahâpïtha, who are not mentioned otherwise in the text, while the sons and daughters are. The guardians in each o f the five M ahâpîthas are designated by the names praticàraka (38 b), pulraka (60b), pataka (88b; 133a), and prattcara (116d), but never in the text itself are they called ganas. The T, however, uses the designation gana in its commentary on 4/5.8a, which deals with the num ber o f daughters, sons and guardians of this first M ahâpïtha. It seems therefore acceptable to read sad ganah instead of ja d g u w h in pàda I8d. The translation of pâdas 18cd should then run as follows: ‘You will have eight sons in human shape, and there will be a group o f six attendants’ Since, however, all the MSS o f both the KmT and the SatSS unanimously read fadgunâh we have not altered the text. Note that the sons and (possibly) the guardians are mentioned before the daughters, who are referred to in pûda 19a immediately followed by the sons for the second time (19b). 19: Rale ta will become the m other o f Ihe eight Sâkinîs. These are obviously the eight daughters: Rudrànï, Rudrasâkî etc. . Here the T gives, however, another explanation o f the word: kamatha — brahmarandhra-sthâna. Kamatha in the sense o f the Brahm arandhra can be explained (see: Notes on 12 Id). Consequently, kamatha might be explained with 'belonging to the B rahm arandhra’, which has a connection with the head. 36-37: In the pâdas 36cd; 37ab the bija o f Àdhàrïsa is given in a concealed way. F or the interpretation o f these lines we have to rely on the T, as most o f the ‘secret’ names o f the aksaras are not known to me from any other source. Thus mràiraya, ‘without support’, denotes the letter ha according to the author o f the T. The third letter after the ha is the sa when counting backwards and including the ha itself. The T seems to have been in doubt whether to include the ha while counting backwards or not: the sa is twice changed into the sa. W ith regard to the bi/as o f the other M ahâpîthas, however, the sa appears to be correct. The sa then is ‘adorned’ (mandila) with the antahtna, ‘[the letter] without end’. According to the T this is the à. Most likely a reference is made to the Bhairava A n-anta. which represents this à in the Sabdaràsi-system (cf. ch. 7). The bija o f Àdhàrïsa is completed with the letter called ‘atm osphere’ (antariksa), which can only stand for the anusvûra (am), as this is the most usual ‘ending’ of a bija. The T does not explain the antariksa. Summarizing, the bija of the lord o f the first M ahâpïtha, À dhàrïsa, is the sacred syllable SÂM. There might be some doubt as to the nam e o f the fourth guardian o f this M ahâpïtha: A reads M ahotkata, while BC have Balotkata. The T corresponds with the reading of A. The K m T (2,45b) also has M ahotkata. The reading o f A and the T seems therefore correct. There is, however, a difficulty here: the seventh guardian o f the fourth M ahâpïtha is unanimously called M ahotkata (116b) in the MSS ABC, while in the K m T (2,99b) he is called Balotkata. Furtherm ore in the complete list o f the guardians the first guardian is called Balotkata (133d), while the latter is named. M ahotkata (I36d). It follows thus that with regard to the seventh guardian o f the fourth M ahâpïtha all the MSS o f the SatSS agree that his name is M ahotkata. Consequently, one is inclined to opt for the reading as found in the MSS BC, and to read baiotkatab in pâda 37d instead o f mahotkatah ( = MS A & T). Yet we have opted for the reading mahotkatah. although an evident inconsistency is the result o f this choice: two guardians have the same name. A determ inant factor in this regard is the fact that all MSS o f the KmT read this mahotkatah in the present instance. Since the K m T is anterior to the SatSS, the reading o f the K m T is followed — a reading which corresponds with the oldest MS of the SatSS. Consequently, if the list of guardians o f the M ahâpîthas should be made ‘correct’, the name o f the seventh guardian o f the fourth M ahâpïtha might be changed into Balotkata, although this name is only found in the KmT, of which all the MSS consulted are unanimous in reading Balotkata. The fact, however, that there might be two guardians with the same name, is found once m ore: both in the second and in the fourth M ahâpïtha a guardian named Brhatkuksi is found. 38: Note that the names of the six guardians all refer to an elephant, especially G aneia: Caturbhuja, üanàdhyaksa, G ajavaktra and Vinâyakya are all names for G anesa; Airâvatya refers to the elephant of ln d ra; M ahotkata should mean ‘the one with an abundance of rutting fluid’, which can only be applied to elephants. The

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variant reading Balotkata (see N otes previous sioka) has the non-committal meaning ‘the one with immense strength’, which is not an epithet only applicable to elephants. The epithet mahotkata is not found in any of the current dictionaries, but it looks very much tike the usual designation of an elephant in rut, madotkata (Am arakosa, 1538). Unlike the daughters and the sons, the guardians are not connected here with any location on the body nor with any physical faculty. It is only after the complete enumeration of the guardians (! 33-137) that they are connected with the human body (139-142). The T, however, gives their relation with the body as soon as they are mentioned in each M ahàpïtha. For pàdas 38cd the reading o f the MSS BC has been chosen: ... samyogah ... p ro k to ’p i as in the reading o f A samyugàh ... prok td p i...) the gender o f samyugu is not correct and double Sand hi is found in pro k tapi. The meaning of both readings, however, is the same. Purâ (38d) means ‘previously’, although the locations of the guardians are not mentioned before by Bhairava, not in the KmT, nor in the SatSS. One might argue that pura is w rong for purâh, ‘towns’, thus referring to the localities o f the guardians. The designation pura, however, appears to be strictly reserved for the locations o f the daughters. The locations of the guardians are in the T always referred to with sthâm . 4Û: After Her visit to U lam bikà/Odiyàna Devi goes to the second M ahàpïtha, Jâlandhara, which is identified with the place K arâlam ba. As is said in the pàdas 40cd, the place immediately becomes ‘full of fire’. Since this second M ahàpïtha is characterized hy the concept o f ‘heat’ (usna) or tejas (cf. 24 Notes), this condition of the place is understandable. 41 : Although the place is blazing with flames all over, it is yet agreeable and cool (saumya): the flames are only an illusion (cf. next sioka). What precisely is meant with ‘fierce w ord’ (ugra sabdd) is not clear, but probably it refers to the fact that this second M ahàpïtha represents the faculty o f speech (cf. 20b), and to the concept o f ‘heat’ o f this place. 42: In the pàdas 42ab the name connected with jvâla, ‘flame’ (40cd; Besides the obvious meaning ‘illusion; ‘w ater’, the only substance which can

Jâlandhara is etymologic all y explained. It is 41ab), and with jâla, ‘illusion; magic’ (42a). magic’ for jâla, it may also be derived from jala, control (42c dhnam ) fire.

44: The subject of pasyaty (44b) is Devi, Who is described as vtcitraracanànekâ (44a; cf. anekopàyaracanà (15a)). Before H er She observes an tndrajalaka. It is not certain w hat exactly is meant by indrajâtaka here, but probably it is some kind of delusion conjured up by H er own magic. Apparently the Goddess is amazed at its appearance, and asks after its origin (44c) since She has never seen it here before (44d). The use o f adhvara, ‘sacrifice’ (44d) here does not fit loo well in the context. Probably it has been confused with the word adhvan, ‘ro ad ’, which we have translated here. Possibly we have to do here with another attempt to explain the name Jâlandhara: indra'jâla + adhara. 45: After having asked for the origin o f the delusion, it docs not answer to the question o r Devi, but remains silent as it appears. Devi assumes that the illusion is too startled to speak. When Devi addresses it again, it appears that the illusion has the shape o f a female, as can be deduced from tu$tâ (45b) and tubhyam (45c). The meaning of tustâ in this context is not very clear: perhaps the female illusion is so pleased by

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Devi, thaï it is unable to utter a sound. The reading o f the KmT {2,53d: bfirasfâ, ‘bereft [of your senses]’) seems more to the point. The fact that the female illusion does not reply to D evï’s question is used to explain the name of the local deity in K aràlam ba, who is identical with the magic illusion mentioned before. Therefore Devi proclaims her to be called ‘the one with the terrible m outh’ (karâlavadanâ; cf. ugra sabda in 41c). In the text the goddess is not mentioned by name, except for this instance. The T calls her K arâlâ Devi, while the K m T has Karâlï (Km T 2,57d; 63a). Since the goddess can obviously endure D evi’s tejas, she is also called mayâjâianiyàmikâ (45d). The construction o f the pâdas 45cd is peculiar. We have assumed that kurûlavadanc and mâyâjàlanlyâmike are both vocatives o f a ferri, sg. The literal translation of this line then runs: ‘[Therefore] Tor you [there will be the invocations] “O K arâlavadanâ” , and "O MËyâjâlaniyâmikâ” ’. 46: The lord of K arâlâ is actually called Srïkundalïsa (51d; 58b). Perhaps pâda 46d should run: chrhiddhah kundaUyakah. 47: The epithet asesdrthavida (47a) for Kundalisa means ’omniscient’. In pâda 47d both MS A and the K m T (2,56b) read duhitâ, which is the nom. sg. of duhitf, while a plural is actually required (dukitarah) since there are ten daughters in this second M ahâpitha. The MSS B (dithîtâs) and C (duhi(ali) solve this inconsistency by accepting a form duhiiâ besides duhhr, The ten daughters are called after their m other Karâlâ, karüUnl (47c). 49: For usnatva (49a) see Notes on sloka 24. The fourth daughter, Pâvanî, is connected with the ‘realm oj colours' (varnagocara). N ote that her name is the same as the female consort o f the second son in the fourth M ahâpitha. It is doubtful to what varnagocara refers. The translation ‘letters’ for varna seems out o f place here, compared with the other ‘towns' in the enum eration which arc all related to the concept o f ‘heal’ or ’radiance’. Possibly varna should be translated in this context with ‘colour’, or ‘lustre’. The reading o f the MSS BC (vartma-gocara) probably refers to the eyelids. The T explains varnagocara with ‘the eyes’ (netra) or ‘the atm osphere' (âkàsa). 50: The daughter called HarsanT is related to w hat is called sarvabhaksâttga (50a). In the T this is explained with sarvabhakyâ ankesu, which is not clear to me. HarsanT might be related to the stom ach, where all the food is consumed. In pâda 50b C arcikâ is mentioned, situated in what is ’both touched and not touched’ (spr$(ósp($te$u). In the K m T this daughter is called Jayà (K m T 2,58c), but three manuscripts (FJK ) read Carcà. It is not clear to w hat particular place she is related, nor what its relation to (he concept of uyna might be. The T offers no solution for sprffâsprstesu, which it only repeats from the text. 51; In pâda 51a MS A reads Pracanda (wrong for Pracanda) instead o f Candâ. Both in the K m T (2,58d) and in the T the name appears as C andâ. Instead o f Rugmini (MS A ) the MSS BC and the T read RukminT. The T concludes this enum eration of the ten daughters with Ui sâkinî (cf. N otes sloka 19). The pâdas 51cd are not explained in the T, but it gives another name of Kundalisa, namely K urankosa (kuraiikosah nümâmarena kundaïïsah), which looks very much like the name of the lord o f the third M ahâpitha, Kurangisa (78a). 52: In the K m T (2,59a) and in the T the second son is called Sumati instead o f Sum ata (pâda 52c). The place allotted to Sum ata and Vajrini is the mouth. The T did

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not understand the form car te (52c), or had a corrupt reading o f the teal, since it only states ... vajrinï vajraxirnhasana: Vajrinï is located in the Vajrasimhasana, which does not make much sense and seems to be clearly a 'solution' based on the name Vajrinï. 54: According to the T the son Meghanirghosa and his ink li K hirvarâ are related to the front teeth (râjadania-simhâsarta), which corresponds with the 7ih chapter o f the SatSS where Khirvarâ is said to be râjadamagâ. The T has a different reading for the names of the son and his sakli, which are respectively Megha and Nirghosadhàrinï or Khikhirvarà. 55: Sikhivaktra and Mâyà arc located in the simhasana o f the tongue (55b), which is also stated in the 7th chapter {rasanti} The T defines jihvà with sarasvalhinihâsana, which is not correct (cf. Notes iloka 114) 56: Kâlukuta and N àràyanï are located on the Susumnâ (56c) or Madhyamii, the central one of the three Nadis. In the T {.karna-simhasana) and in chapter 7 {iravanaa daksavâmau) the two ears are mentioned in this respect. 57: The reading o f A for the pàda 57a corresponds with iloka 46a. The MSS BC regard eie as referring to the sons. In the pâdas 57cd & 58ab the name o f Kundalisa, Lord o f this second M ahâpïtha, is explained. According to the T the basis in the pâdas 57cd is described, which is called kurtdala ( T : ittham mulasthane kundaiabhidhanc), The basis called kundala (lit. 'circle’) consists of a square, a triangle and a hexagon. The description is very much alike the description of the fourth Satnvar ta mandala, which is located in the M ülàdhâra (2,12cd-14ab). 58: In pàda 58a the reading of MS A, which we have followed, differs considerably from the reading of the MSS BC. The T which reads kitndo ïiânâgniyukio yah for pàda 58a, follows BC. The ‘Agni o f the K undala’ (58a kwìdalìyàgmj is probably Vadavànala, who is mentioned in connection with the fourth Sam varlâm andala (2,14a). The MSS BC probably did not understand this mention o f Agni in connection with the kundala, and changed kundala to kunda, which denotes the circular fi re-pit. In this way the mention o f Agni was made plausible. The T explains that Tsa and Agni are identical (T ya iiah isvarah salva agnlr ucyate). The facL that the Lord of this M ahâpïtha is identified with Agni is not surprising, as the characteristic o f this place is ustia or tejas. In the pâdas 58cd and 59ab the bija o f Kundalisa is given in a concealed way, as it was done in the case o f the first M ahâpïtha (36cd ; 37ab). ‘The letter taken previously’ was the aks,ara sa (36c), the letter after this one is the ia. The sa then is 'covered' {carcita) with the visamânga. According to the T with visamânga the vowel e is meant Vtsama means 'odd number'. Since the e is the eleventh letter, the explanation of the T seems correct. Moreover, the e is written in the Nâgarï-script above the consonant: in this way the term ‘covered’ is understandable. 59 : In pâda 59a vibhâga can only designate the anusvara. as the T confirms. Thus the bija of Kundalisa is SEM. The second guardian o f the second M ahâpïtha is called Brhatkuksi (59c), (be namesake o f the fifth guardian of the fourth M ahâpïtha (116a). 60: We have seen that the names o f the guardians o f the first M ahâpïtha all point to an ‘elephant*. The same appears to be true here: meghavarrta, ‘cloud-coloured’.

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refers to the identification o f the elephant with a rain-cloud; brhatkuksi ('fat-bellied’), ckadanistra, gartesvara and vighrtaraja are all epithets of G anesa ; m ahàm nda, ‘o f great bliss', is not known to me as an epithet peculiar to elephants. Perhaps it is a perm utation with mahânàda ( "making a loud noise') which designates an elephant. It should be kept in mind, however, that none o f the MSS of the SatSS or o f the KmT (2,61c) have a variant reading of mahânanda. The surmise, however, that the six guardians of this M ahàpïtha should all be considered as a form o f Ganesa, is corroborated by the fact that the KmT calls them ganeivarâh, 'manifestations of G anesvara' (Km T 2,bid). 62: After H er visit to Jâlandhara Devi next turns to the G reat Forest of Sahya, where the third M ahàpïtha Pürnagiri is located. The J reads p ümag trip i/he sa hya vanapattikâ: ‘In the Pitha Pürnagiri [there is) a small forest-viliage [called] Sahya’. In contrast with the places mentioned in connection with the preceding two Mahàpïlhas Sahya is known: the Sahyadri are the Western G hats. The goddess usually related to this place, however, is called Ekavïrâ tcf. Sircar 1973: 27; 68) and not Candàkstnî, as she is called in this part o f the text. Although Sahya is called a forest m pâda 62b, it is also a mountain, as becomes clear from 70b [parvaio 'yapt) which refers obviously to Purna-g/r/. In pâda 62c the expression sampürttamandalârcibhih is not clear to me. The literal translation o f sampürnamandala, i.e. ‘the complete circle', does not make much sense here. M ost likely sampürnamandala has a specific, technical meaning. In 72c the lord o f this third M ahàpïtha is called santpùrrtamandalddhara. The use o f santpmna in the context of the third M ahàpïtha called Pürna-giri might easily be caused etymologically, but this assumption is not very helpful in understanding the meaning of Sam pürnam andala The use o f arci ('flam e') in this context suggests that the Sam pürnam andala might have a ‘fiery" nature. It is rather attractive, therefore, to regard the Sam pürnam andala as another designation for the Sam vartâm andala to which the god of fire, Agni, is very closely related. The use here o f Sam pürnam andala instead of Sam vartâm andala might be due to the etymological reasons referred to above. 63: The sioka 63 has been inserted by the author of the SatSS, and is not found in the corresponding passage o f the Km T (2,63cdlT.). In pâda 63a the word jagat as found in sioka 62d (jagat-irayu) is explained with sarva (‘body’). Devï Who filled the three worlds or the hum an body with the ‘lustre of the Sam pürnam andala' (62cd) is identified with the kalâ situated above the palate [lâiârdhvasthâ). This identification with this particular kalâ is unfortunately not explained in the T. Perhaps it refers to the eighth Chapter o f our text in which a kalâ called amrtâtmikâ is mentioned, which is located ‘at the end of sound' (nâdasyânte) ( = K m T 5,94 ff.). In this way the location ‘above the palate’ might be understandable. Probably in the same way one should understand K m T 6,65cd ( = SatSS palala 10): amriâkhyàm paràyonim bhâvayen mastakopari, ‘one should imagine the yoni o f Para which is called am?ta, above the head’. Farà refers here to the triple graduation o f creation; para, süksma, and sihùla. The mention of amrta in this context is furtherm ore seen in sioka 68c of this chapter o f the SatSS, in which it is stated that the local goddess becomes ’filled’ with the divine amrta [divyâmrtena püryantîm), as welt as in pâda 63d. The fact that the world ‘ends and begins with the Rudras’ (63c) refers to the Concept that both the world and the human body are constituted by the fifty akyarus o f the Sanskrit alphabet, which are here called the [fifty) Rudras, the male counterpart o f the fifty — female — Mâlinïs.

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65 : Before the pâdas 65ab the K m T reads one hail-sloka which is not included in the SatSS: tâvac candâkst baiavai paricâryam anekadhâ (Km T 2,65cd), which is evidently the continuation of 64c d (yàvai ... tàvac). In the SatSS yâvat i » pada 64c is not followed by a corresponding tâvai — the occurrence o f tâvac in sloka 68a (note that the first two words of pada 68a are nearly identical with the 'missing* line from the KmT) seems to be at too great a distance to connect it with the yâvat of pâda 64c. In the pâdas 65cd the name o f the local goddess, Candàksinï, is mentioned for the first time, and is at the same time identified with Devi. As we have observed earlier (Notes on 24) the basic idea of the second and the third M ahâpitha is irreg u lar instead of the usual order ‘w ater’ ijala) and 'fire’ [lejas) we find the reverse here. Yet, although the third M ahâpitha should be connected with dravajjala ('w ater’) according to the system of the SatSS, we find in pada 65c a clear reference to lejas (tejobhâbhih pradïpyaniî) in order to explain the name Candàksinï and its relation to Devi in this Mahâpitha. The name Candàksinï literally means ‘She with the burning eyes'. The reading o f the MSS BC for pâda 65d seems a lectio jaciUor, in which catidàksìnyà is either a regular instr. sg. fern, from candàksinï, or a nom. sg. fern, ending in -ra instead o f-t. The MS A reads for pâda 65d candâksinyo pose (pa th e?) smrià, which does not make much sense, however, at first sight. The form candâksinyo before pase is only possible when one assumes the reading 'pase, or regards the two words as one single com pound [candâksinyopase). The latter possibility can be safely ruled out since a word upasa (perhaps: upasa or upasd) does not exist, although one could consider a word upâsa (from the verb upâs- Lto do homage’) which is, unfortunately, not attested for in any text. The former possibility, a word apasa (perhaps apasa or apasa), is not very helpful either: no such word is found in any of the current dictionaries. The best change gives perhaps the reading apasa as a thematic derivation from Vedic apas, ‘watery*. W ith regard to its meaning it would correspond with the concept of dra va Ijala for this third M ahâpitha. The word itself, however, is not very likely, Moreover, the w ord candâksinyo, which precedes it, ca r only be a nom. or voc. pi. which does not fit in. It seems, therefore, that an emendation is required in pada 65d : candâksinyâ pose sm nâ, in which candâksinyâ is a nom. sg. fern, ending in -yd instead o f -f; posa (‘thriving*) refers to the characteristic quality o f Devi in this M ahâpitha, i.e. pusii (cf, 20c), both words being derived from the same root pus-. 66: From pâda 66a it becomes clear that Devi finds Herself on a mountain (mirati), on which slopes the ‘G reat Forest o f Sahya’ is located (cf. 62 N otes; 70b). The KmT (2,67a) reads in this instance yasmm adrau instead o f tasmin adrau (MS C). The reading o f MS A seems to follow the K m T here: ya[sniin a]drau. Therefore the reading of the KmT has been followed here, although none o f the MSS of the SatSS actually have this reading. In pâda 66b the epithet ghanojjvalâ has been translated with 'bright as the lightning’, although this meaning for ghana is not attested, as far as we know. The word ghana, however, can denote a ‘cloud*. In this way the epithet ghanojjvalâ might be understood as ‘flaring up from a cloud’, which is the lightning, o f course. In sloka 66 the ‘fiery’ nature of Devi in this third M ahâpitha is stressed again (cf. 24 Notes; 62 N otes, 65 Notes). 68 : The reading of the pâdas 68ab is not correct, assuming that Devi is the subject of the verb pasyati (68b), to which the epithet amitatejasà (68b) points. Although Devi was already identified in sloka 65d with the local goddess Candàksinï, it appears that She sees this local deity before Her, Consequently one should expect an acc.

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candâksinïm, which is metrically possihte. The reading o f the SatSS seems to be a corruption o f the text of the KmT : cançtaksinî tv instead o f candàksinïty (K m T 2,69a). The local goddess is ‘filled’ by Devi with the Divine Fluid (68c divyâmrta), as a result of which she becomes ‘abounding in the qualities of the Divine H osts' (68d divyaughasàiinî). As we have observed earlier (cf. notes on 1,5) there are three oghas : divya, tnânava and siddha, o f which the divyaugha is the most eminent one. By means o f the Divine Fluid from Devi Herself the local deity is ‘prom oted’ to the highest ogha (lit: stream). 69: Again in the pàda 69b one finds a reference to the name of this third M ahâpïtha in the epithet pùrnamanarathâ, as well as in the following two pâdas (69cd) in which twice a form of the root pr- (to fill) is used. 70: I n pàda 70b the Mt. Pürnagiri is referred to as ‘abounding in tapas' (tapotkata), The K m T (2,71b) reads instead tavodbhavah. Although the third M ahâpïtha is related to dravajjaia (cf, 24 Notes) its ‘fiery* nature was observed already in sioka 65cd (cf. Notes). Here again the connection o f this M ahâpïtha with Tire’ is referred to. In this context it should be remembered that from the earliest times onwards fire and water are closely connected (cf. Gond a 1960 : 68 ffi). In his commentary on ST 1,44 Râghavabhatta enumerates the names of the ten bodily fires from three — unknown — sources. In the third series of these ten names we find as the seventh bodily fire one called D râvaka (drûvukàkhya), a name which is derived from the same root dru- as the word dra va which is characteristic for this third M ahâpïtha. 71: In pâda 71c all the three MSS read Jim-, while the KmT (2,72c) has te/ainstead. The T allots the tejaskandha to the second M ahâpïtha. The reading o f the KmT points again to the fiery nature o f this M ahâpïtha (see above). This unanimous referring in all three MSS to fiva instead o f the more appropriate tuja as found in the KmT might be explained by the Sioka 63 which is not found in the KmT. Here il is stated that everything subsists (jîvità) on the Divine Fluid {amrta). Perhaps the mentioning o f jtva instead of teja or jala refers to the fluid par excellence, the Amrta, circuitously. In pàda 7 ld Pürnagiri and its Mistress are brought in relation with the third yuga, the D vâpara Yuga. We have not seen that the tw o preceding M ahâpîthas were connected with the first two yugas (K rlà or Satya, and Trctà respectively), nor is the fourth M ahâpïtha connected in any way to the fourth yuga, the Kali Yuga. The fifth M ahâpïtha falls, of course, beyond the scope o f this series since it Is transcen­ dental. Although not explicitly stated, it seems probable that the first four M ahâpîthas are connected with the four yugas owing to the tendency o f the Indian mind to systematize. 72: The lord o f this third M ahâpïtha is called K urahglsa (72b) in the MSS B & C , while MS A always reads Kurungïsa. In the KmT (2,73b) he is called Cakrânanda. We have chosen for the reading K urangisa which is also found In the T instead o f the reading as found in MS A, because it corresponds better with an etymological explanation o f the name as found in 85cd, 86ab. M oreover, the T gave K urankosa as another name for the Lord o f the second M ahâpïtha (cf. 51 Notes), which sounds very much like Kurangïsa. Thus we see that with regard to the third M ahâpïtha not only the characteristic.reature o f the second M ahâpïtha (fire) shines through, but also that the nam e o f its Lord is very similar to the secondary name of the Lord o f the second M ahâpïtha.

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Com pared wilh the names of the previous two M ahâplthas (Âdhârïsa and Kundalïsa) the name Kurangisn has the ring of being a more ‘real’ name, belonging to a particular local deity. The word kurariga means ‘antilope’ or 'deer1 in general, but it is also the name o f a mountain. According to the Bhâgavala P u rin a (5,16,26) and the Devi bha gava Ia P u rin a (8,6.30) Mt. Kuranga is one of the m ountains surrounding the Meru (cf. Kirfel 1967: 104). In this way Kurangisa should mean 'The Lord o f Mt. K u r a n g a T h e reading of MS A, Kurungïsa, could be connected with the name o f a king mentioned in the RgS 8,4,19. Here we find a dânastuti for a certain king named Kuruhgh (Sâyana : ... kurtthganâtrtno rajtio danam statut). F or the word .sampürnamatwhht (72c) see Notes on sioka 62c. In pâda 72d we emended the reading of MS A {granthadhùro) lo grant hàdhàro, which is actually found in the K m T (2,73d) 73: In pâda 73c the form tebhyas (masc.) is not correct, since it obviously refers lo the twelve daughters mentioned in the pàdas 73ab. Instead of tebhyas one should expect tâbhyas (fern.), which the KmT reads (Km T 2,74c). 74 : In pâda 74b the reading of MS A (praiihara) has been emended to prattharas, which is grammatically correct. The reading o f BC (praticàràs) corresponds more or, less with the KmT (2,75b). In the same pâda the expression tadardhatah is used to denote the number of servants in this third M ahàpïtha. Thus 'h alf that |num ber = 12]’ makes six, which is indeed the number of servants here. The reading o f MS A here (tad ucyateh) does noi make much sense, even when reading tad ucyate which is obviously meant. 75; For the location called drava (75a) see the Notes on sioka 24. The location of the second daughter Sutarà is not cleaT. The reading o f MS A [sinyaka priye) does not make much sense. The MSS BC read both saityakasraye which is not clear either; the T finally locates Sutàrâ in the sainyasthàna, but unfortunately does not explain the location any further. Although B & C have the same reading saityakasraye, it is probably wrong for sainyakâsraye: both A and the T read -nya- for -tya- (two easily interchangeable ligatures), which at least allows the com pound to be translated, ‘the resort of the army’. This translation, however, does not make much sense in the context. All the locations o f the twelve daughters are in some way o r other related to the idea o f ‘flowing’ or ‘fluidity", the basic characteristic o f this third M ahàpïtha. The eleventh daughter Visàlaksï does not seem to follow this pattern, since she is located in the ears, but the reading of the text does noi appear to be correct (cf. s h k a 77 Notes). The meaning of sainyaka or perhaps saity aka within the concept o f ‘fluidity’ is not known to me. Perhaps one should consider the rooi litiv- (to wet), or sic- (to pour out) as the basis for a word sainyaka, but in that case sainyaka is obviously a wrong reading. 76: The fifth daughter is here called Subhâksï (76a), while in the KmT (2,76d) she is named Sulocana. Both names have more or less the same meaning: ‘She with the auspicious eyes’, and ‘She with the beautiful eyes', respectively. 77: The ninth daughter is called Visvàksï in the T and MS A (Visvaksï in A is obviously a slip o f the pen). In the K m T (2,77b) she is called Vrkànanâ, ’She with the face of a w olf, a completely different name. Her location is in ‘the flow o f Visnu’ (viyriurdha), which the T explains with müirasihâna, ‘the place o f the urine’. A connection of Visnu and urine is not known to me from other sources. Most likely the

P A T A L A 4/5

165

com pound visnu-valut is a wrong reading for Usua-vafia, or rather sisna-vüha, ‘the stream from the penis’ (cf. sloka 122 Notes). In pâda 77c Visâiâksî is related 10 the ear [.iruiau as the loc. sg. o f snilf), which is corroborated in the T (srotrasihunn). The location o f Visâiâksî in the ears does not seem correct when compared with the locations of the other daughters, which all have a relation with the concept of fluidity'. Most probable srutau is an incorrect spelling of srutau, ‘in the stream ’ (from sruti). It remains vague, however, which particular stream of the human body is meant. 78: The firsL son is here called Vali (MS C & T ), while the K m T reads Vali. 79: According to the T Valli and Mohini are connected with the ornaments o f the right ear, and N anda and Prajnâ with those o f the left ear, according to the T 80: The T locates Hayagriva and Lâmâ on the right arm , and Haya with Vinàyîkî on the left arm. 81: From pada 81b it becomes clear that Dcvi/MSlim holds a skull in Her left hand, 83: Since the Goddess holds a skull in H er left hand, it follows that the trident {triiüia) is in Her right hand. The eleventh son is here called Sukra ( T : Suka), while in the K m T (2,79c) his name is Sakra. 84: According to the T C anda (K m T 2,79c: C andàdhipa) and Bhlsani are located on the right shoulder. 85: In the pâdas 85cd we find the usual etymological explanation o f the name o f the particular M ahâpitha, Kuranglsa. The word ku- is regarded as a synonym for earth (prthivt). It is not clear what exactly is meant with navâmbu (85d): ‘fresh water’, or ‘the nine-fold w aters’. The latter interpretation might refer to the Nine Seas (navantava), but the relation with the Lord Kuranglsa is not clear. F or the sake o f completeness we give the etymological explanation o f the name Kurufiga as proposed by Say ana in his commentary on RgS 8,4,19: kuru ft jetum gacchati kulam m gaccha tit i vû kurunguh, in which the first part of the com pound kurun- is either identified with the verb ‘to conquer’ (jetuni) or with the noun ‘family’ ikuia). The explanation by means o f kula by Savana points rather to the name Kurariga than K urunga o f the text. The postfix -ga is explained with gacchati, 'he goes'. Sàyana further remarks that besides the form K urunga the name K urunda is also found, in which -da has the same meaning as -ga (4° nyatrâpi drsyata iti gamer daft)- The meaning o f the nam e Kuranga or K urunga remains puzzling. Probably the name is o f M unda origin, (cf. Kuiper 1948: 76 n.). 86: In pâda 86b the author returns to the meaning o f ku- in the name Kuranga by stating explicitly that the meaning ’bad’ or ’despicable’ for ku- is not w hat is meant by the name Kuranga. In the pâdas 86cd and 87ab the bija of Kuranglsa is given. According to the T the letter sa is indicated with Kundalisa. An argument in favour of this explanation in the T might be the fact that the bîja of the Lord o f the previous M ahâpitha, Kundalisa, is SEM . in which the basic consonant is the letter sa. Subsequently the third letter after the sa is the sa. This sa is above (lit. ‘standing on the head o f , sirogata) the letter

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called Arghlsa, which standi for the iï (cf. Appendix H). Next, the bija is stated to be svânkila, 'marked by itself (87a). This remark is rather enigmatic, but can only refer to the antisvàra {ani). Most likely the reading o r BC {khahkiia) should be followed here, which should be read as khankita. ’marked by the aperture'. The expression k hank it a is identical with mahdbilagaia in pàda 115a, which also denotes the anusiâra. In this way the bija o f Lord Kurangisa is SÜM. 87: In pàda 87d the order D urm ukha. Sumukha has been chosen for, thus following the MSS BC and the T. In iloka I35cd the same order is found unanimously in the three manuscripts. The reverse order (Sumukha, D urm ukha) as found here in MS A, corresponds with the parallel passage in the KmT (2,80d). 88: The fifth and the sixth guardians are called Avighna and Vighnakartr, respec­ tively, in the K m T (2,81a), 90: In pàda 90a all the manuscripts read pûrm m instead of sighram, which the KmT reads here (Km T 2,82c). Although it is possible to translate piinxam in such a way that it makes sense, it could also be a wrong reading for tùrnam, which has the same meaning as sighram of the KmT. In the G oraksasam hitâ where the M ahâpîthas are also discussed (p. 9) we find exactly the same pàda with türnam instead o f pur nata or sighram. After H er visit to the Forest o f Sahya where the third M ahâpïtha Pürnagiri was 'founded', Devï/M àlînï continues Her journey to the river Ucchusmà, which runs through the forest of M ahocchusma (90c). In the first chapter o f o u r text the forest itself was only mentioned (1,37b ucchufmavana). Obviously the river and the forest are closely related to eacfi other. According to the T the forest o f M ahocchusma is to be located in the ‘central aperture’ (madhyarandhrastham), a location also mentioned in 1,44c. As l,46ab s ta te , the location of this forest of M ahocchusma is in the Brahm arandhra. 91 : In the forest o f M ahocchusma there arc two ponds, called Nila and M ahâhrada (1,37c: H rada and NTlahrada). As the T already stated in its commentary on l,44d; 45a, the two ponds are to be identified with the two eyes (9ld). The Kmt does not make this identification between the two ponds and the eyes in the corresponding passage, and reads for pàda 91d divyâjriàgunasâ/mi ( K m T 2,84d). The identification of the two ponds with the eyes agrees with the particular faculty o f Devi in this fourth M ahâpïtha, e.g. the faculty o f ‘seeing’ (cf. sioka 20d). 92: W ith ambikà (92b) which literally means ‘m other’, probably Devi is meant. T he local goddess, however, is also called ‘m other’ (cf. 94a). It is doubtful what exactly is meant by vÿvdngr (92c) and lativâtigî (92d). The T unfortunately is silent on this point. Possibly the two ponds are meant, or rather two local goddesses dwelling in the ponds. 94: With m âiâ (94a) the local goddess M ahocchusma (cf. 95c) is meant, while maid in pàda 94c should refer to Devi Herself. 95: In pàda 95c only MS A reads mahocchusma as the nam e foT the local deity. The T also calls her by the same name The reading of the MSS B & C agrees with the Km T (2,88a) :fàvocchusma, which presumes a word tâva besides idvat (cf. 100 Notes).

FATALA 4 ;S

167

98: In pàda 98a reference is made to a kalpa. In the Notes on sioka 71 we have assumed that all the four M ahâpîthas are related to one o f the vukus. The fourth M ahâpïtha consequently belongs to the Kali Yuga. T hat kalpa here most likely refers to the Kali Yuga is corroborated by the K m T (2,90c), where the corresponding pàda runs bhavifyati kalau prapte. The name of the Lord o f this M ahâpïtha is Cakrânanda (98b, also 114b; I15h), who in the KmT was the Lord of the previous M ahâpïtha (cf. 72 Notes). In the KmT the name o f the Lord of K àm arüpa is C andrànanda (Km T 2,90d). In the T C akrânanda nor C andrànanda is mentioned, but there the Lord is called M adandhrlsa. The T explains the name with ma[da'’lrt dhravayati k aroti ca, 'he arouses ardent passion’, an explanation which corresponds with the explanation o f the name C akrânanda as presented in 113cd; 114ab. 99: The meaning o f pàda 99c is puzzling at first sight. Obviously it is a wordplay on kàma in relation with the nam e K àm arüpa, but why also sünya (Km T 2,92a tubhyam) is mentioned in this context is difficult to Understand. In pàda 97 Ihe name K àm arüpa was already explained: the rüpa o f kdrna are the visible manifestations of kàm a on the hum an body. As the Lord of this fourth M ahâpïtha, C akrânanda, arouses carnal desires in the human body (cf. 113; 114), it becomes obvious that the context o f pdda 99c should be placed in the sphere o f carnal love. Therefore it is perhaps more correct to translate kàtnuka with ‘lover* or 'one who is after carnal love* than with a meaningless ‘one who wishes'. The translation of pàda 99c would then run: ’for the one who is after carnal love he [provides] lustful voidness’. Still the appearing of sùnya, *voidness’, in this context does not m ake much sense. Most likely sünyam in pàda 99c is a wrong reading for sûitattt, ‘swollen*. In this way sünum might refer in this context to the swollen male member during carnal love (cf. iüm gàtra, ‘having swollen limbs’; iünândamedhralà, 'the swollen condition o f the testicles and Lhe penis*). The expression kàtnukam sün(y)am might thus be understood as ‘the lastful swollenness', or simply ‘erection*. 100: The reading of MS A in pàda lOOd . 152; W ith the vümadravyas are most probably meant the five M A-kâras from matpsa to matt hand). N ote that mandira (152c) denotes the human body.

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157 : Besides the ‘real’ G uru there are several other persons w ho may act and are to be followed as a G uru (156cd). Moreover, the Sakti, the female com panion o r the G uru during ritual proceedings, is proclaimed to have the same authority (157d saktimukha, ‘the utterances o f the S akti’). 159-160: In the itokas I59cd;l60ab we find a reference to the Six Paths {sadpdhvuri), which are acknowledged by the followers of the Pascimâmnâya. The most im portant one appears to be the sümbhavt dîkfâ. which furnishes instant insight in the doctrine ( !59cd). The six ways as enumerated in the K m T (10,69-71) are bhüta, bhûva. sâkta, mûri tra, vaudra, and sâmbhaxa. The fourth path is also called ârtava. A similar sixfold way is mentioned by Padoux (1975: 261 ff): bhuvana, pada, varna, munira, kalâ, and tattva (cf. K m T 10). The word vedha (160a) seems to be used here as a term to denote dïksâ in general, although it might pertain to the highest kind(s) of diksà here (cf. Gupta a.o. 1979:86). Most probably in pâda 160b the other five dtksas or paths arc m entioned: idktu and arm va ( = munira) are clear (note the irregular com pound iâkta-ca +- ânavaih, the reading o f A, sâkta-d-âmuivai\h] seems to insert within the com pound a hiatus-filler - (right hand) I

J

(left hand)

II. Jâlandhara (devî: (tarali nî (vaktukam â); pan: K undalïsa; bhüta : tejas; T retâ; bîja: SEM). Daughters ; 1 Mâlâ 2 Sivâ 3 D urgâ 4 Pâvanï 5 H arsa ni 6 Carcikà 7 Supra bha 8 Prabhà 9 C anda 10 Rugmini

Location (pura): heat burning cooking lustre digestion ‘touched and not touched’ splendour brightness brilliancy light

A PPE N D IX III

Sons: 1 Sakuni 2 Stimata 3 Nanda 4 Gopâla 5 Pitâm aha 6 Pal lava 7 Meghanirghosa 8 Sikhivaktra 9 M ahâdhvaja 10 K âlaküta

Sakti: C âm undâ Vajrinî Kaiikatà Kâlikâ Sivâ Ghoraghosikâ Khirvara Mâya Vàgcsï N arayanl

G uardians ; 1 Meg ha varna 2 Brhatkuksi 3 Ekadarpstra 4 G anesvara 5 Vighnarâja b M ahànanda

Location : forefinger middle fìnger ring-finger little finger little toe anâmikà

Location (timhdsana): third eye mouth upper teeth lower teeth front teeth tongue voice sus um n i

223

letter: ca ba Ita kha g» gha na i a na

(left hand)

(right foot)

III. Pürnagiri {devi: CandâksinT (p ustya r the); pati: Kurangïsa; bhûia: ja la , yuga: D vâpara; bîja: SÜM). Daughters : I Hams avail 2 Sutârâ 3 Harsâ 4 Vani 5 Subhàksî 6 M ahânandâ 7 Sunandâ 8 K olarâksi 9 Visvaksî 10 Yasovafï 11 ViSàlâksi 12 SundarT

Location (pura): m otion sainyaka phlegm tears semen m arrow fat blood urine perspiration ‘stream ’ amrta

Sons : 1 Vâli 2 N anda 3 Dasagrïva 4 H ay agri va 5 Haya 6 Sugriva 7 G opati 8 Bhïsmaka 9 Sikhandin 10 K handala Il Sukra 12 Canda

Sakti : M ohim Prajüâ Sikhivâhinî Lâmà Vinâyaki Kapâlinyâ Pùrnim â Jhankari K urdanI D ipani Jay anti Bhîsanî

Location {simhâsana) : 1 > ear-ornaments throat t j skull (left hand) hands fingers (right hand) fingers (left hand) shaft o f the trident trident right shoulder

letter u Ü va dha da ta tha jha na ra ja bha

224

G oar du ans: 1 A moda 2 Pram oda 3 D urm ukha 4 Sumukha 5 Vighnakartr 6 Vighnesa

A P P K N D IX III

Location : mudhynmika tarjanì big toe big toe tarjanì madhyutmkâ

) r {right foot) ) j

7 (left foot) J

IV. Kâmarûpa (devi: Kamesvan (iksanecchaya); pali: C akrananda; bhuta yuga: K ah; hi (a: VIM). Daughters : 1 Prabha 2 Prasüti Ì Sam sa 4 Bhânumatyâ 5 Srîbalâ 6 Hàrini 7 Harim 8 Mâlinï 9 K andukî 10 Muktâvalï 11 G autamï 12 KausikT 13 Sukodarï

Location (pura): quivering turning around contraction stretching out cutting off jum ping running yawning laughing chattering shaking panting sighing

Sons: 1 Bhanu 2 A nantahetu 3 Surâja 4 Sundar a 5 Arjuna 6 Bhlma 7 D ronaka 8 Bhasmaka 9 A m aka 10 Ketudhvaja 11 Visâlâksa 12 Kalyâna 13 Caturvaktra

Sakti: Vàyuvegà Pâvanyâ Lainbikâ SamhàrT Chagaïï Pütanà Âmoti Para mât mi Ambikà Icchâ M ahâkâlï Kusumâyudhâ Sukrâ

G uardians; 1 Lam pata 2 G hantakarna 3 Sthüladanta 4 G ajânana 5 Brhatkuksi 6 Sunanda 7 M ahotkata

Location: anâmikâ little toc shutting o f the eyes opening of the eyes exhaling inhaling keeping the breath

Location (simhâsana): left shoulder heart belly nave) right breast left breast milk paramâlnia breath back o f the hands buttocks private parts ovarian fluid

| (left foot)

letter ya pa sa ksa la cha â sa ha ah ma sa am

A P P E N D IX

225

III

V. M àtahga (devi : K undalini, pati. M àlanga/A ntyaja, bhuta : akasa). Daughters ; 1 H àrika 2 Hàrì 3 Gandharì 4 Vira 5 N akhì 6 Jvalinl 7 SumukhT 8 Pi rigala 9 Sukesi

Location (pura): moon seeing smell Brahm arandhra heart crest navel penis Brahm arandhra

Sons : 1 Sriphala 2 K asmal a 3 Catida 4 Candàla 5 Cetaka 6 Matahga 7 Bàhuja 8 Vira 9 Avyakta

Sakti : Târà Jnânasakti Kriyâ Sàvi trî G àyatri DahanT Phctkârî (Dahani) (PhetkàrT)

G uardians: 1 Heram bha 2 Dhùli 3 Pisàca 4 Kubja 5 Vâmana

Location: yawning hiccups sneezing belching coughing

Location (simhàsunu): thighs I j knees |

shanks right foot Icfl fool (right foot) (left foot)

lei 1er : ta e ai au o da pha (da) (pha)

A P P E N D IX III* The order of the fifty aksaras according to the MàlinT-system (Appendix II) compared with the order o f the aksaras, as they arc found in connection w ith the five Pithas: Màlinî. na, tha, r, f, t, I, ca, dha, T, na, u, ü. ba, ka, kha, ga, gha, Pithas: na, r, f, ], I, tha, dha, i, ca, ba, ka, kha, ga, gha, Màlinî: ha, i, a, va, bh a, ya, dha, da, tha, jha, ha, ah, la, ra, Pithas: ha, i, a, na, u, û, va, dha, da, ta, tha, jha, ha, ra, Màlinî: ja, pa, sa, ha, cha, la, â, sa, ksa, ma, Pifhas: ja, bha, ya, pa, sa, ksa, la, cha, â, sa, ha, ah, ma, Màlinî: sa, am , ta, e, ai, o, au, da, pha, Pifhas: sa, am, ta, e, ai, au, o, da, pha.

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Agnipurâna, ed. by A c h â r y a B a ia d e ra U p id h y â y a (B enares, 1964). Aikurruvedu-Parisata : see K o h lb ru g g e , D . J. Amarakoxa, ed. b y the N irn a y a Sa g a ra P r a k is a n a (B o m b a y , 1969) Rgvedasamhitâ w ith the co m m en ta ry o f S a y a n a , ed, by P . M . M ü lle r in 4 v o l. (B en ares, 1966). Kathàsariisâgara, ed, b y Ja g a d ïs a lâ la S â stri (N e w D e lh i, 19 70 ). Kàiikâpurüna. ed. by S r i B isw a n â râ y a n a Sâstri (B en ares, 3 972). KuhjikânityâhnikatUaka, N A K N o . 1 -2 3 9 /2 0 1 k : N A K N o . ,5 -8 5 4 1/10 1 (un less staled otherwise references to the K n T p ertain M S I -2 3 9 /2 0 1 k).

Kubjikümatatamra, M S A N A K N o . 5 -8 7 5 /5 5 ; M S B N A K N o . 1 - 1 4 7 3 / 3 3 , M S D N A K N o . 1 -1 6 3 3 / 3 2 : M S F N A K N o . M 1 8 / 3 U 5 ; M S G A S B N o . 4 7 3 3 /5 8 0 5 ; M S H N A K N o . 1-2 8 5 /2 8 ; M S J N A K N o . 5 -8 9 6 /5 6 : M S K N A K N o , 1 - 1 1 3 / 3 0 3 (references to p a rticu la r s takas o f the K m T pertain to the critica l edition o f the text w h ich is in p re p a ra tio n ; w hen n o p a rticu la r M S is m entioned the o ther references p ertain to M S G ) .

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Tamraràjaiantra (P a rt [ j, ed. by L a k s m a n a S â stri (L o n d o n , 19 18 ), {idem) (Part I I ) , ed. by S a d à s hi v a M is h r a ( C a lc u lta /L o n d o n , 19 26 ). Tantrasârasangraha, ed. by M . D u ra isw a m t A iy a n g a r (M a d ra s , 19 5 0 ). Tippani, N A K N o . 5 -4 7 7 5 /2 0 9 . Taniràìoka, ed. by M . K . S â stri (S rin a g a r, 19 2 1 -1 9 3 8 ) . Devy-upaniiud, ed. by J . V aren ne (P a ris, 19 7 1). Prasna-upanirad see Ja c o b . G . A . Butidhaeunia, ed. by E . S . Jo h n sto n (N e w D e lh i, J9 72). Bkagavadgità, ed. and tran s, by R a d h a k ris h n a n [L o n d o n , 19 6 7). Bhügava/apuràiya, ed. by the N ir n a y a Sâ g a ra P r a k is a n a (B o m b a y , 19 50). Afanthânubhairavatunira. N A K N o . 5 -1 9 2 8 /1 0 0 9 . M ahàniryàruuunira. cd. by A . A v a lo n (N e w D e lh i, 19 7 7 ). Muhâbküralu, ed. by T h e B tm n d a rka r O rie n ta l R e sea rch In stitu te (5 v o l.) (P o o n a , 19 7 1-19 7 6 ) . Mâtrkâhhedatamra, cd. by C h in ta m a n t B h a tta ch arya (C a lc u tta , 19 33). Mànavadharmasâstra : see R ii hier, G . Màìmvìjayotiaraianiru, ed, b y M , K , S â stri (S rin a g a r, 19 22 ). Meghadüia, ed, by M . R . K a lc (N e w D e lh i, 1969). Vâjasaneyisamftilii. ed. by P a n d it Ja g a d ïs a lâ la S â stri (N e w D e lh i, 19 7 1) . VïQàsikhatantra, N A K N o . 1 - 1 0 7 6 / 1 7 1 . Sàrudâtitakatumra , ed. by A . A v a lo n (2 parts) (C a lc u tta , 19 3 3 ). Sâradâlilakatanira, ed. by M .J . B a k sh i (B enares, 1963). Srîmaiaiantrasâra, N A K N o . 5 -4 8 4 9 /15 3 8 . Srimatasâru, N A K N o . 5 -5 8 4 9 /15 3 8 . Évetàivarara-upaniyad: see Ja c o b , G . A . Saisàhasrasamhiiâ, M S A A S B N o . 8 3 2 9 /5 8 0 4 ; M S B N A K N o . 5 -4 2 8 /5 4 ; M S C N A K N o .5 -4 7 7 5 /2 0 9 .

Samwodayuiamra, ed, by S. T s u d a (selected ch a p te rs) ( T o k y o , 19 74 ) Stirpvaruimandatasütravyàkhyà, N A K N o . 5 -8 7 9 /19 9 . SamvaTiûrthaprakàia, N A K N o . 4 -10 6 0 ,1 6 2 2 . SSdhanamëUâ, ed. by B , B h a tta c h a ry y a (B a r o d a , 19 2 5 , 19 28 ), Svacrhundwantra, ed. by M . K . S â stri (7 v o l.l (S rin a g a r, 1 9 2 1 -1 9 3 5 ) . Haihuyagupradiptkâ, ed. by P a n ch a m Sin gh (N e w Y o r k , 19 74 ).

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Rage hi, P . L \ 1926 19 3 0

O n Som e T a n trik T e x ts S tu d ie d In A n c ie n t C a m b o d ia , in , J H Q V o l. V. idem , in : I H Q V o l. V I.

B h a r a li, A . 1965 T h e T a m r ic T ra d itio n . L o n d o n . B h a tta c h a ry a , R 1968 T h e In d ia n B u d d h ist Ico n o g ra p h y . C a lc u tta . B h a tta c h a ry a , D . C . 19 74 T a n tric B u d d h ist Ico n o g rap h ie S o urces. N ew D e lh i. B h a tta sa li, N . N 19 7 2 Ic o n o g ra p h y o f B u d d h ist and B ra h m a n ica l Sculptures in [he D a c c a M u se u m . Benares B o d cw itz, H . W . 19 7 3 Ja im in îy a R r â h m a n a I , 1-6 5 , L eid en . B riggs. G . W . 19 7 3 G o r a k n â th and the K â n p h a la Y o g is , New D e lh i. R r in k h a u s , H . 1978 D ie alt in disc hen M i sc hk as ten systèm e, W iesbaden B ru n n e r, H . 19 74

U n T a n tra du N o r d : L e “ N e tra T a n t r a ”. in : B L F E Ü T o m e L X I , P aris.

B iih le r, G . 1969 T h e La w s o f M a n u , N e w Y o r k . . B urro w , T , & E m c n a u , M . B . 19 7 0 A D r a v id ia n E ty m o lo g ic a l D ic t io n a r y , O x lc n d . C ch a b ra . B. C h . 19 6 5 E x p a n sio n C o e d è s, G |

of In d o -A r y a n

C u ltu re , New- D e lh i.

19 6 4 Les États H in d o u isc s d ’In d o c h in e et d 'In d o n é sie , P aris. D a m a is , L . - C h . 1962

É lu d e s Ja v a n a is I I : L e N o m d e la D é ité T a n triq u e de 1 2 1 4 S a k a , in : B E F E O T o m e L . P aris.

Dey, N. L. 19 7 1 T h e G e o g ra p h ic a l D ic tio n a ry o f A n cien t and M e d ia e v a l In d ia , N ew D e lh i. D o w so n , J 1968

H in d u M y th o lo g y , L o n d o n .

E d g erto n , F 19 5 3 B u d d h ist H y b r id S a n sk rit G r a m m a r and D ic tio n a ry (tw o volum es). N ew H a v e n . F a r q u h a r , J. N , 19 2 0 O u tlin e o f the R e lig io u s L ite ra tu re o f In d ia , O x fo rd . G o n d a , J. 1938 A lt in d . ‘anta-, *antura-, usw ., in : B K I 9 7, T h e H a g u e . 19 4 7

S kt.

V fie va- "fe s tiv a l’’ , in : In d ia A n t iq u a , a V o lu m e o f O rie n ta l Stud ies presented to

19 6 0

*J.P h . V og el, Le id e n . D ie R e lig io n e n In d ie n s I, Stuttgart.

1 9 63 19 6 9

D ie R e lig io n e n In d ien s I I , Stuttgart. A sp e cts o f E a r ly V isn u ism , N e w D e lh i.

G o u d ria a n , T . 19 8 1 T w o Stanzas o f B alin ese S a n sk rit L o c a te d in a n In d ia n T a n tra , in :

BKI

13 7 -4 ,

T h e H ague. G o u d r ia a n , T . & G u p t a , S . 19 8 1

H in d u T a n tric and S â kta Lite ra tu re , W iesbaden.

Goudriaan, T. & Hooykaas, Ch. 1 9 7 1 S tu ti a n d S ta v a, A m ste rd a m . G u lik , R . H . v an 19 6 1 Sexual Life in A n c ie n t C h in a , a p relim in a ry survey o f C h in e se sex and society fro m C. 15 0 0 B .C . till 1644 A . D . , Le id e n .

228

B IB L IO G R A P H Y

G u p t a , S., H o e n s, D . J . & G o u d r ia a n , T . 19 7 9 H in d u T a n tris m , L e id e n /K ò ln . H a a r h , E. 1968 T h e Z h a n g -Z h u n g L a n g u a g e , K o h e n h a v n , H a z r a , R .C . 19 6 3 Stud ies in the U p a p u râ n a s , V o l. 11, C a lc u tt a Ja e o h , G . A . 19 7 1 A C o n c o rd a n c e to the P rin cip a l U p a n is a d s a n d R h a g a v a d g ita . N ew D e lh i. Jo h n sto n , E . S. 19 30 Som e S a m k h y a and Y o g a C o n ce p tio n s o f the S v e la sv a ta ra U p a n isa d , in : J R A S . K ane, P .V . 19 6 8 -'7 7 H isto ry o f D h a rm a s â stra (five volum es), P o o n a . K avi ra j, J . G . 19 7 2 T à n tr ik a S à h itya (in H in d i) , L u c k n o w . Khanna, M . 19 7 9

Y a n ir a , the T a n l rie sym bo l o f co sm ic u n ity , L o n d o n .

K irfe l, W . 1967 D ie K o s m o graph ie der In d e r, H ild e sb ctm . K o h lb ru g g e , D J . 1938 A lh a r v a v e d a - P a n s is ta iih e r O m in a , W a g e n in g e n . K o o y , K . R . van J9 72 19 7 3 19 7 7

W o rsh ip o f the G o d d e ss a cco rd in g to the K ü lîk â p u râ n a ( V o l. I), Leid en . A C r itic a l E d itio n o f the K u b jik à m a ta ta n tra , in : B S O A S V o l. X X V I - 3 , L o n d o n . D ie so gena nn te G u p ta h a nd sc hrift des K u h jik a m a t u ta ni ra , in : Z D M G S u p p l. I I 1-2 W iesbaden.

K o s a m b i, D . D . 19 7 7 T h e C u ltu r e a n d C iv ilis a t io n o f A n c ie n t In d ia in H is to ric a l O u tlin e , N e w D e lh i. K ra m n s c h , 8. 1964 T h e A rt o f N e p a l. V ie n n a . K u ip c r , F . R J. 1948 P ro to -M u n d a W o rd s in S a n sk rit, A m sterd am . L o rc n z c n , D N . 19 7 2 T h e K à p â lik a s and K â lâ m u k h a s , two lost S a lv ile sects. N ew D e lh i. M a llm a im , M .-T h de 19 6 3

Les Enseignem ents Ico n o g rap h iq u e s de l'A g n i-P u r a n a . P a ris.

19 7 5 In tro d u ctio n à l ’Ico n o g rap h ie d u T a n trism e B o u d d h iq u e , Paris. M a rq u é s -R iv ic re , 3. 19 5 0 A m u le ts, T a lis m a n s & P a n ta d e s, Paris. M eulen beld, G . J . 19 7 4 T h e M â d h a v a n id h â n a and its c h ie f co m m en taries, Leid en . M itra , R . L . 19 7 1 T h e S a n sk rit B ud d h ist Litera tu re o f N e p a l, C a lc u tta . M o o kerjee, A , & K h a n n a , M . 19 7 7

T h e T a n tr ic W a y , L o n d o n .

Monter-Williams, M. 19 5 1

H in d u is m , C a lc u tta .

1964 A Sanskrit-English Dictionary, Oxford. N cg elcin , J . von 19 1 2 D e r T ra u m sc h l Ossei des Ja g a d d e v a. G ie ssen . "Neum ann, E . 19 7 4 T h e G re a t M o th e r, P rinceton ,

Padoux, A. 19 7 5

Recherches sur la S y m b o liq u e et l'É n e rg ie d e la P aro le d an s certains textes T a n iriq u e s P aris.

Pan dey, L . P. 19 7 1 S u n W o rsh ip in A n c ie n t In d ia , N ew D e lh i.

229

B IB L IO G R A P H Y

Pan dey ?t, J 19 7 6 T h e G o r a k s a s a m h ila (P a ri 1), R c n iiie s. P a n in i, see: R e n o u . Pu erw ud arm im a. W J S . &. Te e uw . H .

1950

Ind o n esisch-N ederlands W o o rd en b o ek , G roningen.

P rz y lu s k i, J . 19 5 0 L a G r a n d e Déesse, P aris. Rau. W. 19 7 2 Tó p ferei und T o n g e sc h irr im vedischen In d ie n , W iesbaden R a w so n , Ph. 19 7 1 T a n rra , catalo g ue o f the T a n tra E x h ib itio n at the H a y w ord G a lle ry , L o n d o n 19 7 3 T a n tr a , the In d ia n C u lt o f E csta sy , L o n d o n . 1978 T h e A rt o f T a n tr a , L o n d o n . R e g m i, D , R . 19 6 5 M e d ieval N e p a l ( P a n 1), C a lc u tta . 19 6 6 M e d ieval N e p a l (P a rt I I A 1H ) , C a lc u tta . Renou, L 1966 L a G ra m m a ire de P a n in i (two v o l.), P aris R uben, W . 19 3 9

E ise n sch m ie d c und D â m o n e n in In d ie n , Leid en .

S a h a i, B h, 19 7 5 Ico n o g rap h y o f M in o r H in d u and B u d d h ist D eitie s N ew D e lh i. S â s lri, H . P . 19 0 5

A C a ta lo g u e o f P a lm -le a f & Selected P ap er M S S b elo ng in g to the D u r h a r L ib ra ry ,

N e p a l ( V o l. 1), C a lc u tta , 19 1 5 idem V o l H , C a lc u tta , S ch o te rm a n , J. A . 19 7 7 S om e R e m a rk s on Lhe K u b jik â m a ta ta n ira , in : Z D M G S u p p l. 1 1 1-2 , W iesbaden. 19 7 9 1980

A N o te on Balinese S a n s k rit, in : B K I 13 5 -2 ,'3 . T h e H a g u e . A L in k between P u r in a and T a n t r a : A g n ip u r in a 14 3 -1 4 7 , in : Z D M G

19 8 1

W iesbaden. A n In tro d u ctio n to O ld Javan ese S an skrit D ic tio n a rie s a n d G ra m m a rs , in . B K I (3 7 -4 ,

Suppt

IV ,

Th e H ague. S h a ra n , M . K . 19 7 4 Stud ies in S a n sk rit In scrip tio n s o f A n c ie n t C a m b o d ia , N e w D e lh i S irc a r. D . C . 19 6 5 Select In sc rip tio n s b e a rin g on In d ia n H isto ry a n d C iv ilis a t io n , N ew D e lh i 19 7 3 T h e S S k ta P ith as, N ew D e lh i. SprockhofT, J , F . 19 7 9 D ie A lte n im a lte r In d ie n , ein V e rsu c h n a c h brahm a ni sehcn Q u elle n . in : S aecu lu m X X X - 4 , F rei b u rg : M ü n ch e n l u c c i , G . A H e issig , W . 19 7 0 D ie R e lig io n e n Tib ets un d der M o ng o tei, Stuttgart. W h ite he ad, H , 19 2 1 T h e V illa g e G o d s o f S o u th In d ia , L o n d o n W o o d ro ffc, J 19 7 5 S a k ti a n d S à k ta , M a d ra s. 1 978 Prin cip les o f T a n tra (two v o l.), M a d ra s.

IN D E X (References to specific lines o f the text a lso in clu d e the a cco m p a n y in g N o tes)

an u 1,57 an ack a 2,24 A n âk h y a 1.49 an tarik sa 4/5,37 an tu h m u 4/5,36 A m b asth a 9 A lm o ra 6 A s la v im s a tik rm a ân av a l . l b c

K u b jik à T a n tra 7 n 4 K u b jik â m a la 12 11 Kum uda 1,2 a k u m b h a 7 IT. K u ra n k o s a 4 /5 ,5 1 ; 72 ku ra n g a l . l b c ; 2 ,2 1 ff.

 n av ân a n d a 1,53, 57 -an an d a 1,53 in d ra jü la k a

4 /5 ,4 4

4 /5 ,7 2

K u ru n g isa 4 /5 ,7 2 ; 78 ; 8 6 ; 87 K u ru n d a 4 /5 ,8 5 k u la k u m b h a k u la k ü ta

K u la c c h â y â 3 ,35 K u la jâ 3 ,2 4 ; 26

U g rasalk a

K u lâ m b ik â

U cch usm a

k u la la 7 ff. K u lâ lik â 9

2.28; 30-32; 4/5,19 1,44; 46 U cch u sm av an a 149; 1,37; 4 6; 4/5,90 l/cch u sm â 149; 4/5,90 U lta râ m n â y a 7 n. 4 C d a y a r â ja u n ta ka

1 ,2d

4 /5 ,1 4 1

3,24

l.ld

1,5 3

K u là lik im n â y a K ü rm a 7 K rsn a 1,2 a

7 ff.

U lam bikà 14 9 ; 4 /5 ,12 ü n ta k a 4/5,141

Konkana l,2 c d K o n k a n â m b ik â 3 , 1 1 0 k a u m a r a n à lh a 1,2 a

rgvedin

k a u m â ra p a rv a ia

l,2 d

O d d a n â rh a

1 ,5 3 ; 2,28

O d d ïsa n âth a 1,2c O lam b a 149; 1,36; 41 ; 45 A u h a la d e s a 1,2 d k a m a th a 4 /5 ,1 2 1 K a m a la

1,2 a

K a r a la m b a

14 9 ; 1 , 3 7 ; 4 2 . 4 /5 ,4 0

K a r n a k u b ja l,2 d k a ly a p â la 1.2 d K à n d à ra 3,62

kâdipÛTva

],5d

K â p â lik a 3,75 K â b h a u ra d e sa 1 ,2d

k âm ath a

4/5,34

K ila v a k t r a 3,75 K à lâ n a la 1,1 8 -2 0

K âim îra

l,2d

K is k in d h a k a 1,2 8 kirtin û m a 1.2 d K u k â râ

2,28

ku n ja k a 4 /5 ,16 0 k c t ilïn g t 11 kutilTkrtâ 11

K un d allsa

4/5,86

K u n d â p u ra l,2 d K u b jik â 9 ff.

K ra m a k ra m e sv a rï K ram es va ri 3,59 kriy â d v a ita K r iy â s a tk a

14 9 , 1,4 9 ; 50 10 n. 7

3,97 2,28

K h a g e n d ra 7 K h a n jin i 10 n. 7 ; 1,5 a k h a -m u d rà l.ld k h â n k ita 4 /5 ,8 6 K h in k in i 2,28 K h e c a r ïc a k ra 2 ,5 ; 4 /5 , 1 8 , 4 6 ; 1 1 9 kh eca rïm u d râ 1,1 ( 1 Gagana 1,2 a G andham àdana 14 9 ; 1 ,2 7 ; 2 8 ; 3 6 ; 39 G a n d h a m â ly a 1,2 7 g up tanàm a l ,2 d ; 53 G u h y a k u b jik â 2 ,9 G o r a k s a S a tn h itâ 5 n . 2 G o v in d a l,2 d ghatasthâna 2 ,2 3 c a k r a k r id à 3 ,10 6 C a k r a d e v i 1,2 a C a r ic a la 1,5 3 ,5 6 ca n d a n a 2 ,1 0 C a n d r g g u h â 1 ,2 6 ; 30 C a n d r a g rh a 1,2 6 C a n d r a d v ip a 1 , 2 7 ; 28

1N DKX

C a n d r a p a r v a la

1,2 7 ,3 0

C'an drap ïtha 2,29 C a n d r a p u r i 1 ,2 b ; 40 C a n d r a s ila 1,2 9 ; 30 C a n d râ kh y a 1,3 6 ; 39 C a n d râ kh y a 1,3 0 C a n d râ d i 1 4 9 ; 1.3 6 C a n d r a b ja 1 ,7d C a r y a n â th a 1.2 e ; 5 3 ; 2,28 caryân âtn a l,2 d O m u ridi 25 C in c in ! 1,3 a ch a y â 1,5 0

1 ,2 J

P ürvàim nàya 2 ,2 7

d ik k a r ik â 4 /5 ,10 0 T a ttv â h g ï 4 /5 ,9 2 T s n lr â lo k a 6 1,1 8 -2 0 3.14

T ü sm s a n â th a l,2 d T rik ü t a 14 9 ; 1 , 1 5 ; 1 7 ; 2 8 ; 3 6 ; 40 T rip à d im 2 ,2 0 T rip u râ rn a v a 20 0 ; 3,32 T r iv ik r a m a l,2 d tr is ik h ïm u d r â 1,1 7 D a k s tn a c c h â y à 3 ,3 5 D a k s in à m n â y a 7 n. 4 D a ra d a n d i 14 9 ; 1 ,3 6 ; 4 1 d âg h a 3,7 D â m o d ara

p ith â k ia ra 2.39 P titra 3,94 P u ru sa 3 ,3 2 ; 1 1 2 p ü iâ n â m a l,2 d P u rn ap rasâd asa rm an

J â ia k a 1,4 8 J nan a pane a k a

Sârkika

pâsartda 3,84 P ih g a n à th a 2,9 P in g â 1,2 5 P in g eia l ,2 d ; 2,9 Pieu 2 ,3 7 pi rida 1.3 a

p u tra iìsy a

ch o m a k a 3,58 Ja k â râ 2,28

T a m o 'ri

Pn scim a H im a g a h v a ra 14 9 ; 1,4 1 P a s d m à m n â y a 7 ; 1,2 6 P a la la 2 ,3 7

l.2 d

19

7 n. 4

p ü rv â m n â y in 3 , 1 1 2 P a u n d ra v a rd h a n a l,2 d h a lilra y a 10 n. 7 b à la n i th a 1 ,2a B ah ila

1,2(1

B a u d d h a 3,73 b ra h m a ca rm a n

Bharga

10 n. 7

l.lbc

h h â v à d v a ila 3.97 FI ha ira va 1,2 a B haïra v a ia ti tra 1,2 b b h o jyâ n n a 8 M a g a 3,78 M a n i 2,28 M atsye n d ra 7 M a th u râ 1,2d M a n tra jà

3 ,2 4 -2 6

D ig a m b a r a 3,77 D ü tic a k r a 2 , 1 3

m a u d ira 3 ,19 M a ban tari 2,26

Deva 1,2 a D é v ie a k r a 2 . 1 3

m a h â b ila 4 / 5 , 1 1 5 M a h à s a tk a 2 ,3 0 M a h â h ra d a 14 9 ; 4 /5 ,9 1 m a h o tk a la 4 /5 .3 8

D e h ila

l,2 d

d vâ d asa 1 , 1 be D v â d a s ln la 1 , 1 4 ; 3 0 ; 3 1 , 4 0 ; 2 ,2 4 D v ira stâ n ta 1,3 2 d v ïp à k sa ra 2 ,3 9 d h O m ra va rii J,4 0 navaga tj l .l b c n a v a d ra v y a 2 ,1 0 nârad a

3,9

N ig r a h a s a tk a 2,30 nfrfisraya 4 /5 ,3 6 N isà ta n a 1 ,1 8 -2 0 N îla (-b ra d a ) 1 4 9 , 1 , 3 7 ; 4 4 ; 4 /5 ,9 1 N u g ra h a sa tk a 2 ,2 8 n a ih sv a n a 4 /5 ,10 5 P an ca C a k ra 3,32 Pad m a 1 ,2a p a d m a m u d râ p arisocu

3,6

1 ,1 7

M a h o c c h u jm a 4 /5 ,9 5 m a h o lsa v a 3 ,10 5 m àth â p a ty a 3,79 M a ta riga 3 .9 4 ; 96 M â ta b g a p a d a 2,5 M â ia n g a v a n a 4 /5 ,2 2 M â trc a k ra 2,9 M â n d h â lr 4 /5 ,28 M à h ila 1,2 d M itra n à th a 1 ,2 c ; 5 3 ; 6 1 ; 2,28 M tm à m sà b h à sy a M u k u n d a râ ja m u d it i 2 ,1 0

3 ,7 5

1 8 1 ; 18 2

m u d g ara 3, 1 1 M e ro 14 9 ; 1 ,2 7 ; 2 8 ; 3 6 ; 39 M esa m esa

7 4 /5 ,14 1

232

in d e x

Y a k sin i 1, 31) Y à k in î 2,2 9 . 30 Y n g a jj 3,24-26

S r ir â th a [ , 2b ; 3c S r ïp a r v a la 1 4 9 ; 1, 3 6 ; 40 S r ïm u la 12 r . 8

Y u y a p ïth a 1.30 y o g in ïg a rb h a 3, 1 0 9 ; 1 J0

S r im a to tta r a T a n lr a 5 n. 2 S r ïv y o m â n a n d a l , 2rl S risa ila l , 2d ; 4 / 5,119 S ris a ila v a n a 2 ,6

y o n im u d râ R a k lâ

1.17

4 / 5,12

R a trta s u n d a ri R àm a 1,2a

2,28

S a tk ù ta

3,32

Sadadhvan

l . b c ; 4 / 5,159

la m b ik â s th iin a 1.44 V a jra k u b jik à 15

S a s th a n â llia 1, 2c . 5 3 ; 2.28 S a s tb â m b S 2 ,2 8

v a jra m esa

s o d a s â m a i- k a j so d asâ ra 1, 3 a

4 ; S, 141

V a jra y à k in ï 2 .3 0 V a d a v à n a la 2,14 v a h n im a n d a la 2,7 v â n a p r a s th a

V iitia la p a rïe a k a

1,2 b : 3,35

2,26

v ir ï m a 1,14 v is rà m a b h û m i V isv âiig i

s o d a s à rc a 1,3a S a m v a rtà l.la S a m v a rtâ m a n d a la

3,78

V â m a d a k s ir a ia n tr a V à râ n a s ï 1,2d v ib h â g a 4/ 5 , 5 9

1,4a

4/ 5, 92

visam âfLga

4 / 5,58

V is n u 4/ 5,122 V isn u k rân L a 7 n 4 vis n u v a h a 4/ 5,77 Vi sn u s a r m a n 1.2d v is a r g a s th à n a

1,30

S a p la v a k ir a 2 ,3 7 S a m a y a 3,12 S a ra s v a li 4 /5,114 S aha.jà 3, 24-26 s a h a jâ k s a ra

2 ,1 9

S a h y a "l4 9 ; 1. 3 7 ; 4 / 5.62 S ânkhyayoga 3,74 sàm av ed m 1.2d S im b a la d v îp a 1,2d

s a k tim u k h a 4 / 5,157 S a h k h in i 1,30

S u s ira m b â sü ry a ca k ra

S a ta r u d r iy a

S c h ila l , 2d s a in y a k a 4,/5,75

8

1, 5 3 ; 59

iû n y a r ü p a 2 ,2 4 s o s a n a 4 /5 ,1 0 4 S rig iri 1 4 9 : 1,36

3 2 ; 33

S a n tâ n a p u r a 1,6 S a n fâ n a h h a v a r a 1,4a ; 2 6 ; 27

S id d h â n ia

1,32 1, 3c

1, 1a ; 2 , 1-14 ; 3 3 ff

S a m va rtâ m a rid a las ü tr a S a m v a r tr 2,11

V in à sik h a T a n tr a 3 ; 181 v r d d h a n à th a I,2 a V y â p â rîsa 1, 5 3 ; 58

s a le s m ik a S â m b h ttv a S iv a 1, 2a S iv â n a n d a

1. 3a : 49

1,2d

S id d h â m ik â 3,35 s id d h â r ih a 2,10 2,28 2.7

s o m a c a k r a 2,7 H am sab h ed a 3,32 h a rsa n à

2 ,1 0

H iin a v a n t 1 4 9 ; 1, 1 4 ; 3 6 ; 39 H ra d a 1 4 9 ; 1,3 7 ; 4 5