·535
RE
TE
891.264
A53 A
SRI PRATAP COLLEGE LIBRARY,
SRINAGAR (Kashmir
DATE LOANED 5293
A fine of .06 np. will be charged for
each day the book is kept over-time.
KATH
BBAP66
3
31
5
es
is
36
ESTA
BB
FILE
125
PREMA
Tas

·Red Rier Z TA ? TA $ 2010 3 re SRI PRATAP COLLEGE LIBRARY SRINAGAR. See Members of College Teaching Staff can borrow ten books at a time and can retain these for one month. Any intermediate student of the college can borrow one book at a time, any Degree or Honours or Post-Graduate students of the college, two books at a time and these can retain for 14 days. Books in any way injured or lost shall be paid for or replaced by the borrower. 2 IL 23 RE PRE >

·No text on this page.

·WAVE
OF BLISS
ĀNANDALAHARI
Translated witir Commentary
BY
ARTHUR AVALON
(Second Edition, Revised and Enlarged)
Re, 1-8.
GANESH & Co., MADRAS

·No text on this page.

·ANANDALAHARI ·TANTRIK TEXTS Vol. I. TANTRABHIDHĀNA with VIJANIGHANTU and MUDRĀNIGHANTU. II. SHATCHAKRANIRŪPANA of Pūrnananda Svāmi, with Commentary of Kālicharana and notes by Shangkara. PĀDUKĀPANCHAKA, with Commentary of Kālicharana. With these are notes from the Tika of Vishvanātha on the Second Patala of Kaivalya Kalika Tantra. III. PRAPANCHASĀRA TANTRA. IV. KULACHŪDĀMANI TANTRA. V. KÜLĀRNAVA TANTRA. VI. KĀLIVILĂSA TANTRA. VII. SHRĪCHAKRASAMBHĀRA. „ VIII. TANTRARĀJA TANTRA, Part I. IX. KARPŮRĀDISTOTRAM. X. KAMAKALĀVILĀSA. XI. KAULA AND OTHER UPANISHADS. XII. TANTRARĀJA TANTRA, Part II. (In the Press.) WORKS ON TANTRA BY ARTHUR AVALON TANTRA OF THE GREAT LIBERATION (MAHĀNIRVANA TANTRA). A Translation from the Sanskrit, with Introduction and Commentary, Second Edition. (In the Press.) PRINCIPLES OF TANTRA (TANTRA-TATTVA), Vols. I and II. GREATNESS OF SHIVA (MAHIMNAH STOTRA), Second and Revised Edition. (In the Press.) WAVE OF BLISS (ANANDA-LAHARI), Second and Revised Edition. THE SERPENT POWER (SHATCHAKRANIRŪPANA), Second and Revised Edition. SHAKTI AND SHĀKTA, Second, Revised and Enlarged Edition, GARLAND OF LETTERS. BY ARTHUR AND ELLEN AVALON HYMNS TO THE GODDESS (from the Tantra and other Shastra and Stotra of Shangkaracharyya).

·WAVE
OF BLISS
ANANDALAHARÍ
Translated with Commentary
BY
ARTHUR AVALON
(Second Edition, Revised and Enlarged)
PUBLISHERS :
GANESH & Co., MADRAS
1924
MOTI LAL BANARSI DASS,
PUNJAB SANSKRIT Ranu

·891-264
A 53 A
ace..ww: 52.93,

·PREFACE This celebrated poem together with the “ Wave of Beauty' (Saundaryya-lahari) which follows after verse 41, is commonly attributed in India to the great Vedantin Scholastic Slangkarāchāryya, as is also the other Hymn of the same name translated in “ Hymns to the Goddess Hymns to the Goddess” by my wife and myself. The text used is that given in the second part of Shangkarachāryya's Granthävali edited by Prasanna Kumara Shastri (Calcutta 1316 1.5. 1908). This contains the commentary of Achyutānanda. I have also made use of Pandit Ananta Krishna Shastri's commentary on the poem which largely follows the commentary of Lakshmidhara. The "Wave of Bliss” deals with the bodily centres Kuwali Yoga and other Tāntrik subjects. With the former I have dealt in my work now in preparation on the “Serpent Power". To this the reader is referred. I have also said something there as to the present work and its numerous commentaries. On the question of Shangkara’s alleged authorship of " Tantrik ” works the reader is referred to an article in the Calcutta Review (July, 1915) by Mahimahopadhyaya Satisha Chandra Vidyābhūshana. The latter also at my request was good enough to send me the following note compiled under his guidance and instruction by his student and research scholar Dinesh Chandra Bhattacharyya, on the poem the first 41 verses of which are called Anandalahari and the remaining Saundaryya-lahari. (See notes to v. 41 post.) (Vide preface in the Mysore Ed. with Lakshmidhara's commentary.)

·vi WAVE OF BLISS “It is not easy to trace verses from the Saundaryya-lahari in any standard work of high antiquity as the Stotras handed down orally for recitation are not generally quoted in support of any statement so long as there are original works to draw upon. Nevertheless a verse from the Saundaryya-lahari is found quoted in the famous anthology Subhāshitāvali of Vallabhadeva as from Shri Shangkarācháryya (No. 3525—791 5169: FT94, etc.). The antiquity if not also the authenticity of Shangkara’s Saundaryya-lahari is, however, sufficiently ensured by the fact that it has got by far the largest number of commentaries (in Stotra literature). Some 35 are known to exist in different parts of India—a fact which at least affords greater proof of genuineness than can be produced for the rest of the very large number of Stotras and miscellaneous poems ascribed to Shangkara. That the great Shaivite leader was the author of a number of poems besides his monumental works on Vedānta is in our opinion very clearly corroborated by a stanza of Rājashekhara (circa A.D. 900) quoted in the Sūktimuktāvali of Jalhana (thirteenth century)— स्थिता माध्वीकपाकत्वात् निसर्गमधुरापि हि । किमपि स्वदते वाणी केषां चिद्यदि शाङ्करी ॥ (Bhandarkar's Report, 1897, p. XII). (There is a pun on 7184; the words of Shangkara, sweet as they are by nature being composed in the poetic art of Art#917, have a peculiar relish for one whose mind is in Shangkara, i.e., Shiva). “The commentators mostly, though not unanimously aseribe the authorship to भगवत्पाद श्रीशङ्कराचार्य who is said to refer to himself aszfaltas in verse 75. But according to the late Seshāgiri Shāstrī (vide catalogue of MSS., pt. 2, pp. 92-98) the reference is to an event in the life of one of the 63 Shaivite Saints of Southern India and he finds similar references to several other of those saints in two other ·vii WAVE OF BLISS poems of Shangkara. The earliest commentators by their manner leave us in no doubt as to the fact of Shangkara's authorship. Kaivalyásrama, whose date is unknown, but who, from the nature of the works he quotes, seems to be an early commentator begins " भगवान् परमकारुणिकः शङ्कररावतारः श्रीशङ्कराचार्य्यः शिवशक्तयोर- भेदं ज्ञापयितुं सकलप्रपञ्चसाक्षिण्याः ब्रह्माविनाभूतचिच्छक्तेः स्तुतिद्वारा, etc." Kaivalyasrama by the way makes an important remark which may throw some light on the place of origin of the poem : in stating that the verse “समानीतः पद्भयाम् ,' etc., is an interpolation he says "नायं श्लोकः शङ्कराचार्याणां साम्प्रदायिकः मलयालदेशीयानां (Malabar?) पुस्तकेषु यतो नास्ति नापि दाक्षिणात्यपुस्तकेपु” (ril Aufrecht's Oxford Cat.). Both Kaivalyāsrama and Lakshmidhara (fl. under Pratáprudradeva of Orissa, 1504-32, not in the 19th century as the Mysore editors surmise) refer to a work harcar which happens to be an earlier cominentary on four Chapters of the Anandalahari by Sahajänandanátha, pupil of Sachchidananda, the latter being described as श्रीशिवादिगुरुपारम्पर्य्यसत्सम्प्रदायानुसारिमुनीन्द्र श्रीसच्चिदानन्दनाथ Sachchida. nanda actually occurs in the succession list of Gurus at Sringeri Math (ville Descriptive Catalogne of Madras MSS., vol. XIX, p. 7606) and the commentary of one so connected with the very Sampradāya of Shangkarachäryya is some proof on the question of authorship. " Lakshmidhara cites मुभगोदय as a work of the Shaivigama ascribed to Shangkarācharyya (mark specially on page 126 विस्तरस्तु सुभगोदये शारीरके ज्ञातव्यः)-Ramananda, anthor of a त्रिपुरोपनिषद्भाष्यम् thus refers to this work. श्रीशङ्कराचार्यकृतान् प्रवन्धान् सोभाग्यविद्यासुभगोदयादीन् । पुनः पुनः साधु विचिन्त्य बुद्धया तध्वना भाष्यमिदं करोमि ॥

·viii WAVE OF BLISS Lakshmidhara on page 123 quotes a half verse as from gunay 416917 also by Shangkarāchāryya. This is in our opinion a commentary on a Stotra (of Subhagă a manifestation of Shakti) also called gHhah: ascribed to Gaudapādāchāryya. These show that an extensive extensive literature existed on the Shaivāgama in the time of Shangkarāchāryya, viz., the gaar a Tāntrik work with its commentary by Padmapādāchāryya, the famous pupil of Shangkara (quoted very frequently by Rāghava Bhatta who wrote his commentary on Shāradātilaka in a.d. 1493) विन्दुसूत्र ; and its and its commentary again by Padmapādāchārya (quoted by Bhāskarāchāryya in his commentary on Hraftsfaga, p. 235), etc. It is necessary therefore to disprove the existence or ascription of all these numerous works before the authenticity of Shangkara’s Saundaryya-lahari is put in doubt.” Speaking for myself the nature and worth of a work is of more importance than its authorship. I am content to leave these historical questions, which do not greatly concern me, to others who are more competent to deal with them. I therefore have no opinion of my own to offer on this debated point-a position I also took up in the Introduction I wrote for the Prapanchasāra Tantra (vol. III, Tántrik Texts). This did not however save me from the misrepresentation of one critic who, apparently anxious to convict me of something, made me out as saying that Shangkarāchāryya (that is Adi Shangkara) was the author of that Tāntrik work when I had done nothing of the kind. Amongst other matters yet to be determined is the age of the Adi Shangkara himself. I may however take this opportunity of writing that since then a writer in one of the Indian journals has given the following list of well known writers writers who, he writes, support the traditional authorship namely: Amalānanda Amalānanda Yatìndra (contemporary of Hemādri, the author of Chaturbarga Chintāmani), in his Vedāntakalpataru quotes from the Prapanchasāra of Shangkara who he calls Bhagavatpäda. Sāyana, his brother Madhava, ·WAVE OF BLISS is Rägbava Bhatta commentator on the Sharada Tilaka and Nilakantha in his Tikä on the Devi Bhagavata are quoted Durgā. to support the tradition; as also Nrisiiiha in his “ pradipa” and “Täräbhaktisudhārvava,” Appaya Dikshita and the Bengali Pandits Raghunandana and Krishna Chandra Agamavägisha. As against this another writer attributes the Prapanchasāra to “a Tantrik Shangkara of Bengal in the early fifteenth century” stating that all Tantrik works which go under the name of Shangkara—(and therefore presumably the present one) are by him. The same writer affirms that in many of the Hindu almanacs he names an era called Shangkarābda which is some thirty-six years earlier than that which bears the name of Chaitanya. As against these confident statements, we have the following facts noted in the review of vol. III of the Tantrik Texts under the initials of Mahāmahopadhyaya Satish Chandra Vidyabhushana (Calcutta Review of May, 1903) to which I have already referred. He states that the Prapanchasāra can not be the work of any Shangkara of the fifteenth century. For Sāyanachäryya (flor. 1350) wrote commentary on the Prapanchasāra known as the Prapanchasāra Sangraha. The Prapanchasāra is mentioned in the Vedāntakalpataru (Adhyaya I, Pad. 3, Adhikarana 8, Sūtra 33) a work composed about 1210 which which speaks of the Prapanchasara as written by Āchārya which in that work means the author of the Shariraka Bhashya who is said according to European Orientalists to have lived A.D. 788-820. According to some Indian notions Adi Shangkara is here confused with Abhinava Shangkara who at the Kāmakotipitha at Kanchi was the 38th successor of Adi Shangkara who lived in the 6th century B.C. (See (See “ The age of Shangkara,” by T. S. Nārāyana Shāstri.) Again Rāghava Bhatta in the commentary on the Shāradātilaka (431 Benares Ed.) quotes the interpretation by Padmapādācharyya of V, 31, Patala 32 of Prapanchavára. a ·X WAVE OF BLISS He wrote a commentary on the work and was the disciple of Shangkara. To these facts I may add another which has since been brought to my notice namely that the commentary of the Nrisimha-tapani Upanishad by Shangkara refers to the Prapanchasāra as having been written by the commentator of the Upanishad. The critic who advances the claims of of the fifteenth century Shangkara was doubtless correct in saying that we must upon the question of authorship look also also to internal evidence as afforded by the character He is however in error in speaking of the Prapanchasāra, with which he seems to be unacquainted, as being dualistic. How can a Tantra which (to mention but instance) counsels the Sadhaka to realise the Mahavākya “ He I am ” (So’ham) be other than monistic? Whether the monism is that of the Māyāvada School is another matter. I am, however, as I have already said, content to leave all these questions to the Pandits and otbers interested in historical questions, who, I am sure will give them all the attention which they are worth. It is sufficient for my purposes that the Anandalahari is universally acknowledged to be an ancient and authoritative Tantrik work the Text of and commentaries on which have great intrinsic value to all students and followers of the Agama. I might have enlarged the commentary in many cases to the advantage of the reader but considered it unnecessary seeing that I have (as above stated) more fully dealt with the subject in my work (now in press) on “ The Serpent Power”, What I have here given will I trust make this great poem at least superficially intelligible to those unacquainted with the matters with which it deals. ARTHUR AVALON 10th June, 1916 ON THE PADMA ·WAVE OF BLISS ĀNANDALAHARI शिवः शक्त्या युक्तो यदि भवति शक्तः प्रभवितुं नचेदेवं देवो न खलु कुशलः स्पन्दितुमपि । अतस्त्वामाराध्यां हरिहरविरिश्चधादिभिरपि प्रणन्तुं स्तोतुं वा कथमकृतपुण्यः प्रभवति ॥ १॥ I Only when united with Shakti has Shiya power to create, but without Her the Deva cannot even stir. How then can I without worth, bow down to (One so great as) Thee or sing Thy praises—Thou Who art’served by Hari, Hara, Virinchi and others. Commentary.--Shiva can do nothing without Shakti which is of threefold aspect as Ichchha (will), Jnana (knowledge), and Kriya (action). The author" here speaks of the Mantra Hangsah. Hang is the Bija of Shiva and Sah that of Shakti. Hang+Sah=Hangsah=Sal+Hang= So Hang=So'Hang=Sal+Ahai), So Hang being Sah+ Hang=Shakti + Shiva ; if S and H be eliminated therefrom there remains Ong or Oin the Pranava. Prapanchasāra (vol. III, Tantrik Texts), IV, 21. The Hangsah is thus the Pranava in a slightly gross form. This is the first state of Spandana. MSAUH is the Preta-bija. In this Shiva (H) and Shakti (s) are in a state of quiescence during Pralaya. Preta (Pra+ ita) means “completely gone”. This precedes the state when Shakti 2 ·2  WAVE OF BLISS becomes Uchchhúnā. The Supreme Hangsah is the cosmic breath. Hang is the outgoing breath which symbolises creation and Sah the ingoing breath which in a cosinie sense is dissolution. Mahāvishnu, i.e., the Brahman says to Brahmă “ The duration of your life is my outgoing breath "-Tavāyar Mama Nihshvásah (Prapanchasāra, I). The union of Shiva and Shakti is shown also in the articulated consonant letters. The consonants by themselves which are Shiva cannot be articulated. It is by their union with the vowel sounds which are Shakti that they can be articulated. The letters of the Alphabet are called Akshara (imperishable). At the time of Pralaya they are not destroyed but remain dissolved in the Nishkala Brahman. Shruti says : Aksharam paramam Brahma. Thus both Shiva and Shakti are imperishable (Akshara). Their union is symbolised by the figure of nine triangles four of which represent Shiva and five Shakti. Shiva as the Supreme is worshipped by Hari, Hara and Virinchi who are the Trinity (Trimurti) Vishnu, Rudra and Brahmā. These three are mentioned by name as they are in Ongkāra which is formed by the combination of A, U, M. A is Hari or Vishnu the protector, U is Hara or Rudra the withdrawer and M is Brahmā or Virinchi the creator. Ongkāra—the subtile Hangsah is the first of Vedik Mantras. By saying that She is “served by Hari, Hara, Virinchi” the intention is to show that she is adored by the Vedik Mantras the first of which is Ongkāra. The Nityashodashikarnava which is a part of the Great Vāmakeshvara Tantra contains a Verse (iv, 7) which says: “ Without Shakti the subtile Shiva has neither a name nor manifestation (Dhāma=Prakāsha).” The Devi-Bhagavata also says: “Even Shiva bereft of Kundalini Shakti becomes Shava (corpse).' तनीयांसं पांशुं तव चरणपङ्केरुहभवं विरिश्चिः : सञ्चिन्वन् विरचयति लोकानविकलम् । वहत्येनं शौरिः कथमपि सहस्रेण शिरसां हरः संक्षुभ्यैनं भजति भसितोद्धृननविधिम् ॥ २॥ II Virinchi created the worlds from the tiny speck of dust which he gathered from Thy lotus-feet. Shauri upholds them on his thousand heads with all his great might ; and Hara having reduced them to ashes, besmears himself therewith. Commentary.-Shakti is Cause of the Universes which are countless and which, countless though they be, are yet nothing but a ·3 WAVE OF BLISS transformation of a speck of the dust of Shakti's feet. The power of Brahma (Virinchi) and other Devatas is derived from Her, Who manifests the universe with the aid of the Gunas. These Gunas, namely, Sattva, Rajas, Tamas are Ichchha, Kriya, Jnana Shaktis of the Brahunan viewed objectively. Hara or Rudra besmeared with ashes is the power of dissolution. In His case the ashes are those of the worlds which He has destroyed. Shauri (=mighty one) is Narayana or Vishnu. Ananta (the endless one) he is the great Serpent with a thousand heads who upholds the Universes. See Purusha Sūkta : Sahasrashirshā Purushah sahasrakshah sahasrapät. This verse speaks of the illimitable character of the Devi's Greatness compared with which the powers of creation and so forth great as they are, are insignificant. अविद्यानामन्तस्तिमिरमिहिरोद्दीपनकरी जड़ानां चैतन्यस्तवकमकरन्दस्रुतिशिरा । दरिद्राणां चिन्तामणिगुणनिका जन्मजलधौ निमग्नानां दंष्ट्रा मुररिपुवराहस्य भवती ॥ ३ ॥ III Thou art the Sm which illumines the inner darkness of the ignorant. Thou art the channel running with the honey of Consciousness for the unknowing. Thou art the Rosary of Chintā mani stones of the poor and the tusk of the boar Muraripu for such as are sunk in the ocean of births (and deaths). Commentary.- Worship of Shakti dispels ignorance. In the original text consciousness is spoken of as Chaitanyastavaka, i.e., a bunch (Stavaka) of consciousness. The worshipper of the Devi is rewarded with the essence of all forms of consciousness. Desires are fulfilled ; bliss gained and so is Liberation. "Channel running with,” etc.: that is She is the Giver of special knowledge (Visheshajnana) to the ignorant. Chintamani is a Gem which grants all wishes. Devi is Dānashakti-the source of all blessings. She is spoken of as the rosary of Chintamani as it is through Her Grace that the İshladevata may be attained. The Devi is the rosary of the poor who obtain the fulfilment of their desires from Her. Muraripu (Enemy of Mura) is a

·4
WAVE OF BLISS
name of Vishnu as the destroyer of the Daitya Mura, incarnated as
the Boar (Varāha) incarnation (Avatara). She raises and gives
liberation to those immersed in worldly action; so powerful is She-
just as the Boar raised with His tusk the world which was immersed
in the Great Waters.
त्वदन्यः पाणिभ्यामभयवरदो दैवतगण-
स्त्वमेका नैवासि प्रकटितवराभीत्यभिनया ।
भयात्त्रातुं दातुं फलमपि च वाञ्छासमधिकं
शरण्ये लोकानां तव हि चरणावेव निपुणौ ॥४॥
IV
All other Devas grant desires and dispel fear by the ges-
tures of their hands. But not so Thou Who alone, having
granted freedom from fear, and the fulfilment of desires, even
with Thy feet art thus, Oh Protectress of the worlds, able to
save from fear and to grant even more than the fruit of (our)
desires.
Commentary. What the Devatas do with their hands She does
with Her feet: indicative of the superiority of Shakti. In the Dhyāna
of Tripurasundari in Vāmakeshvara Tantra, Tantrarāja (Tantrik Texts,
VIII) Bhavanopanishad (Tantrik Texts, XI) She is not shown as making
the gestures of granting boons and dispelling fear with Her hands.
Achyutánanda observes that what others have to accomplish by their
gestures the Devi Tripurasundari doos without any effort. "Some Devas
grant heaven (Svarga) and others liberation (Moksha). Shakti gives
both enjoyment (Bhukti) and liberation (Mukti). This verse contains
the Bala Mantra : Aing Kling Sauh.
हरिस्त्वामाराध्य प्रणतजनसौभाग्यजननी
पुरा नारी भूत्वा पुररिपुमपि क्षोभमनयत् ।
स्मरोऽपि त्वां नत्वा रतिनयनलेह्येन वपुषा
मुनीनामप्यन्तः प्रभवति हि मोहाय महताम् ॥५॥

·5 WAVE OF BLISS 1 In ancient days Hari through having worshipped Thee the Giver of of prosperity to Thy devotees was able on taking the form of a (charming) woman to stir even the mind of Shiva the Destroyer of the three cities. Smara too through worshipping Thee was powerful to raise passion even in the minds of great sages by his charming body so greatly pleasing to the eyes of Rati. Commentary. The first sentence refers to the assumption by Vishnu of the Mohini Murti. Shiva though a Yogi and the Destroyer of the three cities of the great Asuras could not resist the Devi's power exerted through Hari in the form of the beautiful woman Mohini. Smara is Kāma the God of Love whose consort is Rati. At the time of worship of Tripura Devi both Rati and Káma are first worshipped at the place of entrance. This verse can be, says Achyutānanda, interpreted another way. Instead of reading Pranatajanasaubhagyajanani in the accusative it may be read in the vocative case with In, joined to it by Sandhi. The translation should then begin: “O Thou who grantest prosperity to Thy devotees, in ancient days, Hari through baving worshipped Thee as I (i.e., Kāmakalā) was able to take the form of a woman and so forth." See Tantraraja and Kāmakali-vilása (Tantrik Texts, VIII, X). This verse contains the Vidyā called Sadhya-siddhasana-vidyā. I and R in the word Hari, long i and Anusvāra (Ng) in the word Jananing, spell the Bija Hring. The word Smara (Kama) indicates the Kama Bija or Kling. V in the word Vapuh, Le in the word Lehya, and Anusvåra in the word Muninaug spell the Biju Vleng. The Vidy is therefore Hring, Kling, Vleng. धनुः पौष्पं मौर्वी मधुकरमयी पञ्च विशिखाः वसन्तः सामन्तो मलयमरुदायोधनरथः । तथाप्येकः सर्वं हिमगिरिसुते कामपि कृपा मपाङ्गात्ते लब्ध्वा जगदिदमनको विजयते ॥ ६ ॥ VI Blessed by the favour of a wondrous side glance from Thine eyes, 0 daughter of the Himalaya Mountain! the Bodiless ·6 WAVE OF BLISS Kāma with a bow of flowers, a bow string of black bees, five (floral) arrows, Spring as his charioteer and the Malaya wind war chariot alone and without other aid) conquers the whole world. for a Commentary.—The Bodiless One (Anamga) is Kāma the Deva of Love whose body was destroyed by fire from the third eye of Shiva when he sought to disturb His Yoga by exciting passion in Him for His consort Parvati. The destruction of Käma (desire) by the third eye (of Jnāna or wisdom) denotes the conquest of Kāma by Jnāna. Having the Devi's grace he does not require formidable weapons. He can conquer the whole world with bis sweet soft weapons of love, made of the flowers and bees seated with his chief attendant the short Spring Season of love in His chariot which is the gently blowing wind from the Malaya mountains. The Kāma Bija“ Kling” is here indicated and is extracted as follows. K from Kāmapi, L from Malaya, long i from Maurvi, and Vindu (Ng) from Paushpang. कणत्काञ्चीदामा करिकलभकुम्भस्तनभरा परिक्षीणा मध्ये परिणतशरच्चन्द्रवदना । धनुर्वाणान् पाशं सृणिमपि दधाना करतलैः पुरस्तादास्तां नः पुरमथितुराहोपुरुषिका ॥७॥ VII May She who is the Pride of Shiva appear before us with large full breasts like the temples of a young elephant, with slender waist girdled with tingling bells, Her face like the full moon holding bow, arrow, noose and a goad in Her hands. The Pride of Shiva (Puramathitur āhopurushikā=Shivasya aha ngkärarupā). This is the popular interpretation. The inner meaning is that Shiva as Prakāsha sees Himself reflected in Her the Vimarshashakti and becomes conscious of Himself. This is very fully illustrated in Kama-Kalā-Vilāsa (Tantrik Texts, X). Áhopurushikā like Ahangkāra is popularly interpreted to mean 'pride'but its primary significance, and that is the sense here, is the consciousness of one's self :

·WAVE OF BLISS 'I am Puramathità (destroyer of Pura) is a name of Shiva : Cf. Tripurāri. Commentary.—“Blung " the Shini Bija is here delivered ; B being taken from the word Bana, L from the word Karatala, U from the word Puramathitul and Vindu from the word Astāng. सुधासिन्धोर्मध्ये सुरक्टिपिवाटीपरिवृते मणिद्वीपे नीपोपवनवति चिन्तामणिगृहे । शिवाकारे मञ्चे परमशिवपर्यङ्कनिलयां भजन्ति त्वां धन्याः कतिचन चिदानन्दलहरीम्॥८॥ VIII Fortunate indeed are the few, who worship Thee the Wave of Consciousness and Bliss, Whose abode is that couch which is Para mashiva the supports whereof are the (four) Shivas in the house of Chintāmani, adorned with a garden of Nipa Trees, which is in the Island of Gems surrounded with a grove of celestial trees, in the midst of the Ocean of Nectar. Commentary.-Here the Sthula Shaktimūrti (gross Shakti form) is contemplated in the heart between the three lower and three higher psychic centres. The text may also mean “ whose abode is the couch which is Paramashiva's” that is who is united with Parama Shiva in the Pranava; the Nāda over the Ongkara being the couch on which is resting the Parama Shiva in his Vindu form. The Vindu is Shiva and Shakti. A, U, M, Nāda, Vindu, the five component parts of “ Oin” and the Sbrichakra (Yantra) are here referred to Chintamani is the jewel which grants all desires. The well-known Tantrik meditation in the heart lotus of worship below the Anähata is here referred to. The Bahurûpashtaka and Bhairavayāmala say “There is the supreme temple (Mandira) of Devi full of Chintārnani stones. The great couch is Shiva (Parama Shiva). On that couch the cushion (Kashipu, i.e., Mattress) is Sadashiva; the pillow (Upabarhana) the great Ishana. The four supports (Pada) are Ishāna, Rudra, Hari, Brahma : and the great Indra is the spittoon (Patadgrihna). On that bed Oh great ·8 WAVE OF BLISS Ishāna! reclines the supreme Tripurasundari.” Hence the Devi in the Lalita, v. 22 is called Panchabrahmāsanasthiti. By “Ocean of Nectar” (Sudhāsindhu) is meant Kulāinrita, Karana-vari (consecrated wine). In this verse are the Bijas of Kimeshvari (Kling) and Mahāpreta (Hsanh). महीं मूलाधारे कमपि मणिपूरे हुतवहं स्थितं स्वाधिष्ठाने हृदि मरुतमाकाशमुपरि । मनोऽपि भ्रमध्ये सकलमपि भित्त्वा कुलपथं सहस्रारे पद्मे सह रहसि पत्या विहरसि ॥ ९ ॥ IX Oh Devi, having pierced Earth in Mülādhāra, Fire in Svadhishthana, Water in Manipura, Air in the heart, Ether above it, and Manas between the eye-brows, and having thus passed through the whole of the Kula way, Thou dost enjoy with Thy Lord in the secret Sahasrara lotus. Commentary.--The ascent of Kundali is here mentioned as described in the Yoga dealt with. This is Antaryāga. The Body of Kundali has eight parts (Aliga), namely, the six centres Malidhara to Ajna Chakra and Shiva Her Lord. The six centres are temporary stages where Kundali rests for a while to make Herself Mistress of that plane of being. As Pandit R. Anantakrishna Shastri (in his Commentary on this poem) points out there is a great temptation to the Yogi to stay at these lower centres as luxurious happiness is there experienced. But the Sahasrāra is the permanent abode and this is his ultimate aim. There the interblending takes place previous to which the individual consciousness is retained. In this verse Kundali is described as having broken through the six psychic centres and reached the causal (Kirana) plane. The places of Fire and Water as given here and in V. 37 post differ from those in the Shatchakra Nirūpana (Tantrik Texts, II); also see my Serpent Power.

·9 WAVE OF BLISS सुधाधारासारैश्चरणयुगलान्तर्वगिलितैः प्रपञ्चं सिञ्चन्ती पुनरपि रसाम्नायमहसा । अवाप्य वां भूमिं भुजगनिभमध्युष्टवलयं स्वमात्मानं कृत्वा स्वपिषि कुलकुण्डे कुहरिणि ॥१०॥ X Then again, having made manifest the Chakras by sprinkling them with the streaming shower of nectar which flows from Thy two feet, Thou attainst Thine own abode and having assumed Thine own form, serpent-like with threefold coils Thou sleepst in the cavity of the Kulakunda. Commentary.-Y. 9 described the ascent and this the descent or return of Kundali from the Sahasrara or upper Shrichakra to the remaining six forming the lower hexagon. The Chakras became invisible when absorbed by Kundali on Her upward journey. As She comes down again to Mülādhāra, She produces and thus makes manifest (Rasām nāyamahasā) these Chakras from Herself. Kālicharana say's that Amnáya=Vidhānam (doing) and Mahas=Prakasha (inanifestation). Rasa are the lotuses : for as Kālicharana elsewhere says: Rasa= Vishayarasa or attachment to worldly things. Unless man has the qualities (Vritti) which are in the lotuses he is without attachment. These Vrittis, that is, the Chakras to which they belong are made manifest on Kundali's return. She bathes the Prapancha that is the Six Centres of which it is composed with the nectar flowing from the tips of Her feet when She is in union with Paramashiva in the Sahasrara. She thus returns to the Kulakunda which is in the Mülādhāra that is the triangle there in the middle of which is the Svayambhu Limga round which Kundali clings. The translation adopted is according to the Commentary of Achyutānanda. Kuhara meaning cavity he reads Kuharini in the locative case as an adjective qualifying Kulakunde also in the locative. Kālicharana reads Kuharini in nominative as an adjective of Kundali which is understood. Kuharini is then She who dwells in the cavity (Mülādhūra). The Kulakunda is described as being the root of the Nädis, placed by some in the Mülādhāra and by others in the Svadhishthana. But as Pandit Ananta Shastri points out when the text refers to the sleeping 3 ·10 WAVE OF BLISS posture the Mülādhāra is intended. Kundali does not stay long in the Sahasrara; the actual duration of such stay depending on the strength of practice and previous experience. The Yogi makes effort at each attempt to prolong this stay. On the upward journey there is colour and sound. Sound is heard or vibration is felt in the heart. The Sahasrara is soundless and colourless (Nirvarna). चतुर्भिः श्रीकण्ठैः शिवयुवतिभिः पञ्चभिरपि प्रभिन्नाभिः शम्भोनवभिरपि मूलप्रकृतिभिः । त्रयश्चत्वारिंशद्वसुदलकलाब्जत्रिवलय- त्रिरेखाभिः सार्धं तव भवनकोणाः परिणताः॥११॥ XI Thy abode is made by four Shrikanthas and five Shivayuvatis which are the nine several Prakritis of Shambhu (Shiva). The angles are forty-three in number. It also has three circles and three lines and (two) lotuses of eight and sixteen petals (respectively). Commentary.—This is outer worship (Bahiryaga). The Shrikanthas are the four triangles with points upwards. These represent the Shiva element. The Shivayuvatis are the five downward pointed triangles which represent the Shakti element. By the Mūlaprakriti of Shiva Who is in the form of Vindu the nine are forined. The three lines and circles are the three outer sections in the Yantra and the lotuses of eight and sixteen petals are the inner ones in the same. This Yantra is the celebrated Shriyantra or Shrichakra figured on the outer cover of this book. The nine Prakritis are the root Prakriti (Müla Prakriti) and the eight issuing Vikritis which are also Prakriti in relation to what they produce. Pandit Ananta Shastri, ed. Anandalahari 39 says: (See also Bhaskararāya on Lalita, v. 116.) “ These nine angles by their action and interaction form the immediate cause for the manifestation of the universe. The formation of the Shrichakra is here described. In “Kāmika,” a Mantra Shastra,

·11
WAVE OF BLISS
the human Body is taken to be the Shrichakra, and the correspondences
given as below:
MICROCOS
Five Shakti angles
1. Tvak Skin
2. Asrik
Blood
3. Māngsa
Flesh
4. Meda Lymph
5. Asthi
Bone
Four Shiva angles
6. Majjă Marrow
7. Shukra Semen
8. Prāna Vital force
9. Jiva
Soul
MACROCOS
Shakti's angles
Shivas's angles
Five Bhūtas, five Tanmatras,
Māyā, Shuddhavidya,
fivo Jnānendriyas, five Karmen-
Maheshvara and Sadashiva.
driyas, and five Prānas.
In giving these correspondences some mention 51 Tattvas, some
others 94, while yet some others hold the other Tattvas are all included
under the 25 which they calculate. The commentaries contain in-
structions as to how to engrave the Shrichakra, and quote Vedic
authority to support their statements. There are three ways of design-
ing Shrichakra Meru, Kailāsa and Bhūh. Each of these designs varies
from the other in the arrangement of the houses of Deities and has a
distinct form of worship. The identification with the sixteen Nitya
deities forms Meru; with eight Mātrikå Deities, Kailasa; and with
eight Vashini Deities, Bhuh. “ Taittirīyāranyaka” states that tho
Rishis named 'Prishnis' worshipped the Sbrichakra and attained
success in the Yogic practice of leading the Kundalini to Sahasrara. As
to the number of angles in a full-blown Shrichakra there is some
difference of opinion. Some say that it must have 44, and others 43
angles. As appears from the above the Text here translated gives
forty-three. Naya, Shuddhavidyā and the others are Shaiva Tattvas
issuing forth in the reverse order of that stated. Shuddhavidyå is also
called Sad vidya and Sadashiva is called Sadākhya which means Sat
ākhyā yatah or “that state in which there is the first notion of being ";
for here the world-experience commences as the notion “ I am".
त्वदीयं सौन्दर्य
तुहिनगिरिकन्ये तुलयितुं
कवीन्द्राः कल्पन्ते कथमपि विरिञ्चिप्रभृतयः।
यदालोकोत्सुक्यादमरललना यान्ति मनसा
तपोभिर्दुष्प्रापामपि गिरिशसायुज्यपदवीम् ॥ १२॥

·12 WAVE OF BLISS XII Oh Daugbter of the snowy mountain, Brahmā and the others (Vishnu and Rudra) Great Devas are scarcely able to imagine Thy beauty. The Devis by meditation on Thy transcendent beauty gain that Union with Shiva which is scarcely to be had by (all) austerities. Commentary.-Daughter is She of the Snowy King Himalaya. The Devas are poets both on account of the Shāstra attributed to them and of their concern in the making maintenance, and destruction (the prelude of rebirth) of the universe. The meaning of the second sentence is that the Devis or celestial Spirits who see Her beauty get by merely wishing for it that Union which Rishis and others can scarcely obtain by means of hard austerities. According to another reading which has “Pashūnāng” for “ Tapobhih” the meaning is “unattainable by those who are Pashu and follow not the “ Tantras”, As in the 11th verse the Shricbakra was described this refers to its presiding Deity to whom the Anandalahari is addressed—the first Cause which is reached by uniting Shakti and Shiva in the Sahasrāra. Their merger is Sāyujya. नरं वर्षीयांसं नयनविरसं नर्मसु जड़ तवापागालोके पतितमनुधावन्ति शतशः । गलद्वेणीबन्धाः कुचकलशविस्रस्तसिचया हठात् त्रुट्यत्काञ्चयो विगलितदुकूला युवतयः॥१३॥ XIII If but a glance from Thine eye falls on a blind old man incapable (through his year's) of love, then hundreds of youthful women with loosened hair will follow him, their upper cloths slipping from their breasts rounded like jars and their girdles and lower cloth falling from about them. Commentary.— According to Pandit Ananta Krishna some Commentators regard this and verses 18 and 19 as Madanaprayoga for ·13 WAVE OF BLISS the attainment of the third Purushārtha (Kana): sed quaere ; the description is rhetorical only and v. 19 refers to the Kimakala. So great is She the Desirable One (Kamanīyā) that but a side glance from Her upon any person or thing makes him or it the object of desire. This is a classic Sanskrit description of the state of women under the influence of passion. क्षितौ षट्पञ्चाशत् द्विसमधिकपञ्चाशदुदके हुताशे द्वाषष्टिश्चतुरधिकपञ्चाशदनिले। दिवि द्विःषट्त्रिंशन्मनसि च चतुःषष्टिरिति ये मयूखास्तेषामप्युपरि तव पादाम्बुजयुगम् ॥ १४ ॥ XIV Oh Mother there are fifty-six rays of the Earth, fifty-two of Water, sixty-two of Fire, fifty-four of Air, seventy-two of Ether and sixty-four of mind but Thy two lotus feet shine above them all (in the letters Hang and Salt). Commentary. By the “rays ” (Mayūkha) are meant days and nights. The rays of the six Chakras collectively, make a lunar year of three hundred and sixty days of six seasons. The two feet of the Devi are Nada and Bindu and are “ beyond time" (Kalāgochara). Spring (Vasanta) is fifty-six days, summer (Grishma) is fifty-two days and so on. Each Chakra represents a season. Above all there are two feet of the Devi which are Brahman and Parabrahman, Nada, Bindu, that is, they are beyond time. Some say that the fifty-six Mayūklas are the twenty-eight Tattvas of Earth duplicated : twenty-eight for Shiva and twenty-eight for Shakti. The fifty-two Mayúkhas of water are twenty-six duplicated as above and so on. Above these shine the two feet of the Devi which are Tattvõtita that is beyond all (objective) Tattvas. Achyutānanda who gives the above as alternatives, states his own view which is that the Mayūkhas are letters of the alphabet grouped in different ways: (1) Fifty-six Mayükhas are the fifty letters and the Bijas Aing, Hring, Shring, Aing, Kling, Sauh. These are the Mayúkhas of Earth.

·14 WAVE OF BLISS (2) Fifty-two Mayūkhas are the fifty letters and the Bijas Saung and Shring. These are the rays of Water, (3) Sixty-two Mayūklas are the fifty letters and the fourteenth vowel repeated four times and the letters Hang, Sah repeated four times. These are the rays of Fire. (4) Fifty-four Mayūkhas are the tifty letters and Yang, Rang, Lang, Vang. These are the rays of Air. (5) Seventy-two Mayükhas are the first fourteen vowels repeated five times and Aing, Hring. These are the rays of Ether. (6) Sixty-four Mayükhas are the sixteen vowels four times repeated. These are the rays of Manas. Some say that Nyasa should be done with these three hundred and sixty letters together with Hang and Sah in the six Chakras. See Introduction to “Serpent Power ”. शरज्योत्स्नाशुभ्रां शशियुतजटाजूटमुकुटां वरत्रासत्राणस्फटिकगुणिकापुस्तककराम् । सकृन्नत्वा न त्वां कथमिव सतां सन्निदधते मधुक्षीरद्राक्षामधुरिमधुरीणा भणितयः ॥ १५ ॥ XV How can the words of sages become sweet with the sweetness of honey, milk, and the juice of grape if they have not bowed to and meditated upon Thee Who art white as autumn moonlight ; on Whose head of coiled and matted hair is the moon; Who in (two) hands (dost hold) a book, and crystal rosary and (with the two others) dost make the gestures of (granting) boons and dispelling fear. Commentary.- According to Achyutānanda the meditation (Dhyana) of Kriyà Shakti (energy of action) as the source of Speech (Vàgbhavarūpā) is here indicated. See notes to v. 32. This and the two succeeding verses have been described as the Sārasvata Prayoga which makes one a great poet (maker).

·15 WAVE OF BLISS कवीन्द्राणां चेतःकमलवनबालातपरुचिं भजन्ते ये सन्तः कतिचिदरुणामेव भवतीम् । विरिश्चिप्रेयस्यास्तरुणतरशृङ्गारलहरी- गभीराभिर्वाग्भिर्विदधति सभारञ्जनममी ॥ १६ ॥ XVI Such wise men as worship Thee, red and beauteous as the morning sun (shining) in the lotus-like garden of the heart of great poets delight all inen by words full of the waves of tender amorous passion issuing froin Sarasvati. Commentary.—That is, just as the sun makes bloom the lotus so does She wake bloom the heart of great poets. Virinchipreyasi is the beloved or wife of Virinchi or Brahma that is Sarasvati or speech of which She is the Goddess. Amorous passion is Shringāra Rasa. This is the form of Devi as Ichchhà Shakti. She is the presiding Divinity of Kāmakūta as Kriya Shakti is of Vāgbhava, See last note. सवित्रीभिर्वाचां शशिमणिशिलाभङ्गरुचिभिः वशिन्यायाभिस्त्वां सह जननि सञ्चिन्तयति यः स कर्त्ता काव्यानां भवति महतां भङ्गिसुभगैः वचोभिर्वाग्देवीवदनकमलामोदमधुरैः ॥ १७ ॥ XVII Oh Mother, he who contemplates Thee, in company with (Thy attendant Devis) Vashini and others the givers of good speech beautiful as the moon-gem, becomes (himself) a great ·16 WAVE OF BLISS poet whose words charming in their expression are sweet with the fragrance of the lotus mouth of Sarasvati. Commentary. This verse gives the fruit of meditation on Jnanashakti the presiding Divinity of Shaktikūta. The eight Shaktis are Vashini, Kameshvari, Modini, Vimalā Arunā, Jayini, Sarvesvari and Kaulini. These eight who are white like the Moongem are the Devis of the eight groups (Vargas) of letters. The first of which are the vowels grouped as one and the rest are Ka, Cha, Ta, Ta, Pa, Ya and Sha groups. (See Tantrarāja Tantrik Texts, VIII. Kāmakalāvilāsa, ibid., X. Nityashodhashikārnava). They are in the Chakra called Sarvarogahara. तनुच्छायाभिस्ते तरुणतरणिश्रीधरणिभिः दिवं सर्वामूर्वीमरुणमणिमग्नां स्मरति यः । भवन्त्यस्य त्रस्यद्वनहरिणशालीननयनाः सहोर्वश्या वश्याः कति कति न गीर्वाणगणिकाः॥१८॥ XVIII He who calls to mind the heaven and earth as bathed in the beauty of Thy Body like unto that of the rising sun subjugates many a celestial damsel with beauteous trembling eyes like those of the forest deer. Commentary.-This verse gives the fruit of meditation on Jnana. shakti the presiding Divinity of Shaktikúta. The eyes of the damsels being celestial are naturally steady or winkless. But even their eyes tremble. This, as last verse, is a poetical description symbolic of the great powers attained by worship of Jnāna Shakti. Literally put the latter part of the Verse would read thus: “Are not all tho many celestial courtesans the first among whom is Urvashi and whose eyes are restless and beautiful like those of the timid forest dear obedient to him!” By this comparison the greatness of the Sadhaka's power is shown, for the eyes of the celestials are winkless. This also shows the excess of their passion.

·17 WAIT OF BLISS मुखं विन्दुं कृत्वा कुचयुगमधस्तस्य तदधो हकारार्द्ध ध्यायेद्धरमहिषि ते मन्मथकलाम् । स सद्यः संक्षोभं नयति वनिता इत्यतिलघु त्रिलोकीमप्याशु भ्रमयति रवीन्दुस्तनयुगाम् ॥१९॥ XIX Oh Queen of Hara (Shiva) whoever contemplates Thy Manmathakalā thinking of one Bindu as the face, and below it (on other two Bindus) as Thy breasts and below these on Hakārārdba, can forth with subjugate women. But this is for him a very trifling thing (since) he can at his pleasure move Triloki (the three worlds) whose breasts are the sun and the moon. Commentary.-By “Queen of Hara” it is denoted that She is Sachchidananda. Hara is He who absorbs (harati) the universe into Himself. Shrikrama says : There are three Vindus--The first or Fire is indicator of Rajas Guna and Brahma. This is the face (Mukha). The second and the third are the two breasts which are Hari (Vishnu) and Hara (Rudra) and indicate Sattva and Tamas Gunas. Below that is "half of Ha” the subtle Chitkalā which is in the Yoni. The latter whiclr is formed by the triangle connecting the three Vindus indicates the three Gunas which are characteristics of Hari, Hara and Brahma. The universe is the product of Chit Shakti and Maya Shakti. This Yoni has three angles. The form of the Kämakala is thus described. Manmathakalā is Kamakalā. This according to Achyutānanda is the display of power in the forın of the three Gunas (Trigunātmakavibhûti) ; that is the universe which is the product of the union of Shiva and Shakti. Triloki, the three worlds are compared to a woman whose breasts are the Sun and Moon. To one who can conquer such a “woman " the conquest of an ordinary woman is but a trifling thing. The sense is he becomes Lord of the three worlds and all the Shaktis therein are in harmony with his wishes. This verse speaks of Panchamayāga, 4 ·18 WAVE OF BLISS esoterically, the Union of Kundalini with Parama Shiva and of Maithuna on the material plane. This is an oft quoted verse. किरन्तीमङ्गेभ्यः किरणनिकुरम्बामृतरसं हृदि त्वामाधत्ते हिमकरशिलामूतिमिव यः । स सर्पाणां दर्प शमयति शकुन्ताधिप इव ज्वरप्लुष्टं दृष्टया सुखयति सुधासारशिरया ॥ २० ॥ XX He who in his heart contemplates Thee Who hast the form of the Himālaya Mountain, and dost diffuse from all parts of Thy body numbers of nectar-like rays; such an one overcomes the pride of serpents as does the Bird King Garuda. He by his mere look which sheds cooling ambrosia assuages those who burn with fever. Commentary.— The Commentator Dindima says that here the Amriteshvari Murti is indicated Yogis enjoy the ambrosia issuing from the Amrita Nadi. तडिल्लेखातन्वीं तपनशशिवैश्वानरमयीं निषण्णां पण्णमप्युपरि कमलानां तव कलाम् । महापद्माटव्यां मृदुतमममायेन मनसा महान्तः पश्यन्तो दधति परमाहादलहरीम् ॥२१॥ XXI Great men who with mind free of Māyā see without effort Thy Kalà wherein is Sun, Moon and Fire, which (Kalā) is subtle as a lightning-flash placed above the Six Lotuses in the ·19 WAVE OF BLISS forest of the Great Lotus, are immersed in the wave of Supreme Bliss. Commentary.-Verse 19 speaks of Kamakala in the form of Tripurasundarī the Mother of the three Bindus, (Brahma, Vishnu and Rudra). Kāma=Kamaniya (desirable). Kala=Sun, Moon and Fire. She is the Ishtadevatā of all Who is worshipped by Viráchäris. The previous meditation is the outer (Bāhya) Dhyana. Lakshmidhara and Achyutānanda say that this verse formulates the pure Svarūpa contemplation attainable only by the great. That is the inner (Abhyantara) subtle meditation (Sūkshmadhyāna). This is the subtle (Sūkshma) form ; tbe previous forms being for lower capacities. The Kalā in this verse is Devi as Consciousness (Chitsvarūpā) which by, its Shakti appears as the three Bindus or Kalās of Sun, Moon and Fire. As to the meaning of Kală, see my “Serpent Power". The Sahasrara is spoken of as 'the forest of the Great Lotus' (Mahapadmatavi) account of the great number of its petals. The Yāmala also uses the same expression. भवानि त्वं दासे मयि वितर दृष्टिं सकरुणा मिति स्तोतुं वाञ्छन् कथयति भवानि त्वमिति यः। तदैव त्वं तस्मै दिशसि निजसायुज्यपदवीं मुकुन्दब्रह्मेन्द्रस्फुटमुकुटनीराजितपदाम् ॥ २२ ॥ XXII “Oh Bhavāni, do Thou—give a compassionate look upon me, Thy servant.” To him who thus praying says “Oh Bbavāni Thou " then and there Thou dost give the state of union with Thee, that state adorned by the brilliant crowns of Brahma, Vishnu and Rudra. Commentary.- As Lakshmidhara says that “ Bhavani ” as a Verb means “May I be" and Bhavani tvam=“let me be (one with) Thee"; taking it as the optative first person singular of the verb Bhū. He who thus worships the Devi becomes one with Her. The very utterance of the words “ Bhavani tvam "attracts Her attention. The expression “ Bhavani tvan” has two meanings. Bhavani is the vocative form of Bhaváni and is also the Löt (optative) first person singular of the root Bhū (=to be). The author says that when the Sädhaka is supplicating the ·20 WATE OF BLISS Devi for Her Grace addressing Her as Bhavani (the consort of Bhava or Shiva) She out of Her Great Merey mistakes as it were the meaning of the Sadhaka and understands him, when the first two words are uttered, to say “May I be Thou ” and grants liis prayer. Dindima says that hitherto Antaryaga and Babiryāga have been taught and here Bhakti or devotion leading to Sālokya, Sāmipya, Sārūpya and Sāyujya ; that is reaching the same abode as, nearing, attaining the quality of and union with the Devatā. Here the union given is Sayujya By saying 'adorned by the crowns, etc., 'the author means that this high reward is umattainable by even the Great Devas named who have parted with their most valued crowns to obtain it and yet not been successful To place one's head dress at the feet of another is a token of great abasement, त्वया हृत्वा वामं वपुरपरितृप्तेन मनसा शरीरार्द्ध शम्भोरपरमपि शङ्के हृतमभूत् । तथाहि त्वद्रूपं सकलमरुणाभं त्रिनयनं कुचाभ्यामाननं कुटिलशशिचूड़ालमुकुटम् ॥ २३ ॥ XXIII Thou Who hast stolen the left half of the body of Shambhu art yet methinks dissatisfied therewith. It would seem that the other half has been stolen also, so that Thou art now red and three-eyed weighted with two breasts, and with the whole of the crescent moon Thou art crowned. Commentary.—The combined androgyne form called Ardhanārishvara is composed of half Shiva and half Shakti. Shakti was then golden red and Shiva pale-white. She shared the three eyes. She had one breast and shared the common crown on which was part of the half moon. She has now encroached on the other half and is therefore red and so forth : the two breasts showing that She is more than half the body. The verse is in eulogy of the greatness of Shakti and speaks of the change from Arddhavārishvara into Tripurasundari. The verse indicates the Union of Shiva and Shakti as also it is said by Pandit Anantakrishna the doctrine of the Uttara Kaulas that there is no Shiva Tattva without or distinct from Shakti Tattva.

·21 WATE OF BLISS जगत्सूते धाता हरिरवति रुद्रः क्षपयते तिरस्कुर्वन्नेतत् स्वमपि वपुरीशः स्थगयति । सदापूर्वः सर्वं तदिदमनुगृह्णाति च शिव स्तवाज्ञामालम्ब्य क्षणचलितयोद्ध्लतिकयोः ॥२४॥ XXIV At Thy command shown by a slight motion of Thine eyelids Brahmã creates, Hari preserves and Rudra destroys the world. İsha considering these actions to be of no moment remains unmoved and Sadāshiva withdraws all things into Himself. Commentary.-See Introduction to "Six centres and the Serpent Power". The Devi is the object of adoration of the five Shivas. त्रयाणां देवानां त्रिगुणजनितानामपि शिवे भवेत् पूजा पूजा तव, चरणयो र्या विरचिता । तथाहि त्वत्पादोद्वहनमणिपीठस्य निकटे स्थिता ह्येते शश्वन्मुकुलितकरोत्तंसमुकुटाः ॥ २५ ॥ XXV Oh Shiva, the worship of Thy two feet is the worship of the three Devas (Brahină, Vishnu and Rudra) born of the three Gunas (Rajas, Sattva and Tamas). These Devas with high crowns and folded hands ever remain in obeisance at the jewelled foot-stool which supports Thy feet. Commentary.-Shivă is the Mother of all and all things are in Her. Therefore when She is worshipped all that is included in and subordinate to Her is worshipped. All Devas owe their greatness to the ·22 WAVE OF BLISS worship of Devi. Worship of Her is worship of all Devas emanating from Her Supreme Power, विरिञ्चिः पञ्चत्वं ब्रजति हरिराप्नोति विरतिं विनाशं कीनाशो भजति धनदो याति निधनम् । वितन्द्रा माहेन्द्री विततिरपि सम्मीलति दृशां महासंहारेऽस्मिन् विहरति सति त्वत्पतिरसौ ॥ २६ ॥ XXVI Oh Chaste One, Thy Spouse alone exists at the time of the great Dissolution. All else dies, Brahmã, Hari, Yama, Kuvera ; and even the wakeful wakeful opened eyes of 'Great Indra close. Commentary.- At the great Dissolution all being re-enters Shiva with whom She is one, All then is gone but Shiva-Shakti. Yama and Kuvera are the Devatās of Death and Wealth respectively. Indra the King of the celestials has a thousand eyes. He is the Lord of Svarga (heaven) the enjoyment of which is transitory. The Devi as Supreme Shakti eternally exists with Shiva. सुधामप्यास्वाद्य प्रतिभयजरामृत्युहरणीं विपद्यन्ते विश्वे विधिशतमखाद्या दिविषदः । करालं यत् क्ष्वेडं कवलितवतः कालकलना न शम्भोस्तन्मूलं जननि तव ताडकमहिमा ॥२७॥ XXVII Oh Mother, even Brahma and Indra who performed a hundred sacrificial rites and other Devas, though they live in heaven, and have drunk the nectar which destroys the fear of the enemies, old age and death, must yet perish. But Shiva who ·23 WAVE OF BLISS drank even deadly poison did not die through the greatness of Thy ear ornaments. Commentary.-The heavenly world in which there is no fear, age and death as earthly mortals know it, is yet a transitory thing coming to an end with the exhaustion of the merits of its denizens and the dissolution of the universe. But the Devi's greatness is such that Shiva did not die when He drank the poison which issued at the churning of the ocean. Ear ornaments are signs of married life. The allusion is to the belief that the husband's life depends on the length of time that the wife is destined to remain a Sadhavá (woman with a husband). जपो जल्पः शिल्पं सकलमपि मुद्राविरचनं गतिः प्रादक्षिण्यं भ्रमणमदनाद्याहुतविधिः । प्रणामः संवेशः सुखमखिलमात्मार्पणदशा सपर्यापर्यायस्तव भवतु यन्मे विलसितम् ॥ २८ ॥ XXVIII Oh Mother, may all my speech, howsoever idle, be recitation of Mantra (Japa); may all the actions with my hand be the making of ritual gesture (Mudrā); may all my walking be the pacing around (Thy image in worship); may my eating and other functions be Homa rites ; may the act of my lying down be prostration before Thee; may all my pleasures be an offering to the great self (Ātmā). Whatsoever I do may it be counted for the worship of Thee. Commentary. This verse which according to Achyutunanda is the essence of the practice of Juana Yoga dedicates all action to God : Ātmā here standing for Paradevatā. With this intention every natural act and function without exception is an act of worship. The action of the tongue is Japa, of the hand Mudrā, of the feet Pradakshina or circumnambulation of the image which is a part of its worship. Eating, etc., is a Homa sacrifice. Lying down is salutation (Pranāma) for when one lies down all the different parts of one's body touch the ground and one form of prostratiou is with the eight parts of the body (Åshtāmga). According to Achyutānanda“ all my pleasures " ·24 WAVE OF BLISS means “ only the union with Shakti” (Shaktisangyoga-sukhamātram) which appears to me to be a poor unnecessary limitation of a fine sentiment. “ Counted for ” lit.“ a step in the process of worship (Sa paryāparyāya). Cf. Prapanchasāra Tantra, Ch. XI, v. 67. ददाने दीनेभ्यः श्रियमनिशमात्मानुसदृशी- ममन्दं सौन्दर्य्यस्तबकमकरन्दं विकिरति । तवास्मिन् मन्दारस्तबकसुभगे यातु चरणे निमजन् मज्जीवः करणचरणैः षट्चरणताम् ॥२९॥ XXIX Oh Mother may I with my sis organs as my feet be as it were the six-footed (bee) and may I seek Thy Feet which ever give to the poor prosperity which Thou alone can; Thy Feet beautiful like bunches of Mandāra flowers shedding the honey of loveliness. Commentary.-The poet compares himself to a Bee which hovers upon and sucks happiness from the luscious flowers which are the Mother's feet. The Bee has six feet, Man's six organs are the five Jnånendriyas and Manas. किरीटं वैरिश्चयं परिहर पुरः कैटभभिदः कठोरे कोटीरे स्खलसि जहि जम्भारिमुकुटम् । प्रणमेष्वेतेषु प्रसभमुपयातस्य भवनम् भवस्याभ्युत्थाने तव परिजनोक्तिर्विजयते ॥ ३० ॥ XXX On Bhava (Shiva) coming to Thee unannounced, and on Brahma, Vishnu and Indra then prostrating themselves, Thy ·25 WAVE OF BLISS attendants warning Thee say—and their saying triumphs- “Avoid the crowns of Virinchi (Brahına) and Jambhári (Indra); Take care lest Thou stumble on the bard head ornament of the slayer of Kaitabha (Vishnu).” Commentary.-The Devi is about to welcome Shiva, and Her attendants, warn Her to be careful as She goes, because She might stumble on the hard crowns of the prostrated Devas. The head ornament or crown of Vishnu is the Kotira. चतुषष्टया तन्त्रैः सकलमभिसन्धाय भुवनं स्थितस्तत्तत्सिद्धिप्रसवपरतन्त्रः पशुपतिः । पुनस्त्वन्निर्बन्धादखिलपुरुषार्थैकघटना- खतन्त्रं ते तन्त्रं क्षितितलमवातीतरदिदम् ॥३१॥ XXXI Pashupati having known all things in the Universe by means of the Sixty-four Tantras, was proficient in the Siddhis with which each of these Tantras deal. But again on being pressed by Thee he took down to earth this Tantra of Thine, which is Svatantra and in which are brought together all the four aims of human existence (Purushārtha). Commentary.—The Gloss of Achyutinanda adds that according to tradition Shiva speaks the Tantra to Devi in Kailāsa and Ganesha records it and when complete communicates it to some Maharshi or Siddha on earth. This is being done to the present day. The so-called “historic” attack on some Tantras as being without authority because they are alleged to be modern is according to orthodox views of no validity. The Tantra is eternal (Nitya); the Commentator citing a saying: Purānāgamasiddhāntain nityam āhur inanishinah. (The teachings of the Parāna and Agama are by the wise said to be ever-existent.) The Tantras however appear and disappear according as they are revealed or withdrawn. Their authority does not depend on the fact that they 5 ·26 WAVE OF BLISS were published to men on a particular date but on the Siddhi to which they lead ; that is, the actual result flowing from them. This result proves the authority of the Tantra even though it were revealed yesterday. Shiva or Pashupati, Lord of the Pashu or animal world and the senses, became all-knowing by His knowledge of the 64 Tantras which are Nitya and which were promulgated for each of the three Krantas. He at first remained engrossed in the teachings (Jnana) of these 64 by reason of their greatness. Thereafter (Punah) on Thy (the Devi's) insistence' (Tvan-nir bandhät) He brought down' (Avātitarat) to this world (Kshititalam) 'Thy Tantra' (Te tantram) in which are brought together all the four human aims' (Purushārtha) or all the Siddhis, which is called 'Svatantra,' which here inay mean independent—that is, independent of all Tantras or that whereby the aims of human existence are attained (Akhilapurushārtha-ghatanāt svatantram). According to Bhāskararāya in the Introduction to his Commentary on the Nityashodhashikārnava the Tantra here spoken of is the Vāmakeshvara ; others say it is the Jnānārnava and others again take it to be the Tantrarāja. The Commentator Lakshmidhara who is opposed to the Uttara Kaula school says that these 64 Tantras or Agamas as also portion of the Mishra ? Vāmācāra are intended for people who seek the attainment of selfish objects through Kāma and Artha and are followed only by Shūdra, Anulomas and Pratilomas (people of crossed and mixed parentage). The twice-born who follow them should be excommunicated for they as also Shūdras of good habits should follow the eight Agamas which are Shăstras of Liberation (Mokshadharma). The Sanatkumāra Samhită one of the five Agamas (which I have not seen) is cited by Pandit Ananta Shāstri as saying that outer worship (Bāhyapūjā) is performed by Kaulas, Kshapanakas, Kāpālikas and Digambaras and followers of the itihāsas and such Agamas as Bhairava Yamala. Lakshmidhara says that “one will incur sin even if one thinks of such The inner worship (Antarapūjā) practitioners are Brahmavādins followers of the five Agamas of the good tradition (Shubhāgamapanchaka) and Jivaninuktas. In this view the Shāstras alleged to be concerned with Kāma and Artha were supplemented by the Moksha Shăstras of the Samaya school to which this Commentator belonged, and in which according to him the Shakti Kundali is raised to the Sahasrara for the attainment through this continued practice of Moksha. This Shāstra is said to contain in one collection all the Purushärtha that is not only Dharma, Artha and Kāına but also Moksha. I am not however aware of the authority for the statement that the Kaula is not a Moksha Shāstra or that Kaula worship is in the Mulādhāra only. See introduction to my “ Serpent Power ”. * See my Introduction to Vol. I of “ Principles of Tantra ” where these Tantras are enumerated. ? See Introduction to “ The Serpent Power ”.

·WAVE OF BLISS 27 शिवः शक्तिः कामः क्षितिरथ TÊ: शीतकिरणः स्मरो हंसः शक्रस्तदनु च परामारहरयः । अमी हल्लेखाभिस्तिस्मृभिरवसानेषु घटिता भजन्ते ते वर्णास्तव जननि नामावयवताम् ॥३२॥ XXXII Oh Mother the following letters with “Hring” at the end of each Kūta of the Mantra, are Thy name and form. These are Shiva, Shakti, Kāma and Kshiti; then Ravi, Shitakirana, Smara, Hangsa and Shakra; theu Parā, Māra and Hari. Commentary.-The author here gives the Hadi Vidya. See Tripurāmahopanishat (Tantrik Texts, XI) Rik. 9. The above said letters in each Kūta (group) are the parts of Her name. Shiva=Ha ; Shakti= Sa; Kāma=ka; Kshiti=La, etc. : The Mantras are- Ha Sa Ka La Hring called the Vägbhàvakūta Ha Sa Ka Ha La Hring called the Kamarājakuta Sa Ka La Hring called the Shaktikūta also called Trailokyamohini. The whole it called the Triküla or Lopamudrū Vidya. This Lopamudra is the Bīja (seed) of all Mantras. Here the Mantra of Shodashi which is the basis of the Samaya form of worship is indicated. It is called the Panchadashåkshara Mantra because the 16th letter which is not mentioned is to be learnt from the Guru. The Mantra contains 4 Pādas or parts. The first Pāda is Agni, Surya and Chandra; the second the Kriyā, Ichchbā, Jnana Shaktis or Vishnu, Brahma, Rudra ; the third the Jāgrat, Svapna and Sushupti states (Avastha) corresponding to Vishva, Taijasa, and Prăjna; Sattva, Rajas, Tamas; and fourthly Parashakti or Chaitanya. Only in outer worship is the Rishi, Devată, etc., of the Mantra known. In the inner worship nothing is known but that which is the object of contemplation.

·28
WAVE OF BLISS
स्मरं योनिं लक्ष्मी त्रितयमिदमाये तव मनो-
निधायैके नित्ये निरवधिमहाभोगरसिकाः ।
जपन्ति त्वां चिन्तामणिगुणनिवद्धाक्षरलयाः
शिवाग्नौ जुह्वन्तः सुरभिधृतधाराहुतिशतैः ॥ ३३ ॥
XXXIII
Oh Thou Who art Eternal, those who greatly desire the
path of Enjoyment and Liberation place “ Smara ” “ Yoni”
“ Lakshmi,” at the beginning of Thy Mantra, and then with
Homa to the mouth of Kula-kundalini, with hundreds of offer-
ings of poured out fragrant ghee make Japa of Thy Mantra,
and attain Liberation in the Shabda Brahman Who is Chit,
associated with the Gunas-Sattva, Rajas and Tamas.
Commentary.—“ Smara ” “ Yoni” " Lakshmi" stand respectively
for Ka, E, İ. These three letters are to be changed for the first
three letters in the Mantra or Vidyā in the preceding verse. In this
way the Kādi Vidyā is formed. See Tripurāmahopanishat Rik 8 and
Vahvrichopanishat (A. A. Tantrik Texts, XI) and Lalitātrishati and
Shangkaracharya's commentary thereon. According to some by
" Smara" " Yoni" " Kamala" the Bijas Kling, Hring, Shring are meant.
Shivāgni is the mouth of Kundalini. The “fragrant ghee” is here
said to be the current of nectar flowing in Goloka. “Goloka ” says the
Gautamiya Tantra “is the abode of the Supreme Vishnu ”. Liberation
(Laya) is absorption in Akshara or Shabda Brahman. Chintāmani
is Chitkalā for therein is the power of all that is desired. The Gunas
of Chit-kala are Sattva, Rajas, Tamas.
शरीरं त्वं शम्भोः शशिमिहिरवक्षोरुहयुगं
तवात्मानं मन्ये भगवति भवात्मानमनघम् ।
अतः शेषः शेषीत्ययमुभयसाधारणतया
स्थितः सम्बन्धो वां समरसपरानन्दपदयोः॥३४॥

·29 WAVE OF BLISS XXXIV Thou art the body of Shambhu with two breasts which are the Sun and Moon. Oh Bhagavati, Thou art the allpervading stainless One; therefore the connection between each of Thee as part and whole is the nature common to both, to wit, the same Lordship and Supreme Bliss. part and Commentary.—The Devi is the body of Shambhu or Brahman Her Spouse with Whom Slie is one. Her breasts are Sun and Moon and Her Face (see v. 19 ante) is Fire all three being aspects of Shakti manifesting as Iclichhà, Joana, Kriyâ, the three Gunas and so forth. She is Bhagavati as possessor of all Lordship (Aishvaryya). . “ Allpervading ” Bla vātmā (lit. “self of the universe ") that is in the form of the world, Brahmarūpa therefore all-pervading. They are whole': for considered singly He is' Purusha and She is undivided Prakriti. But as being one Prakriti-Purusha they are the whole. Their common unity lies first in a common Lordship (Aishvaryya) for Samarasa, according to the Commentator, means this: and in a common Supremacy of Bliss (Parānanda); Lordship representing Their creative, maintaining and destructive aspect as İshvara, and Supreine Bliss Their aspect as Para Brahmam. In this verse is shown the Oneness of Shiva and Shakti as Adhára (container) and Ādheya (contained). To adhere to the text the translation should begin " To my mind ”. मनस्त्वं व्योम त्वं मरुदसि मरुत्सारथिरसि त्वमापस्त्वं भूमिस्त्वयि परिणतायां न हि परम् । त्वमेव स्वात्मानं परिणमयितुं विश्ववपुषा चिदानन्दाकारं शिवयुवति भावेन विभृषे ॥ ३५॥ XXXV Oh, youthful spouse of Shiva, Thou art Mind, Ether, Air, Fire, Water, Earth and dost thereby transform Thyself into the universe. Nevertheless there is nothing beyond Tliee. By ·30 WAVE OF BLISS Thy play Thou dost manifest Thy Consciousness and Bliss in the body of the universe. Commentary.-The Commentator says-mind is Paramashiva's abode, which is Maharloka By Parama Shiva is here meant Shiva as the creative aspect of the Brahman. Parama Shiva the transcendental Shiva abides in Satyaloka. By “mind ” reference is made to the Ājna Chakra. Ether (Vyoma) is Tapoloka, the place of Sadāshiva. It is to be noted that Consciousness of the Shaiva Sadākhya Tattva is alldiffusive. Nada which corresponds with it is spiritual “sound” or motion and sound in the gross sense is the Guna of Ākāsha. Air (Vāyu) is Janaloka, Isha's abode. Fire (Agni) is Svarloka, Vishnu's abode. Water (Apah)=Bhuvarloka, Rudra's place and Earth (Bhūmi) = Bhūrloka (earth) or Brahmā's abode. The Shatchakra have subtle and gross aspects. In other words She manifests as (1) the six Devas, Shambhu, Sadashiva, etc. : (2) whose abodes are Maharloka, etc. (3) which in the grosser Tattvas are represented by Ether, Air, etc. (4) which again have their six centres in the human body, and (5) from the combination of the Principles, Ether, etc., which are in the Chakras the whole universe is made.' Kundali manifests as the six. But notwithstanding all Her subtle and gross transformations (Tvayi parinatāyām) She remains ever the same Chit (Feeling consciousness) and Ananda (Bliss) for the Atmă in its nature (Svarūpa) as distinguished from its Powers (Shakti) and their products is the same in all times and places. In the Kaivalya Kalika as also in the Shat-chakra-nirūpana the place of Water is Svadhishthāna and of Fire is Manipura. See my “Serpent Power". See v. 9 ante. तवाधारे मूले सह समयया लास्यपरया शिवात्मानं वन्दे नवरसमहाताण्डवनटम् । उभाभ्यामेताभ्यामुभयविधिमुद्दिश्य दयया सनाथाभ्यां जज्ञे जनकजननीमज्जगदिदम् ॥ ३६ ॥ XXXVI Oh Mother-Father, I salute Him (Brahma) who is the form of Shiva with Thy Samayā (Savitri) who (Sāvitri) is skilled in dancing in the Mūādhāra Chakra. Her Spouse is Himself skilled in the great dances in which He displays the nine sentiments. By these two, Oh Mother, this world with all its wealth ·WAVE OF BLISS 31 was of Thy mercy created in order to accomplish by mutual help Their joint design. Commentary.- In the six verses beginning with this the six different aspects of the Devi are described. Here Brahınā the creator and his consort Savitri are spoken of. The Commentator Lakshmidhara who is adverse to the Kaula School says that this verse refers to the forin of worship in the Muladhara adopted by them and condemns such worship. It is said,' according to Samayachāra, that the Muladhāra and Svadhishthāna are Timasic centres and worship in them is not permitted. This verse however speaks of the commencement at the lowest centre and is followed by others relating to higher centres. It does not follow that because this verse refers to the Mūlādhāra that it connotes practice in that centre only. In fact this and the following verses describe forms of worship in all the six Chakras. Achyutananda says that this verse speaks of the origin of the Universe from these two. Samaya, he says, means Kală-a part of the Devi. तव स्वाधिष्ठाने हुतवहमधिष्ठाय नियतं तमीड़े सम्वर्त्त जननि महतीन्ताश्च समयाम् । यंदालोके लोकान् दहति महति क्रोधकलिले दयाद्राभिमुग्भिः शिशिरमुपचारं रचयसि ॥ ३७॥ XXXVII Oh Mother, I salute Him (Rudra) who abides ever in the Svadbishthāna (Chakra) who as Sambarta is Fire. I also sing the praises of the Great Samaya (i.e., Rudrashakti). When Rudra burns the world with the gaze of His great eyes incensed with wrath it is Thou, Oh Mother, Who dost assuage by Thine eyes moistened with kindness. Commentary.—Having described Brahmi and Süvitri in the . previous verse the author describes Rudra and Rudråni, Here Rudra and his Shakti are placed in Svadhishthana whereas in the Shatchakranirūpania Vishnu and Water are placed there. Some read Jananim for Mahatim. "I quote Pandit Ananta Krishna Shāstri's notes on this verse. Bot see as to this, the Introduction to “The Serpent Power".

·32 WAVE OF BLISS तड़ित्वन्तं शक्त्या तिमिरपरिपन्थिस्फुरणया स्फुरन्नानारत्नाभरणपरिणद्धेन्द्रधनुषम् । तमःश्यामं मेघं कमपि मणिपूरैकशरणं निषेवे वर्षन्तं हरमिहिरतप्तं त्रिभुवनम् ॥ ३८ ॥ XXXVIII I worship the ineffable Vishnu Who is dark like the darkblue raincloud and His Shakti who by Her darkness-destroying radiance adorns Him, as lightning does the cloud. Manipūra is where He dwells. He showers His mercy on the three worlds heated by the Sun of Hara. Commentary.- According to some the reading is Suaramihira and not Haramihira (Sun of Hara) and the meaning is consumed by the Sun or power of desire. This verse then says that meditating on the Vishnu form of Shiva in the Manipura he who is tortured by the fire of desire gains peace. See last note. "Sun of Hara": at the dissolution of the worlds twelve Suns (Āditya) appear to consume it. The Shakti is Nārāyani. The sense of this verse is that the people of this world who are being consumed by the fire of their desire attain peace by meditating on Shiva or Brahman in His aspect as Vishnu in the Manipura Chakra. समुन्मीलत् सम्बित् कमलमकरन्दैकरसिकं भजे हंसद्वन्द्वं किमपि महतां मानसचरम् । यदालापादष्टादशगुणितविद्यापरिणतिं समाधत्ते दोषाद् गुणमखिलमद्भयः पय इव ॥३९॥ XXXIX In Thy Anähata Lotus I salute the wondrous pair who are Hang and Sah swimming in the mind of the great, who ever ·WAVE OF BLISS 33 delight in the honey of the blooming lotus of knowledge. A Sādbaka by meditation thereon becomes the knower of the eighteen sciences and discriminates that which is of worth from that which is faulty (like the swan which sips) the milk alone from water (with which it is mingled). Commentary.—Here the Author speaks of Ishvara and his consort. Hang is "Male" or Shiva ; Sah is “ Female" and Shakti. Shiva-Shakti are therefore Hangsa which combined means a swan. They swim in or manifest in the mind, of the great. The Sanskrit word is Hangsadvanda 'the Hangsah two or pair' or 'Hangsah in which there are or which is made up of two'. Cf. Pung-prakrityātnako hangsas tadatmakam idam jagat ; that is Hangsa is both Male (Pung) and Female (Prakriti) and this world is made of and pervaded by them. Shiva is here the combined Purusha-Prakriti. See v. 1, ante. The Lotus feet of knowlege (Jnāna) or consciousness in which they delight is spiritual consciousness. It is blooming: The Shaivas speak of the supreme state as Sphurattā or (perfect) blooming and this is shared by the great in whose minds they manifest. The Hangsa (swan or goose) is said in Sanskrit literature to have the capacity of drinking up the milk from the water with which it is mingled. So also the wise discriminate what is of worth from the worthless: the right from wrong: the enduring from what is transitory. The 18 Vidyās, or Sciences as enumerated in Vishnu Purāna, are : (1) Shikshā, (2) Kalpa, (3) Vyakarana, (4) Nirukta, (5) Jyotisha, (6) Chhandas, (7) Rigveda, (8) Yajurveda, (9) Simaveda, (10) Atharvaveda, (11) Mimāmsă, (12) Nyaya, (13) Dharmashāstra, (14) Purūna, (15) Ayurveda, (10) Dhanurveda, (17) Gandharvaveda, and (18) Arthashástra. विशुद्धौ ते शुद्धस्फटिकविशदं व्योमसदृशं शिवं सेवे देवीमपि शिवसमानव्यसनिनीम् । ययोः कान्त्या यान्त्या शशिकिरणसारूप्यसरणी विधूतान्तर्ध्वान्ता विलसति चकोरीव जगती॥४०॥ XL I salute Shiva, white and transparent as a crystal, of ethereal form abiding in Thy Vishuddha lotus and the Devi ·3+ WAVE OF BLISS Who is one with Him. The world freed of its inner darkness by their radiance which is like unto that of the rays of the moon rejoices as does the Chakori bird (in the rays of the moon). Commentary.-Shiva here is in His androgyne aspect, as Sadashiva. The mythical Chakora bird satisfies its hunger by eating the rays of the Moon. As such bird Aying towards the moon gets pleasure, in drinking the moonlight, in like manner by the contemplation of Deva and Devi, a Sadhaka gets Brahma Bliss. This is the Arddhanárishvara form (Murti). The darkness of him who contemplates Sadashiva is dispelled. " Devi who is one with” (Shivasamānavyasanini). The term means who enjoys the same as Shiva does. “Samānavyasanini” refers to the creation by them of the universe. They are then as to this in Sâmarasya. Yet beyond is the changeless Paramashiva. Some read Vyomajanakam for Vyomasadrisham and say that they are the Lords of Vyoma (Ether) as the Cause thereof. तवाज्ञाचक्रस्थं तपनशशिकोटिद्युतिधरं परं शम्भुं वन्दे परिमिलितपार्श्व परचिता । यमारार्द्ध भक्त्या रविशशिशुचीनामविषये निरालोके लोको निवसति हि भालोकभवने ॥४१॥ XLI I salute Parashambhu, abiding in Thy Ajnáchakra, lustrous as millions of Moons and Suns with whom is united Supreme Chit-Shakti. Men worship with devotion, Him who dwells in the region of Light which needs no • light and which is beyond the lights of Sun, and Moon and Fire. Commentary.-Here Parama Shiva and His consort Chit-Shakti are spoken of. Parashambhu is Parama Shiva ; for worship and Siddhi in the Ajná lead to this. Worship is in Ajnbut the Deity is conceived as being beyond in the Sahasrara, and His reflection in Ajna. Sun, Moon and Fire shed their rays only on the six Chakras.

·WAVE OF BLISS 35 They do not reach the Sahasrāra, the “ shining abode " (Bhāloka) of Chidananda. The Gitā-tattva says “There does not shine the San nor Moon nor Fire. By knowing It, man does not return. That is My supreme abode which is beyond all." Na tatra bhāsate guryyo na shashămko na pāvakah, Yaj jnātvā na nivarttante tad dhama paramain mama. This place is “lightless" in the sense that it requires no other light whether Sun, Moon or Fire. It is Light (Prakasha) Itself for It is pure Chit. It is the abode of Chidananda (Consciousness-Bliss). By meditation thereon that Brahma-knowledge arises which is liberation from all the Hierarchies of suffering forms. Some read the last six verses beginning with this verse which deals with the Ajna-Chakra. The remaining verses constitute that part of the poem which is called Saundaryyalahari “Wave of Beauty" since it describes the bodily perfections of the Devi's form (Sthūlarūpa). At this verse therefore the Anandalahari closes. HERE ENDS THE Wave of Bliss Printed by J. R. Aria, at the Vasanta Press, Adyar, Madras.

·No text on this page.

·BOOKS by SIR JOHN WOODROFFE Shakti and Shakta. Essays and addresses on the Shakta Tantra Shastra, 2nd Edition, revised and enlarged. About 500 pages, royal octavo size and bound in full cloth. Rs. 7-8. “ Shakti and Shakta” reveals a wonderful grasp of the fundamentals of consciousness.-The Theosophist. Garland of Letters : Studies in Mantra Shastra. This book is an attempt now made for the first time to explain to the English-knowing reader an undoubtedly difficult subject. Rs. 7-8. The World as Power (Series). A perusal of Sir John's books on Hindu Philosophy will have a gloriously stimulating effect on those who have learnt to feel themselves inferior or backward among the races of mankind. In a series of books Sir John deals with the various aspects of the World as Power. Power as Reality ... Rs. 2-0 Power as Life 2-0 Power as Mind 2-8 Power as Matter 2-8 Power as Causality and Continuity 2-8 Power as Consciousness 2-0 Bharata Shakti. Essays and Addresses on Hindu Dharma and National Education. Third edition, revised and enlarged. Some are real contribution to literature, notably Sir John Woodroffe's works on Indian Culture which Messrs. Ganesh & Co. have printed and bound with an attractiveness that makes them an acquisition to a dilettante's library- Ditcher in Capital Price Re. 1-8. The Seed of Race. An Essay on India Education. Price Re. 1. This Book is written about and for India but it has a message for Japan too It seems fairly evident from these two books (Seed of Race and The Centre of Indian Culture by R. Tagore) that India is taking upon herself the task of educating the world what education really means.-The Asian Review Is India Civilised ? Essays on Indian Culture, Cloth bound, 3rd edition. Price Rs. 2-8. He has earned for himself the gratitude of the Indian people by showing to them the importance of their own culture and creating in them respect for their past and intelligent hope for the future. -Young India. “ Powerful exposition of Indian culture. Many wise political, social and religious observations abound in its inspiring pages. We can commend its perusal to all who are seekers after the truth. If it seryos to induce the Europeans to abate some of their racial pride, prejudice and intolerance, and the Indians to have a more correct appreciation of their culture, then it must be regarded as a most opportune publication at the present moment when the great catastrophe in the West has shaken the faith in the basic principles of Western culture and has given a powerful stimulus to the spirit of introspection and enquiry."--The Leader.