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Home Saivism Sects Articles Siva Pantheon e-Texts Prayers Links Saiva Texts Devi Gita Siva and Saivism Sects Shakti as Mantra The Siva Sutras Sacred Places of Mother Goddess Worship Of The World Mother Eightfold Yoga and Mantra Siddhi Articles on Saivism Agamas Aspects Of Lord Siva Siva In Malay Tradition Sagara Manthan Durites Of Householder The Birth River Ganges The Story Of Mahadev Maya, The Delusion Symbolism of Nataraja Pasa in Saivism Pasu The Deluded Soul Pati the Lord of Creation Pati and Pasu The Liberation of Souls Shakti, the Energy of Siva Shakti And Maya The Worship of Sivalingas The 36 Tattvas Siva--Ideal of Manhood How To Worship Lord Shiva History Of Saivism Evolution Of Saivism Saivism In Southern India Siva and Vishnu Sects Of Saivism Saiva Siddhanta Vira Saivism Kashmiri Saivism Gorakhnatha Saivism Pasupatha Saivism The Ganapatya Sect Saiva Pantheon Ganesha Skanda Kumara Shakti Shakti as Mantra (Mantramayi Shakti) The textual source of Mantras is to be found in the Vedas (see in particular the Mantra portion of the Atharvaveda so associated with the Tantra Shastra), the Puranas and Tantras. The latter Scripture is essentially the Mantra-Shastra. In fact it is so called generally by Sadhakas and not Tantra Shastra. And so it is said of all the Shastras, symbolized as a body, that Tantra Shastra which consists of Mantra is the Paramatma, the Vedas are the Jivatma, Darshanas or systems of philosophy are the senses, Puranas are the body and the Smritis are the limbs. Tantra Shastra is thus the Shakti of Consciousness consisting of Mantra. For, as the Vishvasara Tantra (Ch. 2) says, the Parabrahman in Its form as the Sound Brahman (Shabda-Brahman or Saguna- Brahman), whose substance is all Mantra, exists in the body of the Jivatma.. Kundalini Shakti is a form of the Shabda-Brahman in individual bodies (Sharada-Tilaka, Ch. 1). It is from this Shabda- Brahman that the whole universe proceeds in the form of sound (Shabda) and the objects (Artha) which sounds or words denote. And this is the meaning of the statement that the Devi and the Universe are composed of letters, that is, the signs for the sounds which denote all that is. At any point in the flow of phenomena, we can enter the stream, and realize therein the changeless Real. The latter is everywhere and is in all things, and hidden in, and manifested by, sound as by all else. Any form (and all which is not the Formless is that) can be pierced by the mind, and union may be had therein with the Devata who is at its core. It matters not what that form may be. And why? What I have said concerning Shakti gives the answer. All is Shakti. All is Consciousness. We desire to think and speak. This is Iccha Shakti. We make an effort towards realization. This is Kriya Shakti. We think and know. This is Jñana Shakti. Through Pranavayu, another form of Shakti, we speak; and the word we utter is Shakti Mantramayi. For what is a letter (Varna) which is made into syllable (Pada) and sentences (Vakya) '? It may be heard in speech, Aum Namah Shivayah mantra, mantras, om Search Book Video Web Blog The Mantram Handbook: A by Eknath Easwaran 2010 - 242 pages books.google.com Mantras: Words of Power by Radha (Swami Sivananda) 1993 - 127 pages books.google.com Mantra Yoga and the Primal by David Frawley 2010 - 195 pages books.google.com Meditation and Mantras by Vishnu Devananda 2014 - 320 pages books.google.com Sages Through Ages: India's by K. K. Nair 2007 - 216 pages books.google.com Shakti Mantras: Tapping into the by Thom Ashley-Farrand 2009 - 272 pages books.google.com Healing Mantras: Using Sound by Thom Ashley-Farrand 2008 - 256 pages books.google.com 3-Minute Chakra Test www.chakrahealing.com Take the Free Chakra Test to Find Out Which of Your Chakras Are Weak Shakti as Mantra, The Power Of Mantra Sounds http://www.saivism.net/etexts/shaktiasmantra.asp 1 of 25 3/1/14 2:38 PM

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Home Saivism Sects Articles Siva Pantheon e-Texts Prayers Links

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Devi GitaSiva and Saivism SectsShakti as MantraThe Siva SutrasSacred Places of MotherGoddessWorship Of The WorldMotherEightfold Yoga andMantra Siddhi

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AgamasAspects Of Lord SivaSiva In Malay TraditionSagara ManthanDurites Of HouseholderThe Birth River GangesThe Story Of MahadevMaya, The DelusionSymbolism of NatarajaPasa in SaivismPasu The Deluded SoulPati the Lord of CreationPati and PasuThe Liberation of SoulsShakti, the Energy ofSivaShakti And MayaThe Worship ofSivalingasThe 36 TattvasSiva--Ideal of ManhoodHow To Worship LordShiva

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Saiva SiddhantaVira SaivismKashmiri SaivismGorakhnatha SaivismPasupatha SaivismThe Ganapatya Sect

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GaneshaSkanda KumaraShakti

Shakti as Mantra (MantramayiShakti)

The textual source of Mantras is to be found in theVedas (see in particular the Mantra portion of theAtharvaveda so associated with the Tantra Shastra),the Puranas and Tantras. The latter Scripture isessentially the Mantra-Shastra. In fact it is so calledgenerally by Sadhakas and not Tantra Shastra. Andso it is said of all the Shastras, symbolized as abody, that Tantra Shastra which consists of Mantrais the Paramatma, the Vedas are the Jivatma,Darshanas or systems of philosophy are the senses,Puranas are the body and the Smritis are the limbs.Tantra Shastra is thus the Shakti of Consciousnessconsisting of Mantra. For, as the Vishvasara Tantra(Ch. 2) says, the Parabrahman in Its form as theSound Brahman (Shabda-Brahman or Saguna-Brahman), whose substance is all Mantra, exists inthe body of the Jivatma.. Kundalini Shakti is a formof the Shabda-Brahman in individual bodies(Sharada-Tilaka, Ch. 1). It is from this Shabda-Brahman that the whole universe proceeds in theform of sound (Shabda) and the objects (Artha)which sounds or words denote. And this is themeaning of the statement that the Devi and theUniverse are composed of letters, that is, the signsfor the sounds which denote all that is.

At any point in the flow of phenomena, we can enterthe stream, and realize therein the changeless Real.The latter is everywhere and is in all things, andhidden in, and manifested by, sound as by all else.Any form (and all which is not the Formless is that)can be pierced by the mind, and union may be hadtherein with the Devata who is at its core. It mattersnot what that form may be. And why? What I havesaid concerning Shakti gives the answer. All isShakti. All is Consciousness. We desire to think andspeak. This is Iccha Shakti. We make an efforttowards realization. This is Kriya Shakti. We thinkand know. This is Jñana Shakti. Through Pranavayu,another form of Shakti, we speak; and the word weutter is Shakti Mantramayi. For what is a letter(Varna) which is made into syllable (Pada) andsentences (Vakya) '? It may be heard in speech,

Aum Namah Shivayah

mantra, mantras, om Search

Book Video Web Blog

The Mantram Handbook: Aby Eknath Easwaran2010 - 242 pagesbooks.google.com

Mantras: Words of Powerby Radha (Swami Sivananda)1993 - 127 pagesbooks.google.com

Mantra Yoga and the Primalby David Frawley2010 - 195 pagesbooks.google.com

Meditation and Mantrasby Vishnu Devananda2014 - 320 pagesbooks.google.com

Sages Through Ages: India'sby K. K. Nair2007 - 216 pagesbooks.google.com

Shakti Mantras: Tapping into theby Thom Ashley-Farrand2009 - 272 pagesbooks.google.com

Healing Mantras: Using Soundby Thom Ashley-Farrand2008 - 256 pagesbooks.google.com

3-Minute Chakra Testwww.chakrahealing.com

Take the Free Chakra Test to Find OutWhich of Your Chakras Are Weak

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Prayers

108 Names of Lord ShivaShiva AparadhaKshamapana StotramArdha NareeswaraAshtakamBilwashtakamChandrasekharashtakamChidambareswaraStotramDaridraya Dahana ShivaStotramA Prayer to KalabhairavaLingashtakamShiva NamaMalyashtakamShiva MangalashtakamMargabandhu StotramMaha MrityunjayaStotramNathopadesa StoramShiva PanchaksharaStotramParameshwara StotramPasupathyashtakamPradosha MahatmyamShiva Raksha StotramSatha RudriyamShiva SadaksharaStotramSadasivashtakamShiva Sahasra NamamSamkarashtakamSasakti Shiva NavakamShiva MahimnahStotramShivashtakamShiv ChalisaVeda Sara ShivaSthavamSri ViswanathaSuprabathashtakamShiva Thandava StotramThiruvempavaiThe Thousand Names ofLord SivaVaidyanatha AshtakamVaidyanathaNamaskaram

thus affecting the sense of hearing. It may be seenas a form in writing. It may be tactually sensed bythe blind through the perforated dots of Braille type.The same thing thus affecting the various senses.But what is the thing which does so? The senses areShakti, and so is the objective form which evokesthe sensation. Both are in themselves Shakti as CitShakti and Maya Shakti, and the Svarupa of these isCit or Feeling-Consciousness. When, therefore, aMantra is realized, when there is what is called inthe Shastra Mantra-Caitanya, what happens is theunion of the consciousness of the Sadhaka with thatConsciousness which manifests in the form of theMantra. It is this union which makes the Mantra"work".

The subject is of such importance in the Tantras thattheir other name is Mantra Shastra. But what is aMantra? Commonly Orientalists and others describeMantra as "Prayer," "Formulae of worship," "Mysticsyllables" and so forth. These are but thesuperficialities of those who do not know theirsubject. Wherever we find the word "Mystic," wemay be on our guard; for it is a word which coversmuch ignorance. Thus Mantra is said to be a"mystic" word, Yantra a "mystic" diagram, andMudra a "mystic" gesture. But have these definitionstaught us anything? No, nothing. Those who framedthese definitions knew nothing of their subject. Andyet, whilst I am aware of no work in any Europeanlanguage which shows a knowledge of what Mantrais or of its science (Mantra-vidya), there isnevertheless perhaps no subject which has been soridiculed: a not unusual attitude of ignorance. Thereis a widely diffused lower mind which says, "what Ido not understand is absurd". But this science,whether well-founded or not, is not that. Those whoso think might expect Mantras which are prayers andthe meaning of which they understand; for withprayer the whole world is familiar. But suchappreciation itself displays a lack of understanding.For there is nothing necessarily holy or prayerfulalone in Mantras as some think. Some combinationsof letters constitute prayers and are called Mantras,as for instance the most celebrated Gayatri Mantra.

A Mantra is not the same thing as prayer orself-dedication (Atma-nivedana). Prayer is conveyedin the words the Sadhaka chooses. Any set of wordsor letters is not a Mantra. Only that Mantra in whichthe Devata has revealed His or Her particularaspects can reveal that aspect, and is therefore theMantra of that one of His or Her particular aspects.The relations of the letters (Varna), whether vowelor consonant, Nada and Bindu, in a Mantra indicatethe appearance of Devata in different forms. Certain

LAKSMI TANTRAby unknown1972 - 398 pagesbooks.google.com

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Vibhuti or aspects of the Devata are inherent incertain Varna, but perfect Shakti does not appear inany but a whole Mantra. All letters are forms of theShabda-Brahman, but only particular combinationsof letters are a particular form, just as the name of aparticular being is made up of certain letters and notof any indiscriminately. The whole universe is Shaktiand is pervaded by Shakti. Nada, Bindu, Varna areall forms of Shakti and combinations of these, andthese combinations only are the Shabdacorresponding to the Artha or forms of any particularDevata. The gross lettered sound is, as explainedlater, the manifestation of sound in a more subtleform, and this again is the production of causal"sound" in its supreme (Para) form. Mantras aremanifestations of Kulakundalini (see Chapter on thesame) which is a name for the Shabda-Brahman orSaguna-Brahman in individual bodies. ProducedShabda is an aspect of the Jiva's vital Shakti.Kundalini is the Shakti who gives life to the Jiva. Sheit is who in the Muladhara Cakra (or basal bodilycenter) is the cause of the sweet, indistinct andmurmuring Dhvani which is compared to thehumming of a black bee. Thence Shabda originatesand, being first Para, gradually manifests upwardsas Pashyanti, Madhyama, Vaikhari (see post). Justas in outer space, waves of sound are produced bymovements of air (Vayu), so in the space within theJiva's body, waves of sound are said to be producedaccording to the movements of the vital air(Pranavayu) and the process of in and out breathing.As the Svarupa of Kundali, in whom are all sounds,is Paramatma, so the substance of all Mantra, Hermanifestation, is Consciousness (Cit) manifesting asletters and words. In fact, the letters of the Alphabetwhich are called Akshara are nothing but the Yantraof the Akshara or Imperishable Brahman. This ishowever only realized by the Sadhaka, when hisShakti generated by Sadhana is united with Mantra-Shakti. kundalini, who is extremely subtle, manifestsin gross (Sthula) form in differing aspects asdifferent Devatas. It is this gross form which is thePresiding Deity (Adishthatri Devata) of a Mantra,though it is the subtle (Sukshma) form at which allSadhakas aim. Mantra and Devata are thus one andparticular forms of Brahman as Shiva-Shakti.Therefore the Shastra says that they go to Hell whothink that the Image (or "Idol" as it is commonlycalled) is but a stone and the Mantra merely lettersof the alphabet. It is therefore also ignorance ofShastric principle which supposes that Mantra ismerely the name for the words in which oneexpresses what one has to say to the Divinity. If itwere, the Sadhaka might choose his own languagewithout recourse to the eternal and determined

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sounds of Shastra. (See generally as to the abovethe Chapter on Mantra-tattva in Principles of Tantra,Ed. A. Avalon.) The particular Mantra of a Devata isthat Devata. A Mantra, on the contrary, consists ofcertain letters arranged in definite sequence ofsounds of which the letters are the representativesigns. To produce the designed effect, the Mantramust be intoned in the proper way, according toboth sound (Varna) and rhythm (Svara). For thesereasons, a Mantra when translated ceases to besuch, and becomes a mere word or sentence.

By Mantra, the sought-for (Sadhya) Devata appears,and by Siddhi therein is had vision of the threeworlds. As the Mantra is in fact Devata, by practicethereof this is known. Not merely do the rhythmicalvibrations of its sounds regulate the unsteadyvibrations of the sheaths of the worshipper, buttherefrom the image of the Devata appears. As theBrihad-Gandharva Tantra says (Ch. V):

Shrinu devi pravakshyami bijanamdeva-rupatam

Mantrochcharanamatrena deva-rupamprajayate.

Mantrasiddhi is the ability to make a Mantraefficacious and to gather its fruit in which case theSadhaka is Mantra-siddha. As the Pranatoshini (619)says, "Whatever the Sadhaka desires that he surelyobtains." Whilst therefore prayer may end in merelyphysical sound, Mantra is ever, when rightly said, apotent compelling force, a word of power effectiveboth to produce material gain and accomplishworldly desires, as also to promote the fourth aim ofsentient being (Caturvarga), Advaitic knowledge,and liberation. And thus it is said that Siddhi(success) is the certain result of Japa or recitation ofMantra.

Some Mantras constitute also what the Europeanwould call "prayers," as for instance the celebratedGayatri. But neither this nor any other Mantra issimply a prayer. The Gayatri runs Om (The thoughtis directed to the three-fold Energy of the One asrepresented by the three letters of which Om iscomposed, namely, A or Brahma, the Shakti whichcreates; U or Vishnu, the Shakti which maintains;and M or Rudra, the Shakti which "destroys," that is,withdraws the world): Nada and Bindu, Earth, Middleregion, Heaven (of which as the transmigratingworlds of Samsara, God, as Om, as also in the formof the Sun, is the Creator). Let us contemplate uponthe Adorable Spirit of the Divine Creator who is inthe form of the Sun (Aditya-Devata). Map He directour minds, towards attainment of the four-fold aims

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(Dharma, Artha, Kama, Moksha) of all sentientbeings. Om. This great Mantra bears a meaning onits face, though the Commentaries explain andamplify it. The Self of all which exists in the threeregions appears in the form of the Sun-god with Hisbody of fire. The Brahman is the cause of all, and asthe visible Devata is the Eye of the World and theMaker of the day who vivifies, ripens and reveals allbeings and things. The Sun-god is to the sun whatthe Spirit (Atma) is to the body. He is the Supremein the form of the great Luminary. His body is theLight of the world, and He Himself is the Light of thelives of all beings. He is everywhere. He is in theouter ether as the sun, and in the inner etherealregion of the heart. He is the Wondrous Light whichis the smokeless Fire. He it is who is in constant playwith creation (Srishti), maintenance (Sthiti) and"destruction" (Pralaya); and by His radiance pleasesboth eye and mind. Let us adore Him that we mayescape the misery of birth and death. May He everdirect our minds (Buddhivritti) upon the path of theworld (Trivarga) and liberation (Moksha). Only thetwice-born castes and men may utter this Gayatri.To the Shudra, whether man or woman, and towomen of all castes, it is forbidden. But the TantraShastra has not the exclusiveness of the Vaidiksystem. Thus the Mahanirvana provides (IV.109-111) a Brahma-gayatri for all: "May we knowthe Supreme Lord. Let us contemplate the SupremeEssence. And may the Brahman direct us." All willreadily understand such Mantras as the Gayatri,though some comment, which is thought amusing,has been made on the "meaningless" Om. I havealready stated what it means, namely, (shortlyspeaking) the Energy (Nada) in Sadakhya Tattvawhich, springing from Shiva-Shakti Tattva,"solidifies" itself (Ghani-bhuta) as the creative Powerof the Lord (Bindu or Ishvara Tattva) manifesting inthe Trinity or Creative Energies. For further detailssee my Garland of Letters. "Om" then stands for themost general aspect of That as the Source of all. Asit is recited, the idea arises in the mindcorresponding with the sound which has been said tobe the expression on the gross plane of that subtle"sound" which accompanied the first creativevibration. When rightly uttered this great syllablehas an awe-inspiring effect. As I heard this Mantrachanted by some hundred Buddhist monks (oneafter the other) in a northern monastery it seemedto be the distant murmuring roll of some vast cosmicocean. "Om" is the most prominent example of a"meaningless" Mantra, that is, one which does notbear its meaning on its face, and of what is called aseed or Bija Mantra, because they are the veryquintessence of Mantra, and the seed (Bija) of the

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fruit which is Siddhi (spiritual achievement). Theseare properly monosyllabic. Om is a Vaidik Bija, but itis the source of all the other Tantrik Bijas whichrepresent particular Devata aspects of that which ispresented as a whole in 0m. As a Mantra-Shastra,the Tantras have greatly elaborated the Bijas, andthus incurred the charge of "gibberish," for such theBijas sound to those who do not know what theymean. Though a Mantra such as a Bija-mantra maynot convey its meaning on its face, the initiateknows that its meaning is the own form (Svarupa) ofthe particular Devata whose Mantra it is, and thatthe essence of the Bija is that which makes letterssound, and exists in all which we say or hear. EveryMantra is thus a particular sound form (Rupa) of theBrahman. There are a very large number of theseshort unetymological vocables or Bijas such as Hrim,Shrim, Krim, Hum, Hum, Phat called by variousnames. Thus the first is called the Maya Bija, thesecond Lakshmi Bija, the third Kali Bija, the fourthKurca Bija, the fifth Varma Bija, the sixth Astra Bija.Ram is Agni Bija, Em is Yoni Bija, Klim is Kama Bija,Shrim is Badhu Bija, Aim Sarasvati Bija and so forth.Each Devata has His or Her Bija. Thus Hrim is theMaya Bija, Krim the Kali Bija. The Bija is used in theworship of the Devata whose Mantra it is. All theseBijas mentioned are in common use. There are alarge number of others, some of which are formedwith the first letters of the name of the Devata forwhom they stand, such as Gam for Ganesha, Dumfor Durga.

Let us then shortly see by examples what themeaning of such a Bija is. (For a fuller account seemy Garland of Letters.) In the first place, the readerwill observe the common ending "m" whichrepresents the Sanskrit breathings known as Nadaand Bindu or Candrabindu. These have the samemeaning in all. They are the Shaktis of that nameappearing in the table of the 36 Tattvas given ante.They are states of Divine Power immediatelypreceding the manifestation of the objectiveuniverse. The other letters denote subsequentdevelopments of Shakti, and various aspects of themanifested Devata mentioned below. There aresometimes variant interpretations given. Take thegreat Bhuvaneshvari or Maya Bija, Hrim. I havegiven one interpretation in my Studies above cited.From the Tantrik compendium, the Pranatoshini,quoting the Barada Tantra we get the following:Hrim = H + R + I + M. H = Shiva. R = ShaktiPrakriti. I = Mahamaya. "M" is as above explained,but is here stated in the form that Nada is theProgenitrix of the Universe, and Bindu which isBrahman as Ishvara and Ishvari (Ishvaratattva) isdescribed for the Sadhaka as the "Dispeller of

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Sorrow". The meaning therefore of this Bija Mantrawhich is used in the worship of Mahamaya orBhuvaneshvari is, that that Devi in Her Turiya ortranscendent state is Nada and Bindu, and is thecausal body manifesting as Shiva-Shakti in the formof the manifested universe. The same idea isexpressed in varying form but with the samesubstance by the Devigita (Ch. IV) which says that H= gross body, R = subtle body, I = causal body andM = the Turiya or transcendent fourth state. In otherwords, the Sadhaka worshipping the Devi with Hrim,by that Bija calls to mind the transcendent Shaktiwho is the causal body of the subtle and grossbodies of all existing things. Shrim, (see BaradaTantra) is used in the worship of Lakshmi Devi. Sh =Alahalaksmi, R = Wealth (Dhanartham) which aswell as I = (satisfaction or Tushtyartham) She gives.Krim is used in the worship of Kali. K = Kali (Shaktiworshipped for relief from the world and itssorrows). R = Brahma (Shiva with whom She is everassociated). I = Mahamaya (Her aspect in which Sheovercomes for the Sadhaka the Maya in which asCreatrix She has involved him). "Aim" is used in theworship of Sarasvati and is Vagbhava Bija. Dum isused in the worship of Durga. D = Durga. U =protection. Nada = Her aspect as Mother of theUniverse, and Bindu is its Lord. The Sadhaka asksDurga as Mother-Lord to protect him, and looks onHer in her protecting aspect as upholder of theuniverse (Jagaddhatri). In "Strim." S = saving fromdifficulty. T = deliverer. R = (here) liberation(Muktyartho repha ukto'tra). I = Mahamaya. Bindu= Dispeller of grief. Nada = Mother of the Universe.She as the Lord is the dispeller of Maya and thesorrows it produces, the Savior and deliverer fromall difficulties by grant of liberation. I have dealtelsewhere (Serpent Power) with Hum and Hum theformer of which is called Varma (armor) Bija and thelatter Kurca, H denoting Shiva and "u", His Bhairavaor formidable aspect (see generally Vol. I, TantrikTexts. Tantrabhidhana). He is an armor to theSadhaka by His destruction of evil. Phat is theweapon or guarding Mantra used with Hum, just asSvaha (the Shakti of Fire), is used with Vashat, inmaking offerings. The primary Mantra of a Devata iscalled Mula-Mantra. Mantras are solar (Saura) andmasculine, and lunar (Saumya) and feminine, asalso neuter. If it be asked why things of mind aregiven sex, the answer is for the sake of therequirements of the worshipper. The masculine andneuter forms are called specifically Mantra and thefeminine Vidya, though the first term may be usedfor both. Neuter Mantras end with Namah. Hum,Phat are masculine terminations, and "Tham" orSvaha, feminine (see Sharadatilaka II. Narada-

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pañcaratra VII, Prayogasara, Pranatoshini 70).

The Nitya Tantra gives various names to Mantraaccording to the number of the syllables such asPinda, Kartari, Bija, Mantra, Mala. Commonlyhowever the term Bija is applied to monosyllabicMantras.

The word "Mantra" comes from the root "man" tothink. "Man" is the first syllable of manana orthinking. It is also the root of the word "Man" whoalone of all creation is properly a Thinker. "Tra"comes from the root "tra," for the effect of a Mantrawhen used with that end, is to save him who uttersand realizes it. Tra is the first syllable of Trana orliberation from the Samsara. By combination of manand tra, that is called Mantra which, from thereligious stand-point, calls forth (Amantrana) thefour aims (Caturvarga) of sentient being ashappiness in the world and eternal bliss inLiberation. Mantra is thus Thought-movementvehicled by, and expressed in, speech. Its Svarupais, like all else, consciousness (Cit) which is theShabda-Brahman. A Mantra is not merely sound orletters. This is a form in which Shakti manifestsHerself. The mere utterance of a Mantra withoutknowing its meaning, without realization of theconsciousness which Mantra manifests is a meremovement of the lips and nothing else. We are thenin the outer husk of consciousness; just as we arewhen we identify ourselves with any other form ofgross matter which is, as it were, the "crust" (as afriend of mine has aptly called it) of those subtlerforces which emerge from the Yoni or Cause of all,who is, in Herself Consciousness (Cidrupini). Whenthe Sadhaka knows the meaning of the Mantra hemakes an advance. But this is not enough. He must,through his consciousness, realize thatConsciousness which appears in the form of theMantra, and thus attain Mantra-Caitanya. At thispoint, thought is vitalized by contact with the centerof all thinking. At this point again thought becomestruly vital and creative. Then an effect is created bythe realization thus induced.

The creative power of thought is now receivingincreasing acceptance in the West, which is in somecases taking over, and in others, discovering anew,for itself, what was thought by the ancients in India.Because they have discovered it anew, they call it"New Thought"; but its fundamental principle is asold as the Upanishads which said, "what you thinkthat you become". All recognize this principle in thelimited form that a man who thinks good becomesgood, and he who is ever harboring bad thoughtbecomes bad. But the Indian and "New Thought"

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doctrine is more profound than this. In VedanticIndia, thought has been ever held creative. Theworld is a creation of the thought (Cit Shaktiassociated with Maya Shakti) of the Lord (Ishvaraand Ishvari). Her and His thought is the aggregate,with almighty powers of all thought. But each man isShiva and can attain His powers to the degree of hisability to consciously realize himself as such.Thought now works in man's small magic just as itfirst worked in the grand magical display of theWorld-Creator. Each man is in various degrees acreator. Thought is as real as any form of grossmatter. Indeed it is more real in the sense that theworld is itself a projection of the World-thought,which again is nothing but the aggregate in the formof the Samskaras or impressions of past experience,which give rise to the world. The universe exists foreach Jiva because he consciously or unconsciouslywills it. It exists for the totality of beings because ofthe totality of Samskaras which are held in the GreatWomb of the manifesting Cit Itself. There istheoretically nothing that man cannot accomplish,for he is at base the Accomplisher of all. But, inpractice, he can only accomplish to the degree thathe identifies himself with the SupremeConsciousness and Its forces, which underlie, are atwork in, and manifest as, the universe. This is thebasal doctrine of all magic, of all powers (Siddhi)including the greatest Siddhi which is Liberationitself. He who knows Brahman, becomes Brahman tothe extent of his "knowing". Thought-reading,thought-transference, hypnotic suggestion, magicalprojections (Mokshana) and shields (Grahana) arebecoming known and practiced in the West, notalways with good results. For this reason somedoctrines and practices are kept concealed.Projection (Mokshana) the occultist will understand.But Grahana, I may here explain, is not so much a"fence" in the Western sense, to which use a Kavacais put, but the knowledge of how to "catch" a Mantrathus projected. A stone thrown at one may bewarded off or caught and, if the person so wishes,thrown back at him who threw it. So may a Mantra.It is not necessary, however, to do so. Those whoare sheltered by their own pure strength,automatically throw back all evil influences, which,coming back to the ill-wisher, harm or destroy him.Those familiar with the Western presentment ofsimilar matters will more readily understand thanothers who, like the Orientalist and Missionary, as arule know nothing of occultism and regard it assuperstition. For this reason their presentment ofIndian teaching is so often ignorant and absurd. Theoccultist, however, will understand the Indiandoctrine which regards thought like mind, of which it

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is the operation, as a Power or Shakti; somethingtherefore, very real and creative by which man canaccomplish things for himself and others. Kindthoughts, without a word, will do good to all whosurround us, and may travel round the world todistant friends. So we may suffer from the ill-wishesof those who surround us, even if such wishes donot materialize into deeds. Telepathy is thetransference of thought from a distance without theuse of the ordinary sense organs. So, in initiation,the thought of a true Guru may pass to his discipleall his powers. Mantra is thus a Shakti (MantraShakti) which lends itself impartially to any use. Mancan identify himself with any of nature's forces andfor any end. Thus, to deal with the physical effectsof Mantra, it may be used to injure, kill or do good;by Mantra again a kind of union with the physicalShakti is, by some, said to be effected. So theVishnu-Purana speaks of generation by will power,as some Westerners believe will be the case whenman passes beyond the domination of his grosssheath and its physical instruments. Children willthen again be "mind-born". By Mantra, the Homafire may, it is said, be lit. By Mantra, again, in theTantrik initiation called Vedha-diksha there is, it issaid, such a transference of power from the Guru tohis disciple that the latter swoons under the impulseof the thought-power which pierces him. But Mantrais also that by which man identifies himself with Thatwhich is the Ground of all. In short, Mantra is apower (Shakti) in the form of idea clothed withsound. What, however, is not yet understood in theWest is the particular Thought-science which isMantravidya, or its basis. Much of the "NewThought" lacks this philosophical basis which issupplied by Mantravidya, resting itself on theVedantik doctrine. Mantravidya is thus that form ofSadhana by which union is had with the MotherShakti in the Mantra form (Mantramayi), in HerSthula and Sukshma aspects respectively. TheSadhaka passes from the first to the second. ThisSadhana works through the letters, as other formsof Sadhana work through form in the shape of theYantra, Ghata or Pratima. All such Sadhana belongsto Shaktopaya Yoga as distinguished from theintrospective meditative processes ofShambhavopaya which seeks more directly therealization of Shakti, which is the end common toboth. The Tantrik doctrine as regards Shabda is thatof the Mimamsa with this exception that it ismodified to meet its main doctrine of Shakti,

In order to understand what a Mantra is, we mustknow its cosmic history. The mouth speaks a word.What is it and whence has it come'. As regards theevolution of consciousness as the world, I refer my

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reader to the Chapters on "Cit-Shakti andMaya-Shakti" dealing with the 36 Tattvas.Ultimately, there is Consciousness which in itsaspect as the great "I" sees the object as part ofitself, and then as other than itself, and thus hasexperience of the universe. This is achieved throughShakti who, in the words of the Kamakalavilasa, isthe pure mirror in which Shiva experiences Himself(Shivarupa-vimarshanirmala-darshah). Neither Shivanor Shakti alone suffices for creation. Shivarupahere = Svarupa. Aham ityevamakaram, that is, theform (or experience) which consists in the notion of"I". Shakti is the pure mirror for the manifestation ofShiva's experience as "I" (Aham). Aham ityevamrupam jñanam tasya praka-shane nirmaladarshah;as the commentator Natanananda (V-2) says. Thenotion is, of course, similar to that of the reflectionof Purusha on Prakriti as Sattvamayi Buddhi and ofBrahman on Maya. From the Mantra aspect startingfrom Shakti (Shakti-Tattva) associated with Shiva(Shiva-Tattva), there was produced Nada, and fromNada, came Bindu which, to distinguish it from otherBindus, is known as the causal, supreme or GreatBindu (Karana, Para, Mahabindu). This is veryclearly set forth in the Sharada Tilaka, a Tantrikwork by an author of the Kashmirian School whichwas formerly of great authority among the BengalShaktas. I have dealt with this subject in detail inmy Garland of Letters. Here I only summarizeconclusions.

Shabda literally means and is usually translated"sound," the word coming from the root Shabd "tosound". It must not, however, be wholly identifiedwith sound in the sense of that which is heard by theear, or sound as effect of cosmic stress. Sound inthis sense is the effect produced through excitationof the ear and brain, by vibrations of theatmosphere between certain limits. Sound sounderstood exists only with the sense organs ofhearing. And even then it may be perceived by someand not by others, due to keenness or otherwise ofnatural hearing. Further the best ears will miss whatthe microphone gives. Considering Shabda from itsprimary or causal aspect, independent of the effectwhich it may or may not produce on the senseorgans, it is vibration (Spandana) of any kind ormotion, which is not merely physical motion, whichmay become sound for human ears, given theexistence of ear and brain and the fulfillment ofother physical conditions. Thus, Shabda is thepossibility of sound, and may not be actual sound forthis individual or that. There is thus Shabdawherever there is motion or vibration of any kind. Itis now said, that the electrons revolve in a sphere ofpositive electrification at an enormous rate of

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motion. If the arrangement be stable, we have anatom of matter. If some of the electrons are pitchedoff from the atomic system, what is called radio-activity is observed. Both these rotating andshooting electrons are forms of vibration as Shabda,though it is no sound for mortal ears. To a DivineEar all such movements would constitute the "musicof the spheres". Were the human ear subtle enough,a living tree would present itself to it in the form of aparticular sound which is the natural word for thattree. It is said of ether (Akasha) that its Guna orquality is sound (Shabda); that is, ether is thepossibility of Spandana or vibration of any kind. It isthat state of the primordial "material" substance(Prakriti) which makes motion or vibration of anykind possible (Shabdaguna akashah). The BrahmanSvarupa or Cit is motionless. It is also known asCidakasha. But this Akasha is not created. Cidakashais the Brahman in which stress of any kind manifestsitself, a condition from which the whole creationproceeds. This Cidakasha is known as the Shabda-Brahman through its Maya-shakti, which is the causeof all vibrations manifesting themselves as sound tothe ear, as touch to the tactile sense, as color andform to the eye, as taste to the tongue and as odorto the nose. All mental functioning again is a form ofvibration (Spandana). Thought is a vibration ofmental substance just as the expression of thoughtin the form of the spoken word is a vibrationaffecting the ear. All Spandana presupposesheterogeneity (Vaishamya). Movement of any kindimplies inequality of tensions. Electric current flowsbetween two points because there is a difference ofpotential between them. Fluid flows from one pointto another because there is difference of pressure.Heat travels because there is difference oftemperature. In creation (Srishti) this condition ofheterogeneity appears and renders motion possible.Akasha is the possibility of Spandana of any kind.Hence its precedence in the order of creation.Akasha means Brahman with Maya, whichMayashakti or (to use the words of Professor P. N.Mukhyopadhyaya) Stress is rendered actual, from aprevious state of possibility of stress which is theSakti's natural condition of equilibrium (Prakriti =Samyavastha). In dissolution, the Maya-Shakti ofBrahman (according to the periodic law which is afundamental postulate of Indian cosmogony) returnsto homogeneity when in consequence Akashadisappears. This disappearance means that Shakti isequilibrated, and that therefore there is no furtherpossibility of motion of any kind. As the Tantras say,the Divine Mother becomes one with Paramashiva.

The Sharada says -- From the Sakala Parameshvarawho is Sacchidananda issued Shakti; from Shakti

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came Nada; and from Nada issued Bindu.

Sacchidanandavibhavatsakalat parameshvarat

Asicchhaktistato nadonadadbindusamudbhavah.

Here the Sakala Parameshvara is Shiva Tattva.Shakti is Shakti Tattva wherein are Samani, Vyapini,and Anjani Shaktis. Nada is the first produced sourceof Mantra, and the subtlest form of Shabda of whichMantra is a manifestation. Nada is threefold, asMahanada or Nadanta and Nirodhini representing thefirst moving forth of the Shabda-Brahman as Nada,the filling up of the whole universe with Nadanta andthe specific tendency towards the next state ofunmanifested Shabda respectively. Nada in its threeforms is in the Sadakhya Tattva. Nada becomingslightly operative towards the "speakable" (Vacya),(the former operation being in regard to thethinkable (Mantavya) ) is called Arddhacandra whichdevelops into Bindu. Both of these are in IshvaraTattva. This Mahabindu is threefold as theKamakala. The undifferentiated Shabda-Brahman orBrahman as the immediate cause of the manifestedShabda and Artha is a unity of consciousness(Caitanya) which then expresses itself in three-foldfunction as the three Shaktis, Iccha, Jñana, Kriya;the three Gunas, Sattva, Rajas, Tamas; the threeBindus (Karyya) which are Sun, Moon and Fire; thethree Devatas, Rudra, Vishnu, Brahma and so forth.These are the product of the union of Prakasha andVimarsha Shakti. This Triangle of Divine Desire isthe Kamakala, or Creative Will and its first subtlemanifestation, the Cause of the Universe which ispersonified as the Great Devi Tripurasundari, theKameshvara and Kameshvari, the object of worshipin the Agamas. Kamakalavilasa, as explained in thework of that name, is the manifestation of the unionof Shiva and Shakti, the great "I" (Aham) whichdevelops through the inherent power of its thought-activity (Vimarsha-Shakti) into the universe,unknowing as Jiva its true nature and the secret ofits growth through Avidya Shakti. Here then thereappears the duality of subject and object; of mindand matter, of the word (Shabda) and its meaning(Artha). The one is not the cause of the other, buteach is inseparable from, and concomitant with, theother as a bifurcation of the undifferentiated unity ofShabda-Brahman whence they proceed. The onecosmic movement produces at the same time themind and the object which it cognizes; names(Nama) and language (Shabda) on the one hand;and forms (Rupa) or object (Artha) on the other.These are all parts of one co-ordinated

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contemporaneous movement, and, therefore, eachaspect of the process is related the one to the other.The genesis of Shabda is only one aspect of thecreative process, namely, that in which the Brahmanis regarded as the Author of Shabda and Artha intowhich the undifferentiated Shabda-Brahman dividesItself. Shakti is Shabda-Brahman ready to createboth Shabda and Artha on the differentiation of theParabindu into the Kamakala, which is the root(Mula) of all Mantras. Shabda-Brahman is Supreme"Speech" (Para-Vak) or Supreme Shabda (Para-Shabda). From this fourth state of Shabda, there arethree others -- Pashyanti, Madhyama and Vaikhari,which are the Shabda aspect of the stages wherebythe seed of formless consciousness explicates intothe multitudinous concrete ideas (expressed inlanguage of the mental world) the counterpart of theobjective universe. But for the last three states ofsound the body is required and, therefore, they onlyexist in the Jiva. In the latter, the Shabda-Brahmanis in the form of Kundalini Shakti in the MuladharaCakra. In Kundalini is Parashabda. This develops intothe "Matrikas" or "Little Mothers" which are thesubtle forms of the gross manifested letters (Varna).The letters make up syllables (Pada) and syllablesmake sentences (Vakya), of which elements theMantra is composed. Para Shabda in the bodydevelops in Pashyanti Shabda or Shakti of generalmovements (Samanya Spanda) located in the tractfrom the Muladhara to the Manipura associated withManas. It then in the tract upwards to the Anahatabecomes Madhyama or Hiranyagarbha sound withparticularized movement (Vishesha Spanda)associated with Buddhi-Tattva. Vayu proceedingupwards to the throat expresses itself in spokenspeech which is Vaikhari or Virat Shabda. Now it isthat the Mantra issues from the mouth and is heardby the ear. Because the one cosmic movementproduces the ideating mind and its accompanyingShabda and the objects cognized or Artha, thecreative force of the universe is identified with theMatrikas and Varnas, and Devi is said to be in theforms of the letters from A to Ha, which are thegross expressions of the forces called Matrika; whichagain are not different from, but are the same forcesthat evolve into the universe of mind and matter.These Varnas are, for the same reason, associatedwith certain vital and physiological centers which areproduced by the same power that gives birth to theletters. It is by virtue of these centers and theircontrolled area in the body that all the phenomenaof human psychosis run on, and keep man inbondage. The creative force is the union of Shivaand Shakti, and each of the letters (Varna) producedtherefrom and thereby are part and parcel of that

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Force, and are, therefore, Shiva and Shakti in thoseparticular forms. For this reason, the Tantra Shastrasays that Devata and Mantra composed of letters,are one. In short, Mantras are made of letters(Varna). Letters are Matrika. Matrika is Shakti andShakti is Shiva. Through Shakti (one with Shiva)Nada-Shakti, Bindu-Shakti, the Shabda-Brahman orPara Shabda, arise the Matrika, Varna, Pada, Vakyaof the lettered Mantra or manifested Shabda.

But what is Shabda or "Sound"? Here the ShaktaTantra Shastra follows the Mimamsa doctrine ofShabda, with such modifications as are necessary toadapt it to its doctrine of Shakti. Sound (Shabda)which is quality (Guna) of ether (Akasha) and issensed by hearing is twofold, namely, lettered(Varnatmaka Shabda) and unlettered or Dhvani(Dhvanyatmaka Shabda). The latter is caused by thestriking of two things together, and is apparentlymeaningless. Shabda, on the contrary, which isAnahata (a term applied to the Heart-Lotus) is thatBrahman sound which is not caused by the strikingof two things together. Lettered sound is composedof sentences (Vakya), words (Pada) and letters(Varna). Such sound has a meaning. Shabdamanifesting as speech is said to be eternal. This theNaiyayikas deny saying that it is transitory. A wordis uttered and it is gone. This opinion the Mlmamsadenies saying that the perception of lettered soundmust be distinguished from lettered sound itself.Perception is due to Dhvani caused by the striking ofthe air in contact with the vocal organs, namely, thethroat, palate and tongue and so forth. Before thereis Dhvani there must be the striking of one thingagainst another. It is not the mere striking which isthe lettered Shabda. This manifests it. The letteredsound is produced by the formation of the vocalorgans in contact with air; which formation is inresponse to the mental movement or idea which bythe will thus seeks outward expression in audiblesound. It is this perception which is transitory, forthe Dhvani which manifests ideas in language issuch. But lettered sound as it is in itself, that is, asthe Consciousness manifesting Idea expressed inspeech is eternal. It was not produced at themoment it was perceived. It was only manifested bythe Dhvani. It existed before, as it exists after, suchmanifestation, just as a jar in a dark room which isrevealed by a flash of lightning is not then produced,nor does it cease to exist on its ceasing to beperceived through the disappearance of itsmanifester, the lightning. The air in contact with thevoice organs reveals sound in the form of the lettersof the alphabet, and their combinations in words andsentences. The letters are produced for hearing bythe person desiring to speak, and become audible to

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the ear of others through the operation of unletteredsound or Dhvani. The latter being a maifester only,lettered Shabda is something other than itsmanifester.

Before describing the nature of Shabda in itsdifferent form of development, it is necessary tounderstand the Indian psychology of perception. Ateach moment, the Jiva is subject to innumerableinfluences which from all quarters of the Universepour upon him. Only those reach his Consciousnesswhich attract his attention and are thus selected byhis Manas. The latter attends to one or other ofthese sense-impressions and conveys it to theBuddhi. When an object (Artha) is presented to themind, and perceived, the latter is formed into theshape of the object perceived. This is called a mentalVritti (modification) which it is the object of Yoga tosuppress. The mind as a Vritti is thus arepresentation of the outer subject. But, in so far asit is such representation, the mind is as much anobject as the outer one. The latter, that is, thephysical object, is called the gross object (Sthulaartha), and the former or mental impression is calledthe subtle object (Sukshma artha). But, besides theobject, there is the mind which perceives it. Itfollows that the mind has two aspects, in one ofwhich it is the perceiver, and in the other theperceived in the form of the mental formation(Vritti), which in creation precedes its outerprojection, and after the creation follows as theimpression produced in the mind by the sensing of agross physical object. The mental impression andthe physical object exactly correspond, for thephysical object is in fact but a projection of thecosmic imagination, though it has the same realityas the mind has; no more and no less. The mind isthus both cognizer (Grahaka) and cognized Grahya),revealer (Prakashaka) and revealed (Prakashya),denoter (Vacaka) and denoted (Vacya). When themind perceives an object, it is transformed into theshape of that object. So the mind which thinks of theDivinity which it worships (Ishtadevata) is, at length,through continued devotion, transformed into thelikeness of that Devata. By allowing the Devata thusto occupy the mind for long, it becomes as pure asthe Devata. This is a fundamental principle of TantrikSadhana or religious practice. The object perceivedis called Artha, a term which comes from the root"Ri," which means to get, to know, to enjoy. Artha isthat which is known and which, therefore, is anobject of enjoyment. The mind as Artha, that is inthe form of the mental impression, is an exactreflection of the outer object or gross Artha. As theouter object is Artha, so is the interior subtle mentalform which corresponds to it. That aspect of the

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mind which cognizes is called Shabda or Nama(name), and that aspect in which it is its own objector cognized is called Artha or Rupa (form). The outerphysical object, of which the latter is in theindividual an impression, is also Artha or Rupa, andspoken speech is the outer Shabda. The mind isthus, from the Mantra aspect, Shabda and Artha,terms corresponding to the Vedantic Nama and Rupaor concepts and concepts objectified. The MayavadaVedanta says that the whole creation is Nama andRupa. Mind as Shabda is the Power (Shakti) thefunction of which is to distinguish and identify(Bhedasamsargavritti-Shakti).

Just as the body is causal, subtle and gross, so isShabda, of which there are four states (Bhava)called Para, Pashyanti, Madhyama and Vaikhari. Parasound is that which exists on the differentiation ofthe Mahabindu before actual manifestation. This ismotionless, causal Shabda in Kundalini, in theMuladhara center of the body. That aspect of it inwhich it commences to move with a general, that is,non-particularized, motion (Samanya Spanda) isPashyanti whose place is from the Muladhara to theManipura Cakra, the next center. It is hereassociated with Manas. These represent themotionless and first moving Ishvara aspect ofShabda. Madhyama Shabda is associated withBuddhi. It is Hiranyagarbha sound(Hiranyagarbharupa) extending from Pashyanti tothe heart. Both Madhyama sound which is the inner"naming" by the cognitive aspect of mentalmovement, as also its Artha or subtle (Sukshma)object (Artha) belong to the mental or subtle body(Sukshma or Linga Sharira). Perception is dependenton distinguishing and identification. In theperception of an object that part of the mind whichidentifies and distinguishes and thus "names" or thecognizing part is, from the Shabda aspect, subtleShabda: and that part of it which takes the shape of,and thus constitutes, the object (a shape whichcorresponds with the outer thing) is subtle Artha.The perception of an object is thus consequent onthe simultaneous functioning of the mind in itstwo-fold aspect as Shabda and Artha, which are inindissoluble relation with one another as cognizer(Grahaka) and cognized Grahya). Both belong to thesubtle body. In creation Madhyama sound firstappeared. At that movement there was no outerArtha. Then the Cosmic Mind projected this innerMadhyama Artha into the world of sensualexperience and named it in spoken speech (VaikhariShabda). The last or Vaikhari Shabda is utteredspeech, developed in the throat, issuing from themouth. This is Virat Shabda. Vaikhari Shabda istherefore language or gross lettered sound. Its

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corresponding Artha is the physical or gross objectwhich language denotes. This belongs to the grossbody (Sthula Sharira). Madhyama Shabda is mentalmovement or ideation in its cognitive aspect andMadhyama Artha is the mental impression of thegross object. The inner thought-movement in itsaspect as (Vacaka) and denoted (Vacya). When themind perceives an object, it is transformed into theshape of that object. So the mind which thinks of theDivinity which it worships (Ishtadevata) is, at length,through continued devotion, transformed into thelikeness of that Devata. By allowing the Devata thusto occupy the mind for long, it becomes as pure asthe Devata. This is a fundamental principle of TantrikSadhana or religious practice. The object perceivedis called Artha, a term which comes from the root"Ri," which means to get, to know, to enjoy. Artha isthat which is known and which, therefore, is anobject of enjoyment. The mind as Artha, that is inthe form of the mental impression, is an exactreflection of the outer object or gross Artha. As theouter object is Artha, so is the interior subtle mentalform which corresponds to it. That aspect of themind which cognizes is called Shabda or Nama(name), and that aspect in which it is its own objector cognized is called Artha or Rupa (form). The outerphysical object, of which the latter is in theindividual an impression, is also Artha or Rupa, andspoken speech is the outer Shabda. The mind isthus, from the Mantra aspect, Shabda and Artha,terms corresponding to the Vedantic Nama and Rupaor concepts and concepts objectified. The MayavadaVedanta says that the whole creation is Nama andRupa. Mind as Shabda is the Power (Shakti) thefunction of which is to distinguish and identify(Bhedasamsargavritti-Shakti).

Just as the body is causal, subtle and gross, so isShabda, of which there are four states (Bhava)called Para, Pashyanti, Madhyama and Vaikhari. Parasound is that which exists on the differentiation ofthe Mahabindu before actual manifestation. This ismotionless, causal Shabda in Kundalini, in theMuladhara center of the body. That aspect of it inwhich it commences to move with a general, that is,non-particularized, motion (Samanya Spanda) isPashyanti whose place is from the Muladhara to theManipura Cakra, the next center. It is hereassociated with Manas. These represent themotionless and first moving Ishvara aspect ofShabda. Madhyama Shabda is associated withBuddhi. It is Hiranyagarbha sound(Hiranyagarbharupa) extending from Pashyanti tothe heart. Both Madhyama sound which is the inner"naming" by the cognitive aspect of mentalmovement, as also its Artha or subtle (Sukshma)

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object (Artha) belong to the mental or subtle body(Sukshma or Linga Sharira). Perception is dependenton distinguishing and identification. In theperception of an object that part of the mind whichidentifies and distinguishes and thus "names" or thecognizing part is, from the Shabda aspect, subtleShabda: and that part of it which takes the shape of,and thus constitutes, the object (a shape whichcorresponds with the outer thing) is subtle Artha.The perception of an object is thus consequent onthe simultaneous functioning of the mind in itstwo-fold aspect as Shabda and Artha, which are inindissoluble relation with one another as cognizer(Grahaka) and cognized Grahya). Both belong to thesubtle body. In creation Madhyama sound firstappeared. At that movement there was no outerArtha. Then the Cosmic Mind projected this innerMadhyama Artha into the world of sensualexperience and named it in spoken speech (VaikhariShabda). The last or Vaikhari Shabda is utteredspeech, developed in the throat, issuing from themouth. This is Virat Shabda. Vaikhari Shabda istherefore language or gross lettered sound. Itscorresponding Artha is the physical or gross objectwhich language denotes. This belongs to the grossbody (Sthula Sharira). Madhyama Shabda is mentalmovement or ideation in its cognitive aspect andMadhyama Artha is the mental impression of thegross object. The inner thought-movement in itsaspect as Shabdartha, and considered both in itsknowing aspect (Shabda) and as the subtle knownobject (Artha) belongs to the subtle body (SukshmaSharira). The cause of these two is the first generalmovement towards particular ideation (Pashyanti)from the motionless cause Para Shabda or SupremeSpeech. Two forms of inner or hidden speech,causal, subtle, accompanying mind movement thusprecede and lead up to spoken language. The innerforms of ideating movement constitute the subtle,and the uttered sound the gross aspect of Mantrawhich is the manifested Shabda-Brahman.

The gross Shabda called Vaikhari or uttered speech,and the gross Artha or the physical object denotedby that speech are the projection of the subtleShabda and Artha, through the initial activity of theShabda-Brahman into the world of gross sensualperception. Therefore, in the gross physical world,Shabda means language, that is, sentences, wordsand letters which are the expression of ideas and areMantra. In the subtle or mental world, Madhyamasound is the Shabda aspect of the mind which"names" in its aspect as cognizer, and Artha, is thesame mind in its aspect as the mental object of itscognition. It is defined to be the outer in the form ofthe mind. It is thus similar to the state of dreams

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(Svapna), as Parashabda is the causal dreamless(Sushupti), and Vaikhari the waking (Jagrat) state.Mental Artha is a Samsara, an impression left on thesubtle body by previous experience, which is recalledwhen the Jiva reawakes to world experience, andrecollects the experience temporarily lost in thecosmic dreamless state (Sushupti) which isdestruction (Pralaya). What is it which arouses thisSamskara? As an effect (Kriya) it must have a cause(Karana). This Karana is the Shabda or Name(Nama) subtle or gross corresponding to thatparticular Artha. When the word "Ghata" is uttered,this evokes in the mind the image of an object,namely, a jar; just as the presentation of that objectdoes. In the Hiranyagarbha state, Shabda asSamskara worked to evoke mental images. Thewhole world is thus Shabda and Artha, that is Nameand Form (Nama, Rupa). These two are inseparablyassociated. There is no Shabda without Artha orArtha without Shabda. The Greek word "Logos" alsomeans thought and word combined. There is thus adouble line of creation, Shabda and Artha; ideas andlanguage together with objects. Speech as thatwhich is heard, or the outer manifestion of Shabda,stands for the Shabda creation. The Artha creationare the inner and outer objects seen by the mentalor physical vision. From the cosmic creativestandpoint, the mind comes first, and from it, isevolved the physical world according to the ripenedSamskaras which led to the existence of theparticular existing universe. Therefore, the mentalArtha precedes the physical Artha which is anevolution in gross matter of the former. This mentalstate corresponds to that of dreams (Svapna), whenman lives in the mental world only. After creationwhich is the waking ( Jagrat) state, there is for theindividual an already existing parallelism of namesand objects.

Uttered speech is a manifestation of the innernaming or thought. This thought-movement issimilar in men of all races. When an Englishman oran Indian thinks of an object, the image is to boththe same, whether evoked by the object itself or bythe utterance of its name. For this reason possibly ifthought-reading be accepted, a thought-readerwhose cerebral center is en rapport with that ofanother, may read the hidden "speech," that isthought, of one whose spoken speech he cannotunderstand. Thus, whilst the thought-movement issimilar in all men, the expression of it as VaikhariShabda differs. According to tradition there was oncea universal language. According to the Biblicalaccount, this was so, before the confusion oftongues at the Tower of Babel. Similarly there is, (afriend tells me though he has forgotten to send me

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the reference), in the Rigveda, a mysterious passagewhich speaks of the "Three Fathers and threeMothers," by whose action like that of the Elohim"all-comprehending speech" was made into thatwhich was not so. Nor is this unlikely, when weconsider that difference in gross speech is due todifference of races evolved in the course of time. Ifthe instruments by which, and conditions underwhich thought is revealed in speech, were the samefor all men then there would be but one language.But now this is not so. Racial characteristics andphysical conditions, such as the nature of the vocalorgans, climate, inherited impressions and so forthdiffer. So also does language. But for each particularman speaking any particular language, the utteredname of any object is the gross expression of hisinner thought-movement. It evokes the idea and theidea is consciousness as mental operation. Thatoperation can be so intensified as to be itselfcreative. This is Mantra-Caitanya.

It is said in the Tantra Shastras that the fifty lettersof the alphabet are in the six bodily Cakras calledMuladhara, Svadhisthana, Manipura, Anahata,Vishuddha and Ajña. These 50 letters multiplied by20 are in the thousand-pealed Lotus or Sahasrara.

From the above account, it will be understood that,when it is said that the "Letters" are in the six bodilyCakras, it is not to be supposed that it is intended toabsurdly affirm that the letters as written shapes, oras the uttered sounds which are heard by the earare there. The letters in this sense, that is, as grossthings, are manifested only in speech and writing.This much is clear. But the precise significance ofthis statement is a matter of some difficulty. There isin fact no subject which presents more difficultiesthan Mantravidya, whether considered generally orin relation to the particular matters in hand. I do notpretend to have elucidated all its difficulties.

What proceeds from the body is in it in subtle orcausal form. Why, however, it may be asked areparticular letters assigned to particular Cakras. Ihave heard several explanations given which do not,in my opinion, bear the test of examination.

If the arrangement be not artificial for the purposeof Sadhana, the simplest explanation is that whichfollows: From the Brahman are produced the fiveBhutas, Ether, Air, Fire, Water, Earth, in the orderstated; and from them issued the six Cakras fromAjña to Muladhara. The letters are (with theexception next stated) placed in the Cakras in theiralphabetical order; that is, vowels as being the firstletters or Shaktis of the consonants (which cannotbe pronounced without them) are placed in

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Vishuddha Cakra: the first consonants Ka to Tha inAnahata and so forth until the Muladhara whereinare set the last four letters from Va to Sa. Thus inAjña there are Ha and Ksha as being Brahmabijas.In the next or Vishuddha Cakra are the 16 vowelswhich originated first. Therefore, they are placed inVishuddha the ethereal Cakra; ether also havingoriginated first. The same principle applies to theother letters in the Cakras. namely, Ka, to Tha (12letters and petals) in Anahata; Da to Pha (10) inManipura; Ba to La (6) in Svadhisthana; and Va toSa (4) in Muladhara. The connection betweenparticular letters and the Cakras in which they areplaced is further said to be due to the fact that inuttering any particular letter, the Cakra in which it isplaced and its surroundings are brought into play.The sounds of the Sanskrit alphabet are classifiedaccording to the organs used in their articulation,and are guttural (Kantha), palatals (Talu), cerebrals(Murddha), dentals (Danta) and labials (Oshtha).When so articulated, each letter, it is said, "touches"the Cakra in which it is, and in which on this accountit has been placed. In uttering them certain Cakrasare affected; that is, brought into play. This, it isalleged, will be found to be so, if the letter iscarefully pronounced and attention is paid to theaccompanying bodily movement. Thus, in utteringHa, the head (Ajña) is touched, and in uttering thedeep-seated Va, the basal Cakra or Muladhara. Inmaking the first sound the forehead is felt to beaffected, and in making the last the lower part of thebody around the root-lotus. This is the theory putforth as accounting for the position of the letters inthe Cakras.

A Mantra is, like everything else, Shakti. But themere utterance of a Mantra without more is a meremovement of the lips. The Mantra must beawakened (Prabuddha) just like any other Shakti ifeffect is to be had therefrom. This is the union ofsound and idea through a knowledge of the Mantraand its meaning. The recitation of a Mantra withoutknowing its meaning is practically fruitless. I say"practically" because devotion, even though it beignorant, is never wholly void of fruit. But aknowledge of the meaning is not enough; for it ispossible by reading a book or receiving oralinstructions to get to know the meaning of a Mantra,without anything further following. Each Mantra isthe embodiment of a particular form ofConsciousness or Shakti. This is the Mantra-Shakti.Consciousness or Shakti also exists in the form ofthe Sadhaka. The object then is to unite these two,when thought is not only in the outer husk, but isvitalized by will, knowledge, and action through itsconscious center in union with that of the Mantra.

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The latter is Devata or a particular manifestation ofShakti: and the Sadhaka who identifies himselftherewith, identifies himself with that Shakti.According to Yoga when the mind is concentrated onany object it is unified with it. When man is soidentified with a Varna or Tattva, then the power ofobjects to bind ceases, and he becomes thecontroller. Thus, in Kundalini-Yoga, the static bodilyShakti pierces the Cakras, to meet Shiva-Shakti inthe Sahasrara. As the Sadhaka is, through thepower of the rising Shakti, identified with each of theCenters, Tattvas and Matrika Shaktis they cease tobind, until passing through all he attains Samadhi.As the Varnas are Shiva-Shakti, concentration onthem draws the mind towards, and then unifies itwith, the Devata which is one with the Mantra. TheDevata of the Mantra is only the creative Shaktiassuming that particular form. As already stated,Devata may be realized in any object, not merely inMantras, Yantras, Ghatas, Pratimas or other ritualobjects of worship. The same power which manifeststo the ear in the Mantra is represented in the linesand curves of the Yantra which, the Kaulavali Tantrasays, is the body of the Devata:

Yantram mantramayamproktam mantratmadevataiva hi

Dehatmanor yatha bhedoyantra-devata yoshtatha.

The Yantra is thus the graphic symbol of the Shakti,indicated by the Mantra with which identificationtakes place. The Pratima or image is a grosser visualform of the Devata. But the Mantras are particularforms of Divine Shakti, the realization of which isefficacious to produce particular results. As inKundalini- Yoga, so also here the identification of theSadhaka with different Mantras gives rise to variousVibhutis or powers: for each grouping of the lettersrepresents a new combination of the MatrikaShaktis. It is the eternal Shakti who is the life of theMantra. Therefore, Siddhi in Mantra Sadhana is theunion of the Sadhaka's

Shakti with the Mantra Shakti; the identification ofthe Sadhaka with the Mantra is the identification ofthe knower (Vedaka), knowing (Vidya) and known(Vedya) or the Sadhaka, Mantra and Devata. Thenthe Mantra works. The mind must feed, and isalways feeding, something. It seizes the Mantra andworks its way to its heart. When there, it is the Cittaor mind of the Sadhaka unified with the Shakti ofthe Mantra which works. Then subject and object, inits Mantra form, meet as one. By meditation theSadhaka gains unity with the Devata behind, as it

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were, the Mantra and Whose form the Mantra is. Theunion of the Sadhaka of the Mantra and the Devataof the Mantra is the result of the effort to realizepermanently the incipient desire for such union. Thewill towards Divinity is a dynamic force which pierceseverything and finds there Divinity itself. It isbecause Westerners and some Westernized Hindusdo not understand the principles of Mantra;principles which lie at the center of Indian religioustheory and practice, that they see nothing in itwhere they do not regard it as gross superstition. Itmust be admitted that Mantra Sadhana is often doneignorantly. Faith is placed in externals and the innermeaning is often lost. But even such ignorantworship is better than none at all. "It is better tobow to Narayana with one's shoes on than never tobow at all." Much also is said of "vain repetitions".What Christ condemned was not repetition but"vain" repetition. That man is a poor psychologistwho does not know the effect of repetition, whendone with faith and devotion. It is a fact that theinner kingdom yields to violence and can be takenby assault. Indeed, it yields to nothing but thestrong will of the Sadhaka, for it is that will in itspurest and fullest strength. By practice with theMantra, the Devata is invoked. This means that themind itself is Devata when unified with Devata. Thisis attained through repetition of the Mantra (Japa).

Japa is compared to the action of a man shaking asleeper to wake him up. The Sadhaka's ownconsciousness is awakened. The two lips are Shivaand Shakti. The movement in utterance is the"coition" (Maithuna) of the two. Shabda which issuestherefrom is in the nature of Bindu. The Devata thenappearing is, as it were, the son of the Sadhaka. Itis not the supreme Devata who appears (for It isactionless), but in all cases an emanation producedby the Sadhaka's worship for his benefit only. In thecase of worshippers of the Shiva-Mantra, aBoy-Shiva (Bala-Shiva) appears who is then madestrong by the nurture which the Sadhaka gives him.The occultist will understand all such symbolism tomean that the Devata is a form of the Consciousnesswhich becomes the Boy-Shiva, and which, whenstrengthened is the full-grown Divine Power Itself.All Mantras are forms of consciousness(Vijñanarupa), and when the Mantra is fullypracticed it enlivens the Samskara, and the Arthaappears to the mind. Mantras used in worship arethus a form of the Samskaras of Jivas; the Artha ofwhich manifests to the consciousness which is pure.The essence of all this is -- concentrate and vitalizethought and will power, that is Shakti.

The Mantra method is Shaktopaya Yoga working

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with concepts and form, whilst ShambhavopayaYoga has been well said to be a more direct attemptat intuition of Shakti, apart from all passingconcepts, which, as they cannot show the Reality,only serve to hide it the more from one's view andthus maintain bondage. These Yoga methods are butexamples of the universal principle of Sadhana, thatthe Sadhaka should first work with and throughform, and then, so far as may be, by a meditationwhich dispenses with it.

It has been pointed out to me by Professor SurendraNath Das Gupta that this Varna-Sadhana, soimportant a content of the Tantra Shastra, is notaltogether its creation, but, as I have often in othermatters observed, a development of ancient Vaidikteaching. For it was, he says, first attempted in theAranyaka Epoch upon the Pradkopasana on whichthe Tantrik Sadhana is, he suggests, based; though,of course, that Shastra has elaborated the notioninto a highly complicated system which is so peculiara feature of its religious discipline. There is thus asynthesis of this Pratikopasana with Yoga method,resting as all else upon a Vedantic basis.

Source: Chapter 24, Shakti and Shâkta by Arthur Avalon (Sir John Woodroffe), [1918]

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