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CHAPTER V THE UNIVERSE OF MANTRA Mantra as the pre-eminent technique and symbolical form in Saiva tantra. Sound, the uniiying stream that grounds the reality. Matrka, the order of expansive Malini, the way of involution. universe. Pada and mantra. Different types of mantras. Classification of mantras; their functions and forms. Rosary - the main of Japa. auxiliary In the bouy of tantric literature, mantra takes the largest portion%3B Brahmins often refer to tantric texts as mantraSastra. From the technical point of view, mantrais the chief instrument of tantrism and it could be characterized as a magic formula with particular functions. The first function could be called "the persuasivepragmatic sense of mantra" and it refers to the mantric efficacy in the profane universe of discourse. This is due to a mystic body which is wrought through mantra; this mystic body is supposed to pervade and subdue the whole reality. The second function body - concerning also the mystic would be : mantra as meditative tool to pierce the transcendental reality. Thereby a third function could be auded :

88 The emo tive effect on the practitioner, a somewhat complex feelingtone that projects the tantrika into a mystical universe of discourse. The third function is also the only criterion for verification of the mantra's validity. Actually, mantra is verifiable not by what it describes but by what it effects. All these iunctions are based upon the presumption that mantra expresses level of existence, and belongs to another qualitative to which the phenomenal world is subordinated. Heinrich Zimmer describes mantra in these terms : "... it is mutual inherence of knower and known... it is compelling force, magical instrument by which immediate reality appearance of gods, the play of mystical power-1s wrought... Mantra is power, not arguing and proposition, to which the minu could resist or Irom which it could withdraw. Whatever is pronounced in mantra is an event. if anywhere, then words are deeds in this realm" (H.Zimmer Ewiges Indien p. 81f). Thus, mantra stands for a magical force which coniers existential status to imaginary contents. Lama Anagarika Govinda gives a tidy description of mantra: "The symbol word, the holy sound which, transmitted to the initiate by the preceptor, makes his personality vibrate in consonance and opens it up for higher experience" (Lama Govinda Tibetan mysticism, London, 1961, p. 90). Mantra is something imparted personally by a guru to a disciple, hence it is an indiviuual mystical experience. foundation of Eliade gives a very concise and comprehensive description of mantra "The practical value and the philosophical importance of the mantra depends on two series of facts: first, on the

89 yogic function of phonemes, utilized as "supports" for concentration; and second, its tantric sphere properly : the working out of a gnostic loga, system anu of an internalized liturgy in the process of revaluing the archaic traditions pertaining to the "mystical sound" (M.slidde Immortalite et Liberte, p. 17). Consequently, the phenomenal universe can be looked at from three different angles to which three symbolical representations correspona. understanding the world as basically sound, makes mantra its symbolical representation%;B when spatiality with its shape anu colour is taken as basic, the symbolical representation is manuala; when action or the act is the fundamental vision, muura will play the main part in the symbolical interpretation. This Abhinavagupta presents mantra, mandala and muara in their correlation and uynamics. At the same time, he points out a certain hierarchy between the third symbolical forms. hierarchy is established vis-a-vis knowledge. Mantra expresses directly pure knowledge ; mandala and mudra are derived. All these four representations (i.e. including knowledge) of the reality form, in fact, a single totality (pitha). "Mantra is what thinks and liberates. is strengthened by knowledge (vidya) which illuminates knowable things. Mudra is reflected image of mantra and it is nourished by mandala. The term manda included in mandala designates in fact the essence, Siva himself. is .. 2/ .. 鈥� This way, being four pithas mutually interpenetrated, the whole/really present essentially in each pitha. Pithas have been expounded separately, as diverse It from each other, only because the and with the purpose most important thing can be this or that inturn, of bringing the devotee towards his aim. Besides, each of them (i.e.

90pitha) is divided into four parts. The highest among them is knowledge, and, to a diminishing extent mantra, mudra and mandala" (Tantraloka, XXXVII, 19b-24a). According to Abhinava's etymology, mandala is what gives or provides (la dana) essence, and hence, it nourishes mudra. Mantra, as Siva's expression of knowledge and action, is characterized by the operations of imagination (manan) and protection (trana) (Tantraloka, XI, 56-58). The same etymology is attested in the Mrgendratantra, Kriyapada, I, 1 & Comm. man-, thinking, imagining, and tra-, protecting, defending. ' where the term mantra derives from the roots Mantra creates a special feeling in the practitioner, a certain rasa understood in its extension as mystical emotion, and not only aesthetic emotion. Like mantra, which rasa is consonant with, the latter springs out from phonemes and manifests in a certain form of consciousness. For instance, the labiodental "V" together with the sibilant "S" and other phonemes, are united in the two syllables of the mantra employed in oblations, SVAHA. At the same time, every phoneme is supplied with an synaesthetic meaning; hence the phoneme "S", the first from the mantra of Para or "the seed of the heart", is called also the "seed of ambrosia" (amrtabija), etc. Besides these two dimensions of mantra, i.e. a formal combination of phonemes and the mystical feeling that surpasses the mere combination of sounds, there is a third dimension directly connected with ritual action. Thus, in the above- exemplification, the external rite of oblation (homa) which consists in offering purified butter etc. into the fire will be included in the respective

91 mantra. It also means that mantra has an absolute pre-eminence vis-a-vis all the other tantric techniques inasmuch as it contains them all. The whole phenomenal universe finds its unifying stream in a more subtle material that is sound. The phonemes of the Sanskrit alphabet have thus a deeper significance than a mere function of building up words for comunication. m Phonemes express the existent in its essentiality, the process of the formation of the world as well as the process of reabsorption into the primordial unity. The two opposite forces are symbolized by Mantrka, the evolving universe, and by Malini, the universe involuting. In the first order, the vowels will appear at the beginning. "A" is the "supreme intuition (pratibha) of the supreme divinity, without superior" (Tantraloka, III, 66) or "Paramesvara's power of freedom" (Paratrishika-vivarana, pp 165). It is called the "Supreme receptacle of sounds and, finally, it is (the thinkable principle) that thinks thoroughly the inner link between divine powers that ground the whole" (Tantrasara, III, p 12). For the Paratrisikavivarana the sound "A" corresponds to the relationship between the immanent conceived as the family (kula) } of divine powers which are to phenomenalize 1 the existent, identical with the transcendental kula, in so far as "A" represents anuttara state which has no differentiated powers within it. " A" symbolizes the union (samghatta) of Siva and Sakti; it is the power of bliss (ananda) from which the whole is emitted. It is also called (the Goddess attracting time (Tantraloka, III, 70) and it is the central point of the trident in iconic representation. Band (was) English

- 92 - "I" signifies the power of will (iccha) that springs out from the Siva-Sakti union. From will appears the ruling power (Isitri) which indicates the path of siva (Tantraloka, III, 75a) that is "I". The ruling power works out the aspect of power of knowledge "U" which consists in expanding (unmesa) all the desired things. Anuttara, the vital principle of what exists, expending continuously, suffers a diminution (unata) "" at a certain moment. this 21 The cause of diminution is contraction taking place within the existent which will cause the material multiplicity to come into being. This multiplicity is still found here (i.e. in "U") in a state of non-evidence; it is "carried" (udha) by this state which is the udder (udhah) of that cow of desires, that is the supreme consciousness. These six powers are shared in two groups Abhinava according to the length of vowels : short "A" (without superior), "I" (will of creation), "U" (expansion) and long "A" (bliss), "I" (dissolution), "U" (contraction). They are manifestations of creative consciousness and the devotee must sacrifice to them (Paratrishika, 28). interprets the alphabet as the process of creation itself, or as an expression of consciousness as creative power (Paratrishika-vivarana, p. 265). These two series of powers have both the nature of creation and dissolution. The evolute and involuce movements of consciousness along the first six vowels have to be contemplated by the adept in every act of cognition. The power of action follows the first six vowels, and is represented by four diphthongs (or compound vowels)

who ever has and This ? a 93 E, AI, O and AU, which appear through the fusion of A or A with I, I, U, U. This state of fusion is not immediately reached, but a state of void (sunya) precedes it. The state of void before the arising of the power of action is represented by the four phonemes R, R, L and 13掳 . . 鈥� Abhinava compares this moment with a leap of the frog when the animal seems to be swallowed by the void, up to the instant when it appears again on the ground, in another place. Brightness of flame R, The vowels R, R reunite characterizes moment of consciousness. the phonemes I and I with the sound R which is traditionally considered the seed (bija) of fire. It is worth mentioning that all the phonemes are conceived as "seeds" giving rise to the whole existent. the phonemes are I 3 Therefore, tantamount to the human seed in the bodily microcosm. The state of total void corresponds to L and sounds i it is similar to the state of deep sleep, when there is no consciousness of any knowable reality, when the subject lies in a total insensibility. This is the condition of inanimate things, says Abhinavagupta, "similar to that of a piece of wood or of a stone" (Paratrishika-vivarana, p. 228). It must be added that L and L 3 reunite inside I, I with L, the seed of earth characterized by stoppage and inertia. R, R, L and Lz are neuter (sandha) and barren like burnt seeds. 鈥� . . . // Inasmuch as these four phonemes are not the spring of future disturbance, they are called "the supreme ambrosia" (paramrtam). Generally, the phonemes are "seeds" in so far as they yield further disturbance (ksobha).

94 of emission. or "A" "E" is the triangle symbolizing the matrix "AI" is the union of two triangles, i.e. "E" with "A" The power of knowledge or the "expansion U" and A or A give O, that, in its turn, gives rise together with anuttara or ananda to AU. Thus, E, AI, O and AU symbolise the gradual self-aifirmation of power of action, from a non-evident stage in E, to a very evident stage in AU. The eight phonemes from R to AU correspond .. to the eight "mothers', i.e. Siva's powers Brahmi, Mahesvari, Kaumari, Vaisnavi, Varahi, Indrani, Camunda and Yogesvari (or Yogisi), feminine cues of the most important gods : Brahma, Mahesvara, Kumara etc. (MY, III, 14). The eight goddesses have different colours : yellow, white, dark blue, red etc. and live in the cardinal points : SE, NE, N, S, W, E etc. (SVT, X, 1018b 1030). Heaving reached AU stage, anuttara grows dark through what is knowable, manifesting itself as bindu AM. This supreme point resides inside of the lotus of heart. Bindu has two dimension : a) the ideal prolongation of pranava OM and b) a lot of degrees or mantric stations that mark the itinerary towards supreme consciousness. The superior stations from the "point" (bindu) are : the "half-moon" (ardhacandra), the "hindrance" (nirodhika), the "sound" (nada), the "end of sound" (nadanta), the "power" (sakti), the "pervasiveness" (vyapini), the "equal" (samana), the "transmental" (unmana). 掳 Bindu has the nature of soul and it is constituted of intelligence. From Siva's point, the whole is directed in two opposite senses : a) inwards, to the unity with Siva's ownself, b) outwards,

95 to create out of his own self. In the first case the subject possessor E of power dominates, while in the second, the power of external emission ' AH prevails. A, 鈥� H and intermediate (supreme-lowest) AH or n. lowest The external emissions are actually three: supreme - "Thus, the 鈥� emission spreads and consequently, it becomes firm ; thus it is to be technically called "swan" (hamsa), vital breathing, consonant (vyanjana, sparsa) " (Tantraloka, III, 142). when the phoneme H, in a non-manifest (avyakta) form, materializes this emission, the letter is named "desiring principle" (Kamatattvam). in so far as the emission appears in its whole evidence as swan H, the vowels reveal themselves into various consonants from K to s. The guttural class with its five phonemes K, KH, G, GH, arises from A. The palatal class C, CH, JH, N arises [JH, appear also from - 152). "ys" from the "will I". The cerebral and dental classes will according to its speed or immobility (Tantraloka, III, 151 gives birth to labials P, PH, B, BH, M. The twenty five consononts correspond to twenty five categories of what is knowable from earth to soul. The power of will changes into a heterogeneous power in the semivowel Y. R and L will appear when the will manifests instantaneously or lastingly. From the semivowel "V" "rains the essence of emission" (Tantraloka, III, 156). The semivowels are the seeds of the four elements : air-Y, fire-R, earth-L and water-V. The four sibilants S, 5, S, H "are called 'warm' (usman) by immaculate Bhairava, in so far as they manifest through their inner heat" (Tantraloka, III, 179). They are neither seeds, nor matrixes, but neuters. "S" is named the "supreme residence" or the

96 - "seed of heart", inasmuch as it is spread everywhere and is the first phoneme of the mantra of Para (W.S. Allen Phonetics in Ancient India, Oxford, pp. 26 - 27). "S" is the supreme ambrosia that shines in the moan of love (sitkara) at the beginning and the end of perturbation, in pleasure (sukha), in being (sabhava), in interpenetration (samavesa), in perfect concentration of mind (samadhi). At the level of particle, "S", the supreme ambrosia, becomes venom (visa-L. Silburn- "Vijnana-bhairava" pp. 46, 47; 109, 111). matrixes. The phonemes are of two types: seeds or Both of them are yielded in fact by Siva who is the supreme seed. The matrix appears graphically as a triangle and hence it is assimilated to various triads - : what is perceivable perception - perceiver, sun fire- moon etc. All these triads are contained in matrixes which, in their turn, are contained potentially in seeds. The matrix is identified with a flower (kusuma, puspa) in its double sense, namely as a vulve and feminine seed (menstrual flow) as well as a proper = flower that is the main instrument of worship (puja). The matrix has the generative power and only when in union with the seed actually forms a flower. "All the various phonemes from K to S are called by sages substratum of perturbation. As a result of the union between one matrix and another, a certain perturbation appears. The fiftieth phoneme KS has been imagined just for exemplifying this phenomenon" (Tantraloka, III, 180). The knowledge of the first (A) and the last (H) phoneme is the main feature of a master. The knowledge gives

97 supreme the/awareness that makes the initiate alike with Bhairava, because, in Christian theology, A and H contain the Therefore, every similar to a and cosmic evolution from the beginning to the end. mantra must have inside, in a way or another, these two phonemes and hence, the word Aham signifies the whole . A mantra without A and H has no effect, like the "clouls of autumn" that come, pass, but do not rain (i.e. do not fertilize). On the other hand, the sage sees the supreme unity in everything, he grasps the first and the last phoneme of any object %; therefore, he understands the objects of the existent as mantras. The Saivite schools consider the phonic The Saivites universe more complex than the articulate sounds, and moreover, inarticulate sounds have an obvious affinity with mantra. believe that the pervasive power of mantra is based essentially upon subtler sounds than even the audible ones. These are phonic particles (Kala) that only a yogi can hear in states of a consciousness gradually elevated. For instance, in the pranava, everybody can hear A, U and M. Besides these, the yogi will distinguish also other phonic parts : the bindu, the ardhachandra, the nirodhini, the vyapini, the samana etc. (Sv T, Vol. II, pp. 154-155). Inarticulate sounds combine between themselves %; in SvT, Vol. VI, pp. 8-9 are listed, for instance, eight species of such sounds. Despite the fact that the graphical signs of the Sanskrit alphabet are fifty, according to the manner in which the letters are pronounced, there are sixty four sounds. Quoting the

- 98 Trikaratnakula, a text which has not been discovered so far, Abhinava affirms : "The total of alphabetical sounds is attested by scriptures It is the cakra of kula%3B it pervades the whole to be sixty-four. universe" (Paratrishika-vivarana, pp. 192, I, 7). The manner of pronunciation influences the effect of mantra. The purpose of true recitation is to get identification with the "heart of dissolution" which is the mantra Matrsabhava, KhPhREM (Malinivijaya-tantra, VIII, 39-43). "For he who is immerged in such an uncreated heart, it does not matter what he does, how he breathes or thinks, inasmuch as the whole is thought of as recitation" (Tantraloka, IV, 194). Phonemes from A to H have to be projected on the practitioner's body and thus, they become object of devotion, oblations and contemplation. Even the supreme plane can be reached thanks to a continuous recitation and identification with mantra. "It carries everything, it orders everything, it gives everything, it pervades everything. Thanks to an unceasing recitation of the word Bhairava, the equality with Siva is attained" (Vijnana-bhairava, 130). Mantra helps the memory to remember the primordial unity. The main mantras reside in the Wisdom principle 3B they number sixty million and are supplied from a bulk of a hundred and eleven thousand that are found in lotusshaped worlds. There is another bulk of thirty five million main mantras which reside in the Isvara principle, in eight worlds named Vidy svara (Lords of vidya) (SVT, X, 1142-1162). The Matria is employed in the tantric practice especially for getting propitiation inasmuch as it follows the sense of

99 which has no order, or has reverse order creation. The Malini - (from H to A) follows the way of dissolution characterizes the aspirant for freedom. or involution that "The Malini is the union between what is perturbed and the perturber, it is the emission arising from the union between seed and matrix. It is the supreme power and it is described as the universal shape" (visvarupini Tantraloka, III, 232-33). Every sound must be projected only on a special point of the body with which it has certain affinities, and conformable to both orders mentioned above. In the sequel I shall present the phonemes and the place of projection on the body in the two tantric series. The Matrka order: "A" has to be imagined on the forehead%;B "A" on the face%3B "I" and "I" on the eyesight; "U" and "" on the ears%3B "R" and "R" cheeks; "E" and "AI" on the teeth; the tuft and "AH" on the tongue. on the nostrils%;B "L" and "L" on the "O" and "AU" on the lips%3B "AM" on The guttural class has to be projected on the right shoulder, arm, hand, fingers and nails, while the palatal class on the symmetrical parts of the body from the left side. The cerebral class is imagined on the right buttock, thigh, fingers and nails of the right foot, and the dental class on the left, respectively. Labials are to be projected on hips, back, belly and heart; the semivowel "Y" on the skin, "R" on the blood, "L" on the flesh and "V" on the ligaments%;B sibilant "S" on the bones, "S" on the fat, "S" on the seeds, "H" on the vital breaths and "KS" on the testicles (Malinivijaya-tantra, VIII, 27-32a).

100 The Malini order : "N" is the tuft; "R","R", Tantraloka, XV, 121); are the earrings; "B" is the face; the 鈥� "L", "L 3" is the frontal crown ("the garland of skuils" "TH" is the head; "C", "DH" is the eyesight%3B "I" is the nose; "N" is the ears; "" and "" guttural class is the teeth%3B "I" is the tongue and "A" the speech; "V" is the throat; "BH" is the right shoulder and "y" the left one; "D" and "DH" are the arms; "TH" the hands;B "JH" and "N" are the lingers of the hands 3 "J" is the spear, "R" its stick and "T" the skull%;B "p" is the heart; "CH" and "L" are the breasts, "A" their milk;B "S" together with the emission "AH" forms the being%3B "H" is the vital breathing; "S" belly and "KS" the navel%;B "M" and "S" are the buttocks%;B "AM" the genital organs and "T" the thigh%3B "E" and "AI" are the knees%3B "O" and "AU" are the ankles; "D" and "PH" are the legs (Malinivijaya-tantra, III, 57-41a). order of the letters given above is consequently thus : N, R ' V, 4, 3, TH, C, DH, I, N, U, U, B, K, KH, G, GH, N, I, A, DH, TH, JH, N, T, A, N, J, R, T, P, Ch, L, A, S, AH, H, S, KS, M, 1/2, AI, O, AU, D, PH. is the The Malini 鈥� ' . BH, Y, D, am, T, E, The Goddess Malini is only energy and action. The recitation of the garland or letters from N to PH is tantamount to reabsorption of the whole into the uncreated. On the other side, the Matrka symbolizes a process that has not ended yet, but it is to give birth to new aspects of the knowable. While the Malini could be compared with an old man that has exhausted all the stages of existence and now is thinking only of his death, the Matrka is like a young mother that has given birth and will continue to give life to other children,

101 MIS from whom she expects a world of joys. Abhinava informs us of the etymons that make up the meaning of the word Malini, as the etymology was tought by Sambhunatha to him. The Malini is upheld (malita <maluphold, support) by Rudra who masters supernatural powers and freedom that form a garlana (mala) worthy of worship. The negation ma- at the beginning of the word suggests reabsorption, which has the power of giving (ra-) and taking (la-) in so lar as the semivowels R and L are interchangeable accoruing to grammarians (Tantraloka, XV, 151b-153a). obvious that Malini has the main features of the tantric way. It is Malini is to be projected in order to get a body of powers, because the manner in which the letters are mixed represents the combination of seeds with matrixes. Malini is employed in the Saiva tantric practice not only concerning freedom, but also in order to get fruition. For this second purpose the follower has to project a certain mantra in respect to the desired fruition and, Secondly, he will project the Malini on his body. This procedure has the advantage or leading the adept not only to the propitiation, but also to final self-realization. In practice, the Saivite utilizes sometimes projections of both the Matrka and the Malini intercalating them according to the following patterns : A, N, KS, PH etc. (Haracarita-cintamani, XV, 139-140), or the syllabic groups AKSA HRIM and NAPHA HRIM. The projection of mantra in combination He who with the ritual acts has purification as the main purpose. aspires to freedom must not follow very strong injunctions in so far a he has another target of his actions than the worldly one. Ben Kind University Library ACC mu. 604593 Date In fact 82

鉁� - 102all the operations of projection aim more or less at obtaining identification with Siva's body, hence the integration into the supreme consciousness. to the On this In the process of differentiation due means of knowledge, the pada will appear at the beginning. point, the path of self-realization is pierced by knowleage (avagama). The term pada comes from the stem pad- with the meaning of "understanding" or "knowing" (padyat jnayate nenarthah ity avagamatmakam padam " XI, Haracarita-cintamani, 44). The path of pada without any perturbation due to the means of knowledge manifests into the path of mantra. The mantra is a word or a pha be deprived of any meaning involved in social communication, but having 2 鈥� mystical significance. The pada and the mantra have a common nature, the only difference concerns the fact that padas are in the state of perturbation, while mantras transcend any movement (nihspanda). " One Mantra is essentially pure activity (kartrta), viz. it is considered an active subject with a self-governing status and therefore it has not a mere instrumental value. I who has achieved the mastery in tantra, identifies himself with the mantric body and thus, he reaches the same spiritual level of pure liberty. Although the mantric practice has an instrumental function for the neophyte, the master will regard the mantra only as subject of action (Malinivijaya-varttika, II, 229b-231a). Every element has its mantra as its The substitute in a subtler reality than the phenomenal existence. tantric handles the material objects through the agency of their energetical essence which is the mantra. Thus, in a very important

105 Saiva tantric rite named the "inner sacrifice" (manoyaga, antahkrtih) where the performer identifies himself with Siva, introjected into the body has a particular mantra. every cosmical entity Thus, the basical power (adharasakti) is grasped through the mantra HRIM, the four elements are expressed respectively through KSLAM- earth, KSVIM - water, VAM fire, KSAM - wind; the trident, the main Saiva symbol, is rendered through: HAM the shait or the axle (asya)%;B the point of junction of the the proper trident with the axle, where the eight mental qualities reside, is expressed through: YAM - compassion, RAM detachment, VAM - restraint, and the four opposite atributes through RM, RM, LM and IM; wisuom - 鈥� Tovara AM; Sadasiva trident, JRAM - knowledge, LAM OM; the maya AUM, and the "power" AH etc., which are gradual levels of the HAH; the point of trident and so on. The nine powers Vama, Jyestha, Rauari, Kali etc. residing in the Matrka, which I have already mentioned, and their nine ruled worlds have different mantras that include the name of each power: OM HAM VAMAYAI NAMAH etc. All these successive procedures of the "inner sacrifice" can be gathered by the recitation of mantra OM HRIM JRA ASANAPAKSAYA NAMAH which 鈥� has the same function (Haracarita-cintamani, XXX, 9b - 10a). The tantric texts will present a mantric formula using generally an intentional language or a descriptive procedure. For instance, the mantra of Ratisekhara (Bhairava), partner of Parapara, has the following form, according to Malinivijaya-tantra, IX, 35 : teaching of this mantra consists in blood R, skin Y, flesh L, threads V, the left ear U and the point M". "The

104 A deity as object of worship is represented by the tantric iconography as having a certain number of faces and limbs which symbolize her powers. Analogically, her phonic body has to be supplied with an equal number of phonetic faces and links lest she should seem disabled. The limbs or members of the body are six (of five, because the eye is not counted some times) : the heart (hrdaya), the head (sirah), the tuft (sikha), the armour (kavaca), the eyesight (netra) and the weapon (astra). They correspond to the six operations : recitation, oblation, growth, elimination, pacification and malefic witchcraft. The manner of composing their mantras is to make a combination of the six long vowels A, I, U, AI, AU, AH, which have to be preceded by the sylable OM, with the consonant S (or more frequently H, according to the Rauravagama, Pondichery, 1961, p. 18), the names of the limbs in the dative case, and the so-called six "species" (jati), i.e. NAMAH, SVAnA etc. The mantras will have the following forms : OM SAM HRDAYAYA NAMAH OM SIM SIRASE SVAHA OM SUM SIKHAYAI VAUSAT OM SAIM KAVACAYA HUM 鈥� for the heart for the head for the tuft OM SAUM NETREBHYAH (or NETRATRAYAYA) VASAT OM SAH ASTRAYA PHAT for the armour for the eyesight for the weapon ? The symbolism of the six members differs according to the tantric tradition. Hence, they could represent as well, the six Siva's qualities, viz. omniscience (sarvajnata), wisdom (trpti), knowledge without any principle (anadibodha), liberty (svatantrata), the hindranceless power (aviluptasakti) and infinite power (anantasakti) (SVT, I, p. 53). The Somasambhupaddhati considers

? 105 that the members of the divinity, called "completions" (Lakalikarana), follow the iour essential moments of the linga worship: the invocation of the deity (avahana), her settling down into the linga (sthapana), making evident her presence (samnidhana) and keeping her there (samnirodhana) . up to the end of the rite. The eye has a particular importance for the Saiva tantra, inasmuch as it owns the nature of light. The netramantra OM JUM SAH, as Jayaratha points out (Haracarita-cintamani, XXX, 40-41), is not to be found in the Malinivijaya all the Saiva schools. because it is well known and "common" to The mantras of the five faces are made of five short vowels A, I, U, E, O preceded by the syllable OM and the Consonant S ; it follows the names of the five Siva's faces which are associated with the head (murdhan), the face (vaktra), the heart (hrdya), the genital organs (guhya) and with the "body" (murti), all at the dative case; the last element is the mantra "obedience" (NAMAH). The resulting mantras will be : OM SOM . 鈥� ISANAMURDHAYA NAMAH OM SEM TAT PURUSAVAKTRAYA NAMAH OM SUM AGHORAHRDAYAYA NAMAH OM SIM VAMADEVAGUHYAYA NAMAH 鈥� OM SAM SADYOJATAMURTAYE NAMAH According to the Svacchandatantra, I, 45, this five mantras would employ instead of SOM, SEM etc. the syllables, KSAM, YAM, RAM, VAM, LAM whose significance was already analysed.

In the case of 106 Navatma, i.e. Bhairava the partner of Apara, c.,sayas Jayaratha (Haracarita-cintamani, XXX, the elements will be KSOM, YEM, RUM etc. 11-12). Navatma's mantric form is R, H, R, KS, M, L, V, Y, U, U, M, and it is the "fountain of every kind of achievement" (Malinivijaya-tantra, VIII, 21b-鈮�4a). Jayaratha composes Navatma's mantras this way : OM KSOM NAVATMAMURDHAYA NAMAH, OM YEM NAVATMAVAKTRAYA NAMAH and so on. Bhairavasadbhava, who is the partner of Para, has the mantric form JH, KS, U, M, and his members are it formed in the Came manner as/has been shown (Malinivijaya-tantra, VIII, 55-24). Ganesa's mantras are OM GAM (or GAUM, or GUM) GANESAYA NAMAH. The vidyas are mantras denoting feminine divinities, Parapara's vidya is OM AGHORE HRIM, PARAMAGHORE HUM, GHORARUPE HAH, GHORAMUKHI, BHIMA, BHISANE, VAMA, PIBA HE RURU RARA PHAT HUM HAM PHAT (Malinivijaya-tantra, III, 59-60). The same mantra is tought in the Tantraloka, XVI, 215-ciba, according to the involute order, suitable for the tantric initiation (Jayaratna Haracarita-cintamani). In the above mantra, the eight gods born of Parapara are included through their mantras. These Gods are : Aghora, Paramaghora, Ghorarupa, Ghoramukha, Bhima, Bhisana, Vamana, Pibana (Malinivijaya-tantra, I, 19b-21a) ; eight feminine deities, born also from Parapara's body, correspond to them. Apara's mantra is HRIH HUM PHAT (Malinivijaya-tantra, IV, 24). The mantra of Para has some variants : SAUH, SHAUH, ESAUH, SHS AUH, HRIH. Although this mantra has no faces or limbs, it proves very effective in obtaining propitiation. The limbs (gatra) of these three vidyas are made up by "S" plus the six long vowels, while the faces employ

107 the five short vowels plus bindu (Malinivijaya-tantra, OM. The Brahmasiras is OM of the three vidyas is OM IV, 60-61). The Vidyangahrdaya mantra is formed by five AMRTE TEJOMALINI SVAHA. The sikha mantra VEDAVEDINI HUM PHAT. The devotional act is imagined as an "armour" of Purustaka ("he who is highly respected or praised by people") whose mantra is OM VAJRINE The pasupata weapon is OM SLIM PASU HUM Kriyapada, 1, 10). " VAJRADHARAYA SVAHA. PHAT (Rauravagama, The Guardians of the Regions are Indra (E), Agni (SE), Yama (S), Nirrti (SW), Varuna (W), Vayu (NW), Kubera (N), - IIsana (NE), Brahma (Zenith), Visnu (nadir) and their respective mantras are : 嘟涏紜 嘟ㄠ紜 嘟｀紜 嘟娻紜 嘟｀紜 OM LAM INDRAYA NAMAH OM R IM AGNAYE NAMAH OM T UM YAMAYA NAMAH 鈥� OM KS AIM NIRRTYAI NAMAH OM V AUM VARUNAYA NAMAH 嗉嬥綋嗉� OM Y AH VAYAVE NAMAH OM S AH KUBERAYA NAMAH OM M IM ISANAYA NAMAH OM AM BRAHMANE NAMAH OM IM VISNAVE NAMAH 鈥� The particular weapons (ayudha) belonging to each of them are respectively: the flash of lightening (vajra), the lance (sakti), the club (danda), the sword (khadga), the loop (pasa),

- 108 the harpoon or hook (ankusa), the mace (gada), the trident (trisula), the lotus (padma), the disc (cakra). Mantras of weapons are formed in the mantras of the Guardians substituting the long phonemes through the corresponding short vowels (A, I, U, E, O, AM, AM,I, A, I ) in the second column (M. Th. Mallman, Agni-purana , pp. 118-18%3B pp. 244-255). Matrsadbhava (called also Kalakarsini, Pindanatha or Pancapindanatha) represents in the mantric form the "heart of dissolution" and, together with the mantra of the "heart of emission", supplies with power all the other mantras, being the expression of Aham. The Matrsadbhava mantra has some variants, all of them having the same energy (Haracarita-cintamani, & Tantraloka, XXX, 45-50) : KHPHREM, HSHRPHREM (Malinivijaya-tantra, VIII, 39-43) and even SAUH which is the mantra of rara par excellence, in so far as it is an aspect of the supreme power (Haracarita-cintamani, XXIX, p. 18). The celebrant (mantrin) employs it for getting any propitiation as well as for the supreme achievement. This mantra causes a state of consciousness similar to the supreme knowledge, being the Lord of all the yogi_s' cakras. OM MAHACANDA YOGESVR is the essence of .. knowing subjects or mothers. The mantra SKRK is named the "blade" (ksurika) or the "night of time" (or black, kalaratri) and, having . repeated it a hundred times, the Saivite will feel a painful sensation in his head, which is the proof that he may start the so called meditation on the conquest of death. This meditation is conducive to a long life (Malinivijaya-tantra, XVII, 29-31). Another mantra called also the "blade" 192

109 that is composed by five words, viz. RRAH, RRAH, HKSJAH, KRAH, KSRAH, have to be projected on the five "ethers" which are the genital organs, the navel, the heart, the point between eyebrows and the nada (the foramen of Brahma) (Haracarita-cintamani, XIX, p. 189). This mantra is the "blade"! that causes, by means of its cutting edge, the detachment from the body and hence, the spiritual union with the supreme reality. to mediate during the ritual of sudden redemption, that this blade - to which the mantra SRKSRYUM has been added pierces his disciple starting from the feet to the summit of the head. This mantra bestows immediately the nirvana. The master has previously received initiation. from During the extraction of the vital breaths from animals, viz. a very important tantric technique which leads to an increase of power in the performer's body, it has to be pronounced the mantra HSVYUM. The same formula is able to purify even the murderer of a brahmana, if the perpetrator has Another mantra used in the ritual of obtaining relief (tulavidhi) the own corporeal influence (dehagraha) due to the pre-eminence of the tellurie element in the body, is OM SMRYUM NAMAH. The master will recite it while imagining the disciple's body lifting in the air. mantra acts by paralyzing the sakinis in the vital centre which the tantric thinks to be the heart from where the life springs. The Saiva tantric imagines the Sakinis as a group of powerful goddesses residing in Bhairava's heart of fire. This Through the tantric practice, Bhairava's heart will coincide with the sadhaka's heart and it will become the centre of dissolution. This "game" of oppositions is essential for tantra

- 110 as it has been already pointed out ; Sakinis, understood as powers of worldly expansion, will become through tantra the auxiliaries of freedom, of then/involution. This phenomenon becomes obvious in the ritual of union with the yogini, when, by means of mantra HKSJHUAUM, Sakinis will enter Which is in the place prepared for sexual union. The mantra/above-mentioned gives the ownership of Sakinis to the tantric in order to purify the place and to transform it in this way, in a center superposed on the bhairavic heart. Hence, the tantric eroticism takes place by this procedure in the very centre of the world, from where the whole existent has spread out, but mostly, where this existent goes back. After performing the rite, sakinis must be left free again lest, penetrating into the sadhaka's body, they would yield a contrary effect to the desired one (i.e. they will lead to further evolution instead of involution). The mantra HKSJHUAUM is employed in the case of the so-called union by power or violence (hathatah) which has in view to provide the performer with rtain spiritual abilities. The union 鈥� by love (priyamelapanam) uses the mantra HRIM, KLIM, VLEM, KLEM together with the twelve vowels. This mantra indicates a procreative purpose mainly. Abhinavagupta lets us understand that he was born as a result of such a union. The humble and devoted neophyte has to worship the divinities whose abodes are different parts of his body, with the following mantras : The three gods residing in the which is the residence of the elements "bulb" Srinatha, Arya and Bhagavan - are

111 invoked through HRIM SRIM SRINATHAPADA, HRIM SRIM ARYAPADA, HRIM CRIM BHAGAVANPADA. The pattern of the mantra is HRIM SRIM plus the vocative name of the deity with the suffix PADA. In the same manner are composed the mantras of the three gods residing in the heart, i.e. Varuna, Macchanda, Bhagadatta and the four entities in the throat Dharmanatha (symbolizing duty), Arthanatha (benefit), Kamanatha (pleasure), Moksanatha (freedom). In the superior part of the head, the vidyas Para, Parapara and Apara are worshipped after a different pattern; they are the most important in so far as the disciple meditating permanently on them reaches the highest spiritual level at his death, without having performed any external rites. Usually the Saivite has to worship all these entities through mental exercises, flower offerings, drinking euphoric beverages or only by meditating upon them. The sacred mantras for praying the goddesses Para, Parapara and Apara are imparted by a fully accomplished master to the disciple aiming only the final emancipation. Inasmuch as these vidyas bestow freedom they are called the "supreme secret". The vidya Para has fifty syllables: o OM HRIM HUM SIDDHASADHANI OM HRIM HUM SABDABRAHMAS VARUPINI OM HRIM HUM SAMASTABANDHANIKRNTANI OM HRIM HUM BODHANI OM HRIM HUM SIVASADBHAVAJANANI SVAHA. The vidya of Parapara is named "vidya of initiation" and is composed of forty-nine syllables: AINOYARALAVAANAMAHAHATAKES VARI KSAMAS VA PAPANTAKARINI PAPAVIMOHANI PAPAM PHEM HANA HANA DHUNA DHUNA RUDRASAKTIVASAT SAT. Apart from the initial

- 112 syllables and final "sat" (Tantraloka, XXX, 114b-115), the other words could be translated in this way : "O, great Goddess of the under world Hataka, indulge (in my request), you who destroy sin, you who hinder sin, strike, strike, scatter, scatter sin, by Rudra's power of will!" The vidya of Apara has fifty syllables and half; it is known as the vidya of Paramesvara destroying the sins of infringement upon the rules : HRIM PARE BRAHME CATURVIDYE YOGADHARINI ATME ANTARATME PARAMATME RUDRASAKTI RUDRADAYITE ME RARAM SAMMYE SADASIVE HUM PHAT SVAHA. An approximate DAHADAHA translation of this vidya would be : "Hrim, supreme brahman you who have the four sciences, supporter of yoga, self, inner self, supreme self, Rudra's power, Rudra's sweetheart, burn burn my sin, O well wisher, O Sadasiva, hum phat svaha j". In the tradition accepted by Abhinavagupta, there are five purificatory rites which are performed by the agency : of mantras 1) niriksana, "supervision", which is realized with the mulamantra ;B 2) proksana, 3) 鈥� "sprinkling", by means of the "weapon" PHAT ; o tadana, "percussion", realized with the same "weapon" PHAT ; 4) apyayana, "increase", which is made through the mantra "eye" ; 5) avagunthana, "re-dressing", by means of the mantra "armour" HUM( Tantraloka, XV, 69-70;370). In other Saiva schools, the rites 4 and 5 are substituted by abhyuksana,

115 "aspersion" (Somashambhu-paddhati, III, p. 100). According to Jayaratha, the only inner rite is "supervision or inspection" (niriksana), the other four being external. The Netratantra, XVIII, 6-8, classifies, without exhaustive pretensions, the mantric types, following formal and functional criteria. 1) The first type, and the most frequent, is formed with the pranava OM. Its main function is to fill with fervour (dipana) the al to create in him a special psychologic state for a devotee or transcendental approach. 2) Invocation (bodhana) of a certain divinity or entity with the help of the mantra NAMAH is a procedure very common in tantric practice. 3) Percussion or striking (tadana) of a certain reality employing the mantra PHAT. VAUSAT has 4) Aspersion or sprinkling (abhisecana) with the mantra two aspects : benediction and taking in possession (in a benefic way). 5) Purification (vimalikarana) is realized with the help of the mantra SVAHA. 6) Addition of fuel (indhananivesana) to the sacrificial fire in order to burn various ties, feelings envy etc. for instance hatred, -, is realized through the mantra HUM that must precede or follow another mantric construction or a name. 7) Obtaining comfort or satisfaction (tarpana) is conceived

114 in the tantric practice as a remedy or "reinforcement" (balavattadhanam) of a certain weakness manifesting in a raw sport on the subtle body. Adding the mantra LAM at the beginning or the end of another mantra the desired effect is achieved. or name, 8) Protection (guptibhava) is obtained reciting ten thousand times the basic mantra or name, which is preceded or followed by the mantra "eye" OM JUM SAH. 9) The increase or supplying (apyayana) of power etc., means for the tantrika an act of corroboration with what is already going to be become powerful, i.e. a procedure by which the phenomenon develops more quickly. For this purpose, the basic mantra or name is preceded or followed by the mantra VIM. patterns used in Certainly, there are presented here only a few Saiva tantra. The utilization of mantra as substitute of action becomes obvious. The whole doctrine about the mantric universe has actually been developed into an occult linguistic by the Saiva thought. Saiva tantra has ascribed a metaphysical meaning, extremely elaborated, to sounds, padas and words. Abhinavagupta draws attention upon the fact that only the Saiva schools have reached such a degree of subtlety. The Saivites have established quasi-scientific methods about how to combine these syllables either with one another or with meaningful words in order to unfold their dormant powers. To produce the desired effect mantra must be intoned in the proper way. A mantra is not a prayer; also, mantra is not the name for the things the worshipper wants to tell the deity. Every mantra is a form (rupa) of Siva, hence a potent compelling force,

a word of power. 115 Saiva tantra regards mantras as living organisms. The special mantra which is received in initiation is the bija or seedmantra, sown in the field of the practician's heart. On the other hand, the mantras are instruments. They have fixed places in the ritual and varied effects, and cannot be interchanged. Formulas ('mantras) hold the gods that can be directed; the There this way, performer of the rites draws into himself the divine. are only three possible purposes of mantra, divisible no doubt into many sub-categories. These are : propitiation, aquisition and Acquisition is the most identification or introjection. All the ragas or passions provide the purpose of mantra as fulfilment of the need of propitiation, and as belief in the efficacy of propitiation. widely ramified purpose of mantra : acquisition of things which are though to be unobtainable or not so easily attinable through other religious efforts ; in short, acquisition of powers of control, which includes remedies, prophylaxes, all the occult siddhis and magical skills and the tantric and yogic "satkarma", i.e. "the six works" : Santi - the power to remove diseases and yield protection from the influence of evil constellations, curses and bad actions in some previous existence ; Vasikarana the power to bewitch men, women, gods and animals and to get work done by them, or have desires fulfilled by them; Stambhana the power of stopping othe::D:D:D:CHECKED actions, of stunning and of preventing the effect of others' actions, even when they are already operating 3B Vidvesana the power of separating friends, relatives etc. ; Uccatana the power to make enemies flee in shame and disgrace, also to explode houses and dwellings ; and the most gruesome one, Marana ->> the power of killing and maiming by mantra.

116 -> This is a The third and most sophisticated purpose mantra can have is what I call identification or introjection. establishing identity of the individual with the cosmic soul aham, Parasiva etc. The most tenacious form of mantric identification is the process of bhutasuddhi, "purification of the elements", which is an obligatory observance for the Saiva tantrika. In this rite, which is an aggregation of thoroughly standardized mantras and mudras, process of gradual involution is thought to take place whereby at first the body is identified with its various elementary sources; earth is associated with the sense of smell, water with taste, fire with sight, air with touch, and ether with sound. These individual functions of the subtle body (lingasarira) are "mergea" one by one into their sources, the practicant then identifies the last element (ether) by means of sound with the ego (ahamkara) and Supreme Siva who is the supreme absolute neutral deity. For the use of mantra there is a "determination of weekdays" (varanirnayah). It is said that mantra usage on Sundays creates a barbarian mind, on Monday it yields success in all activities, on Tuesday it gives wealth, in Wednesuay it causes distress, on Thursday it gives peace, on Friday it gives the power or subjugation (vasikarana), on Saturday it diminishes intelligence. The use of mantra on the first success in day of the lunation is futile and does not yield any result whatever, the second day gives wealth, the third day gives all efforts, the fourth day gives the power of subjugation and so on.

117 The rosary is the main auxilary in the repetition (japa) of mantra. Its number represents the totality of the most important deities of the tantric pantheon who are divided into four groups, symbolizing the four objects of life : dharma, artha (gaining and preserving mundane goods), kama (satisfaction of the desire for creature comforts) and moksa (liberation). The rosary has a fix number of beads, generally 108. Mantras have to be uttered or mentally repeated by aid of the rosary; the manner in which the rosary is employed has a particular signification. Thus, if the rosary be drawn over the thumb, the merit gained is the basic measure ; if the rosary be drawn over the heart, it is five times greater etc. Also, the material used for beads has a mystical importance.