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INTRODUCTION

CHAPTER I

Authorship and Date of the Ci~gagana-ca.ndrika

The publication of the manuscript containing the text of the Cidgagana•candrika-a book dealing with Saiva Ta.ntrikism in a masterly but somewhat abstruse style, demands first of all a few words about its author and date. The book has been declared by an expert Sanskrit Pandit like Svami Sri Trivikrama Tirtha to be the work of the great poet Kalidasa and his opinion is shared by others.

That Cidgagana•candrika is the work of Kalidasa is clearly stated by the author himself in ma.ny places of the text. In the benedictory verse the author says :-

"~ Ehl Mt{H:t-Ei's{!.(~<M ~'t ~fct,.q i-fl leJ.. I" ~

The concluding stanzas of the book also make further notes to the same effect:-

"'m~!(.aa~~a: Efii f&i:\lt::t<~:i ~~it_l" ~o~ ''cfiT~~l~Q~cff eenma~'a~ 101~¥l\~l'l_~~~¥\Tlf: II" 'l_o~

• In his 'ParimaJa' commentary on his own work "Mahartha-maiijar'i:/' Gorak~anatha (Mahesvaranatha) has quoted several passages from the Cidgagana-candrika to substantiate his own statement. While quoting passages from the Cidgagana-candrika the great scholar-mystic Bhasuriiuandanatha (Bhaskara Raya) in his commentary, named 'Saubhagya-bhaskara, on the 'Lalitasahasranama, acknowledged them as Kalidiisa's assertions. In some places he even mentioned the name of Cidgagana-candrikii.. Amrtanandanatha, too, in his 'Dipika' commentary on the 'Y oginihrdaya,' has referred to this celebrated work. Again, C1dgaga.na•candrika. by Kalidasa is referred to by Kaivalyasrama, a pupil of Govindasrama, in his Saubhagyabodhini r_fika on Ananda• lahari. * This clearly shows that the name of the author of C1dgagana•candrika is Kalidasa.

! Of, Catalogus Codicum Sanscritlcorum ( Oxf. ), p. r08,


2 INTRODUCTlON

Js the author of the Cidgag Jina-c a:ndrjkit t ben foe sEirne person as the great poP-t Kalidasa, the brightest gem of the court of Vikramaditya ? If, after going through Khaf,l.Qana-khau<;lakhadya, we can recognise a philosopher in Sri Har~a, the author of the Nai$adhiya, there is nothing to be surprised at if the great poet KD.lida.sa be found to be the author of a book on Tantra. Tradition says thfl.t for his supreme devotion to Goddess Kali, he obtained from her the gift of his unparalleled poetic genius. Now the author of the Cidgagana-candrika is also known to be a worshippel' of Kiili. In many places of this book, while speaking of the glory of devotion, he addressed the Devi as Kali and introduced himself as Kalidasa, the servant of KiiH. He says:-

"ffi ait!!rl oiir~~ r.=er~ ~ i:tieam1~.., 1" ~i$~

Again fre last line "enuidit~ ~'11§' ~ ~Tilffl ~;fro: l"

of the second verse of the Cidgagana•candrika is identical with the last line of th,e opening {N andi) verse of the :Malavikagnimitra which rnay aJso lead to the supposition tbat the Mahakavi Kalidlisa and the Tiintrika Xalidasa, the authol' of the Cidgaganaca:ndrika, are one a.11d tbe same person.*

Another traditional account records that Kalid.iisa was left an orphan by the death of his parents in the prime of their lives. Brought up by a cowherd in his helpless condjtion~ the boy though very handsome, remained illiterate. Bhimasukia, the king of Bemn-es, had a daughter named Vasanti, who was the most accompHshed lady of the day. She J.ad taken a solemn vow not to take anyone as her husband who would not be well versed in all arts and sciences, Tl1e king's ministers, who were vanquished by her in learned discussions, cleverly got her ma:rried to this Kalidasa by a stratagem. Soon after, the princess discovered the trick that had been played on her. f be, however, being a devotee of Kan, the Goddess out- -of pity fo:r her marked upon Kslidasa.'s tongue the Mantrika letters

"' It would not v.e perhaps qui:e irrelevant to poiat out in thfa connexion thR.t th~ cuncludin" line of the Czogagll.lla•cs.ndrih which runs as ..

'~l°d~@i ~'t~ ~ '2t g' sugge,ts thi:t tbe anther wss possibly known as Sriba!sa,


INT:RODUCTION 3 e

{Vijalqaral).i} which endowed him with a ready "vit in speaking and versifying. After that he came to be known as a Mahakavi and became a. devoted worshipper of Kali.* That Kalida~a was a worshipper of Kali ma.y be guessed from the celebrated Stotra Syamaladai:i4aka {Kavye.cnala, N. S. S.)j which is ascribed to Kalida.sa.. In this work he has sung the glory of ~fataflgi who is one of the sixteen-Mahavidyas.

Do the dates, however1 agree to warl'a.nt such identification ? Of documentary evidences .relating to the date of the Cidgagana.eandrik'.i we have nothing more than the few following references.

The Sioka 805 of the work, as quoted above, states that it is more or less a. continuation of Kramastuti by Siddhaniitha who is also known a.s Sambhuna,tha.. This has also been said by Prthvidhara.carya in his Bhuvanesvari Stotra.t So there ca.n be no doubt that the Cidge,gana-candrika of Kalidasa was composed aftei- the Kramastuti. But Abhinavaguptapada also composed another work named Kramastotra.. This work is not the same as that of Sa.mbhuna.tha's. Kramastotra. by Abhinavagupta.pada was composed in the 66th yeal' of Kashmir. The concluding lines of Kramastotra clearly state this.

Again, it is known that Sambhunatha. and Abhinava• guptapada. lived and wrote in the same age. To be a little more precise, it should be made clear that from Sambhunatha Abhinavagupta,Effida gathered a complete knowledge of the purport and mystery of the Tantras, and then began· writing Tantra.-Nibandhasp Abhinava.gupta did not feel ashamed to admit this in many• places of his numerous works.t Now

• Religion and Philowpby ol Kaudii,,sa by Naras1mha fongar, B. A , M. R, A. S.,-V1de Indian Ant,quary, Vol. XXXIX, 1910.

t ~1 ~4.;rrq rla ~sfq !if tetp $1~ ,W,60nc(,ijon~S~ I

~~ @P.11' R~

=iffltt'iifif~ '8Wl•lil·-o:Je.J::at 11 ~it=(=at~-\t + ~nmf.. lfl'qtJTP:~-' ~4 ~e~l01~r 1

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~


4 INTRODUCTION

Abhinavagupta composed Brhat-pratyabhiJiia-vimarsini in 101, A. D. The last two lines of t.he work throw much light on this problem.-

"C:ffl ill!:ffaait~ ~~S?a ~ faN-:aro-~~ itmdtqJE«.=nff n"

Probably the Cidga.gan3:-candrika was composed a Iittle eal'lier than Abhins.vagupta.pada.'s Tantraloka. The date of the com~ position of the Cidgagana--candrika may, therefore. be fixed near the bfi::.ainning of the 11th century A. D. Can its author be identified with the great poet Kalidasa of immortal fame, who can by no means be placed later than the sixth century A. D. ? The answer is plain enough.

It will not be out of place here to make a passing reference to MAt:rgupta who is regarded as the Kalidasa of Kashmir. Matrgupta. lived during the time of Emperor Har~a.-Vikramaditya of UjjayinI, and later on was made the king of Kashmir by the great Emperor. He belonged to the 'Trika' School of Kashmir and finally renounced the world after the death of his patron Vikramaditya. .A detailed account of his life may be obtained from Kalha.,;ta.'s Rajatarangil,li,* Age.in, in the Prabandha-Ko~a. by Ua.jasekhara it is stated that there were three poets of the name of IDHida.53, Abhinava.•Kalid·asa, and Na.\l'a-Ka.lidAsa. (9thlOth eentury A.D.)t

Poet Kilida.sa.'s name has been almost a household word of India, so much so that different types of works belonging to

'((<l\•IW ElifiWUl@ai(1ffl\1Af'&Jt1lt:a:~~~ ~ I •

~ ~~llc:«a.a~OJ.. Tti~1'ulm:c d~ar ~iPcm~~li. l ~-~~<sre,qrn01 R.i1~ff4;:re:

~~!n.:<tJZiQ~-~1.f; l

~ ~ '1~tmlffa f-t~~k:a~ir u --'PJfii OOEfi, f

• Ct. " Ma.trgllpta ~s-. according to Kalhallll, a. p-re<lec~nur of Pravatasona {the i::elebrated · anchor of the Setubandh8o}, and his per:wnality hu ,uffo:ed a cnn(u,ion with

K&Hd«~• by unwise cooje~ture "-Keith, A Hist ot Sans. Lit,- P l]3 Ci :-W1r,,te.r11il3i GIL.

Iii; U~i, TI. 1, 1 $3 f. Stet• fixes tbi: da1es ul Mi.trgupta ,iud Prav.-irasena to be !be la.Her part of lhe slxtb

century~- D,-$tei11t Rajtar t lll •• 1:z5•3~6. t -'.tfrecb.t ; 011t : Cat, P I, P• 99.


INTRODUCTION 5

different ages co11l'tJosed by different unknown authors have been wrongly ascribed to him. There is a work on astronoiny named Jyotirvidabhara.:t;1.a that also passes iu his name. But eminent authorities like Dr. Bhau Daji and others are of opinion that this wm:-k was written by some later author. The attempt to ascribe this Cidgagana-ca.ndrika also to Poet Kalidasa, seems to have been inspir_ed by some later scribe or scholar who did not think of the chronological discrepancies involved m the matter.

CHAPTER II

Critical Estimate of the Work

In the Cidgagana-candrika. the eulogy of Devi as 1dya gakt.i is full of abstruse principles. Of course, the known principles of wo:rship have been given in a very luculent way, The text of the Cidga.gana.candrika is divided into fom discourses or chapters. The first of the foux clispters gives the central idea. in a succinct manner. The other thl:ee chapters are more or less in the form of amplifications. actually serving as commentaries on the first. The principles given aphoristically in the first, have been fully expanded and thoroughly commented upon in the last three chapters.

In chapt8!r I, the author deals mainly with Sivata.ttva, Prakasa.• vimarsata.ttva, lsva.ratattva, Brahmasvariipa, Pratyahhijiia, Sakti• tattva, Bhedakara1,,1.a, Gur;tatraya. Isvarnsakti, Juana, Dhyana., Ekagrata, Sr~ti an, Sarµhiira,J etc.

Vima.rs.,a-lak~ai;i.a., Vamasakti, Para-pasya.ntyadi-vakcatu~taya, Dha.m.a, .Anaha.tasvara, Kala., Matrka.> Nadabindu. Adyaspanda, Khece.ricatu,t~ya, Paiicin,•aha, Unmani, Prakasai Citta, Vusa.na, Para.ta.ttva.t Sii.ma1·asya, ~oc;lasakala, U pasana•si\dhana, etc.,-are the subjects chiefly discussed in the second chapter.

ln the third chapter there is a description of-U pasana, Pithotpatti, Pithaca.kl'a, Pujaprakara, Pancavahacakra. Kala, Kul).;:ialitritay~ Siva.mfuti, Pa.nkti, Divyaugha, Paiicavrtti, Guruv:rnda, .Anandacakra.1 Prakasacakra, Vrndacakra, Mantrasa.kti, Mudra, Siva.riipa, Sunyapada., Sr~ti, Antacakra, Vrndaeakravya.pti, Nada, Paiicayoni, PiirQapra.tha., Kha\).9-aca.kr~ V yo mat attva, etc.


6 INTRODUCTIO~

The fourth chapter deals with $aq.adhva, Ca\19,ikat Pujadxavya~ Pujarahasya, Vimarsasvarupa, Srutipramii1~a, the sthula (gross} form of the Devi, Mantrafakti, the different forms of Kiili, Nada, Sudha.sindhu. Sarµvitpadma., .l\Hyaka:rl). ika, Prak:rtimayapatra., Prtha, Pl'etasana, Pujadhikarin, Kalisvaru.pa, Paficavahakrama, :Milrticakra, Turiy.apa.da, Jiiana-sldhana, Cara1:iavidya, Sarµhara, krama, Ma11trapitha, Vyomarqpa, Yantra, Navacakra, Gmuparampari'i, Gurupaduka, Juanani;.;tha, etc.

The principles, which are already known to the Upasaka, such us Paficavaha, Dvadasasakti, KhecarI, Gurukrama, the different forms of !dya Sakti that are worshipped, Pujakrama, ~aq.adhva, Bhiivana, th.e consequence of Bhavana, the Mantra and Mantrasakti, Cara, Rava, Caru, the practical results of Mudra etc.,have been discussed as matters of importance in many sloka.:s in e,ery chapter of the book. In the concluding ten stanzas of the te:'ftt, the author has explained the aim of his composing this book and he did not forget to indicate the effect which it might produce in near future.

It has already been mentioned before that tbe author of the Kramastuti is Sri Siddhanatha {Sri Sambhunatha). He was one of the most learned men of the famous Trika school of Kashmir. As Ka.lidasa composed Cidgagana·candrika in the form of a commentary on Kramastuti, it may be stated that Cidgagana-candrika also belongs to the Trika school •

This book does not gi ·ve descriptions of such forms. of Kali as Guhya-~Kali, Halp.sa~Kal1, Smasa.na-KaH, Dak~ii:ia-Kali, KamakalaKali and Guhya,Smasana-Kali, etc, which are woi-shipped in Bengal and Kera.la. On the other hand, the f.orms of Kali like S:r~ti-Kali, Sthlti-KalI, Sarp.hara-Kali, Rakta-Kali, l\Irtyu-Ka!i, CQ.l)Qogra-Kali, Kalasankar~al).i'-Kali, etc., which are described by Abhinavaguptapada and others of Kashmir (but not by the Bengalce PawJits Krg1ananda A.gamavagisa and Raghunatha Tarkavagisa, the authors of the Tantrasara and the Agamatattvavilasa respectively), are dealt with at length in the Cidgaganacancb:ika.

In the prologue of Anuttaramnaya praka.rru.1a (section) of Cidambara Tantra, the name, description and mantra. of Kalasan~ kareya:r;ii Kali alone are given. But mast of the forms mentioned ~hove are unknown in Beng_aJ. and southern India..


INTRODUCTION 7 •

Ki\lidiisa in his Cidgaga.na•ca.n drika speaks about the upasanli of Paratattva (worship of the Supreme Principle) in the form of Adya Sakti Kalika. Abhinavaguptapacla, too, reiterates the same thing in details in his Tantraloka and Tantrasara, There is no doubt that Kalidasa was prior to Abhinavaguptapada; but both of them were descended from the same traditional line of Gurus, This fact becomes clear if we studf the slokas dealing with this subject matter in the first and fourth A.hnika {topical section) of the Tantraloka.

Gurus, in a. subje~t like Tantra. have to expla,jn to their students or disciples the secrets and technicalities of their science, which are passed down from generation to generation in succession along the chain of followers consisting the particular school (sampradaya). But in case the links in the chain of Si,yas hreakt the secrets known to that school dies with the Glll'u ; for no uninitiated person can possibly possess the traditional k-nowledge. For this very reason the secrets. current among the merobe1·s of one particular school, a.re not known to the members of another school. Hence, in order to check the rapid flow of the Budhistic doctrines, Kumarila Bhatta, the great MimaJT,lsist advocate of the Vedas, was obliged to get himself initiated into Buddhism, by which means alone he could master the essence and spirit of the atheistic religion

In course of time the links in the chain of Gurus and Si~yas of the Tantrika•schools snapped and in consequence thereof the secret principles of the Tantras gradually became unintelligible to the .average person. This fact created greater opportunities for misrepresentation anti degradation of the Tantrika c.reed and as a result the public lost all faith in it.

The position of the Vedas, which also deals with the cult of worship, has been fully discussed in the Agamasastras.* and explained by Raghavabhatta fo the very beginning of his ilJu~ minating commentary on Saradatilaka. 'Without fully knowing the significanee of the mantras, one cannot proceed with the rituals. To know the meaning of the mantras on.e must, as a

# ~ ERrt=J ~~ ~lo:.t'Slfi qifm'ClH:1;,li:lffl~-

ara lttifiQl8.CllfiiUQEii•IR~1@lkil'=t ~{fa~ -· ~R~ C ra0i!hi!ltfil ~l~


8 INTRODUCTION

• a principle, understand fully the significance of Sahda (sound). To grasp fully the underlying secret principles of Upasana that are revealed in this text, one should first of all learn the secrets ~md technicalities, attaching to this pnrticular sahool of Tantra, from. one who has obtairied his knowledge in an unbroken line of discipleship from the author. But unfortunately no such commen• tary on this work has yet. been unearthed.

The average reader would~ therefo:te~ experience great difficulty in understandfag the meaning of many abstruse passages in the text, and the uninitiated would feel helpless in determining the real object of the te-'<(t. Adopting, however, the method foHowed by Svamipada, a summary of the abstruse principles of Tantra as explained in some of the standard works on the subject is given in th~ next chapter.

CHAPTER ID

Principles of Worship

The Upasaka should understand twei forms of the Upasya (adorable) one-StM-la (gross) and Sukrma (subtle). The Sadhaka may not attain Siddki (perfection) by worshippini the Stkllla form alone. With Sthftfo form he shall have to adore the Sukfma form also. By worshipping both the forms, the Sadhaka achieves his desired End. The Sagu:r,i.a Upiisana of Parabrahman is the Sthula Upasana. In Sagu:i;:,.a Upasana, the Sadhaka conceives the name, form etc., of his adored Diety, according to his own taste and temperament, As individual tastes of Sadhakas are -varied, so there are various forms of the Upasyadevata. The <liversity of the tempe:raruent of the Upasaka is the result of .hiB Karman or Saq1skara of his previous birth. In consequence of this, the eternal Spirit of Pa:rabrahman reveals Itself to different Sadhaka.s in different forms. The essential truth underlying the principles of Upasana. has been. mentioned in works dealing with Upasana. The different names and forms, through which the different Sadhakas concei~e the Spirit of Pal'abrahman at the time of worship, constjtute the background of the Sthiila Upasana;


INTRODUCTtON 9

and the contemplati~n of the identity of the soul of the Sadhaka with that of the Adored Deity is Silk~ma Upasana. This Realisation is the mtimate Goal of all Upasana.. Nyllsa, Japs., Pil.ja, Homa, Tarpa.lla etc., are the means of attaining this End. The identification of the hcdy or the VVor1;hipped Divinity with that of the worshipper is <lone through N'yl::ia. Japa attributes the divine spirit of holiness in that abstra~t. body. Pilja strengthens the divine thought. .By Homa the w()rldJy attraction of the individual soul is destroyed. By Tarpat;ia. the oneness of the worshipper and the Worshlpped is finally established. The Upasana, culminating in the unification of the adorer and the Adored is Suki,ma U pasana. The different forms of Upasana have been detailed in works dealing with Upasana.*

On studying C'idgagana-candrika it will be :found that the author has composed this work to eulogise the worship of some great Female Divinity and has named the Divinity by the appellation of ldya•Sakti Kall. The Divinity adored by the Sidhaka is Kili. She is none other than Parabrah.man (of the Upani$adS) to the Sadhaka. This very Kali is the Adya Sakti of Parabrahman which has been described as Maya in Vedanta, Prakrti in Sankhya and Adr~ta in Nyaya. This Adyii Sakti is known in the Tantra as Sakti. In the Agan1asastras no great differentiation is made between Sakti and Saktimat.f Sakti, ss worshipped in the Agarnas) is described ta be above all religion, beyond all proof and is described in the

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~f


JO INTRODUCTION

Upani~ads as Pa:rabrahman. The object of o"ur author's ndoration is tbus Parabrshman Itself appearing in the form of the great Kali. This has been clearly mentioned by him in sloka 278, chapter IV:-

il ~ ~ ;:r~;rr ~~~~ rf ~aTN a' I mftr mf~ a -fu:~qm ~ f$rT ~if~~ mrq_ 11

',:I

The gvetasvatara Upani~ad has described the Supreme Deity precisely in the same way as Kalidasa has described Sakti. The Svetasvatara text runs~

~ ~1' ~ ~inrrf~ ~cl ~ ~a- ErT ~-\¾I~

The aspect of the Supreme Principle in the femrue formi as adored in the Agamas, has been described in the male fo:rm in the Vedas. This male aspect is called 'Kiila'. The worship of Parabrahman as Kala is found in the Kala-sukta of the A tharva. Veda.* The same idea is echoed in the Srimad-Bhagavad Gita

also--

The Kala, as mentioned in the Vedas and the Gita, is the same as Parabrahman. Upani.~ad notes:-

eli"Wl~ ~m P ~ tf.ii Ilmmf ~ I ;.mi~ f~~~ ~ ~~M+m1_1-~ I

.. So what is described in the Vedas in the shape of .a Male under

the epithets of Parabrahman, Paramatman, Puru~a1 Sat, Cit, Ananda etc.J is mentioned in lgama.~astraf in the form of a Divine Female, as Kali Ca1;i.Q.i, etc.

It is believed that the whole universe does not fall to pieces due to the preserving power of the Great Preserver Pa.rabra.hman. The same Parahrahman is worshipped in the Agamas as Prakasa, Vima:rsa,, Kali. Cal).qJ, etc. With all the differences regarding the

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INTRODUCTION II

... principle of worship, the Agamas and the Vedas agree on this one pomt at least. Taking into consideration the derivation of the word Kali, the same idea is confirmed. The expression 'Kali' has been derived from the word 'Kala.' The word 'Kala' is derived from the root 'kala' of the 'bhu.' class (bhvadigaQ.iya) which is often used in the sense-coto sound and to count,,,

It is also derived from the root 'kala' meaning 'to throw away.' 'to move' and 1to count'. The root then belongs to the 'cura' class (curadigat:i-iya). In the Tantrasara, Abhinavaguptapa.da has used the root skala' to mean moving, throwing, knowing, counting, acquir~ mg, sounding, and the annihilation of one's own pe1·sonalitr. Five different meanings of the root 'kala' have been mentioned in the Tantraloka only to trace the base of 'Kala.' K~epa (throwing}, Jfiana (knowing), sarµkhyana (counting), gati (moving), and nada (sounding)-these five are the different meanings of the root 'kala.t

"itrt !iffl'~ ~,ii qfa~ 11:ffl Eli+I~'

The outward manifestation of Atman is k~epa. The realisation of the oneness of the universe thus manifested with one's ownseJf is j:fiana. The manifested world consists of categories like the cognising subject (pramatr), objects of cognition (prameya) etc. The regulation or restriction in the form-"This is such, and not not~such,"-(i. e. a clear-cut connotation of every category experienced) -is called •vikalpa1 (restriction). 'l'he attainment of one's owi. real nature expelling the distinction between all manifested categories, such as the cogniser and the object of cognition etc., is 'gati'. It should be noted in this connexion that there is no subject-object relation in this technical type of 'ga.tP. 'GatP usually means 'prapti' (attainment). But whenever we say that one attains something, that something is different from the person who gets it. Ort in other words, ONE is the subject and something ( Mat ) is the object. This differentiation between subject and object is absent in the stage of this ultimate 'gati', as in the case of the phenomenon of reflection. When the mirror breaks, the reflected :figure of the face merges into its original prototype face (~imba). But for that reason nothing new is attained by the reflection w hfoh only gets its own nature. This sort of getting into one's own true nature is 'gati'. The acquirement of its own nature by the reflecting medium with the :Vithdrawal of the reflected object is iga~i' e. g.-the acquirement of its own nature on the part


INTR.ODUCTWN ,

of the crystal on the withdrawal of the Jahii flower, is the best instance of getting the Svarupa ( opparational acquirement). Nida is the attamment of True Consciousness with the disappears.nee of the differentiating knowledge of ca.tegoriesJ by unchangeable intuition, Tantraloka notes thus :-

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ma. -Eil~IU~~ ~@~(~ ~I

ffl'{: ~RWRta:rtt,itt(at ~~1Q'iffi'f_ U'' Sd Bhiitiri1ja Glll'u echoed the same voice :

"~qy~ ~PU ~ ~W-1$£~l I"

By taking into consideration the prakrti (base), pra.tyaya (suffix) and signification of the word 'Ka.fa.', it will be be found that Parabrahman is in Itself Adyi Sakti. Thus Kalika -0annot signify anything other than Parabrahma.n, Para.siva Ol' Parasakti. For this reason in the Tantrasara the expression Parames vara., Pfu•-9,a4

sa.i:p.vitsvabhava, Samarthya., f.rrmi~ Hrdaya, Sara, Spanda, Vibbiiti, Trisika, Kali, .Kar~aTJi, CaQ.<[i, Ba?J.i, Bhoga., Drk, Nitya, etc., have been used to denote Kali, In short, from whichever point it may be seeu,. it will be found that A.dya Sakti Kali is nothing else but Parabrshman. There might be some difference in name only, but nothing in sense or spirit.

Partly due to the actions of the U pasaka. in his irevious birth and partly due to his Sadha.na, the form of the Worshipped often undergoes a. striking variation.

All those different fol'ms of the Adya Sakti Kali mentioned in the Agama.sii.stras# particularly those forms pre;slent in Kashmir, are discussed in the Sastras for the moral benefit of the UpAsaka. Of these different forms the most important images and names a.re dealt with 1ll the Cidgaga.na-candrika. In the Tantraloka twelve, thirteen, sixteen and seventeen different forms of the Adya Saktl are enumerated.* The following are their respective names (1)

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INTRODUctiON t3

' S!-'~i-Kalr, {2) Sthiti-Ka.li, (8) Sarµhara-Kali1 (4) Rakta-Kali (5) Sva~Klil~ (also known 9,s Su-Kiili), (6} Ya.ma-Kali, (7) ~.lrt;yu-Ka.li, (8) Rudra-KaH (also known as Bhadra-Kali), {9) Pa.ramarka-Kali, (10) M:arta1).1~a-Kalrs (11} Kalagni-Hudra-Kali, and {12) Maha-Kali (also known as Para-K§..li, Maha-Kala-Kali, Kala.-Kall and Kall). The twelve different forms of Adyn Sakti Kali a.:l'e dealt with in the Sri Sardhasa.tika. If the name of ''Malia.bh1.1.iravaghoracanda-Kiili" be added to the list of the twelve different names and ·forms of Adya Sakti, the thirteenth variation is obtained. This has been mentioned in the Ta.ntrarajabha.ttaraka, * The mention of the sixteenth and seventeenth forms of Kali is obtained in the Ta.ntraloka and the Kram.asa.dhhava.bhaWiraka ; but their names or dhyanas a.re hardly to he found.

What has been said above regarding the twelvet.h and thirteenth forms of Kali, are discussed in the Kramastuti with their forms and dhyi$.nas. These dhylnas are also given in the Tantraloka.. The dhy.J.nas of the fourteen kinds of Kali are given in the beginning of the Cidgagana-candrika from. the Tantl'aloka. So these are not again given here in details. The secrets of these forms have been very clearly discussed by Abhinavaguptapada in his Tantraloka and in the corntueutary on Tantra.loks by MahiiMahesvara Ja.yaratba •

•

•

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CHAPTER IV

Trika Principles

,,

In the report on the working of the peripatetic party of the Government Oriental .Manuscript Library during the quadxiennium 1916l 1917, 1918, 1919, an account of the Cidgagana-candrika is found. Here Cidgagana~candrika is reckoned as a "ta.ntric work in praise of Sakti as concehred by the Kashmirian Saivaism.,, Kashmir Saivaism, as distinguished from other forms of Saiva.ism known and still practised in some parts of India may he studied from the Siva-sil.tras with their commentary on them by Kesa varaja, called the Vima.rsinI, The doctrines and teachings of this form. of worship are known as T.rikarS5.sana1 Trika-Sastra or simply T.rika1 and al'e generally referred to as Rahasya-sampradaya; while the distinctive name of S.iva-Sasana. or giviiga.ma is given to Saivaism. The term applies to the triple principle with which the system deals viz. •fittl:f·ffl~' or 'Q''@·tfro·~'. In the Para Trirµsika the phrase '' :'.«:·:U~ -fti~rc;pt fii~" occurs. (Vide, introductory v-erse 8 ) ..

A :striking peculiarity to notice about the system of Trika. Philosophy is its idealistic monism (Advai.tavada}, and it differs in fundamental principles from other forms of Saivaism.

It is admitted on all hands that the Trika f oril! of :saivaism first ea.me into prominence in Kashmir at the beginning of the ninth or perhaps at the end of the eighth century A.O. Still the original Siva•Sa.sana or SivAga.ma is far older than this date. Indeed, we may have to trace its beginning in the early Vedic Revelations. Even the orthodox followers of the Sivagam.a in Kashmir admit that the Trika-Sasana :first made jts appearance (or, as they put it, reappearance) about the beginning of the ninth century A.D. A brief account of the Trika School is given below.

In the beginning e.ll the Sastra.s existed in the yet unlettered thought and experience of the Supreme Deity in the form of the Para Vak (that is beyond all thought and speech).

Nextt as the Universe derives a more tangible .manifestation the Pari Va.k* appears in that thought and experience which is

• Para Vik, 'the 'All•tr.1nscendin1 Word' ihat js beyand all objective thouflbt and .rpeech lQ all their i?nnSi not excluding even the Avyakta, tb.e most getu'l.inal of them~•)


INTRODUCTION

~

to be and wJ1ich still cannot be conceived of. The Para Vak now appears in another form viz. Pasyan~l (vision). With the progress of the manifestation of the Universe, the Pasyanti Vak assumes a third formJ viz.,-l'vfadhyama, the l\fiddle oneJ and could distinguish one form from another as "this)' or ''that/> l'dadhyama then takes its stand 011 and between the undifferentiated Pasyanti on one hand and the fully manifested VaikhJ.r1 Vak on the other. In the opinion of the commentator on Alan kara~Kaustubha, V aikari Vak is nothi11g but thought and experience expressed through the vocal organ. u And what are called the Siva .Sastras, indeed aU Sastras, are nothing but this Divine Madhya.ma Vak assuming these forms and 'flowing out/ as the Vaikari or spoken words, in five 'streams,' from what ma.y be l'egarded as the 'Five Faces~ of the Deity, the faces which represent the five aspects of His five~fo1d power and g1ory1 namt>ly, Cit, Ananda, Iccha. Jnana and Kriya, and which are respectively called I sana1 Tatpuru~a Sadyojafa, Agho:ra and Vamadevau.* The Saiva Sastras, which consist of Do less than sixty four systems representing many asp.acts of thought may be mainly divided into three diffe:rent schools.

l. Doctrine of the essential unity and identity of all that seems to be many ( Advaita or Abheda).

2. Doctrine of the diversity or plurality of principles which may be comprehended by some as the essence of things (Bheda).

8. Doctri~e of the unity from one standpoint, and multi~ plicity from another, of these prineiples in accordance with their logic. (Bhedabheda). t

Of these sixtyfoar Saiva-Sast.ra.s most disappeared with the growing influence of Kali age and with the disappearance of ~5is, people began to sink into spiritual darkness. The Tantraloka notes that ~bra took pity on men and appeared on the Kailasa Mountatain in the guise of SrikaJJ.tha and asked Durvasas to broadcast the essence of the Sastras among the people of the universe. The sage's three 'mind-born• sons began to teach anew the Sivagama. Of these sons Tryambaka was to preach Abhcda. or Advaya (Monistic Philosophy). It is this philosophy which is spoken of as the Trika System of thought,

• Ka.shmir Sn'livaisin~th,; K:lshntlr series of ri::xts 31'!.d Studies, t See Hindu Reah:sm pp. S·IO, by J. 0, Chatterjee, B. A, (Oo1nts.b),


I6 INTRODUCTION

The literatme of the Trika system fa1Is into three board divisions.

A. THE AGAl\:IA-S.ASTRA,-which is regarded as of divine authorship. and lays down the doctrines (jfiana) and the practices (kriya) of the system as 1·evelations which are considered to be handed down (agama) from teacher to pupil (sampradaya).

B. THE S:P ANDA sASTRA,-This lays down the principal systems in details and in more expanded forms than the Siva Siltras without quoting philosophical reasonings in support.

C. THE PRATYABHIJNA SASTRA-,This is considered as the 1\fanana or Vicara-Sastm, i. e,t philosophy proper of the Trika School. It contains an exhaustive treatment of the doctrines with suitable argument and support and refutes the views of the opponents.

The Main Doctrine tif the 'l'rika PhJloshopby

Before one goes through the pages of Cidgagan-candrika, one must possess at least a little knowledge of the main doctrines of the Trika or Advaita Saiva Philosophy of Kashmir. 'Ihe true and ultimate nature of an experiencing Being, as held by the Trika school, may be stated as follows:-

Atman, the true and innermost self in all beings, is an unchangeable ve1ity of the nature of a cognizing principle. Never does it assume the form of either the cognized or the • means of cognition.

It is also known as Caitanya or Cit and also Para Sarµvit, the Supreme Experience ; Paramesvara, the SuP.reme God : Siva the • Benign One ; Parama Siva, the Supremely Benign One.

The Caitanya or Pararoa Siva is the Reality which underlies everything in the universe, taking one thing at a· time and also comprehending the universe as a whole. Parama Siva is Eternal and Infinite, beyond the limits of time, spaoe and form. His nature manifests itself in a two-fold aspect :-immanent aspect in which He pervades the universe, and (2} a transcendental aspect in which He is beyond all universal manifestations. The universe with an infinite series of variety of objects, and means of experience, is nothing but different manifestations of the immanent aspect of Parama Siva Himself. Sakti (Power) is nothing but this imma:p,ent aspect of Parama. Siva. Saki is known as His Feminine


INTRODUCTION

Aspect, and has a large number of modes or forms.* Of these Iccha Sakti, Jfiana Sakti, and Kriya Sakti are the most fundamental and primary ones, "'\V1th these five principal aspects of His Sakti, of which there is in reality an infinite number of modes, Parama Siva manifests Himself or which is the same thing he manifests His Sakti-as the universe." And he does this of his own accord (svecchaya) with no oth:r material than his own Power and in Himself as the basis of the universe (svabhittau).

Jn short, the unive:rse may be regarded as only an expansion of the Power of Parama Siva Himself in His aspect as Sakti, while He still remains the ever transcendent Caitanaya without being affected by the process of manifestation.

When Sakti expands (unmi~ati)1 the unhrerse comes to its existence and when the Energy ( Sakti ) closes up (nimi~ati), the universe ceases to be. There were countless universes before and there will be an equally countless number of them in the eternal space of time. And the Divine Sakti will go on repeating the proces_s of opening herself out and closing herself up eternally, as there is no absolute beginning or a final ending. Such a phase of manifestation or actuality of the Sakti is called an U day a, Unme~a, Abbasana or Sr~ti (Creation) while a potential phase is termed as Pralaya (Dissolution) ; and a complete wheel consisting of Sr~ti and Pralaya is known as a Kalpa ('imagining', assuming1

or ideation, namely, of a chain of Cl'eations, and dissolutions).t

"Even th01rgh of an infinite variety, the things and being, of which the Universe, thus produced by the "opening out" of Sakti, consists, a:rc built up of only a few fundmental and general factors

•

ft' "~ a-t:a°-Wlll."-Tantrasara, Ahn. IV.

" 5(-o.'.lt n:r: ( ~: ) ~:'' Ibid • Ahn. i.

sro:t~: ~: ~fuf~: Ibid., -~hn. ii.

~ ~~: ( t1:!fff+I': ~ ~~~mtsRr ~: (~-,i.:ifiti41•

-,ufi6~; ... · .. &t-414i.Q:" I Tantrasara, Ahn. i.

t For the use of these terms in the above sense, compare V edio

passage " ~+!'i-ifi~':t~l:t_" Reg.J V. X. 190, a. Also see Hindu

Realism pp. 95-lOOJ 125-128, by J. C. Chatterjee. ' .


I8 INTRODUCTION

• teehnically called tbe Tattvas, ( lit., tbatness or wba.tness, namely, of everything that exists)".*

These Tattvas may be divided into eight heads and may be termed as follows:-

1. Five factors consiiting what may be called the materiality of the sensible universe viz. Prthi"Vi or Dhar:i Tattva (Earth), Ap (\-Vater), Agni (Fire), Vayu (Air) and Akasa. (Sky).

2. Five principles or Indriyas, indicating powers or capacities of action or functioni of sense-organs of activity. They are Upastha (recreative or generative organs), Payu (the voiding or discarding organs)~ Pada (the feet), H.asta {the hand) and the Vak (vocal organ}.

a. Tanmatra.s or five subtle primary elements evolving the objects of sense perception viz, Ganclhatanme.tra {subtle element of odour-as-such), Ra.sa-tanmatra (subtle element of ffavou.r-a.s-stich)~ Rupa-tanmatra (subtle element of colom-as•such), Sparsa .. tanmatra (subtle element of touch-as-such) and Sabda-tanmatra (subtle element of sound-as-such}. -

4, Five powers of sense perception, Jnanendriyas or Buddhindxiyas, viz .• Ghra:i;i.endriya or Nasika {power of sense of smell), B asanendriya. or Jihva (sense of taste), Darsa.nendl'iya or Cak~us (power of sight)1 Sparsendriya or Tvak {power of feeling-bytouch}, and Sravai;t.endriya or Kar>;1a (power of hearing).

5. Three capacities of mental operation (Antal;tkaraJ;J.a i. e. the the inner organ) viz. the Manas (the faculty of l'atiocination, con• centration and imagination )1 the Ahankara (Ego-sense or I-sense) and the Buddhi (or the capacity of judgment-or determination}.

6. Principles of the personal subject•object, viz., Prakrti-the rest of all feelings (that is, affection in the widest sense of the term, or the principle of affection in general) and Puru~a, the individual self.

7. Six principles of subjective limitation, viz. Kala (time or the dete:rminant or 'when'), Raga (attachment), Niyati (restriction

• '~ llltl~emmr f.i:rntti-lf ~ erdl¥(Utf»tm:e ~~ ~ ffif.. a-~ ~qr ~a'tcrl ~,:mi1<1(Nn• 'l~w:IN4'{4"~·~" I Pra~, Vi, :m, i, ~.


INTRODUCTION 19

or regulation)~ Vidyii (limited knowledge), Kala. ( art i. e. the power or author of limited creation), Maya, { tb.e illusive selfforgetting and differentiating Power).

8. Five principles of the universal subjeet~object. viz.t SadVidya or Suddha-Vidya. (L e .• the principle of True or Pure Knowledge), Aisvara or the Isvara Ta.tta (Lordliness or Might), the Sadikhya or the prinoiple of Sada-Siva Tattva (that from which the experience 'Being' begins), the gakti Tattva (the Powerprinciple) and the S'iva Tattva. {the Benign Principle). It may be said to correspond to Brahman as Pure Cit.

When these Tattvas are ma.de clear, it is easy to know that the manifested Universe consists, frCJm the Trika point of view, of the above general priciples or Tatt-vas. Consisting of these factors, the Universe is only a manifestation or the Power or Sakti of Parama Siva,-or more precisely, of Parama Siva Himself in His aspect as .Sakti.

CR.APTER XVI

• The SivawSa~ti Tattva

Pa.rams. Siva is all complete in Himself and holds the universe as an 'Amada.}]. Pa.ranadaga..rbha~.' This lies as the support of all that is afterwards expressed in categorical terms of discursive thought and speech. He transcends even this supremely ideal universe, or in other words~ the universal experience. All corn• plete in Himself, He is both the transcending Reality, Bliss and Consciousness as well as the One All-pervading Supreme Experience. There is hardly any need of a universal manifestation nor is there any feeling of want. But for the existence of the universe He exerts His Sakti which manifests itself. This manifestation of His ~akti follows from the principle of Negation which a.s the commentary on Para-martha.sara. notefi is ( ' firit~oq1q1&qJ ' ) 'N iaedkarJ11dpdrarupa. ~


2 INTRODUCTION

,,. Pratyabhij.Mnahrdaya. speaks of the manifestation of His

Ss.kti as follows :-

"~it~: ~cirm -Pt:~a ~ .. ····atttitf+lN~: i.J ~~~,~aiNTil'tma ~q~wtt"rfo~m:tcri, stelirot~~ ~rom;ra-qy

~ J era: ~;{a~~Ttt~~rit6fa~~~~tf.~UR=+Rt~ •

~"I

After the manifestation He allows the universe to vanish, a.s if by magic, from His view and then there is a feeling of want of a universe in Him. But there should hardly be any feeling of the want of a manifesteu world in Him, as He is all complete in Him~ self, At this stage He is nothing more or less than Parama Siva in s.U essentials. But the experience of the ideal Universe is no more to be found in Him, and consequently His immanent aspect as pervading the universe is eliminated, and He does no longer feel as one and iden.tical with Himself. When the experience of the supremely ideal universe is eliminated~ the Siva Ta.ttva becomes the pUl'e self~luminous Consciousness ( Cinmatra or Cit only). It then 'Sl:nr~nt,t-rl' S(~f({4-l'rcfff~f ~da' shines, not as something illumined, but as the very essence of illumination and there is no feeling or notion of a universe in the experience. ThU& it is ma.de clear that in the e.s:perience of the SivaTattva there is only the pure ,•I~sense" in its sui.iliroest aspect ~~ e~ cooeeption -of. __ :J;-a.m\ lest_ rt _speaks of a;n -

identity,. however, subdued or indistinct, indicating 'I a.m this' viz., the mind .an.d the body.

The S.i.va.-Tattva. is counted as the first stage in the universal manifestation, though Paratyabh.ij iianahrdaya excludes it f:rom the range of the Tattvas which manifest only in Snti. Abhina,ragupta speak& of it as a. state in which the Cit a.speat of Sakti is most me.ni~ fest. No doubt all the othe.r aspects are present the.re; hut they are held in suppression. On. account of the suppression of these aspects of the Divine Sakti, and also as the experience of the universe is na.gatived there rises a tremendous need of some Sakti to make such an act of negation possible. This a-;pect of the Divine Sakti is populal'ly known as the Sakti~Tattva. which forms the se~ond. factor in the manifestation oi the universe. Jt is coeval with Siva-1'a.ttva in the znanifestation of the universe and ao i~


INTRODUCTION

cannot be called a second stage, as by virtue of its operation the manifestation of Siva•Tattva becomes possible ; and so in some cases, the separate mention of Sakti-Tattva froin the list of Ta.tt~as is omitted.*

But if taken separately. it is nothing other thau the manifestation of the Ananda. aspect of the Divine Sa.kti which, as defined in. the Tantrasara, is :-

"t?-f~l{ attil•~~:a-a-~c

"awt-=t1:: ~tra~Q''(1 ~trc~ Rr-arf.:cr~mq'ffll~T~"f.q-J<t'' ~Tt::

~~ g;r: '~ fi: am' i={'!: ii Sfffiitrll'a' 8':'-Pra. Vi .• Vi. fol, 258.

The virtue of Ananda, as sup:remest Bliss and self-satisfaction i~ perfect Rest in wha.t is one~s own, and cessation of all motions and agitations or confusions. For perfect Bliss cannot be expected with the absence of restlessness unless there is a complete absence of all goings and movings out. A pa.rtir:ru.la.r .stage in Siva-Ta.ttva is considered here where there is no moving out yet, but only a feeling of absolute rest and peace is to be found here. This feeling can be only the realisation of Ananda aspect of the Divine Sakti.

As they enter into the process of the universal manifestation, the Siva. and the Sakti Ta.ttva.s are happily united to each other,the former atthe sacred light of the Cognizing Prineiple, as only the Cit realising Itself as the pure 'I>, devoid even of the experience of an "am"; and the latter, as the realisation of the feeling of only the profeundest Bliss and Peace beyond all understanding-as that ~~nanda which lies at the root of all things to come.

It is true that the Siva•Sakti Tattvas c,we their ori~n to Parama Siva in as much as they develop a kno·wledge which is other than Para Sa.tp.vit ; still they hold their existence for an eternal space of time. They have no destruction in Prala.ya but abide in the bosom of Pa.rama Siva as the seed of th.e universe that would come to be. If this view regarding the seed of the universe 1s discussed fu1·ther, it will be seen that the Siva.-Tattva may be

• Vide Pra, Hrdaya, p. 8.


22 INTRODUCTION

termed as the Life (Pral'.}a) in the universal seed, whereas the Sakti-Tatt•ta. abides as the potential energy of the ya,rious forms in which that Life is manifested in the universe.

Further. Siva-Ta.ttv-a when used to indicate Life or P.r~a, is nothing more than Pratha:ina Spanda or 5.rst vibrative motion of Parama Siva., as it is noted-

Sakti-Tattva is the life and soul of the Principle of Restraint and so its main task consists in controlling and regulating that movement of Life.

September, 1937. } ARNOLD AVALON •

•


PREFACE.

Arthur A. valon, the late editor of the A gamanusandhana Samiti, more than six years ago thought of publishing Cidgagane.-candrika which is traditionally ascribed to Kalidasa. His Highness the Late J.\,faha:rajadhil'aja RameshrnJ.<a Singh Bahadur of Darbhanga. the then President of the Agama.nusandhana. Samiti. whose knowledge of and reverence for the ancient Hindu Sastras was i:.·ery great also desired the publication of this work which had hitherto been unpublished.

At that time Arthur Avalon was busy in editing the Saradatilaka.tantram and the Prapa11casaratantram with the commentaries of Raghava Bhatta and Padmapadacarya respecth-ely. Inspite of his heavy work he was on the look out for original manuscripts and commentaries on the CidgaganaCa.ndrika. He succeeded in securing two <:opies of original manus .. cripts of the Cidgagana-candtikat one from the Government Sanskrit Manuscript Library> Madras and another frorn the Adyar Theosophical Library ; but he had to postpone the publieation of the work to a later date, so that the already undertaken might be published first. But as fate would have it. he passed away in the beginning of the last year without proceeding further with the work. Swami SrI Trivikrama Tirtha who was a Yogin, personally combining ia him the the attributes of a Tantrika., Sadhaka, Philosopher and above all a scholar of a very sound type, took up the responsibility of editing the present book. But he also passed away the year befor.t last. However this small book owes it being largely to the gr€lat Swamiji's vast erudition and first band knowledge of Tantrik practices.

The text in the Manuscripts from the Government Manuscript Library gives 809 Slokas in full, as mentioned by the author himself, where as the other Manuscript of the Adyar Library 1s incomplete. For this reason the Text of the Manuscripts secured from the Government Manuscript Library has been ma:icly followed. But still the Adyar Library Manuscript has been of great value in deciding the precise readings of the Text in several cases. In placest where both the variant readings occuring in the Manuscripts have been found to be equ~lly reasonable, one of them has been mentioned in the foot note.


( H )

It wili not be pel'haps out of place to mention here that it wa.s first decided to give a full translation of e.11 the Slokas of the text, but this could not be done at present for various reasons, chiefly because no commentary on the text could be found.

If opportunities be forthcomingt the desired translation may be appended in tbe second edition.

The controyersy regarding the identification of . Kalidii.sa, the author of Citlgagana~oandrika has been ptll'posely avoided, It is difficult to jmagine in all seriousness whether the very pen which produced Sakuntala, Megha.diita and the like and has enchanted the fancy of the people for several centuries did also go to the length of composing this abstruse work on Tantrikism. It is also equally difficult to rest content with the belief tha.t Kalidasa the author of immortal dramas and poetry was an altogether different person from the author of this Tantrik work. In the body of the Introduction only an attempt has been made to show that most probably the author of this work lived and wrote in the 11th century A. D.

Coming back to the present condition of the Agam.anusansandhana Sa.miti, we regret very much to say that by the sad and lamentable demise of His Highness tl1e Maharajadhiraja Hameshvara Singh Bahadnr eif Darbhanga in 1981, the Samiti has lost the de-voted services of a guide of no mean culture. His place has been graciouly taken by bis able son His Highness Mahar5.jadhira.ja Kamesvara Singh Bahadur under whose kind patronage

• and direction the Samiti is at present continuing its work. By the sudden de.o.th of Arthur Avalon the Samiti has been deprived of the learned services of a sincere scholar and it is a hard task to fill tip the gap caused by his demise •

For the publication of this eook, we owe a great debt of gratitude to Ill'. N. K. Dut.t M .. .\., Ph. D., Principal (of-ficiating) of the Government Sanskrit College, for his invaluable suggestions. This cannot close without words of thanks and watitude to Prof. Asoka NMha Sastri M.A., P R. S. of tbe Calcutta University who inspite of his heavy work took special care and great pains to :read the proofs of the Introduction.

September, 1987. All.NOLD AVALON.


,,

TANTRIK TEXTS

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Arthur Ava,on Series- TANT·RIK TEXTSholybooks-lichtenbergpress.netdna-ssl.com/wp-content/...his commentary, named 'Saubhagya-bhaskara, on the 'Lalita sahasranama, acknowledged them