The Serpent Power — Arthur Avalon (Sir John Woodroffe) (1924)
the throat and the lips the letters of the Alphabet from A to Ksha.”¹
It is needless to quote more.
Elsewhere has Kundalinī been thus described: “Meditate upon Devī Kundalinī, who surrounds the Svayambhu-Lingga, who is Shyāmā and subtle, who is Creation itself,² in whom are creation, existence, and dissolution,³ who is beyond the universe⁴ and is consciousness⁵ itself. Think of Her as the One who goes upwards.”⁶
Also: “Meditate upon the Devī Kundalinī as your Ishtadevatā,⁷ as being ever in the form of a damsel of sixteen in the full bloom of her first youth, with large and beautifully formed breasts, decked with all the varied kinds of jewels, lustrous as the full moon, red in colour, with ever restless eyes.”⁸
“Red (Raktā) as regards Sundarī”, so says the Author of the Shāktānandataranginī. Kundalinī, as a matter of fact should always be meditated upon as red (Raktā) in colour.⁹
Shyāmā (which ordinarily denotes “colour”) is here meant to signify something different. In all Tantras and all Tāntrika collections Kundalinī is described to be like lightning. “Shyāmā is the name given to a woman who is warm in winter and cool in summer, and has the lustre of molten gold.”¹⁰ This is what is meant here and colour is not intended. Thus the apparent discrepancy is removed.
1 The sense of this, says the Manoramā, is that Nāda which has four stages (Avasthāchatushtayātmaka) does after passing through the different centres mentioned in the Text assume the form of the 51 letters.
2 Srishtirūpā.
3 Srishti-sthiti-layātmikā.
4 Vishvātītā. She is not only immanent, but transcends the universe.
5 Jnāna-rūpā.
6 Ūrddhvavāhinī, for Kundalinī ascends to the Sahasrāra.
7 Ishta-deva-svarūpinī. The Ishtadevatā is the particular Devatā of the Sādhaka’s worship.
8 These in women indicate a passionate nature.
9 The Shāktānandataranginī says: She is only to be meditated upon as red only when the object of worship is Tripurā. The text may also be read as meaning that “red” is an attribute applicable to Shrī Sundarī—that is, the Devī Tripurasundarī.
10 This is a quotation from the Alangkāra Shāstra (Rhetoric).
The Kangkāla-mālinī Tantra describes Kundalinī in the Brahma-dvāra, and before the piercing of the Chakras, thus: “She, the Brahman Itself, resplendent like millions of moons rising at the same time, has four arms and three eyes. Her hands make the gestures¹ of granting boons and dispelling fear, and hold a book and a Vīnā.² She is seated on a lion, and as She passes to her own abode³ the Awe-inspiring One (Bhīmā) assumes different forms.”
1 That is, the Mudrās Vara and Abhaya; v. ante, pp. 19, 20.
2 The musical instrument of that name.
3 The Mūlādhāra.
Verse 12
WITHIN it¹ reigns dominant Parā,² the Shrī Parameshvari, the Awakener of eternal knowledge. She is the Omnipotent Kalā³ who is wonderfully skilful to create, and is subtler than the subtlest. She is the receptacle of that continuous stream of ambrosia which flows from the Eternal Bliss. By Her radiance it is that the whole of this Universe and this Cauldron⁴ is illumined.
COMMENTARY
He is now speaking of the Staff-like Parā Shakti, who is like a straight thread above Kundalinī, who is coiled round Svayambhu- Lingga. The Shri Parameshvarī, whose radiance illumines this Universe⁵ and its cauldron, dwells in the Svayambhu Lingga above where Kundalinī is coiled and holds supreme sway.
“Omnipotent” (Paramā).—She is the Māyā who is able to do that which is impossible.⁶
1 Svayambhu lingga, round which Kundalī is coiled.
2 According to Shangkara, Parā is in Kundalinī. She is called
Brahmānī by Vishvanātha, who quotes the Svachchhandasanggraha.
In Kundalinī is the Parā state of Shabda.
3 Vide post.
4 Katāha—that is, the lower half of the Brahmānda, and as such cauldron-shaped.
5 Brahmānda—egg of Brahmā.
6 So the Devī Purāna (Ch. XLV), speaking of this power of the
Supreme, says:
Vichitra-kāryyakāranā chintitātiphalapradā
Svapnendrajālaval loke māyā tena prakīrtitā.
Paramā may also mean Parang mīyate anayā iti Paramā—i.e., She by whom the Supreme “is measured,” in the sense (for the Supreme is
“Kalā” is a form of Nāda Shakti (Kalā Nāda-shakti-rūpā); and inseparate from Kundalinī.¹
The Shāktānanda-tarangginī says: “Kalā is Kundalinī, and
She, Shiva has said, is Nāda-shakti.”²
And it has also been elsewhere said: “Above it, meditate in your mind on Chitkalā united with Ī (Lakshmī) who is tapering of shape like the flame of a lamp, and who is one with Kundalī.”
Cf. Kālikā-Shruti: “Man becomes freed of all sins by meditating upon Kundalinī as within, above, and below the flame, as Brahmā, as Shiva, as Sūra,³ and as Parameshvara Himself; as Vishnu, as Prāna, as Kālāgni,⁴ and as Chandra.”⁵
By “within the flame” is meant the excellent Kalā (=Nā- darūpā) above Kundalinī’s threefold coil. This is what has been said by the author of this Lalitārahasya.
“She (Parā) is wonderfully skilful to create” (Ati-kushalā)— i.e., She it is who possesses the wonderful skill and power of creation.
“She is the receptacle of that continuous stream of ambrosia flowing from Eternal Bliss (Brahman)” (Nityānanda-paramparātivigalat-pīyūsha-dhārā-dharā).—By Eternal Bliss (Nityānanda) is meant the Nirguna or Attributeless Brahman. Paramparā means “connected step by step”. From Nityānanda, which is Nirguna Brahman, there arises (in Its aspect as) Saguna Brahman; from Saguna Brahman, Shakti; from Shakti, Nāda; from Nāda, Bindu; and from Bindu, Kundalinī.⁶ Chit-kalā is another form of Kundalinī. It is thus that the ambrosia comes step by step to Parameshvarī, the Chitkalā. She is Nityānandaparamparā—that is, She belongs to the chain of emanation from Nityānanda downwards; and She is
the throat and the lips the letters of the Alphabet from A to Ksha.”¹
It is needless to quote more.
Elsewhere has Kundalinī been thus described: “Meditate upon Devī Kundalinī, who surrounds the Svayambhu-Lingga, who is Shyāmā and subtle, who is Creation itself,² in whom are creation, existence, and dissolution,³ who is beyond the universe⁴ and is consciousness⁵ itself. Think of Her as the One who goes upwards.”⁶
Also: “Meditate upon the Devī Kundalinī as your Ishtadevatā,⁷ as being ever in the form of a damsel of sixteen in the full bloom of her first youth, with large and beautifully formed breasts, decked with all the varied kinds of jewels, lustrous as the full moon, red in colour, with ever restless eyes.”⁸
“Red (Raktā) as regards Sundarī”, so says the Author of the Shāktānandataranginī. Kundalinī, as a matter of fact should always be meditated upon as red (Raktā) in colour.⁹
Shyāmā (which ordinarily denotes “colour”) is here meant to signify something different. In all Tantras and all Tāntrika collections Kundalinī is described to be like lightning. “Shyāmā is the name given to a woman who is warm in winter and cool in summer, and has the lustre of molten gold.”¹⁰ This is what is meant here and colour is not intended. Thus the apparent discrepancy is removed.
1 The sense of this, says the Manoramā, is that Nāda which has four stages (Avasthāchatushtayātmaka) does after passing through the different centres mentioned in the Text assume the form of the 51 letters.
2 Srishtirūpā.
3 Srishti-sthiti-layātmikā.
4 Vishvātītā. She is not only immanent, but transcends the universe.
5 Jnāna-rūpā.
6 Ūrddhvavāhinī, for Kundalinī ascends to the Sahasrāra.
7 Ishta-deva-svarūpinī. The Ishtadevatā is the particular Devatā of the Sādhaka’s worship.
8 These in women indicate a passionate nature.
9 The Shāktānandataranginī says: She is only to be meditated upon as red only when the object of worship is Tripurā. The text may also be read as meaning that “red” is an attribute applicable to Shrī Sundarī—that is, the Devī Tripurasundarī.
10 This is a quotation from the Alangkāra Shāstra (Rhetoric).
The Kangkāla-mālinī Tantra describes Kundalinī in the Brahma-dvāra, and before the piercing of the Chakras, thus: “She, the Brahman Itself, resplendent like millions of moons rising at the same time, has four arms and three eyes. Her hands make the gestures¹ of granting boons and dispelling fear, and hold a book and a Vīnā.² She is seated on a lion, and as She passes to her own abode³ the Awe-inspiring One (Bhīmā) assumes different forms.”
1 That is, the Mudrās Vara and Abhaya; v. ante, pp. 19, 20.
2 The musical instrument of that name.
3 The Mūlādhāra.
Verse 12
WITHIN it¹ reigns dominant Parā,² the Shrī Parameshvari, the Awakener of eternal knowledge. She is the Omnipotent Kalā³ who is wonderfully skilful to create, and is subtler than the subtlest. She is the receptacle of that continuous stream of ambrosia which flows from the Eternal Bliss. By Her radiance it is that the whole of this Universe and this Cauldron⁴ is illumined.
COMMENTARY
He is now speaking of the Staff-like Parā Shakti, who is like a straight thread above Kundalinī, who is coiled round Svayambhu- Lingga. The Shri Parameshvarī, whose radiance illumines this Universe⁵ and its cauldron, dwells in the Svayambhu Lingga above where Kundalinī is coiled and holds supreme sway.
“Omnipotent” (Paramā).—She is the Māyā who is able to do that which is impossible.⁶
1 Svayambhu lingga, round which Kundalī is coiled.
2 According to Shangkara, Parā is in Kundalinī. She is called
Brahmānī by Vishvanātha, who quotes the Svachchhandasanggraha.
In Kundalinī is the Parā state of Shabda.
3 Vide post.
4 Katāha—that is, the lower half of the Brahmānda, and as such cauldron-shaped.
5 Brahmānda—egg of Brahmā.
6 So the Devī Purāna (Ch. XLV), speaking of this power of the
Supreme, says:
Vichitra-kāryyakāranā chintitātiphalapradā
Svapnendrajālaval loke māyā tena prakīrtitā.
Paramā may also mean Parang mīyate anayā iti Paramā—i.e., She by whom the Supreme “is measured,” in the sense (for the Supreme is
“Kalā” is a form of Nāda Shakti (Kalā Nāda-shakti-rūpā); and inseparate from Kundalinī.¹
The Shāktānanda-tarangginī says: “Kalā is Kundalinī, and
She, Shiva has said, is Nāda-shakti.”²
And it has also been elsewhere said: “Above it, meditate in your mind on Chitkalā united with Ī (Lakshmī) who is tapering of shape like the flame of a lamp, and who is one with Kundalī.”
Cf. Kālikā-Shruti: “Man becomes freed of all sins by meditating upon Kundalinī as within, above, and below the flame, as Brahmā, as Shiva, as Sūra,³ and as Parameshvara Himself; as Vishnu, as Prāna, as Kālāgni,⁴ and as Chandra.”⁵
By “within the flame” is meant the excellent Kalā (=Nā- darūpā) above Kundalinī’s threefold coil. This is what has been said by the author of this Lalitārahasya.
“She (Parā) is wonderfully skilful to create” (Ati-kushalā)— i.e., She it is who possesses the wonderful skill and power of creation.
“She is the receptacle of that continuous stream of ambrosia flowing from Eternal Bliss (Brahman)” (Nityānanda-paramparātivigalat-pīyūsha-dhārā-dharā).—By Eternal Bliss (Nityānanda) is meant the Nirguna or Attributeless Brahman. Paramparā means “connected step by step”. From Nityānanda, which is Nirguna Brahman, there arises (in Its aspect as) Saguna Brahman; from Saguna Brahman, Shakti; from Shakti, Nāda; from Nāda, Bindu; and from Bindu, Kundalinī.⁶ Chit-kalā is another form of Kundalinī. It is thus that the ambrosia comes step by step to Parameshvarī, the Chitkalā. She is Nityānandaparamparā—that is, She belongs to the chain of emanation from Nityānanda downwards; and She is
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