तन्त्रसार (महामाहेश्वर अभिनवगुप्त - तन्त्रालोक का प्रामाणिक सार-संग्रह सटीक)

xxxi
account of caguhing or other factors the portion of amāvasyā
gets into the portion of pratipat, as a result the duration
of the tithi is cut short and therefore the solar eclipse
occurs. The eclipse then obliteraters the difference of the
knowing subjects, the instrument of knowledge and the
objects known ( pramātā, pramāṇa and prameya ), Therefore,
the occasion is considered to be very auspicious because it
bestows other worldly result.
Similarly a year is supposed to get its rise in a single
movement of prāṇa. For this reason the entire course of
the movement of prāṇa and apāna is supposed to correspond
with uttarāyaṇa ( the progress of the sun to the north ), and
dakṣiṇāyāna ( the progress of the sun to the south ). In that
case the tithis occupy only one fffth of a digit and the sun’s
passage from one rāśi to another, that is. the saṃkrāntis
occur in every six digit.
For the purpose of minimising the influence of time the
Yogin further strives to get twelve years to rise in the single
movement of prāṇa and apāna. He locates sixty tithis in
a digit and the passage of one rāśi to another is supposed
to be the duration of a year. Thus he is able to observe
the duration of twelve years in the single movement of prāṇa
and apāna.
Like prāṇa time is thought to arise in apāna. It arises
in the heart and goes down to mulādhāra. Just as Brahmā
and others are supposed to be the superintending deities
residing along different locations, namely, in the heart and
other places as mentioned above, in the same way, they are
said to have their locations in the heart and other places
down to kanda etc. The Yogin should meditate upon the
deitics as the causal agents of stages, namely by boyhood,

xxxii
youth, old age, death, rebirth and liberation of the embodied
soul. Brahmā to Anāśrita, these six, are considered to be
the cause of different states through which a living being has
to pass. As they give rise to these states, therefore in the
beginning they are accepted by the Yogin but finally rejected
by him, To him the most acceptible object is the Supreme
Goddess, the seventh, called unmanā to which once united it
is possible for him to reach beyond these states.
The movement of apāna ends in dvādaśānta otherwise
known as Yoginīvaktra, If the Yogin is able to find rest
there, only then ūrdhvādhara ḍambara, the distinctions of
the upper and the lower divisions are put to rest forever.
It is to be noted here that this viśrānti or rest is attainable
by means of minute divisions of time into tuṭis in the way
as has been discussed above in connection with the prāṇa.
Similarly in samāna also the above method is followed.
Though samāna arises in the navel and flows along seventy
two thousand nāḍīs of the body, Yet it becomes manifest
in the heart. It flows along ten principal nāḍīs, namely,
iḍā, piṅgalā suṣumnā, gāndhārī, hastijihvā, alambuṣā, puṣā,
kuhu and śaṁkhinī, but of the above ten the first three are
the most important. The heart is like a lotus with eight
petals pointing to eight directions. On account of its
association with eight directions, it imitates the activities of
the Lord of directions and appears as cruel and placid. It
is known as samāna because it remains in the body uni-
formly—( samananāt samānaḥ ).
As viṣuvat occurs in prāṇa, similarly the yogin ascertains
five saṅkrāntis and two viṣuvats during the day. In the same
way they also occur during the night. It is well known that
viṣuvats are the equinox when the duration of the day and

xxxiii
the night becomes equal. Hence the time is considered to
be very auspicious.
The movement of udāna proceeds from the heart.
It goes upto the top of the head called dvādaśānta. The
yogin tries to watch the entire unit of time from tuṭi to
sixty years in the single movement of udāna. It is thought of
having the characteristic of vibration (spandarūpa). Vyāna
is all-pervasive by nature. Therefore it is free from sequence,
still time arises there in the form of subtle vibration
(śūkṣmocchalattārūpa).
The rise of varṇa
The rise of varṇa occurs withont any effort but there
are some which rise with the personal effort. Syllables are
of three kinds, the transcendent, the subtle and the gross.
The transcendent syllables are of two kinds, the one is of
the highest kind (paratama) and and the other is known
as the higher (paratara). The highest form of the syllable is
known as Nāda which is closely associated and inseparably
united with all the syllables. It goes on sounding ceaselessly.
It is unborn and unbeaten, hence it is known as Anāhata.
VII
In the seventh chapter the texts presents deśādhvā.
It consists of multifarious forms of objects. They are made
manifest by the Lord by means of His power of activity.
The body of objects, namely, the house, the courtyard,
the market, the temple, the garden and the forest which are
different from one another, shine only to the limited
subject as mutually distinct from one another and also
from the subject itself. But the Lord who is perfect and
so free from all limitations they shine as His very self.
These forms actually have their substratum in pure consc-
3

xxxiv
iousness and being so shine non-defferently from Him.
Samvit in Her free will veils her pure natare and manifests
before the view of the limited subject like śunya, prāṇa,
buddhi and the embodied soul the pictures of objects
different from the experiencing subject. These adhvās
shine externally as objects but really they are non-different
from the self.
They have their locātions in śunya, prāṇa, in all the
nādi cakras and the body itself. As they proceeded from
and created by samvid, they are to be dissolved in samvid
by involutionary method. As the adhvās are vast it is
practically impossible even for a yogin to do so in an aeon
of ages.
Therefore, one should know first of all the real nature of
these adhvās. They have their real resting place in conscious-
ness and through it (samvit) the entire adhvā consisting of
the void, the intellect, the vital energy and everything whe-
ther it is the body, the image of a deity, or the sacrificial
altar, becomes complete. When the aspirant is able to realise
this he dissolves them in Brahmā, the lord of Brahmāṇḍa,
then the tattvas from Puruśa to kāla to Viṣṇu, the lord or
them. Then Māyā, the knot (granthi) to Rudra, then Māyā
is to be dissolved in Īśvara who is the lord of Māyā. Then
Śuddhavidyā should be dissolved in Sadāśiva and then
Śakti and Siva are to be dissolved in Anāśrita Śiva and fin-
ally all of them are dissolved in Paraśiva, the all-pervading
one.
In Triśira Bhairava, a Tantric text, thinks of pure consci-
ousness as it were a tree consisting of three portions. The
extreme fringe, the root, is known as bodhamūla where 'this-
ness is predominant. It is the gross form of (bodha) conscious-

XXXV
ness. The middle, is not predominantly of dual nature, because
thisness though shines here, yet it has merged in consci-
orsness. While the most perfect bodha is one where there is
no separate existence of this. Though this state is known as
bodhāgra,the highest consciousness, everything has its existence
here without any separate distinction but shine non-diffrently
from pure consciousness.
From this it is evident that all the adhvās consisting of
thirty six tattvas are non-different from Paraśiva, the Supre-
me. One who is able to realise the most delightful adhvās as
non-different from his own consciousness can attain Śiva-na-
lure without delay.
This chapter gives a detailed account or all the tattvas
from the earth onward and the bhavanas contained by each.
VIII
In the previous chapter we have seen that bhuvanas are
the expansion of Śakti which keeps within all the multifari-,
ous forms of subjects and their objects of experience. But
permeating them all the highest genus, known as Parama-
śiva ever remains shining. But the less pervading one which
is present in some but is absent in others is defined as a
tattva, for example, solidity, firmness and grossness. all these
qualities are only found in Brahmāṇḍa alone. Therefore it is
evident that in Brahmāṇḍa consisting of kalāgni to vīrabhadra
solidity and grossness are found, for this reason it is known
us pṛthvī.
The next thing that has been discussed in this ehapter
is the relation of the cause and the effect. According to
this system the relation is of two kinds, namely, the trans-
cendent (pāramārthika) and supposed (kalpita). The trans-
cendent relation is such that out of freedom of will of the

xxxvi
Lord, who is the free agent, everything beginning with
Śiva and ending in the earth, shines non-differently from
Him and rests in Him. But the supposed relation of the
cause and the effect is such that everything follows a
regular sequence. This form of Kāryakāraṇa bhāva has
created by His power of Niyati. According to this system
the rod, the wheel and clay which are considered essential
for effecting a jar, are only expedients, the real cause is
the Lord, for He remains associated with all of them as
the cause and the effect. In order to support the view it is
stated that it is He who brings all the causes together
and sets them apart. The impelling force of the universal
consciousness is considered as the real agent of everything.
When the potter makes a ar he himself is one with that
universal consciousness who is the real doer.
Paraśiva is perfect (pūrṇa) with five śaktis. These
śaktis are inseparably united with Lord and are manifested
in five forms by His free will. These five are cit, ānanda,
icchā, jñāna and kriyā. The five principles, namely, Śiva,
Śakti, Sadāśiva Iśvara and Suddhavidyā are the manifesta-
tions of the śaktis mentioned above. It is to be noted here
that Śakti is one and affluent with all the śaktis, but on
account of dominance of the one than the other distinctions
are also observed among them. In Śivatattva cit is predom-
inant, while ānanda is so, it is called Śaktitattva aud so on.
The Lords of the above five principles are Siva, Śakti,
Sadāśiva, Iśvara and Ananta. The five beginning with Siva
and ending in Ananta have their respective gaṇas, They are
named Śāmbhava, Śākta, Mantreśvara and Mantra. This is
known as pure adhvā.
The impure adhvā is created by the will of the Lord
for the fulfilment of the desire of the limited souls. Aghora

xxxvii
is the creator of the impure adhvā by means of causing
kṣobha in Māyā.
The principle called Māyā is the material cause of the
insentient universe. It should be remembered in this context
that Māyā śakti belonging to the Lord is the manifestor
of Māyā the material cause and it is quite different from
Māyā, the principle or tattva. The entire universe is born
out of Māyā from which kalā is born. It in its turn is
responsible for the rise of limited power of action in the
limited soul. Māyā is the cause to veil pure conscious state
of the self for which it loses its power of dṛk and kriyā.
Kalā, though born of Māyā and being impelled by its
force, becomes attached with the limited soul. These two,
that is, kalā and aṇu, remain firmly attached to each other,
so they cannot be defferentiated easily. Those who remain
under the influence of Māyā, fail to get release so long as they
do not receive grace from Ananta, the Lord of Māyā. Only
then Puruṣas can differentiate themselves from Māyā, with
the result that they become Vjñānākala souls. In the same
way when one realises one's distinction from kalā one can go
beyond kalā. In the same way when he realises his distine-
tion from Prakṛti, he never goes down Prakṛti. When the
residual trace of mala becomes totally absent from the soul
he becomes one with Śiva.
It is to be remembered in this connection that kalā is the
giver of limited activity in the aṇu soul. The impure Vidyā
bestows on the insentient subject limited cognitive power.
Only on account of its presence the limited subject is able
to see the real nature of the intellect and can distinguish
happiness and others faom the mass of objects which are refle-

xxxviii
cted in the mirror of buddhi. ‘I know something’ and ‘I do
something’ are the froms of judgment, aroused by Vidyā
and Kalā respectively.
These rāga, vidyā, kalā, kāla and niyati are of two types,
on account of the grace they are considered pure and there-
fore function as means for the attainment of Śivahood. Kalā
becomes pure when it consists of activities like worshipping,
rāga becomes so when it gives rise to attachment to the Lord.
Vidyā becomes so when it causes discernment regarding
the Lord. Kalā in the same way gives effect to the teaching
regarding the Lord ( tadupadeśādi viṣayameva kalanam ),
while niyati restricts the soul to remain steadfast in His
worship.
The group of kalā and others are different according to
the difference of the indivdual souls, for the activity in them
is seen to rise differently in different limited Subjects,
It is worthy to note here that the agenthood with the cha-
racteristic of limited nature gives rise to the genus Pradhāna,
the equilibrium of the three guṇas, viz, sattva, rajas and
tamas. Not only that, it is from kalā both the individual subject,
the bhoktā, and the bject as bhogya that is to be experie-
nced, are born. The Supreme Subject in the beginning is made
poor by Māyā. When it takes away all His glories, then again
He is bestowed with a little of His glory by means of kalā
etc. Thus He becomes paśu, a limited subject and the Māyā
kāla, rāga Vidyā, niyati, kāla serve him as sheaths.
The author points out that Prakṛti is of two kinds, the
one is the equilibrium of guṇas, the other is guṇatattva itself
which being disturbed by the superintending Lord of the
Tattva causes kṣobha in Prakṛti which in its turn gives rise

xxxix
to the principle of Buddhi. For Prakṛti as the recipient of
kṣobha should be accepted otherwise how it would be possible
for the liberated soul to remain uninvolved again in bondage.
Bnt according to this system the disturbance ( kṣobha ) in
Prakṛti is caused by the Lord Himself.
Ahaṁkāra gets its rise from Buddhi which secs on the
mirror of the light of Puruṣa which hasbecome slightly impure
because of its contact with the objec ts ( buddhi vṛttyātmanī
prakāśe) feels the ego that ‘I know this and’ ‘I do this’ thus
it feels identity with the object and thinks itself as I. Buddhi.
receives the reflection of objects and at the same time
though insentient, manifests the light of Puruṣa. Similarly
ahaṁkāra serves as an instrument and the cause ( karaṇa and
kāraṇa) It is threefold namely sāttvika, rājasika and tāmasa.
From Ahaṁkāra predominatly of sāttvika nature five inner
and external sense organs, from rājasa Ahaṁkāra manas and
from tāmasa nature of Ahaṁkāra five tanmātrās; are born.
Thus the tanmātrās give rise to nabhas, Vāyu, tejas, āpa and
pṛthvī.
In the present chapter discussion is made about all the
thirty six principles which are mutually related with one an-
other. All of them come under the threefold divisions of
Nara-Śakti and Śiva. Śiva pervades all by His characteristic
nature of luminous consciuosness. The principle in which this
characteristic of light is more prominent than the other, it is
considered extensive than the other, for example Śiva is more
extensive than Śakti, while the latter is more so than Nara.
IX
The present chapter chassifies all the tattvas under fif-
teen aspects and others as viewed by seven kinds of Subjects

known as Śiva, Mantrameheśvara, Mantra, Vijñānākala,
Pralayākala and Sakala. They are possessed of Śaktis. Their
number is also seven. Thus counting Śaktis and Śaktimān the
number becomes fourteen. Counting svarūpa, that is, the
object in itself with the fourteen all the tattvas from Pṛthvī
to Prakṛti each have fifteen aspects.
The Lord is possessed of three Śaktis which are known
as Parā, Parāparā and Aparā. The transcendent Śakti func-
tions as the subject ( mātṛrūpa ). She is the Parāśakti who
is inseparably united with the Supreme Subject. The Parā-
parā Śakti is the instrument ( pramāṇa ) and the Aparā
Śakti operates as the object of experience ( meyarūpaḥ ).
The earth and others have their distinctive svarūpa, that
is, they are objects as they are. In other words, it may be
stated that from Prakṛti down to the earth they shine as
objects without having the reflection of any limiting adjuncts
of the subject and its instrument,¹ This is said to be the pure
svarūpa nature of objects. It does not rest in the subject but
on the contrary, it has its rest in itself ( Svātmaniṣṭham ).
It should be noted in this context that the object as such
shines in this distinctive way by the grace of Aparāśakti.
The pure objective aspect of all the tattvas from the earth to
Prakṛti broadly come under the Nara group, the basic con-
cept of Trika as characterised by Nara, Śakti and Śiva. But
when Śaktis related to different subjects become predominant
and the object in its turn rests in them, it is then known to
be its Śākta form. It shines thus by the grace of Parāparā
Śakti. These Śākta forms are seven because the number of
Śaktis related to different subjects are seven. But when the
Subject possessed of Śaktis become predominant and the

१. मातृमानाह्युपाधिभिरसंजातोपरागकम्—तं० आ० १०.१०

xxxxi
objects rest in the pramātṛs, it is known to be the form of
Śiva who is Śaktimat. They shine thus by the grace of Parāś-
akti. The Subject as characterised by possessing Śakti, that
is, Śaktimān is of seven kinds,
The subject known as sakala has vidyā and Kalā as its
Śaktis, but they lie dormant in Pralayākala souls and though
they are abiding in Vijñānākala, yet they are as if disappe-
aring. In the subject known as mantra they function as
Śuddhavidyā going to become awake but the residual trace
of it is still there. Mantreśa is free from the above residul
trace and Śuddhavidyā has awakend fully in them. This very
Śuddhavidyā is going to become Icchāśakti in Mantramahe-
śvara, while in Śiva it becomes fully manifest Icchā with the
characteristic of Sāvtāntryaśakti.
The whole scheme may be presented by the following
chart.
(1) Meya (2) Māna (3) Mātā/Śakti
(i) Pṛthvī to Prakṛti vidyā/kalā (a) Sakala
— (b) Pralayākala
Svarūpa = 1 (a) vijñānākala 7 + 7 = 15
(d) Mantra
(e) Mantreśa
(f) Mantramaheśa
(g) śiva
(ii) Puraṣa to Kalā Vidyā and
Kalā are dormant
(a) Pralayākala
(b) Vijñānākala
Svarūpa = 1 — (c) Mantra 6 + 6 = 12
(d) Mantreśa
(e) Mantramaheśa
(f) Śiva

xxxxii
(iii) Pralayākala Māna is
without object (a) Vijnānākala
(b) Mantra 5 + 5 = 11
Svarūpa = 1 — (c) Mantreśa
(d) Mantramaheśa
(e) Śiva
(iv) Vijñānākala Māna is going
is disappear (a) Mantra
Svarūpa = 1 — (b) Mantreśa 4 + 4 = 9
(c) Mantramaheśa
(d) Śiva
(v) Mantra Śuddhavidyā (a) Mantreśa
Svarūpa = 1 — (b) Mantramaheśa
3 + 3 = 7
(c) Śiva
(vi) Mantreśa Awakened (a) Mantramaheśa
śuddhavidyā 2 + 2 = 5
Svarūpa = 1 — (b) Śiva
(vii) Mantramaheśa Icchā (a) śiva—
Svarūpa = 1 — (b) śakti 1 + 1 = 3
(viii) Śiva Svarūpa-Svātantrya 1
It has been stated before that the universe has the chara-
cteristic of the three, viz Nara, Śakti and Śiva. The aspect
known as Svarūpa is the inert object in which objectivity is
predominant,¹ where the subjectivity of Consciousness is to-
tally absent. It is well - known that Śiva is of the characte-
ristic of pure consciousness. He is the Supreme Subject
(Parapramātā). His Śakti shining as iccha, jñāna and Kriyā
manifests Herself as six pramātṛs. Among the six the first
three viz Mantramaheśvarā, Mantreśvara ann Mantra do not
१. यत्तु गृहीतृतारूपसंवित्स्पर्शविवर्जितम् । शुद्धं जडम् । तं० आ० १०.१८२

xxxxiii
have any object, therefore they are known as pure subjects
( Śuddha grāhaka ), but Vijñānākalā, Pralayākala and Sakala
are considered as impure subjects.
The author shows as an example how Pṛthvītattva shines
in relation to pramātā and prameyas. The light that shines
non-differently from dharā is Śiva. He supports his view by
quoting a śruti. Dharāmantramaheśvara being impelled by
the will of Śiva leads Dharāmantreśa for bestowing Siddhi to
them who are desirous of it connected with dharā. Mantras
are the vācaka of the superintending deities of different
bhuvanas under Pṛthvītattva. Dharāvijñānākalas are those who
after receiving Śivavidyā have performed pārthivayoga but
failed to attain the highest state ( dhruvapada ) . But on the
contrary the Dharāpralayakevalin is the one who has pra-
ctised pārthivayoga in accordance to the procedure prescribed
by the non - śaiva doctrine. He remains as dharā pralaya
kevalin and fails to proceed further. Dharāsakalas are those
who have the egoism in Dharā.
Then the author shows how all the tattvas abide as prā-
ṇaśakti related to a pramātā. One single Prāṇa consisting of
sixteen tuṭis extends till the emergence of a vedya, the thing
to be known, Among the sixteen tuṭis. the first, the second
and the last and the last but one, is the undifferīntiated one,
the one that manifests the grāhaka, the last tūṭi is inseparable
from the object and the one preceding the last is of the form
of a fully manifest grāhaka. Thus the twelve tuṭis that are
left out of sixteen, are divided broadly into two divisions.
The first six are of the nature of nirvikalpaka and the next
six are the characteristic of parāparā from where vikalpa
begins to rise.
Icchā, jñāna and Kriyā operate in manifesting the first
group of six by assuming the mode of opening up ( unme-

xxxxiv
ṣavṛtti. But the second half of six is characterised by the
term parāparā, while the tuṭis that are the last and the last
but one are of aparā form.
It is to be noted here that all the Subjects mentioned
above shine forth along the time units known as tuṭis. All
the subjects from Mantramaheśvara down to Sakala shine
along the twelve tuṭis, two for each subject, while in the first
tuṭi, it should be remembered, is the location for Sakti.
The fifteen aspects ( pāñcadaśya ) with their varied dis-
tinctions are observed in two tuṭis each. Just as in the cogni-
tion of a jar the characteristics of fifteen aspects ( pāñcada-
śya ) can be watched, in the same way this is observed in
the vital energy when it is engaged in grasping any object.
It has been hinted at earlier that when a subject such as a
Sakala does not participate as a subject, that is, when it is
taken as a svarūpa, the aspect of fifteen becomes thirteen.
Thus the number of aspects diminishes gradually. Then fina-
lly the more the distinctious disappear the number of tuṭis
becomes lesser.१ At last the yogin is able to attain absorp-
tion in Śiva. The time unit consists of two tuṭis here—the
one is considered as full and pūrṇa and the other is the
character of Śivasakti. It has been stated in Tantrāloka that
one who is able to absorb oneself in the second tuṭi one is
sure to attain the power of omniscience.
Now the author says about states known as waking,
dreaming, deep sleep, the fourth and beyond the fourth. All
the Subjects along with their Śaktis are the knowers of
objects of all the tattvas. These states are the manifestations
of consciousness conditioned by prameyas. The meya state
is said to be the chief characteristic of the waking state
which are otherwise known as ( addhiṣṭheya ), the locus.
१. क्रमात्तु भेदन्यूनत्वे न्यूनता स्यात्त्रुटिष्वपि। तं० आ० १०।२००

In Mālinīvijaya it is known as Piṇḍastha, for the yogin
taking his stand on dharā and others as the base, is able to
identify himself with them. But to the jñānin who are well-
developed in meditation it is known as Sarvatobhadra, for
to him the jāgrat state is one which fully pervades the objects
of experience (āpūrṇaṁ sarvato Vedya Sattayā). Techni-
cally the waking state is known as the object of experience
(prameya) or adhiṣṭheya, the base, while dream is known
pramāṇa or adhiṣṭhāna and adhiṣṭhātā or the subject is
the Premātā in suṣupti.
All the states have subdivisous of their own. The are
known as (1) jāgrat-jāgrat, jāgrat svapna, jāgrat suṣupti and
jāgrat turya. (2) Svapna-jāgrat, svapna svapna, svapna suṣupti,
Svapna turya, (3) Suṣupti jāgrat, suṣupti-svapna, suṣupti
suṣupti, Suṣupti turya.
Jāgrat again is known to have four portions. The object
that is experienced is abuddha insentient and the instrument
of experience is called buddha and the right knowledge that
is born out of the instrumentality is known as prabuddha and
suprabuddha. Of the two prabuddha is of the nature of buddhi,
while Suprabuddha is free from the impurities of the object
of experience and therefore is of the characteristic of resting
in the self. The following chart may be of some help for
the understanding of the scheme:
1 | 2 | 3 | 4
Prameya | Pramāṇa | Pramātā | Pramiti
Jāgrat | Svapna | Suṣupti | Turya
Piṇḍastha | Padastha | Rūpastha | Rūpātīta
Sarvatobhadra | Vyāpti | Mahāvyāpti | Pracaya
—T U R Ā T Ī T A—
M A H Ā P R A C A Y A—

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Piṇḍastha may be explained thus. It is that which abides
in the body. The abode of all the adhvās is the vital energy
and saṁkalpa. Everything lies in the vital energy and
saṁkalpa, hence it is known as abiding there, there-
fore it is known as padastha. Rūpayati, is the one that
gives forms to respective objects and then withdraws them
into the self which is none other than the ātman where they
stay as identical with it. This identification and the merger
is known as rūpastha. But the form which is beyond all these
is called rūpātīta. To the jñānin svapna though by nature
vaikalpika, yet it is considered to be vyāpti, for his jñāna is
then free from external conditions and he is the active agent
in changing and arranging the order of thoughts. In the
state of deep sleep the jñānin feels freedom from limitations,
therefore it is considered as mahāvyāpti. While in the turya
state the jñānin sees the universe collected together like an
āmalaka fruit in the palm of his hand, therefore the name
is pracaya.
Jāgrat is the state which a sakala soul enjoys, while svapna
is enjoyed by Pralayākala and suṣupti by viñānākala. In the
turya level Mantra, Mantramaheśvara have their abode. But
in the turyātīta state all the being whether they are prame-
yas and pramātāras become one with Śiva-Śakti and shine
non-differently with it.
The fifteen aspects as mentioned above are also observed
in five states known as jāgrat etc, thus:
( 1 )
From dharā to Prakṛti (a) Svarūpa-sakala-Śakti Jāgrat
(b) Pralayākala svapna
(c) Vijñānākala suṣupti
(d) Mantra and others turya
(e) Śiva Śakti turīyātīta

xxxxvii
( 2 )
From Puruṣa to-Māyā (a) Sakala Jāgrat
(b) Pralayākala svapna
(c) Vijñānākala suṣupti
(d) Mantra and others turya
(e) Śiva-Śakti turīyātīta
( 3 )
Māyā (a) Pralayākala Jāgrat
(b) Vijñānākala svapna
(c) Mantra suṣupti
(d) Mantreśvara
Mantramahesvara turya
(e) Śiva-śakati turīyatīta
( 4 )
Above Māyā (a) Vijñānākala Jāgrat
(b) Mantra svapna
(c) Mantreśvara suṣupti
(d) Mantra maheśvara turya
(e) Śiva śakti turyātīta
( 5 )
Śuddhavidyā (a) Mantra Jāgrat
(b) Mantreśvara svapna
(c) Mantramheśvara suṣupti
(d) Śakti turya
(e) Śiva turīyātīta
( 6 )
Īśvara (a) Mantreśa jāgrat
(b) Mantramaheśa śakti svapna
(c) Mantramāheśa suṣupti
(d) Śakti turya
(e) Śiva turīyātīta

xxxxviii
( 7 )
Sadāśiva (a) Mantramaheśa Jāgrat
(b) Kriyā śakti svapna
(c) jñānaśakti Suṣupti
(d) icchā śakti turya
(e) śiva turīyātīta
( 8 )
undifferentiated śtage (a) Kriyā jāgrat
(b) Jñāna svapna
(c) Icchā suṣupti
(d) Ānanda turya
(e) Cit turīyātīta
X
Chapter ten begins with the description of kalā with its
general feature. As in bhuvanas that which abides as a
common link among them, is known as tattva, similarly
that which runs along the class of tattvas as common, is
called kalā. The number of kalā is four, viz, nivṛtti, prati-
ṣṭhā, Vidyā and śāntā. Four aṇḍas viz, Pārthiva, Prākṛta,
Māyīya and Śākta are made of these kalās.
Nivṛtti operates in Pṛthvī tattva, pratiṣṭhā from jala to
Prakṛti, Vidyā from above Prakṛti to Māyā, from above
Māyā śāntā is abiding. Though Śiva is considered to be
beyond kalā, for He is niṣkala, yet for the purpose of medi-
tation, He is said to be possessed of a kalā named Śāntyatīta.
Aṇḍa is a kind of covering ( āvaraṇa ) which exists upto
aśkti but though there is the existence of bhuvanas even under
Śiva tattva, they are said to be of the form of the void and
therfore do not serve as a covering.
XI
The present chapter discusses Śaktipāta, but before giving
a detailed account of it, it deals with the questions how the

xxxxix
full of grace occurs in a particular individual. The question
has been dealt in detail in our translation of the text and
other related doubts have been removed by the notes added
to it. The author presents three views regarding Śaktipāta.
They are as follows : (1) Bondage or saṁsāra has ignorance as
its root. When the rise of right knowledge occurs the fall of
grace also comes into being. This view has been refuted by
the author first. (ii) The second view is known as karmasāmya
that is the balance of two opposing Karmas. When this
occurs, Śaktipāta is sure to take place. The author does not
accept the above view, (iii) The third view is that of the
ripening of mala ( malaparipāka ).
All these views may be acceptible to the dualists, but
according to the non-dual system known as Parameśvarādva-
yavāda, they are not tenable, for according to this system
the Great Lord in His play of veiling His nature, assumes
the limited nature of pudgala. When the concealment of the
pure nature disappears, the aṇu becomes the recipient of
Śaktipāta and is able to attain the proximity of svarūpa
either by following a sequence or immediately. The Great
Lord is in essence free and it is He who is the agent of
causing Śaktipāta. therefore it does not depend on any-
thing to look for ( nirapekṣa ) that is, it has nothing to
depend on. The person who is eager to have some bhoga
also attains Śaktipāta, but the bhoga to be effected some
deeds are to be performed. The person who has the desire
for bhoga and mokṣa both, should have some karma for
them.
It has been stated in Tantrāloka १ that Śaktipāta is in esse-
nce the descent of the highest light on the limited soul. It is
१. तं० आ० १३.२५४-२५५।
4

1
free from all limitations and is of the characteristic of pure
consciousness ( Samvidaikasvabhāva ). But Śaktipāta of a
little lower nature than the former, though shines in its full-
ness of consciousness ( paripūrṇacidātmatayā ), is conditioned
with the limitations of bhoga.
It should be remembered in this context that Śaktipāta
is really of the nature of icchā of the Lord. It is He who by
His freedom of will manifests all the subjects and objects.
This is his activity of concealment known as tirodhāna, on
account of which bondage and the objects to be enjoyed
shine before the view of the subject. Thus He binds Himself
by the deeds supposed by Him. Then He removes all the
bonds away and finally shines in the fullness of dṛk and
kriyā. His play of freedom is such that though He assumes
the limited forms, yet on His return journey He shines in His
pristine pure nature.¹
Kṛpā or grace is known to be of two types, the one is
parā, the highest and the other is aparā. The highest kind
of Śaktipāta is bestowed only by the Lord Himself, but the
lower kind of grace is bestowed by the superintending lords
of the domain over which they have their control. The Śakt-
ipāta as bestowed by them does not lead the soul to attain
Śiva-nature, hence it is inferior from the one which follows
from the Lord Himself. The grace, it should be kept in mind,
is manda, less keen and tīvra, exceedingly keen. When it is
manda, it gives birth to the soul the right judgment of disti-
nction between Pakṛti and Puruṣa, as a result the soul does
not go any farther below prakṛti. But when it is keen, the soul
by its merit is able to discriminate his own being from Kalā
१. यदणुरूपोऽपि सन्नसौ प्रत्यावृत्त्या रूपं स्वयं परिशुद्धं स्पृशति ।
तं० आ० विवेक १३.१०५