The Serpent Power — Arthur Avalon (Sir John Woodroffe) (1924)
with all the letters of the Alphabet. Within it is the triangle known by the name of A-Ka-Tha, which is decked by the letters Ha, La and Ksha. He of the smiling countenance is on the Hangsa-pītha,¹ which is in the region of the Chandra Mandala within it (the Sahasrāra).’ Shrī Devī said: ‘O Lord, how does the Guru stay there when its head is turned downwards?’ Shrī Dakshināmūrti said: ‘The Chandra Mandala in the pericarp of the Lotus of a thousand petals is turned upward; the Hangsa is there, and there is the Guru’s place.’”
These and similar passages speak of the place of the Guru as in the pericarp of the Lotus of a thousand petals.
As there are two distinct methods, one should follow the instruction of the Guru and adopt one of the two in his Sādhanā (Anushthāna). For it has been laid down in the Kulārnava Tantra, (Ch. XI): “Beloved, Vedas and Tantras handed down to us by tradition, as also Mantras and usages, become fruitful if communicated to us by the Guru, and not otherwise.”
1 Kāmakalā.
Verse 7
THIS hymn of praise of the Fivefold Footstool was uttered by Him of Five Faces. By (the recitation and hearing of) it is attained that good which is gained by (the recitation and hearing of) all the hymns in praise of Shiva. Such fruit is only attainable by great labour in the Wandering (Sangsāra).
COMMENTARY
He now speaks of the good gained by reciting and listening to this Stotra.
“Hymn of praise of the Fivefold Footstool” (Pādukā-panchakastotram).—Pādukā means a footstool (Padarakshanādhāra). The five of these are: (1) The (twelve-petalled) Lotus; (2) the triangle A-Ka-Tha in its pericarp; (3) the region of the Nāda, Bindu, and Manipītha in it; (4) the Hangsa below, and (5) the triangle on, the Manipītha. Or they may be counted thus: (1) The Lotus (i.e., twelve-petalled); (2) the triangle (A-Ka-Tha); (3) Nāda-Bindu; (4) the Manipītha Mandala; (5) the Hangsa—which is above it and taken collectively form the triangular Kāmakalā.¹
1 These two accounts appear to agree as to the position of the following in the order stated—viz., twelve-petalled Lotus with A-Ka-Tha triangle in which are Manipītha, with Bindu above and Nāda below. There remains then to be considered the position of Hangsa and the Kāmakalā which they form. Both are one and the same, the first being the three Bindus, and the second the triangle they make (Kāmakalā), from which emanates (and in this sense forms part of it) the lower A-Ka-Tha triangle (for this is Varnamaya). In the second classification the three Bindus and the triangle (Kāmakalā) which they form are treated as one, and placed above the Manipītha. In the first classification, apparently with a view to gain accordance with the Kangkālamālinī Tantra cited under v. 4, the Hangsa and the triangle which they form are taken separately, the first being placed below and the other above Manipītha,
Stotra is a hymn of praise. This hymn, including the verse which speaks of the benefit to be gained by listening to it, is one of seven verses.
“Uttered by Him of Five Faces” (Pancha-vaktrād vinirgatam). —The Five Faces of Shiva as given in the Liṁgārchana Tantra are: “On the West¹ (i.e., back) is Sadyojāta; on the North (i.e., left) is Vāmadeva; on the South (right) is Aghora; and on the East (front) is Tat-purusha. Īshāna should be known as being in the middle. They should thus be meditated upon in a devout spirit.” Vinirgata means uttered (lit. come out)—that is, uttered by these Five Faces.
“By it is attained that good” (Shadāmnāya-phalaprāptam).—This literally means: “by it is obtained the fruit of what has been spoken by the Six Mouths.” The Six Faces are the five given above and a sixth concealed one which is below, called Tāmasa. This is alluded to in Shadvaktranyāsa in the Shiva Tantra thus: “Ong Hang Hrīng Aung Hrīng Tāmasāya Svāhā”; as also in the meditation (Dhyāna) there given, thus: “The lower face, Nīlakantha, is of the colour caused by the deadly poison Kālakūta.”²
Shadāmnāya is what has been spoken by these Faces—that is, all the hymns of praise to Shiva. By the fruit of this is meant the benefit gained by reciting or listening to all these Mantras, and practising the appropriate Sādhanā. This is what is gained through this hymn.
“It is attainable by great labour in this Wandering” (Prapanche chātidurlabham).—By Prapancha is meant this Sangsāra (Wandering or World), comprising the Universe from all effects up to Brahmā, and which is shown by Māyā. It is difficult of attainment (Durlabha), as it is the result of manifold merit acquired by the practice of laborious endeavour (Tapas) in previous births.
End of the Commentary (Tippanī) of the Name of Amalā (Stainless), written by Shrī Kālīcharana on the Pādukāpanchaka Stotra.
1 The direction one faces is the East.
2 The poison churned out of the ocean and drunk by Shiva. The word means the secret emissary of Death.
Printed by J. R. Aria at the Vasanta Press, Adyar, Madras.
TANTRIK TEXTS
षट्चक्रनिरूपणम्
TANTRIK TEXTS
EDITED BY
ARTHUR AVALON
VOL. II
WITH
SHATCHAKRANIRŪPANA
AND
PADUKAPANCHAKA
Second Edition Revised with variant readings
EDITED BY
TĀRANĀTHA VIDYĀRATNA
PUBLISHERS:
GANESH & CO., MADRAS
p. 1924
CALCUTTA
SANSKRIT PRESS DEPOSITORY
30 CORNWALLIS STREET
LONDON
LUZAC & CO.
46 GREAT RUSSEL STREET, W.C.
with all the letters of the Alphabet. Within it is the triangle known by the name of A-Ka-Tha, which is decked by the letters Ha, La and Ksha. He of the smiling countenance is on the Hangsa-pītha,¹ which is in the region of the Chandra Mandala within it (the Sahasrāra).’ Shrī Devī said: ‘O Lord, how does the Guru stay there when its head is turned downwards?’ Shrī Dakshināmūrti said: ‘The Chandra Mandala in the pericarp of the Lotus of a thousand petals is turned upward; the Hangsa is there, and there is the Guru’s place.’”
These and similar passages speak of the place of the Guru as in the pericarp of the Lotus of a thousand petals.
As there are two distinct methods, one should follow the instruction of the Guru and adopt one of the two in his Sādhanā (Anushthāna). For it has been laid down in the Kulārnava Tantra, (Ch. XI): “Beloved, Vedas and Tantras handed down to us by tradition, as also Mantras and usages, become fruitful if communicated to us by the Guru, and not otherwise.”
1 Kāmakalā.
Verse 7
THIS hymn of praise of the Fivefold Footstool was uttered by Him of Five Faces. By (the recitation and hearing of) it is attained that good which is gained by (the recitation and hearing of) all the hymns in praise of Shiva. Such fruit is only attainable by great labour in the Wandering (Sangsāra).
COMMENTARY
He now speaks of the good gained by reciting and listening to this Stotra.
“Hymn of praise of the Fivefold Footstool” (Pādukā-panchakastotram).—Pādukā means a footstool (Padarakshanādhāra). The five of these are: (1) The (twelve-petalled) Lotus; (2) the triangle A-Ka-Tha in its pericarp; (3) the region of the Nāda, Bindu, and Manipītha in it; (4) the Hangsa below, and (5) the triangle on, the Manipītha. Or they may be counted thus: (1) The Lotus (i.e., twelve-petalled); (2) the triangle (A-Ka-Tha); (3) Nāda-Bindu; (4) the Manipītha Mandala; (5) the Hangsa—which is above it and taken collectively form the triangular Kāmakalā.¹
1 These two accounts appear to agree as to the position of the following in the order stated—viz., twelve-petalled Lotus with A-Ka-Tha triangle in which are Manipītha, with Bindu above and Nāda below. There remains then to be considered the position of Hangsa and the Kāmakalā which they form. Both are one and the same, the first being the three Bindus, and the second the triangle they make (Kāmakalā), from which emanates (and in this sense forms part of it) the lower A-Ka-Tha triangle (for this is Varnamaya). In the second classification the three Bindus and the triangle (Kāmakalā) which they form are treated as one, and placed above the Manipītha. In the first classification, apparently with a view to gain accordance with the Kangkālamālinī Tantra cited under v. 4, the Hangsa and the triangle which they form are taken separately, the first being placed below and the other above Manipītha,
Stotra is a hymn of praise. This hymn, including the verse which speaks of the benefit to be gained by listening to it, is one of seven verses.
“Uttered by Him of Five Faces” (Pancha-vaktrād vinirgatam). —The Five Faces of Shiva as given in the Liṁgārchana Tantra are: “On the West¹ (i.e., back) is Sadyojāta; on the North (i.e., left) is Vāmadeva; on the South (right) is Aghora; and on the East (front) is Tat-purusha. Īshāna should be known as being in the middle. They should thus be meditated upon in a devout spirit.” Vinirgata means uttered (lit. come out)—that is, uttered by these Five Faces.
“By it is attained that good” (Shadāmnāya-phalaprāptam).—This literally means: “by it is obtained the fruit of what has been spoken by the Six Mouths.” The Six Faces are the five given above and a sixth concealed one which is below, called Tāmasa. This is alluded to in Shadvaktranyāsa in the Shiva Tantra thus: “Ong Hang Hrīng Aung Hrīng Tāmasāya Svāhā”; as also in the meditation (Dhyāna) there given, thus: “The lower face, Nīlakantha, is of the colour caused by the deadly poison Kālakūta.”²
Shadāmnāya is what has been spoken by these Faces—that is, all the hymns of praise to Shiva. By the fruit of this is meant the benefit gained by reciting or listening to all these Mantras, and practising the appropriate Sādhanā. This is what is gained through this hymn.
“It is attainable by great labour in this Wandering” (Prapanche chātidurlabham).—By Prapancha is meant this Sangsāra (Wandering or World), comprising the Universe from all effects up to Brahmā, and which is shown by Māyā. It is difficult of attainment (Durlabha), as it is the result of manifold merit acquired by the practice of laborious endeavour (Tapas) in previous births.
End of the Commentary (Tippanī) of the Name of Amalā (Stainless), written by Shrī Kālīcharana on the Pādukāpanchaka Stotra.
1 The direction one faces is the East.
2 The poison churned out of the ocean and drunk by Shiva. The word means the secret emissary of Death.
Printed by J. R. Aria at the Vasanta Press, Adyar, Madras.
TANTRIK TEXTS
षट्चक्रनिरूपणम्
TANTRIK TEXTS
EDITED BY
ARTHUR AVALON
VOL. II
WITH
SHATCHAKRANIRŪPANA
AND
PADUKAPANCHAKA
Second Edition Revised with variant readings
EDITED BY
TĀRANĀTHA VIDYĀRATNA
PUBLISHERS:
GANESH & CO., MADRAS
p. 1924
CALCUTTA
SANSKRIT PRESS DEPOSITORY
30 CORNWALLIS STREET
LONDON
LUZAC & CO.
46 GREAT RUSSEL STREET, W.C.
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