Tripura Mahimna Stava

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Jaya Jaya Shankara !

Srimatre Namah !

Sri Chandramouleeshwaraaya Namah !

Sri LakshmiNrisimhaaya Namah !

 

Shri Tripura Mahimna Stotra is a composition of Rishi Durvasa, the

prince of the sages. He was born to Atri Maharshi and Anasuya Devi

and is known to be an incarnation of Lord Rudra. A lesser known fact

about him is his association with Srividya. He is one among the

illustrious Acharyas of the great Vidya. Two of the many variations

of Srividya are named after him as Durvaasa Vidya and Krodha

Bhatttaaraka Vidya. Also, Lalitha Stavaratna, popularly known as

Aryaa Dwishati, is a composition of this great sage. It is heard

that the Navavarana Pooja manual used even today in Kanchi Shri

Kamakshi Devi Mahasannidhaanam, called the Chintamani Kalpam, has

been specially scriptured by Maharshi Durvasa. The present Stotra

showcases his seamless devotion to Mahatripurasundari. This is a

highly technical hymn from the view point of Tantra shastra. It hints

at the various technicalities of tantra in general and Srividya in

particular. I will try to translate the first few verses, without

trying at any place to give out the mantra, chakra and pooja

Samketas, which can only be learnt by a Guru.

In the first verse, Maharshi describes the auspicious form (

Swaroopa) of Sridevi as the personification of the three Khandas or

Kootas ( parts ) of Srividya.

Srimaatastripure Paraatparatare Devi Triloke mahaa

SaundaryaarNava Manthanodbhava sudhaa praachurya varnojwalam !

Udyadbhaanusahasranootanajapaapushpaprabham te vapuH

Swaante me sphuratu trikoNanilayam Jyotirmayam Vangmayam !!

He SrimaataH – O divine mother of the cosmos, Te vapuH – May

your divine form, Swaante Sphuratu – shine in my heart. Now, how is

this auspicious form of Sridevi ? Maharshi says,

Udyadbhaanusahasranootanajapaapushpaprabham – It has the radiance and

beauty of thousands of rising suns and fresh, tender Hibiscus

flowers. He also says, SaundaryaarNava Manthanodbhava sudhaa

praachurya varnojwalam – Her divine radiance is like that of the

nectar that is obtained by churning the ocean of beauty, formed by

unifying the beauty in all the three worlds. Here he indicates that

Sridevi's divine beauty excels all the materialistic, physical beauty

that we see in this world as well in the Lokottara. She is the

Supreme beauty of the Aatman or Parabrahman( Kameshwara ) and beyond

the reach of senses like the physical sight, which can only perceive

the dualistic, impermanent beauty in this illusionary world. The

latter beauty is more an aspect of Kamalaatmikaa, another Mahaavidyaa

aspect of Mahatripurasundari. Kamalaa is beauty manifest whereas

Mahatripurasundari is beauty unmanifest.

Now both the adjectives Japa Pushpa and Udyadbhaanu indicate

the reddishness of Sridevi. Some ignorant, pathetic Vaishnavas (they

can surely not be called so since only one who has realized the

Narayana as the effulgent self, can only be called a Vaishnava,

Others are mere debating dualists. ) depict this to mean Sridevi as

of Rajasic nature. But one has to carefully note that this refers to

the brightness of Sridevi that is beyond rising and setting, like the

Spiritual Sun invoked in the great formula of Gayathri ( most often

completely identified and erroneously confined to the physical Sun),

for the vision of the witness can never be lost, because it is

imperishable. It is the essential luster – Saatvika Tejas of Sridevi.

It only indicates the loveliness or divine beauty of

Mahatripurasundari as Kaamakalaa that reveals the essential nature in

a red flash during meditation. The Kundalini, on awakening, flashes

forth like the red lightening through Sushumna and blossoms into the

peace-giving luster of divine beauty, compared to Japa Pushpa here.

The word " Varna " also means caste. There are basically only

three castes, as are the three Vedas, the three Gunas etc. the three

castes represent the three qualities viz. Satwa, Rajas and Tamas, as

suggested by the pet offerings made by the devotees who are quite

established in their respective modes of worship. Milk, qualified

butter and honey are the offerings prescribed for Satvic, Rajasic and

Tamasic qualities of devotees belonging to different levels of

consciousness. However, Bhagavan says in Gita, there are only three

castes of devotees : Aarta – the distressed, Jignaasu – Seeker of

wealth, Arthaarthi –Seeker of wealth. The fourth is beyond the three.

The fourth kind is the Jnani who, while living in a body, is steady

in the knowledge of self. He is truly an earnest devotee while the

first three are noble seekers. Bhagavan says, " All these are noble,

but the man of wisdom is verily my own self. – Gita VII 16 ". His

offering to the spiritual deity is his spiritual ecstasy, the divine

inebriety of constant awareness of the Supreme Self in contrast with

the common wine that has its effect otherwise. The fourth are

explained ( in the context of the three Varnas being Brahmana,

Kshatriya, Vysya ) by some to mean Sudra, the fourth caste.

Empirically it is either a mixture of the three or beyond. Sudra

implies corrupted mixture of the three qualities in its negative

aspect. On the positive side, Jivanmukta has risen above the taint of

the three castes. He has truly surpassed the combined effect of the

three Gunas. His offering to Sridevi is Soma or the spirituous Juice

of Sacchidananda. He is the true devotee to the mother.

Mahatripurasundari is not the ordinary beauty of form. The

highest beauty lies not in any object, though it is not apart from

objects. The highest beauty is of perception, to hold infinity in the

palm of our hands, and eternity in an hour. Sridevi represents the

ultimate beauty of pure perception, which arises when we see the

entire universe in ourselves, when we see all nature as a reflection

of the reality of consciousness. She is thus the infinite beauty as

seen from the spiritual eye of unity – the vision that all the

universe is Brahman, that there is nothing but God above, below,

within, without, to the north, south, past or present. This is not to

perceive some distant creator in a heaven beyond, but the revelation

of our own eternal and infinite self in every moment of perception.

When the mind is permeated with such unlimited awareness, it finds a

plenary delight in every thing we see. It finds perception to be joy,

even if we are looking at the most ordinary things. Freed from the

concepts of time and space, size, distance, and importance, each

perception reveals the eternal presence and becomes a universe in

itself; the mind thereby stops and enters the state of Samadhi, the

natural state of Mahatripurasundari. I would like to add a note on

Samadhi. Ghatastava says : " Sridevi endows her devotees with powers.

These powers called Yoginis follow him just as a youthful woman of

grace surrenders her attractive qualities to her lover, thinking:

1. I should make him the constant object of my eyes – This

indicates Savitarka Samadhi, where Yogi experience deliberative

concentration.

2. I should entwine my limbs to his – Merging the whole being of

universal awareness in the Yogi – Nirvitarka Samadhi – i.e. Yogi

experiences super-deliberative consciousness.

3. I should absorb him with my being – Merging the whole being

of the Yogi into Sridevi – Savichaara Samadhi or reflective

concentration.

4. I should resort to oneness with him – Merging of universal

consciousness or Sridevi to be one with the Yogi – Nirvichara Samadhi

or super–reflective concentration.

These four kinds of Samadhi are called Samprajnaata or Sabija or

Bahirvastubija Samadhi, because there is some support or impression (

bija ) still in the Yogi's mind. After this state, the Yogi proceeds

to gain in internal undisturbed calm, or equipoise called the

Nirvikalpa Samadhi. Also one may remember the four kinds of Moksha in

this context, Saalokya – Transfer to the world of the Lord, Saamipya –

Close proximity to the Lord, Saarupya – Assimilation in Lord's

semblance and Saayujya – Absorption in Lord's essence.

The form of Sridevi is also Jyotirmayam – It is the congregate of the

lights of the Sun, Moon and Fire. These three are said to be the

three eyes of Sridevi. They indicate the Kamaraja, Shakti and

Vagbhava Kootas of Srividya respectively. These three exist in our

own body i.e in the microcosm. The Agni mandala extends from

Mooladhara to Anahata. Surya Mandala extends from Anahata to Ajna and

the Chandra mandala ( not to be confused with Chit Chandramandala )

from Ajna to Sahasrara. Sridevi resides in the Chicchandramandala,

beyond these three regions of darkness, alternating darkness and

light and light, in the region of Sahasrara, transcending the states

of Jagrat, Swapna and Sushupti. The three Kutas of Srividya also have

to be meditated upon in their respective places as indicated. The

three Mandalas also refer to Paraa, Aparaa and Paraaparaa, the forms

of worship of Sridevi, adopted by Sadhakas according to their

Samskaras and capabilities.

Her form is also Vangmayam – Since Sridevi is completely identical

with Srividya ( Be it Gayathri, Turiya Gayathri, Bala, Lopamudra,

Panchadashi, Shodashi or Shatkoota Mahaavidya), she is also said to

be of the form of the three forms of speech. These are :

1. Vaikhari – Audible speech. This refers to the coarse or

literal level of speech. Most of the tambour minds stay on this level

of audible speech and conventional meanings of words, which is the

level of speech that relates to sensation.

2. Madhyama – We only enter Madhyama, which literally means the

middle level, when we think deeply about something, when we ponder or

wonder about things. Most artistic thinking comes from this level,

which reveals the beauty of form and has a creative force.

3. Pashyanti – the third level, Pashyanti or the illumined word,

occurs when we perceive the underlying cosmic truth or archetype

behind the object or universe. We only reach this level through deep

meditation or as an act of grace.

4. Paraa – The fourth level, Paraa, is the level of pure silence

wherein meaning is so full and complete that is cannot be broken into

words. This is the level of pure consciousness, the Divine Word of

Silence: " I am All ".

The power of speech must be brought down to the Mooladhaara Chakra to

allow the power of the great mantra to awaken and allow the energy of

consciousness to ascend upwards as Kundalini. To bring speech

downward, the breath along with the sound current must be brought

down to the corresponding centers of the subtle body. In Vaikhari,

the breath and the sound current, thought of as being non-different

is centered in the throat. In Madhyama, it is centered in the heart.

In Pashyanti, its power is in the navel. In Paraa, it merges into

Sushumnaa at the Root Chakra. There are three additional levels of

speech, which correspond to the first three levels integrated into

the fourth, making seven in all. Paraa-Pashyanti is the level in

which transcendent speech or silence of the mind becomes expressed in

profound thought. Paraa-Vaikhari is when it is expressed in audible

speech. This is the highest level of speech, which occurs when the

human being utters the Divine Word in human language. This is the

utterance of the seer or the Rishi, from which level the Vedas were

spoken. The middle level, Madhyama is important as the central level,

through which all other levels can be integrated. The middle level of

speech in harmony with the supreme i.e. Para-Madhyama allows the full

integration of knowledge and delight in the spiritual heart. The

illumined level of speech allied with the supreme i.e. Para-

Pashyanti, allows for the maximum development of wisdom.

Correspondence of the Dasha Mahavidyas with these forms of speech is

as follows.

Kali is associated with Para-Madhyama, whereby the outer and inner

are meditated together in the heart.

Tara is associated primarily with Manipura Chakra (also the tongue),

which is the center of the illumined stage of speech called

Pashyanti. Since Om rises from navel to Ajna, Taara Ma, who is

nothing but Omkara, also moves from navel to Ajna.

Bhuvaneshwari resides in space all through the body and also in the

Right heart Chakra. She is mainly associated with Para-Madhyama.

Bhairavi, like Tara also represents Vak or speech. But while Tara is

illumined word, Bhairavi is the Supreme word, Paraa. She resides as

Kundalini in Muladhara. The original, unarticulated flaming

represented by Bhairavi takes the shape and a human appearance

through Tara. Conversely, it can be said that the highest

energization of speech as Tara becomes Bhairavi; the illumined word

turns into the supreme light, generating tremendous heat in

Muladhara, awakening the Kundalini Shakti.

Bagalamukhi represents complete silence, which is also the complete

stillness of mind.

Chinamasta is resident in Ajna Chakra, away from the realms of

physical sounds. She is of the nature of the effulgent light of

Aatman. As lightening, she represents direct perception, pure seeing

which cuts through everything and reveals the infinite beyond all

forms. She is the power of self-vision which sacrifices all objects,

including one's own body, to the reality of pure awareness. She

represents Atma-Yagna. She may be associated with Para thus.

Dhoomavathi resides in the void, which is full of speech and also at

the same time without any sounds at all. She indeed is Mahamaya.

Kamala is associated with Para-Pashyanti level of speech.

Matangi mainly represents Vaikhari speech. She governs the ideas that

we put into words and thereby our thinking process. As such Matangi

encompasses all levels of speech.

Mahatripurasundari resides in Sahasrara, called Nishyabda Desha. This

is the realm of the formless, eternal Parabrahman, beyond all

sensations, attributes and forms. She is the totality unmanifest. Now

what more can we describe about Sridevi, who is beyond thoughts,

words and perception.

I am extremely sorry for getting into details, away from the main

topic. However, I hope you dear friends who wanted some information

on this topic will appreciate this extra talk. I will also mention

the places of meditation of various deities in our body as per some

of your requests. For information on meditation of Navavarana deities

in the body, one may please refer to Yoginihridayam.

Sudarshana, Aghora, Bhairava, Kshetrapala, Pratyangira,

Mahamrityunjaya and Sharabha, these deities known as the

Devataaspataka must be meditated around the body for protection. One

may meditate on their forms and mantras, if duly initiated into the

worship of these deities. Or else, one may pray and visualize deities

with Naama mantra.

Mahaganapathi and Bhairavi in Moolaadhaara

Brahma and Gayathri in Swadhishthaana. Some also meditate on

Subrahmanya here.

Sri Mahavishnu and Kamalaambika in the navel. Tara Bhagavathi also is

to be meditated upon in the navel chakra.

Dhoomavathi resides in the void. Even then, she is to be meditated

upon in the space between the navel and the heart, known as the

region of Maya.

Sri Parameshwara and Mahaa Durga in the heart. Mahadevi Kalika and

Sri Bhuvaneshwari are to be meditated respectively in the left and

right heart Chakras.

One should mediate on Rajamatangi in the throat Chakra. I also

meditate on Rajagopala in the throat.

Bagalamukhi is meditated in Indra Nadi or on the upper palate.

Chinnamasta is meditated upon in the Ajna Chakra. Sri Suryanarayana

is also meditated upon here.

In the Lalata Chakra, the forehead Chakra one should meditate on Sri

Guru, Parama Guru and Parameshti Guru, as also on ones own Divyougha,

Siddhougha and Manavougha Guru mandalas. Srividya initiates may

meditate on Dakshinamurthy, Anandabhairava, Hayagriva and Dattatreya.

Some also meditate in a two fold Shatkona mandala on Yugacharyas like

Charyanandanatha and also some gurus like Lopamba etc.

One should meditate on Srividya Mahatripurasundari in the Sahasrara

Chakra and also the Maha Paduka, as being non-different from the

self. He should merge himself into Sridevi. One may also perform

Antaryaga if taught by one's Guru. However, one who has not been

initiated into Yoga and Tantra Shastra duly, should refrain from

using mantras (picked from books or elsewhere) in the above

meditation. Complete success here comes only by the grace of Sridevi

and the Gurumandala, which in turn can be accessed only through Sri

Guru's grace.

Now, returning back to Vangmayam, I have tried to elaborate

on Sabda srishti in a previous post. The details of how Srividya

originates from Sridevi's Mooladhara and reaches out as Vaikhari to

illumine the hearts of the lucky and the devoted has been explained

beautifully in Saubhagya Sundari Kalpa, published by the Kaula

Society Chandi.

Maharshi further says, Trikonanilayam – Sridevi resides in the

Moolatrikona or the central triangle of Srichakra. It also means the

triangle in Muladhara chakra, identifying Sridevi with Kundalini.

Here Sridevi is addressed as Tripuraa. She is the very cause of the

various triads in the universe. She is called tripura since she is

Turiya ( the fourth or even Turiyatita ) and she transcends the

three. Some of these are :

The Gods : Brahma – Vishnu – Rudra OR

Agni – Vayu – Surya OR

Vasu – Rudra – Aditya

The three fires : Ahvaniyagni ( sacrificial fire ), Garhapatyagni (

household fire) and Dakshinagni ( crematory fire). These three

fires, important in the life of a person from birth to death,

indicate the play of Sridevi in one's entire life. In Yogic parlance

these three refer respectively to heart, forehead and Head.

The three powers – Icchha ( volition ), Jnana ( Knowledge ) and kriya

( activity ). These are indeed Brahmi, Vaishnavi and Raudri Shaktis.

These three are the important powers of Sridevi to bring about the

whole manifestation of the universe. All the three powers are active

in everything and every atom of all beings.

The three vowel sounds : Udaata – Anudaatta – Svarit of vedic chants.

 

Hrsva – Dirgha – Pluta of alphabetic vowels.

Akaara – Ukara – Makara – of Pranava Omkara

The three kootas of srividya ( Gayathri, Bala, Panchadashi or

Shodashi )

The three lokas or fields of experience : BhuH – Earth, BhuvaH –

Space and SvaH – Heaven.

The three Chakras : Muladhara – Anahata – Ajna.

Jnanis, the learned ones take these to be Pramaataa – Authority,

Pramaana – Evidence and Prameya – Theorem.

The three Peethas : Jaalandhara – Kaamarupa – Purnagiri.

The three holy concentration of Tirthas : Nasik – Pushkara – Prayaaga.

The three spirits of the universe :

Aum – Tat –Sat according to the Vedas.

Nara – Shiva – Shakti according to Tantra.

Jiva – Jagat – Ishwara according to Vedanta.

Ida – Sushumna – Pingala according to Kundalini Yoga.

Past – Present – Future.

Hridaya – Vyoma – Brahmarandhra.

Further Sri Durvasa says, Paraatparatare – Sridevi is subtler than

the most subtle and pervasive Tatwas. SrimaataH- Srimaata is said to

be the mothet of even Lakshmi, the giver of riches. In other words

she gives her devotees the highest wealth of salvation called

Mokshashree.

Here, adjectives like Triloke Mahaa etc indicate the Vagbhava

Koota of Srividya. Udyadbhaanu etc indicate Kamarajakoota and

Jyotirmaya etc indicates Shakti Koota. This shloka can be explained

in various ways to drive mantras of Bala, Panchadashi and also the

Mahashodashi Shatkoota Vidya of Sri Rajarajeshwari. Any way, as I

stress every now and then, these have to be received from Sri Guru

and not otherwise.

To summarize, this Shloka gives out the qualities or

attributes of Sridevi, who though is certainly is the attributeless

Parabrahman, appears as Saguna Brahman to her less-evolved children,

to further take them to her highest aspect of pure consciousness. We

speak of consciousness time and again. A little understanding of this

becomes necessary. Consciousness is the potency of all awareness as

is Himself spoken by Sadashiva to Nandikeshwara eulogizing his divine

consort Katyayani – " Then the power of consciousness in an unknown

way stayed encircling me and established itself as the luster of

mind, the cause of the web of thought process ". In the Shakti Sutra,

Consciousness is declared to be the sovereign power, " By Her own

will on the screen of Her own self She creates the picture of the

Universe ". " Nartaka Aatma – Aatman itself is the hero of the play

of the universe – Shakti Sutra III – 9". Utpaladeva says in his

commentary to PratyabhijnaaHridaya , " In this sleeping universe, it

is one Lord Paramashiva ( or Mahatripurasundari ) who keeps awake

always, to bring about world play". It is, therefore the power of

absolute freedom that is ever present in Brahmanda Purusha. " I am

the consciousness life energy in living beings ", says Bhagavan in

Gita X –22.

Now, coming back to qualities, the verse indicates that

Sridevi is Swaparakasha, by saying she is Jyotirmayee i.e. self-

luminous effulgence of which the Sun etc. are but specks, evanescent

sparks of light. This is what is told in Katha upanishad's well known

Shloka, " Tamevabhaantamanunbhaati sarvam ……". According to

Agamas, "the sun stands for evidence, the proof called Pramaana.

Prameya is the moon standing for the object of knowledge or the thing

to be proved. Pramaata is the Agni, fire, the subject of knowledge or

the knower. Sridevi is beyond this three-fold process of life. She

enlightens everything else. It is only wonderful to think of that

Supreme Light.

A thing of beauty is a joy forever right? The beauty aspect

of Sridevi indicates Mother's Jagadanandaroopa, perfect inner as well

as outer Joy of the Supreme Self. Transcendence alone is not

perfection. It is with its immanent aspect that the Supreme is

realized as the self. Prakasha alone becomes a separate unit where

Vimarsha becomes absent. Vimarsha makes us realize the fullness of

Joy both inside and outside. That is the infinite Joy of the Supreme

self as expressed, on authority by Abhinavagupta in Tantraaloka.

Sridevi's innate quality of Supreme bliss, which is self-evident and

all embracing always, pervades all the three states of human life and

beyond. She is thus called Turyaananda Shakti. All others live on a

fraction of this bliss. This bliss is indeed Brahman – " Anando

Brahma !". Ananda is also described as Paraa Kauliki Shakti, from

whom emerges this universe known as Kula. Kauliki Shakti of the

preeminent Deity called Akula, is inseparable from Kula, the power of

spreading (Visarga Shakti) into the universe. This union of the ever-

embracing pose of the pair is called the power of Ananda with the

grace of which, this entire universe emanates. Emission of bliss is

therefore the result of the union of the two, male and female, not

from either only. Hence we say, Shiva is hidden in Shakti and Shakti

is naturally evident in Shiva.

Since Sridevi is both Jyotirmayi and Vangmayi, she has the

quality of Vishwaadhaaratwa, i.e she is the only basis for the entire

world, (composed of light and sound) and all its activities. She

pervades all the categories or Tatwas from earth to Shiva. All

activity is interspersed with the three essential qualities of

virtue, passions and ignorance i.e. Satwa, Rajas and Tamas.

It is surprising to note from the experiences of self-

realized souls like Adi Shankara, Ramakrishna Paramahansa ( and my

own guru Sri Chidanandanatha, popularly known as Anna Subrahmanya

Iyer), which exactly match with the accounts expounded in the

Shastras ,that the infinite unity in its supreme luminosity, joy and

support blossoms in the heart of a devotee who is blessed with this

spiritual conception.

In the next Shloka, Maharshi praises Sridevi, who resides in

the Muladhara Chakra and is the root cause for all knowledge and

Mantras. He hints at the upward journey of Kundalini and invokes

Sridevi in the central triangle in the pericarp of the thousand

petalled lotus at the Sahasrara.

Aadikshaanta samasta varNa sumaNi prote vitaanaprabhe

Brahmaadi pratimaabhikeelita shadaadhaaraabja kakshonnate !

BrahmaaNDaabja mahaasane janani te moortim bhaje chinmayeem

Saushumnaayata peetapankaja mahaamadhya trikonasthitaam !!

He Janani – O Divine Mother of the trinity, Aadikshaanta

samasta varna sumani prote – Maharishi says that the letters of the

alphabet starting with `A' and ending with `Ksha' are like priceless

gems which are studded into the roof, giving it a divine glow , as

indicated in Vitaanaprabhe. Maharshi is indicating here that Srimata

stays in a mansion, which has the great gems of Matrikas studded in

its roof. Since Mantras are wish fulfilling, they may rightly be

called Chintamani. Thus mother rightly resides in Chintamani

Griharaja. He is actually referring to the Sahasrara Chakra here,

which is the seat of all Matrika letters and is the mansion of

Sridevi. Sahasrara is indeed like rooftop of the temple called body.

Brahmaadi pratimaabhi keelita shdaadhaaraabja kakshonnate – here

reference is to the six charkas, which have the residence of Brahma

and other deities, who are but images of Sridevi. These six charkas

referred here are the Muladhara and other Chakras. Mother resides in

a room or mansion much above or higher than any of these six lotuses,

but where then? He says, " Brahmaandaabja Mahaasane - She stays in

the great throne or Simhaasana in the thousand petalled lotus at

Brahmarandhra. She is also present in another place… "

Saushumnaayata peeta pankaja mahaamadhya trikonasthitaam – she stays

in the yellow colored lotus, at the center of the triangle composed

of a-ka-tha letters, coiled around the Linga which is of the form of

Mahabindu, with three and a half coils. This is here form as

Kundalini Shakti. Maharshi here indicates that Sridevi traverses the

path from Muladhara to Sahasrara and back. The Samayacharins however

worship Sridevi in the thousand petalled lotus in the crown. Some

texts like Shatchakra Nirupana however attribute red color to

Muladhara Chakra. However, Parashurama kalpasutras, Saubhagya

Ratnakara Kalpa and many other texts attribute yellow colour to

Muladhara. Thus here, the yellow colour refers to muladhara. In the

more popular convention, yellow refers to Manipoora. Sridevi also

suddenly appears in devotee's Manipura Chakra, all of a sudden due to

Guru's grace in the form of Shambhava Mahavedha. He need not bother

about lower Chakras. But most have to begin the journey of evolution

from Mooladhara. The thousand petalled lotus has Sushumna Nadi as its

stem, with Muladhara Chakra as its root. The letters of the alphabet

are like beads in a mala, with the sushumna forming the string, which

holds these beads together. This mala extends from root up to Ajna

chakra.

Traditional people use this mala called Aksha mala for Japam.

Start from Muladhara, counting the letters a to ksha as beads, upto

Ajna. Then back to muladhara, counting back in the reverse order up

to a. This forms a total of 100. This not only adds the effect of

Japa of Matrika Saraswathi, it also awakens Kundalini. This, when

done with breath awareness along the Sushumna, induces extreme power.

This gives siddhi very quickly. Now for the other eight counts (since

Japa count is generally 108) one may refer Kali Tantra and other

texts. This is indeed something that has to be explained only by a

Guru to his disciple, and is held to be secretive. However, some

Sadhakas of Uttamaadhikara might find this very useful. Anyway,

Aparaadhe Gurupada Smriti eva SharaNam !!!! May the divine mother

forgive me!

By the practice of Bandhas, Kriyas and Pranayama, Kundalini,

unable to bear the tremendous heat generated in the Muladhara (called

Yogagni) awakens, zooms through the six lotuses, cutting across them

and reaches the Sahasrara. From the Chandramandala there, then flows

the divine nectar or Kulamrita, which moistens all the deities in the

various Chakras through the Aksha Mala. Then the aksha mala looks

like a divine garland of chosen flowers. This sight is not imaginary,

and many great souls have confirmed it with their own experience.

Kundalini then returns back to Muladhara, carrying with her, the

ecstasy of her communion with Paramashiva. This important topic has

been thoroughly discussed in the Shloka " SudhaadhaaraasaraiH " in

Saundaryalahari as also in the fifth chapter of Tripurasara. Here

Maharshi is praying to Sridevi, who takes a ride from Muladhara to

Sahasrara, showers nectar and returns to Muladhara.

Maharshi invokes in this shloka, the divine mother as

Kundalini. How is she? She is Chitswaroopini, of the nature of pure

consciousness.

Now another technical point to be noted here is about

Shadadhwas. The entire universe consists of Sabda (subjective) and

Artha (objective) aspects. This is a proliferation of Swaatantrya

Shakti or Paraa Vak, in six paths or courses known as Shadhaadhwa.

Three of these are under Vaachaka (indicator) side and the other

three are under the Vaachya (indicated) side. The triad on the

Vaachaka side are known as Kaalaadhwa (of temporal order) and the

triad on the Vaachya side are called Deshaadhwa (of spatial order).

The three Adhwas of each of these two groups correspond to the

emanation of Pashyanti, Madhyama and Vaikhari stages from Paraa, the

supreme Divine Energy. They may be tabulated as follows :

Vaachakaadhwa ( Subjective cycle of creation) :

1. Varnaadhwa – the path of letters or alphabet.

2. Padaadhwa – consists of words and syllables.

3. Mantraadhwa – consists of Mantras and sentences.

Vaachaaydwa ( Objective cycle of creation ) :

1. Kaalaadhwa - consists of the five boundaries of Tatwas

namely Santaatita, Saanta, Vidya, Pratishta and Nivritti.

2. Tatwaadhwa – complete system of 36 tatwas as prescribed in

Tantras and Agamas.

3. Bhuvanaadhwa – Combination of 118 worlds. The Tantras hold

that the total number of worlds is 118, with each world having

trillions of worlds in itself. The number thus ends up being infinite.

The science of Shadhadwas is referred to in both Saiva and Shakta

works, but is a particular characteristic of Shambhava Darshana, in

which Shaiva and Shakta Darshanas are synthesized. At the level of

Paraa Vak, Sabda and Artha or the word and its meaning are in a state

of indistinguishable unity. These begin to differentiate when

manifestation begins to take place. It is to be noted carefully that

the Sadhadhwa is meant for the process of dissolution to the state of

Parashakti, for the purpose of realizing the Goddess through her

grace, and not for treading, for that leads to duality, Samsara. They

are the six methods of devotion, six methods to meditate upon Sridevi

or Srichakra. These also refer to six Darshanas or deities.

Kulajnana, the knowledge of the Supreme Parashakti becomes clear to

the pure-in-mind with mantras produced from Saiva-Vaishnava-Durgaa-

Surya-Ganapathy-Soma darshanas. Thus having completed all the six

kinds of worships of these six deities in the previous births, the

devotee is able to assimilate the knowledge of Para Shakti, which

makes him free from desire and doubt regarding the enjoinments and

liberation. This has been confirmed by Bhagawan Hayagriva in the

Lalitopakhyana, where he says: ` Srividya is obtainable by a Sadhaka,

who has worshipped all other deities in his previous births and is in

his last birth, at the end of the Karmic cycle'.

Sadhadhwas are like knotty dense forests, which have to be

crossed to attain freedom of the non-dual Supreme Self. These also

correspond with the Six Yogic charkas. These are burnt to ashes by

the rising of awakened Kundalini fire, which is said to be like

Kalagni. [ On classification of the universe into Lokas or fields of

experience, Kalaagnirudra Bhuvana forms the bottom where the gigantic

fire is burning always. Its flames are burning downwards by the

command of Lord Shiva till the universal destruction takes place.

Then, again, by His command the flames turn up to burn and dissolve

the universe upto Tapoloka]. Bodha kundalini covers the Adhwas and

Praana Kundalini pierces the Chakras.

Kundalini is Chit Shakti, the life force or the power of

consciousness, from which alone originate the currents of energy. The

aim of Tantra is to control and regulate these currents ti make them

flow to sublimer channels by the Tantric Kundalini Yoga. The ego is

the main obstruction in the flow of this Energy towards the right

course, which leads to bliss, eternal beauty, peace and unsurpassable

joy. Kundalini expresses itself through the path of the Yogi nerve

system. Kundalini is already half-awakened in every individual

maintaining normal life in the body. The more it is awakened the more

beauty, more joy and more life there is.

Prana Kundalini works at physical level, Nada Kundalini at

mental level and Bodha or Jnana Kundalini at spiritual level.

Kundalini is also classified on the basis of its place of residence.

1. Adhah Kundalini – it is the power of primordial existence,

lying dormant at the Muladhara. It is the cosmic life that underlies

all organic and inorganic matter.

2. Urdhwa Kundalini – it has the entrance at the Brahmarandhra.

It is the place of union of Ida and Pingala at the Ajna Chakra

between the two eyebrows.

3. Paraa Kundalini – it is the transcendent state of

Paramashiva. In human it is recognized as Mount Kailasam in Sahasrara

and beyond.

Also, Mechakaabha Tantra gives some other names to the six charkas

and these are very meaningful, significant names. Nada Chakra at

Muladhara, Maya Chakra at the navel, Yoga Chakra at the heart,

Bhedana chakra at the Lambika or the palate (this chakra is

frequently referred to by texts dealing with Lambika Yoga. Sri

Vidyashankara Mahaswamigal of Sringeri Sarada Peetham is eternally

absorbed in Lambika Yoga Samadhi to this day in the form of

Chaturmurtishwara Shivalinga, above which a beautiful temple of Shiva

has been constructed. This is called Vidya Shankara temple. The great

Guru clears doubts of earnest devotees who meditate in this sacred

place), Dipti Chakra at the Brow center and Santa Chakra at

Brahmarandhra.

The number six is very significant. It is most commonly

mistaken to be Swadhishthana Chakra at most places. This however may

indicate the inner course of Srichakra and should be understood from

an efficient Guru who is much advanced in Saktha practices.

The Six-petalled lotus refers to the mystic physiology of

Sushumna. In Muladhara, there is a triangle known as Shiva Trikona,

together with another one known as Shakti Trikona. The two triangles

join in such a way that their apexes are opposite each other. In

Yogic parlance, the place in physical body is the Ajna Chakra. While

Shiva and Shakti are separately triadic, their union is hexagonal.

The union of Shiva Trikona, which is the Bindu and the Shakti Trikona

which is the Yoni is called the Shatkona mudra or the Shambhavi

Mudra. Then there is a Kanda which is a samputa of Shiva and Shakti.

This is known as Omkara Peetham, the seat of Bija Mantra. Then there

is also the Hrit Karnikaa also called Mukha mudra, which is the

center of the heart lotus. The yogis are advised to meditate on the

above said Kanda as if it were the heart lotus. These have been

called `lotuses' only in a figurative sense because they are endowed

with the characteristics of expansion and contraction like a lotus.

This Hrit Kamala is called Amrita Bija. This practice leads Yogis to

Jagadaananda state.

According to the great saint Swami Lakshman Joo, advanced

Yogis experience Kundalini in three states. The first is the tranquil

state and remains limited to Muladhara. This state works in all

created beings. When the kundalini gets awakened either by Pranayama

or in the classical way of constant practice or uninterrupted feeling

of the perfect ness of I – consciousness, it is called Adhah

Kundalini. After this state, when Kundalini, like lightening gives a

sudden and straight flash and rises through the path of Sushumnaa to

Brahmarandhra, it is called Urdhwa Kundalini.

Practice of meditation on the two spots is called

Aadyantakoti Nibhaalana, explained in Paraatrishikaa. Aadikoti is

called Bahirdwaadashaanta and Antakoti is called Antardwaadashaantia,

which may respectively understood as Adhah and Urdhwa Kundalinis.

Their union is the Shatkona Mudra, often referred to as Shatpatra

Kamala. The yogi is advised to meditate on the locus of a point,

which has neither beginning nor end, and expanding the fifteen

vowels, resides in the heart lotus of Shiva, who is the sixteenth.

The seventeenth Kalaa is the unwavering repose called Bindukalaa,

where the movement of both Prana and Apana ceases. This is called

Somaamsham. This is the main significance behind Tarpana of

Mahasaptadashi Nitya, even beyond the Shodashi Nitya during the

course of Nityaa Kalaarchanam. The correspondence is to Turiyaatiitaa

and Turiyaa. By practicing SomamaSham by viewing all objects of the

world as nothing but the manifestation of the ParaaBija Sauh (or the

third Koota of Srividya, with or without the final Shodashi Kalaa,

depending on one's qualification), one attains the Jagadaananda

Dasha – the monistic state of sameness of the Supreme self,

unconditional and unhindered. This is Supreme Bliss, Shaktipata of

Shiva.

Very few advanced Yogis find repose, by a graceful knack, in

the steadiness of breath, after a long and constant practice. Here we

talk about the next alternative i.e the Pranayama. This coveted

experience of a Yogi is called Urdhwa Kumbhaka, flow of super

consciousness. Just as churning curds results in a ball of butter,

which keeps floating and simultaneously increasing in volume on the

surface of the churned milk, so does refined intellect i.e. awareness

of supreme consciousness float free from any malignancy of duality.

The two principal functions of the vital airs are exhalation and

inhalation. Among human beings, some Yogis offer the act of

inhalation into that of exhalation. There are still others, who offer

inhalation into exhalation. [Now these esoterically refer to the 14

th and 15 th Kriyas of the Siddha tradition. Many Kriyabans are

familiar with this I suppose. It is now known that Lahiri Mahasaya

taught a total of 8 Kriyas to a chosen few among his vast number of

Chelas. There are 72 Kriyas in all, with some knowing upto 25 Kriyas

in the contemporary times. I do not know about the higher Kriyas,

since all I have been taught are first twenty five Kriyas, (of which

Sri Sri Gurudev Yoganandji taught three). The final two of the 25 are

the Samhara Kriya, (by which a Yogi may exit consciously via the

Brahmarandhra) and Brahmamelana Kriya also known as Ananda Kriya,

Maha Kriya, Samadhi Kriya, Kulaamrita Kriya, Niraalamba Kriya etc by

different traditions. If any one has information on higher Kriyas,

please share it with me.] These two paths refer to Devayaana or

uttara maarga and Pitryaana or Dakshina maarga. But there is a

superior path beyond these two. This is called the Bhairavi stage,

which results in Kriyaa Shoonyata. I think this is too complicated to

be discussed in this context and hence I will leave it at this. Yaana

means vehicle or chariot in Sanskrit. As a verb it means moving or

riding. In Yogic parlance, it refers to entering the Sushumna. One

may find entrance to the Royal path of Sushumnaa in different ways

and by different means. Taking Devayaana way with the inferior means

of Aanavopaaya, one has the predominance of Prana, egress and with

Saktopaaya, one is influenced more with knowledge of the self. Taking

Pitryaana way with the Inferior means of Aanavopaaya, one has the

predominance of Apaana and in Saaktopaaya one finds it in action.

But, the highest means is the Shambhavopaaya, where the devotee keeps

constant touch with the Divine in the bipolar process of Prakasha and

vimarsha i.e the predominance of Shiva and Shakti respectively. He

ever moves in and as Divine.

To conclude, let me quote a small meditation from The Yoga

Tatwa Upanishad, also mentioned in Dhyanabheda Tantra.

" There are five elements, earth – water – fire- are- ether. For the

body of five elements, there is a fivefold concentration. From feet

to the knees is said to be the region of earth. It is square in

shape, yellow in color and has the letter Lam. Carrying the breath

with Lam along the region of the earth i.e. from the feet to the

knees and contemplating Brahma with four faces and of golden color,

one should meditate here.

The region of water is declared to extend from the knees to

the anus. The meditation Yantra is semi-lunar in shape and white in

color. The Bija mantra here is Vam. Carrying up the breath along the

knees up to anus with the Bija, he should meditate upon lord

Narayana, having four arms and crowned head, as being of the color of

pure crystal, as dressed in orange clothes and as decay less.

From the anus to the heart is said to be the region of fire.

Fire is triangular in shape, of red color, and has the Bija Ram.

Raising the breath, made resplendent through the Bija Ram, along the

region of fire, he should meditate on Rudra, who has three eyes, who

grants all wishes, who is of the color of midday sun, who is smeared

all over with holy ashes and who is of a pleased countenance.

From the heart to the middle of the eyebrows is said to be

the region of air. Air is hexagonal in shape, black in color. It

shines with the Bija Yam. Carrying the breath along the region of

air, he should meditate on Ishwara, the omniscient, as possessing

faces on all sides.

From the center of the brows to the top of the head is

declared to be the region of ether. It is circular in shape, smoky in

color, and shining with Bija Ham. Raising the breath along the region

of the ether, he should meditate on Sadashiva in the following

manner – as producing happiness, as of the shape of Bindu, as a

shining pure crystal, as wearing a crescent moon on the forehead, as

having five faces, ten hands and three eyes, as being of a pleasing

countenance, as armed with all weapons, as adorned with all

ornaments, as having Goddess Uma in one half of his body, as ready to

grant favors and as the cause of all the causes.

One who devotedly pursues this great contemplation on the

five elements, gets immeasurable knowledge, knows the past, present

and future; has clairaudience, clairvoyance and can walk in the air.

He sees the adepts ( Siddhas, Rishis and other ascended

masters) and the goddesses known as Yoginis. He obtains the power of

Khechari.

He who also contemplates on the hidden Banalinga ( in the

heart center) obtains Khechari, Bhuchari and all other Siddhis and

becomes a Shivayogi. "

In the next verse, Sri Durvasa praises the Vagbhava Bija,

which is the essence of Baala Vidya which in turn in the subtlest

essence of the entire universe of sounds. This Bija is not to be

thought as different from Vaghbhava Koota, the first part of

Srividya. Though Samketasara Vidya, Bala Vidya and Srividya have

differences in the formation of the mantras, there is no difference

in the deity invoked thereby. All these invoke the supreme mother

Mahatripurasundari. He describes Sridevi as one unified Magna mater,

being the essence of all the three above-mentioned Vidyas.

Vande Vaagbhavamaindavaatma sadrisham nedaadi vidyaa giro

BhaashaaH deshasamudbhavaaH pashugataaH Chandaamsi saptaswaraan !

Taalaan Panchamahaadhwaniin prakatayatyaatma prasaareNa yat

Tadbeejam pada vaakya maana Janakam Shree Maatrike te param !!

He Shri Maatrike –O divine mother who is of the form of the letters

of the Alphabet i.e. Matrikas, Tat te Vaagbhava beejam aham vande – I

bow down to the great Vagbhava Bija, which is of the form of Vagbhava

Koota, hidden in your Vidya. Since Srividya is the subtle form of

Sridevi, without any difference between the two, Maharshi bows down

to Srimaata who is of the form of Vagbhava Bija.

Now, how is this Vagbija? Aindavaatma Sadrisham yat – it

resembles the lunar disc. Here Maharshi is indicating the lunar disc

or Chicchandramandala in Sahasrara and not the Chandra Mandala that

extends from Ajna to Sahasrara. The deity to be meditated in this

Mandala is Mahaa Bhagamalini. Svaatma Prasaarena prabhaavena idam

sarvam shabda jaalam prakatayati – by the virtue of its innate

quality of brilliance and luster, it spreads itself as a nectarine

flow in the entire universe, causing the appearance of entire world,

which is made up of infinite sounds. By the virtue of its nectarine

flow, it gives rise to all possible sounds and music, and hence the

entire universe, whose evolution of sound or Shabdamayee Srishti has

been dealt with before. Rigveda and the other three Vedas with their

infinite number of Shaakhaas or branches and sub-branches, various

languages in various countries like Sanskrit, Prakrit, Paishaachi

etc., the various sounds made by various kinds of animals, numerous

Chandas or meters like Anushthubh, Gayathri etc, Shadja, Rishabha,

Gandhara and the other musical notes or Swarasthaanas, Dhruva and

other Taalas or rythms, sounds of musical instruments like Bheri,

Dhakka etc, all these are due to the nectarine flow of Sridevi's

grace, which flows as the effect of the immensely powerful Vagbhava

Bija. This supreme Bija is also responsible for Pada – Word, Vakya –

Sentences and Maana or Proofs. Now, Pada indicates Shabdashastra, the

science of sounds. Vakya indivates Purva and Uttara Meemaamsaa. Maana

indicates those Shastras which use proofs like Pratyaksha-Anumaana

etc, like Sankhya, Yoga, Nyaya and Vaisheshika Shastras. Nyaayikas

use four kinds of proofs and Meemamsakas use Six kinds of proofs.

Thus, Sridevi, as Vagbija or Vagbhava Bija is the cause of all sounds

and thereby all worldly and spiritual Vidyas. It is no wonder that

she grants mastery in all these to her devotees. It is said in

Nandyaavarta that Hayagriva, an incarnation of Sri Narayana and Sri

Saraswathi drink the water that washes Sridevi's feet, for gaining

mastery in all subjects. It is her very grace that made Sri

Shankaracharya Sarvajna or all knowing.

Here, Sridevi's physical form referred is that of Haimavathi.

In the previous verse we spoke of Kundalini. Here, the supreme

Brahmavidya, who indeed is the goal of each of the above-mentioned

Shastras and scriptures is invoked. Uma or Hymavathi is the Supreme

Brahmavidya, who reveals the ultimate knowledge of the self in

Hridguha called dvaadashaanta. It is the most sacred point wherefrom

the first throb of creational power begins in Her natural state of

joy and beauty. It remains always hidden as if in a cavern, called

Hridguha, that mysterious place of Sridevi where the supreme shines

through abandoning egress and ingress of breathing life.

Thus praising Sridevi as the form of the first Bija of Samketa Saara

Vidya (or Bala vidya or even Srividya ), he further praises the

efficacy of this unsurpassable Bija, as being capable of granting

great poetic capabilities and scholarship.

Trailokya Sphuta mantra tantra mahimaam naapnoti Shashwat vinaa

Yadbeejam Vyavahaara jaalamakhilam naastyeva maatastava !

Tajjaapya smarana prasakta sumatiH sarvajnataam praapyataH

Shabdabrahma nivaasa bhootavadano indraadibhiH spardhate !!

 

He maatah – O mother mine, Tava yat bijam vinaa akhilam vyavahaara

jaalam naastyeva – without the power of your Vagbhava Bija, no day to

day worldly transactions become possible. Since it is the source of

all sounds and also the world, which is a composition of sounds,

without it, nothing becomes possible. Trailokya Sphuta manta tantra

Mahimaam naapnoti Shashwat vinaa – without the power of Vag bija, all

the Mantras, Tantras and the eighteen Vidyas, that shine brilliantly

in the three worlds, become effect less. It is said in

PrasuptaBhujagotthaapana Stotra, that all mantras arise from the

nails of the feet of Sridevi and from the devotee's heart. Find their

way back to Sridevi's lotus feet. However, Srividya which is reputed

to be the subtlest essence of all the seven crores of mantras has its

origin from Sridevi's Muladhara as Paraa vak and flows out as

Vaikhari. The entire creation of the world is hidden right here. Sri

Durvasa says here that all the Vidyas and mantras gain their

prescribed effects only due to the power of Vagbhava Bija. Tajjaapya

Smarana Prasakta sumatiH – one, who chants this Bija and meditates on

its true import, becomes a Sumati i.e. his mind or intellect

blossoms. He attains complete purity of mind. Thus, purification and

the resulting stillness of minds are effects of chanting Vagbhava

Bija.

Further, Sarvagnataam praapya – Such a devotee also becomes Sarvagna

or all knowing. Now, only Ishwara is all knowing. Therefore the

devotee also becomes one with the supreme Brahman, who alone is all-

knowing. Shabda Brahma nivaasa Bhoota vadanaH IndraadibhiH

spardhate – having himself become the face of Shabda Brahman,

competes with even the immortals like Indra and others. Shabda

Brahman is the source of energy for all living creatures and the

source of all forms of knowledge. The devotee becomes one or realizes

the self as this Supreme Chaitanya.

It has been wonderfully expounded in Nityaashodashikaarnava, a part

of Vamakeshwara Shastra, as to what this Bija does to the sincere

devotee who , having received it duly from Sri Guru according to the

rites of Kulachara, chants it regularly with a complete understanding

of its meaning, constantly contemplating over it. The devotee is

envied the by Sun, reputed of being the only great luminary, the

object of meditation, and the stimulator of all actions, finds a

match in sadhaka. It also means that the fame of the devotee spreads

far and wide like sunrays.

He is also envied by Garuda, who has the power of carrying the weight

of the all-pervading Narayana and is the remover of poison. It means

that the devotee is not only protected from all the different kinds

of poisons like Sthira – Kritrima – Shankaa and other Vishas and

Upavishas, but also obtains the power of curing the effect of poison

by his mere sight. This Prayoga has been detailed by Srimadacharya in

saundaryalahari's Shloka, " KiranteemangebhyaH …..". The Sadhaka also

attains the power to achieve his desires at lightening speed.

He is envied by the moon, which satisfies all gods, nourishes all

plants, and causes pleasure in every one. That is the devotee becomes

pleasing to one and all and his presence is felt as nectarine by

people around him.

Manmatha or the God of love also envies him, since the Sadhaka

attains a glorious form, attracting and agitating the minds of

beautiful damsels in all the three worlds.

Shankara envies him since the Sadhaka, like Shiva becomes all knowing

and capable of burning evil by a mere glance.

Agni or Fire God envies him since the devotee shines with a brilliant

radiance and consumes all knowledge that is offered to him.

Vishnu also envies him since he becomes the lord of Lakshmi, i.e. the

master of all riches, rises above Vishnu Maya which ties us down to

Samsara and becomes capable of uttering curses and boons i.e.

Nigrahaanugraha Shakta.

If one could achieve all this, chanting a single syllable of

Sridevi's Mahamantra, one can imagine the effect of chanting the

entire Vidya.

Now he sings the glory of Kundalini, who is present as the Maatraa

above the Vagbhava Bija in the next verse.

Maatraayatra viraajatetevishadaa taam ashtadaa matrikaam

Shaktim kundalinim chaturvidhatanum yastatwavinmanyate !

Ko vidyaakhila janma karma duritaranyam prabodhaagninaa

Bhasmeekritya vikalpajaalamakhilam maataH padam te vrajet !!

 

He maataH – O auspicious mother ! atra yaa maatraa ati vishadaa

viraajate – he is here invoking the letter that is expansively

present in the beginning of Vagbhava bija. Now, the Bija Aim is

formed by a + I + a + bindu = aim. The first letter here is

thus `A', the first of all alphabets. As the Sruthi says, "Akaaro vai

sarvaa vaak", this A kaara or letter A is the basis and origin of all

other Maatrika letters. Since the entire universe is Shabdamayee and

Varnamayee i.e. composed of sounds and letters, the letters is like

the main seed, from which the Varnamayee universe sprouts and grows.

Taam maatraam – that letter, Ashtadha – this letter also transforms

into the categories of letters namely, A – Ka – Cha – Ta – ta –Pa –

Ya – Sha, each of this group, presided over by the eight Vagdevis,

Vashini, Kameshwari, Modini, Vimala, Aruna, Jayini, Sarveshwari and

Kaulini respectively. Maatrikaam – so this single letter transforms

into the entire alphabet and hence is referred to as Matrika

Saraswathi, the personification of the entire Varnamaalaa.

Maharshim calls the letter, which is nothing but a form of Sridevi

as ` Shaktim `, meaning to say this supreme power is

what is responsible for the fivefold activities in the universe.

This fivefold glory of Paraamba is as follows:

1. Srishti –Act of creation.

2. Sthiti – Act of protecting the manifestation.

3. Samhara – Act of withdrawal of the manifestation.

4. Tirodhaana or Vilaya – Veiling of the self.

5. Anugraha – Grace or self-revelation.

Each of these are also accomplished by the individual soul Jiva.

1. Whatever appears through the successive functioning of -the

deities or perceptual functions, is Aabhaasana or Srishti.

2. Relishing the experience till it is maintained b the deity of

preservation is called Raktee or Sthiti.

3. Knowledge of withdrawal of an object at the time of Vimarsha

represents Samhara.

4. When withdrawal of the experience of manifoldness generates

various impressions or Samskaaras of doubt, inwardly it becomes the

germ of Samsaara and is bound to spring forth into existence again.

This concealment of the real nature of self is Vilaya or

Beejaavasthaapana.

5. When all doubt and any other experience of the time are burnt

to sameness with the fire of consciousness, the Yogi enters the state

of Grace and the true self is revealed to him. This is Anugrahaa or

Vilaapana by Hatha Paaka.

By the process of Hatha Paaka, Yogi enters the state of Grace. This

is a persistent process of reducing completely the world of

experience to oneness with the real essence of the experiment. This

device is called Alamgraasa or Swaatmasaatkaranam – bringing the

object of experience to sameness with the self, when no samskaaras or

germ of Samsaara as separate from consciousness is allowed to remain.

Maharshi furhet says, Chaturvidha tanum Kundalinieem – this A

kara which is present in the Vagbhava Bija is called Kundalini. ( I

will not elaborate more on this, more on this can be known through

the commentaries on VarivasyaRahasya and Kamakalavilasa ). Now this

Kundalini is said to have four forms : Agni Kundalini in Muladhara,

Surya Kundalini at the heart, Soma Kundalini at Ajnaa Chakra and at

the triangle in the base of Sushumnaa, at the root chakra as Samashti

Kundalini. The Agni kundalini is only a part of this Samashti

Kundalini. The Sanskrit way of writing Aim resembles a triangle. This

triangle indeed is the Trikona in Muladhara, in which Sridevi resides

as the great Kundalini represented by `A' kaara.

Tatwavit yaH manyate – a devotee who receives this Bija, held

in a very high regard by all philosophers and self-realized souls,

from his Acharya, Sah – such a fortunate sadhaka,

Avidyaakhila Janma Karma Duritaaranyam – he is freed from the jungle

of Avidyaa, which is solely responsible for cycles of life and death,

various fruitful actions and evils. What is not Paraa Vidyaa is

Avidya. This Vidya is the superior knowledge of spirituality that

becomes the cause of liberation for a sincere seeker of truth. " Then

there is the higher knowledge by which is realized the immutable ",

says the Mundaka Upanishad. This is known as Suddha Vidyaa as it

makes one recognize perennial Supreme Self. Sri Maheshwaranandanatha

explains this in Mahartha Manjari, " The knower is that Atman and the

course of the world is of objective nature. Where the two flow in one

stream, that indeed is knowledge without impurity".

PratyabhijaHridaya also says, " When I-ness of intellect is in

opposition with This-ness, it is Sadvidyaa". Also in Shiva Sutra, "

With this Suddha Vidya, pure knowledge concentration on the self is

accomplished ". The special name given to Paraa Vidya in Saakta lore

is " Saubhagyasundari ", the beauty of fortunateness that secures the

favor and firm devotion of Shiva and Shakti towards each other. This

plainly refers to the incomparable Mahashodashi Mahavidyaa. No other

Mantra, other than Gayathri and its subtler forms ( Panchadashi and

Shodashi) are permitted to be called Vidya. Others are mere Mantras.

This indeed is the only one qualified to be called Paraa Vidyaa or

Brahma Vidyaa.

The summary is that the devotee is freed from the forest of

Janma, Karma and Durita, all due to Avidyaa or Duality. Akhilam

Vikalpa Jaalam – there are so many Vaasanaas resulting due to Karmas

or actions committed. These lead to severe agitation of the mind or

Manovikshobha. By chanting Vagbhava Bija in the prescribed way,

Prabodhaagni Naa Bhasmeekritya – these are all burnt down to ashes by

that great fire of knowledge that materializes in the intellect of

the sadhaka due to the realization of the true form of this great

Bija as his own Self and as Sridevi. Te Padam Vrajet – he then

attains eternal bliss by attaining the lotus feet of Sridevi.

The feet of Paraa Shakti always represent the powers of

knowledge and action, as the activity of consciousness is universal

throughout. This connotes that " the nature of Reality is awareness

which has absolute freedom of knowledge and activity."

In the next verse, Sri Durvaasaa invokes Sridevi as the

Kamaraja Koota of Srividya.

Contd……………………………….

Sridevyai NamaH !!

Jaya Jaya Shankara !