The Garland of Letters (Varnamala)

This book is an attempt, now made for the first time, to explain to an English-knowing reader an undoubtedly difficult subject. T am therefore forcibly reminded of the saving. “ Veda fears the man of little knowledge, since injury may be received from him” ( Bibhety alpashrulM Vein miim ayam praha n'shyate). It is natural, given this difficulty and the mystery which surrounds the subject, that strangers to India should have failed to understand Mantra. They need not, however, have then (ns some have done) jumped to the conclusion that it was “meaningless superstition." This is the familiar argument of the lower mind which says “what I cannot understand can have no sense at all.” Mantra is, it is true, meaningless to those who do not know Us meaning. Rut there are others who do, and to them it is not “superstition.” ft is because some English-educated Indians are as uninstructed in the matter as that rather common type of Western to whose mental outlook and opinions they mould their own, that it was possible to find a distinguished member of this class describing Mantra as "meaningless jabber.” Indian doclrines and practice have been so long and so greatly misunderstood and misrepresented by foreigners, that it has always seemed to me a pity that those who are oi this Punyabh&mi should, through misapprehension. malign without reason anything which is their own. This does not mean that they must accept what is in fact without worth because it is Indian, but they should at least first understand what they condemn as worthless.

When I first entered on a study of tliis Shftstra 1 did

so in the belief that India did not contain more fools than exist amongst other peoples, but had on the contrary produced intelligences which (to say the least) were the equal of any elsewhere found. Behind the unintelligent practice, which doubtless to some extent exists amongst the multitude of evenfaith, 1 felt sure there must he a rational principle since men on the whole do not continue throughout the ages to do that which is in itself meaningless and is therefore without result. I was not disappointed. The Mantra Sh&stra, so far from being tightly described as "meaningless superstition" or “jabber," is worthy of a close study which when undertaken, will disclose elements of value to minds free from superstition, of metaphysical bent and subtlc-seeing {Silkshmadarshin). A profound doctrine, ingeniously though guardedly set forth, is contained in the Tantras of the Mantra Sh&stra or Agama. This is an auspicious time in which to open out the secrets *of this Ahdydtmiha science. For here in this country there lias lieen a turn in the tide. The class of Indian who was wont to unite with the European critic of liis Motherland in misunderstanding and misrepresenting Her thoughts and institutions, is, to Her good fortune, gradually disappearing. Those who are recovering from the dazzle produced on its first entrance by an al'eit civilization are able to judge aright both its merits and defects as also to perceive the truth of the saying of Schiller, "Hold to your dear and precious native land; there arc the strong roots of your strength (-4«s Vatertand tins Uurc schliess dichan. Dasindduslarken \i' unci n dcincr Kraft)." Again in the West there is a movement away from the Materialism which regarded that alone as real " which is gross sensible matter ; and towards that standpoint whence it is seen that thought itself is a thing which is every whit as real as any external object. Kach is but

an aspect of the one conscious Self whence bolli Wind and Matter proceed. This Sell or Chit is the Soul ol the rniversc. and the universe is Chit which has become its own object. Every being therein is Consciousness, that is, Chit manifesting as the multiple lorms of Mind and Matter which constitute the univeise. This Western movement is called by its adherents " New Thought," but its basal principles are as old as the Upanishads which proclaimed that all was Feeling-Consciousness (Chit), and therefore what a man thought, that he became. In fact thought counts for more than any material means whatever. 1 am not however here entering upon a general defence of so immense a subject, for this cannot be compassed in a work such as this. In any case— and this is what I am concerned to show the Mantra Sinistra is nut the mere senseless rubbish it has been supposed to be.

This book is, as the sub-title slates, a Collection of Studies in, or Essays upon, particular subjects in the Manlra-Shastra, a term which is commonly applied to the Tantra-Shistra. It is practically composed of two parts. After Chapter i, which deals with the “ Word, " Chapters 2-9 treat ul the Principles of the general doctrine of Shabda. I am much indebted in the preparation uf these Chapters to my friend, Professor l'ramathanutha Mukhopadhy&ya. Chapters 10-21 are elucidations ol some subjects in the Tantra Shdstra which adopts the Mimangsa doctrine of Shabda with some modifications to meet its doctrine of Shakti. Chapters 22, 26 and 29 deal with the Mantras '* Om " and the Gayatri. An understanding uf such terms as Shakti, N&da, Hindu, tho Causal Shaktisof the Pranava, Hlja-mautras and so forth, is essential for those who would understand the Shastra in which they appear. Hitherto knowledge of these matters has been confined

(where it exists at all) to the Gurus and Ssulhukas. This does not main tlial my information lias been gathered from oral sources only. On the contrary the substance of it may be found in the Tantrns. These are however generally unknown. The definitions must be sought for in many Sh Astras. When found they must be explained by the aid of general Sliastric knowledge and of Updsakas who possess the tradition As regards technical terms I refer my readers to other books winch 1 have published, advertised at the end of this volume, in particular to "Shakti and Shakta," "Serpent Power," and the volumes of the series called "the World as Power describing the chief concepts of Indian Plrilosopky and Religion.

Chapters 10-21 and 24 arc reprinted from the Journal the Vedanta Kcsari. Chapters 22-23 on "Um" and the "Necklace of KAli ’’ appeared in East and West, and Chapters 2S-29 on Mantrasddhand and tire " Gdyatrt " in the Introduction to my edition of the MahAnirvAna Tantra, which is now superseded, as regards the Introduction. by the fuller account of the Tantras and TAntrik ritual given in my volume, “Shakti and Shakta", and as regards the Text, by another and more correct edition which 1 have in preparation. Chapter 30 on the "GAyatri as ail Exercise of Reasoning” is a reprint of a paper read by me before the Indian Rationalistic Society at Calcutta, ami has been previously published in its Bulletin. Ten ol the paper* dealing with general principles were delivered by me in 1919 as Extension Lectures at the instance of the National Council ol Education, Bengal.

As I write the concluding lines of tliis Foreword hard by the ancient and desolate Temple to tire Sun- Lord at KonAraka in Northern Orissa, a continuous rolling sound like that ol the Mahainantra is borue to

IX

me from afar. I heard the some sound many years ago at the I'cnvongchi monastery when some hundred Buddhist monks rolled out from the depth of their bodies the mantra Om. Their chant then suggested the sea. as the sea now suggests the Mantra. Here where the sound is heard are green woods, bushes of jasmine, cactus in bloom and the rose and yellow of the Karavha and Kalika flowers. Travelling however whence it comes some two mihs seaward, the' 'eye surveys a wide wild waste of land, with here and there sparse clumps of Kotaki, stretching from the world-famous Temple of the " Lord of the Universe” in the south to the Golra jungle on the North. On the Eastern edge the surf of the Bengal Ocean iu great waves, marbled with foam with creaming crests, whipped into filmy vapour by the wind, ceaselessly boats upon a lonely shore. The waves jis .ill else are Mantra, for Mantra in its most basal sense is the World viewed as and in its aspect of — sound. But as I have explained in the Text we must distinguish between Natural Name in its pure sense as the sound of the constituent forces of a tiling and the sounds made by the thing when n produced. All sounds and therefore movements form the "Garland of Letters,” which is worn by the Divine Mother, from whose aspect as Om or the General Sound [Sdm'mya spauda) of the first creative movement all particular sounds and things come. For all tilings may he rendered in terms ot sound. The Universe is movement. The Letters are the sound 01 particular movements. These are audible as the gross letters which Kftli, t lie Source of all movement, wears as n garland round Her neck. I record this note on a scene which I have known and enjoyed for many years, since T may now he teeing it for the last time. If (as I hope not) this lie so, then I bid farewell to my old friend the Sftdhu Jagannatha Dilsa and to this place

X

set in all air of magic of which the Kapila Samhita (Ch.

VI.) says

Mailreyakhye vane punyc rathayiilrdmaholsavc Ye pashyanti tiara bhaktyd tc pa shy anti lauu raveh.

Konfiraka. w

CONTEXTS

Chapte

I

VJk or the Word

Page

Anha. Praiyaya and Shabda

Shabda and Parashabda

P.ir.ishahda. Causal Shabda

Etcrnallty of Shabda

Shabda a* language

The Tatlvas

Miyi Tattva

Ilangsa

KJma-kaia

Tlic Gross Tattva* and their Lords

Causal Shakiis oi the Pranava

The Kalfe •— —

The Garland of Letters or VamamAlA

• Ml

The Necklace of Kill

Sun, Moon and Fire

Shad-Adhv.Vs

GAyntri Mantra

The Gayatri Mantra as an exerdsc of Reasoning

Atma-SadhanJ ....

(VAKNAMAlA)

CHAPTER T

The word Vak (in Latin Vox) comes from the root Vach which means " to speak." The feminine noun V 4 k therefore means literally both voice and the word it utters, as also the sound of inanimate objects. It has the same sense therefore as Shabda. Artha is meaning or object. Pratyava is mental apprehension. All things have a threefold sense, supreme (Para), subtle (Sukshma), gross (Sthfila). Para Vak is the Causal Stress which, in terms of Pratyava, is the Cosmic Ideation (Srishti-kalpana) of Ishvara. This is the Divine " Word." But V 4 k is also an effect, either subtle or gross. Pashyantl Vak is Vak actually going forth as ikshana (Seeing), producing or manifesting, as Sukshma Madhyama V&k, or Hiranyagarbha Shabda which is the Matrika state_ of Shabda as it exists in man prior to its gross manifestation as the Varnas in spoken speech (Vaikhari V 4 k). In the Rigveda, Sarasvatl (V. 43-11) is called Paviravi 01 daughter of tlie Lightning, that is, of the great Vajra which sustains the worlds, wltich according to Sayana is Midhyamiki Vak. (See Muir O. S. T.— V. 337 ff.) Spoken speech (Vaikhari) is manifested to the ear by the gross physical sound or Dhvuni produced by the contact of the

THF. GARLAND OF LETTERS

vocal organs on the surrounding air by the olforl (Pravatna) to speak. In the transcendental quiescent Brahman (Paramatmu) or Paramashiva then* is neither Shabda (Ashalxla), Artha (Nirvisliaya) nor Pratyaya. There is therefore neither name (Nama) nor form (Kiipa). In this Infinite Calm there arises a metaphysical Point of Stress or Bindu or Ghanibbutn Shakti, which stirs forth (Prasarati) as the multiple forces of the universe. Tliis energising is tiro cause of. and as Jivatma is, the World-experience with its duality ol subject and object. This play of Shakti lakes place in the Ether of Consciousness (Chidakisha) in such a way that the latter is neither effaced nor affected when tile second condition ap|*ears, which last is that of both Transcendence and Immanence. This is creation (Srtsbji) or, more properly, seeming development (Parinama), since the English word " creation " does not truly express the process. Creation, in the Christian sense, excludes the notion that God i* a material cause, creation being neither out ol pre-existing matter nor out of God’s own substance. Creation also involves an absolutely first appearance. With this reservation the term “creation 11 is used. More accurately the Brahman It'clf, in the form of Its Power (Shakti), goes forth (Prasarati). This Srishti endures a while (Sthiti) that is lor a day of Brahma, u]x»n which there is, according to some, a complete dissolution (Malutpralaya). Others say that there is no such Malr&pralaya, but that there is always existing some universe, though one or another may disappear. In Mahapralaya the second state is potentially contained in the undifferentiated urunanifest Maya Shakti. Shabdabrahman as an UUasa oi Shiva sinks as it were into the eternally existing Calm, just as the rising wave breaks itself and sinks upon the ocean, or as the spray of a fountain falls again into the waters which feed it. This notion of lire “ Word " is

very ancient. God " speaks ” the Word and the Thing appears. Thus the Hebrew word for Light is " Aur." Genesis says. " God said : let there be Light (Aar) and there was Light (Aur).” The Divine Word is conceived of in the Hebrew Scriptures as having creative power. A further stage of thought presents to us the concept of an aspect of the Supreme or Person who creates. Thus wc have the Supreme and the Logos. Brahman and Shabdabrahman. In Greek, Logos means (as docs Aparashabda) thought, and the word which denotes the object of thought. To Heraclitus, Logos was the Principle underlying the universe. (See J. N. Heinze, Die Lehre vom Logos in der Griech. Philosophic). To the Stoics it was the " World-soul ” the uniting principle of all rational forces working in the world. According to Plato, the Logoi were super-sensual primal images or patterns (JAti) of visible tilings. The Alexandrian Philo, influenced by Platonism and other philosophies of Hellenism, combined the two conceptions and read into the Old Testament and Jewish Theology a Being intermediate between It (that is ho oh) and the manifold universe. This intermediate Being was the Logos According to Philo, Ideas moulded Matter. God first produced the intelligible world «»f Ideas which are types (Aparaj&li) of the physical world- Though in Itself nothing hut the Logos, the latter is the author of the ideal world. Just as an architect projects in his mind a plan of a town (Polis) and thus produces the real town according to the ideal, so God acted when He created the world, this Megalopolis (Brahm&nda). The Author of the Fourth Gospel took up these ideas but gave them expression in such a way as to serve Christian theological needs, (See J. Reville, La Doctrine du Logos dans la quatriemc Evangile ct dans les Aim-res de I’hilon). It has thus been said that John’s adoption of the notion was not a mere copy,

but a free adaptation of the Philonian I-ogos and a christianising of it. According to the Evangelist the Logos is a Person who was before creation and Himself God. It is the Potency of the Eternal Wisdom proceeding from the immanifest Godhead for the purpose of world-activity and in the world It is the Logos Hndiatlmtos or immanent divine wisdom (See Moeller. Hist. Ch. Chnrcli I <)2‘2-»2). The Logos through whom the world was created became flesh (Avatflra), that is was manifested in man (Vcrbum earn factum est). lie is the Son who Ls Jesus Christ, Him who in the heavenly pre-existence is called the Logos and after I Its incarnation the man Jesus who is the Christ, who is neither ptophet nor superman but Pfimuvatara of God. Tin* Logos is the perfect self-presentation of God in the Son. In Jesus there was identity of being with God. The fourth Gospel opens grandly, " In the beginning was the Word and the Word was with God and the Word was God.” These are the very words of Veda. Prujtipatir vai idam faft : In the beginning was Brahman. Tasya v'ig dvittya asfl ; with whom was Yak or the Word ; (She Ls spoken of as second to Him because She is first potentially in, and then as Shakti issues from Him) ; V6g vai par (imam Brahma ; and the word is Brahman, vak is thus a Shakti or Powej of the Brahman which is one with the Possessor of Power (Shaktiman). This Shakti which was in Him is at the creation with Him, and evolves into the form of the Universe whilst still remaining what It is — the Supreme Shakti.

It is always possible that hitman thought may develop similarly and yet independently. It is not improbable also, seeing the influence of India on the West, that the Philouic and Neo-platonic and Johannean conceptions were, in part at least, indebted for their origin to India. Nevertheless there are, with general

points of similarity, others of difference, for which accuracy demands attention. Thus the Brahman is the material cause of the World which the Christian f.ogos is not. For Christianity is dualism. VSk is no Person in a Trinity. V&k is Herself the Mother of the Trimftrtti who are Bralimi, Vishnu and Rudra. For She is the Supreme Shakti, one with Brahman. The full incarnation is a concept of Hinduism, yet. in the form of Jiva, Vak Ls incarnated not in one historic person only but in all men, beings, and things. The Word as Vak became flesh, not on one particular date in one p.irticulai place and in one particular historic ]>erson. It appeared and now appears in the flesh and other forms of matter of all limited beings or Jivas, each of whom may through Veda directly realise the Brahman whose Shakti is the word or Vak. Jesus alone was God in human form. Otliers were not, are not and never can become God. Vak manifests Herself in every man add is knowable and known as She is in Herself— that is Brahman, in that spiritual experience which is Veda.

The universe is the outcome of the Divine Desire (Kama) or Will (Ichchhi). Kama on the physical plane denotes among other things, sexual desire. In the highest sense it is the first creative impulse of the One to be many, whereby It begets Itself as all creatures. Earthly desire and self-reproduction are but limited manifestations of that first impulse. The Divine Will is continually and presently working through the individual sexual desire for the continued creation of the universe. This Divine Kama is eternal and the origin of all things. And so Parmenides speaking of li'ros or Love, said PrftislOH m> r n rrola thtun nui/saio panlou, (" He devised Eros the first of all the Gods ”). This is the Divine Eros through whom things .are (See Plato Symp. 5-6). The Daughter of Kitina is Vak. The latter as the Divine Will

TIITC GARLAND OF LETTERS

speaks the Divine Word upon which the Tiling is. In the Atharvaveda (IX-2) Kama is celebrated as a great Power superior to all the Divas. The Daughter of Kama is named " The Cow which sages call Vakviral." that is Vik in the form of the universe.

In the "beginning" there was Brahman and with It was V&k. In the Veda (Shatapatliu Brahma na VT-i-i-S) it is said, " tliis Being (Punishu) Prujapati willed ' May I be many ' ' May I be propagated.’ He energised (So’shnimyul ui lafXi'ttipyar,i) t Vak was His. She was produced from Him (Kdg nut sy, 1 snjya/11)

and pervaded all which exists." Then 011 the issue of V&k, " By his mind he united with Vak (Sh. P. Hr. X. Br. VI. 1-2 fl) became pregnant [Carbhi ahhavat)" In the K&thaka it is said (XII-5 and XXVIl-i). " Prajapati only was then this [Praj ( 1 f>a/ir vui itl,m dsil ) Vdk was a second to Him ( Tasya nig dvitiyd iistl). He united with Hei (Tiimmilltuiufm saniuhliimit) and She became pregnant [Sd garbham Jdhalta). She went out from Him and produced these creatures (SJ asm id apAkrftmat s<l irnah />raj,Vi asrijata) and again r. entered Him (Sd Prajdpalim mi pHiiah pnh'isiial).”

Again in the I'unchavimsha Br. (.W-14-2J it is similarly said : " PrajApati alone was this universe. He had Vflk too as His own, as a Second to Him. He thought, ' let me now put forth this Vak. She will traverse and pervade all this ' That is the Brahman or Shiva first willed to he many and His Shakti, which was one with Him, issued as His Word. I lie Union of Will and Word was the potency of creation, all things being held in undifferentiated mass in the Great Womb (Mali&yoni) ol the Mother of all (AmbikA). This Potency became. actual as the manifested universe, and at its dissolution Shakti, as such universe, re-entered

Brahman and remained one with It (Chit.) as Chidrupini. Meanwhile She pervades, as immanent Spirit, both Mind and Matter which are Its temporal forms. For as the Brihadiranyaka l ' unishad says (pp. 50-53, Ed. Roer) : 11 By that V&k and that Atm& He created all tilings whatsoever, the Vedas. Metres, Sacrifices and and all Creatures " (Sd tayd vacha 'tern utmini idam sarvam asrijata yad idam kiacha rich) yajihnshi sdmdni cMianddmsi yajnan prajdh pashiin). " First was produced the sacred Vaidik science ” (Sh. P. Br. VI. 1-1-S). In the Muhabharata Sarasvatl as Vak is called the " Mother of the Vedas “ (Shantiparva, V. 1 2. 920) and the same is said of Vak in the Taittirlya Br&limana (II. S-S-5) where (and in the preceding par. 4) She is also said to contain within Herself all worlds and to have been sought with Tapas by the Rishis who put forth the Vedic Hymns [Rishayo maiilrahriiah). In the Bhlshmaparva of the Mahibh&rata (v. 3019J Achyuta (Krishna) is said to have produced Sarasvatl and the Vedas from His mind ; and in the Vanapai va (v. 13,432) the Gayatri is called the Mother of the Vedas, for Gayatri I >evi is a form of Vak. Vak is the Mother of the Vedas and of all things which their words denote. Vak in the form of Veda is Vedatmika Vak (See Sayana and other citations given iu Muir O.S.T. I-32511 where, as in other volumes, some of the Texts concerning V&k are collected). The substance of the whole world is Vak (Jagal vdttg/naya ), for as previously stated the world (Jagat) is Shabdaprabhava.

The Rigveda (X 125-5) says: "I (Vak) make him whom I love formidable, him a Brahmann, him a Rishi, him a Sage.” It is this Vak which entered the Rishis and has thus made Herself known to men. “ By sacrifice they followed the path of Vak and found Her entered into the Rishis " (Rigveda, X. 71-3). The Rishis called

their Hymns by various names, amongst ollins Vak. for they are manifestations of Vak. Vak is one with Brahman for Shiva and Shakti are one. In the Itiilmdaranyaka Upanishad it is said (Ed. Koer. " Hv

V 4 k, 0 Monarch, the Brahman is known. Vak is the Supreme Brahman " (Vdchaiva santriid Brahma jmiyale vi ig vai saw nit paramam Brahma), The Malmhharutu (Shintiparva v. i2.g2o}says: “ Behold Snrasvati Mother of the Vedas abiding in me ” (Veda it dm mdlaram pashva matstham devan Sarasvat/m). She, tliis great Shakti. is one with Maheshvara. And so in the Mangulacli.iiann prefixed to their Commentaries on the Rile Samhita and Taittirlya Samhita by botli Siiyaita and Mndluiva it is said : “ I reverence Maheshvaru the hallowed abode of sacred knowledge, of whom the. Vedas are the breadlines and who from the Vedas formed the whole universe " (Yasya niskzasilam veddh yo vedcbhyo 'fthilain jagat, Nimame (am ahum vande vidyaBrtham Mahcsltvaram). The Taittiriya Brahmana (III-39-1) says that Vak is imperishable, the first born of Rita, Mother of the Veda? and centre-point of immortality (V&g akshitrant pra- Ihaimm yd rilasya vcdiihdm nulla anwilaxya nitbhih). The Shatapatha Brahmana says (VI 1. 5-2-21) : " Vak is the unborn.” It was from Vfik that the Maker of the Universe (Vishvakarmft) produced creatures ( Vdg vai ajo v&cho vai prajdh vishvakartnii jajana). Various texts associate the Lord of creatures (Prajapati), called Pashupati in the Sliaiva Shastra, with His Shakti Vak. as to which see Weber, Indische Studien, IX. 477 ti. and Muir’s Original Sanskrit Texts, V. 391.

Sbangkaracharyya (Sutra I-3. 28) quoting ’ By His mind He united with V&k,’ says that by this and other Texts the Veda in various places declares that creation was preceded by the Word from which the whole universe of Devas and organic and inorganic

YAK OR THIS WORD

eartli-lifo are produced. But it is said that the world was produced from Brahman. How then was it produced from the Word ? Creation was preceded by the Word. He says that when any man is occupied with any end which he wishes to accomplish, he first call', to mind the word which expresses it and then proceeds to effect his purpose. Using this as analogy he says that before creation the words of Veda were manifested in His mind and afterwards he created the objects which resulted from them. Thus the Vaklik text which says “ Uttering Blifih (earth) he created the earth (Bimini)” and so forth, means that t lie different worlds and the beings therein were manifested or created from the word " Bhuh " and so forth manifested in His mind. These distinctions of " before " and afterwards and so forth are VyavahArika. Human analogies arc necessarily imperfect. In Islivara as causal body what (as manifested) is called Pratyaya, Shabda. Artlux are one and identical (and therefore, as manifested, co-ordinate) though for the purposes of cxi>osition we may say that His SnshtikalpanA is a fraction of the Pratyaya which He has of his own Anandamaya causal body, and included therein the subtle and gross bodies. His Parashabda involves as effects all Aparashabdas, and His Artha is the first stressing mass of Prakriti Shakti in which are. experienced all elements (Vikriti) and things which are compounded of them. For Ishvara lias direct and immediate apprehension of the thiee bodies, Hiranvagarbha of the second and third, and Virat of the third. Para Vak is therefore what has been previously spoken of as Parashabda, and Vak (simply) as Shabda in its subtle form as Matrika (MadliyamA V&k) and gross form (Vaikhari Vak). The latter is that of the spoken letters (Varna) of which the Mantras are made. There is but one Cause of speech, as also of all the things in the universe which it denotes and

also, of the mental apprehension (Pratyaya) or "going towards” the object of the mind. That cause is the Supreme Devi Sarasvati, Mother of the Vedas and of the Worlds, manifesting as the name (Kama) and fonn (Rupa) which is the Universe. She i> thus the Supreme Shakti to whom a title, is given, taken from one of Haproductions, the manifested word or speech. The musical instrument (Vini), which Sarasvati holds, denotes all sounds (Sliabda) of which She is the Mother. White arc Her garments and transparent whiteness is the colour of both Akiislui and Buddlti. Her name denotes ” flow ” or " motion " (Saras). She. is such, in the Supreme sense, as being the activity (Shakli) of the unmoving Shiva or Braliman. She is again such as the play in the manifested World of the dynamic Shaktis in and around the rigid Ether, which appeared at creation with the roaiing sound " Hang " and then >tood still as the steady framework on, and in. which the whole universe flows moves. According to Science. Ether has no such imperfections as wc associate with matter. It is the property of the latter to grow old, to decay, to wear out. Hut such energy as exists in the Ether remains unchanged. It is this rigid, unwasting, enduring Ether which is Vajra, the hard, stable, lasting, unwasting Vajra, the static manifestation of the static Brahman, in which the Dynamic Brahman as Sarasvati flows or moves. The former is Shunya, the void of space, in which all movement takes place. Just as in Brahmanism Ak&sha is transferred to the Brahman-idea as Cliklakasha ; so this Ethereal Shunya in Northern Buddhist Monism as sTongpa-nyid (Shfinyati) stands for the Ultimate beyond all categories (See the Dcmchog-Tantra published as the seventh Volume of my " Tantrik Texts,") Sarasvati, the Dynamic -Brahman with Her ” consort " the static Brulnnan as Draluna, is borne upon the Hangsa

which is no material " bird ” but the natural name of the vital function manifesting as the expiring (Hang) and inspiring (Sail) breath or PrAnabija in all breathing creatures (PrAni). She again is the Divine in the aspect as Wisdom and Learning, for She is the Mother of Veda, that is of all knowledge touching Bralunan and the Universe. She is the Word of which it was bom and She exists in that which is the issue of Her great womb (Mahayoni). Not therefore idly have men worshipped Vale or Sarasvati as the Supreme Power,

CHAPTER II

ARTHA. PRATVAVA AND SHARD A

The one supieme Consciousness (Clut) which is the Changeless Principle of alt experience evolves by, and from out, its Power (Shakti), which is both Chit* Shakti and Maya-shakti— the duality of subject and object, mind and matter. In Parasamvit or Sachchidananda the experience is unitary and devoid of every species of duality. 1 have dealt in my book " Shakti and Shakta " with the various possible English renderings of the untranslatable word Chit which, subject to the reservations there made, may be called Feeling-Consciousness or With less liability to misunderstanding the Changeless Principle of all changing experience. Through the operation of Shakti the homogeneous Unity becomes the Many or universe of subject and object, mind and matter. The Perfect Experience, without ceasing to bo such, involves Itself in mind and matter and tints becomes the imperfect or limited experience. A- all i> the one Self, this apparent dichotomy means that the Self which manifests as a limited subject sees (though ii is unaware of it) itself as object.

Chit is without motion (Nishpanria), without action (Nishkriya). without mind (Amanah) and without Shabda (Ashabda). It is neither subject nor knows any object other than Itself as Chidriipini Shakti. Creation commences by an initial movement or vibration (Spandana) in the Cosmic Stufi, as some Western writers call it, and which in Indian parlance is Saspanda Prakriti Shakti. Just as the nature of Chit or the Shiva aspect of Brahman is rest, quiescence, so that of Prakriti is

ARTHA, I’KATVAYA AND SHABDA

movement. Prior however to manifestation, that is during dissolution (Pralaya) of the universe, Prakriti exists in a state of equilibrated energy' (S&myavastha) in which there is Sarftpaparinama. It then moves (Vjriipaparinania.) This is the first cosmic vibration (Spundana) in which the equilibrated energy is released.

The approximate sound of this movement is the Mantra dm. Dualism with all its varieties is thus produced. There is thus a bifurcation of Consciousness into Mind and Matter which therefore constitute a parallelism of common origin. The mind as subject has apprehension (Pratyaya) of objects (Artha), and names those objects by word (Shabda) or language. In man Shabda, Artha, and Pratyaya are connected but distinct. Like everything else they are three effectual manifestations of the movement (Spanda) which is the common Causal Stress. At the stage of Causal Shakti however the three are one ; so that then Shabda Artha — Pratyaya Spanda, the latter being not, as in manifestation, a common denominator but the equivalent of Shabda, Artha, Pratyaya. The state is one of logical unity. Ishvara's Spanda is His Shabda. is I lis Artlui. is Ills Pratyaya. Doubtless in projecting our standpoint as existence into Divine Being we cannot help using the analogy of aspects. And so we speak of Chit and the Causal Stress (Shakti), of Shiva and Shakti as two aspects and so on. Nevertheless we must not understand that there is any distinctness in the midst of relationship or even ol unity which expresses our idea of aspects. Ultimately the relation of Shabda. Artha and Pratyaya is an identical equation and not a ratio, that is fraction with a numerator and denominator. Whilst on the absolute plane which is the Cosmic Causal body the three are one, there is. on and with the manifestation of the subtle body, a divergent des-

cent of the three, retaining as they always do their mutual connection. The causal aspect is Shabdabrahman, the Stress or Creative Shakti giving rise to motion and bodies produced by it which are forms of the subtle and gross Shakti. What was a simple stress in quioscent and unaffected consciousness with unitary experience becomes bifurcated as mind and matter. It is here most important to remember (for it is the key to that which follows) that the nature of a process in which the One becomes Many involves this : — the essential substance (Spirit) of both Mind and Matter remains the same, and the Shakti elements and the motion of both are similar. Hence they arc mutually connected with a natural relation. Feeling and object of feeling arc correlated. Thus sensation through the eve and Manas, and colour as an object which is perceived, are at base the one Atina thus dually manifested. The sensation of sight and the colour are both again products of Tcjas Tanmatra. The Indriya is Sat t vikings ha of the Apanchikrita "fan mat ra, and the object seen is the Tairmsikangsha of the same: In Sftngkhya, and commonly in the Shakta Tantras. both are products of the same Ahangk&ra. Sensation and it> object are two aspects of one and the same thing. The vibration of the object (Artha) and of the Vritti or modification of -mind by which apprehension (Piatyava) is had of it arc the same, and the natural name (Shabda) of an object (Artha) is the sound produced by the forces which constitute it There exists all this parallelism because our jx>stulate is that mind and matter are but twin aspects of the one undivided Self. So when an object (Vishaya, Artha) affects the senses (Indriya), being attended to by that function of mind which is called Manas, there arises in the mind a modification (Vritti) of its substance which is an exact counterpart of the external

AKTHA, PKATVAVA AND SHABDA

object- In passing I may observe that this is a fundamental principle on which all Tan ink SAdhana by way of UpSsana rests. By worship and meditation or Japa of Mantras the mind is actually shaped into the form ot the object of worship and is made pure fur the time being through the purity of the object (namely Ishtadevati), which is its content. By continual practice (Abhy&sa) the mind becomes full of the object to the exclusion ot all else, steady in its purity, and does not stray into impurity. So long as mind exists it must have an object and the object of SadhanA is to present it with a pure one.

Before proceeding further it is necessary to have clear notions as to the meaning of Mind, Matter, I’ratyaya, Shabda and Artha. Everything is " material ” according to the Vedanta which is not Pure Transcendent Spirit (Anupahita Chit); Immanent or Upahita Chit is that which is associated with mind and matter This Chit with UpAdlii is either Para - Shuddlia-sattvaprad liana L'tkrishtopadhi — Samashti, or Apara

Malina-sattva-pradMna - Nikristopadhi = Vyashti. In each of these there are the three bodies causal (K Arana), subtle (Sukshma) or gross (Sthula) This Up&dhi is Shakti as Maya or Prakriti Shakti as that term is used in AdvaitavAda. As Prakriti Shakti is “material" not as being scientific ''matter" but as the subtle material cause of all tilings, all its effects (Vikriti) are necessarily of the same character as their cause and are material. These Vikritis may be divided into the two parallel groups of Mind (Antahkarana) and its outer instruments or senses (Indriya), and Matter or Panchabhuta derived from the more rudimentary forms of infra-sensiblc " matter " which are the Pancba Tanmantras. These ate beyond tlie threshold of sensation of the ordinary Jiva.

What then is Mind ? It follows from the above

that it is a manifestation of Shakti or Power in the form of force, which is Power translated to the material plane, and is as much a material (Bhautika) substance as is matter (Bhuta) itself. Thought (for except in Sam Ad hi mind is never free of thought) is from the creative standpoint a passing thought and matter a lasting thought. Matter is a dense and gross form of the more subtle and tenuous form of the common Prakriti Shakti. Mind is Bhautika because it is according to Vedftnta composed of the Sittvik part (SattvikAngshaj of the Tanmatra. According to S&ngkhya it is Ahangkari. According to Vedanta Mind is not Vibhu that is all-spreading, unlimited and indivisible into parts . nor is it Ami or atomic that is limited and indivisible into i«irts._ It is Madhyama Paiimina, that is limited and divisible into pails and thus takes the form of its objects. Mind has l«rts in the sense that it is divisible into parts, that is one jiart of the mind can attend to one thing and to another at one and the same time. As it also takes the shape of the object perceived, it spreads or shrinks with it. It pervades the whole body whether in the waking (Jagrat) or dreaming state (Svapna), but in dorp sleep (Sushupti) it is withdrawn as all else into the causal body ami according to one account is then absorbed in the NatU.

What than is the nature of knowing by the mind ? According to the Naiyayikas who hold that the mind is atomic (Anu). it does not go forth, or transform itself into the shape of the object. JnanaisaGuna of Atma which is produced by the association of Mind (Manas) and Atma. According to Vedanta Jnana is a transformation (Parinama) of the Antahkarana or MTnd which isa Tattva of Madhyama Parimana. Jnana is of two kinds, viz., JnAna SvarOpa and JnAna Vritti. The former is Brahmasvarupa or Perfect Experience or Chit. The latter is knowledge of objects or the ordinary worldly

ARTHA. PRATYAYA AND SHABDA

imperfect experience. Opinion varies as to the mode of operation in the case of the Mind and JnSnavritti. According to some light from the eye goes forth. Hence the eye is called Tcjas. Mind going forth with the light of the eye impinges upon and takes the shape of the object. Mind is called " transparent ” (Svachchha) because it can take the shape of any object persented to it. Atm& is ever illuminating the mind and when there is a particular Vritti Atmi illuminates it so that it is present to the limited consciousness.

Knowledge is true or false (Mithya). Right knowledge or Pram4 is defined as Tad vat i tat-prakiirakajnanam which means apprehension of an object according to its true nature, that is, in its own class or Jati. The mind not only perceives a particular thing (Vyakti) but also the genus or class (Jati) to which it belongs : for this Jati is not merely a subjective thing but is inherent in the Vyakti as its nature (Prakara) and both are perceived in right knowing, as when in the case of Ghata (jar) its JAti or Ghatatva (jar-ness) is perceived. Where however a rope is mistaken for a snake there is Mithya Jn&na. The particular rope excites knowledge, but it is false knowledge, because through a defect (Dosha) in the percipient subject, the rope is not perceived under its Jati but under that of a serpent. In short in right perception there is true conformity of thought with its object. To perceive on the other hand a rope where there is Ghatatva is false perception.

What then is Artha or object (Vishaya) ? This is the object which constitutes the mind’s content. Object is manifold as the various forms (Rupa) which make the universe. It is the '' other ” which the Self as mind perceives. These forms are constituted of the five Bhfitas — Akasha, Vayu, Tejas, Ap, Prithivi representing various densities of Pr&kritic substance. Just as the

mind is a form of motion (Spandana) ol that subs Lance, so the Jive Bhutas are five forms of motion of the same Prakriti which in the Tantias are symbolised by figures denoting the forms of the vibration namely a circle with openings (Chhidra) shown as points on it denoting the interstitial character of Ak&sha : a circle denoting Vuyu ; and a triangle, crescent and cube square denoting Tcjas, Ap, and Prithivi respectively. The direction of the vibration also varies as being in all directions, at an acute angle to the line of the wave (Tiryyag-gnmanashila) upwards, downwards and " in the middle ” where the forces are equilibrated and matter becomes stationary. These again are space-giving, general movement (Chalanapara) expansion, contraction, cohesion, stimulating t liesense of hearing, touch and feel, (not all forms ol contact), sight or colour and form, taste, and smell respectively, the centres of which in the Pindanda arc the Chakras from Vishuddha to Muladlmra. The Blja Mantras ol these are Ham, Yam, Ram, Vam, Lam. the meaning of which is later explained when dealing with natural name. They seem like gibberish to the uninitiated. Hence even the common Bengali expression " What Hayavarala is this ? ” These Bhfitas derive from the Tanmatra commencing with Shabda Tanmatra or infra-sensible sound, which by addition of mass becomes Akisha, the Guna of which is sensible sound, which generates Vsiyu Tanmatra from which comes Vayu Bliuta and so on with the rest, though the mode of derivation is not always given in the same terms. The substance of it is that Bhfita or gross sensible matter is derived from a subtle form of the same which is not sensible by the gross ear but mentally apprehensible by the Yogi. Hence it is said Tam vastuni lanmatradini pratyaksha-vishay&ni (that is to Yogis). Object (Vishaya) is thus not limited to the gross objects seen by the senses of ordinary men. There

ARTHA, PRATYAYA AND SHABDA

are also subtle objects which may be perceived through the senses or the mind by the possessor of " Powers ” (Siddhi) which are merely extensions of natural faculty. These are hidden from ordinary men whose powers vary. Some can perceive more than others. By scientific instruments we can see (microscope) and hear (microphone) things beyond the capacity of the highest natural power of the senses. Is that the end ? No. because as we perfect these auxiliaries of natural instruments we sec and hear more. Once the microscope gave only a magnification of a few diameters. Now it is of thousands. At each stage more is known. A point however is reached at which " seeing ” takes place not through the gross senses but by the mind. Everything may be an object which is not the Asangabrahman or Brahtnasvarupa that is the Supreme Self or Spirit as It is in Itself. This is not known by either sense or mind or by any Pramana or instrument of knowledge. Even Shabda Pramana or Veda here fails. Because Brahman as It is in Itself (SvarOpa) is never an object, being the true nature of the cognising Self. As such it is beyond mind and speech. The latter can only give an indication (Lakshana) of it. Higher objects beyond the reach of the senses (Atindriya) are only perceived by the heightened powers of the mind of Yogis. Mind, for instance, is Atindriya for it cannot be sensed. Yet Yogis can " see/’ that is. mentally apprehend the mind of another which becomes an object for their apprehension. In such cases his mind takes the form of that other, when everything which was in the latter mind namely its modification (Vrittis) or thoughts are known to him. And so the experience of objects becomes more and more subtle and inclusive until the state of Supreme Experience Itself is attained when there is neither subject nor object. This is Brahma-svarflpa. The apprehension or image

which one has of an object (Artha) evoked by a word (Shabda) is called Pratyaya. The third form of divergent descent of the Shabda-brahman, namely Shabda. will be the subject of a following chapter.

CHAPTER III

Indiandoctrine revolves round the two concepts of Changelessness and Change. As these propositions cannot be logically predicated of the same substance, recourse is had to the doctrine of aspects. According to this. Brahman as Tt is in Itself (Brahmasvarupa) or Shiva does not change, but Brahman as the Power (Shakti) from which the world evolves does, as MAyd, change. It is perhaps more simple to say that Brahman produces and exists as the world without derogation to Its own unchanging unity. How this can be is like other ultimates inconceivable. But its truth is said to rest on two established facts, namely the daily experience of the world of the many on the one hand, and the ecstatic (Samadhi) experience of the One on the other. Both are facts of experience though how they can be so is a mystery.

When we come to deal with the Mantra-ShSstra the same doctrines are expressed in the language of the subject with which it is occupied, namely Shabda, of which Mantras are forms. Shabda or sound exists only where there is motion or Spanda. If there is no Spanda there is no Shabda. If there is Shabda there is Spanda. But the transcendent Brahman or Chit (Brahmasvarupa) is quiescent and changeless. Therefore it is said to be without motion (Nishpanda) and without Shabda (Ashabda). From out this Chit (for there is but one) but without affecting its own changelessness, there arises a creative stir or Stress which evolves into the universe. This is the work of the active Brahman or ishvara. Just

as the Parabrahman is Ashabda, Ishvara is Sliabdabrahmaii or I'arashabda. As the former is Nishabda, the latter, as MAyA Shakti, is with motion (Saspanda). Parashabda, Pari VAk or Shabdabrahman arc each names for the Brahman as the cause of the man Rested Shabda. Parashabda is the causal body of sound. Slinbdatanmatra is the subtle body of sound, and A kasha is the gross body of sound which (though a Guna of it) is only apprehended through the medium of air, the sound waves in which strike tire car. Through the latter and mind the sensation of sound is experienced. Sliabdatanmatra is pure natural sound as apprehended by Hiranyagarbha or Yogis who share his oxpci ienco. G ross sound is of two kinds, namely, Vaidik sound (Shrauta sliabda) or approximate natural sound cither primary or secondary, and I-aukika Shabda, the sp ccch of the ordinary average mortals other than Vaidika Shabda. Taking “ cognizance ” to mean “ direct apprehension,” Ishvara has cognizance ol all kinds of Sliabda, (Parashabda, Shabda TanmAtra, Shrauta Sliabda, Laukika Shabda), Hiranyagarbha or Sutratma of tlie last three. Rishis ol the last two and ordinary men of the last only. From Parashabda or Para Vak therefore procceil in their order Shabda-tanmatra, Shrauta Shabda. ami Laukika Shabda.

Dealing nextly with Pratyaya, Artha and Shabda in their cosmic and individual aspects, — in the Ishvara stage (i.e. in so far as there is the cosmic causal body) Pratyaya is the ishvara consciousness of His own body of Bliss (Anandamaya) and the cosmic ideation (Srishti-kalpana) whereby He projects the world. This Srislili-kalpnnA again is the stressing mass of Prakriti or MAyA and Avidya shakti.and this is the Parashabda or Pari Vak, involving (as the cause involves its effects) the various kinds of Apara Shabda including the MAtrikas, Vamas and

Mantras. The approximate representation of the causal (Para) Shabda as a whole to tlie Rishi-ear is “Om.” It is however to be noted that Ishvara’s whole Pratyaya is not Srishti-kalpand. His Artha is the stressing mass of Prakriti. It is further to be noted that, in ishvara, Pratyaya, Shabda, and Artha are one ami not distinct though corelated, as in Hiranyagarbha, Viral and tire individual Jiva. What we may call the elements of the universe namely the Apanchikrita Bhutas or Tawnitras, the Indriyas, Pranas, Antahkarana and Sthftla Bhutas are evolved directly by Ishvara as Ishvara. This is Bhfltasrishti.

He then, as Hiranyagarbha, evolves Bhautika- Srishti. The dements themselves must be traced directly to the causal body, but as Hiranyagarbha he compounds them. Hence Hiranyagarbha's Srishti-kalpana refers to Bhautika Srishti, that is the compounding of the elements which have been already provided by Ishvara as Ishvara. Shabda in the Hiranyagarbha aspect is Shabda-tanmStra involving the lower or derivative forms. His Artha is everything except the Samashti causal body.

Bhautika Srishti may relate either to Sukshma or Sthula elements, the former being everything except the latter ; so that theoretically the creative operation may be divided between Sutr&tma and Vir&t. But the Sh&stra does not in fact contemplate sudi a division. Vir«U is Chit associated with the created whole — a natura naturata as it were, to borrow Spinoza's term. Causal activity does not appear to be extended to this However, if \vc provisionally leave the compounding ot the Sthula dements to Virikt, then its Pratyaya too may be called Srishti-kalpana. His Shabda is various grades of sound, gross and subtle, extending to, but not including, Shabda-tanmatra. His Artha is everything except the Samashti causal and subtle body.

SQkshma and Sthfila are relative terras and admit ol grades ; hence between the limits of Shabda-tanm&trn and average gross sounds there will be more and more subtle sounds — all apprehended by Hiranyagarbha ; all save the Tanmatra being apprehended by Virat as Virat. If we define SAkshma as what is of the order ol the TanmAtra, then Sthiila is a graded series with Taiuniitra as the superior limit. Then Chit associated with this whole series of Stlidla is Virat. The latter identifies Himself with Samashti SthAIa-Deha. It is however a long way from tlic Annamaya Koslia of average pcrcejv tion to the Pranamaya Kosha which comes " next " in order of fineness and which is a modification (Rajasika) of the Tanmfitras. What the Shastra calls Annantayakosha is therefore really a graded series. The gross body is made up of visible cells ; these of microscopic granules ; these of still finer corpuscles ; and so on. The five Koshas are therefore only five broad landmarks in a series consisting of innumerable gradations as are the seven colours of the rainbow. Hiranyagarbha and Virat arc also the types corresponding cosmically to our experiences of certain distinctive forms, in a really innumerable series of forms. So that instead of three we may say that there are innumerable creative Chit-shaktis. If the numbers are given differently there is no essential discrepancy. Ishvara, Hiranyagarbha, and Virat are three forms of creative manifestation corresponding cosmically to the Sushupti, Svapna and Jagrat. Rut the truth-sccrs. as compared with the system-makers, salute Him as the Many-formcd (Namaste bahurApaya) . Ishvara has direct apprehension ol all three collectively, causal, subtle, and gross. The cause involves the efiects. As Hiranyagarbha, He apprehends directly the* second and third (Svapna J&grat), and as Virat he apprehends the third (Jagrat).

We pass now to the individual (Vyashti) aspect.

ASHABDA AND PARASHA HD A

Corresponding with Ishvara and with Maya we have PrSjna with Avidyfk. The Pratyaya of Prajna is the Vyashti counterpart in Sushupti of the Anandamaya consciousness which ishvara has of His own causal body. Some English writers misunderstand the statement in the Upanishad that the Jiva in dreamless sleep is Brahman to mean that the experience in slumber is that of Ishvara, or of the Supreme Brahman. Of course this is not so, for the Prajna’s experience then is associated with Avidyi whereas Ishvara’s is free of all Avidyik. The comparison is made by way of analogy. For just as in Sushupti the Jiva loses the sense of duality, since all objects as separate things disappear in slumber, so in Ishvara there is no sense of separateness. All things are conceived as in and as Himself. The Shabda of PrSjria is Parashabila-Vishesha. This is no sound to him but that "part" of the causa! stress which is the causal body of the particular Jiva. His Artlia is the Vyashti causal body, that is, the temporary equilibrium in Sushupti of the Stress which makes the Jiva. As in the Samashti experience, Pratyaya, Artha and Shabda are one. Sangskaras are latent and all Vrittis are withdrawn in to the K&rana-Dcha. The forces of all subsequent Jiva-processes are there. Hence the experience of this fund of causal energy corresponds to Ishvara pratyaya of His causal body. Srishti-kalpani of ishvara is not the whole Pratyaya of ishvara. For though in Pralaya the former is not there, ishvara has Pratyaya still, namely the Anandamaya consciousness of His own causal body. The Prajna Pratyaya corresponds to this. ' The Shabdic counterpart of this is Para-shabdavishesha while in ishvara it is the Para-shabda whole? involving all Vishesbas. The Para-shabda in Jiva is no sound. Artha here is, as stated, the Vyashti causal body which is the temporary equilibrium of the Stress constituting the Jiva.

Passing to Taijasa, corresponding to Hiranyagarbha as PrAjna does to Ishvara, his Pratyaya is cxj>ericncc of Sukshma Delia or subtle body in sleep (Svapna). His Shabda is that which is not expressed by the vocal organ, being the mental image of articulate or inarticulate sound pushing up in Yoga to the Tanm&tras. His Artha is the Vyashti Sukshma Delia. The Pratyaya of the Sukshma Deha is either pleasurable or painful. Hiranyagarbha's Pratyaya includes two parts, viz., (a) experience of cosmic (Samashtirupa) Sukshma elements as well as Sthula elements, and ( b ) Srishti-kalpana referring to (hccomiKnmding ol these elements already cvolvixl by ishvara. In Taijasa there is [aa) experience of the Jugrat-vasanardpa Svapna or Vyashti Sukshma Deha but not quite of the Jagrat or Vyashti Sthula Delia. (bb) Srislni-kalpanA manifesting as a compounding activity as regards various dream forms.

On comparison it is found that the |>arallclism between Hiranya and Taijasa is not complete, a fact due to an important distinction between the two. Ishvara, Hiranyagarbha and Viral are Para or Utkrishtopadhi ; the UpAdhi (i.c., Maya Shakti) is preponderatingly Sattvika. Hence as regards the relative scope of Shabda, Artha, Pratyaya, the three aspects may be lepcrsentcd by three concentric circles of which ishvara is the outermost and Virat the innermost. Hence ishvara’s Pratyaya, Artha, and Shabda include those of Hiranyagarbha ; those of Hiranyagarbha include those of VirAt. It must not be thought that the Shabda, Artha, and Pratyaya of Ishvara, Hiranyagarbha, and- Virat are exclusive or ejective. The Sattvika character of their limitations implies the concentric arrangement of the three circles. But Prajna, Taijasa, Vishva have UpAdhis which, though SAttvika, are impure and coarse (Malina). Hence practi-

ASHABDA AN'P PARASHABDA cally as regards Shabda, Artha and Pratyaya we have

in lieu of

In other words they are practically ejective circles. Hence the first’s Pratyaya is practically confined to Sushupti, his Artha to the Vyashti causal body and Shabda to Parashabda section. Taijasa experiences Svapna and Sfikshmadeha, but is practically ignorant of Prajna’s state and Vishva’s state. So with Vishva. But though their experiences apparently exclude one another, the causal unity between them is not in fact wanting.

Taijasa’s Artha is Sukshma-dehavyashti which contains the seeds of Jagrat. His Shabda is the subtle form of the gross sound. The mental image of a sound becomes apparent or PrStibhSsika sound during the dreamstate (Svapna) ; higher sounds even may be heard during

this. The Yogic state is a voluntary refining and deepen' mg of this state ; and hence Dliyana is called Yoga-nidr&. With the perfecting of the Yogic state one may rise to Shabda-tanmatra ; or even in Samadlu to Para-sliabda and Ashabda. The former is the cosmic Sushupti and the latter the Turlya state from which, when regarded as the supreme state, there is no return.

Of the individual Vishva, corresponding to the cosmic or collective Vir&t, Pratyaya is the experience of Vyashti Sthula Deha ; Shabda is the gross sounds articulate (Varna) or inarticulate (Dhvani) emitted by men, animals and natural objects. The Artha is the gross body (Sthula Deha) and its processes and the gross environment and its processes. The Jagrat Srishtikalpami here manifests as feelings of bodily movements caused by Sangskura and Ichchha Shakti. But as Virat is rather the created (Kaiyya) than the creative (Kdrana) aspect of the whole, so is Vishva the Karyya aspect rather than the Kanina aspect of the section, that Is the finitized centre of consciousness or Jiva. The Artha is the gross body and its processes together with the environment of that lx>dy and its processes. The Shadbas are the sounds emitted by the vocal organs of men and animals or otherwise produced by natural objects. This is Vaikhari sound which is a development from Parashabda, through Pashyanti and Madhyamfi sound. Parashabda or Paravak is Hindu. Pashyanti is Iksliana or creative thought and action by that Bindu which is the causal body of Shabda. From this arises the subtle body of Shabda which is Tanmatra and Mfitrik^ which evolves into the gross body of sound, which is the letters (Varna) uttered by the vocal organs which are made up into syllables and words (Pada) and then in sentences (Vakya). Mantra, so uttered, is a form of the gross body of Shabda. And this applies both to Bijas and other Mantras.

Shabda TanmAtra or Apanchlkrita AkAsha is Apanchikrita Tanmatra. This is sound as such, that is, ideal sound or the cognition of sound apart from conditions such as ear, brain and other materia! conditions such as air, water, earth, whereby sound is transmitted. In the case of Shabda Tanmatra, sound is known as an object of the higher mind apart from these conditions. Therefore Shabda Tanm&tra is Shabda not conditional to varying perceptive faculties. It is not sound which is heard by this individual or that, on this plane or that ; but it is sound as heard by the Absolute Ear and as uttered by the Absolute Tongue. It is invariable and Apaurusheya. Similarly RApa TanmAtra is form unconditional, as seen by the Absolute Eye. By " Absolute Ear ’’ is meant the power (Shakti) of apprehending sound in itself or as such without subjection to the varying conditions of Time, Place, (i.e. Plane) and person. The Stress by which a thing is generated and sustained is the basis of all the five TanmAtras. 1 1 is Shabda TanmAtra as apprehended by the Absolute Ear, Rupa TanmAtra as apprehended by tire Absolute Eye, and so on. From the gross standpoint Shabda is not the Guna of AkAsha alone. In order to be manifested to the human mind and ear sound requires not only gross Akasha but VAyu and the other BhOtas. For the transmission of sound to the limited ear there must be a material medium for its transmission whether as air, water or solid body. VirSt sound in short assumes the existence of the whole material universe.

To sum up— There is the unmanifest Lord (Avyakta Ishvara) and the manifest Lord (Ishvara). Both arc Shiva-Shakti because there is never Shiva without Shakti nor Shakti without Shiva, whether in creation or dissolution. Only in the latter there is nothing but Consciousness (Shakti being Chidrupini,) and in the former She assumes the form of the universe. For this reason the

supreme state may be called Shiva-Shakti and the manifest state Shakti-Shiva to denote the preponderance of the Chit and Mayd aspects respectively. One state is motionless (Nishpanda), the other with motion (Saspanda). One is soundless (Ashabda), the other manifests as sound (Shabda). In one is the Unmani Shakti. in the other the Samani Shakti. The manifest ishvara displays itself in three forms — causal, subtle, gross. The causal form is Parashabda, Paravak, or Shabda -brahman. This is Ishvara. The rest is Apariv&k. The subtle form is MudhyamS Vak, which is Hiranyagarbha sound, which develops into Vir&t Shabda or Vaikhari Vak. The sound is accompanied by movement. That of the causal body first projecting the manifold universe from out itself is general movement or Saminya Spanda, the Shabda of which is the Pranava or " Om.” From Om all otlier Mantras are derived. Hiranyagarbha Shabda is accompanied by special motion (Vishcsha Spanda) and Vir&t Shabda is clearly defined movement (Spashtatara Spanda) manifesting in man as articulate speech, and therefore as the gross or uttered form of Mantra.

CHAPTER IV

PARASHABDA, CAUSAL SHABDA

Shabda which comes from the root Shabd " to make sound " ordinarily means sound in general including that of the voice, word, speech and language. It is either lettered sound (Varndtmaka shabda) and has a meaning (Art lia), that is, it either denotes a thing or connotes the attributes and relations of things ; or it is unlettered sound and meaningless (at any rate to us) and is mere Dhvani (Dhvany4tmaka shabda) such as the sound of a rushing torrent, a clap of thunder and so forth. I say “ to us ” because every sound may have a meaning for Ishavra. This Dhvani arises from the contact of two things striking one another. So lettered sound is manifested through the contact of the vocal organs with the outer air. As elsewhere more fully explained, Shabda is, and exists as, four Shaktis namely Par&, Pashyantt, Madhyami and Vaikhari. These are referred to in connection with Vfik or Devi Sarasvati, another synonym for Shabda.

Shabda again Is cither immanent in its manifestation as sound, or transcendent. The first is threefold : (a) From an average point of view it means sound of either of these classes as heard by cars and sounds whose capacity (Shakti) is that of the normal or average plane, (i) From the Yogic point of view it means subtle sound, that is, subtle sou nd as apprehended by ears and minds which are supernormal and therefore whose Shaktis rise above the average plane. But these capacities can be greater or less and therefore admit of grades, one person’s

capacity being greater than that of another, just as is the case with individuals in the ordinary plane, some of whom can hear better thanothers. (c) From the standpoint of the " Absolute Ear ’’ that is a capacity to apprehend sound unconditionally such as exists in the case of the i>erfect Yogi it means pure sound or Shabda-tanmatra. This is apprehended by the perfect Yogi in its purity. All these are effects (K&ryya). Transcendent Shabda means creative movement or Causal Stress itself, that is, it is not, the effect or manifestation (i.e. sound) to either the relative ear (a and b) or the “absolute ear” (c) but the cause (K&rana) or Manifesting Fact itself. This in the Shastra is Shabda-brahman, that is, the source of all Shabda or name (Nama) and of all form (Rupa), the universe being “ Name and form ” ( N'amarupfitmaka). Thus we rise step by step starting from average experience to supreme experience ; from projections and manifestations to the Thing Itself which is Causal Stress or Shabda-brahman. The term Shabda is throughout retained, though the connotations enlarge and deepen as wo proceed upwards. This is in conformity with the concrete way in which Hindu thought has developed and by whicli the all-pervading and all-manifesting power of the Divine Shakti is shown. In teaching, it is the Arundhatldarshananyaya, according to which a husband shows (or rather used to show— for, is Arundhati sought now ?) his ncwly-wcdded wife the tiny star Arundhati, emblem of constant chastity, by drawing her attention first to some neighbouring big star. “ You see this, now look to the left you see this, well next to it you see Arundhati.” So a Guru deals with his disciple (Shishya) in a way suitable to the latter's intelligence. He cannot learn what is the highest all at once. He must make his way upward to it. "Brahman is this; no it is that; no it is this ; " and so on until the highest notion of It is

capable of being given. Thus the Guru in Shruti says " Annam Brahma," that is Brahman is the food wliich the disciple eats as also matter generally. Then as the latter's knowledge deepens, the Gum changes the connotation of the word Brahman but retains the term itself. The disciple then consecutively learns that Life is Brahman (PrSnAh Brahma), Intelligence is Brahman (Vijnanam Brahma) and finally Bliss is Brahman (Anandam Brahma) where at last experience rests. Here there are five connotations of " Brahman,” each more comprehensive and deeper than the foregoing, gradually evolved as the spiritual life of the Shishya unfolds and perfects itself. The connotations of most of the important philosophical terms have been evolved in this way. Thus there are different meanings of Prana, Ak&sha, Vayu and so forth. Shabda also has the four meanings stated which thought progressively evolves in the manner above stated. Some may think that from the standpoint of pure logic this state of things is unacceptable. We have however to deal with the matter practically. And what life wants is generally not that which pure logic demands. But apart from that the method and the statements are true. For Brahman is all things as Shakti, though the Brahman in itself (Brahmasvarfipa) is beyond them all. If those, before whom all connotations of Brahman are at once placed, complain of ambiguity, this is due to the fact that they have not mastered their subject. And because the subject must be gradually mastered the Guru takes his Shishya gradually upwards to the point where all aspects are seen in relation to the whole (Puma) whose aspects they are.

For the present Chapter I will start at the beginning namely Causal Shabda or Shabdabrahman. Shiva has two aspects namely Nishkala (without parts) Xirguna (without attribute) and Sakala (with parts) Saguna (with

attribute). The first is the unmanifested transcendent Supreme and the second the manifested and immanent creative Lord (Ishvara) or Ruling Mother (ishvarl). The first is NishsfJanda, without movement, for it is the eternal changeless Brahman. It is Ashabda which here means the same thing, for being unmanifest there is neither Shabda as effect nor Shabda as cause. The latter means that there is then no Causal Stress. The other aspect is called Shabdabrahman which appears at creation from out of Brahman which is the equilibrated condition of Sliakti. From the Shabdabrahman all particular Shabdas as Mantras or otherwise appear. Shabdabrahman is in Itself Avyakta (unmanifest) Shabda which is the cause of manifested (Vyakta) Shabda, Artha and Pratyaya and which uprises from the form of Bindu on the differentiation of the Supreme Bindu due to the prevalence of Kriyft Shakti in Prakriti. Kriydihakti pradh&nayuh shabda shabd&rtha k&ranam Prakriterb inJur up i nydh shabdabrahm&bkaval param

ShAradA Tilaka 1-12. In other words the unmanifest potentiality of power which subsequently appears as Shabda and therefore as Artha and Pratyaya becomes manifest through its activity, manifesting in Prakriti in the form of Bindu which is the undifferentiated Shiva-Shakti. With such activity Bindu becomes threefold as Shabda, Artha, Pratyaya. Avyakta-Rava is the Principle of sound as such (NAda MAtra), that is undifferentiated sound not specialised in the form of letters but which is through creative activity the cause of manifested Shabda and Artha which are Its forms.

Tena shabddrtha-r&pa-vtshislUasya shabda -brah matva m avadhdritam — (PrAnatoshint 13) .

It is the Brahman considered as all-pervading Shabda, undivided and unmanifested whose substance is NAda and

Bindu, the proximate creative impulse in Parashiva and proximate cause of manifested Shabda and Artha. Srish!yunmukha-para>na$hiva-prathamoll<i$ainAlrn>nakh<inao vyaldo nudubindumaya eva vydpako brahmdtmaka shabdah ( See PrAnatoshini io. Rdghava Bhatla Comm, oh v. 12 Ch. I Shurada Tilaka).

The creative Brahman is called Shabdabrahman. It may be asked why is this so. since the Saguna Shiva (which Shabdabrahman is) is the cause not only of all Shabdas but of all Artha (Rupa) and Pratyaya, This is so but the Sh&stra uses the term Shabdabrahman because it is here considering the origin of* Shabda. But Shruti in explaining creation is impartial as between Shabda, Artha or Pratyaya. Now it says " Creation is out of Shabda " (Shabda-prabirava) regarding the universe as constituted of .Shabda (Vangmaya) in its causal sense. Now it says that creation is out of Pratyaya using that term in the sense of creative ideation (Srishtikalpana) . Now it says ' ‘ Creation is out of Artha " that is the supiipme Artha the cosmic " Stuff " or cosmic “ Matter ” which is Prakriti-shakti. What is done in such a case is to take an effect (Kdryya) known to us. and to refer it to the one cause of all effects, giving that Cause however the name of the particular effect which is the subject of consideration. Moreover the Shabda aspect of Brahman is of the highest importance for it is in this aspect that It is Veda.

But what is the sense in which Shabda is used in the terra Shabda-Brahman ? This has been already indicated in the quotations above cited. Shabda here does not mean cither gross or subtle sound. To begin with these are both effects (K&ryya) and we are dealing with their cause (K&rana). Manifested sound is a Guna of Akisha. But in what sense ? It is not merely a quality of Ether and thus not anything else ; that is the

term Shabda is not limited to the Guna of Akasha. If it were it would not be possible to explain the well-known scientific experiment (which in early days was supposed to " demolish *' all Hindu theories) in which a ringing bell ceases to be heard in a closed vessel from which the Air has been pumped out, but in which Ether still remains. If Shabda were the Guna of Akasha only and unconnected w'ith anything else it could not be said that sound increases and decreases, appears and disappears with V&yu. Hence the term Shabda is not limited to sound gross or subtle. It is the Causal Stress or Spanda which inheres in the stressed condition of Chit Shakti and Maya -shakti which manifests fust as the Shabda Tanmatra to the absolute " Ear,” as more or less subtle sound to a Yogic (though not perfect ear) according as the fundamental Akasha Spanda is adapted to its relative capacity through other more or less dense media ; and which dually appears as average human sound when the fundamental Spanda is adapted to the capacity of the human car through a medium of such density as the common air. The air therefore like the ear is one of the factors of the manifestation of the fundamental Spanda which is Shabda as the original creative causal Stress or agitation in the body of Prakriti Shakti. Shalxla is the Cosmic Stress itself which takes place in the Primary Ether or Saspanda Shakti which produces the Shabda Tanmatra which evolves into Ak&sha Bhuta and then into the Viyu and other Tanmatras and Bhutas. These according to Vedanta are Panchi-krita that is each Tattva has four parts of its own element and one of each of the four others. Through the Bhautika Srishti or indirect causation of Hiranyagarbha there takes place the combination of the Tattvas produced by the Bhuta-srishti in direct causation (S&ksh4t-kartritvam) of ishvara producing the gross world of the human senses which is

VirAt. Thus the one Initial Stress is communicated as and throughout the chain of its effects. To distinguish this Shabda it is called Par4 Shabda and the manifested Shabda is Apara Shabda or commonly Shabda simply. The latter is subtle and gross sound, the first being supersensible to the normal mind and senses and the latter sensible or what we call in its compounds discrete matter. Parasliabda is thus not sound but a state of agitation in the Cosmic Shakti when on the ripening of the Sangskiras the hitherto existing equilibrium (S4my£vasth4) of Prakriti is broken. There is then a disturbance (Kshobha) or general movement (SAmanyaspanda) in Sliakti and this Cosmic Stress which is Parasliabda or ParivAk reveals itself in manifested Shabda (Apara). This one stress, which is the potency of all in which it reveals itself, manifests in man as Artha, Pratyaya, Shabda, in the objects (Pramcya) of which he as knower (Pramatri) has apprehension (Pratyaya) and in the names by which he thinks of them as an " after construction in relation to the intuitive experiences of life ” as Professor Pramathanitha Mukhopadhyiya has well put it. The primordial Shabda or Paravak (corresponding in some ways to the Logos) is the cosmic predisposition to and pre-condition of creative evolution. The agitation in the primary Substance projecting itself into the sensuous plane becomes audible as Dhvani or sound but is itself only the possibility and substratum of Sound. Creation is said to be Shabdaprabhava, that is it proceeds from, and is a manifestation of, the Stress or Cosmic Shakti. In this sense every movement or process in the universe is Parasliabda. Ashabda Jagat is a contradiction in terms. Whilst the stress or constituting lorce is one, It manifests Itself differently to the different sense organs. The Causal Stress when striking the ear and mind produces sound,

when striking the eye and mind it produces colour and form, and when striking other sense organs it produces other kinds of sensation. It is to be noted that of the five Bhutas, Akasha and V&yu belong to the formless (Amurtta) division and the remaining three to the torm division (Murtta). The first is sensed by hearing. Shabda as lettered sound is vibration for the ear as name. Tejas the head of the second division is sensed as form (RGpa). Artha is thus vibration to the eye (mental or physical) as form. It is because the one Power rays itself forth in threefold form that Shabda, Artha and Pratyaya as such have a natural and inseparable relation to one another. It is again because the Vaidika Shabda is assumed (a matter which I will later discuss) to constitute the natural name of, and therefore to be in complete correspondence with, the Arthas denoted, that it is held to be eternal. Slinrti says that the world is born of Shabda (Shabda-prabhava) and that creation (Srishti) is Shabda-purvaka, thjt is Shabda is the antecedent condition of creative process, which cannot be if Shabda be taken to be only that manifestation to the ear and mind (natural or Yogic) which is sound (gross or subtle). This manifestation is a subsequent and consequent fact and is to be distinguished from the antecedent and primordial condition of creation as such. The primordial condition is Causal Stress ; that is in the finite ether of consciousness, homogeneous, quiescent, there is a moving —a stir. Parashabda is the name for that causal stress as it arises and before it manifests as the universe.

To sum up : In the creative process three stages are to be noted : (x) the transcendental quiescent condition immanent in the others, though veiled, which is Ashabdam, Asparsham. Arupain and so forth as Shruti negatively describes it (3) the condition of cosmic stress which is Shabdabrahman. The stress is a play of Sliakti

m the Chidakasha in such a way that the fust condition is not effaced when the second appears. The Shabdabrahman is Veda. After manifestation and at the conclusion of the cycle it is wrapped up as potential M&yfL Shakti, when according to some, in Mali5pr.il ay a the transcendental condition alone is. The human parallel is Sushupti. { 3 ) Shabdabrahman reproduces itself gradually and partially as countless finite centres of varied finite experiences of Nima and Rupa. Ilcnce forms together with sounds sights and so forth vary as do the Shabdas. The sound which represents the above mentioned primordial functioning of the Brahmashakti is the Mah&bija " Om ” or Pranava —Omityeharang brahma lasya vachakah prantivah. The nature of this great Bija which is the source of all other Mantras will be tlic subject of a future Chapter after we have discussed what is meant by “ natural name ” which I have more fully dealt with in the Essay bearing that title.

CHAPTER V.

The cosmic states of Srishti, Sthiti and Laya, together with the transcendental Parama-shiva state as also Turiya and the Vyashti states of Jagrat, Svapna, Sushupti, must all be ultimately explained (so far as this can be) by the dynamical theory of Shakti as Stress giving rise to moving forms of Herself. For this purpose it is necessary to investigate conditions of equilibrium and movement.

What is Stress ? Let os suppose that two things A and B are attracting each other. The name for the total mutual action is " stress ” of which the respective actions of A and B are the elements, partials, or components. Thus there may be Stress for three or four things and so on. Ultimately we reach Universal Stress which is an infinite system of correlated forces. A particular thing may be defined as a partial experience of this infinite system. Professor Prarnathanath Mukliopadhy&ya to whom 1 am indebted in the preparation of this and some of the following papers has given it the appropriate name of " Fact-section." The infinite system is however never really Unitized by these partials. When the Stress between one such partial and another touches the normal of consciousness in either or both, we may have, under circumstances and within certain limits, sensation of sound in either or both. The stress is Shabda and the sound is Dhvani. There may be several stages from the one to the other. It is Stress or Shabda which constitutes a thing. Whether this Shabda is followed or accompanied by a certain Dhvani or not will

SHAKTT AS STRESS

depend firstly upon the magnitude of its action in relation to a percipient, and secondly upon the conditions of the percipient's perceptive organs. Hence in order that a sound may be heard the rates of vibration of the air must be such and such, the ears and brain must be such and such, and so on. Beyond these limits there are no sounds. Thus most objects of experience though influencing us do not express themselves in sounds to us such as the earth, sun, moon, stars and so forth. In the transcendental. Paramashiva or Turiya state which is Nirvlna, all Stress is dissolved and Shakti is then nothing but Chit, Chidrupini. ChinmitrarQpim. This may be illustrated by the case where causal stress being constituted by a number of forces all these severally vanish and arc each therefore separately zero so that the resultant is zero. This is the Transcendent Nishkala state in which there is no Srishti Kalpana, no Artha, and no Shabda (Ashabda). In the case of Cosmic Sushupti we need not take into consideration any external system, for nothing is external to the Cosmos. In this case we liave the only static condition where each term is not separately zero, but where each of the forces constituting the Stress balances one another with the result that there, is a state of equilibrated energy. This is the state of the Gunas in Sardpaparinarna which, with loss of equilibrium in creation, is Virupaparinama. Vyashti Sushupti may be due to two sets of fact. Either the forces constituting this state, without each being separately zero, yet have that resultant, in which case there is equilibrium in the Vyashti causal body provided the external cosmic system docs not disturb this internal equilibrium of the Vyashti system ; or these forces result in something, but this resultant is exactly counterbalanced by the action of the external system. Thus this something which would otherwise be the Vyashti

stress system practically vanishes and equilibrium is established in this last mentioned system. In the first case the external system lias no actions on the given internal system but it has action on other Vyashti systems. Thus the world is not asleep because the individual is so. In the second case the external system has action on the given internal system but this action is just negatived by the reaction of the internal on the external. In both cases the external system is an actual stressing attitude. In Svapna and JSgrat Avasthi the equilibrium of the Samashti and Vyashti Sushupti or causal body is lost, and in Srishti there is a system of kinetic stresses which again in Laya lapse into a state of potential stresses. The world process is thus divided into the three stages of Srishti, (creation), Sthiti (maintenance), and Laya (Dissolution) which is a passing from a state of homogeneity (Laya) to one of heterogeneity (Srishti and Sthiti) and back to homogeneity again in an unending series of evolution and involution with periods of rest between. The growth of the universe is thus a pulsing forth of the Bindu holding potentially within Itself, as massive (Ghanlbhflta) Shakti, all into which it subsequently evolves. This great Universe dies down again into that from which it sprang. Though we thus speak of Jhree stages it cannot be properly said that there is Srishti, that when it stops there is Sthiti, and then ultimately there is Laya. Evolution (Srishti) and involution (Laya) arc going on even during Sthiti. There is always, for instance, molecular birth and death. Each of these terms is employed according as one aspect or the other is emphasised. During Laya the stresses are potential. That is actual movements cease, so that the stresses are due simply to the configuration of relative position of the units determined by their Karmas up to the time of Laya. There is for instance, stress in a stringed bow though the

SIIAKTI AS STRESS

string may not be in actual movement. The nature of ishvara experience as the ultimate Fact is as Such a logical, and therefore human categories if stretched to the fact will inevitably lead into paralogisms and antinomies. In the same way creation is an unresolved riddle. Why should the spell of cosmic Sushupti be broken and in what way does the Will of God influence it ? Ultimately these questions are unanswerable in all faiths.

We may say that Ishvara during Laya has experience of the causal body. The absolute " ear,” " tongue,” “ eye " which God possesses are reabsorbed into a massive consciousness of Bliss (Ananda) as is partially the case with the Jiva in Sushupti for these are differentiations of His infinite Jnana Shakti. These are veiled during Laya that is the kinetic stresses (Shakti Vishv'arupa) become potential (Shakti Chtdrupini). What is patent becomes latent. The world becomes “ Memory ” which' at the next creation is “ remembered ” just as in the individual the world is lost to him in dreamless sleep, and when waking he sees and recalls the events of a past day. Yet here the world exists during our sleep for others. But when Ishvara goes to sleep things do not remain as they are. Things return to their causal form or seeds. During Laya, Ishvara has a massive experience of the totality of these *' seeds," for as Shruti says " I am one I will now be many.”

To the question whether this creative act is instantaneous or successive it may be replied probably neither the one nor the other. That is the category of time is inapplicable to creation as such or creation as a whole. Creation considered as an instantaneous flash or a successive flow is Vyavaharika and not Paramirthika. On this basis however there is a difference of opinion between Drishti-srishli-vada and Krama-srishti-vada. According to the first, and to me preferable, view, as

Ishvara thought, so at once the whole world appeared in its stages as subtle and gross. At ever}' moment also creation is taking place. It is not something wholly in the past. According to the second or more commonly accepted doctrine the Tattvas came out gradually the one alter the other in a specified order (Krama) though such Krama is not referable to time as wc know it and which appeared at a lower stage. This latter time is the Janmak&la of the KUav&dins according to whom all is Kala. The Supreme Time or Mahakala is Nirguna Nirvishesha, Nirvik&ra or Brahman.

As regards the cosmic cycle it is claimed to be proved by (a) induction from observed facts of experience which, all giving signs of periodicity, afford a basis for generalization ; and ( b ) the alleged actual remembrance by Rishis and other super-souls such as Jaigishavya of Chaturyuga, Manvantara, Kalpa and so forth. Apart therefore from Shniti the proof is inductive and experimental and not deductive.

Creation proceeds from the generic to the specific. When Laya as a state of potential stresses passes into Srishti which is a system of kinetic stresses we have first the most generic condition of the latter namely S&mSnya Spanda, that is general undifferentiated movement. It is the manifestation of the tendency of Laya to pass into Srishti. From the standpoint of Consciousness it is the first stage of " Seeing ” (Ikshana) that is cosmic ideation on the Part of ishvara. In the individual it is the borderland between Sushupti and Svapna, the moment that Sushupti is breaking and Svapna is drawing to pass into Jagrat. The inertia of the first has passed but the specialised movements of the second and third arc not yet in evidence. It is a kind of massive undifferentiated state containing potentially all specialities. The Shabda or acoustic aspect of this tendency of poten-

tial stress to pass into kinetic stress is the Pranava or Mantra “ Om.”

This tendency realises itself in the first place in BhGtasrishti by ishvara. Ishvara has consciousness of his Anandamaya Body and Causal Body. The latter means the experience " 1 am all " (SarvStmakatva). He experiences Himself as all whether as a whole, as generals or particulars. As Knower of all He is Sarvajna, as Knower of its varieties He is Sarvavit. They arc to Him, Himself, for the Mayd with which He is associated does not govern Him and therefore His knowledge does not bind Hum The state ol Ishvara though not governed by, is yet associated with. Mi yd and is therefore not that of Supreme Moksha. Ishvara wills to be many and the Bhutas issue from him. As ishvara He does not think Himself to be their creator. The creation of the Bhfitas (Bhuta-srishti) according to the Vedantic order means the evoking of (a) the Apanchikrita Bhfitas or Tanmdtras and ( b ) their primary compounds which are again {aa) Sukshraa that is Antahkarana, Indriya and Pranas and (bb) Sthula that is the Panchikiita Bhutas. Broadly speaking these are the elements of creation ; the creation of which implies also their natural names or Bijas. Thus from Om are evolved the Bijas of the Bhutas Ham, Yam, Ram, Vam, Lam and other Bijas such as Hrim the Maya Bija or Pranava of the differentiating Shakti. These elements are special (Vishesha) in relation to the tendency and general movement (Sdmdnya spanda) above mentioned, but are general (Sdmanyaj in relation to the derivatives which follow.

There then follows Bhautika Srishti by Hiranyagarbha that is the creation of the secondary compounds ; that is again the mixing up of the “ elements " into diverse forms, first the typal and then the variational. This is done by Ishvara in His aspect as Hiranyagarbha.

These too have their natural names (Shabda). Hiranyagarbha who is the Lord of Brahmaloka thinks himself to be a creator. This is a state of duality in which He thinks that all things arc His. Hence. Hiranyagarbha as affected by MSyi is a Jlva.

Lastly coming to the completed Sthiti we have the actions and reactions of the Bhutas and Bhautikas such that they continue as a system of the kinetic stresses. These actions and reactions have their natural names which may be called phenomenal Shabdas. Some of these namely those which fall between our limits of sensibility are sensible to us. So much as to Shabdas classified with reference to aspects of creation.

Shabdas may lxeither directly or indirectly apprehended. In the latter case they are received. The ordinary individual does not hear the natural name or sound of Agni or "Rain” directly. He is told that it is so having received it from those* who have heard that sound. It is " received ” (Apta) and not directly apprehended (Saksli&tkrita.) For, from the point of view of apprehension, Shabdas are of two kinds, Saksh&tkrita and Apta. The Shabda range of Sshvara, Hiranyagarbha, and Virat may be thus represented.

Thus Ishvara has no Apta or received (indirect) Shabdas : but all Shabdas are directly apprehended (Silks hi tkrita) by Him. Hiranyagarbha, as Hiranyagaibha, that is a particular aspect of Ishvara has direct apprehension of Bhautikasrishti Shabdas and Sthiti Shabdas and indirect of Bhutasrishti and Laya Shabdas Virat as Virftt has direct apprehension only of Sthiti Shabdas and indirect apprehension of the rest. This deals with the Samashti or collective aspects of Expepericnce.

Coming to the individual or Vyashti aspects we have the coresponding states of Prdjna, Taijasa and

Vishva. These unlike the collective states are mutually exclusive, the one of the other, and may thus be figured

Pr&jna has direct but veiled or partial apprehension of his own Vyashti causal (Laya) Shabda but not of others. This Shabda is however not sound as language for himself. Taijasa has both direct and indirect experience of Vyashti ( i.e ., some) subtle Shabda. And VirSt has the same of gross Shabdas.

Here in these two cases there is gradation. The gross car has capacities of varying degree. A scientist may by means of a delicately constructed apparatus hear sounds which are not sensible to the natural ear. A Yogi may hear still more. Thus if cither were to hear the rise of sap in a tree that sound would be the direct approximate natural name of that vegetable function. A Yogi in Shatchakrabheda or piercing of the six centres by Kundalini Shakti may, it is said, directly apprehend the Bijas Om, Ham, Yam and the rest, as the passage of shakti gradually vitalises fhe six centres. A Yogi by mounting to a higher or the highest plane of existence can have direct experience (Saksh&tkSra) of any or all kinds of Shabdas. The Absolute Ear hears the Shabda Tanm&tra in Akasha, not through the impact of undulations, but it hears movement as movement.

In Bralimajndna the Yogi becomes the Brahman Itself when all Stress ceases and there is Peace.

CHAPTER VI

The term "eternal” may mean "always is” (a) without change or (b) with change. The former is existence uncontradicted in the three times. Change again may be either immanent (Svagata) or its reverse (Taditara). Thus if there be only one circle (A) any change going on within it is Svagata change or distinction (Bheda). But if there be two circles A and B of which the latter added a part of itself to the former with the result that A is changed, this is not Svagata. Thus Svagata change is Advaita whilst Non-Svagata change presupposes Dvaita.

Applying then these observations to the Brahman and Jiva, the former has three aspects (a) Brahman as Pure Chit (Brahma svardpa) (4) Brahman as Cliit- Shakti (c) Brahman as Mfiyd Sliakti or Prakriti. In the first or transcendent sense Brahman is Pure Chit and this always is as such. From the finite point of view we may either ignore (veil) it or accept it, but it is ever given. It is the changeless background of all change ; but Itself has no kind of change. This, is the Xishkala Paramashiva to whose powers or Shaktis we next proceed.

Chit-shakti is Chit as Shakti, that is Chit immanent in the world the forms of which as Mind and Matter are productions of M4y&-shakti. This immanent Brahman (Chit-shakti) in the sense of the All (which Professor P. N. Mukhopadhyaya aptly calls "Fact" as opposed to "Fact -section”) always is as such. For the All (Puma) never ceases to be all. All is all. Shruti says that Purna remains Puma though Puma be taken from it. Brah-

man as Chit-sliakti is inseparably associated with MayS- shakti and has only Svagata change or movement. Brahman as M4y4 Shakti — what the author cited calls Stress as distinguished from the background of Chit — is Brahman as Prakriti. This is eternal in the sense that it always is. though either as latent or as Patent, as a kinetic force or as a tendenc y. Here eternity doc's not exclude change of condition. Brahman as Prakriti has Svagata change. We must not then confound the terms Real and Eternal. According to Advaita Vedanta the transcendent Brahmasvarhpa is both real and eternal, for "real'' is here used in the «ense of that which does not change (Kutastha) whereas MfiyS with its changes is neither real nor unreal. " Eternal ” therefore includes “change of condition.” Non-eternal or fmitized being is, pragmatically considered, marked by three kinds of change and distinction (Bhcda), viz. Intrinsic (Svagata) such as the distinction which exists between the leaves and branches of the same tree, and extrinsic which is again of two kinds, viz., Sajatiya such as the distinction which exists hetween one kind of tree and another kind of tree, and Vijatiya such as the distinction which exists between a tree anil the earth and rocks which surround it.

The eternal Shabdabrahman manifests at creation (Srishti) and lapses into its quiescent ground in dissolution (Laya). The Sliabda of its first creative movement is the N&da or Dhvani " Om." From this issue all particular Sliabdas both Varnatmaka and Dhvanyatmaka. A given particular is obviously not the same for ever. But are particulars as such eternal ? The creation of particulars is recurrently eternal in the sense that during each Srisliti particulars appear. But are the particulars themselves eternal ? The question may mean either of two things. In the first sense the obvious answer is, as stated, in the negative. Then arc parti-

culars as such eternal ? In other words are there particulars in all times, in Srishti as well as in Lava ? This given particular (say the pen with which I am writing) may not be ir. all times, but will not some particulars (though different from those now given) exist always ? There is a genus or type (JAti) with its particulars (Vyakti). The jati never exists without its Vyaktis. Some Vyaktis (though different from those now given) will be associated with the jatis in all times ; though both may be either latent or patent. In Laya for instance the jatis associated with their Vyaktis become latent. Associated with what Vyaktis ? Not the present ones ; but the Vyaktis immediatly antecedent to the state of Prakriti equilibrium, A given Vyakti is Vyakti-vishesha. Any Vyakti or some Vyakti is Vyakti samanya. The former is not. but the latter is, eternal though it may be either veiled or unveiled. The J&tis are etremal and manifested in every creation and their Shabdas are eternal. The Vyaktis arc only eternal in the sense above explained. Each creation is not an exact copy of the previous creation in every particular. Particulars through revolving round certain fixed Jatis (latent or patent) change. Thus a given Jiva may be now a Brfihmana. Through Karma he changes and after death he may change his jati and become a Shudra or a Dcvata. And so he may go on until he reaches the antecedent state of Mahapralaya. Let it be supposed that at that moment he is a Devati again. He is a Devata-vyakti associated with a jati. In Pralaya he will be veiled as such together with his jati, and together with all his Sangskaras active (Prarabdha) as well as nascent (Sanchita). It is the resultant of these Sangskiras that will determine his condition of birth after the expiry of Prakriti’s equilibrium. The end of this journey is reached only in Liberation (Mukti).

Then is the Vyakti Shabda eternal ? If by this teiin is meant a Shabda denoting a given Vyakti (Vyaktivishesha) then this is a proper name (non-connotating) and is not eternal. But with the exception of a few proper names (those which are attached as arbitrary signs to this Vyakti or that) all names or words represent Jatis that is groups or classes of things. A Vyaktivishesha is represented by either a proper name or a specific combination of class names, such as, ' this paper I am writing on ;* all these being class names the combination of which makes or denotes a Vyaktivishesha.

Only such Shabdas as are approximate natural names (either simple or in combination) are eternal and the rest are not. The V'eda claims to give the names of class things and class functions which are approximately natural. Hence (granting this claim) these Shabdas are eternal (Nitva). By Veda is here meant Vaidik language and by natural name Vaidika Shabda. Thus assuming that the word " Gauh " is an approximate natural name, it has existed in every universe and has there meant the animal cow. If the word " Cow ” as a variation of this has originated in some time, in some place and in some persons, then outside this ’imitation of time, place, and person the word has not existed and has not represented the Artha or animal cow. The ultimate test of a natural name is of course experimental verification. Vaidik language involves different strata. Natural names are of different kinds and degrees. Whether other Shabdas and their combinations are eternal depends on whether those words and their combinations are or are not approximate natural names. Apart from tradition the proof is experimental verification by Yoga. If they are variations of natural names (Vaidika Shabda) the extent to which they vary, and the conditions of time, place, and person to which they are subject, must

determine the nature oi their bond with their Arthas. No a priori answer is possible. Sliabda brahman thinks creatively, his Pratyaya being’ cosmic ideation (Srisktikalpani). T he Shabda oi this is Om and the Artha is the totality of the universe denoted by, and potentially inhering in, the creative impulse oi which Om is the sound-expression. From this Om was derived all the letters (Varnas) and sounds (Dhvanis). These Vaidik Varnas are eternal and represent in themselves and their variations all the possibilities of articulate speech in all languages. In Veda the Karma oi these Vanias is eternal and therefore the Vaidik words are also, it is claimed, eternal. The vowels are continuous sounds formed by varying clic size of the mouth cavity. The vowel sounds produced by the voice arc due (Sec Catchpool's "Text-book of Sound," 290) to the vibrations of two cartilaginous plates, the " vocal chords " placed at the top of tire windpipe, edge to edge with a narrow slit between them ; air blown through this slit from the lungs keeps llier plate vibrating. The apparatus is really a free reed. The vocal chords have muscles attached to them which can vary the frequency of the vibration and the pitch of the sound produced. The different vowel sounds are produced by varying the size and shape of the mouth cavity. The consonants are particular interruptions of those sounds. They cut short the vowel sound but cannot themselves be sounded without vowels. And for this reason the vowels are known as the Shaktis of the consonants.

This subject of the Varnas occupies an important place in the Tantra-Shastras in which it is sought to give a practical application to the very ancient doctrine concerning Shabda. The letters are classified according to their place of pronunciation (Uchcharana) such as guttural, labials, dentals and so forth. The lips,

mouth, and throat form a pipe or musical instrument which being formed in various ways and by the aid of the circumambient air produces the various sounds which are the letters of the Alphabet. Pinini (sec Part I of SiddhAnta Kaumudi) and Patanjali’s Mahabhashya deal with the effort or Prayatna in speech, dividing it into inner (Antarapravatna) and outer effort (Bahyaprayatna). The former is of four kinds Sprishta, Ishat Sprishta, Vivritta. Samvritta according as the effort fully or slightly touches the place of origin of the sound and according as the mouth is open or closed. B&hyaprayatna is of eleven kinds namely Vi vara, Sam' vida, Shv&sa, NAda, Ghosha, Aghosha, AlpaprAna, Mahaprana, lldAtta, AnudAtta, Svarita. Vivara pronunciation is with the month open, Samvada when it is closed. In Shv&sa there is a predominant user of the breat hin g, in NAda there is a humming sound, in Ghosha ringing sound, Aghosha being the opposite of this. In AlpaprAna the sound is quickly pronounced, little demand being made on the Prana, MahAprana being the opposite of this. In Udatta the sound is given with a loud voice, in AnudAtta with a low voice, and Svarita is a mixture ol these two. In Panini various letters are assigned to each of these classes of Prayatna. Thus the consonants from Ka to Ma belong to Sprishta Antara- Prayatna ; Ya, Ka, La, Va to Ishat Sprishta Antara- Prayatna and so on.

The Tantra ShAstra in its doctrine and practice of Shatchakrabhcda iudicate various parts of the body which are " touched " in the pronunciation of various letters. By this is meant that in the sounding of certain letters various parts of the body take a part. Thus the letter Va is pronounced from that part of the body wherein is the Muladhara, and the letter 11a from between the eyebrows in the Ajna Cliakra. The sound

THE OAKLAND OF LETTERS

produced by the body in motion (lor the external cause of sound is something in a state of vibration) is propagated by sound-waves in the circumambient air. The rise and fall of pressure which occur as sound-waves arrive at the ear, produce by their effect on its structures the sensation of sound and the nature of this sensation depends on the nature of the rise and fall of pressure ; in other words on the character of the sound waves.

According to Indian doctrine, God evolved man after having evolved most (if not all) other species of living beings so that language (as also intelligence, moral sense, and many other things which had been less perfectly developed in the lower animals) became more developed in man. The lower animals were " approaches ” to man, the difference between man and animal being according to this doctrine a difference of degree and not of kind. It is possible then that there may be an inchoate Vamatmaka Shabda in the higher animals, though it is to be noted that the proposition (which is dealt with elsewhere) that " there is no thinking without language ” is true only if by thinking is meant some kinds only of cognitive processes. Apart irom these, man gets on without language and therefore also the animals. It is only tire after-construction on perceptive processes which call for language and this we find mainly if not wholly in man alone. Patanjala Darshana also discusses the question of transmigration into an animal body. In this case there is a soul which had been in a human body or even in a Devati body before and has therefore the Sangsk&ras (linguistic and others) of those births implicitly given amongst its animal SangskSras. Its instinct therefore may be (partly if not wholly) " lapsed intelligence ” and its Dhvanyatmaka language a partly veiled Varnatmaka or human language.

What is eternal then is Shabda in its aspect as Causal

ETERNAUTY OF SHABDA

Stress or Shabdabrahman, the letters (Vaidika Varna) evolved from the primordial Dhvani the Pranava or “ Om ”, and the combinations of these letters which constitute approximately natural names. These according to Hinduism are the Vaidika Shabdas. Whether that claim is well-founded is another question which is not here discussed.

CHAPTER VII

It has been said that there is no thought without language. This proposition requires examination both formthe Brahman an<l Jiva standpoint. If it be assumed that there is no thinking without language this merely establishes the necessary connection of thought and language and not a law that words or names must come to the mind first and then thoughts. They may be inseparably connected as aspects of one and the same concrete, that is actual, process but between aspects there is no sequence. When a gun is fired the explosion of the cartridge is the causal stress. This manifests to the ear as a report, to the eye as a Hash and also it may be by the movement of the object hit. But the last three are co-eltccts of the first that is the explosion. In the same way when there is a centre of Causal stress in Chit we may have several lines of effectual manifestation. But it cannot be said that one line of effectual manifestation causes another. Now Shruti as already mentioned calls creation Shabdaprabhava and Shabda-purva, both terms implying sequence as between a cause and its consequence. When again Shruti says " Brahma created Dcvat&s with the Shabda ' Etc, ’ ” what is meant is that the causal stress of that special creation manifests to His absolute " Ear ” as a sound which is the pure form of what we can approximately utter and hear as the sound “Ete. " We may, as stated, have several lines of effectual manifestation on there arising a centre of causal stress in Chit, one of which is (say) the sound “ Etc, " and another the appearance of the DcvatAs. But we cannot say that one line of effectual manifestation

causes another. Therefore when Shruti says that Shabda underlies, precedes and enters Jagat, Shabda is not used in the sense of sound but as the causal stress or initial Spanda which from the subjective aspect is IchoM- shakti. Tlic universe is creative ideation (Srishtikalpan&). To use the terms of human speech this ideation is intuitive and not inferential and therefore does not involve language which is one of Its products. The proposition that there is no thought without language is correct only in a Vyavaharika sense and is then only true if bv " thinking ” is meant the formation of concepts or general notions, judgments and drawing inferences. For even in us, intuitive processes, such as perception and ideation, are .done without language. To use the apt language of Professor Pramathanatha Mukhopftdhv4ya, words are an “after-thought or after-construction in relation to the intuitive experiences of life.” (See as to the principles from which this statement follows “Approaches to Truth", "Patent Wonder”). To begin with experience is had without language (Apara-shabda) both in the Turiya (Ashabda condition) and the Sushupti (Parashabda or Causal Stress) states. Coming down to Svapna and Jagrat it is to be recognised that there are settle ways in which language may’ be associated with thinking processes. On the other hand some processes may go on without language. In Svapna and Jugrat Avasthi, Arthas and Pratyayas necessarily imply the possibility of sound manifestation, that is, vocal language, but do not always actually suggest their acoustic counterparts. In some cases they do go on apparently without language, though there is always the possibility of their being expressed in language. A child sees, hears and so forth almost without language, so does the animal and we ourselves in part. Most of the paiticular objects of perception have during such perception no specific

names for us ; still we perceive them and may afterwards recall the class names. Absence of language occurs primarily in two cases, namely, in intuitive perception and intuitive ideation. Much seeing and hearing is done intuitively and without language. By' intuitive ideation is meant the forming of a mental image of an object. Thus 1 see a tree : close my eyes and see it again in mental image. Many such sights and sounds pass through our mental range from time to time which do not always call up their names. But though these intuitive processes may actually go on without language, there is the possibility of their being vehicled in language, and in description, analysis, classification, judgment and other mental elaborations such, linguistic vehicle is indispensable. For the moment it is required to describe, analyse, classify perceptions, recourse must be had to language. Looking. I see a thing and very well see it. But this seeing is often done without actually remembering the name ''tree" or “ mangoe tree.” To describe, classify and otherwise to elaborate this seeing I must remember the name. In this sens'- language is called an " after-construction.” Language again is a system of signs either natural or arbitrary, either vocal or non-vocal, by which we describe tilings and consider the attributes and relations of things. In this definition four marks are employed, namely, natural, arbitrary, vocal and non-vocal. Taking two at a lime there are six combinations namely natural-vocal, natural nonvocal, arbitraryvocal, arbitrary non -vocal, natural arbitrary, vocal non-vocal. The last two may be at once rejected as the marks in them are contradictory. The first four give us four kinds of signs which exhaust possible language. Of the first the example is Vaidik Shabda including Bija Mantras uttered by the vocal organs and of the second we mav instance " expressive ”

signs made to a man (who does not understand tlit spoken language) by means of the hand or other bodily organ in order to indicate a particular object. The third and fourth classes refer to arbitrary forms of the first two. Arbi tran?- vocal is an arbitrary combination of natural vocal signs, each separately being vocal and natural but their combinations being arbitrary as where two or more natural words are taken and an arbitrary meaning is given to the whole group, e.g. code words. In the same way it may be possible to combine two or more non-vocal natural signs and give the whole thing an arbitrary meaning. A particular name attached to a thought or thing may be arbitrary as in the case of some proper names, but names as such are necessary to higher mental processes directly and also to intuitive processes implicitly. All proper names however are not arbitrary. Those that arc, are attached as signs to objects to denote them or mark them off from other objects. They do not connote any attributes or relations of the tilings to which they may be attached. Our perceptions and ideations often go on without language. Many rapid automatic inferences are drawn and habitual actions are performed without language. But sometimes these processes are with their language accompaniment and the moment we want to review, describe, classify, and judge thc-sr* processes, their language accompaniment appears in consciousness.

Now Sbabda according to previously given definitions is either Para or Apara. The former is Movement or Stress considered in itself, that is, apart from conditions of its manifestation to specialised sense organs or sense capacities. One of these sense capacities is the ear which is subject to degrees, since the capacity of one individual is greater than that of another. This gradation points to a highest or alisolute capacity which may

be called the Absolute Ear. The appearance or manifestation of Parashabda or Causal Stress to the highest capacity (wherever that be) is Shabda Tanmatra. This last is still a manifestation and not the Stress itself. It is the Stress-in itself appearing to an ideal ear. It is this stress in itself regai ded from a special standpoint. Just as we conceive an absolute ear, so we may conceive an absolute eye, tongue and so forth. Each means the Ideal limit (a mathematical term) of certain capacities of specialised feeling which are exercised in us in varying degree. Shabda Tanm&tra therefore means not sound in general or undifferentiated pure sound only, but SAmanya (general) sounds including the highest, the Pranava or Mantra " Om." as well as Vishesha (special) sounds. In the Tanm&tra lorm they are both of them sounds as apprehended by the highest capacity and therefore not subject to the conditions of variability. " Sound in itself " or " sound as such ” therefore does not necessarily mean " undifferentiated sound." Thus a dove is cooing in a grove of mangoe trees hard by. I hear it. You may hear it better. By a scientific instrument (megaphone, microphone) it may be heard better still and so on. Rut what is that sound as apprehended by a perfect capacity of hearing ? What is this cooing sound in itself or the standard of this cooing sound of which you, I, the Yogi hear so many variations ? The answer to this will give us the Tanmatra of a Vishesha sound.

Now Parashabda is not language. Ap&rashabda including Shabda Tarun&tra is. In the individual (Vyashti) consciousness there is intuitive consciousness (which answers to Pratyaya) of veiled Ananda. The Aitha is the temporarily equilibrated causal body. But this Artlia does not manifest itself to the sleeper at that time in language. In Sushupti the individual is without

language though he has an intuitive experience of his Vyashti Anandamaya causal body. But the Artha in Sushupti, though wanting language, must have its Parashabda.

The individual is a centre correlated to other centres in a cosmic system. For a while he is in equilibrium in Sushupti. Dynamically this means that the algebraic sum of the forces of the other centres exerted upon the individual and of the forces of his own causal body exerted upon the other centres is zero. It follows therefore that the whole cosmic system need not l>e in equilibrium whilst the individual (that is, his causal body) is in equilibrium. His slumber does not mean the slumher of the universe. The question is not here discussed as to the forces constituting the individual causal stress during Sushupti. This I deal with elsewhere. To explain equilibrium in Sushupti we require only to assume that the resultant action of the universe on the individual causal body and the resultant reaction of the individual causal body on the universe annul each other during Sushupti or dreamless sleep. They (at the former) need not be separately nil. Hence the going by the individual into slumber means an actual stressing attitude of the cosmic system which is Parashabda. But for a certain attitude of the external system there would be no equilibrium in the internal system. Nay more : this Parashabda may manifest itself as sound (i.e., as lahguage) to other centres such as Shabda Tanmatra to the Absolute Ear, Sflkshma Shabda of varying degree to the Yogic ear, or as the self-produced physical sounds of the sleeper to the gross ear. Just as a Devata has a Bija mantra or Primary Natural Name, so has each other individual Jlva, corresponding to their respective causal bodies, and these may bo heard in varying degree by finer ears and fully by the Absolute Ear. But the indi-

victual does the sleeping without language just as he may make sounds in his sleep without being conscious of it whilst a person sitting by him hears them. Laya or Cosmic Sushupti is the dreamless slumber of Bbagav&u or Ishvara. If our own analogy can be pushed up to this, then this Cosmic Sushupti is also without language, though it is an intuitive experience by God oi His own causal body. Since there are no other centres here and no absolute ear other than that oi fshvara (who is ex kypothesi in Sushupti), this intuitive experience is absolutely without language (Mauna). It is silence itself. But Parashabda is there still, namely equilibrated Samashti Causal Stress. Hence language or no language, the correlation of Shabda and Artha persists. Thus language is not the whole of Shabda.

Shabda, Artha and Pratvava are the three poles of a jiolar triangle. In all planes of consciousness below the pure or transcendent plane this polar triangle necessarily holds. In Ishvara experience the three poles meet together at a point so that ShabdaArthaPratyaya. In the individual Sushupti experience also they are not clearly distinguishable. Language can be put for Shabda (causal movement or stress) only when there arises the possibility of its being apprehended as sound by sonic hearing capacity (either absolute or relative). A name or a word ceases to be such when the apprehension by the appropriate cognitive capacity is not there. A name is a manifestation to such cognitive capacity and when the conditions of manifestation aie not there the manifestation disappears. But the causal stress (I’arashabda) of the name remains. Hence in Vyashti Sushupti actual names or words (or vocal language) lapse back into their causal stress. The operation Is essentially the same in Samashti Sushupti or Laya. So that Shabda is (that is, equals) language, actual or possible, in all cases. In the

lower planes (Svapna, JAgrat), however, Language may be put for Shabda but subject to this provision that the language-pole may be regarded as being sometimes above and sometimes below the threshold line of normal or pragmatic consciousness. Thus in the case of the intuitive processes afoie-mentioned we may save the polar triangle by assuming that the language pole though not apparent is still there below the threshold line ready to be called up whenever occasion should arise. Thus the development from infancy may be shown by the following diagram in which A » Artha, P= Pratyaya and S-»Shabd«' as language, shown as being above or below the line which is the threshold—

In this diagram, showing the child’s development, the five diagrams do not represent definite stages but only the gradual separation of A and P and the rising of S above the line. First no language or more strictly speaking only simple rudimentary sounds — Artha and Pratyaya merge into one, there being no discrimination. Then Artha and Pratyaya are more and more discrinated and their language correlate is more and more developed and brought above the threshold line. Animals probably remain in the first two stages of the child.

In JAgrat and Svapna, Artha and Pratyaya are all necessarily associated not merely with Shabda but with that condition of Shabda which wc call language. But

the association may bo either manifest or unniaiiifest. In the the hitter case whilst Artha and Pratyaya are above the threshold line of normal consciousness, Language is below it, so that in the intuitive processes above described Artha and Pratyaya alone seem to appear, though their normal associates are waiting for them below the threshold line. The moment it is dpsired to review, describe, classify Artha and Pratyaya, then the Shabdas as words appear.

Thus

Judging, inferring, classi- Some intuitive Processes fying etc.

The above account, whilst saving psychology, would imply that Shabda, Artha and Pratyaya being involved (though as identities) in ishvara' consciousness must be involved in all downward experience also. It is however necessary to clearly understand that Shabda is not necessarily language in all cases, and that language may be either consciously or subconsciously given. According to the scheme suggested the correlation of Artha, Pratyaya and Shabda as language is essential in the

planes of Jflgrat and Svapna, but they may be latent as regards the third partner in some intuitive processes, but patent in others as well as in conceiving, judging, inferring anil so forth. The conclusion therefore is (i) The Turiya state is undifferentiated. Hence in it there is no Artha, Shabda, Pratyaya. A, Sand P severally vanish. (2) The Sushupti state (Samashti or Vyashti) is temporarily equilibrated Consciousness in which there are A, S and P, but their resultant is ineffectual. In the Vyashti consciousness there are Artha, Shabda. Pratyaya. But these three seem to blend into one and are not clearly distinguishable. Here Shabda is not language to the subject himself. (3) The Svapna and Jagrat states in which the temporarily equilibrated consciousness ceases are actually stirring Vyashti or Samashti consciousness. In them there is Sliabda, Artha, Pratyaya, but in some intuitive processes (perceptional and ideational) Shabda as language is below the threshold line of the normal Consciousness.

Thus the cosmic and individual states must all be ultimately explained (so far as this can be) by the dynamical theory of Stress or Shakti in which an investigation is marie as to the conditions of equilibrium and movement.

CHAPTER VIII

What is a natural name ? Every thing is composed of moving material forces. Even what seems stable is in movement, for all its parts are in movement, though they arc some time held together as a whole until by design or in the course of nature they are disrupted and dissolved. Matter itself is only a relatively stable form of cosmic energy. Because all is in movement, the world is called Jagat or that which moves. Everything is moving which is not the unmoving (Xihspanda) Brahman. This movement, which is the world, is apprehended by man as sound, touch and feel, form and colour, taste and smell. This is its effect on the sense organs (Indriya) and mind (Manas), which are again themselves in movement, being ultimately composed ot the same TannifUras which are the components of the mind's object or matter. All movement is accompanied by sound. In other words, movements presented to a subject is apprehended by the ear and mind as sound, just as it is appreneded by the eye as form and colour, or by the tongue as taste. We say ‘ ear and mind.' For it is to be remembered that according to Indian notions the Indriya or sense is not the physical organ ear, eye and so forth, but the faculty of mind operating through that organ as its instrument. The physical organs are the usual means whereby on the physical plane the functions of hearing and so forth are accomplished. But as they are mere instruments and their power is derived from the mind, a Yogi may accomplish by the mind only all that may be done by these physical organs, and indeed more, without the use of the latter. So also a hypnotised subject can perceive

things, oven when no use of the Special physical organs ordinarily necessary for the purpose is made. The paramountcv of mind is shown by the fact that an object is not perceived unless ihe mind gives its attention. So in the Brihadaranyaka Upanishad it is said, " My mind was elsewhere : 1 did not hear." Now movement being accompanied by sound, let us suppose wc could hear (which we cannot do through the individual natural ear) the sound produced by the generating stress or constituting forces oi (say) the household lire, then the sound so heard would be the natural name of that fire. Again the sap rises in the trees. Could we hear the forces constituting this rising sap, then the sound heard would be the natural name of that vegetable function, and so on. Natural name in its purest sense may therefore b<- defined as the sound produced by the generating stress (Shakti) or constituting forces of a thing, not as apprehended by this ear or that (which apprehends within limits and subject to conditions) but by what may be called the Supreme and Infinite Ear which apprehends unconditionally a sound, which is sound as it is. By Supreme Ear is meant the power (Shakti) of apprehending sound in itself or as such, without subjection to the varying conditions of Time, Place (*.«., Plane) and Person. It is that which hears causal stress of a thing as such or unconditionally. Then the natural name of a thing is that sound which the Supreme Ear hears. Natural language in its highest sense is a language of natural names only. In this sense no language below the absolute plane can be such. In this sense even the Vedic language and its Mahamantra ‘‘ Om " is not natural language.

The relative car docs not hear such stress unconditionally. To it therefore a thing has no natural name. In this connection we must, distinguish between tlic sound

accompanying causal stress and the sound which a thing gives forth under the acuon of stimuli. The latter may be heard, but the former not. Fire or heat acting upon various things may produce various sounds which the ordinary relative eat hears, but its causal stress is experienced as a sound which a Yogi alone hears.

Nevertheless there may be according to the ShSstra what is called an approximate natural name, that is the sound of the causal stress heard by a Yogi and transmitted imperfectly by him. Wc say ' imperfectly’, because it is transmitted by an imperfect agent as a sound which can be heard by the gross ear. Prajapati hears the causal sound by His Supreme Ear (not gorss or physical) and utters it by His Supreme Tongue to His Sadhaka who, not yet himself possessing the Supreme Ear, hears it a little imperfectly. In him the primordial sound is somewhat veiled. By S&dhana he either attains the Supreme Ear or stops short of it. In the former case he is like Prajapati himself. In the latter case he communicates by his relative " tongue ” the imperfectly heard primeval sound to his disciple (Shishya) who can by Yoga cither verify the archetypal sound, or falls shore of it. In this way the primordial sounds descend down to our relative planes, where the natural sounds, that is, causal sounds of many objects, are not represented at all, and those that are represented arc represented suitably to conditions of relative ears and relative tongues. According to the Mantra Sh&stra the Bija Mantras represent approximately natural names. Thus the causal stress of fire is a sound heard by the Yogi which is said to l>e represented for the ordinary relative ear as the sound or Bija “ Ram ” j_ ( i ). Vital function under different stimuli produces various sounds, some of which the ordinary’ ear hears, but the causal sound of vital function as breathing is represented by

the Pr&na Bija " Hangsa ” and so on. If attention is paid to breathing it will be found that the outward breath is in the foim of the letter Ha and the indrawn breath of Sa. It is not possible to indraw the breath and say the letter Ha, but it is pushed forth by the outward breath. And so with " Om.” The creative energising out of which this world evolves is Shabda and it is an immense sound (Nada) to the Supreme Ear as uttered by the Supreme Tongue which is also Nada. But no finite car can hear it oerfectlv and no finite tongue can utter it perfectly. The sound which has descended to us as “ Om ” cannot therefore be a natural name of the creative process in the full sense : but having descended through the Manasaputras and a line of Gurus each of whom more or less closely approximated to the pure sound in his personal experience, it is practically taken as an approximate natural name of tininitial creative action. It is an open continuous sound, uninterrupted bv any consonant which clips it. vanishing as it were upward in the N&dabindu which is placed on the vowel. The same observations apply to Ham ( * ), Yam { v ), Ram ( i ). Hangsah ( ), and other Bijas.

So much for " natural name " in the pure sense and approximate sense of the term.

The term " natural ” in this connection can however be interpreted in five different senses : —

(i) Sound as pioduced by causal stress. Shabda is stress winch may or may not reach the normal of consciousness. If two things arc affecting one another, then the name for the total mutual action is stress, of which the respective actions of each of those things are the elements or partials or compoments. Thus we have stress for three things, for four tilings, and so on. Ultimately we leach universal stress which is an infinite system of correlated forces A particular thing inay be

defined as a partial experience of this infinite system which has been well called by Professor P. N. Mukhyop&dhyiya (to whom I am indebted in the matter here discussed) " fact section.’ This experience is Jiva. The infinite system is however never really finitized by these partials. When the stress between one such partial and another touches the normal of consciousness in either or both, we may have under circumstances and within certain limits sensation of sound in either or both. The stress is Shabda and the sound is Dhvani. It is stress or Shabda which constitutes a thing. Whether this Shabda is followed or accompanied by a certain Dhvani or not will depend upon (<?) the magnitude of its action in relation to a percipient subject, and (f>) upon the condition of the percipient’s perceptive organs. Hence in order that the sound of a thing’s constituent stress may be heard, the rates of vibration of the air must be such and such, the cars and brain must be such and such and so forth. Thus most objects of experience, though influencing the individual, do not express themselves in sound to him, such as the earth, rocks, sun, moon, and stars. Sound as produced by causal stress and apprehended by the Supreme Ear and uttered by the Supreme Tongue is natural name in its pure: sense and in this sense none of our sounds arc natural. If by this approximate ' natural name ’ of a tiling we mean its sound (that is, the sound produced in us by its causal stress) as apprehended by the relative ear to which it is revealed, then most things have no natural names to us, though they may have to other beings with different perceptive conditions. A being who has an experience of the causal stress itself and whose ears (gross or subtle) can respond to it in any form (*.«., whatever be the rates of vibration of air and ether) knows the natural names of all tilings. Such a Being is Prajapati Himself and

Souls that resemble Him. Hence the natural names of such things are revealed through V&kya which, though the JSva may not completely verify now, he may pro grcssivdy verify by personal experience, and ultimately completely verify by personal experience too. In this sense only do Shruti and Agama, that is, the Tantra Sh&stras, give the natural names of Artha, sensuous or supersensuous. The test of a natural name is this — If '* Supreme or Absolute Ear ” be defined as that which hears causal stress of a thing as such unconditionally, then the natural name of a thing is that sound the Supreme Ear hears. The relative car does not hear this and therefore to it this has no natural name.

( 2 ) Sound as produced by causal stress as projected on to our planes, with necessary limitations, through Minasaputras and others. This is approximate natural language, and as the Mantras Om. Ham, Ram, and the like ; it constitutes one stratum of the Vcdic language. In this case the pure sound is represented by a sound capable of being heard by the relative ear. The Yogi who hears the Mantra " Om ” does not hear it as the sound ' Om,” but as a sound which the relative ear can hear as " Om.” " Om " is thus only a gross sound which approximates to the ml sound only so far as the gross relative ear permits. The pure sound is thus represented by its nearest gross equivalent.

(.1) A thing, such as a conch shell or an animal, may under the action of external forces give forth variable sounds of certain kinds. This may be perceived by us and we ordinarily call it its natural sound, and sometimes name it after it as “ cuckoo," " crow.” But it is not the sound produced by the " causal stress ” (whicli may’ be reduced to the motions of the electrons and therefore unperceived except to the Yogi) Hence we must distinguish between the sound produced by causal

stress, and the sound which a thing gives forth under the action of stimuli such as the crackle (another onomatopoeic name) of fire when wood is thrown on it. The latter may be heard but the former not. These names, "cuckoo ” and so forth, are practically regarded as natural names, though according to the definition they arc not. Such names enter into all languages, Vaidik and others. Fire or heat acting upon various things may produce various sounds which the relative gross ear hears. But its causal stress produces, it is said, the sound Ram ( i ), which Bija Mantra a Yogi alone hears. Vital function under different stimuli is producing various sounds in the body, some of which may be heard, but the causal stress in the form of vital function is represented by the Mantra " Hangsa ” and so on. Prajfipati (as above stated) hears the causal sound or Pure Natural Name by His Supreme Ear (not gross or physical) and utters it by His Supreme Tongue to His S&dhaka, who, not yet possessing the absolute ear. hears it only imperfectly. This, as pointed out before, is the approximate natural name. The Primordial Sound is thus somewhat veiled in him. By S&dhan& he cither attains the Absolute Ear or stops short of it. In the former case he is like Praj&pati Himself. In the latter case lie communicates by his relative tongue the imperfectly heard Primaeval sound to his Shishya, who can either bv Yoga himself verify the archetpyal sound, or falls short of it. In this way the Primordial Sounds descend down to our relative planes where (a) the natural or causal sounds of many objects are not represented at all, and (6) those that are represented are so represented suitably to conditions of relative ears and relative tongues. But these approximate natural names must be distinguished from what are popularly called natural names (in the third class), which are not sounds of the causal stress but are due to the action of external forces on a

particular object which is constituted of the causal stress, the sound of which is the true natural name, pure or approximate.

(4) There is then a class of secondary natural names, that is, those which are not, in the primary sense, purely or approximately natural, as sound of causal stress, nor natural in the onomatopoeic sense, but which are secondarily natural in that they are evolved out of elements of sounds which are primarily (though approximately) natural.

The Causal Stress when striking the ear produces sound, when striking the eye produces light and colour ; and when striking other seme organs produces other kinds of sensation. The stress or constituting force is one and this is Sliabda : but it manifests itself differently to the different sense organs. II then, instead of calling a thing in terms oi its sound, it is desired to express it in terms of its other manifestations (sensations )to us, we want to state its relations to other perceptive faculties, how in such cases can this be expressed ? The " natural sound ” in its primary sense cannot do this ; the thing as a whole may be best represented by the natural sound, but not its touch, colour, taste and smell specifically : yet this latter representation is also important and useful. The sound or Bija Ram {*). for example, may be the approximate natural name of Agni, but unless we can grip the causal stress of Agni itself, it tells nothing about the attributes and relations of the thing with which we are prattically concerned. Ordinarily Ram ( f ), Hrim (Tf). Aim ($*), Om (^f) are unmeaning. For this reason we hear talk of Mantra being " Jabber," as if any body of men in the world’s history' deliberately occupied themselves with what was in fact meaningless jabber. That is not necessarily to say that the theory is correct, but that it is not absurd and without sense as supj>osed.

THE OAKLAND OF LETTERS

Now-a-days when the Sliftstra is nearly lost, it may be so in those cases where the Mantras are said without understanding. These Bljas may be made to denote things or processes, but ordinarily (unless it is possible to penetrate into the kernel itself) they do not connote qualities <?r attributes of things ; and hence are what J. S. Mill calls non-connotative terms. They are however according to Shistra really connotative. Hence in the average plane man requires other terms besides Ram (f) to represent Agni. Suppose we take the quality " burning ” (Dahika Shakti). Then in order to express Agni in terms of this quality we may do (or it might have been done for us by linguistic tradition) either of two things : (a) Taking the letters (Vanias) and remembering that each represents the natural sound of a certain thing or process, it is possible to make such a permutation and combination of them (taken two or more at a time) that " burning " may be represented by the combination thus formed. Here a compoundterm is formed (either by ourselves or by tradition) by the collocation in due order of elementary approximate natural sounds (viz., the letters). To express the same attribute more than one such combination may be possible. (6) Or there may exist already s im ple roots (Dhatu) formed in their turn either by the combination of elementary natural sounds, or in the onomatopsic fashion (see 3 ante), which with proper affixes and suffixes can be made to connote " burning " and thus evolve the term Agni. Here again, to express the same quality or relation, different words may be evolved by ourselves or by tradition. _ Thus there are synonyms or Paryyaya. These secondary names may be arranged in grades in accordance with the degree of their closeness to primary names. Hindu philologists distinguish between Shaktyartha and Lakshy&rtha, that is, Abhidhasliakti and Lakshan&shakti and classify each.

This in itself is a vast subject. It issuflicicnt to say here that words have two Vrittis, namely. AbhidM and Lakshana. The first is Shakti in the sense that it compels the understanding of the thing denoted by a word. The object " cow ” is described by and is the VakyArtha of the word or Shabda " cow ", The second only approximately denotes the object (Artlia). It so to speak leads the hearer to the door but does not enter. Lakshya is that denoted by Lakshani, which means a sign, that is. object denoted by a sign. Thus the word Brahman is not VakyS- rtha of the Supreme Brahman (Nirguna Parabrahma), but it is VakyArtha of the Saguna Brahman. The word Brahman is only LnkshyArtha of the Supreme Brahman.

We may say that these secondary names are not indifferent as to their expressiveness of the qualities and relations of things. Some do it better and more closely than others. Agni, Vahni, HutAshana, and other names of Fire are connected with the Bija Mantra Ram (f ) in this sense, that while the latter approximately represents the natural name of the thing as a whole, the former express the attributes and relations of the thing specifically regarded. Hence whilst " Ram ” ( i ) is apparently nonconnotative, the former are connotative.

(5) Primary and secondary names may be combined in such order (Krama) and metre or harmony (Chhandah) that by vitalizing one another, these in combination may appear as an approximate name of a thing or process. In tb.is manner a Vaidik or Tantrik Mantra (consisting of several words) may. it is said, naturally denote a DevatA or a function.

Beside these five senses of natural sound of which the pure and absolute sense is that first given, there is nonnatural or artificial sound or name, which means an arbitrary name taken at random to denote a thing, such as some proper names.

The test of natural names is, it is said, twofold and capable of experimental verification (i) Whether the causal stress of a thing makes a sound (say the Bija Yam) may be verified by Yoga. The thing being given, a sound evolves. (2) This sound repeatedly and harmonically uttered, that is in Japa of Mantra, must create or project into perception the corresponding thing. This too is capable of experimental verification. In this case the sound being given, a thing evolves.

CHAPTER IX

The Veda? communicate the natural names of some things, subject to the necessary limitations involved in their representation suitably to conditions of relative ears and tongues. No Vedic word is an absolute natural name. This cannot be. Just as in the Tantra ShAstra we find Bija mantras, which are said to represent approximately natural names, scattered here and there in a varied mass of ordinary Sanskrit which remotely represent natural sounds, so is the case in Shruti. There are. it is said, closely approximate natural names, combined according to natural laws of harmony (Chhandah), forming Mantras which are irresistibly connected with their esoteric Art has (Devat&s) : but these are commented upon, explained, applied and so forth in passages which do not express natural names in this sense. On analyzing these Mantras themselves, both Vaidik and Tint rik, there are found some sounds which arc* not and others which arc in natural use. Here each word in the Mantra does not necessarily stand for an approximate natural sound (that is produced by causal stress). These tendencies to the archetypal forms may be varying. But in the Mantra it is their order of combination and rhythm that mainly counts. Thus as a whole the Mantra may be the approximate natural name of a DevatA or function. Its creative and projecting power lies in the two things : — (a) The mutual aiding and inhibiting of the sounds in the Chhandah; the veils of the individual sounds are removed by the order of their collocation. Here the " Curves ” of sound are constructive and not destructive, (b) The cumulative effect of the repetition of sounds and strings of sounds also may produce the aforesaid result. By repetition is there summation of stimuli.

So that by analyzing the Vaidik language we get

this

(1) Certain approximate natural names, standing alone or in groups, such as Om, Ham, Hangsah, Sv&ha and soon. These are fundamental sounds or primaries.

(2) Certain combinations of sounds which, though not natural distributively. naturalize each other in and by the order and harmony of the combinations. Thus arise Mantras which become approximate natural names of objects and processes. These may gather creative momentum by repetition.

(3) A large mass of sounds or names used to explain the meanings and applications and results of the above which need not be natural names in the above sense.

Hence it follows that the Veda which is heard by the gross ear and spoken by the gross tongue is not a system of natural names. It is however claimed to be a system of approximate natural names in varying degree. The Veda of the Absolute Ear and Tongue is a system of absolute natural names.

Then is the relative and approximate Veda the primordial. universal, unitary language ? The answer must be in the negative, but in the case of the first class of names it is amongst all languages most nearly so upon the basis of the theory here dealt with. In the second class of names it is less so and in the third it is least so.

There are four different strata in Vaidik experience. First there is the nameless Supremo Experience ; then the three above described. Shabda, Artlia and Pratyaya are absolutely connected in the absolute plane but progressively less so in the lower strata. The natural connection of Shabda and Artha means that the latter being given, the former is there whether audible by us or not ; the former being given, the latter is created or projected. But we must distinguish between what is here called

natural name and what often receives that term. Thus a conch shell is blown*. What is the natural name here ? Not the sound which we may make it give forth, for these arg produced by our effort and vary, but the sound of the causal stress which generates and keeps together the shell. The blowing sound is only practically natural. What is the basis of the Vaidik theory? In the final resort experimental verification is the test of Ayurveda.

Besides the division of name into natural and arbitrary, of the former into absolute and relative, and of the latter into primary and secondary, name may be classified according as it is (a) typal or (6) variational, as for example of the first the Sanskrit word " Gauli ”, and of the second the English word. " Cow Language according to Indian notions is not something arbitrary and invented. No man ever invented a language. Volapuk, Esperanto and the like are mere combinations of the sounds of preexisting language. The Vaidik Language was revealed by Ishvara to the M&nasaputras and others and through them to men. This itself as ordinary worldly (Laukika) speech became corrupted and when rectified was called Sanskrit, that which has been purified. A distinction must therefore be made between the original Vaidik language and current Sanskrit in which however there are words which also occur in the Vedas. Now the ordinary orthodox view is that there is a typal or standard language and that this is the universal language of which all others are variations.

Whenever a typal or standard name has a variation, the following questions arise : — (a) When docs that variation appear and lor how long does it last ? (6) In what places or planes does that variation arise ? (c) In what persons or groups of persons does that variation appear or for whom docs it arise ?

Briefly stated a variation is always subject to condi-

tions of time, place and person. Then a variation may be ( a ) common (S&m&nya), or (?>) special (Vishesha). The former is what comprises a whole class of objects. Thus " Cow " is a sound variation apjxiaring in a whole class of [xabons ; Gki or G&bhi with another class of persons namely Bengalis. The special variation is one appearing in an individual object. Thus one individual pronounces the word “ Cow " slightly differently from what another does. Every person in fact has his own way of pronunciation.

Again a variation may be (c) voluntary', or {d) involuntary. The former is due to the free will of a person or a group of persons ; the latter is not so.

The typal sounds are eternal. They arc latent however during cosmic sleep (Sushupti). The Sdmanya variations of the typal sounds are not eternal in the sense and to the extent that the types are ; they appear when the conditions of their expressions appear, and disappear when these go.

If we take these four divisions, two at a time, we get six possible combinations— (i) Common and special variation, (2) Common and voluntary variation, (3) Common and involuntary variation, (4) Special and voluntary variation, (5) Special and involuntary variation. (6) Voluntary and involuntary variation. Of these, the first and and last are impossible, being self-contradictory. Of the remaining four, the second is not eternal. In so far as a common variation is due to the free will of a person or persons it has an absolute beginning ; for if it be simply the the repetition ol a previous cosmic order, then it is not a free act but pre-determined. The third class are eternal but not to the extent the types are. Comparing them with the latter we can say that they are passing, though recurrently. Types too are recurrently passing during creation (Srishti) and dissolution (Laya), but their cycles of recurrence are larger. They are eternal in the full sense

in so far as they approximate to their type. For the same reasons given as regards the second class, the fourth class is not eternal. The fifth class is not eternal in so far as it is brought about by the part volitions ol persons. The whole question is however of so great difficulty, that it is difficult to fully unravel the tangle in which we find it. How and where are wc to draw the line between voluntary and nonvoluntary, between absolute will and finite will ? Is again the cosmic cycle exactly recurrent or not ? From a practical point of view we may perhaps not greatly err if we say (ij that the general plan and the types are recurrent and eternal; (2) that the common variations are recurrent and eternal subject to more conditions ; and (3) that the special variations are practically not eternal.

It is claimed for the Veda that it is a system of standard and typal and therefore natural names. But natural name has, as already explained, various meanings. There are therefore different strata of natural name in Veda. Name may be either (a) natural or (b) conventional, that is, arbitrary. With the latter we are not here concerned. Natural name may be (c) Absolute, that is, as apprehended unconditionally, or (i) Relative, that is, as apprehended subject to varying conditions. Veda as a manifestation is not the first. Absolute name is only beard on the unconditioned plane. We are therefore concerned with the relative natural name. This may be either '(c) primary, or (/) secondary. The first is the causal stress, thing or functioning as a whole, as represented approximately to the relative ear and is again twofold as (g) the elementary sounds or letters (Varna), and (/*) as compound sounds, such as are found in Bijas and roots (Dliatu) . In the Yoga Bh&shya, that is, Vy&sa's commentary on the Patanjala Darshana (3, 17), it is said : Taira vagvarneshvarlhavatiii. According to this, each letter is intrinsically Sarv&bhidh&na-shakti-pracfiila, that is, possessing the power

(Shakti) to denote and connote all object (Artha). For, as the Vishvasara Tanlra says : "What is not here is nowhere" ( Yannehdsti na tatkvachit). A letter (Varna) is the whole cosmos in miniature. One Varna differs from another in the relative latency of the universe of Artha involved in it, the universe being the same in both. They come to denote special Arthas by virtue of the order (Krama) of their collocation (Kram&Kiiro’dkinoTt!ui$a>igkel6iifivachchhinnah.) Their particular meanings or Sangketa are thus due not to intrinsic difference but to order (Krama) in grouping.

In the relative secondary natural name, functioning is specifically represented. The specific attributes and relations are given. These again may (i) appeal directly to the ear, and be cither (/) self-produced, or (A) induced or excited ; or (i) they may appeal to other senses and either (m) consist of single words which are combinations of Varnas themselves, or Dhatus, or (n) of combinations of words which may be either (o) harmonic, or [p) non-hannonic but Kramic.

The first and main division of this scheme is into natural and arbitrary. As to this it is to be observed that all names are made up of elements of sounds or letters (Varna). But to naturally connote an Artha, the Vamas cannot be arbitrarily selected and arranged. To naturally represent a given Artha, certain Vamas which are in some way connected with that Artha must be chosen and arranged according to a certain order (Krama) . A word in which such selection and order arc not in evidence is a conventional name, e.g. a telegraphic code (though even in this there is a designed Krama), many proper names, and algebraical symbols. The Krama of the Vaidika Sbabdas is said to be eternal. To explain this further, let it be supposed that it is desired to evolve a certain Artha, say an atom of hydrogen. A certain number of moving

electrons arranged in a certain order must be chosen. The number and order being different we have a different kind of atom. Suppose again it is desired to evolve water. Two atoms of hydrogen and one atom of oxygen must be taken and so arranged by electric or other influence that a molecule II, O is evolved. So also is tire case of any compound material substance. The Varnas are in relation to ordinary sounds, what the atoms are in relation to material substances. The atoms can be aggregated into molecules and things only in certain definite proportions and not arbitrarily ; so with the Varnas and natural words.

Further as radio -activity and other facts prove, an atom is a system of moving electrons. It is not therefore absolutely simple and elementary. Similarly what wc recognise as the Varnas may not be absolutely simple or elementary sounds ; they are however so for all practical purposes, as the atoms are for all chemical purposes. There are about 75 different atoms but the electrons which make them up are of the same kind ; their number and arrangement account for the differences of Oxygen, Hydrogen. Carbon and other atoms. In the same way the garland or rosary of letters (VarnarnfUi) may be evolved out of the same kind of elementary sound by differential aggregation. It may be that the basic elementary sound is the uninterrupted AnAhata Dhvani fmitised into various points (Shabdabindu) or atoms (ShabdaparamSnu) of sound.

So again taking any curve, say a circle — its circumference may be regarded as Ihe sum of an infinity number of small bits of straight lines : these are the elements. Any ritualistic diagram, such as, say, the Sarvatobhadramandala.ora Yajnaor Homa may be similarly regarded. Hence a natural word may be compared to, and in the case of a Bija Mantra can be represented by, a diagram

(Yantra) which in that case, become? the graph of the Bija in question, or of causa! stress of which that Bija is the acoustic manifestation and counterpart. Lastly an electron is an unit charge of electricity, which after all may be only an clement of ether in stress. This element of ether in stress is Parashabda Paramanu according to the definition given ; and as heard by the relative ear it is Shabda Paramanu. So that this last and the electron are naturally connected. Hence Shabdas (aggregates of Shabda-paramanus) and Arthas (aggregates of electrons) are connected. But as electrons aggregated at random will not make a natural Artha, so Shabda Paramanus aggregated at random do not make a natural name.

Physically the vibration? represented by a Varna can be resolved into component vibration? which are harmonic motions. As Fourier’s theorem gives it, a complex harmonic motion may be analysed into simple harmonic motions. All the ordinary letters are complex harmonic motions ; and physically speaking a simple harmonic motion is Shabda-pai ainSnu. Physiologically each single vibration acting on the ear, neives and brain centres, produces a single pulse of cerebral agitation, a single " nerve-shock,” just as a single tap on the door produces a single shock and this again a single sound. This single pulse of brain excitement ought to produce a single pulse of feeling, a feeling-atom or a " feeling element, ” as W. K. Clifford called it in developing his theory ” minddust,” which was controverted by W. James (See Professor P. N. Mukhyopadhy&ya’s “ Approaches to Truth "). The view of the last mentioned author is as follows — It is difficult to say in the absence of direct Yogik testimony whether these fccling-dusts actually exist. Ordinarily we do apprehend the Varnas as being themselves elementary or simple sounds ; perceptually or presenta-

tively they are simple. But they can certainly be represented as made up of feeling-dusts, or what the author cited calls Shabda-Paramanus (Sound atoms) each answering to a single nerve-shock and to a single external vibration ; and for aught we know the feelingdusts may themselves be actually apprehended by the Yogic ears.

A secondary natural name means this : — Take Fire. The stress or functioning as a whole which constitutes the thing has an acoustic equivalent which is said to be approximately Ram ( f ). But if we wish to consider and speak of the various attributes and relations of the thing " Fire " specifically ; if for instance we wish to denote the virtue of winding movement which marks the activity of fire ( e.g . the vortex of heated gas and the curling up of smoke), this specific virtue and relation is not connoted by the causal or Bija name (Ram) in particular. Hence taking the root " Ag " which signifies tortuous movement by reason of that particular collocation of these two particular Vamas (in fact the unheard causal stress of tortuous movement itself may have for its approximate acoustic equivalent the sound ’ Ag ’) and selecting the proper prefix and suffix, we get Agni. Tradition might have done this, but it is possible to coin a new word to connote a particular property of a thing by the process above outlined. Should we wish to connote the relation of fire that it purifies, there is the root Pu. If it is wanted to connote the relation that it consumes ail things, there arc the two roots '* Hu " and '* Ash " and the word HutAshana is formed. And so on. The Bija name gives the whole-thing-vicw ; other names give side views, specific-relations-views. Agni is called Vaishvanara because it is present in Vishvanara or all living beings as the heat of oxidization or combustion ; it is called Valmi because it carries (root Vah) offerings

to the gods ; Anala because it pervades (root An— to be) all things and so forth.

The words " smooth ”, ** rough ”, " horrible ", ” tremendous ” and so forth are secondary natural names falling under the class (/) as appealing to other senses than the ear. " Smooth ”, “ rough ” and so forth in utterance produce organic sensations (that is, sensations of the organism as distinguished from those of the special sense organs) which arc closely connected with, and suggest, the actual sensations of smooth and rough objects.

Class (i) directly appealing to the ear refers to onomatopoeic word, which are evidently of two kinds. A cuckoo or a crow itself naturally produces a sound and this directly appeals to the car. On the other hand a flute gives out a certain kind of sound, if it is acted upon by a certain stimulus. Sometimes a thing may be called after a sound which it accidentally produces. Under class («) we have two forms. The Krama in a combination of words may be rhythmic or non-rhythmic. The former is Chhandovaddhavakya.

When it is said that Veda claims to give the approximate natural names of class things and class functions, there is thereby practically included the whole scheme of natural names. "Approximate” or dynamical name admits of ” more or less.” so that the primary group gives approximate natural names par excellence, and the secondary group gives in varying degree approximate natural names. Within the secondary group the class (o).that is Mantras, represent the closest approximation to natural names.

The test of a natural name is ultimately experimental, that is the sound (Shabda) being given, the object (Artha) is evolved : the object being given, the sound is evolved. In absolute natural names these relations are at once

established. In relative names they are established in varying measure through Krama and Japa. Ultimately the question whether Veda is a system of approximate natural names is thus a question of fact.

This leads to a consideration of the claim made by Veda that it is the standard language, an eternal system of natural names of which all others are variations. Hitherto we have dealt with the matter philosophically. We now approach the historical and philological question. The two must be kept apart. Much may be said in favour of tire philosophical theory, namely, that the relation between Shabda and Art ha is eternal, that there is some Shabda which is the natural name of the Artha, that this natural language is the standard language, that all others are a straying away from and variation of the true norm and so on. But the point now arises as a question of fact, viz., assuming all that is said in theory, is the Vaidika language, that is the language in which tire Vedas arc as they exist to-day, the eternal standard language ? The orthodox affirm that it is, and that the sound " Gauh ” is the natural name and standard representation in speech of the object “ Cow " from all eternity. That the relation of Shabda and Artha is eternal and that some Shabdas may be natural names of objects are philosophically probable. It is however an entirely different matter when it is affirmed that the Vaidika speech, as existing to-day, is that language. Philologists and historians will deny this, for they will point out changes in that speech and make claim as regards priority in age for the language of other peoples. Assuming that there was, as the Biblical tradition runs, once a universal language, it will be denied that the Vaidika language as known to us to-day is that. It will moreover be shown that even in Veda itself there is evidence to the contrary. Thus it has been argued that according to the Shatapatha BriUimana the

original language was monosyllabic. With this question of philology and history I am not here concerned. But the ultimate philosophical question is, " Who, il any one, first said that this sound meant that thing ?” The Indian answer is that the relation of the word and the object denoted are eternal and not a conventional thing, that there is a system of Natural Names, whatever in fact that system may be. This stands clear of the claim made for the Vcdic language, as it exists today, that it is that system.

CHAPTER X

THE TATTVAS

A knowledge of the Mantra Shastra involves an understanding of the thiry-six Shaiva-shakta Tattvas. Thus it is said that Shakti is in Shakti-tattva. N5da in Sadakhya Tattva, Bindu in lshvara-Tattva. What then are these Tattvas to which reference is made bolh in the Shaiva and Shakta Tantras ? Unless these be fully understood, no progress in knowledge of the Mantra Science as here described may be expected.

The Shaiva-Shakta Sinistra calls experience as Shakti by the term Vimarsha. Experience has two elements the "I” (Aharn) and the "This " (Idam), the subjective-knowing aspect (GrShaka) of the Self and the objective or known (Gr&liya) aspect of the Sell. For it must be remembered that an object is nothing but the one Self appearing through Maya as non-Self to Itself as subject. At base the experienced is nothing but the experience! : though this is not realised until the bonds of Mftya which make subject and object appear to be different are loosened. The " 1 " side of experience is that in which the Self rests in the light of one’s own Self without looking towards another (Ananyotmukhah aham-pratyayah ) ; just as the experience (Vimarsha) which looks towards another is called — Idam ( Yastu anyonmukhah s a idam Hi pratyayah). But this " Other " can only be the Self, for there is in reality nothing but the one Self. It is experienced, however, differently. In the Supreme state it exists with the ‘ Aimin' in a mingled union ; in the pure experience between this state and Maya the " Other" is recognised to be an aspect of the Self ; in impure experience governed by Maya the object appears to be different from the limited self.

Experience again is, at its two poles, Perfect Expe-

riencc of the Perfect Universe and the limited experience of the three worlds of reincarnation. Between these two extremes there are intermediate experiences marking the stages whereby the one pure Spirit or Consciousness involves itself in matter.

The Hermetic maxim says: "As above so below." Similarly the Vishvas&ra Tantra says: " What is here is there, what is not here is now here.” ( Yad ih&sli tadanya • tra.yan mhdsti na tat kvachii). Sbaiva doctrine says: "Thai which appears without, only so appears because it exists within." (Vartamdndvabhdsdndm bhdvdttdm avabhdsanam antahsthitavaldm eva ghaiate vahirdtmand). " The manifestation of those things which presently appear, hapj>en in the form of external things because they exist within." "Therefore what exists in our experience, evolved from the Supreme, also exists in the Supreme experience though in another way.” The Supreme experience called Parasamvit is not a mere abstract objectless knowing (JnAna). It is the coalescence into one undivided unity of the " I " and the " This,” that is, of Shiva and the supreme unmanifested Shakti. The former is the illuminating (Prakasha), knowing aspect, and the latter that Vimarslia aspect which is " the known.” But here the two arc undistinguishably one. This supreme experience lias the immediacy of feeling. It is Bliss (Ananda) which is defined as ” Resting in the Self ” (Svartipavishranti). In the Mdyika world the Self concerns itself with what if takes to be the non-Self. Here the Universe which is the object pf Shiva’s experience is the Perfect Universe, that is, Supreme Shakti which is but another aspect of Himsell as consciousness. She is beautifully caMed in the ParA- praveshikA : ” The Heart of the Supreme Lord ” (Ilridayam purameshiiuh). For the Mayika cxpcriencer (Mdyd pramulri ) the universe is the manifested world of objects seen as different from himself. Supreme Shiva and

Shakti exist in mutual embrace and love. " Bliss is supreme love.” (NiratishayaprcmAsp adatvani dnandalvam). The Supreme state is described by the BrihadSranyaka Upanishad in the words. " He indeed was just as man and woman in embrace " (Si i ha efavAn dsa yatha sltipui/tAngsau sampatisvaktau) ; when there is neither within nor without, when all thought of lover, loving and loved are forgotten in the joy of blissful unity. The experience is spaceless, timeless, full, nil-knowing, almighty. This is the state of Shiva without Kala (Nishkala) or Parmamashiva. This is Parasamvit which is beyond all Tattvas (TattvStitS). As the Perfect Universe it is called Paran&da (Supreme "Sound”) and Parft vitk (Supreme "Speech”). Paramashiva is an experience of the Perfect Universe, that is. of Paranada (Amarsha paranddagarbhah). Such universe is pure Shakti (Shakti-svarupa).

Our worldly experience is as it were an inverted reflexion of all this seen in the causal waters of Mayfu M&- y’A Shakti is the sense of difference (Bhedabudhi) which makes the Purusha, who is subject to it. See the Universe in the form of an observing self with a multitude of objects conceived of as being outside of and separate from it. In the Mayika world each self excludes the other selves. In the Supreme experience there is one Self experiencing Itself. The Purusha is Consciousness, subject to MSya and the five Kanchukas which are limiting forces contracting the natural perfections of the Self. Thus the Perfect state is formless, the world state is with form ; the first is spaceless, timeless, all-pervading, the latter is the reverse and so forth. Kaia produces limitations of time. Niyati destroys independence (Svatantrata), regulating the Purusha as to what he should or should not do at any given moment of time. The Supreme experience is full and in want of nothing (Pfirna). Raga Kanchuka creates interest in objects as something other than the self

and therefore desire for them. The all-knowingncss (Sarvajnatd) and all-mightiness (Sarvakartritd) ol the Supreme Shiva arc circumscribed through the action of Vidydand Raid, and the Purusha becomes a "little knower" and " Utile doer

The intermediate Tattvas next described explain the process how from the creative aspect of the Perfect Experience the imperfect World-experience comes into being. Shiva has two aspects in one of which He is Transcendent and in the other Creative and Immanent. The creative (Sakala) aspect of the Supreme Shiva (Nishkala Paramashiva) is called Shiva-tattva. wherein is the Shakti called Unmani. Through operation in His creative aspect Shiva becomes His own object as the Manifested Universe. For in truth there is nothing else than Paramashiva. Shiva-tattva is the first creative movement (Prathama spauda) ol the Unmo\'ing Paramashiva. Shakti-tattva is only the negative aspect of, or in, the Shiva-tattva. The function of Shakti is to negate [Nishedhavy&pararfrpa shaktih). She who is Consciousness negates Herself, that Is, deprives experience of the element of objectivity which is Itself as Pard Shaxti. There is thus left only the other side of experience which is Prakashamdtra, that is, what we should call the 'T' (Aham) side of experience when regarded as consisting of an " I " and "Ihis” (Idam). Because in this experience there is no trace of objectivity whatsoever, either of such objectivity latent or expressed as exists in the Supreme or other lower and derived form of experience, the Shiva Tattva is called " the very void ” (ShunydtishOnya). It is the experience in which the Self is not looking towards any other (/l nanyonmukhah ahampratyayah). The objective content, so to speak, of Consciousness is a mere negation. It is Shunya because it is empty of objective content. Shakti-tattva is also spoken of as the Will

THE TATTY AS

(IchchM) of Shiva as yet Unmanifest and inseparable from Him { Sanialasamavdyini ).

This account of Shakti's operation is extraordinarily subtle, explaining as it does how the supreme unitary experience is also the first source of dual experience. Such latter experience and the stages whereby the latter is fully developed can only be produced by positing an aspect in which there is a breaking up of the unitary experience. This is done by first blotting out from the Perfect experience its object or the Perfect Universe (Para Shakti, Paranada) thus leaving a mere subjectivity. To the subjectivity thus disengaged there is again gradually unveiled the universe at first as unmanifested and then (through Mitva) as manifested Shakti. In Pari Samvit the " I " and the " This " existed as one undistinguishable unity. In Shiva Tattva through the operation of the associated Shakti Tattva, the “This” (I dam) is withdrawn from experience so that the “ I- experience " {A ham-vimarsha) alone remains. To this the TdanT or Universe is again by degrees presented, when there is no longer an undistinguishable unity of “ I ” and " This,” but an " I— this " in which both, though distinguishable, are yet part of the Self which eventually through MSyi-Shakti becomes an " I ” and “ This,” in which the two are severed the one from the other. How this occurs, the description of the remaining Tattvas explains. The Shiva-Shakti Tattva is not an emanation, because it ever remains the same whether in Creation or Dissolution. It is the seed and womb of the whole universe.

The first emanation or manifestation (Abhitsa) of and by Consciousness is called the Sadakhya or Sad&shiva Tattva. Here it is to be observed that the cause ever remains the same and what it was, though appearing differently in the effect. The Supreme Experience change-

lessly endures even though in its creative aspect it gives birth to the Universe. This Abh&sa is like the Vivartta of Maydvada, the difference between the two lying in the fact that according to the former the effect is real, and according to Shangkara, unreal. This difference again depends on the definition given of " reality.”

Real evolution (ParinfLma), in which when one thing is evolved into another it ceases to be what it was, exists only in the compounded products of the material world.

In SadSshiva Tattva there is the commencement of the first subjective formation of ideas. It is called Niinesha (closing of the eyes) as contrasted with Unmesha (opening of the eyes) of the next stage of experience. In the former the Universe as Shakti is seen only faintly. The Self hazily experiences Itself as object. It is the first step in evolution and the last in involution. Unmesha is the distinct blossoming (Sphutatvam) and extemalization (Vfkhyatvam) of the Universe. The " This ” (Idam) is faintly perceived by the " I ” (Aham) as part of the one Self, the emphasis being therefore on the " 1 ” side of experience. Sacteshiva is He whom the Vaishnavas call Mahfivishnu, and the Buddhists. Avalokiteshvara who sheds compassion on all. According to tradition, tills is the source whence the Avataras come. It is in this Tattva that there is what the Mantra Sh&stra calls Nada Shakti.

The third stage of the developing consciousness is Tshvara Tattva, the extemalization of the last. The Universe (Idam) is experienced by the " I ” (Aham) distinctly and yet as part of, and not separate from, the one Self. As in the last experience the emphasis was on the ‘‘Aham." here it is on the ‘‘Idam.” This Tattva is called Bindu in Mantra Shastra. and is so called because Consciousness here completely identifies itself with the Universe as unmanifested Idam, and thus subjectifies

it and becomes with it a Point (Hindu) of Consciousness. Tims by way of example the mind is completely subjectified and exists for each of us as a mathematical point, though the body, to the extent to which if is not subjectified, appears as an object or extended thing.

The fourth Tattva is known as Vidya. Sadvidyi or Shuddhavidyft. In the experience of this stage, emphasis is equal on the " f ” and the " This ” (Srfwdnadhikaranya). In Shiva Tattva there is the I -experience (Ah am Vimarsha) ; in Sad&shiva the I -This experience (Aham-idam Vimarshaj ; in ishvara Tattva the This-I experience (Idamaham Vimarsha). In each case the stress is laid on the first term. In Vidya Tattva there is an equality of either term in an experience which is that of the true relation of the Aham and and the Idam, consisting of a synthesis (Sanggamana) of the two on a single “ basis ” (Adhikaiana) and not on two different " bases ” according to the experience of those under the influence of M5y& (Mdyapram&tri), thus eliminating the duality which exists in the latter experience.

By equality of the ” I ” and the " This ”, experience is in the state of readiness for the next stage in which the two are to be severed. SadvidyS as l>eing the intermediate stage between the pure (Shuddlia) and impure (Ashuddha) Creation is called ParSparadasha. It is also spoken of as experience of difference in the form of Mantra. (Bhcddbhcda-vimarshandhnaka-mantra nlpa). It is experience of difference because tin- Idam is separated from the Aham. It is the experience of of non-difference because they are still regarded as part of one Self. The experience is compared to that of the Ishvarh of the Dvaitavadins, who sees the Universe as different from Himself and yet as part of and in connection therewith. “ All this is my manifestation "

{ Sarvo mamdyam vibhavah). The experience is said to be in the nature of Mantra, because here we arc in the reign of pure spiritual ideation. As yet there is no objective manifestation such as exists in our world. Below this Tattva it is said that there were created eight Pudgalas, that is, Jivas in the form of knowledge (Vijn&narupa) and then seven crores of Mantras and their Mandalas.

At this point Maya Shakti intervenes and divides the A ham and Tdam, and the Kanchukas or limitations of the natural perfections of Consciousness make It subject to time and space, birth and death, limitation, and desire for object, which It now conceives of as persons and things other than Itself. This is the Purusha- Prakriti Tattva. Purusba in Shaiva-Sh&kta philosophy is the At mi> or Shiva subject to M&yft and to the Kanchukas whicli are limiting forces whrebv the Self as Pure Consciousness loses Its natural perfections.

Prakriti is the Shanta Shakti of Shiva in contracted form existing as the equilibrium of the Gunas which are themselves a gross form of the Shaktis of Will (Ichchhd), Action (Kriyft) and Knowledge (Jnana). All things exist in Her who is of the nature of feeling in a homogeneous mass. Purusha is enjoyer (Bhokti) and Prakriti the enjoyed (Bhogya). The latter is at first the barest objectivity seen as different from the experiencing Self as Purusha. Prakriti then differentiates into the Tattvas of mind (Antahkarana), senses (Indriya), and matter (Bhffta) which constitutes our universe.

Purusha does not merely mean man nor indeed any animal. Every single thing in the Universe is Purusha. Thus an atom of sand is a Purusha or Consciousness, identifying itself with solidity (Prithivi), manifesting its limited Consciousness as atomic memory and other

THE TAT TV AS

ways- What Consciousness thinks, that is, identifies itself with, that it becomes.

To sum up, the Supreme Experience (Para samvit) has a creative aspect (Shiva-Shakti Tattva), which is a Consciousness of “ I " (Aham-vimarsha) which gradually experiences the Universe (Idam) as part of Itself, at first faintly with predominant ”1", then clearly with predominant "This", and then as equal “I and This”, ready for severance by Maya. The latter then cleaves consciousness in twain, thus setting up a dichotomy of Subject and Object, though in truth the object is nothing but tin* Self as its own object. Lastly Shakti, as Prakriti, differentiates into the multitudinous beings which make the Universe. But throughout it is the one and only Shiva whether as the Supreme Experience or as the Consciousness embodied in solid matter. Shakti Nida. Hindu mentioned in previous articles are Shakti Tattva, Sadikhya Tattva and tshvara Tattva (here desciibed), considered from the standpoint of the Mantra Shistra which treats of the origin of Shabda or Sound.

With the Tattvas the Kalis are associated. These are the forms of activity (Kriva) of the Tattvas as Shakti. Thus Srishti (Creation) is a Kali of Brahma. Palana (Protection) is a Kala of Vishnu and Mrityu (Death) is a Kali of Rudra. It is, however, not always as easy to see the appropriateness of the Kalis as in the simple examples given. The Shikta Trantras speak of 94 Kalis, namely, 19 Kalis of Sadishiva, 6 of ishvara, 11 of Rudra, 10 of Vishnu, 10 of Brahma, 10 of Fire, 12 of Sun, and 16 of Moon. According to Saubhigyaratnakara the 19 Kalis of Sadishiva are Nivritti, Pratishtha, Vidyi, Shftnti, lndhiki, Dipika, Rechikd, Mocliika, Para, Sfikshmi.Sfikshmimriti, Jninimriti, Arnriti, Apyiyanl, Vyipinl, Vyorriarupi, Mhlavidyamantrakali, Mahamantrakali, Jyotishkali. The 6 of ishvara arc i'iti, Shveti, Nityi.Aruni,

1 HE GARLAND OF LETTERS

AsitA, AnantA. The n Rudra Kalis are TlkshnA, Raudri, Bhaya, Nidra. Tandra, KshudhA, Krodhini, Kriya, Udgari, Amaya, Mrityu. The ro of Vishnu are JadA, Palim, Shanti, Ishvari, Rati, KarnikA, BaradA, HISdini, Priti, Diksha. The 10 of BrahmA are Srishti. Riddhi, Smriti. McdhA, Kanti, Laksbmi. Dvuti, StliirA, Stliiti, Siddhi. The xo of Fire are Dhumrarchi, UshmA, Jvalini, JvAlini, Visphulinginl, Sushri, Surupa, KapilA, HavyavahA, Kavya valia. The 12 of Sun are Tapini, TApini. DhumrA, Marichi, J vAlint, Ruclii, SushumnA, BhogadA, VishvA, Bodhint, DhArini, KshamA. The 16 of Moon are Amrita, Manada, Push A, Tushti. Pushti, Rati, Dliriti, Sashini, ChandrikA, Kanti, Jyotsna, Shii, Priti, Angada, Puma, PumAmritA. Out of these 50 are Matrika Kalas which manifest through thn Pashyanti, MadhvamA and Vaikhari stages (BhAva) as the gross letters (Varna), The 50 MAtrikA Kalas are given in the same account as follows Nivritti, Pratishtha, Vidya, Shanti, Indhika, DipikA, Rechika, Mochika, ParA, SukslunA, SQkshmimritA, JnAnAmritA, Apyiyani, VyApini, VyomarQpA, AnantA, Srishti. Riddhi, Smriti. MedhA, KAnti. Lakshmi. Iiyuti, SthirA. Sthiti, Siddhi. JadA, Palini. Shanti, Aishvarya, Rati. KamikA, Barada, HlAdinS, Priti, DirghA, Tikshna, Raudri, BhayA, Nidra, TandrA. KshudhA, Krodhini, KriyA. UtkAri, MrityurupA, PitA, ShvetA. AsitA, AnantA. These $4 Kalas are worshipped in the Wine Jar which holds TArA dravamavi or the Saviour-Mother in liquid form. She Herself is called Saravit Kala and so the Yoginlhridaya Tantra says —

DeshaMlapaddithatma yad yad vastu vathd yathd, Tat-tadr6pev.ayd bhati tdng shraye Samvidam Kal&m.

CHAPTER XI

In the previous Chapter I have referred to Shakti, NAda, Bindu. In this and the two next I will deal in greater detail with each of these three concepts of Shakti. Oneoi the clearest accounts known to me of the evolution of Shakti is that given in the authoritative T&ntrik Prakarana called Sharadi (also spelt SAradA) Tilaka by Lakshmanacharyya. This work was formerly of great authority in Bengal. Its value is much increased bv the commentary of R&gbava Bhatta. As this work with its commentary is of prime importance, and is cited throughout the following Chapters, I may here note the following account which LakshtnanAchAry va gives of himself at its close. Maha-hala a great sage was succeeded by his son AchAryapandita, a Dcshika (TAntrik Guru). His son Stikrishna Deshika had a son Lakshmana Deshika who wrote the ShAradA-Tilaka. RAghava, in his commentary called PadArthAdarsha, says that Lakshmana was the disciple of UtpalAchAryya, who was the disciple of Somananda, who was the disciple ol Vasumanta, who was the disciple of Shrikantha. This is the Gurupangkti of Lakshmana. His disciple was the great Kashmirian Abhinava Gupta, the autor of ParainArthasAra. The latter’s disciple was Kshemaraja, the author of the ShivasOtra-Vimarshini. The date generally assigned to Abhinava Gupta is the eleventh century. Therefore Sj. Akshaya KumAra Maitra, Director of the Varendra AnusandhAna Samiti, who has supplied me with these details of the Gurus and Shisbyas of the author, concludes that the ShAradA was written at the end of the tenth or beginning of the eleventh century. RAghava mentions 1510 as the age of his commentary. Taking this to be the Vikrama Samvat we get 1454 A. D. as its date. These details

1 HE GARLAND OF LETTERS

serve another purpose. There aie persons who insist on a total disconnection between the Shaiva and Shakta Tantras. Lakshmanacharya was a member of the Kashmirian Shaiva School, and his work was, as I have stated, of great authority among the Bengal Sh&ktas.

The Shiraija (Chapter I, verse 7 ) says : " From Sakai a Parameshvara vested with the wealth of Sat, Chit, Ananda issued Shakti : from Shakti came Nada ; and . from Nada issued Hindu."

Sachchidananda-vibhavat sakaldl parameshvar&t

Astch chhaklis tato n<;do midad bindu-samudbhavah. Parameshvara is here Shiva Tattva. He is Sakala, because He is with the creative KaI5 or Shakti. As already explained Shakti. when Vyashtirupa, that is individualised, is called Kalft. Shiva is always with Shakti. But in the supreme state, Shakti is unmanifest and exists in Hei own (SvarQpa) foim as Being- Consciousness -Bliss (Sachchid&nandam&yt, Chidrfipini), undistinguishablc from Shiva. Sakala Shiva is thus Saguna Brahman. He is said to be vested with the wealth of Sat, Chit, Ananda or Being, Consciousness and Bliss to show that His association with Avidva does not deprive Him of, or affect. His own true nature (Svarupa). Shiva has two aspects. In one of these He is the Supreme Changeless One who is Sachchiddnanda and Sachchiddnandamaya. This is Pardsamvit. In the other He changes as the Universe ; change being the experience of the Jlva so created. The cause of such change is Shiva Tattva inseparably associated with Shakti Tattva.

" There issued Shakti.” This is Shakti Tattva of the Thirty-six Tattvas. Shakti evolves Nada, and Nada, Bindu. These are aspects of Shakti preparing to create the Univesre and are dealt with in future Chapters. Here 1 am concerned with Shakti Tattva only : that is, with that form of Shakti which is speci-

fically so called ; since N&da, Bindu and the rest are all but names for different aspects of Shakti.

It may be asked how Shakti can Iksaid to issue from that which was already with Shakti. R&ghava Bhatta explains that the author here follows the Sangkhya principle of the appearance of realities from realities (Sadutpattivfida) and speaks of the condition of readiness (Uchchhflnivastha} of Her who being without beginning or end existed in a subtle state identified with Chaitanya in Dissolution (Y<x antidi-rupa chaiUinyddkyasena niuMpralayc siikshnui sthitd). Adhyasa is the attribution of the nature of one thing to another according to which something is considered to be what it is not. In other words during Dissolution there is some potential principle in the Brahman which, as manifest, appears not to be Consciousness (Chit), but which owing to the absence of operation during the dissolved (Laya) state is identified with Chit. The distinction is very subtly marked by the Sanskrit word Chit for Shiva and Chidrupini for Shakti. Chit is there in either case, for ultimately there is nothing but Consciousness. But that principle which in creation manifests as seeming Achit is in itself Chidrupini. One is Consciousness and the other is a principle in the form of Consciousness. I prefer to look at Shakti from the Consciousness aspect which is Her own form (SvarQpa) and to say that Shakti in Dissolution is what She really is, namely, Chit. In creation Consciousness, as Shakti, has power to veil Its own true nature, and when we are ourselves subject to this power we attribute unconsciousness to It. The substance in either case is this : — In Dissolution Consciousness and Bliss alone is. Then without derogation to the changclcssncss of Consciousness there is an apparent dichotomy into subject and object, that is, Consciousness and Unconsciousness. Shakti is conceived as ready to create

xo x

the Universe composed of Gunas as its effect (Kftryya). In other words, pure Consciousness becomes the worldexperience. The Prayogesara says : "She. who is eternal and all-pervading, the Genetrix of the Universe, issues from Him.” Vavaviya-Samhita says : "By the will of Shiva, ParS Shakti is united with Shiva-tattva and at the beginning of Creation appears from It just as oil from sesamum seed when pressed.” The Pancharatra is also cited by Riighava Bhatta as saying, "The Parama Punisha at the beginning of Creation, seeing that She who is Sarhchidfmandarupini is the source (AdhishthAna) of the manifestation of all Tattvas makes manifest eternal Prakriti.” These statements, like all our accounts in such matters, arc pictorial thinking, being necessarily imperfect attempts to explain the manifestation of activity of Consciousness.

Cause and effect are really one, but appear different. The first aspect of Shakti is its causal (Karana) aspect. But this again may be analysed into the various stages of its capacity and preparedness to create. These stages are marked by certain names which again are mere labels denoting states of Shakti. Thus NAda and Bindu are names for those aspects of Shakti which are more and more prone to Creation (UchchhhnSvasthA). Nada and Bindu are but two states of Her fit for Creation (Srishtyupayo&'avasthfirupau). Shakti Tattva is the first kinetic aspect of Brahman. Shakti then Ixtcomes more and more kinetic until, as Bindu, Shakti is Ishvara Tattva. This Bindu differentiates into the Triangle of Divine Desire called the KAmakalA upon which there is that Braliman Sound (Shabda-brahman), which, bifurcating into Shabda ancl Artha, is Shakti in its aspect as effect (K&rvya) or the manifested Universe of Mind and Matter. This " TAntrik ” account gives firstly an apparent " development ” in the causal body of Shakti

being in the nature of a resolution of like to like ; and then a real development (ParinAma)of the effects (K&ryya) produced from the causal body. The whole is necessarily described after the manner of a gradual process stated in terms of our own psychological experience. But such a process exists only in time which first appears with the Sun and Moon. Bhaskararctva in his commentary on the Lalita Sahasran&ma (Verse 117) cites Gorakshanitha a s saying in his Maharthamanjari, “In a moment the world is created and in a moment it is destroyed."

Shakti Tattva and Shiva Tattva are inseparable (Santata-samavayini), the former being only the negative aspect of the latter. Both exist even in Dissolution, the first emanation proper being Sadakhya which corresponds with NSda in the above mentioned verse. Shiva Tattva is defined in the Tattva-Sandolla x, as follows "That, beyond which there is none other, moved of His own will in order to create the whole world. The first movement (Spanda prathama) is called the Shiva Tattva by those who know."

Yad ay am anuttaramurlir

nijechchhaydkhilam idam jagat srashtum Paspaiude sah sfiandah

pralhamah Shiva-tattvam uchyate tujjnaih. As the Vimarshinl on the Pratyabhijna says — It is the " I-experiencc not looking towards another” (Ananyonmukhah ahampratyayah). It is the self-side of experience, Prakasha or Jninamatra, which is such, because of the negation of all objectivity or not-self by Shakti Tattva. For this Jnanamatra, She, as Vimarsha Shakti, provides through gradual stages the objects of its experience. Her function is negation { Nishedha - vyapdra-r&pd Shaklih) of all objectivity so as to produce the mere subjective knowing (Prakishamatra) which is the Shflnyatishunya. She then evolves from Herself

the objective world in order that it may be the content of the Shiva consciousness. She is pure Will ever associated with Shiva. She is the seed of the whole Universe ot moving and unmoving things then absorbed in Herself. Ichchhd saiva svachchM

sanlatasamav&yinl sal i shaktih Sacharacharasya jagaio

bijam nikhilasya nijattillnasya.

(Tattva-Sandoha. 2 ).

She is thus called the Womb (Yoni), or Seed-state (Blj&vasthft), and by the Parapraveshika, "Heart of the Supreme Lord" (Hridayam Parameshituh). The YoginihridayaTantra says that men speak of the heart of Yogini ; She is Yogini because She is connected with all things both a-* Causer and lifloet. This Yogini is knowerof Herselt (Yogini svavid). She is called the Heart : for from the Heart all issues. She is the Heart of the Universe : the pulsing movements of which are Herself as Shakti. What more can be said than the words of the Yoginlhridaya, "What man knows the heart of a woman, only Shiva knows the heart of Yogini."

In the Pratyabhijna-Hridaya it is said, " The auspicious supreme Shiva desiring to make manifest the Universe which is one with Himself first of all shines forth as the one Chit as the Very Void detached from M4y& (that is, there is no objectivity) and as undifferentiated Illumination (that is, Prakasha or Jnfina). He then next appears in the form of diverse cxperiencers consisting of an infinite endless number of Tattvas. words and beings which are in the nature of a blooming forth of Consciousness and Bliss." (Shri-parama-shivah svatmaikycna sthitam vishvam avabibhdsayishuh pitrvam chidaikyakhyali mdydndshrita-shiva-parydya-shUnydlish&ny&lmataya prakashabhedata prakiisham/lnaltiya spkurali ; tatah chid-rasdshydnatdnlpdshesha-lattva-bhuvanabhdva-laital-pmmdirddydtniataya'pi pralhatc ) .

The substance of the matter may be stated thus : — Whilst from the static transcendental asj>ect (Parasliiva, ParSshakti) Consciousness changelessly endures, there is from the kinetic creative aspect (Shiva-Shakti) a polarisation in consciousness, the polos of which are Shiva and Shakti representing the Aham and Idam aspects of experience. Owing to this polarisation there is in lieu of the unitary experience a division into the knower. knowing and known, M4tri, Mina. Meva, as it is called. Consciousness then identifies itself with the products of its own kinetic Shakti, that is. with mind as the subject of experience and with matter as its object. This polarisation is explained in the Sliakta Tantras by the illustration of the grain of gram (Chanaka). Under the sheath of the grain of gram two seeds are found in such close union that they appear when held together as one. With, however, the tearing of the outer sheath the two halves of the seeds fall apart. These two seeds are said to be Shiva and Shakti and the encircling sheath is Mftyi. Like all attempts to explain the unexplainable, the illustration is to some extent defective, for in the gram there are two separate seeds— but Shiva-Shakti are an undistinguishable unity. The commentator on the Shat-chakranirupana (Vol. II of my Tantrika Texts) cites the following (v. 49) : " In the Satyaloka is the formless and lustrous Or.e. She is like a grain of gram devoid of hands, feet or the like. She has surrounded Herself by Maya. She is Sun, Moon and Fire. When casting off (Utsrijya) the covering She devides in two (Dvidha bhittvfi) and becomes intent on (UnmukhI) creation, then by differentiation of Shiva and Shakti arises creative ideation (Srishti-kalpana).’’ By "differentiation ” is meant the polarisation of Consciousness into subjective (Prak&sha) and objective (Vimarsha) aspects The Self sees another. The same commentator cites

t>io Prapanchasira Tantra as saying that tin- Parabindu divides into two parts, of which the right is Hindu,. the male, Purusha or Hang, and the left is Visargab, the female I’rakriti or Sail. Hangsah is the Union of Prakiiti and Purusha and the Universe is Hangsa. In, however, the Mss. on which my edition of this Tantra is based (Vol. ITT Tfintrika Texts), it is said that Parabindu divided by Kala becomes threefold — Hindu, Nada. Bija The difference is of no moment for this Hindu (Karyya) is Shiva and Bija is Shakti, and Nada is merely the illation (Mithah samav&yah) of the two. The combind Hangsah indicates the same relation as is expressed by Nida. In the Kulachudamani Nigama (Chap. I, w. 16-24, Vol. IV, Tlntrilca Texts) the Devi says of the first stage : "I, though in the form of Prakiiti. lie hidden in Being-consciousness-bliss (A ham prakritirtipA did

sachchidanandapar&yaii&). Then in the initial creative stage when Karma ripens the Devi in the words 01 the Nigama " becomes desirous of creation and covers Herself with Her own Maya.” This is the appearance of the kinetic Shakti. The same doctrine is stated with greater or less detail in various ways. Unitary experience, without ceasing to be such, is yet, as Jiva polarised into the dual experience of the Mayika world. Consciousness as Chit- Shakti and MayS Shakti projects from itself in a manner conformable with our own psychological experience, the object of its experience. The Mftyika experiencer (M&y&pramitri) takes what is one to be dual or many. This is the division of Shiva and Shakti which are yet eternally one. All action implies duality. Duality is manifestation. Manifestation is nothing but an appearance to consciousness. As there is ultimately but one Self, the Self appears to itself ; that is, consciousness is polarised. These two poles are the continuity of the " I ” (Aham) and its ever changing content which is " This ” (Idam).

Just as there is absolute rest and a world movement, so Shakti or Creative Consciousness is itself of twofold aspect, static and dynamic. Cosmic energy in its physical aspect is potential or kinetic, the first being that state in which the equilibrated elements of Power hold each other in check. It is not possible to have one without the other. In any sphere of activity, according to these views, there must be a static background. If one Spiritual Reality be assumed it cannot be actually divided into two. It is possible, however, that there should be a polarisation in your experience whereby what is indi visibly one ansi the self, appears as many and the not-self. How 5 The answer is MayA, that Power of Her whereby what is impossible to us becomes possible. Maya is Slmkti. but Shakti is not to be identified only with this form of It. In the thirtysix Tattvas, May A is a particular and comparatively gross form of Shakti which appears after the evolution of the SadvidyA Tattva. It is defined as that Shakti which is the sense of difference (Bhedabuddhi) ; that is, the power whereby the individual consciousness, distinguishing itself from others, considers itself separate from them. Shakti is understood differently in the Shakta Tantra and in Shangkara’s MayavAda ; a matter of primary importance from the point of view of SAdhani and with which I will deal on some future occasion. Whatever be the description given, all accounts must end in the inconceivable Shakti (AchintyA Shakti). She the One, the Primordial Shakti (AdyA Shakti) appears as many ; and so the ShAkta Sadhaka saying, "Ahatn Devi na chiinyosmi " (I am the Devi and none other), thinks to himself “ Sa'ham ” (She am I).

CHAPTER XII

SHAKTI-TATTVA dealt with in the preceding Chapter is really the negative aspect of the Shiva-tattva. Though spoken of separately the two are indissolubly one. Shaktitattva, as the Tattva-sandoha says, is the Will of Shiva as yet nnmanifest : —

Ichchh'i saiva svachchhA santatasanutvdyini sati shaklih. Saiharacharasya jagato bijam nikhilasya mjanilinasya.

These two principles (Shiva-Shakti Tattva) are the ultimate Potency of creation, and as and when they (considered as one Tattva) commence to act, the first movement towards manifestation takes place. After the previous restful state of Shiva-Shakti there follows the union tor the purpose of creation of the two principles which are Shivatattva and Shaktitattva. So it is said in the Shakta Tantra, *' Shiva-Shakli-sam&yog&t jayale srishlikalpan/i " (From the union of Shiva and Shakti arises creative ideation). This union and mutual relation is called Nada. As the relation is not some substantial thing apart from Shiva or Shakti, N4da is really Shiva-Shakti ; passing from the state of mere potency into that of the first ideating movement, from which at length, when finally perfected, the whole universe is evolved. The Sh&kta Tantras frequently employ erotic symbolism to explain the creative process. This has led a missionary author to the conclusion that " throughout its symbolism and pscudo-philosophisings there

lies at the basis of the whole system the conception

of the sexual relationship as the ultimate explanation of the universe." An American auther reviewing one or my works has called it 11 a doctrine for suffragette

NaL)A— the first produced movement

monists " religious feminism nin mad." Both statements are examples of those deprcdative misnnder standings which are so common in Western descriptions of Eastern belief and which seem so absurd to anyone who has understood the subject. How ran " sexual relationship " which exists on the gross plane of matter be the ultimate explanation of That which has manifested not only this but all other relations and subjects. As for " feminism ” and the supposed priority of the feminine principle, the doctrine has no more to do with either than with old age pensions or any other social question. We are not dealing with the biological question whether the female antedates the male principle, or the social question of the rights of Woman, but with those ultimate dual principles, aspects of the one active Consciousness, which projects from Itself both man and woman and all other dualities on the universe. Shiva and Shakti are one and neither is higher than the other. But how are European writers to be blamed when we find a distinguished Indian Sanskritist affirming that according to Shakto doctrine " God is a woman " (the italics are mine).

Shakti is spoken of as female, that is, as Mother, because that is the aspect of the Supreme in which It is thought of as the Genetrix and Nourishcr of the universe. But God is neither male nor female. As the Yamala says for the benefit of all such ignorance., " Neyamyoshihiac/ia pum<bina shandah ita jadah smritah These are all symbolisms borrowed from the only world which we ordinarily know — that around us. As lor the charge of pseudo-philosophy, if it be that, then the same criticism must apply to the AdvaitavAda VedAnta. For the Shakta Tantra is the Sadhan&sh&stra ol Advaitavada presenting the teachings of Vedanta in ita own manner and in terms of its own ritual symbolism. Thus it is said that Nada is the Maithuna of Shiva and

Shakti and that when Mahakala was in Virparlta Maitlmn; with Mah&k&li (a form of Maithuna again which is symbolical of the fact that Shiva is Nishkriyaa and Shakti SakriyS) there issued Bindu. For Maithuna others substitute the logical term Mithah-samavSynh as a desesription of NSda, which is Kriy&shakti. Before the appearance of Shabda there must be two. Unity is necessarily actionless. Two involves a tljird— which is the relation of both ; a T rinity of Power which is reflected in the Tiimfirti of the Mayika world as Brahma. Vishnu. Rudra.

From Nada came MahSbindu and this latter differentiated into the Tribindu which is K&makala, the Mula of all Mantras. In Pralaya, Shiva and Shakti exist as the " two in one Shiva as Chit. Shakti as Chidrupini ; the Para Shakti— not Iwing different or separated from Shiva {Aviu&bh&vasambandha) and being undivided supreme Chit-Shakti (Akhandaparachichchhakti).

The SharadS-Titaka (1-7) then says From the Sakala Parameshvara vested with the wealth of Sachchidinanda (Sachckid&nandavibhavat) appeared Shakti (Shakti Tattvaj ; from Shakti. Nada and from Nada. Bindu (Mahabindu). Sakala means with Kala ; that is, the Brahman with what the Sangkhya calls Mfllaprakriti, that which the Ved&nta calls Avidya and the Sh&kta Tantras or Agamas call Shakti. On the other hand Nishkala Shiva is Nirguna Shiva or that aspect of the Brahman which is unconnected with the creative Shakti ; just as Sakala Shiva is the Brahman so associated. Shiva in either aspect is always with Shakti ; for Shakti is but Himself ; but whereas the Shakti associated with Paramashiva is ChidrUpini and Vishvottirna or beyond the Universe, the Shakti which is associated with the creative Shiva is that which appears as the Universe (Vishv&tmika). The Parikshakti is one with Chaitanya

N AD A— THE FIRST PRODUCED MOVEMENT

at rest. The other aspect which ripens into Nlda and Bimlu denotes the " swollen " condition of readiness {U chchMn&vAsthi) of Her who existed in a subtle state in the great dissolution (Mahftpralaya). These two Shaktis (Nada, Hindu) are stages in the movement towards the manifestation of the Sell as object, that is, as the Universe. In these Ihe mere readiness or potency of Shaktitattva to act develops into action. Jn N’ada- Shakti therefore Kriyft predominates When we speak of stages, development and so forth, we are using language borrowed from the manifested world which, in the sense there understood, are not appropriate to a state prior to manifestation ; for such manifestation does not take place until after the appearance of the Puruslia-Prakiiti Tattva and the development from the latter of the impure Tattvas from Buddhi to Prithivi. But a SSdhanS Shastra, even if it had the power to do otherwise, could not usefully use terms and symbols other than those borrowed from the world of the Sfldhaka. The PrayogasSra says that the Shakti who is " turned towards ” the state of Liberation {Nirumiyapado» miikhi) awakes as NSda and is turned to Shiva ( Shivonmukhi ) at which time She is said to be male (Puugrlipa). For then She becomes Hang in Hangsah. She who was one with Parashiva in Pralaya as the coalesced " I ” (Aham) and " Tliis " (Idam), now in Her creative aspect as .Shaktitattva transforms Herself into Nada. NSda is action (KriySshaktirtlpa). In simple language, potency and readiness to create, (Shaktitattva), becomes for the first time active as NSda, and then more so as Hindu, which is a further development of KriyS Shakti dealt with in the next Chapter.

According to RSghava Bhatta in his Commentary on the ShSrada some writers do not speak of Nada, though the author of the ShSrada does so in order to indicate the

sevenfold character of TSra. The Nada state is however indicated by those Achdryyas who speak of Kdla. So it is said, " in the Kdlatattva which is Sound" [Ravdtmani kalatativt). In the Hymn to Bhuvaneshi also it is said, “ Obeisance to Thee who art called Tattva in the character of Sound " {NantasU ravatvena tattvAbhidhdne).

Nada occupies Llie same place in the Mantra scheme as the Saddkhya Tattva of the 36 Tattvas, for Bindu is Ishvara Tattva. They are each transcendent aspects of Shabda in the respective Tattvas. As Consciousness reaches forth to enjoyment and the " I " is separated from the " This, 1 ’ what was mere diffusive consciousness as Saddkhya Tattva is objectified into the all-embracing Akasha, the Guna of which is gross Shabda ; that is some thing experienced as an object apparently different from and other chan ourselves.

Nada which etymologically means " Sound ” is a technical term of the Mantrashastra. The latter Shdstra is concerned with Mantravidyd, and Mantra is manifested Shabda which also literally means " Sound.” By "Sound" of course is not meant gross sound which is heard by the ear and which is the property of the Karyyakasha developed as a Vikriti from the Prakriti Tattva which, with the Purusha Tattva, occupies the place, (though without its dualities) of the-. Purusha and Prakriti of the S&ngkhva. Gross sound belongs to the impure creation as Guna of Ak&sha or the ether which fills space. To avoid misconception, it is better to use the word Shabda which with Artha is manifested in the " Garland (or Rosary) of Letters ’’ (Varnamdld) with which I will later deal.

N&da is the most subtle aspect of Shabda, as the first putting forth of Kriyashakti. Parandda aud Parfi Vak are Parashakti. N&da into which it evolves is the unmanifested (Avyakt&tmd) seed or essence (Nadamdtrd) of that which is later manifested as Shabda, devoid of

particularities such as letters and the like [Varn&divishesharahitak). It develops into Bindu which is of the same character. From the Mantra aspect, as the source of Shabda, this Mah&bindu as it differentiates to " create ” is called the Shabdabrahman. Bindu when differentiated is also the source of the Vikritis or Tattvas and of their Lords (Tattvcsha). In its character as Shabdabrahman it is the .^>urce of the manifested Shabda and Artha [ShabdashabddrlhaMranam). Shabdabrahman is thus a name of Brahman as the immediate creative source of the manifold Shabda and Artha.

What Shabdabrahman is, has been the subject of contention, as RSghava Bhatia's Commentary shows. It is sufficient to sav here (where we are only concerned with Shabdabrahinitinaka Bindu so far as it is necessary to explain N;\da) that Raghava Bhatta says that Shabdabrahman is the Chaitanya in all beings (Chaitanyam sarvabhdldiubn). This cosmic Shakti exists in the individual bodies of all breathing creatures (Prani) in the form of Kundalini (KundalirhpA). Nada therefore which assumes the aspect of Bindu is also Chaitanya and Shakti. Nada is thus the first emanative stage in the production of Mantra. The second is Bindu, or Shabdabrahman ; the third is Tribindu (Bindu, Nada and Bija) or Kdmakali ; the fourth is the production of Shabda as the Matrikis which are the subtle state oi the subsequently manifested gross letters (Varna) ; and the last is these gross letters (Sthulashabda), which compose the manifested Shabda or Mantra composed of letters (Varna), Syllables (Pada) and sentences (Vakya). Thus Mantra ultimately derives irorn Nada which is itself the Kriyashaktirftpa aspect of Shiva-Shakti who are the Supreme Nada (Paran&da) and Supreme Speech (Paravak). The Prayogas&ra says : " Oh Devi that AntarStma in the form of Nikda (Niditma) itself makes sound (Nadate svayam )/'

that is, displays activity. "Urged on by VAyu (that is, the

Pr&navSyu in Jivas) it assumes the form of letters.”

N&da again is itself divided into several stages, namely,

Mahanada or N&ddnta, the first movement forth of the

Shabdabrahman ; Nada, when Shakti fills up the whole

Universe with Nadanta, in other words, the completed

movement of which Nidfinta is the commencement ; and

Nirodhini, which is that aspect of N&da in which its

universal operation having been completed, it operates

in a particular manner and is transformed into Bindu,

which is the completion of the first movement of Shakti,

in which She assumes the character of the Creative Lord

of the Universe (Ishvara Tattva). NManta considered as the end and not the commencement of the series is that in which there is dissolution of Nada (Niidasya anlah layah). Above Bindu. the Shaktis which have been already given in previous articles become more and more subtle until Nishkala Unmani is reached which, as the Yoginihridaya says, is uncreate motionless speech (A Mitpznnanishpanduvtik) , the twin aspects of which are Samvit or the Void (Shfinya Samvit) and Samvit as tendency to manifestation in a subtle state (Vlpatsuh samvid tupattyavasthd sdkshma). Unmani is beyond Karanarupa Shakti ; where there is no experience (Bhanam) or Kala or Kala nor of Devata or Tattva, in the sense of category, as that which distinguishes one thing from another. It is Svanirvanamparam padam, the Nirvikalpaniranjanashivashakti which is Guruvaktra.

Nada and Bindu exist in all Bija Mantras which are generally written with the Bindu above and the Nada below, for this is the form of the written Chandrabindu. In however some of the old pictorial representations of Ongkara the real position of Nada is shown as being over Bindu as an inverted crescent. Thus the great Bija, Hrim ( ) is composed of Ha, Ra, I and Ma. Of these

NAD A— THE FIRST PRODUCED MOVEMENT

Ha — Ak&sha, Ra — Agni, 1 — Ardhandrishvara and M — NSdabindu. The five Bhutas ate divided into two groups Amurtta (formless) and Murtta (with form). Both Ak&sha and Vayu belong to the first group, because until the appearance of Agni as Rupa, there is no colour and form. Agni therefore heads the second division. When Akasha is with Agni there is form ; for Ra is the first manifestation of RQpa. This form is in Ardhan&rishvara, the combined Shiva-Shakti, who hold all in themselves. The fust three letters represent the Akara or form aspect. The Mantra receives its complete iorm by tire addition of the Mah&tmya, which is N 4 da-bindu which are Nirakara (formless) and the K&rana (cause) of the other three in which they are implicitly and potentially contained ; being in technical phrase Antargata oi, or held within, Hindu, which again is Antargata of all the previously evolving Shaktis mentioned. The meaning of tire Bija Mantra then is that the ChidSkSsha is associated (Yukta) with Rupa. It is thus the Shabda statement of the birth of General Form ; that is. Form as such of which all particular forms are a derivation. Hrim is. as pronounced, the gross-body as sound of the ideation of Form as such in the Cosmic Mind.

The degree of subtlety of the Shaktis preceding and following Nada is in the Mantra Shastra indicated by what is called " the utterance time ’’ (UchcharanakMa). Thus taking Bindu as the unit : Unman! is Nir&k&ra and Niruchchara, formless and without utterance, undefined by any adjective : being beyond mind and speech and the universe (Vishvottima). The Uchcharanak&la of Samani (so named Manahsahitatv&t : on account of its association with mind ; the preceding Shakti Unman! being Tadrahitd or devoid of that), is i — 256, of Vy&piki 1 — 128 and so on to N&danta 1—32, N 4 da x — 16, to Ardhachandra which is 1—2 of Bindu and to Bindu itself.

NSda is thus in Mantra Shfistra that aspect of Shakti which evolves into Bindu, which later as differentiating into the Tribindu is called the Shabdabrahman, who is the creative source of Shabda and Artha and thus of the revealed Shabda which Mantra is.

I would in conclusion meet an objection, which I have heard urged, namely that the Mantra Shftstra treats its subject with unnecessary complexity of detail. It is undoubtedly difficult and requires careful study. Simple minds may be satisfied with the statement that God created the world. Veda too gives an explanation of the cosmic problem in two words " He saw” (5a aikshata). But who saw, and what, and how did He see ? How also if there be only One came there to be anything to see ? And what is "to see" (Ikshana) ? For the process is not like looking out of a window and seeing a man passing. " He " is Consciousness which is in Itself (Svarupa) actionless. How then did "I" see and thus become active ? Because It has two aspects one (Nishkalashiva) in which It is actionless and the other (Sakalashiva) in which it is Activity as the embodiment of all the Sangskiras. In this last aspect it is called Shakti. The latter term denotes Active Consciousness. How can one and the same thing have two contradictory aspects ? . We cannot say, otherwise than by aftiiming SvabhSva. By way of analogy we can refer to what psychology calls dual and multiple personalities. The ultimate Reality is alogical and unexplainable (Anirvachaniya). That it is one and not two is. it is said, proved by Veda and the actual experience (Svanubhava) had in Yoga. What is " seeing " ? It is not the observing of something outside which was there before it was observed. “ Seeing " is the rising into consciousness (void of objects) of the memory of past universes existing in the form of the Sangskdras, Before this can occur. Consciousness

must obscure to Itself Its nature and (though in truth an unity) must experience itself as an " I " observing a " This ” which it has through Maya Shakti projected outside Itself. There is no answer again to the question how this is possible except inscrutable Shakti (Achmtya Shakti). But just as a man rising from deep sleep has first a more or less bare awareness which is gradually filled out with the thought of self and particular objects ; consciousness coming to itself, so that in the waking state it again recognises the world which had vanished utterly in dreamless slumber : so it is with the Cosmic Consciousness. Just as man does not pass at once from dreamless slumber to the fullest w'aking perception ; so neither does the Cosmic Consciousness. It passes gradually from its dreamless slumber (Sushupti) state which is the general dissolution (Mahapralaya) to the waking state (Jagrat) which is consciousness of the gross universe. The degrees in this cmanative process are the Tattvas described in the last article. Manifestation, which is nothing but presentation of apparently external objects to the inner consciousness, is, as experienced by the limited consciousness, gradual. The seeds of the " I " and “ This " are first formed and then grown. The first principal stage is that before and in Ishvara Tattva or Bindu and which therefore includes N&da. The second is that of the World-consciousness arising through the agency of M4yishakti. These two stages are marked by two principal differences. In the first the " This ” (Idam) is seen as part of the self, the two not being differentiated in the sense of inner and outer. In the second the object is externalised and seen as different from the self. In the first, when the Self experiences itself as object, the latter is held as a vague undefined generality. There is, as it were, an awareness of seli-scission in which the self as subject knows itself as object and nothing more. The

degrees in this process have been already explained. In the second not only is the object defined as something which appears to be not the self, but there arc a multiplicity of objects each marked by its own differences ; for M&yft has intervened. The whole world-process is thus a re-awakening oi the Cosmic Consciousness from sleep to the world, into which at Dissolution it had fallen ; and the Tattvas mark the gradual stages of re-awakening, that is re-awakening to the world, but a falling into sleep so far as true Consciousness is concerned. So in Kundaliyoga when Kundalini sleeps in the Mul4dh&ra, man is awake to the world ; and when She awakes, the world vanishes from Consciousness which then regains its own state (Svarflpa), There is no reason to suppose that, judged in the terms of our present experience, the change is other than gradual. But how, it may be asked, is this known or what the stages arc : for were we there ? As individuals we were not ; for we speak of that which preceded the formation of the Sakala Jiva Consciousness. But Jiva was there as the plant is in the seed. It is the one Shiva who displays himself in all the Tattvas. Those who fall back into the seed have experience of it. There are, however, two bases on which these affirmations rest. In the first place there is correspondence between all planes. . " What is without, is so manifested because it is within " ; not of course in the exact form in which it exists without, but in the corresponding form of its own plane. We may therefore look for instruction to our daily life and its psychological states to discover both the elements and the working of the cosmic process. These also disclose a gradual unfolding of consciousness from something in the nature oi mere awareness to the definite perception of a variety of multiple objects. But the normal experience is by its nature limited. That normal experience is, however, transcended in Yoga-

states, when consciousness becomes NirSlambapurl, that is, detached from worldly objects : the experience wherein is (in part at least) available for the instruction of others. Secondly the Shastras are records of truth beyond the senses (Atindriya Tattva). The Tattvas are not put forth as mere speculative guesses or imaginings of what might have been. When, however, supersensual truth is described in language it is necessarily expressed in terms, and with the use of symbols, of present experience. That experience is had under conditions of time and space and others. We know and speak of mere potency ripening into actuality, of potential energy becoming more and more kinetic, of shifting states of consciousness, and so forth. These are matters the knowledge of which is drawn from the world around us. But this does not necessarily make them wholly untrue or unreal as applied to higher planes. One of the commonest errors is to raise false partitions between things. The experience is real for it is Shiva's and His experience is never unreal. It is according to its degree (that is on its plane) real ; an expression (limited though it be) of the ultimate Reality Itself. Wc can think in no other terms. But it is also true that these terms and symbols, having only complete validity on our plane, are no longer wholly true for Consciousness as it rises from it. But other forms of Consciousness must take their place until the Formless is reached. The Tattvas explain (limited though such explanation be by the bounds of our thought and language) the modes through which the returning Consciousness passes until it rests in Itself (SvarQpavishranti) and has Peace. And so the Buddhist Mantray&na aptly defines Yoga (which in Tibetan is called rNal-rByor) in the sense of result, as the " Finding rest or peace." This final state, as also those intermediate ones which lie between it and the normal individual world-consciousness,

are only actually realised in JnSna Yoga (by whatsoever method Jnana is attained) when the mind has been wholly withdrawn from without and faces the operative power of Consciousness behind it (Niramayapadonmukhl).

But here we are dealing with Mantrayoga when the mind is thinking the states which JnSna, in whatever degree, realises as Consciousness. The Mantra Sh&stra looks at the 'matter, ol which we write, from the standjwint of Mantra that is of manifested Shabda its object. Ktmdalini is both Jyotirmayi, Her SukshmarQpa : and Mantramayi, Her Stlnilarupa. We begin with the latter. All things are then defined in terms of Shabd&rtha and of the various causal forms which precede it. The first of such produced forms is N&da which becomes Bindu and then on the differentiation of the Tattvas the " liidden sound ” (Avyaktarava). the Logos or Cosmic Word utters “ the Garland of Letters ” (Vamamala) of which all .Mantras are formed. It traces the degrees in which the ideating Cosmic Consciousness becomes, as Supreme Speech (Paravak), the Genetrix of the suhtle and gross Shabda which are the Matrikas and Varnas respectively. That Supreme Speech (Parav&k) is without idea or language, but is represented as gradually assuming the state in which it utters both and projects from Itself into the sensual world the objects (Artha) which they denote. The actual manifestation of these from Parashabda through Pashyanti, Madhyami and Vaikhari, will be described in another Chapter.

The practice of Mantra Yoga not only gives, from a merely intellectual standpoint, an understanding of VedSnta which cannot ordinarily be had by the mere reading of philosophical texts ; but also produces a pure Bh&va ripening into Mahibhava through the purification of mind (Chittashuddhi) which such practice (according to the rules of S&dhana laid down in the Tantras or Mantra-

shftstra) gives, as one of its Siddhis. What the Western, and sometimes the English educated Indian, does not understand or recognise, is the fact that the mere reading of Vedantic texts without Chittashuddhi will neither bring true understanding or other fruitful result. The experienced will lind that this apparent complexity and wealth of detail is not useless and is, from an extra-ritual standpoint, to a considerable extent, and from that of Sddhand wholly, necessary. A friend of mine was once asked by a man in a somewhat testy manner " to give him a plain exposition of the Vedanta in five minutes." It takes years to understand perfectly any science or profession. How can that, which claims to explain all, be mastered in a short talk ? But more than this ; however prolonged the intellectual study may be, it must, to be fruitful, be accompanied by some form of SidhanfL. The Tantra Shflstras contain this for the Hindu, though it is open to him or any other to devise a better if he can. Forms ever change with the ages, while the Truth which they express, remains.

CHAPTER XIII

BIN DU OR SHAKTI— READY TO CREATE

From Nada, previously described, evolved Bindu ( Ndddd bindusamitdbhavah) . What then is Biudu ? Literally the term means a “ Drop ” or a " Point " such as the AnusvSra breathing. But in the Mantra ShSstra it has a technical meaning. It is not, as a distinguished Indian Sanskritist called it, merely a "Drop.” It is not that " red drops " mix with " white drops ” and so forth, a description of Iris, which reminds one more of the pharmacy or sweet shop than the Sh&stra. Tliis and other statements betray an ignorance of Indian tradition and a mental attitude alien to Indian thinking which distinguishes so many of those whose souls have been captured in the net of an English education. Those who speak another's language and think another’s thought must see to it that their own Indian self is not, through the dangers to which it is thus exposed, lost. But even an educated Western, ignorant of the Shastra, but with a knowledge of the history of religious thought would have perceived the significance of the term Bindu when he had learnt that one of its literal meanings was a "Point."

In an anonymous Mystical Work published in the eighteenth century by one of the " French Protestants of the Desert " called Le Mystfire de la Croix, it is said (p. 9). " Ante omnia Punctum exstitit ; non to atomon, aut mathematicum sed diffusivum. Monas erat cxplicite : implicite Myrias. Lux erat, erant et Tenebrae ; Principium et Finis principii. Omnia et nihil : Est et non."

" Before all things were, there was a Point (Punctum :

Bindu) not the Atom or mathematical point (which though it is without magnitude has position} but the diffusive (neither with magnitude nor position). In the One (Monas) there was implicitly contained the Many (Mynas). There was Light and Darkness : Beginning and End : Everything and Nothing : Being and Non-being (that is. the state was neither Sat nor Asat)." The author says that the All is engendered from the central indivisible Point of the double triangle (that is, what is called in the Tantras. Shatkona Yantra) regarded as the symbol of creation. " Le Tout est engendr^ du point central indivisible du double triangle.” This " Point ” is one of the world’s religious symbols and is set iu the centre of a Shatkona as above or in a circular Mandala or sphere. On this symbol St. Clement of Alexandria in the second century A.D. says that if abstraction be made from a body of its properties, its depth, breadth, and then length,” the point which remains is a unit, so to speak; having position ; from which if we abstract position there is the notion of unity ” (Stromata V. 2. Ante Nicene Library Yol. IV). Again Shelley in his " Prometheus ” says: " plunge into eternity where recorded time seems but a point."

Where does the Extended universe go at the Great Dissolution (Mahapralaya) ? It collapses so to speak into a Point. This point may be regarded as a mathematical point in so far as it is without any magnitude whatever, but as distinguished from it. in that it has in fact no position. For there is then no notion of space. It need hardly be said that this is a symbol, and a symbol borrowed from our present experience cannot adequately represent any state beyond it. Wc only conceive of it as a point, as something infinitesimally subtle, which is in contrast with the extended manifested universe which is withdrawn into it. This point is Bindu.

But this again is to make use of material images borrowed from the world of objective form, Bindu is an aspect of Shakti or Consciousness ; therefore it is interpreted also in terms of our present consciousness. As so interpreted and as Ishvara Tattva, in which it is, Shakti is called Bindu ; because here consciounsess completely indentifies itself with the universe as unmanifested Idam and thus subjectifies it and becomes with it a point of consciousness. Thus by way of example the individual mind is completely subjectified and exists for each of us as a mathematical point (and so it is spoken of by some as being of atomic dimension) though the body to the extent to which it is not subjectified appears as an object or extended thing. We do not conceive of our own minds as extended because of tliis complete subj edification. In the same way the consciousness of Ishvara completely subjectifies the universe. He does not of course see the universe as a multiplicity of objects outside and different from Himself ; for if He did. He would be Jiva and not Ishvara. He sees it as an object which is a whole and which whole is Himself. In Sad&- khya Tattva " Otherness " (Idam) is presented to Consciousness by Shakti. This Idam is then faintly perceived (to use the language of the VimarshinI on Ishvara- Pratyabhijna III. r. 2 ) “ in a hazy fashion (Dhydmalaprdyam) like a picture just forming itself (Uttmilitamilra-chilra-kilpam) ; seen by the mind only and not as something seen outside by the senses (AntahkaranaikaveiyatH)." The object thus vaguely surges up into the field of consciousness in which the emphasis is on the cognitive aspect or " I " (Ahain). This however is not the " I " or “This” of our experience, for it is had in the realms beyond M4y4. The “ This " is then experienced as part of the Self. In Ishvara Tattva all haziness gives place to clarity of the " This " which is thus seen

completely as part of the Self ; the emphasis being on the " This.” After equal emphasis on the " I ” anil " This ", the two are in ShuddhavidyA Tattva wholly separated by Maya. When therefore the Yogi passes beyond the MAyik world his first higher experience is in this Tattva.

Nflda and Bindu are stales of Shakti in which the germ of action (KriyA-shakti) so to speak increasingly sprouts with a view to manifestation producing a state of compactness of energy and readiness to create. Righava Bhatta (Comm. SharadA I. 7) speaks of them as two states of Shakti which are the proper conditions ( U payogydvaslhd ) for creation They are, like all else, aspects of Shakti, but are names of those aspects which are prone to and ready for creation ( U chclth&ndvaslhti . Bindu is said to be the massive or Ghandvasthd state of Shakti. The Prapanchasara Tantra says that Shakti is seized with the desire to create and becomes Ghanibhfitd ( Vichikirshur ghanibhdta). Thus milk becomes Ghanibhdta when it turns into cream or curd. In other words, Shakti is conceived as passing gradually from its subtle state through Shakti-tattva and NAda (in its three stages) and becomes what is relatively gross or massive as Power which is fully equipped to pass from the stage of potency into that of active manifestation. That stage is Bindu which is called MahAbindu or Parabindu to distinguish it from the other Bindus into which it subsequently differentiates.

The commentary of KAlicharana on the Shatchakranirfipana (see ray Tantrik Texts, Vol. 2, V. 4) citing Todala Tantra (Ch. VI) says that the Supreme Light is formless ; but Bindu implies both the Void(Shfinya) and Guna also. Bindu is the Void in so far as it is the Supreme Brahman. It implies Guna as being the creative or Shakti aspect of the Brahman which subsequently evolves into the Purusha and Prakriti Tattvas of which the latter

is with Guna. The commentary to V. 49 states that this Bindu is the Lord (Ishvara) whom some Paurdnikas call Mah&vishnu and others the Brahmapurusha : and (V. 37) that Parabindu is the state of " Ma " before manifestation ; being Shiva-Shakti enveloped by M&yi. As to this it may be observed that the letter M is inale. and Bindu which is I he nasal breathing, sounded as M, is the unmanifested Shiva-Sliakti or Ma which is revealed upon its subsequent differentiation into the three Shaktis from which the universe proceeds. Bindu as the Cause is Chidghana or massive Consciousness and Power in which lie potentially in a mass (Ghana), though undistinguishable the one from other, all the worlds and beings about to be created. This is Parama Shiva and in Him are all the Devatds. It is thus this Bindu which is worshipped in secret by ail Devas (V. 41) and which is indicated in its different phases in the Chandrabindu (Xada-Bindu) Shakti and Shinta of the Om and other Bija mantras.

This Bindu is in Satyaloba which, within the human body, exists in the pericarp of the thousand-pctalled Lotus (Sahasrara) in the highest cerebral centre. It is, as I have already said, compared to a grain of gram (Chanaka) which under its outer sheath (which is M&yd) contains the two seeds (Shiva and Shakti) in close and undivided union.

Kdlicharana (V. 49) thus cites the following : “ In the Satyaloka is the formless and lustrous one. She is like a grain of gram devoid of hands, feet and the like. She has surrounded Herself by MAyd (that is She is about to create by the agency of this Power of Hers). She is Sun, Fire and Moon. She being intent on creation (Unmukhi) becomes twoiold {Dvidhd bhitvd) and then, by differentiation of Shiva and Shakti, arises creative ideation ( Srishlikalpani ). Shiva and Shakti are of course not

actually divided for they are not like a chufalli or some other material thing. It might seem unnecessary to make such obvious remarks, did not experience tell me of the absurd misunderstandings which exist of the Scripture. When we read that Cod “ is a woman," that the Shkkta Tantra is “ Feminism " with a doctrine similar to that of Prof. Tester Ward’s primacy of the female sex, that " the conception of the sexual relationship is the ultimate explanation of the universe ” and so forth, no caveats, however obvious, are unnecessary. What of course is meant is that, whereas in Pralaya Shiva and Shakti existed as one unity of consciousness, They in creation, whilst still remaining in them-selves what They always were, project the universe which is Shakti ; and then we have the ParamStm& and Jiv&tmfi consciousness -which seem to the latter to be different.

Although Parabindu and all which evolves from It are nothing but aspects of Shakti and in no wise different from It, v<“t as representing that state of Shakti which immediately precedes creation, it is this state of Shakti which is said to be the cause of the universe of name and form (NamarupaJ ; concepts and concepts objectified; or Shabda the word and Art ha its meaning. The states of Shakti preceding Bindu arc those in which the Bindu state is in process of being "evolved" according to what we may call an Avikrita Parinama and when evolved it is the cause of the universe. Really they are merely aspects of one and the same pure Shakti. This is not an evolution in time. As Plotinus says, the universe " was formed according to intellect (here the Cosmic Power or Prapancha-Shakti which manifests as Mahat) and intellect not preceding in time but prior " (in the sense that cause precedes effect). This again, as all descriptions, (in so far as they are applicable to the transcendent Shakti) is imperfect, for sequence of cause

and effect involves to our minds the notion of time. This Supreme Bindu as containing in Himself all DevatSs is the ultimate object of adoration by all classses of worshippers (V. 44) under the name of Shiva, or Mahflvishnu or the Devi as those call it “ who are tilled with a passion for Her Lotus Feet." The sectarianism of the lower mind, still existent in both East and West, is here shown to be a matter of words (the fight for which is of such interest to many) and is reduced to its real common denominator. As the Lord says in the Gita, Whomever men may worship all such worship comes eventually to Him.

Parabindu is thus the Head of every line of creation ; of the Tattvas or Vikritis from Buddhi to Pritluvi and their Lords (Tattvesha) and of the Shabda or Mantra creations ; all belonging to the VikSra Srishti or Parin&ma Srishti. The development after the manifestation of Prakriti i= a real evolution (Parinama), for Consciousness has then been divided into subject and object in time and space. What is spoken of in terms of a development in the Ishvara body is not that. There Shakti assumes various aspects with a view to create but without manifestation. Shaktitattva. whilst remaining such, assumes the aspects of Nada and Bindu.

The next stage is thus described in the Sh&radi Tilaka (Ch. 1) as follows

Paraskaktiniayah sdkshfil tridh&'sau bhidyate punah Bindur n&do bijamiti tasya bhedSh samirittih Binduk shivdlmako bijang shaklir nudas tayor mithah Samavayah samakhyiitah samdgawavishdradaih

(That whch is supreme Shakti again divides Itself into three, such divisions being known as Bindu, N&da, Bija. Bindu is said to be of the nature of Shiva and Bija of Shakti, and Nada is the mutual relation between these two, by those who are learned in the Agamas).

One Ms. I have seen has ‘Bindur nftdStmako', but the commentary of the Shatchakra (V. 40) explains this as Shivatmaka. These form the three Bindus (Tribindu). Nflda here again is Trait d'Union, the Yoga of the other two Bindus as the PrayogasSra calls it. (See Rftghava's Comm, to V. 8 of Ch. I Sharada). These are Shiva, Shiva-Shakti, Shakti. By this it is not to be understood that Shiva or Shakti are ever altogether dissociated but the aspects may be regarded as Shiva or Shakti-pradh&na respectively. Bh4skarar&ya in his valuable commentary on the Lalita Sahasranfima says " From the causal (Karana) Bindu proceeds the effect (Karyya) Bindu, Nada and Bija. Thus these three which are known as supreme, subtle and gross arose." (Asrndch cha kdranjbindoh sdkshdtkramena k&ryyahindus tato nddas talo bijam Hi trayam utpannam tadidang parasUkshmas- IhHiapadair apy uchyaie, V. 132).

One text of the Prapanchas&ra Tantra says that the Parabindu divides into two parts, of which the right is Bindu, the Male. Purushaor Hang, and the left Visarga the Female, Prakriti or Sah making Hie combined Hangsah. Hangsah is the union of Prakriti and Purusha and the universe is Hangsah. In however the Ms. on which my edition of that Tantra is based (Tantrik Texts, VoL III) it is said that the Bindu (Para) divided by Kala becomes threefold as Bindu, N4da, Bija. Substantially the matter seems one of nomenclature, for the two Bindus which make Visarga become three by the addition of the Shiva Bindu. Moreover as Hang is Shiva and Sah is Shakti, the combined Hangsah implies the relation which in the Sh&rada account is called N4da. So it is aLo said from the first vowel issued " Hrim." from the second Hangsah, and from the third the Mantra "Hrim, Shrlm Klim," the first indicative of general form ; the second being a more Stlidla form of Akasha and Agni (Sba^»

AkAsha ; Ra=Agni) held as ii were within the " skin ” (Charraa) of the enveloping ArdhanArlshvara : the third commencing with the first and last letters including all the 24 Tattvas and all the fifty letters into which the general Form particularises itself.

Parabindu is Shiva-Shakti considered as undivided, undifferentiated principles. On the " bursting " of the seed which is the Parabindu the latter assumes a threefold aspect as Shiva or Bindu. Shakti or Bija and N&da the Shiva-Shakti aspect which, considered as the result, is the combination, and from the point of view of cause, the inter-relation of the two (SharadA 1 . 9) the one acting as excitant (Kshobhaka) and the other being the excited (Kshobhya). The commentary on V. 40 of the Shatchakranirupana speaks of Nada as the union of Shiva and Shakti ; as the connection between the two and as being in the nature of the Shakti of action (KriyAshaktisvarfipa) It is also said to be that, the substance of which is Kundali ( KundalinLmaya) . All three are but different phases of Shakti in creation (Comrn. 1 . 39) being different aspects of Parabindu which is itself the Ghanavastha aspect of Shakti,

Thus in the first division of Shakti, NAda, Bindu, NAda is the Maithuna or Yoga of Shiva and Shakti to produce the Parabindu which again differentiates into threefold aspects as the Shaktis, though in grosser form, wliich produced it. Though the Gunas are factors of the gross Shakti Prakriti, they are in subtle form contained within the higher Shaktis. This Shakti as the first potentially kinetic aspect about to display itself is the Chit aspect of Shakti and Chit Shakti is, when seen from the lower level of the Gunas, Sattvik ; NAda is in the same sense Rajasik, for Shakti becomes more and more kinetic gathering together Its powers, as it were from the previous state of barely stirring potency, for the state of complete

readiness to create which is Bindu, and which in the aforesaid sense as Ghanibhffta foreshadows that Tamas Guna which at a lower stage is the chief factor which creates the world, ior the latter is largely the product of Tamas. Each aspect of the Tribindu again is associated with one or other of the Gunas. These divisions of aspect from the Guna stand-point are not to be understood as thogh they were separate and exclusively concerned with only one of the Gunas. The Gunas themselves never exist separately. Where there is Sattva there is also Rajas and Tamas. In the same way in the case of the three Shaktis IchchhA, Jnana, Kriya, from which the Gunas develop, one never stands by itself, though it may be predominant. Where there is Ichchh& there is Jn&na and so forth. And so again Shakti, Nftda and Bindu are not to be severed like different objects in the MAyik world. In each there is implicitly or explicitly contained the other. Parameshvara assumes (for the Jiva) successively the triple aspects of Shakti. Nfida Bindu, Karyya Bindu, Bija, Nada, thus completing by this differentiation of Shakti the sevenfold causal soundforms of the Pranava or OngkSra ; namely. Sakala Parameshvara (which is Sachchidananda, for even when the Brahman is associated with Avidya its own true nature (Svarflpa) is not affected.) Shakri (Shakti Tattva) Nada (SadSkhya Tattva) Parabindu (Ishvara Tattva) Bindu (Karyya) Nada and Bija. It is not clear to me where (if at all) the Shuddhavidya Tattva comes in acording to this scheme, unless it be involved in Nada the Mithahsamav&ya ; but the Purnsha-Prakriti Tattvas appear to take birth on the division of the Parabindu into Shiva and Shakti or Hang and Sah ; Hangsah being the Purusha-Prakriti Mantra.

The first impulse to creation comes from the ripening of the Adrishta of Jivas, on which Sakala Parameshvara

puts forth His Shakti (which means Himself as Shakti) to produce the Universe wherein the fruits of Karma may be suffered and enjoyed. All the above seven stages are included in, and constitute, the first stage of Ikshana or "Seeing’' and is that stage in which Shabda exists in its supreme or Para form (Parashabdasrishti). She who is eternal (An&dirflp&) existing subtly as Chidrfipini in MahSpralaya becomes on the ripening of Adrishta inclined (Utsuka) towards the life of form and enjoyment, and reveals Herself on the disturbance of the equilibrium of the Gunas. As the V&yavtya Samhita says " Parft Shakti through the will of Shiva is revealed with Shiva Tattva (for the purpose of creation). Then She manifests as the oil which is latent in, and exudes from, the sesamum seed." Paiameshvara is Saguna Shiva or the Ishvara of Vedanta Philosophy with Maya as His Upadlu. He is Sat, Chit, Ananda in Miyfl body and endowed with all Shaktis (Sarvavedintasidd&ntas&rasangraha 312. 313, 315). There is, as the Pandiadash! says. (3-38 ), a Shakti of Shiva which is in and controls all things which have their origin in Ananda or Ishvara. When Ishvara is moved to create, this Ishvara-shakti or M&y& which is the aggregate of, and which yet transcends, all individual Shaktis issues from Him and from this May& issue all the particular Shaktis by which the universe is evolved and is maintained. The same substance is, to a large extent, to be found in all accounts under a variety of presentment or Symbols ; even where there are real differences due to the diversity of doctrine of different VedSntic schools. This is not the case here : for the account given is a S 4 dhan& presentment of Advaitav&da. The Shakta Tantra teaches the unity of Param&tma and Jiva, though its presentation of some subjects as Shakti, Maya, Chiddbh&sa is different (owing to its practical view point) from Shangkara’s May 4 vida. On this matter I

may refer my readers to the article which I recently wrote on Shakti and M&yfl in the second number of the Indian Philosophical Review (Baroda) since incorporated in the second Edition of my "Shakti and Shdkta"

The three Hindus constitute the great Triangle of World-Desire which is the K&makala ; an intricate subject which I must leave for a future chapter. The three Bind us are Sun, Moon and Fire and the three Shaktis Ichchhft, Jnfina, Kriya associated with the three Gunas Sattva, Rajas, Tamas. I do not here deal with the order or correspondence which requires discussion. From them issued the Dens Raudri, Jyeshtha, VamA and the Trimurti Rudra, Brahma, Vishnu.

The three Bindus are also known as the wh ite Bindu (Sitabindu), the red Bindu (Shonabindu) and die mixed Bindu (Mishrabindu). These represent the Prakasba, Vitnarsha and PrakSsha-Vimarsha aspects of the Bra liman which are called in the ritual Charanatritaya (The Three Feet). The Gurup&duka Mantra in which initiation is given in the last or ShadamnSya DikshS represents a state beyond the Shukla, Rakta and Mishra Charanas. So it is said in Shruti that there are four Brahma pada, three here and one the Supreme which is beyond.

As is the case in many other systems the One for the purpose of creation is presented in twofold aspect, for Unity is actionless, and their relation involves a third aspects which makes the Trinity. But this apparent differentiation does not derogate from the substantial unity of the Brahman. As the ancient Rudrayfimala (II. 22) says : “ The three Devas Brahma, Vishnu. Mahcshvara are but one and formed out of My body.” EkA mtirtis trayo devd brahmavisknumakeskvar&h Mama vigrahasangklipfAh srijaty avali hanli cha From the differentiating Bindu arc evo lved the Tattvas from Buddhi to Prithivl and the six Lords of

ihe Tattvas (preceding from Parashiva the seventh) who are the presiding DevatSs of mind and of the five forms of matter. Here on the diremption or dichotomy of Consciousness, Mind and Matter are produc ed. That is, Consciousness functions in and through the self-created limitations of mind and matter. It was on this division also that there arose the Cosmic Sound (Shabdabrahman) which manifests as Shabda and Artha. This is the Shabda-brahtnan ; so called by those who know the Agamas.

Bhidycmanat pardd bindar avyaktdtnui ravo'bluaat, Shabdabrahmeti tang prdhuh sarvtiga muvish&raddh

(Sharadd-T ilaka I- U)

It will be observed that in this verse the first Bindu is called Para and to make this dear the author of the PrSnatoshinf adds the following note : " By Parabinduis meant the first Bindu which is a state of Shakti ( Parddbin - dority anena shaklyavasthurupo yah prathamabindus tasm&t). Shabda-brahnian is the Brahman in Its aspect as the immediate undifferentiated Cause of the manifested and differentiated Shabda, or language in prose or verse ; and of Artha or the subtle or gross objects which thought and language denote. It is thus the causal state of the manifested Shabda or Mantra.

CHAPTER XIV

MAY A TATTVA

What Matter is in itself the senses do not tell us. All that can be predicated of it is its effect upon these senses. The expcriencer is affected in five different ways giving rise in him to the sensations of hearing (Shabda) ; feel by which is experienced the thermal quality of things (Sparsha) ; colour anil form (Kupa) ; taste (Kasa) ; and smell (Gandha). The cause of these are the five Bhutas which, in the general cosmic evolution, arc derived from the Tanmatra or general elements of the particulars of sense perception. These again together with the senses (Indriya) or faculties of mind operating through a particular physical organ as their instrument and Manas the mental faculty of attention, selection and synthesis of the discrete manifold, derive from the still more ge neral aspects of the Cosmic Mind or Antahkarana which are the personal forms of limited experience respectively called Ahangkara and Buddhi. These again are evolutes from that form of Shakti which is Prakriti Tattva and which in the 36 Tattva scheme comes into being through the instrumentality of M&ya Shakti from the preceding Tattvas of the pure creation extending from Shuddhavidyd to Shivashakti-Tattva ; the Svarupa of the last being Sachchidananda or Pure spirit. Matter is thus a manifestation or aspect of Spirit. The two are ultimately one. They seem to be two because the fundamental Feeling (Chit) is able, as Shakti, to experience itself as object. As Professor Haeckel says, in conformity with Sh&kta Monism, Spirit and Matter are not two distinct entities but two forms or aspects of one single fundamental Substance (which is here the Brahman). The one

entity with dual aspect is the sole Reality which presents itself to view as the infinitely varied picture of the universe. The two are inseparably combined in every atom which, itself and its forces, possess the elements not only of vitality but of further development in all degrees of consciousness and will. The ultimate substance is Shakti, which is of dual aspect as Chit-Shakti which represents the spiritual, and Maya-Shakti which represents the material aspect. These are not separable. In the universe the former is the Spirit-matter and the latter Matter-spirit. The two exist in inseparable connection (Avin&bh&va-sambandha) as inseparable (to use a simile of the Shaiva ShSstra) as the winds of the heaven from the ether in which they blow. Manifested Shakti or MavA is the universe. Unmanifest Shakti is feeling-consciousncss (ChidrflpA). MiyS-Shakti appears as subtle mind and as gross matter and as the life-force and is in Herself (SvarQpa) consciousness. There is and can be nothing absolutely lifeless or unconscious because Shakti is in itself Being — Feeling — Consciousness — Bliss (ChidiGpini. Anandamayi) beyond all worlds (VishvottirnG) ; and appears as apparently unconscious, or partly conscious and partly unconscious, material forms in the universe (Vishvatmaka). The universe is Shakti. Therefore it is commingled Spirit-Matter. Shakti beyond all worlds is Consciousness. The one Consciousness exists throughout ; when changeless it receives the name of Shiva ; when the source of, and as all moving objects it is called Shakti.

The universe arises through a Negation or Veiling of true Consciousness. As the SpaodakfirikA says " By veiling the own true form its Shaktis ever arise " (Svanipuvatane ch&sya shaklayah saialolthiUxh ) . This is a common doctrine of the three schools here discussed. The difference lies in this, that in S&ngkhya it is a second

mAya tattva

independent principle (Prakriti) which veils ; in M&yav&da Vedanta it is the non-Brahman unexplainable mystery (Maya) which veils, and in Sh&kta Advaitavada it is Consciousness which, without ceasing to be such, yet veils itself. This statement shortly describes the difference in the three concepts which may however be more fully elaborated.

The Mah&nirv&na Tantra says that the Vakya " All this verily is Brahman " khalvidam Brahma)

is the basis of Kulachara. But Brahman is Consciousness ; and it cannot be denied that there is an element of apparent unconsciousness in things. Sangkhya says that this is due to another Principle independent of the Purusha-consdousness, namely, the unconscious Prakriti, which is real, notv. ithstanding its changes. But according to Advaitav&da Vedftnta there is only one Reality. It therefore denies the existence of any second independent principle. Shangkara attributes unconsciousness to the unexplainable (AnirvachaniyS) wonder (May5), which is neither real (Sat) nor unreal (Asat) nor partly real and partly unreal (Sadasat), and which though not fonning part of Brahman, and therefore not Brahman, is yet, though not a second reality, inscparatdy associated and sheltering with Brahman (Maya Brahmasritfi) in one of its aspects (Ishvara) ; owing what false appearance of reality it has to the Brahman with which it is so associated. It is an eternal falsity {MithydbhiUd santilani) unthinkable, alogical, unexplainable (A nirvachantyi). The reflection of Purusha on Prakriti gives the appearance of consciousness to the latter. So also the reflection (Chid3bli&sa) of Brahman on unconscious M&y& is ishvara and on unconscious AvidyA is Jiva. Though M&y& is thus not a second reality, the fact of positing it at all gives to Shangkara’s doctrine a tinge of dualism from which the Sh&kta doctrine (which has yet a wcak-

ness of its own) is free. The Shakta doctrine has no need of Chidabhaso. It says that Maya is a Shakti of Brahman and being Shakti. which is not different from the possessor of Shakti (Shaktiman), it is. in its Sraiup >/. consciousness. It is then consciousness which veils itself ; not unconscious Maya which veils consciousness. According to Shangkam, man is the Spirit (Atma) vestured in the Mftyik falsities of mind and matter. He accordingly can only establish the unity of Jiva and Ishvara by eliminating from the first Av'dyii and from the second Mava, both being essentially — and from the transcendent standpoint —nothing. Brahman ri thus left as common denominator. The Shakta lias need to eliminate nothing. Man's spirit or Atma is Shiva. His mind anil body are Shakti. Shiva and Shakti are one. Tin- Jivatmfi is Shiva-Shakti, the latter being understood as in it* worldaspect So is the Paramfttrt» 4 ; though here Shakti, being uncreating, is in the form of Consciousness (GhidrupiniL Tfvjsupreme Shiva-Shakti exists as one. Shiva-Shakti as the world is the Manifold. Man is thus not the Spirit covered by a non-Brahman falsity but Spirit covering itself with its own Power or Shakti. As the Kaulacharyya Sadftnanda says in his Commentary (which I have published) on the 4th Mantra of the Isha Upauishad — " The changeless Brahman which is consciousness appears in creation as Mav& which is Brahman (Brahmamayi) Consciousness (Chidrupini) holding in Herse!' unbeginning •; AnAdi) K.'irniik tendencies (Karmasangskara) in the form of the three Gunas. Hence She is Gunamayi (Her substance is Guna) despite being Chinmayi (Consciousness). As there is no second principle these Gunas are Chit-Shakti." Hence, in the words of the Yoginihridaya Tantra, the Devi is Praktishavimarshasfanarasytir&pittf There i« Min> *ni|\r no unconscious and no rmda be- \ii . 11. -xistsis Con-

MAYA TATTY A

sciousness as Shakti. "Aharn sin " as the Advaitabhava Upanishad exclaims. And so flic grand doctrine " AH is Consciousness ” is boldly and vigorously affirmed. Those who worship the Mother, worship nothing unconscious but a Supreme Consciousness which is Love, the body of which Love is all forms ol consciousnuss-unconsciousness produced by, and which is. Hera* Shiva’s Power. In shoit Sangkara says that there is unconsciousness which appears to be conscious through Chid4bhasa. ShSkta doctrine says Consciousness appears to be unconsciousness or more truly to have an element of unconsciousness in it (for nothing even empirically is absolutely unconscious) owing to the veiling play of Consciousness itself as Mayd-Shakti. The result is in the end the same—" All is Cored ousness ’’—but the method by which this conclj.-ion is attained and the presentment of the matter is reversed.

This presentment again is in conformity with scientific research which has shown that even so-called " brute matter ” exhibits the elements of that sentiency which, when evolved in man, is the full self-consciousness. It has been well said that sentiency is an integrant constituent of all existence, physical as well as metaphysical, and its manifestation can be traced throughout the mineral and chemical as well as the vegetable and animal

to environment, response to stimuli and atomic memory in the lower or inorganic plane, whilst in the higher or organic plane it includes all the psychic functions such as consciousness, perception, thought, reason, volition and individual memory. Ihiuiighout it is the one Mother who works, now veiling Her Bliss in inorganic matter, now more fully revealing Ikrself by gradual stagesas the vilivity (which She is) displays iLsdl in the evolving forms ot worldly life. As Hieckel says, sen-

tiency is. like movement, found in all matter. To reach this conclusion we must assume (as the Shiva-Shakta schools do) that IvriyA and Ichchhfi, its preliminary, are functions of Consciouness. Abbinava Gupta in his Commentary on the PratyabhijnA K&rika says, " The characteristic of action is the manifestation of all objects. These objects again characterised by consciousnessunconsciousness are in the nature of a shining forth (AbhAsa).” The universe is thus described as a " going forth ” (Prasara) of Shiva.

The ultimate reality is Sachchidananda which, as the source of appearances, is called Shakti. The latter in its Sat (Being) aspect is omnipresent-indestructible (eternal) Source and Basis both of the Cosmic Breath or Prana as also of all vital phenomena displayed as the individual Prina in separate and concrete bodies. Shakti is Life which, in its phenomenal sense as manifested in individual bodies, issues from, and rests upon, and at basis is. Sat. In this aspect manifested Shakti is vitality which is the one fixed unalterable potential in the universe of which all other forms of energy are particular effects. Life is the phenomenal aspect of Spirit in which, as its Cause, it is at the great dissolution merged. There is no absolute end uf life but only to certain structures of life. As it had no end it has no absolute beginning. It appears only in creation from the depths of Being which is its unmanifested ground. The search for the "origin of life" is futile ; for it issues from Brahman who, in a supreme sense, is Infinite Life. Life is throughout the universe. Every atom of dust is quivering with it, as are the most sensitive organic structures. In the latter case it is obvious ; in the former it is not so, but is yet traced. The existence and functions of life cannot be explained on exclusively mechanical principles. What is called mechanical energy is the

MAYA tatty a

effect and not the cause of vitality or vitivitv or Shakti as the Mother of all. The purpose of evolution is to take up the living potential from some lower grade, develop it and hand it over to a higher grade of forms.

Shakti as Chidananda is, as IchchhA Shakti, the source of all forms of will-power and, in matter, of mechanical energy ; and as Jn&na Shakti, of all forms of mentality and feeling, and as KriyS, of all forms of activity (Kartritva), being in itself all-mighty.

The ultimate changeless Reality, in its aspect as Shakti, veils and contracts in various degree its power of will, knowledge and action. This veiling, negation, limitation or contraction is seen at its fullest in so-called “ dead inert brute " matter. This allegation of lifeless inertia is however the result of superficial observation. It is true that in gross matter (Bhfita) the light of consciousness is turned down to its utmost. It is nowhere however even empirically extinguished. Chit is faintly manifested by scientific experiment in gross matter ; more clearly in the micro-organisms between such matter and the vegetable world, in which, as in the animal world evolved from it, vitality is so obvious that we have been wont to call these alone " alive.” Sh&kta doctrine starts with the Full (POrna) and deals with the creation of tilings as a cutting down thereof. From a scientific point ol view we may commence with the world as it is, taking inorganic matter as the starting point. From such a standpoint we may speak (See ” Vedas vital molecule “ and ” Notes on the radical vitality of all concrete matter ” by G. Dubern) of a Radical Vital Potential in all mutter, universal, omnipresent, indestructible, all-powerful ; the source as will-power ol mechanical energy, and as rudimentary sentiency of all mentality. From the Shastric standpoint the process is one of veiling and unveiling. Shakti veils itself down to and in Pritihvl

Tattva of gross matter (BhQta) ; and thereafter gradually unveils Herself up to and in mail who in Samadhi realises his Svarupa as pure, unveiled, Consciousness.

This veiling by Shakti takes place first in Shiva- Shakti Tattva by the complete negation of the " I dam ” of experience ; and then through the action of the “Ham ' on the subjective aspect of the consciousness of the pure creation, in which subject aud object exist as part of the One Self ; and then through that form of Shakti which is May 4 which effects a severance of subject and object which are then experienced no longer as part of the one Self but as separate. The point of junction between Pure and Impure experience is the Tattva variously called Vidya Sadvidya, or Shuddhavidyil, the first truly realistic stage of the Yogi. Because it is in the intermediate state, it is called Parapara-dashS (Isli. Prat. HI. 1-5) and, as the Svachchhanda Tantra (IV, 95) says, the “ Experience in the form of Mantra of both difference and non-difference.’’ After this Tattva, Mfiya intervenes.

In the Tattva Sandoha (v. 5) it is said, “Maya is the sense of difference (Bhedabuddhi) in all Jivas which are parts ol Her. Just ns the shore holds in the sea, so She ever obstructs the manifestation (Vibhava) of Atm 4 which but lor Her is otherwise unobstructed.”

May a vibheda-buddhir nijdngsha-jdteshu nihhilajiveshu, Niiyani Casya nirankushavibhavam ve leva vdridhe rundhe.

So also in the ish vara-Pratyabhij n 4 it is said, "That which is nothing but the notion of difference (Bhcda-dhi) in tilings entertained by the Doer (KaitS), though in Himself of the nature of consciousness, is Maya-Shakti, whom others, as in the case of Vidyeshvaras, call Vidya". Bhcdadhir ev a bhdveshu kartur bodhdlmano ’ pi yd,

Mdyd shaklycvu sd vidyetyanye vidyeshvard yalhd.

mAyA tattva

" She is Vidyii Shakti when She reveals in the Pashu state of the Alma whose true nature is Lordship (Aishvarya), but when She veils (Tirodhanakari) then She is called Maya ”

T asyaiskvaryasvabhdvasya pashu-bhdve prohUhihd,

V idy&shaklis tirodb&nakafi mdydbhidhd fmnah. (ib. 7) Shiva has two functions namely Tirodh&na, that by which He veils Himself to His worshipper, and Anugraha whereby He, through His grace . reveals Himself by the " descent of Shakti " or grace (Shaktipata). She is both Madhumati '’Honey” and Maya {T alitA-sahasrambna, v. 139). She is that saving (Taraka) knowledge by which the ocean of the Sangsftra is crossed. The Chitkali or Angsha of the great Consciousness enveloped by mind and matter is the Shakti which, as the Padma Purina says, resides as the core of the “ inner working ’’ of all Jlvas and the Anandakalikd or Germ of Bliss therein ; She again as the Lalit&sahasranSma says (v. 142J is basis of the false fin the sense of impermanent) universe ( Milky d jagadadhislhdnd ) created by, and which is, Her M4yd, the power of the Lord (Shandilya Sutra, 80) which obscures and which, as the Shakta Devi Purina says, is called Miya, because it is the marvellous instrument whereby unheared of results are produced like those of dreams or Magic. She is in all systems, whether as Prakriti, M4y4 or M4yA-shakti, the /utilising principle whereby forms are created in the formless Consciousness. This She effects by causing that duality of feeling of the self and not-self in the grand experience which is MaMsatti. Under Her influence the Self experiences Itself as object in all the forms of the universe, which when completed is objectively seen as an evolution from Prakriti Tattva. that state of Shakti which is evolved by the action of M4y& and the five Kanchukas developed from Her. These are specific aspects of the great general limiting Power

(Shakti) which Maya is. With this Prakriti is associated Purusha Tattva, the two combined being Hangsa. Purusha Tattva is Atma enveloped by the Kanchukas derived from Maya and specific aspects of its operation. Shakti as Prakriti, subject to the influence of the Kanchukas. develops on the dis-cquilihrium of Her Gunas from Herself, as Virkritis, the impure Tattvas (Ashuddha Tattva) extending to Prithivt. At this point conscious vital energy materialises, forming what has been called by the author cited "the crust of the vital molecule” of all forms of solid matter. Subjectively therefore the MSya process is the establishment ol a dichotomy of subject and object in what would otherwise be an unitary exper ience ; and objectively it is the creation of the various psychical and physical forms into which the Universal Substance projects ; becoming in the course of such emanation more and more gross. Bindu as the Mantra designation of Ishvara Tattva is Ghanibhfita : that is, the first Ghanava-stha aspect of Shakti becoming (through MayS) Prakriti Tattva and its evolutes which are more and more gross (Sthiila) ; until passing the first four states of decreasing subtlety of matter. Substance emer ges as the solid atoms of matter of which the physical universe is composed. These compounds being the subject of the senses arc the materials of physical science which seeks to work the process backwards. At a point, search on the path of objectivity is closed. If it would know more, the mind must turn in on itself and release itself from all objectivity which Maya is and fall back into that ground of Consciousness (Mayatita) whence it has emerged. From the Mantra aspect dealing with the origin of language the undifferentiated Shabda which arises on the differentiation of the Bindu into Purusha-Prakriti or Hangsa develops, with the creation of mind and matter, into the manifested Shabda and

MAYA tattva

Artha which ate the Varnas or letters (springing Irom the subtle M4trikds) expressed in Vaikhar! speech made up of letters (VarnaJ syllables (l’ada) and sentences (V&kya or the uttered Mantra). Mantra again is the thought (Man) which saves (Tra, Truyale ) : Saves from what ? From firstly the evil which man. subject to MayA, commits ; and then, by the thorough purification of the mind (Chittashuddhi), from M4y2 Herself who is transformed in the Sadhaka into Vidya Shakti. Mantra is thus here a pure thought-form ; a pure Vritti or modification of the Antahkarana which is Devati. The senses and mind are also Devatis being operations of the one Divine Shakti. Through Mantra the mind is divinely transformed. Contemplating, filled by, and identified with, Divinity in Mantra form, which is a StliQla (gross) aspect of Devi, it passes into Her subtle (Sukshma) Light form (Jyotirmayi Devi) which is the Consciousness beyond the world of Mayik forms ; the Ishvara and Ishvari who as Shabda-brahman are the source of. and appear as, that M&ya which is the Crcatrix both of the objective world of Mind and Matter and of the manifested Shabda and Artha ; the Word and its Meaning derived from the Mother in Her aspect as Supreme Nftda (Paranada) and Supreme Speech (Para vak).

CHAPTER XV

The six Kanchukas including Maya which may be regarded as the root of the other five are Kala, Niyati, Raga, Vidyi, Kala. The term Kanchuka means sheath or envelope. The same Tattvas are also called contractions (Sangkocha), for creation is the contracted (SangkuchadrOpi) form of infinite Shakti. It is to be observed that MlyA, Niyati and K41a, occupy in the philosophy of the Pancharatra Agarna the very place which is held in the Shaiva-Shakta system by the Kanchukas (See as to this Dr. Otto Schrader's Ahirbudhnya Samhitd 63, 64, 90). The author cited opines that tire six Kanchukas are only an elaboration of the older doctrine of the three powers of limitation (Sangkocha) of the Panchar&tra which arc MAyA, KAla, Niyati. The same idea is expressed by these two terms, namely limitations by whidh the Atma, in its form as the finite experiencer, is deprived of the specific attributes which It, as the Perfect Experience, possessed. Consciousness reaching forth to the World of enjoyment becomes subject to the Kanchukas and thus becomes the impure, finite worldly experience where subject and object are completely different ; which experience is, as it were, the inversion by the contraction and negation of Shakti of the perfect Experience from whose Shiva-Shakti-Tattva aspect it proceeds. Infinite Consciousness whilst still transcendentally retaining its Svanipa is, as Shakti, narrowed to the degree which constitutes our experience on the material plane. The process may be represented in Diagram by an inverted triangle representing the Yoni or Shakti, in the form of the Pure Tattvas, resting

THF. KANCHUKAS

on the point of ait upright triangle. The point of intersection is M&yfi from which proceeds the second triangle representing the impure Tattvas, which constitute worldly experience. Seen in the waters of Maya all is reversed. Through the operation of Maya and the Kar.chukas, Shakti assumes the gross contracted form of Prakriti Tattva which in association with Purusha Tattva is Hangsa. Shiva and Shakti are the Rird Hangsa. Hangsa is both male (Pung or Purusha) and female (Prakriti). Hang is Shiva and Sail is Shakti. This Hangsa-dvandva are in their gross form the universe {Pung-prakrityattmko hangsas taddtmakam tdum jagal), Purusha is the Atma enveloped by the Kanchukas which arc the contractions of Consciousness and Its Powers. Maya is the root and cause of all limitations of the powers (Vibhava) of consciousness (Atma) : for Maya is the sense of difference (Bhedabuddhi) between all persons and things. Each Purusha, (and they are innumerable) being, as the Svachchhanda Tantra says, an universe of his own. Each Purusha creates under Maya his or its own universe. The Kanchukas are thus the delimitations of the Supreme in Its form as Shakti. It was Eternity (Nityatft) but is now orderly delimitation (Parichchheda) productive of appearance and disappearance (that is life and death). This is the operation of the Time-power or Kala which is defined as follows in the Tattva-Sandoha (V. n) "That Shakti of His which is Eternity (Nityata) descending and producing appearance and disappearance (birth and death) ; and which ever in regulated manner performs the function of division or delimitation (Parichchheda) should be regarded as in the form of Kala Tattva,"

Si i nityat&'sya shakti > nikrishya k id ha nodayapradd new, Niyataparichckhcdakari hlipta syat K&la-tattva-r&pena K&la is the power which urges on and matures things.

It is not in itself subjective or empirical time, though it gives rise to it. It is transcendental Time without sections (Akhanda Kala) -giving birth to time as effect (K&ryyakfila). This gross time with parts (Sakala K&la) only coincs in with the creation of the gross Tattvas. So it is said “Time leads me in time" (See Ahirbudlmya 64-67. See also the same Author's Ueber den stand der Indischen Philosophic zur zeit MahSvIras und Buddhas 17-30). Consciousness as Shakti is contracted into the mode of temporal thinking. It was freedom and independence (Svatantrata). This is now contracted and the Purusha is forcibly subjected to guidance and regulation in what he must or must not do in any moment of time. This is Niyati. which is defined in the Tattva Sandoha (v. 12) as follows : — "That which constitutes that Shakti of His which is called Independence or Freedom (Svatantrata) ; this same Shakti, and none other, becoming contracted and subjecting Him perforce to guidance and regulation (Niyamayantl) in a definitely ordered and restricted manner (Niyatam) as regards what is to be done or not done (thatis, what he must not do at any given moment of time) is Niyati."

Yasya svatantratakhya shaktih sangkochash&lini saiva,

K r ityakrityeshvavasha tig niyatam a mum niyamayan-

lyabhitn Niyatih.

Niyati is spoken of in the Pancharfitra Agama as the subtle regulator of everything (Sfikshma-sarva-niyS- makah. Ahirbudhnya VI. 46) and is said by Dr. Schrader (1 op-cit 64, 65) to include in that system the functions of the three Shaiva-Sh&kta Kanchukas Vidyi, K&ga and Kala (Ahirbudhnya S. 64-65). It was completely satisfied with Itself for there was then no other. It was the Full (Pflrna), and there was nothing else for it to interest Itself in and thus want. This Shakti, becoming limited, makes the Purusha interested in objects and thus

attaches them to enjoyment. This is Raga which is defined in the Tattva Sandolia (v. to) as follows

"There is another Shakti of His which is eternal complete satisfaction ; the same becoming limited and attaching him ever to enjoyment, this Shakti is reduced to the condition of R&gatattva.”

NHya-paripdriuitripiih shaft! is tasyaiva par: mild ini salt, Bhogeshu ranjayanli salalam amum R&ga-lattvatdm y&td.

The Brahman is, as the Isha Upanishad says. Puma the Full, the All which wants nothing ; for there is nothing to the All which It can want. But when the one Experience becomes dual, and, subject and object are separate, then the self as subject becomes interested in objects that Is in things other than itself. IchchltfL in the sense of desire implies a want of the fullness which is that of the Supreme perfect experience. In the supreme creative sense IchchhA is the direction of Consciousness towards activity. The term Raga is commonly translated desire. It is however properly that interest in objects which precedes desire. Raga is thus that interest in objects, seen as other than the self, which ripens into desire (IchchhS) for them. Such Ichchhft is thus a limitation of the all-satisfied fullness of the Supreme.

The power of the Supreme was to know or experience all things and so it is Sarvajnata. This is limited and the Purusha thereby becomes a "little knower.” This Kanchuka is called Vidya which is defined in the Tattva Sandoha (V. q) as follows : — "His power of all-knowingness becominglimited and capable of knowing only a few things and producing knowledge (of a limited character) is called Vidyfi by the wise of old”

Sarvajnatdsya shakiih parimitatanur alpa-vedyamdtrapard,

Jn&nam utpddayanli Vidyeii vigadyate budhair Adyaih

The supreme is all powerful .mighty to do all things (SarvakartritS). This power is contracted so that the Parasha can accomplish few things and becomes a "little doer," This is Kala which is defined in the Tatlva Sandoha (v. 8} as follows —

"That which was His power of all-doing-ness, the same being contracted and capable of accomplishing but a few things and reducing him to the state of a little doer is called Kal&."

TiU-sarvakarlrild si S s angkuchita katipayurtha-matra-para Kinchit-kartaram amum kalayanti kirtyate Kald ndttta.

Kala is thus nothing but Kartrittva or infinite activity, agency, and mightiness cut down to the limits of the Jtva's power : that is lowered to the possibilities of finite action.

Thus the Shaktis of the Supreme which are many become contracted. Consciousness thus limited in sixfold manner by its own Shakti is the Puruslia associated with Prakriti. Kali (in its more generic sense) is said in the Shaiva Tantrasara (Ahnika 8) to be "the cause of the manifestation of Vidyi and the root when She is operating on that Kartritva which is qualified by the qualifying conditions of littleness ; this limited power of agency having been itself the work of M&yi. Now the moment that Kali separates from herself what constitutes this qualifying aspect spoken of above as Kinchit (little) at that very moment there is the creation of the Prakriti-Tattva which is in the nature of a generality (Simanya-matra) unmarked by any specific form of object of enjoyment, such as happiness, sorrow and delusion ; and of which another name is the equalisation of -the Gunas. Thus the creation under the influence of the Kali-tattva of the limited cxperiencer (Bhoktri) that is of the Purusha and of the experienced (Bhogya) or Prakriti is quite simultaneous that is without any succes-

sion whatever in the process. Thus being simultaneous they are ever associated."

The eighth Ahnika of the Tantrasiira (the Shaiva and not the Shikta ritual work of KrishnSnanda Agamavagisha) says : — Thus it has been already shown that Kala is the cause of manifestation of Y'idy&and the rest (». e., the other four Kanchukas leaving out Mfty&) when She (Kali) is operating on that agency or doer-ness(Kartritva) which is qualilied (Visheshya) by the qualifying ( Visheshana) condition of littleness : this limited power of agency (Kmchitkartritva as opposed to Sarva-kartritva) having been itself the work of Maya. Now the moment that Kala separates from Herself that which constitutes this qualifying aspect ( Visheshana-bhaga) spoken of above as Kinclnt and is an object of knowledge and action, that verj’ moment there is the creation (Sarga) of the Prakriti- Tattva which is of the nature of a generality only (S&mS- nya-matra) unmarked by any specific forms of the enjoyable (Bhogya) such as happiness, sorrow, and delusion (which are therefore as yet undifferentiated) and of which another name is the equalisation of their Gunas (». e., of Sukha, Duhkha and Moha or of the Gunas of Her). Thusthe creation under the influence of the Kala Tattva of the Enjoycr (Bhoktri or limited experiencer) and Enjoyable (Bhogya or experienced) is quite simultaneous, that is without any succession whatever in the process and being simultaneous they are conjoined.

(Eiutm kinchil-karlritvant you mayakaryam, tatra hinchitlva-viskisklam yat kartritvam visheshyatn , tatra vydpriyamdtut kaid vidyddiprasavahetur iti nirupitam. Iddnfm visheshanabhdgo yah kinchid ityuklo jneyah kuryash cha tarn ydvat sd Kala sv&tmanak prithak kurule tdzad esha eva suk/ta-duhkha-inchdtmaka-bhagyavisheshdnusytitasya sdmdnya-mdtrasya tad-guna-samyd-para-

fulmnah prakriti-tallvasya sargah — Hi bhoklribltogya-yvgalasya s \amam eva kald-fallvdyatld srishtih.)

Again in the Tantrfdoka (Ahnika 9) it is said "So far it has been shown how Agency (Kartritva) which is always accompanied by the power to enjoy (Bhoktritva) is (to be found) in that qualified aspect (that is Kartritva) of the Tattva called Kal 4 which (aspect) is characterised by a limited agency (littledocrncss).’’

Here may be interposed a note of explanation. Kartritva is creative activity, ideation and formation as contrasted with a merely induced and passively accepted experience which is Jnatritva. Kartritva is the power ol modifying the Idam. The SSngkhyas say that the Purusha is BhoktS but not Karla. But the Shaiva- Shiktas hold that there is no Kartritva witout Bhoktritva. In Parasamvit there is the potential germ of (t) Jnatritva. (2) Bhoktritva, (3) Kartritva, held in undistinguishable unity In Shiva-Shakti Tattva the first exists and the second and third are, through Shakti, suppressed. In Sadakhya there are the first and the incipiency of the second and third ; and in ishvara Tattva all three are developed but as yet undifferentiated. The ishvara consciousness directed to the "Idam" produces equality of attention on "Aham" and "Idam" which is Sadvidyi Tattva whence arise M 4 yS and the Kanchukas evolving Purusha-Prakriti. Parasamvit is the pure changeless aspect of Chit. Ishvara is the fully risen creative consciousness wherein is the undiflerentiated Shakti which functions as Icbchh&, Jnana, KriyfL JnStrittva or Jn&na. Shakti in ishvara does not involve limited modification, for the whole universe as the Self is present to the Self. But in Purusha there is such modification : the Jn&tritva functioning through Buddhi, the Vrittis of which are expressions of the changing, limited, and partial

characteristics of the knowledge had through this instrument and its derivatives.

The citation continues, “But in what constitutes therein the part “Kinchit" as a qualifying aspect, Kal4 gives birth to the PradhSna which arises from that (Kinchit aspect) as a clear but general objectivity which is separate or distinct from (the Purusha)."

Evdm kal&khya-tattvasya kinchif-karlritva-lakshane,

V tshcshyabhdge kartritvam charchHam bhoklri-ptirvakam Visheshattalayd yo'tra kinchtd bh&gas-UuMhitam , Vedyam&tram sphulam bhinnam pradhunam siiyaU kala.

That is Kartritva is that aspect of Kali which is characterised by Kinchit -Kartritva. From the qualifying (Visheshana, that, is Kinchit) aspect Kala produces Prakriti which is distinct from Kala as Purusha. which Prakriti exists as a mere general objectivity which becomes particular when owing to disequilibrium in the Gunas the Vikritis are produced.

Again it is said (ibid) “Kala produces the Bhogya (Prakriti) and the Bhokta (Purusha) simultaneously by the notion of. or by seeking for, a distinction (that is by seeking to establish a difference between the two aspects in Herself, namely. Kartritva and Kinchit ; by working on Kartritva alone.) (yet), the Bhokta and Bhogya are inseparate from one another. And because what is thus the barest objectivity (Samvedya-matra) is known (or experienced ) later as [or in the form of, happiness (Sukha) Sorrow (Duhkha) and delusion (Viraoha) it is therefore called the equalisation of these (three) in the beginning." (Satnameva hi bhogyang cha bhokldrang cha pras&yale kali bhsd&bhhandhandd aviyuktam parasparam. Evam samvedyamdlram yai sukiiaduhkha-i'imohatah, bhotsyate yat tatah proklam /alsdmydlmakam Mil ah).

When M4y& Sliakti first severs the “Aham" and "Idam" this latter is still experienced as an unlimited

whole. The next step is that in which the whole is limited and broken up into parts, for our experience is not of an allpervading homogeneous whole but of a heterogeneous universe. Kali, as a development of Mdy& Shakti, belittles the Purusha's liitherto unlimited Agency which thus becomes Kinchit-Kartritva. Agency which exists both as to the Knowable (Jncya) and object of action (K&ryva) has two aspects, namely the qualified power of action (Visheshya-Kartritva) on the part of the Purusha and the object or "little” in respect of which Kartritva operates, namely the “little” or universe (Kinchit or Visheshana) which is the "Idam" as viewed by Purusha after the operation of Kald Shakti. Kal& operates on agency (Kartritva) and not on the "this” which is by such operation necessarily Kinchit. For i f the power and experience of the Self is limited, the object is experienced as limited : for the object is nothing but the Self as object. In oilier words the production of Purusha is a positive operation of Kala whereas the production of Prakriti is a negative operation due to the limitation of the Purusha which, as so limited, experiences the universe as Kinchit. Prakriti is thus nothing but the object of Kartritva as it exists when the latter has been whittled down by Kali. Purusha and Prakriti thus both emerge as the result of the action by Kali on the Purusha. For this reason Purusha and Prakriti are simultaneously produced and arc also inseparable.

The following chapters deal with Purusha and Prakriti or Hangsa ; the K&makala or three Bindus arising on the differentiation of the Parabindu which differentiation witnesses the birtli of the Hangsa ; and then with the creation of the impure Tattvas (Ashuddha-Tattva) from Prakriti and the Vamamili or the Garland or Rosary of Letters, the evolution of which denotes the origin of speech and of Mantra.

CHAPTER XVI

Hangsa is I’urusha-Prakriti Tattva. Hang is "Male” or Shiva ; Sah is "Female” and Shakti. Shiva-Shakti are therefore Hangsa which combined mean the "Bird” Hangsa, the material shape of which is variously said to be that of the goose, flamingo, brShmini duck and rightly by others to be legendary. The universe is made of, and informed by this Hangsa Pair (Hangsadvandva) who are Purusha and l’rakriii and in all the latter’s varied forms (Pirngfitakrityti/iiuiko hangsas iadalmakdm idtwi jagat). Of these the Anandalahart says (39) "In Thy An&hata Lotus F salute the Wondrous Pair who are Hang and Sah, swimming in the mind of the Great who ever delight in the honey of the blooming lotus of knowledge.” That is, they manifest in the mind of the Great delighting in the honey of Consciousness. This Hangsah reversed is the Vedintic "So'ham" of which the Satnmohana Tantra (Ch. VIII) says “Hakara is one wing. Sak&ra is the other. When stripped of both wings then Tara is KJimakalft.” Jiva is Hangsa. The same Tantra says that the Sfidhaka of Tar& is the Lord of both Khdi and Hadi Mata. The Hangsat&rS Mahavidya is the sovereign mistress of Yoga whom the K 4 dis call Kali, the Hadis Shrisundari and the Ka-H&dis llangsah.

The Jn&namava Tantra (xxi-22) speaking of the Chitkunda as the Mandala in the Mtil&dhara w-here Homa is done, defines as follows the four Atmas, viz, ParamatmS, Antaratma, Jnanatma and AtmS which form the Chitkunda and by the knowledge whereof there is no rebirth. Atm&is Pranarupi that is theAtma which is in all beings as their Prfuia. It is Hangsa-SvarQpi

or Jlv&tm& manifested by outer and inner breathing (Shvflsa, Uchchhv&sa). It is compared to the ether in a pot, which the potter's wheel separates from the surrounding Akasha but from which there is no distinction when the pot is broken. The individual brealh is the Cosmic Breath from which it seems to be different b.v the forms which the latter vitalises. Jn&n&tmi is S&kshats4kshi-rupaka. It is that which witnesses all and by which the unity of all is known. It is reflected in Buddhi and the rest, and is yet in its own form distinguishable therefrom, just as the rays of the moon are reflected on water and seem to be. and are yet not, one with it. It is thus the substratum of Buddhi and of all the subjective or mental Tattvas derivable therefrom.

By "Antar" in the term AntaratmS is meant the subtle (Rahasya-sdkshmarQpaka) Atma which pervades all things ; the spark of ParamatmS which indwells all bodies (Antargata). It is the Hangsa known only by Yogis. Its beak is Tara (Pranava or “Om” Mantra). Nigama and Agama are its two wings. Shiva and Shakti its two feet. The three Bindus are its three eyes. This is the Paramahangsa ; that is Hangsa in its supreme

aspect as the Consciousness-ground of the manifested Hangsa or Jiva. When this Paramahangsa is spread (Vy&pta), that is, displayed, then all forms of matter (BhQta), viz, Ak&sha, Pavana and the rest spring up in their order. Of these five the root is Chitta. This Hangsa disports itself in the World-lotus sprung from the Mud

of Delusion (Mohapangka) in the Lake of Ignorance (Avidya). When this Hangsa becomes unworldly (Nishprapanclia) and in dissolving from (Sangliararfipi) then it makes visible the Atmfi or Self (Atmdnam pradarshayd). Then its "Birdncss” (Pakshitva) disappears and the So ’ham Atm& is established. "Know this" says

the Jn&narnava "to be the Paramatm&."

Purusha is Atmfl subject to M&yfi Shakti and the other limiting Shaktis called the Ivanchukas. Prakriti is that state of Shakti which arises as the result of the collective operation of Mftya and the Kanchukas ; a transformation of Shakti existing as a homogeneity and general objectivity which develops of its own power, which is the summation of the Shaktis producing it, into the heterogeneous universe. The- Purusha- Prakriti Tattvas arise as a bifurcation in Consciousness on the differentiation of the Parabindu into the three Hindus which form the Kamakalft, which again may be pictured as the triangular base of the pyramidal (Shringitaka) figure in the Shri-Yantra at whose apex is the Baindava Chakra and Parabindu. The three Bindus represent die Shiva aspect and the Shakti aspect of the one Consciousness, and the third the mutual relation or Shiva-Shakti aspect of the two. From this differentiation arises in the Mantra line of creation Parashadba and manifested Shabda and Artha ; in the Tattva line Buddhi and the rest : and in the line of the Lords of the Tattvas (TattVesha) Shambhu and the rest. In its most general and philosophical sense Purusha- Prakriti represent that stage in the evolving Consciousness (Shakti) in which, after passing from the mere 1-experience [Ahamprafyayavitnarsha), and the "I-tlils" or "Aham-Idam.” experience, in which the object or Idam is still experienced as part of the self (the completed type of such experiencer being tshvara). Consciousness emerges as the experience of duality in which the object is seen as outside of, and separate from, the self This however is a state of mere general objectivity. The final state has yet to be described when undifferentiated objectivity and supreme Sound (Parashabda) evolve, the first into the differentiated objects of the universe (Ashuddha Tattva) and the second into the differentiated word (Shadba) and its meaning (Artha) which is the

birth of Mantra consisting of letters (Varna), syllables (Pada) and sentences (Vakya). With the differentiation of Prakriti appear multitudinous Purushas of varying experience, each living in an universe of its own.

Purusba is not merely confined to man but is applicable to every J!va who is the Enjoyer (Bhokt&) or Purusha of the enjoyable (Bhogya) or Prakriti. Puruslia again is not limited to the organic life of animals and plants or the micro-organisms which hover between organic and inorganic matter. The term includes the latter also. For whatever may be the popular signification of the term Jlva as living organic bodies, in its philosophical sense all is Jivatmfi which is not Paramatma. And in this, modern science bears out the notions here described. The former arbitrary partitions made between the living and non-living are being broken down. We may for practical purposes call that "living" which obviously displays certain characteristic^ which we call “life" such as the so-called vital phenomena manifested by plants, animals and men. But the life and consciousness displayed in organic bodies is not something wholly new which had no place in the inorganic material of which they are composed. All such vital phenomena exist in subdued or potential form in every kind of matter which contains the potentiality of all life. Life as >ve know it is the phenomenal aspect of Being-Itselt (Sat). Feeling -Consciousness as we know it is the limited manifestation (manifestation being limitation) of the undifferentiated Feeling-Consciousness which is Chit, Sat and Ananda. All which is manifested exists potentially in its ground. Each of such manifestations is such ground (Bhfiini) veiled in varying degrees ; now more, now less fully displaying the nature of Spirit, the source of all life, feeling, will, and consciousness. Superficial notions based on appearances have given

rise to the notion of "dead” matter But science has given new instruments for, and extended the range of, our observation and has shown that life and consciousness, though in a subdued or veiled form, exists throughout the universe. Vedanta in its Shakta version says that all forms are the operation of Consciousness as M&yS-Shakti. As the ancient Upanisliad says and modern so-called "New thought" repeats "What one thinks that one becomes." All recognise this principle to a certain point. If man thinks inhuman thoughts he dehumanises himself. Vedinta carries the application of this principle to its logical condition and affirms tiiat not only docs thought o pet ate modifications in and within the limits of particulai types or species, but actually evolves such and all other types through the cosmic or collective Thought of which the universe is a material expression. Thus every unit or atom of matter is a Puruslia identifying itself with the solid (Parthiva) "crust" of matter, which is the gross expression on the sensual plane of more subtle forces emanating from that Ground Substance, which is the source both of the experiencing subject and the object experienced, ff the operation of gross matter gives the appearance of rigid mechanism, this does not imply that such operation is wholly unconscious and lifeless, but that life and consciousness are veiled by the Tamas Guna of Prakriti in which Kala, Niyati and other Kanchukas are operating to theii fullest extent. But however intense may be their operation, life and consciousness can never' be destroyed, for being Shakti Herself they are indestructible, Thus every molecule of mineral substance is a Purusha or Consciousness identifying itself with matter in its solid and apparently unconscious inert state. For Consciousness becomes that with which it identifies itself. When it completely identifies itself with mineral matter it becomes that

matter. What we think that we become. Nothing however is absolutely unconscious or inert. Every single atom in the universe is in constant movement and hence the world is called Jagat oi that which moves. This scientific doctrine is in India an ancient inheritance. And so the Mantra runs “Hring. The Supreme Hangsa dwells in the brilliant Heaven." The word Hangsah is here said to be derived from the word Hanti which means Gati or motion. S&yana says that it is called Aditya because it is in perpetual motion.

The Tattva Sandoha (vv. 13, 14) says : —

‘She is considered to be Prakriti who is the collectivity of all the Shaktis, (Will. Knowledge and Action) who is the peaceiul, that is, quiescent (Shanta) Shakti of Him in contracted form (Samkuchadrupa) ; who is in the form of the equilibrium of Saliva, Rajas and Tamas Gunas which again are Will, Knowledge and Action gathered together (Sangkalita ) ; who is in the nature of general un particularised feeling (Chitta) which is in the form of the undifferentiated Buddhi (and otner Tattvas).’’

Ichchh&d i-tri-samasht ih shakti h shanta sy a sawkiichadriipd , SamkalitechchhMy&tmaka-saUvadika-$amya-r&p\ni tu sa/i Buddhyddi-samarasya-svariipachilfdlmika maid prakriiih "Hang” or the male (Puman) or Purusha is again in the same work (V.6) described as : —

“He who having by Her become of limited form with all His powers contracted is this Male (Puman or Purusha) like the sun which becoming red at eventide and His Power (of shining) contracted can scarce reveal Himself (by shining abroad)"

Sa laya parimilaintirlih samkuchita-samas UishakMr eshah pumin,

Raviriva sandhyA-raktah samhrita-shahtih svabh&sane py apatuh.

Again in the same work (v. 7 ) it is said : —

"His Shaktis are many consisting of complete Kartritva (power of action) and others, but on His becoming contracted (that is, limited) they also become contracted in the forms of Kala and the rest and make him thus manifest (as Purusha)”.

Sampurna-karlrilvddyd bahvyah sattlyasya shaklayas lasya,

Samkochal samkuchitdh kalddirupena rildhayauly evam.

Again in the fshvara-Pratyabhijn4 it is said

"He who is Expcricncer commencing with Shunya (Shivatattva) and the rest. He being clothed by the live Kanchukas, Kala and the rest, and becoming object to Himself, is then the Experiencer of objects as separate from Him".

Yash cha pramald shunyadih p tain eye vyalirekini

Afdtd sa meya/i san k&Miika-panchaka-vcshlitah .

(Ill-ii g).

That is, object is the Self appearing as such. He retains His own Self-hood and becomes at the same time the object of His own experience. May* is not something apart from Brahman, for it is Brahman who through Maya, an aspect of Brahman. Himself becomes His own object. In the first act of creation He commences to become His own object, but it is only when the subject as Purusha is clothed, that is limited, by the Kanchukas, that the latter sees objects as other than and outside Himself. At this stage duality is established and exfoliates m the Vikritis of Prakritis as the multiple experience of the World of Mind and Matter.

The Gunas of Prakriti are inadequately translated as “qualities", because the latter word involves some Substance of which they are the qualities. But Prakriti Shakti is, as Prakriti, the Gunas and nothing else, though

Her Svarfipa, as that ol all Shaktis, is Sat-Chit Ananda. The Gunas Sattva. Rajas, Tamas are properly factors or constituents of Prakriti. Of these it is commonly said that Tamas Guna is the veiling principle of Prakriti. This is so. But nevertheless it is to be remembered that all the factors of Prakriti in one way or another veil ; the difference being that whereas Sattva to some degree veils {for Sattva-guna is not as such the same as absolute Sat) it is in its highest degree of potency, that is, predominance, the least degree of veiling, and therefore it represents the tendency to unveil, that is, to reveal and manifest Being (Sat) and Consciousness {Chit) ; whereas Tamas is in its highest potency the greatest degree of veiling and therefore specifically represents the tendency to veil. Rajas is the operative power in both cases. In all bodies there are the three Gunas (for these cannot separately exist though one or other may predominate), and it is because of this and therefore of the presence of Sattva Guna in inorganic matter that it exhibits the rudiments of sentiency and consciousness. But in inorganic matter Tamas Guna prevails. As bodies evolve, the strength of the operaton of Tamas gradually diminishes and that of Sattva increases until in man it becomes predominant. The whole object of Sadhani is to increase Sattva Guna until, on man becoming wholly Sattvika, li is body passes from the state of predominant Sattva Guna into Sal Itself. These Gunas represent in the Jiva or Pashu the Ichchha, Kriya. Jndna and May 4 Shaktis of the. Lord. As regards M4y4, the Lord (Mayin), as the Kulamava Tantra says, wields and controls and is free of it ; Jiva is controlled by it. So the ishvara-Pratyabijnd (IV. i, 4) says, "Wliat are Jnana and Kriyh (on the part) of the Lord (Pati) in all beings and tilings (Bhavesliuj which (to Him) are really of the nature of His own body (or limbs) — it is these

HANGS A

two (that is Jnana and KriyA) and nothing else (eva) which together with Maya as the third are the Sattva, Rajas, and Tamas (Gunas in respect) of the Pashu".

Svdnga-rtipeshu bhdveshu palyurjn&uam kriyd cha yd,

Mdyd tritiyd Id eva pashoh satlvam rajas tamah,

Shiva-Shakti have threefold aspect as Ichchha, Jnana, KriyA, which are inseparably associated, just as the Gunas are, though, as in the latter case, one or other may be predominant. Of these again IchchhA and KriyA inay be considered together ; lor as resolve is directed te action it is the preliminary of it. IchchhA in the Shaiva ShAstra is described as state of wonder (Sir chamatkdrd Ichchhashaktih) in the Purusha. But KriyA considered (for the purpose of analysis only) as apart from Jnana is blind. For this reason KriyA has beeen associated with Tamas. It is very clearly explained by KshemarAja in his Tattva Sandoha (w. 53-15), that Ichchha or resolve to action becomes at a lower stage Rajas Guna, the principle of activity in Prakriti ; JnAna becomes Sattva or the principle of manifestation in the same ; and KriyA becomes Tamas Guna or the specific veiling principle of the same form of Shakti. He says, "His Will (Ichchha) assumed the form of Rajas and became Ahangkara which produces the notion of T (Aham). His knowledge (JnSna) likewise became Sattvarupa and Buddlu which is the determining form of experience. His KriyA being in the nature of Tamas and productive of Vikalpa (and Sangkalpa), i. e., rejection (and selection) is called Manas” {Iehchdsya rajo-r&pdhamkritir dsid aham-pratitikari jn&n&pi sattvardfd nirnayabodhasya k&ranam buddhih, Tasya kriyd lamomaya-mArlir mana uchyate vikalpakari ).

The evolution of these Tattvas (Ashuddha) is the subject of a future chapter. But before dealing with these it is necessary, in the creative order, to further

describe the K&makala in which the Hangsa arises and the Rosary or Garland of letters (Vamam&ia) which is the Mantra aspect of the Tattvika evolution.

CHAPTER XVII

In the previous chapters it has been shown that the Para bindu or Ishvara Tattva assumes in creation a threefold aspect as the three Bindus,— Bindu (KftryyaJ.Nada, Bija. These three Points constitute symbolically a Triangle which is known as the KflmakalS. Kfima is of course not here used in the gross sense of desire, sexual or otherwise, but of Ichchhi, the Divine creative Will towards the life of form, which is here explicated from Bindu, the aspect previously assumed by Shakti through N5da {Bindutdm abhyeti). The undivided supreme Chit shakti ( Akhandapatachichchhaldi ) becoming desirous of appearing as all the Tattvas {Samastatattvabh&vena vivarptchchhasamanvitd) assumes the Bindu aspect [Rindublidumg paryeti) characterised by a predominance of activity [KriytiprAdhiiiya/aksfMntt). Here it may be observed that Ichchhd or Will is a form of Kiiya (action) : in the sense that it is the preliminary to action and sets the Self in motion. Shakti passes from potency through Will to action, which through Para Bindu manifests. Bindubhava is that state (Ishvaratattva) in which it is fully equipped to work and does so. Its threefold aspect as it works are Bindu Shivdtmaka, Bfja Shaktyotmaka and N'&da. Ndda is Samavaya that is relationship or connection (Sambandha) as exciter (Kshobhaka) and that which is excited (Kshobhya), which relation is the cause of creation (Srishtihetu). The Sharadd (I. 10) then proceeds to deal with the appearance of the three Pevis and three Devas which are in the nature of the three Shaktis (Ichchhd, etc.) and Fire, Moon and Sun. Having then dealt with Shabdasrishti it proceeds to describe Arthasrishti (I. 15),

giving first the line of Devas from Shambhu who arc the Lords of the Tattvas (Tattvesha) and then that part of Arthasrishti which is Tattvasrishti or the evolution of the Tattvas of mind and matter from Buddhi to Prithivi.

It is not easy in all cases to discover and set forth an accurate summary of the Devis, Devas, Shaktis and so forth in Shabdasrishti : because the Texts being in verse are not always to l>e read as they stand, the order of words being in some cases regulated by the metre. As the author of the PrAnatoshini says in dealing with a citation from the Goraksha Samhita. the texts must not be read “ Pratishabdam ", that is, according to the order of the worths, but "Yathdsambhavam", according to the facts. But this does not relieve us from the difficulty of ascertaining what is the fact , that is, the real order. Other elements may also enter into the calculation : for instance, as RAghava Bhatta |>oints out. the order of Shaktis varies in Ishvara and Jtva. In the former it is IchchhA, Jnana, KriyA and in Jiva. Jnana. IchchhA, Kriya. In Ishvara ’s ideation (Pratyabhijna) when He desires to do anything, an act of volition proceeds from Him {SvechckhayA kriyi i) to know or to do it {Taj jnAtung kart ting vii) ; next there is the capacity for cognising such acts [Tat kuryyujndnadarshanashaktita ) which is Jnana-shakti ; thirdly the gross effort {Sthulah samudyamah) is the Kriya-shakti {Kriya ska k! i rad i l A ) from which the whole world proceeds {Tatah sarvang jagat param). RAghava also points out that there is a difference of order in Shabdasrishti and Arthasrishti. Thus in dealing with the Pranava it is said, "A (the letter) which is Sun is BrahmA but here in the ShAradA verse, "Vishnu is Sun." I will first give the order as it is given in the ShAradA Text (v. 10) : "From Bindu came Raudri ; from Xada Jycslitha, from B!ja, VAina. From these came Rudra, Brahma, RamS- dhipa (Vishnu)”.

Raudri bindos talo tutdtij jycshtM bij&d ajilyata Vama, tubhyah samutpannA Tudrabrahmaram&dhipah. Il then continues, " Who are in the nature of Jn&na, Ichchha. Kriy& and Fire, Moon and Sun (v. xi) (Saiigjn&mchchhd kriydlm&no vahnindvarkasvartipinah) , who are in the form (RQpa) of Nirodhikd, Arddhendu and Bindu." These arc all different states of Shakti {Shakier ev&vasth&visheshAh) , for it is owing to their arising from Shakti [Shaktitah ulpannatvat), that they are identified with the Shaktis Ichchhd and so forth.

According to the Yoginihridnya Tantra (I) the order is (ti) Ichchha, Vdina, Pashyanti ; ( 6 ) Jnana, Jyeshtha. MadhyamS ; (c) Kriya, Raudri, Vaikhari. It says that when Iclichh 4 Shakti in the form of a goad (Angkushdkara, that is, the bent line Vakrarekhd) is about to display the universe which is in seed (Bija) form. She is Mainland in the form of Pashyanti Shabda. PashyantW She who sees,” ikshana. Vama is so called because tliis Shakti vomits forth the universe (Vamatuil Vama). Jyeshtha which is in the form of a straight liue (Rijurekbd) attaining the state of Matrika (MAtrik/iham upupannd ) is Madhyamd vlk. Raudri is Kriya in triangular or pyramidal (Shringataka). that is, three-dimensional form, and is -the manifested Vaikhari Shabda. According to the Kamakalavilisa (Comm. v. 22), Yoginthridaya Tantra (Sangketa 1), and the Saubhagyasudhodaya (cited in Sangketa 2 of the last Shastra), the order would appear to be (a) Ichchha Rajas Vama Brahma Pashyanti- Shabda ; ( b ) Jnina Sattva Jyeshtha Vishnu Madhyamd- Shabda ; (c) Kriya Taraas Raudri Rudra Vaikhari-Shabda.

I will not however here attempt a discussion, which would be both lengthy and technical, of the texts on this point. For present practical purposes it is sufficient to know that the three Bindus are Shiva, Shakti, Shivashakti ; Prakdsha, Vimarsha, Prakdsha-Vimarsha ; White,

Red and Mixed ; Bindu, Nftda, Bija ; Supreme, Subtle, Gross ; the three Devts, the three Devas, and the three Shaktis of Will, Knowledge and Action. The Supreme at this point thus becomes a Trinity of Energy.

The division of the Mah&bindu may be memorised by writing in Sanskrit the '* Fire " Bija or “ Ram”, that is Ra with Chandrabmdu ( i ). Then invert the Nada sign which will thus represent the Moon (Indu), the Bindu, the Sun (Ravi), and the Ra, Fire (Agni). The Triangle may be formed by drawing two sides or a l>cnt line and then completing it with a straight line. At the apex place the Ravibindu (Sim) and at the left and right hand comers Vahnibindu (Fire) and Moon (Chandrabindu). Between Sun and Moon place Vfimi Vakrarekhi and Brahma ; between Fire and Moon, JyeshthA and Vishnu ; and between Moon and Sun, Raudri Rijurekha and Rudra. Between each of the points are lines formed by all the letters (M&trika-vama) of the alphabet called the A-Ka- Tha triangle. The PAdukapanchaka, a Hymn attributed to Shiva. (T&ntrik Texts, Vol. 2) speaks of A-Ka-Tha in the second verse on which Kdlicharana comments as follows : — Here Shakti is Kamakala in form and the three Shaktis (Varna, Jyeshtlia, Raudri) emanating from the three Bindus are the three lines. The sixteen vowels beginning with A form the line V 4 ra&, the sixteen letters beginning with Ka form the line Jyeshtlia and the sixteen letters beginning With Tha form the line Raudri. The abode of Shakti (Abalilaya) is formed by these three lines. The other three letters ITa, I-a, Ksha are in the comers of the Triangle. Kalyuradhvamnaya says, "The Tribindu is the Supreme Tattva and embodies in Itself Brahma, Vishnu, Shiva ( Brahmavisknushivdimakam ). The Triangle composed of the Letters has emanated from the Bindu ; ” also " The letters A to Visarga make the line Brahma, the letters Ka to Ta the line Vishnu, and the

letters Tha to Sa the Rudra. The three lines emanate from Ihe three Bindus. The Gunas, as aspects of Shakti, are also represented by this threefold division. The Tantrajivana says : " The lines Rajas, Sattva, Tamas surrounded the Vonimandala.” -Also " above is the line of Sattva, the liny of Rajas is on its left and the line of Tamas on its right.”

The Shabdabrahman in its threefold aspect and Energies is represented in the Tantras by this triangular Kamakala which is the abode of Shakti (Abalalaya). The Triangle is in every way an apposite symbol, for on the material plane if there are three forms there is no other way in which they can be brought to interact except in the form of a triangle in which whilst they are each, as aspects, separate and distinct from one another, they are yet related to each other and form part of one whole. In the Agama-kalpadruma it is said that the Hindu is Hang (one point) and Visargah (two points) is Sah or Shakti. The Yamala thus speaks of this abode, "I now speak of Kamakala,” arid proceeding says, " She is the Eternal One who is the three Bindus, the three Shaktis and the three Forms (Trimurtti)”. The Maheshvarf Samhita says : "Sun, Moon and Fire are the three Bindus and Brahma, Vishnu, Rudra the three lines ” The Lalitisahasranima calls the Devi, Kiinakalirupa. Bhaskararfiya in his commentary thereon (v. 73) says that Kama or creative will (Ichchha) is both Shiva and Devi and Kala is their manifestation. Hence it is called Kim ak ala. This is explained in the Tripurasiddhinta : "Oh P5rvati, Kala is the manifestation of Kameshvara and Kamcshvari. Hence She is known as Kimakala. Or. She is the manifestation (Kala) of Desire (Kama), that is, of Ichchha Shakti. The Devi is the great Tripurasundari. Bhaskararaya's Gum Nrisinghinandanatha wrote the following verse on which the disciple comments :

"I hymn Tripura, the treasure of Kula, who is red of beauty : Her limbs like unto those of Kamar&ja who is adored by the three Devatas of the three Gunas : who is the desire or Will of Shiva (according to the Anokarthadhvanimaujari lexicon l.\lanmathaK&maIchchh&) who dwells in the Bindu and who manifests the Universe." She is red because She is the Vimarshashakti. She is called (says the Commentator cited) Tripura as She has three (Tri) Puras (literally cities or abodes), here meaning three Bindus, lines, angles, syllables and so forth. She has three angles (in the triangular Yoni the source oi the universe) as well as three circles (the three Bindus) and the Bhupura of Her Yantra has three lines. Yoni does not here mean generative organ, but KSrana— the Cause of the universe. She has three aspects and creates the three DevatAs through the three Shaktis, Vania and others, and manifests as Will, Knowledge and Action. Thus since She the Supreme Energy is everywhere triple. She is called Tripurasundarl. The three, syllables of Her Mantra are the three divisions of the Panchadashi, namely Vagbhava, Kamardja and Shakti Kfitas, which according to the Vamakeshvara Tantra are the Jnana and other Shaktis. The Kamabija is Ivling and Kling-kdra is Shivakdma. Here " 1 " is said to denote the Kamakala in the Turlya state through which Moksha is gained, and hence the meaning of the saying that " he who hears the Bija without Ka and La does not reach the place of good actions "—that is he does not go to the region attainable by good actions but to that (Moksha) attainable by Jn&na alone. The BhdvachudAmani says : “ Meditate on the face in the form of Bindu, and below on the twin breasts (the two other Bindus) and below them the beauteous form of the flak&rarddha. The commentator on the Anandalahart says : "In the fifth sacrifice (Yajna) let the SSdhaka think of his Atmd as in no wise different from,

but as the one and only Shiva ; and of the subtle threadlike Kundalini who is all Shaktis extending from the AdhAra Lotus to Paramashiva. Let him think of the three Bindus as being in Her body indicating IchchhA, Jnana, Kriya ; Moon, Sun, Fire ; Rajas, Sattva, Tamas ; Brahma, Vishnu, Rudra ; and then let him meditate upon the ChitkalA who is Shakti below it.' The Bindu which is the " Face ” indicates Vinnchi (Brahma) associated with the Rajas Guna. The two Bindus which arc the " Breasts " and upon which meditation should be done in the heart indicate Hari (Vishnu) and Hara (Rudra) associated with the Sattva and Tamas Gnnas. Below these meditate upon the subtle ChitkalA which indicates all three Gunas and which is all these three Devatfts. Similar meditation is given in Yogini (and other) Tantras winding up with the direction, "and then let the Sadhaka think of his own body as such KAmakalA.''

As regards this it is to be observed that in the Mtiladhara there is a Traipura Trikona, so-called because of the presence of the Devi Tripura within the Ka inside the triangle. Tliis Ka is the chief letter of the Kama Bija and Kang is the Bija of Kamini, the aspect of Tripurasundari in the MulAdhAra. Here also arc the three lines. VAmA. Ichchha and so forth. Thus the Traipura Trikona is the Sthiila aspect of the Sukshma Shakti in the region of the upper SahasrAra called KAmakalA. It is to this KAmin! that in worship the essence of Japa (Tejorupajapa) is offered, the external Japa being given to the DevatA worshipped in order that the SAdhaka may retain the fruits of his Japa. [Nilyapdjdpaddhati 8). Man physically and psychically is a limited manifestation of this threefold Shakti which resides within himself and is the object of worship. Such worship leads to identification and so the ShritattvArnava says: "Those glorious men who worship that Body in SAmarasya arc freed from the waves of

poison in the untraversable sea of the universe (Sangsara)." S&marasya, I may here observe, is a term which is ordinarily applied to the bliss of sexual union { Slripungyogdt yat saukhyang tat s&marasyam). For the benefit however of those who are always reading gross meanings into parts of the Shits tra alien to them it is necessary to explain that S&marasya is both gross (Sthula) and subtle (SGkshma). Here the latter is meant. An erotic symbol is employed to denote the merger of the Jiva and Supreme Consciousness in Ecstasy (Samadhi). The Tantras largely employ such imagery which is to be found in the Upanishads and in non-Indian scriptures. Thus the highly sensual imagery of the Biblical " Song of Songs ” is said (whether rightly or not, I will not here inquire) to symbolise Christ’s love for His Bride, the Church. Spiritual union is symbolised by terms borrowed from the world of man. By Mantrayoga is sought that perfection and unity of Bhflva which leads to JnSnayoga Sam&dbi.

“ On the division of the Supreme Hindu (into the threefold K^ma-kali) there was L’nmanifested Sound ” (Bhidyam&n&t pardd bindor avyakt&tmA ravo'bhavat, Sh&rada-I-n). This is the Shabdabrahman or the Brahman as the cause of manifested Shabda and Artha and therefore of Mantra. This causal “ Sound " is the unmanifested (Avyakt&tm4), undifferentiated (Akhanda) principle of Shabda (N&dam&tra), composed ofNftdaand Bindu (N&dabindumaya), devoid of all particularity such as letters and the like (Vam&divishesha-rahita). Some, as the Shdrada says (V. 12), have thought that the Shabdabrahman was Shabda and others Shabd&rtha, but this cannot be, for both are unconscious (Jadatv&t). “In my opinion,” its author say's (v. 13), " Shabdabrahman is the Consciousness in all beings ” (Chaitanyang sarvabhllldriSng shabdabrahmeli me matxh). For if Shabd artha or

Shabda be called Shabdabrahman then the meaning of the

term Brahman is lost (Brahmafat’av/elyai-atig itopa - padyate) ; for the meaning of the term Bral: man (Brahmapaddrtha) is Sat-Chit-Ananda (SachebidSnandarupa), whilst these are unconscious (Jada). Raghava Bhatta says that Shabdabrahman is Xadabindnmava Brahman (Brahmdtmaka) Sound (Shabda) unmanifested (Avyakta), undifferentiated (Akhanda).all pervading (Vyipaka),' which is the first manifestation of Paramashiva in creative mood {SrishtymmukhaparamashivapralhamcUdsarndtrant). He also cites a passage from some work unnamed which says that out of Prakriti in Hindu form in whom Kriyft Shakti prevails (Kriy&shakli pra&h&naylth praUritcr bindu-iupiny&h) arose the Supreme Shabdabrahman the cause of Shabda and Shabddrtha (Sh abdashabd art h a k5r an am ) . Tlie Sound (Rava) here spoken of is in the form of Bindu (Bindurupa). which later appears in all bodies as the Matrik&s and Varnas in their respective places. The Sharada (I. 14) having thus dealt with Parashabdasrishti concludes in a general way, "Consciousness which is the Svarupa oL and appears as, Kundali Shakti in the bodies of all living beings manifests as Letters in prose and verse, having obtained the instruments for utterance which are the throat and so forth,"

Tat prapya kundalirupang pr&nir.dng dehamadhyagam

Varndlvian&virbhavati gadyapadyfid i bh edata h .

The subsequent Shabdasrishti is derived from Kundalint. The Kamakala is thus called the root (Mula) ol all Mantra, for it is the threefold aspect of the Shabdabrahman, the cause of all manifested Shabda and Artha and therefore of Mantra. In a future article I will continue the account of the creative process, namely, the Arthasrishti in which are included the Tattvas from Buddhi to Prithivl and the Lords (Tattvesha) 01 farms of Consciousness which preside over them. These are necessarily dealt with in connection with the Tattvas over

which they preside. In the same way Pashyanti, Madhyami, and Vaikharl states of sound arc here also dealt with, because Pashyanti and the others only exist in the created body. Parashabda is unmanifested Chaitanva, but the other Three Feet of the One Brahman are set in the manifested world of Mind and Matter.

CHAPTER XVIII

The ShArada Tilaka (Chapter I) having first dealt with Shabdasrishti on account of its priority ( I’radhdnya - dyotandya prathanwddhhlam ) commences with the fifteenth verse to speak of the creation of objects (Arthasrishti), for Pashyanti and the other Bhavas assume the existence of the manifested body. It says that from Shambhu who is in the nature of Kail ( Kaldtmanah ) and Bindu ( Bindvdtmanah ) and friend of KAIa (Kalabandhu), issued (Ajavata) the " Witness of the World " (Jagatsakshi), the all pervading (SarvavyApi) SadAshiva. RA- ghava says Kala is here either used generally, or as referring to the Nivritti and other KalAs which Shambhu produces. By " friend of K&la ” is meant that Shambhu is in the nature of Nada (NAdAtmA), because in unbeginning and unending Time He is the helper of KAIa which is Srishti (A n&dyanante kale srishlirupiikdlasakdydl) . The connection again is one between cause and its possessor. Again “ friend ” indicates the causality (Nimittatvam) of KAIa. For it has been said : " It has its beginning in Lava and ends in Pralaya and is full of Tamas Shakti.” Lava is the time taken to pierce with a needle a lotuspetal. Thirty Lavas=one Truti. This Kftla is Apara, for there is also Para K&la. Kala or MAyA is the cause of the occurrence of birth and destruction. R&ghava concludes that Prakriti and KAIa exist in even MahApralaya. But their pennanence (NityatS) is* a dependent one ( Apekshakanityat A) . For the permanence of the Purusha in which all things have their goal is alone independent (Svatahnityatvam).

From Shambhu emanated the SadAshiva who is the

Doer of the five forms of work, namely Creation, Preservation and Destruction, Favour (Anugraha) and Disfavour (Xigraha). From Sad&shiva. comes isha, from Him Rudra, from Rudra Vishnu, from Vishnu Brahma (v. 16). On tliis verse RAghava says : "It has been said before how they arise In Shabdasrishti. Here they arise in Arthasrishti."

Tlie five Shivas arc known in the Tantras as the " Five great coq>ses " (Panchamahapreta). Shiva is constantly represented in corpse-like (Shavarupa) form. This symbolises that Consciousness in Itself (Svarfipa) is actionless and inert. All action is by Shakti. Hence the Devi is in pictures imaged as standing on the inert corpse-likc body of Shiva. The same notion is represented by V iparilamaithuna, a prominent example of the use of erotic symbolism in the Shdkta Shastra. These Panchamahdpreta form the couch on which the Devi, Wave of Consciousness and Bliss, rests in the house of Chint 4 mani adorned with a garden of Nfpa trees, which is in the Island of Gems, surrounded with a grove of celestial trees, in the midst of the ocean of nectar (Anandalahari). This is the well-known Tdntrika meditation on the Heart-lotus of worship below the Anihatachakra. The BahurupAshtaka and Bhairavayimala say : " There is the supreme abode (Mandira) of Devi full of Cbintimani stones (which grant all desires). The great couch is ShWa, the cushion or mattress (Kaslupu) is Sadashiva, the pillow the great Ishana. The four supports (Pada) are ishana, Rudra, Hari, and BrahmA. On that Bed reclines the supreme TripurasundatL” Hence the Devi in the Lalitasahasranama (v. 73) is called l’ancliabrahmasanasthit<L The " Jewelled Island ” is a high state of Consciousness in that Ocean of Nectar which is tlie infinite all pervading Consciousness Itself. The Devi is united with Paramashiva in the Pranava ; the

Nada over the Ongkira being the couch on which is resting Parashiva in His Bindu form. A.U.M, NMa. Bindu the five component parts of Om and the Shrichakra Yantra arc here referred to.

The supreme Paramashiva abides in Satyaloka beyond mind and matter. Shambhu presides over mind and His abode is Maharloka. Ether, air, fire, water, earth are presided over by SadAshiva, Isha, Rudra, Vishnu, Brahma whose abodes are Tapoloka, Janaloka, Svarloka, Bhuvarloka, Bhtirloka ; and their centres in the human body are in the AjnA, Vishuddha, Anahata, Manipura, SvadhishthSna, and MulAdhAra Chakras, respectively. Kundali Siiakti manifests as the six. But notwithstanding all Her subtle and gross manifestations She remains ever the same Chit and Ananda ; for the Atm 4 in its own nature (Svarfipa) as distinguished from its Powers and their products is the same in all times and places.

Turning then to the Tattvas the Sh&rada says (v. 17) that from the unmanifest MOlabhuta (Prakriti or root of all creation) of the Supreme (Paravastu — Bindu) when subject to change (Vikriti) issued, through inequality of the Gunas, the Sattvikn Tattva Mahat in the form of tlte Antahkarana and Gunas.

MaHat is the cosmic Buddhi which is said to be in the form of the Antahkarana (Buddhi, AhangkAra, Manas) for all three are implicitly contained in the first (UpachArAdubhayAtmakah), as also the Gunas which here mean the TanmAlaas of sound, touch, sight, taste and smell. According to NySya the Gunas appertain each to each (TattadvisheshagnnAh) : or according to SAngkhya Ether has one Guna, Air has two. Fire three and so forth. From Mahat was derived Ahangkara which is threefold as Vaikarika. Taijasa, and Bhutadi 01 the SAttvika. Rajasa, and Tamasa Ahangkaras (v. 18), Raghava says

that it is called Vaik&rika because it issues from Parameshvara when His Samarasva with Shakti becomes Vikrita or disturbed. The Devas also are VaikArika because produced from it. According to S4ngkh\a the Vaikttrika nature is due to its generation from Pradh&na when Vikrita. The VaikArika Devas are Dik, Vita, Arka, PrachetA (Varuna) Ashvins (two AshvintkumAras) Vahni, Indra, Upendra (VishnorekA mfxrtih) Mitra (the third sun} and Ka (Chandra). These are the Presiding Derates of the senses (Indriya). From the Taijasa Ahangkara were evolved the Indriyas. The five Tanmatras and the derived Bhutas came from BhQtAdi Ahangkara.

The Text and Commentary speak of the derivation of AkAsha from Shabdatanm&tra, VAyu from SparshatanmAtra and so forth. But as the word Purva occurs, others read tliis as meaning that each becomes cause of what follows in association with what had gone before. Thus Shabdatanmatra produces Akasha. From Shabdatanm&tra together with SparshatanmAtra come VAyu. From these two and Rupatanmatra come Agni and so forth.

The SharadA then gives the colours of the Bhutas namely transparent (Svachchha) ether, black air, red fire, white water, and yellow earth, the Adharas of which are the Tanm&tra and the Gunas of which are sound, touch, sight, taste and smell. RAghava Bhatta says that it is for the purpose of worship (Upasan&sthAnam) in pursuance of Sh&stra (SvashAstrAnurodhena) that certain invisible things are here said to have colours (Atm kcsh&nchit arup i-dravya ni >:g varnakathanam). This might perhaps seem to suggest to some that the colours are not real. But if tliis be so is it correct ? Ether is transparent which is no colour, black is the absence of colour. With Rupa there must be colour. For what is colourless is

formless. Form is only perceived by means of colour : and the last three BhOtas are with form. Their colours are widely adopted. Thus in China also yellow is the colour of earth, and red and white are generally assigned to fire and water, respectively. Possibly what is meant is that the colours are here mentioned for the purpose of worship : that is, the mentioning is for such purpose. Else how could the Yogi perceive them ? For it is said Tani vastuni t&mnfitradmi pratyaksha-vishayAni (that is to Yogis). Elsewhere it is said that ether is hollow or pitted (Sushirachihnam) air is moving (Chalanaparah) fire is digesting (ParipAkav&n) water is tasteful fRasavat) earth is solid (Ghana). All the universe is composed of the four BliQtas entering into one another [ParasbarAnupravhhlaih mahAbhutaisb chaturvidkaih) pervaded by ether (Vyaptakashaih).

Thus Consciousness as Shakti evolves inind and matter. The principles (Tattvas) of these are not always clearly understood. They may, and indeed must be, considered from the point of view of evolution— that is according to the sequence in which the limited experience of the Jiva is evolved — or from that in which they are regarded after creation when the experience of concrete sense objects has l>een had. According to the former aspect. Buddhi is the state of mere presentation ; consciousness of being only, without thought of " I ” (Ahangkira) and unaffected by sensations (Manas, Indriya) of particular objects which ex hypothesi do not vet exist. It is thus a state of impersonal Jiva consciousness. AhangkAra of which Buddhi is the basis is the personal Consciousness which realises itself as a particular " I " the experiences The Jiva wakes to world experience under the influence of Maya Shakti. In the order of awakening he first experiences in a vague general way without consciousness of the limited self, like the experi-

ence which is hud immediately on waking after Sleep. It then refers this experience to the limited self and has the consciousness " I am so and so.” Manas is the desire which follows on such experience, and the senses and their objects are the means whereby that enjoyment is had which is the end of all will to life. The Cosmic mind projects its content as ideas and desires on to the gross sensual plane and there the individual mind enjoys them as such.

I may here observe that the same scheme exists in Buddhism where the root is given as AvidvA, from which arises Sangskara. This gives birth to VijnSna (which is Buddlii) and then to N Amaru pu that is an external world at first vaguely perceived. The desire 10 take cognisance of this gives rise to the six sense organs (Shadayatana) namely Manas and the Indriyas. From this follows contact (Sparsha) of the sense organs with the external world giving rise to feeling (Vedana) called forth by such contact in the form of pleasure and pain. This experience produces Desire (Trishna) which a recent work on the Unconscious calls Libido, for pleasant sensations resulting in attachment and enjoyment (Up&d&na), and then the individual Jiva consciousness (Bhava) is born (JAta). ages and dies and is again reborn until Nirvana is attained. Throughout it is the will to life, the root of which is in Avidya which produces the instruments namely the mind and senses whereby enjoyment is to be had and which creatively imagines the content of its experience from out the store of past lives in past universes. True experience therefore can only be had by destroying the root which is Avidya. One of the tasks which yet remains to be done is to show the essential similarities of Buddhism and Hinduism instead of dwelling, as is usually done, on their differences, alleged or real. When it is fully realised that Buddhism took its birth in India and the implications

ifio

necessary therein truer notions will be entertained ol it than generally prevails.

An example from science has lx-cn given which illustrates the process stated. In some animals there are no specialised sense organs but when stimulus is often given to a particular part of a body that part gets specially sensitive to it and a particular organ is developed. The illustration of course assumes that objects have been already created. Hut in the evolution of the word similar principles come into play as those which exist after it has been evolved. The effect exists in its cause. Consciousness awakening to world-experiences reaches forth and forth and as it seeks to come by recollection to its limited self, its desire evolves the instruments of enjoyment and projects tire objects of enjoyment into the sensual world. This is the action of the Sangsk&ra operating in and upon consciousness.

Whilst however in the order of evolution Buddhi is the first principle ; in the actual working of the Antahkarana after creation has taken place it comes last. It is more convenient therefore, for ordinary exposition to commence with the sense objects and the sensations they evoke. Matter as the objective cause of perception is not, in its character, as such, under the cognisance of the senses. All that can be predicated of it is its effect upon these senses which is realised by the instrumentality of mind in its character as Manas. In science the notion of indestructible matter in atomic form is no longer held, for all matter it is now shown can be dissociated and the atom is dematerialised. The old duality of Force and Matter disappears, these two being held to he differing forms of the same thing. The ultimate basis is now recognised as Maya nr Prakriti Shakti. Matter is a stable form of force into which on disturbance of its equilibrium it disappears. Sensible matter (Bhuta) affects the ex-

periencer in five different ways giving rise to the sensations of hearing (Ak&sha), touch and feel (Vayu : not in the sense of all forms of contact, for form and solidity are not yet developed) colour and form and sight (Rupa) taste (Rasa) and smell (Gandha). Sensible perception however exists only in respect of particular objects. But there exist also general elements of the particulars of sense-perception. There is an abstract quality by which sensible matter (Mahabhfita) is perceived. This abstract quality is Tanmatra the " mere thatness " or abstract quality of an object. These are the general elements of sense perception which necessarily come into existence when the senses (Indriya) are produced. This is supersensible (Atindriya) matter, the existence of which is ordinarily only mediately perceived through the gross particular objects of which they are the generals and which proceed from them. Sensations aroused by sense objects are experienced by the outer instruments (VfUiyakarana) or senses (Indriya) whether of cognition (Jnanendriya) or action (Karmendriya) which arc the afferent and efferent impulses respectively. The Indriyas are not however sufficient in themselves. In the first place unless attention co-operates there is no sensation (Aloehana) at all. Nextly as the experiencer is at very moment beseiged by countless sensations from all sides : if any of these is to be brought into the field of consciousness it must be selected to the exclusion of others. Lastly the manifold of sense or " points of sensation ” must be gathered together and made into a whole. Those three function? are those of Manas the function of which is said to be Sangkalpavikalpa that is selection and rejection of material provided by the Jnanendriya. These sensations, to affect the experiencer, must be made his own and this is clone by Ahangk&ra or " Self-arrcgation.” It is then passed on to Buddhi which determines either by way of forming percepts and concepts

or resolutions {Karlavyam efa! may A). Thus all the Tattvas work for the enjoyment of the Self or Purusha. They are not to be regarded as things existing independently by themselves but as endowments of the Spirit (Atmii). They do not work arbitrarily as they will but represent an organised co-operative effort in the service of the Enjoyer, tire Expericnccr or Purusha.

The Tantras speak of three Tattvas namely of Atmfi, VidvS, Shiva. The first includes those Tattvas of the Thirty-six which are called impure (Asliuddha) namely Prithivi to Prakriti ; the second tiie pure-impure (Shuddha- Asliuddha) or M&y&, the Kanchukas and Purusha ; and the tbinl the pure Tattvas (Shuddha) from SliuddhavidyH to Shiva Tattva. I have dealt with the last two in previous Shiva Tattva. 1 have dealt with the last two in previous Chapters and deal with the first in the present one. It is also said (see Jn&n&rnava Tantra XXI- 1 - 22 ) that there are four Atmas constituting the Chitkunda or Mandala in the MuUdhara where the inner Homa is. made. By knowledge thereof there is no rebirth. These axe Atma, Jilin atma, Antaratma and Paramatma.

Thu AtmJL (PianarQpi) which is in all creatures (Jantu) as the basis of their Prana or vital principle is their Atma. It is HangsasvarQpl and is manifested in individual bodies by inspiration and expiration (Shvasa, UchchhvSsa). This is JivStma. It is like the Ak&sha separated in a pot which when broken becomes mingled with the total Akaslia. Jnaniltma is said to be S4ksh4ts&kshirflpaka. Thai is, it is that aspect of Atma which witnesses all and by which the unity of all is known. It is thus the basis of Buddhi and all mental Tattvas derived therefrom. By " Antar ” in Antar&tma is meant the subtle Atma of atomic dimension [R,thasya-suks!i»ianipakaparatnanu) which pervades every object. It is the “ inner bodiness '* (Antarangati) die spark of ParamatmS..

It is Hangsa known only by Yogis. Its beak is Tara (Mantra Om) ; Its two wings are Agama and Nigama. Its two feet are Shiva and Shakti. The three Bindus are Its three eyes. When this Paramahangsa is spread (Vyftpta) throughout Creation then all Bhfitas spring up in their order (Ak&sha, Pavana, etc.). Of these five the root is Chitta. This Hangsa Bird disports Itself in tho Lake of Ignorance (Avidya) in the mud of illusion and infatuation (Mohapangka) which is the world. When this Hangsa becomes other-worldly (Nishprapancha) and dissolving (Sanghfirarupi) then It reveals the Self natn pradarshayet). Then Its " Birdness ” (Pakshitva) ceases. Then the So’hamStma is established which is the Supreme Experience or Paramatma.

To complete the creative process it is now necessary to resume the creation of Shabda (Shabdasrishti) from its supreme state (Parashabda or Parabrahman) through its three Bh&vas, Pashyanti. Madhyamd and Vaikharl manifesting in bodies composed of the Tattvas above described: for in this way the birth of the letters composing Mantras is shown. I will deal with this in Chapter XXI under the title “ Garland of Letters” (Varnamald), a subject of primary importance in the Tantras, after a description of the Causal Sliaktis of the Pranava or Mantra Om and an explanation of the Kalas.

CHAPTER XIX

The present Chapter is but a short summary of the result of some enquiries recently pursued in Kashmir with a view to ascertain the notions of the Northern Shaiva school on several matters which 1 have been studying in connection with my work on the wakening of the spiraline energy or Serpent Power. 1 was already aware, as the Kul&mava Tantra (one of the foremost Tantras of the " Bengal ” school) indicates, that the Shaiva-Sh&kta Darshana and not Shangkara’s exposition of Vedanta is the original philosophical basis of the Shakta iaith, though some who call themselves Shaktas seem nowadays to have forgotten, if they were ever aware of, that fact. In Kashmir, Kula ShSstra is, I believe, another name for the Trika. But amongst several other objects in view I wished to link up the connection of certain Shaktis mentioned in the Kriyi portion of the Shastras with the thirty -six Tattvas of the Shaiva-Shakta school, their position in the scheme not being in all cases clear to me according to the information previously at my disposal. I have worked the matter out in more detail and the present Chapter will summarise conclusions on certain points.

Being (Satta) is of two kinds, formless (ArCipa) and with form (Riipa). In the first the " I ” (Aham)‘aiid the " This ” {I dam) or universe representing the PrakSsha and Vimarsha aspects of experience are one. Shiva and Shakti exist in all the planes. But they are hero undistinguishably one in the embrace of the Lord (Shiva) and " the Heart of the Lord ” (Shakti). Shiva is Chit. Shakti is ChidrUpifti. He is Para and She, Para. This is the Perfect Experience which is Ananda or " Resting in

the Self ” (Svarupavishranti). Shiva then experiences the universe as Parashakti, that is, Paranikda and Par&vik. This is the Love of the Self for the Self. The Supreme experience is the bliss of unalloyed Love. The Idam then exists as Parashakti.' The two aspects are as it were one (Ekatn taltvam iva), to use a phrase in the Ahirbudhnya Samhitft of the Panchar&tra Agama. The " Supreme Sound ” and " Supreme Speech " are thus the perfect Universe which is the supreme Kail&sa. This is the supreme unitary experience in which, though the “ I ” and the “ This " do not cease to exist, they are both in their SvarUpa and thus mysteriously coalesce in one unity of Being which is the " Two in one." The whole process then of creation, that is, the rise of imperfect or dual experience, is the establishment through the negation of Shakti (Nts/u'dha-xydpjra-rupa Shakti) of a (liremption in the one unitary consciousness whereby the Aliam and the Idam, which had then existed, coalesced in one. diverge in consciousness, until in our own experience the " I " is separated from the " This ” seen as objects outside ourselves.

The process of manifestation of Mantra is that of cosmic ideation {Srishtihalpana) in which Jnina Shakti first merely formulates as thought the outlines of the limited universe which is about to emerge from, and for, consciousness, and which is called the " thinkable ” (Manlavya), which through Nada which is Kriyashaklirupa moves towards the " speakable " ( Vdchya ), with which again consciousness identifies itself as Bindu which is characterised by a predominance of activity ( Kriyd - prddhdnyalahshana). Diversity (P/itliagblidva) is then produced by Bindu as Ma-kara in the Maya Tattva. Shakti as U-k&ra creates objects [Prameya] as separate existences and by the completion of the Tattvas objectivity is completely revealed as A-kara. To describe

however adequately this grand system of Abhftsa, as it is called, would require a foil exposition of the Northern or monistic Shalva and the allied Shftkta Darshana on which the Shiikta doctrine and practice of the Agamas is based. I can l]cre only indicate shortly the Shaktis of the Mula Mantra or Pranava, which are the correspondences from the Shakti aspect of the Shaiva-Sh&kta Tattvas. The accounts of the Shaktis van,’, but such variance is rather due to the fact that some accounts are fuller than others than to any substantial difference in principle.

The gist of the matter may be shortly stated as follows In creation, the three Shaktis, Jnftna, Ichchha, Kriyfi, manifest. These are manifested powers of the supreme Bindu. " What is here is there,” and these Shaktis of the Lord (Pati) appear as the Gunas of Prakriti in the Pashu ; or as it has also been said, Jnana and Kriyfi with Maya as the third appear as Sattva, Rajas, and Tamas of the Purusha-Prakriti stage which is the immediate source of the consciousness of the Pashu.

SviUiga-rfipcshu blith est: t< palyur jndvam kriyfi cha \&

M dyd triiiyd l < f eva pashoh satlvam rajas tamah

(Ishx'ara-Praiyabhijttd, IV i, 4).

The creative consciousness. (Shakti) projects the universe as all-diffusive Consciousness {Sad&khya Taltva), which considered from the Mantra aspect is all-diffusive " Sound,” that is movement or Nada. Here the emphasis is on the Aham, which is yet coloured by the Idam as the universe faintly rises into the field of the changeless consciousness.' Consciousness then identifies itself with the clearly perceived Idam and becomes Bindu. Here the emphasis is on the Idam with which consciousness becomes a point (Bindu). Then the evoking consciousness holds the ” I " and the " This ” in equal balance (Samdnddhikarana), at which point Mayh Shakti, which is the sense of difference ( Bkedabuddhi ), intervenes to

separate the Aham (as Purusha) and Idam (as Prakriti) hitherto held as parts of the one Consciousness, and the divisive power of Kali Shakti breaks up the universe so separated from the Self into that plurality of objects which is our ordinary worldly experience. The universe which in the Purusha-Prakriti stage was seen as a whole, though different from the Self, is now also seen as separate but as a multitude of mutually exclusive beings.

There Is first a fivefold division of the *' five rays " of Om, namely, A. U, M. Nada Bindu, ShAnta. The Prapanchasira Tantra says that Jagrat is Bija, Svapna is Bindu, Sushupti is NAda, Turiya is Shakti and the Lava beyond is ShAnta. This is the simplest form of statement setting forth one Shakti for each of the Vamas. and the Chandra-Bindu. In other words from Shiva-Shakti (which includes all the Tattvas down to the appearance of the three Devatas) these latter are produced. There is next a sevenfold division . ParAsam vit or Paramashiva is not technically accounted a Tattva, for the Supreme Experience is Tattvatita. But if we include it as the transcendental aspect of the Shaivatattva from which the AbhAsa proceeds, we get the number seven counting Purusha and Prakriti as two. The number seven is of frequent occurrence ; as in the case of the seven Shivas, namely, Parashiva, Shambhu and the five Mahapretas ; the seven Shaktis of the OngkAra as given in the ShArada Tilaka ; the seven Shaktis Unmani and the rest as given in the Commentary of KAlicharana on the Shatchakranirfipana Chapter of Pumananda SvAml’s work entitled ShritattvachintAmani published as the second volume of my TAntrik Texts ; and the three and a half coils of Kundalini of which the Kubjika Tantra speaks, namely Purusha, Prakriti, Vikriti, which it may be observed when uncoiled and divided by its diameter gives seven divisions.

The SharadA speaks of six Shaktis which with

Parameshvara who is Sachchidananda make seven namely : — Shiva, Shakii, NAda, Hindu (KArana), Bindu (KAryya), NAda (KAryya) and Bija. The other seven Shaktis above mentioned are Unmani (or Unman 6.), Samani (or SamanA), Anji. MahanAda (or NAdAnta), NAda. Ardhachandra and Bindu. If in the first scries we take K&ryya-Nida which is desciibed as the Mithah-samavAya (mutual relation) of Shi var u pak A rv y a Bindu and Bija. which is ShaktirQpa, as the correspondence in this scheme of the Shaiva Shuddhavidya Tattva with its SamanAdhikarana, then this series represents all the Shaiva Tattvas up to and including Purusha-Prakriti. The same remarks apply to the second seiies of Shaktis or causal forms (KAranarupa). The first is described by Kalicharana as the state in which all mindness (Manastva), that is. ideation ceases. Here there is neither KalA nor K&la, for it is " the sweet pure mouth of Rudra " (Shivapada). The second is the cause of all causes (SarvakAranakaranam). The third which is also called by him VyapikA Shakti appears in the beginning of creation. MahanAda is the Karana-N'ada which is KriyA Shakti and the first appearance of NAda. Shakti as NAda is a development of the latter which is transformed into Ardhachandra and then Bindu.

These Shaktis (as well as two others with AUM, making together twelve) are explained according to Shaiva views in an account extracted from the Netra Tantra with KshcmarAja’s Commentary and from the Tantraloka. There the Shaktis are given as Unmana. Samani, VyApikA (or Vyapini), Anjani. MahanAda, NAda, Nirodhini, Ardhachandra, Bindu, Ma-kara, U-kAra, A-kAra. The Sanskrit passages here given are the summaryin his own language made for me by the Kashmirian Pandit Ilarabhatta ShAstri of Srinagar.

" When the Supreme Shiva beyond whom there is

nought, who is in the natureof unchanged and unchangeable illumination moves forth by His will, such (willing movement as) Shakti though in fact, inseparable from Him, is called Unmand ; Her place is the Shiva Tattva" (Anut/ara-paramashiva avichalaprakdskdtmd y add svechchhayd prasarati stf shaktih shiv&d abhinnaivu Unmand ityuchyate : tat-sthdnam shiva-tattvam ifi).

" When the UnmanS Shakti displays Herself in the form of the universe beginning with the Shflnva and ending with Dhard, formulates as mere thought the thinkable, then She is called SamanA as well as Shakti-tattva ” (Yadd uninatui-shaktir dtmdnam kshobhayati shAnyddinS dhardnlena jagad-dtmand sphurati mantavyam inananamdtrena dsdirayali, (add Samatid ityuchyate. Shaktitattvam iti cha). " This Samand Shakti Herself is called Vydpini when She operates as the Power which withdraws into Herself all thinkables which are Her creation. She resides in the Shakti-tattva” (Samatid shaktir eva svamantaxye samhdrapradhdr.at)>ena Vydpini ityuchyate. eshd Shaktiiattve tishthati). " It is again the same SamanA Herself who is called Shakti when Her operation is chiefly creative in regard to Her own thinkables. She resides in the Shakti-tattva and is also called Anjant because of Her being associated with the thinkables ” (Samauaiva svamanlavye srishtipradhinatvena shaktirityvehyate eshd Shakti-tattve tishthati maniavyoparaktatvdt cha Anjani ityapi uchyate). " When Shabdabrahman moves forth with great strength form Its Shiva form then the very first sound (produced thereby) like the vibration produced by a sounding bell is called Nddanta (i.e., Mahandda). It resides in the Saddshiva-tattva." ( Yadd shabdabrahma shiva-rdpdd ativegena prasarali ladd prathamataram ghanldnurananatma shabdo Ndddnla ityuchyate, sa Sadd-shiva-ta/ive tishthati). " When Shakti fills up the whole universe with Ndddnta then She is called Ndda,

And this also is the Sad&shiva Tattva because of the equality therein of the " I ” and the " This ” (Niddntem yadii vishvan dpdrayati tadd Ndda ityuchyate, sa cha ahantedanlayoh sdm&n&dhikaranyena Saddskiva-tatlvatnili)". SamfinSdhikarana in its technical sense is the function of the later developed Shuddhavidya Tattva. Apparently its original is here represented to be the function of the earlier Sadashiva Tattva in which the duality of the Aharn and Idam first manifests

"When Nada, after having ceased to ojicrate in its universal scope, does so limitedly (or particularly), then it is called Nirodhini. This Shakti rests in the Sadashiva Tattva" (Nado yadd asheshavydplim nimajjya adharam vydptim unmajjayati tadd Nirodhini ityuchyate s<i Saddshivatatlvam dlamhate). " When Nado is slightly operative towards the creation of the *' speakable,” it is called Ardhachandra which is fshvara Tattva.” (Nado yada ishadvdehyonmesham skrayali tadd Ardhachandra ityuckate Ishvara-tattve). Then " Para-Shakti Herself is called Bindu when She is in the nature of inseparate illumination in regard to the whole range of the speakable ” ( Paraiva shaklih yadd samastavdehye abheda-prakdsha-rupatdm grihnati tadd Bindur ityuchyate, sa Jshvaratatlve iishthati).

Ma-kara or Kudra Devata is defined : — "When Bindu causes diversity to manifest it is called Ma-kara and It moves in Maya Tattva” (Yadd binduh prilkag-bhdvam abhasayati tadd Ma-kdra ityuchyate, sa cha Mdydtattve) " When Shakti creates objects as separate existences then She is called U-kara. It resides in the Prakriti Tattva ” (Yadd prameyam prithag-bhdvcna unmeshayati tadd U-kara ityuchyate, sa cha PrakrUi-taUve tishthali). " When the creation of the Tattvas has come to an end, then because objectivity is completely revealed, (Shakti as) Mantri Kal& (that is the creative art or process considered as " Sound ” or Mantra) is called A-kara” (Tattva-sargasya nivrittir yadd

jfiyatc tada pramyasya pumataya prakashaniU A-kdra t!i Mdnlri-kald uchyale).

The extra five Shaktis enumerated in this account are due firstly to the inclusion ol AUM; seocndly to counting Vyapini and Anjani separately instead of as being the Nimesha and Unmesha aspect of one Shakti ; and thirdly the sevenfold series would appear to include Nirodhinl, also called Nirodhika, in N5da of which it is a more particularised development. NAda would appear in the fuller series to represent Sdmanyaspanda of the sound emanation. For just as in the region of ideation the evolution is from infinite consciousness to the general and thence to particular ideas ; so from the corresponding objective or Mantra aspect, which is that of Shftktop&yayoga, motion commences from the unextended point first as general, then as particular movement, at length developing into the clearly defined particularity of speech and of the objects which speech denotes. The rhythmic vibration of objects is the same as that o' the mind which perceives them, since both are aspects of the one Shakti which thus divides itself.

Namasle ravatvcua fatlvdbhidhdnc

CHAPTER XX

THE KALAS

Kala is a common term in Tantrik literature for which it is difficult to find an appropriate English rendering. Shiva has two aspects Nishkala (Nirguna) and Sakala (Saguna). The former is therefore without Kala. The latter is with Kala. Shiva is never without Shaktj, for the two are one and the same, and Shakti in Herself, according to Her proper nature (Shakti-Svarflpa), Is Consciousness or Chaitanva (Chaitanyarupini). Thus there are said to be no Kalis in Unmani which is in the Shiva Tattva. Thereafter with Samani in Shakti Tattva the Kalis appear. Thus in Netra Tantra (Ch. 22) seven Kalis are assigned to Samani. The Shakti of a Devati is divided into sixteen Kalasor ‘‘parts’' of Power. That aspect of the DevatA which has full power is called Puma Kalamurti. One sixteenth of that or any part of the whole (Puma) is Kalamdi ti. A fraction again of that is Angshamurti and a fraction of Angshamurti is Angshingshamiirti. Shiva is partless. Shakti has parts (Kala). But parts as we know them do not exist until after the universe has evolved from Prakrit i : that is, parts in the literal sense of the Mayik world. When therefore mention is made of Kala in connection with so high a Shakti as Samani or any other Shakti which precedes Prakriti, what is meant is something which may be best expressed by modes or aspects of Shakti. Kala, in short, is a particular display of Power or Vibhfiti. Kali is also one of the Kanchukas which go to the making of the Purusha consciousness and is the product of higher SJiaktis and Kalis. The Kanchukas or enveloping Shaktis cut down the natural perfections as they exist

in the Supreme Self and thus constitute the evolved Self or Purusha. The four Kalas called Nivritti, Pratishtha, Vidya, Shanti arc specific modes of Shakti well defined. These arc explained later. As regards the other Kalas there is greater difficulty. In the first place the texts are not consonant. This may be either due to inaccuracy in the Mss. or real variances or to both. Then explanations of the terms are in general wanting, though sometimes they are given by the commentators. The Sanskritist will however perceive that these latter Kalas are variant aspects (like Avarana DevatAs of worship), descriptive of the nature and functions of the Shakti whose Kal&s they are and as such may have been set forth for Up&sana ; the lengthy lists being in conformity with the taste of the age in which these Shastras were promulgated Thus Kalis have been called Jyotsna (moonlight) and the like on account of their Sarva j natidharma , that is, Prakasharupatidharma ; that which being in the nature of manifesation is white and brilliant as moonlight. So again Indhika (kindling) Kala is so called because it is Jninarfipi or in the nature of knowledge ; and Rundhani is so called because of its opposing or staying quality as explained later. This great elaboration of Shaktis is also in conformity with a psychological principle on which Tantrik Up4san& is based into which I cannot enter here.

The above remarks are illustrated by the lengthy list of Kalas of the Vamas and Pranava given in Ch. Ill of the Prapanchas&ra Tantra. (See Vol. Ill cl my T&ntrik Texts). The Kaliis of Nada, Bindu, A U M are there given and I will not repeat them here : but I will relate instead an account obtained from the Kashmirian .Pandit Hara Bhatta Sh&stri and taken by him from Netra Tantra which has not been published. The reader of the Prapanchasara will observe that the accounts vary both as

to the names and numbers of the Kalis. In Netra Tantra seven Kalis are given of Samani Shakti, viz., Sarvajni, Sarvaga, Durga, Savarna. Spriliana. Dhriti. Samaria ; five of Anjani, viz., Sukshmi, SusQkshma, Amrita, Amritasambhavi, Vy&pini ; one of Mahin&da viz., Urddhvagamini four of Nada, viz., Indhiki, Dipika. Rochika, Mochika. Some texts speak of Kcc hi k i . Xirodhini Shakti has five Kalis called Rundhani, Kodhanl, Raudri, Jnanabodhi, Tamo’pahi. The Shatchakranirupana (V. 38) speaks of Bandhati. Bodhini, Bodha. Rodhini and Rundhaii!, which mean "opposing/' indicate the opposition encountered by lower Experiences such as Brahma and other Devas attempting to enter into the higher state of X:\da. These Shaktis (like the " Dwelleis on the threshold’’ of Western occult literature) oppose all those to whom they do not extend their grace (Anugraba) by the Kalas Jnanabodha (Wisdom) and Tamo’pahi (Disi>eller of darkness). These Kalas are therefore called Sarvadevanirodhiki, that is, they oppose entrance into the higher state of consciousness and they oppose the fall therefrom of such Devas as have attained thereto. Of Ardhachandra there arc five Kalis, viz., Jyotsni, Jyotsn&vati. Knnti. Suprabha, and Vimala, which are said to be Sarvajnapadasamsthita. For She is Knower of all. If one can remain in Ardhachandrapada then all things are known —past, present and future. I am informed that according to Netra Tantra (Ch. 22) and Svachchhanda Tantra (Ch. 20), the four Kalas of Bindu are the very important ones Nivritti, Pratishthi, VidyS, Skint! ; which however are said in Prapanchasara to be Kalas of Nada, the four Kalas of Bindu being there given as Pili, Shveta, Aruni and Asita. These live modes of Shakti arc described later. The number and names of the Kalis of A 15 M differ in these several texts. According to the former the Kalis of the Destructive

Rudra are Tamomohi, Ksliudha. Nidri, Mrityu, Mfiya, Bhaya, Jadi ; of the Protective Vishnu the Kalas are Raja (?), Raksha, Rati. Palya, Kamya, Buddhi. M&y&, Nadi, Bhramani, Mohini, Trishna, Mati, Kriya ; and of tile Creative Brahma there are Siddlu, Riddhi, Dyuti, Lakshmi, Medha, Kanti, Dhriti, Sudlii. The three Bindus of the differentiating Parabiudu form the Kamakala. The Kalis Nivritti aud the rest are the generalities (Samanya) of the Tattvas issuing from Prakriti ; that is the Tattvas are sub-divisions or differentiations of these four Kalas. Nivritti Kali is the working force and essential element in the Prithivi Tattva or Solidity ; and is so called because here the stream of tendency is stopped and the manifesting energy turned upwards. When Prithivi has been reached by process of evolution, Shakti becomes Kunduli (coiled ; at rest). Her next movement which is that of Yoga is upwards by involution retracing the steps of descent. The Prithivi Anu or point of solidity is inexhaustible potentiality in, and as a physical, that is, sensible manifestation of, the Spiraline Power welliug up from and coiling round the Shiva-bindu. This aspect of the Power supplies (as a friend learned in Shaiva literature informs me) the curving aud circular motion which manifests as the rounding and spherical skin and flesh with which all Pranis are supplied. According to the same view Pratishtha which is the same force in all the Tattvas from Ap to Prakriti (Tantriloka Alui. io) is so called, because whilst Nivritti supplies the outer covering, Pratishthi, as its name indicates, supplies the basis and inner framework on which the outer physical universe is laid. Vidya Kali, which is so called because it is limited knowledge, is the dominant Kali in the Tattvas from Purusha upwards together with five Kanchukas to Mayi. These are related to the Shaktis Vimi, Jyeshtha

THE KAL.4S

and Raudri, which manifest as the three motions which go to make the universe, which in terms of consciousness are the movements of the Antahkarana towards the objects (Vishaya) of its experience ; sucli objects being the combination of lines on various planes, in curves and circles. The three dimensional framework affords the basis (Pratishthd) for the outer solid covering (Nivritti) supplied by the spiraline Shakti as the manifested sensible and physical. Beyond MfiylL there is the consciousness which is peace (Sh&nti), for it is free of the duality which is the source of sorrow. The last Kali is therefore called Shantfi and is dominant in the glorious experience of the Tattvas from Sadvidyi to Shakti Tattva. Thus the Tattvas arc only the manifestations of Shakti as three typical forms of movement starting from the kinetic state. It is these moving forces as the Kalis which are the inner life and secret of them. The Kalis are not dead forces ; for the universe does not proceed from such . They are realised in direct experience as Deval&s in and beyond all natural manifestations and may be made to serve the purpose of Sidhana. As Divine Beings they are modes of the one Divine Mother worshipped diagramatically in Yantras. As the inner forces in the Tattvas the Kalis group together the latter into four great "Eggs’’ (Anda), that is, Spheroids comprising those Tattvas only of which a Kali is the common dominant feature and inner force. These are the Brahmanda comprising Prithivi Tattva in which all others are involved, the bounding principle or envelope of which is ether (Akisha) ; Prakrityanda or MulAnda ; Mayinda ; and Shaktyanda of which the envelopes are Prakriti, Miya and Shakti respectively. Beyond>ll these in the centre thereof and pervading all is the Shiva Tattva in regard to which the Divine Shakti as a Kali is an utter negation (ShQnyitishffnyal . an empty space-giving or

vacuity-producing power (Avakashada), which is the negative pole of the conjoint Shiva-Shakti Tattvas. The Shiva Tattva is thus the Paramashiva or Parasamvit. the great Bhairava experience with its supreme experience of the universe negatived.

Regarding then this ultimate Shakti also, in so far as it is a manifestation, as a Kali or moving Power, the thirty-six Tattvas of which the universe consists are but manifestations of five forces (Shakti) or Kalas into which the one partless Divine Shakti differentiates Herself in an infinite variety of permutations so as to produce the universe with parts : namely, Shintitita or Avakishadi, Shinti, V'idya, Pratishtha, Nivritti.

According to the account given in the Shatchakranirupana (Vol. II of my Tantrik Texts) and the Commentaries of Kilicharana and Vishvanitha, there is a Shakti called Nirv Ana- Shakti with two Kalis, which arc Nirvana Kali and Ama-Kala, known as the seventeenth and sixteenth Kalas respectively. Unmani is Shivapada which is beyond Kila and Kali. In Shakti Tattva these have their source. The highest' Shakti in this Tattva is Samani ; Nirvina Shakti is, according to Vishvanitha, Samanapada or Samani, the life and origin of all being (Sarvcshim yonirupini). According 'to Kilicharana, NirvSna Shakti is Unman!. Shakti as seventeenth Kali is Chinmitra and is called Nirvina- Kali. Vishvanatha identifies it with Vy&pini-Tattva which is Shakti-svarupi and above (Paratpara) the sixteenth Kali. It is Antargata ol, that is. included within, Amikali, just as NirvSna Shakti is Antargata of Nirvina Kala. Kilicharana identifies it with Samanipada. Ami is the sixteenth Kali. She is the receptacle of the nectar which flows from the union of Para (Bindurffpa Shiva) and Pari (Shakti). Vishvan&tha cites the Yoginihridaya Tantra to show that Ami is

Vy&pikA Shakti. Kalicharana agrees as to this. But it lias been said by Vishvanatha that Nirvana Kala is Vy&pint Tattva. We must take it then that according to this view Nirvdna Kala and Ama Kala are the two aspects, supreme and creative, of Vy&pint Tattva as VyApika and Anjani. Beyond or more excellent than Ama-Kal& is NirvAna Kala, and then this last, Nirvana Shakti or Samani in Shakti Tattva wherein is bondage (l’&shajala). Thus Nirv&na Kal& is the Chinm&trasvabhAvA or pure consciousness aspect of what in the creative aspect is called Ama, the receptacle of nectar, that is. the blissful current which flows from the union of Shiva and Shakti. This is the rapture of creation which is known to us also. The same Shakti is in differing aspect Am ri t& kdrar Qpint as the seventeenth and the receptacle of Amrita as the sixteenth Kala Ama is both Srishtyunmukhi (looking towards creation) and Urddhvashaktir&pA (looking upwards, that is, towards Liberation.) The former is the meaning of tin* expression ' 'down waid turned -mouth” (Adhomuklii). This is the position of ihe Petals before Kttndalinf ascends.

This is my reading of Texts which are not devoid of discussion. Thus apart from difficulties in the Texts cited I was informed in Kashmir that Shakti is called the seventeenth Kali or AmA when Chinm&trasvabhAvA ; and Amrit& Kala when Purusha is with the sixteen KalAs, which in this case are said to be the JnAnendriva, Karmendriya. Tanm&tra and Manas (which includes Ahangkara and Buddhi). This may be a difference of terminology only. What seems clear is that in Shakti Tattva (of the thirty-six Tattvas) there are two KalAs which represent the supreme and creative modes of Shakti, whether we call them Nirvana and Ami or Amritakara and AmritA Kali. The sixteenth is the creative Shakti and the Kala which is in the nature of ever exis-

tent changeless Chit (Chinm&trasvabh&v&) is the seventeenth.

To sum up. Paramashiva (Pardsamvit) in His aspects as Shiva Tattvas is the ShflnydtishQnya, so called because in His experience there is not the slightest trace of objectivity whatever. Both these aspects are Slidntdttta. Shakti then gradually unveils again the universe for the consciousness of Shiva who is PrakAsha or the Illuminating Consciousness which is the subjective aspect of things ; and the experience which is summed up as Shdnta Raid arises, extending from Shakti Tattva to Sadvidyfi, with the Shaktis, Samani, Vyfipinf, Anjani and their Kalis ; and the Shaktis of the NSda and Bindu groups with their Kalis. This is the Spheroid of Shakti (Shaktyanda) which is the abode of those glorious Beings who are called Mantram&heshvara, Mantreshvara, Mantra and Vidyeshvara. The Vi j nan Alcalas who are below Shuddhavidya are also above Mftyfi. From the unfolding of Bindu the other Spheroids emanate, which manifest the three principal forms of movement which go to the making of the universe. Next, in concentric circles arise the Spheroid of (Mayanda). the field of operation of Vidyd-kala, which is the Shakti producing the limited dual consciousness of all experiences (Pralaydkala, Sakala) below Sadvidya and in or below Maya. Lastly, the Spheroids of Prakriti and Brahma provide the vehicles in which the Expcriencer called Sakala functions. These Experiences comprise all things from Brahma downwards who are not liberated. Brahma, Vishnu and Rudra are the Lords of the spheres from Prithivi to Mdy& ; Isha and Andshrita Shiva of higher Tattvas; and lastly, Shiva of Shiva Tattva, which is the ultimate source of, but is Itself beyond, all Raids.

CHAPTER XXI

THE GARLAND OF LETTERS OR VARNAMACA

We now speak oi "V&k"— ' The Word"— a great concept of the Sh&stras. Shruti says : "Four are the steps measured by V&k. The wise Brahmana knows them. Three being hidden in the cave do not issue. The fourth is spoken by men in their speech."

The Parabindu is the Shadba-brahman : for on its differentiation arises the " unmanifest sound" (Avyaktarava), the Hidden Word from which all manifested speech and the objects which it denotes are derived. This is the state of Supreme Shabda (Parashabda), the evolution of which (Parashabdasrishti) lias been shown in the previous Chapters. In its further development the existence of mind and body is assumed. This has been discussed in the account of the evolution of the objects (Arthasrishti) which man thinks and in uttered speech names. This Shabdabrahman as appearing in bodies is Kundalini Shakti (Kundalini shabdabrahmamayl). The Shirada Tilakasays (i-Tio-112) :

Sa prasutc Kundalini shabdabrakmamayi vibhuh Shaftting talo dhvanis tasmdn itddas tasmdn nirodhikd Talo' rdhtndus talo bindtts lasrn&d dsU parti talah. “She who is Kundalini, all pervading Shabdabrahman, produces Shakti. From this came Dhvani ; from Dhvani, Nada ; from Ndda, Nirodhikd ; from Nirodhika, Ardhendu ; from Ardhendu, Bindu ; and then comes Para.”

It will be observed that just as there is a sevenfold cosmic development, it is repeated here in the case of individual bodies. Kundalini is Shabdabrahman, an aspect of Chaitanya or Consciousness (Chit). By Shakti is here meant Chit entered into by Sattva (Sattvapravishta). which is the ParamAk&shavastha. By Dhvani is meant that same Chit when entered into by Sattva (Sattvapra-

vishtA), penetrated by Rajas (Rajo'nubiddhA), which is AksharAvasthA. By XAda Is meant the same Chit penetrated by Tamas (Tamo'nubiddhA) or AvyaktavasthA. By NirodhikA is denoted that same Chit with abundance of Tamas (Taniah-prAchuryyA) ; by Ardhendu the same with abundance of Sattva (Sattva-prachuryyA). By the term Bindu is denoted that same Chit when in it there is a combination of the two (Tadubhayusangyogat). This development appears to indicate the gradual process whereby Shakti passes through subtle to more gross forms of potency until it reaches that ftfll potency for manifestation which is the GhanavasthA State or Bindu in which KriyA exists in full creative perfection. So it is said, "Moved by the strength of IchchhA-shakti (Ichchhashaktibalakrishtah), illumined by Jnana-shakti (Jnanashaktipradipitah)," that Shakti (Sa shaktih) in male form (PungrupintJ who is the Lord (Prabhu) puts forth Her who is called Action (Kriy&khyi), that is, KriyAsbakti.

The ShAradA then continues : —

Pashyanti madhyamti vdchi vaikhari shabdajanmabhkh Ichchhdjndnakriydtmd’ san tijoriipj gundtmikd Kramendtutia srijati Knndalt varnamdlik&m .

“(Then Para) and then came Pashyanti, Madhyama and Vaikhari Shabda. In this order Kundali who is Will (IchchhA), Knowledge (Jnina) and Action (Kriya), who is both Light (Tejorupa, and ChidrfipA ; in Herself consciousness) and in the form of the Gunas (GunAtmikA, that is, Prakriti) creates the Garland of Letters."

Para is Shabda as Parabindu and is motionless (Nishpanda). This as already explained becomes threefold and the threefold aspects from the Shabda stand-point are Pashyanti, Madhyama, Vaikhari. Each of these are manifested forms of the Unmanifested Parabindu or Shabdubrahman. It is, as Raghava says, by shifting to

another place in Her (A sydnt eva bittdtth sthun&ttliiragatah ) that Bindu which is Para when unmanifested and motionless is called Pashyanti, Madhya and Vaikhari speech (V&k). ParS is in the Mul&dh&ra chakra, Pashyanti in Svadhishthana (and upwards), Madhyama in Anahata (and upwards), and Vaikhari in the throat. In Kundali, Shakti is subtle (Sukshma) and in the form of mere Light Jyotirm air alma tup i ni) and not an object of hearing ( Ashrot ra vishnya) . Thence She goes upward (L'rddhvagamini) and becomes Pashyanti. self-manifesting (Svayangprakasha) in the Sushumna Nadi (Sushumnam ashrita). She again becomes Madhyamft as a form of Nada (NSdarQ- pint) when reaching the Heart Lotus (Anahata). Then She goes upward as a mere undifferentiated ‘‘hum'’ (, Sanjalpamatra avibhakld). It is She who appearing at the chest, throat, teeth, nose, palate and head assumes the form of all letters (Varna) issuing from the root of the tongue and lips, and thus becomes Vaikhari, the Mother of all sounds, audible to the sense of hearing (Rftghava Bhatta). The same Commentator then says, citing the Kftdimata section of TantrarSja, “Under the influence of one’s own will ( SvAtmcchchhuskakti - ghatena ) a high (Uttama) form of the Nada called Para generates in the MfM&dhara as Priinav&yu {PrUnnvayusvarupatah). This when carried up by will (Ichchhfi) and made to appear in Ihe Svadhishthana is called Pashyanti associated with Manas. Gradually led up by Her it is called MadhyamA associated with Buddhi in the Anahata. Carried still further upward it is called Vaikhari in the Vishuddha in the region of the throat. Thence it is generated as the letters from A to Ksha through its presence at the head and throat. Thence it is generated as the Letters from A to Ksha through its presence at the head, throat, palate, lips, teeth, tongue (root, tip and back), nose, palate, and throat (together), lips and

teeth (together), and throat and lips (together). Their letter-hood (Aksharatva) is said to be due to their being divided inro different parts beginning with the letter A and ending with Ksha.”

It is Chit-Shukti which is called Parft, that is to say, it is Par3 V&k not moved to vibration by the M4y& which reveals (ParApruktishikA M dya nishpandd) on account of its bearing the reflection of Chaitanya [Chaitany&bhasavishishiatayd). The vibratory states are Pasliyanti and the other two (Saspandttvasthah pashyantyddyAh). Pashyanti which is in the nature of Bindu ( Bindutattv&t - rnikd) is the form of a general (that is, not particularised) motion {Samanyapraspandaprakasharupini), which is manifested in the region between the Muladliara and the Navel ( Mdhidhdrddindbhyaiitaravyakiisthdnd ). It is called Pashyanti because of its being Jnana (J ndtidlmakatvat). It is associated with Manas. Madhyamd is in the form of the internal and external instruments (lidhycinSafikarar.dtmikd) and manifests as Nadabindu (Nddabindumayt). Hiranyagarbha sound (Hiranyagarbharupini ) is in the reigon extending from the navel to the heart (Ndbhyddikridayantdbhivyaklislhdnd). It is associated with the Tattvas of specific ideation and so forth (Vxshi’shasangkaipddisataUvd). She is Madhyamd when Buddhi is Madhyamd. Madhyamd is middle, that is, “in the midst" between Pashyanti which is "Seeing” (Ikshana) and Vaikhari which is utterance. She is neither like Pashyanti nor does She proceed outward like Vaikhari with articulation fully developed. But She is in the middle between these two. Vaikhari is a form of Bija (BljMmikd) as Madhyamd is of Ndda {Nddardpini), and as Pashyanti is of Bindu (BindvdtmiM). Vaikhari is manifested in the region from the heart to the mouth {HridayddyAsydnlabkivyaktislhand). It is called Vaikhari according to Rdghava on account of its particular

(Vishesha) hardness (Kharatva). Bhaskarariya (Lalita v. 81) derives it from Vivcry ; Kharahard. According to the Saubhitgya-Sudhodaya, Vatcertainly ; Kha— cavity (of the ear) : Rato go or enter. But according to the VogashSstras the Devi who is in the form of Vaikharl (V aikhartrdpA) is so called because She was produced by the Pr&na called Vikhara. This is Viritshabda, that is, the manifested letters which singly, or in combination, make certain sounds which are called Mantras. Strictly speaking nil uttered sounds are Mantras, all uttered speech having a common origin or development : but in the more usual sense, Mantra means those letters or combination of letters which arc used in Upasana and Mantrayoga and are the Mantras of the DevatSs of Shastrik worship. The Arthasrishti of Kundalini arc tiro Kalis which arise from the letters such as the Rudra and Vishnu MQrtis, their Shaktis and so forth.

The root “Man" means "to think” and the suffix "tra” indicates the saving character of Mantra. I have elsewhere spoken of Mantra as “thoughtmovement vehicled by and expressed in speech” and as being a "power in the form of idea clothed with sound.” I find that this has lei to misunderstanding. I will therefore make my meaning clearer. The one supreme Shakti appears in dual aspect as the Word, the Sense by which as uttered sound it Is heard, and as the Object or Artlia which the w'ord denotes. The child is taught the meaning of words. Such and such an object is pointed out as being indicated by a word. But a Mantra is the Devati. The Sadhaka is taught who that Dcvatt is. He does not however at once sec that Dcvata. At this stage the Devata exists for him clothed with or as an audible sound, which evokes a particular thoughtmovement or transformation of mental substance. The next stage is by Mantra- Sadhana to realise that Devata ;

to know it not only as a word and its mental counterpart, but as a form of that Power of which they are hut a faint reflection in the world of mind and matter. That Power is infinitely greater than either, and the Mantra is a particular form of DevatA vehicled as all else in the world by mind and matter. The power by which the Devata is realised is also Shakti, that is, S&dhana-Shakti, that is again the power of the individual Sadhaka to realise by SAdhanA. The Devata whom he is taught to realise is infinitely greater than that. All is Shakti, but what is sought to be realised is Shakti Hqrsclf presented to the SAdhaka in the Mantra form. Brahman is of course in all things as their substance and all forms of becoming are without exception Shakti. But these forms arc only Shakti as such. As such limited forms we realise them at once. For this we requiie mind, senses, and attention only in their functioning. But the Devata, which the Mantra is, cannot be realised in this way only, since in Itself (that is other than as the sound heard, and the idea it evokes) it is not an object in the ordinary material universe. The Sadhaka has to pierce through the vehicle of the audible Shabda and realise the DcvatA whose form the Mantra is. He is enabled to do this by the co-operation of the Mantra-Shakti with his own SAdliana Shakti. The latter gives to those who exert their own power (SAdhanA Shakti) the ability to achieve. At length and by striving, the Consciousness which manifests as SAdliana Shakti unites both, and the Consciousness, which is the DevatA, is thus realised and in this sense appears to the Sadhaka. This is the Saguiia or V&chaka form of Devata. and this when realised at length procures for the SAdhaka a realisation of the V Achy A Shakti which the Saguna Devata indicates. In short the Devi or Supreme Shakti has two "forms,” Her gross (Sthtlla) Saguna form as Mantra (Mantramayi) and Her

subtle (Sfikshma) form as "light" (Jyotirmayl). Realisation is the passage from that indirect knowing, through word and its mental counterpart, to that direct knowledge which is union with the Devata whose form a particular Mantra is.

Shabdabrahman is all-pervading, undifferentiated Shakti, and Mantra is Its particular manifestation. It is Varn&tmakashabda (Lettered sound) manifested by Akaslia caused by the contact of the surrounding air with the vocal organs, the formation of which in speech is in response to the mental movement or idea, which by the will thus seeks outward expression as audible sound. All Shabda has its corresponding Artha, for neither can be dissociated from the other. The word "Artha’’ comes from the root "R»” which means to get, to know, to enjoy. Artha is that which is denoted by Shabda and is that which is known and enjoyed. This Artha is either subtle (Sfikshma) or gross (SthOla). The latter is the outer physical object which speech denotes and the former is the Vritti (modification) of the mind which corresponds to the gross Artha : for as an object is perceived the mind forms itself into a Vritti which is the exact mental counterpart of the object perceived. The mind has thus two aspects, in one of which it is the perceiver (Grahaka) and in the other the perceived (Gr&hya) in the shape of the mental impression. That aspect of the mind which cognises is called Shabda or NAma (name) and that aspect in which it is its own object or cognised is called Artha or ROpa (Form), Shabda being associated with all mental operation. In the evolution of the universe the undifferentiated Shabda divides itself into subtle Shabda and subtle Artha which then evolve into gross Shabda and gross Artha. For the Cosmic Mind projects its subtle Artha on to the sensuous plane which is then a physical grossArtha named in spoken

speech. Thus the subtle Shabda associated with cognition is called Mdtrikd and the subtle Artha is the mental impression ; whilst the gross Shabdas are the uttered letters {Varna) denoting the gross outer physical object (Sthula Artha).

Just as the body is causal, subtle, gross, and as there are three cosmic and individual states, dreamless sleep, dreaming, waking ; Prdjna, Taijasa, Vishva ; Ishvara, Hiranyagarbha, Vaishvdnara or Virdt ; and a fourth transcendent state or Turfya ; so there are three states (Bhava) of sound Pashyanti, Madhyamd, Vaikharl developed from a fourth supreme and undifferentiated state (Para). This last and Pashyanti represent the causal asj>ect of Shabda, for Pashyanti is the actual moving aspect of the unmoving Para. Madhyma is Hiranyagarbhashabda. This SOkshmashabda and its corresponding Artha belong to the subtle body (Linga Sharira). In creation the Cosmic Mind first develops Pashyantishabda and Artha, and then projects this subtle Artha into the world of sensuous experience and names it in spoken speech developed in the throat and issuing from the mouth. Vaikhari is Viratshabda belonging, as well as the physical objects it denotes, to the gross body (Sthiila Sharira). This last Gross Shabda is language, that is, sentences (V&kya), words (Pada) and letters (Varna) which are the expressions of ideas and Mantra. Pashyanti is characterised by non-particular general movement (Saradnyaspanda), the first undefined push of the V&yu towards manifestation ; Madhyamd is specific, movement (Visheshaspanda), the Vayu commencing to differentiate ; and Vaikhari is Spashtataraspanda, that is, the clear separate movements of articulate speech. Mental Artha is a Sangsk&ra, an impression left on the subtle body by previous experience and which is recalled when the jiva re-awakes to world-experience and re-

THE CAF I^D OF LETTERS OR VAFNAMAT.A

collects tlie experience temporarily lost in the cosmic dreamless state (Sushupti) which is dissolution (Pralaya). The Cause (Karana) which arouses this Sangskara is the Shabda or Nima, subtle or gross, corresponding to that particular Artha. There is thus a double line of creation from the Shabdabrahman, namely, language expressive of ideas and the objects which these denote. Uttered speech is a manifestation of the inner "naming” or thought which is similar in men of all races. Possibly for this reason a thought-reader whose cerebral centre is tn rapport with that of another may read the hidden "speech," that is, the thought of one whose spoken speech he cannot understand. Vaikharishabda however differs ; n various races owing to racial and climatic conditions, the physical formation of the vocal organs and so forth. But for each particular -man speaking any particular language:, the uttered name of any object is the gross expression of his inner thought movement. It evokes that movement and again expresses it. It evokes the idea and that idea is consciousness as mental operation. That operation can be so intensified as to make itself creative. This is Mantra-chaitanya when thought is not only in the outer husk but is vitalised through its conscious centre.

The above is but the Mantra way of saying that the homogeneous Consciousness differentiates as Shakti and appears as subject (Shabda) and object (Artha), at first in the subtle form of mind and its contents generated by the Sangsk&ra and then in the gross form of language as the expression of Ideas and of physical objccts(Artha), which the creative or Cosmic Mind projects into the world of sensuous experience to be the source of impressions to the individual expericncer therein. The natural name of any thing is the sound which is produced by the action of the moving forces which constitute it. He

therefore, it is said, who mentally or vocally utters with creative force the natural name of anything brings into being the tiling which bears that name. Thus "Ram" is the Bija of fire ; and is said to be the expression in gross sound (Vaikhari-shabda) of the subtle sound produced by the activity of, and which is, the subtle fire-force. The mere utterance however of "Ram” or any other Mantra is nothing but a movement of jhe two lips. When however the Mantra is awakened (Prabuddha). that is, when there is Mantra -chaitanya, then the Siidhaka can make the Mantra work. However this may be, in all cases it is the creative thought which ensouls the uttered sound which works now in man's small magic, just as it first worked in the grand magical display of the World- Creator. His thought was the aggregate, with creative power, of all thought. Each man is Shiva and can attain His power to the degree of hi? ability to consciously realise himself as such. Mantra and Dcvat& are one and the same. By Japa the presence of the latter is invoked. Japa or repetition of Mantra is compared to the action of a man shaking a sleeper to wake him up. The two lips are Shiva and Shakti. Their movement is the coition (Maithuna) of the two. Shabda which issues herefrom is in the nature of Bindu. The Devatfk thus produced is as it were the son of the Sadhaka. It is not the Supreme Devata (who is actionless) who appears, but in all cases an emanation produced by the Sftdhaka for his benefit only. The Boy-Shiva (Bala-Shiva) who thus appears is then made strong by the nurture which the S&dhaka gives to his creation. The occultist will understand all such symbolism to mean that the Devata is a form of the consciousness of the pure Sadhaka, which the latter arouses and strengthens and gains good thereby. It is his consciousness which becomes BiUa-Shiva and which when strengthened is the

full-grown Divine Power Itself. All Mantras are in the body as forms of consciousness (Vijn&narflpa). Wien the Mantra is frilly practised, it enlivens the Sangsk&ra and the Artha appears to the mind. Mantras are thus a form of the Sangski'iras of Jivas — the Artha of’which appears to the consciousness which is pure. The essence of all this is— concentrate and vitalise thought and will-power. But for such a purpose a method is necessary, namely, language and determined varieties of practice according to the end sought. These Mantravidya (which explains what Mantra is) also enjoins. For thought in the sense previously stated, words {gross or subtle) are necessary. MantravidyS is the science of thought and of its expression in language as evolved from the Logos or Shabdabrahman Itself.

It is in this sense that the universe is said to be composed of the Letters. It is the fifty (or as some count them fifty-one) Letters of the Sanskrit alphabet which are denoted by the Garland of severed heads which the naked Mother Kali, dark like a threatening rain cloud, wears as She stands amidst bones and carrion, beasts and birds, in the burning ground, on the white corpselike (Shavarupa) body of Shiva. For it is She who "slaughters.” that is. withdraws all speech and its objects into Herself at the time of the dissolution of all things (Maliipralaya). From Her in Her aspect of Mah&kundali coiled round the Shivabindu they are derived. Mabakundall when with one coil is Hindu ; with two Prakriti-Purusha ; with three the three Shaktis (IchchhS, Jn&na, Kriya and the three Gunas, Rajas, Sattva.Tamas); with three and a half She is then actually creative {Srishtyunmukhi) with Vikriti. Then with lour coils and so on to 5X. She is according to the Shaktisanggama Tantra (Utpatti Khanda, UllSsa i) Ekajata, Ugratara. Siddliakali, Kalasundari, Bhuvaneshvari, Chandikeshvari,

Dashamah&vidya (ten coils), Shmash&nakalika, Chandabhairavi, Kamat4ra, VashlkaranakHlikS, Panchadashi, Shodashi, Chhinnamastft, Mahimadhumall, Mahapadmilvati, Rama, Kamasundari, Dakshinakalik&, Vidveshi, Gdyatri (24 coils), Panchami, Shashthi, Mahfiratneshvari, Millasanjlvanl, Param&kali, MahSnilasarasvatl, Vasudhfira, Trail okya-mohint, TrailokyavijayH, Mahikimatarini, Aghor4, Samitamohini, BagalA, Arundhati, AnnapdrnS, Nakuli, Trikantaki, RAjeshvatS, Trailoky4karshini, Rajarajeshvari, Kukkuti, Siddhavidy4, Mrityuharini,, Mahibhagavati, Visavi, Phetk&ri, Mahfishrim&trisundari, and Shrimatrikotpattisundari (coils 51) respectively. Each coil is said to represent the Matrika or subtle form of each of the letters (Varna) and to donote the number of Kutas or divisions in the Mantras of each of these Devatas. Mahikundali coiled round the Shivabindu, as it were a mathematical line without magnitude, makes with it one point. When the time tor creation comes She uncoils Herself and creates the whole universe in the form of the Letters and the objects which they denote. Having so created it, She again rests as Knndali in the root centre of the body (MdlAdhara) of all living creatures from which She issues as Pashyanti, Madhyami, and Vaikhari Shabda. Man’s body is called in the Tantras a microcosm (Kshudrabrahnianda), containing within itself all which is in the universe (Maliabrahmanda) of which it is a part. The Yoginihridaya Tantra(Chap. I. 36) says that, when Shakti first "sees” (chat is, ideates), She is Parama Kala in the Mother form (Arabikarupa) which is both supreme Peace (Parama Shinto) au^ Supreme Speech (Para vak). She sees the manifested Shabda from Pashyanti to Vaikhari. The Pashyanti state is that in which Will (Ichchha-shakti) is about to display the universe then in seed (Bija) form. This is the Shakti Vania. Madhyami V4k which is knowledge (Jndna) is Jyeshtha.

THE GARLAND OF LETTERS OR VARXAMALA

Here there is the first assumption of form as the M&trika (MAtrik&tvam dpannA), for here is particular motion (Visheshaspanda). The Vaikhari state is that of Kriya Shakti (action) whose form is that of the gross universe. As the former Shakti produces the subtle letters or Matrika which are the Vasana, so the latter is the Shakti of the gross letters (Varna) of words aud their objects. These letters form the Garland of the Mother (VarnamalS), issuing from Her as Kundali and absorbed by Her in the Yoga which bears Her name.

As the Yogakundalf Upanisliad says ' "That Vak

(Power of speech or Logos) which sprouts in Para, gives forth leaves in Pashyanti. buds in Madhyam 4 , and blossoms in Vaikhari. By reversing the above order sound is absorbed. Whoever realises the great Lord of Vak, the undifferentiated illumining Self is unaffected by any word (Shabda), be it what it may." As the Halhayogapradipiki (IV.101-102) concisely says: "Whatever is heard in the form of sound is Shakti. The absorbed state (Laya) of the Tattvas (Prakritis evolutes) is that in which no sound exists. So long as there is the notion of Ether, so long is the sound (that is, vibration) heard. The soundless is called Parabraliman or Param 4 tma.” Shabdabrahman is thus the Brahman in its aspect as the cause of the manifested 5 habd 4 rtha. It is the ideating kinetic aspect 01 the undifferentiated Ether of Consciousness, the Chid&kisha of Phlosophy and the Saguna Brahman of worship. It is Chit Shakti vehicled by undifi'ereutiated Maya Shakti or the manifesting Godhead-uncreated, unborn, eternal, evolving the changing worlds of name and form (Namarupa) by its wondrous and uiiscrutable Maya. Therefore, as Chandi says, "Reverence to Her Who is eternal, Raudri, Gauri, Dhitrt, reverence and again reverence ; to Her who is the Consciousness in all beings, reference and again reverene."

CHAPTER XXII

The ancient Hindus had an aptitude, much to be appreciated in these often verbose days, of saying a great deal in a few words. The Mantra " Om " is an instance. For this short syllable contains a whole philosophy which many volumes would not suffice to state— an Eastern philosophy 1 may add which is gaining increased support from Western science. These two will be before long reconciled when the latter has cast aside what a friend calls its "habit blinkers." Tne beneficial result will, it is hoped, be a science which is religious, and a religion which is scientific.

The Mantra “ Om " is composed of three letters— A, U, M,— of which the first two vowels coalesce into 0. Over the Om is written the sign Chandrabindu or N&da and Hindu, shown as a crescent with a dot or point over it. N&da and Bindu are two of many aspects of That which in India is called the Mother, or Great Power (Mah&shakti), as it was by the near East called Magna Mater and by the Gnostics Megale Dunamis. This is both the efficient and material Cause of the universe which is Its form or body. N&da is the Mantra name for the first going forth of Power which gathers itself together in massive strength (Ghanibhfita) as Bindu to create the universe, and which Bindu, as so creating, differentiates into a Trinity of Energies which are symbolised by A,U, M. N&da and Bindu thus represent the unmanifested "fourth” (Turtya) state, immediately before the manifestation of the world, in which animate life exists in the three conditions of dreamless sleep, dream, and waking. Man always anthropomorphises. In the West he calls

the Creator the Father. More aptly Supreme Creative Being in the East and by the Sh&ktas is called the Mother, for this Power conceives in Its Womb.which is Consciousness, gives birth to and nourishes, the Universe. The first Mantra into which a child is initiated is Ma or Mother, for that is its first word, and Mother is often the last word on the lips of the dying. Reverence to the natural Mother is reverence to the Mother of all and they who in life and at death drink the milk of that Mother attain to Her. Moreover in the world the Mother-aspect of Her who is Brahman is alone fully manifested. What She is in Herself (Svarftpa) is not known to mind or senses. The YoginiUridyaya Tantrasays: "What man knows the heart of a woman ? Only Shiva knows the Heart of Yogini." This is the Cosmic Heart of the universe whose systole and diastole is tin 1 going forth and return 'of millions of worlds. This process Br&hmanism calls Pravritti and Nivritti, and Taoism (which is perhaps a Chinese adaptation of the doctrine of the Upanishads) names it Yang and Yinn. Relatively to man's knowledge the Supreme Power is said to be in Itself Being (Sat). Consciousness (Chit) and Bliss (Ananda). The Primordial Power or Adya Shakti is inconceivably beyond manifested personality, for this is limited experience hedged in by mind and matter. Though not in Itself a Poison as we understand that term, It is ever personalizing in the form of all individual (Vyashti) things in the world. It is also a Person as the aggregate (Samashti) of all such personalities. Whilst infinite, it contains in Itself the sum of all human and other experience. Whilst the Power (Mahashakti) is in Itself beyond mind and senses in that darkness (as man thinks it to be) which is the body of Mahakali, its manifestations are seen. It is with reference to such manifestation inferred to be the Radical Vital Potential which is, as it were, the thread (Sfltratmi)

THE GARI.AND OF LETTERS

of the whole series of beings, which form one Vital Continuity, a principle on which Indian Monistic philosophy is based. Nothing lias an absolute commencement or end. AU is transformed. Birth and death are modes thereof. Each existence is as it were a knot tied in an infinite rope which knot is made at birth and untied at death. Something docs not come from nothing, and something never becomes nothing. An absolute beginning or end is inconceivable. Particular universes come into being and go. Birth, life and death are modes of the universal transformation governing all organic life "from a blade of grass to Brahma Himself." The divine infinitude is ever such, but appears as limited function and its effects, and as apparently discontinuous.because of the limitation of the senses which perceive its workings. The whole Fact is never present to consciousness, but only that section to which pragmatic attention is for the moment given, and which therefore appears localised and in succession of time. Nevertheless there is an infinite Vital Continuity stretching from the Radical Potential to its actualisation as the crust of matter, which is but an infinitesimal portion'd the effect produced by the function of Substance relative to the whole universal efficiency. For ether (Akasha) is more continuous than matter which is but the outer crust of the Central Power. Ether is continuous and all pervading and is said to be more than a thousand times denser than gross ponderable matter. The visible earth is therefore but a microscopic point evolved by the Vital Power (Shakti) of substance (Shiva) in the midst of the invisible, perpetually active, but it* its own nature (Start) pa) unaffected Divine Substance pervading all space. Therein nothingtruly exists independently of another, bnt all are transformations of the one Power. And as that Power is Itself vital and creative, its products or rather transformations

of Itself are that. As It is Being with the potentialities of all life in form, none of its manifestations are "dead," though in common parlance we concede “life” only to that which displays evolutionary growth. The search therefore for the origin of life is futile, since life is eternal and had no beginning.

All things are part of the one Mother who is Life itself. It displays itself in innumerable forms, but the vastest generalisation of Its working discloses three movements of creative upbuilding, of destructive disintegration. and the holding of these two opposing forces in equilibrium. Nada-bindu differentiate into the Trinity of Will (Ichchha), Knowledge (Jnana) and Action (KrlyA), "Sun," “Moon,” and “Fire," and this selfexplicating Power manifests in matter in the threefold manner described. These three Powers are A. U. M. or the Devatas BrahmA, Vishnu, Rudra. These are not "Gods." There is only one God. They are Devas or "Shining ones," being aspects and specific manifestations of the One Divine Power whose Feet (in the words of Sh&stra) even Brahma, Vishnu and Rudra worship. They arc scientific concepts deified, and rightly so, for their content refers to aspects of the Supreme Power which is God. Scientifically jhey stand for the three functions of Vital Substance. It is incorrect to suppose that God in His aspect as BrahmA created the world some millions of years ago and has since done nothing, or that He in His form as Rudra has as yet had no-opportunity of displaying His power of dissolution. BrahmA is always creating and recreating the elements of manifested substance which Rudra is ever breaking down. Throughout Nature there are these twin forces upbuilding and destroying forms, integrating and disintegrating, anabolism and catabolism tending to change and conservation of tissues and so on. The three aspects

A, U, M, of the Primordial Power (N&da-bindu) are always operating. Whilst Rudra is, by chemical destruction, breaking down the combinations of matter and thus working towards the linal dissolution of things, that is the disintegration of forms into cither its more general elements (MahibhGta) or into the formless substance (Prakriti) the material Cause of all, Brahma creates it anew by His ever rejuvenescent molecular activity, thus rescuing organised vitality from the processes which are ever at work to consume its forms. Vishnu again is the power which stabilises matter in the midst of these conflicting forces and thus maintains all Existences. Things only possess relative stability. So it is that the Power of Rudra works its purpose at the end. Matter itself is only a relatively stable form of Energy from which as Supreme Will it appears and into which.on the attainment of its terminal state, it again merges. It is Vishnu who holds it together in equilibrium. Again leaving individual existences and looking at the sum total of manifested Energy, Vishnu, the Maintained throughout Space and Time, is a theological statement of the general Conservation of Energy. To these intuited laws and truths objective science is giving increasing support. In this sense " Om ” is the Pratika or representative of the Radical Vital Potential of the Universe and of the Trinity of Energies by which It actualises and materialises Itself as the five forms of “ matter '* (though Ether is not ponderable matter), namely ethereal (Akasha), aerial (Vayu), fiery (Agni), liquid (Ap) and solid (Prithivi). Through worship of and meditation on this Pratika, with all its implications, man, according to Advaita Ved&nta, realises himself as the one vital Shakti who is the Mother of all.

CHAPTER XXIII.

THE NECKLACE OF KALI.

The world has never been altogether without the Wisdom— the Mula Veda nor its Teachers. The degree and manner in wliich it has been imparted have, however, necessarily varied according to the capacities of men to receive it. So also have the symbols by which it has been conveyed. These symbols further have varying significance according to the spiritual advancement of the worshipper. This question of d<^>rec and variety of presentation have led to the superficial view that difference in beliefs negatives the existence of any commonly established Truth. But if the matter be regarded more deeply, it will be seen that whilst there is one essential Wisdom its revelation has been more or less complete according to symbols evolved by, and, therefore, fitting to, particular racial temperaments and characters. Symbols are naturally misunderstood by those to whom the beliefs they typify are unfamiliar, and who differ in temperament from those who have evolved them. To the ordinary Western mind the symbols of Hinduism are often repulsive and absurd. It must not, however, be forgotten that some of the symbols of Western Faiths have the same effect on the Hindu. From the picture of the "Slain Lamb," and other symbols in terms of blood and death, he naturally shrinks in disgust. The same effect on the other liand is not seldom produced in the Western at the sight of the terrible forms in which India has embodied Her vision of the undoubted Terrors which exist in and around us. All is not smiling in this world. Even amongst persons of the same race and indeed of

the same faith we may observe such differences. Before the Catholic Cultus of the “Sacred Heart" had overcome the opposition which it at first encountered, and for a considerable time after, its imagery was regarded with aversion by some who spoke of it in terms which would be to-day counted as shocking irreverence. These differences are likely to exist so long as men vary in mental attitude and temperament, and until they reach the stage in which, having discovered the essential truths, they become indifferent to the mode in which they are presented. We must also in such matters distinguish between what a symbol may have meant and what it now means. Until quite recent times the English peasant folk and others danced around the flowerwreathed .Maypole. That the pole originally (like other similar forms) represented the great Linga admits of as little doubt as that these folk, who in recent ages danced around it. were ignorant of that fact. The Bishop’s mitre is said to be the head of a fish worn by ancient near-eastern hierophants. But what of that ? It has no such associations now.

Let us illustrate these general remarks by a short study of one portion of the KAlt symbolism which affects so many, who are not Hindus, with disgust or horror. Kali is the Deity in that aspect in which It withdraws all things which it had created into Itself. Kali is so called because She devours KAla (Time) and then resumes Her own dark formlessness.

The MahAnirvAna Tantra says (IV. 30-34) of the Supreme Mother “Thou the supreme Yogini moved by His mere will doth create, maintain and withdraw the w’orld with all that moves and ft motionless therein. Mahakala (Great Time) the Dissolver of the universe is Thy form. At the dissolution of things it is KAla (Time) who will devour all and by reason of this He is called

THE KECKI A(E OF KALE

MaMkila and since Thou devourest MahSkfila Himself it is Thou who art called the Supreme Primordial Kalika.

“Because Thou devourest Kala, Thou art called Kali and because Thou art the origin of and devourest all things Thou art called the Ady& Kali. Resuming after Dissolution Thine own nature dark and formless, Thou alone remainest as One, Ineffable, and Inconceivable. Though appearing in form Thou art yet formless ; though •Thyself without beginning, multiform by the Power of MSyi, Thou art the beginning of all, Creatrix, Protectress and Destructress that Thou art". From Her then, in Her nature one with Shiva — the state which is Ashabda, issues all letters and words (Shabda) and the world of things (Artha) which they denote. Into Her as Kfili thev are dissolved.

The scene is laid in the cremation ground (Shntashftna) amidst white sun-dried bones and fragments of flesh, gnawed and pecked at by carrion beasts and birds. Here the "heroic” (Vfra) worshipper (S&dhaka) performs at dead of night his awe-inspiring rituals. Kali is set in such a scene for She is that aspect of the Great Power which withdraws all things into Herself at, and by, the dissolution of the universe. He alone worships without fear, who has abandoned all worldly desires, and seeks union with Her as the One Blissful and Perfect Experience. On the burning ground all worldly desires are burnt away. She is naked and dark like a threatening rain-cloud. She is dark, for She who is Herself beyond mind and speech, reduces all things into that worldly “nothingness,” which as the Void (Shflnya) of all which we now know, is at ihe same time the All (Pflrna) which is Light and Peace. She is naked, being clothed in space alone (Digambarl). because the Great Power is unlimited; further She is in Herself beyond Maya ; that

Power of Herself with which She covers Her own nature

and so creates all universes. She stands upon the white corpse-like (ShavarOpa) body of Shiva. He is white, because He is the illuminating (Prakflsha) transcendental aspect of Consciousness. He is inert, because He is the changeless aspect of the Supreme.and She the apparently changing aspect of the same. In truth She and He are one and the same, being twin aspects of the One who is changclossncss in, and exists as, change. Much might be said in explanation of those and other symbols such as Her loosened hair, the lolling tongue, the thin stream of blood which trickles from the corners of the mouth, the position of Her feet, the apron of dead men's hands around Her waist, Her implements and so forth. Here I take only the garland of freshly-severed heads which hangs like a VanamSla low from Her neck.

Some have conjectured that Kali was originally the Goddess of the dark-skinned inhabitants of the Vindhya Hills taken over by the Br&hmanas into their worship.

One of them has thought that She was a deified Princess of these folk, who fought against the white incoming Aryans. He pointed to the significant fact that the severed heads are those of white men. The Western may say that K51I was an objectification of the Indian mind, making a Divinity of the Power of Death. An Eastern may reply that She is the Sangketa (symbol) which is the effect of the impress of a Spiritual Power on the Indian mind. I do not pause to consider these matters here.

The question before us is. what does this imagery mean now, and what has it meant for centuries past to the initiate in Her symbolism ? An exoteric explanation describes this Garland as made up of the heads of Demons, which She as a power of righteousness, has conquered. According to an inner explanation given in the Indian Tantra Sh&stta this string of heads is the Garland of Letters (Varnamil&), that is the fifty, and as some count

it, fifty-one letters, of the Sanskrit Alphabet, The same interpretation is given in the Buddhist Demchog Tantra in respect of the Garland worn by the great Heruka. (See Vol. VII of A. Avalon's Tantrik Texts). These letters represent the universe i^f names and forms (N&marflpa) that is Speech (Shabda) and its meaning or object (Artha). She, the Dcvourerof all, "slaughters," that is, withdraws, both into Her undivided Consciousness at the Great dissolution of the Universe. She wears the letters which She as Creatrix, bore. She wears the Letters which, She. as the Dissolving Power, takes to Herself again. A very profound doctrine is connected with these letters, which space prevents me from fully entering into here. I have set it out elsewhere in greater detail. The movements of Her creative projection are indicated by the Letters subtile and gross which exist on the Petals of the inner bodily centres or Lotuses.

Very shortly stated, Shabda which literally means Sound— here lettered sound— is in its causal state (Para shabda) known as "Supreme Speech" (Part Yak). This is the Shabdabrahman or Logos ; that aspect of Reality or Consciousness (Chit) in which It is the immediate cause of creation : that is of the dichotomy in Consciousness which is "I" and "This,” subject and object, mind and matter. This condition of causal Shabda is the Cosmic Dreamless State (Sushupti). This Logos awakening from Its Causal Sleep “sees," that is, creatively ideates the universe, and is then known as Pashyanti Shabda. As Consciousness "sees" or ideates, forms arise in the Creative Mind, which are themselves impressions (Sangskira) carried over from previous worlds, which ceased to exist as such when the Universe entered the state of causal dreamless sleep on the previous dissolution. These re-arise as the formless Consciousness awakes to enjoy once again sensuous life in the world of form s.

The Cosmic Mind is at first itself both cognising subject (Gr&haka) and cognised object (Gr&hya) ; for it has not yet projected its thought into the plane of Matter : the mind as subject-cogniser is Shabda and the mind as the object cognised, that is the mind in the form of object is subtle Artha. This Shabda called Madhyamft Shabda is an "Inner Naming” or "Hidden Speech.” At this stage, that which answers to the spoken letters (Varna) are the “Little Mothers" or Matrika, the subtle forms of gross speech. There is at this stage a differentiation of Consciousness into subject and object but the latter is now within and forms part of the self. This is the state of Cosmic Dreaming (Svapna). The Cosmic Mind then projects these mental images on to the material plane and they there become materialised as gross physical objects (Sthilla Artha) which make impressions from without on the mind of the created consciousness. This is the cosmic waking stage (J&grat). At this last stage the thought-movement expresses itself through the vocal organs in contact with the air as uttered speech (Vaikhari Shabda) made up of letters, syllables and sentences. This lettered sound is manifested Shabda or Name (Nama) anil the physical objects denoted byspeech are the gross Artha or Form (Rupa.)

This manifested speech varies in men, for their individual and racial characteristics and the conditions, such as country and climate in which they live, differ. There is a tradition that there was once a universal speech before the building of the Tower of Babel, signifying the confusion of tongues. Of these letters and names and their meaning or objects, that is concepts and concepts objectified the whole Universe is composed. When Kali withdraws the world, that is the names and forms which the Letters signify, the dualism in consciousness, which is creation, vanishes. There is neither "I” (Aham)

THE NECKLACE OF KALI

nor "This” (Idam) but the one non-dual Perfect Expeperiencc which Kali in Her own true nature (Svatfipa) is. In this way Her Garland is understood.

"Surely’' I hear it said "not by all. Does every Hindu worshipper think such profundities when he sees the figure of Mother Kali ?" Of course not. no more than, (sav) an ordinary Italian peasant knows of, or can understand. the subtleties of either the Catholic mystics or Doctors of theology. When, however, the Western undertakes to depict and explain Indian symbolism, he should, in the interest both of knowledge and fairness, understand what it means both to the high as well as to the humble worsliipper. Salutation is thus made to Her from whom the mind and its thoughts proceeds and the language (V&k) in which they arc expressed. Vak is Prakasha, the illuminating consciousness, and Artha is Vimarsha its object. Vak is in the form of Varna (letters), Pada (syllables) Mantra. Artha is KaU\, Tattva, and Bhuvana the other so called AdhvSs. (See Cb. 27). Out of Vak and Artha tli whole world, consisting of six Adhvas (Shadadhv&tmaka) originated. Round the neck of Kali the Letters (Varna) which make the syllables (Pada) and Mantra are hung. In Her they are dissolved in the fiery ending of the worlds.

CHAPTER XXIV

DHVAJ01

Motion may be cither produced or unproduced. The latter is the causal stress itself, and the former the effect of it. In the world, sound is produced by the contact of one thing with another— of (say) the hand and the drum in case of unlettered sound and the vocal organs and air in the case of uttered speech. Causal stress itself is uncreate, is self-produced and not caused by the striking of one thing against another. For this reason it is called Anahata. This Anahata Shabda which is Brahman-movement is heard in the heart which It has produced and which It causes to pulse, a movement which we can feel and hear.

This uncreated self-existing Shabda as causal stress manifests in double form as unlettered sound or Dhvani and is thus called Dhvany&ttBaka Shabda and as lettered sound or Varna which is Vamfitmaka Shabda. And so the Bh&sh&pariclichheda says Shabdo dhvanischa vatmshcha mridangadibkavo dhvanih, Kantha-sa ngyoga -ja n via i: o varuddydh kttdayo matah.

That is Shabda is of two kinds — Dhvani and Varna. The first is illustrated in the sound given forth by a drum and the like. In the production of the second the throat organ is exercised and it is manifested as Ka, Kha and the other letters of the Alphabet. That is in certain sounds such as the beating of a drum, the roar of thunder, the sounds of laughing, crying and so forth no letters appear to be manifested (Varna-visheshdnabhivyanjaka) but that in certain others, letters or Vamas are manifested as in the case of sounds of articulate speech. The former class are called Dhvanis and the latter Vamas.

In both case it is to be observed that sound is produced by the clashing (AbhighSta) of two created things, viz., the drum and the hand or drumstick and the vocal organs in contact with the circumambient air.

The distinction therefore between the two classes dote not depend upon this — (i) that whilst Varaas arc produced by the mutual impact of the throat, air, and the ear, the PUvanis are produced by an assemblage of conditions of which the throat is not one. In other words the Vyipftra or functioning of the vocal organ does not constitute the distinction between Dhvanvatmaka and Varnatraaka Shabda. For the vocal organ is exercised in laughing, crying and so forth and also in the cries of animals, but in them we hear no Vamatmaka Shabda or articulate speech. Thus Dhvanis may he produced by the vocal organs. (2) N'or can it be said that the exorcise of the vocal organs is the sine qua non of the Varnat - maka Shabda. Thus when we hear articulate sounds over the telephone or from the gramophone, the immediate cause of the sound is not the Vyapara of the vocal organ ; though the uon-iramediate cause may be so. (3} Nor again can wo say that the Vavnatmaka Shabdas are in all cases significant or expressive of meanings and that the Dhvany&tmakas are in all cases insignificant. In a general sense tliis is so, and thus, in common parlance, we speak of Vamitmaka Shabda as having a meaning and Dhvani as being without it. But this is not necessarily and always so. Doubtless to Ishvara every Dhvani has a meaning, and even to us unlettered sound may express a meaning. Again some Vamatinaka Shabdas may not. For even to a man who knows a particular language any combination of letters or any combinations of words will not be expressive language— but only letters in certain order and combination. Thus the sound of laughter or crying is Dhvanvatmaka yet the sound

may express a meaning in the sense that it is recognised at once from the sound that a particular person is happy or in trouble. Many of the Dhvanis of animals may be significant in this sense. The sound of a bell, bugle, or drum may be suggestive oi meaning as in the case of the midday gun. On the other hand many Vam&tmakas may not express a meaning. Thus the combination M, A, N has a meaning and spells "man" in English but M, N, A and other combinations (except N, A, M which may have some sort of meaning) do not express meaning. Each letter separately may have a meaning. According to the Vyasa Bh&shya on Yoga, each Varna is capable of expressing all Arthas or meanings. But any arbitrary combination of separate letters will not give a meaning. A special combination of Varnas is necessary to express a special meaning. Electricity may be latent in all material objects but we require to make special combinations of such objects (tf.g., zinc, copper and sulphuric acid in a cell) to make such electricity patent. Any arbitrary combinations (<;,g., of wood, water, and oil) will not effect this. In an unsuitable combination of Vanias, their Shaktis check the one the other.

The distinction between the two classes Is therefore a distinction between sounds which manifest themselves as letters and others which do not. The former arc usually produced by the throat (KarUfui-s'ingyogajanmiiwh) but not invariably. On the other hand, as wc have seen. Dhvanis too may be so produced. Both Varnas and Dhvanis again are momentary' (Kshanika). Both therefore are produced by the contact (Abhighita) of two or more created things. Let the letter Ka' be uttered a hundred times. Each time it is a different sound which is uttered. Again one person says ’Ka’ and then another say Ka. The sounds again are different. The sounds produced and heard in these cases are indeed

different. Nevertheless we may still recognise that one Varna sound, e. g.. 'Ka' is being uttered by oneself all those hundred times and by oneself and the other person. We recognise here oneness in the midst of all differences of the individual sounds produced and heard. The recognition (Pratyabhijn&na) takes this form : —

"It is the same ‘Ka’ that I utter now and that I uttered a moment before. It is the same Ka that you have uttered and I have uttered." Western psychology may attempt an explanation of this recognition of Vamaidentity by comparison, abstraction and assimilation. Thus if Ka is uttered by one person ten times, actually different sounds arc produced varying, in pitch, softness, harshness and so on. If another person utters the same letter ton times, then each of them is a different sound and the sounds are also, different irom the sounds produced by the first person. But though all these Dhvanis are different in pitch, timbre and the like, it will be admitted that both persons have uttered the same letter. Western psychology would explain this as follows : —

The Dhvanis are different but we make a rapid comparison of them and find that though they have differences in pitch, timbre, etc., still they have a great deal of similarity. The differences are then thought away or abstracted and then the twenty sounds are assimilated so as to give us a generic sound which we recognise as the Varna sound "Ka.” It is in ihis way also we form the generic notion of "Man" or "Book.” The generic sound Ka is not something that actually exists apart from the twenty variations which either of the two persons mentioned have heard. On the contrary the variations are the actual phenomena. The type (the generic sound) is simply our mental construction through comparison, abstraction and assimilation. To a mind which cannot

compare, abstract and assimilate. the sounds are different sounds and it cannot recognise any typal sound in their midst. The Indian theory on the subjects is. on the other hand, as follows : —

The Varnas or letters have imperishable and invariable (Xitya) forms. As the Paramanus or prime “atoms’’ of matter arc imperishable so are the Varna-shabdas. "Nitya” however here means “imperishable" so long as the cosmic order itself lasts. [Natu madhye varndnam, utpalli-vin&shau." — Vedanta- Praribh&sha). That is in the period of cosmic life beginning with Creation (Srishti) and ending with Dissolution (Laya) the Varna sounds persist. They arc compared to a jar in a dark room which cannot l>y reason of darkness be seen. (Andhak draslkaghaidnupalambkavat- -Vedanta - Paribhasha) . J ust as the jar existing in the dark may not be seen with the eyes, so the prime Shabdas or Varnas, though always given, may not be always manisfested as acoustic phenomena. To be thus manisfested they require a manifester (Abhivyanjaka) or vehicle of expression. This vehicle (Abhivyanjaka) through which an eternal existing letter becomes an acoustic phenomenon now and then is called Dhvani. The period of cosmic life (Madhye) is a roo years of Brahma when the world dissolves (Laya). The Varnas persist during all these years of Brahma — a time which is called Kaipa. In Laya they enter the germinal state as seeds of potency. This view is thus essentially different from that of ordinary western psychology. Plato's doctrine of ideal archetypes and their sensible variations comes nearer the Vedanta doctrine.

According to this the Varna-shabdas are always {i.e. during a Kaipa) actually going on (Nitya and An&hata i.e., continuous and uninterruped.) produced by artificial means. But they are often unmanifest (Avyakta)

to the gross perceptive organs. They become manifest (Vyakta) to gross sensibility through certain manifestos (Abhivyanjaka) which are the Dhvanis. Tlius the Shabda "Om” is uninterruptedly going on, but this it is said, one can only hear in certain stages of SfldhanS, or in a quiet place particularly during night time when there is little’ promfscuous interference of the soundwaves. The Kali Marti is an eternal symbol of the worldprocess (involving Chit and the play of Shakti) and the Garland of Letters (M4trik4s) on the breast of the Mother Ls also an eternal possession. Whether the Vamas are uttered and heard or not, they are AnShata sound-forms and according to Indian ideas they axe more real and more actual than the variations (differing in pitch, timbre and so forth) which arc uttered and heard. Thus the variations alone are not the actual phenomena as the ordinary western empiricist would hold.

Therefore a Dhvani as an acoustic manifestation of a Nitya Shabda is subject to all conditions of place, time and circumstance and is non-permanent (Anitya) and variable (Vikarl). This variableness and transitoriness which really pertain to the Abhivyanjaka Dhvani are transferred by us (thorugh association) to the manifested letter (Varna). Thus we say "Ka is now produced and is no more." But really that which comes to be or ceases to be is the vehicle (Dhvani) and not the Vama- Shabda. As the Vedantal’aribhasha (Ch. IV.) says UtpanMT gakara i/yudipralyaksh<inlu so' yang gakiira ityddipralyabhijnd-virodhdd apramAnam . VarnabhivyanjakadhoaJiigatotpaUi-nirdpit<i~~pay<u>ipard-sambandhavishayatveno pramanang vd. "The apprehension (Pratyaksha) that "Ga” is now produced is not right apprehension because it conflicts with the recognition (Pratyabhijna) of the present 'Ga' [i.c., at present uttered and heard by me) being identical with all other ’Ga',

(i.fi., those uttered and heard in the past). Or we may take it as a correct apprehension if we ascribe the idea of production to the Varnas (which are manifested but not produced) seeing that the Dhvanis which manifest them are produced and using a characteristic which really belongs to the manifester for the manifested."

Shangkaracharya discusses the theory oi Vania and Sphota in his Sh&riraka Bhfishya (1-3-28). He describes Dhvani in these words : —

"Kah pmarayang dhvanir Kama, yo durdd Aharnayato vatnavivekam apratipadyamiinasya karnapatham avatarali, pratydsidatashcha mandatvapaUilv&dibhedam varMshv&sanjayati, tannivandhandshchodatlddayo visiles h < ? na varnasv^rupatiibandhandh. Varndndng pralyu - chchdtamug p ratya 6/1 ij luiyamtin a tool, etc." By Dhvani is to be understood that which is heard by a person listening from a distance without distinguishing the separate letters and which in the case of a person standing near by affects the letters with its own distinctions of high and low pitch and so forth. It is in this Dhvani that all the distinctions of Udatta, Anudatta and the like depend and not on the intrinsic nature of the letters which are recognised to be the same whenever pronounced.

When a man is heard shouting from a great distance wc do not catch his actual words and yet we can hear the pitch, modulation and so forth of his voice. When he speaks dose to us we catch his words as well as the modulation, pitch, sweetness or otherwise and so forth of his voice. In both cases the pitch, etc., of the sound constitute its Dhvani. These qualities of pitch, sweetness and the like do not inhere in the Varnas themselves but belong to their acoustic expression, the Dhvanis. Thus Dhvanis arc (1) gross embodiments (Anitya, Vik&ri) of Nitya Avik&ri Vama-Shabdas ; {2) other gross sounds (either produced in nature such as the sound of the

storm or produced by ourselves such as laughter or the sound of musical instruments) which do not appear to us as embodying Varna Shabdas. Those who believe (such as the Grammarians) in Sphota regard Dhvani as its Abhivyanjaka. Shangkara however contests the necessity of assuming Sphota or that which causes the apprehension of the sense of a word.

Dhvani however is used also in a sense different from that in which it is defined in Nyftya or Vedanta as expounded by Shangkara and different from Dhvani as conceived by those Grammarians who regard Dhvani as the manifestor (Vyanjaka) of the ideal sound called 'Sphota.'

In the Tan Iras Dhvani is a form of Causal Shabda. Thus we hear of the "sweet murmuring Dhvani of Kundalini,” the Creatrix of all Shabdas and Arthas.

The Sb&radd Tilaka to which I have repeatedly referred (I, iio-mjsays : —

Sd prattle Kundallni shabia-brahmamayt vibhuh Shakting lalo Dhvanis tasmdn \'<idas tasmdn Nirodhika Tato’rdhendus lalo bindus tusmdddsit pard taluk Pashyantl MadhyamA vdchi Vaikhart yhabda-

janmabhdh.

The words in roman type are various forms of Shakti, producing one another in the order in which they are mentioned in the verse. From Kundalini issued Shakti, from Shakti, Dhvani and so on. From the order of evolution it will appear that Dhvani in .such Shastra is a subtle causal principle and not a gross manifestation of Shabda which is its ordinary sense. It is Vaikhar! which is the gross manifestation of Shabda. Here the Shabda manifests from its subtle state as Madhyamft, which issued from the causal state as Pari, Pashyantl, through the Dhvani caused by the contact of the vocal organs and air. Para and the rest are located in various

T HE GARLAND OF LETTERS

Chakras and tracts of the bodily organism. Raghava Blialta quoted by V&chaspatya says —

So ivorah-ka itlhit-l,i/usifta shiro-ghr&na-radasthila J ihvtt-viii/QsIillM-iiisyufu-sarva-Varita-parigraiui Shabda-prapa ncha-jana n i shrotra-grdhyd hi vaikhari.

“She (Kundalini) being in the heart, throat and palate and going through the passages of the head and nose and teeth and coming out from the base of the tongue and the lips becomes audible Vaikhari — the Kundalini who has invested Herself with the Vamas and is the Mother of all varieties of Shabda."

Shakti, Dlivani, Xada and the rest arc described as various aspects of Chit due to its varied association with the Gunas — Sattva, Rajas and Tanias. Thus Shakti is defined as the Sattva -predominant (Sfittvika) condition of Chit Dhvani as the Kujasik-SAttvik condition (Rajo'nuviddha Sattvika) of Chit, that is, a Sattvik condition in which there is also a trace of Rajas ; and NAda a state of Causal Shabda in which there is a trace of Tam as (Tamo’riuviddha). These are called ParamakiUhiivasthA, Aksharlvastha, Av?aktAvastM. Whether then we have to deal with Dhvani in the sense of a form of causal Shabda or as a gross manifestation of Shabda depends upon the context.

CHAPTER XXV

SUN. MOON AND FIRE

These words do not refer to the heavenless luminaries or Fire in the three worlds of Birth and Death, but are technical term' of the Mantrashftstra denoting the creative Trinity.

In the BralimasvarOpa Is merged Vi mars ha (Antarlinavimarsha). Shruti says that there was first merely One witont a second or Brahman. It became inclined towards creation (Srishti-mukha). The material cause out of which the world is made is. according to the Vaidik Text, "May I be many.” Vimarslja is that which is the object of experience as "This” (1 dam) and this Idam is the Universe. The 'Idam' is thus the world as object of experience (Prapanchchaparftmarsha). Vimarsha- Shakti is thus the Power which produces and exists in the form of the universe. Before the world existed it was in the Brahman in the form of lirahma-Shakti. Then alone was the Light which is beyond Sun, Moon and Stars which in the Agama is known as the imperishable Supreme Word (Anap&yini Pard V&k),

She the supreme Vimarsha Shakti is our Supreme Lady (Parabhattarika) Maha-tripura-Sundari. in whom are all the 36 Tattvas beginning with Shiva and ending with Ksliiti, who is in the form of all worlds (SarvaprapancMtmika) and also transcends them (Taduttirna). She is beyond the three Shaktis who are Sun. Moon and Fire. She is the causal seed of all. with whom Shiva unseparately is. For Shiva cannot create without Shakti nor Shakti without Shiva. As between moon and moonbeam there is no difference so there is none between Shiva and Shakti. The Svarupa of Shiva is "1” (Aham).

for it is said in the K&makal&vil&sa from which this (See Tantrik Texts. Ed. A. Avalon) account is, in general, taken (Shivasya svarupam aham-ityevam&k&ram). The Vimarsha of that is the Experience of "I-ness.” She the primordial Vimarsha-Shakti is the pure mirror which manifests that Experience (Tasya prakiishane nirmalddarshah). The work cited illustrates this as follows

A handsome King looking at his reflection in a mirror which is before him knows "lam he who is thus reflected." So the Supremo Lord looking at His own Power within Himself knows His own Self as “1 am all (Paripurno'kam)" , that is, the whole or Perfect "I.” This is the union of A -Shiva and Ha - Shakti. A + Ha = Aham or "I." Shiva indicates Jn&na-Shakti, and 5hakti. Kriya-Shakti— Knowledge and Action. Shiva is Illumination (Prak&sha). The Vimarsha mirror is composed of a mass of His rays and Vimarsha-Shakti is impulse (Visphurana Shakti) maturing in action. The Rays being reflected back on the foundation of Consciousness there is the MahSbindu. So when the Supreme Lord who is Illumination (Prakasha) is connected with the mirror-like Vimarsha there shines forth the Paiameshvara as Pumo’ham (The Lord Experience as "I am all.”) The Supreme "I" is thus the massing together of Shiva and Shakti. This "I-ness” (Ahambh&va) arises upon .the gaze of Shiva upon His own luminous Shakti or Power. So it has been said that in the notion of T Illumination rests in itself (Atma-vishranti). So Shruti (Svet. 4 - 1 ) says, "that which is letterless (A varna) generates many letters (Varna)." This supreme "I” is Chittamaya.

We have spoken of the A ham or "I” and Idam or "This.” The first is known as the white (Sita) Hindu or “Moon" and represents the Shiva aspect of this supreme "I,” and the second is the red (Shona) Bindu

SUN, MOON AND FIRE

or "Fire", the Shakti aspect. They are in conjunction known as the Divine Husband and Wife (Kameshvara and K 3 meshvari). The union of both is the Mixed (Mishra) Bindu or "Sun." The "Sun" is Kama and Kali is "Moon" and "Fire,” the three Bindus being known as the Kamakala. This mixed Bindu becomes creative and is the cause of the manifested Word (Vak) and its meaning (Artha). From this Bindu issues Nada-Shakti in seed form. The Bindu is the union of the letters A and Ha, which denote the union of Prakasha and Vimarsha, that is, white and red Bindus.

Kama is that which • is desired (K&myate) by the great Yogis who know the Paramartha as their self. Mahatripurasumlari, inseparable from Kameshvara, is the collectivity of the Bindus and Kamakala. The Bindu above is Her Face (Sun) and the two Bindus below are Her two breasts (Moon and Fire) and the Kala below it, which is half of Ha, is Her womb (Yoni). Nada which comes forth is the caoise of the origin of all sounds. This Nada is eventually divided into all the particular letters and words, their compounds and the subtle elements and all objects, their compounds. For both the world of speech and of objects have ultimately the same_ origin. A letter or word is the Brahman as such, just as an object denoted by the word is the Brahman as such object. The two Bindus are inseparate, that is, Prak&sha and Vimarsha. For this reason it is said that Shiva and Shakti are one Tattva. In the same way there is no difference between Vidya or Mantra as indicator (Vedaka.Vachaka) and the Devata thereby denoted (Vedya.Vachya). Vak and Artha are always united. This is realised in Sadhani when the Devati, the Artha oi the Mantra, appears and leads the Sadhaka to a realization of the V'achyi Shakti, the Brahma Svarftpa. So Natan&nandanStha in his Commentary on Puny&nanda's K&makalavilasa (VV. 6,7)

says that great Yogis worship the Mother Mah&tripurasundari, who is Kdmakala, the collectivity of the three Hindus. (For " Pura” here means Hindu ; the three (Tri) which are Sun, Moon and Fire, which are Illumination and Bliss : within whom is the Power (Vlryya), which is the endless mass of letters (Anant&kshararfishi) and great Mantras. In the worship of the great Shrichakra Yantra (figured in my Edition of the KiunakaLivilSsa) the gross letters, in Vaikhari form, are in the outer Mandalas, and passing through the subtler forms of Shabda, the Shabdabrahman and then Shunya are attained. He therefore cites the Vijn&na-bhattaraka as saying : "By passsing through the different Mandalas (of the Shrichakra) where the gross (Sthula) letters (Varna) are, and rising up to Ardhendu, Hindu, Nadanta and to the Shunya in the Bindurfipachakra, one becomes Shiva.” This is the worship which a Missionary author describes as worship of the pudgrndum muliebre. The Yantra is composed of intersecting triangles, some upright and some inverted. The latter only are symbolic of the Yoni, which is here not the Yoni of any woman. Here it is the Womb of the Divine Mother of the world. Here is the seat of the secret play of Shiva and Shakti as "Moon, "Fire” and as the “Sun" which is the union of both — the Divine Energy, whence proceeds the world of Name (Kama — Shabda) and Forms (R6pa*= Artlia).

CHAPTER XXVI

Action necessarily implies movement. Whenever therefore, there is action, there is Spanda or movement and therefore what to the perceiving subject (when heard) is called Sound. This may or may not be heard. One person may have a sharpened natural faculty of hearing ; so that he may hear what escapes the ear ol another. There is Sound, though the latter may not hear it. Similarly, there is Sound which is not heard by any natural ear until assisted by the extension of faculty procured by a material Scientific instrument. Similarly again, there is Sound which cannot be heard by any material instrument, but which is apprehended by the Yogic Mind as part of its experience. In the beginning of things the natural Principal (Prakriti) was in a state of equilibrium (SainyavastM). Then there was no Sound, for there was no movement of the objective world. The first Vibration which took place at the commencement of creation, that is, on the disturbance of equilibrium ( Vais hamy& vast ha) was a general movement (Samanya Spanda) in the whole mass of Prakrit!. This was the Pranava Dhvani ol Om Sound. It is not that the Sound is represented as it is by the Sound of the letters Om. Om is only the approximate representation or gross utterance to gross ear of the Subtle Sound which is heard in Yoga experience of the first movement which is continually taking place, tor at each moment the creative movement is present. From out this general movement and Sound special movements (Vishesha Spanda) and Sounds arise. The following apt illustration has been given (see "Worlds’ Eternal Religion").

If a vessel of water is shaken, there is first a general movement of the whole water in the vessel. Next, there are particular movements in every part of the water, now tins way, now that. So the evenly balanced gunas or factors of Prakriti equally vibrate throughout their whole mass, and as the movement continues, the equilibrium is disturbed and the Gunas act and re-act on one another as in the second state of the water in the illustration. Diverse vibratory conditions being set up, diverse Sounds are given forth. The first equally distributed motion throughout the mass is Om, which is the great seed-mantra (Mah&bija), for it is the source of all others and of all compounded Sounds. Jnst as Om is the general Sound, the other Bija Mantras are the particular Sounds which are the letters of the alphabet. These are evolved out of the general Sound which underlies all particular Sounds. Both the Ongkdra or Pranava and the Bija Mantras as pronounced by the mouth are thus the articulate equivalents of the inarticulate primal Dhvani. They become articulate at the last stage called Vaikhari or Spashtatara Spanda of the four stages, known as Para (Rest passing into movement), Pashyanti (general movement), Madhyami or special movement of subtle character heard by the subtle ear, and Vaikhari or special movement whicli as speech is the fully articulated *Sound heard by the gross car. The Pranava Mantra is thus the Sound Equivalent of Brahman and the Bija Mantras are the various forms with attribute (Sagunarupa) of the Devas and Devfe. It is true that the approximate Sound Om is said to be constituted of the letters a, u, m. This is not to say that the primordial Dhvani was these letters or their combination. For tjiese letters are the product of the primordial DbvajTi which precedes them. What is meant is that Om as a gross Sound heard by the gross ear is the Sandhi or combina-

tion of these letters. A European Sanskritist told a friend of mine that Om said before a Mantra is simply the "clearing of the throat” before utterance; and I suppose he would have said— the clearing of the throat after utterance, for Om both precedes and follows a Mantra. tVhy however should one clear the throat then ? Om has nothing to do with haw king sounds, or the throat. Om is, according to Indian belief, a sound actually heard by Yogis as above described. If, moreover, the learned man had ever heard the Mantra Om recited he would have fell that it could not be explained in so shallow’ and materialistic a way. For Om is sounded as from the navel with a deep rolling and continuous Sound ending nt the upper part of the nostrils where the Chandrabindu is sounded. Moreover, how are we to account for the other Bija Sounds on this hypothesis, such as Am, Am, F.in and so forth, except by supposing that the unpleasant and unmannerly act of clearing the throat had undergone an unaccountably varied development ? Be tlu; doctrine true or false, it is more profound than that.

Mantras are given various names according to the number of their syllables. A Bija or Seed-mantra is, strictly speaking, a Mantra of a single letter such as Kang, which is composed of the letter K (Ka) together with Chandrabindu (' ) which terminates all Mantras. Even here there is in a sense another letter. The reason b that the vowel cannot be interminably pronounced and is therefore terminated by a consonant. In fact, as Panini says, the function of a consonant is to interrupt a vowel sound. The consonant cannot be pronounced without .a vowel, which is hence known as the Shakti of a consonant. Mere the termination is M in the form of the nasal breathing called Chandrabindu (*) which is N&da and Bindu. The M which ends the Bija is

sounded nasally, high up in the bridge of the nose, and never reaches the lips. In all the other letters one or other of the five Bhutas or forms of sensible matter (Ak&sha, Vftyu, Agni, Ap, PrithivS) predominates. For this reason, in the selection by the Guru of the Mantra for his disciple the letters are chosen according as an examination shows that there is an excess or deficiency of any particular Bhfita. Where there is excess of a Bhuta, the letter in which it is predominant is said with the outbreatliing. Where there is deficiency it is said with the inbreathing. M is chosen to end the Biia because here the Bhutas are said to be in equipoise. Though strictly the Bija is of one letter as the seed from which the Mantra springs, popularly other short unetymological vocables such as HrSng, Shrlng, Kring, HQng, Aing, Phat are called Bijas. In these there arc two or more letters, such as in the first il, R, I and Chaildrabindu. Thus a .Mantra may, or may not, convey on its face its meaning. Bijas have no meaning according to the ordinary use of language and for this reason they have formed the subject of ridicule to those ignorant of the Mantra-shfistra. The initiated however knows that their meaning is the own form (Svarfipa) of the particular DevatSs whose Mantra they are. and that they are a form of the Subtle Pou'er as creative Dhvani which makes all letters sound and which exists in all that we say or hear. Each Devata has His or Her Bija. Thus the Devatis of Kring, Hring and Rang are Kill, MAyi and Agni respectively. The primary Mantra in the worship of any Deva or Devi is known as the Root Mantra (Mulamantra). Every letter, syllable and Mantra is then a form (Rupa) of the Brahinan, and so is the image and are the lines of the Yantra and all objects in the universe. And so the Sh^stra says that they go to Hell who tliink that the image is merely

stone and that the Mantra is merely a letter of the alphabet. All letters are forms of Shakti-as Sound-powers. The Shakti, of which they are a manifestation, is the living Energy which projects itself into the form of the universe. The Mantra of a Devata is the Devata. The rhythmical vibration^of its sounds not merely regulate the unsteady vibrations of the sheaths of the worshipper, thus transforming him, bat through the power of striving (Sddhandslukti) of the worshipper there arises the form of the Devati which it is. And thus the Brihad-gandharva Tantra {Ch. V) says

Shnnu deni pravakskyimi bijinim deva-rupattim M anlrochzh ira nim itrena diuurritpxm prajiyate.

The Bijas thus hive a meaning. They indicate the Artha or DevaU which they are. What that Devata is, is taught to the Sli.liki. just as the child learns that rose in uns a pirlicular flower, ani tint rice and milk are the names for particular forms of food and drink which he takes.

The Bijas of the live BhCitas, that is, of the Davatis of the four forms of sensible matter, are Ha, Ya, Ra, La, Va with Chandrabindu. Where there arc more than one letter, each has its meaning. As examples I here select twelve Bija-mantras (in their popular sense), the meanings of which are given in the 6th Chapter of the Barada Tantra as quoted in the well known Bengali compendium known as the Pranatoshini. I may here observe that the meaning of individual letters is given in the Bijakoshas, such as the Tantrabhidhana which has been published as the first volume of Arthur Avalon’s Tdntrik Texts. The Baradd Tantra, Ch. 6, says

Haung (tI)

Shivavachi /jakarastu atikarah syat Sadashivah, Shiinyang duhkhahar&rtliantu tasmattena Shivang yajet.

Ha means Shiva. Au is Sadashiva. The SMnya (* ) is that which dispels sorrow. Hence with that Shiva should be worshipped.

Da durgAv&chakang devi nkArashchApi rakshane, Vishvam&ta mdanipk kurwarthoiiWwflpakah.

Da, 0 Devi, means Durga. U also means to save. Ndda is the mother of the Universe. Hindu means (pray) do.

Kring (»f)

Ka Kali brahma ra proktang MahamayArthakashcha i, Vishva m Atari hako nddo dtmtarduhkhaharirthakah, Tenaiva Kalikadeving pujayedduhkbashantaye.

Ka is Kill. Ra is said to be Brahma. I means Mahimaya. Ndda means Mother of the universe. Bindu means Dispeller of sorrow. With that Devi KAlika should be worshipped for cessation of sorrow.

Hiing (*f)

tfakarah shivavachi syad ref hah prakritiruchyate, MahAmayirtha i-shabdo nddo vishvaprasuh smritah,

tena phjayet.

Ha means Shiva. Ra is said to be Prakriti. / means MaliAmAyA. Ndda is said to be the mother ol the universe. Hindu means dispeller of sorrow. With that Bhuvaneshvari should be worshipped.

Shring («ff)

MahAlakshmyarthakah Shah syAd dhauArtha repha

uchyatc,

/ tushtyartho' paro n&Ao iiniurdulikhahararthakah, LakshmidevyA vijam otat tcna deving prapujayet.

Sha means Mahalakshmi. Ru is said to mean wealth. / moans satisfaction. N&da is Apara (which may mean Aparabrahma or ishvara). Hindu means Dispeller of sorrow. This is the bija of Dew! Lakshmi. With it the Devi shoud be worshipped.

Aing (tf)

Sarasvatyartha ni-shabdo &tH(/wrduhkhahar3rthakah, Sarasvatya vijam etat tcna Vining prapujayet.

At means Sarasvati. Hindu means Dispeller of sorrow. This is the bija of Sarasvati. With it Van! or Saraivati should be worshipped.

Kling <*)

Kah Kimadeva uddishto’ pyathava Krishna uchyatc. La Indra i tushtivachi sukhaduhkhaprada cha ang, K&mabijartha uktastc tava sneh-m niaheshvari.

Ka refers to Kamadeva, or according to some to Krishna. La means Indra. / means contentment. Ang is that which grants happiness and sorrow. Thus. O Maheshvari, the meaning of Kdmabija is spoken unto Thee out of my love for Thee.

Hfing (**)

Ha Shivah kathito devi i3 Bhairava ihochyate Parirtho nida shabdastu Bi>K/Krduhkhahar4rthakah, Varraabijatrayo hyatra kathitas tava yatnatah.

Ha, 0 Devi, is said to be be Shiva. U is said to be Bhairava. Ndda means Para, Supreme. Biitdu means Dispeller of sorrow. Here the three composing the

vatmabija (armour-b!ja) are spoken unto Thee owing to Thy solicitation.

Gang (jt)

Ganesharthe ga uktas te fitnt/nrduhkliahar&rthakah,

GangbijSrthantu kathitang tava snehSn malieshvari.

Ga, 1 speak unto Thee, means Ganesha. Hindu means Dispeller of sorrow. Thus. 0 Maheshvari, the meaning of Gang-blja is spoken unto Thee out of love for Thee.

Glaung ( tif )

Ga Ganesho vyapakartho /iik&rasteja an matah,

Duhkhahararthako fortiurganeshang tena pujayet.

Ga is Ganesha, La means what pervades. Au means tejas. Hindu means Dispeller of sorrow. With it Ganesha should be worshipped.

Kshraung ( ff )

Ksha Nrisingho Brahma rashcha urddhvadant&r-

thakashcha au,

DuhkhaharArthako &iHtiwrNrisinghang tena pujayet.

Ksha is Nrisingha and Ra is Brahma. Au means teeth pointing upwards. Bindu means Dispeller of sorrow. With it Nrisingha should be worshipped .

String ( )

DurgotUranav&chyah s a tirak&rthastakarakah,

Muktyartho repha ukto’tra maliamavarthakashcha t,

Vishvamatarthako nddo Biuimduhkhahararthakah,

Badhubijartha ukto’tra tava snehan maheshvari.

BljA MANTRA

Sa means deliverance from difficulties. Ta means Saviour. Ra here means salvation or liberation, /means Maham4y4. Ndda means Mother of the universe. Bindu means Dispeller of sorrow. Thus the meaning of Badhubija is spoken unto -Thee, O Malieshvari, out of love for Thee.

A close examination of the above may raise some difficulties, but must, in connection with what is elsewhere written, remove the charge that the Bija is a meaningless saying to the worshipper. It is full of meaning to him.

PAKASAMVIT

feMMAlft OULTl)

IMI/DOMA TAT7VI

fAfclKWA TATTVA Oil OA «MAHT<|

V*NTnAM*"t1«»a

l*MtASU TATI » A

• »nOU fHAKTl)

VuaUacila UUJ^BACTOOtI A Abovi vXvA

U0H0V4 TaTTV

r*ltATl«Al.A

•H UXvA

• AKAU Alt Iiir^sa #now tn ahm* cewwarARDr

’XOARl NOTMUKTA

.THt TATTVA? f PC M

•UDC*4» TO tltiTMivI

CHAPTER XXVII

ADHVA means a path, and Mantradhva is all knowledge relating to Mantra. The Six (Shat) AdhvAs are, on the Shabda side, the three Varna (letter), Pada (syllable) and Mantra (combination of syllables), each being dependent on one another, Pada on Varna, and Mantra on Pada, which are said, in the work from which 1 take the following table, to be 51, Si, ti respectively. On the Artlia side the three other Adhv&s are Kala (5), Tattva (36) and Bhuvana (224). each similarly dependent. The science of theShadadhvas is referred toinboth Shaiva and Shakta works, but seems peculiarly characteristic of the Shambhava Darshana in which Shaiva and Sh&kta Darshanas are synthetised. The Shakta doubtless worships Shiva as well as Shakti with emphasis on the latter aspect. The ordinary Shaiva worships Shakti as well as Shiva with emphasis on the latter aspect. In ShSmbhava Darshana both are raised into a higher synthesis. In the same way Kula Shakti and Akula Shiva, and therefore Kulina means one who worships the two in one.

Kala means Shakti either generally in its higher aspect, and more commonly some specific aspect and function of Shakti. The five chief KalAs which sum up in themselves groups of Tattvas are Sh&nty&titAkali, Shdntikali, VidyAkali, Pratisluhikata, Nivrittikala. These have been already referred to. These are the Powers of certain Tattvas or Principles, and two stages in the emanative process. They (the Tattvas) are 36 in number and arc divided into 3 classes, viz., Pure (Shuddhatattva), Pure-Impure (Shuddha-

shuddhatattva) and Impure (Ashuddhatattva). Three groups of Tattvas are also called Shiva, Vidya, Atml Tattvas. Tlic first as stated in the Siudhanta Sardvali and other works comprise the Shiva Tattva and Siiakti Tattva ; the second the Tattvas from Sadashiva Tattva to Shuddha vidyA Tattva ; and the third the Tattvas from Maya to ITithivi. I may here observe that in the drawing ot the table of Tattvas given in my “Shakti and Shakta" an error has been committed which escaped my notice. There the Shuddha, Shuddhashuddha and Ashuddiia Tattvas are treated as bracketed with the Shiva, Vidya and Atma Tattvas. The Shuddha Tattvas comprise all the Tattvas there given under that Bracket. But Shiva Tattva comprises only the first two of the Shuddha Tattvas, namely, Shiva Tattva and Shakti Tattva. The other members of the Pure group are Vidya Tattva and all from Maya to Prithivi are Atma Tattva.

The Word Bhuvana means world or region. Bhuvana — Hswdf bhavaii ili bhuvamm, or "what comes from this,‘ ' that is, "what is produced' ’ is Bhuvana. These Bhuvana or Regional Bodies are also Pure, Pure-Impure, and Impure. These are shown with the corresponding Kala and Tattva in the accompanying table which 1 have extracted with the permission of the owner of the copyright from pp. 392-397 oI Part II. Vol. II, oi the late T. A. Gopinatha lvao's '“Elements of Hindu Iconography" where they are conveniently tabulated. I 'nave made one or two verbal corrections.

KalU

Tturas.

IWTTil

XaAMS uf tbo bhlUVAHM.

1 . Skuddh* uuvia.

Ai.kiluiio, Atitho, Aunilo, Yyomnru.

pin!. V j-.' pill. Crdhv.jjlinlnt, H'ohiki,

n 8bivAUttv» ...

ftashiM. iMplka oivi Indhlkk— (Fir. of

a.d ok MUkU-bkuruu ud U» »■

I

mining 5 vo NidunWKva-bhurouoi).

\z autMtuw'* ...

Shuuljiltil. 8hiii.ll, Yldyi. 1’reti.h-

Total ...

tU And NitrilU-fTkue M« <*»«> ah.

RkltKUrMmra»|. &uUsJii * abhu vana.

4. LhrttmlaUvA ...

Shikhurfll, Sbrl ItAlha, TrimdrU.

TUrr'-M. SbivolUma, Sftkibra* and

Annot*.

5. Sfcvddhividyl

Mininm.il, tevafahltU-dMUfit. IW»-

, iiUvs

pramUfcmi, BaUvikuooi, K.l.nkaral,

ToUl ...

Kill, Rkudrt. .IjuhlhA tod Vimi

U Sauddliiihoddh*.

HMm. '6. Nijfl

Afv«.hlb.m*l«, i-htns KUkal.im, Ek*pni£«l», UJbV»v», Ilham, VAnuldva .nd MaliMyuti.

8hiUn.Ua tod ilkaviro.

8. Kalft

F.nnb&iilakk aod Bbflnv.

a Vi,i r i

Ping* and Jyoti.

ia tfiMii

li Panuh

Btoii.rU vid Kn-ihu.

EkiuhivA, A nan I., Aj*. UmSpuil tod

PrtohtniU.

Kkivlm. Uhdaa, BUv*. lain, Ugra. Bbiiua and Vlau.

Total «»«

lit Aiand 4 basalt va#

f 13. Prakrit!

Sbilknnlha, A nma. KaumAiu, V»|»hna»», Ur.hrni, Hhsirarj, Krita tod AktiU.

14. Buddhi

Brlli run. Pi.J.afck, fi.aitjB, Aiwlrn., Gtodharra, V.Uh^ Rkk.hu. «.vl llihj-

cba.

15. AbBoklra ...

16. Mvim

18. Tvok

Blbilnhrjrv

2I>. Jihti

Slhdlwhvkr*.

A P8nl

Bhaaknkarna.

P*va

26. Upulb.

» Spiral

Kill ATI jar», M.ndiloihviri, MtkoU,

Drtvloila .ml Cbkakaliodo.

Thus to take the first and highest or Shivatattva and the associated Shaktitattva, the Bhuvanas are An&shrita, the Region or Bhuvana without support and self-sustaining. An&tha or Lordless because there is no higher Lord here. Ananta or endless, Vyomarupini in the form of the all-spreading Ether, Vyapini all-spreading, Urddbvagamini upward going, Mochiki freed of all bonds, Rochika Beautiful or source of Beauty, Dipika illuminating, IndhikS destroyer of all impurity. Such are the Bhuvanas of the Kali ShSntyatltS (Beyond even the high abode of Peace) and the conjoined Shiva and Shakti Tattvas. Five of these are called Shakta and the remaining five Nadorddhva (above Nada) Bhuvanas. The rest are various other disine bodies named after their divine residents. All these regions have been created by Paramashiva for the enjoyment of the Beings therein ; there being an immense variety of beings in an ascending hierarchy from man up to the supreme Lord and Lady of all. The Beings in the Pure Regions arc

wholly Pure and the others Pure-Impure or Impure. Impurity or Mala isignorance andis of three kinds, namely, Mala, MSyS and Karma. There arc thus three classes of Pashus or created beings, namely, Vjjnanakalas enveloped by that ignorance which is called Mala, PralaySkalas envelojied in both Mala and Maya, and Sakala or those surrounded by the three forms of ignorance Mala, Maya and Karma. Above the Vijn&n&kala are the beings called Mantras. The Mala envelope when in the stage at which it is about to leayp the being Ls said to liavc undergone Pariplka. The Vijnanakalas, whose Mala is in a high state of Parip:Ika, are the eight Vidyeslivaras. They are eight in number and are variously coloured as in the following table, for wliich I am indebted to the same work.

Name.

Colour.

Anantesha.

Blood-red.

SOkshma.

White.

oiii voiiania.

Ekanetra.

DlUr.

Yellow.

Ekarudra.

Black.

Trimurti.

Crimson.

Shrikantha.

Rod.

Shikhandi,

Dark-brown.

The author cited refers to several soutnem Agamas, such as Purva-KSrana, Angshumabhedagama, Kamika and other works for their Dhyana. From these it would appear that the colours and so forth are not always given in the same way.

These Vidycshvaras are higher spiritual Entities, by whose aid the lower orders ol beings attain the higher

stages of spiritual evolution. Next to the Vidyeshvaras come the Mantreshvaras. Having been given pure bodies (Tanu), instrument (Karana), regions (Bhuvana) and enjoyment (Blioga), these gradually get ridof all Mala. Above the Mantreshvaras arc the Mantrrun'iheshvaras and beyond these arc the Eternal and unproduced Shiva Tattva and Shakti Tattva.

In the Vimarshin! on Ishvara-pratyabhijna (III) Sadlshiva Tattva is described as that particular specialisation (Chid-visheshatvain) .which consists in the experience of that Bhavarashi or mass of ideation belonging to the collectivity (Varga) of Chaitanya called Mantramaheshvara. Of the Vidyeshvaras it is said (cf. Ill, 1-6) that whilst the Ego-side is pure, yet unlike the experience of higher states they perceive the object as different from themselves in the same way as the Ishvaras, as recognised by the Dvaitavadins, perceive theirs. The various locations of the Jivas in the various Tattvas is given as follow's MantramAheshvara in SadAkhya Tattva, Mahcshvara in [shvara Tattva, Mantras in Shuddhavidya Tattva (the eight Vidyeshvaras Ananta and the rest are different from the Mantras), Vijninikalas below ShuddliavidyS but above Miyi, Pralay&kalas in Miyi, and Sakalas include all other beings from Brahmi downwards who are not Mukta.

The whole of the Sh&mbhava Darshana rests on a principle of the specialisation of Consciousness, stages of descent from Pure Chit to the consciousness of the gross material world. F.ach stage is more bound in ignorance than the former until gross matter is reached. The Shistra speaks of the eight called Chit, Chiti, Chitta, Chaitanya, Chetani, Indriya-karma, Deha and Kali. The first is consciousness in the pointed or Bindu state, the second outspreading (Vyapini,) the third with inward and outward activity, the fourth the Bodha or experience

which is from outwards inwards, the fifth is the retention (Dh&ranfi) of that Boilha, the sixth is experience through action of the senses, and the seventh and eighth are the Body and its inherent subtle moving forces such as the 38 KalSs of Moon, Sun and Fire. In Moon Sattva is dominant and in Fire Tamas. The Rftjasik activity of the Sun mediates between these opposites. The Lords of the Tattvas proceeding from “Earth” (Prithivi) upwards are Brahma from Prithivi to Pradhana (Prakriti), Vishnu from Ptirusha to KalS, Rudra in Mitya. Isha in tlie regions extending to Sadakliva Tattva. Then follows Anashrita Shiva and Parashiva.

CHAPTER XXVIII

Ik the G&yatri Tantra it is said — "that is called Mantra, by the meditation (Mananaj on which the Jiva acquires freedom from sin, enjoyment oi heaven and Liberation and by the aid of which he attains in full the tour-fold fruit (Chaturvarga).” Elsewhere it is said "Mantra is so called bccause.it is achieved by mental process". "‘Man" ol "Mantra" comes from the first syllable of Manana or thinking and “tra" from Trana or liberation from the bondage ol the Sangsara or phenomenal world. By the combination ol “man" and "tra" that is called Mantra which “calls forth' ’ (Aman trana) the four aims of being (Chaturvarga).

A Mantra is composed of letters. Letters and their combinations as syllables and words are all forms ol manifested Shabila, that is. Brahman-forms. They are each and all forms of the Creative Stress, as uttered by the mouth, heard by the car, and apprehended by the mind ; but what are ordinarily called Mantras are those particular sounds which are used in worship and practice (Sadhana) wliich consist ol certain letters, or letters arranged in a definite sequence of sounds of which the letters are the representative signs. The relations of Varna, Xada, Bindu, vowel and consonant in a Mantra constitute the Devata in varying forms. Certain Vibhiiti or aspects of the Devata are inherent in certain Yarn as. The Mantra of a Devata is that letter or combination of letters which reveals the Devatd to the consciousness of the Sadhaka. who has evoked it by S&dliana-shakti The form of a particular Devata therefore appears out of the particular Mantra of which that Devata is the Adhishtli&tri Devata. This Mantra is intoned in

proper way according to letter (Varna) and rhythm (Svara). For these reasons a Mantra, when translated ceases to be a Mantra, that is, the sounds heard and uttered in the translation are not the body of, and do not evoke, the Devata. We arc then not dealing with the same sound, but with a translation in another language, with other sounds giving the meaning to the intellect o i the Sanskrit Mantra. This shows that Mantra is not mere individual thinking but a particular sound-body ol consciousness.

A particular Mantra therefore (such as the Gayatri) is not a mere collocation of words. Though to a nonbeliever it may seem but a string of mere letters bearing on their face a particular meaning or in the case of Bija Mantras apparently no meaning at all, to the SAdhaka it is a very mass of radiant Ttjas or energy. An ordinary collection of words is something gross. These, as all else, are forms of Shakti. But the Mantra of which we speak is the Devata Himself or Herself in Mantra-body. Mantra is thus a mass of radiant Energy. Sayings give information and advice to men of the world, whilst Mantras awaken superhuman power or Shakti. A mere saying is therefore, like a Jiva, subject to birth and death, whilst a Mantra is directly Brahman in sound-body, unwasting and undecaying. A Man tra again is not the same tiling as prayer or self-dedication (Atma-nivedana). Prayer is conveyed in what words the worshipper chooses and bears its meaning on its face. It is only ignorance of Shastrik principle (See Arthur Avalon’s "Tantra- Tattva or Principles of Tautia" as to what precedes and follows) which supposes that Mantra is merely the name for the words in which one expresses what one has to say to the Divinity. If it were, the SAdhaka might choose his own language without recourse to the eternal and determined sounds of Shastra.

Shabda is Shakti. The VishvasAra Tantra (Ch. II) says that Shabda-brahman which is Mantra (Mantramay a) exists in the body of Jiva and is the subtle aspect of the Jiva’s vital Shakti. As the Prapanchasara Tantra states, the Brahmanda or Spheroid (universe) is pervaded by Shakti as Dhvani, called Nada, Prana and the like. The manifestation of the gross (Sthula) form of Shabda would not be possible, unless Shabda existed also in a subtle (SQkshma) form.

Shabda is theGuna of Akasha, but is not produced by it. It manifests in it ; and Shabda-svariipa is the Brahman. In the same way however as in outer space waves of sound are produced by movements of air (Vayu), so in the space within the Jiva's body, waves of sound are produced according to the movements of the vital air (Pr&nav&yu) and the process of inhalation and exhalation. The Shabda which first appears in the MQ 1 &- dhira (See A. Avalon’s "Serpent Power”) is in fact the Shakti which gives life to the Jiva. The Jiva who inbreathes and ou threat hos utters a great Mantra. This is the Ajapa Mantra or Hangsah, calk'd "Ajapa", because it repeats itself naturally without any effort on the part of the Jiva. It is the heaving of the Dhvani which causes alternate inspiration and expiration. Shakti it is who is the Cause of the sweet, indistinct and murmuring Dhvani (See Ch. 24) which sounds like the humming of black bees. This sound is Para, and then Pashyanti, which becomes subtle as Madhyama and gross as Vaikhari. Kundalini, who is Varoamayl and Dhvanimayi, is the manifestation in bodies of the ParamatmfL So the substance of all Mantra is Chit, manifested as letters, syllables, words and their sentences. In fact the letters ol the alphabet which are known as Akshara arc nothing but the Yantra of the Akshara or imperishable Brahman. It is the gross or Sthula form of Kundalini. appearing in different aspects

as different Dcvatds, which is the presiding Devata (Adhishthdtrl) of all Mantra, though it is the subtle (Siikshma) form at which all Sddhakas aim. For in every Mantra there arc two Shaktis. The Vachya-Shakti and the Vdchaka-Shakti. The Devata who is indicated (Pratipadya-Devatd) as the ultimate Svarupa is the Vachya- Shakti, and the Devata who is that Mantra (Mantramayl Devatd) is the Vdchaka-Shakti. Thus if Durga is the Devatd of a Mantra, then Mahdtndya is the Vdchya Shakti. The latter is without attribute and the Vdchika Shakti with attribute. The latter is the object of worship and is a support and means whereby the Vdchya-Shakti is realised. For worship assumes as its object some form. When the Shakti with attribute, resident in and as the Mantra, is by dint of Sadhand awakened, then She opens the gate of monistic truth, revealing the true nature and essence of the universe.

There are thus two Shaktis, viz., the Mantra-Shakti and the Sadhand Shakti, that is the Sbakti of the Sadhaka generated by Sadhand. It is the uniting of these two Shaktis which accomplishes the fruit of Mantra-sddhand. How ? The Saguna-Shakti is awakened by Sadhand and worshipped. This Sagnna-Devatd is the Presiding Deity (Adhishthdtri Devata) of the Mantra as the Nirguna (formless) Ishvara or lshvari is the Vdchya-Shakti. Both are one ; but the Jiva by the laws of his nature and its three gunas must first meditate on the gross (SthOla) form before he can realise the subtle (SQkshma) form which is liberation.

The utterance of a Mantra without knowledge of its meaning' or of the Mantra method is a mere movement of the lips and nothing more. The Mantra sleeps. There are various processes preliminary to; and involved in, its right utterance, which processes again consist of Mantra, such as, purification of the mouth ( Mukha -

MANT RA-SADHAXA

skodhana) , (See Chapter X., Sharada-Tilaka. Japa oi pranava or the mantra Om varies with the Devati — e.g., Ong Hsau for Bhairava), purification of the tongue (Jikvd-skodhaw, seven Japa of one-lettered Bija triplicated, Pranava triplicated, then one-lettcred Bija triplicated) and of the Mantra ( Ashaucha-bhanga , Japa of M&la-mantra preceded and followed by Pranava . As to the "birth” and "death” defilements of a mantra, see Tantra-sira 75, cl se q.), Kulluka (See SharadS, loc. cit. Thus Kulluka, which is done over the head, of K&lik 4 is Mayd, see Purascharana-BodhinI, p. 48, andTantra-sara), Nirvana (Japa oi Mula - and Mdtriku-bija in the Manipura), Sclu (Generally the MahSmantra Om or Mdydbija Hring, but it also varies. Thus Setu of Kali is her own Bija Kring. of Tara, Kurchcha, etc), NiJrd-bhanga, awakening of mantra (Japa of the Mantra preceded and followed by lug seven times), Manlra-chaitanya, or giving of life or vitality to the mantra (Japa of MUlamantra in Mani-pdra preceded and followed by Matrikabija. Meditating on the M<*la-mantra in the SaJiasnlra. A ndka/a, Mdlddluira, with Hung, and again in Sahasrara. The MAla is the principal mantra, such as the Panchada$hi), Mantrdrtkabhdva nd , forming of a mental image of the Divinity (Lit., thinking of meaning of mantra or thinking of the mdtrikd in the mantra which constitutes the Devata from foot to head). There are also ten Sangskdras of the Mantra (See Tantra-sara, p, 90). Dipani is seven Japa of the bija. preceded and followed by Om. Where Bring is employed instead of Om it is Prana-yoga. Yoni-mudrfi is meditation on the Guru in the head and on the Ishta-devatA in the heart, and then on tire Yoni-rdpd Bhuga-ati from the head to the A/«M- dhdra, and from the Mtilddhdra to the head, making japa of the Yoni Bija (Eng) ten times(See Purohitadarpanara.)

The Mantra itself is DevatA, that is, the Supreme Consciousness (Chitshakti) manifesting in that form. The Mantra is awakened from its sleep (Majitracliaitanya) through the SAdhanA Shakti of the Mantrin. It is at base one and the same Shakti which appears as Sadhana Shakti and Mantrashakti, the latter however being the more powerful manifestation. The consciousness of the Sadhaka becomes en rapport and in union with the Consciousness in the form of the Mantra ; and the Devata who is the Artha of the Mantra appears to the Sadhaka, whose mind has been cleansed and illumined by devotion. Though the substance of the Mantra is Consciousness, that fact is not realised without the union of the SAdliaka’s Shakti derived from Sadhana with Mantrashakti. The Devata is then revealed. In the case of PujA, Dhy&na and other SAdhanAs, it is only the Sadhaka’s SAdlianA Shakti which operates, whilst in the case of MantrasAdhanA, Sadhanashakti works in conjunction with Mantrashakti which is all powerful and re-inforces SAdlianAshakii wliieh is imperfect and meets with obstacles. The individual Shakti is like fire. Just as waves of air, when struck and rcstruck by flames of lire, set up a blaze with redoubled force, so the Sadhaka's individual Shakti when struck by Mantrashakti is rapidly developed, and then a strong active individual Shakti unites with Mantra-shakti to make the latter doubly powerful. Il is because Mantra possesses this wonderful power that a Jiva can, it is said, accomplish that which apjicars impossible. Otherwise a Jiva could not achieve by his own effort the treasure which is worshipped even by Shiva. The Jaivi Shakti or Shakti of a Jiva (as such) is transformed by the aid of Mantra into the Daivi Shakti or the Shakti of a Deva (as such). With this Shakti he can accomplish that which a Deva can. Mantra is thus an aspect of the Divine Mother appearmg through

Mantrasadhana with devotion to Her, It lias been thus said (Tantra Tattva II. 45): “The string of fifty letters from A to Ksha which a re the Matrikds is Eternal, unbeginning and unending and Brahman itself/' This great saying is the first of all Tantras. The realization of this Mantra-consciousness is Mantrasiddhi. II a Sfidhaka attains perfect Siddlii in even a single Mantra he becomes jiosscssed of the spiritual knowledge which is acquired by learning all Vedas. For Veda is the Pari nama or evolution of the Dhvani of Kula-Kundalini in the body of Ishvara, and the Parinima of the same in the body of the Jiva is Shabda. For Veda is Dhvani uttered by Brahma and Shabda is Dhvani uttered by the Jiva. In that Shabda is every form of Mantra which is that which gives vitality to the Jiva. It is this Dhvani too which evolves into gross Shabda as uttered sound, the body of the Devatd. Siddlii in such Mantra is not gained so long as such Mantra is not awakened. It may be that the appearance of the DcvatA is a fact or it is not a fact. But it cannot be said that the mere utterance of a Mantra is superstitiously supposed to effect any result, or that Japa of the Mantra is done with no other object than a mere vain and senseless repetition. The particular Mantra suitable for a SAdhaka is a matter determined by Chakra and other calculations.

CHAPTER XXIX

THE GAYATRI MANTRA

The Gayatrl is the most sacred of all Vaidika mantras. In it the Veda lies embodied as in its seed. It runs : O/n. Bhdr bhuvah svah : tat saviltir varenyam bhargo devasya dktmahi : dhiyoyo nah prachodayat. Om. "Om. The earthly, atmospheric and celestial spheres. Let us contemplate the wondrous Solar Spirit of the Divine Creator (Savitri). May He direct our minds (that is, towards the attainment of Dharma, A rtha, Kama and Moksha). Om."

The G&yatri-Vy&karaaaof Yogi Yajnavalkya thus explains the following words : Tut, means that. ( Tut is apparently here treated as in the objective case, agreeing with varenyam, etc., but others holding that the vyShriti— Bhur bhuvah svahforms part of, and should be linked with, the rest of the GAyatri, treat thal&s par t of a genitive compound connected with the previous vy/ihriti, in which case it is Ush&m). The word ydt, "which,” is to be understood (It may, however, be said that yat is there in Y<> nah). Savituh is the possessive case of Savitri, derived from the root sh, “to bring forth." Savitri is, therefore, the Bringer-foith of all that exists. The Sun (SHryya) is the cause ol all that exists, and of the state in which it exists. Bringing lorth and creating all things, it is called Savitri. The Bhavishya l'urana says : "Suryya is the visible Devata. He is the eye of the world and the Maker of the day. There is no other Devata eternal like unto Him. This universe has emanated from, and will be again absorbed into Him. Time is of and in Him. The planets, stars, the Vasus, Rudras, Vayu, Agni, and the rest are but parts of Him." By Bhargah is

GAVATRI MANTRA

meant the Aditya-devata. dwelling *n tlie region of ih e Sun [SAryya-mandala) in all His might and glory. He is to the Sun what our spirit (Alma) is to our body. Though He is in the region of the Sun, in the outer or material sphere, He also dwells in our inner selves. He is the ligln of the light in the solar circle, and is the light of the lives of all beings. As He is in the outer ether, so also is He in the ethereal region of the heart. In the outer ether He is the Sun (Sflryya), and in the inner ether He is the wonderful Light which is the Smokeless Fire. In short, that Being whom the S&dhaka realizes m the region of his heart is the Aditya in the heavenly firmament. The two are one. The word is derived in two ways: (n) from the root Bhrij, " to ripen, mature, destroy, reveal, shine.” In this derivation Stiryya is He who matures and transforms all things. He Himself shines and reveals all things by His Light. And it is He who at the final Dissolution { Praiaya ) will in His form of destructive Fire [KAMgni] destroy all tilings. (2) From Wwdividing all things into different classes ; ra~ colour, for He produces the colour of all created objects ; g a ? constantly going and returning. The Sun divides all things, produces the different colours of all tilings and is constantly going and returning. As the Brahmanasarvasva say's : "The Bharga is the Atm A of all that exists, whether moving or motionless, in the three Lokas [BMr Bhuvah Svah). There is nothing which exists apart from it."

Devasya is the genitive of Deva, agreeing with Saviluh. Deva is the radiant and playful (L/iimaya) one. SGryya is in constant play with creation ( Srishij ), existence (Sth/ti), and destruction [Pralaya), and by His radiance pleases all. [LUA, as applied to the Brahman, is the equivalent of MAya). Varcnyum=varaniyam or adorable. He should be rfteditated upon and adored

that we may be relieved of the misery of birth and death. Those who fear rebirth, who desire freedom from death and seek Liberation, and who strive to escape the three kinds of pain (tdpa-lraya), which are Adhydtmika, Adhidaivika, and Aihibhautika, meditate upon and adore the Bharga, who, dwelling in the region of the Sun, has in Himself the three regions called likiir-loka , Bkuvar-toka and Svar-loka. Dl: hnah i —dhyaynnu {from the tool dhyai), we meditate upon, or let us meditate upon.

Prachodaydl=may He direct. The Gflyatri docs not so expressly state, but it is understood that such direction is along the Chalitr-varga , or four-fold path, which is Dharma, Artha, Kama, and Moksha (piety, wealth, desire and its fulfilment, and Liberation). The Bharg.ih L- ever directing our inner faculties (Buddhivritti) along these paths.

The above is the Vaidikl Gdydtfi, which, according to the Vaidika system, none but the twice-born may utter. To the Shudra, whether man or woman, and to women of all other castes it is forbidden. The Tantra Shastra, which has a Gayatri-Mantra of its own, shows no such exclusiveness: Chapter 111, verses 109-iri. ot' the Mahanirvana Tantra gives the Brahma-g&yatri for worshippers of the Brahman : " Parameshvardya vtdmahe ■para-tallviiya dhimahi : tan no Brahma prachodayat" (May we know the Supreme Lord. Let us contemplate the Supreme Reality. And may that Brahman direct us.)

CHAPTER XXX

THE GAYATRI MANTRA As an Exercise of reasoning

The Society 1 is called "Rationalistic." Hits formation was meant to be merely a homage to one form of modern western thought, the title may be fairly correct. L think however that you had no intention of adding to the volume of imitativeness in this country, but by your action you wished to affirm the necessity of such reasonable thinking and practice as is characteristic of the Ary a Dharma, rightly understood and cleansed of all bad and useless accretion. There is always a difficulty, when English verbal labels are used to describe Indian philosophical and religious theories and practices. In fact such labels are a fertile source of confusion I hear of a good suggestion to call it Satyajndna Sabha or a similar name.

Rationalism, in the sense of its technical opposition to Sensationalism, has no meaning in this country for those who believe that a child is born with his Sangsk&ras.

"Rationalism” in its more general sense involves, it has been said, the following beliefs : — (i) Reason is the chief source and final criterion of knowledge. (2) Each individual must investigate and gain knowledge for himself, and must not merely submit himself to external authority. In other words he must do his own thinking. (3) As a result of this it is said that a rationalist must reject any alleged knowledge, the truth of which cannot be rationally demonstrated.

Upon such a statement a Ved&ntist (I speak throughout of the Advaita-Vedinta) would ask, what is the

1 Thl* Chapter rcprcdoces a Lecture given V, th-i Rationalistic Sociuty, Calcutta.

"knowledge" here mentioned ? If worldly (Lauldka) knowledge is meant, then the Rationalist and Vedantist are at one. Worldly knowledge is apprehended through the senses (Indriya). Tn its own sphere, reason is the chief source of knowledge and final critetiom. So much, is this so, that Shangkar 4 ch 4 ryya says that if even Veda were to contradict what is the subject of worldly proof (Laukika-Pramana) it would not he Veda. In this sphere it is not a Pramina, which overrides the testimony of the senses and inferences therefrom. The Yoga

Apt paurusham ddeyam shastram chetd yuktibodhakam Anyat tvirsham api lyujyun: bhivyam nydyyaikasctiuu Yukiiyuktam upddcyum vachamuu b&iakiid api Anyat trinam iva ly&jyam apyuidaiv. PadmajunmanA.

That is, "Even a Shistra of purely human authorship should be accepted if conformable to reason. Anything else (which is umeasonable), even though it be the word of a Rishi, should be rejected by one who follows reason. The w-ord of a boy if leasonable should be accepted. Anything unreasonable should be rejected as of no more count than a blade of grass, even if it be uttered by the Lotus-born (Brahma) Himself." On this subject read the whole of the 14th Chapter of Book II of the Mumukshu Khanda of this work which is a glorification of Vich 4 ra or reasoning.

But there is more than what is seen with the eyes. The mind admittedly exists, but it is not seen by the senses (Atindriya). Again as to objects, scientific instruments enable the senses to perceive more than is presented to them in their natural state. These instruments thus effect a material extension of natural faculty. Then there are Psychic Powers (Suldhi), the subject of much study to-day in the West, but matters of long familiar practice in this country. Here the mind may

operate independently of the gross bodily organs of sense, as also occurs in some cases of Hypnosis. These psychic powers arc again extensions of natural faculty. They are not supernatural, except in the sense that they are supernormal. They may, in any one individual, be natural or produced, but we do not reason ourselves into them. We can reason only upon whether they exist, and what they are and indicate. That is, we reason about them. In themselves they arc peculiar mental faculties, by which the mind sees tilings or imposes itself upon and controls, or affects, others, such as Clairvoyance, Clairaudiencc, Hypnosis, Thought-reading, Telepathy and so forth. There is nothing unreasonable in all this. On the contrary an affirmation of their existence is reasonable and in accordance with the VedSntic theory of Being upon which this paper proceeds. The only question about them is one of fact or proof. Do they exist or not ? Nothing is more unscientific than to pronounce a priori against them and without investigation into the facts. Notwithstanding scientific bigotry (for there is a bigotry of science as of religion) psychical research is coming to be recognised as a useful form of enquiry.

Lastly there is what is called spiritual or religious experience, which is of varying degrees and kinds, and is a knowledge of the nature (through an actual participation in Its Being) of the excelling and infinite Principle which lies behind and manifests all Phenomena. Professor James’s celebratedwork "Varieties of Experience’*’ is one of the first essays in a field, which is only now commencing to be cultivated extensively. The possibility or fact of such experience cannot be said to be unreasonable. Such experience has been affirmed by all the great Religions, and by some of the great Philosophies. If it is unreasonable, then

the bulk of Humanity have been lacking in reason in all the past and in the present times. The question again here is one of fact and proof. Have such experiences taken place in fact ? Are they real experiences or mere hallucinations ? In the latter case why should they occur ? The only direct and certain proof is the having of such an experience oneself. Probable proof may be had in various ways, such as the persistence and universality of such experiences, the nature of the truths said' to be revealed by them, and. in particular, the extraordinary effect which they have produced on the individuals who have had such experience, and (in the case of the greater experiences) the effect that they have produced on the world at large. To my mind it is a very shallow view which regards the effect produced on millions of past and present Humanity, by the Rishis and Shakva Muni of India, by Laotze, Jesus and Mahommed, as the outcome of the hallucination of the Mah&/mds named and otheis. Which of these experiences, it may be asked, is true, or which one is truer than the others ? This is too vast a question to be answered here. Let me however say this, that those who read these experiences with knowledge will find elements common to all, together with some elements which seem to vary. As to these last let it be noted that just as in our ordinary life one man sees and knows more than another, so it is with spiritual experience, of which there arc many grades. If two men are approaching a mountain, is the experience which one man has of it yojniles distant untrue, because it differs from the experience of the other man who sees it at its fool ? Do we not say that both arc true, considering the position of each experiencer ?

In India spiritual experience is called Veda, from the root "Vid" to know. It is experience in the limit, of which all others arc gradual and partial reproductions.

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This may be primary, that is, an individual may himself have the experience, or he may accept the authority of those who have had such experience, for reasons I have slightly indicated but cannot develop here

The Vedanta says that Reason is supreme in worldly ( Laukika ) matters open to nur senses. By reasoning we may establish Laukika truth, but as regards wlsat is not seen, such as the being of one Supreme Cause of which the Universe is an effect, unaided reason can only establish probabilities and not certainty. Thus one may, with reasonableness, argue for or against Monism, Dualism, Pluralism and so forth. In this way mere reasoning may lead to contrary conclusions. And in fact what is more contradictory than the conclusions of Western philosophy with Realism 'old style and new as propounded by Mr. Bertrand Russell), Idealism (objective and subjective), Monism, Pluralism, l’an psychism, Humanism, Pragmatism, and the many other systems which jostle for men’s custom in this Philosophical Fair ? It is a matter of doubt whether modem metaphysic is any real advance on that of the greater among the ancients. In my opinion none are better constructed than the Six Darshanas. The advance has been made in Science. But even here there is dispute, both as to the facts observed, and the theories based on them. For me, their greatest importance just lies in the fart, that the latest scientific inferences corroborate the intuitively derived teaching of tire ancient sages. Thus present scientific conceptions of the constitution of matter, and notably the breakdown of the Atomic Theory, support the notions of MayA, a single material basis of the Universe, and the existence of Ether which, as AkAsha, was accepted in India when Europe had not passed Ireyond the so-called “four elements.’’ Both science and Indian beliefs posit an evolution of beings from the organic to the inorganic,

and, in the latter division, from plant to animal and animal to man. In India it lias always been held that there arc no partitions or gulfs between the various forms of existence, and that, for instance, the difference between man and animal is not a difference of kind but of degree. Again from the new Psychology and Psychical Research, Vedanta gains support, as from theories touching the nature of mind as a material force (as Herbert Spencer teaches) and as a power (the picdominant idea in "New Thought” literature), the extension of the field of Consciousness, dual personalities and various forms of psychical phenomena.

Nevertheless, so far as ultimate? are concerned, neither Metaphysic nor Science can establish more than a high degree of probability ; they may lead to the door of the shrine, but they do not directly and unaided place the enquirer within. The Brahman or All-Pervader cannot be established by reason, because it is never an object of knowledge. The Shastra says, one can only know Brahman by being Brahman and that is by spiritual experience. Its being and nature are taught by revelation. Revelation is not the speaking of any voice, divine or otherwise, from without. It is self-knowledge in its deepest sense and nothing ‘more. The VedSntist affirms that we can know ourselves, not only in our gross or physical aspect as being fair or dark, short and tall and so on, or in our subtle or mental aspect as perceiving and reasoning beings, but in our innermost essence as that of which both body and mind are manifestations. It may be the fact, or it may not be the fact, but there is nothing unreasonable in the proposition as such. It is this Self-knowledge, attained by oneself in varying degrees, or accepted as the experience of others (Shruti), whose testimony we may, for reasons satistying to ourselves, accept, which renders certain that which to

reason is only probable. Once Sliruti is accepted, Reason can follow its teaching without violence to its own principles. What was before reasonable and probable is now both reasonable and certain. Tliis must be so, unless we assume what is impossible, namely a divorce between rational and spiritual truth. Truth however is one and what is umeasonabe must be rejected, whoever says it, "even if He be the Lotus-bom.”

It is not India who has denied the rights of Reason. It is Europe who in the past has done so. But Europe has now, after fierce contest against Church tyranny and oppression (aided by the State) with its imprisonment, torture and burning at the stake, largely achieved in the present the right of free thinking. Had India been so opposed She might have been to-day more intellectually active. In the same way the political activity of Europe has been stimulated by the oppressive governance of its peoples. We westerners have bad to fight for all the things o i worth we have won.

Nowhere however has intellectual liberty been so authoritatively, and for such a length of time, recognised as in India. The word “Man” is derived from the root Man, wlrich in Sanskrit means "to think”. Man is Mann. Therefore man is "The Thinker ." He is thus distinguished from the rest of the world by Iris thinking. What greater definition than this of our Aryan forefathers can be found ? In no country in the whole world has there been more thinking than in India, which has been indeed a very hot-bed of speculation and divergent beliefs and practice : such as the Materialism of Chdrv&ka and the Lokayatas, true atheists, men of the type of Ajitakeshakambali, the opponent of Sh&kya -Muni, who denied that any Brahmana, or any one else, had discovered any truth concerning any other life than this,

who said that man was made of the four elements and dissolved into the elements at death and had gone for ever ; such again as the Sanldiyas, dualists and realists, affirming the existence of Spirit, but holding a God as Governor of the universe unproved (Nirlshvara Darshana): the N y iya vaisheshi kas, pluralists, realists affirming the existence of the Supreme Lord ; Buddhist idealism (Vijnanavada) and so called "Nihilists” (Shflnyav'tdins) ; VedSntic Monism, qualified Monism, and Dualism in various theistic forms, Altmangsakas. Jainas and every shade of thought imaginable.

In Vcdantic S 4 dhan 4 , Reasoning or Manana occupies, with Shravana and Kididhyasatia, a principal place. All the Darsha nas, particularly ptjrhaps the Nyaya, are written to serve Manana or reasoning, and the BrahraasOtras, which the Vcdantic systems expound, are known as Vaiyisikanyayamala.

As regards science, India has had its own great achievements which you will find recorded in part in Professors Brojendranath Seal’s and Binav-kumar Sirkar’s workson the subject. Up to the modern period India was more than the equal in this field of any other country. But undoubtedly, since that period, the palm for scientific thinking and experiment must be given to the West. Those who however imagine, that reasoning and freedom of thought are a distinctive appanage of the West, arc very ignorant of the history of their country. If one had to make the comparison, and one did make it over a period, extending from say (to go no further) 2000 B.C., the statement must be reversed in favour of India. No country has honoured Reason more, or given it greater freedom than India. The cultural restrictions in this country have been of a different kind, consisting in the social ordering of life, and in later times exclusion from knowledge by reason of artificial distinctions of caste.

gAyatri mantra

Bat those, to whom the book of knowledge was open, have always been able to think freely enough. When Europe was under ecclesiastical domination, the attempt was made to make every one think the same way in the maimer laid down by Church authority. It is against this that European Rationalism protested.

I at first found a difficulty in choosing a subject to address to you out of the many which presented themselves, and I had practically written a paper, with which 1 was not satisfied, because 1 could not put before you (as indeed I cannot even now) what I wished to say within the limits available to me, when, by something more than chance, l found amongst my old papers a note sent me some years ago on tlic Oayatri Mantra, the holiest expression of the thought of India. I therefore restate its argument more summarily in words, and with some further additions, of my own.

The Mantra opens and ends with the Pratuiva or Om. This refers in the first place to the threefold aspect of the World-Cause in manifestation. That there is a cause (MaiiAshakti) which, as the Universal Self, contains the universe within Itself, is dealt with in the meditation which follows. Here both the Cause and Its manifestation are the object of thought. The Nadu bind u indicates that causal state of the World-Power, prior to its threefold differentiation as represented by the letters A, U, M, which coalesce into Om. These letters stand for its working which is observable by all. For the first and second refer to present activities, as well as those in the past and future, of the MuMshakli, as the Radical Vital Potential. M or Rudra as so observed is chemical action breaking down the combinations of matter. This is the disintegration of form. A (Brahma) is the force which creates it anew by its ever rejuvenescent molecular activity, thus rescuing organised vitality from the pro-

cesses which are ever at work to consume (as “M" ) its forms. U (Vishnu) is the maintaining power which stabilizes matter, which is only a relatively stable condition of energy, from which it appears, and into which it, at length, merges. Looking at the sum total of manifested energy, Vishnu as Maintainor, through space and time, is a theological statement of the doctrine of the general conservation of energy. The Mah&shakti, in Herself Perfect Consciousness (Chidrupini) . is the threefold Powers of Will, Knowledge and Action, and manifests in the building up, maintenance and disintegration of forms. What follows, as all else, is contained in Om, but some of its implications are developed in the rest of the Gayatri Mantra. Om considered as a sound (Dfnani) is the approximate natural name of the first undifferentiated movement (Sdmdnya-Spanio) of the stressing mitcrial cause (Prakrit!) of the universe. The primordial "Sound" or Stress is the primordial functioning of the Brahma-Shakti.

Then follow the three Vy&hriiis—Bhtik, Bhuvah. Suah, which are Lakshaiia of, that is, stand for, all the fourteen Lokas, though now in this (Vyavah&rik a) world we are only concerned with the iirst three ; Bhdh for Baih and the seven nether Talas, Bhuvah for itself, and Svah for Svah and the remaining upper regions up to Satya. The Lokas represent states of consciousness. Bhurloka or earth is the state oi normal experience . The Lokas above it are states of supernormal consciousness, and the Talas below are conditions of sub-normal experience. Objectively considered matter becomes more and more dense as one descends from the highest to the lowest Loka and thence to the Talas ; and as the veil of matter is more or less dense, so the state of consciousness varies. The first five Lokas, from and including Earth, are those of the five forms of sensible

matter, the sixth is that of Mind ; and the seventh is the causal state of both Mind and Matter. Earth and the nether states are the gross body, the Lot' as from Bhuvah to Tapali are the subtle body, and Satya is the causal body of the great Purusha referred to in the GSyatrf and worshipped in the Sun-circle {AdUya-mandala). The Vytihriiis indicate that the Great Self which is indicated in Om pervades all the regions of the universe. How then do we get the notion of that Self and then experience it ?

In our ordinary condition of consciousness, the outer world is completely objective and stable and independent of it. It lies “over there” in the outer space entirely external to us, having apparently its existence in itself and of itself. This state of consciousness is indicated by the first Vyahriti "Wnih." This is our normal state. Our mind is here. It is one thing — A ham or I. The object, the I dam or “This,” the Vimarsha-Shakti, is there. It is another. But a little reflection reveals that these seemingly independent objects are for us bundles of certain qualities, which are so. only because they are sensed by the Senses which are constituted in a particular way. It is obvious that if our senses were not there, or if they were not seizing the object, there would be no sensation and no object. Again if the senses themselves were modified, the sense perceptions would also change. In that case the objects, which at first sight exist independently of our perceptions, would become something different from what they formerly were, as they would exhibit a different set of qualities. Thus the objective world is not really independent as we first thought, and the form it presents to us is due to the action of some objective force acting upon the subjectively sensuous character of the beings who perceive it. With such reflections the notion of

objective stability wears oil, and the world first assumes a mobile condition, in so far as it is seen that the objects, which at first seem to possess the qualities which characterise them, do so not only of themselves but also of ourselves. The condition of mind in which this notion is firmly held is the second of the seven divisions or stages of the Parthiva consciousness. All materiallyminded thinkers, who look upon the objoctise world as independent of a subjective perceiver, are in the Bhurloka.

The second condit:on of consciousness in which the subjectivity of the self first asserts itself, and the objective world loses its absolute and independent character and appears as dependent upon, influenced and modified by the subjective factor, is expressed in some forms of idealism. In such cases though the subjective element is recognised, it is not ideal in the sense that it has its root wholly in itself, but it is objectively actual in the sense that it has its existence at least main*y in the external. The seer, seeing, and seen, are localised in the outer space. As we proceed upwards, whilst the seen Jneya) remains external to us, the seeing {Juana) is localised internally, until at length the seer (Jnatd), seeing Juana), and seen Jneya) are all internalised, subjectified and unified. This J ndnasiarupa or the Supreme Consciousness is opposed to Jndnavrilli or the limited and differentiated conscionsness.

After the attainment of this second stage we pass to the third. We then ask, what lies behind the senses, wherein to a great extent the appearance of the external world depends ? Wc then perceive that the senses do not apprehend objects unless attention, in the form of Manas, is bestowed upon them. The whole world, open at any moment to the senses, is impinging on them at every moment, but only that is perceived to which

GAYATKi MANTRA

we pa> f attention. The Brihad&ranyaka Upanishad gives good psychology when it says, "1 did not hear. My mind was elsewhere." But attention must be directed and willed. We learn then that behind the Senses there is some Self which directs its attention to a particular object, and so perceives it by the medium of the senses. There is thus no sense-perception without the co-operation of the attention of the Self. Therefore, the world (considered apart from what it may possibly be in itself) is dependent both upon the senses and attentive mind of the self which is behind them. The attainment and habit of this thought is the third ascending stage of the Pftrtliiva consciousness.

We have thus attained a knowledge of the self. We next reflect upon its nature. To the ordinary consciousness of the first two states, the self either did not appear important, or seemed to be limited to the body and restricted within its scope. But reflection has now shown tiiat not only is it unconditioned by the senses, but actually conditions them, giving them effective operation through it* power of attention. The self then appears uncontrolled by the physical body, selfluminous and overlapping the bounds of the physical senses. When this notion is reached the fourth stage of consciousness is attained.

The next question is — what is the relation of the self, the senses and the objects ? Are they each independent in their origin the one of the other, or is one the cause of the other two ? They cannot be independent of each other, for this would mean that either they had no relation to each other, or if there is any relation, it is due to some fourth thing external to the others, which is the basis of their relation and apart from which they cannot be in relation. It is obvious that they arc in relation to each other, and, as such, the ground of their

relation must be either in. or outside, themselves. It is sufficient to say here that no fourth principle capable ol holding them together and bringing them into relation is perceived. Hut logically the same result can be established, for if a fourth principle bringing them into relation were assumed, which was dependent on some one or other of them, the causal element would be still to seek, whereas if it were independent and still in relation to the three, then the ground of this relation would have to be sought for in some fifth element, and so on with a regressio ad infinitum. We must then confine ourselves to the three and examine the nature of this relation.

The relation can be grounded only in that element out ot the three which is independent of the others, for a dependent entity cannot have the ground of its relation to others within itself. The perceived objects are not independent. For they require tin* senses to be perceived as objects of that character according to which we perceive them. The senses are not independent, for sense perception requires attention of the Self. Objects in order to be objects must be perceived by the senses. Without the senses they are not objects for us. The senses are not operative senses without the attention oi the Self behind them. On the other hand the Self does not cease to be the Self, when it is not attentively perceiving objects through the senses, as we see in the case of dream. The Self in dream is cm off from the senses. Indeed it evolves both objects and senses. The Self in dream is cut off from the objective world, having nothing in it but ideas thereto. Yet it transforms for itself those ideas into outer objects and the senses which perceive them. What we see in dream is real while it lasts. Thus the Self is independent of the other two and has within itself the ground of the causal relation by which it evolves them. The firm and lasting cons-

GAYAlRi MANTRA

ciousness which realises this is the fifth step in the ascending consciousness.

What then is the nature of the relation between the cause producing the objective world and the effect so produced ? Is it a cause material in its nature, producing an effect external to i tself , or an ideal cause working ideally upon itself to produce an effect ? The cause cannot produce an effect which is really external to itself. Were this so, the dream-world of which we are creators would be external to the self which produces it. In that case it would not vanish with that state of consciousness which lies at tbe root of it. The objective world can only be ideally connected with its cause. Gradnally the notion that the objective world is produced by a cause external to it is rejected, and the notion is accepted that the cause has the effect lying ideally within it, which is projected and externalised in the course of cosmic evolution. For when mind and matter are evolved, each lias equal reality and (in the sense of impermanence) unreality. In its highest sense Reality= Persistence^ Deathlessness (Amritatva)— Ananda which is living unimpeded in the fullest measure, which is Atma. And so Herbert Spencer on biological principles defines “pleasure" as the index of the uuimpeded flow of vitality. What fully persists and is therefore fully “real” is the self. The firm establishment of this experience is the sixth consciousness. Just as the dream-world lies within tiie consciousness of the dreamer, who projects it into fancied objectivity, so the objective world of common {Vyavahdrika) experience lies within, and is projected by, the Consciousness of the so-called World-dreamer, who suras up in Himself all experiences. Is the world or its cause necessarily thus by virtue of the nature of the cause itself, or on account of some external fact ? There is no material other than itself outside the cause

which it takes within, works upon, and puts forth. It might be thought that there was ideal connection with the objective world on the causal side, but that the root of the objective world upon which it operates was something lying elsewhere than in its inner being. But this is not so. as the effect, the objective world, must necessarily be within the cause, otherwise it is not possible that it should he ideally connected with it. II the connection with the cause were something other than the constitution of the cause itself, there must be an indication of what that something is and the nature of its connection with the cause. Moreover if that something lies outside the cause, we must suppose some medium connecting that something with the cause itself. And again the question would arise whether this connection was natural and necessary, or adventitious. If the latter, then what is it Which brings about the connection ? In this way we have a regressio ad infinitum unless we suppose the connection to be natural and necessary. It is reasonable then to hold that the objective world lies necessarily in its root the cause. Moreover having arrived at the consciousness that the eftect is ideally connected with the cause, it is more reasonable to hold that this connection is clue to the constitution of the cause itself. When the entire objective world is viewed as necessarily lying within the cause, the seventh, or what wc may call the Satya stage of the Parthiva consciousness, is attained.

Up to this we have only dealt with the subdivisions of the Parthiva or eartli consciousness, that is, experience as beings in the Parthiva state elaborated by reflection to its highest point. By such reflection we reach the standpoint from which the whole universe is viewed as lying in a seed (Bija) form, ideally and potentially within its cause which is nothing but the Self.

GAYATRI MANTRA

Thus one aspect ol the grandeur ol the Self as the potential cause of the entire universe is revealed. The Sddhaka has thus passed through higher and higher stages of the Pdrthiva consciousness to the indwelling Spirit within it. His thus expanded consciousness brings forth the exclamation which is the Gayatri Mantra, in which homage is made to the Supreme Power, which manifests in this and all other forms of experience and its objects in the Universe. Hence the word by which the Sddhaka denotes this indwelling Spirit is Savitd, or the Projector of the Universe from out Its own thought, without external material or aid. It is however to be remembered that the strength of the force of the externality-notion which commenced at the stage of Ether [AMsha) reached its greatest power in the earth-principle (Prithivi Tattva) of solid, ponderable, three dimensioned matter and in the Pdrthiva consciousness. Therefore it is Iliac Savitd the Producer, though really the Inner Self, is itself externalised as something placed out in space and hence we iind it designated by Tat or That. This "Thatness" will, as we proceed; meet in one unity the Supremeness of the last stage. Hut it is the characteristic of the Pdrthiva consciousness that it always tends to locate both the Seer and the Seen in outer space. The devotee to whose mental gaze the indwelling Spirit reveals itself, bursts forth into the Mantra : “Let us meditate on the adorable darkness-dispelling Spirit of the self-luminous all-producing Savitd" with the prayer that It may inspire and illumine our inward Reason. It is through this illumination of the Reason by the source of Reason, that the inner Reason which is our inner being sees and understands the entire universe and its principles. This Savitd produces the universe in accordance with the principles of Reason which are at base His own inner being (Vichdrachamatkritih parain-

tUmamayt), and this production of Ilis is revealed to us and realised by us in participation with the Divine Reason of His being. As we arc, in our deepest ground, the Spirit, which, in its outer aspect, is our limited selves and what is not ourselves ; as our reason is an efflorescence of Its own eternal all-knowingness, so our outer reasoning is in conformity with the truth in its own sphere, and is illumined to pass beyond reasoning upon the objective world to an understanding of the rational vesture of the Spirit, and then to the intuitive realisation of the Spirit Itself. This union of ours with the universal is shown by the fact that we, as so many individuals, if we were to remain confined within our individuality, could never perceive the universe as common to us all. This common perception of the universe could not be achieved by us as individuals, but*only as being one with the universal. And therefore in so far as we are the common pe red vers of the universe, we arc not individual but universal. Our individuality consists in our perception of the universe in so far as it differs from that of others. Thus difference of perception, which individualises us, is not based upon any inherent differentiating condition in our essential being, but upon the externalising limitations, the result of particular Karma, which make it impossible for all to perceive everything at the same time to the same extent. This perception of the difference of the many, due to limitation, differentiates each individual from the other, but it docs not, and cannot, differentiate him from the Indwelling Universal (here P&rthiva) which is the common ground of all. Thus the Sadhaka says that it is this Savitu, or Indwelling Universal, which inspires the Reason of us all, both as individual and as universal, and it is through the Self-luminous Consciousness of this Most Glorious Self (known not only in Sam&dhi, but in and through

every act of reasoning, its mental embodiment) that we are enabled to learn and understand the Truth {Salyam). For it is Salya or the Persistent Self Itself. The relation between the individual and the universal being thus grasped, and it being realised that the individuality of the individual is only through the universal, we should then proceed to sec what is the nature of this Universal which makes it project the universe as we see it around

Here we pass beyond the Gayatri Sad liana into the subtle AtmasadhanS. The Ved&ntist says that to such as truly see, whether with the eye of reason or intuition, the whole universe is perceived as originating from its source, as the Gangi from the Himalayas, and at length returning thereto. It* source is in the Power of the Perfect Consciousness which is Shiva, which means the Auspicious and Good, the Brahman or all Pervading. All which exists are Its varying forms, existing in happiness so loug as they are in Harmony with Him who is Bliss (Ananda) itself. Power and Harmony— let us repeat these words day by day. Think continuously the Thought of Power and be powerful. Individual Power is a small thing, but when it links itself to, or indentifies itself with, the Supreme Power, it shows its mightiness according to the degree oi such harmony and union. Power however does not merely mean material force. The latter is only Power translated to the material plane. Power is also mental, moral, spiritual. l-ove is Power — the greatest of Powers. Everything in fact which exists is Power, which is the .Mother (Ambika).

We may intellectually conceive this. But how to realise it ? Here the Yedfintic practice (.Srii/m >i£) is as profound as its theory. It says that man as body, mind and spirit is one whole. If one would understand

and realise the Pure, one must be that, both in body and mind [Shuddh&lmH). In the West it is commonly supposed that a man may arrive at, or at any rate is competent to seek lor, the truth by reason alone. Mere reason however is insufficient. A man may be deemed a philosopher in the West, and yet lack in character and morals. This is not so in Vedanta which says that its doctrine cannot be perfectly understood, much less realised, unless the body and mind are made puie enough to approach the Punty which that doctrine teaches. The whole being must be brought in harmony, so far as may be, with it. Tlius is it understood and at length realised. The pure mind and body naturally thinks the thoughts which links man's mind with the Universal Mind and the Universal Sell of which it is the subtle form. Sadhand varies according to the stages of development and therefore competency {Adhikdra) of man. But the highest of Sddhands is Karutu i or compassion. 1 took up recently an English novel, curiously enough called "The Rationalist.” There I found the phrase "this new tiling appearing on the horizon— the phenomenon of Compassion which is now beginning to express itself in action.” Th's “new thing” is as old here as the Vedas and the Buddha Golama who ceaselessly taught it. Avoid giving pain. Allay it where it is. Yet the application of this principle is not so simple as is sometimes thought. The truly great of our race need no other power nor effort than to be themselves. By the mere fact of their own self-redemption, they redeem others. Others must at least strive to hold in view the ideal in the midst of the struggles into which their nature and circumstances may lead them. Merc apathy however is not Yoga. Yoga is unity with the Lord in the forms of His Power as one’s family, friends, people and the world at large. He is J ngadbandhn, that is. Friend

of the World. We can each make effort to follow this Supreme Law and to extricate ourselves from the morass of merely selfish struggle. And as we successfully, according to our varying opportunity and capacity, do so, we will find that we make individual advance, and that the power to impose our will on others increases. If each will, according to his capacity, so order his life that lie does not cause pain to. and relieves the suffering of this great Body of the Lord which is the Universe, of which each is an infinitesimal part, then they will commence to really understand. The greatest cloud upon understanding is selfishness. The mass of men are still mere candidates for Humanity and must raise themselves to it. The meaning of Evolution is the liberation of the Spirit or Inner Self from all which obscures its essentia! freedom. This liberation is taking place in the gradual ascent from inorganic to organic being and the advance of organism culminating, for the present, in man as we know him. The highest humanity is that in which it and Divinity meet. In man the 1-principle is still being developed in present humanity. The end is the perfection of the present "1," and then by stages its identification with the Universal "I." the Purndham which is the Infinite Self. The Sadhaka thinks of this ascending or return movement repeatedly, for Japa on the Gayatri is necessary to correct the natural objective tendencies of thought. This is the true performance of Sandhyd, which literally means perfect Dhyana or meditation, of which the Gayatri Mantra is the sou!.

Those who have not learnt the goal of evolution do not realise the necessity of Sandhya. They have before their eyes only the present powers and capacities of man and think that his present possibilities on the lower plane should alone be realised. They think only of the fulfilment of desires, shutting their eyes to tire

purpose lor which man exists in the world, namely, first harmony with the active (Vishvalma-Shakti) and then union with the Unchanging Brahman (Chidrupini- Shakti). They fail to realise that the Reality, which underlies all phenomena, must also be in the deepest nature of man, and unless that Reality is known the deepest aspirations of H unram ty cannot bo fulfilled. From the earliest beginnings all earnest minds have sought the solution of the riddle of the universe. All types of thinkers whether materialists, idealists, or spiritualists, have supposed that there is some Reality, call it Matter, Mind, Spirit, Brahman, God, Allah, what they will, which, whilst eluding their mental grasp, is all the same there, though it cannot be comprehended by the mind in Us tullness. it cannot only be there, but it must be h ere within the inmost nature of all, as one with the deepest inmost self. II so, man must not only study the objective universe, which lie should do to gain knowledge df the external Shakti-asjicct of this reality, but he must plunge deep into his own nature, for he can only realise It within and not without the self. Man’s present existence is a mode of consciousness, ordinarily in the spiritual Bhuk Consciousness, or in the forms of a Tala Consciousness. The search is to find out the universal principle. Beings in the lower order of evolution have not the "l’' principle evolved to the level of Vijndna or Buddhi, and therefore the reason and understanding must be developed. The greater portion of the work of evolution must be done by the individual himself, under the guidance of the divine principle of Reason, and if we do not wish to be left behind in the general progressive movement, we must give up all lethargy and the contentment which the animal (whether as beast or man) has with his present powers and capacities and their external environment. Man must seek to

understand the meaning of life and its end, and looking beyond by the Eye of Divine Wisdom J nuna-chakshu) endeavour to first intellectually grasp, and then to realise, that wliich is the Beginning, the Maintainor and the End of allthe V Acbya-shakli of the Gayatii Mantra.

CHAPTER XXXI

(Yoga by Reasoning)

I have in the previous article shortly indicated a form of Gayatri-SadhanA given to me some years ago. Ifere follows the Atma-SAdhana which is taken up at the point at which the Gayatri-Sadhana ends.

Duality is inherent in the constitution of all manifested being. Therefore until man realises the whole (PAma-brahman), that is, the Universe as one with its both immanent and transcending Root, there is an object, whether the same is apparently wholly outside, and different from, and independent of the Self, or whether it is experienced internally as a mode oi the latter’s subjective existence. But the ex]>erience is of varying grades. For jusr as matter, objectively considered, becomes more and more gross from its first ethereal (AkSsha) form to scientific, that is, ponderable matter, so when in the upward ascent of consciousness Matter has been withdrawn into itself and exists there as a inode of being, that mode becomes a more and more suhtlc expression of the principle whence all objectivity, whether externally sensed or internally experienced, is derived. At the stage of complete manifestation, that is, ordinary Bh&h experience, the object or "This" (Idara) is wholly outside, and independent of, the Self, the two being mutually exclusive the one of the other. Matter is then in the form in which we ordinarily sense it. We may remain at this stage which is that of objective science or go within and to the Root of all experience. If that Root is within, then introspection can alone discover it. How ? That which carries us upwards or

inwards is the will-to-know of a nature ever more and more purifying itself and thus gaining strength by its approach to the Almighty SavitA of all. This is Prayer in its highest form. At each moment of attainment and advance we naturally render homage to the glory of the AU-pervading Being, who gradually reveals His infinite Self, just as Linnaeus the great botanist fell on his knees when he first saw Its objective expression in the form of the golden beauty of the flower of the wild Gorse. But the object, though it persists in experience until the attainment of the perfect Consciousness (Brahma- Svarupa), is yet diversely realised as wc proceed innerwards. In the first place it is brought from without to within the Self, and there experienced not as something different from the Self but as a mode of its own existence. Next as such it becomes less and less pointed and more diffused and is brought into closer and closer touch with the subjective being. This is effected by an intense and penetrating meditation at each stage of advance with a view to realise the subjective root of that stage. When the objective tendencies of thought are held in check, Consciousness of Itself more and more purely manifests.

In the Parthiva consciousness, matter is in a fully pointed condition outside the Self until the Satya stage is reached. Even the Self appeared as a concentrated objective point in space. At the Satya stage the notion is gained through reasoning that the entire universe must lie within the Self as its cause. Acting on this suggestion ot the Reason, the PArthiva consciousness turns back into itself, and for the first time as Antarmukhi is conscious of something within itself lying there in a pointed form. The pointedness remains, but the world is carried witliin the Self, where it is grasped as a mode of its own existence. This peculiar consciousness is

TIH- GARLAND OF LETTERS

Rasa, which is the subjective root of what objectively appears to the Parthiva consciousness as Ap. The externa! particularised location disappears. If the point is located outside, there is Gandha — experience of matter in its Prithivt condition. Gandha, Rasa, RGpa, Sparsha, Sliabda are the various kinds ol consciousness, which in the evolutionary process arc the subjective root of sensible matter and which on the full externalisation of such matter are the five different ways in which it affects the senses as smell, taste, sight, touch, and hearing.

In Rasa experience the object is brought in closer relation with the Self, both by reason of its being placed therein, and of a lessened intensity ol its pointedness to the Self as compared with Gandha or Bhuh experience. With a lessening intensity of the Rasa cxpeiience, the latter is shifted from the inner to the outer and seems to be coming from outside less in the form of feeling than of intellection in the shape of general unqualitativc and undifferentiated form. There is then the idea of something there all round the Self, affecting the subjective being by way of a superficially, instead of interiorly, felt experience. This is Riipa experience, the subjective root of Agni who is the builder of forms. This is the last of the form (Murtta) division of Tattvas. The lessened intensity of the pointedness of the Rasa-feeling has necessarily the effect of setting consciousness on the surface of subjective being, and as the idea of space or co-existing externalitypoints is already there, this weakened Rasa experience, being externally localised, spreads itself over the space and becomes the subjective root of the Rupa consciousness. This Rftpa experience, when closely looked into and allowed to come very dose to the subjective being, is experienced as Touch or Sparsha, the subjective root as Vayu. This is not the touch produced by specialised form, for this is a sensation

had only after the production of Agni. The experience may be compared to.the perception in ordinary life of the thermal quality of objects. The subjective intensification of Rupa, with its surface expansion, when concentrated into a point of the inner subjective being, produced the Rasa feeling, which when located outwards was, as Gaudha, the subjective root of the externalised objectivity of daily life. Rupa affects the surface subjective being, whilst Sparsha again shifts experience into the inner, as the whole subjective being then responds to Sparsha as a whole. This Sparsha Consciousness, which is objectively Vayu, is when closely examined found to consist of externality idea-points spread over the surface of the subjective being, receding away as mere hints of outsideiiess, as compared with lhe something which is outside of Rupa experience. This is Sliabda experience, the subjective root of Akhsha, the seed of all externalised or externally located world-phenomena. It persists as the deathless basis (Amrita) of all manifestation downwards or outwards, into \vhich all phenomena are resolved in their upward or inward course. The realisation of this is the Shadba consciousness.

This root of externality-consciousness refers back to its origin the inner mind (which projects the idea of mere outerness and which is its counterpart), the root from which the notion of externality arises as the tree from its seed. This internal-root which grows into Akasha is the Brahma-consciousness as the internal root-will (corresponding on the Parthiva plane to the Manas) which lies at the root of all manifestation. Behind this is the "I am myself,” which subjectifying itself as the "1 am myself I” becomes the Cosmic WilL The former is Chit as the objectified self -consciousness. And from the fact that it is the starting point and internal correspondence of the objective world it may be called

the Bhfth Consciousness ol the internal, ideal, the subjective region as distinguished from the Bliuh consciousness of the external, actual, objective region, the first Vyahriti in the ascending scale. But this Supreme Bhuh, being the terminating point of objectivity in the form of the Self as Universe cannot stand by itself. It must be the result of some assertion of consciousness which is not that of any other than Self-Being, as all other assertions or Vy&hritis of the external world are here transcended. Thus this assertion as "1 am” may be called the Bhuvah of the supreme objective region as distinguished from the Bhuvah of the objective region lower down. And behind this assertion of self-cxistcnce as its root is the eternal subjective "I" (Aham) of the supreme Svah as distinguished from the external objective "I” or individuality in the Svah lower down. This completes the field of assertion of self-consciousncss behind which lies the entire Consciousness (Chit) Itself, that is, Consciousness (Chit) per se, which, whilst itself ever unchanged - and unconditioned, is the source of All the changing forms of experience mentioned which again merge into it, This is Bliss itself (Ananda) or Joy, of which the world is an expression in time and space, the Joy by which it is maintained and the Joy into which the world re-enters, the Universal Mother (like the earthly mother) clasping the child which She has produced to Her breast.

The "I" or Aham here spoken of is not the limited "1” of Ahangkara which is only a gross and particularised reflection of the former. In the Kanukalavilasa the Supreme 1 (Aham) is very beautifully explained as the union (Samarasya) of its own infinite Self as l’rakisha with itself as Vimarsha Shakti, which is a pure mirror (Darpana) made of a mass of the PrakSsha Shiva’s own rays. These are reflected back and the Pflrnahambhava

or the experience of the “I” as being all arises. Thatisthe notion of Self had by reference to the Sell which is then the Enjoyer of Bliss. There is no other but the Self in the fullest purity and unlimitedness of both and is thus the supreme Aham. From this root “I", wliich is Kama, the will to create and the collectivity (Samashti) of all the powers which constitute all manifested things, there burgeons forth the trunk, the brauches, the leaves, and fruit of the great Ashvattha tree which is the universe.

It is only when this Supreme Universal "I" is reached that it is possible to realise its eternaJ inwardness as t.ie Mahashunya, which is the Great Void in the sense that it is nothing which thought can conceive or words utter. None of the higher stages can be realised until the next lower one is grasped. Before the universal' 1 1" isreached, it is not possible to realise the “I-less” Chit or consciousness, as the veil of matter covers (though with decreasing thickness as we ascend) us Glorious Face. It requires a strong effort of subjective penetration to pass through this covering, dense as ponderable matter at its lowest end, and to reach the Consciousness which lies beliind, ol which all forms are Its assertions. At the tune of meditation, the entire thick veil of material (Parthiva) existence must be gradually thinned by moving inwards according to the stages described ; by reducing the crude and thicker form of consciousness into the subtle and more refined, till by gradual inner progress the subtlest point of the universal "I" which is the Lord (Ishvara) of Vedanta is reached. Alter this That which is the eternal and changeless ground of even this is realised and then there is Kaivalya Moksha, the ultimate Basis of all the Forms which have arisen out of Its self-assertion,— the Will to be many of which the Veda speaks. This is the great Self of the Vedanta. This is the Perfect

1HE OAKLAND OF LETTERS

Experience which is called the Supreme Love ( Niralishaya-frenuispadtUvam unandalvam).

These forms of the Self can be broadly classified into the actual, objective or external which is the waking slate (Jagrat avasthi) ; the ideal, the subjective or internal, the asscrtional or the state of dream (Svapna) ; and the third the stale of dreamless slumber (Sushupti) which is the bare subjective standing by, itself not yet in active assertion, but having passed the equilibrium ]>oint about to assert itself, but for the time being having the assertions latent in it, lying there unperccivcd. but ready to shoot forth into assertion, at first qualitative, and then into perception, by reason of both qualitative and external manifestation. Herein all ideas become merged and latent and thence project themselves into the Ideal and thence again into the Actual in the course of the involution of the Self into the Mayik covering which is the universe. The Perfect Consciousness, as realising all these three stages with all their differences and similarities, lies beyond them all, though it is one with all, supporting them by Its own essential Being and Power (Shakti). They are Its forms— tire forms of that Consciousness which It is. It runs through all (Sutratma) and unifies them all, but remains in Itself unlimited and unconditioned, giving them both their separate existence, yet summing them up into Its own Life and Being, which comprehending all yet transcends them from the standpoint of its own Being in itself or Svarupa. It is beyond all because it is infinite. It comprehends all in its supremely rich experience because It is tire whole (Puma). It is Love because It is the Love of the Self for the Self. It is Joy because all Love is that ; but it is perfect also. It is the Perfect Experience (Jnanasvarupa) which thought achieves by a pure mind in a pure body. It is thus the Supreme Siddiii of all Sidhani and Yoga.

Om Tat Sal

TANTRIK texts

UNDER THE GENERAL EDITORSHIP OF ARTHUR AVALON

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SOME PRESS NOTICES

" These Books dealing with the secret Mysticism and Magic nl India are the mosl interesting which have been published in recent years.”— Netu Mi/apkysiseke Rundschau.

"Ifis book (Mahdmrvina) brilliantly inaugurates thestudyof the Tantras. the literature of which occupies a froul rank in the religious life of Modem India. The introduction to it is the most solid and exact account that has yet been written on the doctrines of the Tantras, thoir ontology, mystical phraseology, worship, yoga and ethic*.”— -Revue Critique (Dr. Professor Syivuin Levi).

" The translation (Makar, indna) is distinguished by its elegance and by the profound and comprehensive knowledge by which it is backed " ; (and by another critic ill the same journal) " Skahli and Skdhla n< visits a woiidcrlul grasp of the fundamentals of consciousness." — The Theosojrhist (Dr. Professor Schrader).

" He commenced his work with a Hindu's heart, with a Hindu's regard and a Hindu's taitli, and so his translation is what it ought to be. The Introduction not only re vials the learning of its author, but is a l-o proof that lie has understood in what light Hindus regard the T antra SkJstia. 1 '— Hitabddi.

"In perusing the author's Introduction to the Makanindna Tanlra we have been bewildered with astonishment. Wo could never have dreamt that it was possible lor a Modem Christian Englishman tu -o fully understand such matters as the Mode of T&nt(ik t>4dhanL The author has certainly leamt a great deal of the inner and secret doctrine of the Tan era. We have never heard even front any Bengali Pandit such a clear exposition of Mantra Shakti as the author has given. It seems as if the World- Mother has again willed it and has again desired to manifest Her power." — Sdhitya.

"The first really important work that I know of on die S|iiril ol any Ritualphilosophy.''— Dai Reise Tagebuck Eintr Philosophers (Hermann Keyserling) .

"A magnificent historical and philological record due to the author who has taken upon himself with complete success a task which might seem to be thankless, but which is in reality fecund.

SOME PRESS NOTICES

opening foi die first tjme an enormous and almost unknown branch of Indian literature ."— Isis (M. Masse* D'Oursd).

"Mr. Avalon is doing a very great service fui students ol religion* by making a small part ol it (Tantru-Fhistra) accessible. The Treatise (Principles of T antra) is the most remarkable presentment on the subject which has yet appeared. It is full of points of very great interest ."— The Quest (If. Mead).

“Is clearly a European disciple of some Pandit belonging to the left-hand Shaktas and he shows great sympathy for the sect. He is always ready to defend any of its doctrines and practices, even the most shameful. On the other hand his faithful diseipleship has brought him a wonderful understanding ol the teaching and cult of the sect .... of great uxcgeticnl value . International Review of Missions (Dr. J. N. Farqimhar).

"For the student of religious there is then a mine opened for his enquiries. The whole work bears the stamp ol conscientiousness and accuracy ”. — LUetarishehts ZentraUdail fucr Deutschland.

"The liist impression was of amazement and delight. The Mahdninxhta is one of the most important ol Hindu philosophical works combined with elaborate ritualism, and its translation therefore by a European involved certainly a prodigious amount of study, sympathy and real understanding. Of the 'Introduction' alone it may be said that for its lucidity, conciseness, directness and for its depth of penetration and insight it may itself claim to be a standard work on the much abused Trunins. We have rarely oame across such an illuminating exposition of the Principles of Devi Worship."— Prabuidha Dhdrata.

"Most meritorious productions. From what has been said it is clear that Avalon is right when he declares that up to now this literature has been too often judged aud more often condemned without knowing it and that ths Tantras deserve to become belter known than has been the case hitherto ." — Ostasialische Zeitschrijt (Dr. Professor .If. Wintemilz).

"Arthur Avalon has rendered an eminent service to the Cause of Sanskrit Lite raiure."— Calcutta Review (M ahdmahopddkydya Satish Chandra VidyMkushtma).

“We suspect that Arthur Avalon is one of tho learned Pandits of Bengal whose native speech has not been without influence upon his almost impeccable English. We value highly the woric done, if for no other reason than that it gives us a real insight into the jargon of

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the ritual and the worthlessness ol Tflntrik Philosophy ."--: The X alien (Nae York).

''Illuminating discussion (“Serpent Power"). The Author makes sonic rarely fine brilliant defini tion«... throughout maintains a strictly scientific attitude, though he is obviously impressed with the extraordinary nature ol the T&ntrik Doctrine."— Britain and India.

“There is no doubt that he has an extensive and peculiar knowledge ol the subject ol which he irrats.”— Ltuac's Oriental List (Dr. Barnett.]

"The fust laet which strikes the student ol Eastern Philosophy is the Author's extraordinary knowledge and the second is his impartiality" (Shakti ani SMkta).—Xe-> India.

BOOKS BY SIR JOHN WOODROFFE.

BHARATA SHAKT! (Addresses on Indian

culture)

3rd Edition

I

IS INDIA CIVILIZED?

3id Edition

THE SEED OF RACE 2nd Edition

SHAKT I AND SHAKTA (Essay? and Addresses in the Tantm Sh^stra)

2nd Edition

THE WORLD AS POWER-REALITY

THE WORLD AS POWER — LITE

THE WORLD AS POWi-R— MIND

Other Volumes on aspect* of Sliakti (Power) in preparation.

IS INDIA CIVILIZED ?

Foreign domination ha* been much more than mainly political. It is the cultural and <odal conquest of India which rs the really important one, insidious in its cause hut permanent tn its result*. Alien culture threatens tn obscure the soul of India, to swamp the Indian culture. Therefore Sir John WoodroHe'a latest book is most opportune. Hrs style is simple and convincing. Th*r fundamental principle* of Indian cult urc are examined with great power of insight. &r John's purpose is to defend the minds of young India against defilement— to create a strong working faith in their own ideals, and tor this India will be very grateful The Common • mdiVJiM.)'

'Powerful exposition of Indian culture ... .Many wise political, social and religions observations abound in its inspiring pages. We can commend its perusal to ail who are seekers after the tnith. If it serves to induce the Europeans to abate some of their racial pride, prejudice and intolerance, and the Indians to have a more m rivet appreciation of their culture, then it must be regarded as a most opportune publication at the present moment when the great ♦ it * tn»phc in tire Wr-it ha** shaken Hk* faith in the baric principles u! Western culture and has given a powerful stimulus to the spirit of introspection and enquiry " — The Leader.

'•Deep insight into what Is of true value in Indian culture — clear with an enthusiasm all the more effective because restrained. It is his conception of India that is the great inspiration in the book. His conception of life is Indian through and through I have read this book all one afternoon, marking page after page its trenchant criticisms of our detractors, its pen pictures of Indian life and culture, and especially its illuminating description of what some of our philosophies really meau. It is as if once again as of old, one heard an ancient Gum talking to hh disciples. Il is a noble book for every Indian home ."— Nm India (C. Jinarajadasa).

"Sir John has already earned an abiding place in the affections of our countrymen by his intimate and profound studies of Hinduism and hits enthusiastic exposition of the basis of Hindu

PRESS OPINION’S

culture. The volume in spite o| tin* cphaBctal nature u( tin* incidents of com|KV»itinn h.i' a permanent value ami mu-t find a place in the library of every self-respecting Indian." ‘—Central Hindu College Magazine. The mmUhly organ of Iicna >< m Hindu University.

"Thi« matter and much mon an* ixplained with wonderful lucidity. Sir John point*, ont that (lie true view o( human evolution is the' Eastern one. and supports nnd ilht'trnte* Id' position by refennice to and also using the clearrrit and meaningful nomenclature of that system ol Hindu Philosophy and Religion of which he is such a master.” — The Hindu (/)/. Subtamanya Aiyar).

“So ably indicates the basic principle*, ol Indian civilixation and repudiates the baseless charges with such loinuKiidubk enthusiasm and righteous indignation as rnuld have belli ted one who by birth ha* inherited the culture -deserves study by every* sincere believer in Indian thought. An udinirahlr book — crushing reply— from slarl to finish shows that ihe author hus a masterly and sympathetic grasp of tile whole situation and he why goe* through it will find himself in touch with the es-. nliaK of ‘Indian civili/ation.'’— PrabiutJha Hharata.

•'Sir John Woodrolfc lia« done well to expose the fallacies underlying certain old time attacks recently rciteralul— r> deeply imbued with the -pint of Shikta Veilfintism. and it is from this paint of view that he defend* Indian civihiation. In a very fine chapter Sir John Woodrode exhibits the various opinion' held alxint India and her civilization." — Ser.-anf of India (Pnf,\\inr 1C. I) R anode).

“Contains high Intellectual qualities witli fn-doin from prejudice or nonsense of any kind— the b.-st informed work on the subject written by one not a Hindu.”— I- niW India and Motive Slates.

"The book demands the close attention of every Indian who is interested in the future of Ids country, ft is an urgent invitation to us to appreciate better both this sacred trust and the near |H*ril which besets it. and to Stand firm and faithful in the hour o! ordeal. The author develop* his theory with great skill and much quiet depth and the essays are strewn throughout with acute and penetrating observations expressed with a lucid solidity which tempts one constantly to quotation.” — Arya.

“Is throughout thought-provoking and replete with interesting passages. But those on whom Sir John's eulogisrns will drop like manna from Heaven should also ponder on what (else) lie has to

-.a v. 1 1 woulil biwell lor India il instead u( cultivating a blind racial vanity. for which Sir John's kick will furnish ample material tu 'In* unthinking Irigut, we concentrate om attention on those other lc— >uus pnsachod by him, for only by so doing we would make .1 right Iix* III tintruths it con tains . "—M Oder* Revie w.

"Tin* noble work is a trumpet call to the Indians to realise their Kir ilin-.* and distinctiveness and to build the great future of India — a loving and intimate student ot a great culture ." — Hindu Message.

“India owes a deep debt of gratitude to &r John Woodrofle for this timely volume in defence of Indian culture— certain social aspect* haw been su satisfactorily discussed and defended by this erudite defender of our civilization that if the Indian social reformer would can* to read and think over them, much of his rancour towards ortltodoxy will prow baseless. India’s giuatcst civilization is ini-understood by many intellectual imps botli foreign and indigenous. It i* a consolation to find that great minds, Indian or foreign, can realise it so well as in the ease of Sir John's. Knowledge ol the inucr capability of the Ego teaches but one kind ot patriotism which is ol course uni versa! and not national. It is as silly to hug the degenerates ol our own nationality as to hate the great souls of the other continents. But to stand for their rights when oppressed is the privilege ol every right thinking man and words fail us In thanking Sir John for his humane duty , may they be ever more." — MakraUa.

“Sir John writes profoundly of the Hindu religion am! culture ct which lie is an anient admirer and his delence oi Indian civilization is inlormcd with a glowing enthusiasm. He finds it easy to coalound the rationalist Mr. Archer. The book will not please every Christian that reads it. But no occidental student oi Indian politics should miss the reading, loi it explains much in the Hindu character and point of view that before was obscure and incomprehensible. The Author believes that the ancient Hindu culture which bas persisted throughout the ages, is the best (or India and lie is fearful lost it bo lost in the political maelstrom which will follow the wav." — Capital.

"Great erudition — sturdy champion of Sanitaria Dhattna Indian Duly Next.

' Most effective and crashing rejoinder— the work ol a distinguished scholar and deep thinker— truly merits a very wide circulation

'nil

in this couiiiry. li i' u profoundly plulosojiliic study of the subject." —Hinduslkan Review.

"The constitution ol a politically dependent people can never appear to advantage, because a is the interest of the politically dominant people to discredit everything belonging to the subject race a* uitenoi. The Author bas been actuated by a strict regard for truth and a desire for the establishment ol true Dhnrnia. He has uot spared (rom criticism what is mean, calculating, vulgar, inhuman in his own countrymen, nor has hi minced words in condemning what is low or servile or selfish ur imitative in Indians of tn-day. Actuated by tin; I ugliest aims, he has really given a most remarkable and convincing book on a difhcult and much -abused theme. "

II entity Chronicle.

"Ably written defence of Hindu civilization by a prolinmd

scbolat It would have been better if he had cut end as much tin

emphatic protest against the prevailing abuses of Hindu society .is lie has taken care to deline its virtues and ideals ' '—liveryman's Review.

"It U rather unusual to find among the British members of the Indian Judiciary an apologist for the claims of the Neo-Hindu revivalists and their allies, the Extreme Nationalists. It is in this role that we find Sir John Woodrolle figuring as a sort of modem Soul among the prophets — much of tho book is occupied with an unworthy attack on Western ;uid particularly Christian civilization.'' — Madrai Mail.

"From keen irritation and annoyance. . . .we passed to a feeling of contempt touched by a sorry scumof amusement that the Absolute (or the Spint or whatever else Uie Author wishes to cull it) should indulge in the bad join of this conflict ..Wo consider botl^ Mr. Archer and Sir John Woodrolle in this episode a nuisance... There is an absence of clearness own of logic... A person who presents such a petition as this is not really aud truly the friend ol India.''— The Indian Philosophical Review {Professor A. Widgary).

"Rcchaufitf of more or less familiar arguments— without tho illumination ol any new thought— vague, obscure— illogical antithesis ami loose and disingenuous asertions— extravagant abstraction — cannot be exempted fn.ni the charge of bias. His interpretation of the West suggests that with all his metaphydeui abstractions he is unable to distinguish form from reality— vapourising, nebulous. Tlie aspect of these essays is when not obscure, familiar ; their

IX

style is provocative without being very stimulating. The confusion of issues, tinmultiplication cf sketchy extracts without context, the breach of simple rules of logic and a running speech that gives no reason for the division into Chapters, make altogether a look which Is very hard to read and still harder to remember when rend." — linglMman..

"Sir John Woodroffc is a guide whom the reader may follow with confidence He has lived many years in India and has shown himself to he in real sympathy with the spirit of the East ; on the other hand ho had not lost touch with the ideals of his own people nor been blinded by the essential beauty of Indian tradition so as to be unaware of actual present defects; nor does he forget that those who write against or in praise of India must do so with exactness, discrimination, and the latter with the avcidanccof mere puffing general statements. He is definite and balanced and gives one thi. impression of being thoroughly reliable ."—Theosophist

"I admire the spirit of ubsolutc fairness with which Sir John WoodroHe has approached the task— should be studied carefully by every Indian who aspire* lo lead the people and to mould the aspiration* of his countrymen . ' '—Indian Retriev {Hon. Mr. Justin Seshagiri Aiyar).

"The whole book is replete with useful suggestions to every one who is interested in a proper understanding of Indian culture— Sir John who has devond many years to the study of Indian religion and who brings to his task a judicial frame of mind and abundant -.ympathy lus no difficulty in proving the utter bollcwnws of Mr. Archer's conclusions ."— VedinU Kesari.

"Sir John Woodroffc rightly earned the gratitude of the people by hi* recent vigorous repudiation of the many unjust aspersions nude on India and the Indians by a foreign critic." (Hon. Justice Sir ALdur Kaium in his Convocation Address of 1919 to the Mysore University.)

"We have not seen any one who loves Bbirata as Sir John Woodrolli docs. His pre-eminence consists in this that he has said that Huservice |Seva) ol Bharata is the service of God (Shri Bliagaviu) .“—Uliava

X

By the iame /I u!ho>

BHARATA SHAKTI

COLLDCnON OP ADOHESslii Oh' INDIAN CULTURE

“The thoughtful saying* of an honest foreigner, a true Ilf uni or

"Freethinker” as he himself interpret* iliu Hindu terms ought

to be in the hands of every Indian. It would give him thought and self-respect. The Christian Missionary and the Christian Orientalist are the two great factor of Indian denationalisation. Wo fight the thud factor the politician more or less successfully. We have fought the Missionary and defeated him generally, but the scars of his early attacks we anunconsciously fearing a> acceptable

badges Thus when we run down — in are unwittingly shewing

ourselves as Chelas of the mediocrity of Europe. Like a living organism we must cast ot( the foreign matter trying to bore a home into our intellectual system. Sir John does not spare the Indian mind in its analysis. He lias very ably shown that our so often professed Vairogya is more often our incapacity and sometimes philosophic confusion. Tinlittle hook is one of those productions which would go to make a new ago in this country. It is a protest against cultural suicide ol a civilization designed by its past to live for ever .”— Modem Htsiew.

“Sir John Woodrofle rarely say* anything which has not an element of originality in it. He makes a powerful plea against the cultural conquest of this country by the nations of the West_..a vigorous plea which we commend to the notice of every true bom Indian. Sir John's sympathy is bold and fearless as his scholarship is deep and erudite — be bas a clear and perspective view of our culture." — .4 mute BAxir PairikA.

“The whole oi the booklet U studded with shining gems of thought and thrilling insight into truth ..this sterling faith in the profound individuality oi India, in die glorious future which She is bound to work out for Herself, in the great mission She is to fulfil in the world, animates every word spoken in the addresses compiled in this book. We cannot, in fact overestimate the necessity of every student ol India, of every worker in Her cause, furnishing himself with a copy of this compilation and it is our ardent wish that the great exponent of the wonderful T&ntrik lore ol India would more often make time to come forward, as in dic.se

addresses (o contribute his weighty ideas to the keen intellectual struggle going on in out country round practical problems ol reorganising our life arid thought .”— Prabuddha Bhdrala.

"Each o( these papers is overflowing with thoughtfulness and desire to do good to Bhlrata. We a>k ever}- English educated man to read it. It will give us reverence for our natural culture and will save us from the thoughtless spirit ci imitation."

"Politically India is dead ; this is bad enough, but if cultural conquest follows the political, then She will be truly dead. Is India to b-' a mere name and Her culture assigned to the cold room of the Oriental scholar, or is She to be a living form? Sir John Woodroiic takes up the question with as much enthusiasm as the youngest Nationalist amongst us, HU answer is one of courage and Uupe -but Sir John is not blind to the difficulties.” — Searchfig*.

"Inspiring title— ho has, what is not given to many, understood the soul of [ndia. He is a thorough sympathiser with Indian aspirations and has dwelt upon the real aim and purpose of our efforts. Ought to be read by every patriotic Indian. He will then have a clear vision and feel a new strength in his onward struggle- New India.

THE SEED OF RACE

Au Essay on Indian Education. Price Re. i.

“There is much in this little essay with whirh the s.udn'J: of India cannot hut heartily agree ." — Asiatic Rctia

"Of immense value.... what U Sangskara, the Racial soul, the author as one who haa dived deep into Indian Philo-ophy, fully discusses in detail... .this is the right view of Indian Education."- — Searchlight, Patna.

"All who seek knowledge as to the essentials ot Indian - diicatiou should possess and study carefully a copy of this book' . — New India.

"Readers oi -Is Iivdia Civilized ?‘ will realise how well qualified the author is to offer an opinion on the maintenance ol racial culture. His answer is sufficient to refute the contention of his critics that his love for the old and beautiful in Indian Culture has made his outlook macliona iy. -T Acosofih isl (.1 it

PcBUSliEi- DY GANE5H & Co., MADRAS.

MADIIAS : (JANKSII & CO.

I-OMinX : LL ZAl & CO.