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'vakyam rasatmakam kavyam'1 this definition of Kavya given by Visvanatha Kaviraja itself reminds us of the importance of rasa in a literary work. The literary works like epic and drama etc. have the delineation of various reses. The Kalikapurana contains a lot of Ekhyanas and upakhyanas, which are related in en elegant way. It is observed that the poet of the Kalikapurana was also very much aware of this most important element of the poetry. Infect, all varieties of rasa are depicted by him in appropriate places of his writings. below: Various rases from the Kalikapurana are illustrated 1. Visvanatha Kaviraja, Sahityadarpana, 1. p. 20.

108 SRNGARA Srngara rasa has been defined in the sahityadarpana² by Visvanatha in this way - The word srnga means to rise of sex instinct. The causes of the arising of srnga is the unique dependence of it. Rati is the permanent feeling of grigara rasa. srngara has occupied an important place in the literature. whole range of Sanskrit literature. The poets like Kalidasa and Magha have patronised this sentiment in The Kalikapurana also, delineating Smigara in an epealing way has presented the nectar of kavya to its readers. Srigara is of two types Sambhoga and Vipralambha. In the Kalikapurana both these types have been depicted in most charming way. The erotic daliances of siva and Sati have been drawn in the 14 th and 15 th chapters of the Kalikapurana Their post marital love is presented here. Siva after being 2. srrigami manmathod bhedastadagamanahetukah / uttamaprakrtiprayo rasah srigara isyate // Ibid, 3.183, p. 185.

109 happily married to sati returns to Himavatprastha with his consort, where the cloud announced the commencement of rainy season by its deafening roarings. Inspired by the damp wind of the season the newly wed couple nourished their passion by various love sports. Hara sometimes collected wild flowers and made garland and put it on Sati's neck. In other time he found pleasure in untying and decorating the tuft of sati's long dark hair. Enamoured by sati's brilliant beauty he sometimes closes the eyes of Sati and sometimes becoming invisible with his divine power embraces sati from her back thus making her panicky in fear. He, out of passion, decorates her feet with bright alaktakes and breasts with dark kasturies. souvarnapadmakalikatulye tasyah kucadvaye / cakar bhramarakaram mrganabhiviseskam 11³ The couple enjoying long in Kailasa proceeded to the valley of Mahakausi river. In that place the spring, at the request of kamadeva menifests itself in the 3. Kalikapurana, 14.22

110 surroundings. In the pleasant atmosphere of the spring season they remained engaged enjoying each other for twenty four years by the standard of god. In the matter of erotic enjoyment, the beautiful sati became his beloved to his heart's content, as if she entering into his heart, got him drunk the very essence of conjugal love. sambhogavisaye devi satitasya manah priya / bisativa harasyange payayantiva tadrasam // 4 All the elements of sambhoga srrigara is present in these descriptions. sive and sati, one is alambana vibhava to the other. The rainy season in the Kailasa and the spring season in the Mahakausiprapata work as uddipana vibhava respectively. Seasons are considered as the best exciter of the passions. In the Natyasastra, while going to tell about the vibhavas of grmgararasa, Bharata at first mentions 4. Ibid, 14.52.

111 Ttu as the exciter or inflamator i.e. the uddipana vibhava of Srgare.5 Abhinavagupta while commenting upon this verse of 6 Natyashastra says that 'rturvasantadih', i.e. the seasons Vasanta etc. are the vibhava of Srrigara. Another season varsa may be suggested by the word adi. Hence, the vasanta and varsa are considered as the srngara. Uddipana vibhava of Between these two seaons varsa is treated as the uddipake of vipralambha srrigara while vasanta has been treated as that of sambhoga. Valmiki in the 28 th sarga of Kiskindha Kanda of the Ramayana has drawn the picture of rainy season as the Uddipake of Vipralambha of Rama and sita. Methaduta of Kalidase is such a kavya where the background of rainy season has been prepared for delineating the Vipralambha of Yaksa and his wife. But in the 5. 'sambhogastavat rtumalyanulepanalamkarestajana visayevarabhavonopabhogopavana gamananubhavan sravannadarsana kridalotadibhi vibha vairutpadyate' Bharatmuni, Natyasastra, 1.6, p.301. 6. Abhinavagupta, commentary on Natyasastra, 5.12.

112 Mrcchakatika of Sudrake, a cloudy evening with resoundings of thunder storm and with torrents of rain has been taken as the background of sambhoga of Carudatta and Vasantasena. Jayadeva also draws a picture of cloudy sky under which Krsna and Radha played their love sports. In reality, "Varsa works more affectively as uddipanavibhava of sembhoga and hence it becomes more touching and more affective in the case of Vipralambha". 7 In the Kalikapurana also the poet has chosen the rainy season as uddipana vibhava to portray the Siva love in union of sive and Sati. When siva entered in the valley of Mahakausi with Sati then Vasanta, at the request of Kamadeva exhibited his wealth in everything on earth around Samkara. Spring is always favourable to Sambhoga grngara. Kalidasa in his Kumarasambhava draws a graphic picture of the spring season in third canto to ground for the love of siva and Parvati. 7. M.M. Sharma, 'Varsa aru Srngara' Upamakalidasasya, p. 59.

113 Not only the vibhavas but also the anubhavas are also very properly supplied for the delineation of eros. Hara, with his gossiping, amorous side long glances, sweet smiles and pleasant words entered into Parvati's heart. alapairviksanairh@saistatha sambhasanairharah tasyam vivesa girisah samyamivatmasamvidam // 8 Hugging, combing each other's hair, decorating each other with leaves and Flowers etc. are described in detail which work as the vyabhicaribhavas of the love of 9 Siva and sati.⁹ kadacit kuntalamstasya ullasycullasamagatah / badhnati mocayatyevam sasvatsmmarjayatyani // 9 Again in the 45 th ch. of the Kalikapurana the love making of sive and Parvati is depicted perfectly. Besides drawing the sambhoga of the hero and the heroine, the Kalikapurana presents different varieties of Vipralambha. 8. Kalikapurana, 14.54 9. Ibid, 14.17.

114 Vipralambha or love in separation is defined by Viswanatha.10 It is of four types- Purvaraga, mana, pravasa and Karuna. Purvaraga 11 is found in 10 th ch. of the Kalikapurana Kamadeva threw his flowery shefts on meditating Hara at the behest of Brahma. Hara turned highly enchanted by the blossoming youth of Daksayani and proposed to her. Daksayani, enomoured with Hara to take her as his wife with the consent of her father. 'piturme gocarikrtya mam grihisva jagatpate'. Thereafter, Daksayani assured Sambhu and proceeded home in a mood of delight and enchantment and Hara also returned to his hermitage. But there he felt the pang of separation from Daksayani and sat on meditation. haropi himavatprastam pravisya ca nijasramam daksayani vipralambha duhkhad dhyana paro'bhavat. 13 12 10. yattra tu ratih prakrsta nabhistamupaiti vipralambho'soul Visvanatha- Sahityadarpana, 3.187 a. 11. sravanaddarsanadvap; mithah samrudh ragayoh / dasaviseso yoapraptou purvaragah sa ucyate // Ibid, 188. 12. Kalikapurana, 10.19 b. 13. Ibid, 10.23

115 In another place (ch.45) the menavipralambha 14 is portrayed by the poet of the Kalikapurana After the marriage was solemnised Hara enjoyed the nectar of conjugal love with Parvati under bowers and caves of the Himalayas. Once a group of youthful and charming heavenly nymphs arrived there. Having observed them bright and white in complexion Hera addressed Uma as 'Kali - 'kalibhinnanjana syama' and asked her to converse with Urvasi. The nymphs having been gone away Ume left the place and kept herself hiding some where in the slopes of the Himalayas. Vrsavahana, being bewildered at her disappearance searched for her and when found she prevented him from embrassing her. He, as if torn into pieces due to the grief of separation, tried to pacify her who has taken recourse to the wounded sense of honour. tamasadya tatah sambhuh kimartham bhajah priye/ manam manonudam devi visirnaevacabrevit // 15 14. Sahityadarpana, 3.198. p. 194. 15. Kalikapurana, 45.60

116 The poet has depicted the agony of lovelorn Hara, who has lost the peace of mind (tadacaksva drutam kante mano prasidati 6 in seven verses (58-64) of the 45 th ch. of the Kalikapurana Thus the manaviprahambha of Hara and Parvati has also been portrayed in a successful way by the poet of the Kalikapurana KARUNA RASA Sahityadarpana 17 Visvanatha has been defining Karunarasa in the The Karuna rasa arises due to death and any harmful suffering of the dearest one. The scholars say that the symbolic colour of Karuna rasa is that of the colour of the dove. 'Yama' is the presiding god of that rasas. In the Kalikapurana the Karuna rasa has been delineated in a touching way. In the 16 th ch. of the Kalikapurana, Karuna rasa has been delineated in the lamentation of Vijaya. When 16. Ibid, 45.62 b. 17. istanasadanistapatehkarunakhyo raso bhavet ghiraih kapotavarno'yam kathito yamadaivatah / Sahityadarpana, 3.222. p. 209.

117 Sati adopting a posture of yoga closed all the doors in her body, then Vijaya, niece of Sati with a view to seeing her arrived there and having found her dead wailed bitterly. ha sati kva gatasiti ha satiitava kimnivadam / ha matrsvasarityuccaistada sabdomahanabhut // 18 Vijaya lamented recalling Sati's virtues and feel on the ground and fainted. Again in the 17 th and 18 th chs. of the Kalikapurana, Karuna rasa, has been delineated by the poet. Siva, on approaching Sati's breathless body forgot everything and was overcome by grief. He went over the deadbody of sati uttered various names of sati. He turned so mad in grief that he once decorated the body of Sati with ornaments and again removed them. His tears rolled down sive in his uncontrollable grief picked up from his eyes. the deadbody of sati on his shoulder and proceeded to the pracyadesa the eastern region. atha sokavimuhatma vilapan vrsabhadharjah / jagama pracyadesamistu skandhe krtvasatisavam // 19 18. Kalikapurana, 16.52 19. Ibid, 18.36

118 In this descriptions, the alambana is sati, uddipana is the mental agony of Vijaya and siva. Wailing loudly, rolling on the ground etc. are anubhavas. Uttering Satl's names, loosing consciousness, Siva's madness and resulting activities like decorating the deadbody and finally picking up the deadbody etc. vyabhicaribhavas. Thus Karuna rasa has been delineated in the Kalikapurana with all it's necessary upadanas. RAUDRA RASA The relish of gaudra rasa is also felt in some places of the Kalikapurana In the 17 th ch, after hearing everything from Vijaya leading to the death of sati, Sambhu rose in a violent anger like the blazing fire. Then innumerable sparks emerged from his ears, nose, eyes and mouth, He raged in anger and shone like the terrible Sun at the end of a cycle of the world. iti srutva vacastasya vijayaya vrsadhvajah / ativa kopaduttasthou didhakasuriva pavakah // tasya kopaparitasya karna nasaksi vaktratah /

119 ghora jalantzah kanikah srjantyo'gnermaharam 鈽� ulka vinihsrta vahvayah kalpantadityavercasah 1/20 Siva saw the sacrificial ground glowing with splendour and attended by divine, semidivine and earthly personalities. Virabhadra being ordered by siva started destroying the sacrifice with the help of ganas, but, Visnu prevented him from doing so. Sambhu having seen Virabhedra being resisted, became so furious that his eyes turned red and face hardened. He then himself entered into sacrificial enclosure and started destroying it. At first Bhaga came to prevent him but siva being highly enraged rooted out both his eyes by the tip of his finger. He also threw Divakare far away by holding his arms. In this description, all essential elements of Raudrarasa have been supplied by the poet. The paudra rasa 21 has been introduced by Darpanakara in his Sahityadarpana Ch. 3. The sthayibhava is krodha of siva. Daksa and other organsers 20. Ibid, 17, 17-18. 21. Sahityadarpana, 3.227-230.

120 of the sacrifice is Elambana vibhava, activities of visnu. Bhaga and Divakara are uddipana vibhava. Attacking, destroying, plucking of Bhoga's eyes, throwing away Divakera etc. are anubhavas, siva's redness of eyes, violent temper are Vyabhicaribhavas. Raudra rasa is again delineated in 42 nd ch., where Madana was reduced to ashes by the fiery glance of the third eye of Siva. Thus the paudra rase is also delineated in the Kalikapurana with all it's essential elements. VIRARASA The Virarasa 22 has been introduced in Sahityadarpana by Visvanatha. Usually the virarasa is felt in the description of the fights. For example, in the 30 th ch. of the Kalikapurana, the virarasa is seen of the fight between Varaha and Sarabha. 22. uttamaprakrtirvira utsahasthayibhavakah / mahendravaivato hemavarno'yam samudahrtah // alambanavibhavastu vijetavyadayo matah vijetavyadicestadyastsyoddipanarup anubhavastu tatra syuh sahayanvesnadayah // scarinstu dhrtimatigarvasmrtitarkaro mancah / saca danadhrmayudhairdayaya ca samanvitascaturdhasyat// Ibid, 232-234.

121 sarabho'pyatha damstragrairnakaistiksnaih khuraistatha/ langulesye praharaistu tundghetair mahasvanaih // caturbhih potribhistaistu sa ekah sarabhomahan / ekantam yodhayamasa sahasram parivatsaran // 23 The Sarabha, single handed fought with the Varahas striking them with the help of sharp teeth and nails, the hoofs, the tail and the snout, made big noise and thus they fought against full of one thousand years continuously. Again there is another description of virarase in 40 th ch. of the Kalikapurana is found in the battle where Lord Krsna fought with Hayagriva and Naraka. Thus virarase is also delineated in the Kalikapurana ADBHUTARASA 24 The Adbhutarasa has been defined in Sahityadarpana by Darpa- nakara. The Kalikapurana gives the feeling of Adbhutareae in many 23. 24. Kalikapurana, 30. 71-72 adbhuto bismyasthayibhabo gandharvadaivath / pitavarno vastu lokatigamalambanam matam // gunanam tasya mahima bhaveduddipanam punah // stambhah svedo'the romancagedgadasvarasambhramah tatha netravikasadya anubhavah prakirtitah // vitarkavegasambhrantiharsadya vyabhicarinah / Sahityadarpana, 3, 242-244.

122 places. The fight between Varaha and serabha described in the 30 th ch. of the Kalikapurana gives the feeling of AdbhutaThe figure of Sarabha as described rasa to the readers. here has four feet below and four feet on top of the body, covers two lakh yojanas in height and one and half yojanes in dimension, has a very huge body, very long face and nose and nails, eight big teeth, a cluster of manes, a dreadful and terrible tail. The descriptions of Yajnavaraha and his three sons are also equally amazing. These descriptions arouse wonder in the mind of the reader. The supernatural activities of Sarabha and the Varahas are the uddipana vibhava, the high jump, loud cry, enlarged bodies etc. are vyabhiceribhava. The sentiment of wonder is aroused in the heart of the readers by all these unusual and amazing descriptions. Besides all these descriptions, the supernatural forms and activities of gods and demons are found in many places of the Kalikapurana Such descriptions enchant the readers and very often convert the vismayabhava of sahrdayas to Adbhutarasa.

123 HASYA RASA According to the alankarasastra, where abnormal figure, dress and action are shown Hasyarasa 25 or the sentiment of humour should be perceived. As the Kalikapurana is a religious and cultural production, so there is no scope of catering Hasyarasa. One can relish the sentiment of rumour only in the description of wedding procession of Sive in Ch. 11 th of the Kalikapurana Though the poet of the Kalikapurana attempts to present the relish of different types of rasa, yet the whole play is meent to glorify the superiority of Devi, the devine female entity. So in that way the whole work can evoke the feeling of reverence to the goddess in the mind of the readers and listeners. This feeling of reverence for a deity is technically called a Deveviseyakaratibhava. It is needless to enter into the controversy as to whether this Devevise. yakaratibhava is to be reckoned simply es ra case of 25. Vikrtakaravagvesacestadeh kuhakadbhavet hasyo hasyasthayibhavah svetah prathamadaivatah Ibid, 214.

124 bhavadhvani or a case of Bhaktirasa. Whether we call it a Devavisayakaratibhavadhvani or a case of Bhaktirasa, the relish remains the same for the sahrdayas yet it should perhaps be more reasonable to recognize the principal sentiment of the Kalikapurana as Bhaktirasa with due deference to the Saktism prevalant in Assam since pre-historic times. It will perhaps be not out of place to spend a few lines on Bhakti to show how different methods of practising Bhakti has been enumerated in the Kalikapurana to arouse the sentiment of devotion of the reader. deity. Bhakti is a form of loving devotion to a personal Bhakti has been defined by sage Sandilya in his 26 Bhaktisutra. 27 Narada also in his Bhaktisutra defines it. Devotion to god mixed with intense love can be called Bhakti. The theory of Bhakti in India was propounded by 26. sa bhakti paranuraktirisvare Sandilya ilya Bhaktisutra, 1.1.2, p. 4. 27. sa tvasmin paramapremarupa Narada Bhaktisutra, 2, p. p. 2.

125 the devotees of god Visnu through the works like the Bhagavata Purana, Bhagavadgita, Mahabharata etc. But the concept of Bhakti is as old as the Vedas. Prof. Barth observes that "the attitude of affectionate intimacy for gods at least as a sentiment analogous to the approach of Bhakti is best seen in the 28 29 hymns to Varuna". Mrinal Dasgupta' also observes that Varuna "is one of the most personalised of all the Rgvedic gods, and the feeling expressed in these hymns is very difficult to distinguish from incipient Bhakti". He further says that the hymns of Varuna "still give evidence of a psychological mood of dependence and supplication to a god of grace, in which indeed one must seek the originals of a doctrine of Bhakti" 30 But "the word Bhakti in vedic literature meant distribution, partition, separation or a share, and in the Nirukta, as in Rovedapratisakhya, it 28. 29. Barth, The Religions of India, p. 18. Mrinal Dasgupta, 'Sraddha and Bhakti in Vedic literature', Indian Historical Quarterly, Vol. VI. p. 327. 30. Ibid, p. 328.

126 gives the sense of succession, order or series or an 31 attribute". But in the Svetasvataraopanised by the expression "yasya deve parabhaktih (VI. 23). We are brought very much near the later developed concept of Bhakti". 32 Thus Bhakti or intimate love to a personal god is originated along with the Vedic deities. Among the post Vedic gods Visnu could attain some remarkable eminence and the theories of Bhakti found a scope to evolve around him and therefore the Vaisnave scriptures usually deal with Bhakti elaborately and the bhakti movement during the middle era of Indian history was conducted by the Visnu devotees to propound the Bhaktiyoga among the masses. But it doesnot mean that the term bhakti implies only the Visnu Bhakti or devotion to Visnu only. There may be siva Bhakti, Durga Bhakti, Ganesa Bhakti and so on. Whoever be the 31. M. Neog, The Bhaktiratnakara of Sankardeva and history of the concept of Bhakti, intro. P. 6 32. Ibid. p. 6.

127 object of devotion, if the method of devotion is Bhaktiyoga, the devotee will be called a follower Bhaktimarga. In the Kalikapurana mother Goddess is the object of devotion and let it be analysed how she has been adored by different methods of Bhakti. are 33 These The Bhagavata Purana prescribes nine types of Bhakti. sravana, kirtana, smarana, padasevana, arcana, vandana, sakhya, dasya and @tmanivedanam. In this verse of Bhagavata Purana it is said that all these types of Bhakti relates to Visnu only. On the otherhand Visnu has been identified with siva and sakti 34 etc. in several places of the Kalikapurana sravana 35 or listening to the celebrations of the Lord is the first type of Bhakti. In the Kalikapurana a number of stories are told to glorify siva, Visnu and Devi in different 33. sravanam kirtanam visnoh smaranam padasevanam / arcanam vandanam dasyam sakhyamatmanivedanam /l Bhagavata Purana, 7.5.23 34. mama visnuoh samkarasya ya vapurvvhanetmika / tasyah prabhavam ko vaktum gunan vettunca kah ksamah// Kalikapurana, 5.48. 35. sravanam nama tantramadisabdanam paroktanam svaoktanam srottena grahanam / Bhaktiratnevali, Kantimala by sridharswamin.

128 contexts and those are listened by the devotees like Kamatha, Aurva, Sagara etc. It is also repeatedly told that one who listens to these glorifications of gods and goddess obtain certain fruits. For example idam svastyyanampunyam guhyadguhyatam subham / yah spotyekacittah san ca mahapunyabhagabhavet // 36 This is the harbringer of welfare, this is the virtuous one, the secret most of the secrets; whoever listens to this with undivided mind, he acquires great merit. such declarations are found in the chs. 21-120, ch. 24.150, ch. 30.182, ch. 35-23-24, ch. 44-48, 59, 60; ch. 45-189 to 192, ch. 55.102, ch 56.61 to 63 etc. Kirtana or the celebration of the names of Siva, Durga and Visnu and other gods are done in the prayers offered to them. In the Kalikapurana, there are twentyone prayers. In these prayers the glory of gods and goddesses are chanted. These prayers are composed in various metres and can easily be set to tunes. These are thefore meant 36. Kalikapurana, 21, 121.

129 for singing. Singing the glory of the Lord by describing his divine form and divine activities help a devotee to knit e intimate relation with God. Kirtana is again of five types- Namoccarana (Utterance of the name) stuti-patha (prayer) katha vyakhya (story telling) gita (singing) and abhinaya (acting). Stutipatha and kathavyakhya is frequently found in the Kalikapurana All the prayers incorporated in the Kalikapurana falls under the first category and all the Ekhyanas upakhyanas relating the glory of the Lord falls under the second group. In the process of practising Bhakti, the first three stages i.e. srevana, kirtana and smarana are of much importance. The devotee first listens to and chants the glory of God and gradually begins to meditate on him. But among Thus one gets involved in the thought of God. these three, smarana occupies a prominent place, because this process is comparatively difficult and said to be more effective. For srevana and kirtana, the physical effort of a devotee is sufficient. But to practise smarana one has

130 to contract all his sense organs along with the most fickle and frivolous mind to concentrate on one Lord. Moreover, sravana and Kirtana may not be possible for a person to practise all the twentyfour hours a day. But a devotee who takes to the device of Smarana can remain mentally absorbed in the thought of God all the time. 37 His devoted mind is constantly associated with his holy name hence the total involvement of a devotee to God takes place in the case of Smarana. Smarana may be of two types, such as rupadhyana and namajapa. Rupadhyana is meditation on the different forms of a particular God. The mental submission to an imagi - nary figure of god placed in one mind is called runa-dhyana. In the Kalikapurana, the rupa-dhyana of Kamakhya is held in high esteem. Ch. fiftyeighth gives a description in of the form of Kamakhya with her mount and weapons and says that, 37. T.N. Sarma, Bhaktived, p. 78.

131 evam rupena yo dhuetva pujayet satatamsivam / brahme visnu sivastene pujitah syurasamsayam // 38 Whoever worships siva after meditating upon her in this form, he, no doubt, accomplishes the worship of Brahma, Visnu and siva. 38 Namajapa is muttering the name of a particular God. Namajapa is of three types- Vacike, Upansu and Manase. voice is Vacika. Muttering of the name of God is a loud Muttering in a slightly audible voice by little movement of the lips is Uparisu. Repetition of the name within the mind is called Manasajapa. The Kalikapurana introduces number of japas. Among them ch. fifty second presents Mahamayadhyana, chs. fifty third and seventy fourth presents Kamakhya dhyana. These are all runadhyana. The procedure of silent utternace of Tripura mantra is given in the ch. seventy fifth. This is an example of Manasejepa. 38. Kalikapurana 58, 69 b - 703.

132 Among these three types of Namajapa, Manasajapa is held in high esteem in the smrtis or legal texts. In the Kularnavatantra we find the position of Manasajapa in this way - 39 The loud utterance of the name is of the lowest quality, Upansu is called mediocre, Manasa is the best of all; thus o' Devi, japa is said to be of three types. 40 Manusamhita repeats the same thing in this way Muttering of a mantra is ten times more meritorious than a ritualistic sacrifice, the muttering of the name in low tone is a hundred times and a mental repetition of the name of God is a thousand times more meritorious. Padasevana has been defined by sridharaswamin in his commentory Kantimala on the Bhaktiratnevali of Visnupuri in this way tatra padosevam nama poricaryya pratimadau. 39. uccairjapo'dhamah proktah upansur madhyamo smrtah uttamo manaso devi trividhah kathito japah / Kularnavatantra as in Banglaviswakosa, Vol.6, p. 638. 40. vidhiyajnajjapayajno visisto dasabhirgunaih/ upansuh syacchatogunaih sahasro manasah smrtah // MS, 2. 85.

133 Service to the idol of God is called Padasevana. In the Kalikapurana direction for full arrangement of an worship is prescribed in chs. fifty fourth to fifty eighth. Preparing the place of worship, drawing of Yantras and Mandalas (ch. fiftythird), placing the image of the goddess (chs. sixtysixth and sixty eighth), decorating goddess with various item etc. are services rendered to a deity. Instruction for practising this type of Bhakti is found in the Kalikapurana in the chs. fiftyfourth to fiftyseventh etc. Arcanapuja'. To worship a deity following the instructions laid down in the scriptures is called Arcana type of Bhakti. The Kalikapurana advocates for practising Bhakti by the means of Arcana. In this method fruits, flowers, various types of food including sweet meat, cloth, scent are offered to a deity. Lord is pleased with him, who offers a handful of water to him, with profound devotion. .41 In the Gita the Lord utters the same view. 41. patram puspam phalam toyam yo me bhaktya prayocchati/ tadaham bhaktyupahartamasanami praya:atmanah // Srimadbhagavat Gite, 9.25

134 The Kalikapurana prescribes the ritual procedure of Devi in various ways. Chs. fifty second to fifty sixth present the rules of worship of Mahamaya, chs. fifty ninth to sixty fifth prescribe all the rules of worshipping Candika, Durga, Bhadrakali, Ugracanda, Vaisnavi, Kamakhya, Tripura and Sarada. Moreover chs. sixtyseventh and sixty eighth provides some elaborate lists of sacrifice to Devi. The list includes birds, tortoise, nine varieties of fish, deer, buffaloes, iguanas, cows, goats etc. and even human sacrifice is also prescribed in the Kalikapurana 42 Detail instruction of worship by offering sixteen varieties of items is given in ch. sixty eighth. Description of four varieties of cloths are found in ch. sixty ninth, which could be offered to the goddess. Five varieties of naivedya - bhaksya (eatable food), bhojya (eatable without mustication), lehya (lickable), peya (drinkable) and cosya (things that may be suck) which 42. Kalikapurana, 55. 3-4.

135 can be offered to the goddess are mentioned in ch. seventy. Besides, names of fruits, flowers, roots etc. the names of cakes are also included here. Thus Kalikapurana puts stress on the Arcana type of Bhakti. Salutation to the lotus feet of God or Goddess is called vandana. salutation to a deity brings the feeling submission to the God. Various methods of salution are prescribed in the Kalikapurana in the ch. sixty sixth. There are seven types of salution. trikonamatha satkonamardhacandram pradaksinam / dandamastangamugrance saptadha natilaksnam // 43 Those are trikona, satkona, ardhacandra, pradaksina, dandam, astanga and ugra. Different poses in the salutations are also directed in the Kalikapurana and accordingly. when an adept proceeds from the south to the north-west and from there to the north-east and then to the south again, thus when obeisance, is paid, that is called 43. Ibid, 66.5

136 'Triangle' (trikona namaskara) which gives delight to the Goddess Tripura. When an adept proceeds from the south to the north east, from north-west to the north-east, from there to south, then leaving the south enters in to the south-east, from the south-east proceeds to the south, then proceeds to the north direction, from north to the south-east, the circumbulation is called double triangle (dvitrikona); this six angle, obeisance gives pleasure to siva and Durga. If an adept proceeds from the south to the north west and then, by making an about turn proceeds from the north west to the south again and pays his obeisance that is called crescent moon ( ardhacandra namaskara). If an adept makes a single round and pays his obeisance that is called circumbulation (pradaksina) by the twice borns. If an adept leaves his seat behind and doesnot perform circumbulation and pays his obeisance to the Goddess Durga by prostrating himself on the ground like a staff that obeisance is called danda, which causes delight to the host of Gods. If an adept pays his obeisance (to the Goddess prostrating himself on the ground like a

137 staff as has been stated above, and touches the ground by his chest, the chin, the mouth, the nose, the two checkbows, the top of the head, and two ears in proper order that is called eight limb obeisance (astanga namaskara) by wise persons. If an adept performs three circular circumbulation and then touches the ground with the top of his head and pays his obeisance that is called urga namaskara by the host of Gods, which pleases all Gods. Dasya, sakhya and atmanivedana are three mental stages of a supplient devotee. By long and constant practice of sravana, Kirtana etc. the mental status of a devotee is elevated to such a high status that the devotee feels an intimate relation with the God. By performing the devotional services like padasevana, arcana etc. the devotee considers himself a servant of the Lord. When the intimacy grows gradually the difference between the God and the devotee decreases and at one time itvanishes and for a devotee the God becomes a close friend on whom he develops an unflinching faith. such faith the god

138 leads to the stage of atmanivedana, when the devotee offers his thoughts, activities movements or even himself to the lotus feet of the Lord. At this stage a devotee entire self merges into the god. In the Kalikapurana the example of Parvati is given who surrenders herself to the feet of Lord Siva. 44 After giving various instructions on dhyana, japa, arcana, vandana, stulipatha etc. it is said that a person, who abides by all these instructions and does accordingly will reside in the abode of goddess for hundreds of the ten millions of Kalpas. 45 Bangiyasabdakosa sas "The one year of man becomes the single day and night for the god. There are twelve thousand years of god or the fouryuga makes a divyayuga. Thousand daivayuga of Brahma make a day or Kalpa. #46 44. namah sivaya santaya karanatrayahetave nivedayami catmanam tavam gatih paramesvara. Ibid, $3.95 45. Kalpakotis atam yavaddevigehevasennarah // Ibid, 59.95 a 46. Bangiyasabdakosa, Vol. I.

139 Thus it is observed that the Kalikapurana lays down instruction for practising all types of Bhakti es stated by the scriptures. It is true that all these are the technical materials and are found in the gastras only. But Kalikapurana presents all those in a poetic style. Those are presented through the conversation of two interlocutors. Either Markandeya or Aurva or Siva hands over the knowledge of Bhakti to the devotees Kamatha, sagara or Parvati respectively. Those are again presented in a story telling manner. As the ritual procedures are inserted in to the akhyanas, they form part of the later. Moreover, they are related in a lucid way, which give a poetic flavour to the narrations. Considering the presence of all these characteristic features Bhakti can be placed in the position of principal sentiment of the Kalikapurana