तन्त्रसार (महामाहेश्वर अभिनवगुप्त - तन्त्रालोक का प्रामाणिक सार-संग्रह सटीक)

xvi firm conviction, as the result of which he realises that the Absolute, the mass of bliss, is the single Truth and 'I am He' in whom everything shines in the mirror of conscious- ness inseparably. Thus contemplated firmly, he finds himself one with divine absorption. In Tantrāloka Jayaratha comments that in Śāmbhava, Śākta and Āṇava upāyas icchā jñāna and kriyāśaktś function where the possibility of duality may arise, for icchā becomes externally inclined because of the presence of something desirable (eṣaṇīya) in the core of icchā, while in anupāya ānandaśakti functions and it is said of ānanda that it is Brahman Itself, hence in anupāya there is no tint of upāya as separate from it¹. III Ātman is of the characteristic of Light and Freedom and is free from all thought-constructs (vikalpa). He is Śiva, the Absolute. As he encompasses everything, He is partless, an integral whole (akhaṇḍa) of Infinite Light— the single realm of Light where thought fails to reach (nirvi- kalpaikadhāman). Though an ordinary soul in its fallen state is non-different from that Light, yet he is unable to to concieve this and fails to realise his identity with It. But as soon as the grace of Guru falls on him a little less intensely, he begins to realise the Truth, and by a sudden fiash he is able to perceive the Light without any intervention of any upāya than Svātantryaśakti which is inseparable from that Light. This perception is direct and immediate. १. इच्छादीनां हि एषणीयादि विषयावच्छेदेन बाह्योन्मुखत्वात् भेदसंभावनादि स्यात्, आनन्दशक्तिः पुनः—'आनन्दो ब्रह्मणः रूपम्' इत्याद्युक्त्याचितस्त- त्स्वरूपमेव इति। —तं० आ० १ पृ० २५६

xvli In that perception of Light any separate entity to be reflected upon, is wanting, It is of the nature of self-reflec- tion and has the characteristic of vibrati ion Here the Yogin takes resort to icchāśakti as a means for realising his identity with that Light¹. Svātantryaśakti of which we have spoken above causes the pictures of bhāvas manifest in the clear mirror of pure consciousness. The bhāvas cannot shine by themselves. They shine in the void of consciousness as reflection. For this reason the Lord is said to be immanent. As this Śakti is sentient, not inert, so its āmarśana, that is, self reflection continues ceaselessly. Its self-reflective nature is known as Paranāda, which in the Āgama literature, is called Parāvāk, the Supreme Word. Vāk is śakti and is non-different from vimarśa. The śaktis which extend and assume the form of the universe, are chiefly three, namely, anuttara, icchā and unmeṣa. Basically they are nothing but of having the nature of parāmarśa ( reflection ) which assume the syllabic form of letters like a, i, u. ( अ, इ, उ ). It is from them all the śaktis originate. The fifty syllables in Samskrit come broadly under two groups. From a (अ) to visarga the sixteen letters ars known as vowels and the rest from Ka to ha (ह) are consonants. The vowels are the bījas ( seeds ) and the consonants are ( Yonis ) the receptacles for receiving the seeds. Primarily Lord who is anuttara becomes ānanda which is self-reflection of cit. As cit in its slight vibration intents on externality it is known as ānanda. Similarly icchā becomes īśana when it rests in icchā. In the same way ūrmi is the १. ………………स्वपरामर्शनिर्विकल्पैकधामनि । यत्स्फुरत्प्रकटं साक्षात्तदिच्छाख्यं प्रकीतितम् ॥ —तं० आ० १.१४६ 2

reflected unmeṣa. As syllables these three are ā, ī, ū. From ū onward kriyāśakti begins to function. The former three parāmarśas are of the characteristic of prakāśa. Hence they are of the nature of the sun and the latter parāmarśas, that is, the longer vowels are of the nature of soma with the characteristic of rest. When icchā and īśana become inclined towards activity, or in other words, when activity enters them, it sets in disturbance and causes a break in tranquility. Then icchā and īśana are known as īśyṣamāna īśyamāna. In the one light is predominant and in the other it is of the nature of rest. They are known as ṛ, ṝ, ḷ, ḹ. As they are only śruti (semitone) and sound like consonant sounds of ra and la, they do not come under consonants proper. As they retain the vowel and consonant sounds both, they are considered as neuter. The creative movement which proceeds to flow from anuttara give rise to different varṇas. The impelling force of kriyāśakti terminates after giving rise to the varṇas like e (ए), ai (ऐ), o (ओ) and au (औ) After that the inward move begins to operate, as a result all the resultants are then put to rest in anuttara. It is to be noted here that this anuttara is different from anuttara akāra, the Supreme Bhairava. It manifests as aṃ (अं) which is in essence pure consciousness. From that anuttara visarga ( : ) occurs. Visarga better known as visargaśakti, is the creative force which not only operates but manifests herself as the universe. She remains inseparably united with the Absolute before the rise of kṣobha in it. The universe as we see it, is the manifestation of light as indicated objects (vācya) and the reflection of that light in its turn, stands for each of

the indicative sound as represented by a, ā, i etc. Manifest- ation that occurs in this twofold way (Vācya and Vācaka) is in reality, the manifestation of Vāk, the Supreme Word. The Supreme known as akula, is possessed of power (Śakti) which gives rise to the universe. This power is called Kaulikī Śakti. It retains the universe within Herself in a very subtle form but on account of creative impulse she expands Herself in three stages. These stages of creation though lying within, yet are projected externally by the Lord by means of Visarga Śakti. Creation as known to us is predominantly of the nature of differnce (bheda). This is the gross form of creation. In the language of Āgama it is known as āṇava visarga, while the creation in which difference and non-difference (bhedābheda) shine, is called Śākta Visarga. This is the subtle from of creation and the creation of non-dual nature is known as Śāmbhava visarga. It is the subtlest of all crea- tions. Āṇava visarga is the grossest of all, because externality shines here in a gross form. The entire creation consisting of pramāṇa, and prameyas (the instrument of knowledge the object of knowledge), and knowledge with its limited nature shine as mutually different and different from the self. But in Śākta visarga the universe shines in dual-non- dual relation. In āṇava visarga difference is predominant. It is the characteristic of ha¹ while in Śākta visarga all that is experienced as seen, heard, touched etc by the self, is obliterated. The universe becomes perfectly intent on pure consciousness. It is awakening of citta toward cit. Citta, though cit by nature, yet in its empirical consciousness १. नरसम्बन्धी हकारात्मा स्थूलोविसर्गः –तं० आ० वि, आ३

xx becomes the experiencing Subject and all the objects shine in its view as different from it. This occurs on account of subject-object relationship. Because of this relation the universe shines with its variety of objects. Cit, the experie- ncing Subject of the world picture, at this stage, descends down to the level of citta by imposing upon itself the limi- tations of objects¹. In Śākta visarga citta does not function as the subject and its objects with their mutual difference, but shines as one with consciousness. In the former case it is resting and terminating of citta to its objects having limitations, while here it is submerging of all sorts of limitations into all in- clusive pure consciousness. For this reason it is known as citta sambodha, the awakening of citta, that is, in this stage citta becomes intent on offering itself in the niṣkala nature of Śiva who is of the characteristic of integral Light (akhaṇḍa prakāśarūpa). But in Śāmbhava visarga there shines neither difference nor non-difference. Even the universe is absent there. A slight trace of citta cannot be perceptible there. It shines as cit free from all limitations and ever remains refulgent in its fullness of perfection. This is the highest visarga characterised by ānanda. The person who has realised his identity with that Light experiences that everything from the earth to Śiva shines in the mirror of consciousness. Everything that shines has the source in consciousness, and not only that it is non-different from it. The very nature of Śāmbhava upāya is this kind of comprehension. Abhinavagupta has given the idea of it in Tantrāloka thus : १. चितिरेव चेतनपदावरूढा चेत्यसंकोचिनीचित्तम्-प्र० हृ० सू-५

xxi Bhairava, the clear void of consciousness creates the picture of the universe in Himself. He manifests them and experiencers that, ‘I am the universe.’ Thus He assumes the immanent nature. This is His function of creation. Then He maintains the sixfold adhvās and experiences them as being reflected in him. Thus He is the manifestor of maintenance. Then lastly, into the flame of all-consuming Fire the entire universe is withdrawn and dissolved. Thus, the person who is able to realise the partless one as the single unit of conciousness ( akhaṇḍaikarūpatayā ) in which the above three functious of creation, maintenance and dissolution have their rise and rest, is absorbed in the Supreme by means of Śāmthava upāya. IV The highest end of human being is to arrive at the very nature of Paraśiva who is ever free from determinacy ( vikalpa ). One is able to get rid of thought-constructs by means of pure reasoning, listening to holy texts known as Āgamas and following the teachings of the spiritual teacher. The practice of contemplating or viewing everything as Siva, the essential Reality, is the means by which one is able rise above impure vikalpas. In Tantrasāra it is stated that one considers oneself bound on account of vikalpas. The wrong conception of one’s true nature is the cause of samsāra. Therefore, when a vikalpa of quite opposite nature is born, it dispels the wrong one and places one on the right track and soon it becomes the cause of the highest good. Though vikalpa is of no avail to reveal the nature of Paraśiva, the highest Reality, for It is everywhere and in every way self-luminous, Yet it is the considered opinion of the author that pure vikalpas remove the sense of duality

xxii from the self. The sense of duality is not something positive, but is only ignorance (akhyāti) of one's essential nature. Therefore the sense of duality is removed by śuddhavikalpa. Śuddhavidyā leads to sattarka or pure reasoning. It should be borne in mind that it is distinct from gross form of reasoning as is dealt in the Nyāya system, for it is said of sattarka that it arises by itself in a person on whom Śakti has keenly touched. This tarka leads to the continuity of ideas similar to śuddhavikalpa as stated in Tantrasāra thus : That which is unlimited consciousness transcending all limited expressions of Reality from earth right up to Śiva, that alone is the highest Reality; that am I. When finally by continuous practice of tarka regarding the nature of Reality, it brings about purity of vikalpas. The highest excellence of tarka terminates into bhāvanā by which one is able to make manifest even the most indistinct into distinct. In some tarka may arise by itself without having his recourse to any spiritual guide or reading of holy texts. When it dawns upon the person, he is considered to have been initiated by the luminous Samviddevīs themselves. But the person on whom the grace of Lord has fallen in a less keen degree, should have to be initiated by the spiritu- al teacher, after which he is able to secure the right of liste- ning to Āgamas which by their proper understanding, help him become free from doubts. Afterward the truth that contains in the Āgama, gives rise to Sattarka in him. Sattarka is the light of Śuddhavidyā. It is considered to be the most excellent and direct limb of yoga. It has been stated in the Tantrasāra that yoga is also a kind of Vikalpa, but it is characterised by intensive awareness (anu-

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sandhenātmā ) as regards to the essential Reality. For the purpose of keeping the essential Reality ever luminous in his view, the yogin takes resort to this form of Vikalpa for the maturity of his awareness. Parameśvara is by nature pure consciousness and is ever full. His fullness is His Śakti, the Divine I-consciousness. By the grace of Śuddhavidyā one has to take resort to Cit Śakti which finally leads the aspirant to Śambhu, the Lord. V When vikalpa cannot by itself becomes pure and there- fore one has to depend on other means for its purification, in that case the aspirant is decidedly staying in the lower stage of spiritual development, or in other words, Śaktipāta has occurred in him in a lesser degree. Therefore, for the purification of vikalpas, he, being limited himself, takes resort to such means as are limited. Hence the individual takes up buddhi, prāṇa or body itself for this purpose. Among the aspirants who is more advanced, proceeds on the path of dhyāna. The Tantrasāra has given briefly how this contemplative meditation is to be performed. Though it is called dhyāna yet it is quite distinct from dhyānas as are found mentioned in various holy texts. In short, it is unlike those in which the aspirant imagines his desired deity as having a face and limbs. The Tantrasāra describes dhyāna in the following manner. The self-luminous essential Reality who abides in all, is to be meditated upon by the aspirant in the core of the cons- cious heart. The meditation is to be performed in such a way that the three, namely, the Subject, the instrument of knowledge and the object representing the fire, the sun and the moon respectively, have coalesced together and have become the unity of a single mass. The meditation is to be

xxiv continued so long as they do not lose their separate entities and blaze up as the Fire of the Great Lord. This Fire is to be meditated upon as surrounded by twelve kālīs. These kālīs are none but the flames of the wheel of Fire. This Fire should be thought of as emitting out rays through the outlets of eyes and others, which take their rest as the object of external senses. The object is to be thought of as being nourished by the creative energy of the moon, then it is maintained and made manifest by the sun and finally it is dissolved by the energy of fire so that it may be drawn in- side and be made transcendent ( anuttara ). When this dhyāna is continuously performed, the aspirant soon realises that every object and the idea is nothing but pure consciousness in essence. He further realises that creation and other functions are essentially the play of the Lord. ✕ ✕ ✕ After dhyāna the text gives the view of uccāra. The upgoing movement of prāṇa is commonly known as uccāra, but really speaking, uccāra is of the characteristics of spanda ( vibration ), which is the very soul of it. Prāṇa is of two kinds : the one is general ( sāmānya ), and the other is specific ( viśeṣa ). In the former difference of any sort is totally absent, while in the latter, on account of distinctive activities the same prāṇa shows itself in five forms known as as prāṇa, apāna, samāna, udāna and vyāna. It is quite evident that these five have their base in the general prāṇa. On account of the vibrative move of prāṇa inarticulate sound known as anāhatanāda becomes manifest. It goes on sounding without any break in the heart of every living being. This nāda is associated with two bījas, namely, sṛṣṭibīja ( sa ) and samhārabīja ( ha ).

XXV The activity of Prāṇa goes on functioning without any conscious effort of the living being. Usually prāṇa moves along the channels of iḍā and pingalā. The middle path remains blocked for the ordinary human being. By the grace of guru when the middle path opens up, the aspirant's journey towards the Supreme begins from that time. The movement of prāṇa is then realised by the aspirant as associated with Śakti. It is She who in the form of hamsa is moving upward and she is the real mover of prāṇa. Not only that he realises that she gets the two bījas nourished in two places of their origin, namely, the heart and dvāda- śānta, the top of the head. At the realisation of this truth the Yogin feels thar the prāṇa before its rise takes rest in the void of the heart. Then by its externalisation as apāna the external objects not only shine forth but also get nourished by apāna, the moon. The Yogin then experiences the all- pervasive nature of prāṇa. On account of specific activitics of prāṇa in various spots of the body, the Yogin experiences various kinds of delights in accordance to his aptitude in getting the prāṇa take rest in these spots. These delights are named nirānanda and others. They are six in number. By his experience of delights in different spots he finally realises that the highest place of rest is somewhere else other than the body and prāṇa, He realises the highest form of delight known as jagadānanda in which there is no limitation, for it shines in all directions and where consciousness alone remains ever shining. It expresses itself as the knower, the means of knowledge and the objects known. It expands by the nectar of divine joy of absolute sovereignity, in which there is no need for contemplation¹. 1, Tantrāloka 5,51

xxvi It seems proper to note here that prāṇa and apāṇa are the two factors which performs the functions of dissolution and creation, while samāna makes a balance of two pulls of energy in the inner viṣuvat, that is the void. Then udāna, the upper current begins to flow along the middle path. Finally the vital energy becomes vyāna, the all-pervading one in which all limitations have their end. The yogin by means of close observation of two bījas mentioned above, should make vikalpas free from impurities. Viśrānti in different spots, in accordance with his proficiency in entering them, he in the beginning experiences delights, then follows udbhava, kampa, nidrā and ghūrṇi. The spots where they are experienced are as follows : mūlādhāra, kanda, hṛdaya, tālu and dvādaśānta, Udbhava and kampa and others are the characteristic marks of the Yogins, which appear as a consequence of his practice of uccārayoga, The final goal of the yogin that he desires to arrive at by means of uccārayoga, is dvādaśānta which is known by another name of ūrdhvakundalī where the difference of Śakti and Śiva ends. It is of the charactrastic of Samvit- spanda, × × × The inarticulate sound (anāhatanāda) is ever present but it becomes manifest by the rhythmic movement of prāṇa. It is called varṇa or syllable. It should be borne in mind that this nāda should not properly be called varṇa but it is the cause of syllables. Bījas known as sṛṣṭi and saṁhāra- bījas (sa and ha) are the two chief syllables in association with which anāhatanāda becomes manifest. Therefore the yogin tries to fix his mind in them so that he may get the touch of nāda. He practises to hear the nāda by uttering different syllables either ending in a vowel or not ending in.

xxvii any vowel, for he knows that nāda abides in all the varṇas latent in an undivided form. Even by calling to memory the ever sounding nāda he experiences identity with pure consciousness. VI In Chapter sixth the method of realisation of the essential Reality by external means has been described. Mālinīvijaya has described Āṇavopāya that it is an absorption into the divine self through the means of uccāra, karaṇa, dhyāna, varṇa, sthānaprakalpana etc. In the preceding sections a little hints have been given as regards uccāra, dhyāna and varṇa. In the present section it is discussed how a yogin adopts prāṇavāyu as a means for the desired purpose. From this chapter onward upto chapter twelve whatever is deseribed comes under the device of location (sthānapra- kalpana). The locations are three, namely, the vital energy, the body and other external objects. The six adhvās are immense. They have their base in the general prāṇa, while the adhvā known as kāla (Time) has its base in the specific prāṇa. The objects shine in two ways, either with sequence or without any sequence. The act of confining anything within limits (kalana) is the function of kāla. Though pure consciousness is free from all limiting adjuncts, yet the universe in the form of the knower and the known, is made manifest by its freedom of will. As a result they shine forth with their distinctive and limited character. The agency of the delimiting power of consciousness is known as kālaśakti. But before the apparent externalisation of ob- jects sequence and non-sequence remain latent in its pure nature. Not only that the entire universe remains insepara-

xxviii bly one with the Light ( prakāśa ), but in order to show itself as limited, this prakāśa at first negates the universe from it and experiences that ‘I am transcending the universe’. Thus the void ( Śunya ) transcending everything is known as Śūnyapramātā. The knowing subject of the void, on account of its asso- ciation with impurity known as āṇavamala becomes externally inclined with the result that the universe that was previously rejected or negated is now thought of as the most desirable object. Then a vibrative upsurge occurs in it which shows itself as prāṇa. Prāṇa is the first extension of consciousness. It shows itself as spanda, the very nature of self-reflection. For this reason prāṇa is said to be predominantly of the nature of kriyāśakti. Therefore, though it is inert ( jada ), it is primarily of the nature of consciousness. For this reason, taking resort to prāṇa the aspirant is able to attain the Supreme Reality. Prāṇa is the very life of every living being. It is always on move. On account of its activities in different locations of the body, the universal prāṇa is known as prāṇa, apāna, samāna, udāna and vyāna. Of the above five prāṇa and apāna function as the activity of inhaling and exhaling. The ingoing movement starts from the heart and ends at the top of the head known as dvādaśānta, while the outgoing movement starts from dvādaśānta and ends at the heart. This movement continues and goes on functioning in a single day for 21600 times. Prāṇa being the manifest form of śakti, all the six -adhās, namely, varṇa, mantra and pada on the one hand and kalā, tattva and bhuvana on the other have their

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respective locations in it. It is to be noted here that adhvās are generally known as paths which by means of sequence lead the aspirant to the Supreme, and in the end the one in whom the right view of non-duality has rightly developed these adhvās are absorbed in I-consciousness. For this reason adhvās are not simply path but are something that is absorbed. Hence the Yogin makes an effort to realise the Supreme Reality by taking resort to prāṇa and then puts an end to the mutations caused by the impelling force of Time. Prāṇa is vibrative by nature. This vibration arises spontaneously in the location of kanda below the genitive organ. The spontaneous movement of prāṇa bestows little spiritual result in comparison to the movement which is caused by the conscious effort of the Yogin. Hence by his deliberate effort in association which jyeṣṭhāśakti the Yogin tries to move his prāṇa from the centre of the heart along the path upward so that it may reach dvādaśānta, the top of the head, and then after getting it to take a little rest there for a moment it is made to run again toward the heart. This process of ingoing and outgoing is simply known as inhaling and exhaling, but to the Yogin it means something else. In the primary stage the Yogin by his keen observant look watches each movement of prāṇa rising in the heart, proceeding upward and coming back in the heart again. He divides the whole course of prāṇa into sixteen divisions. Each of these sixteen divisions is known as tuṭi, representing a day. Similarly, the exhaling is taken to represent a night. When the Yogin becomes sufficiently proficient, he then takes each movement of prāṇa and apāna to represent a month.

xxx The course along which prāṇa and apāna move, measures thirty six digits ( anguli ). It is assumed by the Yogin that the hour, the tithi and other long and short units of time get their rise in prāṇa. It is to be noted here that kriyāśakti which operates externally as kālaśakti in prāṇa, is without any definite form. For this reason whatever shines in prāṇa as kṣaṇa, lava etc., may shine as a year or more than several years. Not only that, they shine and rise in it and terminate in the highest equilibrium. When prāṇa runs the course of two and one fourth of a digit the duration is known as tuṭi. Four of such tuṭis make a prahara. Half of a tuṭi is a sandhyā. The exhaling and the inhaling represent the day and the night. In the same way a month consisting of thirty tithis with the broad divisions of two fortnights, is also assumed by the Yogin to rise in prāṇa. All the tithis from pratipat to amāvasyā and then again from pratipat to purṇimā lie along the course of inhaling and exhaling movemsnt of prāṇa and apāna. The sixteenth consisting of half a tuṭi at the start and another half at the final resting place, is considered to be the sandhyā, the meeting point of the day and the night. These two halves of tuṭis are free from the influence of Time, for this reason sandhyās are considered to be very auspicious. Similarty during the dark fortnight the moon or the apāna offers its digits ( kalā ) one by one to prāṇa, the sun and the final one is offered near the dvādaśānta at the fifteenth tuṭi, after which the moon gets itself dissolved in the sun. This is known as amāvasyā when the moon remains latent in the kalā known as amā. The span which is one half of the tuṭi is occupied by amāvasyā and the remaining half is the duration for pratipat. When on

xxxi account of caguhing or other factors the portion of amāvasyā gets into the portion of pratipat, as a result the duration of the tithi is cut short and therefore the solar eclipse occurs. The eclipse then obliteraters the difference of the knowing subjects, the instrument of knowledge and the objects known ( pramātā, pramāṇa and prameya ), Therefore, the occasion is considered to be very auspicious because it bestows other worldly result. Similarly a year is supposed to get its rise in a single movement of prāṇa. For this reason the entire course of the movement of prāṇa and apāna is supposed to correspond with uttarāyaṇa ( the progress of the sun to the north ), and dakṣiṇāyāna ( the progress of the sun to the south ). In that case the tithis occupy only one fffth of a digit and the sun’s passage from one rāśi to another, that is. the saṃkrāntis occur in every six digit. For the purpose of minimising the influence of time the Yogin further strives to get twelve years to rise in the single movement of prāṇa and apāna. He locates sixty tithis in a digit and the passage of one rāśi to another is supposed to be the duration of a year. Thus he is able to observe the duration of twelve years in the single movement of prāṇa and apāna. Like prāṇa time is thought to arise in apāna. It arises in the heart and goes down to mulādhāra. Just as Brahmā and others are supposed to be the superintending deities residing along different locations, namely, in the heart and other places as mentioned above, in the same way, they are said to have their locations in the heart and other places down to kanda etc. The Yogin should meditate upon the deitics as the causal agents of stages, namely by boyhood,

xxxii youth, old age, death, rebirth and liberation of the embodied soul. Brahmā to Anāśrita, these six, are considered to be the cause of different states through which a living being has to pass. As they give rise to these states, therefore in the beginning they are accepted by the Yogin but finally rejected by him, To him the most acceptible object is the Supreme Goddess, the seventh, called unmanā to which once united it is possible for him to reach beyond these states. The movement of apāna ends in dvādaśānta otherwise known as Yoginīvaktra, If the Yogin is able to find rest there, only then ūrdhvādhara ḍambara, the distinctions of the upper and the lower divisions are put to rest forever. It is to be noted here that this viśrānti or rest is attainable by means of minute divisions of time into tuṭis in the way as has been discussed above in connection with the prāṇa. Similarly in samāna also the above method is followed. Though samāna arises in the navel and flows along seventy two thousand nāḍīs of the body, Yet it becomes manifest in the heart. It flows along ten principal nāḍīs, namely, iḍā, piṅgalā suṣumnā, gāndhārī, hastijihvā, alambuṣā, puṣā, kuhu and śaṁkhinī, but of the above ten the first three are the most important. The heart is like a lotus with eight petals pointing to eight directions. On account of its association with eight directions, it imitates the activities of the Lord of directions and appears as cruel and placid. It is known as samāna because it remains in the body uni- formly—( samananāt samānaḥ ). As viṣuvat occurs in prāṇa, similarly the yogin ascertains five saṅkrāntis and two viṣuvats during the day. In the same way they also occur during the night. It is well known that viṣuvats are the equinox when the duration of the day and

xxxiii the night becomes equal. Hence the time is considered to be very auspicious. The movement of udāna proceeds from the heart. It goes upto the top of the head called dvādaśānta. The yogin tries to watch the entire unit of time from tuṭi to sixty years in the single movement of udāna. It is thought of having the characteristic of vibration (spandarūpa). Vyāna is all-pervasive by nature. Therefore it is free from sequence, still time arises there in the form of subtle vibration (śūkṣmocchalattārūpa). The rise of varṇa The rise of varṇa occurs withont any effort but there are some which rise with the personal effort. Syllables are of three kinds, the transcendent, the subtle and the gross. The transcendent syllables are of two kinds, the one is of the highest kind (paratama) and and the other is known as the higher (paratara). The highest form of the syllable is known as Nāda which is closely associated and inseparably united with all the syllables. It goes on sounding ceaselessly. It is unborn and unbeaten, hence it is known as Anāhata. VII In the seventh chapter the texts presents deśādhvā. It consists of multifarious forms of objects. They are made manifest by the Lord by means of His power of activity. The body of objects, namely, the house, the courtyard, the market, the temple, the garden and the forest which are different from one another, shine only to the limited subject as mutually distinct from one another and also from the subject itself. But the Lord who is perfect and so free from all limitations they shine as His very self. These forms actually have their substratum in pure consc- 3

xxxiv iousness and being so shine non-defferently from Him. Samvit in Her free will veils her pure natare and manifests before the view of the limited subject like śunya, prāṇa, buddhi and the embodied soul the pictures of objects different from the experiencing subject. These adhvās shine externally as objects but really they are non-different from the self. They have their locātions in śunya, prāṇa, in all the nādi cakras and the body itself. As they proceeded from and created by samvid, they are to be dissolved in samvid by involutionary method. As the adhvās are vast it is practically impossible even for a yogin to do so in an aeon of ages. Therefore, one should know first of all the real nature of these adhvās. They have their real resting place in conscious- ness and through it (samvit) the entire adhvā consisting of the void, the intellect, the vital energy and everything whe- ther it is the body, the image of a deity, or the sacrificial altar, becomes complete. When the aspirant is able to realise this he dissolves them in Brahmā, the lord of Brahmāṇḍa, then the tattvas from Puruśa to kāla to Viṣṇu, the lord or them. Then Māyā, the knot (granthi) to Rudra, then Māyā is to be dissolved in Īśvara who is the lord of Māyā. Then Śuddhavidyā should be dissolved in Sadāśiva and then Śakti and Siva are to be dissolved in Anāśrita Śiva and fin- ally all of them are dissolved in Paraśiva, the all-pervading one. In Triśira Bhairava, a Tantric text, thinks of pure consci- ousness as it were a tree consisting of three portions. The extreme fringe, the root, is known as bodhamūla where 'this- ness is predominant. It is the gross form of (bodha) conscious-

XXXV ness. The middle, is not predominantly of dual nature, because thisness though shines here, yet it has merged in consci- orsness. While the most perfect bodha is one where there is no separate existence of this. Though this state is known as bodhāgra,the highest consciousness, everything has its existence here without any separate distinction but shine non-diffrently from pure consciousness. From this it is evident that all the adhvās consisting of thirty six tattvas are non-different from Paraśiva, the Supre- me. One who is able to realise the most delightful adhvās as non-different from his own consciousness can attain Śiva-na- lure without delay. This chapter gives a detailed account or all the tattvas from the earth onward and the bhavanas contained by each. VIII In the previous chapter we have seen that bhuvanas are the expansion of Śakti which keeps within all the multifari-, ous forms of subjects and their objects of experience. But permeating them all the highest genus, known as Parama- śiva ever remains shining. But the less pervading one which is present in some but is absent in others is defined as a tattva, for example, solidity, firmness and grossness. all these qualities are only found in Brahmāṇḍa alone. Therefore it is evident that in Brahmāṇḍa consisting of kalāgni to vīrabhadra solidity and grossness are found, for this reason it is known us pṛthvī. The next thing that has been discussed in this ehapter is the relation of the cause and the effect. According to this system the relation is of two kinds, namely, the trans- cendent (pāramārthika) and supposed (kalpita). The trans- cendent relation is such that out of freedom of will of the