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Samrajya-lakshmi-pithika, though primarily given to the worship of goddess Samrajya-lakshmi, is repeatedly proclaimed to be belonging to Akasabhairavakalpa(T) in the colophons of the Manuscript We are further informed by the learned editors of the printed text (of Samrajya-lakshmi-pithika) that Akasabhairavakalpa, in its turn, belongs to the background (lit. greenroom or neipathya sala) of Rudrayamala traditions. 15. 15 rudrayamalakhya-natpathya sala (ya akasabhairavakalpa pratisarantaragatya ....! (Sanskrit Introduction to Samrajya-lakshmi-pithika, p.7)

21 Modern writers like Kane (Kane, Vol. V, Part II P.1146) Teuen Goudriaan and Sanjukta Gupta etc. (History of Indian Literature (Hindu Tantric and Sakta Literature) Vol. II, Ed. J.Gonda, wiesbaden, 1981 p. 114) unhesitatingly carve out a place for Samrajya-lakshmi-pithika under Tantric literature While scholars like G.U.Thite, appears to hold a different view by not only calling it a treatise of Tantra only but some thing bigger than that - an encyclopaedia of magico-religion (vide 'Sambodhi' L.D.I.Ahmedabad 1978-79 p. 35 ff.) P.K.Gode on the otherhand, outrightly rejects any such claim and summarily disapproves its being called a tantric text. Says he, " ..... the work has no connection whatever with the tantric literature proper and the name Akasabhairavakalpa given to it in the colophons is quite misleading". ("Akasabhairavakalpa an unknown .... Vijayanagar" Gode Vol. II P.123). Thus Samrajya-laksmi-pithika appears to have generated two diametrically opposite views regarding its nature. In the following lines we also propose to make an attempt to be able to formulate some workable conclusions with regard to the nature of Samrajyalaksmipithika Normally, to pass judgement on the nature of a treatise as to whether it is tantric or otherwise, depends on how far it fulfils the norms of a tantric text proper.

22 "Srsti (creation) pralaya (dissolution), devatarcanam (worship of god-heads), Sadhana (practices of austerities) purascaranam (attainment of siddhi through repetition of a formulae) satkarma (six-fold tantric practices like akarsa, vidvesa etc.) and dhyanayoga (meditation yogic postures) are cryptically stated to be the seven qualifying marks or topics of an Agma by Varahitantra. The same and other Tantras with some more elaboration describe the subject (laksanam) of a such a sastra of to be the supreme spirit, creation and destruction of universe, origin and worship of the devas, classification of beings, the heavenly bodies, description of the worlds and hells, man and woman, Cakras of human body, the law and duty of the different ages and stages of life in the individual called asrama, sacraments, the consecration images of devata, mantra, yantra, mudra, spiritual training (Sadhana) and worship (puja), worship by offering of pancatattva, consecration of houses, tanks, wells, trees, description of holy shrives (tirtha), purascarana iapa, vrata, satkarma sadhana, ceremonial rites and magic, meditation (dhyana) and yoga, duties of king, law, custom, medicine and science". (Principles of Tantra (Woodroffe), pp.56-57) In the Introduction to Tantrasamgraha vol III, (Sampurnananda Sanskrit University, Benaras, 1979) we get as many as twentyone topics that characterise a tantra.

23 We are further informed by the editor that Mahavisvasaratantra possesses a still more voluminous list. Thus, in face of the wide-range of topics which are said to form the substratum of a tantra, one is lured call these the 'encyclopaedias of their time' (A. Avalon, Principles of Tantra (Woodroffe) P.56-57). To the above list, we may add another important feature, viz. the form in which a particular tantric text is represented. Normally, it is customary to present the contents of a tantric treatise in the form of a dialogue between Siva and Parvati or Parvati and Siva 16 (agama and nigama respectively). A survey of the contents of Samrajya-lakshmi-pithika reveals that it deals with many of the important topics as set out above. Mantra and yantra of the goddess Samrajya-lakshmi, worship of devas, ancient anecdotes, vrata, of the male and female, duties of a king, dana, nature of Adhyatma etc., reference to Satkarma and worship with Pancadravya, consecration of houses, forts, 16. When Siva is the speaker and Parvati, the listener it is known as Agama and when vice versa, it is a Nizama: Agatan sambhuvaktrebhyah gatanca giriiamukhe matanca vasudevena tasmadagama ucvate // Nirgato girija-vaktrat gatascagiririsa srutim matasca vasudeva sya nigamah parikathyate // (Agamadvaitanirnayah quoted by A.Avalon Principles of Tantra (Woodroffe) pp. 55-56)

24 throne etc., though in a nutshell, law and custom etc. Without minting much, it also describes a king on the path of pilgrimmage. Topics like creation and destruction of universe, the hells, the spiritual centres of human body etc. are not dealt by Samrajya-lakshmi-pithika But not all the standard tantric texts encompass all the topics and yet they are regarded as Tantric texts. Satcakranirupanam deals only with piercing the six centres of human body by rousing Kundalini and yet no one disputes its tantric character. Similar is the case with Saparyarahasya of Bhaskararaya Makhin which expounds only the intricacies of the tantric mode of worship. Thus, our contention is that not all topics are to be dealt by a text to enable it to be tantric. The form in which Samrajya-lakshmi-pithika is expounded also accurately conforms to the requirements of an Agama text. Added to all these, we frequently come across references to tantric formulae which are prescribed in the context of rituals. The details of worship like nyvasa, pratistha etc. (Samrajya-lakshmi-pithika 20.14, 21.15, 23.22) betray closer proximity to tantric modes. The description of the environs of goddess Samrajya-lakshmi, the milk-Ocean, the Sveta island and the abode of wish-gem (Cintamani) - all these compare too well with those given in context of Lalita (see Lalitasahasranama).

25 The goddess Samrajya-lakshmi is hailed as bestower of eight-fold tantric siddhis like anima, Laghima etc. (avahavami tam devin animadvastasiddhidam, 12.9). Her image, time and again, is mentioned to be consecrated with vedic and tantric formulae as in (20.14). In Patala (8. 12-15) we get reference to homa in connection with satkarma (akarsana, vasikarana, vidve sana, marana, uccatana and stambhana). In patala 64, which describes sixtyfour arts (kalas), seven types of stambhana are mentioned, viz, that of motion (gati), fire, water, eye, sword, tongue (speech) and semen (sukla). In this connection, special mention is also made of an intricate powers are type of tantric excellence like parakayapravesa (entering into another's body). The application of such mentioned in the context of royal entertainments during Navaratra (107. 19-21) amongst which jalastambha (checking the course of water), of fire etc. and many starting vidyas are stated to be exbibited before the public assembly, presided by the king. Also, worthwhile it is to note that a number of japa, homa and santis are said to be performed as per the mode of injunctions of Tantra (tantrikena vidhanatah). Patala 30 (8-10) instructs the practicant that for longevity, he should perform japa and homa with the three-lettered

26 formula of Mrtyunjaya, for arogya (recuperation) with vedic and tantric formula of sun-god, to retrieve lost articles, with twenty-lettered formula of Kartavirya etc. Then references to tantric formulae of Varaha, Nrsimha, Sudarsana, Daksinamurti Sarasvati, and Sastr are given for purposes like escape from raksobhava, obtainment of knowledge, for kingdom etc. The formula of Garuda also finds mention obviously to destroy the effect of poison (visanasa). Similarly, for Vidvesana, is considered suitable, Bhadrakali and mantra the Naradamanu, for rendering one speechless, is A prescribed the mantra of Bagalamukhi and for killing some one (marana) is mentioned the formula of Atharvaveda 'Yan kalpayanti (x. 1.1). Besides the rituals, secular topics like construction of a fort-wall or throne are seen replete with tantric references. In 37.17 we come to know about yantras (mystical diagrams) of Bhairava and Waga etc. that are to be cast at navel-high places of a fort-wall. At the four gates of a fort are respectively placed tantric deities like Vighnaraja in the east, Bhairava in the south, n in Bhadrakali in the West and Hanumat at the north. Similarly, eight houses in side the fort fly flags atop them with the replicas of Durga in her terrific form, Bhairava, Kalamrtyu, Maha-rudra, Yama, Aghora, Virabhadra the Vetala and Kalaratri... (37-5-7), embossed on them.

27 In 44 patala we are informed that the fourth and the fifth girdles of a throne, to the eight directions, respectively carry eight forms of Durga and eight forms of Kalika. the In coronation rituals also (49 and 51 patalas) king performs the consecration of dikpalas and other rites like pranapratistha etc. with Vedic and tantric formulae. Be it the daily routine (chores) or the celebration of a religious vow or festival, the king is instructed to follow the tantric mode of worship. The application of tantric formulae rarely escapes the king throughout his routine. The mid-day duty of the king which entails his proccupation at the khurali (gymnasium) (77.17) or during the celebrations of khural Ivrata (91.10), the king is beseeched to worship Vetala of lord Siva. Inconnection with vratas and festivals, viz., Ramanavami (84-12), Vrsabha (88.9) and Varalaksmi references like 'kalpoktamantraih ramam raman sampuival, man traih tantrikai vaidikai sampujya balivardan', 'kalpoktavidhina varalaksmim abhyarchya,' are not hard to come by. The Navaratra celebrations bear striking stamps

28 of the tantric mode in which the rituals are performed. Even the nine chariots which are used in this occasion are mentioned (pisaca-vadana) to carry the emblems of goblin's face or shaped after it (99.12). The worship of Burga and Laksmi and the sixteen royal insignia is done with Vedic, puranic and tantric formulae (105.6, 25 and 26). The sermons given to the king by the priest on this occasion also refers to other tantric practices. Nanamayakalajnanagarvitana bhimaninah / pratitantravalokena tadgarvamapakar saya " Vidyakalatantra siddhi-dyotakanam mahatmanam h hrdyopacara tastesam stitimutkarsaya prabho // Here we have references to two things the king is (101.8-9) of enemy by adopting and secondly, he being blessed to destroy the black magic suitable counter measures (pratitantra) must patronise, protect and honour the preceptors of these crafts. The Kumari-puja which forms a part of the Navaratra festival appears to be a purely tantric worship wherein the representative virgins of navadurgas like Kaumari, Trimurti, Kalyan I, Rohini, Kali, Candika, Sundari, Sambhavi and Durga are said to be worshipped with five articles of tantric worship like liquor, meet etc. (Pancatattvas) (110.32).

29 Thus, the picture that emerges through the host of such references to tantric practices, formulae et all, in Samrajyalaksmipithika, leaves one with little doubt that Samrajya-lakshmi-pithika, though not a tantric digest in itself or a base book of tantra, atleast highly approximates a text having Tantra, Kalpa or Agama as its basis and its tantric connections are thus proved above board. In view of the above mentioned facts, the arguments of Gode as set out above, appear to be highly untenable. In this context, we feel like concluding our discussion with the view of Arthur Avalon who appropriately who appropriately spells out the nature of a tantric treatise on the basis of examining rituals . if there be one subject which appears alone. He says, to distinguish the Tantras, it is portions of its ritual, such as the Yantras, Mudras, Bijas, Bhuta-Suddhis and so for th. Indeed, it is more by these than anything else that 17 the 'Tantrik' character of a work is established ... (Principles of Tantra (Woodroffe), p. 366) And, as we have seen, Samrajya-lakshmi-pithika in ample measure, does cultivate such material in its ritualistic descriptions. In view of this, it will in any case be not erroneous to argue that Samrajya-laksmi-pithika highly approximates a tantric treatise more than anything else. 17. Cf. Kane, Kane, vol. V, part II, p.1120.