The Serpent Power (Sat-Cakra-Nirupana and Paduka-Pancaka)

The subtle body is thus composed of what are called the “ 17,” vk., Buddhi (in which Ahangkara is included), Manas, the ten senses (Indriya), and the five Tanmatra. Ho special mention is made of Prana or Vital Principle by the Sangkhya, by which it is regarded as a modification of the Antahkarana, and as such is implicitly included. The THE SIX CENTEES AND THE SERl’ENT POWEK Mayavadins insert the Priina pentad instead of the Tanmatrad The Jiva lives in his subtle or mental body alone when in the dreaming (Svapna) state. For the outside world of objects (Mahabhiita) is then shut out, aiul the consciousness wanders in the world of ideas. The subtle body or soul is imperishable until Liberation is attained, when the Jivatmii, or seemingly conditioned consciousness, ceases to be sucb, and is the Supreme Consciousness or Paramiitma, Nirguna Shiva. The subtle body thus survives the dissolution of the gross body of matter, from which it goes forth (utkraman), and “ reincarnates *’ - (to use an English term) until liberation (Mukti ). The Lingasharira is not all-pervading (Vibhu), for in that case it would he eternal CSiitya), and could not act (Kriya). But it moves and goes (Gati ). Since it is not Vibhu, it must be limited (parichchhinna) and of atomic dimension i^Anuparimana). It is indirectly dependent on food. For though the material body is the food-body (Annamaya), Mind is dependent on it when associated with the gross body. Mind in the subtle body bears the Sangskaras which are the result of past actions. This subtle body is the cause of the third or gross body.

The whole process of evolution is due to the presence of the will to life and enjoyment, which is a result of Viisana, or world-desire, carried from life to life in the Sangskaras, or impressions made on the subtle body by Karma, which is guided by Ishvara. In its reaching forth to the world, the Self is not only endowed with the faculties 1 Saxigkhya-Pravacbana- Sutra, III. 9. See my volume on ‘‘ Life ” (Fraria-Shakti). - This is transmigration or pretyabkava, which means ‘‘the arising again” (and again) — punarufcpattih pretyabhavah, as Gautama says* Pretya—having died, and Bhava=r^Hhe becoming (born into the ^vorld) again “ Again ” implies habitnalness : birth, then death, then birth, and so on, until final emancipation, which is Moksha, or Apavarga (release), as the IN^yaya calls it. EMBODIED OONSOIODSNESS (jIVAl’Ml) 67 of tlie subtile body, but with the gi’oss objects of enjoyment on which those faculties feed. There therefore comes into being, as a projection of the Power (Shakti) of Consciousness, the yros's ftody of matter called Sthula Sharira. The word Sharira comes from the root “ Shri,” to decay ; for the gross body is at every moment undergoing molecular birth and death until Prana, or vitality, leaves the organism, which, as such, is dissolved. The Soul (Jivatma) is, when it leaves the body, no longer concerned therewith. There is no such thing as the resurrection of the same body. It returns to dust, and the Jiva when it reincarnates does so in a new body, which is nevertheless, like the last, suited to give effect to its Karma.

The Sthula Sharira, with its three Doshas, six Koshas, seven Dhatus, ten Fires, and so forth,^ is the perishable body composed of compounds of five forms of gross sensible matter (Mahabhuta), which is ever decaying, and is at the end dissolved into its constituents at death.* This is the Vedantik body of food (Annamaya Kosha), so called because it is maintained by food which is converted into chyle (Rasa), blood, flesh, fat in bone, marrow and seed-components of the gross organism. The Jiva lives in this body when in the seething (Jagrat) state. The human, physical, or gross body is, according to Western science, composed of certain compounds, of which the chief are W'ater, gelatine, fat, phosphate of lime, albumen, and fibrine, and of these water constitutes some two-thirds of the total weight. These substances are composed of simpler non-metallic and metallic elements, of which the chief are oxygen (to the extent of about two-thirds), I See Introductioii to my edition ot Prapanchasara Tantra, Vol. Ill, “Tantrik Texts”. ® Decay and death are two of the six PTrinis which, with hunger and thirst, grief and ignorance, are characteristics of the body (Dehadharma) : Prapanchasara Tantra, II. hydrogeB, carbon, nitrogen, ealcinm, and phospborns. Again, to go one step farther back, though the alleged indestructibility of the elements and their atoms is still said by some to present the character of a “ practical truth,’ well-known recent experiments go to re-establish the ancient hypothesis of a single Primordial Substance to which these various forms of matter may be reduced, with the resultant of the possible and hitherto derided transmutation of one element into another 5 since each is but one of the plural manifestations of the same iinderlying unity.

Recent scientific I'esearch has shown that this oiiginal substance cannot be scientific “ matter ’ that is, that which has mass, weight, and inertia. Matter has been dematerialised and reduced, according to cuiient hypotheses, to something which differs profoundly from matter as known by the senses. This ultimate substance is stated to be Ether in a state of motion. The present scientific hypothesis would appear to be as follows ; The ultimate and simplest physical factor from which the universe has arisen is motion of and in a substance called ether, which is not scientific “matter”. The motions of this substance give rise from the realistic point of view to the notion of “ matter Matter is thus at base one, notwithstanding the diversity of its forms. Its ultimate element is on the final analysis of one kind, and the differences in the vai-ious kinds of matter depend on the various movements of the ultimate particle and its succeeding combinations. Given such unity of base, it is possible that one form of matter may pass into another. ■ The Indian theory here described agrees with the Western speculations to which we have referred, that what the latter calls scientific or ponderable matter does not permanently exist, but says that there are certain motions or forces (five in number) which produce solid matter, and

EMBODIED CONSCIOUSNESS (jIVATMA) 69 which are ultimately reducible to ether (Akasha). Akasha, however, and scientific “ Ether ” are not in all respects the same. The latter is an ultimate substance, not “ matter,” having vibratory movements and affording the medium for the transmission of light. Akasha is one of the gross forces into which the Primordial Power (Prakriti-Shakti) differentiates itself. Objectively considered it is a vibration ^ in and of the substance of Prakriti of which it is a transformation in which the other forces are observed to be operating. Lastly, Akasha is not an ultimate, but is itself derived from the supersensible Taninatra, with its quality (Guna) whereby Akasha affects the senses ; and this Tanmittra is itself derived from the mental I-making principle fAhangkiira), or personal consciousness produced from the superpersonal Jiva-consciousness as such (Buddhi), emanating from the root-energy, or Prakriti-Shakti the -cause and basis of all forms of “ material ” force or substance. At the back of both “ matter” and mind, there is the creative energy (Shakti) of the Supreme who is the cause of the universe and Consciousness itself. Matter affects the Jiva in five different ways, giving rise in him to the sensations of smell, taste, sight, toucl -and feel, and hearing.

As already explained, the Tanmatras are supersensible being abstract (jualities, whilst the senses perceive thei variations in particular objects only. These sense-parti culars are produced from the generals or IJniversals. From the Shabda Tanmiitra and from the combinations of the latter with the other Tanmatras are prod need the gross Bhutas (Mahubhi'ita), Avhich as things of phj’sical magnitude perceivable by the senses appi-oach the Western definition of discrete sensible “ matter Tliese five Mahabhutas are Akasha (Ether), Vayu (Air), Tejas (Fire), Apas (Water), and Prithivi (Earth). Their development takes place from the Tanmiitra, from one unit of that which is known in sensible matter as mass (Tamas), charged with energy (Rajas) by the gradual accretion of mass and i-edistribution of energy. The result of this is that each Bhuta is more gross than that which precedes it until “Earth” is reached. These five Bhutas have no connection with the English “ elements ” so called, nor, indeed, are they elements at all, being derived from the Tanmatra. Dynamically and objectively considered they are (proceeding from Akasha) said to be five forms of motion, into which Prakriti differentiates itself : viz., nonobstructive, all-directed motion radiating lines of force in all directions, symbolised as the “ Hairs of Shiva,” ^ affording the space (Akasha) in which the other forces operate ; transverse motion ^ and locomotion in space (Vayu) ; upward motion giving rise to expansion (Tejas) ,* downward motion giving rise to contraction (Apas) ; and that motion which produces cohesion, its characteristic of obstruction being the opposite of the non-obstructive ether in which it exists and from which it and the other Tattvas spring. The first is sensed by hearing through

1 “ Kashmir Shaivaism,” p. 132, where it is suggested that the lines of the magnetic field are connected with the lines of Dik (direction) as the lines of ethereal energy. "V ajn, as the Prapanchasara Tantra vsays, is characterised by motion (Chalanapara). The Sanskrit root Ya=- to move. See Sushrnta^ Vol. II, p. 2, ed. KaviraJ Kunja Lala Bhishagratna. EMBODIED CONSCIOUSNESS (jIVATMA) 71 its quality (Guna) o£ sound (Shabda) tbe second by touch tbrougb resistance and feeling tbe third by sight as colour ; ^ the fourth by taste through flavour; and the fifth by the sense of smell through its odour, -which is produced by matter only in so far as it partakes of the solid stated The hal'd and stable obstructive “earth” is that which is smelt, tasted, seen, and touched, and which exists in space which is known by hearing — that is, the sounds in it. The smooth “ water ” is that which is tasted, seen, and touched, in space. “Tire” is what is seen and touched — that is, felt as temperature — in space. “ Air ” is what is so felt in space. And sound which is heard is that by which the existence of the “Ether” is known. These Bhiitas when compounded make up the material universe. Each thing therein being thus made of all the Bhutas, we find in the Tanti'as that form, colour, and sound, are related, a truth which is of deep ritual significance. Thus, each of the sounds of speech or music has a corresponding form, which have now been made visible to the eye by the Phonoscope.® Thus the deaf may perceive sounds by the eye, just as, by the Optophone the blind may read by means of the ear.

i According to Western notions, it is the air which is the cause of -sound. According to Indian notions, Ether is the substratum of (Ashraya) of sound, and Air (Vayu) is a helper (SahakM) in its manifestation. ^ Touch is not here used in the sense of all forms of contact, for form and solidity are not yet developed, but such particular contact as that by which is realised the thermal quality of things. ^ Fire is the name for that action which builds and destroys ^ All matter in tbe solid state (Parthiva) giving rise to smell is in the state of earth — e.g,, metals, flowers, etc. s When Avords are spoken or snug into a small trumpet attached to the instrument, a revolving disk appears to break up into a number of patterns, which vary with the variations in sound. In the same Shastra various colours and figures (IMandalas) are assigned to the Tattvas to denote them. Akiisha is represented bj a transparent white circular diagram in which, according to some accounts there are dots (Chhidra==hole), thus displa3ring the interstices which Akasha produces ; for Akaslia, which is all-pem^ading, intervenes between each of the Tattvas which are evolved from it.

Vayn is denoted by a smoky grey, six-cornered diagram;^ Tejas, red, triangular diagram; Apas, white, crescent-shaped diagram ; and PrithivI, yellow, <{uadrangular diagram which as the superficial presentation of the cube well denotes the notion of solidity. Similarly, to each Devatii also there is assigned a Yantra, or diagram, which is a suggestion of the form assumed by the evolving Prakriti or bod}" of that particular Consciousness. The gi*oss body is, tbeii, a combination of the compounds of these Mahabhutas, derivable from tbe Akasha (“Ether”) Tattva. The Bhutas and the Tanmatra, as parts of these compounds, pervade the body, bnt particular Bhutas ai'e said to have centres of force in particular regions. Thus the centres (Chakra) of “ Earth ” and “Water” are the two lower ones in the trunk of the body. “ Fire ” predominates in the central abdominal region, and “ Air ” and “ Ether ** in the two higher centres in the heart and throat. These five Tanmatras, five Bhutas, and the ten senses (Indriyas) which perceive them, are known as the twenty gross Tattvas which are absorbed in Yoga in the centres of the bodily trunk. The remaining four subtle mental Tattvas (Buddhi, Ahangkara, Manas) and Prakriti have their special centres of activity in the head. Again, the Bhutas may be

^ 1 See as to this and the other diagrams the coloured plates of the* specially displayed in other portions of the bodily organism. Thus, PrithiTl displays itself as bone or muscle ; Apas as urine and saliva; Tejas as hunger and thirst; Vayu in grasping and walking. Fire is manifold, its great mystery being saluted by many names. So Tejas manifests both as light and heat, for, as Helmholtz saj'^s, the same object may effect the senses in different ways. The same ray of sunshine, which is called light when it falls on the eyes, is called heat when it falls on the skin. Agni manifests in the household and umbilical fires ; as Kamagni in the Muladhara centre ; in Vadava or submarine fire and in the “ Lightning ” of the Sushumna in the spinal column. Matter thus exists in the five states etheric,^ aerial,^' fiery,® fiuid,^ and solid.® Prithivi does not denote mei’ely what is popularly called “ Earth ”. All solid (Parthiva) odorous substance is in the Prithivi state. All substance in. the fluid (Apya) state is in the Apas state, as everything which has cohesive resistance is in that of Prithivi. This latter, therefore, is the cohesive vibration the cause of solidity of which the common earth is a gross compounded form. All matter in the aerial (Vayava) condition is in the Vayu state. These are all primary differentiations of cosmic matter into a universe of subtly fine motion. The Tattvas regarded objectively evoke in the Indriyas smell, taste, sight, touch, and hearing.

1 All-pervading (Sarvavyiipi), though relatively so in Sangkhya^ and colourless (Nirupa). As to vibration, v. ante, ^ With movements which are not straight (Tiryag-gamana-shila). ^ Illuminating (Prakasha) and heating (Tapa), 4 Liquid (Tarala), moving (Chalanashila). It has the quality of Sneha, whereby things can be rolled up into a lump (Pinda), as moistened flour or earth. Some solid things become liquid for a time through heat ; and others become solids, the Jati (species) of which is still water (Jalatva). 5 Without hollow, dense (Ghana), Arm (Dridha), combined (Sanghata), and hard (Kathina). The STOSS boclv is thus a combination of the compounds of these Mahabhiitas, derivable ultiraatel}" from Ither (Akasha), itself evolved in manner described. The gross and subtle bodies above described are vitalised and held together as an organism by Prana, which is evolved from the active energy (Kriya Shakti) of the Linga Sharira. Prana, or the vital principle, is the special relation of the Atma with a certain form of matter which by this relation the Atmh organises and builds up as a means of having experienced This special relation constitutes the individual Prana in the individual body. The cosmic all-pervading Priina is not Prana in this gross sense, but is a name for the Brahman as the author of the individual Prana. Thie individual Priina is limited to the particular body which it vitalises, and is a manifestation in all breathing creatures (Pram) of the creative and sustaining activity of the Brahman, who is represented in individual bodies by the Devi Kundalini.

All beings, whether Devatas, men, or animals, exist •only so long as the Prana is within the body. It is the lifeduration of all.^ What life is has been the subject of dispute in India as elsewhere.® The materialists of the Lokayata ■school considered life to be the result of the chemical combinations of the elements, in the same manner as the intoxicating property of spirituous liquors results from the fermentation of unintoxicating rice and molasses, or as spontaneous generation was supposed to occur under the influence of gentle warmth. This is denied by the Sangkhya. Though Prana and its fivefold functions are called Vayu, Life, according to this school, is not a Vayu in the sense of 1 “ Hindu Realism,” p. 84. See my volume on “ Life ”. * Kausliifcakl TTpanisliad, 3-2. ^ See mj volume on Life EMBODIED OONSOIOUSNESS (jIVATMi) 75 a mei’e biomeclianical force, nor . any mere mechanical motion resulting from the impulsion of such Vayu. According to the view of this school, Prana, or vitality, is the common function of the mind and all the senses, both sensory (Jnanendriya) and motor (Karmendriya), which result in the bodily motion. Just as several birds when confined in one cage cause that cage to move, by themselves moving, so the mind and senses cause the body to move while they are engaged in their respective activities. Life is, then, a resultant of the various concurrent activities of other principles or forces in the organism.

The Vedantists agree in the view that the Prana is neither Vayu nor its operation, but deny that it is the mere resultant of the concomitant activities of the organism, and hold that it is a separate independent principle and “ material ” form assumed by the universal Consciousness. Life is therefore a subtle principle pervading the whole organism which is not gross Vayu, but is all the same a subtle kind of apparently unconscious force, since everything which is not the Atma or Pur usha is, according to Mayavada Vedanta and Sangkhya, unconscious or, in Western parlance, “material” (Jada).^ The gross outer body is heterogeneous (Parichchhinna) or made up of distinct or well-defined parts. On the other hand, the Pranamaya self which lies within the Annamaya self is a homogeneous undivided whole (Sadharana) permeating the whole physical body (Sarvapindavyapin). It is not cut off into distinct regions (Asadharana) as is the Pinda, or microcosmic physical body. Unlike the latter, it has no specialised organs each discharging a specific function. It is a homogeneous unity (Sadharana) present in every part of the body, which it • 1 See Commentary on Taittiriya Upanishad, edited by Matadeva Sbastri, and Appendix 0, by Dr. Brojendra Nath Seal, to Professor B. K. Sarkar’s “ The Positive Background of Hindu Sociology,” where some further authorities are given.

76 THE SIX a&NTSES AND THE SERTENT POWER ensouls as its inner self. Vayu ^ which courses through the body is the manifestation, seif-begotten, the subtle, invisible, all-pervading, divine energy of eternal life. It is so called from the fact of its coursing throughout the universe. Invisible in itself, yet its operations are manifest. For it determines the birth, growth, and decay, of all animated organisms, and as such it receives the homage of all created being. As vital Vayn it is instantaneous in action, radiating as nerve force through the organism in constant currents. In its normal condition it maintains a state of equilibrium between the different Doshas ^ and Dhatus, ® or root principles of the body. The bodily Vuyu is divided, as are the principles called Pitta ^ and Kapha, ^ into five chief divisions accoi’ding to the differences in location and function. Vayu, known in its bodily aspect as Prana, the xmiversal force of vital activity, on entry into each individual is divided into tenfold functions (Vritti), of which five are chief. The first or breathing, bear the same name (Prana) as that given to the force considered in its totality — the function whereby atmospheric air with its pervading vitality, which has been first drawn from without into the bodily system, is expired. ®

On the physical plane Prana manifests in the animal body as breath through inspiration (Sa), or Shakti, and expiration (Ha), or Shiva. The male principle of Prana throws out, and the female principle draws in, in accordance with the nature of Shakti as Shabdabrahman 1 In the .sense of Prana. The Sanskrit root va=io move. See Snshruta, VoL II, p. 2, edition by Kaviraj Kunja Lala Bhishagratna. 2 See Introduction to third volume of “ Tantrik Texts,” where these terms are explained. The Devatas of the,se Dhatus are Dakiui and the other Sbakiis in the Chakras. See my volume on “ Life ”. ® The Vayus have other functions than those mentioned. The matter is here stated only in a general way. See Sushruta Sanghita, cited ante. Prana is not the physical breath, which is a gross thing, but that function of vital force which exhibits itself in respiration. ^'Knla-kundaliin). Breathing is itself a Mantra, known as the ]\[antra which is not recited (Ajapa-mantra), for it is said without volition^ . The divine current is Hang and Sa or the motion of Ha and Sa. This motion, which exists on all the planes of life, is for the earth plane (Bhiirloka) created and sustained by the Sun, the solar breath of which is the cause of human breath with its centrifugal and centripetal movements, the 'Counterpart in man of the cosmic movement of the Hangsah or Shiva-shakti Tattvas, which are the soul of the Universe. The Sun is not only the centre and upholder of the solar system,^ but the source of all available energy and of all physical life on earth. Accompanying the sunshine there proceeds from the orb a vast invisible radiation, the prerequisite of all vegetable and animal life. It is these invisible rays which, according to science, sustain the mystery of ail physical life. The Sun as the great luminary is the body of the Solar God, a great manifestation of the inner Spiritual Sun.®

Apana, the downward “ breath ” which pulls against Prana, governs the excretory functions ; Samana kindles the bodily fire and governs the processes of digestion and assimilation ; Vyana, or diffused “ breathing,” is present throughout the body, effecting division and diffusion, 1 Thus the Niruttara Tantra (Chapter IV) says : Hangharena vahir yati sakarena vishet punah Harigseti paramang mantrang jivo japati sarvada. (By Hangkara it goes out, and by Sakara it comes in again._ A Jiva always recite.s the Suprema Mantra Hangsa.) See also Dhyanabind a Up, The Sun is said to bold the vast bulk of the total matter of the •solar system, while it only carries about 2 per cent of its moment of momentum. ^ , 3 The Yoo-a works speak of the Moon-chit (Chichchandra). It is this spiritual °mooii which is shown on the cover of this book, embraced by the Serpent Kundalini. THE SIX OBNTfiES AND THE SEBPENT POWEB resisting disintegration, and holding the body together in all its parts; and Udana, the ascending Vsiyu, is the so-called “ upward breathing Prana is in the heart ; Apuna in the anus ; Sainana in the navel ; Udana in the throat ; and Vyana pervades the whole bodyd By the words “ navel ” and so forth it is not meant that the Vayu is in the navel itself but in that region of the bod}* so designated — the abdominal region and its centre the Manipara Chakra. The five minor Vayus are Naga, Kiirma, Krikara, Devadatta, and Dhananjaya, which manifest in hiccup, closing and opening the eyes, digestion,*^ yawning, and in that Vayu “ which leaves not even the corpse The functions of Priina may he scientifically defined as follows : Appropriation (Prana), Rejection (Apana), Assimilation (Samana), Distribution (Vyana), and utterance (Udana). The Prana represents the involuntary reflex action of the organism, and the Indriyas one aspect of its voluntary activity.

In the case of the individualised Prana, or principle which vitalises the animal organism during its earth life, it may be said, when regarded as an independent principle, to be a force more subtle than that which manifests as terrestrial matter which it vitalises. In other words, according to this theory, the Atma gives life to the earth organisms through the medium of terrestrial Prana, which is one of the manifestations of that Energy which issues from and is at base the all-pervading Atma,. as I Ainriianada Upanishad, vv. 34, 35 — Anandashrama Edition. Vol. XXIX, p. 43; Sbandilya Up., Ch. 1. See also, as to .Prana, Ch. II, Prapanchasara Tantra. It is also said that Prana is at the tip of the nostrils (ISTas^ravartti), and others are also said to be elsewhere. These localities denote special seats of function. See my volume on “ Life Kshudhakara ; lit., ‘‘ appetite-maker ' EMBODIED OONSOIOUSNBSS (JIVITM a) 79 Atm a as sucli lias no states, but in worldly parlance we •speak of sucli. So tbe Mandukya Upanishad Vspeaks of the four aspects (Pada) of the Brahman. Ohaitanya, or Consciousness in bodies, is immanent in the individual and collective gross, subtle, and causal bodies, and transcends them. One and the same Chit pervades and transcends all things, but is given different names to mark its different aspects in the Jiva. Chit, being immutable, has itself no states ; for states can only exist in the products of the changing Prakriti-Shakti. Prom, however, the aspect of Jiva several states exist, which, though informed by the same Chit, may from this aspect be called states of consciousness.^

In the manifested world, Consciousness appears in three states (Avastha), vbi.^: waking (Jagrai), dreaming, (Svapna), and dreamless slumber (Sushupti). In the waking state the Jiva is conscious of external objects (Bahihprajna), and is the gross enjoyer of these objects through the senses (Sthulabhuk).^ The Jiva in this state is called Jagari — that is, he who takes upon himself the gross body called Vishva, Here the Jiva consciousness is in the gross body. In dreaming (Svapna) the Jiva is conscious of inner objects (Antahprajna), and the enjoyer of what is subtle (Praviviktabhuk) — that is, impressions left on the mind by ■on all planes, and should he studied in connection with Gaudapada’s Karikil on the same subject with Shangkaracharya’s Commentary on the latter. Described in detail post. ^ See Mandukya Ilpanishad (where these are analysed) with Gaudapada’s Karika and Shangkaracharya’s Commentary on the same. ^ Maridukya Up., Mantra 3. Prapanchasara Tantra : Svairindriyair yadatma bhungte bhogan sa jagaro bhavati (Ch. XIX., Tantrik Texts, Vol. 111). See Ishvarapratyabhijna : Sarvakshagocharatvena ja tu vahyataya stbita (cited by Bhaskararaya in Comm, to v. 62 of Lalita). objects sensed in tbe waking state. The objects of dreams, have only an external reality for the di’eamer, whereas the objects perceived when awake have such reality for all who are in that state. The mind ceases to record fresh impressions, and works on that which has been registered in the waking state.

The fir.st (Jagrat) state is that of sense perception. Here the ego lives in a mental world of ideas, and the Jiva consciousness is in the suhtle hod)). Both these states are states of duality in which multiplicity is experienced.’^ The tliird state, or that of dreamless sleep (Snshupti), is defined as that which is neither waking nor dreaming, and in which tbe varied experiences of the two former states are mei’ged into a simple experience (Ekibhuta), as the variety of the day is lost in night without extinction of such variety. Consciousness is not objective (Bahihprajna) nor subjective (Antaliprajna), but a simple undifferenced consciousness without an object (Pi-ajnanaghana). In waking tbe Jiva consciousness is associated wdth mind and senses ; in dreaming tbe senses are withdrawn ; in dreamless slumber mind also is withdrawn. The Jiva, called Prajna, is for the time being merged in bis canml bodij — that is, Prakriti insepai’ably associated with Consciousness — that is, with that state of Consciousness which is the seed from which the subtle and gross bodies grow. The state is one of bliss. The Jiva is not conscious of anything,* hut on awakening preserves only the notion, “ Happy I slept ; I

1 See Maiidukja Up., Mantra 4. Islivarapratyabliijnil : SpasbtayabasabbavaBang srisbtib svapnapadang matam. (Cited in Lalita, under v. 113. Prapancbasara Tantra : Sangjnaraliitair api tair asyanubbavobbavet punab svapnab. miBODIED OONSOIOUSNESS (jIVATMA) 81 was not conscious of anyfcliing.” ^ This state is accordingly that which has as its object the sense of, nothingness.^ Whilst the two former states enjoy the gross and subtle objects respectively, this is the enjoyer of bliss only (Anandabhuk)— that is, simple bliss without an object. The Lord is always the enjoyer of bliss, but in the first two states he enjoys bliss through objects. Here he enjoys bliss itself free from both subject and object. In this way the Sushupti state approaches the Brahman Consciousness. But it is not that in its purity, because it, as the other two states, are both associated with ignorance (Avidya) — the first two with Vikriti, and the last with Prakriti. Beyond, therefore, this state there is the ^‘fourth” (Tnriya). Here the pure experience called Shuddhavidya is acquired through Samadhi-yoga. Jiva in the Sushupti state is said to be in the causal (Karana) body, and Jiva in the Turiya state is said to be in the great causal (Mahakarana) body.^ Beyond this there is, some say, a fifth state, “ beyond the fourth ” (Turiyatita), which is attained through firmness in the fourth. Here the Ish vara Tattva is attained. This is the Unmesha^ state of consciousness, of which the Sadakhya Tattva is the Nimesha.^ Passing beyond “the spotless one attains the highest equality,” and is merged in the Supi’erae Shiva.

The above divisions— Vishva, Taijasa, and Prajna — are those of the individual Jiva. But there is also the collective Tantra : Atmainrudviiktataya nairakulyang bbavet susbuptir api (Cb. XIX, Yol. HI, of Tantrik Texts). 3 Bbaskararilya in bis Comm, on Lalita says: Ata eva susbuptidasbaparinajivopadheb karanasbariratvena turiyadasbapannajivopMheh m ab a k aran a sli ar J ra t ve n a vy a vab iirab . 4 Opening and closing of tbe eyes (of consciousness). The latter is ibe last stage before tbe perfect Sbi^a-consciousness is gained. or cosmic Jiva, which is the aggregate of the individual Jlvas of each particular stated In the macrocosm these collective ^ Jivas are called Vaishvanara (corresponding to the individual Vishva body), Iliranyagarba, and Sutratina ® (corresponding to the individual Taijasa body) ; and Islivara is the name of the collective form of the Jivas described as Prajna. Cosmically, these are the conscious Lords of the objective, subjective, and causal worlds, beyond wliich there is the Supreme Consciousness. Supreme Yoga-experience and liberation is attainoil by passing beyond the first three states of ordinary experience. The Yoga-process is a return-movement to the Source which is the reverse of the creative movement therefrom. The order of production is as follows : Buddhi, then Ahangkara, fi'om the latter the Manas, Indriya and Taninatra and from the last the Bhiita. As the seat of the Source is in the human body the cerebrum in which there is the greatest display of Consciousness, the seat of Mind is between the eyebrows and the seats of Matter in the five centres from the throat to the base of the spine. Commencement of the return-movement is made here and the various kinds of Matter are dissolved into

i x4ccoiiiits vary in detail according as a greater or less number of stages of ascent are enumerated. TIius Nirvana Tantra, cited in Comm, to V. 43 post, says tbe Paramatnia is the Devata in the Tmiya state ; and Prapancbasara Tantra (Cb. XIX) says Jagrat is Bija, Svapna is Bindu, Siishupti is Niida, Turiya is Shakti, and the Lay a beyond is ■ 'Sbinta. : ^ Tbe nature of tbe collectivity is not merely a summation of units, but a collectivity the units of which are related to one anotlier as parts of an organised whole. Thus Hiranyagarbba is he who has the consciousness of being all the Jivas. Samashtyabhimani Pliranyagarbbatmakah (Bhaskararaya, op. v. 61). He is the aggregate of these Jivas. Paramatma manifested as the collective Antalikarana is Hiranjagarbha, and as the collective Prana it is called Siltratma. When manifest through these two vehicles without differentiation it is Antaryamin. See Bhaskararaya, he. cit. ? THE GARL.iND OF LETTERS (VARNAMAl.A) Reference is made in tlie Text and in this Introduction to Shabda, Varna, Mantra. It is said that the letters (Varna) of the alphabet are distributed throughout the bodily centres on the petals of the lotuses, as is shown on Plates II- VII. In each of the lotuses there is also a SeedMantra (Bija) of the Tattva of the centre. Kundalini is both light (Jyotirmayi) and Mantra (Mantramayi),^ and Mantra is used in the process of rousing Her.

There is perhaps no subject in the Indian Shastra which is less understood than Mantra. The subject is so important a part of the Tantra-Shastra that its other title is Mantra-Shastra. Commonly Orientalists and others describe Mantra as “ prayer,” “ formuhe or worship,” “ mystic syllables,” and so forth. These are the superficialities of those who do not know their subject. Whilst I am not aware of any work in any European language which shows a knowledge of Mantra and its science, yet there is perhaps no subject which has been so ridiculed — a not unusual attitude of ignorance. Mantra science may be well founded or not, but even in the latter case it is not the absurdity which some suppose it to be. Those who think so might except Mantras which are prayers, and the meaning of which they understand, for with prayer they are familiar. But such appreciation itself shows a lack of ’ Tbe first is the subtle, the second the gross form. See as regards the subject matter of this Chapter the Author’s Garland of Letters THE GAELAND OP LETTERS (vABNAMALa) understanding. There is nothing necessarily holy or prayerful about a Mantra. Mantra is a power (Mantrashakti) which lends itself impartially to any use. A man may be injured or killed by Mantra ; ^ by Mantra a kind of union with the physical Shakti is by some said to be effected ; * by Mantra in the initiation called Vedhadiksliii there is such a transference of power from the Guru to the disciple that the latter swoons under the impulse of it;* by Mantra the Homa fire may and, according to ideal conditions, should be lighted ; A by Mantra man is saved, and so forth. Mantra, in short, is a power (Shakti) ; power in the form of Sound. The root “ maw” means “to think”.

The creative power of thought is now receiving increasing acceptance in the West. Thought-reading, thought-transference, hypnotic suggestion, magical projections (Mokshana), and shields (Grahana),® are becoming example which 1 have read in an account of an author nowise suspect” as an Occultist, Theosophist, etc.— General J. T. Harris noticed a scorpion close to the foot of a Sadhu. “ Don’t move,” he said ; there is a scorpion bj your foot.” The SMhu leaned over, and when he saw the scorpion he pointed at it wdth his fingers, on which the animal immediately and in the presence of the General shrivelled up and died. You seem to have some powers already,” the Genei’al said ; hot the Sadhu simply waived the matter aside as being of no importance Ohina Jim ” : “ Incidents in the Life of a Mutiny Veteran,” by Major-General J. T. Harris, p. 74. Heinemann). 2 An extraordinary use to which it is put, 1 am informed by some worshippers of the Bhairava Mantra. The man projects the Mantra on to the woman, who then experiences the sensation of a physical union. The Yislmu Furana speaks of generation by will power. such a Guru is hard to get. The disciple who receives this initiation gets all the powers of his initiator. It is said that there are Gurus who can at once make their disciples fit for the highest aims.

friend of a collaborator of mine. A man is alleged to have lit the fuel in Kushandika Homa simply by Mantra and the Bija of fire (“ B<am ”) without recourse to light or match. *'> This Sanskrit term expresses not so much a “fence” to which use a Kavaeha is put, but the knowledge of how a man may “ catch ” a Mantra projected at him. •known and practised, not always with good results. The doctrine is ancient in India, and mnlerlies the practices to be found in the Tantras, some oF which are kept in general concealed to prevent misuse.^ What, however, is not understood in the West is the particular form of Thought-science which is llantravidya. Those familiar with the Western presentment of similar subjects will 'more readily understand ^ wdien I say that, according to the rndiau doctrine here described, thought (like mind, of which it is the operation) is a pow'er or Shakti. It is, therefore, not only as real, but in a sense more real than ■outer material objects, winch are themselves but the projections of the creative thought of the World-thinker. The root “ mnn,” which=to think, is also the root of the Sanskrit word for man, who alone of all creation is properly a thinker. Mantra is the manifested Shabda- •brahman.

But what is Shabda or “ sound ” ? Here the ShaktaTantra Shinstra follow^s the Miinangsa doctrine of Shabda, 'with such modifications as are necessary to adapt it to its ■doctrine of Shakti. Sound (Shabda), which is a quality (Guna) of ether (Aknsha), and is sensed by hearing, is twofold — namely, lettered (Varnfitmaka shabda) and ■unlettered, or Dhvani (Dhvanyatmaka shabda).® The 1 ill the Saiiihita called Kulanmva (not the Tantra of that name) :Shiva, after referring to soma terrible rites with the flesh of black cats, bats, and other aniinals, the soiled linen of a Cliandala woman, the shroud of a corpse, and so forth, says : “ Oh 5 Pirvati, my hand and -limbs tremble, my mouth is dried ’’ (Hridayam kampate mama, gitrani mama kampante, mukham shushyate Parvati), adding : “ One must not speak of it, one must not speak, one must not speak, again and again I say it must not be spoken of’* (Na vaktavyam iia vaktavyam na vaktavyam ;punah punab). occultism, and regaid it as superstition, that their presentment of Indian teaching is so often ignorant and absurd. ^ This Dhvani is the gross bodjf of the Mantra, See the Author’s Garland of Letters ”,

THE GARr,AND OP LETTERS (vARNAMAOA) 8T latter is caused by the striking of two things together, andis meaningless. Shabda, on the contrai’y, which is Anahata (a term applied to the Heart Lotus), is that Brahman sound which is not caused by the striking of two thingstogether. Lettered sound is composed of sentences (Vakya),. ■words (Pada), and letters (Varna). Such sound has a meaning.^ Shabda manifesting as speech is said to be eternal.^ This the Naiyajikas deny, saying that it istransitory. ' A -word is uttered, and it is gone. Thisopinion the Mimangsa denies, saying that the perception, of lettered sound must be distinguished from lettered sounditself.® Perception is due to Dhvani caused by the striking of the air in contact with the vocal organs — namely, the throat, palate, and tongue. Before there is Dhvani there must be the striking of one thing against another. It is not the mere striking which is the lettered Shabda. Thismanifests it. The lettered sound is produced by the formation of the vocal organs in contact with air, which formation is in response to the mental movement or idea, whichby the will thus seeks outward expression in audible sound.^ It is this perception which is transitory, for theDhvani which manifests ideas in language is such. But lettered sound, as it is in itself— is eternal. It was not produced at the moment it was perceived. It was onlymanifested by the Dhvani. It existed before, as it exists, after, such manifestation, just as a jar in a dark room

1 When the -word “ Ghata ” is uttered, then there arises in the mind the idea of a jar. 2 Not as audible sounds (Dhvani), but as that which finds auditory expression in audible sounds. The sensible expressions are transient. Behind them is the Eternal Logos (Shabdabrahman), whose manifesta- ’ivhicli is reveuled by a tlash ot li<,ditnnig is not tiien produced, nor does it cease to exist on its ceasing to be perceived tlirongb the disappearance of its inanifester, the liu-htniniy. The air ii:i contact with the vtiiee organs reveals souinl in the fortn of the letters of the alphabet, and tlieir coinlnnations in words and sentences. 'riie letters are prodtieed for hearing tiy the effort of the person de.siring to speak, and become audible to the ear of others through the operation of unlettcreil sound or Dlivani. The latter being a inanifester only, lettered Shabda is something other than its inanifester. Before describing the nature of Shabda in its different furnis of development it is nece.ssary to understand the Indian psychology of perception. At each moment the Jiva is subject to innumerable influences which from all quarters of the universe pour upon him. Only those reach his Consciousness which attract his attention, and are thus selected by hik Manas. The latter attends to one or other of those sense impressions, and conveys it to the Buddhi. When an object (Artha) is presented to the mind and perceived, the latter is formed into the shape of the object perceived.

This is called a mental Vritti (modification), which it is the object of Yoga to suppress. The mind as a Vritti is thus a representation of the outer object. But in so far as it is such representation it is as much an object as the outer one. The latter — that is, the physical object — is called the gross object (Sthiila artha), and the former or mental impression is called the subtle object (Sukshma artha). But besides the object there is the mind which perceives it. It follows that the mind has two aspects, in one of which it is the perceiver and in the other the perceived in the form of the mental formation (Vritti) which in creation precedes its outer projection, and after the creation follows as the impression produced in the mind

THE GARLAND OP LETTERS (vARNAMALA) by tbe sensing of a gross physical object. The mental impression and the physical object exactly correspond, for the physical object is, in fact, but a projection of the cosmic imagination, though it has the same reality as the mind has ; no more and no less. The mind is thus both cogniser (Grahaka) and cognised (Grahya), revealer (Prakashaka) and revealed (Prakashya),. denoter (Vachaka) and denoted (Vachya). When the mind perceives an object it is transfoi-med into the shape of that object. So the mind which thinks of the Divinity which it worships (Ishtadevata) is at length, through continued devotion, transformed into the likeness of that Devata. By allowing the Devata thus to occupy the mind for long it becomes as pure as the Devata.. This is a fundamental principle of Tantrik Sadhana or religious practice. The object perceived is called Artha, a term which comes from the root “ Ri,” which means to get, to know, to enjoy. Artha is that which is known, and which therefore is an object of enjoyment. The mind as Artha — that is, in the form of the mental impression — ^is an exact reflection of the outer object or gross Artha. As the outer object is Artha, so is the interior subtle mental foi’m which corresponds to it. That aspect of the mind which cognises is called Shabda or Nama (name), and that aspect in which it is its own object or cognised is called Artha or Rupa (form).

The outer physical object of which the latter is, in the individual, an impression is also Artha or Rupa, and spoken speech is the outer Shabda. Subject and object are thus from the Mantra aspect Shabda and Artha — terms corresponding to the Vedantio Nama and Rupa, or concepts and concepts objectified. As the Vedanta says, the whole creation is Nama and Rupa. Mind is the power (Shakti), the function of which is to distinguish and identify (Bhedasangsargavritti Shakti).

Just as the IkhIv is causal, su5)tlc, and gross, so is Sliahda, of which there are four states (Bhava), called Para, Pashyanti, l^Iadhyama, and Vnikharl — terms further explaiueil in Section V of this Introduction. Para sound is tliat which exist.s on the differentiation of tlie Malifibindu before actual nuuiifestation. This is motionless causal Shabda in Kuiidalini in the lilidadhai-a centre of the body. That aspect of it in which it comnionce.s to move with a general — that is, non-particularised — motion (Saraanya spanda) is Pashyanti, who.se place is from the Mixladhara to the Manipura Chakra, the next centre. It is here associated with lianas. These represent the motionless and first moving Ishvara aspect of Sliahda. lladhj’ama sound is associated with Buddhi. It is liiranyagarbha Shabda (Hiranyagarbhariipa) extending from Pashyanti to the heart. Both lladhj’arna sound, which is the inner “ naming” by the ciignitive aspect of mental movement, a.s also its xirtha or subtle (Sfikshma) object (A.rtha), belong to the mental or subtle body (Sukshma or Linga sharira). Perception is dependent on distinguishing and identification. In the perception of an object that part of the mind which identifies and distinguishes, or the cognising part, is subtle Shabda, and that part of it which takes the shape of the object (a shape which corresponds with the outer thing) is subtle Artha. The perception of an object is thus consecpient on the simultaneous functioning of the mind in its twofold aspect as Shabda and Artha, which are in indissoluble relation with one another as cogniser (Griiliaka) and cognised (Graliya). Both belong to the subtle body. In creation Madhyama Shabda first appeared. At that moment there was no outer Artha. Then the cosmic mind projected this inner Madhyama Artha into the world of sensual experience, and named it in spoken speech (Vaikhari Shabda). The last or Vaikhari Shabda is uttered speech developed in the

throat issuing from the mouth. This is Virat Shabda. Vaikhari Shabda is therefore language or gross lettered sound. Its corresponding Artha is the ph3'sical or gross object 'which language denotes. This belongs to the gross body (Sthula sharira). Madhyama Shabda is mental movement or ideation in its cognitive aspect, and Ma,dhyama Artha is the mental impression of the gross object. The inner thought-movement in its aspect as Shabdartha, and considered both in its knowing aspect (Shabda) and as the subtle known object (Artha), belong to the subtle body (Sukshma sharira). The cause of these two is the first general movement towards particular „v Supreme Speeet. 'I™*"” „„vemeut,Trtui- causal and subtle, acco p ^ ip\ie inner forms pneoede and lead “P ctbtle, and tie uttered of ideating movement tbe manifested sound the gross, aspect of Mantra, w Shabdabrahman. ^ ii Voikhari or uttered speech, and the gross Artha, oi p g^a^bda and Artha speech, of the Shabdabrahman into the world of gross P^^^®^t^,^affe-that is, sentences, physical world Shabda mean ^ expression of ideas and words and or mentL world Madhyama are Mantra. . ^a^^es >’ in its aspect as Shabda is the mind whic oogniser, and Artha le. ^ sa ^gg^ed to be the outer mental object of its cogni 1 • gi^iiar to the state of

in the form of the mind. I is thi^^ dreams (Svapna): as tos , (Snshnpti) and ^aikbau an impression , left on the Mental Artha is a SangsKara, ^ Sliabcia, of which there are four .states (Bliuva), calletl Para, Pashyuntl, Madbyama, and Vaikhaii — tenu.s further explained in Section V of this rntruduetion. Ihirfi sound is that which exi.sts im the differentiation of the Malnibindu before actual inanifestathm. 'rids is inotionle-ss cau.sal Shabda in Kundalini in the ^Miiladhara centre of the body. That aspect i>f it in which it conimencek to move with a general — that is, non-particularised— motion (Samanj-a spanda) is Pashyantl, whose place is from the Mfiliidhara to the Manipura CUiakra, the next centre. It is here as.sociated with Manas. These repre.^ent the motionless and first moving Ishvara aspect of Shabda. Madhjaina sound is associated with Buddhi. It is Hiranvagarbha Shabda (Hiranyagarbharupa) extending from Pashyanti to the heart. Both 'Madhyarnii sound, which is the inner “ naming” by the cognitive aspect of mental movement, as also its Arfcha or subtle (Sukshma) object (Artha), belong to the mental or subtle body (Sukshma or Linga sharira). Perception i,s dependent on distinguishiiig and identification. In the perception of an object that part of the mind whicli identifies and distinguishes, or the cognising part, is subtle Shabda, and that part of it which takes the .shape of the object (a shape which corresponds with the outer thing) is subtle Artha. The perception of an object is thus consecpient on the simultaneous functioning of the mind in its twofold aspect as Shabda and Artha, which are in indissoluble relation with one another as cogniser (Giiihaka) and cognised (Grahya). Both belong to the subtle body. In creation Madhyama Shabda first appeared. At that moment there was no outer Artha. Then the cosmic mind projected this inner Madhyama Artha into the world of sensual experience, and named it in spoken speech (Vaikhari Shabda). The last or Vaikhari Shabda is uttered speech developed in the

THB GARLAND OP LETTERS (vAENAMILA) 91 throat issuing from the mouth. This is Virat Shabda. Vaikhari Shabda is therefore language or gross lettered sound. Its corresponding Artha is the ph^’sical or gross object which language denotes. This belongs to the gross body (Sthiila sharira). Madhyama Shabda is mental movement or ideation in its cognitive aspect, and Madhyama Artha is the mental impression of the gross object. The inner thought-movement in its aspect as Shabdartha, and considered both in its knowing aspect (Shabda) and as the subtle known object (Artha), belong to the subtle body (Sukshma sharira). The cause of these two is the first general movement towards particular 'ideation fesHU the motion less cause, Parashabda, or Supreme Speech. Two"formTlS^TTrrKsw-«s:E_vidds-ns:geeGh, causal and subtle, accompanying mind movement, thim- precede and lead up to spoken language. The inner forms of ideating movement constitute the subtle, and the uttered sound the gross, aspect of Mantra, which is the manifested Shabdabrahman . The gross Shabda, called Vaikhari or uttered speech, and the gross Artha, or the physical object denoted by that speech, are the projection of the subtle Shabda and Artha through the initial activity of the Shabdabrahman into the world of gross sensual perception. Therefore in the gross physical world Shabda means language — that is, sentences, words, and letters, which are the expression of ideas and are Mantra. In the subtle or mental world Madhyama Shabda is the mind which “names” in its aspect as cogniser, and Artha is the same mind in its aspect as the mental object of its cognition. It is defined to be the outer in the form of the mind. It is thus similar to the state of dreams (Svapna) ; as Parashabda is the causal dreamless (Sushupti) and Vaikhari the waking (Jagrat) state. Mental Artha is a Sangskara, an impression , left on the

THE SIX CKOTEES AND THE S Eli 1' ENT TOWEE subtle body by previous experience, wbieh is recalled when tbe Jiva reawakes to world experience and recollects tbe experience temporarily lost in tbe cosmic dreamless state (Susbupti) wbieli is dissolution (Mahupralaya). What is it which arouses this Sangskura? As an effect (Kfirya) it must have a cause (Kfirana). This Karana is the Shabda or name (ISanm), subtle or gross, corresponding to that particular Artba. When the word “ Ghata” is uttered this evokes in the mind the image of an object — a jar — just as the presentation of that object does. In tbe Hiranyagarbba state Shabda as Sangskai'a worked to evoke mental images. The whole world is without Artha'or Artba wifliout Shabda. The Greek word Logos also means thought and word combined. There is thus a double line of cz’eation, Shabda and Artha, ideas and language together with their objects. Speech, as that which is heard, or the outer manifestation of Shabda, stands for the Shabda creation. The Artha creation are the inner and outer objects seen by the mental or physical vision. From the cosmic creative standpoint the mind comes first, and from it is evolved the physical world according to the ripened Sangskiiras, which led to the existence of the particular existing universe. Therefore the mental Artha precedes the physical Artha, which is an evolution in gross matter of the former. This mental state corresponds to that of dreams (Svapna) when man lives in the mental world only. After creation, which is the waking (Jagrat) state, there is for the individual an already existing parallelism of names and objects.

Uttered speech is a manifestation of the inner naming or thought. This thought-movement is similar in men of THl GARLAND OP LETTERS (VARNAMALa) all races. When an Englishman or an Indian thinks of an ohjeet, the image is to both the same, whether evoked by the object itself or by the utterance of its name. Perhaps for this reason a thought-reader whose cerebral centre is ■en rapport with, that of another may read the hidden ■“ speech ’’—that is, the thought of one whose spoken speech he cannot understand. Thus, whilst the thoughtmovement is similar in all men, the expression of it as Vaikhari Shabda differs. According to tradition, there was once a universal language. According to the Biblical account, this was so before the confusion of tongues at the Tower of Babel. Similarly in the R terious passage^ speaks of the “three fathers and three mothers ” by whose action, like that of the Elohim, allcomprehending speech” was made into that which was not so. Nor is this unlikely when we consider that difference in gross speech is due to difference of races evolved in the course of time. If the instruments by, and conditions under, which thought is revealed in speech were the same for all men, then there would be but one language. But now this is not so. Racial characteristics and physical conditions, such as the nature of the vocal organs, climate, inherited impressions, and so forth, differ. Therefore, so also does language. But for each particular man speaking any particular language the uttered name of any object is the gross expression of his inner thoughtmovement. It evokes that movement and again expresses it It evokes the idea, and the idea is consciousness as mental operation. That operation can be so intensified as to be itself creative. This is Mantra-chaitanya.

' From the above account it will be understood that, when it is said that the “letters” are in the six bodily Chakras, it is not to be supposed that it is intended to absurdly affirm that the letters :is written shapes, or as the uttered sounds which are heard lyv the ear, are there. The letters in tiiis sense — that is, as gross things — are inatiifesled only in speech and writing. This much is clear. But the precise significance of this statement is a matter of great difficulty. I'here is, in fact, no subject which presents more difficultie.s than Mantravidya, whether considered generally or in relation to the particular matter in hand. In the first place, one must be constantly on guard against falling into a possible trap — namely, the taking of pre.scribed method.s of realisation for actualities in the common sense of that term. The former are conventional, the latter are real. Doubts on thi.s matter are increased by some variations in the descriptive accmnits. Thus in some Ganesha is the Devata of the Muladhiira. In the Text here translated it is Brahma. Similarly thi.s Text gives Dukini in the Muladhara as the Devata of the Asthi Dhiitu (bony substance). When sitting in the prescribed Asana (posture), the bones are gathered up around this Chakra, and, moreover, from it as the centre of the body the bones run up and downwards. Another account, however, given to me places Devi Shakini here.^ Mistakes have also to be reckoned with, and can only be ascertained and rectified by a

follows : , : Bone (Asthidlmto): Mfilaclliara cliakra ; Devi Shakini. Fat (Medadhatu): Bvadhi.slithana chakra ; Devi Kakini. Flesh (Man^sadbatu) : Manipilra chakra ; Devi Lakini. Blood (Raktadhatn) : Anahata chakra ; Devi Rakini. Skin (Tvakdbatu) : Vishuddha chakra; Devi DakinL Alarrow (>lajjMhatn); Ajna ebakra; .Devi Hakini. In the Sahasrara Fadina are all Dhatns hegiimin^ with Shnkra (semen). comparison of several MSS.^ Again, four letters are said to be on the petals of tbe Muladhara Lotus namely, Va, Sha, Sha, and Sa. Why are these said to be there? Various statements have been made to me. As there are certain letters which are ascribed to each form of sensible matter (Bhuta), it seems obvious to suggest that the earth letters (Parthiva varna) are in the earth centre. But an examination on this basis does not bear the suggestion out. Next, it is said that the letters have colours, and the letters of a particular colour are allocated to the lotuses of the same colour. The Text does not support this theory. It has been said that certain letters derive from certain Devata. But the letters produce the Devata, for these are the Artha of the Mantra as Shabda. I have been also told that the letters ai-e placed according to their seat of pronuncmtion (Uchcharana). But it is replied that the Mfdadhara is the common source of this (Dchcharanasthana) for all.* Again, it is said that the letters on the petals are Bijas or seedmantras of all activities (Kriya) connected whh the Tattva of the centre, each letter undergoing variations according to the vowels.* All beings in Prithivi (Barth) Tattva, should be meditated upon in the Muladhara. Here are therefore (as we might expect), the organs of feet (Padendriya), the action of walking (Gamanakriya), smell (Gandha), the quality of Prithivi, the sense of smell (Ghrana), Nivritti

the Muladhara are given as Va, Sha, 8ha, and La. The latter should, according to other accounts, be undoubtedly ba. nunciation for each letter or class of letters. As apparently supporting this suggestion it may be noted that the vowel sounds are placed in the throat centre, and Ha and Ksha above, Kundalinikalpataru, and in particular in the Adhyatmasagara, neither of which MSS. have I yet seen. THE SIX CESTEES AND THE SKKi'ENT PDWER KalA,’ and Brahma (Lord of the Tattva,). Bat we are also told tliat the letters Va, Sha, Sh>i, and Sa are the Atma and Bfjas of the tour Veda-s/ of the four Yiigas,'’ of the four oceans/ which are therefore ctdletl Cliaturvarnatmaka, or in the self of the four letters. It is true that the four Yodas are in, and issue fismi, Piirashabda, the seat of which is the xMuladlnira. For Veda in its primary sense is the world as idea in the mind of the creative Brahman, portions of which have been revealed to the Rishis (seers) and embodied in the four Vedas. But why should Va be the seed of the Rigveda, Sha of the Vajurveda, and so forth ? The ritual explanation, as given in the Rudrayamala (xiv. 73, xv. d, .vvi. 1, 2), is that the petal Va is Brahma (Rajoguna), and is the Bija of Rik; Sha is Vishnu (Baitvaguna), and Sha, being Pundarikatm.i, is the Bija of Yajus ; S/ie is Rudra (Tamoguna), and is the Bija of Siima.

Sa is the Bija of Atharva, as it is the Bija of Sliakti.® These four jire in Parashabda in Muladhara. It .seems to me (so fai‘ as my studies in the Shastra have yet carried me) that the tietails of the descriptions of the centres are of two kinds. There are, firstly, certain facts of objective and universal reality. Thus, for example, there are certain centres (Chakra) in the spinal column. The principle of solidity ( Prithivl Tattva) is in the lowest of such centres, which as the centre of the body contains the .static or potential energy called Kundali Shakti. The centre as a lotus is said to have four petals,

I See author’s “ Studies in. the Mantra Shastra ” (Kalfts of the Shaktis). Samfina Vnyu is also located here. ® Va of Rik, Sha of Yajus Ska of Sama, and Sa of Atharva Veda. s The four ages— Satya, Treta, Dvapara, and Kali. Of sugar-cane juice, wine, ghee (Ghrita), milk. / See Rudrayamala XVII, where priority is given to Atharva as dealing with the Achara of Shakti. From Atharva arose Sama, from Sama, Yajus, and from the latter Rik. because of the formation and distribution of the Yoganerves ^ (Nadi) at that particular point. Solidity is denoted aptly by a cube, which is the diagram (Yantra) of that centre. The consciousness of that centre as Devata is also aptly borne on an elephant, the massive solidity of which is emblematical of the solid earth principle (Prithivl). The forces which go to the making of solid matter may, by the Yogi, be seen as yellow. It may be that particular substances (Dhatu) of the body and particular Vritti (qualities) are connected with particular Chakras, and so forth. Thei’e are, however, another class of details which have possibly only symbolical reality, and which are placed before the Sadhaka for the purposes of instruction and meditation only. ^ The letters as we know them— that is, as outer speech— are manifested only after passing through the throat. They cannot therefore exist as such in the Chakras. But they are said to be there.

They are there, not in their gross, but in their subtle and causal forms. It is these subtle forms which are called Matrika. But as such forms they are Shabda of and as ideating movements, or are the cause thereof. Consciousness, which is itself (Svarupa) soundless (Nih-shabda), in its supreme form (Para shabda) assumes a general undifferentiated movement (Samanya spanda), then a differentiated movement (Vishesha spanda), issuing in clearly articulate speech (Spashtatara spanda). The inner movement has outer correspondence with that issuing from the lips by the aid of Dhvani. This is but the Mantra way of saying that the homogeneous Consciousness moves as Shakti, and appears as subject

1 The term “ nerve ” is used for default of another equivalent. These Nadis, called Yoga-Nadis, are not, like the Nadls of physiology, gross things, but subtle channels along which the life-force works in 3 See tbe Demcliog Tantra, now pablisbed as a volume of “ iantrik Texts 13 '. (SIir^kIs) {Hid objBCt (Artliu) fit fivst iu tlio sulitls foiin of i^Iind and its contents generated by tlie Sangskaras, and then in the gross form of language as the expression of ideas and of physical objects (Artha), which the creative or Cosmic Alind projects into the world of sensual experience to he the source of impressions to the individual experience!' therein. It is true that in this sense the letters, as hidden speech or the seed of outer speech, are in the Chakias, but the allocation of particular letters to particular Chakras is a matter which, if it has a real and not merely symbolical signiiicance must receive the explanation given iu my “ Shakti and Shukta In each of the Chakras there is also a Bija (seed) Mantra of each of the Tattvas therein. They are the seed of the Tattva, for the latter springs from and re-enters the former. The Natural Name of anything is the sounci which is produced by the action of the moving forces which constitute it. He therefore, it is said, who mentally and vocally utters with creative force the natural name of anything brings into being the thing which bears that name.

Thus “ Ram ” is the Bija of fire in the Manipura chakra. This Mantra “ Ram ” is said to be the expression in gross sound (Vaikhari Shabda) of the subtle sound produced by the forces constituting fire. The same explanation is given as regards “ Lam ” in the Miiladhara, and the other Bijas in the other Chakras. The mere utterance, ' however, of “ Ram ” or any other Mantra is nothing but a movement of the lips. When, however, the Alantra is “awakened”® (Prabuddha)— that is, when there is

1 The mind must in worship with foi-m (Sahara) be centred on the Deity of Worship (Ishtadevata) ; and in Yoga on the light form ( JyoorLaylrupa). It is said, however, that mere repetition without knowing its meaning will produce some benefit. The subject of natural Name is dealt with in the Author s Garland of Letters . tbroBgb its conscious centre* THE GABLAND op LETTERS (vABNAMALa) 99 Mantra-cliaitanya (Mantra-consciousness) — then the Sadhaka can make the Mantra work. Thus in the case cited the Vaikhari Shabda, through its vehicle Dhvani, is the body of a power of Consciousness which enables the Mantrin to become the Lord of Fire.^ However this may be, in all cases it is the creative thought which ensouls the uttered sound which works now in man’s small magic, just as it first worked in the grand magical display of the Worldcreator. His thought was the aggregate, with creative power, of all thought. Each man is Shiva, and can attain His power to the degree of his ability to consciously realise himself as such. For various purposes the Devatas are invoked. Mantra and Devata are one and the same. A Mantra-Devata is Shabda and Artha, the former being the name, and the latter the Devata whose name it is. By practice (Japa) with the Mantra the presence of the Devata is invoked. Japa or repetition of Mantra is compared to the action of a man shaking a sleeper to wake him up.

The two lips are Shiva and Shakti. Their movement is the coition (Maithuna) of the two. Shabda which issues therefi’om is in the nature of Seed or Bindu. The Devata thus produced is, as it were, the “ son ” of the Sadhaka. It is not the Supreme Devata (for it is actionless) who appears, but in all cases an emanation produced by the Sadhaka for his benefit only.® In the case of worshippers of Shiva a Boy-Shiva (Bala Shiva) appears, who k then made strong by the nurture which the Sadhaka gives to his creation. The occultist will understand all such symbolism to mean

1 Some attam these powers through worship (Upasana) of Agni Yetala a Derayoni ; some of Agni Himself. The former process, which requires 12,000 Japa, is given in Shavara-tantra. In the sa way ohiects are said to he moved, though at a distance from , ® hy the worship of Madhumati Devi. A higher state of development dispenses with all outer agents, 2 If Suryya (Sun God) be invoked, it is an emanation which comes and then goes back to the sun. that the Devata is a form of the consciousness of the pure Sadhaka which the latter arouses and strengthens, and gains good thereby. It is his consciousness which becomes the boy Shiva, and when strengthened the fullgrown Divine power itself. All Mantras are in the body as forms of consciousness (Vijnana-rupa), When the Mantra Ls fully practised it enlivens the Sangskara, and the Artha appears to the mind. Mantras are thns a form of the Sangskara of Jivas, the Artha of which becomes manifest to the consciousness which is pure. The essence of all this is — concentrate and vitalise thought an<l wdll power. But for such a purpose a method is necessary — namely, language and determined varieties of practice according to the end sought. These, Mantra vidya (wliich explains what Mantra is) also enjoins.

The causal state of Shabda is called Shabdabrahman — that is, the Brahman as the cause of Shabda and Artha. The unmanifest (Avyakta) power or Shabda, which is the cause of manifested Shabda and Artha, upiises on the differentiation of the Supreme Bindu from Prakriti in the form of Bindu through the prevalence of Kriya Shakti.^ Avyakta Rava or Shabda (unmanifested sound) is the principle of sound as such (Nada-matra) — that is, undifferentiated sound not specialised in the form of letters, but which is, through creative activity, the cause of manifested Shabda and Artha.' It is the Bi’ahman considered as all-pervading Shabda, undivided, unmanifested, whose substance is Nuda and Bindu, the proximate creative ^ See w. 12 Slmradi. Kriy asbaktipradhanay ab sb abd asbabd artb a-karan am Prakriter bmdurupinyab sbabdabrabmabbaTat param. Ill plain Engiisb this means, in effect, that increasing activity in the Consciousness about to create (Bindu) produces that state in wbicli it is the cause of subject and object, as mind and matter, of inoYBiiient—iianiely, firstly, the bhabda (with iBeBtal 1 See Pranatoshini, p. 10; Bagliava Bliatta, Comm. v. 12, Cli. I, Sliarada. to nadabindumaya eva vyapako brahmatmakah sliabdab. ^ Spbota, wbicii is derived from Sphut, to open (as a bud does), is that by vs^bicb the particular meaning of words is revealed. The letters singly, and therefore also in combination, are non-significant. A word is not the thing, but that through which, when uttered, there is cognition of the thing thereby denoted. That which denotes the ^ thing denoted is a disclosure (Sphota) other than these letters. This Sphota is eternal Shabda.

to the formless division (Am iirtta), and the remaining three to the form division (Miirtta). The first is sensed by hearing. Shabda is vibration for the ear as name. Agni, the head of the second division, is sensed as form (Eupa). Artha is vibration to the eye (mental or physical) as form, 4 Oh. IV, vv. 101, Tas tattvanto nirakarah sa eva parameshvarah. ^ Tavad akasbasangkalpo yavach chhabdah pravartate Illihshabdam tatparam brahma paramatmeti giyate. vibratious of cognition) ■wiiich, passing through the vocal orii-aiis, become articulate sound ; and, secondlj, Artha movements denoted by Shabda in the form of all things constituting the content of mind and the objective world. These two are emanations from the same Conscious Activity ( Shakti) which is the Word (Vak or Logos I, and are in consecjuence essentially the same. Hence the connection between the two is permanent. It is in the above sense that the universe is said to be composed of the letters. It is the fifty * letters of the Sanskrit alphabet which are denoted by the garland of severed human heads which the naked ^ mother, Kali, dark like a threatening raincloud, wears as She stands amidst bones and carrion beasts and birds in tlie burning-ground on the white corpselike (Shavarupa) body of Shiva. For it is She who “ slaughters ” — that is, withdraws all speech and its objects into Herself at the time of the dissolution of all things (IMahapralaya).® Shabdabrahman is the consciousness (Chaitanya) in all creatures. It assumes the foi*m of Kundali, and abides in the body of all breathing creatures (Pranl), manifesting itself by letters in the form of prose and verse."* In the sexual symbolism of the Shakta Tantras, seed (Bind u)® issued iipon the reversed

2 Sometimes given as fifty -one. - She is so pictured because She is hejond Maya (ilayatita). She is the “ Bewilderer of all ” by Her Mayii, but is Herself undeceived thereby. This Kali symbolism is explained in the Svarupa-vyakhya of the “ Hymn to Kali ’’ (Karpuradi Stotra) which I have published as vol. IX of Tantrik Texts, the Buddhist Demchog Tantra. ^ Ohaitanyam sarvabhutanang shabdabrahmeti me matih Tat prapya kundalirflpam praninam dehamadhyagam Varnatmanavirhhavati gadyapadyadi-bhedatah. (Sharada Tilaka, Ch. I.) 5 The term Bindu also means a drop as of semen. union ^ of Maliakala and Maliakali, wMcli seed, ripening in tlie womb of Prakriti, issued as Kundali in tbe form Kundali as MahamatrikasunLcli are the Matrikas or subtle of tbe letters (Ak ■dari has fifty-one ( forms of the gross form of the Shabda at the centres. Kundali when with one coil is Bindu ; with two, Prakriti-Purusha ; with three, the three Shaktis (Ichchha, Jnana, Kriya) and three Gunas (Sattva, Bajas, Tamas) ; with the three and a half She is then actually creative with Vikriti ; with four She is the Devi Bkajata, and so on to Shrimatrikotpattisundari with fifty-one coils.^ In the body, unmanifested Parashabda is in kundali Shakti. That which first issues from it is in the

ids upwards through the rest as When Shakti ^ in the mother-form speech (Para vak) and She “ sees ” the manifest- ■ ’ 1. The Pashyanti ^ which Ichchha Shakti (Will) in the about to display the This is the Shakti Pashyanti, Madhyama, and Vaikhari Shabda, first “ sees ” ® She is Parama Kala (Ambikarupa), which is supreme^ supreme peace (Parama shanta). Cod Shabda from Pashyanti to Vaikhari, state of Shabda is that in ' form of a goad ® (Angkushakara) is universe, then in seed (Bija) form. \ ^ Varna.’ Madhyama Vak, which is Jnana (knowledge), and iVimritamaitlmna. Shakti is above Shiva, and moving on and in coilon with Him because She is the active and He the inert con- “’°“slaktisanggama Tantra, first Ullasa Utpattikhanda. When with ten coils She is the well-known Dashamahavidya. ^ 3 The first movement in creation, called Ikshana ( seeing ) in Veda. To see is to ideate. t x- i a x - 4 Parama=supreme or first. Kala=Vimarsha-Shakti of Atma. ,She is, as such, the first cause of all the letters. Pashyanti=She who “ sees ” (Ikshana). , . t + 6 Here the crooked line (Vakrarekha) comes first, and the straight second Possibly this may be the line rising to form the triangular

pyramid. « vomits forth ” the universe (Yamanai lO-t THB SIX CENTRES AND THE SERPENT POWER in form of a straight line (Rijiirekha). is Jjeshtha ShaktL Here there is the first assumption of form as the Matrik^ (Mutrikatvam upapanna), for here is particular motion (Visheslia Spanda). The Vaikhari state is that of Kriya Bhakti, who is the Devi Eaudri, whose form is triangular ^ and that of the universe. As the former Shakti produces the subtle letters or Matrika which are the Vasana,’ so this last is the Shakti of the gross letters of words and their objects.® These letters are the garland of the Mother i.ssuing from Her in Her form as Kundali Shakti, and absorbed by Her in the Kundali-yoga here described. At this stasfe we are in a position to pass to a consideration of the Chakras, which may shortly be described as subtle centres of operation in the body of the Shaktis or Powers of the various Tattvas or Principles which constitute the bodily Sheaths. Thus the five lower Chakra from Muladhara to Vishuddha are centres of the Bhuta, or five forms of sensible matter. The Ajna and other Chakras in the region between it and the Sahasrara are centres of the Tattvas constituting the mental sheaths, whilst the Sahasrara or thousand-petalled lotus at the top of the brain, is the blissful abode of Parama Shiva-Shakti which is the

stats of purs Con scion sue ss, A description of the Chakras involves, in the first place, an account of the Western anatomy and physiology of the central and sympathetic nervous systems ; secondly , an account of the Tantrik nervous system and Chakras ; and, lastly, the correlation, so far as that is possible, of the two systems on the anatomical and physiological side, for the rest is in general peculiar to Tantrik occultism. The Tantrik theory regarding the Chakras and Sahasrara is concerned on the 2'>hysiologiccil side, or Bhogayatana aspect, with the central spinal system, comprising the bram or encephalon, contained within the skull, and the spnia. cord, contained within the vertebral column (Merudanda). It is to be BOted that, Just as there are five , centres (Cbakras) hereinafter described, the vertebral column itself iV divided into five regions, which commencing from the lowest, are the coccygeal, consisting 5f four imperfect vertebive, often united together into one bone called the coccv-x ; the sacral region, consisting of five vertebrm united tmTether to form a single bone, the sacrum ; the lumbar region or region of the loins, consisting of five vertebrm ; the dorsal region, or region of the back, consisting of twelve vertebrm ; and the cervical region, or region of the neck, consisting of seven vertebrm. As exhibited by segments, the cord shows different characteristics in different regions. Roughlv speaking, these correspond to the regions which are assigned to the governing control of the Miiludhura, Svadhisiithiina, Manipura, Anahata, and Vishuddha centres, or Chakras.

The central system has relation with the periphery through the thirty -one spinal and twelve cranial nerves, which are both afferent and efferent or sensory and motor,’ arousing sensation or stimulating action.^ Of the cranial nerves, the last sLx arise from the spinal bulb (medulla), and the other six, except the olfactory and optic nerves, from the parts of the brain Just in front of the bulb. Writers of the Yoga and 'tantra schools use the term Aadi, by preference, for nerves. They also, it has been said, mean cranial nerves when they speak of Sliiras, never using the latter for arteries, as is done in the medical literature. It must, however, be noted that the Yoga Nadis are not the ordinary material nerves, but subtler lines of direction along which the vital forces go. The spinal nerves, after their exit from the intervertebral foramina, enter into communication

iDr. Broiendranath Seal, p. 337, Appeedix to Professor^ Benoy Kumar Sarkar’s “Positive Background of Hindu Soeiologj . The » aJ,o»..dkr,-lv. It i, to be .oted, ho^ev.r that the present "work uses Shiras for other than cranial nerves, it calls Ida and Pinggala Hadis or Shiras. THE CEIfTEES OE LOTUSES (oEAKEAj PADMA) 107 ■vvith tbe gangliated coi’ds of the sympathetic nervous system, which lie on each side of the vertebral column. The spinal cord extends in the case of man from the upper boi’der of the atlas, below the cerebellum, passing into the medulla, and finally opening into the fourth ventricle of the brain, and descends to the second lumbar vertebra, where it tapers to a point, called the fikmi terminale. I am told that recent microscopic investigations by Dr. Cunningham have disclosed the existence of highly sensitive grey matter in filtm terminale which was hitherto thought to be mere fibrous cord. This is of importance, having regard to the position assigned to the Muladhara and the Serpent Power. It is continued in this for a variable distance, and there ends blindly. Within the bony covering is the cord, which is a compound of grey and white brain matteiy the grey being the inner of the two, the reverse of the position in the encephalon. The coi-d is divided into two symmetrical halves, which are connected together by a commissure in

the centre of which there is a minute canal called the central spinal canal (wherein is the Brahmanadi), which is said to be the remnant of the hollow tube from which the cord and brain were developed.'^ This canal contains cerebro-spinal fluid. The grey matter viewed longitudinally forms a column extending through the whole length of the cord, but the width is not uniform. There are special enlargements in the lumbar and cervical regions which are due mainly to the greater amount of grey matter in these situations. But throughout the whole cord the grey matter is specially abundant at the junctions of the spinal nerves, so that a necklace arrangement is visible, which is more apparent in the lower vertebrates, corresponding to the ventral ganglionic chain of the invertebrates.® The white 1 See Ferrier’s “ Functions of the Brain ”. connected together with the higher centres by the associatiii*^ and longitudinal tracts of the spinal cordd All the ich are ascribed primarily to the spinal centres in an ultimate sense to the cerebral centres. I the “ Letters ” which exist distributed on the e lotuses exist in the Sahasrara. The centres t only the muscular combinations concerned in ovements, but also the functions of yasoular secretion, and the like, which have theii centres in the spinal cord. The cerebral said, however, to control these functions only with the manifestations of volition, feeling, and hereas the spinal centres with the subordinate ; system are said to constitute the mechanism ous adaptation, in accoi’dance with the varying of stimuli which are essential to the continued if the organism. The Medulla, again, is also h of communication between the higher centres

and the peripliery and an independent centre regulating functions of the greatest importance in the system. It is to be noted that the nerye fibres which carry motor impulses descending from the brain to the spinal cord cross over rather suddenly from one side to the other on their way through the spinal bulb (medulla), a fact which has been noted in the Tantras in the description of the Mukta Triveni. The latter is connected by numerous afferent and efferent tracts with the cerebellum and cerebral ganglia. Above the cerebellum is the cerebrum, the activity of which is ordinarily associated with conscious volition and ideation and the origination of voluntary movements. The notion of Consciousness, which is the introspective subject-matter of psychology, must not, however, be confused with that of pfiysiological function. There is therefcre no organ of consciousness, simply because “ Consciousness ” is not an organic conception, and has nothing to do with the physiological conception of energy, whose inner introspective side it presents.V Consciousness in itself is the Atma. Both mind and body, of which latter the brain is a part, are imperfect or veiled expressions of Consciousness, which in the case of body is so veiled that it has the appearance of unconsciousness. The living brain is constituted of gross sensible matter (Mahabhuta) infused by Prana. Its material has been worked up so as to constitute a suitable vehicle for the expression of Consciousness in the form of Mind (Antahkarana). As Consciousness is not a property of the body, neither is it a mere function of the brain. The fact that mental consciousness is affected or disappears with disorder of the brain proves the necessity of the latter for the expression of such consciousness, and not that consciousness is inherent alone in brain or that it is the property of the same. On each side of the vertebral column there 1 Auguste Corel’s “ Hygiene o£ Nerves and Mind,” 95.

THE . CENTRES OR LOTUSES (CHAKRA, PADMa) 109 is a cliaiu of ganglia connected with nerve fibre, called the sympathetic cord (Ida and Pinggala), extending all the vay from the base of the skull to the coccyx. Ihis is in communication 'with the spinal cord. It is noteworthy that there is in the thoracic and lumbar regions a ganglion of each chain corresponding with great regularity to each spinal nerve, though in the cervical region many of them appear to be missing ; and that extra large clusters of nervous structure are to be found in the region of the heart, stomach, and lungs, the regions governed by the Anahata, Manipura, and Vishuddha, respectively, the three upper of the five Chakras hereinafter described. From the sympathetic chain on each side nerve fibres pass to the viscera of the abdomen and thorax. From these, nerves are also given off which pass back into the spinal nerves, and others which pass into some of the cranial nerves ; these are thus distributed to the bloodvessels of the limbs, trunk, and other parts to which the spinal or cranial nerves go. The sympathetic nerves chiefly carry impulses which govern the muscular tissue of the viscera and the muscular coat of the small arteries of the various tissues. It is through the sy mpathetic that the tone of the blood vessels is kept up by the action of the vaso-motor centre in the spinal bulb. The sympathetic, however, derives the impulses which it distriUites from the central nervous system ; these do not arise in the sympathetic itself. The impulses issue from the spinal cord by the anterior roots of the spinal nerves, and pass through short branches into the sympathetic chains. The work of the sympathetic systems controls and influences the circulation, digestion, and respiration.^

The anatomical arrangement of the central nervous system is excessively intricate, and the events which take place in that tangle of fibre, cell and fibril, are, on 1 See Foster and Shore’s “ Physiology,” 206, 207. the other hand, eyen now almost unknown. Ana so id has been admitted that in the description of the physiology of the central nervous system we can as yet do little more than trace the paths by which impulses may pass between one portion of the system and another, and from the anatomical connections deduce, with more or less probability, the nature of the physiological nexus which its parts form with each other and the rest of the body.® In a o-eneral way, however, there may (it is said) be reasons to suppose tliat there are nervous centres in the central system related in a special way to special mechanisms, sensory, secretory, or motor, and that centres, such as the alleo-ed genito-spinal centre, for a given physiological action exist in a definite portion of the spinal cord. It is the subtle aspect of such centres as expressions of consciousness (Chaitanya) embodied in various forms of Miiya Shakti which is here called Chakra. These are related through intermediate conductors with the gross oro-ans of generation, micturition, digestion, cardiac action, and respiration in ultimate relation with the Muladliara, Svadhishthana, Manipiira, Anahata, and Visliuddha Chakras respectively, just as tracts have been assigned in the higher centres as being in special, even if not exclusive, OTfh various nerceptive, volitional, and ideative

body. “As in the leaf of the Ashvattha tree {Ficus rdhiios.i) there are minute fibres, so is the body permeated by Xadls.” ^ Nadi is said in v. 2 to be derived from the root mil, or motion. For here the Prana or Ijife Principle moves. Tlie Bhutashiiddlii Tantra speaks of 72,000, the Prapanehasara Tantra of 300,000, and the Shiva Sanghita of 350, UOO ; but of these, whatever be their total extent, onlv a limited number are of importance. Some are gro.ss Nadls, such as the physical nerves, veins, and arteries, known to medical science. Bat they are not all of this gross or physical and visible character. They exist, like all else, in subtle forms, and are known as Yoga Nadis. The latter may be described as subtle clm"mels (Vivara) of Pranik or vital energy. The Nadls are, as .stated, the conduits of Prana. Through them its solar and lunar currents run. Could we see them, the body would present the appearance of those maps which delineate the various ocean currents. They are the paths along which Pranashakti goes. They therefore belong to the vital science as life-element, and not to the medical Shiistra (Vaidyashastra). Hence the importance of the Sadhana, which consists of the physical purification of the body and its Nadis. Purity of body is necessary if purity of mind is to be gained in its extended Hindu sense. Purification of the Nadis is perhaps the chief factor in the preliminary stages of this Yoga; for just as their impurity impedes the ascent of Knndali Shakti, their purity facilitates it. This is the work of Pranayama (c. post).

Of these Nadis, the principal are fourteen, and of these fourteen Ida, Pinggala, and Sushumna, are the chief. Of these three, again, Sushumna is the greatest, and to it purification spoken of ; Dhyanahindu Up. ; and as to Sushumna see Mandalabrahmana Up., First Bi'ahmaiia. THE OENTBES OB LOTUSES (OHAKEA, PADMa) 113 all others are suboi’clinate ; for by the power of Yoga (Yogabala) Prana is made to go through it, and, passing the Chakras, leave the body through the Brahmarandhra. It is situate in the interior of the cerebro-spinal axis, the Merudanda, or spinal column, in the position assigned to its interior canal, and extends from the basic plexus, the Tattvik centre called the Mfiladhara, to the twelvepetalled lotus in the pericarp of the Sahsrara Padma, or thousand-petalled lotus. Within the tiery red Tamasik Sushumna is the lustrous Rajasik Vajra or Vairini Nadi, and within the latter the pale nectar-dropping Sattvik Ohitra or Ghitrini. The interior of the latter is called the Brahma Nadi. The first is said to be fire-like (Vahnisvarupa), the second sun-like (Suryyasvariipa), and the third moon-like (Chandrasvarupa).^ These are the threefold aspect of the Shabdabrahman. The opening at the end of the Ghitrini Nadi is called the door of Brahman (Brahmadvara), for through it the Devi Kundali enters to ascend.'^ It is along this last-mentioned Nadi, known as the Kula Marga and the " Royal Road,” that the Shakti Kundalini is led in the process hereafter described.

Outside this nerve ai’e the two Nadis, the pale Ida or Shashi (Moon) and the red Pinggala or Mihira (Sun), which are connected with the alternate breathing from the right to the left nostril and vice The first, which is 1 Hence She is ca}lecl in the Lalita-sahasranama (v. 106) Muladharambiijaru(^/ia. Fire, Sun, and Moon are aspects of the differentiated Parabindu or Kamakala (v- ante). See the Chapter on Sun, xMoon and Fire in “Garland of Letters”. 3 The sun generally represents poison, and the moon nectar (Shandilja Up., Oh. I). Both were obtained at the churning of tlie ocean, and represent the upbuilding and destructive forces of Hature. nostril for a period of time and then through the other. In Pranajtoa to make the breathing change one nostril is closed. But the skilled Yogi can shift the breathing^at his will without closing a nostril with "‘feminine” (Slmktirupa) and tke embodiment ot nectar ( Ainritavigraliiib it? on the left ; and tbe second, wlucb is raa-tmilinc,” as being in the nature of Eudra (Raudratmiku t, is on tlie right. They both indicate Time or Eala, anil Suslmmna devours Kiila. For on that path entry is made into timelessness. The three are also known as Gansu fldal, Yamuna (Pinggala), and Sarasvati (Sushumna after the names of the three sacred rivers of India. The Mfiladliara is the meeting-place of the three *• rivers,” and hence is called Yuktatriveni. Proceeding from the Adhiira lotus, they alternate from right to left and left to right, thus going round the lotuses.

According to another acconuT, their position is that of two bows on either side of ihe spinal cord. An Indian medical friend tells me that these are not discrepant accounts, but represent different positions according as Ida and Pinggala exist inside or outside the spinal cord. When they_ reach the space between the eyebrows known as the Ajna Chakra, they enter the Sushumna, making a plaited knot of three called ISluktatrivenl. The three “ Rivers,” which are again united at this point, flow separately therefrom, and for this reason the Apia Chakra is called Muktatrivenl. After separation, ■K.irlT which oroceeded from the right testicle goes to

where tlie two currents meet.^ These are all but microcosmic instances of the vaster system of cosmic matter, every portion of which is composed of the three G-unas (Trigunatmaka) and the threefold Bindus, which are Sun, Moon, and Fire. As regards nerve cords and fibres, cranial and spinal nerves, and the connected sympathetic nerves, Dr. Brojendranath Seal says; “With the writers on the Aoga, all the Shiras, and such of the Dhamanis as are not vehicles of vital cuiwent, metabolic fluid, lymph, chyle, or blood, are cranial nerves, and proceed from the heart through the spinal cord to the cranium. These cranial nerves include pairs for the larynx and the tongiie, for the understanding and use of speech, for the raising and lowering of the eyelids, for weeping, for the sensations of the special senses, etc., a confused and imintelhgent reproduction of Sushruta’s classification. But the enumeration of the spinal nerves with the connected symnathetic chain and ganglia is a distinct improvement on sliippGii in tb6 Olifinclii., Sd the sun, moon, and tire. 2 P. 340, Appendix to Professor Sarkar’s Hindu Sociology, ” subsequently published i of the Hindus”. The author annexes a plan rough idea of the relative position of jihe pr pathetic spinal system.

(st-e j?aiig1taratnnkara), tlie fourteen niost important are : ^ “1. Snshainna, in tire central cluinnel of tlie spinal cord. 2. Itia, tlie left sympathetic chain, stretching from under the left nostril to below the left kidney in the form of a bent bow. 3. Pinggala, the corresponding chain on the right. 4. Kuhn, the pudio nerve of the saci’al plexus, to the left of the spinal cord. 5. Gtuidhari, to the back of the left s^'inpathetic chain, supposed to stretch from below the corner of the left eye to the left leg. It -was evidently supposed that some nerves of the cervical plexus came down through the spinal cord and joined on to the great .sciatic nerve of the sacral plexus, b. Hastijihva, to the front of the left sympathetic chain, stretching from below the corner of the left eye to the great toe of the left foot, on the same supposition as before. Pathological facts were believed to point to a special nerve connection between the eyes and the toes. 7. Sarasvati, to the right of Snshumna,* stretching up to the tongue (the hypoglossal nerves of the cervical plexus). 8. Pusha, to the back of the right sympathetic chain, stretching from below the corner of the right eye to the abdomen (a connected chain of cervical and lumbar nerves). 9. Payasvini, between Pusha and Sarasvati, auricular branch of the cervical plexus on the left. 10. Sankhiiil, between Gandharl and Sarasvati, auricular branch of the cervical plexus on the left, n.

Yashasvinl, to the front of the right sympathetic chain, stretching from the right thumb to the left leg (the radial nerve of the brachial plexus continued on to certain branches of the great sciatic). 12. Varuna, the nerves of the sacral plexus, between Kuhn and Yashasvinl, ramifying over the lower trunk and limbs. 13. Vishvodara, the nerves of the lumbar plexus, between Kubu and Hastijihva, 1 Some of these are referred to in the present -work ; see v. 1.

in tlie body pervaded by Trana nave centi’es of predominance and influence re the Chakras (centres or circles or las (lotuses) of which this work is a pinal column, are the six main called Chakras or Padmas, as the Sahasrara above These are the Muladhara, lira, Aniihata, Vishuddha, and Ajna, 'll are said to have their correTal nerve plexuses and organs, is possibly the sacro-coccygeal between the eyebrows,” which ith the pineal gland, the centre of the and others with the cerebellum, are, however, as explained later, as extremely subtle which are built up are subject to their ■hich loosely and inaccurately they d, have been said to be various of the body and the lower cerebral In the portion of the body below lower worlds, Patala and tl)6 Yogarnava an Indian ifluenced too certain sp< therein, w regions) or description. - Inside the Meru, or s centres of Tattvik opeiation, which are the seats of Shakti, is the abode of Shiva, Svadhishthana, Maui] which ill the plti/sica spondences in the p commencing from w plexus to the “ space some identify w third or spiritual eye. The Chakras® themselves centres of Consciousness force (Shakti) ; but the gToss by their coarsened vibrations, which influence, and with w] are sometimes identified plexuses in the trunk c centres mentioned the Mfiladhara are the seven

5 Citins? Sangitaratnakara, Shlokas 144-156 ,8.Lo Tanira This account has in parts been criticised by Ita Z; a who tells me that it is in those parts in Dbyanabindu Up., and Ch. Ill; ' ' ' ' A) n. Others, together with the Shaktis which support all in the The first centre, or Mulaclhara Chakra, which is so called from its being the root of Sushumna where Kundali i-ests,^ is at the place of meeting of the Kanda (root of all the Mis) and the Sushumna Nadi, and is in the regioiv midway between the genitals and the anus. It is thus the centre of the body for men.^ By this and similar statements made as regards the other lotuses, it is not meant that the Chakra proper is in the region of the gross body described, but that it is f/ic subtle centre of that gross region, such centre existing in the spinal column \\hich forms its axis. The reader must bear this observation in mind in the descriptions of the Chakras, or an erroneous notion will be formed of them. This crimson Muladhara lotus® is described as one of four petals, the Vrittis of which are the four forms of bliss known as Paramananda, Sahajananda, Yogananda, and Ylrananda.^ On these four petals are the golden letters Vang (4), Shang (^), Sh&ng (f), and Sang (h).® Bach letter in its Vaikharl form is a gross manifestation of inner or subtle Shabda. On the petals are figured the letters, which are each a Mantra, and as such a Devata. The petals are configurations made by the position of the Nadls at any particular centre, and are in themselves Pranashakti manifested by Pranavayu in

1 Derived from Mfila (root) and Adliara (support). animals are given. In some (Kashmir “ Kadichakra ’ ) Knndall is represented above the position given in the Text. Kundali passes through them, when they turn upwards. i These Vrittis or qualities (see post) denoting four forma of bliss are not given in the text here translated, but in Tarkalangkara’s Commentary to the Mahanirvana Tantra. 5 In this and other cases meditation is done from the right (Uakshinavaitena). See v. 4, Shat-chakra-nirupana cited as S.K. THE CBINTRES OE LOTUSES (OHAKEA, PADMa) I living bod}". AYhen that Vayu departs they cease to manifest. Bacli letter is thus a particular Shabda or Sbakti and a surrounding (Avarana) Devata of the Princi- !' pal Bevata and its Shakti of the particular Chakra. As Shakti they are manifestations of Kundali, and in their i totality constitute Her Mantra body, for Kundali is both I light {Jyotirmayi) and Mantra (Mantramayi). The latter I is the Sthfila aspect of which Japa is done. The former is the Sukshma aspect which is led up to in Toga. Their \ specific enumeration and allocation denote the differentia- tion in the body of the total Shabda. This Lotus is the I centre of the yellow Prithivi, or “ earth ” Tattva, with its

quadrangular Mandala, the Bija or Mantra of which Tattva I is Lang (s).^ I At this centre is the Prithivi Tattva, the Bija of which » La,” with Bindu or the Brahma-consciousness presiding over this centre or “ Lang ” which is said to be the I expression in gross (Vaikhari) sound of the subtle sound I made by the vibration of the forces of this centre. So, f -again, the subtle Tejas Tattva and its Bija Rang is in the I mnipiira Chakra, and the gross fire known as Vaishvii- i nara is in the physical belly, which the subtle centre governs. This Bija represents in terms of Mantra the Tattva regnant at this centre, and its essential activity, f With the symbolism used throughout this work, Bija is said to be seated on the elephant Airavata, which is here located. This and the other animals figured in the Chakras are intended to denote the qualities of the Tattvas there regnant. Thus, the elephant is emblematic of the strength, firmness, and solidity, of this Tattva of “ Earthy . They are, further, the vehicles (Vahana) of the Deratas there. Thus in this Chakra there is the seed- mantra The Dhyanabinda Up. associates the Bijas with the five Pranas. Tims “ Lang ” is associated with Yyana.

(Bija) of Indra, whose vehicle is the elephant Airavata. The Devata of this centre is, according to the Text, the creative Brahma, whose Shakti is Savitind Thei-e also is the Shakti known as Dakini,- who, as also the other Shaktis, LakinI and the rest, which follow, are the Shaktis of the Dhiitus or bodily substances ® assigned to this and the other centres. Here is the “female ’’ triangle or Yoni known as Traipura, which is the Shaktipitha, in which is. set the “ male ” Shivalingga known as Svayambhu, of theshape and colour of a young leaf, representing, as do all Devis and Devas, the Maya-Shakti and Ohit-Shakti,. aspects of the Brahman as manifested in the particularcentres (vv. 4-14). The Linggas are four — Svayambhu,. Bana, Itara, Para. According to the YoginihridayaTantra ■* (Ch. I), they are so called because they lead to Chit. They are the Pithas, Kamariipa, and the rest because they I’eflect Chit (Chitsphurattadharatvat). They are A^rittis of Manas, Ahangkara, Buddhi, Chitta. To the first three are assigned certain forms and colours— namely, yellow,, red, -vdaite, triangular, circular ; as also certain letters — namely, the sixteen vowels, tlie consonants Ka toTa (soft), and Tha to Sa. Para is formless, colourless, and letterless, being the collectivity (Samashti) of all letters in the form of bliss. The Traipima is the counterpai’t in the Jiva of the Kamakala of the Sahasrara. The Devi Kundalini, luminous as lightning, shining in the hollow of this lotus like a chain of brilliant lights, the World-bewilderer who maintains all breathing creatures,®'

1 The Creator is called Savita because He creates. THE CENTEES OE LOTUSES (CHAKBA, PADMa) 121 lies asleep coiled three and a half times ^ round the Linga, coTering with Her head the Brahmadvara.* The Svadhishthana Chakra is the second lotus proceeding upwards, and is, according to the commentary, so called after Sva or the Param Lingam.^ It is a vermilion lotus of six petals placed in the spinal centre of the region at the root of the genitals. On these petals are the letters like lightning : Bang (#), Bhang (u), Mang (u), Yang (q), Bang (t), Lang (t). “Water” (Ap) is the Tattva of this Chakra, which is known as the white region of Varuna. The Tattvik Mandala is in the shape of a crescent moon ^ (Ardhendiirupalasitam). The Bija. of water (Varuna) is “Vang”. This, the Varuna Bija, is seated on a white Makara® with a noose in his hand. Hari (Vishnu) and Rakini Shakti of furious aspect, showing Her teeth fiercely. are here (vv. 14 — 18). Above it, at the centre of the region of the navel, is the lotus Manipiira (Nabhipadma), so called, according to the G-autamiya Tantra, because, owing to the presence of the fiery Tejas, it is lustrous as a gem (Mani).® It is a lotus of ten petals on which are the letters Hang (%), Hhang (t), iVang (d), Tang (fi), Thang (4), Dang (^), Dhang (sf), Hang (fi), Pang (4), Phang (-4). This is the triangular region of the Tejas Tattva. The triangle has

Kubjika Tantra speaks. Bee ante. 2 Entrance to the Siisliumna. Chakras are named. Another derivation is “ own abode” of (Shakti). as here stated, in the first chapter of the Sharada Tilaka and in the Vishvasara Tantra, cited at p. 25 of the Pranatoshini, with the exception that, according to the Yishvasara Tantra, the Mandala of water is not a crescent, but eigbt-cornered (Ashtasra). s An animal like an alligator. See Plate 3. « For another derivation, derived from Samaya worship, see Oommentary on the Lalita-Sahasranama, vv. 88, 89. THE SIX CENTEES AND THE SEliPENT POWER three Svastikas. The red Bija of fire, “ Rang,” is seated on a ram, the carrier of Agni, the Lord of Fire. Here is the old red Rudra smeared with white ashes, and the Shakti Lakini who as the Devata of this digestive centre is said to be “fond of animal food, and whose breasts ai-e ruddy with the blood and fat which drop from Her mouth Lakini and the other special Shaktis of the centi’es here named are the Shaktis of the Yogi himself— that is, Shaktis of the Dhatus assigned to each of his bodily centres, and concentration on this centre may involve the satisfaction of the appetites of this Devata. The Shaktis of the higher centres are not meat-eaters. From these three centres the gross Virat, waking body, is evolved (vv. 19-21).

Next above the navel lotus (Nabhipadma) is the Anahata, in the region of the heart, which is red like a Bandhuka flower, and is so called because it is in this place that Munis hear that “ sound (Anahata shabda) which comes without the striking of any two things together,” or the “ sound ” of the Shabdabrahman, which is here the Pulse of Life. For it is here that the Purusha (Jivatma) dwells. This lotus is to be distinguished from the Heart Lotus of eight petals, which is represented in the place below it, where in mental worship the Patron Deity (Ishtadevatii) is meditated upon. (See Plate V.) Here is the Tree which grants all desires (Kalpataru) and the jewelled altar (Manipitha) beneath it. As the Vishvasara Tantra cited in the Pranatoshini says ; “ Shabdabrahman is said to be Deva Sadashiva. That Shabda is said to be in the Anahatachakra. Anahata is the great Chakra in the heart of all beings. Ongkara is said to be there in association with the three Gunas.” ^ The Mahasvachchhanda Tantra Shabdabrahmeti tang praha saksbad devali sadaslnvaii Anabatesbu chakreshu sa sbabdah parikirttyate says : 1 “ The gi’eat ones declai’e that Thy blissful form,

mind inward-turned of the Blessed Ones, whose hairs stand on end and whose eyes weep with joy.” This is a lotus of ten petals with the vermilion letters Kang {€), Khang (#), Gang (4), Ghang (^), Ngang (#), Chang (=4), Ohhang (s), Jang (^), Jhang (ft), Nyang (^i), Tang (s), Thaug (e). This is the centre of the Vayu Tattva. According to v. 22, the region of Vayu is six-cornered (that is, formed by two triangles, of which one is inverted), and its colour that of smoke by reason of its being surrounded by masses of vapour.^ Its Bija “A^ang” is seated on a black antelope which is noted for its fleetness, and is the Vahana of “ Air ” (Vayu), with its property of motion. Here are Isha, the Overlord of the first three Chakras ; the Shakti Kakini gar-landed with human bones, whose “ heart is softened by the drinking of nectar ” ; and the Bhakti in the form of an inverted triangle (Trikona), wherein is the golden Bana Linga, “ joyous with a rush of desire ” (Kamodgamollasita), and the Hangsa as Jiviltma, like “ the steady flame of a lamp in a windless place” (vv. 22-27). The Atma is so described because just as the flame is undisturbed by the wind, so the Atma is in itself unaffected by the motions of the world.^

Analiatan^ maliachakrang liridaye sarvvajantuslm Tatra ongkara ityukto gunatraya-samanvitah. 1 Cited by Bbaskararaya’s Comm, on Lalita, v. 121, on the title of the Devi as Nadarupa ; and in v. 218, where she is described as Nadariipini, referring also to YoginJhridaya Tantra. 2 According to the Sharada, Ch. 1 (and to the same effect Prapanchasara Tantra), the colours of the Bhiitas are as follows: Akasha (ether) is transparent (svaohcbha) ; Vayu (air) is black (Krishna) ; Agni (fire) is red (Rakta) ; Ap (water) is white (Sveta) ; and PrithivI The seventeentli Terse of the Anaiicla-Lahari mentions that the Devatas Vashinl and others are to he worshipped in the two last-mentioned Chakras. Vashinl and others are eight in number.^ (I) Vashini, (2) KamesliTari, (3) Modinl, (4) Vimahh (5) Aruna, (6) Jayini, (7) Sarveshvarl, and (8) Kfdl or Kaulinl. These ai*e I’espectively the Presiding Deities of the following eight groups of letters; (1) 3? to sr:, 1(> letters; (2) ^ to 1=, 5 letters; (3) ^ to 5 letters; (4) 3 to % 5 letters; (5) ci to 5 letters; (G) t to 5 letters ; (7) ^ to 4 letters ; (8) to ^ or s:, 5 letters. The other beings in t. 37 of Ananda-Laharl refer to the twelve Yoginis, who are (1) Vidyayoginl, (2) Eechika, (3) Mochika. (4) Amrita, (6) Dlpikii, (6) Jnana, (7) Apyayanl, (8) Vyapini, (9) Medha, (10) Vyomarupa, (11) Siddhirupa, and (12) Lakshmlyogini.

These twenty Deities (eight Vashinls and twelve Aoginis) are to be worshipped in Manipura and Anahata centres. In respect of this, the Commentator quotes a verse from the Taittiriyiiranyaka, and gives a description of these Deities, their respective colours, place, etc. At the spinal centre of the region at the base of the throat (Kantha-mula) is the Vishuddha Chakra or Bhfiratisthana,® with sixteen petals of a smoky purple hue, on which are the sixteen vowels with Bindu thereon— that is, Ang (at), Ang (m), Ing (^), Ing (f), Ung ( 3 ), Ung (a), Ring (^), Ring {%), Bring (^), Bring (5t), Eng (g), Aing (^), Ong (3ff), Aung (^), and the two breathings Ang (bt). Ah (3T:). According to the Devibhagavata (VII. 35), the Chakra is so called because the Jiva is made pure (Vishuddha) by seeing the Hangsa. Here is the centre of the 1 Pandit Ananta Shastri’s Aiianda Laliari, pp. 47, 48, and translation of same by A. Avalon, ‘‘ Wave of Bliss 2 That is, abode of the Devi of speech. THE CENTRES OR LOTOSES (OHAKBA, TADMa) 125 white circular Akaslia or Ether Tattva, the Bija of which is “ Hang ”. Akasha is dressed in white and mounted on a white elephant. Its Mandala is in the form of a circle.’^ Here is Sadashiva in his androgyne or Arddhanarishvara Miirti, in which half the body is white and the other half gold. Here also is the white Shakti Shakini, whose form is light (Jyotihsvarupa).

Here, too, is the lunar region, “the gateway of the great liberation”. It is at this place that the Jnani “ sees the three forms of time (Trikaladarshi). As all things are in the Atma, the Jnani who has realised the Atma has seen them (vv. 28-31). Above the Vishuddha, at the root of the palate, is a minor Chakra called Lalanii, or in some Tantras Kala Chakra, which is not mentioned in the works here translated. It is a red lotus with twelve petals bearing the following Vritti or qualities : Shraddha (faith), Santosha (contentment), Aparadha (sense of error), Dama (self-command), Mana (anger)® Sneha (affection),* Shuddhata (purity), Arati (detachment), Sambhrama (agitation),^ Urmmi (appetite).* {V. post.)

Before summarising the previous description, it is to be here observed that the Commentator Ealioharana states the principle of this Yoga to be that that which is grosser is merged into that which is more subtle (Sthiilanam sukshme layah). The grosser are lower in the body than the more subtle. The gross which are in and ^ This is sometimes represented as a circle with a number of dots in it, for, as the Prapanchasara Tantra sajs, Akasha has innumerable Sushira — that is, Chhidra, or spaces between its substance. It is because of its interstitial character that things exist in space. persons who are attached to one another, as man and wife. ^ Through reverence or respect. 5 Or it may refer to the six which are technically called iirnimi — that is, hunger, thirst, sorrow, ignorance (moha), decay, and death. below the Muladhara or connected 'witli it are (11 tlie Pritliivl Tanmatra ; (2) the PritliivI j^Ialuibhiita ; (3) the nostrils with their sense of smell, which is the grossest of the senses of knowledge (Jiiiinendriya), and which is the quality (Guna) of the Prithivi Tanmatra; and (4) the feet, which are the grossest of the senses of action (Karmendriya), and “ which have Prithivi (earth) for their support Here the nostrils are classified as the grossest of the Jnanendriyas, because therein is the sense which perceives the quality (Guna) of smell of the grossest lanmatra (Gandha), from whiclvis derived the Prithivi Stliida Ehuta. Thus the Jnanendriyas have a relation with the Tanraatras thi’ough their Gunas (qualities), for the perception of w'hich these senses exist. In the case, however, of thp, senses of action tKarmendriva), no such relation

^ At first sight this might appear not to be so, but the importance of the anus is well known to medical experts, its sensitivity having even given rise to what has been called a ‘‘ Psychology of the anus THK CENTRES OR LOTUSES (cHAKRAj PADMA) 127 connection that the Tantras here follow the Sangkhya, and state the scheme of creation as it occurs also in the Puranas, according to which the Jnanendriyas and Karinendriyas and the Tan matras issue from different aspects of the threefold Ahangkara. There is a relation between the senses and the Tanmatras in the created Jiva, according to the Vedanta, for the senses are related to the Tanmatras, but the order, in that case, in which the senses occur is different from that given in this work. For, according to the Vediintik scheme, earth is related to the sense of smell and penis ; water to the sense of taste and anus ; fire to the sense of sight and feet ; air to the sense of touch and hands ; and ether to the sense of hearing and mouth. Another explanation seemingly artificial, however, which has been given, is as follows ; The feet are associated with “ Earth ” because the latter alone has the power of support, and the feet rest on it. “Water” is associated with the hands because in drinking water the hand is used. The word Pani, which means hand, is dei-ived from the root Pa, to drink (Piyate anena iti pani).

“ Fire ” is associated with the anus because what is eaten is consumed by fire in the stomach, and the residue is passed out through the anus, whereby the body becomes pure. “Air” is associated with the penis because in procreation the Jivatma as Prana Vayu throws itself out through the penis. And so the Shruti says ; “ Atma itself is reborn in the son ” (Atma vai jayate putrah). “ Ether ” is associated with the mouth because by the mouth sound is uttered, "which is the Guna (quality) of ether (Akasha).

Hitherto we have dealt with the comparatively gross Tattvas. According to this work, the twenty ^ ' r- 't ,/ " f.V > " . 'W. i ' ■oTosser Tattvas are associated (4X5) as in. the following Centre in which dissolved ■2, SvadliisLthaoa Manipiira •i. Aiiabata Gaiidba (smell) .Taiiniatra; Pritbivi Tattva , (earth); tbe Jnanendriya of sroeil ; V the Karmeiidrija of feet. Easa (taste) TanmMra ; Ap Tattm (water) ; the Jnanendi’iya of taste; the Karmeiidriya of baods. Rupa (sight) Taiimatra ; Tejas Tattva (fire) ; the Jnanendriya of sight; the Karmeiidriya of ■aBus. Sparsha (touch) Tanniatra ; A^ayii Tattm (air) ; the Jii.^Beiidriya of touch ; the Karmeiidriya c^f penis. Shabda (sound) Tanmatra ; Akasba Tattva (ether) ; the Jnanendriya of hearing ; the Karmeiidriya of mouth. It will be observed that with each of the elements is associated an organ of sensation (Jnanendriya) and action (Karmendriya). In Chapter II of the Prapanchasara Tantra it is said : “lEther is in the ears, air in the skin, fire in the eye, water in the tongue, and earth in the nostrils.” The Karmendriyas are possibly so arranged because the Tattvas of the respective centres in which they are placed are, as above stated, of similar grades of subtlety and grossness. As explained below, each class of Tattvas is dissolved in the next higher class, commencing from the lowest and grossest centre, the Muladhara. So far the Tattvas have been those of the “ matter ” side of creation.

Progress is next made to the last or Ajna Chakra, in which are the subtle Tattvas of Mind and Prakriti. The Chakra is so called because it is here that the command (Ajna) of the Guru is received from above. It is a lotus of ^ The nose is a centre at which ses-ual excitement may he aroused or subdued. Though the reproductive organ is higher np than the Muladhara, the sexual force proceeds from the latter. two white petals between the eyebrows, on which are the white letters Hang (i), and Kshang (^). This exhausts the fifty lettei’s. It will have been observed that there are fifty petals and fifty letters in the six Chakras. In the pericarp is the great Mantra “ Om Each Lotus has either two or four more petals than the one immediately below it, and the number of the petals in the Vishuddha Chakra is the sum of the preceding differences. Here are Paramashiva in the form of Hangsa (Hangsa-rupa), Siddhakali, the white Hakini Shakti “elated by draughts of ambrosia,” the inverted triangle or Yoni (Trikona), and the Itara Linga, shining like lightning, which is set in it. The_three Lingas are thus in the Muladhara, Anahata, ana. Ajna Chakras respectively ; for here at these three Brahmagrantbis the force of Maya Shakti is in great strength. And this is the point at which each of the three groups of iattva associated with fire, sun, and moon, converge.^ The phrase “opening the doors ” refers to passage through these Granthi.

Here in the Ajna is the seat of the subtle Tattvas, Mahat and Prakriti. The former is the Antahkarana with Gunas— < namely, Buddhi, Chitta, Ahangkara and its product Manas (Sasangkalpavikalpaka).' Commonly and shortly it is said that Manas is the Tattva of the Ajna Chakra. As, however, it is the mental centre, it includes all the aspects of mind above stated, and the Prakriti whence they derive, as also the Atma in the form of the Pranava (Om) its Bija. Here the Atma (Antaratma) shines -lustrous like a flame. The light of this region makes visible all which is between the Mula and the Brahmarandhra. The Yogi by contemplation of this lotus gains further powers (Siddhi), and becomes Advaitacharavadi (Monist). In connection with this Padma, the text (S.N., v. 36) explains how detachment is gained through the Yoni Mudra. It is here that the Yogi at the

time of death places his Prana, and then enters the supreme pi'imordial Deva, the Puriina (ancient) Purnsha, “ who was before the three worlds, and is known by the Vedanta The same verse describes the method (Pranaropanaprakara). From the last centre and the causal Prakriti is evolved the subtle body which individually is known as Taijasa, and collectively (that is, the Ishvara aspect) as Hiranyagarbha. The latter tei'm is applied to the manifestation of the Paramatma in the Antahkarana ; as displayed in Prana it is Siitratma ; and when manifested through these two vehicles without differentiation it is known as the Antaryamin. The Chakras are the bodily centres of the world of differentiated manifestation, with its gross and subtle bodies arising from their causal body, and its threefold planes of consciousness in waking, sleeping, and dreamless slumber. Above the Ajna-chakra (vv. 82— -39) there are the minor Chakras called Manas and Soma, not mentioned in the texts here ti*anslated. The Manas Chakra is a lotus of six petals, on the petals of which are (that is, which is the seat of) the sensations of hearing, touch, sight, smell, taste, and centrally initiated sensations in dream and hallucination. Above this, again, is the Soma Chakra, a lotus of sixteen petals, with certain Vrittis which are detailed later.^ In this region are “ the house without support” (Niralambapuri), “where Yogis see the radiant ■Ishvara,” the seven causal bodies (v. 39) which are intermediate aspects of Adya Shakti, the white twelve-petalled lotus by the pericarp of the Sahasrara (vv. 32 — 39), in which twelve-petalled lotus is the A-ka-tha triangle, which surrounds the jewelled altar (Manipitha) on the isle of gems (Manidvipa), set in the Ocean of Nectar,^ Avith Bindu

^ In mental worship the jewelled altar of the Ishtadevata is in the eight “petalled lotus below Anahata (see Plate Y). The Isle of ’Gems is the CiSNTHES OS LOTOSES (OHAKEA, PADMa) 131 above and Nada below, and the Kainakala triangle and the Gluru of all, or Paramasliiva. Above this, again, in the pericarp, are the Snryya and Chandra Mandalas, the Parabindu surrounded by the sixteenth and seventeenth digits of the moon circle. In the Chandra Mandala there is a triangle. Above the Moon is Mahavayu, and then the The twelve-petalled lotus and that which is connected with it is the special subject of the short book Padukapanchaka Stotra here translated, which is a hymn by Shiva in praise of the “ Fivefold Footstool,” with a commentary by Shri Kalicharana. .The footstools are variously classified as follows ; According to the first classification they are— (1) The white twelve-petalled lotus in the pericarp of the Sahasi-ara lotus. Here there is (2) the inverted Triangle, the abode of Shakti called “ A-ka-tha ”. (3) The region of the altar (Manipitha), on each side of which are Nada and Bindu. The eternal G-uru, “ white like a mountain of silver,” should be meditated upon, as on the JewelledAltar (Manipitha). (4) The fourth Paduka is the Hangsa below the Antaratma ; and (5) the Triangle on the Pitha. The differences between this and the second classification are explained in the notes to v. 7 of the Paduka. According to this latter classification they are counted as follows: (1) The twelve-petalled lotus; (2) the triangle called A-ka-tha; (3) Nada-Bindu; (4) the Manipitha-Mandala; and (5) the Hangsa, which makes the triangular Kamakala. This Triangle, the Supreme Tattva, is formed by the three Hindus which the text calls Chandra (Moon), Suryya (Sun), and Vahni (Fire) Hindus, which are also known as Prakasha, Vimarsha, and Mishra Hindu. This is the Hangsa

a supreme state of Oonsoionsness, and the Ocean of Nectar is ^e Consciousness Itself. As to the causal bodies, -.see my Garland ot Letters ” or “ Studies in the Mantra Shastra ' . . : • known as the triangular Kamakala, the embodiment of Purusha-Prakriti. The former is the Bindu Hangkara at the apex of the triangle, and the two other Hindus called Visarga or Sa are Prakriti. This Kamakala is the Mula (root) of Mantra. The Shabdabrahman with its threefold aspect and energies is represented in the Tantras by this Kamakala, which is the abode of Shakti (Abalalayam). This is the Supreme Triangle, which, like all Yonipithas, is inverted. It may be here noted that Shakti is denoted by a triangle because of its threefold manifestation as Will, Action, and Knowledge. (Ichchha, Kriya, Jnana). So, on the material plane, if there are three forces, there is no other way in which they can be brought to interact except in the form of a triangle in which, while they are each separate and distinct from one another, they ai’e yet related to each other and form part of one whole. At the corners of the Triangle there are two Bindus, and at the apex a single Bindu. These are the Bindus of Fire (Vahnibindu), Moon (Ohandrabindu), and Sun (Sury5’'abindu).^ Three Shaktis emanate from these Bindus, denoted by the lines joining the Bindus and thus forming a triangle. These lines are the line of the Shakti Vama, the line of the Shakti Jyeshtha, and the line of the Shakti Raudri. These Shaktis are Volition (Ichchha), Action (Kriya), and Cognition (Jnana). With them are Brahma, Vishnu, and Rudra, associated with the Gunas Rajas, Sattva, and Tamas.

The lines of the triangle emanating from the three Bindus or Hangsah are formed by forty-eight letters of the alphabet. The sixteen vowels beginning with A form one 1 The Kamakalavilasa says : “ Bindu -tray am ay as tejas-tritayah ” (three Bindus and three htes). Tripurasundarl sits in the Chakra which is composed of Bindus (Bindumaye chakre), Her abode being the lap of Kameshvara, whose forehead is adorned by the crescent moon* She has three eyes, which are Sun, Moon, and Eire.” THE CENTEES OB TiOTDSES (CHAKBA, PADMa) 133 line; tlie sixteen consonants beginning with Ka form the second line ; and the following sixteen letters beginning with Tha form the third line. Hence the triangle is known as the A-ka-tha triangle. In the inner three corners of the triangle are the remaining letters Ha, Lla, Ksha. The Yamala thus speaks of this abode, “I now speak of Kamakala,” and, proceeding, says : " She is the eternal One who is the three Hindus, the three Shaktis, and the three Forms (Trimiirti).” The Brihat-Shri-krama, in dealing with Kamakala, says: “From the Hindu (that is, the Parabindu) She has assumed the formofletters(Varnavayavariipini).” The Kali tlrddhvamnaya says : “ The threefold Hindu (Tribindu) is the supreme Tattva, and embodies in itself Brahma, Vishnu, and Shiva. ^ The triangle which is composed of the letters has emanated from the Hindu. These letters are known as the Matrika Varna. These form the body of Kulakundalini * the Shabdabrahman, being in their Vaikhari state various manifestations of the primal unmanifested sound (Avyaktanada).

They appear as manifested Shabda on the self-division of the Parabindu ; for this self -division marks the appearance of the differentiated Prakriti. The commentary on the Padukapanchaka (v. 3) says that the Hindu is Parashakti itself, and its variations are ' called Hindu, mda, and Bija, or Sun, Moon, and Fire ; ' Hindu, the sun, ‘ being red, and Nada,_ the moon, being ' white.^ These form the Chinmaya or Anandamayakosha ' 1 The Maheshvari Sangliita says : “ Suryya, Chandra, and Vahm, are the three Hindus ; and Brahma, Vishnu, and fehamhhu, are t 2 The Kamakalavilasa says : “ Ekapanchashadaksharatma ” (She is in the form of the 51 letters). See A. Avalon s edition and translation of this text, VoL 9, Tantrik Texts. Raghava Bhatta, that Hindu is Moon and Nada the Sun. (Padukapanoliaka, v. 3). The two Hindus making the base of the triangle are the Visai-ga (ih., v. 4). In the Agamakalpadruma it is said : “ Hangkara is Hindu or Purusha, and Visarga is Sail or Prakriti. Hangsah is the union of the male and female, and the universe is Hangsah.” The triangular Kamakala is thus formed bj Hangsah (ib.). The Hangsa-pitha is composed of Mantras

As this subject is of great importance, some further authorities than those referred to in the work here translated are given. In his commentary to v. 124 of the LaUta, in which the Devi is addressed as being ill the form of Kamakala (Kamakalarupa), Bhiiskararaya says : “ There are three Hindus and the Hardhakala.’^ Of these Hindus the first is called Kama, and the Hakarardha is named Kala.” * He. adds that the nature of Karnakahl is set forth in the Kamakalavilasa in the verses commencing " Supreme Shakti (Para Shakti) is the manifested union of Shiva and Shakti in the form of seed and sprout,” and ending with the lines “ Kama (means) desirableness, and the Kala the same. The two Hindus are said to be the Pire and Moon ”.® Kama, or creative Will, is both Shiva and Devi, and Kala is their manifestation. Hence it is called Kamakala. This is explained in the Tripurasiddhanta : “ 0 Parvati, Kala is the manifestation of Kameshvara and Kameshvarl. Hence She is known as Kamakala.” Or 1 Also called Hakarardha — that is, half the letter Ha ^ Bindu-trayarig hardhakala cha ity atra prathamo binduh kamakhyash charama kala cha iti pratyaharanyayena kamakalety nchyate.

3 Tasyah svarupang sphutashi%mshakti-samagamabijangkiirarupini para shaktiritjarabhya Kamah kamaiuyataya kala cha dabanenduvigrahau biDdu ityantena nirnitang kamakalavilase tadrupetyarthah (ib,), ^ Kamayoh kaleti va, tadaktang, Tripurasiddhante : Tasya kameshvarakhyasya kameshvaryash cha Parvvati Kalakhya salila sa cha khyata kamakaleti sa, . . i . ■She is the manifestation (Kala) of desire (Kama) ^ — that is, of Tchchhil. The Kalika Pin’Ana says: “Devi is called Kama because She came to the secret place on the blue peak of the great mountain (Kailasa) along with Me for the sake of desire (Kama) : thus Devi is called Kama. As She is ■also the giver or fulfiller of desire, desiring, desirable, beautiful, restoring the body of Kama (Manmatha) and destroying the body of Kama, hence She is called Kama.”® After Shiva (with whom She is one) had destroyed Kama, when he sought by the instilment of passion to destroy His yoga ; so She (with whom He is one) afterwards gave a new body to the “ Bodiless One ” (Ananga). They destroy the worlds and take them to themselves through the cosmic yoga path, and again by Their desire and will (Ichchha) recreate them. These Bindus and Kala are refeiTed to in the celebrated Hymn “ Waves of Bliss ” (Anandalahari), attributed to the great Shangkaracharyya.® This Devi is the great Tripurasnndari. Bhaskararaya’s Guru Krisinghanandanatha wrote the following verse, on which the disciple commentates : “ I hymn Tripura, the treasure of Kula,^ who is red of beauty ; Her

i Kamash obasau kalarupa cbeti va. ‘2 Kamapadamatra-vacbyatayab Kalipurane pratipadanat. ^ Kamartliam agata yasman tnaya sardbang mabagirau Kamakbya procbyate devi nilakutarabogata Kamada kamini kamya kanta kamaiiggadayiiii KtoanggaDasbini yasmat ktoakbya tena katbyate Iti sbadaksbaramidang nama {ib.). Mukhang binduHg kritva kucbayngam adbas tasya tadadbo Hakarardbang dbjayet baramabishi te mamnatbakalto (v. 19). (Let bim contemplate on tbe first Bindu as the face ( f the Devi, ;and on tbe other two Bindus as Her two breasts, and below that on tbe half Ha.) Half Ha is tbe Yoni, tbe womb, and origin of all. See Lalita, v. 206, family, but bas a number of other meanings : Shakti (Akula is Shiva), tbe spiritual hierarchy of Gurus, the MulMbara, the doctrine of the Kaula Tantriks, etc. limbs like unto those of Kamaraja, wbo is adored by the thi’ee Devatas ^ of the three Gunas ; who is the desire (or will) of Shiva ; ® who dwells in the Bindu and who manifests the universe.” She is called (says the commentator cited) ^ Tripura, as She has three (Ihi) Paras I lit., cities), but, here meaning Bindus, angles, lines, syllables, etc. The Kalika Parana says : “ She has three angles {in the triangular Yoni) as well as three circles (the three Bindus), and her Bhiipura ^ has three lines. Her ilantra is .said to be of three syllables,® and She has three aspects. The Kundalini energy is also threefold, in order that She may create the three Gods (Brahma, Vishnu, Pudra). Thus, since She the supreme energy is everywhere triple. She is called Tripurasundari.”® These syllables are said by the commentator last cited ’’ to be the three Bijas of the three divisions (of the Panchadashi) — vh., Vtigbhava, Kamaraja, and Shakti, which according to the Vamakeshvara Tanti’a

2 This is the Commentator’s meaning of Ekam tain.* Eka — a-fi=e. According to the Yishva Dictionary, ‘‘ A ” has among other meanings that of Isha or Shiva, and, according to the Anekarthadhvanimanjari Lexicon, I = Manmatha — that is, K'toa, or desire* Eka. is therefore the spouse of Siva, or Shivakama, the desire or will of Shiva. 3 Introduction to Lalita. encloses the particular design in its centre. Reference may, however, also be here made to the three outer lines of the Shrichakra. 5 V. post. The Kama Bija is Kling. Kiingkara is Shivakama. Here Ing means the Kaniakala in the Turiya state through which Moksha is gained, and hence the meaning of the saying {tb., v. 176) that he who hears the Bija without Ka and La does not reach the place of the good actions — that is, he does not go to the region attained by good actions, but to that attainable by knowledge alone (see ib.. V. 189, citing Yamakesbvara Tantra). s Other instances may be given, such as the Tripurarnava, which says that the Devi is called Tripura because She dwells in the three RMis (Sushumna, Pinggala, and Ida ; v. post) and in Buddhi Manas Ohitta (v. post),

THE CENTRES OR LOTUSES (OHAKRA, PADMa) 137 are the Jnanashakfci which confers salvation, and the Kriya and Ichchha Shaktis. Three “ Pada ” are also spoken of as Tripura — white, red, and mixedd Elsewhere, as in the Varaha Parana, the Dev! is said to have assumed three forms— white, red, and black : that is, the Supreme energy endowed with the Shttvik, Rajasik, and Tamasik qualities.^ The one Shakti becomes three to produce effects. In the Kamakala meditation (Dhyana) the three Bindus and Harddhakala are thought of as being the body of the Devi Tripurasundari. The Commentator on the verse of the Ananda-Lahari cited says ; ® "In the fifth sacrifice (Yajna) let the Sadhaka think of his Atma as in no wise different from, but as the one only Shiva ; and of the subtle thread-like Kundalini which is all Shaktis, extending from the Adhara lotus to Paramashiva. Let him think of the three Bindus as being in Her body (Tripurasundari), which Bindus indicate Ichchha, Kriya, Jnana — ^Moon, Fire, and Sun ; Rajas, Tamas, Sattva ; Brahma, Rudra, Vishnu ; and then let him meditate on the Chitkala who is Shakti below it.” ^ Lalita, p. 213, the three “ feet ” are explained in another work of Bhaskararaya as follows : White, the pure Samvit (Consciousness) untainted by any (Jpadhis ; red, the Parahanta (Supreme Individuality), the hrst Yritti (modification) from the Samvit ; and the mixed — the above-mentioned as one inseparable modification (the Yritti) of “ I These are known as the ‘‘three feet” (Charana-tritaya), or Indu (white), Agni (red), Eavi (mixed).