Radhddimantra -Nirfipanam Mantras of RAihd and others

12. О brahmins, after hearing thus of the mode of worship of all incarnations along with their mantra and procedure of meditation, Narada of divine vision, humbly asked him of the names of incarnations of Shri Rad ha, the primordial mother of the universe.

3. О sage, I am blessed and contented thanks to your grace, since I have heard the greatness of the mantras of the mothers of the universe.

4-5. Just as the incarnations of lakynl and others have been glorified, so abo, (please recount) the greatness of the incarnations of Radha. I wish to hear it О foremost among the knowers (of greatness) what is their number? What are their features and powers of the incarnations of Radha? Please recount them truly as all of them are the bestowers of all attainments.

6. On hearing these words of Narada, Sanatkumara, the son of Brahma, meditated on the lotus-like feet of Radha and said.

7. Listen, О brahmin, I shall mention the secret of secrets, the story of the incarnations of Radha. It is the bestower of desired achievements to those who are devoted to her.

8-11. Candravall and Lalita are the two everlasting beloved friends. Candravall is the chief among the group of eight beginning with Malavati. Lalita is the mistress of the eight beginning with Kalavatl. In the worship of Radha’s feet, Malavati and others are mentioned. Now listen to the names of those of whom Lalita is the chief. They are Kalavatl, Madhu- matl, ViSakha, Syamala, Saivya, Vrnda and Srldhara. They are possessed of the form similar to hers. There are other friends also mentioned to be thirtytwo among whom SushIlsh is their chief.

12-15. О highly blessed one, listen to them. I shall mention their names. They are: Suftla, SaSilekha, Yamuna, Madhavi, Rati, Kadambamala, Kuntl, J ah navi, Svayamprabha, Candranana, Padmamukhi, Savitri, Sudhamukhl, Subha, Padma, Parijata, Gaurini, Sarvamangala, Kalika, Kamala, Durga, Viraji, Bharat!, Sura, Ganga, Madhumati, Sundari, Candana, Satl, Aparna, Manasa, Ananda, these are the thirtytwo friends of Radhika.

16. Once, gentle lady Lalita assumed the male form of Krishna. She created sixteen Kalas (parts) having the same lustre like her.

17. О excellent sage, I shall describe their mantra, meditation and their mystic diagram and their mode of worship. It is a great secret in all Tantras.

18-21. The following Saktis are vowels: Vata (a) marut (a), agni (i), vahni (I), dhara (u), Jalaxn (u), vibhu (1) svah (1), cara (e), iuci (ai), bhuh (o), vanam. (au), kham (am). 1

1. These verses give the code of alphabets at followed by Tantrartja, These modes are quite different from those which we have followed so tar.

Prana (ка), tejas (kha), Sthira (ga), vah (gha), dyuh(na), vayu (ca), prabha (cha), jya (ja), kam(jha), abhratn (fta), nada (ta), davah (tha), kuh (da), patha (dha), vyoma (na), rayah (ta),sikhi (tha), gotra (da), toyam (dha), sunyam (na), javl (pa), dyuti (pha), bhumi (ba), rasa (bha), nabhah (ma), vyapta (ya), daha (ra),rasa (la), ambu (va), viyat (sa), sparsa (sa), hrt (sa), hamsa (ha) ila (la), grasa (ksa) are of the nature ofhal (consonants),

22. Radha herself is lying in grasa (ksa) and she is of the nature of sakti, the remaining sixteen are her kalas and the thirtytwo are known to be their kalas.

23-25. The entire sphere of Vak, О lord of sages, is permeated by these saktis. Shri Radha1 1 has assumed the form of Sodas! (the sixteenth) among those led by Lalita. She is called the goddess Sundari by the Tantrikas. How Kurukulia Varahi and both Candravall and Lalita came into being and the number of mantras also will be recounted by me to you in the proper way.

Hrt (sa), prana (ka), ila (la), hamsa (ha) with daha (ra), vahni (I) and sva (.) is cited as Lalita.2

26-27. With the difference of arrangement of hamsa (ha) she is of three forms, listen to it according to its sequence. The first one is preceded by hamsa, the intermediate one in which ha is lying in the middle and the third is the basic one. The fourth one is she herself with them (that is three groups of syllables) by the last hrun. Among the bljas the fourth one is conducive to liberation and the three others are conducive to possession.

From the above account we do not find Visargti, but on the perusal of the text we find that iakti to represent Visarga,

1. In order to colour the text with the Vaiptaua tradition RadhA is stated to be the Supreme Shakti and all things are her emanations. From the aspect of matfkd she represents kjat the last of the consonants, candrdvail and Laiitd, stand for hathsa (ha) and ild (la) respectively. The sixteen vowels are their kalis and consonants are the kalis of those vowels. Hence the entire creation of words is thus permeated with these Saktis.

The blja of Vaani1 2 is mentioned by daha (ra), bhumi (va), rasa (la), k?ma (u) and sva (.) (that is vlum). The great Kameivari bija is mentioned by prana (k), rasa (la) joined with iakti (hrim) (that is klhrim). Tlie mantra of Mohini is formed by the combination of shunya (na), ambu (va), rasa (la), vahni (I) and sva (.) (nvllm). The bija of Vimala is mentioned by the combination of vyapta (ya), rasa (la), kshma (u) and sva(.) (that is yliim). By the combination of jya (ja), nabha (ma), daha (ra), vahni (I) and sva (.) the mantra of aruna is formed.

31-32. The mantra of Jay ini1 is cited as the bestower of victory everywhere. The mantra consists of kam (jha), nabha (ma), daha (ra) vyapta (ya), k?ma (u) and sva (m) (that is jhmryum).

The mantra of Kaulini consists ofgrasa (ksa), nabhah (ma), diha (ra), vahni (i), sva (.) (that is ksmrim).

1. These vena give the mantras of Vafini, Kamefvari, Modmi, Vimald, Aru^A, Jayvd, Sarvastddhskari, Kaulini.

In MitjafotfajikAroava we have these deities mentioned along with their boas. The deities are connected with the letters of alphabets. These groups of eight are the presiding deities of the eight groups of alphabets respectively. VAmakdoara Tantra adds that the deities being propitiated properly, a person who worships them can have control over the entire world. See Nityd Sofitd, p. 90.

2. The text does not give the mantra of JayinL It may be restored from Tmdrarija Tantra, Chap IV. p. 68 thus Harhsab Sahrdrasdmbub syAd pyApta край saw juto masmb-

The combination of the masdra is as follows: kashsah (ha) with Ati (to) rati (It), ambu (m), vyApta (je), край (a) and sva (.) that is Ытуйт.

The njlsa rite maka the devotee one with the deity. His identification with die deity maka him worthy to worship her, for it is stated in the Tantrm that after having attained Dedhaod in oneself one should worship Davi.

The commentator of T. R. does not give the inner meaning of the word Yasdrita. He only states that it is to be known from the teacher.

33. The пуаза rite is to be performed with these eight mantras of shaktis (vasinl etc.) along with vargas (that is placing akc(tpysh) in the beginning and ending with vagdevata (vagdevatayai namah), by dint of which one should become one with the goddess.

34. He should fix in the cerebral orifice, on the forehead, in the joint of the eyebrow, on the throat, in the heart, in the navel, in muladhara, in two feet from the root upto the end of them.

35-37. He should perform the shadanga rite with the blja adding with six long vowels.

He should meditate on Lalita, the red-complexioned one who is holding in her hands the arrows, the bow, the noose and the goad. She is joyous and kept in restraint on the lap of Kamaraja. The goddess stationed in the middle is only one but she assumes sixteen forms. Hence, one should worship the other fifteen in her limbs. Shiva is the sage, the metre is ukta, Lalita and others are the deities.

38. Later on, I shall explain in detail the surrounding deities of Nityas and application of mantras in the chapter called Namasaftcaya (the collection of names).

39. Among the sixteen Nitya deities1 Kameshvari is mentioned to be the second and is the bestower of all desires. Listen, О Narada.

40-42. Suci (e) is joined with sva (.) Lalita shall be the second. aunya, agni, raya and vyapta (i.e. nitya), prana, rasa, agni, the pair of siinya, cara, nabho gotra, (i.e. Klinnamada) gotra (da) again is attached with daha (ra), ambu (va) is joined with cara (c) (i.e. drave), hrt (sa) is joined with Shakti (:)and vana (au) (i.c. saufr). This KameSvari Nitya consists of eleven letters. It is the bestovverof desires.

1. The deities called Nityas arc sixteen. The central one is described as ahginityd and the other Nityds are angas, the one is the body and the others are limbs. Lalita is Kdmeivarl seated in the lap of Kdmcivara. Her seat is in Che centre of Srlyantra and her mantra according to our text is sakala hrim ha is placed in the beginning, middle and end and by changing its positions other mantras are obtained. The fifteen Nityds are but the emanations and the surrounding deities of the Adyd Nityd and serve as veils (4ДО‘).

43-46. He should conceive the six aiigas with the mula- vidya in the proper sequence. With one, the heart is conceived, the head is also conceived with that much, the advayam the tuft with the third and the fourth, with the fifth and sixth kavaca, with seventh, eighth, ninth and tenth the eye, and with the one viz the last one astra is to be done. He should fix the syllables of vidya in the pair of eyes, ears and nostrils, in the tongue, in the heart, in the navel, in the anus. Then he should perform the nyasa1 spreading it all over the limbs beginning with the head and ending with the forefoot. Then again, he should perform the nyasa of the syllables of vidya in these locations. Thereafter, with the entire thing he should perform the vyapaka rite in the aforesaid manner.

Henceforth, I shall mention meditation which is prescribed for the daily ritual and whereby the deity being highly pleased grants the desired objects without any strain.

47-5J. Meditation: She resembles a crore of rising suns, who is shining splendidly with ruby-set crown. She is bedecked in necklaces, garlands, girdles, rings, anklets and other ornaments. She has six arms and three eyes, the digit of the moon has adorned her crest. She is present in a lotus of five2 petals, eight petals, sixteen petals, two circles, a hexagon and a square. Her gentle smile heightens the beauty of her face, she has slow benign look of mercy. She holds in her hands, noose, goad, sugarcane bow, the flower arrows, a jewelled vessel full of nectar and a boon. Thereafter, the devotee should apply the mantra for practical purposes when the mantra has become mature.

1. The nyasa on the limbs and fingers are performed with the letters of the mantra. The procedure is given in the verse. It should be remembered that each syllable should be attached with thejati (i.e. namah> svaha, va^af etc).

The хуйрака nydsa is prescribed to be performed after all the nyasas. See Commentary of T. R, p. 126.

2. The diagram is to be drawn in the following method. At first draw a square, inside which draw a hexagon, two circles apart from each other by one digit, then draw a third circle apart from the second by four digits. Then draw five petals round the inmost circle, then draw eight petals round the second, and sixteen petab round the third circle.

3. The weapons are to be conceived as placed in the left upper hand and then in the lower hand and then in the third lower hand. In the same way the three other weapons are conceived to be held by the deity first by the upper hand and then by the second and by tbe lower, and then the last one by the lowest hand.

I shall say about the third named Bhagamalini. The first syllable of Kamesvari is the first (that is aim), then rasa (bha), sthira (ga) rasa (bha) attached v. thdhara (u), then sthira (ga) with cara (e) (that is bhuge), then rasa (bha), sthira (ga) and sunya (na) joined with agni (I) (that is gni), then rasa (bha) sthira (ga) with (o) (that is bhago) gotra (da) with daha (ra) and agni (i) (that is bhagodari), then rasa (bha), sthira (ga), nabha (ma) joined with marut (a), rasa (la) attached with cara (e)(i.e. bhagamale),then rasa (bha) sthira (ga) joined with marut (a), ambu(va), harhsa(ha) attached with cara (e) (i.e. bhaga- vahe) then rasa (bha), sthira (ga) then sthira (ga) joined with dhara(u) (gu), hamsa (ha) is attached with vyapta(ya) and cara (c) (bhagaguhye), then rasa (bha), sthira (ga), vyapta (ya) attached with bhu (o) sunyam (na) joined with agni (i) (bhagayoni), rasa (bha),sthjra (ga), sunya (na) with agni (i) marut (a) withjavl (pa), raya (ta) agni(i),sunya with agni(i) (bhaganipatini), then hrt (sa), daha (ra) with ambu (va), (that is sarva), rasa(bha), sthira (ga) (bhaga),ambu (va), viyat (sa) with bindu (.), prana(ka) daha (ra) with agni (i)(that is sarvabhagavasamkari), then rasa (bha), sthira (ga), ksma (u) is attached with daha (ra) (i.e. ru), this again is joined with cara (e) andjavi (pa) (that is bhagarupe), then from the former vidya (that is Kamesvari) the letters from the third onward i.e the four consecutive letters are to be taken (they arc nitya- klinne) then rasa (bha) then sthira (ga) then hrt (sa) is joined with ambu (va),thcn daha (ra) is attached with ksma (u) (i.e. ru),javl (pa), is joined with cara (e) that is bhaga- svarupe), hrt (sa) is joined with daha, ambu and marut (va, a and ra) (= sarva), vyoma (na) is joined with agni (i) (sar- vani) then rasa (bha), sthira (ga) joined with marut (a) shCinyam (na) with agni (i), then nabha and cara (ma and e), then hamsa (ha) joined withvyaptaandmanit(yaanda),sunyam (na) vyapta (ya), then ambu (va), daha (ra) with cara (e)(varade). daha (ra) is similarly so (i.e. re) and raya ta is also like that (i.e. te), then hrt (sa) with dhara (u)'(i.e. su) is joined with daha and raya along with (e) (i.e.rete), rasa (bha) sthira (ga) then praria (ka) with rasa (la), agni (i) (kli), then the pair of gunya (nna) along with сага (e) (i.e. bhagaklinne),then the two letters of the former are the first two that follows, that is, kli then the pair of gunya (na), (klinna), then gotra (da) with daha (ra) (dra) then cara (e) with ambu (va) (drave) then ргада (ka) along with cara (e) and rasa (la) (kle), gotra (da) vyapta (ya) gotra (da) with daha (ra) and marut (a) ambu (va) vyapta (ya) (dra- vaya). Vata (a), nabha (ma) joined with bhu (o), vah (gha) (amogha) then cara (e) (amoghe), rasa (bha) sthira (ga) ambu (va) with agni (i) and the pair of vayu (ca and ca) with cara (e) (bhaga vicce), then grasa (ksha) with dhara (u), rasa (bha) with Shakti (:), then again grasa (ksa) with bhuh (o) rasa and vyapta (bhaya) (that is kshobhaya), then hrt (sa) daha (ra) with ambu (va),hrt (sa),raya (ta) with ambu (va) and marut (a) then gunya (na) without the vowel sound (that is sarvasattvan), then rasa (bha) and sthira (ga) is joined with cara (e), viyat (ga) is joined with ambu (va), daha (ra) is joined with agni (i) (ahagesvari). Then suci (ai) is joined with sva (.) (aim), Bhumi (ba) is attached with rasa and ksmk and sva (bhum), this composite seed lies in five places after the other. The five seed mantras are adorned with bindu. They are as follows: jya (ja) with cara (e) (jem), rasa (bha) (bhem) and bhuh (o) is joined withnabha (ma) (mom), hamsa (ha) with cara (e) (hem), it comes twice (hem), then prana (ka) is joined with rasa (la), agni (i) (kli), then the pair of gunya (nn) joined with cara (e) (klinne), then hrt (sa) daha (ra) ambu(va) with marut (a) (sarva) vyoma (na) with agni (i) rasa (bha) sthira (ga) is joined with marut (a) then gunya (na) with agni (i) (sarvani bhagani), nabha with cara (me) ambu (va) viyat (sa), nabha (ma) joined with marut (a) gunya (na) vyapta (ya) (me vagamanaya) then hrt (sa) is associated with raya, daha, sva and vahni (strim), then hamsa (ha) with daha (ra) ambu (va) rasa (la) cara (e) svam (.) (hrvlem), then the last one is hamsa (ha) is joined with daha. (r) vahni (I) and sva (.) (hrim). This nityi called Bhagamalini is made of one hundred and thirtyfive letters.

74-78. The aagas are to be conceived with the first syllable of the mantra. With the first letter the nyasa on the head (is performed) then with the four the head is cited, with the three the tuft is prescribed, then with three groups of four1 the remaining limbs are prescribed (i.e. kavaca, netra and astra to be fixed in sequence).

He should then meditate on the goddess who is pink-red in colour. She is a beautiful lady with pink embellishment. She has a smiling face with three eyes and six arms. She is seated on a lotus. She holds in her left hand the kalhara flower, the noose, the bow of Pundra variety of sugarcane. In her right hands she holds a lotus, the goad and the flower arrow. She is surrounded on all sides with the groups of Saktis similar in form and who are eulogised by the other deities emanated from the letters. They are of the nature of intoxicating love and rapturous in excitement. Thus, the third deity has been mentioned who is the enchantress of the mind of women.

79-83. О great sage, listen to the fourth vidya called Nitya- klinna. Hamsa (ha) is joined with daha (ra), vahni (I) and sva (.) (i. e. hrim) and the eight letters beginning from the three belonging to KameSvari (i.e. Nityaklinne madadrave), then hrt (sa), ambu (va) and marut (a) and hamsa (ha) is joined with marut (a) svaha. It contains eleven letters. The angas are to be conceived with the letters of vidya. The hrdaya is to be conceived with the first (bija) and with two each of the remaining limbs are to be conceived. He shall perform the nydsa rite beginning with the root of the thumb and ending with the tip of the little finger and then going up. Then fixing the remaining letters in two palms he should fix the syllables in the heart, in the eyes, in the ears, in the two nostrils, in the skin, in the penis, in the anus, and in the feet.

1. Gupavcddkfaraih means the four syllables for kavaca, rutra and astra for each. These three are gupas and veda means four. For performing the nydsa rite four syllables arc taken separately from the mantra and fixed in the above-mentioned locations.

84-86. He should meditate thus: She is red and pink in embellishment. She is clad in pink garments. Her garlands and unguents are pink-coloured. Her lotus-like face wears a charming smile. Her face appeal's splendid with the three eyes. She shines with pearl-like drops of sweat on her forehead. The crescent moon adorns the crest of her crown. In her four hands she holds the noose, the goad, the drinking vessel and fearlessness. She occupies a lotus as her seat. She is slow and lazy due to intoxication.

87. After meditating thus he should worship Nitya called Nityaklinna along with her saktis. Osage,the meritorious fourth deity has been recounted, who is called Nityaklinna.

88-92. By the repetition of the mantra, women, delicate like fresh butter, melt as butter melts in contact with fire.

Bhuh (o) joined with sva (.) (om), then prana (ka) joined with daha (ra) and with the former letter (that is krom), similarly, rasa (bha) joined with daha(ra) and the former(om) (bhrom), again prana (ka) joined with daha (ra) and with vana (o) and sva (.) (krom), then kam (jha) joined with daha (ra) and with that (i. e. om) (jhrom), then prabha (cha) joined with daha (ra)and that (i.e. om) (chrom), then jya(ja) joined with daha (ra) and with that (om) and the last two letters of Nityaklinna i.e. svaha. This nine-syllabled mantra of Bheruntfa is the bestower of all attainments. He should fix the six angas with six syllables lying in the middle excluding om and svaha.

Then he should perform the rite of varnanyasa (nyasa with letters). He should fix in the cerebral orifice, in the middle of the eye-brow, in the mouth, in the throat, in the heart, in the navel, in the cara, and on the pair of feet. After performing the matrkanyasa he should fix nine syllables. Henceforth, I shall mention meditation of the goddess. It is the bestower of all attainments.

Her body resembles molten gold. She has three eyes. She has a charming smile beautifying her face. She is bedecked in divine ornaments. She is embellished with ear-rings, necklace, shoulderlets and cluster of jewels. She is exceedingly beautiful with ornaments like girdle, anklet, ring etc. She is holding in her hands the noose, the goad, the shield, the sword, the iron club, thunderbolt, bow and arrows. She is seated during the worship but differently at the time of practical application.

96-97. The saktis have the same form and features who are adorned with shining weapons. They are surrounding her and have smiling faces. The devotee should worship vijaya etc. О leading sage, thus the fifth deity has been recounted. She is called Bherunda. Merely by remembering her, three kinds of poisons are destroyed instantaneously.

98. О excellent brahmin, the sixth deity is Nitya called vahnivfisinl. Listen to the procedure of her worship. It i> the bestower of excellent attainments on the aspirant.

99-100. The first syllable of Bherunda is the first syllable of her and the second syllable of her is the first syllable of Nitya- klinna (i.e. orii hrim) then ambu (va), sunya (na) along with haiiisa (ha) and agni (i) (that is valmi), then ambu (va) joined with marut (a) then hrt (sa) joined with marut (i) (si), then sunya (na) joined with vyapta (ya) and suci (ai) (nyai) then again sunya. (na) joined with nabha (ma) with Shakti (:) (i.c. namah). Thus the nine-syllabled mantra is mentioned.

101. One should add long vowels with the second bija of vidya. After the syllable maya (hrim) and the six vowels at its end he should conceive angas into the limbs and the hands.

102-103a. One should fix nine syllables of vidya in the nine holes of the body. He shall perform nyasa spreading over the limbs with the entire mantra for the realisation of self.

103b-109a. Meditation: She resembles the molten gold. She is a beautiful lady in the fresh bloom of youth. Her lotuslike face wears a charming smile. Her three eyes shine splendidly. She possesses eight arms. Ornaments set in ruby make her shine well. Her garments are made to appear red due to the combination of rays from the ruby on her crown. She is clad in yellow silk garments. Her anklets and girdle are bejewelled. She looks splendid with the bunches of flowers and ornaments mingling with pearls forming red hue. With her left hand she holds a jewelled lotus, the couch, the bow of Pujidra variety of sugarcane and the disc of full moon. In her right hands she holds Kalhara, a golden horn, the flower arrow and matulunga (pomegranate), on all sides she is surrounded by Saktis having the same form and features. After meditating thus he should worship vahnivasini (of fiery form). By remembering her the three worlds become subservient.

109b-110a. О sage, then there is the seventh deity. She is Mahavajreshvari Nitya. I shall mention her vidya which yields excellent siddhis unto the aspirant.

The second syllable of Vahnivasini (hrlm), then the fourth (and fifth) syllable of Nityaklinna (klinne), the first syllable of Bhagamala (aim), the second syllable of Bherunda (krom), then the second, third, sixth, seventh, eighth, ninth syllables (nitya mada) and the first syllable of her becomes the last (hrlm).

He shall make them into groups of two, one, one, two, two, and two syllables. After making them encased in hrlm, he should conceive the six angas. He should perform the nyasa with all the syllables separately encased in hrlm each and do it in six limbs with the ten syllables of the mantra one after the other.

114-119. He should fix them in the eyes, ears, nose, speech, heart, navel, and the private parts.

She is red-complexioned and clad in red garments. She has red fragrant garlands and ornaments. She has four arms and three eyes. She is highly brilliant with the ruby-set crown. In her hands she holds the noose, goad, sugarcane bow, and arrows made of pomegranate flowers. With her merciful, subduing and cool eyes she glances at the devotee. She is comfortably seated in the cakra diagram with the triangle, a hexagon, lotus and the square. Her lotus-like face is charming with a smile. She is surrounded by Saktis of similar features like her. She is staying in the middle of a raft. She is surrounded by the aaktis seated in rafts that swing all round her throne. She is in the middle of a pink sea in which the rafts move to and fro. She is chatting jokingly with those laktis. Thus one should meditate on the mistress of mantras placed in the red sea. This is said to be the seventh deity. Now listen to the eighth Dutl.

120-121. Duti: The last syllable of vajresvan is the first syllable (hrim), then viyat (sa) joined with agni (i), thenambu (va) joined with marut (a), gotra (da) joined with ksma (u), thenraya (ta) joined with vyapta (ya) and hici (ai) and the last two syllables of vahnivasini (namah). Thus the Dutl Nitya is mentioned.

122-126. The nyasa on six limbs is performed with the first syllable of the vidya after having joined it with six long vowels. Then encasing the mantra within he should do the nyasa in five limbs beginning with the ear and fix the sixth in the mind. Then he should perform the pervasive nyasa with the vidya.

She has the lustre of the midday sun of the summer season. Her crown has all the nine gems set in it. She has three eyes. Her garments are pink-coloured. She has the refulgence of ornaments. She has pure smiles. She has eight arms and is being eulogised by great sages. In her left arms she holds the noose, iron club, mace and the jewelled bowl. In her right arms she holds the goad, sword, dagger and the lotus. She is always engaged in granting boons to her devotees.

127. After meditating thus, one should worship the goddess Duti, the destroyer of immoral conduct. Thus, the remover of all mishaps has been recounted unto you.

128- 131a. ONarada, I shall tell you about Tvarita Nitya, the ninth one, who causes glory, the giver of Shivahood and the bestower of all siddhis. She grants fame, learning, wealth, health and happiness.

The first syllable of vahnivasini (om) and the first syllable of Dutl (hrim), hamsa (ha), dhari (u) joined with sva (.) (hum), teja (kha) with сага(e) (khe), vayu (ca), prabha(cha) joined with cara (e) (cche), grasa (ka) is joined with iakti (:) (kfah) vahni (i) is associated with hjt (sa), raya (tajdaha (ra) and agni (I) (stri) which is the eighth btja. Then hamsa (ha) is joined with kshma (u) and sva (.) (hum), then grisa (ksha) with cara (e) (kshe) then the second syllable of her again (hrim), then dyuti (pha) is joined with nada ((a). Thus- Tvarita Nitya consists of twelve syllables.

132b-135. He shall conceive thcangas with seven letters of the vidya beginning with the fourth and then taking two for each he should perform the nyasa of fingers and six limbs.

By placing the second in the first, then the first in the second and then again the second and the ten mantras in the middle, he should fix the mantras on the head, forehead, throat, heart, navel, muladhara, the pair of thumbs, knees, calves and the pair of feet. The mantra begins with om. Now listen to the mode of meditation which brings about all siddhis.

She is dark-coloured. She has auspicious features. She is splendid in the freshness of youth. Eight serpents in four pairs constitute her shining ornaments such as ear-rings, shoulder- lets, girdle and anklets. They are of four castes of brahmins, K^atriyas, Vaishyas and Shudras. Their bodies are huge and terrible. She is clad in shoots of leaves as her clothes. Her arms are bedecked in bangles which are adorned with pretty looking peacock feathers. She is resplendent on account of the ruby-set crown. Her crown, her umbrella and her emblem too are adorned with peacock feathers. The string of berries shines over her breasts where saffron is scattered over. She has a charming face of three eyes. Her lotus-like face wears a sweet smile. Her four hands shine holding a noose, a goad, fearlessness and the granting of boon.

141-143a. After meditating on goddess Totala (Tvarita) thus, one should worship her surrounded by lheaaktis. Goddess Sphafkari is staying before her shining with arrows and bow and is hurrying in, being pleased and granting boons to the devotee. О lord of sages, thus the ninth vidysh called Tvarita has been recounted.

The first is iuci (ai) joined with sva (.), then the second is ргйпа (ka) joined with rasa (la) and Vahni (!) (Klim), the third is vana (au) hrt (sa) and Shakti (:) (sauh). Thus the Kulasundari Nitya consisting of three syllables has been recounted. A mere remembrance of her yields omniscience.

145b-150a. The devotee shall perform nyasa properly in the fingers, on the limbs and in the mouth with the three bijas, joining them with long vowels. He should do it in the beginning of the ritual, before the japa, in the middle of the japa and after the japa. Then he should perform the Vaktra- nyasa in due sequence in the upper, the east, the south, the north and the lower faces putting aim in the beginning and nati (namah) at the end, placing thevaktra name in the middle, He shall fix the mantra in the adhara, in the cerebral orifice and in the heart first, then secondly in three eyes. Thirdly in the ears and the chin, fourthly in the nostrils and the palate, fifthly in the shoulders and the navel, and lastly in the hands and the pair of feet. He should perform nyasa nine times at the root, middle and the tip.

She is red-complexioned. She is served by the group of Saktis with red features. She has red garments, ornaments, garlands and unguents. She has six lotus-like faces. She shines rcsplendently in her ruby-set crown studded with costly jewels and gems. Her chest is refulgent with the cluster of lustre of a bunch ofjewcls. She is auspicious. She is highly blissful in showing grace and is seated in a red lotus seat. She is adorned with twelve arms. In her right hands she holds the literary heritage of all, the coral rosary garland, a lotus, a jewelled water-bowl, a bowl full of jewels, a citron and the gesture of explanation. In her left hand she holds the book, a red lotus, a gold stylus, a jewel garland, a conch and the boon. On all sides she is being eulogised by gods, Gandharvas,Yaksas,Raksasas, Daityas, Sages, Siddhas, Vidyadharas and others.

After meditating thus, he should worship the Nitya for achieving fluency of speech, good fortune and splendour.

157-158. In order to attain the fluency of speech the whitc-complexioned goddess is to be worshipped; the gold- complexioned one for attaining good fortune, for mitigating the enmity of foes, for their death and restraint; the blue one shall be remembered for causing dumbness. Thus for different purposes different aspects of the goddess are to be remembered.

159-161. Now, I shall tell you of the tenth Nitya having three composite mantras. It is the combination of hamsa (ha), hrt (sa), prana (ka) daha (ra), kuh (da). It is joined with the vidya of Kulasundari according to the tradition. This Nitya consists of three syllables after being joined with the six composite letters then after being joined in the opposite order and multiplied in seventytwo1 different ways. By worshipping her man shall become a siddha and happy, able to become a Khecara.

162. He will be able to exercise punishment and show grace to the three worlds. The six nyasas are to be performed by means of ha and sa along with long vowels.

163. He should fix the syllables of vidya in due order between the eyebrows, in the throat, in the heart, in the navel, in the private parts and in the muladhara. The letters of the vidya should be fixed in due order joining bindu to each of them.

164. After performing the pervasive nyasa with the entire mantra in the proper procedure, he should meditate on the goddess Shiva who is identical with everything for the purpose of obtaining all riches.

165-168. She is resplendent as the disc of the rising sun, she shines with ruby-set crown, she is embellished with ruby stones, she is clad in red silken garment, she is brilliant with six lotus-like faces shining with charming smiles. She has three eyes in every face, has twelve arms in the left of which she holds the noose, the rosary, the rope, the bow of Pundara variety of sugarcane, the iron club and the trident. In her right hands she bolds the goad, the book, the flower arrow, the lotus, the human skull and the gesture of fearlessness. He should meditate on the goddess with the mind not turning to anything else.

1. In Kulanmderf Vidyd there are six syllables. By permutation and combination the vidyi becomes seventytwo in number.

Thus the eleventh deity has been recounted О Narada, listen to the twelfth one. The first syllable shall be the penultimate one of Tvarita (hrlm), then dyuti (pha) is joined with daha (ra), cara (e) and bindu (.) (phrem), then hrt (sa) is attached with daha (ra), ksma (u) and bindu (.) (srum), the fifth of vajreii (om) is the fourth, then marut (a) with bindu (.) (am), the middle and the first bija of the tenth vidya (i.e. kulasundari) (klim, aim), then bhumi (va), rasa (la), ksma (u) attached with bindu (.) (i.e. blum), then the letters from the sixth onward belonging to vajresi (nityamadadrave), then the third belonging to Tvarita (hum), then dyuti (pha) daha (ra) cara (e) and bindu (.) (phrem), then the first letter belonging to her (hrlm). Thus the Nitya called Nilapataka consisting of seventeen syllables has been recounted.

173-175a. The angasare conceived by means of the syllables of the mantra grouped into two, two, five, two and six syllables in each. He shall fix all the seventeen syllables of the mantra in the ears, in the nostrils, in the vak (speech), in the throat, in the heart, in the navel, in the adhara and in the joints of the feet, in the proper order. He shall duly perform the pervasive nyasa rite with the entire mantra.

She resembles sapphire and shines with a crown set with brilliant jewels. She has five faces and three eyes. She is clad in red silk garments. She has ten hands and is bedecked in refulgent ornaments of pearls and jewels. Her body is richly decorated with clusters of gems and jewels, her faces beam with charming smiles. In her left hands embellished with all ornaments she holds the noose, the flag, the shield, the sarnga bow and boon. In her right hands she holds the goad, the Shakti (javelin), the sword, the arrow, and the gesture of fearlessness. She is seated on a lotus seat and is surrounded by a group of saktis resembling the same feature, complexion, dress, facial look, ornaments and weapons in the hands. She should be worshipped as surrounded by the iaktis in the ritual of the Nitya deity.

180b-184. After drawing mystic diagram of a lotus containing eight petals inside a triangle within a hexagon and an eight-petalled lotus, outside surrounded by two bhupuras. These two puras must have four doorways in the four quarters. The figure must have subways. Thus the deity should be surrounded by the group of shaktis and then worshipped. This twelfth Nitya called Nilapatakini has been recounted to you. She is the bes- tower of powers like paduka, afijana,kha<jga and victory in the battles. She is the giver of powers over vetala, yaksinl, cejas pisacas etc. She enables one to discover treasure trove, ready cooked food, urged by the devotee’s desire.

Rasa (bha), nabha (ma), daha (ra), vyapta (a), ksma (u) joined with vana (au) and bindu (.) (bhmyaraum). Thus О sage, the vidya Vijaya consists of a single combined bija. The four letters of consonants combined with long vowels are to be used for conceiving the angas. Then with the remaining two one should perform the nyasa rite of the six limbs in the fingers and in the limbs of the body. He should perform nyasa on all the organs of senses beginning with the ears and ending in the citta. He should fix syllables in the proper order adding bindu to them.

She has five faces and ten hands. She has three eyes in each of the faces. She is resplendent with a shining crown adorned with the crescent moon. She has all ornaments and is brilliant in her yellow garments. The lustre of her body is like the disc of the rising sun. She has pure smiles. In her left hands she holds the conch, the noose, the iron club, the bow and the kalhara flower. In her right hands she holds the discus, the goad, the sword, the arrow and the pomegranate. For the practical purpose she is thought of as terrible-looking, but during the devotional worship she is very gentle and seated on a lion. On all sides she is surrounded by Saktis riding on tigers. She is seated oofhlbrtably during the battle, at the time of worship and during other rituals of practical utility she is to be thought of so seated.

193. The saktis too are comfortably seated in the course of worship. AH the deities have similar facial features and weapons in their hands.

194. After drawing two squares with four nice doors and eight pathways he should worship therein as before.

195-196. Inside of it, there must be two circles, within it one should draw an octagon. Inside of it is the mystic lotus of sixteen petals. He should make another lotus of eight petals and invoke the deity therein. He should then worship her with the requisite services. She must be surrounded by the respective Saktis.

197. This is mentioned to be the thirteenth deity. She is the bestower of victory in argument and in the battle.

Hit (sa), ambu (va), vana (au), are joined with sva (.) is the nitya sarvamangala (svaum). It is a single-syllabled mantra. One who has achieved siddhi in this vidya becomes the wanderer in the void instantaneously. He should fix the тй1а- vidya along with long vowels in six limbs of the body.

He should meditate on that Nitya of golden lustre with ornaments set in pearls and rules. She has a ruby-set crown and has two benign looks of her eyes. She has two arms. She is seated in her seat of lotus with thirty two petals. The seat has four doorways and two bhupuras. In her lotus-like right hand she holds a pomegranate. With her left hand she grants riches to her devotees. On all sides, she is surrounded by Saktis similar to herself. She is accompanied by another group of seventysix Saktis emanated from the letters. During prayogas (practical application) she is different, but during the daily rituals she is associated with those aforesaidtSaklis. This is mentioned as the fourteenth deity. Now listen to the fifteenth.

Bhu (o), two sunyas (na na) then bhu along with nabha (mo) (onnamo), then rasa (bha), sthira (ga), ambu (va), raya (ta) joined with agni (i) (bhagavati), then jya (ja) along with ambu (va) marut (a) (jya), then rasa (la) with marut (a), then nabha (та) with marut (a), then rasa and Sunya (la and na) arc joined with agni (i) each, gotra (da) joined with cara (e), then ambu(va), then the previous letter (i.e. de) and ambu (va) is joined with agni (i) (devi), then hrt (sa) daha (r) ambu (raandva) (sarva), then rasa (bha) and ksma (u) raya (la) hrt (sa) joined with sva (.), then haihsa (ha) is associated with marut (a) then added to daha(ra) (i.e. sarvabhutasamhara) then prana is joined with marut (ka with a) (ka), then daha (ra) with agni (i) (i. e. kari), then prana (ka with raya (e) (ke), thenjya (ja) joined with marut (a), raya (ta), ambu (va) with cara (e) (ve), then gotra (da) hrt (sa) with agni (i) (i.e. jata- vedasi, then jya (ja) with ambu (va) (jva) rasa (la), (i.e.jvala) it should be repeated (i.ejvala jvala), then jvala (pa) joined with daha (ra) and associated with the former two letters (i.e. prajvala). It should also be uttered twice. Then hamsa (ha) joined with daha (ra) and vahni (i) and sva (.) (hrim), then hamsa (ha) ksma (u) and sva (.) (hum), then daha (ra) should be uttered seven times, then the words from the eighth to the twelfth letter of the vidya should be uttered, then the penultimate letter of the Niiapataka vidya (hum), the ultimate letters of Tvarita (pha() and the eighth and the ninth letters of Bheru- ijda are to be uttered (svaha).

The six angas should be conceived by one, two, four, five, four and ten letters of the mulamantra from the beginning. He should perform nyasa in fingers and limbs of the body. Then with the remaining letters of the mantra one should perform the pervasive nyasa. Then he should meditate on the eternal deity.

214-216. She is as resplendent as the blazing fire. She shines with ruby-set crown. She has six faces and twelve arms. She is bedecked with all ornaments. In the pairs of lotus-like hands she holds the noose and the goad, the sword and the iron club, the bow and the arrows, the mace and the conch, the trident and the fire, the boon and fearlessness^ pn all sides, she is surrounded by Saktis of her own stature^ Her lotus-like face shines with charming smiles. She has three eyes.

217-218. After drawing two squares equipped with four doors and branches in the middle he shall draw an eight-petall- ed lotus. Thereafter, he shall make a triangle and a hexagon inside. After making a triangle within a hexagon he shall worship Shiva therein.

The fifteenth deity is thus mentioned to you. О Narada, listen to the sixteenth one.

Vayu (ca), prana (ka), vana (an) and sva (.) (cakaum) is citra which consists of two syllables which when achieved is conducive to the acquisition of wealth, food, grain, the realisation of self and of treasure. He should conceive the six angas with (ca) the firstof the vidya, joining it with long vowels and dothe nyasa in the proper sequence. He should perform the matrka nyasa along with vidya in the aforesaid manner.

She resembles the shining disc of the rising sun and is adorned with nine kinds of precious gems. Her crown is studded with nine precious jewels and is highly resplendent with the silk garments. She has four arms, three eyes, pure smiling and bright face. She is of the form of bliss of every kind, a Nitya who is the bestower of all desires. In her four hands she holds the noose, the goad, the gestures of boon and fearlessness. She is stationed in the pericarp of the lotus, which (the pericarp) is made of nine triangles like that of Sarvamarigala. In the cakra (diagram) she should be worshipped along with the aaktis like those of Sarvamangala.

225-229. Prana and daha attached each with dhara (i.e. kuru), then again the first (ka) joined with (u) and the pair of rasa (la) along with marut (a) (kulla)1, then vyapta (ya) with marut and Shakti (yah) then bhuh joined with sva (om), then again the three syllables (kuruku) and the pair of rasa (11a) along with cara (c), then hamsa (ha) joined with daha (ra), vahni (!) and shakti (:) (hrih), then nabha (ma) uttered twice (mama), then hrt (sa) with daha (r) joined with ambu (va) (sarva), thenjya (ja) along with sunya (na) attached with sva (.) followed by ambu (va) viyat (sha) and nabha (ma) attached with marut (a), then again followed by shunya (na) and vyapta (ya), then bhuis attached with hamsa (ha ha) and the pair of two syllables of the fifth deity (svaha). It takes three forms of mantra.

From the sixth onward upto the tenth and the pair of the last when uttered is mentioned as of the first kind. The second is cited as when it is uttered from the eleventh and the last two syllables. The third is mentioned as consisted of twentyfive syllables. Thus the mantras are mentioned in their order.

By means of the three bljas of Bala or with the two or three mantras the six angas are to be conceived.

1. Kurukulla Vidya consists of twentyfive syllables. It has lhee divisions. The deity is known as the balidcvald (receiver of offerings) belonging to the Jfityas and is non-differentfrom them. She is considered as a part or limb of Lalitd.

230-232. He shall meditate as follows: She is naked. Her tresses are dishevelled. She is red-complexioned. She is of the form of bliss. She holds the bow, arrows, noose and goad. The deities outside have the same complexion, features and weapons. They have taken their bath after the menstrual flow.

Their vaginal passages throb. Their eyes are always red and delighted. Thus, at the end of Kurukulla, Candrabala herself told this.

Suci with sva (aim), then shunya and bhu (namo), then rasa, sthira, ambu, raya with agni (bhagavati), then ambu with marut (va), the pair of raya (tta), attached with marut (a) and agni (i) joined with ila (la) (vattali), these three are repeated once again, then ambu (va) is attached with marut (a) and daha with marut (ra) and hamsa with agni (hi), then these three are repeated once again, then ambu is attached with daha and marut, then hamsa (varaha). Then nabha (ma) is joined with dhara (u) (mu) and teja (kha) joined with agni (i) mukhi), then these five syllables are repeated once again. Then vata (a) is joined with sva (m), then toya (dha) is joined with cara(e) (andhe), then again the previous letter (am), toya (dha) is joined with agni (i) (dhi), then Siinya (na) is joined with vyapta and iuci (nyai), then again shunya (na) is joined with nabha (ma) with lakti (namah). Then daha, dhara joined with sva (rum), then toya (dha) with cara (e) (dhe), these are to be attached with the former four syllables (i.e. dhinyai namah) then jya (ja) with bindu(jam) is joined with rasa(bha) and cara (e) (jambhe), then the previous jam is joined with rasa (bha) associated with agni (i) and the aforesaid (nyai namah), then again nabha is joined with bhu (mo) and harhsa with cara (mohe), then the syllable preceded by he is now joined with harhsa and agni (i) and the former nyai namah these three are attached, then hrdayam (sa) joined with sva stam, rasa, and cara (bha), then again the previous one of this stam and rasa with agni (bhi) and then the former three (nyai namah). Then vata (a), dhara with nabha (mu) prana with sva (kam), then hrdaya with sva (stam) rasa (bha) and vyapta (ya) (stam- bhaya), this is repeated once again. Then hrt (sa) along with daha (r) and ambu (va) (sarva) followed by gotra (da) joined with dhara (u) and sparsa (sa) with nada (ta), then it is again joined with javi and daha (pradusta) which is further joined with marut (a), sunya (na) marut (a) sva (m) (nam), then again hpt (sa) is joined with daha (ra) ambu (v) and cara (e) (sarve) which is again joined with sparsha (sa) and marut and sva (sam) then jya with agni (ji) along with harhsa ambu and marut (hva) and hrdaya with sva (stam) which again is joined with rasa along with sva (bham), then prana and daha are attached with dhara (kuru), it is repeated, then vahni with viyat (ft) and vah (gha) along with daha (ra), joined with sva (m), then ambu (va) attached with viyat, vyapta and sva (syam), then the aforesaid kuru, then suci attached with sva (aim), then sthira (ga) rasa (la), vana (au) along with sva (.), then two thas (tha tha) and harhsa (h) is attached with dhara and sva (hum) then again dyuti with nada (phat), then hrt, ambu along with marut (sva) and harhsa along with marut (ha). This is the vidya with hundred and ten syllables. She is Varahi, Paftcami, Varttall, Visvavijaya and is also known as Bhadra Kaumudi. She is the bestower of all desires such as arresting of enemies etc. The angas are to be conceived with the syllables of the mantra in groups of seven, six, ten, seven and seven letters adorned with the jatis namah, svaha etc.

250-255. The devotee should make a diagram having a triangle, a circle, a hexagon and two circles. He should write his name there and worship her. He should meditate on her as follows: She has the face of a boar; she is refulgent as gold, up to the neck; she has the feminine form. She is like a tawny lotus that blazes. She has three eyes and eight hands. She holds in her hands a discus, conch, goad, noose, iron club, plough, fearlessness, boon. I’he devotee should think of her as seated comfortably on the shoulder of Garuda. О sage, in the case of daily rituals the devotee should remember her Saktis similar to her. In the application he should think of her as seated on a lion or a tiger, or an elephant or a horse or Garuda along with Saktis. Though she is dark in complexion, she is red, yellow and also has the body like the blue lotus.

256-258. In different practical applications one should meditate on her according to the acquisition of different objects. PanchamI (i.e. Varahi) is to be thought of red complexion in the rites for attraction, yellowish for arresting, in the impassable path she should be meditated upon as dark-complexioned, in order to attain destruction of the enemy in the battle he should think of her as white-complexioned. The excellent brahmin aspirant shall meditate on her as smoke-coloured in the rites for exorcising.

Thus these sixteen Nitya deities have been succinctly recounted to you. They are the bestowers of desired things on those who worship her. They cause instantaneous destruction of all sins.

1. Hence, after the meditation of the teacher I shall mention one thousand namesjof Saktis along with their attending deities and the religious obligations thereto.

2. The Nathas1 (the teachers), enumerated as nine beginning with PrakaSa and ending with Subhaga, О Narada, know the principles as commencing from the earth and ending with Shiva as tattvas.

3. There are seven holy days beginning with the birthday of the teacher and ending with the new moon day. At the outset the sincere aspirant must meditate on this in his mind.

4. He shall repeat the hymns eulogising the teacher1 2 with his mind concentrated on him. О Lord, obeisance unto you, who are Shiva in the form of the teacher.

5. О holy Sir, you have assumed many bodies for the descent and establishment of knowledge. Obeisance unto you, the fresh one with nine forms, yet you have the form of the singleness of the ultimate truth.

6 Obeisance unto you who act like the sun in dispelling the darkness of ignorance, unto the mass of consciousness. Obeisance unto the free, unto one who hats assumed the form out of his mercifulness, unto one of the form of Shiva.

7. Obeisanee unto him who is subservient to the devotees, unto one of blessed form in regard to the blessed ones, obeisanece unto the discriminative knowledge of the discreet, unto the sense of reflection of those who reflect.

8. Obeisance unto the light of all lights, obeisance unto the knowledge of the knowers. I bow to thee in front, at sides, at the back, above and below.

After eulogising the teacher devotedly in this manner the devotee shall meditate on the Supreme Goddess.

1. The number of Nflthas is nine. The names begin with Prokdiananda- natha and end with Subhagdnandanatha.

The three classes include Divyaughaf Siddhaugha and Manavaugha: The first includes РтакЛ1лшмЛйу Vimarsananda and Anandananda. The second includes Shri Jfl2nananda, Shri SatySnanda and Shri Pur^ananda, The third includes SuaBhavdnanda> Pratibhananda and Subhagananda.

The number of categories according to the Saiva system arc thirtysix. They begin with Pxlhoi and end with Shiva.

10. I bow to the goddess1 who is made of mantra, who constitutes the letters of alphabet and whose forms are planets, who is Ganesa, the constellations, the Yoginls, the signs of the zodiac and the Pithas.

11. I bow to the great goddess, the mother, the Supreme Lady who stills the tossed and agitated pulsations of time.

12. Even by the maturity of a single letter (by practice) man vies with the Sun, Tarksya, the moon, Kama, Sankara, Fire and Vishnu.

13. I bow to the mistress of all and Goddess, who is the sacred alphabet of great splendour, (and I bow to her) the moonlight of whose syllables has adorned the three worlds.

14. I bow to her who is an ever perfect Mother (Matrka). In the great string of her sacred syllables these three worlds from Brahma's sphere to Cauldron (Kataha) are threaded.

15. Even now the world from Brahma’s sphere to the Cauldron may be observed as arisen from that triangle of the nature of support of the eleventh seed letter.

16-17. I bow to her, the great Goddess who constitutes the classes (vargas) of letters a, ka, ca, ta, ta, pa, ya, sa, who abides in the head, arms, back, hips and feet, whose form is supreme bliss, who is both absolute, relative and excellent by means of extracting the letter I.

18. Even now, the gods do not know a little about her corporate and incorporate nature; who she is, from whom she comes, from where and how.

19. I bow to her whose nature is aham and who is of the form of imperishable^Ksa. I bow to the Goddess who shines in the vast wave of Kula’s Kala and yet shines as Supreme Shiva.

20. I bow to the Supreme Mistress from whom there arise the eight Siddhis and in whom there abide the eight mothers with the sequence of their classes.

21. I bow to Shri Tripura who is the Supreme presiding deity of the four currents and who abides in the core of four pithas beginning with the letters Kama, Purna, Jakara and Shripijha.

22. To one who recites this hymn of eternal deities with full concentration in the beginning of the ritual, the deities confer boons.

23. Henceforth, I shall recount to you the Kavaca (the hymn of protection) of the goddess abiding in the nine triangles. Thereby, the aspirant shall become the conquerer of Gods, demons and men.

24-25. May Lalita, the bestower of everything who permeates everything, protect myself. May KamesI protect me in front, may Bhugamall protect thereafter the quarters, behind, as also on the right hand side. May Nityaklinna and Bheruntfa protect the South west direction.

26. May VahnivasinI protect the western direction. May Nitya Mahavajresvarl protect me in the North-west direction.

27. May Shivaduti protect me in the left hand side. May Tvarita, the bestower of Siddhis protect me in the Northeast direction.

28. May Kulasundarl protect me always from above. May Nilapataka protect me from below and Vijaya from all round.

29-30. May Sarvamarigala always cause me good. May the form of Jvalamalini always protect my body, sense-organs, mind and vital breath. May Citra always protect my mind from lust, anger, covetousness, delusion, false prestige and arrogance.

31-34. May the sixteen Nitya deities save me from all sins, may they save me from grief, decay all the time. May they protect me from untruth, from cruel thoughts, violence, stealth and placidity. May they urge me to perform good deeds. May Nitya deities riding on elephants along with their Saktis protect me. May the deities riding on horses protect me. May those riding on the lions protect me. May those seated on bears protect me. May those riding on chariots protect me in the battle, all round. May those who ride on Garutfa protect me. May those who traverse the sky, abide in the elements, who arc all permeating protect me. May the goddess always protect me.

35. May goblins, ghosts and spirits be routed, may the ailment that arises by the application of destructive spirits urged by my enemies be destroyed by the ornaments and weapons of their Saktis.

36. May the innumerable Saktis and goddesses riding on elephants, horses, tigers, lions, and Garu^as wielding weapons protect me from everywhere.

37. One who repeats this Kavaca mantra of die Nityas which protects all, both in the morning and evening never sees any inauspiciousness. He always remains delighted and blissful.

38. Thus the auspicious Kavaca of Lalita has been mentioned. By wearing it man becomes fearless, victorious and happy.

39. Henceforth, I shall mention, О sage, one thousand names of the sixteen deities according to their respective order along with the worship of their attending deities.

Nitya-klinna, (5) Bheruntfa (6) Vahnivasini (7) Vijayesvarl (8) Tvarita, (9) DutI, (10) Kulasundari, (11) Nitya-Samvit, (12) Nilapataka (13) Vijaya, (14) Sarvamahgala (15) Jvala- malinl, (16) Citra (one who has sixteen forms of the deity), (17) Kurukullii, (18) Varahi (19) Vasini, (20) KamesI (21) Mohini, (22) Vimala, (23) Aruna, (24) Jayini, (25) Sarvesvarl, (26) Kaulini, (27) the form of mudras,1 2 (28) the syllables of the arrows, (29) form of the syllables abiding in the bow. (30) the syllables of the noose, (31) the form of syllables of the goad, (32) Trikhantfa, (33) Sthapani (34) Sannirodhini, (35) Avagunthani, (36) an arrow in the vicinity (?), (37) one who bears the names of noose and goad, (38) one who is bowed to, (39) one who causes agitation, (40) one who causes enemies to run, (41) one who attracts, (42) one who causes the entry, (43) one who causes madness (44) one who is a great goad, (45) one who wanders in the void, (46) one who is the seed, (47) one who is of the nature of awakening Saktis, (48) one who is gross, (49) one who is subtle, (50) transcendent, (51) minute, (52) lightness, (56) greatness, (57) weightiness, (58) ability to reach, (59) irresistible will, (60) lord- ship, (61) ability to control, (62) enjoyment, (63) achievement of enjoyment, (64) achievement of will, (65) Brahmi (66) MaheSvari, (67) Kaumari, (63) Vaisnavl, (69) Varahi, (70) Indrani, (71) Camuntfa, (72) Mahalakshmi.

1. The verses give one thousand names of Lalita, but the list is not complete. The text takes most of the names from Tantraraja.

2. mudras are defined in various texts. See Paraiurdma Kalpa Sutra (New ED), pp. 608-656.

The Nilyafotjasikdriiava defines the following mudras; Trikhapdd, Sarvasamkfobhakariiii, Trailokyakarshakari(iIt Sarvavaiakan, unmddinf, Mahdmkuia, kkecarf, Samhara, Bija and Toni. Tantraraja mentions twenty mudras.

Mudras are of three kinds: gross, subtle and transcendent. They are formed with the hands or body, thought of in mantras, and understood as they really are. The idea is alluded to in the verse.

Generally siddhis are eight but here they are mentioned as ten. To the traditional number eight two are added bhukti siddhi and icchdsiddhi.

51-60. (73) One who draws love, (74) intellect, (75) ego, (76) sound, (77) touch, (78) form, (79) flavour (80) smell, (81) citta, (82) forbearance, (83) name, (84) seed, (85) nectar, (86) body (87) atman; (88) who is (Anahga) kusuma, (89) (Anahga) mekhala (90) (Anahga) madana, (91) Mada- natura, (92) (Anahga) rekha (93) (Anahga) vegini, (95) (Anahga) ankusa, (96) (Anahga) malinl, (97) one who agitates, (98) one who has the form of one who routs, (99) one who has the form of attraction, (100) one who delights, (101) one who fascinates, (102) one who makes others stunned, (103) one who causes yawning, (104) one who makes others subservient to her, (105) one who causes delight, (106) one who causes madness, (107) one who causes to achieve aims, (108) one who fills one with riches, (109) one who abides in mantras, (110) one who dispels the pair of opposites, (111) the bestower of riches of accomplishment, (112) one who causes favourable auspiciousness, (113) the bestower of the fulfilment of desires, (114) (me who dispels sorrow, (115) one who removes death, (116) one who wards off obstacles, (117) one who is beautiful in every limb, (118) one who bestows good fortune, (119) one who grants riches of knowledge, (120) one who is knowledge itself; (121) (Paftcami) the fifth, (122) one who removes illness, (123) one whose form is the support, (124) one who removes sins, (125) one who is bliss itself, (126) one who is protection itself, (127) one who bestows the desired fruit, (128) Jayinl, (129) Vimala (free from impurities), (130) Кашей, (131) Vajrini, (132) Bhaga, (133) one who fascinates the three worlds, (134) one who resides in Trailokyamohana, (135) one who abides in SarvaSaparipurani, (136) one abiding in Sarva- samksobhana, (137) one abiding in Saubhagya-prada.

(139) one whose abode is in Sarvarogahara, (140) one who abides in Sarvaraksakara, (141) one who abides in Sarvasiddhi- prada, (142) one who is the support of Sarvanandamaya (cakra)1 and one who is of the nature of bindu the characteristic of which is Shiva, (143) one who is the most excellent, (144) one who is known as hidden, (145) one who is highly secret, (146) one who is of the nature of the mystic tradition, (147) one who abides in Kula Kaula nigarbha (i.e. the meaning indicated by them) (148) one who is the mystic meaning, (149) one who is the mystic significance of para and apara, (150) one who is the highest truth, (151)Tripura,(152) Тпригей, (153) one who abides in puras, (154) Shrimalinx, (155) one who is Siddha- mba, (156) Maha Tripurasundari, (157) one who shines splendidly in the nine islands made of nine jewels,1 2 (158) one who is stationed in the Kalpa Garden, (159) one who is worshipped by the seasons in the form of senses, (160) one for whom Time is mudra, (161) one who is ^matrka (mother), (162) one who instructs the land of jewels (?) (163) one who constitutes the principles in the forms of planets, (164) one who controls the elephants of worldly affairs, (165) one who is the form of space, (166) one who is of the form of time (167) one who is of the form of shape, (168) one who is of the form of sound, (169) one who abides in music, (170) one who is attached with the circle of hidden and revealed yoginis,1 (171) one who is fire, (172) one who is the sun, (173) one who is the moon, (174) one who is the elements, (175) one who is of the name of eight syllables (i.e. mahatripurasundari, (176) one who is of the form of fivefold rituals, (177) one who is named by different holy rituals, (178) one who is devoid of forbidden cult, (179) one who is marked by the symbol of siddhas, (180) one who is stationed in the tortoise jn four ways, (181) one who is the nature of worship of theNitya deities, (182) one who is worshipped by means of Damana. (183) One who grants fruits through six kinds of obligatory duties, (184) one who causes auspiciousness through her worship by means of different materials in different days of the moon and in different days of the week.

1. The verses give the names of nine Cohos of Shriyantra thus: Tratlokya- mohanA, SarvAMparipHritif, Sarvasathkfobhand, SarvasauBhagyaddyakAy Sarvdrtha sddhaki, Serveraktfkari, Sarvarogahari, Sarvasiddhipraddj Sarvdnandamqydt which represent the bhUpura, the aixteen-petalled lotus, eight-petalled lotus, fourteen- triangles, the second set of ten triangles, the first set of ten triangles, eight triangles, t

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