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

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

xxix

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

xxxvi Lord, who is the free agent, everything beginning with Śiva and ending in the earth, shines non-differently from Him and rests in Him. But the supposed relation of the cause and the effect is such that everything follows a regular sequence. This form of Kāryakāraṇa bhāva has created by His power of Niyati. According to this system the rod, the wheel and clay which are considered essential for effecting a jar, are only expedients, the real cause is the Lord, for He remains associated with all of them as the cause and the effect. In order to support the view it is stated that it is He who brings all the causes together and sets them apart. The impelling force of the universal consciousness is considered as the real agent of everything. When the potter makes a ar he himself is one with that universal consciousness who is the real doer. Paraśiva is perfect (pūrṇa) with five śaktis. These śaktis are inseparably united with Lord and are manifested in five forms by His free will. These five are cit, ānanda, icchā, jñāna and kriyā. The five principles, namely, Śiva, Śakti, Sadāśiva Iśvara and Suddhavidyā are the manifesta- tions of the śaktis mentioned above. It is to be noted here that Śakti is one and affluent with all the śaktis, but on account of dominance of the one than the other distinctions are also observed among them. In Śivatattva cit is predom- inant, while ānanda is so, it is called Śaktitattva aud so on. The Lords of the above five principles are Siva, Śakti, Sadāśiva, Iśvara and Ananta. The five beginning with Siva and ending in Ananta have their respective gaṇas, They are named Śāmbhava, Śākta, Mantreśvara and Mantra. This is known as pure adhvā. The impure adhvā is created by the will of the Lord for the fulfilment of the desire of the limited souls. Aghora

xxxvii is the creator of the impure adhvā by means of causing kṣobha in Māyā. The principle called Māyā is the material cause of the insentient universe. It should be remembered in this context that Māyā śakti belonging to the Lord is the manifestor of Māyā the material cause and it is quite different from Māyā, the principle or tattva. The entire universe is born out of Māyā from which kalā is born. It in its turn is responsible for the rise of limited power of action in the limited soul. Māyā is the cause to veil pure conscious state of the self for which it loses its power of dṛk and kriyā. Kalā, though born of Māyā and being impelled by its force, becomes attached with the limited soul. These two, that is, kalā and aṇu, remain firmly attached to each other, so they cannot be defferentiated easily. Those who remain under the influence of Māyā, fail to get release so long as they do not receive grace from Ananta, the Lord of Māyā. Only then Puruṣas can differentiate themselves from Māyā, with the result that they become Vjñānākala souls. In the same way when one realises one's distinction from kalā one can go beyond kalā. In the same way when he realises his distine- tion from Prakṛti, he never goes down Prakṛti. When the residual trace of mala becomes totally absent from the soul he becomes one with Śiva. It is to be remembered in this connection that kalā is the giver of limited activity in the aṇu soul. The impure Vidyā bestows on the insentient subject limited cognitive power. Only on account of its presence the limited subject is able to see the real nature of the intellect and can distinguish happiness and others faom the mass of objects which are refle-

xxxviii cted in the mirror of buddhi. ‘I know something’ and ‘I do something’ are the froms of judgment, aroused by Vidyā and Kalā respectively. These rāga, vidyā, kalā, kāla and niyati are of two types, on account of the grace they are considered pure and there- fore function as means for the attainment of Śivahood. Kalā becomes pure when it consists of activities like worshipping, rāga becomes so when it gives rise to attachment to the Lord. Vidyā becomes so when it causes discernment regarding the Lord. Kalā in the same way gives effect to the teaching regarding the Lord ( tadupadeśādi viṣayameva kalanam ), while niyati restricts the soul to remain steadfast in His worship. The group of kalā and others are different according to the difference of the indivdual souls, for the activity in them is seen to rise differently in different limited Subjects, It is worthy to note here that the agenthood with the cha- racteristic of limited nature gives rise to the genus Pradhāna, the equilibrium of the three guṇas, viz, sattva, rajas and tamas. Not only that, it is from kalā both the individual subject, the bhoktā, and the bject as bhogya that is to be experie- nced, are born. The Supreme Subject in the beginning is made poor by Māyā. When it takes away all His glories, then again He is bestowed with a little of His glory by means of kalā etc. Thus He becomes paśu, a limited subject and the Māyā kāla, rāga Vidyā, niyati, kāla serve him as sheaths. The author points out that Prakṛti is of two kinds, the one is the equilibrium of guṇas, the other is guṇatattva itself which being disturbed by the superintending Lord of the Tattva causes kṣobha in Prakṛti which in its turn gives rise

xxxix to the principle of Buddhi. For Prakṛti as the recipient of kṣobha should be accepted otherwise how it would be possible for the liberated soul to remain uninvolved again in bondage. Bnt according to this system the disturbance ( kṣobha ) in Prakṛti is caused by the Lord Himself. Ahaṁkāra gets its rise from Buddhi which secs on the mirror of the light of Puruṣa which hasbecome slightly impure because of its contact with the objec ts ( buddhi vṛttyātmanī prakāśe) feels the ego that ‘I know this and’ ‘I do this’ thus it feels identity with the object and thinks itself as I. Buddhi. receives the reflection of objects and at the same time though insentient, manifests the light of Puruṣa. Similarly ahaṁkāra serves as an instrument and the cause ( karaṇa and kāraṇa) It is threefold namely sāttvika, rājasika and tāmasa. From Ahaṁkāra predominatly of sāttvika nature five inner and external sense organs, from rājasa Ahaṁkāra manas and from tāmasa nature of Ahaṁkāra five tanmātrās; are born. Thus the tanmātrās give rise to nabhas, Vāyu, tejas, āpa and pṛthvī. In the present chapter discussion is made about all the thirty six principles which are mutually related with one an- other. All of them come under the threefold divisions of Nara-Śakti and Śiva. Śiva pervades all by His characteristic nature of luminous consciuosness. The principle in which this characteristic of light is more prominent than the other, it is considered extensive than the other, for example Śiva is more extensive than Śakti, while the latter is more so than Nara. IX The present chapter chassifies all the tattvas under fif- teen aspects and others as viewed by seven kinds of Subjects

known as Śiva, Mantrameheśvara, Mantra, Vijñānākala, Pralayākala and Sakala. They are possessed of Śaktis. Their number is also seven. Thus counting Śaktis and Śaktimān the number becomes fourteen. Counting svarūpa, that is, the object in itself with the fourteen all the tattvas from Pṛthvī to Prakṛti each have fifteen aspects. The Lord is possessed of three Śaktis which are known as Parā, Parāparā and Aparā. The transcendent Śakti func- tions as the subject ( mātṛrūpa ). She is the Parāśakti who is inseparably united with the Supreme Subject. The Parā- parā Śakti is the instrument ( pramāṇa ) and the Aparā Śakti operates as the object of experience ( meyarūpaḥ ). The earth and others have their distinctive svarūpa, that is, they are objects as they are. In other words, it may be stated that from Prakṛti down to the earth they shine as objects without having the reflection of any limiting adjuncts of the subject and its instrument,¹ This is said to be the pure svarūpa nature of objects. It does not rest in the subject but on the contrary, it has its rest in itself ( Svātmaniṣṭham ). It should be noted in this context that the object as such shines in this distinctive way by the grace of Aparāśakti. The pure objective aspect of all the tattvas from the earth to Prakṛti broadly come under the Nara group, the basic con- cept of Trika as characterised by Nara, Śakti and Śiva. But when Śaktis related to different subjects become predominant and the object in its turn rests in them, it is then known to be its Śākta form. It shines thus by the grace of Parāparā Śakti. These Śākta forms are seven because the number of Śaktis related to different subjects are seven. But when the Subject possessed of Śaktis become predominant and the

१. मातृमानाह्युपाधिभिरसंजातोपरागकम्—तं० आ० १०.१०

xxxxi objects rest in the pramātṛs, it is known to be the form of Śiva who is Śaktimat. They shine thus by the grace of Parāś- akti. The Subject as characterised by possessing Śakti, that is, Śaktimān is of seven kinds, The subject known as sakala has vidyā and Kalā as its Śaktis, but they lie dormant in Pralayākala souls and though they are abiding in Vijñānākala, yet they are as if disappe- aring. In the subject known as mantra they function as Śuddhavidyā going to become awake but the residual trace of it is still there. Mantreśa is free from the above residul trace and Śuddhavidyā has awakend fully in them. This very Śuddhavidyā is going to become Icchāśakti in Mantramahe- śvara, while in Śiva it becomes fully manifest Icchā with the characteristic of Sāvtāntryaśakti. The whole scheme may be presented by the following chart. (1) Meya (2) Māna (3) Mātā/Śakti (i) Pṛthvī to Prakṛti vidyā/kalā (a) Sakala — (b) Pralayākala Svarūpa = 1 (a) vijñānākala 7 + 7 = 15 (d) Mantra (e) Mantreśa (f) Mantramaheśa (g) śiva (ii) Puraṣa to Kalā Vidyā and Kalā are dormant (a) Pralayākala (b) Vijñānākala Svarūpa = 1 — (c) Mantra 6 + 6 = 12 (d) Mantreśa (e) Mantramaheśa (f) Śiva

xxxxii (iii) Pralayākala Māna is without object (a) Vijnānākala (b) Mantra 5 + 5 = 11 Svarūpa = 1 — (c) Mantreśa (d) Mantramaheśa (e) Śiva (iv) Vijñānākala Māna is going is disappear (a) Mantra Svarūpa = 1 — (b) Mantreśa 4 + 4 = 9 (c) Mantramaheśa (d) Śiva (v) Mantra Śuddhavidyā (a) Mantreśa Svarūpa = 1 — (b) Mantramaheśa 3 + 3 = 7 (c) Śiva (vi) Mantreśa Awakened (a) Mantramaheśa śuddhavidyā 2 + 2 = 5 Svarūpa = 1 — (b) Śiva (vii) Mantramaheśa Icchā (a) śiva— Svarūpa = 1 — (b) śakti 1 + 1 = 3 (viii) Śiva Svarūpa-Svātantrya 1 It has been stated before that the universe has the chara- cteristic of the three, viz Nara, Śakti and Śiva. The aspect known as Svarūpa is the inert object in which objectivity is predominant,¹ where the subjectivity of Consciousness is to- tally absent. It is well - known that Śiva is of the characte- ristic of pure consciousness. He is the Supreme Subject (Parapramātā). His Śakti shining as iccha, jñāna and Kriyā manifests Herself as six pramātṛs. Among the six the first three viz Mantramaheśvarā, Mantreśvara ann Mantra do not १. यत्तु गृहीतृतारूपसंवित्स्पर्शविवर्जितम् । शुद्धं जडम् । तं० आ० १०.१८२

xxxxiii have any object, therefore they are known as pure subjects ( Śuddha grāhaka ), but Vijñānākalā, Pralayākala and Sakala are considered as impure subjects. The author shows as an example how Pṛthvītattva shines in relation to pramātā and prameyas. The light that shines non-differently from dharā is Śiva. He supports his view by quoting a śruti. Dharāmantramaheśvara being impelled by the will of Śiva leads Dharāmantreśa for bestowing Siddhi to them who are desirous of it connected with dharā. Mantras are the vācaka of the superintending deities of different bhuvanas under Pṛthvītattva. Dharāvijñānākalas are those who after receiving Śivavidyā have performed pārthivayoga but failed to attain the highest state ( dhruvapada ) . But on the contrary the Dharāpralayakevalin is the one who has pra- ctised pārthivayoga in accordance to the procedure prescribed by the non - śaiva doctrine. He remains as dharā pralaya kevalin and fails to proceed further. Dharāsakalas are those who have the egoism in Dharā. Then the author shows how all the tattvas abide as prā- ṇaśakti related to a pramātā. One single Prāṇa consisting of sixteen tuṭis extends till the emergence of a vedya, the thing to be known, Among the sixteen tuṭis. the first, the second and the last and the last but one, is the undifferīntiated one, the one that manifests the grāhaka, the last tūṭi is inseparable from the object and the one preceding the last is of the form of a fully manifest grāhaka. Thus the twelve tuṭis that are left out of sixteen, are divided broadly into two divisions. The first six are of the nature of nirvikalpaka and the next six are the characteristic of parāparā from where vikalpa begins to rise. Icchā, jñāna and Kriyā operate in manifesting the first group of six by assuming the mode of opening up ( unme-

xxxxiv ṣavṛtti. But the second half of six is characterised by the term parāparā, while the tuṭis that are the last and the last but one are of aparā form. It is to be noted here that all the Subjects mentioned above shine forth along the time units known as tuṭis. All the subjects from Mantramaheśvara down to Sakala shine along the twelve tuṭis, two for each subject, while in the first tuṭi, it should be remembered, is the location for Sakti. The fifteen aspects ( pāñcadaśya ) with their varied dis- tinctions are observed in two tuṭis each. Just as in the cogni- tion of a jar the characteristics of fifteen aspects ( pāñcada- śya ) can be watched, in the same way this is observed in the vital energy when it is engaged in grasping any object. It has been hinted at earlier that when a subject such as a Sakala does not participate as a subject, that is, when it is taken as a svarūpa, the aspect of fifteen becomes thirteen. Thus the number of aspects diminishes gradually. Then fina- lly the more the distinctious disappear the number of tuṭis becomes lesser.१ At last the yogin is able to attain absorp- tion in Śiva. The time unit consists of two tuṭis here—the one is considered as full and pūrṇa and the other is the character of Śivasakti. It has been stated in Tantrāloka that one who is able to absorb oneself in the second tuṭi one is sure to attain the power of omniscience. Now the author says about states known as waking, dreaming, deep sleep, the fourth and beyond the fourth. All the Subjects along with their Śaktis are the knowers of objects of all the tattvas. These states are the manifestations of consciousness conditioned by prameyas. The meya state is said to be the chief characteristic of the waking state which are otherwise known as ( addhiṣṭheya ), the locus. १. क्रमात्तु भेदन्यूनत्वे न्यूनता स्यात्त्रुटिष्वपि। तं० आ० १०।२००

In Mālinīvijaya it is known as Piṇḍastha, for the yogin taking his stand on dharā and others as the base, is able to identify himself with them. But to the jñānin who are well- developed in meditation it is known as Sarvatobhadra, for to him the jāgrat state is one which fully pervades the objects of experience (āpūrṇaṁ sarvato Vedya Sattayā). Techni- cally the waking state is known as the object of experience (prameya) or adhiṣṭheya, the base, while dream is known pramāṇa or adhiṣṭhāna and adhiṣṭhātā or the subject is the Premātā in suṣupti. All the states have subdivisous of their own. The are known as (1) jāgrat-jāgrat, jāgrat svapna, jāgrat suṣupti and jāgrat turya. (2) Svapna-jāgrat, svapna svapna, svapna suṣupti, Svapna turya, (3) Suṣupti jāgrat, suṣupti-svapna, suṣupti suṣupti, Suṣupti turya. Jāgrat again is known to have four portions. The object that is experienced is abuddha insentient and the instrument of experience is called buddha and the right knowledge that is born out of the instrumentality is known as prabuddha and suprabuddha. Of the two prabuddha is of the nature of buddhi, while Suprabuddha is free from the impurities of the object of experience and therefore is of the characteristic of resting in the self. The following chart may be of some help for the understanding of the scheme: 1 | 2 | 3 | 4 Prameya | Pramāṇa | Pramātā | Pramiti Jāgrat | Svapna | Suṣupti | Turya Piṇḍastha | Padastha | Rūpastha | Rūpātīta Sarvatobhadra | Vyāpti | Mahāvyāpti | Pracaya —T U R Ā T Ī T A— M A H Ā P R A C A Y A—