The Serpent Power — Arthur Avalon (Sir John Woodroffe) (1924)
(Shabda) and object (Artha) at first in the subtle form of Mind and its contents generated by the Sangskāras, and then in the gross form of language as the expression of ideas and of physical objects (Artha), which the creative or Cosmic Mind projects into the world of sensual experience to be the source of impressions to the individual experiencer therein. It is true that in this sense the letters, as hidden speech or the seed of outer speech, are in the Chakras, but the allocation of particular letters to particular Chakras is a matter which, if it has a real and not merely symbolical significance must receive the explanation given in my “Shakti and Shāktā”.
In each of the Chakras there is also a Bīja (seed) Mantra of each of the Tattvas therein. They are the seed of the Tattva, for the latter springs from and re-enters the former. The Natural Name of anything is the sound which is produced by the action of the moving forces which constitute it. He therefore, it is said, who mentally and vocally utters with creative force the natural name of anything brings into being the thing which bears that name. Thus “Ram” is the Bīja of fire in the Manipūra chakra. This Mantra “Ram” is said to be the expression in gross sound (Vaikharī Shabda) of the subtle sound produced by the forces constituting fire. The same explanation is given as regards “Lam” in the Mūlādhāra, and the other Bijas in the other Chakras. The mere utterance,¹ however, of “Ram” or any other Mantra is nothing but a movement of the lips. When, however, the Mantra is “awakened”² (Prabuddha)—that is, when there is
1 The mind must in worship with form (Sākāra) be centred on the Deity of Worship (Ishtadevatā); and in Yoga on the light form (Jyotirmayarūpa). It is said, however, that mere repetition of a Mantra without knowing its meaning will produce some benefit. The subject of natural Name is dealt with in the Author’s “Garland of Letters”.
2 Thought is not then only in the outer husk, but is vitalised through its conscious centre.
Mantra-chaitanya (Mantra-consciousness)—then the Sādhaka can make the Mantra work. Thus in the case cited the Vaikharī Shabda, through its vehicle Dhvani, is the body of a power of Consciousness which enables the Mantrin to become the Lord of Fire.¹ However this may be, in all cases it is the creative thought which ensouls the uttered sound which works now in man’s small magic, just as it first worked in the grand magical display of the Worldcreator. His thought was the aggregate, with creative power, of all thought. Each man is Shiva, and can attain His power to the degree of his ability to consciously realise himself as such. For various purposes the Devatās are invoked. Mantra and Devatā are one and the same.
A Mantra-Devatā is Shabda and Artha, the former being the name, and the latter the Devatā whose name it is. By practice (Japa) with the Mantra the presence of the Devatā is invoked. Japa or repetition of Mantra is compared to the action of a man shaking a sleeper to wake him up. The two lips are Shiva and Shakti. Their movement is the coition (Maithuna) of the two. Shabda which issues therefrom is in the nature of Seed or Bindu. The Devatā thus produced is, as it were, the “son” of the Sādhaka. It is not the Supreme Devatā (for it is actionless) who appears, but in all cases an emanation produced by the Sādhaka for his benefit only.² In the case of worshippers of Shiva a Boy-Shiva (Bāla Shiva) appears, who is then made strong by the nurture which the Sādhaka gives to his creation. The occultist will understand all such symbolism to mean
1 Some attain these powers through worship (Upāsanā) of Agni Vetāla, a Devayoni; some of Agni Himself. The former process, which requires 12,000 Japa, is given in Shavara-tantra. In the same way objects are said to be moved, though at a distance from the operator, by the worship of Madhumatī Devī. A higher state of development dispenses with all outer agents.
2 If Sūryya (Sun God) be invoked, it is an emanation which comes and then goes back to the sun.
(Shabda) and object (Artha) at first in the subtle form of Mind and its contents generated by the Sangskāras, and then in the gross form of language as the expression of ideas and of physical objects (Artha), which the creative or Cosmic Mind projects into the world of sensual experience to be the source of impressions to the individual experiencer therein. It is true that in this sense the letters, as hidden speech or the seed of outer speech, are in the Chakras, but the allocation of particular letters to particular Chakras is a matter which, if it has a real and not merely symbolical significance must receive the explanation given in my “Shakti and Shāktā”.
In each of the Chakras there is also a Bīja (seed) Mantra of each of the Tattvas therein. They are the seed of the Tattva, for the latter springs from and re-enters the former. The Natural Name of anything is the sound which is produced by the action of the moving forces which constitute it. He therefore, it is said, who mentally and vocally utters with creative force the natural name of anything brings into being the thing which bears that name. Thus “Ram” is the Bīja of fire in the Manipūra chakra. This Mantra “Ram” is said to be the expression in gross sound (Vaikharī Shabda) of the subtle sound produced by the forces constituting fire. The same explanation is given as regards “Lam” in the Mūlādhāra, and the other Bijas in the other Chakras. The mere utterance,¹ however, of “Ram” or any other Mantra is nothing but a movement of the lips. When, however, the Mantra is “awakened”² (Prabuddha)—that is, when there is
1 The mind must in worship with form (Sākāra) be centred on the Deity of Worship (Ishtadevatā); and in Yoga on the light form (Jyotirmayarūpa). It is said, however, that mere repetition of a Mantra without knowing its meaning will produce some benefit. The subject of natural Name is dealt with in the Author’s “Garland of Letters”.
2 Thought is not then only in the outer husk, but is vitalised through its conscious centre.
Mantra-chaitanya (Mantra-consciousness)—then the Sādhaka can make the Mantra work. Thus in the case cited the Vaikharī Shabda, through its vehicle Dhvani, is the body of a power of Consciousness which enables the Mantrin to become the Lord of Fire.¹ However this may be, in all cases it is the creative thought which ensouls the uttered sound which works now in man’s small magic, just as it first worked in the grand magical display of the Worldcreator. His thought was the aggregate, with creative power, of all thought. Each man is Shiva, and can attain His power to the degree of his ability to consciously realise himself as such. For various purposes the Devatās are invoked. Mantra and Devatā are one and the same.
A Mantra-Devatā is Shabda and Artha, the former being the name, and the latter the Devatā whose name it is. By practice (Japa) with the Mantra the presence of the Devatā is invoked. Japa or repetition of Mantra is compared to the action of a man shaking a sleeper to wake him up. The two lips are Shiva and Shakti. Their movement is the coition (Maithuna) of the two. Shabda which issues therefrom is in the nature of Seed or Bindu. The Devatā thus produced is, as it were, the “son” of the Sādhaka. It is not the Supreme Devatā (for it is actionless) who appears, but in all cases an emanation produced by the Sādhaka for his benefit only.² In the case of worshippers of Shiva a Boy-Shiva (Bāla Shiva) appears, who is then made strong by the nurture which the Sādhaka gives to his creation. The occultist will understand all such symbolism to mean
1 Some attain these powers through worship (Upāsanā) of Agni Vetāla, a Devayoni; some of Agni Himself. The former process, which requires 12,000 Japa, is given in Shavara-tantra. In the same way objects are said to be moved, though at a distance from the operator, by the worship of Madhumatī Devī. A higher state of development dispenses with all outer agents.
2 If Sūryya (Sun God) be invoked, it is an emanation which comes and then goes back to the sun.
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